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Sruti • Swara • Raga • Tala • Melakarta • Asampurna Melakarta |
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Varnam • Kriti • Geetham • Swarajati • Ragam Thanam Pallavi • Thillana |
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melody: Vocals • Saraswati veena • Venu • Violin • Chitra veena • Nadaswaram • Mandolin rhythm: Mridangam • Ghatam • Morsing • Kanjira • Thavil drone: Tambura • Shruti box |
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Abhogi (Sanskrit: आभोगी, Telugu: ఆభోగి, Tamil: ஆபோகி, Kannada: ಆಭೋಗಿ) is a raga in Carnatic music and has been adapted to Hindustani music[1]. It is a pentatonic scale, an audava or owdava raga. It is a derived scale (janya raga), as it does not have all the seven swaras (musical notes). Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.[2][3]
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Ābhōgi is a symmetric pentatonic scale that does not contain panchamam and nishadam. It is called an audava-audava raga,[2][3] in Carnatic classification, as it has 5 notes in both ascending and descending scales. Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
The notes used are shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam and chathusruthi dhaivatham. Ābhōgi is considered a janya raga of Kharaharapriya, the 22nd Melakarta raga, though it can be derived from Gourimanohari too, by dropping both panchamam and nishadam.
Abhogi is a scale that is used for compositions in a medium to fast tempo. This scale has been used by many composers and there are lots of compositions in classical music. It has been used to score film music too. Here are some popular compositions in Abhogi.
This section covers the theoretical and scientific aspect of this raga.
Ābhōgi's notes when shifted using Graha bedham, yields another pentatonic rāgam Valaji. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For more details and illustration of this concept refer Graha bedham on Ābhōgi.
P.Moutal understands raag Kalavati as transposition of Abhogi[4].
Abhogi is a raga that is popular in Carnatic music as well as Hindustani music. Its root is in the 22nd basic scale (Kharaharapriya raga) of the 72 melakartha of Carnatic music. It is nevertheless a fairly recent raga.
| Composition | Tala | Composer |
|---|---|---|
| Abhayam alithu arul | Adi | Bangalore Mukund |
| Anandam aganatamadiya | Adi | Nila Ramamoorthy |
| Abhagi nannalla | Adi | Ashok Madhav |
| Adi paramporulin | Adi | Subramania Bharathi |
| Anandam aganatamadiya | Adi | Nila Ramamoorthy |
| Anandamayi nadamadiya | Adi Krithi | Nila Ramamoorthy |
| Arul paluthelukindra | Adi Krithi | Lakshmanan Pillai |
| Chintanai chey maname | Adi | R Venugopal |
| Deenadayaparane | Khanda Chapu | Krishnamachariar |
| Dhainyaapaka | Khanda Chapu | Thulaseevanam |
| Evari bodhana | Adi | Patnam Subramania Iyer |
| Gurusvami padam pani | C Eka | Ambujam Krishna |
| Inthidum kaniye | Adi | N S Chidambaram |
| Jaya Narayana | Adi | Muthaiah Bhagavatar |
| Mahadeva | Adi | M D Ramanathan |
| Mamava sada | Rupaka | R N Doraiswami |
| Mamava Vidyadhiraja | Adi | Thulaseevanam |
| Manasaraga ne | Adi | G N Balasubramanian |
| Manasavridha | Adi | Poochi Srinivasa Iyengar |
| Manasu nilpa sakthi | Adi | Thyagaraja |
| Mane yolagado | Adi | Purandaradasa |
| Naanariyadenai | Adi | Lakshmanan Pillai |
| Nannu brova née kemi | Adi | Lalithadasar |
| Nannu brova née kintha | Adi | Thyagaraja |
| Navalooril | Rupaka | Ramanathan Chettiar |
| Neelakanta niranjana | Rupaka | Thyagaraja |
| Nekkuruki unnai | Adi | Papanasam Sivan |
| Nikepudu daya | Adi | Mysore Sadasiva Rao |
| Ninai thedadha naal (Tiruppugazh) | Jhampa | Arunagirinathar |
| Ninnu nammi nanu | Eka | Muthiah Bhagavatar |
| Paripalisau | Adi | M V Ramarathnam |
| Sabhapathikku | Rupaka | Gopalakrishna Bharathi |
| Sada smarami | Jhampa | Ambujam krishna |
| Samarakshana mam palaya | Rupaka | Mysore Vasudevachar |
| Saravanabhava Ahanmuga | Adi | N S Ramachandran |
| Sarva vigna harana | Adi | Krithi R Venugopal |
| Sevikka vendumaiya | Muthuthandavar | |
| Sri Lakshmivaraham | Adi | Muthuswami Dikshitar |
| Sri Mahaganapathe | Khanda Chapu | N S Ramachandran |
| Sri Rajagopala (Varnam) | Triputa | Venkataramana Bhagavathar |
| Sri Sive jaya vaibhave | Adi | Muthaiah Bhagavatar |
| Staranam parkka taghuma | Adi | Ambujam Krishna |
| Thamasamika talamu | Rupaka | G N Balasubramanian |
| Thiruvullakkarutthu | Adi | Periyaswami Thooran |
| Tirupathi malai | Adi | Lakshmikrishna |
| Vegamey | Adi |
There are also some Tamil movie songs based on the raga of abhogi. Songs in abhogi raga gives extreme pleasure to ears. Two Tamil songs are cited below for the reference.
Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim(knowledge).
This represents the scale of the raga.
Arohana (order of ascending notes in the scale): S R G M D s
Avarohana (order of descending notes in the scale): s D M G R S
Vadi: Sa
Samavadi: Ma
G and D
GMDS SDRSDMD_ D_SRGRS D_RSDM GMMDDSDRSD_M GMD_MGGRR_ GRSd Rd_S
Pa and Ni are omitted. Also Re is often omitted in ascent. Flat Ga is often approached from Ma in ascent and has a slight oscillation to show the typical Kanada. In descent often the typical Kanada phrase gMRS is used.
Related ragas: Bageshree. However, Bageshree also includes flat Ni and a limited use of Pa, which gives a different flavour.[5]
Night, approximately 9PM-12AM.
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Dehli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7
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