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MÄḡakartÄ is: a collection of fundamental musical scales (ragas) in Carnatic music (South Indian classical music). MÄḡakartÄ 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/sampurna as well, though the: latter term is inaccurate, as a sampurna raga need not be a melakarta (take theââraga Bhairavi, for example).
In Hindustani music the thaat is equivalent of MelakartÄ. There are 10 thaats in Hindustani music, though the commonly accepted melakarta scheme has 72 ragas.
Rules for MÄḡakarta ragasâť
Ragas must contain the following characteristicsââto be considered Melakarta:
- They are sampurna ragas â they contain all seven swaras (notes) of the octave in both ascending and "descending scale."
- The upper shadjam is included in the "raga scale." (ragas like Punnagavarali and Chenchurutti are not mÄḡakarta as they end with nishadam)
- The ascending and descending scales must have the same notes.
Historyâť
The mÄḡa 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, a gifted musicologist in the 17th century, expounded a new mela system known today as mÄḡakarta in his work Chaturdandi Prakaasikaa. He made some bold and controversial claims and defined somewhat arbitrarily 6 svaras from the known 12 semitones, "at that time,"ââto arrive at 72 mÄḡakarta ragas. The controversial parts relate to double counting of R2 (and similar svaras) and his exclusive selection of madhyamas for which there is no specific reasoning (also known as asampurna melas as opposed to sampurna ragas). However, today the 72 mÄḡakarta ragas use a standardized pattern, unlike Venkatamakhi's pattern, and have gained a significant following. Govindhacharya is credited with the standardization of rules and known for giving different names for standard ragas that have a different structure. But the same swaras as those proposed by Venkatamakhi. The scales in this page are those proposed by Govindaacharya.
Determining the MÄḡakartaâť
A hundred years after Venkatamakhin's time the Katapayadi sankhya rule came to be applied to the nomenclature of the mÄḡakarta 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 mÄḡakarta raga can be easily derived from its name. The Sanskrit rule of âSankhyÄnam vÄmatò gatihiâ means for arriving to digits, you read from right to left.
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 MÄḡakarta rÄga. See Katapayadi sankhya for more details and examples.
MÄḡakarta scaleâť
Each mÄḡakarta 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 (Rishabha), Ga (Gandhaara), Dha (Dhaivata) and Ni (Nishaada) as having three variants each. This leads to 72 seven-note combinations (scales) referred to as the MÄḡakarta 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 sampĹŤráša rÄga). This gives 2 Ă 6 Ă 6 = 72 ragas. Finding mÄḡakarta ragas is a mathematical process. By following simple set of rules we can find the corresponding raga and the scale associated with it.
A raga which has a subset of svarÄs from a MÄḡakarta raga is said to be a janya (means born or derived from) of that MÄḡakarta raga. Every raga is the janya of a mÄḡakarta raga. Janya ragas whose notes are found in more than one mÄḡakarta 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 MÄḡakarta which has any of the different swaras in that position. For example, Hindolam has Rishabha and Panchama missing. Hence, it could be considered a janya of Todi (also known as Hanumatodi) which has shuddha rishabha or with Natabhairavi which has a chathushruti rishabha. It is popularly associated with Natabhairavi.
Chakrasâť
![](https://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Melakarta.katapayadi.sankhya.72.png/250px-Melakarta.katapayadi.sankhya.72.png)
The 72 MÄḡakarta ragas are split into 12 groups called chakrÄs, each containing 6 ragas. The ragas within the chakra differ only in the dhaivatam and nishadam notes (D and N), as illustrated below. The name of each of the 12 chakras suggest their ordinal number as well.
- Indu stands for the moon, of which we have only one â hence it is the first chakra.
- NÄtra means eyes, of which we have two â hence it is the second.
- Agni is the third chakra it indicates three kinds of Agni (Dakshina, Ahavaniyam and gArhapatyam). So agni indicates 3rd Chakra.
- VÄda denoting four Vedas is the name of the fourth chakra.
- BÄáša comes fifth as it stands for the five Arrows of Manmatha.
- Rutu is the sixth chakra standing for the 6 seasons of Hindu calendar, which are Vasanta, Greeshma, Varsha, Sharat, Hemanta and Shishira.
- 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.
