Navarathri Mandapam CHAPTER 4 Musical Aspect of Maharaja’s Compositions

4.1. Introduction

“Music begins where the possibilities of language end.” - Jean Sibelius Music is just not confined only to notes and its rendition, it is a unit of melody, its combinations and beautiful body movements. Therefore it is called Samageetam (g“rV_²) and Sharangdeva has given an apt definition to the term - JrV§ dmÚ§ VWm Z¥Ë`§, Ì`§ g“rV_wÀ`Vo&

Maharaja’s compositions are models of all the three faculties of music. They are sung, played on various instruments and some compositions are exclusively composed for dance performances. To understand the nuance and technical aspects of music, it is very necessary to look back at the history of both the streams of Indian Music which are prevalent. As discussed in the earlier chapters, North Indian Music, popularly known as the Hindusthani Music had a lot of transitions since the Vedic era to the Mughal or the pre- indehendence era. After the decline of the Mughal Empire, the patronage of music continued in smaller princely kingdoms like Gwalior, Jaipur, Patiala giving rise to diversity of styles that is today known as Gharanas. Meanwhile the Bhakti and Sufi traditions

------( 100 ) ------continued to develop and interact with the different schools of music. Gharana system had a peculiar tradition of one-to-one teaching which was imparted through the Guru-Shishya tradition. To a large extent, it was limited to the palace and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general looked down upon as a frivolous practise. The Renaissance of Hindustani Music gained momentum when two great pioneers emerged on the horizon, the “Vishnudwayi” - Pt. Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande. These two stalwarts brought classical music to the masses by organising music conferences, starting schools, teaching music in classrooms and devising a standardized grading and testing system and by 1 standardizing the notation system. The music of South India is popularly known as . The word Carnatic derives from Karna (the ear) and Sta (to haunt) means, that which haunts the ear. By the 15th century, Kallinatha refers to the music of South India as Karnatic Sangita and records its practise between the rivers Krishna in the north and Kaveri in the south. Foremost among these was Purandara Dasa who lived in Vijayanagar and died a year before the fateful battle of Talikota (1565) which destroyed the empire. Purandar Dasa, who belonged to a sect of Vishnu worshippers called the Haridasas is referred to as the Pitamaha of Carnatic Music. It was he who codified the beginners’

------( 101 ) ------lessons and also gave the art a concrete syllabus for learning that is followed till date with very minor variations. A senior contemporary of Purandara Dasa was Jalapaka Annamacharya who composed entirely on the deities of the Tirumala Annamacharya is referred to as the Pada Kaurta Pitamaha. Annamacharya was among the earliest composers whose works adhered to alliteration and poetry. Kshetragna who used the signature of Muvva Gopala, was an illustrious composer of a slightly later period who is today best known for his padas, which are replete with eroticism. Later some other composers such as Sarangapani (1680-1750) also composed in this genre. These songs were preserved exclusively by the Devadasis. th It was however only in the 17 century that Carnatic Music became codified the way we know today. Venkatmakhi wrote the Chaturdandi Prakashika, in which he for the first time defined the parent scales () and mathematically arrived at 72 of them called as the “”. Govinda, further refined this scheme in his Sangraha Choodamani and it is his nomenclature that survives till date. All other ragas were attached one or the other parent ragas and were called 2 ragas. The Carnatic music reached its zenith when the trinity th of this tradition made an entry in the 18 century. Syama Sastry (1762-1827) (1767-1847) and (1775-1835) were all born in the town of Tiruvarur. Tyagaraja the most prolific among the three mostly composed in his mother tongue, Telugu. Most of his patron

------( 102 ) ------deity, Rama. Syama Sastri, who was a hereditary priest at the Bangaru Kamakshi temple in Thanjavore, composed on the Goddess. Muthuswami Dikshitar, mostly composed in Sanskrit and his compositions are noted for their elaborate and poetic descriptions of Hindu gods and temples. He is also known by his signature name “Guruguha”. The era immediately after the Trinity witnessed the rise of a number of performing musicians who were also composers such as the Tanjore Quartet, Maha Vaidyanatha Sivan, Patnam Subramania Iyer, Ramanathapuram Poochi Srinivasa Iyengar, and several others. They looked to the royal courts for patronage such as Mysore, Travancore, Pudukottai and the smaller estates such as Ettayapuram, Ramnad and 3 Sivaganga took over. th Madras began its rise as a musical hub in the late 18 century. The sabha culture started to flourish with the Tondaimandalam sabha being the pioneer. The Brahmins were dominant among the vocalists, Isai Vellalars constituted the instrumentalists, specially percussion and women singers mostly come predominantly from the Devidasi community. Looking back to the composers in Carnatic Music, especially the Music Trinity and Swathi Thirunal, their compositions mostly directed to devotion. The emotion of surrender mostly resulted in unwinding the season of their existence. These people were born just to sing praise of their lords. Each composer had a principle deity on whom he wrote. The existence of these four great composers enriched the tradition of Carnatic Music.

------( 103 ) ------4.2 Comparison between Hindustani Music and Carnatic Music

This chapter deals with the musical aspect which consists of both the Hindustani and Carnatic Ragas, it is essential to compare and understand the basic theory of both the faculties. These factors are taken into consideration before the musical analysis of the compositions - 1) The Swaras (Notes) 2) The Talas (Rhythmic structure) 3) The Geet Prakar (Musical forms)

1. Swaras (Notes) The Swaras could be defined as fixed pitch positions. The exact positions of these notes have been identified by the human ear and not by mathematical analysis. The Swaras of both the streams have their own positions and different names. Hindusthani Swaras Carnatic Swaras 1. fS>²O (gm) fS>²O (S)

2. H$mo_b F$f^ (ao) ewÕ F$f^ (R 1)

3. ewÕ F$f^ MVw:lw{V F$f^ (R 2)/

ewÕ Jm§Yma (G 1) 4. H$mo_b Jm§Yma (J) fQ>²lw{V F$f^/

gmYmaU Jm§Yma (G 2)

5. ewÕ Jm§Yma (J) Am§Va Jm§Yma (G 3)

6. ewÕ _Ü`_ (_) ewÕ _Ü`_ (M 1)

7. Vrd« _Ü`_ (_) à{V _Ü`_ (M 2) 8. n#m_ (n) n#m_ (P)

------( 104 ) ------9. H$mo_b Y¡dV (Y) ewÕ Y¡dV (D 1)

10. ewÕ Y¡dV (Y) MVw:lw{V Y¡dV (D 2)/

ewÕ {ZfmX (N 1)

11. H$mo_b {ZfmX ({Z) fQ>²lw{V Y¡dV (D 3)/

H$m¡{eH$r {ZfmX (N 2)

12. ewÕ {ZfmX H$mH$br {ZfmX (N 3)

Music can be viewed as the the specific use of these swaras within definite melodic contexts, but that is not how 4 Karnatic or Hindustani music derives melodies. ii) The Taal (Rhytmic Structure) The various features of time are marked primarily by two elements - laya and tala. Laya is basically a term used for equal intervals of time. Within a musical presentation, speed is measured by the intervals which occur during the standard rhythmic divisions. It is generally measured as slow, medium or fast. Hindustani Carnatic {db§{~V Mm¡H$ _Ü` _Ü`_ ÐwV Xw[aV

Laya is that which gives space within a rhythmic structure by creating intervals. These intervals that create space become the playground for melodic exploration. When laya comes together with a fixed number of divisions, or a composite rhythmic unit a taal is created. A taal is a concrete method of dividing time. Taal also creates a sense of time for

------( 105 ) ------melody, defining and highlighting it. A taal is consciously created in music to divide time, so that melody can be placed and measured within it. Laya provides the space and the 5 division within the taal that gives it its body. In Hindusthani music, the taal concept is progressive. It has rhythmic structures ranging from a cycle of 6 beats to 28 beats. Most popularly used in performances are rhythm cycles of 6, 8, 10, 12, 14 and 16 beats. Now-a-days there are new discoveries of 7½ beats or a½ beats and so on. They sound quite innovative and give a certain amount of hearing exercise to the listeners, but they remain mostly performance oriented specifically attached to the artist who creates and performs it. The Hindustani Taal system depends on these factors - Taal (Vmb)

Vmbr Imbr _mÌm g_ {d^mJ AmdV©Z

The beat The beat The The First Division One is shown is shown smallest beat of complete by by not parameter the Taal rhythmic clapping clapping to measure cycle Imbr means the rhythm space The taal systems have a specific technical language and terms. They are denoted by certain signs which are - 1. Sama (g_) = X (first beat)

2. Khali (Imbr) = O (half portion of the taal)

3. Taali (Vmbr) = 2, 3, 4 (on whichever number it

comes, e.g. The 1st clap is mostly on

------( 106 ) ------the first beat, the 2nd clap would be denoted by the number 2 and so on) The popular structures which are widely used in Hindutani Music could be explained through this table -

Vmb _mÌm ~mob

1. XmXam 6 Ym Yr Zm & Ym Vr Zm × 0 2. ê$nH$ 7 Vr Vr Zm & Yr Zm & Yr Zm × 2 3 3. Vrd«m 7 Ym {X§ Vm & {VQ> H$V & JXr JZ × 2 3 4. Ho$hadm 8 Ym Jo Z {V & Z H$ {Y Z × 0 5. _Îm 9 {Y§ {VaH$rQ Yr & Zm Vy Zm & YrYr ZmYr YrZm × 6. Pn 10 Yr Zm & Yr Yr Zm & Vr Zm & Yr Yr Zm × 2 0 3 7. EH$Vmb 12 {Y§ {Y§ & YmJo {VaH$rQ> & Vy Zm & H$ Îmm & YmJo {VaH$rQ> & Yr Zm × 0 × 0 3 4 8. Mm¡Vmb 12 Ym Ym & {X§ Vm & {H$Q> Ym & {X§ Vm & {VQ> H$V & JXr JZ × 0 2 0 3 4 9. Py_am 14 {Y§ @Ym {VaH$rQ> & {Y§ {Y§ YmJo {VaH$rQ> & {V§@Vm {VaH$rQ> & {Y§ {Y§ YmJo {VaH$rQ> × 2 0 3 10. AmS>mMm¡Vmb 14 {Y§ {VaH$rQ> & Yr Zm & Vy Zm & H$ Îmm & {VaH$rQ> Yr & Zm Yr & Yr Zm × 0 2 0 3 4 0 11. XrnMÝXr 14 Ym Yt@ & Ym Ym {V§@ & Vm {V§@ & Ym Ym {Y§@ × 2 0 3 12. VrZVmb 16 Ym {Y§ {Y§ Ym & Ym {Y§ {Y§ Ym & Ym {V§ {V§ Ym & Vm {Y§ {Y§ Ym × 2 0 3

------( 107 ) ------In Carnatic Music, there are seven talas that form the basis for the taal structures. These are combinations of laghu, druta and anudruta and are known suladi sapta taal. Most taals in use today are some variations of these seven primary talas. The division within a taal are known as kriyas. Every Kriya is a beat, and the total number of beats equals the total number of kriyas in a taal. Kriyas are of two types -

1. geãX {H«$`m (the sound of clap on the thigh)

2. {ZeãX {H«$`m (No sound) a finger count or flip of the palm

The first kriya in every taal is referred to as the Sama - the beginning. The kriyas combine to form three structural groups. {H«$`m

bKw ÐwV AUwÐwV

(a slap on the (slap on thigh (only a thigh followed by followed by slap on the counts of variable flip of thigh) finger number) palm)

While ÐwV will have always two beats, and AUwÐwV one, the bKw is a variable form that can have 3, 4, 5, 7 or 9 beats.

The laghu along with the druta and anudruta defines the total number of beats in a taal. These three structural groups are 6 known as taal angas. The laghu will have five categories which are called as jatis.

------( 108 ) ------1. MVwò (four)

2. {Vò (three)

3. {_l (seven)

4. IÊS> (five)

5. g§H$rU© (Nine)

The taal pattern could be studied through these tables -

Taal Structure Total Dhruva Laghu (4) + Laghu (4) + Druta (2) + Laghu (4) 14 Matta Laghu (4) + Druta (2) + Laghu (4) 10 Rupaka Druta (2) + Laghu (4) 6 Thampa Laghu (7) + Anudruta (1) + Druta (2) 10 Triputa Laghu (3) + Druta (2) + Druta (2) 7 Ata Laghu(5) + Laghu (5) + Druta (2) + Druta (2) 14 Eka Laghu (4) 4

To these seven, if we bring in the variability of the laghu measure, we get thirty-five taals (seven taal × five jatis). Using the same values of 4, 3, 7, 5, 9 the interval between every kriya can also be altered by the number of swaras sung between them. The value for the interval between two kriyas is referred to as nadai, or gati. If the variability of the nadai is also included then 175 different taals are derived 7 (thirty-five taal × 5 nadai)

Difference between Hindustani and Carnatic taal system could be understood by these points -

------( 109 ) ------Hindusthani Taal Carnatic Taal (i) Taali & Khaali are two Khaali or space is not important features denoted here (ii) Each bandish (composition) Every composition starts doesn’t start from the Sama from the sama or from the (first beat) always off beat. (iii) There are more than ten There are seven main variants ranging from beat tools in Carnatic Music. structure 6 to 28 (iv) Hindustani system follows Every Taal has 5 jatis the division ( IÊS> or {d^mJ ) from which 35 types are according to which there formed. could be variations in the bol of the taal. (v) Hindustani system does not 5 jatis have 5 distinctions have so many formations. from which 175 types are formed.

The

Before moving towards the different type of musical forms in both the streams, it is very essential to understand the soul of the element which is the melody, the Raga. A technical definition of the term is which gives bliss to the mind, such a combination of notes is called a Raga. (aÄO`{V B{V amJ:) . But the fact remains that a whole life time is spent to understand the true structure of the Raga. The crucial notes, its signature phrases, the progression and the whole structure is formed. How could a musician or a student understand these aspects through abstract explainations? It is the composition which

------( 110 ) ------interprets the Raga through the melody in a unique way.

The Raga is being learnt and relearnt continuously right through life, every time a new composition is learnt. Compositions contain various speeds in raga phrases and multiple seeds within the same composition. Every melodic phrase in a raga transforms itself depending on the speed of rendition. This in turn is built into the raga identity, which is learnt from composition.

Hindustani music stresses on the progression of the Raga which is called as ~T>V or CnO in musical term. The length of the composition is very compact as it comprises two lines of the ñWm`r and two lines of the AÝVam . The lyrics of the composition are secondary in terms of rendition of the melody. Of course the composition definitely remains significant but only after the Raga, therefore most of the times it is the ñdaàYmZ (where notes remain important) Jm`H$r (the type of singing).

In Carnatic Music, a raga is accepted as one only when there is at least one composition in it. It is accepted that the first true expression of a raga within the system lies with the dm½Jo`H$ma, not the performing musician. The musician may have explored a new melodic idea, but this is not established unless encapsulated in a composition. Therefore it could be said that it is the eãXàYmZ (where words are important) Jm`H$r

(the type of singing).

------( 111 ) ------Therefore, the difference between Hindustani and Carnatic Music style of singing could be explained through these points - Hindustani Style Carnatic style 1. The Jm`H$r is more of 1. The Jm`H$r is mostly (amJàYmZ) melody (gm{hË`) composition oriented. oriented. 2. There are only two 2. There are three components of the components of the composition ñWm`r and composition - A§Vam. n„dr, AZwn„dr, MaU_²

3. The length of the ~§{Xe 3. The gm{hË` is too is short. lengthy. 4. The Raga is established 4. The Raga is established through Ambmn. through various compositions.

There is a concept of “Manodharma” in Carnatic Music which means one’s own will in a certain righteous path. Various improvisational techniques built into the aesthetics of Carnatic Music give the musician scope for creative expression.

One can understand and realize that these two different schools which are existing in our country are similar in element, its just the pattern or technique of presentation varies from artist to artist and the occasion of performance.

Therefore, the progression techniques of both the schools could be understood by these points -

------( 112 ) ------Hindustani Carnatic 1) Aalap - Opening phrase of 1) Alapana - Exploration of the the Raga which sets the mood Raga through essential notes, through improvisation. phrases and movements. 2) Badhat - Progression of the 2) Niraval - means to fill the Raga using various words of the gap in Tamil. It is the idea is to composition to develop the use the sahitya, raga and taal melody and create a picture. within certain parameters set in Badhat could also be showed in the composed line. There are three ways as a progression three ways in which nirawal is medium. used as an improvisation tool. BADHAT NIRAVAL (Three Speeds)

Upaj Bol-Aalap Sargam Free-flowing Sama Kala Mel-Kala Singing Notes woven Using only Alapana (2 swaras) (4 swaras) the according to notes Bandish’s the emotion gm, ao, J, _ mukhda in of the to create different words of a bouquet variations composition of melodies 3) Here, there could be 3) Kalpanaswara - Creative variants of the techniques in renderings of notes in a given the rendition of aalap is done raga, determined by the according to the mood and chosen composition from content of the bandish. which a specific Sahitya is to e.g. A slow paced be used as the concluding9 composition ( {db§{~V ) will point of each set. have slow phrases whereas a medium-pace composition (_Ü`b` ) will have tempo- based aalap ( b`H$mar ). 4) Tana ( VmZ ) - It is a bit 4) Tana - A free exploration rapid, difficult to master but a of a melody sans Taal, it is melodic vocal technique in structured so as to create raga singing. It is also one of emphatic melodic patterns the progresion technique that establich the laya. The which is mostly done after the tana is rendered using the aalap part. Taan-singing has syllables aa, nam, ta, interpreted as ananta means

------( 113 ) ------progressed in many ways unending. Tana are according to the Gharanas combinations of swara existing in Hindustani Music. patterns, in sets of 3, 5, 6, 7, There are many types or 8, 9 notes in the chosen raga. variants in which taan is rendered. They are - 1. ewÕ VmZ, 2. dH«$ VmZ, 3. Hy$Q> VmZ, 4. ~mob VmZ and so on. 5. Swaravistaar - Slow Aalap 5. Viruttam, Shlok and done without taal to establish Ugabhoga - Viruttam - Tamil the raga. Sometimes syllables word for Shlok. such as h[a, AZÝV, Amo_² are Ugabhoga - Kannada word used. Shlok is rarely sung, for Shlok. This form of though there is a trend of improvisation very close to rendering ñda{dñVma along with alapana, which is about poetic two or three syllables. The verse in the free flowing form Drupad singers start their rendition with slow tempo of an alapana without taal or a called Ambmn and progress laya matrix. through OmoS> and Pmbm which goes in the medium and fast tempo respectively.

Though, it might not be complete set of comparative revaluation of both the styles, the progression techniques are somewhere similar where the raga progression is concerned. The composition and lyrics are equally important whether it is a Hindustani or Carnatic .

The Accompaniment

Music is absorbed only on the basis of how it is presented in a concert. A concert can shape the offering of the 10 music. A concert signifies the actual term “performing art” where the artist directly communicates with the audience. The

------( 114 ) ------art is refined when it has a balanced support system. This support is the musical accompaniment given by various instruments. The number of instruments vary in Hindustani and Carnatic Music.

Hindustani Accompanist Carnatic Accompanist 1. Melody - The Harmonium, 1. Melody - The Violin Sarangi, Violin (sometimes) 2. Percussion - The Tabla 2. Percussion - The Pakhawaj (For Dhrupad) Mridanga 3. Side-Percussion - The Manjira 3. Upa-Pakkavadya - (during bhajan or devotional Khanjira and concerts) 4. The plays a major role 4. The Tambura gives the in supporting the vocalist. basic shruti support.

The Geet-Prakar (The types of musical forms) Both the streams of music, have various types of compositions which shall be discussed during the musical aspect of Maharaja’s compositions. But a comparative chart could help a bit to identify these forms separately.

Hindustamis forms Carnatic forms 1. Ab§H$ma 1. Ab§H$ma_² 2. bjU-JrV 2. bjU-JrV_² 3. gaJ_ 3. ñdaOm{V 4. Ambmn 4. AmbmnZ_² 5. {db§{~V »`mb 5. dU©_² 6. _Ü`b` »`mb 6. H¥${V (H$rV©Z_²) 7. amJ_mbm 7. amJ_m{bH$m 8. VamZm 8. {V„mZm 9. Rw>_ar 9. nX_² Omd{b 10. ^OZ 10. ñVw{V, ^OZ

------( 115 ) ------Total 30 selective compositions of Maharaja Swathi Tirunal will be discussed in detail with reference to the Raga, its Tala and Geet Prakar. Out of which 10 compositions are in Hindi and 20 compositions in Sanskrit. All the compositions are given in the Bhatkhande notation system, they might not be exact or accurate, but they might be helpful for Hindustani Music learners and students to have an access to Maharaja’s compositions.

