The Shodasa Swarasthanas- the sweet 16!

The previous blog entry mentions about the saptha swaras, or seven notes, and how there are variations for five of the notes, viz R,G,M,D,N. The notes which are constant ie, S and P are known as Prakruti swaras, and the variating notes are called as Vikruti Swaras

The 16 notes occupy a single octave, from base S to top S (Madhya sthayi to Tara sthayi S) where base S is the madhya sthayi and the top S is the tara sthayi S. Some notes overlap each other, based on their positions. These 16 swaras are called as Shodasa swarasthanas in Sanskrit. These full name of the notes are given along with the carnatic shorthand, and the western equivalent notation in brackets

1) Shadjamam- S (C)

2) Suddha Rishabam- R1 (C#)

3) Chatushruti Rishabam- R2 (D)

4) Shatshruti Rishabam- R3 (D#)

5) Suddha Gandharam- G1 (D)

6) Sadharana Gandharam- G2 (D#) 

7) Antara Gandharam - G3 (E)

8) Suddha Madhyamam- M1 (F)

9) Prati Madhyamam-  M2 (F#)

10) Panchamam- P (G)

11) Suddha Dhaivatam- D1 (G#)

12) Chatushruti Dhaivatam- D2 (A)

13) Shatshruti Dhaivatam- D3 (A#)

14) Suddha Nishadam N1 (A)

15) Kaisiki Nishadam N2 (A#)

16) Kakali Nishadam N3 (B)

One of the fixed rules of a Melakartha raga is that each note can occur only once in arohanam and avarohanam. If you notice, R2 and G1 share the same note position, R3 and G2 share same note position. D2 and N1, and similarly D3 and N2. These notes are called vivadi (dissonant) with respect to one another, because they occupy the same position, and are yet sung differently.

A raga like Kanakangi (01st Mela) has its arohanam as follows in the western notation

                                                           C C# D F G G# A. 

If we try to decode this, we either get a S R1 R2 M1 P D1 D2 S or a S R1 G1 M1 P D1 N1 S. Carnatic music prefers the latter, as singing two Rs simultaneously induces a relative disharmony to the ear, and also a lot of problems while singing, because distinguishing the Rishabams become impossible. Similar arguments can be said for the Dhaivatam Nishadam conundrum in the raga. Therefore, R2 and D2 are sung as G1 and N1 instead. This not only satisfies the strict definition of a melakartha raga having all seven swaras, it also reduces confusion of singing the notes. 

The second major thing to discuss about vivadi notes is how each note takes its place relative to the other.  S is the base note from which the raga starts.

R1 is the first note which is present after S. It can accommodate G1, G2 and G3 for singing. 

R2 is the note present next to R1. Since R2 also shares the same spot as G1, a R2 G1 combination is impossible to sing, because both note share the same frequency. A melakartha raga should have seven notes of ascending frequencies in order. A melakartha raga should also have R immediately after S is sung. Hence the note position corresponding to D is usually sung as R2 than G1. G1 is only sung when R1 is present in the arohanam. Otherwise it is called as R2 predominantly. 

Having cleared up the confusions, R2 can accommodate  G2 and G3 for singing. 

R3 is the note present next to R2. Since R3 also shares the same spot as G2, a R3 G2 combination is impossible to sing, because both note share the same frequency. Remember, the melakartha raga should have seven notes of ascending frequencies in order. Unlike the fixation of R2, the note position corresponding to D# can either be sung as G2 or R3. This is allowed because of the distance of D# from C, ie there are 2 notes separating C and D#. Longer the distance between any two notes, lesser is the possibility of note clashing (two notes which are very close to one another). If note clashing is averted, the raga is pleasing to hear. But it doesn't inherently mean that note clashing is a bad thing. 

Generally D# is given the moniker of G2, and most of the ragas use D# as Sadharana Gandhara. A point in example is Hindolam. Hindolam has its ascent scale as C D# F G# A#, and it is sung  conventionally as S G2 M D1 N2 S rather than S R3 M D1 N1 S.  G2 can be sung both with R1 and R2 or just S G2 in terms of Janya ragas.

The utilization of R3 in the ascent is exclusively paired with G3 to distinguish the note D# from G2. Naata raga is an example of utilization of R3 and G3 simultaneously. 

The similar exercise can be mirror copied to the second half of the raga viz, P, D, N,S. 

Thus, a melakartha in the purvanga, or the first half can have following combinations

S R1 G1 M

S R1 G2 M

S R1 G3 M

S R2 G2 M

S R2 G3 M  

and S R3 G3 M

similarly for the uttaranga we get 

P D1 N1 S

P D1 N2 S

P D1 N3 S

P D2 N2 S

P D2 N3 S

and P D3 N3 S

Using combinatorics, the total number of melakartha ragas formed fixing S, M, P comes around to be 6 varieties in the purvanga and 6 in the uttaranga= 6*6= 36 varieties. Including the fact that M can have two variations, the total number of melakartha ragas would be 36*2=72, and hence we get 72 ragas. 

There is a wonderful link that totally captures about the melakartha ragas and katapayadi formulae: The link is placed here for benefits

http://www.shivkumar.org/music/basics/ramesh/gentle-intro-ramesh-mahadevan-II.htm