Dividing Carnatic Melakarta Raga Based on Madhyama Note: A Comprehensive Analysis

The structure of Carnatic music is deeply rooted in the concept of Melakarta ragas, which serve as fundamental frameworks for a wide variety of ragas. One of the key elements in this harmonious system is the division based on the Madhyama note, the fourth note in the scale. This division not only enhances the theoretical understanding of Carnatic music but also provides musicians with a broader spectrum of improvisational capabilities.

Structural Foundation

The Madhyama note is crucial in defining the character of a raga. It can be either Shuddha Madhyama (natural fourth) or Tivra Madhyama (sharp fourth), leading to two distinct categories of Melakarta ragas. This fundamental division is not just a matter of choice, but it significantly influences the structural foundation of the raga.

Raga Classification

There are 72 Melakarta ragas, each with a unique combination of notes. These ragas are classified into two primary groups:

1. Shuddha Madhyama Melakarta

These ragas use the natural fourth, creating a grounded and stable feel. The absence of a sharp fourth results in a more harmonious and stable sound, making it easier to structure the melody around the root notes.

2. Tivra Madhyama Melakarta

These ragas use the sharp fourth, which creates a brighter and more vibrant sound. The sharpness adds a dynamic and lively element to the raga, enhancing the emotional expressiveness of the melody.

Harmonic Implications

The choice of Madhyama significantly impacts the harmonic relationships within the raga. For example, the presence of Tivra Madhyama can create a more vibrant and dynamic melody, while Shuddha Madhyama tends to produce a more grounded and stable feel.

Improvisational Flexibility

The division based on Madhyama note allows for a greater variety of melodic expressions and improvisational possibilities. Musicians can explore different emotional and aesthetic qualities based on the Madhyama used, making raga performance more dynamic and versatile.

Theoretical Framework

In the theoretical study of ragas, the Madhyama note plays a pivotal role in establishing the raga's identity and its corresponding emotional expression. This is particularly important for both composition and performance. The structural hierarchy allows composers and performers to create more nuanced and expressive compositions.

Logically divided into two parts:

If we look at the Saptaswaras (seven notes) excluding Sa (re) and Pa (pa), which do not have variants, the Madhyama (Ma) is the only note that has only two variants: Suddha Madhyama and Tivra Madhyama (Prati Madhyama).

The Ri (Ri3), Dha (Chatusruti Dha), and Ni (Kaisiki Ni) notes each have three variants, as do Sanadi (Shadharana Ga), Anthara (Anthara Ga), and Kaakali (Kaakali Ni) notes. This makes it logical to divide the Melakarta scheme based on Madhyama, simplifying the system and aligning it with the principles of Carnatic music.

Any classification is for the convenience of study. The classification of Melakarta ragas into two sets of 36 based on Madhyama (Shuddha and Tivra) is a testament to the structured yet flexible nature of our musical system. Understanding this division enhances both theoretical understanding and practical application of Carnatic music.