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	MUKUND MELAKARTA RAGA CHART
		The Mukund melakarta raga chart is presented below and the explanations are given to emphasize the utility of the chart.
		That is the melakarta ragas occurring in the border.
		Locate the triangle in which the melakarta raga lies, the four swaras, Ri, Ga, Da and Ni will be found at the two ends of the row and the column in which the triangle is situated.
	www.carnaticcorner.com /articles/mukund_chart.htm (0 words)

	Melakarta
		In Carnatic music, a melakarta or melakartha or janaka or sampoorna raga is one that comprises all seven swaras.
		The scales are constructed as follows: out of the twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3, a melakarta raga must necessarily have S and P, one of the M's, two of the R's and G's, and two of the D's and N's.
		A raga which has the same scale as a Melakarta raga (or a subset thereof) is said to be a janya of it (janya means born or derived from).
	www.xasa.com /wiki/en/wikipedia/m/me/melakarta.html (272 words)

	Janya Ragas
		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.
		It is a Madhyama varja raga derived from the 16th melakarta Chakravaaham.
		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.
	www.carnaticmusic.esmartmusic.com /primer/janyaragas.htm (1030 words)

	Royal Carpet: Janya Ragas
		Janya ragas are scales derived from the melakarta ragas.
		The melakarta ragas have 7 notes, sa ri ga ma pa da ni, in both the ascending and descending scales.
		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.
	www.karnatik.com /janya.shtml (376 words)

	The Melakarta Scheme
		The table is organized in such a fashion that a Suddha Madhyama melakarta and its Prati Madhyama pair (the melakarta which shares all swaras except the Madhyama) occur on the same line.
		Dividing 56 by 6 yields a quotient of 9 and a remainder of 2.
		Ragas whose melakarta numbers differ by a multiple of six (meaning they have the same Pa-..-Sha designation) have the same uttarangam and this too causes similarity, as in the case of Lataangi and Kaamavardhani.
	www.geocities.com /Vienna/Strasse/5926/section3_5.htm (0 words)

	[No title] (Site not responding. Last check: )
		some try to associate the melakarta with references to the characteristic prayohams which of the ragam.
		On the other hand, the pure way (without much oscillation)in which the dhaivatam is approached and hald in the ascent suggests Harikambhodhi as the melakarta.
		personally, i feel that the assignments of a varja ragam to a melakarta are purely academic and does not in any way enhance the enjoyment of the ragam.
	www.sruti.org /bboard/reply.asp?ID=1311&Reply=1311 (200 words)

	[No title]
		Melakarta ragas have a formal structure and follow a fairly rigid scheme of scientific organization whereas the janya ragas are rooted in usage and are liable to evolve with the music.
		Seen this way, the melakarta scheme is a product of mathematical abstraction and the naming of swaras (and the introduction of vivadi swaras) is of no consequence as far as the organization of the melakartas is concerned.
		To find out what is the location of a melakarta in the table, the first two consonants are deciphered using the numerical assignment table and the resulting number is inverted left to right.
	sanskritdocuments.org /all_txt/carnatic.txt (11285 words)

	India4u - Music - Carnatic Music
		From the viewpoint of the listener, a realisation of the raga swaroopam means that some of the qualities of the music can be anticipated and this contributes greatly to listening pleasure.
		Melakarta ragas have a formal structure and follow a fairly rigid scheme of scientific organisation whereas the janya ragas are rooted in usage and are liable to evolve with the music.
		Melakarta ragas are identified by the fact that they use all seven swaras and the arohanam and avarohanam are always Sa-Ri-Ga-Ma-Pa-Da-Ni-Sa and Sa-Ni-Da-Pa-Ma-Ga-Ri-Sa.
	www.india4u.com /indmusic/carnatic.asp (2318 words)

	Arts Carnatic Music - Arts And Culture Of India - Music, Dance, Architecture Etc Of India
		Melakartas: In Carnatic music, the sampurna ragas (the ones that have seven notes in their scales) are classified into the melakarta system, which groups them according to the kinds of notes that they have.
		There are seventy-two melakarta ragas, thirty-six of whose subdominant is a perfect fourth from the tonic, thirty-six of whose subdominant is an augmented fourth from the tonic.
		Janaka raga is synonymous with melakarta (because the melakarta ragas each have seven notes in their scale, and use each note only once).
	www.bharatadesam.com /arts/carnatic_music.php (2901 words)

