Kamavardani (pronounced kāmavardhani - कामवर्धिनि:) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 51st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is also referred by the name Pantuvarāḷi, although purists prefer to designate it as Kamavardani. It literally means "that which increases desire".
This rāgam is very popular with musicians who typically sing it in the beginning of a concert. It is called Kāshirāmakriya in the Muthuswami Dikshitar school. The Hindustani music equivalent of Kamavardhini is the Poorvi thaat.
Structure and Lakshana
It is the 3rd rāgam in the 9th chakra Brahma. The mnemonic name is Brahma-Go. The mnemonic phrase is sa ra gu mi pa dha nu. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
(the notes in this scale are shuddha rishabham, antara gandharam, prathi madhyamam, shuddha dhaivatham, kakali nishadham)
It is a sampoorna rāgam – a rāgam that has all seven swaras (notes). This rāgam differs from the 15th melakarta rāgam Mayamalavagowla, which is the rāgam taught to a beginner in Carnatic music, only by the madhyamam. Kamavardani is the prati madhyamam equivalent of Mayamalavagowla.
- Guruvina Gulaamanaaguva Tanaka - Purandaradasa
- Raghuvara Nannu, Shambo Mahadeva, Saramegani, Aparama bhakthi, Shobhaane, Sundara daradeham, Ninne Nera Nammi, and Shiva Shiva Shiva ena radha - Thyagaraja
- Enna ganu rama - Bhadrachala Ramadas
- Ramanatham Bajeham, Visalaksheem Visweseem,Senapathe Palayamam - Muthuswami Dikshitar,
- Ninnarul Iyambalagumo - Papanasam Sivan
- Sarasaksha Paripalaya maamayi, Paripalaya Sarasiruha and Saroruhaasana (Navarathri sixth day krithi) - Swati Tirunal
- Magalahârathide Nēku, Mahitâtma Sevite - Kalyani Varadarajan
This section covers the theoretical and scientific aspect of this rāgam.
Kamavardani's notes when shifted using Graha bhedam, yields Kanakangi (the 1st melakarta). Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. See further details and an illustration of Graha bhedam on Kanakangi.
- Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
- Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras