RAAGA SYSTEM OF SOUTH INDIA

1. CARNATIC MUSIC:

There are many definitions and descriptions to the word CARNATIC music:

Some of the artists opine that the word Karnataka if split into two i.e.
Karna+Ataka, comes out into two words with valuable meaning in it,
Karna = the ear; and Ataka = moving the head rhythmically listening to the sweet sound
is KARNATAKA.

2. ORIGIN OF THE NAME CARNATIC MUSIC:

The name Carnatic music refers to the Traditional music of a region called
CARNATIC. All books on recent Indian history note that before British rule, the
kingdoms in South India were:

The word Carnatic/ Karnataka/ Karu Naadu Agam

Today Tamil ‘nadu’ is also often called as Tamil ‘agam’
‘Karu’ means black and also means central.
‘Naadu’ means country and ‘agam’ means home.

Thus “Karunaadu” meant central country, as well as black (people) country. The
name ‘Karu naad agam’ got anglicized to ‘Carnatic’ state. In Tamil, the word
Karunaadagam is still used. The British renamed the territory as Madras. The music of
Karunaadagam was called as Karunaadaga isai.

-Encyclopaedia of Indian Music1

3. A traditional definition given by elders “Karai in Tamil and Malayalam means Sea
Shore or Riverside Shore. Naadu means Region or Country side. So the music
prevailing in such shore region is called Karnadu Sangeetham which later became
Karnataka Sangeetham”.

Carnatic Music and Hindustani Music

Indian music is very old. Its literature dates from the period prior to the beginning
of the Christian Era. References to music are contained in the Vedas. Upanishads,
Ramayana, Mahabharata and the Puranas. There was a time when a single system of
music prevailed throughout the length and breadth of India. The division into North -

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Indian (Hindusthani) and South Indian (Karnatic) systems came later on and became
more pronounced during the reign of the Mughul Emperors in Delhi. We come across the
terms: Karnatic music and Hindusthani music in the work, Sangita Sudhakara of
Haripala, written between 1309-1312 A.D.:-

   

  2
- Abhinava Raga Manjari

Karnataka The first work to mention the word ‘Karnataka’ is the Brihaddesi. It
mentions a desi raga by name Karnata (verse 375) Sarngadeva speaks of Karnataka
music and dance material. He speaks of Karnata bangala, Karnata gaula. Nanyadeva in
his Bharata Vartika -mentions the word Karnataka. The term Karnataka is referred to in
the Bhagavatam and in Bhoja Champu.

In Tamil, Karnataka means tradition, purity, sampradayam and suddham. People

who are wedded to ancient ways of living are ever now referred to as Karnataka
manushyas.

HISTORICAL BACKGROUND OF CARNATIC MUSIC IN CHRONOLOGICAL

ORDER IN BRIEF:

The history of Carnatic music can be studied based on three major periods of
development, namely, Ancient, Medieval and Modern.

THE ANCIENT PERIOD (Vedic period - 4th Century AD)

This was the vital period in the history of Indian music. During this period there
is no mention of the term, Carnatic music, in any of the sources, but there is sufficient
reason to believe that this period was crucial to the original development of Carnatic
music. Some important references are cited here:

Vedas:

Of the four Vedas, Rig Veda (hymns) was first recited in a monotone known as
archika, which later developed into the two toned chant (gatika). This was subsequently
replaced by a three-toned chant, samika, which had a main tone and two accents, one
higher and one lower. Sama Veda is considered as the main source for the development
of Indian music and the first full scale with seven notes in the descending order are seen
in the rendering, even to this day. The melody is close to the scale of the samaveda raga

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is Kharaharapriya (22nd Melakarta). Several references to music of musical instruments
are seen in the Vedas. It is a known fact that Vedas are considered as the nucleus of the
development of classical music in our country.

Bharata's Natyasastra (The 2nd - 4th century AD)

Both Carnatic and Hindustani systems borrowed the music materials from the
ancient treatise Bharata Natyasastra. This is the earliest treatise to extensively elaborate
on the science of music and dance. Music is dealt only partly in this treatise. Various
aspects like the ancient melodies (Jaatis) which are the arche types of Ragas, their
characteristic features, structure and the classification of the ancient instruments have
been made in this work. The notes (swaras), their varieties, combination (varnas) and
other such aspects are also elaborately described.

 Sanskrit: Apart from the Sama Veda, there are references to music and
musical instruments in the Upanishads, Brahmanas and Puranas. Epics like
Ramayana and Mahabharata also have some references to music. The music
system in practice during Bharata’s period must have been similar in some
respects to the present day Carnatic system. Bharata's Natya Sastra mentions
many musical concepts that continue to be relevant to Carnatic music today.

In the ancient period, the native Dravidians of the south had their own style,
which is generally called Tamil music, owing to the native regional language of the area.
The Sangam literature till 3rd AD, in particular, has many references to this style. Works
like Silappadikara 3 of Ilango Adigal (an important contemporary Granth of Natya sastra
in South India), and its commentaries, describe the logical derivations of the important
scales through the modal shift of tonic. The Tamil names of these notes have also been
mentioned. Other works like Tolkappiam, Pattupattu, etc. also give musical references.
Some of these descriptions and references correspond to contemporary Carnatic music
concepts also the Tamil Music.

MEDIEVAL PERIOD (5th - 16th Century AD)

During this period, many important musical concepts evolved in clear terms and
in this period, more care was taken to put into record, some of the important musical
developments by several music scholars, to enable us to have proper historical links.
Several musical composers and luminaries have also lived during this period.

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  The work of Matanga (6th - 7th Century A.D.), Brihaddesi, is the first to
mention the word, Raga. This text also gives the names of the then popular
Ragas, with their suitable structures, and a basic classification system. The
other notable feature during that period was the gradual development of the
art of music as an independent form, breaking away from being overly
dependent on forms of dance and drama.

 Besides Matangmuni, the Kudimiyanmalai4 inscriptions in a cave, near

Pudukottai (Tamilnadu), has an array of musical diction (notation) of South
Indian music in the 7th century AD. The Tevarams (6th - 9th century AD),
songs in praise of Lord Siva, used more than 20 scales with Tamil names,
which were equivalent to the present system of Carnatic music.

Many of these Tevarams5 are still rendered as musical pieces in concerts. This
quantity, along with the Divya Prabandham (compositions of the Vaishnavite
Azhwars, 6th - 8th century AD), have been a significant contribution of the
Tamil speaking region to Carnatic music.

 The Tiruppugazh6 of Arunagirinathar, who lived around the 15th century, is

another inspiring Tamil work which significantly affected Carnatic music.
This has complex rhythmic meters, which remain unique and unsurpassed in
their grandeur.

The Gita Govinda of Jayadeva7 (12th century) is a monumental work of the

medieval period in Sanskrit, consisting of 24 songs, each set to a particular Raga. The
rhythmic meter is determined by the meter of the verse. These were, probably, the
earliest examples close to the regular musical compositions and are called Ashtapadis
(ashta meaning eight and padi meaning foot). These are popular throughout India even
today, though the original tunes are lost. Contemporary musicians from both the Carnatic
and Hindustani traditions have set these songs to music independently.

Sangeeta Ratnakara

An important musical treatise was written by Sarngadeva (1210-1247). This work

contains five thousand couplets in Sanskrit written in nine chapters, comprehensively
covering Swaras, Ragas, Prabandhas (musical form of this period), Tala-vadyas
(percussion instruments), Gamakas (ornamentations) and other such aspects. This work
establishes the complete growth of Indian music from the period of the Natya Sastra

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(2nd century) to the 13th century. This work stands out particularly as a link between
the two new systems that gradually split and evolved separately after his period,
namely, the Hindustani music and Carnatic music. The music between the period of
Brihaddesi and the Sangeeta Ratnakara was known as the Desi system.

Sarngadeva’s work inspired many later scholars who wrote musicological

treatises. The Sangeeta Sara, attributed to Vidyaranya (1320-1380) was the first to
classify ragas as Melas (Parent) and Janya ragas. After this work, there seems to have
been a lull in the theoretical development for almost two centuries. Ramamatya wrote his
treatise, Swaramela Kalanidhi, in the 16th century. The clear exposition of Mela, Raga
and Vina technique must be accredited to him. His effort served as a firm and fitting
foundation to the growth of the modern music system and may be considered as the
milestone in the scientific development of Carnatic Music.

Musical Forms

Several important forms were composed during this period - Tevaram,

Divyaprabandham, Tiruppavai (is a part of Divyaprabandham), Ashtapadis, Padams,
Kritis, Gitams, apart from the Abhyasa gana, Alankara and Swaravalis for beginners.
8
Tallapakka Annamacharya (First Telugu Vaggeyakara) (1425 - 1503 AD)
this period is considered as the nucleus to the devotional and spiritual music, composed
in a new form called Keertana and Kriti, having three sections, namely the Pallavi,
Anupallavi and Charanam. This pattern became widely accepted and was popularised by
later composers, in particular, the Trinity. This stands out as an outstanding contribution
of Annamacharya to the practical side of Carnatic music. He is credited to have
composed about thirty two thousand compositions of which around twelve thousand
have been traced and some of these have been still preserved in copper plates.

The Kritis were not as complicated as the earlier Prabandha forms. The keertanas
of Annamacharaya are even now sung in all the classical and semi-classical
performances by the South Indian artists composed by the present Carnatic musicians
melodiously in various ragas, because the original notations of the Keertanas composed
by Annamacharya are not found.
9
Purandaradasa (1484 - 1564 AD) is known as the Sangeeta Pitamaha (the
grandfather of Carnatic music). A prolific composer, he laid the foundation for the
systematic learning of the Carnatic music system and he is credited to have formulated

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the swara exercises for practice, apart from composing simple songs, Gitams, and a
number of compositions (Kritis) with high philosophical import.

In short, during the medieval period, one can say that this is the period Carnatic
music gradually attained its individuality built over a historically strong foundation.
Tanjavur and Vijayanagara emerged as the major seats of Carnatic music, with a number
of classic monumental works being produced in both the theoretical and practical aspects
of music.

MODERN PERIOD (17th century to present day)

The 17th century can be considered as a golden age of Carnatic music. Some of
the most important developments in both Lakshana (theoretical) and Lakshya (practical)
aspects took place during this period.

Theoretical aspects

The well structured 72 Melakarta scheme was formulated by Venkatamakhi (like

‘Panini’ to Carnatic music system) in his treatise Chaturdandi Prakasik10 in 1660 AD.
This scheme is the proud heritage of Carnatic music, and is not simply of academic
interest, but also has immense practical value to all musicians, musicologists. Other
important treatises on music written during this period are the Sangeeta Saramrita of
Tulaja (1729 - 1735 AD), Sangeeta Sudha of Govinda Dikshita and the Sangraha
Choodamani of Govinda (1750 A.D).

By the end of the 19th century, notational schemes were developed, for written
representation of musical compositions. These were published in works like Subbarama
Dikshitar’s Sangeeta Sampradaya Pradarsini in Telugu and Manikka Mudaliar’s
Tamil work, Sangeeta Chandrikai. These early pioneers in recent times have paved the
way for a research-oriented understanding of this practical art form. While the theoretical
works were trying to keep pace with the practical music, the practical music itself was
evolving continuously and a number of luminaries have made a tremendous impact on
refinement of this art form, to keep it fresh and alive.

Development of Practical aspects (Especially Devotional and classical music):

In the 18th century, within a short period from 1763 - 1775 AD, were born the
three great composers (Vaggeyakaras) of Carnatic music, who were later to be celebrated
as the Musical Trinity (Trimurti) - Syama Sastri (1762 - 1827) Tyagaraja (1767-1847)

85 
 
and Muthuswami Dikshitar (1776-1835). All of them combined their immense
knowledge, deep spirituality and profound traditional musicianship with an amazing
sense of creativity and innovative spirit. This has made their contribution to Carnatic
music invaluable. The art of musical composition was elevated to great heights at their
hands. It can confidently be asserted that all later composers have tried to live up to the
standards set by these three bright stars.The Kritis of these Trinities are still now
authentic as the notation of these Kriti compositions (Telugu script) are sung with same
notation and raag that are created by these trinities. Therefore South Indian music is still
traditional and authentic. These vaggeyakaras not only explored the musical concepts,
but also they practiced music as a medium to reach God.

Other great composers who have contributed to the vast repertoire of Carnatic
music compositions include Swati Tirunal (1813-1847), Vina Kuppayyar, Subbaraya
Sastri, Gopalakrishna Bharati, Ghanam Krishna Iyer, Patnam Subramanya Iyer,
Koteeswara Iyer, Muthaiah Bhagavatar, Mysore Vasudevachar and Papanasam Sivan.

The 72 Melakarta scheme was responsible for the transformation in the Raga
system of Carnatic music. Several new Ragas came into existence and were popularised
by means of compositions tuned by the Trinity of composers along with others who
followed the 72 Melakarta scheme. Many different kinds of musical compositions
developed, having different structural arrangements (musical forms). These include the
Varnam, Kriti, Padam, Javali, Tillana, Swarajati and other varieties. These forms have
continued to remain popular in the 20th century.

Till the end of the 19th century, the patronage of Carnatic music and musicians
was mostly limited to the major temples and royal courts, as also a few rich landowners,
who arranged concerts for various events. In the 20th century, the patronage has taken a
different shape, with the advent of a number of organisations (Sabhas) and corporate
sponsors who have brought a more professional outlook to this traditional art-form. As a
result, Carnatic music is now heard in all major Indian cities, as also in major centers in
Asia, Europe and America.

The learning and teaching processes have also adopted themselves to the changes
in the living style, over the years. The traditional Gurukula system has given way to an
institutional system of training in the 20th century. Several good musicians have taken to
teaching as their profession. Modern educational tools have been pressed into service,

86 
 
with the growth of recording technology. From analog tape recorders to state of the art
computers and internet connections are being put to use in imparting musical education
worldwide.

The history of Carnatic music since from the earlier period to now show the
graduall changes in Indian music chronologically and it is known that Carnatic music is
pure and Traditional. It is said that some of the concepts that are given by Bharata
Natyasastra are still in use in current Carnatic music system. Also in this sequence apart
from Hindustani music we came across the Tamil music and great authors of Tamilnadu
from ancient period which is a proof of the present Carnatic music culture and
development. The earlier history of Carnatic music in a chronological order, enabled to
know that besides various classical musician’s contributions in the history of South
Indian music, the Tamil musicians and Musicologists also contributed immensely to
Carnatic music system.

CARNATIC MUSIC RAAGA CLASSIFICATION:

The subject of raga classification in Indian music may be studied under the
following heads:-

1. RAGA CLASSIFICATION IN ANCIENT MUSIC

2. RAGA CLASSIFICATION IN ANCIENT TAMIL MUSIC
3. RAGA CLASSIFICATION IN THE PRESENT CARNATIC MUSIC

1. CLASSIFICATION IN ANCIENT MUSIC:

The Raaga system gained importance from the time of the historic 72 Melakarta
scheme of Venkatamakhi in Carnatic music. Today the Janaka-Janya system of raga
classification is the accepted and the accredited system throughout the length and breadth
of India.

