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Carnatic Raga Appreciation

#6-Ritigowla - The Raaga with a Mesmerising Melody

A janya raaga of Kharaharapriya, Ritigowla also called NARIRITIGOWLA, is a vakra, rakthi
raaga, a raaga that is considered very classical and meritorious in the Carnatic music field. It is
very easy to identify this raaga due to the typical beautiful sanchaaras present in the
compositions. This is one raaga which deserves the compliment manam mayakkum
Ritigowlai. The melody of this raaga is magical and will surely mesmerize the listener with its
charm. The raaga assumes a pleading quality, and evokes a combination of karuna and
bhakthi rasas. Ritigowla an all time raaga is an ideal choice to sing in vilamba kala in the
middle of a concert, to bring the listeners into a contemplative and calm frame of mind. This is
also a Bhashanga Raagam, where the note Suddha Dha appears in some sancharas. Ritigowla
belongs to the Dvitiya Ghana Panchaka (second series of Ghana raagas) group.

Arohanam : S G1 R2 G1 M1 N1 N1 S / S G1 R2 G1 M1 N1 D2 M1 N1 N1 S

Avarohanam: S N1 D2 M1 P M1 G1 R2 S / S N1 D2 M1 G1 M1 P M1 G1 R2 S

Jeeva Swaras: G,M,N (N1 The breathing or life giving note of Ritigowla)

A beautiful raaga , the essence of its beauty lies in a few prominent prayogas/phrases.

Uniquely Ritigowla Sancharas: NPNNS ,NSGGM,GMNNS, NSGRS,GMGRS,NSNDM,


The sanchara GMPMGRS renders a soulful, soft touch to the raaga fully bringing out the
Karuna rasa. Jantai prayogas for the notes G and N are very popular- meaning to say that if the
composition has a prayoga NNS on one line, the next line will definitely be complimented with a
GGM. I feel that they are almost like twin pairs one cannot live without another! What a
beautiful complimenting relationship.


The Subbaraya Sastry (son of SyAma Sastry) composition Janani Ninuvina simply
immortalizes this Raagam. Muthuswami Dikshitars lyrical brilliance in using the Raagamudra
addressing the Goddess as Riti Gowrave in his Nilothpalamba Krithi in Nariritigowla is
examplory. The rasikas of Carnatic Music owes all the credit to Saint Tyagaraja for popularising
this raaga. His most popular composition nannu viDaci, is part of Saint Tyagarajas Opera
Prahlada Bhakthi Vijayam. This is the most wanted number in carnatic concerts. This song
illustrates extreme Bhakthi , Thyagaraja had for Lord Rama. He pleads Lord Rama not to leave
him just like Prahlada-the divine child pleaded Lord Narayana to be with him and never leave
This feeling of pain, anguish or sorrow that you may experience when you come to know that
when somebody whom you care and love very much is going to leave you is beautifully
illustrated with the sancharas in this raaga! But the raaga also has melodious sancharas of
comfort and soothe feeling to showcase feeling of joy and happiness.

Other majestic compositions by Tyagaraja are baDalika tIra, dvaitamu sukhama? advaitamu
sukhama?, cera rAvadEmira, and raagaratnamAlika. In the song dvaitamu sukhama?
advaitamu sukhama? in just one sentence, tyAgarAja has captured the never ending
debate behind the Hindu religion and philosophy! What a genius! In the song baDalika tIra,
tyAgarAja asks Rama to lie down and take rest as he imagines Him to be fatigued (after
Ramayana Episode). Tatvam aRiya taramA? is another excellent composition by Papanasam
Sivan. Another magnificent composition is paripAlaya mAm by Sri. Swathi Thirunal.

Famous Compositions in Ritigoula



Since I have written a review on Raaga Anandabhairavi, I think it is appropriate to write a few
lines of similarities and dinstinctions between Ritigowla and Anandabhairavi.

