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Prasad V. Rallabhandi

Program Help Document

JCarnatic Version 1.0.0

Program Help Document

August 2010

JCarnatic Program Help Document

First Edition.

© Copyright 2010 by Prasad V. Rallabhandi

All rights reserved. No part of this book may be reproduced or transmitted in any

form or by any means without permission by the author.

All brand names and product names used in this book are trade names, service

names, trademarks, or registered trademarks of their respective owners. Neither

Prasad V. Rallabhandi nor JCarnatic is associated with any product or vendor

mentioned in this book.

LIMIT OF LIABILITY AND DISCLAIMER OF WARRANTY: THE AUTHOR HAS

USED HIS BEST EFFORT IN PREPARING THIS BOOK, AND MAKES NO

REPRESENTATION OR WARRANTIES WITH RESPECT TO THE ACCURACY OR

COMPLETENESS OF THE CONTENTS OF THIS BOOK AND SPECIFICALLY

DISCLAIMS ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS

FOR A PARTICULAR PURPOSE. THE AUTHOR SHALL NOT BE LIABLE FOR

ANY LOSS OF PROFIT OR ANY OTHER COMMERCIAL DAMAGES

Contents

i

Contents

1 Introduction .................................................................................................. 1

1.1 About The Program ............................................................................................. 1

1.2 Acknowledgements ............................................................................................. 1

1.3 Version Information ............................................................................................. 1

1.4 Licence And Disclaimer ...................................................................................... 2

1.5 Who Is This PRogram For ................................................................................... 2

1.6 Limitations Of The Program ............................................................................... 2

1.7 References .............................................................................................................. 3

2 Carnatic Music Fundamentals .................................................................. 5

2.1 A Simple Primer ................................................................................................... 5

2.1.1 Frequency ................................................................................................ 5

2.1.2 Intensity ................................................................................................... 7

2.1.3 Duration .................................................................................................. 7

2.1.4 Quality ..................................................................................................... 7

2.2 Pitch (Sruthi) ......................................................................................................... 8

2.3 Raagam ................................................................................................................ 10

2.4 Taalam ................................................................................................................. 11

2.5 Gamakam (Microtone) ...................................................................................... 12

2.6 Carnatic Music Learning Methodology .......................................................... 13

2.6.1 Lessons in Carnatic Music .................................................................. 13

2.6.2 Recommendations for Learning Carnatic Music ............................. 14

3 JCarnatic Features...................................................................................... 15

3.1 Getting Started .................................................................................................... 15

3.2 Using JCarnatic ................................................................................................... 19

Contents

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3.2.1 Introducing Carnatic Music String .................................................... 19

3.2.2 Swaram (Note) ..................................................................................... 20

3.2.3 Octave .................................................................................................... 20

3.2.4 Instruments ........................................................................................... 20

3.2.5 Tempo .................................................................................................... 22

3.2.6 Note Duration ....................................................................................... 22

3.2.7 Raagam in JCarnatic ............................................................................ 23

3.2.8 Taalam In JCarnatic ............................................................................. 24

3.2.9 Pitch In JCarnatic ................................................................................. 26

3.2.10 Song Sequence Classification ............................................................. 26

3.2.11 Pallavi, Anupallavi And Charanam .................................................. 27

3.2.12 Microtonal Music (Gamakam) ........................................................... 27

3.3 JCarnatic Menus ................................................................................................. 28

3.3.1 Edit Input File ....................................................................................... 28

3.3.2 Quick Pickup ........................................................................................ 29

3.3.3 Play ......................................................................................................... 30

3.3.4 Save As A MIDI File ............................................................................ 31

3.3.5 Soundbanks........................................................................................... 31

3.4 Music Database ................................................................................................... 32

4 JCarnatic Internals .................................................................................... 33

4.1 CMusicStringParser.java ................................................................................... 33

4.2 ParserListener.java ............................................................................................. 34

5 Things to do ................................................................................................ 35

Appendix – A: Names of Notes ..................................................................... A

Appendix – B: List of Melakartha Raagas ................................................... C

Contents

iii

Appendix – C: Janya Raagas .......................................................................... G

Appendix – D: List of Janya Raagas ............................................................. K


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1 INTRODUCTION

1.1 ABOUT THE PROGRAM

JCarnatic is a Carnatic Music teaching / learning tool. It is built on the Java

music library JFugue (www.jfugue.org). JCarnatic is open-source software.

In addition to the program, this package also has classes on which further

programs may be developed.

1.2 ACKNOWLEDGEMENTS

There are several people to whom I should be thankful for. Listing all of them

would be a difficult task. However, the following individuals need special

mention.

Smt. Vasantha Seethepalli (Music Teacher);

Sri Vidyanath Devalpally (Flautist);

Smt. Sowmya Sri Rallabhandi (Carnatic Music concepts and

documentation help + putting up with me while I did this program --

she‟s my wife); and

Sri Billy Cilliers (editing this text and making it better).

1.3 VERSION INFORMATION

The current version of the program is 1.0.0. This is the first time that the

program is released and may be considered a „Beta‟ version. Methodology

that will be followed for future updates of the program is as follows:

For any update of the program that does not affect the functioning of the

program, only the last digit will be incremented by one;

Any update that will result in addition of features – for example,

allowing use of janya ragas (planned for the next edition) – will cause

the middle digit to be incremented by one. At this time, the last digit

will be set to 0;

The update that will see a total change to the look and feel and with

many more additional features (I have a list of things that I want this

software to do and completing that list will be one such update) will

result in the first digit incremented by one. The other two digits will be

set to 0 at that time.

The next major release is planned for December 2010. However, this is not a

guarantee.

http://www.jfugue.org/


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1.4 LICENCE AND DISCLAIMER

This program and the API thereof is free software. You can distribute it

and/or modify it under the terms of the GNU General Public License as

published by the Free Software Foundation; either version 3 of the License, or

any later version.

This program (and API) is distributed in the hope that it will be useful, but

WITHOUT ANY WARRANTY; without even the implied warranty of

MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the

GNU General Public License for more details.

You can view a copy of the license by selecting „Help‟ in the menu bar and

then selecting „Licence‟ under it. Or you may get a copy from

http://www.gnu.org/licenses/.

1.5 WHO IS THIS PROGRAM FOR

This program is for learners of Carnatic Music. There are menus and

windows in the program using which one can practise singing Carnatic

Music. The program is suitable also for practising playing Carnatic Music

instruments.

1.6 LIMITATIONS OF THE PROGRAM

The following are the limitations of the program. While some of these are

applicable for this version only, some are general in nature and applicable to

Carnatic Music as a whole:

Firstly, no program, however great it may be, can substitute a teacher.

Human interaction is one of the most important aspects of Carnatic

Music. The teacher is the best person to understand your needs, know

your strengths and weaknesses and is the best person to decide the best

way for you so that you achieve your goal of learning Carnatic Music in

the most effective manner. The recommendation always has to be

“Learn from the teacher”. JCarnatic can help in giving you the practice

required. It can and does change the frequency of the notes played, as

required, so you too can tune and culture your voice to be a better

singer. The duration and frequency of the notes are perfectly controlled

by the program, so that the student knows exactly how long to sing for

and what the frequency is;

http://www.gnu.org/licenses/


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Purists scorn at the idea of using digital means in Carnatic Music. A

tempered instrument such as guitar or a computer playing synthetic

music cannot simulate a human being. This is most notable in

“gamakams” (microtones). I, for one, tend to agree with the purists.

After all, Carnatic Music evolved many, many years ago and was (and

still is being) passed on from generation to generation. For many

centuries, there was no written record of the songs taught and the

students learnt from their teachers “by the ear”. Even if there was a

written record, the record cannot capture the melody part in a given

song. However, I also believe that as long as a qualified teacher is

involved and as long as we understand the limitations of the digital

means, utilising digital means for practice purposes is acceptable. And

that‟s where JCarnatic comes in;

“Gamakam” (microtone) notation used in the program requires further

work. The next version should show a major improvement in how

microtonal music is processed and delivered;

The next version of the program may see inclusion of a few more

instruments to the instrument list;

The program currently does not work on Linux operating system. It

may work on Apple McIntosh systems, but this has not been tested.

1.7 REFERENCES

The following references have been followed:

Ganamrutha Bodhini – Panchapakesa Iyer;

Ganamrutha Varnamalika – Panchapakesa Iyer;

Ganamrutha Keerthanamalika (Vols. I to X) – Panchapakesa Iyer;

Gana Kala Bodhini;

Sangeetha Sampradaya Pradarsini.


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5

2 CARNATIC MUSIC FUNDAMENTALS

2.1 A SIMPLE PRIMER

I am not writing a treatise on this. I am not an expert in Carnatic Music (I am

only a civil engineer, with an interest in programming, and I am a nobody

when it comes to Carnatic Music). Nor am I intending that this text will be of

any use to an expert. This is just a feeble attempt to explain the basics of

Carnatic Music. The purpose of this section is follow from this primer to what

JCarnatic is presently able to do and the features of JFugue that this software

has used.

Well. Let‟s get on with it.

Music is an extremely subjective, aural experience. Some sounds are

perceived by us as pleasant and some others as unpleasant. What is

considered pleasant or unpleasant can be quite personal, based on our specific

culture, exposure to particular kinds of music and perhaps even on what our

parents told us.

Sounds have four basic attributes:

The sound frequency;

Intensity (volume – loud or otherwise);

Duration; and

Quality.

These are briefly explained in the following sections.

2.1.1 FREQUENCY

Frequency: as per what we studied in school, a human ear can hear sounds

ranging between about 20 Hz and about 20000 Hz. The ability to express

thoughts through sounds is one of the basic requirements of all living beings.

This, of course, needs to follow certain principles. Music is an extension to

this. Music may be defined as an art form that arranges sounds in a fashion

that follows certain natural principles and provides that special inner feeling

of happiness and contentment. The basic principles are natural and thus the

theory of music is only an attempt by human beings (of course, this could be

applicable to whales as well) to rationally explain what is already beautiful.


6

The audible range of sounds has been split into „octaves‟ and „octaves‟ further

into „notes‟. An octave is a collection of notes. In western music there are

twelve notes per octave, whereas in Carnatic Music, there are many more.

Octaves and notes are further explained later. But this difference in western

and Carnatic Music is perhaps because Carnatic Music is much more vocal.

A note is, in simple terms, the position in the audible spectrum occupied by a

particular sound or the pitch of the sound. The Indian word for note is

„Swaram‟. An octave is a collection of, in Western Music, twelve notes that

are separated by a certain geometric progression. The middle „C‟ in Western

Music has a frequency of 240 Hz. The divisions are C, C#, D, Eb, E, F, F#, G,

G#, A, Bb, B and C in the next octave. The second C, i.e. the C in the next

octave, has a frequency of 480 Hz. There are twelve divisions between the

middle C and the next C, and the frequency of each note in the octave is 2(1/12)

times that of the note immediately preceding it. This rule of starting middle C

at 240 Hz is not strictly followed; fixing middle A to 440 Hz is one alternative

that is widely used – in fact, JFugue follows this rule. On a polyphonic

keyboard, or on a 12-string guitar, try pressing both Cs simultaneously and

listen carefully. It is easy to realise that the combined sound has an oneness.

If you tried it with C and D, you would immediately realise that the two

sounds stand out separately.

Next, especially on a keyboard, we observe that there are twelve keys in a

repeating pattern. In Indian terms, there may be called twelve „swara sthanas‟

(swara in English is „note‟ and sthana is „position‟) in a repeating pattern. The

division of an octave into twelve notes (I will start using the term „swara‟ or

„swaram‟ from here on) has evolved over a period of millennia. Music history

books definitely present a better picture, but for the present just take the

statement as correct (It is).

Western music believes in specifying an absolute pitch (or frequency) of all

swaras. That‟s the reason for frequencies of all notes being fixed and the same

for all (western) instruments. Indian music, both the Carnatic Music and the

Hindustani Music, is based on relative positioning and thus, the notes are not

of fixed pitch. Please refer to the section on Pitch for more details.

Similar to the Western music, Carnatic music also has twelve notes in an

octave, or twelve swara sthanas in an octave. But at a give point of time only

seven are used. These seven are – Sa (Shadjamam), Ri (Rishabham), Ga

(Gandharam), Ma (Madhyamam), Pa (Panchamam), Da (Daivatham), and Ni


7

(Nishadam). As a collection, these seven notes are referred to as „Saptha

swaralu‟ (Saptha – Seven and Swaralu – Plural for notes). A better and more

detailed explanation is given in the section on Raagam.

We observed earlier that doubling the frequency of a note produces the same

note in the next upper octave. This is more applicable to Western Music.

Carnatic Music is based not on the logarithmic division but on rational

division. For example, the frequency of note G (the eighth note in the scale

mentioned above) is 1.498 times that of C immediately below it. In Carnatic

Music the frequency of „Pa‟ – the eighth swara sthana – is 1.50 times that of

„Sa‟ immediately preceding it. The discrepancy is pretty minor but a

professional musician can pick out the difference. Similar definitions exist for

other swara sthanas. A few centuries ago, Western classical music too was

based on rational division (the resulting scale was called as the natural scale),

but this has given way to the equally tempered scale produced by logarithmic

division. The difference is subtle, but quite important. The rational division

claim is supported by the fact that tuning of instruments (for example, in

setting the frets of veena) is performed mostly by the ear and not by reference

to standards.

2.1.2 INTENSITY

It is the easiest to explain. You may sing a song at the top of your voice (so

the others know for sure you are in the bathroom having a shower), or sing

the same song in a barely audible whisper. The voice modulation required to

produce the song will not change, but what changes is the volume of the

voice.

2.1.3 DURATION

This is self-explanatory.

2.1.4 QUALITY

This attribute is slightly difficult to explain. It is simply a signature of the

source of the sound. It is a term which explains why a violin sounds like a

violin and a drum sounds like a drum. This attribute is precisely the reason

you can make out a famous singer‟s voice on radio, irrespective of the fact

that you have never met him/her. The bottomline is, when you or an

instrument produce sound, you not only produce one frequency, but also

produce a spectrum consisting of several 'overtones'. This is variously


8

referred to as 'timbre' or 'tone colour'. This constitutes the 'Quality' of that

sound.

Just to explain this concept some more, let us say you try to produce a single

frequency with your voice - one way to 'produce' a single frequency is to get a

keyboard and keep pressing one of its keys and you hum along till you

resonate. If you actually analysed the waveform you produced, you would

see not only a significant amount of the frequency you were trying to produce

but also see small amounts of other frequencies - which are the overtones. The

exact composition of overtones you produced is in some sense the signature

of your voice and constitutes its quality.

So much for the attributes of sound. Let‟s now move onto other interesting

aspects.

2.2 PITCH (SRUTHI)

We said earlier that Carnatic Music is predominantly vocal. We have also

said that Carnatic Music is based on natural scale. Imagine a child of six or

seven years, a male singer and an elderly female singer all singing the swaras

at the same time, each of them modulating his/her voice simultaneously to

match the frequencies of the swaras. It is possible to realise that the child‟s

starting frequency (pitch) is much higher than the female singer‟s, and that

the female singer‟s starting frequency is higher than the male‟s (the resulting

sound is a cacophony, but never mind). The point here is that each human

being has his/her „signature frequency‟. To facilitate such natural differences,

Carnatic Music divides the sounds into pitches (Indian word for Pitch: Sruthi).

One of the very first items a Carnatic Music teacher does, with a new student,

is to ascertain the Sruthi of the student. The „Sa‟ is analogous to C in the

Western notation. A new student might be comfortable to sing, and does so

on a consistent basis, the saptha swaras with „Sa‟ starting at 260 Hz as against

the Western 240 Hz. The teacher sets the student‟s Sruthi at 260 Hz.

How is it done? Carnatic Music used to take the help of „tamboora‟, a string

instrument that is continuously strummed and produces „Sa‟, „Pa‟, „Sa‟. The

sound the „tamboora‟ makes can be adjusted to produce „Sa‟ at the exact

frequency as the student‟s. The student thus can, while singing, periodically

check his/her voice frequency against the reference sounds. „Tamboora‟ is

not widely used nowadays. In its place is the digital equipment such as

„Sruthi box‟, which primarily does the same thing (and many more, but I am

not getting into it). The teacher makes note of the student‟s reference (or


9

„signature‟) frequency or Sruthi and sets the box to that frequency whenever

the student sings.

How is it measured? The units of measurement are „kattai‟. If a student sings

such that the frequency of „Sa‟ is 240 Hz, then he/she is said to be singing at

five kattai (This needs further checking – It is not a mistake that I have not

deleted this statement. I really need help on this. Anyone?). Or in the

modern notation, the student is said to be singing at G scale (??!). Modern

„Sruthi boxes‟ divide the pitches into the Western scales, which is very

intriguing really. A typical „Sruthi box‟ will have divisions starting from F,

F#, G, G#, A, A#, and the underlying agreement is that F corresponds to 4

kattai, F# to 4.5 kattai and so on. Curiously like there is no E# in Western

Notation, there is no 3.5 kattai. Similarly there is no 7.5 kattai, as there is no

B# in Western notation. Why it is that way, I have no idea.

The idea behind this write-up is to explain that Carnatic Music is based on

natural scale and that the music takes into account the differences there are

among individuals. Not only that, some of the Indian instruments, say a

Flute, are available with kattai numbers written over them. A flautist

normally has several flutes at his/her disposal, each having a different

number. In a stage performance where a flautist supports a Carnatic Music

singer, he/she (the flautist) picks the flute whose kattai closely matches that

of the singer.

The sruthi accompaniment (tamboora or sruthi box) provides the reference

pitch and we indicate the reference pitch by saying that somebody sings at

one and half kattai pitch, or a veena is tuned to four and half kattais. This

simply means that the Sa has been set to that pitch and all other swaras

occupy corresponding sthanas. The importance of the Sa is that it provides the

fixed foundation note upon which the rest of the music is built. Such a

foundation note exists in classical Western music also and is indicated by the

scale name e.g. F-Major indicates that the tune is built using F as the base

note. The base note can be discriminated with a little practice since the music

generally returns to dwell on the base note every now and then.


10

2.3 RAAGAM

Crudely translated into English „Raagam‟ means „Scale‟.

The seven swaras of Carnatic Music are Sa, Ri, Ga, Ma, Pa, Da, and Ni. The

cycle rolls into the next octave with the same swaras but with higher

frequencies. The saptha swaras constitute the Solfege notation, very much

similar to the Western Do, Re, Mi, Fa, So, La and Ti.

We have also noted earlier that there are twelve swara sthanas, and that at a

given point time only seven are used. Of the seven swaras mentioned, the

notes Sa and Pa are fixed, or unary. Notes Ri, Ga, Da, Ni have three variations

each, and Ma has two. (From now on, I will use shorter S, R, G, M, P, D, N for

the notes). Therefore there are a total of 16 notes – namely S, R1, R2, R3, G1,

G2, G3, M1, M2, P, D1, D2, D3, N1, N2, and N3. Each of the sixteen notes has

a distinct name – such as Suddha Rishabham (R1), Chatusruthi Rishabham

(R2), Satsruthi Rishabham (R3), etc. Names of each and every one of them is

listed in Appendix – A.

The twelve swara sthanas and the notes are as below

1 Sa

2 Ri (1)

3 Ri(2) Ga(1)

4 Ri(3) Ga(2)

5 Ga(3)

6 Ma (1)

7 Ma (2)

8 Pa

9 Da (1)

10 Da (2) Ni(1)

11 Da (3) Ni(2)

12 Ni (3)

You will notice that Ri(2) and Ga(1) share the same swara sthanam. Similarly

there are other sthanas shared by two notes. The rule book says that you may

pick one of S, R, G, M, P, D, N from the above 12 swara sthanas. Say you pick

S, R1, G3, M1, P, D1 and N3. The resulting combination is a „Raagam‟. Of

course, you may not pick R3 and G1 (i.e. you can‟t go backwards) or D2 or N1

(you may not pick two notes from the same swara sthana). Going by these

rules, you may work out the maths, you will find out that there are 72


11

combinations. Each of these 72 combinations is a raagam, and each of them

has a name to it. For example, the combination that we have just picked is

„Mayamalavagoula Raagam‟. Each of them has all seven swaras in it. These

72 raagas are collectively called as „Melakartha raagas‟. In Carnatic Music,

each and every raga has its own quality and its own special attributes. You

should not sing a song composed in raagam in a different raagam. It simply

wouldn‟t sound nice. A list of the „Melakartha raagas‟, together with what

exact notes they have, is in Appendix – B.

In contrast to the Melakartha ragas, there are ragas called the „Janya‟ ragas

(English for „janya‟: Derived). These derived ragas do not have all seven

swaras in them. Or they have a note from one swara sthana in the ascending

order and have a different note in the descending order. For example, the

raagam called „Ananda Bhairavi‟ has N2 in the ascending order and has N1 in

the descending order. There are, as per the reports, more than 4000 janya

ragas in Carnatic Music, of which only about 300 are in use today. To give an

example, the raagam „Hamsadhvani‟ is derived from

„Dheerasankarabharanam‟ and has only Sa, Ri(2), Ga(3), Pa, Ni(3).

More information on Janya ragas is in Appendix – C.

Appendix – D gives a complete list of janya ragas, which raagam they are

derived from, the notes they contain, etc.

2.4 TAALAM

Raagam refers to the tune or melody characteristics. The term referring to the

rhythm or beats of Carnatic music is taalam. It indicates the pacing of the

music and the placement of syllables in the composition. The Taalam system

is essentially based on a cyclic pattern; in other words, the rhythm is always

cyclic. In Carnatic music, the singer indicates the taalam using gestures.

There are three basic hand movements used in keeping the rhythm

downward beat with the palm facing down (called thattu);

the wave (sometimes the downward beat with the palm facing up)

called veechu; and

counts using one finger for each count staring with the little finger.

These basic movements are combined into three groups, called Laghu

(represented by |), Dhrutham (represented by 0) and Anudhrutham (by U).

A Laghu is one thattu followed by a specified number of counts to make up


12

the requisite number of beats. A Dhrutham is one thattu followed by one

veechu while an Anudhrutham is just one thattu. Each beat or unit of taalam

is termed as an aksharam (English for Aksharam: Letter – as in letters a, b, c,

etc.) and thus, an Anudhrutham is one aksharam long, a Dhrutham is two

aksharams long and the Laghu is of variable length. There are several other

movements but these are rarely seen in practice. The absolute duration of an

aksharam is not fixed and it varies, depending on the composition and the

mood of the performer. This is similar to the way in which the absolute pitch

of the swaras is not fixed but defined only relative to the reference pitch or

sruthi. The aksharam is further divided into a number of swaras and this

division is referred to as gathi. Four swaras per aksharam is standard and is

termed Chaturasra gathi (It is same as saying four quarter notes to a beat).

