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On Carnatic Music Ragas 2

The document lists several Carnatic music ragas that possess similarities with other ragas in terms of notes and feel. It groups some ragas that are very similar or sometimes interchangeable, such as Kedara gowLai, suruTTi, and dEsh or Kalyani and Hamsadhwani. It also notes subtle differences between some ragas that are otherwise quite similar, such as Simhendramadhyamam having a more sensual feel while Keeravani is more morose. Pantuvarali and Poorvikalyani as well as Valaji and Janasammodini are also mentioned as possessing similarities.

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Yogananthan Balakrishnan
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724 views3 pages

On Carnatic Music Ragas 2

The document lists several Carnatic music ragas that possess similarities with other ragas in terms of notes and feel. It groups some ragas that are very similar or sometimes interchangeable, such as Kedara gowLai, suruTTi, and dEsh or Kalyani and Hamsadhwani. It also notes subtle differences between some ragas that are otherwise quite similar, such as Simhendramadhyamam having a more sensual feel while Keeravani is more morose. Pantuvarali and Poorvikalyani as well as Valaji and Janasammodini are also mentioned as possessing similarities.

Uploaded by

Yogananthan Balakrishnan
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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On Carnatic music Ragas.

A list of carnatik ragas which possess similarity with other ragas (For the experience of those who dwell in the carnatik system) (One can also enjoy the observations in certain places) Kedara gowLai, suruTTi, and dEsh. Desh has got a part resemblence to Kedaragoula and Surati. Few more similar sounding ragas: - Asaveri and Dhanyasi - Narayanagowla and Dvijavanti - Shuddhasaveri and Devamanohari - Pantuvarali and Purvikalyani - Saraswati and Vijayanagari - Abheri and Shuddhadhanyasi - Revagupti and Bhoopalam - Kalyani and Hamsadhwani (occasionally yes!) - arabi and devagandhari - shanmugapria and simmendra madyamam - thodi and dhanyasi - mohanam and mohanakalyani - saranga and yamuna kalyani? - anandha bhairavi and reethi gowla? - nadanamakria, mayamalava gowla and co - dharbar and nayaki and many more....... aberi and karnataka devagandhari are one and the same? - Kalyani and Hamsadhwani (occasionally yes!) - saranga and hameerkalyani. Pushpalathika - Manirangu, Nagaswaravali - bahudari are also twins Darbar/Nayaki, Bhairavi/Manji/Mukhari/Huseni, Sri/Madhyamavati/Manirangu/Brindavani Madhuvanti and Dharmavati. Malayamarutham, Valaji and Janasammodhini Sivaranjani and Vijayanahari Darbar and Nayaki

Nalinakanthi and Kadanakudhoohalam Ritigowla and aanandhabhairavi Hindolam and Suddha hindolam saramathi and natabhairavi? hindolam and chandragownce. hindolam has a kaisiki nishadam and Chandrakaus has a kakali nishadam.. Desh and Nalinakanthi similar sometimes. Saramathi, Margahindolam too (1) Sri-Madhyamavati-Manirangu (2) Bhairavi-Mukhari-Manji-Huseni (3) Yaduklakambhoji-Dwijavanti (4) Anandabhairavi-Reetigowlai- Abheri. Hamsaanandhi & Sunadhavinodhini Nasikabhushani,Vaagadeeshwari,Vachaspathi &Saraswathi Hindolam,hindola vasantham& Margahindolam Nattai,Gambeera naatai Pasupathipriya and suddhasaaveri Mayamaalavagowla and Kamalamanohari Nagaswarali Bahudari lalitha panchamam and Takka poornashadjam and rudrapriya Valachi and Malayamaarutham Valaji is S G3 P D2 N2 S - S N2 D2 P G3 S Malayamarutam is S R1 G3 P D2 N2 S - S N2 D2 P G3 R1 S simhendramadhyamam and Keeravani In theory, the only difference is the madyamam- the former has pratimadhyamam, the latter suddhamadyamam.Though the other swarams are all the same, the prayogams also help to differentiate. Compositions in Keeravani to alternate between are lighter and more emotional than Simhendramadhyamam which is a rather more grim and austere raga (with a tinge of deep emotion). Both ragas conjure a sense of nostalgia to some extent, although this is more pronounced in Simhendramadhyamam.

Simhendramadhyamam is a kinda sensual (hope the filter does not chew and spit this out) while Keeravani more morose. This may be because, among other things, the former is sung more in the upper ranges while the latter's swaroopa resides more in the lower range. SimhEmadhyamam has majesty (like a simhA?) and a liveliness (because of the upper range?). Yes, kIravANI is a bit somber, bur yields itself to a lot of emoting within its framework. Pantuvarali and Poorvikalyani . Chakravakam and Sourashtra Valaji and Janasammodini Sriranjani and abhogi Manirang and Madhyamavathy

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