Allied Raagas Ritigaula and Anandabhairavi

One raaga that is quoted as similar to Ritigaula is Anandabhairavi. The first half of Arohana is
similar with the notes SGRG.Both allow PMGRS and NSGRG. I must admit that I myself do
not find that much similarity usually mainly because any Ritigaula alapana, krithi etc. would be
replete with ni ni sa (in tandem with ga ga ma) and ga ma pa ma ga ri sa these delivered with
their characteristic gamakas are just not part of Anandabhairavi. Now coming to differences the
use of P is prominent in Andhabhariravi whereas it is M in RitiGowla. The unique phrases
NNS and GGM itself tell us that the raaga is Ritigowla. It is to be concluded that in
Anandavhairavi, SGGM prayoga in Arohana is possible and MMGGRs in avarohana,clearly
distinguishes the raaga from Ritigowla. Gandharam, and the madhyamam are svarams that
provide most ranjana in Anandhabhairavi, but it is the N in Ritigowla.

Favourite Filmy Raaga

Ritigowla also enjoys a place of pride in tinsel town with several superhit film songs to its



I conclude this review by saying that something of value and substance is conveyed through
RitiGowla. Raaga is soaked in bhava be it bhakthi or Karuna rasa. It has a distinctive melody on
its own, bringing in the mood of great emotional appeal. Hope you all enjoy RitiGowla.


Janani Ninnuvina
Talam: Misra Chapu
Composer: Subbaraya Shastry

Janani Ninnuvinaa Amba
Janani Ninnuvinaa Triloka
Janani Ninnuvinaa Dik Kevarammaa Jagamulona Gaana Ambaa

Manasija Maanasa Sammodhini Vinave Naa Manavini Vini Nannu Brovumu


N P N | N S N N || S ; ; ; ; N S ||
G R S N S G G || M ; M G G R S ||
N S G R N S G || R N S R S S N ||
P ; N N S S ; || G G M G G R S ||
G G M G G M ; || N N ; S N S ; ||
N S G G M G M || N N D M N N S ||
G G M G R G ; || G R N S ; S N ||
S gs N D M M dm || G R S S gs N P ||

Swara Sahityam
Niravadhika Sukha Daayaki Yanuchu Ninnu Vini Chaala Golichiti
Niratamuga Tanayuni Moraluvini Nee Valane Brochutaku Evariki
Dharalo Vinumaa Idi Ghanamaa Tarunamidi Krupa Salupu Durusuga
Saraseeruhalochani Suvaasini Taamasamu Seyakane Brovumu


Varadaayaki Gaadaa Okkani Brova Karudaa Daya Raadaa

Neranammina Naa To Vaadaa Sarasija Bhava Hariharanuta Paada

Meaning: (From TK Govinda Raos Book)

Who else is there to take care for me on this earth ?

You who fascinated the heart of Cupid please pay heed to my entreaties and protect

Swara Sahitya
Upon hearing the infinite happiness you confer on your devotees,
fervently I have placed my trust in you.
Who else is there on this earth to hear my entreaties and offer protection?
Is it tiresome to pay attention?
Please condescend now and bestow your blessings.
O the lotus eyed one! Auspicious goddess!
Without delaying, please protect me!

Are you not the bestower of boons?
Dont you have compassion to protect this single soul ?
Why do you debate about protecting me ,
who has unshakable faith in you?
Your feet are adored by Brahma , Vishnu and Shiva .

Download Ritigowla Keerthanams Part 1 Here

Download Ritigowla Keerthanams Part 2 Here

Download Ritigowla Keerthanams Part 3Here

Download Ritigowla Devotional Songs Here

Download Ritigowla Movie Songs Here

#5-BrindAvanasAranga-A Most Pleasing and Emotional
BrindAvana sArangA , is a desya raga derived from the 22nd mela Kharaharapriya. A minor
raga, capable of giving a tranquilizing effect it has the following
arohanam: S R2 M1 P N3 S
avarOhaNam: S N2 P M1 R2 G2 R2 S

Ri, Ma and Ni figure both as jiva svara and nyasa svara. Ga is only used sparingly in this rAgam
and some books differentiate between brindAvana sArangA and brindAvanI based on the usage
of Ga. There is also lot of confusion between the two rAgams based on the usage of Ni. For
example, T.M.Krishna in a lecture demonstration says Brindavanasaranaga has only Kaishiki
nishada and NO kakali . Brindavani as we understand it TODAY has both nishada. there was a
time when brindavasarana and brindavani referred to the same raga which had only kaishiki
nishada and no kakali nishada..

