The Basics of Raga

Contents Articles Raga

1

Carnatic rāga

6

Melakarta

9

Sampurna raga

13

Kharaharapriya

13

Mayamalavagowla

15

Shubhapantuvarali

17

Kalyani (raga)

18

Divyamani

22

Hanumatodi

24

Dharmavati

25

Shanmukhapriya

27

Natabhairavi

28

Chalanata

30

Charukesi

31

Keeravani

32

Gourimanohari

34

Chakravakam (raga)

35

References Article Sources and Contributors

37

Image Sources, Licenses and Contributors

38

Article Licenses License

39

Raga

1

Raga Indian Music Indian classical music Carnatic music Hindustani music Core Concepts Shruti · Swara · Gamaka · Rāga · Tāla

A raga (Sanskrit rāga राग,રાગ, literally "colour, hue" but also "beauty, melody"; also spelled raag, rag, ragam[1] ) is one of the melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions. The term raga was defined by Joep Bor of the Rotterdam Conservatory of Music as "tonal framework for composition and improvisation."[2] Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.[3]

Terminology The Sanskrit noun rāga is derived from the verbal root rañj "to colour, to dye". It is used in the literal sense of "the act of dyeing", and also "colour, hue, tint", especially "red colour" in the Sanskrit epics. A figurative sense "passion, love, desire, delight" is also found in the Mahabharata. The specialized sense of "loveliness, beauty", especially of voice or song, emerges in Classical Sanskrit, used by Kalidasa and in the Pancatantra.[4] The term first occurs in a technical context in the Brihaddeshi (dated ca. 5th to 8th century[5] ), where it is described as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". Rāginī (Devanagari: रागिनी) is a term for the "feminine" counterpart or "wife" to a rāga. The rāga-rāgini scheme from about the 14th century aligned 6 'male' rāgas with 6 'wives'.

Raga

2

Nature of rāga योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषितः । रञ्जको जनचित्तानां स च राग उदाहृतः ।। "That which is a special dhwani (tune), is bedecked with swara (notes) and varna and is colorful or delightful to the minds of the people, is said to be rāga" - Matanga in the Brihaddeshi. The basic mode of reference in modern Hindustani practice (known commonly as the shuddha - basic form) is a set which is equivalent to the Western Ionian mode (the major scale) — this is called Bilawal thaat in Hindustani music (the Carnatic analogue would be Sankarabharanam). In both systems, the ground (or tonic), Shadja, Sa, and a pure fifth above, Pancham, Pa, are fixed and essentially sacrosanct tones. In the Hindustani system, in a given seven-tone mode, the second, third, sixth, and seventh notes can be natural (shuddha, lit. 'pure') or flat (komal, 'soft') but never sharp, and the fourth note can be natural or sharp (tivra) but never flat, making up the twelve notes in the Western equal tempered chromatic scale (Western Raga Shree recital to Krishna and Radha, Ragamala paintings, 19th enharmonic pitch equivalences like, for example, A♯ century and B♭ do not apply; e.g. Re tivra may, to a Western musician appear enharmonic to Ga shuddha in that system, but in practice is not.) A Western-style C scale could therefore theoretically have the notes C, D♭, D, E♭, E, F, F♯, G, A♭, A, B♭, B. The Carnatic system has three versions — a lower, medium, and higher form — of all the notes except Sa, Ma and Pa. Ma has two versions (lower and higher), while Sa and Pa are invariant. Rāgas can also specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Tradition has it that the octave consists of (a division into) 22 microtones ("shrutis"). Furthermore, individual performers treat pitches quite differently, and the precise intonation of a given note depends on melodic context. There is no absolute pitch (such as the modern western standard A = 440 Hz); instead, each performance simply picks a ground note, which also serves as the drone, and the other scale degrees follow relative to the ground note. The Carnatic system embarks from a much different shuddha (fundamental) scalar formation, that is, shuddha here is the lowest-pitched swara. By comparison, using the common tonic "C" for a western musician:

Raga

3

Carnatic

Hindustani

Sa

Western E.T.

Sa

"C"

Shuddha Ri

"Ri 1"

Komal Re

"D♭"

Chatusruti Ri

"Ri 2"

Shuddha Re

"D"

Shatsruti Ri

"Ri 3"

(Komal Ga)

"D♯"

Shuddha Ga

"Ga 1"

(Shuddha Re)

"D"

Sadharana Ga

"Ga 2"

Komal Ga

"E♭"

Antara Ga

"Ga 3"

Shuddha Ga

"E"

Shuddha Ma

"Ma 1"

Shuddha Ma

"F"

Prati Ma

"Ma 2"

Teevra Ma

"F♯"

Pa

"G"

"Dha 1" Komal Dha

"A♭"

Pa Shuddha Dha

Chatusruti Dha "Dha 2" Shuddha Dha

"A"

Shatsruti Dha

"Dha 3" (Komal Ni)

"A♯"

Shuddha Ni

"Ni 1"

(Shuddha Dha) "A"

Kaisika Ni

"Ni 2"

Komal Ni

"B♭"

Kakali Ni

"Ni 3"

Shuddha Ni

"B"

Rāgas and their seasons Many Hindustani (North Indian) rāgas are prescribed for the particular time of a day or a season. When performed at the suggested time, the rāga has its maximum effect. During the monsoon, for example, many of the Malhar group of rāgas, which are associated with the monsoon and ascribed the magical power to bring rain, are performed. However, these prescriptions are not strictly followed, especially since modern concerts are generally held in the evening. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian rāgas, which do not come with any particular time associated with them. The result of these various influences is that there is increasing flexibility as to when rāgas may be performed.

Notations Although notes are an important part of rāga practice, they alone do not make the rāga. A rāga is more than a scale, and many rāgas share the same scale. The underlying scale may have five, six or seven tones made up of swaras. Rāgas that have five swaras are called audava (औडव) rāgas; those with six, shaadava (षाडव); and with seven, sampurna (संपूर्ण, Sanskrit for 'complete'). Those rāgas that do not follow the strict ascending or descending order of swaras are called vakra (वक्र) ('crooked') rāgas.

Vasant Ragini, Ragamala, Rajput, Kota, Rajasthan. 1770. Vasant is the raga of spring. The painting depicts Hindu god Krishna dancing with maidens.

Raga The mood of the rāga and the way the notes are approached and used are more important than the notes it uses. For example, Darbari Kanada and Jaunpuri share the same notes but are entirely different in their renderings. Similarly, although Bilaskhani Todi is classified under the Bhairavi thaat because of the notes it uses, it is actually closer to Todi than to Bhairavi.

Northern and southern differences The two streams of Indian classical music, Carnatic music and Hindustani music, have independent sets of rāgas. There is some overlap, but more "false friendship" (where rāga names overlap, but rāga form does not). In north India, the rāgas have been categorised into ten thaats or parent scales (by Vishnu Narayan Bhatkhande, 1860-1936); South India uses an older, more systematic classification scheme called the melakarta classification, with 72 parent (melakarta) rāgas. Overall there is a greater identification of rāga with scale in the south than in the north, where such an identification is impossible. Rāgas in north Indian music system follow the 'law of consonances' established by Bharata in his Natyashastra, which does not tolerate deviation even at the shruti level. As rāgas were transmitted orally from teacher to student, some rāgas can vary greatly across regions, traditions and styles. There have been efforts to codify and standardise rāga performance in theory from their first mention in Matanga's Brihaddeshi (c. tenth century).

Carnatic rāga In Carnatic music, rāgas are classified as Janaka rāgas and Janya rāgas. Janaka rāgas are the rāgas from which the Janya rāgas are created. Janaka rāgas are grouped together using a scheme called Katapayadi sutra and are organised as Melakarta rāgas. A Melakarta rāga is one which has all seven notes in both the ārōhanam (ascending scale) and avarōhanam (descending scale). Some Melakarta rāgas are Harikambhoji, Kalyani, Kharaharapriya, Mayamalavagowla, Sankarabharanam and Todi. Janya rāgas are derived from the Janaka rāgas using a combination of the swarams (usually a subset of swarams) from the parent rāga. Some janya rāgas are Abheri, Abhogi, Bhairavi, Hindolam and Kambhoji. See the full List of Janya Ragas for more. Each rāga has a definite collection and orders of swaras (the basic notes). In Carnatic music, there are 7 basic notes of which there are 12 varieties. The seven basic swarams of Carnatic music are: Sa, Ri, Ga, Ma, Pa, Da, Ni.

Related rāgas Even though Janya rāgas are subsets of Janaka rāgas in notation and representation, the differences between the child ragas are clear due to the differences like • some notes that figure more in a particular rāga compared to another, while other notes used sparingly • some notes may be sung with gamaka, stress, elongation, etc., in one rāga compared to other • specific phrases used and other phrases to be avoided in a rāga (so as to avoid deviation into another rāga's domain) • the scales of some ragas may contain at least one swara that does not figure in their janaka ragas. Such ragas are termed as bhashanga ragas. Ragas such as Bhairavi, Kambhoji, Bilahari, Devagandhari, and Neelambari fall under this category. The effect of the rāgas are different from each other, even if they notationally use same swarams (or subset of swarams between each other) due to above subjective differences related to bhava and rasa (mood caused in the listener). The artists have to ensure the same when elaborating on a rāga, as has been followed and expected on each rāga, without digressing into the phrases of another related rāga.

