12 Chapter 4 - Raga's Bearing Similar Notes

ANALYTICAL STUDY
INTRODUCTION:
In the present study, delineation and comparison of ragas in both systems,

researcher adopted the method of Analytical Study. In this method, the various
dimensions in a raga are analysed and presented through a series of practical differences
along with detail swar sangatis and raaga chhaya swaras in both systems. This method
enables one to observe at various aspects of a raaga in a comprehensive manner. Also
detail analysis of similar and dissimilar aspects in both systems enables one to know the
practical differences in a raag in detail. As it is already said that the scope of Indian ragas
is vast. There is no end to this aspect.Therefore in the present analytical study researcher
studied on few ragas randomly based on the Thaat and Raagang paddhati in the present
Hindustani music system. The analysis on ragas is made based on the present theories
and traditions followed by both systems.
In the previous chapters the early history in both systems and their theoretical
aspects are clearly described and analysed. It is crystal clear that the two system has two
different styles in singing and in their traditions with some similarities and
dissimilarities. Therefore in the present study, researcher have categorized Raaga system
into four categories:
Category : 1 Ragas bearing similar notes with different raga names :
Part-A : All the 10 Thaatas of Hindustani music come under this category but, a Thaat in
Hindustani music cannot be sung, it only show the scale. The raag swarup and swar
vistaar in a raag is explored through an Ashray raag (Ahsray raagas are born out of
Thaatas, the janya raagas which are named after their Thaat are called Ashray ragas, Eg:
S R G M P D N S indicates that it belongs to Bhairav Thaat. This BhairavThaat gives
birth to raag Bhairav which has similar swara.)
Where as Carnatic Melakartas can be sung. There are many Kritis and Keertanas
in Melakarta raagas. Eg: Great artist from Tamilnadu “MAHAVIDYANATHA
AYAR”is the first one to compose a RAAGAMALIKA in all the 72 melakartas in
sequence. Only the Pallavi of this Raagamalika is composed in SREE RAAGAM. There
are many Varnams, Kritis, Swara jatis etc in HARIKAMBHOJI, NATHA BHAIRAVI
Melakarta raagas. Therefore Ashray raagas and Melakartas are analysed separately
in Part-A.
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In Part– B – There are many raagas derived from these 10 Thaatas and Melakartas.
Among them few raagas pertaining to the same category will be analysed.
Category : 2 Ragas bearing similar raaga names with different raga swarasthanas.
Category : 3 Raagas bearing similar name and similar raga swarasthanas.
Category : 4 (a)Raagas adopted by Carnatic music system from Hindustani music.
(b) Ragas adopted by the Hindustani Music system from Carnatic Music.
CATEGORY NO : 1
RAGAS BEARING SIMILAR NOTES WITH DIFFERENT RAAGA
NAMES
There are many ragas in Hindustani music under this category, where in the raga
essence and the swarasthanas are similar to that of carnatic sangeet paddhati ragas, but
the raga names seem to be different.
For Example : The notes and the raga swarup of all the 10 Ashray raagas of Hindustani
music are similar to that of Carnatic music system but names of those ragas are different.
Raag Bhairav of Hindustani possess the notes lk js x e i /k uh lka] x e /k /k i]

e i] x e js lA In Carnatic music this raag come under 15th Melakarta
‘Maayamalavagaula’, though both raagas possess same notes but due to the different
note combinations and singing styles they differ with each other. This kind of raagas will
be practically portrayed and analysed now.
THE NAMES OF 10 THAATS AND THEIR EQUIVALENTS OF CARNATIC

MUSIC :
Hindustani Thaatas Ashray raagas Carnatic Melakartas
Kalyan Raag Kalyan Mechakalyani
Bilawal Raag Bilawal Dheerasankarabharanam
Khamaj Raag Khamaj Harikambhoji
Bhairav Raag Bhairav Mayamalavagaula
Poorvi Raag Poorvi Kamavardani
Maarwa Raag Maarwa Gamanasrama
Kafi Raag Kafi Kharaharapriya
Asavari Raag Asavari Nathabhairavi
Bhairavi Raag Bhairavi Hanumatodi
Todi Raag Todi Subhapantuvarali
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DETAIL ANALYSIS OF 10 THAATAS THEIR ASHRAI RAAGAS WITH
CARNATIC MUSIC SYSTEM :
THAAT –KALYAN
lk js x e« i /k fu lka
lka fu /k i e« x js lk
THE LIST OF RAAGAS DERIVED FROM THAAT KALYAN: The

following raagas are derived from Thaat Kalyan. viz :
beu% 'kq)dY;k.kks Hkwikyh panzdkard%A

t;RdY;k.kjkxÜo dY;k.k% iwfj;k|d%AA
fganksyÜoSo ekyJh% dsnkjks gafejk;%A

dkeksn'Nk;kukVÜo ';kedY;k.kuked%AA 1
Raagas like Yaman/Kalyan, Yaman Kalyan, Shuddh Kalyan, Jait Kalyan, Pooria
Kalyan, Hameer Kalyan, Shyam Kalyan, also the modes named, Bhoopali, Chandrakant,
Hindol, Malashree, Kedar, Chhayanat etc. derived from Thaat Kalyan.
ASHRAY RAAG KALYAN (YAMAN)

Raag KALYAN is the basic raag or Parent scale derived from Thaat Kalyan, a
basis to all most all the prakars of Kalyan in the world of music. Among all the Raagang
raagas, Bhairav Ang is such an Ang which is identified as a morning raag (prathah
kaleen raag). Similarly, Kalyan Ang is famous to sing in the evening. Raag Kalyan is to
be sung in the first part of Night. The notes taken are TEEVRA MADHYAM and the
rest notes are SHUDDH in Kalyan raag.VAADI SWAR IS GANDHAR. SAMVAADI
IS NISHAD. A SAMPOORN-SAMPOORN JAATI RAAG.
This is a Poorvang pradhan raag which can be improvised and can meritoriously
sung in all the three saptaks. The Mukhya swarup of this raag lies in Poorvang.
MUKHYA ANG OF KALYAN :
lk] fu+ js x] x js lk, fu+ /k+ fu+ js x] js x e« i] i e« js x] js x e« i e«xjs lk] x e« /k

fu /k i] e« /k fu lka fu /k fu · /k i] i e« x] js x] fu+ js x e« i e«xjs lkA
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Kalyan is a Shuddh Raag also a RAAGANG RAAG. RAAGANG VACHAK
SWAR-SAMUH OF KALYAN:
1- fu+ js x] js lk] 2- x e« i e«xjs] lk]
3- e« /k fu] /k i 4- lka fu /k fu] /k i e«x]
5- i e« x e« js x 6- e« i /k i
7. i lka
The above given Raagang vachak swar-samuh of Kalyan raag exists in all most
all the prakars of Kalyan Ang, derived from Kalyan Thaat. It is assumed by merging
these raagang vachak swar-samuh of Kalyan Ang many Kalyan prakars evolve. Apart
from this, based on varjit swaras or exclusion of the notes also the Kalyan Ang raagas
evolve. Eg: the basic raaga swarup of MAARU BIHAG is evolved by excluding the
notes RISHABH AND DHAIVAT in the Aarohi kram of Kalyan raag and by excluding
MADHYAM AND NISHAD swaras BHUPALI raag is derived in Kalyan raag.
Also by excluding Madhyam and Nishad swaras in its Aaroh SHUDDH

KALYAN raag is evolved and in the Avaroh all the swaras are partially present i.e. the
notes Nishad and Madhyam swaras are taken in the form of sparsh. Only by excluding
the note Madhyam, raag “SAVANI KALYAN” which come under THAAT KALYAN is
derived. Excluding Madhyam swar only in Avaroh of this raag give birth to
CHANDRAKANT RAAG. Similarly, in this raag, if Gandhar and Madhyam notes are
excluded in its Aaroh adding the raag swarup of Kamod give birth to SHYAM
KALYAN raag. i.e. S R M P DMP GMP GMRS.
Also by excluding Madhyam and Nishad swars, adding the swarup of JAIT raag,
JAIT KALYAN raag is derived. By excluding Rishabh swar and by adding the raaga
chhaya of JHINJHOTI raag in its Uttarang, Raag SARASWATI is derived. S R M P R,
R M P N D P, M P D P M P R, M P N S, S N D P
Merging and mixing-up the swar-samuh of PURIYA raag in the Uttarang of

Kalyan raag, PURIYA KALYAN raag is derived.
Apart from this, by taking and merging (mishran) the raaga chhaya of Kalyan
raag into other raagas, then the essence and raaga bhav of Kalyan Ang highlights in these
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raags. Eg: SHUDDH SAARANG, DEVGIRI BILAWAL, YAMANI BILAWAL,
MALUHA KEDAR, NAND, HAMEER, etc.
Raag Kalyan come under Kalyan Thaat. Therefore Kalyan raag is considered as
the Aashray raag of Thaat Kalyaan. But based on the RAAGANG raga system this raag
is considered as the mother for all Kalyan prakars.
THE SIGNIFICANCE OF EACH SWAR IN KALYAN RAAG :
IMPORTANCE OF SHADAJ SWAR :

Shadaj is supposed to be a significant and basic swar in every raga. In this raag,
the swar-sangatis fu+ js x] or x js fu+ /k+ fu+ js x etc. show that the shadaj prayog in this
raag is less (alpatv). But, partially Shadaj swar helps to enhance the beauty of Yaman
raag.
RISHABH SWAR:
Rishabh swar is adequately used in both Aaroh and Avaroh but, Rishabh swar is
more highlighted in Avaroh i.e. a nyas swar in Avaroh of this raag. The prayogas like :
fu+ js x js] x e« i e« xjs x js] x e« i xjs] x js] js lkA
GANDHAR SWAR :
Gandhar is the Vaadi swar, therefore the prayog of Gandhar is main in this raag.
It is a Nyas bahutv swar. The whole essence lies in Gandhar swar in this raag - fu+ js x]
e« x js x] x e« i x] e« js e« x] /k+ fu+ js x, fu+ js e« xA The swar-sangati i xjs

shows the significance and the beauty of this swar frequently.
MADHYAM SWAR :
x e« i] i e« x] e« /k i etc. and x e« i xjs and fu /k] i e« x] Swar-
samuh shows the prayog of Madhyam swar is anabhyas bahutva (little nyas but more
sung), Pancham is a nyas swar in this raag, both in Aaroh and in Avaroh Pancham swar
is sung resting on it. Teevra madhyam is the special identity adds beauty to this raag.
PANCHAM PRAYOGAS :
x e« i] e« /k i] lka fu /k fu · /k i] i xjs x js fu+ js x e« i etc. Always

while singing the swar-sangatis e« /k i] e« /k fu /k i significance of pancham swar
increases.
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DHAIVAT SWAR PRAYOG :
e« /k fu /k i] e« /k fu /k /k i prayogas show the usage of this swar is less,
Dhaivat is an alp prayog swar in this raag.
NISHAD SWAR:
The prayogas like: e« /k fu] /k fu lka fu] /k fu jsa lka fu] fu /k i e« x js x e«
/k fu swar-sangatis of Nishad swar show that this is a Nyas bahutv swar. Nishad swar is
the important swar in the Uttarang of this raag.
Thus, Raag Kalyan is a melodious raag. Any composition in this raag if
beautifully sung creates wonders and this raag is loved by all kinds of music lovers,
artists/musicians at any time. The most attractive raag. The swarasthanas and
compositions in Kalyan raag and Kalyan prakars till now and always have separate
identity. This raag is also popular with the names YAMAN/YEMAN, EMAN etc. in
Hindustani music system. It is one of the most common and popular rag known to all
music minded persons of this era. It is told, that this mode was introduced by the foreign
musicians, who, happened to come to this country with the intruders and settled here.
Viz:
It conceives many modes that are current in the present system of music.
Secondly, the word is also used as a suffix after the name of the modes, such as : Suddh
Kalyan, Hem Kalyan, Hemant Kalyan and Shyam Kalyan and many others for their
identity.
AALAP 2:
1- lk] fu+ js x] e« x js x] x js lk] fu+ /k+ fu+ js lk] lk fu+ /k+ fu+ /k+ i+] e+« /k+
fu+ lk] /k+ fu+ js js lkA
2- x js lk fu+ /k+ fu+ js x] js x js e« x] e« x js x] js x e« i] e« /k i, i
e« js e« x] js x e« i js · lk] fu+ /k+ fu+ js js lkA
3- i e« x js x e« i] x e« /k i] fu+ js x e« /k i] e« /k fu /k i] e« /k i
i e« x] js x e« /k fu /k i] i xjs x] fu+ /k+ fu+ js x e« i js js lk fu+ /k+ fu+
js lkA
4- x e« /k fu] fu /k fu /k i] i e« x e« /k fu] fu+ js x e« i] x e« /k fu]
e« /k fu lka, /k fu jsa lka] lka fu /k fu /k · i] i js x e« x e« /k fu lka]
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/k fu jsa lka] lka fu /k fu e« fu /k i] /k i e« i e« x e« js x] js x e«
/k i js x js lkA
if the note Shuddh Madhyam is used in Kalyan Yaman Kalyan raag is derived:
'kq) e/;e ;qä vkyki& i e« x js x e« i] e« /k fu /k i] e« /k i e«
x] js x e x js x js lk] fu+ js x e« /k fu lka fu /k fu e« /k fu /k i] i
e« x] x js x e x js x js lkA
CARNATIC MECHA KALYANI
65th Melakartha raga ; (to conform to the katapayadi formula, the phrase ‘Mecha’
was prefixed to the name of this raga) ; 5th raga in the 9th (Rudra) chakra; Raudra-ma.
The most popular and well- known prati-madhyama raga. A melakarta claiming a large
number of janya ragas. In the obsolete nomenclature for the 72 melas, the 65th mela is
named Santakalyani.
This is a murcchanakaraka mela, Its ri, ga, pa, dha and ni taken as shadja,
respectively resuit in ragas, Harikambhoji, Nathabhairavi,Sankarabharanam,
Kharaharapriya and Todi.
AROHANA : SRGMPDNS
AVRAOHANA : SNDPMGRS
Beside shadja and Panchama, this raga takes the chatussruti rishabha, Antara
gandhara, Prati madhyama, Chatussruti dhaivata and kakali nishada.
Sampurn raga, Sarva svara gamaka varika rakti raga. In both the arohana and
avarohana, all the svaras are raga chhaya svaras. Ri, ga, dha and ni are nyasa svaras, ga
and pa are resting notes. Janta svara prayogas like R R G M M D D, G G M M D D N N,
M M D D N N R R lend beauty to the raga. The prase D N R G M D N R N D M G R N
where both shadja and panchama notes are deleted, adds beauty to the raga, Gamakas of
the kampita, Sphuritam variety lend colour to this raga. A majestic raga. One of the
major ragas and affords scope for elaborate alapana. Well distributed. Can be sung at all
times; but the effect is decidedly better when sung in the evening.
On account of the presence of tivra svaras in this raga. It is very useful for being
sung at the commencement of concerts. The requisite musical atmosphere is soon
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created. All types of compositions are represented in this raga. Useful for singing slokas,
padyas and viruttams. Figures in operas and dances dramas. Compositions in this raga
begin on the notes, sa, ri, ga, pa, and ni. This is the earliest prati madhyama raga known
to musical history and is the ga murchhana of sa grama.
Subtle srutis like tivra Antara gandhara 81/64 and Tivra kakali Nishada 243/128 figure
in some places. see dwavimsati srutis chart in chapter-3
Sanchara3 :
G M P D N S- S N D P M G R – G M P D N D P M – P D N S –S N D –D N D
G R S N D –D N S R S N D P M G R – G M G N D P M – D D P M G R – N RG
M P M G G R R S N D R S ||
ANALYSIS :
Analysis of the kalyan (yaman) of Hindustani and Mechakalyani of Carnatic

music.
Kalyan Mecha Kalyani
1. In Hindustani system Rag kalyan or 1. Mecha kalyani is the most popular raga
yaman is a popular raga derived from of carnatic system. A 65th melakarta.
kalyan Thaat. It is said that this raag is This is the first Prati madhyama raga.
introduced by Amir Khusro. This raga The word Mecha is prefixed to kalyani
is popularly known in South as well according to the katapayadi scheme to
as in North as kalian find out the number of melakarta &
swaras used.
2. Vaadi of yaman is Ga and Samvaadi is 2. All are raga cchaya swaras, R, G ,D, N
Ni are nyasa swaras.
3. Time of singing of this rag is in the 3. No specific time boundations, it can be
first part of night. sung at any time or in the evening.
4. If the note shuddh ma is added to 4. Rag yaman kalyani or Yamuna kalyani
Kalyan as a vivadi swar it becomes a derivative of Mechakalyani
raag yaman Kalyan Melakarta is also widely popular with
shuddha Madhyam note in South
India. There are many compositions
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like semi classical, light, bhajans in
this raag, Infact this rag being adopted
by South Indian artists from North
India. There is a famous
Annamacharya keertana in yaman
kalyani raag “Bhavayami gopala
balam” .
5. Kalyan is a Thaat raga & sampurna 5. Kalyani is also a Sampoorna Mela
raag. raga. Derived from Melakarta
Mechakalyani
6. Jaati is Sampoorn- sampoorn. 6. Sampoorna Jaati Raaga.
Practical differences :
Kalyan Kalyani
1. The notes of kalyan are completely similar 1. The kalyani raga sacharas are as
to that of kalyani of Carnatic music but follows.
there are some slight practical difference GMDP- MGR- GRR GM R this kind
while singing this raag. Based on the of aahata prayogas and janta swaras
vaadi & samvaadi notes i.e. Ga is the first like "R R G G M M D D" are not
main leading note of kalyan in this taken in Hindustani music. Also in
system, According to the alaap Carnatic Kalyani gandhar swar is
teevra based on dwavimsati srutis
i e« x js x e« i] x e« /k i] fu+ js x e«
tivra Antara gandhara is sung and
/k i] e« /k fu /k i e« /k i i e« x] js x teevra kaakali ni is sung i.e the values
e« /k fu /k i] i xjs x] fu+ js x js & l & i are 81/64 and 243/128. where as in
e« x js lA Hindustani music swaras are not
Combinations show the importance of Ga given more oscillation compared to
swar in which Hindustani Kalyani is Carnatic music therefore eventhough
different from Carnatic kalyan. the swaras and sangatis are same but
due to the style and swar combinations
the raga bhava differs.
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G
2. In classical Carnatic music P R
2. i xjs x sangati is also a special sangati is not sung more.
identity of Hindustani Kalyan raag.

THE LIST OF JANYA RAAGAS DERIVED FROM MELAKARTA MECHA
KALYANI: 4
YAMUNA KALYANI: S R G P M P D S – S D P M P G R S
HAMEERU KALYANI: S P M P D N S – S N D P G *M G R S –*SHUDDH MA
SAARANGA: S R G M P D N S- S N D P M R G *M R S
*SHUDDH MA
SUNADAVINODINI: S G M D N S – S N D M G S
CHANDRAKANTAMU: S R G M P D N S – S N D P M G R S
THAAT BILAWAL
SRGMPDNS
SNDPMGRS
LIST OF RAAGAS DERIVED FROM THAAT BILAWAL
Bilawal, Bihag, Kukubh, Deshkar, Durga.etc
ASHRAY RAAG BILAWAL:
According to the Thaata Scheme of present Hindustani System, Bilawal is such a

thaat shows a path to all the raagas and also according to the Raagaang Paddhati almost
all the raga forms of whole Indian music system are based on Thaat Bilawal and it seems
that all the raagas come under Thaat Bilawal. Since Bilawal has got all Shuddh notes in
it. Bilawal is considered as the Shuddh scale in the present Hindustani music. A
Sampoorn–Sampoorn jaati raag. Vaadi is Dhaivat and Samvaadi is Gandhar. Time of
singing this raag is in the first part of a day. The basic Raag swarup of Bilawal:
lk js x] e js lk] lk x js x i] /k i e · x] e js x i] x i fu /k fu lka] lka /k /k

i] /k x i e · x] x i /k fu lka /k i · e x] e i e x e js lkA
The above given swara-sancharas and prayogas of raag Bilawal show that
Bilawal has got vakra chalan, eg: the prayogas like l x] x e js] x i] fu /k] fu lka] lka
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/k] /k x]. Infact Bilawal is a Shuddh swar raag which is taught to the initial learners of
music as a fundamental or basic raag. All alankaras, swar abhyas is initially trained to the
learners in this raag. Without bringing the vakra chalan of Bilawal the teachers teach this
raag in an easier way very systematically. In other words it can be expressed that, a
simplified Bilawal is taught to the initiall learners of Hindustani music.
Bilawal is one of the popular and significant Raagang raag among all the
Raagang raagas. based on the uttarang and poorvang of Bilawal many Bilawal prakars
are introduced by many artists. The poorvang structure of Bilawal is x js x i e x e js
lk and in uttarang i fu /k fu lka /k i. The swar-sangatis and the swarup of both
poorvang and uttarang in Bilawal raag is lka /k i e · x and i /k x i e x Apart from
this when komal Ni is used in this raag like -+ x e fu /k i /k e x and lka /k fu i (or) lka
/k fu /k i, this shows that the usage of komal Ni swar also brings the essence of Bilawal
Ang. In the present Hindustani music Bilawal has got more popularity with the use of
Komal Ni swar which is now called as raag Alahiya Bilawal.
Pt. V.N. Bhatkhande also never stated that Alahiya Bilawal and Bilawal as two
different raagas. In “Kramik Pustak Maalika part–2, he described raag Bilawal under
Alahiya Bilawal. Some of the Artists opine that in raag Bilawal the ‘Ma’ is used in
Aaroh and in Alahiya Bilawal the note ‘ma’ is varjya an excluded note. But the swar-
sangatis of both raagas show that the note ‘Ma’ is equally used, example: x js x i e x]
e js x i] /k e x] e i e x e js lk. These swar-sangati are equally used in both raagas.
In Alahiya Bilawal the note ‘Ma’ is used like x e i e x js lk and sometimes x e /k i]
x e fu /k i, according to Pt.Ramashray Jha, Madhyam and komal Nishad Prayog is full

fleldgedly used in Aaroh. x e /k i prayog clearly shows that ‘Ma’ note is used in Aaroh
of Alahiya Bilawal.
Almost all the forms of Bilawal like Devgiri Bilawal, Yamani Bilawal, Shukla
Bilawal, Kukabh Bilawal, Sarparda Bilawal, Nat Bilawal etc., use the note komal Ni.
The word ‘Alahiya is an old and ancient rag or name since the word ‘Alahiya’ was first
used by Pt. Lochana Kavi in his work ‘Raaga Tarangini’ part–I under megh raag
Samsthan i.e., in the list of megh ragas, raag Alahiya was also mentioned.
vyfg;k rFkk Ks;k 'kq) lwgc dkoa pA
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nsf'k&lwgc ns'kk[k% 'kq) ukVsLrFkSo pAA 5
Pt. Lochana Kavi did not described about the Swarup of raag Alahiya but he only
specified the name of that raag in his ‘Raaga Tarangini Work’.
AALAP: 6
1- lk fu+ /k+ fu+ lk] lk js x] e js lk] fu+ /k+ fu+ lk] lk x e js x i e x e js lkA
2- x js lk] fu+ /+k fu+ lk /k+ i+] /k+ fu+ lk] lk js x e js x e js lk] x js x i /k i e x] e i
x e js lk] fu+ /k+ fu+ lkA
3++ x i e x e js x i /k fu fu /k i] x i fu /k fu lka] /k i e x e js , x i /k /k fu] fu

lka fu/k i /k fu/k fu lka jsa lka /k i /k x i e x e js x i /k e x] js x i e x e i e x
e js lk fu+ /k+ fu+ lkA
4- i e x js x i] i fu /k fu lka lka fu/k fu/k fui] x i /k fu lka jsa lka xa jsa lka] lka fu /k fu
lka] lka fu /k i e x js x i /k fu lka xa ea jsa xa ea jsa lka] jsa lka fu /k fu lka] lka /k /k i]
x i /k fu /k fu/k fui /k e x x i /k fu lka] /k i e x] e i e x e js lk fu+ /k+ fu+ lkA
CARNATIC MELAKARTA DHEERA SANKARABHARANAM 7
Dheera Sankarabharanam is the 29th Melakarta Raaga in the scheme of 72

Melakartas. Swarasthaanas :
AAROHANA : S RGMPDNS
AVAROHANA : SNDPMGRS
It is the 5th Raaga of the 5th banachakram.
The prefix 'Dheera' is added to Sankaraabharanam to suit the Katapaya formula,

which is useful in finding the serial number & scale of the Raaga. Dheera
Sankaraabharanam is a scale where as Sankaraabharanam is a Raagam.
Sankaraabharanam existed even before the formation of 72 Melakartas.
Venkata Makhi too called this Raaga by the same name. This Raaga has got
many derivative Raagas to its credit.
Compositions :
1. Lakshya Geetam– Ripubalakhandanu Re– Mathya– Venkata Makhi
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2. Kriti – Sadaa Sivam Upaasmahe- Aadi- Deekshitar
3. Akshayalinga Vibho- Misrachaapu – "
Raag Sankarabharanam and Mela Sankarabharanam are same raagas which are
equivalent to the notes of Raag Bilawal, a brief description on the notes of
Sankarabharanam is given. It is the Janya of 29th Melakarta Dheera Sankaraabharanam.
Ascent : SRGMPDNS
Descent : SNDPMGRS
Sankaraabharanam is present everywhere in the world systems of music. It is a

major scale in Western Music. The process of Graha Bheda, which is a natural
phenomenon if applied on Sankarabharanam results the following raagas.
Shankarabharanam - SRGMPDNS
Kharaharapriya - RGMPDNSR
Todi - GMMDNSRG
Kalyani - MPDNSRGM
Hari kambhoji - PDNSRGMP
Natha bhairavi - DNSRGMPD
Sankarabharanam - NSRGMPDN
which is called as ‘SHANKARATODIKALHARINATHA’
Sankarabharanam is a full-fledged Mela Raagam, having enormous scope for all

branches of Monodharma Sangeeta like Raaga Aalapana, Swarakalpana, Neravu, Taana
and Pallavi. All kinds of compositions exists in Sankaraabharanam from classical music
to folk music. It has symmetrical tetrachords in it, which means that Poorvaanga and
Uttaraanga Swaras are as given below :
SRGM
PDNS
The distances in between them are alike. Sankaraabharanam, like the Moon,
gives Moon light and it is cool. It gives a serene atmosphere. Sankaraabharanam
produces Saanta & Bhakti Rasas.
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All are important Swaras in it and all are Amsa or Jeeva Swaras in this Raaga. All
are Nyaasa & Graha Swaras. It is a Sarva Swara Gamaka Vareeka Rakti Raagam. The
Raaga is established in any one of the following phrases :
GMG RSS N / SRGMG RSS; N;/ S, D S, N S,/
It has Tri-sthaayi range. All the three speeds can be rendered in this Raaga. But
Vilamba and Madhyama, with occasional speed Sangatis will shine in it. Sky is the only
limit for its scope.
Brief Raaga Aalaapana:8
GMRSS N SRGMRGRSS, N D N P / P D N S / RGMDP GM PGRS /

GMPMGR, GMP / PMPD PP,/ PDP MG MPDN S / SNDPMGR,/ GMDP GMP GRS N/
SR, GM, PDN S/ N S R G M G R S N / S R, S / R, , G M P M G R S S N / D N P /
DPM,/ PDN S,/ NDPMGR,, GMPD, MGRSS N / SR, S / N S D N P / P D N SR,, GM
DPP GRS/ S,RSS D N S/
It has many beautiful Janya Raagas to its credit. Sankaraabharanam is beyond the
scope of any amount of description.
Some Rare Prayogas :
SDP / SNDNP, GMP GRS/ SRGMDPP, GRS / GM DN R NDPR, GMDPR,S/
Analysis of Raag Bilawal & Dheera Sankarabharanam

Bilawal Dheera Sankarabharanam
1. Time of singing this raag is in the first 1. No time boundations.
part of the morning.
2. Sampoorn-sampoorn Jaati Raag. 2. This is also a Sampoorn Sampoorn
Jaati raag & also a Mela raag.
3. Notes used are shuddh ri, shuddh Ga, 3. Notes used here are chatusruti rishabh,
Shuddh ma, pa, Shuddh Dha & Antara Gandharam, Suddha
shuddh ni. madhyamam,Chatusruti Dhaivatam,
Kaakali nishadam.
4. In Bilawal komal nishad is also used. 4. Raag Sankarabharanam is a pure
Bilawal is also got many forms types. Melakarta raga(parent raga).
Alahiya Bilawal, Nat Bilawal, Yamani
Bilawal, Shukla vilaval, Nat Bilawal
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etc. Infact Bilawal's new form is
called as Alahiya Bilawal. Since
Mohammad Raza of Patna in 1813
A.D. had applied the flat form of
nishad (komal ni) in the descend of
the then current form of Bilawal so
nicely, that the use of the same
appealed to all the listeners to such an
extent that thence forward this new
type of Bilawal was called as Alahiya
Bilawal.
5. Usage of komal ni in Bilawal is must 5. Kaisiki nishad is not used in Sankara
komal ni in Bilawal can't become a bharanam.Till now there are no
Vivadi swar. prayogas of Kaisiki Nishad in
Sankarabharanam raag.
6. All kinds of compositions like Vilambit 6. All keertanas, kritis are popular in this
khyal, Drut khyal etc. are sung in this rag. Varnas, geetas, Swarajatis etc. are
raag. composed by the trimurities of South
India. a classical raag.
PRACTICAL DIFFERENCES :
Raaga swaroop of Bilawal.
lk js x] e js lk] lk x js x i] /k i e · x] e js x i] x i fu /k fu lka] lka /k /k i] /k

x i e · x] x i /k fu lka /k i /k e x] e i e x e js lkA
Bilawal's Vakra swarup
lk x] x e js] x i] fu /k] fu lka] lka /k] /k x] /k e etc. it is a difficult to sing. The

Raagang Vaachak swar-samuh of Bilawal – Poorvang : x js x i e x e js lk and in
Uttarang: i fu /k fu lka /k iA
The usage of komal ni
x e fu /k i /k e x and lka /k fu i or lka /k fu /k iA
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Direct usage of note 'ma' in its Aaroh & Avaroh is restricted, madhyam is alpa
prayog note (not an important note) but some artists say the Prayog x e /k i] x e fu /k
i shows that in Aaroh ma is taken but with less stress.
Sankarabharanam of Carnatic Music
Practical differences :
Sankarabharanam Aalapana & the note Combinations :
GMRSSN SRGMRGRSS, NDNP / NSDNP / PDNS / RGMDP GMPGRS /

GMPMGR, GMP / PMPD PP,/ PDP MG MPDNS / SNDPMGR / GMDP G MP GRSN /
SR, GM, PDNS / NSRG MGRSN/ SR, S / R, GMPMGRS SN / DNP / DPM,/ PDNS, /
NDPMGR, GMPD, MGRSSN / SR, S/NSDNP / PDNSR, GM DPP, GRS / S RSS DNS/
In carnatic Sankarabharanam music komal ni prayog is not used it is a pure

melakarta raaga: usage of each swar in both raagas.
Bilawal : lk fu+ /k+ fu+ lk] js x] e x js x js lk] js x e js lk fu+ /k+ fu+ lkA
Sankarabharanam : GMRSS, SRGMG RSS ; N;/ S, DS, NS,,/ There are slight
differences in taking the note Sa and landing it between both systems.
Rishabh swar in Bilawal:
Bilawal : js x] e x js x js lk] js x e js lk fu+ /k fu+ l 'Re swar is less important note, it

is a support note for x and l.
Sankarabharanam : 'Ri' Prayog.
RG MGR, RG MP MGR, GMPMGR, RGMDPGM PGR, NSRG, PDNSR,,
Bilawal's 'Ga' : lk x] e js x] js x i e x] i /k e x · e js x i /k x i e x e js lkA

xa/kkj U;kl cgqÙo gSA
Sankarabharanam Ga:
SRGMG, SRGMGRG, / RGMDP GM PG / GMPMG, GMG / GMDP GMRG GRSN /

GMPMGRG….
Usage of note 'Ma' in Bilawal :
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x js x i e x] e js x i] /k e x or /k i e i e x i /k e x e i e xA
Usage of note 'ma' in Sankarabharanam:
SRGM/ RGRSS RGM/ DP GM/ PGRS GMPM/GR, GM/ P PM PD PP M, ,/ SNDPM,,/

GMDP GMP GRSN. this swar combination especially resemble Bilawal raag. Carnatic
Sankarabharanam do not possess vakra chalan but most of the swar sangatis of Carnatic
Sankarabharanam are similar to Bilawal except Komal ni prayog.
Pancham swar in Bilawal : 'Pa' note is very important is both Aaroh & Avaroh Pa is a
Niyas swar. x e js x i] lk fu+ /k+ fu+ lk x] e js x] x i] /k /k i e · x] e js x i A
vojksg % i /k fu fu /k /k i] e x js x i /k fu lka fu/k fu/k fui] i fu /k fu lka /k · iA
Pancham note in Sankarabharanam
SA – NI DH NI PA, MA PA GA MA - PA, – DH NI PA, DH NI SA DA DA PA, MA

DA PA,
'Dha' in Bilawal :Dhaivat is the Vaadi note of Bilawal but nyas of this swar is very less
eventhough its a vaadi swar. Only is the uttarang of Bilawal with the note Dha works to
bring the essence of the raag. i e x js x i /k /k i] e x e js lk] lka /k /k /k fu i] /k fu
lka] lka /k /k] /k fu lkaA
Dha in Sankarabharanam
N D N P / P D N S / R G M D P / P M P D P P ,/ PDP MG MPDNS / SNDPMGR, /

GMDP GMP GRSN / SR, GM, PDNS / R,, GMPMGRSSN / DNP / DPM,/ PDNS.
Komal Nishad Prayog :
This is only used in Bilawal Popularly as Alahiya Bilawal. komal nishad is not used in
Sankarabharanam lka /k /k fu i or /k fu lka /k fu/k fui are the prayogas in Komal ni.
The Usage of Shudh Ni in Bilawal : In Uttarang Shuddh Ni plays important role as a

nyas swar.
i fu /k fu lka] lka fu /k /k i e x js x i /k fu] x js x i /k fu] i /k x i e x e js x i

/k fu] /k fu /k fu lka jsa lka /k i x i /k fu etc.
in Aaroh - x i /k fu /k lka
Avaroh - lka /k /k i
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In this way /k lka and lka /k are less used.
Kaakali Nishad :
GMRSSN/ N D N / P D N S / D N / P D N S / N D P M G R,, / N S D N / P D N S R ,,
N/ S R G M G R S N / S, R S S D N / GMDP GMP GRSN.
The above mentioned detailed note combinations of each swara used in both systems
show the similarties & dissimilarities in this raaga.
LIST OF RAAGAS DERIVED FROM DHEERASANKARABHARANAM MELA: 9
SANKARABHARANAM: S R G M P D N S – S N D P M G R S
KURANJI: P N S R G M P D – D P M G R S N P
KEDARAM: S M G M P N S – S N P M G M D M G R S
HAMSADHWANI: S R G P N S – S N P G R S
DEVAGANDHARI: S R G R M P D N S – S N D P M G R S
BILAHARI: S R G P D S – S N D P M G R S
ATHANA: S R M P N S – S N D P M G R S
AARABHI: S R M P D S – S N D P M G R S etc...
THAAT : KHAMAJ
SRGMPDNS
SNDPMGRS
RAAGAS DERIVED FROM THAAT KHAMAJ
Khamaj, Jhinjhoti, Tilang, Khambavati, Tilak-Kamod, Jai Jaivanti etc...
ASHRAY RAAG KHAMAJ :
In Hindustani Sangeet paddhati raag Khamaj is an Ashray raag of Khamaj Thaat

and also a Raagang raag under Raagang raag padhati, it is one of the most popular Thaat
and a Raagang raag. This raag takes both NISHADAS and the rest notes are Shuddh. In
Aaroh RISHABH swar is varjya and Avaroh is Sampoorn. Therefore the Jaati of this
raag is SHADAV-SAMPOORN. Khamaj is a Poorvang Pradhan raag, therefore Vaadi
swar of this raag is GANDHAR and Samvaadi is DHAIVAT. Time of singing this raag
is in the FIRST PART OF THE NIGHT.
RAAG SWARUP OF KHAMAJ :
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lk x] e i] /k ie x] e x js lk] x e i /k fu /k · ei i/k ie x] lk x e i] i /k fu
/k i /ke x] e x js lk] x e fu /k fu i /k fu lka] /k fu lka jsa fu lka fu /k] lka fu /k
i /k e x] x e i /k fu lka xa jsa lka] /k fu i /k fu lka fu /k i] x e i i/k ie x] e
x jslkA
In the above given swar-vistaar , x e i /k ie x (OR)
i /k fu /k ie i i/k ie x, is the RAAGANG VACHAK SWAR SAMUH OF

KHAMAJ RAAG.
And e fu /k fu i/k fulka swar-samuh also exhibits the swarup of raag Khamaj.
There are few ragas that are derived from Khamaj Thaat like “JHINJHOTI”,
“GAARA”, “KHAMBAVATI” etc.
The swar-sangatis of these ragas like :
JHINJHOTI : /k+ lk js e x (OR) /k+ lk js x e x] jslk fu+/+k i+ /k+ lkA
GAARA : e x js x jslk fu+lk fu+ /k+ /k+ fu+ xA A sankeern jaati raag.
IN KHAMBAVATI : /k e i x e lk are very significant and important which

are popular and have their own style, identity.
The Avarohatmak Raag-vistaar of Khamaj Ang is also profound – fu /k i e x or

fu /k i /k e x, and lka fu /k e i x etc. are the original and natural swar-sangatis of
Khamaj Ang, because the ragas like SORAT, DESH, TILANG, TILAK KAMOD etc. do
not come under Khamaj Ang, they only come under Thaat Khamaj.
SORAT and DESH alone are Raagang ragas. Similarly, according to the raag
swarup of TILAK KAMOD and TILANG show that they come under Upraagang ragas
category i.e. the swar sangatis of TILAK KAMOD ANG : lka i /k e x] lk js x lk fu+ i+
fu+ l js x] l js i e x and TILANG ANG : fu i x e x] i fu lka fu i e x] lk x e i
x e i fu i e x.
Khamaj is one of the most attractive and beautiful raag which is all time loved by
the listeners of music. Khamaj is such a raag which sounds wonderful in all kinds of
compositions like DHRUPAD, DHAMAR, KHYAL classical, THUMRI, DADRA,
TAPPA semi-classical compositions. Apart from this, Khamaj is also suitable for light
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music BHAJANS, LOK SANGEET (FOLK MUSIC) compositions etc. also there are
wonderful Ghazal compositions in this raag. According to Pt. Ramashray Jha, In Khamaj
raag, due to the exclusion of RISHABH swar in the Aaroh, directly to take Pacham note
the prayog lk x e i] x e i is taken. Where as in Thumri compositions some of the
artists also use Rishabh in the Aaroh of this raag like: x e js x js x e i.
The swara prayogas in Khamaj raag :

Apart from Shadaj, the Rishabh swar prayog : lk x e i e x js lk, shows the
usage of Re swar is less i.e. in the alpatv form.
Gandhar is the Vaadi swar of this raag, therefore Nyas on this swar will also be
more. The prayogas are like: lk x js lk] fu+ /k+ fu+ lk x, lk x e i e x] x e i /k e x]
fu /k i /k e x etc.
Madhyam swar prayog : x e i] /k i e x e i, fu /k i /k e x etc. prayogas
are taken in alpatv form.
Pancham swar is a sampoorn Nyas swar in this raag. The prayogas like: x e i]
lk x e i] x e i /k fu /k i etc.
Dhaivat swar prayog : x e i /k fu /k, i /k fu lka fu /k] xa jsa lka fu lka fu /k, fu
lka /k fu i /k
therefore Dhaivat is a nyas swar in Avarohi kram(sequence) and alp prayog in Aaroh.
Komal Nishad prayog : fu lka fu /k i] jsa lka fu lka fu /k i, in this manner

komal Nishad is an alp prayog swar and Shuddh Nishad in the Aarohi kram fu /k fu i /k
fu fu lka jas fu /k i /k e x] e i x e i /k fu etc. used as a Nyas swar.
AAROH : lk x] e i] /k fu lkaA
AVAROH : lka fu /k] i] e x] js lkAA
PAKAD : x e i /k fu /k e i /k e xA
AALAP: 10
1- lk x] e x js lk] fu+ /k+ i+ /k+ fu+ lk] x e i] /k e x] e x js lkA
2- x e i /k e x] e x lk x e i] x e i /k fu /k i] /k i e x] e x e i /k
fu /k i /k e x] /k i /k e x] e x js lkA
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3- i e x e i, fu /k fu /k i /k e x] lk x e i] e x e fu /k fu i /k lka fu
/k i /k e x] fu /k i e x] e x js lk fu+ /k fu+ lk x js lkA
4- fu /k i e x e i /k fu lka, lka fu /k /k e x] e i] i fu /k fu i /k fu lka]
/k fu lka jsa fu lka fu /k] lka xa jsa lka jsa lka fu /k] i /k fu lka fu /k i e x]
x e i /k fu lka] i lka fu /k i /k e x, i e x js lkA
CARNATIC MELAKARTA HARI KAMBHOJI :
Hari Kambhoji is the 28th Melakarta Raaga.
Swarasthaanas :
Kaambhoji is an ancient and well known Raaga, where as the scheme of 72

Melakartas is of a very recent origin. Under this scheme, very well-known and
established Raagams like Todi, Sankaraabharanam, Bhairavi, Kaambhoji, Kalyaani etc.,
came in to the fold of 72 Melakartas.
Hari Kaambhoji, over a period, gained ground to evolve as a Raaga from

Mela.Tyagaraja has shaped it into a Raaga by composing eternal compositions like
'Dinamani Vamsa', 'Enduku Nirdaya', 'Undedi Ramudokadu' etc.
A Mela or an obscure Raaga evolves into a Raaga when some compositions by

famous composers are composed. By this process, the Mela or a rare Raaga becomes a
famous Raaga.Amsa swara or Jeeva swara, or important note is Ri. One can attempt to
elaborate Raaga and Swara Kalpana in Hari kambhoji by learning compositions in the
same. According to Venkata makhi, this raag is 'Naaree Kedara Gowla'.
Moorchhana : SRMPNS/ SNDPMGRS (Asampoorna Melam).
Compositions :
Geetam - Are Srinaatha Guru – Triputa – Venkata Makhi

Kriti - Undedi Raamudokadu – Roopakam – Tyaagaraaja
Kriti - Enduku Nirdaya – Aadi – Tyaagaraaja
Hari kambhoji is a Moorchhana Karaka Mela Raaga

Hari Kambhoji has many famous derivative Raagas.
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THAAT KHAMAJ & MELA HARIKAMBHOJI
KHAMAJ HARIKAMBHOJI
1. The notes taken in Thaat Khamaj are 1. The notes taken in Mela Harikambhoji
Aaroh : S R G M P D N S are
Avaroh : S N D P M G R S Aarohan: S R G M P D N S
Shuddh Re, Shuddh ga, Shuddh ma, Avarohan: S N D P M G R S
pa, Shuddh Dh, komal ni. Chatusruti Ri, Antara ga, Suddha Ma,
pa, chatusruti Dha, kaisiki Ni.
2. Raag Khamaj’s Aaroh and Avaroh 2. Harikambhoji is a Melakarta raag
AAROH : lk x] e i] /k fu lkaA (parent scale) in which both ascending
AVAROH : lka fu /k] i] e x] js lkAA and descending komal Nishad (Kaisiki
PAKAD : x e i /k fu /k, e i /k e xA nishad) is used.
In aaroh Rishabh is absent and shuddh

nishad is used.
3. The important notes and main Swar- 3. The main Swara Sancharas of
Sangatis of Raag Khamaj are: Harikambhoji-
Sa ga ma pa, ni Dh, S N , D P, P M G R M G G R S ,-
Ga – ma Ga , Ga ma pa M G R S, R G M P D N S R- G M G
Ga ma ga – Re sa. R S N D P, M P D N,S N|
Ni sa ni dh pa ma, M N D N, - P, D,, N S N S, ....
Ni dh pa dh ma ga,
Ga ma ga – Re sa
ANALYSIS
 In Khamaj Thaat point of view, Hari Kambhoji mela of Carnatic music and Thaat
Khamaj correspond each other i.e. only the scale, Thaat Khamaj is equivalent
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to Mela Hari Kambhoji. When raag Kamaj gets into comparision it do not
correspond the notes of Hari Kambhoji. As it is said in the earlier theories that
a Thaat in Hindustani music cannot be sung it only show the scale i.e. only
Aarohi is shown. The ashray ragas and Raagang ragas have the Aaroh, Avaroh
and the raag vistaar that can be sung, but Melakarta can be sung and they possess
profound Kriti, Keertana compositions.Thererefore Thaat khamaj is equivalent to
Mela Harikambhoji but raag Khamaj is not equivalent to the notes of Hari
Kambhoji.
 Raag Khamaj is almost equivalent to ‘Khamas’ raag in Carnatic music, of course

Khamas raag is incorporated by Carnatic system from Hindustani music but now
Khamas raag acquired more popularity in South as a classical raga. These two
ragas are also analysed and studied.
 Similarly raag Khamaj of Hindustani and raag Kambhoji of Carnatic music are
two beautiful ragas derived from Thaat Khamaj and Mela Hari Kambhoji. Both
are Shadav– Sampoorn ragas. Kambhoji raag
Aarohana : SRGMPDS
Avarohana : SNDPMGRS
All are jeeva swaras in Kambhoji raag. Trisruti dha (5/3) and Chatussruti dha
(27/16) are used in this raga. The former figures in the phrase D; n n D and the latter in
the phrase S n p D s r g.
This raga is mentioned in the Sangita ratnakara, Sangita makaranda and Sangita
samaya Sara. The names Kambodi and Kamboji are also found in some works.The pan
Takkesi is equal to this raga.
Sanchara: 11
SR G MP DS—D R S N D P — D M G-P D S S *N P— D D S D S-M GPD S—

P D S R G-G G—M G R M G R S S N D—P D S R G M G R S S N D P—D
S D R S N D P-D M G —P D S S *N P D D S D S—M GPD S—S NDPMGRS —S R
G M P M G R S—S N D P-D R S N D P D M G — P D S *N P D D S ||
* denotes kaakali Nishad prayog
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KHAMAJ :
1. In the aaroh of Khamaj raag Rishabh swar is absent and Shuddh Nishad is sung
in Aaroh.
2. In Avaroh Komal ni is taken. In Khamaj the way of taking ‘D M’ swar-sangati
and vakra form pancham swar like “ S N D P, D M G” is the total beauty of the
raag.
KAMBHOJI :
1. In Kambhoji Rishabh swar is used in Aaroh, and Komal Nishad is Varjya in
Aaroh, in Avaroh Komal Nishad is sung and Kaakali Nishad is used only as an
Anya swar in the Notes " S N P" very rarely.
2. Sometimes in Khamaj S R S N D P prayog is taken very rarely, this prayog
corresponds with Kambhoji.
3. The note combinations in Kambhoji like S N – D P- N- D P M G, G M G R
resemble Hindustani Khamaj.
4. “P D M G” prayog exists in Kambhoji raag also which is the ranjaka prayog of
Hindustani Khamaj.
Analysis between Raag Khamaj & Khamaas

KHAMAJ KHAMAAS
1. Raag Khamaj is derived from Thaat 1. Khamas of Carnatic music is also
Khamaj. The description on Khamaj derived from Melakarta
raag is already given. Harikambhoji. Khamas raag is being
Aaroh: Sa ga ma pa Da Ni sa adopted from Hindustani music to
Avaroh: Sa ni Dh pa, ma Ga Re sa Carnatic but Carnatic music system
Pakad: call this raag as Khamas. Rag
Pa, Ga, maGa Khamas Aaroh &
Ma pa Dh, Ga, maGa Aarohana:SMGMDDNS (or)
Ni sa ga, ma pa da ni sa SGMPDNS
Ni da pa, da ma ga etc., Avaroh : SNDPMGRS
2. Khamaj is a shadav-sampoorn raag. 2. Khamas is also a Shadav Sampoorn
raag which is suppose to be called as
Bhashanga raagam in Carnatic
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system. The Anya swara prayoga of
Khamas i.e., Kaakali nishad prayoga
(Shuddh nishada) also suggests that it
is also as an upaanga Raag. since
Kaakali ni enhances the beauty to the
raga, Khamas has become more
popular with the anya swar Kaakali ni.
3. The mood of this raag is shringar 3. Khamas produce Sringara and
and bhakti ras. Madhura Bhakti ras.
4. A very popular raga which have 4. The name Khamaas is more popular
composition in all aspects khyals, than its parental mela raagam.
thumri, tappa, ghazals, bhajan etc. Harikambhoji. A very famous kriti in
A versatile raga. but mostly khamaj this rag ‘Brochevaarevarura’
is popular for thumris, bhajans etc. composed by vasudevachari and also
‘seetapate’ kriti of saint Tyagaraja are
very popular kritis. Also there are
beautiful semi-classical keertanas,
slokas, light compositions in this raag.
Though Kamaas is a Deseeya raagam.
vidwans made it our applying
Carnatic oriented Gamakas to
Khamas. Therefore Khamas has
become a Carnatic sampradaya
raagam but the origin of name of that
rag is from North Khamaj.
5. Vaadi is ‘Ga’ and Samvaadi is ‘Ni’. 5. All the Svaras are important. All are
Amsa, Nyaasa, Graha swaras.
‘SRGM’ is an ‘Apoorva Prayoga’.
‘Ri’ is only a passing note.
Rishabham is not sustained Ga & Dha
swaras can’t be oscillated Ma & Ni
can be given small and big
177

oscillations.
6. Time of singing of this raag is in the 6. no specific time boundations.
second quarter of the night.
7. Aaroh : S G M P D N S Aaroh: S M G M D D N S
Avaroh: S N D P M G R S SGMPDNS
Avaroh: S N D P M G R S
Important Swara Sangatis:-
MGSGMP, MDN N,
S N S , R S S D P M G M ,,,
M N D N P D N S,
Kaakali Ni (Shuddh Ni) is the foreign note
(Anya swar) used in Khamas which came
into existence after Sri Vasudevachari in
his kriti “Brochevaarevaruraa” used
Shuddh Ni as an anya swara (Vivadi swar)
PRACTICAL ANALYSIS
1. The Aaroh & Avaroh of Khamaj & Khamas are one and same. The only
difference is in ‘Khamaj’ while singing Aaroh Shuddh Ni is used and in Avaroh
komal Ni is used. Shuddh Ni in Aaroh of Khamaj is a vivadi swar where as in
‘Khamas’ while taking Aarohana, Komal Ni (Kaisiki Ni) is used and in
Avarohana as a vivadi swar (Anya swar) Kaakali Ni (Shuddh ni) is used.
3. Another difference is that ‘Rishabham’ is also very rarely used in the Aarohana
of Khamas as an Apoorva Prayoga i.e., ‘Ri’ is a passing note not a sustaining
note like ‘S R G M ‘ prayog is rarely used which is strictly not used in Hindustani
‘Khamaj’.
178

4. In Carnatic ‘Khamas’ the prayog MGS GMP, the prayog MGS brings the tinge of
Rag ‘Khambhavati’ in Hindustani Music .
5. In Khamas, the actual way of taking Aaroh is S M G M P D N S the prayoga
‘SMGM’ is not used in Hindustani ‘Khamaaj’.
Rare Prayogas of Khamas :
PDN , R S S S D, P, P M M , G G, MG,
MG,M/ MGS GMP , DNS , RGR , S / GMDNS /
Brief Aalapana : 12
M, MGG, MP / MNDNDP,/
P, ND PMM G M / MGGR S / SGMP , DPMGM,/
MGSGMP, / GMPDNS/ NDDP MGM, , / MGRS MGMND /
D,NP/ D,N S, /SNS R S ND/ D, NSNS/ NS MGR S, /
NSRNDP/ M,PDMGM,/ GMPDN; DPMGM, /MGRSN /
Prayogas of Khamaj :
The prayogas of Khamaj raag are clearly given in the description of Hindustani
Raagang raag Khamaj.
LIST OF FEW RAAGAS DERIVED FROM HARIKAMBHOJI 13
KAMBHOJI: S R G M P D S – S N D P M G R S
YADUKULA KAMBHOJI: S R M P D S – S N D P M G R S
KEDARAGOULA: S R M P N S – S N D P M G R S
JANJHOOTI: D S R G M P D N – D P M G R S N D P D S
SAHANA: S R G M P M D N S – S N D P M G M R G R S
VALAJI: S G P D N S – S N D P G S
NATAKURANJI: S R G M D N P D N S – S N D M G S etc...
THAAT – BHAIRAV
SRGMPDNS
SNDPMGRS
179

LIST OF RAAGAS DERIVED FROM BHAIRAV THAAT:
Bhairav, Saurasthra, Jogiya, Ramkali, Bibhas, Ahir-Bhairav, Lalita, Saveri,
Ananda Bhairav, Gunkali etc.
1. BANGAL BHAIRAV : lk js] x e i] /k] lka, lka /k] i] e x js lkA
2. SHIVMAT BHAIRAV : lk js x e i /k fu lka, lka fu /k i] /k fu i] x e

js] x js lkA
3. PRABHAT BHAIRAV : lk js x e i /k fu lka, lka fu /k] i x e e e x]

i x e« js] lkA
4. SAURASHTRA BHAIRAV : lk js] x e i] /k] fu lka, lka fu /k i] e /k fu lka

fu /k e i x e js lkA
5. NAT BHAIRAV : lk js] x e] i /k fu lka] lka fu /k] i] e x js lkA
6. BIRAAGI BHAIRAV : lk js] e] i] fu lka, lka fu i] e] js] lkA
7. BHATIYARI BHAIRAV : lk js x e i /k fu i] e« /k lkaA lka fu /k i x

e js lkA
8. GUNAKALI : lk js] e i] /k] lka] lka /k] i] e js] lkA
9. KALINGDA : lk js x] e i] /k fu] lkaA lka fu] /k i] e x] js

lkA
10. GAURI : lk js x] e i] /k fu lka, lka fu /k i] e x js lk

js fu+ lkA
 In the uttarang of Bhairav raag, if Kaafi and Khamaj raagas are substituted raag
AHIR BHAIRAV is derived.
 Similarly, merging raag 'Bhinn Shadaj' in uttaraang of Bhairav raag ‘Saurashtra
Bhairav is derived.
 Merging Raag 'Nat in the Poorvaang of Bhairav, Raag NAT BHAIRAV is derived.
Ancient raag Hijaj Bhairav is also exhibited.
 Apart from this, merging up the visishth swar samuh of other raagas into the
Raagaang raagas also give birth to many raagas like.
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 In poorvang raag Todi Amsh and in uttarang of Bhairav, raag Kanhada Amsh is
merged, SHIVMAT BHAIRAV is derived.
 By merging the swar-samuh e« i /k fu /k i in Bhairav raag RAMKALI raag is
derived.
By excluding or based on varijit swaras in a raag, raagas are derived.

