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Arabhi
ArohanamS R₂ M₁ P D₂ Ṡ
AvarohanamṠ N₃ D₂ P M₁ G₃ R₂ S
Carnatic music
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Arabhi or Aarabhi (pronounced ārabhi) is a ragam (musical scale) in Carnatic music (South Indian classical music). It is a Janya raga (derived scale), whose Melakarta raga (parent scale, also known as janaka) is Shankarabharanam, 29th in the 72 Melakarta raga system. It is a combination of the pentatonic scale Shuddha Saveri (or Durga in Hindustani Music) and the sampurna raga scale Shankarabharanam.

Arabhi is a raga that dates back to 7 AD. Originally, it was called as pazhanthakkam in Ancient Tamil music[citation needed]. A very auspicious ragam that emanates Veera rasa (valour), Arabhi is one of the five Ghana ragams that shine with special brilliance when Thanam is played on Veena.[1]

Structure and Lakshana

[edit]
Ascending scale with Shadjam at C
Descending scale with Shadjam at C

Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

Arabhi raga is an Owdava-sampoorna raga meaning, 5 swaras occur in the arohana (so it is called Owdava) and in avarohana all swaras occur (so sampoorna).

It is a raga without much gamakas and frequency variations, relying instead on flat notes. The important point is the swara "ga" always comes very close to "ma" so when we sing the phrase "ma ga ri" it sounds like "ma ma ri". Likewise the swara "ni" always comes very close to the swara "sa" hence when we sing the phrase "sa ni da" it sounds like "sa sa da".[citation needed]

The closest raga to this one is Devagandhari. There are few aspects which make Arabhi different (though both share the same ascending and desce

  1. In Arabhi the swara "ga" is close to "ma" but in Devagandhari it is not the same.
  2. The swara "ri" is not fluctuated in Arabhi but it is given "asaivu" in Devagandhari
  3. The phrase "pa ma da sa" should not be sung in Arabhi, as it is exclusive for Devagandhari
  4. Devagandhari is sung with gamakas and vilambita kala prayogas (usages with elongated notes)[2]
  5. Devagandhari is sung with deergha gandharam (elongated G3)[2]

Arabhi raga is a very energetic and it lends itself to creativity in brigas (fast-paced swara usages) more than gamakas.

[edit]

The 3rd of Pancharatna Kritis (five gems of compositions), Sadhinchanae(also known as "Samayaniki Tagu Mataladene") by Saint Thyagaraja is a famous composition set in Arabhi raga. Here we can note that Thyagaraja uses phrases like "sa sa da" in the charanam although there are phrases like "sa ni da" also.

Here are some more compositions set to Arabhi.

