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CATURDADPRAKIK
of Vkaamakh
(N.Ramanathan)

Caturdadpraksik was written by Vkaamakh around 1650. Vkaamakh was
the son of Gvinda Dkita who was a very versatile scholar and the Prime Minister of
King Raghuntha Nyaka of Tajvr. Sagtasudh a work attributed to King
Raghuntha Nyaka is said to have been actually written by Gvinda Dkita.
Vkaamakh was in the court of Vijayarghava Nyaka. Vkaamakh was also
known by the name Vekavara Dkita.

Catur-dad-praksik literally means Throwing light on four Dada-s. Dada means
a pillar or post and catur-dad refers to four main pillars or channels of music
performance. These four Dada-s are--lpa, hya, Prabandha and Gta. A music
concert pattern made up of the above four musical forms seems to have gained currency
around 13th or 14th cent. of which one Gpla Nyaka seems to have been the pioneer.
Vkaamakh refers to Gplanyaka in his work. He also refers to one Tnappa as his
Paramaguru (guru's guru).

There are ten chapters in this work.
1. Vprakaraa 2. rutiprakaraa 3. Svaraprakaraa 4. Mlaprakaraa
5. Rgaprakaraa 6. lpaparakarana 7. hyaprakaraa 8. Gtaprakaraa
9. Prabandhaprakaraa 10. Tlaprakaraa

Among these the later portion of Prabandhaprakaraa and the entire Tlaprakaraa are
missing in the available text.

I V-prakaraa
This chapter deals with the location of svara-s on the frets of the V and it
corresponds to similar chapters in Svaramlakalnidhi and Rgavibdha. Firstly the three
kinds of tuning of V strings and the two kinds of fret arrangement are described.
a) uddhamla v
b) Madhyamla v
c) Raghunthndramla v

Each of this tuning occurs in the V-s with the following fret arrangement:
a) ka-rgamla v b) Sarva-rgamla v.

Vkaamakh adds that there is yet another variety which is a modification of
Madhyamla-v. In this tuning the first three strings are ignored and the fourth one
tuned to adja has frets for 3 sthna-s.
The author then describes the uddhamla v and the placement of svara-s on the
frets. The svara-s sounded on the open strings and on the various frets are shown in the
chart below:
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uddha-mla V Placement of Svara-s on the Frets

Strings 4:Madhya-Ma 3:Madhya-Sa 2:Mandra-Pa 1:Mandra-Sa
Fret -1 Varli-Ma uddha-Ri uddha-Dha uddha-Ri
Fret -2 uddha-Pa uddha-Ga uddha-Ni uddha-Ga
Fret -3 uddha-Dha Sdhraa-Ga Kaiiki-Ni Sdhraa-Ga
Fret -4 uddha-Ni Antara-Ga Kkal-Ni Antara-Ga
Fret -5 Kaiiki-Ni uddha-Ma uddha-Sa uddha-Ma
Fret -6 Kkal-Ni Varli-Ma uddha-Ri Varli-Ma

Pakka-srai-mrga
Vkaamakhn also points out that eventhough for instance, in the first string tuned
to Mandra-sa one can play Mandra-pa and other higher svara-s, normally these are played
only in the second string. But he says that according to the tradition of Pakka-srai-
mrga these svara-s can be played on the first string itself.

Similarly the Madhyamla-v and Raghunthandramla-v are explained.

II. Sruti-prakaraa
In this chapter the author describes the division of 22 ruti-s among the seven svara-s
and demonstrates it with help of Madhyamla-v. From his delineation we gather that
ruti-s are actually divisions within the intervals of svara-s they come in to play after the
svara-s are established through lakya. It is not that 22 ruti-s are equally laid out and
then the svara-s placed on them at specific intervals. For instance, the interval between
adja and uddha-abha in a V should be divided equally into three parts and two
frets be introduced and thus three ruti-s of `ri' are seen.
Sa - - ri

