The Basics of Raga

Contents
Articles
Raga
Carnatic rga
Melakarta
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
Raga
Indian Music
Indian classical music
Carnatic music
Hindustani music
Core Concepts
ShrutiSwaraGamakaRgaTla
A raga (Sanskrit rga ,, 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, rgas are
associated with different times of the day, or with seasons. Indian classical music is always set in a rga.
Non-classical music such as popular Indian film songs and ghazals sometimes use rgas 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 rga is derived from the verbal root raj "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".
Rgin (Devanagari: ) is a term for the "feminine" counterpart or "wife" to a rga. The rga-rgini scheme from
about the 14th century aligned 6 'male' rgas with 6 'wives'.
Raga
Nature of rga

"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 rga" - 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. Rgas 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
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"
Rgas and their seasons

Many Hindustani (North Indian) rgas are prescribed for the particular
time of a day or a season. When performed at the suggested time, the
rga has its maximum effect. During the monsoon, for example, many
of the Malhar group of rgas, 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 rgas, 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 rgas may be performed.
Notations
Although notes are an important part of rga practice, they alone do not
make the rga. A rga is more than a scale, and many rgas share the
same scale. The underlying scale may have five, six or seven tones
made up of swaras. Rgas that have five swaras are called audava
() rgas; those with six, shaadava (); and with seven, sampurna
(, Sanskrit for 'complete'). Those rgas that do not follow the strict
ascending or descending order of swaras are called vakra ()
('crooked') rgas.
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 rga 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 rgas.
There is some overlap, but more "false friendship" (where rga names overlap, but rga form does not). In north
India, the rgas 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) rgas. Overall there is a greater identification of rga with scale in the south than in the north, where
such an identification is impossible. Rgas 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 rgas were transmitted orally from teacher to student, some rgas can vary greatly across regions, traditions and
styles. There have been efforts to codify and standardise rga performance in theory from their first mention in
Matanga's Brihaddeshi (c. tenth century).
Carnatic rga
In Carnatic music, rgas are classified as Janaka rgas and Janya rgas. Janaka rgas are the rgas from which the
Janya rgas are created. Janaka rgas are grouped together using a scheme called Katapayadi sutra and are organised
as Melakarta rgas. A Melakarta rga is one which has all seven notes in both the rhanam (ascending scale) and
avarhanam (descending scale). Some Melakarta rgas are Harikambhoji, Kalyani, Kharaharapriya,
Mayamalavagowla, Sankarabharanam and Todi.
Janya rgas are derived from the Janaka rgas using a combination of the swarams (usually a subset of swarams)
from the parent rga. Some janya rgas are Abheri, Abhogi, Bhairavi, Hindolam and Kambhoji. See the full List of
Janya Ragas for more.
Each rga 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 rgas
Even though Janya rgas are subsets of Janaka rgas 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 rga compared to another, while other notes used sparingly
some notes may be sung with gamaka, stress, elongation, etc., in one rga compared to other
specific phrases used and other phrases to be avoided in a rga (so as to avoid deviation into another rga'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 rgas 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 rga, as has been followed and expected on each
rga, without digressing into the phrases of another related rga.
Raga
Rga-rgini
The rga-rgini scheme is a classification scheme used from the 14th
century to the 19th century. It usually consists of 6 'male' rgas each
with 6 'wives' (rginis) and a number of sons (putras) and even
'daughters-in-law'. As it did not agree with various other schemes, and
the 'related' rgas had very little or no similarity, the rga-rgini
scheme is no longer very popular.[6]
Rgas and rginis 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 Rga Guide, Charlottesville,Virginia: Nimbus Records

Danilou, 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,
ISBN90-72085-01-9.
Gangoly, O.C. (1934), Rgas and Rginis, 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. ISBN0954397606.
[3] Jairazbhoy, Nazir Ali (1995). The Rgs of North Indian music (http:/ / books. google. com/ books?id=hGLRqLscf78C& pg=PA45). Popular
Prakashan. p.45. ISBN8171543952. .
[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 rgas (audio clips coming soon), tutorial on the North Indian notation system, rga classification, and
explanation of how rgas work.
Online quick reference of rgams (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 rga
Carnatic rga
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 rga refers to rgas used in Carnatic music. A Carnatic raga has several components - primordial sound
(nda), tonal system (swara), pitch (ruti), scale, ornaments (gamaka) and important tones.
Origins and history

Carnatic raga classification
Components of Carnatic raga

A Carnatic raga has several components - primordial sound (nda), tonal system (swara), pitch (sruti), scale,
ornaments (gamaka) and important tones.
Nda
An aim of composer-performers of the past and present is to realise nda, 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 rga
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]
Carnatic rga
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

MacCarthy, M. (1912). "Some Indian Conceptions of Music". Proceedings of the Musical Association 38th Sess: 4165.
Kassebaum, G. R. (1987). "Improvisation in Alapana Performance: A Comparative View of Raga Shankarabharana" (http:/ / jstor. org/ stable/
767877). Yearbook for Traditional Music 19: 4564. doi:10.2307/767877. .
[5] Kassebaum (2000), p17
[6] Wolf, R. (1999). "untitled". Asian Music 30 (1): 199203.
[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: 912.
[9] Higgins, J. B. (1987). "Performing Arts in India: Essays on Music, Dance, and Drama". Asian Music 18 (2): 103118.
[10] Henry, E. O. (2002). "The Rationalization of Intensity in Indian Music" (http:/ / jstor. org/ stable/ 852807). Ethnomusicology 46 (1): 3335.
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: 207207.
References
Kassebaum, Gayathri Rajapur. Karnatak raga (2000). In Arnold, Alison. The Garland Encyclopedia of World
Music. New York & London: Taylor & Francis.
Melakarta
Melakarta
Carnatic Music
Concepts
Compositions
Instruments
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.
'Makart Rgas'
'Suddha Madhyamam'
No.
Raga
'Prati Madhyamam'
Scale
No.
Raga
1.Indu Chakra
Scale
7. Rishi Chakra
Kanakangi
S R1 G1 M1 P D1 N1 S' 37
Salagam
S R1 G1 M2 P D1 N1 S'
Ratnangi
S R1 G1 M1 P D1 N2 S' 38
Jalarnavam
S R1 G1 M2 P D1 N2 S'
Ganamurti
S R1 G1 M1 P D1 N3 S' 39
Jhalavarali
S R1 G1 M2 P D1 N3 S'
Vanaspati
S R1 G1 M1 P D2 N2 S' 40
Navaneetam
S R1 G1 M2 P D2 N2 S'
Manavati
S R1 G1 M1 P D2 N3 S' 41
Pavani
S R1 G1 M2 P D2 N3 S'
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
Senavati
S R1 G2 M1 P D1 N1 S' 43
Gavambhodi
S R1 G2 M2 P D1 N1 S'
Hanumatodi
S R1 G2 M1 P D1 N2 S' 44
Bhavapriya
S R1 G2 M2 P D1 N2 S'
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 (, 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 (, 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: , Kannada: Tamil: , Telugu: ) is
a rgam in Carnatic music (musical scale of South Indian classical music). It is the 22nd melakarta rgam (parent
scale) in the 72 melakarta rgam 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 rgam in the 4th chakra Veda. The
mnemonic name is Veda-Bhu. The
mnemonic phrase is sa ri gi ma pa dhi ni.[1]
Its rohaa-avarohaa structure is as
follows (see swaras in Carnatic music for
details on below notation and terms):
rohaa : S R2 G2 M1 P D2 N2 S
avarohaa : 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 rgam - 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 rgam that allows for
elaborate melodic improvisation within its scale.
Songs sung in Kharaharapriya ragas typically have long, elaborate lapans, which exhibit the fluidity of the rgam.
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 rgams
Due to the even spacing of swaras, many janya rgams (derived scales) are associated with Kharaharapriya. It is
one of the melakarta scales that has a large number of janya rgams. Many of the janya rgams are very popular on
their own, lending themselves to elaboration and interpretation. Some of them are Abheri, Abhogi, Bhimplaas
(Hindustani music), Brindavana Saranga, Kpi, Madhyamavathi, Mukhari, Reetigowla,Shree, Udayaravichandrika,
Shivaranjani and Sriranjani.
See List of janya rgams 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 rgam. Thyagaraja has composed many in this rgam.
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 rgams
This section covers the theoretical and scientific aspect of this rgam.
Kharaharapriya's notes when shifted using Graha bedham, yields 5 other major melakarta rgams, 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 rgam. For further details and an
illustration of Graha bedham of this rgam refer Graha bedham on Shankarabharanam.
References
[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 mymavagoua, Sanskrit: , Kannada: , Tamil:
, Malayalam: ), 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.

