From 12 musical notes to 16 svaras in Carnatic music — the brilliance of Venkatamakhi | by KavyaVriksha | KavyaVriksha | Medium.
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MeLakarta and ragaanga systems..
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sam
- Posts: 441
- Joined: 04 Mar 2020, 20:25
Re: MeLakarta and ragaanga systems..
Ragas of Dikshitar’s School
Sri Muthuswami Dikshitar’s school of music has a different name for the melakarta ragas. Following table lists out the names of ragas in Dikshitar school vs. Govindacharya school.
1 kanakAmbari kanakAHNgi
2 phEnadyuti r atnAHNgi
3 gAnasAmavarALi gAnamUrTiq
4 bhAnumati vanaspati
5 manO ani mAnavati
6 tanukIrTi tAnarUpi
7 sEnAgraNi sEnApati
8 janatODi hanumatODi
9 dhunibhinnaSaDjaM dhEnuka
10 naTAbharaNaM nATakapriya
11 kOkilAravaM kOkilapriya
12 rUpavati rupavati
13 gEyahEjjajji gAyakapriya
14 vATI vasantabhairavi
vakuLAbharaNaM
15 mAyAmALavagauLa
mayamalavagowla
16 tOyavEgavAhini cakravAkaM
17 chAyAvati sUryakAntaM
18 jayashuddhamALavi
hATakAmbari
........
19 jhaHNkArabhramari
jhaHNkAradhvani
.
20 nArIrItigauLa naThabhairavi
21 kiraNAvaLi kIravANi
22 shrIrAgaM kharaharapriya
23 gaurIvELAvaLi gaurImanOhari
.
24 vIravasantaM varuNapriya
...
25 sharAvati mAraraHnjani
.
26 taraHNgiNi cArukEshi
27 saurasEna sarasAHNgi
28 harikEdAragauLa harikAmbhOji
29 dhIrashaHNkarAbharaNaM
dhIrashaHNkarAbharaNaM
.
30 nAgAbharaNaM nAgAnandini
....
31 kalAvati yAgapriya
.
32 rAgacUDAmaNi rAgavardhani
33 gaHNgAtaraHNgiNi
gaHNgEyabhUSaNi
34 bhOgachAyAnATa
vAgadIshvari
35 shailadEshAkSi shUlini
.
36 calanATa calanATa
.........
37 saugandhini sAlagaM
.
38 jaganmOhinaM jalArNavaM
39 dhAlivarALi jhAlavarALi
40 nabhOmaNi navanItaM
41 kumbhini pAvani
.
42 ravikriya raghupriya
..........
43 gIrvANi gavambOdi
.
44 bhavAni bhavapriya
45 shivapantuvarALi
shubhapantuvarALi
46 stavarAjaM SaDvidhamArgiNi
47 sauvIraM suvarnangi
.
48 jIvantikA divyamaNi
............
49 dhavaLAHNgaM dhavaLAmbari
.
50 nAmadEshi nAmanArAyaNi
51 kAshIrAmakriya kAmavarDhani
52 ramAmanOhari rAmapriya
53 gamakakriya gamanAshrama
.
54 vamshavati vishvambhari
.......
55 shyAmaLaM shyAmaLAHNgi
.
56 cAmaraM SaNmukhapriya
57 sumadyuti
simhEndramadhyamaM
58 dEshIsimhAravaM
hEmavati
59 dhAmavati dharmavati
.
60 niSadhaM nItimati
.......
61 kuntaLaM kAntAmaNi
.
62 ratipriya riSabhapriya.
63 gItapriya latAngi
64 bhUSAvati vAcaspati
65 shAntakalyANi mEcakalyANi
66 caturaHNgiNi citrAmbari
...............
67 santAnamaHnjari sucaritra
..
