Classial carnatic music youtube mlv3/25/2023 ![]() ![]() ![]() They evolved and when the katapayadhi nomenclature came to existence in the 19th century, the 45th melakartha became Shubhapantuvarali and the 51st melakartha became Kamavardhini (also called Panthuvarali). In the earlier days, there were two ragas called Shivapanthuvarali and Kasi Ramakriya (also called Ramakriya) that were the 45th and 51st melakarthas of the asampurna nomenclature. Engellam Theduvadho, the famous devotional song rendered by Sirkazhi Govindarajan.Velane Vere Gathi by Koteeswara Iyer (Kandha Ganamudham).Manonmani Mandhahasini by Harikesanallur Muthiah Bhagavathar.Sri Sathyanarayanam, Pasupathiswaram (with the raga mudra Shivapanthuvarali, more about it in the below section) by Muthuswamy Dikshitar.Just to show how culture dictates how we associate emotions with ragas. Also, this ragam is played in shenaai during auspicious occasions in the north of India. However, this need not be always the case and there are cheerful songs that are equally gripping in this ragam. To the extent that this ragam is usually used during condolence situations in the south of India. Many songs we might find in this ragam lean towards conveying sad emotions. The Hindustani equivalent of Shubhapantuvarali is Thodi thaat (whereas the Hindustani equivalent of Carnatic Thodi is Bhairav thaat). Panchama varjam (singing without P) will sound even more euphonious in Shubhapantuvarali. This post is about the ragam that is synonymous with pathos and sorrow, Shubhapantuvarali. Ragapedia is a series of posts I am writing, one Carnatic Raga per post, on my understanding of the ragam, carnatic compositions in that ragam and how it has been dealt within films. ![]()
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