4

Raga

5

Rāga-rāgini The rāga-rāgini scheme is a classification scheme used from the 14th century to the 19th century. It usually consists of 6 'male' rāgas each with 6 'wives' (rāginis) and a number of sons (putras) and even 'daughters-in-law'. As it did not agree with various other schemes, and the 'related' rāgas had very little or no similarity, the rāga-rāgini scheme is no longer very popular.[6] Rāgas and rāginis were often pictured as Hindu gods, Rajput princes and aristocratic women in an eternal cycle of love, longing and fulfilment.[6]

Literature • Bhatkhande, Vishnu Narayan (1968-73), Kramika Pustaka Malika, Hathras: Sangeet Karyalaya.

Basohli painting of Ragaputra Velavala, son of the raga Bhairava.

• Bor, Joep (1999), The Rāga Guide, Charlottesville,Virginia: Nimbus Records • Daniélou, Alain (1949), Northern Indian Music, Calcutta: Visva Bharati • Jairazbhoy, N.A. (1995), The Rags of North Indian Music: Their Structure & Evolution, Bombay: Popular Prakashan • Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford & IBH Publishing Company . Some Ragamala paintings can be found in: • Bautze, J (1987), Indian Miniature Paintings c:1590 to c. 1850, Amsterdam: Galerie Saundarya Lahari, ISBN 90-72085-01-9. • Gangoly, O.C. (1934), Rāgas and Rāginis, Calcutta.

Notes [1] "Raag" is the modern Hindi pronunciation used by Hindustani musicians; "ragam" is the pronunciation in Tamil. [2] Bor, Joep; Rao, Suvarnalata; Van der Meer, Wim; Harvey, Jane (1999). The Raga Guide. Nimbus Records. p. 181. ISBN 0954397606. [3] Jairazbhoy, Nazir Ali (1995). The Rāgs of North Indian music (http:/ / books. google. com/ books?id=hGLRqLscf78C& pg=PA45). Popular Prakashan. p. 45. ISBN 8171543952. . [4] Monier-Williams, A Sanskrit-English Dictionary (1899) [5] Kaufmann(1968) p. 41 [6] Bor 1999

External links • Comprehensive reference on raagas (http://www.soundofindia.com/raagas.asp) • Krsna Kirtana Songs Ragamala (http://www.kksongs.org/ragamala) — an informative database with over ninety rāgas (audio clips coming soon), tutorial on the North Indian notation system, rāga classification, and explanation of how rāgas work. • Online quick reference of rāgams (http://webspace.webring.com/people/dv/vasudevanvrv/carnatic/raagams. htm) in Carnatic music. • Raga Surabhi's guide to identifying Ragas in Carnatic Music (http://www.ragasurabhi.com/identifying-ragas. html) a carnatic music website for beginners with audio clips and articles

Carnatic rāga

6

Carnatic rāga Carnatic Music Concepts Sruti • Swara • Raga • Tala • Melakarta Compositions Varnam • Kriti • Geetham • Swarajati • Ragam Thanam Pallavi • Thillana Instruments Veena • Mridangam • Ghatam • Morsing • Kanjira • Pullankuzhal • Violin • Tambura Composers List of Carnatic composers

Carnatic rāga refers to rāgas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.

Origins and history Carnatic raga classification

Components of Carnatic raga A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (sruti), scale, ornaments (gamaka) and important tones.

Nāda An aim of composer-performers of the past and present is to realise nāda, however, the sound that is audible to human ears is only a fraction of primordial sound.[1]

Swara The Carnatic tonal system consists of seven basic pitches, expressed by the solfa syllables: Sa (shadja), Ri (rishabha), Ga (gandhara), Ma (madhyama), Pa (panchama), Da (dhaivata) and Ni (nishadha).

Scale A Carnatic raga consists of an ascending and descending scale pattern (known as aarohana and avarohana respectively). Both ascent and descent should have at least five tones, although rarer ragas contain fewer tones. Scales establish rules for all performers to adhere to in melodic performance, and provide a tonal boundary. Typical scale features also act to help listeners identify ragas.[2]

Gamaka Gamaka, or ornamentation, is essential in Carnatic raga performance. Gamaka encompasses controlled shaking, articulating, sliding, glottal stops and other vocal or instrumental manipulation.[2]

Carnatic rāga

Raga in improvisation Types Improvisation in raga is the soul of Indian classical music [3] - an essential aspect.[4] "Manodharma sangeetham" or "kalpana sangeetham" ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation.[4] [5] Raga Alapana An alapana, sometimes also called ragam,[6] is the exposition of a raga or tone - a slow improvisation with no rhythm,[7] where the raga acts as the basis of embellishment.[8] In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.[8] The performer will explore the ragam and touch on its various nuances,[6] singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.[7] Niraval Niraval, usually performed by the more advanced performers, consists of singing one or two lines of a song repeatedly, but with a series of melodic improvised elaborations.[9] The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed.[10] Kalpanaswaram Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).[11] Kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.[12] Generally, the swaras are sung to end on the samam (the first beat of the rhythmical cycle), and can be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.[10] Thanam Tanam is one of the most important forms of improvisation, and is integral to ragam tanam pallavi.[13] Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc. Ragam Thanam Pallavi Ragam Tanam Pallavi is the principal long form in concerts,[13] and is a composite form of improvisation. As the name suggests, it consists of raga alapana, thanam, and a pallavi line. Set to a slow-paced tala, the pallavi line is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways.[6] The niraval is followed by kalpanaswarams.

Raga in non-classical traditions Raga in Harikatha The Harikatha tradition, which originated in the Indian state of Maharashtra, involves popular storytelling combined with dance and music. Krishna Bhagavathar, an exponent of Carnatic music, is responsible for creating the South Indian harikatha style - singing in raga, dancing with tala, and narrating stories in a manner that sustains the attention of the audience. In effect, harikatha is an art form that requires knowledge of raga, Carnatic music, dance, speech, diction and dramatic technique. Harikatha performance aims to communicate with non-literate and literate audiences.[14]

7

Carnatic rāga Well-known harikatha performers had sound knowledge of Carnatic music in the early part of the 20th century some were well established Carnatic musicians, while others were composers. Today, a few performers keep this tradition alive, and use ragas from both Carnatic music and Hindustani music traditions.[14]

Raga and light classical music Notes [1] [2] [3] [4]

Kassebaum (2000), p91 Kassebaum (2000), p93 MacCarthy, M. (1912). "Some Indian Conceptions of Music". Proceedings of the Musical Association 38th Sess: 41–65. Kassebaum, G. R. (1987). "Improvisation in Alapana Performance: A Comparative View of Raga Shankarabharana" (http:/ / jstor. org/ stable/ 767877). Yearbook for Traditional Music 19: 45–64. doi:10.2307/767877. . [5] Kassebaum (2000), p17 [6] Wolf, R. (1999). "untitled". Asian Music 30 (1): 199–203. [7] Royal Carpet: Glossary of Carnatic Terms R (http:/ / www. karnatik. com/ glossr. shtml) [8] Nettl, Bruno (1974). "Thoughts On Improvisation: A Comparitive Approach". Musical Quarterly LX: 9–12. [9] Higgins, J. B. (1987). "Performing Arts in India: Essays on Music, Dance, and Drama". Asian Music 18 (2): 103–118. [10] Henry, E. O. (2002). "The Rationalization of Intensity in Indian Music" (http:/ / jstor. org/ stable/ 852807). Ethnomusicology 46 (1): 33–35. doi:10.2307/852807. . [11] [12] [13] [14]

Viswanathan & Cormack (1998), p219 Viswanathan & Cormack (1998), p221 Palackal, J. J. (1998). "untitled". Yearbook for Traditional Music 30: 207–207. Kassebaum (2000), p106

References • Kassebaum, Gayathri Rajapur. ‘Karnatak raga’ (2000). In Arnold, Alison. The Garland Encyclopedia of World Music. New York & London: Taylor & Francis.

8

Melakarta

9

Melakarta Carnatic Music Concepts Sruti • Swara • Raga • Tala • Melakarta Compositions Varnam • Kriti • Geetham • Swarajati • Ragam Thanam Pallavi • Thillana Instruments Veena • Mridangam • Ghatam • Morsing • Kanjira • Pullankuzhal • Violin • Tambura Composers List of Carnatic composers

Melakarta is a collection of fundamental ragas (musical scales) in Carnatic music (South Indian classical music). Melakarta ragas are parent ragas (hence known as janaka ragas) from which other ragas may be generated. In Hindustani music the thaat is equivalent of Melakarta. There are 10 thaats in Hindustani music, though the commonly accepted melakarta scheme has 72 ragas. A melakarta raga is sometimes referred as mela, karta or sampoorna as well.

Rules for Melakarta Ragas must contain the following characteristics to be considered Melakarta. • They are sampurna ragas - they contain all seven swaras (notes) of the octave in both ascending and descending scale[1] [2] • They are krama sampurna ragas - that is the sequence is strictly ascending and descending in the scales, without any jumps or zig-zag notes[2] • The upper shadjam is included in the raga scale[2] (ragas like Punnagavarali and Chenchurutti are not melakarta as they end with nishadham) • The ascending and descending scales must have the same notes [2]

History The mela system of ragas was first propounded by Raamamaatya in his work Svaramelakalanidhi c. 1550. He is considered the father of mela system of ragas. Later Venkatamakhin expounded in the 17th century in his work Caturdandi Prakaasikaa a new mela system known today as melakarta. He had made some bold and controversial claims and defined somewhat arbitrarily 6 swaras from the known 12 semitones, at that time, to arrive at 72 melakarta ragas. The controversial parts relate to double counting of R2 (and similar swaras) and his exclusive selection of madyamas for which there is no specific reasoning. However, today the 72 melakarta ragas have gained significant following, though to this day this system is being criticized. Venkatamakhin was known to be extremely critical of Raamamaatya.

