CHAPTER II

RAGAS HANDLED INVARIOUS

LAKSHANA
, GRANTHAS
 RAGAS HANDLED IN VARIOUS LAKSHA�A GRANTHAS

Music is not static. In the course of time it has changed and will change. It
is surely a sign of progress. The theory of music (i.e., lakshal)a) and the practice
of music (i.e., lakshya) are inter dependent. When lakshya undergoes change the
laksha9a should also change in consonance with the new lakshya. The change in
lakshya, however, cannot go to the extent of change in the basic principles. In
early periods, some orderly arrangements became essential for the purpose of
preserving, codifying and remembering the features of music and hence several
raga classifications emerged in accordance with the time (Kala) and place (desa).
Various systems were devised, such as pann-tiram system (the old Tamil
equivalent of janaka-janya system), Grama murchana jathi system, Bhasha­
Vibhasha-Antarabhasha, Raga-Ragini Parivara system. All these schemes now
have only historical value and it is interesting to investigate how the evolution
took place and reached up to the present janaka-janya system and thatta system.
A brief survey of the various raga classifications accepted in some important
lakshm;agranthas are given in this chapter.The whole of our musical history can
be divided in to three parts

The Ancient Period - The period ranges from the vedic music up to the 9
th C A.D when Grama murchana jathi system. was prevalent .

The medieval Period - The period is between 9th A.D& 16th A.D and
includes the period of Purandara dasa. Matanga of the 9 th C developed the raga
concept. Classifications viz grama ragas, Bhasha-vibhasha & antara bhashas
and then a few centuries later raga ragini parivara system was evolved.

Modern Period - Fixation of the suddha vikrita swaras, an important

landmark in the evolution of music tookplace and it is still prevalent. The
evolution of the basic mela ragas, bifurcation of the northern and southern
 56

systems, janaka janya system.ets.came into existence. The period from the time
of Purantara dasa till today can be called as modern era.

I. THE ANCIENT PERIOD

The history of Indian music is our glorious inheritance. It has its beginnin gs
in the remote civilization of our land. Bharata' s Natya Sastra, a testament to the
vitality and amazing range of Indian music, dance and drama, is our most
precious and ancient legacy. This authoritative and comprehensive work is dated
somewhere during 2nd and 1st B. C .

We have already gone through the details of Sama gana and its evolution of
notes in the previous chapter. Saman chanting was the basis of the primitive raga
system. The key note of the fundamental scale went on changing and gave rise to
various sorts of murchanas. Murchanas later on became the basis of jathis and
jathis paved the way to ragas. Jathi gana was systematised by Bharata the
originator of the musical science.

The hundred sons of Bharata are also known as Bharatas. Bharata adorned
the seat" of Natya Guru who had taught music and dance forms to apsaras and
gandharvas. Natya Sastra is the visible proof of his mastery over drama, dance
and g1this. Kohalan (a predecessor to Bharata) is the author of Sangltha Meru,
Tala lakshal)am and Abhinaya Sastram. Dattila was the contemporary of
Kohalan and 'Dattila KohalTyam' is their combined work. Other works of
Kohalan like Gandharva Vedam, Raga Sagaram discuss in detail sruthi, swara,
tala and raga.

Nandikeswara who is Lord Siva's foremost devotee, blessed to be always

in the presence of Siva, is also the embodiment of music and art. Works like
Bharatarnava, Bharatartha Chandrika (conversation between Siva and Parvathi),
Abhinaya Darpal)am, Nandi Bharatam, Tal)dava lakshal)am etc are attributed to
 57

Nandikeswara. In his works , he has given pnme importance to nritta and

abhinaya. In Bharatarnava the chapters deal with different gestures and
movements (charis)of head , eyes , foot etc. According to him not only seven
suddha swaras, but th e auxillary swaras also are responsible for the murchanas.
There is a great controversy about the life span of Nandikeswara. He is s aid t o
have lived some time between 1 st and 7th centuries. The relation between th e
seven samika and laukika notes which developed later was first specifically
meant by Narada in his sikshas. Five sruthi jathis are also given. Sage Kasyapa
was th e originator of 'Rasa theory' and his work is known as Kasyapam and
deals with the authors like Narada and Matanga. The work is written in anusht up
metre. Since Narada refers t o Kasyapa while explaining grama ragas, kasyapa
may have been Narada's predecessor or contemporary. Kasyapa's views are
more similar to Bharata. ' s. Yashtika occupied the position of Guru to many
lakshai;iakaras like Daksh a and Anjaneya. Though the title of his work is
unknown, Yashtika' s views on bhasha ragas and desi ragas are quoted in oth er
texts. According to him jathis are of five kinds as suddh a, bhinna, vesara, gauda,
and sadh arit a. But it is a notable fact that in Yashtika's time itself jathis are
classified into seven as suddha, bhinna, goudika, raga jathi, sadharani, bhasha
jathi and vibh ash a jathi. Yashtika says that there are two gramas and from them
grama ragas are born. From these grama ragas , bh asha githis are derived, in the
same manner Vibhasha ragas originated from bhasha ragas and antara bhash as
from vibhash a ragas. Th e names of grama ragas mentioned later by Yashtika are
not the s even original grama ragas. The latter part of 'Brhaddesi' is believed to
be the contribution of Yashtika. Matanga, another genius in the realm of music
belonging to 9th A.D, was the first to define 'raga' and h as given a detailed
description of raga and desi sangitam.

Kalidas a, a great Sanskrit poet who lived during the reign of Ch andra
Gupta II of Gupta dynasty known as Vikramaditya (AD 376) depicts th e status of
 58

music and fondness for this art form. In Kumara Sambhavam, a sangita nataka
in Sanskrit, he has described 'raga kaisika' by means of different miirchanas
which were sung by the kinnaras to wake up Lord Siva. Since in the Meghadiita
Kalidasa has not only mentioned the gandhara grama but also its murchanas, the
time of composition of Natya Sastra must have been some time before that. The
term 'Raga' is not discussed by Bharata muni. So it might yield some
information about the music ofUjjain, the capital of the kingdom. He has written
on seven swaras, tunes according to their sweetness, depth and height and
categorised the instruments in four ie Tata, Avanadha, Sushira and Ghana.
Different instruments discussed by Kalidasa are Pushkara, VTra, Muraja,
Mridanga, Panchamukha and Maddala.The ragas mentioned by him are Gunakesi
and patamanjari. Bana Bhatta was an eminent poet who composed Kadambari
and Harsha Charitha in Sanskrit.

Dattilam (Dattilan)

Dattilam composed by this author, a contemporary work to Natya Sastra,

was a treatise on sacred music of ancient India.Dattilam is systematic in its
approach towards the subject. The chapters are termed as uddesas. Abhinava
Gupta opines that Uddesa is a comprehensive form of knowledge. 1 Gandharva
veda was explained in an elaborate manner by him. The essential elements of
gandharva are swara, ta.la, pada and avadhana. 2

In the text of Dattilam, swara, sruthi, shadja - madhyama gramas are

described. . Two auxiliary swaras, kakali nishada and antara gandhara and
various other components such as vadi, samvadi, anuvadi and vivadi,
indispensability of madhyama miirchanas, tanas, kiitatanas, 3 sthana, vritthi,

A.Bon NS, 28, 13-15b

2
The inner composure or attentiveness demanded by any serious human activities
A murchana in which the serial order is changed - Datt-38.
 59

sushka, sadharana, jathi, varna and alankara are discussed in Section I. In section
two, kalas, patas, parivarta, vastu, vidari, anga, laya, githis, margas etc are
discussed at proper length. Dattila has described the songs that were parts of
drama and mentioned the qualities of gandharva githi. Gandharva forms were
based on the seven swaras and the two sadharana swaras which were not given
the absolute status of a swara . Dattila insists that the sruthis came first, and the
swaras were chosen out of them because certain specific sruthis out of the range
of 22 sruthis in an octave had been selected and given the status of a swara.. On
the contrary, Bharata liked to start with swara.The very first topic of Bharata
deals with swara.According to him swaras are important and he had divided the
sruthi intervals in between the swaras.

The two gramas of the ancient music were the two different arrangements
of the sruthi intervals of an octave The murchana scales are in the ascending
order and the series comes in the descending order of swaras like srgmpdn,
nsrgmpd etc. In addition to the sadharana swaras known as antara G and kakali
N, swaras are nine .But these inter mediate notes did not have important musical
functioning in ancient times. When compared to gandharva, gana type of singing
1s very liberal. The kakali & antara swaras were profusely used in it. In
gandharva, madhyama could never be dropped. But in gana, this rule was not so
strict and so the grama raga Bhinna shadja could be sung in gana as madhyama
varjya.In gana a four note scale was allowed when gandharva insists a jathi
should be of atleast five swaras.Dattila speaks of the samvaditwa ie the S-P & S­
M relation ship that the gramas had.In gandharva, the samvadi swara never could
be dropped when the jathi is made shadava or audava. Antara marga as its name
indicates is the internal path or the specific type of swara prayoga that reveals
the correct form of the jathi .. Sarangadeva had studied the authorities like Dattila
and Visakhila and states that the jathis are the parent scales which have given
rise to ragas. He insists that the jathis have to be maintained strictly in order to
 60

keep up the sanctity of music. Sarangadeva has not set apart a separate section
for describing gandharva but it is included in swaradhyaya in addition to an
exposition of the theories of Dattila & Bharata.

In shadja grama of Dattila, rishabha occurs on the third higher sruthi. We

can find in Dattila the term amsa as a paryaya of vadi swara which need not
necessarily be the tonic note. Bharata's statement also supports this argument.
The gramas and their specific sruthis are indicated through graphical base like
danda prasthara,vina prasthara & mandala prasthara in ancient musical texts such
as Brihaddesi. In mandala prasthara of shadja grama we can see, pa is located
on the 13th sruthi and ma is located on the 9 th sruthi of shadja. In ma grama this
S-P concordence willnot get because pa is on the lih sruthi. .In ancient theory
vivadis are explained as pairs having a distance of a dwi sruthi. In a jathi or raga
a single note has never been explained as vivadi.The anuvadis of sa grama and
ma grama were listed in Natyasastra. Because of some faulty readings this
passage was marked out by a bracket in the G.O.S edition.Abhinava did not
regard this passage as a part of N.S. In addition to the sampurna, shadavita and
audavita murchanas, Dattila speaks of murchanas with the auxiliary notes.
Dattila says that the process by which the two gramas were coincided was called
sarana by vainikas.In sa grama shadava tanas are obtained by deleting notes s,r,n
or p. Audava tanas are formed by deleting the pairs S&P, G&N and P&R. In
madhyama grama S, R and G are dropped in order to get shadava tanas and the
pairs D & R, G & N are dropped to get audava tanas.

Natya Sastra (Bharata)

The first and greatest work in Sanskrit that deals atlength with the ancient
Indian music and the art forms of drama and dance is Natya Sastra. by Bharata. It
contains thirty-two chapters in which only five, namely chapters 28 to 32 are
devoted to the current form of music and the remaining twenty-eight chapters
contain a detailed description of drama and dance. Bharata could realise the ·
 61

faults and defects of the previous music systems and he has made a great attempt
to systematise our music through several observations. He recognised that the
thirteen notes prevalent at that time were not at all consonant with the
fundamental note. By means of samvaditva between the pairs s-m and s-p, he
continued two progressions of notes from ma and pa until he came to two notes
each 11th from the start which differed by a very minute interval from just pa
and ma respectively. These last notes were neither in the correct position of the
natural pa and ma nor harmonious. The series of 1 1 notes in each of these
progressions are positioned in close proximity. When he tried to continue the
progressions the system became impractical. This great experiment made him
realize that the corresponding notes in the two series do not have sufficient gap
to make a distinct recognition between one another .On the basis of the observed
facts Bharatha invented a system of dual gramas - shadjagrama and
madhyamagrama. In shadjagrama the defective pa 1s omitted and m
madhyamagrama the defective ma is omitted. Bharata has shown admirable
constructive genius in introducing these gramas of 22 srutis in each and in
providing for the use of all the 23 notes (including sa) obtained by the
samvaditva procedure.

Dhruva v1na-Chala v1na experiment: Bharata's experiment on the 22 srutis is

the basic and most scientific one of Indian musical system.A brief sketch of the
same will reveal to us the way of approach accepted by him in recognizing the
sruthis.Four vTnas with plain finger board and having nine strings each with
identical shape and size are used in the experiment.The seven strings are tuned
to the seven suddha swaras and the other two are tuned to antara gandhara and
kakali nishada.One of the vTnas is tuned according to shadja grama. It was called
as achala or dhruva vTna. The sruthi positions 4, 7, 9, 13, 17, 20 and 22 have
been taken by the swaras s,r,g,m,p,d and n respectively. The other three vTnas
also tuned in the same way were called chala vTnas.The first step of the
experiment is the lowering of the panchama string of one of the chala vTnas by
one sruthi .The vTna with the lowered panchama was then to be called as
 62

madhyama grama vina. Next, Bharata lowers all other notes of the second chala
vina by one sruthi and brings s,r,g,m,p,d, n on the sruthis 3,6,8,12,16,19 and 21
respectively. Bharata continues the experiment by lowering the panchama of the
third chala vina and compared it with the second chala vina.. In the same
manner the other six notes should again be lowered by one sruthi and bring the
seven notes on the sruthi positions 2(s), 5( r), 7(g), l l (m), 15(p), 18(d) & 20(n)
respectively. Now the 'g' & 'n' .of the last mentioned chala vina which are
placed on the ih and 20th sruthis consecutively would coincide with the 'r' & 'd'
of the dhruva vina which are on the ih and 201h sruthis respectively.The
experiment evidently proves that even though the measurements of sruthis have
been done only with the help of the faculty of hearing, they are uniform and
accurate.

Of the fourteen modes emerging out of the two gramas Bharata has got 7
pure scales which were called the 7 suddha jathis of Bharata. He brought many
pentatonic and hexatonic modes into use deleting one or two notes and named
them as suddha-vikrita jathis. The other classification as sadharana vikritis and
samsargaja vikritis were the old versions of upanga and bhashanga. Sadharana
vikrithi is the kind of jathi having seven swaras.It allows slight variations like
omission of notes in certain places. Samsargaja vikrithi allows of the addition of
a few graced notes along with the principal notes.

Murchana, the foundation of ancient music is defined by Bharatha as the

orderly sequence of seven notes. Bharatha has described murchanas of two kinds
- suddhakakaliyuktha and antaraswarayuktha. The pentatonic and hexatonic
scales occured cannot be called as murchanas. They are considered as tanas. 4

Kramayuktha: swara: sapthamurchanithyabhisanjitha

Shadpanchaswarakasthana: shadavaudavithasraya.

