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Hamsadhvani (meaning "the cry of the swan"), is a 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 janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).

Hamsadhvani is also extensively used in Hindustani music and is borrowed into it from Carnatic music. It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan.

Structure and lakshana

Hamsadhvani does not contain madhyamam or dhaivatham. It is a pentatonic scale (audava-audava ragam 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 Ṡ
• avarohaṇa :Ṡ N₃ P G₃ R₂ S

The notes used in this scale are shadjam, chatushruti rishabham, antara gandharam, panchamam and kakali nishadam. In Hindustani music, it is associated with Bilaval thaat (equivalent of Shankarabharanam).

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. There are many kritis (compositions) in praise of Lord Ganesha set in this musical scale.

• Jalajaskhi an adi Talam Varnam
• Gajamukhane Siddhidayakane by Vyasatirtha
• Raghunāyaka,Śrī Raghukula and Abhishta varada by Tyagaraja in Telugu
• Vātāpi Gaṇapatiṃand parvathypathim by Muthuswami Dikshitar in Sanskrit
• Pāhi Śripatē by Swathi Thirunal Rama Varma
• Varanamukha vā by Koteeswara Iyer
• Mūlādhāra mūrti, Karunai seivai, ullam irangi and parasakthi janani by Papanasam Sivan in Sanskrit and Tamil
• Gajavadana beduve by Purandaradasa in Kannada
• Nammamma Sharade by Kanakadasa in Kannada
• 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 Shantanayagi by Manachanallur Giridharan
• Tumbikkai Andavane by Manachanallur Giridharan
• Vinayaka Ninnu Vina by E.V. Raamakrishna Bhaagavatar
• Vande Anishamaham by Mysore Vasudevachar
• Bhajamahe Sree Vinayakam by Tulaseevanam
• Arul purivai and Karunai seiguvai by Sudhanandha bharathy

Film songs

• Lagi Lagan Pathi Sakhi Sangh from the movie "Meghe Dhaka Tara"

In Tamil language

In Malayalam language

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 refer Graha bhedam on Hamsadhvani.

Scale similarities

• Amritavarshini is a rāgam which has Prati Madhyamam in place of the rishabham. Structures are shown in below table.
• Gambhiranata is a rāgam which has shuddha madhyamam in place of the rishabham. Structures are shown in below table.

• Mohanam is a rāgam which has chatushruti dhaivatam in place of the nishadam. Structures are shown in below table.
• Niroshta is a rāgam which has chatushruti dhaivatam in place of the panchamam. Structures are shown in below table.

In Hindustani music

Vadi and samavadi

Vadi: Sa

Samavadi: Pa

Pakad or chalan

ga pa ni Sa ga re ni pa Sa The Pakad is the one where one can identify to which raga does the composition belongs.

Organization and relationships

Thaat: Bilaval.

Time

Late Evening

Important recordings

• Amir Khan, Ragas Hansadhwani and Malkauns, on HMV LP (long-playing record), EMI-EASD1357
• Lagi Lagana (Drut – Teental) by A. Kanan in Meghe Dhaka Tara
• Ja Tose Nahin Bolun Kanhaiya by Lata Mangeshkar in Parivar (1956)

Notes

1. Alternate notations:
   • Hindustani: S R G P N Ṡ
   • Western: C D E G B C
2. Alternate notations:
   • Hindustani: Ṡ N P G R S
   • Western: C B G E D C

References

1. ^ Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindusthani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 80. ISBN 978-0-9543976-0-9.
2. O'Brien, J.P. (1977). Non-western Music and the Western Listener. Kendall/Hunt Publishing Company. p. 37. ISBN 978-0-8403-1755-1.
3. ^ Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
4. There is no much reference about how the kriti Gajavadana Beduve by Purandaradasa was composed between 1484 - 1564 in the same tune. http://www.carnatica.net/special/rdiksitar.htm P.P.Narayanaswami on www.carnatica.net]
5. Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
6. w.w.w.wikipedia

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

• Janya ragas