Aro: S R1 G2 M2 P D3 N3 S
Avaro : S N3 D3 P M2 G2 R1 S
The handling of the G2 is a bit different - it is actuallyy like varALi (which in my opinion actually uses a G1 with an upward kampita, but then opinion is divided as this is actually not a note, but a phrase that oscillates between G1 and G2). But a plain G2 sometimes appears - in some other interpretations, the plain G2 is more prominent. The D3 has some gamaka of a N2 on it. Overall my first impression is that the rAgA could get mistaken for a varALi with a D3. But still it is sAdharaNa gAndharam G2 only.
So, on to Koteeswara Iyer's composition : appA murugaiyanE : https://www.youtube.com/watch?v=uf75GmLrjRw - by S Rajam
Pammal Shivadasan will become the next name associated with the 72 mElAs -- https://www.youtube.com/watch?v=SaVcmS1Dgj0
Yet another name that should never be missed when it comes to rare rAgAs is Thanjavur S Kalyanaraman - https://www.youtube.com/watch?v=F-4LnEq75cw
And for once, we aren't going to jump from sampUrNa to asampUrNa because the 48th mEla on the other side is called jeevantikA, and therefore will have to wait till I come to J (where I also need to clarify that there are 2 rAgAs, both with the same name of jeevantikA).
PS : Thyagaraja's kriti attributed to this rAgA is actually in dundubhi (coming next...)