Shuddha Saveri

Shuddha Saveri or śuddha sāveri is a rāgam in Carnatic music (musical scale of South Indian classical music) and Yakshagana music. It is an audava rāgam (or owdava rāgam, meaning pentatonic scale). It is a janya rāgam (derived scale)of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called Durga.[1][2] According to the school of Muthuswami Dikshitar, this rāgam is called Devakriya.[1][2] Karnataka Shuddha Saveri, a janya rāgam of 1st melakarta Kanakangi, is called Shuddha Saveri by the Dikshitar school.[2]

Shuddha Saveri
ArohanamS R₂ M₁ P D₂ Ṡ
AvarohanamṠ D₂ P M₁ R₂ S

Carnatic music
Tanjavur-style Tambura
Concepts
Compositions
Instruments
Melody
Sarasvati Vīṇa
Veṇu
Nāgasvaraṃ
Gottuvadhyam (Citra Vīṇa)
Violin
Percussion
Mr̥daṅgaṃ
Ghatam
Morsing
Kanjira
Thavil
Drone
Tambura
Shruti box

Structure and Lakshana
Shuddha Saveri scale with shadjam at C

Shuddha Saveri is a symmetric rāgam that does not contain gāndhāram or nishādam. It is a pentatonic scale (audava-audava ragam in Carnatic music classification – audava meaning 'of 5'). Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

It is a scale that uses the following variants of the swaras – chatushruti rishabham, shuddha madhyamam, panchamam and chatushruti dhaivatam.

Shuddha Saveri is considered a janya rāgam of Sankarabharanam, the 29th melakarta rāgam,[2] though it can be derived from other melakarta rāgams, Kharaharapriya, Gourimanohari or Harikambhoji, by dropping both gāndhāram and nishādam.

Here are some popular kritis composed in Shuddha Saveri.

  • Darinē telusukonṭi and Kālaharaṇamēla rā harē by Tyagaraja in Telugu
  • Taye tripura sundari by Periyasaamy Thooran
  • Janani pahi sada (Navarathri 7th Day krithi) by Swathi Thirunal

Ānalekara, which is set to this rāgam, is one of the first few geetams (very short compositions) taught to beginners.

Film Songs

Language:Tamil
Song Movie Composer Singer
Brindavanamum Nandakumaranum Missiamma S. Rajeswara Rao A. M. Rajah, P. Susheela
Vaadikkai Maranthathum Kalyana Parisu A. M. Rajah
Thendralil Aadidum Madhuraiyai Meetta Sundharapandiyan M.S.Viswanathan K.J. Yesudas, Vani Jairam
Radha Radha Nee Engey Meendum Kokila Illayaraja S. P. Balasubrahmanyam, S. Janaki
Kovilmani Osai Kizhakke Pogum Rail Malaysia Vasudevan, S. Janaki
Kadhal Mayakam Pudhumai Penn P. Jayachandran,Sunandha
Rettai Killigal Ore Oru Gramathiley K.J. Yesudas, K.S. Chitra
Malargalil Adum ilamai Kalyanaraman S. P. Sailaja
Asai Kiliyey Naan Solli Theertha Karaiyinile Mano
Sithakathi pookale Rajakumaran S. P. Balasubrahmanyam, K.S. Chitra
Nattu Vacha Roja Aranmanai Kili P. Susheela
Manamagale Manamagale Thevar Magan Minmini, Swarnalatha,Sindhuja
Sandiyare Sandiyare Virumaandi Shreya Ghoshal
Maanada Kodi Muthal Vasantham S. Janaki
Unakagave Naan Uyir Vazhigiren Rasigan Oru Rasigai Raveendran
En uyir Thozhiye Kangalal Kaidhu Sei A. R. Rahman Unni Menon, Chinmayi
Sollitharavaa Sollitharavaa Majaa Vidyasagar Madhu Balakrishnan, Sadhana Sargam
Athikaalaiyil Sevalai Nee Varuvai Ena S. A. Rajkumar P. Unnikrishnan, Sujatha
Garuda Garuda Natpukkaga Deva Krishnaraj, Sujatha
Semeena Vinmeena Anantha Poongatre Hariharan
O Maha Zeeya Thamizh Padam Kannan Hariharan, Shweta

Title Song
Song Tv Serial Composer Singer
Aadugiran Kannan Adugiran Kannan C. Sathya Srinivas

This section covers the theoretical and scientific aspect of this rāgam.

Graha bhedam

Shuddha Saveri's notes when shifted using Graha bhedam, yields 4 other major pentatonic rāgams, namely, Mohanam, Hindolam, Madhyamavati and Udayaravichandrika (also known as Shuddha Dhanyasi). 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 Mohanam for more details and illustration of this concept.

Scale similarities
  • Sālaga Bhairavi is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Kharaharapriya. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N2 D2 P M1 G2 R2 S
  • Yadhukula Kambhoji is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Harikambhoji. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N2 D2 P M1 G3 R2 S
  • Ārabhi is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Sankarabharanam. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N3 D2 P M1 G3 R2 S
  • Devagāndhāri is a rāgam which has the ascending scale of Shuddha Saveri and descending scale of Shankarabharanam. Its ārohaṇa-avarohaṇa structure is S R2 M1 P D2 S : S N3 D2 P M1 G3 R2 S (there are differences in intonation, swara phrases, prayoga, bhava and rasa between this rāgam and Ārabhi, though scale notation in simple terms are same)
  • Janaranjani is a rāgam which has the ascending scale of Shankarabharanam and descending scale of Shuddha Saveri. Its ārohaṇa-avarohaṇa structure is S R2 G3 M1 P D2 N3 S : S D2 P M1 R2 S
  • Karnataka Shuddha Saveri of Dikshitar school has Shuddha Rishabham in place of Chatushruti Rishabham and Shuddha Dhaivatam in place of Chatushruti Dhaivatam. Its ārohaṇa-avarohaṇa structure is S R1 M1 P D1 S : S D1 P M1 R1 S.

Notes
  1. Alternate notations:
    • Hindustani: S R M P D Ṡ
    • Western: C D F G A C
  2. Alternate notations:
    • Hindustani: Ṡ D P M R S
    • Western: C A G F D C

References
  1. Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
  2. Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
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