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| type =
| type =
| arohanam = {{svaraC|S|R2|M1|P|D2|S'}}
| arohanam = {{svaraC|S|R2|M1|P|D2|S'}}
| avarohanam = {{svaraC|S'|N3|D2|P|M1|G3|R2|S}}
| avarohanam = {{svaraC|S'|N3|D2|N2|D2|P|M1|G3|R2|S}}
| jeeva =
| jeeva =
| chhaya =
| chhaya =
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[[File:ShuddhaSaveri scale.svg|300px|thumb|Ascending scale with Shadjam at C]]
[[File:ShuddhaSaveri scale.svg|300px|thumb|Ascending scale with Shadjam at C]]
[[File:Shankarabharanam scale.svg|300px|thumb|Descending scale with Shadjam at C]]
[[File:Shankarabharanam scale.svg|300px|thumb|Descending scale with Shadjam at C]]
Its {{IAST|ārohaṇa-avarohaṇa}} structure (ascending and descending scale) is as follows (see ''[[Swara#Swaras in Carnatic music|swaras in Carnatic music]]'' for details on below notation and terms):
Its {{IAST|ārohaṇa-avarohaṇa}} structure (ascending and descending scale) is as follows (see ''[[Swara#Svaras in Carnatic music|swaras in Carnatic music]]'' for details on below notation and terms):


* [[Arohana|{{IAST|ārohaṇa}}]] : {{svaraC|S|R2|M1|P|D2|S'|foot=yes}}
* [[Arohana|{{IAST|ārohaṇa}}]] : {{svaraC|S|R2|M1|P|D2|S'|foot=yes}}
* [[Avarohana|{{IAST|avarohaṇa}}]] : {{svaraC|S'|N3|D2|P|M1|G3|R2|S|foot=yes}}
* [[Avarohana|{{IAST|avarohaṇa}}]] : {{svaraC|S'|N3|D2|P|M1|G3|R2|S|foot=yes}}


Devagandhari ragam is an ''audava-vakra-sampurna'' raga meaning, in ''[[arohana]]'' 5 ''[[swara]]s'' come (so it is called ''audava'') and in ''[[avarohana]]'' all ''swaras'' come (so ''sampurna''), and there is a "zigzag" pattern of notes (so ''vakra''). The notes used in this ragam are ''shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam'' and ''kakili nishadam''. This ragam sometimes includes the ''kaishika nishadam'' (''anya swara'' – a note external to the scale, making this a ''bhashanga ragam).
Devagandhari ragam is an ''audava-vakra-sampurna'' raga meaning, in ''[[arohana]]'' 5 ''[[swara]]s'' come (so it is called ''audava'') and in ''[[avarohana]]'' all ''swaras'' come (so ''sampurna''), and there is a "zigzag" pattern of notes (so ''vakra''). The notes used in this ragam are ''shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam'' and ''kakili nishadam''. This ragam sometimes includes the ''kaishika nishadam'' (''anya swara'' – a note external to the scale, making this a ''bhashanga ragam'').


The closest raga to this one is [[Arabhi]]. Some of the things that makes Arabhi different (though both share the same ascending and descending scale, in terms of basic notation) are:
The closest raga to this one is [[Arabhi]]. Some of the things that makes Arabhi different (though both share the same ascending and descending scale, in terms of basic notation) are:
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! Type !! Composition !! Composer !! ''[[Tala (music)|talam]]'' !! Language
! Type !! Composition !! Composer !! ''[[Tala (music)|talam]]'' !! Language
|-
|-
| [[Kriti]] || ''Ksheerasagara'' || [[Tyagaraja]] || ''Adi'' || [[Telugu language|Telugu]]
| [[Kriti (music)|Kriti]] || ''Ksheerasagara'' || [[Tyagaraja]] || ''Adi'' || [[Telugu language|Telugu]]
|-
|-
| Kriti || ''Vinaradana manavi'' || [[Tyagaraja]] || ''Adi'' || [[Telugu language|Telugu]]
| Kriti || ''Vinaradana manavi'' || [[Tyagaraja]] || ''Adi'' || [[Telugu language|Telugu]]
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| "Vidiya Vidiya"
| "Vidiya Vidiya"
| [[Samudhiram]]
| [[Samudhiram]]
| [[Sabesh Murali]]
| [[Sabesh–Murali]]
| [[Udit Narayan]], [[Sadhana Sargam]]
| [[Udit Narayan]], [[Sadhana Sargam]]
|}
|}
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== In Sikh tradition ==
== In Sikh tradition ==
[[File:Devagandhari Ragini.jpg|thumb|Devagandhari Ragini]]
In the [[Sikh]] tradition from northern [[India]] it is part of the [[Guru Granth Sahib]]. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
In the [[Sikh]] tradition from northern [[India]] it is part of the [[Guru Granth Sahib]]. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
In the [[Guru Granth Sahib]], the Sikh holy Granth (book), there are a total of 60 ragas compositions and this raga is the '''twenty-first''' raga to appear in the series. The composition in this raga appear on a total of '''10 pages''' from page numbers '''527 to 537'''.
In the [[Guru Granth Sahib]], the Sikh holy Granth (book), there are a total of 60 ragas compositions and this raga is the '''twenty-first''' raga to appear in the series. The composition in this raga appear on a total of '''10 pages''' from page numbers '''527 to 537'''.