Type Composition Composer Talam
Geetam Rere Sree Ramachandra Paidala Gurumurti Sastri Adi
Varnam Sarasija Mukhiro Pallavi Doraiswamy Iyer Adi
Varnam Annamae Aravaa Tiger Varadachariar Adi
Varnam Amba Gauri Gowri Rukmini Bayi(Rukminibhai Tamburatti) Tisra Triputa
Varnam Valachiyunna Veena Kuppayyar Khanda Ata
Kriti Adidano Ranga (2nd Navaratna Malike) Purandara Dasa Adi
Kriti Lalisidalu Magana Purandara Dasa Adi
Kriti Dangurava Sari Purandara Dasa Adi
Kriti Gubbiyalo Gubbiyalo Vadiraja Tirtha Adi
Kriti Neela Lohita Damaruga Jagannatha Dasa Adi
Kriti Mantralayadolu Rajipa Kamalesha Vittala Dasu Adi
Kriti Dachuko Nee Padalaku Annamacharya Adi
Kriti Saadinchane O Manasa (3rd Pancharatnam) Thyagaraja Adi
Kriti Chaala kallalaadu Thyagaraja Adi
Kriti O Rajeevaksha Thyagaraja Misra Chapu
Kriti Joothamurare Thyagaraja Rupakam
Kriti Nada sudha rasam Thyagaraja Rupakam
Kriti O Rama O Rama Thyagaraja Adi
Kriti Patiki Mangala Thyagaraja Adi
Kriti Na Moralanu Vini Thyagaraja Adi
Kriti Sundari Ninnu Varnimpa Thyagaraja Misra Chapu
Kriti Pranavakaram Siddhi Vinayakam Ootukadu Venkata Kavi Adi
Kriti Sakala Loka Nayike Twam Eva Sharanam Ootukadu Venkata Kavi Adi
Kriti Maragatha Manimaya Ootukadu Venkata Kavi Adi
Kriti Ganarajena rakshitoham Muthuswamy Dikshitar Misra Chapu
Kriti Shri Saraswati namostute Muthuswami Dikshitar Rupakam
Kriti Shwetaranyeshwaram Muthuswami Dikshitar Adi
Kriti Akilandeswarayai Namaste Muthuswami Dikshitar Adi
Kriti Adipurishwaram Muthuswami Dikshitar Adi
Kriti Marakoti koti lavanya Muthuswami Dikshitar Jhampa
Kriti Gowrishaya Namaste Muthuswami Dikshitar Triputa
Kriti Palayashumam Paradevate Syama Sastri Triputa
Kriti Paahi Parvata Nandini (Navarathri krithi-9th day) Swathi Thirunal Adi
Kriti Vande Maheshwaram Swathi Thirunal Misra Chapu
Kriti Narasimha Mamava Swathi Thirunal Khanda Chapu
Kriti Shri Ramana Vibho Swathi Thirunal Adi
Kriti Padmanabha Pahi Padma Vilochana Swathi Thirunal Adi
Kriti Madhu Kaitabha Muthiah Bhagavathar Adi
Kriti Rave Puruhutikamba Maddirala Venkataraya Kavi Misra Chapu
Kriti Maravanu ne Ninnu G. N. Balasubramaniam Rupakam
Kriti Durga Lakshmi Saraswati Papanasam Sivan Adi
Kriti Ayyappanai Panivom Papanasam Sivan Adi
Kriti Nilakantha Nityananda Nilakanta Sivan Adi
Kriti Sri Sakala Ganadhipa(same tune as Sri Ramana Vibho by Swathi Thirunal) Dr M. Balamuralikrishna Adi
Kriti Mahadeva Sutam Dr. M. Balamuralikrishna Adi
Kriti Maha Balavanta Shri Hanumanta Kalyani Varadarajan Adi


The Popular Onam composition "Maveli Naadu Vaneedum Kaalam" is popularized, and taught in this raga.

Film Songs

[edit]

Language:Tamil

[edit]
Song Movie Composer Singer
Indru Namathullame Pongum Thanga Padhumai Viswanathan–Ramamoorthy T. M. Soundararajan, Jikki
Brindavanamum Nandakumaranum (shades of Devagandhari with the explicit Gandharam) Missiamma S. Rajeswara Rao A. M. Rajah, P. Susheela
Yeri Karaiyin Mele Mudhalali K. V. Mahadevan T. M. Soundararajan
Kaviri Paayum (Pallavi, anupallavi only) Maragatham S. M. Subbaiah Naidu
Kanni Paruvam Aval Indira En Selvam C. N. Pandurangan & H.R.Padmanabha Shastri P. B. Sreenivas, Soolamgalam Rajalakshmi
Thendralil Aadidum Madhuraiyai Meetta Sundharapandiyan M. S. Viswanathan K. J. Yesudas, Vani Jairam
Meenakshi Kalyanam(Ragamalika) Meenakshi Thiruvilayadal
Manthaara Malare Naan Avanillai P. Jayachandran, L. R. Eswari
Santhakavigal Metti Ilaiyaraaja Brahmanandam
Aasai Kiliye Thambikku Entha Ooru Malaysia Vasudevan
Madhurai Vaazhum Pudhupatti Ponnuthayi Unni Menon, S. Janaki
Mannavane Mannavane Thanthu Vitten Ennai S. P. Balasubrahmanyam, S. Janaki
Sandhanam Ennum Aatam Paatam Kondaatam Gangai Amaran Mano, Deepan Chakravarthy
Kaalai Arumbi Kana Kandaen Vidyasagar Srinivas, Kalyani Nair
Vidiya Vidiya Samudhiram Sabesh–Murali Udit Narayan, Sadhana Sargam
Rayilin Pathayil Appavi Joshua Sridhar Hariharan, Shreya Ghoshal