RAGA CLASSIFICATION IN ANCIENT MUSIC AND THEIR RELATION

WITH PRESENT CARNATIC MUSIC:

(A) VEDAS:

In the very early stages, the Rig-Veda was recited plainly and then to the Udatta
and Anudatta svaras. Such statements as Archino gayanti (Eka svari gayana or Archika
gayana), Gathino gayanti (reciting to two notes) and Samino gayanti (reciting to three

87 
 
notes), deserve notice in this connection. When later, the Samika scale was repeated from
Madhyama and Panchama as fundamental notes the way was paved for development of
the svara saptaka. The practice of singing a Vedic hymn, a fourth higher and a fifth
higher in the course of singing is seen even now in the chanting of the vaidikas
(a sect in priests).

 Archiko gayana simply meant that the music substantially centred round one
note. Likewise Gathika and Samika indicated that the campass of the music
extended substantially over 2 and 3 notes. A modern example of archika
gayana is seen in the granthikas reading of the connecting prose links in dance
dramas.
 In the Araiyar ganam in Srirangam and Suprabhatham in Tirupati*, one can
hear even now survivals of Gathika and Samika scales.

(B) SAMA VEDA AND THEIR SIGNIFICANCE IN CARNATIC MUSIC:

It is a known truth that the original source of Art of music is SAMA VEDA. It is
said by many Carnatic musicians that the scale of Sama gana can be found in the raag
Kharaharapriya and as a close approximation to the Sama gana scale. The scale of
Sama gana is the ancient scale of Indian music.The Sama saptaka itself was arrived at
after many centuries of experiments. In reciting the Rig veda the most ancient of the
vedas, three notes: Udatta, Anudatta and Svarita were used:—

“UDATTASHCHANUDATTASHCHA SWARITASHCHA
SWARASSTRAYAH”11

- (Panini and Narada siksha)

All standard musical works in Sanskrit mention that Brahma derived music from
the Sama Veda:

“SAMVEDADIDAM GEETAM SANJAGRAHAH PITAMAHAH” 12

The scale of Sama gana is the primeval scale of Indian music. The notes of the
Sama gana were styled the suddha svaras and the other notes that gradually came
into use in secular music were styled vikrta svaras i.e. changed notes, or notes
which do not have the suddha character.Thus the suddha svara sapthaka of Ancient
music is the scale of Sama gana.

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 The notes sa, ma (suddha) and pa have retained their values even now. The
Suddha mela (scale) of modern South Indian Music is Kanakangi, the first mela in the
scheme of 72 Melakartas. This is a vivadi mela and not melodious to hear. But, South
Indian musicologists about 400 years ago chose to call the lowest-pitched variety of a
note as suddha and this led to the Kanakangi becoming the suddha mela. At present in
Hindusthani music, the Bilawal Thaat (Sankarabharanam) is regarded as the suddha
mela.

(C) RAAGA CLASSIFICATION IN PRE-MATANGA PERIOD:

The Grama-Murchhana-Jati system was the classification in vogue during the pre-
Matanga period. Still earlier, music was sung to a few simple scales. The term, Jaati in
ancient music answered to some extent to the later term, as Raaga.

(D) RAAG CLASSIFICATION DURING POST-MATANAGA PERIOD:

Matanga the author of the Brihaddesi, is the father of the raga concept. The raga
concept took a definite shape only from his time. The term raga is casually met with in
Bharata's Natya sastra. We find references to it in Kalidasa's Abhijnana Sakuntalam 13
also in one of the Panchatantra stories (ass as a singer) again we find a reference to the
term, raga.

The early history and the musicologists who expounded the concepts of
Matangmuni Grama-ragas were described in detail in the earlier chapters, Naradmuni
raag classification based on gamakas, based on time, feminine-masculine-nueter raga
classifications were described earlier. To show the evidences of the Carnatic music
system with Pre-Vedic period and Post Vedic period a brief Vedic history is again
repeated.

The raga system in Sangeet Ratnakar period is briefly explained, later the
contribution of South Indian profound musicologists after 16th Century(the period when
great musicologists contributed immensely to Carnatic music system in exploring
theoretical aspects) like “RAMAMATYA, AHOBAL, LOCHANA KAVI, PT.
VENKATA MAKHI’ are going to be discussed in brief now.

In the words of Prof. P.Sambamurthy, Saranga Deva, in the Sangita Ratnakara

speaks of Margi ragas and Desi ragas. Margi ragas were classified into:-

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 1. Grama raga 4. Bhasha
2. Upa raga 5. Vibhasha
3. Suddha raga 6. Antara bhasha

He enumerates the names of many of these Margi ragas and mentions the types
on which they belong. These ragas however became obsolete long before his time. Only
Desi ragas were current in his time. Desi ragas were classified into :—

1. Raganga 3. Bhashanga
2. Upanga 4. Kriyanga

Prak-prasiddha ragas or Purva prasiddha ragas, i.e., ragas which were in vogue
before his time and Adhuna prasiddha ragas, i.e., ragas which were in vogue in his time
are also mentioned by him. This classification is useful from the historical point of view.

(E) RAAGA CLASSIFICATION BASED ON RAMAMATYA AND PRE-

VENKATAMAKHI PERIOD:

From the point of view of suitability for compositions, Ramamatya classified

ragas into Uttama (good) Madhyama (mediocre) and Adhama (inferior) ragas. Uttama
ragas were pure ragas and had no trace of other ragas in them. They were suitable for
Aalapana. Madhyama ragas were used only to sing portions of songs. Adhama ragas
were unsuitable for compositions. This classification was endorsed by Somanatha but
later fell into obsolete.

Works like Raga Taala Chintamani speak of Purva Sampradaya Melas. These are
20 according to some and 19 according to others. These were the Melas in vogue during
the Pre-Venkatamakhi period. Venkatamakhi refers to them as Kalpita Melakartas.

2. RAAGA CLASSIFICATION IN ANCIENT TAMIL MUSIC:

The Tamil music has got a great classical history from pre-vedic period and wide
range of ragas and great musical works.

The ancient Tamils possessed a highly developed culture, The Muttamizh

consisted of the divisions: — Iyal= literature, Isai= Music and Natakam= Drama.

There were musical works in the distant past like Isai marabu, Isai nunukkam,
Pancha marabu, Pancha bharatiyam. Kuttanul, Perumkurugu, Perunarai, Mudukurugu
Mudunarai and dealing with the science of music. Dance was also dealt with in some of
these works. Those are works living through quotations in later works. Most of the

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ancient works are now lost. Amongst the prominent musicians of the ancient period may
be mentioned Anaya Nayanar, Tirunilakanta Yazhpanar, Tiruppan-azhlwar and
Banabhadrar.

The ancient Tamils had developed a good system of music. The Silappadikaram
(2nd Cent. A.D.), throws a flood of light on the music of the ancient Tamils. The
Arangetrukadai and Aychchiyar kuravai are two of the cantos (one of the sections into
which some long poems are divided) in this Tamil epic which give a mine of information
relating to the music and dance of that period.

According to Swamy Prajnanananda, South India is commonly known as the

Tamilnadu which means the ‘land of the Tamils. South India is also known as the
Karnatakadesa. An ancient source book of South Indian Music, is the Tamil epic
Silappadikaram was written by Ilango in about the 5th century A.D.

It is an authoritative work on poetry, music and drama of the Tamilnadu.

Adiyarkkunallar wrote a gloss and gave a finishing to this epic, and it is regarded as an
earlier one. Bharata in his Natya sastra testifies to the high musical culture of the peoples
who inhabited South India even in his time.

The ancient Tamils, the Silappadikaram used a scale of 22 srutis. The terms alagu
and mattirai were used as the equivalent of sruti. They used the scale of just intonation.
Their Suddha Mela was the modern Harikambhoji scale. The values of the notes
figuring in the suddha mela are given by the frequency values: — 4 4 3 2 4 3 2.

From the Silappadikaram and its gloss (commentary), we come to know about
certain numbers of Tamil treatises on dance and music. The Jain dictionary Tivakaram
is also known as one of the ancient books that discussed about music of the
Tamilnadu.

It is said that the Tevakaram14 (sacred hymns) is a sacred music in Tamil

was written during the time of Silappadikaram. Prof. Sambamoorthy is of opinion that
the Tevaram is really the earliest musical system of Indian music and an ancient
evidence of Desi sangeeta. It is said that the Tevaram is a collection of sacred hymns,
and they were composed mainly by three great saints, Tirujnanasambandar, (the
youngest composer in the history of world music as a boy of three, he sang his first hymn
(Tevaram) in the Pan (raag) Nattapadai equivalent to raag Gambhiranata in the present
Carnatic music and Appar or Tirunavukkarasu and Sundaramurti Nayanar. Their

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dates appear to be from 7th to 9th century A.D. The Tevaram- Hymns were included in
the category of Tamil music. since the Tevaram belongs to a period when there was a
single system of music in the whole of India and the bifurcation into the two sub-
systems, Hindustani and Carnatic had not taken place, even the musicians of North India
ought to take an interest in the study of the music of the Tevaram.

The pans15 added to the hymns were the ragas or melody-types (contain 7 notes,
a sampurna raga; shadava raga; Audav raaga). The Tevarams possessed

Arohana and Avarohana, Varjya- Varjya krama, Graham- svaras, Nyasa- svaras,
Amsha- svaras, Rakti-prayogas, Dhatu- prayogas and Characteristics of shruti and
gamakas.

Pans are used in the Tevaram were classified into three Jatis or classes,

Audava- Shadava-Sampoorna,
Shuddh- Chhayalag- Samkirna, and
Upaanga- Bhashanga.

Again the pans of the Tevaram. A pan was not always Asampurna—Sampurna
raga. Some of them were like the asampurna Mela*. Each pan had a number of
derivatives called Tiram was a varja raga and some of them were transilient scales.
Panniya Tiram was a shadava raga Tiram was an Audava raga and Tirattiram a svarantara
raga.

The Pans were sung based on the Time, time of singing of PANS played a very
important role. The Pans were classified based on time into:

1. Pagal Pan i.e. the ragas those were sung during day time,
2. Iravuppan i.e. the ragas those were demonstrated in the night time, and
3. Poduppan i.e. ragas which were sung at all times.16

                                                            
*
the classification which was followed before the invention of Venkatamakhi’s Sampurna Melakarta
scheme found in the compositions of Sri Muttuswami Deekshitar.

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 Pagal pan or Pans to be sung Iravuppan or Pans to be sung
during day time ( total 12 ragas) during night time (9 ragas)
Nattapadai Takka ragam
Puranirmai Pazhantakka ragam
Gandharam Sikamaram
Piyandai gandharam Kolli
Kausikam Kollikkauvanam
Indalam Viyazhakkurinji
Takkesi Megaragakkuranji
Sadari Andalikkurinji
Natta ragam Kurinji
Pazhampanjuram
Gandhara Panchamam
Panchamam

And Senturutti, Tiruttandagam and Sevvazhi are Poduppans i.e., could be

sung in both during day time and night time.

The names of such pans as Gandhara panchamam, Panjaram,

Malavakausikam, Natta ragam, Kauvanam, Kolli kauvanam etc., reveal a
Sanskritic origin.

The names of the seven notes are kural, tuttam, kaikilai, ulai, Ili, vilari and tarum.
The names of the main essentials like Vadi, Samavadi, Anuvadi and vivadi are inai, kilai,
natpu and pahai. The musical compositions or prabandhas have been divided into nine
classes. The alatti (alapti) has also been defined in the Silappadikaram. Some are of
opinion that shuddha scale of the ancient Tamil music was somewhat like
Sankarabharama-Mela. However there are differences of opinions about the standard
scales of the ancient music of the Tamilnadu. It is said that the Tamil writers worked
out about 12,000 pans or ragas.

There is an another great musical works in Tamil i.e. Popley has mentioned about
the book Paripadal, those dealt on music, dance and drama, Also Adiyarkkunallar

93 
 
mentions as the basis for Ilango’s musico-dramatic epic itself, and as basis for Ilango’s
own gloss. There are still many Tamil works, those dealt on music, dance and drama.

Different musical instruments have been described in the ancient Tamil literature.
Mainly three classes of musical instruments have been mentioned, and they are stringed,
wind – blown and percussion. We also come across the names of different kinds of
drums like kulal, val, idakkai (Dhaka), tannumai, kudamulabu, (ghata), maddla
(mardala) etc. in them The single stringed musical instrument (veena) has been
termed as maruttuvaval; the seven –stringed one as sengottuyal; the nine – stringed one
as Tumvuruyal; fourteen stringed one as Sakoda- yal, seventeen- stringed one as
Makarayal and twenty-one stringed veena as called periyal.

BRIEF HISTORICAL BACKGROUND:

Brief analysis and study on the early historical background of South India, various
facts related to South Indian music are delineated. The Deccan was ruled by many powers
like Pallavas, Cholas, Chalukyas, Satavahanas etc in 4th century A.D. The art forms were
developed by all the Deccan powers especially, in the Pallava period, the culture of fine arts
like sculpture, painting and music was much developed. Pallava king, Mahendravarman,
who himself was an accomplished Veena player bear testimony to this fact.

It was already discussed that the Kudumiyamalai inscription from Padukottai

region, inscribed seven Grama Ragas which are even depicted in Naradishiksha of 1st
century A.D., also Bharat muni described some of them. This inscriptions show that during
the Pallava period the Grama ragas were in practice. Also it is said that the King Pallava
later invented an 8th new Grama raga.

The devotional hymns of classical type of the Nayanars were also composed in
Pallava period. They use to sing along with Mridangas and Veenas. From South Indian
Music evidences and inscriptions it is found that the music system of South India is also
related to the Psalms (hymns) of the Alvars theVaishna sects.

Dr.V. Raghavan mentioned some of the new raga names of present Carnatic
music with old names 17
Kaishika - Bhairavi,
Nattaraga - Pantuvarali.
Panchamam - Ahiri
Takkesi - Kambodi or kamboji,
Palam - Sankarabharanam,

94 
 
 Sevvali - Yadukula- kamboji,
Senturutti - Madhyamavati, etc.

ANALYSIS

Thus, the Ancient music and Ancient Tamil music reveal many evidences to
compare the present culture of Carnatic music system.

 The tradition of time of singing the Pans or Raagas shows that the time theory
exists from ancient period i.e. the period from 1st century A.D. but, the
exceptional thing is the time theory which was more in practice in South Indian
system is not considerably used in the present Carnatic system. Where as in
Hindustani system, Time theory is strictly followed and ragas are sung even now
based on the Time theory. The rule is however not of a mandatory nature but of
an advisory character in the present South Indian music system.
 Apart from this, the above information shows that the South Indian arts are
influenced by Tamil literature and Tamil works, especially Music and Dance
even now are more influenced. The instruments like Veena, Ghatam, Mridangam
etc which were quoted in the ancient Tamil works are now very important and
classical performing instruments to the present Carnatic musicians. All the
performances and the tradition of Carnatic music is explored through these
instruments only. Veena is like Sitar in Hindustani music system and Mridangam
is like Tabla in the present Hindustani music. The classical performances in
Carnatic music are given with these instruments only. This would be the nucleus
of Carnatic music system and the Tradition might have authentically started
during the Pallava Rulers and even before.
 The classification of Pans into three Jaatis i.e. Audava- Shadava-Sampoorna,
Shuddh- Chayalag- Samkirna, and Upaanga- Bhashanga, shows that the ancient
Tamil works paved way to the North Indian music also as the Hindustani music
follow the Shuddh-Chayalag-Samkirna jaati raga classification even now in their
theories. But this kind of classification donot exist in the present Carnatic music
system.
 It is to be noted that theoretical concepts might be adopted or trasfered from
South to North or from North to South since there was only a single music system
before 13th century. But the practical aspects always differ with each other. The
South Indian and North Indian music systems and its culture is influenced by the
ancient Tamil music materials and even now the practical and theoretical aspects

95 
 
 introduced by great Vaggeyakaras, Musicologists after 15th century shaped the
system of present Carnatic music system.
3. RAAGA CLASSIFICATION IN THE PRESENT CARNATIC MUSIC SYSTEM

The classification of ragas in the present Carnatic system is based on the

 Janaka ragas and

 Janya ragas is the most methodical system of raga classification.
 Janaka means Generic or Basic or Principle and
 Janya means generated also called as to be born or derived from a
Melakarta raaga.

