Can someone post an article on Sarasangi Ragam

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Babu Srinivasan

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Sep 16, 1996, 3:00:00 AM9/16/96
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I recently listened to Mandolin U. Srinivas' rendition of Sarasangi.
I am not familiar with the ragam and I guessed it as "close to
Charukesi". I found out from the Melakarta chart that only 1 note is
different in these 2 ragams. I like this ragam much more than Charukesi.

Can someone post an article on this ragam including compositions and
if possible some vocal/violin/flute CDs that have a song in this
ragam?

Thanks
Babu

Srini Pichumani

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Sep 17, 1996, 3:00:00 AM9/17/96
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In article <epczq2q...@Eng.Sun.COM>, Babu Srinivasan

Sarasangi is certainly in a difficult position since
Carukes'i is much more popular via the kritis "ADa mODi
galadE" (Tyagaraja) and "krpayA pAlaya" (ST; music by
Muthiah Bhagavatar ?)... still, there are a few compositions
in it like Tyagaraja's "mEnu jUci", "jaya jaya padmanAbha
murArE" (ST; don't know if it was set to sarasAngi originally).

U.Srinivas probably played the latter kriti in SarasAngi...
if you carefully listen to the pallavi, in the second half
of the very first Avarta of the tALam (Adi), it will become
clear that it is not cArukes'i... since it shows the uttarAnga
or the upper tetrachord with the N3 clearly.
____________________________________________________

There is a "trick" composition in this scale by Balamurali.
which goes like
hanumA, anumA O manamA
hanuma nAmamE sukham anumA...

I heard this from Balamurali a while ago (this was a
home recording... with no tambura or s'rutipeTTi in
the background)... and recently there was a news item
that he sang it at the AnjanEya temple in Nanganallur,
Madras... where he was "re-united" with his classic
accompanists, MSG and TVG, after a long hiatus.

The feature in this composition is that every "ma" is a
svarAkSara... it makes for some interesting and quixotic
musical phrases... particularly in the anupallavi where
is there is a somewhat forced leap upto the tAra sthAyi
madhyamam.

I call it a "trick" composition because the ma by being
predominant throughout the composition takes over the
role of AdhAra s'ruti from the sa... and thus the whole
composition has a strong Dharmavati touch to it... Balamurali's
own akAram phrases at some points in the rendition reinforce
this feeling.

Here is a story to go with this composition that I heard
from a nettor (who lurks around this newsgroup ;-)).
_____________________________________________________
> Q: mimmalini chinnappuDu kOti(monkey) karichinadani
> chadivAnu. nijamEnA?

Is it true that a monkey bite you in your childhood?

> BMK: laughs. karavalA. nEnu BZA lO oka vaRSham vacchi
> velisina sAyantram DAbA mIda ADukunTunDaga "current pass"
> avutunna "light pole" paTTukunTE shock tagili paDipOyAnu.
> appuDu hanumanthuDu nannu tana vaDilOki tIsukoni vaLLantA
> nimirADu. hanumanthuDi mIda oka pATa rasAnu:

BMK: No, it did n't bite. In Bezawada, after a rainy day,
I was playing in the evening on the terrace of the house
and got electric shock, when touched the electric pole.
Then Hanuman came and took me in his laps and gently browsed
(I have to look for a better word here!) my skin. I composed
a song on Hanuman
________________________________________________________

-Srini.

K.R. Subramanyam

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Sep 17, 1996, 3:00:00 AM9/17/96
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While one reason for the apparent unpopularity of Sarasangi is that there
aren't too many kritis. Anothe reason is probably because it is a classic
case of a "mongerel" melakarta....it is just too close and appears to be
a hodge-podge of many other popular melas. It is interesting to see what
ragas emerge when we change just a single note in Sarasangi:

Note Changed Ensuing Raga

R Mayamalavyagowla
G Kiravani
M Latangi
D Sankarabharnam
N Charukesi

Because of its close affinity to so many old and popular ragas it is very
difficult for a musician to give it a unique identity. Try humming Sarasangi
and you'll find yourself tresspassing the territory of Sankarabharnam, Latangi
and Charukesi at the very least. Hence Sarsangi has not got the status of a
"gana" raga although it does seem to have a fairly pleasing combination of
notes.

