| Carnatic music |
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 Tanjavur-style tambura |
| Concepts |
| Compositions |
| Instruments |
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| Arohanam | S R₂ M₁ P D₂ Ṡ |
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| Avarohanam | Ṡ N₃ D₂ N₂ D₂ P M₁ G₃ R₂ S |
Devagandhari (pronounced devagāndhāri) is araga (musical scale) in Indian classical music. Incarnatic classical music, Devagandhari is ajanya raga (derived scale), whosemelakarta raga (parent scale, also known asjanaka) isShankarabharanam, 29th in the 72Melakarta raga system. This is not to be confused withKarnataka Devagandhari, which is a janya ofKharaharapriya similar toAbheri.
It is also present in the Sikh tradition of northernIndia and is part of theGuru Granth Sahib.[1]
Itsārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (seeswaras in Carnatic music for details on below notation and terms):
Devagandhari ragam is anaudava-vakra-sampurna raga meaning, inarohana 5swaras come (so it is calledaudava) and inavarohana allswaras come (sosampurna), and there is a "zigzag" pattern of notes (sovakra). The notes used in this ragam areshadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam andkakili nishadam. This ragam sometimes includes thekaishika nishadam (anya swara – a note external to the scale, making this abhashanga ragam).
The closest raga to this one isArabhi. Some of the things that makes Arabhi different (though both share the same ascending and descending scale, in terms of basic notation) are:
Here are some more compositions set to Devagandhari.
| Song | TV Serial | Composer | Singer |
|---|---|---|---|
| "Aadugiran Kannan" | Adugiran Kannan | C. Sathya | Srinivas |
In theSikh tradition from northernIndia it is part of theGuru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.In theGuru Granth Sahib, the Sikh holy Granth (book), there are a total of 60 ragas compositions and this raga is thetwenty-first raga to appear in the series. The composition in this raga appear on a total of10 pages from page numbers527 to 537.
Today Devagandhari is a rare, little-known, ancient raga. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In theRagmala, Devagandhari is a ragini of Malkaunsa. Today it belongs to the Bilawal thata. Some relate this raga with Bliawal thata with asavari ang. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this raga reveal a heroic search for these qualities which lead one to the Lord. This raga was used primarily byGuru Arjan. Forty-Seven hymns were composed to it including three byGuru Tegh Bahadar and six byGuru Ram Das.
