Sankarabharanam (raga)

Carnatic music
Tanjavur-style tambura
Concepts
Śruti Svara Rāga Tāḷa Mēḷakarta Asaṃpūrṇa Mēḷakarta
Compositions
Gītaṃ Svarajati Varṇaṃ Kr̥ti Kīrtana Rāgaṃ Tānaṃ Pallavi Tillana
Instruments
Melody Sarasvati Vīṇā Veṇu Nādasvaraṃ Goṭṭuvādyaṃ (Citra Vīṇā) Violin Jal tarang Percussion Mr̥daṅgaṃ Ghaṭaṃ Morsing Kanjira Thavil Drone Tambura Shruti box
Composers Glossary

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.^[1][2] 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.

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^[1] Its ārohaṇa-avarōhaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):

• ārōhaṇa: S R₂ G₃ M₁ P D₂ N₃ Ṡ^[a]
• avarōhaṇa: Ṡ N₃ D₂ P M₁ G₃ R₂ S^[b]

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.

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, 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.

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

• Chalamela, a popular Ata Tala 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
• Sakhiye Intha Jalam, an Adi tala Padavarnam by K. N. Dandayudhapani Pillai
• Entha Sudhiname, an Adi tala Varnam by Dr. M. Balamuralikrishna
• Eduṭa Nilacitē, Bhakti Bhikṣamīyavē, Maryāda Kādurā, Rāmā Ninnuvinā, Svara Rāga Sudhā Rasa, Sundarēśvaruṇi, Manasu Svādhīnamaina, Sārasa Nēthra, Gata Mohā, Vara Leela Gāna Lola, Enduku Peddalavalē, Buddhi Rādu, Endukī Chalamu, E Vidhamulanaina, Emi Nēramu, Ivaraka Joochinadi, Nannu Brovakanu, Nāpālī Srī Rāmā, Paripālaya Dāasharathē, Pāhi Rāmāchandrā, Ramā Ramana Rārā, Ranga Nāyaka, Rāmā Sīthā Rāmā, Rāmā Srī Rāmā Lāli, Sīthā Pathi Kāvavayyā, Sundarēśvaruni, Shambho Shiva, Srī Raghuvara Dāsharathē, Valla Kādhanaka and Vishnu Vāhanudu by Tyagaraja in Telugu.
• Dakṣhiṇāmūrtē, Sadāśivam Upāsmahē, Akṣhayalinga Vibho and Śrī Kamalāmbā 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
• Karunai Thandennai by Mazhavai Chidambara Bharathi
• Yenu Olle Hariye By Kanaka Dasa in Kannada
• Sarōjadala Nētri and Dēvī Mīnānētri by Syama Sastri in Telugu
• Devi Jagath Janani, Bhaktha Paraayana and Nrityati Nrityati by Swathi Thirunal Maharaja in Sanskrit
• Rajeevaksha Baro By Swati Thirunal in Kannada
• Alarulu Kuriyaga Āḍinadē by Annamacharya in Telugu
• Samakarardha Sariirini by Saint Gnanananda Teertha (Ogirala Veeraraghava Sarma) in Telugu
• Evvade(Padam) and Sunta Sepu/Intha Mohamemira(Padam) by Kshetrayya
• Maanini Vinave/Maaname Bhushanamu(Padam)-Disputed whether this is composed by Kshetrayya or Govindaswamy Ayya
• Indha Aasai Enna is a translation of the Padam, Sunta Sepu/Intha Mohamemira composed by Kshetrayya
• Kamabhanamo Raghu is a Padam who's composer is unknown
• Mahalakshmi 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.

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.

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).

Ascending: S R2 G3 P D2 P D2 S’

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

Ascending: S G3 M1 D2 N3 S

Descending:S N3 D2 P M1 G3 R2 S

• 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

Ascending: S G3 R2 G3 M1 P D2 P S

Descending: S N3 D2 P M1 G3 R2

• Intha Chalamu, Adi tala Varnam by Veena Kuppayyar
• Abimanamennadu Galgu, Manasu Nera and Marachitlundedi(Ata Tala Varnam) by Patnam Subramaniya Iyer
• Sariyo Nee Adi tala Varnam by Tiger Varadachariar
• Dayanidhe Mamava(Varnam), Kamakshi Amba Nato and Sami Ninne by Syama Sastri
• Vimalanga and Ma Dayai Purivaye are two Varnams by Chithravina N. Ravikiran
• Naadopasana, Lokavana Chatura Pahimam, Sundari Nannindarilo, Gattiganu Nannu, Neevera Kula Dhanamu, Saamikki Sari Jeppajaala, Neeku Tanaku, Nee Paada Pankaja, Bhakthuni Chaarithramu and Tanavari Tanamu by Tyagaraja
• Thyagaraja Namasthe, Sri Mathaha Shiva Vamanke, Madhurambayah Tava Dasoham and Vallabha Nayakasya by Muthuswami Dikshitar
• Varuvar Azhaithu Vaadi by Ramalinga Adigal
• Idhu Oru Thiramamo, first composition of Oothukkadu Venkata Kavi, Ganayaami Sathatham and Kankanda Deivame by Oothukkadu Venkata Kavi
• Ishan Koti Sabheshan by Koteeswara Iyer
• Gana Rasamuda Nin and Bhuvaneshwari Padam by Papanasam Sivan
• Jagatkaraka-half by Papanasam Sivan Completed by Rukmini Ramani
• Vaa Muruga Vaa by Spencer Venugopal
• Gajavadana Palisou by Vijaya Dasa
• Nandri Kooruvame by T Lakshmana Pillai
• Nee Dayai Seyyavidil by Dr. Lalgudi Jayaraman
• Shankari Neevani by Subbaraya Sastri
• Kalayami Raghuramam, Vande Deva Deva and Karunakara Madhava by Swati Thirunal
• Kadaikkan Vaithennai by Ramasamy Sivan
• Kannare Kandena Achyuthana by Purandara Dasa
• Elle Ilangiliye, a Thiruppavai by Andal tuned by Ariyakudi Ramanuja Iyengar
• Valivanakkuvarai by Kulasekhara Alvar
• Anudinamu Kavumayya by Poochi Srinivasa Iyengar
• Baale Paripaalisou by Muthiah Bhagavatar
• Chidambaram Enru Orutharam and Chidambaram Haraharaavenru by Gopalakrishna Bharati
• Ennai Aandarul by M. M. Dandapani Desikar
• Intha Parakela by Veena Kuppayyar
• Hari Nee Smaranane by Dr. M. Balamuralikrishna
• Thandhadhukkum Neer by Papanasa Mudaliar
• Prathyaksha Deivame Gurunatha by HH Maharanyam Sri Sri Muralidhara Swamiji
• Shubhakari Kanchipurishwari and Uttama Maanavane by Chitravina N. Ravikiran
• Chinthithartha Phala Pradam by Vellore A R Srinivasan
• Yala Peddare/Adi Nomu Phalama(Padam) and Ottiato Manavalennara/Iddari Valene(Padam) by Kshetrayya
• Yarukkagilum Bayama(Padam) by Subbarama Iyer
• Varundhi Varundhiyenum(Padam) by Ambujam Krishna
• Innum Paramugam Yeno(Padam) by Doraswami Kavirayar
• Idi Neeku(Javali) by Pattabhiramayya
• Vanda Vazhiyai Paarum(Javali) by G. Vijayaraghavan
• Arulvai Muruga(Javali) by Chithravina N. Ravikiran
• Tillana by Chithravina N. Ravikiran
• Tillana by Ambi Subramaniam