Académique Documents
Professionnel Documents
Culture Documents
BY
PRABIR DATTA
2
PREFACE
I am extremely fortunate and blessed for being born in a joint family full of musical talents.Revered
Late Nikunja Behari Dutta of Baje Shibpur,Howrah,West Bengal, India,was a renowned Classical&
Tappa singer in his time.It was said that he could play all the instruments related to Indian classical
music.His name was associated with respected late Kalipada Pathak,the great Bangla tappa
singer. He was the uncle of my late father-Prabhakar Dutta.Revered Late Baroda Kanta Dutta of
our family was also a renowned Pakhwaji during his time.He was also another uncle of my
father.My grand father,revered late Manmatha Nath Dutta,was having very sweet voice and
under training with his brothers,he sang a few very good songs.He died at a very early age & my
father had to stay with his maternal uncles Boses at Jhamapukur area.There my father learnt
classical vocal as a pupil of Revered late Sachin Das Motilal.He was also in close association with
Revered late Murari Dutta and Bibhuti Dutta.But for his social and family commitments&
responsibilities,he had to join service and after about 15 years of learning classical music,he could
not take the music much forward for himself.But even at old age also, he used to sing for his own
enjoyment and for the family members only but not for earning.I am also blessed with the fact
that,one of my aunt(PISHIMA) Smt.Uttara Devi alias Uma Ghosh was a regular artist for Kirtans in the
All India Radio,Calcutta(now AKASHBANI,KOLKATA) & she was a very renowned Kirtan singer of her
time.My another aunt was a short span singer in the AIR,Calcutta-Smt.Sunanda Devi alias Aparajita
Ghosh,who could not continue for long due to commitments in the family.All the family members,
mentioned above,had the distinction of recording their songs at the PATHEPHONE
CO.,GRAMOPHONE CO.,HINDUSTAN RECORDING CO.etc.We had a few of them in our collection
but some of the records had been taken on loan by some persons but never returned back and
majority of the recordings had been spoiled by the passage of time.There were others in our family
4
also,who had beautiful GOD gifted voices and knowledges of classical music but did not care
much about their genius.So,for us,the kids in the family,music was not the cup of tea and we had
chosen different professions for bread earning.But,we,from our very childhood,were blessed to get
the rare opportunity to hear beautiful songs of all types,from morning to night,at our home.Even our
domestic help,sometimes in the morning, during cleaning the utensils,could sing a line or two
of”Guru Bina Kaise Guna Gabe”or”Phula Rahi Belaria”etc.At times,we used to accompany our
seniors to attend musical soirees,specially classical.This scenario has given us a deep
insight,inclination&interest in Indian Classical.Though I am not a so called performer,yet I can
identify good performances and love to hear great maestros as well as present Ustads&Pandits of
the class of music. It is my passion and a no. of good collection keep me busy in listening to them.
While making this compilation,I thought that when I am compiling something,let me explore into
some more areas and I really drowned into the deep sea of unknown depth.Therefore,to cut short,I
stopped somewhere in between, where I don’t know.I could be able to gather only 7000(seven
thousand) nos Ragas. Due to paucity of time & reducing energy level,It could not be possible to
incorporate all those 7000 ragas.But,all the 7000 items are in my databank&record.When I shall get
sufficient time,I intend to put all of them in this single collection.Any body interested may contact
me,if need so arises.
I enjoyed full support from my family members all through in completing this compilation
document,adjusting with the high and lows of my temperament.
If this document serves the purpose of easy understanding of the subject for commoners and
increase the population of Indian Classical Music lovers and audience,then I shall feel greatly
accomplished.This document will be continually revised with the help of corrective suggestions
from one and all.Any discrepancy found in this document may please be intimated for which I
shall remain ever grateful to the critics and music lovers.
I am really fortunate to complete the document in the 150th birth anniversary year of the great
poet RABINDRA NATH TAGORE,without whom We can’t live and move.
