Melakarta
Encyclopedia
Melakarta is a collection of fundamental raga
s (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. A melakarta raga is sometimes referred as mela, karta or sampurna as well.
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.
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 (also known as asampurna melas as opposed to sampurna raga
s). However, today the 72 melakarta ragas use a standardised pattern, unlike Venkatamakhin's pattern, and have gained significant following. Govindhacharya is credited with standardisation of rules and giving a different name for such standard ragas, which have different structure but same swaras as that proposed by Venkatamakhin. The scales in this page are those proposed by Govindhacharya.
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.
There are twelve semitone
s 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 Rishaba and Panchama missing. Hence, it could be considered a janya of Todi (also known as Hanumatodi
) which has shuddha rishaba or with Natabhairavi
which has a chathusruthi rishaba. It is popularly associated with Natabhairavi.
See swaras in Carnatic music for explanation of the notations like R1, G2, N2, etc.
school followed a different set of scales as the 72 Melakarta ragas. These were taught by Venkatamakhin
. Many of the scales were asampurna (not sampurna raga
s) because Dikshitar chose to change the structure to mitigate ill-effects of usage of direct vivadi swaras
in the scales.
Raga
A raga 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...
s (musical scales) in Carnatic music
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
(South Indian classical music). Melakarta ragas are parent ragas (hence known as janaka ragas) from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well.
In Hindustani music the thaat
Thaat
A thāt is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches and are a basis for the organization and classification of ragas in North Indian classical music.- System :...
is equivalent of Melakarta. There are 10 thaats in Hindustani music, though the commonly accepted melakarta scheme has 72 ragas.
Rules for Melakarta
Ragas must contain the following characteristics to be considered Melakarta.- They are sampurna ragaSampurna ragaIn Indian classical music, Sampurna ragas 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...
s – they contain all seven swaraSwaraThe seven notes of the scale , in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri or Re , Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam...
s (notes) of the octave in both ascending and descending scale - They are krama sampurna ragas – that is the sequence is strictly ascending and descending in the scales, without any jumps or zig-zag notes
- The upper shadjam is included in the raga scale (ragas like Punnagavarali and Chenchurutti are not melakarta as they end with nishadham)
- The ascending and descending scales must have the same notes
History
The mela system of ragas was first propounded by Raamamaatya in his work SvaramelakalanidhiSvaramelakalanidhi
Swaramelakalanidhi is a much celebrated musicological treatise of 16th century Vijayanagara. Authored by Ramamatya in the year 1550, the work is counted among the sangita shastra navaratnas or the nine 'gems' of the theory of Carnatic music. The work's importance lies in the fact that it is more...
c. 1550. He is considered the father of mela system of ragas. Later Venkatamakhin
Venkatamakhin
Venkatamakhin also known as Venkateshwara, was a prominent musicologist and composer of Carnatic music; renowned for his Chaturdandi Prakashika in which he explicates the melakarta system of classifying ragas...
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 (also known as asampurna melas as opposed to sampurna raga
Sampurna raga
In Indian classical music, Sampurna ragas 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...
s). However, today the 72 melakarta ragas use a standardised pattern, unlike Venkatamakhin's pattern, and have gained significant following. Govindhacharya is credited with standardisation of rules and giving a different name for such standard ragas, which have different structure but same swaras as that proposed by Venkatamakhin. The scales in this page are those proposed by Govindhacharya.
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 SanskritSanskrit
Sanskrit , is a historical Indo-Aryan language and the primary liturgical language of Hinduism, Jainism and Buddhism.Buddhism: besides Pali, see Buddhist Hybrid Sanskrit Today, it is listed as one of the 22 scheduled languages of India and is an official language of the state of Uttarakhand...
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
Harikambhoji
Harikambhoji is a rāgam in Carnatic music . It is the 28th Melakarta rāgam in the 72 melakarta rāgam system....
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 Shadja), upper Sa (Mael Shadja) and Pa (Panchama) as fixed swaras, with the Ma (Madhyama) having two variants and the remaining swaras Ri (Rishaba), Ga (Gandhaara), Dha (Dhaivatha) and Ni (Nishaadha) as having three variants each. This leads to 72 seven-note combinations (scales) referred to as the Melakarta ragas as follows.There are twelve semitone
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically....
s 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
Janya
Janya is a term meaning "derived". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas...
