Dheerashankarabharanam

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 Maaṇika Rakti Rāgaṃ" in Telugu.

Shankaraabharanam

Mela	29th, Dheera Shankaraabharanam
Chakra	Bāṇa
Arohanam	S R₂ G₃ M₁ P D₂ N₃ Ṡ
Avarohanam	Ṡ N₃ D₂ P M₁ G₃ R₂ S
Synonym	Dheera Shankaraabharanam
Equivalent	Bilaval thaat Ionian mode

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.

Structure and Lakshana

Śaṃkarābharaṇaṃ scale with shadjam at C

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-avarohaṇa 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[lower-alpha 1]
• avarōhaṇa: Ṡ N₃ D₂ P M₁ G₃ R₂ S[lower-alpha 2]

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 svarās, many janya rāgas can be derived from Śaņkarābharaṇaṃ. It is one of the melakarta rāgas that has high number of Janya rāgas (derived scales) associated with it.

Many of the Janya rāgas 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, Kadanakutuhalam, Niroshta, Shuddha Sāveri, Purnachandrika, Janaranjani, Kedaram, Kurinji, Navroj, Sarasvati-manohari, Naagadhvani etc.

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

Compositions

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

• Chalamela,a popular Adathaalavarnam by Maharaja Swathi Thirunal in Telugu
• Eduṭa Nilacitē, Bhakti Bhikṣamīyave, Maryāda Kādurā, Svararāgasudhārasa, Sundarēśvaruṇi, Manasu Svādhīnamaina and Eṃduku Peddalavalē by Tyaagaraaja in Telugu.
• Dakṣhiṇāmūrtē, Sadāśivam Upāsmahē, Akṣhayaliṃgavibho and Śrī kamalāmbā by Muthuswami Dikshitar in Sanskrit
• Pogadirēlo Ranga by Purandara Dasa in Kannada
• Sarōjadala Nētri and Dēvī Mīnānētri by Syama Sastri in Telugu
• Devi Jagath Janani,Bhaktha Paraayana by Swathi Thirunal Maharaja in Sanskrit
• Alarulu Kuriyaga Āḍinadē by Annamacharya in Telugu
• Samakarardha Sariirini by Saint Gnanananda Teertha (Ogirala Veeraraghava Sarma) in Telugu

Muthuswami Dikshitar also has a list of 22 "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, Kaḷyāṇi, 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.

Rāga	Mela #	C		D		E	F		G		A		B	C		D		E	F		G		A		B	C
Śaṃkarābharaṇaṃ	29	S		R2		G3	M1		P		D2		N3	S'		R2'		G3'	M1'		P'		D2'		N3'	S' '
Kharaharapriya	22			S		R2	G2		M1		P		D2	N2		S'
Hanumatodi	08					S	R1		G2		M1		P	D1		N2		S'
Kaḷyāṇi	65						S		R2		G3		M2	P		D2		N3	S'
Harikambhoji	28								S		R2		G3	M1		P		D2	N2		S'
Natabhairavi	20										S		R2	G2		M1		P	D1		N2		S'
Not a Melakarta	--												S	R1		G2		M1	M2		D1		N2		S'
Shankarābharanam	29													S		R2		G3	M1		P		D2		N3	S'

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 (probably needs an expert).

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

Song	Movie	Composer	Singer
Chandrodhayam Idhile	Kannagi (film)	S. V. Venkatraman	P. U. Chinnappa
Aththaan En Aththaan	Paava Mannippu	Viswanathan–Ramamoorthy	P. Susheela
Kaadhellenum Vadivam Kanden	Bhagyalakshmi (film)
Kaana Vandha Kaatchiyenna
Ore Raagam Ore Thaalam	Manapanthal
Vaa Endradhu	Kathiruntha Kangal
Kaatru Vandhal			P. B. Sreenivas, P. Susheela
Kanpadume Pirar Kanpadume			P. B. Sreenivas
Paadadha Paatellam	Veerathirumagan
Maadi Mele Maadikati	Kadhalikka Neramillai
Enna Paarvai			K. J. Yesudas, P. Susheela
Kaadhalika Neramillai			Sirkazhi Govindarajan
Roja Malare Raajakumari	Veerathirumagan		P. B. Sreenivas, P. Susheela
Poga Poga Theriyum	Server Sundaram
Andru Vandhadhum	Periya Idathu Penn		T. M. Soundararajan, P. Susheela
Naan Maanthoppil	Enga Veettu Pillai
Aandavan Padachan	Nichaya Thaamboolam		T. M. Soundararajan
Naan Kavignanum Ilai	Padithal Mattum Podhuma
Moondrezhuthil En Moochu	Dheiva Thaai
Kadhal Enbadhu	Paadha Kaanikkai		P. B. Sreenivas, P. Susheela, L. R. Eswari, J. P. Chandrababu
Epo Vechikalam	Bandha Pasam		J. P. Chandrababu
Pudhu Naadagathil	Ooty Varai Uravu	M. S. Viswanathan	T. M. Soundararajan
Kettavarellam Paadalam	Thangai
Anubhavi Raja Anubhavi	Anubavi Raja Anubavi		P. Susheela, L. R. Eswari
Maanendru Pennukoru			P. Susheela
Naan Paadum Paatile	Bhavani
Love Birds	Anbe Vaa
Maharaja Oru Maharaani	Iru Malargal		T. M. Soundararajan, Shoba Chandrasekhar
Dil Dil Dil Manadhil	Mella Thirandhathu Kadhavu		S. P. Balasubrahmanyam, K. S. Chithra
Aadungal Paadungal	Guru (1980 film)	Ilaiyaraaja	S. P. Balasubrahmanyam
Pudhucheri Katcheri	Singaravelan
Pudhu Maapilaiku	Apoorva Sagodharargal (1989 film)
Aalapol Vellapol	Ejamaan		S. P. Balasubrahmanyam, S. Janaki
Indha Minminiku	Sigappu Rojakkal		Malaysia Vasudevan, S. Janaki
Anjali Anjali Anjali	Anjali (1990 film)		S. Janaki
Kuzhaloodhum Kannanuku	Mella Thirandhathu Kadhavu		K. S. Chithra
Nila Kaayum Neeram	Chembaruthi		Mano (singer), S. Janaki

Notes

1. Alternate notations:
   • Hindustani: S R G M P D N Ṡ
   • Western: C D E F G A B C
2. Alternate notations:
   • Hindustani: Ṡ N D P M G R S
   • Western: C B A G F E D C

References

1. Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
2. Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras