Why Mayamalavagowla is Chosen as the First Raga in Carnatic Music
Mayamalavagowla is often chosen as the first raga for students of Carnatic music due to several key reasons. This raga, a janya raga derived from the parent raga of the 15th Melakarta raga Mayamalavagowla, is easier to grasp for beginners due to its straightforward structure and complete scale. These factors make it an ideal starting point for students to build their foundational skills.
Fundamental Structure
Mayamalavagowla is a janya raga derived from a parent raga of the 15th Melakarta raga Mayamalavagowla. Its scale consists of the sapta swaras (seven notes) including both shuddha (natural) and chatusruti (sharp) notes, making it relatively simple for beginners to understand and memorize. The ease of understanding this structure is paramount for new music learners.
Complete Scale and Versatility
The raga includes all seven notes, sapta swaras, in both its ascending (arohana) and descending (avarohana) forms. This allows students to familiarize themselves with the full range of notes in Carnatic music. Additionally, Mayamalavagowla can be used for a variety of compositions, including simple varnams, krithis, and devotional songs. This versatility enables students to practice different musical forms and styles within the same raga, aiding in their overall skill development.
Melodic Simplicity and Foundation for Advanced Learning
The melodic phrases in Mayamalavagowla are straightforward and repetitive, making it easier for beginners to learn and internalize the raga's character. Moreover, learning this raga lays a strong foundation for understanding more complex ragas in Carnatic music. Its structure allows for the exploration of gamakas (ornaments), jatis (rhythmic patterns), and improvisation techniques, which are essential for advanced practice.
Historical and Cultural Context
The historical and cultural context of Mayamalavagowla is also relevant to its suitability as the first raga. For instance, it shares the same notes and tones as the North Indian Hindustani raga Bhairav, which is also known as Komal Gauri. This shared structure was instrumental in its adoption and spread throughout South India, particularly after the efforts of Purandaradasa.
Puranandaradasa, a prominent figure in Carnatic music, brought the concept of Bhairav (or Malav Gaur) from North India to South India during his travels in the early 16th century. The raga was further popularized by Purandaradasa under the name Mayamalavagowla. The name itself is a result of a phonetic adjustment following the Sanskrit grammatical rule of ralayorbhedah, which required the addition of the prefix Maya.
Evolution and Belief Systems
Belief systems and cultural practices played a crucial role in the evolution of Mayamalavagowla. For instance, the raga's adoption was influenced by the blending of Hindu and Muslim traditions in India. Before Purandaradasa, there was no reference to Mayamalavagowla in any work. The raga was popularized through the incorporation of Abhangs from Maharashtra, a province where it was already in use under the name Kalingadhaa or Gaud.
The name Mayamalavagowla was coined to align with the Katapayadi sutra used in Sanskrit numbering conventions. This systematic approach to numbering and naming ragas helped in its dissemination and acceptance in the Carnatic music tradition.
Conclusion
Mayamalavagowla serves as an excellent entry point for students of Carnatic music, offering essential skills and knowledge that will benefit their further study in this rich and complex musical tradition. Its historical significance and versatility make it a valuable choice for beginners in their musical journey.