Sarasangi
27th raga in the Melakarta
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Sarasangi (pronounced sarasāngi) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 27th melakarta rāgam (parent scale) in the 72 melakarta rāgam system of Carnatic music. It is called Sowrasena in Muthuswami Dikshitar school of Carnatic music.[1] In Western music it is known as the Harmonic major scale.
| Arohanam | S R₂ G₃ M₁ P D₁ N₃ Ṡ |
|---|---|
| Avarohanam | Ṡ N₃ D₁ P M₁ G₃ R₂ S |
| Equivalent | Harmonic major scale |
Structure and Lakshana
It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Go. The mnemonic phrase is sa ri gu ma pa dha ni.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
This rāgam uses the swaras chathusruthi rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham.
By definition, Sarasangi, a melakarta rāgam, is a sampurna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Latangi, which is the 63rd melakarta scale.
Janya rāgams
Sarasangi has a few minor janya rāgams (derived scales) associated with it, of which Kamala manohari and Nalinakanti are popular. See List of janya rāgams for all rāgams associated with Sarasangi.
Compositions
Here are a few common compositions sung in concerts, set to Sarasangi.
- Menu Joochi by Tyagaraja
- Jaya jaya padmanabha by Swati Tirunal
- Sourasenesham vallisham by Muthuswami Dikshitar
- Nikela dayaradu by Ramaswami Sivan
- Paripaliso guru vadiraja by R. K. Padmanabha
- Vandeham govinda and Hanuma Anuma by M. Balamuralikrishna
- Tirupati malaiyurai Venkata vaa by M. M. Dandapani Desikar
- Sadaashivam upaasmahe by Jayachamaraja Wadiyar
- Unadhu Thiruvadi by Gopalakrishna Bharati
- Manavi Chekonavayya by Patnam Subramania Iyer
- Sarasangi Nee Pai (Varnam) by Samantivadi Raghavendrachar
Film Songs
Language:Tamil
| Year | Movie | Song | Composer | Singer |
|---|---|---|---|---|
| 1968 | Uyarndha Manithan | Paal Polave (Ragam Charukesi touches too) | M. S. Viswanathan | P. Susheela (won National Award) |
| 1972 | Pattikada Pattanama | Adi Ennadi Rakkamma | T. M. Soundararajan | |
| 1962 | Azhagu Nila | Manithan Ellaam Therindhu Kondaan | K. V. Mahadevan | Seerkazhi Govindarajan |
| 1989 | Rajadhi Raja | Meenama Meenama | Illayaraja | Mano, K. S. Chitra |
| 1993 | Marupadiyum | Ellorum Sollu Pattu | S. P. Balasubrahmanyam | |
| 1981 | Kadal Meengal | Endrendrum Aanandame | Malaysia Vasudevan | |
| 1990 | Periya Veetu Pannakkaran | Malligaye Malligaye | K.J. Yesudas, K. S. Chitra | |
| Muthu Muthu | K.J. Yesudas, S. Janaki | |||
| 1995 | Sathi Leelavathi | Maharajanodu | P. Unnikrishnan, K. S. Chitra | |
| 1994 | Sadhu | Ammamma Unnai | K.J. Yesudas | |
| 1996 | Nattupura Pattu | Kokki Vaichchen (Folkish style) | Mano, Devi | |
| 1991 | Manitha Jaathi | Puthusu Puthusu | Gangai Amaran, S. Janaki | |
| 1990 | My Dear Marthandan | Oh Alagu Nilavu | Mano | |
| 1990 | Athisaya Piravi | Thaathanthana Kummikotti | Malaysia Vasudevan, S. Janaki | |
| 1997 | Vidukathai | Idhayam Idhayam | Deva | Krishnaraj, K. S. Chitra |
| 1996 | Thayagam | Cu Cu Tara | K. S. Chithra,Malaysia Vasudevan | |
| 2001 | Kottai Mariamman | Sri Ranganatharukku | K. S. Chithra | |
| 1997 | Nerrukku Ner | Engengey (Shades of Charukesi in Pallavi) | Hariharan, Asha Bhosle | |
| 1998 | Unnudan | Kobama Enmel | Hariharan | |
| 1992 | Roja | Tamizha Tamizha | A. R. Rahman | |
| 2003 | Parasuram | Chittukuruvi | Swarnalatha, Arjun and Sriram Parthasarathy | |
| 2024 | Lal Salaam | Jalali | A. R. Rahman | |
| 1994 | Captain | Kannatthula Vai | Sirpy | S. P. Balasubrahmanyam, K. S. Chithra |
| 2019 | Viswasam | Kannaana Kanney | D. Imman | Sid Sriram |
Related rāgams
This section covers the theoretical and scientific aspect of this rāgam.
Sarasangi's notes when shifted using Graha bhedam, yields 2 other major Melakarta rāgams, namely, Dharmavati and Chakravakam. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bhedam on Dharmavati.