Title Song

[edit]
Song Tv Serial Composer Singer
Aadugiran Kannan Adugiran Kannan C. Sathya Srinivas

Language: Malayalam

[edit]
Song Movie Composer Singers
Navakabhishekam Kazhinju Guruvayur Kesavan G. Devarajan K J Yesudas
Tiruvona Pularithan
Shreekovil Nadathurannu

Language: Telugu

[edit]
Song Movie Composer Singers
Hey Parvathi natha[3] Sita Rama Kalyanam (1961 film) Gali Penchala Narasimha Rao Ghantasala (musician)
Tapamu Phalinchina Shubhavela Sri Krishnarjuna Yuddhamu Pendyala (composer) Ghantasala (musician)
Sri Kamini Kamitakara Panduranga Mahatyam T. V. Raju Ghantasala (musician)
Brindavanamadi Andaridi Govindudu Andari vadele(Confluence of Devagandhari present)[4] Missamma S. Rajeswara Rao A. M. Rajah & P. Susheela

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Arabhi

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from Grokipedia
Arabhi is an ancient rāga in the tradition of , classified as a janya rāga (derived scale) from the 29th melakarta (parent scale) Shankarabharanam (also known as Dheerasankarabharanam). It follows an audava-sampoorna structure, employing five notes in its ascending progression (arohana: S R₂ M₁ P D₂ S) and all seven swaras in its descending progression (avarohana: S N₃ D₂ P M₁ G₃ R₂ S), where the notes include shuddha madhyama, chatusruti rishabha and dhaivata, kakali nishada, and antara gandhara (the latter two appearing only in descent). This upanga rāga is sarvakalika (suitable for all times of day) but particularly effective in madhyama kala (medium tempo) renditions, infusing performances with enthusiasm and positive energy. Originating over 1,200 years ago, Arabhi traces its roots to ancient Tamil music as the pann (melodic mode) known as Pazhanthakka, referenced in Sangam literature (circa 350 BCE–200 CE) and devotional texts like the Tirumurai (6th–11th centuries CE) by Shaiva saints such as Appar and Sundarar. It appears in early treatises including Swara-mela kalanidhi and Chaturdandi Prakasika, evolving from Vedic sāmagaana and folk traditions into a formalized rāga by the medieval period. Distinguished by chaya swaras (shadow notes) of rishabha, madhyama, and dhaivata, with a weak gandhara, Arabhi evokes the veera (valour or heroism) and bhakti (devotion) rasas, often conveying a sense of auspiciousness and occasionally roudra (fury). It is one of the five ghana rāgas (ideal for intricate improvisations) and is frequently compared to allied rāgas like Devagandhari and Suddha Saveri, differing in the handling of gandhara and nishada. Arabhi boasts a rich repertoire, with over 70 known compositions, including works by the Carnatic Trinity: Tyagaraja's Pancharatna krithi "Sādhinchene" (on Lord Rama's benevolence), "Nāda sudhā rasam" (praising musical essence), and ten others; Muthuswami Dikshitar's "Śrī Saraswati" (a hymn to the goddess of knowledge) and seven more; and Syama Sastri's "Pālayaśu mām paradēvatē" (seeking divine protection). Other notable pieces include Papanasam Sivan's "Durga Lakshmi," Swati Tirunal's "Narasimha mamava," and Oothukadu Venkata Kavi's "Maragathamanimaya," alongside its use in film songs and ancient Tevaram hymns. Often performed at the start of concerts to set an uplifting tone, Arabhi remains a cornerstone of Carnatic music for its versatility in kritis, varnams, and improvisational forms like manodharma.

