Chords, Carnatic and Film music

Chords, Carnatic and Film music – 2

The Carnatic Scheme

Melakartha

In carnatic we encounter what is known as a Melakartha or Janana raga or Mother raga. A melakartha is defined as a raga which has:

(1) all seven different notes in the ascent(Aarohanam) and descent (Avarohanam).

(2) descent is exactly the reverse (palindrome) of the ascent

Thus a valid melakartha would be:

Aarohanam S R1 K3 M1 P T1 N3 S

Avarohanam S N3 T1 P M1 K3 R1 S

The above raga is called Maaya maaLava gowLai – the first raga to be taught in carnatic school. Some examples of invalid melakarthas are:

Invalid melakartha 1:

Aarohanam S R2 K1 M1 P T1 N3 S

Avarohanam S N3 T1 P M1 K1 R2 S

Reason: Use the first rule – all seven “different” notes must be there. Here R2 and K1 are the same notes though with a different name

Invalid melakartha 2:

Aarohanam S R1 K1 M1 P N3 S

Avarohanam S N3 P M1 K1 R1 S

Reason: Use the first rule – “all seven” different notes must be there. Here we miss T. Only six different notes are present.

Invalid melakartha 3:

Aarohanam S R1 K1 M1 P T1 N3 S

Avarohanam S N3 T1 P M1 K2 R1 S

Reason: Use the second rule – descent = exactly the reverse of ascent. Here we have K2 instead of K1 in the descent.

Invalid melakartha 4:

Aarohanam S R1 K1 M1 M2 T1 N3 S

Avarohanam S N3 T1 M2 M1 K1 R1 S

Reason: Use the first rule - “all seven” different notes must be there. We have M1 and M2 and we do not have P. M1 and M2 are considered variants of M. since we do not have P, this is also invalid. It is a must that S R K M P T and N find a place in melakartha.

After such a definition, there arise a set of 72 scales as mentioned earlier which form the root of all the other ragas. They are available here.

Dry theory without examples is sure not to stick to mind J. Now that we are introduced to melakartha scheme, let us look at a few examples of such songs which have been used in the carnatic and film realms. Just click on the respective clips and you shall hear a nice portion of the song which shows the ragas.

Mela

number

Mela

Carnatic

Film

Aarohanam/

avarohanam

Kanakaangi

Hanumathodi

Charukeshi

Sarasaangi

ShaNmukhapriya

(thillana mohanambal)

S R1 K1 M1 P T1 N1 S

S N1 T1 P M1 K1 R1 S

S R1 K2 M1 P T1 N2 S

S N2 T1 P M1 K2 R1 S

S R2 K3 M1 P T1 N2 S

S N2 T1 P M1 K3 R2 S

S R2 K3 M1 P T1 N3 S

S N3 T1 P M1 K3 R2 S

S R2 K2 M2 P T1 N2 S

S N2 T1 P M2 K2 R2 S

Table 3. Examples of Melakartha songs

(Some audio files were provided by Ram of TFM-DF)

Janya

From a mother raga arise a lot of janya ragas ( children ). The simplest way to generate a janya raga is to leave out one or more of the swaras in the arohanam and/or avarohanam. For example, if we drop out the Ma and Ni in the arohanam of Dheerasankaraabharanam, we end up with Sa - Ri - Ga - Pa - Da - Sa for the arohanam and a sampoorna avarohanam. The resulting raga is called Bilahari. Thus, Bilahari is described as a janya raga of the 29th melakarta Dheerasankaraabharanam with an arohanam - avarohanam of Sa - Ri - Ga - Pa - Da - Sa, Sa - Ni - Da - Pa - Ma - Ga - Ri - Sa. This means that when going up the scale, one may use only the notes of the arohanam, namely, Sa, Ri, Ga, Pa, Da and Sa whereas, all seven notes can be used in descent. Thus, when a Ma or Ni is used, one has to necessarily descend (using notes from the avarohanam).

Dropping out more than two swaras results in a scale that is very limited and experience suggests that it is virtually impossible to create a distinct raga swaroopam with the remaining swaras. However, there are some ragas which use only four swaras in the arohanam or avarohanam as in the case of Navarasa Kannada, derived from the 28th melakarta Harikaambhoji, with a structure of Sa-Ga-Ma-Pa-Sa, Sa-Ni-Da-Ma-Ga-Ri-Sa. Just like a complete arohanam or avarohanam is called sampoornam, one with a single swara dropped out is called shadava and one with two swaras left out is termed oudava. Allowing the arohanam and avarohanam to be sampoornam, shadava or oudava independently, the following possible arohanam - avarohanam types can be constructed.