4
N.S-4.P24.vs32.
 63

Shadja grama miirchanas:

,,

Utharamandra: (s 4 r3 g 2 m 4 p 4 d 3 n 2 )

4 3 2 4 4 3 2

Rajani (n4 s3 r2 g 4 m 4 p 3 d 2 )

4 3 2 4 4 3 2

Utharayata : ( d4 n3 s2 r4 g4 m3 p2)

4 3 2 4 4 3 2

Suddha shadja (p4 d3 n2 s4 r4 g3 m2)

· 4 3 2 4 4 3 2

Matsareekruta: (m4 p3 d2 n4 s4 r3 g2)

4 3 2 4 4 3 2

Aswakranta ( g4 m3 p2 d4 n4 s3 r2 )

4 3 2 4 4 3 2

Abhirudgata (r4 g3 m2 p4 d4 n3 s2)

4 '3 2 4 4 3 2
'
·'
 64

Like wise the 7 madhyama grfunaragas are souveeri (starts from m),
harinaswa (ga), kalopanatha (r), suddhamadhya(s), margi(n), pouravi(d) and
hrushyaka (p).

Margi murchana5 in madhyama grama ie N S R G M P D N is similar to

Bilaval thatta of Hindusthani music.

The tanas are dependent on murchanas which are having krfuna ar6hana
and avarohana. When further variety is introduced in to murchanas, the result is
known as tanas . There were forty nine hexatonic tanas and thirty five penta tonic
tanas to give as a whole eighty four scales.

Natya sastra speaks of eighteen jathis with ten characteristic features viz
graha, amsa, thara, mandra, nyasa, apanyasa, alpatwa, bahutva, shadava &
audava (Chapter-I, Pg.No.35). Seven of them were put under shadja grama and
the remaining jathis were different types of compositions set to music and
generally used in dramatic performances on vanous occasions in the social
life.Grama ragas are misra ragas formed by combining various elements of
different jathis. Though grama ragas do not originate from gramas, they are
closer to grama in comparison to bhashas, ragas etc and hence are called grama
ragas. While early writers like Yashtika mentions about 3 dhruva githis viz
bhasha, vibhasha and antara bhasha, Sarangadeva mentions about 5 githis6 -
suddha, bhinna, goudi, vesara and sadharani in shadja grama, the gandhara is
raised by 2 sruthis, so that it is at a consonance of fourth with the dhaivatha and
is now named antara gandhara. Thus S ,R, Antaragandhara M, P, D & N of the
shadjagrama can be known as M, P, D, N, S, R & G respectively of the
madhyamagrama. Similarly the dhaivatha in the ma grama is lowered by two
sruthis to be at consonance of fifth with the gandhara as a result of which the

5
Jaydev Singh, Bharatiya sangeeth ka ithihas. pg 341-343.

6. Sangeetha ratnakara vol 2pp 4 10-13v s-19 -47, p233-p2471132-33]

 65

M, P, D (lowered), 2 N, S, R becomes S, R, G, M, P, D & N of shadjagrama. 7

These are sufficient to prove the high quality and standard of music of that age
which was purely based on the seven sharp (suddha) notes and the two flat
(vikrita) notes namely Antara gandhara and Kakali nishada ie nine notes in all.
He acknowledges further that all these notes (suddha - vikrtha) were evolved
from the 22 microtonal intervals of sound termed by all music scholars of the
past and also of the present as 'sruthi'. He had narrated twentyone murchanas
which he had worked out through permutation of the notes and had included
them all into two gamuts (grama) namely shadja grama and the madhyama
grama. Bharata's jathis are of 3 kinds viz shadja, madhyama and panchama
jathis. These 3 again had three varieties such as:

I (a) Shadja - shadja jathi

(b) Shadja madhyama jathi

(c) Shadja panchama jathi
II (a) Madhyama shadja jathi
(b) Madhyama madhyama jathi
(c) Madhyama panchama jathi
III (a) Panchama - shadja jathi
(b) Panchama madhyama jathi
(c) Panchama panchama jathi

Suddha jathi of Bharatha are shadja, Arshabhi, dhaivati and Nishadavati

derived from shadja grama and gandhari, madhyami and panchami derived out
of madhyama grama.

7. Journal 1988 pg 60.- Music in Natyasastra- by Bharatgupta.

 66

Brihaddesi (Matanga )

This great work is a very important land mark. Chronologically this work
stands between Datt ila and Sangita Makaranda probably between the 4th & 9th
century A.D. The Ragas of modern age are entirely different from that of the

Grama ragas mentioned in Brihaddesi. He opines that Jathi generates the Grama
raga with the use of the predominating note which was known as amsaswara1.
Raga is regarded as one of the seven classes of jathi current in his time. Wh en
Sardula speaks of five githis, Matanga h as made seven kinds of g1this and has
based his ragas pm th ese githis.

(1) Suddh a (2) Bhinnaka (3) Goudika

(4) Raga githi (5) Sadharani (6) Bhash a githi
(7) Vibhash a githi

Matanga also says that basically there are only 5 githis - suddh a, Bhinna,
Goudi, Vesara and Sadh arana but Yashtika added three more - bh asha, vibhasha
and antarabhasha.Shardula preferred only one more githi which is Bh ash a
githi.Grama ragas are closely connected to the jathis.And also Bhashas are born
of grama ragas, vibhasha out of Bh ashas and antarabhashas from vibh ashas.

Unfortunately the jathis enumerated by all the ancient authors were neither
defined nor discussed properly on the merit of th eir practical use. More over
there exists a difference of opinion about the exact number of jathis in all.
While Yashtika and Bh arata recognized only five and seven githis respectively,
the latter had dealt with the subject in detail. It was Matanga who took interest
in Raga githi the fourth in his list. According to him, th e combination of notes
th at are attractive with beautiful and illuminating graces were known as Raga
githi. He defines the same as:

''Swara varna Vi.vesha na dhwanibhedena va puna;

Ranjyathe yena ya kaschith sa raga.ha sammat: satham
 67

He also makes a sub division of the same. In his opinion, suddha and
bhinna or bhinnaka have eight varieties each. Gouda or goudika has three, Raga
has eight varieties such as:

(1) Takka (2) Souvira

(3) Ma.lava (4) Panchama

(5) Shadava (6) Botta Raga

(7) Hindolika (8) Takka Kaisiki

It is evident that the singing of the above jathis was current in the country
before the time of Bharata and it gradually developed in association with the
different acts of a drama. He states that madhyama grama melodies are to be
sung in the opening of the drama in Mukheya, shadja grama melodies in the
prathimukhya stage, ie in progression, the sadharitha melodies in the Garveya,
that is in the stage of development and the panchama jathi melodies for the
Vimarsa ie the conversation.

Matanga recognised only the shadja and madhayama gramas. The grama
established the swara, sruthi, murchana, tana, jathi and raga. The ar6hana and
avar6hana of a swara saptaka formed the murchana of a raga. The murchana
therefore, was a string of notes that could be embellished appropriately and
presented as a raga. Murchana could be shadava, audava, or sampurna. The
presence of Kakali nishada and or Antara gandhara made a sadharana murchana.
Brihaddesi is the first work where the gramas are shown in terms of graphs. The
graph carries 2 types of prastharas viz. Danda prasthara & mandala prasthara.
 68

Graph

(Sa grama in danda prasthara)

sa re ga ma pa dha

(ma grama in danda prasthara)

sa re ga ma pa dha
ni -I +------+-----+--------+-I ---1 ---+---+-------1-----+-l-l ---il-----+--------+-l--+--t--l -
sa-grama (mandala prasthara) ma-grama (mandala prasthara)

sa ma

Ill n ga -------+---+-pa
dha_-+--+---+�+---+--+�ga

pa ma sa Ill

Matanga speaks of forty nme shadava murchanas and thirty five

audava murchanas. According to Matanga, 8 jathis are born of the peculiar
groupings of sruthi, graha, swara etc. In grama ragas, Bhinna means modified
and if the samvadi-anuvadi or viva.di swaras are released when the vadi swara is
upheld it is called 'swara bhinna'. Bhashas are classified in to mula, sankirna,
desaja and chhayamatrasraya. He has mentioned about a collection of 73 raga
forms under the categories like Bhashas and Vibhashas. Takka, kakubha,
souvirika,Travana,Gurjari, ma.lava, gandhara panchama are some of them. With
the illustrations of swara sancharas, particular rasas and the appearance of the
raga (raga rupa) also are given. The fifth chapter of Br.D. was devoted to explain

Br.D-Anu-118.
 69

desi ragas. Desi music possess more vigour and attractive features and Matanga
has significantly styled his musicwork as "Brihaddesi' announcing its connection
with desi music.

He mentions 15 grama ragas with the number of bhashas as:

Grama ragas (15) Bhashas (73)

Takka 16
Malava kaisiki 8
Kakubha 7

Hindolaka 5
Panchama 10

Bhinna shadja 9

Souvira 4
Bhinna panchama 4
Botta ·1

Ma.lava panchama 1

Takka kaisika 3
Vesara shadava 2

Bhinna tara 1

Gandhara panchama 1
Panchama shadava 1

Further more, names of Bhashas are given by Matanga. His names of

bhashas are feminine where as the grama ragas are masculine.

The present day raga scheme of South Indian music has acquired a most
rational, scientific and comprehensive layout. Therefore the raga classification in
Brihaddesi is no longer valid. In the post Tyagaraja period, it falls with in the
 70

purview of academic research, rather than that of a historical significance.

Altogether a few ragas of Matanga present a picture of raga that is incomplete
according to present ideas. Even though a great number of reference books are
we can not ascertain the exact type of music that prevailed in ancient India. The
terms suddha-vikrita, swaras, suddha scale etc went on changing through
centuries. Sarangadeva speaks of 12 vikrita swaras and 7 suddha swaras while
Bharata takes only two vikrita swaras antara ga & kakali ni. According to
Sarangadeva even sa & pa could be displaced from their positions. Abraham
pandithar opines in Karunamrutasagaram that no scale with an uneqal sruthi
interval could be taken as the suddha scale. When we enter in to the medieval
period the theories seem to be more clear and lucid.

Bharata Bhashya (Nanya Deva)

Bharatabhashya, the commentary on Bharata's Natya Sastra was written

by King Nanyadeva of Mithila. The commentary is known by other nameas as
Saraswati Hridaya Alankara, Saraswati Hridaya Bhushana and Bharata vartika.
Nanyadeva (12th cent) also called Nanyabhupala is quoted by Sarngadeva.
Though this work is in 17 chapters is ostensibly a commentary. He gives his
personal views regarding the controversial problems relating to music. The items
of constituting chaturdandi are explained by him. He also gives a detailed
description of the fretted VTna.

Ragas of Bharata Bhashya

Ban gala: Surfaces as a desakhya upa raga & bhasha.

Soma raga: Soma raga-Sampurna-masculine.

Sri raga: It is born from Shadji jathi with alpa panchama.It 1s

sampurna. there is another version to Sri raga that it 1s
 71

born from Takka raga. In this type, R & P are omitted

thus making it an audava.Shadja is graha.

Gouda : While describing Gouda Nanya Bhupala quotes Matanga.

Like takka raga it omits p; R is starting note: s - amsa,
nyasa; chhayagouda & karnata gouda are explained.
Which belongs to the karnatic desha and chhaya of gouda
respectively.

Suddha hindolaka: It is a shadava with 4 Bhashas. A madhyama grama raga

Andhali: Vibhasha related to ma grama

Tundi : It is a vibhasha of Madhyama grama.

Malhar: Appears as a vibhasha raga of madhyama grama. Malhara

is described entirely as a different raga.

Pouraliki Included in the s - grama

Bhallati: Vallati is a Bhasha of roopa sadharitha - a grama raga of

sadharana githi based on shadja grama.

Varati Varatika is a Vibhasha of Roopa sadharitha in the list of

shadja grama ragas.

Varieties Karnata & Lata varati are different.

Lata varati Shadava Karnata varati sampurna vibhasha

Suddha varati

Naga varati

Sarva varati

Dravidi Dravidi as a desakhya bhasha of gandhara grama.

Hamsi Does'nt mentioned.

Raktha Hansaka is a raga described in some works.

 72

Goudi Bhasha of Hind6la and Malava kaisiki. Appears as an

uparaga of malavavesari.

Narayani : It is not mentioned in Br. D, B.B or S.R. The present

Narayani is a audava shadava raga. Aroha: g, n, omitted
Avaro: g omitted.

Kaisiki: Kaisiki appears as a bhasha of suddha panchama and is a

sampurna raga p - thrice imp. It is known as Bhashanga.

Lalitha Lalitha appears as a Bhasha of Takka and Bhinna-shadja

Dhannasi is mentioned among the gandhara grama ragas.

Kaumodaki Kumudakri is a kriyanga raga of shadja grama

Ramakri Kriyanga raga of shadja grama

Saveri Ancient raga shadava, p varja d - graha nyasa & amsa.

Nanya Deva describes it as a vibhasha of Roopa sadharita.

Dombuli Shadava audava sampurna raga of masculine character.

Phadamanji Phada vanji , Pada vanji, pala manjari are different names.
It is the Prathamamanjari of Brihaddesi & Bharatha­
bhashyam.

Suddha Nata Nata - dhaivata jathi - d - very prominent sampurna.

Karnata gouda Andhra gouda from shadja grama.

Raga Ranga Ranga Rajnka.

Kolahala Shadava - p is absent bhasha raga.

Sourashtri Sourashtrika p - less usage ni - graha.

Raga Dhwani Raga Dhwani is in his list of madhyama grama raga and
terms it as Desakhya.

Nanya Bhupala accepts six ragas as parent ragas of Bhasha and he believes
that Matanga also followed the same principle of six moola ragas. In Brihaddesi
 73

matanga quotes Yashtika and follows the acceptance of fifteen grama ragas as
the parent ragas of bhashas and vibhashas. He accords morning, noon and
afternoon time to the three gramas - shadja, madhyama and gandhara
respectively. The time and season appropriate for gramas and ragas are given
by him. The beginning of the medieval period witnessed the contributions made
by Abhinava Gupta and Nanya Bhupala. Abhinava's commentay on Natya Sastra
is also remarkable. His views are quoted by Sarangadeva, Kallinatha and others.

II. THE MEDIEVAL PERIOD

Many books on Indian music were written at this time .The division in
to northern and southern systems have taken place during this time and hence
we can see different kinds of raga classifications, interpretations etc. A number
of theorists have made valuable contributions of their own.. Pundarika vitala,
Damodara misra, Vidyaranya,etc are some of them. Someswara"s "Akhilartha
Chinthamani" was the study of Raga-tala and prabandhas Someswara supports
the raga chapter which was given in Brihaddesi. He has divided ragas according
to raga gitas suddha, bhinna, sadhari, etc. as given in Brihaddesi Someswara
mentioned the formalised desi ragas like Karnata and Dravida varities of varali.
Reference to Turushkath6di is given. His son Jagadekamalla Chakravarthi has
also written a book 'Sangita suddhakara' on music during the chalukya period.
King Haripala has discussed different materials of music, which have also been
mentioned by Sarangadeva. In Sangita darpanam, Damodara Misra deals with
the classifications viz raganga, upanga & grama raga on desi and Bhasha­
Vibhasha & Antara Bhashas on grama raga..Chatura Damodara's views on the
origin&classification of ragas differ from Sarangadeva' s. He followed raga
ragini system. Sri.natta, bangala, bhasamadhyama, shadava, Ratna hamsa,
kollahasa, Bhairava, Megha, soma, kamboda, amrapanchama, kandarpa,
desakhta, kakubha, kaisika, nata narayana are the ragas mentioned by him.
 74

Raga Tharangini (Lochana Kavi)

Bhuja vasu dasamitha sake

Sree mandallalasena rajyabhou!
Varashaika shashti bhoge munayasthwasan.

