Katapayadi sutra is the numerical notation in ancient Indian system to depict letters to numerals for easy remembrance of numbers as meaningful words.
Katapayadi Sankya
'Grahacaranibandhana' based in the year 683 CE and 'Laghubhaskariyavivarana' based in the year 869 CE speak of a certain numerical notation which goes by the name of Katapayadi Sankhya.
Under this system, a number is ascribed to each and every alphabet of the script, a concept highly similar to the ASCII system in computers.
'Grahacaranibandhana' based in the year 683 CE and 'Laghubhaskariyavivarana' based in the year 869 CE speak of a certain numerical notation which goes by the name of Katapayadi Sankhya.
Under this system, a number is ascribed to each and every alphabet of the script, a concept highly similar to the ASCII system in computers.
The first two syllables of the name of each melakartha raga have been so ingeniously and dexterously fitted in as to make them subserve the purposes of this formula. This formula is based on the principal letters of the Sanskrit alphabet. The letters of the alphabet are divided off into compartments as shown above and for the purpose of this formula, each letter takes the number under which it falls. In the column next to 9 the figure 0 is placed instead of 10.
Application – Take the first two syllables from the name of given melakartha raga whose serial number in the above table the initial letters of the two syllables fall and write down the two numbers in order. Now reverse this number of two digits and the resulting figure gives the serial number of the given melakartha raga.
Example I.
Suppose the name of the melakarta whose serial number is to be determined is Harikambhoji.
The first two syllables of this raga are ha and ri; ha occurs in column 8 and ri or ra in column 2;
the resulting figure is therefore 82. Now revere this number; the result is 28.
The serial number of the Harikambhoji melakarta is thus 28.
Example II.
Suppose the serial number of the melakarta Namanarayani is to be determined :--
The first two syllables herein are na and ma and they give the figure 05. By reversing this we get 50. Thus 50 is the serial number of the melakarta, Namanarayani. Other examples may be worked out similarly.
Where samyuktaksharas or conjunct consonants figure in the Katapayadi prefixes, the rule is, that the second or the last component letter of the conjunct consonant (i.e. the consonant immediately preceding the vowel) should be taken into consideration. Thus in Ratnangi, Suryakanta, Jhankaradhvani, Gangeyabhushani, Shadvidhamargini, Shanmukhapriya, Dharmavati and Kantamani, the correct serial numbers are obtained in this manner.
But in the case of the following melakartas: Chakravaka, Divyamani, Visvambhari, Syamalangi, Simhendra madhyama, Chitrambari and Jyotiswarupini, the first component letter of the concerned conjunct consonant has to be taken (as shown in the following table), in order that the application of the katapayadi formula might give the correct serial number.
Thus these mela names were hurriedly coined constitute an exception to the katapayadi rule.
Application – Take the first two syllables from the name of given melakartha raga whose serial number in the above table the initial letters of the two syllables fall and write down the two numbers in order. Now reverse this number of two digits and the resulting figure gives the serial number of the given melakartha raga.
Example I.
Suppose the name of the melakarta whose serial number is to be determined is Harikambhoji.
The first two syllables of this raga are ha and ri; ha occurs in column 8 and ri or ra in column 2;
the resulting figure is therefore 82. Now revere this number; the result is 28.
The serial number of the Harikambhoji melakarta is thus 28.
Example II.
Suppose the serial number of the melakarta Namanarayani is to be determined :--
The first two syllables herein are na and ma and they give the figure 05. By reversing this we get 50. Thus 50 is the serial number of the melakarta, Namanarayani. Other examples may be worked out similarly.
Where samyuktaksharas or conjunct consonants figure in the Katapayadi prefixes, the rule is, that the second or the last component letter of the conjunct consonant (i.e. the consonant immediately preceding the vowel) should be taken into consideration. Thus in Ratnangi, Suryakanta, Jhankaradhvani, Gangeyabhushani, Shadvidhamargini, Shanmukhapriya, Dharmavati and Kantamani, the correct serial numbers are obtained in this manner.