The other standard divisions and the associated number of swaras per

aksharam are Tisra (three), Khanda (five), Misra (seven) and Sankeerna (nine).

The most commonly used taalas are as follows:

Adi - |(4) 0 0

Dhruva - |(4) 0 |(4) |(4)

Matya - |(4) 0 |(4)

Rupaka - 0 |(4)

Jhumpa - |(7) U 0

Chaturasra Eka - |(4)

Sankeerna Eka - |(9)

Ata - |(5) |(5) 0 0

Triputa - |(3) 0 0

(Don‟t be confused by 0 in the above table. 0 actually means a Dhrutham with

two beats in it. Similarly |(5) means a Laghu with 5 beats).

2.5 GAMAKAM (MICROTONE)

One of the basic differences between the Western and the Carnatic Music that

while Western notation is based on twelve keys per octave, the Carnatic

Music system needs more than twelve per octave. It is just not enough to

produce the Carnatic Music with just 12 notes. One ought to produce even

the intermediate frequencies. These intermediate frequencies do not have any

keys to produce them, and are called „microtones‟. The Indian word for the

„microtone‟ is „gamakam‟ (meaning of Sanskrit word „gamakam‟: an

ornamented note). It is often very difficult to explain this concept clearly and

precisely. If the C key produces 240 Hz and the C# key produces 254 Hz


13

what intermediate frequencies are we talking about? Does Indian music use

sounds produced at 247 Hz? Treatises have been written in India about such

microtonal aspects of music. Suffice it to say that microtones or gamakams

tend to be clustered around the primary key frequency, although this is not

always the case.

The vocal gliding and rolling is an example of microtone usage, whether it

sounds pleasant or not. Microtones add variety to the Indian classical music -

an extra dimension. The very heart of Carnatic Music is this „continuous flow‟

or „gliding through a continuum of frequencies‟ or gamakam or microtonal

excursions.

To explain the concept, I would like to think that the Western Music is more

„digital‟, i.e., often you jump from one note to the next. In contrast, Carnatic

Music is more „analogue‟. To go from one frequency to the next, you glide

through all the frequencies (of course, in a predetermined order) between the

two frequencies. Carnatic Music describes several types of microtones. While

the types themselves are not explained here, it is a fact that microtones add a

certain flavour to the music.

2.6 CARNATIC MUSIC LEARNING METHODOLOGY

2.6.1 LESSONS IN CARNATIC MUSIC

After ascertaining the pitch of a new student, generally a Carnatic Music

teacher teaches the following, starting from the first to the last in order:

Sarali swaram – these are simple tunes. There are several sarali swaras

and the main purpose of these is to begin to culture / train the voice of

the student such that the student is able to modulate his/her voice to

match the frequency of the notes;

Janta swaram – similar to the earlier ones, these are also simple tunes.

Dhatu swaram – slightly more complicated than the earlier tunes. Also

longer;

Upper sthayi swaram – here the student is introduced to sing upper

octave notes;

Alankaram – there are several of these. Till this stage the student would

have used only the “Adi” taalam. Here the student is introduced to

knowing and singing in several other taalams;

Geetham – English for “geetham” is song. Here the student is

introduced to singing a few simple songs. This is a major jump from the


14

earlier lessons. Till the beginning of geetham, the student would only

sing the swaras. But from this point onwards, the student would begin

to sing proper songs (and the swaras) while modulating the voice to the

underlying notes. At this stage, the student is also introduced to singing

songs that are composed in several ragas;

Swarajathi / Swarapallavi – these are more advanced versions of the

earlier section;

Varnam – more complex. This part introduces the “gamakam”

(microtones). Microtones are widely used here

Keerthana / Krithi – these are the most complex songs of Carnatic

Music.

A student generally needs about five years of regular practice to reach and be

able to sing the last section. There are over a thousand krithis and the music

education continues. The final stage is called the “Manodharma

sangeetham”, wherein the student (by now an expert) is expected to

improvise on the music. However, I am not getting in the details of that part.

2.6.2 RECOMMENDATIONS FOR LEARNING CARNATIC MUSIC

If you want to learn Carnatic Music, first of all, you would need a teacher. To

use the internet-blogs jargon, IMHO that‟s the only method to learn Carnatic

Music. However, you can use JCarnatic to give you the practice.


15

3 JCARNATIC FEATURES

Enough for the theory part. Let‟s get straight into what all this is for.

3.1 GETTING STARTED

JCarnatic makes playing Carnatic Music easy. It is possible to enter the Indian

notation into the boxes provided and the program will play the sequence

entered. This section explains how to set up and get started with JCarnatic.

Installing JCarnatic

You may already have Java installed on your machine. To check whether Java

is already installed, type “java –version” in the command prompt window

(Programs All Programs Accessories and then select “Command

Prompt” to bring up the console window). If the output is something like the

following, then you have Java.

java version “1.6.0_11”

Java(TM) SE Runtime Environment (build 1.6.0_11-b03)

Java HotSpot(TM) Client VM (build 11.0-b16, mixed mode)

Or if the output says “‟java‟ is not recognized as an internal or external

command, operable program or batch file”, you will need to install Java.

JCarnatic works with Java 1.5.0 or higher. If the output of “java –version” (as

above) says java is not recognised or if the version number is lower than 1.5.0,

then install Java. You may download the latest version of Java (1.6.0_Update

21 at the time of writing this) from

http://www.oracle.com/technetwork/java/index.html. I would

recommend downloading the JDK (Java Development Kit) variety, rather

than the JRE (Java Runtime Environment) variety. Download the file,

double-click, and follow the instructions on screen to install Java.

Next, download Soundbanks provided by Oracle (Sun Microsystems) from

http://java.sun.com/products/java-media/sound/soundbanks.html.

Download the Deluxe version (4.92 MB). This soundbank contains higher-

quality sound samples.

Download the soundbank (as above) and unzip the soundbank zip file. You

will see a file with a “.gm” extension. Move this file to “C:\Program

Files\Java\jre\lib\audio” (on your system, the path could be different). If

there is no audio directory, create it. If you find a soundbank file already in

http://www.oracle.com/technetwork/java/index.html

http://java.sun.com/products/java-media/sound/soundbanks.html


16

there, rename it to something like “soundbank.gm.orig”. Rename the Deluxe

soundbank file to “soundbank.gm”. Repeat this procedure with “<jdk-install-

dir>\jre\lib\audio” folder.

Create a new folder under your C:\ drive or D:\ drive, either using Windows

(right click followed by New Folder), or by typing “mkdir <dir-name>”

into the command prompt window. Do NOT create this new folder under

C:\Program Files directory. (Creating a subfolder under “C:\Program Files”

will work, but as JCarnatic creates additional files during execution, the

Windows operating system will keep asking you to confirm file operations.

This could be annoying at best, and downright hazardous at the worst.)

Copy JCarnatic.zip file into this folder. Unzip the contents of the zip file to

this new folder using WinZip or any other archive extraction programs.

Once extracted, the new folder should show the following files and folders

that comprise the JCarnatic package:

JCarnatic.jar – The software file;

LICENCE.TXT – Software licence document – DO NOT MODIFY THIS

DOCUMENT;

„lib‟ folder – libraries used by the software;

„MusicDatabase‟ folder containing several sub-folders. Each sub-folder

contains „.mno‟ files. These are the music notation files; and

„Docs‟ folder, that contains „.html‟ program help files (the text you are

currently reading).

During program execution, JCarnatic creates additional files.

For simplicity and ease of use, I would recommend that you create on your

desktop a shortcut to the JCarnatic.jar file. This step is not essential for

running the program.

Installation of JCarnatic is now complete.

Testing the installation

After installation, test the installation by double clicking on the JCarnatic.jar

file, or if you created the shortcut, double-click the shortcut. (If you have a

Nokia mobile phone, and you use Nokia OVI Suite on this computer to

connect your mobile phone to the computer, then double clicking JCarnatic.jar

will bring up the Nokia OVI Suite window. The Java binary should actually


17

be opening this file. If this happens to you, right click on the JCarnatic.jar file

and select “Open with Java Platform (TM) SE Binary”). The program

requires at least one user registered with the program. Create a user in the

window that should show up and login.

You should see the main window of JCarnatic – with a picture of the Trinity.


18

Select File New to open a New dialog window. Enter “S R G M P D N SU

SU N D P M G R S” in the area allocated and press the “Play” button.

JCarnatic should play the first “Sarali swaram”.

Press “Cancel” button or the “X” button on the window to close it and go

back to the main window.


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3.2 USING JCARNATIC

We have installed JCarnatic and checked that it‟s working. Now is the time to

set your Sruthi (Refer section 3.2.9) and create some music. This section will

explain all you need to know to start creating music with JCarnatic.

Specifically, you will come to know about the features of JCarnatic‟s

notations. This will enable you to create music with notes of varying

durations, octaves, pitch, ragas and instruments. All of this is explained in the

subsequent sections.

The information is presented in the following sections in an order that I felt

was logical. A better ordering of the material is perhaps possible. I request

you to please go through the entire section to see what JCarnatic needs to play

music or how to make the best use of JCarnatic.

3.2.1 INTRODUCING CARNATIC MUSIC STRING

The Carnatic Music String that you enter into the text windows is the same as

that you find in the Carnatic Music books. Some of the examples are as

follows:

S R G M | P D | N SU ||

SU N D P | M G | R S ||

(Sarali swaram – 01)

SU , N D | N , | D P ||

D , P M | P , | P , ||

G M P D | N D | P M ||

G M P G | M G | R S ||

(Sarali swaram – 11)

S , , R G , P , D , SU , N , D ,

P , D P M G R S R S NL DL S , , ,

(Swarajathi – Raravenu Gopabala)

Of course, the music notation books do not indicate an upper octave Sa as

“SU” or a lower octave Ni with “NL” (In music books, the upper octave Sa is

written as an S with a dot above it and the lower octave Ni is written as an N

with a dot below it). The notation system used in JCarnatic is explained in

Section 3.2.3.

Please note that the string you enter is NOT case-sensitive.


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3.2.2 SWARAM (NOTE)

The specification of a swaram begins with the swaram name, which is one of

the following: S, R, G, M, P, D, or N. These represent “Sa”, “Ri”, “Ga”, “Ma”,

“Pa”, “Da”, and “Ni” respectively (There is no need to enter “Sa”, “Ga”, etc.

The first letter is sufficient). After specifying the note itself, you may then

append an octave, note duration etc., all of which are described in the

subsequent sections.

One item to note in JCarnatic, though, is that EACH SWARAM YOU ENTER

IS A QUARTER NOTE.

3.2.3 OCTAVE

JCarnatic can play Carnatic Music in three octaves.

Mandra Sthayi (lower octave);

Madhya Sthayi (middle octave); and

Tara Sthayi (upper octave).

The default octave is the Madhya Sthayi (the middle octave). For specifying

notes in the middle octave, no suffixes are necessary. However, if you want to

play an upper octave note, enter the note and add “U” to it. For example,

specifying SU plays “Sa” in the upper octave (Tara Sthayi). Similarly, to play

a note in the lower octave (Mandra Sthayi), enter the note and add “L” to it.

For example, specifying DL plays “Da” in the lower octave. “U” suffix stands

for Upper and “L” for Lower octaves. Carnatic Music has two more octaves –

viz. the lower lower octave called “Anumandra Sthayi” and the upper upper

octave called the “Ati Tara Sthayi”. As far as I know, their use is limited and

JCarnatic does not make use of them.

