Carnatic Swaras - the swaras of Carnatic music are equivalent to the do re mi of Western music.

Basically, they are "solfa" syllables, syllables to voice the notes in succession so that they are easier to identify and pronounced, instead of a simple "aaaa" sound. Previous: History of Carnatic music Next: Intro to Raaga The swaras are said to have arisen from the Universe-pervading Sound of Om, which represents the drone notes SA and PA. The other swaras came from the 5 faces of Shiva. The story is told that RaavaNa, who was very devoted to Shiva, ripped out his guts and used them as strings to play the notes as Shiva kept time. RaavaNa kept playing, however, and threatened to shake the worlds and bring Shiva down from the heavens. In response, Shiva pressed him down to Earth with his big toe. The table below lists some more interesting information about the Carnatic swaras, which are named shadjam (sa), rishabam (ri), gaandhaaram (ga), madhyamam (ma), pancamam (pa), dhaivatam (da), and nishaadam (ni). Each is associated with an animal, a color, a God of Hindu mythology, and a particular feeling (rasa).

swara full name

Western animal

color

god

rasa

meaning of name

sa

shadjam

do

peacock light pink Brahma

veera (courage), giving birth adbhuta (to next 6 (wonder), notes) rowdra (anger)

ri

rishabam

re

bull (nandi) goat crane

parrot green gold white

veera (courage), Agni adbhuta (Fire, with morality (wonder), Seeta) rowdra (anger) Rudra (Shiva) Vishnu karuNaa (compassion) karuNaa (compassion) hasya (laughter), shringaara (love) fragrant, light middle, intermediate fifth

ga ma

gaandhaaram mi madhyamam fa

pa

pancamam

so

cuckoo

black

Naarada

da

dhaivatam

la

horse

yellow

bibhatsa (disgust), GaNEsha bhayanaka (fear) Surya (Sun) karuNaa (compassion)

of gods, devas sit, lie down

ni

nishaadam

ti

elephant multicolor

Based on information provided by Smt. Padma Veeraraaghavan.

Next: Intro to Raaga The melakarta raagas Previous: Swaras Next: Janya raagas The mElakartaa ragas of Carnatic music come from the 12 basic notes: sa (shadjamam), 2 types of ri (rishabam), 2 types of ga (gaandaaram), 2 types of ma (madyamam), pa (pancamam), 2 types of da (daivatam), and 2 types of ni (nishaadam), all of which are found on the typical piano or keyboard and consist of one octave. If you include further, subtler notes found in-between these notes, one each for ri, ga, da, and ni, you have 16 notes: sa (shadjamam), 3 types of ri (rishabam), 2 types of ma (madyamam), pa (pancamam), 3 types of ga (gaandaaram), 3 types of da (daivatam), and 3 types of ni (nishaadam). These are numbered and named as follows (names in parentheses are alternate designations sometimes used):

swara

sa

ri

ga G1 = shuddha (ga) G2 = saadhaaraNa (gi) G3 = antara (gu) kural kaikilai (ku-kai,G2) nirai kaikilai (ni-kai,G3)

ma

pa

da

ni N1 = shuddha (na) N2 = kaisiki (ni) N3 = kaakali (nu)

types

R1 = shuddha (ra) R2 = S= catshruti shadjam (ri) R3 = satshruti (ru) kural tutam (ku-tu,R1) nirai tutam (ni-tu,R2)

D1 = shuddha M1 = (dha) shuddha D2 = P= (ma) catshruti pancamam M2 = prati (dhi) (mi) D3 = satshruti (dhu) kural uzhai (ku-u,M1) ili (yi,P) nirai uzhai (ni-u,M2)

ancient kural Tamil (ku,S)

kural kural vilari taram (ku(ku-vi,D1) ta,N2) nirai vilari nirai taram (ni-vi,D2) (ni-ta,N3)

