Graha bedham
Encyclopedia
Graha bedham of a musical scale in Carnatic music
(rāgam
in South Indian classical music), is the process (or result of the process) of shifting the Tonic
note (śruti
) to another note in the rāgam and arriving at a different rāgam.
Graha literally means position and bedham means change. Since the position of the śruti is changed (pitch of the drone
), it is also sometimes called Swara bedham or Śruti bedham though Śruti bedham and Graha bedham have some techinical differences..
sthānas – sthāna means position/ pitch), results in different rāgams. This is called Graha bedham.
's notes, it yields 5 other major Melakarta
rāgams, namely, Kalyani, Hanumatodi
, Natabhairavi
, Kharaharapriya
and Harikambhoji
.
Tonic !! C !! !! D !! !! E !! F !! !! G !! !! A !! !! B !! C !! !! D !! !! E !! F !! !! G !! !! A !! !! B !! C
|-
| Shankarabharanam || 29 || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="15px"|
|width="25px"| G3
|width="25px"| M1
|width="15px"|
|width="25px"| P
|width="15px"|
|width="25px"| D2
|width="15px"|
|width="25px"| N3
|width="25px"| S'
|width="15px"|
|width="25px"|R2'
|width="15px"|
|width="25px"|G3'
|width="25px"|M1'
|width="15px"|
|width="25px"| P'
|width="15px"|
|width="25px"|D2'
|width="15px"|
|width="25px"|N3'
|width="25px"|S' '
|-
| Karaharapriya || 22 || D || || || S || || R2|| G2|| || M1|| || P || || D2|| N2|| || S'|| || || || || || || || || ||
|-
| Hanumatodi || 08 || E || || || || || S || R1|| || G2|| || M1|| || P || D1|| || N2|| || S'|| || || || || || || ||
|-
| Kalyani || 65 || F || || || || || || S || || R2|| || G3|| || M2|| P || || D2|| || N3|| S'|| || || || || || ||
|-
| Harikambhoji || 28 || G || || || || || || || || S || || R2|| || G3|| M1|| || P || || D2|| N2|| || S'|| || || || ||
|-
| Natabhairavi || 21 || A || || || || || || || || || || S || || R2|| G2|| || M1|| || P || D1|| || N2|| || S'|| || ||
|-
| Invalid Melakarta|| – || B || || || || || || || || || || || || S || R1|| || G2|| || M1|| M2|| || D1|| || N2|| || S'||
|-
| Shankarabharanam || 29 || C || S || || R2|| || G3|| M1|| || P || || D2|| || N3|| S'|| ||R2'|| ||G3'||M1'|| || P'|| ||D2'|| ||N3'||S' '
|}
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
(rāgam
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
in South Indian classical music), is the process (or result of the process) of shifting the Tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
note (śruti
Sruti (music)
The shruti is a Sanskrit term used in several contexts throughout the history of the Indian music. A shruti is the smallest interval of pitch the ear can detect.-Contexts:...
) to another note in the rāgam and arriving at a different rāgam.
Graha literally means position and bedham means change. Since the position of the śruti is changed (pitch of the drone
Drone (music)
In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. The word drone is also used to refer to any part of a musical instrument that is just used to produce such an effect.-A musical effect:A drone...
), it is also sometimes called Swara bedham or Śruti bedham though Śruti bedham and Graha bedham have some techinical differences..
Definition
Modal shift of the Tonic note to higher notes of a rāgam, while retaining the note's positions (swaraSwara
The seven notes of the scale , in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri or Re , Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam...
sthānas – sthāna means position/ pitch), results in different rāgams. This is called Graha bedham.
Practical demo
A simple practical demonstration of Graha bedham can be taken up by playing the structure of a rāgam with the drone set to Sa (Shadjam). Then if we keep playing the same keys/ notes, while shifting the drone to another note in the rāgam, to form the new śruti/ tonic note, the result is a different rāgam.Example Illustration
When Graha bedham is applied on ShankarabharanamDheerasankarabharanam
Dheerashankarābharanam , commonly known as Shankarābharanam, is a rāga in Carnatic music . It is the 29th Melakarta rāga in the 72 melakarta rāga system of Carnatic music....
's notes, it yields 5 other major Melakarta
Melakarta
Melakarta is a collection of fundamental ragas in Carnatic music . Melakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well.In Hindustani music the thaat is equivalent of Melakarta...
rāgams, namely, Kalyani, Hanumatodi
Hanumatodi
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music . It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is known to be a difficult rāgam to perform in owing to its complexity in prayoga...