Melakarta

Determining the Melakarta A hundred years after Venkatamakhin's time the Katapayadi sankhya rule came to be applied to the nomenclature of the melakarta ragas. The sankhya associates Sanskrit consonants with digits. The digits corresponding to the first two syllables of the name of a raga, when reversed, give the index of the raga. Thus the scale of a melakarta raga can be easily derived from its name. For example, Harikambhoji raga starts with syllables Ha and ri, which have numbers 8 and 2 associated with them. Reversing them we get 28. Hence Harikambhoji is the 28th Melakarta raga. See Katapayadi sankhya for more details and examples.

Melakarta scale Each melakarta raga has a different scale. This scheme envisages the lower Sa (Keezh Shadjamam), upper Sa (Mael Shadjamam) and Pa (Panchamam) as fixed swaras, with the Ma (Madhyamam) having two variants and the remaining swaras Ri (Rishabam), Ga (Gandhaaram), Dha (Dhaivatham) and Ni (Nishaadham) as having three variants each. This leads to 72 seven-note combinations (scales) referred to as the Melakarta ragas as follows. There are twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3 (see swaras in Carnatic music for explanation of these notations). A melakarta raga must necessarily have S and P, one of the M's, one each of the R's and G's, and one each of the D's and N's. Also, R must necessarily precede G and D must precede N (krama sampoorna raga). This gives 2 × 6 × 6 = 72 ragas. Finding melakarta ragas is a mathematical process. By following a simple set of rules we can find the corresponding raga and the scale associated with it. A raga which has a subset of swaras from a Melakarta raga is said to be a janya (means born or derived from) of that Melakarta raga. Every raga is the janya of a melakarta raga. Janya ragas whose notes are found in more than one melakarta raga are assigned (or associated) parent Melakarta based on subjective notions of similarity. This is obvious for ragas that have less than seven notes. For such ragas it can be associated with a Melakarta which has any of the different swaras in that position. For example, Hindolam has Rishabam and Panchamam missing. Hence, it could be considered a janya of Todi (also known as Hanumatodi) which has shuddha rishabam or with Natabhairavi which has a chathusruthi rishabam. It is popularly associated with Natabhairavi.

Chakras The 72 melakarta ragas are split into 12 groups called chakras, each containing 6 ragas. The ragas within the chakra differ only in the dhaivatham and nishadham notes (D and N), as illustrated below. The name of each of the 12 chakras suggest their ordinal number as well.[1] [3] • • • • • • • • • • •

Indu stands for the moon, of which we have only one - hence it is the first chakra. Netra means eyes, of which we have two - hence it is the second. Agni is the third chakra as it denotes the three divyagnis (fire, lightning and Sun). Veda denoting four Vedas is the name of the fourth chakra. Bana comes fifth as it stands for the five banas of Manmatha. Rutu is the sixth chakra standing for the 6 seasons of Hindu calendar. Rishi, meaning sage, is the seventh chakra representing the seven sages. Vasu stands for the eight vasus of Hinduism. Brahma comes next of which there are 9. The 10 directions, including akash (sky) and patal (nether region), is represented by the tenth chakra, Disi. Eleventh chakra is Rudra of which there are eleven.

• Twelfth comes Aditya of which there are twelve.

10

Melakarta

11

Table of Melakarta ragas The 72 melakarta ragas can be divided into two parts. viz.,. suddha Madhyamam and prati Madhyamam ragas. When a given suddha madhyamam raga's M1 is replaced by M2, we get the corresponding prati madhyamam raga. See Katapayadi sankhya for more information on how to derive the various swaras of a raga from its melakarta number. See swaras in Carnatic music for explanation of the notations like R1, G2, N2, etc.

'Mēḷakartā Rāgas' 'Suddha Madhyamam' No.

Raga

'Prati Madhyamam' Scale

No.

Raga

1.Indu Chakra

Scale

7. Rishi Chakra

1

Kanakangi

S R1 G1 M1 P D1 N1 S' 37

Salagam

S R1 G1 M2 P D1 N1 S'

2

Ratnangi

S R1 G1 M1 P D1 N2 S' 38

Jalarnavam

S R1 G1 M2 P D1 N2 S'

3

Ganamurti

S R1 G1 M1 P D1 N3 S' 39

Jhalavarali

S R1 G1 M2 P D1 N3 S'

4

Vanaspati

S R1 G1 M1 P D2 N2 S' 40

Navaneetam

S R1 G1 M2 P D2 N2 S'

5

Manavati

S R1 G1 M1 P D2 N3 S' 41

Pavani

S R1 G1 M2 P D2 N3 S'

6

Tanarupi

S R1 G1 M1 P D3 N3 S' 42

Raghupriya

S R1 G1 M2 P D3 N3 S'

2. Netra Chakra

8. Vasu Chakra

7

Senavati

S R1 G2 M1 P D1 N1 S' 43

Gavambhodi

S R1 G2 M2 P D1 N1 S'

8

Hanumatodi

S R1 G2 M1 P D1 N2 S' 44

Bhavapriya

S R1 G2 M2 P D1 N2 S'

9

Dhenuka

S R1 G2 M1 P D1 N3 S' 45

Shubhapantuvarali

S R1 G2 M2 P D1 N3 S'

10

Natakapriya

S R1 G2 M1 P D2 N2 S' 46

Shadvidamargini

S R1 G2 M2 P D2 N2 S'

11

Kokilapriya

S R1 G2 M1 P D2 N3 S' 47

Suvarnangi

S R1 G2 M2 P D2 N3 S'

12

Rupavati

S R1 G2 M1 P D3 N3 S' 48

Divyamani

S R1 G2 M2 P D3 N3 S'

3. Agni Chakra

9. Brahma Chakra

13

Gayakapriya

S R1 G3 M1 P D1 N1 S' 49

Dhavalambari

S R1 G3 M2 P D1 N1 S'

14

Vakulabharanam

S R1 G3 M1 P D1 N2 S' 50

Namanarayani

S R1 G3 M2 P D1 N2 S'

15

Mayamalavagowla

S R1 G3 M1 P D1 N3 S' 51

Kamavardani

S R1 G3 M2 P D1 N3 S'

16

Chakravakam

S R1 G3 M1 P D2 N2 S' 52

Ramapriya

S R1 G3 M2 P D2 N2 S'

17

Suryakantam

S R1 G3 M1 P D2 N3 S' 53

Gamanashrama

S R1 G3 M2 P D2 N3 S'

18

Hatakambari

S R1 G3 M1 P D3 N3 S' 54

Vishwambari

S R1 G3 M2 P D3 N3 S'

4. Veda Chakra

10. Disi Chakra

19

Jhankaradhwani

S R2 G2 M1 P D1 N1 S' 55

Shamalangi

S R2 G2 M2 P D1 N1 S'

20

Natabhairavi

S R2 G2 M1 P D1 N2 S' 56

Shanmukhapriya

S R2 G2 M2 P D1 N2 S'

21

Keeravani

S R2 G2 M1 P D1 N3 S' 57

Simhendramadhyamam S R2 G2 M2 P D1 N3 S'

22

Kharaharapriya

S R2 G2 M1 P D2 N2 S' 58

Hemavati

S R2 G2 M2 P D2 N2 S'

23

Gourimanohari

S R2 G2 M1 P D2 N3 S' 59

Dharmavati

S R2 G2 M2 P D2 N3 S'

24

Varunapriya

S R2 G2 M1 P D3 N3 S' 60

Neetimati

S R2 G2 M2 P D3 N3 S'

5. Bana Chakra 25

Mararanjani

S R2 G3 M1 P D1 N1 S' 61

11. Rudra Chakra Kantamani

S R2 G3 M2 P D1 N1 S'

Melakarta

12 26

Charukesi

S R2 G3 M1 P D1 N2 S' 62

Rishabhapriya

S R2 G3 M2 P D1 N2 S'

27

Sarasangi

S R2 G3 M1 P D1 N3 S' 63

Latangi

S R2 G3 M2 P D1 N3 S'

28

Harikambhoji

S R2 G3 M1 P D2 N2 S' 64

Vachaspati

S R2 G3 M2 P D2 N2 S'

29

Dheerasankarabharanam S R2 G3 M1 P D2 N3 S' 65

Mechakalyani

S R2 G3 M2 P D2 N3 S'

30

Naganandini

Chitrambari

S R2 G3 M2 P D3 N3 S'

S R2 G3 M1 P D3 N3 S' 66 6. Rutu Chakra

12. Aditya Chakra

31

Yagapriya

S R3 G3 M1 P D1 N1 S' 67

Sucharitra

S R3 G3 M2 P D1 N1 S'

32

Ragavardhini

S R3 G3 M1 P D1 N2 S' 68

Jyoti swarupini

S R3 G3 M2 P D1 N2 S'

33

Gangeyabhushani

S R3 G3 M1 P D1 N3 S' 69

Dhatuvardani

S R3 G3 M2 P D1 N3 S'

34

Vagadheeswari

S R3 G3 M1 P D2 N2 S' 70

Nasikabhushani

S R3 G3 M2 P D2 N2 S'

35

Shulini

S R3 G3 M1 P D2 N3 S' 71

Kosalam

S R3 G3 M2 P D2 N3 S'

