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Sahana

Janya of Harikāmbhōji (28) — vakra-sampūrṇa in practice

Devotional, expansive

✓ Verified against Subbarama Dīkṣitar, SSP (1904)· 2026-07-02How we verify

Ārōhaṇa (ascending)

  1. S
  2. R₂
  3. G₃
  4. M₁
  5. P
  6. D₂
  7. N₂
  8. Ṡ

Avarōhaṇa (descending)

  1. Ṡ
  2. N₂
  3. D₂
  4. P
  5. M₁
  6. G₃
  7. R₂
  8. 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

Mid-concert emotional kṛti or ālāpana. Suits medium tempo with room for niraval on the pallavi line.

Time: Evening.Rasa: Karuṇa and śṛṅgāra (pleading register).Position: main

Gamaka signature

Ri and Dha take gentle kampita; the vakra Ga–Ma–Ga and Ni–Dha–Ni turns are the identity. Avoid stiff straight ārōhaṇa.

Historical context

A modern concert favourite associated with Tyāgarāja's pleading mode; the raga thrives on conversational sāhitya rather than martial tanam.

Key compositions to hear first

  • Giripai Nelakonna — Tyāgarāja
  • Vandanamu Raghunandanā — Tyāgarāja

Listen to Sahana

Arōhaṇa-avarōhaṇa exposition with tampura drone.

Sangeet Parijat — Ahobala's notes

Graha (opening)
Sa
Aṁśa (king svara)
Ma
Nyāsa (rest svara)
Sa
Time
After 2nd prahara
Gīti
Bhinnā
Gamaka
kampita

Vakra raga. Kampita on Ga and Ni give the gentle rocking feel.

Compose in this ragaPractice this raga

Similar ragas

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

Sahana — Karunattu