From this sloka the date of this work is found to be 1082 in saka varsha.
Raga tharangini is important because it clearly mentions the Mohammadan ragas
like Iman and Farodast.. Hrudaya Narayana Deva, the author of Hrudaya Prakasa
and Hrudaya Kauthuka quotes from Raga tharangini. These works were, written
about 1660 A. D. In 'Tharangini' Lochana Kavi quotes from another poet
Vidyapathi. All aspects like sruthi, swara & githas were mentioned. When
nishada takes two sruthis of shadja, it is also called kakali nishada. It should be
sung in the place of fivratama nishada. The suddha thatta of Tharangini is the
kaphi scale of Hindustani. The suddha g and suddha ni of Lochana are the
Hindusthan komal ga and komal ni. The following ragas are the twelve thattas
ofLochana.

(1) Bhairavi (2) Thodi (3) Gouri

(4) Karnata (5) Kedar (6) Eman

(7) Sa.rang (8) Megh (9) Dhanasri

(10) Purva (11) Mukhari (12) Deep aka

The thattas described by the author are as follows:-

Bhairavi

The thatta that of Lochana which takes komal ri and komal dha is the
kaphi thatta in hindustani music The Bhairavi of southern system takes 'ri' fivra
and 'dha' komala of the Hindustani system. Lochana evidently knew the
southern practice as well as the northern system.. According to Lochana the
 75

practice of komal dhaivatha in Bhairavi raga followed by some scholars will not
be pleasing.

Tho di

Ri and dha are komala. All the others are suddha swaras. The Thodi
thatta of all ancient Sanskrit writers corresponded with the modern Bhairavii
thiitta of Hindustani system. The thodi thiitta of the southern system is even now
the same as the northern Bhairavi thatta. This explanation proves that the suddha
scale of Lochana was the modern kiiphi thiitta because the kaphi thiitta could
early be converted into the Thodi thiitta, the modern Bhairavi by making 'ri' and
'dha' komala.

Gouri

In the Thodi thiitta, if the note giindhiira takes two sruthi of madhyama
and the note nishiida becomes kiikali the resulting thiitta will be Gouri. The Gouri
thatta of the ancient writers is admitted to correspond to the modern Bhairava
thiitta. Here also there is a proof to show that the suddha thiitta of Lochana was
the modern kiiphi

Karnat

In the suddha swara scale, if the giindhiira is raised by 2 sruthis the

resulting thiitta will be karniit. This thiitta will be the modern kamaj thiitta of the
Hindustani system in which all notes except 'ni' are suddha.

Kedara

If in the karnat thatta the nishada becomes kiikali, the thatta is known as
kedara. It corresponds to the Bilawal thatta of modern practice.
 76

Iman

If in the kedara thatta, the madhyama takes two sruthis of panchama, the
resulting thatta will be Iman. It is exactly the modern yaman thatta.

Sarang

If in Iman thatta, the 'ga' concides with the suddha madhyama and the
dhaivatha takes the place of the suddha nishada, the scale produced would be
saranga thatta. Gandhara which stands in the place of suddha 'ma' would be
called ati fivra tama 'ga' and the dhaivata standing in the place of suddha
nishada would be called fivra tara dha. In ancient music, 2 notes of the same
denomination were not allowed to appear in the same scale. Hence the use of the
atifivra tama 'ga' for suddha 'ma'. The saranga scale was to be formed from the
Iman and this already had the fivra 'ma' in it.

Megha

In Megha thatta, the dhaivata and nishada, will be those of saranga and
the gandhara and madhyama will be the same as used in karnat thatta. The
retention of Dhaivatha and nishada of Saranga merely means that both nishadas
have to be used in the Megha scale. The 'ga' and 'ma'. of karnat would mean
fivratara 'ga' and suddha 'ma' practically. In the saranga thatta there were two
madhyamas (fivra and komal), but no gandhara. The ati fivratama 'ga' was only
another name for suddha 'ma'. The difference between of Megha & Saranga
will be clearly seen in our modern suddha dha of kaphi thatta that does not
appear in the Megha scale.

Dhanasari

The scale is the same as that of the new puriyadhanasri.(pantuvarali) The

ri and dha komal, ga, ma and ni are fivra. Lochana's Dhanasri takes komal 'ri',
 77

komal dha. If 'g', takes 2 sruthi of madhyama, 'ma' takes 2 sruthis of panchama
and 'ni' takes 2 sruthis of shadja, Dhanasri results.

Purva

If the dhaivata of Iman thatta is raised on sruthi it becomes pilrva thatta.

In this scale, we have sa, ri, ga, ma, pa and ni all of the Iman thatta and komal
'ni' will be called fivra 'dha' by Lochana. No such scale appears to be in use
now in the system of north India. The southen chitrambari can be counted as the
similar raga.

Mukhari

If in the suddha scale the 'd' becomes komal, it will be suddha

mukhari or mukhari. This corresponds to the modern thatta Asaveri Some
scholars say that it corresponds to Johnpuri thatta. Southern Natabhairavi is
similar to it. The mukhari of southern system naturally differs from Lochana's
mukhari.

Deepaka

His statement shows that the raga Deepaka had already gone out of use. It
is said that Raga Deepaka was sung by Tansen with disasterous results to himself
in Akbar'scourt.

The following table shows Lochana's 12 thattas, the swara varieties and
the corresponding janya ragas.
 78

Thatta Swaras Janya ragas

1 Bhairavi S, suddha r, komala g, Bhairavi, Neelambari

suddha m, suddha p
suddha d, komala n

2. Thodi S, komal r, komal g, Todi

suddha p, komal d, komal n

3. Gouri S, komal r, suddha g, suddha m Maiava, sreegouri, Chethigouri

suddha p, komal d, suddha n
pahadi gouri, deshi todi, Deshkari
Goura, Trivana, multani, dhanasri,
vasantha, bhairav, vibhas, ramkali,
gurjari, bahuli, reva, bhathiya
ghat,malavapanchama, ayanthasree
asaveri, devagandhar, sindhi asaveri
gunakari

4. Karnat S, suddha r,suddha g, suddha m, Kamat, vageeswari, kamaj, sorat,

suddha p, suddha d, komal n paraj, marva, jayjayvanthi, kakubha
kamod, kedera, ma.lava, kousika,
Hindola, sukhrayi, atana,
garakanada, Sreerag

5. Kedar : S, suddha r, suddha g, suddha m Kedara nata, abirnata,khambavati

suddha p, suddha d, suddha n sankarabharana, vihagara,
hammeera, syama, chayanatta,
bhupali, bheempalasi, kousika
maru
 79

6. Iman S, suddha r, suddha g, tivra m, Iman, suddha kalyan, pooriya

suddha p, suddha d, suddha n Jaya kalyan

7. Sarang S, suddha r, x, suddha & tivra sarang, patmanjari, brindavani

suddha p, x, komal & suddha n samanthasaranga,B adahamsa

8. Megh S, suddha r, suddha g, suddha Meghamallar, gouda sarang,

m, suddha p, x, komal & bilawal,ahaiya, suddha suhav desh,
suddha n suddha naya

9. Dhanasri S, komal r, suddha g tivra m Dhanasri, lalitha

suddha p, komal d, suddha n

10. Purva S, suddha r, suddha g, fivra m Purva

suddha p, x, komal & suddha n

11. Mukhari S, suddha r, komal g, suddha m Mukhari

suddha p, komal d, komal n

12. Deepaka No definition Nil

Most of the janya ragas of Lochana were used in the modern Hindustani
system without much change in lakshanas.

Sat raga chandrodaya (Pundarika Vittala)

Pundan1<a Vittala was the first and genuine personality who had introduced
melaprasthara to southern practice. His 'Sat raga chandrodaya' was written in the second
quarter of the 16th century. He has changed the old suddha scale by bringing each
 80

of the notes ri, ga and ni to the next lower swara sthanas. In old concept suddha
does not mean the largest sruthi of that particular note. But Pundarika has named
them vikritas and thus giving provision to 90 melas, by specific combinations
and arrangements of swaras. This important event brought in to being, several
new sankirna ragas with vivaditwa and vakratwa. When a raga with vivaditwa is
sung it has been regular practice to drop one or two notes. Before the invention
of 72 mela scheme, if raga takes complete swaras with out considering whether
it is in the arohana or avarohana, it was called 'sampiirna'. The vakratwa,
omission of notes etc were not considered at all.

Vikrita swaras of Pundarika vittala

Vikrita swara Sruthi sthana

Kaisika ni 1

Kakali ni 2

Laghu sa 3

Tivra ri 8

Sadharana ga 10

Antara ga 11

Laghu ma 12

Pancha sruthi ma 14

Laghu pa 16

Tivra dha 21
 82

is another treatise on music ascribed to Narada. According to O.C. Ganguli th is

book belongs to the 16th century. But at present it is not available. In th is book
th ere is anoth er introduction to th e Janaka raga system. Th ere are 10 J anaka
ragas. Each raga h as 5 wives and 4 sons. Each son h as wife making a total of 140
ragas. It is a novel system on Raga Ragini classification.. Th is work consists of
ancient ragas as well as lat er ones like kalyani, piirvi, ramakali, pahandika etc.
Narada gives much importance to ragas in general and th e various kinds of
classification prevalent at th at t ime. Th e ragas as discussed in the third part of
sangitadhyaya consist of 92 slokas.

Though th e raga is not defined by Narada of Sangita Makaranda,. Narada

of Naradiyasiksh a mentions about grama ragas and h as enumerated th e seven
grama ragas with th eir names. All th e ragas in sangita makaranda cannot be
described in full because Narada does not provide any practical h ints about th e

ragas ie, th e types of notes etc. Makaranda describes th e gana kala niyama,
graha-swaras of ragas and sampurna-sh adava-audava classification, masculine
feminine and neutral ragas, Raga-raginis etc. Sangita Makaranda describes
about Desi ragas of 7 th and g th century. It explains about many types of Raga
classification. Ragas are classified according to th eir time of singing, the number
of notes th ey t ake and their gender. Th e general classification followed at that

t ime is Raga h aving th ree, five or six swaras eac h. In Harivamsa, six grama
ragas are mentioned. Naradiyasikshaand Kudumia mala inscriptions mention
seven grama ragas where as Bharata named only five grama ragas.

In Naradiya sh iksha, raga prakaras are discribed. Th e gramaragas are

moulded with Dipth a, Ayata and swarasruth i visesha. According to Narada,
shadja and gandh ara gramas came from h eaven and madh yama grama arose from
this world itself He adds th at in gandhara grama swarasthanas will not be clear
to th e human world. Th ere are twenty th anas in madh yma grama, fourteen in
shadja grama and fifteen in gandhara grama. Th e mutual combination of swaras
 83

are known as thanas. As a whole thanas are forty nine in number. The miirchanas
are described according to the Devathas and do not depend up on the gramas.

The Saptha Deva mfirchanas

Nandi, Vishala, Sumukhi, Chitra, Chitravathi, Sukha, Vala.

Saptha Pithru miirchanas

Apyayini, Viswabhrutha, Chandra, Hema, Kapardini, Maithri, Varhathi

Saptha Rishi murchanas

Uthara, Mandra from shadja, Udgatham from rishabha, Ashwakrantha from

gandhara, Soveera from Madhama, Hrushyaka from panjama, Utharayatha from
dhaivatha, Rajani from nishada.

Devamiirchanas are followed by Gandharvas, Pithrumurchanas are

followed by yakshas and Rishimurchanas are followed by human beings. Shadja
enlightens Devas, Rishabha - Rishis, Gandhara - Pithrus, Madhyama -
Gandharva, Panchama - Deva, Pithru - Rishi, Dhaivatha - Bhoothagrama and
Nishada - Yakshas.

'Gandharvam' which is already mentioned by Narada was there before

Bharata. Bharata has described Gandharvam in the process of dealing in the
dramatics. His gandharvam is related to dramaturgy and is not an independent
form of art. Dattila, who is earlier than Matanga, too mentions the name of
Narada regarding the three garmas. Abhinava the commentator of Natya Sastra
refers to Narada in volume II with regard to the etymology and the meaning of
the word Gandharvam. The name of the 6 or 7 grama ragas have been mentioned
in Naradi Siksha .
 84

13 Raganga Ragas of Narada

(1) Madhyamadi (2) Malavasri (3) Shrika

(4) Jayasakhika (5) Varati (6) Gurjari

(7) Gouda (8) Kolahala (9) Vasanthaka

(10) Dhanasri (11) Desa (12) Desakhya (13) Bangala

Though now a days shadja is the basic note of all ragas, graha swara was
important in the past. Narada mentions 3 types of ragas shadava, audava and
sampuma and their graha swaras. In Makaranda, a selected number of ragas are
described and many ragas start on shadja. 30 ragas are mentioned in this context
(with the starting and omitted notes), 11 sampurna ragas, 11 shadava and 8
audava ragas are given by Narada.

Sampiirna

Name Graha

Desakshi m
Vasanta m
Suddha Bhairavai m
Malavi g
Nata s.
Mukhari d
Ahari m
Balahamsa g
Suddha vasantha s
Ramakriya ( suddha) s
Varatika ( suddha) s
 85

4 similar graha swaras (s & m) of different ragas indicate that the ragas are based
on all 3 gramas. Another point to note is p,n & r do not appear as graha swaras.

Shadava Ragas

Names Graha Omitted notes

Devagandhara g n
Neelambari g n

Sri raga s g
Suddha Bahuli m n

Suddha goula n d

Lalita s g
Malava sri s r

Bhupala g s
Padavarji n r

Gundakri g g
Kurinji m n

Audava Ragas

Names Graha Omitted notes

Dhanasri s r,d

Madhumadhavi m r,d
Gurjari s r,d

Mekha ranji m d,n

Velavali g s,r

Ramakri g r,d

Narayani Ill d,p

Pali SID; p
 86

Sangeeta Makaranda itself has many more ragas which are not included in
this list given above. Narada allots 3 kinds of castes to sampiirna, shadava and
audava varjyas. He believes that sampiirna ragas come from munis, shadavas
from Brahma or Brahmana and audava ragas from kshatriyas. In the discussion
of graha swaras it is important to mention that Narada takes s, g, m & n mostly
as grahas and only one 'd'. ri & p never comes as grahas 's' is also omitted in
certain ragas like velavali and bhupala. Madhyama is never omitted. The
adjacent notes which are not to be omitted in a raga as a rule are also omitted by
Narada. These omissions of adjacent notes are not followed at present

eg: Mekha Ranji p&d

Velavali s,r

Narayani d,p

Pali m,p

Makaranda gives a chart of ragas according to the time theory. Praharas

or Yamas are eight in a day of twenty four hours. Each is of three hours duration
and are divided into day and night of four praharas each. The ragas coming
under suryamsha ragas - supposed to be sung in the morning are ninteen in
number. The morning ragas are as follows - Gandhara, Deva gandhara,
Dhanyasi, Saindhavi, Narayani, Gujari, Bangala, Pali (ta) Manjari, Lalita,
Andolasrika, Sourashtreeya, Jaya sakshika, Mahlana samavedi, Vasantha,
suddha bhairava,Velavali,Bhupala and Maraga.

