Desiragas

A STUDY OF THE DI RGA-S
OF THE POST-RATNKARA PERIOD

Dissertation submitted to the
University of Madras
in partial fulfilment of the
requirements for the degree of

MASTER OF PHILOSOPHY

By
R.HEMALATHA

DEPARTMENT OF INDIAN MUSIC

DEPARTMENT OF INDIAN MUSIC
UNIVERSITY OF MADRAS
CHENNAI - 600005
NOVEMBER 1996

CERTIFICATE

This is to certify that the dissertation entitled "A STUDY OF THE DSI RGA-S OF THE
POST-RATNKARA PERIOD" being submitted to the University of Madras, by R
HEMALATHA, in partial fulfilment of the requirements for the M Phil degree in Indian Music, is a
bonafide record of work done by the candidate during 1995-96 under my guidance. This
dissertation has not formed the basis for award of any other degree, diploma, associateship,
fellowship or any other similar title.

SUPERVISOR
Professor & Head of the
Department of Indian Music

( Dr. N RAMANATHAN )
Professor & Head of the
Department of Indian Music

TABLE OF CONTENTS

ACKNOWLEDGEMENTS
LIST OF ABBREVIATIONS USED
KEY TO THE DIACRITICAL MARKS USED

CHAPTER - I
INTRODUCTION 1

CHAPTER - II
Analysis Of 16 Di rga-s 12
1. Kpi 15
2. Husni 20
3. Mruva 24
4. Gaudipantu 29
5. Svri 33
6. Prvi 39
7. Bibhsu 43
8. Bilhuri 51
9. Gdumallru 55
10.Kdra 59
11.Kanada 66
12.Mhanakalyni 70
13.Dhansi 73
14.Sraga 81
15.Tdi 87
16.Kalyni 93

CHAPTER - III
CONCLUSION 99

BIBLIOGRAPHY

ACKNOWLEDGEMENT

At the outset, I wish to express my deep sense of gratitude and indebtedness to my
revered supervisor, Dr. N RAMANATHAN Professor and Head, Department of Indian Music, for
his kind guidance and encouragement during the course of my thesis work.

I owe my sincere thanks to Dr. (Mrs) M PREMEELA, Smt.SUGUNA VARADACHARI and
Smt. R S JAYALAKSHMI, staff members of the Department of Indian Music, for their valuable
suggestions relating to my work.

I am extremely grateful to Sri N Pattabhiraman, Editor, SRUTI, for readily giving me audio
cassette recordings from his personal collection.

My thanks are to Sri Ananth Vaidyanathan, a Hindustni vocalist and an executive in the
Gramaphone Company of India, Chennai, for valuable information on the laksya aspect of the
various Hindustni rga-s.

I also thank Dr. Y Bhagavathi, for helping me in translating the Telugu works.

Finally, I thank everyone in the Department of Indian Music for the various kinds of help
rendered by them, in the successful completion of this thesis

LIST OF ABBREVIATIONS USED
CDP Caturdandiprakika
GB Gnabhskaramu
HK Hrdayakautukam
HP Hrdayapraka
RL Rgalaksanamu
RM Rgamajari
RN Rganidhi
RT Rgataragini
RTV Rgatattvavibdha
RV Rgavibdha
RK Rasakaumudi
SRC Sadrgacandrdaya
SP Sagtaprijta
SR Sagtaratnkara
SSP Sagtasampradyapradarini
SS Sagtasrmrta
SSPS Sagtasvaraprastrasgaramu
SC Sagrahacdmani
SMK Svaramlakalnidhi
Key to the Diacritical Marks used

a i u e ai o au

k kh g gh c ch j jh

t th d dh n t th d dh n

p ph b bh m

y r l v l n r

sh s h

CHAPTER - I

INTRODUCTION

Rga-s have been classified in many ways from ancient times. One such kind of classification is
ghana, naya and di. This kind of classification is first seen in the telugu work "Rga lakshanamu"
(RL) of ahaji.( 1684-1712) In this work, the rga-s have been classified into ghana, naya and di
but the basis on which this classification has been made is not stated.

RL mentions in all 48 ghana rga-s, 13 naya rga-s, 16 di rga-s and he gives 13 rga-s under
both ghana and naya category. While listing the rga-s under each mla, it gives the rga -s under
each category. In that only two rga -s are termed as naya rga -s, namely Gaurimanhari and
mgadhi and while giving the lakshana these two rga -s are mentioned as "rakti" rga -s ( as
pointed out by Dr. Seetha in the introduction to RL ). Thus it can be taken that the terms naya and
rakti are synonymous.

The next work which gives rga -s under these categories is " The anubandham of
Caturdandiprakaik". This work has been assigned a date between 1600 and 1760 A.D, by
Dr.R.Sathyanarayana (Karntakasagtavhini, p. 315-317). It is quite likely that this work came
after ahaji's Rgalaksanamu, since the latter does not acknowledge the 72 mla scheme, while the
former gives name for all the 72 mla-s. This work gives in all 8 ghana rga -s, 39 rakti rga -s and
23 di rga-s. But in this also the principle underlying the classification is not mentioned. 3 of the
23 di rga-s are mentioned under the rakti category also.

The next treatise which mentions this kind of classification is a tamil work "Sagtacandrikai"
(1902 A.D) of Mnikka Mudaliyr. This work (p.127) gives 11 ghanarga-s, 9 dirga-s and states
that the rga-s other than these 20 rga-s are raktirga-s. This work too does not mention the reason
behind the classification and also the lakshana-s of these rga-s are not given.

The work which gives the explanation for the ghana, naya and di rga-s is the Sagta-
Sampradya-pradarini (1904 A.D). It gives the details (sagta prcna paddhati, p.35) as follows:

a) Ghana rga-s are those which are ideal for singing tna and are emanated from the nbhi.

b) Naya rga-s are those that are pleasing to the ear. These rga-s are also called as rakti rga-s and
mrga rga-s.

c) Di rga-s are "auttara" meaning that which have come from north. By nature itself these rga-s
are rajaka rga-s i.e. pleasing to the ear.

"Diyamu lka auttara rganu anunadi uttara damunuci vacci rajanamunu
syusvabhvamugaladi idi damulanundi vacci impugala palukulac manassunu gaikoni mhimpa
jyaga bhgastrla blinadi ".

The Sagtasvaraprastra sgaramu (1914 A.D) of Ndamuni panditar classifies the rga-s as
samprna, sdava and audava. It also mentions the classification of rga-s as rgga, kriyga,
upga and bhsga, for which the lka-s from Mataga's Brhaddi are quoted. It states that the
bhsga rga-s are called as daga (i.e) the rga-s from the other da-s (other places)

The next work which mentions this classification is Gna Bhskaramu (1918 A.D) and the
explanation it gives for this classification is similar to that in SSP. GB gives 10 ghana rga-s, 4 di
rga-s and states that the rga-s other than these rga-s are all rakti rga-s. But the lakshana-s of
these rga-s are not given.

Since the reason behind the classification of rga-s into ghana, naya and di in RL is not
indicated, probably the same explanation found in SSP and GB must be applicable to RL also and
this study is based upon the explanations given in SSP and GB.

The lists of ghana, naya (rakti) and di rga-s mentioned in the above works is given below:
1. List of Ghana, Naya and Di rga-s in RL
Ghana Naya Di
Janya rga-s of rrga mla
1.rrga 1.Saindhavi 1.Kpi
2.Kannadagaula 2.Husni
3.Vlvali
4.Dvagndhri
5.Slagabhairavi
6.uddhadi
7.Mdhavamanhari
8.Madhyamagrmarga
Janya rga-s of Mlavagaula mla
9.Mlavagaula 2.Mgadhi 3.Mruva
10.Slaganta 3.Gaurimanhari 4.Gaudipantu
11.Ndanmakriya 4.Ndanmakriya 5.Svri
12.Saurstra 5.Saurstra 6.Prvi
13.Magalakaiiki 6.Magalakaiiki 7.Bibhsu
14.Mcabauli 7.Mcabauli
15.rdradi
16.Chygaula
17.Takka
18.Gujjari
19.Gundakriya
20.Phalamajari
21.Gaula
22.Lalita
23.Bauli
24.Pdi
25.Kannadabagl
26.Malahari
27.Prnapacama
28.uddhasvri
29.Mgharaji
30.Rvagupti
31.Mlavi
Janya rga-s of akarbharana mla
32.akarbharanam 8.akarbharanam 8.Bilhuri
33.rabhi 9.Surasindu 9.Gdumallr
34.uddhavasanta 10.Julvu 10.Kdra
35.Sarasvatimanhari
36.Prvagaula
37.Nryani
38.Nryanadsksi
39.Smantam
40.Kuraji
41.Prnacandrika
Janya rga-s of Kmbhji mla
42. Kmbhji 11. Kmbhji 11.Kanada
43. Kdrgaula 12. Kdrgaula 12.Mhanakalyni
44.amanhari 13. amanhari
45.Dvakriya
46.Nryanagaula
47.Balahamsa
48.Ngadhvani
49.Cytaragini
50.Natanryani
51.ndhli
52.Smarga
Janya rga-s of Bhairavi mla
53.Bhairavi 14.Bhairavi 13.Dhansi
54.hiri 15.hiri
55.Ghantrava 16.Ghantrava
56.Indughantrava 17.Indughantrava
57.Rtigaula 18.Ngagndhri
58.Hindlavasanta
59.nandabhairavi
60.bhri
Janya rga-s of Sindurmakriya mla
19.Sindhurmakriya
20.Pantuvarli
Janya rga-s of Hejjuji mla
61.Hejjuji
Janya rga-s of Vasantabhairavi mla
21.Lalitapacamam

Janya rga-s of Sraga mla
14.Sraga
Janya rga-s of Tdi mla
22.Punngavarli 15.Tdi
23.Ngavarli
Janya rga-s of Kalyni mla
16.Kalyni

List of Ghana, Naya and Di rga-s in CDP anubandham
Ghana Naya Di
1.Nta 1.Bhairavi 1.Surati
2.Gaula 2.Kdrgaula 2.Darbr
3.Varli 3.Kalyni 3.Nyaki
4.Bauli 4.Kmbhji 4.Yamuna
5.rirga 5.Punnga 5.Prvykalyna
6.rabhi 6.Bgada 6.Atn
7.Mlavari 7.akarbharanam 7.Brndvani
8.Rtigaula 8.Pantuvarli 8.Jujvanti
9.Bilahari 9.Dvagndhri
10.Navarj 10.Pharaju
11.Madhyamvati 11.Rmakali
12.Dhanysi 12.Shahna
13.Saurstra 13.Bhairava
14.Kpi 14.Vasanta
15.Mhana 15.Gauri
16.uddhasvri 16.Tdi
17.Svri 17.Bibhsu
18.nandabhairavi 18.Hambr
19.hari 19.Bilval
20.Ghantrava 20.Dhanri
21.Kannada 21.Mallru
22.Nlmbari 22.Mji
23.Mukhri 23.Prvi
24.Ntakuraji
25.Sraga
26.Huni
27.Gaulipantu
28.Gummakmbhji
29.Bpla
30.Magalakaiiki
31.Mallri
32.Dvagndhri
33.Ndanmakriya
34.Asvri
35.Purvi
36.Gauri
37.Saindhavi
38.Tdi

List of Ghana, Naya and Di rga-s in Sagtacandrikai
Ghana Naya Di
1.Nta 1.Paraju
2.Gaula
Rga-s other than ghana
and di are naya rga-s 2.Kams
3.Varli 3.Byk
4.rabhi 4.Hamrukalyni
5.rirga 5.Kpi
6.Kdram 6.Darbru
7.Nryanagaula 7.Yamuna
8.Rtigaula 8.Prini
9.Sraganta 9.Hamru
10.Bauli

List of Ghana, Naya and Di rga-s in SSP
Ghana Naya Di
1.Nta 1.Bhairavi 1.Surati
2.Gaula 2.Kdrgaula 2.Darbr
3.Varli 3.Kalyni 3.Nyaki
4.Bauli 4.Kmbhji 4.Yamunkalyni
5.rrga 5.Punngavarli 5.Prvykalyna or
Gamakakriya
6.rabhi 6.Bgada 6.Atn
7.Mlavari 7.akarbharanam 7.Brndvani
8.Rtigaula 8.ivapantuvarli 8.Jujvanti
9.Slaganta 9.Bilahari 9.Dvagndhri or
Diya gndhri
10.Takka 10.Navarj 10.Pharaju
11.Rmakali 11.Rmakali
12.Madhyamvati 12.Sahna
13.Dhanysi 13.Bhairavam
14.Saurstra 14.Vasanta
15.Gauri 15.Gauri
16.Kpi 16.Mruva
17.Mhana 17.Hamvru
18.uddhasvri 18.Tdi
19.Svri 19.Rudrapriya or
Hindustni Kpi
20.nandabhairavi 20.Mji
21.hari 21.Prvi
22.Ghantrava
23.Prvi
24.Kannada
25.Nlmbari
26.Mukhri
27.Ntakuraji
28.Sraga
29.Husni
30.Gaulipantu
31.Bpla
32.Magalakaiiki
33.Dvagndhri
34.Ndanmakriya
35.Asvri
36.Saindhavi
37.Ngavarli
38.Tdi
39.Erukalakmbhji

List of Ghana, Naya and Di rga-s in Gnabhskaramu
Ghana Naya Di
1.Nta 1.Pharaj
2.Gaula
Rga-s other than ghana
and di are naya 2.Kams
3.Varli 3.Kfi
4.rabh 4.Darbr
5.ri
6.Kdra
7.Nryanagaula
8.Rtigaula
9.Sraganta
10.Bhauli

Caturdandprkaika refers to two rga-s namely Kalyni and Pantuvarli as Di rga-s
although this text does not mention the Ghana, Naya and Di classification. In the context of
mentioning these two rga-s, this text defines "Di" rga-s as those unfit for being used in gta,
prabandha and thya (perhaps lpa also)

In this connection, it is also to be noted that Svaramlakalnidhi and Rgavibdha refer to a
classification of rga-s called uttama, madhyama and adhama, in which, uttama rga-s are
understood as fit for Gta, thya and prabandha and adhama rga-s as those which are not fit for
gta, thAya and prabandha.

From the above it appears that CDP was using the term "Di" almost in the same sense of the
term "adhama" rga. Again it is to be noted that even prior to the period of Vnkatamakhi and
Pundarka Vitthala, the term "Di" rga figured in the Sagtaratnkara of rgadva and in the
earlier works. In these works, which spoke of a system earlier to the mla system, the "Di" rga-s
are contrasted with the "mrga" rga-s. In SR mrga rga-s consist of grma rga, uparga, `rga',
bhsh, vibhsh and antarabhsh and the di rga-s consist of rgaga, kriyga, upga and
bhsga. The rga-s coming under the category of di are of two kinds, `prva-prasiddha' (well-
known in the earlier period) and `adhn-prasiddha' (well-known in the present times).

