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raga series

Darbari Kanada

When OK Kanmani songs were released and I made my dad listen to Naane Varugiren, we started discussing how every few years one hit song in darbari kanada comes out somehow. And we were wondering what is so special about this raga that makes it a music director’s favourite. That is how I came up with this playlist of 12 movie songs in the raga, from then to now… from chinnan chiriya to katre en vasal, ennai konja and the recent one from OKK.

I haven’t learnt any Kriti in Darbari Kanada and it is only through movie songs do I identify this raga till date. Either it is attractive enough as is, or because it isn’t possible to meddle with – whichever reason be, I have found all the movie songs set in this raga unadulterated so far.

This post features a guest performance by my dad, Shri Devanathan. Please listen to chandra chooda siva sankara parvathi, a composition of Purandara Dasar.

Govardhana giridhara by Narayana Theerthar and varuvai varuvai varuvai kanna by Bharathiyar is sung in this raga. But nobody from the Trinity seemed to have dealt with it. Wikipedia says the raga was taken from the Carnatic world to Hindustani by Tansen (its called Darbari after the court of Akbar). Whereas, we call it a Hindustani raga. My hunch is the North India got influenced by our Kanada and created Durbari and then we brought back Durbari to Carnatic and named it Darbari Kanada. The raga is the descendant of 20th melakartha Natabhairavi.

Concerts to watch out for today, Dec 7….

6:45 PM Sanjay Subrahmanyan, R. Raghul, Tanjore Murugabhoopathy, Thirupunitura Radhakrishnan @ Narada Gana Sabha Main Hall, TTK Road, Alwarpet (Kartik Fine Arts)

6:45 PM Sikkil Gurucharan, B.V. Raghavendra Rao, Bombay Balaji @ Youth Hostel, 2nd Avenue, Indira Nagar, Adyar (Margazhi Maha Utsavam)

Until next,
Vid ๐Ÿ™‚



The next raga in the series is Begada, a raga whose scale doesn’t conform to order. I always imagined ragas like Kamas and Begada to be these rebellious kids refusing to stand in line during school assembly. Nevertheless, they stand out, don’t they.

The below song is probably the reason why I wanted to do this raga. I first chanced upon the cover version by Agam band. The original is from a 1970 Malayalam movie, Sthree which has two solo versions sung by Yesudas and Janaki respectively. Below link is the female solo of Innale neeyoru. The song uses two ragas, and the first part is in Begada.

I wasn’t able to find any Tamil movie songs in Begada – let me know if you do.

The scale that I was talking about for Begada goes thus…

S G3 R2 G3 M1 P D2 N2 D2 P S

S N3 D2 P M1 G3 R2 S

Below is my attempt at singing Vaa Muruga vaa in Begada, a Spencer Venugopal composition.

Few other notable kritis in this raga include

  • Thyagaraja namasthe and vallabha nayakasyaย by Dikshitar
  • naadopasana by Thyagaraja
  • Elle ilangiliye, aย Thiruppavai
  • Veenai Kuppaiyar’s varnam inta chala

This raga was a specialty of Patnam Subramanya Aiyyar and earned him the name ‘Begada’ Subramanya Aiyyar.

Concerts to watch out for today, Dec 3….

10:30 AM S. Karthick โ€“ Lec Dem โ€“ โ€˜Appreciating the role of Ghatam, Khanjira and Morsing in a concertโ€™ @ Ragasudha Hall, 85, 2, Luz Avenue, Mylapore (Parivadini)

6:00 PM – Mysore Brothers (V), Umayalpuram K. Sivaraman, S. Karthick @ Sivagami Pethachi Auditorium, MCTM School, Alwarpet (Brahma Gana Sabha)

Until next,

Vid ๐Ÿ™‚


I started writing a series of posts on Carnatic Ragas, a few years ago. We did 16 ragas then, and having been inspired by a few requests to continue, here I am kick starting the second set of ragas. The phase one started here.

The format usually is to give an explanation to the raga (with any specialty of it), the scale, a song in the raga (usually a sound cloud recording), how movies dealt with the raga and a youtube link of a film song or two. This time, you might find a few tweaks, which might include guest performances (this post does feature one). Without further ado….

