Sarasangi

Sarasangi (pronounced sarasāngi) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 27th melakarta rāgam (parent scale) in the 72 melakarta rāgam system of Carnatic music. It is called Sowrasena in Muthuswami Dikshitar school of Carnatic music.[1] In Western music it is known as the Harmonic major scale.

Sarasangi
ArohanamS R₂ G₃ M₁ P D₁ N₃ 
Avarohanam N₃ D₁ P M₁ G₃ R₂ S
EquivalentHarmonic major scale

Structure and Lakshana

Sarasangi scale with shadjam at C

It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Go. The mnemonic phrase is sa ri gu ma pa dha ni.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

This rāgam uses the swaras chathusruthi rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham.

By definition, Sarasangi, a melakarta rāgam, is a sampurna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Latangi, which is the 63rd melakarta scale.

Janya rāgams

Sarasangi has a few minor janya rāgams (derived scales) associated with it, of which Kamala manohari and Nalinakanti are popular. See List of janya rāgams for all rāgams associated with Sarasangi.

Compositions

Here are a few common compositions sung in concerts, set to Sarasangi.

  • Jaya jaya padmanabha by Swati Tirunal
  • Sourasenesham vallisham by Muthuswami Dikshitar
  • Nikela dayaradu by Ramaswami Sivan
  • Paripaliso guru vadiraja by R. K. Padmanabha
  • Vandeham govinda by M Balamuralikrishna
  • "Tirupati malaiyurai Venkata vaa" by M. M. Dandapani Desigar

Film Songs

Language:Tamil

Song Movie Composer Singer
Paal Polave (Ragam Charukesi touches too) Uyarndha Manithan M. S. Viswanathan P. Susheela (won National Award)
Adi Ennadi Rakkamma Pattikada Pattanama T. M. Soundararajan
Manithan Ellaam Therindhu Kondaan Azhagu Nila K. V. Mahadevan Seerkazhi Govindarajan
Meenama Meenama Rajadhi Raja Illayaraja Mano, K. S. Chitra
Chinna Raasaavae Walter Vetrivel Mano, S. Janaki
Ellorum Sollu Pattu Marupadiyum S. P. Balasubrahmanyam
Endrendrum Aanandame Kadal Meengal Malaysia Vasudevan
Malligaye Malligaye Periya Veetu Pannakkaran K.J. Yesudas, K. S. Chitra
Muthu Muthu K.J. Yesudas, S. Janaki
Maharajanodu Sathi Leelavathi P. Unnikrishnan, K. S. Chitra
Ammamma Unnai Sadhu K.J. Yesudas
Kokki Vaichchen (Folkish style) Nattupura Pattu Mano, Devi
Puthusu Puthusu Manitha Jaathi Gangai Amaran, S. Janaki
Oh Alagu Nilavu My Dear Marthandan Mano
Thaathanthana Kummikotti Athisaya Piravi Malaysia Vasudevan, S. Janaki
Idhayam Idhayam Vidukathai Deva Krishnaraj, K. S. Chitra
Cu Cu Tara Thayagam K. S. Chithra,Malaysia Vasudevan
Kobama Enmel Unnudan Hariharan
Tamizha Tamizha Roja A. R. Rahman
Chittukuruvi Parasuram Swarnalatha, Arjun and Sriram Parthasarathy
Kannatthula Vai Captain Sirpy S. P. Balasubrahmanyam, K. S. Chithra
Kannaana Kanney Viswasam D. Imman Sid Sriram

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

Sarasangi's notes when shifted using Graha bhedam, yields 2 other major Melakarta rāgams, namely, Dharmavati and Chakravakam. 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 Dharmavati.

Notes

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

References

  1. Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
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