For this raga to gain stature musicians will have evolve a distinct and
aesthetic pattern of gamakas and prayogas that seem to add character to it..
I am not saying it can't happen....ragas such as Dharmavati have been developed
fairly recently.

At the expense of sounding like a broken record I'll repeat: a raga is NOT
a scale or a collection of notes. If it were then there is no reason why the
scale cannot be permutated (I'll not use a term like 'explored' since playing
around with notes in a scale is NOT raga exploration)..a raga needs a separate
identity that evolves over time through introduction of unique gamakas and
prayogas. In the case of Sarasangi unfortunately (or fortunately!) its
neighbouring ragas developed powerful identities and thus made it difficult
for it to develop its personality.

Two other ragas that suffer from the same syndrome: Natta Bhairavi (too close
to Thodi, Bhairavi, Karaharapriya and Kiravani) and Harikambothi (too close
to Sankarabharnam, Kambothi, Nattakuranji, etc). Harikambothi is a classic
case of a sacrificing "mother"--like Kunti she fades in the glory of her
progeny...i.e., the janyas of Harikambothi overshadow the janaka raga.
KRS

Dakshin

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Sep 18, 1996, 3:00:00 AM9/18/96
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In article <51no93$q...@almaak.usc.edu>,

K.R. Subramanyam <k...@almaak.usc.edu> wrote:
>
>Try humming Sarasangi
>and you'll find yourself tresspassing the territory of Sankarabharnam, Latangi
>and Charukesi at the very least.
>
>For this raga to gain stature musicians will have evolve a distinct and
>aesthetic pattern of gamakas and prayogas that seem to add character to it..

Apparently, Mandolin U.Srinivas has done something like that.


Dakshin
--
Dakshin Gandikota
Rm. 1D-260N, AT&T Labs
6200 E.Broad St.
Columbus, OH 43213 614-860-6006

venkataraman_chander

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Sep 19, 1996, 3:00:00 AM9/19/96
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T.N.Seshagopalan in his concert here in the San Jose area devoted a substantial
part of his concert to Sarasangi. After a stunning alapana for about 10 minutes,
he sang Patnam Subramania Iyer's sarasangi piece in Roopakam. His kalpana swaras
brought out the essence of Sarasangi very well, too.

Cheers,
Chander.

Sanjeev Ramabhadran

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Sep 19, 1996, 3:00:00 AM9/19/96
to

In article <51no93$q...@almaak.usc.edu> k...@almaak.usc.edu (K.R. Subramanyam) writes:
>While one reason for the apparent unpopularity of Sarasangi is that there
>aren't too many kritis. Anothe reason is probably because it is a classic
>case of a "mongerel" melakarta....it is just too close and appears to be
>a hodge-podge of many other popular melas. It is interesting to see what
>ragas emerge when we change just a single note in Sarasangi:
>
>Note Changed Ensuing Raga
>
>R Mayamalavyagowla
>G Kiravani
>M Latangi
>D Sankarabharnam
>N Charukesi
>
>Because of its close affinity to so many old and popular ragas it is very
>difficult for a musician to give it a unique identity. Try humming Sarasangi

>and you'll find yourself tresspassing the territory of Sankarabharnam, Latangi
>and Charukesi at the very least. Hence Sarsangi has not got the status of a
>"gana" raga although it does seem to have a fairly pleasing combination of
>notes.
>
>For this raga to gain stature musicians will have evolve a distinct and

This is an interesting point, because its Hindustani equivalent,
Nat-Bhairav, is not that uncommon a raga (note that when I say
equivalent I of course mean only the notes of the scale, as Nat-Bhairav
has a `chalan' which is hardly a straight, sampoorna ascent and
descent).