Keeravani is the 21st melakartha ragam in the 72 raga chart and its scale is:

Aarohanam- S R2 G2 M1 P D1 N3 S

Avarohanam – S N3 D1 P M1 G2 R2 S

In western classical music, this corresponds to the ย Harmonic Minor scale. There are some classic kritis in Keeravani:

Kaligiyunte by Thyagaraja,

Devi neeye thunai by Papanasam Sivan,

Varamulo sakhi by Patnam Subramaniya Iyer,

Innamum sandeha padalamo by Gopalakrishna Bharathi.

The song that is featured in this post, however, is a relatively new one on Paramacharya by Swarna Venkatesa Dikshitar, set in Jampa thalam.

Instead of the usual YouTube link I give to popular movie songs in the raga, this time we have a mashup sung by fellow blogger Sriram

Apart from the songs in the above mashup (i.e) Paadadha paatellam, Raja Raja Chozhan, Kannale Pesi Pesi, there are lot many film songs that adopt or are influenced by this raga. I found a forum discussion on Ilayaraja and Keeravani.

Concerts to watch out for today, Dec 1…

6:45 PM – Malladi Brothers @ Bharatiya Vidya Bhavan Main Hall, East Mada St., Mylapore (Bharatiya Vidya Bhavan)

6:45 PM – Abhishek Raghuram, Akkarai Subbulakshmi, R. Sankaranarayanan @ Youth Hostel, 2nd Avenue, Indira Nagar, Adyar (Margazhi Maha Utsavam)

Until next,

Vid ๐Ÿ™‚

16. Mohanam

After Nattakurinji, for a fitting finale, I could not have chosen anything better than Mohanam. One will have the feeling of having lived life King size after listening to this raga; it is that grand and fulfilling.

Mohanam belongs to the family of Harikamboji with 5 swaras in scale – S R2 G3 P D2 S / S D2 P G3 R2 S

Mohanam is the oldest ragam known to mankind, according to Dr. S. Ramanathan’s doctoral dissertation. It can be sung in any phase of the concert, proving to be the all-time raga that it is. Also called as Bhoop / Bhoopali in hindustani, this raga is used to denote bravery; it is used in Chinese, Japanese and Swedish music it seems.

A favourite of trinity and contemporary composers alike, mohanam holds a lot of kritis to its credit:

Thyagaraja’s Bhavanuta, Dhayaranee, Mohana Rama, Nannupalimpa, Evarura Ninnuvina …

Dikshitar’s Rajagopalam, Narasimha Aagacha, Gopika Manoharam (by Ambi Dikshitar) …

Papanasam Sivan’s Kapali …

Annamayya’s Cheri Yashodhaku …

Arunachala Kavi’s Yen Palli Kondeerayya …

Oothukkadu’s Swagatham Krishna …

GNB’s Sada Palaya (Sa Da Pa are the same notes) …

Maanikka Veenai Endhum from unknown composer …

For a complete understanding and enjoyment of Mohanam, please listen to this blend of instruments by Lalgudi Jayaraman, Ramani and Venkatraman – playing violin, flute and veena respectively. (performed in 1967)

Some very interesting compositions from the myriad of movie songs I had to choose from are:

  • Aaha Inba Nilavinile from Maaya Bazaar
  • Pazhaga Theriya Venum from Missiyamma (writing this suppressing the feminist in me!)
  • Giridhara Gopala from Meera
  • Paadumbodhu Naan Thendral Kaatru from Netru Indru Naalai
  • Ninnukori Varnam from Agni Natchathiram
  • Kanmaniye Kaadhal Enbadhu from 6 ilirundhu 60 varai
  • Vaan Pole Vannam from Salangai Oli
  • Porale Ponnuthayi from Karuthamma (influence)
  • Pakkadhe Pakkadhe from Gentleman
  • The Chinese song in 7am Arivu …

In the striking voice of Ghantasala and P. Leela, Aaha Inba Nilavinile…

A special thanks to dad (for equipping me with most of the knowledge that I have said and teaching and singing along in all the recordings), (main reference) and to everyone else for your encouragement.

– Until next,

Vid ๐Ÿ™‚

15. Nattakurinji

And this is the penultimate raga – Nย  for Nattakurinji, after a detailed Brindavana Saranga.