List of "prva-prasiddha" di rga-s in SR (2,2,4-8)
Rgaga Bhsga Kriyga Upga
1.akarbharana 1.Gmbhr 1.Bhvakri 1.Prnati
2.Ghantrava 2.Vhr 2.Svabhvakri 2.Devla
3.Hamsaka 3.vasita 3.ivakri 3.Gurujik
4.Dpaka 4.Utpali 4.Makarakri
5.Rti 5.Gli 5.Trintrakri
6.Karntik 6.Ndntar 6.Kumudakri
7.Lt 7.Nltpal 7.Rnikri

8.Pcli 8.Chy 8.Ojakri

9.Taragin 9.Indrakri

10.Gndhrgatik 10.Ngakrti

11.Vairaji 11.Dhanyakrti

12.Vijayakri

List of "Adhn-prasiddha" di rga-s in SR (2,2,9-15)
Rgaga Bhsga Kriyga Upga
1.Madhyamdi 1. Dombakri 1.Rmakrti 1.Kauntali
2.Mlavar 2. Svari 2.Gaudakrti 2.Drvadi
3.Tdi 3. Vlvali 3.Dvakr 3.Saindhavi
4.Bagla 4. Pratamamajari

4.Upastnavartika
5.Bhairava 5.dikmdik

5.Hatasvaravartik
6.Varti 6.Ngadhvani

6.Pratpavartik
7.Gurjari 7.uddhavartik

7.Chytdi
8.Gauda 8.Natta

8.Turushkatdi
9.Klhala 9.Karntabagla

9.Mahrstrigurjari
10.Vasanta

10.Saurstrigurjari
11.Dhanysi

11.Dakshinagurjari
12.Di

12.Drvidigurjari
13.Dskhya

13.Bhujik

14.Stambatirthik

15.Chyvlvali

16.Pratpavlvali

17.Bhairavi

18.Kmdasimhali

19.Chynatta

20.Rmakrti

21.Bhalltika

22.Malhri

23.Malhra

24.Gauda

25.Karna

26.Davla

27.Taurashka

28.Drvida

Thus Di-rga-s are mentioned in two different stages in the history of rga-s, once in the pre-
mla period where they are contrasted with the mrga-rga-s as seen in Sagtaratnkara and later
as one among the ghana-naya/rakti-di classes. It is the di class of rga-s that have been spoken
in the post-Sagtaratnkar or in the mla period that are being taken up in this thesis for detailed
study and hence the title of this work "A Study of the Di-rga-s of the Post-Sagtaratnkara
Period".

In this connection it is also interesting to note that the texts Rgamajari and Rgavibdha list
certain rga-s which are said to belong to Persia (Praskya rga) and which correspond to certain
rga-s belonging to this country. The list of the rga-s mentioned in these texts are:

List of Indian and Persian rga-s - Rgamajari (p.19)
Indian Persian
1.Dvagndhra Rahyi
2.Knara Nisbara
3.Sraga Mhura
4.Bagla Jangl
5.Di hagak
6.Malhra Bra
7.Kdra Shva
8.Dhansi Iryika
9.Jijvanti Hausni
10.Mlava Musali
11.Kalyna Yaman
12.Bilval Sarparda
13.Dikra Bkharja
14.svari Hijja
15.Dvagiri Muaka

List of Indian and Persian rga-s - Rgavibdha (p.99)
Indian Persian
1.Tdi Husni
2.Bhairav Julufa
3.Rmakriya Musali
4.svari Ujjvala
5.Kalyna Yaman
6.Dvakri Pushka
7.Vlavali Sarparda
8.Vihagada Navarj
9.Dskr Vkharja
10.Saindhavi Hijja
11.Karnta Irka

However, it is not clear from these texts whether these Indian rga-s actually came from
Persia.
One interesting aspect is that some of the "di" rga-s mentioned in RL are given in the CDP
anubandham and SSP as "rakti" rga-s. It is also interesting that the rga Kdra is mentioned as
"di" in RL, but the tamil work "Sagtacandrikai" gives this rga as a ghana rga whereas the
CDP anubandham and SSP have not mentioned any category for this rga.

In this dissertation, the 16 di rga-s that are mentioned in RL have alone been taken up for
study. The lakshana-s of these rga-s in various texts before and after RL have been analysed. Since
these are mentioned as di rga-s in RL, a parallel study of these rga-s in present day Hindustni
system seems to be indispensable and so this has also been attempted.

The purpose of this study is -
(a) to seek textual sources that would help in establishing the statement that the di rga-s are
those which have come from the North.

(b) to see if the reasons for the change in the category of certain rga-s from "di" to "rakti"(naya)
or from "di" to "ghana" could be traced to the changes in lakshana as evident from the various
lakshaNagrantha-s.

(c) to try to understand the 16 di rga-s as present in today's lakshya in both the South Indian and
North Indian systems, on the background of what has been said in RL.

The 16 di rga-s are dealt individually in the second chapter.

CHAPTER-II

Analysis of the 16 di rga-s

The second chapter deals with 16 di rga-s individually, presenting the lakshana-s as found in
various lakshaNagrantha-s and followed by discussion based on the accounts given in the texts as
well as the observations of the present day lakshya.

As stated in the Introduction, rga-s have been classified into ghana, naya, di and this is taken
up for special study. The list of the 16 di rga-s are as follows:

1. Kpi 9.Gdumallru
2. Husni 10.Kdra
3. Mruva 11.Kanada
4. Gaudipantu 12.Mhanakalyni
5. Svri 13.Dhansi
6. Prvi 14.Sraga
7. Bibhsu 15.Tdi
8. Bilhuri 16.Kalyni

In the following pages, these rga-s are dealt individually. Although the classification of ghana,
naya, di is mentioned only in five texts, the rga-s themselves have been treated in many of the
lakshanagrantha-s.

The laksanagrantha-s which have been referred to are:

Title Author Abbrev.
Rgalaksanamu ahaji RL
Svaramlakalnidhi Rmmtya SMK
Rgamajari Pundarkavitthala RM
adrgacandrdaya Pundarkavitthala SRC
Rgavibdha Smantha RV
Rasakaumudi rkantha RK
Caturdandiprakika Vkatamakhi CDP
Sagtaprijta Ahbala SP
Rgatattvavibdha rnivsa RTV
Hrdayakautukam Hrdayanryana HK
Hrdayapraka Hrdayanryana HP
Rgataragini Pundarkavitthala RT
Sagtasrmrta Tulaja SS
Sagrahacdmani Gvinda SC
Sagtasampradyapradarshini Subbarma Dksitar SSP
Gnabhskaramu K V Srinivasa Iyengar GB
Sagtasvaraprastrasgaramu Ndamuni Panditar SSPS

The treatment of each rga has been taken up under 6 sections.

a) First the list of works in which the lakshana of the rga-s has been dealt with is given. For
instance, the rga Kalyni has been mentioned in the works RL, HK, SC etc.

b) The ruti positions of the svara-s taken by the mla under which these rga-s are mentioned is
given. For instance, for the rga Husni, the ruti positions of the rrga mla

Text Mla ruti positions
s r g m p d n
SS Srrga 4 9 10 13 17 22 1

c) The mrcchana or prayga-s given for these rga-s in each lakshanagrantha-s. For instance, for
the rga Tdi in SP, the prayga-s given under it are:
s r g m m d n s s n d p m p m g g g r s, etc.

d) The other details about the rga. For example, for the rga Prvi in SRC, the details are -a
samprna rga, sadja is the graha, ama and nysa.

e) The related rga-s to the rga under study. For instance, for the rga Bibhsu, SSP gives a rga
Rmakali which is stated to be equivalent to the rga Bibhsu.

f) The sixth section is the discussion, where the laksana-s as given in the earlier five sections are
discussed. However the laksana of the rga as existing in the Hindustni system taken from the
work Rganidhi (RN) of Subba Rao is first quoted and then the discussion commences.

1.Kpi
(a) List of works dealing with this rga

RL(p.15)
CDP anu.(p.12,v.22.9)
SS(p.75)
SC(p.113,v.22.21)
SSP(p.509.tam.ed)
GB

(b) The ruti positions of the svara-s of the parent mla

s r g m p d n

RL rrga 4 9 10 13 17 22 1
CDP anubandham rrga 4 9 10 13 17 22 1
SS rrga 4 9 10 13 17 22 1
SC Kharaharapriya 4 8 10 13 17 21 1
SSP rrga 4 9 10 13 17 22 1
GB Kharaharapriya 4 9 10 13 17 21 1

(c) The mrcchana or prayga-s

RL
The illustrative prayga-s are: R g g r s r g m p d n s |s n d p m g r s |r g g r S n d p D N S |

SS
The svaragati in lpa is as follows:
R g g r S | r g m p d n S | s n d p m g r s | r g g r S | n d p D n s S

p d n s r g m p m n n | s n p m m p m| p g r s | r n n | d p m p d n s r r n p m g r s - Gta prayg

SC
The mrcchana given is:
s r G m r P M P d n D p m G r S

SSP
The mrcchana is: s r g m p d n s n d p m g g R s

GB
rhana and avarhana is follows:
s r G m r p m p d n s s n d p m g r s

(d) Other details

RL
A di rga and a samprna and the svaragati in the rha and avarha is regular.

CDP anubandham
A rakti rga.

SS
A samprna rga having sadja for graha, nysa and ama.

SC
Mentions Kpi as taking sadja as graha, ama and nysa. In this rga, the rh is vakra samprna
whereas the avarh is krama samprna.

SSP
A Bhsga rga and a samprna rga having sadja as the graha svara and it is also a rakti rga.
kkali nisda and antara gndhra came to be used later in certain phrases ex. s n r s | s n s d n p d
M | p m p M |d p D p d N | s n p m g m r s | r g m P

(e) Related rga-s

SSP (p.556.tam.ed) mentions another rga Rudrapriy under rrga mla. Its mrcchana is :
s r g m p d n s N p m G R S

It is a bhsga rga, a samprna rga with dhaivata as varja in avarhana and sadja as the graha
svara. He says, it is a di rga and it is also called as Hindustni Kpi. In the phrase "m g M",
antara- gndhra occurs.

(f) DISCUSSION

SSP is the only text which mention the usage of the notes antara gandhra and kkali nisda in the
rga Kpi. He gives another rga Rudrapriy where he states that this rga is also called as
`Hindustni Kpi'. Moreover he mentions Kpi as a rakti rga and Rudrapriy as a di rga. Before
going to the analysis of the statement of Subbarma Dksitar the lakshana of the Karntaka rga-s
Kpi and Rudrapriy and their Hindustni counterpart are taken for study.(present stage)

RN of B.Subba Rao, gives two rga-s namely Karntaka Kpi and Hindustni Kpi which he states
that belong to Karntaka music. The lakshana of these rga-s as given in RN are:

1) Karntaka Kpi is a janya of the 22nd mlakart Kharaharapriya (which corresponds to
Hindustni Kfi tht). It is a samprna rga with vakra sacra in the avarhana.
The rha and avarha of this rga are:
s r g m p d n s - s n d p g m r s

He says that no anya svara is used in this rga and the svaras used are only those which are found in
the mlakart to which it belongs.

2) Hindustni Kpi is a bhsga rga in which two varieties of gndhra, dhaivata and nisda are
used. The rha and avarha of this rga are:
s r2 m p n2 s s n1 d n1 p m g2 m d1 p g1 r2 s n2 s

He states that, Kfi of north mixed with Sindhra and Pl has found its way to the south and is
sung under the name of Hindustni Kpi, to distinguish it from the orthodox Kpi of south called
Karntaka Kpi.

In the Hindustni system the rga Kfi belongs to Kfi tht (which corresponds to kharaharapriya).
Its jti is samprna-samprna. The rha and avarha are:
s r g m p d n s s n d p m g r s

He says that for rajakatva the svaras tvra gndhra, tvra nisda and kmal dhaivata are used as in
the sacra-s
g2 m p g1 r - m p n2 n2 s m p d1 p .

He further states that pure Kfi is rarely sung and what is rendered as Kfi contains touches of the
rga Sindhra. (in which only Kmal nisda is used)

And coming to the rga Rudrapriy, he states that there is no rga called Rudrapriy, but the rga
Palasi in Hindustni music resembles the rga Rudrapriy of Karntak music.

The rha and avarha of the rga Palasi are:
s r g m p n s s n p m g r s .

He gives the laksana of the Karntaka rga Rudrapriy as follows: It is a janya of the mla
Kharaharapriya. Its jti is audava-sdava. In rha pacama and dhaivata are not used and in the
avarha dhaivata is omitted.
The rha and avarha of Rudrapriy are:
s r g m n s s n p m g r s

According to him, there is a krti of Muttusvmi Dksitar in this kind of Rudrapriy. But SSP also
gives a kriti of Muttusvmi Dksitar in this rga with a different lakshana for this rga. The laksana
of Rudrapriy of RN coincides with that of the rga in which the krti-s "Lvanya Rma" and "Sri
Mnini" of Tygarja are set.

Another interesting point is that Subbarma Dksitar states that in the phrase `m g M' n the rga
Rudrapriy, antara gndhra occurs. But in the krti-s given in notation in this rga the antara
gndhra is not found and it is not known why he had stated like that. Moreover, he gives the rga
Rudrapriy as a di rga, the reason for which is not known.

RL is the earliest text to mention the rga Kpi and it is also not known why this rga was
classified under the di category, since the texts like RM, RT, RV, SP, RTV, SRC, HK, HP etc.
which are said to be leaning towards Northern system do not make a mention of this rga.

2. Husni

RL(p.15)
CDP anu (p.12,v.22.10)
SS(p.76)
SC(p.113,v.22.20)
SSP(p.520,tam.edn)


TEXT mELa Sruti positions
s r g m p d n
RL rrga 4 9 10 13 17 22 1
CDP anubandham rrga 4 9 10 13 17 22 1
SS rrga 4 9 10 13 17 22 1
SC Kharaharapriya 4 8 10 13 17 21 1
SSP rrga 4 9 10 13 17 22 1


RL
The illustrative prayga-s given are: r g M g r s r g m p m n d p m n d n s S n d p m p d M g r s.

SS
Its svaragati is as follows:r g m g r g,r g m p m n d p m, n d n s, n d p m,p d m g r s, r g r r r s, r g r r
r s.

SC
The rhana and avarhana are:
s r G m p D N S s n D p m G r s

SSP
Its mrcchana is: s r g M p d n s n d p g r s

(d) Other details
RL
A di rga and it is a samprna rga.

CDP anubandham
This mentions Huni as a rakti rga and a samprna rga, having sadja as the grahasvara.

SS
A samprna rga and has sadja for graha, ama and nysa.

SC
This rga has rsabha as graha, ama and nysa. The rhana and avarhana are samprna.

SSP
It says that this is a bhsga rga, samprna and has sadja for graha and it is a rakti rga.
madhyam is drgha both in ascent and descent. Madhyam and nisda are jva svara-s. Some
prayga-s occur with uddha dhaivata.(e.g) M P N D p p M n d n s n d p m .

(f) DISCUSSION

RN gives a rga called Huni in Karntak music under the mla Kharaharapriya (which
corresponds to Kfi tht) Its jti is samprna-samprna.

Its rhana and avarhana are:
s r g m p n d m p n d n s-s n s p d m p g r s

A touch of uddha dhaivata is sometimes given. The following sacra-s are characteristic of
Huni.
p n d m - p n d n s - n d m- g r n s - s g r g m g r - p s n s - p d m p

RN also gives one rga that belongs to Hindustni music and he states that as the name itself
suggests, it is associated with Mohammedan music. He states that the present day svarpa of this
rga is a confused one and this rga is not sung. He also states that in the Hindustni rga Di or
Di tdi, there are certain groups of svaras which sound like the rga Huni of south. He also
gives one rga Huni knada in Hindustni music and states that there is no rga in Karntak
music which resembles this rga of north.