The mElakartaa ragas are formed from combinations of these 16 notes, 7 in the ascending, 7 descending, giving 72 ragas. From these are derived janya ragas, which may combine different melakartas in ascending and descending scales, add or remove some notes in either scale, and have variations in the notes, mood, gamaka (shaking of the note), emotions, or other aspects of raga. These are nearly innumerable, but a select number are used in practice. All the melakartas in the table below begin with sa and end in high sa, with the order sa ri ga ma pa da ni sa. These are sampoorna ragas, containing all the notes in the ascending and descending scales. They also contain the SAME notes in both scales. They are divided into 2 groups, by the type of ma they possess. Every group of six ragas (total 12 groups) comprises one cakraa. Interestingly, the naming of the ragas has also been systematized. The first 2 letters of each raga give the number of the raga according to this table, which gives the kaTapayadi formula:

ka Ta pa ya

kha Tha pha ra

ga Da ba la

gha Dha bha va

nga Na ma sha

ca ta shha

cha tha sa

ja da ha

jha dha

nya na

Thus, a raga (see below) like ramapriya begins with ra (2) and ma (5). 25 in reverse gives the number of the melakarta, 52! The mElakarta raagaas and their swaras, divided by their ma follow. They are also separated into 12 groups of six, called cakras, and all the ragas in the cakra have the same ri, ga, and ma. You can download a copy of the melakarta chart here.

Shudda madyama M1 1 Indu Cakra 1 kanakaangi (kanakaambari) 2 ratnaangi (phEnadhyuti) 3 gaanamoorti (gaanasaamavaraaLi) 4 vanaspati (bhaanumati) 5 maanavati (manOranjani) 6 taanaroopi (tanukeerti) 2 NEtra Cakra 7 sEnaavati (sEnaagraNi) 8 hanumatODi (janatODi) 9 dhEnukaa (dhunibhinnashadjam) 10 naaTakapriyaa (naTabharaNam) 11 kOkilapriyaa (kOkilaaravam) 12 roopavati 3 Agni Cakra 13 gaayakapriyaa (geya hejjajji) R1 G3 D1 R1 G2 D1 N1 R1 G2 D1 N2 R1 G2 D1 N3 R1 G2 D2 N2 R1 G2 D2 N3 R1 G2 D3 N3 R1 G1 D1 N1 R1 G1 D1 N2 R1 G1 D1 N3 R1 G1 D2 N2 R1 G1 D2 N3 R1 G1 D3 N3

Prati madyama M2 7 Rishi Cakra 37 saalagam (sowgandini) 38 jalaarnavam (jaganmOhinam) 39 jhaalavaraaLi (dhaalivaraaLi) 40 navaneetam (nabhOmaNi) 41 paavani (kumbhini) 42 raghupriyaa (ravikriyaa) 8 Vaasu Cakra 43 ghavaambhodi (geervaaNi) 44 bhaavapriya (bhavaani) 45 shubhapantuvaraaLi (shivapantuvaraaLi)

46 shhadvidamaargini (stavaraajam) 47 suvarnaangi (sowveeram) 48 divyamaNi (jeevantikaa) 9 Brahma Cakra 49 dhavalaambari (dhavalaangam)

N1 14 vakulaabharaNam (vaaTee vasantabhairavi) R1 G3 D1 N2 R1 G3 D1 N3 R1 G3 D2 N2 R1 G3 D2 N3 R1 G3 D3 N3 R2 G2 D1 N1 R2 G2 D1 N2 R2 G2 D1 N3 R2 G2 D2 N2 R2 G2 D2 N3 R2 G2 D3 N3 R2 G3 D1 N1 R2 G3 D1 N2 R2 G3 D1 N3 R2 G3 D2 N2 R2 G3 D2 N3 R2 G3 D3 N3 R3 G3 D1 50 naamanaaraayaNi (naamadEshi) 51 kAmavardhini pantuvaraaLi (kaashiraamakriyaa)

