Unit 4 Study Notes

Unit 4 Study Notes

1. Māyāmāļavagoula

History

  • The credentials of the raga Māyāmālavagoula can be traced to Rāmamatya's Swaramela Kalanidhi in the 16th century.

Janaka - Janya

  • Type: This is a Janaka raga, specifically the 15th Meļakarta and the 3rd raga in the Agni chakra.

  • Name Origin: The word Maya was prefixed to attain the number 15 in the 72 Meļakarta table.

  • Characteristics: It is described as a sampurna (complete) and an Upanga raga.

Murchana and Swara Sthānās

  • Arohaṇa: SRGMP DN S ||

  • Avarōhaṇa: N DPMGRS ||

  • The swara sthānās of the raga are:

    • Shadja (S)

    • Shuddha Rishabha (R)

    • Antara Gandhara (G)

    • Shuddha Madhyama (M)

    • Panchama (P)

    • Shuddha Dhaivata (D)

    • Kākali Nishāda (N)

Graha - Amsa - Nyasa - Jeeva Swaras

  • The Jeeva, Amsa, and Nyasa swaras are:

    • Jeeva Swaras: Gāndhāra (G), Pancama (P), and Shadja (S).

    • The Madhyama (M) in the raga can alternate with Gāndhāra resulting in (Ga M - Ga M) or (Ma G - Ma G) depending on its prayoga.

  • Samvadi swaras: S-M, S-P, R-D, G-N, M-S, P-S.

  • Vādi swara is SA.

Prayogas

  • This raga utilizes Janța and Dātu sancārās, which enhance its beauty.

  • Its emotional moods include bhakti, śānta, and Karuṇa; therefore, it can be performed during the beginning of a day or at the concert.

  • In Hindustani Music, this raga is known as Bhairav thāt.

Special Features

  • It has symmetrical tetrachords, meaning:

    • Purvānga: S R G M

    • Uttaranga: P D N S

  • The swaras form pairs: S&R, G&M, P&D, N&S.

  • This raga is popular and powerful, often utilized by Purandara dāsa for composing fundamental exercises in Carnatic music for beginners.

  • It is a murchanākāraka raga; changing the tonic note leads to new ragas:

    • When Madhyama (Ma) is taken as Shadja, it generates Simhendramadhyama;

    • When Rishabha (Ri) is taken as Shadja, it generates Rasikapriya.

Janyās

  • Popular janya ragas associated with Māyāmālavagoula include: Malahari, Goula, etc.

Compositions

  • Notable compositions pertinent to this raga include:

    • Sarali, Janța, Alankārās, Dātu swaras by Purandaradāsa.

    • MāyātitaSwarupini by Tanjavur Ponnayya.

    • Meru samana by Tyāgarāja.

    • Tulasidala by Tyāgarāja.

    • Srinadhaguruguho by Dikshitar.

Brief Sanchāra

  • Sequence: S, R, MG M, MGMP, MGMGR R, S, PDP, MG PMGRSNS, S, RGRG, GMP DNS,

    • NDPM/PDNS ŔG RSS, N/S ŔG MĠR Ŕ, R, / ŚNDPMG PMGRS

    • N/SRGM GR SNS, R, R SS, //

Possible Questions

  1. Brief the Lakshana of Māyāmāļavagoula.

  2. Explain the secondary features of raga Māyāmāļavagoula.

  3. Give an ālāp of this raga.

  4. List the various compositions of raga Māyāmāļavagoula.

2. Malahari Raga

History

  • Malahari is among the early ragas referenced in prestigious texts such as Sangita Ratnakara, Sangitamakaranda, Sangitasara, and others.

Janaka/Janya Raga

  • Malahari is classified as a janya raga of the 15th melakarta, Māyāmālavagoula.

Murchana and Swara Sthanas

  • Classification: This is an Audava - Shadava raga and is considered an upanga raga.

  • Arohaṇa: SRMPDS

  • Avarohana: SDPMGRS

  • Swara sthānās present in Malahari include:

    • Shadja (S), Shuddha Rishabha (R), Antara Gandhara (G), Shuddha Madhyama (M), Panchama (P), Shuddha Daivata (D).

