I had first watched the 1968 musical movie “Oliver” some twenty years ago. While I retained an impression of how catchy the song  “Who Will Buy” was, I had no memory of the actual tune or the lyrics themselves.

In watching the movie again recently (with my daughters this time), I was caught a little unawares by that gem of  song  when it burst forth  after entr’acte. Filled with soaring chorals, interwoven arappegios that will haunt and cause one to hum endlessly it left me with an itch of familiarity – it was close to something I had heard many times. My eureka moment was in realizing how completely, of all things, the song was described by the Indian raga Bhimpalasi (a South Indian variant being Abheri).

I have often wondered how the melodic aspects of Western music, popular Western music actually, seem to have a representation in the Indian raga system. Thus traditional songs such as Scarborough Fair and Greensleeves, a good deal of  Irish folk songs, modern folk songs such as The Mummers Dance (Loreena Mckennit) and pop music such as Nancy Sinatra’s Summer Wine, America’s  The horse with no name, Shout – the Remix version (Tears for Fears), Simply Red’s Fairground, Queen’s We will Rock you – Remix version, Jennifer Lopez’s If you want my love and Waiting for Tonight even the recent hits  Daughtery’s raucous I am going Home and Apologize (OneRepublic) have a raga-based significance that appeals to Asian and specifically the Indian sensibility.  It is interesting that the remixes in many cases and certainly the music of the Rave genre exploits (brings to the fore) the raga element of a melody.

Another point of interest is that the ragas that they most exploit are limited. Apart from the aforementioned Bhimpalasi (Abheri),  there are Malkauns (Hindola) and Bhoopali (Mohanam), Dhani (Suddha Dhanyasi) and to some extent Yaman (Kalyani). This is not to say that there are no other ragas that western tunes map to, but as someone without formal training in music of any school, these were the ones that I picked up most easily.

[ Bhoopali is also to be seen in Chinese/Japanese music. In fact, seeing how many traditional East Asian tunes  are in Bhoopali, I would not be surprised to find that the raga is a superset of all music Chinese.]

More than anything else, what fascinates is how there is a unity of melodic sensibility the world over.  To the extent that such sensibility is genetically programmed (it cannot be denied that some people are more alive to musical nuance than others or alternately, as is seen more often in Indian music, even among the musically appreciative, some prefer one set of ragas over another) this provides a basis for the theory of some common origins of music at least in the melodic world.  In other words, a Westerner who finds the “Who Will Buy” of Oliver enticing and an Oriental who counts Bhimpalasi  as a favorite raga must have a limited but very specific genetic commonality.

Taking it one step further, since genes have adapted to reflect environment, it can be hypothesized that specific gene sequences that grew “trained” to like a melody/ raga must have a common origin. This could only be if the musical sources have a more-or-less common origin several thousands of years ago.

So is it correct to postulate that Indian Ragas (some of them)  have the same roots as say, Gaelic folk music ?

(The harmony-based western music is a different animal and cannot be found much outside the Western World)

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If you are on this page, I doubt that you haven’t heard the song Raa Raa from Rajini Kanth’s Chandramukhi… unless:

1. You’re a tamilian who has tragically rebellious ideals that prevents you from keeping track of tamil songs, and would rather entertain yourself with the latest Eminem (or its rock equivalent) track.

2. You aren’t tamilian, but got attracted to this blog entry because of all the pretty sounding (or horrible sounding, depending on what sounds pretty to you) foreign words.

or 3. By some freak accident you just never got around to watching Chandramukhi, even though you’ve heard lots about Jyothika’s spooky performance.

Well, just in case you haven’t heard the song in question, here it is:

Since I saw this little disagreement on the raga of Chandramukhi’s Raa Raa… between two yahoo group members: link

Karthikeya was saying it is Shuddha Dhanyasi, and Pankaj was saying it is a transition between Sooryaa and Hindolam…

So, I looked up what others may perhaps be offering as the diagnosed raga for this song:

Ramesh does a detailed breakdown:

Quoting,

“This song, from Chandramukhi, is set in F minor (4 kattai). Sudhadhanyasi in F minor is F G# A# C D# F (or) Sa Ga2 Ma1 Pa Ni2 Sa, whereas the scale of this song is F G# A# C E F (or) Sa Ga2 Ma1 Pa Ni3 Sa – Just a half note difference. This scale is the same as “Sindhiya venmani” song in a Vijayakanth film. I read somewhere that this scale is the Srothaswini raga.”

Then in the second charanam, the scale is said to shift to Hindolam…

Which means that Pankaj noticed the Hindolam aspect of the song, while Karthikeya noticed the Shuddha Dhanyasi aspect…

But where is the “Sooryaa” Raga coming from?

This sort of thing, I am finding is quite common… that two people would insist that a song is two different ragas, when infact, the song has both ragas within it. “Kannodu Kanbethelam” from Jeans is a great example. It is both Shuddha Dhanyasi and Abheri. Not one, or the other, but both.

In the end, from what Ramesh is saying Raa Raa from Chandramukhi, as far as the pallavi is concerned, is more Srothaswini Raga than it is anything else.

However, we cannot stop here. We must investigate thoroughly…

If you check the forumhub on this link, someone lists Raa Raa as “Beautiful song in Surya/sallaapam (with Hindolam for happy parts)”…

But hang on… someone named Subu interjects and explains:

“This raga is NOT surya. I think the confusion is in the interpretation of where you think the “Sa” is.

The starting of the song is actually “Ni Sa Ga”, while you seem to interpret it as “Ga Ma Dha”. I would classify this raga into the pentatonic scale “sa ga ma pa ni sa” notes of gowrimanohari as the parent scale. I am not sure if there is a known classical raga for this scale, but this raga has been used by film musicians. For instance, Ilayaraja’s “vellai nilaa irandum vellai nilaa” follows the same raga.”

Ok, but don’t stop there… keep investigating… make sure…

Looking up a review of the Chandramukhi film’s music here:

The reviewer states about Raa Raa:

“Raa — Raa’’- The song is in telugu and is probably the climax song- Don’t ask me why it is in telugu- I don’t want to spoil your fun if you haven’t seen the original. In malayalam, this song was ’’oru murai vanthu’’ based on the beautiful kuntalavarali ragam. Vidyasagar has used the rare raaga Surya.”

So, it seems that looking at the song at face value, without indepth analysis, to assume it is Surya raga may be an obvious error that can be made.

So, after all that… what raga is Raa Raa? A difficult one, definetely.

Oh, and while we are at it… so far I have come across two sources that say that “Porkalam” from film Thenali, is Raga Kedar. However, Pankaj insists it’s Shuddha Dhanyasi…

What’s going on?