III Svara-prakaraa
In the Svara Chapter the uddhasvara-s and Viktasvara-s are explained. After
explaining uddhasvara-s as those occuring in Mukhr rga with Sa, Ma and Pa having 4
ruti-s, Ga and Ni having 2 ruti-s and Ri and Dha having 3 ruti-s. Vkaamakh takes
up the Vikatasvara-s. He asserts on the basis of lakya that Vikta svara-s are only five
and not twelve as mentioned in Sagtaratnkara or seven as mentioned by others (like
Rmmtya). The five Viktasvara-s are -
1. Sdhraa-gndhra
2. ntara-gndhra
3. Varli-Madhyama
4. Kaiiki-Nida
5. Kkal-nida

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In the earlier Lakaagrantha-s, Antara-gndhra was loacated on the ruti no.11 (7
ruti-s from adja) but Vkaamakh locates it on position 12 (8 ruti-s from adja).
Similarly the Kkal-nida is located by earlier writers on no.2 ((7 ruti-s from
pacama) but Vkaamakh locates it on position 3 (8 ruti-s from pacama). Further the
Cyuta-pacama or Laghu-pacama located on ruti no.16 is referred to as Varli-
madhyama by him.

ruti No. uddha-svara Vikta-svara Vikta-svara (other names)
1 Kaiika-Nida Ni aruti-Dhaivata - Dhu
2
3 Kkal-Nida Nu
4 adja
5
6
7 abha - Ra
8
9 Gndhra Ga Pacaruti-abha Ri
10 Sdhraa-gndhra- Gi aruti-abha -Ru
11
12 Antara-gndhra Gu
13 Madhyama -Ma
14
15
16 Varli-Madhyama -Mi
17 Pacama
18
19
20 Dhaivata Dha
21
22 Nida Na Pacaruti-Dhaivata -Dhi

One interesting feature of Vkaamakh's exposition of uddha and vikrta svaras is
that he considers the same svara to be different if its interval from the previous svara
changes.
For instance,
a. when uddha-madhyama is preceded by uddha-gndhra, then its intervals is of four
rutis .
b. if it is preceded by Sdhraa-ga, then its interval is of 3 ruti-s.
c if it is preceded by antara-ga then its interval is of one ruti.

Now Vkaamakh regards uddha-madhyama in all these 3 instances to be different
and thus uddha-madhyama is said to have three forms. Similarly many of the other
svaras too have more than one form.

After the svaras the author touches briefly on the structure of the ancient grma-s,
adja, Madhyama and Gndhra; Murcchan and Tna.

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Alakra-s
Next he refers to the alakra-s mentioned by earlier authorities like rgadva. But
he points out that in his times alakra-s are the well known ones set to tla-s. He
describes them too.

1. Alakra set to Jhmpaa tla -
s r| g m | p d n s ; s n | d p | m g r s

2. Alamkara set to Dhruva tla -
s r g m g r | s r g r | s r g m
r g m p m g | r g m g | r g m p

The other ones are those set to Mathyatla, Rpakatla, Tripuatla, Ahatla, and
katla. Except Jhmpaa, the names of all the others are familiar today. Jhmpaa tla
consists of 2 Druta-s and one Laghu and appears like di tla rendered in a reverse way.
Eventhough other tla-s are prevalent today, the structures of the tla-s as described by
Vkaamakh are different e.g. Mahya tla has one Druta followed by 2 Laghu-s.
Ekatla has one druta, he adds that in the place of katla, ditla is used which consists
of one laghu. Similarly other tla-s too differ.

Gamaka
After the Alakra-s the traditional 15 gamaka-s are described. These are:
1. Tirupa 2. Sphurita 3. Kampita 4. Lna 5. ndlita
6. Vali 7. Tribhinna 8. Kurula 9. hata 10. Ullasita
11. Plavita 12. Humphita 13. Mudrita 14. Namita 15. Misrita

Vd, Samvd, Vivd and Anuvd
Vkaamakh extends the application of Vd, Samvd of ancient system to his
contemporary practice. Thus Samvdtva is recognised between--
i Sadharana-gndhra and Kaisika-nisada.
Ii Antara-gndhra and Kakali-nisada
Iii uddha-abha and Varali-madhyama

Similarly vivdtva is recognised between the following pairs too
i Sadharana-ga(pancaruti-ri) and antara-ga
ii Kaisiki-ni (pancaruti-dha) and kakali-ni