But in the case of the following melakartas: Chakravaka, Divyamani, Visvambhari, Syamalangi, Simhendra madhyama, Chitrambari and Jyotiswarupini, the first component letter of the concerned conjunct consonant has to be taken (as shown in the following table), in order that the application of the katapayadi formula might give the correct serial number.
Thus these mela names were hurriedly coined constitute an exception to the katapayadi rule.
The katapayadi prefixes are the key syllables for determining the serial numbers of melas. They are also called the sankhyaksharas. Since the application of the Katapayadi formula is confined to consonants, the mela names have necessarily to begin with the consonants and not with vowels.
The katapayadi formula does not apply to the names of janya ragas.
The katapayadi formula does not apply to the names of janya ragas.
According to the Kadapayadi formula, the syllables pa, sri, go, bhu, ma and sha mnemonically represent the 1st, 2nd , 3rd , 4th , 5th, and 6th melas of each chakra. These syllables by themselves indicate the numbers 1, 2, 3, 4, 5 and 6. When these syllables are fixed on to the chakra names, we can calculate the serial number of the mela. Each chakra contains 6 melas.
Example:
Indu-pa - 1st mela
Agni-go - 15th mela (Agni is the 3rd chakra, {2 x 6} + 3 giving 15)
[Note: In the name Sankara the day of birth of the great philosopher is surprisingly enough revealed by the application of the Katapayadi formula. The three syllables in the name, Sankara give the numbers 512; this reversed gives 2 15 i.e. Vaisaka(2nd month) suddha (ie. Sukla paksha or the 1st fortnight of the month) Panchami (5th day).]
Other uses of the formula
A separate nomenclature for the 35 suladi talas, answering to the katapayadi formula also exists. The Trisra, Chaturasra, Khanda, Misra and Sankirna varieties of the Dhruva tala, for example, bear the names: pika, vati, saka, lara and dhara. These names by the application of the Katapayadi formula yield the numbers 11, 14, 17, 23 and 29 which respectively denote the aksharakala value of an avarta of each of the concerned talas.
In Tala prastara, the 2048th prastara is called Devanari. In the Telugu work, 'Sangita sara sangrahamu' of Tiruvenkata Kavi, written sometime after the Sangraha chudamani, names answering to the katapayadi formula are given for the twenty-four srutis used in an octave thus :-
yina (1), rana (2), lina (3), ghana (4), mana (5), tanu (6), sena (7), dana (8), dhana (9), naya (10), paya(11), thaya (12), loka (13), vaya (14), suka (15), toya (16), chhaya (17), jaya (18), dheya (19), nara (20), kara (21), khara (22), giri (23), and vira (24).
Thus the name of the sruti itself gives the clue to its pitch and its position in the octave.
The name Jaya for the great epic poem Mahabharata occurring in the benedictory verse,
as suggestive of its 18 Parvas, 18 days of the Great War, 18 Akshauhinis engaged in the conflict and the 18 chapters of the Bhagavat gita; 18 is a victory number.
Bhutha Sankya
The names of the chakras are based on Bhutha Sankya which are related to our planet and are themselves suggestive of their numbers. The 12 chakras are:
Indu stands for the moon, of which we have only one – hence it is the first chakra.
Netra means eyes, of which we have two – hence it is the second.
Agni is the third chakra as it denotes the three divyagnis (fire, lightning and Sun).
Veda denoting four Vedas is the name of the fourth chakra.
Bana comes fifth as it stands for the five bāṇaa of Manmatha. (pancha banaas)
Ritu is the sixth chakra standing for the 6 seasons of Hindu calendar. (shat ritus)
Rishi, meaning sage, is the seventh chakra representing the seven sages. (sapta rishis)
Vasu stands for the eight vasus of Hinduism. (shta vasus)
Brahma comes next of which there are 9. (nava brahmas)
Disi - the 10 directions are represented by the tenth chakra.
Rudra is the eleventh chakra of which there are eleven. (ekadasa rudras)
Aditya is the twelfth chakra of which there are twelve suns. (dvadasa adithyas)
The names of the chakras are based on Bhutha Sankya which are related to our planet and are themselves suggestive of their numbers. The 12 chakras are:
Indu stands for the moon, of which we have only one – hence it is the first chakra.