15 maayamaaLava gowLa 16 cakravaakam (tOyavEgavaahini) 17 sooryakaantam (chaayaavati) 18 haaTakaambari (jayashuddhamaaLavi) 4 VEda Cakra 19 jhankaaradhwani (jhankaarabhramari) 20 naTabhairavi (naareereetigowLa) 21 keeravaaNi (keeraNaavaLi) 22 kharaharapriya (shreeraagam) 23 gowri manOhari (gowrivElaavaLi) 24 varuNapriyaa (veeravasantam) 5 Bana Cakra 25 maararanjani (sharaavati) 26 caarukEshi (tarangini) 27 sarasaangi (sowrasEnaa) 28 harikaambhOji (harikEdaaragowLa) 29 dheera shankaraabharaNam 30 naagaanandini (naagaabharaNam) 6 Rutu Cakra 31 yaagapriyaa (kalaavati)

52 raamapriyaa (ramaamanOhari) 53 gamanashramaa (gamakakriyaa) 54 vishvaambhari (vamshavati) 10 Disi Cakra 55 shyaamaLaangi (shyaamaLam) 56 shhanmugapriyaa (caamaram) 57 simhEndra madhyamam (sumadyuti)

58 hEmaavati (dEshisimhaaravam) 59 dharmaavati (dhaamavati) 60 neetimati (nishhadam) 11 Rudra Cakra 61 kaantaamaNi (kuntaLam) 62 rishhabapriyaa (ratipriyaa) 63 lataangi (geetapriyaa) 64 vaacaspati (bhooshaavati) 65 mEcakalyaaNi (shaantakalyaaNi) 66 citraambari (caturaaNgiNi) 12 Aaditya Cakra 67 sucaritra (santaana manjari)

N1 32 raagavardhani (raagacooDaamaNi) 33 gangayabhooshhani (gangaatarangini) 34 vaagadeeshwari (bhOgachaayaa naaTTai) R3 G3 D1 N2 R3 G3 D1 N3 R3 G3 D2 N2 R3 G3 D2 N3 R3 G3 D3 N3 68 jyOtiswaroopini (jyOti raaga) 69 dhaatuvardani (dhowta pancamam) 70 naasikabhooshhaNi (naasaamaNi) 71 kosalam (kusumaakaram) 72 rasikapriyaa (rasamanjari)

35 shoolini (shailadEshaakshhi) 36 calanaaTTai

Next: Janya raagas Ragas beginning with: ABCDEGHIJKLMNOPRSTUVWY

Janya ragas are scales derived from the melakarta ragas. Previous: Intro to Raaga Next: Identifying Raagas The melakarta ragas have 7 notes, sa ri ga ma pa da ni, in both the ascending and descending scales. Janya ragas, however, are raagas that do not necessarily have all these notes. They may be missing the notes from their "parent" melakarta, have added notes from another melakarta, have some variations in the order of the notes, or some combination of all these factors. These are divided into a few categories: upaanga or bhaashaanga varja or sampoorna vakra or non-vakra

Upaanga or bhaashaanga - This refers the using notes from the parent melakarta. Upanga raagas use only the notes from their parent melakarta (for example, aabhOgi uses only notes from melakarta 22, kharaharapriyaa). Bhaashaanga raagas, on the other hand, use what are called anya swaras, notes from a different melakarta. Thus, aahiri uses swaras from melakartas 8, 14, and 20. A raaga may use up to 3 swaras from an outside melakarta, but no more. Varja or sampoorna - Varja means that the raaga is missing some swaras. rEvati is missing a G and D, so it is an audava varja raaga. Swarantara refers to having only 4 swaras (this is rare, for example S R P N), audava refers to having 5 swaras, shaadava refers to 6 (for example, S R G M P N), and raagas with no missing swaras, having all seven S R G M P D N are sampoorna raagas. Vakra or non-vakra - Vakra means "crooked." Thus these raagas have crooked scales, with the order being changed. Raagas like kaanaDaa are often considered vakra when they have scales such as S R G M P M D N S instead of simply S R G M P D N S, which is non-vakra (even though it is sampoorna, having all the swaras).

Combinations - Raagas may also have combinations of the above, so raagas such as aahiri again are sampoorna (have all the swaras) but are vakra (S R S G ...) and bhaashaanga (with anya swaras). In addition to these nuances, raagas can also have changes in the stressing of notes and the decorations (gamakas) they are given to give rise to an even wider variety of raagas. These changes can give rise to hundreds of thousands of raagas based simply on the 72 melakarta raagas.

