Pentatonic Raagam 3 – Exquisite HindoLam!

We depart rather reluctantly after meandering the magnificent course of Madhyamavati and now embark on an exquisite excursion by transmigrating into the third pentatonic sibling, HindoLam as we perform a tonic shift like before. This just means that the aadhaara ShaDjam ( reference Sa ) of HindoLam took the position of the R2 held by Madhyamavati or the G3 held by Mohanam, earlier. HindoLam, being a child ( janya ) raagam of the 20th Melakartha NaTabhairavi, its AarohaNam ( ascent ) and AvarohaNam (descent) are subsets of the parent. The AarohaNam ( ascent ) of HindoLam is Sa Ga2 Ma1 Da1 Ni2 Sa+ and the AvarohaNam ( descent ) is Sa+ Ni2 Da1 Ma1 Ga2 Sa making it an AuDava-AuDava raagam. You will notice that although the scale ascends as "Sa Ga Ma", the phrase "Sa Ma Ga Ma" has been used in many popular compositions like Saamajavara gamana ( Thyagaraja ), Saama gaana lolane (Papanaasam Sivan) , Saama gaana lole ( G.N Balasubramanian ), Govardharna Gireesham ( Muthuswamy Dheekshitar ) and possibly many more. Also notice that in the first three compositions the notes "Sa Ma Ga Ma" match the initial syllables of the saahityam (lyrics) of the song. This is referred in music circles as swaraakshara. The usage of phrases like "Ma Ni Da Ni", "Ma Da Ni Sa+ Da", "Ga Sa Da", "Ma Ni Da" is predominantly seen utilized in many compositions that amply identifies the genetic code of the raagam. By virtue of its definition, HindoLam offers a panoramic scope for raagam aalaapanai where the musician gets to construct pleasing patterns by landing on each swaram and weaving intricate motifs around it as one traverses its scale.

The plenteous productions on HindoLam are ample proof to its prodigious popularity among the populace. In addition to the Carnatic compositions mentioned above, HindoLam has been adeptly handled in myriad of compositions such as Neerajaakshi Kaamaatchi, Sarasvati Vidhi yuvati ( Muthuswamy Dheekshitar ), GaruDa gamana, Deva devam, KonDalalo Nelakonna ( Annamaacharya ), Yaare Rangana ( Purandaradaasar ), Sadaanandamayi – the sixth NavaavarNa krithi (OotthukaaDu VenkaTa Subbaiyer), Nambi KeTTavar Evaraiya, Maa RamaNan, Sivanai Ninanindavar ( Paapanaasam Sivan ), Puraaraataye Namo, Thyagaraja Sadguru ( Harikeshanallur Mutthiah Bhagavatar ), KaruNalaya nidhiye ( Vedanayakam Pillai ), Maamavatu Shri Sarasvati ( Mysore Vasudevaachar ), Bajare Gopaalam ( Sadaashiva Bhramhendral ), Om Namah Shivaaya ( SwarNa Venkatesha Dheekshitar ), Maargam KaaTTiDuvaai ( Ambujam Krishna ), Chintayaami Jagadamba ( Jayachaamaraaja WoDeyar ), Raamanukku Mannan muDi ( AruNaachala Kavi ) and surely many more. The highly debated composition of Thyagaraja - Manasuloni marmamu has been heard performed in HindoLam as well as the Chatushruti Daivatam version called Shudda Hindolam or currently Varamu. I personally have composed a krithi – MahagaNapati, Marai PoTrum Mudalvone on the supreme Lord MahagaNapati.

The music directors from the tinsel world have quite a handful of numbers tuned based on HindoLam. Some of the oldies include Azhaikkaade ( MaNaalane Mangaiyin Bhaagyam ), Ennai viTTu ODi Poga MuDiyuma ( Kumudam ), en uDal taniyoru ( Haridaas ), kaNgalum kavi paaDude ( ADuttha veeTTu PeN ), Jagam Pugazhum PuNya Kadhai ( Lava Kuchaa ), kaTTikarumbin suvaiyum nee ( AaDipperukku ), Maname Muruganin Mayil Vaahanam ( MoTaar Sundaram Pillai ), Mazhai koDukkum koDaiyum ( KarNan ), Naane Raadha KaNNa ( IppaDiyum Oru PeN ) to name some. ILayaraaja has few of them of his own namely Shreedevi En Vaazhvil ( ILamai Kolam ), Om Namah Shivaayaa ( Salangai Oli ), Siru pon maNi Asaiyum ( KallukkuL eeram ), Darisanam KiDaikkaadaa ( Alaigal Oaivadillai ). The hindustani counterpart of HindoLam called Maalkhauns is said to have been derived from an ancient paN composition called MaaLava Kaushikam. The melodic excellence of HindoLam and the intrinsic sobriety it renders to the ambience have proven beyond doubt that it is here to stay for aeons to come and inspire musicians around the world to nurture its unique stature in society. It would suffice to say thus: “anDrum inDrum enDrum ezhilaai inidaai eLidaai isaiyil iNaiyum (H)indoLam”

-Gopal Venkatraman