Netra means eyes, of which we have two – hence it is the second.
Agni is the third chakra as it denotes the three divyagnis (fire, lightning and Sun).
Veda denoting four Vedas is the name of the fourth chakra.
Bana comes fifth as it stands for the five bāṇaa of Manmatha. (pancha banaas)
Ritu is the sixth chakra standing for the 6 seasons of Hindu calendar. (shat ritus)
Rishi, meaning sage, is the seventh chakra representing the seven sages. (sapta rishis)
Vasu stands for the eight vasus of Hinduism. (shta vasus)
Brahma comes next of which there are 9. (nava brahmas)
Disi - the 10 directions are represented by the tenth chakra.
Rudra is the eleventh chakra of which there are eleven. (ekadasa rudras)
Aditya is the twelfth chakra of which there are twelve suns. (dvadasa adithyas)
Historical:
As already mentioned there are two nomenclatures for the 72 melas:
(1) the well-known Kanakangi-Ratnangi nomenclature and
(2) the Kanakambari – Phenadyuti nomenclature.
The former nomenclature was followed by Tyagaraja and other composers and the latter by Muthuswamy Dikshitar. The former nomenclature is the one figuring in the immortal composition ‘‘ The 72 Melaragamalika’’ nomenclature, of Maha Vaidyanatha Ayyar. The other nomenclature, though ascribed to Venkatamakhi is, as subsequent researches have shown, not his. In his Chaturdandi prakasika, the illustrious author merely explains the scheme of 72 melas, and does not attempt a nomenclature for them. It is but natural that he should have refrained from attempting a nomenclature in as much as he visualized only the remote possibilities of a good number of the melas. He mentioned the serial numbers in his scheme for the well-known 19 melas of his time. In the raga chapter, he has allocated the janaka melas for the various janya ragas. He mentions Ritigaula as a janya of the 20th mela Bhairavi; and Kedaragaula as a janya of the 28th mela Kambhoji. Venkatamakhi’s mela names do not have the Katapayadi prefixes. A good number of his melas are not krama-sampurna in the ascent and descent, and some of them like the Bhupala mela (8th) are even transilient scales. He merely named a mela from a well-known janya raga derived from it.
A later scholar taking this clue, enunciated the Kanakambari-Phenadyuti nomenclature for the 72 melas. This nomenclature may be styled the earlier Kanakambari nomenclature and is given in the work Sangraha chudamani (18th cent). The author of this nomenclature did not evidently bother about the katapayadi prefixes for all the mela names. In some cases, the mela names themselves, accidentally conformed to the katapayadi requirements and gave the correct serial numbers.
As examples may be mentioned Kanakambari (1), Phenadyuti (2), Bhanumati (4), Viravasantam (24), Raghulila (42) and Simantini (57). There are many mela names like Samavarali (3), Todi (8), Hajjujji(13), Vasantabhairavi (14), Vegavahini (16), Suddha malavi (18), Velavali (23), Samantam (30), Chayanata (34), Varali (39) Pantuvarali (45), Ramakriya (51) and Simharavam (58), which by the application of the katapayadi formula, will give numbers different from those given within brackets against the concerned melas. Rightly enough, he has re-christened some of the melas of Venkatamakhi with better and more appropriate raga names. Thus the Bhipala mela (8), Gaula mela (15) and Ahiri mela (21) were re-named Todi mela, Malavagaula mela and Kiranavali mela. He realized the unwisdom in naming a mela after an audava raga like Bhipala. Bhairavi and Kambhoji however continued as melas in the scheme.
When the earlier Kanakambari nomenclature was promulgated, it gained publicity amongst vidvans being the first of its kind. Govindacharya who wrote the Sangraha chudamani afterwards had to necessarily mention by way of comment against his mela names: ‘“ What was known as Sumadyuti is now known as Simhendramadhyama ”’ etc.