1. Excluding Gandhar – Nishaad swaras in Bhairav – Gunakali raag is
derived.
2. Excluding madhayam – Nishaad swaras VIBHAS Raag, and by excluding
Rishabh – Gandhar swaras DEV RANJANI raag is derived.
3. Only excluding the note 'Ni' in Bhairav BANGAL BHAIRAV etc., Raagas
are derived.
Also by replacing the original vaadi-samvaadi swaras of Raagaang raagas with

other raaga vaadi-Samvaadi Nyas swaras give birth to many raagas. Extracts the chhaya
of raag Gauri. Similarly in the place of Vaadi swar Dhaivat and Samvaadi swar Rishab,
Ma–Sa swaras are substituted as Vaadi- samvaadi swaras 'JOGIYA' raag etc. is derived.
It is assumed that the above mentioned all the raagas derived from Bhairav Thaat possess
the features of Bhairav Ang. In this manner with the help of a Raagaang Raag many i.e.
limitless ragas take birth.
ASHRAY RAAG BHAIRAV :
Raag Bhairav is the most earlier and ancient raag. It is said that Shiv ds ik¡p eq[k
ls ik¡p jkx mRiUu gq, gS] muesa ls Bhairav,d gSA Miyan Tansen has described about Raag
Bhairav as :
^^dgs fe;ka rkulsu lquks 'kkg vdcjA
lc jkxu esa izFke jkx HkSjoAA 14
In Hindustani classical music Bhairav is an important raag with more aesthetic

values. They give first prior prominence among Raagang raagas to this Raag. Raag
Bhairav is among 6 main ragas, in Raag-Raagini Raag classification. It is a masculine
(Purush) raag. According to Thaat paddhati, Bhairav is a Thaat raag. According to
Raagaang Raag Padhati Bhairav is a Ragaang Raag. In this raag Rishabh & Dhaivat notes
181

are komal and the rest notes are Shuddh. Jaati is Sampoorn-Sampoorn.Vaadi-Dhaivat,
Samvaadi –Rishabh. This is an early morning Sandhi prakash raag.
The special feature of this raag is that being an Uttaraang Pradhan raag, there is a
lot of scope to perform swar-vistaar in all the three mandra, madhya and taar saptaks.
lk js js lk /k+ /k+ fu+ lk] lk js js x e x e js js lk /k+ /k+ fu+ lk js js lk] fu+ lk x e

i] x e /k /k i, /k /k i, /k /k i e i] x e js js lk, e i /k /k fu lka, fu lka /k /k]
lka fu /k /k i, /k e i, x e /k /k i] x e i x e js js lk] /k+ /k+ i+ /k+ /k+ fu+ lkA
The above given swar-vistaar shows that this is a Shuddh raag, a raagang
Sampoorn raag. Which have an independent raaga structure. This raag do not correspond
with the notes of any other raag. Bhairav raag can also be taught to the initiall or
fundamental learners of Hindustani music. even in Carnatic music the fundamentals are
taught to the initiall Carnatic music learners in Bhairav (Mayamalavagaula) raag.
Significance of each swar in Bhairav:
After singing and elongating the shadaj note, the way of singing rishabh in
Bhairav raag has got a special identity Rishabh swar is an Andolit swar, an Andolit
prayog is taken i.e., in the Aarohatmak Rishabh note an Andolit swar prayog slightly
touch the Gandhar swar Eg: lk xjs xjs lkA R and D notes are the Andolit swaras which is
the identity of Bhairav raag. R is like an answer to D and Dhaivat is an answer to R.
The Aarohatmak prayog of Gandhar l xjs xjs x · e x e i] /k+ /k+ lk] lk x x e

in this manner the usage of Ga in this raag is of Alanghan and Deergh Bahutv. Similarly
the Aarohatmak prayog of Ga is like i e x e js, and x e js Vakra and Anabhyas Alpatv
form Avarohatmak Ga is sung.
Madhyam - Swar Prayog: x e i e x in this manner in an Anabhyas form and x

e i x e js i.e. prayog & swar-sangati is langhan-alpatv form madhyam swar is sung.
In the present raag, note Pancham is a Nyas swar The prayogas like x e i] e i
/k /k i] /k i e i in this manner in e /k and /k e swar-sangati in langhan-alpatv form,
the pancham prayog is sung. To sing taar 'sa' in Aaroh x e /k /k fu lka the importance to
pa note is less. Therefore again in the swar-sangati i.e. in Avaroh fu lka /k /k i swar-
sangati shows that pa as a Nyas swar.
182

Dhaivat swar in the uttarang of Bhairav Ang is a Vaadi swar. This swar bedecks
the whole raaga. The whole beauty of Bhairav Ang lies on Dhaivat note in Uttarang lka /k
fu/k fu lka fu /k fu/k fu/k i in this manner the Kan of Nishaad swar i.e., touching the note
'Ni', dhaivat swar is sung, Dha is specially an Andolit swar in Bhairav raag. This effect
highlights Bhairav Ang.
The prayogas of Nishad swar in Bhairav : /k fu lka] lka fu /k /k iA
e i /k /k lka and of swar samuh is langham alpatv form- lka /k /k iA
Raag Bhairav portrays vairagy, bhakti and shant rasas adequately with its
beautiful raag swarup. The Raagas derive from Bhairav Ang with the mixture of
Raagaang Vachak swar of Bhairav are given as follow : Raagaang vachak swar of
Bhairav in poorvaang : x e i x e js] js js lk and in uttarang e i /k /k fu lka fu /k /k i]
These Raagang vachak swar-sangatis are like heart & soul of Bhairav Raag.
AAROH : lk js] x e i] /k] fu lkaA

AVAROH : lka fu /k] i] e x js] lkA
PAKAD : x e fu/k] fu/k i] x e js] js lkA
AALAP : 15
1- lk xjs xjs lk] /k+ fu+ lk] js js lk] fu+ lk x e ¼e½ js] js js lk fu+/k+ fu+/k+ fu+ fu+
lkA
2- x e fu/k fu/k /k i] x e i x e js] js x e i] x e /k] /k] /k i] /k fu fu /k /k

i] /k /k i e i x e js js] js x e i] x e i e js] js js lkA
CARNATIC MAYAMALAVAGAULA
15th Melakarta raga; third raga in the III (Agni) chakra (Agni-go). Malavagaula
was the original name of this raga. Maya was prefixed to the raga name, after the advent
of the scheme of 72 melas; this was done to obtain the number 15 by the application of
the katapayadi formula.
This is a Murchhanakaraka mela. Its ri, taken as shadja results in Rasikapriya,the

72nd Mela; its ma taken as shadja results in Simhendramadhyama, the 57th mela.
AROHANA : SRGMPDNS
183

Besides Shadja and Panchama the notes taken are :
Suddha Rishabha, Antara Gandhara, Suddha Madhyama Suddha Dhaivata and

Kakali Nishada. Sampoorna raga, sarva svara gamaka varika rakti raga. A janaka raga
claiming a large number of janya ragaas. A mela raga with a pair of symmetrical tetra-
chords—the tetrachords being separated by the interval of a major tone ; ga and ni are
jiva svaras; ga and pa are amsa svaras or resting note. Fairly distributed; can be sung at
all times. Tristhayi raga. Compositions in this raga commence on the sa, ga dha and ni.
This raga is able to evoke a soft and soothing feeling. One of the old ragas and is
mentioned in the Sangita Ratnakara.
This is the raga in which all students of Karnatic music are taught the preliminary
svara exercises.
The following features of the raga make it an Ideal one of the initial lessons in
music:—
1. Svarasthanas with dual names are absent here.
The only other Mela wherein svarasthanas with dual names do not come in
is Kamavardhani. Since it is easier to learn svara exercises in a suddha
madhyama raga, rather than in a prati madhyama raga, Mayamalavagaula
has been preferred to Kamavardhani.
2. There is only a semi-tonal difference between the two notes of each of the
four pairs: (i) s r, (ii) g m, (iii) p d, (iv) n s and the two notes of each pair are
played on contiguous svarasthanas on the veena.
3. This raga admits of janta svara and datu svara prayogas in quick time and
slow time. eg: SS RR GG MM PP DD NN SS and
4. Achala svaras and Kampita Swaras figure herein.
Sanchara: 16
S R G M P D N S—G M P D N S R S-S N D P D N S- S N D N S R G R G –
M G R S-S N D P M G- G M P D N ,S R S N D P M G R S—S N D N S R S ||
Some prominent compositions
184

Lakshana gita Ravikotiteja Matya taalam
Kriti : Merusamana Madhyadi Tyagaraja.
ANALYSIS
Rag Bhairav and Melakarta Mayamalavagoula
Thaat Bhairav Mela Mayamalavgowla

1. Raga Bhairav portrays karuna and 1. Raga Mayamalavagaula portrays
bhakti rasa. shanta, Bhakti &Karuna rasa.
2. Time of singing the rag is in the early 2. A sarva svara gamaka varika rakti
morning (pratah Kaleen) raag. raga.(which possess all the 7 notes and
have wide scope for gamaka are said
to be sarva swara gamaka varika rakti
ragas)
3. In Hindustani music the initial 3. “Carnatic Sangeeta Pitamah” Shri
concepts are taught in rag Bilawal or purandaradasa for the first time in 16th
in rag ‘Yaman’, also in Bhairav raag century introduced this rag as a
sometimes. As rag Bilawal contains fundamental rag for the learning of
all shuddha swaras in it therefore to music in the form of ‘Sarali’ swaras,
be an easier raga Bilawal or Bhairav Jantaswaralu Alankars in this rag as
ragas are taught to the initial learners well as in ‘Malahari rag’ which is the
of Hindustani music. derivative rag of maya malavagaula. In
carnatic classical music the initial
concepts are taught and are started
with, mayamalavagaula only.
4. All kinds of compositions are sung 4. Mayamalavangula also originated
like Dhrupad, Damar, Bada-Chhota some centuries ago. This is also an old
khyal, Taraana etc. in this raag.  raaga. This rag shows the original
The evolution of Bhairav raag sampradaya of Carnatic system. The
happened some centuries ago. Majestic swaras of mayamalangowla
and an old raag. The form and singing corresponds the same swaras of
style of this raag is not changed from Bhairav slightly there exist some
centuries. practical differences.
PRACTICAL DIFFERENCES
Hindustani Bhairav : Mayamlav Gaula :
1- x e fu/k fu/k /k i] x e i x e js] js x 1. S R G M P D N S—
G M P D N S R S-S N D P D N S-
185

e i] x e /k] /k] /k i] /k fu fu /k /k i] S N D N S R G R G – M G R S-S N D
/k /k i e i x e js js] js x e i] x e P M G- G M P D N,
i x e js] js js lkA S R S N D P M G R S—S N D N S
R S ||
vkjksg es ^js* dk nqcZy (weak) vojksg
es ^js* dk izcy (strong) prayog gSA
2. In Aaroh R and D are andolit swaras. 2. In Mayamalavagaula note ‘Rishabh’ is
not an Andolit swar like ‘Bhairav.’
Dhaivat and Rishabh swaras are given
more oscillations.
3. In Bhairav some times ‘Pa’ note is 3. In ‘Mayamalavagaula’ the Prayog

not directly sung in aaroh, eg : lk x G M R S is not used. ‘M G R S’
e /k · /k iA prayog is used. in Mayamalavgaula
rarely in semi classical
compositions without singing Pa
note “G M D P M G” prayog is
used. but Pancham swar is used in
classical kriti compositions, infact
all the swaras are completely used.
LIST OF FEW RAAGAS DERIVED FROM MELA MAYAMALAVAGAULA 17
MALAHARI : SRMPDS–SDPMGRS
SAVERI : SRMPDS–SNDPMGRS
GOULA : SRGMRMPNS–SNPMGMRS
JAGANMOHINI : SGMPNS–SNPMGRS
BHOULI : SRGPDNDS–SNDPGRS
NADANAMAKRIYA : SRGRMPDN–NDPMGRSN
REVAGUPTI : SRGPDS–SDPGRS
PAADI : SRMPNS–SNPDPMRS
GOURI : S R M P N S – S N D P M G R S etc...
THAAT POORVI
Raagas derived from Poorvi Thaat
Sree, Jetashree, Tanki, Puriya Dhanashree, Malavi, Gauri.
186

iwohZjkx% ldjfofnr% dkseyk';ka fj/kk';kaA
e/;Lrhozks e`nqjfi lnSok= uhozkS xuh Lr%AA
xks ok|= izfoylfr rRlkgp;S fu"kkn%
laiw.kksZ·lkS ljlfocq/kS% lk;eso izxhr%A & dYinzqekadqjs
dksey fj/k rhojxuh nksÅ e/;e ykxA

xfu oknhlaokfnrsa cur iwjoh jkxAA 18 & pafnzdklkj
ASHRAY RAAG POORVI
Raag poorvi is an Ashray raag of Thaat Poorvi based on Thaat paddhati in

Hindustani music system. According to Raagang raag padhati raag Poorvi come under
Poorvi Ang. In this raag Rishabh and Dhaivat swaras are Komal. Both Madhyams are
used and the rest swaras are shuddh. This is a Sandhi prakash raag.
A Sampoon jaati raag. Vaadi swar is GANDHAR. Samvaadi swar is NISHAD.

Time of singing is in the evening.
RAAG SWARUP OF POORVI :
lk] fu+ js x] e« x js x] js e x] e« x js lk] fu+ /+k fu+ js x] js x e« i] /k e« i

e« x e« jsx] js x e« i /k · e« x] js x js lk, x e« i /k i] e« /k fu lka] lka
fu jas fu /k i] /k e« i x e jsx] e« /k e« x] js x js lk] fu+ /k+ fu+ lk js xA
The above raag swarup of Poorvi, shows that it has also got a separate raaga
structure, like other Raagang raagas. Poorvi raag vistaar has no mishran of other raagas.
Therefore, poorvi raag is considered as SHUDDH RAAG like other Shuddh Raagas. The
Raagaang vachak swar-samuh of Poorvi raag
In poorvaang : fu+ js x] e« x js x] e« i e« x e jsx] js lk] fu+ /k+ fu+ lk js xA
In Uttaraang : i] e« /k fu /k lka] fu jsa fu /k · iA
The raagas like POORIYA DHANASHREE, SHREE, BASANT, PARAJ,

JAYATA SHREE, LALITA GAURI, LALIT (KOMAL DHAIVAT) etc. possess the
Raagaang vachak swar-samuh of Poorvi raag. Especially in the Aalap & Taane and in the
187

uttaraang of these derivatives of poorvaang raagas, poorvi raag swarup is more
highlighted EXAMPLE : The swar-sangatis e« /k lka] e« /k fu lka] e« /k jsa lka] x e« /k
fu jsa xa jsa lka] /k fu jsa fu /k i] e« i /k e« x] fu /k i /k i e« i e« x etc.
Poorvaang of Poorvi :
fu+ js x] e« x js x] x js lk] fu+ /k+ fu+ lk js x] js x e« i e« i /k · e« x] i e«

x] e« x js x] js lk] fu+ /k+ fu+ lk js xA
In the above swar-vistaar the significance of Gandhar swar is more highlighted

which is the vaadi swar of Poorvi raag. Another important feature of poorvi raag is that
the only usage of teevra madhyam itself brings out the chhaya of poorvi raag.
The Raag near to Poorvi (sampratriti raag) is 'Puriya Dhanastree' but in poorvi
vaadi is 'Ga' and Samvaadi is 'Ni' and also both madhayams are used. Whereas in Puriya
Dhanashree pancham and Shadaj are Vaadi, Samvaadi swaras. Also the usage of e« js x
i swar-sangati separate both raagas. The uttarang of both raagas resemble more.But both
raagas are poorvang pradhan raagas.
Puriya Dhanashree poorvang swarup :
fu+ js x] e« js x] x js lk] fu+ /+k fu+] fu+ js x] x e« js x] fu+ js l is the poorvang

swarup of Puriyadhanashree. Even though Ga and Pa swaras are Nyas in Puriya
Dhanashree raag and also in poorvi raag, the difference is that in poorvi, vaadi is Ga and
based on Vaadi swar, the Nyas prayog is taken. Similarly in Puriyadhanashree note
pancham is vaadi therefore pancham related Nyas prayog is taken. Shuddh Ma prayog in
Poorvi raag differentiate both raagas. The prayog i e« x e x both madhyam prayog
bringout the little chhaya of raag 'PARAJ' also.
i e« x e jsx ending the swar-vistaar with Gandhaar note touch the Rishabh
swar in the Aarohatmak Kram, which is the main feature of evening raagas. The same
swar-samuh in PARAJ raag is sung. i e« x e x] i /k i /k e« i e« x e x based on
Kalingada Ang which is a morning time raag. Therefore Gandhar swar should not end up
touching Rishabh swar.
The usage of Swaras in Poorvi Raag :
188

Shadaj Prayogas : fu+ js x] jsa fu /k i] langhan alpatv.
Rishabh : fu+ js x] x js lk] anabhyas, alpatv
Gandhaar : fu+ js x] e x js x] e« i e«] x e jsx] e« /k e« x] js x] js lk]

Sampoorn Nyas swar in Aaroh & Avaroh.
Shuddh Ma : e« x js x js e x along with komal Re Shuddh ma prayog is taken,

then Ga note is sung.
In the form of Avarohatmak alp pramaan prayog, shuddh ma is sung as: i e« x

e jsx] x js e xA
Teevra ma : x e« i] e« i /k e« i e« x] e« /k fu /k i e« x etc.
Pancham Swar : e« i] x e« i] js x e« i /k e« i , /k i] e« /k fu jsa fu /k i]
e« /k lka fu /k fu jsa fu /k i avarohatmak Nyas prayog is sung.
Dhaivat Swar : /k fu /k e« /k lka] fu /k i, jsa fu /k i and e« /k fu /k fu jsa fu /k

· i in the form of alpatv prayog is takes.
In Avaroh sometimes jsa fu /k fu jsa fu /k · i in the form of Nyas roop the prayog
is sung.
Nishad Swar : Nishad is the Nyas swar of this raag. i e« x js x e« /k fu] jsa fu
/k i e /k fu in this manner nyas is more given on Nishaad swar in this raag and the
prayogas like e« /k lka] x e« /k fu /k lka] fu /k fu /k lka shows alp Nishaad is also an
Alp prayog swar.
Aaroh : lk js x] e« i] /k fu lkaA
Avaroh : lka fu /k i] e« x] e jsx js lkA
Pakad : fu+ lk js x, e x, e«, x, js x, js lk
Aalaap: 19
1- lk] fu+ js x] e« x js x] js lk] fu+ /k+ fu+ lk js x js x] js x e« x e jsx] js

lk js fu+ /k+ i+ e+« /k+ fu+ lk] fu+ js lkA
2- x js lk fu+ js lk] /k+ fu+ js fu+ /k+] fu+] /k+ i+] e+« /k+ fu+ lk] /k+ fu+ lk] js x e« x
js x e« i] i e« x js e x] js x e« x js lk] fu+ /k+ fu+ js lkA
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CARNATIC KAMAVARDANI :
Kaamavardhani is the 51st Melakarta raag also called as "KAASEE

RAAMAKRIYA" in Dikshitar's school.It is a Sampoorna raaga, Raagaang raaga and
prasidha raaga. it is the pratimadhyama counter part to the 15th melakarta raaga
Mayamalava Goula. SRG in Poorvangam and PDN in uttarangam are symmetrical. it can
be taken for main raga aalapana, and for other Manodharma branches such as Swara
kalpana, Neravu, Taanam and Pallavi in a performance.
This raaga has got an established picture, rasa, bhava and emotions of its own. It
produces Karuna and Bhakti rasas. All the swaras are important and are jeeva swaras.
RAAGALAAPANA: 20
S,R,G/P, M GR, S,/ S, R N,/ SRMG,/ RGMP, MGR,S/

S,R, GM PDPP,M/ GR/ PMGR,S/ GMR, G, M, P,,/ P,M P,DPD,,/
DN,DPM/D,,N,,S/ S,,,/ DNS, RS NDPM/ D,M,D/ D,N,S,,/
S,,NSRS,RN S,R,G,,/GM, RG,,/ P M G R, S/ S, N R SND PM/
GMMRG,,/ P, MGR,S/ S, N D P M D , N , S,,,/
COMPOSITIONS :
UTCHISTHA GANAPATE - KRITI- AADI TAALAM – DEEKSHITAR

APPA RAMA BHAKTI – KRITI – ROOPAKA TAALAM- TYAGARAJA
Analysis Of Thaat poorvi and Ashray raag with Mela Kamavardani

Thaat poorvi Mela Kamavardani
1. Thaat Purvi of Hindustani music : 1. The notes which are similar to
SRGMPDNS kaamavardani are seen in Raamakriya
SNDPMGRS raag which is derived from mela
kaamavardani.
Aarohana : S R G M P D N S
Avarohana: S N D P M G R S
Note: Thaat Poorvi is Equivalent to
Mela Kamavardani of Carnatic music,
also Ashray raag Poorvi is also
equivalent to Mela Kamavardini since
Poorvi takes all the notes. only the note
Shuddh Madhyam differ both ragas in
190

their swarasthanas.
2. In raag poorvi, shuddh madhyam is 2. In Kamavardani there is no any usage
used in Avaroh and sometimes pa is of foreign notes. Especially Shuddh
excluded in Aaroh Eg: i e« x js e madhyam prayog do not exist.
x, js x e« x js lk] Puriyadhanashree
is the near raga to poorvang .
3. Jaati is sampoorn. 3. Jaati is sampoorn.
4. Vaadi swar is Ga & samvaadi is Ni. 4. Nyas swaras are Sa, Pa, Ga,.
Nyas swar - sa, ga & pa
5. Raag Poorvi is a Gambheer prakriti 5. Kamavardani potrays the karuna Bhakti
raag therefore this rag contains more Rasas.
meend in the swaras and gamakas in
its singing. We can observe in the
notation.
6. In Purvi there are compositions in 6. Kamavardani is sung as a main raga in
Bada khyal, Chhota khyal and Kacheris (concerts). It has wide scope
specially gats in sitar Maseetkhani & for Raagalapana, Taanam, paalavi,
Razakhani are suitable for this raga. neravul. It has got a systematic &
perfect form to sing & attract the
audience. This is a raaganga raagam.
There are many popular geetas, kritis,
keertanas composed in this raga. even
semi-classical, light compositions exist
in this raag.
7. This is a Sandhi Prakash raag only 7. According to Prof. Nookala china
sung in the evening. satya narayana in “Raagas of Indian
music” opines that kaamavardini can
be sung in the afternoon.
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The note combinations & Kaamavardani
improvisation in Poorvi raag :- P m g m g r g -/ r g m m – d p p - m g
x js lk fu+ js lk] /k+ fu+ js fu+ /k+] fu+] /+k r –s-/ s- n s r s- r n – r –g r g m p – m
i+] e+« /+k fu+ lk] /+k fu+ lk x] js x e« d p m g r – p m g r –s - / p m g m – r

g- m – p- /p - m p d p d m –d – n – m
x e« js x] e« i] i e« x js e x, js x
– d n- s-/ s- n n s r s – r n / s- r g r s n
e« x js lk] fu+ /k+ fu+ js lkA /k e« i x
dn–dpmgm–rg-/sndpmgr–
e jsx
s - / s n d n m – d- n –s
1. In both parent scales there are less dissimilarities. Especially the swar-sangati to sing
Taar sa “M D N S” is used in both poorvi and kamavardani. Also M D P prayog in
aaroh is similar in both systems.
2. But in Kaamavardani the significance of Pancham swar is more where as in Poorvi
Pancham swar has less importance.
3. A major dissimilarity between two ragas is that the usage of shuddh ma separates
both carnatic kaamavardani from poorvi.
4. There is a raag called poorvi in carnatic system but it is the janya of mayamalavgaula
equivalent to Bhairav Thaat of Hindustani which is completly different from
Hindustani poorvi.
RAAGAS DERIVED FROM MELA KAMAVARDANI: 21
RAMAKRIYA : SRGMPDNS–SNDPMGRS
GAMAKAPRIYA : SRGMPNDS–SDPMGRS
INDUMATI : SGMDNS–SNDPMGS
GOULIPANTU : S R M P N S – S N D P M D M G R S etc..
THAAT MAARWA
Raagas derived from Maarwa Thaat:
 Hindol, Puriya, Panchama,Sohini etc..
ASHRAY RAAG MAARWA :
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Raag Maarwa is the Ashray raag of Thaat Maarwa.
In this raag, Rishabh swar is komal, Madhyam teevra and the rest swaras are
Shuddh, pancham swar is varjit therefore the jaati of this raag is Shadav-Shadav. This is
an evening (Sandhi-prakash) raag. The time of singing this raag is also considered to be
sung in the evening.Vaadi swar is Rishabh. Samvaadi swar is Dhaivat.
Some of the artists also consider Dhaivat as Vaadi swar and Rishabh as Samvaadi
swar. But Maarwa is a Sandhi prakash raag, therefore vaadi swar is Re and Samvaadi is
considered as Dhaivat.
This raag is a Gambheer prakriti raag. In Maarwa raag the notes Shadaj, komal
Rishabh and Shuddh Dha are the Nyas swaras. Gandhar is Apanyas and Madhyam,
Nishad swaras are alpatv swaras.
The raagas near to Maarwa are :
1. PURIYA
2. SOHINI
There are slight differences exist between puriya and sohini raagas, Ga is Vaadi
and Ni is Samvaadi, also Mandra Saptak Nishad is the Nyas swar in Puriya. where as,
Sohini is an Uttarang pradhan raag. Therefore Maarwa differs from Sohini, Dhaivat-
Gandhar are Vaadi Samvaadi swaras in Sohini raag.
The following raag chalan of these three raagas show the similarities &
dissimilarities of these 3 raagas.
Puriya : lk] ¼lk½ fu+ /k+ fu+] fu+ js x]

Maarwa : lk] fu+ js fu /k+] fu+ /k+ lk fu+ js]
Puriya : x e« /k x e« · x] e« /k fu] fu /k¼e«½ · x]
Maarwa : fu+ /k+ fu+ js] x e« x js] /k e« x js x e« /k] /k e« x jsA
Sohini : x e« /k uh lka] /k fu /k fu lka jsa lka] lka jas] lka jsa fu lka fu /k] fu /k
x e« x] e« /k e« /k fu fu lkaA
Though ^fu+ js, js fu+ and fu+ /k+ lk* sangatis are used in both Puriya & Maarwa but
in Puriya Ni & Ga are Nyas swaras and in Maarwa Re & Dha are Nyas swara. In raag
Sohini the Prayogas like ‘fu+ lk x] e« /k e« /k fu fu lka] lka jsa] lka jas fu lka fu /k] fu /k
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x e« x’ etc. swar-sangatis mainly explored in taar saptak. Therefore sohini differs from
puriya and maarwa raagas more.
Aaroh : fu+ js x e« /k] fu /k lkaA

Avaroh : jsa fu /k] e« x js] lkA
Pakad : /k e« x js] x e /kA
Maarwa is equivalent to ‘Hamsa Nandi’ in carnatic music
Maarwa Aalaap: 22
1- lk fu+ js] js lk] fu+ /k+] fu+ js] x js] js x e« x js] x js] x js] js lkA
2- x js] js fu+ /k+] fu+ /k+ lk] fu+ js x] e« x js] js x e« /k /k e« x js] e« x js] x js] js
lkA
3- fu+ js x e« /k fu /k lka] /k fu jsa jsa lka] /k fu jsa xa] e«a xa jsa] /k fu jsa] jsa lka] /k fu jsa
fu /k] fu /k lka fu jsa, fu jas xa jsa fu /k] jsa fu /k e« x jsa, fu /k e« x js] x e« /k /k
e« x js] x js] x js fu+ /k+ lkA
CARNATIC GAMANASRAMA
In this scale, the semi tones in the poorvangam are those of Kaama Vardhani raag
and the semi tones in the Uttarangam are equivalent to Sankarabharanam. The emotion
and, picture of this raaga can be brought out effectively when both poorvaanga and
uttaranga swaras are negotiated judiciously. Raaga Gamanasrama got its name in the
tradition of Govindacharya. The name suggests that it is difficult to negotiate the notes
in it.
The raaga ranjaka prayogas of this raag :
GMDP DP DNS RGRSN/ DNSNDPMGR/ RGRSND PDM SRG/

PMGR SNDP PDNS/
All the notes are Graha nyasa swaras moorchhanakaaraka raaga if Ga is taken as
Sa, 19th mela" JHANKARA DHWANI" raag results if Ni is taken as Sa, raag
"RATNAANGI" the 2nd melakarta results.
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COMPOSITION
LAKSHYA GEETAM- BRINDAARAKA-DHRUVA TAALAM- VENKATA MAKHI
ANALYSIS OF MAARWA AND GAMANASRAMA

MAARWA GAMANASRAMA
1. Thaat Maarwa of Hindustani music is 1. Gamanasrama is 53rd Melakarta Raaga
a sampoorna scale contains all the 7 comes under 5th raga of 9th Brahma
notes. Ashray raag Maarwa is the chakra
derivative of Thaat maarwa. Note : Thaat Maarwa is equivalent to
Melakarta Gamanasrama, but Raag
Maarwa is not equivalent to Mela
Gamanasrama since pancham swar is
Varjya in Maarwa raag. infact Maarwa
swarasthanas exactly correspond with
HAMSANANDI raag in Carnatic music
derivative of Gamanashrama. Therefore
Hamsanadi is now analysed with Maarwa
raag.
2. Raag Maarwa come under shadav– 2. Hamsanandi is also a Shadav-Jaati raag
shadav jaati, the note pa is Varjya. an Upanga raga. A derivative of
Gamanasrama Melakarta
3. Notes taken are Komal Re, Shuddh 3. Swarsthanas are suddha rishabh Antara
Ga, Teevra Ma, Shuddh Dha & Gandhara, Prati madhyamam, chaturssruti
Shuddh Ni. Dha, Kaakali Nishadham.
4. Vaadi komal ‘re’ & Samvaadi is 4. All are Jeeva swaras and graha swar is
‘Dha’. sa.
5. Time of singing this raag is in the 5. Can be sung at all times.
evening sandhiprakash raag.
6. Ragas equivalent to maarwa are 6. Ragas near to Hamsanandi is “poorvi
puriya and Sohini. kalyani” Both are all most similar in
poorvanga sancharas and note pa is also
used in Poorvi kalyani that differs from
Hamsanandi.
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1- lk fu+ js] js lk] fu+ /k+] fu js] x js] js x e« x js] x js] x js] js lkA
2- fu+ /k+ fu+ js] fu+ /k+ e«+ /+k lk] fu+ js x js x e« /k] /k e« x js, x js x e« /k]
fu /k] /k e« x js] js x e« x js] fu+ /k+ fu+ js] js lkA
HAMSANANDI RAAGA SWARUP : 23
A derivative of Mela ‘Gamanasrama’ an Upaanga raaga. a Shadava raaga, A

Rakti raaga.
RAAGALAAPANA :
SRG, G/ DMDGMG, MGRS/ DN, DNS,/ SRG/ G, NDMGR/ RGMDMGR/

MGRS/ SN DN DMG/ GMDGMG,/ GMDNS/ SNDNDMG/ GMN, DMG/
GMDNS DND/ NS/ DNS/ SNRSNDND, D/ NRG/ GRMGRS/ DNSRSNDND/
NMDNS/
 All most all the swar sangatis of Carnatic Hamsanandi resemble Maarwa of
Hindustani music system. in Maarwa to sing Taar sa “N D S” prayog is not used
in Carnatic Hamsanandi “S N R S” is used. also the raagaalaap In Maarwa starts
with “ S ,N R G” but in Hamsanandi “S R G, G” is used.
Raag POORVI KALYANI another derivative of Gamana srama swara sangatis

resemble Hamsanandi. a near raag to Gamana srama and Hamsanandi.
THAAT – KAFI
Kafi Thaat is a biggest Thaat among all the Thaatas in Hindustani music. It possess
many derivatives under it. Kaafi Thaat generate the following 5 main Angs.
KAFI THAAT
Kafi Ang Dhanashree Ang Saarang Ang Malhaar Ang Kanhada Ang
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ASHRAY RAAG KAFI
Raag Kafi is an Aashrai raag of Thaat Kafi. In this raag Gandhar and Nishad
swaras are komal, Shuddh Nishad is also used very rarely, the rest swaras are
Shuddh.Vaadi swar is PANCHAM and Samvaadi swar is SHADAJA. Sampoorn-
Sampoorn Jaati raag. All the swaras are used in both Aaroh and in Avaroh of this raag.
Time of singing this raag is in the second part of night.
RAAG SWARUP :
S R G R, R S N D N S, G R, R G M P D P M P M G R, R G M P D N D P, N D P,
M P D N S, S N D D P, M P G R, R N D N P D M P D G R, P G R G R N S 14 |
In Kafi raag sometimes Shuddh Gandhar is also used, but mostly sung in Thumri,
Dadra, Hori etc. kind of compositions. Some of the artists say that Kaafi raag is the
tradition of Lok sangeet i.e. it suits for Lok sangeet (Folk music). But in the present
Music system Kaafi is considered as the ashray raag of Thaat Kaafi. In classical music
point of view Kafi is a Sampoorn Thaat in Hindustani music which is based on the
following sampoorn scale :
S R G M P D N S| S N D P M G R S|
Kaafi raag is also sung using all the 12 swaras in Thumri, Dadra and light
compositions which is called as “MISHRA KAFI”.
Significance of each swar in Kafi raag:
Apart from Shadaj, the Rishabh prayogas in this raag are: N S R G R, R G M P M

G R, D M P G R, etc., shows that Rishabh is a Nyas swar.
Gandhar swar prayog – R G M P, D P M P MG R shows that it is not a Nyas swar

in both Aaroh as well as in Avaroh.
Madhyam swar G M P, and M P M G R prayog , the P G swar-sangati shows that

Madhyam swar is alp prayog swar.
In this raag, Pancham swar is poorn Nyas swar, also it is a Vaadi swar of this
raag.The prayogas are : P D N S, S N D P|
The importance of Komal Ni swar is more in this raag in both Aaroh and Avaroh
kram eventhough it is not a Nyas swar. The prayogas like: M P D N D P, S N D N S N D
P|
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Shuddh Nishad prayog: M P D N S and sometimes M P N S........
In this raag the swar sangatis like R-P, P-G, R-N, D-G, D-M, P G R, P N S,
sometimes N D S or R M P bring Ranjakata and beauty to the Raag.
AAROH : S R, G M P, D N S|
AVAROH : S N D P, M G R, S|
PAKAD : S R G R, G M P, M P G R|
AALAP : 24
S R G R, R N S, S N S R G R, R G M P, M P G R, G R S, R N D N S, N S R G
R, R G R S|
G R, R G M P, M P M G R, S R G M P, D P M P G R, R G R G M P, D D P M P
G R, R N D N P D M P D P G R, R G S R S
S R G M P D N S, R N D P D N S N S G R, R G M G R S D N G R, R S, S N, N
D, P D N D P D P M P G R, M P N S S N D P, G R G M P, P D M P G R, R M P
G R, P G R G SR S|
CARNATIC MELAKARTA KHARAHARAPRIYA
Kharaharapriya
22nd Melakarta raga; 4th raga in IV (Veda) chakra. This is a Murchhanakaraka

Mela. Its ri, ga, ma, pa and ni when taken as shadja, will respectively result in the melas,
Hanumatodi, Mechakalyani, Harikambhoji Nathabbairavi and Dheera Sankarabharanam.
AROHANA : SRGMPDNS
Besides Shadja and Panchama, the notes taken are— Chatussruti Rishabha,
Sadharana Gandhara, Suddha Madhyama, Chatussruti Dhaivata and Kaisiki Nishada. A
mela raga with a pair of symmetrical tetrachords— the tetrachords being separated by
the interval of a major tone. Sampurna raga ; sarva svara gamaka varika rakti raga; ri,
ga, dha and ni are the raga chhaya svaras and nyasa svaras are ri and pa. The
pratyahata gamaka (sounding a note and then producing another note without a separate
stroke. this is a veena gamaka eg: S S janta swaras to make them sound as S R S is
Pratyahata gamaka.) lends colour and svarupa to this raga. The slow rendering of the
phrases : N D P M G R and N D P D N S , N D P M G R will be found to be
ranjaka prayogas; fairly distributed ; can be sung at all times. A mela raga with a large
198

number of janya ragas. Compositions in this raga commence on the notes sa, ri, pa and
ni. Tristhayi raga. A gana rasa pradhana raga. We owe this raga to Tyagaraja. He is the
only composer to have composed maay beautiful kritis in this raga. He brought the raga
to prominence through his kritis. With the emergence of Kharaharapriya, the svarupa of
Bhairavi became clearly defined. Sriraga, a janya of this mela, figures as the 22nd mela
in the asampurna mela paddhati.
Note :— There is an appropriateness in the raga name, Harapriya (i. e., pleasing
to, or liked by Hara or Siva)— Khara being the Katapayadi prefix. This raga approxi-
mates to the ancient Sama gana scale, the primordial scale of Indian music and the scale
in which Siva delights in.
Sanchara : 25
R G M P M G R—N D P D N D P M G R—R G M P D N S
S N D P M G R—R G M P D N S S N D - P D N S R R-
D N S R G G G R - G M G G R R—R S S N D—P D N S R G R SND—
P D P D N S N N D P -M P N D-P M G R—N N D D
P P M M G G R R—S N D—N S R S R— N D P D N D P M G
R S—N D N S R S ||
Some prominent compositions
Kriti : Chakkani raia Adi Tyagaraja.

Nadachi nadachi ,, ,,
Rama ni samana rupaka ,,
ANALYSIS
THAAT KAFI MELA KHARAHARAPRIYA

1. The Time of singing kafi raag is in 1. According to Dr. Nookala china
the mid night. Satyanarayana in Ragalakshana book
states that based on the arrangement
of the swaras in this raag, this could be
sung in the afternoon or also can be
sung in all the times. NOTE: Thaat
Kafi and Raag Kafi of Hindustani
music are equivalent to Mela
Kharaharapriya.
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2. Raag Kafi history dates back to 5-6 2. There is a very great history &
centuries. This is a very old and most significance behind the melakarta
significant raga in Hindustani music. Kharahara priya in Carnatic music.
No doubt the origin and nucleus of
Indian music begins from Vedas, Rig
veda & Samaveda. it is proved in the
Theories of Carnatic music that the
present Mela Kharaharapriya notes
correspond the notes in Saamagaana
hymns, therefore this raaga is called
as “Saamagaanamoorchana”.
 The Raagang vachak swar samuh of Kafi is :
lk lk js js x x e e i] js x] lk js] i] fu i] x] js] js x lk js i e i /k fu lkaA
 Important prayogas of kharaharapriya:
R G M – P- | P M N D P M M – G- R | R-S - | G R R S N D P D N S - | R G M M
– P – M P D – P | P- N D P M M - R – G P G – R –| R S N S - |R G - M – P – D –
N S - | S N R S N – D P M M D D G – M G P M M G- R | R- G R S R – M G R S
- | G R R S N D N – S- |
 Hindustani kafi prayogas
i] x js] js x js e x js] /k i] e i x js] fu fu /k i /k] e i x js] /k+ fu+ lk js x js] e x

js] i e x js] /k fu /k i e x] fu /k i e x js lk] js x lk js i] e i] /k e i] /k fu /k]
e i xA
 Similarities:-
Kafi and kharaharapriya almost find more similarities inspite of dissimilarities. The
above swar-sangtis show that the combinations like G R R S N D N, the aahata
prayogas and pratyahada gamakas are also taken in Carnatic Kharaharapriya also pa
dh ni sa, re ga re sa, ga re sa, ma ga re sa
 Dissimilarities
The swar sangati Re ga re Re ga, sa re pa, ni pa type of Kafi combinations deviate

from carnatic kharaharapriya. In kharaharapriya instead of ni pa, ni da pa, prayog is
more used.
200

In Kharaharapriya Kaakali Nishad prayog is not sung. In Kafi sometimes Shuddh Ni
prayog is used like “M P N S” also Shuddh Ga(Antara Gandharam) is not used in
Kharaharapriya. there is no usage of 12 swaras in Mela Kharahapriya. some times
Kafi raag in Hindustani music is sung using all swaras which is called as Mishra
Kafi.
Kaafi Ang generate the following raagas
Kaafi Sindhoora Aanand Bhairavi Piloo
About Kafi Ang: 26
Ang can be defined as a shade, feature etc. Kafi Ang i.e. Kafi features can be
found in Kafi raag, Sindhoora, Piloo.
KAFI ANG: 'S S R R G G M M P' and Kafi Ang is exhibited in the swaras like :
js x] lk js] i] fu i] x] js] js x lk js i e i /k fu lkaA This particular phrase is more
than enough to highlight the essence of Kafi Ang.
Therefore based on the above Ragaang vachak swar-samuh, the other raagas are
derived from Kafi Ang. The above mentioned swar-samuh exists in all most all the
raagas derived from Kafi Ang.
Raag Kafi: the features and raaga swarup of raag Kafi are described already
while describing the Ashray raag Kafi.
RAAG SINDHOORA: According to Pt.V.N.Bhatkhande Vaadi swar is Shadaj and

Samvaadi is Pancham . The time of singing this raag is similar to the time of Kafi raag.
Kafi and Sindhoora are almost similar raagas. The mixture of Kafi raag in Sindhoora
adds more beauty.
Raag Vistaar: M G R S, M P, D S, R G, R S, R S, N D, M P, S , N D, M P D G
R, N D, S, N D, M P , G R , P G R , M, G R S, R M P D S|
and in Antara - M, P D S, D S R G R S, R S, N D, M M P D S, N D, R S G, R S,
S R S, N D, M P D, S, N D, S R G R S|
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In this manner Sindhoora and Kafi almost resemble each other. M G R S prayog
is taken in both raagas and in Kafi slightly sung as ' N D, M P G, R S'
Sindhoora is sung in different ways some sing excluding Gandhar and Nishad
swaras. some artists sing with Nishad swar in Aaroh which is also more popular.
Sindhoora with Kafi Ansh: S, R G R, M P, M G R, S R N S; S, R, M , P, D, N, S,

N S N S, N D , M N D P;
the other two raagas of Kafi Ang are explained in further categories in detail.
Dhanashree Ang generate the following raagas
Dhanashree Bhimpalasi Dhani Patdeep Pradeepaki Hans Kinkani
DHANASHREE ANG:27 N S G M P, MG MG RS, G M P N S, PNSN, DP, MPGRS.
Based on this raagang vachak swar-samuh of Dhanashree Ang Bhimpalasi,

Palasi, Dhani, Patdeep ragas are derived.
Raag Dhanashree :
Dhanashree and Bhimpalasi are identical raagas. The only difference between
Dhanashree and Bhimpalasi is : Pancham is the vaadi swar in Dhanashree and in
Bhimpalasi Madhyam is Vaadi swar.
Raag Bhimpalasi : SWAR VISTAAR:
N S, M, M, M G, P G M , G, P, M, G R S;
N S, P N, S, M G R S, N S, M, N S M, PM, PG, M, N S G M, P G M G R S|
ANTARA: P G M, P N, P N, S (OR) M, P G M, P N P N S', N S, M G R S, N, S, N D P,

S, P, D P M, P G, M P G R S| Madhyam swar is prominent in this raag.
It is said that Bhimpalasi is a mixture of raag Palasi and Bheem in Hindustani

music. These are described in the description of Bhimpalasi raag in detail.
Raag Dhanashree Swar Vistaar :
N S G, M P, P, M P, M G, G M P N D P, M P G, P G, M G R , S, N S G M P|
N S G M P, M P, D P,M P G, S G, M P, G, P, N, S, P M P, G N N D P, M P D P,
M P G, P , G, M G, R, S, N S G M P| Pancham swar is prominent.
202

Dhani Raag :
GANDHAR IS VAADI SWAR , AN AUDAV-AUDAV JAATI RAAG.
SWAR VISTAAR: S, N S, M G, S, N, S, N, P, M P N S, G, M G, P G S, N S G
M P G, M G, P M G, P G, S, N S G G S, M G S, P, N P, M P, G, G, P N P S, N
P, G M, P N P M G, P G, N S|
DHANI IS EQUIVALENT TO RAAG "UDAYARAVICHANDRIKA" OR

"SUDDHA DHANYASI" IN CARNATIC MUSIC SYSTEM.
The remaining raagas derived from Dhanashree ang possess the raaagang vachak
swar-samuh of Dhanashree Ang in their raaga swarup.
SAARANG ANG
Saarang Ang generate the following raagas
Brindavani Madhmad Shuddh Miyan ki

Saarang Saarang Saarang Saarang etc.
There are many saarang prakaars still.
HINDUSTANI SAARANG ANG:
In Hindustani music Raag ‘Saarang’ is also called as ‘Brindavani Saarang’

Brindavani Saarang represents Saarang prakars, it is the personification of Saarang Ang.
The notes Ga and Dha are varjya in this raag. This is an Audav – Audav Jaati raag.
Rishabh is Vaadi & Pancham note is Samvaadi in Brindavani Saarang. Both

Nishadas are used. The time of singing this raag is in the second part of a day. Saarang is
derived from Kaafi Thaat and this is the main raag of Saarang Ang among the Raagang
raagas.
The swar-sangatis like fu+ lk js e js] js e i fu i e js] e i fu lka] lka fu i] fu i

e js] js e i fu e i] i ejs e js] e js fu+ lkShow that this is purely a raag derived from
Kaafi Thaat and Saarang Ang. This is a pure raag which do not have the mixture of any
other raga. Vrindavani Saarang is a raag in which the notes Ga and Dha are varjya. In
Poorvang fu+ lk js e i e js]or js e i e js and in uttarang e i fu lka fu i]are the main
203

raagang vaachak swaras, based on this swar-samuh many prakaars (forms) of saarang
raagas are derived. For eg: Merging the swar-sangatis of raag kalyan in saarang, raag
‘Shuddh Saarang’ is formed. similarly with the mishran of the swar sangatis of raag
Miyan ki Malhaar, ‘Miyan ki saarang’ is formed, similarly mixing raag Desh
swarasthanas, raag ‘Saamanta Saarang’ and by the mishran of Bilawal swar sangatis,
raag ‘Badahamsa Saarang’ etc are formed. The usage of only komal Nishaad swar in
Saarang raag becomes ‘Madhmad Saarang’.
The swar-sangati ^fu i* is common in Saarang Ang and in Kanhada Ang. Almost

all the ragas of Kanhada Ang is followed with the swar samuh ^fu i* but, the way of singing
^fu i* in Saarang Ang and ^fu i* in Kanhada Ang differ. In Kanhada Ang the swar-
sangati ^fu i* is sung touching the note ‘Pa’ i.e. the kan of ‘Pancham is used on the top of
Nishaad note Eg : lka ifu i*. Similarly in Saarang Ang the Swar-sangati ^fu i* is sung
straight without using Kan.
In Saarang Ang the note ‘Re’ is given more Nyas and the note ‘Ma’ has less
importance.
In Malhaar Ang ‘Rishabh’ is used but it is not a Nyas swar i.e. lk js ejs ejs
i in this form the note ‘Re’ is sung using the Kan or touching the note ‘ma’. The
usage of Rishabh note in Saarang raag :
fu+ lk js e js] i e js] js e i ejs] fu i e js]
The note Ma: js e i] i e js] i ejs e js
Note Pa : js e i] i ejs e js e i] fu i e i] lka fu i] js e i fu e i etc.
Note Ni : js e i fu] fu e i e i fu] fu+ lk js e i fu] lka fu i e i e i fu
Komal ni is anabhyas form& Shuddh Ni is a nyas swar. 

Aaroh : lk js e i fu lka
Avaroh : lka fu i e js lkA
Important Notes : js e i ejs] fu+ lkA
Aaalaap : 28
1- fu+ lk js] e js lk] fu+ lk fu+ i+ e+ i+ fu+ lk] i+ fu+ lk js] e js] js e i e js] e js fu+
lkA
204

2- e js lk fu+ lk js e js] js e js e i] js e i e js] e js e i] e i fu i] fu i e i]
i ejs e js ] fu+ lk js e i fu e i,js e js fu i e js] i e js] e js lkfu+ fu+ lkA
3- js e i fu i] fu fu i e i js e js e i] e i fu fu] fu+ lk js e i fu e i fu fu
lka] lka fu i e js e i fu fu lka] i fu lka jsa fu lka, fu lka jsa] jsa lka fu i] i fu
lka jas ea jsa lka] fu lka jsa lka fu i] fu fu i e i fu fu lka] lka fu i e i e js] fu
i e i js e i e js] e js] js fu+ fu+ lkA
Saarang Ang possess many prakars like :
1. Miyan Ki Saarang : S R M R, MR P, MP, N D N S
(Tanseni Saarang) S N D ND N P, M P, M R, N S
2. Madhyamaad Saarang : S R M P N S, S N P M R S
3. Badahams Saarang : S R M, R M P, N S
S N P M DP M R, RN S
4. Saamanta Saarang : SRMPNS

S N D P M R, M R N S
 In megh, malhaar meend, Gamak is more used which bring rainy

atmosphere whereas, Saarang is saral (simplified) Prakriti raag.
 Madhmad Saarang is a simplified form of Megh Mallar.
Brief description on one of the prakar’s of Saarang “MIYA KI SAARANG”
Miyan ki Saarang: is one of the popular types of saarang Ang. A special and
sweet raag.
x oftZr e/;kUg dky] ekur dkQh vaxA

nks fu"kkn fj i lEokn] gS fe;k¡ dh lkjaxAA 29
Miyan ki saarang is derived from kaafi Thaat. Gandhar swar is varjya in Aaroh &
Avaroh. Jaati is Shadav- Shadav. In this raag both Nishaads are used and all the rest
swarsas are shuddh. Timing of singing is in the Afternoon.
Aaroh : lk js e js] ejs i] e i] uh /k uh laA

Avaroh : la uh /k uh/k uh i] e i] e js] fu+ lkA
Pakad : ejs i] e i] e js] lk · u+h · /k+ fu+ · lkA
205

Main Features :
1. Some of the earlier granthakaaras, and musicians says that the word ^fe;k¡* or
‘miyan’ reveals the truth that this raag is invented created by Tansen and also
^fe;k¡ eYgkj*A
2. This raag is a beautiful mixture of saarang Ang and Malhaar Ang the Swar
sangatis e js] i e js] js e i e js] l js fu+ lk brings saarang Ang essence andejs i
And uh /k uh la] uh i Swar samuh show the essence of malhaar Ang i.e. in
poorvang of this raag explores Saarang Ang and uttarang explore the essence or
chhaya of Miyan ki malhaar raag.
3. This is a Gambheer prakriti raag. In this raag vilambit khyals and Aalaap singing
gives more beauty to the raag also Drut khyals (chote khyals) Dhrupad-Dhamaar,
Taraana compositions are sung in this raag. Thumris are not sung in this raag.
4. Just like Miyan ki Malhaar in Miyan ki saarang swar vistaar is taken full-fledged
in mandra & madhya saptaks. Especially swar vistaar in mandhra saptak sounds
sweet & melodious in this raag the phrase u+h · /k+ fu+ · lk sounds beautiful in
mandra saptak.
5. To indicate the Malhaar Ang in this raag of Madhyam kanh is given in the top
Rishabh swar and Komal Nishad on the top of Dhaivat swar.
6. In this raag both Nishaadas are used and sometimes both Nishad are sung
together.
7. Dhaivat swar is sung in vakra form both in Aaroh & in Avaroh.
This raag is a mixture of Saarang and Miyan Malhaar ragas.
Aalaap:
lk] fu+ lk js] e js] e js] fu+ lk js e js] ¼lk½ u+h · · /k+ u+h · · /k+ fu+ · · lk] js e js
lk] /k+ u+h e+ i+] u+h · · /k+ fu+ · lk · js e js] js e js i · e js] u+h /k+ fu+ lkA
fu+ lk js] js lk u+h · /k+ fu+ · lk · js] e js] js e js] lk js e js] js e js i · e js] ¼lk½
u+h · /k+ fu+ · lk js · · js] fu+ lk jsA js e js] lk u+h · /k+ u+h i] e+ i+ i · e js] js e i
e js · fu+ · lkA
206

e i · uh · /k uh · la · · · /k uh la] fu la jsa jsa la] ea jsa ea jsa la] jsa la uh /k uh i]
e i /kuh · · /k uh i] uh /k uh i] e i uh · · uh · /k uh i] e i uh /k uh i] /k /k
i e i e js] js i e js] ¼lk½ u+h · /k+ fu+ · lk · · js lkA
MALHAAR ANG OF HINDUSTANI MUSIC:
Malhaar is one of the major Raagang raga of Hindustani music derived from Kafi
Thaat.
Malhaar Ang generates the following raagas
Miyan Shuddh Gaud Sur Megh Ramdasi

malhaar malhaar malhaar malhaar malhaar malhaar
In Hindustani music Malhaar Ang is specially sung in rainy season. Malhaar Ang
from several decades and centuries stood as a ‘Mousami raag’ (seasonal raga). The name
‘Malhaar’ means ‘Mal Ka Haran Karne Waala’ i.,e., the one which purifies the
impurities. ^js i* swar-sangati is the special identity of Malhaar raag. In almost all the
types of Malhaar the swar-sangati ^js i*is very important and is present in all the types
of Malhaar.
From the book of H.H.Wilson, Captain Willard in his work “Treatise on the
Music of Hindustani” gave about raag Malhaar as: “The Commencement of the rainy
season being peculiarly delightful in Hindustani for the contrast it affords to the sultry
weather immediately preceeding and also rendering the roads pleasant and practicable is
usually selected for travelling. Hence frequent allusions occur in the poets to the
expected return of such persons as are at this time absent from their family and homes.
^ês?kyksds Hkofr lqf[kuks ·I;U;/kko`fRrpsr%A

daBk'ys"kiz.kkf;fu tus fda iqunw jlaLFkksAA 30
       && es?knwrs
Numerous songs in Malhaar ragas describe the clouds, the thunder, the rain and
the winds. The birds of the rainy season like Papiha, Chatrak and Peacock in particular.
207

Several songs describe the condition of ladies at home who are separated from their
lovers and husbands.
Malhaar or Miya Ki Malhaar :
It is believed that raag Malhar was first created by Tansen, great musician in the
court of Akbar. Miya Malhaar is the main prakar (personification) of Malhar Ang. Raag
Malhar is ‘Miya Ki Malhaar’ in Hindustani music. Raag Malhaar forms are not found in
any ancient works or in any Granthas as it was invented by ‘Tansen’.
Malhaar or Miya Ki Malhar is a very traditional and popular raaga in Hindustani

music. The jaati of this raag is Sampoorn-Sampoorn. The Swar Sangatis in this raga
are not rendered straight i.e., ^lk js x e i*, in Malhaar there is a speciality of singing
notes with Meend, Kan. Then only the essence of raag Malhaar is portrayed. Most of the
swar sangatis in this raga are sung in Mandra, Madhya and Taar Saptak. Both Nishadas
Komal and Shuddh are used. Gandhar is an andolit swar in Malhaar.
^fu+ /k+] fu+ /k+] fu+ lk] e+ i+] fu+ /k+ fu+ /k+] fu+ lk] is the important swar sangati of
Miyan mallaar raag. The swar sangati ^js i x* (here Gandhar note should be given two
to three oscillations or vibrations i.e. Andolit swar) e js] lk* and ^fu i* swar sangatis are
used in ‘Miya Ki Mallaar’. Similarly ^js i* sangati is more used in poorvang. The swar-
sangati like ^js i x] e js] lk* is repeated more times in this raag. In Mandra saptak lk]
i+fu+ i+] i+e+ i+] /k+fu+ /k+] fu+] lk swar sangati is the life and soul of Miya malhaar.
ê js* Swar–Sangati is used with meend. Miya Ki Mallaar is different from Gaud
and Shuddh Mallaar. Vaadi of this raag is madhyam (some opine Shadaj as Vaadi).
Time of singing this raag is in the rainy season. This raag has a wide scope for aalaap.
In Miya Ki Mallaar Badha Khyal as well as Dhrupad Gaayans are rendered more.
Khyals and Dhrupad sound very good in this raag. Khyal singing & Dhrupad are popular
in this raga especially Gwalior and Rampur Gharanas.
Swar Vistaar Miya Malhaar : 31
1- lk] fu+ lk] js lk] js i ex ¼ex ex ex½ e js lk] lkfu+ lk] js] lk] i+fu+ i+] i+e i+]
/k+fu+ /k+ fu+] lk] js lkA
208

2- i+] e+ i+] fu+/k+] fu+ lk] fu+/k+] fu+ lk] fu+ lk] e js lk] ifu+ i] ie+ i+] /k+fu+ /k+] fu+ lk]
js] lk] fu+ lk] js] lk e ] /k] fu+ lk /k+fu+ /k+] fu+ lk] fu+ lk] jslkjs] i x e js lk]
fu+ lk js e js lk] js lk] fu+ /k+ fu+ lkA
3- e i] fu /k ¼vkanksfyr½ fu] lka] lka] fu/k fu lka] jsa lk] eajsa ia ea i eaxa ea jsa lkaA
ifu /kfu i e i] fu/k] fu lka] fu i] e i ex e js lkA
ljxe f=rky of Pt.V. N. Bhatkhande

ejs e js lkA fu+ lka /+kfu+ i+A /k+fu+ /k+ · fu+A lk · js lk
fu+ lk js lkA ejs i e iA ex ex e jsA lkjs js lk ·A
0 3 x 2
vUrjk
ie e i eiA /kfu /k · fuA lka · lka ·A lkjsa fu lka ·
fu lka jsa iaA eaxa xa ea jsaA lka · jsa lkaA fu lka /kfu i
e i fu/k fuAlka · ifu iA e i ex exA e js lk ·A
0 3 x 2
Description on some more prakars of Malhaar :
Shuddh Mallar :
This is an unpopular forms of Mallaar. The notes Ga and Ni are basent. This
mallaar do not need more meend work like Miya mallaar, Megh mallaar and other
mallaars ^js i*sangati is highlighted which is an identity of Malhaar ang.
swar vistaar in shuddh malhaar: 32
lk] ejs e] e i] e i /k i] e] lk js e] e js] lk] js lk] js lk] /k i e i /k i e] lk js

eA
lk] js lk] /k+ i+] e+ i+ /k+ lk] i+ /k+ lk] ejs e js lk] ejs i e] /k i e] e i /k lka /k i]
e i /k i e] lk js eA lk js e] js e] js e] js i] i] /k] e] lka /k i] e i /k la] /k i]
e] lk js e] lka jsa lka] /k i] lka] /k i] e i] /k lka /k i] e i e] lk js eA
This swar-vistaar sounds like raag Durga but in Durga i] e i /k e js] js i]
209