Hyderabad/Bangalore/Kolkata
PRABIR DATTA
02/05/2010
INTRODUCTION
GEOGRAPHICAL DISTRIBUTION
PERFORMANCE
Vocal music forms the basis of South Indian music. Although there
is a rich instrumental tradition that uses vina, venu and violin, they
revolve around instrumental renditions of vocal forms.
As for the tune, one can start learning to like it by listening. One
can hear a few songs and slowly start to recognize them, because
maybe one can hum them, or maybe he/she heard something similar
before. It may be noticed that each song has a particular kind of
tune to it - it tends to stick to the same sorts of notes. That's what is
meant by the term raaga. Karnatic uses only particular notes in a
particular song or section of a song.
During the concert, one can see the main performer sing out just
random notes without words but notes like "aaa" or "naa" or "reee" -
this is also called raaga, but it's really them explaining the raaga.
Then there are times when they just sing strings of notes like sa, ri,
ga, ma, pa, da, ni. These are like do, re, mi etc. If not, just think of
them as random notes set to a specific pitch. This is to show they know
the raaga along with the beat well and to show they can get the
names of the syllables right at the same time.
11
Many things will tell it's nearing the end of the concert: the fact
that there are only five people in the audience, the yawns from shruti
box, the violinist trying to play and look at the main performer's watch
at the same time, and the kinds of songs that are performed. The
songs are usually light stuff. You might even see people go up to the
artists with slips of paper to tell them that they should sing such-and-
such song or else. Usually the artists pick out one or two songs from the
audience to sing. When it's all over,they sing a mangalam, which is to
thank God for the great concert (some might be thanking God it's
over, too) and finishing it all up.
1. Kalyaan (Mecakalyaani)
2. Bilaaval (dheera shankaraabharaNam)
3. khamaaj (harikaambhoji)
4. bhairav (maayamaaLava gowLa)
5. bhairavi (todi)
6. asaavari (natabhairavi)
7. todi (shubhapantuvaraali)
8. poorvi (pantuvaraali)
9. maarvaa (gamanaashrama)
10. kaafi (kharaharapriyaa)
What follows is a table of raagaas, which are the scales in Indian music, or
the set of notes used in any given piece. First is the hindustani (north
Indian) raagaa, followed by its equivalent/near equivalent raagaa in
carnaatic music. For each raga, the thaat and the melakartaa or melaa
scales, notations of the main or raga from which the derivative or janya
raagaa is formed, are also given.
Where karnatic raagaas are separated by a slash , the first raga is aaroha
(ascending scale) and the second raga is the avaroha (descending
scale).
3 des 28 des
3 desgaud 28 desyagaula
3 deshaksi 28 bilahari
2 deshkar 28 mohana
4 devaranjani 15 devaranji
10 dhanashri (bhimpalasi anga) 22 karnatakadevagandhari
5 dhanashri (todi anga) 8 dhanyasi
6 darbarikanada 22 darbarikanada
shuddhasavari,
2 durga 29
madhuradhwani
3 gara 22 dhanakapi
4 gauri 15 gauri
4 girija 17 Vasanta
10 gopikambhodi 20 gopikavasanta
puspalatika,
10 gaundgiri 22
suddhadhanyasi
1 hamirkalyan 65 hamirkalyani
2 hamsadhvani 29 hamsadhvani
1 hamskalyan 29/65 hamsadhvani/kalyani
2 hemkalyan 29 Begada
2 hemant 29 hemant
hindol
1 65 sunadavinodini
sanjh
8 indumati 51 indumati
9 jait (type 4) 53 gamanashrama
1 jaitkalyan 28 mohana
dvijavanti,
10 jaijaivanti 22
jijavanti
10 jayant 22 jayantasena
jivanpuri, jonpuri,
6 20
jonpuri shuddhadesi
10 jhinjoti 28 jinjuti
jogiya,
4 15 saveri
gunakri
3 kalavati 16 valaji
14
kalyan, mecakalyani,
1 65
yaman kalyani
3 khamaj 28 harikambhoji
