Pentatonic Raagam 2 - Magnificent Madhyamavati !

As we slide one step over from Mohanam's AarohaNam (ascent ) by performing a tonic shift ( Graha Bedam or Shruti Bedam ), we land on the second raagam in our pentatonic family, Madhyamavati. This implies that the R2 of Mohanam is taken as the Sa of Madhyamavati. Being an Audava - Audava raagam, Madhyamavati’s AarohaNam is Sa Ri2 Ma1 Pa Ni2 Sa and the AvarohaNam (descent ) is Sa Ni2 Pa Ma1 Ri2 Sa.

This raagam is unique in that it is the only raagam in this pentatonc family that is very gamakam (oscillation) oriented and it requires to be performed by accurately oscillating the Ri2 and the Ni2 notes above their respective base frequencies. Madhyamavati is the janya (child) raagam of the 22nd Melakartha (parent) raagam Karaharapriya. It is said to be a Suraagam - an auspicious raagam or Shubhakaram – that which brings goodness.

Performing the raagam is said to ward off sins ( doshams ) caused by singing other raagams at inappropriate times. It is well suited to be rendered in virutthams, raagamaalikaas and shlokams usually performed close to the end of the concert. Arunachala Kavi has employed this raagam for many songs in his RamanaTakam. This raagam is capable of portraying Bhakti and KaruNa rasam. Madhyamavati aalaapanai is traditionally performed after the concluding number called the Mangalam (auspicious) number - Pavamaana Sudutu Pattu in Saurashtram raagam. Hindustani raagams Madhyamaadi or Madhyamaditi Sarang of the Kafi thaat have the same scale as Madhyamavati and hence form able counterparts. Madhyamavati is suitable to be performed in the late evenings.

Carnatic music composers have zestfully fancied utilizing Madhyamavati in their compositions probably due to its natural ability to lend a propitious aura to their devotional lyrics. Popular Carnatic compositions include Palinthsu kamakshi pavani ( Shyama Shastri ), Venkatesha Ninnu, Alakalalla lADaga, Nadupai Balikeru, Ramakatha Sudha ( Thyagaraja ), Dharmasamvardhini, Pannaga Shayana Padmanabha ( Muthuswami Dikshitar ), Karpagame KaN Paaraai, SharavaNabhava Guhane ( Papanasam Sivan ), Shankari Shri Rajarajeshwari, AaDaadu Asangaadu Vaa ( Ootthukadu Venkata Subbaiyer ), Parthasarathi Nannu ( Ramanathapuram Shrinivasa Iyengar ), Vandaan Vandaan Bharatan ( Arunachala Kavi ), Saarasamukha Sarasijanaabha, Shri Padmanabha Kalayitum ( Swati Tirunal ), Nannu brova raada, Raamabhiraama ( Mysore Vasudevachar ), Shri Parameshwara, Shrimad Tripura Sundari ( Mutthaiah Bhagavatar ), the ever popular Bhagyada Lakshmi Baaramma ( Purandaradasar ) to name a few.

The aesthetic elegance of Madhyamavati has apparently fascinated film music directors from all over India, especially the ones in the south. Particularly in the 60s and 70s the popular tamil movie songs tuned in Madhyamavati - Pon Ondru Kanden ( Paditthaal mattum podhuma, 1962, Viswanathan-Ramamurthy ), Aagaaya Pandalile ( Pon Oonjal, 70s), MutthukkaLo KaNgaL ( Nenjirukkum Varai, 1967, MSV ) are still unforgettable. Ilayaraja seems to have been so mesmerized by this raagam that he has atleast a couple of dozen songs tuned in Madhyamavati. Significant ones in his compositions are En Kalyana Vaibhogam ( Azhage Unnai Aaraadhikkiren, 1979 ), Nee Daane Endan Pon Vasantham ( Ninaivellam Nithya, 1982 ), Aagaaya Gangai ( Dharma yuddham, 1979 ), Thaazham Poove ( Kai Kodukkum Kai, mid 80s ), Aananda Ten Sindum ( MaN Vaasanai, 80s), Malargalil aadum ( Kalyana Raman 1979 ) , Thulli Thulli ( Chippikkul Muthu, 80s ), Solai Kuyile ( Ponnu Oorukku Pudusu, 80s ), Kavidai Paadu Kuyile ( Thendrale Ennai thodu, 1985, partially Brindavana Saaranga) and Nila Kayudu ( Sakalakalaa vallavan, 1982, partially SriRaagam ). There are indeed several compositions influenced by Madhyamavati, in Kannada, Telugu, Malayalam films and even Punjabi Bhangda. Perhaps the auspicious, joyous and peaceful nature of Madhyamavati makes it such a sought-after raagam in the field of music. I suppose it is amply befitting to describe this raagam thus:

Manadil maNiyaai malaraai mruduvaai malarndu migaiyaai miLirum Madhyamavati !