The Kanakangi - Ratnangi nomenclature then came into existence. If stuck to the rale that a mela should have a krama-sampurna arohana and avarohana and also that each swara should retain its identical character in both the ascent and descent. This concept of a mela maintains intact the time-honoured distinction between a scale and a raga, already rooted in the concepts, murchhana and jati; palai and pan. This nomenclature which had the added merit of conforming to the katapayadi formula was since accepted by all lakshanakaras as sound and has come to stay. It should be noted that Harikambhoji mela and Harikambhoji raga are two distinct entities. The former is the mere bony stuff, while the latter is the full-fledged raga, shining in all its life, flesh, blood and melodic beauty. For the sake of easy reference, the Kanakangi-Ratnangi nomenclature is referred to as the Sampurna mela paddhati and the Kanakambari-Phenadyuti nomenclature as the Asampurna mela paddhati.
A scholar later profiting by the merits of the Kanakangi nomenclature, tried to introduce improvements in the earlier Kanakambari nomenclature. In order to get the correct serial numbers, Katapayadi prefixes were introduced for all those mela names which needed them. As examples may be mentioned, Ganasamavarali (3), Janatodi (8), Dhunibhinnashadjam (9), Geyahejjujji (13), Vativasantabhairavi (14), Tohavegavahini (16), Jayasuddhamalavi (18), Caurivelavali (23), Bhogachhayanata (34), Sailadesakshi (35), Dhalivarali (39), Sivapantuvarali (45), Kasiramakriya (51) and Desisimharavam (58). Some names of the earlier Kanakambari nomenclature were substituted by other names, but the fact remained that many shadava-sampurna, audava-sampurna, and vakra-sampurna ragas continued as melas.
As examples of the changed mela names may be mentioned.
As already mentioned there are two nomenclatures for the 72 melas:
(1) the well-known Kanakangi-Ratnangi nomenclature and
(2) the Kanakambari – Phenadyuti nomenclature.
The former nomenclature was followed by Tyagaraja and other composers and the latter by Muthuswamy Dikshitar. The former nomenclature is the one figuring in the immortal composition ‘‘ The 72 Melaragamalika’’ nomenclature, of Maha Vaidyanatha Ayyar. The other nomenclature, though ascribed to Venkatamakhi is, as subsequent researches have shown, not his. In his Chaturdandi prakasika, the illustrious author merely explains the scheme of 72 melas, and does not attempt a nomenclature for them. It is but natural that he should have refrained from attempting a nomenclature in as much as he visualized only the remote possibilities of a good number of the melas. He mentioned the serial numbers in his scheme for the well-known 19 melas of his time. In the raga chapter, he has allocated the janaka melas for the various janya ragas. He mentions Ritigaula as a janya of the 20th mela Bhairavi; and Kedaragaula as a janya of the 28th mela Kambhoji. Venkatamakhi’s mela names do not have the Katapayadi prefixes. A good number of his melas are not krama-sampurna in the ascent and descent, and some of them like the Bhupala mela (8th) are even transilient scales. He merely named a mela from a well-known janya raga derived from it.
A later scholar taking this clue, enunciated the Kanakambari-Phenadyuti nomenclature for the 72 melas. This nomenclature may be styled the earlier Kanakambari nomenclature and is given in the work Sangraha chudamani (18th cent). The author of this nomenclature did not evidently bother about the katapayadi prefixes for all the mela names. In some cases, the mela names themselves, accidentally conformed to the katapayadi requirements and gave the correct serial numbers.
As examples may be mentioned Kanakambari (1), Phenadyuti (2), Bhanumati (4), Viravasantam (24), Raghulila (42) and Simantini (57). There are many mela names like Samavarali (3), Todi (8), Hajjujji(13), Vasantabhairavi (14), Vegavahini (16), Suddha malavi (18), Velavali (23), Samantam (30), Chayanata (34), Varali (39) Pantuvarali (45), Ramakriya (51) and Simharavam (58), which by the application of the katapayadi formula, will give numbers different from those given within brackets against the concerned melas. Rightly enough, he has re-christened some of the melas of Venkatamakhi with better and more appropriate raga names. Thus the Bhipala mela (8), Gaula mela (15) and Ahiri mela (21) were re-named Todi mela, Malavagaula mela and Kiranavali mela. He realized the unwisdom in naming a mela after an audava raga like Bhipala. Bhairavi and Kambhoji however continued as melas in the scheme.
