1. mELam 22 - kharaharapriya

KHARAHARAPRIYA  is the fourth mELam (bhU) in the fourth  cakram, vEda  cakram.  Hence it is usually  referred to by the mnemonic name "vEda bhU'', since there are 4  vEdAs, and the kaTapayAdi numeral for the consonant "bha" is 4 (from the "pa varga'': pa, pha, ba, bha, ma!)  The  svarams taken by the mELam kharaharapriya are:

SaDjam (S, sa), catushruti .rSabham(R2, ri), sAdAraNa gAndhAram (G1, ga), shuddha madhyamam (M1, ma), pa~ncamam (P, pa), catushruti dhaivatam (D2, dhi), kaiSiki niSAdham (N2, ni).

Thus,  the mnemonic svara nomenclature  for kharaharapriya is  ri gi ma dhi ni, showing that besides the notes  sa, pa, the  notes taken are  ri (R2), ga (G1), ma (M1), dhi (D2), ni (N2).

 The first two syllables "kha ‑ ra'' in the name yields the mELam number 22  according to the  kaTapayAdi scheme (that is, kha =2 (from ka, kha g gh N^),and   ra =2 (from ya ra la va), so 2 2 reversed still  gives 22!!). Some believe that the original name of this mELam  was  harapriya, and the prefix "khara" was added to  obtain the numeral 22. But kharaharapriya itself has the meaning ‑‑ priya  (beloved of, liked by) hara (slayer of) khara (the demon named  khara).

·        kharaharapriya is a  mELam with symmetrical tetrachords; intervals are separated by a major tone. The mELam gets is pleasing quality from the even distribution of the notes.  The  ri ‑‑ ga, and the  dha ‑‑ ni are in consonance and the interval between  sa ‑‑ ri,  ma ‑‑ pa, and  dha ‑‑ ni  are all equal. This facilitates singing of saN^gatis  in sets which can independently interpret the melody, and allow the singer to build the  AlApana phrase by phrase.

·        a major rAgam, capable of very lengthy  AlApanAs.

·        chAyA and  nyAsa svarams :   ri, ga, dha, ni;

·        aMsha svarams:  ri and pa

·        kharaharapriya is approximately equal  to the  SaDja grAmam of ancient music, the primordial scale of the Hindus

·        kharaharapriya is a  sarva svara gamaka vArikA rakti rAgam.  The  pratyAhata gamakam (ri sa, sa ni, ni dha, dha pa, pa ma, ma ga, ga ri) lends color to this mELam. Yet, unlike an average rAgam, kharaharapriya comes out beautifully even  without employing much  gamakam.

·        kharaharapriya is a  tristhAyI rAgam. Compositions in kharaharapriya usually begin in  sa, ri, pa ,ni.

·        prayOgams        NI dha PA ma GA ri               NI da pa dha ni sa ni dha PA ma GA ri

·        kharaharapriya admits  prayogams ending in the note  ni.  Only the notes  sa, pa enjoy this privilege!

·        A  mUrccanakAraka mELam, that admits  graha bhedam (modal shift of tonic), yielding the  mELams  hanumatODi (8), mEcakalyANi (65), harikAmbhOji (28), naThabhairavi (20), dhIrashaN^karAbharaNam (29), respectively,  when the notes  ri, ga, ma, pa, and  ni are taken as the tonic  AdhAra shaDjam.

·        kharaharapriya corresponds to the Phrygian mode in Greek, the Dorian in Ecclesiastical, the "D'' mode in European and the Irak mode in Arab music.

·        SArN^gadEva,  the author of saN^gIta ratnAkara mentions that kharaharapriya contains all svarams of  sAma vEda. Since Lord shiva is pleased with  sAma vEda chants, it is appropriate that this mELam assumes the name " harapriya''.

·        a  rAgam suitable for singing at all times. It evokes  karuNa rasam

·        Among the musical trinity, Saint tyAgarAja is the sole composer who has given full life to kharaharapriya by composing a large number of  k.rtis. Neither muttusvAmi dIkSitar nor shyAma sAstri has composed in this mELa rAgam. TyAgarAja's  “cakkani rAjamArgamu” is the most popular composition in  kharaharapriya.

·        It is a puzzle why muttusvAmi dIkSitar did not compose any  k.rti in  kharaharapriya.  The obvious answer is that he composed only in  rudrapriya       which is "almost''  kharaharapriya, except that the note " dha''' is absent in the avarOhaNam.