Alright.. the mystery is unravelling… refined my search this time…

Philramble Wrote:

“I was entranced by one of the nice numbers in the movie’s soundtrack – Ra Ra Sarasakku Ra Ra (not surprisingly, a thinly veiled invitation to have sex, as is common in many Indian film songs) when I first heard it, in part because the name of the song became the name of a memorably bad movie quiz. Anyway, I decided to try the song out today, since I hadn’t really given it a shot since December ‘07, when I made an earnest effort to try the song out, with my limited skills at the time. I was under the impression that it was set in Hindolam with a few anyaswaras, which are common in film music. Although this impression that it was Hindolam never left me, I began to doubt myself on it. After all, the Hindolam idea was thrust on me through a discussion forum, so someone had perhaps got the better of me because of my ignorance.

What I noticed when I played the song this time around, is that the song’s notes fit neatly into a scale I had never before explored! Courtesy Ilaiyagaram and Karnatik.com, I discovered that this scale is called Srothaswini (an audava-audava scale), and it seems to be a derivative of Gowrimanohari, at first glance. Lacking a Dhaivatam and a Rishabam, it comes close to the scheme of Shuddha Dhanyasi.”

So, what I gather from all this information is this…

The charanam of Raa Raa seems to be Hindolam – that hasn’t been disputed. We’ll leave the charanam asside for now.

The pallavi and beginning of Raa Raa, when people first listen to it, can easily mistake it for Soorya raga.

However, what it seems to come down to now, is that it is infact a toss-up between Srothaswini and Shuddha Dhanyasi..

Issue is though, if I understand correctly… it is not quite Shuddha Dhanyasi…

But then comes a light at the end of the tunnel… one of the replies I recieved in solving this puzzle is that the Pillai Nila Erandum Vellai Nila (an Ilaiyaraja song from film Neengal Ketavai), is raga Udaya Ravichandrika.

If you remember Subu’s interjection:

“The starting of the song is actually “Ni Sa Ga”, while you seem to interpret it as “Ga Ma Dha”. I would classify this raga into the pentatonic scale “sa ga ma pa ni sa” notes of gowrimanohari as the parent scale. I am not sure if there is a known classical raga for this scale, but this raga has been used by film musicians. For instance, Ilayaraja’s “vellai nilaa irandum vellai nilaa” follows the same raga.”

Then suddenly on the Philramble website, I notice a response that clears everything up (or creates a bigger hole):

“It is interesting to note that Udayaravichandrika (which I have known to be another name for Shuddha Dhanyasi) was another name for Srothaswini in the Dikshitar system.”

Hmm. So Udayaravichandrika – allegedly Raa Raa’s raga, is actually another name for Shuddha Dhanyasi… which is also another name for Srothaswini…

philramble says:

“I guess this is another instance of the dissonance that various schools of carnatic music have sometimes exhibited… a little like the debate between what are Karnataka Devagandhari and Abheri.”

Which makes me curious… what exactly can they debate about where it was meant to be impeccable mathematics?

Arun replied to Phil,

“This raga (S G2 M1 P N3 S/S N3 P M1 G2 S ) is actually called udayaravichandrika per the dikshitar school and as you note, he has a composition in it. It also occurs in historical carnatic texts. Of course that name “udayaravichandrika” was also used for suddhadhanyasi in the tyagaraja school, and that sort of stuck more that people in carnatic music have almost forgotten the dikshitar’s composition and the raga – it is pretty much unheard of in the carnatic concert circles.”

In the end, the clearest answer came from Arun here:

“I think this has been discussed (more than once) elsewhere. This raga is actually called udayaravichandrika per diskhitar scheme (and early books). He has a composition in it (SrI guruguha mUrtE) – it has the raga mudra in it. Both the raga and this composition are rare in cm circles.

Of course you add on top that udayaravichandrika is also used for suddhadhanyasi per tyagaraja school and thus perhaps contributing to the eclipse of it. Although as Dr. V.V. Srivatsa ( see http://www.carnatica.net/newsletter/dha … letter.htm towards the end), apparently govindacharya whose scheme tyagaraja followed treated udayaravichandrika and suddhadhanyasi as distinct and separate. Thus the confusion about the name w.r.t tyagaraja compositions probably rose later.

This raga obviously was renamed as srotaswini by someone who wasnt aware of the original name, its documentation in history, and the dikshitar composition.

Ilayaraja likes this raga a lot. Besides the above one, the more famous song is O vasantha raja from nIngaL kETTavai. I think he also uses a shade of it in the song pADum vAnambADi (nAn pADum pADal) – albeit for part of the song, and possibly with ri thrown on descent . There is another vani jayaram song which I cant recall now.

You even have people [claiming] now that Ilayaraja discovered this raga – but to be honest this raga is almost never heard in carnatic circles. It is a forgotten one in cm that has more exposure on the film side.”

Now compare Raa Raa to two songs from the Srothaswini raga:

Film – Poonthotta Kavalkaran – Song: Sindiya Venmani.

Film – Neengal Kaettavai – Song: O Vasantha Raja.

Hi guys,

I’m on a personal quest to gather ragas for Rahman’s film music… unfortunately I am not so well versed in identifying Ragas. I have been collecting popular ragas in their carnatic versions…. but I would like to get film song examples for all these ragas to help the new generation enjoy and understand the beauty of ragas by being able to relate to them.

So what better way than to show a carnatic piece, then A.R.Rahman’s film songs that happen to be based on the same raga? That will be very educational and inspiring for people I think… especially now that Rahman has attracted quite a bit of interest from the west, and they will be keen to find out more about him, I would like to make information about ragas available to the west….

This way, the west will also have a better understanding of the musical history that has given birth to a soul such as Rahman.

I found this website that gave a small sample of ragas that corresponded to different songs Rahman has done:
http://prabhuthemusiclover.tripod.com/arrahman/id3.html

However, I am hoping someone (or several people), would help me create an extensive list of raga identification for Rahman’s music. I plan to make a very educational website using this research. Hope to chat to you soon.

Regards,
Vajra

I recently got a reply to my question from an email I sent out to a carnatic music enthusiast:

“Unlike older Tamil songs and those of Illaiyaraja, most of Rahman’s songs are not clearly based on a raga but are mix of several ragams and then blend into another form like rap.”

Yes this is true quite often, but I am finding that surprisingly so more songs than I expected of Rahman’s music is set to a Ragam. In actual fact, my intention is not to focus on his music alone, but on fusion/film music in general of contemporary standards (from within the last 10 years), which have begun to reverberate with a base that is appreciated by the west… and yet the music directors continue to make songs devoted to carnatic ragas (or at least pay tribute) – even that very tribute can be very helpful in pointing people towards carnatic raga and kindling interest.

