Before continue reading, be aware about Mayamalavagowla Raga , by listening....
Mayamalavagowla (pronounced māyāmāḻavagouḻa, Sanskrit: मायामाळवगोळ, Kannada: ಮಾಯಾಮಾಳವಗೌಳ, Telugu: మాయామాళవగౌళ, Tamil:மாயாமாளவகௌ, Malayalam: മായാമാളവഗൗള), is a raga of Carnatic Music (musical scale of South Indian classical music).
Venkatamakhin defines its lakshana thus:
पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा
pūrṇo māḻavagouḻākhyah sa graho gīyate sadā
Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
ārohaṇa: S R1 G3 M1 P D1 N3 S
avarohaṇa: S N3 D1 P M1 G3 R1 S
The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale.
The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant. There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S).
It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music.
It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla.
Pending : Related Ragam..???
Mayamalavagowla (pronounced māyāmāḻavagouḻa, Sanskrit: मायामाळवगोळ, Kannada: ಮಾಯಾಮಾಳವಗೌಳ, Telugu: మాయామాళవగౌళ, Tamil:மாயாமாளவகௌ, Malayalam: മായാമാളവഗൗള), is a raga of Carnatic Music (musical scale of South Indian classical music).
It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
Structure and Lakshana:
Venkatamakhin defines its lakshana thus:पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा
pūrṇo māḻavagouḻākhyah sa graho gīyate sadā
Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
ārohaṇa: S R1 G3 M1 P D1 N3 S
avarohaṇa: S N3 D1 P M1 G3 R1 S
The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale.
The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant. There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S).
Nature of Raga:
This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the firstyAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc. Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time.It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music.
It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla.
Janya ragams:
Mayamalavagowla has quite a few janya ragams associated with it, of which Bowli, Jaganmohini, Gowla, Gowlipantu, Lalita, Nadanamakriya, Revagupti, Saveri and Malahari are quite well known. SeeList of janya Ragas for a full list of janyas.15 Māyamālava Gowla | S R1 G3 M1 P D1 N3 S | S N3 D1 P M1 G3 R1 S |
Ardhradesi | S R1 G3 M1 P D1 N3 S | S D1 P M1 G3 R1 S |
Bhāvini | S G3 M1 P D1 N3 S | S N3 D1 P M1 G3 S |
Bibhās | S R1 G3 P D1 S | S D1 P M1 R1 S |
Bowli | S R1 G3 P D1 S | S N3 D1 P G3 R1 S |
Bowli Rāmakriya | S R1 G3 P D1 S | S N3 P D1 P M1 G3 R1 S |
Chāruvardhani | S R1 M1 P D1 N3 S | S D1 P M1 G3 R1 S |
Chāyagowla | S R1 M1 G3 M1 P N3 S | S N3 D1 P M1 G3 R1 S |
Chandrachooda | S M1 G3 M1 P D1 S | S N3 D1 P M1 G3 S |
Deshyagowla | S R1 P D1 N3 S | S N3 D1 P R1 S |
