Having said that I will list out a few movie songs in Natabhairavi here. One more reason could be that the interval / gap between these notes follow exactly the same pattern of the natural minor scale notes under western music. But our obsession to label every movie song, to a raga probably made us go for the obvious parent raga Natabhairavi, which could justify most tunes. Music directors who score for a movie are obviously not carnatic grammer bound. Natabhairavi is the parent raga for a huge list of popular ragas such as – Anandha Bhairavi, Abheri, Sudha Saveri, Hindolam, Saramathi, Darbari Kanada are a few among the lot. You will find so many movie songs cast to this ragam, but it is not really that popular in the Carnatic scene. Īlso listen a composition in total contrast to the above, sung by Balamurali Krishna himself. Listen to Sri Valli Devasenapathe, a Papanasam Sivan composition in Sanskrit. All the renditions I find of the song sound more like Reethigowla the scale is also slightly different. I have not added Sri Neelothpala Nayike in Naririthigowla by Muthuswamy Dikshitar to the list of compositions. Sri Valli Devasenapathe by Papanasam Sivan.It is the 20th melakartha raga in the system, and it seems to have started out as a synthetic raga, and then post Trinity vaggeyakaras should have composed krithis in it much later. Natabhairavi has equivalents everywhere Dikshitar literature is Naririthigowla, Hindustani is Asaveri, Western Classical is natural minor scale, Greek is Aeolian mode, Tamizh music is Padumalai Palai. I wasn’t able to find a decent recording with dance included though. Below is a recording of the musicians rendering the said song in Kedaragaula. Of course, in certain performances, I did find it being sung in ragamalika too. This is when the act is also inaugurated (invocation) by the vandana slokam, which is sung in Kedaragaula. If you remember, the act starts with a large screen being drawn in front of the audience, behind which the decked up dancers would get into position. Kathakali, is an art form that enacts a story during its performance. Listen to a Chowdiah‘s composition in Kedaragaula, Seshachala Vasa sung by me. I was amazed to find that musician+painter S Rajam had made an illustration of the same. While singing the song, I used to visualize a cartoonish effect of the whole charanam. I learnt this song from Padma mami who used to explain the meaning when she taught the charanam it compares each body part of Rama to something very picturesque.Antha Rama Sowndharyam by Arunachala Kavi.Saraguna Palimpa by Poochi Srinivasa Iyengar.Nilothpalambikaya by Muthuswamy Dikshitar (4th vibhakthi).Also a ragam more frequented in ragamalikas in viruthams and RTPs.Īvarohanam – S N2 D2 P M1 G3 R2 S Carnatic Compositions Probably why it is attributed as a morning raga or said to be apt to start concerts with. Kedaragaula, another janyam of Harikamboji, has a very brisk characteristic to it.
The tamizh portion of the song is a beautiful Kuntalavarali. If I have to talk about movie songs in this ragam, I have to talk about this song in the malayalam movie, Manichithrathazh – Oru Murai Vandhu Paarthaaya. Listen to Kandavarkku Kanavilum in Kuntalavarali ragam, a composition of Swarna Venkatesa Dikshitar. Antharyami by Annamacharya – set to tune by Pinakapani.
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