Madhyamavati

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Carnatic music
Tanjavur-style tambura
Concepts
Śruti Svara Rāga Tāḷa Mēḷakarta Asaṃpūrṇa Mēḷakarta
Compositions
Gītaṃ Svarajati Varṇaṃ Kr̥ti Kīrtana Rāgaṃ Tānaṃ Pallavi Tillana
Instruments
Melody Sarasvati Vīṇā Veṇu Nādasvaraṃ Goṭṭuvādyaṃ (Citra Vīṇā) Violin Percussion Mr̥daṅgaṃ Ghaṭaṃ Morsing Kanjira Thavil Drone Tambura Shruti box
Composers Glossary
v t e

Madhyamavati (madhyamāvati) is a raga in Carnatic music (musical scale of South Indian classical music). It is an audava rāga (or owdava rāga, meaning pentatonic scale), as it does not have all the seven musical notes (swaras). It is a janya rāga (derived scale). The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang.^[1][2] It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar.

It is considered a very auspicious rāgam and every Carnatic music concert ends with either a song in Madhyamavati or the ending of the last song is sung in this rāgam.^[3] It is very suitable for elaboration and exploration due to even spacing of notes. The scale uses the first three notes of the cycle of fifths S, P and R2 and fourths S, M1 and N2.^[3]

Madhyamavati is a symmetric rāga that does not contain gāndhāram or dhaivatam. It is a pentatonic scale (audava-audava rāgam^[1][3] 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 M₁ P N₂ Ṡ^[a]
• avarohaṇa : Ṡ N₂ P M₁ R₂ S^[b]

This scale uses the notes chatushruti rishabham, shuddha madhyamam, panchamam and kaisiki nishadam. Madhyamavati is considered a janya rāga of Kharaharapriya, the 22nd Melakarta rāga, though it can be derived from other melakarta rāgas, Charukesi, Natabhairavi or Harikambhoji, by dropping both gāndhāram and dhaivatam.^{[citation needed]}

Madhyamavati rāgam lends itself for extensive elaboration and exploration and has many compositions. Here are some popular kritis composed in this scale.

• Bhagyada Lakshmi Baaramma by Purandara Dasaru in Kannada (originally composed in Shree ragam)^[4]
• Sundara Nanda Kumara in Sanskrit, Shankari Shri Rajarajeshwari in Sanskrit and Aadathu Asangaathu Vaa Kanna in Tamil by Oothukkadu Venkata Kavi
• Eshtu Sahasavantha, Sevakanelo naanu, By Vadiraja Tirtha
• Baro Guru Raghavendra By Shreesha Vittala Dasaru
• Edurarai Guruve By Vyasatirtha
• Marulu madikonde, Makutake Mangalam, Ellanu balle, Kande Kande Rajara, Indu Nanenu Sukrutava, Enu Pelali Thangi, Bandu Nintiha Nodi, Shiva Darushana By Purandara Dasa
• Tolu Tolu Ranga, An evergreen song by Purandara Dasa commonly sung in Madhyamavathi
• Ninna Olumeinda, Vyasa Badari Nivasa By Vijaya Dasa
• Dasanagu Visheshanagu By Kanaka Dasa
• Nyayiru Kayathu, Ancient Tamil Kuṟuntokai poetry by Poet Kayamanar in Sandham- Symphony Meets Classical Tamil by Composer Rajan
• Vinayakuni, Nagumomu Galavaani, Rama Katha Sudha, Alakalalla, Nadupai and Muchchada brahma by Tyagaraja
• Dharma Samvardhini, mahatripurasundari mamava jagadishvari by Muthuswami Dikshitar in Sanskrit
• Palinchu kamakshi by Shyama Sastri in Telugu
• Kosalendra mamavamita, Bhavaye Padmanabham Iha, Sarasamukha sarasijanabha by Swathi Thirunal
• Ramabhirama by Mysore Vasudevachar in Sanskrit
• Sri Ramani Jaya Tribhuvana By Guru Mahipati Dasa
• Sharavanabhava Guhane and Karpagame Kan by Papanasam Sivan in Tamil
• Akhilanda Nayaka by Thulasivanam in Sanskrit
• Sri Chamundeswarim Bhajeham Santatam by Jayachamarajendra Wodeyar in Sanskrit
• Vidachi sukhimpave and Devi parvati by Saint Gnanananda Teertha (Ogirala Veera Raghava Sarma) in Telugu
• Marali Marali Jayamangalam, Adivo Alladivo, Choodaramma Satulala, Alara Chanchala by Annamacharya in Telugu
• Santoshi Mata by Kalyani Varadarajan
• Shri Parameshwaram Chinmaya tava, Shri Rama Jaya Bhuma, Shrimat Tripurasundari Amba by Muthiah Bhagavatar
• Bhajamahe Shri Tripurasundari by Hari Sundareswara Sharma in Sanskrit
• Vinayakuni valenu by Tyagaraja
• Madhyamvathi (instrumental bansuri) by one of the mediators in Isha yoga center.
• Radha vadhana an ashtapati by jeyadeva
• Muruga enadharuyire varnam by periyasamitooran

