Simhendramadhyamam

Simhendramadhyamam ( _sa. सिम्हेन्द्रमध्यमम्, _ta. சிம்மேந்திரமத்திமம்) is a rāgam (musical scale) in Carnatic music (South Indian classical music). It is the 56^th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

It is called "Sumadhyuti""Ragas in Carnatic music" by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications] "Raganidhi" by P. Subba Rao, Pub. 1964, The Music Academy of Madras] in Muthuswami Dikshitar school of Carnatic music.

It is said to be borrowed into Hindustani music from Carnatic music .

tructure and Lakshana

It is the 3^rd rāgam in the 10^th chakra "Disi". The mnemonic name is "Disi-Go". The mnemonic phrase is "sa ri gi mi pa dha nu" .

Its IAST|ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see "swaras in Carnatic music" for details on below notation and terms):
*IAST|ārohaṇa: S R2 G2 M2 P D1 N3 S
*IAST|avarohaṇa: S N3 D1 P M2 G2 R2 S(Chathusruthi Rishabham, Sadharana Gandharam, Prati Madhyamam, Suddha Dhaivatham, Kakali Nishadham)

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale).

Janya Rāgams

Simhendramadhyamam has a few minor janya rāgams (derived scales) associated with it, of which "Vijaya Saraswati", a scale first used by Muthiah Bhagavatar is sung in concerts. See "List of Janya Rāgams" for full list of rāgams associated with Simhendramadhyamam.

Compositions

Here are a few common compositions sung in concerts, set to Simhendramadhyamam.

*"Niducharanamule" by Thyagaraja
*"Pamarajanapalini" by Muthuswami Dikshitar (with rāgam name "sumadhyuti" mudra in it)
*"Asaindadum mayil onru" by Oottukkadu Venkata Kavi
*"Innum orutharam" by Muthu Thandavar

Related rāgams

This section covers the theoretical and scientific aspect of this rāgam.

Simhendramadhyamam's notes when shifted using Graha bedham, yields 2 other Melakarta rāgams, namely, "Mayamalavagowla" and Rasikapriya. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the Shadjam to the next note in the rāgam.

References