This is the last in the sequence of 72 melakarta ragas. It also means that all the notes have their highest possible values, and that it is a "double vivaadi", with both ri-ga and dha-ni possessing a vivadi character. However, since the uttaranga (pa-dha-ni-sa) more or less mirrors the purvanga (sa-ri-ga-ma), there is a certain symmetry to the raga, and this lends an exotic beauty to the raga. In the Venkatamakhi mela system, which uses asampoorna melas to deal with vivadi notes, the equivalent is Rasamanjari. Rasamanjari becomes the pratimadhyama equivalent of Nata, with the arohana being sampoorna and the avarohana omitting dha and ga.
Compositions in this raga, with just a few exceptions, are more or less confined to suites of compositions in the 72 melakarta ragas. So, we have, from among the better know composers, songs by Muthuswami Dikshitar (Shringara Rasa Manjarim), Koteeswara Iyer (the popular Arul Seyya Vendum Ayya), M Balamuralikrishna (Pavana Tanaya Paalayamaam)
Graha Bhedam on Rasikapriya, starting from ni, produces the 15th melakarta, Mayamalavagaula; starting from ga results in the 57th melakarta raga, Simhendramadhyamam.
There is a film song in the movie Kovil Pura (Sangeetame) in Rasikapriya, with a beautiful graha bhedam shift to Mayamalavagaula midway.