For instance, as I recently discovered, Rahman’s “Telephone Mani Pol – film: Indian” is in Anandha Bhairavi, “Theendai – film: En Swasa Katre” is in Sri Ragam, “Idhu Sugam – film: Vandicholai Chinarasu” is in Dharmavati, and “Uyire Uyire – film: Bombay” is Hari Kambhoji… and I was surprised to note that that is actually just a drop of how many songs he has done where it at least awakens the listener to an intrinsic ragam – which is the first step in music appreciation… and delving completely into carnatic classical would be a deeper step. Not only that, but several music directors of current repute, despite the urge for modernism, are still exploring ragas.

To relate, when I first began to suspect that some of the songs from film music that I loved most dearly definetely seemed to have ragas to them, or at least strongly scented in a raga… I contacted an aunt of my fiance who was extremely well versed in carnatic music and in identifying ragas. I put together a list of around 50 film songs that I desperately wanted to know the ragas for…

Strange thing happened… because I had put together songs in order of how they sounded to me… (not so much a similarity in melody, but rather a deep familiarity between themselves in terms of MOOD, essence, taste…) and emailed her the list of songs with a table so she could write the names of the ragas. What surprised even me is that unknownst to myself (except perhaps subconsciously), I had grouped the ragas together. The first 5 songs on the list that she heard were all Shuddha Dhanyasi. The next 4 were all Hindolam. The proceeding 6 were Arabhi. The following 3 were Mohanam…

In this way I had the delightful introduction to actual names of the Ragas that I loved! Next I went and procured as many of the carnatic renditions of these ragas…. and I loved them even more so… because I recognised the HEART of the mood, the fluctuation of sound… I sat mesmerised when I heard “Narayana Ninna” from Shuddha Dhanyasi Raga… I had goosebumps when I heard a violin rendition of “Sami Ninne” from Shree Ragam… and “Nagumo” from Abheri Ragam sounded like elixir to me…

Infact, what I experienced more than anything else was the phenomenon of “recognition”. This, more than anything, inspired me to want to set up a website where I actually have visual/audio samples for the new generation to be able to have the same wonderful experience that I did in being able to recognise the heart of that which they already love.

I have created a blog listing 108 songs to start with for which I humbly request everyone’s assistance and collaboration in identifying their ragas. Please stop by – at the very least I feel you may enjoy the selection:

http://vajrakrishna.wordpress.com/category/art/music/indian-masterstrokes/exploring-and-identifying-ragas/

Just as each raga is for a specific time of day or night… in the same way when talking of ingenius songs, there are several that come to mind that have captured my heart… to name a few, alongside some of my favourite ragas… (this is by no means a definitive list, only a beginning)…

I have included audio links to the songs, you can listen to them as you read:

“Kannodu Kanbethelam” from film “Jeans”. Music: A.R.Rahman. Raga: Shuddha Dhanyasi (with Abheri)

This will give a clear idea of the ragam itself, so that you can better appreciate the way in which A.R.Rahman has composed to this ragam. I have always respected the music where I was never able to second guess the proceeding melody, because I am constantly, subconsciously anticipating where the song can lead… and when the composer takes it to somewhere better than I expected, it makes me sit up and take real notice. In an article, Gulzar said about A.R.Rahman, “Working with Rahman is a challenge. He is a magician. He has broken down the format of the Indian film song. Earlier, songs followed a set pattern – the mukhra (music), antara (crossline – or linking line as we called it in earlier times) and asthayi (all in rhymes). But Rahman has broken that form. You don’t know where the asthayi would come; that makes his music delightful and unpredictable. This is where I feel his music turns a “geet” into a “kavita” or “nazm” (brings a song much closer to poetry).He is someone who keeps walking ahead. When you walk continuously, the horizon keeps expanding, so you keep growing.”

“Majaa Majaa” from film “Sillindru Oru Kathal”. Music: A.R.Rahman. Raga: Shuddha Dhanyasi.

“Viliyil Vilunthu” from film “Alaihai Oivathilai”. Music: Illayaraja. Raga: Shuddha Dhanyasi.

The second thing I want to mention is that by listening to film songs composed to a particular raga, however diluted or faithful the film song may be to the raga itself… it is a wonderful way of understanding and identifying the raga, and perhaps learning to breathe new life into ragas in this rapidly fusing world of music… with the advent of technology new and newer means of exploring ragas must be embraced… I do not believe in limitations. And traditions are only so good as long as they allow one to expand their horizon. Once tradition becomes superstition, then it becomes a hangman’s noose. In the justification of “safeguarding one’s culture”, building walls around you also locks you inside… There is no culture that is stagnant. That is a fallacy. Allow the constant evolution to take place.

That being said, it is so that ragas have a geometric precision that is very much a sign of some divine intervention… But one must remember that such things are never lost… So there is no need to worry. Even if forgotten… They will re-emerge. What is essential, however, is to allow raga and technology to merge.

“Marghali Poove” from film “May Madham”. Music: A.R.Rahman. Raga: Hindolam.

“Innisai (Remix II)” from film “Godfather”. Music: A.R.Rahman. Raga: Hindolam.

“Kopama” from film “Varsham”. Music: Devi Sri Prasad. Raga. Hindolam.

Robert Frost was conducting a poetry reading, and by the end of it, it was question time. A woman said to him, “I can’t understand that last poem. Can you explain it?”

He replied, “You mean you want me to say it again, only not as well?”

In the same way, I am at first lost for words in describing why I find these songs to be ingenius… But I will try to explain. It is very important in music to have a unique melody that works in parallel to the actual melody of the song… (sometimes it works when both these melodies are the same, but as a rule it is better to have two counterpoint melodies) – and then the selecting of that exact moment when both these melodies intersect – that… is the height of creativity.

The first step of a great composition is the melody itself… But what establishes its classic nature is the selecting of silence, of time and space… And how these melodies are going to intersect with each other.

Do not go for the “obvious” route. Go for what you yourself would not expect. Outthink yourself – or in in words of the great artists… “Step out of the way, and let intuition work through you”. I felt all these compositions accomplished this in some way or form. This is why great composers always credit God for their work, and not themselves. Time and again I have read interviews where nearly every one of my favourite composers related divine moments of creative revelations where suddenly the song “comes” to them. They do not compose… They do not create… It arrives.

You are dreaming the song, and the song is dreaming you.

Although Ilayaraja has 1000+ songs that are way above just melody, this song- Thalattum Poongatru is a very special song.  I would rate this among his top 10 compositions.  An example of perfect composition.  Charming Karthik and beautiful Bhanupriya have blended this melody above excellence.  From the movie gopura vasalile, this song sets the platform for a great music listening. 