Read Sri. T.M.Krishnas comment here regarding BrindAvanasAranga Here in this blog.

This raaga showcases lighter effect and melody giving a lot of scope for Ranjaka Prayogas
(mind pleasing prayogas). Technically speaking this is acieved by the use of both the
Nishadas.Shringara is a category that consists of many stages and emotions.Feelings of
unexpressed and budding love are characterised by Brindavana Saranga.

The song Rangapura Vihara is the most remarkable song framed in this particular raga.
Muthuswami Dikshitars master piece on the Lord of Sri Rangam, in the mellifluous voice of
MSS..Who else other than M.S.Amma can render this more soulfully? This song was greatly
popularised by Smt.M.S.Amma and this song has become so..popular that almost every
household plays this song. Another song is Sri Venkatesha Naadham which was popularised by
D.K.Pattamal.This rAga claims to have few more krithis, made popular by famous artistes like
Maharajapuram Santhanam (Swaminathena / Dikshitar), T.N. Seshagopalan (Saundararajam
upasmahe/ Dikshithar), Balamurali (Kamalaptakula / Thyagaraja) and Sowmya (Kaliyuga
Varadhan / Periasamy Thooran). Even though a sarvakalika (all time) raga, it is sung in post-
pallavi part in concerts.Muthuswami Dikshitar has composed two beautiful gems in this rAgam
rangapura vihArA and soundara rAjam. While the first one starts in the mel sthAyi (R,,S) and
explores the beauty of the rAgam in that upper range, the second song starts at the lower octave
(R, GRS) and hardly goes above S. These two songs are actually classic examples proving the
versatility of this bhakthi rasa pradhana raaga that it can lend itself to sancharas in all three
octaves. The Abhang Bhakthajana Valsale sung by Sri.O.S.Arun in his majestic voice will
definitely take you to divine heights. He has rendered this song in a fast pace. Quite contrary to
this Smt. Aruna Sairam has also rendered this Abhang in a slow pace filled with devotion.
Going to the krithi itself, the song SoundararAjam was composed at the soundararAja PerumAl
Swamy temple at NAgapattinam in the praise of Lord SoundararAja. The krithi is heavily
loaded, capturing the expanse of this rAgA in its entirety. The pallavi starts off with a wonderful
R M R S phrase and the rendu kalai rUpakam gets its beauty in this krithi. Every word falls
beautifully in the samam and it is a real treat to sing.This beautiful bhakthi rasa pradhAna
rAga is completely portrayed and further beautified in this wonderful Dikshithar krithi. Though
it is supposed to be a hindusthAni raga, Dikshithar has handled it so beautifully(especially with
the extensive usage of the kaishiki nishAdham) that one doesnt get that feeling at all. He has
made it completely carnatic.

Favourite Filmy Raaga

This is a favourite filmy raaga, with a soothing tone. Just remember the song Punnondru kandaen
Pennanguillaisung by Shivaji Ganeshan with Balaji in the movie Padithaal Mattum Podhuma-
the duet of legendry TMS and PBS..and singArakaNNE from the popular film Veerapandiya
Kattabomman. Other latest filmy numbers based on this raaga are

A R Rahmans
Konjum Mainakkale Kandukonden Kandukonden
Adadadada Muthu Muthu Mr. Romeo

Aathaadi Paavada Kaathaada Poovilangu
Intha Jilla Muzhukka Nalla Theriyum Priyanka
Maadathile Kanni Maadathile Veera

Vijay Antonys Ninjakootil Neeye Nirkiraai Dishyum

Hariharan-Leslie -Colonial Cousins Indian Rain Hariharan and Leslie Lewis

You will be hooked to this lilting and soothing raga when you start listening to it. It is a suitable
raga for singing bhajans slokas etc. Experts say that this raaga is ideally suited for Varsha
Rithu when rains evokes the romantic and creative spirit in every human being. Scholars love
the phrase ranjako janachittanam and expand on it. I wish to conclude the review that there is
no raga in a mere combination of notes; it has to please the mind and Brindavana Saaranga does

For those musical oriented hearts I am just posting the lyrics of the song SoundararAjam here
with the meaning. Thanks to various sources in the web for the same.

