Recorded at Darbar Festival 2007, on 14th April, at the Phoenix Theatre, Leicester.

Musicians:
- Mysore A Chandan (flute)
- Dr. Jyotsna Srikanth (violin)
- Neyveli Venkatesh (mridangam)
- RN Prakash (ghatam)

Ragam Tanam Pallavi in Raag Mohana, Adi talam

Raag Mohana is the Carnatic correspondent of the Hindustani Raag Bhoop. Although similar in scale and movement, Mohana’s treatment is very different than Bhoop and is well demonstrated by Mysore A Chandan in this ragam tanam pallavi.

With a serene alapana, he lsecures the foundation of Mohana, coordinating phrases alternately with Dr. Jyotsna Srikanth on the violin. Adhering to the conventional format, he slowly builds up the tanam, making liberal spaces for Dr. Srikanth to intersperse and elaborate the raga further. The pallavi is played out elegantly with melodious sangatis and gamaks. The generous use of vocal nuances by the flute and violin fills the melodic section of the ragam tanam pallavi with beauty and sophistication.

A deft taniavarthanam follows thereafter where Neyveli Venkatesh whips up an exciting series of mathematical patterns on his mridangam which are answered with witty rejoinders by RN Prakash on the ghatam.

Mohana is an upagaa janya of the 28th meḷakarta Harikambhoji. It is an auḍava raga. The swaras present in this raga are sadja, chatusruti risabha, antara gandhara, panchama, chatusruti dhaivata. It's arohana and avarohanaa are

S R2 G3 P D2 Ṡ - Ṡ D2 P G3 R2 S.

In Western music notation, if C is taken as the base or tonic note, then the scale is

C D E G A C - C A G E D C

This is an ancient raga. It was earlier known as Regupti. It corresponds to Raag Bhup or Bhoopali of Hindustani music. This scale is found in the music of many different countries.

Mohana is a rakti raga or a raga which pleases instantaneously. It is a major raga that offers ample scope for improvisation. There are a number of compositions covering almost all varieties of compositional forms. It is a Raga that depicts universal peace and can be found in many South East Asian Music traditions.

Risabha, gandhara and dhaivata are ragachaya swaras. All the swaras are nyasa swaras. R-D, R-P, G-D are vadi-samvadi swaras (consonant notes).

It can portray rasas like karuna (compassion), sringara (romantic), adbhuta (wonder), santaa (tranquil), vira (valour) very effectively, just as it can convey the feeling of devotion or bhakti bhava.