(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
Hindolam
Hindolam is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras . Hindolam is not the same as the Hindustani Hindol...
has Rishaba and Panchama missing. Hence, it could be considered a janya of Todi (also known as Hanumatodi
Hanumatodi
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music . It is the 8th melakarta rāgam 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...
) which has shuddha rishaba or with Natabhairavi
Natabhairavi
Natabhairavi is a rāgam in Carnatic music . It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the minor scale of western music system....
which has a chathusruthi rishaba. 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.- InduChandraIn Hinduism, Chandra is a lunar deity and a Graha. Chandra is also identified with the Vedic Lunar deity Soma . The Soma name refers particularly to the juice of sap in the plants and thus makes the Moon the lord of plants and vegetation. He is described as young, beautiful, fair; two-armed and...
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.
- AgniAgniAgni is a Hindu deity, one of the most important of the Vedic gods. He is the god of fire and the acceptor of sacrifices. The sacrifices made to Agni go to the deities because Agni is a messenger from and to the other gods...
is the third chakra as it denotes the three divyagnis (fire, lightning and Sun). - Veda denoting four VedasVedasThe Vedas are a large body of texts originating in ancient India. Composed in Vedic Sanskrit, the texts constitute the oldest layer of Sanskrit literature and the oldest scriptures of Hinduism....
is the name of the fourth chakra. - Bana comes fifth as it stands for the five banas of ManmathaKamadevaKāmadeva is the Hindu god of human love or desire. Other names for him include; Atanu , Ragavrinta , Ananga , Kandarpa , Manmatha , Manasija ,...
. - Rutu is the sixth chakra standing for the 6 seasons of Hindu calendar.
- RishiRishiRishi denotes the composers of Vedic hymns. However, according to post-Vedic tradition, the rishi is a "seer" to whom the Vedas were "originally revealed" through states of higher consciousness. The rishis were prominent when Vedic Hinduism took shape, as far back as some three thousand years...
, meaning sage, is the seventh chakra representing the seven sagesSaptarshiThe Saptarishi are the seven rishis who are extolled at many places in the Vedas and Hindu literature. The Vedic Samhitas never actually enumerate these rishis by name, though later Vedic texts such as the Brahmanas and Upanisads do so. They are regarded in the Vedas as the patriarchs of the...
. - VasuVasuIn Hinduism, the Vasus are attendant deities of Indra, and later Vishnu. They are eight elemental gods representing aspects of nature, representing cosmic natural phenomenon. The name Vasu means 'Dweller' or 'Dwelling'...
stands for the eight vasus of Hinduism. - BrahmaBrahmaBrahma is the Hindu god of creation and one of the Trimurti, the others being Vishnu and Shiva. According to the Brahma Purana, he is the father of Mānu, and from Mānu all human beings are descended. In the Ramayana and the...
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 RudraRudra' is a Rigvedic God, associated with wind or storm, and the hunt. The name has been translated as "The Roarer", or "The Howler"....
of which there are eleven. - Twelfth comes Aditya of which there are twelve.
Table of Melakarta ragas
The 72 melakarta ragas can be divided into two parts. viz.,. suddha Madhyama and prati Madhyama ragas. When a given suddha madhyama raga's M1 is replaced by M2, we get the corresponding prati madhyama 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.