SoundararAjam AshrayE gaja brindAvana sarAngA varadharAjam

DIkshithar sings I seek the refuge(AshrayE) in Lord SoundararAja, the one who protected
Lord Gajendra(gaja) in the beautiful forest(brindAvana) of elephants(sAranga) and the one
who is the most superior(rAjam) in the bestowing boons(varadha).
Though it is just one single line of pallavi, the infinite scope with each word having so many
sangathis and the single line running for 2 octaves makes the pallavi really tough to sing. The
repeated S N phrase at rAjam is just too good and it feels as if time stops there, giving a dhrupad
effect of this hindustAni rAga . Ofcourse, needless to say, DIkshithar once again shows his
grammatical brilliance by beautifully bringing in the rAga mudhra in the very first lines of the

Nanda nandana rAjam nAgapattana rAjam
sundarI ramArAjam suravinuta mahi rAjam
mandasmitamukhAmbujam mandaradara karAmbujam
nandakaranayanAmbujam sundaratara padAmbujam


DIkshithar describes the Lord as He is the dear son(nandana) of nanda and the ruler(rAjam)
of nAgapattinam. He continues as He is the husband(rAjam) of he beautiful(sundarI)
Goddess Lakshmi(ramA). He is the one worshipped(vinuta) by all the Gods(sura) and the
master(rAjam) of the universe(mahi). In the madhyamakAla sahityam , dIkshithar
beautifully describes the Lord as The one whose lotus-like face(mukhAmbujam) is lit with
smiles(mandhasmitha) and the one whose lotus hands(karAmbujam) holds(dhara) the
mandara mountains. The one whose lotus-like eyes(nayanAmbujam) gives happiness and
pleasure(nandakara) to everyone and the one who possesses beautiful(sundarathara) lotus-
like feet(padAmbujam).

An exquisite anupallavi. Dikshithar repeatedly uses the word rAjam in the first two lines
employing the different meanings of the same word such as husband, ruler, superior etc. He then
follows a similar pattern in the madhyamakAla sAhityam comparing the face, hands, eyes and
feet of the Lord to the lotus flower and hence portrays Him as a very soft and delicate God .
Simple and beautiful anupallavi is followed by a sweet and rich charanam.

shambhara vairi janakam sannuta shukha shounakam
ambarIshAdi viditham anAdhi guruguha muditham
ambujAsanAdi nutham amareshAdhi sannutam
ambudhi garva nigraham anritha jada dukhApaham
kambu vidambana kaNTam khaNDI kritha dashakaNTam
thumburunutha shrIkaNTam durithApaha vaikuNTam

He sings about the Lord as the father(janakam) of the enemy(vairi) of Demon Sambhara
(shambhara) referring to the incident in which Lord Krishnas son, Pradhyumna was
kidnapped by SambharAsura and later vanquished by Pradhyumna himself. He continues to
describe the Lord as He is worshipped(sannuta) by shukha and sage shaunakha. He
protects(viditham) devotees like ambarIsha, etc. and he epitomizes the eternal(anAdhi)
joy(muditham) of guruguha. He is worshipped(nutham) by Lord Brahma, the one who is
seated on the Lotus(ambujAsana) and others(Adi). He is praised(sannutam) by Lord
Indra(amaresha) and other celestials. He suppressed(nigraha) the pride(garva) of the
ocean(ambudhi) and he is the destroyer(apaham) of all miseries(dukha) arising out of
falsehood(anrutha) and ignorance(jada). In the madhyamakAla sahityam, he starts of by
describing His beauty as the one whose beautiful neck(kaNTam) equals the beauty of a
conch(kambu vidambana). He portrays the fearsome face of the Lord when he says he
destroyed(kaNDikritha)the ten headed(dashakaNTam) rAvanA. dIkshithar finishes the
charanam by singing He is Lord shrIkaNTa, the one praised(nutha) by sage tumburu. He
removes(apaha) all sorrows(duritha) and resides in vaikuNTam.