, Natabhairavi
Natabhairavi
Natabhairavi is a rāgam in Carnatic music . It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the minor scale of western music system....
, Kharaharapriya
Kharaharapriya
Kharaharapriya is a rāgam in Carnatic music . It is the 22nd melakarta rāgam in the 72 melakarta rāgam system. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners...
and Harikambhoji
Harikambhoji
Harikambhoji is a rāgam in Carnatic music . It is the 28th Melakarta rāgam in the 72 melakarta rāgam system....
.
Tonic !! C !! !! D !! !! E !! F !! !! G !! !! A !! !! B !! C !! !! D !! !! E !! F !! !! G !! !! A !! !! B !! C
|-
| Shankarabharanam || 29 || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="15px"|
|width="25px"| G3
|width="25px"| M1
|width="15px"|
|width="25px"| P
|width="15px"|
|width="25px"| D2
|width="15px"|
|width="25px"| N3
|width="25px"| S'
|width="15px"|
|width="25px"|R2'
|width="15px"|
|width="25px"|G3'
|width="25px"|M1'
|width="15px"|
|width="25px"| P'
|width="15px"|
|width="25px"|D2'
|width="15px"|
|width="25px"|N3'
|width="25px"|S' '
|-
| Karaharapriya || 22 || D || || || S || || R2|| G2|| || M1|| || P || || D2|| N2|| || S'|| || || || || || || || || ||
|-
| Hanumatodi || 08 || E || || || || || S || R1|| || G2|| || M1|| || P || D1|| || N2|| || S'|| || || || || || || ||
|-
| Kalyani || 65 || F || || || || || || S || || R2|| || G3|| || M2|| P || || D2|| || N3|| S'|| || || || || || ||
|-
| Harikambhoji || 28 || G || || || || || || || || S || || R2|| || G3|| M1|| || P || || D2|| N2|| || S'|| || || || ||
|-
| Natabhairavi || 21 || A || || || || || || || || || || S || || R2|| G2|| || M1|| || P || D1|| || N2|| || S'|| || ||
|-
| Invalid Melakarta|| – || B || || || || || || || || || || || || S || R1|| || G2|| || M1|| M2|| || D1|| || N2|| || S'||
|-
| Shankarabharanam || 29 || C || S || || R2|| || G3|| M1|| || P || || D2|| || N3|| S'|| ||R2'|| ||G3'||M1'|| || P'|| ||D2'|| ||N3'||S' '
|}
Notes on above table
- C as the base for Shankarabharanam is chosen for above illustration only for convenience, as Carnatic music does not enforce strict frequency/pitch structure. The Shadjam (S) is fixed by the artist as per the vocal range or the instrument's tonic note. All the other swarams are relative to this Shadjam, falling into a Geometric progression-like frequency pattern. This note is applicable to all tables that are illustrated further below in this page.
- The 6th Graha bedham of Shankarabharanam has both Madhyamams (Ma) and no Panchamam (Pa) and hence will not be considered a valid Melakarta (ragam having all 7 swarams and only 1 of each). This is only a classification issue with respect to Melakarta, while this structure could be theoretically used well to create good music (probably needs an expert).
- The gaps in the above table are for the missing swara positions in these ragams, which happens to be the Sharp / Flat notes in western music.
Melakarta rāgams
Graha bedham can be applied on most MelakartaMelakarta
Melakarta is a collection of fundamental ragas in Carnatic music . Melakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well.In Hindustani music the thaat is equivalent of Melakarta...
rāgams to yield other Melakarta rāgams (16 of the 72 do not yield any valid Melakarta scale). When applying such modal shift of tonic note, some results are not valid Melakarta rāgams (rules of the definition of Melakarta are violated). Example scenarios are missing Panchamam (Pa) or two of particular note (Rishabham (Ri), Gandharam (Ga), Madhyamam (Ma), Dhaivatham (Da) or Nishadham (Ni)).
Shankarabharanam
See Example Illustration in previous section.Kanakangi
The graha bedham derivative of KanakangiKanakangi
Kanakangi is a rāgam in Carnatic music . It is the 1st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kanakāmbari in the Muthuswami Dikshitar school....
is Kamavardhini and vice-versa.