·        kharaharapriya has helped the  nAdasvaram to acquire recognition as a major musical instrument.   NAdasvaram  exponents like Karaikkuricci Arunachalam, have indulged in this  rAgam for long stretches, especially when rendering some weighty tyAgarAja compositions.

·        pallavi expositions in kharaharapriya are very common. Nowadays, we can hear  rAgamAlikA svarams sung at the concluding segment of a pallavi in kharaharapriya where the artist chooses a number of  priya‑suffixed  rAgams (such as  gAyakapriya, SaNmukhapriya, raghupriya, gOpriya, sunAdapriya, varuNapriya, and so forth!!).

·        Balamuralikrishna has composed a rAgamAlikA tillanA in five  priya‑suffixed rAgams that includes  kharaharapriya as the last one.

·        There are many folk tunes and kAvaDi cindu songs in  kharaharapriya. Also, many tiruppugazh hymns are rendered in  kharaharapriya. The cine world in south India has its fair share of songs in this mELam.

2. Some Compositions in kharaharapriya

kOri sEvimpa rArE                                    Adi                        tyAgarAja

cakkani rAjamArgamu luNDana            Adi                        tyAgarAja

cEtulAra sh.rN^gAramu cEsi                        Adi                        tyAgarAja

 naDaci naDaci jUcE                                    Adi                        tyAgarAja

 pakkala nilabaTi                                    mishra cApu            tyAgarAja

 pAhi rAma rAmayanacu                        rUpakam            tyAgarAja

 pEriDi ninnu                                         Adi                        tyAgarAja

 mitra bhAgyamE bhAgyamu                        Adi                        tyAgarAja

 rAma nIyeDA                                      Adi                        tyAgarAja

 rAma nI samAnamevaru                        rUpakam            tyAgarAja

 viDamu sEyavE nannu                        Adi                        tyAgarAja

 appan avataritta                                    Adi                        pApanAsham shivan

 AraNamum                                         jhampa                        pApanAsham shivan

 dayavilklaiyA                                       Adi                        pApanAsham shivan

 dharmAmbikE                         Adi                        pApanAsham shivan

 enna sheidAlum                                    Adi                        pApanAsham shivan

jAnakIpatE                                           Adi                        pApanAsham shivan

parAmukham EnayyA                                    Adi                        pApanAsham shivan

vINA alaiyAdE                         Adi                        pApanAsham shivan

 kAdali rAdhayai                                    Adi                        pApanAsham shivan

okapari kokapari                                    Adi                        annamAcArya

allikkENikkarai                         Adi                        UttukkADu veN^kaTakavi

bhaktiyOga aN^gItamArgamE            Adi                        UttukkADu veN^kaTakavi

enna parAmukham ammA                        Adi                        UttukkADu veN^kaTa kavi

inta parAkElarA                                    Adi                        pallavi shESayyar

gAnasudhArasa                                    Adi                        mysore vAsudEvAcAriar

saN^kalpameTTidO                                    Adi                        paTNam subrahmaNya iyer

ninnunammina                           rUpakam            karUr cinna dEvuDu

kaNNan maNivaNNan                        rUpakam            muttayyA bhAgavatar

mUvAshai koNDE                                    Adi                        muttayyA bhAgavatar

tyAgarAjaguru                          Adi                        vINa kuppayyar

inda varam taruvAi                                    rUpakam            vEdanAyakam piLLai

inda manamoru                         rUpakam            T. LakSmaNan piLLai

inta parAkElarA                                    Adi                        pallavi sheSayyar

inda janmam vENDum                        rUpakam            gOpAlak.rSNa bhArathi

rArAyani pilacitE                                    Adi                        myspre vAsudEvAcAriar

tyAgarAja                                            Adi                        tiruvoTTiyUr tyAgarAjan

ninnu kolici                                           rUpakam            rAmnAD shrInivAsa iyengAr

kaN pArayyA                                      Adi                        kOTIshvara iyer

aruLvAy shrImInalOcani                        Adi                        kOTIshvara iyer

aravaNai tuyinriDum                                    Adi                        Calcutta K. S. Krishnamurthi

anbE ArumarandAlum                        Adi                        periyasAmi tUran

kAlanE bvIzhttiya                                    Adi                        periyasAmi tUran

dharnmashAstA                                    Adi                        tuLasIvanam

raktakaNthEshvaram                                    Adi                        tuLasIvanam

shabarIshvaram                                    Adi                        tuLasIvanam

rAmA nIvE (va.rNam)                        Adi                        tenmaDam narasimhAcAri

satatam tAvaka  padasEvanaM                                                                svAti tirunAL

Remark: Professor Sambamurthi mentions that the  tyAgarAja  k.ri "rAmA nIyeDA'' is not set in kharaharapriya, but in the  rAgam dilIpakam.