Composed in Simmendramadhyayam raaga, which many music directors have not even dared to touch, Illayaraja has infact commanded the raaga.  Looks like a grim raaga flexes to IRs command.  If one listens to ananda raagam song from paneer pushpangal which is said to be from the same Raaga, IRs talent is just impeccable.  Ananda raagam song moves pretty much faster and this is pretty much opposite. 

The song’s choreography is just awesome. One must listen to the flute bits that come in between the song.  The song can touch the heart of even the saddest person and bring in a smile on the face.  Sung by Janaki and words can’t describe her voice.  

This song remains pleasant anytime and anywhere… Hats of the the maestro… 

PALLAVI

PIBARE….. RAMA… RASAM (3)

ANU PALLAVI

JANANA MARANA BHAYA SHO..KA VITHURAM

SHAKALA SHAASTHRA NIGAMAAGAMA SARAM (2) ! (PIBARE)

CHARANAM

SHUDDHA PARAMA HAMSA AASHRAMA GEETHAM

SHUKHA SHOUNAKA KOUSHIKA MUKHA PEETHAM (2) ! (PIBARE)

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I had earlier posted about this Raaga; Reethi Gowla in a post long back.  The recent interpretation of this raaga is the song from Subramaniyapuram.  This raaga can catch any ones attention in the first go.  The song has everything in it.  Although, there is a perfect chemistry between the actor and actress on the screens, it is this tune, rather the raaga/interpretation that sets the platform.  Yes, the actress had a lot of communication through her face and this takes back to the songs in early 80s. Directors like Bhagyaraj, Bharathiraja have screened many similar songs(in terms of picturization) in the past.  Getting back to the topic, one may find songs in kalyani, natabhairavi commonly in film music very often but reethi gowla is one such which is used in an intermittent manner. 

AR Rahman came up with a song in Mudalvan- “azhagana ratchasiye”.. This song is again wonderful interpretation of reethi gowla.  I have seen Rahman saying about the orchestra involved in composing this song and the problems in it.  The beats had to be on the pot and had to be played continuously without a break.  There were a big number of people in the orchestra troop and bringing them in sync was the toughest challenge.  And for a music director like ARR, there is no word below “Perfection”.  The song turned out really superb.  And SPB… The way he stretches- “Kiliye… elam kiliye…”… Wonderful piece… I will have to write a separate post on SPB for this song alone..

Vidyasagar touched this raaga in “Thambi” and the song turned out really good.  But this song involved a lot of music/musical instruments and they dominated the song.  I personally find it difficult to listen to the singer. Still the song had a lot of credits.

 Who can dare to end up a musical conversation without involving the “MAESTRO”…?  Illayaraja has come with probably the best compositions in this raaga in mid 70 and 80s.  Chinna Kannan Azhaikiran and thalaiyai kuniyum thamaraiye..  When it comes to Illayaraja, I really have nothing to say.. There should be no ambiguity on the song which is always ”the best”.. Raman kadhai kelungal and Thalaiyai kuniyum thamaraiye are SPB sung songs and SPB makes the music in his voice.. PERFECT!

One can always listen to these masterpieces.

This song is one among those beautiful songs composed by Illayaraja.. Its comes under the “rare hits” tag by the maestro.  The song starts with a prelude that no one else in this world other than raja can even think of… This is his speciality.!!  He can make any song sound different and beautiful.

This song is based on the raaga “Desh”.  An immediate song one can think of, in this raaga is “thunbham nerghayil”; an old song.  Few articles that I went through say the starting tune of the song “kadhal Rojave” from Roja too is a typical example fo “desh”.  I am however not an expert in finding raaga’s for very short durationed tunes.  Coming to this song- “Vizhiyil Pudhu Kavithai paditthen”, this song is from the movie “theerthakarayinile” and sung by Mano.

Ilayaraja, starts the song with an attractive tune and the actual song songs starts immediately.  The female voice simply dominates the entire length.  This song proceeds as a masterpiece duet and the lyrics says it all.. 

“mangai todhathu!!, Kondada yen ulle bodhai varaadu..”

“Thalattu paadi, tayangamal koodi”

“Thaaiendru thedi, tamizh paadi adi “

“Kanne!!, un kanavu vara”

“Penne!!, Un ninaivu vara”

“Kaadhal!!, Un Uravu varu”

“Kayyil!!, Un Varavu vara”

“Piriyamale, Irundhu vara Virundhu sugam marandhu…”

These lines are glorious with respect to the tunes and makes it a perfect song..

Illayaraja deserves all praises for song.  He tunes songs in his mind in such a manner that he hardly practices or goes for demos before recording.  This is something I have heard from many.  In my personal opinion, any singer would have made the song as beautiful as it is.  The praise would be more to the composer than to the singer.  Mano however, has his own credits.

This song particularly will tempt you to listen atleast 3-4 times in a row.. It starts little fast and then goes faster and although this is a so called “Melody song”, it does not sound so.  I have been listening to this song for the last one year.  As always I love listening it anytime and my heart goes miles away from the earth listening to it.

Now that my dad is here, its time to rekindle the long lost guitar aspirations to play Indian classical on it. My father owns an immense musical collection of Indian Classical ragas and tons of information on their intricacies. In addition to that he is a maestro himself albeit on the singing side.

I, in fact, have already started. Tried my hand at playing the raga yaman yesterday. Its one of the most basic ragas and perhaps the only one that I remember from the off-on music lessons of my childhood that I renegaded from. The next obvious goal is to play something decent enough on these lines to be put up on you tube. All in its own sweet time though.

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Thank You…. – PVR’

Melakarta is a collection of Ragas in Carnatic music. Melakarta ragas are fundamental ragas from which other ragas may be generated. For this reason the melakarta ragas are also known as janaka (parent) ragas. Melakarta ragas are also known as sampoorna ragas as they contain all seven swaras (notes) of the octave in both the ascending and the descending mode. There are 72 melakarta ragas.

Each melakarta raga has a different scale. The scales are constructed as follows: out of the twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3, a melakarta raga must necessarily have S and P, one of the M’s, one each of the R’s and G’s, and one each of the D’s and N’s. Also, R must necessarily precede G and D must precede N. This gives 2 × 6 × 6 = 72 melakarta ragas. Finding melakarta ragas is a mathematical problem and following a simple set of rules, we can find the corresponding raga and the scale associated with it.

This scheme envisages the lower Sa (Keezh Shadjamam), upper Sa (Mael Shadjamam) and Pa (Panchamam) as fixed swaras, with the Ma (Madhyamam) having two variants and the remaining swaras Ri (Rishabam), Ga (Gandhaaram), Dha (Dhaivatham) and Ni (Nishaadham) as having three variants each. This leads to 72 seven-note combinations referred to as the Melakarta ragas.

