Madhuvanti, being a karuna-rasa raga, is one of my favorite ragas for the reason it makes my perception a little confused. I cannot decide whether to take it more towards a happy raga or sad ones. I enjoy singing Madhuvanti and listening to it for hours though, I am never serious singing it. Ideally, its taken as a serious raga as it consists of the third flat and forth sharp which makes it sound more serene and tender. Notes go like…N-S-g-m-P-N-SA making gandhar flat komal and madhyam sharp teevr. I wont consider that emotional or over-tensed but it surely incorporates serenity and subtlety which gives me a balanced feel. All in all, one would not be overwhelmed or ecstatic listening or singing Madhuvanti, but would obviously be more towards cool, composed, balanced. And that’s what I like about this raga.
Western Version: VII(L) I IIIb IV# V VII Oct….
Oct VII VI V IV# IIIb II I
Phrases goes on : ni sa ga ma pa, pa ma ga, ga re sa, ga ma pa ni dh pa, pa dha ma pa ma ga, ma ga re sa… (going higher) ga ma pa ni SA, ni S ni dha pa, dha ma pa, ma ga,
Another beautiful Raga which is more playful and feminine, Feminine because it suits women voice as it is full of eroticism. In Hindi, we call shringarik rasa pradhan. Ancient-Indian author Bharata Muni states about eight most essential mental states or moods or rasa and their expressions – shringaar (love), hasya (mirth), raudra (anger), karuna (grief), vibhatsa (excitement or energy), bhayanak (fear), Veer (bravery or heroism), adbhut rasa depicting astonishment. Therefore, these eight moods play an important role in classifying the ragas according to their aesthetical approach.
Western version: VII(L) I III IV# V VII OCT…..
Oct VII VI V IV# III II I
I love the phrases like sa re ga, re ga ma ga re sa dh(lower) re sa…. sa re ga ma, ga ma dha SAAAA,
Saa dha ma ga re, re ga ma ga re sa…. sa re ga re ga ma ga ma dhaaaa…..dha ma ga , re ga ma ga re sa dh(L) re dha(L) sa…