Naganandini

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Naganandini
Arohanam S R₂ G₃ M₁ P D₃ N₃ Ṡ
Avarohanam Ṡ N₃ D₃ P M₁ G₃ R₂ S

Naganandini (pronounced naga + nandini-daughter ( nandini ) of Naga/Mountain i.e. Pārvati) is a rāgam (musical scale) in Carnatic music (South Indian classical music). It is the 30th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nagābharanam in Muthuswami Dikshitar school of Carnatic music. [1] [2] [3]

Carnatic music music genre originating in southern India

Carnatic music, Karnāṭaka saṃgīta, or Karnāṭaka saṅgītam, is a system of music commonly associated with southern India, including the modern Indian states of Andhra Pradesh, Telangana, Karnataka, Kerala, and Tamil Nadu, as well as Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

Melakarta set of 72 sampurna ragas in Carnatic music

Mēḷakarta is a collection of fundamental musical scales (ragas) in Carnatic music. Mēḷakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter term is inaccurate, as a sampurna raga need not be a melakarta.

Muthuswami Dikshitar Indian poet and composer

Muthuswami Dikshita or Dikshitar was a South Indian poet, singer and Veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed. He is also known by his signature name of Guruguha which is also his mudra. His compositions are widely sung and played in classical concerts of Carnatic music.

Contents

Structure and Lakshana

Naganandini scale with shadjam at C Naganandini scale.svg
Naganandini scale with shadjam at C

It is the 6th rāgam in the 5th chakra Bana. The mnemonic name is Bana-Sha. The mnemonic phrase is sa ri gu ma pa dhu nu. [2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga. The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner.

An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga. The notes descend in pitch from the upper tonic down to the lower tonic, possibly in a crooked (vakra) manner.

(the scale uses the notes chathusruthi rishabham, antara gandharam, shuddha madhyamam, shatsruthi dhaivatham, kakali nishadham)

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Chitrambari , the 66th melakarta.

Chitrambari 66th raga in the Melakarta

Chitrambari is a rāgam in Carnatic music. It is the 66th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chaturangini in Muthuswami Dikshitar school of Carnatic music. It is the prati madhyamam equivalent of Naganandini, which is the 30th melakarta.

Janya rāgams

Naganandini has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams for all rāgams associated with Naganandini.

Janya Indian melodic mode derived from a raga in the Melakarta

Janya is a term meaning "derive". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas. Janya ragas are classified into various types based on a variety of features.

Compositions

A few compositions set to Naganandini are:

This section covers the theoretical and scientific aspect of this rāgam.

Naganandini's notes when shifted using Graha bhedam , yields 2 other minor melakarta rāgams, namely, Bhavapriya and Vagadheeshwari . Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bhedam on Naganandini .

Notes

  1. ↑ Alternate notations:
    • Hindustani: S R G M P Ṉ N Ṡ
    • Western: C D E F G A# B C
  2. ↑ Alternate notations:
    • Hindustani: Ṡ N Ṉ P M G R S
    • Western: C B A# G F E D C

Related Research Articles

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Vanaspati (raga) fourth raga in the Melakarta

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Kanakangi first raga in the Melakarta

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Ganamurti third raga in the Melakarta

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Senavati seventh raga in the Melakarta

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Vakulabharanam fourteenth raga in the Melakarta

Vakulabharanam is a rāgam in Carnatic music. It is the 14th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhātivasantabhairavi or Vātivasantabhairavi in Muthuswami Dikshitar school of Carnatic music.

Jhankaradhvani nineteenth raga in the Melakarta

Jhankaradhvani or Jhankaradhwani is a rāgam in Carnatic music. It is the 19th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

Varunapriya 24th raga in the Melakarta

Varunapriya is a rāgam in Carnatic music. It is the 24th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Viravasantam; in Muthuswami Dikshitar school of Carnatic music.

Mararanjani 25th raga in the Melakarta

Mararanjani is a rāgam in Carnatic music. It is the 25th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sharāvati in Muthuswami Dikshitar school of Carnatic music.

Gangeyabhushani 33rd raga in the Melakarta

Gangeyabhushani is a rāgam in Carnatic music. It is the 33rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

Chalanata 36th raga in the Melakarta

Chalanata is a rāgam in Carnatic music. It is the 36th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.

Gavambhodi 43rd raga in the Melakarta

Gavambodhi is a rāgam in Carnatic music. It is the 43rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Geervāṇi or Girvāṇi in Muthuswami Dikshitar school of Carnatic music.

Bhavapriya 44th raga in the Melakarta

Bhavapriya is a rāgam in Carnatic music. It is the 44th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

Divyamani 48th raga in the Melakarta

Divyamani is a rāgam in the 72 melakarta rāgam system of Carnatic music. It is the 48th in the series. It is called Jeevantika or Jeevantini in Muthuswami Dikshitar school of Carnatic music.

Dhavalambari 49th raga in the Melakarta

Dhavalambari is a rāgam in Carnatic music. It is the 49th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhavaḻāngam or Dhavaḻāngi in Muthuswami Dikshitar school of Carnatic music.

Gamanashrama 53rd raga in the Melakarta

Gamanashrama is a rāgam in Carnatic music. It is the 53rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. This is the Carnatic equivalent of Marva in Hindustani Classical Music.

Shamalangi 55th raga in the Melakarta

Shamalangi or Shyamalangi is a rāgam in Carnatic music. It is the 55th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Shāmaḻam in Muthuswami Dikshitar school of Carnatic music.

Kantamani 61st raga in the Melakarta

Kantamani is a rāgam in Carnatic music. It is the 61st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kuntalam in Muthuswami Dikshitar school of Carnatic music.

References

  1. ↑ Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai
  2. 1 2 Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
  3. ↑ Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
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