THE MELAKARTA SCHEME

22: Swaras in Raga 

Shanmugapriya from the tables) Sa - Chatusruthi Rishabam - Sadharana Gandharam - Prati Madhyamam - Pa - Suddha Dhaivatham - Kaisika Nishadam - Sa. Note that in figuring out the chakra, we need to add one to the quotient to obtain the chakra number. We can use the melakarta table to directly find that Shanmugapriya is Disi-Sri and end up with the same swaras. The following keyboard diagram illustrates the location of the swaras in Shanmugapriya for one kattai   sruthi.

It is worthwhile to observe here that the Pa, Sri, Go, Bhu, Ma, Sha designation is also based on the Katapayaathi formula (with Sri treated as ra). The formal organization of the melakartas provides some insights into the similarities between certain ragas. Ragas in the same chakra share their purvangam and thus, sound similar in that portion. This explains, for example, the similarity between Kharaharapriya and Kiravaani. Ragas whose melakarta numbers differ by a multiple of six (meaning they have the same Pa-..-Sha designation) have the same uttarangam and this too causes similarity, as in the case of Lataangi and  Kaamavardhani. One can find many pairs of melakarta ragas that differ by a single swaram, as in the case of Lataangi and Kaamavardhani (which drier only in Ri). Locating such pairs is often very instructive. A good musician makes it a point not to dwell on  chains of swaras that are shared by various ragas, but often introduces contrasting swaras that are designed to let the listener identify the similarities and the differences simultaneously. This aspect can be used as a test of how good a musician really is. In a recent concert, a popular musician was performing a composition in the raga Chaarukesi. Chaarukesi can be seen to have the same Table. Letter Values in Katapayaathi Formula

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