Venkatamakhin defines its lakshana thus:

pro mavagoukhyah sa graho gyate
sad
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 rohaa-avarohaa
structure is as follows (see swaras in
Carnatic music for details on below notation
and terms):
Mayamalavagowla scale with shadjam at C
rohaa: S R1 G3 M1 P D1 N3 S
avarohaa: 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 rgam, by definition it is a sampoorna rgam (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 shntha(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 sthnas (relative position
of notes) and has symmetry, they are easier to learn. It is an ancient rgam and has been around for a long time.
It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rga. It has a large number of janya ragas
(derived scales) assigned to it. This rgam corresponds to Bhairav in Hindustani music.
It is also defined as a mrcana kraka mLa 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 rgam. For further details
and an illustration refer Graha bedham on Myamlavagowla.
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 gounta krithis (eight compositions with their raga names
ending as gowla), on Goddess Nilothpalamba has mymavagoua 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:
Tuasi Daa Mulace - Thyagaraja
Dv Sri Tuasamm - Thyagaraja
Dva Dva Kalayamith - Swathi Thirunal
Mya Theetha Swaroopini - Ponnaiyya Pillai (Direct Disciple of Muthuswami Dikshitar)
Sri Nthdi Guruguho - Muthuswami Dikshitar (The very first composition of Muthuswami Dikshitar)
References
16
Shubhapantuvarali
17
Shubhapantuvarali
Shubhapantuvarali (pronounced ubhapantuvari, Sanskrit: , Telugu: , Tamil:
, English: The auspicious moon) is a rgam in Carnatic music (musical scale of South Indian
classical music). It is the 45th melakarta rgam in the 72 melakarta rgam system of Carnatic music. It is called
Shivapantuvari in Muthuswami Dikshitar school of Carnatic music.[1] [2] Todi (thaat) is the equivalent in
Hindustani music.[2]

It is the 3rd rgam in the 8th chakra Vasu.
The mnemonic name is Vasu-Go. The
mnemonic phrase is sa ra gi mi pa dha nu.[1]
Its rohaa-avarohaa structure (ascending
and descending scale) is as follows (see
swaras in Carnatic music for details on
below notation and terms):
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 rgam, by definition it is a sampoorna rgam (has all seven notes in ascending and descending
scale). It is the prati madhyamam equivalent of Dhenuka, which is the 9th melakarta scale.
Janya rgams
Shubhapantuvarali has a few minor janya rgams (derived scales) associated with it. See List of janya rgams for
full list of rgams 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 rgams
Shubhapantuvarali's notes when shifted using Graha bedham, yields a melakarta rgam, 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 rgam. For further details and an illustration refer Graha bedham on Chalanata.
References
Kalyani (raga)
Kalyan or Kalyani, originally called Iman, is a melakarta rga (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 rga. The word kalyani means she who causes auspicious
things.
It is the 65th melakarta rga 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.

