Raag Hamsadhwani

Ghazals based on the Raag: 
Raag – Based Ghazals
Also see: A Raag for each Season


About Raag Hamsadhwani [By Dr Sajeev Anand]:

Hamsadhwani is a Carnatic Raga that is fairly popular in Hindustani music. All notes are Shuddh. Maddhyam and Dhaivat are Verjit, and hence its Jati is Audhav-Audhav. Vadi is Shadaj, Samvadi is Pancham. Thaat is Bilawal (Kalyan by some). There are Pa-Re, Re-Ni, Sa-Pa Sangaties that are frequently heard. Notes like G P R S, and G’ R’ S’ N P S’ keep shadows of Shankra away. For the same reason, Nyaas on Gandhaar should not be rendered. Due to G P R Sangat, some scholars consider this a Kalyan Thaat Raga. Some scholars also consider G and N as Vadi/Samvadi notes, but according to the author, that is incorrect, as this brings out shades of Shankara in the Raag.

Chalan:

S, G R ‘N ‘P S, R G (P)R, S ‘N ‘P S R, G R S

‘P ‘N S R, S, G R G, S R, S

S G R G P, R G P N P, P G R, G P (G)R S, R G R, ‘N ‘P S, G P N S’ N P G R, S

G P, P G R S R G P, G R S, ‘P ‘N S R, G R G P, N P, ‘P ‘N, S R, S R G, G P, G P N S’ N P G R, P G R, G (P)R S

G P N S’, P N S’ R’ S’, S N P G R, G P N S’, P N (P)N S’ R’ G’ R’, G’ R’ N P S’, G P N S’ N P, N P G R, P G R S R S ‘N ‘P S

P N S’, S’ N P S’, S’ R’ S’, G’ R’, R’ S’, S’ N P G R, P N S’ R’ S’, G’ R’ G’ (P’) R’, N P S’, S N P, N P G R, G (P)R S,

P P S’, R’ S’, G’ R’, G’ S’, R’ N P, R’ S’ S’ R’ G’ P’, R’ S’ R’ N P S’, S R G P N S’, P N N (P)N S’, G P, (G)P N (P)N S’, G’ R’, R’ S’, S’ N P, G P N P G R, S R G, N P, N P S

Shadaj and Rishabh are the Nyaas notes as is evident from its chalan. In Alaap, Shadaj and Rishabh are often used in succession. Also, as in Shankara, where Rishabh is alp, and rendered as P (R)G, in Hamsadhwani, it gets empowered from Pancham, as G (P)R in , and is a Nyaasbahutva note.

Pancham is Samvadi, and another Nyaas Bahutva note. Unlike in Shankara, where it is used to empower Gandhar, in Hamsadhawani, it is used to empower Rishabh ((P)R) or Nishad (N (P)N S’). Its use as S’ N P S’ keeps Shankara away.

Gandhar and Nishad are the passing notes and should never be skipped; on the other hand, Nayaas is on these notes is kept minimum to none, to keep shades of Shankara away.

Aroah: S R, G P N S’

Avroah: S N P G R, G R ‘N ‘P S

Chief Notes: N P G R, R G P R S.
(Abhinav Geetanjali, Vol. 1, Pages 267-269)


Detailed Description

  1. Raag Hamsadwani or Hamsadhwani (Hindustani) comes from the Carnatic or South Indian system of music.
  2. Very popular amongst Hindustani musicians, its flow is that of a simple pentatonic raag.
  3. Download Information:

THAAT:

  1. Bilaval, but has many properties and flows of the Kalyan Thaat!
  2. Being a “foreign” raag, it is confusing to classify it and many call it “thaat-less”!
  3. Learn more here: Thaat System

SVARAS [Please refer to the page “Notations / Swar Mapping” for abbreviations used for svaras / notations.]


