CHAPTER XII

GRAHABHĒDA IN SVRĀNTĀRA VARIETIES

This group consists of various rāgas which are Svarāntāra either in Ārohana or
Avarohana, i.e. Svarāntāra, Svarāntāra-Audava, Svarāntāra-Shādava, Svarāntāra-Sampoorna
rāgas. See the Murchanas of these rāgas.

1. ANNAL (59)

Srmps–sndpmgrs

RXXXMPXXXXSXR

SXXXGMXXXXNXS

RGXXMPXDXNSXR

SRXXGMXPXDNXS R – (16) to be named

Sgmns–sndpmgrs

PXXXXSXRXXXMP

S X X X X MX P X X X N S

PXDXNSXRGXXMP

SXRXGMXPDXXNS P – (27) to be named

Smpns–sndpmgrs

2. BALA MANJARI (29)

Sgmds–sndpmgrs

GMXXXDXXSXXXG

SRXXXMXXDXXXS

382
 GMXPXDXNSXRXG

SRXGXMXPDXNXS G – Veera Varāli (08)

Srmds–sndpmgrs

MXXXDXXSXXXGM

S XXXGXXPXXXNS

MXPXDXNSXRXGM

SXRXGXMPXDXNS M – (65)to be named

Sgpns–sndpmgrs

DXXSXXXGMXXXD

SXXGXXXPDXXXS

DXNSXRXGMXPXD

SXRGXMXPDXNXS D – (20) to be named

Sgpds–sndpmgrs

3. BHUTANĀTHAN (10)

Sgpds–sdpgs

GXXXPXDXXSXXG

SXXXGXMXXDXXS G – Sukapriya (53)

PXDXXSXXGXXXP

SXRXXMXXDXXXS P – s r m d s (to be named)

DXXSXXGXXXPXD

SXXGXXMXXXNXS D – s g m n s (to be named)

383
4. CHATURĀNANA (28)

sgmds–sdmgs

GMXXXDXXSXXXG

SRXXXMXXDXXXS G – Lavangi (01)

MXXXDXXSXXXGM

S XXXGXXPXXXNS M – Sankari (29)

DXXSXXXGMXXXD

SXXGXXXPDXXXS D – Madhupati (08)

5. DAMAYANTI (64)

Sgmps–sndpmgrs

PXXXXSXXXGXMP

SXXXXMXXXDXNS

PXDNXSXRXGXMP

SXRGXMXPXDXNS P – (23) to be named

Smdns–sndpmgrs

6. ĒKAMBAN (29)

Sgpds–sdpgs

GXXPXDXXSXXXG

SXXGXMXXDXXXS G – s g m d s (to be named)

PXDXXSXXXGXXP

SXRXXMXXXDXXS P – s r m d s (to be named)

384
 DXXSXXXGXXPXD

SXXGXXXPXXNXS D – Indira (08)

7. INDIRA (08)

Sgpns–snpgs

GXXXPXXNXSXXG

SXXXGXXPXDXXS G - Ēkamban (29)

PXXNXSXXGXXXP

SXXGXMXXDXXXS P - s g m d s (to be named)

NXSXXGXXXPXXN

SXRXXMXXXDXXS N - s r m d s (to be named)

8. JNĀNAYURTHI (09)

Sgpns–snpgs

GXXXPXXXNSXXG

SXXXGXXXDNXXS G – s g d n s (to be named)

PXXXN SXXGXXXP

SXXXGMXXDXXXS P – s g m d s (to be named)

NSXXGXXXPXXXN

SRXXGXXXDXXXS N – s r g d s (to be named)

9. KUJAN (16)

Sgpns–sndpmgrs

385
 NXSXXXGXXPXXN

SXRXXXMXXDXXS

NXSRXXGMXPXDN

SXRGXXMPXDXNS N – (59) to be named

Srmds–sndpmgrs

10. KUNJAN (08)

Sgpns–sndpmgrs

GXXXPXXNXSXXG

SX XXGXXPXDXXS

GXMXPDXNXSRXG

SXRXGMXPXDNXS G – (28) to be named

Sgpds–sndpmgrs

NXSXXGXXXPXXN

SXRXXMXXXDXXS

NXSRXGXMXPDXN

SXRGXMXPXDNXS N – (22) to be named

Srmds–sndpmgrs

11. LAVANGI (01)

Srmds–sdmrs

RXXXMXXDXXXSR

SXXXGXXPXXXNS R – Sankari (29)