When the earlier Kanakambari nomenclature was promulgated, it gained publicity amongst vidvans being the first of its kind. Govindacharya who wrote the Sangraha chudamani afterwards had to necessarily mention by way of comment against his mela names: ‘“ What was known as Sumadyuti is now known as Simhendramadhyama ”’ etc.
The Kanakangi - Ratnangi nomenclature then came into existence. If stuck to the rale that a mela should have a krama-sampurna arohana and avarohana and also that each swara should retain its identical character in both the ascent and descent. This concept of a mela maintains intact the time-honoured distinction between a scale and a raga, already rooted in the concepts, murchhana and jati; palai and pan. This nomenclature which had the added merit of conforming to the katapayadi formula was since accepted by all lakshanakaras as sound and has come to stay. It should be noted that Harikambhoji mela and Harikambhoji raga are two distinct entities. The former is the mere bony stuff, while the latter is the full-fledged raga, shining in all its life, flesh, blood and melodic beauty. For the sake of easy reference, the Kanakangi-Ratnangi nomenclature is referred to as the Sampurna mela paddhati and the Kanakambari-Phenadyuti nomenclature as the Asampurna mela paddhati.
A scholar later profiting by the merits of the Kanakangi nomenclature, tried to introduce improvements in the earlier Kanakambari nomenclature. In order to get the correct serial numbers, Katapayadi prefixes were introduced for all those mela names which needed them. As examples may be mentioned, Ganasamavarali (3), Janatodi (8), Dhunibhinnashadjam (9), Geyahejjujji (13), Vativasantabhairavi (14), Tohavegavahini (16), Jayasuddhamalavi (18), Caurivelavali (23), Bhogachhayanata (34), Sailadesakshi (35), Dhalivarali (39), Sivapantuvarali (45), Kasiramakriya (51) and Desisimharavam (58). Some names of the earlier Kanakambari nomenclature were substituted by other names, but the fact remained that many shadava-sampurna, audava-sampurna, and vakra-sampurna ragas continued as melas.
As examples of the changed mela names may be mentioned.
It is clear that this later Kanakambari nomenclature came into existence after the Sangraha chudamani was written. Since neither of the nomenclatures is referred to in the Sangita saramrita of Tulaja (1735), it is clear that the earlier Kanakambari nomenclature was conceived sometime after this work was written. The Sangita saramrita merely gives the names for 21 melas and even these do not bear katapayadi prefixes.
History of mela nomenclature
History of mela nomenclature
|
|
|
|
|
|
Curiously enough, the ragas Ritigaula and Kedaragaula, which Venkatamakhi expressly says, are Janyas of the Bhairavi and Kambhoji melas respectively, are promoted to the status of melas in the later Kanakambari nomenclature - throwing overboard even the author of the earlier Kanakambari nomenclature. This was evidently done to replace bhashanga ragas by upanga ragas.
Excepting the very few krama-sampurna melas, all the rest in the Kanakambari nomenclature figure as janya ragas under the respective melas in the Kanakangi scheme.
The lakshana gita in Gundakriya raga, attributed to Venkatamakhi, gives the later Kanakambari nomenclature. From the fact that it mentions 24 srutis towards the close, it is proof positive that the composition is not Venkatamakhi’s. Venkatamakhi has emphasised 22 srutis in no uncertain terms. It is true that Subbarama Dikshitar, in his errata to the Sangita sampradaya pradarsini mentions that chaturvimsati(24) is a misprint for dvavimsati. But people familiar with printing know that is too much to take this as an error in printing. It is evidently an afterthought of Subbarama Dikshitar and the correction was introduced to credit the authorship of the gita to Venkatamakhi.
The fact that the term raganga raga is not used in the sense of a mela raga by Venkatamakhi is another proof that the lakshana gita in Gundakriya raga cannot be his. He calls many janya ragas as raganga ragas. He says that Madhyamavati and Dhanyasi are ragangas born of Sriraga mela. Since this gita uses the later Kanakambari nomenclature, is certain that this gita must have been composed more than a hundred years after Venkatamakhi.