IV Mla-prakaraa
Main feature of this chapter is the exposition of the 72-mla scheme which has
dominated the music scene ever since. Unlike the other authors who formed as many
Mla-s as were necessary for classifying the rga-s, Vkaamakh went on step ahead
and tried to compute the number of possible Mla-s out of the given set of uddha and
Vikta svara-s. Thus came the Mla-prastram and the 72-Mla scheme.
Vkaamakh as a preliminary to mla exposition discusses the nomenclature of
svaras. He says that after adja there are 4 svara-s (on the ruti positions 7, 9, 10 & 12).
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The first one never becomes a gndhra and the fourth one never a abha. The second
and third can be abha as well as gndhra.

ruti no. Svara-s
1
2
3
4 ----- sa
5
6
7 ----- ud-ri
8
9 ----- ud-ga -- pan-ri
10 ----- sd-ga -- sat-ri
11
12 ----- ant-ga
13 -----sud-ma

The second (9) is called abha (pacaruti-ri) in relation to third (10) and fourth (12)
and is called Gndhra (uddha-gndhra) in relation to the first (7). Similarly the third
svara (10) is called abha (aruti-ri) in relation to the fourth (12) and is called
Gndhra (sdhraa-gndhra) in relation to the first (7) and second (9).

Similarly in the four svarasthana-s following Pacama we have two, which can be
called Dhaivata or Nida depending on whether it is the first or second.

Vkaamakh gives an analogy to clarify this system of dual nomenclature. In a
family of four sons, the first son can never be called younger (to any one) and the fourth
son can never be called older (to any one). In relation to the third and fourth son, the
second one is elder and in relation to the first, he is younger. Again the third son is elder
in relation to the fourth while he is younger in relation to the first and second.

Vkaamakh proceeds to describe the 72 mla scheme. He gives the abbreviations
for the varieties of Ri, Ga, Ma, Dha and Ni namely,
ra, ri, ru; ga, gi, gu; ma, mi; dha, dhi, dhu; na, ni, nu. (See the table above)

He points out that these abbreviations should not be employed in singing. He also
gives the Prastra of 72 mla-s in a chart form.
Eventhough the prastra results in 72 mla-s not all of them are useful as there are no
janya rga-s available to be classified under all the 72 mla-s. But defending himself
against the accusation that in that case the 72 mla scheme is a wasteful effort,
Vkaamakh says that his scheme comprehends all the mla-s that might have existed
in the past and those that might be created in future and those in existence in his time.
However in the absence of janya rga-s under some mla-s, those mla-s are not
assigned any names (since it was practice in those days to assign the name of the most
prominent janyarga to its parent mla). Vkaamakh lists 19 mla-s having janya rga-
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s, gives the uddha and vikrta svara-s constituting them and also indicates their position
in the 72 mla scheme.

No. Name of the Mla Position in the 72 mla scheme
1 Mukhari 1
2 Smavarli 3
3 Bhpla 8
4 Hejjujji 13
5 Vasantabhairavi 14
6 Gaula 15
7 Bhairavi 20
8 hari 21
9 rrga 22
10 Kmbji 28
11 akarbharaa 29
12 Smanta 30
13 Dki 35
14 Na 36
15 uddhavarli 39
16 Pantuvarli 45
17 uddharmakriya 51
18 Simharava 58
19 Kalyi 65

The uddha and Vikta svara-s constituting the Mla-s are given next. The ruti
intervals of the various svara-s are also given. Further the names of the rga-s classified
under the mla-s too are being furnished.

1. Mukhri
This is the first Mla. All the svara-s constituting this mla are uddha. As stated
earlier in the arrangement of 22 ruti-s, adja, madhyama and pacama have 4 ruti-s
each, gndhra and nida 2 ruti-s each and abha and dhaivata have 3 ruti-s each.
Rga-s - Mukhr

2. Smavarli
uddha-adja, uddha-abha, uddha-gndhra, uddha-madhyama, uddha-
pacama, uddha-dhaivata, Kkal-nida.
ruti interval of svara-s -
adja -1 abha -3 gndhra -2 madhyama -4 pacama -4 dhaivata-3 nida-5.
The serial number of this mla in the 72 mla scheme is 3.
Rga-s-- Smavarli. Author refers to this rga has having come down from
Smagna.