/k e js lka lka/k] lka jsa /k e js is sungbut, the swara sangati /k i e i /k lka /k i e
lk js e brings the chhaya of Shuddh Mallar.
Gaud Malhaar : 33
Gaud Malhaar is sung in two ways (1) using Teevra (Shuddh) Gandhar. (2) using
Komal Gandhaar.
The usage of Komal Ga is like ^fu i* and ^x e js lk*some times ^lka] /k] fu i] e
i] /k lka /k] i* kind of Gaud Mallaar suits for Dhrupad.
In Khyal gaayan Shuddh Gandhar is used, which is more popular in the present
Hindustani music. Vaadi swar of this raag is‘Ma’ and Samvaadi is ‘Sa’. But Komal ‘Ga’
is also properly used. Raag Gaud of Hindustani is like ^js x js e x js lk* along with this
swar-sangati if ê js] i] i] e i] /k lka* is merged, this becomes Gaud Mallar. In Taar
Saptak Gaud Mallar is highlighted with the notes like lka] lka /k] fu i e i] /k] lka fu i]
e i x] e js lkA is used in Dhrupad often. These swar-sangatis are not used in Sur
Mallar or in Miya ki Mallar. By the usage of the notes ê i /k lka* swar sangati Sur
and Miya Malhaar raag disappear from Gaud Malhaar.
In Sangeet Saaramrut Gaud Mallar is considered as the derivative of

Sankarabharana mela
 xkSMeYykj jkxk'p 'kadjkHkj.kesyt%A

laiw.kkZ% lxzgU;klks o"kkZLos"k% izxh;rsAA 34
In ‘Raag Lakshan’ granth raag Gaud Mallaar is mentioned under

‘Sankarabharanam’ mela only. The Carnatic Gaud Mallhaar’s Aaroh & Avaroh is. lka] fu
i] e i] /k lka] /k fu i] e i] e e] js lk] js e*
A sargam in Tritaal in Gaud Mallar
js e js i · i e i  /k lka /k i  e i · e
js x js i e x js lk js x e i /k x · e
× 2 0 3
210

vUrjk
i i lka/k fu/k lka · lka · xa ea ia xa ea jsa lka ·
jsa jsa lka fu /k i e i /k lka /k i e i · e
js i x e js lk js lk js x e i /k x · e
× 2 0 3
Loj foLrkj %
lk] js x e] x e] e e i] fu fu i] e x] e x] /k i] e i e x] js lk] js x eA
l js x e] js i] e i] /k lka] /k fu i] e i] e x] lka /k fu i] e i e x] e js lk] js

x eA
Soor Mallar:
Rag Soor Malhaar invented by Poet ‘Sur Das’ a saint poet of 13th century who
wrote many couplets and Geet on ‘Krishnaleela’ a devotee of SriKrishn. Some opine
that there were two other poets in the court of Akbar called ‘Ramdas’ and ‘Surdas’ might
be the inventors of the raag ‘Sur Malhaar’. But, most of the musicians say that it must
be the saint poet ‘Surdas’ who invented ‘Surmallar’ raag. In this raag Gandhar swar is
varjya. Teevra Gandhar is not used in this raag. Komal Gandhar is used ^js x lk js* and
also ex e js l only by the Rampur musicians who follow the style of Tansen in
Dhrupad singing like:
js x lk js] ie i] /kfu /k fu i] ie i] ifu i] lka] fu lka fu lka] jsa fu e i] i /k e js
lk js] i ex e js lkA jh x lk js ie i] fu /k fu e iA
Vaadi Madhyam or Pancham
Jaati Audav-Shadav
Time of singing Varsha ritu.
Aaroh lk] fu+ lk] js e js] e i] fu /k fu e i]

Avaroh fu lka] jsa fu] /k i] /k e js] e js lkA
Also some other Gharanas sing this raag as ^lk js e js] e i] fu e i] fu lka] jsa fu]
e fu /k i] e js] lk*A
211

Swar Vistaar in Sur Mallar : 35
1- lk] fu+ lk] ejs e] e i] fu /k i] e i e js] lk] fu fu i e js] lk] js] lkA
2- lk] js e] e i fu /k i] fu lka] jsa lka] fu] e fu /k i] e i fu] i e js] lkA

lk] fu+ lk] e js] lk] e i fu /k i] e i fu lka] jsa lka] fu e fu /k i] /k
i] e js] lkA
Megh Mallar :
‘Megh mallar’ is one of the most important and popular types among all main
types of Malhaar Ang. ‘Madhmaad Saarang’ and Megh Malhaar possess similar notes
but Madhmad saarang is a simplified form. This raag is known & performed by reputed
Gharana artists, knowledged artists.
Raag Megh Mallaar is an Audav Jaati raag. The notes Ga and Dha are absent.
The essence of raag Saarang is produced in Megh Mallaar but Megh Malhaar is sung
with more andolit swaras and with meend, kan. In other words this is a complicated form
of Saarang. The style of singing Gandhar note in Megh is different from raag ‘Miya ki
mallaar’. In ‘Megh Mallaar’ note Rishabh is given more stress which touches the note
‘Madhyam’ i.e., êjs Madhyam kan is given which highlights the Malhaar ang. In Megh
both Nishadas are used.
In Aaroh Teevra (Shuddh) Nishad and in Avaroh komal Nishad is used. This
produce Gambheer ras. In all the three saptaks this raag has wide scope. The notes ^lk
e* and iare the important notes. Samvaadi notes are Sa and Pa. This is the only raag
among 6 Malhaar prakaars in which the note ‘Dha’ is absent.
Megh Mallaar is a very popular, easy, attractive raga. A different type from 6
other types of Malhaar especially ^lka ifu i] e js lk] fulka] /kfu i* etc., shows that Megh
is different from other Malhaar prakaars.
Pt. Sarangdev in Sangeet Ratnakar described about ‘Megh’ as :
"kMts /kSofrdksn~Hkwr% "kM~trkjleLojA
ess?kjkxks eanzghuks xzagka'kU;kl/kSor%AA 36
The features given by Sarang dev on Megh raag is a bit uncertain and unclear.
Since the notes of that raag are not disclosed.
212

Similarly in ‘Chaturdandiprakasika’ and in ‘Sangeet saaramrut’ Megh was not
mentioned. Only in ‘Raag lakshan’ granth Megh raaag is explained under the janya of
13th Mela ‘Gayakapriya’ of Carnatic Mela.
ljxe >irky
ejs ejs ejs e js lka · /kfu+ /kfu+ i
fu+lk lk js · lkjs ejs i e js e
js lk ejs e js lk · ifu+ · i
ie i ilka · lka ifu i e js lk
× 2 0 3
vUrjk
e i kfu · fu lka · lka fu lka
lkafu lka jsa ea jsa lka lka ifu /kfu i
ie i jsa jas lka ifu /kfu i · i
ie i lka · lka ejs e js js lk
× 2 0 3
Swar Vistaar :37
lk] fu+ lk] ejs e js] lk] fu+ lk] ejs i] e js] lk] fu /kfu i] e i] e js lk] lk] js lk] ifu+ /kfu+
i+] e+ i+] lk] js] e js] fu i] lka] ifu i] e js] lkA lk] ejs ejs i e js] ifu fu i] e i] lka] ifu
fu i] e js] ejs ejs] e js] lkA ejs ejs] e js lk] i+fu+ i+] lk] fu+ lk] ejs] i e js] lk] fu fu i e
js] i e js] e js lkA
Ramdasi Malhaar :
Raag ‘Ramdasi Malhaar’ use both ‘Gandharas’ and both ‘Nishadas’. This
particular feature differ this raag from other types of Malhaar. The note Teevra Ga is
used in the Aaroh, even Teevra Ni is used in Aaroh only.
Komal Ga is used as êx e js lk*shows that Kanhada Ang is imported here.
vaadi is Madhyam and Samvaadi is Shadaj. Important swar sangatis are like ê js*] js i*
î e fu i* and the way of taking teevra Ga is like ê x e* î e x e] fu i* lk] fu+ lk]
ejs x] i ex] e* and ^lk] e] e x i] e* both Gandharas are used. Ramdas Mallar is a
modern raga. This raga can’t be found in the earlier works or granthas. A rare raga. The
raagas near to this raag are like ‘Gaud’ and ‘Shahaana’.
Aaroh : Avaroh
213

lk ex e js lk] fu+ lk js] x e] i] e i] x e] fu lka fu /k fu i] x e] e js] lkA
Pakad :
 lk e] x e] i x] e] fu i] e js i] x] e js] lk
Swar- vistar :38
i e] ex e] e js] lk] js] lk] fu+ lk] js x] e] i e i x] e] fu i] x e] i x] e js lkA
lk] fu+ lk] x e] js] lk] fu+ lk js x] e] js x e] i e] fu /k fu i] e i] e] i x] e js lkA
lk e] e] x e] i e] x e i x e] e js i] fu i] e js] lk js x e] i x e] js lkA
Pt. V.N. Bhatkhande’s Guruji and friend Pt. Saadat Ali Khan Saheb. Home
member, Rampur State at Delhi Akhila Bharatiya Parishad said about different types of
Mallar its varieties when Pt. Bhatkhande went in the search of Malhaar raag and to know
about Malhaar ang deeply. Pt. Bhatkhande use to go to Rampur frequently to meet his
friend,Guru Saadat Ali Khan Sahab. He taught Pt. V.N. Bhatkhande different varieties in
Malhaar. The old Sanskrit granth did not mention about Malhaar. Aine-Akbari,
mentioned that eminent singers who were employed at the court of Emperor Akbar
namely Miyan Tansen, Ramdas of Gwalior and his son Soordas and Nayak Charjoo. All
these men have left their mark on our music by composing Malhaar prakars which are
known after their respective names. The following varieties of Mallar are commonly
recognized. Apart from the Malhaar prakars that are described earlier, there are some
more prakars like:
1. Nat Malhaar : Rishab Tivra, Gandhar Tivra, Madhyam, Pancham, Dhaivat

Tivra, Nishads both.
2. Sawani Malhaar : Rishabh Tivra, both Gandharas, Madhyam, Pancham,

Dhaivat Tivra, Nishad Tivra.
3. Dhooliya Malhaar : Rishab Tivra, Gandhar both, Madhyam, Pancham,

Dhaivat Tivra, Nishad both. etc....
Therefore, earlier description on Malhaar types and the raag Malhaar shows that
the raag Malhaar is evolved after 13th century.
Malhaar,Saarang and Kanhada are inter-related ragas 39
214

Malhaar Saarang Kanhada
The Mallar Ang : lk] lku+h lk] js e js ] ejs i] i uh i uh ] (uh) ] i i uh e i (e) js]
lk jse js lk uh lk ejs e e js (e) **meend and Kan are more given in Malhaar ang.
complicated form than Saarang ang.
SAARANG Ang : uh+ lk] lk uh+ lk] e js] js e js] e i e js] i uh i e js] js lk js lk
uh] lk] i u+h i+] lku+h lk] e js - nyas on the Ri swar is the identification of Saarang.
Kanhada Ang :+ lk] l u+h l, lk u+h lk js, js lk js, l u+h l, i+ uh+, i+ u+h+ lk, uh+ ijas,
js lak js l u+h l, u+h i u+h –i, i+ uh+ i e i, u+h la, u+h js, lk
There is no limit in developing Kaafi Thaat ragas. Especially Saarang, Mallar &
Kanhada Angs. The sky is the scope of limit for this Thaat.
Kanhada Ang generate the following raagas
Darbaari Adana Sughrayi Shahana Nayaki Gunji
7 8 9 10 11
Kanhada Hussaini Mudrika Kaunsi Abhogi
Malhaar Kanhada Kanhada Kanhada etc.
Few types of Kanhada Ang are described below:

Raag Kanhada Ang of Hindustani Music and Kanhada types.
Kanhada Ang and Kanhada’s mukhya swar-sangatis are given while describing
the Malhaar Ang, Saarang Ang Prakaars. Kanhada, Malhaar and Saarang are
interconnected angs derived from Kaafi Thaat.
x e js lk] u+h i] js i i.e. are the main identities of any raag that is derived from
Kanhada Ang. Eg: Suha, Sughrai, Shahana, Darbaari,Nayaki etc.
215

According to Pt. V. N. Bhatkhande, Kanhada possess almost 18 prakars. Among
this 18 prakaars, some of the Kanhada prakars are mishrit raagas Eg: ‘Khamaji Kanhada’
‘Sorati Kanhada’, ‘Jai Jaiyavanti Kanhada’, and the independent prakars of kanhada are
‘Darbari Kanhada’, ‘Adana’, Nayaki, Suha, Kaunsi, Sughrai, Shahana etc., all these
prakars of kanhada are very popular in the world of Hindustani music. A brief
description on these prakaars of Kanhada are given below:
Few prakars of Kanhada will be explained
Darbari Kanhada is described in category – 4.
‘Suha Kanhada’: This is an ancient raag. Gandhaar & Nishaad swaras are Komal. some
of the artists exclude Rishabh & Dhaivat swaras in its Aaroh & only excluding Dhaivat
swar in its Avaroh consider it as Audav– Shadav Jaati. Some of the artists, excluding
only Dhaivat swar in Aaroh & Avaroh consider this raag’s jaati as shadav– shadav. But
the first jaati is followed by most of the artists. Time of singing is in the second part of a
day. A Uttarang pradhan raag, Sa, Pa, Ga & Ma are Nyas swaras.
Raag Swarup : 40
lk fu+ lk ex ex e] i e fu i] fu fu i e i lka] i fu i] e i fu ex · e] x e i
lka] ifu i ex · e] e fu i ¼i½] ex · e lkjs lk fu+ lk ex ex e] i e fu iA
There are different types in suha raag using komal Dhaivat resemble Darbari
kanhada. There is an another variety relating to suha raag with the mishran of three Angs
(Raagas) kanhada, malhaar and saarang, suha raag to show the mishran of saarang Ang
in Rishabh swar is used only in Aaroh like js] js e iand js i]also the prayog of both
Nishadas and this kind of suha is considered to be a shadav– shadav jaati raag. Therefore
this produce the chhaya of kanhada i.e., in this type of suha raag when Dhaivat is
excluded Nayaki Kanhada raag chhaya arises and this kind of suha is also very popular.
Suha of another kind is Dhaivat Varjya, kanhada, malhaar and megh mishrit
Audav- Shadav jaati. This type of suha raag is also more sung now-a-days. Among all
the types of kanhada this kind of suha is slightly different possess an independent raaga
structure.
The raaga swarup of Suha – Rishabh varjya in Aaroh and ‘ma’ is a vaadi
therefore– fu+ & lk x & e] i, swar-sangati is sung which resemble Bhimapalasi raag.
216

therefore xis sung as an Andolit swar i.e., fu+ lk ex ex e] e fu i or i ex ex e] fu fu
i e i ex ex e] lk e] e x x e fu i] ¼i½ ex ex eA this kind of swar sangati bring the
chhaya of Bahaar so, e i fu i lka] lka i fu i] e i fu lka] fu lka jsa lka ifu i] e i lka i
fu i is to be sung to avoid Bahaar raag’s chhaya.
There are many similarities between suha and ‘Nayaki kanhada’. In both ragas
Dhaivat is varjya. Infact suha, Sughrai and Nayaki are inter-related ragas of kanhada
Ang. Apart from all prakars,Shahana raag is different in kanhada Ang. Inspite of
dissimilarities there are more similarities between suha and Nayaki ragas. Both raagas
have the mishran of Malhaar. In both raagas ma is vaadi. Being the prakaar of kanhada
Ang in both the ragas the swar sangatis x e lkjs lkand lka i fu i ex ex e fu ietc are
present. Apart from similarities there are dissimilarities between these two ragas they are
:
Dissimilarities between Suha and Nayaki ragas 41

Suha Nayaki
1. Mishran of Kanhada, Megh and 1. Mishran of Kanhada, Malhaar and
Malhaar. Saarang.
2. In its Aaroh the notes Ri & Dha are 2. In this only Dha is absent.
absent.
3. In this there is only misharan of raag 3. In this there is a mishran of Saarang
‘megh’ therefore Komal Nishaad is Ang is therefore both Nishadas are
used like. e i fu i fu fu lka] fu lka jsa used in this raag- e i fu i fu lkaA
lka ifu iA
4. Chalan : i ¼i½ ex ex e] e fu i ex] ex 4. Chalan of Nayaki :
e lkjs lk fu+ lk ex ex e] i e fu i] e lk] js fu+ lk] lk i+ fu+ i+, lk js jsx jsx
i fu i lka] i fu iA e] ex e js lk js · lk, js fu+ lk js
i, fuei ex ex e fu i] ex ex]
x e i e js lk js · lkA
5. This is Uttarang Pradhan raag therefore 5. This is poorvang pradhan raag sung
sung in second part of a day. in the second part of night
6. The prayoga of ^x* is sung touching 6. In this Rishabh is present in its
‘ma’ note fu+ lk ex ex e] i ex e lkjs Aaroh. So, Ga is sung using two
lkA Angs, in Aaroh Darbari Ang i.e. Ati
217

Komal Ga lk js jsx jsx e and in
Avaroh miyan malhaar Ga is used
i.e., touching ma note i.e., i ex ex e
js lk js · lkA
7. The avarohatmak Rishabh prayog is 7. The Avarohatmak prayog of Ri in
like i ex ex e lkjs lkA Nayaki i ex ex] x e e js lk js ·
lkA
8. Vaadi is Ma. 8. Ma & Pa both are vaadi.
SUHA raag Aaroh & Avaroh :
Aaroh :  fu+ lk ex e] i fu i fu lkaA

Avaroh : lka ifu i] ex e] js lkA
Pakad :  fu+ lk ex ex e] i e fu i ex e lkjs lkA
Aalaap :
lk fu+ lk ex ex e] i e fu i] fu e i ¼i½ ex ex e] i x e lkjs lkA
i ex ex e] e fu i] e i fu ex x e] e fu i] e i lka i fu i, fu fu i e i, e i
ex ex e] e i] i fu i] js js lk fu+ lk ex] ex] e] i x e lkjs lkA
fu+ lk ex ex e] e fu i] e i lka] i fu lka jsa lka] js jsa lka fu lka fu fu i e ¼i½ ex

ex] eaxa ea lka jsa lka] i fu i e i lka ¼i½ ex ·] lk e x e fu i, e i lka, x · x e
i ex e lk, js lk fu+ fu+ lk ex ex eA
NAYAKI KANHADA
x fu foÑr tkfr "kkMo] xkor jkx uk;dhA

e lk lEokn e/;jkf=] jf[k;r FkkV lq dkQhAA
Nayaki Kanhada is one of the sweetest and melodious prakars of kanhada.

Dhaivat swar is varjya in this raag. Jaati is shadav- shadav. Madhyam is vaadi and
Shadaj is samvandi. poorvang pradhan raag.
218

Raag Swarup : 42
lk js fu+ lk] i+ fu+ i+] i+ lk] js fu lk js jsx js· e js lk js] lk] js js lk & fu+ lk i+ fu+
i+ lk] js fu+ lk js ifu ei] ¼i½ ex · ex e] e fu i] fu e i ¼i½ ex] ex x e i e js
lk js · lk] js e js lk i+fu+ i+] i+ lk] e e i fu i fu lka] i fu lka i] fu i] ex ex
e] e fu i] i ex · e] x e i e js lk js · lk A
^x e i e js lk js] · lk* is the identity and Mukhya swar-sangati of Nayaki

Kanhada.
Swar-Vistaar
1- lk] fu+ lk] fu+ lk js] js lk] lk i+ fu+ i+ lk] lk js] jjs sx jsx · e] js lk js · lk] e
js lk i+fu+ i+ fu+ i+ lkA
2- js fu+ lk js i fu e¼i½ ex ex e] e fu i] fu fu i e i ex · e] x e i e js lk js · lk]

js js lk fu+ lk i+ fu+ i+ lk] fu+ fu+ lk js js lkA
3- lka] lka fu lka jsa lka] jsa jsa lka fu lka] fu lka jsa eaxa · ea] jsa lka ifu i] fu fu i e i
e i la] i jsa lka jsa fu lka] e i fu ex ·] xa ea jsa lka jsa · lka] lka i fu i] e i lka
ifu ei xe x e i e js lk js · lk, i+ fu+ i+ lkA
Raag lq?kjkbZ ‘Sughrai’ 43
This raag is a mixture of two main ragas i.e. Saarang and Kanhada. A Kaafi
Thaat raag. In its Aaroh Dhaivat swar is varjya and in Avaroh all the 7 notes are used.
The jaati is shadav- sampoorn. vaadi is pancham and samvaadi is shadaj. Time of singing
is in the second part of a day.
sughrai with Dhaivat swar in its Avaroh, shadav-sampoorn jaati
vkjksg& uh+ lk js ex · e i] uh laA
vojksg& la /k uhi e i] ex · e js lkA

Sughrai without the usage of Dhaivat swar, Shadav-Shadav jaati.
vkjksg& lk js ex e fu i] fu lka
vojksg& lka ifu i x e lkjs lkA
219

Pakad :fu fu i e js lk js ex · e fu iA
1- lk] fu lk js ex · e lkjs lk] i ex e fu i] fu fu i e js lk js ex · e i e fu

i x e lkjs lkA
2- lka i fu i fu lka] i fu lka jsa lka] ex e fu i] e i e i fu lka] fu lk js ex e

fu i e i fu lka] fu lka jsa ea ia xa ea jsa lka] i fu lka ¼i½ ex · e fu i]
fu fu i e js lk js x · e fu iA
RAAG : SHAHANA
Shahana is the another prakaar of Kanhada Ang. A Kaafi Thaat raag. Some of
the artists sing without Dhaivat in its Aaroh and consider Jaati as shadav- sampoorn.
Some of them use Dhaivat in Aaroh & Avaroh and consider jaati as sampoorn. vaadi is
pancham and samvaadi is shadaj. Uttarang pradhan raag and rendered in the second part
of the night. Shahana is supposed to be a prakaar of kanhada Ang. Therefore the raga
chhaya of Shahana resemble with the prakaars of Kanhada. The General Raaga structure
of shahana fu /k fu i /k e i lka] /k fu i e i ex · e i x e lkjs lk] e i x e /k] /k fu
i e i fu lka] lka fu /k fu ietc.
The swar-sangatis like x · e lkjs lk] e i fui fu lka ifu i etc. do not resemble
megh raag, infact the swar-sangati lka fu iande i fu lka Resemble saarang Ang.
Shahana is uttarang pradham raag. The whole raag essence is explored in its uttarang. fu
/k fu i /k e i x e /k] /k fu i] e i lka fu iorfu /k fu i /k e i lka fu /k fu iThis

swar-samuh shows the importance of uttarang in this raag.
In its uttarang the swar-samuh x e /k /k brings Bageshree raga chhaya and
fu fu i e i x e lkjs lkswar-samuh brings the essence of Kanhada Ang,

sometimes lka /k fu i and ê i /k fu lka* swar-samuh brings the chhaya of Miyan malhaar,
lk e i ex · ebrings Bahaar chhaya e i fu i fu la brings the chhaya of Saarang in

shahana raag, etc. Hence, many artist consider that shahana has the shades of kanhada,
Bahaar, Bageshree and saarang ragas.
220

In this raag the prayog of the notes shadaj and Dhaivat sounds very sweet. The
significance of the notes pa and taar Sa is more in this raag fu isangati more used in
this raag. Always the Aalaap ends with the swar sangati ex e lkjs lk*
In Shahana raag, both Nishaadas are used, but komal Ni is more significant than
Shuddh Ni-lk fu /k fu i] fu fu i e i ex e fu i fu e i] lka /k fu ietc. and similarly
Shuddh Ni prayog like e i fu i fu lka or some times e i /k fu lka Swar samuh are used.
vkjksg& lk js x e i fu /k fu i fu lka A
u+h lk] js e js lk] ex · e] /k uh i] e i laA
vojksg& lka fu /k fu i, e i x e js lA
vkSj
la] jsa la uh la] /k · · uh i] e i ex · e js lkA
idM+& x e /k] /k fu i /k e i lka] fu /k fu i] ex · e lkjs lk
vkyki % 44
i ex · e lkjs lk] fu /k fu i e ¼i½ ex · e fu i] ex · e lkjs lk] js ex · e fu /k

fu i] /k e i lka fu /k fu i ex e lkjs lkA
fu fu i e i ex · e /k /k fu i] fu e i ex · e fu i] fu i e i lka] lka /k fu i]
e i ex · e i x e lkjs lk] lk e e i ex · e /k /k fu i] /k e i x e fu i ex e
lkjs lkA
lk js ex · e lkjs lk] fu i e i ex · e lkjs lk] fu /k fu i /k e i x e /k] /k fu

i] jsa lka fu lka i fu i e i ex · e /k] /k fu i] e i fu lka] exa · ea lkajsa lka] ea jsa
lka] jsa lka fu lka] lka i fu i e i x e /k] /k fu i ¼i½ ex · e lkjs lkA
Note: Kaanada of Carnatic music 29 almost resemble Shahana of Hindustani music:
Raag kaanada is 22nd Melakarta Kharaharapriya janya. This is a rakti raga.

(scintillating&relishing raagam). Bhaashaanga raaga with kaakali nishadam as anya
swasam, which comes rarely in the phrase S,NDN, D. some musicians add shuddh
dhaivatam as an anya swara which resemble & sounds like Darbaari kaanada. Kaanada it
is an interesting and sweet raga with perfect picture and rasa of karuna and bhakti.
Aaroh : SRGMPMDNS
221

Avaroh : 1. S N S D P M G, M R S
2. S N P M M R S
The avarohana is vakra in kaanada. Jeeva swaras are R, G, M, P, D, N, S
The prayaogas like S *N DN, D MDNS, NPG MRS are the rare prayogas of
kaanada raag. * denotes Kaakali Nishad
Brief Raagaalapana : 45
R,,| SRG,MRS| NSNDN,D/ NSR,/ G,M/ PMGMDNP/ MDNP/ NPGMRS/

NSRG, MPMGMD,NS/ NSRG, MRS NSDPM/ DNSRSNPM/ DNSRG, MRS/
RPGMRS SNPMG/NPG,/PG MRS/ RSNS, NDN,D/ NSR/ SNP MDNS/ NR,S/
Analyisis
The Kaanada of Carnatic music resemble the swarasthanas of raag Shahaana in

Hindustani music i.e. Kanhada Ang. The prayoga of GMRS and the whole essence of
Kannada in Carnatic music coressponds to the Kanhada ang in Hindustani system. But
overall prayogas like Shuddh Dhaivat prayog(Chatussruti Dhaivat) in Carnatic Kaanada
resemble with Shahana of Kanhada prakar. Except for few swar sangatis like MDNS N P
and x e /k] /k fu i /k e i lka] fu /k fu i] ex · e lkjs lk differ from Carnatic Kaanada.
In Carnatic Kanada DNSRSNPM/ DNSRG/ NSR/ SNP MDNS/ NR,S. the usage of
DNP, DNS NP swar sangati is sung more in Hindustani shahana, in Carnatic Kanada
DNSR, SNP kind of swar combinations are sung. Taar Sa is clearly sung in Carnatic
Kanada.
RAAGAS DERIVED FROM KHARAHARAPRIYA: 46
UDAYARAVICHANDRIKA: S G M P N S- S N P M G S
SREE: S R M P N S – S N P D N P M R G, R S
SRIRANJANI: S R G M D N S – S N D M G R S
MUKHARI: S R M P D N D S – S N D P M G R S
DARBARU: S R M P D N S- S N D P M G G R S
HUSSENI: S R G M P N D M P N D N S-S N D P M G R S
222

MADHYAMAVATI: S R M P N S- S N P M R S
PHALAMANJARI: S G M P M D S – S N D P M G M R S etc...
ASAVARI THAAT
DERIVATIVES OF ASAVARI THAAT

Gandhari, Deva Gandhar, Komal Rishabh Asavari, Jaunpuri, Desi.
ASHRAI RAAG ASAVARI
Aaroh :
l js e i /k lka] la uh /k i] e i /k e i] x js lkA
Avaroh :
Jaati : Audav – Sampoorn

Grah : Madhya Shadaj
Ansh swar : In Poorvang Gandhar & in Uttarang Dhaivat. (Vaadi &
Samvaadi)
Nyas : Madhya Shadaj
Important note combination (Mukhya Ang) : /k ei lka] uh/k i 
Time of singing : Second part of a day

Raag Ras : Komal-shringar
Asavari is a very sweet, soothing, typical classical raga of Hindustani music

which got to its reference compositions like Khyal, Dhamar, Dhrupad etc., almost all
classical forms are composed in this rag. Quite suitable for devotional compositions. A
Bhakti ras rag.
Swar Vistaar in Asavari raag:
lk] ejs e] i] i] fu/k] fu/k] fu/k] i] /k e i] x] lkjs] lk js] e] i] fu /k] iA lk] js lk] x]
lkjs lk] e i ex] lkjs lk] fu fu/k] /k] i] e i /k e i x] fu /k] i /k e i ex] lkjs] lkA
ejs e i] fu /k] iA
in almost all the raagas derived from Asavari Thaat, possess the swarup of above
mentioned swar vistaar.
223

It is to be noted that while singing Aalaap js e i /k e i x l js x] lkjs xlkA the
note ‘Ri’ touches ‘Sa’ and ‘Sa’ touch the note ‘Ga’ while landing. So, this Prayog gives
beauty to this raag. Another thing which is to be noted that while singing note ‘Ga’
giving ‘Rishabh’ touch you should be careful that jsx jsxprayog should not come. This
prayog gives the Tinge of raag ‘Desi’.
In this raag, the note ‘Dha’ in Uttarang is sung touching the note ‘Ni’ like l js e
i fu/k i&after singing the note fu/k a long pause on the note ‘Pancham’ is to be given.
Otherwise it brings the essence of Kanhada ang. Rishabh and Dhaivat swaras in Asavari
raag are sung touching(sparsh) the notes Madhyam ejs and Dhaivat swar is sung with the
sparsh of Nishad swar fu/k is the identity of Asavari raag. Nishad is an alpatv swar.
Raag ‘Jaunpuri’ and Asaavari are identical raagas. Jaunpuri come under Asaavari
Ang. In Jaunpuri Pancham swar is more prominent also Nishad swar is used in the Aaroh
of Jaunpuri raag.
Swar Vistaar : 47
lk] js e i] fu /k] i] e i /k i x] js lk] js e] iA

lk] js e] i] fu /k] fu /k] i] /k e i] /k x] js] lk] js e] i] fu /k iA
e i fu /k] /k] i] lka] fu] /k] i] js e i] fu /k] fu /k] i] e i] ex lkjs e i] fu /k i e
i /k e i x] js] js] lkjs] js e i] fu /k] iA
lk] js lk] ex] js lk] i x] js lk] js e i] fu /k] fu] /k] i] ex lkjs e i] fu /k] i] /k e
i x] js] js] lk] js e iA
CARNATIC NATHA BHAIRAVI MELAKARTA : 48
BRIEF RAAGALAAPANA :
SRGMPDNDP/MGR / SNDNDNS / RGPMGRS / RGM / PDNDP / PDPMGR /

GMPDNDP / DPMPDN/ DPM/ PDNS / DNSNSRN, DPMGRGS / ND /
PDNSRGM, PDNS / PDNSR / GRGRSND NSRGMGR / GRSNS, / SNDPPDN ,
DPM, / MPDM / PMGR, GRSNDDN, DN,S ,/
Analysis of Asavari and Natha Bhairavi

Hindustani Carnatic
Thaat Asavari Mela Nathabhairavi
224

1. Asavari Thaat is equivalent to 1. Natha Bhairavi comes under 20th
Melakarta Natha Bhairavi in melakarta of the 72 Mela scheme.
Carnatic system. This is supposed to be a 2nd Raga of
Asavari scale/Thaat the 4th veda chakra. A Sampoorn jaati
lk js x e i /k uh lka] mela / rag. Natha is prefixed to
lka fu /k i e x js lkaA Bhairavi.
Notes taken are Sa, Shuddh ri, Notes taken here are:
Komal ga, Shuddh ma, pa, Komal Shadjam, Chatusruti Rishabham,
dha & Shuddh ni Sadharana Gandharam, Sudda ma, pa,
Suddha Daivatam, Kaisiki Nishadam.
2. Time of singing is in the second part 2. No time boundations.
of a day.
Practical Differences :
Only Thaat Asavari notes correspond the notes of Natha Bhairavi Melakarta.
Raag Asavari donot correspond with the notes and raaga chhaya of Asavari raag. Raag
"Vasanta varali" a derivative of Mela Natha Bhairavi in Carnatic music correspond the
notes of Hindustani Asavari. Vasantavaraali’s Aaroh is similar to the raag Asavari raag.
Vasantavarali Aarohana and Avarohana is SRMPDS

SNDPGRS
The Raagaang vachak prayog of Asavari raag is js e i /k e i x · js lkand e i
/k /k la jsa fu /k /k iand the Pakad of Asavari lk js e i /k lka] lka fu /k i] e i /k e i]

x js lkABased on this Raagang vachak prayog the other prakars of Asaavari raag are
derived. In the Aaroh placing the Nishad swar raag JAUNPURI is evolved, similarly in
Avaroh using the Komal Rishabh note raag GANDHARI is derived, in the poorvaang
adding a slight chhaya of Gaud raag Ansh DEVGANDHAR raag is evolved. Therefore,
Asaavari Ang possess many derivatives. The main dissimilarity between Asavari and
Natha Bhairavi is that in almost all the Asavari prakars or the derivatives the raagaang
vachak swar samuh S R M P D is common. Gandhar note is not sung in the Aaroh of
any of the Asavari prakars. Asavari raag identity is explored with the absence of Gandhar
swar in its Aaroh.
225

There are also many derivatives of Natha Bhairavi like :
Bhairavi, Poorva Bhairavi, Ananda Bhairavi, Reeti gowla, Jayantishree,

Hindolam, Kokilavaraali, Vasantavarali, Jingla, Amruta Vaahini,
Hindolavasantam, Gopika vasantam, Suddhadesi, Maanji etc.,

THAAT- BHAIRAVI
Raagas derived from Thaat Bhairavi: Bhairavi, Malkauns, Bilaskhani-
Todi.
ASHRAY RAAG BHAIRAVI
Raag Bhairavi is derived from Bhairavi Thaat, Ashray raag of Thaat Bhairavi.
This raag contains all Komal swaras.Vaadi Swar Is Madhyam.
Samvaadi Swar is Shadaj. Jaati Is Sampoorn-Sampoorn, since all the 7 notes are
used. It is said by many musicians and artists of North India, that raag BHAIRAVI can
be sung and played at anytime in Hindustani music, this raag is considered as Sarv
kaaleen raag. The reason given by Pt. Ramashray Jha, in ABHINAV GITANJALI- 5 as
that - in any Hindustani music concert most of the artists end their eloquent performance
singing Bhairavi raag, also some of the musicians opine that, due to the usage and the
prayog of Shuddh and Vikrit i.e. all the 12 swaras in Bhairavi raag, there is no rigidity to
sing this raag in a particular prahar or time.
According to the present Hindustani classical music system, BHAIRAVI is an

Uttarang pradhan raag and considered as Pratah geya (early hour song).
“SAMPOORN BHAIRAVI GEYA PRATAH KAALEN PRAGEEYATE”49
There are controversies related to the Vaadi swar of Bhairavi raag. Some of the
artists say that Ma as Vaadi, some say Dhaivat and some musicians say Pancham as
Vaadi swar. But, leaving one or two Granthas in most of the Granthas Madhyam swar is
considered as Vaadi in Bhairavi raag. Infact every note in Bhairavi raag is important one
cannot discriminate swaras in this raag.
USAGE OF 12 SWARAS IN BHAIRAVI RAAG :
Apart from the shadaj swar, Komal Rishabh prayogas : S R G M (G) R S, P G

M (R) S and S G M P
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Shuddh Rishabh prayogas: D N S R G, R (G) S R S|
M
GANDHAR SWAR PRAYOG: S R G, D N S R G, R (G) R S, G M D P G, G M P M
G (-), R S used as Nyas swar.
MADHYAM SWAR PRAYOG : S R G M, G M P, G M P D P M P G M, P G M R S|
deergh and abhyas bahutv ke roop ka sthan hain.
PANCHAM SWAR : N S G M P, G M D P, P M G M G M P etc shows as sampoorn
nyasa swar.
usage of Teevra Madhyam: used very rarely as a vivadi swar: G M D P G M M M (G)
RS
Komal Dhaivat prayog : G M D P, D N S N D D P, R N S D P etc.
Shuddh Dhaivat prayog : G M P D N, D N P D P, N D P M G R M D P D N S (D) P|
Shuddh Nishad prayog: G , S R S R NS N S R S, GM DN S N S
RAAG: HANUMA TODI IN CARNATIC MUSIC
The 8th Melakarta raga under 2nd Mela in Netra Chakra (2), called as
Hanumatodi to accord with the katapayadi formula. A mela claiming a large number of
janya ragas. This is a Murchanakaraka Mela. Its ri, ga, ma, dha and ni are taken as
shadja, will result respectively ragas like Kalyani, Harikambhoji, Nathabhairavi
Sankarabharanam and Kharaharapriya.
AROHANA : SRGMPDNS
Note : S R G M D N S -S N D M G R S under this Mela is known as raag

‘Suddha Todi’. Besides Shadja and Panchama, the Todi raga takes the Sudha rishabha,
Sadharana Gandharam, Suddha Madhyama, Suddha Dhaivata and Kaisiki Nishada. A
Sampurna raga, a raga with a symmetrical pair of tetrachords, the tetrachords being
separated by the interval of a major tone; ga, ma and dha are the raga chhaya swaras
; ma and pa are amsa svaras or resting notes ; ga, ma, pa, dha and ni are nyasa swaras ; ri
is not a nyasa.
Janta swara combinations like G G MM DD, M M D D N N, D D N N S S

and datu swara prayogas like N G R N D N R N D M, G M N D M G R S are
prominent. Panchama varjya prayogas add beauty to the raga; D N S D and R S D are
227

visesha prayog. Sarva svara gamaka varika rakti raga. Tristhayi raga. One of the major
ragas; well distributed. Sloka padyas and viruttams can be sung in this raga. All types
of compositions are represented in this raga. A raga affording scope for elaborate
alapana. Used in operas and dance dramas. Compositions in this raaga begin on the
notes: sa, ga, ma, pa. dha and ni. Can be sung at all times. The tune called
Mattakokilam is in this raga.
Todi Sitararmayya, a brilliant musician of the early 19th century sang this raga
for eight days, an enviable record–In the phrase M m g g M, the ga is sounded in
svasthana but in G r s the ga is flattened and rendered.
Todi of South Indian Music is one of the scales obtained by the process of
modal shift of tonic to the ancient Tamil music. The Sangita Ratnakara mentions this
raga.
Sancharas : 50
D N S S S N D—D N S R R S , S N D P M—P D N D N S R S S N D—D N S R

G, R S N—D N S R G M G, R R S—S N D P—G M P—D N D P- P M G R R
S—S N D, D N S R S| ||
ANALYSIS
BHAIRAVI HANUMATODI
1. This raag can be sung in all times. 1. Even Todi can be sung at all the times.
2. Bhairavi is an oldest raga in 2. Even Todi is the most powerful raga.
Hindustani which has got more It is an expressive raga. Todi has the
aesthetic values in it. highest aesthetic values.
Tyagaraajaswami composed 34 of his
composition in Todi. Tyagaraja,
whenever he describes and praises
Sree Rama, it also applies to Todi
ragam.
3. Bhairavi is sung as a last item in the 3. Todi is beyond the scope of any
classical performance. Bhairavi amount of description. Its scope is
portrays Shanta, Bhakti and karuna high, wide, deep & Vast. Todi creates
rasa. It depict a picture or mood like a the mood of serenity & tranquillity. It
lady or a sadhu who gets involved in enhances the inner spirits and helps
228

the divine spirit immensely in a towards absolute meditation. even in
spiritual mood. Carnatic music Todi raag is sung with
12 swaras which is called as "Sindhu
Bhairavi"or "Hindustani Todi”. This
raag is incorporated by Carnatic
system from North, a desiya raagam.
In Carnatic concerts also they end the
performance with Sindhu bhairavi raag
i.e. any semi-classical bhajan is
rendered by an artist in this raag. But
Todi is purely a classical raag.
Bhairavi : S R G , R S, S N S R G M G, S G M P G M G , R S, P G M D , P, D N D P
M P G, S G M P G , R S| D N S R G, R G R S, G, R G S R S G , G M R S, G M D D P
GRGGMRS
TODI : S, N N D D , D N S R S N D D , / D N DD , SN S/ R S N ,/ S, R S S R G,
R,R,S,/ S,R G, R S N D D ,/ D,. G., G R R ,/ G, PM G,R, S, / R G M , GG RR , / S,R,
SRGM,/ M G P M G,R/RGM,PMGR,S,/ RGM, PMMG,,
Analysis:
 In Carnatic music the Suddha raagas (Komal note raga) should be given pure and
Raaga Ranjaka gamakaas and oscillations. one should not sing without proper
and intended Gamakas. This is a tradition in South Indian music.In Todi all the
Swaras are given pure gamakas. Kampitas (graces) properly.
 Where as in Hindustani Bhairavi the way of singing the same swaras are quite
different from Todi. Eventhough the swaras are identical. Todi is a very
traditional, classical raga of Carnatic music.
 Datu swara Prayogas are more sung in Todi Janta notes like gg mm dd, mm dd
nn, dd nn ss & Datu swara Prayogas like n g r n d n r n d m , g m n d m g r s are
prominent, d n s D and r s D are visesha prayogas.
 In the phrase Mm gg m, - the ga is sounded in its svasthana but in G r s the ga is
flattened and rendered.
 Todi is supposed to be a traditional and pure sampradaya, a classical raga which
is sung in only classical expressions where as Hindustani Bhairavi besides
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classical compositions sung in semi classical, light, Bhajan compositions also
using all the 12 swaras.
 Sometimes Pancham is varjya in Todi and it even enhances the beauty to the raag
like g m n d m g r s where as in Bhairavi pa ma ga re sa , ni dh ma pa dh ma pa
Pancham is used. The rest Prayogas, Swara sangatis are almost similar except the
singing style, the way of giving pause or rest to the respective notes differ a lot.
Practically there exist lot of differences, because Todi takes lot of gamakas in it.
Rishabh is not a nyas swar in Todi.
 Another major difference is that the present Hindustani music system sing
Bhairavi using 12 swaras and this is presently more popular in Hindustani
music.
There is an another raag in Hindustani music called ‘Sindhu Bhairavi’ derived

from Asavari Thaat. Note : The swarasthanas of Hindustani Thaat Bhairavi correspond
to Mela Hanumatodi. Raag Bhairavi also correspond the notes of Todi without the use of
12 swaras .
THAAT – TODI
DERIVATIVES OF TODI THAAT:
TODI (OR) MIYAN KI TODI, GURJARI TODI, BILASKHANI TODI, BHUPALI

TODI, AHIRI TODI,HUSSENI TODI,
raaga swarup of some raagas:
BHUPALI TODI : AAROH : S R G, P ,D, S

AVAROH : S D, P,G, R S|
PAKAD : P G, R G, R S D S||
BAHADURI TODI (TYPE-ii) : VAKRA CHALAN WITH ALL THE NOTES :

S R G S R G, R G M G R G R S, R N S R N D D S, S R G S R G , G P, D N D M, P G R,
S
GSRNSRG R G M R G R S.......
ANJANI TODI: BOTH RISHABS, DHAIVATS, NISHADAS ARE USED AND

GA IS KOMAL.
ASHRAY RAAG TODI:
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Raag Todi is one of the main raag among the Raagang Raagas and in Thaat
scheme. Raag Todi is also popular with the name ‘MIYAN KI TODI’. This raag is sung
in the second part of a day. A sampoorn jaati raag. In this raag DHAIVAT IS VAADI,
GANDHAR SWAR IS SAMVAADI. Uttarang pradhan raag.
The Raagang vachak swar-samuh of Todi
R
S R G, R R G R S |
Raag Todi also possess many prakars derived by excluding the notes and
differences in raag swarup like, excluding the note Pancham Raag GURJARI TODI is
derived and subtituting Komal Nishad in the place of Shuddh Nishad in this raag,
MANGAL GURJARI is derived. Also by excluding Madhyam and Nishad swaras raag
BHUPALI TODI is derived. In almost all the prakars of Todi, the notes Teevra Ma and
Ri , Ga are komal.
Based on Todi Ang and modifying the chalan of this raag, BILASKHANI TODI,
by differentiating the swaras AHIRI TODI (Ahiri is a Bhairav Thaat raag but sung based
on Todi Ang) etc raagas are derived.
Merging Kafi and Asavari LAKSHMI TODI, merging Hussaini Kanhada i.e.
Kafi, Kanhada and Asavari raag HUSSAINI TODI is derived. In this manner raag
LACHARI TODI, ANJANI TODI etc are derived. The Uttarang of this raag is also very
important and significant. The Vaadi swar of Todi, nyas bahutv swaras lies in the
Uttarang part of this raag. The Todi ang is clearly expressed in Uttarang.
The usage of Pancham swar:
Pancham swar in this raag is full fledged nyas swar which can be clearly explored
in Aalaap of Vilambit Khyal. In most of the prakars of Todi Pancham swar is used but in
raag Gurjri Todi ‘Pa’ is varjya swar which is the identity of Gurjri Todi raag.
S R R G, M G R G, R G M P, M P D M G, M G R G, R G M D M G, M G R G, G
R S D N R R S|
S R G M D, D P, R G M P, G M D D, N D P, M D M G M G R G, D P M G, R G
M D N D P M G, D M G...
These prayogas show the importance and beauty of pancham swar in the Aalaap
of Todi raag.
231

AAROH: S R G, M P, D, N S|
AVAROH: S N D, P, M G, R S|
PAKAD: D, P, M G, R G, R S|
AALAAP : 51
1. S R R G, R S, D N S R N D,M D N S D N S D N S R R G, G R S,D N R N D , P,
M D N D ,M D S|
2. M D N D, R G M P, G M D N D, D N S R G , R G M D, M D N S N D, D D P,
M D M G, M G R G M D N S, D N R S, S N D D P, P M G R G M P, G M D D
P M G, M G R R G, G R S|
3. S N D P M G R G M D S, M D N S R S, (P) M G R G M D N M D S D N R S, D
N S R R G, G R S, M R G R S D N R N D, G R N D, M D M N D, D P, P M G, R
G R G M G, M R G, G R R S D N R S|
CARNATIC SUBHAPANTUVARALI :
Subhapantuvarali is the 45th melakarta raaga. it gained the status of a prasiddha

raaga because of its innate potentialities.
VARAALI become more popular than its parental raaga Subha pantuvarali
because of the phenomenal composition apart from "KANA KANA RUCHIRAA", one
of the Pancharatna Kritis of Tyagaraja. This is Siva Pantuvarali according to Venkata
Makhi. All the branches of Manodharma sangeeta can be rendered in this Mela raaga.
Compositions :
GEETAM- GOVARDHANA-TRIPUTA- VENKATA MAKHI

SREE SATYANARAYANA-AADI- DEEKSHITAR-(Kriti)
RAAGALAAPANA :
ANALYSIS
Analysis between Thaat Todi and Mela ‘Subhapantuvarali’
232

TODI SUBHAPANTUVARALI
1. Todi Thaat is an oldest thaat of 1. Subhapantuvarali is the 45th

Hindustani music. It has got many melakarta raga. Subha is prefixed to
forms of its own. Raag Todi is derived pantuvarali according to Ka, Ta, Pa,
from thaat Todi. Todi is also called as Ya scheme of 72 melakarta.
Shuddh Todi and Miyan ki Todi. Note : Thaat Todi is equivalent to
Mela Subhapantuvarali, similarly
raag Todi of Hindustani music is also
equivalent to Mela Subha pantuvarali.
since raag Todi takes all the 7 notes.
2. Produce purely karuna and bhakti 2. SubhaPantuvarali also produce

rasa. Karuna & Bhakti rasa.
3. The notes taken are komal Re, komal 3. The notes taken here are suddha
Ga, Tivra ma, komal Dha & shuddh Rishabham, Sadharana Ga, Prati
ni. madhyamam, Suddha Dha and
kaakali Ni.
4. A Sampoorna jati raga. 4. Jati is Sampoorna-Sampoorna.
5. Vaadi note is Dhaivat and Samvaadi is 5. Ga and Dha are raga cchaya swaras
Gandhar.
6. Time of singing this raag is in the 6. There are no time boundations.
second part of a day.
The raga swarup of Todi of Hindustani music.

 S R R G, R S, D N S R N D,M D N S D N S D N S R R G, G R S,D N R N
D s P, M D N D ,M D S|
Swara Sancharam in Subhapantuvarali: 52
N S N D N P M – G , R , R S, SRSN S R, G M, P , , , , , P M
P D – N S N D P M – P D P M G , , R S,
The swar sangatis of these two parent scales are almost similar.
 Pantuvarali sancharas are taken in all the three sthayis, tristhayi sancharas are
taken. Taara sthayi sancharas are more in pantuvarali.
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 In Todi the way of singing Rishabh swar and Gandhar swar i.e. S R R G,
R S, itself separates the raga cchaya of Carnatic Pantuvarali from
Hindustani Miyan ki Todi. Though the notes are same the way of singing
swaras differ the raga chhaya.
RAAGAS DERIVED FROM SUBHAPANTUVARALI:
SUBHALI : SRGMDNS–SNDMGRS
SEKHARA CHANDRIKA : S R G M N D N S – S N D M G R S
BHANUGEERVANI : S R G M P D N S- S N D M G R S
PART (B)
List of raagas
HINDUSTANIRAGAS CARNATIC RAGAS
Bhimpalasi Abheri
Kalavati Valaji
Bhupali Mohana
Jai Jaivanti Dwijavanti
Patdeep Gowri manohari
Ahir Bhairav Chakravakam
Durga suddha saveri
Malkauns Hindolam
Detail Analysis:
Raag Bhimpalasi in Hindustani music :
“JAB KAAFI KE MEL MEIN, AAROHAN RE DHA TYAG, TRUTEEYA

PRAHAR DIN GA NI KOMAL, MAANAT MA SA SAMVAAD” 53
234

Raag Bhimpalasi is derived from Kaafi Thaat. Ga and ni notes are komal and rest
notes are shuddh. In the aaroh rishabh and dhaivat swaras are excluded notes. Jaati of
this raag is Audav – Sampoorn. Vaadi note is Madhyam and Samvaadi note is Shadaj.
The time of singing of this raag is in the Third part of the day.
AAROH : NI SA GA MA, PA, NI SA

AVAROH : SA NI DHA PA, MA PA GA MA, GA RE SA
PAKAD : NI SA MA, MA PA GA MA, GA RE SA
Important Prayogas of this raag :
SA MA, MGA PA, M

GA MA GA RE SA.
‘Ni sa ma’ prayog shows that the Vaadi swar of this rag is Madhyam. Samvaadi
is Shadaj. More stress on the note ‘pa’ brings the chhaya of raag ‘Dhanashree. Raag
Bhimpalasi and raag Dhanasree are almost similar ragas, but long pause on the note ‘pa’
brings the chhaya of raag Dhanashree. The difference between Bhimpalasi and
Dhanasree is found through the vaadi and samvaadi notes.
RAAG SWARUP OF DHANASHREE :
N S G M P, M P, G P G, M G R, S|
P, M P, G M P, N D P , N N D P , M P , G P, G M G R S, N S G M P, G M P, N
S, N S R, N D P, D M P, G, G M P G, S G M P G, R S, N D P, M P N, P N S
According to many scholars and great musicologists Raag Bhimpalasi, is the

mixture of both ‘raag Bheem and raag Palasi’. Raag Bheem and Palasi acquired great
popularity in the world of Hindustani music. Raag “Bheem” is a very melodious and
highly eloquent raag with its wondrous notes. Bheem is sung in two ways, 1. Using
Komal Ni and 2. Shuddh NI,
RISHABH note is varjya and jaati is SHADAV-SHADAV.
TYPE-1 RAAG SWARUP OF BHEEM:
N S G M P, G M G S, N D P N S, G M P, P N D P, P N S N D P, G M P G M G
S, N D P N S. This raag swarup of BHEEM shows that it is a derivative of Kaafi
Thaat. In the second
235

TYPE-2 OF BHEEM RAAG 41, Shuddh Gandhar is used and Nishad is Komal, in the
Aaroh the notes Rishabh and Dhaivat are varjya and Avaroh is Sampoorn.Due to the
usage of Shuddh Gandhar, this type of Bheem come under Khamaj Thaat. Infact the
Poorvang part of Bheem raag do not resemble Bhimpalasi raag.
Only the Uttarang part, especially the swar sangatis like S N N P N S N D P, D

M P N S N D P, G M R, N S resemble Bhimpalasi raag, the G M R, N S prayog is the
identity of raag Bheem. Bheem raag with Shuddh Gandhar is more popular in the present
Hindustani music system. Also as a special feature, in Bheem, komal Gandhar is used as
a vivadi swar only in Taar saptak i.e. while singing antara part to add beauty Komal
Gandhar is sung by many musicians which sounds melodious.
PALASI RAAG: Raag Palasi is also a Kaafi thaat raag, in its aaroh the notes RISHABH
and DHAIVAT are varjya, in avaroh only DHAIVAT note is varjya. Jaati is AUDAV-
SHADAV. Vaadi is MADHYAM and Samvaadi is SHADAJ.
PALASI RAAG SWARUP :
S N S G R S, N P N S, G M, S N S M G R S S N, S G M P M, P N P N S, N P M
G M, P, M G M G R S.
In this raag the poorvang part with the notes N S G M P G M, P M G M G R S

absolutely resemble BHIMPALASI raag. Therefore, from the above detail descriptions
and raga swarup of both Bheem and Palasi ragas show that the Poorvaang of raag
BHIMPALASI corresponds to the notes of raag PALASI and the Uttarang of
BHIMPALASI corresponds to the notes of BHEEM raag.
In the Raag BHIMPALASI the note combinations SA MA and PA GA are

frequently used. Always the Meend from the note Ni to Sa and Ga to Ma is taken.
The mood of this raag is Karun. In this raag many Bada Khyal compositions,
Chhota Khyals, Taranas, Dhrupad, Dhamar are sung. There are few ‘Holi’ compositions
in this raag.
Some of the artists even use Shuddh Ni in this raag very rarely but while singing
Shuddh Ni an artist should be very careful otherwise there are more chances to get into
the rag ‘Patdeep’.
NYAS SWAR : SA, GA, MA and PA

SAMAPRAKRITI RAAG : DHANASHREE
236

BHIMPALASI : SA, NI SA MA, MA PA GA MA, GA RE SA
While taking Avaroh the Combinations like ‘ma pa mga ma ga re sa’ is brings
the essence to this raag.
The note ‘Ma’ in the poorvang and the note Ni in Uttarang play prominent role in
this raag.
Important Note Combinations:SA NI SA MA, MA PA GA MA, MA PA MGA,

MA GA, S RE SA. SNI SA, MGA MA GA, SRE SA, NI DHA PA, NI SA GA MA PA
S
NI, PA NI SA ,SA NI DHA PA, MA PA GA MA
BRIEF AALAP : 54
SA, NI SA MA, GA RE SA, NI DHA PA, PA NI SA, GA RE SA. NI SA MA,
MA PA GA , MA, GA MA PA, NI DHA PA, DHA MA PA , GA , MA, SA GA
MA PA GA MA , GA RE SA, NI SA GA RE SA.
GA MA PA NI , PA NI SA, PA NI SA GA RE SA, RE NI SA, NI DHA PA,

DHA PA MA PA GA MA, PA NI SA, NI DHA PA, MA PA NI DHA PA, PA
DHA MA PA GA MA, NI SA MA, MA PA GA MA, GA RE SA, NI DHA PA
NI SA.
ABHERI IN CARNATIC MUSIC :
AROHANA : S G M P N S
AVAROHANA : S N D P M G R S
“Rag Abheri is highly an effective raga. The swarasthanas of this raag apart from
sa and pa, Chatushruti Rishabham, Sadharana Gandharam, Suddha Madhyamam,
Chatussruti Dhaivatam, Kaisiki Nishadam. Abheri is derived from the 22nd Melakarta
Kharaharapriya. Abheri is an Upanga raag (Upanga ragas take swaras pertaining only to
the parent scale) and Varjya raagam. Rakti raagam and a popular raagam. Rishabha and
Dhaivata Swaras are Durbala Swaras. They are dependent on Gandhara and Nishada
respectively. It is a raga with Desi touch. This raga is also called as CARNATIC DEVA
GANDHARI with one or two subtle changes of intonations here and there. Ri and Dha
can be sustained in Carnatic Deva Gandhari.
Brief Aalaapana : 55
237

SGMPGM,/ GRSNDP/ PNSGMP/ GM,/ GMPNDP/ MPGMPNS,/
NDPMGMGRS/ NSGMPNS/ PNS,,/NSGRS/ NDP/ GMPNS/ NSGM,,/ GMGRS/
NSGMP/ GMG,RS/NDP/ MPGM/ PSNDP/ NDPM/GRS/ NSPNS/ GRS,/
GA AND NI are given Kampita Gamakas like SMGM and PSNS, respectively.
Analysis
HINDUSTANI BHIMPALASI CARNATIC ABHERI
1. In Hindustani music there is a rag In this system also there is a rag
which is almost similar to the raag which is purely equivalent to the
Bhimpalasi is ‘Dhanasree’. raag rag Abheri
Bhimpalasi come under Dhanashree is‘CarnaticDevagandhari”.
Ang. According to some musicians in
“Carnatic Deva Gandhari” the notes
RI and DHA are sustained.
2. This is an Audava- Sampurn raag. Abheri is a Varjya raga and an
Upaanga raga.
3. Vaadi swar is MA and Samvaadi swar In this system instead of specifying
is SA. vaadi swar and samvaadi swar , it is
said jeeva swaram or raga chhaya
swara. So on this basis the jeeva
swaras of this raag are ni and ri
swara according to some theories
and musicians and some other
musicians say GA and NI as jeeva
swaras.
4. Time of singing of this rag is din ka In this system there are no particular
teesra prahar (Third part of a Day) theories and boundations in singing
a raga in a particular time or period.
There are seasonal ragas etc in this
system but there is no any such rule
that a particular raga should be sung
in a prescribed.
1. In this system raag bhimpalasi According to the theories of south
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prominently take the notes N S M, Indian musicologists the jeeva swara
M
G M P, S N D P M P G M, MG R and the nyasa swara of Abheri are
S, the above given swar sangatis NI and RI and some say its GA and
show the significance of Madhyam NI. Where as in Hindustani it is
in Bhimpalasi raag. Madhyam and shadaj.
The Aahata prayogas are not taken The prayogas that show the
in Bhimpalasi raag. like nn dd pp significance of raga chhaya swar of
m g r. Abheri
P m g - g r s -n s g r S-n s g M p- g
m p N n d d p p m G r- g m p N p-
n n s – n s g r s- n s g m g R s – s n d
pgmpnS–ndpmG–gmpNd
p m G – g m p d p m G, r – n s g r –
n s n d p N – S n G r s.
Above swar sancharas reveal that in
Abheri all are jeeva swaras.
In this rag the janta swaras(Aahata
prayogas and daatu swaras give
more beauty, like
Gmpnddppmmgrs
 The raaga swarup of both
Bhimpalasi and Dhanashree
reveal the truth that Abheri
is the mixture of Bhimpalasi
and Dhanashree ragas
A Karuna ras pradhan raag. This raag contains only bhakti
essence. raag abheri is mostly sung
to bring devotional essence in
Carnatic music. This is a bhakti ras
raga.
There are many Dhrupad, Dhamar, There are many kritis keertanas in
Bada Khyal and Chhota Khyal this raga and also many light and
compositions. semi classical compositions in this
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raga. This is a flexible raga
Also in Abheri ni sa ga ri sa, ni da pa kind of swar-sangatis are sung in its Aaroh.