------( 116 ) ------4.3 Musical Aspect 01 A{bdo{U (_{Uàdmb_²) Hw$aÄOr {_l Mmnw ê$nH$ ñWm`r - gm gm gm gm gm gm gm - gm gm{ µZ aogm gm ‹Ygm @ A {b do @ Ur @ E @ ÝXw Mo@ @@ ì`w @@ × 2 3 × 2 3 - Jao _J gm gm gm gm gm - gm gm ao J gm @ A@ {b@ do @ Ur @ E @ ÝXw Mo@ @@ ì`w @@ × 2 3 × 2 3 J J n - - gm ao ao J _ gm gm ao - J - -- @ @ hZ² V @ km @ {Z Zr _m @ {Z @ @@ × 2 3 × 2 3 ao ao aogm gm gm gm - gm gm gmgm aoJ _- - gm gm µYgm @Zr A {b do @ Ur @ E@ @@ ÝXw @ Mo ì`w @@ × 2 3 × 2 3 AÝVam 1 Y - - gmgm n - Jn _J J- ao- J - Jn J n @ @ Z{b Z @ {_@ @@ ir@ @@ lr @ nX² _ @ × 2 3 × 2 3 n - - J ao Jn Jao gm gm gmgm Y n Jn _J Zm @ @ @ @ @@ @@ ^ Z² Z{b Z @ {_@ @@ × 2 3 × 2 3 J ao J ao J J - n ao - ao J Jn _J ir @ lr @ n Ù @ Zm @ @ ^ Z² B@ h@ × 2 3 × 2 3 ao gm gm aogm aJ _ J- d @ Þr b@ @@ „mo @@ × 2 3

------( 117 ) ------AÝVam 2

- - gm gm gm gm gm gm - gm gm{µZ aogm gm ‹Ygm @ @ BZ² Xw @ `w @ V @ `m_² {Z@ @e `w§ @@ × 2 3 × 2 3 J J - - gm Jao ao _ J gm - gm ao ao Jao ‹Ygm @ @ BZ² {XZ² @ {X @ am @ {X am @ @@ dw_² × 2 3 × 2 3 - - gm- ao J _ J J - J _ J aoJ _n @ @ _Z² X @ _m @ ê$ @ V Zw _² Mm@ @@ × 2 3 × 2 3 ao J J - JJ ao - gm - gm - gm ao J ao gm ê$ @ _b ` @ Om @ bo @ n Z @ dw _² × 2 3 × 2 3 - - gm Y - n - n - J J _ n J_ @ @ Hw$ ÝX @ Om @ {V @ gw _§ @ J Hw$@ × 2 3 × 2 3 ao J - Jn _J ao -gm aogm -- gm- gm - gm - H$mo _ @ bm§@ @@ Jr @@ @@ @@ @am Ir @ bmo @ × 2 3 × 2 3 ao - ao J - J -J ao ao- ao J aoJ _n J H$ @ gw§ X @ a @Z² d am@ @ ÄOm b@ @@ `o × 2 3 × 2 3 J J Jao ao - ao ao - ao ao J J - J ao gm Mmob² H$ @ {H§$ _o @ à `mo @ O @ Z² _² @ × 2 3 × 2 3

This is a very popular and a unique composition in raga kuranji in chapu taalam which is a 7 beats cycle. This is a padam where the Nayika (the heroine) is having a

------( 118 ) ------conversation with her friend.

The literature of Padam is mostly erotic or romantic. The laya is slow creating large spaces for the raga to be beautifully expressed. The padam is a slow unfolding of the raga containing many intricately ornamented movements that tightly fit within the taal. Padam mostly resembles to the Hindustani Thumri or Dadra where the notes are rendered to create a world of melodious literature. Padam in dance forms holds special significance because the dancer gets to show his/her prowess in expressions along with the intricate body movements. This piece in particular is mostly very popular in Bharatnatyam and Mohiniattam concerts as its lyrics give a large scope to the dancer to establish their expertise.

Coming to the raga, Kurinji is a Janya Raga, derived from Dheera Shankharabharanam, 29th on the scale. It is a Dhavaitantya Raga with only limited sancharams as the highest note that can be sung or played in this Raga is the Dhaivatam.This raga is sung within a single octave, giving a very mellow effect. It is therefore very suitable for lullabies as well as for devotional songs such as aartis. Its structure goes like - J J gm ao gm J ao, J _ _, n _ Jao J_ J, ao gm & Y n, _ J ao , J _ J ao, aoJ gm &

Note - Sung in Madhyama swara, the main pitch Sa-Ma-Sa will be the progression.

Being sung in a limited span, it might not sound

------( 119 ) ------progressive, but the beauty of the four notes Dhaivat Gandhar Rishabh and Shadja make it very soothing while listening to it. Particularly in this composition, the melody is established very slowly going with the tempo.

A calming, soothing raga, this scale is sung in Madhyama Sruti, i.e. its full form is realised within a single octave. Kurinji is prevalent in ancient Tamizh music, and 13 this raga’s roots lie in folk music.

------( 120 ) ------2 AmÄOZo` aKwam_XyV gmdoar Am{X ^OZr ñWm`r Y gm§ gm§ Y n n - ao§gm§ - Y - Y n - n - - ao§>‹ gm§ - Am ÄO Zo @ ` @ aKw @ am @ _ Xy @ V @ @ _ hr @ × 0 × 0 × 0 _ n - J ao - - gm Zw ^m @ d nm @ @ {h × 0 × AÝVam 1

n - n n Y n - n Y gm§ gm§ gm§ - - gm§ - gm§ gm§ ao§ -J§ gm§ - gm§ gm§ Hw$ @ ÄO a d ao @ Ê`m§ @ `w V g @ @ Ëd @ gw a @ {ÄO Vm @ _ a × 0 × 0 × 0 Y - nn gm§ n n - Y_ nn @ _wZr @ íd a @ g§@ VV§ × 0 AÝVam 2

n n gm§-gm§-Y n n - J ao - ao - gmgm ‹Y - ao gm - gm- - aogm n - n n {X@ Z@ H$ a ^r @ H$ a @ e¡ @ ed bmo @ @ b @ Xr@ @ {ßV{d {Z @ {O© V × 0 × 0 × 0 n - Ygm§ Yn n- -- Y- n - n- Y n gm§ - gm§ gm§ gm§ ao§J§ ao§ gm§ Y - ao§ gm§ H$m @ M@ Z@ e¡@ @@ b@ @ @ YZ Xo e H$ @ ÝY a gmo @@ X a ey @ @ b@ × 0 × 0 × 0 - n- ao§ gm§ n n J ao gm ------@ I@ ÊS> Z ew ^ br b @ @ @ @ @ @ @ @ × 0 × 0

------( 121 ) ------gm ao _ _ n - n Y n - Y n n - n - O Z H$ gw Vm @ {X {d _mo @ M Z bmo @ b @ × 0 × 0 n - n n - Y gm§ Y n Y n Y gm§ - gm§ - O @ å~y _m @ {b I b {Z {e M a H$m @ b @ × 0 × 0 n Y n Y gm§ gm§ gm§ gm§ gm§ ao§ gm§ gm§ gm§ n - n d Z {Y V a U M U {Z O bm @ Hy$ @ b @ × 0 × 0 ao§ n Y> gm§ gm§ Y n n - n - Y n J - n n d @ {• X @ ½Y b§ @ H$m @ @ Z J @ a @ × 0 × 0

This is popular in raga Saaveri in Aditaalam. Kriti or Kirtanam is the most important compositional form in Carnatic Music. Aesthetically, the Kirtanam is the beautiful balance between the three integral elements of the compo- sition, the Dhatu, Matu and Taalam. The Pallavi is the opening of the kirtanam, it establishes the melodic emphasis of the raga. A kirtanas lyrical content is bhakti. The kriti or kirtanams introduced an important melodic idea to carnatic 14 music.

Coming back to Raga Saaveri, it is a Janya Raga of 17th melakarta Mayamalavgauda which is the in Hindustani. is an ancient raga with many textual references. This raga is classified as a Bhashanga Raga in Sangeeta Ratnakara, albeit with the name Savari. This raga has a place of pride in Carnatic music, as can be also seen in the proverb, "Kaveri snaanam, Saveri Gaanam", which is duly reflected in a composition by Dikshitar. Each swara has a

------( 122 ) ------significant role. Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are raga-chhayya swaras, which bring out the nuances of this raga. Madhyama is unique, often called Saveri Madhyama. It is one of the selected ragas with compositions by all members of the Carnatic Trinity. There is a marked conceptual similarity between Dikshitar and Syama Sastri.

The structure of Saaveri is like this - {Z gm ao _ n Y gm§ & gm§ {Z Y n, _ J ao gm &

_ Signature Phrase - Y n J , gm ao _, n _ J, ao _ _ n Y n, gm§ Y n J

The closest Hindustani Raga to Saaveri could be , the aaroh is similar to saaveri. In Carnatic ragaas. Saaveri and are considered to be close associates. The only difference is the absence of Nishad in the avaroh of Malahari.

gm ao _ n Y gm§ & gm§ Y n, _ J ao gm n Signature Phrase - _ _ n Y n J ao gm ‹Y µn gm ao _ n, gm§ _ n Y gm§

The earliest reference is by Parshwadeva (11th Century). Narada's classification under the time theory details Saveri as a derivative of Gauda, apt for rendition between noon and 3 pm. Sarangadeva refers to raga Sauviri only. The Brihaddharma Purana mentions Saveri as a janya raga of Gowda mela. Annamacharya and Purandaradasa have composed in this raga. Ramamatya refers to Saveri as a janya

------( 123 ) ------raga of Salanganata Mela. The references by Somanatha to a raga Saveri as a derivative of the Mallari scale perhaps is in respect of Suddhasaveri. Venkatamakhin opines that Saveri is a derivative of Gowla mela. The melodic identity of this raga is established in works like Raga Lakshanamu, Sangeeta Saramrita and Sangeeta Sampradaya Pradarsini. The Sangeeta Saramrita deems Saveri to be a morning raga. Shadja is used as Graha, Nyasa and Amsa swaras. Many compositions are available with notation in the Sangeeta Sampradaya Pradarsini. B Subba Rao has expressed a view that Saveri is getting popular in Hindustani music too. There is no eqivalent 15 for Saveri in the Pann system.

Other popular compositions of the Maharaja in Saaveri include:

Paripahi Ganadhipa st Bhavayami Raghuramam (1 part) Bhasurangi Bale (Padam in Malayalam) Devi Paavane (Navaratri kriti) Hemopameyangi ( Padam) Paahi Maam Sripadmanabha (Keertanam) Sarasa Mridu Vachana (keertanam) Saaveriha Thanuja (Padavarnam in Sanskrit) Vanajaksha ( in Telugu)

------( 124 ) ------3 H$b`o lr H$_bZ`Z MaUo {P§PmoQ>r ê$nH$ XmXam ñWm`r

- {Z Y _ ao gm gm {µZ ‹Y - gm - - gm _ _ _ _ @ H$ b `o @ @ lr @ @ @ @ @ @ H$ _ b Z ` 0 × 0 × 0 × n Y ({Z ) {Z Y - - - - - Z M a Uo @ @ @ @ @ 0 × 0 A§Vam 1 {Z {Z Y - Y Y Y {Z gm§ gm§ - ao§ Y gm§ {Z Y _ Y H$ b `o @ H$ _ bm @ g Zm @ {X g H$ b {d ~w Y × 0 × 0 × 0 gm§ gm gm Y {Z Y - - - ‹Y ‹Y gm gm gm gm ‹Y ‹Y µn - - - e a Uo @ @ @ ^ d ^ ` ^ a h a Uo @ @ @ × 0 × 0 × 0 ‹Y - gm gm gm Y ({Z ) {Z Y - - - ^m @ gw a ê$ {M ^ a Uo @ @ @ × 0 × 0 AÝVam 2 Y Y {Z gm§ - gm§ gm§ gm§ gm§ gm§ - ao§ Y gm§ {Z Y _ Y ^ O Z er @ b O Z _ Zmo @ {^ b {f V d a {d × 0 × 0 × 0 Y {Z Y - - - V a Uo @ @ @ × 0

------( 125 ) ------This kriti is in raga Jhinjhoti set to rupaktaalam of 6 beats. Jhinjhoti is also called Senjurtti in Carnatic music, and it sound similar like the one in Hindustani. Its structure goes like -

Y n _ ao gm ao ‹Y ‹Y gm, ‹Y gm ao _ J, ao gm ao {µZ ‹Y µn ‹Y gm

As it is a khamaj janya raga, unlike khamaj it is a sampoorna Jati Raga though its vistaar seems to be little vakra, and the beauty of komal nishad is seen more here because the progression in the Mandra and Madhya saptak presents the beauty of komal nishad through its Ý`mg. Jhinjhoti is mostly rendered on instruments, so basically it is perceived as an instrumental raga.

But Jhinjhoti establishes its own beauty through Semi Classical pieces such as Thumri and Dadra. Of course it is sung by seasoned artists such as Pt. Rajan Sajan Mishra and so on.

------( 126 ) ------4 H$maU§ {dZm H$m`ª H$må^moOr {_l Mmnw (ê$nH$) ñWm`r {Z n Y gm§ - gm§ - gm§ Y - - n - n - YY gm§ - H$m a @ U§ @ {d Zm@ @ H$m @ `ª @ @@ @@ × 2 3 × 2 3 _ ao _ - n - Y gm§ Y - - J J J ao gm Zmo @ Ën @ Ú @ Vo @ @ {H$ _ {n @ @ × 2 3 × 2 3 n gm Y Y n - J - - aogm gm- gm - - - H$ ÄO @ Zm @ ^ @ @ {Z@ `@ V§ @ @ @ × 2 3 × 2 3 gm§ J§ J n - Y - gm§ - - gm§ - ao§ gm§ - Y Zr a @ X @ Zr @ @ b @ _ Zmo @ h × 2 3 × 2 3 - n - Y ao{µZgm§ Yn -- Y{Z - - n - - - @ a @ V a@ @@ @@ _y @ @ V} @ @ @ × 2 3 × 2 3 {Z Y ao§ - gm§ - gm§ - Yao§ gm§ Y Y gm§ Y n Xm [a @ Vm @ {l @ V@ O Z Xm @ é U × 2 3 × 2 3 n Y_ J n Y - n- {d @@ {d @ Ym @ V}@ × 2 3

------( 127 ) ------AÝVam {Z Y - - Y{Z Y - - {Z Y - Y {Z - n - @ @ OZ Z @ @ H$m a @ U H$ @ _© @ × 2 3 × 2 3 - - J n - - Y Y - Y Y n n - @ @ km Z @ @ H$m a @ U {d @ Úm @ × 2 3 × 2 3 - - {Z Y n - n - J - n n - n - @ @ YZ _m @ Q>mo @ n @ H$m a @ U§ @ × 2 3 × 2 3 - - _J n - n - n Y - Y J n - @ @ Vê$ Ur @ _mo @ h H$m @ a @ U§ @ × 2 3 × 2 3 gm§ - - _J n - Y gm§ gm§ - gm§ Y gm§ gm§ - @ @ AZ `mo @ hm @ {Z @ H$m a @ U§ @ × 2 3 × 2 3 gm ao J§ - gm§ {Z - - J§ gm§ - gm§ Y gm§ - Y - n - @ @ Am Yr @ amo @ J H$m @ a @ U§ @ × 2 3 × 2 3 - - Ygm§ Y ao§ gm§ - gm§ gm§ - Y - n - @ @ YZ g @ _¥ @ {Õ H$m @ a @ U§ @ × 2 3 × 2 3 n Y gm§ Y - n - n YY _J n Y gm§ gm§ Z @ Zw Y @ _m} @ O @@ J@ Xr @ e @ × 2 3 × 2 3

This is a popular kriti in raga set to KhandChaapu. Kambhoji is called as kambodhi. There are numerous references to Raga or Ragini called Kambhoji in

------( 128 ) ------ancient Indian musical traditions. Narada's Sangita Makaranda (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of Shri raga, the first subset of his scheme of classification. Ramaditya, the author of Swara-Mela Kalanidhi (1550 AD) has accepted 20 melas and has accommodated 64 Jana-ragas among the melas. In this scheme of classification, the twentieth mela is Kambhoji under which come the Jana- ragas like Kambhoji. Ragamala of Pundrikavitthala classifies ragas into six divisions with each group having several raginis and ragas imagined to be their spouses and sons. Thus the ragini Kambhoji is assumed to be one among the several spouses of raga Nat-Narayana. Chatravarishach.chhat-Raga Nirupanam authored by Narada (1525-50 AD) lists ten main ragas and accepts the Kambhoji as the spouse of seventh raga called Raga -Narayana. Chaturdandi Prakashika authored by Venkatamakhin (also known as Venkateshwara Dikshit, ~1660 AD) assumes 19 melas and lists the Kambhoji, and Narayanagaula as the Janya ragas under mela Kambhoji.The Anupa-Sangit-Ratanakar by Sangit Acharya Bhava-Bhata lists 20 ragas as being fundamental ragas. The third Raga of his scheme, called Kedar Raga, includes more than a dozen of raginis----the seventh being the well known Kambhoji. Raja Tulaji, the ruler of Tanjore (1763- 87 AD) has written a well known book on musicology known as Sangit-Saramritoddhar. Raja Tulaji assumes 21 Janakmelas and includes Kambhoji and Yadukul-Kambhoji as the Jana

------( 129 ) ------ragas under the eighth Janaka-mela of his scheme of 17 classification.

A regal raga, majestic like a temple elephant adorned with precious finery — that is Kambhoji! One of the most prominent ragas in Carnatic music, Kambhoji is a gamaka- oriented heavy raga that is bedecked with attractive characteristic prayogas that make it most unique and unmatched. It is not symmetrical in ascent and descent, and its vakra prayogas (zig-zag patterns in scale) make it elusively charming and unfathomable. In ancient Tamizhisai, ‘Takkesi’ pann is Kambhoji raga. The emotions associated with Kambhoji are devotional fervour, courage and jubilation.

The structure of Kambhoji goes like this - gm ao J, _ n Y gm§ & gm§ {Z Y n, _ J ao gm

Signature Phrase - Y gm§ Y {Z Y n, gm§ {Z Y n _ J, _ n, Y, gm§ Y n _ J {Z Y n _ J gm &

The Hindustani raga khamaj is compared to Kambhoji but the structure of Khamaj is very different from this melody and it is used mostly in semi classical music. Explanation of Khamaj is given in composition number 26.

------( 130 ) ------05 Jm“o` dgZYa h_raH$ë`mUr Am{X {db§{~V {ÌVmb ñWm`r ao§ n - n n - (n) n - _ ] n gm§ Y nn (n) _ _ Jm§ @ Jo ` @ d g @ Z @ Y a nÙ @ Zm ^ 0 3 × 2 n - - n_ - - - aogm _ - - J n - - - _m @ @ _d @ Z d Ob Xm§ @ @ @ J @ @ @ 0 3 × 2

AÝVam 1 _ Y Y n - - n_ n n - n gm§ - - gm§ gm§ - - - a§ @ @ JñW @ b @ \$ {U @ @ \$ U @ @ @ 0 3 × 2 gm§ - Y n n (n) _ _ n n- Y n _ ao gm gm am @ _ Ur ` H$ @ @ Jw Um@ b ` _w a h a 0 3 × 2 n nn - n- - (_) - n Y Y n nn _ ao gm gm dm a` @ nm@ @ n @ _ {I b @ _{` _m @ {_ V 0 3 × 2 gm - aogm gm _ - n n Y - Y n Y Y n n _mo @ hZ _¥ Xw @ hm @g nm @ V {d O ` I b 0 3 × 2 gm§ _ - n n n nY n Y- gm§ Y Y n Y Y gm§ gm§ \$ @ {U @ {d h@ J n@ [a b g @ _ _ ö {X 0 3 × 2

------( 131 ) ------gm§ gm§ (gm§) - Y n n n nn Ygm§ nn (n)n _ ao aogm - n Þ Jo @ ÝÐ @ e` Z gm@ Yw@ @@ O@ Zm @ dZ @ 0 3 × 2 gmgm aogm __ __ nn YY gm§gm§ gm§gm§ gm§ao§ gm§- Y- Yn gm§- Yn n- ___ ga {gO ^d db {dX bZ n[a ZwV H¥$@ nm@ dm@ g^ do@ {jn _m {df`o 0 3 × 2

This is a very popular piece in raga Hamirkalyani set in Aditaalam. It is a Janya Raga, derived from Mecha Kalyani which is 65th on the Melakarta Scale. It is actually imported from Hindustani music which has a similar structure called raga Kedar. Hamirkalyani is a very popular Raga as its smooth flow of shuddha swaras, along with the swaying tivra madhyam make it very elegantly romantic as well as a melody of deep emotion. The progression goes like this - gm§ gm n _] n, Y {Z gm§ & gm§ {Z Y n, _] _ J n _ ao gm

Y Signature Phrase - _] n _ J ao, gm ao gm _ J, n, _] n gm§ & gm§ ao§ gm§ {Z Y n, Y n, _] _ n _ ao gm &

Hamir is a very similar Raga in Hindustani music with the same notes but it’s progression is more in the second half - gm ao gm, J _ Y, {Z Y, gm§ & gm§ {Z Y n, _] n Y n, J _ Y, n, J _ ao gm$&

As it is seen clearly the stress is more done on the note dhaivata and the signature phrase is J _ Y here so it is easily differentiated from Kedar.

The name Hamirkalyani however doesn’t seem to fit the

------( 132 ) ------structure because already Hamir or Kedar for that matter belong to Kalyan thaat, so no fact has been established as to why the name Hamirkalyani came into fame. There could be a possibility that the presence of shuddh madhayama has lead to the name Hamirkalyani just like the presence of shuddha madhyam in yaman makes it yamankalyani.