3.2.4 INSTRUMENTS

The music produced by JCarnatic uses MIDI to render audio that is played

with instruments from the Java Sound soundbank. The MIDI specification

describes 128 different instruments, and more may be supported with

additional sound banks. Most MIDI devices use the same definitions for the

first 128 instruments, although the quality of the sound varies by device and

by soundbank. For example, MIDI instrument #0 often represents a piano,

but the piano sound rendered by various MIDI devices may differ.


21

Although the MIDI specification describes 128 different instruments, and

JFugue supports all of those, JCarnatic uses only a few instruments out of

those. The reason is simple. Carnatic Music played over many instruments,

in my opinion, does not sound good (Please pardon me for this. My

judgement on this could be wrong. There may be instruments, other than

those included with JCarnatic that may produce better sounds for Carnatic

Music). The instruments provided with JCarnatic are

Piano (or Acoustic Grand piano);

Electric Grand piano;

Nylon String Guitar;

Steel String Guitar;

Electric Jazz Guitar;

Violin;

Clarinet;

Flute;

Recorder;

Whistle;

Sitar; and

Shanai.

Quite honestly, only five of the 12 instruments listed are for Carnatic Music,

the rest of them taken from the Western music. The three types of guitar in

the list are because I am a guitar player (blatant partiality for it). The next

version of the program will definitely see inclusion of a few more

instruments, most possibly the best for Carnatic Music the “Veena”.

To select an instrument, simply pick it from the drop down menus.


22

3.2.5 TEMPO

The tempo indicates how quickly a song should be played. It is the first

things to be selected, since it applies to all musical events in a song. Tempo

represents beats per minute (BPM). The tempo token is a T, followed by an

integer. You will notice that the tempo token figures as the first token in the

music notes files (“.mno” files).

The tempo number to be entered is the number of notes per minute. Entering

a tempo of say 40 will play each note for 1.5 seconds. Based on the general

time durations followed in a Carnatic Music class, the following tempo

numbers are suggested. However, it should be noted that in Carnatic Music

the note durations are not fixed and the singing speed generally depends

upon the song itself and on the mood of the performer.

Sarali swaram: 40

Janta swaram: 80

Dhatu swaram: 40

Upper Sthayi swaram: 40 and

Alankaram: 40.

The tempo values mentioned above are for the first speed. When JCarnatic

processes the above song classification types, it plays the first speed swaras

first and then automatically adjusts the tempo values for the second and third

speeds.

The other item to note is that no tempo values for other classification types

(classification types as described in Section 2.6.1) have been indicated. These

will need to be input depending upon one‟s taste. A tempo value of 100 for

“Geetham” types and a value of 240 for later song classifications would be an

ideal beginning point.

3.2.6 NOTE DURATION

The Carnatic Music notation system follows combination of the actual

swaram and commas and semicolons to indicate the length of a note. One

comma indicates that the note immediately preceding it should be sung for

double the duration. For example, G is one quarter note, while “G , ” is one

half note. “G , , ” is three quarter notes, and so on. The semicolon symbol

works in the similar manner. One semicolon is equivalent to two commas.

Therefore “R , , ” is the same “R ;”, for example.


23

In JCarnatic, PLEASE USE SPACES BOTH BEFORE AND AFTER THE

COMMAS AND SEMICOLONS. Otherwise, JCarnatic will assume that the

comma or semicolon is part of the note. It wouldn‟t increase the note

duration.

The above is applicable if the note is longer than a quarter note. If the note is

smaller than a quarter note (it‟s rare in Carnatic Music – but there would

instances of this in the Kirthanas) then we would need to use the following

method:

If the duration of the note is half of a quarter note (note that each note in

JCarnatic is a quarter note), then enter the note, add a “U” or “L” (if necessary

to indicate upper or lower octave) then suffix this with the number 8.

Examples are “S8”, “NL8”, “D8” etc.

If the duration is one quarter of a quarter note, then follow the above

procedure for eighth notes, but add 16 instead of 8. Similar procedure is to be

applied for notes of 1/32, 1/64 and 1/128 of a note. Examples are “SU16”,

“R32”, “NL128”, etc.

3.2.7 RAAGAM IN JCARNATIC

There are several combo boxes in the software that allow you to pick the

raagam you want. Each combo box contains all 72 Melakartha ragas. Once

you pick a raagam, JCarnatic automatically works out the correct Ri, Ga, Ma,

Da, and Ni notes (the other two notes Sa and Pa have no variations).

Open a new dialog window (File New). Enter “S R G M P D N SU SU N D

P M G R S” into the text area in the window. The default Raagam is


24

“Mayamalavagoula”. Press the “Play” button to listen to the sequence. Close

the player window and change raagam in the dialog window to

“Dheerasankarabharanam” and press “Play” again. You will notice that

JCarnatic plays the same notes, but with R, G, M, D, N changed to the selected

raagam.

JCarnatic also allows change of raagam within a song. This is required in

“Raaga Maalika” (English for Raaga maalika: A garland of ragas). In the

New dialog window select a raagam from the raagam combo box, say

“Mayamalavagoula”. In the text area enter the following:

S R G M P D N SU SU N D P M G R S

Dheerasankarabharanam

S R G M P D N SU SU N D P M G R S

You will notice that JCarnatic plays the first set of swaras to

Mayamalavagoula raagam, changes the raagam to Dheerasankarabharanam

and then plays the next set of swaras to the change raagam (you can visually

see the difference in the frequency curve that is displayed).

Processing Janya ragas

JCarnatic can process the Janya ragas (derived ragas) but not their names.

Janya ragas inherit the same swara sthanas of the Melakaratha ragas from

which they are derived. For example, the Janya raagam “Hamsadhwani” is

derived from Dheerasankarabharanam. The notes in

Dheerasankarabharanam are S, R2, G3, M1, P, D2, and N3. Hamsadhwani

omits a few notes and the notes in this raagam are S, R2, G3, P and N3.

JCarnatic cannot process the names of Janya ragas. Therefore, while selecting

a raagam in JCarnatic, you must then select the parent raagam name. For

example, you want to enter the song “Vaathapi Ganapathim Bhaje ...”, which

is in Hamsadhwani raagam. When you pick the raagam for this Kirthana,

you must pick Dheerasankarabharanam (the raagam Hamsadhwani is

derived from), as the name Hamsadhwani does not exist in JCarnatic.

3.2.8 TAALAM IN JCARNATIC

JCarnatic plays taalam sounds along with the song sequences. The following

taalams are supported:


25

Adi taalam;

Ata taalam;

Chaturasra Eka Taalam;

Dhruva Taalam;

Jhumpa Taalam;

Matya Taalam;

Rupaka Taalam;

Sankeerna Eka Taalam; and

Triputa Taalam.

There are many more taalams than those shown in the above list. Support for

them will, hopefully, be added in the next version of the program.

If you have a song that needs to be played to a taalam other than that in the

list, then select “None of the above” from the combo boxes provided. You

will be able to play the song sequence, but the song will not be accompanied

by taalam sounds.

If you want to remove taalam sounds from a song in the Music Database,

open the file in the Music Notes Editor (First select File Open and select the

file, then select Edit Input file on the main JCarnatic window). Add the

word “notaalam” or “notalam” at the end of the file (in fact, the first five

letters of either word suffice). Refer to Section 3.3.1. When you pick the song

in QuickPickup window, the taalam is shown at the appropriate place, but the

when the “Play” button is pressed, the player only plays the song, but not the

taalam sounds. The words added to the input file could be removed, if you

later want the taalam sounds to be played.


26

3.2.9 PITCH IN JCARNATIC

JCarnatic supports the following pitches (Sruthis).

F;

F#;

G;

G#;

A; and

A#.

You have installed JCarnatic, created a user name, and tested the software

installation as described in the earlier sections. This is the time for setting

your Sruthi. Select “Lessons Set Sruthi” in the JCarnatic main window.

You should see your name there.

Follow the instructions on screen to set your Sruthi. JCarnatic would save this

information and later, whenever you login, will pick your sruthi from the

saved information. You can change it later, of course, if you wish. Later,

when you select a song sequence from the “Quick Pickup” item (under

“Lessons”), JCarnatic would set up the song to your pitch so that it will be

easy for you to modulate your voice.

3.2.10 SONG SEQUENCE CLASSIFICATION

In JCarnatic, it is possible to define a sequence as one of the classification

types defined in Section 2.6.1. JCarnatic then decides whether the sequence is


27

to be played in three speeds, works out how the taalam beats are to be mixed

into the sequence, builds a pattern and then plays it out.

Experiment with the lessons in the Lessons Quick Pickup window.

3.2.11 PALLAVI, ANUPALLAVI AND CHARANAM

English for the above words is Intro, Verse and Stanza respectively. In

JCarnatic it is possible to enter these lines (from Geetham classification

onwards only) to delineate different elements of a song. JCarnatic will play

the pallavi line first and then repeats whatever is there under the pallavi line

after anupallavi and after each of the charanams.

One word of caution here. Some of the Keerthanas have multiple pallavis.

For example, the Kirthana “Vaathapi Ganapathim Bhaje …” has eight

pallavis. Declaring “Pallavi” before the first one will play all eight pallavis

after each charanam. As per what I know (which could be wrong), generally

only the last one is repeated after every charanam. Exercise caution in using

the “Pallavi” line.

3.2.12 MICROTONAL MUSIC (GAMAKAM)

JCarnatic supports microtonal music. To enter a microtone, simply enclose it

between “<<” and “>>” symbols. Please use spaces both before and after the

symbols.

Presently the gamakam processing in JCarnatic is pretty basic, and could be

downright wrong. These will be edited in the next version of the program.

However, the good news is that, the music notation presented in the

Reference books (Refer Section 1.7 of this document) splits the microtones into

the required elements. Using the notation given in those references will

automatically create the required gamakam. Using the symbols indicated

here are then not required.

Notwithstanding the above, the gamakam processing will be improved in the

next version of this software.


28

3.3 JCARNATIC MENUS

JCarnatic has the following menus:

File Menu Items: New, Open, Close, Save, Save As, Print Notation,

and Exit.

Edit Menu Item: Input File

Tools Menu Items: Change Raagam, Change Instrument, Change

Pitch, Change Tempo

Lessons Menu Items: Set Sruthi, Quick Pickup

Play Menu Items: Play, Save as a MIDI Song

Help Menu Items: About, Contents, Licence

Most of the above items are self-explanatory. Only the special features are

described hereunder.

3.3.1 EDIT INPUT FILE

When a music notes file is opened (files with the extension “.mno”) through

File Open followed by Edit Input File, the music notation used is opened

in an editor window. JCarnatic provides a simple editor that highlights the

elements of the song. If you want to create a .mno file manually, it is easy.

Select “AutoGen Begin Auto-generation” from the menu in the editor. A

new window opens allowing you to simply choose the predefined items

(tempo, instrument, etc.). Enter the music notation into the text area of the

window and press “Write”. The selected predefined items together with the

music notation entered will be written to the text area of the editor. Save the

file with “.mno” extension for JCarnatic to pick it up later.


29

3.3.2 QUICK PICKUP

For the present, this window is one of the central pieces of the software.

When selected, a window that has all the lessons available in the database

appears. This window should show your login name and your reference

pitch as well. Pick a lesson and a song sequence from the combo box. Press

“Play” button to play the song sequence. After a lesson is picked and before

pressing the “Play” button, you may change the instrument, tempo, raagam

or taalam, if you wish. If you don‟t want taalam sounds, pick “None of the

above” in the taalam combo box.