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
rohaa-avarohaa structure is as follows
(see swaras in Carnatic music for details
on below notation and terms):
(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 Rgams
Kalyani has many janya rgams (derived scales) associated with it, of which Hameer kalyani, Mohanakalyani,
Saranga, Sunadavinodini and Yamuna kalyani are very popular. See List of Janya Rgams for full list of rgams
associated with Kalyani.
Popular compositions
Nearly every significant Carnatic composer (including the Trinity of Carnatic music) has composed several pieces in
the Kalyni rgam. Kalyni is also considered one of the "major" rgams of Carnatic music along with
Sankarabharanam, Todi and Kharaharapriya (the set of "major" rgams is an informal grouping of the most popular
rgams used for elaboration and exploration, and which often form the centerpiece of a Carnatic music concert in the
form of a rgam thnam pallavi (RTP) or a krithi). See next section for further information on relationships between
these rgams.
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 rgam and sung without an
avarohaam. The Bharathiar composition Veenai Adi Nee Enakku from the movie Ezhavathu Manithan is also set in
the Kalyani rgam. The Telugu movie Sankarabharanam has a Shloka "Maanikya Veenaam Upalalayanthi" set in
this rgam.
Related rgams
This section covers the theoretical and scientific aspect of Kalyani.
Kalyani's notes when shifted using Graha bedham, yields 5 other major Melakarta rgams, namely, Hanumatodi,
Sankarabharanam, Natabhairavi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha
bedham of this rgam refer Related rgams 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 rga 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 rgas in Hindustani music. It is one of the first rgas
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 rga. 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)
Alp 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]
Alp, Jod and Jhl 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)
21
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), Nd, Understanding Rga Music, Mumbai: Eshwar (Business Publications Inc.).
Bhatt, Balvantray (1964-1974), Bhvaranga, Varanasi: Motilal Barnasidas.
Gandharva, Kumar (1965), Anpargavilsa, Bombay: Mauj Prakashan.
Patwardhan, Vinayak Rao (1961-74), Rga Vijna, Poona: Sangeet Gaurav Granthamala.
Srivastava, Harichandra (1973-79), Rga Paricaya, Allahabad: SangeetSadan Prakashan.
Telang, Gokulanand; Bhartendu, Banwari Lal (1962), Sangta Rga Aachpa, Hathras: Sangeet Karyalaya.
Thakar, Vasant Vaman, Sangta Rga Darana, Prayag: Gandharva Mahavidyalaya Mandal Prakashan.
Rao, B. Subba (1964-66), Raganidhi, Madras: Music Academy.
Moutal, Patrick (1991), Hindustni Rga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd,
ISBN81-215-0525-7.
Divyamani
Carnatic Music
Concepts
Compositions
Instruments
Composers
Divyamani (pronounced Divyamai [1] , Sanskrit: , Telugu: , English: The divine gem) is a rgam
in the 72 melakarta rgam system of Carnatic music.
It is called Jeevantika[1] or Jeevantini [2] [3] in Muthuswami Dikshitar school of Carnatic music.
Divyamani
23

It is the 6th rgam in the 8th chakra Vasu.
The mnemonic name is Vasu-Sha. The
mnemonic phrase is sa ra gi mi pa dhu nu [2]
. Its rohaa-avarohaa structure (ascending
(the notes used in this scale are shuddha
madhyamam, shatsruthi dhaivatham, kakali nishadham)
Divyamani scale with Shadjam at C
scale). It is the prati madhyamam equivalent of Roopavati, which is the 12th melakarta.
Janya rgams
Divyamani has a few minor janya rgams (derived scales) associated with it. See List of janya rgams for all rgams
associated with Divyamani.
Compositions
A few compositions set to Divyamani are:
Leela ganu joochi by Thyagaraja
Appa muruga by Koteeswara Iyer
Related rgams
Divyamani's notes when shifted using Graha bedham, yields no other melakarta rgam. Graha bedham is the step
taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rgam.
References
[1] Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai
Hanumatodi
Hanumatodi
Hanumatodi, more popularly known as Todi, (Sanskrit: , Telugu: , Kannada: , Tamil:
) is a rgam in Carnatic music (musical scale of South Indian classical music). It is the 8th
melakarta rgam (parent scale) in the 72 melakarta rgam system. This is sung very often in concerts. It is known to
be a difficult rgam 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]

It is the 2nd rgam in the 2nd chakra Netra.
The mnemonic name is Netra-Sri. The
mnemonic phrase is sa ra gi ma pa dha ni.[2]
follows (see swaras in Carnatic music page
for details on below notation and terms):
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 rgam - rgam having all 7 swarams. It is the shuddha madhyamam equivalent
of Bhavapriya, which is the 44th melakarta scale.
Janya rgams
Hanumatodi has a quite a few janya rgams (derived scales) associated with it, of which Asaveri, Bhupalam,
Dhanyasi, Punnagavarali and Shuddha Seemandhini are popular. See List of janya rgams for all of Todi's janyas.
Most composers have composed songs in Todi.[3] Thye 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 rgam is Er Npai by Patnam Subramania Iyer, one of the famous composers of Carnatic music.
Other popular compositions are:
Kdhanu vriki, Dsu kovalena and Gati Neevani by Thyagaraja
Shri Krishnam Bhajamaanasa and Kamalambike by Muthuswami Dikshitar
Krthikeya Gangeya and Thamatham aen swami by Papanasam Sivan
24
Hanumatodi
25
Related rgams
Todi's notes when shifted using Graha bedham, yields 5 other major melakarta rgams, namely, Kalyani,
Shankarabharanam, Natabhairavi, Kharaharapriya and Harikambhoji. For further details and an illustration of
graha bedham of this rgam refer related rgams section in Shankarabharanam page.
References
Dharmavati
Carnatic Music
Concepts
Compositions
Instruments
Composers
Dharmavati (Sanskrit: , Tamil: ) is a rgam in Carnatic music (musical scale of South Indian
classical music). It is the 59th Melakarta rgam in the 72 melakarta rgam 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