4 kamalamanohari 27 kamalamanohari
10 kafi 22 kharaharapriya
6 kokilapancham 8 prabhupriya
2 kedara 29 nilambari
3 khamaji 28 khamaji
3 khambavati 28 balahamsa
8 kusumaranjani 15 gaulipantu
2 lajvanti 29 shuddhasavari
9 lalit 17/53 suryalalit
4 lalitpancham 15 lalitapanchama
madhmadsarang,
10 22 madhyamavati
madhyamadisarang
36 gambhiranata
10 madhuranjani
22 shuddhadhanyasi
9 madhuvanti 59 dharmavati
5 malkauns 20 hindola
1 malarani 60 hamsanada
6 malkali 20 Jayantashri
2 mand 29 Mand
2 manohari 22 manohari
1 margabehag 65 shuddhakoshala
9 marva 53 Gamanashrama
4 megharanji 15 megharanjani
7 multani 45 gamakasamantam
3 nagasvari 28 nagasvarali
3 narayani 28 narayani
4 naybhairav 27 sarasangi
3 natakuranji 28 natakuranji
puspalatika
10 palasi 22
rudrapriya
5 pancham malkauns 20 jayantashri
15
paraju,
9 paraj 15
paras
10 patadip 22 patadip
10 patamanjari 22 phalamanjari
10 pilu 22 pilu
9 puria 53 hamsanandi
9 puriadhanshri 51 kamavardhini
8 purvi 51 kamavardhini
9 purvakalyan 53 purvikalyani
3 pratapavarali 28 pratapavarali
3 pundalika 28 nagavalli
3 rageshri 28 ravichandrika
2 salang 29 skandamanorama
1 sarasvati 64 sarasvati
4 saurastrabhairav 17 saurastra
10 shahana 22 Shahana
2 shankara 29 shankara
10 sindhura 22 salagabhairavi
6 shobhavari 20 sutadri
1 shrikalyan 64 sarasvati
2 shuddha bilaval 29 shankarabharana
1 shuddha kalyan 65 mohanakalyani
6 sindhubhairavi 10 sindhubhairavi
9 sohini 53 hamsanandi
3 sorat 28 surati
3 suhakanada 28 Puspalatika
3 suryakauns 23 kamala
4 takka 15 takka
3 tilak kamod 27 nalinakanti
3 Tilang 30 tilang
7 todi 45 shubhapantuvarali
9 varati 52 patalambari
9 vibhavari 14 lasaki
16
1 yamankalyan 65 yamunakalyani
darbaar and naayaki are two of the many close raagas which
have the same swarastaanas (notes) but which differ subtly from one
another.So keeping such raagas straight is not an easy task even for
seasoned musicians. There are many such raagas, with the same
notes but which differ slightly. Other raagas have very different swaras
but strongly have the chaaya of another raaga. These can be hard to
separate whether one is performing or just listening to music.
Bhairavi and maanji are different subtly as well, both having the
same swaras. You will find, however, that only maanji contains P M P
M P, or P G R S. These can be difficult to separate but these subtle
sancaarams will make the difference. Similarly, in huseni, the phrase P
N2 D2 N2 is characteristic.
Aarabi and shyaamaa are also very close raagas. Aarabi often
uses a nishaadam (N3) in avarOhana phrases such as S N D P, which is
never used in shyaamaa. But some compositions in aarabi are
nishaadam varja (no ni is performed), and in these, subtle phrases like
S R G S will tell you it's shyaamaa, because aarabi does not have G in
the aarOhanam. Other phrases like M D D S and D P D S are also
usually restricted to shyaamaa.
These brief notes will help you distinguish some of the easily
confused raagas, but the best training, of course, is to just listen to
compositions in these raagas to get a feel for them.
vasantaa
asaavari
bhairavi
huseni
kaanadaa
shringaara love
kalyaani
kamaas
sahaanaa
shurutti
athaanaa
bilahari
veera courage begada
devagaandhaari
hamsadwani
kedaaram
asaavari
before noon
Forenoon deva manohari
9am-noon
saaveri
madyamaavati
Midday noon-1pm manirangu
shree
begada
Afternoon 1-4pm
mukhaari
ghanakaala raagas
aananda bhairavi
end of day naattai kurinji
Evening
4-7pm poorvi kalyaani
shanmugapriyaa
vasantaa
kedaara gowla
Night 7-10pm
neelaambari
bhairavi
kaambhoji
Sarvakaalika any time of day
kalyaani
shankaraabharanam
The last set, the sarvakaalika raagas, are common raagas and can
be performed at any time.