A raga which has a subset of swaras from a Melakarta raga is said to be a janya (means born or derived from) of tha Melakarta raga. Every raga is the janya of a melakarta raga. Janya ragas whose notes are found in more than one melakarta raga are assigned (or associated) parent Melakarta based on subjective notions of similarity. This is obvious for ragas that have less than seven notes. For such ragas it can be associated with a Melakarta which has any of the different swaras in that position. For example, Hindolam has Rishabam and Panchamam missing. Hence, it could be considered a janya of Todi (also known as Hanumatodi) which has shudha rishabam or with Natabhairavi which has a chathusruthi rishabam. It is popularly associated with Natabhairavi.

List of Melakarta Raaga’s 

Suddha Madhyamam (1 – 36)

1. Indu Chakra

1. Kanakangi                                 S R1 G1 M1 P D1 N1
2. Ratnangi                                   S R1 G1 M1 P D1 N2
3. Ganamoorti                               S R1 G1 M1 P D1 N3
4. Vanaspati                                  S R1 G1 M1 P D2 N2
5. Manavati                                   S R1 G1 M1 P D2 N3    
6. Tanarupi                                    S R1 G1 M1 P D3 N3    

2. Netra Chakra

1. Senavati                                    S R1 G2 M1 P D1 N1
2. Hanumatodi                               S R1 G2 M1 P D1 N2
3. Dhenuka                                   S R1 G2 M1 P D1 N3
4. Natakapriya                               S R1 G2 M1 P D2 N2
5. Kokilapriya                                S R1 G2 M1 P D2 N3
6. Roopavati                                  S R1 G2 M1 P D3 N3

3. Agni Chakra

1. Gayakapriya                              S R1 G3 M1 P D1 N1
2. Vakulabharanam                        S R1 G3 M1 P D1 N2
3. Mayamalavagowla                      S R1 G3 M1 P D1 N3
4. Chakravakam                             S R1 G3 M1 P D2 N2
5. Sooryakantam                           S R1 G3 M1 P D2 N3
6. Hatakambari                              S R1 G3 M1 P D3 N3 

4. Veda Chakra

1. Jhankaradhwani                         S R2 G2 M1 P D1 N1
2. Natabhairavi                               S R2 G2 M1 P D1 N2
3. Keeravani                                  S R2 G2 M1 P D1 N3
4. Kharaharapriya                          S R2 G2 M1 P D2 N2
5. Gourimanohari                           S R2 G2 M1 P D2 N3
6. Varunapriya                               S R2 G2 M1 P D3 N3

5. Bana Chakra

1. Mararanjani                               S R2 G3 M1 P D1 N1
2. Charukesi                                  S R2 G3 M1 P D1 N2
3. Sarasangi                                  S R2 G3 M1 P D1 N3
4. Harikambhoji                             S R2 G3 M1 P D2 N2
5. Dheerasankarabharanam            S R2 G3 M1 P D2 N3
6. Naganandini                              S R2 G3 M1 P D3 N3

6. Ritu Chakra

1. Yagapriya                                  S R3 G3 M1 P D1 N1
2. Ragavardhini                              S R3 G3 M1 P D1 N2
3. Gangeyabhusani                        S R3 G3 M1 P D1 N3
4. Vagadheeswari                          S R3 G3 M1 P D2 N2
5. Sulini                                        S R3 G3 M1 P D2 N3
6. Chalanata                                  S R3 G3 M1 P D3 N3 

Prati Madhyamam (37-72)

7. Rishi Chakra

1. Salagam                                   S R1 G1 M2 P D1 N1
2. Jalarnavam                                S R1 G1 M2 P D1 N2
3. Jhalavarali                                 S R1 G1 M2 P D1 N3
4. Navaneetam                              S R1 G1 M2 P D2 N2
5. Pavani                                      S R1 G1 M2 P D2 N3
6. Raghupriya                               S R1 G1 M2 P D3 N3 

8. Vasu Chakra

1. Gavambodhi                              S R1 G2 M2 P D1 N1
2. Bhavapriya                                S R1 G2 M2 P D1 N2
3. Subhapantuvarali                       S R1 G2 M2 P D1 N3
4. Shadvidhamargini                      S R1 G2 M2 P D2 N2
5. Suvarnangi                                S R1 G2 M2 P D2 N3
6. Divyamani                                 S R1 G2 M2 P D3 N3

9. Brahma Chakra

1. Dhavalambari                            S R1 G3 M2 P D1 N1
2. Namanarayani                          S R1 G3 M2 P D1 N2
3. Kamavardhini                            S R1 G3 M2 P D1 N3
4. Ramapriya                                S R1 G3 M2 P D2 N2
5. Gamanasrama                          S R1 G3 M2 P D2 N3
6. Viswambhari                             S R1 G3 M2 P D3 N3

10. Disi Chakra

1. Syamalangi                               S R2 G2 M2 P D1 N1
2. Shanmukhapriya                        S R2 G2 M2 P D1 N2
3. Simhendramadhyamam              S R2 G2 M2 P D1 N3
4. Hemavati                                   S R2 G2 M2 P D2 N2
5. Dharmavati                                S R2 G2 M2 P D2 N3
6. Neetimati                                  S R2 G2 M2 P D3 N3

11. Rudra Chakra

1. Kantamani                                 S R2 G3 M2 P D1 N1
2. Rishabhapriya                            S R2 G3 M2 P D1 N2
3. Latangi                                      S R2 G3 M2 P D1 N3
4. Vachaspati                                S R2 G3 M2 P D2 N2
5. Mechakalyani                            S R2 G3 M2 P D2 N3
6. Chitrambhari                              S R2 G3 M2 P D3 N3

12. Aditya Chakra

1. Sucharitra                                 S R3 G3 M2 P D1 N1
2. Jyotiswarupini                            S R3 G3 M2 P D1 N2
3. Dhatuvardhini                             S R3 G3 M2 P D1 N3
4. Nasikabhusani                           S R3 G3 M2 P D2 N2
5. Kosalam                                   S R3 G3 M2 P D2 N3
6. Rasikapriya                               S R3 G3 M2 P D3 N3

ಪಲ್ಲವಿ:

ಅಂಗನೆಯರೆಲ್ಲ ನೆರೆದು ಚಪ್ಪಾಳಿಕ್ಕುತ ದಿವ್ಯ
ಮಂಗಳ ನಾಮವ ಪಾಡಿ ರಂಗನ ಕುಣಿಸುವರು

ಚರಣ

1:

ಪಾಡಿ ಮಲ್ಹಾರಿ ಭೈರವಿ ಸಾರಂಗ ದೇಶಿ ಗುಂಡಕ್ರಿಯ ಗುರ್ಜರಿ ಕಲ್ಯಾಣಿ ರಾಗದಿ ತಂಡ
ತಂಡದಲಿ ನೆರೆದು ರಂಗನ ಉಡಿಯ ಘಂಟೆ ಘಣ್ ಘಣ್ ಘಣ್ ಘಣಿರೆಂದು ಹಿಡಿದು ಕುಣಿಸುವರು

2:

ತಿತ್ತಿರಿ ಮೇಳರಿ ತಾಳ ದಂಡಿಗೆ ಮದ್ದಲೆ ಉತ್ತಮದ ಶಂಖ ಶಬ್ದ ನಾದಗಳಿಂದ
ಸುತ್ತ ಮುತ್ತಿ ನಾರಿಯರ ತತ್ತೈ ತತ್ತೈ ಥಾಯೆಂದು ಅರ್ತಿಯಿಂದ ಕುಣಿಸುವರು ಪರವಸ್ತುವ ಹಿಡಿದು

3:

ಕಾಮಿನಿಯರೆಲ್ಲ ನೆರೆದು ಕಂದನಾಟಗಳನಾಡಿ ಪ್ರೇಮದಿಂದ ಬಿಗಿದಪ್ಪಿ ಮುದ್ದಾಡಿ
ಕಾಮಿತ ಫಲವೀವ ಭಕುತ ಜನರೊಡೆಯ ಸ್ವಾಮಿ ಪುರಂದರ ವಿಟ್ಠಲರಾಯನ್ನ

I loved to read these articles.. Hats off to Dr Ramakrishnan.

Ilayaraja (featuring Vairamuthu, Rahman, ) – 5 (Kedaram, Sankarabharanam, Nalinakanthi)
By DR. Lakshminarayanan Srirangam Ramakrishnan

In cinema music, starting from the period of Ilaiyaraaja, the lyricists got into a pact of servitude with the music directors. They were dictated by themighty music directors. Since the selling of audio cassette and the success of the movie were only depended upon ‘how catchy’ the tunes were, and not onthe quality of the lyrics, it became the unquestioned ‘rajyam’ of the music directors like Ilaiyaraaja. He would come early in the morning to the Prasath recording theatre. Probably by that time the lyricist would be waiting therealready. Maybe they even routinely prostrated before him as he entered into the theatre like the God incarnate himself! Then he would fill the theatre with his tunes in the ‘thanthana thaana thathana thaana thaana nanana’ form. The lyricist had to get this into his intellect and rack his brain to get words that would replace the ‘thaana thathana’ junk! What a pity! If Subramania Bharathiar had been alive he would’ve shed blood tears at the sordid state of Thamizh in cinema! Ilaiyaraaja was definitely one important reasons for this abyssmal degenerancy in the state of ‘kanni’ Thamizh! (Maybe the LTTE/DMK/DK combo have Ilaiyaraaja in their murder hit list for causing this change to their beloved Thamizh!).

There is one guy who repeatedly proved that he could stand upto the pressureof Ilaiyaraaja. He gave new form to cinema songs. After the period of Kannada-san (even though Vaali and the lot were giving some good meaningful songs), on an average, Vairamuthu gave much much better cinema songs. Some of his cinema songs even had splashes of supreme ‘kavithuvam’. The song in which he made his debut was a feast both in music and lyrics.

That song came in the movie nizhalgal. The situation is that, hero Rajasekhar(a ganja case in that movie) returns back to his home in an elated mood. Itwas not shown whether he has a puff of ganja before that song! If you werethe music director, what tune (to our discussion, what raga) would you want to score in this situation? The points that director Bharatiraja gives youregarding this situation is: ‘evening time/hero/ganja case/very happy/sings.’Thats all. Isn’t your mind fully blank about what ragam to choose? Okay,if you were the lyricist (that too, making your entry into the cine- world in this song), what would you write? Ilaiyaraaja chose to use the all time pleasantry of Kedaram in this situation! Vairamuthu decided to write ‘pon malai pozhudhu’.

Kedaram is a fantastic ragam. It is one of the innumerable janyams of the 29th melagartha Sankarabharanam. It has got a small U turn in its arohanam (vakram!). Sa Ma Ga Ma Pa Ni Sa. Avarohanam is Sa Ni Pa Ma Ga Ri Sa. Though this looks simple, there is a specific phrase in its avarohanam to make theraga identity clear. That is, Pa Ma Ga Ri Sa is not just the same when yousing, you have to sing/play like Pa Ma Ga…. Ri Sa Ga Ri Sa. The temporal duration (kaarvai) of gandaram is more. This is what gives beauty to this ragam. Before Ilaiyaraaja used, I know of only one song which is in Kedaram.That is, ‘ramaswami thoodan naanada’ in ?Sampoorna Ramayanam. Lord Anjeneyasings this song to Ravanan!

Ilaiyaraaja’s use of Kedaram is splendid. He uses the key phrase of Kedaram inthe opening of that song itself like ‘Sa Ni Pa, Pa Ma Ga, Ga Ri Sa, Sa Ni Pa’travelling from madhyama sthayi upper shadjam to manthra sthayi panchamam in a single stretch. At the time when the movie was released, I was amused bythe chirping of birds in the prelude. How could they catch many birds and bring it to the recording theatre and make them chirp according to their willand wish and record it? Now that I’m a little older, and know that you can make birds chirp, lions roar, kuyils ‘koovufy’, just by pressing a single button even in your $ 30 casio, I’m more amused by the use of Kedaram in the song. The use of accordion in the first interlude ‘Sa Ni Pa Ni Pa Sa Ni Sa NiPa, Ga Ma Pa’ is excellant. In the second interlude he suddenly introduces a meloncholy with a solo violin piece well within the scope of kedaram. I don’t know why he did it. Why that sudden sadness in the tune?

The intellectual, poem writing part of Vairamuthu’s neuro-circuitry reached the boundaries of imagination in that song. He writes:

Idhu oru pon maalai pozhudhu

vaana magal naanugiraal

vaeru udai poonugiraal

Oh God! What a ‘karpanai’! He personifies the evening sky as a girl and says:she is changing clothes from evening to night, and blushes out of shyness because everybody is seeing her! Can anybody refer to redness in sky during dusk any better than this? There might be light scattering and such kind of hi-tech physical events that might cause this phenomenon! But, look, what thepoet has to say about this from his point of view! In the charanam, he goes astep further and starts characterising the normal events occuring during duskin a poetic way. He says:

Aayiram nirangal jaalamidum

raathiri vaasalil kolamidum

vaanam iravukku paalamidum

paadum paravaigal thalamidum

poomarangal saamarangal…

Proper translation would be: Birds would sing and clap welcoming the night;evening sky would establish the bridge for the coming of the night; all the trees would sway hither and thither and produce gentle breeze welcoming the night; the appearance of thousands of colourful lights all over the world would be magical; it would be like a ‘kolam’ in the gates of night!

