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

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1 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. 153

2 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 15 th 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 154

3 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«x js 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«x js lka 155

4 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«x js] 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 156

5 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«x js x js] x e«i x js] 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 x js 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 x js and fu /k] i e«x] Swarsamuh 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 x js 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. 157

6 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 x js 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] 158

7 /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 65 th Melakartha raga ; (to conform to the katapayadi formula, the phrase Mecha was prefixed to the name of this raga) ; 5 th raga in the 9 th (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 65 th 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 : S R G M P D N S AVRAOHANA : S N D P M G R S 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 159

8 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 Sanchara 3 : 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 yaman is a popular raga derived from kalyan Thaat. It is said that this raag is introduced by Amir Khusro. This raga is popularly known in South as well as in North as kalian 1. Mecha kalyani is the most popular raga of carnatic system. A 65 th melakarta. This is the first Prati madhyama raga. The word Mecha is prefixed to kalyani according to the katapayadi scheme to find out the number of melakarta & swaras used. 2. Vaadi of yaman is Ga and Samvaadi is Ni 2. All are raga cchaya swaras, R, G,D, N are nyasa swaras. 3. Time of singing of this rag is in the first part of night. 3. No specific time boundations, it can be 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 160

9 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 1. The notes of kalyan are completely similar to that of kalyani of Carnatic music but there are some slight practical difference while singing this raag. Based on the vaadi & samvaadi notes i.e. Ga is the first main leading note of kalyan in this system, According to the alaap 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 x js x] fu+ js x js & l & i e«x js la Combinations show the importance of Ga swar in which Hindustani Kalyani is different from Carnatic kalyan. Kalyani 1. The kalyani raga sacharas are as follows. GMDP- MGR- GRR GM R this kind of aahata prayogas and janta swaras like "R R G G M M D D" are not taken in Hindustani music. Also in Carnatic Kalyani gandhar swar is teevra based on dwavimsati srutis tivra Antara gandhara is sung and teevra kaakali ni is sung i.e the values are 81/64 and 243/128. where as in Hindustani music swaras are not given more oscillation compared to Carnatic music therefore eventhough the swaras and sangatis are same but due to the style and swar combinations the raga bhava differs. 161

10 2. i x js x sangati is also a special 2. In classical Carnatic music P G R 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 S R G M P D N S S N D P M G R S 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 162

11 /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 swarsangatis 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 163

12 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 fu i] 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 fu i /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 R G M P D N S AVAROHANA : S N D P M G R S 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 164

13 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 - S R G M P D N S Kharaharapriya - R G M P D N S R Todi - G M M D N S R G Kalyani - M P D N S R G M Hari kambhoji - P D N S R G M P Natha bhairavi - D N S R G M P D Sankarabharanam - N S R G M P D N 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 : S R G M P D N S 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. 165

14 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. Bilawal is also got many forms types. 4. Raag Sankarabharanam is a pure Melakarta raga(parent raga). Alahiya Bilawal, Nat Bilawal, Yamani Bilawal, Shukla vilaval, Nat Bilawal 166

15 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 komal ni in Bilawal can't become a Vivadi swar. 6. All kinds of compositions like Vilambit khyal, Drut khyal etc. are sung in this raag. 5. Kaisiki nishad is not used in Sankara bharanam.till now there are no prayogas of Kaisiki Nishad in Sankarabharanam raag. 6. All keertanas, kritis are popular in this rag. Varnas, geetas, Swarajatis etc. are 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 167

16 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 : 168

17 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 fu i] 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 fu i 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 169

18 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 S R G M P D N S S N D P M G R S 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 : 170

19 lk x] e i] /k i e x] e x js lk] x e i /k fu /k e i i /k i e x] lk x e i] i /k fu /k i /k e 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 i e x] e x jslka In the above given swar-vistaar, x e i /k i e x (OR) i /k fu /k i e i i /k i e 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 171

20 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: 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 172

21 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. 173

22 THAAT KHAMAJ & MELA HARIKAMBHOJI KHAMAJ 1. The notes taken in Thaat Khamaj are Aaroh : S R G M P D N S Avaroh : S N D P M G R S Shuddh Re, Shuddh ga, Shuddh ma, pa, Shuddh Dh, komal ni. 2. Raag Khamaj s Aaroh and Avaroh 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 In aaroh Rishabh is absent and shuddh nishad is used. 3. The important notes and main Swar- Sangatis of Raag Khamaj are: Sa ga ma pa, ni Dh, Ga ma Ga, Ga ma pa Ga ma ga Re sa. Ni sa ni dh pa ma, Ni dh pa dh ma ga, Ga ma ga Re sa HARIKAMBHOJI 1. The notes taken in Mela Harikambhoji are Aarohan: S R G M P D N S Avarohan: S N D P M G R S Chatusruti Ri, Antara ga, Suddha Ma, pa, chatusruti Dha, kaisiki Ni. 2. Harikambhoji is a Melakarta raag (parent scale) in which both ascending and descending komal Nishad (Kaisiki nishad) is used. 3. The main Swara Sancharas of Harikambhoji- S N, D P, P M G R M G G R S,- M G R S, R G M P D N S R- G M G R S N D P, M P D N,S N M N D N, - P, D,, N S N S,... 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 174

23 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 : S R G M P D S Avarohana : S N D P M G R S 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 PRACTICAL DIFFERENCES : 175

24 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. Aaroh: Sa ga ma pa Da Ni sa Avaroh: Sa ni Dh pa, ma Ga Re sa Harikambhoji. Khamas raag is being adopted from Hindustani music to 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 Ni da pa, da ma ga etc., SGMPDNS 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 176

25 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

26 oscillations. 6. Time of singing of this raag is in the second quarter of the night. 6. no specific time boundations. PRACTICAL DIFFERENCES : 7. Aaroh : S G M P D N S Avaroh: S N D P M G R S Aaroh: S M G M D D N S S G M P D N S 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

27 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 S R G M P D N S S N D P M G R S 179

28 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. 180

29 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

30 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 x js x js 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 x js x js 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 swarsangati shows that pa as a Nyas swar. 182

31 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 : lk x js x js 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