Melakarta and janya: classification and musical life

A map with a defined scope

In the familiar sampurna scheme, each parent scale has Sa, Ri, Ga, Ma, Pa, Dha and Ni in ordered ascent and descent, with the same pitch varieties in both directions. Sa and Pa are fixed reference positions within this classification. Ma has two varieties, while Ri–Ga and Dha–Ni permit six ordered combinations each. These restrictions yield 6 × 2 × 6 = 72 possibilities.

The phrase ‘within this classification’ matters. A systematic catalogue is an intellectual tool with assumptions, not a complete account of all melodic practice. Historical mela schemes differ, and the present numbering should not be projected unchanged onto every older treatise. The Music Academy's historical discussion shows that the organisation of melas developed through successive scholarly treatments.

References: [1] · [2]

Why six combinations rather than nine?

Imagine four ordered positions between Sa and Ma, labelled a, b, c and d. The six ways to choose a lower position for Ri and a higher position for Ga are ab, ac, ad, bc, bd and cd. This is a simple combinatorial explanation of the six permitted pairs. The labels in this imaginary diagram mark positions; they are not a new tuning prescription.

An unrestricted choice among three Ri labels and three Ga labels would appear to give nine combinations, but some labels refer to overlapping positions and the required order rules out invalid pairs. The same reasoning applies to the Dha–Ni region. Combining six lower pairs, six upper pairs and two Ma choices gives seventy-two. Work through the combinations on paper before memorising names: the calculation becomes much easier to remember when its constraints are visible.

Chakras and matched halves

The seventy-two entries are conventionally arranged in twelve chakras of six. The first thirty-six use M1, suddha madhyamam; the second thirty-six use M2, prati madhyamam. Within this arrangement, entries separated by thirty-six retain the other pitch choices while changing Ma. This is useful for locating entries and comparing inventories, but does not guarantee that the associated ragas will be performed as mechanically interchangeable versions.

Treat a catalogue entry as a prompt for further study. Record the spelling of the raga name, its number if it belongs to the scheme, the note varieties, and the source's notation convention. Then add a separate listening reference. Keeping the theoretical row and the performance example adjacent makes the distinction practical: one tells you where the entry sits, while the other lets you hear how musical material is handled.

References: [1] · [2]

Janya identity exceeds a parent label

A janya description may involve omitted notes, different ascent and descent, or indirect movement. It may also require a discussion of notes outside a nominated parent collection. A useful parent relationship therefore depends on which feature the classification foregrounds. Shared membership in a family cannot by itself establish identical phrases, ornamentation or expressive character.

When a source gives two possible parent assignments, resist choosing the one that looks tidier without explanation. Write down the evidence for each and consult repertoire or specialist teaching. Also distinguish a classification statement from a historical statement: ‘these pitches fit inside this collection’ is different from ‘this raga originated by modification of that older raga’. The second needs historical evidence. Neither a spreadsheet nor a keyboard comparison can supply that evidence on its own.

What to remember

• Seventy-two follows from explicit combinations and ordering rules.
• A janya raga needs its own phrase and performance knowledge.
• Classification, tuning practice and historical origin are different questions.