Today Devagandhari is a rare, little-known, ancient raga. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In the [[Ragmala]], Devagandhari is a ragini of Malkaunsa. Today it belongs to the Asavari thata. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this raga reveal a heroic search for these qualities which lead one to the Lord. This raga was used primarily by [[Guru Arjan]]. Forty-Seven hymns were composed to it including three by [[Guru Tegh Bahadar]] and six by [[Guru Ram Das]].
Today Devagandhari is a rare, little-known, ancient raga. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In the [[Ragmala]], Devagandhari is a ragini of Malkaunsa. Today it belongs to the Bilawal thata. Some relate this raga with Bliawal thata with asavari ang. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this raga reveal a heroic search for these qualities which lead one to the Lord. This raga was used primarily by [[Guru Arjan]]. Forty-Seven hymns were composed to it including three by [[Guru Tegh Bahadar]] and six by [[Guru Ram Das]].


* Jaati : Audava – sampurna
* Jaati : Audava – sampurna
* Timing : second pehar
* Timing : second pehar
* Thaat :bilaval ( asaveri. ang )
* Thaat :Bilawal / Bilawal - Asavari Ang
* Aroh: Sa Re Ma Pa Dha Sa
* Aroh: Sa Re Ma Pa Dha Sa
* Avroh: Sa Ni Dha Pa, Ma Pa, Dha Ni Dha Pa, Ma Ga Re Sa
* Avroh: Sa Ni Dha Pa, Ma Pa, Dha Ni Dha Pa, Ma Ga Re Sa
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== External links ==
== External links ==
* [http://www.gurmatsangeetacademy.org/ GSA (The Gurmat Sangeet Academy)]
* [http://www.gurmatsangeetacademy.org/ GSA (The Gurmat Sangeet Academy)]{{Dead link|date=January 2024 |bot=InternetArchiveBot |fix-attempted=yes }}
* [http://www.gurmatsangeetproject.com/ Gurmat Sangeet Project]
* [http://www.gurmatsangeetproject.com/ Gurmat Sangeet Project]
* [http://www.rajacademy.com/ Raj Academy of Asian Music]
* [http://www.rajacademy.com/ Raj Academy of Asian Music]
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{{Janya}}
{{Janya}}


[[Category:Janya Ragas]]
[[Category:Janya ragas]]
[[Category:Ragas in the Guru Granth Sahib]]
[[Category:Ragas in the Guru Granth Sahib]]

Latest revision as of 09:37, 29 January 2024

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Shruti box
Devagandhari
ArohanamS R₂ M₁ P D₂ Ṡ
AvarohanamṠ N₃ D₂ N₂ D₂ P M₁ G₃ R₂ S

Devagandhari (pronounced devagāndhāri) is a raga (musical scale) in Indian classical music. In carnatic classical music, Devagandhari is a janya raga (derived scale), whose melakarta raga (parent scale, also known as janaka) is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.

It is also present in the Sikh tradition of northern India and is part of the Guru Granth Sahib.[1]

In Carnatic music

[edit]

Structure and lakshana

[edit]
Ascending scale with Shadjam at C
Descending scale with Shadjam at C

Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

Devagandhari ragam is an audava-vakra-sampurna raga meaning, in arohana 5 swaras come (so it is called audava) and in avarohana all swaras come (so sampurna), and there is a "zigzag" pattern of notes (so vakra). The notes used in this ragam are shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam and kakili nishadam. This ragam sometimes includes the kaishika nishadam (anya swara – a note external to the scale, making this a bhashanga ragam).

The closest raga to this one is Arabhi. Some of the things that makes Arabhi different (though both share the same ascending and descending scale, in terms of basic notation) are:

  • Devagandhari is sung with gamakas and vilambita kala prayogas (usages with elongated notes)[2]
  • Devagandhari is sung with deergha gandharam (elongated G3)[2]
  • Devagandhari is a bhashanga raga, and certain prayogas use the kaishika nishadam: S N3 D N2 , , D P
[edit]

Here are some more compositions set to Devagandhari.

