हिन्दुस्तानी शास्त्रीय संगीत

Raga Kafi

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Of shining whiteness,
Kafi who inspires lust tenderly
sits on the lap of her playmate in the royal palace,
fond of parrots she is dressed in blue
and decked with jewels.
She is the image of sensuousness.
In the Lotus of my heart
I cherish her,
lovlier than Lakshmi
the goddess of Fortune.

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हिन्दुस्तानी शास्त्रीय संगीत-

A brief treatise on the THAATS of The Classical Music of India

ہندوستانی کلاسیکی موسیقی‎

According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thaats. For instance, the ragas Shree and Puriya Dhanashri are based on the Poorvi thaat, Malkauns on the Bhairavi, and Darbari Kanada on the Asavari thaat. It is important to point out that Bhatkande’s thaat-raga theory is hardly infallible, but it is nevertheless an important classificatory device with which to order, and make sense of, a bewildering array of ragas; and it is also a useful tool in the dissemination of the music to students.

The Thaats

Bilawal
Marwa
Bhairav
Poorvi
Bhairavi
Todi
Asavari
Kalyan
Khamaj
Kafi

It is worth noting that almost all the thaats mentioned above are also ragas; and yet a thaat is a very different musical entity from a raga, and in this difference may lie, crucially, a definition of what a raga is or is not. A thaat is a musical scale, conceived of as a Western musical scale might be, with the seven notes presented in their order of ascent (arohan). For instance, Asavari is presented, and notated, as Sa Re Ga (flat or komal) Ma Pa Dha (flat) Ni (flat) in ascent, or arohan. This is, however, only the skeletal musical structure of the raga Asavari, an abstraction that is to be found nowhere but on the printed page or inside a textbook; the raga Asavari, in reality, and in exposition, is a very different thing. It goes straight from Re to Ma, and comes down to touch Ga, as it ascends; having touched Ni later, it returns to Pa, and, touching the upper Sa, returns to Dha and Pa again and again. Arohan and avarohan are, thus, inextricably and inseparably intermingled in the structure of this raga. The raga, then, is not a musical scale in the Western sense; it is a characteristic arrangement or progression of notes whose full potential and complexity can  be realised only in exposition, and not upon the printed page. A condensed version of this characteristic arrangement of notes, peculiar to each raga, may be called the pakad, by which a listener hears the phrase Sa Re Ga Ma Pa Ga, none of these notes being flat or sharp.  Repeated in a recital, they will know that they are listening to the raga Gaud Sarang.

Two ragas may have identical notes and yet be very different ragas; for example, two ragas mentioned earlier, Shree and Puriya Dhanashri, have exactly the same notes, but are unmistakably different in structure and temperament. The first can be identified by its continual exploration of the relationship of the note Re to the note Paa; while the repetition of the phrase Ma Re Ga Re Ma Ga, a phrase that would be inadmissible in the first raga, is an enduring feature of the latter. Certain arrangements of notes, then, are opposite to particular ragas and taboo to all others. A simple and abstract knowledge, thus of the notes of a raga or the thaat on which it is based, is hardly enough to ensure a true familiarity or engagement with the raga, although it may serve as a convenient starting point. Thaat familiarity can only come from a constant exposure to, and critical engagement, with raga’s exposition.

(Courtesy by Amit Chaudhuri)

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The Kafi That

Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat

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Raga Kafi is representative of the Kafi Thaat. It is a versatile raga and can be played anytime. The raga has influenced folk music heavily and it is common to find folk songs and bhajans in this raga. Pure forms of Kafi are rarely performed.

Other Ragas in Thaat Kafi:
Bageshri
Bhimpalasi
Pilu
Moods: Bhakti, Shringar, Hori, Tappa

Aaroha:   S  R  g  m  P  D  n  S’
Avaroha:  S’  n  D  P  m  g  R  S
Jati: Sampurna – Sampurna
Pakad:    S  R  R  g  m  P
Thaat:     Kafi
Prahar: 6th Prahar (6 PM to 9 PM)
Prahar:    Evening

Notable characteristics of the raga: PmgR, RgmP, mgR, S

***

According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thaats. For instance, the ragas Shri and Puriya Dhanashri are based on the Poorvi thaat, Malkauns on the Bhairavi, and Darbari Kanada on the Asvari thaat. It is important to point out that Bhatkande’s thaat-raga theory is not very accurate, but it is nevertheless an important classificatory device with which to order, and make sense of, a bewildering array of ragas; and it is also a useful tool in the dissemination of the music to students.

There are certain rules for these Thaats.

1. A Thaat must have seven notes out of the twelve notes [Seven Shuddha, Four   komal (Re, Ga, Dha , Ni), one teevra (Ma) ], placed in an ascending order. Both the forms of the notes can be used.
2. Thaat has only an Aaroha.
3. Thaats are not sung but the raags produced from the Thaats are sung.
4. Thaats are named after the popular raag of that Thaat. For example Bhairavi is a popular raag and the thaat of the raag Bhairavi is named after the raag.