Mayamalavagowla
The graha bedham derivatives of MayamalavagowlaMayamalavagowla
Mayamalavagowla , is a raga of Carnatic Music . It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya...
are Rasikapriya
Rasikapriya
Rasikapriya is a rāgam in Carnatic music . It is the last melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Rasamanjari in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and Simhendramadhyamam
Simhendramadhyamam
Simhendramadhyamam is a rāgam in Carnatic music . It is the 57th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sumadhyuti in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
.
Ragavardhini
The graha bedham derivative of RagavardhiniRagavardhini
Ragavardhini has two separate meanings in Indian classical music:* a major part of the alapana of a raga. The performer gives a step-by-step elaboration of the raga, pausing at each major note or swara....
is Varunapriya
Varunapriya
Varunapriya is a rāgam in Carnatic music . It is the 24th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Veeravasanta in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and vice-versa.
Vachaspati
The graha bedham derivatives of VachaspatiVachaspati (ragam)
Vachaspati is a rāgam in Carnatic music . It is the 64th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is known as Bhushavati according to the Muthuswami Dikshitar school...
are Charukesi
Charukesi
Charukesi is a rāga in Carnatic music . It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.Charukesi is known to incite feelings of pathos and devotion in the listener....
, Gourimanohari
Gourimanohari
Gourimanohari or Gowrimanohari is a rāgam in Carnatic music . It is the 23rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
and Natakapriya
Natakapriya
Natakapriya, is a rāgam in Carnatic music . It is the 10th melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, the 10th melakarta rāgam is called Naţābharanam.Raganidhi by P. Subba Rao, Pub...
.
Shanmukhapriya
The graha bedham derivatives of ShanmukhapriyaShanmukhapriya
Shanmukhapriya is a rāgam in Carnatic music . It is the 56th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
are Shoolini
Shoolini
Shulini is a rāgam in Carnatic music . It is the 35th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is also spelled as Sulini, Shoolini or Soolini. It is called Shailadesākshi or ShailadaeshiRaganidhi by P. Subba Rao, Pub...
, Dhenuka
Dhenuka
Dhenuka is a rāgam in Carnatic music . It is the 9th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.It is called DhunibinnashadjamRaganidhi by P. Subba Rao, Pub...
and Chitrambari
Chitrambari
Chitrambari is a rāgam in Carnatic music .It is the 66th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called ChaturanginiRaganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras in Muthuswami Dikshitar school of Carnatic music...
.
Keeravani
The graha bedham derivatives of KeeravaniKeeravani
Keeravani is a rāgam in Carnatic music . It is the 21st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. The 21st melakarta rāgam as per Muthuswami Dikshitar school of music is ....
are Hemavati
Hemavati
Hemavati may refer to* Hemavati River, in Karnataka, India* Hemavati , a ragam in Carnatic music...
, Vakulabharanam
Vakulabharanam
Vakulabharanam is a rāgam in Carnatic music . It is the 14th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called DhātivasantabhairaviRaganidhi by P. Subba Rao, Pub...
and Kosalam
Kosalam
Kosalam is a rāgam in Carnatic music . It is the 71st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music and is the prati madhyamam equivalent of Shoolini, which is the 35th melakarta. It is called Kusumākaram in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba...
.
Ratnangi
The graha bedham derivatives of RatnangiRatnangi
Ratnangi is a rāgam in Carnatic music . It is the 2nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
are Gamanashrama
Gamanashrama
Gamanashrama is a rāgam in Carnatic music . It is the 53rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
and Jhankaradhwani
Jhankaradhwani
Jhankaradhwani is a rāgam in Carnatic music . It is the 19th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
.
Ganamoorti
The graha bedham derivatives of GanamoortiGanamoorti
Ganamurti is a rāgam in Carnatic music . It is the 3rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
are Vishwambari
Vishwambari
Vishwambari is a rāgam in Carnatic music . It is the 54th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and Shamalangi
Shamalangi
Shamalangi is a rāgam in Carnatic music . It is the 55th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
.
Vanaspati
The graha bedham derivative of VanaspatiVanaspati (Raga)
Vanaspati is a rāgam in Carnatic music . It is the 4th melakarta rāgam in the 72 melakarta rāgams of Carnatic music, following the Katapayadi sankhya system. In the Muthuswami Dikshitar school of music, this raga is called Bhānumati.Raganidhi by P. Subba Rao, Pub...
is Mararanjani
Mararanjani
Mararanjani is a rāgam in Carnatic music . It is the 25th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sharāvati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and vice-versa.