Noon ragas are 14 in number

Sankarabharana, piirva, Balahamsa, Deshi, Manohari, Saveri , Dombuli,

Kamboji, Gopi kamboji, Kaisiki, Madhumadhavi Bahuli., Mukari, Mangala
kaisiki.

Goudi is a noon raga unanimously accepted by all authors.

 87

Chandramsa ragas are 17 in number

Suddha nata, Salaga nata, Suddha varatika, Goula, Malava gouda, S ri
raga, Ahari Ramakriti , Ranji, Chhaya, Sarva varatika, Varatika, Dravidika, Desi,
Naga varatika, Karnata, Goudi. Sangita Makaranda is based on a novel concept
of desi ragas. His system is entirely based on muchanas and two sadharana notes
including regular 7 seven notes of all the three gramas. No other vikrita notes are
used in this work while in all the other later works many vikrita notes are
mentioned. The raga descriptions of Sangitaparijatha and later authors are not
applicable to the Ragas of Sangita Makaranda, just because the similarity is
only in the names. S.D also explains about 12 vikrita notes but his ragas are
based on Grama ragas and githis; vikrita notes are not used in describing the
ragas. Nevertheless, S.R is the nearest work to Sangita Makaranda and both
have similarities as well as similar verses on some occasions..

Further Narada allotes praharas for the ragas.

Raga Appropriate time

Desakshi 1 st prahara of sunrise

Bhairava do
Malhari the prahara after sunrise
Malava do
Andoli do
Varatika the prahara before sunrise
Suddha draviti do
Ramakrit do
Chhayanata do
Rangaka do
Gouda ragas noon time
Suddha natika & Salanga natika After three praharas of sunrise
 88

Masculine Ragas of Sangita Makaranda

Bangala Morning raga.

Soma raga Sampiirna.raga. Shadja for graha, nyasa & amsa .It 1s
considered as a suryamsa raga

Sri raga- It is a shadava omitting gandhara.It is a night raga with

shadj a graha.

Bhupali: It is a shadava omitting Sa. Gandhara is graha swara.

Bhiipali is classified under suryamsa ragas.

Gouda: Gouda is a noon raga

Suddha Hindolaka:Narada includes Raga Hind6la in the general list of 53

ragas. But proper description is not given to Hindola or
Suddha Hind6la

Andoli: It is referred to as a Suryamsa raga.

Feminine ragas of Makaranda

Tundi: Tundi and Turushka Tundi: This must have been the
ancient name for Thodi. Thodika, Trodika are otherworks.
Tundi is described as the wife of phadamanjari.

Malvari: Manohari & Malahari: The first one is known as a noon

raga. Malahari: is the wife of Bhoopa .

Pouraliki Pourali: Female raga andthe wife of Bhairava. It originates

from place called pourali so it is a deshi bhasha.

Kambhari: Mentioned as the wife of the raga Bhairava and also wife of
Megha raga
 92

Kolahala: Ancient & popular. Another kolahala mentioned 1s a

Takkanga with masculine character.

Sourashtri: Masculine.

suddha vasantha: Suryamsa raga (masculine) sampurna - s - graha.

Saranga Bhairavi: Salaga or Chhayalaga is the term used which indicates the
particular raga and h as some shadows of other ragas S.M.
gives Bhairavi as a sampurna with m - graha.

Raga D hwani: Naga dwani is the name in th e general list. In the list
masculine ragas it is mentioned as Raga dhwani. Last raga
in the list of pullinga ragas.

Though Makaranda has provided various kinds of raga classification and

mentions 100 ragas in all, lack of proper descriptions of ragas makes it
impossible to recollect th e picture of the raga. Similarly the descriptions
provided by other authors of his time also do not throw any light on their
practical side. Because the music of those times, ie 5 th to 12th century has lost
its ancient significance due to the gradual changes in the music with the passage
of time and foreign invasions and influences. The reconstruction of ragas of the
past is not possible, as the notes of the ragas cannot be compared with the
present.

Sangita Samayasara (Parswadeva)

The author Parswadeva has deal t with the shadja grama murchanas namely
Uttaramandra, Rajani, U ttarayatha, suddha Shadja, Matsareekrutha, Aswakrantha
and Abhirudgatha and madhyama grama murchanas namely sauveen,
Harinaswa, kalopanatha, suddh a madhyama, Margi, Pouravi and Hrushyaka.
Ubhaya grama shadava murchanas are fourteen and ubhaya grama audava
 93

murchanas are thirty five in number. It is said that one who sings tanas will get a
result equal to that of several ya.gas or yajnas.

Suddha jathis (7) Vikritha jathis (11)

Shadji Shadja kaisiki

Arshabhi Shadjodichyava
Gandhari Shadja madhyama
Madhyama Raktha gandhari
Panchami Gandharodichyava
Dhaivathi Madhyamodichyava

Nishadi Gandhara panchami

Nadanthi
Andhri
Karmaravi
Kaisiki

The eighteen jathis are formed on the basis of the 63 amsa swaras as

Ekaswara: Group of three jathis with two amsaswaras each.

Dwiswara: Group of three ja.this having three amsaswaras each.

Thriswara: Group of three jathis with four amsaswaras each.

Chaturswara: Group of four jathis with five amsaswaras in each.

 94

RAGA CLASSIFICATION OF PARSWADEVA

Suddha ragas Bhinna Gouda Vesara Sadharana Upa ragas

Shadja grama Bhinna Gouda Shadava Nartha Revagupta

shadja kaisika

Madhyama
Grama Bhinna Gouda Botta Kakubha Nagagandhara

Kaisika Panchama Panchama Malava Shadja Takkasaindhava

kaisika kaisika

Panchama Bhinna Gouda- Takka Saka Ragaraja

Kaisika kaisika kaisika kaisika sadharitha panchama
madhyama madhyama

Sadharitha Bhinna Hindola Bhammana-

tanam Malava panchama
panchama

Shadava Bhinna Souveera Gandhara Bhavana-

Kaisika Takka panchama panchama
madhyama

The above are the grama ragas described in Sangita samayasar.

Murchana system was out of practice during the time of Sarangadeva. It is not
possible to comprehend correctly the practical side of the murchanas and jathis
in the works up to Sangita ratnakara. The ragas can be described as they appear
in the texts and. a comparitive study of these ragas in the important works is
the only feasible way to trace them.
 95

Sangita Parijatha (Ahobala)

Ahobala of 17 th C had expounded theories on Indian music in his sanskrit

work Sangita parijata.Though it deals with North Indian music, some of the
ragas explained by him were not familiar to northern musicians In the post
Ratnakara period, a number of works were written in music which were
supposed to belong to the northern and southern systems.The migration of
people as well as the musicians was not at all un common. Because of this the
same treatise was considered by a group as belonging to South India and some
others believed it as belonging to North India.

Melas : Ahobala's melas are seen in a scattered form In his ragadhyaya he has
mentioned the following melas

1. Gouri 2 kalyana , 3. Maiava,. 4. velavali, 5 sankarabharana, 6 Abhiri, 7.

varati, 8 .Sri, 9. Natya, 10. Bhairavi , 11. Mukhari.

Sreenivasa Pandit's Raga tatwa Vibodha describes the ragas of Ahobala.

He has described about 101 ragas. His ragas seem to be different in many aspects
like name and character. Inorder to understand easily, the corresponding or
resembling well known ragas are also given in the following table.

Saindhava-sindhura, 2. Nilambari-kafi, 3. Dhanyasri-bheempalasi,4.

Malavasri-kausi . kanada,5. Rakta hamsa-gorakha kalyana, 6. Kollahasa-kalavati,
7. prasabha-bagesri(p-varjya),8. madhyamadi-madhyamadi Saranga, 9.thodi­
komalarishabhaaSaveri , 10.bhairavi-aSaveri , 11. ghanda-kanada, 12. Varatika­
bhairava, 13. khambavathi-mala komsa, 14. abhirika-adana, 15. gouri-gouri,
16. kalyana-suddha kalyana, 17. ramakari-jaithasri, 18. Saranga-suddha Saranga,
19. guna kriya-jogiya , 20.Velavali-Bilavala 21. Dipaka -Bibhasa (in Arothi)
22. Deshakya- Joga+ Kalavati 23. Vasanta- Gaudamalhara 24. Lalita- Lalita
25. Bhupala [Bibhasa 26. MallaraMegha Jaladhara Kedara 27. Mallari­
Megharanjani 28. Surastri- Gauri 29. Deshakari- Bilavala 30. Reva - Reva
 96

31. Caula- Bairagi Bhairava 32. Hind6la- Malmkamsa 33. Deshi - Jogiya
Bhairagi 34. Takka- Bhairavi 35. Nata-Joga 36. Sri -Desi 37. Vihangada­
Bihagada 38. Purva Bhirava 39. Panchama -Bhinnashadja 40 Bibhasa- Jaitasri
41. Salanga Nata- Jairaja 42. Chhaya Nata-0 Chhaya Nata43. Suddha Varali­
Miyanki Thodi 44. Saudamini- Puriyadhanasri 45. Hamsa- Jogiya 46. Kikila­
Bhupali 476. Airavata- Bitaga 48. Kankana- Chakradhara 49. Kalpa taru­
Patabihaga 50. Soratti - Tilaka kamoda.

Another set of 19 ragas are mentioned by Ahobala as below:

1. Vasanta Bhairava 2. Soka Varati 3. Badahamsa 4. Gopika 5. Saranga

Gaula 6. Kamada nata 7. Kedara nata 8. Varatinata 9. Asavari 10. Purvi Saranga
11. Kudai 12. Gaunda 13. Jaishri 14. Kumuda 15. Anandabhairavi 16. Rajadhani
17. Savari 18. Suddjakaishika 19. Tailanga. He has introduced a method of
placing the notes on a stretched wire by measuring length in a very clear manner
He states that the srutis and swaras are like snake and coil which indicates that,
actually they are the same but appeared different in their outward forms.
Ahobala describes the srutis more practically and the following facts are
explained in terms of the the length of vina .

In vina thara shadja comes in the middle.

1. Madhyama comes in the middle of madhya shadja and thara shadja.

2. P' is fixed at the 2/3 length of the string.

3. 'g' is the middle point of; shadja; and panchama

4. Rishabha comes in th first half of the interval between'sa' and 'pa'

5. Dhaivatha comes between panchama and tara shadja

6. From the total distance between panchama and thara shadja if two parts
are left, we get nishada
 97

The suddha scale of the Sanskrit writers has never been the sankarabharana
or the major scale.While S6manadha's suddha scale was Mukhari of the karnatic
style, that of Ahobala corresponds to kafi thatta. According to him suddha swara
means the last sruti of the particular note.He follows the positions of 22srutis
and their names as in the ancient system

Ahobala states that 11340 melas are formed by the permutation &
combination of suddha vikrita swaras He classifies melas in to suddha, bhinna,
vesara, goudi, sadharani and also mentioned shadava-audava ragas. Ahobala' s
list of Ragas bears many ancient names, even the names mentioned by Matanga
as well as the later ones of his own period. His Bheempalasi is similar to the
present Bheempalasi.. Since Ahobala had lived after a period when there were a
lot of changes due to the bifurcation have taken place, his raga lakshanas also
must have been infuenced by various systems. Therefore, the descriptions of
purely southern ragas like Neelambari, and malavagoula cannot be taken from
SangTta parijatha because that will not serve the purpose and provide any clue for
these ragas, for, as a rule, ragas change with time.

Sangita Sara (Vidyaranya)

The history of south Indian music in the post Sarangadeva period had
developed a division of Indian music in to South Indian & North Indian.
Madhava-Vidyaranya of 14 th century was a great scholar in many branches of
learning. His musical work" SangTta sara" is not available now .We can get the
views of Vidyaranya only through Govinda Dikshitar since the text is not
extinct. Govinda Dikshitar confirms the fact that he had studied Sangita sara
thoroughly and follows Vidyaranya mata.

He had made use of 16 varieties of swaras ie, 3 varieties of R, G, D & N

and 2 varieties of madhyamas. Fifteen melas and fifty janyas are mentioned by
 98

Vidyaranya. He was the first to formulate a scheme of fifteen melas. 11 The list
of melas and janyas are given below.

Melas of Vidyaranya

Nata, Gurjarika, Varatika, Sri, Bhairavika, Sankarabharanam, Aharika,

Vasantabhairavi, Samanta, Kambodhika, Mukharika, Suddha ramakriya, Kedara
gouda, Hejjuji & Desakshika

Mel as Janya ragas:

1. Natta

2. Gurjari Sourashtram, Mechasbouli, Chhayagoula, Gundakriya

Salaga Natika, Suddha vasantha, Nadaramakriya,
Goula, Bouli, Karnata bangala, Lalitha, Malahari,
Padi, Saveri , Revagupthi,

3 Varatika

4 Sri raga Salaga bhairavi, Ghanta, Velavali, Devagandhari,

Rithigoula, Malavasri, Madhayamadi, Dhannasri.

5. Bhairavi Jayantasena, Bhinna shadja, Hindolavasantha,

Hindola, Bhupala

6 Sankarabharana Arabhi, Purvagoula, Narayani

7 Ahari Abheri

8 Vasanthabhairavi

11
Music academy Journal - Madras 1940.
 99

9 Samanta Kanadagoula

10 Kambodi

11 Mukhari

12 Suddha ramakriya

13 Kedara goula Narayana goula

14 Hejjuji

1 s Desakshi

The Hejjuji mela mentioned by Vidyiiranya is a corrupt form of the Persian

maqam Hejaza.

Swara Mela Kalanidhi (Ramamatya)

Ramamatya was the first person who has called janaka ragas as melakas.
He has classified 60 janya ragas under twenty melakas. Though Ramiimiitya's
swaramela kalanithi many conflicts it is a fact that the work became the base of
the karnatic system. The suddha scale of Ramamatya corresponds to modern
kanakangi. Mela is the Methodical combination of any seven selected from the
suddha vikrita swaras. In addition to the suddha-kaisiki-kakali nishadas,
Ramamatya refers to another one called Chyuta shadja nishada and it is placed in
between kakali nishada & tara shadja. In the same way chyuta madhyama
gandhara comes in between antara gandhara & suddha madhyama.Most of the
lakshanakaras have considered only five vikritas.The two additional vikrita notes
of Rama matya viz chyuta shadja nishada and chyuta madhyama gandhara still
exist. But they are used as the tonal varieties of kakali nishada & antara gandhara
respectively. It is because of this, that Rarnamatya's raga lakshanas have been
found fault with even by scholars.The conflict in the views on vikrita swaras
 100

has made him subject to much criticism . The swaras taken by the 20 melas are
given below.