Kannada:

• "Swami Devane Loka Palane (School Master)"
• "Kamalada Mogadole Kamalada Kannole (Hosa Itihaasa)"
• "Maduve Gandidu Nodamma (Addadaari)"
• "Pandharapuravemba Dodda Nagara (Dasara Pada)"
• "Pata Pata Gaali Pata (Aapta Mitra)"
• "Eesha Ninna Carana Bhajane Aase Inda (Bhajane)"
• "Kaashi Inda Bandanilli Vishvanaatha (Bhakti Geete)"
• "Yaava Shilpi Kanda Kanaso Neenu (Janma Janmada Anubandha)"
• "Barede Neenu Ninna Hesara (Seetha)"
• "Elli Ninna Bhaktaro Alle Mantralaya (Bhakti Geete)"
• "Kempadavo Ella Kempadavo (Ellindalo Bandavaru)"
• "Jagadisha Mallesha Sarvesha Goureesha (Baduku Bangaravayitu)"
• "Cheluvayya Cheluvo Taani Tandaana (Jaanapada)"
• "Kodagana Koli Nungitta (Tatva Pada)"
• "Kalita Hudugi Kudure Nadigi (Jaanapada)"
• "Nammoora Mandara Hoove (Aalemane)"
• "Adavi Deviya Kaadu Janagala (Rayaru Bandaru Mavana Manege)"
• "Hrudayave Ninna Hesarige (Belli Modagalu)"
• "Suvvi Suvvi Suvaalamma (Svatimuttu)"
• "Attitta Nodadiru (Bhavageete)"
• "Shivanu Bhikshakke Banda (Folk)"
• "Mutta Mutta Chinaari Mutta (Chinnaari Mutta)"
• "Bhaagyada Balegaara (Folk)"
• "Munisu Tarave Mugude (Bhaavageete)"
• "Harivaraasanam (Bhakti Geete)"
• "Esthu Saahasavanta Neene Balavanta (Bhakti Geete)"
• "Daasanaanu Visheshanaagu (Dasa Pada)"
• "Indu Shukravaara Shubhava Taruva Vaara (Bhakti Geete)"
• "Vaara Bantamma (Bhakti Geete)"
• "Bhaagyada Lakshmi Baaramma (Dasa Pada)"
• "Sadaa Kannale Olavina (Kaviratna Kaalidaasa)"
• "Beladingalaagi Baa (Mishra, Huliyahalina Mevu)"

This section covers the theoretical and scientific aspect of this rāgam.

Madhyamavati's notes when shifted using Graha bhedam, yields 4 other major pentatonic rāgas, namely, Mohanam, Hindolam, Shuddha Saveri and Udayaravichandrika (also known as Shuddha Dhanyasi).^[3] Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāga. For more details and illustration of this concept refer Graha bhedam on Mohanam.

• Kedaragaula is a rāgam\ which has the ascending scale of Madhyamavati and descending scale of Harikambhoji. Its ārohaṇa-avarohaṇa structure is S R₂ M₁ P N₂ S: S N₂ D₂ P M₁ G₃ R₂ Ṡ
• Manirangu is a rāga which has gāndhāram in the descending scale, while all other notes in both the ascending and descending scale are same as Madhyamavati. Its ārohaṇa-avarohaṇa structure is Ṡ R₂ M₁ P N₂ S: S N₂ P M₁ G₂ R₂ Ṡ
• Revati is a rāga which has shuddha rishabham in place of chatushruti rishabham in the scale, while all other notes are same as Madhyamavati. Its ārohaṇa-avarohaṇa structure is Ṡ R₁ M₁ P N₂ S: S N₂ P M₁ R₁ Ṡ
• Brindāvana Sāranga is also a rāga that has some similarities in scale with Madhyamavati. Its ārohaṇa-avarohaṇa structure is Ṡ R₂ M₁ P N₃ S: S N₂ P M₁ R₂ G₂ Ṡ
• Andolika is an asymmetric rāga which has chatusruti dhaivata in place of panchama only in the descending scale, while all other notes are same as Madhyamavati. Its ārohaṇa-avarohaṇa structure is Ṡ R₂ M₁ P N₂ S: S N₂ D₂ M₁ R₂ S