Revati (raga) explained
Revati is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an audava rāgam (or owdava rāgam, meaning pentatonic scale). It is a janya rāgam (derived scale), as it does not have all the seven swaras (musical notes).
In Hindustani music a raga that closely resembles Revati is Bairagi Bhairav.[1] It is said to evoke Karuṇa rasa (pathos). This scale has also been used in chanting Vedas.
Structure and Lakshana
Revati is a symmetric rāgam that does not contain gāndhāram or dhaivatam. It is a pentatonic scale (audava-audava ragam[2] in Carnatic music classification – audava meaning 'of 5'). Its structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
(notes used in this scale are shuddha rishabham, shuddha madhyamam, panchamam, kaisiki nishadham)
Revati is considered a janya rāgam of Ratnangi, the 2nd Melakarta rāgam, though it can be derived from other melakarta rāgams, Vanaspati, Hanumatodi, Natakapriya, Vakulabharanam or Chakravakam, by dropping both gāndhāram and dhaivatam.
Popular compositions
Revati rāgam lends itself for elaboration and exploration and has many compositions. Here are some popular kritis composed in Revati.
Film Songs
| Song | Movie | Composer | Singer |
|---|
| Illam Sangeetham Athil | Avan Aval Adhu | M. S. Viswanathan | S. P. Balasubrahmanyam, Vani Jairam |
| Mandhira Punnagai | Manal Kayiru | S. P. Balasubrahmanyam, B. S. Sasireka |
| Viral Meetaal | Pennai Solli Kutramillai | P. Susheela |
| Maragatha Megam | Meegathukum Thaagam undu | S. P. Balasubrahmanyam, P. Susheela |
| Ninaithaal Unaithan | Unnidathil Naan (1986) | Thayanban | K.J. Yesudas, Vani Jairam |
| Anandha Thagam | Vaa Indha Pakkam | Shyam | Deepan Chakravarthy, S. Janaki |
| Kanavu Ondru | Oru Odai Nadhiyagirathu | Illayaraja | S. Janaki |
| Sangeetha Jathimullai | Kaadhal Oviyam | S. P. Balasubrahmanyam |
| Durga Durga | Priyanka | K. S. Chithra |
| Kaattu Vazhi Thunbam Illa | Thandavakone | Illayaraja |
| Adadaa Aghangaara Arakka Kaigalil | Pithamagan | K.J. Yesudas |
| Ennai Peththavalae | Melmaruvathur Arpudhangal | K. V. Mahadevan |
| Kannurangu Ponmayile | Idhu Namma Aalu | K. Bhagyaraj |
| Enakkum Unakkum Inimel Enna Kurai | Puthiya Sangamam | Gangai Amaran | S. P. Balasubrahmanyam,S. Janaki |
| Bhuvaneswari Arul | Thaye Neeye Thunai | Raveendran | K.J. Yesudas, K. S. Chithra |
| Vizhigal Meydaiyam Imaigal | Kilinjalgal | Vijaya T. Rajendar | Kalyan, S. Janaki |
| Thodhuvala Elai | Thaai Manasu | Deva | |
| Chandiranum Sooriyanum | Watchman Vadivel | S. P. Balasubrahmanyam, K. S. Chithra |
| Ennai Thottu Vittu | Poomaname Vaa | Sirpy |
| Chinna Chinna Pavada | Shenbaga Thottam | Mano, K. S. Chithra |
| Kaakha Kaakha | Naan Avanillai | Vijay Antony | Vijay Antony, Charulatha Mani, Megha, Vinaya, Maya |
| Dhavam Ondru | ABCD | D. Imman | Nithyasree Mahadevan, Balram |
| Oh Nenje Nenje | Yamuna | Elakkiyan | Haricharan | |
Related rāgams
This section covers the theoretical and scientific aspect of this rāgam.
In Japanese/Western music Revati corresponds to Insen scale
Graha bhedam
Revati's notes when shifted using Graha bhedam, yields 2 other pentatonic rāgams, namely, Shivaranjani and Sunadavinodini. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. See Graha bhedam on Shivaranjani for more details and an illustration.
Scale similarities
- Madhyamāvati is a rāgam which has the chathusruthi rishabham in place of the shuddha rishabham. Its structure is S R2 M1 P N2 S : S N2 P M1 R2 S
Notes and References
- Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
- Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
