Hatakambari

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Hatakambari
Arohanam S R₁ G₃ M₁ P D₃ N₃ Ṡ
Avarohanam Ṡ N₃ D₃ P M₁ G₃ R₁ S

Hatakambari (pronounced Hātakāmbari [1] ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 18th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

Carnatic music music genre originating in southern India

Carnatic music, Karnāṭaka saṃgīta, or Karnāṭaka saṅgītam, is a system of music commonly associated with southern India, including the modern Indian states of Andhra Pradesh, Telangana, Karnataka, Kerala, and Tamil Nadu, as well as Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

Melakarta set of 72 sampurna ragas in Carnatic music

Mēḷakarta is a collection of fundamental musical scales (ragas) in Carnatic music. Mēḷakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter term is inaccurate, as a sampurna raga need not be a melakarta.

Contents

It is called Jayashuddhamālavi in Muthuswami Dikshitar school of Carnatic music. [1] [2] [3]

Muthuswami Dikshitar Indian poet and composer

Muthuswami Dikshita or Dikshitar was a South Indian poet, singer and Veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed. He is also known by his signature name of Guruguha which is also his mudra. His compositions are widely sung and played in classical concerts of Carnatic music.

Structure and Lakshana

Hatakambari scale with Shadjam at C Hatakambari scale.svg
Hatakambari scale with Shadjam at C

It is the 6th rāgam in the 3rd chakra Agni. The mnemonic name is Agni-Sha. The mnemonic phrase is sa ra gu ma pa dhu nu. [2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga. The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner.

An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga. The notes descend in pitch from the upper tonic down to the lower tonic, possibly in a crooked (vakra) manner.

(the notes used in this scale are shuddha rishabham, antara gandharam, shuddha madhyamam, shatsruthi dhaivatham, kakali nishadham)

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Vishwambari , which is the 54th melakarta.

Vishwambari 54th raga in the Melakarta

Vishwambari is a rāgam in Carnatic music. It is the 54th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.

Asampurna Melakarta

Jayashuddhamālavi is the 18th Melakarta in the original list compiled by Venkatamakhin. The notes used in the scale are the same, but the scales are different. It is an shadava-sampurna raga (6 notes in ascending scale, while full 7 are used in descending scale in zig-zag manner, vakra prayoga). [1]

Venkatamakhin or Venkatamakhi, was an Indian poet, musician, and musicologist of Carnatic music. He is renowned for his Chaturdandiprakashika in which he explicates the melakarta system of classifying ragas. Venkatamakhin composed geethams and prabandhas, as well as 24 ashtapadis in praise of Lord Thyagaraja of Tiruvarur.

Janya rāgams

Hatakambari has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams to view all rāgams associated with Hatakambari.

Compositions

Few compositions set to Hatakambari are:

This section covers the theoretical and scientific aspect of this rāgam.

Hatakambari's notes when shifted using Graha bhedam , yields one other minor melakarta rāgams, namely, Gavambhodi . Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bhedam on Hatakambari .

Notes

  1. ↑ Alternate notations:
    • Hindustani: S Ṟ G M P Ṉ N Ṡ
    • Western: C C# E F G A# B C
  2. ↑ Alternate notations:
    • Hindustani: Ṡ N Ṉ P M G Ṟ S
    • Western: C B A# G F E C# C
  3. ↑ Alternate notations:
    • Hindustani: S Ṟ G M P N Ṡ
    • Western: C C# E F G B C
  4. ↑ Alternate notations:
    • Hindustani: Ṡ N Ṉ N P M G Ṟ S
    • Western: C B A# B G F E C# C

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References

  1. 1 2 3 Sri Muthuswami Dikshitar Keertanaigal by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai
  2. 1 2 Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
  3. ↑ Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras
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