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Mōhanam

Janya of Harikāmbhōji (28)

Bright, evening; pentatonic auspicious

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Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₃
  4. P
  5. D₂

Avarōhaṇa (descending)

  1. D₂
  2. P
  3. G₃
  4. R₂
  5. S

Signature phrase

S R₂ G₃ P 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)
P
Samvādi (queen svara)
S
Jīva (life-giving)
R₂ G₃ P
Nyāsa (resting)
S R₂ P
Graha (phrase-starting)
S R₂ P

When to play

Short kriti as a brisk opening or as filler pieces between heavy ragas. Brings instant brightness; suited for light, sweet compositions.

Time: Conventionally morning.Rasa: Śṛṅgāra (love), hāsya (comedy), and śānta.Position: opening

Gamaka signature

R, G, D are jīva svaras; G and P are resting notes; janta pairs (gg pp dd) and dhatu phrases (d g r g s r) sparkle the raga. The phrase S R G P D is the identity motif.

Historical context

Upāṅga janya of Harikāmbhōji (28th melakarta). Tyāgarāja has 11 compositions (no other composer comes close); Dīkṣitar has 6; Śyāma Śāstri has none in Mōhanam. Papanāsam Śivan's 'Kapāli' and Mysore Vāsudēvācār's 'Rara Rājivalōcana' are also celebrated.

Key compositions to hear first

  • Mōhana Rama — Tyāgarāja
  • Nannu Pālimpā — Tyāgarāja
  • Dēva Dēva — Svāti Tirunāḷ

Listen to Mōhanam

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Kṛtis in this rāga· 6 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)
Pa
Nyāsa (rest svara)
Sa
Time
Morning
Gīti
Śuddhā
Gamaka
sphurita

An ancient audava-jāti. Pa is the breathing-room note; Sa-Ga-Pa frame defines the raga.

Compose in this ragaPractice this raga

Similar ragas

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

Mōhanam — Karunattu