Hansadhwani

Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a '' janya'' rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).

''Hamsadhvani'' is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan.

Structure and lakshana

''Hamsadhvani'' does not contain ''madhyamam'' or ''dhaivatham''. It is a pentatonic scale (''audava-audava'' ragam''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications in Carnatic music classification – ''audava'' meaning 'of 5'). Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms):

* :
* :

The notes used in this scale are ''shadjam, chatushruti rishabham, antara gandharam, panchamam'' and ''kakali nishadam''. In Hindustani music, it is associated with ''Bilaval thaat'' (equivalent of ''Shankarabharanam'').

Compositions

''Hamsadhvani'' rāgam lends itself for elaboration and exploration and has many compositions in both classical music and film music. It is usually sung at the beginning of a performance. There are many ''kritis'' (compositions) in praise of Lord Ganesha set in this musical scale.

* ''Jalajaskhiro'' an adi Talam Varnam
* ''Gajamukhane Siddhidayakane'' by Vyasatirtha
* ''Raghunāyaka'',''Śrī Raghukula'' and ''Abhi‌shta varada'' by Tyagaraja in Telugu
* '' Vātāpi Gaṇapatiṃ''and parvathypathim by Muthuswami Dikshitar in Sanskrit
* ''Pāhi Śripatē'' by Swathi Thirunal Rama Varma
* ''Varanamukha vā'' by Koteeswara Iyer
* ''Mūlādhāra mūrti'',''Karunai seivai','ullam irangi and parasakthi janani by Papanasam Sivan in Sanskrit and Tamil
* ''Gajavadana beduve'' by Purandaradasa in Kannada
*''Nammamma Sharade'' by Kanakadasa in Kannada
* ''Vināyakā'' by Veena Kuppayyar in Sanskrit
* ''Varavallabha Ramaṇa'' by G. N. Balasubramaniam
* ''Gaṃ Gaṇapatē'' by Muthiah Bhagavatar
* ''Pirai Aniyum Peruman'' by Dr M. Balamuralikrishna
* ''Vinayaka Vighnavishaka'' by R Ganapati
* ''Sundar Gopālaṃ'' by Devaki Pandit
* ''Varuvai Arulvai Shantanayagi'' by Manachanallur Giridharan
* ''Tumbikkai Andavane'' by Manachanallur Giridharan
* ''Vinayaka Ninnu Vina'' by E.V. Raamakrishna Bhaagavatar
* ''Vande Anishamaham'' by Mysore Vasudevachar
* ''Bhajamahe Sree Vinayakam'' by Tulaseevanam
* Arul purivai and Karunai seiguvai by Sudhanandha bharathy

Film songs

* ''Lagi Lagan Pathi Sakhi Sangh'' from the movie " Meghe Dhaka Tara"

In Tamil language

Related rāgas

''Graha bhedham''

''Hamsadhvani's'' notes when shifted using ''Graha bhedam'', yields another pentatonic rāgam, ''Nagasvaravali''. ''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 more details and illustration of this concept refer '' Graha bhedam on Hamsadhvani''.

Scale similarities

* '' Mohanam'' is a rāgam which has ''chatushruti dhaivatam'' in place of the ''nishadam''. Structures are shown in second table.
* ''Amritavarshini'' is a rāgam which has ''Prati Madhyamam'' in place of the ''rishabham''. Structures are shown in first table.
* ''Gambhiranata'' is a rāgam which has ''shuddha madhyamam'' in place of the ''rishabham''. Structures are shown in first table.
* ''Niroshta'' is a rāgam which has ''chatushruti dhaivatam'' in place of the ''panchamam''. Structures are shown in second table.

In Hindustani music

Vadi and samavadi

Vadi: Sa

Samavadi: Pa

Pakad or chalan

ga pa ni Sa ga re ni pa
Sa
The Pakad is the one where one can identify to which raga does the composition belongs.

Organization and relationships

Thaat: Bilaval.

Time

Late Evening
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Important recordings

* Amir Khan, Ragas Hansadhwani and Malkauns, on HMV LP (long-playing record), EMI-EASD1357
* ''Lagi Lagana'' (Drut – Teental) by A. Kanan in Meghe Dhaka Tara
* ''Ja Tose Nahin Bolun Kanhaiya'' by Lata Mangeshkar in Parivar (1956)

Notes

References

Literature

* Bor, Joep ''(ed).'' Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane ''(co-authors)'' ''The Raga Guide: A Survey of 74 Hindustani Ragas''. Zenith Media, London: 1999.

External links

SRA on Samay and Ragas



Rajan Parrikar on Ragas

{{Rāgas as per Performance Time

Janya ragas