Manavati
The graha bedham derivative of ManavatiManavati
Manavati is a rāgam in Carnatic music . It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.Raganidhi by P. Subba Rao, Pub...
is Kantamani
Kantamani
Kantamani is a rāgam in Carnatic music . It is the 61st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kuntalam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and vice-versa.
Sooryakantam
The graha bedham derivatives of SooryakantamSooryakantam
For popular Telugu film actress see SuryakanthamSuryakantam or Suryakantham is a rāgam in Carnatic music . It is the 17th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāyāvati in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
are Senavati
Senavati
Senavati is a rāgam in Carnatic music . It is the 7th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Senāgrani in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and Latangi
Latangi
Latangi is a rāgam in Carnatic music . It is the 63rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Geetapriya in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
.
Kokilapriya
The graha bedham derivative of KokilapriyaKokilapriya
Kokilapriya is a rāgam in Carnatic music . It is the 11th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. The 11th rāgam in Muthuswami Dikshitar school of Carnatic music is called Kokilāravam.Raganidhi by P. Subba Rao, Pub...
is Rishabhapriya
Rishabhapriya
Rishabhapriya is a rāgam in Carnatic music . It is the 62nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is the prati madhyamam equivalent of Charukesi, which is the 26th melakarta. It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P...
and vice-versa.
Gayakapriya
The graha bedham derivative of GayakapriyaGayakapriya
Gayakapriya is a rāgam in Carnatic music . It is the 13th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
is Dhatuvardani
Dhatuvardani
Dhatuvardani is a rāgam in Carnatic music . Dhatuvardani is the 69th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhoutapanchamam in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:Dhatuvardani is the 3rd rāgam in the 12th chakra Aditya...
and vice-versa.
Dharmavati
The graha bedham derivatives of DharmavatiDharmavati
Dharmavati is a rāgam in Carnatic music . It is the 59th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
are Chakravakam
Chakravakam (raga)
Chakravakam, is a rāgam , in Carnatic music . It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is close to Raga Ahir bhairav in the Hindustani music.Raganidhi by P. Subba Rao, Pub...
and Sarasangi
Sarasangi
Sarasangi is a rāgam in Carnatic music . It is the 27th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sowrasena in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana-Go...
.
Hatakambari
The graha bedham derivative of HatakambariHatakambari
Hatakambari is a rāgam in Carnatic music . It is the 18th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
is Gavambhodi
Gavambhodi
Gavambodhi is a rāgam in Carnatic music . It is the 43rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
and vice-versa.
Naganandini
The graha bedham derivatives of NaganandiniNaganandini
Naganandini is a rāgam in Carnatic music . It is the 30th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nāgābharanam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
are Bhavapriya
Bhavapriya
Bhavapriya ) is a rāgam in Carnatic music . It is the 44th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.It is called BhavāniRaganidhi by P. Subba Rao, Pub...
and Vagadheeshwari
Vagadheeswari
Vagadheeswari is a rāgam in Carnatic music . It is the 34th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Bhogachhāyānāţa in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
.
Gangeyabhooshani
The graha bedham derivative of GangeyabhooshaniGangeyabhooshani
Gangeyabhushani is a rāgam in Carnatic music . It is the 33rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
is Neetimati
Neetimati
Neetimati is a rāgam in Carnatic music . It is the 60th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music....
and vice-versa.
Chalanata
The graha bedham derivative of ChalanataChalanata
Chalanata is a rāgam in Carnatic music . It is the 36th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.-Structure and Lakshana:It is the 6th rāgam in the 6th chakra Rutu...
is Shubhapantuvarali
Shubhapantuvarali
Shubhapantuvarali is a rāgam in Carnatic music . It is the 45th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and vice-versa.
Shadvidamargini
The graha bedham derivative of ShadvidamarginiShadvidamargini
Shadvidamargini is a rāgam in Carnatic music . It is the 46th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Stavarājam in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
is Nasikabhooshani
Nasikabhooshani
Nasikabhushani is a rāgam in Carnatic music . It is the 70th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.Raganidhi by P. Subba Rao, Pub...
and vice-versa.