Download BrindavanasAranga Instrumental

Download BrindavanasAranga Keethanams- Vocal
Raaga Brindavanasaranga Keerthanams.part1.rar

Raaga Brindavanasaranga Keerthanams.part2.rar

Raaga Brindavanasaranga Keerthanams.part3.rar

Raaga Brindavanasaranga Keerthanams.part4.rar

Raaga Brindavanasaranga Keerthanams.part5.rar

Download BrindavanasAranga -Film Songs

#4- HameerKalyani - A cool breeze from N.India

Imagine yourself standing on top of a hillstation. You feel the cool breeze brushing you and
moving softly. This is the feel you get when you listen to HameerKalyani which is the next
featured raaga.

Hameerkalyani a janya raga of Mechakalyani (65th mela raga) has the following

Arohana and AvarohanaArohana:S P M2 P D2 N3 S/ S R2 S P M2 N3 D2 S N3 S/ S R2 G3 M2

P D2 N3 P D2 P S

Avarohana:S N3 D2 P M2 M1 G3 P M1 R2 S /S N3 D2 P M2 G3 M1 G3 R2 S/S N3 D2 P M2 G
M1 R2 S

The phrases OR prayogas like MPDNDPMP-MGPMDPMGPM2M1R.. using both

madhyamas M1 and M2 enhances the beauty of the raga to Himalayan heights. Similary the vital
prayogas of both Nishadams like MPDN2S..N1RD..N1DM1PM2..SRSN2SDN1DP always
give a request feeling when it is sung. Both Nishadahas comes like a breeze relaxing all the
stress and tension. The raaga establishes its signature while singing the phrase M2GpM1R
which can be compared to a flawless flow of a river with all swells and waves.The melodious
raga though it came from N.India is popularised here by Sri.Muthuswami Deekshithar, Swathi
Thirunaal and Thyagaraja Swamigal.

Maanamuleda Composition by Thyagaraja Swamigal brings out the request feeling completely
when the Saint appeals to Lord Rama that Doesnt HE have even a little concern towards him ?.
Deekshithar Krithi Parimala Ranganadham is a song praising the diety of Parimala Renganatha
Swamy temple located in the village Thaerezhunthur. The Goddess of Parimala Ranganatha
Swamy is Pundareekavalli. A particular line in this composition is BhajeHamVeeram
depicting that this raaga is Hamveeru in Deekshithar Padhathi. Swathi Thurnal Krithi Gaangeya
Vasanaadhara Padmanabha is a composition praising Lord Padmanabha of Ananthapuri
Temple at Kerala. Subbaraya Sasthris Venkata Saila Vihaara which has a weave of carnatic
and classic Dhrupad touch is an examplory piece of Hameerkalyani.

Ariyakkudi Ramanuja Iyengars Hameerkalyani Thoomani Maadathu uses both Madhyamas

intelligently in the line Maamaan Magaleone after the other. Uthukkadu Venktakavis
composition Nadamurali Gaana Vilola is also another good song framed in this raaga. Lalgudi
Jayaram has tuned the Ashtapadi Yaaramitha Vanamaali which is very soulful taking the raaga
to the heights of ecstasy. Another Lalgudi composition a Thirupugazh Aiynkarane
Otttamugham.. which is a fast number demonstrates that this raaga can also accomodate
speed/fast tempo.