Nattakurinji is a child raga of Harikamboji. It is very vakra (zigzag) in usage.

Aarohanam: S R2 G3 M1 N2 D2 N2 P D2 N2 S

Avarohanam: S N2 D2 M1 G3 M1 P G3 R2 S

Nattakurinji, I feel is ruggedly beautiful, say like a trek route, in its nuances ๐Ÿ™‚ Classical songs in this raga include –

Budhamashrayami, the navagraha kriti for Wednesday, by Dikshitar

Parvathi Kumaram Bhavaye by Dikshitar

Kuvalayadala Nayana by Thyagaraja

Ekkalathilum by Ramasamy Sivan

This soundcloud link has me singing a song Parvathi Kumaram by Muthuswamy Dikshitar.

Maybe because it should be identified very precisely, this raga has not been handled that much in movies. But those evident pieces of work are:

Kavalayai Theerpadhu Naatiya Kalaye from Shivakavi… wherein the last line goes “…raagathil sirandhadhu naatakurinjiye…”

At Chitra’s best and in all shades of blue and green, Kannamoochi Yenada from Kandukonden…

And the last post will be M for …

Until then,

Vid ๐Ÿ™‚

14. Brindavana Saranga

So this post is B for Brindavana Saranga. A raga with an appeal to any kind of audience and at any time, in my opinion.

It is the janya of the giant family of Karaharapriya with a scale as:

Aarohanam: S R2 M1 P N3 S

Avarohanam: S N2 P M1 R2 G2 R2 S / S N2 P M1 R2 S

There are heavy classical songs, however, it is best suited for post-main part of the concert. Some famous songs in Brindavana Saranga include:

  • Rangapura Vihara, Sowndara Rajam, Swaminathena by Dikshitar
  • Kamalaptha Kula by Thyagaraja
  • Enta Matramuna (part of the song) by Annamacharya
  • Kaliyuga Varadhan by Periyasami Thooran

Have sung Aasai Mugam Marandhu Poche, a Bharathiyar song, a version that is set in BS, tuned by my dad (and I did not know that till now :(), in the below link.

Owing to its pleasing and emotional effect, just like Desh, it has been used / influence used in a lot of movie songs by a lot of music composers.

Pon Ondru Kanden from Padithal Mattum Podhuma – Vishwanathan / Ramamurthy

Singaara Kanne Un from Veerapandiya Kattabomman – G Ramanathan

Maadathile from Veera – Ilayaraja

Konjum Mainakkale from Kandukonden – A R Rahman

Radhai Manadhil from Snehithiye – Vidhyasagar

Ye Samba Ye Samba from Pandavar Bhoomi – Bharadwaj

Nenjankootil from Dishoom – Vijay Antony

Urugudhey from Veyil – G V Prakash

Saavan Aaye Ya Naa – Dil Diya Dard Liya (hindustani touch) sung by Mohamad Rafi and Asha Bhosle.

Howver, there is this never ending debate that the raga Brindavani and Brindavana Saranga are one and the same or not. Let me not delve into that topic in this post, hence knowledgeable people might find some of the songs mixed and repesented under the same raga title. #disclaimer

– Until next,

Vid ๐Ÿ™‚

13. Vasantha

This post is about the raga Vasantha. One of the oldest raga in vogue for more than a thousand years, it is said; suitable to be sung in the evening.

It is derived from the 17th melakartha (parent raga) Suryakantham. The scale is S M1 G3 M1 D2 N3 S / S N3 D2 M1 G3 R1 S. As you can notice, it is a PA varjya (sans) raga.

Kritis in Vasantha include:

Ramachandram Bhavayami by Dikshitar
Seethamma Maayamma by Thyagaraja
Kodu Bega Divyamathi by Purandara Dasar
Natanam Aadinaar by Gopalakrishna Bharathi

This sound cloud link has a song by Dasar sung in Vasantha. Do listen and give feedback…

Movie songs that have used Vasantha include Andhi Mazhai Pozhigiradhu from the movie Raja Parvai … Kanden Kanden from Pirivom Sandhippom … The latter’s link below:

The previous post in the series can be found here.

– Until next,
Vid ๐Ÿ™‚

12. Charukesi

My last post in the series was Lalitha, and now it is C for Charukesi.