Angas
There are several basic movements, called angas (limbs), in Karnatic
music. 3 of these are most common: drutam, which is a beat with the
palm and then with the back of the hand (as in steps 5 & 6 or 7 & 8 of
aadi taalam), anudrutam, which is simply a beat of the hand, laghu,
which consists of a beat plus the movements of the fingers of the
hand (steps 1-4 of aadi taalam). Each of these movements of the 3
angas is called a kriyaa and usually signals the beginning of the beat.
Other movements (for 4 or more beats each) of the hand are used
rarely.
taalam components
Eka 1
roopaka 01
triputa 100
matya 101
jhampa 1U0
ata 1100
21
dhruva 1011
Other taalams
The caapu is a beat and a wave. Thus mishra caapu is 3+4 beats
(viloma is 4+3). tishra caapu is 1+2, khanda caapu is 2+3, and
sankeerna caapu is 4+5.
Tempo
The tempo of the rhythm is also important in a song. This is called the
kaalam. The same beat can be performed at half the speed simply
by counting 2 beats to every one, and it can be speeded up by
counting faster. In these cases, the number of swaras to every beat
changes. At the basic speed, if 4 swaras form one beat (1st kaalam,
madhyama), then at the slower speed there will be 8 swaras of the
same length per beat (1/2 kaalam, vilambita), at the faster speed 2
swaras per beat (2nd kaalam, durita), and at an even faster speed 1
swara per beat (3rd kaalam). Thus the performer must perform faster
to keep the same number of swaras per beat in the song as the
kaalam doubles or triples. Expert performers can also work in other
combinations where there are 5, 3 or 1 1/2 swaras per beat. The
number of swaras or subdivisions per beat is called the gati or nadai.
This is equivalent to gait (waltz would be a gait of 3). Thus our basic
aadi taalam at madhyama kaalam is in chatushra gati or chatushra
nadai.
22
Kalai
Another term is kalai, which refers to using multiple beats in one beat.
Thus 2nd kalai of aadi taalam will use 2 beats for every one beat of
the taalam. This is noticeable in the speed of the song and the length
of the aavartanam (cycle of the taalam).
Eduppu
In some cases, the taalam doesn't "begin" on the beginning of the first
beat (called the samam). It may begin just 1/2 beat before or after, or
1 1/2 beat after, for example. The place where a particular section of
a song (anupallavi, pallavi, or charanam) begins in the taalam is
called the graham or eduppu. When eduppus begin, for example,
3/4 beat after or before the samam, one can get an effect very
much like Western syncopation.
The table of the 35 taalas is listed below. The total numbers in the
laghu are given in parenthesis, ex. chatushra jaati = |(4). Taalas are
named first by their jaati then by the taala type of the 7, as in tishra
jaati eka taalam.
aaroha - this is the ascending scale. Moving from one note ascending
to the next is a gamaka. These can also be done rapidly and in
succession, giving long runs of great beauty when executed with skill.
ex: s r g m p d n S R G M
avaroha - similarly, moving down from a higher note to the next lower
note is also a gamaka. ex: M G R S n d p m g r s
daatu - using one note as a base and jumping to others in succession.