In the present day Hindustni system the rga Hussaini, as heard from the rendering of this rga by
Mohd. Afzal Khan and Mohd. Hafiz Khan takes the notes sadja, tvra rsabha, kmal gndhra,
uddha madhyama, pacama, uddha dhaivata and kkali nisda.The major sacra-s seen this
rendering are: m p n s ;;;; G R; R G S ; ; S R R M P N S ; ; D P ; ; M P N S N S ; ; ; S R M D P ; ;
M M ; D P ; M P N S G R ; ; S R G S ; ; S R N ; ; M P N S N S ; ; R G S ; ; S R N ; ; S

Thus the present day practice of this rga Husni in both the systems are different.

Regarding the classification of this rga as "di" in RL and "rakti" in the anubandham of CDP and
SSP, the following observataions are made:

* "Hausni" mentioned in RM is the earliest mention of this rga.

* RL is the earliest text to describe this rga.

* As stated by RN, this rga name suggests Mohammedan origin.

* SSP is the earliest text to mention the usage of uddha dhaivata.

* The laksana of this rga as given in RL corresponds to the modern practice when sung with
uddha dhaivata in some places.

* There is a svarajati " Myaldir" in this rga by Melattr Vrabhadrayya ( early 18th century)
given in SSP. The composing of this svarajati and perhaps some composition in this rga earlier to
it, would have changed the status of this rga from "di" in RL to "rakti" in CDP anubandham.

According to RM, Jijvanti is the corresponding Indian rga for the persian rga Hausni. In the
opinion of Ananth Vaidyanathan, the rga Husni of Hindustni system as heard in the above
mentioned recording has sancra-s resembling Jijvanti as it existed earlier. So the mention in RM
of Hausni being equivalent to Jijvanti seems to be confirmed. With regarding to Husni having
come from North, it is seen that the melodic sacra-s of the South Indian Husni and the North
Indian Husni/Jijvanti differ.

In the North, the Jijvanti seems to have undergone transformation. The rga Husni is very
rarely sung in the north. In the South, the present day Jujvanti, to some extent resembles the
Jaijaivanti of Hindustni system. The Husni as described in RL differs melodically from the
Husni of north, as heard in the recording. Hence after the arrival of the rga Husni in Karntaka
music, it is possible that either the rga Husni underwent transformation in Karntaka or in the
Hindustni music.

3. Mruva


RL(p.43)
HK(p.16,v.52)
CDP anu(p.9,v.22)
SS(p.84)
SC(p.96,v.15.14)
SSP(p.224)
GB

(b) The Sruti positions of the svara-s of the parent mELa

s r g m p d n
RL Mlavagaula 4 7 12 13 17 20 3
HK KdAra 4 7 11 13 17 20 2
CDP anu Mlavagaula 4 7 12 13 17 20 3
SS Mlavagauda 4 7 12 13 17 20 3
SC Mymlavagaula 4 6 12 13 17 19 3
SSP Mlavagaula 4 7 12 13 17 20 3
GB Mymlavagaula 4 6 12 13 17 19 3


RL
The illustrative prayga-s are as follows:
S n d p m p G r s g m d p m| p N s|G r r s n|d p N s|G m p g r s| G r s|

Prabandha and sldi prayga-s are also given.
HK
The mUrcchana given for this rga is g M p S n d p M g S

SS
The illustrative prayga-s are:
s n d p m g r s g m d p m p N S g S r r s N d p N S g G m p g r S G r s N s s S.(AlApa
prayga-s )
d d p m p s S S G G m r R g R r s n S s d s s g r r s n d d p m p s s n d p d m p g m g r s (Gta
prayOga)

SC
The mrcchana is :s g M P d N S N d p M P m G r S

SSP
Its mrcchana is : s g m d n s s n d p g m g r s r g r s.
It also gives the following sacra-s which are stated to be rga cya sacra-s. d m p n s, d p / d m
g r s . r n d / p M, p d M, p n s G, m d m g r s . Further it is stated that the sacra-s touching
mandra madhyama are rajaka and Jva svara prayga-s .

GB
s g m p n s s n d m p m g r s.

(d) Other details
RL
A di rga; a samprna rga.

SS
It says it is a samprna rga having sadja as graha.

SC
This rga has sadja for graha, ama and nysa.Rsabha is varja in rhana which is also vakra
whereas the avarhana is vakra samprna.

SSP
It is a bhsga rga ; a samprna; sadja is graha; a di rga; rsabha is varja in rhana.

(e) Related rga-s

RV(p.109,v.15) mentions one rga Mravi as a janya of Vasantabhairavi for which the ruti
positions are as follows:

s r g m p d n
4 7 12 13 17 20 1

This rga has gndhra for graha and ama and sadja as nysa. rsabha and dhaivata are varja.

RM (p.10,v.11) gives a rga by name Mru under Gaudi mla. The Gaudi mla takes the svaras in
the following ruti positions:

s r g m p d n
4 7 12 13 17 20 3

This rga takes sadja as graha, ama and nysa. rsabha and dhaivata are varja in this rga.

SRC(p.17) gives a rga Mravi under Mlavagauda which takes the ruti positions as follows:

s r g m p d n
4 7 12 13 17 20 3

The rga Mravi has sadja as graha, ama and nysa and rsabha and dhaivata are varja.

SP(p.65,v.452) gives Mru taking the uddha svaras which are in the ruti positions as follows:

s r g m p d n
4 7 9 13 17 20 22

In this rga gndhra is the graha svara and dhaivata is varja in rha. It mentions three gamaka-s
for gndhra namely chyavita, agrasvastna and svastna and gives nisda a gamaka called
ndholi.

HP
Gives Mru under Kdra mla which has the following ruti positions:

s r g m p d n
4 7 11 13 17 20 2

It says that it is a sdava rga, rsabha being varja.

(f) DISCUSSION

RN (p.140,vol.3) gives the rga Mruva of Karntak music under the 15th mla Mymlavagaula.
Its jti is audava - samprna with vakra sacra in rha. There are two types in this rga.

Type 1:The rha and avarha of this type are:
s g m p n s - s n d m g r s .
rsabha and dhaivata are omitted in this type.

Type 2:The rha and avarha of this type are:
s g m d n s - s n d p g m g r s r g r s .
rsabha and pacama are omitted in this type.

RN gives a rga Mrw of Hindustni music under the Mrwa tht.(corresponding to the 53rd
mla) Its jti is sdava sdava. pacama is omitted. The rha and avarha of this rga are:
s R g m* D - n d s - R - n D - m* g r -s
Halts on rsabha and dhaivata give a characteristic charm to this rga.
The current svarpa of this rga is known through the two compositions given in SSP. The second
type rhana and avarha of this rga given in RN is the same as given in SSP. This rga is not
much in vogue in the present day.

Thus after the period of RN, this rga has not changed very much in Hindustni system. This is
evident from hearing on to the rendition of this rga by Gangubai Hangal (Inreco 2711-0078) and
Ustad Amir khan.(EMI-6TCS 02B 5090)

The observations made from the above details can be summarised as follows:

*The laksana of this rga given in the texts (except RV and SP ) is more or less similar to that given
in RL.

*RL is the earliest rga to mention this rga and this rga is mentioned as a di rga in SSP also. It
is interesting to note that the CDP anubandham has not classified this rga under any category.

Regarding the categorizing of this rga as 'di", it is seen that `Mrw' of Hindustni system is
a rga which has prati madhyama and the dhaivata too is different from that in the Karntaka
system. Further, in the rga Mrwa of Hindustni system pacama is varja. It is however possible
that either Mruva mentioned in the Northern and Southern laksana grantha-s is different from
Mrwa of Hindustni music or the Mruva of the 17th century underwent change in the North and
exists today in a slightly altered state.

4.Gaudipantu


RL(p131)
CDP anubandam(p.9,v.21)
SS(p.84)
SC(p.98,v.15.23)
SSP(p.220,tam.edn.)
GB


s r g m p d n
RL Mlavagaula 4 7 12 13 17 20 3
CDP anubandham Mlavagaula 4 7 12 13 17 20 3
SS Mlavagaula 4 7 12 13 17 20 3


RL
The prayga-s are: r m p N s s r r s n d p m g r s r g r r s n d p N s S

r M p n s r s n S s - Gitaprayg

r m p d p m g r m p d p s n d p m g r s - Sldiprayg

SS
r m p N s S r r s n d p m g r s r g r r s n d p N s S r M p N s r s n S S

SC
The mrcchana given under it is: s r G r m P D P n s N d p M g R

SSP
The mrcchana is:s r m p n s s n d p m g r s

GB
s r g r m p d p n s - s n d p m g r s.

(d) Other details

RL
A di rga and a samprna having gndhra and dhaivata as varja in rhana whereas the
avarhana is krama.

CDP anubandham
A rakti rga having sadja for graha. Gndhra and dhaivata are absent in rhana.

SS
This rga has sadja for graha and ama . It is samprna, gndhra and dhaivata are absent in rha.

SC
This rga has sadja as graha, nysa and ama. The rhana is vakra samprna whereas the
avarhana is krama samprna.

SSP
A rakti rga and a bhsga rga, a samprna rga having sadja as graha and gndhra and dhaivata
are varja in rhana.

(e) Related rga-s

GB gives a rga Gaudipantu under the 51st mla with the rhana and avrhana s r m p n s - s n d
p m d m g r s

(f) DISCUSSION

RN gives a rga called Gaulipantu which is derived from the 15th mlakarta Mymlavagaula
which corresponds to Hindustni Bhairav tht.
It states that three sets of rha and avarha are suggested for this rga.

1) This type is of samprna-samprna jti,with vakra sacra in rha. The rha and avarha are: s
r g r m p d p n s -s n d p m g r s

2) This is of Audava- samprna jti. There are no vakra sacra-s. Gndhra and dhaivata are
omitted in rha. The rha and avarha are: s r m p n s - s n d p m g r s

3) This is also of Audava- samprna jti, with gndhra and dhaivata omitted in rhana. There is
vakra sacra in avarhana. The rha and avarha are: s r m p n s - s n d p m p d m g r s

He states that the last mentioned rha and avarha have been fixed by the Madras Music Academy
Conferences.

He gives another rga by name Gauripantu under the 51st mla Kmavardhani and gives its rha
and avarha as:
s r m p n s
s n d p m* p d m* g r s

He further states that there is no rga by name Gaulipantu or Gauripantu in Hindustni music.

The laksana of this rga given in all the texts is similar and this also coincides with the current
practice of this rga. Eventhough this rga is mentioned as a janya of Mlavagaula mla, in the
current practice the madhyama is rendered slightly higher than the uddha madhyama but it is
lower than prati madhyama.

Since this rga is not mentioned in the Northern texts, and RN also stating that there is no rga by
name Gaulipantu in Hindustni system, it is not clear why this rga should have classed under
"di".

5. Svri


RL(p.45)
SMK(p.41)
RM(p.13,v.32)
SRC(p.19)
RV(p.111,v.21,p.116,v.40)
CDP(p.63,v.105,106)
SP(p.58,v.446)
CDP anu(p.9,v.15,23)
SS(p.84)
SC(p.93,v.15.1)
SSP(p.228,tam.edn.)
GB
SSPS(p.494)


s r g m p d n
RL Mlavagaula 4 7 12 13 17 20 3
SMK Sraganta 4 9 12 13 17 22 3
RM Kdra 4 9 12 13 17 22 3
SRC Kdra 4 9 12 13 17 22 3
RV Mallr 4 9 12 13 17 22 3
CDP Gaula 4 7 12 13 17 20 3
SP 4 7 10 13 17 20 22
CDP anubandham Mlavagaula 4 7 12 13 17 20 3
SS Mlavagaula 4 7 12 13 17 20 3


RL
d s r m g r m p d d n d p m| p d s n d s | n d p m g r s | r g r r | s n d S s

SP
The illustrative prayga-s given for this rga are:
d s r m m g r s r g r S d d s r m M p d d p M g r |s r g r r s S d d s s r r m m p d d p m p M m r s |s
r g r r s Sd d m s r r m m p d d p m p M s r s |s r m r r s S d

SS
d s r m g r m p d d n d p m p d s n d s n d p M r s r g r s n s S s S

SC
The mrcchana is as follows: s r M p d SS n - d p m G r S r s

SSP
The mrcchana is: s r m p d s s n d p m g r s

GB
The rhana and avarhana are as follows:
s r m p d s -s n d p m g r s

(d) Other details
RL
A di rga and a samprna rga with gndhra and nisda as varja in rhana whereas the
avarhana has a neat progression of svaras.

SMK
It is an audava rga, gndhra and nisda being varja. Dhaivata is the graha,ama and nysa.

RM
Sadja and pacama are varja in the rga Svri. Dhaivata is graha, ama and nysa.

SRC
In this rga dhaivata is the graha, ama and nysa svara. Sadja and pacama are varja in this rga.

RV
Sadja and pacama are varja in this rga and it has dhaivata as graha, ama and nysa.

CDP
It states that gndhra and nishada are varja in the rhana and pacama is graha, ama and nysa.

SP
It says that nisda is varja in rhana and gndhra and nisda are varja. [note: This description in
SP is not clear]

The anubandham of CDP
Mentions Svri as a rakti rga with gndhra and nisda being varja in rhana.

SS
It says that it is a samprna rga having sadja as graha, ama and nysa.gndhra and nisda are
varja in rhana.

SC
Svri rga has madhyama as the graha, ama and nysa and gndhra and nisda are varja in
rhana whereas the avarhana is krama.

SSP
A rakti rga.

SSPS
A janya of Mlavagaula mla, samprna, gndhra and nisda are varja in rhana. Sdharana
gndhra, antara gndhra, kaiiki nisda and kkali nisda figure in the rga according to phrases.

(e) Related rga-s

SR mentions one rga "Svari", as a bhsga under di rga-s.

RM(p.10,v.9) mentions a rga namely svari under Gaudi mla which has the ruti positions for its
svaras as follows:

s r g m p d n
4 7 12 13 17 20 3

This rga has madhyama as the graha , ama, and nysa svara. It is a samprna rga.

RV(p.111,v.21) mentions a rga namely Asvri as a janya of Mlavagauda mla which has the
ruti positions as follows:

s r g m p d n
4 7 12 13 17 20 3

In this rga madhyama is graha, ama and sadja is nysa svara.

HK(p.11,v.27,p.12,v.29) gives two rgas svari and Sindhi svari, both under Gauri mla. The
Gauri mla takes the svara-s in the following ruti positions:

s r g m p d n
4 6 11 13 17 19 2

The mrcchana for svari is m p d s n d p m g r s

The mrcchana for Sindhi svari is m p d s r s n d p m g r s d s r
HP(p.12,v.56) mentions svari with the svara-s in the following ruti positions:
s r g m p d n
4 6 11 13 17 19 2

RT(p.6) mentions svari under Gauri mla which has the following ruti positions:

s r g m p d n
4 6 11 13 17 19 2

(f) DISCUSSION

RN(p.77,vol.4) gives the rga Svri of Karntaka music under the 15th mlakart
Mymlavagaula.(corresponding to Bhairav tht) Its jti ia audava-samprna. In rha gndhra
and nisda are omitted.
The rha and avarha of Svri are:
s r m p d s - s n d p m g r s.

jva svaras of this rga are rsabha and dhaivata.