- Disi Chakra indicates Ten directions(East, West, North, South, North East, North West, South East, South West, Above and Below). Hence it is 10th Chakra.
- Eleventh chakra is Rudra of which there are eleven.
- Twelfth comes Ädityas of which there are twelve.
These 12 chakras were also established by Venkatamakhi.
Table of MÄḡakartÄ ragasâť
The 72 MÄḡakartÄ ragas can be divided into two parts, shuddha madhyama and prati madhyama ragas. When a given shuddha 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 mÄḡakartÄ number.
See swaras in Carnatic music for explanation of the notations like R1, G2, N2, and so forth.
'MÄḡakartÄ RÄgas' | |||||
---|---|---|---|---|---|
Shuddha Madhyama | Prati Madhyama | ||||
No. | Raga | Scale | No. | Raga | Scale |
1. Indu Chakra | 7. Rishi Chakra | ||||
1 | KanakÄngi | S Râ Gâ Mâ P Dâ Nâ áš | 37 | SÄlagam | S Râ Gâ Mâ P Dâ Nâ áš |
2 | RatnÄngi | S Râ Gâ Mâ P Dâ Nâ áš | 38 | JalÄrnavam | S Râ Gâ Mâ P Dâ Nâ áš |
3 | GÄnamĹŤrti | S Râ Gâ Mâ P Dâ Nâ áš | 39 | JhÄlavarÄḡi | S Râ Gâ Mâ P Dâ Nâ áš |
4 | Vanaspati | S Râ Gâ Mâ P Dâ Nâ áš | 40 | NavanÄŤtam | S Râ Gâ Mâ P Dâ Nâ áš |
5 | MÄnavati | S Râ Gâ Mâ P Dâ Nâ áš | 41 | PÄvani | S Râ Gâ Mâ P Dâ Nâ áš |
6 | TÄnarĹŤpi | S Râ Gâ Mâ P Dâ Nâ áš | 42 | RaghupriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
2. Netra Chakra | 8. Vasu Chakra | ||||
7 | SenÄvati | S Râ Gâ Mâ P Dâ Nâ áš | 43 | GavÄmbhodi | S Râ Gâ Mâ P Dâ Nâ áš |
8 | Hanumatodi | S Râ Gâ Mâ P Dâ Nâ áš | 44 | BhavapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
9 | DhenukÄ | S Râ Gâ Mâ P Dâ Nâ áš | 45 | ĹubhapantuvarÄḡi | S Râ Gâ Mâ P Dâ Nâ áš |
10 | NÄtakapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 46 | Shaá¸vidamÄrgini | S Râ Gâ Mâ P Dâ Nâ áš |
11 | KokilapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 47 | SuvarnÄngi | S Râ Gâ Mâ P Dâ Nâ áš |
12 | RĹŤpavati | S Râ Gâ Mâ P Dâ Nâ áš | 48 | Divyamaáši | S Râ Gâ Mâ P Dâ Nâ áš |
3. Agni Chakra | 9. Brahma Chakra | ||||
13 | GÄyakapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 49 | DhavaḝÄmbari | S Râ Gâ Mâ P Dâ Nâ áš |
14 | VakuḡÄbharaášam | S Râ Gâ Mâ P Dâ Nâ áš | 50 | NÄmanÄrÄyaáši | S Râ Gâ Mâ P Dâ Nâ áš |
15 | MÄyÄmÄḝavagowla | S Râ Gâ Mâ P Dâ Nâ áš | 51 | KÄmavardhini | S Râ Gâ Mâ P Dâ Nâ áš |
16 | ChakravÄkam | S Râ Gâ Mâ P Dâ Nâ áš | 52 | RÄmapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
17 | SĹŤryakÄntam | S Râ Gâ Mâ P Dâ Nâ áš | 53 | GamanÄĹrama | S Râ Gâ Mâ P Dâ Nâ áš |
18 | HÄtakÄmbari | S Râ Gâ Mâ P Dâ Nâ áš | 54 | ViĹvambari | S Râ Gâ Mâ P Dâ Nâ áš |
4. Veda Chakra | 10. Disi Chakra | ||||
19 | JhankÄradhvani | S Râ Gâ Mâ P Dâ Nâ áš | 55 | ĹÄmaḝÄngi | S Râ Gâ Mâ P Dâ Nâ áš |
20 | Naášabhairavi | S Râ Gâ Mâ P Dâ Nâ áš | 56 | ĹanmukhapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