With the popularization of Charukesi in the North, I still think
Nat-Bhairav is more popular up north. That too, I have the opposite
experience as Mr. Subramanyam - when I try to hum in Charukesi for a
while, I find myself slipping into Nat-Bhairav...I guess it's a matter
of background.

BTW, does anyone know what the Hindustani raga is called with the same
scale as Nat-Bhairav but a straight ascent and descent (just as there is
a raga called Gandharipriya that supposedly corresponds more closely to
Dharmavati than the raga Madhuvanti does)?


Sanjeev Ramabhadran

Mohan Ayyar

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Sep 24, 1996, 3:00:00 AM9/24/96
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Srini Pichumani <sr...@quip.eecs.umich.edu> wrote in article
<51mkeo$i...@news.eecs.umich.edu>...


>
> Sarasangi is certainly in a difficult position since
> Carukes'i is much more popular via the kritis "ADa mODi
> galadE" (Tyagaraja) and "krpayA pAlaya" (ST; music by
> Muthiah Bhagavatar ?)... still, there are a few compositions

kripaya pAlaya is supposedly Swati Tirunal's composition.

In sarasAngi, there is a nice varnam which Yesudas has sung.
I don't know the composer though.

The rAga simhavAhini (a janyam of sarasAngi) seems more popular
probably due to ThyAgaraja's composition 'nenarunchi nA'. It has
been rendered by D. K. Jayaraman (and his discples) and a number
of instrumentalists.

-------------------------------------------------------------------
Mohan Ayyar
Sydney, Australia
mo...@geko.net.au
Carnatic Corner:
New articles on TN Seshagopalan, Mani Krishnaswamy, etc.
Image Gallery has also been updated. See -
http://www.geko.net.au/~mohan/music.html


Bhargavi Sarma

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Sep 24, 1996, 3:00:00 AM9/24/96
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Mohan Ayyar<mo...@geko.net.au> wrote


>The rAga simhavAhini (a janyam of sarasAngi) seems more popular
>probably due to ThyAgaraja's composition 'nenarunchi nA'. It has
>been rendered by D. K. Jayaraman (and his discples) and a number
>of instrumentalists.

The keertanam in simhavahini is 'nenaruncharA'.
'nenarunchinAnu', also a composition of Thyagaraja is in the ragam
mAlavi.


s srinath

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Aug 23, 2022, 8:41:33 AMAug 23
to
On Tuesday, September 17, 1996 at 12:30:00 PM UTC+5:30, K.R. Subramanyam wrote:
> While one reason for the apparent unpopularity of Sarasangi is that there
> aren't too many kritis. Anothe reason is probably because it is a classic
> case of a "mongerel" melakarta....it is just too close and appears to be
> a hodge-podge of many other popular melas. It is interesting to see what
> ragas emerge when we change just a single note in Sarasangi:
> Note Changed Ensuing Raga
> R Mayamalavyagowla
> G Kiravani
> M Latangi
> D Sankarabharnam
> N Charukesi
> Because of its close affinity to so many old and popular ragas it is very
> difficult for a musician to give it a unique identity. Try humming Sarasangi
> and you'll find yourself tresspassing the territory of Sankarabharnam, Latangi
> and Charukesi at the very least. Hence Sarsangi has not got the status of a
> "gana" raga although it does seem to have a fairly pleasing combination of
> notes.
> For this raga to gain stature musicians will have evolve a distinct and
> aesthetic pattern of gamakas and prayogas that seem to add character to it..
> I am not saying it can't happen....ragas such as Dharmavati have been developed
> fairly recently.
> At the expense of sounding like a broken record I'll repeat: a raga is NOT
> a scale or a collection of notes. If it were then there is no reason why the
> scale cannot be permutated (I'll not use a term like 'explored' since playing
> around with notes in a scale is NOT raga exploration)..a raga needs a separate
> identity that evolves over time through introduction of unique gamakas and
> prayogas. In the case of Sarasangi unfortunately (or fortunately!) its
> neighbouring ragas developed powerful identities and thus made it difficult
> for it to develop its personality.
> Two other ragas that suffer from the same syndrome: Natta Bhairavi (too close
> to Thodi, Bhairavi, Karaharapriya and Kiravani) and Harikambothi (too close
> to Sankarabharnam, Kambothi, Nattakuranji, etc). Harikambothi is a classic

