MukundamaliniOne note apart
- Dvigandharabhooshani uses Antara Gandharam (G3), which Mukundamalini does not.
Carnatic raga
Dvigandharabhooshani
A janya (derived) raga of melakarta 53 Gamanasrama. It takes its notes from that parent scale, using the ascent and descent shown here.
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- Melakarta
- 53 Gamanasrama (janya)
- Jati
- Shadava–Shadava
- Notes
- 6 of 12
- Movement
- Vakra (zig-zag)
- Time
- Any time
- Rasa
- Varied
Your guide to Dvigandharabhooshani
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Dvigandharabhooshani, rising then falling.
Its mood
Varied. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Dvigandharabhooshani, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Dvigandharabhooshani has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Dvigandharabhooshani sounds a mix of light and shade, sliding between bright and dark notes. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- Listen for the gaps. Dvigandharabhooshani never uses Ma or Ni, so the melody seems to skip over certain steps. This "missing note" sound is one of the quickest giveaways.
- It uses komal (flat) Re, the note just above the home note. Sliding off Sa onto this very close note creates tension right at the start of phrases.
- The melody zig-zags instead of climbing straight up a ladder. It takes little turns and steps back before moving on, which gives it a winding, conversational shape.
Its beauty
A janya (derived) raga of melakarta 53 Gamanasrama. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Dvigandharabhooshani comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- In Carnatic music, notes are rarely held still. They wobble, slide and bend (called gamakas), and those shakes are as much a part of the raga's identity as the notes themselves.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the missing Ma. Once you catch it, you've started to recognise Dvigandharabhooshani.
History & evolution
Dvigandharabhooshani is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
Looking for more history…
Scale
Arohana (ascent) · 6 notes
S R1 G2 G3 G2 P D2 S'
- Devanagari
- स रि₁ ग₂ ग₃ ग₂ प ध₂ स•
- Tamil
- ஸ ரி₁ க₂ க₃ க₂ ப த₂ ஸ•
- Telugu
- స రి₁ గ₂ గ₃ గ₂ ప ద₂ స•
- Kannada
- ಸ ರಿ₁ ಗ₂ ಗ₃ ಗ₂ ಪ ದ₂ ಸ•
Avarohana (descent) · 6 notes
S' D2 P G2 G3 G2 R1 S D2 S
- Devanagari
- स• ध₂ प ग₂ ग₃ ग₂ रि₁ स ध₂ स
- Tamil
- ஸ• த₂ ப க₂ க₃ க₂ ரி₁ ஸ த₂ ஸ
- Telugu
- స• ద₂ ప గ₂ గ₃ గ₂ రి₁ స ద₂ స
- Kannada
- ಸ• ದ₂ ಪ ಗ₂ ಗ₃ ಗ₂ ರಿ₁ ಸ ದ₂ ಸ
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Shuddha Rishabham (R1) | Minor 2nd | C# |
| Shatshruti Rishabham (R3) / Sadharana Gandharam (G2) | Minor 3rd | D# |
| Antara Gandharam (G3) | Major 3rd | E |
| Panchamam | Perfect 5th | G |
| Chatushruti Dhaivatam (D2) / Shuddha Nishadam (N1) | Major 6th | A |
Omitted (varjya) swaras: Ma, Ni.
Character
Jati (Shadava–Shadava). The ascent uses 6 distinct notes and the descent 6. Audava = 5, Shadava = 6, Sampurna = 7.
Vakra (zig-zag) movement. The scale doubles back on itself, so phrases have to follow its characteristic turns, not run straight up or down.
Parent scale. Melakarta 53 sits in chakra 9 of 12 and uses prati madhyamam (M2). Dvigandharabhooshani is a janya (derived) raga, drawing its notes from this parent.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Why this time of day?
Dvigandharabhooshani is associated with: Any time.
- In Carnatic music, the time of day is a gentle custom rather than a strict rule. Most ragas can be sung at any concert, and the time linked to a raga usually comes from temple rituals and old practice.
- Dvigandharabhooshani has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Dvigandharabhooshani, and how to tell them apart.
MohanangiOne note apart
- Dvigandharabhooshani uses Shuddha Rishabham (R1), which Mohanangi does not.
VikhavathiOne note apart
- Dvigandharabhooshani uses Shuddha Rishabham (R1), which Vikhavathi does not.
RasikaranjaniOne note apart
- Dvigandharabhooshani uses Shatshruti Rishabham (R3), which Rasikaranjani does not.
- Rasikaranjani uses a different number of notes going up than coming down; the other is more symmetrical.
SharabadhvajaTwo notes apart
- Dvigandharabhooshani uses Shatshruti Rishabham (R3), which Sharabadhvaja does not.
- Sharabadhvaja uses Prati Madhyamam (M2), which Dvigandharabhooshani avoids.
- Sharabadhvaja uses a different number of notes going up than coming down; the other is more symmetrical.
Dravida KalavatiTwo notes apart
- Dvigandharabhooshani uses Shuddha Rishabham (R1), which Dravida Kalavati does not.
- Dravida Kalavati uses Shatshruti Dhaivatam (D3), which Dvigandharabhooshani avoids.
- Dravida Kalavati uses a different number of notes going up than coming down; the other is more symmetrical.
Other ragas from 53 Gamanasrama
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).