VAADI SVAR: R


SAMVAADI SVAR: P


VIVAADI SVAR/S: (also known as Vajr / Varjit / Enemy / Forbidden Notes): M, D


AAROH: S R G P N S’ [S Ri Gu Dhi Nu S]


AVROH: S’ N P G R S [S Nu Dhi Gu Ri S]


JAATI: Audava – Audava


NIYAAS SVAR/S: S, R, G, P, N


PAKAD / MUKHYA-ANG: R G P (G)R G P N P G R S

RAAG VISTAAR:

GPN_PGR_ GRSnp_ Nsrgr_ GPN_P NSRGPG_RS SNG_RNP GPRRSSNNPPGR GGPPNNPPGR SGRGnRnpGpn_ SnGRS NGRGSR PRSRSNP 
SRGP__P_    PGRSnpnSRGPNP__    GPNPN__    NSP_NS__    GPNSR__   GRSNP__    NSRGPGRSNP__  GRSNPNR__SNP__    S_NPGRG__    PGRSR__    PGRSnPN_S__


SAMAY / TIME:

  1. 6th Prahar (6 PM to 9 PM)
  2. Find raag on ITC Active Wheel
  3. Read more: RAAG SAMAY-TIME-CYCLES

RAS: Auspicious


LAKSHAN GEET: SVARAMALIKAS: Learn Raag Hamsadhwani Swaramalika | Indian Classical Vocals Lessons


LESSONS:

  1. Raag Hansadhwani – Explanation by Upendra Ji Bhat Ji: 00 = ja tose nahin… 3.00 = from carnatic; 5.00 = aaroh, avroh; 13 = laagi lagan, compares with another raag with a charactyeristic phrase – sohini Bade Ghulam Ali Khan – Mughal-e-Azam (1960) – Sohini & Raageshwari.
  2. Raag Hamsadhwani Part 1 – Flute lesson, Lesson 69 Raag Hamsadhwani part 2
  3. Music Classes || Hamsadhwani || Episode 01 – Carnatic lesson

RELATIONSHIP WITH CARNATIC MUSIC:

Mela: Sankarabharanam, 29 

  1. Vaa Vaa Vaa–Ilaiyaraja-Velaikkaaran – note the charanams with piano backings!
  2. Poo Mudithu-Ilaiyaraja-En Purushanthaan Enakku Mattumthaan
  3. Sri Ranga Ranga-Ilaiyaraja-Mahanadhi
  4. Unnodu Vaazhaatha-Bharadwaj-Amarrkalam- westernized orchestration!
  5. Vellai Pookal-A.R.Rahman-Kannathil Muthamittaal-a serene tune.
  6. Theekuruvi-A.R.Rahman-Kangalal Kaidhu Sei- fusion-Hamsadhwani with bass guitar backgrounds and Hindustani-styled ghatkaas!
  7. Natta Nadu-Vijay Antony-A Aa E  Ee

COMPOSITIONS:

[CAVEAT: Some links may not work due to technical reasons or changed copyright rules. Inconvenience is regretted.]

Classical Renditions

  1. MSSubbulakshmi – Paahi Sripate – Hamsadhwani – Maharaja Swati Tirunal
  2. Awesome – Ustad Rashid Khan – Raag Hansadwani with info on raag
  3. Hansdhwani full Bandish – Ustad Amir Khan Part 1
  4. Kishori Amonkar- Rag Haunsadhwani (Tarana)
  5. Ustad Amir Khan, Raga Hamsadhwani

INSTRUMENTAL COMPOSITIONS

  1. Hamsadhwani Fusion of Hindustani, Carnatik and Western music based on Hamsadhwani in Aditala (8 Beats).
  2. Raag Hansadhwani or Hamsadhwani

DEVOTIONAL


Songs From Films – Based On or Inspired by Raag Hamsadhwani

  1. Parivar – Ja Tose Nahin Boloon
  2. O Chand jahan wo jaye – Sharda (1957)
  3. Bhor Aai Gaya Andhiyara | Kishore Kumar, Manna Dey | Bawarchi 1972 Songs।Rajesh Khanna, Jaya Bhaduristarts at 6.30 = aayi paniya bharan ki bela

More Raag-based Songs here:
Raagmalas in Film Music

Raag-based Film Songs

More on Indian Classical Music:
The Alchemy of Indian Classical Music



Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s