68 jyOti jyOtisvarUpiNi
69 dhautapanchamaM
dhAtuvarDhani
70 nAsAmaNi nAsikAbhUSaNi
71 kusumAkaraM kOsalaM
72 rasamaHnjari rasikapriya
Sri Muthuswami Dikshitar’s school of music has a different name for the melakarta ragas. Following table lists out the names of ragas in Dikshitar school vs. Govindacharya school.
1 kanakAmbari kanakAHNgi
2 phEnadyuti r atnAHNgi
3 gAnasAmavarALi gAnamUrTiq
4 bhAnumati vanaspati
5 manO ani mAnavati
6 tanukIrTi tAnarUpi
7 sEnAgraNi sEnApati
8 janatODi hanumatODi
9 dhunibhinnaSaDjaM dhEnuka
10 naTAbharaNaM nATakapriya
11 kOkilAravaM kOkilapriya
12 rUpavati rupavati
13 gEyahEjjajji gAyakapriya
14 vATI vasantabhairavi
vakuLAbharaNaM
15 mAyAmALavagauLa
mayamalavagowla
16 tOyavEgavAhini cakravAkaM
17 chAyAvati sUryakAntaM
18 jayashuddhamALavi
hATakAmbari
........
19 jhaHNkArabhramari
jhaHNkAradhvani
.
20 nArIrItigauLa naThabhairavi
21 kiraNAvaLi kIravANi
22 shrIrAgaM kharaharapriya
23 gaurIvELAvaLi gaurImanOhari
.
24 vIravasantaM varuNapriya
...
25 sharAvati mAraraHnjani
.
26 taraHNgiNi cArukEshi
27 saurasEna sarasAHNgi
28 harikEdAragauLa harikAmbhOji
29 dhIrashaHNkarAbharaNaM
dhIrashaHNkarAbharaNaM
.
30 nAgAbharaNaM nAgAnandini
....
31 kalAvati yAgapriya
.
32 rAgacUDAmaNi rAgavardhani
33 gaHNgAtaraHNgiNi
gaHNgEyabhUSaNi
34 bhOgachAyAnATa
vAgadIshvari
35 shailadEshAkSi shUlini
.
36 calanATa calanATa
.........
37 saugandhini sAlagaM
.
38 jaganmOhinaM jalArNavaM
39 dhAlivarALi jhAlavarALi
40 nabhOmaNi navanItaM
41 kumbhini pAvani
.
42 ravikriya raghupriya
..........
43 gIrvANi gavambOdi
.
44 bhavAni bhavapriya
45 shivapantuvarALi
shubhapantuvarALi
46 stavarAjaM SaDvidhamArgiNi
47 sauvIraM suvarnangi
.
48 jIvantikA divyamaNi
............
49 dhavaLAHNgaM dhavaLAmbari
.
50 nAmadEshi nAmanArAyaNi
51 kAshIrAmakriya kAmavarDhani
52 ramAmanOhari rAmapriya
53 gamakakriya gamanAshrama
.
54 vamshavati vishvambhari
.......
55 shyAmaLaM shyAmaLAHNgi
.
56 cAmaraM SaNmukhapriya
57 sumadyuti
simhEndramadhyamaM
58 dEshIsimhAravaM
hEmavati
59 dhAmavati dharmavati
.
60 niSadhaM nItimati
.......
61 kuntaLaM kAntAmaNi
.
62 ratipriya riSabhapriya.
63 gItapriya latAngi
64 bhUSAvati vAcaspati
65 shAntakalyANi mEcakalyANi
66 caturaHNgiNi citrAmbari
...............
67 santAnamaHnjari sucaritra
..