(1) sampoorna – sampoorna ( 7 – 7 )

(2) sampoorna – shadava ( 7 – 6 )

(3) sampoorna – oudava ( 7 – 5 )

(4) shadava – sampoorna ( 6 – 7 )

(5) oudava – sampoorna ( 5 – 7 )

(6) shadava – shadava ( 6 – 6 )

(7) shadava – oudava ( 6 – 5 )

(8) oudava – shadava ( 5 – 6 )

(9) oudava – oudava ( 5 – 5 )

Table 4. Janya raga construction

The first case evidently refers to the melakartas themselves and does not generate any janya ragas. The example of Bilahari belongs to the 5th or oudava - sampoorna case. Using the sampoorna - shadava case as an example, there are 72 sampoorna arohanams and six shadava avarohanams for each, leading to total of 432 janya ragas of this type. By the same argument, there are 432 janya ragas of shadava - sampoorna type. Following this procedure, one can arrive at a total of about thirty thousand independent janya ragas. However, a large number of these are not in use since they do not have distinct raga swaroopas. This brings us to the important observation that it is not just mathematical jugglery that produces ragas. As the saying goes, 'Ranjayathi ithi Raga' - that which is beautiful is a raga. Ragas are produced through experimenting with the possible combinations, looking for distinct swaroopas. This process has been conducted for centuries by composers and musicians to arrive at the few hundred or so janya ragas currently in use. (Courtesy : Dr. Parthasarathy Sriram )

The following two sections are excerpts from the writings of Dr.Parthasarathy Sriram which can be safely skipped.

Upaanga, vakra and baashaanga ragas: (Additional info)

The type of janya raga we have considered so far, namely, what is derived by simply dropping notes from a melakarta raga, is called as an Upaanga raga. There are alternate means of generating janya ragas. The arohanam and/or avarohanam can use a twisted progression. For example, we can construct a janya raga from Dheerasankaraabharanam using the arohanam Sa - Ri - Ma - Da - Ni - Ga - Pa - Sa and a simple sampoorna avarohanam. The resulting raga is called Katanakuthoohalam. A janya ragam employing a twisted arohanam and/or avarohanam is termed as a Vakra ragam. We can also mix notes from two melakartas in the arohanam and avarohanam to produce janya ragas. For example, the ragam Bhairavi uses Chatusruthi Dhaivatham in its arohanam and Suddha Dhaivatham in its avarohanam. This type of structure is indicated by the term Baashaanga ragam. A ragam can be Baashaangam or Upaangam but not both. The Vakra characteristic can be combined freely with both types. The result is that a very large number of combinations are possible and only the ability to create a distinct swaroopam dictates what combinations are actually used in creating janya ragas. The description of a janya raga usually indicates the melakarta from which it is derived, whether it Vakram or not, whether is Upaangam or Baashaangam, and if it Baashaangam, the swaras which make it so. The arohanam and avarohanam provide further details (like sampoorna, shadava or oudava).

Varja: (Additional info)

The term varja is sometimes used to indicate missing swaras. For example, the raga Sriranjani has an arohanam - avarohanam of Sa - Ri - Ga - Ma - Da - Ni - Sa, Sa - Ni - Da - Ma - Ga - Ri - Sa and is derived from the 22nd melakarta Kharaharapriya. It is thus described as a Panchama varja raga, derived from Kharaharapriya. Consider another example, Malayamaarutham. It is a Madhyama varja raga derived from the 16th melakarta Chakravaaham. The designation of the parent ragam as Chakravaaham is subjective since the Madhyama varja raga derived from the 52nd melakarta Raamapriya is identical to Malayamaarutham. The problem is that Chakravaaham and Raamapriya differ only in Ma and since Malayamaarutham is Madhyama varja, it can be derived from either. In such cases, the gamakas used in the janya raga have to be studied to decide which of the melakartas is appropriately described as the parent raga. This problem is compounded in the case of Baashaanga ragas which are anyway derived from multiple melakartas. In any case, the assignment of a parent melakarta is somewhat subjective and various experts often ascribe different parents for a given janya raga. A well known example is the ragam Mohanam, which has an arohanam - avarohanam of Sa - Ri - Ga - Pa - Da - Sa, Sa - Da - Pa - Ga - Ri - Sa, using Chatusruthi Rishabam, Anthara Gandharam and Chatusruthi Dhaivatham. Various authors have classified it as a janya ragam of Harikaambhoji (melakarta no. 28) and Mechakalyaani (65) and more are possible. It is a matter of individual viewpoint as to which is the parent ragam. As long the distinct swaroopam is maintained, it really does not matter what is assigned as the parent ragam. (Courtesy : Dr. Parthasarathy Sriram )

Some valid janyas from table 4 shall be constructed for better understanding.

In carnatic we have thus seen two types of ragas – Melakartha and Janya. We have also seen extensively how these ragas are classified and named. Table 4. is extremely important since we will refer to it time and again when we go through chords for ragas. Thus we now have a consistent scheme to understand what ragas mean. How are the songs composed and how is the tuition structured ? Karnatik.com provides some excellent content in this regard and it is strongly recommended for those who are interested.

Tuition Structure

Subheadings also provide the appropriate links for the pages in karnatik.com which host these respective lessons.

