MeLakarta and ragaanga systems..

[sam]

From 12 musical notes to 16 svaras in Carnatic music — the brilliance of Venkatamakhi | by KavyaVriksha | KavyaVriksha | Medium.

https://medium.com/kavyavriksha/from-12 ... -14564afbcc69

..

[sam]

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

[shankarank]

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!

[narayan]

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.

[shankarank]

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.

[sam]

The 22 Sruthis of Carnatic Music

https://www.carnaticcorner.com/articles/sruthis.html

......
A post in quora by satish iyer leadning carnatic music.
Follows.
*
If you count the distinct semitones, Carnatic music actually uses 22 divisions in an octave and not 12.

We DENOTE 12 notes to REPRESENT 22 frequencies. How ?

if we assigned fixed positions to Sa and Pa, the rest 10 notes are basketed into 20 frequencies each.

Sa R1 R2 R3 R4 G1 G2 G3 G4 M1 M2 M43 M4 P D1 D2 D3 D4 N1 N2 N3 N4 are the 22 frequency positions.

Here Suddha Rishabam occupies the frequency ranges R1 and R2
eg Gowlai, Saveri, Revathi etc uses Ekasruthi (R1) rishabam also called tivra suddha rishabam while Mayamalawagowla, Lalitha etc uses Dwisruthi Rishabam or R2. But When we are taught, we are being told all these ragams USE suddha rishabam. This is just for easiness. But when we learn Gowlai, we are asked to sing Ri as plain and steady to differentiate it.

Similarly ….

Chatusruthi Rishabam occupies the frequency ranges R3 and R4
eg Kharaharapriya (and janyams) uses trisruthi rishabam since their Ga value is lower while Shankarabharanam uses a distinct Chatusruthi (4th) rishabam.

Shatsruthi means 6, so 6th from R1 - so shatsruthi should be sung in G2, or the second value of Ga
eg Chalanattai, Nattai etc uses R6 or G2 , This is one of the reasons why Udayaravichandrika and Jog sound similar to Nattai, as they use the second sruthi of Ga

Suddha Gandharam - 6 positions down from G4 - so should be sung in R3 (Trisruthi value)
Kanakangi, Varali etc uses this Gandharam

Anthara Gandharam occupies G1 and G2
eg Ragams with less oscillation in Ga such as Sree Ragam, Dwijawanthi etc use the G1 while G2 is used by Anandabhairavi, Reethigowlai etc

Sadharana Gandharam occupies G3 and G4 - Shankarabharanam uses the G3 value while Gandhara vishesha ragams like Devagandhari, Neelambari , Kedaram uses the higher Ga. An interesting observation all higher Ga ragams use the higher Ni to match the vadi samvadi.

Suddha Madhyamam occupies M1 and M2. - M1 is used by most ragams like Sahana, Kedaragowlai etc while M2 is used by Begada, Saveri , Kamboji etc where Ma is a chaya swaram.

Prathi Madhyamam occupies M3 and M4 - M3 is used by Kalyani, Saranga etc while Varali occupies M4 (so close to Pa)

Thus if you see all the 22 notes can be distinctly sung. Only overlapping occurs for R6 = G2, D6 = N2 and R3 and D3 used as suddha swarams for G and N (eg Kanakangi)

So as the question mentions, “where r2=g1, r3=g2, d2=n1, d3=n2. While these semitones have the same frequencies” is wrong. They do not have same frequencies. They HAVE THE SAME REPRESENTATION.

All these theory are for mathematical and technical interpretation. When we sing the notes we sing the swaram with higher sruthi value or gamakam to intonate the difference.
"
Too tough.



...

[shankarank]

Anthara Gandharam occupies G1 and G2

Sadharana Gandharam occupies G3 and G4

These should be the other way. There is a mixed up inter change that needs corrected.

[shankarank]

Suddha Madhyamam occupies M1 and M2. - M1 is used by most ragams like Sahana, Kedaragowlai etc while M2 is used by Begada, Saveri , Kamboji etc where Ma is a chaya swaram.

This itself is enough to challenge the theory. 4/3 is a dominant ratio, a reciprocal of 3/2 - > 2/3 , the latter is brought up to normal base octave ( madya sthAyi)by multiplying by 2, so we get something between 1 ( normal AdhAra ShatJam) and 2 ( tAra sthAyi ShatJam.

This almost falls into a prakriti svara categorization , once you have pa = 3/2. Reason why they divided the mELas themselves into two sections 36 with Suddha madyama and 36 without it.