Select a lesson and practice singing along with the computer sounds. Once

you perfect it, including in all the relevant speeds, press the “Completed”

button for JCarnatic to store that information. JCarnatic will remember it and

highlight the completed items from the next time you login.

The lessons are organised starting from “Sarali Swaram” to “Kirthana”,

similar to how they generally are.


30

3.3.3 PLAY

When the play button is pressed (either from the main window or through

one of the sub-windows), a player window appears. The player window

shows the frequency curve of the song sequence that is being played. There

are buttons to “Pause” or “Stop” the music.


31

However, please note that the interface of the window is pretty basic. The

slider that is shown on the window may not react so well to mouse click. The

frequency curve may get distorted, if the slider is dragged forward or

backwards.

Modifying the player behaviour to make is more responsive and better is one

of the items in my “To do list”.

3.3.4 SAVE AS A MIDI FILE

As the name indicates, you can save a music notation file to MIDI format. The

MIDI file created could be played back with Windows Media Player, Real

Player, etc. However, as explained elsewhere in this documentation, the

computer or the equipment characteristics can affect how a MIDI song is

rendered.

The next version of JCarnatic will see an option to save a sequence to “.wave”

file, so that your uses will hear exactly what you hear.

3.3.5 SOUNDBANKS

We have explained before that Java standard soundbank files should be used

to produce sounds from the computer. In case you have purchased a


32

commercially available soundbank (such as SONiVOX) and you want

JCarnatic to use it to generate music, then the following modifications to the

program are necessary:

Download Gervill from https://gervill.dev.java.net, and include

gervill.jar in your classpath (or, if you are using an IDE, add it to your

Java Build Path).

Open the file CarnaticMusicPlayer.java. Go to the private inner class

“PlayRunnable”. You will see some commented lines with comments

on what to uncomment and what lines to comment to use your

soundbank.

3.4 MUSIC DATABASE

JCarnatic comes with a music database. You will see several folders under

this database. Each folder is named after the song classification types (defined

in Section 2.6.1). For example, the Sarali folder has 16 sarali swarams, which

you can play and practise. Similarly, the geetham folder contains several

songs.

If you would like to add, enter the desired sequence into the New window,

pick the correct raagam, taalam, tempo, pitch and classification type. Save the

sequence to the appropriate folder. When you open the Quick Pickup

window later, that window should show the sequence you have saved.

https://gervill.dev.java.net/


33

4 JCARNATIC INTERNALS

This section is for programmers who would like to use the classes available in

JCarnatic program to develop further programs. If you are a learner of

Carnatic Music and not a Java programmer, you may safely omit this section.

Behind all the simplicity of JCarnatic, there is a substructure of well-designed

classes. However, the credit is not mine. JCarnatic is built on top of JFugue.

The parent software has been extended to produce the Carnatic Music.

Some of the key features of JCarnatic are described in the next few sections. If

you need information on JFugue, please go the website of JFugue.

4.1 CMUSICSTRINGPARSER.JAVA

JFugue provides the main Parser and ParserListener classes. JCarnatic has a

Carnatic Music String parser that extends the JFugue‟s parser to produce

music. The effort has been to „translate‟ the strings entered into music strings

that JFugue can understand and play music.

Class CMusicStringParser.java takes in a music string and splits it into several

tokens. The first five tokens are reserved. These are (in order):

Tempo (string “T” followed by the tempo number);

Raagam (string; one of 72 raagam names; first five letters are sufficient);

Instrument (could be either name such as “Piano” or a string “I”

followed by a instrument number between 0 and 127);

Pitch (one of F, F#, G, G#, A, A#); and

Taalam.

In the next tokens, the following is performed:

Check for recognized strings – such as “Pallavi”, “Anupallavi”, “Sarali”,

etc. If any of the recognized strings are found, then process those;

Check if the token indicates a note. If a note is found, then the note is

translated to the Western notation note;

Check if the token indicates a duration element such as a comma or

semicolon. Process it if found;

Check if the token indicates beginning or ending of a microtone. Process

if found.

As the parser reads the above, the parser fires the required music events. It

also builds a music string in Western notation, and in a form that JFugue can


34

understand. Once the parser finishes with the above works, it builds a song

sequence (Pattern) from the input based on the given song classification type.

The parser then adds the taalam sounds (if specified) to the Pattern and

creates an overall song that could be played by CarnaticMusicPlayer class.

Please note that when creation of the Pattern is requested, the translated

string goes to the MusicStringParser class of JFugue, which also fires the

requisite music event. One other work of the parser is to work out a table of

sound frequencies and the duration for each of the frequencies. This

frequency table is displayed as a graph in the CarnaticMusicPlayer window,

with frequency on the vertical axis and the duration on the horizontal axis.

4.2 PARSERLISTENER.JAVA

JCarnatic uses the ParserListener.java class of JFugue. However, the

following methods have been added to the class to facilitate playing Carnatic

Music.

raagamEvent ( Raagam raagam );

pitchEvent ( Pitch pitch );

taalamEvent (Taalam taalam );

classificationEvent ( Classification classification ); and

songElementEvent (SongElement songElement );

Please note that classes Raagam, Pitch, Taalam, Classification and

SongElement extend JFugue‟s JFugueElement class.


35

5 THINGS TO DO

The following items will be attempted for the next version of the program and

beyond.

Better and more accurate processing of microtones. This will mean

changes to the Parser class such that better music is produced;

Making the player window more responsive and function better;

Addition of a few more instruments to the instrument list. Need to

experiment with the instruments provided in MIDI sound bank and the

JFugue features such as attack and decay velocities to introduce Veena.

Processing of music produced by flute to be improved;

An option to save music in “.wav” file in addition to a MIDI sequence;

Process the names of Janya ragas;

The program will work out the “Taalam” sequence directly from the

notes entered rather than the block processing as is done now;

File Saver to be modified to save the entered sequence as per the taalam

entered, rather than save up to 75 characters per line;

Program Help window to have more buttons – for example “Back”,

“Forward”, “Contents”, “Index”, etc. – and better processing of help

requests;

The player window will need to show the notes that are being played

(and also possibly the lyrics along with the notes);

The Music Notes Editor (or the AutoGen window) should facilitate

specifying microtones. A simple methodology for this will need to be

worked out;

Program to be modified to work, in addition to Windows, on Linux

operating system, and also on Apple McIntosh systems;

At present, there appears to be a time delay between pressing the “Play”

button and the actual song being played. This needs to be improved;

Similarly, the slider bar on the Player window, the frequency table graph

and the actual song do not appear to be synchronised. This behaviour

should be changed;

The program should save the name of the user/student who logged in

last and should automatically start with that user/student (the

behaviour that is seen on Chess Master game). The program now asks

you to choose a user every time it is started;

Requests from users for addition/deletion of features should be

incorporated, to the extent possible;


36

Appendices

A

APPENDIX – A: NAMES OF NOTES

Names of each of the notes in Carnatic Music

Sa - Shadjamam

Ri (1) - Suddha Rishabham

Ri (2) - Chatusruthi Rishabham

Ri (3) - Satsruthi Rishabham

Ga (1) - Suddha Gandharam

Ga (2) - Sadharana Gandharam

Ga (3) - Antara Gandharam

Ma (1) - Suddha Madhyamam

Ma (2) - Prathi Madhyamam

Pa - Panchamam

Da (1) - Suddha Daivatam

Da (2) - Chatusruthi Daivatam

Da (3) - Satsruthi Daivatam

Ni (1) - Suddha Nishadam

Ni (2) - Kaisiki Nishadam

Ni (3) - Kakali Nishadam

Appendices

B

Appendices

C

APPENDIX – B: LIST OF MELAKARTHA RAAGAS

This text is taken from www.nerur.com/music/ragalist.php.

The following transliteration scheme for the raga names has been used:

Sanskrit / Dravidian Language Transliteration Alphabet

a A i I u U Ru RU

e E ai o O ow am :

k K g G n'

ch Ch j J N'

t T d D N

th Th dh Dh n

p ph b bh m

y r l v sh Sh s H ksh gny L zh r'

(additional Dravidian letters)

This is, for the most part, very similar to the standard scheme used on various

newsgroups. However, please note the significant deviations from the norm in this

table (th, Th, dh, Dh, H especially).

The list.

The number is called the „Katapayadi Sankhya‟ (English for Katapayadi: Index and

for Sankhya: Number). The index number has a special significance in Carnatic

Music. If you know the raagam name, you can work out the index number.

No. Name of raagam Arohana (Ascending order)

Avarohana (descending order)

1 kanakAn'gi S R1 G1 M1 P D1 N1 S S N1 D1 P M1 G1 R1 S

2 rathnAn'gi S R1 G1 M1 P D1 N2 S S N2 D1 P M1 G1 R1 S

3 gAnamUrthi S R1 G1 M1 P D1 N3 S S N3 D1 P M1 G1 R1 S

4 vanaspathi S R1 G1 M1 P D2 N2 S S N2 D2 P M1 G1 R1 S

5 mAnavathi S R1 G1 M1 P D2 N3 S S N3 D2 P M1 G1 R1 S

6 thAnarUpi S R1 G1 M1 P D3 N3 S S N3 D3 P M1 G1 R1 S

7 sEnAvathi S R1 G2 M1 P D1 N1 S S N1 D1 P M1 G2 R1 S

8 HanumathOdi S R1 G2 M1 P D1 N2 S S N2 D1 P M1 G2 R1 S

9 DhEnukA S R1 G2 M1 P D1 N3 S S N3 D1 P M1 G2 R1 S

10 nAtakapriya S R1 G2 M1 P D2 N2 S S N2 D2 P M1 G2 R1 S

11 kOkilapriya S R1 G2 M1 P D2 N3 S S N3 D2 P M1 G2 R1 S

12 rUpavathi S R1 G2 M1 P D3 N3 S S N3 D3 P M1 G2 R1 S

http://www.nerur.com/music/ragalist.php

Appendices

D



13 gAyakapriya S R1 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R1 S

14 vakulAbharaNam S R1 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R1 S

15 mAyAmALava gowLA S R1 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R1 S

16 chakravAkam S R1 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R1 S

17 sUryakAntam S R1 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R1 S

18 HAtakAmbari S R1 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R1 S

19 Jan'kAradhvani S R2 G2 M1 P D1 N1 S S N1 D1 P M1 G2 R2 S

20 naTabhairavi S R2 G2 M1 P D1 N2 S S N2 D1 P M1 G2 R2 S

21 kIravANi S R2 G2 M1 P D1 N3 S S N3 D1 P M1 G2 R2 S

22 KaraHarapriya S R2 G2 M1 P D2 N2 S S N2 D2 P M1 G2 R2 S

23 gowrimanOHari S R2 G2 M1 P D2 N3 S S N3 D2 P M1 G2 R2 S

24 varuNapriya S R2 G2 M1 P D3 N3 S S N3 D3 P M1 G2 R2 S

25 mAraranjani S R2 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R2 S

26 chArukeshi S R2 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R2 S

27 sarasAn'gi S R2 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R2 S

28 HarikAmbhOji S R2 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R2 S

29 DhIrashan'karAbharaNam S R2 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R2 S

30 nAgAnandhini S R2 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R2 S

31 yAgapriya S R3 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R3 S

32 rAgavarDhani S R3 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R3 S

33 gAn'geyabhushani S R3 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R3 S

