In this post, I’ll talk about a number of related topics, a follow up on Intro (1).

Melakartha System

As explained earlier, the classification of the foundational ragas (melakarthas) is based on the 72-melakartha system propounded by Govindacharya. This was a modified fom of the 72 mekartha system proposed by Venkatamakhi.

The melakarthas are divided into 12 ‘chakras’ (चक्र), 6 each for suddha madhyama (m1) ragas and prathi madhyama (m2) ragas. The table shows the chart of melakarthas as per the prevalent 72-melakartha system of classification.

Sri Thyagaraja followed the sampoorna mela paddhati of melas. However, Mudduswamy Deekshitar followed the “asampurna mela paddhati”. For example, the names of ragas which he often included as a part of the lyrics in his compositions use the older system of classification. 

Both systems were in vogue during the time of the trinity of karnatic music; however, only the sampoorna mela system is used today for all pratical purposes. In the sampoorna melakartha system, the janaka ragas (foundational ragas) have all seven notes and no note is omitted. Hence they are called ‘sampoorna’ (complete). The 72 melakarthas are grouped into 12 “chakras” each consisting of 6 ragas, as given here.

Katapayadi Sankhya

Katapayadi system is a way of using nmemonics of letters (consonants for most part) to denote numbers for easier remembrance. The melakartha paddhati uses this feature so that the number of the mela can be found out from the first two letters of the name of the raga.

1	2	3	4	5	6	7	8	9	0
ka क	kha ख	ga ग	gha घ	nga ङ	ca च	cha छ	ja ज	jha झ	nya ञ
ṭa ट	ṭha ठ	ḍa ड	ḍha ढ	ṇa ण	ta त	tha थ	da द	dha ध	na न
pa प	pha फ	ba ब	bha भ	ma म
ya य	ra र	la ल	va व	śha श	sha ष	sa स	ha ह

Using the above, the following are examples of its usage.

‘dheerasankarabharanam’ – the root sounds of first two syllables are ‘dha’ (from “dhee”) and ‘ra”, ie., 9 and 2. We swap the numbers and we get 29. Dheerasankarabharanam is melakartha number 29.

‘hanumathodi’ – first two letters are ‘ha’ and ‘na’ ie., 8 and 0. We swap the digits, and we get 08.  Hanumatdoi has a melakartha number of 8.

‘mechakalyani’ – first two letters are ‘ma’ and ‘cha’, ie, 5 and 6. The mela number is 65.

‘maayamaalavagowla’ – the first two letters are ‘ma’ and ‘ya’ – 5 and 1 (melakartha is 15).

Concept of Graha, Nyasa, Jiva, Amsa and Raga   (ग्रह, न्यास, जीव, अंश, रागछाया) Swaras

Graha swaram is the starting note of a swara phrase, and the same note is repeated often. Jiva swaram is the ‘soul’ of a raga, which stand out in the scale of a raga and are highlighted often while singing. Jiva swaras bring out the individuality of a raga. Nyasa swaras are the swaras that are used to end a phrase of notes. Amsa swaras are the notes on which a pause can be made during the rendering of raga phrases. Amsa swara thus plays the role of a Jiva swara as well as a nyasa swara. Raga Chaya swaras are the ones which exhibit the key attributes of the raga. Durbala swaras are the ones present in a raga, but are not highlighted much during the rendering. Examples of each are:

• G and N are Jeeva swaras of Hamsadwani. All the swaras can be classified as amsa or nyasa swaras.

• G an N of Arabi are durbala swaras. P is amsa swara and R, M and D are nyasa/jeeva/raga chaya swaras.

• All swaras of the raga ‘sankarabharana’ can be cosidered as jeeva swaras, as each one plays an important role in the shape of the raga. G and P are amsa swaras. M, P and N are nyasa swaras.

• In raga ‘kambhoji’, G, M, P, D are nyasa swaras. D should not be used as an amsa swara (ie, elongated inside a swara pattern). M, D and N (both N2 and N3) are jeeva swaras.
  

Concept of Vadi, Anuvadi, Samvadi & Vivadi (वादि, आनुवादि, संवादि, विवादि) Notes

Swaras are also categorised based on the relationship between two swaras.  Vadi is the main or strong note of a raga, which can be used as an amsa or a jeeva swara.  This will vary from raga to raga. “S” is a vadi swara for all ragas, though.

A note in a raga is ‘Samvadi’ if its relationship with Vadi swara is that of ‘consonance’, ie, produces a pleasing effect when these two notes are sung together. The inteval between the two notes causes the pleasing effect. S-M and S-P are examples. Other examples: R2-P, R2-D2, etc.

Vivadi swaras are the ones which produce a dissonace when sung together with Vadi swaras. The interval between the notes cause this dissonant effect, called ‘vivadi dosha’. Examples : R1-G1,R3-G3, D3-N3. The melakartha ragas that have such a sequence of notes are called vivadi melas. Kanakangi, Ratnangi, Jhalavarali and Natta are examples of vivadi melas. 40 out of 72 melakarthas are classified as vivadi melas. (All melakarthas with notes R1-G1, R3-G3, D1-N1 and D3-N3. Which are: all ragas in Chakras 1, 6, 7, 12 and first and last raga of rest of the Chakras ).

Anuvadi swaras are neither consonant nor dissonant. When sounded together, these two notes are neither jarring nor very pleasing. Eg: R2-G3, M1-P,  D1-S, etc.

Ragas and their Classification

Ragas can be classified in different ways, based of a chosen criteria. A raga should contain at least 4 notes, as per traditional system. Based on the number of notes in its arohana and avarohana (scales), ragas can be classifed as svarantara (4 notes), audava(5 notes), shadava (6 notes) and sampurna (7 notes). 

Examples:

Mohanam (s r g p d S – S d p g r s) is an audava-audava raga (ie, it has 5 notes in its arohana and avarohana). The higher “S” is not counted as it is a repeation of the “s” in the higher octave.

Navarasa Kannada (sgmpS – Sndmgrs) is a svarntara-shadava raga.

Another way to categorise is to look at the scale of the raga in a different light. If the scale has a zig-zag pattern (ie not sequential notes), then it is called a ‘vakra raga’. Eg: sgrgmpdpS – Sndpmgrs is Begada, a vakra-sampoorna raga.

Since all janya ragas are derived from a parent raga (janaka ragas) which is a melakartha, sometimes we also look at ragas based on the parent-child relationship. If the janya raga uses notes only from the parent scale (melakartha), then it is called a upanga (उपाङ्ग) raga. If it uses notes not found in the parent raga, then it is called a bhashanga (भाषाङ्ग) raga. 

Examples: Kambhoni is a bhasanga shadava-sampurna raga (derived from 28th melakartha “harikambhoji”).

Raga Lakshanas of some Popular Ragas

You may refer to some of the theory books for the same. I will be posting more on this topic in coming days….