3. janyams of kharaharapriya

kharaharapriya lends itself to a huge number of  janya rAgams.  Many of these  janyams are important in their own right. Walter Kaufmann's  “Ragas of South India”  lists 132 janyams of kharaharapriya.  They are:

shrI, AbhOgi, kAnaDa, darbAr, nAyaki, AbhEri, Ananda vAridhi, AndOLika, anilAvaLi, bAlacandrika, bAlaghOSi(Ni), bhadra sAraN^galIla, bhAgavatapriya, bhAgyara~njani, bhOgakannaDa, bhOgavati, bhramarikA ma~njari, bhUyOmaNi, b.rndAvanasAraN^ga, cakra pradIpta, candrakala, candramaNDana, carAvaLi, cAtam, chandOdhari, chAyA shObhitam, cittara~njani, dEshya kAnaDa, dEshya kApi, dEshya manOhari, dEvakriya, dEvamanOhari, dEvAm.rtavarSiNi, dEvamukhAri, dEvara~njani, dhAtumanOhari, dhIrakaLa, dilIpakam, gAnavasantam, gArava simhala, gauri vasantam, ghana kEshi, ghanaja ghana, grandhavikSEpam, hanOkaha,hariharamOhini, harinArAyaNi, hEmAvaLi, hindOLavasantam,  hindustAn kApi, husEni, Inakapriya,janAndOLika, jayAkSari, jayama~njari, jayamanOhari, jayanArAyaNi, jayantasEna, jhAlama~njari, jIvaka vasantam, kaishika, kaLAnidhi, kalAsvarUpi,kalhAru, kALikA, kALindi, kalyANa taraN^giNi, kalyANa vasantam*, kanaka varALi, kannaDa gauLa, kannaDa varALi, kApi, kApi jiN^gaLa, karaNi, ka.rNATaka dEvagAndhAri, ka.rNATaka kApi, kApi, kaThinya, ka.rNara~njani, khilAvaLi, kiraNa bhAskara, kumudapriya, kundamAlika, lalitagAndhAri, lalitamanOhari, mAdhi, madhyamAvati, makuTa dhAriNi, mALavashrI, mallAru, mandamari, maNiraN^gu, ma~njari, manOhari, mArgahindoLam, maruvadhanyAshi, mAyApratIpam, mukhAri, nadacintAmaNi, nAdamUrti, nAdataraN^giNi, nAdanapriya, navaratnavilAsam, nAgari, phalama~njari, pa~ncama, pUrNakalAnidhi, pUrNaSaDjam, pUrvamukhAri, puSpalatika, rItigauLa, rudrapriya, saindhavi, sAlaga bhairavi, samkrantanapriya, siddhasEna, shrImanOhari, shrIra~njani, shubhAN^gi, shuddhabaN^gaLa, shuddhabhairavi, shuddha dhanyAshi, shuddhamadhyamam, shuddhamanOhari, shuddhavElAvali, suguNabhUSaNi, sujaris, svarabhUSaNi, svarakalAnidhi, svarara~njani, udayaravicandrika, varamu

*Walter Kaufmann mentions two versions of kalyANa vasantam, one the traditional classification under kIravANi (mELam 21) and the other under kharaharapriya. However, the version of the popular kr.ti "nAdalOluDai" as sung by the Chittoor school with chatusruti dhaivatam, would have kalyANa vasantam classified under gauri manOhari (mElam 23).

4. scales of some important janyams

janyam                                                ArOhaNam                                    avarOhaNam 

AbhEri                                           sa ga ma pa ni sa                        sa ni dha pa ma ga ri sa

AbhOgi                                        sa ri ga ma dha sa                        sa dha ma gai sa