34 vAgaDhIsvari S R3 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R3 S

35 shUlini S R3 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R3 S

36 chalanAta S R3 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R3 S

37 sAlagam S R1 G1 M2 P D1 N1 S S N1 D1 P M2 G1 R1 S

38 jalArnavam S R1 G1 M2 P D1 N2 S S N2 D1 P M2 G1 R1 S

39 JAlavarALi S R1 G1 M2 P D1 N3 S S N3 D1 P M2 G1 R1 S

40 navanItham S R1 G1 M2 P D2 N2 S S N2 D2 P M2 G1 R1 S

41 pAvani S R1 G1 M2 P D2 N3 S S N3 D2 P M2 G1 R1 S

42 raGupriya S R1 G1 M2 P D3 N3 S S N3 D3 P M2 G1 R1 S

43 gavAmbodhi S R1 G2 M2 P D1 N1 S S N1 D1 P M2 G2 R1 S

44 bhavapriya S R1 G2 M2 P D1 N2 S S N2 D1 P M2 G2 R1 S

45 shubhapanthuvarALi S R1 G2 M2 P D1 N3 S S N3 D1 P M2 G2 R1 S

46 shadhvidha mArgiNi S R1 G2 M2 P D2 N2 S S N2 D2 P M2 G2 R1 S

47 suvarNAn'gi S R1 G2 M2 P D2 N3 S S N3 D2 P M2 G2 R1 S

48 dhivyAmaNi S R1 G2 M2 P D3 N3 S S N3 D3 P M2 G2 R1 S

49 dhavalAmbari S R1 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R1 S

50 nAmanArAyaNi S R1 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R1 S

51 kAmavardhini S R1 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R1 S

52 rAmapriya S R1 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R1 S

53 gamanashrama S R1 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R1 S

Appendices

E



54 vishvAmbhari S R1 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R1 S

55 shyAmaLAngi S R2 G2 M2 P D1 N1 S S N1 D1 P M2 G2 R2 S

56 shanmuKapriya S R2 G2 M2 P D1 N2 S S N2 D1 P M2 G2 R2 S

57 simHendra madhyamam S R2 G2 M2 P D1 N3 S S N3 D1 P M2 G2 R2 S

58 HemAvathi S R2 G2 M2 P D2 N2 S S N2 D2 P M2 G2 R2 S

59 DharmAvathi S R2 G2 M2 P D2 N3 S S N3 D2 P M2 G2 R2 S

60 nIthimathi S R2 G2 M2 P D3 N3 S S N3 D3 P M2 G2 R2 S

61 kAnthAmaNi S R2 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R2 S

62 rishabhapriya S R2 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R2 S

63 lathAngi S R2 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R2 S

64 vAchaspathi S R2 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R2 S

65 mEchakalyANi S R2 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R2 S

66 chithrAmbari S R2 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R2 S

67 sucharithra S R3 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R3 S

68 jyothisvarUpiNi S R3 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R3 S

69 dhAtuvardhani S R3 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R3 S

70 nAsika bhUshaNi S R3 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R3 S

71 kosalam S R3 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R3 S

72 rasikapriya S R3 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R3 S

Appendices

F

Appendices

G

APPENDIX – C: JANYA RAAGAS

Characteristics of a Janya (child or derived) raaga

A janya raaga originates from a Janaka or a parent raaga. Each parent raaga

can have several child raagas originating from them.

Therefore, the child raaga uses the same scale as the parent. That is, it takes

the same swaras that the parent uses.

However, unlike the Janaka or parent raaga, a Janya raaga may not use the

same seven swaras in both ascending and descending order. For example, it

can use one type of a swara (e.g. Suddha Rishabam) in the arohanam while a

different type of the same swara (e.g. Chatussruti Rishabam) in the

avarohanam. For example, Bhairavi:

. s r g m p d n s . s n d p m g r s

Similarly, a Janya raaga need not use all the seven notes of the parent. It may

use all seven notes in the ascending order while it can use six notes in the

descending order or even use other combinations. For example, the raaga

Saramathi has the following swara sequence:

. s r g m p d n s . s n d m g s

Also, unlike the parent, a Janya raaga can repeat a swara. For example, the

raaga Sahana has the following sequence:

. S r g m p m D n s . s n d p m G m R g r s

Sometimes, a janya raaga can take one or two swaras not present in the parent

raaga.

Varja Raagam (English for Varja: Omitted)

Appendices

H

Is a characteristic of Janya raagas.

Either in the arohanam or in the avarohanam, one or two swaras may be

omitted. These omitted swaras are called varja swarams.

When a raaga has only six of the seven notes of the parent in both

avarohanam and the arohanam, it is called Shadava. For example, Sriranjani

raaga:

. s r g m d n s . s n d m g r s

When a raaga takes only five of the seven notes of the parent, it is called

audava. For example, Mohana:

. s r g p d s

. s d p g r s

Other combinations include, seven swaras in arohanam and six on the

avarohanam (Sampoorna – shadava); six in the arohanam and five in the

avarohanam (Shadava – audava) etc.

Vakra Raagam (English for Vakra: Distorted)

When one or two swaras, either in arohanam or the avarohanam occur out of

order or in an irregular manner, it is called a vakra raagam. For example,

Sriraagam, where the avarohanm is vakram or not in the order of swaras.

. s r m p n s . s n p d n p m r g r s

In non-vakra raagas, notes go up and down in a regular order

In vakra raaga, a prior note could repeat itself (e.g. n and r in the above

example). However, this is not always true (e.g, Mukhari).

There are three kinds of vakra raagams.

i. Raagas in which only the arohanam has vakra swarams (irregular

order). Example: Anandhabhairavi.

ii. Raagas in which only avarohanam has vakra swarams (irregular order).

Example: Sriraagam

iii. Raagas in which vakra swaras (irregular order) occur both in arohanam

and avarohanam (e.g. Sahana).

Appendices

I

Upanga and Bhashanga Raagas

A upanga raaga is a janya raaga that only takes swaras belonging to its parent

(e.g. Mohanam (child of Harikamboji which has the swaras Sa, Ri

(chatusruthi), Ga (Antara), Ma (Suddha), Pa, Da (Chatusruthi), and Ni

(Kaisiki) – s n d p m g r s)

. s r g p d s

. s d p g r s

A bhashanga raaga is a janya raaga that takes both swaras belonging to its

parent and also one or two foreign swaras - e.g. Kambhoj. (also a child of

Harikamboji which has the swaras Sa, Ri (chatusruthi), Ga (Antara), Ma

(Suddha), Pa, Da (Chatusruthi), and Ni (Kaisiki) – s n d p m g r s)).

. s r g m p d s

. s n d p m g r s

Gana Raagas

The characteristics or true nature of a Gana raaga is revealed by singing the

thanam (Ghanam); also, known as the Madhyama Kalam.

Examples of Ghana raaga include: Nattai, Gowlai, Arabhi, Varali, and Sri in

which Sri Thyagaraja has composed the pancharathnas.

It also includes the raagas – Kedaram, Narayanagowlai, Saranganata, Bauli,

and Ritigowla.