36

Chalanata

S R3 G3 M1 P D3 N3 S' 72

Rasikapriya

S R3 G3 M2 P D3 N3 S'

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] A practical course in Carnatic music by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house [3] South Indian Music Book III, by Prof. P Sambamoorthy, Published 1973, The Indian Music Publishing House

External links • The katapayadi sankhya applied to the melakarta ragas (http://members.tripod.com/~RKSanka/music/ katapaya.html) • Explanation of the two melakarta systems (http://webspace.webring.com/people/dv/vasudevanvrv/carnatic/ mela.htm) • Explanation of the melakarta and demonstration of ragas with piano keys (http://hkhandrika.blinkk.com/music/ ) • Melakarta Raga Chart (http://www.carnaticcorner.com/articles/mukund_chart.htm) • Basic Notes and their Western Equivalents (http://www.raaga.net) • Carnatic-composer: A community project where you can experiment online with the Melakarta Raga system and compose little tunes in Carnatic notation (http://carnatic-composer.com)

Sampurna raga

Sampurna raga In Indian classical music, Sampurna ragas (संपूर्ण, Sanskrit for 'complete') have all seven swaras in their scale. In general, the swaras in the Arohana and Avarohana strictly follow the ascending and descending scale as well. That is, they do not have vakra swara phrases (वक्र, meaning 'crooked'). In Carnatic music, the Melakarta ragas are all sampurna ragas, but the converse is not true, i.e., all sampoorna ragas are not Melakarta ragas. An example is Bhairavi raga in Carnatic music (different from the Bhairavi of Hindustani music). Some examples of Melakarta ragas are Mayamalavagowla, Todi, Sankarabharanam and Kharaharapriya.

Kharaharapriya Kharaharapriya (Sanskrit: खरहरप्रिया, Kannada: ಖರಹಾರಪ್ರಿಯ Tamil: கரகரப்பிரியா, Telugu: ఖరహరప్రియ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 22nd melakarta rāgam (parent scale) in the 72 melakarta rāgam system. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya.[1] [2]

Etymology There are many theories behind the etymology of the name Kharaharapriya. The most popular interpretation of the name is "Loved (priya) by the slayer (hara) of demon Khara".

Structure and Lakshana It is 4th rāgam in the 4th chakra Veda. The mnemonic name is Veda-Bhu. The mnemonic phrase is sa ri gi ma pa dhi ni.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa : S R2 G2 M1 P D2 N2 S • avarohaṇa : S N2 D2 P M1 G2 R2 S The notes are chathusruthi rishabham, Kharaharapriya scale with shadjam at C sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham and kaisiki Nishadham. It is a sampoorna rāgam - scale having all 7 swarams. It is the shuddha madhyamam equivalent of Hemavati, which is the 58th melakarta scale. Since the swaras of Kharaharapriya are quite evenly spaced, and since several different types of gamakas are allowed, it is a very versatile, fluid and flexible rāgam that allows for elaborate melodic improvisation within its scale. Songs sung in Kharaharapriya ragas typically have long, elaborate ālapanās, which exhibit the fluidity of the rāgam. Kharaharapriya songs are usually meant to be sung slow, medium or medium-fast, in order to bring out the Karuna rasa and bhava of the song.

13

Kharaharapriya

Janya rāgams Due to the even spacing of swaras, many janya rāgams (derived scales) are associated with Kharaharapriya. It is one of the melakarta scales that has a large number of janya rāgams. Many of the janya rāgams are very popular on their own, lending themselves to elaboration and interpretation. Some of them are Abheri, Abhogi, Bhimplaas (Hindustani music), Brindavana Saranga, Kāpi, Madhyamavathi, Mukhari, Reetigowla,Shree, Udayaravichandrika, Shivaranjani and Sriranjani. See List of janya rāgams for full list of scales associated with Kharaharapriya.

Compositions Kharaharapriya has been decorated with compositions by many composers. All except the Dikshitars, including Muthuswami Dikshitar,[1] have composed songs in this rāgam. Thyagaraja has composed many in this rāgam. Muthuswami Dikshitar, one of the three most important composers in Carnatic music, has not composed kritis in Kharaharapriya, but has composed kritis in a closely related ragam Harapriya, which bears stark similarities to Kharaharapriya.[3] A few of the popular compositions are listed here. • Chakkani rajamargamu, Pakkala nilapadi, Mitri Bhagyame, Rama ni samana, Nadachi Nadachi and Rama neeyata by Thyagaraja • Moovasai konda thiruman by Muthiah Bhagavatar • Senthil andavan, Srinivasa Thava Charanam by Papanasam Sivan The basic scale of Kharaharapriya has been used in several film songs in Indian film music. Although rarely authentic, there are several film songs that are set in this scale, or scales derived from this ragam.

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Kharaharapriya's notes when shifted using Graha bedham, yields 5 other major melakarta rāgams, namely, Kalyani, Hanumatodi, Natabhairavi, Shankarabharanam and Harikambhoji. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration of Graha bedham of this rāgam refer Graha bedham on Shankarabharanam.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras [3] Article from Carnatica.net (http:/ / www. carnatica. net/ nvr/ kharahara. htm)

• Compositions in Kharaharapriya at Royal Carpet Karnatik (http://www.karnatik.com/ragask. shtml#kharaharapriyA)

14

Mayamalavagowla

15

Mayamalavagowla Mayamalavagowla (pronounced māyāmāḻavagouḻa, Sanskrit: मायामाळवगोळ, Kannada: ಮಾಯಾಮಾಳವಗೌಳ, Tamil: மாயாமாளவகௌளை, Malayalam: മായാമാളവഗൗള), is a raga of Carnatic Music (musical scale of South Indian classical music). It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system.

Structure and Lakshana Venkatamakhin defines its lakshana thus: पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा pūrṇo māḻavagouḻākhyah sa graho gīyate sadā Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):

Mayamalavagowla scale with shadjam at C

• ārohaṇa: S R1 G3 M1 P D1 N3 S • avarohaṇa: S N3 D1 P M1 G3 R1 S The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale. The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant. There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S).

Nature of Raga This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the first yAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc. Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time. It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music. It is also defined as a mūrcana kāraka méLa since it can be used for Graha bedham on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bedham on Māyamālavagowla.

Mayamalavagowla

Janya ragams Mayamalavagowla has quite a few janya ragams associated with it, of which Bowli, Jaganmohini, Gowla, Gowlipantu, Lalita, Nadanamakriya, Revagupti, Saveri and Malahari are quite well known. See List of janya Ragas for a full list of janyas.

Popular Compositions All the basic swara exercises (Sarali, Jantai, Daattu, etc.) are set to the Mayamalavagowla raga. These are learnt by beginners in Carnatic Music. It is commonly used in the basics, credited to Purandara Dasa's work in his time, when he did much work towards standardising the teaching of Carnatic Music into a fully graded system. The first mini-songs (geetham) that are taught after the completion of basic exercises, are set to Malahari, a janya of Mayamalavagowla. Muthuswami Dikshitar's famous gouḻānta krithis (eight compositions with their raga names ending as gowla), on Goddess Nilothpalamba has māyāmāḻavagouḻa for one of the them. Some of the popular compositions in Mayamalavagowla are, Deva Deva composed by Swathi Thirunal and Adikkondar by Muthu Thandavar. A list of popular compositions in Mayamalalavagowla is as follows: • Tuḻasi Daḻa Mulace - Thyagaraja • Dévī Sri Tuḻasammā - Thyagaraja • Déva Déva Kalayamithé - Swathi Thirunal • Māya Theetha Swaroopini - Ponnaiyya Pillai (Direct Disciple of Muthuswami Dikshitar) • Sri Nāthādi Guruguho - Muthuswami Dikshitar (The very first composition of Muthuswami Dikshitar)

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications

16

Shubhapantuvarali

17

Shubhapantuvarali Shubhapantuvarali (pronounced śubhapantuvarāḻi, Sanskrit: शुभपन्तुवराळि, Telugu: శుభపంతువరాళి, Tamil: சுபபந்துவராளி, English: The auspicious moon) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 45th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Shivapantuvarāḻi in Muthuswami Dikshitar school of Carnatic music.[1] [2] Todi (thaat) is the equivalent in Hindustani music.[2]

Structure and Lakshana It is the 3rd rāgam in the 8th chakra Vasu. The mnemonic name is Vasu-Go. The mnemonic phrase is sa ra gi mi pa dha nu.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R1 G2 M2 P D1 N3 S • avarohaṇa: S N3 D1 P M2 G2 R1 S This scale uses the notes shuddha rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatham and kakali nishadham

Shubhapantuvarali scale with shadjam at C

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of Dhenuka, which is the 9th melakarta scale.

Janya rāgams Shubhapantuvarali has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams for full list of rāgams associated with Shubhapantuvarali.

Compositions Here are a few common compositions sung in concerts, set to Shubhapantuvarali. • Ennalu orake by Thyagaraja • Sri Satyanarayanam and Pasupatheeswaram by Muthuswami Dikshitar

Shubhapantuvarali

18

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Shubhapantuvarali's notes when shifted using Graha bedham, yields a melakarta rāgam, namely, Chalanata. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bedham on Chalanata.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Kalyani (raga) Kalyan or Kalyani, originally called Iman, is a melakarta rāga (parent musical scale) in the Carnatic music of South India, and is also an important raga in Hindustani (North Indian) music.