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| 'Shuddha Madhyama' | 1.Indu Chakra | Kanakangi Kanakangi Kanakangi is a rāgam in Carnatic music . It is the 1st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kanakāmbari in the Muthuswami Dikshitar school.... | S R1 G1 M1 P D1 N1 S' | 37 | Salagam Salagam Salagam is a rāgam in Carnatic music . It is the 37th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sowgandini in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G1 M2 P D1 N1 S' | ||||||
| 2 | Ratnangi Ratnangi Ratnangi is a rāgam in Carnatic music . It is the 2nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G1 M1 P D1 N2 S' | 38 | Jalarnavam Jalarnavam Jalarnavam is a rāgam in Carnatic music . It is the 38th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G1 M2 P D1 N2 S' | |||||||
| 3 | Ganamurti | S R1 G1 M1 P D1 N3 S' | 39 | Jhalavarali Jhalavarali Jhalavarali is a rāgam in Carnatic music . It is the 39th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G1 M2 P D1 N3 S' | |||||||
| 4 | Vanaspati Vanaspati (Raga) Vanaspati is a rāgam in Carnatic music . It is the 4th melakarta rāgam in the 72 melakarta rāgams of Carnatic music, following the Katapayadi sankhya system. In the Muthuswami Dikshitar school of music, this raga is called Bhānumati.Raganidhi by P. Subba Rao, Pub... |
S R1 G1 M1 P D2 N2 S' | 40 | Navaneetam Navaneetam Navaneetam is a rāgam in Carnatic music . It is the 40th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G1 M2 P D2 N2 S' | |||||||
| 5 | Manavati Manavati Manavati is a rāgam in Carnatic music . It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.Raganidhi by P. Subba Rao, Pub... |
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 Raghupriya Raghupriya is a rāgam in Carnatic music . It is the 42nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Ravikriya in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G1 M2 P D3 N3 S' | |||||||
| 2. Netra Chakra | Senavati Senavati Senavati is a rāgam in Carnatic music . It is the 7th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Senāgrani in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... | S R1 G2 M1 P D1 N1 S' | 43 | Gavambhodi Gavambhodi Gavambodhi is a rāgam in Carnatic music . It is the 43rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G2 M2 P D1 N1 S' | |||||||
| 8 | Hanumatodi Hanumatodi Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music . It is the 8th melakarta rāgam 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... |
S R1 G2 M1 P D1 N2 S' | 44 | Bhavapriya Bhavapriya Bhavapriya ) is a rāgam in Carnatic music . It is the 44th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.It is called BhavāniRaganidhi by P. Subba Rao, Pub... |
S R1 G2 M2 P D1 N2 S' | |||||||
| 9 | Dhenuka Dhenuka Dhenuka is a rāgam in Carnatic music . It is the 9th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.It is called DhunibinnashadjamRaganidhi by P. Subba Rao, Pub... |
S R1 G2 M1 P D1 N3 S' | 45 | Shubhapantuvarali Shubhapantuvarali Shubhapantuvarali is a rāgam in Carnatic music . It is the 45th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G2 M2 P D1 N3 S' | |||||||
| 10 | Natakapriya Natakapriya Natakapriya, is a rāgam in Carnatic music . It is the 10th melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, the 10th melakarta rāgam is called Naţābharanam.Raganidhi by P. Subba Rao, Pub... |
S R1 G2 M1 P D2 N2 S' | 46 | Shadvidamargini Shadvidamargini Shadvidamargini is a rāgam in Carnatic music . It is the 46th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Stavarājam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G2 M2 P D2 N2 S' | |||||||
| 11 | Kokilapriya Kokilapriya Kokilapriya is a rāgam in Carnatic music . It is the 11th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. The 11th rāgam in Muthuswami Dikshitar school of Carnatic music is called Kokilāravam.Raganidhi by P. Subba Rao, Pub... |
S R1 G2 M1 P D2 N3 S' | 47 | Suvarnangi Suvarnangi Suvarnangi is a rāgam in Carnatic music . It is the 47th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Souveeram in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G2 M2 P D2 N3 S' | |||||||
| 12 | Rupavati | S R1 G2 M1 P D3 N3 S' | 48 | Divyamani Divyamani Divyamani is a rāgam in the 72 melakarta rāgam system of Carnatic music.It is called Jeevantika or JeevantiniRaganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras in Muthuswami Dikshitar school of Carnatic music.... |
S R1 G2 M2 P D3 N3 S' | |||||||
| 3. Agni Chakra | |9. Brahma Chakra | |||||||||||
| 13 | Gayakapriya Gayakapriya Gayakapriya is a rāgam in Carnatic music . It is the 13th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G3 M1 P D1 N1 S' | 49 | Dhavalambari Dhavalambari Dhavalambari is a rāgam in Carnatic music . It is the 49th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called or 'Raganidhi by P. Subba Rao, Pub... |
S R1 G3 M2 P D1 N1 S' | |||||||
| 14 | Vakulabharanam Vakulabharanam Vakulabharanam is a rāgam in Carnatic music . It is the 14th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called DhātivasantabhairaviRaganidhi by P. Subba Rao, Pub... |
S R1 G3 M1 P D1 N2 S' | 50 | Namanarayani Namanarayani Namanarayani is a rāgam in Carnatic music . It is the 50th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nāmadēshi in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G3 M2 P D1 N2 S' | |||||||