Appendices

J

Appendices

K

APPENDIX – D: LIST OF JANYA RAAGAS

janya rAgAs

8 | HanumathOdi

AHiri S R1 S G3 M1 P D1 N2 S S N2 D1 P M1 G3 R1 S

asAvEri S R1 M1 P D1 S SN2SPD1M1PR1G2R1S

bhUpALam S R1 G2 P D1 S S D1 P G2 R1 S

dhanyAsi S G2 M1 P N2 S S N2 D1 P M1 G2 R1 S

punnAgavarALi N2 , S R1 G2 M1 P D1 N2 N2 D1 P M1 G2 R1 S N2 ,

10 | nAtakapriya

sindhu bhairavi S R2 G2 M1 G2 P D1 N2 S N2 D1 P M1 G2 R1 S N2 S

13 | gAyakapriya

kalagada S R1 G3 P D1 N1 S S N1 D1 P G3 R1 S

14 | vakulAbharaNam

vasanthabhairavi S R1 G3 M1 D1 N2 S S N2 D1 M1 P M1 G3 R1 S

15 | mAyAmALava gowLA

ardhradhesi S R1 G3 M1 P D1 S N3 S S D1 P M1 G3 R1 S

bowLi S R1 G3 P D1 S S N3 D1 P G3 R1 S

gowLa S R1 M1 P N3 S S N3 P M1 R1 G3 M1 R1 S

gowLipanthu S R1 M1 P N3 S SN3D1PM1D1M1G3R1S

gowri S R1 M1 P N3 S S N3 D1 P M1 G3 R1 S

gujjari S R1 G3 M1 P D1 N3 S S D1 N3 P M1 G3 R1 S

gumma kAmbhoji S R1 G3 P D1 N3 D1 S S N3 D1 P M1 G3 R1 S

gundhakriya S R1 M1 P N3 S S N3 P D1 P M1 G3 R1 S

jaganmOhini S G3 M1 P N3 S S N3 P M1 G3 R1 S

kannadaban'gALa S R1 M1 G3 M1 P D1 S S D1 P M1 G3 R1 S

kRushNaveNi S R1 G3 M1 P N3 S S N3 P M1 G3 R1 S

lalithA S R1 G3 M1 D2 N3 S S N3 D2 M1 G3 R1 S

malaHari S R1 M1 P D1 S S D1 P M1 G3 R1 S

mallikA vasantham S G3 M1 P N3 S S N3 D1 P M1 G3 R1 S

mangaLakaishiki S M1 G3 M1 P M1 D1 N3 S S N3 D1 P M1 G3 R1 S

mEchabowLi S R1 G3 P D1 S S D1 P M1 G3 R1 S

Appendices

L

mEGaranjani S R1 G3 M1 N3 S S N3 M1 G3 R1 S

nAdhanAmakriya S R1 G3 M1 P D1 N3 N3 D1 P M1 G3 R1 S N3

pAdi S R1 M1 P N3 S S N3 P D1 P M1 R1 S

pharaz S G3 M1 P D1 N3 S S N3 D1 P M1 G3 R1 S

pUrvi S R1 G3 M1 P D1 N3 D1 S SN3D1PM1D1M1G3R1S

rEvagupthi S R1 G3 P D1 S S D1 P G3 R1 S

sAran'ganAtha S R1 M1 P D1 S S N3 S D1 P M1 G3 R1 S

sAvEri S R1 M1 P D1 S S N3 D1 P M1 G3 R1 S

sindhu rAmakriya S G3 M1 P D1 N3 S S N3 P D1 P M1 G3 S

thakka (a) S R1 S M1 G3 M1 D1 N3 S S N3 P M1 G 3 M1 P R1 G3 S

thakka (b) S G3 M1 P M1 D1 N3 S S N3 D1 P M1 G3 R1 S

16 | chakravAkam

bindhumAlini S G3 R1 G3 M1 P N2 S S N2 S D2 P G3 R1 S

kalAvathi S R1 M1 P D2 S S D2 P M1 G3 S R1 S

malayamArutham S R1 G3 P D2 N2 S S N2 D2 P G3 R1 S

valachi S G3 P D2 N2 S S N2 D2 P G3 S

vegavAHini S R1 G3 M1 P D2 N2 D2 S S N2 D2 P M1 G3 R1 S

17 | sUryakAntam

bhairavam S R1 G3 M1 P D2 N3 S S D2 P M1 G3 R1 S

sowrAshtram S R1 G3 M1 P M1 D2 N3 S S N3 D2 N2 D2 P M1 G3 R1 S

supradhIpam S R1 M1 P D2 S S N3 D2 P M1 G3 M1 R1 S

vasanthA S M1 G3 M1 D2 N3 S S N3 D2 M1 G3 R1 S

19 | Jan'kAradhvani

pUrnalalitha S G2 R2 M1 P S S N1 D1 P M1 G2 R2 S

20 | naTabhairavi

amrithavAHini S R2 M1 P D1 N2 S S N2 D1 M1 G2 R2 S

Anandhabhairavi SG2R2G2M1PD2PN2S S N2 D2 P M1 G2 R2 S

bhairavi S R2 G2 M1 P D2 N2 S S N2 D1 P M1 G2 R2 S

Gantha SG2R2G2M1PD2PN2D2N2S S N2 D2 P M1 G2 R2 S

gopikavasantham S M1 P N2 D1 N2 D1 S S N2 D1 P M1 G2 S

HindhoLam S G2 M1 D1 N2 S S N2 D1 M1 G2 S

jayanthashrI S G2 M1 D1 N2 S S N2 D1 M1 P M1 G2 S

jingla SR2G2M1PD1N2D1PS S N2 D1 P M1 G2 R2 S

mAnji S R2 G2 M1 P D2 N2 S S N2 D1 P M1 G2 R2 S

mArgaHindhoLam S R2 G2 M1 P D2 N2 S S N2 D2 M1 G2 S

pUrNashajja S R2 G2 M1 N2 N2 S S N2 P M1 G2 R2 S

Appendices

M

sAramathi S R2 G2 M1 P D1 N2 S S N2 D1 M1 G2 S

sudhdha dhanyAsi S G2 M1 P N2 S S N2 P M1 G2 S

sudhdha dhesi S R2 M1 P D1 N2 S S N2 D1 P M1 G2 R2 S

21 | kIravANi

kiraNAvaLi S R2 G2 M1 P D1 N3 S S P M1 G2 R2 S

kalyANa vasantham S G2 M1 D1 N3 S S N3 D1 P M1 G2 R2 S

22 | KaraHarapriya

AbhEri S G2 M1 P N2 S S N2 D2 P M1 G2 R2 S

abhOgi S R2 G2 M1 D2 S S D2 M1 G2 R2 S

AndhOLika S R2 M1 P N2 S S N2 D2 M1 R2 S

bAgEshrI S G2 M1 D2 N2 S S N2 D2 M1 P D2 G2 M1 R2 S

brindhAvanasAran'ga S R2 M1 P N3 S S N2 P M1 R2 G2 S

chiththaranjani S R2 G2 M1 P D2 N2 N2 D2 P M1 G2 R2 S N2.