There are 72 Janaka ragas based on the twelve svarasthanas of the sthayi. The
scheme of 72 Melakarta ragas provide an excellent, workable arrangement and is
explained in detail. The number of Janaka ragas is fixed and the number of janya ragas
are practically unlimited.

Prof. P.Sambamurthy18 says that, in general most of the Janaka ragas are older
than the Janya ragas, but the janaka-janya system of raga classification need not give rise
to the presumption that all janaka ragas are older than janya ragas. In fact a good number
of these janaka ragas came into existence only during the modern period of Indian music.
Many janya ragas like Bhupalam, Ahiri, Nadanamakriya, Gaula, Vasanta, Saurashtra,
Madhyamavati, Kedaragaula, Mohana, Kambhoji and Nilambari have been in existence
for more than a thousand years. The raga, Kathanakutuhalam may be mentioned as an
example of a janya raga, which came into existence after the scheme of 72 melakartas
was conceived of.

JANAKA RAAGA SCHEME i.e. 72 MELAKARTA SCHEME THE 72

MELAKARTAS

The four characteristic features of a Janaka raga are:-

1. The Sampurna character of the Arohana and Avarohana ; i.e., al the seven notes
being represented in both the ascent and the descent.

2. The Ashtaka character of the Arohana and Avarohana, means taking s r g m p d

n s-s n d p m g r s. Nadanamakriya taking, s r g m p d n-n d p m g r s n though
has a sampurna ascent and descent, still is not a Mela, since it lacks the ashtaka
character.

96 
 
 3. The krama sampurna character of the Arohana and Avarohana, means Arohana
and Avarohana should not be zigzag or vakra.

4. The identical character of the svaras in both the Aarohana and Avarohana; i.e.,
the individual svaras being of the same kind in both the ascent and descent. In
other words, the notes : ri ga ma dha ni are not of one kind in the arohana and of
a different kind in the avarohana. Thus Bhairavi, which takes a krama sampurna
arohana and avarohana cannot be a melakarta, because it takes one kind of
dhuivata (chatussruti) in the arohana and another kind of dhaivata (suddha) in the
avarohana.

There are 72 janaka ragas and they are arranged according to a definite plan. This
plan of arrangement helps one to give the svaras taken by any one of the 72 mela ragas
without difficulty. The scheme of 72 parent modes is mathematically and logically
accurate and is based on the universally recognised twelve semitones of the gamut. The
fixed notes sa and pa are present in all the 72 karta ragas or Parent scales and serve to
give a certain fixity to their melodic character.

THE 72 MELAKARTA SCHEME19

The 72 melakarta ragas are grouped under twelve chakras, each chakra
comprising within it six Mela ragas.

The scheme is divided into two halves. In the first half which includes Chakras
1 to 6 and the Melas 1-36, the Suddha Madhyama occurs as a constant note and in the
second half, which includes Chakras 7 to 12 and Melas 37 - 72, the Prati Madhyama
occurs as a constant note.

For this reason, the first six chakras are referred to as the Suddha madhyama
chakras and the second six chakras as the Prati madhyama chakras.

The first half or the suddha madhyama half is referred to as the purva group and
the second half or the prati madhyama half as the uttara group. Every purva melakarta
has its corresponding uttara melakarta and vice versa. The note ma is thus the bisecting
line in the Melakarta scheme. The uttara half is a repetition of the purva half, with the
difference that the prati madhyama takes the place, of the suddha madhyama.

The names of the twelve chakras as well as the serial numbers of the melakartas
included in them are given in the following Table: 12 CHAKRAS

97 
 
 First half comprising the Suddha madhyama or the purva melakartas (1 - 36)

THE 12 CHAKRAS20

First half comprising the Suddha Madhyama Second half comprising the Prati madhyama or
or the Purva Melakartas (1-36) the Uttara Melakartas (37-72)
Number and name Mela ragas included Number and name of Mela ragas included
of the Chakra in it the Chakra in it
1. Indu 1-6 7. Rishi 37-42
2. Netra 7-12 8. Vasu 43-48
3. Agni 13-18 9. Brahma 49-54
4. Veda 19-24 10. Disi 55-60
5. Bana 25-30 11. Rudra 61-66
6. Rutu 31-36 12. Aditya 67-72

 Having seen that the notes sa and pa are present in all the 72 melakartas and also
the Suddha madhyama occurs in melas 1-36 and the prati madhyama in melas 37
- 72, it remains for us now to see in which order the varieties of the notes., ri ga
dha ni occur in them.
 Within a chakra, the initial and terminal notes of both the purvanga and the
uttaranga remain the same. Again, within a chakra, the purvanga notes remain
constant, i.e., the rishabha and gandhara retain their identical character in all the
six mela ragas within the chakra—the change occurring only in the dhaivata and
nishada.
 In every chakra, the
1st mela raga takes the suddha suddha dha, suddha ni
2nd ,, suddha dha, kaisiki ni
3rd ,, suddha dha, kakali ni
4th ,, chatussruti dha, kaisiki ni
5th ,, chatussruti. dha. kakali ni
6th ,, shatsruti dha, kakali ni
 The rishabha-gandhara varieties occur in the same order as the dhaivata-nishada
varieties, but only change from chakra to chakra, instead of from mela to mela.
That is the

98 
 
 First chakra takes the suddha ri Suddha ga
Second chakra takes the suddha ri sadharana ga
Third chakra takes the suddha ri antara ga
Fourth chakra takes the chatussruti ri sadharana ga
Fifth chakra takes the chatussruti ri antara ga,
Sixth chakra takes the shatsruti ri antara ga

These six rishabha-gandhara combinations repeat in the same order in the uttara
half i.e , in chakras 7 to 12.

In the case of melas of number 40 and 4, 51 and 15, 62 and 26, it will be found
that the reversal of the number of the Prati madhyama mela gives rise to the number of the
corresponding suddha madhyama mela and vice versa.

The nomenclature given here for the 72 melakartas is the one in vogue and is
found for the first time in Govindacharya’s Sangraha chudamani (18th century). The other
nomenclature for the 72 melas which include asampurna scales.

The syllables, pa sri go bhu ma sha

Mnemonically represent the first, second, third, fourth, fifth and sixth melas of
each chakra. These may be styled the mela mnemonics. These syllables by
themselves indicate the numbers 1, 2, 3 4, 5, and 6 according to the Katapayadi
formula. Thus, when these syllables are tacked on to the chakra names, we can calculate
the serial numbers of the melas* Thus netra-pa, netra-sri, netra-go, netra-bhu, netra-
ma and netra - sha signify respectively the melakartas of serial numbers, 7, 8, 9, 10, 11
and 12. Again agni-go stands for the third mela in the 3 chakra and is the 15th mela,
Mayamalavagaula ; bana-bhu stands for the 4th mela in the V chakra and is the 28th
mela, Harikambhoji and so-on. It may be noted that in the phrases: agni-go and bana-
bhu, the name of the chakra gives the clue to the purvanga svaras and the mela
mnemonic, to the uttaranga svaras of the melakarta.

The table of and the whole chart of 72 mela scheme21 is given in Appendix.

The utility of the scheme lies in the fact that, from the serial number of a melakarta
raga, one can readily find the svaras taken by it. Suppose the svaras of the 27th melakarta are
to be determined; proceed as follows:

1. Insert the svaras: sa, pa and the higher octave sa in their appropriate places
leaving blank spaces for the remaining svaras as follows:—

99 
 
 sa . . pa . . sa

2. Notice whether the given number belongs to the purva group or the uttara group.
The given number 27 belongs to the purva group and is therefore a suddha
madhyama melakarta. Now insert ma in its appropriate place in the line as
follows:—
sa . . ma pa . . sa

3. Next, in order to determine the notes of the purvanga, find out the chakra to
which the given number belongs. The number 27 belongs to the 5th chakra
(comprising melakartas 25 - 30) and hence ri (chatussruti rishabha) and gu
(antara gandhara) are the notes taken. Now insert ri and gu in their proper places
thus:—

sa ri ga ma pa . . sa

4. Now, to determine the notes of the uttaranga find the rank of the given
melakarta within the chakra. The number 27 occupies the 3rd rank hence dha
(suddha dhaivata) and nu (kakali nishada) are the notes taken. Now insert dha
and nu in the line as follows:— sa ri gu ma pa dha nu sa Thus the melakarta raga
No. 27 takes tha notes:— sa ri gu ma pa dha nu or shadja, chatussruti rishabha,
antara gandhara. suddha madhyama, panchama, suddha dhaivata and kakali
nish&da. This is the melakarta’raga known as Sarasangi and its mnemonic phrase will be
bana-go.

In casea where the .given number belongs to the uttara group (comprising
melakartas 37-72) subtract 36 from the given number and the resulting figure gives the number of
the corresponding suddha madhyama mela-karta. Determine the lakshana of this suddha
madhyama melakarta by adopting the process mentioned above; and by substituting prf.ti
madhyama for the suddha madhyama. The svaras of the melakarta raga of the given number
will be obtained.

The several melakartas can also be represented by their svara mnemonics; thus,

ra gu ma dha nu will signify the Agni-go mela or Mayamalavagaula; and

ri gu mi dhi nu will signify the Rudra-ma mela or Mechakalyani and so on.

The naming and singing of the note chatussruti rishabha with the letter ga, in the
case of those scales wherein both the suddha rishabha and chatussruti rishabha occur ‘melas

100 
 
1-6 and 37 - 42; became a musical necessity. Vocalists and instrumentalists are alive to the
resulting auditory delusion. The practice of singing a note belonging to the jurisdiction of one
svara, with the solfa letter of a higher or lower svara was in vogue even before
Venkatamakhi’s time. The practice has been approved as a matter of musical
convenience. The innovation also results in the partial obliteration of the vivadi
effect. The graced utterances of the concerned notes (i.e., with Kampita and Nokku or
stress) remove the vivaditva altogether. A short pause after the graced vivadi svara
has also the effect of neutraiising “the vivaditva. The arguments above mentioned
apply to the pairs: (1) sadharana gandhara (shatsruti ri) and antara gandhara; (2)
suddha dhaivata and chatussruti dhaivata (suddha ni); and (3) Kaisiki nishada (shatsruti
dha) and kakali-nishaada.

It may be noted that in the scheme of 72 melas, the melakartas of serial numbers 1, 8, 15,
22, 29 and 36 are entirely distinct from one another. In other words, excepting for the
notes sa ma and pa, the rishabha-gandhara and dhaivata-nishada groups of notes taken
by one mela are not/repeated in any of the other five. Each mela has a distinct purvanga
and uttaranga and the purvanga pattern and the uttaranga pattern of each mela are
symmetrical i.e., the corresponding intervals between the pairs of notes in the lower and
upper tetrachords of each of these six melas are same. Also note that each number is
higher than its previous number by 7. Thus

1+7=8
8 + 7 = 15
15 + 7 = 22
22 + 7 = 29
29 + 7 = 36

In the melakarta code, the reasons for omitting the following svara combinations,

(a) chatussruti. ri and suddha ga {ri - ga)

(b) shatsruti ri and suddha ga (ru - ga)
(c) shatsruti ri and sadharana ga (ru - gi)

are clear. In (a), the notes belong to an identical svara/sthana; likewise in (c), the notes
belong to an identical svarasthana. Since, in a scale, the notes have to progress by steps,
these two combinations cannot come validly. In (b) the suddha ga is lower in pitch,
compared to shatsruti ri; and the adoption of such a combination will result in vakratva
being imported and go against -the concept of krama (sarala) gati or regular ascent.

101 
 
 For the same reasons the following combinations :—

(a) chatusruti dha and suddha ni (dhi - na)

(b) shatsruti dha and suddha ni (dhu - na)
(c) shatsruti dha and kaisiki ni (dhu - ni)

are ignored in the formulation of the scheme of 72 melakartas.

It may incidentally be noticed that the number 72 is equal to twice the square of
six (6x6x2 = 72). The number 32, which is the total number of non-vivadi melas is equal
to twice the square of four {4x4x2 = 32). It is possible to suggest an alternative scheme
of arrangement for the 72 melas based on the self-same twelve notes, but the present
arrangement is perfect and logical, and must be left undisturbed.

KATAPAYADI SUTRA

Thus, when the serial number of a melakarta raga is given or known, it is easy to
give its lakshana. But how is the serial number of a melakarta determined? This is done
by the application of a formula known as the ka ta pa ya di sutra,* which is summed up in the
four phrases: kadinava, tadinava, padipancha and yadyashta.

The first two syllables of the name of each melakarta have been so ingeniously
and dexterously coined or fitied in, as to make them subserve the purpose of this
formula. This formula is based on the principal letters of the Sanskrit alphabet. The
letters of the alphabet are divided off into compartments. For the purpose of this formula,
each letter takes the number under which it falls. In the column next to 9, the figure zero
is placed instead of ten.

Application.—Take the first two syllables of the name of the Melakarta whose serial
number is to be determined. Ascertain from the table on the numbers under which these two
syllables fall and write down the two numbers in order. Then reverse this number of two
digits and the resulting figure will give the number of the Melakarta.

102 
 
 TABLE KATAPAYADI SANKHYA22

Katapayadi
1 2 3 4 5 6 7 8 9 10
Formula
Kadi nava K KH G GH NG CH CHH J JH JN
(a series of 9
letters from ka) M ¥
Adi nava T TH D DH N T TH D DH N
(a series of 9
letters from ta)
Padi Pancha P PH B BH M
(a series of 5
letters from pa)
Yadyashta Y R L V S SH S H
(a series of 8
letters from ya)

Example-1
Suppose the name of the Melakarta whose serial number is to be determined is
Harikambhoji

The first two syllables of this raga are ha and ri; ha occurs in the column 8 and ri or ra in
column 2 ; the resulting figure is therefore 82. Now reverse this number; the result is 28.
The serial number of the Harikambhoji melakarta is thus 28.

Example-2

Suppose the serial number of the melakarta, Namanarayani is to be

determined:—

The first two syllables herein are na and ma and they give the figure 05. By
reversing this we get 50. 50 is thus the serial number of the melakarta Namanarayani.

Other Examples:

Where samyuktaksharas or conjunct consonant. figure in the Katapayadi prefixes,

the rule is, that the second or the last component letter of the conjunct consonant (i.e. the
consonant immediately preceding the vowel) should be taken into consideration. Thus in
Ratnangi, Suryakanta, Jhankaradhvani, Gangeyabhushani, Shadvidhamargini,
Shanmukhapriya, Dharmavati and Kantamani, the correct serial numbers are obtained in
this manner.