RN also gives one Svri of Hindustni music and states that this rga of Karntaka music is
gradually becoming popular in Hindustni music. Its jti is audava - samprna. Gndhra and
nisda are omitted in the rha. The rha and avarha are :
s r m p d s - s n d p m g r s

Since RN mentions that there is no rga called Svri in Hindustni Music and also since there is
no equivalent rga for the Karntak rga Svri the following observations are made with regard to
Karntaka system only.

* The laksana of this rga in RL, CDP, CDP anubandham, SS, SC, SSP and GB are similar.

* Some texts mention rsabha in the 9th ruti position whereas according to RL and above
mentioned texts it is in the 7th ruti positions.

* The rga Asvri or svari mentioned in the text RV,RM, HK, HP and RT resembles the Svri
of RL.

* The descriptions given for the rga Svri in the text RL, etc. resembles the present day practice
of this rga.

*. Since the laksana of this rga given in CDP coincides with that found in the later RL, and also
the laksana of Svri given in the northern texts are different, it is difficult to say if this rga had
realy come from North.

* If it is to be considered as a di rga, then the reason for the change of the category of this rga
from di in RL to rakti in CDP anubandham is exactly not known.

6.Prvi


RL(p.129)
RM(p.11,v.18)
RV(p.110,v.17)
SP(p.59,v.452)
SRC(p.16)
CDP anu (p.9,v.15.20)
SS(p.84)
SC(p.99,v.15.30)
SSP(p.215.tam.ed)
GB


s r g m p d n
RL Mlavagaula 4 7 12 13 17 20 3
RV Mlavagauda 4 7 12 13 17 20 3
CDP anubandham Mlavagauda 4 7 12 13 17 20 3
RM Gaudi 4 7 12 13 17 20 3
SP Gauri 4 6 10 13 17 19 1
SRC Mlavagauda 4 7 12 13 17 20 3
SS Mlavagaula 4 7 12 13 17 20 3

RL
S g r g m p d N d d p S s (n d p m g p m g G r s )

SP
s r g m p d n s s n d p d m p p g g r G g m p p m g r s

SS
The svargati in lpa is:
S g r g m p d N d d p S, s n d p m g p m g G r s

SC
The mrcchana is:
s r G m p D N S s n D p m G r s

SSP
The mrcchana is : s r g m p d n s
s n d p m g r s
r s n n N, s g g m P N, p s N, n s N N, n s G G, g m d m G, d m G, m p d m G, S G M G, p m G, S
G M, m p N d p| are jva svara sacra-s.

GB
The rhana and avrhana are:
s r g M d n s s n d p m g r s

(d) Other details
RL
A `di' rga with straight progression of svaras in both rhana and avrhana.

RM
This rga has sadja as graha, ama and nysa.

SP
Mentions Prvi as taking sadja as ama and nysa.

SRC
Prvi has sadja as graha, ama and nysa. It is a samprna rga.

Classifies Prvi under rakti as well as di category. It states that this rga has sadja as graha svara
and it is a samprna rga.

SS
A samprna rga having sadja as graha and ama.

SC
This rga has sadja as nysa, ama and graha. The rhana and avrhana are krama samprna.

SSP
Gives this as a di rga and says that this is also a rakti rga. It is a samprna janya of
Mlavagaula mla and a bhsga rga having sadja as graha.

(f) DISCUSSION

RN(p.237,vol.3) gives the rga Prvi of Karntak music under the 15th mlakarta
Mymlavagaula (which corresponds to Bhairav tht) Its jti is sdava - samprna. pacama is
omitted in rha.

The rha and avarha of Prvi are:
s r g m d n s s n d p m g r s

RN also gives a rga Prvi of Hindustni music which belongs to Prvi tht. Its jti is samprna -
samprna. He states that there are two types of Prvi. In one type only prati madhyama is used. In
the second type both tvra madhyama and kmal madhyama are used.

The rha and avarha of the two types of Prvi are:

Type 1: s - r g - m* p d n s - s n d p m* - g r s

Type 2: s - r g - m* p d n s - s n d p - m* g r m1 g r g r s

The following observations can be made based on the above details:

* Except for SP, the description of this rga in all the texts is similar.

* Since RL is the earliest Southern text to mention this rga, and since many of the pre- RL
Northern texts like SP, SRC and RM etc., mention this rga this rga must have come from North
probably during the period of RL.

* Eventhough the mrcchana for this rga in SSP is given as a krama rha and avrha, the
kriti-s, gtas and sacri given under this rga, it is seen that rsabha and pacama are omitted in
rha.

* The Current svarpa of this rga is known only through the kriti of Muttusvmi Dksitar given in
SSP and in the krti the sacra-s given by Subbarama Dksitar are seen.(given under the section
mrcchana and prayga-s )

* In Hindustni Music in the current practice, according to the rendering of this rga by Nazakat
Ali and Salamat Ali, (HMV, EALP 1264) both varieties of Madhyama are used.

* Regarding the category of this rga, RL mentions this as a "di" rga whereas CDP anubandham
mentions this rga under "rakti" as well as "di" category, for which the reason is not known.

*But SSP that has followed CDP anubandham to a large extent states that this is a "di" rga,
which is also a rakti rga.

Since the svarpa of this rga in Karntak system has not changed much, and the present practice
is known through only one song of Muttusvmy Dkshitar, and also the CDP anubandham and SSP
classifying this rga under both "di" and "rakti", it is difficult to find the reason for the
classification of this rga under two categories.

7. Bibhsu


RL(p.101)
RM(p.10,v.4.10)
RM(p.14,v.9.43)
SP(p.44,v.25,274)
The anubandham of CDP(p.10,v.15.27)
HK(p.10,v.18)
HP(p.11,v.53)
RT(p.6)
SS(p.85)
RN(p.105-109,v.1)
SSP (p:246.tam.ed)


s r g m p d n
RL Mlavagaula 4 7 12 13 17 20 3
RM (Vibhsa) Dikra 4 10 12 13 17 20 3
SP (Vibhsa) 4 6 9 15 17 19 2
HK Gauri 4 6 11 13 17 19 2
HP Gauri 4 6 11 13 17 19 2
RT Gauri 4 6 11 13 17 19 2
SS Mlavagaula 4 7 12 13 17 20 3

(c) Mrcchana or prayga-s

RL
S r r g r s d s r g p d n | n S n n D p g r p d p d p g r r s

SP
g p d s r g P m g r s m n d p d m m n d n d p g p m g r s
s r s r s s s n d p d m m n d n d p g p m G r s
s r s s s n d p d d S r r M p m G r M

HK
The mrcchana for Vibhsa is p D n S n d p Mg r S

HP
The mrcchana is g p d s d p g r g r s

SS
S r r g r s D s r g p d n| n S n n D p g r p d p d p g p g r r s

SSP
The mrcchana is: s r g p d s s n d p m g r s
gg\dp,d m/pG,Dp mG,dsrG,mgdp mG,srg mG,dp mG are jva svara sacra-s

(d) Other details
RL
A di rga and a sdava rga with madhyama being varja.

SP
The mrcchana of this rga starts with gndhra, pacama is the ama and madhyama and nisda
are varja in rhana.

CDP anubandham
Mentions this as a di rga.

HP
Bibhsa is given as an audava rga with madhyama and nisda being varja.

SS
In this rga madhyama is absent and hence sdava. Sadja is ama and graha.

SSP
A rakti rga (Rmakali) from north (i.e) a di rga. It is a bhsga rga, samprna, sadja is the
graha svara, madhyama and nisda are varja in rhana. It further says that there is a tradition of
singing the madhyama as prati madhyama. It also says that this rga is called as Bibhs in other
regions.

(e) Related rga-s

RM(p.10,v.4.10) mentions Rmakali as a janya of Gaudi mla which has the ruti positions as
follows:
s r g m p d n
4 7 12 13 17 20 3

RV(p.110,v.20) mentions a rga called Rmakari as a janya of Mlavagaula. The svaras taken by
the Mlavagaula mla are in the ruti positions as follows:
s r g m p d n
4 7 12 13 17 20 3
The rga Rmakari has sadja for graha, ama and nysa.

RTV(p.14) mentions a rga Rmakari which has the ruti positions as follows:
s r g m p d n
4 6 10 15 17 19 1

In this rga, madhyama and nisda are varja in rha, pacama is the ama svara and the
mrcchana starts with gndhra. (e.g)g p d s s n d d p m p m g r s

CDP anubandham
Rmakali is given as a janya of Mlavagaula mla, which takes the ruti positions as follows:
s r g m p d n
4 7 12 13 17 20 3

In this rga madhyama and nisda are varja in rhana and sadja is graha and it is a samprna rga.

HK
The rga Rmakari is mentioned as a janya of Gauri mla which has the ruti positions as follows:
s r g m p d n
4 6 11 13 17 19 2
The mrcchana for Rmakari is g p d s n d p g m g r s

HP
The rga Rmakali is given as a janya of Gauri mla which has the ruti positions as follows:
s r g m p d n
4 6 11 13 17 19 2

Madhyama and nisda are varja in rhana, dhaivata is the ama, gndhra nysa and it is a
samprna rga.

The mrcchana is: g p d s s n d p g m g r s s r g

(f) DISCUSSION

SSP mentions a rga called Rmakali and after giving the laksana Subbarma Dkshitar says that
this rga is called as Bibhs in other regions. This seems to be an interesting statement because
most of the texts mention both Bibhs and Rmakali under different mla-s with different
laksana-s.

When the laksana of Bibhsu given in RL is compared with that in other works, the following
observations are noted.

* The lakshaNa of Bibhsu given in RL and SS are similar.

* The lakshaNa of Bibhs given in RL does not coincide with the Rmakali of SSP. In RL it is
mentioned that it is a sdava rga with madhyama being varja. But SSP gives it as a rga where
madhyama and nisda are varja in the rhana whereas the avrhana is samprna.

* RL mentions this rga as a di rga whereas SSP gives it as a rakti rga from north. Here also it
is very interesting to note that the anubandham of CDP gives both Bibhs and Rmakali in the list
of di rga-s but only the laksana of Rmakali is given.

* Many of the texts ( RV, RM, CDP anubandham, RTV, HKand HP ) mention the rga-s
Rmakari and Vibhsa and it is seen that the laksana of the rga Rmakari given in these texts
match well with the laksana of Rmakali in SSP.
Since Bibhsu is given as a di rga in RL and in the anubandham of CDP, it is clear that this rga
had come from north and hence the study of the laksana of the Hindustni rga Bibhs is
considered essential at this stage.

In the RN of B.Subba Rao, he gives three rga-s by name Bibhs under different thta-s and also
one rga Bibhsu (under Mymlavagaula mla) which he states as belonging to Karntak system.

1) The first type is derived from bhairav tht (which corresponds to our Mymlavagaula)
madhyama and nisda are varja in this rga.

The rhana and avrhana of this rga are:
s r g p d s - s d p g r s

2) The second type is under Prvi tht (which corresponds to our Kmavardhani) In this type
madhyama and nisda are varja in rhana.

s r s g p d s s n d p m p d p g r s

3)The third type is under Mrw tht ( which corresponds to our Gamanarama) The rhana is
vakra and nisda is varja in rhana.

n r g p p g m d s s d m d p- p g r s

The Karntak rga Bibhsu (acc.to B.Subba Rao) has no equivalent rga in the Hindustni system.

He gives the rha and avrha as:
s r g p d s s d p m r s

Since SSP mentions that the`Rmakali' is called as `Bibhs' in other places the laksana of the
Hindustni rga Rmakali is also taken for study.

RN(p.15,vol.4) states that there are three kinds of Rmkali and all the three types of Rmkali
belong to Bhairav tht.
The three types of Rmkali are:

1) In the first type rsabha and nisda are omitted in the rha. Its jti is audava-samprna.

The rha and avrha are:
s g m p d s s n d p m* p d n1 d p g m r s

2)The second type is of sdava-samprna jti. In the rha rsabha is omitted.
The rha and avrha are:
s g m p d n s s n d p m* p d n1 d p g m r s

3) The jti of this type is samprna-samprna.
The rha and avrha are
s r g m p d n s s n d p m* p d n1 d p m g m r s

In all the three types the svaras used are kmal rsabha, tvra gndhra, uddha madhyama and
tvra madhyama, kmal dhaivata and tIvra nisda. Tvra madhyama is used only in the avrha as
m*p d n d p. He says that this is a feature of Rmkali.

He also gives one rga Rmkali of Karntak music which is classified it under the mla
Mymlavagaula (which corresponds to Hindustni Bhairav tht) Its jti is audava-samprna.
Madhyama and nisda are omitted in the rhana. The rha and avrha are:
s r g p d s s n d p m g r s

He further says that this rga sounds like a combination of the Hindustni rgas Bibhs in rha
and Bhairav in avrha, but this rga has no resemblance to the Hindustni rga Rmkali.

At present the rga Bibhs has become obsolete in Karntak system and the laksana of the rga
Rmakali is known only through the krti given in this rga in SSP. It is clear that Bibhs is purely a
North Indian rga that came to south during the period of RL. But this rga is not in existence
today. Likewise, as SSP says, the rga Rmakali is also a north Indian rga (The anubandham of
CDP mentions it as a di rga). But why SSP should say that this rga is a rakti rga from North
that is a di rga which is also rakti is not clear.

But the rga Bibhsa today (in the Hindustni system) is different from that of the laksana given in
RN. While analysing the renderings of this rga by two Hindustni musicians, namely
Pt.Mallikarjun Mansur and Roshan Ara Beghum, one can notice the handling of two different kinds
of Bibhs.

1) The notes taken in the Bibhs rendered by Pt.Mallikarjun Mansur (private collection) are: sadja,
kmal rsabha, tvra gndhra, pacama, tvra dhaivata and tivra nisda. Sometimes the usage of
tvra madhyama is also seen. The major sacra-s found in this rga are:
g P p D d p p g g r R S , d G p D p G R r S , S G R G P P ,
g P d g p D , g P, d s d p P G R R S .

2) The notes taken in the Bibhs rendered by Roshan Ara Beghum (MID 7005) are:
sadja, kmal rsabha , antara gndhra, tvra madhyama, pacama, kmal dhaivata, tvra nisda.
The sacra-s seen in this rga are: n s n R, g r g r, m g R, g R S, P s n R, r M g, m g g r R, m g m
R, g R S, n s m g P, m g P m d P m G r G m d n R s n p m g R g R S.

Likewise to analyse the current practice of the rga Rmkali of the Hindustni system, the
rendering of this rga by Pt. Bhimsen Joshi (Music Today, A 91004) is taken up for study. The rga
Rmkali rendered by him takes the notes: sadja, kmal rsabha , tvra gndhra, both kmal and
tvra madhyama, pacama, kmal dhaivata, both kmal and tvra nisda.
The sacra-s found in this rga are:
G ; g m2 d d p m2 g r s ; G ; m2 R ; ; R s ; s r g m1 p G ; ; m g p m g r s

The tvra madhyama is used in the avrhana and kmal nisda is used in the sacra
"m p d n1 d p"
Thus one can arrive at, that the rga Rmkali of the Hindustni system resembles the rga Rmkali
given in SSP, if sung with prati-madhyama.