Kalyani in Carnatic music In South Indian weddings this is a very prominently played rāga. The word kalyani means she who causes auspicious things. It is the 65th melakarta rāga under the Katapayadi sankhya. It is also called Mechakalyani. The notes for Kalyani are S R2 G3 M2 P D2 N3.

Specifics on this raga Kalyani is slightly difficult to elaborate on in raaga alapna due to its similarity with Sankarabharanam with the only difference of the Madyamam (Ma). One should not remain too long on panchamam (pa) or alternate between shadyam and panchamam too frequently. Also, one must stress the characteristic madhyama very frequently or risk confusion with other raagas. Rishabham and Daivatam are also very key to this raagam and also aren't stressed very much in Sankarabharanam. Kalyani is a very beautiful raaga, and is prominently known among the public.

Structure and Lakshana It is the 5th ragam in the 11th chakra Rudra. The mnemonic name is Rudra-Ma. The mnemonic phrase is sa ri gu mi pa dhi nu [1] . Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G3 M2 P D2 N3 S • avarohaṇa: S N3 D2 P M2 G3 R2 S (Chathusruthi Rishabam, Anthara Gandharam, Prati Madhyamam, Chathusruthi Dhaivatham, Kakali Nishatham)

Kalyani scale with Shadjam at C

It is a Sampoorna raga in Carnatic music, that is to say, has all the seven notes: Sa, Ri, Ga, Ma, Pa, Dha, Ni. It is the prati madhyamam equivalent of Dheerasankarabharanam, which is the 29th melakarta.

Kalyani (raga)

Janya Rāgams Kalyani has many janya rāgams (derived scales) associated with it, of which Hameer kalyani, Mohanakalyani, Saranga, Sunadavinodini and Yamuna kalyani are very popular. See List of Janya Rāgams for full list of rāgams associated with Kalyani.

Popular compositions Nearly every significant Carnatic composer (including the Trinity of Carnatic music) has composed several pieces in the Kalyāni rāgam. Kalyāni is also considered one of the "major" rāgams of Carnatic music along with Sankarabharanam, Todi and Kharaharapriya (the set of "major" rāgams is an informal grouping of the most popular rāgams used for elaboration and exploration, and which often form the centerpiece of a Carnatic music concert in the form of a rāgam thānam pallavi (RTP) or a krithi). See next section for further information on relationships between these rāgams. Here is a short list of well known compositions in Kalyani. • Vanajakshi, an Ata tala varnam composed by Pallavi Gopala Iyer. • Nidhi chaala sukhama, Ethavunnara, Sundari ni divya, Amma ravamma and Vasudevanyani by Thyagaraja • Kamalaambaam bhajare and Bhajare rechita by Muthuswami Dikshitar • • • • •

Nambi Kettavarillavo, kallu sakkare koLLiro by Purandara Dasa Himadri suthe pahimam by Syama Sastri Unnai allal by Papanasam Sivan Sadanandame by Koteeswara Iyer Pankacha lochana by Swathi Thirunal Rama Varma

The Tamil movie Sindhu Bhairavi has a track called Kalaivaniye that is set in the Kalyani rāgam and sung without an avarohaṇam. The Bharathiar composition Veenai Adi Nee Enakku from the movie Ezhavathu Manithan is also set in the Kalyani rāgam. The Telugu movie Sankarabharanam has a Shloka "Maanikya Veenaam Upalalayanthi" set in this rāgam.

Related rāgams This section covers the theoretical and scientific aspect of Kalyani. Kalyani's notes when shifted using Graha bedham, yields 5 other major Melakarta rāgams, namely, Hanumatodi, Sankarabharanam, Natabhairavi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha bedham of this rāgam refer Related rāgams section in Sankarabharanam page.

Kalyan in Hindustani music Aroha & Avaroha Arohana S R G M+ P D N S' Avarohana S' N D P M+ G R S

19

Kalyani (raga)

Vadi and Samavadi Vadi is Ga, Samvadi Ni.

Pakad or Chalan Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly. You often hear N0 R G M+ D N S' in ascent and S' N G M+ G R S in descend[2] ). Sa is avoided in beginning the ascend such as N0 R G M+ P D N S'

Organization and relationships There is some discussion whether Yaman and Kalyan really just are different names for the same raga, or that these are actually 2 ragas. Joep Bor says "Kalyan (today usually referred to as Yaman)"[3] . Kaufmann[4] says that Yaman and Kalyan are just different names, but insists that rāga Yaman-kalyan is different as there natural Ma is occasionally inserted between two Ga, like Ga Ma Ga Re Sa, while in all other instances tivra Ma (Ma+ is used (as in Kalyan). S. Bagchee [5] agrees with Kaufmann. Bor : If natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan[3] Kalyan is mixed with several ragas: • Shuddha Kalyan • Puriya Kalyan • Yamani Bilawal Thaat: Kalyan is type raga of Kalyan thaat. In thaat Kalyan, all notes are shuddha (natural) except teevra (sharp) Ma.

Behavior Yaman is regarded one of the grandest and most fundamental rāgas in Hindustani music. It is one of the first rāgas taught to students.

Samay (Time) Kalyan should be performed during the first quarter of the night.

Rasa Kalyan is described by Meshakarna(1570) as "lord in white garments and pearl necklace on a splendid lion-throne, under a royal umbrella, fanned with whisk, chewing betel"[3] A song text is: Hey friend, without my lover I don't find peace At any moment of the day; Since my lover went away I spend my nights counting the starts [3]

20

Kalyani (raga)

Historical Information Yaman is not an ancient rāga. It is first mentioned in the literature in the late 16th century, by which time it was very popular: The Sahasras contains 45 dhrupad song-texts for Kalyan and five for Iman-Kalyan. According to Venkatamakhin(1620), Kalyan was a favourite melody to the Arabs, and Pundarika included Yaman among his 'Persian' Ragas [3] .

Important recordings • • • • •

Amir Khan - Shuddh Kalyan, Yaman, and Yaman Kalyan Rashid Khan - bandish in vilambit ektal (India Archive Music IAM CD 1003) Ravi Shankar in matta tal: "The Genius of Pandit Ravi Shankar", Oriental Records Inc, New York AAMS CD108 Imrat Khan "Nordindische Ragas, Live" Zia Mohiuddin Dagar on Nimbus Records, LS5871 / NI7047/8

Film songs • "Man re, tu kaahe na dheer dhare" in "Chitralekha" • "Zindagi bhar nahin bhulegi barsaat ki raat" in "Barsaat Ki Raat" (1960) • "Aansoo bhari hai yeh jeevan ki raahen" in "Parvarish" (1977)

References [1] [2] [3] [4] [5]

Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Kaufmann(1968) Bor 1997 Kaufmann 1968 Bagchee 1998

External links Examples of Kalyan: • Chandan Sa Badan (http://www.youtube.com/watch?v=mxGYsF_Bvig) • Alāp by [[Budhaditya Mukherjee (http://www.youtube.com/watch?v=Zt-Ts7BF77M)] Kolkata, India, 6 January 2006] • Drut Gat by [[Budhaditya Mukherjee (http://www.youtube.com/watch?v=8O_YAiouu9Y)] Kolkata, India, 6 January 2006] • Alāp, Jod and Jhālā by [[Arnab Chakrabarty (http://www.youtube.com/watch?v=myR0R-SCzQM)] (sarod)] • Riyaz of Prashant Uday Manohar on violin (http://www.youtube.com/watch?v=ahIJWvR7gIg) • song "Bhuli Hui Yaadein" on Saaj (http://www.youtube.com/watch?v=aWDFEfNgCgg) • Abhik Mukherjee, sitar, Raag Yaman, drut (http://www.youtube.com/watch?v=FoeViqMyw4k) Examples of Yaman-Kalyan: • Arnab Chakrabarty (sarod) (http://www.youtube.com/watch?v=GwLtD8XAihQ) • Yaman-Kalyan by [[Bhimsen Joshi (http://www.youtube.com/watch?v=a24p1kBjrZ0)]] • Film Songs in Rag Kalyan (Yaman) (A-H) (http://chandrakantha.com/raga_raag/film_song_raga/kalyan1. html) • Film Songs in Rag Kalyan (Yaman) (I-R) (http://chandrakantha.com/raga_raag/film_song_raga/kalyan2. html) • Film Songs in Rag Kalyan (Yaman) (S-Z) (http://chandrakantha.com/raga_raag/film_song_raga/kalyan3. html)

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Kalyani (raga)

22

Literature list partly from Moutal (1991) Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford and IBH Publishing Company. Bagchee, Sandeep (1998), Nād, Understanding Rāga Music, Mumbai: Eshwar (Business Publications Inc.). Bhatt, Balvantray (1964-1974), Bhāvaranga, Varanasi: Motilal Barnasidas. Gandharva, Kumar (1965), Anūparāgavilāsa, Bombay: Mauj Prakashan. Patwardhan, Vinayak Rao (1961-74), Rāga Vijñāna, Poona: Sangeet Gaurav Granthamala. Srivastava, Harichandra (1973-79), Rāga Paricaya, Allahabad: SangeetSadan Prakashan. Telang, Gokulanand; Bhartendu, Banwari Lal (1962), Sangīta Rāga Aṣṭachāpa, Hathras: Sangeet Karyalaya. Thakar, Vasant Vaman, Sangīta Rāga Darśana, Prayag: Gandharva Mahavidyalaya Mandal Prakashan. Rao, B. Subba (1964-66), Raganidhi, Madras: Music Academy. Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7.