This is great for emphasizing one note and also giving almost a
rhythmic tone to the singing. ex: sr sg sm sp sd sn sS
spuritam - these are repeated notes, in twos. In such cases, the
second note is usually stressed. ex: ss rr gg mm pp dd nn SS
kampitam - this means singing a note between two notes. For
example, ma can be sung instead as gpgpgp... giving a shake to the
note
aahatam - using notes in succession (ascending) but paired with the
next note. ex: sr rg gm mp pd dn ns It can also be used as gmg rgr srs
pratyaavatam - the same as aahatam but in the descending scale.
ex: Sn nd dp pm mg gr rs It can also be used as sns ndn dpd ...
tripuccam - repeated notes in threes. ex: sss rrr ggg mmm ppp ddd
nnn sss
aandolam - also called dOlakam, this is, for example, srsg srsm srsp
srsd srsn srsS
moorcanai - this is using the proper gamakam of the raaga. If a raga
requires the use of a particular gamaka for a certain note, this must
be performed when singing the scale or whenever the note is sung or
performed
daatu - this is jumping of notes within a scale, skipping notes. ex: sg rm
gp md pn dS
jaaru - a glide or slide from one note to another (whether successive
or from a distant note) ex: s .... S
hampitam - a rarely used gamaka in recent years, this is the use of the
syllable "hoom" (like boom)
naabhitam - swelling a note in volume (like a crescendo)
mudritam - humming, singing with the mouth closed ex: mmmmm...
tribhinnam - performing multiple (usually 3) notes at once, as in a
chord. This is for instrumental performers only
mishritam - using a mixture of any gamakas listed above
More on Raga
The notes of Karnatic music are not usually fixed. In this sense they
are much like the do re mi fa so la ti of western music. A performer tunes
an instrument to the desired pitch (accompanists of course tune to the
main performer's pitch) or sings at whatever pitch is most comfortable.
This is called the kattai. Traditionally, the G above middle C is kaTTai 5, F
is 4, A is 6, etc. Most Indian instruments do need tuning for each
performance, according to the main artists' pitch - even percussion
instruments are tuned.
While all scales have sa, not all have the other notes. Though sa ri
ga ma pa da ni sa comprise the main vocalized notes of Karnatic
music, the actual notes (relative frequencies) that they form number 12.
There is only one sa (not counting octaves) and one pa, but there are 2
types of ma and 3 each of the other notes.
As you enter the hall, you will notice the main performer(s) sitting in
the middle. The musical sound you hear first is the drone (tambura)
playing sa, pa, Sa. Accompanists like violin and veena sit to the main
performer's left (your right), and percussion instruments are usually to
your left. All performers sit on the stage without chairs or stools.
With the raga established, the song begins, sung usually only with
the saahityam. In this, the accompaniment (usually violin, sometimes
veena) performs along with the main performer and the percussion
(mridangam, and sometimes ghaTam and ganjeera). A song usually
contains 3 parts: pallavi, anupallavi, and caraNam. The pallavi is
analogous to a chorus. After the anupallavi, the pallavi is again sung,
and again after the caraNam as well. Each phrase is repeated with
variations.
Next the performer begins swaram. In this section, swaras are sung
separately (as sa ri ga, etc.) to the beat. The performer must improvise a
string of swaras in any octave according to the rules of the raga and
return to beginning of the cycle of beats smoothly, joining the swaras
with a phrase selected from the saahityam. The violin performs these
alternately with the main performer. In very long strings of swara, the
performers must calculate their notes accurately to ensure that they
stick to the raga, have no awkward pauses and lapses in the beat of
the song, and create a complex pattern of notes that an experienced
audience can follow.
The main composition of any concert will have a section at this time
for the percussion to perform separately (the tani aavartanam). The
mridangam performer alone will perform complex patterns of rhythm
and display his or her skill, and if other percussion performers are present
on stage, they too will perform, and the percussion instruments engage
in a beautiful rhythmic dialog until the main performer picks up the
melody once again.
The composition ends with the performing of the main portion of the
song. Following the main composition, the performer will play or sing
other songs with or without raga and then perform lighter songs that are
more catchy and popular. Hindustani pieces are often performed, as
well as short westernized songs and other popular pieces. Some
performers also take requests at this time.
Every concert that is the last of the day ends with a mangaLam, a
thankful prayer and conclusion to the musical event.
