Lathangi
The emotion a raga sketches is basically a pattern of timing and stressing. With just a focus on shruthi and swara-shuddhata and a knack of handling the raga in various octaves, “Lathangi” leaves an impeccable impact.
The 63rd melakartha raga, 3rd is rudra chakra(11th chakra) Lathangi has the following aarohana and avarohana:
S R2 G3 M2 P D1 N3 S |
S N3 D1 P M2 G3 R2 S ||
While kamavardhini uses the same swaras with just a difference in Rishabham and Kalyani differs in daivatham, Lathangi’s utterances stray more towards kalyani.
Kamavardhini:
S R1 G3 M2 P D1 N3 S |
S N3 D1 P M2 G3 R1 S ||
Kalyani:
S R2 G3 M2 P D2 N3 S |
S N3 D2 P M2 G3 R2 S ||
It is important to nail on to the Daivatham every often to differentiate Lathangi from Kalyani.
Daivatham has a gamakam from Nishadam , Chathushruthi rishabham is rendered more flat as against kalyani’s. A combination of the Poorvanga Swaras of Kalyani and the Uttaranga Swaras of Mayamaalavagowla, Lathangi isn’t an easy raga to handle, but when handled well leaves behind a mark.
Geethapriya is its asampoorna mela equivalent.Its janya ragas are rarely used; a few of them are employed in film music.The shudda madhyama equivalent of Lathangi is Sarasangi which is yet another raga not in much use.
Lathangi’s janya ragas:
|
Chitrachandrika |
S G3 R2 G3 M2 P N3 D1 S |
S N3 D1 M2 G3 R2 S |
|
Hamsalatha |
S R2 G3 P N3 S |
S N3 D1 P M2 G3 R2 S |
|
Kananapriyā |
S R2 G3 M2 P M2 D1 N3 S |
S D1 N3 P M2 G3 R2 S |
|
Karunākari |
S M2 P D1 N3 D1 S |
S N3 D1 P M2 S |
|
Lalithāngi |
S R2 G3 M2 D1 N3 S |
S N3 D1 M2 G3 R2 S |
|
Ramani |
S G3 M2 P N3 S |
S N3 D1 P M2 G3 S |
|
Rathnakānthi |
S R2 G3 M2 P N3 S |
S N3 P M2 G3 R2 S |
|
Raviswaroopini |
S G3 M2 P D1 N3 S |
S N3 D1 P M2 G3 S |
|
Sajjananandhi |
S R2 G3 M2 P D1 N3 S |
S N3 D1 M2 G3 R2 S |
|
Skandamanorama |
S R2 M2 P N3 S |
S N3 P M2 R2 S |
Usages : D1G3R2N3D1, D1R2N3D1, D1SN3D1P,SR2G3R2SN3D1,PM2N3D1P-PM2G3R2G3
Patnam Subramanya Iyer’s “Marivere dikkevvaru” is a well known krithi in this raga. Based on khanda chapu taalam, it provides a challenging scope for kalpana swara passages. A neraval at “Manasaara ninnu chaala” makes the composition complete.
Gopalakrishna Bharathi’s pirava varam tharum is yet another beautiful composition.
Aparaadhamulan is another composition by Patnam Iyer in this raga which is commonly sung in concerts.
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.