Divyamani Carnatic Music Concepts Sruti • Swara • Raga • Tala • Melakarta Compositions Varnam • Kriti • Geetham • Swarajati • Ragam Thanam Pallavi • Thillana Instruments Veena • Mridangam • Ghatam • Morsing • Kanjira • Pullankuzhal • Violin • Tambura Composers List of Carnatic composers

Divyamani (pronounced Divyamaṇi [1] , Sanskrit: दिव्यमणि, Telugu: దివ్యమణి, English: The divine gem) is a rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Jeevantika[1] or Jeevantini [2] [3] in Muthuswami Dikshitar school of Carnatic music.

Divyamani

23

Structure and Lakshana It is the 6th rāgam in the 8th chakra Vasu. The mnemonic name is Vasu-Sha. The mnemonic phrase is sa ra gi mi pa dhu nu [2] . Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R1 G2 M2 P D3 N3 S • avarohaṇa: S N3 D3 P M2 G2 R1 S (the notes used in this scale are shuddha rishabham, sadharana gandharam, prati madhyamam, shatsruthi dhaivatham, kakali nishadham)

Divyamani scale with Shadjam at C

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of Roopavati, which is the 12th melakarta.

Janya rāgams Divyamani has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams for all rāgams associated with Divyamani.

Compositions A few compositions set to Divyamani are: • Leela ganu joochi by Thyagaraja • Appa muruga by Koteeswara Iyer

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Divyamani's notes when shifted using Graha bedham, yields no other melakarta rāgam. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam.

References [1] Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai [2] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [3] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Hanumatodi

Hanumatodi Hanumatodi, more popularly known as Todi, (Sanskrit: हनुमतोडि, Telugu: తోడి, Kannada: ಹನುಮತೋಡಿ, Tamil: ஹனுமத்தோடி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 8th melakarta rāgam (parent scale) in the 72 melakarta rāgam system. This is sung very often in concerts. It is known to be a difficult rāgam to perform in owing to its complexity in prayoga (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.[1] Todi in Carnatic music, is different from Todi (thaat) of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali (which is the 45th melakarta).[2] [3] The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat.[2]

Structure and Lakshana It is the 2nd rāgam in the 2nd chakra Netra. The mnemonic name is Netra-Sri. The mnemonic phrase is sa ra gi ma pa dha ni.[2] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music page for details on below notation and terms): • ārohaṇa : S R1 G2 M1 P D1 N2 S • avarohaṇa : S N2 D1 P M1 G2 R1 S This scale uses the notes shuddha Todi scale with shadjam at C rishabham, sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham. It is a sampoorna rāgam - rāgam having all 7 swarams. It is the shuddha madhyamam equivalent of Bhavapriya, which is the 44th melakarta scale.

Janya rāgams Hanumatodi has a quite a few janya rāgams (derived scales) associated with it, of which Asaveri, Bhupalam, Dhanyasi, Punnagavarali and Shuddha Seemandhini are popular. See List of janya rāgams for all of Todi's janyas.

Popular Compositions Most composers have composed songs in Todi.[3] Thāye Yashoda, composed by Oottukkadu Venkata Kavi, is a very well known composition, in the Tamil language. This popular kriti is sung frequently in concerts. A popular varnam in the Todi rāgam is Erā Nāpai by Patnam Subramania Iyer, one of the famous composers of Carnatic music. Other popular compositions are: • Kādhanu vāriki, Dāsu kovalena and Gati Neevani by Thyagaraja • Shri Krishnam Bhajamaanasa and Kamalambike by Muthuswami Dikshitar • Kārthikeya Gangeya and Thamatham aen swami by Papanasam Sivan

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Hanumatodi

25

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Todi's notes when shifted using Graha bedham, yields 5 other major melakarta rāgams, namely, Kalyani, Shankarabharanam, Natabhairavi, Kharaharapriya and Harikambhoji. For further details and an illustration of graha bedham of this rāgam refer related rāgams section in Shankarabharanam page.

References [1] Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai [2] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [3] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Dharmavati Carnatic Music Concepts Sruti • Swara • Raga • Tala • Melakarta Compositions Varnam • Kriti • Geetham • Swarajati • Ragam Thanam Pallavi • Thillana Instruments Veena • Mridangam • Ghatam • Morsing • Kanjira • Pullankuzhal • Violin • Tambura Composers List of Carnatic composers

Dharmavati (Sanskrit: धर्मवति, Tamil: தர்மவதி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 59th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music Hindustani music scale to Dharmavati [2] .

[1] [2]

. Madhuvanti is the nearest

Structure and Lakshana It is the 5th rāgam in the 10th chakra Disi. The mnemonic name is Disi-Ma. The mnemonic phrase is sa ri gi mi pa dhi nu [1] . Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G2 M2 P D2 N3 S • avarohaṇa: S N3 D2 P M2 G2 R2 S (the notes in this scale are chathusruthi rishabham, sadharana gandharam, prati madhyamam, chathusruthi dhaivatham, kakali nishadham)

Dharmavati scale with Shadjam at C

Dharmavati As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of Gourimanohari, which is the 23rd melakarta.

Janya rāgams Dharmavati has a few janya rāgams (derived scales) associated with it, of which Madhuvanti, Ranjani and Vijayanagari are popular in concerts. See List of janya rāgams for all rāgams associated with Dharmavati.

Compositions Here are a few common compositions sung in concerts, set to Dharmavati. • Parandaamavati Jayathi by Muthuswami Dikshitar (includes the name of rāgam Dhaamavati in the lyrics) • Ododi vandhen kanna by Ambujam Krishna Notable Chennai film composers like A. R. Rahman and Ilaiyaraja have composed film songs based on the scale of Dharmavati. An example is "Ottagathai Kattiko", in the 1993 Tamil film Gentleman, by A. R. Rahman, based on the Dharmavati scale.

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Dharmavati's notes when shifted using Graha bedham, yields 2 other Melakarta rāgams, namely, Chakravakam and Sarasangi. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bedham on Dharmavati.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

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Shanmukhapriya

Shanmukhapriya Shanmukhapriya (Sanskrit: षन्मुखप्रिया, Tamil: சண்முகப்பிரியா, Telugu: షణ్ముఖప్రియ, Malayalam: ഷണ്‍മുഖപ്രിയ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 56th melakarta rāgam (parent scale) in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music.[1] [2] It is said to be borrowed into Hindustani music from Carnatic music.[2]

Structure and Lakshana It is the 2nd rāgam in the 10th chakra Disi. The mnemonic name is Disi-Sri. The mnemonic phrase is sa ri gi mi pa dha ni.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G2 M2 P D1 N2 S • avarohaṇa: S N2 D1 P M2 G2 R2 S Shanmukhapriya scale with shadjam at C This scale uses the swaras chathusruthi rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatham and kaisiki nishadham. As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of Natabhairavi, which is the 20th melakarta scale.

Janya rāgams Shanmukhapriya has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams for scales associated with Shanmukhapriya.

Compositions A Great composition in shanmukapriya • Muthai tharu bhakti by Arunagirinathar Here are a few common compositions sung in concerts, set to Shanmukhapriya. • Vaddane vaaru by Thyagaraja • Siddhi Vinayakam, Mahasuram Ketumaham and Ekamreshanayakim by Muthuswami Dikshitar (with rāgam name chāmaram mudra in them) • Marivere Dikkevarayya by Patnam Subramania Iyer • Parvathi nayakane, Saravana bhava ennum by Papanasam Sivan • Abhimaanamutho Nannubrovaradha by Mysore Vasudevachar • Valli Nayakane by Muthiah Bhagavatar • Vilayada idu nerama by T.N.Bala of USA

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Shanmukhapriya

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Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Shanmukhapriya's notes when shifted using Graha bedham, yields 3 other major melakarta rāgams, namely, Shoolini, Dhenuka and Chitrambari. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bedham on Shanmukhapriya.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Natabhairavi Natabhairavi (Sanskrit नठभैरवि, Tamil நடபைரவி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the minor scale of western music system. Natabhairavi corresponds to the Asavari thaat of Hindustani music.[1] [2] In the Muthuswami Dikshitar school this rāgam is called Nārirītigowla.[3] Natabhairavi is known to be a rāgam that incites feelings of grandeur and devotion in the listeners.

Structure and Lakshana It is the 2nd rāgam in the 4th chakra Veda. The mnemonic name is Veda-Sri. The mnemonic phrase is sa ri gi ma pa dha ni.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on the notations used): • ārohaṇa : S R2 G2 M1 P D1 N2 S • avarohaṇa : S N2 D1 P M1 G2 R2 S (this scale uses the notes chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham)

Natabhairavi scale with shadjam at C

It is a sampoorna rāgam - rāgam having all 7 swarams. It is the shuddha madhyamam equivalent of Shanmukhapriya, which is the 56th melakarta.

Natabhairavi

Janya rāgams Natabhairavi has a number of popular janya rāgams (derived scales) such as Bhairavi, Anandabhairavi, Saramati, Jaunpuri, Hindolam (sometimes Hindolam is also associated as a Janya of Hanumatodi) and Jayanthasree. See List of janya rāgams for a full list of Natabhairavi's janya rāgams.

Popular compositions Sri Valli Devasena pathe is a popular composition in Natabhairavi, composed by Papanasam Sivan. Parulaseva by Poochi Srinivasa Iyengar is another well known composition in this rāgam.