32
In some songs, performers sing the words and then proceed to sing
the same line repeatedly in variations. This is called neraval - it may be
done in the same raga as the song or it may even travel from the main
raga to other ragas before returning. Another aspect with which
musicians expound raga and their own sense of rhythm is with taanam,
in which the word aananta is used for syllables. This may also be
performed in different ragas before returning to the raga of the
composition and has no rhythmic accompaniment.
Another type of song that is often performed (usually near the end
of a concert) is the tillaanaa. This is done to beat sounds like dheem,
takiTa, nadiru, etc. and is meant for the end of classical dance
performances. It is very rhythmic and lively with only a short saahityam
section. Other songs like love songs and lullabies may also find their way
into the end of a concert.
Music is said to have begun from the sounds of the Universe, the Om.
However, karnatik itself can be traced back to a time when there were no
distinctions among the styles of music in India.
Among the first music forms were the recitation of scriptures, including the
Vedas (especially Sama Veda), which were originally performed with only
three notes (ni, sa, ri), and later in 7 notes (400BC), in the raga
kharaharapriya. The Vedas also described musical instruments.
From 300-100BC, the Upanishads mention the notes and instruments,
including the veena. The Ramayana and Mahabharata (around 40BC) also
mention music.
In the second century, Bharatha's Natyasastra described dance, but also
music, in great detail. He described ragas (jaatis), swaras, varnams, tala,
and other aspects of music (see Glossary). It was also at this time that the
Tamil Silappadikkaram described folk songs and ragas, including the Tamil
paNNs, the octave, and the shifting of the sa to create new ragas. The
Tolkappiam also expanded on this emerging form of Karnatic music.
In the sixth century, the Brihaddesi first used the word "raga," and mentioned
some popular ones. Caves at Pudukottai in Tamil nadu describe more ragas
in the seventh century, and the Thevaarams and Divya Prabhandams at this
time also described several panns.
In the 12th century, Jayadeva's Gita Govinda inspired music and dance in
his Ashtapadis, each in a different raga.
Until the 13th century, classical music was similar or common across India.
With the arrival of Moghul influences, Hindustani music and Karnatic music
split into the two forms, the former incorporating the new influences and the
33
latter retaining the original form. The Sangita Ratnakara described swaras,
ragas, talas, instruments, and gamakas, and this work first used the word
"Karnatic," but it wasn't until the 1300s that Karnatic music and Hindustani
were clearly distinguished. Sangeeta Sara was also written in the 1300s, and
first classified ragas as melas and janya ragas.
In the 15th century, Arunagirinathar wrote his famous Tiruppugazh in Tamil.
At this time, Annamacharya first described the musical form known as the
kriti, which had a pallavi, anupallavi, and caraNam, and Purandara Dasa
also wrote the varisais for musical exercise and geetams which are still used
to teach beginners. In the 16th century, Swaramela Kalanidhi described a
further elaboration of melakarthas, ragas, and playing techniques for the
veena.
In the 17th century, Venkatamakhi created his 72 melakartha raga system,
which used the katapayadi scheme. The Sangeeta Saramrita and Sangraha
Choodamani were written in the 18th century. This was the century of the
Trinity also: Syama Sastry, Tyaagaraaja, and Dikshitar were born.
It wasn't until the 19th century that systematic notations were developed,
written in Sangeeta Sampradaya Pradarsini and Sangeeta Chandrikai.
Some were even written at this time in Western staff notation. Swati Tirunal
composed during this time, Papanasam Shivan was born, and others like
Gopalakrishna Bharathi, Patnam Subramanya Iyer also composed music.
In the 20th century, Karnatic music came into its modern form. It was then
that sabhas were formed, concerts were performed for the public (and not
just kings and nobles). Ariyakudi Ramanuja Iyengar also created a system of
concert format which most musicians use today.
In the 21st century, Karnatic music continues to develop, with schools and
concerts and organizations around the world.