Where as in Hindustani ‘Bhimpalasi’ the notes likes ‘ni sa ma’, ma pa ga ma, pa ma pa
ga ma, ni sa ga sa, ga ma pa ni dh pa, dh ma pa ni sa ni dh pa etc kind of combinations
are sung emphasizing more on Madhyam swar.
RAAG KALAVATI OF HINDUSTANI :
S G P D N S
S N D P G S
Thaat : Khamaj
Jaati : Audav
Grah : SA (ga ni)
Ansh : Ni
Nyas : pa
Mukhya Ang : ga pa dha ni dha pa, pa ga sa
Swar Sangati : ‘Sa ga pa’ – ‘ pa dha ni’
Timing : raatri ke pratham prahar ka ant (END OF THE FIRST
PART OF NIGHT)
Prakriti : komal.
Rag Kalavati of Hindustani music is popular as ‘Valaji’ in Carnatic system. The

whole beauty lies in Uttarang of kalavati. In uttarang komal NI gives komalta to Kalavati
raag after singing the note combination ‘sa ga pa’, pa dha ni combination is also sung,
which is raga chhaya combination of kalavati. This raag is popular from three to four
decades. Kalavati generates ‘Abhogi’ raag by taking Shadaj swar in the place of
pancham ‘pa dha ni sa ga pa’ brings ‘ sa re ga ma dha sa’. Mostly aalap and taan of this
raag starts with the notes sa, ga and ni.
Sustaining on the note pa gives more beauty to this rag. The note combination in
kalavati ‘sa ga pa ‘’ pa dha ni ‘ makes everybody think. This is an introspective raga.
This raga has a great impact.
Aalap in Kalavati : 56
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Ni sa ga sa, ga pa ga sa, sa ga pa, ga pa dh ni dh pa, ga pa dh ni dh sa, sa ni dh pa,
dh ga pa, ga pa ga sa|
Sa ga pa dha ni - dha sa, dha pa ga pa dha ni - dha sa, ga sa ga pa ga pa

dha pa dha ni dha ni sa, sa sa ni - dha ni sa ni dha pa, ni dha pa ga pa dha
ni sa ni dha pa, ga pa ga pa dha pa dha ni dha ni sa ni dha pa, ga pa ga
pa dha pa dha ni dha ni sa ni dha pa, ni dha dha pa pa ga ga sa, ni dha sa|
VALAJI OF CARNATIC MUSIC
Valaji is the derivative of 28th Melakarta Hari Kambhoji
Swarasthanas :
AAROHANA : S G P D N S
AVAROHANA: S N D P G S
This is an Upanga raga, Varjya, Audava raag. This is an apoorva raagam. It is

a rakti raagam. Raga alapana etc., can be rendered in valaji for a short time, following
the moorchana. Valaji with Suddha Rishabham becomes raag ‘Malaya maarutam’ and
with Chatusruti Rishabham on Avarohana becomes “Janasammodini”, which is also a
Hindustani raga.
COMPOSITIONS:
JANANDARA SUPEETHASTA- MUTTAYYA BHAGAVATAR.
RAAGAALAPANA: 57
SA NI SA GA, GA, GA, GA PA, GA PA NI DA PA, GA PA DA NI, NI , NI DA

NI SA SA
DA NI SA GA GA SA , SA GA SA NI SA NI DA NI DA GA DA PA GA, PA
GAPADANISA NI DA PA GA, SA.
ANALYSIS :
On the basis of the above given theories it is clear that eventhough raga names
are different the essence and Raag Bhav is exactly one and the same. Here it is to be
noted that the style of singing, traditions of these two systems are completely different.
Therefore the practical differences will be portrayed with some general dissimilarities.
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NOTE : Also it is a known fact that the present raag Kalavati is adopted by
Hindustani music system from Carnatic music system. But in Carnatic music this
raag is called as Valaji with same swarasthanas as explained already. There is
an another Kalavati raag in Carnatic music which is derived from
Chakaravakam Melkarta (Ahir bhairav in Hindustani)
HINDUSTANI “KALAVATI CARNATIC “VALAJI

1 The Vaadi note of this raag is NISHAD Jeeva swaras of this raag are SA NI
and Samvaadi is PANCHAM. PA (Carnatic music consider more
than one swara as jeeva swara based
on swar combinations and rasa of
the raag. where as in Hindustani
always a raag should contain a
single Vaadi swar and a single
Samvaadi swar in a raag)
2. The Graha swar is SA (GA, NI). The Graha, nyasa Swaras of this
raag is “SA, GA, PA, DA.
3. This is a popular raga where we find This is a minor raga which have a
many Bada Khyals, Chhotha less scope for raagalapana. Only a
Kyhals,Tarana compositions etc in this single Kriti is composed in this raga.
system. This is a very rare raga. But there
are many wonderful semi-
classical,light bhajan compositions
in this raag.
4. The notes like SA GA PA DA NI and This is a Rakti ras raag.
the Komal Ni brings beauty to the
raag. This has an impact on everyone.
Practical differences : Even in this system the raagalapana
Singing style : in this raag, Aalap is part starts with the notes SA or NI
always started with the notes NI, SA (Infact this particular Raag has got
and GA.. very less practical differences, only
the name of the raga is different, all
the rest things are almost similar
with some slight changes in both the
systems.
But it’s sure that while a Hindustani
Artist sing this raag the style of
singing, pattern, mannerisms,
tradition will be different from an
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artist of South India singing the
same raga.)
Vaadi, Samvaadi of Kalavati are All are jeeva swaras in this raag. SA
supposed to be Ni and Pa. The –PA,GA – DA, PA – SA.
following swar sangatis show that
SA NI SA GA, GA, GA, GA PA,
Vaadi is Ni and Samvaadi is Pa. GA PA NI DA PA, GA PA DA NI,
Sa ga pa dha ni - dha sa, dha pa ga NI , NI DA NI SA SA.
pa dha ni - dha sa, ga sa ga pa ga
pa dha pa dha ni dha ni sa.
RAAG BHUPALI OF HINDUSTANI MUSIC :
Thaat - Kalyan
Jaati - Audav-Audav
Vaadi - Gandhar
Samvaadi - Dhaivat
Swara - all pure notes
Varjit swara - Ma, Ni
Nyas - Sa, Ga, Pa
Similar ragas - Deshkar, Shuddha kalyan, Jait Kalyan
Time of singing - First part of the night
Aaroh : S , R, G, P, D S
Avaroh : S, D, P, G R, S
“Thaat kalyan ma ni varjit, maanat ga swar vaadi

Pratham prahar nishi gayiye, dhaivat swar samvaadi”58
Pakad : Pa ga, re ga, sa re, dha sa
Features of Raag Bhupali :
This is a poorvang pradhan rag therefore most sancharas i.e. the note
combinations are mostly sung in mandra and Madhya saptak. If uttarang is highlighted
more, then Bhupali raag notes correspond with Deshkar rag. In this rag the compositions
like Dhrupad, Bada khyal, Chhota khyal and Taranas are sung, but Thumri compositions
are not sung in this rag.
In this raag many ancient artists use to sing with ‘pa re’ swar-sangati but its not
being used by the present artists. Apart from Deshkar, Bhupali raag corresponds with the
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notes of two other ragas. They are Shuddh kalyan and Jait kalyan. In these ragas the
notes S R G P D S are taken, but due to the alpatv and bahutv in the notes of these ragas
they differ from each other with slight changes.
SHUDDH KALYAN :
S , R D, , D P S , P R , S , this kind of swar sangatis are never sung in BHUPALI,

JAIT KALYAN and DESHKAR. ‘R D’ and ‘P – R’ swar-sangatis are the identities of
SHUDDH KALYAN raag. The swar-sangatis “P D G · G P S · R · D · P S · R D · D ·
P · P D G · G P R · · S’ are purely the notes of Shuddh Kalyan raag, in the given swar
vistaar of Shuddh Kalyan only ‘G P R · S’ correspond wih the notes of raag Jait Kalyan
Nyas swar : Sa Ga and Pa

Difference between Bhupali and Deshkar
Bhupali : sa re ga, pa ga , re ga sa re dha sa|
Deshkar : ga pa dha, pa dha sa pa dha, pa, ga pa, ga re sa.
Aalap in Bhupali :
1. Sa dha sa, dha sa re sa, dha sa re ga , re ga re ga pa ga, re ga, sa

re dha sa.
2. Ga pa dha sa · · · dha dha sa, dha sa re sa, re ga re sa, ga · re

sa, sa re ga re sa, dha dha sa, ga pa dha sa, dha pa, ga pa dha pa,
sa · dha pa, pa ga, ga pa ga, re ga · re sa re · dha sa.
MOHANA RAGAM IN CARNATIC MUSIC :
Mohana is the derivative of 29th melakarta Dheerasankarabharanam.
It is an Audava, upaanga, prasiddha raga. Mohana exists in all the systems of

world music with many different names, but with the same swarasthanas. Though it has
only 5 notes, it is a magnificent raga and sky is the limit for its scope. All kinds of music
like folk, drama, light, semi-classical, cinema music etc. exist in mohana.
AAROHANA : S R G P D S
AVAROHANA : S D P G R S
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MA AND NI are absent in Mohana. Mohana is a moorchhana karaka raagam. By
the process of Grahabhedam (Moorchhana padhati in Hindustani music), 4 other raagas
are arrived. It is as follows:
IN HINDUSTANI
MOHANA S R G P D S - Raag Bhupali

MADHYAMAAVATI N S R M P N - Madhmad Saarang/ Megh
HINDOLA D N S G M D - Malkauns
SUDDHA SAVERI M P D S R M - Durga
UDAYA RAVICHANDRIKA G M P N S G - Dhani
Mohana being a great raga, raga aalaapana, Swara Kalpana and other branches of
Manodharma Sangeeta can be elaborated in it. 3 octaves and 3 speeds are its ranges. It is
a rakti raga. Mohana can be taken as the main item in any performance. Mohana
produces ‘sammohanam’ (mood of love and attraction). All the positive moods are
produced by mohana.
Mohana is sung in the recitation of poems and slokas in dramas and puraanas. As
it is an easy raga with aesthetic appeal, it is used for Brinda gaanams (community
singing of devotional songs). All the swaras are Jeeva swaras, Nyasa Swaras and Graha
Swaras.
Brief raagalaapana : 59
SSR DS,/ SP DS/ SRGPGRS/ RDSP DSRG/GDPD, PGRS/ SRGG, P/ PD,

GPDS/ DP / GDPD, P/ GR/ SRGPRPGRS/ SRGPDS/ SDR, SD,P/ GPDRSR,
SDP/ PDSDPG,/ PDSRGRSD, DSDPG/ GD PSDRSGRG, PGRS/ RDS/
PDGRS/ DPGDPGRS/RDS PDS/
ANALYSIS :
Analysis of “ Bhupali” and “Mohana” in Tabular form

Hindustani “Bhupali” Carnatic “Mohana”
1. Samvaadi note is Dha. 1. Samvaadis(see to the concept of
suddha swar samvaadis in chapter-3)
Mohana are S-P; R-P; G-D ; R-D ; P-
S
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2. Graha, Ansh and Nyasa swaras are 2. In this raag all the swaras are jeeva
sa, ga, pa, swaras, Nyasa swaras and Graha
swaras
3. Time of singing this raag is first part 3. There are no Time boundations in this
of the night. system.
4. Bhupali is poorvaang Pradhan raag. if 4. In Mohana the sancharas are made in
uttarang is more highlighted, the both poorvang and uttarang.
chhaya of raag Deshkar is portrayed.
5. Bhupali is more sung in mandra and 5. In mohana the Raaga Aaalapana,
Madhya saptaks swara kalpana and other branches of
manodharama sangeeta can be
elaborated in all the 3 octaves and in
3 speeds. a tristhayi raga.
6. In this raag almost all kinds of 6. Mohana can be taken as the main
compositions like Bada khyal, chhota raag in any performance. Though it is
khyal, Dhrupad, Dhamar are an Audav jaati raag. It is a
composed, only thumris are not sung magnificent Raaga and sky is the
in this raag. limit for its scope. All kinds of Music
like folk, drama, light, semi –
classical, cinema music etc. exist in
Mohana. Note:- In south Mohana is
even sung in the recitation of poems
and slokas in Drama and puranas. it
is an easy Raaga with aesthetic
appeal, it is used for Brinda Gaanam
(community singing of devotional
songs)
PRACTICAL DIFFERENCES Vaadi Examining the swar sangatis of Bhupali
swar of Deshkar is Dhaivat and samvaadi and Deshkar, shuddh kalyan, it is clear
is Gandhar. In Deshkar Uttarang is more that Deshkar swar sangatis of Hindustani
highlighted and in Bhupali Poorvaang is is more appropriate raag that corresponds
more highlighted. In Bhupali Gandhar- to Mohana of Carnatic music. Mohana of
Dhaivat i.e. G-D swar-sangatis are sung Carnatic music is a mixture of Deshkar
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more. and Bhupali. Another aspect that
In Deshkar D-G Sangati is more sung. corresponds with Hindustani Bhupali and
Also Dhaivat note is always sung Deshkar is that the Thaat raag of
touching Shadaj note. Uttarang sancharas Deshkar is Bilawal which is equivalent to

are more in Deshkar. Sankarabharanam of Carnatic music.
most of the aspects correspond with raag
Deshkar with Mohana rather than
Bhupali.
PRACTICAL DIFFERENCES Vaadi Examining the swar sangatis of Bhupali
swar of Deshkar is Dhaivat and samvaadi and Deshkar, shuddh kalyan, it is clear
is Gandhar. In Deshkar Uttarang is more that Deshkar swar sangatis of Hindustani
highlighted and in Bhupali Poorvaang is is more appropriate raag that corresponds
more highlighted. In Bhupali Gandhar- to Mohana of Carnatic music. Mohana of
Dhaivat i.e. G-D swar sangatis are sung Carnatic music is a mixture of Deshkar
more. and Bhupali. Another aspect that
In Deshkar D-G Sangati is more sung. corresponds with Hindustani Bhupali and
Also Dhaivat note is always sung Deshkar is that the Thaat raag of
touching Shadaj note. Uttarang sancharas Deshkar is Bilawal which is equivalent to

are more in Deshkar. Sankarabharanam of Carnatic music.
most of the aspects correspond with raag
Deshkar with Mohana rather than
Bhupali.
Bhupali swar-sangatis : sa re ga, pa ga, Sancharas of Mohana which support
re ga · re dha sa, in Bhupali Shadaj, Deshkar raag .
Rishabh,Gandhar and Pancham are SR GPGRS RDSP DSRG GDPD, PGRS
Nyasa swaras. SRGGP PD, GPDS, DP GDPD, P GR
Deshkar: ga pa dha, pa dha sa pa SRGPRPGRS, SRGPDS SDR, SD, P
dha, pa, ga pa, ga re sa| in Deshkar GPDRSR, SDP, PDSDPG, DSDPG, GD
Pancham,Dhaivat and Taar Shadaj are the PSDRSGRG, PGRS these sancharas
nyasa swaras. Pancham swar is a nyas correspond more with raag Deshkar.
swar in both ragas but the difference is
that, in Bhupali, the nyas on Pancham
swar is arohatmak nyas and in Deshkar,
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avarohatmak nyas is taken on pancham
swar.
RAAG JAI JAIVANTI IN HINDUSTANI MUSIC:
“Khamaj Thaat jaijaivanti, do gandhar nishad

Re pa samvaad jaati-sampurn, dwiteeya prahar mein baad.” 60
JAATI - VAKRA SAMPOORN
Raag Jai jaivanti is evolved from the Thaat Khamaj. In this raag both Gandhars
i.e komal and shuddh Gandhar is used also both Nishadas are used. Jaati is Sampoorn-
Sampoorn and according to Pt. Omkar Nath Tagore the jaati of this raag is Vakra-
sampoorn. Vaadi swar is Rishabh and Samvaadi is Pancham. Time of singing is raatri ke
dusre prahar ke antim bhag.(IN THE END OF THE SECOND PART OF A NIGHT).
Aaroh : S, D N R, R G M P, N S.
Avaroh : S N D P, D G M, R G R S.
Pakad : R G R S, N S D N R.
NS RG MG RG RS, GM DN SN DN DP, MG RG RS, NS DN R|
While singing the notes pa and shuddh dhaivat in Aaroh, komal nishad is sung.
Eg.: M P N S, D N R.
The nature of this raag is gambheer i.e a majestic raag. All kinds of note
combinations and swarsangatis can be sung in all the three saptaks. In this rag there are
many bada khyals, chhota khyals, drupad, dhamar compositions etc, all kinds of
compositions suits this raag and give beauty to this raag. But thumris cannot be sung in
this raag.
Jaijaivanti is sung based on two angs 1. Desh and 2. Bageshree ang. While
singing the aaroh of DESH ANG we exclude the note dhaivat and only shuddh nishad is
sung like- re ga ma pa ni sa (or) ma pa ni sa, where as in Bageshree ang while taking
aaroh we exclude the note pa and we take the notes dhaivat and komal nishad like - ma
dha ni sa. Infact jaijaivanti come under Desh ang but sometimes the essence of
Bageshree ang is also explored in this raag. But it is the fact that jaijaivanti’s ‘dha ni re’
swar-sangati is must in either of the angs. D N R is the identity of Jai jaivanti raag.
according to Pt. Omkar Nathji Tagore this raag is also sung based on Khamaj Ang eg :-
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ga ma dha ni sa swar–sangati. In the present Hindustani music system Jaijaivanti is
popular based on Desh Ang.
Komal gandhar is only sung between both the rishabs. Komal gandhar prayog is
very less in this raag.eg: re ga re sa ni sa dha ni re, sa.
The note combination ‘pa re’ is very rarely used in this raga. While singing this
‘pa-re’ sangati it is mandatory that the note ‘pa’ should be in mandhra and re in Madhya
saptak and when the note pa is sung in Madhya saptak ‘re’ should be in taar saptak.
Raag jaijaivanti come under both Khamaj and Kafi Thaat. When shuddh ga is
taken then it brings khamaj Thaat essence and when komal ga is taken it brings the
essence of kafi thaat.
Nyas swar - sa , re and pa
Samaprakriti raag : Desh i.e SORAT ANG
Jaijaivanti: ma pa ni sa, dha ni re, ni dha pa, dha ga ma re ga re sa.
Desh : ma pa ni sa, re ni dha pa, dha ma ga re, ga · ni sa.
Special note combinations :
1. Sa, dha ni re · sa
2. Re ga ma pa, dha ga ma re ga re sa.
3. Ni dha pa re · ga re sa.
IMPORTANT ASPECTS OF JAI JAIVANTI:
1. THE RAAG CHALAN: S, N S D N GR, R, GR – G M G, R G R S, N S

D N R, D N , D P, R, R G M P, M G R, R G M N D P, M G R, M P N S
N D P, M G R, R G R S, N S D N R.
2. In the above swar vistaar when ever the artist sing the swar-sangati ‘M G
R’ and ‘N D P’ andolit should be more given to the swar Ma and the way
of taking the swar NI should also be andolit swar otherwise it brings the
chhaya of Desh and Sorat ang
Aalap :
1. SA NI SA DHA NI G
RE, RE GA RE SA, NI DHA PA, PA · RE , RE GA
MA GA RE GA RE SA, NI SA DHA NI RE SA.
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2. MA PA NI NI DHA DHA PA, DHA GA MA RE GA RE, RE GA MA PA
NI NI DHA DHA PA, MA PA NI NI SA, DHA NI RE · SA, RE NI NI DHA
DHA PA · , DHA GA MA RE , RE GA MA PA GA MA RE GA RE SA, NI
SA RE GA MA GA RE GA RE SA, NI SA DHA NI RE · SA.
CARNATIC DWIJAVANTI :
Dwijavanti is the derivative of 28th melakarta Hari kambhoji.
Swarasthaanas :
AAROHANA : S R G M P N D P S
AVAROHANA : S N D P M G M, R G R , , S.
S N D P M G R, G R S.
Bhashanga raagam. Anya swaram saadharana Ga is used. An apoorva raga.

Deseeya raagam. It is taken from Hindustani music. The origin of this raag hails from
Avanti nagaram. Dwijavanti is slowly coming into Carnatic music. A short aalapana
etc.,can be rendered, following the prayogas from the compositions.
Compositions in this rag :
CHETA SREE BAALA KRISHNAM- ROOPAKAM- DEEXITAR
SPECIAL NOTE COMBINATIONS : 61
G R S N D P, D G R, R G M P, N D P S, P R, P S, R G R S, N D P, M R G R R,,
G, , M,, D,, G ,, M,| , , , R , G,| R, G , S| D P, P M G R, R , D P, M G R G G S| R
G M N D P,S| D N D P, S S, R G M G P M , M| G M G R G R SR| S N D P R ,|
Analysis on the Raagas Jejevanti and Dwijavanti :

Hindustani Jaijaijvanti Carnatic Dwijavanti
1. The swarasthanas are shuddh Rishabh, 1. In this chatussruti Rishabham, both
both gandharas are used shuddh& Gandharas Antara Gandhara and
komal, shuddh Dhaivat & both Saadharana Gandharam is used.
Nishadas are used . Saadharana Gandhara (Equivalent to
komal Gandhara in Hindustani) is the
Anya swara of this raag ( vivadi swar),
Chatussruti Dhaivat and kaisiki
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Nishadam which is komal Nishad in
Hindustani) are used. Both Nishaadas
are not used in Dwijaavanti.
2. Vaadi swar of this raag Rishabh and 2. In this system, also the Jeeva swaram is
Samvaadi is Pa Rishabham
3. Jaati is vakra-Sampoorn. 3. This is a Bhashaanga Raaga because
there is usage of foreign note.
4. Time of singing this raag is in end of 4. No time boundations
the second part of the night.
5. Re Ga Re Sa is the prayog which 5. Even in this system, Dwijavanti raag
highlight the significance of komal use the prayog re Ga Re Sa
Gandhar.
6. Aaroh, avaroh and pakad 6. Aaroh : SR GM PM PNDPS
Aaroh :- Sa, Da, Ni, Re, Re, Ga Ma Avaroh : SNDPMGM, RGR, S
pa, Ni, Sa, SNDPMGR, GRS
Avaroh :- Sa, Ni Da pa Ga Ma, Re ,
Ga, Ma, Re Ga Re, Sa,
Pakad :- Re Ga Re Sa, Ni Sa Da Ni Re
7. The Raagas near to Jaijaivanti are Desh 7. The Raag near to Dwijavanti is Sahana
and Bageshree. in Carnatic system.
8. All kinds compositions khyal in 8. There are very few classical
vilambit & Drut, Drupad, Dhamar are compositions in Dwijavanti dwijanitis
composed in raag Thumris exist in origin is from Hindustani music, almost
this raag. all the notes, swar sangatis are similar to
Jejeivanti. This raag doesn’t come under
carnatic system one of the great
musicologist of the three vaggeyakaras
the trinities of carnatic music system
Sri Muttuswami deexitar has first
invented this raga. He has great
fascination to Hindustani music. It is
only in Deexitar Kritis we find more
Hindustani ragas. He even learnt
Hindustani music. We find only two
kritis composed by deexitar in this raag
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name “Akhilandeswari” and “cheta sree
Balakrishanam”. The main basis for
Dwijaniti is Jaijayavanli of Hindustani
music which has got more popularity in
carntic music also. Other than Deexitar
Kritis, there are many semi- Classical
and light compositions in this raag.
9. The notes Pa Re are used frequently in 9. Pa, re is used in Dwijavanti also.
this raag. When pa is sung in mandra
Saptak Rishabh should be sung in
Madhya Saptak.
Nyas swar is Sa, Re and Pa
PRACTICAL DIFFERENCES:
Jai jaivanti use both Nishadas and both Dwijaavanti use both Gandharas and only
Gandharas. Kaakali nishada is used. both nishadas are
M P N S N D P, M G R, R G R S, N S D N not used.
R. Prayogas: M G R G G S
G M G R G R SR| S N D P R ,|
 In Dwijavanti kaakali nishad prayog is not taken, therefore the prayog M G R G

S S and descending the notes S N D P R is also taken but in Jai jaivanti shuddh
and komal Nishad prayogas are sung N S D N R is a mandatory swar-sangati in
jai jaivanti.
RAAG PATDEEP IN HINDUSTANI MUSIC :
“Jab kafi ke mel mein, aarohan re dha tyag

Shuddh nishad patdeep mein, maanat pa sa samvaad” 62
Patdeep raag has evolved from Kafi Thaat. The notes rishabh and dhaivat are
excluded in Aaroh, in Avaroh all the seven notes are taken. Jaati is Audav–Sampoorn.
Vaadi swar is pa and samvaadi is sa. All the notes are shuddh except gandhar is komal in
this rag. Time of singing this rag is din ka teesra prahar.(IN THE THIRD PART OF A
DAY).
AAROH : NI SA, GA MA PA NI, SA

AVAROH : SA NI , DHA PA, MA GA RE SA
PAKAD : GA MA PA NI SA, NI DHA, PA
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Raag patdeep has evolved and was invented some years ago based on the rag
Bhimpalasi by taking the note shuddh nishad instead of komal nishad. While singing
badhat (improvisation in Khyal singing followed by a slight faster tempo than the
original vilambhit laya) in this rag shuddh nishad prayog is must, otherwise the chhaya
of Bhimpalasi raag evolves. Sometimes while taking avaroh nishad swar is excluded like
: pa ni sa, dha - ma pa. ‘Dha ma’ swar-sangati is sung repeatedly in this raag. An
Uttarang pradan raag. Nyas swar is Sa, Pa
Samaprakriti raag : Bhimpalasi

Patdeep : ga ma pa ni · sa dha pa, ma pa ga ma ga re sa.
Bhimpalasi : ga ma pa sni ni sa, ni dha pa, ma pa m ga ma .
Special swar-sangatis
Ga ma ga re sa ni,
Ga ma pa ni · sa
Pa ni · sa, dha pa.
AALAP NOTES :
Sa, ga re sa ni, sa ga re sa,ma ga re sa ni sa. Ga ma pa, pa ga ma ga re sa ni, sa

ga ma pa, dha ma pa, sa ga ma pa ga ma pa, ga ma pa ni, dha pa, dha ma pa, ga ma ga re
sa, ni sa ga re sa.
Ga ma pa ni, ni , dha pa, dha ma pa, ni, pa ni sa ni , dha pa, ga ma pa ni ni sa ni ·

dha pa, dha ma pa ni dha pa, ni ni dha pa, dha · ma pa ga, ma ga re sa, ni · sa ga re sa.
RAAG GOWRI MANOHARI IN CARNATIC MUSIC:
Gowri Manohari is the 23rd Melakarta raagam, A sampoorna jaati raag (Janaka
raaga).
Swarasthaanas :
Shadaj, chatussruti rishab, saadharana gandharam, suddha madhyam, chatussruti

dhaivatam, kaakali nishadam. Starting and concluding note is SHADJAMAM.
Consonants are S P; S M ; R P; M S ; AND G N. It is a ‘suvaadi ragam’. There is a
famous kriti of Sri Tyagaraja ‘Guruleka Etuvanti’is in this raagam. Because of this kriti,
this scale has attained the status of a raagam. This raagam conveys karuna and bhakti
253

rasas. There is a great scope for extemporisation. According to Venkata makhi school,
this raagam is known as ‘Gowri Velaavali’
MOORCHHANA :
SRGGSRMMPDDS SNDPMGGRS
BRIEF RAAGALAPANA: 63
DNSNDP MPDPMGRSN SDSS RGMPDP MPDNSNDP
SNDPMG; GPMGRSN NSRPND SNS SRGR GRSND DSNS
When we apply the concept of modal shift (GRAHA BHEDAM)

(MOORCHANA PADHATI IN HINDUSTANI MUSIC) to Gowri manohari, it gives
raise to the following scales:
If Sa is shifted to Ri, the derivative is Naatakaa priya, 10th melakarta.

If Sa is shifted to Ma, the derivative is Vaachaspati, 64th melakarta.
If Sa is shifted to Ma, the derivative is Chaarukesi, 26th melakarta.
Compositions:
1. GURULEKA- TYAGARAAJA
2. KUMARI GOWRI – KRITI- DXITAR.
ANALYSIS:
Hindustani Patdeep Carnatic Gowri Manohari
1. In the Aaroh of this Raag Re and Dha 1. This is a melakarta raga i.e.
notes are excluded & Avaroh is Sampoorna Janaka raga all the 7
sampoorn. swaras present in this scale.
2. The swaras taken are shuddh Rishabh, 2. The swaras taken are chatursuti
komal Gandhar, Shuddh madhyam, Rishabham, Saadharana Gandharam,
Shuddh Dhaivat and shuddh Nishaad. Suddha madhyamam, chatussruti
Dhaivatam & kaakali nishadam .
3. Time of singing this rag is third part of 3. No Time boundations

a day.
254

4. 4. Vaadi swar is Pa & samvaadi is Sa. 4. All are jeeva swaras.
5. The raag near to patdeep is 5. This is a Melakarta raag donot have

‘Bhimpalasi’ the invention of patdeep mixture of any other raagas
is made by taking shuddh Ni instead
of Komal Ni in Bhimpalasi raag
6. Patdeet portray bhakti ras. 6. This Raagam conveys Karuna &

Bhakti Rasas.
7. Patdeep possess khyals, ghazals, 7. There are many classical Kriti

thumris, bhajans etc. compositions in Gowri Manohari
raaga “Guruleka Etuvanti’ is the
famous Kriti of Sri Tyagaraga in this
raga
Practical Difference :
In Patdeep ‘Dha ma’ prayog is frequently In Gowri manohari Da Ma pa prayog is
used. Like Ga Ma Pa ni , Dha pa, Dha ma not used instead of that R G M P D P M
pa, Ga Ma Ga Re sa. P D N S N D P type of prayogas are
used. It is to be noted that in classical
music point of view Gowri manohari is a
Melakarta raag therefore all the swara
prayogas are sung. There are also
beautiful semi-classical, devotional
bhajans composed by great souh Indian
artists with Hindustani Patdeep touches.
In the Avaroh of Patdeep sometimes In Gowri Manohari Nishad swar is not
Nishad swar is excluded like Pa · Ni Sa, excluded while taking Avaroh in Gowri
Dha · Ma Pa. Manohari, also Rishabh and Dhaivat
notes are sung in its Aaroh. In kritis and
classical compositions all the swaras are
used.
Difference between Patdeep and SDSS RGMPDP MPDNSNDP this swar
Bhimpalasi sanchara show that ri and dha notes are
Patdeep: Ga ma pa Ni · Sa Dha Pa, Ma used in Aaroh of this raag. In Gowri
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Pa Ga Ma Ga Re Sa. Manohari D M P, M prayog is not used.
Bhimpalasi: Ga Ma Pa Sa Ni Ni Sa, Ni
Dha pa, Ma pa ma Ga ma.
RAAG AHIR BHAIRAV IN HINDUSTANI MUSIC :
AAROH : sa re ga ma pa dha ni sa
AVAROH : sa ni dha pa, ma, ga ma re sa.
JAATI : sampoorn
GRAH : sa (ga, dha, ni)
ANSH : in poorvang rishabh, in uttarang nishad
NYAS : ma
MUKHYA ANG : ga ma re sa, ga ma pa dha ni dha pa ma, ga ma re sa
TIME OF SINGING : prathah kaal bhairavang ke baad (in the early hours after
singing Bhairav ang)
RAS PRAKRITI : bhakti ras raag
The poorvaang of this rag brings the chhaya of raag Bhairav and in uttarang raag
Khamaj. Pt. Bhathkhande opines that this raag is the mixture of both Bhairav and Kafi,
but according to Pt. Omkarnathji Tagore this raag is the mixture of Bhairav and Khamaj.
In Ahir bhairav the features of Raag Kafi are seen in Uttarang like ‘Ma pa dha ni sa, ni sa
ni dha pa’.
In the poorvang of Ahir bhairav in anyway we take the swar-sangati like ‘sa re ga
ma ‘or ‘ma ga re sa’ the pure essence of raag Bhairav is more focused than raag Kafi.
But in uttarang like the notes pa dha ni sa or sa ni dha pa does not show any essence of
raag Kafi and the notes like ‘Pa dha ni dha – pa, dha-pa dha ni – dha – pa’ show the
chhaya of raag Khamaj. Above all it is finally justified by the musicians, that
Ahirbhairav is a mixture of Bhairav and Khamaj Thaatas.
AALAP : 64
S, R, R S, R G M, (M) R, R S, D N R, S, S, D N S , N R S, N D P D N S, D N R R , S
S R G M, M, D N R, S R G · M, P M P G M R, R G M P D P, P M G M R, S , D N R S
S R G G M, G M P D P, D N D P, D M P G, M R, R G M P, D P M G M R, S, N P D N
R, S
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G M P D (N) D P, D P, D P M, P M G M R R G, G M, M P, D N, D N D P, D N S, S N
D , D P M G M R, R S N D P, M G M P, G M R G M, G M R, S, D N R S
CHAKRAVAKAM OF CARNATIC MUSIC:
Chakravakam is 16th Melakarta in the 72 mela scheme.
Arohana : S R G M P D N S
Avarohana : S N D P M G R S
The notes taken are SA, PA, SUDDHA RISHABHAM, ANTARA

GANDHARAM, SUDDHA MADHYAMAM, CHATUSRUTI DHAIVATAM,
KAISIKI NISHADAM.
The important notes i.e., the Vaadi note is ‘Shadaj’. The pairs of consonants are
SP, MP, MN, GD, PS, MS. Starting and concluding notes are S, M, P and D.
The semi tones of this Raaga coincide with the Hindustani scale of ‘Aahir
Bhairav’. This raga conveys the emotion of compassion, pathos and bhakti. According to
Venkata Makhi school, this raga is known as ‘Toya vegavaahini’
Brief raaga alaapana : 65
GMPMGRSS ND/ DNS/ DNSR/ GMPMGR/GMP/MPDNDP MGR/

PMGRRGRS/RGMPDNDP/MPDPMGR/GMPDNSND/NDPM/PDP/DNS/SNRS
ND/DMPDNS/DNSRG MGRS SNRSND/MPDNS/DNDPM MGN DPMGR/
PMGR GRS/DN PDNS/
COMPOSITIONS :
1. Lakshya geetam – Madhurasudha – Venkata makhi

Veena pustaka Dhaarini – Khandajaati Eka – Deekshitar
ANALYSIS :
Hindustani ‘Ahir Bhairav’ Carnatic ‘Chakravakam’.
1. Grah Swar is Sa (Ga, Dha, Ni) Ansh 1. All the swaras are jeeva swaras.Grah,
swar is Re in poorvang, in Uttarang Nyas swaras are S, M, P and D.
its Ni, Nyas swar is ‘Ma’.
2. Time of singing this raag is early in 2. No time boundations
257

the morning after singing Bhairav
ang.
3. Mood of Ahir Bhairav raag is erotic– 3. Chakravakam also produce the
Bhakti rasa. emotion of compassion pathos and
bhakti ras.
4. The notes taken in this rag are Komal 4. The notes taken in chakravahanam
Rishabh, Shudh gandhar, Shuddh are suddha Rishabham, Antara
madhyam, shuddh Dhaivat, Komal Gandharam, Suddha madhyamam
Nishad. chatussruti Dhaivatam and kaisiki
Nishadam.
5. All kinds of compositions, khyals 5. Many Kritis, keertanas semi –
(vilambit and drut) are composed in classical bhajans, are composed in
this raag. Chakravakam raag. A famous
Keertanam in Chakravakam ‘Phibare
Ramarasam’ composed by “Sada Siva
Bramhendram” great devotee and
saint show the whole essence of
Chakravakam. This raag has got more
popularity with this keertanam.
Practical Differences:
1. Ahir Bhairav come under Bhairav 1. Raag Bhairav in Hindustani music is
Ang. Bhairav’s main Prayog is ‘Ga equivalent to 15th Melakarta ‘Maya-
Ma Re Sa’ which highlights the main MalavGaula’. Mayamalavagaula in
essence of Bhairav Ang. Carnatic music and Bhairav Ang in
Hindustani are equivalent raagas with
similar swarasthanas and also similar
swara sancharas to some extent.
In Carnatic Mayamalav gaula ‘ga ma

re sa’ prayog is not taken, where as
‘ga ma re sa’ prayog is the main
identity of Bhairav Ang in Hindustani
music. Similarly, Chakravakam
come under 16th melakarta just next
to the mayamalavagaula Mela ‘Ga ma
re sa’ Prayog is not used in
258

chakravakam also. The way of taking
note combinations in Chakravakam
are like G M P M G R S S ND | D N
S|DNSR|GMPMGR|GMP
Here, it is to be noted that instead of

taking Ga ma Re Sa, the notes Ga Ma
Pa Ma Ga Re, Prayogas are used in
Carnatic Mayamalagaula and in
Chakravakam. The swar sancharas do
not end up with Ga ma re sa prayog
consistently.
This is applicable only in the classical

point of view. Semi classical, light,
devotional bhajan compositions donot
have such boundations in Carnatic
music. To enhance the beauty and
bhava ras in a raag specially in light
compositions all kinds swar sancharas
are explored in South India also.
RAAG DURGA IN HINDUSTANI MUSIC
THAAT : Bilawal
JAATI : Audav - Audav
VAADI : Ma
SAMVAADI : Sa
SWARA : All pure notes
VARJIT SWARA : Ga, Ni
SIMILAR RAGAS : Pahadi, Jaldhar Kedar, Shuddh Malhaar.

TIME OF SINGING : In the second part of night (midnight)
AAROH : SA RE MA PA DHA SA
AVAROH : SA DHA PA MA RE SA
PAKAD:
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PA, MA PA, DHA MA RE, PA, SA DHA, SA RE PA DHA, SA RE SA. Rag
Durga is a simple and a beautiful raga. Durga raag is of two kinds.
1. Bilawal Thaat Durga and
2. Khamaj Thaat Durga.
But, Bilawal Thaat Durga is more popular in Hindustani music. Ga and Ni are
completely varjit in Aroha and Avaroha of Durga and therefore its jati is Audav–Audav.
Vaadi is Madhyam and Samvadi is Shadaj. It is sung in the second part of night. All
are pure notes in Durga raag. Durga raga derived from Khamaj Thaat is not very popular.
The note combinations like Dha, ma, re pa and re dha sa, sound pleasing and
soothing in this raag. It has wide scope in Madhya and Taar Saptak. Infact this raag is
sung in all the three saptaks.
Jaldar Kedar, Shuddh Malhaar are the equivalent ragas of Durga
The Raag chalan of these three raagas are as follows:
DURGA: S R D S, R M P D M R P, M P D M R, S R D S
SHUDDH MALHAAR: S R M, M R mR P, M P D S D P M, m
R m
R P R M, R S|
JALDHAR KEDAR: S R S M, M M P D M (P) M, M R P, P D M (P) M S R S|
Aalap : 66
SA, RE, DHA SA, DHA SA RE SA, DHA SA RE MA, MA RE, SA RE MA RE,
SA RE, DHA SA. SA RE MA PA, RE MA PA, DHA,MA RE, PA, MA PA MA
RE, RE MA PA DHA MA PA DHA, MA RE, MA PA DHA , MA RE, SA RE ,
DHA SA.
MA PA DHA DHA PA DHA SA, DHA SA RE SA, RE SA DHA , MA PA DHA

SA, RE MA PA DHA SA, SA RE MA PA DHA SA, DHA SA RE SA DHA ,
MA RE, PA , DHA , MA RE, RE MA PA DHA , PA MA RE, (MA) RE, SA RE
DHA SA.
SUDDHA SAVERI OF CARNATIC MUSIC :

Suddha Saveri is the derivative of 29th Melakarta Dheera Sankarabharanam.
SWARASTHANAS :
260

AROHANA : S R M P D S
AVAROHANA : S D P M R S
This is an Audava Jaati, Upaanga Raaga, Varjya, Prasiddha raagam.

Symmetry exists between poorvanga and uttaranga swaras.
S . R. . M
P. D. . S
If Ma is replaced with Antara gaandhara, it becomes Mohana. If Dha is replaced

with Kaisiki nishada, it becomes Raag Madhyamavati. It is a Moorchhana Kaaraka raga
which is already described in the raag Mohana raga lakshanam. This raag is called
‘Devakriya’ in Deexitar’s school.
Samvaadis: SP, RD; SM; RP. (Semitones)
Raagalaapana etc., can be rendered in Suddha Saveri. It has its individuality and
the mood of this raag is shanta.
Compositions :
Aanalekara - Geetam – Triputa – Purandara dasa
SWARA PRAYOGAS: 67
RPMRS / S , RMRSD , S / RMRS RMPMRS R P,MP PM PDSDP PMM DPM

R S , SRPMR MPMR S.
ANALYSIS :
Hindustani ‘Durga’ Carnatic ‘Suddha Saveri’
1 Vaadi Swar is ‘Madhyam’ and All are jeeva swaras in this raag.
Samvaadi is “Shadaj’ and Rishabh
is a nyas swar.
2. Time of singing this raag is in the No timings are specified.

second part of the night
Practical differences between both systems regarding this raag are very less.
Pt. Ramashry Jha the author of the book “ABHINAV GITANJALI” stated that Durga is
a South Indian raag. Therefore only the style of singing of this raag differs in both
261

systems. The swara sancharas are almost same. There are many semi-classical, light,
devotional bhajans composed in Suddha saveri raag along with beautiful kritis and
keertanas. Similarly, Durga raag possess beautiful Khyal (Vilambit, Drut) compositions
along with beautiful Daadras, light, semi-classical compositions.
RAAG MALKAUNS IN HINDUSTANI MUSIC:

THAAT : Bhairavi
JAATI : Audav - Audav
VAADI : Ma
SAMVAADI : Sa
SWARAS : Ga, Dha, Ni komal
VARJIT SWARA : Re, pa
TIME OF SINGING : In third part of the night
NEAR RAGAS : Chandra kauns
NYAS : Sa, Ga, Ma
Raag Malkauns is an ancient and is such a raag which is always acknowledged as

one of the beautiful, wonderful raag by the music lovers. Since many centuries the
popularity of this raag is continuing. This raag is sung and played meritoriously in
Sugam sangeet apart from classical Hindustani music. In Raaga Tarangini of Pt. Lochan
the name of this raag is given as “KAUSHIK” which is an old Grantha, Other earlier
Sanskrit Granthas gave as “MALKOSH”.
In hindi granthas the name of this raag is given as “MALKANS”
“KOMAL SAB PANCHAM RISHABH DOU BARJI KEEN|

68
SAMA SAMVAADI VAADI TE MALKANS KO CHEEN||
In Raag–Raagini paddhati, raag Malkauns is considered to be one of the

important, popular raag in the 6 main Raagas.
All most all the swaras in this raag are nyas swaras. On all the five swaras nyasa
is given. Malkauns is Gambheer prakriti raag. While singing this raag the usage of
meend between the swaras and swar vistaar of this raag is more important. Most of the
compositions in this raag portray veer, shringar, bhakti, karun etc rasas. This shows that
all kind of rasas suit this raag.
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According to Pt. Ramashray Jha, opines that all the swaras in this raag are nyasa
and bahutv swaras. Therefore he says that this raag has got a special identity. He says
that there is no any other raag that correspond the notes of Malkauns. Malkauns is a
Raagang- raag. Meend work is more important in this raag.
S G M G S, G M D M, D M G M G M, M G · S, G M D N N D M, D M G M, M
G G S|
The raagang raag vachak swar-samuh in Malkauns have different forms like :
S G M, G S in Poorvaang and D N D M in Uttarang, these two swar-sangatis

especially use meend and also on G S and D M swar-sangatis. The raagang vachak
swaras of Malkauns raag given above highlights the Malkauns raag Ang clearly. Based
on this raagang vachak swar-samuh the Malkauns Ang or the Malkauns Mishrit raagas
are depended. Like “KAUNSI KANHADA”, “MALKAUNS BAHAAR”,
“MADHUKAUNS”, “NANDKAUNS”, “JOG KAUNS”, “SAMPOORN
MALKAUNS”, “GOPIKA BASANT” etc. In this list RAAG KAUNSI KANHADA is
the prakar of KANHADA ANG, RAAG MALKAUNS BAHAAR is the prakaar of
BAHAAR ANG, RAAG GOPIKA BASANT is the mixture of Malkauns raag and the
rest raagas like MADHU KAUNS, JOG KAUNS AND NAND KAUNS are the prakars
of Malkauns Ang. In the Kauns ang mishrit raagas the raagang raag vachak swar-samuh
of Malkauns plays an important role.
Raag Malkauns is elaborated in Mandra, Madhya and Tar saptak equally. Its
nature is serious and therefore Vilambit Khyal, Drut Khyal etc., are sung in this raag.
Semi classical forms like Thumri, Dadra are not sung in this raga. Malkauns is very close
to Chandrakauns, but by the use of Shuddha Nishad, Chandrakauns becomes different
from Malkauns. Malkauns is sung tunning Tanpura in Madhyam (mandra). Malkauns
makes use of many subtle ornaments of music such as Kan, Meend, Gamak etc.
Mainly the swara combinations which are used in Malkauns are:
1. DHA NI SA, MA, GA MA, GA SA

2. GA MA, DHA NI SA
3. MA GA, MA GA SA
4. SA, DHA NI DHA MA
AALAP :
263

1. SA, DHA NI DHA, NI NI GA SA, SA GA MA GA SA, DHA NI SA MA,
GA MA · MA GA MA DHA · MA, DHA GA MA SA, DHA NI SA · NI
SA.
2. SA GA MA, MA MA GA , SA GA MA , DHA NI · SA NI SA GA · SA GA
MA · MA · GA MA DHA · MA, DHA GA MA SA, DHA NI SA · NI SA.
3. GA MA DHA NI SA · DHA NI SA , SA GA SA, SA GA MA, GA MA GA

SA GA NI SA · SA ,
HINDOLAM OF CARNATIC MUSIC
Hindolam is the derivative of 8th Melakarta Hanuma Todi.
SWARASTHANAS :
AAROHANA :S G M D N S
AVAROHANA :S N D M G S
Audava raagam. Famous Raagam with all Komala Swaras. All the branches of
Manodharma sangeeta like Raaga alapana etc., can be rendered in Hindola. Hindola has
got enormous scope. It is a Moorchhana Kaaraka Raagam. All are Graha, Nyasa and
Jeevaswaras. Samvaadi swaras:S-M; G-D; G-N; M-N; M-S. It can be taken as the main
raga in a performance. It is a very attractive and sweet Raaga. Hindola produces Karuna,
Bhakti and Saanta rasas. More than these rasas, Hindola gives us absolute bliss of
excellent music. All most all kinds of compositions in this raag always attracted music
lovers in South India.
BRIEF RAAGALAPANA : 69
S,,/GMGS,,/NSDNS/SSMG,M,,/GMDGMGS,,/SNGSND,,/DNSGM,,/
GMNNDD/ D,,MGS/ SMG DMNDSNS,,/ SNDMDNS/ NDN,/
DNSNNDDMDN, DM/ GMND/ DNS/ NSGNSN NDD ,/DNSGM GS ,
,/GGSNS/ NSGGSND,/ DSNSNDM/GMNDDMM/ GMD MGS,,/GGSND,/
DSNS,,/
COMPOSITIONS :
1. SAAMAJA VARA GAMANA – AADI TALAM – TYAGARAJA

2. MANASULONI MARMAMU –AADI- TYAGARAJA
3. BHAJARE GOPALAM – AADI – SADASIVA BRAMHENDRA
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Analysis of the ‘Raag Malkauns’ and Raag Hindola.
Analysis in Tabular form :
Hindustani ‘Malkauns’ Carnatic ‘Hindolam’
1. Vaadi Swar is ‘Ma’ & Samvaadi is 1. It is said that all the swaras are graham,
‘Sa’ and Nyaas swaras are Sa, Ga, Ma. Nyaasa and Jeeva Swaraas, Samvaadis
are S-M: G-D; G-N; M-N; M-S
2. Time of singing this raag is in the 2. Suits in all situation and times, Hindola
third part of night. has got enormous scope.
3. Except Thumri all kinds of 3. This is most famous raaga even in

compositions are sung in this raag, Carnatic system, loved by all music
khyal (Vilambit, drut) Dhamar, lovers, this raag is loved by even by a
Dhrupad, Tarana, Maseetkhani, Raza layperson who is uninitiated in music.
Khani Sitar playing techniques etc Especially the Kriis of Sri Tyagaraja
sound beatiful. “SAMAJAVARAGAMANA”,
“MANASULONI MARMAMU”
explore the real essence of Hindola raag
along with great lyrical values. There
are melodious semi-classical, devotional
bhajans in this raag composed by great
South Indian Artists.
All the branches of raaga Sangeeta like

Raagaalaapana etc can be rendered in
the raag. All kinds compositions like
kritis, keertanas, varnam, Tillana are
composed in this raag. There is a
popular kriti in Hindola ‘Saamaja vara
Gamana’ in Aadi Taalam by ‘Sri Tyaga
raja’. Many semi – classifical light
compositions also exist in Hindola.
4. Malkauns produce Gambheer, Shaanta 4. Hindola produces Karuna, Bhakti and

rasas. This is a Meend Pradhan Raag. Saanta Rasas.
5. This raag is sung in all three saptaks. 5. Hindola is also sung in all the three
sthayis.
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6. Aalap, swar-bant, badhat etc. every 6. There is an immense scope for swara
aspect in Khyal singing has lot of Kalpana (for Taan) in Hindolam .
scope to sing this raag.
Practical Differences:
6. In Malkauns singing the combinations 1. In Hindola all the swar sangatis are
like : same as malkauns but while singing
GMGS, and the way of singing
S G M G S, G M D M, D M G M GM,
raaagalaapana in Carnatic music differs
M G,S | in taking the notes GA and DHA swaras
with oscillation is more. The vibrations
G M D N N N D M, D M G M,
and singing style of each swara in
MGGS Carnatic system differs. Even though
etc. If Sung along with Meend gives more GMGS ‘Prayog, Ma Ga Sa all prayogas
beauty to the raag. exists in both the systems but Carnatic
system use very less meend work. The
sounds are different. Gandhar have
many vibrations. Kampitam on Ga is
more.
S , , | G M G S ,, | N S D N S | S S M G,
M ,, | G M D G M G S ,, | S N G S N D
,, | D N S G M ,, |
CATEGORY: NO .2
RAGAS BEARING SIMILAR NAME BUT THE NOTES OF THE RAGA ARE
DISSIMILAR
This category portrays the ragas which bear same raaga name but the notes of
that ragaa are different in Both systems. There are some ragas listed below which come
under this category.
NOTE : The raga names are similar but differently pronounced due to difference
in their dialects between Hindustani and Carnatic music systems. Due to the
dilects and the pronounciation in Southern India some of names of raagas sound
slightly different Eg: Basant in Hindustani music is called as Vasanta, Malhaar
as Mallhaaru, Deepak as Deepakam, Saarang as Saaranga etc.
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S.No. HINDUSTANI RAGAS CARNATIC RAGAS
1 ADANA ATHANA
2 REVATI REVATI
3 SORATH SURATI
4 BHAIRAVI BHAIRAVI
5 KAFI KAPHI
6 TODI TODI
7 KEDAR KEDARAM
8 BASANT VASANTA
9 PARAJ PARAJU
10 GURJARI GURJARI
11 SHREE SREE
12 ASAVARI ASAVERI
13 JHINJHOTI JHANJHOOTI
14 MALHAAR MALLARU
15 LALIT LALITA
16 LALIT PANCHAM LALITAPANCHAMAM
17 MALAVI MALAVI
18 JUNGLA JINGLA
19 ANAND BHAIRAVI ANANDA BHAIRAVI
20 NEELAMBARI NEELAMBARI
21 DEVAGANDHAR DEVAGANDHARI
22 SHAHAANA SAHANA
23 GAUD MALLHAR GAUD MALLARU
24 DEEPAK DEEPAKAM
25 BIHAAGDA BEGADA
26 SINDHU BHAIRAVI SINDHU BHAIRAVI
27 SAARANG SAARANGA
28 MAAND MAAND
1. RAAG ADANA OF HINDUSTANI MUSIC
Raag Adana is one of the Prakars (derivative) of Kanhada Ang or Darbaari

Kanhada of Hindustani music. The swar-sangatis of Adana have more similarities with
the notes of Darbari Kanhada. They are almost identical ragas. Darbaari kanhada is
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sung more in mandra saptak and Madhya, Adana is sung in Madhya & Taar saptak.
Darbari kanhada is like a ‘Sthayi’ of a Bandish and Adana is like an Antara of a Bandish.
In Raag Darbaari ex e x e x x] lkjs x] lk Gandhar swar is Andolit swar, many

oscillations & vibrations exists while taking the note Ga in mandra saptak of Darbaari
raag. Similarly in Adana raag ex e] lkjslk i.e., the swar-sangati and the way of taking the
combination x e js l in both raagas differ a lot. In Darbaari ‘Ga’ is an Andolit swar
where as in Adana ‘Ga’ swar is not more Andolit swar compared to Darbaari. The
combination of Adana are like:
Comparision between Darbari & Adana
Darbaari Adana
e i fu/k] fu lka] fu lka e i fu/k] lka] fu lka
The Aaroh of Adana : lk] js e i fu/k] fulkaA
Avaroh : lka] /k] /kfu i] ex e] lkjs] lkA
Pakad % lka] /k] fu lka] /k] fu i e i] x e js lkA
Though the notes & swar-sangatis are absolutely similar between Darbaari and
Adana the way of singing each note in both differ, notes ‘Ga’and ‘dha’ are more
Andolit in Darbaari, where as the swar ‘Ga’ and ‘Dha’ are not Andolit swaras in Adana
raag. In Adana very frequently chadhi Nishad is sung i.e. almost Shuddh Nishad is sung.
 Darbaari kanhada is poorvang vaadi raag.
 Adana is an Uttarang vaadi raag
Raag Adana is derived from Asaavari thaat. Vaadi swar is ‘Shadaj’ and Samvaadi
is Pancham ‘pa’.Time of singing this raag is in the third part of the night.
Though Adana raag is a derivative of Asavari thaat, this raag is treated to be

under the prakaars ( forms) of Kanhada Ang. Gandhaar note is varjya in the Aaroh of this
raag and in the Avaroh the note Dha is varjya. The way of starting Aaroh is with the
notes like ^lk js e i* and when the swar-sangati ^lka fu /k i* is taken, the identity of
Asavari is exhibited. Adana is a chanchal Prakriti raag and Darbaari is Gambheer
prakriti raag.
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Some of the artists and great Granthakaras opine that Adana is a mixture of
Meghmallar and Kanhada raagas. ‘Raja Tagore Saheb’ says that Adhana as a modern
raga and it is a mixture of 3 raagas namely sughrayi, Kanhada, Saarang. Some Swar-
sangatis in Adana raag highlight the swarasthanas or the essence of Sarang raag also.
Therefore some of the artists also say that this raga as ‘Raatri kaa saarang’. Adana is a
Shadav- Shadav jaati raag.
About the origination and the evolution of name Adana, there are different
opinions and statements by different artists. Some say that Adana as a Modern raga and
the name ‘Adana’ was imported by Amir Khusro from Iraan, but there are no such
evidences.
This raag for the first time specified in the Grantha ‘Raag Tarangini’ written by
Pt. Lochan as :
fgaMksy % lq?kjkbZ L;knMkuks jkxlRre%A

xkjsdkujukek p Jhjkx’p lqjokog%AA
d.kkZVlafLFkrkosrs jkxk% lUrhfr fuÜpreAA 70
Similarly, Pt. Pannalal, Goswami in ‘Naadvinod’ Granth gave about Adana

without using the note Dhaivat some of the artists also sing Adana without using the note
Dha. Where as the present Adana is popular singing with Komal Dhaivat note. Adana
without the note ‘Dha’ resembles raag Suha.
Aalaap in Adhana Raag
lk] fu+ lk] ex] e] i ex] e lkjs lk] fu+ lk js e js lk] ifu i] ex] e i ex] e] lkjs lk]
fu+ lk] js fu+ lk] e] i ex e] e fu i] fu /k fu /k fu i] e i lka] fu /k] fu i] e i ex]
e] lkjs lkA
i e i] ex] e e fu i] fu /k fu /k lka] fu lka] jas lka] fu /k fu/k fui] e i fu /k] lka /k fu

lka] ifu i] e i fu ex e] lkjs lkA
ATHAANA OF CARNATIC MUSIC
Athaana is the derivative of 29th Melakarta Dheera Sankarabharanam.
The Aaroha & Avaroha is
Aarohana : S R M P N P S, S R M P D P S
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Avarohana : S N S D, P M R M (G M) R, S
S D, PM GM (RM) R, S
S N PM RM S R,S.
Athaana is a prayoga pradhaana Raaga. It is not a moorchhana pradhaana raga.