The raganga raga lakshana gitas based on the later Kanakambari nomenclature, are therefore not the compositions of Venkatamakhi. Nevertheless, these compositions are of historical value. The gita, Ravikotiteja in Mayamalavagaula in particular, is found in many early 19th century manuscripts. It is interesting to note that even this later Kanakambari nomenclature underwent some changes. In the 72, Raganga Ragamalika of Subbarama Dikshitar and Krishna Kavi the following changed names are seen :--
(9) Dhvanibhinnashadjam for Dhunibhinnashadjam
(14) Vayuvasantabhairavi for Vativasantabhairavi
(16) Tapovegavahini for Toyavegavahini
(39) Dhutivarali for Dhalivarali
(65) Matikalyani for Santakalyani
The weakness of the asampurna mela paddhati lies in the fact that it rules out the possibilities of sampurna -sampurna ragas like Chakravakam, Kharaharapriya and Harikambhoji. It will lead to the position that Sriraga being a mela, Kharaharapriya has to be regarded as a super mela. Again if a mela is to be named after a well known janya raga generating from it, the problem arises as to which janya raga is to be preferred for the purpose, since under each mela, more than one prasiddha raga can be thought of.
Some of the raga names in the earlier Kanakambari nomenclature are evidently the creation of the author of this nomenclature. There were no compositions in these ragas at that time is a complete and exhaustive scheme evolved by the simple and natural combinations already explained. To the question, whether the mere substitution of the prati madhyama in the place of the suddha madhyama of the purva group of melakartas, gives rise to a totally different set of melakartas, Venkatamakhi answers by saying that even as a drop of butter-milk converts the entire milk of a vessel into curd, the substitution of the prati madhyama does effect such a radical change and gives rise to an entirely new set of melakarta ragas. It may be mentioned in passing that the Sangraha chudamani mentions the name Narabhairavi for the 20th mela and not Nathabhairavi, which is a change effected later on. At the time the Sangraha chudamani was written, the Kanakangi- Ratnangi nomenclature was the one in use, and it has since been accepted as the authoritative nomenclature, despite a later improved Kanakambari nomenclature. The Meladhikara lakshana also mentions the Kanakangi nomenclature.
Muthuswamy Dikshitar has adopted the later Kanakambari nomenclature for the most part. The names of some mela ragas appear in his compositions without the katapayadi prefixes; see for example, his Vina pustaka dharinim, Nilakantham bhajeham and Swaminatha. In his compositions in the 35th, 50th, 55th, 58th and 68th melas, he adopts the names Sulini, Narmada, Samalangi, Haimavati and Jotishmati; and not the names Sailadesakshi, Namadesi, Samala, Desi simharavam and Joti ragam. Subbarama Dikshitar’s note that Simantini is another name for Sumadyuti, and Hemavati is another name for Simbaravam are noteworthy. In order to strictly conform to the requirements of the katapayadi formula, the 55th mela was called Samalangi instead of Syamalangi.
In view of the fact all scholars in India as well as those of the west, have understood the 72 melas as krama- sampurna scales. The asampurna mela paddhati has become a matter of mere local history. The term melakarta implies that it is a karta or parent for janya ragas and hence the asampurna mela paddhati claiming a number of janya ragas as melas is faulty and unsound.
Observations and Deductions
In the formation of melakarta ragas, all possible combinations of notes (full tones, augmented tones and semitones) which a refined ear can tolerate and easily distinguish have been included. The melakarta scheme is the rocky foundation upon which South Indian Music firmly rests today. Viewed in the light of mere permutations and combinations, the scheme might appear at first sight as an artificial and dry arithmetical process. But the charm and beauty of music lie deep in the ‘Theory of Numbers’ and every musical sound and interval has its exact number of vibrations and ratios. The melakarta scheme is highly comprehensive and systematic and includes within its fold all the modes used in ancient as well as modern systems of music of the different parts of the world. It is a complete and exhaustive scheme evolved by the simple and matural combinations already explained. To the question, whether the mere substitution of the prati madhyama in the place of the suddha madhyama of the purva group of melakartas, gives rise to a totally different set of melakartas, Venkatamakhi answers by saying that even as a drop of butter-milk converts the entire milk of a vessel into curd, the substitution of the prati madhyama does effect such a radical change and gives rise to an entirely new set of melakarta ragas.