It is the 5th rgam in the 10th chakra Disi.
The mnemonic name is Disi-Ma. The
mnemonic phrase is sa ri gi mi pa dhi nu [1]
(the notes in this scale are chathusruthi
madhyamam, chathusruthi dhaivatham, kakali nishadham)
Dharmavati scale with Shadjam at C
Dharmavati
scale). It is the prati madhyamam equivalent of Gourimanohari, which is the 23rd melakarta.
Janya rgams
Dharmavati has a few janya rgams (derived scales) associated with it, of which Madhuvanti, Ranjani and
Vijayanagari are popular in concerts. See List of janya rgams for all rgams 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 rgam 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 rgams
Dharmavati's notes when shifted using Graha bedham, yields 2 other Melakarta rgams, 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 rgam. For further details and an illustration refer Graha bedham on Dharmavati.
References
26
Shanmukhapriya
Shanmukhapriya
Shanmukhapriya (Sanskrit: , Tamil: , Telugu: , Malayalam:
) is a rgam in Carnatic music (musical scale of South Indian classical music). It is the 56th
melakarta rgam (parent scale) in the 72 melakarta rgam system of Carnatic music. It is called Chmaram in
Muthuswami Dikshitar school of Carnatic music.[1] [2] It is said to be borrowed into Hindustani music from Carnatic
music.[2]

It is the 2nd rgam in the 10th chakra Disi.
The mnemonic name is Disi-Sri. The
mnemonic phrase is sa ri gi mi pa dha ni.[1]
Shanmukhapriya scale with shadjam at C
This scale uses the swaras chathusruthi
madhyamam, shuddha dhaivatham and kaisiki nishadham. As it is a melakarta rgam, by definition it is a
sampoorna rgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of
Natabhairavi, which is the 20th melakarta scale.
Janya rgams
Shanmukhapriya has a few minor janya rgams (derived scales) associated with it. See List of janya rgams 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 rgam
name chmaram 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
27
Shanmukhapriya
28
Related rgams
Shanmukhapriya's notes when shifted using Graha bedham, yields 3 other major melakarta rgams, 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 rgam. For further details and an illustration refer Graha bedham
on Shanmukhapriya.
References
Natabhairavi
Natabhairavi (Sanskrit , Tamil ) is a rgam in Carnatic music (musical scale of South Indian
classical music). It is the 20th melakarta rgam in the 72 melakarta rgam 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
rgam is called Nrirtigowla.[3] Natabhairavi is known to be a rgam that incites feelings of grandeur and devotion
in the listeners.

It is the 2nd rgam in the 4th chakra Veda.
The mnemonic name is Veda-Sri. The
mnemonic phrase is sa ri gi ma pa dha ni.[1]
details on the notations used):
(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 rgam - rgam having all 7 swarams. It is the shuddha madhyamam equivalent of
Shanmukhapriya, which is the 56th melakarta.
Natabhairavi
Janya rgams
Natabhairavi has a number of popular janya rgams (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 rgams for a full list of Natabhairavi's janya rgams.
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 rgam.
Related rgams
Natabhairavi's notes when shifted using Graha bedham, yields 5 other major melakarta rgams, namely, Kalyani,
Sankarabharanam, Hanumatodi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha
bedham of this rgam 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
29
Chalanata
Chalanata
Chalanata (pronounced Chalanta, Sanskrit: , Tamil: ) is a rgam in Carnatic music (musical scale of
South Indian classical music). It is the 36th Melakarta rgam in the 72 melakarta rgam system of Carnatic music. It
is one of the few rgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.[1]