| 15 | Mayamalavagowla Mayamalavagowla Mayamalavagowla , is a raga of Carnatic 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... |
S R1 G3 M1 P D1 N3 S' | 51 | Kamavardani Kamavardani Kamavardani is a rāgam in Carnatic music . It is the 51st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is also referred by the name Pantuvarali , although purists prefer to designate it as Kamavardani.This rāgam is very popular with musicians who typically sing it in the... |
S R1 G3 M2 P D1 N3 S' | |||||||
| 16 | Chakravakam Chakravakam (raga) Chakravakam, is a rāgam , in Carnatic music . It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is close to Raga Ahir bhairav in the Hindustani music.Raganidhi by P. Subba Rao, Pub... |
S R1 G3 M1 P D2 N2 S' | 52 | Ramapriya Ramapriya Ramapriya is a rāgam in Carnatic music . It is the 52nd melakarta rāgam in the 72 melakarta scale system of Carnatic music. It is called Ramāmanōhari in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G3 M2 P D2 N2 S' | |||||||
| 17 | Suryakantam | S R1 G3 M1 P D2 N3 S' | 53 | Gamanashrama Gamanashrama Gamanashrama is a rāgam in Carnatic music . It is the 53rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G3 M2 P D2 N3 S' | |||||||
| 18 | Hatakambari Hatakambari Hatakambari is a rāgam in Carnatic music . It is the 18th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R1 G3 M1 P D3 N3 S' | 54 | Vishwambari Vishwambari Vishwambari is a rāgam in Carnatic music . It is the 54th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R1 G3 M2 P D3 N3 S' | |||||||
| 4. Veda Chakra | Jhankaradhwani Jhankaradhwani Jhankaradhwani is a rāgam in Carnatic music . It is the 19th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... | S R2 G2 M1 P D1 N1 S' | 55 | Shamalangi Shamalangi Shamalangi is a rāgam in Carnatic music . It is the 55th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R2 G2 M2 P D1 N1 S' | |||||||
| 20 | Natabhairavi Natabhairavi Natabhairavi is a rāgam in Carnatic music . It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the minor scale of western music system.... |
S R2 G2 M1 P D1 N2 S' | 56 | Shanmukhapriya Shanmukhapriya Shanmukhapriya is a rāgam in Carnatic music . It is the 56th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R2 G2 M2 P D1 N2 S' | |||||||
| 21 | Keeravani Keeravani Keeravani is a rāgam in Carnatic 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 .... |
S R2 G2 M1 P D1 N3 S' | 57 | Simhendramadhyamam Simhendramadhyamam Simhendramadhyamam is a rāgam in Carnatic music . It is the 57th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sumadhyuti in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
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| 22 | Kharaharapriya Kharaharapriya Kharaharapriya is a rāgam in Carnatic music . It is the 22nd melakarta rāgam in the 72 melakarta rāgam system. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners... |
S R2 G2 M1 P D2 N2 S' | 58 | Hemavati Hemavati (ragam) Hemavati is a rāgam in Carnatic music . It is the 58th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
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| 23 | Gourimanohari Gourimanohari Gourimanohari or Gowrimanohari is a rāgam in Carnatic music . It is the 23rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
S R2 G2 M1 P D2 N3 S' | 59 | Dharmavati Dharmavati Dharmavati is a rāgam in Carnatic music . It is the 59th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
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| 24 | Varunapriya Varunapriya Varunapriya is a rāgam in Carnatic music . It is the 24th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Veeravasanta in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R2 G2 M1 P D3 N3 S' | 60 | Neetimati Neetimati Neetimati is a rāgam in Carnatic music . It is the 60th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.... |
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| 5. Bana Chakra | Mararanjani Mararanjani Mararanjani is a rāgam in Carnatic music . It is the 25th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sharāvati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... | S R2 G3 M1 P D1 N1 S' | 61 | Kantamani Kantamani Kantamani is a rāgam in Carnatic music . It is the 61st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kuntalam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
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| 26 | Charukesi Charukesi Charukesi is a rāga in Carnatic 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.... |
S R2 G3 M1 P D1 N2 S' | 62 | Rishabhapriya Rishabhapriya Rishabhapriya is a rāgam in Carnatic music . It is the 62nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is the prati madhyamam equivalent of Charukesi, which is the 26th melakarta. It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P... |
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| 27 | Sarasangi Sarasangi Sarasangi is a rāgam in Carnatic music . It is the 27th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sowrasena in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Go... |
S R2 G3 M1 P D1 N3 S' | 63 | Latangi Latangi Latangi is a rāgam in Carnatic music . It is the 63rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Geetapriya in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
