Understanding and remembering the melakarta ragas

This is a sequel to my previous post. This post is predominantly a consolidation of many of the theories we earlier discussed. So a quick glance into my previous posts on Theory of Music would help.

Remembering mela names:

 

Please refer to Wikipedia article for the melakarta raga table: https://en.wikipedia.org/wiki/Melakarta

Shuddha Madhyama – Ka Se Ga Cha Ma Ya

Ka indicates Kanakangi, the first raga in first chakra. Se indicates Senavati , the first   raga in netra chakra. Similarly below verse helps in remembering the first raga of the 6 prati  madyama groups.

Prati Madhyama – Sa Ga Dha Shya Kaa Su

• In order to find the mela number (assuming we have the name of the raga), use the Katapayadhi Sankhya. Choose a raga, pick the first two syllables of the raga name. Pick the corresponding number closest to the sound of the syllables from below table. Reverse the numbers to arrive at the mela number

e.g. Dheerashankarabarana where Dhee and Ra are the first two syllables

Dha (closest to Dhee) – 9

Ra – 2

Reverse it to get the mela number of the raga i.e. 29^th

Finding out the scale of a mela:

 As mentioned earlier, there are only 6 combinations of R & G and 6 combinations of D & N:

(a)  R1 G1, R1 G2, R1 G3, R2 G2, R2 G3, R3 G3

(b)  D1 N1, D1 N2, D1 N3, D2 N2, D2 N3, D3 N3

 S & P are constants for all 72 melas and the first 36 melas are with Shuddha Madhyama (M1) and next 36 melas are with prati madhyama (M2)

 In order to arrive at the murchana i.e. scale  (arohana – avarohana) of each mela, one should first know the chakra of the raga.

Every chakra repeats the following order of D & N within the 6 ragas in the chakra:

S R G M P D1 N1 S

S R G M P D1 N2 S

S R G M P D1 N3 S

S R G M P D2 N2 S

S R G M P D2 N3 S

S R G M P D3 N3 S

If we remember this, the only two other swaras left are R & G since we know S & P are constants and if the raga is one among the first 36 it would have a M1, if not an M2.

R & G will be as follows:

1^st and 7^th chakra:  R1 and G1

2^nd and 8^th chakra: R1 and G2

3^rd and 9^th chakra:  R1 and G3

4^th and 10^th chakra: R2 and G2

5^th and 11^th chakra: R2 and G3

6^th and 12^th chakra: R3 and G3

7^th chakra ragas are the prati madyama equivalent of ragas in 1^st chakra. Similarly the other parallels mentioned above are Shuddha & Prati Madhyama equivalents.

Just divide the raga by 6. If the mela number is divisible, the quotient would be chakra in which the raga falls into. If there are remainders, then quotient+1 is the chakra number and remainder represents the place of raga within the chakra.

Let us use an example and find out the scale of Shanmukhapriya, the 56^th mela.

S – Constant

R – This raga falls in 10^th chakra (56/6 = 9 is the quotient and 2 would be the remainder. Hence 10^th chakra and the raga is in 2^nd place of 10^th chakra) So R2

G – falls in 10^th chakra . So G2

M – falls in second group of 36 melas. Hence M2

P – Constant

D – second raga within the chakra. So D1

N – second raga within the chakra. So N2

Therefore the scale is S R2 G2 M2 P D1 N2 S

S N2 D1 P M2 G2 R2 S

But as always, practice makes perfect. So keep munching these thoughts in your brain and try this exercise on every mela that you come across.

References:

 Sri K.V.Narayanamurti sir (www.narayanmurti.com)

Dr Vasanta Madhavi’s book on Theory of Music

Thanks Wikipedia

Melakarta Ragas – Chakras

Understanding the mela ragas – I

 

In order to understand the structure of each mela raga, it is essential to know the different swaras that form the basis for these ragas. The mela ragas are also divided into twelve groups or chakras which are basis for finding out the scale of mela raga.

 

Etymology of Swaras and Chakras

 

Swaras:

 

Sa -Shadja : Shad means 6 in Sanskrit. Shadja meaning produced jointly by six organs of the body

Ri -Rishaba – Rishaba in Sanskrit means bull. Bulls are yoked in twos for agricultural operation, which may be the reason for indicating number 2

Ga- Gandhara – There is uncertainty on the etymology of this swara. Gandhara was a kingdom in Mahabharata. Mahabharata has several mentions of this musical note

Ma -Madhyama – Meaning centrally located

Dha- Dhaivata – Divine or pertaining to divinity, the Lord

Ni- Nishada – Nishada again was a kingdom (in vedic period) of courageous Nishada tribes . Guha of Ramayana and Ekalavya of Mahabharata, King Nala are popular Nishadas

 

There are Rishaba  & Dhaivata have 3 variants namely.  For the ease of reference let us call them R1, R2, R3 and D1, D2 D3.