The Raaga bhava cannot be brought out by just moorchhana alone. Raaga Ranjaka
prayogas or particular phrases which can bring out the Athaana Raaga bhava play a great
role in this Raagam.
Athaana Raaga is a Bhashaanga raga. According to Prof.Nookala chinna

satyanarayana, the Anya Swaras are saadharana Gaandharam & Kaisiki Nishaada.
Athaana raag is veera Rasa Pradhaana (Spirit of valour) raga. It is a traditional raag. The
spirit and picture of this raga can acquired by constant exposure, listening & learning of
small and big forms (Varnas & Kritis) in Athaana. This raga is an Uttaranga pradhaana
(P D N S) RAAGA. The entire raga bhaava is incorporated in the swara prayoga of
PDNS RM RS and M R S N S D P.
Two swara prayogas RMRS & GMRS of poorvaang are used only at the time of
finishing the Raaga Aalaapana. Raagaalaapa & Swara Sancharas: 71
M P R S N S D, / P D N S R S NP / PNDNP/NNPMPS / RSNSD/ MMRSNSD/

SNSD/N S D, / PD, PDN DNS NSR MRS NP /DNSND, S NN, P/ PDN, SD,
NP/NNPM GMR,S/G, M R S / N S D, PMGMR, S/
It is a small raaga as well as Rakti Raaga. It has an established raga roopam, raga
bhaava & raga rasam of its own. It is very much suited for Raaga aalapana,
swarakalpana, Neravu, Taanam, & pallavi singing. It is sung in medium tempo
(Madhyamakaalam).
In this raga, both its original notes Kaakali Nishaada, and its Anya Swaram
Kaisiki Nishaadam are used equally. Its original note Antara Gandhaara is only used in
prayoga of SG,MRS in the Taara sthaayi that too once or twice at the closing time of the
raga. Even without this prayoga, Athaana can shine well. There is no Sanchaara below
mandra Dhaivatam. Some prayogas with kaisika Nishaadam are given below
S N P,/ D N, P/ P D N, DNS, NSRMRSNP/ P DNSN DSNNP/
Kaakali Nishada Prayogas :
SNSD,/ SNRSNSD,/ NSRSN SD,/NSG, MRS/
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Compositions like :
“Baala kankamaya in Aadi taalam composed by Sri Tyagaraja”
“Kadirinrusimhudu in Aadi taala composed by Sri Tallapaka Annamacharya”.
Analysis :
In the given description on both systems about raag ‘Adana’ & ‘Athaana’ show
that both are two different raagas with different swarasthanas, rasas & parent scales.
‘Adhaana’ of Hindustani music is an unique, beautiful raga which has more depth in its
raga bhava. Similarly Athaana of Carnatic music equally an unique raga which is only
sung in portraying veera rasa. The raga bhava of Athaana portrays only veera rasa
especially the stress on Dha note produce more veera rasa. The Athaana of Carnatic
system use both nishaadas rarely i.e., Kaisiki Ni (komal Ni), prayogas are like SNP, DN,
P, PDN, DNS etc., Similarly in Hindustani music, Kanhada Ang use ‘NP’ sangati and in
Adhaana also S NP, DNP, NP prayogas are used. These prayogas show that there are
slight similarities between both ‘Adhaanas’. But the raga bhava of both raagas are
completely different.
The Swarasthanas & Raaga ras in Hindustani Adhaana is almost equivalent to

Darbaari kanhada of Hindustani music. Raag Adhaana was not mentioned in the
Granth ‘Swarmela Kalanidhi’ written by ‘Raamamaatya’, which is supposed to be the
first Granth in South related to Carnatic music. In ‘Raagavibodha’ granth raga ‘Adhaana’
was given under ‘Karnata’ mela.
îw.kksZÏk.kk% ik|ks /kka'k% lU;kl mYylsnzk=kSA* 72
Later, Pt. Venkatamakhi gave about this raag under the list of Deshi raagas. They
are like:
^^lwjVh njckj'p uk;dh ;equk p lkA

iwO;kZdY;k.k;Bk.kks·fi oÙnkouh tqtkorhA
nsoxka/kkj ijtw jkedY;; 'kkgukAA** 73
Pt. Venkatamakhi gave this raga name as ‘Athaana’.
74
2. RAAG : REVATI
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Revati of Hindustani music is derived from Kaafi Thaat. Revati has Kanhada
Swarup. Jaati is Audav – Sampoorn. Vaadi swar is Pancham.Samvaadi swar is ‘Shadaj’.
Gandhaar and Nishad are komal swaras. Ni and Ga are varjya swaras in its Aaroh.
The Aaroh and Avaroh of this raag
Aaroh : lk js e i /k e i lka
Avaroh : lka /k fu i e i e x e js lkA
The time of singing this raag is, in the ‘early morning’
Raag Revati of Carnatic Music 75
Aarohana : S R M P N S
Avarohana: S N P M R S
Derivative of Chakravakam Melakarta. Protrays pathos. The mood of this raga is

pathos. There are very less compositions in this raga. A very rare raga.
The notes taken here are Sa, Suddha Rishabham, Suddha madhyamam, pa, kaisiki
Nishadam. It is said by some of the artists that in the Sama veda ganam & veda
renditions follow the notation of Revati raag. The priests who render Veda mantras.
Analysis:-
The Swarasthanas & sangatis of Hindustani Revati are different from Carnatic
Revati. Both Revatis are rare raagas. Hindustani Revati sounds Kanhada ang in its
Avaroh and in Aaroh a slight Asavari Ang touch is exhibited.
Carnatic Revati is extremely a distinct raga. Portray pathos in its swar-sangatis.

There are semi – classical compositions in Carnatic Revati raag. Carnatic Revati
swarasthanas resemble BERAGI BHAIRAV of Hindustani music.
3. RAAG SORATH OF HINDUSTANI MUSIC
The name Sorath has evolved from the word Saurashtra. Some of the artists
believe that there is a place called Sorat or Surat in the ‘Kattiyavaad’ region at Mumbai.
Therefore some of them say that this raag would be famous in that region during earlier
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days. Sorath is the derivative of Khamaj thaat. Jaati of this raag is Audav–Sampoorn.
Vaadi swar is Rishabh. Samvaadi swar is Dhaivat. In this raag both Nishaadas are used
i.e., Komal & Teevra Nishaada.
The notes Gandhar & Dhaivat are Varjya in its Aaroh. The Avaroh contains all
the notes.
Aaroh : l js e i fu lka
Avaroh : lka jsa fu /k e i /ke js fu+ lk
Time of singing this raag is in the second part of night.
The note ‘Rishabh’ plays very important role in Sorath rag. This is an unique
raag under the raagas derived from Khamaj thaat, because the note ‘Ga’ is a very
important note in all most all the raagas that are derived from Khamaj thaat. But, it is
only in this raga the Rishabh swar plays very important role. Especially in the raagas
like Desh, Jai jaivanti, Tilak kamod etc., the usage of rishabh note will be quite
interesting and beautiful. This raag is supposed to be Ang i.e., Sorath Ang. Sorath Ang
raagas are like ‘Gaara’, ‘Jai jaivanti’ have both Gandharas. Generally most of the
performers sing Sorath Ang raagas at the end of the performance i.e., ‘Gaara’ Jai jaivanti
etc. which have both Gandharas etc.
Mukhya prayog of of Sorath :
lk] js e i] fu] lkaA

lka fu /k i] e xjs lkA
Between the notes Ma and Re the note ‘Ga’ is touched partially. This is a special
feature in this raag. Some of the artists sing Gandhar note clearly like M G R S and name
it as ‘Desh Sorath’ raag. Most of the songs and compositions in Sorath raag will be in
‘Maarwaadi’ or Gujarati languages (lyrics).
Raaga near to ‘Sorath’ is ‘Desh’. Sorath and Desh are identical ragas.
Sorath Desh
lk] js js] e i] fu] lka lk] js js] e i fu /k i] fu] lka
fu /k] i] e] js] lk lka fu /k i] e x js] x lkA
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Apart from Desh raag Sorat is a Gambheer prakriti raag.
Raag Sorat Aalap : 76
 lk] js js] e i] e js] js lk] fu+ js lk] e js] lkA

fu+ lk js] e js] i e js] e i /k e js] js i e js lk] fu+ js lkA
lk js e i] js e i] fu lka] fu lka] jsa jsa lka] jsa lka] fu /k i] ea jsa lka] fu fu /k i] js e
i] fu fu lka] fu /k e i] lka fu /k i /k e js] lk
Raag: Surati of Carnatic
Surati is the janya raga of 28th Melakarta Harikaambhoji.
Swarasthaanas :
Aarohana : SRMPNDNS
Avarohana : S N D P M G P M R, G R S
This is an Upaanga Raaga. An Ubhaya vakra Shaadava Sampoorna raag.
Ri, Ma & Ni are raga ranjaka swaras. It is a rakti raga.
Ga & Da swaras are unclear swaras. They are not Graha & Nyasa Swaras. The
picture of Surati dwells in the hearts Music lovers. Raaga aalaapana can be rendered in
this raga. According to the Carnatic tradition said by Prof.Nookala Chinna satyanarayana
that there is a saying that “Aadi Naata Antya Surati, which means that in a performance
Naata Raaga should be sung in the beginning and Surati raga should be sung in the end
of the performance”.
Raaga alaapana in Surati Raag : 77
RMPN NDP / MPMMGPMR / RMGSR, S /

RMPNND NS RS NDP / M,, / PNDNS/
NSRR, / RMGSR, S / SRSNDP/ PR/ RMPNS,
NDPMGR,/ RPMM GR,S / NSRM, GRSRMP/
RMPNDNS/ NS RP MG RG RSNDP/MPNSN
DP NDPMGR, RMG/ SRS/
Compositions are like :
‘Geethaarthamu’ in Aadi taalam by Tyagaraja.

‘Sree Subrahmanyena Rakshitoham’– in Aadi – by Deekshitar Vega Neevu
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Analysis:
Hindustani ‘Sorat’ and Carnatic Surati get closure in some points. Surati of
South is the janya raga of Hari Kambhoji mela which is equivalent to Khamaj that,
‘Sorat’ is also derived from Khamaj that in Hindustani music. Both Sorati raagas are
almost similar with some slight differences in their swar sangatis. Sorat of Hindustani &
Surati of Carnatic are very popular and performing raagas.
The Aaroh of Hindustani Sorat is almost equivalent to the Aaroh of Surati of

Carnatic system.
Hindustani ‘Sorath’ Carnatic ‘Surati
1. Aaroh : lka] js e i] fu] lka 1. Aaroh : S R M P N D N S
2. Avaroh : lka fu /k i] e js lkA 2. Avaroh : S ND P M G PM R, G R S .
The Avaroha swarupa is vakra in
Surati
3. e js lk is a very important sangati in 3. The Avaroha swarup is vakra in Surati

Sorath. GRS, SRS are more used in this surati.
Note : Hindustani Sorat is sung at the end of a performance and Carnatic Surati is also
sung in the end of any performance
4. RAAG BHAIRAVI
Raag Bhairavi (Hanuma todi in Carnatic music) of Hindustani music and Raag
Bhairavi (Asavari Thaat in Hindustani music) of Carnatic music are in detail explained in
Category – 1. Therefore brief analysis of this raag is given below:
Analysis :
There is an ancient history behind rag ‘Bhairavi’. The name Bhairavi shows that
it has a divine history. Bhairavi sounds the name of a Goddess. According to the Raag –
Raaginis system raag Bhairavi come under a masculine raga. Based on Naarada mat in
his ‘Sangeet Makrand’ while classifying raagas into 3 groups namely, Masculine Raag,
feminine raag and Neuter Raags. Under masculine raagas raag Bhairavi is specified by
Narada and also as a Sampurna Jati raag come between 7th to 11th century A.D.
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According to Shiv-Mata which was stated by Damodar Mishra in the Book
‘Sangeet Darpana’, commonly known as ‘Shiva-Mata’, the period between 13th-15th
century A.D. introduced the system of male and female raag as expounded by Narada
and others again in their own way. Damodar Mishra accepted six main raagas or
masculine and 36 Raagini as feminine raagas. The six main masculine raagas are:
SHREE, VASANTA, BHAIRAVA, PANCHAMA, MEGH BRIHANNATA RAAG.
Among these 6 main raagas, Raag ‘Bhairava’ had ‘Bhairavi’ as a raagini raag or wife of
raag ‘Bhairava’ and also other five goddesses & wives of raag Bhairava are Gurjari,
Ramakri, Gunakiri, Vangali & Saindhavi etc.
Carnatic Bhairavi :
Bhairavi is a Bhashanga raga derived from Natha bhairavi Melakarta, the only
accidental note, the anya swara prayoga chatussruti Dhaivata occurs in the phrases P D N
S, P D N S S R, P D N D N S and SN D NS. Occasionally the phrase P D N S N
rendered in Madhyamakala, takes the Suddha dhaivata. In the Phrase ‘P D N D P ‘, both
the dhaivatas notes are Suddha. Usually in bhashanga ragas, anya swaras are not nyasa
swaras but Bhairavi is an exception. Even here, it occurs only as a hrasva nyasa – P D N
D – D N S R S ND – R N D and G R S N D. The ending note in each of these phrases is
just touched and not stressed.
The origin of this raga can be traced to the Panchama Murchhana of Sa-grama
viz., Suddha Shadja. The use of the chatussruti dhaivata in the Arohana krama
combinations was gradually acquiesced by scholars and it became a regular bhashanga
raga more than 1500 years ago. This is one of the old ragas and it is the 7th of the
nineteen prasiddha (Prominent) melas mentioned by old scholars. Raga is mentioned in
the Sangita – Ratnakara, Sangita makranda and Sangita Samaya Sara. Infact we hear of
compositions only in bhashanga Bhairavi raga from early times. The Natabhairavi has
remained as a scale for centuries.
Therefore raag ‘Bhairavi’ of Hindustani music and raag ‘Bhairavi’ of Carnatic

music neither have any similarity in the evolution of their parental scales nor in their
swaras and swara structure.
NOTE :
It is to be noted that the ‘Bhairavi’ raga which was mentioned by Naarada Mata
and Shiva Mata also many mats those who quoted Bhairavi as one of the classified
raagas did not mention whether it is Carnatic Bhairav or Hindustani Bhairavi raga.
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According to the above given theory under the origin of Carnatic Bhairavi it is clear that
raag Bhairavi of Carnatic is used 1500 years ago & still it is used, similarly Hindustani
Bhairavi has got earlier history.
5. HINDUSTANI KAFI
‘Kafi’ is a Thaat (or) parental scale of Hindustani music. Raag ‘Kafi’ is the
derivative of thaat Kafi which is equivalent to Mela Kharaharapriya of Carnatic music.
Kafi is a Sampoorna jati raga. Kafi of Hindustani music is also sung with 12 swaras
called as Mishr Kafi sung in Thumri, Dadra etc. Hindustani Kafi raag is explained in
category-1 in detail.
CARNATIC KAAPHI
‘Kaaphi’ of Carnatic music is a derivative of 22nd melakarta Kharaharapriya.

This is Anya Deseeya raga (adopted raga). This raga belongs to Hindustani style which
was brought and incorporated into Carnatic music. In this except Shuddh Ri (Komal Ri)
and Prati madhyam (Teevra ma) all the other swaras are present.
Aaroh & Avaroh ‘Kaphi’
Aaroh : S R M P *N S
Avaroh : SNMGRS
or
SNDNPMGRS
Anya Swara Prayogas : 78
M G M RGRS / S G MPG , RS / MGM, DNDN

M G M , G R , / S , , G MNPGR, / RMPN MP *NS,/
N S R G R / S *N *N ,S, NP G, R S ,, / S *N S , - NDN –
*DP*D – PMP – M*GM , GRG, - RSR, - S*NS,
SS *G*G M*G M NPGR SNS
* denotes Antara ga,suddha dha and kaakali ni prayogas.
Raag ‘Kaaphi’ is a very attractive & melodious raga. Kaaphi is a Bhashanga raga
because anya swaras like Antara Ga, Suddha Dha, Kaakali Ni are used in this raga which
is called as Tri-anyaswara Bhaashanga raagam. This Kaphi is also called as ‘Hindustani
Kafi’ in Carnatic music, resembles Piloo raag of Hindustani music. There is a great
277

composition in this raga “Jagadodharana of Sri Purandara Das”. Especially semi–
classical compositions and light compositions in South India are very popular in this
raga. The anya swara prayogas give more beauty to this raga. There are also many
classical compositions like Kritis, Keertanas in this raag like ‘Neevalla Guna
Doshamemi’ Khanda Chaapu Taalam a kriti by Sri Tyagaraja and also Jaawalis exist in
this raag. Kaphi of Carnatic music is of many kinds like ‘Carnatic Kaphi’ which only
sung with two Gandharas, two Dhaivatas are not used in this.
The soul and striking swara sangatis of Kaaphi are RMPN MP*NS ,/ N S R G R /
SNN, S, NP G, RS , , / GM NPGR SNS|
Analysis:
The origin and early history of North Indian ‘Kafi’ is very old. This is an ancient
raga. All most all the important raagas and raagang raagas are derived from Kafi thaat
only.
It is clearly mentioned that raag ‘Kaaphi’ of Carnatic music is a Deseeya raga

which is brought from Hindustani music system to Carnatic system. This shows the
name of the raga is also being adopted from Hindustani system raag ‘Kafi’. Raag Kaphi
is the name which might be given by some South Indian artist who has impact on the
raagas of North India with beautiful swar sangatis. The swar-sangatis of raag Kaaphi of
South India do not match with Kafi of North but a slight cchaya of raag “Piloo” is
exhibited in Carnatic Kaaphi. The notes R M P N, M P N S , S N P M GM N P G RS are
the raga chhaya swaras of Kaaphi raag. The usage of shuddh ga, komal dha, shuddh ni in
Kaaphi raag resemble Piloo. S N N P G, R S resemble Piloo raag.
6. RAAG TODI
Todi of Hindustani and Todi of Carnatic music are in detail explained in category-1
‘Todi raag of Carnatic’ music is a Murchhanakaraka Mela. Its ri, ga, ma, dha and
ni when taken as shadja will result respectively in ‘Kalyani’ Harikambhoji
‘Nathabhairavi’. Sankarabharanam and Kharaharapriya. Todi is the Ri murchchana of
the ancient scale shadja grama.
‘Todi of Hindustani is also a classical and traditional raga. Pt. V.N. Bhatkhande
introduced six types of Todi forms in 1918 in his work Lakshya Sangeet with the
approval. There are many forms of Todi like Gurjri Todi, Bilaskhani, Bhoopali Todi,
Miyan ki Todi or Todi, Aheeri Todi etc. Todi of Hindustani produce a pathos and Karuna
278

rasa. The re ga re sa has got lot of significance and the total essence of Todi lies in this
combination.
Origin of Hindustani Todi :
Hindustani Todi do not match with the notes of Carnatic Todi. Hindustani Todi
is equivalent to ‘Subhapantuvarali’ and Carnatic HanumaTodi or Todi is equivalent to
Bhairavi of Hindustani music. But regarding the raag name ‘Todi’, exists in South as
well as in North. The history and origin of Raag Todi in Hindustani music also seem to
be a very ancient raga with aesthetic values. But, there is no adequate information about
the Todi of Carnatic music whether the Todi of South existed earlier or the Todi of
North.
The origin and existence of Carnatic Todi also dates back to some centuries ago.
The Todi of South is a very old raga which has got divine history behind it.
7. RAAG KEDAR OF HINDUSTANI AND KEDARAM OF CARNATIC MUSIC
Kedar of Hindustani music Kedaram of Carnatic music

1. Kedar is an ancient raga which is 1. Kedaram is derived from Melakarta
derived from Kalyan Thaat. Some Dheera Sankarabharanam.
ancient musicians in their works gave
that raag Kedar is derived from thaat
Bilawal. But presently all most all
musicians consider Kedar raag to be
the derivative of Kalyan thaat.
2. Aaroh : sa ma, ma pa, da pa, 2. Aaroh : s m g m p n s
Ni Dha sa Avaroh : S n p m g r s
Avaroh: Sa Ni Dha pa, Ma pa Besides Shadja & Pancham the notes
Dha pa ma, Re Sa taken are the chatussruti Rishabam,
Pakad: Sa ma, ma pa, ma pa Antara Gandhara, Suddha Madhyam
Dha pa ma, Re sa. and Kaakali Nishada.
All the notes are shuddh except

the prayog of ‘Teevra madhyam’
3. Audav – Shadav Jaati raag. 3. Vakra Audava– Shadava raga.
Aarohana-alone is vakra.
4. Vaadi is Madhyam and Samvaadi is 4. Madhyam and Nishad are the raga
Shadaj. Uttarang pradhan raag. Chhaya swaras.
279

5. Rishabh and Gandhar are varjya in 5. Ri and dha are varjya in the aarohana
Aaroh and only the note Gandhar is dha is varjya in the avarohana. This is
varjya in Avaroh. an ‘Upanga raaga’. A Ghana raga &
belongs to the Dvitiya Ghana
panchaka group (Nata, Gowla,
Arabhi, Varaali and Sree ragaas come
under prathama Ghana raga
panchaka).
Under dvitiya Ghana ragas Kedaram,
Reeti Gowla, Bhowli, Naarayana
Gowla and Saaranga Naata are
categorized. Gamaka varika raga.
Ghana raagas are meant for Taanam.
6. Time of singing Kedar raag is in the 6. Can be sung at all times but morning
morning 12 am to night 12pm. is very appropriate. Useful for
singing invocatory songs, verses,
nandislokas, padyas and viruttams at
the commencement of an
entertainment, drama, opera or
religious discourse.
7. The Chalan of Kedar raag is vakra 7. Composition in this raga begin on the
Nyas swar is Sa, ma and pa. Raag notes Sa, ga, pa and ni, pa is a resting
Kedar produce a mood of Karuna and note. A raga with a limited scope for
Shanta. It portrays the mood like a alapana. This raga shines more by
sadhu or saint or a devotee pleading madhyamakal prayogas. A Tristhayi
God very softly his prayers. raga. This raga can evoke veera rasa.
Sometimes the note komal Ni is used Kedaram is eminently suited for
in this raag which is called as being sung at the commencement of
‘Chandini Kedar’ introduced by concerts.
muslim singers like a special swar 1.S g m p 2. P s s n p
sangati. Eg : lka /k fu i] e i /k i e 3. s r r G s 4. P n m g are
Important swara-sangatis like a important swar sanharas beauty
Gambheer prakruti raag. to the raga.
lk e] e · · xi]
e i /k i e] e] xe js · lk
lk e] e i] e i /k i e] js lkA
i i lka jsa lka] /k i e]
280

Raagas near to Kedar are Hameer and Kamod. In Kedar the usage of Teevra ma
in Aaroh along with the note pancham and Shuddh ma in both Aaroh and Avaroh is sung
as lk e] e xi] e« i /k i e] js lkA Sometimes both Madhyam together are used in the

Avaroh while coming from the note ‘Dha’ to ‘Ma’ with meend.
The note ‘Ga’ has very less importance in this raag. But sometimes without the
note ‘Ga’ there is a chance of arising someother ragas also like sarang, kamod etc. Ga is
only used as kan lk e] e xiso, the need of ‘Ga’ is also more in Kedar raag.
Aalap in Hindustani Kedar : 79
1- lk] lk js lk, lk e] e xi, e i /k i e] ¼e½ js lk] /k+ i+ lk] js lkA
2- ¼i½ lka · · · jsa lka] /k i e« i lka · jsa lka] fu /k · fu lka] lka lka /k · · i]
e« i /k fu lka /k i] i i lka jsa lka /k i] e« i /k e] ¼e½ js lk] /k+ i+ i+ lk] js
lkA
Raagalapana of Carnatic Kedaram : 80
P N N S N – S M G M P, M – G M P N S S N – S M G, R R,S – S R R G, S – S N P , M
– G M P N S, NP, M-P S S N P, M- M GGRRS – SRRGS, -SNP, - PNS M G M PSNP ,
M- M GGRRS – SRRGS
Analysis:-
The above given description shows that Hindustani Kedar do not resemble
Carnatic Kedaram. The origin of Hindustani Kedar seems to be existed before the
muslim kings ruled India. In the early records i.e., according to Pt. Bhatkhande’s
statement in ^laxhr'kkL= Hkkx&1* some artists sing Kedar raag by using more ‘Teevra
madhya’ swar. Therefore Kedar which is sung using only‘Teevra madhyam’ is named as
‘Chandini Kedar’ and some artists use Teevra ma very less which is supposed to be
called as ‘Shuddh Kedar’. The word ‘Chandini’ shows that it is an urdu word Pt.
Bhatkhande states that some of the artists vokZphu musician in their Granthas might have
created this ‘Chandini Kedar’.
The following sloka in ‘Sangeet Saramrut’Granth by Tuljendra states that
   ^^jkx% dsnkjlaK% L;kPNadjkHkj.kks)o%A
281

laiw.kkZ l xzg% lka'k% lka;kdkys izxh;rsAA 81
The above mentioned granth is written by South Indian musicologist. The theory
related to raag Kedar, the writer of ‘Raagavibodha’ explained and analysed raag kedar in
two ways: Firstly he had stated that raag kedar come under Thaat Hameer also stated
that Komal Dha must be used. In the second type he stated that Kedar is the derivative
of Thaat Sankarabharanam – U;a'kU;klxzgd% iw.kkZfu';so dsnkj and stated that ‘Nishad’ as
the nyas vaadi swar or Amsa swar which is ofcourse not used in Hindustani kedar. The
above information shows that the statements given by the ancient musicologists reveal
the truth that raag kedar which was mentioned under Sankarabharanam Mela must be
‘Carnatic Kedaram’ which is the derivative of mela Sankarabharanam. These evidences
show raag kedar is supposed to be an ancient raga of South as well as Hindustani Kedaar
too. Unfortunately the exact evolution and origination or the actual birth of raag kedar is
uncertain. Most of the ancient musicologists in their Granthas like “Hridayaprakash”,
‘Sangeet paarijaat’, ‘Sangeetsaaramruth’ stated that raag kedar to be the janya raga of
Mela Sankarabharanam.
Even in ‘Raaglakshan’ Granth it is stated that Kedar is the derivative of mela

Sankarabharanam and also stated that Dhaivat note is varjya. This deals is completely
about the present Carnatic Kedaram.This shows that Carnatic Kedaram is also a very
ancient raga.
8. RAAG BASANT IN HINDUSTANI AND VASANTA

IN CARNATIC MUSIC
Basant Vasanta
1. Basant raag is derived from Mela 1. Vasanta of Caranatica derived from
poorvi, in which both madhyams are 17th melakarta ‘Suryakantam’.
used. Pancham is varjya in its AAROH : S G M D N S
Aaroh. Both Madhyam are used
AVAROH : S N D N M G R S
together at a time in this rag similar
to raag Lalit. The notes taken by this raag are
Aaroh: Ni Sa, ma, ma Ma Ga, Shadja, Shuddha Rishabha, Antara Ga,
Suddha madhyama, Chatussruti Dha
Ma dh re Sa
282

Avaroh: Sa, re Ni, dha pa, ma Ga and Kaakali Nishada.
Ma · · Ga, re sa
2. Pancham is absent in its aaroh and in 2. An Audava – Shadava Jaati raga,
avaroh pa note is present. upaanga raga. Pancham is completely
varjya swar. Ri swar is absent only in
the arohana
3. Raag Basant and Paraj are very near 3. Closely allied raga is Lalita (S R G M
raags. D N S – S N D M G R S)
HINDUSTANI BASANT 82
Hindustani Basant raag is an ancient raga. Carnatic Vasanta is also a very ancient
raga. The Carnatic Vasanta is also mentioned in such old works like “Sangita Ratnakara”
and “Sangita Makrand”. Hindustani Basant is related to the Basant ritu i.e., spring
season. Even Carnatic Vasanta has a relation to the season. Even Vasanta raag is sung
in vasanta ritu (Spring season) name of rag Basant show the significance of the raga. The
seasonal concept exists in both the systems.
Hindustani Basant and Paraj are very similar raagas. Both raagas are derived
from Poorvi Thaat, both are Sampoorn–Sampoorn jaati raagas. Taar Sa is the Ansh swar
in both the raagas. Time of singing of both raagas is also same. Basant is the Sandhi
Prakash raag i.e., sung in the last part of night. Both Madhyams are used in paraj and in
Basant. Basant raag is one of the most popular raagas in Hindustani music. The name
Basant has significance in Hindustani music.
According Pt. V. N. Bhatkhande Raag Basant is derived from Thaat Poorvi.

Basant is an Uttarang Pradhaan raag. To differentiate raag Basant from Paraj it is very
difficult. The note combination like e« /k jsa lka] e« x e« · x brings the picture of
Basant ande« i /k i] x e xswar-sangati gives the picture of raag Paraj. In raag
Basant while singing swara combination like ^lka] jsa fu /k i*the note ^fu* is elaborated
more, the essence of Paraj is portrayed. The notes Taar ‘Sa’ and ‘Pa’ has got special
importance.
Some more important points of Basant raag:
283

 lka fu /k] i] i] e« x] e« x] e« /k] jas] lka] jas fu /k i] i] e« x] e« x] js lkA
Resting on the note ‘pa’ gives more beauty and relaxation
 Lalit Ang in raag Basant is sung as e] e] e« e x]
 “e /k jsa lak]” “e« /k lka]” swar-sangatis are the identities of Basant raag. e«
/k uh la is less sung in uttarang. In Taar saptak: uh jas xa, uh jas e«a xa jsa laA
 lk e] e« e x] x uh /k i, e« /k jsa la are the main prayogas of Basant raag
 lk e swar-sangati is also sung in Kedar, Bhatiyar, Bahar raagas
 The raagas near to Basant are: Shree, Puriya Dhanashree, Poorvi, Paraj, Lalit.
 Raag Paraj is very near to Basant raag, when the swar-sangati ‘lka jsa lka jsa lka
uh’ is sung, Paraj gets separated from raag Basant. Similarly the usage of
Shuddh madhyam is also different in both the raagas.
 When the note Dha is sustained for long time a little essence of raag Sohini is
also portrayed.
Some artists say in raag Basant there is a usage of Teevra Dhaivat, which is
present in raag Sohini. The note combinations lka fu /k i] lka jsa fu /k ithese two
sangatis bring the features of ‘Shree rag’, but in Shree rag the combinations like ^x] e«
x] e« x* is not used.
Carnatic Vasanta:
Raag Basant of Hindustani and Vasanta of Carnatic system does not match in
their notes, mela ragas and in swar-sangatis. Infact the Vasanta of Carnatic music
resembles the Hemanth raag of Hindustani but Carnatic Vasanta possess Komal Rishabh
in its Avaroh, otherwise the Aaroh and its swar-sangatis resemble Hindustani Hemant
raag. Vasanta raga is more than a thousand years old raga. From the past only the Tivra
dhaivata figures and not the Komal dhaivata.
This is a well known PanchamaVarjya raga. Upanga raaga, Ga, ma, dha, ni are
the raga chhaya svaras, Ma and dha are nyasa swaras. Ri is not a nyasa svara, Gamaka
varika rakti raga. Pratyahata gamaka lends colour to this raga. S M G M and R N D M
are ranjaka prayogas. A raga useful for singing themes relating to varnana or description.
284

with the notes Sa, ga and ma. A raga of a limited scope for aalapana. An auspicious raga.
An evening raga, Tristhayi raga.
Closely allied raga is Lalita (S G M D N S – S N D M G R S). It is a janya of the

same Melakarta ‘Suryakantam’. Lalita takes the full fleldged chatussruti Dhaivata(27/16)
whereas Vasanta for the most part takes the trisruti dhaivata (5/3). Vasanta is also the
name of one of the 108 talas, taking the angas. Vasanta’s madhyamam taken as shadja
results in the raga ‘Ramani’ a Janya of 63rd mela ‘Latangi’, taking the aarohana. S G M
P N S– Avarohana as S N D P M G S.
Sanchara : 83
S, S M G M, M – G M D N D M – G M D N S,
S–SNSRS–SND–SSNSRSN–
SGMGRS–NSRSSND–DNDDND–
D M – G M D N S R, S – N N D D M – G M D N R D M
- G M D M – G M M GG R R S – S N D M D N S R S||
Very popular kriti in vasanta ‘Sitamma Maayamma’ in Rupaka taalam by Saint

Tyagaraja.
Analysis :
Origins of Basant, Vasanta raag shows that they have an ancient history. Both
Basants are very ancient raagas. The Hindustani Basant of course come under
Kaamavardini mela in Carnatic system, but South Indian music system do not have the
tradition of singing both madhyam together like lk e] e e« e xA Therefore except the
prayoga of both madhyam the rest part of Basant raag come under Kaamavardani Mela.
However in Raaga Tarangini the thaat of Basant is given as Gowri which is

supposed to be Bhairav thaat.
vuqijRukdjs&
1- ojkyhyfyrkH;ka p 'kq)_"kHklaxr%A
mRiéks·; clarLrq ladh.kZLrsu yf{kr%
lf=oZlar% laiw.kkZ% izkrxS;ks·R;uann%AA 84
285

9. PARAJ OF HINDUSTANI AND PARAJU OF CARNATIC MUSIC
Paraj of Hindustani Paraju of Carnatic

Raag Paraj is derived from Thaat Poorvi Paraju of Carnatic music is derived from
15th melakarta Mayamalavagaula
Paraj and Basant are most corresponding Paraju is desiya raga. Parazu sometimes
and similar raagas. The description is almost resemble mayamalava gaula i.e.,
given in the analysis of raag Basant Bhairav in Hindustani music.
Raag Paraj is Sampoorn–Sampoorn Jaati. Paraju is a vakra-Sampoorna all the notes
are present. It is an Upaanga raagam
Description on Hindustani Paraj:
According to Pt. V. N. Bhatkhande, ‘Paraj’ is a popular and significant raga. One

of most popular derivatives of Thaat Poorvi. He states that the mixture of raag Kalingada
gives beauty to raag paraj. ‘Paraj’ is an Uttarang pradhan raag. Most of the beauty of this
raag lies in ‘Taar’ saptak. The way of taking the taar Sa plays a very important role.
Vaadi swar is supposed to be ‘Taar Sa’ Raag vaachak swar-samuh of Paraj.
^fu lka jsa fu lka] fu /k i] e« i] /k i] x e x*
One should be very careful while singing both Basant and Paraj raagas. The small
swara-sangati like i /k fu] /k fu lka] fu] /k i bring the essence of Paraj raag.
The Aaroh of Paraj : fu+ lk x x] e« /k fu lka] lka jsa fu lka] and gradually this
raag is improvised by singing ^fu jsa xa jsa lka] lka jsa fu lka fu] /k i*. Sometimes to show
the prayog of both madhyams the swar-sangati like e« i /k i] x e x is used. Pt. V.N.
Bhatkhande learned Paraj raag as given below:
lk fu+ lk x] e« x] e« /k fu lka] e« /k fu] /k fu lka] fu] /k i] e« i /k i] x e x] e« x

js lkA Some artists even sing as lka] fu /k i] x e i /k] i] x e« xA
Shuddh madhyam is compulsory in Aaroh. Paraj also resembles raag Kalingada,

the derivative of thaat Bhairav. In the same way while singing raag Basant Shree raag
resembles with the swar-sangatis of Basant. Kalingada & Paraj resemble with the notes
like lka fu /k i] /k fu /k i] x e x these swar-sangatis present in both the raagas. The
swara sangatis like ^x e i /k e i] /k i] x e x] e x] js lk* shows the essence of raag
286

kalingada and the swara sangatis like e« /k fu] /k fu lka] fu /k i] /k i] x e x] e« x js
lkA show the chhaya of raag ‘Paraj’.
To show the chhaya of raag ‘Paraj’ some artists sing with pancham in Aaroh.
Note pancham plays main role to bring the essence of Paraj raag like i /k fu] /k fu lka]
fu /k i] i /k fu lka] lka jsa lka jas fu lka] e« /k fu lak* This swar-sangatis are more than
enough to portray the essence of ‘Pa’ swar in paraj raag. The swar-sangatis like ê« /k fu
lka* is used both in Basant as well as in Paraj. But, in Basant sometimes e« /k lka or e«
/k jsa lka Prayog is used, even in raag paraj ê« /k uh lka* is used in Taane very fastly.
If paraj is sung with more meend in its Aaroh, it resembles raag Basant.
Therefore, popular Gharanas teach raag paraj and Basant Avaroh to their students
(shishya) examining very keenly.
The Antara of raag paraj can be sung as e« /k fu lka] lka] fu lka] jsa jsa lka] lka jsa lka
jsa fu lak fu /k fu] lk x e« /k fu lka] jsa jsa lka] /k fu] /k lka] /k lka] fu /k i] /k i] x e x]
e« x js lkA
Raag Paraj is not discussed in the great musical works like sangeet Ratnakar and
in Sangeet Darpan. Pt. Somnath stated in his work that paraj as the derivative of
Mayamalavagaula Mela :
ek;kekyoesykPp tkr% ijtuked%A

lU;kla lka'kda pSo l"kM~txzgeqP;rrsAA 85
And in ‘Sangeeta sampradayapradarshiniyam’ granth
ijt'p lqlaiw.kkZ% lxzg% lkoZdkfyd%
Kshetra Mohan Swami stated that Paraj to be the derivative of poorvi and he gave
the following swar-sangatis of paraj: fu+ fu+ lk] x e« i] /k fu lka] lka] fu jsa fu /k i] e«
i /k fu lka] fu /k i] e« i /k e« i] /k e« i] x] lk x js lkA
And also capt. Day stated Raag Paraj under Malavagaud thaat gave its aaroh &
Avaroh as lk e i /k e x js x js x e i /k fu lkaA lka fu /k i e x js lkA
Raagaalap in Paraj:
287

lk fu+ lk x] e x] e« /k fu lka] /k fu] /k fu lka fu /k i] i /k fu lka fu] /k i] x e
x] lk js lk fu+] lk x e x] fu /k i] e« i] /k i] x e x] js lkA e« /k,e« /k
fu fu lka, js js lka jsa fu fu lka, /k lka fu /k i, x e xA 
CARNATIC PARAZU: 86
Raag Parazu is a Janya raga derived from the 15th Melakarta, Mayamalava gaula.
Arohana : S G M P D N S (OR) S M G M D N S
Avarohan : SNDPMGRS
The svaras taken are: Suddha rishabham, Antara Gandharam, Suddha Madhyam,
Suddha Dhaivatam & Kaakali Nishadam.
In he phrase P D N S, the DHA is rendered slightly sharper than the Suddha Dha
i.e. teevra Dha, but in the Avarohana, the Suddha dha is used. Shadava -Sampurna raga.
The dirgha Gandhara is an integral part of the arohana. Gandhar is both an amsa svara
and a jeeva svara; sa, pa and ni are jiva swaras.
Gamaka varika raga; a desya raga, G M D D P M G M D N S D M D and D P M

P G R are visesha prayogas.
The lowest note that can be touched in this raga is the mandra Sthayi Nishada.
The highest note that can be touched in this raga is the gandhara of tara sthayi. The
phrase S M G M can come reasonably in this raga. A minor raga and will not give scope
for an elaborate alapana. A raga which can portray bhakti rasa and sringara rasa. A raga
which can appropriately find a place in the post-pallavi part of a concert programme, in
consonance with the time-honoured sequence. Ghana-naya-desya.
This raag is also mentioned in the Raaga Tarangini of Lochana Kavi and Anupa
Sangita Vilasa of Bhavabhatta- Prof. P. Sambhamurthy. According to the musicians and
Scholars of Carnatic music, paraju is a vakra raagam & sampurna raagam. It is also an
upaanga ragaam, because it adheres to the swarasthanas of its parental ragam
Maayamalavagaula. It has some Prayogas which may not be in accordance with
moorchana. The improvisation is more important than moorchana.
288

The above Statements and description on parazu raag by the two great scholars
(Prof. P. Sambamurthy and Prof. Nookala chinna satyanarayana) are a bit different.
According to Prof. Nookala Chinna Satyanarayana Pancham has least importance in
Paraju raag. similarly Pancham got more prominence in the statements given by Prof. P.
Sambhamurthy. The raagaalapana of Paraju according to Dr. Nookala Chinna
Satyanarayana Given as follows:
SND, MP| M,G,R,S,|G M D N S, R S N D P, MGMD| DNS, GGMDNS,

RSNDP,M,|MGMD,M|D,N,S,|DNS,RSNDN,MDNS,|S,MGM,GRS,|SNDP,
MGMD, MGRS|
The above given aalap of paraju has less sancharas of ‘pa’ in its aaroh & ‘pa’ is
completely absent and in Prof. Sambhamoorthy’s paragu as
S G M P D N S S N D N S S, N S N D P M G M D P M G R S N, S M G M D
M D S N S R S N S S, S S N D P D N S N D N S;
Here in aaroh ‘pa is present. This shows that paraju of carnataka can be sung in
both the ways with less prominence to ‘pa’ or completely excluding ‘pa’ note.
Analysis of Paraj of Hindustani & Carnatic:
The name ‘paraj’ exist in both the systems since many years & centuries but their
respective parental scales are different. In the great works like Raaga Tarangini by
Lochanakavi mentioned about paraju raga. Pt. Somnath also discussed on this raag and
said that Paraj as the janya raga of Mayamalavagaula of South. Capt. Day also opined
that raag paraj is supposed to be the derivative of Mayamalavgaula mela. Even paraj
under Poorvi thaat is also discussed by many scholars, musicologists since many
centuries. Both paraj ragas exist before 17th century.
Paraj of Hindustani : lk fu+ lk x] e x] e« /k fu lka] /k fu /k fu lka
fu /k i] i /k fu lka fu] /k i] x e x]
Raag kalingada Janya raag of Bhairav: lka fu /k i] /k fu /k i] x e xA
Paraju of Carnatic music S N D P or S N D, M P | M G R S, G M D N S R S N D
P| In Hindustani Paraj the raga chhaya of Kalingada is explored which is the derivative
289

of Bhairav raag (Mayamalavagaula in Carnatic). The above mentioned swar-vistaar of
Kalingada and Carnatic Paraju have resemblance.
10. RAAG GURJARI OF HINDUSTANI AND GURJARI OFCARNATIC MUSIC
1. History of Hindustani Gurjari:
Rag ‘Gurjari’ is evolved from the oldest form of Panchama– Shadja Gram raag in
the medieval times in India.
   e/;exzkelaca/kks /kSoR;k"kZfHkdksöo%A
fjU;klka'kxzg% dkfi ekUrk% iape"kkMo%AA
foylRdkyhdks·fi dyksiur;k·fUoo%AA 87
Rag Gurjari is described by Sarang Deva as :-
rTtk xqtZfjdk ekUrk fjxzgka'kk ee/;Hkkd~A

fjrkjk fj/kHkwf;"Bk Jqaxkjs rkfMrk erkAA 88
According to Sharang Deva four types of Gurjari were current in his times and
they are Maharashtra Gurjari, Saurashtra Gurjari, Dakshini Gurjari and Dravida Gurjari.
These forms are also described in his text but witiout any details about the notes used in
them. Consequently, these ragas became obsolete.
The word Gurjari refers to a Gurjar Community :
iapesuksfT>uk eanzfu"kknk ukfMrksRlosA

xh;rkHkq"kHkkUrk'ka egkjk"Vªh p xqtZjhA
xqtZ;So fjdaik}k lkSjk"Vªh xqtZjh Hkosr~A
nf{k.kkxqtZjh dize/;ek rkfMrsrjkAA
fjenzrkjk LQqfjrk g"kS nzkfogxqtZjhAA 89
According to the present system of music, Gurjari is one of the prakars of Thaat
Todi, So it is called as Gurjari Todi instead of only Gurjari. The notes, namely, Komal
re, Komal Ga and Komal Dhaivat, Shuddh ni & Teevra ma are used in Gurajri by
omitting the note ‘pa’. Gurjari is one of the most popular types of Todi which produce
karuna rasa (Pathos). A beautiful raga suitable for devotional compositions. Gurjari Todi
has wide scope in Hindustani music. There are also many Todi forms given by the
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musicologists in their period like Pt. Bhav Bhatt, Pt. V. N. Bhatkhande, and many
muslim singers gave many forms of Todi. The jaati of Gurjari is Shadav-Shadav, Dhaivat
and Rishabh are Vaadi & samvaadi notes. It is sung in the second quarter of the day.
The Madhya and Taar saptak of the octave are prominent in Gurjari while Madhya &
mandra sthana are prominent in Todi raag.
rksMhesyleqRiék xqtZjh dhR;Z;s cq/kS%A

vkjksgs pkojksgs·fi fuR;a L;kaRifooftZrkA
/kSor% la;rks oknh fjxksZ ok eaf=lkafuHk%A
xkua lqfufÜpra rL;k f}rh;izgjs·gfuAA 90
CARNATIC GURJARI
Raag Gurjari of Carnatic music is the derivative of 15th melakarta Maayamaalawa

gowla.
Arohana : SRGMPDNS
Avarohana : SDNPMGRS
Gurjari is a pure raagam. A Vakra Sampoorna or Sampoorna– raag. Gurjari is an

ancient raga. There is a popular composition composed by Tyagaraja in this raga Gurjari
almost sounds like Maayamaalava Gowla raag.
Raagaalapana : 91
SRGMPMGRGRS|SNSRSRNSD PDNS| SRGMPDP | GMPDNS| NSRSD|

DNSRSSDP | MPDPDPP| PMGMGRRSRS | RRSS DPDMS SNS RSRNS|.
Compositions like ‘varaalandukommani’ by Sri Tyagaraja Swamy in Aadi talam

also Sri Tallapaka Annamaacharya Composed a few compositions in this raagam.
Analysis :
Raag Gurjari of Hindustani music do not match with the notes of Carnatic
Gurjari. Pt. Tarangini, in his granth ‘Kouthuk’ gave that raaga Gurjari was took as the
derivative of Thaat Bhairav.
xkSjhlafLFkfre/;s rq ;s"kka lafLFku;ks erk%A

rs"kka ukekfu dF;Urs Øes.kkSrkU;'ks"kr%AA
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xkSjk HkSjojkxÜ; foHkklks jkxlUre%A
jkedjh rFkk xs;k xqtZjh cgqyh rr%AA
The above shloka shows that raag Gurjari is an ancient raag and it is considered
as the derivative of Bhairav.
Later on Pt. Hridai Kauthuk gave the swarasthanas of raag vibhas in the name of
raag Gurjari.
Pt. Ahobal gave the swarup of both Carnatic and Hindustani Gurjari
unfortunately, the notes and origin of both Gurjaris are not traced in his work ‘Paarijaat’.
Dakshin Gurjari :
xqtZjh ekyoksRiékojksgs efuoftZrkA

xf'y"Ve/;eksisrk /kSorf'y"VlLojkAA
xka/kkjewPNZuksisrk nkf{k.kkR;k izdhfrZrkA 92
Uttar Gurjari :
vkSRrjk xqtZjh 'kq)xk iwoZor lnkA 93
It is said shuddh Ga here, but, if suddh Ga is taken it becomes near to Bhairav

thaat but Teevra ma is also used in Gurjari.
In this manner, there are many contradictory statements given by many

musicologists regarding raag Gurjari. The above evidences and opinions of different
musicologists show that Raag Gurjari exists in South as well as in North since many
centuries.
Also Pt. Pundareek in his granth ‘Sadraag-Chandroday’ gave the swarasthanas of

Gurjari as the derivative of Mayamalavgaula.
Pt. “Kalpadrumkaar’ and ‘Naadvinodkaar’ states almost near structure of present

Gurjari todi swarasthana.
/kSorka'kxzgU;klk laiw.kkZ xqtZjh erkA

ojkMhrksfMlkatkrk ns'khfefJrtUeHkw%AA
/kSorka'kxzgU;klk laiw.kkZ xqtZjh erkA
lIreh ewPNZuk rL;k cgY;klfefJrkA
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jkedyhgksfMla;qäk ojkghfefJrkiqu%A
xqtZjh tk;rs fo}u~ vk|;kes izxh;rsA 94
fu fu /k /k /k e« /k e« /k] e« x] js lk] lk lk lk] e« e« e« /k fu /k /k e«

e« x x js js js lk lk lkA
In this manner there are different opinions of different musicologists, musicians,

scholars regarding Gurjari raag of their respective times. But the present swarup of
Gurjari todi of Hindustani music donot use Pancham swar. Most of the earlier scholars,
musicians described & stated Gurjari as the derivative of Mayamalavgowla (Bhairav
thaat).
Gurjari Todi’s Raagaalap :
Aalap starts with the note Re (or) with komal Dha. Mostly Gurjari Swar
Sancharas are sung in Madhya & Taar saptaks. Where as Shuddh Todi is sung in Mandra
– Madhya saptaks.
Gurjari Swar Sangatis :
 x] js lk] fu+ lk] js x] js x] e« x /k e« x] js x] js lk] fu+ js lkA

fu+ fu+ lk js x] e« js x] e« /k] fu /k] e« x] js x]
e« /k fu lka fu /k] fu /k e« x] js x] js lk] fu+ js lkA
lk js x] js x] e« x] e« /k fu /k e« x] fu /k e« x]
lka] fu /k e« x] fu /k e« e« /k fu /k e« x] x js lk
e« x e« /k] fu /k e« x] jsa fu /k e« x] e« /k fu lka fu /k
e« /k e« x] /k e« x] e« x] js lkA

11. SHREE RAAG OF HINDUSTANI MUSIC:

Shree raag is a very sweet and an ancient raga of Hindustani system. Shree raag
has got its own identity in Hindustan music. It is considered to be the derivative of
Poorvi Thaat. Pt. Ahobal & most of the Musicians in their granthas gave Shree raag as
the derivative of Kaafi Thaat which is equivalent to Kharaharapriya mela of Carnataka
system. The granthas that specify Shree rag as the derivative of Kaafi believed to be the
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Granthas of South but the North Indian musicians and in the works of North, Shree raag
is considered to be the derivative of Poorvi Thaat.
The raag which is near to Shree of Hindustai music is Gauri raag come under
Shree Ang, Poorvi Thaat,
GAURI OF SHREE ANG:
P MG R N D, N S R G , R - P – P, D M M G, R G R S,
P M G R R, P – P -, M M D N S
According to Pt. V. N. Bhatkhande in the book ‘Sangeet sastra’, Poorvi Thaat is

divided into two important Angs.
Poorvi Thaat
Poorvi Ang Shree Ang
Jaitashree, Paraj, Puriya Dhanashree. Malavi, Triveni, Gauri, Tanki

(Wives of shree raag according to Raag-Raagini system)
Swar vistaar of Shree Raag: 95
 lk] js js lk] fu+] lk js js lk, x js js lk] fu+] js fu+ /k+ i+] e«+ i+ fu+] lk] js lk]
e« x js] x js] js lk] fu+] js lk] js i e« i] /k i] fu /k i] e« i /k e« x js] i e« x js]
e« x js] x js lk] fu+ js lkA /k+ /k+ i+] e+« i+] fu+ /k+ i] e«+ i+] fu+ lk] js js] e« x js] x js
lk] lk js lkA
The notes ^js* and î* are sometimes given special variations (swar sangatis) that
sounds sweet in this raag eg: js js i] e« /k] i] e« x js] i e« x js] x js lk] lk js lkA
Vaadi of Shree raag is Rishabh and Samvaadi is Pancham.
SREE RAAGAM OF CARNATIC MUSIC: 96
Sree raagam is the janya raga of 22nd Melakarta ‘Kharaharapriya’
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AAROHANA : SRMPNS
AVAROHANA : S N P M R G R S (OR)
SNPDNPMRGRS
Sree raagam is one of the popular raagas among the five Ghana raagas, the other
four Ghana raagas are Naata, Gowla, Aarabhi & Varaali. Sree is an Upaanga raagam, an
Audava vakra Shadava Raagam. it could also be an Audava vakra Sampoorna raagam.
According to Prof. Nookala chi€nna satyanarayana, “the Prayoga ‘PDNPM’ is presently
used by some artists but without the sangati PDNPM also Sree raagam shines very well.
This prayoga was not used in ‘Pancharatna Keertana’ by Sri Tyagaraja Swamy in
‘Endaromahaanu Bhaavulu’ also. It is used by Dekshitar in ‘Sri Varalakshmi’ Kriti also
in Sree raga Varnam”.
In Sree raagam, few prayogas use Komala Saadharana Gandharam instead of

Saadharana Gandharam (Komal Ga) i.e., one sruiti less than the Saadharana Ga (Komal
Ga). This raag produce devotional, compassion & serene mood. A single letter raga in
Carnatic music. This raagam can be rendered in all the octaves and at any time of the day
& night. All the branches of extempore music like raagalapana, Neravu etc., can be taken
up for elaboration.
‘Endaro Mahaanubhavulu’ is the most prominent kriti which enhanced the beauty
& popularity of this raagam composed by Sri Tyagaraja Swami. When this raagam is
rendered at the end of any performance, it marks the completion of a performance. The
absence of Ga results raag ‘Madhya maavati’ & if ‘PMGRS’ is sung instead ‘PMRGRS’
results ‘mani Rangu’ raag. Sree raagam is also used for rendering slokas in South. Jeeva
Swaras are S, M, P, N, G.
Analysis :
The shree of carnatic system and Hindustani shree donot correspond each other.
Infact the shree of Carnatic music resemble “Madhmad Saarang” and “Megh Malhaar”
ragas. It is already specified that the earlier granthas stated that Shree under
“Kharaharapriya” Mela or “Kafi” Thaat, shows that Carnatic Sree is an ancient raag and
Shree ang of Hindustani is also specified under Raag-Raagini system. Therefore, both
Shree ragas have aesthetic values both Shree ragas are popular in both systems.
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12. Asavari of Hindustani System :
Asavari is a Thaat and Raagang raag of Hindustani music. Asavari rag is clearly
explained under (category-1)
Carnatic Asaaveri
Asaaveri of Carnatic music is derived from 8th Melakarta HanumaTodi. Raag