Lakshman Ragde

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Sep 24, 2022, 9:49:10 AMSep 24
to
Here is a comprehensive list of songs in sarasangi:

Adi purushan anaiyale-Chapu-R.Shrinivasan (Nadopasana)
Adiya pada arul purivai aravin shiram adil tiruvadi-Adi-Ambujam Krishna
Arupadai vittinil-Adi-Chittur S.Subramanian
Ashtaksharamula amariyunna-Adi-Sriramachandra Murti Sistla
Bhairavi bhargavi-Chapu-R.K.Suryanarayana
Bhakti margame nityamu manasa-Adi-Kunrakkudi Krishna Iyer
Dhyanam seyya-K/Chapu-Vedanayakam Pillai
Dina bandhu nive-Rupaka-Madurai G.S.Mani
Enraikkum kripai varumo-Chapu-K.R.Narayanan
Ettanai kavi padi-Adi-?
Ettanai kavi padinum-Rupaka-Vedanayakam Pillai
Ettum adiyavar irezhu ulaganaiyum-?-Abhirami Bhattar
Gajamukha ganapatiye va-Rupaka-Rukmini Ramani
Gangaikku nigarana-Adi-Rukmini Ramani
Garala purisha paramesha krpaya pahi shambho-C/Rupaka-Vina Padmanabhiah
Hanuma anuma o manasa hanuma namame-Adi-Balamuralikrishna
Ilakku shirakka ilakkanam amainde-Ruipaka-Abhayambika
Inda shadalam vanda varedenrarigilen-Rupaka-Gopalakrishna Bharati
Itarameruga gati idiye sharanyamu satata-Adi-Annamacharya
Jai jai rasm jai-Adi-Ganapati Sachidananda
Jaya jagadishvari rakshamam-Adi-R.K.Suryanarayana
Jaya jaya padmanabha murare jaya jagadisha-Adi-Svati Tirunal
Kalayami tava padukam (sada) shri kamakshi -K/Chapu-Kadalur Subramaniam
Kamakrodhadi chintala-Adi-Sriramachandra Murti Sistla
Kamala nayana-Adi-Tiruvettiyur Tyagayya
Kanye khila bharata-Adi-R.Shrinivasan (Nadopasana)
Karuna tonu kapaduma kamita phalada rama-Rupaka-R.Venugopal
Malaiyade maname malaiyade-Rupaka-Kotishvara Iyer
Manam kanindu arula-Chapu-Padma Veeraraghavan
Manasuloni doruka-?-?
Manavi chekonavayya ma janakiramana-Rupaka-Patnam Subramania Iyer
Marakatanga-Adi-Vinai Krishnamacharya
Mariyadaiye peridam-Rupaka-Shivagangai Sundaramurti Bhagavatar
Menu juchi mosa bokave manasa lonijada lilagu-Adi-Tyagaraja
Muruga vallal pol karunai kolvor undo-Rupaka-Kovai Subri
Nambi vanden unnai nalam pera-Adi-K.Hariharan
Nenje kannanai-Adi-Chittur S.Subramanian
Ni padamu nera nammiti niraja nayana-Rupaka-R.Venugopal
Ni padamule nammitinayya nirajaksha rama-C/Triputa-Mysore Vasudevachar
Nike dayaradu-?-Ponniah
Nikela dayaradu ninu bhajinchina napai-Jhampa-Ramasami Shivan
Niruttam iduntiru chitrambalavarai nittam-Adi-Muttu Tandavar
Niye gati enru nambinom (tv)-Adi-Akkarai Sornalata
Pan padum pungkuyile-Adi-Andavan Piccai
Pann padum pungkuyile-Adi-Kamakshi Kuppuswami
Parameshvara paripahimam-?-Bangalore S.Mukund
Paripaliso guru-Adi-R.K.Padmanabha