History and Etymology

Ancient Origins

The Arabhi has roots tracing back to the CE, aligning with the early development of melodic systems in South Indian music traditions that later formalized into . This period coincides with inscriptions like the Kudimiyamalai (circa 609–630 CE), which document foundational grama ragas and concepts influencing evolution. In , corresponds directly to the Pazhanthakkam (also spelled Pazhanthakka), a melodic mode of significant antiquity within the broader system derived from seven parent palai-s as described in ancient Tamil texts. This formed part of the 103 panns that bridged ancient Tamil to later Carnatic structures, emphasizing melodic purity and devotional expression. References to similar melodic structures appear in key ancient Tamil devotional texts, including the Devaram (composed by 7th–9th century Saiva saints like and ) and the (attributed to Manickavasagar in the 8th–9th century), where verses such as "Marai udaya" and those from Tiruchaazhal were traditionally rendered in modes akin to Arabhi. These texts, recited by oduvars in Saiva temples, preserved pann-based melodies that evolved into Carnatic ragas, highlighting Arabhi's integration into temple rituals. As an early auspicious raga, Arabhi held a sacred role in South Indian classical music's evolution, evoking veera rasa and suitability for all times (sarvakalika), which facilitated its use in devotional and ceremonial contexts from pre-medieval periods onward.

Name and Development

The name "Arabhi" is believed to derive from ancient Tamil musical terminology, specifically the pann known as Pazhanthakka or Pazhanthakkam, which represented a melodic mode in the pre-classical Tamil music system documented in the hymns from the 6th to 11th centuries CE, including by Saiva saints. The name evolved from the Tamil "Pazhanthakka" to the Sanskritized "Arabhi" as regional panns were integrated into the broader Indian classical framework during the medieval period, reflecting influences from treatises. During the medieval era (10th–16th centuries), Arabhi evolved as part of the systematic classification of ragas in key treatises, notably Sarangadeva's (13th century), which catalogs over 260 ragas and describes Arabhi's structure while emphasizing its role in devotional and structural compositions. This period marked the raga's transition from regional melodic modes to formalized entities within , influenced by temple inscriptions like the Kudimiyanmalai edicts (7th century) that preserved early notations of similar scales. By the , Arabhi's classification underwent further refinement in Venkatamakhin's Chaturdandi Prakasika, where it was recognized as a janya raga derived from the mela Shankarabharanam (equivalent to the 29th ), establishing its place in the hierarchical melakarta-janya system that persists in modern . This scheme, building on earlier pann-based traditions, solidified Arabhi's audava-sampoorna (five notes in ascent and all seven in descent) profile. The raga's preservation across regional traditions highlights its enduring appeal, particularly in Tamil lineages through Shaiva devotional texts like the and in Telugu music via compositions by vaggeyakaras such as , who embedded it in kritis that bridged folk and classical elements.

Musical Structure

Arohana and Avarohana

Arabhi is a janya raga derived from the 29th raga, Shankarabharanam, which features the full sampurna scale of seven notes: S R2 G3 M1 P D2 N3 S'. In contrast, Arabhi's omits the (G3) and nishada (N3), resulting in an audava scale comprising five notes. The is notated as S R2 M1 P D2 S', emphasizing a direct ascent that highlights the raga's contour through the selected swaras. The avarohana, however, incorporates all seven swaras, making it sampurna, but follows a vakra () pattern that deviates from strict linear descent by introducing gandhara and nishada in non-sequential positions relative to the parent scale. It is notated as S' N3 D2 P M1 G3 R2 S, where the nishada (N3, kakali nishada) appears early in the descent, and gandhara (G3, antara gandhara) follows madhyama, creating a distinctive phrasing that defines Arabhi's unique melodic identity. This structure underscores the omissions from Shankarabharanam—primarily the absence of G3 and N3 in ascent—which impart Arabhi's characteristic brightness and valorous tone without altering the core swara set.

