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Hamsadhvani

Hamsadhvani (meaning "the cry of the swan"[1]) also spelled as Hansadhwani, is a


Hamsadhvani
rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical
music). It is an audava rāgam (or owdava rāga, meaning pentatonic scale). It is a Thaat Bilaval
janya rāga of the Melakartha raga, Dheerasankarabharanam (29th) but according to Type Audava
Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani Time of day Early night, 9–12[1]
(65th).
Arohana S R G P N Ṡ[1]
Hamsadhvani is also extensively used in Hindustani music and said to be borrowed Avarohana Ṡ N P G R S[1]
into it from Carnatic music.[2] It was created by the Carnatic composer Ramaswami
Pakad GPN-ṠNPG
Dikshitar (1735–1817)[3], father of Muthuswami Dikshitar (one of the musical
Vadi P
trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of
the Bhendibazaar gharana. It has become popular due toAmir Khan. Samavadi R
Synonym Hansadhvani[1]
Hans Dhwani
Contents Similar Shankara
Structure and Lakshana
Compositions
Film Songs and Traditional Compositions
Related rāgas
Graha bhedham
Scale similarities
In Hindustani music
Vadi & Samavadi
Pakad or Chalan
Organization & Relationships
Time
Important Recordings
References
Literature
External links

Structure and Lakshana


Hamsadhvani does not contain madhyamam or dhaivatam. It is a
pentatonic scale (audava-audava ragam[2][4] in Carnatic music
classification – audava meaning 'of 5'). Its ārohaṇa-avarohaṇa
structure (ascending and descending scale) is as follows (see swaras
in Carnatic music for details on below notation and terms):

ārohaṇa : S R2 G3 P N3 S
avarohaṇa : S N3 P G3 R2 S

Hamsadhvani scale with shadjam at C


The notes used in this scale areshadjam, chatushruti rishabham, antara gandharam,
panchamam and kakali nishadam. In Hindustani music, it is associated with Bilaval 0:00

thaat (equivalent of Shankarabharanam).


Hamsadhwani

Compositions
Hamsadhvani rāgam lends itself for elaboration and exploration and has many compositions in both classical music and film music. It
is usually sung at the beginning of a performance.[2] There are many kritis (compositions) in praise of Lord Ganesha set in this
musical scale.

Jalajaskhiro an adi Talam Varnam


Raghunāyaka and Śrī Raghukula by Tyagaraja in Telugu
Vātāpi Gaṇapatiṃ by Muthuswami Dikshitar in Sanskrit
Pāhi Śripatē by Swathi Thirunal Rama Varma
Varanamukha vā by Koteeswara Iyer
Mūlādhāra mūrti and Karunai seivai by Papanasam Sivan in Sanskrit and Tamil
Gajavadana beduvae by Purandaradasa
Vināyakā by Veena Kuppayyar in Sanskrit
Varavallabha Ramaṇa by G. N. Balasubramaniam
Gaṃ Gaṇapatē by Muthiah Bhagavatar
Pirai Aniyum Peruman by Dr M. Balamuralikrishna
Vinayaka Vighnavishaka by R Ganapati
Sundar Gopālaṃ by Devaki Pandit
Varuvai Arulvai Shantanayagiby Manachanallur Giridharanrendered by P. Unni Krishnan
Tumbikkai Andavane by Manachanallur Giridharanrendered by P. Unni Krishnan
Vinayaka Ninnu Vina by E.V. Raamakrishna Bhaagavatar
Vande Anishamaham by Mysore Vasudevachar

Film Songs and Traditional Compositions


"Va Va Va Kanna Va" by Ilayaraaja rendered by Mano (singer) and K S Chithra in amil
T
"Vellai Pookal" from the movie "Kannathil Muthamittal"
"Sriranga Ranganathanin" (Charanam) from the movie"Mahanadi; the Pallavi is based on Ragam Mohanam"[5]
"Lagi Lagan Pathi Sakhi Sang" from the movie Meghe
" Dhaka Tara"

Related rāgas

Graha bhedham
Hamsadhvani's notes when shifted using Graha bhedam, yields another pentatonic rāgam, Nagasvaravali. Graha bhedam is the step
taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For more details and
illustration of this concept referGraha bhedam on Hamsadhvani.

Scale similarities
Mohanam is a rāgam which has chatushruti dhaivatam in place of the nishadam. Structures are shown in second
table.
Amritavarshini is a rāgam which has Prati Madhyamam in place of the rishabham. Structures are shown in first table.
Gambhiranata is a rāgam which has shuddha madhyamam in place of the rishabham. Structures are shown in first
table.
Niroshta is a rāgam which has chatushruti dhaivatam in place of the panchamam. Structures are shown in second
table.
Śruti
Rāgam C D E F G A B C
Tonic
Hamsadhvani C S R2 G3 P N3 S'
Amritavarshini C S G3 M2 P N3 S'
Gambhiranata C S G3 M1 P N3 S'

Śruti
Rāgam C D E F G A B C
Tonic
Hamsadhvani C S R2 G3 P - N3 S'
Mohanam C S R2 G3 P D2 - S'
Niroshta C S R2 G3 - D2 N3 S'

In Hindustani music

Vadi & Samavadi


Vadi: Re

Samavadi: Pa

Pakad or Chalan
Re Ga Re Ni Pa Sa Re Sa

The Pakad is the one where one can identify to which raga does the composition belongs.

Organization & Relationships


Thaat: Bilaval.

Time
Second quarter of night.

Important Recordings
Amir Khan, Ragas Hansadhwani and Malkauns, onHMV LP (long-playing record), EMI-EASD1357
Lagi Lagana (Drut – Teental) by A. Kanan inMeghe Dhaka Tara
Ja Tose Nahin Bolun Kanhaiyaby Lata Mangeshkar in Parivar (1956)

References
1. Bor, Joep; Rao, Suvarnalata (1999).The Raga Guide: A Survey of 74 Hindustani Ragas(https://books.google.co.in/b
ooks?id=jCnoMgEACAAJ). Nimbus Records with Rotterdam Conservatory of Music. p. 80.ISBN 9780954397609.
2. Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
3. P.P.Narayanaswami on www.carnatica.net (http://www.carnatica.net/special/rdiksitar.htm)
4. Ragas in Carnatic musicby Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
5. http://tfmpage.com/forum/20068.ros.html
Literature
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74
Hindustani Ragas. Zenith Media, London: 1999.

External links
SRA on Samay and Ragas
SRA on Ragas and Thaats
Rajan Parrikar on Ragas

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