The 10 basic thaats acording to the Bhatkhande System are as follows

1. Bilawal :bilawal

Bilawal is the most basic of all the ten thaats. All the swars in the thaat are shuddha or all swars in the natural scale. Bilawal as a raag is not rendered these days however a small variation of the raag called Alahaiya Bilawal is very common. This is a mornig raag and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance.

Raags in Bilawal Thaat : Deskar, Haunsdhwani, Variations of Bilawal.

2. Khamaj :khamaj

The next thaat is Khamaj which can be obtained by replacing the Shuddha Nishad of Bilawal by Komal Nishad. The raags of this thaat are full of Shringar Ras (romantic) hence this raag is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raag Khamaj is considered to be a ‘flirtatious’ raag. There is another theory which assumes that in the past, Khamaj scale found its way in Ch’in music of the late medieval China.

Raags in Khamaj Thaat : Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati etc.

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Rag_Kafi_03

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Rag Kafi Zilaph

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Rag Palas Kafi

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3. Kafi :kafi

Kafi thaat makes use of the Komal Gandhar and Komal Nishad. So basically it adds Komal Gandhar to the Khamaj Thaat. raag Kafi is one of the oldest raags and its intervals are described as basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raag and said to convey the mood of spring time.

Raags in Kafi Thaat : Dhanashree, Dhani, Bhimpalasi, Pilu, Megh Malhar, Bageshree etc.

4. Asavari :asavari

Add Komal Dhaivat to Kafi thaat and you get Asavari Thaat. raag Asavari is full of tyag, the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. However important evening/night raags like Darbari and Adana also use notes of asavari thaat with different styles, stress points and ornamentations.

Raags in Asavari Thaat : Asavari, Desi, Darbari, Adana, Jaunpuri etc.

5. Bhairavi :bhairavi

Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is names after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and ocassionally sad mood. Traditionally it is rendered as the last item of a program, for its unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially, Bhairavi is represented in female form, as the wife of Bhairav.

Raags in Bhairavi Thaat : Malkauns, Bilaskhani Todi, Bhupali Todi, Kaunsi Kanada etc.

6. Bhairav :bhairav

Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the names of Lord Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The raag too has some of these masculine and scetic attributes in its form and compositions. The raag itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valor to peace. You can see a lot of variations on raag Bhairav including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. This raag is usually performed in a devotional mood in the early morning hours. The vibrations of the notes in Bhairav is said to clear one’s whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well as awe-inspiring.

Raags in Bhairav Thaat : Ramkali, Gunkari, Meghranjani, Jogiya, Bhairav and its variations etc.

7. Kalyan :kalyan

Kalyan thaat consists of a important group of evening raags. Characterized by the teevra Madhyam, this thaat literally means good luck. It is considered to be a blessing-seeking and soothing raag. As a result, it is performed in the evening at the beginning of a concert. This raag creates a feeling of the unfolding of an evening. This thaat is huge and consists of many variations on the basic kalyan thaat including raags (but not restricted to) like Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan (Haunsdhwani + Yaman), Savani Kalyan etc.

Raags in Kalyan Thaat : Yaman, Bhupali, Hindol, Kedar, Kamod, etc.

8. Marwa :marwa

Marwa thaat is obtained by adding a komal Rishabh to Kalyan thaat. The mood of the Marwa family raags is strongly and easily recognizable. The Shadja remains in the form of a shadow till the very end, where it almost comes as a surprise. komal Rishabh and shuddha Dhaivat are ver important. The overall mood of this raag is of sunset where the night approaches much faster than in northern latitudes. The onrushing darkness awakens in many observers, a feeling of anxiety and solemn expectation.

Raags in Marwa Thaat : Marwa, Puriya, Bhatiyaar, Bibhas, Sohoni etc.

9. Poorvi :poorvi

Poorvi thaat adds a komal Dhaivat to Marwa thaat. These thaat raags usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning raags (dawn and sunset). The thaat raag Poorvi is deeply serious quite and mysterious in character and is performed at the time of sunset. Pictorial depictions in early texts, often mention the poise, grace and charm of Poorvi.

Raags in Poorvi Thaat : Puriya Dhanashree, Gauri, Shree, Paraj, Basant etc.

10. Todi :todi

Todi is the king of all thaats. Todi pictures nearly always show a petite, beautiful woman, holding veena, with a deer around her, standing in a lovely, lush green forest. Todi represents the mood of delighted adoration with a gentle, loving sentiment and its traditionally performed in the late morning.

Raags in Todi Thaat : Miyan Ki Todi, Gujari Todi, Madhuvanti, Multani etc.