Asaaveri is a Bhaashanga raaga. Chatusruti Rishabham (Shuddh Ri) is the Anya Swaram
(Vivaadi swar) in this raag.
The actual swaras taken in this raagam are apart from sa & pa; Suddha Ri
(Komal Ri), Saadhaarana Ga (Komal Ga); Suddha ma; Suddha Dha (Komal Dha) &
Kaisiki Ni(Komal Ni)
Aarohana : S R M P D S
Avarohana : S N S P D P M G, R S. (Or)
S N D P M G R S.
This is an Audava – Vakra – Sampoorna raagam
Usage of Anya Swaram in Asaveri :
Asaaveri is a Rakti raagam produce Karuna rasa (Compassion & pathos). This is
a popular raagam. This raga has scope for improvisation in raagaalaapana, Swara
Kalpana etc.,
Raagaalaapana of Asaaveri : 97
S,,/S, R M G, R S/S, R S R, P M G, R S/S, R S, R N S, P/ P, D S / R, M R, P M,

D P M G, R S / R , M P D N D P M / P , D S , , , / S, R S N S , P / P , D M P D S
, / S, R S R M G, R S / S, R N S, P / P, D M P , MG , RS/ R M P , D P M G , R S
/ S, R S N S , P/ P , D S , , /
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Compositions like ‘Chandram Bhaja’ in Mathya Taalam by Muttuswami Dixitar
Raara Maa Intidaka in Aaaditaalam by Sri Tyaagaraaja Swamy.
Analysis :
Raag ‘Aasaavari’ of Hindustani music is an ancient raga and Asaavari Thaat is

equivalent to ‘Natha Bhairavi’ Melakarta of Carnatic music.Similarly Asaaveri of
Carnatic music is a janya raga of Hanuma Todi melakarta. Infact there is no raga cchaya
equivalent to Aasaavari of Hindustani music in Carnatic music. Eventhough Aasaavari
Thaat or scale is equivalent to Natha Bhairavi of Carnatic music but the notes and style
of singing ‘S R M P ND S, D M P, G R’ is not found in Carnatic music with same raga
bhaava. Coming to the point of name of the raagas, both Aasaavaris are ancient and
earlier. The Origin of both Aasaavaris can be traced from the period Pt. V. N.
Bhatkhande when first introduced Thaata system. In his Thaata scales Aasaavari is
supposed to be one of the main parent scale. Both raagas are popular in their own
aspects. Asaaveri of Carnatic music don’t match with the notes of Asavari raag.
13. JHINJHOTI OF HINDUSTANI MUSIC
Raag Jhinjhoti of Hindustani is an Aashraya raag of Thaat Khamaj. The raagas

which come under Khamaj Thaat apart from Jhinjhoti are like: 1. Khamaj 2. Tillang 3.
Khambavati 4. Badahamsa 5. Narayani 6.Prataapavaraali 7. Naagaswaraavali 8.Sorati 9.
Jaijaivanti 10. Desh 11. Tilak kamod 12. Gaud-Malhar 13. Durga 14. Rageshwari 15.
Gaara.
Thaat Khamaj is an ancient raga. Kambhoji mela is also a very ancient raga of
South. The notes of Harikambhoji are equivalent to Khamaj Thaat of North. There are
very less Khyals and Drupad compositions in Jhinjhoti raag.
Vaadi of Jhinjhoti raag is Gandhar, samvaadi is Komal Nishad. Some artists

also use ‘Dhaivat’ as samvaadi. The main identity of Jhinjhoti raag is /+k lk] js e x this
is an important swar-sangati that stands as Jhinjhotis’s identity. Listening to the Phrase
/k+ lk] js e x one can identify that it is Jhinjhoti raag. Even after improvising notes in
all the three saptaks ultimately it should end with ^/k+ l js e x*. The swar-sangatis like
^fu+ lk js lk] fu+ /k+ i] /k+ lk] js e x* purely produce the essence of raag Jhinjhoti. Raag
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Khamaj, Jhinjhoti and Tilang are near raagas. They resemble lot in their swara
sancharas.
In khamaj Rishabh is absent in its Aaroh, where as in Jhinjhoti Rishabh swar is

present but the style of singing the note ‘Re’ is slightly different in Jhinjhoti instead of
singing ‘Re’ directly i.e., ^l js x* in Jhinjhoti ^l js e x* is used which brings beauty to
the raag. Similarly Komal Nishad is sung a bit Teevra in this raag. In some of the
prayogas in this raag ‘Nishad’ note is excluded infact ‘Ga & Ni’ notes are purely used in
this raag, but very rarely ‘Ni’ note is excluded in this raag.
Swar vistaar in Jhinjhoti :98
lk] lk js fu+ /+k lk] js lk] fu+ /k] fu+ /k+ i+] /k+ lk] js e x] x e x js lk A
lk js e x] x e i] x e x] /k /k i] x e x] lk js x e x js] lk] fu+ /k+ i+] /k+ lk] js
e xA
/k fu /k i] i /k i] x e x] lk js e x] fu fu /k i] e x] e i e x] js js i e x] lk
js x e x js] lk] js lk fu+ /k+ i+] /k+ lk] js e xA
lka] jsa lka fu /k i] fu /k i] e /k i fu /k i] e x] js js i e x] e x js lk] lk js x
e x js lk] js lk fu+ /k+ i] /k+ lk] js e xA
Capt. Day in his book gave about this raga as
^lk js x e i /k fuA /k i e x js lk*
Say that most of the swar- sangatis in Jhinjhoti are sung in Mandra and Madhya
saptaks. Rare Prayogas in Taar saptak.
JHANJHOOTI OF CARNATIC MUSIC:
Jhanjhooti is the derivative of 28th melakarta Hari Kaambhoji. It is said that this
raga is inducted from folk music into classical music. According to Prof.Nookalachinna
satyanarayana, “this is a Bhaashanga raga with two accidental notes,Saadhaarana
Gandhara & Kaakali Nishaadam” are present in this raag. It is a Nishaadaantya Raagam
(ends with the note Ni).
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It has to be sung in Madhyama Sruti as its range is more suited and convenient
for it, i.e., ‘Ma’ has to be taken as ‘Sa’. It is sung at the end of a concert. It is an
attractive raag and loved by all kinds of audience. Bhajana Kritis and Tillaanas are
impressive in this raag.
AAROHANA : PDSRGMPDN
AVAROHANA : DPMGRSNDP
In some parts of South India this raag is called as ‘Chanchuruti’. Starting notes
are P, S and G. closing notes are P, D, S, R, G.
Raagaalaapana according to Prof. Nookala Chinna satyanarayana: 99
M G R S, S | S *N R S N D P | D S R S R G M G, | M G R S R, S| N D P D S | R
*G R S N D P | P D S, | R, *G P M *G *G, R S | *N S R, *G R | S *N R S N D P
| P D S,,|
*denotes sadharana Gandharam, kaakali Nishadam. Some of the artists do not

consider Kaakali nishadam as an anya swaram in Jhanjhooti raaga.
ANALYSIS :
SRGMPDS
SNDPMGRS
The above mentioned Aaroh and Avaroh is raag Kambhoji of Carnatic music. In
South Indian music Raag Jhanjhooti is evolved from raag Kambhoji, it is said that, if
Kambhoji raag is sung in Madhyama sruti Jhanjhooti is formed i.e., if the note Sa is
taken as Ma in raag Kambhoji the notes of Janjhooti are formed.
Jhinjhoti of Hindustani and Jhanjhooti of Carnatic are almost near raagas both
the ragas are derived from Kambhoji Mela. But, the usage of both Gandharas do not
exist in Hindustani Jhinjhoti. Anyaswara (Vivadi swar) Prayogas are present in Carnatic
Jhanjhooti only. Inspite of dissimilarities in both Jhanjhootis similarities are more.
The swar-sangatis like ^/k+ l js x*] i+ /k+ l js e x] e x js l js are common in
both Janjhootis except the Komal Ga and Kaakali Ni Prayoga in Carnatic Jhanjhooti.
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Also in Kambhoji Rishaba is present in aaroh, where as in Khamaj Ri is absent in aaroh.
So Jhanjhooti is a balance between these two Mela ragas.
The existence of Carnatac Janjhooti goes back to some centuries ago. The
Carnatic classicalists say that this raag is incorporated based on the folk lores and most
of the artists say that this raag is adopted from Hindustani music. Now Jhanjhooti has
become a traditional, sampradaya raga of Carnatic System used for Tillanas, semi-
classical, light music. Kritis & Keertanas are very less in this raga.
14. HINDUSTANI MALHAAR
Hindustani Malhaar Ang and Malhaar prakars are in detail described in

Category-1 under Kafi Thaat.
CARNATIC MALLARU :
A janya raga of 22nd Melakarta Kharaharapriya
Aaroha : S R M G M P D P S
Avarohana : S D P M R S
An unpopular raag. Therefore the raagaalapana & swara sancharas are not found
in this raaga
ANALYSIS :
Raag Malhaar of Hindustani Music is already described in detail in category-1.

The description shows that it has got an unlimited scope. Similarly raag Mallaaru of
Carnatic music is also derived from Kharaharapriya equivalent to Kafi Thaat in
Hindustani music. Raag Malhaar swarasthanas and raga bhava correspond the raga
cchaya of MADHYAMAVATI in Carnatic music.
However, the prakars of Malhaar ang, Saarang ang, Kanhada ang of Kafi Thaat
are equivalent to the raagas derived from the Melakarta Kharaharapriya like raag Megh
of Malhaar Prakaar is equivalent to ‘Madhyamaavati’ raag in Carnatic music and also
“Saarang ang” resemble the janya ragas of Kharahara priya. In Carnatic music, there is
no any concept of Raagaang raagas. Kaafi raag is an ‘Ang’ which contains many types
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of raagas in each ‘Ang’. under mela Kharaharapriya there are many janya raagas
evolved. Similarly, the main Angs of Kaafi Thaat like Malhaar, Saarang, Kanhada have
Common identification to identify the raga bhava or the structure, because three angs
resemble in their swarasthanas, it is only due to Raagang vachak swar samuh they differ.
Similarly in Carnatic music, Amritavarshini is a very popular raag, with a great

history behind it. A varsha ritu (rain inducing) raga like Malhaar Ang. The power of
sound is enormous and it can do wonders. Sri Muttu Swamy Deekshitar, one of our
Music Trinity is believed to have caused rain by singing this Raag. It is also believed
that still there are many great artists currently who virtually experienced and brought
rain by singing this great raga just like Tansen who caused rain by singing Megh
Malhaar raag. The meaning of the word ‘Amritavarshini’ is “Downpour of nectar”.
Swara Vistaar (Raagaalaapana) of Amritavarshini100 a Janya of 65th Melakarta

Mecha Kalyani:
AAROH : S G M P N S , AVAROH: S N P M G S
SGMP, MG | GMSG, |PMGMG,S, | SNPNSG, | GMPMMGG, SGM, G, GMP, |

MPN,P | PNSN NPP, MPN, P | PNMPNSG, S | S, GN, SP, NM, PGM, G |
GMPNMPNSG, S | N,S,G,,| GMPMGMG,S | S,NPMGMG, | GMPMGMG,S |
SNPNMPNSGS, | SNPS,,,|
Therefore in Carnatic music also there are seasonal raagas but there are no time
boundations in singing a raag. Amrita Varshini’s Aaroh resemble Maaru Bihag in
Hindustani music l x e i uh laA la uh /k i e x js lA
15. RAAG: LALIT
Raag Lalit of Hindustani music is a melodious and a popular raga. which is well
known as an unique raga. In raag Lalit the usage of both Madhyams together is the most
interesting prayoga in Hindustan music.
Raag Lalit is a Shadav Jaati raag where the note ‘Pa’ is varjya. Vaadi swar is
Suddh ‘Ma’. The shuddh ‘Ma’ brings life and brightness to the raag Lalit. The swar-
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sangatis in this raag are improvised in Uttarang as well as in Poorvang also. Some of
them opine Lalit as Uttarang Pradhan raag but the Swar sangati like ^fu+ js x e] e e« e
x* this swara combinations of Poorvang are morethan enough to identify the beauty of
this raga. Some of the artists also sing this raag without using komal Re in Aaroh like fu+
lk] x e] e« e x* but the usage of komal Ri in aaroh also increase the beauty of this
raag the swar-vistaar in mandra:
fu+ js lk] fu+ js x js lk] js x e] fu+ js x e] x e e« e] js x] e« x] js lk,
fu+ js fu+ /k+ e« /+k lk] fu+ js x e, e« e, js x] e, x e e« x e, js x, fu+ js x e]

x, js lk, fu+ js lk A
If Lalit raag is sung in Madhyam gram, it becomes raag Todi in Hindustani

music. In this raga Mandra sancharas are comparatively very less.
Improvisation in Uttarang
fu js] x] e] e x] x e e« e js ,e« x] js lk, fu+ js lk, fu+ js x] js x e] x e e«

x] e] x] e« /k] e« e] x] js x e« x js lk] A
fu+ js x e] x e e e« x] e« /k la jsa fu /k] /k e« /k lkaA e« /k e e« x] e« x

js lA
Raag Lalit is derived from Poorvi Thaat, Pa note is varjya in Aaroh as well as in
Avaroh. Note komal Dhaivat in Uttarang gives more beauty and pleasure to this raag.
There are many forms that have derived from Lalit Ang like : Lalit Pancham, Hem lalit,
Aheer lalit etc. In the present Hindustani tradition raag Lalit is sung without the note
‘Pa’, but earlier scholars, artists in their granthas gave raag lalit with the note ‘Pancham’
considering it as a sampoorna raaga.
About Raag Lalit of Hindustani music is given in the great work ‘Sangeeta
Ratnakara’ as:
VDdHkk"kZo yfyrk yfyrS:RdVS LojS%A

"kMtka'kdxzgU;klk "kMteanzk fjiksfT>rkA
/khjSohZjksRlos izksäk rkjxka/kkj/kSorkAA 101
302

Similarly in the Grantha ‘Swaramelakalanidhi’ Pt. Ramamathya considered raga
Lalit as the derivative of Mela Mayamalavagaula (Bhairav Thaat of Hindustani). In the
same manner Pt. Somanath also considered Rag Lalit under the derivative raga of Mela
‘Mayamalavagowla’. This Lalit raag is supposed to be raag ‘Lalita’ of present Carnatic
music system. Therefore, many scholars of North as well as South Granthakaras of
earlier period gave different opinions regarding raag Lalit of Hindustani music.
Many scholars in the granthas like ‘Sangeeta Sampradaaya Pradarshini’

discussed on raag Lalit related to the Swarasthanas based on Hindustani Lalit.
According to Pt. Bhatkhande, Lalit is sung using Shuddh Dhaivat.
     pyu
x] js lk] fu+ js x] e] e] e« e x] e« /k] e« /k] /k] e« e x] x] e« /k] fu /k] e«

/k] e« e x] e« x] js lk] fu+ js x] e] x] e« /k lka] lka] fu jsa lka] fu jsa xa jsa lka] js
lka] fu] jsa fu /k] e« /k lk] jsa fu /k] fu /k] e« /k] e« e] e« xa] jsa lka] jsa fu /k] e«
/k] lka] fu /k] e /k] e« e e] x] e« x js lk] fu+ js x] eA
 But, Lalit with Komal dha is more popular in the present Hindustani music
system. Since four to five decades Lalit raag is sung using Komal Dhaivat.
Raag : Lalita of Carnatic Music
Lalita is the janya of 15th Melakarta Maayamaalava gaula
Aaroh : SRGMDNS
Avaroh : SNDMGRS
Swarasthana : Shuddha Ri, Antara Ga, Suddha Ma, Suddha Dha, Kaakali Ni.
Panchamam is varjya in this raag.
An upaanga raga. Shaadav jaati raagam. A Rakti raagam wide scope for
Raagaalaapana. An attractive, melodious raga rendered in classical concerts. Madhyam
note is more sustained, ma is nyas swar
Aalaapana in Lalita : 102
303

S R G, ,G M, M D M,|G M G, G M DD MDNN, DNS,S, DNSS,
NSRSS,DND,D,M, MD N D, MM, G M DD MM G M G R, ,GMM, DMGR,
MGR, GRSNRS|
Compositions Like:
1. Harinmayeem – in Roopaka Taalam, composed by Deekshitar.

2. Nannubrovu Lalita in Misrachaapu taalam composed by Syama Sastry.
Analysis :
Raag Lalit of Hindustani and Lalita of Carnatic system exists from many
centuries. Infact the Carnatic Lalita seems to be much earlier raga. Lalita raag of
Carnatic is a very traditional, Classical raga of Present times. Similarly Hindustani lalit
is also a special, Classical raga. Raag Lalit of Hindustani music is equivalent to raag
‘Rohini of Carnatic music which corresponds the notes of Hindustani Lalit. Raag
‘Rohini’ was found by Padma vibhushan Dr. Mangalampalli Balamurali Krishna. Infact
in Carnatic music there is no any tradition of singing both Madhyama swaras together.
This would be against to the Sampradaya of Carnatic system. Raag Rohini is not a
popular raga but it is a recent invention by Sri Balamurali Krishna as a special attempt.
He invented many taalas, laayas in 4 notes, 3 notes which even became controversial but
he is a versatile, brilliant performing artist of Carnatic system who attempted many
experiments, researches also gave different aspects in Carnatic system. An extraordinary
artist and musicologist.
This shows that both Lalit ragas have no resemblance with each other.
According to ancient Granthakaras who stated that Komal Dha is used in raag Lalit &
some more scholars stated about Lalit as the derivative raag of Maayamalavgowla mela,
shows an evidence to Carnatic lalita raag. Raag Lalit is completely a Hindustani
traditional raga. An early morning raga; Another interesting aspect is that, if we keenly
observe the swarasthanas and swar combinations of Carnatic Lalita, it resemble with
Hindustani Lalit raag if Teevra Ma is excluded in Hindustani Lalit.
16. Raag Lalit Pancham in Hindustani music
Raag Lalit Pancham of Hindustani is different from raag ‘Pancham’. In this raag
Dhaivat is Komal and Pancham is slightly Teevra. Some of the ancient Granthakars
304

stated that raag Lalit Pancham as a janya of mela Mayamalavagaula. According to
Pt.V.N.Bhatkhande:
xkSMekyoesyksRFkks jkxks yfyriape%A

vkjksg rq ioT;Z L;krw iw.kkZoØkojksgde~AA
e/;eL;So ckgqY;kfufÜpra fpUrjatue~A
xkua pkuqer jk«;ka r`rh;s ;keds lnkAA
yfyrkaxkyadrks ;r~LohÑrks y{;fonka ere~A
vojksgs ;Fkk;ksX;a iapeL; iz;ksxr%A
xksiua yfyrkaxL; dqoZUrh xkudksfonk%AA 103
According to Pt. V. N. Bhatkhande Lalit Pancham :
lka] fu /k] i e« i] /k fu /k i] e« e] x] e x] e] e fu /k i] x] e« x js
lk] fu+ lk] e] e] lka] jsa fu /k] fu /k i e] lkaA
x x e« /k lka] fu lka] fu jsa lka] lka] lka] fu /k fu jsa xa] jsa lk] jsa fu /k e«
e] e] e x] e fu /k e« e x] e« x js lk] lk lk] e] e] lka] jsa fu /k] fu /k]
e« eA
Pt. Balvant Rai Gulabrai Bhatt, used Shuddh Dhaivat prayog in Lalit pancham
raag. Also he opines that there are some artists who use both Dhaivats in this raag.
Above all Pt. Gulabrai Bhatt ji feel Shuddh Dhaivat swar gives more sweetness to this
raag. Ansh and jeev swar is considered as Pancham in this raag.
Chalan according to Pt.Gulabrai Bhatt ji: 104

fu+ js lk] fu+ js x e e« e, e« /k] fu /k i e, ie – x, js x e« x js lk
fu+ js x js x e e« e, e« e – x, e« /k lka - , fu jas lka - , fu jsas – fu
/k i /k i – e , i e – x, js x e« x js lk A
The name of this raag itself denotes that this is a misharan of two raagas i.e., lalit
and pancham. The usage of two madhyams together brings out the features of Lalit Ang
and in Avaroh the usage of Pancham note deviates from raag lalit. Madhyam swar is
very important in this raag.
CARNATIC LALITA PANCHAMAM
305

Raag Lalita Panchamam is the janya of 15th Melakarta ‘Maayamalavagoula’.
Many Granthakaaras of South gave that raag pancham and Lalita Pancham as the janya
raga of Maayamalavagaula and raag Gowri equivalent to Bhairav thaat of Hindustani
music.
In the current Carnatic system ‘Lalit Pancham’ Aaroh & Avaroh is given by
Sri.Eka Subbarao in the book ‘Sangeeta Vidyadarpanam’ as
Aarohana : SRGMDNS
Avarohana : SNDMPMGRS
In the Granthaas like ‘Sangeeta Darpan’ and “Sadraaga chandrodaye” stated that
Pancham raag is derived from Maayamaalavagaula mela.
ika'kkafrd% ixzgdks fjfjäksA

lkS iape% izkr:iSfr tUeAA 105 
Analysis :
Raag Lalit Pancham of Hindustani is a mixture of two raagas 1. Pancham & 2.

Lalit, which is discussed earlier. The Lalitapanchamam of Carnatic music is derived
from maayamalav gowla i.e., Bhairav thaat of Hindustani music. Carnatic Lalita
pancham use only Shuddh Madhya where as Hindustani Lalit pancham use both
madhyams together or separately which is the main feature of Lalit raag of Hindustani.
After analysing this one thing is to be noted that in Carnatic Lalita pancham when
Teevra ma note is added it almost sounds like the Lalitapancham of Hindustani. i.e.,
when the swarup & swarsangatis of Paraj is focused in Hindustani Lalitpancham, then it
gives raise to the Carnatic Lalitapanchama swarupa. Most of the Granthakaaras also
specified that Lalitapancham as the janya raga of Maayamalavgowla mela. This shows
that Hindustani Lalita pancham and Carnatic Lalit pancham ragas are slightly related.
17. Raag Maalavi in Hindustani
306

According to S. Bandopadhyaya in the book ‘Wisdom of Raga’ ^^jkx Kku** states
that raag Maalavi is one of the derivative raag of the Thaat ‘Poorvi’.
^^fj/k dksey] e/;e dM+h] p<+rh cjft fu"kkn]

jkx ekyoh xkbeq] fji dks dj laoknAA** 106
Raag Maalavi is an uncommon raga. This raag is shown in the earlier Granthaas
but currently in Hindustani music this raag is not discussed. Therefore there are many
opinions, controversies regarding this raga by many artists & Granthakaaras of earlier
period.
Maalavi Raag of Present period :
In the present Hindustani music Maalavi raag come under poorvi Thaat. In
poorvi both madhyams are used where as in Maalavi both madhyams are not used.
Only Teevra ‘Ma’ is used. Maalavi raag is a mixture of Poorvi, Shree, Gauri and Reva
raagas. In Reva raag the note Ma and Ni are varjya. In Maalavi raag madhyam is varjya
and Nishad is varjya in its Aaroh. In Shree Ga & Dha notes are varjya in its Aaroh but in
Maalavi raag Ga & Dha are used. Similarly in raag Gauri, Ga is used full-fledgedly:
In Maalavi raag the note ‘Ni’ is less important in its Aaroh and in the Avaroh
Dhaivat note is less used. Maalavi raag is supposed to be a raagini of Shree raag which
was discusssed earlier.
Maalavi of Shree Ang.
Maalavi is a poorvang pradhan raag. This is sung in the evening. Maalavi raag
swarup almost brings the chhaya of shree raag when the note Gandhara and Dhaivata is
used maalavi raag essence is more highlighted.
Swar vistaar 107
^^lk] js] js] lk] x i x] js] lk] lk js lk] js x js i e« x] js x js lk] lk x i x] js]

e« x js lk] lk] js x i] e« i] e« x js] x js lkA**
js] js] lk] x x] i x] js] lk] lk js] lk fu+ i+] e+« /+k] js] lk] js x] e« x] i e« x] i
x] js js lk] x] e« /k] lka] lka] fu i x] i x] e« x js] lk] lk] i e« x i x js] lk]
lk js] lk] x] e« i] lka lka i x] e« x] js lkA lk js x] e« /k lka] i x] e« x] js]
lkA
307

Sustaining on the note ‘Ga’ deviates Maalavi raag from Shree raag. Raag
Maalavi was considered as the janya raga of Bhairav Thaat by ‘Sarang Dev’. Also stated
that maalavi as one of the wives (Bharya) raga of Takkh raga. Raag ‘Takk’ contains 21
wife raagas (Bharya).
i/kfeJk rnarka'kk ekyoh VDdlaHkok]

fjghuk rkjxka/kkj"kbte/;edafirkAA
Mukhya Prayogas of Maalavi raag :
^î x**] ^ê« /k lka**] ^^fu e«**] ^^fu i] x] i x] js lk**
pyu % i x] js] js] lk] lk js lk] x] e x] js x] e« /k] jsa] lka] lka] fu i] x] x e« x] js lk]
lk js lkA lk lk x js lk] js x] i x] fu i x] jas xa] jsa lak fu i x] js x] e« x] e« i] e
x] i x js l] lk x] e« /k] jas lka fu i e« x] js x e« i] e« x] js] js] lkA
RAAG MAALAVI IN CARNATIC MUSIC 108
Maalavi is the janya raga of 28th Melakarta Hari Kambhoji
Arohana : SRGMPNMDNS
Avarohana : SNDNPMGMRS
This a rare raga, a minor raga, upaanga, vakra - sampoorna raga. This raag was
created by Sri Tyagaraja. He composed only one kriti in this raga.
“Nenarunchinaanu” in Aadi Taalam. This raag has got recognition through this kriti in
South India. This raga has no much scope for improvisation i.e., raagalaapana scope is
very less.
ANALYSIS :
From the given details related to the raag Maalavi shows that maalavi of
Hindustani is a janya raga of Poorvi, whereas Carnatic Maalavi is the janya raga of
Harikambhoji which is equivalent to Khamaj of Hindustani music do not resemble each
other. Maalavi raag of both systems seems to be evolved after 13th century. Carnatic
Malavi is evolved during 17th century since Sri Tyagaraja is a 17th century Vaggeyakara.
308

18. Raag : Jangla of Hindustani Music
^^dksey rhoj x/kfu ds] nksÅ :i lqgk;]

laiwju] laokn li] xquh taxyk xk;A**109
 Jangla of Hindustani music is a janya raga of Thaat ‘Asavari’. This is a

Sampoorna jaati raga. Vaadi is Sa and Samvaadi is ‘Pa’. Gandhar, Nishaad, & Dhaivat
are Komal and Teevra i.e., both Ga, Ni & Dhaivats are used. This raga is more used in
light music like Thumri, Tappa and Ghazals.
x js x l] js e] i] /k uh /k] i] /k] e i] js x js l] js e] i] /k uh /k] iA

e] i uh l] l & uh l js x js] l] uh l] /k] i] /k] /k] uh l] /k uh] i uh] /k i] /k e]
i] x js x l] jsa e] i] /k uh /k] iA
Jingla of Carnatic Music 110
Jingla is evolved from 20th melakarla ‘Natha Bhairavi’
Aarohana : SRMPS
This is an Upaanga raga, a varjya raga, melodious and a rare raga. Sri Tyagaraja
created this raga using only 4 notes in the Aaroha as a rare attempt. Raagalaapana,
neravu, Taanam, Pallavi can be rendered briefly following the moorchhana carefully.
There is only one kriti in this raag composed by Sri Tyagaraja ‘Anaadhudanu gaanu’ in
Aadi taalam.
ANALYSIS :
Raag Jangla of Hindustani music has evolved from thaat Asaavari i.e., Natha
Bhairavi in Carnatic music. Similarly, Jingla of Carnatic music also derived from
Melakarta ‘Natha Bhairavi’ which is equivalent to “Asavari” of Hindustani music.
Therefore Jingla of both systems possess same parent scales but, Jangla of Hindustani
music is different from Carnatic jingla. The notes & Swar Sangatis are different in
Hindustani jangla. i.e, both Gandharas Nishaadas & Dhaivatas are used apart from the
original notes of Asaavari. Whereas Carnatic jingla is a creation of 4 notes in its Aaroh.
It’s a special creation by Sri Tyagaraja in those days. The Avaroha of Carnatic Jingla is
similar to the jingla of Hindustani music and a slight touch of Asavari and Jounpuri is
309

explored in the swarasthanas of Carnatic Jingla. Hindustani jingla is a rare light raga,
which is mainly sung in light, Gazals, Bhazans. Carnatic jingla is a rare raga. A new
creation even sung in classical kritis. Since this raga is created by Sri Tyagaraja , a 17th
century saint, vaggeyakaara, seems that Jingla exists from 4 centuries.
19. Raag Anand Bhairavi of Hindustani
^^xfu dksey] nqm] /kk yxsa] i l laokn c[kku]

vklkofj ds BkB esa] vkuan HkSjfo tkuA** 111
 Ananda Bhairavi of Hindustani music is derived from Thaat Asaavari. The jaati
of this raag is Shaadav-Sampoorn. In the Aaroh Nishad is absent. The notes taken are
Shuddh Re, Komal Ga, Shuddh ma, Komal Dha and Shuddh Dha, Komal Ni. Vaadi
Swar is Pancham. Samvaadi Swar is Shadaj. Time of singing this raag is in the third part
of night.
The Aaroh and Avaroh of this raag is like:
vkjksg % lk js x e i /k lka
vojksg % lka fu /k i e x js lkA
This is a rare raga. This raag is used in Maharashtra Dramas. There is an another
raag ‘Anand Bhairav’ janya raag of Thaat Bhairav. Anand Bhairavi doesnot correspond
to the notes of Anand Bhairav of Hindustani music.
Ananda Bhairavi of Carnatic music :
Ananda Bhairavi is evolved from the 22nd Mela Kharaharapriya. This is a

Bhashaanga Raagam. Three Anyaswaras (Vivaadi swar) are used. Antara Ga, Suddha
Dha, Kaakali Ni.
In these Anya swaras, Ga and Ni are more important and occur more frequently
than Suddha Dha. Even without these Antara Ga; and Kaakali Ni, this raga can shine.
But these Anya Swaras add beauty to this raag. It is a famous raagam. It is believed to
be one of the most ancient Raagas.
310

It is believed to have been incorporated into classical music from folk music in
the process of evolution of scales of Indian music. This is profusely sung in “Harikathas,
Dramas, Yaksha ganams, Harikathas’. Tyaagaraja has composed “Neeke Teliyakapote”
and ‘Ksheera Saagara Vihaaraa’ in Aananda Bhairavi. Afterwards, he did not compose
any kriti in this raga. Presently only; these two kritis of Tyagaraja can be found.
Aarohana : S G R G M P D P S (P N P S)
It is a Vakra Sampoorna raga many emotions of the same nature are associated
with this raagam. Bhakti, Saantam, Karuna, Sringara etc., are the layas that this raga can
express and focus. Aananda Bhairavi and ‘Reeti Gowla’ of Carnatic music are twin
raagas in format and countenance. However, the emotions they produce are different.
Ananda bhairavi is like a wild forest, whereas Reeti Gowla is a beautiful and properly
maintained garden.
Ga and Ni are kampita in Aaroha. Dha is neither a Graha Swara nor a nyasa
swara. All other notes are Graha as well as Nyaasa swaras. There are no prayogas below
mandra Nishaadam. From mandra Ni, it can go up to pa in Taara sthaayi. This raga has
got a very wide scope for all branches of manodharma sangeeta.
Anya swara prayogas: Antara Gandhaara Prayogas :
M G R G , M P M M , / M G G , M, / M, M G , R G, M,/
Kaakali Ni Prayogas:
SSNDN,SR,SS,/SNN,S,/SSNDN,S,/
Suddha Dhaivata Prayogas:
G M P D , ; ; / G M N N D D , M P , M G AR , / P, D, M P M G R /
Raagaalaapna : 112
S , RRS N , , / N S G , R / G , ; ; / R , P M G R / R G , R , S / N S G , R / G G M
P / N, P , / M M P N , P / M P N P D M M G , R / G M P , N P M ; P M G R S , /
GMP,ND/P,S,N,D,P,/P,NNP,M;;/P,S;;/NSRSNDP,,/P
, N S ; R S N D PD/ P N D S , / S G R G , R , S / P , N , S R G R N S R S N D P ,
/ PN , SG , RG ;; MGDMGR RG , RS /
Sri Syama Sastri composed immortal songs in Aanand Bhairavi raag.
311

ANALYSIS :
Hindustani Anand Bhairavi do not correspond with the notes of Carnatic ‘Ananda
Bhairavi’. Carnatic ‘Aananda Bhairavi’ is a classical traditional and popular raga of
South India. It is one of the oldest raga, got a very great history. An ancient and
traditional raga. Raag Reetigowla of Carnatic music is equivalent to ‘Ananda Bhairavi’
notes of Carnatic music. They are almost twin ragas. Raag ‘Reeti Gowla’ is also one of
the popular, Carnatic classical raga which purely produce the essence and the tradition of
South Indian music. The notes are like :
Aaroh : SGRGMNDMNNS
Avaroh : SNDMGMPMGRS
A vakra Sampoorna raga. Generally these kind of note combinations and

variations cannot be found in Hindustani music system. There is no raga equivalent to
the note combinations of ‘Reetigowla’ and ‘Ananda Bhairavi’ in Hindustani music. Even
the list of raagas which come under the derivatives of kaafi Thaat of Hindustani music
donot resemble the notes and variations of Reeti gowla and Aananda Bhairavi.
Similarly, the ‘Aananda Bhairavi’ of Hindustani music is derived from Asavari is

an uncommon raga. Currently it is sung for folk dramas. Mixing up two raagas like Kafi
and pilu. In the current trend of Hindustani music some of the ragas which exists before
13th century are not in use due to the invention of many ragas after bifurcation of two
systems.
20. HINDUSTANI NEELAMBARI
‘Neelambari ‘of Hindustani music is a very sweet raag. Hindustani Neelambari is

completely different from Carnatic Neelambari. In this, both the gandhars and both the
nishadas are used. This raag is a mixture of ragas like’ Sindhoora’ ‘Kafi’, ‘Jai jaivanti’,
‘Gaara’ etc. This has to be carefully sung without getting into the other ragas. So the
swara sangatis in this raga are designed very carefully without getting into another raga
as there are two gandharas and two nishadas in this raag. The Aaroh and Avaroh of this
raag is :
‘SA RE MA PA DHA SA, SA NI DHA PA MA GA GA RE SA, SA NI DHA

NI GA – RE’ . 113
312

The swar-sangati like ‘NI SA DHA NI RE or ‘DHA NI RE’ resembles raag ‘Jai
jaivanti’ so to deviate from that raag the notes like ‘DHA NI GA RE’ or ‘NI SA DHA
NI GA – RE’ are used and the notes like ‘ RE GA MA GA – GA RE’ i.e both gandharas
are at a time used to deviate from the raag ‘Kafi’. Swar-sangatis in Neelambari raag:
‘RE GA MA , NI SA NI DHA DHA NI GA – RE – SA’, ‘ SA – RE MA PA, RE MA PA
DHA’ MA GA GA RE, ‘SA RE MA PA DHA NI DHA PA MA GA GA RE ,’ SA RE
PA MA DHA SA NI DHA PA – MA GA GA RE – SA DHA NI GA – RE.’ Therefore
all the swar-sangatis in this raaga should be carefully sung, otherwise there is more scope
of getting into another raag chhaya.
Shuddh Nishad prayog is only used while singing the notes NI SA. After singing
Komal Nishad ‘NI DHA SA’ prayog is taken. While singing the swar-sangati like ‘SA
RE MA PA DHA SA’ resembles the raag ‘Sindhoora’ but by taking the notes like ‘DHA
NI GA – RE, MA GA GA RE’ brings the raaga swarup of Nilambari.
Dhaivat is the Grah swar.The note Rishabh which touch the Komal Gandhar is
the Ansh swar.The prayog of two Gandhars are Ragvachak swaras and Pancham is the
Nyas swar.Time of singing of this raag is in the Second part of the night.The mood of
this raga is Virah bhav.
NEELAMBARI OF CARNATIC MUSIC :
Neelambari is the derivative of the 29th Melakarta Dheera Sankarabharanam. This

is a Bhashanga raagam (a raagam with a foreign note) with Kaisiki Nishada as the
foreign note.
SWARASTHANAS:
AAROHANA : S M G MP N S
S R G M P D N S
AVAROHANA : S N P M G S
S N P M G R G M G S
Jeeva swaras are G , M , P , N.
This raagam symbolizes peace and serenity. Lullabies are sung in this raagam.
This raagam is very much decorated to give a very special effect. When a baby’s cradle
is oscillating, the following patterns in this raga give the same effect. RGMPDNDPMG
RGMPDPMG RGMPMG RGMG RGS
313

AROHA- RGMPDN
AVAROHA- DPMG
AROHA- RGMP
AVAROHA- MG
KAISIKA NISHADA PRAYOGAS:
PD ND NP; PD ND N SRSSDP P N D N ; P N P; RGMPD N DPM
RARE PRAYOGAS :
PDN S, NP/ DN S R SNDNS , NP,/ DNS, NDNP,/ SRG, MGM,/ RGRP , G, G,M
G,M G,M/
The range of this raagam is between the nishada in the lower octave and
madhyama in the higher octave. This raag comes under the list of Rakti ragas. This raga
fits into the folk songs as well. There is limited scope for raga elaboration. This is a very
suitable raagam for neraval and swara kalpana, but with a limited scope.
SRGMPGM,,/ MGRGMPMGS/ SRRSN;;/ S;;/ RGRGMGM;;/

RGRPGM;;/ GMP/ PSN SNP PGM;; SNDN S SNP/
PNP PPMMGM;;/ GMPDNDNP/ PPMMGM;;/ GMP SN/
S R G M G R G M G S/ N S R S S NDN S S NP PDNDNN SDP/
PPMMGM/ RGMPDNDPMG/ RGMPDPM G/ RGMG/ RGS. 114
COMPOSITIONS :
Amba Neelaambari - Aadi - Deexitar

Ennaga Manasuku Raani - Aadi - Tyagaraja
Uyyalalugavayya - jhampe/khandachapu – Tyagaraja
ANALYSIS:
Hindustani Neelambari raag is the creation of Pt. Omkar Nathji Tagore. This
shows Hindustani Nilambari is not an earlier raaga, it is being invented and got
exposition only after Pt. Omkar nathji introduced it. Both Neelambaris do not correspond
in their swarasthanas and even with their Parent scales. Carnatic Neelambari is an
ancient raaga, a sampradaya raaga with more aesthetic values. Carnatic Neelambari is
sung in the end of a performance as a lullaby song or generally in the nights. The
swarasthanas itself are created in such a way that it exactly depict the lullaby or
oscillating effect.
314

21. HINDUSTANI DEVAGANDHAR
Devagandhar is sung in two ways but these two varieties come under Asavari
Thaat only. In the first variety while singing Aaroh Rishabh and Dhaivat notes are
excluded. In this raag the Poorvang part resembles raag , In Uttarang only Asavari notes
are taken. The second type of Devagandhar is taken from Asavari Ang. In this type while
singing Aaroh only Nishad is excluded and both Gandharas are used, Shuddh Gandhar in
Aaroh and Komal Gandhar in Avaroh. Infact the second type has got more popularity in
the present Hindustani music. So the theory of second type Devagandhar shall be
described now.
Devagandhar is evolved from Asavari Thaat. Jaati is Shadav – Sampoorn. In this

both Gandharas are used and Dhaivat , Nishad notes are Komal and rest notes are
Shuddh.Vaadi swar is Dha and Samvaadi Swar is Gandhar. Time of singing this raag is
in the Second Part of a Day.
In raag ‘Gandhari’ the way of singing two Rishabs is followed according to the
Jaunpuri Ang and also sung based on Jaunpuri Ang. Similarly in Deva gandhar both
Gandhars are sung based on Asavari Ang.
The prayog of Shuddh Gandhar :
R M P D M P G R S, R N D S, R G M P G R S
In “Gandhari” raag: S R, M P, P , N D, P, N D P, S R G R S, R N D , P, M P N D,
P, S R M P, N D, P D M P G, R R, S
AAROH : SA RE MA PA, DHA, SA
AVAROH : SA NI DHA, PA, DHA MA PA, SA RE GA MA PA GA RE SA.
PAKAD :
SA DHA DHA PA, DHA MA PA GA RE, SA RE GA MA (PA) GA RE SA.
R G M P G R is the soul of Devagandhar raag.
AALAP : 115
SA DHA DHA PA, DHA MA PA GA RE SA RE GA MA PA GA RE SA RE NI

DHA SA, RE MA PA DHA DHA, PA.
315

PA GA RE SA RE GA MA PA GA RE MA PA DHA DHA PA DHA MA PA,
RE MA PA MA PA DHA DHA NI DHA SA PA, MA PA DHA MA PA GA
SA RE SA, RE GA MA PA GA RE SA.
SA RE MA PA DHA DHA SA, DHA SA RE GA RE SA, RE GA MA PA GA

RE SA, RE NI DHA SA.
CARNATIC DEVAGANDHARI :
Devagandhari is the derivative of 29th Melakarta Dheera Sankarabharanam.
AAROHANA:
1. S R M P D S; 2. S R M P M D N S
AVAROHANA:
1. S N D N, D P M G, R S; 2. S N D P M G R S
It is a fomous raga. Bhashaanga raga Kaisika Nishadam is Anya swaram, which

comes in the phrase “DN, DP”. Deva Gandhari and Aarabhi are like twin ragas.
RARE PRAYOGAS :
1. RMGM, GG, RR;

2. G, MPM, GGRR,;
3. DNS, RS NS, N DN, DP
4. DNS, RS N, SN D,ND PD N, SN D,ND
5. NDPMD, ;
BRIEF AALAPANA: 116
R,R,R,R,/ RMGM, GG, RR,S/ S, RGSR, S/ S N D ,/ N S R/ RR PMP, DPMM, G

G , RR, S/
N DPMD,/ DNS, ND N, D, P/ P,DND; MPD;P/ M, GG, RR, S/ N SR,/

RPMP,/NDPMD, N, S/
COMPOSITIONS :
1. KSHEERA SAAGAR – AADI TAALAM – TYAGARAAJA SWAMY
2. KOLUVAI YUNNADE – ,, - ,,
316

ANALYSIS:
Hindustani Devagandhar and Carnatic Devagandhari swarasthanas donot

correspond. Both Devagandharis are very popular, melodious in both systems. both
Devagandharis have got special identity. All the notes in Carnatic Devagandhari are
major there are no flat notes except Kaisiki Nishadam sung as an anya swara in this raag.
In Hindustani Devagandhar except Rishabh all are flat notes and shuddh Gandhar prayog
which is a vivadi swar of this raag is the special identity and attraction to this raag. Both
raagas have got ancient history.
22. HINDUSTANI SHAHANA
Hindustani Shahana is in detail described in Category-1 under Kafi Thaat.

Shahana is the derivative of Kafi Thaat and one of the prakars of Kanhada Ang.
CARNATIC SAHANA: Sahana is the derivative of 28th Melakarta Hari Kambhoji
SWARASTHANAS :
AROHANA : SRGMPMDNS
AVAROHANA : SNSDPMGMRGRS
Upaanga raga, Rakti Raaga, Vakra Sampoorna raga. Karuna rasa pradhana raga.
It produces Karuna Rasa (Pathos and Compassion). It has an established picture and
emotion of its own. Its Antara Gandhara in Avarohana sounds a sruti lower than the
actual Antara Gandhara. When the Gandhara is elongated (deergam), the diminished
Antara Gandhara is prominently heard. It is a prominent Rakti raagam. It is rendered in a
performance as either sub main or sometimes as a main raagam also, depending on the
understanding and ability of the musician.All the Manodharma branches can be sung in
Sahana. Sahana has good scope for creativity. Sahana is a Carnatic traditional Raagam. It
is well understood and appreciated by Music lovers.
BRIEF RAAGALAPANA : 117
RR GM P M G GMR/ GRS RS N S D,/ D N D PM/ D N S,,/ RS N S, D / D N

SRG, R/ P R GM PMM G GM, R/ RRDNDP/ P, DPM/ M, PMG/ GM,R/ RGM
PDN, DPM/ DN S/ SPR/ GMP,MDNS/R SNSD/ DNSR, ,/ RGMPMDN S R/
317

R S N S ,, / N S R R R ,/ R G M, P M / M G G M R/ R G R S/ R S N SDPM /
PMGMRGRS / RRN,DP/ P,DMP,M/ D N S/ RGMPDNSR, SN, ,
DPMMGGMR, / GRS/ R S N S D P M/ D N S,/
COMPOSITIONS :
1. Taana varnam – Karunimpa – aadi taalam

2. Vandanamu - aadi – Tyagaraja
ANALYSIS:
Shahana of Hindustani music and Sahana of Carnatic music do not correspond in

their swarasthanas, raga bhava. The parent scales of both raagas are also different.
Analysis between these two different raagas are given incategory-1 in detail.
23. Gaud Malhaar of Hindustani Music
Gaud Mallar is one of the Prakars of Malhaar Ang. This raag is clearly described
in the description of raag Malhaar in Category- 1, Kafi Thaat.
Gaud Malhaaru of Carnatic music:
The ‘Gaudmallaru’ of Carnatic music is derived from 29th mela Dheera

Sankarabharanamu (Bilawal).
The Swarasthanas are: 118
Aarohana : SRMPDS
Avarohana : SNDMGRS
This is an Audava-shadava Jaati raag. A rare raga in Carnatic System. The notes
Gandhar & Nishaad are varjya in the Aaroh of this raag. In its Avaroh ‘Pancham’ note is
varjya.
Analysis :
Gaud malhaar of Hindustani music. Gaudmallaru of Carnatic system are two

different raagas with no similarities. Gaud malhaar of Hindustani music is derived from
kaafi Thaat. Gaud Mallaru of Carnatic music is derived from Mela Dheera
Sankaraabharanam. Hindustani Gaud Malhaar is one of the forms of Malhaar Ang of
318

Kaafi thaat. Gaud malhaar & malhaar Ang is almost equivalent to raag madhyamavati
and Sree raag of Carnatic music.
24. Deepak of Hindustani Music
‘Deepak’ of Hindustani music is of two kinds. 1. Deepak derived from Poorvi

Thaat. 2. Deepak derived from Bilawal Thaat.
There are many controversies relating to the Thaat of raag Deepak. Some say it
should be under Bilawal Thaat. But, in present Hindustani system ‘Deepak’ raag is sung
under Thaat ‘Poorvi’ only.
There are some stories where raagas produced rain, fire, related to Deepak and
Mallhar raagas. Evidently, It is said that Tansen created fire singing Dipak,and with his
eloquent rendition of Dipak raag, rocks were melted.
‘Saranga Dev’ first mentioned this raag in the main raagang raagas.
^^r= iwoZizfl)kukeq ís'k% Ø;rs·/kqukA
'kadjkHkj.kks ?kaVkjo vkgalnhidkSA**

Vaadi swar is Gandhaar and pancham according to Thaat poorvi. Deepak is sung
with swar-sangatis of shree rag i.e., a little essence of shree raag must be used and show
the importance of Gandhaar swar in its Aaroh like :
lk] fu+ lk] js js lk] x e i] /k i] e« x] e« i /k e« i e« x] i x] js] lk fu+ js

lk] fu+ lk x e« i] e« i /k e« i] e x] lk x] i e« x] /k i e« x] i x js lk]
fu+ js lk] fu+ lk] e«+ /k+ fu+ lkA
Deepak is an evening raag. Therefore,very carefully this raag is to be sung

without touching the notes of vibhas which is a morning raag and there is an another raag
near to Deepak in which the note ‘Ni’ is varjya in its Aaroh is ‘Reva’ raag. The Swar-
sangatis in Taar Saptak of Deepak:
x e] e« /k i] lka] fu jsa lka] xa] e«a xa jsa lka] i] e« x] e« /k jsa la] i e« x] e«

/k e« x] i x js lkA There are different assumptions by different Granthakaaras about
the Thaat of raag ‘Deepak’ In ‘Sangeeta Darpan’, based on the following shloka.
319

"kM~txzgka'kdU;kl% laiw.kkZ nhidks er%A
ewNZuk 'kq)e?;k L;knxkrO;k xk;uS% lnkAA 119
Pt. “Ramamaatya” in ‘Swaramelakalanidhi’ said Deepak under Poorvi thaat.

Capt. Willard said about Raag Deepak as “the flame which the ancient musicians are said
to have kindled by the performance of this raag is depicted in his fiery countenance”. He
gave few raagas which come under Deepak raag i.e., as the attributes of Dipak raag.
They are Deepak, Kedara, Kamod, Soodha, Nat and Bageshree. But these raagas don’t
come under evening ragas.
Deepaka of Carnatic music
Deepaka raag is derived from the 51st melakarta ‘Kamavardani’.
The swarasthanas are :
Arohana : SGMPDPS
Avarohana : SNDNPMGRS
Besides Sa and Pa, the notes taken are Suddha ri, Antara ga, Prati ma, suddha
dha, and Kaakali Ni. Ubhaya-vakra Audava Sampurna raga, Varjya raga, Ri and Ni notes
are absent in the Arohana. An Upanga raga. The notes Pa and Ga are Amsa svaras and
Jiva swaras. Ri and dha are not Nyasa svaras. Gana rasa pradhana raga Tristhayi raga.
An evening raga. A distinct raga among Tyagaraja’s compositions. (Although this raga is
mentioned in some of the early works still Tyagaraja is the first composer to reveal the
naadatmaka form of this raga through his Kriti. This raga has a certain tranquilising
effect about it. Compositions begin on the note shadja. Chauka kala raaga (Madhya laya
raga). This was mentioned in many works like Sangeeta Ratnakara in ‘Brihaddharma
Purana’ mentions Dipaka as one of the six primary ragas. In sangita sudha ‘Dipaka’ was
mentioned as one of the 21 Ragaanga ragas. In ‘Swaramelakalanidhi’ mentioned as a
janya of Rama Kriya mela (51st mela). In ‘Chaturdandi prakasika’ mentioned as janya of
51st mela. ‘Anupa Sangita vilasa’ [17th century] of ‘Bhava Bhatta’ mentioned this raga
‘Ragatala Chintamani’ mentions this under the 51st mela.
320

Improvisation in Dipaka raag : 120
S GMP; PMGMG; GMPMGMGR SPMGRS

SGMP; PMGMG; GMPMDPS SNSRS;
SSNS; SNSRG; G; GRSN SNSRS;
S;SNDN P, MGMPN SNDNPPM GMGRS;
Composition :
Kriti ‘Kala Nerchina” in Aadi taalam by Sri Tyaagaraja. This kriti is also noted
for the sublimity of its sahitya.
ANALYSIS :
Raag Deepak of both systems seems to be almost similar. The mela raagas of
both Deepaks are also similar, Carnatic Deepak is derived from Kaamavardni melakarta
Which is equivalent to poorvi of Hindustani system. Both Deepak’s Poorvang is almost
similar.‘SGMP’ is present in Carnatic Deepak also. It is believed as an evening raga even
in carnatic system eventhough there are no particular time boundations in singing raagas
at South Indian music system. it is said by some artists that this is an evening raga which
is an another similarity with both Deepak raagas.
Ga & Pa notes are Jeeva Swaras of Carnatic Deepak. similarly in Hindustani

Deepak Ga is vaadi & Pa is samvaadi. There are slight differences in taking swar-
sangatis in Taar saptak i.e., the Taar Sa in Hindustani music. An unpopular raga in
Carnatic system.
25. Raag Bihaagada of Hindustani System
vkjksgh js vYi ys] nqm fu"kkn ys ekuA

el oknh& laokfn rs] fcgkxMk igpkuAA 121
Raag Bihaagda of Hindustani music is derived from Thaat Bilawal. The Jaati of
this raag is Shadav–Sampurna. Vaadi Swar is Madhyam. Samvaadi swar is Shadaj. This
raag use both Nishaadas. The note Rishabh is absent in the Aaroh of this raag. Avaroh is
sampoorn.
321

The Swarasthanas used are:
   lk x e i /k fu lka
lka fu /k i e x js lkA
Time of singing this raag is in the first part of night
Begada of Carnatic Music: 122
Raag ‘Begada’ is the derivative of 29th melakarta Dheera Sankaraabharanam.
Aarohana : SGRGMPDPS
Avarohana : SNDPMGRS (SN, DPM, GRS)
Kaisiki Nishaada is the accidental note in this raga. Hence, it is a Bhashaanga

Raaga. It is a vakra Shaadava Sampoorna Raaga. Prayogas of Prolonged rendering of
‘Ni’ are Kaisika Nishada Prayogas, Where as Short ‘Ni’ are kaakali nishada Prayogas.
Kaisiki Ni is more sustained note and Kaakali Ni is less sustained. The notes madhyama
and Nishaada of Begada are Unique. Madhyamam is one shruti higher than the usual
Suddha Madhyamam in Begada. It is known as begada Madhyamam. Even the
prolonged ‘Ni’ is Sruti higher than the usual kaisika Nishadam. So ‘Ni’ and ‘Ma’ are the
important or Jeeva swaras of Begada. This madhyamam is also called as teevra
Madhyamam in terms of quarter tones or srutis.
Rishab and Dhaivat of this raga are not closing notes. Jeeva Swaras are Madhyam
& Nishaada Notes.
Compositions :
Varnam in Aadi talam– ‘Inta Chalamu’ , ‘Vallabha Naayakasya’ in Roopaka

taalam composed by ‘Deekshitar’, ‘Naadopaasana’ in Aadi taalam by Sri Tyaagaraja.
Analysis :
Begada of Carnatic system and Behaagda of Hindustani music derived from same
parent scales. In both Begada’s both Nishaadas are used. The Begada of Carnatic system
is Vakra. But Bihaagada of Hindustani system is not Vakra. The note ‘Ri’ is used in the
Aaroh of Begada of Carnatic in Vakra form where as in Bihaagda the note ‘Ri’ is
completely absent in its Aaroh. Begada of Carnatic music is a popular raga which have
huge number of Kritis, Keertanas to its credit. A classical raga of Carnatic system.
322

Behaagda is not so popular in Hindustani system. The vaadi and Samvaadi swaras of
Hindustani system Bihaagada are similar to the Jeeva swaras of Carnatic system. In
Carnatic Begada the notes Madhyamam and Nishada have one sruti higher than the
original notes. This is the unique feature of Carnatic Begada. Hindustani Behaagda is
similar to Carnatic Begada with few differences.
26. Sindhu Bhairavi of Hindustani
Rag Sindhu Bhairavi has always been considered by the experts to be a melody
that suit for singing light, Semi-classical,bhajans, Dadras etc. Hence, traditional
compositions such as ‘Dhrupad’, and even khyals are not available in this Raag. It is
also to be noted here, that Sindh or Sindhu Bhairavi are not two different melodies but it
is the name of a single mode, which is neither common nor popular among all lovers of
music. This particular mode has no special feature of its own. Therefore, reference of
this mode is not available in any of the works on music of the past and present. Sindh or
Sindh Bhairavi is derived from the Thaat Asavari. Both the forms of Rishabh are used
in this raag. Besides the Sadja and Pancham all other notes that are used in it they are all
flat. The notes, mainly of the lower and middle octaves of the Mela Bhairavi are
Prominent in it. It is a Sampurna Jati Raag. Dhaivat and Gandhaar are the vaadi and
Samvaadi notes in it. Rest notes are all its Anuvadis. It is manifested in the second
quarter of the day.
^^vlkojhlqesykPp HkSjoh fla/kqiwfoZdk]

vkjksg pkojksgs·fi laiw.kkZ /kSorkf'kdkA**A 123
Aaroh : SA, PA DH SA, NI SA RE NI SA, NI DH NI, PA DH PA, MAPA

DH NI SA, GA, RE NI SA.
Chalan :
^îxkS fjxkS ljh fu'p l/kkS i/kkS luh /kikS]

fla/kqHkSjfodk /kka'kk eUnze/;izpkfj.khA**
Swar sangatis :
 PA GA RE SA, SA RE NI SA, DH PA, DH SA, NI DH PA
323

 SA, RE GA MA, RE GA, RE NI SA, DH PA DH MA PA GA – RE GA,
SA, RE GA RE NI SA.
 SA, PA DH SA, NI SA RE, NI, SA, NI DH NI, PA DH PA MA PA DH NI

SA, GA RE, NI SA.
Sindhu Bhairavi of Carnatic Music
Sindhu Bhairavi is the derivative of 8th Mela Raga Hanuma Todi.
Aarohana : 1. S G M D N S
2. S G M P D S
3. S R G M D N S
It is an Anya Deseeya Raagam. It was adopted from Hindustani Music into

Carnatic music. According to some musicians, “the name ‘Sindhu’ Suggests that it
belongs to Sindhu river, which flows in Noth India. That is why it is called sindhu
Bhairavi in Carnatic music”.
Sindhu Bhairavi is a Bhashaanga Raagam with three frequent Anya Swaras viz.,
Chatusruti Rishabh, Chatussruti Dhaivata and Prati Madhyama. Antara Gandhara &
Kaakali Nishada occur very rarely. On the whole, all the 12 swarasthanas are used in
sindhu Bhairavi, which is a rare phenomenon in the Raaga system. Sindhu Bhairavi is a
Prayoga Pradhana Raagam Moorchhana alone cannot establish the Raaga Picture. Sindhu
Bhairavi cannot merge into the main stream of Carnatic music.
Sindhu Bhairavi is rendered at the end of an performance. many light music

songs are based on Sindhu Bhairavi. In a Hindustani performance, Sindhu Bahairavi is
rendered as a closing item. After this raga, no other raga is sung.
No Carnatic music Gamakas like oscillations are used in Sindhu Bhairavi some
Hindustani music Gamakas like glides are used in it. It is the phrases but not Gamakas
that establish the Raaga Picture and mood. Sindhu Bhairavi Produces highest aesthetic
bliss. Its scope is enormous. It is an inexhaustible raga.
The entire raga Bhaava is revealed by Raaga Ranjaka Prayogas, which should be
used by listening to this raga by great exponents and the famous compositions in it. A
bhakti rasa raag.
324

Raaga aalapana : 124
SGMPDPG, | G*RGSRS, | NSRNSNDP | PDS | G*RMGRS | SRGMGRS |

NSGMP | DPMGG, G*RN, N*RGMG, RS | SMGPMDP | G, MDNS,,| NSRNS
NDDP | NDNPDP, | GPDS, RNDMGR MGRS | NDNS | S*RMPDPG,| PDS G
*RGSRS |GMGMDM DND NS | G*RN,, | NRGMGRS | G*RG, RSR SNS
N*DN | DPD | PMP | MGM | GRGSRS, | SRGM, | M*M MGRS |
M*MDND*MMGRS, D,NS |
*denote usage of anya swaras Chatussruti Ri, Chatussruti dha, Prati madhyama
prayogas.
Compositions :
Visweswara – Swaati Tirunaal

Venkataachala Nilayam – Aadi – Purandara Das
Pasyati Disi Desi – Ashta padi – Jayadeva – Aaditaal
Analysis :
The parent scales of both Sindhu Bhairavi are different, Carnatic Sindhu bhairavi
is incorporated from North. Raag Bhairavi which is sung with12 swaras in the present
style of Hindustani music is equivalent to Carnatic Sindhu Bhairavi. it is completely
based on the notes of Bhairavi of present Hindustani music.
Carnatic Sindhu Bhairavi is more used in devotional bhajanas, semi. Classical

compositions. it is also called as “Hindustani Todi” in South. Though the Sindhu
bhairavi is incorporated from North, Sindhu Bhairavi of South has a separate identity and
tradition in their compositions. The compositions in Carnatic Sindhu Bhairavi Produce
Purely devotional mood. Every composition in this raag till now attained big success by
the audience and the listeners in South.
Similarly there is an another Sindhu Bhairavi in Hindustani music derived from

Asavari Thaat. which does not match neither Hindustani 12 swar Bhairavi nor Sindhu
Bhairavi of Carnatic music. it is a distinct raga with the name Sindhu bhairavi in North.
Even this Sindhu Bhairavi is sung for Bhajans, light compositions.
325

27. SAARANG IN HINDUSTANI MUSIC
Saarang is one of the prakars of Saarang Ang derived from Kafi Thaat. This
descriptions are in detail given in Category-1 under Kafi Thaat.
SAARANGA OF CARNATIC MUSIC
Saaranga is the derivative of 65th Melakarta ‘Mecha kalyani’ The Swarasthanas

are :
Aarohana : SRGMPDNS
Avarohana : SDPMRGMRS
Bhashaanga Raagam because of the presence of Suddha Madhyamam in it.