Mela R G M D N

1. Mukhari suddha suddha suddha suddha suddha

2. Malavagouda suddha Chyuta suddha suddha Chyuta

Madhayama Shadja

3. Sri Paneha Sadharana suddha Pancha Kaisiki

sruthi sruthi

4. Saranga Nata Pancha Chyutha suddha Pancha Chyu ta

sruthi madhayama sruthi shadja

5. Hindola Pancha Chyuta suddha suddha Chyu ta

sruthi madhyama shadja

6. Suddha Ramakri suddha Chyutha Chyutha suddha Chyu ta

madhayama panchama Shadja

7. Desakshi Shadsruti Chyutha suddha Pancha Chyutha

madhayama sruthi shadja

8. Kannada goula shadsruthi Chyuta suddha Pancha Kaisiki

madhayama sruthi

9. suddha Nata Shadsruthi Chyuta suddha Shad Chyu tha

madhyama sruthi shadja
 101

10. Ahiri Paneha Sadharana suddha suddha Kaisiki,

sruthi Ch.shadja
11. Nadanamakri suddha Sadharana suddha suddha Kaisiki

12. Suddha varali suddha suddha suddha Chyutha Kaisiki

Panchama

13. RTthi Goula suddha suddha suddha Pancha Kaisiki

sruthi

14. Vasantha suddha Chyutha suddha suddha Kaisiki

Bhairavi madhayama

15. Kedara goula Pancha Chyutha suddha Pancha Chyuiha

sruthi madhayama shadja sruthi shadja

16. Hejjuji suddha Antara suddha suddha Kakali

17. Sama varali suddha suddha suddha suddha Kakali

18. Revagupti suddha suddha suddha suddha suddha

19. Samanta Shad Antara suddha Shad Kakali

sruthi sruthi

20. Kamboji Pancha Antara suddha Pancha Kakali

sruthi sruthi
 102

Janya ragas derived from the above mentioned melas

Mukhari: Mukhari, several grama ragas

Ma.lava goula: Ma.lava goula, Lalita, Boulika, Sourashtra,

gurjari, mecha bouli,pata manjari, gunda kriya,
sindhu rama kriya, chhayagoula, kuranji, kannada
vangala, mangala kousika, malhari & others

Sriraga: Sri, bhairavi, goula, dhanyasi, suddha bhairavi,

velavali, malavasri, sankarabharana, andoli,
deva Gandhari, madhyamadi & others

Saranga nata: Saranga nata, Saveri , Saranga bhairavi, natta

narayani, suddha vasanta, piirva goula, kuntala
varali, bhinna shadja, narayani & others

Hindola : Hindola, marga hindola, bhupala & others

Suddha ramakriya: Suddha ramakriya, padi, ardra desi, dipaka

Desakshi: Desakshi

Kannada goula : Kannada goula, ghandarava, suddha vengala,

chhaya nata, turushka thodi, naga dhwani,
deva kriya & others

Suddha nata: Suddha nata

Ahari: Ahari & others

 103

Nadhanamakriya: Nadhanamakriya & others

Suddha varali: Suddha varali & others

Rithi goula: Rithi goula & others

Vasanta bhairavi: Vasanta bhairavi, soma raga & others

Kedara goula Kedara goula, narayana goula & others

Hejjuji Hejjuji & others

Sama varali: Sama varali & others

Revagupti: Revagupti & others

Samanta Samanta: & others

Kamboji Kamboji & others

According to the modern concept, Ramamatya's Mukhari & Revagupti

resembles the kanakangi of modern music and kamboji & kedara goula
resembles sankarabharana of today.His Saranga nata mela also corresponds to
sankarabharana scale .. The most impotant contribution of Ramamatya is the
introduction of adhara shadja.

Raga Vibodha (Somanatha)

This is an authentic work written in sanskrit ascribed to the 1 ?1h century.

Somanatha quotes great lakshanakaras like Matanga, Sarangadeva, Parswadeva
Kohala and many others. The chapters are called as vivekas which deal with
sruti-swara, vina, mela, raga, & raga roopa. There are twenty three melas and
 104

their derivatives described by Somanatha. He gives a description of 960 ragas.

The work comprises of an analytical study of the wellknown ragas of his
time, raga classifications according to the time theory, suddha-chhayalaga­
sankirna etc.

A chart of twenty three melas and its derivatives are given below. The
modern mela names are given in the brackets.

Mela R G M D N
1. Mukhari
(kanakangi)
Turushka todi suddha suddha suddha suddha suddha

2. Revagupthi
(gayakapriya) suddha suddha Antara suddha suddha

3. Samavarali
(Manavati) suddha suddha suddha Tristurthi Kakali
Vasantha varali R&P Varjya
4. Todi
(hanuma todi) suddha Sadharana suddha suddha Kaisiki

5. Nadaramakri suddha Antara suddha suddha Kakali

(maya ma.lava goula)

6. Bhairava suddha Antara suddha suddha Kaisiki

(vakulabharanam)
Powravika

7. Vasantha suddha Antara suddha Trisruti Kakali

(surya kanta)
Dakka Panchama varjya
Hijija
Hindola r & p varjya
 105

8. Vasanthabhairavi suddha Antara suddha suddha Kaisiki

(vakulabharanam)
Maravika r & d varjya

9. Malavagoula suddha Antara suddha suddha Kakali

(mayamalava
goula) g & d varijya)
Purvi
Padi g varJya
Deva Gandhara g & n varjya
Gouda kriya d varjya
Kuranji a little of dha
Bahuli m & n varjya
Ramakrri --------
Pavaka n varJya
Bang ala
Suddha lalitha p varjya - at times
Gurjar p varjya
Paraje
Suddha goula

10. Rithi goula suddha suddha suddha Trisruthi Kaisiki

(vanaspati)

11. Abhira ch. sruthi suddha suddha suddha Kakali

12. Hammira ch. sruthi Antara suddha suddha Alpa. n

Vihangada Kedara
13. Subha varati suddha Sadharana Prati suddha Kakali
(subha pantuvarali)
 106

14. Suddha Ramakri suddha Antara Prati suddha Kakali

(kamavardhani)
Lalitha
Taravani
Desi
Desakara
Jetasri
15. Sri Raga Trisruthi Sadharana suddha Trisruthi Kaisiki
(kharahara priya)
Maiava Sri
Dhanya Siki
Bhairavi
Dhavala Rishasha & dhaivata varjya
Saindhavi g & n variya
16. Kalyana Cha. Sruthi Sadharana Prati suddha Kakali
(Simhendra madhyamam)
17. Kambodhi Ch. sruthi Antara suddha Cha. sruthi Kakali
(Dheera sankarabharana)
Devakri
18. Mallari Trisruthi Antara suddha Trisruthi Kakali
Natamallari G & Nvarjya
Poorga gouda
Bhupali M & Nvarjya
Gouda
Sankarabharana
Nata narayana
Narayana gouda n varJya
Dvitheeyakedara
Salanka nata
Velavali Ri & p varijya
Madhyamadi Ri & d varjya
Saveri s & p varjya
Sourashtri
 107

19. Samanta
(chalanata) Shadsrtuthi Antara suddha Shadsruthi Kakali

20. Karnataka-
gouda Shadsruthi Antara suddha Trisruthi Kaisiki
(vagadeeswari)
Athana
Nagadhwani
Suddha bangala
Varnanataka
(Turushka Todi)

21. Desakshi(sulini) Shadsruthi Antara suddha Tristurthi Kakali

22 Suddha Nata Shadsruthi Antara suddha Shadsruthi Kakali

(chalanata)
23. Saranga Trisruthi AntaraPrathi Ch . sruthi Kakali
(Mecha kalyani)

Somanadha's melas viz Abhira, Hammeera & Mallara can not be

compared to any ragas of recent times. Famous ragas with different swara sthanas
like madhyamadi, Saveri & Sankarabharana were put under mallari mela.
Madhyamadi is considered to be ri&dha varjya by Somanadha .

III. MODERN PERIOD

Sangraha Chudamani (Govindacharya)

Sangraha chudamani is an authoritative work on modern south Indian

music.It was written in Sanskrit. by Govindacharya. Since it dealt with the
latest raga paddhati, the work is having much importance. Chudamani has two
parts in which Poorva bhaga comprises 3 chapters on sruti, swara and mela. The
 108

uttara bhaga compnses the janya raga lakshana geetas, melas and index of
ragas.His 72 sampurna melas were derived from 16 swara sthanas. He did not
follow the asampurna mela paddhati.The following table shows the melas, ragas,
with corresponding old name,graha-nyasa-amsa swaras,ar6hana-avar6hana and
varieties of notes

Name of the Old name, scale & Varieties of notes

meta and raga graha nyasa amsa

1. Kanakangi Kanakambari suddha r, g, m

sr gm pd ns, sn dpmgrs suddha d, suddha n
sndpmgrs S - graha nyasa
Suddha Mukhari srgmpdns - dndmgrs

2. Ratnangi Phenadwithi suddha r, g, m

suddha d, Kaisiki N
Sreemani srgpds - srdpgrs
Ghantarava srsgmgns - sndpmgra

3. Ganamurthi Samavarali suddha r, g, m

Sama varali s - graha nyasa amasa suddha d, Kakali
Bhinna panchama sgmpdns - sndpmgrs

4. Vanaspathi Bhanumathi suddha r, g, m

Bhanumathi srg,rmp,s-sndpmg, rs Chatur d, Kakali n

5. Manavathi Maroranjani
Manoranji srmpdns - sndpdmg, rs
(Ghana syamala)

6. Thanaroopi Thanukeerthi S - graha amsa nyasa

Thanukeerthi srmpns - sndnpmg, mrs.

7. Senavathi Senagrani fJ, gz, d1, N1

Senagrani srg, rm gm dn s - snd pm grs
 110

14. Vakulabharanam Vasantha Bhairavi q, g3, d 1, n2

Vasantha bhairavi srgmdns- sndmpmgrs
Soma srmpmdns - srdmgrs
Mukharika srmpdnds - sndpmgrs

15. Mayamalavagoula Malavagoula ra1, g3, d1, n3

Saveri srmpds - sndpmgrs
Jayamohini srmpdsns- sndpmgrs
Goula srgqrmpns- snpmgmrs
Bouli srgpds- sndpgrs
Saranga nata srm pds- snsdpm grs
Nadharamakriya srgmpdn -dpm grsn
Mechabouli srgpds- snd pm grs
Gammakamboji srgpdnds - sndpmgrs
Revagupthi srgpds-sdp grs
Malahari srmpds- sdpmgrs
Salamganata sr smpds, dps, snsd pm grs
Mangalakaisika sm gm pm dns, snd pm grs
Lalitha panchama sr gmd ns-s ndm pm grs
Maruva sgm pdn dps- sndp mdn pm grs
suddha krriya sr pmpds- sd pm grs
Megha ranji sr gm nss, sn mg rs
Padi srmpns - snpdpmrs
Puma panchama srgmpd-dp mgrs
Sura sindhu smgm pdnds- sn, dp, mr grs
Desya goula s r s p d n s-s n d p s r s
Gouri srm pns - sndp mgrs
Sindhu ramakriya sgm pdns-sn pd pm gs
Goulipanth sr gr mpd, pns- sndpmgrs
Sourastra srgmpdns- sndpmgrs
Ardra Desi sr gm pd ns- sd pm grs
Gurjari sr gm pd ns- sd n pm grs
Kannada bangala srm gm d p d s- sd pm grs
Margadesi sr g pd s, sd m pgrs
Paraj s r g m p d n s- s n d p m g r s
 111

Purvi srgmpdnds-sndpmdmgrs
Vasantha sgmdns, sndmgrs

16. Chakravakam Vegava hini q, g3, d2, n2

Kalava thi srmpds-sdpmgsrs
Vegava hini srgmpdnds-sndpmgrs
Bhujagnini srsmgmndns-sndmgrs

17. So oryakanthan Suprade epa q, g3, d2, n3

Suprade epa srmpdns-sndpmgmrs
Bha irava srgmpdns-sdpmgrs

18. Ha takambari suddha malavi q, g3, d 3, n3

Suddha malavi sgrgmpdns·-sdnpmgrs
Simhala srgmpdns-sndnpmgrs
Kallolam spdns-sndnpmgs
srgmpdns-sndpmgrs

19. Jhankaradhwani Jhankara manjari r2, g2, d, n

Jhankarabhramari srgmpdns-sndpmgrs
Purvalali tha srgrmps-sndpmgrs

20. Narabha iravi Bha iravi r2, g2, dI, n2

Bha iravi srgmndns-sndmgrs
RTthigo ula sgrgmndmpns-sndmpdmgrs
Jayanthasre e sgmdns-sndmpmgs
Narayanadesadi srsgmpdpns-sndpmgrs
Hindola smgmdns-sndmgs
Abheri sgmpns-sndpmgrs
Udayaravichandrika sgmpns-snpmgs
Ananda Bha iravi sgrgmpdpns-sndpmgrs
Devakriya srgmndn-pdmgrsn
Indu ghantarava sgmpdp-ndpm grsn
Vasantha varalika srmpdn-ndpgrsn
Naga gandharika srgmpdndpmgrsn
 112

Manji srgmpdns-sndpmgrs
Suddha Desi srmpdns-sndpmgrs
Marga Hindolam srgmpdns-sndpmgs
Nayaki srsmpdndps-sndpmgrs
Kanaka vasa tha sgmpnds-sndpmgrs
Po ornashadjam spmpdps-sndmgrs
Gopika vasantham smpndnds-sndpmgs
Chapa ghartarava sgmpndmgrsns
Hindola vasantha sgmpdnds-sndpmgdmgs
Saranga kapi srpmrsrmpns-sndpmgrs
Amri thava hini srmpdns-sndmgrs
Jingala srgmpdndps-sndpmgrs

21. Keeravani Kiranavali r2, g2, dI, n3

Jayasree srgmpdnds-sndpmgrs
Madhavi smgmpdns-sndpmsmgrs
Kalyana vasantha sgmdns-sndpmgrs
Karna ta
Devagardhari nsgmpdpmgrsn

22. Khara hara priya Sreeraga r2, g2, d2, n2

Sreeraga srmpns-snpdnpmrgrs
Malavasree sgmpndnpdns-sndpmgrs
Kannada goula srgmpns-sndpmgs
Madhyamava thi srmpns-snpmrs
Phalamanjari sgmds-sndpmgmrs
Manirang srmgmpns-snpmgrs
Jayanthasena sgmpds-sndpmgs
Sa indhavi ndnsrgmpmgrsndns
Suddha Dhanyasi sgmpnps-snpmgs
Suddha Bha iravi sgmnds-sndmgrs
Abhogi srgmds-sdmgrs
Salaga bha iravi srmpds-sndpmgrs
Jayanarayani srgmpds-sndpmgrs
Mano hari sg hgmpdssdpmgrs
 113