3. Bhpla
uddha-adja, uddha-abha, sdhraNa-gndhra, uddha-madhyama, uddha-
pacama, uddha-dhaivata, kaiiki-nida.
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ruti interval of svara-s -
adja -3 abha -3 gndhra -3 madhyama -3 pacama -4 dhaivata-3 nida-3.
The serial number of this mla in the 72 mla scheme is 8.
Rga-s -- 1. Bhpla 2. Bhinnaadja

4. Hejjujji
Except for Antara-gndhra all the other svara-s are uddha.
ruti interval of svara-s --- sa -4, ri -3, ga -5, ma -1, pa -4, dha -3, ni -2.
The serial number of this mla in the 72 mla scheme is 13
Rga-s -- 1. Hejjujji 2. Rvagupti

5. Vasantabhairavi
adja, uddha-abha, antara-gndhra, uddha-madhyama, pacama, uddha-
dhaivata, kaiiki-nida.
ruti interval of svara-s - sa -3, ri -3, ga -5, ma -1, pa -4, dha -3, ni -3.
The serial number of this mla in the 72 mla scheme is 14.
Rga-s -- Vasantabhairavi

6. Gaula
adja, uddha-abha, antara-gndhra, uddha-madhyama, pacama, uddha-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -3, ga -5, ma -1, pa -4, dha -3, ni -5.
The serial number of this mla in the 72 mla scheme is 15.
Rga-s --
1. Gaula 2. Saurra 3. Sragana 4. Gudakriya 5. Ndarmakriy
6. Varli 7. Lalit 8. Pdi 9 Gurjari 10.Karabangla
11. Bahuli 12.Svri 13. Malahari 14. Chygaula 15. Prvagaula

7. Bhairavi
adja, pacaruti-abha, sdhraa-gndhra, uddha-madhyama, pacama, uddha-
dhaivata, kaiiki-nida
ruti interval of svara-s - sa -3, ri -5, ga -1, ma -3, pa -4, dha -3, ni -3.
The serial number of this mla in the 72 mla scheme is 20.
Rga-s -- 1. Bhairavi 2. Gharava 3.Rtigaula

8. hari
adja, pacaruti-abha, sdhraa-gndhra, uddha-madhyama, pacama, uddha-
dhaivata, kkal-nida
ruti interval of svara-s - sa -1, ri -5, ga -1, ma -3, pa -4, dha -3, ni -5.
The serial number of this mla in the 72 mla scheme is 21.
Rga-s -- 1. hari 2. Hindlavasanta 3. bhri

9. rrga
adja, pacaruti-abha, sdhraa-gndhra, uddha-madhyama, pacama,
caturuti-dhaivata, kaiiki-nida.
ruti interval of svara-s - sa -3, ri -5, ga -1, ma -3, pa -4, dha -5, ni -1.
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Note: While listing the vikrta-svara-s Vkaamakh mentions Caturuti-dhaivata but
while giving the ruti intervals of svara-s he assigns 5 ruti-s to Dhaivata and not
4.
The serial number of this mla in the 72 mla scheme is 22.
Rga-s --
1. rrga 2. Slagabhairavi 3. Dhanysi 4. Mlavar 5. Dvagndhri
6. Jayantasna 7. Madhyamdi 8. ndli 9. Vlvali 10. Kannadagaula

10. Kmbji
adja, pacaruti-abha, antara-gndhra, uddha-madhyama, pacama, pacaruti-
dhaivata, kaiiki-nida.
ruti interval of svara-s - sa -3, ri -5, ga -3, ma -1, pa -4, dha -5, ni -1.
The serial number of this mla in the 72 mla scheme is 28.
Rga-s -- 1. Kmbji 2. Kdragaula 3. Nryaagaula