The second Kedaram from the theatre of Ilaiyaraaja came in Kamal’s ‘michael madana kaamarajan’. Sundari neeyum is a fantastic song. It is not as pure as ‘pon maalai’, but it is a good Kedaram. Though, it was MSV who discovered Kamal’s singing capabilities ( gnayiru oli mazhayil thingal kulika vandhan;was it Kamal’s first song?), it was Ilaiyaraaja who gave him chance to sing repeatedly in his movies. Infact, in one non-Kamal movie he made him singfor some other hero (ponmaalai theduthae, en veenai paaduthae: ?movie).Kamal and Janaki have done a wonderful job in sundari neeyum. Ilaiyaraaja hasgiven the required weightage to manthra sthayi Pa Ni Sa sancharas in this song too. In the charanam, during ‘kannana kannae en sontham allo’ he uses, Sa Ga Pa Ga Pa Ni, Pa Ni Sa Pa Ni Ri which is definitely unbecoming of kedaram. But, I guess we have to forgive this, because this is cinema music and not a katcheri! The second interlude flute pieces are exceptionally good.

A.R.Rahman’s ‘ennavalae ennavalae’ in Kadalan is very frequently alluded bysome as Kedaram. Reportedly ‘thatha’ Suppudu also commented about this song in some interview as ‘Kedarathuku sedharam’, meaning damage to Kedaram.Personally, I am not able to place this song under any ragam. It starts likeSa Sa Ni Pa Ma Pa Pa Ni Pa Ma Ga, Sa Sa Ga Ma Pa Ga Ma Pa…later it deviateswith liberal usage of chatusrathi daivatham, chatusrathi rishabam, with oneflash of shatsruthi rishabam too (kaadalinaal varum avasthai enru kandukondaen). But it is a very good song, establishing A.R.Rahman’s typical marks throughout the song. Unnikrishnan has done a good job. But unfortunately, Vairamuthu has made lot of ‘paethals’ in that song. Time and again, Thamizh ‘pudhu kavignars’ have written (to emphasise the dramatic impact of love on the lovers) ‘after seeing you, and falling in love, I’ve even forgotten my name’! Vairamuthu has gone a step ahead and tries to characterize why the hero lost his speech (literally) after seeing the heroine:

Vaai mozhiyum enthan thai mozhiyumvasappada villayadi.Vayitturkum thondaikum naduvinil oruuruvam illatha urundayum uruludhadi.Poets frequently indulge in abstract thinking trying to define inexplicable ideas. In another song he says, ‘pookal pookum osaigal kaadhil ketpadhilai’(engae en jeevanae in Kamal’s uyarntha ullam), when he writes about the onsetof love. That is, as the sounds of flower blooming cannot be heard, the onset of love is indiscernable! That is a good abstraction. But in the above said song he has grossly failed in his abstraction, trying to explain the effectof love on an individual. In the charanam of this song his ‘paethals’ continue: Unthan koondalil meen pidipaen, Un viral sodduku edupaen… and so on. Luckily he did not go to say ‘Oh, my love, when you shout from the toilet, I will bring the tissue paper’!

Nalinakanthi is another Sankarabaranam janyam. Structurally, it is closely related to Kedaram. It has got a sharper U turn (vakram!) in its arohanam.Sa Ga Ri Ma Pa Ni Sa. The avarohanam is Sa Ni Pa Ma Ga Ri Sa. So kedaram differs from Nalinaganthi in only in the arohanam. Ofcourse, you can sing the avarohanam of Nalinakanthi as it is, while in Kedaram, you have to add some special dealings of the swaras. Ilaiyaraaja has one good Nalinakanthi inKamal’s kalaignan. It came as a surprise in that movie because all the othersongs were ‘kuppai’. Enthan nenjil nee paadum has been sung by Jesudoss and Janaki. Ilaiyaraaja captures the essence of the raga in the start of the song:Sa Ga Ri Ma Ga Ri Sa Ni Sa Ga Ri Ma GA…There is no deviation in that song at all. In the second interlude there is a short thara sthayi swara alapanatoo. He should have avoided that alapana, and that person too, in that song!(I think it is he who has rendered that short piece!). It seems like he hasused gottu vadyam in that song.

With Love,

Lakshminarayanan Srirangam Ramakrishnan,
NORMAN, OK, USA
MAIL ID : meeralakshmi@hotmail.com

Hey folks, i have a good news for music lovers. I have just got a workaround to play songs from Raaga.com in Linux.

I tried with Ubuntu Hardy Heron 8.04 & Firefox 3.0 b 5. I followed this article http://www.zyxware.com/articles/2008/04/27/setting-up-raaga-com-to-work-on-ubuntu-8-04-hardy-heron . Credit goes to that article.

I guess, /usr/lib/totem/gstreamer/libtotem-complex-plugin.so plugin caused a problem for raaga player. After removing this plugin, it was working.

This plugin, (remove this plug-in)

Helix DNA Plugin: RealPlayer G2 Plug-In Compatible (compatible; Totem)

    File name: libtotem-complex-plugin.so
    The Totem 2.22.1 plugin handles video and audio streams.

MIME Type 	Description 	Suffixes 	Enabled
audio/x-pn-realaudio-plugin 	RealAudio document 	rpm 	Yes

Here is how,

Download the latest Realplayer from here http://forms.helixcommunity.org/helix/builds/?category=realplay-current And save it to desktop,

Select Platform: linux-2.2-libc6-gcc32-i586 > RealPlayer (bin)

(Or you can also download from here – http://www.real.com/linux)

[ I suggest you to uninstall realplayer from your Linux if it is already installed, sudo apt-get purge realplayer ]

Install the RealPlayer,

• cd Desktop/
• chmod +x realplay-10.1.0.4350-linux-2.2-libc6-gcc32-i586.bin

Here, change the realplay-10.1.0.4350-linux-2.2-libc6-gcc32-i586.bin with the filename that you have downloaded.

