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Sankarabharanam (raga)

Dhīraśankarābharaṇaṃ, commonly known as Śankarābharaṇaṃ, is a rāga in Carnatic music. It is the 29th Melakarta rāga in the 72 Melakarta rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as "Sarva Gamaka Māṇika Rakti Rāgaṃ".

By scale wise, the Śankarābharaṇaṃ scale corresponds to Bilaval in the Hindustani music system. The Western equivalent is the major scale, or the Ionian mode. Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles.

Its nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation.

Structure and Lakshana

It is the 5th Rāga in the 5th Chakra Bāṇa. The mnemonic name is Bāṇa-Ma. The mnemonic phrase is sa ri ga ma pa da ni sa Its ' structure is as follows (see swaras in Carnatic music for details on below notation and terms):

  • :
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The notes in this scale are shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, paṅchamam, chatushruti dhaivatam and Kakali Nishadam. As it is a Melakarta rāga, by definition it is a Sampurṇa rāga (has all seven notes in ascending and descending scale). It is the Shuddha Madhyamam equivalent of 65th Melakarta rāga Kaḷyāṇi.

Janya Rāgas

Due to the even spacing of Svaras(notes), many Janya Ragas can be derived from Śaņkarābharaṇaṃ. It is one of the Melakarta Ragas that has high number of Janya Ragas (derived scales) associated with it.

Many of the Janya Ragas are very popular on their own, lending themselves to elaboration, interpretation and evoking different moods. Some of them are Arabhi, Atana, Bilahari, Begada, Maand, Devagaandhaari, Jana Ranjani, Hamsadhvani, Kathanakuthuhalam, Niroshta, Shuddha Sāveri, Pahādi, Poornachandrika, Kedaram, Kurinji, Navroj, Sarasvati-manohari, Naagadhvani, Garudadhvani etc.

See List of Janya rāgas for full list of rāgas associated with Śankarābharaṇaṃ.

Compositions

Śankarābharaṇaṃ has been decorated with compositions by almost all composers. A few of the compositions are listed here.

  • Chalamela, a popular Ata Tala Padavarnam being rendered today as Tanavarnam and Indumukhi, an Ata Tala Padavarnam by Maharaja Swathi Thirunal in Telugu
  • Sami Ninne, a popular Adi tala Tanavarnam by Veena Kuppayyar in Telugu. It is usually the first Varnam taught to Carnatic music students.
  • Manavi Chekonarada, an Adi tala Padavarnam, a Tillana and a Kriti Brihadamba Kadamba by Ponniah Pillai of the Tanjore Quartet
  • Niluparani Mohamuto, an Ata Tala Tanavarnam and a Kriti Palaya Sri Panchanadheeswhara by Patnam Subramania Iyer
  • Sakhiye Intha Jalam, an Adi tala Padavarnam by K. N. Dandayudhapani Pillai
  • Samikki Sari Evvare, an Adi tala Padavarnam by Kunnakudi Krishna Iyer
  • Entha Sudhiname, an Adi tala Varnam by Dr. M. Balamuralikrishna
  • Sankatamulella, an Adi tala Tanavarnam by Nallan Chakravarthy Murthy
  • Eduá¹­a Nilacitē, Bhakti Bhiká¹£amÄ«yavē, Maryāda Kādurā, Rāmā Ninnuvinā, Svara Rāga Sudhā Rasa, Sundarēśvaruṇi, Manasu SvādhÄ«namaina, Sārasa Nēthra, Gata Mohā, Vara Leela Gāna Lola, Enduku Peddalavalē, Buddhi Rādu, EndukÄ« Chalamu, E Vidhamulanaina, Emi Nēramu, Ivaraka Joochinadi, Nannu Brovakanu, NāpālÄ« SrÄ« Rāmā, Paripālaya Dāasharathē, Pāhi Rāmāchandrā, Ramā Ramana Rārā, Ranga Nāyaka, Rāmā SÄ«thā Rāmā, Rāmā SrÄ« Rāmā Lāli, SÄ«thā Pathi Kāvavayyā, Sundarēśvaruni, Shambho Shiva, SrÄ« Raghuvara Dāsharathē, Valla Kādhanaka, SÄ«thā Kalyāna Vaibhogame (also sung in Kurinji) and Vishnu Vāhanudu by Tyagaraja in Telugu.
  • Daká¹£hiṇāmÅ«rtē, Nāgalingam Bhajēham, Sadāśivam Upāsmahē, Aká¹£hayalinga Vibho BrihadÄ«shvarāya Namastē and ŚrÄ« Kamalāmbikāyā Katākshithoham by Muthuswami Dikshitar in Sanskrit
  • Parāshakthi Parākela and Shankarāchāryam by Subbarama Dikshitar
  • Pogadirēlo Ranga (6th Navaratna Malike), Kande Nā Kanasinali, Enāgu Āne by Purandara Dasa in Kannada
  • Shollinile Varum Sukham and Arulaalan Thiramellam by Oothukkadu Venkata Kavi
  • Senthil Adhipan and Ennai Alaiya Ivvelaye by Koteeswara Iyer
  • Karunai Thandennai by Mazhavai Chidambara Bharathi
  • Yenu Olle Hariye By Kanaka Dasa in Kannada
  • Sarōjadala Nētri and DēvÄ« MÄ«nānētri by Syama Sastri in Telugu
  • Enthanuchu by Subbaraya Sastri in Telugu
  • Devi Jagath Janani, Bhaktha Paraayana and Nrityati Nrityati by Swathi Thirunal Maharaja in Sanskrit
  • Rajeevaksha Baro By Swati Thirunal Maharaja in Kannada
  • Alarulu Kuriyaga Āḍinadē by Annamacharya in Telugu
  • Mahima Teliya Tarama by Anai Ayya in Tamil
  • Manadhirkishaindha Mannalan, Sahajaguna Ramachandra, Chandra Rekha and English Notes by Muthiah Bhagavatar
  • Yaaro Enrennaamale, En Kanavai Kelaayo and Annai Janaki by Arunachala Kavi
  • Idhu Nalla Tharunam by Ramalinga Swamigal
  • Guru Charanam Bhajare by Walajapet Venkataramana Bhagavathar
  • Samakarardha Sariirini by Saint Gnanananda Teertha (Ogirala Veeraraghava Sarma) in Telugu
  • Shankarabharana Shayanudade by Dr. M. Balamuralikrishna
  • Evvade(Padam), Nene Jana(Padam) and Sunta Sepu/Intha Mohamemira(Padam) by Kshetrayya
  • Maanini Vinave/Maaname Bhushanamu(Padam)-Disputed whether this is composed by Kshetrayya or Govindaswamy Ayya
  • Dari Joochu(Padam) by Muvalur Sabhapathy Ayya
  • Indha Aasai Enna is a Tamil translation of the Padam, Sunta Sepu/Intha Mohamemira composed by Kshetrayya
  • Kamabhanamo Raghu(Padam)-composer is unknown
  • Mahalakshmi Jaganmatha by Papanasam Sivan
  • Adiya Pada by Gopalakrishna Bharathi
  • Muthu Kumarayyane by Ramaswamy Sivan
  • Muthuswami Dikshitar also has a list of 39 Nottu Svara compositions, based on Western Major Scale notes to his credit.