68 jyOti jyOtisvarUpiNi
69 dhautapanchamaM
dhAtuvarDhani
70 nAsAmaNi nAsikAbhUSaNi
71 kusumAkaraM kOsalaM
72 rasamaHnjari rasikapriya
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shankarank
- Posts: 4106
- Joined: 15 Jun 2009, 07:16
Re: MeLakarta and ragaanga systems..
vivAdis do their job of producing some kind of lilt. Even there SrI Venkatamakhin could not go beyond 72 - as his famous Sloka is expounded with a grand statement "anda paramaSivanE sonnAlum idai maatramuDiyaatu" - "even Lord Siva cannot change it"
You have these lower Ni(s) , ga(s), Higher da(s), ri(s), but have you wondered why you don't have a dvigaandhara or dvi-niShaada, or dvi-daivata rAgAs? That is the Siva limit! Here G2-G3 is quite not dvigandhara, because one assumes the role of a riShabham meaning both R(s) have to be absent.
But then those pairs come in the form of BhashAnga vakra prayOgAs exploiting the vAdi-samvAdi relationship! As in SauraShtram, Ananda bhairavi, kApi, Bhairavi, BegaDa/kambodhi's alpa prayOgas etc. Siva already did his work around ( pun intended!) as many of these pre-date the 72 formulation or came up independently.
dvi-madyama rAgAs were only explored recently and until then sort of approached as ma2-(ga3)->ma1 slide as in Hamir kalyANi.
Recently, TMK was seen making a statement singing Paras alongside HamirkalyAni in a viruttam, "engakiTTEyum innoru karnATakam sounding double madyama rAgAm irukku"
( We also have Carnatic sounding dvi madyama rAgas, beyond just sAranga)
And in the grand scheme, SrI Venkatamakin's Siva limit is dictated by the fact that there is a prakriti svara (S, P, M1) that goes with vivaadi to make the two consecutive semitones. That is a mitigation factor most of the time. Unless R3-G2-M2 where only one interval is semitone apart, stands alone. Here this is also considered vivAdi.
The mitigation factor is also noticed in how mayamaaLava gauLA is taught - as TNS explains - if a child gets Sa-pa-Sa, R1 and D1 are only a slight slide up and they can bring a sense of some rAgA. Semitones help here as they are close to prakriti svaras.
Somehow, R2-G2 (Karaharapriya cakra) is not considered vivAdi, though SrI Venkatamaki rAgAnga system lists SrI as the leader of the clan, which handles G2 carefully , like how vivaadi svarams themselves were handled by traditional vidvans especially on the descent, i.e. always slide up from the note below!
Traditional vidvans did not sing vivaadis , but as I heard from a violinist recently, they sang vaagadISvari , which vidvans like Sri SSI used to call them, nalla vivaadi ( a good vivaadi).
After that, compensate (dOSha nivaRti) by singing Madyamavati or something.
Today, if vivaadis are expounded elaborately, credit should actually go to to SSI who expounded Karaharapriya , as he did, providing the world with techniques to handle semitones - that is my thesis. That may have come from nagasvaram as well ultimately!
You have these lower Ni(s) , ga(s), Higher da(s), ri(s), but have you wondered why you don't have a dvigaandhara or dvi-niShaada, or dvi-daivata rAgAs? That is the Siva limit! Here G2-G3 is quite not dvigandhara, because one assumes the role of a riShabham meaning both R(s) have to be absent.
But then those pairs come in the form of BhashAnga vakra prayOgAs exploiting the vAdi-samvAdi relationship! As in SauraShtram, Ananda bhairavi, kApi, Bhairavi, BegaDa/kambodhi's alpa prayOgas etc. Siva already did his work around ( pun intended!) as many of these pre-date the 72 formulation or came up independently.
dvi-madyama rAgAs were only explored recently and until then sort of approached as ma2-(ga3)->ma1 slide as in Hamir kalyANi.
Recently, TMK was seen making a statement singing Paras alongside HamirkalyAni in a viruttam, "engakiTTEyum innoru karnATakam sounding double madyama rAgAm irukku"
( We also have Carnatic sounding dvi madyama rAgas, beyond just sAranga)And in the grand scheme, SrI Venkatamakin's Siva limit is dictated by the fact that there is a prakriti svara (S, P, M1) that goes with vivaadi to make the two consecutive semitones. That is a mitigation factor most of the time. Unless R3-G2-M2 where only one interval is semitone apart, stands alone. Here this is also considered vivAdi.