------( 133 ) ------6 Xod Xod OJXrûda nydr©H$ë`mUr (Am{X) {ÌVmb ñWm`r J {Z gm - ao gm - gm J ao gm - gm gm ‹Y µ - gmao - Jao Xo @ d Xo @ d O J Xr @ ûd a@ @ O` @ ^wO × 2 0 3 _ n ao J - - - - n_ ] Jao J n n n J _ ] J ao Jm @ @ @ @ @ e@ Z@ dm @ h Z _w a h a × 2 0 3 gm J _ ] J gm§{Z Y{Z {ZY n _ ] J {Z Y _ ] J ao J _ ] {X @ ì` hm@ @@ a@ _ {U Hw$ @ ÊS> b Y a ^ J × 2 0 3 J ao gm - ‹Y- - - - Jn Ygm§ -{Z Yn nY nn Jn Jao d @ @ Z @ @ @ @ @@ @@ @@ @@ @@ @@ @@ @@ × 2 0 3 AÝVam 1 J gm§ - nY n gm§ - gm§ a| gm§ - Ygm§ - ao§gm§ Y n Y gm§ @ nm@ d Zm @ Zw n _ @ {ZO @ ^wO {d @ H«$ _ × 2 0 3 {Z _] gm§ - gm§ -gm§ Y - n n n J {Z Y _ ] J _ ] Jao gm @ nX² _@ Zm @ ^ d g _o @ ö {X _m @ Y@ d × 2 0 3 AÝVam 2 {Z - J_ ] - Jao gm gm (gm) µ ‹Y- gm ao J ao ao J J J - dm@ @ aU n [a d¥ T>@ Vm @ n am _ Z M U × 2 0 3 Y - n- - nn gm§ {Z n n n - n n n Y n n @ dm@ @ gd _w I gw a go @ {d V n X `w J × 2 0 3

------( 134 ) ------AÝVam 3 - n - Yn gm§ gm§ gm§ gm§ gm§ ao§ J§ J§ ao§J§ å§m ] J§ao§ gm§ @ Xm @ [aV _ J Y _ hr @ n ` Xy@ @ Îm@ _ × 2 0 3 - gm§ -gm§ Y Y n n n J {Z Y _ J _ Jao gm @ Vm@ @n g ö X ` {Z dm @ g ö V e _@ b × 2 0 3

This composition is in raga purvikalyani set to aditaal. Purivikalyani is a janya raga from the 53rd melakarta . It is a Vakra Shadava , i.e. it has six notes on the ascent and seven notes in the descent. purvikalyani has another name Poorvakalyani. The scale mentioned in the Sangeeta Sampradaya Pradarsini is - gm ao J _] n Y n gm§ & gm§ {Z Y n _] J ao gm

Signature Phrase - n _] J ao gm ‹Y gm ao, J, J _] J n, _ Y n, J _], Y ao§ gm§, Y n J _] J ao gm &

It is Gamakakriya and which is also called Poorva- kalyani. Despite being a raga that can be rendered at all times, rasikas know that the effect is profound when this raga is rendered just after sunset. Here is an interesting explanation for the name purvikalyani Raga. In the Hindustani system, Poorvi is a raga which is akin to our Panthuvarali (Kamavardhini) Mela. The poorvanga portion of purvikalyani has the same swaras of Panthuvarali or N.Indian Poorvi Raga. The Uttharanga of purvikalyani has the swaras of

------( 135 ) ------Kalyani Raga. Being a combination of Poorvi and Kalyani, the 18 raga has come to be known as Poorviklayani. Purvikalyani in Hindustani style is known as PuriyaKalyan. The structure of Puriya Kalyan goes like this - gm, {µZ ‹Y {µZ, {µZ ao J, _] J _] ao J, ao J _] n, _] Y [Z, Y {Z Y, _] Y {Z gm§ & gm§ {Z Y, ao§, {Z Y n, _] J _] ao J, _] J ao gm & ny[a`m A§J - {µZ Y {µZ

H$ë`mU A§J - _] Y {Z gm§ {Z Y n

As it could be seen that it is a sampoorna Jati raga. Basically it is a combination of two ragas Puriya and Kalyan. In the first half of the raga the phrase of Puriya is clearly seen gm {Z Y {Z, _] ao J, and the second half _] Y {Z gm is clearly seen.

------( 136 ) ------7 Za{g§h _m_d Ama^r IÊS> Mmnw AY© PnVmb ñWm`r n n n - n _ - - ao gm (_) _ ao - gm Z a {g§ @ h _m @ @ _ d ^ J d @ Z² × 2 × 2 × 2 gm - - - - __ aogm ao_ ao_ n @ @ @ @ @ {Z@ @@ Ë` @@ _² × 2 × 2 AÝVam 1 gm§ Y n _ ao - n n - Y n n gm§ - gm§ h a {d [a§ @ M dm @ g d Zw V em¡ @ `© × 2 × 2 × 2 gm§ - gm§ - - Y gm§ ao§ gm§ gm§ (gm§) gm§ Y gm§ ao§ A {V a ^ g {Z h Vm @ @ gw a Xr @ Z × 2 × 2 × 2 gm§gm§ Yn __ aogm ao- ~@ @@ ÝYmo@ @@ @@ × 2 AÝVam 2 _ n n Y n _ n ao - gm gm ao gm - - - H$ a Y¥ V {e V, ho @ {V Om @ V @ @ @ × 2 × 2 × 2 gm - ao ‹Y ‹Y gm gm - ao ao ao gm - aon _J ^y @ [a H$ bw f dm @ [a X Hw$ b @ dm@ @@ × 2 × 2 × 2

------( 137 ) ------gm§ gm§ ao - gm - - Y Y n -, ao n - Y n - V @ @ @ @ ^ [a V @, H¥$ nm @ a g @ × 2 × 2 × 2 gm§ gm§ gm§ Y gm§ gm§ - gm§ Y - ao§ gm§ - Y Y ao§ gm§ - n [a nm @ {b Vo @ ^ @ @ n a _ _§ @ × 2 × 2 × 2 gm§ gm§ Y n Y - n _ n Y gm§ Yn gm§gm§ Yn __ aogm ao J b emo @ ^ n§ @ H$ O @@ Zm@ @@ ^@ @@ @@ × 2 × 2 × 2

This composition is set to jhampa taal (5 beats) in raga Aarabhi. Aarabhi is a janya raga derived from the 29th melakarta Shankarabharanam. Its structure goes like this - _ gm§ gm ao _ n, Y , gm§ & gm§ {Z Y n _ J ao gm &

Signature Phrase - ao _ _ n Y gm§ ao§ Y gm§ {Z Y n _ J ao gm ao ‹Y gm &

Raga dates back to the 7th century. Among the or ragas of , it corresponds to the pann, Pazhanthakka. Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam, (the 29th Melakartha Ragam – the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas. A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour – “Mangalakaramaana Isai” or “Auspicious Music”. Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga . Tanam on Veena is particularly enjoyable in this raga.It is said that raga

------( 138 ) ------Arabhi is associated with the Shishir Rithu – the lovely cool winter season. Raga Arabhi has been in vogue for about 600- 700 years and has retained its pristine purity.

The earliest tangible references about this raga is found in the Chaturdandi Prakasika : Aa[^…gd©Xm Jo` Amamoho J [Z d[O©Vh H$m°[MX² Amamoh g§`wº$ [ZfmXmo [ZJ«hmo ^doV²

Reference found in the chronologically subsequent Sangraha Choodamani is thus: Ama[^ O[ZVm YragÝH$am^aZmV VWm gÝ`mg_² gm§fH§$ M¡d g fS²O J«h_² CÀ`Vo Amamoho J [Z dÁ`© M AdaAmoho g_J«H$_² g-[a-_-n-Y-g, g-[Z-Y-n-_-J-[a-g-[Z-g

Arabhi and ragas are derived from the same Melakarta raga-Sankarabharanam with identical swaras but are aesthetically very different. Dr. V V Srivatsa stresses on the point that it would be more appropriate to call these two ragas as parsva ragas, since they are different in structure, scale, and aesthetic appeal The Rishabha handled in Devagandhari is more gamaka laiden when compared to Arabhi. Kaishika Nishadam appears in some prayogams in Devagandhari. Perhaps a few liberties were taken with Arabhi and Devagandhari resulted. According to Dr.V.V.Srivastava Arabhi and Devagandhari are termed as parsva ragas. In a lec- dem he quoted an Upanishadic passage. The meaning of the

------( 139 ) ------passage is as follows.

“Two birds, with beautiful wings, born at the same time were inseparable companions and they perched themselves on the same branch of a tree. However, only one bird tasted the Pippala fruit, while the other sat merely watching.”

Such is the case of the pair of ragas, Arabhi and Devagandhari. They are derived from the same melakarta. Their superficial swara structure appears to be identical. Devagandhari is tainted with the absorption of an anya (extraneous) swara, like the Pippala fruit. Arabhi remains an Upanga raga and Devagandhari, a Bhashanga raga. The aesthetic values of these two ragas have distinct and salient differences. The chief distinguishing features between Arabhi and Devagandhari are as follows

• Arabhi is typically sung at a brisk or medium pace. Devagandhari is more suited for slow or vilamaba-kala (Ksheera Sagara Sayana of Tyagaraja).

• Rishabha is an important swara in both ragas, yet with a difference. It shines in Arabhi when used in janta prayoga, and appears embellished in raga Devagandhari in the descending order in sancharas like “pa-ma-ga-ree”.

• The Gandhara note in Arabhi is an ‘alpa’ Gandhara, the same note is elongated in Devagandhari.

• Arabhi conveys Veera rasa (valour) and at times, Roudra rasa (fury) while Devagandhari gives the impressions of Santa (peace), Karuna (kindness) or Adbhuta (surprise or

------( 140 ) ------awe) rasas.

• The vakra sanchara “sa-ri-ga-Sa-ri-sa”(Devagandhari), is another safety factor, distinguishing Devagandhari from Arabhi. This particular phrase illustrates how much Arabhi is close or away from Devagandhari

• The sanchara of Arabhi ranges from Mandra Dhaivata to Tara Panchama swara. Devagandhari, normally, is not brought into the Mandra sthayi. It is preferable to limit Devagandhari to Tara sthayi Madhyama. But there is an exception in the line “Tharaka Nama” in the Krithi Ksheera Sagara by Tyagaraja.

• Arabhi is a raga which is oriented more towards swara and 19 laya, whilst Devagandhari is highly bhava-oriented.

------( 141 ) ------8 Z¥Ë`{V Z¥Ë`{V e§H$am^aU_² (Am{X) {ÌVmb ñWm`r ao gm§ - gm§ gm§ Y - n n J _ n _ J - gm gm Z¥ @ Ë` {V Z¥ @ Ë` {V gm§ @ ~ {e dmo @ {Ð Q> 0 3 × 2 n J @J J J n @n n n gm§ @gm§ gm§ gm§ Y @n n n Vmo @_² {Ð Q> Vmo @_² {Ð Q> Vmo @_² {Ð Q> Vmo @_² B {V 0 3 × 2

A§Vam 1 Y gm§ - ao§ gm§ ao§ J§_§ ao§ gm§ gm§ ao gm§@ n Y n gm§ gm§ {Z @ Ë` {d _ b@ V Zw a @ L>²{K« {d Z V {Z O 0 3 × 2 J n gm§ - ao§ gm§ Y n n gm§ gm§ - Y n J n n gm§ ^¥ @ Ë` ew ^ H$ a U Yr @ a Zw gm @ ` _² 0 3 × 2 J - _ n @ n J _ n - n n (n) n _ J nm @ n hr @ Z _w {Z go @ {d V n X `w J 0 3 × 2 _ - J _ - J gm gm gm gm - J _ n n J n @ n Ù Zm @ ^ g h Om @ n {V e a U @ 0 3 × 2

This is a very popular composition in Raga Shankarabharanam which is commonly rendered to accompany dance performances. Set in aditaalam, it is very

------( 142 ) ------flexible and easy for presenting the footwork and elegant postures depicting Lord Shiva.

Raga Shankarabharanam Dheerashankarabharanam, commonly known as Shankarabharanam. It is the 29th Melakarta raga in the 72 Melakarta raga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as “Sarva Gamaka Manika Rakti Raga” in Telugu.

Due to the even spacing of , many janya ragas can be derived from Shankarabharanam. It is one of the melakarta ragas that has high number of Janya ragas (derived scales) associated with it.

Many of the Janya ragas are very popular on their own, lending themselves to elaboration, interpretation and evoking different moods. Some of them are Arabhi, , , Devagandhari, , Jana , , Kadanakutuhalam, Niroshta, Shuddha Sāveri, Purnachandrika, Janaranjani, , Kurinji, Navroj, Sarasvati-manohari, 20 Nagadhvani etc.

The aaroh and avaroh of Shankarabharanam goes like this J Y gm ao J _ n [Z gm§ & gm§ [Z Y n _ J ao gm J ao [Z Signature Phase - J _ J ao gm, gm ao , ao J _ Y n _ J , n Ygm§ & J gm§ n _ J _ J ao gm

Similar raga in Hindustani music is Bilawal which also happens to be the primary thaat. Bilawal is the first lesson taught to students because of all the notes here are shuddha.

------( 143 ) ------The structure of Bilawal is gm ao J _, n, Y, [Z gm§ & gm§ [Z Y n, _ J ao gm &

Signature Phrase - Y J _ Jao J n _ J ao gm &

There is a variant of Bilawal which is more popular in Hindustani music called Alhaiya Bilawal where a slight use of Komal Nishad in the avaroh makes it more interesting than the former. Thus there are a lot of ragas belonging to Bilawal family where the notes are similar but they are different in structure.

For e.g., Devgiri Bilawal, Yamani Bilawal, are the variants which are very popular and they have certain phrases of Bilawal such as J _ J ao J, or Y J.

Bilawal is a morning melody and it is very easy to render the notes as they are shuddha, but the structure and progression of the raga is very difficult to present.

------( 144 ) ------9 nÙZm^ nm{h {hÝXmob_² Am{X (^OZr) ñWm`r

- _- _ _ _ _ J_ Jgm - {µZgm -‹Y -{µZ gm - J _ - nX² _ Zm @ ^ nm@ {h@ @ Ûrn @n @@ gm @ a @ × 0 × 0 {Z {Z Y - _ J _ Y>> Y>> - -{Z gm§ - - {Z gm§ {ZY _Y _J gm- @ Jw U d g Z @ @em¡ ao @ @ @@ @@ @@ @@ @@ × 0 × 0 - _- _ _ _ _ YJ _ - J_ Y {Z gm§- Y {Z gm§ @ gX² _ H$ {b V _w@ {Z @ _m@ Z g nL>² @ H$ O × 0 × 0 - gm§gm§ J§ gm§ gm§{Z {ZY {Z - gm§- - gm§J§ gm§{Z gm§{Z _Y _J _J gm- @ gH$ b ^w d@ Z@ n@ [a@ - nm@ b@ Z@ bmo@ @@ bw@ n@ × 0 × 0 AÝVam - _- _ _ _ _J Y_ Jgm - {µZgm -‹Y{ µZ -{µZ gm - J _ @ Mm@ ê$ _w I @@ {O@ V@ - M@ ÝÐ@ @@ Zo @ Ì @ × 0 × 0 {Z - _Y - J_ Y- Y{Z gm§{Z {ZY - Ygm§ µ {Z - Y- _- Y- J- _- @ n[a @ b{g V@ H$@ ê$@ Um@ @ gm@ @@ @@ @@ @@ ÝÐ@ @@ × 0 × 0 J§ - Y gm§{Z Y _ _ J _ - J_ Y {Z gm§ - Y{Z gm§ @ ^y @[a H$mo @ n h V @ Ib X Zw Oo @ ÝÐ@ @ × 0 × 0 - gm§gm§ J§ gm§ gm§{Z {Z Y {Z - gm§- gm§J§ gm§{Z gm§{Z Y{Z Y_ Y_ J_ Jgm @ nm@ d Z M@ [a@ V@ @@ lr@ @@ am@ @@ _@ @@ M@ ÝÐ@ × 0 × 0

------( 145 ) ------This composition is in Raga , a five note raga in aditaalam, an eight beat cycle. The aaroh and avaroh of Hindolam is -

gm J _ Y [Z gm§ & gm§ [Z Y _ J gm

A derivative of Hanumat which is the 8th mela, Hindolam is a serene, gentle, soulful, enchanting and plesant Raga. It is a five note melody. Experts in Carnatic music hold differences of opinion on the Janaka raga that should be attributed to Hindolam. It is widely accepted that the 20th melakarta, Natbhairavi is the parent raga of Hindolam. It can be derived from both Natbhairavi and Hanumat Todi. It is sung in the morning time during the spring season.The similar structure is found in Hindustani music which is known as raga whose progression goes like -

J {µZ ‹Y {µZ, ‹Y {µZ gm J, J _ J gm, J _ Y [Z gm§ gm§ [Z Y _, J _ J gm &

Raga Hindolam is an equivalent to Malkauns but strangely a Hindustani raga named is very different from Carnatic Hindolam. Hindol is actually a 4 note melody with a very few percentage of Nishad in it. [Z gm J _] J gm & J _ Y gm§ Y _] J gm &

Raga Malkauns belongs to the Thaat, and possesses the Kauns Anga the parent phrase which is present in every raga ending with the prefix Kauns. The following are some of the famous types of kauns where the parent phrase, (_ J gm or J gm ) the raga anga, is prominently present.

------( 146 ) ------Chandrakauns J _ Y [Z gm§ & gm§ [Z Y _ (J gm) &

Jogkauns ‹Y {µZ gm J, _ J _ J gm & n Y [Z Y _ J,(_ J gm)

Madhukauns gm J _] n [Z gm & gm§ [Z n _] (J gm)$&

Kausi kanada ‹Y {µZ gm, J _, Y [Z n, J _ ao gm &

{µZ gm (J gm), gm J _ n J _ ao gm &

Malkauns is a late night melody and it is not season specific like Hindolam could be sung round the year. It’s major progression is in the lower octave make it full of devotion and gradually when the melody starts gaining its pace to establish its identity with the vaadi note Madhyam, Malkauns stands tall as pillar of Bhakti and valour both.

------( 147 ) ------10 na_ nwéf OJXrûda dgÝV (Am{X) ^OZr ñWm`r _ _ - gm_ _ _ Y Y _ _gm§ gm§ - Y _ _ (_) ao gm @ na _ nw é f @ OJ Xr @ ûd a O ` O ` × 0 × 0 gm§ - gm§- gm§ gm§ Y _ Y gm§ gm§ - ao§ gm§ Ygm§ Y_ J_ Jao @ nL>² H$ O Zm @ ^ _w am @ @ @ ao@ @@ @@ @@ × 0 × 0 gm- gm_ _ _ Y Y _ _gm§ gm§ - Y _ - - - - @@ na _ nw é f @ OJ Xr @ ûd a @ @ @ @ × 0 × 0

AÝVam 1 ao§ - Ygm§ - Y_ Y gm§ - ao§gm§ - Y- gm§ Y _ - Y gm§

@ ga @ {g@ ê$ h @ ^d @ e§@ H$ a dm @ g d

× 0 × 0 - {Z- {Z Y - _- {Z Y - {Z Y _ _ - - - @ g@ Zw V @ M@ [a V @ em¡ @ @ ao @ @ @ × 0 × 0 J J - _- ______- _ _ _ _ ao gm @ Mm@ ê$ {d Å V d Z _m @ bm @ H$m¡ @ ñVw ^ × 0 × 0 - ao- J ao gm gm gm _ _ - - - - - _ - @ g@ Ëd O H$ _ b {X Zo @ @ @ @ @ e @ × 0 × 0

------( 148 ) ------AÝVam 2 ao§ - gm§- Y _ gm§ - ao§ gm§ - Y- {Z Y _ - Y gm§

@ gm@ a§ @ Jm @ {Y n @ Vm@ n {d _mo @ M Z

× 0 × 0 {Z - gm§- Y _ _ - Y gm§ ao§- gm§- -- -- Ygm§ Y_ J_ Jao

@ ñ`m@ Z§ @ Xw @ a ny ao@ @@ @@ @@ e@ @@ @@ @@

× 0 × 0

This is a very famous kriti in Raga Vasantham set to st Aditaalam. Vasantham belongs to the 21 melakarta scale keervani. Its structure goes like this - gm§ gm J _ Y {Z gm§ & gm§ {Z Y _ J ao gm &

Signature Phrase - J _ _ J ao gm, gm J _ Y, _ Y {Z gm§$$& gm§ {Z Y, Y, _ J ao gm &

As it could be seen that the absence of Rishabh and Pancham gives the dominance to the notes Madhyam and Dhaivat with Nishad which makes it it audav in the aaroha and the hint of komal rishabh in the avaroha completely changes the mood of the melody making it an Sudav Shadav raga. The carnatic experts compare this raga with chandrakauns because the structure is similar only difference remains with the komal dhaivat and gandhar.

The nearest raga in Hindustani music to vasantham is bhinnashadja whose structure goes like - Y {Z gm J, _, Y {Z gm§ & gm§ {Z Y _, J _ J gm &

------( 149 ) ------As it could be seen that it is an Audav Jati raga and if only komal rishabh is added to the avaroha it could become vasantham. Therefore raga similarity is not only based on structures but also how they sound similar or the way in which they are played or sung.