Sarali varisai

Carnatic education starts with saraLi varisai. saraL = easy , varisai = order. In this, raga Maaya maaLagowLa is taught in various but slow progressions. The raga mayamaaLava gowla seems to be the easiest to start with since the swaras are well spaced out. There is no “song” but only notes in saraLi varisai. The pupil has to render “SRGMPDNS” in various permutations and combinations and various speeds. In the western school of thought however C major scale (we shall learn soon about it) corresponding to raga “dheera shankarabaranam” or just shankarabaranam is used as the stating point.

Jantai varisai

saraLi varisai is followed by jantai varisai which introduces the pupil to tongue twisting delivery of swaras in various speeds. It also introduces the first breath control exercise since singing jantai varisai at high speeds demands it. This is one of the most important and difficult phases for a newbie. This

Thaattu varisai

Thaattu varisai is the next to follow which have very spike-like swara pattern. They may go up high and stoop low in a totally unexpected manner. This trains the pupil to get his swarasthaanas in place regardless of whatever sequence they come in.

Melsthaayi and Mantarasthaayi varisai

Melsthaayi (higher) and (Mantarasthaayi) varisais help the pupils to train them to sing in higher and lower octaves. In carnatic, usually it is not suggested to go beyond the higher Pa and the lower limit does not go beyond lower Pa. This is however not the case with those ( madhyama )ragas but that is out of the scope of the present discussion. A pupil is expected to get his swarasthaanas right through these practices.

Alankaaram

Alankaarams introduce the concepts of various thaaLams. We shall deal more with this after we learn the various timings in the western school. Carnatic is rich in thaaLa structures and is one of the most important features of the system. Some complicated structures present in carnatic find no parallels in other genres.

Geetham

Geethams are the first kind of “songs” that are encountred. They have both “swaras” (notes) and “saahithyam” (lyrics). These are the first introduction to ragas other than Maaya maaLava gowLai. The first taste of ragas come from geethams. Some famous geethams are “varaveeNa mrudhu paaNi” (mohanam) and “shree gaNanaadha sindhooraa varna” (malahari). The latter is more famous for the line “lambodhara lakumikara” which has been notoriously mocked in films in the name of comedy J I remember seeing an interview of the music director of the film “chEran paaNdiyan” who said the song “ kaadhal kaditham varaindhEn unakku” (SPB and Swarnalatha) was indeed inspired from “varaveeNa mrudhupaaNi”. So this is the phase where people start recognizing patterns.

Swarajathi

Swarajathis are the next step towards learning complex stuff. They are set usually in third speed and their delivery is fast. The two most famous of these are “raarvEnu shree gopaala” (bilahari) and “saamba shivaayanave” (khamaas). It may not be so difficult to recollect the beautiful song “sa sa sa ni dha sa ni pa ni dha ma dha pa ma ga..nivedha” and the associated heroine (gowthami) and photography J It was composed by Maragathamani inspired from “raaravEnu”. The raga bilahari is one of the most beautiful ragas I have heard and it has been used beautifully twice by IR in the songs “koondhalilE mEgam vandhu kudipugundhaaLo kavi ezudha” and “nee ondru thaanaa en sangeetham”. Raga khamaas can be recollected from the song “brochevarevarura…ninnuvinaa” from the film Shankaraabaranam.

Notes

This section is not commonly taught and seems like it is optional. They have a western musical feel with apparently no gamakam. This is most easily remembered by the insult that sivaji is inflicted in “thillaana mohanaambaaL” when he is asked to perform overpowering the “band music” being played inside the house. He, with baalayya, plays the “English note” composed by Muthiah Bhaagavatar and popularized by Maduari Mani iyer and makes the audience cheer. Even those who were dancing for the western music inside start dancing to the tune of sivaji

Varnam

The most serious phase in the tuition is the stage of varnam. This is the real platform on which the student’s entire carnatic practice is built. These are complex songs which have the three tier structure – Pallavi, anupallavi and charanam – along with the swaras. A beautiful and popular varnam is “ninnukori”. Incidentally IR composed the song “ninnukori varnam isaiththida ennai thEdi” inspired from this. Another example of varnam is the sarasaangi varnam which you can hear in Table 3. Higher the number of varnams learnt and more the practice, robust becomes the foundation. There are around 800 varnams and a good pupil in my opinion should know atleast 50 of them clearly and thoroughly. Varnams not only introduce the three tier structrure but also difficult calculations pertaining to kaalapramaam or beat structure. We shall talk about the beat structure in an article to follow. It is notable that every singer starts the concert (kachchEri) with a varnam to warm up.

Keerthanam / Krithi

Keerthanams or krithis are the real songs that comprise the bulk of carnatic. These are the songs composed by trinity and other greats and are delivered by the stalwarts on stage. They are innumerable in number and types and hence we shall not discuss them any further.

With this we shall temporarily discontinue the discussion on carnatic sheme and look into the details of Western scheme.