Devagandhari

Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
It is also present in the Sikh tradition of northern India and is part of the Guru Granth Sahib.

In Carnatic music

Structure and lakshana

Its structure is as follows :

Arohana| :
Avarohana| :

Devagandhari ragam is an audava-vakra-sampurna raga meaning, in arohana 5 swaras come and in avarohana all swaras come, and there is a "zigzag" pattern of notes. The notes used in this ragam are shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam and kakili nishadam. This ragam sometimes includes the kaishika nishadam.
The closest raga to this one is Arabhi. Some of the things that makes Arabhi different are:

Devagandhari is sung with gamakas and vilambita kala prayogas
Devagandhari is sung with deergha gandharam
Devagandhari is a bhashanga raga, and certain prayogas use the kaishika nishadam: S N3 D N2, D P
Popular compositions

Here are some more compositions set to Devagandhari.

Type	Composition	Composer	talam	Language
Kriti	Ksheera Sagara Shayana	Tyagaraja	Adi tala	Telugu
Kriti	Marvakara Nava	Tyagaraja	Adi tala	Telugu
Kriti	Shri Raghuvara Karunakara	Tyagaraja	Adi tala	Telugu
Kriti	Thanalone Dhyaninchi	Tyagaraja	Adi tala	Telugu
Kriti	Vinaradana manavi	Tyagaraja	Adi tala	Telugu
Kriti	Na Moralakimpavemi	Tyagaraja	Roopaka tala	Telugu
Kriti	Koluvaiyunnade	Tyagaraja	Adi tala	Telugu
Kriti	Shri Tulasamma	Tyagaraja	Adi tala	Telugu
Kriti	Palaya Sri Raghu	Tyagaraja	Roopaka tala	Telugu
Kriti	Evvaru Manaku	Tyagaraja	Adi tala	Telugu
Kriti	Sita Vara Sangeetha	Tyagaraja	Adi tala	Telugu
Kriti	Karunasamudra	Tyagaraja	Adi tala	Telugu
Kriti	Kshitija Ramanam	Muthuswami Dikshitar	Adi tala	Sanskrit
Kriti	Shalivateeshwaram	Muthuswami Dikshitar	Adi tala	Sanskrit
Kriti	Vadanyeshwaram Bhajeham	Muthuswami Dikshitar	Adi tala	Sanskrit
Kriti	Shri Meenambikayah	Muthuswami Dikshitar	Roopaka tala	Sanskrit
Kriti	Ennadan Inbam Kandayo	Oothukkadu Venkata Kavi	Adi tala	Tamil
Kriti	Jayajaya Rama Ramana	Swathi Thirunal	Jhampa tala	Sanskrit
Kriti	Pahi Mamayi	Swathi Thirunal	Adi tala	Sanskrit
Kriti	Rama Rama Pahi	Swathi Thirunal	Roopaka tala	Sanskrit
Kriti	Sharade Vina Vadana	Papanasam Sivan	Adi tala	Sanskrit
Kriti	Vishwanatha Ennai Andarul	Papanasam Sivan	Adi tala	Tamil
Kriti	Enneramum Undhan Sannidhiyile	Gopalakrishna Bharathi	Adi tala	Tamil
Kriti	Maataada Bekayya	Ambujam Krishna	Adi tala	Manipravalam
Kriti	Entho Anandamu	Ambujam Krishna	Adi tala	Telugu

Film songs

Tamil

Title song

In Sikh tradition

In the Sikh tradition from northern India it is part of the Guru 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 the Guru Granth Sahib, the Sikh holy Granth, there are a total of 60 ragas compositions and this raga is the twenty-first raga to appear in the series. The composition in this raga appear on a total of 10 pages from page numbers 527 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 the Ragmala, 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 by Guru Arjan. Forty-Seven hymns were composed to it including three by Guru Tegh Bahadar and six by Guru Ram Das.

Jaati : Audava – sampurna
Timing : second pehar
Thaat :Bilawal / Bilawal - Asavari Ang
Aroh: Sa Re Ma Pa Dha Sa
Avroh: Sa Ni Dha Pa, Ma Pa, Dha Ni Dha Pa, Ma Ga Re Sa
Pakar: Dha Ni Dha Pa, Ma Ga, Sa Re Ma, Ga Sa Re Ga Sa
Vadi: Ma
Samvadi: Sa