------( 150 ) ------11 n[anmb` _m_² arVrJm¡bm ê$nH$ (EH$Vmb) XmXam ñWm`r _ _ {µZ {µZ gm - J J gm - - - gmJ gmJ n [a nm @ b ` _m @ _ @ lr@ @@ × 0 2 0 3 4 - gm- J- _- ao _ n __ n- __ Jao gm- @ nX² _@ @@ Zm @ ^ _w@ @@ am@ @@ ao@ × 0 2 0 3 4 {Z - gmgm Y - Y _ {Z {Z gm§ - gm§ gm§ @ ea Um @ J V ^ a Umo @ Ëgw H$ × 0 2 0 3 4 J§J§ gm§gm§ {Z{Z YY __ Y{Z gm§- {Z Y __ {Z Y _J aogm em@ aX gmo@ _g _m@ Z{d [a§@ Mgw ao@ œa go@ ì`@ × 0 2 0 3 4 AÝVam (XmXam)

Y - Y- {Z Y __ n_ J ao {µZ gm JJ _ - - - - - Vm @ _a gm @ `V bmo@ M Z Mm @ ê$V Zmo @ @ @ @ @ × 0 × 0 × 0 - gmgm Y - Y _ - {Z{Z gm§ gm§ gm§ gm§ @ Ya {U @ Y a @ Ya d Z Y a × 0 × 0 EH$Vmb J§J§ gm§gm§ {Z{Z YY __ Y{Z gm§- {Z Y __ nY n_ Jao Ym@ _{d am@ {OV Xm@ ê$U XZw ^d KZ {d{n ZX hZ × 0 2 0 3 4

------( 151 ) ------A very beautiful piece set in Ritigaula in Rupak taal, a six beat cycle. Reethigowla, Reethi Gowla or reethigowlai is a janya raga in carnatic music. It is associated with 22nd melakarta raga . It’s structure goes like this, gm J ao J _, _ {Z {Z gm§ & gm§ {Z Y _, J _ n _ J ao gm {µZ µn {µZ {µZ gm {Z Signature Phrase - n _ ao ao gm gm J J _ Y>> {Z gm§ &

This melody is parallel to Raga Bageshree in Hindustani music, though there are different types in which bageshree is sung. The basic structure of bageshree is

‹Y {µZ gm ao, ao gm J J _, J _ Y {Z gm§ & gm§ {Z Y _ [ Y, J, _ J ao gm

Signature Phrase - ‹Y {µZ gm J _,

Thus it is seen that Rishabh and Pancham are totally left in the aaroh which makes it an audav sampoorna raga, but it is sung along with Rishabh and Pancham also which makes it a sampoorna raga.

Reetigaula may not look structurally similar, but while listening to it, it sounds as a homogeneous combination of Bhimpalas and Bageshree of Hindustani Music.

------( 152 ) ------12 n[anm{h JUm{Yn gmdoar (Am{X) {ÌVmb ñWm`r ao - gm ao _ ao - - - - gm - ‹Yµn µn‹Y - gm - @ n [a nm {h @ @ @ @ J@ @ Um@ {Y@ @ n @ 0 3 × 2 _ @ gmao _ _ n Y Y Y n - - - gm§gm§ Yn Jao gm@ @ ^m@ gw a _y @ @ @ V} @ @ @ @@ @@ @@ @@ 0 3 × 2 AÝVam 1 ao - nY gm§ gm§ gm§ n n Y - n Y Ygm§ J - gm - @ gm @ _ Omo @ n _ @ gw @ ÝX@ am @ ñ` @ 0 3 × 2 J ao - n- n n n J ao gm gm - ao>> gm ‹Y- µn µn gm

@ nm@ d Z n @ ‘ O Zm @ ^ _ Zmo @ h a

0 3 × 2 AÝVam 2 - gmao _ _ n n Y Y _ - - - nYn _n_ _ n @ ^m@ {J Zo @ ` Xo @ d @ @ @ @@@ @@@ @ @ 0 3 × 2 - n- Y n J ao gm J - n Y gm§ gm§ Y ao§ gm§ @ go@ d H$ O Z Z {V @ {d @ Úm g _ {Y H$ 0 3 × 2 - gm§- gm§ gm§ n - Y n - n Ygm§ n gm - gm gm @ lr@ gw I Xm @ ` H$ @ ^y @[a H¥$ nm @ H$ a 0 3 × 2

------( 153 ) ------This composition is in Raga Saveri. It has been discussed in detail in composition number 2 about the versatility and popularity of Saveri. The only reason to select two compositions in the same raga is to show the versatility of the melody.

------( 154 ) ------13 nmb` gXm _m_{` _mYd (Z{bZH$ÊR>r) ({ÌVmb) ñWm`r n @ @ _J ao gm J ------ao- _ _ nm @ @ b@ ` g Xm @ @ @ @ @ @ _m_² A {` × 2 0 3

n - - _J ao gm J - - ao- _ _ ao_ ao_ ngm§ n_ nm @ @ b@ ` g Xm @ @ _m_² A {` _m@ @@ Y@ d@ × 2 0 3 {Z {Z n gm§ n gm§ n n _ n n _ J ao gmao ao_ _n ngm§ n L>² H$ Om @ V H$mo @ _ b Z ` Z@ @@ @@ @@ × 2 0 3

A§Vam 1 gm§ - n_ n- n gm§ gm§ gm§ gm§ - J§ ao§ gm§ gm§ gm§ gm§ Zr @ bm@ @@ å~mo @ X a _o @ M H$ V a {d {Y × 2 0 3 {Z ao§ {Z _n gm§gm§ n_ Jao gm@ ao - _ _ n{Z - gm§ gm§ Zr @ b H$@ @@ @ÊR> Zw@ V@ Xm @ g O Zm @ _ a × 2 0 3 n J§ ao§ ao§ _§ J§ gm§ gm§ gm§ao§ gm§{Z n_ ao_ n{Z ao_ n{Z gm§ gm @ a H$ @ ën lr @ n@ @@ Ù@ Zm@ @@ @@ ^@ @@ × 2 0 3 gm§ n - J§ ao§- - - J§ ao§>> gm§ao§ gm§gm§ n_ Jao ao_ n{Z gm§ao§ gm§ em¡ @ ao @ @ @ O @ Xr@ @@ e@ _w@ am@ @@ ao@ @@ × 2 0 3

------( 155 ) ------AÝVam - 2 n- n- _J gm- J- ao_ n- n- n- gm§n -_ -J ao_ ao_ n- n- ^y[a _w@ {XV d¥@ ÝXm@ aH$ hm@ Q>H$ go@ dlr @bmo @b Jmo@ @@ nm@ b@ × 2 0 3 n- J§ao§ -_§ J§- ao§gm§ -gm§ gm§gm§ n_ Jao gmao gmao ao_ ao_ n{Z n{Z gm§@ Mm@ ê$~m @b M§@ Ð\$m @b Zd dZ _m@ b@ gwO Zm@ dZ er@ @@ b@ × 2 0 3

This composition is popular in raga Nalinkanthi in the music circles. However, in the book of T. K. Govindrao, the notations have been given in raga . But the composition is popular in Nalinkanthi therefore the notations have been done in the same. The structure of Nalinkanthi goes like this - {Z gm, J ao _ n {Z gm§ & gm§ {Z n _ J ao gm

Signature Phrase - gm J ao _, n _ J ao gm µn gm ao _ n, ao _ n Y _ n {Z gm§ n _ J ao, J ao _ n Y _ n, _ J gm µn gmŸ&

As it could be seen that the structure is slight vakra, it doesn’t go with the routine aaroha avaroha pattern. Some experts compare it with raga tilakkamod but in some phrases it looks like des more than tilkakamod. Maybe the vakra structure of Nalinkanthi takes it closer to tilak kamod than raga des. The first phrase gm J ao _, sounds like the Gaud ang but the diversion from pancham itself progressing towards shadj. The graph of the melody reaches its height from gandhar to pancham and shadja.

The closest to Nalinkanthi is Kedaram. Its structure is

------( 156 ) ------gm _ J, _ n {Z gm§ Ÿ& gm§ {Z n _ J ao gmŸ& {Z {Z Signature Phrase - J _ n _, J, J _ n gm§ Ÿ& gm§ (gm§) n _ J, ao, gm _ J _ n _ J ao gmŸ&

In Kedaram, the ascending scale has no Rishabham, Ri (R). Its first four swaras are gm _ J _ . This formation gives rise to the availability of a gamaka on _, which is absent for

Nalinakanthi. The use of gamakas is absent in Nalinkanthi whereas Kedaram is decorated by gamakas.

------( 157 ) ------14 ^O ^O _mZg (Am{X) (^OZr) ñWm`r J J - gmao - gm{µZ gmao J_ ao J - n _ ao J gm ao> gm @ ^O @ ^O _m@ @@ Z g @ h [a _² Z d a V§ × 0 × 0 - n- n n _n Y>{Z Yn Y - nY - n_ Jao J_ J ao @ ^@ º$ n am@ @@ `@ U§ @ A{V @ ew^ M@ [a@ V§ @ × 0 × 0

AÝVam 1 gm§ Y - J_ Y {Z gm§ - gm§ gm§ ao§ - {Z J§gm§{Z _ Y {Z gm§ @ ewH$ g Z H$m @ {X _w Zr @ ûd a@@ @ {d Zw V§@ × 0 × 0 J§ J§ - gm§gm§ ao§ ao§ ao§ - gm§ {Z gm§ - J§ gm§ @ Y_ ] J@ aogm @ OJ {V g _ @ ñV M am @ M a @ {dV V@ _² × 0 × 0

AÝVam 2 - __ _ _ J gm J _ n - n n Y - n n @ O{h Y Þ Xm @ a gw Vm @ {X ew am @ J _² × 0 × 0 - n@ Yn _ _ - _ _ gm J _ n Y Y n - @ ñd@ ßZ@ g _o @ fw {h _ _ Vm @ a {M V _² × 0 × 0

------( 158 ) ------AÝVam 3 - gm§@ gm§ gm§ Y _ Y gm§ - gm§J§ ao J§ ao§ - gm§ gm§ @ nL>² H$ O Zm @ ^ _² @ AZ§ V nw ao @ e _² × 0 × 0 - ngm§ {Z gm§ - n{Z Y n - Y _ ] J ao J ao gm @ n@ Þ J @ n[a d¥ T> @ _ #m {d b {g V _² × 0 × 0

This is a composition in raga Sindhubhairavi. A lot of other compositions in Bhairavi and Sindhubhairavi have been included before here (refer to composition number 27 and 28). This is a very short and very popular composition in the Carnatic music concerts.

------( 159 ) ------15 ^md`m{_ aKwam__² amJ_m{bH$m ê$nH$ (6 _mÌm) Yw_mir (8 _mÌm) ñWm`r (gmdoar) ao§ gm ao _ n - n Y n n - n n - n Y> gm§ ^m @ d `m @ {_ a Kw am @ _ _² @ ^ @ ì` × 0 × 0 gm§ Y n n n _ J ao n Ygm§ n _ n Y gm§ gm§ gw Jw Um @ am @ _ _² ^m @@ dw H$ {d V a U × 0 × 0 - Yao§ gm§ - gm§ - gm§ n - Y gm§gm§ Yn n _ J ao @ n@ am @ nm L>² J br @ bm b@ {g@ V _ @ @ × 0 × 0 gm ao J gm ao - _ n Y n Y - ao gm§ {Z Y × 0 × 0

{Z Y n _ J ao gm ‹Y gmao _- Jao _n Y- n_ nY gm§- × 0 × 0

{ZY {ZY n_ nY Jao§ gm§Y -- ao§gm§ Y- -- gm§Y -J§ ao§{Z Y_ Jao gm ‹Y × 0 × 0 AÝVam (ZQ>Hw$aÄOr) - J_ - Jgm - - gm gm ‹Y ‹Y µn - - ‹Y ‹Y gm @ {XZ @ H$am @ @ Ýd ` {V b H$ _² @ {X ì` Jm × 0 × 0 _ _ - gm gm gm J J J - - J_ {Z Y _ J J - @ {Y gw V g d Zm @ @ dZ a {M V gw ~m @ × 0 × 0

------( 160 ) ------‹Y ‹Y (_) _ gm gm ‹Y gm ‹Y {µZgm gm gm gm- ‹Y gm - - - hw _w I d K _² A h@ @ ë`m nm@ d Z _² @ @ × 0 × 0 Y - Jgm gm gm - gm gm§ Y {Z _ - _ - {Z gm§ gm§ gm§ @ AZ K _r @ e Mm @ n ^ L>² J§ @ OZ H$ gw × 0 × 0 Y {Z - {Z gm§ gm§ Y ao§ gm§ - gm§gm§ gm§ _§ gm§ gm§ Y {Z Vm @ àm @ Uo @ @ e§ @ KZ Hw$ {n V ^¥ Jw am × 0 × 0 - Y - Y gm§ {Z Y _ _ _ J - Jn _J gm - @ _ @ J @ d© h a {_ V gm @ Ho$@ @@ V @ × 0 × 0

_ J gm - {µZ ‹Y {µZ- - gm- ao J _ {Z Y _ - × 0 × 0

J ao J _ n J ao gm {µZ‹Y {µZgm aoJ _{Z Y{Z nY {Z gm§ {Z Y × 0 × 0 {Z gm§ ao§J§ _§J§ gm§{Z Jao§ gm§Y -- ao§gm§ Y- -- gm§Y -J§ ao§{Z Y_ Jao gmY × 0 × 0 AÝVam (YÝ`mgr) - nY n - n Y n - _ _ n - - __ n Y @ {dh Vm @ A {^ fo @ H$ _ Vm @ @ {d{n Z J × 0 × 0 J n _ - _ ao - gm - - gmao _ _ - n - _ V _m @ `© dm @ Mm @ @ g{h V gr @ Vm @ gm¡ × 0 × 0 ao n _ - _ - _ _ n n - n Y gm§ - Y n @ {_ @ {̧ @ em§ V V _ @ er @ @ @ b _²\ × 0 × 0

------( 161 ) ------{Z - __ _ n n gm§ gm§ gm§ Y - n Y> Y - gm§ gm§ @ Jwh {Z b ` @ J V {M @ Ì Hy$ @Q>m @ J V × 0 × 0 J ao gm§ gm§ ao§ gm§ - gm§ - - - gm§gm§ gm§ ao§> - gm§ (gm§) gm§ ^ a V X @ Îm @ @ @ _{h V a @ ËZ _ ` × 0 × 0 Y n Y gm§ Y ao§ gm§ gm§ Y n _ - n J ao gm nm @ Xw H§$ _ X Z gw @ ÝX am L>² J _² @ @ × 0 × 0 ao _ {Z {µZ gm J - _ n Y> _ n - {Z gm§ ao§ gm§ ao§ {Z × 0 × 0 _ ao>> gm§ n Y n J - ao gm {µZ- gmJ _n J- _n {Z gm§ n- {Z gm§ × 0 × 0

J§ao§ gm§{Z Yn {Z gm§ J§ao§ gm§Y -- ao§gm§ Y- -- gm§Y -J§ ao§{Z Y_ Jao gm ‹Y × 0 × 0 AÝVam (_mohZ_²) - gmao J J - J J J J - J ao - aoJ n n @ {dV V X @ ÊS> H$m @ a @ Ê` H$ @ JV {d am × 0 × 0 - n J J ao ao - - - aon J ao gm gm ‹Y ‹Y @ n X b Z _² @ @ @ gwM [a V K Q> O @ × 0 × 0 - µn µn - - ‹Ygm ao J J - J J n ao gm - @ Îmm @ @ @ Zwn {_ V d¡ @ îU dm @ ó _² @ × 0 × 0 gm§ - Jn J n n Y Y gm§ gm§ gm§ gm§ - - gm§ gm§ gm§ @ nV J d a O Q>m @ `w Zw V§ @ @ n§ M d × 0 × 0

------( 162 ) ------gm§ YY gm§ - Y n Y gm§ Y Y J§ ao§ gm§ gm§ - gm§ Q>r {d{h V @ dm @ g _² A {V Kmo @ a ey @ n© × 0 × 0 J Y Y n nY gm§ - Y n J n - J ao gm - - U Im @ dM Zm @ J V I am @ {X h a _² @ × 0 × 0 J - - n J ao J ao gm- ‹Y- gm ao J - - n × 0 × 0 Y gm§ Y n J ao gm ao Jn JJ aogm aoJ aoao gm ‹Y gmao Jao × 0 × 0 Jn Jn Yn Ygm§ J§>ao§ gm§Y -- ao§gm§ Y- -- gm§Y -J§ ao§{Z Y_ Jao gm ‹Y × 0 × 0 AÝVam (_wImar) - n n n Y n J - J ao ao - - __ n - @ H$ Z H$ _¥ J ê$ @ n Y a @ @ Ib _m @ × 0 × 0 _ - _ n - n Y n - __ n n Y n _- n- ar @ M h @ a {_ h @ gwO Z {d _ V X@ em@ × 0 × 0

J ao - - gm ao _ J ao gm -{µZ - µn gm - - @ @ ñ` @ ö V O Z H$ Om @Ýdo @ f U _² @ × 0 × 0 - nn Y gm§ - gm§ - ao§ - ao§ gm§ - gm§ gm§ - - @ AZ K n§ @ nm @ Vr @ a g§ @ J Vm§ @ @ × 0 × 0 gm§ ao§ n§ J§ ao§- gm§- {Z Y gm§ - - - - YJ§ ao§ gm§ O Zo @ ` Z@ ^mo@ @ _ {U @ @ @ @ VZw O g × 0 × 0

------( 163 ) ------gm§ gm§ gm§ Y - n - - _ _ n gm§ n _ n @ »` H$ a§ dm @ {b @ @ V Zw X b Z _r @ × 0 × 0 J ao _ _ - - - - n - - _ J ao gm @ @ e _² @ @ @ @ × 0 × 0

{µZ ‹Y gm ao _ - - J ao gm ao gm n _ {Z Y × 0 × 0

gm§- gm§{Z Yn n- _J aogm {µZY gmao _n {Z Y _n Ygm§ J§ao§ gm§Y -- ao§gm§ × 0 × 0 Y- -- gm§Y -J§ ao§{Z Y_ Jao gm ‹Y × 0 AÝVam (nyduH$ë`mUr) ] - J n_ J ao - gm gm ‹Y - gm ao J - nn n - @ dm @ Z amo @ Îm _ @ g {h V @ dm`w gw @ × 0 × 0 n n n - J n - - J - n J ao gm - - Zw H$ am @ {n© V @ @ ^m @ Zw e V ^m @ @ × 0 × 0 gm Y - gm - ao J ao J n n- n - Y n - g a @ _ @ ì` a @ ËZm @ L²>Jw br @ ` _² @ × 0 × 0 n - n Y n gm§ - gm§ - gm§ - - ao§ gm§ gm§ao§ gm§- Vo @ Z nw Z am @ Zr @ Zm @ @ Ý`y Z My@ S>m@ × 0 × 0 gm§ ao§J§ ao§ gm§ Y n - - Y J§ ao§ gm§ n Y gm§ Y _ {U@ X @ e© Z _² @ lr @ {Z {Y§ C X {Y Vr × 0 × 0

------( 164 ) ------n - J n Y n - ao J n J ao gm - - @ ao @ {l V {d ^r @ f U {_ {b @ V _² @ × 0 × 0 n J - _ ] J ao gm ‹Y- -- gm ao J _] n - - Y × 0 × 0 n gm§ {Z Y n _ ] J ao J_ ] n_ ] -n J- _]ao -J gm§- ao§J§ × 0 × 0 -_ ] nY ngm§ -gm§ J§ao§ gm§Y -- ao§gm§ Y- -- gm§Y -J§ ao§{Z Y_ Jao gmY × 0 × 0 AÝVam (_Ü`_mdVr) n _ _ ao ao ao ao gm ao ao _ ao - gm - - gmgm ao ao- H$ {b V d a go @ Vw d @ ZY§ @ @ Ib {Z ñgr × 0 × 0 - gm gm gm n - gm gm - _ _ n {Z n _ n @ _ {n {e Vm @ e Z @ X b Z§ C ê$ X e × 0 × 0 n _ _ ao gm - gm gm ao gm ao _ ao - gm - H$ @ ÊR> {d Xm @ a _² A {V Yr @ a _² @ @ × 0 × 0 - aoao _ n - n n n {Z _ n - - nn n n @ Ádb Z ny @ V O Z H$ gw Vm @ @ g{h V `m × 0 × 0 - {Z n - {Z gm§ gm§ gm§ - ao§ao§ -ao§ _§ ao§ gm§ gm§ - @ V gm @ Ho$ @ V§ @ @ {db @{g V n @ Åm @ × 0 × 0 gm§ {Z - n - nao§ gm§ - {Z n _n {Z n - ao gm {^ fo @ H§$ @ {dœ nm @ b§ @ n@ Ù Zm @ ^ _² × 0 × 0

------( 165 ) ------ao - _ ao _ n {Z - n _ n {Z gm§ - - ao§ × 0 × 0 gm§ {Z n n _ _ ao gm ao- n_ aogm {µZgm ao_ n- {Z n gm§- × 0 × 0 {ZY n_ ] J_ ] Jao gm- {µZY gmao _J -ao gmao J- Yn Jao gmao Jn Ygm§ × 0 × 0 ao§- gm§Y -n Yn J- aogm {µZgm _J _{Z Y{Z nY {Z gm§ J§ao§ gm§Y -- ao§gm§ × 0 × 0 Y- -- gm§Y -J§ ao§{Z Y_ Jao gm ‹Y × 0

This is a very famous kriti, a ragamalika of seven ragas set to aditaalam. Ragamalika is a simple musical term connoting a composition, parts of which are sung in different ragas. The earliest reference to this type of composition is found in the monumental work, Sangitratnakara. The simplest type of a ragamalika is of the dhrupad type- a pallavi is followed by a few charanas set to different ragas filled up with sahitya. The end of each charana is followed by singing the pallavi. Ragamudra came as an improvement. The name of each of the ragas in which the different parts of the song is sung is woven into the sahitya of that section. Ragamudra has become an invariable feature of all ragamalikas composed as such within a century irrespective of the language. Sohoni swarup a Hindustani composition shall be discussed later here. There were different patterns further which involved the introduction of chitta swaras and raga viloma chitta swaras.