But in the case of the following melakartas : Chakravaka, Divyamani, Visvambhari,

Syamalangi, Simhendra madhyama, Chitrambari and Jyotisvarupini, the first component

103 
 
letter of the concerned conjunct consonant has to be taken (as shown in the following
table), in order that the application of the katapayadi formula might give the correct
serial number.

Thus these mela names were hurriedly coined and constitute an exception to the
katapayadi rule.23

Name of the melakarta Number Number after reversal

Cha kravaka 6 1 16
Divyamani 8 4 48
Visvam bhari 4 5 54
Syama langi 5 5 55
Simhenndra madhyama 7 5 57
Chitrambari 6 6 66
Jyoti svarupini 8 6 68
The Katapayadi formula does not apply to the names of Janya ragas

CLASSIFICATION OF JANYA RAAGAS: 24

A janya raag takes the same swaras that are taken by its parent raga. The mention
of the name of the janaka raga therefore gives the clue to the swaras taken by the janya
raga. Therefore when it is said that Mayamalavagaula is the janaka raga of Malahari, it
means that the swaras taken by Malahari raga are the same as the swaras taken by
Mayamalavagaula. Occasionally janya ragas takes one or two foreign note. For the sake
of enriching the beauty of raga. The Janaka ragas are like HANUMATODI 8TH
MELA,MAYAMALAVAGAULA 15TH MELA, CHAKRAVAKAM 16TH MELA,
SURYAKANTAM 17TH MELA, MECHAKALYANI 65TH MELA etc.

The Janya ragas are classified into:

 Varjya,
 Vakra,
 Upanga and
 Bhashanga.
For example, a varjya raga can be vakra and upanga; and a varja raga can be vakra
and bhashanga. Likewise a varja raga can be non-vakra and upanga or bhashanga.Again
there are non-varja, vakra ragas of both the upanga and bhashanga types and non-varja,
non-vakra ragas of the bhashanga types. In a vakra raga, the Date at which the obliquity
takes place is called the vakra svara the note at which the obliquity terminates and the
original: course is resumed is called the vakrantya svara. The length of obliquity is the
compass of vakratva.

104 
 
 VARJYA RAAGA: Varjya ragas are those Janya ragas where one, two or three
swaras are excluded either in the arohana or avarohana or both. Based on the number of
swaras present in Aarohana and avarohana, janya ragas are classified under eight heads.

They are with examples:

1. Shadava - sampoorna – Kambhoji – S R G M P D S
6 7 SNDPMGRS

2. Audava – sampoorna – Bilahari - S RGPDS

5 7 SNDPMGRS
Arabhi - SRMPDS
SNDPMGRS

3. Sampoorna – shadava - Bhairavam – S R G M P D N S

7 6 SDPMGRS

4. Sampoorna – audava – Garuda - SRGMPDNS

7 5 -dhwani- S D P G R S
Saramati - S R G M P D N S
SNDMGS

5. Shadava- shadava – Sri ranjani – S R G M D N S

6 6 SNDMGRS

6. Shadava-audava - Nataku ranjani - S R G M D N S

6 5 SNDMGS

7. Audava-shadava - Malahari - S R M P D S
SNDPMRS
5 6
Saraswati- S R M P D S
SNDPMRS

8. Audava-audava – Mohana - S R G P D S
5 5 SDPGRS

Suddha - SRMPDS
Saveri - SDPMRS

105 
 
 Every one of the 72 Melakarta ragas admits all these eight varieties of transilient
ragas. The possible number of audava-shadava-sampoorna combinations are 483 in
number and this when multiplied by 72, gives the immense figure 34,776. These are the
possible number of Varjya ragas of this class derivable from all the 72 Melakarta ragas.

It is to noted that in Carnatic music there are some swarantara-swarantara ragas

i.e. the usage of only four notes in Aorahana and in Avarohana.

There shall be no contiguous swaras in Swarantara and Audava ragas. But in the
case of the ragas like

“KUNTALAVARALI- S M P D N D S-28TH MELA),

MEGHARANJI- (S R G M N S- S N M G R S-15TH MELA)
PURNASHADJAM (S R G M N S-S N P M G R S-22ND MELA)

The Varjya ragas are again divided into UPANGA RAAGA and
BHASHANGA RAAGA.

1. Upaanga Raaga:-

An Upaanga Raagas evolve from a Raagaang raag , it should possess the notes of
janaka raga, An Upaang could be an Audav, shaadav or in sampoorn jaatiof a Janya raga
or janya raagas . Any janya raag i.e. which possess the form of Audav i.e. 5 notes,
shadav 6 notes or sampoorn 7 notes, are said to be Upaanga ragas.

Eg:- Raag Hamsadhwani, Malahari etc. currently in carnatic music system

while describing the Raaga lakshanas of a Janya raag or a janaka raag describing a raag
whether it is Uppanga or Bhaashang or raagaang is important .

Eg:- Raag Hamsadhawani is an Upaang Raag In carnatic music system instead of

specifying that Hamsadhwani as an Audav- Audav Jaati raag in Carnatic raga
lakshanas it is said that it is an upaang raag.

Bhashanga Raga Classification

Bhashanga ragas like Kambhoji, Bilahari, Nilambari and Saranga take only
one foreign note (anya swara). Those like Hindusthani Behag take two foreign notes.
There are a few bhashanga ragas like Hindusthani Kafi (this raag is explained in
chapter-4) which take three foreign notes.

Thus from the point of view of the number of Anya svaras taken, Bhashanga
ragas may be classified into:-

106 
 
 1. Ekanyasvara Bhashanga raga i.e. taking only one foreign note (Ex.Mukhari)
2. Dvi-anyasvara bhashanga raga i.e. taking three foreign notes (Ex.Athana).
3. Tri-anya svara bhashanga raga i.e. taking three foreign notes (Ex.Hindusthan
Kafi).

Note – In (2) and (3), the anya svaras may be taken as pertaining to one or two
different Melas.

i.e. the Bhashanga ragas under 2 and 3 categories may possess the raaga chhaya
of one or two Melas since there shall be mixture of foreign notes.

Three is the maximum number of anya svaras that can come in a bhashanga raga.

Bhashanga ragas the anya svara occurs as a kampita svara ; eg: Sadharana ga in
Athana raag and the anya svara comes as a plain

or ungraced note ; ex. Kakali ni in Kambhoji.

In Bhashanga ragas generally the anya swar is taken in three different ways

1. There are some ragas in which the anya swar is taken in Aarohana of a raag.Eg:
RAAG ‘BHAIRAVI’ and ‘MUKHARI’.
2. There are some kind of ragas in which the anya swaras are taken in the
Avarohana. Eg: RAAG ‘ASAVERI’ and ‘SARANGA’
3. Similarly there are some ragas in which the anya swara neither occur in Aarohana
nor in the Avarohana but sung in Sancharas. Eg: RAAG ‘ BILAHARI’
 In bhashanga ragas, the accidentals usually figure in sancharas. But in a few
cases, the accidental note is incorporated in the arohana and avarohana of the raga
itself. That is to say, the anya svara is heard even when merely the scale or the
murchhana is sung. Eg: Asaveri, Bhairavi, Ananda bhairavi, Mukhari,
Chintamani and Saranga are good examples of this type of bhashanga “raga.
 Bhashanga ragas known as such from their inception; eg. Bhairavi; and
bhashanga ragas which were formerly upanga and became bhashanga later on ;
ex. Raag Khamas.

People gradually discovered the enhanced beauty of the ragas when

foreign notes were introduced and sung. The vidvans as well as the listeners
relished the changes and slowly acquiesced in them. Kambhoji which was an
upanga raga centuries ago, became a bhashanga raga only later on. In the

107 
 
 Tevaram, one can hear hymns which represent the upanga and the bhashanga
types of Kambhoji. Khamas is an example of a janya raga which became
bhashanga in the latter part of the 19th century. Let it be remembered that
Tyagaiaja’s Khamas as seen in his two kritis : Sujanajivana and Sitapate is only
an upanga raga. Therefore in bhashanga ragas, the raga which would have been
the janaka raga, in its prior upanga condition is presumed to be the parent mela
even after the change.

 In a bhashanga raga, there need not necessarily be the trace of a foreign raga. The
accidental note is only a welcome visitor and serves to establish the svarupa of
the raga. The foreign note as a rule should not be unduly emphasised in
bhashanga ragas.

In Bhashanga ragas the foreign note will be found to be a samvadi svara

of some other note occurring in the raga. Thus in Bhairavi, the foreign note is a
samvadi svara of chatussruti rishabha; likewise in Kambhoji raga the kakali
nishada is a consonantal note of antara gandhata.

 Purna bhashanga and Ardha bhashanga ragas 25 The test for a bhashanga raga,
is that the foreign note should belong to a svarasthana not pertaining to its parent
scale. The occurrence of the mere shade of a note of an adjacent svarasthana or
the slight sharpening or flattening of the self-same note will not suffice.

For example in Saveri, in the prayogas s r g r s and p d n d p, the notes;

ga and ni are slightly flattened and sung; but they are not so diminished in pitch
as to suggest sadharana gandhara and kaisiki nishada. In Begada, in the prayoga
P, d N d P the kakali ni is slightly flattened and sung but it dees not become
actually kaisiki nishada. Such ragas might be called ardha bhashanga (semi
bhashanga) ragas.

 In bhashanga ragas, with a few exceptions, the accidental note comes a lesser
number of times compared to the svakiya svara. For example, in any piece in
Kambhoji raga, it will be found that the kakali nishada (foreign note) occurs a
lesser number of times compared to the kaisiki ushada. So we say that
Harikambhoji is the parent raga -jf Kambhoji on the presumption that kaisiki
nishada is the inherent note or the svakiya svara. Likewise in Bilahari, the kaisiki
nishada occurs a lesser number of times compared to the kakali nishada, and so

108 
 
 Bilahari is deemed to be a derivative of Dhira Sankarabharana and so on. In the
case of some bhashanga ragas, we are in a position to determine their orginal
upanga condition almost accurately. The accidentals were later additions. In a
few bhashanga ragas even though the accidentals occur a greater number of times
compared to the svaldya svaras, still they are regarded as anya svaras only.
Ananda bhairavi is a good instance. In this raga, the accidental (chatassruti
dhaivata) occurs more frequently than the suddha dhaivata; still the raga is
presumed to be a derivative of Nathabhairavi only.
 In bhashanga ragas, the svakiya svara (the original swara) and the anya svara can
be sounded in all the three octaves. But raag Punnagavarali furnishes a
remarkable example of a bhashanga raga wherein the svakiya svara (kaisiki
nishada) occurs in the madhya sthayi and the anya svara (kaakali nishada) in the
mandra sthayi. Punnagavarali raga had its origin in folk music. It is an interesting
example of a raga which originated straightaway as a bhashanga raga.

The present meaning associated with the term bhashanga raga is not more than
three centuries old. In earlier times, the term connoted quite a different concept. It was
regarded by some as a raga of provincial origin. Thus, Saurashtra, Malavi and Surati
were called bhashanga ragas. In the same manner, the present meaning associated with
the terms, raganga raga and upanga raga are a later development. They had different
meanings in earlier times.

Bhashanga ragas are a natural growth. In some works they are referred to
as Desanga ragas.

2. Kriyaanya Raaga:-

Kriyaanya Raagas are the ragas that portray and bring out the moods like
activeness to the human body a kind of motivation to the soldiers, the mood of praising
the Goddesses, happiness, joy, sadness veera ras, especially it is said that kriyaanga ragas
are sung to motivate the soldiers in a war but this kind of ragas are not presently not in
use. There fore detailed description on this concept is also not available.

Sangita darpana (1625 A. D.) of Damodara Misra mentions that Kriyanga ragas
were those that infused enthusiam in us. Others held that krijanga ragas were the same as
vakra ragas; and some others that they were sankirna ragas. Yet others thought that these
were ragas whose names had the suffix, kriya; thus Devakriya, Gundakriya, Ramakriya,

109 
 
Sindhuramakriya, Gamakakriya etc- A few held the view that kriyanga ragas were those
which took foreign notes.

The term kriyanga raga has now no significance and has rightly become obsolete.
The various interpretations given to this term in the past are now covered by other
technical terms or concepts.

Nishadantya, Dhaivatantya, Panchamantya and Madhyamantya ragas

This is another kind of raga Division by the earlier lakshanakaaras. They have
classified raagas as in some janya ragas, the compass of development is restricted to a
limited part of the mandra sthayi and madhya sthayi- The tara sthayi shadja is not
touched at all. Such ragas are classified into:

1. Nishadantya, where the highest note touched is tha madhya sthayi nishada;
2. Dhaivatantya, where the highest note touched is madhya sthayi dhaivata;
3. Panchamantya, where the highest note touched is the madhya sthayi panchama.
4. Madhyamantya, where the highest note touched is the suddha madhyama of the
middle octave.

1. Panchamantya ragas

2. Dhaivatantya ragas

3. Nishaadantya raga

4. Madhyamantya raaga

1. Panchamantya Raagas:
Eg: Navaraju raaga, 29th melakarta janyam
Aarohana : P D N S R G M P
Avarohana : P M G R S N D P

2. Dhaivatantya Raagas:
Eg: Kuranji raagam derived from 29th melakartha
Aarohana : S N S R G M P D
Avarohana : D P M G R S N S

110 
 
3. Nishaadantya Raagam:
Eg: Naadanamakriya raagam derived from 15th melakarta.
Aarohana : S R G M P DN
Avarohana : N D P M G R SN

Raag Janjhooti is also a Nishadantya raagam

4. Madhyamantya ragas:
Eg: Kapi jingla
Aarohana : SNSRGM
Avarohana : M G R S N D N S 22nd Mela Kharaharapriya janyam

Punnagavarali and Chittaranjani are also Nishadantya «agas. The Sama gana
scale (m g r s n d p) of ancient jrnusic stands as an example of a madhyamantya raga.

Raaga classification according to ancient Acharyas of Carnatic music. They

divided Raagas into 3.

1. Ghana Raagas:-

The ragas which have immense scope for Naabhi taanam , Raagaalaapana to
sing, which has the capability of producing sourya, veera, Utsaha rasas and a raag
which produce a Gambheera rasa is said to be a Ghana Raaga this kind of ragas are of
five in carmatic music . A ghana raga is a raga whose characteristic individuality is brought
about more easily by playing madhyamakala or tana (ghanam) in it, In such ragas, the
notes may be played in a plain and unadorned manner without any loss to raga bhava.

Such ragas are :

1. Naata
2. Gowla
3. Aarabhi
4. Sree Raagam
5. Varaali

These five Ghana ragas are also called as “Ghanaraaga panchakamu”. Sree
Tyaagaraja with his immense knowledge in music, and with great spiritual import in
sahitya composed “Ghanaraaga panchaka in these 5 Ghanaraagas i.e. keertanas in
carnatic music which is still now sung traditionally and also admired by all the musicians
of South India, depicts the Carnatic sampradaya.

111 
 
 Note :- the earlier Aacharyas &Lakshanakaaras also invented UpaGhana raga
panchaka in the ragas like
1. Raag kedaram
2. Raag Naarayana Gowla
3. Raag Reeti Gowla
4. Raag Saaranga Naata
5. Raag Bhowli

Along with “5” Ghanaraagapanchaka another “5” upaghanaraagapachaka are

added to them. Hence a total of 10 Ghana ragas exists in Carnatic music system.