21 | KÄŤravÄáši | S Râ Gâ Mâ P Dâ Nâ áš | 57 | Simhendramadhyamam | S Râ Gâ Mâ P Dâ Nâ áš |
22 | KharaharapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 58 | Hemavati | S Râ Gâ Mâ P Dâ Nâ áš |
23 | Gourimanohari | S Râ Gâ Mâ P Dâ Nâ áš | 59 | Dharmavati | S Râ Gâ Mâ P Dâ Nâ áš |
24 | VaruášapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 60 | NÄŤtimati | S Râ Gâ Mâ P Dâ Nâ áš |
5. Bana Chakra | 11. Rudra Chakra | ||||
25 | MÄraranjani | S Râ Gâ Mâ P Dâ Nâ áš | 61 | KÄntÄmaáši | S Râ Gâ Mâ P Dâ Nâ áš |
26 | ChÄrukesi | S Râ Gâ Mâ P Dâ Nâ áš | 62 | RiĹabhapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
27 | SarasÄngi | S Râ Gâ Mâ P Dâ Nâ áš | 63 | LatÄngi | S Râ Gâ Mâ P Dâ Nâ áš |
28 | HarikÄmbhĹji | S Râ Gâ Mâ P Dâ Nâ áš | 64 | VÄchaspati | S Râ Gâ Mâ P Dâ Nâ áš |
29 | DhÄŤraĹankarÄbharaášam | S Râ Gâ Mâ P Dâ Nâ áš | 65 | MechakalyÄni | S Râ Gâ Mâ P Dâ Nâ áš |
30 | NÄganandini | S Râ Gâ Mâ P Dâ Nâ áš | 66 | ChitrÄmbari | S Râ Gâ Mâ P Dâ Nâ áš |
6. Rutu Chakra | 12. Aditya Chakra | ||||
31 | YÄgapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš | 67 | SucharitrÄ | S Râ Gâ Mâ P Dâ Nâ áš |
32 | RÄgavardhini | S Râ Gâ Mâ P Dâ Nâ áš | 68 | Jyoti svarupini | S Râ Gâ Mâ P Dâ Nâ áš |
33 | GÄngeyabhuĹani | S Râ Gâ Mâ P Dâ Nâ áš | 69 | DhÄthuvardhani | S Râ Gâ Mâ P Dâ Nâ áš |
34 | VÄgadhÄŤĹvari | S Râ Gâ Mâ P Dâ Nâ áš | 70 | NÄsikÄbhĹŤĹaáši | S Râ Gâ Mâ P Dâ Nâ áš |
35 | ĹĹŤlini | S Râ Gâ Mâ P Dâ Nâ áš | 71 | KĹsalam | S Râ Gâ Mâ P Dâ Nâ áš |
36 | ChalanÄáša | S Râ Gâ Mâ P Dâ Nâ áš | 72 | RasikapriyÄ | S Râ Gâ Mâ P Dâ Nâ áš |
Alternate MÄḡakarta schemeâť
Muthuswami Dikshitar school followed a different set of scales as the 72 MÄḡakarta ragas. These were taught by Venkatamakhin. Many of the scales were asampurna (not sampurna ragas) because Dikshitar chose to follow the earlier established structure to mitigate ill-effects of usage of direct vivadi swaras in the scales.
See alsoâť
- Janya raga
- List of Janya Ragas
- Illustration of the notes in Melakarta ragas in a Keyboard layout at Wikimedia commons
- Katapayadi system
- List of film songs based on ragas
Referencesâť
- ^ Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
- ^ A practical course in Carnatic music by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house
- ^ Shree Muthuswami Dikshitar Keertanaigal, by A Sundaram Iyer, Madras Book Publications, Mylapore, Chennai
- ^ South Indian Music Book III, by Prof. P Sambamoorthy, Published 1973, The Indian Music Publishing House
- ^ Shree Muthuswami Dikshitar Keerthanaigal, Appendix III and IV, by A Sundaram Iyer of Kallidaikurichi, Music Books Publishers, Mylapore, Chennai
External linksâť
- 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
- Explanation of the 72 Melakartas composed by Shuddhananda Bharati
- Melakarta Ragas â Video Demonstration with "piano keys"