Janya rāgams
Graha bedham can be applied to some of the janyaJanya
Janya is a term meaning "derived". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas...
rāgams to yield other janya rāgams. Unlike Melakarta rāgams, where strict rules are adhered to, in terms of which swara
Swara
The seven notes of the scale , in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri or Re , Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam...
s can be chosen in a rāgam, janya rāgams do not have such rules. Hence, such modal shift of tonic note is valid on all swaras, but may not have been chosen as a rāgam, experimented, elaborated and composed. Hence they lead to theoretical rāgams, which have not yet been discovered (all combinations of notes exist, but no one has composed using a particular combination or experimented/ exposed to the world at large).
Mohanam
MohanamMohanam
Mohanam is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras .The equivalent of Mohanam in Hindustani music is Bhoop Mohanam is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an audava rāgam (or...
rāgam and its graha bedham derivatives are one of the key scales in use all over the world, especially East and South Asia. The other four derivatives are Hindolam
Hindolam
Hindolam is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras . Hindolam is not the same as the Hindustani Hindol...
, Shuddha Saveri
Shuddha Saveri
Shuddha Saveri , , ) is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras .The equivalent of Shuddha Saveri in Hindustani music is Durga.Raganidhi by P. Subba Rao, Pub...
, Udayaravichandrika
Udayaravichandrika
Udayaravichandrika is a rāgam in Carnatic music . It is an audava rāgam , and is also known as Shuddha Dhanyasi . It is a janya rāgam , as it does not have all the seven swaras...
(also known as Shuddha Dhanyasi) and Madhyamavathi
Madhyamavathi
Madhyamavati is a rāga in Carnatic music . It is an audava rāga . It is a janya rāga , as it does not have all the seven musical notes . The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang.Raganidhi by P. Subba Rao, Pub...
.
Tonic !! C!! !! D!! !! E!! F!! !! G!! !! A!! !! B!! C!! !! D !! !! E !! F!! !! G!! !! A!! !! B!! C
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| Mohanam || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="15px"|
|width="25px"| G3
|width="15px"|
|width="15px"|
|width="25px"| P
|width="15px"|
|width="25px"| D2
|width="15px"|
|width="15px"|
|width="25px"| S'
|width="15px"|
|width="25px"|R2'
|width="15px"|
|width="25px"|G3'
|width="15px"|
|width="15px"|
|width="25px"| P'
|width="15px"|
|width="25px"|D2'
|width="15px"|
|width="15px"|
|width="25px"|S' '
|-
| Madhyamavati || D || || || S|| ||R2|| || ||M1|| || P|| || ||N2|| || S'|| || || || || || || || || ||
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| Hindolam || E || || || || || S|| || ||G2|| ||M1|| || ||D1|| || N2|| || S'|| || || || || || || ||
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| Shuddha Saveri || G || || || || || || || || S|| ||R2|| || ||M1|| || P || || D2|| || ||S'|| || || || ||
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| Udayaravichandrika || A || || || || || || || || || || S|| || ||G2|| || M1|| || P || || ||N2|| || S'|| || ||
|-
| Mohanam || C || || || || || || || || || || || || || S|| || R2|| || G3|| || || P|| || D2|| || || S'
|}
Notes on above table
- C as the base for Mohanam is chosen for above illustration only for convenience, as Carnatic music does not enforce strict frequency/note structure. The Shadjam (S) is fixed by the artist as per the vocal range or the instrument's tonic note. All the other swarams are relative to this Shadjam, falling into a Geometric progression-like frequency pattern. This note is applicable to all tables that are illustrated further below.
- The gaps in the above table are for the missing swara positions in these ragams, which happens to be the Sharp and Flat notes along with F and B notes, in western music.
- If a Sharp / Flat key is chosen as tonic note and ONLY the black keys are played in a piano/ organ/ keyboard/ harmonium, then these 5 are the ragams played successively. That is if you have only black keys, with tonic note from C#, it is Shuddha Saveri. From D# it is Udayaravichandrika, from F# it is Mohanam, from A-flat it is Madhyamavathi and from B-Flat it is Hindolam.
- This statement is true for simplified ragam structure only. Ragams though are more complex in that there are phrases to use and phrases to avoid, gamakas, elongation of notes, a specific mood/ bhava/ rasa to be evoked while singing/ playing, etc. These cannot be captured well in scientific notations.