Significance of Ma
It may incidentally be pointed out, that the note ma is like the fulcrum amongst the sapta swaras. It is the central pivotal note with three notes (s r g) below and three notes (p d n) above. Thus it is in a position to control and influence the coloring resulting from the change of Suddha madhyama to Prati madhyama.
Again in a sruti vadya, when the notes sa and pa are sounded, it is the shadja swara that dominates; pa being the 3rd harmonic gets lost in sa. But when a change to the madhyama sruti is made and sa and ma are sounded together, it is the suddha madhyama that asserts itself. It becomes the tonic note and the original sa becomes a fourth note or panchama below it. Madhyama swara not being a harmonic or svayambhu swara, asserts itself in bold relief.
So great was Venkatamakhi’s joy when he formulated the scheme, that he declared in his immortal work that even Lord Paramasiva could not devise a scheme containing one more or one less than the 72 melakartas. But as he himself admitted in his work, only 19 of these 72 melakarta ragas were popular in his time. He called these 19 as prasiddha melakartas and also kalpita melakartas i.e., melakartas already made and in currency. He classified the remaining 53 melakartas under kalpyamana i.e., in the process of making and kalpayishyamana i.e., to be made hereafter.
Happily for us, after the advent of master composers like Tyagaraja, Muthuswamy Dikshitar, Maha Vaidyanatha Ayyar and others, more and more of these visualised melakartas of Venkatamakhi’s time have passed into the realm of practical possibilities and are at present living ragas.
The scheme of 72 melas opend up the flood gates of many janya ragas, not hitherto thought of.
The 72 melakartas may be classified and studied from the following points of view :--
(1) Vivadi & Non-vivadi melas
The vivadi melas are 40 in number. They include all the melas in chakras I, VI, VII and XII (24 in all) and the Pa and Sha melas of each of the remaining eight chakras (16 in all) Chakras I, VI, VII and XII are called the Vivadi mela chakras. The non-vivadi melas are 32. They are the Sri, Go, Bhu and Ma melas of chakras II, III, IV, V, VII, IX, X and XI chakras.
(2) Number of vikrta swaras taken
The first mela Kanakangi alone does not take even a single vikrta swara. Its swaras are all suddha. All the other melas take 1, 2, 3, 4 or 5 vikrta swaras.
Melas taking 1 vikrita swara are : 2,3,7,13,and 37
Melas taking 2 vikrta swaras are: 4, 5, 6, 8, 9, 14, 15, 19, 25, 31, 38, 39, 43, and 49.
Melas taking 3 vikrta swaras are: 10, 11, 12, 16, 17, 18, 20, 21, 26, 27, 32, 33, 40, 41, 42, 44, 45, 50, 51, 55, 61 and 67.
Melas taking 4 vikrta swaras are: 22, 23, 24, 28, 29, 30, 34, 35, 36, 46, 47, 48, 52, 53, 54, 56, 57, 62, 65, 68 and 69.
Melas taking 5 vikrta swaras are: 58, 59, 60, 64, 65, 66, 70, 71 and 72.
3.(a) Purva prasiddha melas i.e., melas known before Venkatamakhi’s time like Sankarabharana and Malavagaula.
(b) Adhuna prasiddha melas i. e., melas which became known after Venkatamakhi’s time like Chakravaka and Shanmukhapriya.
4.(a) Melas wherein the Katapayadi syllables are an integral part of the mela name as in Vanaspati, Vakulabharanam, Sarasangi, Latangi and Vachaspati.
(b) Melas wherein the Katapayadi syllables are distinct and separate prefixes as in Maya malava gaula, Dhira sankarabarana, Chala nata and Mecha kalyani.
(5) Melas which claim a large number of Janya ragas like 15, 22, 28 and 29 ; and
Melas which claim a few Janya ragas like 16, 27 and 64.
(6) Melas peculiar to South Indian Music like 21 & 56 and Melas common to South Indian Music and North Indian Music like 15 & 22; and Melas common to South Indian Music and the music of other countries like 29 & 57.
