Madhyamavathi Raga madhyamAvati is a "ma~ngaLakara rAgam", that is always sung in the concluding segment of any concert. Even though musicians render the Tyagaraja composition, "pavamAna sutudupaTTu" in saurASTram as an appropriate ma"ngaLam, the concert usually ends with a brief AlApana of rAgam madhayamAvti, at least lasting for a few seconds! Again, the Papanasam Sivan k.rti, "karpagamE kaN pArAy" in madhyamAvati, praising Goddess karpagAmbAl of the kapAlIshvara temple in Mylapore is often sung (perhaps followed by a tiruppugazh song) prior to the ma"ngaLam. The fact that muttusvAmi dIkSitar chose rAgam madhyamAvati for his shrIvidyA mantra bIjAkSara k.rti, "shrI rAjarAjEshvarIM" speaks volumes about the auspiciousness of madhyamAvati. In his k.rti, "dharmasaMvardhani", dIkSitar addresses Goddess dharmasaMvardhani of tiruvaiyAru as "mAdhava sOdari, sundari, madhyamAvati sha"nkari". Aro: sa ri ma pa ni Sa (S R2 M1 P N2 S) Av: Sa ni pa ma ri sa (S N2 P M1 R2 S) An audava - audava janya rAgam of meLam 22, kharaharapriya. Notes taken are:- SaDjam, catushruti riSabham, shuddha madhyamam, pa~ncamam, and kaishiki niSAdham; an upA"nga rAgam which omits "ga" and "ni" in both ascent and descent. • jIva svarams --- ri and ni, and they both are rendered dIrgham. • chAyA svarams --- ri, ma, ni • nyAsa svarams --- ri, ma , pa, ni • graha svarams --- sa, ri, ma, pa, ni • The notes ri and ni are kampita svarams. • ra~njaka prayogams --- ri ma pa nI pa ma rI; sa NI PA; Ni sa ri sa rI; ma ri pa ma ni pa Sa ni RI Sa; ma pa ni pa NI pa m • Compositions usually commence in sa (rAma kathA sudhA, pAli"ncu, so on), ri ("vinAyakuni"), pa ("alakalallala") or ni ("nAdu pai") • tristhAyI rAgam that portrays bhakti and karuNa rasam • an ancient rAgam that is mentioned in "sa"ngIta ratnAkaram", "sa"ngIta makarandam", and "sa"ngIta samaya sAram". • madhyamAvati is a sarva svara mUrcchana kAraka rAgam, in the sense that it lends itself to graha bedha techniques. The popular pentatonic scales hindOLam, shuddhasAvEri, shuddhadhanyAsi and mOhanam result, when graha bedham is performed on the notes ri, ma, pa, and ni, respectively. madhyamAvati corresponds to the she~nturuti paNN of the Tamil music. It is a rAgam having a high concordance, since it takes the first three notes of the cycle of the fifths, that is, sa, pa, and catushruti ri; and the first three notes of the fourth cycle, namely, sa, ma and ni. • A rAgam suitable for rendering shlokams, rAgamAlikAs, viruttams, that are usually sung in the post pallavi segment of a concert. Also, it appears in musical dramas and dances. aruNAcala kavi has employed this rAgam for many songs in his rAma nATakam. • The pUrvAcAryas have declared in their descriptions that madhyamAvati is a "su rAgam" (shubhakaram --- auspicious). It is said that madhyamAvati is so auspicious that it is capable of warding off the sins (dOSam) caused by singing various rAgams at inauspicious moments. So, even a slight rendition or a brief AlApanA of madhyamAvati wards off these sins and bestows auspiciousness.
