todays ragam is NALINAKANTI......one of the janya ragas of SARASANGI..... a glimpse on ragam sarasangi.......... Sarasangi Sarasangi (pronounced sarasāngi) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 27th melakarta rāgam (parent scale) in the 72 melakarta rāgam system of Carnatic music. It is called Sowrasena in Muthuswami Dikshitar school of Carnatic music. It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Go. The mnemonic phrase is sa ri gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): ārohaṇa: S R2 G3 M1 P D1 N3 S avarohaṇa: S N3 D1 P M1 G3 R2 S This rāgam uses the swaras chathusruthi rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. By definition, Sarasangi, a melakarta rāgam, is a sampurna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Latangi, which is the 63rd melakarta scale. janya ragas of sarasangi........ Sarasāngi S R2 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R2 S Sowrasenā S R2 M1 P D1 S S N3 D1 P M1 G3 R2 S Haripriya S R1 G3 M1 P S S N3 D1 P M1 G3 S Kamalā Manohari S G3 M1 P N3 S S N3 D1 P M1 G3 S Madhulika S R2 G3 M1 N3 S S N3 M1 G3 R2 S Nalinakānthi S G3 R2 M1 P N3 S S N3 P M1 G3 R2 S Neelamani S R2 M1 P D1 N3 S S N3 D1 P M1 R2 S Salavi S G3 R2 G3 M1 P D1 N3 D1 S S N3 D1 P M1 G3 R2 S Sarasānana S R2 G3 M1 D1 N3 S S N3 D1 M1 G3 R2 S Saraseeruha S R2 G3 M1 D1 N1 D1 S S N1 D1 M1 G3 R2 Simhavāhini S G2 M1 P D1 N3 S S N3 D1 P M1 G3 R2 S Surasena S R2 M1 P D1 S S N3 D1 P M1 G3 S R2 S Sutradhāri (Also 20) S R2 M1 P D1 S S D1 P M1 R2 S Vasanthi S R2 G3 P D1 S S D1 P G3 R2 S Here are a few common compositions sung in concerts, set to Sarasangi. Jaya jaya padmanabha by Swati Tirunal Sourasenesham vallisenam by Muthuswami Dikshitar Nikela dayaradu by Ramaswami Sivan Paripaliso guru vadiraja by R. K. Padmanabha Sarasangis notes when shifted using Graha bhedam, yields 2 other major Melakarta rāgams, namely, Dharmavati and Chakravakam சரசாங்கி......... சரசாங்கி என்பது கருநாடக இசையில் 27வது மேளகர்த்தா இராகம். அசம்பூர்ண மேள பத்ததியில் சௌரசேனா என்று பெயர் ஆரோகணம்: ஸ ரி2 க3 ம1 ப த1 நி3 ஸ் அவரோகணம்: ஸ் நி3 த1 ப ம1 க3 ரி2 ஸ பாண என்றழைக்கப்படும் 5 வது சக்கரத்தின் 3 வது மேளம். இந்த இராகத்தில் ஷட்ஜம், சதுஸ்ருதி ரிஷபம்(ரி2), அந்தர காந்தாரம்(க3), சுத்த மத்திமம்(ம1), பஞ்சமம், சுத்த தைவதம்(த1), காகலி நிஷாதம்(நி3) ஆகிய சுரங்கள் வருகிறன.... பிரத்தியாகத கமகம் இந்த இராகத்தின் களையை நன்றாகக் காட்டும். கருணைச்சுவை நிரம்பியது. எப்பொழுதும் பாடலாம். சர்வஸ்வர கமக வரிக இராகம். இதற்கு நேர் பிரதி மத்திம இராகம் லதாங்கி (63). இது ஒரு மூர்ச்சனாகாரக மேளம். இதன் மத்திம, பஞ்சம முறையே கிரக பேதத்தின் வழியாக தர்மவதி, சக்ரவாகம் ஆகிய மேளங்களைக் கொடுக்கும்..... கிருதி : மேனுஜூசி : ஆதி : தியாகராஜர். கிருதி : மலையாதே மனமே : ஆதி : கோடீஸ்வர ஐயர். கிருதி : உனது திருவடி : ஆதி : கோபாலகிருஷ்ண பாரதியார். கிருதி : நிர்த்தமிடும் : மிஸ்ர ஜம்பை : முத்துத் தாண்டவர். கிருதி : நீ பாதமுல : ஆதி : மைசூர் வாசுதேவச்சாரியார். சரசாங்கியின் ஜன்ய இராகங்கள் இவை....... நளினகாந்தி கமலாமனோகரி பத்மராகம் சிம்ஹவாகினி சுரசேனா ஹரிப்பிரியா கெங்காதரங்கிணி குசுமப்பிரியா பாநுகிரணி ரெத்னாபரணி நீலமணி வாசந்தி சுதனம் மந்தகரஜினி NALINAKANTHI........ The raga we will see about is a beautiful, romantic and easily one of the most pleasant ragas in carnatic music, nalinakAnthI. This raga is also a personal favorite of mine. There have been many classical compositions and quite a few semi-classical and film songs based on this raga. I have heard people sometimes say that the hindustani raga, thilak kHamOd, is an equivalent to nalinakAnthI, but well except in some parts I don’t think it is similar. I will provide a comparison between both in the next part of the article. …..the scale of nalinakAnthI is as follows, (you may play it with the keyboard in this page, basics of indian classical music) S G3 R2 M1 P N3 S’ – C E D F G B C’ S’ N3 P M G3 R2 S — C’ B G F E D C Some of the first things that one can notice is the vakra (zig-zag) nature of the ArOhanam or the ascending scale. This raga has only the major scale notes as its parent janaka/melakArtha raga is sankarAbharanam, the major scale raga. It also resembles very closely to a sister raga which comes from the same sankarAbharanam, namely kedAram. The scale of kedAram is similar to nalinakAnthI but for the first four notes of the ArOhanam. The scale of kedAram is as follows, S M1 G3 M1 P N3 S’ – C F E F G B C’ S’ N3 P M G3 R2 S — C’ B G F E D C For nalinakAnthI, the mood is easily set by its vakra phrase, the S G3 R2 M1. As seen earlier, the descending scale or the avarOhanam is same as kedAram. In kedAram, the ascending scale has no Rishabam, Ri (R). Its first four swaras are S M1 G3 M1. This formation gives rise to the availability of a gamakA on M1, which is absent for nalinakAnthi. Is it the skippy nature of its arohanam formation, S G3 R2 …. R2 M1 G3? Or is it because it sounds beautiful when sung at slow or fast pace? Or is it the fascinating possibility that we can portray sketches of the raga and stop it on all the swaras present in the raga, S, R2, G3, M1, P, N3 without making the rendition sound unbalanced? We should though note that, we can hold the note on G3, only when we traverse the ascending scale. But the .P N3 S G3 phrase seems to give such a settling feel but with a sense of longing. Well, looks like nalinakAnthi due to all the above qualities, is all beauty and grace much like its name! In carnatic music, Saint Thyagaraja’s famous manavinaalakinchara is easily the most famous composition in this raga. Sri GN Balasubramaniam also has set one of his popular composition nE pAdhamE gathI in this raga. I love the varnam of Sri LGJ. In cine music, the king Ilayaraja’s evergreen enthan nenjil from the film Kalaingan is the most famous song set in this raga.(courtesy ::aboutindianmusic) todays raja sir song on nalinakanthi is......... youtu.be/SUy_dOdG-F4 Enthen nenjil neengatha Ilayaraja, Yesudas & Janaki
Posted on: Sun, 17 Aug 2014 01:26:42 +0000
Trending Topics
Recently Viewed Topics
© 2015