This raga, I feel, has an emotional appeal in both Hindustani and Carnatic Classical. This is the 26th melakartha ragam in the scale chart, thus has all 7 swaras.

Aarohanam: S R2 G3 M1 P D1 N2 S

Avarohanam: S N2 D1 P M1 G3 R2 S

Charukesi is called Tarangini as well, and a raga that can emote both devotion and pathos to the listener easily.

Kritis in this raga are few, listed below are fewer still…

  • Aadamodigalathe by Thyagaraja
  • Kripaya Palaya by Maharaja Swati Tirunaal
  • Varnam by Lalgudi Jayaraman

The link below contains a swara piece that I had learnt to perform in an event called Nadabrahmam, composed by Chandrakanthji. I ended up not participating in the main event, still the song lingers…

Now to the only part that most of you read – movie songs in the raga Charukesi. There are some really popular ones, very versatile handling of the raga.

  • Vasantha Mullai from Sarangadara
  • Manmada Leelayai Vendraar Undo from Haridas
  • Aadal Kalaye from Sri Ragavendra
  • Thoodhu Selvadhaaradi from Singaravelan

And…. Udhaya Udhaya, a brilliant ARR composition from the movie with the same name… happy listening!

Next up is – V for… Until then,

Vid ๐Ÿ™‚

11. Lalitha

Any Tamil movie fan will be familiar with Lalitha Kamalam of Unnal Mudiyum Thambi. Did you know that there was a song in the movie on the same raga, Lalitha?

Idhazhil Kadhai Ezhudhum Neramidhu … which exudes the genius of Ilayaraja in every phrase ๐Ÿ™‚

Lalitha belongs to the the Mayamalava Gowla janya (15) with the scale as –

Aarohanam: S R G M D N S
Avarohanam: S N D M G R S

There is just one song that I am aware of in this ragam – Hiranmayeem Lakshmeem by Muthuswamy Dikshitar.

Another song I chanced upon, Nannu Brova by Syama Sastri. Find below a video clip by TN Seshagopalan.

My previous post in the series was Karaharapriya. Next up, C for …

– Until then,
Vid ๐Ÿ™‚

10. Karaharapriya

After a long time, getting back to the raga series. After Hindolam, the ragam I chose to write about is Karaharapriya, the first melakartha (parent) raga in my list as of now. Something that stuck me as a surprise is the fact that this raga has not been used by both Muthuswamy Dikshitar or Syama Sasthri, two of the Trinity of Carnatic Music. Only Thyagaraja has dealt with it in a lot of compositions.

Some of his and other songs in Karaharapriya are:

  • Chakkani Raja (Thyagaraja)
  • Rama Nee Samana Mevaru (Thyagaraja)
  • Pakkala Nilapadi (Thyagaraja)
  • Paramukhan Enayya (Papanasam Sivan)
  • Okkapari (Annamayya)

A rightly sung Karaharapriya is supposed to bring out the karuna rasa. It is the 22nd melakartha raga. The name Karaharapriya means “loved by Siva who slayed Khara the demon”. This raga is in use in various country Music such as Greece, Arabian, and in Paalai lands of Tamizh, says Prof. Janakiraman, musicologist.

Movie songs in this raga are a miscellaneous list…

  • Madhavi Ponmayilaal in Iru Malargal
  • Maharajan Ulagai Aalalaam in Karnan (not featured inย  the movie)
  • Sangeetha Swarangal in Azhagan
  • Maapillaiku Maaman Manasu in Netri Kan
  • Poo Malarndhida in Tic Tic Tic

This really crazy song in Karaharapriya for you … Believe me, crazy is the word … the song features a loose ponnu and an ara loose doctor :P… plus the magic of (late) TMS!!