386
 MXXDXXXSRXXXM

SXXGXXXPDXXXS M – Madhupati (08)

DXXXSRXXXMXXD

SXXXGMXXXDXXS D – Chaturānana (28)

12. LEELĀ TARANGINI (29)

Sgpns–sndps

PXXXN SXXXGXXP

SXXXGMXXXDXXS

PXDXNSXXXXXXP

SXRXGMXXXXXXS P – to be named

Sgmds–smgrs

13. MADHUPATI (08)

Sgpds–sdpgs

GXXXPDXXXSXXG

SXXXGMXXXDXXS G – Chaturānana (28)

PDXXXSXXGXXXP

SRXXXMXXDXXXS P – Lavangi (01)

DXXXSXXGXXXPD

SXXXGXXPXXXNS D – Sankari (29)

387
14. MAHATI (28) or Tannavan (14)

Sgpns–snpgs

GXXPXXNXSXXXG

SXXGXXMXDXXXS G – s g m d s (to be named)

PXXNX SXXXGXXP

SXXGXMXXXDXXS P - Tirumurai Vadivam (22)

NXSXXXGXXPXXN

SXRXXXMXXDXXS N – s r m d s (to be named)

15. MANOHARAN (28)

Srmps–sndpmgs

MXPXXXXSXRXXM

S XRXXXXPXDXXS

MXPXDNXSXXXGM

S XRXGMXPXXXNS M – (29) to be named

Srpds–snpmgrs

PXXXXSXRXXMXP

SXXXXMXPXXNXS

PXDNXSXXXGMXP

SXRGXMXXXDNXS P – (22) to be named

Smpns–sndmgrs

388
16. NĀGA PRIYAN (59)

Srmps–sndpmgs

PXXXXSXRXXXMP

SXXXXMXPXXXNS

PXDXNSXXGXXMP

SXRXGMXXDXXNS P – (27) to be named

Smpns–sndpmgrs

17. NAVARASA KANNADA (28)

Sgmps–sndmgrs

MXPXXXXSXXXGM

SXRXXXXPXXXNS

MXXXDNXSXRXGM

SXXXGMXPXDXNS M – (29) to be named

Srpns–sndpmgs

18. SANKARI (29)

Sgpns–snpgs

GXXPXXXNSXXXG

SXXGXXXPDXXXS G - Madhupati (08)

PXXXN SXXXGXXP

SXXXGMXXXDXXS P – Chaturānana (28)

389
 NSXXXGXXPXXXN

SRXXXMXXDXXXS N – Lavangi (01)

19. SIVASAKTI (22)

Sgmds–sndmgs

GXMXXXDXXSXXG

SXRXXXMXXDXXS

GXMXXXDNXSXXG

SXRXXXMPXDXXS G – (65) to be named

Srmds–sdpmrs

MXXXDXXSXXGXM

S XXXGXXPXXNXS

MXXXDNXSXXGXM

SXXXGMXPXXNXS M – (28) to be named

Sgpns–snpmgs

20. SOCHIKĀBHARANAM (28)

Sgpns–sndpmgrs

PXXNXSXXXGXXP

SXXGXMXXXDXXS

PXDNXSXRXGMXP

SXRGXMXPXDNXS P – (22) to be named

Sgmds–sndpmgrs

390
 NXSXXXGXXPXXN

SXRXXXMXXDXXS

NXSXRXGMXPXDN

SXRXGXMPXDXNS N – (65) to be named

Srmds–sndpmgrs

21. SOUJANYA (08) See LAVANGI (01)

22. SUDDHA KOSALA (65)

Sgmps–sndmgrs

GXMPXXXXSXXXG

SXR GXXXXDXXXS

GXMXXDXXNSXRXG

SXRXXMXXPDXNXS G – (20) to be named

Srgds–sndpmrs

23. SUKA PRIYA (52)

Sgmds–sdmgs

GXMXXDXXSXXXG

SXRXXMXXDXXXS G – s r m d s (to be named)

MXXDXXSXXXGXM

SXXGXXMXXXNXS M - s g m n s (to be named )

DXXSXXXGXMXXD

SXXGXXXPX DXXS D – Bhutanāthan (10)

391
24. TANNAVAN (14) See Mahati (28)

25. TIRUMURAI VADIVAM (22)

sgmds–sdmgs

GXMXXXDXXSXXG

SXRXXXMXXDXXS G – s r m d s (to be named)