Ve"nkaTamakhin classifies madhyamAvati as a bhASA"nga janyam number 8, under the asampUrna mELam 22, shrI. Definition "madhyamAdissu rAgO'yam madhyamagraha samyutaH | ga dha lOpAdauDavassyAt sAyamkAlE pragIyatE ||" mUrcchana ArOhaNam : sa ri ma pa ni sa avarOhaNam: sa ni pa ma ri sa bhASA"ngam, auDavam; gAndhAra and dhaivata varjyam; madhyama graham; rakti rAgam; suitable for singing in late evenings; also known as madhyamAvati. SubbarAma dIkSitar's treatise, "sa"ngIta saMpradAya pradarshini" gives a lakSya gItam in tripuTa tALam by ve"nkaTamakhi, , the k.rti "dharmasamvardhani" in rUpaka tALam by muttusvAmi dIkSitar, and a sa~ncAri in rUpakam by subbarAma dIkSitar, himself. Hindusthani rAgams, madhmAd sAra"ng (also known as madhyamAdi or madhyamAditi sAra"ng) corresponds to KarnaTik madhyamAvati. It belongs to the kAfi thaTh, and has the scale sa ri ma pa ni sa --- sa ni pa ma ri sa. The svarams taken are:--- tIvra ri, shuddha ma, kOmal ni. vAdi is ri, and samvAdi is pa. There are all sorts of compositions (varNam, k.rti, tillAna etc) in madhyamAvati. This rAgam has ample scope for AlApana, and pallavi expositions are very common. Segments of rAgamAlikas, generally the concluding segment, feature madhyamAvati as a preferred rAgam. The Trinity have their usual share of compositions in madhyamAvati, with tyAgarAja contributing the largest. There are numerous rAgamAlika lines featuring madhyamAvati that have become famous. maharAja svAti tirunAL's sAvEri rAga k.rti, "bhAvayAmi raghurAmam" carved out as a beautiful rAgamAlika by Semmangudi Srinivasa Iyer, and popularized by M. S. Subbalakshmi, has the last stanza "kalita vara setu bandham" the description of rAma paTTAbhiSEkam, set in madhyamAvati. Again svAti tirunAL's dashAvatAra rAgamAlika "kamalajAsya" features madhyamAvati in the vAmana avatAram line "kalita vAmana rUpa". muttusvAmi dIkSitar concludes his dashAvatAra rAgamAlika, "mAdhavO mAM pAtu", by invoking Lord ve"nkatEshvara of tirupati as the tenth avatAram, in the lines "kaliyuga vara ve"nkatEsham", set in madhyamAvati. We already pointed out that the shrIvidyA bIja mantra k.rti of dIkSitar, " shrI rAjarAjEshvarIm" is in the auspicious rAgam madhyamAvati.
Some allied rAgams shrI The rAgaM shrI is very close to, and often mistaken for madhyamAvati. It is an auDava vakra saMpUrNa rAgam, with the scale: sa ri ma pa ni Sa; Sa ni pa dha ni pa ma ri Ga ri sa. According to dIkSitar school of asampUrNa mELa paddhati, rAgA"nga rAgam 22 is shrI. Definition (Ve"nkaTamakhin): shrI rAgaH sagrahaH pUrNaH cArhE cAlpadhaivataH | avarohe ga vakraH syAt sAyam gEyaH shubhAvahaH || ArohaNaM: sa ri ma pa ni Sa avarohaNaM: Sa ni pa dha ni pa ma ri ga ri sa The notes taken are: SaDjaM. catushruti ri, shuddha ma, pa~ncamam, catushruti dha, sAdhAraNa ga, kAkaLi ni,. In the ArohaNam, dha and ni are absent. Only the ArohaNam permits vakra sa~ncAra. In fact there are two vakra sa~ncArams. The rAgam gets a beauty by the elongation and gamaka on the note ga. While shrI almost resembles madhyamAvati, the omission of the notes dha and ga in madhyamAvati makes a clear distinction. Phrases like "pa dha ni pa ma ri ga ri sa" are repeatedly employed while singing shrI insisting on the usage of dhaivatam and gAndhAram. Hence while rendering madhyamAvati, care should be taken not to touch these notes even slightly. While shrI has greater majesty and depth, madhyamAvati has greater number of compositions. maNira"ngu maNira"ngu is another janyam of kharaharapriya with scale sa ri ma pa ni sa; sa ni pa ma ga ri sa. It has the same arohaNam as madhyamAvati, but takes the note ga in avarohaNam, which is not allowed in madhyamAvati. It omits the note dha, which is present in shrI. puSpalatika The rAgam puSpalatika with the scale --- sa ri ga ma pa ni sa; sa ni pa ma ga ri sa --- is another rAgam closely related to madhyamAvati or shrI. This rAgaM has been popularized by Tirupati Narayanaswami's unique k.rti, "ika nainanA”.
