Hamsadhvani

Hamsadhvani (Kannada: ಹಂಸಧ್ವನಿ, Sanskrit: हम्सध्वनि, Telugu: హంసధ్వని, Tamil: ஹம்ஸத்வனி, Malayalam: ഹംസധ്വനി) also known as Hansadhwani, is a rāga in Carnatic music (musical scale of South Indian classical music). It is an audava rāgam (or owdava rāga, meaning pentatonic scale). It is a janya rāga (derived scale), as it does not have all the seven swaras (musical notes).

Hamsadhvani is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music. It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817) and brought into Hindustani music by Ustad Aman Ali Khan of the Bhendibazaar gharana.

Structure and Lakshana

Hamsadhvani scale with shadjam at C

Hamsadhvani does not contain madhyamam or dhaivatam. It is a pentatonic scale (audava-audava ragam 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 G3 P N3 S
• avarohaṇa : S N3 P G3 R2 S

The notes used in this scale are shadjam, chathusruthi rishabham, antara gandharam, panchamam and kakali nishadam.

Hamsadhvani may be considered to be a janya rāgam of Shankarabharanam, the 29th Melakarta rāgam, although it can also be considered to be derived from other melakarta rāgams, Sarasangi, Kalyani or Latangi, by dropping both madhyamam and dhaivatam. It is an elusive question as to whether Hamsadhvani is a janya of this or that melakarta. In Hindustani music it is associated with Bilaval thaat (equivalent of Shankarabharanam).

Popular Compositions

Hamsadhvani rāgam lends itself for elaboration and exploration and has many compositions in both classical music and film music. It is usually sung at the beginning of a performance. There are many kritis (compositions) in praise of Lord Ganesha set in this musical scale.

• Raghunayaka and Sree Raghukula by Thyagaraja
• Vatapi ganapathim by Muthuswami Dikshitar
• Varanamukha vaa by Koteeswara Iyer
• Mooladhara moorthi and Karunai seivai by Papanasam Sivan
• Gajavadana beduvae by Purandaradasa
• Vinayaka by Veena Kuppayyar
• Varavallabha ramana by G. N. Balasubramaniam
• Gam ganapathe by Muthiah Bhagavatar
• Paahi Sripathe by Maharaja Swathi Tirunal

Related rāgas

Graha bhedham

Hamsadhvani's notes when shifted using Graha bhedam, yields another pentatonic rāgam, Nagasvaravali. Graha bhedam 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 bhedam on Hamsadhvani.

Scale similarities

• Mohanam is a rāgam which has chathusruthi dhaivatam in place of the nishadham. Structures are shown in second table.
• Amritavarshini is a rāgam which has prati madhyamam in place of the rishabham. Structures are shown in first table.
• Gambhiranata is a rāgam which has shuddha madhyamam in place of the rishabham. Structures are shown in first table.
• Niroshta is a rāgam which has chathusruthi dhaivatam in place of the panchamam. Structures are shown in second table.

Rāgam	Śruti Tonic	C		D		E	F		G		A		B	C
Hamsadhvani	C	S		R2		G3			P				N3	S'
Amritavarshini	C	S				G3		M2	P				N3	S'
Gambhiranata	C	S				G3	M1		P				N3	S'

Rāgam	Śruti Tonic	C		D		E	F		G		A		B	C
Hamsadhvani	C	S		R2		G3			P		-		N3	S'
Mohanam	C	S		R2		G3			P		D2		-	S'
Niroshta	C	S		R2		G3			-		D2		N3	S'

In Hindustani music

Vadi & Samavadi

Vadi
Sa

Samavadi
Pa

Pakad or Chalan

Re Ga Re Ni Pa Sa Re Sa

Organization & Relationships

Thaat: Bilawal.

Time

Second quarter of night.

Important Recordings

• Amir Khan, Ragas Hansadhwani and Malkauns, HMV LP (long-playing record), EMI-EASD1357
• Lagi Lagana (Drut – Teental) by A. Kanan in Meghe Dhaka Tara

Literature

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.

External links

• SRA on Samay and Ragas
• SRA on Ragas and Thaats
• Rajan Parrikar on Ragas