 

Shuddha Rishaba/ Dhaivata–  Shuddha means pure

Chatusruthi Rishaba/Dhaivata – Chat meaning 4

Shadsruthi Rishaba/ Dhaivata – Shad meaning 6

 

Similarly, Gandhara has 3 variants –

 

Shuddha Gandhara (G1)

Sadharana Gandhara (G2) – Sadharana means common

Antara Gandhara (G3) – Antara means inside/inner

 

Nishada also has 3 variants :

 

Shuddha Nishada (N1)

Kaisiki Nishada ( N2) – Kaisiki means very fine line hair

Kakali NIshada (N3) – Kakali means low sweet tone

 

Madhyama has 2 variants:

 

Shuddha Madhyama (M1)

Prati Madhyama (M2) – Prati means opposite or counter

 

 

It is also quintessential to know about the chakras which classify the 72 ragas into 6 groups. The chakras are named after the things they represent, so it is quite easy to remember the names.

 

1.Indu chakra : Indu means moon in Sanskrit

2.Netra chakra : Netra meaning eyes.This indicates our two eyes

3.Agni chakra : 3 divya agnis as per Hinduism (Fire, Lightning and Sun)

4.Veda chakra : 4 Vedas Rig , Yajur, Sama, Atharva

5.Bana chakra : 5 banas (arrows) of Hindu God Manmatha which are Lily, Lotus, Jasmine, Ashoka flower, Mango Flower

6.Ritu chakra: 6 seasons as per Hindu calendar viz. Vasantha (Spring), Grishma (Summer), Varsha (Rainy), Sharad (Autumn), Hemant (Winter) , Shishir (Winter & fall)

7. Rishi chakra : Representing the sapta (seven) rishis – Vasistha, Bharadvaja, Jamadagni, Gautama, Atri, Visvamitra, and Agastya . Though there are several versions of the Sapta rishis

8.Vasu chakra – the eight Vasus , the attendant deities of Gods Indra /Vishnu. Agni (fire), Prithvi (earth), Vayu (wind) , Antariksha (space), Aditya (eternal/sun), dyaus (sky),chandramas (moon), nakshatrani (stars)

9. Brahma chakra – representing 9

10. Disi chakra representing the 10 directions (N,E,S,W,NE, NW, SW,SE,Akash (sky), Padal (nether)

11. Rudra chakra – rudra represents number eleven

12.Aditya chakra- representing 12 Adityas (Aṃśa, Aryaman, Bhaga, Dakṣa, Dhātṛ, Indra, Mitra, Ravi, Savitṛ, Sūrya or Arka, Varuṇa, Yama)

 

Let us call the chakras as 1^st chakra, 2^nd chakra and so on. In our next post, we will see how to arrive at the raga using the above chakras.

 

Irayimman Thampi

Irayimman Thampi ( 1782–1856)

He was born in Royal family of Travancore as Ravi Varman Thampi to  KeraLa Varma  TamprAn of ShErttalai palace,  and PArvati PiLLa Tangacci, daughter of Makairam Thirunal Ravivarma.. As it was the prevailing custom to name the eldest son by the grandfather’s name, Thampi’s real name was Ravi varman, which later became Iravi varman, and finally Irayimman, as he was affectionately called. Even as a young boy, Thampi’s aptitude towards music and poetry was very deep and, under the royal patronage, he could develop his various talents. He did not have any formal “guru” for music, and his abilities were mostly self-cultivated. He wrote his first poem when he was fourteen and dedicated it to Karthika Thirunal Dharmaraja of Travancore. Since then he occupied an enviable position in the Travancore court. Irayimman Thampi was already thirty one years of age when Swathi Thirunal Maharaja was born.  His most famous lullaby Omanathinkal Kidavo – set in Rāga Neelambari was written for the sake of the ruling Queen RANi gaurI lAkSmI bAi, to put to sleep none other that the newborn Swati Thirunal Maharaja. It is to be noted that there is no mention of the word “sleep” anywhere in this lullaby.This song also praises the birth of much needed male child into the royal dynasty which was slowly getting into the clutches of British.

He was married to the daughter of his maternal uncle and they had a girl child, Kutti Kunju Thankachi who was also a gifted composer and perhaps her father’s only disciple. Thampi had the privilege of enjoying the liberal patronage and protection of four kings Dharmaraja, Balarama Varma, Swathi Thirunal and Uthram Thirunal and two Queens Gouri Parvathy Bai and Gouri Lakshmi Bai . He was very closely associated with Vadivelu of the Thanjavur Quartette and Palghat Parameswara Bhagavathar. Maharaja Swati Tirunal made him the “Aasthana Kavi” and awarded him the `Virasinghala,’ a golden chain that was the highest honour at that time in Travancore.