– Until next,
Vid ๐Ÿ™‚

9. Hindolam

I used to hate this ragam one upon a time. Reason is I never get it right ๐Ÿ˜› It is not that it is complex, but is tricky, being a Pa sans raga. It is Hindolam, a Natabhairavi janya, with the below scale…

Aarohanam: S G2 M1 D1 N2 S

Avarohanam: S N2 D1 M1 G2 S

Hindolam is an equivalent of Hindustani’s Malkauns. It has a characteristics of being a serene, gentle, soulful, meditative, enchanting and pleasing. A raga which has both the “viraga dhabamum charana gathi nenjum” (it is capable of invoking romantic feel at an instance, devotion to God in another!). The name Hindolam, it seems, means swing. No wonder, huh ๐Ÿ˜‰

The below song is Nambikkettavar Everayya, a song on Sivan by (Papanasam) Sivan…

Songs in Hindolam include:

  • Samajavaragamana by Thyagaraja
  • Govardhana Gireesham by Muthuswamy Dikshitar
  • Maa Ramanan by Papanasam Sivan
  • Mamavathu Sri by Mysore Vasudevacharyar
  • Ramanukku Mannan Mudi by Arunachala Kavirayar
  • Karunanidhiye by Mayuram Vedanayagam Pillai (he was a Christian by birth, and the song is not on any specific God)
  • Naanilam Potrum Nagoora tuned by Nagoor Hanifa

Hindolam seems to have been music composers’ favourite. Melodies in movies are abound from then to now…

  • Maname Muruganin – Kuzhandayum Deivamum
  • Azhaikkadhe – Manalane Mangayin Bagyam
  • Rajasekara – Anarkali
  • Om Namashivaya – Salangai Oli
  • Darisanam Kidaikkadha – Alaigal Oivadhillai
  • Pothi Vecha – Manvasanai
  • Maalai Pozhudhin Mayakkathile – Bhagyalakshmi
  • Mazhai Kodukkum (part of the song) – Karnan (the King Karnan’s intro till 1.25 min in the below video)

For the previous raga in the list – Gambira Nattai

– Until next,

Vid ๐Ÿ™‚

8. Gambira Nattai

Did you know that Narumugaye from the movie Iruvar (A R Rahman) was on a raga that was as “gambeeram” as Gambhira Nattai? I think it is!

Yet another song from the movie Singaravelan, Innum Ennai Enna Seyya (Ilayaraja) should also be the same raga.

Gambira nattai is derived from Chala Nattai. It differs from the raga Nattai on a Ri. The scale is –

Aarohanam: S G3 M1 P N3 S

Avarohanam: S N3 P M1 G3 S

Listen to the classical rendition of Sri Vighna Rajam Bhaje is a Oothukkadu Venkata Subbayyar composition in Gambhira Nattai, fast-paced and set in Thisra nadai.

For the previous post in the series, click here.

– Until next,

Vid ๐Ÿ™‚

7. Desh

After Sahana, we move from soothing and relaxing to a little more fun-loving, happy but melodious, Audava-Sampoorna raga – Desh. It is suitable to be sung in the first quarter of the night, it seems ๐Ÿ˜‰ Also, this raga is associated with qualities such asย Diplomacy, Collectivity, Respect for others.

Audava and Sampoorna as the name implies gives it a scale, S R2 M1 P N3 S / S N2 D2 P M1 G3 R2 S and is derived from the parent Harikamboji.

This raga is essentially from the Hindustani genre and hence we did not have any of the Trinity composing in Desh. However, a striking song that comes to memory is Vande Mataram – what more fitting example than the National Song of India! The recording below is a medley of a few songs in Desh, all by post-Trinity composers:

Paayumoli Neeyenakku (Bharathiyar) –> Eliruva Thandhe (Purandara Dasar) –> Thum Hi Shankar (Mangalam Ganapathy) –> Maadu Meikkum (Oothukadu Venkata Subbaiyar) –> Desh Thillana (Lalgudi Jayaraman)

Moving on to cinema, there are many songs inspired by Desh, not completely. But some stick on to the essence. Just like… Thunbam Nergayil from Oor Iravu, Androru Naal Idhe Nilavil from Nadodi, Kanave Kalaiyadhe from Kannedhire Thondrinaal.

– Until next,

Vid ๐Ÿ™‚

6. Sahana

After Aarabhi, it is Sahana. After an energetic outburst, you need a soothing effect. That is Sahana to you – a breeze, a raga that you can enjoy with the effect of sitting on an easy-chair, one leg folded over another, hands folded over your head, eyes half closed and nodding… ๐Ÿ˜›

I don’t know if I can bring about all that effect here, but this is a try – Karunimpa Varnam in Sahana, below.

