# Chakravakam (raga)

Chakravakam or Chakravaham (pronounced chakravākam) is a rāgam in Carnatic music (musical scale in South Indian classical music). It is the 16th Melakarta rāgam (parent rāgam) in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is similar to Raga Ahir bhairav in Hindustani music.
Chakravakam is a raga that is known to incite feelings of devotion, sympathy and compassion in the listeners.

## Structure and Lakshana

It is the 4th melakarta in the 3rd chakra- Agni. The mnemonic name is Agni-Bhu. The mnemonic phrase is sa ra gu ma pa dhi ni. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):
* ārohaṇa : S R₁ G₃ M₁ P D₂ N₂ Ṡ
* avarohaṇa : Ṡ N₂ D₂ P M₁ G₃ R₁ S
The notes in this scale are shadjam, shuddha rishabham, anthara gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham.
It is a sampoorna rāgam - rāgam having all 7 swarams. It is the suddha madhyamam equivalent of Ramapriya, which is the 52nd melakarta.
Chakravakam is different from Mayamalavagowla in some ways, while playing. The Ri Ga ma notes are played a bit flatter than Mayamalavagowla, making it sound more restrained than Mayamalavagowla. The Da and Ni are played somewhat like Hari Kambhoji, giving the overall tune, to be restrained and devotional essence

## Asampurna Melakarta

Tōyavēgavāhini is the 16th Melakarta in the original list compiled by Venkatamakhin. The notes used in the scale are the same and the ascending scale and descending scale are same.

## Janya rāgams

Chakravakam has quite a few janya rāgams (derived scales) associated with it, of which Bindumalini, Malayamarutam and Valaji are popular.
See List of Janya Ragas for a full list of its janyas.

## Popular Compositions

Etula Brotuvo teliya and Sugunamule by Thyagaraja
Kānakkankoti Vendum by Koteeswara Iyer
Gajānanayutham, Vinayaka Vighna Nashaka, Veena Pusthaka Dharinim and Varahim Vaishnavim by Muthuswami Dikshitar
Mullu Koneya Mele By Purandara Dasa
Kada Beladingalu By Sripadaraja
Sarojanabha by Maharaja Swathi Thirunal
Sri Amruta Phalāmbike by Kalyani Varadarajan
Pibare Ramarasam (version by Balamuralikrishna) by Sadashiva Brahmendra
Chandrashekharendra Saraswathi Mānasa Bhajarē by P. K. Rajagopala Iyer

## Film Songs

"Albela Sajan" from "Hum Dil De Chuke Sanam" (Hindi), "Poochho Na Kaise Maine Rain Bitai" from "Meri Surat Teri Ankhen" (Hindi) and "Raakkili Than" from "Perumazhakalam" (Malayalam).

