Amrithavarshini

Literally, the meaning is 'one who showers amrit, the elixir of immortality.' It is a combination of two words: amrit and varshini.

Different schools of music place the origin of this raga under different melas. One school places this raga as the janya of the 39th mela Jhalavarali. But the present day Amritavarshini does not have any resemblance to the 39th mela. There are no compositions in this type of Amritavarshini.

The present day Amritavarshini could be placed as the janya of the 65th mela Mechakalyani. Or the 66th mela Chitrambari. It can be fitted to either of these melas as the raga does not have a Dhaivata. As the note Dhaivata is the only difference between Mechakalyani and Chitrambari, in the absence of that note, it could belong to either of these melas.

But the practice is to choose the earlier of the two ragas in case of such a dilemma.

Amritavarshini as it is sung today has the following Aarohana and Avarohana:

S G3 M2 P N3 S
S N3 P M2 G3 S

It is an Audava raga and is very melodious. It does not give scope for treatment as a major raga in a concert. One reason could be the absence of major compositions in the raga.

The very popular and frequently heard ones are Muthuswamy Dikshitar's 'Anandamritakarshini' in Adi Tala and Muthiaha Bhagavatar's 'Sudhamayee' in Rupaka Tala.

The raga is a hot favorite for ragamalika swara singing in ragam-taanam-pallavi.

There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to bring rain and alleviate the plight of the drought-hit people.

He addressed the Devi as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.

This incident has given rise to the practice of musicians gathering together to sing this composition when there rains fail.

Wonderful rendition by T S Sreekumar


A unique Vocal+violin concert by a single person.


Film Music


Another Amrithavarshini

Hamsadhwani

HAMSADHWANI, a Janya Ragam from Melam 29 Dheerasankarabharanam
is an audava-audava (Pentatonic scale)
Arohana: S R2 G3 P N3 S
Avarohana: S N3 P G3 R2 S

The Rasa associated with this Ragam is "Vira" (Bravery). Majority of the compositions in Hamsadhwani are on Lord Ganesha and the rest (well almost) are on Lord Rama. Hamsadwani features as a Ragam in many Ragamalikas. An Anecdote: Once, Tiger Varadachariar, a renowned musician of yesteryears, was listening to a poorly rendered hamdashwani by some musician, and he quipped: This is not Hamsadhwani - but Himsa dhvani!! (Sound of torture).

Famous compositions in this raga are
Vatapi Ganapathim, Vinayaka, Raghunayaka.

Vatapi Kalpanaswaras by Aishu


A Tamil Film Song


A Song from the albunm Colonial Cousins


A Punjabi Pop in Hamsdhwani !!!

Kalyani

It is the 65th Melakartha and arguably the queen of ragas. It is the most important Pratimadhyama raga. It is also known as Mecha Kalyani to conform to the Katapayadhi system (More on Katapayadhi later). It's scale is

Arohana: S R2 G3 M2 P D2 N3 S'
Avarohana: S' N3 D2 P M2 G3 R2 S

Looking at the scale it looks like it differs from Shankarabharanam only in M. However, the swaraprayogas of Kalyani are very different from that of Shankarabharanam and they are poles apart in their distintive ways. Kalyani is also considered a very auspicious raga and a evening raga in general. This corresponds to Rag Yaman in Hindustani and to the C Lydian scale in Western Classical Music (Thanks Rajesh for pointing this out).


Here's a link to a mandolin rendition of Kalyani Varnam Vanajakshi
http://www.musicindiaonline.com/p/x/jUI0qkU-Wd.As1NMvHdW/

Here's a link to a very beautiful Krithi in Kalyani
http://www.musicindiaonline.com/p/x/b4p23skYgd.As1NMvHdW/

Shankarabharanam

This is the 29th Melakartha and one of the main ragas in Carnatic Music. It is also a very important janaka raga (that is a lot of ragas are derived from it). It is usually sung either as a varnam or a main krithi with elaborate raga alapana. The placement of swaras in Shankarabharanam make it very conducive for alapana and numerous swaraprastharas (using swaras during a krithi to bring out the raga). Shankarabharanam literally means "jewel of Lord Shiva" and is considered to be favorite raga of the deity. It's scale is
Arohana: S R2 G3 M1 P D2 N3 S'
Avarohana: S' N3 D2 P M1 G3 R2 S

The placement of it swaras makes it resemble the C major scale very closely.

Some Carnatic compositions in this raga are Swara raga sudha, Saroja dhala nethri. Here's a link to a thillana in Shankarabharanam
http://www.musicindiaonline.com/p/x/rUp2f7tONS.As1NMvHdW/
Here's a pseudo western piece but played Carnatic style in Shankarabharanam.
http://www.musicindiaonline.com/p/x/bUI09vl5wd.As1NMvHdW/

Movie Songs in Shankarabharanam