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Abhōgi

Janya of Karaharapriyā (22)

Devotional; pentatonic

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Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₂
  4. M₁
  5. D₂

Avarōhaṇa (descending)

  1. D₂
  2. M₁
  3. G₂
  4. R₂
  5. S

Signature phrase

S R₂ G₂ M₁ D₂ 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)
S
Jīva (life-giving)
R₂ M₁ D₂
Nyāsa (resting)
S G₂ M₁
Graha (phrase-starting)
S R₂ M₁

When to play

Short ālāpana, light kṛtis, and teaching pieces after the student knows Mōhanam. Good mid-concert relief raga.

Time: Any time; often late morning.Rasa: Śānta with a touch of hāsya lightness.Position: flexible

Gamaka signature

Ri and Dha take gentle kampita; Ga is relatively still. Signature phrase: S R G M D M G R S.

Historical context

Janya of Kharaharapriyā (mela 22). A modern concert favourite for its clarity of outline and approachable gamaka load.

Key compositions to hear first

  • Sabhāpatikku — Gopālakṛṣṇa Bhārati
  • Nannu Brōva — Tyāgarāja (often listed in related janyas)

Listen to Abhōgi

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Kṛtis in this rāga· 1 entry across 1 composer

Tip: open the raga × composer cross-search on /composers to explore any other raga.

Sangeet Parijat — Ahobala's notes

Graha (opening)
Sa
Aṁśa (king svara)
Ma
Nyāsa (rest svara)
Sa
Time
Morning
Gīti
Sādhāraṇī
Gamaka
kampita

Audava janya of Kharaharapriyā (#22). Ma amsha — the rest-on-Ma cadence is the raga's pedagogical hallmark.

Compose in this ragaPractice this raga

Similar ragas

Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.

Abhōgi — Karunattu