G2 is the gandhara . Not G3 . And I spotted the continuing references to G3 in quite a few places the post . FYI I have now corrected them . I remember correcting them but perhaps forgot to update the post. Sorry again for that bloomer. To reiterate as in my earlier post MManohari inherits from Sriraga mela with only D1 as the anya svara. Also I am working to fix the issue and will u/l the the SSI rendition of “Mahalakshmi”.

Raviraj

Arun

Ravi

1. I will u/l the SSI version and add in the link to blog.

2. There is no D3 in Madhavamanohari and am not sure how you got that feeling. It has only D1 apart from the svaras of the Sriraga mela.

3. P/D1M1 is an “anga” and is used in ragas including Huseini

Ravi

Btw the SSI link didnt work for me.

I was definitely surprised how melodically close this is to Sriranjani, when a glance at arohana/avarohana and the swaras dont give that. I can sense pa in places, particularly the ones you point out – but still it is quite close to Sriranjani. Very surprised at that. This also shows how misleading arohana/avarohana can be .

Speaking of arohana and avarohana, you have G3 i.e. antara gandhara, and D3 i.e. Shatsruthi dhaivata.. Is that right? I mean for something in Sriraga mela, we have G3, D3 and D1 all occuring (besides the other sriraga mela swaras). I didnt listen close enough to the renditions to see where G3 and D3 occur but if they all are supposed to occur, this raga then is like sindu-bhairavi, ahiri etc.

Also, I find this p d* m special phrase with an anya dhaivata swara to be shared with some other ragas that use D2, N2 and G2 – rItigowLa, Anandabhairavi. Interesting.

Arun

Arun

On your first & second point of the 2 ragas co-existing- I hypothesized that they were probably 2 variants – remember they are bashangas, so probably Sriranjani- the pancama varja raga was famous in Tanjore region while Madhavamanohari (the pancama flavoured version was an import from Mahratta or Deccan area & performed more by musicians from those samasthanas ). So MD must have sort of thought of this incongruency and added the D1 to the archaic Madhavamanohari to differentiate it. It would be a good idea to find if such a melody exist in Marathi music. After all we have imported the ravichandrikas and nalinakanthis from them

On your third point , the terminology of “sampurna” is employed by SD/MV/VVD (& if I am correct by even Somanatha) if all svaras occur in the arohana and avarohana put together. So it doesnt matter whether they are sampurna ( krama or non krama) in arohana or avarohana or both. The term sampurna was used only in such a way whereas today it is used to expansively signify the parents/kartas ragas.The conceptual idea of ragangas as also been subsumed under this head along with the accompanying confusion of bashangas , upangas and kriyangas.

- Both Shiranjani and Madhavamanohari have a Venkatamakhi gItam. Given that Ramaswami Dikshitar has composed in Shriranjani but has not taken note of Madhavamanohariand it suddenly soared into popularity relegating MM to the background this seems a very plausible explanation.

- Another puzzling thing here is the appelation Sampurnam attributed to this raga
when only the arohana is vakra sampurna