Sampoorna, Vakra, Shaadava, Raagam. It is a small and alternative raga. Brief aalapana
can be rendered in it. Its range is limited below Aadhaara ‘Sa’ and Gaandhaara of Taara
Sthaayi, there are no prayogas in Saaranga. PMRGMRS are Raaga ranjaka Prayogas.
SRSP, MDP.
Brief Raaga aalapana : 125
SRRSS | P,MPDNDPP, M RG *M P G *M R S | S R S P M D P | S R S P M D P
| M P D N S D P M | P G, M P| P M D P M R | G M P D P | M P D N S N D P M
| P D N S G R S N S D P M | P M R R G M P D N S N D P M | R G *M, P G M
R S|
*denotes the prayoga of Shuddh Madhyam.
Compositions :
Inta modi – in Aadi taala – Taana Varnam Neevaadane Gaanaa – Jhampa –
Tyaagaraja Enta Bhaagyamo – Aadi – Tyaagaraja.
Analysis :
The Saarang ang of Hindustani resemble the swarasthanas of Madhyamavati raag and
Sree raag in Carnatic music. Saaranga of Carnatic music is derived from Mecha kalyani and
Saarang Ang in Hindustani music is derived from Kafi Thaat. Therefore the resemblance
between the two ragas are less only the names of both the ragas are same. Apart from this, raag
Brindavani Sarang exists in Carnatic music but it is not originated in South , Sri Muttuswamy
Dixitar incorporated this raag to Carnatic music from Hindustani music system. There are
beautiful Tillanas, Kritis in this raag. Also Miya Ki Saarang possess some semi-classical bhajan
compositions, composed by great South Indian musicians.
326

28. Raag Maand
Raag Maand, the original raaga structure of raag Maand is based on the local or
colloquial folk compositions i.e., the folk songs of Rajastani and Maalva. Most of the
folk compositions of Rajastani & Maalva are based on Maand raag. Gradually these folk
touches are incorporated by the musicians & musicologists into Maand raag. which
slowly became the main raaga for the classical world of Hindustani music.
All the swaras are Shuddh in Maand. Jaati of this raag is vakra – sampoorn.
Vaadi swar is Shadaj and Samvaadi is Madhyam and some also consider pancham as
samvaadi. Time of singing this raag – can be sung in all the times. The Aaroh & Avaroh
of Maand is as follows:
Aaroh : lk x] js e] x i] e /k] i fu] /k lkaA

Avaroh : lka /k] fu i] /k e] i x] js x lkA
Some of the artists also consider the following Aaroh & Avaroh.
Aaroh : lk js e i /k lkaA

Avaroh : lka fu /k e] i x js] lk js x] lkA
Pakad : /k fu i] /k e] i x js] lk js x lkA
Aalaap : 126 lk js x lk] js e i] /k e i x js] js e i /k e i] i /k fu fu i] /k fu /k e i x

js] x lkA js e i /k fu i /k lka jsa lka fu /k fu i /k lka jsa xa] lka] /k fu i] e i /k fu /k e]
i] e i /k fu · fu i /k fu i /k e x js] i e x js] x lk] js e i /k lka fu fu /k e iA
In this raag, the notes lk] e] i and fu are very important. In the Aaroh of this
raag. The prominence of the notes x and fu are less; become the chalan of this raag is lk
js e i /k lkaA The usage of the note Dhaivat is also less in this raag i.e., based on the
swar-sangati lka fu /k fu iA
The raag form is vakra, it is identified with the swar sangati like ^fu i /k e i x* this
kind of Vakra Prayogas are more used in this raag. The notes Shadaj, Madhyam and
Pancham are Nyas Swaras and Nishaad note is also a Nyas Swara. Maand raag is more
sung in Bhajans Thumri, Tappa, Folk music etc., There aren’t any khyals, Dhamars,
Dhrupad etc in this raag. The usage of 12 swaras exist in Maand which is called as
Mishra Maand.
327

 jkx& feJ ekaM ¼Bqejh½& trrky
LFkkbZ& rw ftu tkoks ijnsl fi;jokA
x & x e i /k fu lka fu & /kfu lkafu /ki /k i i

rw · ft u tk oks i j ns · ·· ·· · · l ·
0 3 × 2
e« e«e« ¼i½ lkjs e« x & lk jsx ¼i½ xjs lk js lk &
xjs
ih gj ok ·· ·· · · · · ·· · ·· · · · ·
0 3 × 2
CARNATIC MAAND
The raag structure of Carnatic Maand is sung in many ways by the South artists.
There are various raaga structures related to Maand raag in South Indian music. Some of
the artists gave slight Durga raag chhaya as Maand.
According to Dr. Ekasubba Rao in his book “Krotha Sangeeta, Vidya

Darpanam”127 the Aarohana and Avarohana is as.
Aarohana : SRMGMPDNS
This maand come under 29th melakarta ‘Dheera Sankarabharanamu’ equivalent to

Bilawal Thaat of Hindustani music. Therefore this swarasthanas slightly match with the
swarasthanas of Hindustani maand.
The musicians and artists of South India, say that raag maand is completely a
Hindustani raag which has been incorporated from North India. But the original raaga
structure of Hindustani Mishr Maand is not exactly adopted by the South Indian artists
i.e., the Rajastani folk maand the original raag chhaya of maand is appeared only in the
Rajastani folk maand ‘Kesariyabalma’ is not found in any of the compositions of
Carnatic Maand structure. It seems only the name of the raag maand is incorporated but
the exact swarasthanas of Hindustani Maand is not incorporated or there is no any
compositions in South that is equivalent to the swarasthanas of Rajastani Maand folk.
some of the artists of South gave the following Swarasthanas as maand raag.
Aaroh : S G M D N S
Avaroh : S N D M G S (Or)
328

S N D MG M RS
A derivative of 29th melakarta ‘Sankarabaranam’. According to some musicians

in South, the above mentioned swarasthanas are considered as Maand raag in Carnatic
music and in – Avaroh the usage of Rishabh note brings the chhaya of raag
“Hamsavinodini”, which is equivalent to the swarasthanas of Hindustani ‘Hemanth’ and
‘Bhinn Shadaj” “ Koushik dhwani”ragas. Some of the artists also sing using both
Dhaivats & both Nishadas for instance:
D N S G M D N S
S N S D *D D N SN D N DM
G M D M, G M R S
*denotes Shuddh Dhaivat. This raaga structure sounds very beautiful. This is also called
as mishra Maand in Carnatic music.
CATEGORY – 3
RAAGAS BEARING SAME NAME AND SAME SWARASTHANAS
Under this category researcher explored the raga names as well as the
swarasthanas and raga bhava are similar in both systems
1. RAAG SAVERI IN HINDUSTANI MUSIC
Raag Saveri of Hindustani music is derived from Thaat Bhairav. An Audav-

Sampoorn raag. Vaadi is madhyam and samvaadi is shadaj. Rishabh and Dhaivat notes
are Komal. In its Aaroh Ga and Ni are Varjya Swaras and Avaroh is sampoorn. An early
morning raag.
Aaroh : lk js e i /k lka

Avaroh: lka fu /k i e x js lkA
Carnatic Saveri : Saaveri is a derivative of 15th melakarta maayamaalava gaula
Aarohana : SRMPDS
This is an Upaanga, Varjya Raaga & Prasiddha (Popular) raaga with more scope.
The Rasa of this raaga is ‘Karuna’ and Bhakti’. All the manodharma sangeeta branches
329

can be rendered in Saaveri Raag. Antara Gandhara has a diminished value in Avarohana,
when it is elongated in some prayogas.
DPMG,R I SRMR I RG,RS I
The ragas which have the swarasthanas with diminished of augmented values are
called Ardha bhaashanga raagas. Malahari and saaveri ragas resemble each other.
Saaveri has an edge over Malahari in musical values. Ni is completely absent in
Malahari. Its Moorchhana is SR M P DS, S D P M G R S
Brief Raaga Aalaapana :
S R G, S R I S R G R S N D I D M D S I S R M P D M G, R I R, P M G, R I S
RGR R, S, , I P D S I R M P D, P I D P M I DNDMGR, I RMPDS I DSRGGR I
SR P M G S R G R SI
Compositions :
1. Raama Baana in Aadi taalam Tyagaraja

2. Aapadbandhavudu in Aadi taalam Sri Syama Sastri.
Analysis :
Raag Saaveri of Hindustani music and Saaveri of Carnatic music are similar
raagas with same notes. it is said by some of the artists that raag Saaveri in Hindustani
music is incorportated from South. Saaveri of Hindustani is not a popular raag. Carnatic
Saveri is a Traditional and classical raag exists from many centuries. An old and popular
raga in South India.
2. RAAG GAURI (BHAIRAV THAAT) OF HINDUSTANI :
AAROH : SAREGA - MA PA, MAPADHANI – DHA SA.
AVAROH : RE NI-DHA NI–PA DHA, MA PA, GA– RE SA RE NI
JAATI : VAKRA SAMPOORN
GRAH : SA
ANSH SWAR : GA, NI
NYAS : GA, NI
MUKHYA ANG : RE SA RE NI, SAREGA - SA RE NI SA
SWAR SANGATI : DHA MA and PA GA
330

TIME OF SINGING : IN THE EVENING
PRAKRITI : KARUN
Raag Gauri is of four kinds 1. Gauri 2. Mala Gauri 3. Chaiti Gauri 4. Lalita
Gauri. Among these four, Raag Gauri is more popular.
The notes used in Gauri raag are similar to raag Bhairav, but the raag chalan,
nyas on the swaras and prakriti differ in both ragas. In raag Bhairav the notes Re and
Dha are Komal and are andolit swaras.
In Bhairav singing the note combination Ma and Re with meend, produce a

different mood which separates Gauri raag from Bhairav.
SA, RE NI – SA RE GA – MAGA RE SA -, SA RE NI- , NI SA RE NI-, RE SA

RE NI, SA RE SARE NI SA NI -,
RE SA RE NI SA NI – SA RE GA – MA GA RE SA.’
The above swar-sangatis bring the essence of Bhairav, Raamkali, Jogiya,

Gunakria and Kaligada ragas. Gauri is a sweet, very attractive raag. This is a karuna rasa
raga. The aalap of this raag will make everybody think. This raag is loved by all.
AALAP :130 SA, RE SA RE NI SA RE GA – RE GA MA GA RE SA.

RE SA RE NI SA RE GA – MA PA GA, GA – RE GA MA GA RE SA.
SA RE MA, PA GA, DHA PA, DHA MA, PA MA, PA GA, GA RE GA MA GA
RE SA.
MA, PA DHA NI, DHA NI DHA PA, DHA MA, PA GA, RE GA, MA GA RE
SA. Etc..
GOWRI OF CARNATIC MUSIC: 131
Gowri is the derivative of 15th Melakarta Maayamalava Gaula.
AAROHANA:
SRMPNS
AVAROHANA:
SNDPMGRS
The notes taken in this raag are: S, P; Suddha Rishabham, Antara Gandharam,
Suddha Madhyamam, Suddha Dhaivatam, Kaakali Nishadam.
331

It is the pure raga without the presence of accidental notes. It is 5/7 combination
scale. It is an Upaanga Raaga. Ga and Dha are absent in Aarohana.
RAAGALAPANA:
SRMGRS/ SRGRSND PNS/ SRMP / PMGRGRS/

RMPDMP / PNSNDPM / MPDMGRS / RMPNSRSNDPM /
PNSRSR/ SRMGRS RPPMGRS / SRGRM / SNDP/ MPNSR NSNDP/
PDPMGRS/ RPMGRS / SRMGRSNDP / NSRSR/ S/
COMPOSITIONS :
1. Sree Meenakshi – Roopakam- Deekshitaar

2. Jaya Jaya Sree Raghu Raama – Aadi – Tyagaraaja.
ANALYSIS:
Gauri of Hindustani music is a special and melodious raga. It possess beautiful

touches. The style of singing the mandra Nishad gives beauty to this raag. The only
difference between Hindustani Gauri and Carnatic Gowri is the note mandra Ni and
Carnatic Gouri is Audav-sampoorn. ‘Ga’ and ‘Dha’ swaras are absent in its aaroh. In
Hindustani Gouri Ga and Dha are sung in Vakra form. Especially the note combinations
like R P M P M G R S N donot exists in Carnatic Gowri. The
remaining aspects are identical in both systems regarding this raag.
CATEGORY-4
RAGAS OF HINDUSTANI MUSIC WHICH ARE ADOPTED(GOT MORE

POPULARITY) BY THE CARNATIC MUSIC SYSTEM
1. Gorakh kalyan 9. Piloo

2. Hameer 10. Desh
3. Bageshree 11. Chandra kauns
4. Bihag 12. Bahaar
5. Brindavani Sarang 13. Tilang
6. Darbari Kanhada 14. Yaman kalyan
7. Raageshree 15. Gurjari Todi
8. Pahaadi
332

There are many ragas adopted by the Carnatic music system from North Indian
classical music. The ragas which sound beautiful and melodious have more impact on
the listeners as well as musicians, therefore in the case of Carnatic music and Hindustani
music the raagas with mellifluous raga swarasthanas are adopted by both systems.
There are many Hindustani raagas in Carnatic music which are still now acquiring
more popularity. Most of the Hindustani raagas have got popularity in semi- classical,
bhajan, light music compositions and filmi music compositions in South India. very few
like “Khamas”,”Brindavani Saarang”, “Hameer Kalyani”, “Sorat or Surati”,
“Dwijavanti” etc, are even sung in Classical compositions in Carnatic music. Some of
the raagas of Hindustani music adopted by Carnatic music system are now described in
detail:
1. Raag Gorakh Kalyan of Hindustani Music:
le lEokn f}fr; izgj] vksMo "kkMo ekuA

FkkV [kekt ekur xqfu tu] xksj[k uke c[kkuAA 132
Raag Gorakh kalyan is derived from Thaat Khamaj. Notes used are komal Nishad
and rest notes are shuddh. This raag is originated in North India.
In the Aaroh- Avaroh of this raag the notes ‘ga’ and ‘pa’ are varjya some of the
artists also use pancham note in its avaroh in vakra form like : ê /k uh /k] e i*-There
fore jaati of this raag is said to be Audav- Shadav. In some of the granthas i.e in the book
“Raag Parichay” it is given Audav- Shadav and in the book “Raag Praveen” it is given as
Audav -Audav jaati raag. Vaadi is Shadaj and Samvaadi is Madhyam. Time of singing is
in the second part of night. The Aaroh- Avaroh of Gorakh Kalyan raag according “raag
parichay” book:
Aaroh : lk ejs e] la/k · uh /k laA

Avaroh : la /k i/k uh /k ie] js e js lk, uh · /k+ lkA
Pakad : uh /k e] js e js lk u+h · /k+ · lk] js eA
Aaroh- Avaroh according to the book “Raag Praveen” with out the note pancham :
Aaroh : lk js e /k uh /k lka] uh jsa lkaA

333

Avaroh : lka uh /k] e js] u+h /k+ lkA
Pakad : lk] js e] js u+h /k+] /k+ u+h /k+ lkA

lk js e] /k uh /k] e /k uh /k e] e js u+h /k+, e+ /k+ u+h /k+] lkA
e /k uh /k] lka] uh jsa uh /k] lka jsa ea jsa] uh /k ¼laka½] uh jsa uh /k] e /k
uh /k] e js u+h js lkA
Some of the artists sing pancham swar in the form of an alp prayog between the
notes Dhaivat and Madhyam eg: /k uh /k i e, i /k uh /k i eA some of the artists as a
visesh swar-sangati sing pancham swar as ‘ jse ie js ‚ sounds very melodious.
The name ‘Gorakh Kalyan’ sounds to be one of the forms or prakars of kalyan
Ang, but gorakh kalyan and kalyan raag donot have any similarity. This raag is also
called as ‘Gorakh’ and many arists of north say that this raag should be named as
‘Gorakh. ’Raag ‘Gorakh Kalyan’ is a modern raga. It is acquiring more popularity since
4 to 5 decades.
This raag is near to the swarasthanas of Durga and Bageshree ragas. The notes
like ^js] e*] i /k and /k i ebrings the chhaya of Durga and e /k uh /k la] la uh /k &i/k
uh /k e swar-samuh brings the chhaya of Bageshree raag. The note pancham is less used
in this raag . In the aaroh of this raag pancham note is completely varjya and in the
avaroh the note pancham is used rarely in few combinations. This raag sounds beautiful
in its mandra saptak. A poorvang pradhan raag. In the present Hindustani music system,
raag Gorakh kalyan is sung using the note pancham. Therefore prominence to note pa is
also more in this raag. Only few artist sing Gorakh Kalyan with out using the note ‘Pa’.
The Nyaas Swaras are l] e and /k
Aalaap :
1- lk] js lk u+h · · lk/k+ lk/k+ lk] u+h /k+ lk] js u+h /k+ lk] e+ /k+ u+h · /k+ lkA
js e js lk u+h · u+h /k+] lk/k+ lk/k+ lk · u+h /k+] e+ /k+ e+ /k+ u+h /k+] ejs ejs e · js lk
u+h · /k+ lk]
3- e /k lkauh /k lka · · /k lka] /k jsa lka] ea jsa eajsa lka] jsa ea] ia ea] jsa ea jsa lka uh ·
/k lka] uh /k ie] js e · uh /k ie] js e js e js lk uh · /k+ lkA
334

Raag Gorakh Kalyan is also more popular in Carnatic system with same
swarasthanas.They call this raag with the name Gorakh kalyani. There are n’t any
classical kritis& classical compositions in this raag but there are beautiful compositons in
semi classical, light, bhajans, filmi etc. in this raag. Because of the melodious soothing
notes,this raag is being adopted by the South Indian musicians and liked by all kinds of
listeners. The usage of this raag in South India by south Indian arists and way of singing
the swarasthanas can be understood by a beautiful keertana of Sri Tallapaka
Annamacharya a 14th century Poet,Saint and disciple of Lord Venkateswara, possess
more spiritual import in his lyrics, composed in Gorakh kalyani raag by an exponent
South Indian artist Sri G. Nageswara Naidu. Annamacharya composition is divided into
Pallavi followed with three charanams (stanzas). Original notation of Annamacharya
compositions are not found (very few are found), therefore the present classical,semi-
classical, artists melodiously composed his great Keertanas.
RAAG : GORAKH KALYANI 133
28th Melakarta Harikambhoji Janyam
Taal: Aadi
Pallavi
;
D N, D M, M R R M D M R | ; N N, S , , | S , ; M R M , ||
. di
Ha ri ne ra ga ni ja . . . nma| . ma . ye . | la . aa . .
; N R R R M , M D, D S, N, | ; N R, S , ,|S, ; N S D , ||
Sa ru sa na . ta du le .. ni | .cha .du . . . .. .
. . |la
ve

; M D , R S D, ; M R R M D M R,| ; N N, S,,|S, ; ; ; ||
˙ di
Ha ri ne . ra . ga ni ja . . . nma| .ma ˙ ye .| la . . .
˙ ˙
Charanam
; D D, D M, D D D , ;D, |; D N, D M , | D ; ; ;||
Da ya do la gi na ya . tti . ta pa me . la . . .
;D N , D N, ; N , D N N , ||; N˙ R˙ , S˙ , ,|S,;

˙ N S˙ D, ||
Bha ya mu le . ni ye . tti . bha . kte . la .
; R M M , R M M, M,, R S N ,N ,|; N R , S ,, | S , ; N S D, ||
Pri ya mu ma. ni na .˙ ya˙ . . tti . pe˙ na
˙ ge . la
˙ ˙ .chi
. man
D , N, ; N , D M , N , D M ,|; M, D, N S , ˙ | D N D , M D M , R M R , S , ; ||
Kri ya . vi ru . dda . pu . kee rta na . | le . . . . . la . . .
335

2. RAAG HAMEER KALYAN IN HINDUSTANI MUSIC
Hameer is a beautiful raag in Hindustani music. The usage of ‘Teevra

Madhayam’ in raag ‘Hamir’ explores the Kalyan Ang . In the world of Hindustani
classical music the most popular and melodious Raag, Hameer is considered as the
derivative Kalyan Thaat and in some of the earlier granthas Hameer is given as the
derivative of Bilawal Thaat. Vaadi swar is Dhaivat and Samvaadi is Gandhar. In this
raag both Madhyams are used and all the rest notes are shuddh. Jaati of this raag is
Sampoorn. This raag is sung in the first part of night.
Teevra madhyam swar denotes Kalyan Ang and Shuddh madhyam swar denotes
Bilawal Ang in this raag. In Uttarang Kalyan Ang and in Poorvang Bilawal Ang is more
highlighted in this raag. Sometimes e« /k fu /k (i) Kalyan raag prayogas are taken in
this raag. Due to this reason some of the artists also consider the name of this raag as
″Hameer Kalyan″. 
The Raga Swarup of Hameer: 134
i] x e fu/k fu/k fu /ki] /k e« i] i x e js x e /k · i] x e js lk] lk js x e i]

/k /k i e« i x e i] e« i /k fu /k i] /k e« i x e fu/k fu/k fu fu lka] lka fu /k
i] x e /k fu lka] /k i /k e« i /k fu lka] ¼i½ x e js x e fu/k fu/k i] i x e js lkA
In Hameer raag Nishaad swar in aaroh and gandhar in avaroh are less used. The
main swar- sangatis of Hameer raag according to Pt. V.N. Bhatkhande lk] x e /k] fu /k
lka] jsa lk fu] /k i] e« i /k i] x x e js] x e /k i] x e js lk and lk] js lk] x e /k] fu
/k lka, lka fu /k i] e« i] /k i] x e js lk* ^x e /k* the swar-samuh ^x e /k*] is the
special and striking feature of Hameer raag. This must be one of the reasons to put
Dhaivat as Vaadi swar in Hameer raag.
Swar vistaar of Hameer raag in ‘Sangeet Shastra part -1.
lk] x e /k] fu /k] lka fu /k i] x e /k] i] /k i] x e js] /k i] x e js] lk js lk] x e

/kA lk js lk] fu /k+ i+] e+« i+ /k+ i+] lk] lk js js lk] x e /k] i] e« i] x e js lk] x
e /kA
e« i /k e« i] x e js] fu /k] lka] fu /k] fu /k i] i i /k /k i i] e« i /k
336

e« i] x e js] x e /k i] x e js lk] fu fu /k] fu /k i e« i] /k /k i i] i x e js]
x e] fu /k] lka fu /k i] e« i /k i] x e js lk] x e /kA
lk js lk lk] x e /k /k] i] x e js] lk js lkA i i lka] lka] lka] lka jsa lka] xa ea ia xa
ea js lka] lka fu /k] fu /k i] e« i /k i] lka jsa lka fu /k i e« i /k /k i] x e js] x
e /k i] x e js lk] x e /kA
Dhaivat swar in Hameer raag portray veer ras just like Athana raag in Carnatic
music system.
RAAG: HAMEER KALYANI IN CARNATIC MUSIC SYSTEM
This raag is known by other names as Hamiru, Hambir, Hambiru, Hamir Kalyani
and Amir Kalyani. Janya raga, derived from 65th melakarta, mecha kalyani. These are
two versions of its Arohana and Avarohana.
I. Arohana : S P M P D NS
Avarohana : SNDPGMGRS
II. Arohana : SGPMPDNS

Avarohana : SDPGMGRS
The first version is more used in Carnatic system besides Sa & Pa, the notes takes
are: Chatussruti ri, Antara ga, Suddha ma, Prati ma, Chatussruti dha and kaakali Ni. This
is an Ubhaya Vakra, Audav-Sampoorna raaga. According to the second version it will be
an Ubhaya Vakra Shadava raga. Eka Svara vakra arohana. Rishabham is absent in the
Aarohana. Ekanya swara Bhashanga raga. One of the few raga taking both the
madhyamas. The anya swara suddha madhyama, comes in the phrases (a), G M G R S
and (b) G M G M R. A bhashanga raga where the foreign note is incorporated in the
scale. Desiya raga. Dha is a Kampita svara; ga, dha are jiva swaras: Pa is amsa svara; Pa
and Ga are nyasa svaras; SN DD S are the visesha prayogas. Gana rasa pradhana raga.
Compositions begin on ga and sa. A scholarly raga and a minor raga;
RAAGALAAPANA. 135
S, R S – S P M P - M P D N S – S S N N D D P P M –
P D N S – S N D P M – G *M G P P M – D D P M – G G *M R,
S–GPMPDNS–RSNDPM–GMGPM -DPM GGMRS|
Classical Kritis in this raag :
337

Manamuleda Aditalam– Tyagaraja Kriti, Parimala Ranga– Rupaka “Muthu
swami Dixitar
A SEMI CLASSICAL COMPOSITION composed by South Indian artist.136
S S S P m p; m p ,, | P P m p m , | m g p,, ||
P m p n s r, ; n d p, p, | g, g m d p | R, S, S, ||
S S S P m P; m p n s r | n d p m m, p, | ; ; ; ||
Charanam :
p p d p m p s, s s s | n, s n d, | d n d p , , ||
g, g m d p m r r s,, | s d d n, m | p, ; ; |
p p d p m p p s s s, s | n n s n d, | n s r, s, r,,
g *m p, *m , r, s s n s d, p | g g g m d p| *m r s, ;|| * denotes Shuddh Madhyam
Analysis :
Both Hamir Kalyans are almost similar in their swarasthanas. There are less
dissimilarities between these two Hamir Kalyans. The only difference is Rishabh swar is
absent in the Aarohana of Carnatic Hamir Kalyan also the way of singing ^x e /k* swar-
sangati and prominence to the phrase ^x e /k* is less in Carnatic Hamir. Apart from the
above two things the whole raaga swarasthanas usage of both madhyams, many swara
sagatis and raga bhava almost match with Hindustani Hameer. Even ^x e /k i & ^x e
/k* is used in the above given composition. Above given composition almost match with
Hindustani Hamir except the absence of rishabh note in the Aaroh.
3. RAAG BAGESHREE IN HINDUSTANI MUSIC
xfu dksey laokn e l] vkjksgh fji dkV]

e/kqj jkx ckxsljh] yf[k dkQh ds BkBAA 137
Raag Begeshree is one of the most melodious, sweet raag of Hindustani music.
This raag is derived from Thaat ‘Kaafi’. Time of signing this raag is in the ‘Third part of
Night. The vaadi swar is madhyam and Samvaadi swar is shadaj. In Aaroh the notes
Rishabh and Pancham are Varjya and Avaroh is Sampoorn. Pancham note is sung in
vakra form , only in the phrase lka fu /k, e i, /k x] e x js lkA
Therefore the jaati of this raag is Audav-Vakra Sampoorn. Ga and Ni are Komal
swaras and rest notes are shuddh. The prayogas of madhyam, Dhaivat and
338

Nishaad notes produce more beauty to this raag. While singing this raag always Tanpura
is tunned in mahdyam swar which sounds more appealing. Always in Bageshree,
madhyam swar is an answer to the note Shadaj. If the question is ^la fu /k* the answer
will be ê x js*in Bageshree. Always ê* swar is followed with the note ^l*-
Aaroh : lk] x e] e /k uh lka
Avaroh : lak] fu /k] e x js lkA
Pakad : lk] fu+ /k+ fu+ lk e] x e /k fu /k] e i /k x] e x js lkA
Madhyam swar plays very important role in this raag. It gives more beauty to the
raag. Bageshree raag can be improvised and sung in all three saptaks. This raag is
different from Kaafi and Bhimpalasi raagas, though Bageshree come under Kaafi Thaat.
Aalaap:
1- lk] fu+ /k+, fu+ /k+ · e+ /k+ fu+ lk] x js lk js fu+ lk, /k+ fu+ lk e x · e x js
lkA
2- /k+ fu+ lk e · ·] x e /k · · /k e · ·] x e] x /k · ·] /k e · ·] e · ·
i /k x · x · e x js l, lk e · e ·] x e /k · /k+ ·] /k+ fu+ lk x e /k · /k
·] /k e · ·] e x · ·] e x js lkA
3- x e /k fu · · lka] fu /k] e /k fu lka · ·] ¼lka½ fu /k] e /k] e fu] /k lka ·]

fu /k e · ·] x x e /k · ·] e · ·] e x js lkA l e e] x e /k fu /k lka ·
·] lka ea ea · ·] ea xa jsa lka] jsa lka fu lka fu /k] e /k fu /k e · ·] x x e fu
· /k e · ·] x x e /k e · · i /k x · x · e x js lkA
Raag Bageshree is also more popular in South India, since many decades. There
are many compositions in light and semi– classical composed by great South Indian
musicians. There are no any Tyagaraja classical kritis or any of the classical kritis of
Dixitar, Syamasastri etc in this raag. Bageshree raag is adopted by South Indian
musicians and light music lovers who enjoy melodious kind of music. There are
beautiful Jayadev Ashtadpadis composed in this raag by many South Indian artists.
Bageshree portray erotic and Bhakti rasa. This raag can impress all kinds of listeners
especially in South, Bageshree, raag is enjoyed by all kinds of listeners. South Indian
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musicians utilized the essence of this raag, composing beautiful compositions in this
raag.
There is a raag named ‘Sree Ranjani’ in Carnatic music which is equivalent to the
swarasthanas of raag Bageshree’ of Hindustani System. But in ‘Sree Ranjani’ Rishabh
swar is used in its Aaroh and in Avaroh. The original essence of Bageshree can’t be
portrayed in Sree Ranjani raag of course ‘Sriranjani’ is a sweet raag in Carnatic music
but, the usage of ‘Ri’ differentiate both raagas. Sriranjani is derived from kharaharapriya
Mela,
Aaroh : SRGMDN S
Avaroh : SN DMGRS
A great composition, a Bhajan in Bageshree, composed by South Indian

renowned musician.
RAAG BAGESWARI 138
AADI TAALAM
KHARAHARAPRIYA MELAKARTA
PALLAVI
; G M , D N S , ; S , N N S , D ,|; M N , D M ,|M G G M R , S ,||

Na . ra . . ya na ni nnu . na . mmi na na . . ku . nu
; D N , S R , G , , M , , N , | D , ; ; D N| G , R S N S D ,||
Me . ra to ni . . pa da me ga ti ga li . . ge .
CHARANAM:
; M D , D , , S N N S D, D ,| ; , M , D M , |G , , M N , D , ||
Chin ta ja . la . dhu la chi kki na da . tin . cha
; M N , D M , M G, G M , R ,| ; S G, M N ,| D , ; ; ;||
An ta . ta ni . pa . da . ade te . pa . . . .
; S , , N D , S , ; S , S ,| ; , D , N S ,| R , S , G , ;||
Kan ta la mo ha pu ka tlu den . cha ga
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; S G , G G , R , S S R N D ,| ; M D , N G ,| R S N D M G R S||
Pan ta . pu ni . pa da . pa ra su vu ga . li . ge . . . .
4. RAAG – BIHAG IN HINDUSTANI MUSIC
Raag ‘Bihag’ is one of the most popular raaga and beautiful raaga in Hindustani
music. All are shuddh swaras. Jaati of this raag is Audav – Sampoorn. In Aaroh Rishabh
and Dhaivat notes are absent, Avaroh is complete. A simple and beautiful raag derived
from Bilawal Thaat. Vaadi is Gandhar. Samvaadi swar is Nishaad. This is a poorvang
pradhang raag. This raag is sung in the first part of night. In this raag both madhyams are
used. There are many types in Bihag Ang almost all types in Bihag are popular in
Hindustani system Eg: Bihagada, Maaru Bihaag, Nat Bihag etc. Presently, Raag Bihag
using Teevra Madhyam is more popular in Hindustani music. The prayog of Teevra
Madhyam is also used very less i.e., only in the phrase î e« · x e x* Teevra ma is
used in Bihag raag.
In Bada Khyal, vilambit Khyal, Bihag is sung giving more prominence to shuddh
Madhya and the usage of Teevra ma is less. In the form of Kan Teevra Madhyam is
used, i e«· x e x js· l also in Khyal compositions. The beauty of Bihag raag lies in
taking the swaras with meend like x js· land i e«· x e x js· l Bihaag is a beautiful
raag. It has got a great impact on the listeners.
Swarvistaar :139
1- i+ fu+ · · lk ·] ¼lk½ fu+ · /k+i+ · ·] x+ e+ i+ fu+ · fu+ · lk · ·A i+ fu+ · lk x ·]

x · js· lk fu+ · i · fu+ · lk · · i+ · fu+ · lk x · ·] fu+ lk fu+ x · · l]
fu+ /+k· i+ · · i+fu+ · i+ fu+ · lk · ·A
2. x e i fu · · i, x e x] fu+ l e · x i · e« i x e x, fu · · i x e x, fu+
lk x e i fu · ·, i fu la fu · · /ki, fu · · /ki x e x · · js lA
Bihag is a traditional, classical raaga of Hindustani music system, exists from

many centuries. Even now it is one of the major, popular raagas of North.
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Similarly, Bihag raag is more popular in South India also. There are many semi–
classical, light, Bhajan compositions in this raag composed by great South Indian
musicians. Every composition in this raag is a big success in South India. This raag is
loved by all listeners, musicians in South India. There is a popular Annamacharya
Keertana in this raag composed by great South Indian artist,
The whole essence of Hindustani Bihag is explored in this composition.
Bihag raag in Carnatic music 140

AADI TAALAM
PALLAVI
;N S, G M, P, M , P; |
Na . ra . ya na te|
P , P *M G , M , | G, R M M G R ||
Na mo . . na| mo . . . . .||
;P N,D S, S N N D P M P,|
Na . ra da sa . . . nnu . ta|
M D P M G , M , | G , , R M M G R|| S ,
Na . mo . . na| mo . . . . .
CHARANAM
; N S , G G , G , M , R , G ,|
Mu ra ha ra bha va ha ra|
*M , P , ; P ,| P M D P M , G ,||
Mu kun da | ma. . . dha va||
; G M , D D , D , D , D , N , |.....
*denotes note Prati madhyam
5. RAAG: Brindavani Saarang
Hindustani Saarang Swarasthanas are clearly described in category (2) all the
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types of Saarang and clear description is already given in category -2.
Carnatic Brindavani Saarang
‘Brindavani Sarang’ has got many classical compositions in Carnatic system. In

this context, it is to be noted among the Trinities, Sri Muttuswamy Deekshitar great
musicologist and Vaggeyakara, also Sri Tyagaraja in Carnatic music introduced many
Hindustani ragas in their compositions. Especially Sri Muttuswami Dixitar learnt
Hindustani music. He was the one who introduced rare Hindustani ragas into South
which was already discussed. Brindavani Saaranga is the derivative of Kharaharapriya
22nd Melakarta. There is an another raag "BRINDAVANI" in Carnatic music system
equivalent to raag Brindavani Saaranga. There are many Tillanas in this raag.
AAROHANA : SRMPNS
AVAROHANA : SNPMRGS
Raagalaapana in Carnatic Brindavani Saarang: both Nishadas are used 141
S R N S, P N N S, R M PM R,| M R P M N P, |M P N S R N S|, M P N , , R N S,
N S R N P, M P N P M R, MR PM NP, MP N N S ,||
6. RAAG : DARBAARI KANHADA IN HINDUSTANI MUSIC
Darbaari Kanhada is one of the majestic raag in Hindustani music. This is one of
the main prakars of Kanhada Ang. According to ‘Krishnadhan Benerjee’ in his Book
‘Geetsutrasaar’ kanhada Ang has got 18 prakars:Darbaari, Naayaki,Husseni,
Kaunsi,Mudrika,Suha,Sughrayi,Adana,Shahana,Bageshree,Gaara,Kafi,Jai jaivanti etc.
Apart from this a king of Rampur also sang ‘Sorati Kanhada’ raag and ‘Khamaji
kanhada’ raag. Mixture of a raag in kanhada Ang. Similarly lk] fu+ lk] js] ex ¼vkUnksfyr½]
e i x] js] fu+ lk] js lk] fu+ /k+ fu+ i+] i+xjs This is called ‘Jai Jaivanti Kanhada’
Raag Darbaari Kanhada is one of the most popular raaga in Hindustani music.
Kanhada = Darbaari Kanhada. This raag is known to almost all the artists in North India.
Even the listeners of music are known with this raag. This is an ‘Aashray raag’ of
kanhada prakar. Time of singing this raag is in the second part of Night. Vaadi swar is
Rishabh and Samvaadi is pancham.
Notes Gandhar and Dhaivat are Andolit Swaras. Especially in Darbari kanhada,
the notes Ga and Dha are Andolit, these andolit swaras explore the beauty and identity
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of Kanhada Ang and Darbaari kanhada. Darbari Kanhada’s Dhaivat note is almost Ati
komal Dhaivat. This stroke brings out the essence of Darbari Kanhada raag of
Hindustani music. This is the striking feature of this raag. The raag vachak swar-sangati
of Darbari kanhada is êx x js x js x] lkjs x lk* and this Sangati is the main identity of
Darbari Kanhada raag. Ga is more Andolit compared to other types of Kanhada Ang raagas.
In uttarang fu/k fu/k fu i] e iprayog is taken in Darbari Kanhada. The way of taking
singing Rishabh note to Dhaivat in Mandra gives more beauty to Darbari Kanhada.
^fu+ lk js /k+ fu+ i+*A
Swar Vistaar in Darbari Kanhada: 142
lk] fu+ lk] js] lk] fu+ lk] fu/k+ fu+ lk] e+ i+ fu+/k+] fu+] lk] fu+ js] lkA
lk] js] lkjs] fu+/k+] js] lk] fu+ lk js] fu+/k+ fu+/k+] fu+ i+i+] e+ i+] /k+ /k+] fu+] lk] lk] js] lkA
fu+ lk js lk] e] js] lk] i e i] ex] lkjs] lk] fu+ js] lk] js fu+/k+] fu+ lk] fu+/k+] i+fu+ i+ e+ i+
fu+/k+] fu+/k+] fu+ lk] fu+ lk js lkjs] ex x js x js x] js lkjs] lk] e+ i+ /k+ fu+ lk] /k+ fu+ lk]
fu+ js] lkA
e] e] i] i] fu/k fu/k ifu i] e i] lka] fu/k fu/k] efu i] ie i] e i /k x] jslkjs] lkA e

ifu/kfu/k] fulka] fulka] fulka jsa] lka] fu lka jsa fu/k] fu i] eaxa lkajsa] lka] fu lka] jsa fu/k] fu
i] e i lka] ifu i] e i ex] e] lkjs lkA lkfu+ js lkA
ljxe f=rky ¼e/; y;½

ejs e js lk lkfu+ lk js lkjs ex · · js lkjs · lk ·
lkfu+ lkfu+ lk · fu+ lk js lk lkfu+ lk js fu+/k+ fu+ fu+ i+ i+
e i+ /k+ fu+ lk /k+ fu+ lk e e i x e lkjs · lk
0 3 × 2
xjh luh lfjeik /kuh luh iekS ixkS]
fjlkS j;a'kk rq nckZjh e/;jk=s xnksfyrkA 143
&&vfHkuojkx eat;kZe~
In North India there are vilambit khyal compositions, Dhrupads, Semi –classical
compositions in Darbaari Kanhada. A Gambheer pradhan raag in Hindustani system.
Due to the magnificient notes in this raag, it acquired more popularity in South
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India. There are many compositions in South composed brilliantly by many South Indian
great musicians and artists in this raag.
Similarly, in Carnatic music there is a raag ‘Darbaar’ or ‘Darbaaru’ derived from

22nd mela Kharahara priya. Equivalent to Thaat kafi in Hindustani system. The Aaroh
and Avaroh is S R M P D N S , S N D P M R G G R S
This Darbaar i.e., Carnatic Darbaar donot have similarity with Hindustani
Darbari, though their parent scales are similar.
In a South Indian Grantha ‘Raaga Lakshan’ Darbaar raag is mentioned under

Khamaj thaat i.e., Hari Kambhoji Melakarta.
gfjdkaHkksfteZykPp latkr'p lquked%A

njckj bfrizksä% lU;kla lka'kdxzge~AA
vkjksg rq lqlaiw.kkZ oØiw.kkZojksgde~A 144
lk js x e i /k fu lkaA lka /k fu i /k e i x js lkAA
Darbaari Kanhada is a situational raag picturises gambheer rasa, it has got a

majestic appeal, suits for male artists who has depth in voice. In South India Darbaari
Kanhada was utilized by great light music composers,Semi-classical composers
brilliantly, in an effective way and also sing majestically according to the situations. The
only difference is that in Hindustani music, Darbari Kanhada is rendered in classical
compositions whereas in Carnatic system this is rendered in Semi-classical, light
compositions also.
RAAG DARBARI KAANADA IN CARNATIC MUSIC145

KHANDA CHAPU TAALAM
R , R S N , S , | R , R , R | S R P G , | M R S , , ||
Ra ji . . va | ne tra ya| raa gha va| ya na mo ||
M P D , D | N , N S P , P | M P N N P G,| R , S , , ||
Sou ja nya | ni la . ya ya ja . na ki . . sa ya
CHARANAM
R R R R S R | M G M , R , S| P , , M G M G| G M R , S||
345

Da sa ra tha . nu . . ja ya ta ta . ka . da ma na ya
M M M P , | D D N P P | P , S N P, M G M G| R , ; ;||
Ku si ka sam bhava ya . gna go pa na ya. . .||...........
7. Rageshree in Hindustani music:
vkjksgu ifj cjtdj] mrjr iape gkfu]

nksÅ uh] laokn xfu] jkxs'ojh x[kkfuA 146
Rageshree is derived from khamaj Thaat. Nishad swar is Komal and the rest
notes are shuddh. In its Aaroh the notes Rishabh and pancham are varjya and in Avaroh
only pancham note is varjya. Therefore, jaati of this raag is Audav– Shadav. Vaadi swar
is ‘Madhyam’, Samvaadi is Shadaj. Time of singing is in the second part of night. Some
of the artists sing this raag using both Nishaads. presently Komal Nishad Rageshree is
more popular in Hindustani music.
The raga near to Rageshree is Bageshree. Few swar-sangatis similar in both the
ragas are like: e /k fu lka, e fu /k e, lka fu /k e] /k fu lka · jsa fu lka Similarly, in the
first variety i.e., the artists who sing Rageshree using both Nishaadas donot use the
swaras ^/k x* i.e., Khamaj Ang Rageshree. Rageshree is one of the most beautiful raagas
in Hindustani music. Its like a nectar, the most melodious raaga like Bageshree.
The Raag Swarup : lk fu+ /k+ fu+ lk x js ·] lk /k+ fu+] lk x e x js · lk] lk x e]

e x e /k] fu /k e] /k x e] e x · js · js · lk] js lk fu+ /k+ e+ /k+ fu+ lk] x e /k fu fu lka
¼lka½ fu fu /k] fu /k e] x e /k e x] lk x e x js lkA
In this raag, the swar-sangatis like lka fu /k] fu /k e x] /k e x] e fu /k e x nyas
on the swar ^x*brings the essence of Khamaj for a second, again a lengthy pause on the
note Madhyam brings the original essence of Rageshree raag.
Aaroh : lk x] e] /k fu] lka

Avaroh : lka fu /k e] x js lkA
Pakad : lk x e] /k x e] e x js lkA
Aalaap : lk] fu+ lk /k+ fu+ lk] fu+ lk x js lk fu+ lk /k fu+ lk /k+ fu+ lk x e x js · lkA
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/k+ fu+ lk x] lk js fu+ lk /k+ fu+ /k fu+ lk] fu+ lk x] e x js js lk lk] js lk fu+ /k] e+
/k+ fu+ lk
lk fu+ lk x] lk x e] e x · fu+ lk /k+ fu+ lk x] lk x e] x e /k /k e] /k x e] e

x e /k] lk /k+ fu+ lk] fu+ lk x e] lk x e /k] /k fu /k e] x e /k x e] e x] x js] js
lk /k+ fu+ lk x js lkA
x e /k] /k fu fu /k e /k x e] lk x e /k] e /k lkafu lkafu /k fu lka fu /k e] e x /k

e fu /k e] ¼laka½ fu fu /k e /k x e] e x js js lkA
In Carnatic music Regeshwari raag is considered to be one of the sweetest

melodious raag, especially this raag is liked by everyone who has more craving for
Bhajan, semi – classical Keertanas, light compositions. A sweet and magnificient raga.
South Indian Musicians who are more inspired are and mesmerized by this raaga
essence, composed many beautiful compositions which bring the Rageshree essence.
RAAG RAGESHREE IN CARNATIC MUSIC 147
TISHRA GATI AADI TAALAM
PALLAVI
G G M R , , N N R S ,| S G M D D , | S S D N D ,||
A nu chu lo ka mu le lla na da je ya ve . tte . . . ru
N S S S S S D N P G M ,| GMN , D , D M M| G ,M G R N S ,||
Ni nu go li chi ti ga, . va ve . ni . . ra ja . kshu da . . . . .
CHARANAM
G M R,N, S, G R , S| S G M D D D| S, D N D , ||
A di vo ko ne ti lo na| a di vo . sar va teer tha mu lu
N S S S, R N S N D , , | G M R N S , | G , G G M ,||......
8. RAAG PAHAADI IN HINDUSTANI MUSIC:
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Raag pahaadi of Hindustani music is based on the colloquial folk. It is said that
this raag is based on the place ‘Pahaadi Lok Dhun’ ^yksd /kqu*- Artists, musicians
incorporated this raag from ‘Lok Dhun’ to Hindustani Raag Padhati.
Pahaadi is a very melodious, special raaga in Hindustani music. All the swaras in
this raag are shuddh. Apart from these shuddh swaras Teevra ma, Komal Nishaad,
Komal Ga & Komal Dhaivat, and all the 12 swaras are used in this raag. This is the
special feature of Pahaadi raag. Pahaadi raag is mainly sung to establish the beauty of
Thumris, Bhajans, Dadras etc. Therefore an artist have full fledged independence to
improvise and embellish the raag to par excellence i.e., he can use any swara to bring the
beauty and essence of the raag. Especially in this raag brilliant and exponent artists have
more scope to establish all the 12 swaras creatively. The prayogas like i+ /k+ lk js x x x]
e x js x lk The usage of Komal Ga in between a shuddh Ga and lk js x i e« e x] js js

js x ¼i½ x js lk etc., are the attractive prayogas of Pahadi raag.
In Hindustani music, many great artists sung beautiful Thumris, Bhajans, Dadras
etc in pahaadi raag. This is a Sampoorn jaati raag. Vaadi swar is shadaj and Samvaadi is
pancham. This raag can be sung at all the times. The basic chalan of pahaadi raag
resemble Bhupali raag. In raag Bhupali i.e., in the chalan of raag Bhupali if the notes
Shuddh ma & Shuddh Ni are placed, raag pahaadi evolves. The main raag structure and
essence of Pahaadi raag lies in mandra and Madhya saptaks. Therefore this raag is sung
by taking Madhyam swar as Shadaj.
Pahaadi is very popular raaga, loved by all kinds of music lovers and listerners.
Raag Maand and Pahaadi have some similarities in their swarsthanas like lk fu+ /k+ fu+, e+
i+ /k+ lk] i x js i x js lkA lk fu+ /k+ fu+ i+ /k+ lk these swar-sangatis are common in both
ragas. In both maand and pahaadi vaadi swar is shadaj and samvaadi is pancham. Both
ragas are based on ‘Lok Dhun’. Both ragas maand and pahaadi are mainly sung in
Thumri, Tappa, Dadra, Bhajans etc. All the 12 swaras are used in both ragas. The only
difference between Maand and Pahaadi is – Maand raag has got vakra chalan and the
whole raag is based on the chalan lk js e i /k lka lka /k fu i /k e] i x js x lkA Based
on this phrase maand raag is developed and sung by using 12 swaras called as Mishra
Maand. Raag pahaadi is based on the swar sangatis js x i /k lka] lka /k i x js] lk x js /k+
lk lk js /k+ i+ /k+ x+ i+ /k+ lkA Based on these swar sangatis raag pahaadi is
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developed by an artist while singing a thumri. usage of 12 swaras are as follows:
Aalaap: 148
lk /k+ lk xjs /k+ lk] lk /k+ · ¼lk½ /k+ i+ ¼/k+½ x+ i+ /k+ lk] lk x js x ¼i½ x] js lk] fu+ ¼lk½
/k+ · /k+ fu /k+ i+ e+ ¼i+½ e+ x+ x+ i+ /k+ lk] lk js x i e« e x] js js js x ¼i½ x js lk] x js
lk fu+ /k+ · i+ /k+ lkA /k+ lk js x js · ¼x½ lk js lk /k+ i+ /k+ fu+ /k+ i+ e+ ¼i+½ e+ x+] i+ /k+ lk
js x x x] e x js x lkA
lk js x i] /k x i /k e x] x i /k lka /k i e i e x] lk js x i /k x i x js ¼x½ lk,

/k+ /k+ lk /k+ i+ /k+ fu+ i+ i+ e+ ¼i+½ e+ x+ i+ /k+ lk ¼js½ /k+ lkA
In Carnatic music Pahaadi raag, there are melodious bhajans and keertanas. Due
to the great raaga bhava and swarasthanas, the essence of Pahaadi mesmerized all the
South Indian musicians. There is a raag called ‘Paadi’ in Carnatic music which is the
derivative of 15th Melakarta ‘Maayamalava gaula’. The Aaroh & Avaroh of this raag is -
S R M P N S,S N P D P M R S
A raag equivalent to Bhairav Thaat in Hindustani but this is not equivalent to

Hindustani Pahaadi. Great composition in Raag Pahaadi composed by South Indian
artists.
RAAG PAHADI IN AADI TAALAM 149
MADHYAMA SHRUTI
PALLAVI
; R S , D P , P , D S , S , | ; G R , S D ,| S , S 2G 1G, 2G ,||
Ka ta ka ta e ma . ya gad a chu ta ye tto . . .
; G P , P P, D , P , G , R, | ; S R , 1G R ,| S , G R S D P , ||
Gha ta na la ha ri kri pa ka li ga na ga ka . . .
; R S , D P , P, D S, S , | ; G R , S D ,| S , 1G , 2G , ; ||
Ka ta ka ta e ma . ya ga da chu ta ye tto . .
CHARANAM
; D S, S S , R , S , D , P ,| ; P , D S , | 2G , 1G , 2G , ;||
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I ra va gu jee . vu la yen ta ga li gi na
;G P, P P, D , P , G , R ,| ; G R , S D ,| S G , G G , ;||..........
Pa ra dha na kam . ta le ba lu pri ya mu . . .
1. denotes Sadharana Gandharam, 2. denotes Antara gandharam.
9. RAAG : PILOO IN HINDUSTANI MUSIC
Raag Piloo of Hindustani music is the derivative raag of Kafi thaat. It is also a
raag with mishran of all 12 swaras. The prayoga of 12 swaras exist in piloo also. Piloo
raag is sung for Bhajans, Thumri, Dadra, Tappa etc. A Sankeern Jaati raag. A very
melodious raag. This is a raag that explore the beauty of the composition of the raag
rather than the systematic raaga principles or formulas i.e., this is not a raag based on the
classical or prescribed boundations, a raag based on the bhava and feel. An artist have
full fledged scope to express melodious expressions in this raag. This raag structure takes
out a listener to all elevating moods, this kind of emotions exist in almost all the raagas
in which all the 12 swaras are used. In piloo raag the usage of 12 swaras is sung in vakra
form. There is no any systematic Aaroh & Avaroh for this raag i.e., this raag is based on
Lok Dhun and an artist can be improvise all 12 swaras according to their bhava and deep
expressions in that raaga. He has full scope to improvise the raaga to par excellence
based on the main raaga chhaya swaras of the raaga. An artist has to know the usage of
shuddh swaras & Komal swaras according to the beauty the way of presenting this kind
of ragas.
In piloo raag it is to be noted that in the Aaroh Shuddh swaras are sung and in
Avaroh Komal Swaras are used. Vaadi swar is Komal Gandhar and Samvaadi swar is
Komal Nishad. Jaati is vakra– Sampoorn after 12.00 ‘O’ clock in the noon this raag can
be sung at any time. The basic raaga swarup of Piloo. Swar-vistaar in Piloo Raag:
lk] fu+ lk x · x jslk fu+] i+ fu+ lk x · js lk fu+ lk] lk] fu+ /k+ i+] e+ i+ fu+ fu+ lk] fu+
lk x] x e i x · js lk fu+ lk] lk x e i] i ex · x · js lk, fu+ i+ fu+ lk x · jslk
fu+ lkA
lk x e i] fu /k i] /k i e x ¼e½ x · jslk fu+] x e i fu lka] fu /k i] /k i ex] lk x

e i x · jslk fu+] i+ fu+ lk x · jslk fu+ lkA lk fu+ /k+ i+] /k+ i] /k+ fu+ lk] fu+ lk x · lk
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fu+ lkA
Raag Piloo is improvised in Mandra and Madhya Saptak more. In this raag both
Gandharas; both Dhaivats & Nishaads are used. The Prayog x js lk fu+ swar- sangati is the
main identity of Piloo.
The usage of Komal Rishabh: fu lk x e i ex x jslk fu+ lk js lk fu+ /k+ i /k+ fu fu
lkA Teevra Madhyam Prayog: fu /k i /k i e« ¼i½ ex jslk fu+A
In this the artists sing this raag mixing the essence of the raagas like Kafi,
Bhimpalasi, Patdeep, Bhairavi, Jungla, Keervani etc, slightly. This kind of variations in
Piloo raag sounds mellifluous. Especially in Dadras, Bhajans & Thumris. In piloo raag
the notes Shadaj, Komal Ga, Pancham and Nishad are Nyas swaras. Shuddh Ga,
Madhyam & both Dhaivats, Komal Ni are Alpatv Swaras. Nyas on Madra saptak Nishad
swar brings beauty to the raaga.
Aaroh :  fu+ lk x e i] fu lka

Avaroh :  lka fu /k i] /k i e x] js lk fu+ lk fu+ /k+ i+ fu+ fu+ lkA
Pakad : fu+ lk x] x jslk fu+] lk fu+ /k+ i+ fu+ fu+ lk x · jslk fu+ lkA
Aalaap : 150
lk] fu+ lk x · x js lk fu+, i+ fu+ lk x jslk fu+ lk] fu+ lk x · lk js lk x js lk fu+]

lk fu+ /k+ i+ /k+ fu+ fu+ lkA
i x lk x e i] x e i fu fu lka] lka fu /k i] x e i fu /k i e x ¼x½ lk fu+] l x

e i fu fu lka] lka fu /k i x ¼e½ x] x e i fu lka xa jslka] fu lka jsa fu /k e i fu fu
lka fu lka xa] lka jsa lka xa lka jsafu lka fu /k i /k i e x ¼e½ xA lk js lk x ¼&½ lk fu+]
i+ fu+ lk x jslk fu+ lk
e i fu lka] xa · (xaa½ lka fu lka xa ¼ea½ xa lk fu fu lka] lka fu /k i /k e i /k fu lka jsa

lka fu /k fu lka xa · lka fu lka] lka fu /k i /k i e« ¼i½ x] lk x e x lk fu+] lk js
¼lk½ fu+ /k+ i+ /k+ fu+ fu+ lk x ¼x½ lk fu+ lkA
Raag piloo is also popular in South India. The Bhajan, light, Semi– classical
musicians adopted this raag due to its melodious raaga swarasthanas. piloo raag touches
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exists in raag Kaphi of Carnatic music. In Piloo all 12 swaras are used.
A composition in Raag piloo of Carnatic music (Tarigonga Vengamamba

Keertana151 a devotee of Lord balaji)
MADHYAMA SHRUTI
MELA KEERAVANI JANYAM
KHANDA CHAPU TAALAM
PALLAVI
R M P N P G , R , , || S , N , S R , ; ||
Na . chi . nni kri shna . na ya . nna . .
R M P N P G , R G R || S , N D N S , G S , ||
Na . chi . nni kri shna . . na ya . . nna . .
ANUPALLAVI
S, N D N S , S S , || R , P M P R M G , ,
Ee chan . . dam bu na nee nee . . ra mu lo
R M RMD,P, P, D P P|| R M P D P R G R , , ||
Ee . . . che du pa mu na ku ye ttu ji . . kki ti vo
CHARANAM
M P P P , M P P , , || D P G , , M M D P P||
Ka ta ka ta ni . nni ka . ko da ra mi pu du
P P P D P P M M M , || R , M D P R , M G ,||
I tu chu tti ne . ne tu vi di pin . . tu ra ……………….
10. RAAG : DESH
Raag Desh of Hindustani music is derived from thaat Khamaj, but according to
Raagang Padhati Desh raag come under ‘Sorat’ Ang. Presently raag Desh is more
popular than raag Sorat.
In Desh raag both Nishaadas are used and rest notes are shuddh. Some of the
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artists sing with Komal Gandhar in Taar Saptak as a Vivaadi swar. In the Aaroh of Desh
raag Rishabh and Dhaivat swaras are absent, Avaroh is Sampoorn. Some of the artists
while performing this raag use Rishabh & Dhaivat notes in Aaroh of this raag rarely. The
jaati of this raag is Audav – Sampoorn. This raag is sung in the second part of night and
this is a poorvang Pradhan raag.
Swar Vistaar :
lk] fu+ lk js e x js] x fu+ lk] js e i] /k e x js] e i fu /k i] /k e x js] x fu+ lkA e

i fu fu lka] jsa fu /k i] /k e x js] js fu /k fu i /k e i /k e x js] js i e x js] x fu+
lkA
 The swar sangatis /k e x js and e i fu lka jsa fu /k i] swar-sangatis in poorvang

as well as in uttarang are the Raag Vachak sangatis of Desh.
 The raagas near to Desh are ‘Sorat’ and ‘Tilak kamod’.
 The usage of Gandhar note in Desh raag, distinguish Sorat from Desh raag.
 Due to Rishabh as vaadi swar in ‘Tilak kamod’ raag,it is distinguished from Desh
raag. Rishabh and Gandhar swar are Nyas swaras.
 e x js e xjs Gandhar swar is Alpa prayog swar. Madhyam swar is also an Alpa

Prayog swar i.e. js e i and /k e x js prayogas are sung while using Madhyam
swar. Pancham swar is a Nyas swar both in Aaroh and in Avaroh.
 Dhaivat swar is alpa prayog swar Komal Ni is used in the swar sangatis like lka fu
/k i] js fu /k fu i /k e i an Alpa Prayoga swar. Shuddh Ni is a Nyas swar.
 Raag Desh is a very attractive, sweet and special raaga in Hindustani music
Aaroh : l js] e i] fu lka

Avaroh : lka fu /k i] e x js lkA
Pakad : e i /k e x js] x fu+ lkA
Aalaap : 152
1- lk js e x js] x fu+ lk] js fu+ /k+ i+] i fu+ lk] fu+ lk js e x js] js e i] i e x js]
e x js x fu+ lkA
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2- e x js lk js fu+ lk js e i /k i] e i fu fu /k i] /k /k i e i /k e x js] js e
i] js e i fu /k i] e i fu fu lka] lka fu /k i] fu /k i /k e i /k e x js] js fu
/k fu i /k e i /k e x js] js e i js e x js] x fu+ lkA
3- e i fu fu lka] i fu lka jsa jsa lka] fu lka jsa ea xa jsa] jsa ea ia ea xa jsa jsa fu lka] lka
fu /k i] e i fu /k i /k e x js] jsa fu lka i fu lka jsa fu /k i] js e] js e i] e i
fu fu lka] fu lka jsa xa fu lka] i fu lka jsa lka] jsa ea xa jsa] xa jsa lka] lka fu /k i /k
e x js] i e x js] x fu+ lkA
Raag Desh adopted by Carnatic musicians, is also popular from many decades.
Bhajans, Keertanas in light & semi – classical in this raag are composed by many great
South Indian musicians & artists since many years. The raaga bhava of Desh attracted
the Southern Music world immensely therefore, this raaga is still enjoyed by all the
music lovers. The compositions in this raag always acquire big success in South India.
RAAG : DESH 153
Tishrajaati Aadi Taalam
Pallavi
∙
R M P S P D M G R , R G | N S R , , R | S R M G R , ||
Pra ti le . . ni pu . ja ta la pa ga ko . ti ma nu gu li .
M G R , M , M P P M P , , P D | M P S , N∙ , N D P, D , | M , , G R G S , R , ||
A . ti va pa ra va sa mu . brah . ma . . . nan . . da ma . . ya . . .
M G R , M , M P P M P , , P D | M P N S R , N D P, D , | M , , G R G S , R , ||
A . ti va. pa ra va sa mu . brah . ma . . . . nan . . . ma . . ya . . .
∙ ∙
CHARANAM
P , D M , G R G S S S , | S N S R , , | S R P , M , G R , ||
Ma ni ni . ma ni ma na su man . chi aa . sa . na . ma ya
R M P , , P M , P , P P | R M R N , N | D , P P , , ||…………….
Aa . nan da bhashpaja la ma . rghya . .du | la . ya .
11. RAAG : CHANDRA KAUNS
The present Raag ‘Chandrakauns’ do not come under any of the Ten Thaats,
because of the usage of only Shuddh Nishaad swar. Raag Chandrakauns can be
considered as the raag of Malkauns Ang. Malkauns is the derivative raag of Bhairavi
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Thaat, therefore most of the musicians consider Chandrakauns raag as the derivative of
Bhairavi thaat. Instead of singing komal Nishaad swar in Malkauns if the note Shuddh
Nishaad is substituted or taken, raag Chandrakauns is derived. The only difference
between Malkauns & Chandrakauns raag is shuddh Ni.
In Chandrakauns, the notes Rishabh and Pancham are Varjya. The jaati of this
raag is Audav– Audav. Vaadi swar is Madhyam and Samvaadi is Shadaj. This raag is
sung in the third part of night.
In the present raag, the notes Shadaj, madhyam and Nishaad are Nyaas swaras. If
the note Shuddh Nishaad in this raag is sustained more the Chhaya of raag Malkauns
disappear and also the beauty of Chandrakauns raag increases. Some of the artists use
Shuddh Rishabh as a Vivaadi swar in this raag like: /k uh lka xa lka] jsa jsa lka fu /k e /k uh
lka] jsa lka /k uh lka xa lkA
Chandrakauns sounds beautiful in all the three saptaks. In this raag more nyas on
swar Gandhar like fu+ lk x] l x e x] lk x] fu+ lk x is not to be taken, because more
nyasa on the swar Ga brings the Chhaya of the raag ‘Dhani’. some of the artists also
consider this raag as the derivative of Kaafi Thaat.
Bhairavi Thaat janya Chandrakauns is different from Kaafi Thaat janya

Chandrakauns. In Kaafi Thaat janya Chandrakauns Nishaad swar is Komal and Dhaivat
is Shuddh i.e., if the notes Rishabh and pancham are absent in Bageshree raag, Kaafi
janya Chandrakauns raag evolves.
lk x e /k uh la
lk uh /k e x l
In Carnatic music system, raag Malakauns is equivalent to Hindola. Some of the

artists of South India have the tradition of singing Hindola raag with the note Chatussruti
Dhaivatam i.e. (Shuddh Dhaivat). Therefore the raaga swarup of Carnatic Hindola using
Chatussruti Dhaivatam becomes or corresponds with Kaafi Thaat janya Chandrakauns
raag. Pt. V.N. Bhatkhande described about Kaafi Thaat janya Chandrakauns raag in
Part - 6 of ‘Kramik Pustak Maalika’.
Raag Chandrakauns is an Uttarang Pradhan raag. Note ‘Ga’ is not a Nyas swar it
is a supporting swar for madhyam swar– lk x e] e x lk] lk e Madhyam swar have
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more prominence in Chandrakauns raag. It is given more nyas and also madhyam is a
Vaadi swar lk x e] e x lk fu+ /k+ fu+ lk x] e] /k e] x e] x lk etc. Dhaivat swar of
Chandrakauns raag is also a Nyas swar.
Shuddh Nishad is the heart and soul of this raag. Keeping in view the importance
of Shuddh Ni note in this raag, some of the artists tune Tanpura in Shuddh Nishaad.
Mandra Nishaad brings more beauty to this raag. Chandrakauns is a modern raag. A very
popular raag loved by all kinds of listeners. 
Aaroh : fu+ lk x e] /k fu lka

Avaroh : lka fu /k e] x e] x lkA
Pakad : x e] x lk] fu+ /k+ fu+] lkA
Swar Vistaar : 154
lk /k+ fu+ lk] x fu+ lk /k+ fu+ /k+ fu+ lkA x e x] lk fu+ /k+ e] /k+ fu+ lk] fu+ x lk x e x lkA
/k+ fu+ lk] e] x e x lk] x fu+ lk] /k+ fu+ /k+ lk] x e] /k+ fu+ lk x e] lk e x] lk /k+ fu+ lkA x
e /k fu lka] /k fu lka xa lka] e /k fu /k lka] x e /k fu /k e] /k fu lka] fu lka xa lka] /k fu lka xa
ea xa lka fu lka] /k fu /k e] x e /k e] e x lk] /k+ fu+ lk x lkA
lk e x] e /k e] /k fu lka] /k fu lka xa ea] ea xa lka xa fu lka] /k fu] fu lka] lka fu /k e x lk

fu,+ lk x e /k fu lkaA
In Carnatic music, Chandrakauns is a very popular raag. This raag is popular with
same name Chandrakauns. Classical kritis, Tillanas, Padams etc donot exist in this raag.
Annamacharya semi-classical Keertanas, light compositions are more in number. There
are wonderful compositions in this raag composed by great musicians from South India.
Annamacharya Keertana composed in Chandrakauns raag :
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RAAG : CHANDRAKAUNS 155
AADI TAALAM
ST
21 MELAKARTA KEERAVANI JANYAM
PALLAVI
∙ ∙ ∙ ∙ ∙
;,N S S S,N S,N D M G,|;G M,D N,|S, ; ; ;
. . in . di ra na . . ma . mu . in . da ri ki . . .
; S S M G M , ; S , G N , , | ; N S N D M , | G , ; G M D N || S , , N S S S ,
. ku . da na pu . mu dda vo .| . go . vin . da . . . . . in . di ra
CHARANAM
; , G , M M , M , ; M , M , | M , D M G , M , | D , ; D , D , ||
. .a chu ta na . ma mu a nan . . ta na . ma mu
; , G , M D , N , ; N , D , | ; N S , D N , | S ; ; ; ||
. . i .cchi na sam . pa da . lin . da ri ki . . .
; S G , G G , S , M G S N N , | ; N S , N D , | N , N , S , ; ||
. na . cchi na si ru . lu . . . na . lu ka tu da lu ............
12. RAAG : BAHAAR
The name ‘Bahaar’ is a ‘Persian’ word. In this raag both Nishaadas are used.
Both Nishaadas are very important in this raag. Therefore, it is impossible to put this
raag under any of the 10 Thaatas i.e., this raag cannot come under any of the 10 thaats.
Bageshwari + Adana + Khamaj + Kanhada = Bahaar
Bahaar is a mixture of many ragas like fu+ l e · x e /k fu e, x e fu /k e x

Swara-sangati resemble raag Bageshree, ê /k fu la jsa la fu la fu /k* resemble khamaj
and fu i e i] x e js l Phrase resemble Kanhada Ang. Also some times ^fu+ l x e i*
resemble Bhimpalasi and Dhani raagas. Therefore, Bahaar is like a bunch of flowers
together. It is a mixture of many raagas.
Swar Vistaar According to Raag Rahasya book by Acharya – Bhihaspati, Salochana

Brihaspati Part -5.
1- js · · fu+ l · e · x · x · e · e · i x · · x e · · js l · js fu+ l ·A /k+

· · fu+ l js · fu+ l · /k+ · · fu+ · i+ · js · fu+ lA /k+ · · fu+ l · js · fu+ l
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fu+ /k+ e+ · i+ · x+ e+ · /k+ · · fu+ l js · fu+ l · e · e · i x · · e · js l ·
· js fu+ l ·A
2. e · x e /k · · fu · i x · e fu · /k fu la · /k · fu · i e x e js · l js
fu+ l ·A e · x e · fu /k · fu la · jsa fu la fu /k fu · i x · x e · js l js
fu+ lA
3. /k · /k fu la · /k fu la jsa fu la · fu /k · e x e fu · /k fu la · jsa /k · /k fu
i x ·, xa · ea jsa · · la fu · /k fu · i, e e i x · x e · js l · · js fu+
lA
According Pt V. N. Bhatkhande, Raag Bageshree and Bahaar have many

similarities and dissimilarities. In Bageshree the phrase ê x js lk* is taken directly
whereas in Bahaar ex e js lk touching the note ‘Ma’ the note ‘Sa’ is sung and Rishabh
swar is varjya in the Aaroh of both the raagas. In Bageshree ‘Pancham’ is an alp prayog
swar. where as in Bahaar full fledged pancham swar is used. The Aaroh, Avaroh of
Bahaar raag.
Aaroh : fu+ lk ex e] i x e] e fu/k] fu lkaA

Avaroh : lka] fu i] e i] ex e js lkA
The swar-sangati fu iin the Avaroh is the identity of Kanhada Ang, Therefore
the identities of Bahaar is ^x e js l* swar-sangati in its poorvang and fu i] sangati in its
Uttarang show the Bahaar raag identity. Bahaar raag seems to be a modern raag. This
raag cannot be found in any of the earlier Sanskrit Granthas or in any Sangeet Granthas
of earlier period.
Vaadi swar is madhyam samvaadi is shadaj. Some of the artists sing this raag in
the evening or in the morning. Some say this raag can be sung at all times.
fu la jas] la jsa xa This kind of Aarohatmak Rishabh Prayogas are used in some of the
khyals very rarely in Taar Saptak only.
Example : ubZ cgkj clar Drut Khyal in Basant Bahar raag.
Even though Bahaar is a modern raag, it has got a special identity and popularity
in the classical world of Hindustani music. Based on the Bahaar raag chhaya many other
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raagas can be developed i.e., mixing up Bahaar Ang with other raagas like raag ‘Bhairav
Bahaar’, ‘Malkauns Bahaar’, ‘Basant Bahaar’, ‘Hindol Bahaar’, ‘Bageshree Bahaar’,
‘Jaunpuri – Bahaar’, ‘Adana Bahaar’ are popular Bahaar based raagas. In this manner
many raagas can be created by mixing the Bahaar raaga chhaya swar sangatis.
Swar vistaar according to Pt. V. N. Bhatkhande 156
lk] fu+ lk] /k+ fu+ lk] e] e i x] e] /k] fu lka] lka] fu i] e i] x e] js lk] js lk] e] i x
e] /k] ifu i] e i ex e] ilka] fu i] e i ex] e fu/k fu lka jsa fu lka] fu fu i e i] lka
fu i e i] ex e] js] lk] lk js] lk]
x e /k] fu lka or /k] fu lka jsa fu lka] fu /k] ¼fu½ i] e] i ex] e] eaxa eaxa] ea] jsa lka] jsa
lka] fu /k fu iA e i] ex e] /k] lka fu i e i x e] js] lkA
Shlok in Bahaar Raag :
fj/krhoj dksey fuxe mrjr /kSor VkjA

le laoknhokfn gS le>ks jkx cgkjAA 157
&& pfUnzdklkj
Similarly, in Carnatic music system, Bahaar raag acquired more popularity in

semi classical keertanas & in light music.
A famous Annamacharya Keertana composed in Bahaar raag;

RAAG : BAHAAR 158
KHARAHARAPRIYA MELAKARTA
TISHRAGATI AADI TAALAM
PALLAVI
S N S N, P M P G , M ,| M G M N D , | N N , S , ,||
Chu . da ra mma sa tu la la su da ti cha kka da na lu
G , G G , M R S R, R ,| M P N , D ,| N S N S , , ||
Ku du ko nna pa ti kanti gu ru le . . . bo . le nu
CHARANAM
M M M M N D , S , N P M , M ,| N P G M R S| R P P , ;||
Mo ga mu chan . . du ru bo le . mun chi ni . in di ra ku
359

S M R P, , N , D N P , | N S R, N , D | N N S , ; ||
Ta gin a to bu ttu ga , , aa . ta de , ga na ka
R R R , , R N P N M P , | G G G , M | R R R S , ,||.............
Na ga va tru ta mu bo . le na li na kshi ka di mu nu
13. RAAG: TILANG
Raag Tilang is derived from Khamaj Thaat. In this raag both the Nishaadas are
used and rest swaras are shuddh. The notes Rishabh and Dhaivat are Varjya in this raag.
The jaati of this raag is Audav-Audav. The artists who use Rishabh swar in this raag
consider the jaati of this raag as Audav- Shadav. Tilang raag is more sung in Thumri,
Bhajan and Tappa etc compositions. In Thumris and Bhajans an artist has a liberty to
develop raga swarasthanas to his level of creativity. The ragas which are sung for
Thumris Bhajans etc. have no specific boundations and formulations to sing the raag in
given swarasthanas, many foreign notes can also be added and an artist can develop them
brilliantly and melodiously. Vaadi swar of Tilang raag is ‘Gandhaar’ and Samvaadi is
Nishaad. This raag is sung in the second part of night.
Tilang Raag Swarup : 159
x e i fu i x e x] x e i fu lka, lka fu i x e x] e x lkA
By excluding the notes Rishabh and Dhaivat in Khamaj raag, raag Tilang is
evolved. In this raag fu+ lk x e i x e x] lk swar-sangati brings the chhaya of Bihag
raag but, when x e i fu i x e x] Komal Nishaad prayog is used, then the chhaya of
Bihag raag disappears. Similarly, the swar-sangati in uttarang ê i fu lka* is often used
which brings the chhaya of Saarang raag. Therefore, always uttarang should start with
the note gandhar, like x e i fu i fu lka etc. Rishabh swar is used as an Alpa prayog in
the Avaroh i.e. only in Taar saptak like x e i fu i fu lka] fu lka jsa lka fu i x e x] i
fu lka xa jsa lka fu i e xetc.
The notes shadaj, Gandhar, pancham and Nishaad are the Nyasa swaras in this
raag. Madhyam swar is not a Nyasa swar it is used in between î x* Sangati like ^fu i e
x lk x e i*A
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Komal Nishaad swar is only used in its Aaroh as an alp prayog swar, ‘Shuddh
Nishaad’ is the Vaadi swar so this is supposed to be a Nyas swar. Tilang is a simple,
sweet raag. This raag acquired more popularity in North India as well as in South India.
There are many number of mellifluous Thumris, Bhajans & Tappas composed by great
Hindustani musicians. The beauty of this raag lies in singing Thumri, Bhajans.
Aaroh : lk x e i fu lkaA
Avaroh : lka fu i e x lkA
Pakad : fu i x e xA
AALAAP :
lk x e i e x lk] fu+ lk x e i] x e i fu i fu i x e x] lk x e i x e x
lkA x e i fu i fu i e x] lk x e] x e i e fu i e x] i e x lkA
fu+ lk x e i fu lka] i fu i x e i fu lka, xa ea xa lka, xaa lka fu lka fu i] fu i x

e x] x e i] lk fu+ lk x e i] x e i fu lka] lka fu i] x e i fu i x e x] i e
x lkA
jkx fryax Bqejh& trrky ¼foyfEcr½ 160
LFkkbZ & ns[kks ft;k cspSu] ';ke njl fcuA

vUrjk & tc ls x;s eksjh lq?kgw u yhUgh] rM+ir gw¡ fnu jSuA
x & x e ifu ei fu lka fu & i i xe i e x
ns · [kks ft ;k· ·· cs · pS · · · ·· · u ·
0 3 × 2
x & e i e i fu i ¼e½ & x & e x lk &
';k · e n j l · fc uk · · · · · · ·
0 3 × 2
vUrjk
x e ifu ei fu & lka fu lka & & fu lka & & &
t c ls· ·· · · · · ;s · · eks jh · · ·
0 3 × 2
i fu lka ¼laka½ fu i x e x & & & lk x e i
lq /k gq u yh · · · Ugh · · · · · · ·
0 3 × 2
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Similarly, Tilang raag acquired more popularity in South India also This raag is
incorporated by south Indian semi-classical, light artists & musicians due to the
melodious swarasthans & Raaga bhava from Hindustani music system. There are many
great Compositions in Tillanga raag composed by South Indian artists. There are some
rare Tillanas in Tillang raag. Many Annamacharya, Keertanas; bhajans are melodiously
composed by the South Indian artists.
A Keertana in Tillanga raag, In Carnatic music this raag is called as “Tillanga”
RAAG : TILLANGA 161
29th Melakarta Dheera Sankarabharana Janyam
Tishragati Aadi Taalam
PALLAVI
G M G S G M P , M P , , | G M P N N S | S N S , P , , ||
Ka la du . ti ru man tra mu . | ka la di ha pa ra mu . . . . .
M G M P N N N N S P, ,|G M P N S G N,|S,N P N,P, ,

Ka li mi ga lu gu ma . . ku . |ka da me . le . . du . . . .
CHARANAM
G M M , , M M N P M , G | G G M G S S | G M P , , P ||
Ka ma la . ksha ni . pu ma ku| ka li gi yun . . da ga bhu . mi ||
M G M P N N N S P , ; | G M P N S G N , | S , ; ; ||
A ma ga le . ni do ka ti . . | a . wa la le . . | du . .
N P N S G G G G G , , G | S G G , M G | S N S P , , ||
Ne ma ki na . . lu ka mi . da | ni . na ma mu|me la ga ga .
P N S , , R S N S S N P , P , | G M P N N S | N P G M G M G , S ,|| G M G S
Ta mi to . . pa ru la ve . . da | ta . cho . . tu|le . du . . . . . ka la du .
14. RAAG YAMAN KALYAN
Thaat Kalyan & Ashray raag Kalyan are described in category-1in detail. There is
nothing left to describe the importance of raag Kalyan . Because it is such a raag which
is imbibed in to everyones mind since many centuries.
362

Yaman Kalyan, is a mishran of Shuddh Madhyam note as a vivadi swar in raag
Kalyan. Presently Yaman Kalyan is more popular in North as well in South. Shuddh
madhyam prayog in between Kalyan attracted both systems.
The notes taken in Yaman Kalyan raag are fu+ js x e« i e« x] e« x js x or i
e« x] js x e x js x js lkA The raga chhaya of Yaman Kalyan raag, its swar-sangatis

completely follow the notes of Kalyan raag, only the usage of shuddh madhyam note as
an accidental note in Kalyan raag gives raise to Yaman Kalyan raag. Bhajans, Dadras etc
compositions will be more eloquent in this raag.
162
jkx ;eu dY;k.k& f=rky ¼e/;y;½
LFkkbZ
fu+
Lka
& js & js xjs js lk fu+
x & & e« js & xe«
ie«
· x · r dh · · · Ugs · xq· fu· ; u dh xq
3 × 2 0
i+ lk & lk xe« i i fu /k ie« ¼/k½ xjs
& x e
ie«
u vk · os ik· · os xq fu ;· u es· ek· · u ik
3 × 2 0
x js lk fu+/k+ fu+ js x /k fu jsjsa lkafu /ki e«x jslk fu+
e«
· u oks d· gk · os x uh · xq· fu· ; · u· esa·] la
3 × 2 0
Similarly Yaman Kalyan equally acquired more popularity in South India. Raag
Yaman is supposed to be 65th Melakarta Mechakalyani of Carnatc music. There are
many melodious bhajans, keertans, in Yaman-Kalyani raag composed by great South
Indian semi- classical light composers .The usage of shuddh ma in kalyani raag acquired
more popularity in South India also.
363

Annamacharya Keertana in Yaman Kalyani Raag 163
Aadi Taalam (Madhyama Sruti)
65th Mela Mecha Kalyani Janyam
Aarohana : S R G M P D N S
Avarohana : S N D P M G M R S
PALLAVI
N R , G , P , M G G , S , N , | S , ; ; ; | S , R S S , N , R , R , ||
Ha ri ra sa ma . vi ha . ri . . . . . . . . . sa tu
; N R , G , , G , ; M , G R | ; N R , M , , | M D P M M G G R ||
Sa ra so . yam . ma ma . .sra ma sam . ha . . . ri . . .
CHARANAM
N , N , ; N , N , N , ; N D | S , ; S , ; | ; ; S R , N ||
Da ya . ni bhru ta . ta nu dha . ri . . . . . .
N , N , ; N , N , N , ; N D | D N R D S , ; | S , ; S , ; ||
Da ya . ni bhru ta . ta nu dha . . . . . ri . sam .
S , N S P M G , P M G , ; G , | P , ; P , , M | G , , R S R N , ||
Sa ya . . . ti sa . ya . sam cha . ri . . . . . . . . .
D , N , ; N , N , N D D M M D | M D N S S , ; | ; ; S R N ||
Ka ya . pya ji ta . . . vi . ka . . . ri . . . . . .
N , R , ; N D D , P , ; P G | G , ; M P G M G , | G , ; R , N , ||
Kri ya . vi . mu kha . kri . pa . . . . . na dha . ri .
15. RAAG : GURJARI TODI
Gurjari is one of the prakars of Todi Raag. Portray pathos, Karuna rasa pradhan
raag. Detail Description on this raag is given in category-2 . Gurjari Todi possesses many
Khyals, Dhrupad, Dhamars based on different Gharanas composed by great
musicologists & Vidwan. A very traditional raag in Hindustani music. The same
swarsathanas are used in South India for semi-Classical, light compositions, these
compositions also acquired great popularity. There are many compositions composed by
364

South Indian musicians beautifully equivalent to the swarasthanas of Gurjari Todi.
Gurjari Todi correspond the notes of raag SUBHALI in Carnatic music.
A composition coresponding the notes of Gurjari Todi in carnatic music.

RAAG GURJARI TODI IN CARNATIC MUSIC 164
SUBHAPANTUVARALI MELAKARTA JANYAM
AADI TAALAM
PALLAVI
; S , , R G , R , S , S , ;| ; S S , R G , | R , ; S , S , ||
Sri . pati yo ka de sa ra na mu na ku nu
; S , , R G , M , D , D , D ,| ; M D , N R ,| S , N D M G R
Te ta ee ta de ma ri te ra ge . dee. . . . .
S , (sreepati)
CHARANAM
; D D , M G , D , D , D , ;| ; M D , M G , |G R M G R , S , ||
Aa . sa lu mi gu la aa . . tu ma nu . . nna . di
; S , , R G , , M D , D, D, | ; N D, N R , | S ; ; ;|
Ee su le . ni sukha me . kka di di . . .
; S G , R S , G , ; G , G ,| ; S G , R S , | G , ; G , G ,||
Che . si na pa . pa mu che . tu lu nu . nna di
; R G G R , , ; S , N , D ,| ; D , G R ,| R , S , S , ;
Mo . sa po ni ga ti mu da ra ne . di
; N , N S , , ; S , N D M,| ; M D D , ; | M D N, D M G R
Mo sa po ni ga . ti mundara ne . . di . . .
S , ( SREEPATI)
(B) LIST OF CARNATIC RAAGAS ADOPTED BY (ACQUIRED MORE

POPULARITY) HINDUSTANI MUSIC SYSTEM
1. CHARUKESI
365

2. SARASWATI
3. KEERVANI
4. HAMSADHWANI
5. ABHOGI KANHADA
6. NAARAYANI etc...........
1. CHARUKESI OF CARNATIC MUSIC SYSTEM 165
‘Charukesi’ is the 26th Melakarta Raaga. A Sampoorna melakarta raga. Besides

sa and pa, Chatussruti Ri, Antara Gandharam, Suddha madhyamam, Suddha Dhaivatam,
Kaisiki NiShadam.
Aarohana : SRGMPDNS
Tyaagaraja Swamy gave this mela a recognition to this raaga by composing a

beautiful Kriti ‘Aada Modi Galade Raamayya’ which became very popular and gave
Charukesi boost to shape itself to become a raga. Raaga alapana, Neravu etc. can be
rendered beautifully in charukesi raag. Charaukesi is one of the beautiful raag and a
Melakarta that possess many great compositions in Semi-classical, light music etc.
Eventhough it is a Melakarta raag suits for semi, light compositions. In the classical
point of view this raag should be understood properly by learning and shading the Kriti
“Aada modi Galade” and other popular Compositions of ‘Swati’Tirunal’ Kripayaa
paalaya”.
Kriti of Sri Tyagaraja Swamy in Charukesi Raaga;
Pallavi
P, ; D, P, ; M, G, R, |G, S, , R , | G, , M P, M, ||
Aaa da mo di ga la de Raa ma yyaih ma . ta.
P D N S S N D P,, M, G, R , |
Aa . . . Da . mo. . di ga la
P D N S R, G R S N D P PM G, R,|
La . . . da . . . mo. . d. . . ga la
366

Anupallavi
P, D N, D, D, N, S , ;| ; ; ; ;| NS NS N D M ,|
To .du nee da Ni . ve ...... .. . . . . . .
Charanam
P N,D , P,;P, PMM,| G,G,G,|

Cha du vu la . nni te . li . si . san ka
R, ; G M G M G R ||
Ram. . Su . . . dai . || .............................
In Hindustani classical music, raag ‘Charukesi’acquired great popularity due to

the mellifluous and sweet essence in the swarasthanas. According to Hindustani raga
theory, Madhyam is vaadi (Jeeva swar) swar and shadaj is Samvaadi swar of this raag.
Sung in the second part of a day. They consider that this raag has a mishran of many
other ragas like the swar-sangatis ^lk /k+ fu+ js lk* of this raag resemble Darbari, the swar-
sangati ^lk js, js x e js lk* resemble Nat raag and the swar-samuh e i /k /k fu lka /k fu
/k i resemble Jaunpuri raag.
They consider i /k fu /k e] js x e i swar-samuh as Raag–Ranjak prayog of this

raag. In Hindustani music Charukesi raag could not come under any of the 10 Thaats that
are popular presently. Therefore Charukesi should be considered as a separate Thaat. The
Nyas swaras are lk] e] i] /kAThere are beautiful compositions in Charukesi raag
composed by North Indian Hindustani classicalists, there are many Bhajans, Ghazal
compositions corresponding the notes of Charukesi. All kinds of listeners of North India
love this raag immensly. It is evident in the given Vilambit khyal compositions by Pt.
Ramashray Jha. 
vkjksg & lk js x e i /k fu lkaA
vojksg & lka fu /k i e x js lA
eq[; Loj&lewg & /k+ fu+ lk js x e js lkA
367

166
pk:dslh jkx foyfEcr [;ky in f=rky
LFkkbZ
xe i/k fulka /k ie i e xe jslk
mr js· · · · izHkq ik · ·· j·
3 ×
&¼lk½ /k+] fu+ /k+ fu+ lk x js x e
&lq j] · · l fj /kk · j ds
2 0
i e xjs xe i ee i/kfulka lka¼lka½
e fu ·· eqn jh fl; nh ··· Ughm
3 ×
/k e ei x &e jslk /k+]fu+/k+ fu+lk
rk · · · ·j ds· ·] ·· ··
2 0
2. RAAG : SARASWATI IN CARNATIC MUSIC
Saraswati is the derivative of 64th Melakarta Vaachaspati 167
Aarohana : SRMPDS/SRMPDNDS
Avarohana : SNDPMRS
Besides Sa & Pa the notes taken are chatussruti Rishabham, Prati madhyamam,
chatussruti Dhaivatam, kaisiki Nishaadam. This is an Upaanga raga. A rakti raga. All
the braches of manodharma sangeetham can be rendered in this raga. This raag can be
sung in all speeds . This raag can be sung in all the sthayis (saptaks). A famous
Tyayaraja swamy kriti “Anuraagamuleni” in Roopaka Taalam gives clear picture of
Saraswati raag.
Pallavi
P D | S, N D || P , | PM P D P M ||
Anu | raa ga mu|| le | . . ni . . .
R S | N D N S || R M R M | P N D S N D P M
Ma na | sun a ku. || gna . . . | na . mu . Raa . .du . .|| Anu
368

Anupallavi
P D |S, R R | S, | S, N D P M | P D |S R R
Gha nu | li . . . | naa | . . . . . . | gha nu | li… na…
R, | P M P M R S N D S S | N D | P D P D M P , M ||
Charanam
P P | P P P, || P D P M | P D P M R R | S , | N D P ||
Va ga | va ga gaa || bhu . . . | jin . . . chu | va | rikitru||
R R | R, P M||
Pta.gu | ree… ti ||
HINDUSTANI SARASWATI
According to the raga theory of Hindustani system, Saraswati is derived from

Kalyan Thaat . They sing this raag in the second part of night. The musicians of
Hindustani music opine that, this raag is a mixture of Kalyan and Jhinjhoti ragas.
Excluding ‘Ga’ note in Kalyan raag and taking the swarasthanas of Jhinjhoti, raag
Saraswati is formed i.e. lk js e« i] e i e« js e i] /k e« i] i js js lkis swar- samuh
of kalyan raag and i /k fu fu /k lka] jsa fu /k] fu /k i /k lka is Jinjihoti raag swar samuh.
vkjksg & lk js] e« i] fu /k lakA

vojksg & lka fu /k i] e« js lkA
idM+ & e« i /k fu /k i] e« i js lk fu+ /k+ lkA
Saraswati raag in Jhaptaal, Drut Khyal 168
LFkkbZ& fo|k nk;uh ekbZ 'kkjns ljLorh oh.kk dj /kkfj.khA

vUrjk& lqfeju Vkjs fo?u ck/kk gjs jkejax lq/kkjs okd ok.khA
LFkkbZ
fu /k i js & lk jse« i jse« i
fo · |k nk · ; uh· · ek bZ
369

lk js Lk fu+ & /k+ i+ /k+ lk lk
'kk · j ns · · l j Lo rh
js i /k fu /k lka &fu /ki e«i

e«
oh · .kk d j · /kk ·· j· uh·
× 2 0 3
Saraswati acquired immense popularity even in North India. Many great

compositions exist in this raag composed by Hindustani classicalists with traditional
lyrics. Most of the compositions in Saraswati raag are composed praising the Goddess
“Saraswati’ and giving importance for Vidya in the lyrics .
3. RAAG : KEERAVANI IN CARNATIC MUSIC
Keeravani is the 21st Melakarta Raaga
Aarohana : SRGMPDNS
Besides Sa & pa the notes taken are Chatussruti Rishabham, Sadharana

Gandharam, Suddha ma, Suddha Dhaivatam kaakali Nishadam.
Keeravani, although started its career as Melakarta, in the evolution and by the
grace of Venkata makhi and his successors Deekshitar, Subbaraama Deekshitar,
Tyaagayya and other composers attained the status of a full –fledged raga, All the
manodharma branches like Raagaalaapana, Neravu etc. Can be rendered in this raga.
This is a Rakti raaga. This produce bhakti and Santa rasa. This is a sweet raga and
possesses rich musical values of its own.
169
RAAGALAAPANA :
S,, R G R S N S N S | S R G M G , R| R G M P M G R |
S R G M P , , | P , D M P , D N S , ,| D N S R G M G R ,|
R G M , P M M, G, R | G R S N D | D N S, RS N D P |
M, P D P , D| P M M G R | R G M, P M M G , R| S R G, R
S N D N S/
370

A kriti composed by Sri Muttayyaih Bhagavataar in Aaditaalam
Pallavi
,, DPM,P | |D P M R S R, | G M, M ||
Ambavani | |Na. . . . . Nna| Darimpa ||
P,, ,, | | ,, | ,, ||
Ve ….. ,, | ,, | ,, ||
Anupallavi
,, PD N, D | R, S R G , G, ||
| R S S N S, N S |
Samraari | | Vi …. ra sa . . | …… ho da ||
R , , R R R, R| |G, , R, , S , | S N D N S N D P ||
Ri kambu kantha | See…. taa ka ..| Ma ….le … su … ||
M , G R G M ||
Raa . ni … || Ambavaani ||
Charanam
; RGM, RG, SRG| M , , M, , P D | N , , D, P M P||

P M G, P P , , M M P |D P P M G RR , | G , , M, , M, , ||
Hindustani musicians and artists incorporated Keeravani raag from Carnatic

system due to the rich musical values in this raag, keeravani do not come under any of
the 10 thaats which are now popular. This raag acquired more popularity in the world of
North Indian classical system. Many great compositions are composed by great
Hindustani musicians in this raag. This raag is loved by all kinds of listeners in North
India. The swar sangati in this raag fu+ l x js l fu Brings the essence of piloo raag .
A composition in Keervani in Tritaal, Drut Khyal.

LFkkbZ& /k
u
i ex e x js & js js & x e i /k i i, i
V [k· V l yks · us lk¡ · o js · lS · ;k¡ ck
3 × 2 0
/k uh lka uh lka lka lka & uh lka uh/k i/k ie xe x] /k
· V · p yk r Ns · M+ r y· j· dS· ·· ;k¡] u
371

3 × 2 0
4. CARNATIC HAMSADHWANI
Hamsadhwani is the derivative of 29th Melakarta Dheera Sankarabharanam.
Aarohana : S R G P N S 170
Avrohana : SRPGRS
It is an Audava raga and varjya raga madhyamam and Dhaivatam are absent in
this raga. It is believed to be the creation of Sri Muthuswamy Deekshitar and his father
Ramaswamy Deekshitar. Hamsadhwani means the sound of a swan, swan according to
our Hindu mythology, is highly elevating, spiritual. That is why all spiritual and
knowledgeable Aacharyas suffix after their names with parama Hamsa. Hamsadhwani is
easy to render and easy to understand and appreciate. It has very high musical values.
Most of the Hamsadhwani compositions are composed addressing Ganapati. It is the
beginning raga in a performance the eternal kriti ‘ Vaataapi Ganapatim Bhaje’ of Muthu
Swamy Deekshitar is very famous and well- known, not only in Carnatic music, but also
in Hindustani music. Both instrumentalists and vocalists sing it with different wording
but with the same notation. All the swaras are jeeva swaras. One can sing all the
manodharma branches, by following moorchhana, without much difficulty. If pa of
Himsadhwani is taken as Sa, “Naagaswaraavali” raag evolve.
If Ni of Hamsadhwani is replaced by Dha, it becomes “Mohana” raag long range

phrased adds beauty to Hamsadhwani raag. There many Varnams, Keertanas, Kritis in
Hamsadhwani raag. Every composition in Hamsadhwani raag acquired big success till
now. Even there are semi- classical,classical, light compositions in this raag acquired big
success and popularity.
VAATAAPIGANAPATIM (Shri Muttuswami Deekshitar Kriti)
Pallavi
G,, R, R S N | P R, S | R, S N S R ||
Va …. Taa pi gana | patimbha | je ham…
G , S R G R, R S N | P R , S | R , S N S R ||
Vaa… taa pi gana | patimbha | je ham…
Anupallavi
372

G P, G, R S, | S, R S N S | R G P,
Bhu . taadi sam | …… se …vi … ta | charanam
P R N P G R S , | S, R N S| R, G P, ||
Bhu ta bhoutika..|pra pancha | bharanam........... so on
Charanam
R G , R, R S , | , S S N | P G R , ||
Puraa kumbhasam |,Bhavamu | ni va ra ||
G P , G R , R S | , S R, |G S R , ||
Prapujitamtriko | na ma | dhyakatam ||............so on
Chitta swaram
G, P G P N P G , R, G S R G R S N G R S N P, N S R S R , P
G,PGPNPG RGSRGRS NGRSNP, NSRSR,GP -
G, P G P N P G R, G S R G R S N , G R S N P , N S R SR G P-
G P N P N S R G R R S N R S N P S S P P, GR SN P P , N SR
Mitracharanam
Karaambujapasya Beejapuram
Kalushavidhuram bhutaakaaram
Praadi ‘Guruguha’ toshitabimham
Hamsadhwani bhushita herambha
‘Guruguha’ is the ‘mudra’(signature) for the composition of Sri Muttuswami

Dixitar. Sri Deekshitaar ends his last charanam with his ‘Mudra’. Kritis Just like
&jkejax* mudra in the compositions of Pt. Ramshray Jha
Hamsadhwani in Hindustani:
In Hindustani Sangeet padhati raag Hamsadhwani acquired immense popularity.

Hamsadhwani is adopted by Hindustani musicians from Carnatic music system due to
the versatility and appealing effect in this raag. They consider this raag is the derivative
of Bilawal Thaat. Vaadi is Shadaj and samvaadi is pancham. Some of the artists consider
Ga and Ni notes. But most of them consider Sa & Pa as Vaadi, Samvaadi notes. Sung
in the second part of night. In its uttarang– x i fu i] lka fu i] i fu lka jsa lka fu i
swar-samuh brings the chhaya of ‘Shankara’ ‘raag in Hindustani music. More Nyas on
373

‘Ga’ swar is not to be given in this raag. The swar-sangati x i js brings the chhaya of
‘Shuddh’ Kalyan raag but when the Prayog ^x js fu+ i+ lk* is sung, then Shuddh kalyan
chhaya disappears. Due to the sangati ^x i js* some of the artists Consider that this raag
as the derivative of Kalyan Thaat.
vkjksg& lk js] x i fu lkaA

vojksg& lka fu i x js] x js fu+ i+ lkA
idM+& fu i x js] js x i js lkA
Chhota khyal in Tritaal ¼e/;y;½ 171
LFkkbZ
x & i xjs & lk lk lk i js & lk lk js lk lk
yk · · xh · y x u l [kh · i rh · l u
i x i & & & & xajsa lkafu i i xajsa lkafu ii xjs lklk
i j e · · · lq [k· ·· · vfr vk· ·· ua· n· u·
0 3 x 2
5. RAAG : ABHOGI IN CARNATIC MUSIC
Abhogi is the janya raga of 22nd Melakarta Kharaharapriya. Swaras taken are
Shadjam, Chatussruti Ri, Saadharana Ga, Suddha ma, Chaturssuti Dha. It is an Audava-
Audava Jaati raga. It is an upaanga raga. Panchama and Nishad swaras are Varjya in this
raga. Kharaharapriya without Pa is Sree Ranjani raga, Sree Ranjani without Ni becomes
Abhogi raag.
Aarohana : SRGMDS
Avarohana : SDMGRS
Ga and Dha swaras should be given kampita Gamakam Ri and Ma should be

sung as pure notes. Ga note has Gamakan as MGG. All are graham & Nyasa Swaras. All
the branches of manodharma sangeeta like Raaga Alaapana, swar kalpana, Neravu,
Taanam & pallavi can be rendered in this raga. It has an established picture and possess
specific emotions of Bhakti rasa in it. It is a sweet raga.
374

Ragaalapna : 172
S R G , R S / G, R S D S / M D S / R, G M R G S R, / G R S D SR G M R G S
R, / R S, / R G , M, / D M G MG R ,/M G M D G M , / D M D, S,, D S M D S, /
R,, G M R G S R , / G ,, M, / G R S D S R G M, / R G , R S / D S D, M G R S R
G, R S R D S R G M./ R G, R S / D S D , M G R , R S R D S ,,/
Hindustani Abhogi: is adopted by Hindustani musians from Carnatic music

system. presently this raag is very popular in the music world of North. Every musician,
instrumentalist of North India are influenced by this raag. Many great Hindustani
musicians, instrumentalists perform this raag beautifully in many concerts.
Abhogi is derived from Kaafi thaat the notes Pa &Ni are varjya. Audav- Audav
jaati raag. According to South Indian Grantha ‘ Raag Lakshan’ Vaadi swar is considered
as ‘Sa’
vkHkksxh jkx bR;qÙkr% lU;kl lk'kad xzge~A 173
But, presently based on the raga swarup & singing style of this raag made artists
of North to consider ‘Ma’ as vaadi and samvaadi. This raag is sung in the second part of
night. ‘Abhogi’ raag of Hindustani music come under Kanhada Ang because the swar-
samuh- lk js jsx js x js lk js lk] js lk] js lk/k+ lk js jsx jsx ex e lkjs lkA x e js lk
Prayog, the Andolit Gandhar swar, all this kind of prayogas denote Kanhada ang
features. In this raag the chhaya of Bageshree is also more focused, especially when
madhyam swar is sung – e x e /k e] lka /k e] x js ex eA Hindustani artists say that the
creation of this raag might have done keeping in mind both Bageshree and Kanhada
ragas. They say this raag is the mixture of Kanhada & Bageshree. Abhogi with x e js lk
is more popular in Hindustani music. According to Ramashray Jha, the method of
singing Gandhar swar in its Aaroh, i.e. Ati komal Gandhar just like Darbari Kanhada’s
gandhaar itself brings the chhaya of Kanhada Ang without the necessity of the swar-
sangati x e js lk this is the main speciality of this raag .
In this raag frequently the swar sangati lk js /k+ lk* brings the chhaya of Durga
raag also. Therefore after taking the swar-sangati l js /k+ lk js jsx · jsx · jsx · is to be
sung i.e lk js /k+ lk js jsx · js jsx e js lkA The swar-samuh lk js /k+ lk js x x js lk lk js
375

/k+ lk js x brings the chhaya of Shivranjani raag. Therefore in this raag Gandhar swar is
to be sung andolit and ati komal in Abhogi of Hindustani. The whole raag is based on the
swaras Gandhaar & madhyam.
vkjksg & lk js jsx e /k lkaA

vojksg & lka /k e] ex · e lkjs · lkA
eq[; Loj lewg & lk /k+ lk js jsx · e lkjs · lkA
vkyki % 174
x e js lk] /k+ /k+ lk js x] js /k+ lk] jsx · · e lkjs lkjs lk] x ·] js x e] x e /k] e /k lka /k
e] x e /k lka] /k lka jsa lka] jsxa
a · · jsa lka] e /k lka] lka /k ¼e½ ex ·] xa · xa · ea lkajsa lka] e /k
lka] /k jsa lka] /k ¼e½ ex ·] js x e] x js lk] /k+ /k+ lk js x js lkA
jkx& vkHkksxh dkUgM+k
LFkkbZ&
ex
lq
e js & lk js & lk js /k+ lk & js x js xe ex
/k eks · jh yh · tS yh · tS · lk¡ · o js· nh

3 × 2 0
e /k & e /k lka & lka /k e x e js js lk] ex
· ts · n j l · i j l p j u u dks] lq
3 × 2 0
6. RAAG NAARAYANI IN CARNATIC MUSIC:
Naaraayani is the derivative of 28th Melakarta, Hari Kambhoji 175
Aarohana : SRMPDS
Avarohana : SNDPMRS
Naaraayani is an upaanga raaga it has mo any forign note (vivaadi swaras or

Anya swaras). A Varjya raagam because ‘Gandhar’ note is absent. It is an Audava-
Shadava raagam. Jeeva swaras are S, P &M. This is a rare raaga. This raag donot have a
definte, and concrete form its own. A only composition (kriti) by Sri Tyaagaraja Swamy
376

in Aadi taala ‘Raama Neeve gaani Nannu’
HINDUSTANI NAARAYANI
This raaga is incorporated by Hindustani music system from South Indian Raaga
lakshana Granthas and gradually Hindustani musicians bought this raag into popularity
by composing beautiful compositions in this raag. Naarayani is considered to be a
Saarang ang raag in Hindustani system, because Gandhar swar is varjya in this raag and
Nishaad is varjya in its aaroh. Therefore this raag come under Saarang Ang. While
singing this raag the chhaya of soor- malhaar is more portrayed therefore, in order to
avoid such impact the musicians of Hindustani music advise to sing this raag following
only Aaroh, Avaroh of this raag. This raag is to be carefully sung without getting into the
notes of Soor malhaar raag. This raag is sung in the night. But some of the artists sing
this raag in the afternoon.
Naaraayani raag come under Hari kambhoji melakarta in Carnatic system.

According to the Raagang padhati of Hindustani music, same Naarayani raag is
categorized under Saarang Ang that come under Kafi thaat (equivalent to kharaharapriya
in Carnatic system). In Hindustani music the categorization of ragas are completely
different from Carnatic system. Present raag is put under Saarang Ang because the
phrase in this raag like ê js lk*] ^lk js e js lk* ejs e i e js etc. are Saarang Ang swar-
sangatis. Jaati is Audav- Shaadav, vaadi is rishabh, samvaadi is pancham.
vkjksg & lk js e i /k lkaA

vojksg & lka fu /k i e js lk] fu+ /k+ lkA
idM+ & js e i fu /k i] /k i e js lk lk/k+ lkA
Swar vistaar : 176
lk js e js] e i] fu /k i] /k i e js] e js lk, fu+ /+k lkA
lk js e i] e i fu /k i] e i /k lka fu /k i fu fu i e i] ejs] js e i ejs] e

js lk fu+ /k+ lkA
lk js e i /k lka fu /k lka] lka /k lka jsa ea jsa] jsa ea ia ea jsa lka] lka fu /k i]
e i /k lka fu /k i] /k e i ejs] e js lk fu+ /k+ lkA
377

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12 Chapter 4 - Raga's Bearing Similar Notes

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ANALYTICAL STUDY

In the present study, delineation and comparison of ragas in both systems,

Category : 1 Ragas bearing similar notes with different raga names :

Raag Bhairav of Hindustani possess the notes lk js x e i /k uh lka] x e /k /k i]

THE NAMES OF 10 THAATS AND THEIR EQUIVALENTS OF CARNATIC

THE LIST OF RAAGAS DERIVED FROM THAAT KALYAN: The

beu% 'kq)dY;k.kks Hkwikyh panzdkard%A

fganksyÜoSo ekyJh% dsnkjks gafejk;%A

ASHRAY RAAG KALYAN (YAMAN)

MUKHYA ANG OF KALYAN :

lk] fu+ js x] x js lk, fu+ /k+ fu+ js x] js x e« i] i e« js x] js x e« i e«xjs lk] x e« /k

Also by excluding Madhyam and Nishad swaras in its Aaroh SHUDDH

Merging and mixing-up the swar-samuh of PURIYA raag in the Uttarang of

THE SIGNIFICANCE OF EACH SWAR IN KALYAN RAAG :

IMPORTANCE OF SHADAJ SWAR :

e« x js x] x e« i x] e« js e« x] /k+ fu+ js x, fu+ js e« xA The swar-sangati i xjs

x e« i] e« /k i] lka fu /k fu · /k i] i xjs x js fu+ js x e« i etc. Always

CARNATIC MECHA KALYANI

Analysis of the kalyan (yaman) of Hindustani and Mechakalyani of Carnatic

Combinations show the importance of Ga given more oscillation compared to

swar in which Hindustani Kalyani is Carnatic music therefore eventhough

identity of Hindustani Kalyan raag.

HAMEERU KALYANI: S P M P D N S – S N D P G *M G R S –*SHUDDH MA

LIST OF RAAGAS DERIVED FROM THAAT BILAWAL

Bilawal, Bihag, Kukubh, Deshkar, Durga.etc

ASHRAY RAAG BILAWAL:

According to the Thaata Scheme of present Hindustani System, Bilawal is such a

lk js x] e js lk] lk x js x i] /k i e · x] e js x i] x i fu /k fu lka] lka /k /k

x e fu /k i, according to Pt.Ramashray Jha, Madhyam and komal Nishad Prayog is full

vyfg;k rFkk Ks;k 'kq) lwgc dkoa pA

3++ x i e x e js x i /k fu fu /k i] x i fu /k fu lka] /k i e x e js , x i /k /k fu] fu

CARNATIC MELAKARTA DHEERA SANKARABHARANAM 7

Dheera Sankarabharanam is the 29th Melakarta Raaga in the scheme of 72

It is the 5th Raaga of the 5th banachakram.

The prefix 'Dheera' is added to Sankaraabharanam to suit the Katapaya formula,

1. Lakshya Geetam– Ripubalakhandanu Re– Mathya– Venkata Makhi

Sankaraabharanam is present everywhere in the world systems of music. It is a

which is called as ‘SHANKARATODIKALHARINATHA’

Sankarabharanam is a full-fledged Mela Raagam, having enormous scope for all

Brief Raaga Aalaapana:8

GMRSS N SRGMRGRSS, N D N P / P D N S / RGMDP GM PGRS /

Some Rare Prayogas :

SDP / SNDNP, GMP GRS/ SRGMDPP, GRS / GM DN R NDPR, GMDPR,S/

Analysis of Raag Bilawal & Dheera Sankarabharanam

Raaga swaroop of Bilawal.

lk js x] e js lk] lk x js x i] /k i e · x] e js x i] x i fu /k fu lka] lka /k /k i] /k

Bilawal's Vakra swarup

lk x] x e js] x i] fu /k] fu lka] lka /k] /k x] /k e etc. it is a difficult to sing. The

The usage of komal ni

x e fu /k i /k e x and lka /k fu i or lka /k fu /k iA

Sankarabharanam of Carnatic Music

Sankarabharanam Aalapana & the note Combinations :

GMRSSN SRGMRGRSS, NDNP / NSDNP / PDNS / RGMDP GMPGRS /

In carnatic Sankarabharanam music komal ni prayog is not used it is a pure

Rishabh swar in Bilawal:

Bilawal : js x] e x js x js lk] js x e js lk fu+ /k fu+ l 'Re swar is less important note, it

Sankarabharanam : 'Ri' Prayog.

RG MGR, RG MP MGR, GMPMGR, RGMDPGM PGR, NSRG, PDNSR,,

Bilawal's 'Ga' : lk x] e js x] js x i e x] i /k e x · e js x i /k x i e x e js lkA

SRGMG, SRGMGRG, / RGMDP GM PG / GMPMG, GMG / GMDP GMRG GRSN /

Usage of note 'Ma' in Bilawal :

Usage of note 'ma' in Sankarabharanam:

SRGM/ RGRSS RGM/ DP GM/ PGRS GMPM/GR, GM/ P PM PD PP M, ,/ SNDPM,,/

HAMEERU KALYANI: S P M P D N S – S N D P G M G R S –SHUDDH MA