But the rga Rmkali of SSP is in no way identical with the rga Bibhs of RL and it is not known
why SSP has stated that, "Rmkali is called as `Bibhs' in other regions".

8. Bilhuri

RL(p.83)
CDP anu.(p.15,v.29.20)
SS(p.95)
SC(p.128,v.29.16)
SSP(p.875,tam.ed)
GB
SSPS(p.494)

(b) ruti positions of the svara-s of the parent mla
s r g m p d n
RL akarbharanam 4 9 12 13 17 22 3
CDP anubandham akarbharanam 4 9 12 13 17 22 3
SS akarbharanam 4 9 12 13 17 22 3
SC Dhraakarbharana 4 8 12 13 17 21 3
SSP Dhraakarbharana 4 9 12 13 17 22 3
GB ankarbharanam 4 8 12 13 17 22 3
SSPS akarbharanam 4 8 12 13 17 21 3


RL
s r g p m g g r s | r g p d s n | d | S n d p m m g r s n d r S.
gIta prayga-s are also given under this rga.

SS
s r g p m g g r S r g p d s n d S n d P m g r s n d r s
The gta prayga is G d P d m g g p d S n s d p m g g r s s n s d p m g d p s n
SC
s r G p d S S N d p M g r S d s.

SSP
The mrcchana is: s r m g p d s - s n d p m g r s.

GB
s r g p d s - s n d p m g r s.

SSPS
s r G, s r g p m g, r g d p m g, p d s n d p m g, r g P, r m g P, r m g p m g d p, m g p d n p, p d s n d
p, g p d s n s d n D, r s n d, d r s r s n d, d g r s n D, g r g s r n s d n p d r s n D, g r s n D, g r g m R
S, r g s s n D, s n d n d p d m g p d s r d S, m g d d n n S, p d n S are the rgarajaka prayga-s .

In the phrases g n d n P, p d n d p G kaiiki nisda occurs.

In the phrase p n d p m g R g r g m R S either kaiiki or kskali nisda occurs according to laksya.

(d) Other details

RL
A di rga and a samprna, madhyama is absent in rhana. The phrase `g m p' do not occur. In
avrhana, in certain phrases, careful usage of madhyama is found.

CDP anubandham
A rakti rga with madhyama as vakra svara and nisda as varja in rhana.

SS
In this rga, sadja is graha, ama and nysa. Madhyama is varja in rhana. The phrases do not end
with madhyama.

SC
In this rga sadja is graha, nysa and ama. Madhyama and nisda are varja in rhana and the
avrhana is samprna.

SSP
A bhsga rga, samprna and a rakti rga having sadja as its graha svara. madhyama is vakra in
rhana, dhaivata and rsabha are vakra in avrhana. Sometimes nisda can be vakra in rhana.

SSPS
In this rga madhyama and nisda are varja in rhana. Kkali nisda and kaiiki nisda occur
according to the phrases. The range of the rga is from mandra sthyi to tra sthyi.

RN(p.115,vol.1) of B.Subba Rao gives the rga Bilahari as a janya of Sakarbharanam. Its jti is
audava-samprna. Madhyama and nisda are varja in rhana. It gives the rhana and avrhana
of this rga as :
s r g p d s -s n d -p d n1 d p -m g r s n d s

He says that occasionally kaiiki nisda is used in the avrhana, in a vakra sacra. According to
him, there is no rga called Bilahari in Hindustni music, but he says that the rga Alaiyya bilawal
of Hindustni system closely resembles this rga.
The rga Alaiyya bilawal belongs to bilawal thta. Madhyama is varja in the rhana. The
rhana and avrhana of this rga are:
s r g r g p d n d s - s n d p d n1 d p m g m r s or g p m g r s
kmal nisda is used in the avrhana only.

At present this rga is a rakti rga in Karntak system. It is a janya of Sakarbharanam and the
rhana and avrhana of this rga is:
s r g p d s - s n d p m g r s
Kaiiki nisda is used in the avrhana in a vakra manner as in the phrase `p d n d p'. There are
many compositions in this rga and it gives scope for an elaborate exposition.

(e) DISCUSSION

RL is the earliest work to mention the rga Bilhuri.The description of this rga in the texts SS, SC
are also similar to RL. SSP states that kaiiki nisda also occurs in this rga. SSPS also gives the
same explanation as SSP. The descriptions of this rga in RL and SSP differs with respect to the
category of this rga. RL mentions it as a di rga whereas the anubandham of CDP and SSP
mention it as a rakti rga. If we take this into consideration the following observations are made:

* SSP is the earliest text to mention the usage of kaiiki nisda.

* Even before the period of trinity, this rga had become popular which is clearly evident from a
varna in this rga by Sonti Vekatasubbih, in which the usage of kaiiki nisda is found.

* Perhaps this varna and some earlier compositions in this rga might have prompted the change
from "di" in RL to "rakti" in CDP anubandham.

*RL does not mention the usage of the kaiiki nisda.
*Though both the anubandham of CDP and SSP mention it as a rakti rga, the description given in
the CDP anubandham is more brief and does not mention the usage of kaiiki nisda whereas SSP
mentions the same.

Since this rga is not mentioned in any of the northern texts and RN also mentioning that there is
no rga by name Bilahari in Hindustni system, it is exactly not known whether this had really
come from north.

9. Gdumallr


RL(p.85)
RK(p.33,v.156)
HK(p.18,v.66)
HP(p.9,v.41)
SS(p.96)
SC(p.130,v.29.24)


s r g m p d n
RL Sakarbharana 4 9 12 13 17 22 3
RK Mahlr 4 9 12 13 17 1 3
HK Megha 4 7 11 13 17 22 2
HP 6th mla(All svaras
Suddha except ga,
dha and ni) 4 7 11 13 17 22 2
SS Sakarbharana 4 9 12 13 17 22 3
SC Dhraakarbharanam 4 8 12 13 17 21 3


RL
S r p p m m g r M m m p d S s s s r S n d p p d P p p m g r s r g r d P m g g r s r g r m S s
s

HK
d S d M p M g r r p M r M m r S sdava
d s d m p m p g r r p m r m m r s
HP
The mrcchana is: r m r m p d p p d s s d p m m r s

SS
g r M m m m p d S s s s r S n d p p d P p p m g r s r g r d P m g g r s r g r s S s s

SC
The mrcchana is: s r M m p D D S s n d m m G s

(d) Other details
RL
A di rga and a upga and is samprna.

RK
It says, mahlAr (p.32,v.154) is audava rga with sadja and pacama being varja. Dhaivata is graha,
ama and nysa and says that Gaudamahlr is slightly different from Mahlr.

SS
It is a samprna rga with sadja as the graha and nysa svara.

SC
It has sadja for graha, ama and nysa. Gndhra and nisda are varja in rha and pacama is varja
in avrha.

(e) Related rga-s

RM(p.12,v.6.25) mentions one Malhra under Kdra mla with sadja and pacama as varja.
Kdra mla has the following ruti positions:
s r g m p d n
4 9 12 13 17 22 3

This rga has dhaivata as graha, ama and nysa.

SRC(p.19) mentions one Mallra under Kdra mla which has the ruti positions as follows:
s r g m p d n
4 9 12 13 17 22 3
In this rga sadja and pacama are varja and dhaivata is graha, ama and nysa.

RV(p.115,v.35) mentions a rga Mallri under Mallri mla which has the ruti positions as
follows:
s r g m p d n
4 9 12 13 17 22 3

In this rga gndhra and nisda are varja and dhaivata is ama and nysa.

RT(p.8) mentions one Gauda Sraga as a janya of Megha but the laksana is not given. The megha
samsthna takes the svaras in the following ruti positions:
s r g m p d n
4 7 11 13 17 22 2

(f) DISCUSSION

RN(p.89,vol.2) gives the rga Goudmalhr of Karntak system under the 29th mla
DhraSakarbharanam which corresponds to the bilAval tht of Hindustni music. Its jti is
audava-sdava. gndhra and nisda are omitted in the rha and pacama is omitted in the
avrhana.

The rha and avrha of Goudmalhr are:
s r m p d s - s n d m g r s

RN also gives one rga Goudmalhr of Hindustni system under Kfi tht. Its jti is audava-
samprna. Gndhra and nisda are omitted in the rha. In this rga tvra gndhra and tvra
nisda are used occasionally. The rha and avrha of this rga are: s r m - p - d n1 p - m p d s - s
d n1 p m - g2 r g2 - r s or m p g2 m - r s
Pakad or diagnostic svara groups are: r g - r m - g r s - r p - m p - d s - d n1 p m

The current svarpa of this rga in Karntak system is same as in RN. There is a composition of
Muttayya Bhgavatar (Srasamukhi) in this rga. This rga does not give much scope for an
elaborate exposition. Since the above mentioned song is the only composition popular in this rga,
this rga is rarely sung in the concerts.

The current practice of this rga in the Hindustni system is also studied with the rendering of this
rga by Nazakat Ali and Salamat Ali.(HMV, EALP 1264)
The major sacra-s seen in this rga are:
N D N S ;;; R S N1 D N2 S;; R G R P ;;; R; P D N2 D N2 R S;;;; M G M D D P M P G ;;; R M G R
S;;;
From the above details, the observations can be summarised as follows:

* The description of this rga in the texts RL, RK, SS, SC are similar.

* The laksana of this rga given in the texts HK and HP are similar but it differs from that in the
above mentioned texts in giving rsabha in the 7th ruti, gndhra in the 11th ruti and nisda in the
2nd ruti whereas the other texts mention these in the 9th, 12th and 3rd ruti positions respectively.

*RL is the earliest work in South to mention this rga.
*Eventhough the svarpa of this rga in Karntak and Hindustni differs in the present day,
probably it must have come from north during the period of RL.

*Since this rga is not mentioned in the CDP anubandham and SSP, the category of this rga is not
known after RL. Further this is one of the two di rga-s of RL which has not found mention in
CDP anubandham and SSP, the other one being Mhanakalyni.

10. Kdra


RL(p.85)
RM(p.12,v.23)
SRC(p.19)
RK(p.31,v.146)
RV(p.112,v.26, p.115,v.38)
SP(p.51,v.411)
CDP anu.(p.15,v.29.14)
HK(p.3,v.27,p.13,v.38)
HP(p6,v.14)
RT(p.4)
SS(p.96)
SC(p.125,v.29.2)
SSP(p919.tam.ed)
GB


s r g m p d n
RL Sakarbharanam 4 9 12 13 17 22 3
RM Kdra 4 9 12 13 17 22 3
SRC Kdra 4 9 12 13 17 22 3
RK Kdra 4 7 12 13 17 22 3
RV Mallri 4 9 12 13 17 22 3
RV Hammra 4 9 12 13 17 20 3
CDP anubandham Sakarbharanam 4 9 12 13 17 22 3
HK Kdra 4 7 11 13 17 20 2
HP Kdra 4 7 11 13 17 20 2
RT Kdra 4 7 11 13 17 20 2
SS Sakarbharanam 4 9 12 13 17 22 3
SC Sakarbharanam 4 8 12 13 17 21 3
SSP Dhraakarbharanam 4 9 12 13 17 22 3


RL
m g m P n m |P n S s |m g m g r s n S | (Gta prayga)

g m p n N S N P m g r s | (sldi khandika)

p n s r S n p m n p m g r s s s | (ashtarga sldi prayga)

HK
The mrcchana given under it are:
g m p s n d p m g m r s

SS
m g m p n M P n S s m g m g r s n S (Gta prayga)

g m p N n s N P m p m g r S (sldi prayga)

p n s r S n p n p m g r s s s (asta tla sldi)

SC
The mrcchana of this rga is:
s m g m p N S N p m g m d M g r

SSP
The mrcchana is: s m g m p n N S
s n p m M g r s

The illustrative prayga-s are also given.

N \ P S, / M g / M P, m P / N \ M, p \ M g r |

S, m g m p / s S, p / n \ M g \ r S, / S n p \ M g r S, n \
P s / m g r s r \ S

GB
s m g m p n s s n p m g m d m g r s

(d) Other details

RL
A di rga and a sdava rga, dhaivata being varja. rsabha is absent in rhana. The svara
progression is regular.

RM
In the rga Kdra rsabha is varja and nisda is the graha, ama and nysa.

SRC
It has nisda for graha, ama and nysa. rsabha and dhaivata are varja svaras.

RK
In the rga Kdra nisda is the graha, ama and nysa. It says that this rga is either samprna or
audava. Sometimes kkali nisda is employed.

RV
The first Kdra takes nisda as graha, ama and nysa and it is a samprna rga.

RV
The second Kdra is also samprna and has nisda for graha, ama and nysa. rsabha and
dhaivata are alpa in this rga.

CDP anubandham
It says that rsabha is varja and gndhra is vakra in rhana and sadja is the graha svara.

HK
It is a samprna rga.

SS
It is a samprna rga and has sadja for graha and ama. It is a sdava rga dhaivata being varja.
madhyama is vakra.

SC
It says that the rga Kdra has sadja for graha, ama and nysa. The rhana is vakra sdava with
rsabha being varja whereas the avrhana is samprna.

SSP
It is a bhsga rga, dhaivata is varja and hence sdava. sadja is graha, gndhra is vakra in
rhana, nisda and madhyama are the rajaka svaras.

(e) Related rga-s

SP(p.51,v.411) mentions one rga Kdri which has the ruti positions for its svara-s as follows:

s r g m p d n
4 7 10 13 17 20 1

In this rga rsabha and dhaivata are varja. The mrcchana starts with gndhra.

The illustrative prayga-s are as follows:
g m p n s g m g m n p n m |g p g s n p m m g s g m p m g s|
g m p n p m m s n s n s n m p n p m g m p m g s n s S.

HK
Mentions one rga by name Kdri (p.12,v.32) under Karnta mla (p.3,v.26)) for which the ruti
positions are:
s r g m p d n
4 7 11 13 17 20 22

The mrcchana given for the rga Kdri is:
s r g M p d n s s n D p m G m r s

It also mentions a rga by name Kdranta under Kdra mla which it gives as sdava with
dhaivata being varja.The mrcchana for this rga is:g m p n s n p m g r s

Another rga by name Jayatkdra is given under the Kdra mla which is given as a samprna
rga. The mrcchana for this rga is:g m p n s n d p m g m r s s n s g

HP
Gives three rga-s by name Kdranta, Priykdra and Jayatkdra under Kdra mla.

The ruti positions of the svaras taken by the Kdra mla are as follows:

s r g m p d n
4 7 11 13 17 20 2

The mrcchana for Jayatkdra(p.6,v.19) is
g m p n s s n d p g m r s s n s g

The mrcchana for Priykdra(p.7,v.20) is
m d n s s n d p m g r s

The mrcchana for Kdranta(p.7,v.26) is
g m p n s s n p m m r s

(f) DISCUSSION

RN (p.34,vol.3) gives the rga Kdra of Karntak music under the 29th mlakarta
Dhraakarbharanam. Its jti is audava sdava or audava - samprna. The rha and avrha of
Kdra types are:
Type 1: auDava sdava s m g m p n s - s n p m g r s
In the rha rsabha and dhaivata are not used. In the avrha dhaivata is omitted.