Swaras
The table below lists some more interesting information about the
Karnatic swaras, which are named shadjam (sa), rishabam (ri),
gaandhaaram (ga), madhyamam (ma), pancamam (pa),
dhaivatam (da), and nishaadam (ni). Each is associated with an
34
meaning of
Swara full name Western animal color god rasa
name
veera
(courage),
giving birth
adbhuta
Sa shadjam do peacock light pink Brahma (to next 6
(wonder),
notes)
rowdra
(anger)
veera
Agni (courage),
bull parrot (Fire, adbhuta
Ri rishabam re morality
(nandi) green with (wonder),
Seeta) rowdra
(anger)
Rudra karuNaa fragrant,
Ga gaandhaaram mi goat gold
(Shiva) (compassion) light
middle,
karuNaa
Ma madhyamam fa crane white Vishnu intermediat
(compassion)
e
hasya
(laughter),
Pa pancamam so cuckoo black Naarada fifth
shringaara
(love)
bibhatsa
(disgust), of gods,
Da dhaivatam la horse yellow GaNEsha
bhayanaka devas
(fear)
Surya karuNaa
Ni nishaadam ti elephant multicolor sit, lie down
(Sun) (compassion)
one octave. If included further, subtler notes found in-between these notes, one
each for ri, ga, da, and ni, you have 16 notes: sa (shadjamam), 3 types of ri
(rishabham), 2 types of ma (madhyamam), pa (panchamam), 3 types of ga
(gaandhaaram), 3 types of da (dhaivatam), and 3 types of ni (nishaadam). These
are numbered and named as follows (names in parentheses are alternate
designations sometimes used):
Swara sa ri ga ma pa da ni
R1 = D1 = N1 =
shuddha G1 = shuddha shuddha
M1 =
(ra) shuddha (ga) (dha) (na)
shuddha
R2 = G2 = D2 = N2 =
S= (ma) P=
Types catshruti saadhaaraNa catshruti kaisiki
shadjam M2 = pancamam
(ri) (gi) (dhi) (ni)
prati
R3 = G3 = antara D3 = N3 =
(mi)
satshruti (gu) satshruti kaakali
(ru) (dhu) (nu)
kural
kural kural
kural taram
tutam uzhai
kural kaikilai vilari (ku- (ku-
(ku- (ku-
ancient kural (ku-kai,G2) vi,D1) ta,N2)
tu,R1) u,M1) ili (yi,P)
Tamil (ku,S) nirai kaikilai nirai nirai
nirai nirai
(ni-kai,G3) vilari (ni- taram
tutam uzhai
vi,D2) (ni-
(ni-tu,R2) (ni-u,M2)
ta,N3)
The melakartaa ragas are formed from combinations of these 16 notes, 7+1
in the ascending, 7+1 descending, giving 72 ragas. From these are derived
janya ragas, which may combine different melakartas in ascending and
descending scales, add or remove some notes in either scale, and have
variations in the notes, mood, gamaka (shaking of the note), emotions, or other
aspects of raga. These are nearly innumerable, but a select number are used in
practice.
All the melakartas in the table below begin with sa and end in high sa, with
the order sa ri ga ma pa da ni sa. These are sampoorna ragas, containing all
the notes in the ascending and descending scales. They also contain the SAME
notes in both scales. They are divided into 2 groups, by the type of ma they
possess. Every group of six ragas (total 12 groups) comprises one chakraa.
Interestingly, the naming of the ragas has also been systematized. The first 2
letters of each raga give the number of the raga according to this table, which
36
1 2 3 4 5 6 7 8 9 0
ka kha ga gha nga ca cha ja jha nya
Ta Tha Da Dha Na ta tha da dha na
pa pha ba bha ma
ya ra la va sha shha sa ha
Thus, a raga (see below) like ramapriya begins with ra (2) and ma (5). 25 in
reverse gives the number of the melakarta, 52!
The melakarta raagaas and their swaras, divided by their ma follow. They
are also separated into 12 groups of six, called chakras, and all the ragas in the
cakra have the same ri, ga, and ma.
