Hamsadhwani
Janya of Sankarābharaṇam (29)
Festive, opening; pentatonic
Venkatamakhin ṛāgaṅga· Dikshitar kriti tradition
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Ārōhaṇa (ascending)
- S
- R₂
- G₃
- P
- N₃
Avarōhaṇa (descending)
- N₃
- P
- G₃
- R₂
- S
Signature phrase
S R₂ G₃ P N₃ 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)
- P
- Samvādi (queen svara)
- S
- Jīva (life-giving)
- R₂ P N₃
- Nyāsa (resting)
- S P N₃
- Graha (phrase-starting)
- S R₂ P
When to play
THE opening raga of Carnatic concerts. Always rendered first after the varṇam to invoke Lord Ganesha and bless the program. Also used for quick kīrtanas and bhajans.
Gamaka signature
Clean, bright, minimal oscillation — the raga 'sparkles' through its symmetric R-G-P-D tetrachord. Hold G and P steady; R and N are lightly oscillated.
Historical context
Created by Rāmaswāmi Dīkṣitar (1735-1817) in 1790 — the most recent 'major' raga in the Carnatic system. The only Dīkṣitar kṛti in this raga besides Vātāpi Gaṇapatim is Pārvati Patim. Performed first in concerts per Amy Catlin's 1991 documentation of Chennai music.
Key compositions to hear first
- Vātāpi Gaṇapatim Bhajēham — Muttuswāmi Dīkṣitar
- Pārvati Patim — Muttuswāmi Dīkṣitar
- Raghunāyaka — Tyāgarāja
Listen to Hamsadhwani
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 5 entries across 4 composers
Muttuswāmi DīkṣitarSSPCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Vātāpi Gaṇapatim · Ādi Tāla · 70 BPM
- Ānandāmṛtakarṣiṇi · Ādi Tāla · 84 BPM
Purandara DāsaPre-Trinity — Karnataka Saṅgīta Pitāmaha · 1 kṛti
- Tambūri Mettidava · Ādi Tāla · 110 BPM
TānsenPre-Trinity — Dhrupad master, Akbar's court · 1 kṛti
- Sikandar Shāh Bāz · Rūpaka Tāla · 84 BPM
Harikēśanallur Muttiah BhagavatarPost-Trinity — Creator of Hamsadhvani · 1 kṛti
- Gaṇapati Kautuvam · Ādi Tāla · 120 BPM
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)
- Pa
- Nyāsa (rest svara)
- Sa
- Time
- After 3rd prahara
- Gīti
- Śuddhā
- Gamaka
- sphurita
An audava pentatonic with bright Ni. Modern evening raga.
Similar ragas
Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.
- BilahariG SaA PaN SaŚuddhā100%
- MāyāmāḷavagaulaG SaA PaN SaŚuddhā100%
- MōhanamG SaA PaN SaŚuddhā100%
- DhātuvardhinīG SaA PaN SaGauḍī95%
- NāsikābhūṣaṇīG SaA PaN SaSādhāraṇī95%