Sant had provided a very beautiful description of Madyamavati.
Madyamavati is a janya raga of Karagarapriya and is pentatonic.
In HCMit is known by the name "Megh" and belongs to the Thaat of Kafi.
There is a slight variance in the sur track of the raga in itsapplication in HCM and CCM.In CCM it follows a straight route:
Arokan : S R m P n S
Avro : S n P m R S
While in HCM, it goes zig zag adding to its beauty
:Arokan : S m R m P n S
Avro : S n P m R m n R S.
A very melodious song in Chashm-e-bud-dur, "kahan se aaya badra" is based on Megh.
In Tamil Madyamavati has been used in a number of songs, as quoted bySant.
A few more could be "en kalyana vaibogam" in Azhage UnnaiAaradhinkiren, "aagaya pandhalile" in a Sivaji Ganesan starrer.
Thereare a few tuned by MSV which have semblance to Madyamavati like"thangamal vayitril" or "poovondru kanden".
In both the songs, MSVfrequently resorts to the prayog of both the nishetams (minor n andmajor N). In "poovondru kanden" the charanam contains even "D".
A similar trend can be found in Hemant Kumar's composition "jaadugarsaiyaan" in Nagin (old).Interestingly Ilayaraja's "aagaya gangai", although very faithful tothe sur track of the raga, has a prayog of the Megh pattern. Recollectthe the third line in the pallavi "melam kotti thaalam thatti", in"thaalam thatti" Raja resorts to the Megh pattern of R m n (which makesit look more like "kahaan se aaya badra" than his own "thulli thulli").Madyamavati, as Sant described, is a sobre raga. Yet the passionateside of the notes were effectively used by K.V.Mahadevan in his"Sankara, naadasa llela para" in the legend "Sankarabharanam". The fastpaced charanams fitted very well the emotionally charged, thoughbordering on cinematic exploitation,
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