Prayogas

  • The murchana can be modified for gamaka:

    • Arohana with gamaka: Plain: S R M P D S

  • Avarohana with gamaka: Plain: SD PMGRS

    • In gamaka tone: PDPD P M MGMG GSR,

Graha, Amsa, Nyasa Swaras

  • This raga is a rakthi raga characterized by:

    • Graha swaras: R, M, D, S.

    • Jeeva/Amsa: M, D.

    • Vadi-Samvadi: R-D, D-R.

    • Nyasa swaras: P and D.

Characteristics

  • Malahari is typically sung in the morning and evokes a calmness.

  • Described as having Bhakti rasa and bhaava pradhana.

  • In various contexts, it’s known by other names, including malhara, malhar, and malahari, signifying it is often associated with the rainy season.

    • The word translates to the purification effect.

  • Popular in compositions by Purandaradasa as sudha raga.

Brief Sanchara

  • Common phrase sequences include: DPMPDS/DSRMGRS/SDPMGRMPD/PMPDS/DSŔPDS/MPDSDPMGR/DPMGR/RMPD, PMGR/MGRS/SDPDR,S.

Musical Forms

  • Malahari has limited musical forms:

    • Gitam examples include compositions such as Sri gananatha, Kundagowra, Kereya neeranu.

    • Varna: Vara siddhi by Dr. Sreepada Pinakapani.

    • Kriti examples include: Panchamaatanga by Muthuswamy Dikshitar, Ananthapadmanabham by Muthaiya Bhagavathar, Kalaye Deavadevam by Swati Tirunal.

3. Mohana

History

  • Mohana has roots back to the 10th century, exemplified by Tiruvachakam sung in this raga.

  • Recognized as one of the first Audava ragas.

Janaka - Janya

  • Mohana is a janya of the 65th Meļakarta, Mecha Kalyāṇi, additionally regarded as a janya of the 29th Meļakarta, Dheera Sankarābharaṇa and 28th Meļakarta, Harikambhoji (as per differing sources).

  • Classification: It is categorized as an Audava - Upanga raga.

Murchana - Swara sthānās

  • Arohana: SRGPDS ||

  • Avarōhaṇa: DPGRS ||

  • Swara sthānās are Shadja (S), Chatusruti Rishabha (R), Antara Gandhara (G), Panchama (P), Chatusruti Dhaivata (D), while Ma and Ni are absent.

Graha - Amsa - Nyasa - Jeeva Swaras

  • Vādi swara is S; Samvadis include S-P, R-P, G-D, R-D, P-S.

  • The swaras serve as Jeeva, Nyasa, and Graha swaras; all swaras contribute to the raga's essence.

Prayogas

  • Janta and Datuprayogas embellish the raga.

  • The raga retains its Chaya even when nuances are not emphasized. It supports Janta, Dhatu, Āhata and Pratyāhata swara prayogas.

  • This is a Tristhāyi raga.

Special Features

  • Mohana stands as a rakthi raga, giving rise to feelings of attraction and love.

  • Commonly employed in poetry, dramas, harikathas, as well as film music.

  • Recognized for its aesthetic value and scope for Manodharma.

Compositions

  • Various musical forms can be found, including Gitas, Swarapallavis, Varnas, Krtis, Kirtanas, Javalis, Tillanas, and Padams.

  • In Hindustani music, it is referred to as Bhupali.

  • Popular compositions include:

    • Ninnukori and Rama ninnu by Thyagaraja,

    • Nanupaalimpa and Rararajeeva by Dikshithar,

    • Nagalingam by Mysore Vasudevachar.

Brief Sanchāra

  • Sequence: GDP GR,S,/SRD, SR, G, G,/GPR, GP, P, P,/G, PD,P, GR, S, SRGRSD S, R, G, G, GP, DS DP GR, GPD, D, / DS G, PD, S, S,/ DSR ŔŔŔĠĠŔSD, P,- GPDSŔG, R, R/ PGR SRORDERG, RSD, SPR.G. D GRG, RSD, PGR SRGPDSŔĠ,, RSD, S, Ŕ Ġ, Ġ,/ĠRPG, ŔS, S,/SRĠRSDDSŔŠDPGPDSDPGR, G D PD, P GR, SRGRSD D, P, /DR, DS, S,

4. Kalyani Raga

History

  • Kalyani is one of the most esteemed pratimadhyma ragas and stands as a pivotal raga in Carnatic classical music.