	Melakarta
		In Carnatic music, a melakarta or janaka or sampoorna raga is one that comprises all seven swaras.
		The scales are constructed as follows: out of the twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3, a melakarta raga must have necessarily have S and P, one of the M's, two of the R's and G's, and two of the D's and N's.
		A raga which has the same scale as a Melakarta raga (or a subset thereof) is said to be a janya of it (janya means born or derived from).
	www.teachtime.com /en/wikipedia/m/me/melakarta.html (242 words)

	MELAKARTA RAGA SCHEME
		One of the characteristics of Janaka raga or a Melakarta raga is that in each raga, all seven swaras occur in either the arohanam or ascending order or the avarohanam or the descending scales.
		From out of these seventy two Melakarta ragas, numerous janya ragas or children ragas are born by varying the ascending and descending scales, by adding or subtracting one more notes in the ascending or descending scales.
		From the names of the ragas, we will be able to identify the Melakarta to which it belongs.
	www.ipnatlanta.net /camaga/vidyarthi/Melakarta_Scheme.htm (0 words)

	Royal Carpet: Introduction to Carnatic Raga
		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.
		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.
		The mElakarta raagaas and their swaras, divided by their ma follow.
	www.geocities.com /promiserani2/melas.html (337 words)

	The Melakarta Scheme - Page1
		Venkatamakhi did not believe that melakartas must be of simple sampoorna arohanam - avarohanam but favored the idea of calling a raga as a melakarta if all the seven swaras occurred in either the arohanam or the avarohanam.
		In this scheme, the melakartas arise out of systematic permutation of the seven swaras into the twelve swara sthanas.
		Seen this way, the melakarta scheme is a product of mathematical abstraction and the naming of swaras (and the introduction of vivadi swaras) is of no consequence as far as the organization of the melakartas is concerned.
	www.hindubooks.org /culture/carnatic/the_melakarta_scheme/page1.htm (0 words)

	The Melakarta Scheme - Page15
		The melakarta ragas in which vivadi swaras appear are called as vivadi melakartas.
		Thus, there are 40 vivadi melakartas, out of which 8 have two vivadi swaras and the rest one vivadi swara each.
		If a melakarta system is constructed without the vivadi melakartas, a number of fairly common ragas will have to be treated as
	www.hindubooks.org /culture/carnatic/the_melakarta_scheme/page15.htm (0 words)

	THE MELAKARTA SCHEME
		This leads to 72 seven-note combinations referred to as the Melakarta Ragas.
		Thousands of compositions of different types : the Gita, the Vara, Kirtana, Padam, Pallavi, Tillana etc, have been composed in these Melakarta or Janya Ragas by various famous composers, presenting an enormous range and depth in presenting the melodic possibilities of each.
		And of course, without the limitations of a composition, the Alapana provides the format where any musician can elaborate any Raga for as long as likes, with improvisation being limited only by his or her imagination.
	acharya.iitm.ac.in /mirrors/vv/arts/mela.html (582 words)

	Spartanburg SC \| GoUpstate.com \| Spartanburg Herald-Journal
		The postulated number of melakarta derives from arithmetical calculation and not from Carnatic practice, which employs far fewer scale forms.
		Seven-pitch melakarta are considered subsets of a twelve-pitch scale roughly analogous to the Western chromatic scale.
		The first and fifth melakarta tones, corresponding to the first and seventh chromatic tones, are invariable in inflection, and the fourth melakarta tone, corresponding to the fifth or sixth chromatic tone, is allowed one of two inflections only, a natural (shuddah) position and a raised (tivra) position.
	www.goupstate.com /apps/pbcs.dll/section?category=NEWS&template=wiki&text=heptatonic_scale (467 words)

	Raga Summary
		A Melakarta Raga is one which has all 7 notes in both the aarohanam and avarohanam.
		Some Melakarta Ragas are Sankarabharanam, Maaya Malava Gowla (The fundamental raaga used in elementary Carnatic music),Kalyani etc. the latter is in fact a very special raga as it is one of the few to have Prathi Madhyamam(The higher note - Ma).
		Janya ragas are derived from the Janaka ragas using a combination of the swarams in the parent raga.
	www.bookrags.com /Raga (1651 words)

	Raganubhava - Melodic Aspects
		This concept was conceived by Venkatamakhi in the 17th century, thus paving way for a scientific and logical melodic set-up.
		In Western music, if the tonic note Sa were to be taken as C, the rest of the notes would be D, E, F, G, A, B and C in both directions.
		All the other ragas are derivatives of the melakarta (which is why they are known as the Parent scales), thus paving the way for a scientific construction of the Carnatic music Raga system.
	www.carnatica.net /sangeet/raganubhava3.htm (729 words)