• sudo ./realplay-10.1.0.4350-linux-2.2-libc6-gcc32-i586.bin

Set Plugins,

• cd /usr/lib/firefox-addons/plugins
• sudo ln -s /opt/real/RealPlayer/mozilla/nphelix.xpt nphelix.xpt
• sudo ln -s /opt/real/RealPlayer/mozilla/nphelix.so nphelix.so
• sudo rm /usr/lib/totem/gstreamer/libtotem-complex-plugin.so

Restart Firefox,

Now enjoy the music.

http://raaga.com/channels/telugu/top10.asp

If you still have any problems please let me know, i ‘ll try to help you out.

Playing Raaga.com,

This is my about:plugins page on Firefox.

Installed plugins
Find more information about browser plugins at mozilla.org.
Help for installing plugins is available from plugindoc.mozdev.org.
Helix DNA Plugin: RealPlayer G2 Plug-In Compatible

    File name: nphelix.so
    Helix DNA Plugin: RealPlayer G2 Plug-In Compatible version 0.4.0.4005 built with gcc 3.4.3 on Feb 25 2008

MIME Type     Description     Suffixes     Enabled
audio/x-pn-realaudio-plugin     RealPlayer Plugin Metafile     rpm     Yes
Shockwave Flash

    File name: libflashplayer.so
    Shockwave Flash 9.0 r124

MIME Type     Description     Suffixes     Enabled
application/x-shockwave-flash     Shockwave Flash     swf     Yes
application/futuresplash     FutureSplash Player     spl     Yes
Default Plugin

    File name: libnullplugin.so
    The default plugin handles plugin data for mimetypes and extensions that are not specified and facilitates downloading of new plugins.

MIME Type     Description     Suffixes     Enabled
*     All types     .*     No
Demo Print Plugin for unix/linux

    File name: libunixprintplugin.so
    The demo print plugin for unix.

MIME Type     Description     Suffixes     Enabled
application/x-print-unix-nsplugin     Demo Print Plugin for Unix/Linux     .pnt     Yes
iTunes Application Detector

    File name: librhythmbox-itms-detection-plugin.so
    This plug-in detects the presence of iTunes when opening iTunes Store URLs in a web page with Firefox.

MIME Type     Description     Suffixes     Enabled
application/itunes-plugin             Yes
Totem Web Browser Plugin 2.22.1

    File name: libtotem-basic-plugin.so
    The Totem 2.22.1 plugin handles video and audio streams.

MIME Type     Description     Suffixes     Enabled
application/x-ogg     -     ogg     Yes
application/ogg     Ogg multimedia     ogg     Yes
audio/ogg     Ogg Audio     oga     Yes
audio/x-ogg     Ogg Audio     ogg     Yes
video/ogg     Ogg Video     ogv     Yes
video/x-ogg     Ogg Video     ogg     Yes
application/annodex     -     anx     Yes
audio/annodex     -     axa     Yes
video/annodex     -     axv     Yes
video/mpeg     MPEG video     mpg, mpeg, mpe     Yes
audio/wav     WAV audio     wav     Yes
audio/x-wav     WAV audio     wav     Yes
audio/mpeg     MP3 audio     mp3     Yes
application/x-nsv-vp3-mp3     NullSoft video     nsv     Yes
video/flv     Flash video     flv     Yes
VLC Multimedia Plugin (compatible Totem 2.22.1)

    File name: libtotem-cone-plugin.so
    The Totem 2.22.1 plugin handles video and audio streams.

MIME Type     Description     Suffixes     Enabled
application/x-vlc-plugin     unknown         Yes
application/vlc     unknown         Yes
video/x-google-vlc-plugin     unknown         Yes
Windows Media Player Plug-in 10 (compatible; Totem)

    File name: libtotem-gmp-plugin.so
    The Totem 2.22.1 plugin handles video and audio streams.

MIME Type     Description     Suffixes     Enabled
application/x-mplayer2     AVI video     avi, wma, wmv     Yes
video/x-ms-asf-plugin     ASF video     asf, wmv     Yes
video/x-msvideo     AVI video     asf, wmv     Yes
video/x-ms-asf     ASF video     asf     Yes
video/x-ms-wmv     Windows Media video     wmv     Yes
video/x-wmv     Windows Media video     wmv     Yes
video/x-ms-wvx     Microsoft ASX playlist     wmv     Yes
video/x-ms-wm     ASF video     wmv     Yes
application/x-ms-wms     Windows Media video     wms     Yes
application/asx     Microsoft ASX playlist     asx     Yes
audio/x-ms-wma     Windows Media audio     wma     Yes
DivX® Web Player

    File name: libtotem-mully-plugin.so
    DivX Web Player version 1.4.0.233

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Raag: Bhatiyar
Thaat: Marwa
Time: Dawn

Notes (Swaras): Komal Rishabh, both Shuddha and Tivra Madhyam. All other notes are Shuddha.

Raag Bhatiyar is a morning Raaga. An offshoot of Thaat Marwa, Raag Bhatiyar has a strong emotional undercurrent – something you might not expect from a morning melody. The Raaga begins with all Shuddha notes; Sa-Ma-Pa-Dha-Ni.. all pure just like the morning dew. It almost lulls you back into that tasteful sleep you just woke up from. You sit back enjoying a cup of hot tea with the newpaper lying on the table in your front and that is when Bhatiyar takes a wild turn while on Nishad, skipping the higher Shadja and falling upon Komal Rishibh revealing a deep sorrow that has always been lingering beneath the seemingly serene surface of the pure notes of the Raaga. In the audio clip, focus on the connection between Shuddh Nishad and Komal Rishabh while Mashkoor Ali Khan sings the words ‘…Murata Murari’.

But after that unexpcted emotional burst, just when you begin to experience melancholy, Raag Bhatiyar returns to its jovial mood with sequences like (Sa) Dha-Ni-Pa, Pa-Ma-Pa, Ga-Pa-Ga-Re-Sa and brings the smile back on your face.

Raag Bhatiyar is not an easy Raaga to perform what with its intricate and complex tactics. Only an acclaimed artiste can unfold this Raaga for your experience and only an acclaimed artiste can reveal the essence of this Raaga. Raag Bhatiyar is immensely pleasing and peaceful to ears. Raag Bhatiyar possesses healing qualities; it can effectively console an aggrieved mind and calm your soul.

Film Songs in Raag Bhatiyar

• Aayo Prabhaat Sab Mil Gaao.. Film – Sur Sangam Watch video on You Tube
  Year – 1985
  Music Director(s) – Laxmikant Pyarelal
  Singers – Rajan Mishra / S. Janaki
• Ek Ritu Aaye Ek Ritu Jaaye.. Film – Gautam Govinda
  Year – 1979
  Music Director(s) – Laxmikant Pyarelal
  Singer(s) – Kishore Kumar
• Jaya Nandalaal.. Film – Ghar Ghar Ki Kahani
  Year – 1970
  Singer(s) – Lata Mangeshkar