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Janya Raga Born of Dheera Sankarabharanam · Mela 29

Two different ragas share the name Begada.

This page is the one born of Dheera Sankarabharanam (Mela 29). The other has the same name but a different parent and a different scale, so they do not sound alike: Begada · born of Dheera Sankarabharanam .

The Core Architecture of Begada

Hindustani notes are shown under each swara: a small letter is komal (r g d n), M is tivra Ma, a dot above is the upper octave.
Western note names are shown under each swara with Sa taken as C — the pitch this page plays.
Arohanam
S G3 R2 G3 M1 P D2 P S^
Avarohanam
S^ N2 D2 P M1 G3 R2 S

Think a swara in the arohanam or avarohanam is wrong? Send us the correction — we review every suggestion, and accepted fixes are credited to you as a contributor.

Begada is a Janya Raga derived from Dheera Sankarabharanam (Melakarta 29) in Carnatic music. Its swaras are drawn from the parent scale Dheera Sankarabharanam, and the way it selects, omits or bends those swaras is what gives it a character of its own. Use the arohanam and avarohanam above as your starting point: play the scale slowly on the harmonium, hold each swara until the pitch settles, and only then sing it back.

Musical Mood and Character

Characteristics & Raga Bhava
Swara Nature
Kaisiki Nishada (N2) gives Begada its distinctive colour.

Rasa: veera — dignified strength. Begada is a janya of Shankarabharanam with a vakra arohanam and both nishadams. Its phrases are broad and its gamakas measured, giving it a stately gait that resists being hurried.

It is a substantial concert raga associated with ceremony and formal occasion. Its courage is composed rather than fiery.

Essential Phrases for Practice

Start with the plain arohanam and avarohanam in slow speed, holding each swara until it is steady. Once the scale is secure, practise it against a shruti drone and only then move to gamaka-laden phrases. Whenever a phrase feels uncertain, go back to the scale and check yourself swara by swara before building speed.

Signature Swarams

Begada
Signature phrases
SG3R2G3M1
A winding (vakra) line from Sa to Ma
PD2PṠN2D2P
A winding (vakra) line from Pa to Pa
G3M1PD2PM1G3R2S
From Ga, up to Dha and back down to Sa
M1G3R2S
Descending from Ma to rest on Sa
G3M1PM1G3R2
From Ga, up to Pa and back down to Ri
G3M1PD2P
From Ga, up to Dha and back down to Pa

Recognise Begada by Ear

Signature phrases

S G R G M P D P Ṡ
G M P D P
P D N D P M
G R G M P
Ṡ N D P M G R S
M G R S Ṇ Ḍ P̣

Swaras it dwells on

Ga · Ma · Dha

What makes it unique

A zigzag ascent (S G R G M P D P S), with distinctive shaking gamakas on Ga, Ma and Dha. Kaisiki nishadam enters as an anya swara.

Ragas it can be confused with

Famous compositions

  • Vallabha Nayakasya — Muthuswami Dikshitar
  • Nadopasana — Tyagaraja
  • Abhimanamennedu — Tyagaraja
  • Lokavana Chatura — Tyagaraja
  • Shankari Neeve — Subbaraya Sastri
Hum a raga — Ilakku Music will name it

Similar Ragas

Ragas that share the scale of Begada or differ from it by one or two swaras. Tap Compare to see and hear them side by side.

Sindhu Kannada
Same swaras, in a different order going up
Compare
Mahuri
Same swaras, in a different order
Compare
Deshakshi
Leaves out Ma going up (same avarohanam)
Compare
Harikambhoji
Adds N2 going up (same avarohanam)
Compare
Harikedaragowla
Adds N2 going up (same avarohanam)
Compare
Shankaraharigowla
Adds N3 going up (same avarohanam)
Compare
Simhavikrama
Adds N2 going up (same avarohanam)
Compare
Suddhatarangini
Leaves out Ga going up (same avarohanam)
Compare
Yadukula Kambhoji
Leaves out Ga going up (same avarohanam)
Compare
Anandabhairavi
G2 instead of G3, both ways
Compare

Essential Compositions to Listen & Learn

Be the first to contribute

No compositions in Begada have been added yet. Know a kriti, a film song or a varnam in this raga? Add it and it becomes part of the Ilakku Music library.

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