In the words of Prof. P.Sambamurthy26, Examples : The traditional five ghana

ragas (ghana panchaka) : Nata, Gaula, Arabhi, Sriraga and Vaiali.

Kedaram, Narayanagaula, Ritigaula, Saranganata and Bauli are another series of

five ghana ragas and are referred to as the Dvitlya ghana panchakam.

In a naya or rakti raga, the characteristic indivi-duality is brought about both by

alapana in slow tempo and tana.

Examples: Todi. Bhairavi, Kambhoji, Sankarabharana and Kalyani.

In a desya raga, the characteristic individuality is easily brought about by

alapana.

Examples: Kanada Hindusthani Kafi, Jhinjhoti, Hindusthan Behag.

Sometimes the term ghana raga is loosely used in the sense of a raga affording
wide scope for alapana. Ragas usually resorted to for pallavi exposition in concerts are,,
in this sense, referred to as ghana ragas.

Some scholars regard ghana ragas as those which have a grand and majestic
effect; naya or rakti ragas as-those which have a soft and soothing effect and desya
ragas as those which combine in themselves the effects of both these types of ragas. This
concept has its parallel in the Purusha (male) Stri (female) and Putra (children) ragas.

It may be of interest to note that in the Kachcheri paddhati (concert programme),

Jhc sequence of ghana-naya-desya is generally adhered to. This sequence is based on an
aesthetic and logical principle. Vidvans in the past began their concerts with ghana ragas,
followed them up with the rendering of compositions and pallavis in naya or rakti ragas

112 
 
and concluded with delightful alapanas of desya ragas. Taana varnas have now usurped
the place of the ghana ragas.

2. Rakti Raaga:-

A raag which stimulate and which give pleasure and peace to the physical body
and soul is said to be a Rakti raag also which have a soft and soothing effect and
whiThis is also called as maarga raga

Eg :- Todi, Bhairavi, Sankarabharanam, kalyani etc.

3. Desya Raaga:-

The ragas which are incorporated from Northern India are said to be desya raags
in, carntic music also called as deseeya raagams ;

Karnataka ragas are those which are original to South India, like Bhairavi,
Ananda bhairavi, Kedaragaula, Nilambari and Sankarabbarana.

Desya ragas are those which came, from Northern , India and other countries and
have become popular in the South.Examples. Pharaz, Jhinjhoti, Desh, Mand, Hindustani
Behag and Hamir kalyani etc.

VAKRA RAGAS

The janya ragas whose Aarohana and Avarohana is crooked or Zig-Zag is said to
be Vakra raaga. In a Vakra raga the prior note will be repeated in a Zig-zag sequence.

Example: RAAG KATHANAKUTUHALAM: S R M D N G P S

MUKHARI: S R M P N D S

PANCHAMA RAAGA: S R D P N S

Some more examples: ANANDA BHAIRAVI : 20TH MELA: S G R G M P D P

SNDPMGRS

The aarohana is alone vakra Ananda bhairavi raag

SRI RAGA – 22ND MELA- SRMPNS

SNPDNPMRGRS

113 
 
 Avarohana is vakra.

SAHANA RAAG: 28TH MELA: S R G M P M D N S

SNDPMGMRGRS

Both aarohana and avarohana are vakra. The vakra ragas are classified as
following:

1. SAMPOORNA OR VAKRA SAMPOORNA RAAGAS:

In this type the aarohana and avarohana is samoorna and either or both of them
are vakra.
Eg: raag SAHANA already explained.
2. VAKRA VARJYA RAAGAS:
Vakra varjya ragas possess both Vakra Shadava and Vakra Audava ragas:
Vakra shadava ragas: in this type aarohana and avarohana is Shadava and either
or both of them are vakra.
Eg: NALINAKANTI 27TH MELA: S G R M P N S –S N P M G R S
Vakra audava ragas are those where the aarohana and avarohana are audava and
either or both are vakra.
Eg: HINDOLAM 20TH MELA – S M G M D N S – S N D M G S
Arohana is vakra here.
If the aaroh and avaroh is not in symmetry in the point of view of varjya swaras,
the aaroh and avaroh is described separately as following:
Eg: RAAG KEDARAM 29TH MELA - S M G M P N S
SNPMGS
It is Vakra Audava raag with a sequence or krama shadava raga.

3. UBHAYA VAKRA RAAGA:

Both the aarohana and avarohana is vakra in this kind of ragas. That may be
Sampoorna, shadava, audava.
The ubhaya vakra ragas are again classified based on the number of vakra swaras
in a raag. Raag Nilambari possess one vakra swara in its aarohana and one vakra swara
in avarohana.
Eg: S R G M P D P N S
SNPMGRGS

114 
 
 The number of vakra swaras in the aaroh and avaroh are not equal. Based on the
number of vakra swaras again vakra ragas are classified into
 Ekaswara vakra raga eg: Kuntala varali raag: S M P D N D S- S N D P M S
 Dwiswara vakra raga
 Triswara vakra raga
 Chatusswara vakra raga

4. UPANGA VAKRA RAGAS AND BHASHANGA VAKRA RAGAS:

Example for Upanga vakra ragas: raag SUDDHA BANGALA
and RAAG MANJARI
Example for Bhashanga ragas : Raag SARANGA and raag CHINTAMANI.
The maximum number of vakra swaras in a raag are four :
Eg: ASAVERI: S R M P D S- S N S P D M P R G R S

TALA SYSTEM OF CARNATIC MUSIC: 27

The tala system is perhaps the most difficult and complicated branch of South
Indian Music. There is no comparison to it in the other musical systems of the world.
The time-measures used by all the nations put together will form but a small fraction of
the innumerable varieties of rhythm used in South Indian musie. A Tamil writer Tunga
munivar emphasizes the intricate nature of the tala system of South India in the following
stanza: a stanza in Tamil is translated:

" If one can see the form of the southern breeze, the form of Siva, the form
of scent, the form of Manmatha (Cupid), the form of the flute tone and the form of
the Vedas, one can see the subtlety of the tala.

The development of tala mnemonics and the art of drumming have contributed to
the high development of the tala system. It should be remembered, that when a
mridangam player accompanies a mucisian (vocalist or instrumentalist) in India, he does
not merely beat the sarva laghu, but provides a cross-rhythmical accompaniment based
on the style, movement and rhythmical construction of the pieces rendered. This
'rhythmical harmony'' provided by the mridangam player contributes to the excellence of
a concert of Indian music.

115 
 
 In Carnatic Taala padhati the Sapta Taalas are the basic 7 Taalas that show the
beat values and when on these sapta taalas if the five Jaatis of Carnatic taala padhati are
applied generates 35 taalas i.e. 7 x 5 = 35 taalas are evolved.

FIVE JAATIS

The taalangas of Carnatic music are divided into 5 jaatis

TISRA JAATI = 3 beats

CHATURASRA JAATI = 4 beats
KHANDA JAATI = 5 beats
MISRA JAATI = 7 beats
SANKEERNA JAATI =

The Sapta taalas are also called as TAALA SAPTAKAMU / SULADI SAPTA

TAALAS28

Dhruva tala Means Chaturasra jati Druva tala.

Matya tala Means „ Mathya tala.
Rupaka tala Means „ Rupaka tala.
Jhampa tala Means Misra jati Jhampa tala.
Triputa lala Means Tisra jati Triputa tala.
Ata tala Means Khanda jati Ata tala.
Eka tala Means Chaturasra jati Eka tala.

    


  29
In the word Tala the first syllable ta represents Sankara, the giver of happiness and the
second syllable la represents Parvati or Sakti.

Vocal music, Instrumental music and Dancing depend on tala.

Unlike Western music, their exists in Indian music, a great number and variety of time-
measures of talas. In order to facilitate easy and accurate method of reckoning musical time, six
angas have been devised. They are known as the shad angas or six angas are now more
popular and are in use in Carnatic music system and they are:

116 
 
 1. laghu, 2. drutam, 3. anudrutam, 4. guru. 5. plutam, and 6. kakapadam. of
these, the first three angas alone enter in the formation of the seven principal talas. The time-
values of the anudrutam and the drutam are fixed and are unit-time and two units time respectively.
While the anudrutam is represented by a crescent thus , the drutam is represented by a circle (full
moon) thus O. The anu-drutam is counted by a back of the hand; the drutam is reckoned by
a beat of the hand and a waving of the hand. The beat of the hand is called ghata and the waving of the
hand is called visarjitam.

The laghu is represented by a short vertical line thus | . Its kriyaor execution consists of
two parts: (1) the beat of the hand and (2) finger-count. The beat is executed either by the
clapping of hands or by mildly striking the right-hand on the right thigh. The latter method, is of
course possible, only when one sits and sings. The fingers of the right hand are used for counting time. In
finger-counts, one should start with the little finger and proceed counting in the direction of the thumb. In
cases of six and eight finger-counts, the five fingers are counted first; the remaining finger-
counts are completed by starting again from the little finger and proceeding in the direction of
the thumb.

Unlike the drutam and the anudrutam, the time-value of the laghu varies with the change of
its jaati. Its time-value can be 3, 4, 5, 7 or 9 units of time. In consequence, these five kinds of
laghus are respectively called the Trisra laghu, Chaturasra laghu, Khanda laghu, Misra laghu and
Sankirna laghu. These different laghvs are represented by adding to the laghu sign, the numerals,
indicative of their total time-value thus:—

SHODASA ANGAS, THEIR NAMES, SIGNS AND SYMBOLS USED IN THE

TAALA PADHATI OF CARNATIC MUSIC 30

SIGHNS(OR) SYLLABLES
IN
NO SHODASA ANGAS SYMBOLS TO THE
MATRA
TO THE BEAT BEAT VALUE
1. ANU DHRUTAMU ¼ 1

2. DHRUTAMU ○ ½ 2
3. DHRUTA ○ ¾ 3
VIRAMAMU
4. LAGHUVU | 1 4
(CHATURASRA)
5. LAGHU VIRAMAMU | 1¼ 5
6 LAGHU DHRUTAMU ○| 1½ 6

117 
 
 7 LAGHU DHRUTA ○| 1¾ 7
VIRAMAMU
8 GURUVU 8 2 8
9 GURU VIRAMAMU 8 2¼ 9
10 GURUDHRUTAMU ○8 2½ 10
11 GURUDHRUTA ○8 2¾ 11
VIRAMAMU
1
12 PLUTAMU 8 3 12
1
13 PLUTA VIRAMAMU 8 3¼ 13
14 PLUTA DHRUTAMU ○81 3½ 14
15 PLUTA DHRUTA ○ 81 3¾ 15
VIRAMAMU
16 KAAKA PADAMU + 4 16

Kind of laghu Symbol Total time value Mode of reckoning

Trisra laghu |3 3 units of time 1 beat + 2 finger-counts
Chaturasana |4 4 units of time 1 beat + 3 finger-counts
Khanda ,, |5 5 units of time 1 beat + 4 finger-counts
Misra |7 7 units of time 1 beat + 6 finger-counts
Sankirna |9 9 units of time 1 beat + 8 finger-counts

The laghu is a constant factor in all the sapta talas. The drutam is absent in the Eka tala.
The anudrutam is present only in the Jhampa tala.

The other three angas: Guru, Plutam and Kakapadam figure in the scheme of the classical
108 talas. These classical time-measures are used in dance music, advanced pallavis and in the
Tiruppugazh hymns of Arunagiiiuatbar. According to Prof. P.Sambamurthy these talas came into
existence only during the post-Bharata period.

118 
 
 TABLE SHOWING FORMATION OF 35 TAALAS: 31

S Name of Sapta Trisra Jaati Chaturasra Khanda Jaati Misra Jaati Sankirna
N Sapta Tala Jaati Jaati
o Talas Symbols Tech. *B Tech. B Tech. B Tech. B Tech. B
terms N terms N terms N terms N terms N
for o for o for o for o for o
Sapta Sapta Sapta Sapta Sapta
Talas Talas Talas Talas Talas
1 Dhruva |○| | Mani 11 Srikara 14 Pramana 17 Poorna 23 Bhuvana 29
2 Mathya |○| Saara 08 Sama 10 Udaya 12 Udirna 16 Raava 20
3 Roopaka ○| Chakra 05 Patti 06 Raja 07 Kula 09 Bindu 11
4 Jhampa | ○ Kadamba 06 Madhura 07 Chana 08 Sura 10 Kara 12
5 Triputa |○○ Sankha 07 Aadi 08 Dushkara 09 Lila 11 Bhoga 13
6 Ata | |○ ○ Gupta 10 Lekha 12 Vidala 14 Loya 18 Dhira 07
7 Eka | Sudha 03 Maana 04 Rata 05 Raaga 07 Vasu 09
 the values of each taala after applying the jaatis

EVOLUTION OF 175 TALAS FROM 35 TAALAS:

The scope of Carnatic Taalas is vast like the Janya ragas in Indian music. There
is no end to this aspect.

Each of these 35 talas again gives rise to five varieties on account of the gati
bheda or the change of the gati. Thus it is 35x5 = 175 talas.

Even as there are the pancha jati bhedas, there are also the pancha gati bhedas.
Therefore each of the sapta Taalas comes to admit of 25 varieties on account of the
pancha jati-gati bhedas. When not otherwise mentioned, the presumption with regard to
a tala is, that it is in the chaturasra gati. The change of jati applies only to the laghu, but
the change of gati applies to all the angas in the 35 suladi talas.
32
CHART SHOWING THE FORMATION OF 175 TAALAS BY GATI BHEDA
IS GIVEN IN APPENDIX

Chapu Taalas

The Chapu tala is one of the time-measures used in Indian music from very early
times. This belongs to.desl sangita. There are many folk melodies in this tala. It is a
syncopated time-measure and is counted with two beats. Sometiaies for the sake of
convenience, instead of two beats, it is reckoned with a beat and a visarjita.

119 
 
 There are four varieties of the Chapu tala :—

1. Misra chapu (3+4=7), where the first beat has a duration of three units time and
the secpnd four.

In iome kritis of Syama Sastry in Chapu tala, we come across the reversed
sequence of 4+3 instead of 3+4 3J f.r example in the kriti, Ninnuvinaga mart in
Purvakalyani raga. This is called Viloma Ch& pu tala as opposed to the Krama
Chapu or normal chapu.

2. Khanda chapu (2+3 = 5), where the duration of the first beat is two units time
and the second, three.

This tala is popularly called Ara Jhampa i.e., half Jhampa-—half of 10.
Kritis like Munnu Ravana in Todi faga are examples of pieces in the regular
Misra jati Jhampa tala.

3. Tisra chapu (1+2 = 3), where the duration of the first beat is one unit time and
the second, two. Arumuga Vadivelava is an example.

4. The Sankirna chapu (4+5 = 9), where the duration of the first'beat is four units
and the second, five. This tala is rather an uncommon variety and figures in some
pallavis.

When merely the name Chapu* tala is mentioned on the top of a piece,
the presumption is that it is misra chapu. Other varieties like khanda chapu have
to be specifically mentioned as such.

Tala dasa pranas

The subject of tala dasa pranas deals with the analytical study of rhythm in all its
aspects. Some of the pranas are of mere academic interest. The ten elements (dasa
pranas) of musical time are:
Kala, marga, kriya, anga, graha, jati, kala, laya, yati and prastara are the ten
pranas-
Of these, the first five are referred to as the maha pranas and the rest as upa
pranas or secondary elements. The more important of the dasa pranas are treated here.
The rest are dealt with in the next volume of this series.