The mitigation factor is also noticed in how mayamaaLava gauLA is taught - as TNS explains - if a child gets Sa-pa-Sa, R1 and D1 are only a slight slide up and they can bring a sense of some rAgA. Semitones help here as they are close to prakriti svaras.
Somehow, R2-G2 (Karaharapriya cakra) is not considered vivAdi, though SrI Venkatamaki rAgAnga system lists SrI as the leader of the clan, which handles G2 carefully , like how vivaadi svarams themselves were handled by traditional vidvans especially on the descent, i.e. always slide up from the note below!
Traditional vidvans did not sing vivaadis , but as I heard from a violinist recently, they sang vaagadISvari , which vidvans like Sri SSI used to call them, nalla vivaadi ( a good vivaadi).
After that, compensate (dOSha nivaRti) by singing Madyamavati or something.
Today, if vivaadis are expounded elaborately, credit should actually go to to SSI who expounded Karaharapriya , as he did, providing the world with techniques to handle semitones - that is my thesis. That may have come from nagasvaram as well ultimately!
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narayan
- Posts: 385
- Joined: 05 Oct 2008, 07:43
Re: MeLakarta and ragaanga systems..
My rather simplistic point regarding this, made somewhere or other in a similar discussion many years ago, but in a different context, is this. The sets of three adjacent notes that occur in these melakarta schemes are:
S-R1-R2, P-D1-D2 (with the S or P as beginning)
N2-N3-S (with S as ending)
N3-S-R, G2-G3-M1, M2-P-D1 (with the pleasing notes S, G3, P in the middle)
So one of S, P are at the beginning or end, to provide context and alignment, or one of S, P and G3 are in the middle, to provide some mooring to the phrase.
The glaring omission is M1-M2-P, which should have been included, for sure.
Other sets of three adjacent notes will be floating around too much, I guess and are not judged even borderline musical.
S-R1-R2, P-D1-D2 (with the S or P as beginning)
N2-N3-S (with S as ending)
N3-S-R, G2-G3-M1, M2-P-D1 (with the pleasing notes S, G3, P in the middle)
So one of S, P are at the beginning or end, to provide context and alignment, or one of S, P and G3 are in the middle, to provide some mooring to the phrase.
The glaring omission is M1-M2-P, which should have been included, for sure.
Other sets of three adjacent notes will be floating around too much, I guess and are not judged even borderline musical.
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shankarank
- Posts: 4106
- Joined: 15 Jun 2009, 07:16
Re: MeLakarta and ragaanga systems..
So G2-G3-M2 even without adjacent semitones did not fare well. In other combinations, you could get a varaLi or naTTai emerge, mitigating the vivaadi. But the last cakra is totally dry unless sung because: " oh! there is a composition"
A composition in kOSalam sung by Suryaprakash recently, all gamakas go missing in a scale close to kalyAni. Sapta nADis passivate.
And things like kuntaLam ( kaantamaNi), I see get marketed alongside kuntaLam, varALI, kuntalavarAli series like Gayathri Girish did in one Charsur album - just playing on names.
And in the rAgAnga raga system, supposedly handling the vivaadi dOsha, kuntaLam still makes semitone prominent by now making the semitonal jump p-d1 adjacent to a huge leap from d1-S.
A composition in kOSalam sung by Suryaprakash recently, all gamakas go missing in a scale close to kalyAni. Sapta nADis passivate.
And things like kuntaLam ( kaantamaNi), I see get marketed alongside kuntaLam, varALI, kuntalavarAli series like Gayathri Girish did in one Charsur album - just playing on names.
And in the rAgAnga raga system, supposedly handling the vivaadi dOsha, kuntaLam still makes semitone prominent by now making the semitonal jump p-d1 adjacent to a huge leap from d1-S.