Shivaranjani
ShivaranjaniShivaranjani
Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There are two scales, one each in Hindustani music and Carnatic music...
rāgam and its graha bedham derivatives are Revati
Revati (ragam)
Revati is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras .In Hindustani music a raga that closely resembles Revati is Bairagi Bhairav Raganidhi by P. Subba Rao, Pub...
and Sunadavinodini
Sunadavinodini
Sunadavinodini is a rāgam in Carnatic music . It is an audava rāgam...
.
Tonic !! C!! !! D!! !! E!! F!! !! G!! !! A!! !! B!! C!! !! D !!
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| Shivaranjani || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="25px"| G2
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| P
|width="15px"|
|width="25px"| D2
|width="15px"|
|width="15px"|
|width="25px"| S'
|width="15px"|
|width="25px"|R2'
|width="25px"|G2'
|width="15px"|
|-
| Revati || D || || || S||R1|| || || ||M1|| || P|| || ||N2|| || S'||
|-
| Sunadavinodini || D#|| || || || S|| || || ||G3|| ||M2|| || ||D2|| || N3|| S'
|}
Notes on above table
- The difference between this set and Mohanam set shown above it, is that the 3rd note differs between E and D# (reference note purpose only). Hence, Shivaranjani differs from Mohanam by one note – G2 in place of G3, Revati differs from Madhyamavati by one note – R1 in place of R2, while Sunadavinodini differs from Hindolam in all notes other than S (as that step is equivalent of shifting down tonic note, Sa, by one note while retaining all other notes of Hindolam).
Hamsadhwani
Hamsadhwani rāgam and its graha bedham derivative is NagasvaravaliNagasvaravali
', is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras ....
.
Tonic !! C!! !! D!! !! E!! F!! !! G!! !! A!! !! B!! C!! !! D !! !!E!!F!! !! G
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| Hamsadhwani || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="15px"|
|width="25px"| G3
|width="15px"|
|width="15px"|
|width="25px"| P
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| N3
|width="25px"| S'
|width="15px"|
|width="25px"| R2'
|width="15px"|
|width="25px"| G3'
|width="15px"|
|width="15px"|
|width="25px"| P'
|-
| Nagasvaravali || G || || || || || || || ||S|| || || ||G3||M1|| || P|| ||D2|| || ||S'
|}
Abhogi
AbhogiAbhogi
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava or owdava raga. It is a derived scale , as it does not have all the seven swaras...
rāgam and its graha bedham derivative is Valaji
Valaji
Valaji is a rāgam in Carnatic music . It is a pentatonic scale . It is a janya rāgam , as it does not have all the seven swaras . The equivalent of Valaji in Hindustani music is Kalāvati.Raganidhi by P. Subba Rao, Pub...
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Tonic !! C!! !! D!! !! E!! F!! !! G!! !! A!! !! B!! C!! !! D !! !!E!!F
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| Abhogi || C
|width="25px"| S
|width="15px"|
|width="25px"| R2
|width="25px"| G2
|width="15px"|
|width="25px"| M1
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| D2
|width="15px"|
|width="15px"|
|width="25px"| S'
|width="15px"|
|width="25px"| R2'
|width="25px"| G2'
|width="15px"|
|width="25px"| M1'
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| Valaji || F || || || || || || S|| || || ||G3|| || ||P|| ||D2||N2|| ||S'
|}
Amritavarshini
AmritavarshiniAmritavarshini
Amritavarshini is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras .It is a common pentatonic scale of Carnatic music and is believed to produce rain...
rāgam and its graha bedham derivative is Karnataka Shuddha Saveri
Karnataka Shuddha Saveri
Karnataka Shuddha Saveri is a rāgam in Carnatic music . It is an audava rāgam . It is a janya rāgam , as it does not have all the seven swaras .This scale is known as Shuddha Sāveri in the Muthuswami Dikshitar school of music.Raganidhi by P...
.
Tonic !! C!! !! D!! !! E!! F!! !! G!! !! A!! !! B!! C!! !! D !! !!E!!F
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| Karnataka Shuddha Saveri || C
|width="25px"| S
|width="25px"| R1
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| M1
|width="15px"|
|width="25px"| P
|width="25px"| D1
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| S'
|width="25px"| R1'
|width="15px"|
|width="15px"|
|width="15px"|
|width="25px"| M1'
|-
| Amritavarshini || C# || || S || || || || G3 || || M2 || P || || || ||N3|| S' || || || ||G3'
|}