(7) Melas with symmetrical tetrachords (i.e. wherein the Purvanga and Uttaranga are of similar patterns) like 1,8, 15, 22, 29 and 36; and melas with non-symmetrical tetrachords like 16, 23, 56 and 64.
(8) Murchchanakaraka melas i.e., those which give rise to new scales by the process of modal shift of tonic like 20, 22, 28 and 29: and Amurchchanakaraka melas i.e., those which cannot give rise to any new scale by the process of modal shift of tonic, whichever note of the scale is taken as the tonic note like 31, 39, 52, and 67.
Mela and Raga
The present sampurna melas are the logical successors of the ancient murchchanas and the Palais of Tamil music. It is the genius of South India that has evolved the scheme of 72 krama sampurna melas.
Mela means the arrangement of notes in a particular Sequence in the increasing order of pitch. Before the modern vina came into existence, the earlier vinas were of the Eka-raga mela vina type. They had not the fixed frets. The frets were movable and arranged to produce a particular mela. When another mela had to be played, tae particular frets were moved and re-set in new positions to give the new mela.
A mela is merely the scale as sounded on the swarasthanas of the vina in a pure manner i.e., without any shake. A mela is revealed even when the arohana alone is played. When played with relevant gamakas, the raga is revealed straightaway. Thus, Harikambhoji mela when developed becomes the Harikambhoji raga.
DEDUCTIONS
The facts pertaining to the scheme of 72 melas are re-stated here by way of recapitulation :--
(1) All the melakarta-ragas take the sapta swaras sa ri ga ma pa dha ni and the octave sa in both the arohana and the avarohana. Of these the sa and pa swaras are immutable and are constant in all the melakarta ragas.
(2) Of the remaining five swaras, ri ga ma dha and ni, melakarta ragas Nos, 1—36 take the suddha madhyama and melakarta ragas 37—72 take the prati madhyama; i.e., the melakarta scheme is bifurcated into two-parts ; Parva part wherein the melakarta ragas take the suddha madhyama (F Natural) for their fourth and the Uttara part wherein the melakarta ragas take the prati madhyama (F Sharp) for their fourth.
(3) Melakarta ragas 1—18 and their corresponding prati-madhyama varieties 37—54 (comprised within chakras I, II. III, VII, VIII and IX) take the suddha rishabha.
(4) Melakarta ragas 19—30 and their corresponding prati-madhyama varieties 55—66 (comprised within chakras IV, V, X and XI) take the chatussruti rishabha.
(5) Melakarta ragas 31—36 and their corresponding prati-madhyama varieties 67—72 (comprised under chakras VI and XII) take the shatsruti rishabha.
(6) Melakarta ragas 1—6 and their corresponding prati- madhyama varieties 37—42 (comprised under chakras I and VII) take the suddha gandhara.
(7) Melakarta ragas 7—12, 19—24 and their corresponding prati-madhyama varieties 43—48 and 55—50 (comprised under chakras II, IV, VIII and X take the sadharana-gandhara.
(8) Melakarta ragas 13—18 and 25—36 and their corresponding prati-madhyama varieties 49—54 and 61—72 (comprised under chakras III, V, VI and IX, XI and XII) take the antara gandhara.
(9) Within each chakra, whether in the purva group or the uttara group, melakarta ragas of the 1st ; 2nd and 3rd rank take the suddha dhaivata, melakarta ragas of the 4th and 5th rank take the chatursruti dhaivata and the melakarta ragas of the 6th rank takes the shatsruti dhaivata.
(10) Within each chakra, whether in the purva group or the uttara group, the melakarta ragas of the 1st rank takes the suddha nishada, melakarta ragas of the 2nd and the 4th rank take the kaiseki nishada and melakarta ragas of the 3rd, 5th and 6th rank take the kakali nishada.
Thus, it will be found that the variations of the rishabha-gandhara group of notes and the dhaivata-nishada group of notes are quite symmetrical. While the variations of the rishabha-gandhara group belong to the different chakras, the variations of the dhaivata-nishada group belong to the individual melakarta of each chakra.