AndOLika                                   sa ri ma pa ni sa                         sa ni dha ma ri sa

aThANa*                                      sa ri ma pa ni sa                         sa ni Dha pa ma pa Ga ma ri sa

b.rndAvanasAraN^ga                 sa ri ma pa ni sa                        sa ni pa ma ri ga sa

cittara~njanini                         sa ri ga ma pa dha ni                        ni dha pa ma ga ri sa ni

darbAr                                     sa ri ma pa dha ni sa                         sa Ni dha pa ma ri Ga Ga ri sa

dEvamanOhari                        sa ri ma pa dha ni sa                         sa ni dha ni pa ma ri sa

dEvAm.rtavarSiNi                 sa ri ga ma ni dha ni sa                        sa ni dha pa ma ga ri sa

dilIpakam                                 sa ri ma pa dha ni dha pa ma ni dha ni sa           sa ni dha  pa ma ga risa

hindustAni kApi             sa ri ma pa ni sa                        sa ni dha ni pa ma ga ri sa

husEni                                  sa pa ma pa ni dha ni sa            sa ni dha pa ma ga ri sa

jayamanOhari                           sa ri ga ma dha sa                        sa ni dha ma ga ri sa

jayanArAyaNi                        sa ri ga ma pa dha sa                        sa ni dha pa ma ga ri sa

jayantasEna                              sa ga ma pa dha sa                         sa ni dha pa ma ga sa

kalAnidhi                                  sa ri ga ma sa pa ma dha ni sa            sa ni dha pa ma ga ri sa

kAnaDa                                   sa ri Ga ma Dha ni sa                        sa ni pa ma Ga ma Ri sa

kannaDagauLa                         sa ri ga ma pa ni sa                        sa ni dha pa ma ga sa

karNara~njani                          sa ri ga ma ga pa dha sa            sa ni dha pa ma ga ri sa

kuntaLavarALi                         sa ma pa ni dha sa                        sa ni dha pa ma sa

madhyamAvati                                 sa ri ma pa ni sa                        sa ni pa ma ri sa

mALavashri                              sa ga ma pa ni dha ni pa dha ni sa           sa ni dha pa ma ga sa

maNiraN^gu                            sa ri ma pa ni sa                        sa ni pa ma Ga ri sa

ma~njari                                   sa ga ri ga ma pa ni dha ni sa             sa ni dha pa ma ga ri sa

manOhari                                 sa ri ga ma pa dha sa                        sa dha pa ma ga ri sa

mukhAri                                   sa ri ma pa ni dha sa                        sa nidha pa ma ga ri sa

nAyaki                                     sa ri ma pa dha pa sa                        sa Ni dha pa ma ri Ga ri sa

pashupatipriya                          sa ri ma pa ma dha sa                        sa dha pa ma ri ma sa

phalama~njari               sa ga ma pa ma dha sa             sa ni dha pa ma Ga ma ri sa

pUrNa SaDjam                         sa ri ga ma ni ni sa                        sa ni pa ma Ga ri sa

puSpalatika                              sa ri ga ma pa ni sa                        sa ni pa ma ga ri sa

rItigauLa*                     sa ga ri ga ma ni dha ma ni ni sa                    sa ni dha ma ga ma  pa  Ma ga ri sa

rudrapriya                                 sa ri ga ma pa dha ni sa             sa ni pa ma ga ri sa

sAlagabhairavi              sa ri ma pa dha sa                        sa ni dha pa ma ga ri sa

siddhasena                                sa ga ri ga ma pa dha sa             sa ni dha ma pa ma ri ga ri sa

shrI                                          sa ri ma pa ni sa                        sa ni pa dha ni pa ma ri ga ri sa

shrIra~njani                              sa ri ga ma dha ni sa                         sa ni dha ma ga ri sa

shuddha baN^gaLa                        sa ri ma pa dha sa                        sa dha pa ma ri ga ri sa

shuddha dhanyAshi                        sa ga ma pa ni sa                         sa ni pa ma  ga sa

supoSiNi                                  sa ri sa ma pa ni dha sa            sa dha ni pa ma ri ma sa

svarabhUSaNi                          sa ga ma pa dha ni sa                         sa ni pa ma ga ma ri sa

(* aThANa is more of a phrase-oriented rAgam with a unique identity. Some texts classify this under dHIrasa~nkarAbharaNaM. Prof. S. R. Janakiraman's recent book contends that aThANa should be placed under kharaharapriya.)

 5.  kAfi ThATh ‑ hindustAni paddhati

The Hindusthani  ThATh kAfi corresponds to kharaharapriya of  ka.rNATik  music. The  svarams used are:  tIvra ri, komal ga, shuddh ma, tIvra dha, komal ni. vadi is  pa, and  samvadi is sa.  It is an evening rag. The usage of  joD (double  svaras) sa sa, ri ri ga ga, ma ma, pa pa is pleasing. In this rAgam, the notes  ga , ri in the  pUrvAN^g, and  ni, dha in the  uttarAN^g should be frequently employed. Ending of  AlAp with  pa ma ga ri is graceful. Beauty of  kAfi rests in  sa, ga, pa ni. Pure  kAfi is rarely rendered, and what is presented as  kAfi contains touches of  sindhUri. You can hear  tumri, bhajan, hOri, Tappa, ghazal , or sometimes dhrupad in  kAfi.

