Kharaharapriya
22nd Melakartha
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Kharaharapriya is a rāga in Carnatic music. It is the 22nd melakarta rāga (parent scale) in the 72 melakarta rāga system. It is possible that the name of the ragam was originally Harapriya but it was changed to conform to the Katapayadi formula. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya.[1][2] Its Western equivalent is the Dorian mode. The Prati Madhyamam (M₂) equivalent of this raga is Hemavati
| Arohanam | S R₂ G₂ M₁ P D₂ N₂ Ṡ |
|---|---|
| Avarohanam | Ṡ N₂ D₂ P M₁ G₂ R₂ S |
| Equivalent | Dorian mode Kafi Thaat |
Etymology
There are many theories behind the etymology of the name Kharaharapriya. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but his heart cooled only when a hymn was sung in the ragam and hence the name (hara) shiva and (priya) loved hence "Harapriya " – The one dear to Shiva, and to fit it in the Katapayadi system according to the melakarta chakra system.
The word Kharaharapriya may also mean the beloved of the killer of the Khara demon (Khara – Khara demon, Hara – Defeater/Killer, Priya – Beloved). The story of Rama killing the Khara demon is narrated in the 28th, 29th and the 30th sub-chapter of the Aranya Khanda of Ramayana.[3]
Structure and Lakshana
It is 4th rāga in the 4th chakra Veda. The mnemonic name is Veda-Bhu. The mnemonic phrase is sa ri gi ma pa dhi ni.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
The notes are chatushruti rishabham, sadharana gandharam, shuddha madhyamam, chatushruti dhaivatam and kaisiki Nishadam. It is a sampoorna rāgam – scale having all 7 swarams. It is the shuddha madhyamam equivalent of Hemavati, which is the 58th melakarta scale. Since the swaras of Kharaharapriya are quite evenly spaced, and since several different types of gamakas are allowed, it is a very versatile, fluid and flexible rāgam that allows for elaborate melodic improvisation within its scale.
Songs sung in Kharaharapriya ragas typically have long, elaborate ālapanās, which exhibit the fluidity of the rāgam. Kharaharapriya songs are usually meant to be sung slow, medium or medium-fast, in order to bring out the Karuna rasa and bhava of the song.
Janya rāgams
Due to the even spacing of swaras, many janya rāgams (derived scales) are associated with Kharaharapriya. It is one of the melakarta scales that has a large number of janya rāgams. Many of the janya rāgams are very popular on their own, lending themselves to elaboration and interpretation. Some of them are Abheri, Abhogi, Andolika, Bhimplaas (Hindustani music), Brindavana Saranga, Kāpi, Madhyamavati, Megh (Hindustani music), Mukhari, Reetigowla, Shree, Dhanashree, Udayaravichandrika, and Sriranjani.
See List of janya rāgams for full list of scales associated with Kharaharapriya.
Compositions
Kharaharapriya has been decorated with compositions by many composers. The ragam is most closely associated with Thyagaraja who has pioneered in composing many songs in this rāgam, that have become popular and well known. Both Muthuswami Dikshitar and Shyama Sastri however, have not composed kritis in 'Kharaharapriya'[4]
