Sahana (pronounced sahānā) is a popular

raga A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, fro ...

m (musical scale) in

Carnatic music Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is o ...

. It is a

janya ''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 '' melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a vari ...

rāgam (derived scale) associated with the 28th

Melakarta Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be derived. A ''melaka ...

rāgam

Harikambhoji Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scales employed ...

. The

Hindustani music Hindustani classical music is the Indian classical music, classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or ''Uttar Bhartiya shastriya sangeet''. The term ''shastriya sangeet'' ...

ragam ''Sahana'' is an upper-tetrachord-dominant Kanada-anga

, from the Kafi thaat, also allied with

Bageshree Raga Bageshri or Bageshree () is a Hindustani raga. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. Like all ragas, Raga Bageshri traces its ori ...

and

Bhimpalasi Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga. The Carnatic Music equivalent of this raga is Abheri. Raga Bhimpalasi belongs to the Kafi Thaat. Theory * Aaroha: * Avaroha: The raga has k ...

. The shuddha Dhaivat is an important rest note (nyaas swara).

Structure and Lakshana

It is a ''Ubhaya Vakra sampoorna ragam''. ''Vakra'' means crooked. ''Ubhaya Vakra'' means that the notes in both ascent and descent follow a zig zag pattern. The notes in ascending and descending scale do not follow a strict progression. Hence the note phrases contain such ''vakra'' phrases, lending a unique beauty to this rāgam. Though it is a ''sampoorna rāgam'' (contains all 7 notes), the ''vakra'' scale means it is not considered a ''melakarta'', as melakarta rāgams must have strictly ascending and descending scales. It is also classified as a ''rakti raga'' (raga with high melodic content). Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The notes used in this scale are ''Shadjam, Chathusruthi Rishabham, Antara Gandharam, Suddha Madhyamam, Panchamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. Its characteristic phrases are (R2 G3 M1 P),(P M1 D2 N2), (N2 S D2), (G3 M1 R2). Sahana has a distinct mood due to these phrases and characteristic

gamak Gamaka (Hindi: / Urdu: ) (also spelled gamakam) refer to ornamentation that is used in the performance of North and South Indian classical music. Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carna ...

ams and is rarely confused with other ragams. Sahana has a close relationship to Malavi and to some extent Dwijawanthi/Jujavanti. While the use of Anthara Gaandharam in R2 G2 R2 makes it different from Dwijawanthi, since Dwijawanthi uses Saadharana Gaandharam, sahana has a closer relationship with Malavi which has an identical Vakra scale formation as Sahana.

The original Sahana of Carnatic music

The original Sahana is the janya ragam of

Sri Shri (; , ) is a Sanskrit term denoting resplendence, wealth and prosperity, primarily used as an honorific. The word is widely used in South and Southeast Asian languages such as Assamese, Meitei ( Manipuri), Marathi, Malay (including In ...

melakarta .It is "bhashanga", "sampurna", "desiya",panchama "vakra" in arohanam and suitable for singing at all times.The raga is a desiya raga meaning it made its way to theory, from practice. It was evolved in the public domain, enjoyed the airtime with listeners and musicians and then it became important enough to be inducted into the portals of our music as a formal raga, distinct in its svarupa, appeal and capable of being moulded into compositions. The jeeva swaras : - rishabham, - gandharam and - nishadam provide extraordinary ranjana. Synonyms : Chahana, Shahana, sahana. Arohanam :

Avarohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch ...

m : The swaras are -Shadjam, - Chaturshruti rishabham, - Sadharana gandharam, * - Antara Gandharam, - Shuddha madhyamam, - Panchamam, - Chaturshruti dhaivatham and -Kaishiki nishadam. The ragam is bhashaga because; * - Anthara gandharam occurs sparingly. Reference
Sangita Sampradaya Priyadarshini cakram 1-4

Select compositions

There are a large number of popular songs composed in this rāgam in Carnatic Music as well as Tamil Film Music. Here are some Carnatic music compositions. *''Raghupate Rama Rakshasa Bhima'', ''Sri Rama Sri Rama'', ''Ee Vasudha'', ''Giripai Nelakonna'', ''Sari Evvare'', ''Dehi Tavapada Bhaktim'', ''Oorake Galguna'', ''Emana Dichevo'', ''Nijamuga Nee Mahimalu'' and ''Vandanamu Raghunandana'' composed by Thyagaraja *''Rama Ika Nannu Brovara'' and ''Evvaremi (Ata Tala

Varnam Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patt ...

)'' by Patnam Subramania Iyer *''Manamu Kavalannu'', ''Andhakasura Sudana'' and ''Balumosa Mayyanura (Daru

varnam Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patt ...

)'' by Muthiah Bhagavatar *''Sri Kamalaambikaaya, Abhayaambaayaam and Ishaanaadhi Shivaakaara'' by

Muthuswami Dikshitar Muthuswami Dikshitar (Mudduswamy Dikshitar) (, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer, veena player, and a prolific composer of Indian classical music. He was the youngest member of what is re ...

*''Inkevarunnaaru nannu'' in Adi thalam by Annaswami Sastri s/o Subbaraya Sastri *''Kaliyugamuna Prathyaksha'' by Ponniah Pillai of the

Tanjore Quartet ''Thanjavur Quartet'' were four brothers, Chinnayya, Ponnayya (1804-1864),https://www.karnatik.com/co1375.shtml Sivanandam and Vadivelu, who lived during the early 19th century and contributed to the development of Bharatanatyam and Carnatic mu ...

*''Saravana Bhava'' in Adi thalam by Thanjavur Sankara Iyer *''Sri Vatapi Ganapathiye'' in Adi tala and ''Chittam Irangadenayya'' in Misra Chapu Tala by

Papanasam Sivan Paapanaasam Raamayya Sivan (26 September 1890 – 1 October 1973) was an Indian composer of Carnatic music and a singer. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1971. He was also a film score composer in Kannada cinema a ...

*''Karunimpa'' ( Adi tala

) by Tiruvottriyur Tyagayyar s/o Veena Kuppayyar *''Oho Kalame'' by Vedanayagam Pillai *''Sari Evvare Ma Janaki'' by Tirupati Narayanaswami Naidu *'' Tillana'' by Tirumakudalu Chowdiah *''Kamsaasura( Geetam)'' by Paidala Gurumurti Sastri *''Mora Topu/Meragadu Rammanave and Choodare'' are Padams by

Kshetrayya Kshetrayya (–1680) was a prolific Telugu poet. He lived in the area of Andhra Pradesh in South India. He composed a number of ''padams'' and ''keertanas'', the prevalent formats of his time. He is credited with more than 4000 compositions, ...

*''Mogadochi'' is a Padam by Sarangapani *''Veladi Eppativale'' is a Padam by an unknown composer *''Inni Enna Pechu Irukkudhu'' is a Padam by Subbarama Iyer *''Evaranu Nenu'' is a Tattva Padam by Dr. M. Balamuralikrishna *''Kavave Kanyakumari'' by Dr. M. Balamuralikrishna

In television series

Tamil Language

* "Indha Veenaiku Theriyadhu" by V. S. Narasimhan (Rail Sneham – TV Serial) * "Aanmaavin Raagam" by Rajesh Vaidhya (Sahana – TV Serial) * "Jeevan Neeye" by Renjith Unni (Anbendraale Amma – Music Video)

Structure and Lakshana

The original Sahana of Carnatic music

Select compositions

In television series

Tamil Language

Film songs

Tamil Language

Malayalam Language

Telugu Language

Notes

References