Mēḷakartā is a collection of fundamental musical scales (ragas) in Carnatic music. Mēḷakartā ragas are parent ragas from which other ragas may be derived. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter usage is inaccurate, as a sampurna raga need not be a melakarta.
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes, etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana, tanam, niraval, and kalpanaswara. In more elaborate ragam tanam pallavis, a tani avartanam may follow.
In Carnatic Music, Kalpanaswaram, is melo-rhythmic raga improvisation in a specific tala. As part of swarakalpana, the musician delivers increasingly complex, improvised sequences in the Indian music solfege within or towards the end of a composition. Swarakalpana is integral to the Pallavi portion of a Ragam Thanam Pallavi and typically follows the neraval. It is also common for seasoned artists to perform swarakalpana during recitals of various other kritis.
Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.
Sahana is a popular ragam in Carnatic music. It is a janya rāgam associated with the 28th Melakarta rāgam Harikambhoji.
Chakravakam or Chakravaham is a rāgam in Carnatic music. It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is similar to Raga Ahir bhairav in Hindustani music.
Graha Bhedam in Carnatic music is the process of shifting the Tonic note (śruti) to another note in the rāgam and arriving at a different rāgam. Its equivalent in Hindustani classical music is called a murchhana. Expressed in Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key.
Naṭabhairavi is a rāgam in Carnatic music. It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the Natural minor scale of western music system.
Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.
Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.
Ratnangi is a rāgam in Carnatic music. It is the 2nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music.
Vakulabharanam is a rāgam in Carnatic music. It is the 14th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Dhātivasantabhairavi or Vātivasantabhairavi in Muthuswami Dikshitar school of Carnatic music. Hindustani equivalent of this ragam is raga basant mukhari
Salagam is a ragam in Carnatic music. It is the 37th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Sowgandini in Muthuswami Dikshitar school of Carnatic music.
Rishabhapriya is a ragam in Carnatic music. It is the 62nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is the prati madhyamam equivalent of Charukesi, which is the 26th melakarta. It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.
Carnatic raga refers to ragas used in Carnatic music. It has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.
Ranjani is a Carnatic raga, which is also sometimes written as Ranjini. This raga is a janya of the 59th Melakarta raga Dharmavati.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Asaveri (asāvēri) is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale, and has a vakra (zigzag) descending scale.