The following  rAgams are derivatives of  kAfi:‑‑

bhImpalAsi,  dhani, dhanashri, bhim, paTadIp, bArva, sindhUra,sindh, hansakiN^kiNi, bhAgEshri, bahAr, pIlU, palAsi,  the mallAri group ( megh malhAr, miyAn ki malhAr, gauD malhAr, shuddh malhAr, naTh malhAr, sUr malhAr, rAmdAsi malhAr, rUpma~njari malhAr, mIrAbAi ki malhAr,nAyaki malhAr, jayant malhAr, carajuki malhAr, dEsh malhAr, ca~ncalasasa malhAr, dhulia malhAr), candrakauns,shrIra~njani,patma~njari, mAlgu~nj, gauD, the  sAraN^g group ( bindrabani sAraN^g, madhumati sAraN^g,  bhadhauns sAraN^g, miyAn ki sAraN^g, laN^kAdahan sAraN^g, samant sAraN^g, nUr sAra.ng).

6. asampU.rNa mELam 22 ‑‑ shrI

According to DIkSitar school of asampUrNa mELa paddhati, rAgAN^ga rAgam 22 is shrI.

lakSaNaM (Definition) ( VeN^kaTamakhin):

shrI rAgaH sagrahaH pUrNaH cArOhE cAlpadhaivataH

 avarohe ga vakraH syAt sAyam gEyaH shubhAvaha.h

ArohaNaM:   sa ri ma pa  ni Sa

avarohaNaM:  Sa ni pa dha ni pa ma ri Ga ri sa

The notes taken are:   SaDjaM. catushruti  ri, shuddha ma, pa~ncamam,  catushruti dha, sAdhAraNa ga, kAkaLi ni,. In the  ArohaNam, dha and  ni are absent. Only the ArohaNam permits  vakra sa~ncAra. In fact there are two  vakra sa~ncArams. The  rAgam gets a beauty by the elongation and  gamaka on the note ga.

·        An  audava‑vakra rAgam dervived from 22nd mELam  kharaharapriya.

·        The  chAyA svarams are  ri and  ni.

·        the  nyAsa svaram is  ri.

·        sa, ri, ma, pa, ni are the  graha svarams.

·        SubbarAma DIkSitar states that  ri in the ArohaNan is both the  jIva and  nyAsa

·        svaram. The phrases  ri ga ri sa, pa dha ni pa in avarohaNam give beauty.

·        A raga suitable for  singing ( tAnam on the  vINa; auspicious, and suitable for singing in the evening.

·        shrI is an evening  rAgam, a  ghana rAgam, and auspicious  rAgam (maN^gaLa karam), and is preferred by  vaiNikas for rendering  tAnam.

·        The  sa~ncArams given in Sangita Sampradaya Pradarshini are unique in the sense that there is no  dhaivata prayOga. Being a  maN^gaLa rAgam, it is  most often heard in concerts, almost invariable, at least very briefly played  after the  maN^gaLam.

·        The last  of Saint tyAgAraja's five gems ( pa~ncaratnaM): " endarO mahAnubhavulu “ is in shrI.

·        SaN^gIta SaMpradAya Pradarshini, the it magnum opus work  of SubbarAma DIkSitar, lists under shrI, a  lakSya gItam in  maTya tALam (without  using the note  dha), a  tAnam by Venkatamakhin, in  maTyam, a  kIrtanam by Kumara Ettappa Maharaja ( SaDAdhAra tatva vinAyaka in  Adi), a  sa~ncAri by Subbarama Dikshitar, and four  k.rtis of Muttuswami Dikshitar (shrImUlAdhAracakra vinAyaka, tyAgarAja mahadhvajArOha, ='srIvaralakd mi, and shrIkamalAmbikE ).

·        In Hindusthani music,  shri rAga is entirely different; it is derived from  pUrvi ThAT (equivalent of  kAmavardhani), and is audava‑sampUrNa in nature.  pUriyA dhanashri and

·        gauri are two allied  rAgams that resemble Hindusthani shri. One type of  badahamsa sAraN^g of Hindusthani resembles  karnaTik shri very closely.

