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Kharaharapriyā

Melakarta 22

Dorian; pathos

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Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₂
  4. M₁
  5. P
  6. D₂
  7. N₂

Avarōhaṇa (descending)

  1. N₂
  2. D₂
  3. P
  4. M₁
  5. G₂
  6. R₂
  7. S

Signature phrase

S R₂ G₂ M₁ P D₂ 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)
P
Samvādi (queen svara)
S
Jīva (life-giving)
R₂ G₂ N₂
Nyāsa (resting)
S G₂ P
Graha (phrase-starting)
S R₂ G₂

When to play

Main ālāpana raga and long kalpana-swara workouts. Suits medium-tempo kṛtis with room for niraval.

Time: Sarva-kālika; often evening in practice rooms.Rasa: Karuṇa and bhakti with a soft edge.Position: main

Gamaka signature

Ga and Ni carry the bulk of kampita; Ri is often plain. The phrase R G M P / D N S is a common gateway.

Historical context

Venkatamakhin-era mela; modern spelling preserves 'Khara' as the mela mnemonic. Tyāgarāja and Dīkṣitar both left major works here.

Key compositions to hear first

  • Cakkani Rāja — Tyāgarāja
  • Rama Nīyada — Tyāgarāja

Listen to Kharaharapriyā

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Kṛtis in this rāga· 11 entries across 3 composers

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)
Re
Nyāsa (rest svara)
Sa
Time
Morning
Gīti
Sādhāraṇī
Gamaka
kampita

Re as amsha is unusual — gives the raga its yearning character.

Compose in this ragaPractice this raga

Similar ragas

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

Kharaharapriyā — Karunattu