Nāṭakurinji
Janya of Harikāmbhōji (28) — vakra-sampūrṇa in practice
Dramatic, playful, distinctive
✓ Verified against Sambamoorthy, South Indian Music Vol. IV — Nāṭakurinji· 2026-07-02How we verify
Ārōhaṇa (ascending)
- S
- R₂
- G₃
- M₁
- P
- D₂
- N₂
- Ṡ
Avarōhaṇa (descending)
- Ṡ
- N₂
- D₂
- P
- M₁
- G₃
- R₂
- S
Signature phrase
S R₂ G₃ 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.
When to play
Post-main or tukkada; excellent for padam-style ālāpana. Pair after a heavy raga to soften the program.
Gamaka signature
Ni takes long kampita/andolan; Ga is relatively still. The phrase P D N Ṡ / N D P is characteristic.
Historical context
A padam-friendly janya with strong dance and light-classical presence; related in mood to Khamas-family ragas without being identical.
Key compositions to hear first
- Kuvalayākṣiro — Tyāgarāja
- Māmava Sada Janani — Svāti Tirunāḷ
Listen to Nāṭakurinji
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 1 entry across 1 composer
TyāgarājaCarnatic Trinity (Tri-mūrti) — the foundational period · 1 kṛti
- Manavi Seyakura · Ādi Tāla · 84 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.