A Melakarta raga has seven distinct notes in its Arohanam, ascending in pitch, ( kramasampurna) and has the same notes in the Avarohanam, as its descent. 72 MELAKARTA RAGAS PDF – A Melakarta raga has seven distinct notes in its Arohanam, ascending in pitch, (kramasampurna) and has the. Start studying 72 melakarta ragas. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

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Ragas form the basis of melodic music of India and some of the ragas form the parent or melakarta ragas.

From the melakarta ragas only, many derived or janya ragas are possible. A melakarta ragaz is characterized by having all seven swaras or notes in both ascending arohana and descending avarohana order. It shows a complete sequence of swaras called sampoorna pattern. Except Sa and Pa, which are fixed at a definite frequency, the other five swaras- Ri, Ga, Ma, Dh and Ni have two sets of swaras-the lower and higher or komal and teevra varieties.

Thus the seven swaras are expanded to 12 notes. From these 12 notes alone, all the melakarta ragas are generated and from these melakarta ragas only, thousands and thousands of janya ragas get evolved.

Venkatamakhi, a gifted musicologist of the century is credited to have put all the sampoorna ragas, which are the main 72 parent ragas in a logical order.


This was done by placing successively swaras of higher frequency from one melakarta to the next. Thus the classification of the melakarta ragas was developed. This important work “Chaturdandi Prakashika” was published in AD. The melakarta ragas scheme is variously called Janaka ragas, Sampoorna ragas, Raganga ragas,Melakarta ragas or Mela ragas.

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The melakaerta ragas are divided into two major groups for convenience. The first half consists of 36 melakarta ragas with shudda madhayama M1 and the second half contains the other melakarta ragas with prati madhyama M2.

Since the time of Venkatamakhi’s classification of Carnatic ragas into melakarta scheme, attempts have been made by a few musicologists to put the above scheme into a concise form. Mukund of Bangalore has succeeded admirably in his attempt to put the melakrta ragas in a compact chart.

He devised the chart, while he was in the early teens. This chart has been appreciated by the well known musicologists like Prof. Parthasarathy and other musicians of standing. Mukund is a reputed musicologist and a prolific composer of ragxs. He has composed varnas, kritis, raga malikas, padams etc in many languages.

He has also composed more than one set of kritis in all melakarta ragas. To date, he has close to compositions of various kinds to his credit including several varnas and songs with jatis as dance items. The Mukund melakarta raga chart is presented below and the explanations are given to emphasize the utility of the chart. The melakarta numbers are given in brackets along with the melakarta ragas. PDF version of chart. To repeat again, the melakarta ragas 1 through 36 take shudda madhyama M1 and the melakarta ragas 37 through 72 have prati madhyama M2.


In the Mukund chart, the upper triangle in each square contains shudda madhyama melakarta ragas and the prati madhyama ragas are found in lower triangles. Chakravakam 16 and Ramapriya All melakarta ragas in the outermost rows horizontal – Ri-Ga and column vertical -Da-Ni give rise to the 40 vivadi melakarta ragas apparently disonant scales.

That is the melakarta ragas occurring in the border. Navaneetam 40 and Vagadeeshwari The 16 squares in the center of the chart contain all avivadi melakarta ragas. Bhavapriya 44 and Harikambodi Antipodal melakarta ragas the two melas with maximum differences, with swaras being melakartaa, excepting Sa and Pa being common can be found in opposite triangles in the two opposing squares.

First locate the square in which the swaras are marked. The triangle, where the row and the column pertaining to the given swaras meet, indicates the melakarta raga. The chart is useful in finding ragas differing in one swara only. The following examples will illustrate the point. The Mukund chart has been very useful to students of music, teachers and music scholoars to make intelligent use of the melakarta ragas.

Asampurna Melakarta

It is an invaluable contribution to the theory of Carnatic music. The 12 notes of the Melakarta ragas are given with notations for easy reference. Sa and Pa are fixed.