There existed a healthy competition in composing songs between Swati Thirunal and Thampi, who was affectionately addressed as Thampi Maman by Swati Thirunal. Swathi Thirunal’s famous lyrics ‘Panchabanan thannudei…..’ and Thampi’s “Prananadhanenikku Nalkiya…..” were the results of such competitions

Thampi has composed songs on several gods/goddesses of nearby temples, namely  Lord padmAnabha of Tiruvanantapuram, shrI krSNa (of guruvAyUr temple, ambalapuzha temple, and neyyAttinkara), shiva, dEvi (ARRingal tiruvARaTTu bhagavati, paLLiyaRa bhAgavati, and kollattu cuRRumala shri pArvati).  He has also sung in praise of the queens, vancIshvari RANi gaurI pArvati bAi, and  RANi rukmiNi bAi (sister of Swati Thirunal).

Among the compositions of Thampi, the kriti “karuNa ceyvAn entu sAhasam kriSNA” on Lord  guruvAyUrappan is very popular and frequently heard in concerts.  Though composed originally in “shrI rAgam”, the musician Chembai VaidyanAtha BhAgavathr used to sing it in yadukula kAmbhOji, and it is equally pleasing. Among the many pada varNams Thampi composed, one in punnAgavarALi (“hAsAlOkE dhanya jAtA”) is a rare treasure, but unfortunately, it is not available in complete form due to the absence of ciTTa svarams and svara sAhityams. Thampi  used the mudra “padmanabha” in his compositions. “bhOgIndra shAyinam”  is often attributed to Swati Thirunal due to the presence of the mudra “padmanAbha”, but it was found in a hand-written manuscript of Thampi.  The rAgam was dhanyAsi. In his work, “kErala sangItam”, the author V. Madhavan Nair attributes it to Thampi. Thampi has composed songs in all rasas. His kritis contain numerous and lengthy caraNam lines.  Perhaps, he meant these songs not only to be sung in concert platforms, but as scholarly poems too, to be enjoyed by the readers. He has employed rakti rAgams like kAmbhOji, kalyANi, husEni, dhanyAshi, sAvEri, rItigauLa, mOhanam, bhairavi, madhyamAvati etc, as well as some rare rAgams like mAnji, jingaLa, kakubha, indIsha.  The last two are very rare.  The song “surabAsha hara” by Thampi is in kakubha, perhaps a janyam of mAyamAlavagauLa . The padam “ArODu colvan azhaluLLatellAm” is in indIsha rAgam, which was once a populart rAgam for the tuLLal songs of kuncan nambiaAr.The usage of dvitIyAkSara prAsam (rhyming in the second letter of each line), known as Edhugai in Tamil is found in most of Thampi’s musical and poetical works.

According to T. Lakshmanan Pillai, Irayimman Thampi has to his credit more that 500 compositions. But, only few of those compositions have survived, which include 39 keerthanams, 5 varNams, 23 padams and a few ATTAkkatha songs. Of the 39 keerthanams, 29 are in Sanskrit, and the remaining in malayALam.

While residing in an kizhakkE maDam, an almost-torn down old house, Irayimman Thampi wrotea verse  in maNipravALam, employing  shlESham (double meaning – comparing his old house to the epic bhAgavatam), and submitted it to MaharAjA Swati Thirunal .

Oh King! My house is  very very old (purANam)  just like the Epic bhAgavata purANam; those who glance through it will have immediate detachment (virakti), just like the feeling you get when you read the Epic; but there is one small difference —  my house  has no arttham (monetary value) whereas the epic is deep in arttham.

The King was immensely pleased with this poem, and immediately ordered the renovation of the house, to the fullest satisfaction of Irayimman.

On another occasion, there was a minor love-quarrel between Swati Thirunal and the wife, and it lasted for a few days. Irayimman wrote an appropriate love song, “prAnanAthanenikku nalkiya”  with shrigAra rasam in kAmbhOji for the queen, and requested the her to sung it loudly, when the King was passing through.  On hearing the song, the King understood everything, and there was complete reconciliation. This particular work of Thampi is one of the most beautiful shringAra padams available  in MalayALam. The composer, who penned the monumental toTTil pATTu (cradle lullaby) for Swati Thirunal,  lived long enough  to write a Charama shlOka (elegy) also for Swati Thirunal who died in 1846. Thampi lived  another 16 years and died in the year 1856.

