Ratnangi Ragam
It is the 2nd melakarta ragam in the 72 melakarta ragam system of Carnatic music. It is called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music.
Ratnangi's notes when shifted using Graha bhedam, yields 2 other melakarta ragams, namely, Gamanashrama and Jhankaradhwani. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the ragam.
Credits:
http://music-raagaa.blogspot.com/
https://en.wikipedia.org/
Ratnangi is the second Melakartha raga (Right after Kanakangi).
It is the 2nd ragam in the 1st chakra Indu. The mnemonic name is Indu-Sri.
Arohanam : S R1 G1 M1 P D1 N2 S
Avarohanam : S N2 D1 P M1 G1 R1 S
The scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham. Just like most of the Melakartha ragas, Ratnangi also has its own janya ragas out of which Revati is the most famous.
Phenadhyuti is the 2nd Melakarta in the original list compiled by Venkatamakhin. The notes used in the scale are the same, but the ascending scale is different.
arohana: S R1 M1 P D1 P N2 S'
avarohana: S' N2 D1 P M1 G1 R1 S
Ratnangi has a few minor janya ragams associated with it, of which Revati is very popular.
Janya ragam Rathnangi
S R1 G1 M1 P D1 N2 S
S N2 D1 P M1 G1 R1 S
1) Phenadhyuti
S R1 M1 P D1 P N2 S
S N2 D1 P M1 G1 R1 S
2) Ganamukhari
S R1 M1 D1 S
S N2 D1 M1 R1 S
3) Ratnavarali
S R1 M1 P N2 D1 S
S N2 P M1 R1 G1 R1 S
4) Revati
S R1 M1 P N2 S
S N2 P M1 R1 S
5) Shreemani
S R1 G1 P D1 S
S N2 D1 P G1 R1 S
6) Shreemati
S R1 G1 P D1 S
S N2 D1 P G1 R1 S
1) Kalasavardhijam by Thyagaraja
2) Tarunam ide by Koteeswara Iyer
3) Sree Gurum Chintayaamyaham by Dr. M. Balamuralikrishna
4) Janani Ashrita by Harikeshanallur Muthaiah Bhagavatar
The following composition is set to Phenadhyuti.
1) Sri Dakshinamurthim by Muthuswami Dikshitar
Ratnangi's notes, when shifted using Graha bhedam, yield two other melakarta ragams, namely Gamanashrama and Jhankaradhwani. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the ragam.