Vagadeeshwari
Vagadeeshwari is a comforting vivadi raga. A vivadi raga is one which uses vivadi swarams. By origin and etymology "vivadi" means a drift from the normal grain of thought.
Common ragas to the ears do not by and large use the swaras like "shatshruthi rishabha". shatshruthi rishabha(R3) isn’t spatially unique; it shares the same frequency of sadharana gandharam(G2). G2 is used as R3 when the raga employs the G3 version of gandharam. Consider the poorvanga of a raga with "S G2 G3 M" swaras. Such being the case, spelling G2 and G3 both as “Ga” wouldn’t suit the ears and will puzzle the brain. So, lower gandharam is sung as (higher)Rishabham to bring in some concord. This is the rationale behind the above swara convention in carnatic music.
Vagadeeshwari is the 34th melakartha raga with the following aarohana and avarohana:
Aa: S R3 G3 M1 P D2 N2 S
Av: S N2 D2 P M1 G3 R3 S
Shatshruthi Rishabha, Anthara Gandhara, Shuddha Madhyama, Panchama, Chathushruthi Dhaivatha, Kaishiki Nishadha trace the raga curve. The prayoga(usage) of shatshruthi rishabha and anthara gandhara in the raga qualifies it as a vivadi raga. This special usage imprisons the ears leaving behind a mark of composure .
Near and Similar ragas:
Poorvanga (P D2 N2 S)maps to the 22nd mela Kharaharapriya.
Uttaranga(S R3 G3 M1) maps to 36th mela Chala nata.
Prathimadhyama (S R3 G3 M2 P D2 N2 S)equivalent of Vagadeeshwari is the 70th mela Nasikabhushini.
While the three ragas above share similarities with Vagadeeshwari, this 34th mela has its unique traits. The raga is rich in philosophical and mystical rasa. R3 gets a gamakam from Shadja. So, even if R3 is at G2’s position, the gamakam from Sa gives the swara an inimitable flavor. Shuddha madyama also gets a gamakam from its lower swara - Anthara gandharam. These embellishments leave a distinctive appeal for Vagadeeshwari.
It is christened as “Bhogachaayaanaata” in Dikshithar’s bani of Carnatic music. However bhogachaayanaata is considered as a janya raga of Vagadeeshwari in the sampoorna melakartha scheme.
Vagadeeshwari has a few interesting janya ragas:
-Bhanumanjari
-Chayanattai
-Mahathi
-Mohanaangi
-Sharadabharana
-Vikhavathi
-Murali
Of which Mahathi and Bhanumanjari are seen employed in film music occasionally.
Chayanattai with aa: S R3 G3 M1 P M1 P S av: S N2 D2 N2 P M1 R3 S is little more acknowledged compared to its peers .
Krithis in Vagadeeshwari:
Paramathmudu velige :Thyagaraja
Bhogachaye natakapriye :Mutthuswamy Dikshithar
Pranamamyaham : Balamuralikrishna
Nanninda nane janisibandene :Dasa sahitya
Paramatmudu in Vagadeeshwari is apparently the last composition of Sri Thyagaraja. This composition is the ultimate reference to the raga and its emotion. Vivadi prayoga is shown early, at the entry of the composition itself. The composition throughout has a philosophical touch which is paramount to the sentiment of Vagadeeshwari.
Swara prayogas:
(lower octave)
G3 M1 G3,; R3 G3 M1 G3, ; S R3 G3 R3, ; N2 S R3 S; N2 N2 S, R3 R3 S, M1 M1, G3,
G3 M1 P,; P, M1 G3, ; M1 G3 R3,. G3 R3 S,
(mid octave)
D2 N2 S R3, S N2 D2,
D2 N2 S,; R3 S N2,; D2 N2 S R3 S N2, N2 N2, D2 N2 D2,
(higher octave)
D2 N2 S R3, R3, R3, R3 G3, ,; G3, M1 G3,; R3 G3 M1 G3, R3, S,
G3 M1 G3,; R3 G3 M1 G3, ; S R3 G3 M1 P M1 G3 ,; M1 G3 R3, G3 R3 S, R3 N2,
Rasa:
Vagadeeshwari is a soul stirring raga. One can’t just have enough of it. It initiates a dialogue with the divine soul.
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.