Kriya is the manner of counting time. It is the kriya, that indicates the censtituent
angas of a tala. The beat of the hand visarjita and the finger count are different kinds of
kriyas.

120 
 
Kriyas are of two kinds :—

1. Sasabda kriya i e., execution accompanied with sound, as in the clapping of hands
or in the beating of the right hand on the right thigh.

2. Nissabda kriya i.e., soundless execution as in .finger-count, visarjita, krushya,

sarpini, patakam etc.

Sasabda kriya is seen in anudrutam, which is reckoned -with a beat. In the drutam;
we have both the sasabda (beat) and the nissabda (visarjita) kriyas. In the laghu also, we
have the two kriyas (ghata or beat and figure-counts) represented.
;
Anga, Angas are the constituent parts or the limbs of a tala. Excepting the Eka
tala, all the other talas take plural angas. There are the shadangas (six ungas) :—.

Anudruta, druta, laghu, guru, pluta and kakapada are the six angas.

The Suladi sapta talas take only the anudruta, druta and laghu. The shadangas
figure in the scheme of the classical 108 talas of the suladi talas, the Dhruva tala and the
Ata tala have four angas each the Matya, Jhampa and Triputa talas, have- three angas
each; Rupaka, two angas and Eka tala, only one anga. Three of the sapta talas (Dhruva,
Rupaka and Ata) possess an even number of angas; the rest (Matya, Jhampa, Triputa and
Eka) possess an odd number of angas.

Graha: The place of commencement of music" in the tala avarta, is known as the
graha. The graha is sama when the music commences along with the tala and vishama,
when otherwise.

Vishama graha is of two kinds I Atita and Anagata.

Sarngadeva, in the Sangita Ratnakara, (13th cent.) says:—
Sama, atita, anagata are the three kinds of graha in tala

Laya: is tempo, speed or kala pramana. There degrees of speed arerecognised for
all practical purposes:-

Vilambita laya (slow)

Madhya laga (medium) and
Druta laya (quick).

Researcher, in the current chapter delineated the early history of Carnatic music
system also detail descriptions on Raaga classifications & Taala system. Similarly in the
earlier Jaati classification the10 Jaati lakshanas which are described by the great sages

121 
 
Bharata & matanga etc. i.e. Graha, Amsa, Nyas, Applicable for only the ragas of those
period said by Pt. venkatamakhi in his, Grantha chaturdandi prakasika.

According to the present singing style of raag system, only 3 lakshanas i.e. graha,
Amsa, Nyasa said by pt. Venkatamakhi, in his Grantha. All the 10 raaga lakshaas are
explored in the ragaalapana part of the present system of singing classical music system.

RAGA LAKSHANAS 33

DESCRIPTION OF RAAGAS IN CARNATIC MUSIC:

To describe a raag in Carnatic music the following Raaga lakshanas are to

described and studied:

1. Melakarta number
2. Janya raag – vakra raga, audava raga or shadav etc
3. Upaang or Bhashang raga
4. Arohana and avarohana
5. Notes taken
6. Raga chhaya or Jeeva swaras or Amsa swara
7. Rasa
8. Nyasa swara
9. Gamaka varika raga
10. Nishadantya or madhyamantya or panchamantya
11. Moorcchanakaaraka raga
12. Sanchara

In the present Carnatic music system while describing the raga lakshanas the
above mentioned points are to be made clear and all the above concepts are supposed to
be described to understand a raag and its features profoundly.

Melakarta or Janaka raga:

The ragas which are derived from 72 Melakartas or Janaka are said to be Janya
ragas. The formation and evolution of Janya ragas, their number are described in detail.

It is clear in the detail description of melakarta scheme by Sri. Venkatamakhi that

Carnatic music system is extremely depended on the brilliant scheme of Melakarta
system in the earlier detail description. If a raag is a Janaka raag the following points are
to be described:

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 1. If Janaka,.its serial number in the scheme of 72 melakartas and the number ' and
name of the chakra to which it belongs. Its Sankhya sanketa (mnemonics): Agni-
go for the 15th mela.

2. The svaras taken by the mela raga. Its svara sanketa (mnemonics) ra gu ma dha
nu for the 15th mela.

3. Whether each note of the raga is a samvadi of some other note occurring in the
raga, as in the case of Harikambhoji; s-p ; r-p; m-n; p-s ; g-d.

4. Whether the two tetrachords of the janaka raga are symmetrical as in the case of
Maya, malavagaula and Kharaharapriya ;

5. Whether it is a janaka raga claiming a large number ofjanya ragas.

6. Whether a Murchhanakaraka mela or an Amurchchanakaraka mela. If the former,

the scales that it gives rise to through the process of modal shift of tonic.

Note :—There are no sarva svara murchchanakaraka melas. There are

murchchanakaraka melas giving rise to 1, 2, 3, 4 or 5 melas by the process of modal shift
of tonic.
Special features of its serial number, if any.Thus in the case of the following pairs
of serialnumbers, the reversal of the digits of the first number gives rise to the number of
the corresponding suddha madhyama melakartas :Ex. 40 and 4 ; 51 and 15 ; 62 and 26.
In the case of the pairs; 15 and 51; and 26 and 62, the reversal of the number of
the suddha madhyama mela karta gives rise to the number of the corresponding prati
madhyama karta.

Melakarta is a parent scale before describing a raga lakshana. It is necessary to

specify from which Melakarta does a raga is derived. Based on the raaga & raaga
swarastanas, the melakarta or the Parent scale is identified.

JANYA RAAGA:

1. If the raga taken for study is a janya raga, the name and serial number of the
melakarta from which it is derived.
2. Differences of opinion if any, concerning the correct janaka mela of the janya raga
and the arguments for and against.
3. The other possible janaka melas that can be assigned to this raga from the point of
view of the svaras taken and the reasons for the preference of the particular mela.

123 
 
4. Whether a Murchanakaraka janya raga (Ex. Mohana) or otherwise. If the
former, the janya ragas that it gives rise to, by the shift of the tonic note For example,
Mohanas ri as sa gives Madhyamavati raag; and its pa as sa gives Suddha saveri
raag and so on. Murchchanakaraka janya ragas admit of the divisions:

5. Sarva svara murchchanakaraka raga, wherein every one of its svaras gives rise to a
new raga by the shift of the tonic note ; ex. Mohana.

(a) Katipaya svara murchchanakaraka raga wherein only one or some of its svaras
give rise to new ragas by the shift of the tonic note; ex. Kuntalavarali and Abhogi.

Under this section, we may have the classification Ekamurchchanakaraka raga, Dvi-
murchchanakaraka raga, Tri- murchchanakaraka raga etc

7. The arohana and avarohana of the raga and any difference of opinion concerning the
same. Asa rule, in a raga, it is the frequently occurring phrases that are codified and
presented as its arohana and avarohana Sometimes an a'.pa prayoga s incorporated
in the arohana and avarohana of a raga in order to indicate its precise janaka mela ;
examples are Nata and Sriraga. Rare sancharas are also sometimes incorporated in
the arohana and avarohana of ragas in order to clearly reveal .and establish their
melodic individuality

8. Whether the arohana and avarohana are symmetrical or otherwise.

Svara symmetry, Numerical symmetry

A raga is said to. possess a symmetrical arohana and avarohana, when the number
of svaras present in its ascent and descent is equal. Such ragas have identical svaras in
the ascent and descent as Hamsadhvani (s r g p n s - s n p g r s—29 ). All mela
ragas and shadava and audava ragas like Sfiranjani and Mohana are examples.
8. A raga possessing svara symmetry (i.e. identical svaras in the ascent and descent) need
not necessarily possess svarasthana symmetry. Bhairavi for example, has svaras
symmetry but not svarasthana symmetry, since it takes chatussruti dha in the arohana and
suddha dha in the avarohana.
 An audava raga like Andolika or Mayuradhavani (s r m p n s – s n d m r s -28) does
not possess a symmetrical arohana and avarohana; because, pa which is present in the
arohana is dropped in the avarohana and its place iaken by dha. There I sthus only a
numerical symmeretry and not a svara symmetry. Kannakagaula (s r g m p n s – s n
d m g s -22) is another example.

124 
 
 Of course, only non- vakra ragas are contemplated in this section.

A raga whether admits any Anya swara or foreign note is to be specified.i.e.

whether a raag is a Bhashanga raag or Uaang is to be specified.

Eg: raag Bhairavi takes Chatussruti Dhaivatam in its as an Anya swara.

An upanga raag means, all most all the janya raagas are Upaanaga ragas but the
upanga ragas take only the notes pertaining to the respective parent ragas.

Eg: MALAHARI, ARABHI, MOHANA etc

Then based on the raga classification it is clear that if a raag is a Vakra raag the
Vakra swara sancharas and has to specify which kind of Vakra raag is that.

The Aarohana and Avarohana notes are to be given in sequence. so that it will be
clear what are the notes that are taken in a raag.

Then it is very important to specify the Raaga cchaya swaras or Jeeva swaras in a
raag.

Eg: In raag Kanada the notes GA, DHA and NI are raga cchaya swaras.

Nyas swara in a raag is also should be given

Eg: the Nyasa swaras of Kanada raag are RI, GA, PA and DHA.

It is also to be specified whether a raag contains kampita swara or a raag is a

Kampavihina raga.

Eg: Gandhar swar in Kanada raag is a Kamita swar S R P G and Ri in

Purnachandrika raag

Wheher a raag is a Gamaka varika raga should be given. Melodic beauty in the
notes is identified through Gamakas.

If the raag is incorporated from other music system then it is to be specified that
it is a Desya raag and history of such ragas are to be given with detailed sancharas.

It is to specified whether it is a Ghana raga and also whether Eka sruti Rishabha
or dvisruti Rishabha etc are to be specified.

Eg: RAAG “GAULA” contains Ekasruti sruti Rishabha (256/243) the Ekasriti
Rishabha is the characteristic feature of Gaula raag it is therefore called as GAULA
RISHABHA.

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 If a raag is a Tristhayi raag it is to be specified that the particular raag is a
Tristhayi raag can be sung in all the three sthayis.

Closely allied ragas eg: the raga near to DARBARI is RAAG Nayaki Visesha
swara prayogas that highlight in a raag are to be given Eg: in Darbari raag M R G G R S
and in Kanada raag “ S N P, D N P “ are visesha sancharas.

RAAG RAS:

The raag rasa plays a very important role. Every raag depict different rasas based
on the raga swarup. Therefore raga ras is to be specified. Whether it is a Bhakti ras, Rakti
ras, Karuna ras or veera ras etc. is to be described in a particular raag. Ultimately the raga
Sancharas are to be given i.e. raga swarup which clearly explores the whole raga
structure and this is the mandatory description.

THEORITICAL CONCEPTS IN THE PRESENT CARNATIC MUSIC SYSTEM

Each melakarta if divided into three jaatis i.e. Sampoorn, Shaadav and Audav, 22
kinds of janya raagas & their types are evolved. The calculations are based on Pt.
Venkata Makhi.

Sampooran Jaati

SRGMPDNS – SNDPMGRS

Shaadav jaati ragas -6

1) SRGMPDS – SDPM GRS

2) SRGMPDS –SNPMGRS
3) SRGMDNS – SNDMGRS
4) SRGPDNS- SNDPGRS
5) SRMPDNS – SNDPMRS
6) SGMPDNS – SNDPMGS

Audav jaati raaga varieties -15

1) SRGMPS- SPMGRS
2) SRGMDS- SDMGRS
3) SRGMNS – SNPGRS
4) SRGPDS – SDPGRS
5) SRGPNS- SMPGRS

126 
 
 6) SRGDNS- SNDGRS
7) SRMPDS – SDPMRS
8) SRMPNS – SNPMRS
9) SRMDNS – SNDMRS
10) SRPDNS – SNDPRS
11) SGMPDS- SDPMGS
12) SGMPNS- SNPMGS
13) SGMDNS- SNDMGS
14) SGPDNS- SNDPGS
15) SMPDNS- SNDPMS

The above mentioned and evolution of different Janya ragas in 3 jaatis are 22 in
number. Therefore again if these three Jaatis are subdivided i.e.

Sampoorn- sampoorn =1 Eg:- Raag Bhairavi- SRGMPDNS- SNDPMGRS

Sampoorn – shadav = 6 Eg:- Raag Bhairavamu – SRGMPDNS- SDPMGRS

Shaadav – sampurn =6 Eg:- Raag kambhaoji – SRGMPDS- SNDPMGRS

Sampurn – Audav = 15 Eg:- Raag Saramati – SRGMPDNS – SNDMGS

Audav – sampoorn =15 Eg:- Raag Bilahari – SRGPDS – SNDPMGRS

Shadav – shadav =36 Eg:- Raag SriRanjani – SRGMDNS- SNDMGRS

Shadav – Audav =90 Eg:- Raag Natakuranji – SRGMDNS – SNDMGS

Audav – shadav =90 Eg:- Raag Malahari – SRMPDS – SDPMGRS

Audav – Audav =225 Eg:- Raag Suddha Saveri :- SRMPDS – SDPMRS

484

Total number of i.e. 484 janya ragas evolve from each melakarta. Similarly if all
the 72 mela kartas are multiplied with 484 janya raagas, then 34, 848 janya ragas evolve.
These ragas are called as ‘Upatti ragas or Amukhya ragas” Again if these ragas are
related to or classified under ‘Vakra sampoorn’

Vakra shadav

Vakra Audav jaatis then the

127 
 
 The janya ragas have no limit in Indian music. It is said Aarohan (Ascending)
notes and Avarohana (Descending) 7 notes in carnatic music.

Carnatic music Raaga system mainly based on Janya raga scheme &based on the
Janya ragas which are divided into various jaatis and Sub- Jaatis many innumerable ragas
evolve.

According to Pt. Sarang dev in sangeet Ratnakar Granth, classified ragas

into two: they are
1. Marga Raagas
2. Desya Raagas

1. Marga Raagas :- under this Saranga Dev again classified ragas into six types:

1. Grama Raagam
2. Uparaagam
3. Suddha raagam
4. Bhasha Raagam
5. Vibhasha raagam
6. Antarabhasha raagam

But the above mentioned raga types are not in use, these type of raga
classifications became obsolete, it is said that they are only found in the heavenly Gods
and Goderses i.e. these ragas are only practised & sung in the abode of Gods &
Goddesses & by great Hermits in other words these ragas are only practiced in
“Gandharva lokas” .

This kind of ragas are only use ful to know the pre historical existence of music
in our country.

Desya raga division:-

Under this there are 4 types

1. Raagaanga Raagam
2. Upaanga Raagam
3. bhaashanga Raagam
4. kriyaanga Raagam

All the above Desya raga classifications and their descriptions are clearly
described earlier.

128 
 
Antaramarga Raaga:-

In the earlier period, the concept of Bhashanga raga is called as Antara marga
ragas i.e. having the other raga swarup and usage of foreign note are called as
Antaramarga raagas in the ancient period gradually it is now called as Bhashanga raaga.

Raaga Division according to olden ancient Acharyas of carnatic music. They

divided Raagas into 3.