Next: Identifying Ragas

Mohanam? KalyaaNi? Bilahari? Which one is it? Previous: Janya raagas Next: Reverse Janya List If you're here, you have a basic understanding of Carnatic music and raga (if you don't, head back to start, do not pass GO, do not collect $200). SO, now you want to identify the ragas of songs. Think you're ready? Identifying the raga of a song is not easy. It takes LOTS of practice. If you're gifted, it's easy, of course, but few of us are really gifted that way. But in general, it's always easier than you think. The best way to learn is to listen to LOTS of music. When you are listening to a song, look at the tape and see what raga the song is in and try to remember the name of the song and the raga. The next time you hear a similar song, you will start to think it might be similar. You'll probably be wrong the first several times (hey, life is tough!) but when you've listened to LOTS of songs by various artists and tried to remember their ragas, a few will automatically creep into your memory. Soon you'll know many ragas. Keep in mind you can't just learn the song to identify the raga. Identifying a raga includes knowing the swaras and phrases of the raga. Plus, it includes the FEELING that the raga evokes. Many ragas sound really similar and some actually have the same swaras, but still they're very different because of the MOOD, TEMPO, LYRICS they're set to, or FEELINGS they evoke, among other things. These ragas are difficult for beginners to identify without lots of practice, but most of the common ones are quite identifiable with a bit of practice. So turn on your walkman! The other thing to do is to learn music. When you are learning a song, a geetam, a varnam, or whatever, remember the raga. Make sure you know the swarams of the aarohana and avarohana. Ask your teacher which famous songs are in that raga, what the prayOgams (phrases) and sancaaris are, and the meaning of the song. Be familiar with some raga (aakaaram) in that raga, even if you can't do it yourself. Then when you hear a song in that raga, you will know it's the same one! The final way to learn is to learn some music theory. Read the raaga page and see how the ragas are made. You will have to listen to songs and the drone notes (S,P,S) in the background carefully to tell what notes are being performed. When you learn the swaras of a raga you can say this raga has shuddha rishabam, small ma, etc. Then when you hear ANY song, you can figure out which of the 12 swaras the song in the ascending scale, and which ones in the descending scale. In this way you can tell which melakarta number it's from with a little simple math. Then, using the katapayadi formula you can tell which melakarta the raga is from! For example, let's take the ascending scale (aarOhana) of a raga. Knowing that a raga has a small ma (M1) tells you it is in 1-36. If it has small ri (R1) narrows your choices to 1-18. If it has the 2nd ga, it can only be in 7-12. Then knowing the da and ni, you can tell which number is its melakarta. If it is the low da (D1) and high ni (N3), then you have S R1 G2 M1 P D1 N3 S. If it IS a melakarta raga (the same notes in this order in ascending and descending scales) you know which raga, which in this case is dhEnukaa. If it

is a janya, you will find certain swaras missing, and these are usually identified only with knowledge of the raga beforehand (and a bunch of practice). You can also find out what raaga it is from the notes using our Reverse Janya List. A final thing to do is to ask the people next to you at a concert or take notes when the performer announces the song and raga. You can write it down to remember later whenever you hear the song. A few songs even have the names of ragas inside their lyrics so it's to your benefit to remember them! You can benefit greatly from learning how a raga forms - this is what performers are explaining to you in their grand expositions of raga. All these strategies combined will help you slowly become proficient at identifying ragas. It is not easy and it will take time but with practice you can be great at it. You'll find that learning raga and identifying ragas can be very rewarding and will help you more fully appreciate the beauty of Carnatic music. A few "starter" ragas to identify: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. aabhOgi amritavarshini behaag bhairavi (easy to confuse with tODi) hamsadwani hindOLam kaambhOji kaanaDaa kalyaaNi kamaas katanakutuhalam mOhanam naaTTai rEvati saavEri vasantaa

Next: Reverse Janya List OR you can go back to the Carnatic page and look at some songs you know to remember their ragas! Or learn more about raaga or taaLa.