------( 166 ) ------One of the compositions of the maharaja Kamalajasya which has ten passages with ten different ragas. Another one is 21 Pannagendrashayanam which has eight ragas. But the most popular among them remains Bhavayami Raghuramam. This ragamalika is sung hugely in concerts and Bharatnatyam recitals. The ragamalika begins with saaveri and ends in , but after every charanam, a connecting phrase of Saaveri is joined to come back to the pallavi. The seven ragas used in this composition are

1. Saaveri 2. Natakurinji 3. 4. Mohanam 5. 6. Poorvikalyani 7. Madhyamavati

This is a thematic type of a ragamalika where the piece depicts the story of Rama in a sequential order. Out of the seven ragas, the expalantion for Saaveri and Poorvikalyani has been given.

(Refer to composition 2 and 4). th Natakurinji is an audava janya raga of the 28 melakarta . The structure of this melody goes like this, gm ao J _ {Z Y {Z n Y {Z gm§ & gm§ {Z Y _, J _ n J ao gm &

------( 167 ) ------Signature Phrase - _ J gm {µZ Y {µZ gm ao J _, n {Z Y nŸ&

All the swaras except the rishabha are jeeva swaras, and it is clear that all the swaras have equal nyas. Although listeners might find it near to the Hindustani Raga Rageshri the presence of pancham in the avaroha clears the air. The raga is mostly sung in the evenings and it is suitable for all types of musical forms.

Dhanyasi

It is a ragagini of Sriraga with only absence of ao in ancient times but according to the present day it is a derivative th of 8 melakarta scale Hanumat todi and its structure goes like this - ao gm J _ n {Z gm§ & gm§ {Z Y n _ J ao gm

Signature Phrase - n Y gm§ Y n J ao gm & n Y gm ao§ gm§ {Z Y n & _ _ J ao , ao gm &

Tyagaraja is said to have left this world while hearing his disciples ""í`m_ gwÝXa“'' sing one of the six or seven kritis he composed in this raga. This melody has been said to evoke the sentiments of devotion and renunciation in the listeners. 22 This is a raga mainly sung in the morning.

Dhanashree or dhanyasi is a prominent raganga in Hindustani music, the phrase is ang. Raga dhanashree has been discussed in composition number 23 in detail where the raganga has been given in detail.

Mohanam is a five note raga which resembles to raga

------( 168 ) ------bhoop of Hindustani music. Its structure goes like -

gm ao J n Y gm Ÿ& gm§ Y n J ao gm &

Signature Phrase - Y n J ao, gm ao J, gm ao J n J ao gm ‹Y gm ao J n Y gm§ Ygm§ Y n J, ao gmŸ&

th It is a janya raga of 28 melakarta scale harikambhoji, however there is another theory about the melody belonging to shankarabharanam also. The strange feature with reference to bhoop is that it belongs to the kalyaan thaat. So mohanam or bhoop are satisfying three thaat patterns. But bhoop being an evening melody and the nyasa being on gandhar and dhaivat and the phrases fall more for the kalyaan thaat than the the other two. amJ ^yn or ^ynmbr gm ao J, n, J ao gm ‹Y n ‹Y, gm ao J n Y, gm§ &

Signature Phrase - J ao gm ‹Y, gm ao, J, n J, n ao gm &

nd Raga Mukhari is a janya raga of 22 melakarta kharaharapriya. Its structure goes like this - gm ao _ n, {Z Y gm§ & gm§ {Z Y n, _ J ao gm

Signature Phrase - _ n Y gm§ ao§, gm§ Y n, n Y n J ao, gm &

‹Y gm ao _ n, Y {Z Y gm§ Ÿ&

The aaroh and avaroh has two dhaiwat shuddha and komal respectively. The avaroh looks like , though the aaroh keeps the raga mukhari different from Jaunpuri, because of the presence of shuddha dhaiwat.

------( 169 ) ------Raga Madhyamavati is a five note raga which belongs nd to the 22 melakarta kharaharapriya. Its structure goes like this -

gm ao _ n {Z gm§ & gm§ {Z n _ ao, gm _ _ _ _ Signature Phrase - ao _ n _ ao ao gm, n _ {Z n, _ ao ao gm &

The Hindustani raga similar to madhyamavati is Madhamad Sarang. It is an afternoon melody which has a prominent sarang ang. (for Sarang ang refer to composition number 24)

The composition is done in 6 beats, but here it has been purposely given in 8 matra taal to ease out the singing pattern.

------( 170 ) ------16 ^moJrÝÐem{`Z_² Hw$ÝVbdamir (IÊS>Mmnw) AY© PnVmb

ñWm`r gm _ - _ n - Y Y - - - Y{Z Y n n ^mo Jr @ ÝÐ em @ {` Z§ @ @ ,@ nwê$ Hw$ e b × 2 × 2 × 2 n - Y _ _ (_) _ gm - - gm _ _ n Y Xm @ {` Z _² nw@ ê$ f§ @ @ em @ íd V§ @ × 2 × 2 × 2 gm§ {Z Y n Y Y {Z Y gm§- -- gm§ {Z Y> n _ H$ b `o@ @@ @@ @ @ @ @ @ × 2 × 2

A§Vam 1 gm§ gm§ ao§ _ Y Y Y Y gm§ gm§ - gm§ - - Ygm§>> Y Y - dm Jr @ e Jm¡ @ ar @ e @ @ dm@ g dm @ × 2 × 2 × 2 {Z n _ n _ _ Y gm§ gm§ _§ _§ Y - Y n Y Ú _ a n ar dm @ am @ ^r d @ {ÝX V n × 2 × 2 × 2 Y gm§ - - __ Ygm§ gm§gm§ {Z Y n- YY n_ X _² @ n@ @@ Ù Zm@ @@ ^@ @_² × 2 × 2

------( 171 ) ------A§Vam 2 __ gm__ n- Y-Y nY {Z -{Z YY _nY YY YY{Z Y- n_n _n Y-- -- H${b VZw{V g@ Ý`m@gr ^O Zm@Zw JwU {d{hV gwb {bVm@ H$m@ @@a _hr @V _²@@ × 2 × 2 × 2 Y{Z YYY Y{Z YY- -Y gm§{Z {Z - {Z -Y _n Y-Y gm§- Y-n _n Y_n -- H$bw fYa n[a gamo@ Ádb nÙ Vr@ Wm©@{X I@ {ÊS>Vm@ eo@ @@f Xy[a @V_² @@ × 2 × 2 × 2 __ Y-Y gm§- gm§gm§gm§ {Z{Z {Z -{Z {Z - {Z{Z{Z YY gm§{Z - {Z Y Ynn _Y _Ygm§ -- H$b emo@^²Xm dm@ {ÝdV_² ho@ ÝÐ@{Ì Hy$@ Q>da _b `m@M bo@ @@ÝÐ {dZw @V_² @@ × 2 × 2 × 2 _§gm§ _§_§gm§ {Z - {Z{Z{Z {Z Y -YY _Y gm§_§gm§gm§{Z {Z Yn {Z Y n_Y gm§------H$b X_Z d@ {#m_m@ Vª@ S>da _m@ H${bV H$m§@ MZ{d _m@ Zb{g V_² @@@ @@ × 2 × 2 × 2 - {Z{Z Ynn Yn n__ @ n@ Ù@@ Zm@ ^@_² × 2

This is a very famous kriti in raga kuntalvarali in a 5 beat cycle called jhampa. Kuntalavarali is a raga that includes five notes, a janya of the 28th melakarta Harikambhoji. The notes in this raga happen to be in a vakra pattern.The sadja- madhyama relationship in this raga is of vital importance and the notes in this raga include the sadja, suddha madhyama, panchama, kaisiki nishada, and chatusruti dhaivata. The 23 structure of this melody goes like -

gm _ n Y {Z Y gm§ & gm§ {Z Y n _ gm

Signature Phrase - gm _ n Y {Z Y, n _ gm, Y gm _ n Y, _ n _ gm

------( 172 ) ------17 _mYdmbmoH$Z_² Om¡Znwar (Am{X) ^OZr ñWm`r gm§ - gm§ gm§ -gm§ - ao§ - gm§ao§ J§- -- -- ao§J§ ao§gm§ {Z {Z _m @ Y dm @ bmo @ H$ Z@ _²@ @@ @@ Zy@ @@ Z _² × 0 × 0 {Z {Z J§ gm§ Y>> - _ _ _ n - Y - {Z - gm§ - _m @ _ H$mo @ X ` {Z Xm @ @ @ @ @ Z _² × 0 × 0 gm§ - n n - n n Y nY {Z gm§ ao§J§ ao§gm§ {Z ao§ gm§{Z Y- n- A @ Ý` Wm @ H$ W _ dm@ @@ @@ @@ @@ @@ ám@ @@ × 0 × 0 {Z _ n Y>> _ - ao gm ao _ - n - Y - {Z - g§ @ n Xo @ d _ {_ Vm @ @ @ @ @ @ @ × 0 × 0 AÝVam n n J§ ao§ J§ ao§ - ao§ J§ - - - - - J§ ao§ A {n n a _ `m @ {M Vmo @ @ @ @ @ ö {X × 0 × 0 gm§ {Z gm§ ao§J§ ao§ {Z - {Z {Z gm§ - Y - n - - - - - _mo@ @@ X gw @ n ar@ @ Vr @ @ @ @ @ @ @ × 0 × 0 _ _ _ n - n n Y nY {Z gm§ ao§J§ aogm§ {Z ao§ gm§{Z Y- n- {X e {V Mm @ {W© V V `o@ @@ @@ @@ @@ @@ @@ @@ × 0 × 0 {Z _ n Y>> _ - ao gm ao _ - n - Y - {Z - O b X d @ X @ {d Vm @ @ @ @ @ @ @ × 0 × 0

------( 173 ) ------This is a kriti set in aditaalam in raga Jaunpuri. The structure of Jaunpuri goes like this - gm ao, _ n, Y {Z gm§ & ao§ {Z Y n, _ n J ao gm

Signature Phrase - ao _ n {Z Y n, Y _ n, _ nY{Z gm§ ao§ {Z Y n, Y _ n, J ao gmŸ&

Jaunpuri is a Janya raga of Asawari thaat, which is natbhairavi in Carnatic music. It is a Shaadav Sampoorna raga sung in the morning. The parallel raga to Jaunpuri is Asawari where only the absence of komal nishad in the aaroh makes it different from Jaunpuri.

------( 174 ) ------18 arU_XZwV n[anmb` _m_² {~hmJ Am{X ^OZr ñWm`r

- gm - J_ n n J _J J _ J ao gm {µZ gm gmgm @ ar @ U@ _ X @ ZwV @ n [a nm b ` _m_² A{` × 0 × 0 µn- {Zgm J@ JJ n- {ZY gm§- gm§gm§ gm§ao§ gm§{Z Yn _]n nY n_ Jao _J ^mo@ gwa nm@ bZ bmo@ ba _m@ Yd gm@ Jao @ÝÐ e` dm@ [aOm @V _wI × 0 × 0 AÝVam 1 Y - J _ n- {Z gm§ gm§ gm§ {Z gm§ - - {Z {Z _ ] n

@ jmo @ Ur@ @ @ ^ a h a @ @ @ @ Z V

× 0 × 0 J- _n -gm§ {Zgm§ gmao§ gm§{Z Yn _]n n- gm§n -Y _]n nY n_ Jao _J H$m@ _Xm @Z MU ^m¡@ _J @d© ha nX² _Zm @^ ^d Io@ XOm @b ha × 0 × 0 - gm - J_ n J _ J J _ n Y (n) n _ J @ Zr @ b@ dm @ [a X g _ ê$ {M {d b {g V × 0 × 0 - J_ ngm§ n_ J_ Jao gm{µZ gm@ gm _ J _ n gm§ {ZY n- - Zr@ @@ Vr@ gm@ @@ J@ a@ _ _ ö hX n [a b g × 0 × 0 Y _] - J _ n {Z gm§ gm§ gm§ gm§ - gm§ gm§ {Z - n n @ \$m @ b bmo @ M Z g @ Þw V H$m @ #m Z × 0 × 0 - gm§ - gm§ (gm§) - {Z Y nY ao§gm {Z Yn (n) - _ J @ Mo @ b n @ Þ J am@ @@ O nw@ am @ b ` × 0 × 0

------( 175 ) ------This is a very famous kriti composed in raga behag in aditaalam. According to Carnatic experts, behag is imported from Hindustani music to south. Its structure followed by Carnatic musicians is - gm J _ n {Z Y {Z gm§ & gm§ {Z Y n _] J _ J ao gm

Signature Phrase - _] n, _ J, gm J ao gm, gm J _ n {Z gm§, J§ ao§ gm§ {Z gm§ ao§ {Z Y n J gm &

However, in this composition komal nishad is also included to add to the beauty of this piece. But originally behag doesn’t have komal nishad in it. A variant of behag called bihagada has komal nishad in it. The structure of behag in Hindustani music is like - {µZ gm, J, _ n, J _ J, J _ n {Z, gm§ & gm§ {Z Y n, _ J ao gm, n _] J _ J ao gm

Signature Phrase - n, J _ J ao gm Originally behag didn’t have tivra madhyam in it, it was in due course of time progression tivra madhyam became a part of behag, but only in the specific use of the phrase n _ J _ J, tivra madhyam is used. Behag is Hindustani music is a Jå^ra raga and sung elaborately with Bada khayal and so on. Whereas behag in Carnatic is sung in small pieces with fast tempos and variations. This composition is an example of behag where chromatic sequence of both the nishads and both the madhyams could be heard which is rare in bihag in Hindustani music. So it could be said that behag is sung more like bihagada in Carnatic music. Its singing style is opposite to what Hindustani musicians are used to listen to behag.

------( 176 ) ------19 {dha _mZg am_o H$mnr {_l Mmnw ê$nH$ ñWm`r gm§ Y{Z n Jao _n {Z n J aoJ gm - - - - {d h@ a _m@ @@ Z g am @@ _o @ @ @ @ × 2 3 × 2 3 - {µZ gm ao _ n n {Z _ n _n {Zgm§ ao§- gm§{Z Yn @ g {ƒ Xm @ Z§ X K@ Z í`m@ @@ @@ _o@ @@ × 2 3 × 2 3 AÝVam 1 n n n _ n gm§ gm§ gm§ gm§ ao§_§ Jao§ gm§ - - A {h V @ am @ j g {d am@ @@ _o @ @ × 2 3 × 2 3 gm§ gm§ {Z Y {Z n n n Y _ n- _n {Z gm§ ao§ - _ {h V@ @@ Z `m @ {^ am@ @@ _o @ @ @ × 2 3 × 2 3 - n n n J - - _ Y n J ao gm - @ nw a§ X am @ @ {X {d @ Zw @ Vo @ × 2 3 × 2 3 gm ao {µZ - gmJ _ n - n - - - - - nm @ n @ KZ g _r @ ao @ @ @ @ @ × 2 3 × 2 3 AÝVam 2 - nn _ - n gm§ ao§ gm§ ao§_§ Jao§ gm§ - - - @ H$ê$ Um @ a g @ {Z b@ @@ `o @ @ @ × 2 3 × 2 3 - J§ao§ gm§ - - {Z Y {Z n _n {Zgm§ ao§- gm§{Z Yn _n - @ ga {g @ @ ê$@ h@ Zm@ @@ @@ ^@ @@ @@ @ × 2 3 × 2 3

------( 177 ) ------This is a composition in raga set to mishrachaapu taal. Kapi is a janya raga of Kharaharapriya with a meandering vakra scale. Typically performed at slow and medium speeds, it is capable of inducing moods of devotion, pathos and sadness in the listeners. Kapi is different from the Hindustani raga and thaat . The equivalent raga in Hindustani is probably Pilu. The structure of kapi goes like this - gm ao _ n, {Z gm§ & gm§ {Z Y {Z n _, J ao gm

Signature Phrase - ao _ n Y _ n J ao, {µZ gm & gm _ ao _ n, {Z gm§ ao§ J§ ao J§ ao§ gm§ {Z Y n, J _ {Z n J ao _ n, {Z n &

However, looking at the structure it doesn’t look like Pilu because Pilu is a madhyam graam raga (madhyam of the main scale is considered as shadja). Pilu doesn’t have a defini- te structure as such because it is mostly used for semi classical and light music forms but the progression goes like this - {µZ gm ao J, J, ao gm {µZ gm ao J _ J, ao J _ n _ J, J ao, J ao gm ao {µZ ‹Y {µZ n gm {µZ gm ao J ao gm &

Therefore kapi of Carnatic doesn’t resemble much to pilu but there is a striking similarity between des and kapi because it aaroh goes same and des also has a certain percentage of komal gandhar in it. These categories of ragas are not mainstream but they have definitely a lot to offer because of the flexibility of rules in it. A komal gandhar in des or a shuddha gandhar in Kafi or kapi would not make much of a difference. These alien notes make the raga more attractive and artists while performing also enjoy the creative liberties.

------( 178 ) ------20 gmVwam H$m{_Zr H$ë`mUr Am{X {ÌVmb ñWm`r Y gm§ - - ao§ gm§ - Y- -n {Z - - Y - n- Jn nY-{Z gm @ @ Vw am @ @H$m @{_ Zr @ @ Xo @ d@ Vm@ å`@{V × 2 0 3 {Z n ao gm§ Y n n - -Y ao - gm - gm ao - J _ ] n Y- {Z- g H$ b bmo @ @H$ Zm@ `@ H$ @ @ hm @ @ hZ² V@ × 2 0 3 n J _ ] - gm§ - J ao - gm ao - - n -n Y - n _m @ V§ @ J `m @ Z lr @ @ n Ù Zm @ ^ × 2 0 3 (gm§) gm§ Y - _ ] Y - - gm§ - gm§ - gm§ - {Z - h [a U @ _ X @ @ bm @ b @ {g @ V @ × 2 0 3 n - ao§ ao§ ao§ - gm§ J§ ao§ - - - gm§ - - - ^m @ @ @ b @ @ Xo @ @ @ @ e @ @ @ × 2 0 3 gm§ - - ao§ gm§ - gm§ (gm§) {Z - Y {Z n - n _ ] gm @ @ a g @ H$ _ Zr @ K Z Vm @ n _ × 2 0 3 J n - - {Z Y - n n _ ] - ao n ao - ao gm n @ @ {Þ Ym @ Z g _m @ V Zw amo @ {X {V × 2 0 3 gm - - gm {µZ - ‹Y {Z gm - ao gm ao - J _ ] gm @ @ Yw {Z @ V {Z gm @ ~ V am @ J _ × 2 0 3

------( 179 ) ------] n - - n _ ] - J n _n - Y n n - Y gm§ nm @ @ a _ @ H$ {b Vm @ {H$ b _m @ Y d × 2 0 3 gm§ ao§ J§ gm§ - {_ Y {Z gm§ Y - Y n Y {Z n gw {X d gm @ {Z H$ W _ nr @ e Z ` {V ê$ × 2 0 3 - n n Y Y n - n n n - n - Y Y Y @ n {d {O V H$m @ _ g H$m @ _ @ {d Y¥ V × 2 0 3 gm§ ao§ J§ {Z gm§ ao§ Y {Z gm§ n Y Y n Y Y gm§ X a a W n X ^ [a V {d ~w Y O b ê$ h × 2 0 3 n gm§ ao§ ao§ gm§ - gm§ gm§ n - n n n - n - Y {Z

g _ bmo @ M Z nm @ d Z _m @ n @ Z Zw

× 2 0 3 J {Z - - - Y - n - n - - ao J - _ ] n Zr @ @ @ ê$ @ Om§ @ Vm @ @ _ hmo @ Hw$ ê$ × 2 0 3 {Z - - Yn n- Jao Jao gm{‹Z gm- -- -- gmao gm- aoJ -_] nY Zr @ @ {V{d em@ aXm @{V ga gm@ @@ @@ _b Mm@ ê$emo @^ aX × 2 0 3 gm- -ao Jao gm{ µZ gm- -n Jao gm{ µZ gm- -n _]J ao{ µZ gm- -ao J_ ] nY gm@ @a g{d {eI gm@ @` H$n ad em@ @g H$b ZwV gm@ @a JwU nX × 2 0 3 n- _]J -ao J_ ] n- Yn -_ ] J_ ] n- Y{Z -Y n_ ] n- _]J -ao gm{‹Z nm@ {bVo @^ da nm@ Q>bm @ê$ UO nm@ Kam @O ha nm@ H$d¡ @ar ZwV × 2 0 3

------( 180 ) ------µn- ‹Y{ µZ -ao J_ ] n- {ZY -gm§ {ZY n- Yao§ -gm§ {ZY n- _]J -_ ] nY nm@ [aOm @V gw_ nm@ Vdm @{g H$M nm@ nar @U OZ nm@ bZm @Hw$ {bV × 2 0 3 {Z- -Y n_ ] nY {Z- -Y {Zgm§ ao§gm§ {Z- -gm§ ao§J§ ao§gm§ {Z- -J§ ao§J§ gm§ao§ Zr@ @b Va aO Zr@ @a _U H$_ Zr@ @` _wI ^O Zr@ @` nX `wJ × 2 0 3 {Z- -ao§ gm§gm§ {ZY {Z- -n Y{Z gm§Y {Z- -_] nY {Zgm§ {µZ- -ao J_ ] nY Zr@ @a ê$h Vn Zr@ @` ê${M dg Zr@ @` ~hw _h Zr@ @` JV _X × 2 0 3 n-Y n_ ] J- aogm ao{ µZ gmY {µZ-gm ao{ µZ gm-ao Jgm ao-J nao J-_] nY {Z- -- nm@X n{V Vm@ {Ib n[a OZ nm@b Za gm@{X hg Vr@_ ZwJ¥ hm@U {~_ Zr@ @@ × 2 0 3 gm§-ao§ gm§{Z Yn _]n Y-{Z Yn _]J ao{µZ gm-ao gmJ ao-n _]Y n-{Z Yao§ gm§- -- ^y@V Va öX _{` Yr@a na _H$ ê$U gm@ÝÐ MÝÐ Z@à {bßV @nw f{_ h@ @@ × 2 0 3 gmao§ -J§ ao§gm§ {Zgm§ -ao§ gm§{Z Y{Z -gm§ {ZY nY -{Z Yn _]n -_] J_ ] nY gXm @a _` {dgm @a gwZ `Zm @_ AY _wYm @{H$ {_d {XZm @{Z J_ `{g × 2 0 3 {Zgm§ -ao§ gm§{Z gm§ao§ gm§ - _]n -Y n_ ] nY n - {µZgm -ao J_ ] nY g_m @[a ha Va gm @ {d^mo @H$ b` gH¥$ nm @ _`o @_¥ Xwb nX × 2 0 3

This is a very famous padavarnam from raga Kalyani set to aditaalam. is an exquisite musical form, the complexity of which lies in the melody and use of taal structure. The sections of a varnam are : pallavi, anupallavi, muktayi swara, charana and ettuguda swaras (Chita swaras).

