JanatodiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Mood: Punnagavarali leans karuna, Janatodi leans varied.
Carnatic raga
Punnagavarali
Lower-octave snake-charmer raga.
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- Melakarta
- 8 Hanumatodi (janya)
- Jati
- Sampurna–Sampurna
- Notes
- 7 of 12
- Movement
- Vakra (zig-zag)
- Time
- Any time
- Rasa
- Karuna
Your guide to Punnagavarali
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Punnagavarali, rising then falling.
Its mood
Karuna. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Punnagavarali, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Punnagavarali 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
Punnagavarali sounds dark, deep and inward, full of the lowered (komal) notes that make music sound serious or sad. Its emotional colour is tenderness and sorrow, the feeling of a sad song that still comforts you. 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
- 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.
- Hum the scale along with the play button above a few times. Once the shape of those notes is in your ear, you'll start spotting it in songs and concerts.
Its beauty
Lower-octave snake-charmer raga. The beauty of Punnagavarali 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
- Todi, Janatodi, Bhadratodi use the very same notes. Ragas aren't just scales: the difference lies in which notes are stressed, which phrases are used and how the melody moves. That's why two ragas built from the same notes can feel completely different.
- Across the North–South divide, Bhairavi (Hindustani) and Lachari Todi (Hindustani) uses the same notes. Listening to both side by side shows how the two traditions shape the same material differently.
- 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 melody circling back to Sa. Once you catch it, you've started to recognise Punnagavarali.
History & evolution
Punnagavarali 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) · 7 notes
N2 S R1 G2 M1 P D1 N2
- Devanagari
- नि₂ स रि₁ ग₂ म₁ प ध₁ नि₂
- Tamil
- நி₂ ஸ ரி₁ க₂ ம₁ ப த₁ நி₂
- Telugu
- ని₂ స రి₁ గ₂ మ₁ ప ద₁ ని₂
- Kannada
- ನಿ₂ ಸ ರಿ₁ ಗ₂ ಮ₁ ಪ ದ₁ ನಿ₂
Avarohana (descent) · 7 notes
N2 D1 P M1 G2 R1 S N2
- Devanagari
- नि₂ ध₁ प म₁ ग₂ रि₁ स नि₂
- Tamil
- நி₂ த₁ ப ம₁ க₂ ரி₁ ஸ நி₂
- Telugu
- ని₂ ద₁ ప మ₁ గ₂ రి₁ స ని₂
- Kannada
- ನಿ₂ ದ₁ ಪ ಮ₁ ಗ₂ ರಿ₁ ಸ ನಿ₂
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# |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Panchamam | Perfect 5th | G |
| Shuddha Dhaivatam (D1) | Minor 6th | G# |
| Shatshruti Dhaivatam (D3) / Kaishiki Nishadam (N2) | Minor 7th | A# |
Character
Jati (Sampurna–Sampurna). The ascent uses 7 distinct notes and the descent 7. 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 8 sits in chakra 2 of 12 and uses shuddha madhyamam (M1). Punnagavarali 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.
Karuna
Compassion, pathos and sorrow.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Same notes in Hindustani music
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Punnagavarali 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.
- Punnagavarali has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Punnagavarali, and how to tell them apart.
NagavaraliSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Mood: Punnagavarali leans karuna, Nagavarali leans varied.
TodiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- They belong to different times: Punnagavarali is sung in the any time, Todi in the morning.
DeshikatodiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Punnagavarali climbs N2 S R1 G2 M1 P D1 N2, while Deshikatodi climbs S G2 M1 P D1 N2 S'.
- Deshikatodi uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Punnagavarali leans karuna, Deshikatodi leans varied.
ShravanamallikaSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Punnagavarali climbs N2 S R1 G2 M1 P D1 N2, while Shravanamallika climbs S G2 M1 P D1 N2 S'.
- Shravanamallika uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Punnagavarali leans karuna, Shravanamallika leans varied.
DhanyasiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Punnagavarali climbs N2 S R1 G2 M1 P D1 N2, while Dhanyasi climbs S G2 M1 P N2 S'.
- Dhanyasi uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Punnagavarali leans karuna, Dhanyasi leans varied.
Other ragas from 8 Hanumatodi
Todi · CarnaticAsaveri · CarnaticJanatodi · CarnaticAhiri · CarnaticAmrita Dhanyasi · CarnaticBhanuchandrika · CarnaticBhadratodi · CarnaticChandrikatodi · CarnaticDeshikatodi · CarnaticDhanyasi · CarnaticDivyamalati · CarnaticGhanta · CarnaticKalasaveri · CarnaticKanakasaveri · CarnaticNagavarali · CarnaticPrabhupriya · CarnaticPunnagatodi · CarnaticShravanamallika · CarnaticSowjanya · CarnaticShuddha Seemantini · CarnaticShuddha Todi · CarnaticSwarnamalli · Carnatic
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, …).