Swaras and Lakshana

Arabhi employs the swaras Shadjam (S), Chatusruti Rishabham (R2), Antara Gandharam (G3), Suddha Madhyamam (M1), Panchamam (P), Chatusruti Dhaivatam (D2), and Kakali Nishadam (N3), with S and P serving as structural anchors in both ascent and descent. G3 appears exclusively in the avarohana, while N3 is restricted to the descent, contributing to the raga's vakra (zigzag) character. The of Arabhi classifies it as an audava-sampurna , featuring five in the and all seven in the avarohana, as a janya of the 29th Dheerasankarabharanam. Its jeeva swara, which imparts vitality and identity, is R2, emphasizing the raga's core melodic essence through sustained oscillations and prominent placements in phrases. Performance guidelines prescribe kampita gamakas (subtle oscillations) on R2 and D2 to evoke the raga's inherent charm, alongside jaru (glides) between M1 and P for fluid transitions. Straight linear singing is avoided, favoring curved, ornamented deliveries that align with Carnatic tradition's emphasis on nuanced expression over mechanical recitation. Characteristic phrasing motifs include PDN3 in the upper register for descending emphasis and RMG3R2 in the ascent's vicinity, underscoring the vakra descent unique to Arabhi.

Characteristics and Usage

Rasa and Mood

Arabhi primarily evokes the veera rasa, representing heroism and valor, which imparts a sense of strength and courage to listeners and performers alike. Secondary elements include bhakti rasa, conveying devotion, and occasional roudra rasa, suggesting fury or intensity, which together create a multifaceted emotional profile. These rasas are amplified through the raga's bold progressions, fostering an atmosphere of emotional charge and vitality. The mood of Arabhi is inherently energetic and auspicious, generating a charged and uplifting ambiance that invigorates the audience. It is particularly suited for morning concerts or invocatory pieces, where its positive energy sets a spirited tone for the performance. As a sarvakalika , it transcends specific times but excels in evoking enthusiasm during early sessions or ceremonial starts. In performative contexts, Arabhi is frequently employed in varnams and kritis to express themes of strength and , with its alapana highlighting an uplifting quality that builds devotional fervor. The raga's dynamic phrasing allows musicians to convey valor through rhythmic emphasis and melodic flourishes, making it ideal for spirited renditions that inspire resolve and piety. Culturally, Arabhi holds high regard in South Indian traditions as an auspicious for rituals and festivals, often featured in temple music and invocatory chants to invoke divine energy and communal . Its association with ancient Tamil verses like those in the further underscores its role in sacred contexts, promoting a sense of valorous devotion.

Janya Ragas

Arabhi, classified as an upanga raga, employs exclusively the swaras of its parent , Dheerasankarabharanam, without introducing any foreign notes, which contributes to its structural purity. Its audava —S R₂ M₁ P D₂ S—omits and Ni, inherently restricting the scope for extensive derivations and resulting in few direct janyas. This limited lineage reflects the raga's concise swara set, where potential offspring ragas must adhere closely to its core while avoiding vakra or bhashanga elements. Arabhi has no prominent documented janyas in standard Carnatic repertoire, though it shares melodic similarities with other janyas of Shankarabharanam, such as , which features a pentatonic structure ( S R₂ M₁ P D₂ S; avarohana S D₂ P M₁ R₂ S) suited to devotional pieces. These related ragas adapt the parent's tonal palette but differ in swara handling, enabling varied expressive purposes without direct derivation from Arabhi. The related ragas primarily inherit Arabhi's veera rasa, conveying heroism and determination, though their adaptations may soften this mood for more introspective or narrative compositions. In contemporary Carnatic practice, these sibling derivatives remain distinct, with performers often integrating their phrases into Arabhi renditions for enhanced variety.

Classical Compositions

Works by the

Tyagaraja's composition "Sādhinchane ō manasā" stands as one of his renowned Pancharatna krithis in Arabhi, set to Ādi tāḷa, where he implores Lord Rama to fulfill the sincere desires of devotees while playfully critiquing divine inconsistencies. The lyrics emphasize themes of divine grace and fulfillment, as in the pallavi: "Sādhinchane ō manasā, bodhincina sanmārga vacānamulabōnku je si tā baṭṭina paṭṭu," translating to "Oh mind, He has achieved what He desired, having taught the path of righteousness yet acting contrary to His words." In the charaṇam, the structure highlights characteristic Arabhi phrases such as R-M-G (rī-ga-mā), underscoring the 's melodic descent to evoke a of introspective devotion. Muthuswami Dikshitar's invocatory kriti "Śrī Sarasvatī namōstutē" in Arabhi, composed in Rūpaka tāḷa, praises Goddess Saraswati as the supreme bestower of knowledge and arts, integrating Sanskrit verses that invoke her benevolence. The composition focuses on her divine attributes, with the pallavi stating: "Śrī Sarasvatī namōstutē varadē parā dēvatē, śrīpati gauripati śaṅmukha pālita brahmēśvara priyē," meaning "Salutations to Sri Saraswati, the boon-giving supreme goddess, cherished by Vishnu, Shiva, Shanmukha, and Brahma." Dikshitar accentuates the raga's avarohana through phrases like P-D-N (pa-dha-ni), which reinforce the descending melodic flow to heighten the kriti's prayerful intensity. Syama Sastri's "pAlayAshu mAm paradEvatE" in Arabhi, set to Tṛiputa tāḷa, is a poignant plea for divine protection addressed to the , reflecting his signature style of direct supplication. The lyrics convey urgency and , as seen in the pallavi: "pAlayAshu mAm paradEvatE," which translates to "Protect me quickly, O supreme goddess." This work exemplifies Sastri's use of concise Telugu-Sanskrit blends to express unwavering . The Trinity's works in Arabhi leverage the raga's inherent veera rasa—evoking valor and resolve—to infuse devotional themes with a bold, heroic undertone, transforming personal pleas into triumphant affirmations of faith. Tyagaraja's playful reproach in "Sādhinchane" gains strength through the raga's energetic phrases, Dikshitar's praise of assumes a majestic poise via structured descents, and Sastri's urgent call for protection channels protective heroism, all while maintaining Arabhi's auspicious serenity for spiritual elevation.

Other Notable Works

Beyond the compositions of the Carnatic Trinity, Arabhi features several instructional and traditional pieces that highlight its melodic structure and rhythmic potential. The geetham "Re Re Sri Ramachandra" in Triputa tala stands as a foundational composition, employing straightforward phrasing to familiarize learners with the raga's audava scale and vakra phrases, particularly emphasizing the alapa for expressive appeal. Varnams in Arabhi serve as essential tools for elaboration, showcasing its janta and kampita prayogas during the pallavi and chittaswaram sections. Notable examples include "Sarasijamukhiro" in Adi tala by Pallavi Doraiswamy , which opens with vivid depictions of the deity's form; "Amba Gauri" in Adi tala composed by Iriyaman Thampi, integrating devotional lyrics with intricate swara patterns; and "Anname" in Adi tala by Tiger Varadachariar, prized for its rhythmic complexity and suitability in concert expositions. Additionally, "Valachiyunna" in Khanda Ata tala by Veenai Kuppayyar exemplifies the 's versatility in faster tempos, allowing performers to explore its heroic rasa through dynamic violin and vocal interplay. Kritis by later composers further enrich Arabhi's repertoire, often blending and regional languages to evoke devotion and valor. contributed multiple works, such as "Sakala loka nayike" in Adi tala, a Navavaranam kriti praising the divine mother with elaborate sancharas around the dhaivata and nishada; and "Maragatha manimaya chela" in Adi tala, noted for its lyrical depth and melodic purity. Swati Tirunal's "Narasimha mamava" in Khanda Chapu tala invokes protection through fervent pleas, while his "Pahi parvatanandini" in Adi tala highlights the raga's ascending motifs. Papanasam Sivan's Tamil kriti "Ayyappanai panivom" in Adi tala adds a regional flavor, focusing on rhythmic emphasis suitable for bhajans. Traditional pieces of anonymous or disputed attribution, like "Ati madhura" and "Saranam Sri ," persist in oral traditions for their simplicity and guru-stuti themes, often performed in teaching contexts without fixed composers. Tillanas in Arabhi, particularly regional variants in Telugu and Tamil, underscore the raga's energetic rhythms; for instance, M. Balamuralikrishna's "Pushpanjali" in Adi tala incorporates brisk taanam-like phrases and multilingual sahityas, making it a staple in accompaniments and concluding segments.

Film Songs

Tamil

In Tamil cinema, the raga Arabhi is frequently adapted for romantic and heroic themes, with composers like Ilaiyaraaja simplifying its classical gamakas—such as the subtle oscillations on re and ga—to enhance mass appeal while preserving the raga's energetic veera rasa. A prominent example is "Yeri Karaiyin Mele" from the 1957 film Mudhalali, composed by K. V. Mahadevan and rendered by T. M. Soundararajan, where the haunting melody emphasizes the raga's ascending phrases for a poignant, introspective mood in a narrative of longing. Ilaiyaraaja's contributions further highlight Arabhi's versatility, as seen in "Sandha Kavigal Paadidum" from Metti (1982), sung by and , which employs the raga's characteristic RMG (ri-ma-ga) motifs to evoke dreamy, poetic romance amid light orchestration for broader accessibility. Similarly, "Aasai Kiliye" from Thambikku Entha Ooru (1984), voiced by , adapts Arabhi's lively structure into a humorous , reducing intricate brigas to rhythmic hooks that suit comedic sequences without diluting the scale's purity. Another gem is "Mannavane Mannavane" from Thanthu Vitten Ennai (1991), performed by , where the raga's bold phrases underscore heroic undertones in a tale of redemption, with simplified gamakas allowing the melody to resonate in fast-paced action contexts. These adaptations have contributed to Arabhi's popularity in Tamil devotional films, where its auspicious tone amplifies spiritual themes, as in songs praising deities like , blending cinematic drama with sentiment.

Telugu

In Telugu cinema, the raga Arabhi has been employed to evoke a sense of valor and devotion, particularly in duets that blend classical Carnatic elements with cinematic storytelling. Composers like Saluri Rajeswara Rao and Pendyala Nageswara Rao drew on Arabhi's pentatonic structure to craft melodic lines suitable for emotional and heroic sequences during the mid-20th century golden era of Telugu films. These songs often feature rhythmic patterns in Adi tala, enhancing the raga's inherent energy while adapting it to the narrative demands of romance and mythology. A notable example is "" from the 1955 film , composed by Saluri Rajeswara Rao and sung by Ghantasala and , which uses Arabhi's ascending phrases to create a lively, flirtatious reflective of the era's light-hearted romance. In the mythological genre, these compositions highlight Arabhi's role in Telugu mythological and action films, where the raga's bold swaras provide a foundation for folk-like inflections and ensemble vocals, contributing to the genre's enduring appeal.

Malayalam

In , the Arabhi has been employed to evoke emotional depth and lyrical subtlety, often with softer gamakas on the (G3) note to enhance romantic or devotional sentiments. Composers like frequently adapted the raga's inherent veera rasa into more introspective expressions suitable for film narratives. One early example is "Varamaruluka" from the 1963 film Kadalamma, composed by with lyrics by and sung by . This devotional track highlights Arabhi's ascending phrases for a prayerful mood, emphasizing the raga's purity in a spiritual context. Another notable composition by Devarajan is "Puthooram Veettil" from Aromalunni (1972), featuring lyrics by and vocals by . The song's melodic flow underscores themes of longing and heritage in the , with subtle oscillations around the madhyama (M1) adding emotional resonance. In later decades, utilized Arabhi in "Moonam Thrikannil" from Varnakkaazhchakal (2000), with lyrics by Yusufali Kecheri and sung by Sithara alongside . This duet employs the raga's descending structure to convey playful romance, adapting gamakas for a lighter, filmic charm in the comedy. A contemporary rendition appears in "Ee Mizhikalin" from Ormayundo Ee Mukham (2014), composed by , with lyrics by and performed by and Mridula Warrier. The track's gentle emphasis on nishada (N3) and creates an intimate, modern romantic atmosphere, showcasing Arabhi's versatility in youth-oriented cinema.