It is the 6th rgam in the 6th chakra Rutu.
The mnemonic name is Rutu-Sha. The
mnemonic phrase is sa ru gu ma pa dhu
nu.[2] Its rohaa-avarohaa structure
(ascending and descending scale) is as
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 rgam, by
definition it is a sampurna rgam (has all seven notes in ascending and descending scale). It is the shuddha
madhyamam equivalent of Rasikapriya, which is the 72nd (last) melakarta.
Janya Rgams
Chalanta (also pronounced Chalanttai) has two popular janya rgams (derived scales) associated with it, namely
Nta (Nttai) and Ghambheeranta (Gambheeranttai). Nta ragam compositions are sung often in concerts and it
overshadows Chalanta.[3] See List of Janya Rgams for list of janya rgams associated with Chalanta.
Compositions
A few compositions set to Chalanta are:
Rjadhirja (varnam) by Baluswami Dikshitar
Ngatmaja by Dr. M. Balamuralikrishna
Margazhi Thingal by Andal
30
Chalanata
31
Related rgams
Chalanata's notes when shifted using Graha bedham, yields a major Melakarta rgam Shubhapantuvarali. Graha
bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in
the rgam. For further details and an illustration refer Graha bedham on Chalanata.
References
Charukesi
Charukesi (pronounced Chruksi, Telugu , Devanagari , Tamil , Malayalam
) is a rga in Carnatic music (musical scale of South Indian classical music). It is the 26th Melakarta
rgam in the 72 melakarta rgam system of Carnatic music.
Charukesi is known to incite feelings of pathos and devotion in the listener.

It is the 2nd rgam in the 5th chakra Bana.
The mnemonic name is Bana-Sri. The
mnemonic phrase is sa ri gu ma pa dha ni[1]
(chathusruthi
rishabham,
anthara
gandharam, shuddha madhyamam, shuddha
dhaivatham, kaisiki nishadham)
Charukesi scale with Shadjam at C
It is a sampoorna rgam - a rgam that has all seven swaras (notes). It is the shuddha madhyamam equivalent of
Rishabhapriya, which is the 62nd melakarta.
Janya rgams
There are only a few minor janya rgams (derived scales) associated with Charukesi. See full list of janya rgams
associated with it.
Adamodi Galade by Thyagaraja and Kripaya playa 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
32
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 rgams
Charukesi's notes when shifted using Graha bedham, yields 3 other major melakarta rgams, 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 rgam. For further details and an illustration, see Graha bedham on
Vachaspati.
References
External links
Film Songs (Hindi) in Charukesi (http://chandrakantha.com/raga_raag/film_song_raga/charukesi.shtml)
Keeravani
Keeravani (pronounced keeravi, , Sanskrit: , Telugu: , Tamil: ) is a rgam in
Carnatic music (musical scale of South Indian classical music). It is the 21st Melakarta rgam in the 72 melakarta
rgam system of Carnatic music. The 21st melakarta rgam as per Muthuswami Dikshitar school of music is
Kiravai.
This rgam 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.

It is the 3rd rgam in the 4th chakra Veda.
The mnemonic name is Veda-Go. The
mnemonic phrase is sa ri gi ma pa dha nu [1]
.
Its
rohaa-avarohaa
structure
(the notes used in this scale are chathusruthi
rishabha, sadharana gandhara, suddha
madhyama,panchama suddha dhaivatha, kakali nishadha)
Keeravani scale with shadjam at C
scale). It is the shuddha madhyamam equivalent of Simhendramadhyamam, which is the 57th melakarta.
Keeravani
Janya Rgams
Keeravani has many janya rgams (derived scales) associated with it. Kalyna vasantam is a popular janya of
Keeravani. See List of janya rgams for full list of rgams associated with Keeravani. Other popular janya ragam
include Smapriya 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 rgams
Keeravani's notes when shifted using Graha bedham, yields 3 other major melakarta rgams, 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 rgam. For further details and an illustration refer Graha bedham on
Keeravani.
References
[3] http:/ / www. s-anand. net/ blog/ classical-ilayaraja-10
33
Gourimanohari
Gourimanohari
Gourimanohari or Gowrimanohari (Sanskrit: , Telugu: , Tamil: ) is a
rgam in Carnatic music (musical scale of South Indian classical music). It is the 23rd Melakarta rgam in the 72
melakarta rgam system of Carnatic music.
Hindustani music does not have an equivalent to this rgam, where the purvanga (first half of the scale) is like Kafi
thaat, while the uttaranga (second half) is like Bilaval thaat.[1]