2. Ghana Raagas:- This concept is already explained earlier.

SWARA

Swara Nirupanamu
Swaram:
In the earlier description while describing Dwavimsati sruties, i.e. the srutis are
resonated individually, the intervals, between each swara show fluctuating results,
(frequencies) which creates a distubancing, unpleasant sound and make inconvinience in
singing a Gamaka. Therefore to overcome such problem our ancient Aacharyas and
researchers invented these 22 srutis and exact frequencies between each note by adding
the word Ranjak for such kind of flawless sounds in music. These srutis are now said to
be the Sapta swaras.
Swara Shabdartham:
Swa = Swayamuga (by itself, by its own)
Ram = Ranjimpajeya dhwani (the sound that gives pleasant and
delightment to an ear) is said to be a swar.

Names of the Sapta swaras:

1. Shadjam
2. Rishabham
3. Gandharam
4. Madhyamam
5. Panchamam
6. Dhaivatam
7. Nishadam

129 
 
- Sapta Swara Sanketakshramulu:
1. Sa, 2. Ri, 3. Ga, 4. Ma, 5. Pa, 6. Dha, 7. Ni
- Swarasaptakamu:
The 7 notes S R G M P D N are said to be ‘Swarasaptaka’.
- Swara Ashtakamu:
If Taar ‘Sa’ is added to the 7 notes i.e., S R G M P D N S then is said to be
‘Swara Ashtamu’
Poorvangamu:
The first part of saptaswaras i.e., the notes till S R G M are called as
Pooravangam. In Western as Poorvangamu. In Western it is called as (Lower –
Tetrachord).
Uttarangamu:
The second part of the Saptaswaras i.e. the notes P D N are called as
Uttarangamu. In Western it is named as Upper Tetrachord.
Names of Dwadasa Swaras (12 swaras) presently used in Carnatic music system:
Apart from Shadja, Panchama notes in the Saptaswaras, all other notes i.e.,
Rishabha, Gandhara, Madhyamam dhaivata and Nishadas has got Suddha (prakriti),
Vikruti bhedas that bhedas have come out into 12 swaras. Hence, these 12 swara are
called as Dwadasa swaras.
There are :
1. Shadjamam
2. Suddha Rishabham
3. Chatursruti Rishabham
4. Sadharana Gandharam
5. Antara Gandharam
6. Suddha Madhyamam
7. Prati Madhyamam
8. Panchamam
9. Suddha Dhaivatam
10. Chatussruti Dhavatam
11. Kaisiki Nishadam
12. Kaakali Nishadam

If these 12 swaras are played on the Veena instrument, clearly one can
understand all the 12 swaras or Dwadasa swaras keenly in Carnatic music.

130 
 
FORMATION OF SHODASA SWARAS (16 SWARAS):34

Similarly, in the above given 12 swaras, in the place of the third swara i.e.
Chatussruti Rishabha – Suddha Gandhara is added, in the place of 4th swara Sadharana
Gandhara -, shatssruti Rishabham, in the place of 10th note i.e. Chatussruti Dhaivata –
Suddha Nishada and in the place of 11th note Kaisiki Nishada –Shatssruti Dhaivata notes
are added and a total of 12+4=16 swaras are formed. These 16 swaras are called as
“SHODASA SWARAS” which are presently used in Carnatic music. These extra
four swaras are used in the Melakartas like “KANAKANGI”i.e. in the first 6 Melakartas
and in the Melas like CHALANATA etc. scheme. A rare concept that differs from
Hindustani music system.

Table Showing Dwadasa and Shodasa Swaras 

Dwadasa
1 2 3 4 5 6 7 8 9 10 11 12
Swarasthanas
Shodasa Swaras

Chatusruti-Dha
Sadharana Ga

Shatsruti-Dha
Chatusruti Ri

Suddha- Dha
Panchamam
Shatsruti-Ri
Shadjamam

Suddha Ma
Suddha Ga

Kaakali-Ni
Suddha-Ni
Suddha Ri

Kaisiki-Ni
Antara ga

Prati- Ma

Shodasa
1 2 3-4 5-6 7 8 9 10 11 12-13 14-15 16
Swaras No.

VAADI SWAR: any swar in a raag which is repeatedly sung is said to be a Vaadi swar.
This is also called as an Amsa swar. But in the present Carnatic music system while
describing the Raaga lakshanas the same concept is called as “JEEVA SWARAM”

SAMVAADI SWAR: In any raag between two swaras if there are 8 or 12 srutis such
swaras are said to be a samvaadi swar of a raag.these samvaadi are of two kinds:

1. SUDDHA SWARA SAMVAADI: The sapta swaras which are called as Suddha
swaras, the samvaadi swaras that occur in these Suddha swaras like (shadja-suddha
ma),(shadja-madhyam),(suddha ri-suddha dha), (suddha Ga- suddha Ni) are said to be
the Samvaadi swaras between the Suddha sapta swaras.

VIKRITA SWARA SAMVAADI: the swaras like (sadharana Gandharam-Kaisiki

Nishadam),(Antara Gandharam-Kaakali Nishadam), (Chatussruti Rishabham-Prati
Madhyam)are called as the Vikrita swara samvaadis.

131 
 
VIVAADI SWARA: In any raag if there is a sruti in between two swaras such two
swaras become Vivadi swaras i.e. enemies.

SUDDHA SWARA VIVADIS: (Suddha Ri- Suddha Ga), and (Suddha Dhaivata-
Suddha Nishada) are the Vivaadi swaras in Suddha swaras.

VIVADIS IN VIKRITA SWARAS: (Sadharana Ga- or Shatssruti Ri- Antara Ga) and
(Kaisiki Ni or Shatssruti Dhaivatam – Kaakali Ni).

Apart from the Vaadi, samvaadi, vivadi swaras the rest swaras are said to be
anuvaadi swaras.

The note combinations like Shadjam-suddha madhyam and Shadjam-Pancham

are called as “SAMVAADADWAYA”

In Carnatic music there are five Sthayis equivalent to Saptaks in Hindustani

music system

They are:

1. ANUMANDRA STHAYI
2. MANDRA STHAYI
3. MADHYA STHAYI
4. TAARA STHAYI
5. ATI TAARA STHAYI

22 SRUTIS:

The subject of 22 srutis is one of the most difficult branches of the science of
Indian music. It can be understood only by persons with many years of musical training.
In fact those janya ragas, which can possibly claim more than one janaka mela are put
under particular melakartas on the basis of their sruti values only. The melodic indivi-
duality of a raga is revealed only when its characteristic srutis are sounded.

Sruti means “sruyanta iti srutiyah”, the sound that can be heard by a normal
Human being i.e. Aahata Naada is said to be SRUTI, Naad is the main source for Sruti.
According to the earlier Aacharyas and musicologists and sages the sounds that occur
due to the change in frequency and pitch generate the srutis about 66 in number between
the sapta swaras. these 66 srutis are compared to the Human body(ganglia) in an order
i.e. the first part of 22 srutis are Put under the Hridaya (heart) sthana, the second part of
22 srutis are put under “Kantha sthana” and the rest 22 srutis are put under the Agna or
head .

132 
 
 The above mentioned 22 srutis into three parts and their evolution is called as
DWAVIMSATI SRUTIS invented by the earlier musicologists also each sruti among
the Dwavimsati 22 srutis is given a name.

Dwavimsati sruti table is given below. 35

S.No. Names of Dvavimsati Jaatis Names Symbols Examples of ragas in 22

Shrutis Shrutis
1 Shadjamu Di Thivra Sa All Ragas
2 Ekasrhruti rishabhamu Aa Kumudwati Ri1 Gaula
3 Dwisrhruti rishabhamu Mru Manda Ri2 Mayamalavagaula
3
4 Trisrhruti rishabhamu Ma Chandovati Ri Kambhoji & Bhairavi
4
5 Chatusrhruti rishabhamu Ka Dayavati Ri Kalyani
1
6 Suddha gandaramu Ma Ranjani Ga Bhairavi & Todi
2
7 Sadharana gandaramu Mru Ratika Ga Kharaharapriya
8 Antara gandaramu Di Raudri Ga3 Sankarabharanam &
kambhoji
9 Thivra gandaramu or Aa Krodhi Ga4 Kalyani
chyutamadhyamagandaramu
10 Shuddhamadhyamamu Di Vajrika Ma1 All Shuddha Madhyama
Ragas
11 Thivramadhyamamu Aa Prasarini Ma2 Begada
12 Pratimadhyamamu Mru Priti Ma3 Poorvakalyani
4
13 Chyutapanchamamu Ma Marjani Ma Varali&ramapriya
14 Panchamamu Mru Ksiti Pa
15 Ekashrutidhaivatamu Ma Rakta Dha1 Saveri
16 Dwishrutidhaivatamu Aa Savdipini Dha2 Mayamalavagaula &thodi
17 Trishrutidhaivatamu Ka Aalapini Dha3 Kambhoji
4
18 Chatushrutidhaivatamu Ka Madanti Dha Kalyani
1
19 Shuddhanishadamu Aa Rohini Ni Kambhoji&bhairavi
2
20 Kaisiki nishadamu Ma Ramya Ni Kharaharapriya (lavagaula)
3
21 Kakalinishadamu Di Ugra Ni Sankarabharanam &
Mayamalavagaula
22 Chyuta shadja nishadamu Ma Kshobini Ni4 Kalyani&kuranji

The above given table shows the way of singing swaras in accurate sruti
frequencies. Example: Raag Guala in Eka sruti Rishabham, Rishabham of
Mayamalavaguala is Dwisruti (suddha rishabham in the present system), similarly
Kambhoji raag rishabham is in Trisruti, a pitch higher than Dwisruti is Trisruti i.e.
Rishabham is slightly a pitch higher in Trisruti in Kambhoji, Bharavi ragas etc. These

133 
 
seemingly fixed sruti values in Carnatic system forms the basis for accuracy, that gives
the flawlessness and purity with the eternal expression of the swaras.
The Dwavimsati srutis all the 22 are divided into 5 jaatis
1. Deepta
2. aayata
3. karuna
4. mrudu
5. Madhya
 in the 22 srutis 1,8,10,21 srutis come under Deepta jaati
 2,9,11,1619 srutis come under Aayata jaati
 5,17,18 come under come under Karuna jaati
 3,7,12,14 come under Mrudu jaati
 4,6,13,15,20,22 come under Madhya jaati.

The ancient musicologists in the very beginning found srutis to all the sapta
swaras, later finding that Shadaj and Pancham are Avikriti swaras, they allotted 1 sruti to
shadaj and 1 sruti to Pancham swar and the rest 20 srutis are allotted to RI, GA, MA,
DHA, NI swaras. Each swara is allotted 4 srutis therefore the total value is
5x4=20+1+1=22 srutis. In Carnatic music sruti frequency of a note plays a very role.
these srutis between each swara i.e. 20 srutis are derived by the following calculations in
each sthayi.

Sruti is a note of minute pitch which a refined and trained ear can distinguish. It
is the smallest audible difference of pitch. It is a fraction of a semi-tone. There is no
such thing as a unit sruti with a constant value. An eka sruti (single sruti) interval is of
three sizes. When we say that there is an interval of one sruti between a pair of notes,
the value of this sruti interval may be any one of these according to the notes forming the
81
pair. The values of these srutis are, in the increasing order of pitch: (comma of
80
25 256 81
Didymus : 22 cents), (70 cents) and (Pythagorean Limma: 90 cents).
24 243 80
is called the pramana sruti. The other two srutis are termed nyuna sruti 25/24 and
purna sruti 256/243 respectively. The term purna sruti denotes the eka sruti interval of
the highest pitch. The term nyuna sruti means the sruti that is slightly less than the purna
sruti. The octave is divided into 22 intervals of unequal pitch. In other words, the sthayi

134 
 
is conceived of as the sum total of 22 srutis of unequal size. Therefore these 22 srutis are
distributed to each swara in a sthayi based on the above three sruti values brings out
accurate and exact values, firstly values are calculated to sa-pa values, then to sa-ma
values “cycle of fifths” and “cycle of fourths”. The objectivity is introduced by the fixed
srutis, enabling the instrumental use. Example: To tune the Harmonium etc.

Importance of Dwavimsati srutis in Carnatic music:

Notes which are separated from one another by an interval of less than a pramana
sruti are not reckoned. In the sruti scheme, precedence is and then to sa-ga values.It is
not unusual for a raga to change some of its characteristic srutis in particular sancharas.
Occasionally in some ragas, the frequencies of svaras differ in their arohana and
avarohana. Rishabha and Gandhara of Todi are instances in point.

MANODHARMA SANGITA36

The Carnatic music is totally based n the Manodharma or Creative music. Even
the whole Indian music is based on Manodharma sangita. An artist needs immense
practice and command in the concepts. Especially Carnatic music concepts are very
difficult it needs lot of practice the Raagalaapana, Pallavi, Tanam etc needs lot of
calculations. The tradition of Carnatic music is pure. The oscillations on the notes, the
vowel extensions show the pure sampradaya of Carnatic music.

Manodharma sangita is improvised music. It is music created on the spot and

sung or performed. It is not a piece of music already composed by some one else or even
composed by the performer himself and memorised and reproduced. It is music created
and sung by him on the spur of the moment and flows out of him, spontaneously. This
music is the off-hand creation of his own fertile imagination. Bearing in mind the
detailed lakashna of the raga, its jiva svaras and nyasa svaras, its raga ranjaka
combinations and visesha prayogas, the musician elaborates the raga in such a manner as
to bring out its several points of excellence.

The welling musical thoughts generated within him struggle to find expression
through his voice or the instrument. And even as only a small portion of an ice-berg is
visible above the water surface, the amount of creative music that comes out of the
musician is but a small fraction of the music that he can possibly create and perform. It is
during the performance of Manodharma sangita that gifted musicians are able to make
the audience forget this mundane existence and elevate them to a higher plane.

135 
 
Performers of classical music take a delight in displaying their powers of creative skill in
this sphere of the art. They feel all their labours amply rewarded if they find somebody in
the audience genuinely appreciating their flights in the sphere of creative music. It is only
Manodharma sangita that has kept alive Indian music all these centuries.

Raga provides scope for a wealth of musical thinking. In the sphere of raga-
alapana, the performer takes us to an infinite world of musical thought and creativity. A
spell on the listener is sometimes cast by raga-alapana. Confined to an aesthetic area and
unfettered by laya and tala, the performer presents the varied visages of the raga in
alapana. In Pallavi exposition and in the rendering of Niraval and Kalpana svaras he is
disciplined by tala and unfolds to us the melodic beauties of the raga in the rhythmical
setting. Alapanas should not be stereo-typed. They should be original, individualistic and
stimulating.

Divisions of Manodharma Sangita

Extemporization in Sonth Indian Music admits of five divisions :—

1. Raga alapana.
2. Madhyamakala (tana, ghanam).
3. Pallavi.
4. Svaram. and
5. Niraval.

Of these, Raga alapana is unmeasured music and is without strict rhythm.

Madhyamakala has some perceptible rhythm. Kalpana svara sung to the pallavi or to any
section of a kriti is also measured music since it is in the tala of the chosen theme. Niraval
or sahitya prastara either of the paliavi or of an appropriate section of a kriti, is also
measured music for the same reason.

Raga alapana has been in existence in some crude form from very early times. But
its systematic development dates from the time of Matanga, who is the father of the
modern raga paddhati. Madhyamakala, an aspect of raga alapana, came later. The art of
singing Pallavi and Svaram, though hinted at in the Sangita ratnakara, attained its full
development in South Indian Music only two centuries ago.

Ragas are aural facts and every musician is cognisant of them. Musical
compbsitions are so many mirrors through which we are able to see the melodic forms of
ragas.