The pallavi is usually of two avartanas and is connected directly to the anupallavi. Both the pallavi and anupallavi

------( 181 ) ------contain sahitya. The sahitya is invariably dedicated to a deity, although it usually contains romantic or erotic imagery.

The muktayi swaras vary from two to four avartanas. They also have sahitya in some varnams where the swaras are rendered first.

The next segment begins with a single avartana that contains sahitya called the charana. It forms the nucleus around which multiple swara structures are composed. Each swara pattern returns to the charana which is the musical refrain. They are called as ettuguda or chitta swaras. Some varnams contain sahitya for every chitta swara. In these cases, swaras are rendered first leading to the charana refrain followed by the sahitya.

There are two types of varnams, Tana varna and Pada varna. The Tana varna is easily identifiable by its compositional form and rendering. As the name indicates,the aural texture of the tana varna is similar to the manodharma form Tana. Every line has a regimented structure with every swara being emphasised by the repetition of the vowel ending of the previous syllable. Artists have to render the varna with continuity between the syllables to present each line as a cohesive melodic unit. This requires a great deal of breath control and a conscious understanding of where the melodic movement can be paused and a breath drawn. The primary objective of the Tana varna is to highlight the melody than the sahitya.

The pada varna on the other hand is a continuous

------( 182 ) ------melodic movement that sounds more like the musical form pada. It has more sahitya in very avartana and is usually rendered in a slower speed. Hence it is also referred to as chauka varna.

Pada Varnas usually have ‘sringara’ as the theme.They are composed mainly for dance. They are artistically constructed and beautifully designed. They are composed in rare taalas, in ‘anagata graha’ (where composition begins after the taala), and ‘eduppus’ at different places and are in ‘vilamba kala’ (slow tempo) in order to give scope for depiction of ‘Bhava’. More importance is paid to the ‘sahitya’ (lyrics) here. The lyrics consist of conversation between ‘Nayaka and Nayika” (hero - heroine), both in unison and separation (sambhoga and vipralamba sringara).Some of them have devotional theme, and some, in praise of their patrons also. The words are rhythmic and metrical. Swara, sahitya and solkattus are also seen in these compositions. Generally Pada varnas are also called ‘Chowka Varnas’ and if they are 24 with ‘Jatis’, they are called ‘Pada Jati Varnas’.

Raga Yaman being a Sampoorna Raga has been utilized in a very unique way. As it could be seen in the notations the Aja gm and the note gm has been used (explanation in the literary aspect).

Similarly the structure of Yaman has been discussed in the next composition.

------( 183 ) ------21 AmO Am`o í`m_ _mohZ `_Z (EH$Vmb) ñWm`r gm§ - {Z (n) - n ao J ao gm - ao Am @ O Am @ `o í`m @ _ _mo @ h × 0 2 0 3 4 J - - - - - n_] Jao J_] Y{Z _]Y {Zgm§ Zm @ @ @ @ @ @@ @@ @@ @@ @@ @@ × 0 2 0 3 4 J - ao J _] n ao J ao gm - - am @ g _§ S> b Io @ b Z @ @ × 0 2 0 3 4 {µZ - ao J - _] J_] Y{Z {Z@ _]Y {Zao§ ao§- ~m @ gw ar @ H$r Yw@ @@ Z@ Zr@ @@ H$r@ × 0 2 0 3 4 a|gm§ {ZY n_] gm§{Z Yn _]J {ZY n_] Jao Yn _]J aogm bm@ @@ Jo@ Vmo@ @@ _@ V@ @@ Z@ Z@ Z@ Z@ × 0 2 0 3 4 AÝVam {Z _] - J _] - Y {Z gm§ gm§ gm§ gm§ gm§ ~m @ Oo Vm @ b _¥ Xw§ @ J Yw Z × 0 2 0 3 4 {Z {Z Y n n n J J _]_] _]@ YY gm§@ {Y« H$r Q> V H$r Q> V H$ {Y«H$r Q>@ VH$ Wmo@ × 0 2 0 3 4 Y - {Z ao§ - ao§ J§ - ao§ gm§ ao§ gm§ Zm @ Mo Jmo @ ar ~m @ Oo nm ` b × 0 2 0 3 4 gm§ -gm§ {Zao§ gm§{Z Yn _]Y n_] J_] Y_] Y{Z Y{Z gm§@ N>mo @_ N>@ Z@ Z@ K@ Z@ Z@ K@ Z@ Z@ Z@ × 0 2 0 3 4

------( 184 ) ------AÝVam 2 n {Z _] - J _] - Y {Z {Z Y {Z gm§ gm§ n @ Ù Zm @ ^ Vw åh ar br @ bm × 0 2 0 3 4 {Z Y {Z ao§ - ao§ {Z ao§ {ZY n - - Š`m @ H$ hy± @ _¢ gm @ d@ amo @ @ × 0 2 0 3 4 gm§ {Z - Y {Z gm§ gm§ Y {Z Y n @ n Vm @ n g§ H$ Q> e a U Am @ `mo × 0 2 0 3 4 gm§ - {Z n - n ao ao gm J _] Y gmo @ h _m @ amo Vw _ h amo @ @ × 0 2 0 3 4

This composition is originally set in Raga Yaman, in Ektaal which consists of 12 beats in one cycle.

There is one more version of this composition set in Raga Pahadi in seven beats. It has been done by Dr. Balmuralikrishnan and is very popular in Carnatic Music Concerts.

Though all of Swathi compositions are mostly sung in the south, the Hindustani angle of these pieces remains completely ignorant. It is very important to look at it from Hindustani Music parameters.

Looking at the tempo and the graph of this composition, it is more relevant for dance performances.

The lyrics include different dimensions of the words such as the Tarana, Tirvat (Bol of the Mridung) and poetry. If

------( 185 ) ------the notation part is also included in this it would get converted into MVwa§J which could add a little variety to the composition.

Hindusthani Musical compositions are very compact as they provide more scope for creating an image of the Raga through aalaps and bol-aalaps.

Raga Yaman is said to be invented by famous musician Amir Khusro. It is said that once he was rendering the notes of this raga and one of his students asked, JwéOr `o Š`m h¡$?

(Respected Sir, what is this ?) to which he replied, `o (_oam) _Z h¡, `o _Z h¡$& (This is my heart which I am singing and expressing.) Discussing about Raga Yaman, it is a male melody which is versatile amongst all. All the eminent artists practicing classical music always say that if one knows Yaman perfectly, he/she knows everything in music. Its progression could be understood by this phrase :

{µZ ao, J, ao, J _] n, ao J, {µZ ‹Y {µZ ao gm &

Gandhar being the primary note of the Raga it specifies its progression lies majorly in the first half of the Raga (nydm©L²>J) . The sharp _Ü`_ which is called as the "Vrd« _Ü`_' also holds an important place, because of which the melody turns into a very happy and pleasant mood. The song itself suggests happiness as Lord Krishna has come to play Raas with all the Gopikas. Yaman beautifully establishes the mood of celebration and cheerfulness in the song. The composition set in Raga Pahadi lacks the

------( 186 ) ------Hindusthani element and is more apt for Carnatic Music concerts. There is no intention of questioning Dr. Balamuralikrishna’s skills as a composer, but specifically for Hindusthani Music, this could be a good rendition in Raga Yaman.

------( 187 ) ------22 H$éUm{ZYmZ Hw$§O Ho$ {~hmar Mmê$Ho$er ({ÌVmb) ñWm`r J H$ J J _n - n - - - _ J _ Y - n - n ê$ Um @@ {Z Ym @ @ @ @ @ @ @ @ Z @ Hw$§ 3 × 2 0 n Yn {ZY n_ n - - - _ J aoJ _@ J aoJ gm n O Ho$@ @@ {d@ hm @ @ @ @ @ @@ @@ @ @@ ar Zw 3 × 2 0 gm§ n Y {Z>> Y gm§ - gm§ - gm§ - gm§ - ao§J§ - - J§ åh @ ar @ ~§ @ gr @ bm @ bm @ @@ @ @ _o 3 × 2 0 {Z ao§ gm§ n n Y - - - Ygm§ {Z Y{Z Y n - - J ao @ _ Zmo hm @ @ @ ar@ @ @@ @ @ @ @, H$ 3 × 2 0

A§Vam n B

J gm {µZ gm _ - - - - _ _n _n J - - J g ~§ @ gr Ho$ @ @ @ @ gw a@ @@ @ @ @ Z 3 × 2 0 _ n _ n (Y) ------Y - - - Y a _w {Z @ _mo @ @ @ @ @ @ ho - - - _mo 3 × 2 0

------( 188 ) ------J gm {µZ gm gm - - - - _ _n _n J - - J @ h @ J B© @ @ @ @ gm ar@ @@ @ @ @ ~« 3 × 2 0 _ Y n _J (Y) ------Y - - - Y O H$r @ @@ Zm@ @ @ @ @ @ @ ar @ @ @ O 3 × 2 0 {Z gm§ J§ J§ J§ - - - - J§ J§ - - - - _§J§ ~ í`m @ _ gw§ @ @ @ @ X a @ @ @ @ Ho$@ 3 × 2 0 J§ gm§ - {Z gm§ ao§ - - @ @ gmao§J§ ao§J§ ao§gm§ - - _ @ V @ Z Xo @ @ @ @ @ Ir@@ @@ @@ @ @ O 3 × 2 0 §ao§ J gm§ {Z Y Y - Y - Y - Y - - - - Y Z _ @ O Z @ _ @ Ho$ @ _¡ @ @ @ @ g§ 3 × 2 0 n _ - J (_) - - - _ J aoJ _@ J aoJ gm-, J @ H$ @ Q> hm @ @ @ ar @ @@ @@ @ @@ @@, H$ 3 × 2 0

This composition is originally set in Hamir Kalyani which is found in Dr. S. Ratanjankar’s book of Maharaja’s Hindi compositions. It was set in Chautaal in 12 beats cycle. Chautaal or Chaartaal is mostly played on the Pakhawaj, and is used only for Dhrupad singing style. The Dhrupad style as mentioned earlier is a very ancient singing form and somehow the poetry of this composition doesn’t seem to match the protocols of Dhrupad. Therefore here, the composition is given in 16 beats cycle and it could be sung as a devotional song (Bhajan) or a classical composition.

------( 189 ) ------Raga Charukeshi is originally a Carnatic Raga and it is adopted by North Indian Musicians without changing its original structure. It is mostly played on instruments such as sitar, Sarod, Flute etc. because of its note progression.

The progression of Charukeshi could be understood through this phrase :-

‹Y, {µZ gm ao J, _ J, ao J _ n Y n, ao J _ ao, gm ‹Y

As it could be seen the notes Y¡dV and {ZfmX are used in

H$mo_b form and rest all the notes remain in their original form.

Pancham ( n) is skipped occasionally in Aroh as well as

Avaroh. All in all Charukeshi is a homogeneous mixture of : ZQ> A“ - gm, ao, J _ ^¡ad A“ - J _ Y n H$mZS>m A“ - Y {Z ao§, gm§ ZQ>^¡ad A“ - ao J _ ao gm

Such a combination of many phrases, Charukeshi still presents itself as a unique and independent melody.

A late night melody, originally it was called as MÝÐ_m¡{b in Hindustani Music, but due to its popularity in south the name Mmê$Ho$er was retained.

In Carnatic Music, it is the 26th melakarta ragam in the 72 melakarta system. Another popular kriti of Maharaja Swati Thirunal, ""H¥$n`m nmb` em¡ao$!'' which is popularized by M.S.

Subbalakshmi is also set to Charukeshi.

------( 190 ) ------The Sama (first beat of the Taal) plays a very important role in Indian Music. Famous musicians and artists often quote that Sama (g_) is like our own home; like everyone starts from his house, does all the routine work outside, finishes everything and returns back to his home.

The Sama has the same role in Indian Music, the meaning of g_ itself suggests the same. The composition here begins from the 12th beat of the taal and the g_ enters on the word YmZ of the word H$éUm{ZYmZ. The gaps in between the words suggests the musician to fill it with his own creativity of the notes. As the painter fills in the empty spaces on the canvas, the composition too is like a vast canvas for the artist to fill in the musical colours.

The emotion here is pure devotion so, minimal aalaps and tanas could be suitable, just the lyrical beauty of the melody could be enjoyed by giving different variations in the empty spaces. The composition travels in all the three gáH$ from the lower Y to higher _ which also shows it’s huge range and any artist will have a tough time to render this melody.

This composition, as earlier mentioned is documented in Raga Hamir Kalyani. It is a Carnatic Raga whose structure sounds similar to Hindustani Raga Kedar. Being a Hindi composition, it is strange that why the Maharaja must have composed it in Hamir Kalyani. Hamir Kalyani has been discussed in detail with reference to a Sanskrit piece Jm“o`dgZYa.

------( 191 ) ------The lyrical beauty of the song goes more apt with MméHo$er as the emotion expressed in the melody is with the reference of flute.

------( 192 ) ------23 JrV YwZrHw$ VH$ ({V„mZm) YZmlr ({ÌVmb) ñWm`r J J - ao gm gm ao {µZ gm n - n {Z _ n gm§ - Jr @ V Yw Zr Hw$ V§ H$ Xr @_² Zm Ðo Ðo Ðo Vmo @_² 0 3 × 2 Y ao§ {Z - {Z gm§ ao§ {Z - n gm§- {Z - gm§-, n {Z _ n- J_ {Z n Zm @ M a ho Jmo @ ar Vm@ {åX Vm@_² WoB© @V W¡B©, {Xa ZH$ 0 3 × 2 AÝVam 1 gm§ a| {Z _ n gm§ gm§ gm§ gm§ gm§ gm§ {Z {Z gm§ J§ ao§ gm§ gm§ ~m @ Oo nm @ ` b P Z @ P Z Z P Z Z 0 3 × 2 gm§ {Z _ n gm§ gm§ gm§ gm§ gm§ gm§ {Z {Z{Z {Z gm§ gm§gm§ J§J§ ao§ao§ ao§{Z ~m @ Oo nm @ ` b P Z @ PZ ZP ZZ PZ ZP ZZ 0 3 × 2 gm§ - nn n{Z {Z{Z gm§gm§ {Z{Z nn n - gmgm gmJ __ nn n{Z nn Vmo @_² PZ ZP ZZ PZ ZP ZZ Vmo @_² PZ ZP ZZ PZ ZP ZZ 0 3 × 2 AÝVam 2 ao§ n n - n J_ n{Z Jgm§ {Z Y n J _J n{Z J@ - ao gm - Vm @ Z Jm@ @@ @@ do@ @ V H$@ V@ @W¡B© @ V W¡ @ 0 3 × 2 {µZ- gm J- _ gmJ _n @ Jn _- n{Z Y_ n@ - n- {Z gm§J§ W¡B© @V W¡B© @V VH$ VZmo_ @ Xr@ åV H$rQ> VH$ Xr@_² @ Xr@ åV H$rQ> 0 3 × 2 ao§{Z gm§- -- Jo- ao§ gm§gm§ ao§{Z gm§- -- gm§J§ {Zgm§ -n {Z_ n-, J_ {Zn VH$ Xr@ _@ Xr@ åV H$rQ> VH$ Xr@ _@ VH$ Wmo@_² @ VH$ Wmo@ @_ VH$ 0 3 × 2

------( 193 ) ------AÝVam 3 - n _ n J - _ _ n - n n gm§{Z ao§gm§ {Z Y n @ n X² _ Zm @ ^ Vw åhm @ ar @ br@ @@ bm@ @ 0 3 × 2 gm§ ao§ {Z ao§ n - n - {Z gm§ - gm§ gm§ - {Z gm§ J§ ao§ gm§ - {Z gm§ @Š`m @ H$ hy± @ _¢ @ - gm§@ @ d amo @ @ @ 0 3 × 2 a| - {Z gm§ J§ ao§ gm§ - {Z gm§ gm§{Z ao§gm§ {Z Y n@ _n {Z{Z n_ J@ @ Vm@ @ n g§ @ H$ Q> h@ a@ Zo@ @@ Am@ @@ `mo@ @@ 0 3 × 2

- {Z gm§ n (n) - J _{µZ - n J ao gm - - - @ gmo @ h _m @ amo @ @ Vw _ h amo @ @ @ 0 3 × 2

{µZgm @gm J J_ n- {µZgm J_ n{Z {Z n J_ n{Z -n {Z gm§ {ZJ§ ao§ gm§ VXr åV Xr_² Xoao Zm@ CX {ZV VXm @Zr XmZr VXr @_ VXr_² Xoao Zm @ 0 3 × 2

n {Z gm§ {Z gm§ J§ao§ gm§ao§ {Z gm§ @{Z Yn J_ n@ n@ J_ {Z n Jao {µZJ Vm {XV² Vmo_² VH$ VH$ Var VXm @Z VH$ XmZr Xr_² @@ Ab arA Var VZ 0 3 × 2 _ J _ {Z {Z {Z gmJ -J -_ J_ n@ n@ @n n{Z gm§- -gm§ -gm§ gm§J§ J§ - gm§J§ {ZJ VZm@ Zm@ V@ VZ VVm @åVm @åV H$rQ> Vm@_² Vm@_² VXr@_² Xr@_² Xr@_² @ VZr Ab 0 3 × 2 {Z {Z J gm§- n - n- {Z - ngm§ {Z gm§ n{Z n @ gm@ gm@ J@ n{Z n{Z n{Z n{Z -n ar@ Vm@_² Vm@_² Vm@_² VH$ PoUw Ab ar@ @åVmo @_² Vmo@_² VH$ PoUw VH$ Ab ar@ 0 3 × 2

This composition is set to Raga Dhani or Dhanyashree. This is a which is set in Carnatic Music. Tillana is a

------( 194 ) ------fast paced musical form and is mostly very popular in Carnatic concerts. The lyrics, however suggest that it is a Hindusthani composition but, the patterns of jatis used or sung in this composition are Carnatic in nature. This tillana is mostly used in dance performances like Bharatnatyam and Mohiniattam. Famous violinist Lalgudi Jayaraman has set to music and it seems these jatis were added afterwards.

Discussing about Dhanashree, it is a carnatic Raga and is used in Hindusthani as well which appears in the Sikh tradition from northern India and is part of . It is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by , , and Guru Tej Bahadur 1 for a total of 101 hymns.

Though there is a lot of similarity in the structure of , a Hindusthani melody and Dhanashree. The phrase of Dhanyashree goes like - gm J, _ n, {Z gm§, {Z Y n _, J ao, gm &

The aroh and avroh Of Bhimpalas are also similar but more stress is given on the _Ü`_ note, where Dhanashree stresses more on nÄM_.

Dhani is a five note melody which could also be similar to this Raga, the phrase goes like this - gm J, _ n, {Z gm§ & gm§ {Z n, _ J, gm

It could be observed that Rishabh and Dhaivata (ao and

------( 195 ) ------Y) are completely left in this Raga. Therefore it becomes a phrase or a major part of the Ragaas which is known as the Ragaanga (amJmL²>J). It is a key-phrase which becomes the major identification factor in the classification of different ragas and raginis.