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Rama strikes down Khara with an arrow_Rag_Kafi

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The Karnatik Origin of KAFI is rAgam Kharaharapriya

Raga Kharaharapriya

Raga : Kharaharapriya
Mela: 22
Other names: Kafi Thaat ( Hindustani)

Arohana:      S R2 G1 M1 P D2 N1 S     || S Ri Gi Ma Pa Dhi Ni S
Avarohana: S N1 D2 P M1 G1 R2 S || S Ni Dhi Pa Ma Gi Ri S

Time: All Times

Amsa Swaras: R, P
Jeeva Swaras: R, G, D, N
Nyasa Swaras: R, G, D, N

Murchanakaraka Ragas:         R -> Hanumatodi
G -> Kalyani
M -> Harikambhoji
P -> Natabhairavi
D -> Sankarabharanam

Special Considerations: Similar to Shadja Grama

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1. mELam 22 – kharaharapriya

KHARAHARAPRIYA  is the fourth mELam (bhU) in the fourth  cakram, vEda  cakram.  Hence it is usually  referred to by the mnemonic name “vEda bhU”, since there are 4  vEdAs, and the kaTapayAdi numeral for the consonant “bha” is 4 (from the “pa varga”: pa, pha, ba, bha, ma!)  The  svarams taken by the mELam kharaharapriya are:

SaDjam (S, sa), catushruti .rSabham(R2, ri), sAdAraNa gAndhAram (G1, ga), shuddha madhyamam (M1, ma), pa~ncamam (P, pa), catushruti dhaivatam (D2, dhi), kaiSiki niSAdham (N2, ni).

Raga Kharaharapriya

Alathur Brothers-Chakkini Raja

Thus,  the mnemonic svara nomenclature  for kharaharapriya is  ri gi ma dhi ni, showing that besides the notes  sa, pa, the  notes taken are  ri (R2), ga (G1), ma (M1), dhi (D2), ni (N2).

The first two syllables “kha ‑ ra” in the name yields the mELam number 22  according to the  kaTapayAdi scheme (that is, kha =2 (from ka, kha g gh N^),and   ra =2 (from ya ra la va), so 2 2 reversed still  gives 22!!). Some believe that the original name of this mELam  was  harapriya, and the prefix “khara” was added to  obtain the numeral 22. But kharaharapriya itself has the meaning ‑‑ priya  (beloved of, liked by) hara (slayer of) khara (the demon named  khara).

·        kharaharapriya is a  mELam with symmetrical tetrachords; intervals are separated by a major tone. The mELam gets is pleasing quality from the even distribution of the notes.  The  ri ‑‑ ga, and the  dha ‑‑ ni are in consonance and the interval between  sa ‑‑ ri,  ma ‑‑ pa, and  dha ‑‑ ni  are all equal. This facilitates singing of saN^gatis  in sets which can independently interpret the melody, and allow the singer to build the  AlApana phrase by phrase.

·        a major rAgam, capable of very lengthy  AlApanAs.

·        chAyA and  nyAsa svarams :   ri, ga, dha, ni;

·        aMsha svarams:  ri and pa

·        kharaharapriya is approximately equal  to the  SaDja grAmam of ancient music, the primordial scale of the Hindus

·        kharaharapriya is a  sarva svara gamaka vArikA rakti rAgam.  The  pratyAhata gamakam (ri sa, sa ni, ni dha, dha pa, pa ma, ma ga, ga ri) lends color to this mELam. Yet, unlike an average rAgam, kharaharapriya comes out beautifully even  without employing much  gamakam.

·        kharaharapriya is a  tristhAyI rAgam. Compositions in kharaharapriya usually begin in  sa, ri, pa ,ni.

·        prayOgams        NI dha PA ma GA ri               NI da pa dha ni sa ni dha PA ma GA ri

·        kharaharapriya admits  prayogams ending in the note  ni.  Only the notes  sa, pa enjoy this privilege!

·        A  mUrccanakAraka mELam, that admits  graha bhedam (modal shift of tonic), yielding the  mELams  hanumatODi (8), mEcakalyANi (65), harikAmbhOji (28), naThabhairavi (20), dhIrashaN^karAbharaNam (29), respectively,  when the notes  ri, ga, ma, pa, and  ni are taken as the tonic  AdhAra shaDjam.

·        kharaharapriya corresponds to the Phrygian mode in Greek, the Dorian in Ecclesiastical, the “D” mode in European and the Irak mode in Arab music.

·        SArN^gadEva,  the author of saN^gIta ratnAkara mentions that kharaharapriya contains all svarams of  sAma vEda. Since Lord shiva is pleased with  sAma vEda chants, it is appropriate that this mELam assumes the name ” harapriya”.