Related rāgas

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

Śaṃkarābharaṇaṃ's notes when shifted using Graha bhedam, yields 5 other major Melakarta rāgas, namely, Kalyāṇi, Hanumatodi, Natabhairavi, Kharaharapriya and Harikambhoji. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāga. Refer table below for illustration of this concept.

Notes on above table

C as the base for Śaṃkarābharaṇaṃ is chosen for above illustration only for convenience, as Carnatic music does not enforce strict frequency/note structure. The shadjam (S) is fixed by the artist as per the vocal range or the instrument's base frequency. All the other svarams are relative to this shadjam, falling into a geometric progression-like frequency pattern.

The 7th Graha bhedam of Śaṃkarābharaṇaṃ has both madhyamams (Ma) and no panchamam (Pa) and hence will not be considered a valid melakarta (rāga having all 7 swarams and only 1 of each). This is only a classification issue with respect to melakarta scales, while this structure could be theoretically used well to create good music.

Interesting features

The swaras are regularly spaced in these ragas. Hence these six ragas give very good melody, scope for elaboration, experimentation and exploration of phrases. In practice, Natabhairavi is not elaborated extensively much. Harikambhoji is taken up for elaboration, but not as much as the rest of the 4 ragas, namely, Śaṃkarābharaṇaṃ, Todi, Kaḷyāṇi and Kharaharapriya. One of these 4 rāgas is sung as the main rāga in a concert quite often.

As can be seen in the illustration, these rāgas can be played using just the white keys of a piano/ organ/ keyboard (rāga in simplified fashion).

Film Songs: Tamil

Janya 1: Ragam Pahadi/Pahari

Ascending: S R2 G3 P D2 P D2 S’

Descending:N3 D2 P G3 M1 G3 R2 S N3 D2 P D2 S

Film Songs: Tamil

Janya 2: Ragam Maand

Ascending: S G3 M1 D2 N3 S

Descending:S N3 D2 P M1 G3 R2 S

Carnatic Compositions

  • Maand Tillana by Lalgudi Jayaraman
  • Paindhaane Hanuman by Arunachala Kavi
  • Ramanai Bhajithaal by Papanasam Sivan
  • Aadugindraan Kannan by Suddhanandha Bharathi
  • Muralidhara Gopala by Periyasamy Thooran popularised by ML Vasanthakumari
  • Aarumo Aaval by Kannan Iyengar, another song popularised by MLV
  • Neeraja Dhala Nayana by Sambasiva Iyer popularised by Maharajapuram Santhanam
  • Vaanathin Meedhu Mayilaada by Ramalinga Adigal popularised by MS Subbulakshmi

Film Songs: Tamil

Janya 3: Ragam Begada

Ascending: S G3 R2 G3 M1 P D2 P S

Descending: S N3 D2 P M1 G3 R2

Carnatic Compositions

Film Songs: Tamil

Notes

References