Ragam Hindholam





Hindolam

Let Me share The Beauty Of Raga Hindolam which I Like Very Much. Long Ago When i was listening to Chennai All India Radio Music Concert in a Quite Night ( They used to Air a Full Concert of an artist in FM Channel) For an hour. It was Namagirippettai Krishnan rendering a Melodius number in Nathaswaram, and immediately Recorded using my National Panosonic Tape Recorder.It was Mysore VauDevachar's " Mamavthu Sri Sarawathi " in Hindolam. That is how i was attracted to this charming Hindolam. Then I got Tarangini Cassette that had a live Recording of Jesudas Presenting , now famous 
'Samaja vara gamana' of Thyagaraja in the Raha Hindolam.Jesudas in his mesmerizing beautified Hindolam with Alapana , Kirthanai and Niraval. Later at the advent of TV, Chennai DD ( Single Channel days) There was a Jugalbandhi by Lalkudi Jayaraman in violin and And Amjad Ali Khan in Sarod. It was a lively concert and entire Program was devoted to Hindolam and Malkouns.I recorded the audio part of it. 

I have a huge collection of Cassettes, CDs , Videos, ,Book On Music specifically on Hindolam.

In the Present Net connected  i gadget days, a lot of detailed information in many forms are available.I have Tried put together some of it for the benifit of Music lovers and Hindolam lovers who Read my Blogs.


Structure and Lakshana


Hindolam scale with shadjam at C
Hindolam is a symmetric rāgam that does not contain rishabham and panchamam. It is a pentatonic scale (audava-audava rāgam [1][2] in Carnatic music classification - audava means 'of 5'). Since pentatonic scales can be found in other world music such as Chinese music, shades of Mohanam and Hindolamcan sometimes be traced in Chinese and east Asian music. 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 sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham. Hindolam is not a melakartarāgam, since it does not contain all the seven swaras.
Experts in Carnatic music hold differences of opinion on the janaka rāgams (rāgams of origin) that should be attributed to Hindolam. It is widely accepted that 20th melakarta, Natabhairavi is the parent rāgam of Hindolam, but some would like to associate it with 8th melakarta,Hanumatodi.[1][2] It can be derived from both, by dropping the rishabham and panchamam.
 Hindolam in Karnatak music corresponds to Malkauns in the Hindustani system. The notes taken by this meditative ragaare shadja, sadharana gandhara, suddha madhyama, suddha dhaivata and kaisiki nishada. The madhyama is the swara that lends charm to it and thedhaivata and nishada are the jiva swaras, those that impart soul. Dikshitar says “Gauri Hindola dyuti heera mani maya abharaney” in the kritiNeerajakshi Kamakshi. In concerts, the most often sung Hindolam kriti is certainly Samaja vara gamana of Thyagaraja. Mamavathu Sri Saraswati of Mysore Vasudevachar, Nambikettavar by Papanasam Sivan and Chintayami Jagadamba are other favourites in Hindolam.TM Soundararajan sang the hugely popular devotional piece Karpanai endraalum in a private album in Hindolam. 


Man tadpat Hari darsan ko from Baiju Bawra, in Naushad's music and sung by Rafi, is a masterpiece in Malkauns. It is said that Mohammad Rafi did not accept any remuneration for this song; he was so happy to sing for Naushad.Tu chhupi hai kahan in the voices of Manna Dey and Asha Bhonsle from the film Navrang, in C Ramchandra's music, is yet another memorable Malkauns melody. The soulful Aye sur ke panchi aye sung by Rajan-Sajan Mishra in the film Sur Sangam bears the unmistakable Malkauns stamp.

Saamaja vara gamana by the maestro Thyagaraja is the most popular composition in Hindolam. Mamavathu Shree Saraswathi by Mysore Vasudevachar is another popular composition. Here are some more kritis composed in Hindolam.

I list Some Interesting Links On Hindolam:

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