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".
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):
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, Pahādi, 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.
Samakarardha Sariirini by Saint Gnanananda Teertha (Ogirala Veeraraghava Sarma) in Telugu
Rama Ninnuvina by Thyagaraja
Swara Raga Sudha by Thyagaraja
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.
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).
It is an evening raga that combines both playful and pensive aspects. It is characterized by a very charming, folksy
flavor.Peace, power, pathos. Pahadi is a Kashimiri folk melody in its origin, is a simple raga one may think of it as a dhoon.
Mand or Maand is the famous style of singing in Rajasthan. It is well recognized in classical circles and this style is very important in folk-songs of Rajasthan. This is neither accepted as a full-fledged Raga nor is it reckoned among the freely rendered folk songs. It is very near the Thumri or the Ghazal. It is the exclusive contribution of Rajasthani folklore to the classical music of India. It is the Rajasthan's most sophisticated style of folk music and is most exclusive contribution to the classical music of India. The basic format belongs to the folk tune of which is sung during festive occasions like birthday and marriages.
The famous Rajasthani song Kesariya Balam is in the Mand style.
Some famous Mand singers are: Allah Jilai Bai from Bikaner, Mangi Bai Arya from Udaipur and last but not the least Gavari Bai (also known as Gavri Devi) from Jodhpur.
Ascending: S G3 M1 D2 N3 S
Descending:S N3 D2 P M1 G3 R2 S
Carnatic Compositions
Maand Thillana by Lalgudi Jayaraman
Paindhaane Hanuman by Arunachala Kavi
Ramanai Bhajithaal by Papanasam Sivan
Aadugindraan Kannan by Suddhanandha Bharathi
Muralidhara Gopala by Periyasamy Thooran popularised by ML Vasanthakumari
Aarumo Aaval by Kannan Iyengar, another song popularised by MLV
Neeraja Dhala Nayana by Sambasiva Iyer popularised by Maharajapuram Santhanam
Vaanathin Meedhu Mayilaada by Ramalinga Adigal popularised by MS Subbulakshmi