Type 2: audava - samprna s m g m p n s - s n p m g m d m g r s In the rha rsabha and dhaivata
are not used.The following sacra-s are characteristic of the rga Kdra.
s m g m - p s n p m - g r s n p m g m - g m p s n p m - g r s n P - n s g S

RN also gives rga Kdra of Hindustni music and states that it belongs to Kalyn tht. Its jti is
audava sdava or samprna. Rsabha and gndhra are omitted in rha. In avrha gndhra is
either omitted or taken in a vakra sacra.

rha and avrha of Kdra are: s M - m p - d p - n d -s
s n d - p - m* p d p m g m r s .

When kmal nisda is used s - n d - p - m p d n1 d p m1 g m1 r s.

He states that although both madhyama-s are used uddha madhyama is the jva svara. Sometimes
both the madhyamas are used side by side as d p - m* M - d p M1

The current svarpa of this rga is the same as given in RN. The rga is the janya of
Dhraakarbharanam and the rha and avrha of this rga are:
s m g m p n s - s n p m g r s

The current practice of this rga in Hindustni music is studied on hearing to the rendition of this
rga by Pt. Jasraj (ECSD 2739). The following sacra-s are taken from the rendition of Pt. Jasraj:
s n R s D P, | m2 d p p m1 m1 | r s N s Rs, m p S ; ; n2 D p n s R s D ; S D ; m2 p d p m1 R S ; n r
s s N D ; S M G r
s R S ; s M G S m2 d p p M2 m1 m1 S R S.

The following observations can be made with the above details:

*The description of this rga in the texts RL, RM, RV, CDP anubandham, SS , SC and SSP are
almost similar.

*The texts HK, HP and RM give rsabha in the 7th ruti positions, gndhra in the 11th, dhaivata in
the 20th and nisda in the 2nd ruti positions, whereas the above mentioned texts (except SC) give
these svaras in the 9th, 12th, 22nd and 3rd ruti positions respectively.

* Eventhough the svaras are different the mrcchana given for the rga Kdranta given in the
texts HK, HP resembles the prayga-s given for rga Kdra in RL.

*All these texts mention madhyama in the 13th ruti position.

*The present day svarUpa of this rga is same as given in RL. But the present day svarpa of this
rga in Hindustni system is different and it has no resemblance to the rga in the Karntak system.

*Since the CDP anubandham and SSP do not mention any category for this rga the present day
status of this rga is not known. But, regarding the classification of this rga as "di" in RL it can
be inferred as follows:

RL is the earliest text in South to mention this rga. Since this rga is given as a mla in some of
the Northern texts, probably this rga must have been popular in that period.Thus it can be stated
that probably this rga would have come from North during the period of RL.

11. Kanada


RL(p.95)


s r g m p d n
RL Kmbhji 4 9 12 13 17 22 1

Some of the works mention this rga as Kannada

CDP anu(p.14,v.28.9)
SS(p.99)
SC(p.128,v.29.15)
SSP(p.689,tam.ed)
GB

s r g m p d n
CDP anubandham Kdrgaula 4 9 12 13 17 22 1
SS Kmbhji 4 9 12 13 17 22 1
SC Dhraakarbharanam 4 8 12 13 17 21 3
SSP Harikdrgaula 4 9 12 13 17 22 1
GB akarbharanam 4 8 12 13 17 21 1


RL
The illustrative sacra-s are:
S s s r r n | r s s n s D p m m | G m g r s

SS
The sacra-s given are:
S s s n s r s s s n s D p m M G m g r s M m g m p
M D n s n R s n S D p m D n s N R S lpa prayga-s
s r g m p d n s r n s gta prayga-s

SC
The rhana and avrhana are: r G m p M D N -
s D p m p G m r

SSP
The mrcchana is: s r g m p D n s s n D p m G r s
It also gives Some prayga-s under this rga
S G M D D d n S, s g G m m P d d n s,
S n \ D n P G M d P G m R S, D P G r s, d p g m \ p g r s, n\D n S r g m g \ m r S ,d #n s n \ D p\G
m \d p g g \ m r s, d d \ s #n R s - prayga-s

GB
The rhana and avrhana for Kannada is:
s m g m d n s s D p m g m r s

(d) Other details

RL
A di rga and a samprna rga. In this rga sama & visama prayga-s occur in rhana and
avrhana.

Gives Kannada as a rakti rga. A samprna rga and rsabha is rarely used in the rha.

SS
Mentions Kannada as a samprna rga having sadja for graha and nysa. The prayga-s are krama
as well as vakra.

SC
Mentions Kannada has having sadja for nysa, ama and graha. The rhana and avrhana are
samprna .

SSP
It says that it is samprna rga and also a bhsga rga having sadja as graha svara. Sometimes
rsabha occurs in rhana. Dhaivata is the rajaka svar and gndhra is next to that.

(e) Related rga-s

GB mentions a rga Knada under the 29th mla. The rhana and avrhana for Knada is:
g r s r g m p m d n s s n s d p m p g m r s

(f) DISCUSSION

RN(vol.3,p.23) gives three rga-s by name Kannada (Karntak system) The first type belongs to the
29th mlakarta Dhraakarbharanam ( corresponds to Bilaval tht)
Its jti is (a) samprna-samprna and
(b) audava-sdava.

The samprna-samprna jti as the rha and avrha as follows:

s r g m p m d n s - s n s d p m g m r s

The audava sdava type as the rha and avrha as follows:

s m g m d n s (rsabha and pacama omitted)
s d p m g m r s (nisda omitted)

The second type, he gives is derived from the 20th mlakarta Natabhairavi and he states that this
variety is not popular.

The third type is a janya of 28th mlakarta Harikmbhji. Its jti is samprna-samprna. The rha
and avrha are :
s r g m p d n s - s n d p m g r s

He futher states that there is no rga in the Hindustni system which resembles the rga Kannada
of Karntak system. Thus the following observations are made only with regard to the Karntak
system.

In the present day practice, this rga is sung with Kkali nisda. This rga is now a janya of
Sakarbharanam.

* The texts RL, SS, CDP anubandham SSP mention this rga under one mla (which takes kaiiki
nisda) whereas SC mentions this under Sakarbharanam (kAkali nisda).

* This rga is not mentioned in the Northern texts.

3. Since there is no rga by name Kanada or Kannada in northern texts as well as in the present day
Hindustni it is exactly not known why this rga was initially classed as a di rga in RL.
It is also not clear why the category of this rga changed from "di" in RL to "rakti" to CDP
anubandham is not known.

It is also not known, why SSP which has followed CDP anubandham to a large extent, has not
mentioned the category for this rga .

12. Mhanakalyni


RL(p.101)
SS(p.101)


s r g m p d n
RL Kmbhji 4 9 12 13 17 22 1
SS Kmbhji 4 9 12 13 17 22 1


RL
S r s d p | d s r g r g p d p d s S |
d p d s s d p | d p g r |g p g d p d g p g d p g | p g r g r R s.

SS
S r s d p | d s r g r g p d p d s S |
d p d s s d p | d p g r |g p g d p d g p g d p g | p g r g r R s.

(d) Other details

RL
A di rga and an audava rga with madhyama and nisda being varja.The svaragati is regular.

SS
It is an audava rga, madhyama and nisda being varja. The svaragati is regular.

(e) DISCUSSION

According to "Rga Nidhi" of B.subba Rao, Mhanakalyni is a janya of the 65th mlakarta
Mcakalyni which corresponds to the Kalyn thta of Hindustni music. This rga has the rhana
of Mhana and the avrhana of Kalyni. Its jti is auDava-samprna. Madhyama and nisda are
omitted in the rhana whereas the avrhana is samprna.

The rhana and avrhana of this rga are:
s r g p d s -s n d p m g r s .

It is also stated that the Mhanakalyni of Karntak system corresponds to the rga Bhp Kalyn or
uddha Kalyna of Hindustni system. The rga Bhp Kalyn or uddha Kalyn belongs to Kalyn
thta. The rha and avrha of this rga are: s r g p d s - s n d p m g r s

The explanation of this rga coincides with that of the rga Mhanakalyni of current practice.
On the otherhand, the laksana of Mhanakalyni given in the texts RL and SS is more like that of
the rga Mhana of current practice. But these two texts also mention the rga Mhana under
Kmbhji mla. Here they state that this rga is a sdava rga with nisda being varja. The svara
madhyama is alpa and rarely used.

The prayga-s given under this are:
S d p |d s r g |r g m g g r g r R s d p d d s s s|

This description of the rga Mhana in RL and SS differs from the Mhana of today. The rga
Mhana is an audava rga with madhyama and nisda being varja and is put under the
Harikmbhji mla.

RL gives another rga uddha Kalyni under Kalyni mla for which the illustrative sacra-s are
as follows:g p d s S n d p m G r |g d p P m G r .

This rga resembles the Mhanakalyni of today. The texts HK, RM and HP also mention the rga
uddha Kalyni under the Imana samstna. Of these HP alone gives the laksana of this rga and it
states that madhyama and nisda are varja in the rhana. This explanation seems to coincide with
that of the prayga-s given for the rga uddha Kalyn of RL.

RL mentions Mhanakalyni as a di rga whereas the rga uddha Kalyni is not mentioned
under any category. This seems to be interesting because the rga Suddha Kalyni is found
mentioned in the northern texts like HK, HP, RM whereas the rga Mhanakalyni is not
mentioned in the texts except RL and SS.

Thus it can be inferred that the rga Mhanakalyni of RL is not a rga that came from north and
the reason behind the classification of this rga as a di rga is not known.

13.Dhansi

RL(p.no.111)


s r g m p d n
RL Bhairavi 4 9 10 13 17 20 1


RL
The lpa prayga is:
S n d p m G p m g r S g m p n d p n s s .

In this rga pada-s and daru-s are many.

SS
S n d p m G p m g r S g m p N d p N s S - lpa prayga.

(d) Other details

RL
A di rga and a samprna rga, the svaragati is regular.

Some of the texts mention a rga called Dhanysi

SMK(p.37) mentions a rga Dhanysi under uttama category. It is a janya of rirga and is an
audava rga with rsabha and dhaivata being varja. The rrga mla takes the svaras in the
following ruti positions:
s r g m p d n
4 9 10 13 17 22 1
RV(p.114,v.31) also mentions a rga called Dhanysi under the rirga mla which has the ruti
positions as follows:
s r g m p d n
4 8 10 13 17 21 1

In this rga rsabha and dhaivata are alpa.

CDP mentions one rga by name Dhanysi under srirga mla. The ruti positions of the svaras of
rrga mla are:
s r g m p d n
4 9 10 13 17 22 1

It states that it is a rgaga rga and is an audava rga with rsabha and dhaivata being varja.

RL also mentions one rga by name Dhanysi under rirga mla. The ruti positions of the svaras
of rrga mla are:
s r g m p d n
4 9 10 13 17 22 1

It states that it is an audava rga with rsabha and dhaivata being varja.
The anubandham of CDP(p.11,v.11) mentions one rga Dhanysi under Nrrtigaula mla. The
NrrtigauLa mla takes the svaras in the following ruti positions:
s r g m p d n
4 9 10 13 17 20 1

In this rga rsabha and dhaivata are varja in rha whereas the avrha is krama.

SS(p.105) gives Dhanysi as a janya of Bhairavi mla which has the ruti positions as follows:
s r g m p d n
4 9 10 13 17 20 1
S n d p m G p m g r S g m p N d p N s S -lpa prayga.

SS also mentions another rga Dhanysi under rrga mla. The ruti positions of the svaras of
rrga mla are:
s r g m p d n
4 9 10 13 17 22 1

It states that it is an audava rga with rsabha and dhaivata being varja.
SC(p.88,v. ) gives Dhanysi as a janya of Hanumatdi mla.
The rha and avrha of this rga are:
s g m p n s - s n d p m g r s

SSP mentions Dhanysi under Nrrtigaula mla which has the ruti positions as follows:
s r g m p d n
4 9 10 13 17 20 1

It states that this is a bhsga rga, samprna, having sadja as the graha svara. A rakti rga having
rsabha and dhaivata are varja in rha whereas the avrhana is samprna. After giving the laksana
Subbarma Dksitar states that, the rsabha used in this rga are all uddha rsabha . He has also
given the flat sign for the rsabha in the avrha and states that since the flat sign is given, the
rsabha should be sung as uddha rsabha in the gta-s, krtana and not pacaruti rsabha . He further
states that, eventhough the rsabha being uddha it is not known why Vkatamakhi refers to the
rga Dhanysi as a bhsga rga in the gta given under the Nrrtigaula mla.

Some of the texts mention a rga called Dhannsi

RM(p.18,v.19.63) mentions a rga called Dhannsi under Mlavakaiika mla which has the ruti
positions for its svara-s as follows:
s r g m p d n
4 8 10 13 17 20 1

In this rga sadja is graha, ama and nysa, rsabha and dhaivata being varja.

RK(p.27,v.118) mentions Dhannsi as a janya of rrga mla.The svaras taken by the rrga mla
are in the ruti positions as follows:
s r g m p d n
4 8 10 13 17 21 1

This rga has sadja as graha, ama and nysa. It is an audava rga with rsabha and dhaivata being
varja.

SRC(p.17) mentions Dhannsi as a janya of rrga mla which has the ruti positions as follows:
s r g m p d n
4 8 10 13 17 21 1

In this rga rsabha and dhaivata are varja and sadja is the graha, ama and nysa svara.

Some texts mention a rga called Dhanri

RTV(p.11,v.3,4,5) gives three Dhanri-s namely samprna Dhanri, Sdava Dhanri and
Audava Dhanri. The ruti positions of the svara-s of this rga are :
s r g m p d n
4 7 9 13 17 20 22

Samprna Dhanri has rsabha and dhaivata as varja in rha. madhyama is the nysa svara in this
rga.
The illustrative prayga-s for this rga are:
g m p m g m g r s - udgrha prayga.

Sdava Dhanri has dhaivata as the varja svara both in the rhana and avrhana and madhyama
is the nysa svara. The illustrative praygas for this rga are:
g m p n S r p m g m p n p m g g m g r s |g m p g m g r s g r s r s | p n s g r s r s n s -udgrha
prayga

In the Audava Dhanri rsabha and dhaivata are varja in rhana and avrhana and madhyama is
the nysa svara. The illustrative praygas for this rga are :
g m p n s s n p m g |m g m p g m g s |p n s g s n s p n s s g m g p m G s m m g |s g s n s s -
udgraha prayga.

SP(p.38,v.359,360) also mentions three kinds of Dhanri -s as RTV but it gives madhyama as the
nysa svara and gndhra as the graha svara.
The ruti positions of the svaras of this rga are:
s r g m p d n
4 7 9 13 17 20 22

The illustrative prayga-s given under it are:
g m p n p n s | r s n s n d p m |g m p m p M g m g r s| g m g m p | p m p m g r s n d p | g m p
m p g r p n s r s n s s .

RT(p.5) mentions a mla by name Dhanri and a rga by that name under it. The Dhanri mla
takes the svaras in the following ruti positions:
s r g m p d n
4 6 11 15 17 19 2

HP(p.14,v.73) mentions a mla by name Dhanri and a rga by that name under it. The Dhanri
mla takes the svaras in the following ruti positions:

s r g m p d n
4 6 11 15 17 19 2

HK(p.4,v.33,34) mentions a mla by name Dhanri and a rga by that name under it. The ruti
positions of the svaras of Dhanri mla are:
s r g m p d n
4 6 11 15 17 19 2

The mrcchana (p.20, v.77) for this rga is:
g M p S n d p M p P m g r S r M n D n S.
The illustrative prayga-s given under it are:
g m p s n d p m p p m g r , g r s , n d n , s

It also mentions one rga by name Mlatni Dhanri (p.9,v.14) under Gauri mla but this is a
different rga.