Now 4/3 or 3/2 or 5/4 are philosophies , not simply ratio values, the principle of which is based on harmonics of waveforms, which should be enunciated in English or any ordinary language thus:

The third harmonic of Adhara ShaTjam ( thAra sthAyi pancamam) equates itself to second harmonic of pancamam Since sounds of same frequency resonate with each other ( reinforce their amplitude) , there is resonance here, but the first harmonic of pancamam sort of stands apart , so the partial alternating resonance (4, 6) , (8, 12) causes what is called consonance

Reducing 3/2 = 1.5 or 1 and 1/2 does not carry this sense with it.

Now back to M1 - the Suddha madyamam, the multiple approaches to it seen in various rAgAs with well accentuated gamaka or relatively plain or with a jAru etc is only because it has this dominant 4/3 relation to Adhaara Shatja.

To define another spot for any such variation is non sensical. 4/3 is what we would call an expectation value ( average value or most probable value) of any perturbation around this neighborhood.

There have been lot of discussions in the forum. There was a study done by Arvind Krishnaswamy with actual measurements of rAgA expositions by stalwarts etc.

The 22-Sruti theory can be taken as a healthy speculation which reinforces this 3/2 or simple integer ratio principle up to 9/8 ( ChathSruti Rishabham) based on intra tetrachord interaction or conception of svaras with vAdi and samvAdi. In fact every mutually prime ratio for numbers below 10 gives a potential note position, if you were to find a note based on it's consonance with respect to Adhaara Shatjam.

6/5, 7/4, 7/5, 7/6, 8/7, 9/5, 8/5 etc.

https://en.wikipedia.org/wiki/Just_intonation

But once gamakas come in , these positions only become some sort of equilibrium values. Properties of sound production which indicate that higher and higher harmonics attenuate faster, making it impossible for human cognition to detect consonance based on such higher harmonics. So we enter the arena of informed speculation.

Even 16/15 the most plausible value for Suddha rishabam - a semitonal ratio is heavily fought against in traditional carnatic music. It is there in Siksha when students are trained in mAyA mALava gaula.

But the principle of consonance starting with 3/2 as the generator of notes and hence the basis of all music, still stands tall! It has been carried to analyze gamakas as well.

https://www.musicresearch.in/categoryde ... d_164.html

To try and define an exact note position beyond the simplest of ratios, in Carnatic music using this however, is like Brahma and Vishnu searching for ends of Siva svarUpam. We get into the problem of infinities.

Vid. Ravikiran once made a statement in the predecessor forum : Sruti anantam - and that still rings true to me.

[sam]

Shankarank Sir,
Thank you for your time.
Can we simplify as follows?

r1/r2 ..R.Low!
f3/f4..R.high
...
g1/g2..G low...
g3/g4..G high

m1/m2..M.low....
m3/m4.. M high
..
d1/d2.. D.low....
d3/d4.. D high

n1/n2.. N.low.....
n3/n4...N high
...1.
How would we represent karaharapriya
in sruthi notation?
2
Assuming a value of 100 as base,
What would be the values for
r1, r2, r3, r4
g1, g2, g3, g4
m1,m2,m3,m4
d1,d2,d3,d4
n1,n2,n3,n4
..
Is there any MK parent having the same higher R
.but diffrrent r?

I am trying to avoid using technical terms.
My harmonium kexboard in mind.
R low, R high, G,low ,G.high, M low, M high
D.low, D.high and N.low , N.high
.
Capital letter is key
Lowercase is sruthi.
.
Sri.Mohan IYer has given a table in the first cited link.
.
Does gamakam refer to getting r1 or r2 for rhe same R low key?

For example,
NATABAIRAVI D1N1
KEERVANI D1N2
KARAHARAPRIYA D2N1
GOWRIMANOHARI D2N2
By key notation, all the four have the same R and G.
Do they have different r and g by sruthi values?

[sam]

19
JANKARADHVANI..
S R2,G1..M1... P D1D2. S

20
NATABAIRAVI
S R2,G1..M1 P D1 N1 S

21
KEERVANI
S R2,G1..M1 P. . D1 N2 S

22
KARAHARAPRIYA
S R2,G1..M1 P.. D2 N1 S

23
GOWRIMANOHARI
S R2,G1..M1 P D2 N2 S

24
VARUNAPRIYA
S R2,G1..M1 P N1 N2 S
..
In this chakra, all the six meLa rAgams have
R2,G1..M1

But R2 can be either r3 or r4
And G1 can be either g1 or g2
.
May I know the exact sruti wise R and G for each meLa?

[sam]

https://22shruti.com/research_topic_24.asp