R1 G2
11 kokilapriyaa (kokilaaravam) 47 suvarnaangi (sowveeram)
D2 N3
R1 G2
12 roopavati 48 divyamani (jeevantikaa)
D3 N3
3 Agni Chakra 9 Brahma Chakra
R1 G3 dhavalaambari
13 gaayakapriyaa (geya hejjajji) 49
D1 N1 (dhavalaangam)
vakulaabharanam (vaaTee R1 G3 naamanaaraayani
14 50
vasantabhairavi) D1 N2 (naamadEshi)
kamavardhini
R1 G3
15 maayamaalava gowla 51 pantuvaraali
D1 N3
(kaashiraamakriyaa)
R1 G3
16 chakravaakam (toyavegavaahini) 52 raamapriyaa (ramaamanohari)
D2 N2
R1 G3 gamanashramaa
17 sooryakaantam (chaayaavati) 53
D2 N3 (gamakakriyaa)
haatakaambari R1 G3
18 54 vishvaambhari (vamshavati)
(jayashuddhamaalavi) D3 N3
4 Veda Chakra 10 Disi Chakra
jhankaaradhwani R2 G2
19 55 shyaamalaangi (shyaamaLam)
(jhankaarabhramari) D1 N1
R2 G2 shhanmugapriyaa
20 natabhairavi (naareereetigowLa) 56
D1 N2 (caamaram)
R2 G2 simhendra madhyamam
21 keeravaani (keeraNaavaLi) 57
D1 N3 (sumadyuti)
R2 G2 hemaavati
22 kharaharapriya (shreeraagam) 58
D2 N2 (deshisimhaaravam)
R2 G2
23 gowri manohari (gowrivelaavali) 59 dharmaavati (dhaamavati)
D2 N3
R2 G2
24 varunapriyaa (veeravasantam) 60 neetimati (nishhadam)
D3 N3
5 Bana Chakra 11 Rudra Chakra
R2 G3
25 maararanjani (sharaavati) 61 kaantaamani (kuntaLam)
D1 N1
R2 G3
26 chaarukeshi (tarangini) 62 rishhabapriyaa (ratipriyaa)
D1 N2
27 sarasaangi (sowrasEnaa) R2 G3 63 lataangi (geetapriyaa)
38
D1 N3
R2 G3
28 harikaambhoji (harikedaaragowla) 64 vaachaspati (bhooshaavati)
D2 N2
R2 G3 mecakalyaani
29 dheera shankaraabharaNam 65
D2 N3 (shaantakalyaani)
naagaanandini R2 G3
30 66 chitraambari (caturaangini)
(naagaabharanam) D3 N3
6 Rutu Chakra 12 Aaditya Chakra
R3 G3
31 yaagapriyaa (kalaavati) 67 sucharitra (santaana manjari)
D1 N1
raagavardhani R3 G3
32 68 jyotiswaroopini (jyOti raaga)
(raagacoodaamani) D1 N2
gangayabhooshhani R3 G3 dhaatuvardani (dhowta
33 69
(gangaatarangini) D1 N3 pancamam)
vaagadeeshwari (bhogachaayaa R3 G3 naasikabhooshhani
34 70
naattai) D2 N2 (naasaamani)
R3 G3
35 shoolini (shailadeshaakshhi) 71 kosalam (kusumaakaram)
D2 N3
R3 G3
36 chalanaattai 72 rasikapriyaa (rasamanjari)
D3 N3
• upaanga or bhaashaanga
• varja or sampoorna
• vakra or non-vakra
are called anya swaras, notes from a different melakarta. Thus, aahiri
uses swaras from melakartas 8, 14, and 20. A raaga may use up to 3
swaras from an outside melakarta, but no more.
1. aabhogi
2. amritavarshini
3. behaag
40
Balamurali Krishna has reigned at the forefront of South Indian music for
the past five decades.
D.K.Pattammal
M.L.Vasanthakumari
M.S.Subbulakshmi
41
Muthuswamy Dikshitar
Mysore Vasudevachariar
Papanasam Sivan
Purandara Dasa
Subbarama Dikshitar
Syama Sastri
Thyagaraja
42
V.Doreswamy Iyengar
Doreswamy Iyengar (b.1920) was a shining star in the galaxy of famous
vainikas of Mysore.
●●●●●●●●●●●●●●●●