Sahana is a vakra (scale goes zig-zag) raga, though it contains all the 7 notes available, it cannot be declared a Parent raga for this reason. It is a child of the 28th melakartha, Harikamboji.

Aarohanam: S R2 G3 M1 P M1 D2 N2 S

Avarohanam: S N2 S D2 N2 D2 P M1 G3 M1 R2 G3 R2 S

Some popular kritis in Sahana, that makes me wonder, is this all of the same raga! –

  • Srirama Srirama, Vandanamu Raghunandana and Raghupathey by Thyagaraja
  • Sri Kamalambikayam, one of the Nava Varnam by Muthuswamy Dikshitar
  • Rama Ika Nannu by Patnam Subramaniya Iyer
  • Sri Vatapi Ganapathiye by Papanasam Sivan
  • Manamuka Valanu by Harikesanallur Muthiah Bagavathar

It is said that there are 9 ways of serving God, and in that Sahana denotes the Daasya bhakthi bhava. However, some movie songs prove otherwise. Parthen Sirithen from Veera Abhimanyu, Engo Pirandavaram from Bommai for starters. And also Rukku Rukku from Avvai Shanmugi ๐Ÿ™‚

– Until next,

Vid ๐Ÿ™‚

5. Aarabhi

The first thing that Aarabhi generally gets related to, is the Gana Raga Pancharathnam – Sadhinchane O Manasa by Saint Thyagaraja. This raga is in vogue for more than 700 years it seems. And it is mostly associated with religious beginnings and hence sung in house-warming / wedding functions adhering to traditions.

The link has a Thiruppavai, Oongi Ulagalandha, a song which is usually sung in Aarabhi.

More kritis include Sri Saraswathi by Muthuswamy Dikshitar,ย Maragatha Manimayaย by Oothukkadu Venkatasubayyar and Velava Vaa Adiye by Koteeswara Iyer. The raga is also used in many ragamalikas.

Okay now to the technical details. Aarabhi is a child raga of Sankarabaranam, the 29th melakartha. The scale goes thus:

Aarohanam: S R2 M1 P D2 S

Avarohanam: S N3 D2 P M G3 R2 S

This classic pure Aarabhi song Aerikkarayin Mele from the movie Mudhalali is one of the forerunners. The irony is this song has colloquial tamizh lyrics and still there is a seamleass blend.

Other movie songs include

  • Aadiyile Perukkeduthu – Radha
  • Brindavanamum – Missiyamma
  • Mannavane Mannavane – Thandhuvitten Ennai
  • Oh Sukumari – Anniyan (its apparent that it follows Sadhinchane, the Pancharathnam mentioned above, in the movie sequence)

– Until next,

Vid ๐Ÿ™‚

4. Purvi Kalyani

A ragam very close to my heart. A ragam that is bhava-rich and full of gamakas that it was called by Muthuswamy Dikshitar as “Dasa GamakaKriya” in his last composition Meenakshi Memudham Dehi. The ragam is Purvi Kalyani. More on the song and the way it was composed, here.

PurviKalyani is a descendant ragam of Gamanashrama. The scale goes –ย S R1 G3 M2 P D2 P S / S N3 D2 P M2 G3 R1 S, where the usage of phrases like PDPS or GMDS is the standard that marks the raga. Below is a song of Neelakanta Sivan, Aanandha Natamaaduvaar .

Few other kritis in this raga, viz., Gnana Mosaga Raadha and Paraloka Sadhaname by Thyagaraja; Marukkulaviya, a Thiruppugazh is widely sung in PurviKalyani.

Movie songs are not very frequent, the reason I guess might be because this raga is difficult to handle. But a couple of beautiful interpretations (both composed by Ilayaraja) are:

Amudhe Tamizhe – Kovil Pura

Ethilum Ingu – Bharathi

– Until next,

Vid ๐Ÿ™‚

3. Yaman Kalyani

A raga that is always pleasant to the ears, always attractive when sung, fit for a fast-paced or a vilamba kala (slow-paced) song, then it can be only Yaman Kalyani. The hindustani equivalent of Yaman Kalyani is called Yaman.