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| 28 | Harikambhoji Harikambhoji Harikambhoji is a rāgam in Carnatic music . It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.... |
S R2 G3 M1 P D2 N2 S' | 64 | Vachaspati | S R2 G3 M2 P D2 N2 S' | |||||||
| 29 | Dheerasankarabharanam Dheerasankarabharanam Dheerashankarābharanam , commonly known as Shankarābharanam, is a rāga in Carnatic music . It is the 29th Melakarta rāga in the 72 melakarta rāga system of Carnatic music.... |
S R2 G3 M1 P D2 N3 S' | 65 | Mechakalyani | S R2 G3 M2 P D2 N3 S' | |||||||
| 30 | Naganandini Naganandini Naganandini is a rāgam in Carnatic music . It is the 30th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nāgābharanam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
S R2 G3 M1 P D3 N3 S' | 66 | Chitrambari Chitrambari Chitrambari is a rāgam in Carnatic music .It is the 66th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called ChaturanginiRaganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras in Muthuswami Dikshitar school of Carnatic music... |
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| 6. Rutu Chakra | Yagapriya Yagapriya Yagapriya is a rāgam in Carnatic music . It is the 31st melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kalāvati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... | S R3 G3 M1 P D1 N1 S' | 67 | Sucharitra Sucharitra Sucharitra is a rāgam in Carnatic music . It is the 67th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Santāna manjari in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:It is the 1st rāgam in the 12th chakra Aditya... |
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| 32 | Ragavardhini Ragavardhini Ragavardhini has two separate meanings in Indian classical music:* a major part of the alapana of a raga. The performer gives a step-by-step elaboration of the raga, pausing at each major note or swara.... |
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 Dhatuvardani Dhatuvardani is a rāgam in Carnatic music . Dhatuvardani is the 69th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhoutapanchamam in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:Dhatuvardani is the 3rd rāgam in the 12th chakra Aditya... |
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| 34 | Vagadheeswari Vagadheeswari Vagadheeswari is a rāgam in Carnatic music . It is the 34th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Bhogachhāyānāţa in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
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 Kosalam Kosalam is a rāgam in Carnatic music . It is the 71st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music and is the prati madhyamam equivalent of Shoolini, which is the 35th melakarta. It is called Kusumākaram in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba... |
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| 36 | Chalanata Chalanata Chalanata is a rāgam in Carnatic 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.-Structure and Lakshana:It is the 6th rāgam in the 6th chakra Rutu... |
S R3 G3 M1 P D3 N3 S' | 72 | Rasikapriya Rasikapriya Rasikapriya is a rāgam in Carnatic music . It is the last melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Rasamanjari in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub... |
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Alternate Melakarta scheme
Muthuswami DikshitarMuthuswami Dikshitar
Muthuswami Dikshitar is a South Indian poet and composer and is one of the Musical Trinity of Carnatic music...
school followed a different set of scales as the 72 Melakarta ragas. These were taught by Venkatamakhin
Venkatamakhin
Venkatamakhin also known as Venkateshwara, was a prominent musicologist and composer of Carnatic music; renowned for his Chaturdandi Prakashika in which he explicates the melakarta system of classifying ragas...
. Many of the scales were asampurna (not sampurna raga
Sampurna raga
In Indian classical music, Sampurna ragas 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...
s) because Dikshitar chose to change the structure to mitigate ill-effects of usage of direct vivadi swaras
Vivadi
In Hindustani classical music, vivadi refers to pitches that are not part of the arohana or avrohana of a given raga. In general, vivadi are not to be played during an improvisation on a given raga. So, for instance, if a raga had the structure S R G m P D N S', S' N D P m G R S; in that case, r,...
in the scales.
See also
- Janya ragaJanyaJanya is a term meaning "derived". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas...
- List of Janya Ragas
- Illustration of the notes in Melakarta ragas in a Keyboard layout at Wikimedia commons
- Katapayadi systemKatapayadi systemKaṭapayādi system of numerical notation is an ancient Indian system to depict letters to numerals for easy remembrance of numbers as words or verses...
External links
- The katapayadi sankhya applied to the melakarta ragas
- Explanation of the two melakarta systems
- Explanation of the melakarta and demonstration of ragas with piano keys
- Melakarta Raga Chart
- Basic Notes and their Western Equivalents
- Carnatic-composer: A community project where you can experiment online with the Melakarta Raga system and compose little tunes in Carnatic notation