Marva Dha yasi sgmpdndpmpns-sndpmdmgrs

Kalanidhi srgmspmdns-sndpmgrs
Panchama srddpns-sndpmgrs
Suddha Bangala srmpds-sdpmrgrs
Manjari sgrgmpndns-sndpmgrs
Huseni srgmpdns-sndpmgrs
Kapi srmrpmpdns-sndpmgrs
Sre e ranjini srgmdns-sndmgrs
Suddhavalavali srmpns-sndnpmgrs
Darbaru srmpdns-sndpmgrs
Mandamari srmpds-snsdpmgrs
Sidhasena sgrgm pds-sndmpmrgrs
Mallaru srmgmpdpds-sdpmrs
Makhari srmpdnds-sndpmgrs
Devamanhari srmpdns-sndnpmrs
Balaghoshi srgpmnds-sndpmgrs

23. Gouri manohari Velavali fJ, g2, d 2, n3

Velavali srmpds-sndpmgrs

24. Varuna pri ya ve eravasantha r2, g3, d3, n3

Ve era vasantha sgrmps-sndpmgrs

25. Mararanjini Sarava thi fJ, g3, d1, n1

Saradyu thi srgmpdnds-sndpmgrs
Desa Mukhari srgmpdnds-sdndpmgrs
Kesari smgmgrgmpds-sdndpmgrs

26. Charukesi Tharangini r 2, g3, dI, n2

Tharangini sr, grmpdnds-sndpmgrs

27. Sarasangi Surasena r 2, g3, dI, n3

Surasena sgmpds-sndprngrs
Divya panchama srgmpdns-sndpmgrs
Kamala manohari sgmpns-sndpmgs
 114

28. Harikamboji Kamboji (hari kedara goula) r2, g3, d2, n2

Kamboji s r g m p d s-s n d p m g r s
Kedaragoula s r m p n s-s n d p m g r s
Narayani srm pds-sndp mrs
Narayana goula srmpnd ns -sndpmgrs
Malavi srgm pnm dns-sndn pm g m rs
Chhaya Tarangini srm gm pns-sndp mgrs
Balahamsa srm pds-sndp m rmgs
Nata Narayani srg, dr ds-sn dp m g m r s
Mohana sr gp ds-sd pg rs
Kapi Narayani sr n pdns-sn dp m grs
Jhamjuti dsr gm pdn-dpm grs nd pds
Salara sr gm pm dns-sdnd pm gm r grs
Esa manohari sr gm pd ns-sn d p m r m g r s
Pratapa varali sr m ps-sndp m srs
Kuntala varali sm pd nd s-sndpms
Saraswathi manohari srgm ds-sdnp mgrs
Neelambari sr gm pd pns-sn pp mg rgs
Sama sr mp ds-sd pm grs
Andhali srm pns-sn pm r g mrs
Dwija vanthi srm gm pd ns-s n d p m g r gs
Mattakokila srdd pnn ddp srs
Bangala sr gm pm rps-sn pm r grs
Panchamam sr dd pns-sn d p m grs
Ravichandrika sr gm d nds-sn dm grs
Kokiladhwani sr gm dn ds-sn dn pm grs
Navarasa kannada s g m p s-s n d m g r s
Swaravali sm gm pn dns-sn pd m grs
Nagaswaravali sgm pds-sdp mgs
Bahudari sgm dpd ns-sn pm gs
Yadukula kamboji srm pds-sn dp mg rs
Suruti srm pns-sndp mgrs
Kamas sgm pdns-sn dp m gr
Natakurunji srgmdns-sn dm gs
29. Dheera Sankarabharana r2, g3, d2, n3
 115

Sankarabharana sr gm pdns-sndpmgrs
Kedaram sm gm pns-snpm gm dm g rs
Ahirinata sm gm pdns-snp dnp gmm gs
Mahuri sr gr mp nd pn grs
Kolahala sm gm pd ns - sn dp ng rs
Janaranjini sr gm pdpns-sd pm rs
Byagu sgm pndns - sndp m grs
Devagandhari s r g r m p d n s-s n d p m g r s
Arabhi s r m p d s-s n d p m g r s
Navaroj p d n s r g m-p m g r s n d p
Atana s r m p n s-s n d p m g r s
Julava pnsrgmpmgrsn
Kannada sr gm pm dns - snsd pm pgm rs
Bilahari srg pds-sndp mgrs
Suddha Saveri srm pds-sd pm rs
Nagadwani sr sm gm pn dm pn dns-sn d n p m gs
Suddha vasantha sr gm pns - sdn pm grs
Begada sgr gm pd nd ps-sndp m, grs
Vardhani sgm pm pdns-sn pd pn gs
Sindhu srgr mps-sndp nd m grs
Purvagoula srm grm pndns-sndp m grs
Goudamallaru srm pds-snd mgrs

30. Naganandini Samanda r3, g3, d3, n

Samantha srs-pdns - snd n pm grs

31. Yagapriya Kalahamsa r3, g3, <l1, n 1

Kalahamsa srm pdn ds-sn d pm rs

32. Raga vardhani Raga choodamani r3, g3, d I, il2

Raga choodamani sr gm ps-sn d m r g s

33. Gangeya bhushani Gangatharangini r 3, g3, d I, n3

Ganga taragni sr gm ps-sn d p m g m r s
 116

34. Vagadheeswafi Chhaya naata r3, g3, d2, n2

Chhaya vata Sf gm pm ps - sn dn pm rrs
Bhanu manjafi Sf gm pns - sn pmf gfs
Saradabhafaman sm gm om dns - sn dm om mfs

35. Sulini Desakshi r3, g3, d2, n3

Gana vafidhi smfgmpdns - sdnpmrs

36. Chalanata Nata r3, g3, d 3, n 3

Nata sr gm pd ns - snp mrs

37. Salagam Salava fI, gl, d1, n1

Salavi sg, rh mp dn ds - sn dp mg rs
Bhoga Savefi Sf mp dn - d p m grs

38. Jalarnavam Jangaramohana fI, gl, di, n2

Jaganmohana s r m p d s ns - snd p m gfs

39. Jhala vafali Vafali q, gl, di, n3

Kokila panchama pd ns rg - f s n d p
BhUpala panchama sg fg pm ds - s p d m srs

40. Navaneethan Nabhomani q, gl, d2, n2

Nabhomani sfg, r m p s - s n d p m g r s

41. Pavani Prabhavathi q, gl, d2, n3

Prabhavali sf mp d n s - sn dm pm reg, rs
Chandrajyothi sf gm , pds - sdpm gfs

42. Raghu pfiya Raghu leela q, gl, d 3, n3

Gopathi srg, mpdn , npm r grs

43. Gavambodhi Geefvani q, g2, d1, n1

Geefvani sfgf mg, md , pn, ds - s n d p m g r s
Kalavasantha sg mp pd ns - s n p m g s
 117

44. Bhavapriya sr gm pd ns - sndpmgrs (44) ft, g2, d1, n2

Bhavani sr gm dns - sn dm grs
Saraseeruham sr gm dn ds - sn d m g r s

45. Subhapanthvarli Parthuvarali ft, g2, d1, n3

Panthvarali sr gm pd ns - snd pmgrs (su, sa, su, ka)

46. Shadvidhamargini Tivravahini fI, g2, d2, n2

Tivra vahini srgm pdns - snd pmg sns
Sreekandhi sgm pdns - snd pmg sns

47. Suvarnangi Souveera ri, g2, d2, n3

Souveeri sgr gm pdns - sndpmgrs - su, sa, su, ka
Rathika sgrrgmpdns - sndpmgrs
Abheeru sndn sgm pdn - dpmngg sns

48. Divyamani Jeevanthini ft, g2, d3, n3

Jeevanthini sm sp dns - sn pm gs ns
suddha gandhari sr gm ns - sn dn sn pm rs
Amra panchama sr g, dns - snd mg srs
Adi panchama sr pd ns - snd npm grs

49. Dhavalambari Dhavalangi ft, g3, d1, n1

Dhavalangi sm gm pfn ds - snd pm grs
Bhinnapoarali sm pdn ds - snd pm gs
Devagiri sr mp ds - snd pm grgs
Bhammani sr gm fn sns - sn dm gr rs

50. Nama narayani Narmada ft, g3, d1, n2

Narmada sr gm dns - sn d m p m grs
Mardari sr gm pn ns - sn pm gr rs
Prathapa sgm pdn sns - s n d p m s rs

51. Kamavardhani Ramakriya fJ, g3, d I, n3

Ramakriya sr gm pd ns - sn dm m grs
 118

Deepaka sgm pd ps - sndn onm gm rs

Bhogavasantha sr gm dd ns-snd m grrs

52. Ramapriya Ramamanohari ft, g3, d 2, n2

Ramamanohari sr gm pd nds-sn dp m grs

53. Gamarra srama Gamaka kriya ft, g3, d 2, n3

Gamakakriya srm pdns-snd pm gm rs
Purvakalyani sr gm pd nds-snd p m grs

54. Viswambari Vaisakha ft, g3, d 3, n3

Vaisakha sr gm pd ns-sn dn pm gm rs

55. Syamalangi Syamala r2, g2, d 1, n1

Syamala s g r g m pd ns-sd s n d p m grs
Deshavali s r g m d n d s-snd m grrs

56. Shanmukhapriya Thrimoorthi r2, g2, d 1, n2

Trimoorthi sr gm dns-sn dm grrs
Vasukari sgm pd ns - sn dm g sns
Bhashini sg r gm pd ns-sndp m grs
Garigadha sn sg m pdns -sd pm gr sns

57. Simhendra
madhyamam Seemanthini r2, g2, d 1, n3
Seemanthini sr gm pd ns-s p m g r g r s
Madhava manohari sgr gm pnds - sn dm grs
Seshanadam sr gm pd sns - s d p m g r s d s
Atana s r g m d n s-s n d p g r r s
Sarvangi s r m d n sns-snd m g s rs
suddha s r g m p n s-s p m g s r s

58. Haimavathi Simharava r2, g2, d 2, n2

Simharavam sr mp ns - sn pm r grs
 119

59. Dharmavathi Dhowmya raga

Dhowmya s r g m p d s-s n d p m g r s
Ranjani s r g m d s-s n d m g s r s

60. Neethimathi Nishada raga r2, g2, d3, n3

Nishadha s g rr m p s-s n dp n pm gr s
Hamasanadam sr mp dns-sn dn pm rs
Gourikriya sgm pdns-sdn pm gs ns
Kaikavasi sr gm pd ns - sn pm gr rs

61. Kanthamani Kunthala r2, g3, d1, n1

Kunthala srr gm pd nds -sn dpmgm rs
Sruthi Ranjani s r gm pd ns-sn d pm gs rs

62. Rishabhapriya RatnaBhanu

Ratnabhanu sr m g r m p m s -s d n s n d m

63. Lathangi Gothrari r2, g3, d1, n3

Gothrari sr m n pds-s n d p m g rs

64. Vachaspathi Bhooshavali r2, g3, d2, n2

Barbara sgm rgm dns-snd p grs
Uthari sgm pdns-sndm sns
Bhooshavali sr gm pds - sn dp m grs
Saranga s r g m p d n s-s n dp mrs
Saraswathi s r m p d s-sn d p mrs
Bhogeeswari s r g d n a-s n d p m g r s

65. Mechakalyani Kalyani

Koumoda s r g m n s-sn m g r s
Yamuna kalyani s r g p m pds- s d p m p g r s

66. Chitrambari Chathurangini r2, g3, d3, n3

Chathurangini sm gm pns-sdn pg mg rs
 120

67. Sucharithra Sathyavathi r3, g3, d1, n1

Sathyavathi · sr mp dn ds-s n d p m gm rs

68. Jyothi swaroopini Jyothishmathi

Jyothishmathi s r g m p s - sn d m p mm r gs

69. Dhathu vardhani Dhautha panchama

Dhautha panchama sr gm pn ps - snd pm rg mrs

70. Nasika Bhooshani Nasamani

Nasamani sr gm pm ps - sn dn pm rs

71. Kosalam Kusumavali

Kusumavali s g m p d s - sn dp m gmrs

72. Rasika priya Rasamanjari

Rasa manjari sr gm pd ns - sn pm rs

Chatur Dandi Prakasika (Venkitamakhi)

Venkitamakhi wrote Chaturdandi Prakasika (1660) at the instance of the

royal patron Vijaya Raghava Naik of Tanjore in the same time as Ahobala wrote
his Sangita parajitha for North Indian music. This treatise was preserved as an
heirloom and passed from generations to generatons. Music was supported by
chaturdandi, 4 pillars as alapa, thaya, gita and prabandhas

Out of IO chapters of the original the last and part of ninth is missing.
Twelve hundred and more couplets in Anushtup metre have survived. For all his
pretensions regarding the 72 mela kartha chart Venkitamakhi listed not more
than 19. Unlike Govinda Deekshither Venkitamakhi took note of the
developments in Karnatic music in the century following Purandara dasa. In
 121

Chaturdandi Venkitamakhi paid homage to his Guru Thanappacharya. His

poorvoktha melas are mentioned below.

Venkitamakhis 19 Melas and Ragas

Name of mela Ragas Mela scale

1. Mukhari Mukhari suddha r, suddha g, suddha m

and suddha n
2. Samavarali Samavarali suddha r, sadharana g, suddha m
suddha d, kakali n.
3. Bhiipala Bhiipala, Dvisruthi r, sadharana g, suddha m
Bhinnashadja suddha d, kaisiki n
4. Hijjunji Hijjuji, Dvisruthi r, Antara g, suddha m
Revagupta suddha d, suddha n.
5. Vasantha - Vasantha - Dvisruthir, Antara g, suddha m
Bhairavi Bhairavi suddha d, kaisiki n.
6. Goula Goula, Gundakriya Dvisruthi r, Antara g,
Salaganatha, suddha m,
Nadhanama kriya, suddha d, kakali n.
Lalita, Padi,
Gurjari, Bouli,
Malahari, Saveri ,
Chhayagoula,
Piirvagoula, Karnata
bangala, Sourashtra
7. Bhairavi Bhairavi Panchasruthi r, sadharana g,
suddha m, suddha d, kaisika n.
8. Ahari Ahari Panchasruthi r, sadharana g,
suddha m, suddha d, kaisika n.
 122

9. Sri raga Sri, Salagabhairavi Panchasruthi r, sadharana g,

Dhanyasi, Malavasri suddha m, panchasruthi p,
Devagandhara, Andhali Kaisiki n.
V elavali, Kannadagoula.
10. Kamboji Kamboji, Kedaragoula Panchasruthi r, Antara g,
Narayana goula suddha m, panchasruthi d,
kaisiki n.
11. Sankara­ Sankarabharana,Arabhi Panchasruthi r, Antara g,
bharana Nagadwani, Sama suddha m, Panchasruthi d,
suddha, Vasantha kakali n
Narayani
Narayana desakshi.
12. Nata Nata Shadsruthi r, Antarra g,
suddha m, shadsruthi d,
kakali n.
13. Desakshi Desakshi Shadsruthi r, Antara g,
suddha m, Panchasruthi d,
kakali n
14. Samanta Samanta Pancha: r, anta g, suddha m,
shad d, kakali n.
15. suddhavarali suddhavarali suddha r, suddha g,
varalimadhyama, suddha d,
kakali n.
16. Panthuvarali Panthuvarali suddha r, sadharana g,
varali madhyama suddha d,
kakali n.
17. suddharamakri suddharamkri suddha r, antara g,
varali madhyama, suddha d,
kakali n.
 123

18. Simharava Simharava suddha r, suddha g,

varali madhyama
pancha d, kaisika n.

