Hamsadhvani (meaning "the cry of the swan" ), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an audava rāgam (or owdava rāga, meaning pentatonic scale). It is a janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). Hamsadhvani is also extensively used in Hindustani music and is borrowed into it from Carnatic music. It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan.

Structure and lakshana

Hamsadhvani does not contain madhyamam or dhaivatham. It is a pentatonic scale (audava-audava ragam in Carnatic music classification – audava meaning 'of 5'). 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, chatushruti rishabham, antara gandharam, panchamam and kakali nishadam. In Hindustani music, it is associated with Bilaval thaat (equivalent of Shankarabharanam).

Compositions

Hamsadhvani rāgam lends itself for elaboration and exploration and has many compositions in both classical music and film music. It is usually sung at the beginning of a performance. There are many kritis (compositions) in praise of Lord Ganesha set in this musical scale.

Film songs

In Tamil language

In Malayalam language

Related rāgas

Graha bhedham

Hamsadhvani's notes when shifted using Graha bhedam, yields another pentatonic rāgam, Nagasvaravali. 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 more details and illustration of this concept refer Graha bhedam on Hamsadhvani.

Scale similarities

In Hindustani music

Vadi and samavadi

Vadi: Sa Samavadi: Pa

Pakad or chalan

ga pa ni Sa ga re ni pa Sa The Pakad is the one where one can identify to which raga does the composition belongs.

Organization and relationships

Thaat: Bilaval.

Time

Late Evening

Important recordings

Literature