Would like to see the commentary mentioned at the end. But this was not the first, single composition covering all the 72 mela ragas. One Lavani Venkata Rao, a court poet in the Tanjavur kingdom, a scholar in Marathi, Tamil and Telugu, and a brilliant exponent of Lavani a type of Marathi folk style singing, composed a version of the 72 mela ragamalika, called Bahuttara Melakarta in Marathi. The theme is erotic and is in praise of Sakharam Saheb, the son-in-law of the ruler.
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Would like to see the commentary mentioned at the end. But this was not the first, single composition covering all the 72 mela ragas. One Lavani Venkata Rao, a court poet in the Tanjavur kingdom, a scholar in Marathi, Tamil and Telugu, and a brilliant exponent of Lavani a type of Marathi folk style singing, composed a version of the 72 mela ragamalika, called Bahuttara Melakarta in Marathi.
The theme is erotic and is in praise of Sakharam Saheb, the son-in-law of the ruler. Maha Vaidyanatha Iyer was entrusted with the task of setting this composition to music. He accomplished this with great ease in a short period of seven days and was awarded Rs. However, Maha Vaidyanatha Iyer did not relish the erotic nature of the theme and the nara stuti singing the praise of a human being in this composition, and therefore wrote a suitable alternate sahitya lyrics in praise of Lord Pranatarthihara Siva of the mammoth temple at Tiruvarur.
This is the version currently in vogue as the mela ragamalika. The entire ragamalika is set to Adi tala. The Pallavi is sung in Sriragam, followed by some beautiful jati phrases in Tillana style. There is no Anupallavi and the Charanam has 72 lines, one for each melakarta, with the raga mudra skillfully inscribed in each line. At the end of each mela raga, there is a Chittaswara, and further, to enhance the beauty of the composition, his brother Ramaswami Sivan added additional Chittaswaras at the end of each line, whose poorvanga first half is in the same raga, but the uttaranga second half is in the next raga.
At the end of each Chakra 6 raga cycle , the Pallavi is repeated. At the commencement of the Prati madhyama series, the jati phrases are also sung.
This is not a piece we hear often in concert platforms. Occasionally in the past, one or two Chakras of this lengthy composition has been rendered by Musiri Subramanya Iyer and M S Subbulakshmi.
Recently June , the Gramaphone Co. ECSD , and simultaneously a minute casette No. The theme of this Ragamalika is Advaitic and highly philosophical and luckily, a full-fledged commentary in Tamil, known as Sivapriya, written by Gurumurti Sastrigal of Varahur, is available.
Let us first understand what a Melakartha Raga is. A Melakartha, also known as Mela or Janaka Raga, is a set of scales that acts as a source for deriving other ragas. Such ragas are generally Sampoornam by nature, which means they contain all 7 notes. These 7 notes are always in order from shadjam to shadjam of the upper octave and remain the same in both ascending and descending order.
The chart is separated into a hierarchical tree model with representations for each swara family. The center of the chart represents the origin of all Melakarta ragas. The second level of circles represents the two Madhyama M swaras and their respective halves of the Melakarta structure. The third level of circles represents the 12 Chakras of Carnatic music. Each Chakra represents a particular combination of Rishabha and Gandhara swaras in its particular half of the chart.
72 MELAKARTA RAGAS PDF
He is considered the father of mela system of ragas. The controversial parts relate to double counting of R2 and similar svaras and his exclusive selection of madyamas for which there is no specific reasoning also known as asampurna melas as opposed to sampurna ragas. Govindhacharya is credited with the standardization of rules and known for giving different names for standard ragas that have a different structure but the same swaras as those proposed by Venkatamakhi. The sankhya associates Sanskrit consonants with digits. The digits corresponding to the first two syllables of the name of a raga, when reversed, give the index of the raga. For example, Harikambhoji raga starts with syllables Ha and ri, which have numbers 8 and 2 associated with them.