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Janya Raga Born of Ramapriya · Mela 52

Two different ragas share the name Chintaramani.

This page is the one born of Ramapriya (Mela 52). The other has the same name but a different parent and a different scale, so they do not sound alike: Chintaramani · born of Ramapriya .

The Core Architecture of Chintaramani

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 M2 P D2 N2 S^
Avarohanam
S^ D2 P m2 G3 R1 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.

Chintaramani is a Janya Raga derived from Ramapriya (Melakarta 52) in Carnatic music. Its swaras are drawn from the parent scale Ramapriya, 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
Prati Madhyama (M2), Kaisiki Nishada (N2) and Shuddha Rishabha (R1) give Chintaramani its distinctive colour.

Every raga carries its own rasa — the emotional colour a listener feels before they can name a single swara. The clearest way to find the mood of Chintaramani is to listen to it in context: play the scale slowly, then hear how composers have used it.

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.

Recognise Chintaramani by Ear

Signature phrases

S G3 M2 P D2 N2 Ṡ
Ṡ D2 P m2 G3 R1 S

Derived from its arohanam and avarohanam

What makes it unique

On the way up it leaves out Ri. On the way down it leaves out Ni. Prati Madhyama (M2), Kaisiki Nishada (N2) and Shuddha Rishabha (R1) give Chintaramani its distinctive colour.

Hum a raga — Ilakku Music will name it

Similar Ragas

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

Hamsagamini
Adds N2 coming down (same arohanam)
Compare
Lokaranjani
Adds N2 coming down
Compare
Meghashyamala
Adds N2 coming down
Compare
Shree Nabhomargini
M1 instead of M2, both ways
Compare
Mukthidayini
Leaves out Ri coming down; adds N2 coming down (same arohanam)
Compare
Rasavinodini
Leaves out Ri coming down; adds N2 coming down (same arohanam)
Compare
Bhakthapriya
M1 instead of M2, both ways; adds N2 coming down
Compare
Bhatiyar
Leaves out Ni going up; adds N3 coming down
Compare
Ghoshini
M1 instead of M2, both ways; adds N2 coming down
Compare
Nagagiri
Leaves out Ri coming down; leaves out Ni going up
Compare

Essential Compositions to Listen & Learn

Be the first to contribute

No compositions in Chintaramani 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.

Contribute a song in Chintaramani
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