·        a  rAgam suitable for singing at all times. It evokes  karuNa rasam

·        Among the musical trinity, Saint tyAgarAja is the sole composer who has given full life to kharaharapriya by composing a large number of  k.rtis. Neither muttusvAmi dIkSitar nor shyAma sAstri has composed in this mELa rAgam. TyAgarAja’s  “cakkani rAjamArgamu” is the most popular composition in  kharaharapriya.

·        It is a puzzle why muttusvAmi dIkSitar did not compose any  k.rti in  kharaharapriya.  The obvious answer is that he composed only in  rudrapriya       which is “almost”  kharaharapriya, except that the note ” dha”’ is absent in the avarOhaNam.

·        kharaharapriya has helped the  nAdasvaram to acquire recognition as a major musical instrument.   NAdasvaram  exponents like Karaikkuricci Arunachalam, have indulged in this  rAgam for long stretches, especially when rendering some weighty tyAgarAja compositions.

·        pallavi expositions in kharaharapriya are very common. Nowadays, we can hear  rAgamAlikA svarams sung at the concluding segment of a pallavi in kharaharapriya where the artist chooses a number of  priya‑suffixed  rAgams (such as  gAyakapriya, SaNmukhapriya, raghupriya, gOpriya, sunAdapriya, varuNapriya, and so forth!!).

·        Balamuralikrishna has composed a rAgamAlikA tillanA in five  priya‑suffixed rAgams that includes  kharaharapriya as the last one.

·        There are many folk tunes and kAvaDi cindu songs in  kharaharapriya. Also, many tiruppugazh hymns are rendered in  kharaharapriya. The cine world in south India has its fair share of songs in this mELam.

2. Some Compositions in kharaharapriya

kOri sEvimpa rArE                                    Adi                        tyAgarAja

cakkani rAjamArgamu luNDana              Adi                        tyAgarAja

cEtulAra sh.rN^gAramu cEsi                   Adi                        tyAgarAja

naDaci naDaci jUcE                                    Adi                        tyAgarAja

pakkala nilabaTi                                         mishra cApu        tyAgarAja

pAhi rAma rAmayanacu                            rUpakam            tyAgarAja

pEriDi ninnu                                               Adi                        tyAgarAja

mitra bhAgyamE bhAgyamu                   Adi                        tyAgarAja

rAma nIyeDA                                             Adi                        tyAgarAja

rAma nI samAnamevaru                          rUpakam            tyAgarAja

viDamu sEyavE nannu                              Adi                        tyAgarAja

appan avataritta                                        Adi                        pApanAsham shivan

AraNamum                                                jhampa                  pApanAsham shivan

dayavilklaiyA                                             Adi                        pApanAsham shivan

dharmAmbikE                                           Adi                        pApanAsham shivan

enna sheidAlum                                        Adi                        pApanAsham shivan

jAnakIpatE                                                Adi                        pApanAsham shivan

parAmukham EnayyA                             Adi                        pApanAsham shivan

vINA alaiyAdE                                         Adi                        pApanAsham shivan

kAdali rAdhayai                                       Adi                        pApanAsham shivan

okapari kokapari                                     Adi                        annamAcArya

allikkENikkarai                                        Adi                        UttukkADu veN^kaTakavi

bhaktiyOga aN^gItamArgamE            Adi                        UttukkADu veN^kaTakavi

enna parAmukham ammA                   Adi                        UttukkADu veN^kaTa kavi

inta parAkElarA                                    Adi                        pallavi shESayyar

gAnasudhArasa                                    Adi                        mysore vAsudEvAcAriar

saN^kalpameTTidO                            Adi                        paTNam subrahmaNya iyer

ninnunammina                                      rUpakam            karUr cinna dEvuDu

kaNNan maNivaNNan                        rUpakam            muttayyA bhAgavatar

mUvAshai koNDE                               Adi                        muttayyA bhAgavatar

tyAgarAjaguru                                     Adi                        vINa kuppayyar

inda varam taruvAi                             rUpakam            vEdanAyakam piLLai

inda manamoru                                   rUpakam            T. LakSmaNan piLLai

inta parAkElarA                                  Adi                        pallavi sheSayyar

inda janmam vENDum                       rUpakam             gOpAlak.rSNa bhArathi

rArAyani pilacitE                                 Adi                       myspre vAsudEvAcAriar

tyAgarAja                                            Adi                        tiruvoTTiyUr tyAgarAjan

ninnu kolici                                           rUpakam            rAmnAD shrInivAsa iyengAr

kaN pArayyA                                      Adi                        kOTIshvara iyer

aruLvAy shrImInalOcani                  Adi                        kOTIshvara iyer

aravaNai tuyinriDum                          Adi                       Calcutta K. S. Krishnamurthi

anbE ArumarandAlum                        Adi                       periyasAmi tUran

kAlanE bvIzhttiya                                Adi                       periyasAmi tUran

dharnmashAstA                                   Adi                        tuLasIvanam

raktakaNthEshvaram                          Adi                        tuLasIvanam

shabarIshvaram                                   Adi                        tuLasIvanam

rAmA nIvE (va.rNam)                        Adi                        tenmaDam narasimhAcAri

satatam tAvaka  padasEvanaM                                       svAti tirunAL

Remark: Professor Sambamurthi mentions that the  tyAgarAja  k.ri “rAmA nIyeDA” is not set in kharaharapriya, but in the  rAgam dilIpakam.

