Gr lec dem :Analysis of Musical Aspects of Krti s of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
3. mura©§n¡dam rāga lakṣaṇa given by evrb *PG 99 vnmk rmnym
Ref appeix for text,notn and lec dem gr
krti-yamaḷārjunabhanjanaṁ
¡roha³a sa ri² ga³ pa dha¹ ni³ saÇ
avaroha³a saÇ ni³ dha¹ pa ga³ ri² sa
janya of 63rd lat¡ngi me©a with svaras ½a¢ja,catu¾ruti ri½abha,antara g¡ndh¡ra,pancama,¾uddha dhaivata,k¡kali ni½¡da,
½¡¢ava-½¡¢ava r¡ga
swara short forms used here-Sha,cha.ri,ant.ga,Pan,su dha, kaa.ni
Historical Survey
taraḷaṃ : Karnataka Sangeetam lower Grade Theory Book-, Ragapravaham, Pudiya Ragangal,Rr Iyengar, Sspsagaramu-
All the above texts give the name of a rāga taraḷaṃ
¡roha³a sa ri² ga³ pa dha¹ ni³ saÇ
avaroha³a saÇ ni³ dha¹ pa ga³ ri² sa
same aro ava but under the 27th mela saras¡ngi which is the ¾uddha madhyama counter part of 63rd lat¡ngi.
Neither mura©§n¡dam nor rāga taraḷaṃ is found in
Sangraha Choodamani and Gaana Bhaskaram.
No other raga found with the same scale pattern.
Observation
The features which enhance the aesthetics of rāga mura©§n¡dam as employed by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
· Jeeva swara : ga, ri
· Amsa swara : ga , pa,dha
· Graha swara : ga, pa, dha ,ni
· Nyaasa swara : sa,ri, ga
· Janta prayogas like rr,gg,pp, dd
Raga Sanchaara- r, gr g , p , p , ,, /gdpd pgrs /s nÖ dÖ , p dÖ nÖ ,| s , ,, ,| nÖ, sr s,r ,|
srgp pg g,|| g g p d n s× ,/ g× r× s× , s× ndp/ pgrs s nÖ dÖ , | nÖ s r , s , ,,
Graha swara :
Gandhara as in g, r, s, ,, s nÖ dÖ , p dÖ nÖ ,| s ,
yama©¡ rju na
g g p d n s× nd pgrs
yama©¡ rju na
g× r× s× , s× ndp| dp dp gr sr
va tsa l¡ncana¯
Panchama as in-p, d, dp g, g, r, r, g,
kama l¡ pta ¾ata
Shadja as in s× r× g× r× g× r× s×,
kama l¡ v¡ sa
Nyaasa swara : Shadja as in
srgr rg p , p, d, n, s×, ||
ko ¿i te jasa¯
rishabha-as in
g, r,| srg, r, r,||
bha v¡m budi
panchama as in
| pdns× ndp ,||
te jasa¯
Taara stayi and Mandra sthayi sanchaaras
p, g , p , d, n , ,, s× , ,, | g× r× s× , s× ndp| dp dp gr sr||----
§ ¢e ¾r§ va tsa l¡ncana¯
gp dn dp gr gr sr snÖdÖ, | nÖ , ,, s, s , | srgp pg g,||-----
yama©¡ rju na bhan jana¯
Highlight the range of this rāga.
Many Janta prayogas, ddpg ppgr grrs| pd ns× | s× s×× g×× r× s×|
p, d, dp g, g, r, r, g, | p , ,, p , p , | p , ,, p , p,||
Dattu prayogas like gdpd pgrs |snÖ rs dd pg | ggdp dp g, | gpgr r
Chaturasra prastara pattern flows with the sahitya
p, d, ddpg ppgr grrs| srgr rg p , p, d, n, s×, ||
kama l¡ pta ¾ata ko ¿i te jasa¯
Full octave sancharas show the compass of the rāga
g×× r× s× ndp| gpdp grnÖ r||
vi ¾¡ la va k½a sa¯
Fixing the janaka rāga for mura©§n¡dam
This scale being devoid of the note “ma” ,is madhyama swara varjya rāga.
Hence ½¡¢ava-½¡¢ava r¡ga having six notes in both arohana and avarohana.
The swaras occur in a regular order. Hence it is a karma ascending and descending scale and not vakra or zigzag in scale.
There are no anya swaras or foreign notes-i.e it takes only one variety of each of the swaras- ri, ga ,dha, ni .
Hence it is a upanga janya rāga and not bhashanga.
The swaras other than madhyama , shadja and panchama,viz.
catu¾ruti ri½abha,antara g¡ndh¡ra,¾uddha dhaivata,k¡kali ni½¡da
are common to both these melas.
The scale being madhyama swara varjya may be designated as derived from either mela technically .
Both latangi and sarasangi are the result of –and -after the advent of 72 mela paddhati.
From the above study of muralinadam, allows for tristaayi sancharas,janta,dattu prayogas, and briga and gamaka prayogas, similar to latangi ,and during the time of evrb latangi was popular in more number of compositions-evrb has rightly handled it as a janya of latangi.
· mura©§n¡dam gives scope for alapana ,neraval and kalpana swara singing.
· -yµgin¡¯Äpati¯Ä lat¡¯Ägi ¡di
· pÀtan¡j§vitahara saras¡¯Ägi rÀpaka
Full lyrics of the composition with the (vākgēyakāramudra " venkataramana "ref appendix
