Hamsanandi

A prominent raga painting Bhakthi rasa is Hamsanandi.

It is probably the presence of R1 and G3 which leave the Bhakthi appeal; be it in Purvikalyani, Kamavardhini or the undemanding Mayamalavagowla. The combination of shuddha rishabha and antara gandhara does this magic. This could be a sweeping statement on scientific grounds (not sure to what extent we have explored this scientifically); long run experimentations and observations reveal the bhakthi rasa behind this blend of swaras.

A quick insight into the origin and raga lakshana. Hamsanandi is a janya raga of 53rd mela Gamanashrama. Shudda Rishabha, antara gandhara, prati madhyama, chatushruthi daivatha, kakali nishadha are the swaras in this ragam. The raga is devoid of panchama which is the only swara differentiating it from janaka raga.

Aa: S R1 G3 M2 D2 N3 S
Av: S N3 D2 M2 G3 R1 S

Poorvaanga is same as poorvi kalyani’s, but the scope of poorvi kalyani is wider because of the availability of panchama.

Hamsanandi has a close proximity to another beautiful raga Sunadavinodini. The only difference between the two is the absence of Rishabha in Sunadavinodini. This raga is a janya of mechakalyani whose aarohana and avarohana is as below:

Aa: S G3 M2 D2 N3 S
Av: S N3 D2 M2 G3 S

From the aarohana and avarohana of the two ragas, it is evident that the rishabha prayoga in Hamsanandi is a must to give the raga its distinguished identity.
Sources quote that Hamsanandi is a raga imported from Hindustani’s Marwa that, Sohini.
•    Swathi Thirunal Maharaja’s “Shankara Srigiri”
•    Mutthayya Nelloor Bhagavathar’s “Needu Mahima Pogada”
•    Lalitha Dasar’s “Pavanaguru pavana”
•    Purandara Dasa’s “kunidaado Ranga”
- are excellent pieces composed in raga Hamsanandi each of which divulges the bhakthi essence. The raga’s exquisiteness is employed by the Music maestro Ilayaraja in the movie Sagarasangamam “Vedam anuvanuvuna naadam”.

Usages:
G3 M2 D2 N3 D2 M2 G3
G3 M2 D2 G3 M2 G3 R1 N3(lo) R1
N3(lo) R1 G3 M2 D2 N3 R1(hi)
S(hi)… N3 S(hi) R1(hi) N3 R(hi) S(hi) D2 N3 S(hi) D2 S(hi) N3 D2 N3 D2 M2 G3

Datu prayogas such as S G3, R1 M2, G3 D2, M2 N3, D2 S(hi), N3 R1(hi) have an unerring appeal in this ragam.

By

Revathi S.
revathi.sridharan@gmail.com
The Author is a practicing vocalist in Carnatic music, currently receiving training and guidance from Sri.D.V.Nagarajan. Music has been more than just passion to her. She has consistently been giving vocal performances over the years. She is also a Graduate in Music Therapy from the prestigious “Nada Academy for Music”, Chennai.
On the professional front, she is currently a Lead Engineer in an MNC in Bangalore.