MXXXDXXSXXGXM

SXXXGXXPXXNXS M – Mahati (28) or Tannavan (14)

DXXSXXGXMXXXD

SXXGXXMXDXXXS D – s g m d s (to be named)

26. VEERA VARĀLI (08)

SRMDS–SNDPMGRS

RXXXMXXDXXXSR

SXXXGXXPXXXNS

RXGXMXPDXNXSR

SXRXGXMPXDXNS R – (65) to be named

Sgpns–sndpmgrs

MXXDXXXSRXXXM

S XXGXXXPDXXXS

MXPDXNXSRXGXM

SXRGXMXPDXNXS M – (20) to be named

Sgpds–sndpmgrs

392
 DXXXSR XXXMXXD

SXXXGMXXXDXXS

DXNXSRXGXMXPD

SXRXGMXPXD XNS D –Bala Manjari (29)

Sgmds–sndpmgrs

27. VILLI (15)

Sgmps–sndpmgrs

MXPXXXXSXXXGM

SXRXXXXPXXXNS

MXPDXXNSRXXGM

SXRGXXMPDXXNS M – (57) to be named

Srpns–sndpmgrs

28. VIVARDHANI (29)

Srmps–sndpmgrs

RXXMXPXXXXSXR

SXXGXMXXXXNXS

RXGMXPXDXNSXR

SXRGXMXPXDNXS R- (22) to be named

Sgmns–sndpmgrs

MXPXXXXSXRXXM

SXRXXXXPXDXXS

393
MXPXDXNSXRXGM

SXRXGXMPXDXNS M – (65) to be named

Srpds–sndpmgrs

PXXXXSXRXXMXP

SXXXXMXPXXNXS

PXDXNSXRXGMXP P – (28) to be named

SXRXGMXPXDNXS Smpns–sndpmgrs

394
 CHAPTER XIII

CONCLUSION

Indian music is very rich in traditions and has changed through a very slow process,
so new in Indian classical music is not easy to locate. As in every research, the research in
Indian music also has been finding new facts and it is theoretical as well as practical.

The origin of our music can be traced back to Vēdas. The first note of the sāma gāna
became its key note. This gave rise to Murchanas, mēlas, jātis and rāgas. As the key note of
each song shifted, sāma was able to use Svaras of various intervals known in modern
musical parlance as komala, tivra etc. We find after vēdic music, references to grāma rāga
and jāti gāna in the Mahabharata and Ramāyana respectively. But there is no evidence of
the process and manner of evolution between vēdic music and the Grāma-Murchana-Jāti
system in the epic, Ramāyana.

My study goes deeper into the very rudiments and traces its origin from Sāmavēda
and its development through Grāma-Murchana-Jāti system and Mēla-Janya rāgas. This
ancient music culture seems to have permeated through several millennia of oral traditions.
Transcription of these traditions, however, was a relatively recent event i.e. as late as 300
B.C. In my Book “Rāgas through Modal Shift of Tonic”, I had taken the view that this veil
surrounding our ‘Ancient Music’ is by no means accidental; it was probably a deliberate act
of ‘encoding’ on the part of an advanced ancient civilization that had revelled in this music

Vēdic music and the grāma murchana jāti system were discussed and analysed for
getting an idea of the commencement of the process of Grahabhēda. The concept of
grāma, murchana and jāti were fully developed during Bharata’s period. We see, therefore,
that the scientific foundation our music consisting of grāma, murchana and jāti was laid
during the period. Jāti, grāma rāgas and dēsi rāgas have contributed to the magnificent
melodic evolution of our music. The evolution of rāga system is like a perennial river and a
rāga that is obscure today may blossom into a popular rāga tomorrow.

The topic taken up for research is ‘Rāgas through Modal Shift of Tonic’. Only a very
few books have been written on Grahabhēda. Earlier books have neglected the Grahabhēda
395
possibilities of a large number of rāgas because deducing them manually requires "an
enormous amount of time". I have dealt with these aspects in great detail

The purpose of the study is to familiarise the method in which new scales were
originated through the application of Grahabhēda since practical oriented research in
Carnatic music found to be inadequate.