19. Kalyani Mecha Kalyani Chatur r, ant g, varali m

panchasruthi d, kakali ni

Venkitamakhi says that he had devided 72 mela scheme which would

comprehend all ragas of alltime without desa bhedas ragas of current time and
the raga which may be created in future. Even though samanta is the raga among
the 19 melas, he assigns it to Sri raga. But this interpretation is not satisfactory
in the current system of practice.

Venkita makhi states that Sarangadeva speakes of 264 ragas which

became invalid at the time of Venkita makhi . Venkita makhi has explained
only the current wellknown ragas and the ragas which his acharya Tanappa had
dealt with. A list of 54 ragas is given by him on the basis of lakshanas viz
graha, Amsa, nyasa.etc.

Ragas having different graha, amsa and nyasa swaras

Graha Amsa Nyasa Ragas

Sa Nata, sourashtra, Saranganata, suddha vasanta, gundakriya,

nadaramakriya, varali, lalita, padi , salaga bhairavi, Sri,
Arabhi, dhanyasi, Sankarabharana, Hindola, Bhiipala
Hindola vasanta, Ahari, Abheri. Samanta, vasanta Bhairavi,
hejjuji, Malavasri Suddharama kriya, Kamboji, mukhari,
devagandhari, nagadhwani, sama and samavarali.
Ri Narayana deshkshi, deshkshi, Narayani, Karnata bangala.

Ma Jayantha sena, Bahuli, Madhyamadi

 124

Pa Andhali, Saveri

Da Malahari, Ghantarava, velavali, Bhairavi

Ni Goula, Kedara Goula, Chhaya Goula rithi Goula, Purva

goula Nararayana Goula, Kanada Goula.

Simharva is a creation of Venkitamakhi. Some scholars are of opinion

that the 72 melas attributed to Venkitamakhi is an additional work called
'ragaprakaranam.' No evidence is left to substantiate this points in the 19 mela
list Mukhari is the first one and in Kanakambari list, Kanakambari is the first
mela. Here Mukhari is made as a janya of Kanakambari. In Kanakambari list
Bhupala comes under Bhinna Shadja as a derivative. But in the list of 19 melas it
is a mela. In Chaturdandi Prakasika, Bhinna Shadja has been described as the
Janya of Bhupala mela. Venkitamakhi states that Bhairavi is the 20th mela. In
Kanakambari list it is a janya under the 201h mela Riti goula. Venkitamakhi
assigns Andhali raga to Sri raga mela and in the Kanakambari list to Kedara
goula. All this errors in the lakshanas made some scholars to believe that
Kanakambari list was not a creation of Venkitamakhi and it was a later
contribution.

The ten aspects of Ragalakshana were stated again with their functions.
Ragas were of IO kinds. Of them, only Raganga, Bhashanga, Kriyanga and
upanga groups comprised Desi ragas which enjoyed some regional peculiarities
and local traditions.

.Next stage of chaturdandi prakasika is the 72 mela scheme. But he

bestowed no thought on the katapayadi device to denote the mela number among
the 72 while 19 melas he described in detail. Also his 19 melas were not to be
found intact among the 72. Some of them turned out to be not mela, but only
Janyas.
 125

Raga Mela No. Product of Mela scheme

Ahari 21 Rithigoula Kiranavali

Samanta 30 Nagabharana Nagabharana (30)

Kamboji 28 Kederagoula (28) Harikamboji

Revagupthi Janya of 13 Hejjiji Mayamalavagoula

He has introduced a new system with the help of the vowels. In this
method chatursruti R, sadharana G, method chatursruti D and kaisiki N appear in
duel names viz, suddha G, Shad sruti R, Suddha N and Shad sruti D.

ra - suddha ga - suddha ma - suddha da - suddha na - suddha

ri - chatur: r gi - sadh: g me - prathi m di - chatur: d ni - kaisiki n

ru - shad: ri gu - antara g du - shad: d nu - kakali n

Katapayadi s ankhya is an ancient Hindu device of vararuchi to fix up

serial numbers. Kadinava-Tadinava-Padi Pancha-Yadyashta consist of the
formula. Take the first two letters of the mela raga and s ee where it lies on the
chart of katapayadi formula. Then reverse the number got, and we get the SI.No.
of the mela. Unfortunately a few of the 72 melas do
not conform to this
formula. The ragas are arranged in the combination of ri, ga, dha, ni. The 1st
combinatio n ra-ga gives to the first chakra and und ra-gi goes to und chakras.
After 6 chakras it will carry on through the uttara ragas ie another s et of 6
chakras. The dha - ni combination vary from raga to raga. Thus first raga takes
dana, 2nd da-ni an d so on.

Sangita Sudha (Raghunatha Naik)

Raghunatha Naik was the most illustrious of the Tanjore line of Naiks who
attained fame and glory. The fact that King Raghunatha was held in great
 126

esteem by his guru and guide, Sri Govinda Dikshither and scholars of the age
like yagnanarayana Dikshitha, Venkata Kavi, Kishetrayya and others, prove the
geniuine nature of his accomplishments.Raghunatha Naik was an expert in the

lakshana and lakshya of music. Sangita suddha referred to Mat anga as the pio­
neer in the treat ment of raga and the exposition of its ingredients. It mentions the
13 element of ragas as graha amsa e tc and the 4 categories suddha, B hinna,
Vesara and Gouda. There is a long list of ragas taken over from S. R K with the

same indefinite idea. Coming 4 centuries after Ratnakara, the book unearths a lot
of problems that clouds historical perspective. The raga chapter ends with a
statement that more than 264 ragas are treated with clarity and precision .
. Although the work Sangita Sudha is attributed to Raghunatha Nayak ,it has
been established that it was written by Govinda dikshit ar, the minister of
Raghunadha and the father of Venkitamakhi.The work has an important place
because it serves as a link bet ween Sarangadeva and Swaramela kalanidhi.. The
following details are common to Sangitasudha and Sangita Sara.

The treatment of a few ragas below provides guidelines for Raga

delineation.

Raga Scale Aro &Ava Tan as sthayi

1. Natt a Sampuma s n d pm g r IO s, m
Ant ara g, gm p d n s stop on
suddha'ma' shad.ri, tonic
shad. ri, shad. d, tara-
kakali n. shadja

2. suddha Shadava s r gm d n s 11, 6

vasantha sampurna n s d pmg r s
(Gurjari janya)
evening raga I 5 th)
 127

3. Saveri Audava sr mp d s 12 s,p, m

sdp m r s

4. Sriraga S, panc ha r, n dp m g r 10&

sadh: g, suddhamap g mp d n sr g r s .12 s, p, m
pancha: d, kaisiki n.

5. Vasantha- suddha r, Antara g, srgmpdn, srgm­ 14 s, g, m

Bhairavi suddha m, p, grsndp mgrs
(14th mela suddha d, kaisiki n.
vakulabharanam)
6. Kambodi S, panc ha r, mp d n sr g m 16 P, g, m
(evening raga) antara g, suddha m, grs
pancha d, kaisiki n.

7. Mukhari s, suddha r, suddha g p d n sr g mp 14, 8 m , P, r

suddha m, p, suddha d m g r sn dp m-
suddha n grs

8. Kedara­ swarasof kambodi

goula grahaswara is n.
while kambodi
has shadja
in itsplace.

Ragh unath a Naik follo wed the o ld graha swaraprinciple, ie, the krithisin
same raga have different graha and nyasa swaras. The developments in karnatic
music that the 1 g th_ 19th cent uries witnessed can hardly h ave then ro o ts in
Sangita Sudha.
 128

Sangita Chandrika (Attoor Krishna Pisharody)

Sangita Chandrika that succeeded Saramrutha is a great work of distinction

attributed to Attoor Krishna Pisharody who was born in 1875 in Kerala. During
the reign of swathi Thirunal Maharaja, he won recognition as a great scholar in
Sanskrit and he wrote also other works like vidya vivekam, vidya sangraham,
Ramayanam, Neethi malika etc. The author has taken up the name Krishna
Chandra .May be it was to free himself from strong regional roots that he chose a
name acceptable to the whole of India.

The. monumental work sangita chandrika has been designed to

accommodate a particular style and it includes the contemperory mode of music
as well as of the past. This includes 11 chapters on 1) Nada 2) Sruthi 3) Swara
4) Veena 5) Grama Murchanadi 6) Mela 7) Tala 8) Varnalankara 9) Gamaka­
sthayi 10) prabandha and Raga and each chapter is termes as 'Prakasam'.

The author's major concen was to make a study of the numerous problems
that haunted Indian Music. The study of Natya sastra and Sangita Ratnakaram
provided him with the right perspective and helped him to win remarkable
success.

Music 1s the significant arrangement of sounds or a combination of

musical sounds pleasing to the ear. Sounds are of 2 types - Ahata & Anahata. In
the concrete objects formed from earth, water, thejas and sound Ahata sabda is
caused by the friction between the object of the same types or objects of different
types. This is the opinion of Krishna Chandra.The chapter sruthi prakasam deals
with Marga-desi sangitam. He has quoted Dattila, Abhinava gupta, Matanga and
viswa vasu while defining sruthi, nada and swaras.

In each Sthayi, all sruthis and swaras in between are established on the
basis of one fundamental sruthi. Sage Matanga has observed that all sruthis &
Swaras included in one sthayi can be recognized in accordance with the basic
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shadja. This is illustrated and explained by the author. The venerable masters of
the past like Bharatamuni have given importance to 22 sruthis and this is still in
practice. The author does not agree with the division of 22 sruthis from nishada
to nishada, while this division was advocated by Sarangadeva and others. In the
opinion of the author, after nishada if the four sruthisthanas belong to shadja, the
names of them should be kaisika shadja and Kakali shadja and not kaisika
nishada and Kakali nishada. The authors like Ah6bala, S6manadha, Ramamtya
and venkitamakhi are quoted in this context. What follows is an explanation of
the suddha vikritha swars that belong to Dakshin a Stana . Ancient ragas like
Takka, M uddhani etc have ceased to exist as they have gone out of use. Still a
smattering of these ragas are found in the marga sangita (sopana, kudiyattam) of
, Kerala. Shadja grama is of atmost importance among gramas. In the southern
system these is no raga that avoids shadja. But madhyma grama enjoyed only on
a minor scale. Old murchanas, thanas and their different varieties are further
discussed. The author has performed this great task after studying innumerable
works on music. He says 2 jathis join to form one raga means the corel of this
raga is merged in both the jathies (Eg. Gouda panchama- dhaivathi jathi &
shadja madhyama Jathi) This statement of the author is supported with
quotations from the great masters of the past.

Melas are discussed in detail and here the author reveals his remarkable
skill and inherent talent. His mela prasthara is different from that of
venkitamakhi Among cheif melas, the one with only suddha swaras is called
Jnana melam. Ratna melam has only rishabham as vikritha swaras and gandhara
alone is vikritha in Ganamela. Thus 32 chief melas and 52 complex melas are
mentioned. Among the chief melas, the the dominant (Mukhya thama) ones are
the 7 important melas. Most of the ragas have originated from these seven
important melas They are listed as follows:
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Jnana Mela Hanuma thodi

2 Ratna Mela Natabhairavi

9 Rakthi mela Kharahart. priya

13 Gadha mela Mayamiilava goula

18 Sreegatha mela Harikamboji

29 Ragothamsa mela Sankarabh�na

32 Ragavathamsa mela Mecha kalyani

Prominent Melas, Vikrita swaras and their Janyas

Mela Vikrita Swaras Janyas

Jhana All are suddha Thodi, Punnaga varali, ASaveri

Ratna R Bhairavi, Rithi Goula

Gana G Vasantha Bhairavi, Lalitha panchama

Ghana M Bhavapriya, Bhavani, padmini

Thana D Nada Priya (Nadakapriya), Nadabhara

Chhanna N Bhinna shadja, Takka

Ranga R,G Charukesi, Tharangini

Rambha R, M Shanmukhapriya, Bhashini, Vasukari

Rakthi R, D Harapriya, Mukhari, Jayaniiriiyani

Rasa R,N Keeravani,Kiranavali, Kannadadevagandhari

Garbh a G,M Narayani, Manthari, Na,madesi

Gita G,D Chakravaka, Bhairavam, Vegavahini

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Gatha G,N Malava Goula, Goula, Saveri , Gurjari, Padi

Varsha M,D Margini, Srikandhi, Tivravhaini

Valasa M,N Panthu varali, Sindhuramakriya

Tidhi D,N Kokilapriya, Vardhani, Kokilaravarn

Pragalbha R,G,M Ratipriya (Rishabhapriya) , Ratnabhanu

Srigata R,G,D Harikamboji, Kamboji, Kederagoula

Phalartha R,G,N Sarasangi, Surasena, Kalmalarnanphari

Prabhta R,M,D Hymavati, Simharavarn

Srivalsam R.M, N Sumadyuti,Madhavamanohari,

Simhendramadhaya

Sritartham R,D,N GouriManohari, Velavali

Gavaksha G,M.D Rarnapriya, Ramarnanohari

Labhartha G,M,N Kamavardhini, Ramakriya, Deepaka,

Bhogavasantha

Gatartham G,D,N Suryakanta, Chhayavati, Suopradeepa

Bhutaratha M,D,N Souveera, Ratika, Suvarnagi

Ragavritti R,G,M,D Vachaspati, Bhushavali

Rangavasi R,G,M Lalithangi (Latangi), Gothrari

Ragothamsa R,G,DN Sankarabharanarn, Arabhi, Kedararn,

Balahari, Neelambhari

Ravitheertha R,M,D,N Dharmavati, Renjini

Slakhitartha G,M,D,N Gamakakriya, Purvakalyani

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In the chapter Gamaka sthayi prakasam, terms like sthaya, kaku, gamaka.
etc are expounded. ln varnalankara prakasa, the author explains the well known
57 alankara bhedas. While explaining sanchari varnas, he mentions that the
alankaras are 35 in number and begins with mandradi mandramadhaya etc.

In raga prakasa the common factors of ragas are presented and he also
makes it clear that due to regional variation the same name is applied to various ·
ragas. Bhasha- vibhasha -antara-Bhashas have only slight resemblances with
grama ragas. Ragangas are the same as that of grama ragas. Upanga ragas are
similar to raganga ragas.

