Arabhi

Ascending scale with Shadjam at C

Descending scale with Shadjam at C

Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

• Arohārohaṇa]] : S R₂ M₁ P D₂ Ṡ[lower-alpha 1]
• avarohaṇa : Ṡ N₃ D₂ P M₁ G₃ R₂ S[lower-alpha 2]

Arabhi raga is an Owdava-sampoorna raga meaning, 5 swaras occur in the arohana (so it is called Owdava) and in avarohana all swaras occur (so sampoorna).

It is a raga without much gamakas and frequency variations, relying instead on flat notes. The important point is the swara "ga" always comes very close to "ma" so when we sing the phrase "ma ga ri it sounds like "ma ma ri". Likewise the swara "ni" always comes very close to the swara "sa" hence when we sing the phrase "sa ni da" it sounds like "sa sa da". The closest raga to this one is Devagandhari. There are few aspects which make Arabhi different (though both share the same ascending and desce

1. In Arabhi the swara "ga" is close to "ma" but in Devagandhari it is not the same.
2. The swara "ri" is not fluctuated in Arabhi but it is given "asaivu" in Devagandhari
3. The phrase "pa ma da sa" should not be sung in Arabhi, as it is exclusive for Devagandhari
4. Devagandhari is sung with gamakas and vilambita kala prayogas (usages with elongated notes)[1]
5. Devagandhari is sung with deergha gandharam (elongated G3)[1]

Arabhi raga is a very energetic and it lends itself to creativity in brigas (fast-paced swara usages) more than gamakas.

The 3rd of Pancharatna Kritis (five gems of compositions), Sadhinchanae(also known as "Samayaniki Tagu Mataladene") by Saint Thyagaraja is a famous composition set in Arabhi raga. Here we can note that Thyagaraja uses phrases like "sa sa da" in the charanam although there are phrases like "sa ni da" also.

Here are some more compositions set to Arabhi.

• Dr. P.Venkatraman's Page - Arabhi Raga Basics
• CAC Newsletter-Comparing Arabhi and Devagandhari
• Compositions at karnatik.com