raga hindolam



Hindolam 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). Hindolam is not the same as the Hindustani Hindol. The equivalent of Hindolam in Hindustani music is Malkauns (or Malkosh ).
It is known to be a rāgam that is generally beautiful and soothing to listen to. Being symmetrical in its ascending and descending scales, it lends itself very well to improvization and is therefore popular at concerts.
Hindolam is a symmetric rāgam that does not contain rishabham and panchamam. It is a pentatonic scale (audava-audava rāgam in Carnatic music classification - audava means 'of 5'). Since pentatonic scales can be found in other world music such as Chinese music, shades of Mohanam and Hindolam can sometimes be traced in Chinese and east Asian music. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
This rāgam uses the swaras sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham. Hindolam is not a melakarta rāgam, since it does not contain all the seven swaras.
Experts in Carnatic music hold differences of opinion on the janaka rāgams (rāgams of origin) that should be attributed to Hindolam. It is widely accepted that Natabhairavi is the parent rāgam of Hindolam, but some would like to associate it with Hanumatodi.[1][2] It can be derived from both, by dropping the rishabhampanchamam. and
Saamaja vara gamana by the maestro Thyagaraja is the most popular composition in Hindolam. Mamavathu Shree Saraswathi by Mysore Vasudevachar is another popular composition. Here are some more kritis composed in Hindolam.
Numerous bhajans, stotras, kritis and film music numbers have been composed
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