Melakarta

Mēḷakarta is a collection of fundamental musical scales (ragas) in Carnatic music (South Indian
classical music). Mēḷakarta ragas are parent ragas (hence known as janaka ragas) from which other
ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well,
though the latter term is inaccurate, as a sampurna raga need not be a melakarta (take the raga
Bhairavi, for example).

In Hindustani music the thaat is equivalent of Melakarta. There are 10 thaats in Hindustani music,
though the commonly accepted melakarta scheme has 72 ragas.

Contents
Rules for Mēḷakarta
History
Determining the Mēḷakarta
Mēḷakarta scale
Chakras
Table of Melakarta ragas
Alternate Mēḷakarta scheme
See also
References
External links

Rules for Mēḷakarta

Ragas must contain the following characteristics to be considered Melakarta.

They are sampurna ragas – they contain all seven swaras (notes) of the octave in both ascending
and descending scale[1][2]
They are krama sampurna ragas – that is the sequence is strictly ascending and descending in the
scales, without any jumps or zig-zag notes[2]
The upper shadjam is included in the raga scale[2] (ragas like Punnagavarali and Chenchurutti are
not mēḷakarta as they end with nishadam)
The ascending and descending scales must have the same notes[2]

History
The mēḷa system of ragas was first propounded by Raamamaatya in his work Svaramelakalanidhi c.
1550. He is considered the father of mela system of ragas. Later, Venkatamakhin, a gifted musicologist
in the 17th century, expounded a new mela system known today as mēḷakarta in his work Chaturdandi
Prakaasikaa.[3] He made some bold and controversial claims and defined somewhat arbitrarily 6
svaras from the known 12 semitones, at that time, to arrive at 72 mēḷakarta ragas. The controversial
parts relate to double counting of R2 (and similar svaras) and his exclusive selection of madyamas for
which there is no specific reasoning (also known as asampurna melas as opposed to sampurna ragas).
However, today the 72 mēḷakarta ragas use a standardized pattern, unlike Venkatamakhi's pattern, and
have gained a significant following. Govindhacharya is credited with the standardization of rules and
known for giving different names for standard ragas that have a different structure but the same swaras
as those proposed by Venkatamakhi.[3] The scales in this page are those proposed by Govindaacharya.

Determining the Mēḷakarta

A hundred years after Venkatamakhin's time the Katapayadi sankhya rule came to be applied to the
nomenclature of the mēḷakarta ragas. The sankhya associates Sanskrit consonants with digits. The
digits corresponding to the first two syllables of the name of a raga, when reversed, give the index of the
raga. Thus the scale of a mēḷakarta raga can be easily derived from its name.

For example, Harikambhoji raga starts with syllables Ha and ri, which have numbers 8 and 2 associated
with them. Reversing them we get 28. Hence Harikambhoji is the 28th Mēḷakarta rāga. See Katapayadi
sankhya for more details and examples.

Mēḷakarta scale
Each mēḷakarta raga has a different scale. This scheme envisages the lower Sa (Keezh Shadja), upper Sa
(Mael Shadja) and Pa (Panchama) as fixed swaras, with the Ma (Madhyama) having two variants and
the remaining swaras Ri (Rishabha), Ga (Gandhaara), Dha (Dhaivata) and Ni (Nishaada) as having
three variants each. This leads to 72 seven-note combinations (scales) referred to as the Mēḷakarta ragas
as follows.

There are twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3
(see swaras in Carnatic music for explanation of these notations). A melakarta raga must necessarily
have S and P, one of the M's, one each of the R's and G's, and one each of the D's and N's. Also, R must
necessarily precede G and D must precede N (krama sampūrṇa rāga). This gives 2 × 6 × 6 = 72 ragas.
Finding mēḷakarta ragas is a mathematical process. By following a simple set of rules we can find the
corresponding raga and the scale associated with it.

