One of the rarest janya raga of mela (65) Mecha Kalyani; represented by the notes:
Aroh: S M2 G3 P N3 S; Avaroh: S N3 D2 M2 G3 S
(Another arohanam seen is with the chathusruthi Dhaivatham, S M2 G3 P N3 D2 S; as shown by Ragapravaham by D.Pattammal)
The only composition in this raga is by the great musician Sri. G.N.Balasubramaniam; it is an example of GNB's genius. This raga, like Sivashakti is a creation of GNB. The twisted arohanam goes like, "Sa Ma Ga Pa Ni Da Sa" and the avarohanam is "Sa Ni Da Ma Ga Sa" and the raga is classified as a Janyam of 65th Melakartha, Mechakalyani. According to hearsay, GNB conceived this raga inspired by some vakra/varja phrases in Kalyani played by the legendary Rajaratnam Pillai. That could have been true only if Ragas were just scales with Swaras. Many ragas, especially ones like Kalyani are much more than a scale. While the scale certainly forms the skeleton of the raga, the life of a raga is much more than a scale. While we can say Amritha Behag is derived from the Kalyani scale for all practical purposes, it has nothing to do with the Kalyani Raga (lakshana). In fact, it seems to have some resemblance to Amrithavarshini (which in turn has little to do with Kalyani).
The composition "Kamala CharanE" set in Madhyama Kala is often sung as a brisk filler before the main piece in a concert. The song is a joyous outburst with several sangathis. This is one rare song in which Sri.GNB has left a Mudra. The name "Vimarsanananda" in the Charanam is apparently GNB's "Deeksha name".
Kamala charne – G.N.B.
P: kamala caranE kanakAruNE karuNAmrta rasa pUraNE
A: amarEshanutE aparAjitE ramA shAradE sadA vanditE
C: namata sajjana durita shamanE amita mahima guna pUraNE
mama santApa hara sAdhanE vimarshanAnanda nAda hrtsadanE