Favourite Filmy Raaga

Hameerkalyani has been a favourite raaga of A.R. Rehaman. ARR is very fond of this raga and
had made songs on and off with this raaga. The song Nilaa Kayirathu from the film Indira is
very melodious. I think AR Rahman is very fond of this raaga when he again composed the song
Swaasame..Swaasame in the film Thenali. Illayarajas Hamir kalyani, in veenai aendhum
vaaniyae (vietnam colony) is also an excellent demonstration of this particluar raaga. This raaga
also emotes the complaining tone. An illustrious film song Ennuyir Thozhi Keloru Seithi the
one based on the film Karna, beautifully brings out the complain a wife tells to her friend about
her husband not coming to see her. The Dhrupad style (Hindustani) of singing by the veteran
singer P. Susheela is clearly brought out in this particular song.

I conclude this review by quoting these two lines beautifully composed by Vasanth Desai in the
film Guddi sung by Vani Jayaram in Raaga Hameerkalyani.

Hum Ko Man ki Shakthi Dena Man Vijay Kare

Doosrom Ki jai se Pahle Khud Ko Jai Kare

The above lines mean that we can truly win only when we win over ourselves/our mind before
winning over the enemy or anyone else in this world. So conquer the SELF and embrace the
whole world so that you are always the winner.This particular Hindusthani coloured raaga, one
with great therapeutic value relaxes tension with its calming effect and brings down BP to
normal 120/80. In fact, the important qualifications of an excellent raaga like, it can bring out all
gamakas, vocal negotiations, briga (singing in a lightning speed), which can accomodate slow
and fast numbers etc makes Hameerkalyani a melody queen and a top class raaga.

Download and Enjoy Songs in HameerKalyani Here

#3-Sindhubhairavi A blend of Folk and Classical Touch

Sindhu Bhairavi is said to have its orgin from Hindustani, and is a morning Raga according to
the North Indian Musical tradition . The raaga Sindhubhairavi evokes very happy and pleasant
emotions. This raga is one of its kind were all the 16 swaras in Carnatic system are used. It is a
colourful raga and soothes the nervous system. Sindhu Bhairavi is just like a magnet attracting
people. One can experience peace and tranquility while playing or listening to the raga. It blends
folk and classical music that could be appreciated even by a common man without much of
information on raaga. The Raagam suits folk themes better than other Carnatic Raagas giving a
simple non-complicated straight forward expression to folk emotions like pathos and folk life
style.There are also very few krities in the parent Naatakapriya. It admits of many semi-classical
tunes and is often used towards the end of a Carnatic concert.

According to our Carnatic counterpart SindhuBhairavi is a Janya Raaga of Raaga Natakapriya

with the following notations.

Aarohanam : S R2 G2 M1 G2 P D1 N2 S
Avarohanam: N2 D1 P M1 G2 R1 S N2 S

The relaxing Sindhubhairavi blends a folk and classical music bhaava that could be appreciated
even by a common man without much of information on raaga.It is often used towards the end of
a Carnatic concert.

A collection of keerthanams in Raga Sindhubhairavi

Download Sindhubhairavi Keethanams Here

Download Movie Songs in Sindhubhairavi here

#2- AMRITHAVARSHINI The Raga of Rain

Literally, the meaning is one who showers amrit, the elixir of immortality. It is a combination of
two words: amrit and varshini. In Carnatic music Amruthavarshini is the raga that is supposed to
get the rain. The raga Malhar is a powerful legendary in Hindustani classical music which is
equivalent to Amruthavarshini. Even in Puranas, its written that in Thretayug, when Ravana set
fire to Hanumans tail, he set fire to entire Lanka. Then Ravana played the Amruthavarshini raga
on his Veena and brought forth rain.

Amritavarshini as it is sung today has the following

Aarohana and Avarohana:

S G3 M2 P N3 S
S N3 P M2 G3 S

The swaras used are Antara Gandharam, Prati Madhyamam and Kakali Nishadam. It is an
Audava raga and is very melodious. It does not give scope for treatment as a major raga in a
concert. One reason could be the absence of major compositions in the raga.The very popular
and frequently heard ones are Muthuswamy Dikshitars Anandamritakarshini in Adi Tala and
Muthiaha Bhagavatars Sudhamayee in Rupaka Tala.

The prayogas such as P M2 G3 M2 G3, Saa Gaa; G M P N M aa, P N S Gaa etc enhance the
beauty of the raga. The notes G and N with elongated karvais sound beautiful and help to bring
out the raga bhava.This raga makes an impact if sung briefly. Any overstretched aalapana makes
this raga lose its charm and effectiveness. The raga is a hot favorite for ragamalika swara singing
in ragam-taanam-pallavi.

There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small
village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the
drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar
looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to
bring rain and alleviate the plight of the drought-hit people.He addressed the Devi as
Anandamritakarshini, Amritavarshini. When he sang Salilam Varshaya Varshaya, meaning
let the rain pour, it is said the sky opened up. There was such a torrential rain that the place got
flooded. He had then to plead Sthambhaya Sthambhaya, meaning stop, stop.This incident has
given rise to the practice of musicians gathering together to sing this composition when there
rains fail.

You can download here

http://www.mediafire.com/?1mgmznfozki Part1 http://www.mediafire.com/?jm3dymtzuj2
Part2 http://www.mediafire.com/?dwmr2ymzqxz Part 3

#1 AnandaBhairavi The Divine Raaga

Mela: 20, Natabhairavi
Arohana:S G1 R2 G1 M1 P D1 P S || S Gi Ri Gi Ma Pa Dha Pa S
Avarohana: S N1 D2 P M1 G1 R2 S || S Ni Dhi Pa Ma Gi Ri S
Bhashanga Swara: D2 in Avarohana

Rasa: Karuna, Sringara, Bhakthi,Vinayam,Anandam

Time: All time



It is a sampoorna rgam rgam having all 7 swarams, but it is not a melakarta rgam, as it has
vakra prayogam (zig-zag notes in scale) and uses anya swaram (external note) in comparison
with its parent rgam. The anya swaram is the usage of chathusruthi dhaivatham (D2) in some
phrases of the rgam .It is vakra rgam since its arohana is not in proper sequence. Its arohana is
sa ga ri ga ma pa da pa sa (ga comes before ri and after pa comes after da). These two
technicalities makes this rgam vakram but only in arohana. In avarohana it is normal, that is sa
ni da pa ma ga ri sa.Anandabhairavi ragam is also a bhashanga rgam, since it uses more than
one anya swaram. Anya swaram of a rgam is the swaram which does not belong to the arohana
or avarohana of its melakarta (Tamil: thi parent) rgam but it is sung in prayogams (phrases
used in raga alapana, kalpanaswarams).

Analysis of Raga Anandabhairavi

An oldest Ragam, suitable to sing at all times; especially suited for singing Slokams, lullabies,
marriage songs, folk tunes. The full effect of the Ragam is brought out, when sung in
VILAMBITA KALAM. The analysis of RagaDevatha Anandabhairavi stresses mainly the
qualities of Bhakthi, Vinayam and Anandam. The ancient Raga reminds us that it is time we
accept these three qualities in our daily life to lead a Paramananda Life . Any person in an
irritated or disheartened mood who hears Anandabhairavi will definitely calm down and get
relaxed. It is also important to note that Anandabhairvi is taken mostly in filmi numbers for duet
songs depicting Sringara rasa(Romantic) and folk tunes depictng Hasya Rasa(Humour). The
Vinnappam/Request emoted in the Keerthana O Jagadamba by Sri. Syama Sastri requesting
Mother Goddess is very soulful. Sri. Syama Satri is always associated with Anadabhairavi
(along with Misra Chapu Talam). It was he who shaped this Raga to perfection in the current
form. My humble pranams at his lotus feet.In a nutshell what i infer is it is high time we all adapt
these qualities in our daily life mainly Vinayam, Shantam, Hasyam, and Bhakthi to lead a life
full of Anandam.. And a big No No to Anger

Download Anandabhairavi Keerthanas Here

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