11. ankarbharaa
adja, pacaruti-abha, antara-gndhra, uddha-madhyama, pacama, pacaruti-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -5, ga -3, ma -1, pa -4, dha -5, ni -3.
The serial number of this mla in the 72 mla scheme is 29.
Rga-s --
1. ankarbharaa 2. rabhi 3. Ngadhvani 4. Sma
5. Nryaadki 6. Nryai

12. Smanta
adja, pacaruti-abha, antara-gndhra, uddha-madhyama, pacama, aruti-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -5, ga -3, ma -1, pa -4, dha -6, ni -2.
The serial number of this mla in the 72 mla scheme is 30.
Rga-s -- Smanta

13. Dki
adja, aruti-abha, antara-gndhra, uddha-madhyama, pacama, pacaruti-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -6, ga -2, ma -1, pa -4, dha -5, ni -3.
The serial number of this mla in the 72 mla scheme is 35.
Rga-s -- dki.

14. Na
adja, aruti-abha, antara-gndhra, uddha-madhyama, pacama, aruti-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -6, ga -2, ma -1, pa -4, dha -6, ni -2.
The serial number of this mla in the 72 mla scheme is 36.
Rga-s -- Na.


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15. uddhavarli
Except for Varli-madhyama and Kkal-nida others are uddha svara-s.
ruti interval of svara-s - sa -1, ri -3, ga -2, ma -7, pa -1, dha -3, ni -5.
The serial number of this mla in the 72 mla scheme is 39.
Rga-s -- uddhavarli.

16. Pantuvarli
adja, uddha-abha, sdhraa-gndhra, varli-madhyama, uddha-pacama,
uddha-dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -3, ga -3, ma -6, pa -1, dha -3, ni -5.
The serial number of this mla in the 72 mla scheme is 45.
Rga-s -- Pantuvarli.

17. uddharmakriy
adja, uddha-abha, antara-gndhra, varli-madhyama, uddha-pacama, uddha-
dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -3, ga -5, ma -4, pa -1, dha -3, ni -5.
The serial number of this mla in the 72 mla scheme is 51.
Rga-s -- Rmakriy

18. Simhrava
adja, pacaruti-abha, sdhraa-gndhra, varli-madhyama, uddha-pacama,
pacaruti-dhaivata, kaiiki-nida.
ruti interval of svara-s - sa -3, ri -5, ga -1, ma -6, pa -1, dha -5, ni -1.
The serial number of this mla in the 72 mla scheme is 58.
Rga-s -- Simhrava

19. Kalyi
adja, pacaruti-abha, antara-gndhra, varli-madhyama, uddha-pacama,
pacaruti-dhaivata, kkal-nida.
ruti interval of svara-s - sa -1, ri -5, ga -3, ma -4, pa -1, dha -5, ni -3.
The serial number of this mla in the 72 mla scheme is 65.
Rga-s -- Kalyi

With reference to the 72 mla scheme of Vkaamakh and the modern practice the
following points should be borne in mind.
a. Today the 72 mlaprastra of Vkaamakh is being observed only in principle. The
acutal svara-s figuring today are different. e.g., Vkaamakh uses the term
Pancaruti-ri whereas we speak of caturuti-ri.
b. The naming of the 53 mla-s out of the 72 is a development of the post Vkaamakh
period. Further coining names to suit the Kaapaydi formula too is a later
development.
c. Again it is only in the later period that the concepts like Mlakart or Mladhikara
and Rgaga-rga arose. Vkaamakh never speaks of `Mlakart', but only of
`Mla'.

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V. Rgaprakaraa
Firstly the author adopts in the sphere of rga-s the ten lakaa-s, graha, ama etc.
spoken of by ancients in the context of `Jti-s'. He also refers to the earlier classification
of rga-s into gramarga, bh etc.

He describes 55 rga-s. The rga-s are taken up in the order of the graha svaras i.e.,
the rga-s with adja as graha svara are taken up first, then the rga-s with abha as graha
svara are taken up and so on. For each rga the parent mla is mentioned.