A raga which has a subset of svarās from a Mēḷakarta raga is said to be a janya (means born or derived
from) of that Mēḷakarta raga. Every raga is the janya of a mēḷakarta raga. Janya ragas whose notes are
found in more than one mēḷakarta raga are assigned (or associated) parent Melakarta based on
subjective notions of similarity. This is obvious for ragas that have less than seven notes. For such ragas
it can be associated with a Mēḷakarta which has any of the different swaras in that position. For
example, Hindolam has Rishabha and Panchama missing. Hence, it could be considered a janya of Todi
(also known as Hanumatodi) which has shuddha rishabha or with Natabhairavi which has a
chathushruti rishabha. It is popularly associated with Natabhairavi.
Chakras
The 72 Mēḷakarta ragas are split into 12 groups called chakrās,
each containing 6 ragas. The ragas within the chakra differ only
in the dhaivatam and nishadam notes (D and N), as illustrated
below. The name of each of the 12 chakras suggest their ordinal
number as well.[1][4]

Indu stands for the moon, of which we have only one –

hence it is the first chakra.
Nētra means eyes, of which we have two – hence it is the
second.
Agni is the third chakra it indicates three kinds of Agni.
(Dakshina, Ahavaniyam and gArhapatyam)So agni indicates Melakarta chart as per Katapayādi
3rd Chakra. Vanaspati is a rāgam system.in (On the prati-madhyamam side,
all instances of ni2da3 should instead say
Vēda denoting four Vedas is the name ofCarnatic
the fourthmusic.
chakra.It is the 4th
ni3da2.)
Bāṇa comes fifth as it stands for the five melakarta
Arrows of rāgam in the 72
Manmatha. melakarta rāgams of Carnatic
Rutu is the sixth chakra standing for the 6music,
seasons offollowing
Hindu calendar, thewhich are Vasanta,
Greeshma, Varsha, Sharat, Hemanta andKatapayadi
Shishira. sankhya system.
Rishi, meaning sage, is the seventh chakra In the Muthuswami
representing Dikshitar
the seven sages.
Vasu stands for the eight vasus of Hinduism.school of music, this raga is
Brahma comes next of which there are 9.called Bhānumati.
Disi Chakra indicates Ten directions(East, West, North, South, North East, North West, South East,
South West, Above and Below). Hence it is 10th Chakra.
Eleventh chakra is Rudra of which there are eleven.
Twelfth comes Aditya of which there are twelve.
These 12 chakras were also established by Venkatamakhi.

Table of Melakarta ragas

The 72 Mēḷakarta ragas can be divided into two parts. viz.,. suddha Madhyama and prati
Madhyama ragas. When a given suddha madhyama raga's M1 is replaced by M2, we get the
corresponding prati madhyama raga. See Katapayadi sankhya for more information on how to derive
the various swaras of a raga from its melakarta number.

See swaras in Carnatic music for explanation of the notations like R1, G2, N2, etc.

'Mēḷakartā Rāgas'
'Shuddha Madhyama' 'Prati Madhyama'

No. Raga Scale No. Raga Scale

1.Indu Chakra 7. Rishi Chakra

1 Kanakangi S R₁ G₁ M₁ P D₁ N₁ Ṡ 37 Salagam S R₁ G₁ M₂ P D₁ N₁ Ṡ

2 Ratnangi S R₁ G₁ M₁ P D₁ N₂ Ṡ 38 Jalarnavam S R₁ G₁ M₂ P D₁ N₂ Ṡ

3 Ganamurti S R₁ G₁ M₁ P D₁ N₃ Ṡ 39 Jhalavarali S R₁ G₁ M₂ P D₁ N₃ Ṡ

4 Vanaspati S R₁ G₁ M₁ P D₂ N₂ Ṡ 40 Navaneetam S R₁ G₁ M₂ P D₂ N₂ Ṡ
5 Manavati S R₁ G₁ M₁ P D₂ N₃ Ṡ 41 Pavani S R₁ G₁ M₂ P D₂ N₃ Ṡ