It is the 5th rgam in the 4th chakra Veda.
The mnemonic name is Veda-Ma. The
mnemonic phrase is sa ri gi ma pa dhi nu.[2]
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
rgam - a rgam that has all seven swaras (notes). It is the shuddha madhyamam equivalent of Dharmavati, which is
the 59th melakarta.
Janya rgams
It has a few minor janya rgams (derived scales) associated with it. See List of janya rgams to lookup all rgams
associated with it.
The following are a few popular compositions in this rgam.
Guruleka etuvanti by Thyagaraja
Sarasa sama mridu pada by Swati Tirunal
Related rgams
Gourimanohari's notes when shifted using Graha bedham, yields 3 other major melakarta rgams, 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 rgam. For further details and an illustration see Graha
bedham on Vachaspati.
34
Gourimanohari
35
References
Chakravakam (raga)
Chakravakam, (pronounced chakravkam, Sanskrit: , Telugu: , Tamil: ) is a rgam
(musical scale), in Carnatic music (South Indian classical music). It is the 16th Melakarta rgam (parent rgam) in
the 72 melakarta rgam system. According to the Muthuswami Dikshitar school, this rgam is called
Tyavgavhini.[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.

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 rohaa-avarohaa structure
follows (see swaras in Carnatic music
for details on below notation and terms):
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 rgam - rgam having all 7 swarams. It is the suddha madhyamam equivalent of Ramapriya, which
is the 52nd melakarta.
Janya rgams
Chakravakam has quite a few janya rgams (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.
Gajnanayutham 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, Knakkankoti
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 Rmarasam in Sanskrit, by Sadasiva Brahmendra.
Chakravakam (raga)
Related rgams
Chakravakam's notes when shifted using Graha bedham, yields 2 other major melakarta rgams, 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 rgam. For an illustration refer Graha bedham on Dharmavati.
References
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)
36

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, Sciurin, 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 rga 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: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
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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:
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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:
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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
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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
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The Basics of Raga

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The Basics of Raga

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Contents

Image Sources, Licenses and Contributors

"Dha 1" Komal Dha

Chatusruti Dha "Dha 2" Shuddha Dha

"Dha 3" (Komal Ni)

(Shuddha Dha) "A"

Rgas and their seasons

Vasant Ragini, Ragamala, Rajput, Kota,

Northern and southern differences

Basohli painting of Ragaputra Velavala, son of

Bor, Joep (1999), The Rga Guide, Charlottesville,Virginia: Nimbus Records

Origins and history

Components of Carnatic raga

Raga in non-classical traditions

Raga and light classical music

Kassebaum (2000), p91

Viswanathan & Cormack (1998), p219

Rules for Melakarta

Determining the Melakarta

Twelfth comes Aditya of which there are twelve.

Table of Melakarta ragas

10. Disi Chakra

11. Rudra Chakra

12. Aditya Chakra

Structure and Lakshana

Compositions in Kharaharapriya at Royal Carpet Karnatik (http://www.karnatik.com/ragask.

Structure and Lakshana

Mayamalavagowla scale with shadjam at C

Structure and Lakshana

Shubhapantuvarali scale with shadjam at C

Kalyani in Carnatic music

Specifics on this raga

Structure and Lakshana

Kalyani scale with Shadjam at C

Nambi Kettavarillavo, kallu sakkare koLLiro by Purandara Dasa

Kalyan in Hindustani music

Vadi and Samavadi

Organization and relationships

Amir Khan - Shuddh Kalyan, Yaman, and Yaman Kalyan

Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications

Structure and Lakshana

Divyamani scale with Shadjam at C

Structure and Lakshana

. Madhuvanti is the nearest

Structure and Lakshana

Dharmavati scale with Shadjam at C

Structure and Lakshana

Structure and Lakshana

Natabhairavi scale with shadjam at C

Structure and Lakshana

Structure and Lakshana

Charukesi scale with Shadjam at C

Structure and Lakshana

Keeravani scale with shadjam at C

Structure and Lakshana

Structure and Lakshana

Chakravakam scale with Shadjam at C

Article Sources and Contributors

Article Sources and Contributors

Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors

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