Paripaliso guru vadiraja-Adi-R.K.Padmanabha
Parirakshaku levvura-Adi-T.Singaracharyulu
Partu enna tan seivadam-Adi-Muttusvami Kavi
Pittane bhaktaridam vaitta-T/Triputa-Nerur Shrinivasachar
Purushottama yuvati-T/Eka-K.N.Srinivasan
Purushottamane sharanam-Adi-Chitravina N.Ravikiran
Putana jivitahara-Rupaka-Ennapadam Venkataramana Bhagavatar
Rara sarigama-Adi-Ganapati Sachidananda
Rasa bharitamu-Adi-Dokka Sriramamurti
Rasika mahottama krishna shri rasa mahotsava-Chapu-Uttukadu Venkatasubbier
Sadashiva hrdaya nivasini-Adi-K.Ramaraj
Sadashivam upasmahe satatam-C/Triputa-Jayachamaraja Odeyar
Sadhu sajjana poshana (lng)-Triputa-Govindacharya
Sankatam tirtu andarul pankaja vadane un charana-T/Adi-D.Pattammal
Saptashvarudham-?-Ganapati Sachidananda
Sarasa dala netri amba sarasadala netri mam-Adi-Ashok R.Madhav
Sarasangi (tv)-Adi-?
Sarasangi kalavani-Rupaka-C.R.Balavishvanathan
Sarasangi marulu minchi sarasaku (tv)-Adi-Vinai Krishnamacharya
Sarasangi sangita (tv) Adi-Raji Raman
Sarasangi savitri (tv)-Adi-Madokaram Prashanth Iyengar
Sarasangiye-Chapu-Bangalore S.Mukund
Sarasavadalu (p)-Adi-Bangalore S.Mukund
Sarasiruha nayana-Adi-N.S.Ramachandran
Sarvadhishtanamaina-Adi-Sriramachandra Murti Sistla
Saurasenesham vallisham subramanyam bhajeham-Adi-Muttusvami Dikshitar
Shankaran panginil tangidum pangiye-Adi-K.S.Krishnamurti
Sharadambe samraksha-Rupaka-Bangalore S.Mukund
Sharade varade sarasangi vinute-Rupaka-C.Rangiah
Shoka roga bhayamula Adi-K.M.Soundaryavalli
Shri padmanabha dinadayapara un padam-Jhampa-Lakshmi Krishna
Shri ranganayakam cintayAmi-Adi-K.N.Ramseshan
Soma sundara surya lochana-Adi-Muttiah Bhagavatar
Tai shollum varttaiyai tattadu-Adi-Shuddhananda Bharati
Teduvor tedum shelvame shivame (a)-Adi-Ramalingasvami
Tillana (udara dhim)-Chapu-Nagamani Srinath
Tirupati malaiyurai venkata va tiruvadi-Adi-Dandapani Deshikar
Tiruttam idum-Adi-Muttu Tandavar
Tondu sheidale vAzhvinal kadan-Adi-T.Lakshmana Pillai
Tripura bhairavigudhanna (lkg)-Eka-Venkatamakhi
Udaittanai vanja piraviyai-C/Eka-Abhirami Bhattar
Udara dhim (t)-Chapu-Nagamani Srinath
Unadu tiruvadi nambi vanden enakkoru-Adi-Gopalakrishna Bharati
Unai anri tunai kanen shri ramachandra-K/Jhampa-Periyasamy Tooran
Vagdevi vani-?-Suvarna Nalapat
Vandeham govinda pada kamalam-Chapu-Balamuralikrishna
Varalakshmi taye varavendum (tv)-Adi-Rukmini Sivakumar
Varuvarai vazhvikkum-Adi-Rukmini Ramani
Veda mula veda pada-Rupaka-Chitravina N.Ravikiran
Vel endi nila mayil eri-Jhampa-Ambujam Krishna
Vel endi va vadivelava-S/Chapu-Brazil Subramaniam
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