dharbAru S R2 M1 P D2 N2 S R2SN2SD2PM1R2G2G2R2S

dhEvAmRuthavarshiNi S R2 G2 M1 N2 D2 N2 S S N2 D2 P M1 G2 R2 S

dhEvakriya S R2 M1 P N2 S S N2 D2 N2 P M1 G2 R2 S

dhEvamanOHari S R2 M1 P D2 N2 S S N2 D2 N2 P M1 R2 S

dhilipakam SR2G2R2M1PN2D2N2PD2N2S S N2 D2 P M1 G2 R2 S

HindhoLavasantha S G2 M1 P D2 N2 D2 S S N2 D2 P M1 D2 M1 G2 S

HindhusthAni kApi S R2 M1 P N3 S S N2 D2 N2 P M1 G2 R2 S

HusEni S R2 G2 M1 P N2 D2 N2 S S N2 D1 P M1 G2 R2 S

jayamanOHari S R2 G2 M1 D2 S S N2 D2 M1 G2 R2 S

jayanArAyaNi S R2 G2 M1 P D2 S S N2 D2 P M1 G2 R2 S

jayanthasEna S G2 M1 P D2 S S N2 D2 P M1 P M1 G2 S

kAnadA S R2 G2 M1 D N2 S S N2 P M1 G2 M1 R2 S

kalAniDhi SR2G2M1SPM1D2N2S S N2 D2 P M1 G2 R2 S

kannadagowLa S R2 G2 M1 P N2 S S N2 D2 P M1 G2 S

kApijingla S N2 S R2 G2 M1 M1 G2 R2 S N2 D2 N2 S

karnAtaka kApi SR2G2M1R2PM1PD2N2S S N2 D2 P M1 G2 M1 R2 S

mAlavashrI SG2M1PN2D2N2PD2N2S S N2 D2 P M1 G2 S

madhyamAvathi S R2 M1 P N2 S S N2 P M1 R2 S

maNirangu S R2 M1 P N2 S S N2 P M1 G2 R2 S

manjari SG2R2G2M1PN2D2N2S S N2 D2 P M1 G2 R2 S

manOHari S G2 R2 G2 M1 P D2 S S D2 P M1 G2 R2 S

muKAri S R2 M1 P N2 D2 S S N2 D1 P M1 G2 R2 S

nAdhachinthAmaNi * S G2 M1 P N2 D2 N2 S S N2 D2 P M1 G2 R2 G2 S

nAdhatharan'gini S P M1 R2 G2 R2 S S P N2 D2 P M1 G2 R2 S

nAyaki S R2 M1 P D2 N2 D2 P S S N2 D2 P M1 R2 G2 R2 S

phalamanjari S G2 M1 D2 S S N2 D2 P M1 G2 M1 R2 S

panchama rAga S R2 D2 P N2 S S N2 D2 P M1 G2 R2 S

pUrnashadjam S R2 G2 M1 N2 S S N2 P M1 G2 R2 S

pushpalathika S R2 G2 M1 P N2 S S N2 P M1 G2 R2 S

rIthigowLa SG2R2G2M1N2D2M1N2N2S SN2D2M1G2M1PM1G2R2S

Appendices

N

rudhrapriya S R2 G2 M1 P D2 N2 S S N2 P M1 G2 R2 S

sAlakabhairavi S R2 M1 P D2 S S N2 D2 P M1 G2 R2 S

saindhavi N2D2N2SR2G2M1PD2N2 D2PM1G2R2SN2D2N2S

sidhdhasEna S G2 R2 G2 M1 P D2 S SN2D2M1PM1R2G2R2S

shrIrAga S R2 M1 P N2 S SN2PD2N2PM1R2G2R2S

shrIranjani S R2 G2 M1 D2 N2 S S N2 D2 M1 G2 R2 S

sudhdha ban'gALa S R2 M1 P D2 S S D2 P M1 R2 G2 R2 S

sudhdha dhanyAsi S G2 M1 P N2 S S N2 P M1 G2 S

svarabhUshani S G2 M1 P D2 N2 S S N2 D2 P M1 R2 S

24 | varuNapriya

vasantha varALi 1 S R2 M1 P D3 N3 N3 D3 P G2 R2 S N3

vasantha varALi 2 S R2 M1 P D3 N3 N3 D3 P M G1 R S N

vIravasantham S G2 R2 M1 P S S N3 D3 P M1 G2 R2 S

27 | sarasAn'gi

kamalAmanOHari S G3 M1 P N3 S S N3 D1 P M1 G3 S

naLinakAnthi S G3 R2 M1 P N3 S S N3 P M1 G3 R2 S

28 | HarikAmbhOji

baHudhAri S G3 M1 P D2 N2 S S N2 P M1 G3 S

balaHamsa S R2 M1 P D2 S S N2 D2 P M1 R2 M1 G3 S

ChAyAtharan'giNi S R2 M1 G3 M1 P N2 S S N2 D2 P M1 G3 R2 S

dhvijAvanthi S R2 M1 G3 M1 P D2 S S N2 D2 P M1 G3 R2 G2 R2 S

HaridhAsapriya * S P M1 G3 M1 P D2 N2 S S N2 D2 N2 P M1 G3 R2 S

IshamanOHari S R2 G3 M1 P D2 N2 S SN2D2PM1R2M1G3R2S

janjUti S R2 G3 M1 P D2 N2 N2D2PM1G3R2SN2.D2.P.D2.S

jujAHuli S M1 G3 M1 P D2 N2 S S N2 D2 P M1 G3 S

kAmbhOji S R2 G3 M1 P D2 S SN2D2PM1G3R2SN3.P.D2.S

kApinArAyaNi S R2 M1 P D2 N2 S S N2 D2 P M1 G3 R2 S

kamAs S M1 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R2 S

karnAtaka bEHAg S R2 G3 M1 P D2 N2 S SN2D2N2PD2M1G3R2G3R2

kedhAragowLa S R2 M1 P N2 S S N2 D2 P M1 G3 R2 S

kOkilaDhvani S R2 G3 M1 D2 N2 D2 S S N2 D2 N2 P M1 G3 R2 S

kunthalavarALi S M1 P D2 N2 D2 S S N2 D2 P M1 S

mAlavi SR2G3M1PN2M1D2N2S SN2D2N2PM1G3M1R2S

mOHana S R2 G3 P D2 S S D2 P G3 R2 S

nAgasvarAvaLi S G3 M1 P D2 S S D2 P M1 G3 S

nArAyaNagowLa S R2 M1 P N2 D2 N2 S S N2 P M1 G3 R2 G3 R2 S

nArAyani S R2 M1 P D2 S S N2 D2 P M1 R2 S

nAtakuraN~ji SR2G3M1N2D2N2PD2N2S S N2 D2 M1 G3 M1 P G3 R2 S

navarasa kalAnidhi * S R2 M1 P S N2 S S D2 P M1 G3 R2 S

Appendices

O

navarasa kannada S G3 M1 P S S N2 D2 M1 G3 R2 S

prathApa varALi S R2 M1 P D2 P S S D2 P M1 G3 R2 S

pravAlajothi S R2 M1 P D2 N2 S S N2 D2 N2 P M1 G3 G3

rAgapanjaram S R2 M1 P D2 N2 D2 S S N2 D2 M1 R2 S

ravichandhrika S R2 G3 M1 D2 N2 D2 S S N2 D2 M1 G3 R2 S

sAma S R2 M1 P D2 S S D2 P M1 G3 R2 S

saHAna S R2 G3 M1 P M1 D2 N2 S SN2SD2N2D2PM1G3M1R2G3R2S

sarasvathi manOHari S R2 G3 M1 D2 S S D2 N2 P M1 G3 R2 S

sindhu kannada SM1G3M1R2G3M1PD2PS S N2 D2 P M1 G3 R2 S

sudhdha tharan'gini SR2G3M1R2M1PD2N2D2S S N2 D2 P M1 G3 R2 S

supOshini S R2 S M1 P N2 D2 S S D2 N2 P M1 R2 M1 S

surati S R2 M1 P N2 S SN2D2PM1G3PM1R2S

svarAvaLi S M1 G3 M1 P N2 D2 N2 S S N2 P D2 M1 G3 R2 S

svaravEdhi * S M1 G3 M1 P N2 D2 N2 S S N2 D2 N2 P M1 G3

thilan'g S G3 M1 P N3 S S N2 P M1 G3 S

umAbharaNam S R2 G3 M1 P D2 N2 S S N2 P M1 R2 G3 M1 R2 S

vINA vAdhini S R2 G3 P N2 S S N2 P G3 R2 S

vivardhini S R2 M1 P S S N2 D2 P M1 G3 R2 S

yadhukulakAmbhOji S R2 M1 P D2 S S N2 D2 P M1 G3 R2 S

29 | DhIrashan'karAbharaNam

Arabhi S R2 M1 P D2 S S N3 D2 P M1 G3 R2 S

atAna S R2 M1 P N3 S S N3 D2 P M1 P G3 R2 S

ban'gALa S R2 G3 M1 P M1 R2 P S S N3 P M1 R2 G3 R2 S

begada SG3R2G3M1PD2N2D2PS S N3 D2 P M1 G3 R2 S

bEHAg S G3 M1 P N3 D2 N3 S S N3 D2 P M1 G3 R2 S

bilaHari S R2 G3 P D2 S S N3 D2 P M1 G3 R2 S

dhesAkshi S R2 G3 P D2 S S N3 D2 P M1 G3 R2 S

dhEvagAndhAri S R2 M1 P D2 S S N3 D2 P M1 G3 R2 S

garudaDhvani S R2 G3 M1 P D2 N3 S S D2 P G3 R2 S

HamsaDhvani S R2 G3 P N3 S S N3 P G3 R2 S

HindhusthAni bEHAg S G3 M1 P N3 D2 N3 S SN3D2PM2G3M1G3R2S

janaranjani S R2 G3 M1 P D2 P N3 S S D2 P M1 R2 S

kadhana kuthUHalam S R2 M1 D2 N3 G3 P S S N3 D2 P M1 G3 R2 S

kannada S G3 M1 P M1 D2 N3 S S D2 P M1 G3 M1 R2 N3. S

kEdhAram S M1 G3 M1 P N3 S S N3 P M1 G3 R2 S

koiAHalam S P M1 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R2 S

kuraN~ji S N3 S R2 G3 M1 P D2 D2 P M1 G3 R2 S N3 S

kuthUHalam S R2 M1 N3 D2 P N3 S S N3 D2 P M1 G3 R2 S

mAnd S G3 M1 P D2 S S N3 D2 P M1 G3 R2 S

navaroj P D2 N3 S R2 G3 M1 P M1 G3 R2 S N3 D2 P

nIlAmbari S R2 G3 M1 P D2 P N3 S S N3 P M1 G3 R2 G3 S

pUrNachandhrika S R2 G3 M1 P D2 P S S N3 P M1 R2 G3 M1 R2 S

sindhu mandhAri S R2 G3 M1 P D2 P S SN3D2PG3M1D2PM1R2S

sudhdha sAvEri S R2 M1 P D2 S S D2 P M1 R2 S

Appendices

P

34 | vAgathIsvari

ChAyAnAta S R3 G3 M1 P M1 P S S N2 D2 N2 P M1 R3 S

gAnavAridhi S M1 R3 G3 M1 P D2 N2 S S D2 N2 P M1 R3 S

36 | chalanAta

gambhiranAta S G3 M1 P N3 S S N3 P M1 G3 S

nAta S R3 G3 M1 P D3 N3 S S N3 P M1 R3 S

39 | JAlavarALi

JinAvaLi SG1R1G1M2PD1N3D1S S N3 D1 P M2 G1 R1 S

varALi S G1 R1 G1 M2 P D1 N3 S S N3 D1 P M2 G1 R1 S

40 | navanItham

nabhOmaNi S R1 G1 R1 M2 P S S N2 D2 P M2 G1 R1 S

41 | pAvani

chandhrajyothi S R1 G1 M2 P D2 S S D2 P M2 G1 R1 S

vijayashrI S G1 R1 G1 M2 P N3 S S N3 P M2 G1 R1 S

46 | shadhvidha mArgini

thivravAHini S R1 G2 M2 P D2 N2 S SN2D2PM2G2R1G2M2R1S

51 | kAmavardhini

dhipaka S G3 M2 P D1 P S S N3 D1 N3 P M2 G3 R1 S

mandhAri S R1 G3 M2 P N3 S S N3 P M2 G3 R1 S

52 | rAmapriya

rAma manOHari S R1 G3 M2 P D2 N2 D2 S S N2 D2 P M2 G3 R1 S

53 | gamanashrama

gamakakriya S R1 G3 M2 P D2 P S S N3 D2 P M2 G3 R1 S

Appendices

Q

gamanakriya S R1 M2 P D2 N3 S S N3 D2 P M2 G3 M2 R1 S

HamsAnandhi S R1 G3 M2 D2 N3 S S N3 D2 M2 G3 R1 S

mEchakAn'gi S R1 G3 M2 P D2 N3 S S N3 P D2 P M2 G3 R1 S

pUrvikalyANi S R1 G3 M2 P D2 P S S N3 D2 P M2 G3 R1 S

54 | vishvAmbhari

vijayavasantha S M2 P D3 N3 S S N3 P M2 G3 R1 S

56 | shanmuKapriya

chinthAmaNi S R2 P M2 P D2 N2 S S P D1 P M2 G2 R2 S

57 | simHendra madhyamam

sudhdha rAga S R2 G2 M2 P N3 S S N3 P M2 G2 R2 S

58 | HemAvathi

vijayanAgari S R2 G2 M2 P D2 S S D2 P M2 G2 R2 S

59 | DharmAvathi

madhuvanthi S G2 M2 P N3 S S N3 D2 P M2 G2 R2 S

ranjani S R2 G2 M2 D2 S S N3 D2 M2 G2 S R2 G2 S

60 | nIthimathi

amarasenapriya S R2 M2 P N3 S S N3 P M2 R2 G2 R2 S

HamsanAdham S R2 M2 P N3 S S N3 P M2 R2 S

kaikavAsi S R2 G2 M2 P D3 N3 S S N3 P M2 G2 R2 S

61 | kAnthAmaNi

shruthiranjani S R2 G3 M2 P D1 N1 N1 D1 P M2 G3 S R2 S

62 | rishabhapriya

gopriya S R2 G3 M2 D1 N2 S S N2 D1 M2 G3 R2 S

Appendices

R

64 | vAchaspathi

bhUshavaLi S R2 G3 M2 P D2 S S N2 D2 P M2 G3 R2 S

sarasvathi S R2 M2 P D2 S S N2 D2 P M2 R2 S

65 | mechakalyANi

HamirkalyANi S P M2 P D2 N3 S SN3D2PM2M1G3PM1R2S

mOHanakalyANi S R2 G3 P D2 S S N3 D2 P M2 G3 R2 S

sAran'ga S R2 G3 M2 P D2 N3 S SN3D2PM2R2G3M1R2S

yamunAkalyANi S R2 G3 P M2 P D2 S S D2 P M2 P G3 R2 S

66 | chithrAmbari

amRuthavarshiNi S G3 M2 P N3 S S N3 P M2 G3 S

janya rAgA index

janya rAgA mElakartha

AbhEri 22 abhOgi 22 AHiri 8 amarasenapriya 60 amrithavAHini 20 amRuthavarshiNi 66 Anandhabhairavi 20 AndhOLika 22 Arabhi 29 Ardhradhesi 15 asAvEri 8 atAna 29 bAgEshrI 22 baHudhAri 28 balaHamsa 28 ban'gALa 29 begada 29 bEHAg 29 bhairavam 17 bhairavi 20 bhUpALam 8 bhUshavaLi 64 bilaHari 29 bindhumAlini 16

Appendices

S

bowLi 15 brindhAvanasAran'ga 22 chandhrajyothi 41 ChAyAnAta 34 ChAyAtharan'giNi 28 chinthAmaNi 56 chiththaranjani 22 dhanyAsi 8 dharbAru 22 dhesAkshi 29 dhEvagAndhAri 29 dhEvakriya 22 dhEvamanOHari 22 dhEvAmRuthavarshiNi 22 dhilipakam 22 dhipaka 51 dhvijAvanthi 28 gamakakriya 53 gamanakriya 53 gambhiranAta 36 gAnavAridhi 34 Gantha 20 garudaDhvani 29 gopikavasantham 20 gopriya 62 gowLa 15 gowLipanthu 15 gowri 15 gujjari 15 gumma kAmbhoji 15 gundhakriya 15 HamirkalyANi 65 HamsaDhvani 29 HamsanAdham 60 HamsAnandhi 53 HaridhAsapriya * 28 HindhoLam 20 HindhoLavasantha 22 HindhusthAni bEHAg 29 HindhusthAni kApi 22 HusEni 22 IshamanOHari 28 jaganmOhini 15 janaranjani 29

Appendices

T

janjUti 28 jayamanOHari 22 jayanArAyaNi 22 jayanthasEna 22 jayanthashrI 20 JinAvaLi 39 jingla 20 jujAHuli 28 kadhana kuthUHalam 29 kaikavAsi 60 kalagada 13 kalAniDhi 22 kalAvathi 16 kalyANa vasantham 21 kamalAmanOHari 27 kamAs 28 kAmbhOji 28 kAnadA 22 kannada 29 kannadaban'gALa 15 kannadagowLa 22 kApijingla 22 kApinArAyaNi 28 karnAtaka bEHAg 28 karnAtaka kApi 22 kedhAragowLa 28 kEdhAram 29 kiraNAvaLi 21 koiAHalam 29 kOkilaDhvani 28 kRushNaveNi 15 kunthalavarALi 28 kuraN~ji 29 kuthUHalam 29 lalithA 15 madhuvanthi 59 madhyamAvathi 22 malaHari 15 mAlavashrI 22 mAlavi 28 malayamArutham 16 mallikA vasantham 15 mAnd 29 mandhAri 51 mangaLakaishiki 15 maNirangu 22 manjari 22 mAnji 20

Appendices

U

manOHari 22 mArgaHindhoLam 20 mEchabowLi 15 mEchakAn'gi 53 mEGaranjani 15 mOHana 28 mOHanakalyANi 65 muKAri 22 nabhOmaNi 40 nAdhachinthAmaNi * 22 nAdhanAmakriya 15 nAdhatharan'gini 22 nAgasvarAvaLi 28 naLinakAnthi 27 nArAyaNagowLa 28 nArAyani 28 nAta 36 nAtakuraN~ji 28 navarasa kalAnidhi * 28 navarasa kannada 28 navaroj 29 nAyaki 22 nIlAmbari 29 pAdi 15 panchama rAga 22 phalamanjari 22 pharaz 15 prathApa varALi 28 pravAlajothi 28 punnAgavarALi 8 pUrNachandhrika 29 pUrnalalitha 19 pUrnashadjam 22 pUrNashajja 20 pUrvi 15 pUrvikalyANi 53 pushpalathika 22 rAgapanjaram 28 rAma manOHari 52 ranjani 59 ravichandhrika 28 rEvagupthi 15 rIthigowLa 22 rudhrapriya 22 saHAna 28 saindhavi 22 sAlakabhairavi 22

Appendices

V

sAma 28 sAramathi 20 sAran'ga 65 sAran'ganAtha 15 sarasvathi 64 sarasvathi manOHari 28 sAvEri 15 shrIrAga 22 shrIranjani 22 shruthiranjani 61 sidhdhasEna 22 sindhu bhairavi 10 sindhu kannada 28 sindhu mandhAri 29 sindhu rAmakriya 15 sowrAshtram 17 sudhdha ban'gALa 22 sudhdha dhanyAsi 20 sudhdha dhanyAsi 22 sudhdha dhesi 20 sudhdha rAga 57 sudhdha sAvEri 29 sudhdha tharan'gini 28 supOshini 28 supradhIpam 17 surati 28 svarabhUshani 22 svarAvaLi 28 svaravEdhi * 28 thakka (a) 15 thakka (b) 15 thilan'g 28 thivravAHini 46 umAbharaNam 28 valachi 16 varALi 39 vasanthA 17 vasanthabhairavi 14 vegavAHini 16 vijayanAgari 58 vijayashrI 41 vijayavasantha 54 vINA vAdhini 28 vIravasantham 24 vivardhini 28 yadhukulakAmbhOji 28 yamunAkalyANi 65