The main purpose of this book has been to show the process of modal shift of tonic
and how the intervals of various scales were redistributed to find out new scales. Many
unknown rāgas have been brought out for this purpose. The hypothesis is that music being a
creative performing art, the experimental application of the process of modal Shift of tonic
to find out new rāgas. What I have actually tried to discuss is the possibilities of arriving new
scales by various applications. Grahabhēda is one among them. Almost all the varieties of
rāgas such as Heptatonic, Hexatonic, Pentatonic and Svarāntāra are experimented by the
application of the process of Grahabhēda and we could see the resultant scales.

After the study, I have reached some generalisations which were explained in
chapter II, Grahabhēda and chapter III, Murchanakāraka mēlas. The main findings are given
as in the following.

1. If of two rāgas A and B, A’s Panchama murchana results in B; and B’s Madhyama
murchana rāga will be A. Janya rāgas with similar patterns of Ārohana and
Avarohana (i.e., Audava Sampoorna or Shādava Sampoorna, etc.) and derived from
Samvādi mēlas will also bear these relationships.

2. If of two rāgas A and B, A’s Gāndhāra murchana results in B; and B’s Dhaivata
murchana rāga will be A.

3. If of two rāgas A and B, A’s Rishabha murchana is equal to B; and B’s Nishāda
murchana equal to A.

4. The Nishāda murchana of a rāga taking Suddha Nishāda will result in a rāga taking
the Shatsruti Rishabha.

396
5. The Gāndhāra murchana of a rāga taking Suddha Gāndhāra and Suddha Madhyama
will give rise to a rāga taking Shatsruti Rishabha

6. Of the 56 Murchanakāraka mēlas there are 20 which are capable of yielding one
scale each, 18 mēlas: yielding 2 scales each, 12 mēlas: yielding 3 scales each and 6
mēlas: yielding 5 scales each by the process of Modal Shift of Tonic.

7. The 56 mēlas that admit Grahabhēda fall in 20 ‘groups’,(where each member in a

group can be obtained from another member of the same group by Grahabhēda).
These 20 groups (arranged in brackets) are:

(1,51). (2,19,53), (3, 54, 55), (4,25), (5,61), (7,17,63), (8,20,22,28,29,65), (9,35,56,66),
(10,23,26,64), (11,62), (13,69), (14,21,58,71), (15,57,72), (16,27,59), (18,43), (24,32),
(30, 34,44), (33,60), (36,45) and (46,70).

8. There are 10 mēla pair in Grahabhēda. (1,51), (4,25), (5,61), (11,62), (13,69), (18,43),
(24,32), (33,60), (36,45) and (46,70).

9. There are 6 mēla triples in Grahabhēda. (2,19,53), (3, 54, 55), (7,17,63), (15,57,72),
(16,27,59), (30, 34,44).

10. There are 3 mēla quadruples in Grahabhēda. (9,35,56,66), (10,23,26,64) and

(14,21,58,71).

11. There is just one mēla sextuple in Grahabhēda. (8,20,22,28,29,65)

12. In Murchanakāraka mēlas, the number of possible Panchama murchanas is 24 and

this is equal to the number of possible Madhyama murchanas.
13. In Murchanakāraka mēlas, the number of possible Gāndhara murchanas is 20 and
this is equal to the number of possible Dhaivata murchanas.
12. In Murchanakāraka mēlas, the number of possible Rishabha murchanas is 20 and
this is equal to the number of possible Nishāda murchanas.
13. In Murchanakāraka mēlas, Panchama murchanas are possible only in mēlas taking
the Chatusruti Rishabha and not in mēlas taking the Suddha Rishabha or Shatsruti
Rishabha.

397
 14. The seventh chakra, ‘Rishi’ is the only chakra in which no mēla is capable of
producing resultant scale by the process of Modal shift of Tonic.

15. Madhyama murchanas of Prati Madhyama mēlas will not result in correct scales.

16. Gāndhara murchana of Suddha Gāndhara mēlas are not a possibility.

17. Sankarābharanam is the only mēla, whose Madhyama murchana give rise to its
corresponding Prati Madhyama mēla.

18. Mēchakalyāni is the only mēla whose Panchama murchana give rise to its
corresponding Suddha Madhyama mēla

19. Gopriya; furnishes the solitary example of a rāga which results in the same scale in
the process of Modal Shift of Tonic, whatever the tonic note is chosen.

20. There is another rāga, Lokapriya which is a Janya of 13th mēla which results in the
same scale in the process of Grahabhēda, when its Gāndhāra and Dhaivata are taken
as tonic note. The other notes give rise to different rāgas.

