Manavati

Manavati : It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manoranjani. This scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham, kakali nishadham

Raga Structure:

Arohanam: S R1 G1 M1 P D2 N3 S

Avarohanam: S N3 D2 P M1 G1 R1 S

Tala Structure (20 Aksharams):

1 Laghu + 1 Dhrutha Viraamam + 1 Anudhruthams + 1 Laghu + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam

4+3+1+4+1+4+3 = 20 Aksharams

Vanaspati

Vanaspati : It is the 4th Melakarta ragam in the 72 melakarta ragam system of Carnatic music.

This ragam is also called Bhānumati in Muthuswami Dikshitar school of Carnatic music. The notes used in this scale are Shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham and kaisiki nishadham.

Raga Structure:

Arohanam: S R1 G1 M1 P D2 N2 S

Avarohanam: S N2 D2 P M1 G1 R1 S

Tala Structure (22 Aksharams):

1 Laghu + 2 Anudhruthams + 1 Guru + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam

4+2+8+1+4+3 = 22 Aksharams

Ganamurti - gānamūrti

Ganamurti : It is the 3rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

This ragam is also called Gānasāmavarāḷi in Muthuswami Dikshitar school of Carnatic music. The notes used in this scale are shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham.

Arohaṇam: S R1 G1 M1 P D1 N3 S

Avarohaṇa: S N3 D1 P M1 G1 R1 S

Tala Structure ( 22 Aksharams) :

1 Laghu + 2 Anudhruthams + 1 Laghu + 1 Dhrutha Viraamam + 1 Guru + 1 Anudhrutham

4+2+4+3+8+1 = 22 Aksharams

Ratnangi - ratnāngi

ratnāngi : It is the second melakartha ragam in the 72 melakartha system of carnatic music.

This ragam is also called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music. The scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham.

Raga Structure:

Arohanam : S R1 G1 M1 P D1 N2 S

Avarohanam : S N2 D1 P M1 G1 R1 S

Tala Structure ( 20 Aksharams) :

1 Guru + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam + 1 Laghu

8 + 1 + 4 + 3 + 4 = 20 Aksharams

Kanakangi - Kanakāngi

Kanakāngi : It is the first melakartha ragam in the 72 melakartha system of carnatic music.

This ragam is also called as Kāshirāmakriya in the Muthuswami Dikshitar school of carnatic music. The scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, shuddha nishadham.

Raga Structure:

Arohanam : S R1 G1 M1 P D1 N1

Avarohanam : S N1 D1 P M1 G1 R1

Tala Structure ( 15 Aksharams) :

1 Anudhrutham + 1 Dhrutham + 1 Guru + 1 Laghu

1 + 2 + 8 + 4 = 15 Aksharams

Laws & Loopholes

Where there is law, there are loopholes. This observation seems to hold good for carnatic music too. Just as the temples did in the past, today, the sabhas, the media and the government play a major role in fostering our music and upholding quality, especially in the case of upcoming artistes.

With the aim of preserving quality, these organization demand a non-commercial audio recording of the artiste and slection is made based on the decisions of a reputed panel of judges. In order to ensure a fair ruling, each candidate is assigned a number instead of divulging the name. A laudable practice indeed. It is also obviously understood that the members of the panel maintain strict confidentiality about their role as jury members. However, it is being observed that many of them, not only disregard this confidentiality, but actually exhibit their roles as jury members by displaying it on their letter heads and business cards.

The consequences are not far to seek. Aspiring candidates naturally have the tendency to approach the members and tell them the items they have rendered, thus making null and void the fair practise of giving numbers to candidates.

This is a typical case of a good ideal being spoilt by ambitious personal interests. In the process, the authenticity of the proceedings is destroyed. Music is a very small level community. when such things go on in this small world, it is little wonder that high level irregularities take place at the state and central government levels thus hindering the efforts to bring about positive growth in our country.

Let us condemn this in our field, Let us vote in favour of quality in fine arts and ensure the growth and enrichment of our great cultural heritage.

Culture - No Culture

Irrespective of its financial situation, every establishment gives its employees a wage hike regularly. This applies to both government and private organizations. If such a hike is not given, the employees go on strike and somehow get their demands settled.

In the field of culture, especialy fine arts, and specifically music, no such hike is ever contemplated. In fact, whenever there is a financial crunch, the first sector to get targeted is the field of culture. And this, when we boast loud and long about the richness of our culture heritage!

We see that even when it comes to artists from the North and Southern parts of India, there is a great divide in the respect of honorarium.

We also note that even in times of acute financial crisis, huge amounts continue to be spent on Political Rallies, the military etc. Yet, allotments given to culture are continuously going down not just in india, but all over the world. The international music festivals are on a low key note, grants allotted to universities have been reduced, and festival committees are holding their programs with a keen eye on lowering costs.

We all know that in this hard world, only music can give solace. Even a desperate terrorist would soften up (at least temporarily) when he listen to some kind of music.

When the greatness of this art has been universally acknowledged, is it not the duty of the government and the corporate sector to ensure that the grants are given generously as befits the status of our great cultural heritage?

Unfortunately, if this present trent continues, there will be only talk about our great culture and no culture any more.