Other Languages

In , the raga Arabhi has been employed in select compositions that fuse classical Carnatic elements with film narratives, often incorporating influences from related ragas like for enhanced emotional depth. Notable examples include "Natavara Gangadhara" from the 1962 film Swarna Gowri, composed by R. Sudarshanam, which uses the raga's ascending and descending scales to evoke devotion. Another track is "Ide Hosa Haadu" from the 1972 film Nanna Thamma, set to music by Vijayabhaskar, blending Arabhi's melodic phrases with folk-like rhythms for a classical fusion effect. These songs demonstrate the raga's adaptability in film music, particularly in devotional and romantic contexts. In , Arabhi's Hindustani equivalent, , appears in rare Bollywood adaptations that mix the with popular orchestration. For instance, "Aaj Mere Man Sakhi Bajaye Koi" from the 1952 Aan, composed by and sung by with chorus, captures the raga's pleasing and haunting melody through flute interludes and rhythmic variations. Similarly, "Aa Neele Gagan Tale Pyar" from Badshah (1954), by Shankar-Jaikishan and featuring and , integrates Abheri's pentatonic structure with romantic lyrics, noting occasional mixtures with Pilu for added expressiveness. These pieces highlight the raga's cross-regional appeal in Hindustani songs. Cross-cultural adaptations of Arabhi extend to devotional albums and global Carnatic fusions, where the raga's auspicious Veera rasa is blended with international elements. Examples include fusion renditions in albums like South Indian Raga Fusion (2017), which incorporate Arabhi in instrumental tracks combining Carnatic vocals with Western percussion for broader accessibility. Post-2000, the raga has gained traction in fusion genres, appearing in contemporary works that merge it with or electronic sounds in international Carnatic concerts, reflecting its evolving impact beyond traditional boundaries.

References

  1. http://carnatica.in/newsletter/arabhinewsletter.htm
  2. https://www.thehindu.com/features/friday-review/music/valour-and-worship/article4609821.ece
  3. http://veenagana.org/wp-content/uploads/2018/04/Carnataka-Sangeetha-Udbhava.pdf
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  6. https://archive.org/details/in.ernet.dli.2015.407121
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  10. https://www.dpattammal.com/downloads/raga_pravagam-english-full.pdf
  11. http://carnatica.org/newsletter/arabhinewsletter.htm
  12. https://www.karnatik.com/janyalist2.shtml
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  14. https://www.shivkumar.org/music/sadhinchane-new.htm
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  17. http://www.medieval.org/music/world/carnatic/lyrics/TKG/palayashu_mam_paradevate.html
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  20. https://www.karnatik.com/co1130.shtml
  21. http://www.medieval.org/music/world/carnatic/venkata.html
  22. https://www.karnatik.com/co1030.shtml
  23. https://www.youtube.com/watch?v=wdyBemQjDEo
  24. https://www.youtube.com/watch?v=UUvFyHOUuX4
  25. https://www.youtube.com/playlist?list=PL8FFGnOPK_ef8qiJKkKxSoR27Hi4MS35A
  26. https://www.indiapicks.com/SNT_Telugu/P-27_28.htm
  27. https://www.scribd.com/document/904105062/List-of-film-songs-based-on-ragas
  28. https://en.msidb.org/s.php?238
  29. https://en.msidb.org/s.php?2699
  30. https://en.msidb.org/s.php?9223
  31. https://en.msidb.org/s.php?1953642
  32. https://music.apple.com/us/album/south-indian-raga-fusion/1127867547
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