Therefore the ""gm J _ n {Z gm§'' phrase got recognized to be the YZmlr A§J. The similar structure here is important for classification and not the combination of notes. e.g. The YZmlr

AL²>J will include all the ragas with gm J _ n {Z gm§ as their

Amamoh irrespective of their nature (H$mo_b/Vrd«). amJmL²>J ñdê$n amJ

YZmlr (i) gm, J, _ n, {Z gm§ & YZmlr/^r_nbmg gm§ {Z Y n _ J ao gm

(ii) gm J _ n, {Z gm§ & nQ>Xrn gm§ {Z Y n, _ J ao gm

(iii) gm J _] n, {Z gm§ & _YwdÝVr gm§ {Z Y n, _ ] J ao gm

(iv) gm J _] n, {Z gm§ & _wëVmZr gm§ {Z Y n, _] J, ao gm &

(v) gm J _] n, {Z gm§ & _mê${~hmJ gm§ {Z Y n, _] J, ao gm &

------( 196 ) ------(vi) gm J _] n, {Z gm§ & dmMñnVr gm§ {Z Y n _] J ao gm &

(vii) gm J _ n {Z gm§ & {~hmJ gm§ {Z Y n _ J ao gm &

(viii) gm J, _ n, {Z gm§ & {Vb§J gm§ {Z n _ J, aogm &

(ix) gm J _ n {Z gm§ & OmoJ gm§ {Z n _ J, J {µZ gm

(x) gm J _] n {Z gm§ & A_¥Vd{f©Ur gm§ {Z n _] J gm

This is the easiest classification of Ragas by far and amJmL²>J plays a very important role in the deep study of the raga. One more very famous composition of the Maharaja is found in Dhanyashree in Hindi which is grg J§J ^ñ_ A§J which is popularized by vocalist Sanjay Subramanium.

The second antara of the song has very intricate calculations of the jati which is given at the end of the lyrics. The calculations of 1½ and ¼th beat is very difficult to understand and to understand its momentum, it is very important to learn from the Guru Mukh.

------( 197 ) ------24 M{b`o Hw$§OZ _mo d¥§XmdZr gma§J ({ÌVmb) ñWm`r {Z _ gm {Z ao - (gm§) gm§ n - ao {µZ gm ao_ - - - ao _ ao gm @ M {b `o @ Hw$§ O Z _mo @ @ @ @ @ Vw _

0 3 × 2

- {µZgm ao _ n{Z _n {Z {Z gm§ - - - - - n{Z _n @ h_ {_ b í`m@ @@ _ h ar @ @ @ @ @ @@ @@ 0 3 × 2 {Z {Zgm§(gm§) gm§ n @@, M {b `o 0 A§Vam 1 ao _ _ - ao - _ n n n n - _ n n{Z n_ ao - gm gm @ Xo @ Imo O _w Zm ar @ ~ @ ho@@@ gw§ @ X a 0 3 × 2 - _n {Z n {Z - gm§ {Z gm§ - - - n,_n {Zgm§ ao§_§ ao§@ @ A@ {V @ Zr @ a ^ ar @ @ @ ^ar@ @@ @@ @@ 0 3 × 2 A§Vam 2 - ao _ _ n - n - - _ n n{Z n_ ao - gm gm @ N>m± {S> `o H¡$ @ go @ @ _mo @ H$mo@@@ _¢ @ Vmo @ 0 3 × 2 -_n {Z n {Z - gm§ {Z gm§ - - - n,_n {Zgm§ ao§_§ ao§@ @ Vo@ amo @ hm @ W Y ar @ @ @ Yar@ @@ @@ @@ @ 0 3 × 2

------( 198 ) ------ao§ - nn _n {Zgm§ ao§@ ao§ ao§ ao§ ao§ _§ ao§ _§ {Z - gm§ - - gw{Z `o@ @@ @@ H$mo ` b Ho$ @ @ @ ~mo @ b @ 0 3 × 2 - {Z{Z - {Z{Z {Z gm§ ao {Z gm§ - - - n,_n {Zgm§ ao§_§ ao§@ @ {n`m @ {n`m {n @ `m H$ ar @ @ @ H$ar@ @@ @@ @@ 0 3 × 2

This composition is set in Raga Vrindavani Sarang set in 16 beats in Teentaal.

The lyrics itself suggests a leisure time where Lord Krishna is being requested by the Gopikas to come to the beautiful gardens of Vrindawan. The melody is perfectly set in Raga Vrindavani or Brindavani Sarang which is an afternoon raga.

As discussed earlier about the amJmL²>J pattern which is a unique identification method of classifying the ragas, here too the gmaL²>J AL²>J where the key-phrase is -

{µZ gm ao, _ n {Z gm§, &

And the general progression of Vrindavani Sarang goes like this - ao, _ ao, ao _ n, _ n _ ao, ao _ n {Z, gm§ & gm§ {Z n, _ ao, {µZ gm

Most stressed notes here are F$f^ (ao) and nÄM_ (n) and both the {ZfmX are used, the ewÕ being in the Amamoh and the

H$mo_b coming downwards in the Adamoh.

------( 199 ) ------Though, belonging to Kaafi Thaat, the absence of Gangadhar makes it nearer to the Khamaj Thaat, Sarang has a lot of variants namely - 1. {_`m± H$r gma§J 2. ewÕ gma§J 3. _Y_mX gma§J 4. gm_§V gma§J 5. Jm¡S> gma§J 6. A§{~H$m gma§J 7. b§H$mXhZ gma§J 8. í`m_ gma§J 9. O`§V gma§J 10. ~hma gma§J

Out of these, the first five are extremely popular and the other types are mostly rendered in music conferences, seminars or by legendary artists in high profile music concerts.

A very famous Ragamala painting which depicts Raga Vrindavani Sarang where the heroine is sitting under the tree in the arms of beautiful nature all around, with a peacock coming towards her. One more depiction of Sarang is seen where the musicians are singing and playing their respective instruments while the peacocks are approaching them.

Ragamala paintings are a series of illustrative paintings from medieval India. The concept of illustrating musical

------( 200 ) ------modes in pictorial form as it is a unique expression of Indian writers and artists.

Ragamala paintings are visual interpretations of Indian musical modes previously envisioned in divine or human form by musicians and poets. These paintings were created in albums containing most often thirty six or forty two folios organized in a system of families. Each family is headed by a male (amJ) and contains five or six females (am{JUr) with their sons and wives (amJnwÌ, amJnwÌr).

All known surviving examples of this art were painted in the 16th till the 19th centuries in Rajasthan Central India, Ganga Jamuna plains and the hilly regions.

The description in this particular composition perfectly describes the picture of Ragamala painting. The word Sarang also means one of the name of Lord Krishna. The movement of the composition is suitable for dance as it depicts the scene of Vrindavan. The dancer has a lot of scope to visualise the beautiful garden with different kinds of flowers, birds freely playing there.

A very famous composition H$mogboÝÐ _m_d is also set in the same raga. In the movie “Swathi Thirunal” both the compositions are rendered back to back in the court of the Maharaja. This composition is very popular and sung by many artists but the rendition by famous singer K.S. Chitra remains the most popular.

Vrindavani Sarang remains a close associate of Rag Des

------( 201 ) ------and Tilakkamod, because the Aroh in all the three melodies remain the same the latter being a little twisted in its structure. It can sometimes sound very similar to Raga Megh but the presence of Dhaivat between both the Nishadas ({Z Y {Z ) keep it different from Sarang. Though Sarang is predominant in Ragas like :-

1. gañdVr - {µZ gm ao, _] n {Z gm§ & gm§ {Z Y n _] ao {µZ gm 2. ~¡amJr - gm ao _ n {Z gm§ & gm§ {Z n _ ao gm

3. AS>mUm - {µZ gm ao, _ n, {Z gm§ & gm§, Y {Z n, _, J _ ao gm

As seen the Aroha looks structurally similar, but the combination of the notes form a different mood, giving the Raga a different identity of its own.

Though, this composition is rendered as a Padam in Carnatic Music concerts, Vrindavani Sarang is mostly performed on instruments or for semi-classical or light music performances.

However, this piece could be sung as a N>moQ>m»`mb in

Hindustani style.

------( 202 ) ------25 XodZ Ho$ n{V BÝÐ Xa~mar H$mZS>m {ÌVmb ñWm`r

J _ ao gm ‹Y - {µZ {µZ gm - gm gm gm -{µZ gmao J_ Xo @ d Z Ho$ @ n {V B @ ÝÐ @ @ @@ @@ @@ 0 3 × 2 - ao - ao ao - gm ao n - - - J _ ao gm @ Vm @ am Ho$ @ n {V M§ @ @ @ @ @ Ð @ 0 3 × 2 {Z {Z _ - _ - _ n - _ n Y> - Y> - ({Z ) - n - @ {d @ Úm Ho$ @ n {V J @ Uo @ @ @ e @ 0 3 × 2 _ - _ - n Y - {Z gm§ J - - _ ao - - gm @ Xw @ I ^m @ @ a hm @ @ @ ar @ @ @ 0 3 × 2 AÝVam 1 {Z {Z - _ - n n n Y Y - Y - Y - - {Z n @ am @ J n {V @ @ @ H$m @ Z S>m @ @ @ 0 3 × 2 - _ -n n Y - {Z {Z gm§ - - - Y {Z ao§ gm§ @ ~m @O Z Ho$ @ n {V dr @ @ @ @ @ @ Z 0 3 × 2 _§ {Z {Z - Y{Z - ao§ao§ ao§ - - - J§ - - _§ ao§ gm§ Y> Y> @ F$Vw @ n{V h¡ @ @ @ ~ @ @ @ g§ @ @ V

0 3 × 2

- ao§ gm§, Y{Z n - - _ n J - - - _ ao gm, ‹Y{ µZao @ a {V n@{V @ @ gw I H$m @ @ @ @ ar @ @@@ 0 3 × 2

------( 203 ) ------AÝVam 2 - __ - nn - - Y Y Y - Y Y ({Z ) - n - @ _w{Z @ OZ @ @ n {V ì`m @ @ @ @ @ g @ 0 3 × 2 - gm§ - YY {Z gm§ - - {Z gm§ - - gm§ - - - @ n§ @ N>r@ n {V @ @ h§ g @ @ h¡ @ @ @ 0 3 × 2 - Y{Z - ao§ao§ ao§ - ao§ ao§ J§ ao§gm§ Y Y gm§ - gm§ gm§ @ Za @ n{V am @ _ @ A d@ Y @ hm @ ar @ 0 3 × 2

This composition is set in and set in 16 beats of Teentaal.

Darbari Kanada has been popularized by Miya Tansen in Akbar’s court. Earlier this melody was called as Shuddha Kanada, since it was sung in the court (Xa~ma) it was called

Darbari Kanada.

This Raga is primarily a late night melody and perceived as very deep and very difficult combination to master. It is a very serious raga and hence slow, elaborate meend and andolan are generally more preferred than light and frivolous ornamentations like murki or khatka. The improvisation of Darbari is done more in the mandra saptak the lower scale. The vibrations on Komal Gandhara and Dhaivata add to the gravity of the raga. Though the vibrato (AmÝXmobZ) used in Kanada are unique and it is a signature of the melody.

------( 204 ) ------There is a phrase in the composition which says, ""amJ n{V H$mZS>m'' which means H$mZS>m stands as the master of all the other Ragas, or the king of all of them. Since it was named after being sung into the court of kings (Xa~ma) so it is quite obvious to call it a melody of the court for the kings. The signature phrase of the melody goes like this.

‹Y @ @ {µZ µn, µ_ µn ‹Y {µZ gm ao, J @ @ _ ao gm, _ n Y @ @ {Z n &

So as it is clearly visible, the structure is very different as the aroh is not straight (dH«$) and the key-phrases of H$mZS>m are J _ ao gm and Y {Z n. So all the melodies consistent with these phrases would come under the H$mZS>m amJmL²>J. Some of the very popular variants of H$mZS>m are :

1. H$m¡gr H$mZS>m 2. ehmZm H$mZS>m 3. Zm`H$r H$mZS>m 4. A^moJr H$mZS>m 5. H$m\$r H$mZS>m 6. gwhm H$mZS>m 7. gwYamB© H$mZS>m

Since, it is a king of all the ragas and its structure being typically masculine, it is mostly performed by male artists. At one level, the masculine temper of the raga gives it a royal structure and the lower notes progression develop a mood of pathos and devotion.

------( 205 ) ------In Carnatic Music, it is a janya raga of the 20th melakarta , and it comes under the Asawari Thaat in Hindustani Music.

The next phrase in the composition says ""~mOZ Ho$ n{V

~rZ''. The master of all the instruments is the been (~rZ) .

Basically the ~rZ is a wind instrument played by snake charmers. The instrument consists of a mouth blown air reservoir made from a gourd, which channels air into two reedpipes.

The ~rZ here means the drUm and the people who played different styles become the Beenkars.

The Been, also known as the Mahati Veena and the Rudra Veena is identified with the Sage Narada and the goddess Saraswati. While the South Indian Veena is frequently referred to as the , Ustad Zia Moinuddin Dagar once remarked that this name is proper to the Been as well.

The Indore Gharana in wind and string instruments is called as the Beenkar Gharana. Pandit Ahobal was the first musicologist to describe the values of notes in terms of lengths of the string on the Veena. Venkatmakhi published his 72 melakarta raga system, where he demonstrated by reference to the Veena’s fret system. Sharangdeva has also specified playing techniques for the Veena. A musicologist named Govinda Dikshit fixed the frets of the Southern Indian Veena so that all the ragas could be played.

------( 206 ) ------No wonder that Veena occupies the pride of place among all musical instruments. It is so versatile an instrument that most experiments regarding notes have been conducted on the Veena.

------( 207 ) ------26 {_{b`o í`m_ ß`mao I_mO (OV) (Rw>_ar) ñWm`r JJ _, nY {Zgm§{Z gm§ - {Z Y n_ J_ nY {Zgm§ {Z Y n_ J, J J {_{b `o, í`m@ @@_ ß`m @ ao@ @@ @@ @@ @@ @@ @@ @, @ @ 3 × 2 0 JJ _, nY {Zgm§{Z gm§ - {Z Y n_ J_ nY {Zgm§ {Z Y {Z {Z {Z {Z {_{b `o, í`m@ @@_ ß`m @ ao@ @@ @@ @@ @@ @@ {~ a h ^ 3 × 2 0 gm§ - (gm§) n - Y (_) JJ J_ nn _J aogm {Zgm - J_ nY ar @ Z am @ {Y H$m @@ Or@ @@ do@ @@ @@ @, @@ @@ 3 × 2 0 AÝVam J _ {Z{Z YY nY {Zgm§ {Z {Z gm§ - - {Z gm§ - {Z Y nY br @ Omo@ @@ @@ @@ gw Z ~m @ @ V _o @ ar@ @@ 0 3 × 2 {Zgm§ - , {Z- {Z gm§ - ao§ Y gm§ (gm§) - {Z Y n Y @@ @ , ~m±@ gw ar @ ~ O¡ @ @ @ `m @ @ @ 0 3 × 2 -, Y - Y Y - Y {Z nY {Zgm§ gm§ - {Z Y n - @, N>mo @ S> Xr @ Omo @ _m@ @@ Z @ _¢ @ Vmo @ 0 3 × 2 -, J_ nY gm§ao§ J§ {Z Yn Y (_) - J - J_ nn _J aogm @, Omo@ Sy>±@ @@ @ hm @@ W ao @ @ @ @@ @@ @@ @@ 0 3 × 2 {µZ gm, J_ nY JJ _, nY {Zgm§{Z gm§ @ @, @@ @@ {_{b `o, í`m@ @@_ ß`m 0 3 ×

------( 208 ) ------These notations have been taken from the book “Maharaja Sri Swati Thirunal’s Hindustani Music Compositions with Swara Notations” by Pandit Shrikrishna Ratanjankar.

Though, he has mentioned Tentaal in the beginning of the composition as a suggested Taal for this piece, it is a bit generic for the mood and expression given in the lyrics. The poetic structure of the composition looks like a Thumri which is a semi-classical form. Therefore a 14 beat Deepchandi or a 16 beat Jat taal is more suitable for the composition. The original _wIS>m begins from the 12th beat in the book, but it sounds too lengthy, therefore a 4 beat sign line would be apt for it.

The term “Thumri” is derived from a Hindi verb “thumakna” (Rw>_H$Zm) which means to walk with dancing steps to as to make the ankle-bells tinkle. There is a mention of a special kind of a dance in Kalidasa’s “Malavikagnimitram” where the courtesan performs on a song could be a form of Rw>_ar . The text is romantic or devotional in nature and therefore is connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs of Uttar Pradesh, though there are regional variations.

The lyrics are usually in dialects of Hindi called Awadhi and Brij. As the other classical forms, Thumri also has two parts the Sthayi and Antara. It is flexible in taal structures such as Deepchandi, Roopak, Addha, Jat, Punjabi.

------( 209 ) ------Thumri is mostly sung in Jogiya, Bhairavi, Khamaj, Kafi, Pilu, Des and Pahadi. Though, there are exceptions of a Thumri in Raga Sohoni made very popular by Ustad Bade Ghulam Khan Sahab which was even played in the background of the movie Mughal-E-Azam.

Unlike the Khayal, which plays meticulous attention to unfold a raga and develop its structure gradually within the frame of the melody, thumri doesn’t restrict itself just in the structure but expresses the different shades of love, and plays with the words melodiously. The frame of the raga definitely plays an important role but very subtle hints of alien notes which are not part of the raga structure are rendered. The use of a tivra _Ü`_ in Khamaj or a Shuddha Gandhar in Kafi gives a distant variety and freshness to the style. It needs a delicate heart and a supple and soulful voice capable of expressing several shadings and colours of tones to bring out its beauty.

Thumri basically has evolved in two different styles the first one which is the Lucknow Style which was evident with the name of great Nawab Wajid Ali Shah. This was called the Bandish ki Thumri, and mostly used by courtesans for dance purpose. The other form was the Khayal Ki Thumri which evolved in Varanasi. Thus they came to be known as -

1. Lucknow - Bol baant (~mob ~m±Q>)

2. Benaras - Bol banaav (~mob ~Zmd)

The former was more speedy and had quick variations which suited for the dance movements.

------( 210 ) ------The latter was slow-paced like the Bada Khayal and it stressed more on the expression of the words. The present composition could be a best example of the Khayal Thumri or the Bob-banaav Thumri. The slow pace of Jat Taal in 16 beats deals with the beautiful phrases composed in Raga Khamaj. Khamaj is a melody whose structure is best suited for Semi-classical and light music compositions. Its combination with both the Nishads make it attractive as the phrases flow very smoothly within the composition. Khamaj is categorised as the Kshudra Raga as it does figure in elaborate Khayal or Dhrupad setting. It represents three separate entities Thaat, Raganga and Raga (WmQ>, amJmL²>J, amJ). Khamaj Thaat that is similar with the 28th Carnatic

Melakarta, Harikamboji with the following scale set. gm ao J _ n Y {Z ({Z) . The following is the progression of the notes : J _ n Y {Z gm§ {Z Y, n _ n Y, _ J,

The Kshudra Raga is permitted lattitude for play with vivadi swaras and the main raga thus elaborated upon usually goes by the prefix “Mishra”. The teevra madhyam is a prime vivadi candidate in Khamaj, used to ornament the pancham. The term “Mishra” doesn’t mean that it gets out of the frame of the composition. The vaadi notes are used which are well fit and suitable for the composition. This composition is not sung by artists because no audio proof of this composition is available. It is because of the structure of the composition is purely thumri-based, it might not have been fit for the traditional Carnatic musicians to improvise it.

------( 211 ) ------27 am_MÝÐà^w Vw_ {~Z ß`mao ^¡adr (^OZr) ñWm`r {Z - gm gm n - n Y> n - gmY Y Y Yn n_ J aoJ @ am _ M§ @ Ð à ^w @ Vw_ {~ Z ß`m @@ ao @@ × 0 × 0 J> - aoJ -n _ (J) J gm ao gm - gm - ao - {µZ gm @ H$m¡@ @Z I ~ a bo @ _o @ ar @ @ @ @ @ × 0 × 0 AÝVam - J_ - Y{Z gm§ - ao§ gm§ gm§ - gm§ gm§ gm§ {Z Y n @ ~m@ @ Oa hr @ {O Z Ho$ @ Z J ar @ _mo @ × 0 × 0 {Z - gm§ Y> n n n Y n J_ Y{Z gm§ao§ gm§{Z Yn _J aogm gm@ @ g Xm @ Y a _ H$r ^o@ @@ @@ @@ ar@ @@ @@ @@ × 0 × 0

As the words and the melody suggests, it is a devotional piece set to Raga Bhairavi in eight beats cycle. The rhythm mostly used in performances is the Bhajani rhythm (Ro>H$m) which is a variant of Keherwa. The eight beat or six beat cycle very popularly used in devotional pieces and the beats (~mob) of the Taal keeps changing according to the mood and lyrics of the composition. There are a lot of variants of Keherwa such as -

------( 212 ) ------1. Dhumali (Yw_mir) {Y§ {Y§ Ym {V§ & ÌH$ {YZ YmJo ÌH$ × 0

2. Bhajani (^OZr) Yt Zm YtYt Zm & {V§ Zm YtYt Zm × 0

3. Ghazal Ym ÌH$ {Y§ {Y§ & Vm ÌH$ {Y§ {Y§ × 0

4. Laggi Ym {Y§ Zm Zm & Vm {V§ Zm Zm

5. Variations Ym {Y§ YmYm {V§@ & Vm {V§ YmYm {Y§@

There could be hundreds of variations. The Laggi which is generally used when the composition ends or the antara end. The pattern is played in double speed and it is finished by taking a tihayi.