Some of his Kritis (Compositions) are

•           Omanathinkal Kidavo – set in Rāga Neelambari

•           Karuna Cheyvan – set in Rāga Shriragam

•           Somapoma – set in Rāga Saveri

•           Aarodu Cholvene – set in Rāga Nadamakriya

•           Adimalar – set in Rāga Mukhari

•           Ambā gauri girikanyē – stava varNam – Ārabhi

•           Pāhimām giritanayē – sāvērī – miśra cāpu

•           Nityamāśrayē – rītigauḷa – Ādi

•           Kamalādikalām – khāmbhōji

Courtesy: Web

 

An English song by MS

Interesingly legend MS Subbulakshmi amma has sung an English song with piano as an accompaniment. This song, composed by Rajaji, was sung at the UN Assembly in 1966. The song was set to music by Handel Manuel, Producer of Western Music at AIR, Madras. The idea of an English song had come from Gen. Cariappa.  MS sang it first on October 21 at the Carnegie Hall, where C.V. Narasimhan presented her as the “First Lady of Carnatic Music.”

Here is the lyric of the English song:

May the Lord forgive our sins
And gather all the nations
Here under this Uniting Roof.

To give up hate and fear
And learn to understand
Here under this Uniting Roof.

They took the risks of war
and dying, wished us take
the better risks of peace
Here under this Uniting Roof.

The God in everyman
is an atom too
of measureless potential.
Let us learn to find it
And explode it into lasting peace
Here under this Uniting Roof.

May the Lord forgive our sins
Inspiring us to peace on Earth

Here under this Uniting Roof.

 

 To listen/download the song, click here

*Source:  The Hindu,  Arvind’s Dad Blog

Manodharma–Alapana

Right from vedic age, music has been omnipresent. While Rig/Yajur vedas are recited as hymns, Sama veda is sung. During Yagyas and yagas, a particular set of hymns must be presented by Samavedis in musical forms. Nadopasana is as special as Vedopasana.

The title of this post itself is self explanatory. Manodharma sangita , simply put, is the mind’s music. Letting music flow freely from mind within the limits of raga is manodharma sangita. Main difference between a seasoned artist and a budding artist is that the former, with his experience can freely sing manodharma also considering the interest of the audience. That’s why we would love to attend seasoned musician’s concert. My guru Shri T.S. Krishnamurthy(violinist) classifies people in the musical field into three:

( 1) The singer/instrumentalist – Who just learns and presents his skills on stage

(2) Musician – Who can sing/play according to the taste of audience

(3) Artist – Who is seasoned, make the concert go the way he/she wishes and turn the audience mood to his frequency

A successful concert will have a fine blend of Manodharma sangita and Kalpita Sangita (without manodharma e.g. Varnas, thillanas,etc). FOllowing are major components of mandharma sangita:

Raga Alapana: Alapa in sanskrit means to say or express something in detail and expand. Old treatises call it Alapti. Four factors that contribute to alapana are: 1.Varna-the urge to sing 2.Aaroha 3.Avaroha and 4.Sanchari. Knowledge of the raga lakshana and proficiency in right usage of gamakas are quintessential in manodharma. There are different types of gamakas . SHargyadeva lists 15gamakas, Ahobala describes 17. However currently 10 are in usage: 1.Aroha- notes in ascending order 2.Avaroha-notes in descending order 3.Dhalu-different notes reached keeping one note constant 4.Sphurita- repeating same note twice 5.Kampita- oscillation of a note in a given place 6.Aahata-pair of notes . First note of subsequent pair will be the last note of predecessor sung in the ascending order (e.g. SR-RG-GM)  7.Pratyahata- Aahata in descending order8. Tripuchcha – one note occuring thrice 9.Aandholita- mis of hrasva and dheerga swaras 10. Murchana- completion of an octave length from each note (simply, aroha and avaroha together).

Raga alapana is developed in stages. Following are major aspcts of a good alapana:

1.The opening should give the taste of raga in a nutshell. Puzzling the audience to guess the raga is not always welcomed.

2. Alapana should involve different speeds or sthayis .Should begin with adhara shadj, move on tomadhya sthayi , elaborate the raga bhava with required bruhas and gamakas, go upto thara sthayi and then gradually come down

3.Musician should exhibit his/her control over swara sthanas (clarity of notes)

4. Graha swaras are those with which a phrase can begin. Musician should be aware of graha swaras of the raga presented. E.g.Sahana has S,N,R as graha swaras.Note thefollowing phrases. Each phrase is separated by dotted lines -S,NR S,NDP…RGMP,M G,MR…NSRGMP,MDD…(Note beginning swaras of each phrase)

5.Nyasa swaras are those which can be expanded and worked around. It is the ending swra of a phrase. Shadja and Panchama (in applicable ragas) are by default elaborated. However a good musician will know the right nyasa swara to add beauty to alapana.

E.g. Sahana’s nyasa swaras are S,R,P,D

Sample phrases- DND…NDP… RGMP,MDD…DNSRR…NSRGMR…(Note the end swaras of every phrase)

6.Usage of required gamakas will bring out the raga’s mood.

A sweet end note would have all three octaves of raga expressed clearly with apt speed and tonal clarity.