RN (p.39,vol.2) gives a rga Dhanasari or Dhanashree of Hindustni music and states that there are
four types of this rga.(1) with Bhmpals aga, (2) Bhairavi aga, (3) Patadeep aga, (4) Bilval
aga.

Type 1: This type of dhanasari belongs to Kfi tht. Its jti is audava - samprna. In the rha
svaras rsabha and dhaivata are omitted. The rha and avrha of this type are: n s g m p n s - s n d
p m g r s. Svara group p g r s should be used frequently and not m g r s

Type 2: This type belongs to Bhairavi tht. Its jti is audava - samprna. The rha and avrha of
this type are: n s g m p s n s - s n d - m p - g m g r s

Type 3: He states that this type of Dhanasari has come to be called as Patadeep at present. The
rha and avrha of this type are: n s g m p n s - s n d p m g r s

Type 4: This type belongs to Bilval tht. Its jti is sdava - samprna. rsabha is not used in the
rha. The rha and avrha are: s g m p n s - s n d p m g r s

RN gives a rga dhanasari of Karntak music and states that this is also called as Dhanysi. It gives
that there are two types of this rga, one belongs to Natabhairavi mla and other belongs to
Hanumatdi mla. Both these types are audava - samprna.

The rha and avrha of the Dhanysi of Hanumatdi mla are:
s g m p n s - s n d p m g r s

The rha and avrha of the Dhanysi of Natabhairavi mla are :
n s g m p n s - s n d p m g r s

(e) DISCUSSION

The current svarpa of this rga is same as given in SSP. But this rga is classified under
Hanumatdi mla and not Rtigaula mla as mentioned in SSP. This rga is a rakti rga and it gives
scope for an elaborate exposition.

The rga Dhanashree given under the bhairavi tht in RN resembles the Dhansi of RL. Since the
current stage of this rga in Hindustni music is not known the following observations are made
with regard to the Karntak system only. The observations can be summarised as follows:

* RL alone mentions the rga by name Dhansi and the Dhansi of RL resembles the rga
Dhanysi mentioned in SS. (janya of bhairavi mla)

* Some of the texts (SMK, RV, CDP ) mention Dhanysi or Dhannsi as a audava rga under the
rrga mla but this Dhanysi does not coincide with the Dhansi of RL.

* Texts like RT, HK, HP mention a rga called Dhanri which takes the madhyama in the 15th
ruti position whereas all the other texts give the madhyama in the 13th ruti position for the rga
Dhanysi or Dhansi or Dhannsi etc.

* The anubandham of CDP and SSP mention Dhanysi as a rakti rga under the Nrrtigaula mla.
But the laksana of this rga given in CDP anubandham resembles the Dhansi of RL.

* SC is the first text to mention this rga under Hanumatdi mla, which takes the uddha rsabha
whereas all the other texts give pacaruti rsabha for this rga.

* Eventhough SSP gives Dhanysi under Nrrtigaula mla, in the mrcchana given under this
rga, a flat sign is given for the rsabha and also it is stated that the rsabha should be rendered as
uddha rsabha and not the pacaruti rsabha .

* The CDP anubandham mentions this rga as a bhsga rga ( a rga which takes a note other
than the notes of its parent mla)
* But the foreign note occuring in this rga is not mentioned. If it is taken to be uddha rsabha,
then the laksana would be similar to SSP.

On the basis of the svaras there is a difference between the Dhanysi in SSP and the rga Dhansi
given in RL. Although Subbarma Dksitar wonders why the Vkatamakhi mentions the rsabha
as pacaruti rsabha , it looks certain that the rsabha at the time of RL was slightly different from
what it is today. Perhaps in the post RL period there has been a slight melodic transformation in the
svarpa of Dhanysi. In the course of time this rga has also come to be regarded as a "rakti" rga.
14. Sraga

RL(p.129)
RM(p.14,v.44)
SRC(p.22)
RK(p.34,v.168)
RT(p.5)
SP(p.49,v.403)
CDP anu (p.17,v.65.3)
HK(p.5,v.29)
HP(p.13,v.67)
SS(p.111)
SC(p.146,v.64.4)
SSP(p.1171.tam.ed)
GB


s r g m p d n
RL Sraga 4 9 13 16 17 1 3
RM Sraga 4 9 12 16 17 1 3
SRC Sraga 4 9 13 16 17 21 2
RK Sraga 4 9 12 13 17 1 3
RV Sraga 4 9 13 16 17 1 3
CDP anu ntakalyni 4 9 12 16 17 22 3
SP Sraga 4 7 13 15 17 22 1
HK Sraga 4 7 13 15 17 22 2
HP Sraga 4 7 13 15 17 22 2
RT Sraga 4 7 13 15 17 22 2
SS Sraga 4 9 13 16 17 1 3
SC Vcaspati 4 8 12 15 17 21 1
SSP ntakalyni 4 9 12 16 17 22 3
GB Vcaspati 4 8 12 15 17 21 1


RL
The prayga-s given under it are:
s r m m p d n s| s d p m m m r s

SP
s r g m p d n s - s n d p m g r s | s r m m p p d p p m g m p m g m g r s s r g r S

HK
The mrcchana for the rga Sraga is:
s r g m p d n s n d p m g r s

HP
The mrcchana for the rga Sraga is:

SC
The mrcchana is: s r G m p D N S s n D p m R r S

SSP
Its mrcchana is:

It also gives some prayga-s which are considered to be the rga cya prayga-s . The sacra-s
are:
R G / n D P M \ R g r S, S P m / n \ D P, R R g m p P n D n D P M, R/ G G G/ n d p m r r / g r s S,
s n r s p m d p s n r s , g r s n d p M, p d n s r n s d p m , R g m p d n S r ,\ D P M,\ R g M1 \ R R s r
\ S S, p m r s r / p p d p M, s d p m r s , S n d p m r g m1 r \ S

GB
s r g m p d n s s D p m R g m r s

(d) Other details

RL
It is a samprna rga, a di rga and a laksnusra mla.

RM
The rga Sraga is samprna and has sadja for graha, ama and nysa.

SRC
The rga Sraga is samprna and has sadja for graha, ama,and nysa.

RK
The rga Sraga has sadja as graha, ama and nysa. It is a samprna rga.

RV
The rga Sraga is a samprna rga and has sadja for graha, ama and nysa.

SP
The mrcchana starts with nisda and this rga has sadja as nysa and madhyama as ama.

A rakti rga and states that Sraga takes uddhamadhyama gndhra.

SC
The rga Sraga has samprna rhana while gndhra is varja in avrhana. It has sadja for graha
and nysa.

SSP
It is a bhsga rga, samprna and a rakti rga having sadja as graha .

(e) DISCUSSION

RN(p.65,vol.4) gives the rga of Karntak system as follows: A bhsga rga and a janya of the
65th mlakarta Mcakalyni. (Which corresponds to Kalyn tht) Its jti is samprna- samprna
with vakra sacra in avrha.

The rha and avrha of Sraga are:
s r g m p d n s - s n d p m r g m1 r s

uddha madhyama is used in the vakra sacra g m1 r s in the avrha and rsabha is elongated as
m R g m1 R s

It states that in Hindustni music mere name Sraga stands for Brindvani Sraga. There are
many other Sraga-s like uddha Srag, Madhumad Srag etc. The rga uddha Srag belongs
to Kfi tht (which corresponds to Kharaharapriya). Its jti is audava sdava. Gndhra and
nisda are omitted in the rha. In the avrha gndhra is omitted. There are two sets of rha
and avrha for this rga and they are as follows:
(1) s r - m1 r - m2 p - n s - s n d p - m2 p d p - m r - s

(2) s r - p m2 p m2 p - m2 p n d n s - s n d m2 p m1 r - m1 n d n s
In the first type, both kmal and tvra madhyama are used in the rha. In the second type, only
tvra madhyama is used in the rha. All other svaras are tvra only. Some touch of kmal nisda is
found in avrha in the sacra,
s n1 p - m d p m r. Both madhyama-s are used side by side in avrha as:- m2 p m2 m1 r.

Thus the rga sAraga of Karntak system has no equivalent rga in the Hindustni system.

Eventhough all the laksana grantha-s give the gndhra in the uddha madhyama position, in the
current practice the gndhra is slightly less and is rendered as antara gndhra. But the uddha
madhyama is also present and occurs in the avrhana in a vakra sacra. As mentioned earlier, in
the Hindustni system, the rga name saraga in general, means, Brindvana Sraga. The present
day practice of the rga uddha Srag in Hindustni system, as heard from the rendering of this
rga by Janardhan is the same as the one given in RN.

Though RL mentions uddha madhyama gndhra for this mla, in the prayga-s given under this
rga, the gndhra is not seen in the prayga-s and without this gndhra it sounds like Suddh
Srag of Hindustni music. The absence of gndhra in the illustrative prayga-s could be
explained as follows.
The uddha vikrta svara-s described in the laksanagrantha-s of the southern tradition do not
speak of a gndhra in the uddha-madhyama position. Only in the case of this rga Sraga, this
feature is seen. And there is no earlier textual sanction for renaming the third svara located on the
uddha-madhyama svarasthna as a gndhra. Hence, the illustrative prayga-s do not project a `ga'
symbol. Since, two or three `ma'-s occur, one of them could be the uddha-madhyama. It is
however seen that the `dha' occupying the kaiiki nisda svarasthna (satruti dhaivata) is projected
as `dha' in the prayga-s.

Since the explanation in SS is brief and the prayga-s under it are missing, it is not possible to
analyse the prayga-s given in RL with regard to SS.

All the texts mention the gndhra in the uddha madhyama position, i.e. the 13th ruti position.
Except RK all the texts mention the madhyama as prati madhyama.

SP, SC and GB give the nisda in the 1st ruti position (kaiiki nisda) whereas all the other texts
give the nisda one or two ruti-s higher.

SSP is the first text to mention the use of uddha madhyama and it also gives some prayga-s with
uddha madhyama, and states that the uddha madhyama occurs only in the avrha and not in the
rha. Regarding the classification of this rga as "di" in RL, and as "rakti" in CDP anubandham
and SSP, the following are to be inferred:

RL is the earliest work in South to mention this rga.

Since RL as well as the northern texts mention Sraga as a mla, probably it must have been a
popular rga.

Since the description of this rga in RL is missing in some places, only the svaras taken by the mla
are known.

The prayga-s given in RL has no gndhra and since it is very brief, it is not possible to get the
svarpa of this rga.

Thus, with regard to the prayga-s given in RL, it may be inferred that the rga Sraga must have
come into vogue probably during the period of RL. There is a krti of Mtrubhtayya in this rga
and it can be inferred that the presence of this composition and other compositions during the post-
RL period would have prompted the change of this category of this rga from "di" in RL to
"rakti" in CDP anubandham and SSP.

15.Tdi


RL(p.131)
SMK
RM(p.10,v.3)
SRC(p.20)
RK(p.29,v.133)
RV(p.107,v.8)
SP(p.44,v.28,388)
RTV(p.13,v.12)
CDP anu(p.6,v.8.1)
HK(p.3,v.24)
HP (p.5,v.13)
RT(p.4)
SC(p.87)
SSP(p.42,tam.ed)
GB
SSPS(p.491)


s r g m p d n
RL Tdi 4 7 10 13 17 20 1
RM Tdi 4 7 10 13 17 20 1
SRC Tdi 4 7 10 13 17 20 1
RK Karntagauda 4 9 13 16 17 22 1
RV Tdi 4 7 10 13 17 20 22
RTV Tdi 4 6 9 13 17 19 22
SP Tdi 4 6 9 13 17 19 22
CDP anubandham Janatdi 4 7 10 13 17 20 1
HK Tdi 4 6 9 13 17 19 22
HP Tdi 4 6 9 13 17 19 22
RT Tdi 4 6 9 13 17 19 22
SC Hanumatdi 4 6 9 13 17 19 22
SSP JanaTdi 4 7 10 13 17 20 1
SSPS 8th mla 4 6 9 13 17 19 22


RL
The prayga-s given under it are d p m G r s n d N R s s

SP
s r g m m d n s| s n d p m p m g g g r s r s n s n d d n s r g r s r s n S n D g g g m m g r g r s r n s
- n d s r g m p d d p m g s G r S n s r r s n D d n s

HP
The mrcchana for this rga is:

SC
The mrcchana is:
s r g m d n s s n d m g r s

SSP
Its mrcchana is: s r G m p d N s s n d p m G r s

(d) Other details

RL
A di rga, samprna rga and a mlakarta.

SMK
Mentions Tdi as an adhama rga.

RK
The rga Tdi takes madhyama as graha, ama and nysa and it is samprna. Madhyama and nisda
are slightly alpa. pacama
is rendered with kamp.

SRC
In this rga madhyama is graha, ama and nysa and it is samprna.

SP
In this rga gndhra is the ama svara and pacama is the nysa svara.

RTV
The rga Tdi takes dhaivata as nysa and gndhra as ama.

The rga Tdi is samprna and has sadja for graha and pacama is vakra in rhana and avrhana.

HP
The rga Tdi is samprna and has gndhra as ama.

SC
The rga Tdi takes sadja as graha, ama and nysa, pacama is varja in rha and avrha.

SSP
It is a rgaga rga, samprna, sadja is graha and it is a rakti rga.

SSPS
Gives Tdi as a janya of 8th mla. It states that this rga has two facets:

(1) The rhana and avrhana being samprna.
(2) Pacama being varja in rhana and avrhana. The pacama varja phrases lend beauty to this
rga.

(e) Related rga-s

RV(p.107,v.8) also mentions a rga Turuska Tdi under Mukhri mla which has the ruti positions
as follows:

s r g m p d n
4 7 9 13 17 20 22

In this rga madhyama is the graha, ama, nysa.
It states that the rga Turushka Tdi can be put under both Tdi and Mukhri mla.

RV (p.117,v.44) also mentions another rga, Turuska Tdi under Karnta mla. This rga has
madhyama as ama and nysa and sadja as graha. The ruti of the Karnta mla are

s r g m p d n
4 9 12 13 17 21 1

HK
A rga Mrga TdI (p.7,v.3) is mentioned under Tdi mla.The mrcchana for Mrga Tdi is :
d n s r g m p d d p m g r s n s

GB
Gives a rga uddha-Tdi as a janya of 8th mla with the rhana-avrhana as: s r g m p d n s -s n
d p m g r s

(f) DISCUSSION

RN (vol.4, p.184) gives the rga Tdi of Karntak system under the mla Hanumatdi. This rga
takes the notes sadja, uddha rsabha, sdhrana gndhra, uddha madhyama, pacama, uddha
dhaivata and kaiiki nisda.

It also gives one rga Tdi of Hindustni system under Tdi tht (which corresponds to
ubhapantuvarli of Karntak system) it is also called as miaki Tdi. Its jti is
(1) sdava - samprna.
(2) samprna - samprna.

In the first type pacama is omitted in rhana.