The composition is set in Raga Bhairavi which is performed at the end of any musical performance specially the classical concerts. A specific reason again remains a topic of research, but most scholars and artists say that it is because of its versatile nature, the melody is used as a concluding piece. The melody majorly consists of all the twelve notes of the gáH$ but if singer has to master ^¡adr, his lifetime falls short but the nuances of the Raga remain untouched. Because of the inclusion of the twelve notes, there could be infinite variations. Most importantly Bhairavi is so melodious that no one is keen to listen to any other Raga after that.

Raga Bhairavi hails from the Bhairavi Thaat and it is a late morning melody. Bhairavi consists of all the notes with

------( 213 ) ------Rishabh (ao) , Gandhar (J), Dhaivat (Y) and Nishad ({Z) being flat (H$mo_b).

Another popular variant of Bhairavi with Shuddha Nishad and Rishabh is called the Sindh Bhairavi. There are other variants of Bhairavi are Jangla Bhairavi and Kasuri Bhairavi, but eventually they fall under one category called Mishra Bhairavi. Though this melody is flexible for semi- classical and light musical forms, it has a certain frame or progression which goes like this,

{µZ gm, J _ n, Y n, {Z Y n, _ Y {Z gm§ & gm§ {Z Y n, _ J, _ Y n, _ J ao gm &

The aroh in the second half may look like Malkauns, but the emergence of Komal Rishabh and Pancham gives the clear sign of Bhairavi.

------( 214 ) ------28 {dûdoûda Xe©Z H$a ^¡adr XmXam ñWm`r gm gm ao - gm {Z - gmao J_ _ ao J @ {d ûdo @ ûd a§ @ Xa e@ Z H$ a × 0 × 0 - gmY n _ ao J gm ao gm - - @ Mb _ Z Vw _ H$m @ er @ @ @ × 0 × 0 AÝVam 1 gm§ - J _ - Y Y - {Z gm§ gm§ {Z ao§ gm§ @ {d ûdo @ ûd a @ Xa e Z O ~ × 0 × 0 Y> Y {Z - {Z - gm§ gm§ {Z ao§ gm§ n {Z > Yn H$r @ Ýhmo @ ~ hw ào @ _ g {h V@ × 0 × 0 {Z - Y n - n Y nY {Z gm§ Y n (Y) Yn @ H$m Qo> @ H$ ê$ Um@ @@ {Z Ym @@ Z@ × 0 × 0 - J_ _ _ n _ Jao gmao J_ (ao) ao gm @ OZ Z _ a U \$m@ @@ @@ gr @ @ × 0 × 0

This is a very popular composition in Raga Bhairavi, which is very much known to music connoisseurs, and sung by many artists in various styles Pt. Jitendra Abhisheki, a very famous and a legend of Agra Gharana has sung this composition and its audio is available. It starts from Pancham

------( 215 ) ------but in the same rhythm cycle i.e. dadra.

This composition is documented in YZmlr in Pt.

Ratanjankar’s book and Pt. Abhisheki has sung in Bhairavi is something which is surprising. But the Bhairavi version is very popular in all the concerts.

Technically, going with the lyrics too, it is more relatable with Bhairavi because the lyrics suggest that the ultimate bliss lies in the feet of Lord Shiva The soul frees himself from the viscious circle of life and death only when he comes to the abode of Lord Shiva i.e. H$mer . Bhairavi, as said earlier too is rendered at the end of any performance, after that nothing is played.

------( 216 ) ------29 e§H$a lr{JarZmW h§gmZÝXr ^OZr ñWm`r gm§ - gm§ {Z Y _]J _]J ao gm - {µZ - ao J _] ao J @ e§ H$ a lr@ @@ {J ar @ Zm @ W à ^w Ho$ @ × 0 × 0 - J _] Y gm§ {Z ao§ gm§ - gm§ {Z Y _] J J_] Y{Z @ Z¥ Îm {d am @ {O V @ {M Ì g ^m @ _o@ @@ × 0 × 0 AÝVam - J _] Y gm§ - {Z ao§ gm§ - gm§ ao§ gm§ - Y{Z Y- @ ^ ñ_ {Ì Zo @ Ì J bo @ ê§$ S> _m @ bm@ @@ × 0 × 0 _]> - J ao§ gm§ (gm§) - _] Y _]Y {Zgm§ {Z Y _] J J_] Y{Z @ ^y V Z Ho$ @ g§ J Zm@ @@ M V ^¥ L>² {J@ @@ × 0 × 0

This composition is based on Raga in eight beat cycle of Bhajani and it is sung as a devotional piece in the concerts or with dance items. Hamsanandi is a Janya Raga of rd Gamanashrama, the 53 Melakarta. It has only the invariant Pancham missing from its parent scale. The progression of this melody goes like this - gm ao J _] Y, {Z gm§ & gm§ {Z Y _ ] J ao gm &

Signature Phrase - gm§ {Z Y _ ], J _] J, J _ Y {Z, gm§ a| gm§, gm§ {Z Y

_] J ao gm &

------( 217 ) ------Looking at the graph of the composition, it might sound like Sohoni at first glance, but the presence of Komal Rishabh in the aaroh makes it different from Sohoni. The progression of Sohoni goes like this -

gm J, _] Y {Z gma|gm§ & gm§a| gm§a| {Zgm§ - {ZY{Z - - Y J _ ] J, _] J ao gm &

Signature Phrase - J_]Y{Zgm§a|gm§ @ @

As it could be seen that Komal Rishabh is absent in the aaroh and present in the avaroh it is very different from Hamsanandi. There is no such Raga in Hindustani music which has such a combination of notes, however Puriya and Marwa have the same notes but the progression is very different from Hamsanandi. The structure of Puriya - gm, {µZ ‹Y { µZ ao J, _ ] J, _ ] J, _ ao J, J _ Y {Z - - _ J J _] Y {Z gm§ {Z, Y _] J, J_]Y J_]Jaogm

Signature Phrase - J_ ]Y J_ ]J, aogm, { µZ ‹Y { µZ &

The structure of Marwa -

>ao, { µZ ‹Y, { µZ ao, J _ ] Y, Y {Z a| - - J§ a| - - {Z a| gm§ {Z Y _ ] J ao, J ao {µZ ‹Y gm &

Signature Phrase - ao, J _ ] Y, _ ] J ao {µZ ‹Y ao, gm

Thus it could be seen that the former is stressing on Gandhar and Nishad whereas the latter is highlighting Rishabh and Dhaivat. Marwa showcases very little stress on the parent note Shadja which also establishes the fact that it is different

------( 218 ) ------from Hamsanandi. There is one more raga called which is sung without Rishabh and Pancham. But that is again different from Sohoni as it is sung without Komal Rishabh. Though it is near to Raga Hindol of Hindustani Music where complete absence of Rishabh is seen. Therefore Hamsanandi has a separate identity of its own and it could be said that it has shades of Sohoni and Puriya. All these ragas belong to Marwa Thaat which prominently showcases the stress on Komal ao (ao) and Tivra _ (_ ]).

------( 219 ) ------30 gmohZr ñdê$n amJ_m{bH$m EH$Vmb ñWm`r gm§ - {Z _] Y J _] Y {Z gm§ ao§ gm§ gmo @ h Zr @ ñd ê$ @ n H$m @ Ýh × 0 2 0 3 4 _] Y gm§ n J J _] J n J ao§ gm _w I @ Vo @ O Xr @ n M @ ÝÐ × 0 2 0 3 4 gm gm ao J _ n gm gm n Y gm§ gm§ M bo @ Mm @ b Z Q> {d ^m @ g × 0 2 0 3 4 ao§- {ZY n {Z Y {Z n _ n {Z Y gm§{Z ao§ - lr@ @@ _ bm@ @ a ~ Z _o@ @@ @ @ × 0 2 0 3 4 AÝVam

{Z Y n _] J ao {µZ - ao J _] _] _ {U a§ J Jw U \y$ S> b ~m @ U × 0 2 0 3 4

n n _] J ao gm Y{µZ gmao J _ ao gm Eo @ _ Z a hy± H$m@ @@ @ @ Ýh a × 0 2 0 3 4 _ _ n Y {Z n _ n J _ ao gm ñd ê$ @ n @ @ bm @ @ @ Jo @ × 0 2 0 3 4 n gm§ - - {Z - n _ n _ ao {µZ gm gm @ @ a§ @ J _ Z @ _o @ @ × 0 2 0 3 4

------( 220 ) ------AÝVam 2 ao J _] Y {Z _] Y gm§ gm§ J§ - gm§ Jy @ b ar @ {h§ S>mo @ b Py @ bo × 0 2 0 3 4 ao§ gm§ - Y {Z n _ n Y {Z gm§ - {O ` @ Vo @ A S>m @ Zm @ @ @ × 0 2 0 3 4 J _ n ao {µZ gm J Jao _J _ n {Z Jm¡ @ S> Vo amo hr ñd ê$@ n@ í`m @ _ × 0 2 0 3 4

n n_] n _ _ao gm {µZ gm ao _] n {Z n @@ Ù Zm @@ ^ V Z _o @ @ @ × 0 2 0 3 4

A Ragamalika or a Ragamala is a garland of many ragas woven together in one composition. It is a unique piece because of unusual ragas are put in together. It consists of thirteen ragas :

1. Sohoni 2. Deep or Deepak 3. Nat 4. Vibhas 5. 6. Malhar 7. Yaman 8. Sarang 9. Gujri 10. Hindol

------( 221 ) ------11. 12. Gaud 13. Shyam Kalyan

The names of different ragas are woven along with their signature phrases.

Out of the thirteen, Sohoni, Yaman, Sarang, Hindol and Gaud have been discussed in the previous compositions.

Manirang is a Carnatic raga which has been mentioned in T.K. Govindrao’s book, but somehow the notations given by Pt. Ratanjankar do not match with the line, therefore going by Pt. Ratanjankar’s notation only thirteen ragas are woven along with their name and structure. The following chart displays the structure of the ragas along with their salient features - amJ ñda g_yh {deofVm

1. Xrn/XrnH$ {Z gm J, _] Y n, gm§ Myth that by singing it creates fire

2. ZQ> gm ao ao J, _ Morning Raga

3. {d^mg Y n, J ao gm Morning Raga sung like Deshkar with ao, Y, H$mo_b

4. lr ao _] n, {Z gm§ ao§ Evening Raga, unlike {Z Y n ao Puriya Dhanashree,

the Ý`mg notes are

------( 222 ) ------ao and n

5. _ëhma _ n, {Z Y {Z, gm§ Seasonal Raga

6. JwO©ar ao _] J ao J ao gm Morning raga, unlike Jodi, Pancham is completely avoided.

7. AS>mUm gm§ Y {Z gm§ Y {Z n, Late night melody similar to Jaunpuri & Darbari Kanada

8. í`m_ H$ë`mU n _ n J _ n, Evening melody, J _ ao gm similar to Shuddha Sarang, only presence of gandhar makes it different.

The notations of these compositions are based on Hindustani Music style of notations which Pt. Vishnu Narayan Bhatkhande developed. However, Indian Music has always been Jwé_wIr {dÚm, therefore precision in rendition can come only if taught by an expert or legend in this field.

On the basis of the musical aspects of Swati Maharaja’s compositions, the comparative table of Hindustani and Carnatic Ragas could be made which summarizes the whole chapter.

------( 223 ) ------4.4 Table Summary 1 to 30

Name of Carnatic Hindustani Carnatic Hindu- the Type and Type and Tala sthani Composition Raga Raga Tala 1 A{bdo{U `oÝXw (nÙ) (Rw>_ar) {_l Mmnw ê$nH$ Moì`w Hw$aÄMr - (3½ x 4) 2 AmÄOZo` (H¥${V) (^OZr) Am{X ^OZr aKwam_XyV gmdoar (16 x 4) 3 H$b`o lr (H¥${V) (^OZ) ê$nH$ XmXam H$_bZ`Z {P§PmoQ>r {P§PmoQ>r (3 x 4) 4 H$maU§ {dZm (H¥${V) (^OZ) {_l Mmnw ê$nH$ H$m`ª H$må^moOr I_mO (3½ x 4) 5 Jm“o`dgZYa (H¥${V) (»`mb) Am{X {db§{~V h_raH$ë`mUr Ho$Xma (16 x 4) {ÌVmb 6 Xod Xod (H¥${V) (»`mb) Am{X {ÌVmb OJXrûda nydr©H$ë`mUr ny[a`mH$ë`mU (8 x 4) 7 Za{g§h _m_d (H¥${V) (^OZr) IÊS> Mmnw AY© Ama^r XwJm© (2½ x 4) PnVmb (1st half) 8 Z¥Ë`{V Z¥Ë`{V (H¥${V) (»`mb) Am{X {ÌH$mb e‘am^aU_² {~bmdb (8 x 4) 9 nÙZm^ nm{h (H¥${V) (^OZ) Am{X ^OZr {hÝXmob_² _mbH$m¢g (8 x 4) 10 na_nwéf (H¥${V) (^OZ) Am{X ^OZr OJXrûda dgÝV_² (_“b) {^ÞfS>²O (8 x 4) 11 n[anmb` _m_² (H¥${V) (^OZr) ê$nH$ EH$Vmb ar{VJm¡bm ~mJolr (3 x 4) (XmXam) 12 n[anm{h (H¥${V) (^OZr) Am{X {ÌVmb JUm{Yn gmdoar - (16 x 4) 13 nmb` gXm (H¥${V) (»`mb) Am{X {ÌVmb _m_{` Z{bZH$ÊR>r (Xog + (16 x 4) {VbH$H$m_moX) 14 ^O ^O _mZg (H¥${V) (^OZ) Am{X ^OZr ^¡adr ^¡adr (8 x 4)

------( 224 ) ------15 ^md`m{_ (H¥${V) (^OZ) ê$nH$ Yw_mir aKwam__² gmdoar-ZQ>Hw$aÄOr- ^yn- (3 x 4) (8 _mÌm) YÝ`mgr-_mohZ_²- ny[a`mH$ë`mU- _wImar- _Y_mX- nydr©H$ë`mUr- gma§J _Ü`_mdVr 16 ^moJrÝÐem{`Z_² (H¥${V) (^OZ) IÊS>Mmnw AY© Hw$ÝVbdamir - (2½ x 4) PnVmb 17 _mYdmbmoH$Z_² (H¥${V) (^OZ) Am{X ^OZr Om¡Znwar Om¡Znwar (8 x 4) 18 arU_XZwV (H¥${V) (^OZ) Am{X ^OZr {~hmJ {~hmJ (8 x 4) 19 {dha _mZg am_o (H¥${V) (^OZ) {_l Mmnw ê$nH$ H$mnr H$m\$r + nrby (3½ x 4) 20 gmVwam H$m{_Zr (nXdU©_²) (»`mb) Am{X {db§{~V H$ë`mUr `_Z (16 x 4) {ÌVmb 21 AmO Am`o í`m_ (nX_²) (»`mb) ê$nH$ EH$Vmb H$ë`mUr `_Z (3 x 4) 22 H$éUm{ZYmZ (H¥${V) (^OZ) Am{X AÕm MméHo$er MméHo$er (8 x 4) VrZVmb 23 JrV YwZrHw$VH$ ({V„mZm) (VamZm) Am{X AÕm YÝ`mlr ^r_nbmg (8 x 4) VrZVmb 24 M{b`o Hw$§OZ _mo (nX_²) (»`mb) Am{X AÕm {~ÝÐmdZr gma§J d¥§XmdZr gma§J (8 x 4) VrZVmb 25 XodZ Ho$ n{V BÝÐ (H¥${V) (»`mb) Am{X AÕm Xa~mar H$mZS>m Xa~mar H$mZS>m (8 x 4) VrZVmb 26 {_{b`o í`m_ (nX_²) (Rw>_ar) Am{X OV ß`mao I_mO I_mO (8 x 4) 27 am_MÝÐ à^w (H¥${V) (^OZ) Am{X ^OZr {g§Yw ^¡adr ^¡adr (8 x 4) 28 {dûdoûda Xe©Z (H¥${V) (^OZ) ê$nH$ XmXam H$a ^¡adr ^¡adr (3 x 4) 29 e§H$alr (H¥${V) (^OZ) Am{X ^OZr {JarZmW h§gmZÝXr gmohZr + ny[a`m (8 x 4) 30 gmohZr ñdê$n amJ_m{bH$m amJ_mbm ê$nH$ EH$Vmb (Chart given (3 x 4) with the composition)

------( 225 ) ------References

1. History of Indian Music & Tabla, shodhganga.inflibnet. ac.in.bitstream

2. nadasurabhi.org

3. Ibid

4. A Southern Music, The Karnatik Story pg no 48

5. Ibid, pg no 62,63

6. Ibid, pg no 64

7. Ibid, pg no 65

8. Ibid, pg no 79

9. Ibid, pg no 123

10. Ibid, pg no 136

11. Sangeet Visharad, pg no 60

12. Notations no 1 to 30,

13. Sujamusic.wordpress.com>kurinji

14. A southern Music, The Karnatik Story, pg no

15. Carnatica.com>saaveri

16. Abhinav Geetanjali, part 2, pg no 207

17. En.m.wikipedia>kambhoji



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1. Aliveni. Artist: K. S. Chitra https://www.youtube.com/watch?v=GW34M5w4qUA

2. Anjaneya Raghuraam. Artist: M. S. Subbalaxmi https://www.youtube.com/watch?v=4Ddwk6RPQws

3. Kalaye. Artist : Yesudas https://www.youtube.com/watch?v=6qXJ3S8QsuQ

4. Karanam vina karyam. Artist: Dr. Omanakutty https://www.youtube.com/watch?v=AGX3FX5rvN4

5. Gangeyavasandhar. Artist: Trichur Brothers https://www.youtube.com/watch?v=UVvyUa5yypE

6. Deva Deva Jagadeeshwar. Artist: Sanjay Subramanium https://www.youtube.com/watch?v=XgR2IPdfvhE

7. Narasimha Mamava. Artist: Bangalore Brothers https://www.youtube.com/watch?v=LUDTnGuU8MQ

8. Nrityati Nrityati. Artist: Dr. B. Arundhati https://www.youtube.com/watch?v=8ndatwYhO_0

9. Padmanabh Paahi. Artist: Anjali Muralidharan https://www.youtube.com/watch?v=hgpspQFR5SA

10. Parampurusha Jagadeeshwar. Artist: Prince Rama Verma https://www.youtube.com/watch?v=Nk5gg62BJME

11. Paripalaya Maam. Artist: Trichur Brothers https://www.youtube.com/watch?v=0hXgvo2KP6U

------( 227 ) ------12. Paripahi Ganadhipa. Artist: Shantha Hejamadi Rajagopala https://www.youtube.com/watch?v=1Hf9Drm2EZs&list =PLS1ShQpvBZ5Wkn0egU7Y0s0_E0xWms5Bc

13. Paalaya Sada. Artist: Sanjay Subramanium. https://www.youtube.com/watch?v=iMmvwsWJcvk

14. Bhaja Bhaja Manasa. Artist: Bombay Jayashree https://www.youtube.com/watch?v=-sRQtVxdrH8

15. Bhavayami Raghuramam. Artist: K.S.Chitra https://www.youtube.com/watch?v=sPYjRKZjH28

16. Bhogendrashayinam. Artist: Trichur Brothers https://www.youtube.com/watch?v=0yxKMAl7Fx0

17. Madhavalokanam. Artist: Amrutha Vyankatesh https://www.youtube.com/watch?v=ACKuJtgbWaM

18. Rinamadanuta. Artist: Amrutha Vyankatesh https://www.youtube.com/watch?v=6vTL0k8NuJA

19. Vihara Manas Raame. Artist: T.S. Satyavathi https://www.youtube.com/watch?v=BOdeDVyjJyU

20. Saatura Kaamini. Artist: Sanjay Subramanium https://www.youtube.com/watch?v=e5YNLowov60

21. Aaj Aaye Shyam. Artist: Ganapathi Bhatt https://www.youtube.com/watch?v=5BKjW3Csvic

22. Karunanidhan. Artist: Sanjay Subramanium https://www.youtube.com/watch?v=coSEUwsmiQ4

23. Geet Dhuniku Tak. Artist: Amrutha Vyankatesh https://www.youtube.com/watch?v=hgDHHCpU6t8

------( 228 ) ------24. Chaliye Kunjan Mo. Artist: K.S. Chitra https://www.youtube.com/watch?v=wi1iib6mKiw

25. Devan Ke Pati. Artist: Ganapathi Bhatt https://www.youtube.com/watch?v=xPiUwVJzRks

26. Miliye Shyaam Pyaare. Audio not available.

27. Raamchandra Prabhu Tumbin Pyaare. Artist: Dr. Vijayalaxmi Subramanium https://www.youtube.com/watch?v=3qKmXMec60s

28. Vishweswar Darshan Kar. Artist: Amrutha Vyankatesh https://www.youtube.com/watch?v=Mji0exnUYoQ

29. Shankar Shrigirinath. Artist: P.Unnikrishnan https://www.youtube.com/watch?v=FPkIcq4N208

30. Sohani Swarup. Audio not available.

  

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