Giving Ragalakshanam is very helpful for playing veena. This song is very beautiful. If script full with notation given definitely it will be very helpful for learners. 😅
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Absolutely Blissful - Vigna Vinayaka Murthikku Ragam Madyamavathi Adi talam Papanasam Sivan Krithi - All the Best Wishes 👋👌👋
Very Nice. 👌👏🏻👏🏻👏🏻
Thank you! 😊
Very nice Aparna😊
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Thank you 😊
Beautiful, Aparna! 😍🌹🌹🌹
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superb.. 👏👏👏❤️
Thank you 🙂
Madhyamavathi Raga
madhyamAvati is a "ma~ngaLakara rAgam", that is always sung in the concluding segment of any concert. Even though musicians render the Tyagaraja composition, "pavamAna sutudupaTTu" in saurASTram as an appropriate ma"ngaLam, the concert usually ends with a brief AlApana of rAgam madhayamAvti, at least lasting for a few seconds! Again, the Papanasam Sivan k.rti, "karpagamE kaN pArAy" in madhyamAvati, praising Goddess karpagAmbAl of the kapAlIshvara temple in Mylapore is often sung (perhaps followed by a tiruppugazh song) prior to the ma"ngaLam. The fact that muttusvAmi dIkSitar chose rAgam madhyamAvati for his shrIvidyA mantra bIjAkSara k.rti, "shrI rAjarAjEshvarIM" speaks volumes about the auspiciousness of madhyamAvati. In his k.rti, "dharmasaMvardhani", dIkSitar addresses Goddess dharmasaMvardhani of tiruvaiyAru as "mAdhava sOdari, sundari, madhyamAvati sha"nkari".
Aro: sa ri ma pa ni Sa (S R2 M1 P N2 S)
Av: Sa ni pa ma ri sa (S N2 P M1 R2 S)
An audava - audava janya rAgam of meLam 22, kharaharapriya. Notes taken are:- SaDjam, catushruti riSabham, shuddha madhyamam, pa~ncamam, and kaishiki niSAdham; an upA"nga rAgam which omits "ga" and "ni" in both ascent and descent.
• jIva svarams --- ri and ni, and they both are rendered dIrgham.
• chAyA svarams --- ri, ma, ni
• nyAsa svarams --- ri, ma , pa, ni
• graha svarams --- sa, ri, ma, pa, ni
• The notes ri and ni are kampita svarams.
• ra~njaka prayogams --- ri ma pa nI pa ma rI; sa NI PA; Ni sa ri sa rI; ma ri pa ma ni pa Sa ni RI Sa; ma pa ni pa NI pa m
• Compositions usually commence in sa (rAma kathA sudhA, pAli"ncu, so on), ri ("vinAyakuni"), pa ("alakalallala") or ni ("nAdu pai")
• tristhAyI rAgam that portrays bhakti and karuNa rasam
• an ancient rAgam that is mentioned in "sa"ngIta ratnAkaram", "sa"ngIta makarandam", and "sa"ngIta samaya sAram".
• madhyamAvati is a sarva svara mUrcchana kAraka rAgam, in the sense that it lends itself to graha bedha techniques. The popular pentatonic scales hindOLam, shuddhasAvEri, shuddhadhanyAsi and mOhanam result, when graha bedham is performed on the notes ri, ma, pa, and ni, respectively. madhyamAvati corresponds to the she~nturuti paNN of the Tamil music. It is a rAgam having a high concordance, since it takes the first three notes of the cycle of the fifths, that is, sa, pa, and catushruti ri; and the first three notes of the fourth cycle, namely, sa, ma and ni.
• A rAgam suitable for rendering shlokams, rAgamAlikAs, viruttams, that are usually sung in the post pallavi segment of a concert. Also, it appears in musical dramas and dances. aruNAcala kavi has employed this rAgam for many songs in his rAma nATakam.
• The pUrvAcAryas have declared in their descriptions that madhyamAvati is a "su rAgam" (shubhakaram --- auspicious). It is said that madhyamAvati is so auspicious that it is capable of warding off the sins (dOSam) caused by singing various rAgams at inauspicious moments. So, even a slight rendition or a brief AlApanA of madhyamAvati wards off these sins and bestows auspiciousness.
Ve"nkaTamakhin classifies madhyamAvati as a bhASA"nga janyam number 8, under the asampUrna mELam 22, shrI.
Definition
"madhyamAdissu rAgO'yam madhyamagraha samyutaH |
ga dha lOpAdauDavassyAt sAyamkAlE pragIyatE ||"
mUrcchana
ArOhaNam : sa ri ma pa ni sa
avarOhaNam: sa ni pa ma ri sa
bhASA"ngam, auDavam; gAndhAra and dhaivata varjyam; madhyama graham; rakti rAgam; suitable for singing in late evenings; also known as madhyamAvati. SubbarAma dIkSitar's treatise, "sa"ngIta saMpradAya pradarshini" gives a lakSya gItam in tripuTa tALam by ve"nkaTamakhi, , the k.rti "dharmasamvardhani" in rUpaka tALam by muttusvAmi dIkSitar, and a sa~ncAri in rUpakam by subbarAma dIkSitar, himself.
