#30DayMarghazhiRagaChallenge - Saramati
Mokshamu Galada, a krithi in Saramati that I learnt as a 5 year old, still remains fresh in my memory. Krithis in saramati are usually slow paced, and it gives the impression that the composers are really attempting to emphasize every syllable - Saramati is just the perfect vehicle to do so! A janya raga of 20th Melakarta, Natabhairavi. the main swaras in this raga are Shadja, Chatushruthi Rishabha, Sadharana Gandhara, Shuddha Madhyama, Panchama, Shuddha Dhaivata, Kaishiki Nishadha. The avarohana is devoid of Panchama and Rishabha. The gandhara is a jeeva swara, and gamakas oscillating in gandhara or nishadha(another jeeva swara), are what that add to the emphatic sense of this raga. Not to forget other swaras like the dhaivata that is also often used in gamaka-oriented phrases
S R2 G2 M1 P D1 N2 S
S N2 D1 M1 G2 S
The defining krithi in Saramati is of course, the afore-mentioned Mokshamu galada. Shri Thyagaraja questions God, about the possibility of achieving salvation, without a sense of liberation, without the knowledge of music. The feeling of bhakti and humility is inescapable for any musician singing the lines -
sAkshAtkAra nI sad-bhakti
sangIta jnAna vihInulaku mOkshamu galada
Other krithis include Shri Mutthayya Bhagavatar's Sarasadala Nayane.