Among the ragas, the author offers proof for many ancient ragas. Eg.
Chhaya Thodi, Lalitha panchamam, Takka , malava sree, salaga Bhairavi,
Ghandaravam, Kannada goula Mukhari Saindhavi etc. After that in geetha
prakasam, the author has given examples of musical compositions to illustrate
ragas.

A chart of ragas from Makaranda, Br.D., S.R., and B.B. are given below.
The purpose of these statements on similar ragas in different works is to form
an idea on the development of ragas.

A comparison of ragas in Brihaddesi Makaranda and

Bharata Bhasyam is given below

Raga name in Brihaddesi Sang. Ratnakara Bharata

Makaranada Bhashyam

Deshakshi Desakhya (shadava)

(sampurna)

Malavi Ma.lava Ma.lava sampurna Ma.lava

(sampurna) (sampurna) (a shadva ofTakka (shadava)
kaisika)
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Lalitha Lalita Lalitha - two types Lalita

(audava bhasha) from - Takka (sampurna)
& shadava bhasha. audava omitting panchama
Shadava bhasha is R & P. II Lalitha prayages
called sankeerna as a bhasha of are less
lalitha of takka Bhinna shadja
raga omitting ri seems to be
audava lalitha sampurna
omits s & p.

Natta Nata (Desh of Sampurna

Hindola s graha) (d graha)

Malavasri Malavasri Malaveswari

(reomitted) (reomitted) (Shadava
Bhasha &
Takka. p
omitted)

Gurjari Gurjari Does not Sampuma

(audava with Ri is prominenet mention Deshi Bhasha
omission of and concluding Gurijari G is prominent
R&D sa note is
graha) madhyama
Velavali Sampuma Matanga's
(audava) s&r D graha pratapa assumption
omitted Ga - velavali is an are followed
Graha upanga of by Nanya Bhupala
velavali is an (not found in the
audava omitting print)
r & p.

Ramakriti Bahuli
audava shadava
omitting omitting p.
r&d. Graha A derivature
lS ga of kolahala
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S.M. B.B Br.D S.R.

Dombuli Shadava Noon Neither graha nor

Raga audava-sampurna jathi is mentioned

Phadamanjari Phada vanji Morning ni graha

suryamsa raga Pada vanji
(morning) pala manjari

Shadava Ri Prathama manjari Prathama manjari Prathama manjari

omitted Ni graha of Brihaddesi & of Brihaddesi & current popular
masculine Bharathabhashyam. Bharathabhashyam. raga - 'p' is graha
In Brahhadesi it is amsanyasa.
shadava omitting
'r' with 'd' graha.

Suddha Nata Nata Nata - bhashanga

masculine raga d - very Sampiirna
prominent s - graha. But little
Nata sampiirna similarity to suddha
s graha. nati of Narada.

Karnata gouda Andhra gouda Absent Karnata gouda

Night raga from shadja shadja as graha
masculine grama amsa & nyasa

Malava gouda
Night masculine
also called as
malavagoula

Raga Ranga Ranga Ranjaka

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appears as
Ranji-masculine
chandramsha
Chhayanati Upanga raga of
masculine no Nata. S - is an
details important note.

Kolahala Shadava - p is Prevalent from S.R. gives it as

ancient & absent bhasha Matanga' s time shadava - p omitted
popular raga Bhasha ofTakka Bhasha raga s -
Another kola- Audava omitting graha, amsa
hala mentioned P & N. But & nyasa
is a Takkanga illustration omits
raga masculine only p.

Sourashtri Sourashtrika Bhasha ofTakka - Two sourashtris

masculine & p - less usage sampurna jathi (2) from Takka
. ni - graha nishada - graha omits p and s -
illustration omits graha - amsa &
panchama nyasa

suddha vasantha
Suryansa Does not appear Not in the available suddha vasantha is
(masculine) in the published text also referred to as
sampurna - part Dashi Hindola. - A
s - graha sampurna variety of
Hindola, which is
supported to be an
audava raga. This
raga was included
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in the list of current

popular ragas of
S.R.

Saranga Bhairavi
Salaga Chhayalaga
is the term used
which indicates
the particular
raga have some
shadows of other
ragas S,M. gives
Bhairavi as a
sampurna with
m - graha

Raga Dwani
Naga dwani is Raga Dwani in his Naga dwani has s-
the name in the list of madhyama graha, nyasa, amsa
general list while grama raga and audava omission
in masculine terms it is ofD, P.
ragas it is Deshakhya
mentioned as
Raga dwani.
Last raga in the
list of pullinga
ragas

Pullinga ragas S. R. B. B. Br.D.

Of Makaranda
Bangala Bangala shadava Surfaces as a Vankali same
(morning with graha m. It desakhya upa raga belonging
raga) with graha m. It raga & bhasha to Bangala
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appears in the list bhasha starting

of Adhuna prasidha note d- s ampiirna
ragas and in the 13 bhasha.
raganga ragas and in
the li s t of nine bhashanagas.
2 varieties of
bangala are found in
S. R. (1) Bangala
from shadja grama (2)
from kaisiki grama
raga. They belong
to the famous ragas
of the time.

Soma raga. Not mentioned Soma raga Not available

Sampiirna, sampiirna art presemt.
shadja graha, masculine ButNaya
nyasa, amsa, Bhupala mentions it
suryamsa
ragas.

Sri raga Sri raga Born from Not present

shadava born out of shadjjathi
omitting ga, shadji jathi using less p
s graha. & 1 s t raga of the - sampiirna
night raga. adhuna prasidha Another
ragas. S graha ver sion is that it
& Pless used i s Born from Takka
sampiirna raga audava
omitting r &
p.s - graha.
Bhoopali
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Shadava -
omitting s - Not mentioned Not appeared Not present
starting with
gandhara
suryamaha

Gouda While describing Only goudi

Gouda Nanya gethis and
Bhopala quotes its ragas are
Matanga. Like mentioned.
takka raga it omitts Gouda is not
p, r is starting mentioned.
note s - amsa,
nyasa, chhayagouda
& karnata gouda
are explained.
Which belongs to
the karnatic desha
and chhaya of gouda
respectively.

Gouda is a
noon raga.
Chayagada.
(male)

suddha S.R. gives Shadava with 4 Hindola is

Hindolaka. Hindola bhashas m - grama very important
The first as m grama suddha Hindolaka. grama raga of
general list raga shadava does not mentioned madhyama
ofragas ( 5 3) with 4 bhashas grama with suddha Hindolaka
includes does not mentioned 5 bhashas r &
Hindola. d omitted s -
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Narada does' nt amsa, nyasa.

describe
Hind6la or
suddha
Hindolaka.

AndoIi Andolika is a Andhali Andhali as

suryamsa vibhasha of vibhasha of a vibhasha
the Bhasha p, related to ofp; r & p
raga Dakshi- m grama are prominent
nayata of suddha & concluding
panchami. notes s is
Shadava weak. kakali
raga omits nishada is
g and ni is used.
used rarely.
p - graha.

Female Ragas are 23 in Number

Tundi and Tundi is a Not mentioned Todi appear from

Turushka Tundi vibhasha of the grama raga
This must have madhyama grama 'shadava' of
the ancient name madhyama grama.
for Todi. Todika m - graha, amsa,
Trodika are other nyasa. Turushika
names in different todi uses ni & dha
works. Tundi is frequently with
described as the scarce using ofga.
wife of
phadamanj ari
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Malvari Mahlar: appears Malhara & Malharri

Manohari: as a as a vibhasha raga are mentioned in
noon raga of madhyama grama the current popular
ragas
Malahari: is the Malhara is described
wife of Bhoopa but it is enterely
different raga.

Pouraliki
(Pourali) Included in the Ancient raga Not mentioned in
female raga and s - grama mentioned 4 times the poorva prasidha
the wife of by Matanga as ragas. Mentioned as
Bhairava. It Bhasha of Bhinna a Bhasha of Ma.lava
originates from shadja, Bhasha of kaisiki. Though
place called takka, Bhasha of kallinatha is a
pourali so it is ma.lava panchama commentator of S.R
a deshi bhasha. Bhasha ofHindola he describes many
(Bhinna Pourali) popular ancient
with amsamadhyama ragas which are
absent in the list of
saranga deva.
Kambhari
mentioned as
the wife of the
raga Bhairava
and also wife
of Megha raga
kamboji and
gopi kamboji
are mention
different ragas
appear in the
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general list

Bhallati Vallati Vallati is an upanga

Female raga Bhasha of roopa of chevati a bhasha
which is the sadharitha-a ofHindola s-graha
wife of grama raga of amsa, nyasa.
Sri raga. sadharana gTthi
based on shadja
grama

Saindhavi
Ancient and 4 saindhavis
even mentioned belonging to 4
by Bharata different grama
saindhavi (I) ragas saindhavi\
Bhasha ofTakka came from Sindhu
Saindhavi (2) Desa sampurna-
Bhasha of Maiava Desakhya bhasha,
kaisika ma-Amsa, d-
nyasa, p & r used less.
(3) Bhasha of Bhasha of
panchama Bhinna Shadja

Gandhari
A famous bhasha
of several ragas-
Bhinna shadja,
Malva panchama
Gandhara panchama
Souviraka sankirna
bhasha of Bhinna
shadja. d - graha.
S.M. says about
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Another gaadhari
of souvira is a
sampurna bhasha
has in as its amsa
s - nyasa -
karuna rasa

Devakri ..
Devakriya in the The name suggests Naya Bhupala
general list. Wife it to be a kriyanga & S.R. endorse
ofBhairava raga this view.

Bahuli
Shadava omits Bahulli is supposed
ni - noon raga to be an alias for
m - graha - Ramakrithi
wife ofBhupala according to
2 bahulis as kallinatha.
suddha & salaga

Varati Varatika Bhasha ofBhinna

Panchama
Sampurna Vibhasha of Shadava bhasha Varati iis a Bhasha
s - graha Roopa sadharitha with weak ofBhinna pachama.
female - night in the list.of rishabha - Followed the
raga wife of shadja m - amsa description of the
vasantha raga grama ragas d - nyasa karnata varati of
Naya Bhupala.

Varieties Karnata & Sampurna- s

suddha varati Lata varati " graha & amsa &
Naga varati are different nyasa
Lata varati -
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Shadava
Karnata varati-
sampurna "

vibhasha

Sarva varati

Dravidi Dravidi as a Dravidi Bhasha Dravidi as a

Dravidika desakhya bhasha ofkaisiki & vibhasha ofTakka
is a female ofgandhara Bhasha Hindola kaisiki.
raga wife of grama (1) Dravid of g- amsa, graha.
vasantha Hindola has d- nyasa. It appears
Chandramansa p - amsa & also in the adhuna
raga s- nyasa prasidha ragas
Bhasha ofDravida of S.R.
reg10n.
(2) Dravidi of
Takka kaisiki:
g- amsa
d- nyasa. belongs
go dravida region
Hansi
Female raga Does'nt Does' nt mentioned mentioned in the
wife ofvasantha mentioned. list while popular
Raktha Hansaka ragas.
is a raga
described by these
2, works but not found
in the present
text ofBr.D.
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Goudi Bhasha of Matanga had same Goudi (11) consist

Female & wife Hindola and opinion, but we do of tara, mandra
of Bangala Malava kaisiki. not find this bhasha shadja and frequent
Noon raga Appears as an in the Br.D nishada note.
uparaga of (available) s - graha - nyasa
malavavesari Goudi (I) is a amsa. Bhasha of
bhasha ofHindola malavakaisika

Narayani
Suryamsha raga
female & wife It is not mentioned in Br. D, B.B or S.R. The present
of Bangala raga Narayani is a audava shadava raga. Aroha: g, n, omitted
Audava which Avaro: g omitted
omits d & p
with 'ni' as graha
Ahari
Only dealt with
by Narada.
sampurna-chandra
msha raga - night
raga - madhyama Nil Nil Nil
graha - wife of
Nata raga.

Misra Nati
Female & wife
of Nata raga -
seems to be a
mixture of
various types of
Nata or some
other ragas mixed
up with Nata.
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Napumsaka Ragas (13 - From which no janya ragas can be derived)

S.M B.B Br.D S.R

Kaisiki :refers Appears as Bhasha of panchama Bhasha of suddha

to as a napusaka a bhasha of p - nyasa panchama, m, p are
raga supposedly suddha panchama m- amsa profusely used. p -
do not have and is a ni - weak. Graha amsa nyasa;
bhashas. Therefore sampurna raga. It is a sankeerna m- apanyasa; high
it can'not be a p - thrice imp. bhasha occurs S, G & M are used
jathi or grama It is known as from the period
raga. It bears a Bhashanga. ofBharata.
name of the jathi
derived from
madhyama grama

Lalitha
In the general Lalitha appears Dhannashi is a
list of sangTta as a Bhasha of shadava raga
makaranda Takka and omitting 'r', with
Bhinnashadja shadja as s.

Dhannasi Dhannasi is amsa & graha while

audava-omitting mentioned among madhyama is a
r & d with graha the gandhara nyasa swara
note as sa. grama ragas

Kuranji
Shadava - ni Gurunjika is
is omitted & m mentioned in the
as graha prakprasidha ragas.
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Suddha
Ancient bhasha Does not
ofBhinna Shadja mention it.
d is prominent and
concluding note.
Audava raga omits
ri & pa. It appears
as a allied raga of malava
kaisiki which in
sampurna, m - graha,
d - nyasa.

Kaumodaki Kumudakri
Kriyanga raga Kumudakri is
of shadja grama mentioned in the
list of past popular
ragas & Kamodika
mentioned in the
present popular ragas.

Ramakri Kriyanga raga Ramakriti is mentioned

Neuter raga of shadja grama by S.R.
ri - dha - omitted Shadava-Bhashanga
ga - graha of kolahala.
Ramkriti & p - varJya
Ramakriya are m - amsa
different according s - nyasa
to Narada.

Saveri Ancient raga Derived from

Noon raga shadava, p varja Raganti bhasha of
d - graha nyasa grama raga kakubha
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amsa p - omitted.
s - sparingly used.
m - graha, amsa
d-nyasa
Nanya Deva another writer describes it as a vibhasha ofRoopa sadharita.

Balahamsa
Noon raga
g - graha
sampiirna

Samavedi
Morning raga

Sankarabharana Purvaprasidha raga .

Noon raga

The purpose of these statements on similar ragas m different works is to

form an idea on the development of ragas.

In order to understand our traditional culture we have to preserve all these

works. It is the duty of each and every music lover to study our lakshana
granthas through the views of the writers itself ignoring the conflicts that
happened here and there.

All the lakshana grandhas including those which are not famous also
become a part of the chain of tradition. They provide material to study the
continuity of our raga tradition. Both S.R. and S.S. are prominent texts and they
are dealt within detail in the following chapters. It is intersting to see that some
very old ragas could resist all the innovations and preserve their ancient
characterstics up to the modern time.