136 
 
Syllables to be used in singing alapana

In the alapana of a raga, only the syllables ta da ri nam tom should be used. This
is the correct sampradhaya of Carnatic music. These are euphonious syllables and are
pleasant to hear and also possess a mystical meaning.

Unmusical phrases like ra ra ra, la la la, ya ya ya, oy, nya and rya are not used.
Sacred names like Sankara, Rama are sometimes used in alapana. Maha Vaidyanatha
Ayyar used to start his alapana by vocalizing Sankara.

The syllables used by vocalists in raga alapana are mere carriers of sound. The
deepest and the most resonant vowel is frequently used in raga alapana.

Raga alapana paddhati on the procedure for the development of a raga The
following procedure is adopted whenever a detailed and extensive alapana of a
raga is planned as a prelude to a pallavi in the middle of a concert. Usually rakti ragas
admit of such elaborate treatment, as they lend themselves to alapana in slow tempo and
quick tempo. In ghana ragas, the madhyamakala alapanas shine by contrast. On account
of their limited scope, it is not possible to develop elaborate alapanas of desya ragas.
Ragas like Todi, Saveri, Bhairavi, Kedaragaula, Mohana, Kambhoji, Sankarabharana and
Kalyani, which admit of an elaborate treatment, are referred to as major ragas and the
rest as minor ragas.

Raga alapana again contain three parts

1. AKSHIPTIKA A'kshiptika or the Introduction.

2. RAAGAVARDHANULU Raga vardhani or the body of the alapana.
3. STHAYI SANCHARASSthayi and Makarini consistituting the conclusion.

Akshiptika is the introductory part of the alapana. Ayitta is another name, for
Akshiptika. It is here that the avirbhava (manifestation) of the raga takes place.

In this introductory part, the alapana is commenced on the madya sthayi shadja
and followed up with appropriate sancharas in the mandra and madhya sthayis with
occasional flights in the tara sthayi. A return is finally made to the madhya sthayi shadja.
Sometimes the ragas are also commenced on tara shadja or other notes, wherever
tradition favours the departure. Some methods of commencing a raga have become
classical on account of their being associated with eminent musicians in the past.
Ranjaka prayogas which are the pivotal pharses for a raga, are freely used in the
Akshiptika.

137 
 
 The second part of the alapana, known as Raga vardhani is the substantial part of
the alapana. Raga vardhani has four stages and for each of these stages there is the
commencement or eduppu and the conclusion or Muktayi. This muktayi is called
vidari. Thus Vidari I, Vidari II, Vidari III, and Vidari IV mark the crowning conclusions
of the four stages of Raga vardhani.

Sthayi sanchara

If in the course of sanchara, one starts on a note and finishes on the same note,
that note is called a sthayi svara.

Sthayi is of two kinds:—

Arohana sthayi and avarohana sthayi.

In the arohana sthayi, the sthayi svaras are in the arohana krama, but the
sancharas themselves, beginning with each sthayi svara, progress downwards. In other
words, the highest note touched in each sthayi sanchara is the sthayi svara itself.

The procedure for the arohana sthayi sanchara is as' follows :—

Start on the madhya sthayi shadja and witnout touching any of the notes above it,
make sancharas in the mandra sthayi, going down till mandra shadja and then come back
to madhya shadja. Stop on this note for some time and again make sancharas in the
mandra sthayi, reaching the mandra shadja and come back to madhya shadja and
conclude. This is madhya shadja sthayi aalapa.

Now 'take the middle octave rishabha as the sthayi svara and without touching
any of the notes above it, make sancharas 'going down to mandhra sthayi rishabha twice
as before and conclude on the madhya sthayi rishabha; and so on for ga, ma, pa.dha,
m, and sa. The effective range of the sanchara in each :of\ these cases is thus an octave, s
to s ; r to r ; g to g; m to m : etc. In each case, The sthayi svara is the highest note
and since these sthayi svaras are in the ascending order of pitch, this sanchara is called
arohana stkayi.

Avarohana sthayi. Now take the tara sthayi shadja as the sthayi svara and without
touching any of the noies below it, make sancharas in the tara sthayi twice as before,
going up to ati tara shadja and then finish on the tara shadja. Likewise for ni, dha, pa, ma,
ga, ri, and sa. The effective range of the sanchara here also is one octave in each case'- s
to s; n to n; d to d; p to p etc.

138 
 
Madhyamakala or Tana

The next important branch of raga alapana is tana or madhyamakala. This is the
most lively and bewitching/ part of the raga exposition and comes and a welcome relief
after the long drawn-out chowkakala alapana. This is really alapana in madhyamakala
or medium speed. There as perceptible rhythm here. The rhythmical flow of music is
very fascinating. Tanam is madhyamakala gmam.

The music herein is in a sense measured, though not into specific avartas. A uniform
tempo is maintained and variety is introduced by the changa of figure now and then.
Whenever a nyasam is made, some slow speed sancharas around the nyasa svaras are
permissible. The phrases anamta, tanamta, tananna, tanamna should be used in this
style of raga exposition. Expert vainikas play trikala tanas.

Makarini and Vartani are other names for this style of music.

It is usual to practice svara tanam i.e., singing tanam with the solfa syllables as a
preliminary to singing tanam in the usual manner.

Tanam in drutakala is called ghanam. Music in quick tempo is the dominant

feature of this exposition and while singing nyasa, madhyamakala and vilambakala
sancharas can come in.

Varieties of Tana

From the point of view of the varieties of figure of svara-group patterns that can
be presented in this style of exposition, eight varieties of tana have been recognised. Six
of these varieties have been given the names of animals and birds which have
characteristic gaits, and which are interesting from the point of view of rhythm. The other
two names are self-explanatory. The eight varieties of tana are:—Manava tana, Asva
tana, Gaja tana, Markata tana, Mayura tana, Kukkuta tana, Manduka tana and Chakra
tana.

From the figurative nature of the phrase-patterns, tana, have also been classified
into :—Chakra tana, Vakra tana, Misra tana, Malika tana, Gambhira tana and Vidya tana.

The alapana of a raga can be, compared to an essay. Just as an essay has an
introduction, body and conclusion, the raga alapana also has the same divisions.
The stages of Raga vardhani correspond to the several paragraphs occurring in the
body of an essay.

139 
 
PALLAVI

The most important branch of creative music. Pallavi may be styled the Chrest
jewel of manodharma sangita. The performer's creative talents, his mastery of rhythm
and grasp of technical details are all put to the utmost test here. It is in this branch of
manodharma sangita that the musician has ample opportunities of displaying his creative
talents, imaginative skill artistic sense and musical intelligence.

The subject of pallavi has its Theoretical, Practical and Historical aspects.

Though the art of Pallavi-exposition is hinted at in a vague manner in the

Sangita ratnakara of Sarangadeva (early 13th Cent.), yet it did not attain its full
development until the eighteenth century. This art is unquestionably the brightest
product of the South Indian musical genius. The Pallavi is the largest item in a South
Indian concert and contributes greatly to its academic and aesthetic value, Raga alapana
is un-measured music, while pallavi is measured music. The pallavi constitutes the
necessary counterpart of the long drawn-out alapana of a major raga. The detailed
alapana and the pallavi rightly occupy the central place in the South Indian concert
programme. Pallavi is in a sense, raga alapana in measured form, woven round a stock
theme.

Structure

The term * pallavi' is construed as made up of the initial syllables of the three
words :—Padam=words, Layam—time and Vinyasam*= variations. (Pa+la+vi giving
rise to Pallavi). The words of a pallavi may be either on a sacred or secular theme and
can be in any language. The words may also be of an amorous, satirical or humorous
character. The sahitya may also be of a funny character. The sahitya of a few pallavis
consists of the first words of some well-known songs. Pallavis in manipravala sahityas
also exist.

Prathamanga and Dvitiyanga are the two parts of a pallavi and the dividing point
is called the padagarbham or arudi. At this point, there is a period of rest or visranti. In
pallavis in Adi tala, the padagarbham coincides with the best of the first drutam.

The two parts may be of equal or unequal length. In the latter case the
prathamanga is longer than the dvitiyanga. Just as there are major ragas and minor ragas,
there are major pallavis, which admit of a long and detailed treatment and minor pallavis,

140 
 
which are inten ded for use in concerts of shorter duration. Example 1 on the next page is
an instance of a major pallavi and Example 2 that of a minor pallavi:

The music of a pallavi should be good and interesting to hear. It must reflect the
svarupa of the raga. The music and the sahitya should be an organic whole and provide a
feeling of completeness. The commencing note, the concluding note and the arudi svara
of a pallavi should bear a certain relationship. The concluding note may be the note
immediately below the commencing; note of the pallavi or the note above it. The arudi
svara may be the same (same svara) as the commencing note as in the pallavi Andariki
challanaina (Sankarabharana raga) Ex. 7 or may be its octave note (sthayi svara) as in the
pallavi Rama ninne nammiti nijamuga (Sankarabharana) or may be its samvadi svara i.e. a
fourth or a fifth higher or lower as in the pallavis: Garuaa gamana pnlaya Karui^alaya
(S&ha.na raga) and Tirigi juda radatave O lalanamani (Kalyani raga) Ex. 4. Rarely the arudi
svara may be related as an anuvadi svara to the graha svara.

The pallavi provides intelectual pleasure and aesthetic joy. If the pallavi does not
interest some people, it is their fault in not having acquired the requisite musical
knowledge to appreciate its exposition,

A musician may show his talents by handling some well-known classical pallavi
in an artistic manner, or by composing a pallavi brestling with technical beauties and
rhythmical intricacies. Some pallavis have become classical on account of their having
been handled by distinguished musicians in the past.

A pallavi may be composed in any raga, tala and tempo provided it otherwise!
satisfies the ordinary rules of musical composition. Pallavis may be composed in
cammon ragas

SVARA KALPANA

The next branch of manodharma sangita is the singing „ of kalpana svaras. Here
the musician has the opportunity of presenting the various rich and colourful aspects of
the raga bhava through the medium of svara sancharas, the notes being rendered with
their characteristic srutis, gamakas and intonation. Some musicians indulge in singing
svaras modelled on tala mnemonics (jati combinations). This is not the correct style and
further this cannot be called manodharma sangita, since these are previously thought out
and modelled on some rhythmic frame-work.

141 
 
 Kalpana svaras are sung to the pallavi as already mentioned and also to the
pallavi, anupallavi, charana or other suitable section (as for example—pranava svarupa in
the charana of Vatapi Ganapatim) of a kriti. Clever musicians sing svaras for, phrases of
intricate eduppu like tambura chekoni in Koluvamaregada (Todi) and Akhanda sacchi-
dauandam in Chintaya ma (Bhairavi)'.

It is the tradition to sing for themes in kritis, many kalpana svaras of single avarta
and double avartas and only a few of multiple avartas. But in Pallavi exposition, one can
attempt later on kalpana svaras of many avartas.

Rules

1. The mouthing of the kalpana svaras should be euphonious and in conformity to

raga bhava.

2. A kalpana swara passage should as a rule conclude on the (admissible) note

immediately below the commencing note of the theme. The following half-avarta
svaras for the pallavis 01 two well-known kritis will bear out this ipoint:—

Ex. 1. Vatapi Ganapatim (Muthuswami Dikshitar.) Hamsadhvani raga—Adi tala.

O O
sr gp Grsr (Vatapi gana)
gpnp Grsr (Vatapi gana)
pnsn pGr (Vatapi gana)
nsnp p Gr (Vatapi gana)

NIRAVAL

Niraval, the last branch of creative music, is literally filling up with new music,
parts of the chosen theme. Niraval as a stage in pallavi elaboration has been referred to
some sections of kritis admit rf beautiful niraval. Niraval is extemporising variations,
ri.st on parts. While attempting niraval, there is the unfortunate tendency in some singers
to introduce the syllable a' before some words in vowel extensions, resulting in awkward
meanings. The niraval attempted for Mangalakara mandahasa vadanam of Chintaya ma
(Bhairavi raga) of Muthuswamy Dikshitar is an instance in point. During the course of
niraval in quick tempo, Mangalakara is sounded as Amangalakara. Compositions in slow
tempo like the pada, will not-admit of niraval.

142 
 
 Historical, the branches of manodharma sangita treated of above relate to the
adhunika paddhati (modern practice. This paddhati itself is the result of centuries of
experiment. Of the five branches of manodharma sangita, raga alapana is very old. It
sprang into existence, when slokas came to be recited in some raga or other. The term jati
to some extent answers for ragas in the works written during the pre-Christian era.
Madhyamakala developed much later. Pallavi singing, though hinted at in the Sangita
ratmkara is a still later development. Pachchimiriyam Adiyappiah (18th cent.) is credited
with having systematised the art of pallavi elaboration. With the dawn of the kriti
composition, the arts of niraval and development of kalpana svaras received fresh
impetus since this composition provided apt themes for the purpose.

Note: the above explained creative (Manodharma sangita) aspects of Carnatic

music is attempted by an artist in the Classical performances while rendering Kriti,
keertana, Tillana, Padam compositions. The concept of Pallavi which is improvised in a
Kriti is different from the concept of Pallavi, Anupallavi, Charanam. The opening lines
in a Kriti, Keertana, Song etc is supposed to be Pallavi in Carnatic music system. In
addition Carnatic music possess Anupallavi in most of the Kriti, Keertana and in all
classical compositions which is called as Samishti charanam and are followed by
Charanams i.e. Stanzas.

143 
 
REFERENCES:

1. “Amrita Priyamvada”, “ENCYLCOPAEDIA OF INDIAN MUSIC”, Anmol

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3. “Prajnanananda”Swami, A HISTORY OF INDIAN MUSIC, Ramakrishna Vedanata

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144 
 
12. Sambamurthy.P.,“SOUTH INDIAN MUSIC” Book-IV, 8th Edition, The Indian
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13. “Prajnanananda”Swami, A HISTORY OF INDIAN MUSIC, Ramakrishna Vedanata

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80,Chennai-600014, 2007.

15. Sambamurthy.P.,“SOUTH INDIAN MUSIC” Book-IV, 8th Edition, The Indian

Music Publishing House, New 23A, Sripuram First Street, Royapettah, p.no:
80,Chennai-600014, 2007.

16. Sambamurthy.P.,“SOUTH INDIAN MUSIC” Book-IV, 8th Edition, The Indian

Music Publishing House, New 23A, Sripuram First Street, Royapettah, p.no: 95,
Chennai-600014, 2007.

17. “Prajnanananda”Swami, A HISTORY OF INDIAN MUSIC, Ramakrishna Vedanata

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18. Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-III,The Indian Music Publishing

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India – 1979.

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-1 (THEORY), Hindi Street, Gandhi Nagar, Vijayawada -3, pg no: 20-23, A.P., India
– 1979. And Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-III,The Indian
Music Publishing House, New 23A, Sripuram First Street, Royapettah, pg no:
32,Chennai-600014, 2008.

20. Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-III,The Indian Music Publishing

House, New 23A, Sripuram First Street, Royapettah, pg no: 33,Chennai-600014,
2008.

21. Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-III,The Indian Music Publishing

House, New 23A, Sripuram First Street, Royapettah, pg no: 38,Chennai-600014,
2008.

145 
 
22. Sambamurthy.P, “SOUTH INDIAN MUSIC” Book-III,The Indian Music Publishing
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