Unlike some other musical systems where compositions are tied to specific octaves
(or base notes, or tonics) Indian classical music does not have a fixed reference for
performing. The performer chooses his or her own pitch and sings a composition. This
becomes the Ādhāra Shadja – or the base note for the performance.

Performers sometimes execute a Grahabhēda during their singing; this means that
they switch the base note for short intervals, and create a different rāga and a different
mood). This requires a degree of finesse to do an effective and elegant Grahabhēda. It is a
challenge to a vocalist, comparatively trivial to instrumentalists.

Musicians with sound Svara jnānam and experience may occasionally attempt
Grahabhēda in the course of a rāga Ālāpana, just as a melodic variety and as a vichitra
kālāpana. The term anya rāga Kāku occurring in early music literature suggests that
Grahabhēda was occasionally resorted to in appropriate places. Only certain classes of rāgas
admit of this treatment; and even in them only certain Svaras will be found fit as tonic notes
for the purpose of Grahabhēda. Grahabhēda need not necessarily create a feeling of

398
confusion. To the intelligent listener, the new rāga will just strike as a flash, on the
background of the basic rāga. It will be wrong on the part of a musician to sit tight over the
new tonic note as the Ādhāra Shadja itself, and forgetting the old sruti altogether, though
temporally, sing the resultant rāga in the new sruti. The phrases sung or performed with the
new tonic note should lie within the limits of a fraction of an octave. In some rāgas, there is
more scope to show these things more clearly.

According to me, practicing Grahabhēda in the sphere of rāga ālāpana and Kalpana
Svara may help one to acquire Svara jnānam. For the musically inclined with an innovative
touch, this kind of analysis can help in looking for and creating new rāgas, which may be
very good to listen to. Usually, if a rāga has well spaced svaras, in terms of frequency ratios
and vivādi notes, their grahabēdhas produce good rāgas too. Not all such Grahabhēdas of
popular rāgas have been exploited

Classical music is a complex art and a taste for it, is acquired over a number of years.
Special techniques have to be dēvised to elicit responses from listeners of classical music.
There is a popular fallacy that music can only be demonstrated and not written about it.
Music as a descriptive suffers from lack of research, so less research has been done in music
than in the social science. Most artists feel that it is not possible to express anything their
art with more words; they feel happy when they demonstrate their point by singing rather
than by talking. The thesis is an outcome of the devoted study of new rāgas through the
application of the process of Modal Shift of tonic..

The source, which provides materials for constructing a detailed study of music, is
varied and extensive. I have mainly employed sources from books, periodicals, reference in
the literature, printed materials, interviews, radio, CD’s, Cassettes, Websites, web articles
and live concerts. It provides factual knowledge, which encourages independent thinking, a
growing understanding and increased appreciation of fundamental principles and values in
music.

I haven’t given names to many of the new rāgas, which are arrived by the process of
Modal shift of Tonic, since most of them are not known to the present sphere of music. It
may be named by the musicologists, musicians and Rasikas as well.
399
 In this thesis, I have shared my views with the Reader regarding the concept of
reviving and installing the ‘Rāgas through Modal Shift of Tonic’ in today’s environment. I
would also welcome the Reader’s views for any alternative options towards this end. I have
enclosed a ‘Compact Disc’ (CD) along with this thesis to serve as ‘self-learner’. Various
possibilities and practical applications and demonstrations of Grahabhēda are given in this.
Three videos and some audio files, in which a Jugalbandi by Dr. Balamurali Krishna and
Pandit Jasrāj, performances by Sri Sanjeev Abhyankar, and Dr. Nāgavalli Nāgaraj featuring
Grahabhēda, in rāga Ālāpana and Svara singing as well, have been included. A PowerPoint
presentation is also included in the Compact disc for getting a faster idea on Grahabhēda.

Several topics such as ‘Concept of Grahabhēda, murchanas of different tonic notes,

Murchanakāraka mēlas, generalisations and findings etc. have been explained with practical
demonstrations in the PowerPoint presentation. I would, therefore, request the Reader to
peruse this CD along with reading the thesis. A web article, Computer based Srutibhēdam by
Vijayakumar Ālathoor has been given in the appendix which deals with the mathematical
relationships between the srutis, the fundamental ratios, and their symmetry properties.

The present research work is an ambitious one. Nevertheless, I attempted it because

I am convinced that very less research in the field of music is attempted on practical
oriented subjects like this. I hope that this study will encourage the students of music to do
Grahabheda which may help them to develop their skill while doing extemporisation.

400
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