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Natabhairavi's notes when shifted using Graha bedham, yields 5 other major melakarta rāgams, namely, Kalyani, Sankarabharanam, Hanumatodi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha bedham of this rāgam refer Graha bedham on Sankarabharanam. Even though Natabhairavi has quite evenly spaced swara sthanas (pitch positions, notes) like the other 5 in this group, it has not found as much importance in concerts. One is likely to find Kalyani, Todi, Sankarabharanam and Karaharapriya as the main ragam in concerts, more often than Natabhairavi by a big count.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras [3] Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai

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Chalanata

Chalanata Chalanata (pronounced Chalanāta, Sanskrit: चलनाट, Tamil: சலநாட) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 36th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.[1]

Structure and Lakshana It is the 6th rāgam in the 6th chakra Rutu. The mnemonic name is Rutu-Sha. The mnemonic phrase is sa ru gu ma pa dhu nu.[2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R3 G3 M1 P D3 N3 S • avarohaṇa: S N3 D3 P M1 G3 R3 S Chalanata scale with Shadjam at C The notes used in this scale are shadjam, shatsruthi rishabham, antara gandharam, shuddha madhyamam, panchamam, shatsruthi dhaivatham and kakali nishadham. As it is a melakarta rāgam, by definition it is a sampurna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Rasikapriya, which is the 72nd (last) melakarta.

Janya Rāgams Chalanāta (also pronounced Chalanāttai) has two popular janya rāgams (derived scales) associated with it, namely Nāta (Nāttai) and Ghambheeranāta (Gambheeranāttai). Nāta ragam compositions are sung often in concerts and it overshadows Chalanāta.[3] See List of Janya Rāgams for list of janya rāgams associated with Chalanāta.

Compositions A few compositions set to Chalanāta are: • Rājadhirāja (varnam) by Baluswami Dikshitar • Nāgatmaja by Dr. M. Balamuralikrishna • Margazhi Thingal by Andal

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Chalanata

31

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Chalanata's notes when shifted using Graha bedham, yields a major Melakarta rāgam Shubhapantuvarali. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bedham on Chalanata.

References [1] Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai [2] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [3] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Charukesi Charukesi (pronounced Chārukēsi, Telugu చారుకేశి, Devanagari चारुकेशि, Tamil சாருகேசி, Malayalam ചാരുകേശി) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. Charukesi is known to incite feelings of pathos and devotion in the listener.

Structure and Lakshana It is the 2nd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Sri. The mnemonic phrase is sa ri gu ma pa dha ni[1] . Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G3 M1 P D1 N2 S • avarohaṇa: S N2 D1 P M1 G3 R2 S (chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham)

Charukesi scale with Shadjam at C

It is a sampoorna rāgam - a rāgam that has all seven swaras (notes). It is the shuddha madhyamam equivalent of Rishabhapriya, which is the 62nd melakarta.

Janya rāgams There are only a few minor janya rāgams (derived scales) associated with Charukesi. See full list of janya rāgams associated with it.

Popular compositions Adamodi Galade by Thyagaraja and Kripaya pālaya sowrae by Swati Tirunal are popular kritis (compositions) set in Charukesi. Lalgudi Jayaraman, the acclaimed violinist and composer, has composed a very popoular varnam in Charukesi called Innum En Manam. This varnam was a favorite of Maharajapuram Santhanam, who began a large chunk of his concerts with this song.

Charukesi

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Many compositions exist amongst modern adaptations of Charukesi, especially in Indian movies, in the so-called film songs. An example is the song Ahista Ahista from the movie Swades, Vasanta mullai poalae from the Tamil movie Sarangadara, Edho Edho Ondru from the Tamil movie Enakku Iruvathu, Unakku Padhinettu and Udaya Udaya from another Tamil movie Udhaya. Charukesi is also popular in Hindustani music.

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Charukesi's notes when shifted using Graha bedham, yields 3 other major melakarta rāgams, namely, Vachaspati, Natakapriya and Gourimanohari. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration, see Graha bedham on Vachaspati.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications

External links • Film Songs (Hindi) in Charukesi (http://chandrakantha.com/raga_raag/film_song_raga/charukesi.shtml)

Keeravani Keeravani (pronounced keeravāṇi, ಕೀರವಾಣಿ, Sanskrit: कीरवाणि, Telugu: కీరవాణి, Tamil: கீரவாணி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 21st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. The 21st melakarta rāgam as per Muthuswami Dikshitar school of music is Kiraṇāvaḻi. This rāgam is a popular scale in western music as well. The Western equivalent is the Harmonic minor scale.[1] [2] It is said to be borrowed into Hindustani music from Carnatic music.

Structure and Lakshana It is the 3rd rāgam in the 4th chakra Veda. The mnemonic name is Veda-Go. The mnemonic phrase is sa ri gi ma pa dha nu [1] . Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G2 M1 P D1 N3 S • avarohaṇa: S N3 D1 P M1 G2 R2 S (the notes used in this scale are chathusruthi rishabha, sadharana gandhara, suddha madhyama,panchama suddha dhaivatha, kakali nishadha)

Keeravani scale with shadjam at C

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Simhendramadhyamam, which is the 57th melakarta.

Keeravani

Janya Rāgams Keeravani has many janya rāgams (derived scales) associated with it. Kalyāna vasantam is a popular janya of Keeravani. See List of janya rāgams for full list of rāgams associated with Keeravani. Other popular janya ragam include Sāmapriya and Vasantamanohari.

Compositions Many composers have composed songs in Keeravani. A few of them are listed here. • • • •

Kalikiyunde by Thyagaraja Ambavani nannu by Muthiah Bhagavatar Devi neeye thunai by Papanasam Sivan Illayaraja and Keeravani[3]

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Keeravani's notes when shifted using Graha bedham, yields 3 other major melakarta rāgams, namely, Hemavati, Vakulabharanam and Kosalam. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bedham on Keeravani.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras [3] http:/ / www. s-anand. net/ blog/ classical-ilayaraja-10

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Gourimanohari

Gourimanohari Gourimanohari or Gowrimanohari (Sanskrit: गौरीमनोहारी, Telugu: గౌరీమనోహరి, Tamil: கௌரிமனோகரி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 23rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. Hindustani music does not have an equivalent to this rāgam, where the purvanga (first half of the scale) is like Kafi thaat, while the uttaranga (second half) is like Bilaval thaat.[1]

Structure and Lakshana It is the 5th rāgam in the 4th chakra Veda. The mnemonic name is Veda-Ma. The mnemonic phrase is sa ri gi ma pa dhi nu.[2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa: S R2 G2 M1 P D2 N3 S • avarohaṇa: S N3 D2 P M1 G2 R2 S Gourimanohari scale with Shadjam at C The notes used in this scale are shadjam, chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kakali nishadham. It is a sampurna rāgam - a rāgam that has all seven swaras (notes). It is the shuddha madhyamam equivalent of Dharmavati, which is the 59th melakarta.

Janya rāgams It has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams to lookup all rāgams associated with it.

Popular compositions The following are a few popular compositions in this rāgam. • Guruleka etuvanti by Thyagaraja • Sarasa sama mridu pada by Swati Tirunal

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Gourimanohari's notes when shifted using Graha bedham, yields 3 other major melakarta rāgams, namely, Vachaspati, Natakapriya and Charukesi. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration see Graha bedham on Vachaspati.

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Gourimanohari

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References [1] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras [2] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications

Chakravakam (raga) Chakravakam, (pronounced chakravākam, Sanskrit: चक्रवाकम्, Telugu: చక్రవాకం, Tamil: சக்ரவாகம்) is a rāgam (musical scale), in Carnatic music (South Indian classical music). It is the 16th Melakarta rāgam (parent rāgam) in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini.[1] Chakravakam is close to Raga Ahir bhairav in the Hindustani music.[2] Chakravakam is a raga that is known to incites feelings of devotion, sympathy and compassion in the listeners.

Structure and Lakshana It is the 4th melakarta in the 3rd chakra Agni. The mnemonic name is Agni-Bhu. The mnemonic phrase is sa ra gu ma pa dhi ni.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms): • ārohaṇa : S R1 G3 M1 P D2 N2 S • avarohaṇa : S N2 D2 P M1 G3 R1 S The notes in this scale are shadjam, shuddha rishabham, anthara gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham.

Chakravakam scale with Shadjam at C

It is a sampoorna rāgam - rāgam having all 7 swarams. It is the suddha madhyamam equivalent of Ramapriya, which is the 52nd melakarta.

Janya rāgams Chakravakam has quite a few janya rāgams (derived scales) associated with it, of which Bindumalini, Malayamarutam and Valaji are popular. See List of Janya Ragas for a full list of its janyas.

Popular Compositions Gajānanayutham is a popular composition in Chakravakam, by the maestro Muthuswami Dikshitar, which is sung in a brisk tempo, unlike other compositions. Etula Brotuvo teliya and Sugunamule by Thyagaraja, Kānakkankoti vendum by Koteeswara Iyer are also sung in concerts. There are a number of popular compositions in Ahir bhairav (Hindustani raga similar to Chakravakam), one of the most well known ones being Pibare Rāmarasam in Sanskrit, by Sadasiva Brahmendra.

Chakravakam (raga)

Related rāgams This section covers the theoretical and scientific aspect of this rāgam. Chakravakam's notes when shifted using Graha bedham, yields 2 other major melakarta rāgams, namely, Sarasangi and Dharmavati. Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the Shadjam to the next note in the rāgam. For an illustration refer Graha bedham on Dharmavati.