It has the same swara scale as its heavier classical counterpart, Kalyani. Mostly this raga is sung in madhyama sruthi.

Eventhough we call term it light, it does have some classic compositions to its credit. The raga as such has come across such an evolution in course of time. One of the compositions of Dikshitar, Jamboothveebhe has such a different flavor of Yaman Kalyani than the version of Annamacharya’s Bhavayami Gopala Palam as being sung today. Other krithis include Krishna Nee Begane by Purandara Dasar, Haridasulu Vetale by Thyagaraja…

The song that is rendered in the recording is a bhajan on Lord Rama.

The raga’s appeal has everything to do with it featuring in a big chunk of movie songs in all ages.

Isai Kettal Puvi – Thavappudhalvan

Anbil Malarndha Nal Roja – Kanavane Kankanda Deivam (is a perfect lullaby)

Then Sindhudhe Vaanam – Ponnuku Thanga Manasu

Yamunai Aatrile – Thalapathy

Mudhal Mudhalil Paarthen – Aaha

Varaga Nadhikkara Ooram – Sangamam (atleast the Pallavi is definitely influenced)

Katrin Mozhi – Mozhi

This really beautiful song from the hindi movie Chit Chor, sung by K.J. Yesudas, is a mellifluous rendering of Yaman.

For those who are interested, a link that gives very detailed history of Yaman Kalyani as a raga.

– Until next,

Vid ๐Ÿ™‚

2. Thilang

The first raga in the series was Reethigowla. In this post I will be talking about Thilang, yet another sweet ragam.

Thilang is a mild carnatic / hindustani ragam, is a derivative of Harikamboji (parent raga), and is effective when sung during the evenings.

Aarohanam: S G3 M1 P N3 S

Avarohanam: S N2 P M1 G3 S

Since there are 2 different N’s used, this raga is also said to be derived from Naganandhini, instead. There are not many heavy classical songs in this raga and it tends more towards the devotional side.

Classical songs in Thilang include:

  • Sree Ganesha Charanam – Papanasam Sivan
  • Shanthi Nilava Vendum – Suddhanandha Bharathi
  • Bhaja Bhaja Manasa – Haridas
  • Rama Rama Rama Sita – Purandara Dasar

Find below a recording of the song Shanthi Nilava Vendum along with a few phrases in the raga.

In the cine side, one of the recent movies Moondru Per Moondru Kadhal has a song that has touches of Thilang.

Other movie songs composed in this ragam are the Indru Poi Nalai Vaa from Sampoorna RamayanamTheertha Karainile from the movie Varumayin Niram SivappuInnum Ennai Enna Seyya from Singaravelan

Overall, a pleasing and calm ragam, Thilang may never be the popular one, but none who knows can hate it.

– Until next,

Vid ๐Ÿ™‚

1. Reethigowla

Reethigowla is the name of a raga. Not just a raga, it is something like the chocolate of Carnatic music… an aphrodisiac, if I might go to the extent of describing!

The ragam is a derivative (child) of the parent raga Karaharapriya (some say Bhairavi). The scale as such is not direct (i.e.)ย vakra ragam. It goes thus:

Aarohanam: S G2 R2 G2 M1 N2 D2 M1 N2 N2 S

Avarohanam: S N2 D2 M1 G2 M1 P M1 G2 R2 S

Here is a little something we tried with Reethigowla. The scale, a few phrases and a tamizh classical song set in the ragam.

Some of the Kritis composed in Reethigowla are Janani Ninnu Vina by Subburaya Sastri, Paripalayamam by Maharaja Swati Tirunaal, Guruvayoorappane by Ambujam Krishna, et al.

Maybe the above said is one reason why cine music composers have used this raga extensively, and a big chunk of the romantic melodies I know with a classical touch, end up being set to tune in Reethigowla, or is inspired by this raga atleast in a part of the song.

The cine list includes,

  • Thalayai Kuniyum Thamaraye – Oru Odai Nadhiyagiradhu
  • Kangal Irandaal – Subramaniapuram
  • Sudum Nilavu – Thambi
  • Ramam Kadhai Kelungal – Sippikul Muthu
  • Azhagana Rakshasiye – Mudhalvan

Be back soon!

– Until next,

Vid ๐Ÿ™‚

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