3. janyams of kharaharapriya

kharaharapriya lends itself to a huge number of  janya rAgams.  Many of these  janyams are important in their own right. Walter Kaufmann’s  “Ragas of South India”  lists 132 janyams of kharaharapriya.  They are:

shrI, AbhOgi, kAnaDa, darbAr, nAyaki, AbhEri, Ananda vAridhi, AndOLika, anilAvaLi, bAlacandrika, bAlaghOSi(Ni), bhadra sAraN^galIla, bhAgavatapriya, bhAgyara~njani, bhOgakannaDa, bhOgavati, bhramarikA ma~njari, bhUyOmaNi, b.rndAvanasAraN^ga, cakra pradIpta, candrakala, candramaNDana, carAvaLi, cAtam, chandOdhari, chAyA shObhitam, cittara~njani, dEshya kAnaDa, dEshya kApi, dEshya manOhari, dEvakriya, dEvamanOhari, dEvAm.rtavarSiNi, dEvamukhAri, dEvara~njani, dhAtumanOhari, dhIrakaLa, dilIpakam, gAnavasantam, gArava simhala, gauri vasantam, ghana kEshi, ghanaja ghana, grandhavikSEpam, hanOkaha,hariharamOhini, harinArAyaNi, hEmAvaLi, hindOLavasantam,  hindustAn kApi, husEni, Inakapriya,janAndOLika, jayAkSari, jayama~njari, jayamanOhari, jayanArAyaNi, jayantasEna, jhAlama~njari, jIvaka vasantam, kaishika, kaLAnidhi, kalAsvarUpi,kalhAru, kALikA, kALindi, kalyANa taraN^giNi, kalyANa vasantam*, kanaka varALi, kannaDa gauLa, kannaDa varALi, kApi, kApi jiN^gaLa, karaNi, ka.rNATaka dEvagAndhAri, ka.rNATaka kApi, kApi, kaThinya, ka.rNara~njani, khilAvaLi, kiraNa bhAskara, kumudapriya, kundamAlika, lalitagAndhAri, lalitamanOhari, mAdhi, madhyamAvati, makuTa dhAriNi, mALavashrI, mallAru, mandamari, maNiraN^gu, ma~njari, manOhari, mArgahindoLam, maruvadhanyAshi, mAyApratIpam, mukhAri, nadacintAmaNi, nAdamUrti, nAdataraN^giNi, nAdanapriya, navaratnavilAsam, nAgari, phalama~njari, pa~ncama, pUrNakalAnidhi, pUrNaSaDjam, pUrvamukhAri, puSpalatika, rItigauLa, rudrapriya, saindhavi, sAlaga bhairavi, samkrantanapriya, siddhasEna, shrImanOhari, shrIra~njani, shubhAN^gi, shuddhabaN^gaLa, shuddhabhairavi, shuddha dhanyAshi, shuddhamadhyamam, shuddhamanOhari, shuddhavElAvali, suguNabhUSaNi, sujaris, svarabhUSaNi, svarakalAnidhi, svarara~njani, udayaravicandrika, varamu

*Walter Kaufmann mentions two versions of kalyANa vasantam, one the traditional classification under kIravANi (mELam 21) and the other under kharaharapriya. However, the version of the popular kr.ti “nAdalOluDai” as sung by the Chittoor school with chatusruti dhaivatam, would have kalyANa vasantam classified under gauri manOhari (mElam 23).

4. scales of some important janyams

janyam                                              ArOhaNam                                    avarOhaNam

AbhEri                                           sa ga ma pa ni sa                        sa ni dha pa ma ga ri sa

AbhOgi                                        sa ri ga ma dha sa                        sa dha ma gai sa

