Sohni

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Sohini
ThaatMarva
Time of dayBefore sunrise
ArohanaSa Ga Ma# Dha Ni Sa
AvarohanaSa Ni Dha, Ga Ma# Dha Ga Ma# Ga Re(b) Sa
Pakad
  • Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga
  • Sa Ni Dha, Ni Dha Ga Ma#, Ga Ma#, Ga Re(b) Sa
VadiDha
SamavadiGa
Synonym
  • Sohani
  • Sohini
Hindustani classical music
Concepts
Genres
Thaats
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Sohini is a raga in Hindustani classical music in the Marwa thaat. Alternate transliterations include Sohani and Sohni. Like Bahar, it is a small raga, with not much space for elaboration. It emotes the feel of longing, of passive sensuousness.

Technical Description[]

Tall, virgin, charming, her eyes like lotuses, ears clustered with celestial flowers, Sohini is a lovely form. She holds a lute and her songs are amorous

Rāga kalpa druma, p. 19[1]

The raga is of audav-shadav nature, i.e., it has five swaras (notes) in the arohana (ascent) and six in the avarohana. Rishabh (Re) is komal (half step DOWN from natural) and Madhyam (Ma) is tivra (half a step UP from natural), (denoted below by Re(b) and Ma#), while all other swaras are shuddha. Pancham (Pa) is not used.

Arohana: Sa Ga Ma# Dha Ni Sa.

Avarohana: Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga Re(b) Sa.

Pakad: 1. Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga. 2. Sa Ni Dha, Ni Dha Ga Ma#, Ga Ma#, Ga Re(b) Sa.

The vadi swara is Dha, and samvadi is Ga. The rishabh is weak, but Gandhar (Ga) is strong, unlike Marwa. It is an Uttaranga pradhan raga, with the higher notes on the saptak (octave) being used more frequently.

Samay (Time)[]

Raga Sohini is associated with very late night / pre-dawn, the last or eighth period of day, roughly from 3-6AM. (3 AM - 6 AM) : 4th Prahar of the Night : Sandhi-Prakash Raag[2]

Film Songs[]

Language:Tamil[]

Note that these are composed in the Carnatic ragam Hamsanandi, which Sohni sounds similar to.

Song Movie Composer Singer
Thesulaavudhe Then Malaraale Manaalane Mangaiyin Baakkiyam P. Adinarayana Rao Ghantasala, P. Susheela
Kaalaiyum Neeye Then Nilavu A. M. Rajah A. M. Rajah, S. Janaki
Ninaithal Podhum Aaduven Nenjirukkum Varai M. S. Viswanathan S. Janaki
Ennakoduppan Karnan Viswanathan–Ramamoorthy P. B. Sreenivas
Ezhumalai Irukka Thirumalai Deivam Kunnakudi Vaidyanathan K. B. Sundarambal
Vedham Anuvilum Salangai Oli Illayaraja S. P. Balasubrahmanyam, S. P. Sailaja
Nee Paadum Paadal Enkeyo Ketta Kural S. Janaki
Putham Puthu Thalapathi K.J. Yesudas, S. Janaki
Or Poomalai Iniya Uravu Poothathu Mano, K. S. Chithra
Keerthana En Paadal Unakaga Mano
Raaga Theebam Yetrum Payanangal Mudivathillai S. P. Balasubrahmanyam
Oru Pooncholai Vaathiyaar Veettu Pillai S. P. Balasubrahmanyam, K. S. Chithra
Sammatham Thanthuten Nambu Kadhal Devathai
Ganakkuyilae Pooncholai S. P. Balasubrahmanyam, Bhavatharini
Raathiriyil Poothirukum Thanagamagan S. P. Balasubrahmanyam, S. Janaki
Vaanam Niram Maarum Dhavani Kanavugal
Devi Devi Naan Adimai Illai Vijay Anand
Nee Varuvai Gowrimanohari M.M.A. Iniyavan S. P. Balasubrahmanyam
Ezhu Swaramum Oru Pudhiya Kadhai Uma Kannadasan
Pottu Vaithu Poomudikkum Ninaithen Vandhai Deva S. P. Balasubrahmanyam, Swarnalatha
Vaname Ketkutha En Paatu Nadodi Kathal Malaysia Vasudevan
Kannathil Kannam Watchman Vadivel S. P. Balasubrahmanyam, K. S. Chithra
Idhya Veliyil Oru Pudhiya Udhayam Mano, Swarnalatha
Anbe Anbe Chinna Raja P. Unnikrishnan
Oh Vennila Senbaga Thottam Sirpy K.J. Yesudas
O Kannukkul Dhinamdhorum Oviyan P. Unnikrishnan, Swarnalatha

Further information[]

It is somewhat similar to Marwa and Puriya ragas in the same thaat,[3] and also to Basant in the Poorvi thaat.

References[]

  1. ^ Daniélou, Alain (1968). The Rāgas of northern Indian music. Barrie and Rockliff, London. p. 334. ISBN 0-214-15689-3.
  2. ^ http://www.tanarang.com/english/sohani_eng.htm
  3. ^ Parrikar, Rajan (18 February 2002). "The Marwa Matrix". The South Asian Women's Forum. Archived from the original on 16 December 2009. Retrieved 16 December 2009.


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