Hamsadhwani
A five-note raga built from Sa, Ri, Ga, Pa and Ni, with neither Ma nor Dha.
Hamsadhwani has five notes in both directions. Its missing Ma and Dha leave two distinctive spaces in the melodic outline: Ga moves towards Pa, and Pa towards Ni.
Scale
Arohana: S R2 G3 P N3 Ṡ
Avarohana: Ṡ N3 P G3 R2 S
It is commonly classified under Dheerasankarabharanam, Melakarta 29. Here R2 is Chatusruti Rishabha, G3 Antara Gandhara and N3 Kakali Nishada; Sa and Pa are Shadja and Panchama.
Recognising the movement
Follow the contrast between the close succession S R2 G3 and the wider moves G3 P and P N3. These are ways to read the outline, not a substitute for the ornament and phrasing of a composition. Adding Ma or Dha changes this five-note framework.
A useful listening comparison is Mohanam: it retains Dha instead of Hamsadhwani’s Ni. This one change alters the upper part of the melody.
Compositions
Vātāpi gaṇapatim bhajēham, by Muttuswami Dikshitar, offers a substantial example with lyrics and meaning. Follow how its phrases return to the same small note collection without becoming a repeated scale exercise.