Mla-s and Rga-s

No Mela-name Rga-s
1 Mukhari Mukhr
2 Smavarli Smavarli
3 Bhpla Bhpla, Bhinnaadja
4 Hejjujji Hejjujji, Rvagupti
5 Vasantabhairavi Vasantabhairavi
Gaula Saurra Sragana Gudakriya
Ndarmakriy Varli Lalit Pdi
Gurjari Karabangla Bahuli Svri
6 Gaula
Malahari Chygaula Prvagaula
7 Bhairavi Bhairavi Gharava Rtigaula
8 hari hari Hindlavasanta bhri
rrga Slagabhairavi Dhanysi Mlavar
Dvagndhri Jayantasna Madhyamdi ndli
9 rrga
Vlvali Kannadagaula
10 Kmbji Kmbji Kdragaula Nryaagaula
ankarbharaa rabhi Ngadhvani Sma 11 akarbharaa
Nryaadki Nryai
12 Smanta Smanta
13 Dki Dki
14 Na Na.
15 uddhavarli uddhavarli.
16 Pantuvarli Pantuvarli.
17 uddharmakriya Rmakriy
18 Simharava Simhrava
19 Kalyi Kalyi

VI. Alaprakaraa
The form of lpa exposition is described in this chapter. The various stages of lpa are-
1. kiptik also known as yattam.
2. Rgavardhani- also known as Yaduppu and Karaam.
a) Vidr=also known as muktyi, serves to divide Prathama-(first)-
rgavardhani and Dvitiya-(second)-rgavardhani.
3. Dvitya-rgavardhani
a. Vidri of Dvitiyargavardhani
4. Trtya-rgavardhani
a. Vidr of dvityargavardhani
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5. Sthyi
6. Caturtha-rgavardhani
a. Vidr of caturthargavardhani

VII. Thya-prakaraam
In a very brief chapter of 7 verses, Vkaamakh describes Thya as that which follows
the rendering of lpa and in which a particular svara is taken as the stationary point
from which phrases are built up encompassing four svara-s in the ascending direction and
later in the descending direction and finally conclude on mandra-sa. In this too there are
divisions into sections called Yaduppu or Makarii and Muktyik.

VIII Gita-prakaraa
Both Gta and Prabandha represent the musical forms Prabandha-s. But among the
Prabandha-s there is a class of musical form called Sda. Sda is further divided into
uddha-Sda and Slaga-Sda. The Slaga or Chylaga Sda Prabandha-s are, in
particular, referred to as Gta. There are seven prabandha-s under the Slagasda class.

1. Dhruva 2. Maha 3. Pratimahtha 4. Nisruka 5. Aatla 6. Rasa 7. katli

These seven prabandha-s are described in the Gta-prakaraa.

IX. Prabandha-prakaraa
The remaining prabandha-s are described in this chapter. Firstly the Dhtu-s and
Aga-s of the Prabandha-s are explained. Prabandha-s are then classified according to the
Jti of the Prabandha i.e., the number of aga-s figuring in it.


Jti Number of aga-s Examples of Prabandha-s
Mdin six rraga rvilsa
nandin five Pacatlvara,Varasvara
Dpan four Sudarana, Svarka
Bhvan three Vara, Gadya
Trval two l, Dhk

Vkaamakh adds that there are some prabandha-s which belong to two Jti-s.

Prabandha-s Jti-s
Hayall, Gajall Trval & Dpan
Dvipad, Dvipathaka Bhvan & Trval
Tlrava, Rgakadamba All

It is in this order that Vkaamakh describes the prabandha-s. And in the course of
the description of Dhk prabandha (Trval-jti) the text of Caturdadpraksik
breaks off. The remaining portion of the Prabandha chapter and the entire Tla chapter
are not available.

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Caturdadpraksik is the only text that seems to have been written on the concert
form of Caturdad which was current in the 14th., 15th., 16th. and 17th. centuries. As
the Prabandha form went into oblivion Vkaamakh's work is now remembered for the
72-Mlaprastra. The 72-Mlaprastra has had tremendous influence on the development
of both the Lakaa and Lakya of the later period. The Rga-prakaraa and the
description of Sldi-saptatla-alakra-s throw a great deal of light on the history of
Rga and Tla. In short Caturdadpraksik is a very important text for those interested
in the history of South Indian music.