·        SaN^gIta SaMpradAya Pradarshini discusses the following  janyams of the  rAgAN^ga rAgam shrI:

upAN^gam: ‑‑‑ maNiraN^gu, sAlagabhairavi, shuddha dhanyAshi, kannaDa gauLa, shuddhadEshi, mALavashrI,

bhASAN^gam:‑‑‑ shrIra~njani, kApi, hushAni, b.rndAvani, saindhavi, mAdhavamanOhari, madhyamAvati, dEvamanOhari, rudrapriya, sahAna, nAyaki

7. Some Compositions in shri

varnam

sami ninne kori (Adi) (Karur Devidu Iyer)

endukina modi (Adi) (Patnam Subrahmanya Iyer)

padaM

yemmamma ye vintalu (Adi)(kSetra~jna)

manasu ninnedabhayadu (Adi)

k.rti

shrI mUlAdhAracakra (Adi) (MuttusvAmi DIkSitar)

shrI kamalAmbike (Adi) (MuttusvAmi DIkSitar)

shrI varalakSmi (Adi) (MuttusvAmi DIkSitar)

tyAgarAja mahadhvaja (Adi) (MuttusvAmi DIkSitar)

kAmEshvarE da (Adi) (MuttusvAmi DIkSitar)

shrI abhayAmba (rUpakam) (MuttusvAmi DIkSitar)

endaro mahanubhavulu (Adi) (Tyagaraja)

nAmakusuma  (rUpakaM) (Tyagaraja)

yuktamu gadu (mishracApu) (Tyagaraja)

bhAyAmi nandakumAram (Adi) (SvAti TirunAL)

riNa mada dritha  (Adi) (SvAti TirunAL)

karuNa ceyvAn (Adi) (Iriyamman Thampi)

maN^gaLam aruL (rUpakam)   Papanasam Sivan

rAman edukku (triputa ) (Arunachala Kavi)

pAlaya mAm shrI (Bhadracala Ramadasa)

Vadavari (Adi) (Annamacharya)

vanajAsana vinuta (rUpakam) (Subbaraya Sastri)

sabha darishanam (Adi) (Gopalakrishna Bharathi)

Edukku en mItu (Adi) (Gopalakrishna Bharathi)

maravAmal (Adi) (Gopalakrishna Bharathi)

shrI bhArgavam (Adi) (Muthiah Bhagavathar)

shrI kArtikEya (Adi) (Muthiah Bhagavathar)

shrIpatE kripa seyyar (mishracApu) (Pallavi Sesha Iyer)

kanaka vela karuNAlavAla (Adi) (Kotiswara Iyer)

adhikAramundaruL (Adi) (T.Lakshmanan Pillai)

vEdanAyaka (aTa) (Vedanayakam Pillai)

kAnavEnDAmo (rUpakam) (subrahmanya Bharathi)

ambigApatim (rUpakam) (Periyasami Thuran)

bhAgyalaskmi baramma (Adi) (Purandaradasa)

dharmigu dorayendu rUpakaM) (Purandaradasa)

ninne gati (Adi) (Purandaradasa)

Of these, the song, " endaro mahAnubhAvulu'' has a greater frequency in concert halls. There ares some excellent  pallavi expositions  in shrI . Also, shrI   often appears in the  rAgamAlika svaram segments in a  pallavi rendition, or more often, in the tAnam portion, when all the five  ghana rAgaMs are rendered (either in  tAnam, or in the  rAgamAlika svara segment).  But, being an auspicious rag, shrI is employed in the final piece maN^gaLam singing.  Some prefer to sing the  shri composition, "bhAgya lakSmi bAramma'' and conclude the concert. I am not aware of any  tillAna/javali  in shrI. The  rAgams  madhyamAvati, maNiraN^gu, puSpalatika, and  sAlagabhairavi are four  rAgams closely related to  shri.  madhyamAvati is an  audava‑audava rAgam with notes:  sa ri ma pa ni sa;  sa ni pa ma ri sa. While it almost resembles  shri, the omission of the notes  dha and  ga in  madhyamAvati makes a clear distinction. Hence while rendering  madhyamAvati, care should be taken not to touch these notes even slightly.  While  shri has greater majesty and depth,  madhyamAvati has greater number of compositions. maNiraN^gu is another  janyam of kharaharapriya with scale  sa ri ma pa ni sa;  sa ni pa ma ga ri sa. It has the same  arohaNam as  madhyamAvati, but takes the note ga in  avaraohaNam, which is not allowed in madhyamAvati. It omits the  dha, which is present in shrI.