Nilambari

  • Janya raga; derived from 29th Melakarta, Dheera Sankarabharanam
  • Moorchana:
    • Arohana: S R2 G3 M1 P D2 P N3
    • Avarohana: Ṡ N3 P M1 G3 R2 G3 S
  • Swarasthanas:
    • Besides Shadja and Panchama, the swaras taken are: Chatussruthi Rishabham, Antara Gandharam, Suddha Madhyama, Chatussruthi Daivata, Kaakali Nishada and Kaisiki Nishada.
  • Ubhaya Vakra Sampoorna raga – Shaadava raga
  • Ekaswara Vakra raga.
  • Varja raga – d is absent in avarohana
  • Bhashanga raga; the only foreign note is Kaisiki Nishada
  • It occurs in combinations: pndn and PdndnP.
  • Visesha Sancharas: ‘Snpmgs and PdnDnS’. In the latter phase the 2nd Ni is Kaakali Ni
  • Gamaka varika rakti raga.
  • Raga Chhaya Swaras: r, m and n
  • Nyasa Swaras: m, p but r, g  and d are not nyasas.
  • Pa is resting note
  • Kampita Swaras: r & m
  • There is no sanchara below the Mandra Sthayi Nishada
  • The characteristic shake of the Madhyama in this raga is noteworthy.
  • In the phrase G m p m M, the last note is swinging downwards from the Suddha Madhyama sthana.
  • In the phrase g m P the madhyama is sounded in its svasthana.
  • In the phrase s n d N s the ‘d’ is rendered with nokku or stress.
  • Lullabies are sung in this raga.
  • Marriage songs
  • Compositions commence on notes: s & g
  • Karuna, Bhakti and Vaatsalya are its rasas.
  • This raga shines more by Chowka kala prayogas.
  • Used in operas and dance dramas.
  • A raga with a limited scope for alapana.
  • Night time is the most appropriate time for singing this raga.
  • In s n N S the tivra kakali note is used.
  • Sancharam:

s ṇ Ṇ S – s ṇ s m m g g r – G, m p m M̃ – g m P P – p n n Ṡ ṡ n – p n ṡ n P p̃ m̃ –
g m P – PdnD,n Ṡ – ṡ n P p M̃ – g m Pdn d n P m g
– g m p m m g – g m g r r̃ r̃ P – P dpmgrgmpdpmg – rgmpmgrg S; – s ṇ Ṇ S ; ||

  • Popular Compositions:
KritiMaaTaDavemiAdiTyagaraja Swamy
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KritiAnandavalliAdiSwati TiruNal
PadamEtuvantiTriputaKshetrayya
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Utsava Sampradaya KeertanaUyyala LukaJhampaTyagaraja Swamy
KritiAmba NilaambariAdiPonnayya