The rhana and avrhana of the two types are:

(1) n r g - m2 d - s - s n d p - m g r s
(2) s - r g m1 d n s - s n d p m g - r s

pakad or rga vachak svara groups are:
d - n s - r g r r s - m r g - r s

sagati "d g" is frequently used. Gndhra in Tdi is considered to be ati kmal and ndlita
pacama is used sparingly and in a special way as `m d p'. No grace notes or kan or anu svara-s
should be used ("khada" as Hindustni musicians call it).

The observations made from the above details can be summarised as follows:

* The description of this rga in RL, CDP anubandham, SRC and SSP are similar.

*The description of this rga in the texts SP, RTV, HK, HP, RT are similar but it does not resemble
the rga in RL.

*The CDP anubandham classifies Tdi under both "di" as well as "rakti" category, the reason for
which is not known.

*SSP, which follows the CDP anubandham, mentions this as a rakti rga. But after giving the
laksana, Subbarma Dkshitar states that, Vkatamakhi has given this rga as "auttara" rga i.e, a
rga that had come from North.

*Since this rga is mentioned as a di rga in RL and CDP anubandham, probably this rga would
have come from North.

* Though all these texts including the Northern texts give this rga with uddha madhyama which
corresponds to the present day practice in Karntak system, it is not known as to when did the Tdi
of Hindustni system (with tvra madhyama and kkali nisda) came into existence.

*According to Ananth Vaidyanathan, all the varieties of Tdi, excepting for Min-ki-Tdi, Mltni
and gurjari-Tdi, contain only uddha madhyama and kaiiki nisda. It is quite likely that the rga
Tdi underwent change in Hindustni system in the last few centuries.

*Regarding SSP mentioning this rga as a rakti rga, it may be inferred that between the period of
RL and SSP, the trinity had composed many kritis and probably this rga would have become
popular and probably this may be a reason for classifying this rga under "rakti" category.
16. Kalyni


RL(p.133)
RM(p.16,v.46)
SRC(p.22)
RK(p.34,v.163)
CDP(p.51,52,v.170-73)
SP(p.42,v.401)
RTV(p.14,v.20)
CDP anu (p.17,v.65.1)
SC(p.70)
SSP(p.1124,tam.edn.)


s r g m p d n
RL Kalyni 4 9 (12) (16) 17 22 3
RM Kalyna 4 9 12 16 17 20 3
SRC Kalyna 4 9 10 16 17 20 3
RK Kalyna 4 9 10 16 17 20 3
CDP Kalyni 4 9 12 16 17 22 3
SP Kalyna 4 7 11 15 17 20 2
RTV Kalyna 4 7 11 15 17 20 2
CDP anubandham ntakalyni 4 9 12 16 17 22 3
SC Kalyni 4 8 12 15 17 21 3
SSP ntakalyni 4 9 12 16 17 22 3

Note: In RL, in the passage describing this rga, the portion giving information regarding the
variety of gndhra and madhyama is missing, while for all the svara-s it is available.


RL
In the sacra-s only the beginning svara-s "s r g m" figure and the remaining portion is missing.

SP
The illustrative prayga-s are :
g p d s r g r s n d p d | n d d p p m g g p m m g g r s r g s | r g g s s n d p p d |d p g p m g p m g g r s
s s s n d p m g p p g G r s |s s s n d p g p d s r g p m g G r S

RTV
g p d s g r s s n d p p d p m g r s (udgrha prayga)

(d) Other details

RL
A di rga and a mlakart. [RL is the earliest work in which the term mlakarta occurs. In the
works prior to it only the word `mla' figures. Mlakarta refers to the rga whose name is given to
the parent mla.]

RM
The rga Kalyna has sadja as graha, ama and nysa svara and it is a samprna rga.

SRC
This rga has sadja for graha, ama and nysa .It is a samprna rga .

RK
The rga Kalyna has sadja or rsabha as graha, ama and nysa. It is a samprna rga .

CDP
Mentions the rga Kalyni as a di rga in the sense that it is not fit for rendering lpa, gta, thya
and prabandha. Further madhyama and nisda are said to be varja in rhana.

SP
In this rga madhyama and nisda are varja in rhana.

RTV
In this rga madhyama and nisda are varja in rhana.

CDP anubandham
Mentions Kalyni as a rakti rga and a samprna.

SSP
A rgaga rga and a samprna rga and has sadja as graha.

(e) Related rga-s

RL
It gives one rga called uddhakalyni under Kalyni mla. It says that it is a samprna rga.The
illustrative prayga-s for this rga are:g p d s S n d p m G r |g d p P m G r|
Gta prayga-s are also given.

SP
Mentions a rga Kalynavarti under Kalyna mla which has the following ruti positions:
s r g m p d n
4 7 11 15 17 20 2

In this rga the mrcchana starts with gndhra and pacama is the ama and nysa . The
illustrative prayga-s are:
g m p d n s r g r s n d p d n s N S | N D P M p M p p m g g m p m g G r s | N d d N S | s r g m p m d
p m m p p m g m m G r s N d d N s r s N s g r s d N s d N s s r s N s S

HK
Gives two rga-s uddha Kalyna (p.16,v.54) and Jayat Kalyna (p.16,v.56) under mana
samsthna (p.3,v.28). The ruti positions of the svaras of this mla are as follows:
s r g m p d n
4 7 11 15 17 20 3
The illustrative prayga-s for the rga Jayat Kalyna are:
g M p S n d p m g r s| r r g s| s n s g

HP
Mentions three rga-s, namely Prykalyna,(p.8,v.30) Jayatkalyna (p.8,v.31) and uddhakalyna
(p.8,v.32) under Imana mla (p.8,v.29) which is classified under tri-vikrta svara mla. The ruti
positions of the svaras of Imana mla are:
s r g m p d n
4 7 11 15 17 20 3

The rga Prykalyna has the mrcchana starting with madhyama.

The rga Jayatkalyna has gndhra mrcchana.
For (e.g) g m p s n d p m g r s
uddhakalyna has madhyama and nisda as varja svaras in rhana.

RT(p.5) mentions Pry, uddhakalyna and Jayatkalyna under mana samsthna. The mana
samsthna has the ruti positions :
s r g m p d n
4 7 11 15 17 20 2

(f) DISCUSSION

RN(p.10,vol.3) gives the rga Kalyni of Karntak music under the 65th mlakarta Mcakalyni
which corresponds to Kalyn tht of Hindustni system. Its jti is samprna-samprna. The rha
and avrha of Kalyni are: s r g m p d n s - s n d p m g r s
He states that the rga Kalyni of Karntak music is identical with the Hindustni rga-s Kalyn or
yaman. He gives the description for the Hindustni rga Kalyn as follows:
The rga Kalyn belongs to Kalyn thta (Mcaalyni) Its jti is samprna-samprna. The rha
and avrha of Kalyn are: s r g m2 p d n s - s n d p m2 g r s . Pakada or diagnostic svara groups
are:
n r g r - s - p m2 g - r - p r s

He states that although the rha is samprna while taking tna-s sadja and pacama are omitted
giving it only an audava sacra as n r g m2 d n s. In rha svara groups `n r g' and `m2 d n' leaving
out sadja and pacama are used frequently. In the avrha the svara group `p r s' is used leaving out
gndhra.

*In RL, in the passage describing this rga, the portion giving information regarding the variety of
gndhra and madhyama is missing, while for all the svara-s it is available. However the gndhra
has to be antara gndhra (11th or 12th ruti) and madhyama has to be cyuta pacama madhyama
(15th or 16th ruti ) since all the other texts mention gndhra either in the 11th or the 12th ruti
and madhyama in the 15th or 16th ruti position.

*The description of this rga in SS is also missing, but the laksana of this rga given in all the other
texts are similar.

The following observations are made on the basis of the above details:

*CDP mentions Kalyni as a mla and a rga by that name under it. It mentions the rga Kalyni as
a di rga in the sense that it is not suitable for rendering gta, lpa, thya and prabandha. But it
gives the rga with madhyama and nisda as varja in rhana, which in that case resembles the rga
uddhakalyna mentioned in RL.

*The rga Kalyna mentioned in the texts SP and RTV resemble the Kalyni of CDP.

*SP also mentions one rga Kalynavarti which resembles the rga Kalyni of RL.

*Since the mana samsthna (mla) mentioned in the texts HK, HP and RM resemble the Kalyna
or Kalyni mla of other texts, it is understood that mana and Kalyna are two names of the same
mla. This is also supported by the fact that the names of the rga-s classified under "mana"
samsthna bear the suffix "Kalyna".
Regarding the categorizing of this rga as "di" in RL and as "rakti" in CDP anubandham the
following observations are made:

* Since the di rga-s were considered not fit for rendering lpa, gta, thya and prabandha (CDP)
it is possible that around the time of RL there were not in existence art music compositions in
Kalyni. Perhaps in the subsequent period it is possible that songs came to be composed. By the
end of 18th century, we have even an ata tla varna and a krti attributed to Pallavi Gplayya (SSP,
p.1134 & 1385). Hence it is quite likely that since the time of RL Kalyni underwent change and
came to be accepted as a rga for composing songs and got elevated to a "rakti" rga as mentioned
in CDP- anubandham.
CHAPTER - III

CONCLUSION

The purpose of this study, as mentioned in the Introduction is:
(a) to seek textual sources that would help in establishing the statement that the di rga-s are
those which have come from the North.

(b) to see if the reasons for the change in the category of certain rga-s from "di" to "rakti"(naya)
or from "di" to "ghana" could be traced to the changes in laksana as evident from the various
laksana grantha-s.

(c) to try to understand the 16 di rga-s as present in today's lakshya in both the South Indian and
North Indian systems, on the background of what has been said in RL.
With the available material and with the work done the following observations can be made:

Out of the 16 di rga-s, 6 rga-s namely Kpi, Husni, Gaudipantu, Kanada, Mhanakalyni
and Bilhuri are not mentioned in the texts RM, RK, RV, SP, RTV, HK, HP, RT and SRC, which
are said to be dealing with the Northern system, while all the other rga-s are dealt with, in these
works. Hence, it is difficult to say whether these 6 rga-s had really come from North. Eventhough
the name of the rga Husni suggests a Muslim origin, it is surprising to see that this rga is not
mentioned in the above-mentioned works (RM and RV mention this rga as a persian equivalent of
Jijvanti and Tdi respectively). But in the case of the other 5 rga-s, it is not clear as to why they
are classed as di rga-s in RL.

In the case of the rga Svri it is interesting to note that all the texts which are said to be
dealing with the Southern system, give this rga under Mlavagaula (with uddha rsabha and
uddha dhaivata), whereas this rga is given as a janya of either Kdra mla or Mallri mla
(which takes pacaruti rsabha and pacaruti dhaivata) in the texts RM, RV, SP, SRC. It is also to
be noted that the rga Svri is mentioned in CDP (prior to RL) and the laksana of this rga given
in these texts is similar. Since the laksana of this rga in the Northern texts is different from that
found in the Southern texts, it is not clear why this rga was classified as di in RL.

But in the case of the remaining 9 rga-s, namely Prvi, Bibhsu, Mruva, Gdumallr, Kdra,
Dhansi, Tdi, Sraga, Kalyni, the laksana of these rga-s given in the Southern and Northern
texts are more or less similar and these rga-s exist in Hindustni music even today. Hence it is
clear that these rga-s would have come from North probably during the period of RL.

It is also seen that 6 rga-s namely Husni, Gaudipantu, Bilhuri, Dhansi, Kalyni and Sraga
are elevated to the rakti category in CDP anubandham and SSP. It is also interesting to note that the
rga-s Tdi and Prvi are classified under both di as well as rakti category in CDP anubandham,
whereas the rga Tdi is given as a rakti rga in SSP and Prvi is given as a rakti rga which came
from North. It can be stated that the composing of compositions in the post RL period, in the rga-s
Husni, Bilhuri, Tdi, Sraga and Kalyni probably would have elevated these rga-s to the rakti
category. In the case of Dhansi, the laksana of this rga given in SSP is different from that given
in RL.

Of the 16 rga-s, except Bibhsu, all the other rga-s exist in Karntak music even today. The
laksana of the rga Mhanakalyni given in RL is different from what it is today, and in fact,
corresponds to Mhana. There is also one rga Mhanakalyni in the Karntak system today, but
this is a janya of 65th mla Mcakalyni. It also appears ironical that a rga like Mhanakalyni
having the suffix "Kalyni" is given as a janya of Kmbhji mla, eventhough it seems to be
appropriate to give this rga as a janya of Kalyni mla.

Regarding the rga Bibhsu, it is clear that this rga would have come from North probably
during the period of RL. However the rga-s Bibhsu and Rmakali are different from each other
and it is not known why Subbarma Dksitar has stated that Rmakali is called as Bibhsu in other
places.

The laksana -s of the rga-s Mruva, Prvi, Tdi and Kdra differ from those of todays
Hindustni system. All these rga-s are stated to be taking uddha madhyama (13th ruti) in all the
texts including the Northern texts, but these rga-s take tvra madhyama also in the present day
Hindustni system. As mentioned earlier in the second chapter under the rga mAruva, it is
however possible that either these rga-s mentioned in the Northern and Southern laksanagrantha-s
are different from what they are today in Hindustni system or these rga-s of the 17th century
underwent change in the North and exist today in a slightly altered state.

And finally, in the case of di rga-s elevated to rakti category, we find that many compositions
had become available in the post-RL period. Nryanatrtha, Kstraja and other Vaggeyakara-s
belonging to post-RL period and pre ymsstr, Tygarja, MuthusvAmi Dksitar period had
lived as we learn from SSP and the book, " Tanjore As a Seat of Music " (S Seetha). The existence
of these compositions would perhaps have prompted the later writers to categorise these rga-s as
rakti. However from a comparison of the laksana -s of the rga-s found in RL and in the post RL
texts, it is very difficult to trace any reason for the change in the category of rga-s from "di" to
"rakti".

BIBLIOGRAPHY
Caturdandprakika ed.Pandit. S. Subrahmanya Sastri, T.V. Subba Rao, T.L.
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Hrdayakautukam ed. Dattatreyakeshavajoshi pub. Bhalchandra Sitaram
Sukhtankar Bombay 1918
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Rgataragini ed. Dattatreyakeshavajoshi, pub. Bhalchandra Sitaram
Sukhtankar Bombay1918
Rgatattvavibdha ed. Dattatreyakeshavajoshi pub. Bhalchandra Sitaram
Sukhtankar Bombay ,1918
Rgavibdha ed. Pandit. S. Subrahmanya Sastri, pub. Adyar Library 1945
Rasakaumudi ed. Dr.A.N. Jani pub. Oriental Institute, Baroda 1963
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1918
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Sagtasampradyapradarsini Telugu edition printed at Vidya Vilasini press Ettayapuram
1904
Sagtasampradyapradarsini Tamil edition, vol 1, 2, 3, 4, 5 Translation By S.
Ramanathan, B. Rajam Iyer, Pub. The Music Academy,
Madras 1961, 1963, 1968, 1977, 1983
Sagtasrmrta ed. Pandit. S. Subrahmanya Sastri, Dr. V. Raghavan pub.
The Music Academy, Madras 1942
Sagtasvaraprastrasgaramu Nadamuni panditar pub. Dowden co. Madras 1914
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Svaramlakalnidhi ed M.S. Ramaswami Aiyar pub. Annamalai University 1932.
Tanjore As a Seat of Music Dr. S. Seetha, pub. University of Madras, 1981

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A STUDY OF THE DI RGA-S

OF THE POST-RATNKARA PERIOD

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