AndOLika                                   sa ri ma pa ni sa                         sa ni dha ma ri sa

aThANa*                                      sa ri ma pa ni sa                         sa ni Dha pa ma pa Ga ma ri sa

b.rndAvanasAraN^ga                 sa ri ma pa ni sa                        sa ni pa ma ri ga sa

cittara~njanini                         sa ri ga ma pa dha ni                        ni dha pa ma ga ri sa ni

darbAr                                     sa ri ma pa dha ni sa          sa Ni dha pa ma ri Ga Ga ri sa

dEvamanOhari                        sa ri ma pa dha ni sa               sa ni dha ni pa ma ri sa

dEvAm.rtavarSiNi               sa ri ga ma ni dha ni sa              sa ni dha pa ma ga ri sa

dilIpakam                              sa ri ma pa dha ni dha pa ma ni dha ni sa           sa ni dha  pa ma ga risa

hindustAni kApi                  sa ri ma pa ni sa                          sa ni dha ni pa ma ga ri sa

husEni                                  sa pa ma pa ni dha ni sa              sa ni dha pa ma ga ri sa

jayamanOhari                     sa ri ga ma dha sa                        sa ni dha ma ga ri sa

jayanArAyaNi                     sa ri ga ma pa dha sa                   sa ni dha pa ma ga ri sa

jayantasEna                              sa ga ma pa dha sa                         sa ni dha pa ma ga sa

kalAnidhi                                  sa ri ga ma sa pa ma dha ni sa            sa ni dha pa ma ga ri sa

kAnaDa                                   sa ri Ga ma Dha ni sa                        sa ni pa ma Ga ma Ri sa

kannaDagauLa                         sa ri ga ma pa ni sa                        sa ni dha pa ma ga sa

karNara~njani                          sa ri ga ma ga pa dha sa            sa ni dha pa ma ga ri sa

kuntaLavarALi                         sa ma pa ni dha sa                        sa ni dha pa ma sa

madhyamAvati                                 sa ri ma pa ni sa                        sa ni pa ma ri sa

mALavashri                              sa ga ma pa ni dha ni pa dha ni sa           sa ni dha pa ma ga sa

maNiraN^gu                            sa ri ma pa ni sa                        sa ni pa ma Ga ri sa

ma~njari                                   sa ga ri ga ma pa ni dha ni sa             sa ni dha pa ma ga ri sa

manOhari                                 sa ri ga ma pa dha sa                        sa dha pa ma ga ri sa

mukhAri                                   sa ri ma pa ni dha sa                        sa nidha pa ma ga ri sa

nAyaki                                     sa ri ma pa dha pa sa                        sa Ni dha pa ma ri Ga ri sa

pashupatipriya                          sa ri ma pa ma dha sa                        sa dha pa ma ri ma sa

phalama~njari               sa ga ma pa ma dha sa             sa ni dha pa ma Ga ma ri sa

pUrNa SaDjam                         sa ri ga ma ni ni sa                        sa ni pa ma Ga ri sa

puSpalatika                              sa ri ga ma pa ni sa                        sa ni pa ma ga ri sa

rItigauLa*                     sa ga ri ga ma ni dha ma ni ni sa                    sa ni dha ma ga ma  pa  Ma ga ri sa

rudrapriya                                 sa ri ga ma pa dha ni sa             sa ni pa ma ga ri sa

sAlagabhairavi              sa ri ma pa dha sa                        sa ni dha pa ma ga ri sa

siddhasena                                sa ga ri ga ma pa dha sa             sa ni dha ma pa ma ri ga ri sa

shrI                                          sa ri ma pa ni sa                        sa ni pa dha ni pa ma ri ga ri sa

shrIra~njani                              sa ri ga ma dha ni sa                         sa ni dha ma ga ri sa

shuddha baN^gaLa                        sa ri ma pa dha sa                        sa dha pa ma ri ga ri sa

shuddha dhanyAshi                        sa ga ma pa ni sa                         sa ni pa ma  ga sa

supoSiNi                                  sa ri sa ma pa ni dha sa            sa dha ni pa ma ri ma sa

svarabhUSaNi                          sa ga ma pa dha ni sa                         sa ni pa ma ga ma ri sa

(* aThANa is more of a phrase-oriented rAgam with a unique identity. Some texts classify this under dHIrasa~nkarAbharaNaM. Prof. S. R. Janakiraman’s recent book contends that aThANa should be placed under kharaharapriya.)

5.  kAfi ThATh ‑ hindustAni paddhati

The Hindusthani  ThATh kAfi corresponds to kharaharapriya of  ka.rNATik  music. The  svarams used are:  tIvra ri, komal ga, shuddh ma, tIvra dha, komal ni. vadi is  pa, and  samvadi is sa.  It is an evening rag. The usage of  joD (double  svaras) sa sa, ri ri ga ga, ma ma, pa pa is pleasing. In this rAgam, the notes  ga , ri in the  pUrvAN^g, and  ni, dha in the  uttarAN^g should be frequently employed. Ending of  AlAp with  pa ma ga ri is graceful. Beauty of  kAfi rests in  sa, ga, pa ni. Pure  kAfi is rarely rendered, and what is presented as  kAfi contains touches of  sindhUri. You can hear  tumri, bhajan, hOri, Tappa, ghazal , or sometimes dhrupad in  kAfi.

