Yadukulakambhoji

Yadukulakāmbhōji is a bhāṣāṅga janya1 of the 28th mēḷakarta2 Harikāmbhōji. It is an auḍava-sampūrṇa3 rāga. The svaras4 occurring in this rāga in ascent are ṣaḍja, chatuśruti riṣabha, śuddha madhyama, pañchama, chatuśruti dhaivata. Kaiśiki niṣāda and antara gāndhāra occur in descent5. Kākali niṣāda, which is an additional note that is not present in its parent rāga Harikāmbhōji, is seen in some phrases. Its ārōhaṇa6 and avarōhaṇa7 are

In terms of Western notes, if C is taken as the base, then the scale is

Yadukulakāmbhōji is a rāga which has existed since olden times and is said to have folk origins. It is equivalent to the paṇṇ8 Sevvazhi. It was earlier called Erukalakāmbhoji. It is best suited for slow tempo.

Gāndhāra, madhyama, dhaivata, niṣāda are rāgachāyā svaras9. Dhaivata is a nyāsa svara10. R-D are vādi-samvādi svaras (consonant notes). It can portray rasas11 like karuṇa (compassion), śānta very effectively, just as it can convey the feeling of devotion or bhakti bhāva.

Some of the signature phrases of this rāga are

A few compositions in this rāga are-

Footnotes

1 A derived rāga which has other notes in addition to the notes of its own parent rāga.

2 Parent rāga

3 Auḍava- A scale with 5 notes- Pentatonic. Sampūrṇa- A scale that has all 7 notes. Auḍava-sampurna is a scale

with 5 notes in ascent and 7 notes in descent.

4 Notes

5 There are 16 varieties of svaras in Carnatic music. They are

6 Scale in ascent

7 Scale in descent

8 System of rāga classification in ancient Tamizh music.

9 Notes which most effectively bring out the mood of the rāga

10 The landing notes for elaboration in various stages during improvisation.

11 Emotions or moods.