6 Tanarupi S R₁ G₁ M₁ P D₃ N₃ Ṡ 42 Raghupriya S R₁ G₁ M₂ P D₃ N₃ Ṡ

2. Netra Chakra 8. Vasu Chakra

7 Senavati S R₁ G₂ M₁ P D₁ N₁ Ṡ 43 Gavambhodi S R₁ G₂ M₂ P D₁ N₁ Ṡ

8 Hanumatodi S R₁ G₂ M₁ P D₁ N₂ Ṡ 44 Bhavapriya S R₁ G₂ M₂ P D₁ N₂ Ṡ

9 Dhenuka S R₁ G₂ M₁ P D₁ N₃ Ṡ 45 Shubhapantuvarali S R₁ G₂ M₂ P D₁ N₃ Ṡ

10 Natakapriya S R₁ G₂ M₁ P D₂ N₂ Ṡ 46 Shadvidamargini S R₁ G₂ M₂ P D₂ N₂ Ṡ

11 Kokilapriya S R₁ G₂ M₁ P D₂ N₃ Ṡ 47 Suvarnangi S R₁ G₂ M₂ P D₂ N₃ Ṡ

12 Rupavati S R₁ G₂ M₁ P D₃ N₃ Ṡ 48 Divyamani S R₁ G₂ M₂ P D₃ N₃ Ṡ

3. Agni Chakra 9. Brahma Chakra

13 Gayakapriya S R₁ G₃ M₁ P D₁ N₁ Ṡ 49 Dhavalambari S R₁ G₃ M₂ P D₁ N₁ Ṡ

14 Vakulabharanam S R₁ G₃ M₁ P D₁ N₂ Ṡ 50 Namanarayani S R₁ G₃ M₂ P D₁ N₂ Ṡ

15 Mayamalavagowla S R₁ G₃ M₁ P D₁ N₃ Ṡ 51 Kamavardani S R₁ G₃ M₂ P D₁ N₃ Ṡ

16 Chakravakam S R₁ G₃ M₁ P D₂ N₂ Ṡ 52 Ramapriya S R₁ G₃ M₂ P D₂ N₂ Ṡ

17 Suryakantam S R₁ G₃ M₁ P D₂ N₃ Ṡ 53 Gamanashrama S R₁ G₃ M₂ P D₂ N₃ Ṡ

18 Hatakambari S R₁ G₃ M₁ P D₃ N₃ Ṡ 54 Vishwambari S R₁ G₃ M₂ P D₃ N₃ Ṡ

4. Veda Chakra 10. Disi Chakra

19 Jhankaradhwani S R₂ G₂ M₁ P D₁ N₁ Ṡ 55 Shamalangi S R₂ G₂ M₂ P D₁ N₁ Ṡ

20 Natabhairavi S R₂ G₂ M₁ P D₁ N₂ Ṡ 56 Shanmukhapriya S R₂ G₂ M₂ P D₁ N₂ Ṡ

21 Keeravani S R₂ G₂ M₁ P D₁ N₃ Ṡ 57 Simhendramadhyamam S R₂ G₂ M₂ P D₁ N₃ Ṡ

22 Kharaharapriya S R₂ G₂ M₁ P D₂ N₂ Ṡ 58 Hemavati S R₂ G₂ M₂ P D₂ N₂ Ṡ

23 Gourimanohari S R₂ G₂ M₁ P D₂ N₃ Ṡ 59 Dharmavati S R₂ G₂ M₂ P D₂ N₃ Ṡ

24 Varunapriya S R₂ G₂ M₁ P D₃ N₃ Ṡ 60 Neetimati S R₂ G₂ M₂ P D₃ N₃ Ṡ

5. Bana Chakra 11. Rudra Chakra

25 Mararanjani S R₂ G₃ M₁ P D₁ N₁ Ṡ 61 Kantamani S R₂ G₃ M₂ P D₁ N₁ Ṡ

26 Charukesi S R₂ G₃ M₁ P D₁ N₂ Ṡ 62 Rishabhapriya S R₂ G₃ M₂ P D₁ N₂ Ṡ

27 Sarasangi S R₂ G₃ M₁ P D₁ N₃ Ṡ 63 Latangi S R₂ G₃ M₂ P D₁ N₃ Ṡ

28 Harikambhoji S R₂ G₃ M₁ P D₂ N₂ Ṡ 64 Vachaspati S R₂ G₃ M₂ P D₂ N₂ Ṡ

29 Dheerasankarabaranam S R₂ G₃ M₁ P D₂ N₃ Ṡ 65 Mechakalyani S R₂ G₃ M₂ P D₂ N₃ Ṡ

30 Naganandini S R₂ G₃ M₁ P D₃ N₃ Ṡ 66 Chitrambari S R₂ G₃ M₂ P D₃ N₃ Ṡ

6. Rutu Chakra 12. Aditya Chakra

31 Yagapriya S R₃ G₃ M₁ P D₁ N₁ Ṡ 67 Sucharitra S R₃ G₃ M₂ P D₁ N₁ Ṡ

