As we all know, the ragas Kharaharapriya and Harikambhoji are at the top of the list of mela ragas having maximum number of janya ragas; many of these are extremely popular also. But majority of the ragas are Rare ragas or not even heard in concerts at all. Here is another rare raga, janya of Harikambhoji, ragam Narayani (also known as Narani). It is an oudava – shadava ragam; losing G3 in both sides and N2 in avarohanam additionally, that the ragaswaroopa can be seen as:
S R2 M1 P D2 S // S N2 D2 P M1 R2 S
The arohanam is similar to Arabhi, Devagandhari or Sama; so beautiful is the raga also, but it is the avarohanam (without Gandharam) determining the actual nature of the raga. On listening it may sometimes give a feeling of another similar raga, Andolika, with a closely similar scale. As the Gandharam is not present, this raga can be obtained from mela (22) Kharaharapriya also.
Sangeetha Sampradaya Pradarshini (SSP) by Subbarama Dikshithar places it under mela (29) Sankarabharanam, as a sampoorna raga, suitable of singing at early morning hours. The raga lakshana is given as: "rago narayani purna gagraho pratarucyate |" and the notes:
S R2 M1 G3 R2 G3 M1 P D2 S // S N3 P N3 D2 P D2 M1 P M1 G3 R2 S
Ragapravaham by D.Pattammal places it under different melas, 16 (Chakravakam), 28 (Harikambhoji) and 29 (Sankarabharanam) as:
S R1 M1 P D2 N2 S // S N2 D2 P M1 R1 S (mela 16)
S R2 M1 P D2 S // S N2 D2 P M1 R2 S (mela 28)
S R2 M1 P D2 S // S N2 S D2 P M1 G3 R2 G3 S (mela 28)
S R2 M1 P N2 D2 S // S N2 D2 P M1 R2 S (mela 28)
S R2 M1 P D2 S // S N2 P M1 R2 S (mela 28)
S R2 M1 G3 R2 G3 M1 P D2 S // S N3 P N3 D2 P D2 M1 P M1 G3 R2 S (mela 29)
S R2 G3 M1 P D2 S // S N3 P N3 D2 P D2 M1 P M1 G3 R2 S (mela 29)
S R2 G3 M1 P D2 S // S N3 P N3 D2 P M1 G3 R2 G3 S (mela 29)
There is a Hindustani raga with same name, adapted in Hindustani Music style from Carnatic Music. The presence of Komal Nishad differentiates this Raag from Raag Durga (Durga does not contain N2). According to Mr Rajan Parrikar, the Carnatic ragam as delineated by Thyagaraja Swamigal, was adopted in the Hindustani System, retaining the same name and hence forms a part of the Khamaj Thaat. However, the Narayani, used by Dikshithar School, follows the Shankarabharanam route.
Compositions:
Bhajana seyu margamunu – Thyagaraja
Rama nee vegani - Thyagaraja
Chandike shri – Dr. Muthaiah Bhagavathar
Mahadevam - Dr. Muthaiah Bhagavathar
Kanna Tandri Nive – Patnam subramanya Iyer
Mahishasuramardhinim - Dikshithar
Na moralanu - GNB
Sami ninne kori (tv) – Poocci Srinivasa Iyengar
We shall take up the GNB composition for discussion. This composition is on Goddess Narayani; same time it serves as the raga-mudra also. There is a little confusion about Goddess Narayani – she is the sister of Narayana (Lord Vishnu), hence, Goddess Parvathi or Durga.
Pallavi
nA moralanu vinarAdA nArAyaNi nAtO vAdA
anupallavi
tAmasambu jEyaka nE tALanu vErevaru brOva
caraNam
nI mahimalu sadA vini ninnE sharaNaNti kAma kalA vikAsini kAmEshapriya kAmini
Now, we shall listen to Padmabhushan Sudha Raghunathan, rendering the GNB composition.