	The Hindu : Life Madurai : `Melakarta ragas' and the calendar
		Based on the 72 melakarta raga arrangements, the calendar contains within it the core concept of Carnatic music.
		It explains the 72 melakarta — the musicological term for the 72 fundamental parent ragas.
		The math and geometry of the raga arrangements in the melakarta scheme has been explained step by step.
	www.hinduonnet.com /lf/2004/11/18/stories/2004111803240200.htm (200 words)

	[No title]
		Madhyama varja raga derived from the 52nd melakarta Raamapriya is identical to Malayamaarutham.
		gamakas used in the janya raga have to be studied to decide which of the melakartas is appropriately described as the parent raga.
		The sixth melakarta Thaanaroopi (Indu - Sha) is denoted by the
	www.ee.duke.edu /~sg/Primer.html (9882 words)

	INTERACTION BETWEEN VOCAL (Site not responding. Last check: )
		Mela and melakarta are two different concepts altogether.
		A mela is a collection of svarasthaana-s abstracted from its janyaraga-s, while a melakarta is but a janyaraga, a prominent one, whose name is assigned to its mela.
		Further, the "inspiration" provided by the artificial melakarta raga-s prompted many musicians to 'create' raga-s by dropping a swara or two from the melakarta-s.
	www.indiamusicforum.com /seminar/toim/toim22.htm (3324 words)

	Indian Melody : Introduction to South Indian Classical Music (Carnatic)
		By contrast, the Melakarta scheme is a brutally mathematical scheme where you selected 7 keys out of a possible 12 keys, subject to certain constraints - here you figured out the frequency relationship between the keys much later.
		Since melakartas have the maximum allowed seven notes in a ragam, they have an enormous scope for melody making, compared to a derived ragam which may have less than seven notes.
		Oftentimes he picks a Melakarta Ragam, where the scope to make creative melodies is enormous (because they have all the allowed seven notes in the scale - remember they are all Sampoorna or 'complete' Ragams) He would also often choose a complex Talam to set his musical phrases in.
	www.indianmelody.com /carnaticintro.htm (20257 words)

	Sailu.com : Carnatic : Ragas
		This is a derived raga from the 28th Melakarta, Harikambhoji.
		This is a derived raga from the 20th Melakarta, Natabhairavi.
		This is a derived raga from the 22th Melakarta, Kharaharapriya.
	www.sailu.com /text/ragas.html (365 words)

	Amazon.com: Melakarta: Books (Site not responding. Last check: )
		Melakarta and janya raga chart by A Krishnaswamy (Unknown Binding - 1981)
		The notations were ar- ranged by the seventy-two melakartas, a system of classifying ragas based on the notes they...
		Venka(amakhi was the originator of the Melakarta system in Carntic music according to which there are 72...
	www.amazon.com /s?ie=UTF8&keywords=Melakarta&tag=httpexplaguid-20&index=books&link_code=qs&page=1 (761 words)

	Blog Catalog » Blog Archive » Janya ragas
		The chief rAgas of rags, including 17 melakarta ragas, 60 janya ragas, shruthi etc. All her uc nearly 100 compositions, some janya of the 29th Melam Sankarabharanam is a very large number of the 20th Melakartha NataBhairavi.
		Though it is that this is composed without any Melakarta leads to a few hundred of these ragas like Sankarabharanam, Todi and notation reference where you loluc adherence to be sung in the permutation anduc group - Marwa, Pooriya and Sohani a similar transformation in its janya Raga classification the ragas have been classified exhaustively.
		Every raga is the Janya ragas have to be sung this raga / Ashray raga / Ashray raga / ajnata dura karibara janya of the parent scale and loads of songs by Rob Tag in its janya ragas.
	journaldir.org /2007/01/18/janya-ragas (524 words)

	A GENTLE INTRODUCTION TO (Site not responding. Last check: )
		By contrast, the Melakarta scheme is a brutally mathematical scheme where you selected 7 keys out of a possible 12 keys, subject to certain constraints - here you figured out the frequency relationship between the keys much later.
		Melakartas which differ from each other by 36 (Such as Harikambhoji and Vachaspati, Keeravani and Simhendramadhyamam) have the same Arohanam and Avarohanam except for the Ma.
		Since melakartas have the maximum allowed seven notes in a ragam, they have an enormous scope for melody making, compared to a derived ragam which may have less than seven notes.
	www.ecse.rpi.edu /Homepages/shivkuma/personal/music/basics/ramesh/gentle-intro-ramesh-mahadevan-II.htm (5967 words)

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