Vidushi R.S. Jayalakshmi presented a lec-dem on ‘Allied Ragas in Carnatic Music’ on the occasion of the 22nd remembrance day of mridangam vidwan Ramanathapuram M.N. Kandasamy Pillai at the Ragasudha Hall.
Recollecting his contribution, she paid tribute to his dedication as a guru, who moulded his disciples into leading performers. Some excerpts:
Among the 72 melakarta (janaka) ragas, the four that generate the maximum number of allied ragas are Mayamalavagowla (mela 15), Natabhairavi (mela 20), Kharaharapriya (mela 22) and Harikambhodi (mela 28). Among the janya ragas generated, some are more widely known than the others. Compared to prati madhyama ragas, suddha madhyama ragas offer more hues at the madhyama. Even when allied ragas carry similar/identical prayogas, one can differentiate between them on the basis of how the prayogas are handled.
Pointer to the raga
In this context, the graha (commencing), amsa/jiva (dwelling/characteristic), and nyasa (ending) swaras play an important role, as does the handling of notes as dirgha and hrasva. Again, the kalapramana of a given phrase is a pointer to the raga. The same phrase, when slowed or accelerated, would suggest another raga. Other significant determining factors include gamakas with their anuswaras, the sthayi (octave/range of the raga) and definitive phrases occurring in kalpita sangitam, i.e. in compositions such as varnams and kritis.
Viewing Thodi and Dhanyasi, ‘pg.rs’ is indicative of Dhanyasi, though the phrase does occur in the Thodi Ata tala varnam. A janaka raga and its janya may have phrases in common, such as ‘srsp.m’ seen in Kalyani as well as Saranga.
Analysing the allied group of Bhairavi, Mukhari, Manji and Huseni which share similar sancharas, yet retain distinct identities, it helps to view the oscillations given to a note rather than just the formally designated note itself. The usage of ‘s r n d’ and ‘m p g r’ is unique to Bhairavi and not found in Manji or Huseni.
The distinguishing characteristics of Manji include the pronounced oscillation of the gandhara and the elongation and lift of the dhaivata in comparison with Bhairavi, plus the use of ‘r p m’ as an ending phrase and the presence of the antara gandhara as seen in ‘Varugalaamo’ (Gopalakrishna Bharati ) and ‘Sri Saraswathi’ (Muthuswami Dikshitar). A vaggeyakara may have used a raga such as Manji in only one composition; so artistes may use their discretion in electing to perform just the kriti sans alapana in such ragas.
If a phrase appears frequently in one raga, it is more indicative of that raga than of another in which it appears rarely; for eg. ‘m n d’ is characteristic of Khamas rather than Khambodi although it does surface in a few Khambodi compositions.
Another allied raga group — Madhyamavathi, Sri, Manirangu and Brindavani — share rishabha as graha swara. However, the Madhyamavathi ‘ri’ can be well-oscillated while that of Sri, characterised by ‘rgrs’, is plain. The use of ‘p d n p m’ in the Dikshitar school distinguishes Sri as a ‘raganga’ raga. Direction and trajectory of phrases can help establish raga lakshana.
Current practice
As per Sangita Sampradaya Pradarshini, the names Brindavani and Brindavana Saranga refer to the same raga; the swaroopa specified has no kakali nishadha. However, today’s practice differs from theory.
Ananda Bhairavi-Ritigowla-Sriranjani and Suruti-Kedaragowla-Narayanagowla were among the other allied ragas elucidated. The vidushi's approach to the subject was a source of inspiration, as she explained that whenever a clarification was sought, she viewed it as a learning opportunity.