32 Ragavardhini S R₃ G₃ M₁ P D₁ N₂ Ṡ 68 Jyoti swarupini S R₃ G₃ M₂ P D₁ N₂ Ṡ

33 Gangeyabhushani S R₃ G₃ M₁ P D₁ N₃ Ṡ 69 Dhatuvardani S R₃ G₃ M₂ P D₁ N₃ Ṡ

34 Vagadheeswari S R₃ G₃ M₁ P D₂ N₂ Ṡ 70 Nasikabhushani S R₃ G₃ M₂ P D₂ N₂ Ṡ

35 Shulini S R₃ G₃ M₁ P D₂ N₃ Ṡ 71 Kosalam S R₃ G₃ M₂ P D₂ N₃ Ṡ

36 Chalanata S R₃ G₃ M₁ P D₃ N₃ Ṡ 72 Rasikapriya S R₃ G₃ M₂ P D₃ N₃ Ṡ
Alternate Mēḷakarta scheme
Muthuswami Dikshitar school followed a different set of scales as the 72 Mēḷakarta ragas.[5] These were
taught by Venkatamakhin.[3] Many of the scales were asampurna (not sampurna ragas) because
Dikshitar chose to follow the earlier established structure to mitigate ill-effects of usage of direct vivadi
swaras in the scales.[3]

See also
Janya raga
List of Janya Ragas
Illustration of the notes in Melakarta ragas in a Keyboard layout at Wikimedia commons
Katapayadi system
List of film songs based on ragas

References
1. Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
2. A practical course in Carnatic music by Prof. P. Sambamurthy, 15th edition published 1998, The
Indian Music publishing house
3. Shree Muthuswami Dikshitar Keertanaigal, by A Sundaram Iyer, Madras Book Publications,
Mylapore, Chennai
4. South Indian Music Book III, by Prof. P Sambamoorthy, Published 1973, The Indian Music
Publishing House
5. Shree Muthuswami Dikshitar Keerthanaigal, Appendix III and IV, by A Sundaram Iyer of
Kallidaikurichi, Music Books Publishers, Mylapore, Chennai

External links
The katapayadi sankhya applied to the melakarta ragas (http://members.tripod.com/~RKSanka/musi
c/katapaya.html)
Explanation of the two melakarta systems (http://webspace.webring.com/people/dv/vasudevanvrv/ca
rnatic/mela.htm)
Explanation of the melakarta and demonstration of ragas with piano keys (https://web.archive.org/w
eb/20060723184530/http://hkhandrika.blinkk.com/music/)
Melakarta Raga Chart (http://www.carnaticcorner.com/articles/mukund_chart.htm)
Explanation of the 72 Melakartas composed by Shuddhananda Bharati (http://www.christianpiaget.c
h/photos/Pdf/Anglais/72_Melagartams.pdf)

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