Śrī
Janya of Kharaharapriyā (22) — audava-sampūrṇa, Ghana-rāga
Reverent, auspicious — Endaro Mahānubhāvulu's rāga
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Ārōhaṇa (ascending)
- S
- R₂
- M₁
- P
- N₂
- Ṡ
Avarōhaṇa (descending)
- Ṡ
- N₂
- D₂
- P
- M₁
- G₂
- R₂
- S
Signature phrase
S R₂ M₁ P N₂ Ṡ
The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.
Rāga grammar
- Vādi (king svara)
- M₁
- Samvādi (queen svara)
- R₂
- Jīva (life-giving)
- R₂ M₁ N₂
- Nyāsa (resting)
- S M₁ P N₂
- Graha (phrase-starting)
- S R₂ M₁
When to play
Pañcaratna kritis (the five gems). Śrī is reserved for the final piece of the Tyāgarāja Pañcaratna set — 'Endarō Mahānubhāvulu' — as a universal salute to all devotees.
Gamaka signature
Audava ascent with a flat Ri at the avarohana. Light, delicate gamakas. The phrase S R M P N S is the identity motif in ascent.
Historical context
One of the ghana-pañcaka — the five ragas (Nata, Gaula, Arabhi, Varali, Sri) most suited to the veena tanam style. Patanḍi Guru (1724-1799) standardized the ghana-pañcaka for tanam. The Pañcaratna Kritis of Tyāgarāja are each in one of these five ragas.
Key compositions to hear first
- Endarō Mahānubhāvulu — Tyāgarāja (Pañcaratna #5)
- Śrī Rāja Rājēśvari — Muttuswāmi Dīkṣitar
- Ānandēśvarēna — Muttuswāmi Dīkṣitar
Listen to Śrī
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 2 entries across 2 composers
TyāgarājaCarnatic Trinity (Tri-mūrti) — the foundational period · 1 kṛti
- Endaro Mahānubhāvulu · Ādi Tāla · 88 BPM
Muttuswāmi DīkṣitarCarnatic Trinity (Tri-mūrti) — the foundational period · 1 kṛti
- Śrī Varalakṣmi · Rūpaka Tāla · 60 BPM
Tip: open the raga × composer cross-search on /composers to explore any other raga.
Similar ragas
No Parijat notes for this raga yet — the catalog covers 77 of 81 living ragas.