Type Composition Composer talam Language
Kriti Ksheerasagara Tyagaraja Adi Telugu
Kriti Vinaradana manavi Tyagaraja Adi Telugu
Kriti Koluvaiyunnade Tyagaraja Adi Telugu
Kriti Tulasamma Tyagaraja Adi Telugu
Kriti evaru manaku Tyagaraja Adi Telugu
Kriti Sita vara Sangita Tyagaraja Adi Telugu
Kriti Karunasamudra Tyagaraja Adi Telugu
Kriti Kshitija Ramanam Muthuswami Dikshitar Adi Sanskrit
Kriti Jayajaya Rama Ramana Swathi Thirunal Jhampa Sanskrit
Kriti Pahi Mamayi Swathi Thirunal Aadi Sanskrit
Kriti Rama Rama Pahi Swathi Thirunal Roopakam Sanskrit
Kriti Sharade Vina Vadana Papanasam Sivan Aadi Sanskrit
Kriti Enneramum Gopalakrishna Bharathi Adi Tamil

Film songs

[edit]

Tamil

[edit]
Song Movie Composer Singer
"Indru Namathullame Pongum" Thanga Padhumai Viswanathan–Ramamoorthy T. M. Soundararajan, Jikki
"Brindavanamum Nandakumaranum" Missiamma S. Rajeswara Rao A. M. Rajah, P. Susheela
"Yeri Karaiyin Mele" Mudhalali K. V. Mahadevan T. M. Soundararajan
"Kaviri Paayum"(Pallavi,anupallavi only) Maragatham S. M. Subbaiah Naidu
"Kanni Paruvam Aval" Indira En Selvam C. N. Pandurangan&H.R.Pathmanabha Sastri P. B. Sreenivas,Soolamgalam Rajalakshmi
"Thendralil Aadidum" Madhuraiyai Meetta Sundharapandiyan M. S. Viswanathan K. J. Yesudas, Vani Jairam
"Manthaara Malare" Naan Avanillai P. Jayachandran, L. R. Eswari
"Santhakavigal" Metti Ilaiyaraaja Brahmanandam
"Aasai Kiliye" Thambikku Entha Ooru Malaysia Vasudevan
"Madhurai Vaazhum" Pudhupatti Ponnuthayi Unni Menon, S. Janaki
"Mannavane Mannavane" Thanthu Vitten Ennai S. P. Balasubrahmanyam, S. Janaki
"Sandhanam Ennum" Aatam Paatam Kondaatam Gangai Amaran Mano, Deepan Chakravarthy
"Kaalai Arumbi" Kana Kandaen Vidyasagar Srinivas, Kalyani Nair
"O Sukumari" Anniyan Harris Jayaraj Shankar Mahadevan, Harini
"Vidiya Vidiya" Samudhiram Sabesh–Murali Udit Narayan, Sadhana Sargam

Title song

[edit]
Song TV Serial Composer Singer
"Aadugiran Kannan" Adugiran Kannan C. Sathya Srinivas

In Sikh tradition

[edit]
Devagandhari Ragini

In the Sikh tradition from northern India it is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book), there are a total of 60 ragas compositions and this raga is the twenty-first raga to appear in the series. The composition in this raga appear on a total of 10 pages from page numbers 527 to 537.

Today Devagandhari is a rare, little-known, ancient raga. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In the Ragmala, Devagandhari is a ragini of Malkaunsa. Today it belongs to the Bilawal thata. Some relate this raga with Bliawal thata with asavari ang. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this raga reveal a heroic search for these qualities which lead one to the Lord. This raga was used primarily by Guru Arjan. Forty-Seven hymns were composed to it including three by Guru Tegh Bahadar and six by Guru Ram Das.

  • Jaati : Audava – sampurna
  • Timing : second pehar
  • Thaat :Bilawal / Bilawal - Asavari Ang
  • Aroh: Sa Re Ma Pa Dha Sa
  • Avroh: Sa Ni Dha Pa, Ma Pa, Dha Ni Dha Pa, Ma Ga Re Sa
  • Pakar: Dha Ni Dha Pa, Ma Ga, Sa Re Ma, Ga Sa Re Ga Sa
  • Vadi: Ma
  • Samvadi: Sa

See also

[edit]

Notes

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

References

[edit]
  1. ^ Singha, H.S. (2000). The Encyclopedia of Sikhism (over 1000 Entries). Hemkunt Publishers. p. 60. ISBN 978-81-7010-301-1. Retrieved 26 May 2021.
  2. ^ a b Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
[edit]
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