The following  rAgams are derivatives of  kAfi:‑‑

bhImpalAsi,  dhani, dhanashri, bhim, paTadIp, bArva, sindhUra,sindh, hansakiN^kiNi, bhAgEshri, bahAr, pIlU, palAsi,  the mallAri group ( megh malhAr, miyAn ki malhAr, gauD malhAr, shuddh malhAr, naTh malhAr, sUr malhAr, rAmdAsi malhAr, rUpma~njari malhAr, mIrAbAi ki malhAr,nAyaki malhAr, jayant malhAr, carajuki malhAr, dEsh malhAr, ca~ncalasasa malhAr, dhulia malhAr), candrakauns,shrIra~njani,patma~njari, mAlgu~nj, gauD, the  sAraN^g group ( bindrabani sAraN^g, madhumati sAraN^g,  bhadhauns sAraN^g, miyAn ki sAraN^g, laN^kAdahan sAraN^g, samant sAraN^g, nUr sAra.ng).

6. asampU.rNa mELam 22 ‑‑ shrI

According to DIkSitar school of asampUrNa mELa paddhati, rAgAN^ga rAgam 22 is shrI.

lakSaNaM (Definition) ( VeN^kaTamakhin):

shrI rAgaH sagrahaH pUrNaH cArOhE cAlpadhaivataH

avarohe ga vakraH syAt sAyam gEyaH shubhAvaha.h

ArohaNaM:   sa ri ma pa  ni Sa

avarohaNaM:  Sa ni pa dha ni pa ma ri Ga ri sa

The notes taken are:   SaDjaM. catushruti  ri, shuddha ma, pa~ncamam,  catushruti dha, sAdhAraNa ga, kAkaLi ni,. In the  ArohaNam, dha and  ni are absent. Only the ArohaNam permits  vakra sa~ncAra. In fact there are two  vakra sa~ncArams. The  rAgam gets a beauty by the elongation and  gamaka on the note ga.

·        An  audava‑vakra rAgam dervived from 22nd mELam  kharaharapriya.

·        The  chAyA svarams are  ri and  ni.

·        the  nyAsa svaram is  ri.

·        sa, ri, ma, pa, ni are the  graha svarams.

·        SubbarAma DIkSitar states that  ri in the ArohaNan is both the  jIva and  nyAsa

·        svaram. The phrases  ri ga ri sa, pa dha ni pa in avarohaNam give beauty.

·        A raga suitable for  singing ( tAnam on the  vINa; auspicious, and suitable for singing in the evening.

·        shrI is an evening  rAgam, a  ghana rAgam, and auspicious  rAgam (maN^gaLa karam), and is preferred by  vaiNikas for rendering  tAnam.

·        The  sa~ncArams given in Sangita Sampradaya Pradarshini are unique in the sense that there is no  dhaivata prayOga. Being a  maN^gaLa rAgam, it is  most often heard in concerts, almost invariable, at least very briefly played  after the  maN^gaLam.

·        The last  of Saint tyAgAraja’s five gems ( pa~ncaratnaM): ” endarO mahAnubhavulu “ is in shrI.

·        SaN^gIta SaMpradAya Pradarshini, the it magnum opus work  of SubbarAma DIkSitar, lists under shrI, a  lakSya gItam in  maTya tALam (without  using the note  dha), a  tAnam by Venkatamakhin, in  maTyam, a  kIrtanam by Kumara Ettappa Maharaja ( SaDAdhAra tatva vinAyaka in  Adi), a  sa~ncAri by Subbarama Dikshitar, and four  k.rtis of Muttuswami Dikshitar (shrImUlAdhAracakra vinAyaka, tyAgarAja mahadhvajArOha, =’srIvaralakd mi, and shrIkamalAmbikE ).

·        In Hindusthani music,  shri rAga is entirely different; it is derived from  pUrvi ThAT (equivalent of  kAmavardhani), and is audava‑sampUrNa in nature.  pUriyA dhanashri and

·        gauri are two allied  rAgams that resemble Hindusthani shri. One type of  badahamsa sAraN^g of Hindusthani resembles  karnaTik shri very closely.