References [1] Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications [2] Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

External links • Carnatic musician Charulatha Mani describes Chakravakam (Tamil) (http://www.youtube.com/ watch?v=OA22JgZOjec) • Carnatic music prodigy Aishu Venkataraman performs Chakravakam (http://www.youtube.com/ watch?v=Buy5UogLq80)

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Article Sources and Contributors

Article Sources and Contributors Raga  Source: http://en.wikipedia.org/w/index.php?oldid=422006822  Contributors: Adwaitjoshi, Ahung, Aksi great, Alansohn, Alex n, Allisonmarieanne, Ambarish, Amirdhagopal, Anarchivist, Annamacharya Vaibhavam, Arjun024, Ashwath Rabindranath, Ashwinijaya, B9 hummingbird hovering, Badagnani, Bharatveer, Calaf, CambridgeBayWeather, Capricorn42, Champ1979, Champaign, Charukesi, Chhajlaniv1, Chris the speller, Cminard, Daedalus969, Dbachmann, Deeptrivia, Deltabeignet, DerHexer, Dforest, Dhamit21, Dhesi, Drummerdave1, EdChem, Eirik, Ekabhishek, Epioinopaponton, Excirial, FrancoGG, Gautam3, Gene Nygaard, Gh5046, Ghanonmatta, Gnanapiti, Gokhul, Gokul madhavan, Gopikoundinya, GregorB, Guaka, Gwalla, H3rcul3s, Harisingh, Hekerui, Hu12, Huangdi, Hyacinth, Impy4ever, Introferious, JaGa, Jan civil, Jeff3000, Jerome Kohl, John Quincy Adding Machine, JohnI, Jossi, Julesd, Kappa, Kaustuv, Keenan Pepper, Kh7, KirtanDevotee, Kksongs, LAAFan, Lerdthenerd, Light current, LilHelpa, LordSimonofShropshire, MER-C, MPerel, Madbassist, MarkC77, Matt Gies, Meco, Mellery, MoRsE, Mrahaim, Mukundan, Namjap, Nataraja, Ncmvocalist, Neelix, Nizonstolz, Orderinchaos, PMDrive1061, Pepve, Philip Trueman, Prash n rao, Pstarbuck, Raas1234, RagaBhakta, Ragaist, Raguks, RedWolf, Redheylin, Redtigerxyz, Rigadoun, S.dedalus, SWFlash, Saga City, Samjones9booyakasha, Sciurinæ, Seth Ilys, Shobhit102, Shreevatsa, Sir Nicholas de Mimsy-Porpington, Sivaraj, Skal, Smdevesh, Sojarumojaru, Sp3z1aL, Srinivasaraju, Srkris, SteinbDJ, Sudhir V Gadre, Summer Song, TUF-KAT, Tabalji, Tabisini, Tanaats, Tevildo, Thadius856, The Rationalist, The wub, Ultimus, Updatehelper, VasuVR, Vegaswikian, Veggieburgerfish, Venu62, WereSpielChequers, Wiki-uk, Wmahan, Zerokitsune, 219 anonymous edits Carnatic rāga  Source: http://en.wikipedia.org/w/index.php?oldid=407846926  Contributors: Aiuw, BD2412, CarTick, CardinalDan, Elonka, JamesAM, Lumos3, Ncmvocalist, Redheylin, Rich Farmbrough, VasuVR, Vegaswikian, 5 anonymous edits Melakarta  Source: http://en.wikipedia.org/w/index.php?oldid=419191906  Contributors: Aadal, Arvindn, Badagnani, Bharatveer, Camembert, CarTick, Champ1979, Charukesi, Delirium, HairyPotter, Jallan, Janas, Krishnachandranvn, Mattisse, Michael Hardy, Nataraja, Paddu, Rajasekhar1961, Skal, Skaushik92, Srinivasa.iyer, Srkris, TUF-KAT, Techraj, Thunderboltz, Unnikt, Updatehelper, Utcursch, VasuVR, Venu62, Vkchinta, Wmahan, 32 anonymous edits Sampurna raga  Source: http://en.wikipedia.org/w/index.php?oldid=352254703  Contributors: CarTick, Gurch, Hadrianheugh, Piuskerala, Redheylin, VasuVR Kharaharapriya  Source: http://en.wikipedia.org/w/index.php?oldid=371800678  Contributors: CarTick, Martin-vogel, Rajasekhar1961, Shreevatsa, Techraj, VasuVR, 8 anonymous edits Mayamalavagowla  Source: http://en.wikipedia.org/w/index.php?oldid=417056620  Contributors: Balamayran92, CarTick, Enochlau, Fetchmaster, Janas, Krishnachandranvn, Ma8thew, Madsas.sasi, Navneetvk, NayakDeepti, Rajasekhar1961, Srkris, Techraj, VasuVR, 14 anonymous edits Shubhapantuvarali  Source: http://en.wikipedia.org/w/index.php?oldid=352254845  Contributors: CarTick, VasuVR, 1 anonymous edits Kalyani (raga)  Source: http://en.wikipedia.org/w/index.php?oldid=417248605  Contributors: AnanthaKrishna12, Badagnani, Balamayran92, Bluebulb, BritishWatcher, Chris the speller, GraemeL, Grafen, Hekerui, J04n, Krishnachandranvn, Madsas.sasi, Nizonstolz, RagaBhakta, Rajasekhar1961, Redheylin, Rjwilmsi, Shshshsh, Sudhar v, Tabalji, Techraj, Tjako, VasuVR, Zerokitsune, 31 anonymous edits Divyamani  Source: http://en.wikipedia.org/w/index.php?oldid=352254041  Contributors: CarTick, Unspokentruth, VasuVR, 1 anonymous edits Hanumatodi  Source: http://en.wikipedia.org/w/index.php?oldid=352254169  Contributors: Allen3, Balaji j, Camembert, CarTick, DeadEyeArrow, Martin-vogel, Paddu, Pearle, Rajasekhar1961, Shreevatsa, Srkris, Techraj, VasuVR, Venu62, Wahoofive, 9 anonymous edits Dharmavati  Source: http://en.wikipedia.org/w/index.php?oldid=352253971  Contributors: CarTick, Clubover, Techraj, TheFamousPeter, Unspokentruth, VasuVR, 1 anonymous edits Shanmukhapriya  Source: http://en.wikipedia.org/w/index.php?oldid=417057986  Contributors: CarTick, Fetchmaster, Nachi shiva, VasuVR, 10 anonymous edits Natabhairavi  Source: http://en.wikipedia.org/w/index.php?oldid=368243177  Contributors: A930913, Alinnisawest, Anoopan, CarTick, Martin-vogel, Rajasekhar1961, Techraj, VasuVR, Wprlh, 4 anonymous edits Chalanata  Source: http://en.wikipedia.org/w/index.php?oldid=352253938  Contributors: CarTick, Techraj, VasuVR, Woohookitty, 1 anonymous edits Charukesi  Source: http://en.wikipedia.org/w/index.php?oldid=419232265  Contributors: BurtAlert, CarTick, Closedmouth, Ramrao, Shreevatsa, Tabalji, Techraj, VasuVR, Woohookitty, 12 anonymous edits Keeravani  Source: http://en.wikipedia.org/w/index.php?oldid=381965474  Contributors: CarTick, Martin-vogel, Rajasekhar1961, Shreevatsa, Sunshankar, Techraj, VasuVR, 3 anonymous edits Gourimanohari  Source: http://en.wikipedia.org/w/index.php?oldid=366926499  Contributors: CarTick, Shreevatsa, Technopat, VasuVR, 5 anonymous edits Chakravakam (raga)  Source: http://en.wikipedia.org/w/index.php?oldid=352253911  Contributors: CarTick, Martin-vogel, Shreevatsa, Techraj, VasuVR, 4 anonymous edits

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Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors Image:Sri Raga recital to Krishna-Radha, 19th century.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sri_Raga_recital_to_Krishna-Radha,_19th_century.jpg  License: Public Domain  Contributors: Abhishekjoshi, Johnbod, Roland zh File:Vasant Ragini, Ragamala, Rajput, 1770.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Vasant_Ragini,_Ragamala,_Rajput,_1770.jpg  License: Public Domain  Contributors: Abhishekjoshi, Ekabhishek, Mattes File:Ragaputra Velavala of Bhairava.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ragaputra_Velavala_of_Bhairava.jpg  License: Public Domain  Contributors: Abhishekjoshi, BostonMA Image:Kharaharapriya scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Kharaharapriya_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Mayamalavagowla scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Mayamalavagowla_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Shubhapantuvarali scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Shubhapantuvarali_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Kalyani scale.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Kalyani_scale.gif  License: Creative Commons Attribution-Sharealike 3.0  Contributors: User:VasuVR Image:Divyamani scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Divyamani_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Hanumatodi scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Hanumatodi_scale.svg  License: GNU Free Documentation License  Contributors: VasuVR Image:Dharmavati scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Dharmavati_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Shanmukhapriya scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Shanmukhapriya_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Natabhairavi scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Natabhairavi_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Chalanata scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Chalanata_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Charukesi scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Charukesi_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Keeravani scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Keeravani_scale.svg  License: GNU Free Documentation License  Contributors: VasuVR Image:Gourimanohari scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Gourimanohari_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR Image:Chakravakam scale.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Chakravakam_scale.svg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: VasuVR

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License Creative Commons Attribution-Share Alike 3.0 Unported http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/

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