Arohanam | S R₁ G₁ M₂ P D₃ N₃ Ṡ |
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Avarohanam | Ṡ N₃ D₃ P M₂ G₁ R₁ S |
Carnatic music |
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Tanjavur-style Tambura |
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Raghupriya (meaning The one dear to Raghu ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 42nd melakarta rāgam (parent scale) in the 72 melakarta rāgam system of Carnatic music. It is called Ravikriya in Muthuswami Dikshitar school of Carnatic music. [1] [2] [3]
Raghu was a ruler of the Ikshvaku dynasty. According to the Raghuvamsha, he was born to the king Dilīpa and his queen Sudakshina. His name in Sanskrit means the fast one, deriving from Raghu's chariot-driving abilities. So celebrated were the exploits of Raghu, that his dynasty itself came to be known as the Raghuvamsha or the Raghukula after him. The history of his dynasty is elaborated upon by Kalidasa in his Raghuvamsha.
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.
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.
It is the 6th rāgam in the 7th chakra Rishi. The mnemonic name is Rishi-Sha. The mnemonic phrase is sa ra ga mi 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 notes shuddha rishabham, shuddha gandharam, prati madhyamam, shatsruthi dhaivatham, kakali nishadham are used in this scale)
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 prati madhyamam equivalent of Tanaroopi , which is the 6th melakarta scale.
Raghupriya has a few minor janya rāgams (derived scales) associated with it. See List of janya Rāgams for full list of scales associated with Raghupriya.
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.
A few compositions set to the scale Raghupriya are:
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.
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This section covers the theoretical and scientific aspect of this rāgam.
Raghupriya's notes when shifted using Graha bhedam , yields no other melakarta rāgam, like all 6 rāgams in the Rishi chakra ( Salagam, Jalarnavam, Jhalavarali, Navaneetam and Pavani being the other 5). Only these rāgams have a gap of 3 notes anywhere in their scale, between G1 to M2. Such a gap does not occur in any other melakarta by definition. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam.
Pavani is a rāgam in Carnatic music. It is the 41st melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kumbhini in Muthuswami Dikshitar school of Carnatic music.
Shubhapantuvarali is a rāgam in Carnatic music. It is the 45th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Shivapantuvarāḻi in Muthuswami Dikshitar school of Carnatic music. Todi (thaat) is the equivalent in Hindustani music. Being sad in tone, it is usually used for sad songs by musicians.
Ramapriya is a rāgam in Carnatic music. It is the 52nd melakarta rāgam in the 72 melakarta scale system of Carnatic music. It is called Ramāmanōhari in Muthuswami Dikshitar school of Carnatic music.
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.
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 is a rāgam in Carnatic music. It is the 33rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Salagam is a rāgam in Carnatic music. It is the 37th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sowgandini in Muthuswami Dikshitar school of Carnatic music.
Jalarnavam is a rāgam in Carnatic music. It is the 38th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Jhalavarali, is a rāgam in Carnatic music. It is the 39th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Navaneetam is a rāgam in Carnatic music. It is the 40th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nabhōmaṇi in Muthuswami Dikshitar school of Carnatic music.
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 is a rāgam in Carnatic music. It is the 44th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Shadvidamargini is a rāgam in Carnatic music. It is the 46th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Stavarājam in Muthuswami Dikshitar school of Carnatic music.
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 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 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.
Vishwambari is a rāgam in Carnatic music. It is the 54th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.
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 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.
Sucharitra is a rāgam in Carnatic music. It is the 67th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Santāna manjari in Muthuswami Dikshitar school of Carnatic music.