·        SaN^gIta SaMpradAya Pradarshini discusses the following  janyams of the  rAgAN^ga rAgam shrI:

upAN^gam: ‑‑‑ maNiraN^gu, sAlagabhairavi, shuddha dhanyAshi, kannaDa gauLa, shuddhadEshi, mALavashrI,

bhASAN^gam:‑‑‑ shrIra~njani, kApi, hushAni, b.rndAvani, saindhavi, mAdhavamanOhari, madhyamAvati, dEvamanOhari, rudrapriya, sahAna, nAyaki

7. Some Compositions in shri

varnam

sami ninne kori (Adi) (Karur Devidu Iyer)

endukina modi (Adi) (Patnam Subrahmanya Iyer)

padaM

yemmamma ye vintalu (Adi)(kSetra~jna)

manasu ninnedabhayadu (Adi)

k.rti

shrI mUlAdhAracakra (Adi) (MuttusvAmi DIkSitar)

shrI kamalAmbike (Adi) (MuttusvAmi DIkSitar)

shrI varalakSmi (Adi) (MuttusvAmi DIkSitar)

tyAgarAja mahadhvaja (Adi) (MuttusvAmi DIkSitar)

kAmEshvarE da (Adi) (MuttusvAmi DIkSitar)

shrI abhayAmba (rUpakam) (MuttusvAmi DIkSitar)

endaro mahanubhavulu (Adi) (Tyagaraja)

nAmakusuma  (rUpakaM) (Tyagaraja)

yuktamu gadu (mishracApu) (Tyagaraja)

bhAyAmi nandakumAram (Adi) (SvAti TirunAL)

riNa mada dritha  (Adi) (SvAti TirunAL)

karuNa ceyvAn (Adi) (Iriyamman Thampi)

maN^gaLam aruL (rUpakam)   Papanasam Sivan

rAman edukku (triputa ) (Arunachala Kavi)

pAlaya mAm shrI (Bhadracala Ramadasa)

Vadavari (Adi) (Annamacharya)

vanajAsana vinuta (rUpakam) (Subbaraya Sastri)

sabha darishanam (Adi) (Gopalakrishna Bharathi)

Edukku en mItu (Adi) (Gopalakrishna Bharathi)

maravAmal (Adi) (Gopalakrishna Bharathi)

shrI bhArgavam (Adi) (Muthiah Bhagavathar)

shrI kArtikEya (Adi) (Muthiah Bhagavathar)

shrIpatE kripa seyyar (mishracApu) (Pallavi Sesha Iyer)

kanaka vela karuNAlavAla (Adi) (Kotiswara Iyer)

adhikAramundaruL (Adi) (T.Lakshmanan Pillai)

vEdanAyaka (aTa) (Vedanayakam Pillai)

kAnavEnDAmo (rUpakam) (subrahmanya Bharathi)

ambigApatim (rUpakam) (Periyasami Thuran)

bhAgyalaskmi baramma (Adi) (Purandaradasa)

dharmigu dorayendu rUpakaM) (Purandaradasa)

ninne gati (Adi) (Purandaradasa)

Of these, the song, ” endaro mahAnubhAvulu” has a greater frequency in concert halls. There ares some excellent  pallavi expositions  in shrI . Also, shrI   often appears in the  rAgamAlika svaram segments in a  pallavi rendition, or more often, in the tAnam portion, when all the five  ghana rAgaMs are rendered (either in  tAnam, or in the  rAgamAlika svara segment).  But, being an auspicious rag, shrI is employed in the final piece maN^gaLam singing.  Some prefer to sing the  shri composition, “bhAgya lakSmi bAramma” and conclude the concert. I am not aware of any  tillAna/javali  in shrI. The  rAgams  madhyamAvati, maNiraN^gu, puSpalatika, and  sAlagabhairavi are four  rAgams closely related to  shri.  madhyamAvati is an  audava‑audava rAgam with notes:  sa ri ma pa ni sa;  sa ni pa ma ri sa. While it almost resembles  shri, the omission of the notes  dha and  ga in  madhyamAvati makes a clear distinction. Hence while rendering  madhyamAvati, care should be taken not to touch these notes even slightly.  While  shri has greater majesty and depth,  madhyamAvati has greater number of compositions. maNiraN^gu is another  janyam of kharaharapriya with scale  sa ri ma pa ni sa;  sa ni pa ma ga ri sa. It has the same  arohaNam as  madhyamAvati, but takes the note ga in  avaraohaNam, which is not allowed in madhyamAvati. It omits the  dha, which is present in shrI(Shree).

(Courtesy of  P. P. Narayanaswami)

About RAM Chandrakausika राम च 51

Ram51 is a researcher in the various fields of Musicology, Philosophy and History as well as old languages. One of his first topics is the wide scope of Indo-arabic cultures as represented in various art-forms religion and history. Below a list of selected Research topics which sum up partitionally the task of anthropological Frameworks in totaliter : Sanskrit Hinduism and Mythology Hindustani Music, The Muqhal Empire Gharanas from North India Kashmir Sufiyana The Kashmir Santoor Traditional Folk Music from USA Philosophy in Orient and Okzident Genealogy of musical instruments Ethnomusicology, Arabic Maqams, No Theatre fromJapan, North american poetry, Cultural heritage of mankind and Islamic architecture... View all posts by RAM Chandrakausika राम च 51

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