Devaranji | S M1 P D1 P N3 S | S N3 D1 P M1 S |
Ekakshari | S R1 G3 M1 P D1 N3 S | S N1 P M1 R1 G3 M1 R1 S |
Ghanasindhu | S M1 G3 M1 P D1 N3 D1 S | S N3 D1 P M1 G3 R1 S |
Gowla | S R1 M1 P N3 S | S N3 P M1 R1 G3 M1 R1 S |
Gowlipantu | S R1 M1 P N3 S | S N3 D1 P M1 D1 M1 G3 R1 S |
Gowri | S R1 M1 P N3 S | S N3 D1 P M1 G3 R1 S |
Gummakāmbhoji | S R1 G3 P D1 N3 S | S N3 D1 P M1 G3 R1 S |
Gundakriya | S R1 M1 P N3 S | S N3 P D1 P M1 G3 R1 S |
Gurjari | S R1 G3 M1 P D1 N3 S | S D1 N3 P M1 G3 R1 S |
Jaganmohini | S G3 M1 P N3 S | S N3 P M1 G3 R1 S |
Kalyānakesari | S R1 G3 P D1 S | S D1 P G3 R1 S |
Kannadabangāla | S R1 M1 G3 M1 D1 P D1 S | S D1 P M1 G3 R1 S |
Karnātaka Sāranga | S R1 G3 M1 P D1 N3 S | S N3 D1 P M1 R1 S |
Lalitā | S R1 G3 M1 D1 N3 S | S N3 D1 M1 G3 R1 S |
Lalitapanchamam | S R1 G3 M1 D1 N3 S | S N3 D1 M1 P M1 G3 R1 S |
Mālavakurinji | S G3 P D1 N3 S | S N3 D1 M1 R1 S |
Mālavapanchamam | S R1 G3 M1 P N3 S | S N3 D1 P M1 G3 R1 S |
Mārgadesi | S R1 G3 R1 G3 D1 M1 P D1 S | S D1 P M1 G3 R1 S |
Malahari | S R1 M1 P D1 S | S D1 P M1 G3 R1 S |
Mallikavasantam | S G3 M1 P N3 S | S N3 D1 P M1 G3 R1 S |
Mangalakaishiki | S R1 M1 G3 D1 P S | S N3 D1 P M1 G3 R1 S |
Manolayam | S R1 M1 P D1 S | S N3 D1 P M1 R1 S |
Maruva | S G3 M1 D1 N3 S | S N3 D1 P G3 M1 G3 R1 S R1 G3 R1 S |
Mechabowli | S R1 G3 P D1 S | S N3 D1 P M1 G3 R1 S |
Megharanjani | S R1 G3 M1 N3 S | S N3 M1 G3 R1 S |
Nādhanāmakriya | S R1 G3 M1 P D1 N3 | N3 D1 P M1 G3 R1 S N3 |
Pādi | S R1 M1 P N3 S | S N3 P D1 P M1 R1 S |
Pharaju (Paras) | S G3 M1 P D1 N3 S | S N3 D1 P M1 G3 R1 S |
Poornalalita | S R1 G3 M1 P D1 S | S D1 P M1 G3 R1 S |
Poorvi | S R1 G3 M1 D1 N3 S | S N3 D1 P M1 G3 R1 S |
Poorvikavasanta | S M1 G3 M1 D N3 S | S N3 D1 M1 P M1 G3 R1 S |
Pratāpadhanyāsi | S G3 M1 P N3 S | S N3 D1 P M1 G3 R1 S |
Pratāparanjani | S R1 M1 P D1 N3 S | S N3 D1 P M1 G3 R1 S |
Puranirmai | S R1 G3 P D1 S | S N3 D1 P G3 R1 S |
Rāmakali | S R1 G3 P D1 S | S N3 D1 P M1 G3 R1 S |
Rāmakriya | S G3 M1 P D1 N3 S | S N3 P D1 P M1 G3 R1 S |
Revagupti | S R1 G3 P D1 S | S D1 P G3 R1 S |
Rukhmāmbari | S R1 G3 P N3 S | S N3 P G3 R1 S |
Sāmantadeepara | S R1 G3 M1 P N3 S | S N3 P M1 G3 R1 S |
Sāranga Nāta | S R1 M1 P D1 S | S N3 S D1 P M1 G3 R1 S |
Sāveri | S R1 M1 P D1 S | S N3 D1 P M1 G3 R1 S |
Salanganāta | S R1 M1 P D1 S | S D1 P G3 R1 S |
Satyāvati | S G3 R1 G3 P D1 S | S N3 D1 N3 P D1 P G3 R1 S |
Sindhu Rāmakriya | S G3 M1 P D1 N3 S | S N3 P M1 G3 R1 G3 S |
Surasindhu | S M1 G3 M1 P D1 N3 D1 S | S N3 D1 P M1 R1 G3 R1 S |
Tārakagowla | S G3 M1 D1 N3 S | S N3 D1 M1 G3 S |
Takka | S R1 S G3 M1 G3 P M1 D1 N3 S | S N3 D1 P M1 G3 R1 S |
Ushāvali | S R1 M1 P D1 S | S N3 D1 M1 P M1 R1 S |
Vishārada | S R1 M1 P N3 S | S N3 P M1 R1 S |
Pending : Related Ragam..???
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