  • Identified as one of the six most important ragas of Carnatic music alongside Kharaharapriya, Todi, Sankarabharana, Bhairavi, and Kambhoji.

Janaka/Janya Raga

  • Kalyani is the 65th melakarta, a parent (janaka) raga in the 72-melakarta raga classification scheme. It is often referred to as Mechakalyani due to its prefix.

  • The raga is positioned in the 5th raga of the XI chakra known as Rudra.

  • The bhootha sankhya of this raga is linked to Rudra-maas, representing its number placed within the group.

Murchana and Swara Sthanas

  • Kalyani is characterized as a sampurna-sampurna and krama raga, containing all seven swaras represented linearly in both arohana and avarohana.

  • Arohana: SRGMPDNS

  • Avarohana: SNDPMGRS

  • The seven swara sthānās are:

    • Shadja (S), Chatusruti Rishabha (R), Antara Gandhara (G), Prati Madhyama (M), Panchama (P), Chatusruti Dhaivata (D), and Kakali Nishāda (N).

Gamaka Form

  • Written forms of murchana may include:

    • Aroha with gamaka: Plain: SRGMP DN.

    • Avarohana with gamaka: Plain: S N DPMG.

Graha, Amsa, Nyasa Swaras

  • Kalyani is recognized as a gamaka yukta rakthi raga that can be performed across multiple octaves (Tristhayi raga).

  • The associated swaras include:

    • Graha swaras: S, R, G, P, N.

    • Jeeva/Amsa swaras: S, G, M, P, N.

    • Vadi-samvadi swaras: S-P, R-P, R-D, G-N, M-N, P-S.

    • Nyasa swaras: R, G, D, N.

Characteristics

  • Kalyani embodies a well-structured swarupa, rasa, and bhaava.

  • It features all tivra (sharp) swaras and is primarily recognized as a veera rasa pradhana raga; it is viewed as very auspicious, suitable for any time of day.

Murchana Kaaraka

  • This raga acts as a murchana kaaraka, meaning that taking certain swaras as shadja can generate different ragas:

    • When R, G, P, D, and N are changed, they yield Harikambhoji, Natabhairavi, Sankarabharana, Kharaharapriya, and Todi respectively.

Brief Sanchāra

  • Sequence: NRG./G.GR/GMPS/SPM GREMR/EMPOXRMM

    • … further sequences as recorded.

Musical Forms

  • Kalyani supports an array of musical forms including:

    • Gitam, Swarapallavi, Varna, Kriti, Kirtana, Javali, and provides a foundation for improvisation such as raga alapana, swarakalpana, neravu, tanam, and pallavi, enriching performances across multiple contexts.

  • Examples of compositions include:

    • Gitam: Kamala jaadala.

    • Swarapallavi: Various attributions.

    • Varna: Vanajakshiro by Ramnathapuram Srinivasayyangar.

    • Kriti: Amma ravamma by Tyagaraja.

    • Nava avarana kriti: Kamalambam bhajare by Muthusvami Dikshitar.

5. Sankarābharaṇa

History

  • This raga historically referred to as Ranjani, highlights a Nishāda murchana in the Shadia grāma. Recognized for its combinations of Shadja-Panchama and Shuddha Madhyama Samvadi, this raga is known as Bilawal in Hindustani music and serves as the introductory raga for beginners in that style.

Janaka Janya

  • Sankarābharaṇa is categorized as a major raga, falling under Meļakarta number 29, achieving this designation by prefixing 'Dheera'. It is established as the 5th raga in the 5th Bāņa chakra.

Murchana - Swara Sthānās

  • Arohaṇa: S R G MPDNS

  • Avarōhaṇa: Š ND PMGRS ||

  • The swara sthānās for this raga are:

    • Shadja (S), Catusruti Rishabha (R), Antara Gāndhāra (G), Shuddha Madhyama (M), Panchama (P), Catusruti Dhaivata (D), Kākali Nishāda (N).