The Foundation of Carnatic Ragas: The Melakarta System
Melakarta System in Carnatic Music
Carnatic music, one of the two main subgenres of Indian classical music, is distinguished by its intricate and highly structured system of ragas. A raga is a melodic framework that provides the artist with a set of rules for creating a performance. In Carnatic music, the system of ragas is organized into a framework known as the Melakarta system. This system is fundamental to understanding the theoretical basis and the expansive range of melodies in Carnatic music.

The Melakarta System
The Melakarta system comprises 72 fundamental ragas, known as Melakartas. Each Melakarta raga serves as a parent raga (Janaka raga), from which other derivative ragas (Janya ragas) are formed. The system is designed to encompass all possible heptatonic (seven-note) scales that can be derived within the bounds of Carnatic music's rules.

Structure and Organization

• Seven Swaras (Notes): The Melakarta system is based on seven notes: Shadja (Sa), Rishabha (Ri), Gandhara (Ga), Madhyama (Ma), Panchama (Pa), Dhaivata (Dha), and Nishada (Ni). These notes are similar to the solfège system (Do, Re, Mi, Fa, Sol, La, Ti) used in Western music.
• Twelve Swarasthanas: There are twelve possible swarasthanas (positions) for these seven notes:
  • Rishabha (R): R1 (Suddha), R2 (Chatusruti), R3 (Shatsruti)
  • Gandhara (G): G1 (Suddha), G2 (Sadharana), G3 (Antara)
  • Madhyama (M): M1 (Suddha), M2 (Prati)
  • Dhaivata (D): D1 (Suddha), D2 (Chatusruti), D3 (Shatsruti)
  • Nishada (N): N1 (Suddha), N2 (Kaisiki), N3 (Kakali)
• Classification:
  • Chakras: The 72 Melakartas are divided into 12 groups, known as Chakras. Each Chakra contains six ragas. The Chakras are named based on their serial order, such as Indu (1st Chakra), Netra (2nd Chakra), etc.
  • Numbering: Each Melakarta is assigned a unique number, which helps in identifying its position in the system.
• Formula:
  • The first 36 Melakartas are termed Suddha Madhyama ragas because they have a Suddha Madhyama (M1).
  • The next 36 are termed Prati Madhyama ragas because they have a Prati Madhyama (M2).

The formula for generating the ragas is:

• For the first 36 ragas: S R1/R2/R3 G1/G2/G3 M1 P D1/D2/D3 N1/N2/N3
• For the next 36 ragas: S R1/R2/R3 G1/G2/G3 M2 P D1/D2/D3 N1/N2/N3

Example Melakartas

• Mayamalavagowla (Raga 15):
  • Arohana (ascending): S R1 G3 M1 P D1 N3 S
  • Avarohana (descending): S N3 D1 P M1 G3 R1 S
• Shankarabharanam (Raga 29):
  • Arohana: S R2 G3 M1 P D2 N3 S
  • Avarohana: S N3 D2 P M1 G3 R2 S

Differences Between Carnatic and Hindustani Classical Music
While Carnatic and Hindustani music share a common origin, they have evolved differently over centuries, leading to distinct characteristics in their ragas, performance styles, and theoretical frameworks.

Raga System:

• Carnatic Music:
  • The Melakarta system is a strictly organized framework with 72 parent ragas.
  • Ragas are more fixed in their structure with defined ascending (Arohana) and descending (Avarohana) scales.
• Hindustani Music:
  • Uses a less rigid framework with 10 basic Thaats, which are parent scales for ragas.
  • Ragas are more flexible and can have varying structures, often incorporating vakra (zigzag) patterns and specific phrases (pakads) that define the raga's identity.

Improvisation and Performance:

• Carnatic Music:
  • Emphasizes intricate and structured improvisations within set frameworks like Alapana, Neraval, Kalpana Swaras, and Pallavi.
  • Performances are typically fast-paced and have a pre-composed section (Kriti or Keertana) as the centerpiece.
• Hindustani Music:
  • Features expansive improvisations, particularly in the Alap and Jor-Jhala sections, leading to a gradual build-up.
  • The performance often revolves around a slow, elaborate exploration of the raga, moving towards faster compositions (Bandish) and concluding with a Jhala.

Rhythm and Tala:

• Carnatic Music:
  • Uses a comprehensive system of talas (rhythmic cycles) with complex structures and subdivisions.
  • The rhythmic aspect is highly intricate, with patterns like Tisra, Chatusra, Khanda, Misra, and Sankeerna nadais (beat subdivisions).
• Hindustani Music:
  • Relies on a simpler set of talas, with popular cycles like Teentaal (16 beats), Ektaal (12 beats), and Jhaptal (10 beats).
  • The emphasis is on the cycle's structure, with improvisation often focusing on syncopation and variations within the cycle.

Instruments:

• Carnatic Music:
  • Common instruments include the Veena, Mridangam, Violin, Flute, and Ghatam.
  • The violin, played in a distinct manner, is a central melodic instrument.
• Hindustani Music:
  • Features instruments like the Sitar, Tabla, Sarod, Santoor, and Harmonium.
  • The Sitar and Tabla are iconic to the Hindustani tradition, each having a prominent role in performances.

Conclusion
The Melakarta system is a cornerstone of Carnatic music, providing a structured yet versatile framework for the creation and exploration of ragas. The system's logical organization facilitates a deep understanding and extensive repertoire for musicians and composers. The differences between Carnatic and Hindustani classical music further highlight the rich diversity within Indian classical music, each with its unique approach to melody, rhythm, and improvisation.

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