Hindusthani rAgams, madhmAd sAra"ng (also known as madhyamAdi or madhyamAditi sAra"ng) corresponds to KarnaTik madhyamAvati. It belongs to the kAfi thaTh, and has the scale sa ri ma pa ni sa --- sa ni pa ma ri sa. The svarams taken are:--- tIvra ri, shuddha ma, kOmal ni. vAdi is ri, and samvAdi is pa.
There are all sorts of compositions (varNam, k.rti, tillAna etc) in madhyamAvati. This rAgam has ample scope for AlApana, and pallavi expositions are very common. Segments of rAgamAlikas, generally the concluding segment, feature madhyamAvati as a preferred rAgam. The Trinity have their usual share of compositions in madhyamAvati, with tyAgarAja contributing the largest. There are numerous rAgamAlika lines featuring madhyamAvati that have become famous. maharAja svAti tirunAL's sAvEri rAga k.rti, "bhAvayAmi raghurAmam" carved out as a beautiful rAgamAlika by Semmangudi Srinivasa Iyer, and popularized by M. S. Subbalakshmi, has the last stanza "kalita vara setu bandham" the description of rAma paTTAbhiSEkam, set in madhyamAvati. Again svAti tirunAL's dashAvatAra rAgamAlika "kamalajAsya" features madhyamAvati in the vAmana avatAram line "kalita vAmana rUpa". muttusvAmi dIkSitar concludes his dashAvatAra rAgamAlika, "mAdhavO mAM pAtu", by invoking Lord ve"nkatEshvara of tirupati as the tenth avatAram, in the lines "kaliyuga vara ve"nkatEsham", set in madhyamAvati. We already pointed out that the shrIvidyA bIja mantra k.rti of dIkSitar, " shrI rAjarAjEshvarIm" is in the auspicious rAgam madhyamAvati.
Some allied rAgams
shrI
The rAgaM shrI is very close to, and often mistaken for madhyamAvati. It is an auDava vakra saMpUrNa rAgam, with the scale:
sa ri ma pa ni Sa; Sa ni pa dha ni pa ma ri Ga ri sa.
According to dIkSitar school of asampUrNa mELa paddhati, rAgA"nga rAgam 22 is shrI.
Definition (Ve"nkaTamakhin):
shrI rAgaH sagrahaH pUrNaH cArhE cAlpadhaivataH |
avarohe ga vakraH syAt sAyam gEyaH shubhAvahaH ||
ArohaNaM: sa ri ma pa ni Sa
avarohaNaM: Sa ni pa dha ni pa ma ri ga ri sa
The notes taken are: SaDjaM. catushruti ri, shuddha ma, pa~ncamam, catushruti dha, sAdhAraNa ga, kAkaLi ni,. In the ArohaNam, dha and ni are absent. Only the ArohaNam permits vakra sa~ncAra. In fact there are two vakra sa~ncArams. The rAgam gets a beauty by the elongation and gamaka on the note ga. While shrI almost resembles madhyamAvati, the omission of the notes dha and ga in madhyamAvati makes a clear distinction. Phrases like "pa dha ni pa ma ri ga ri sa" are repeatedly employed while singing shrI insisting on the usage of dhaivatam and gAndhAram. Hence while rendering madhyamAvati, care should be taken not to touch these notes even slightly. While shrI has greater majesty and depth, madhyamAvati has greater number of compositions.
maNira"ngu
maNira"ngu is another janyam of kharaharapriya with scale sa ri ma pa ni sa; sa ni pa ma ga ri sa. It has the same arohaNam as madhyamAvati, but takes the note ga in avarohaNam, which is not allowed in madhyamAvati. It omits the note dha, which is present in shrI.
puSpalatika
The rAgam puSpalatika with the scale --- sa ri ga ma pa ni sa; sa ni pa ma ga ri sa --- is another rAgam closely related to madhyamAvati or shrI. This rAgaM has been popularized by Tirupati Narayanaswami's unique k.rti, "ika nainanA”.
Giving Ragalakshanam is very helpful for playing veena. This song is very beautiful. If script full with notation given definitely it will be very helpful for learners. 😅