### Language:Tamil

| Song | Movie | Year | Composer | Singer |
| Ullathil Nalla Ullam | Karnan | 1964 | Viswanathan–Ramamoorthy | Sirkazhi Govindarajan |
| Maranathai Enni | Karnan | 1964 | Viswanathan–Ramamoorthy | Sirkazhi Govindarajan |
| Thaai Paadum Paatu | Naam Pirandha Mann | 1977 | M. S. Viswanathan | P. Susheela, Vani Jairam |
| Deivathin Theareduthu | Paattum Bharathamum | 1975 | M. S. Viswanathan | T. M. Soundararajan |
| Aalukoru Thedhivechi | Theerpu | 1982 | M. S. Viswanathan | T. M. Soundararajan |
| Indha Vanji Magal | Thampadhyam oru Sangeetham | | M. S. Viswanathan | S. P. Balasubrahmanyam |
| Vaarey Vaa | Thee | 1981 | M. S. Viswanathan | L. R. Eswari |
| Naalellam Unthan Thirunale | Thirumalai Deivam | 1973 | Kunnakudi Vaidyanathan | K. B. Sundarambal |
| Vanithamani | Vikram | 1986 | Ilaiyaraaja | S. P. Balasubrahmanyam, S. Janaki, Kamal Haasan |
| Vaanile Thenila | Kaakki Sattai | 1985 | Ilaiyaraaja | S. P. Balasubrahmanyam, S. Janaki |
| Chalakku Chalakku | Chembaruthi | 1992 | Ilaiyaraaja | Mano, S. Janaki |
| Katthum Kadal | Kattumarakaran | 1995 | Ilaiyaraaja | Mano, S. Janaki |
| Nee Pathi Naan Pathi | Keladi Kanmani | 1990 | Ilaiyaraaja | K. J. Yesudas, Uma Ramanan |
| Thottu Thottu Thukkipattu | Unna Nenachen Pattu Padichen | 1992 | Ilaiyaraaja | Minmini |
| Koodu Enge | Senthamizh Selvan | 1994 | Ilaiyaraaja | S. P. Balasubrahmanyam, K.S. Chitra |
| Ezhumalaiyanin Mahimai | Ezhumalaiyan Mahimai | 1997 | Ilaiyaraaja | S. P. Balasubrahmanyam |
| Alli Sundaravalli | Kangalin Varthaigal | 1998 | Ilaiyaraaja | Arunmozhi |
| Poonkatrae | Friends | 2001 | Ilaiyaraaja | Hariharan |
| Vidu Kathaiya | Muthu | 1995 | A. R. Rahman | Hariharan |
| Eechambazham | Pavithra | 1994 | A. R. Rahman | Shahul Hameed, K.S. Chitra |
| Vaa Vaa En Veenaiyae | Sattam | 1983 | Gangai Amaran | S. P. Balasubrahmanyam, Vani Jairam |
| Unathe Ilam Maalai Pozhuthe | Oomai Janangal | 1984 | Gangai Amaran | K. J. Yesudas |
| Valarpirai Enave | Rendum Rendum Anju | 1988 | Gangai Amaran | Mano |
| Aavani Masam Porakattum | Ponnu Pudichirukku | 1984 | Chandrabose | Malaysia Vasudevan |
| Paadu Paadu | Sengottai | 1996 | Vidyasagar | K.S. Chitra, Anuradha Sriram |
| Neelagiri Mala Orathila | Namma Annachi | 1994 | Deva | S. P. Balasubrahmanyam, K.S. Chitra |
| Azhagu Azhagu | Baashha | 1995 | Deva | S. P. Balasubrahmanyam, K.S. Chitra |
| Munnuru Naal Sumanthu | Kasthuri Manjal | 1993 | Deva | S. P. Balasubrahmanyam |
| Sathamillatha Thanimai | Amarkalam | 1999 | Bharadwaj | S. P. Balasubrahmanyam |
| Ulagam Oru Vaadagai | Thaiyalkaran | 1991 | S. P. Balasubrahmanyam | S. P. Balasubrahmanyam |
| Agaram Ippo | Sigaram | 1991 | S. P. Balasubrahmanyam | K.J. Yesudas |
| Unnalathan Nanum Vazhven | Eesa | 2009 | Haran | Naresh Iyer |

### Janya:Rasikaranjani Ragam

| Song | Movie | Composer | Singer |
| Amuthe Tamizhe | Koyil Puraa | Illayaraja | P. Susheela, Uma Ramanan |
| Neela Kuyile | Magudi | Illayaraja | S. P. Balasubrahmanyam, S. Janaki |
| Konathu Sengarumbu(Folkish Style) | Padikatha Pannaiyar | Illayaraja | Deepan Chakravarthy, S. P. Sailaja |
| Ethilum Ingu | Bharathi | Illayaraja | Madhu Balakrishnan |

## Album

| Song | Album | Composer | Singer |
| KalamSei Kove | Sandham- Symphony Meets Classical Tamil | Rajan Somasundaram | Saindhavi |

## Related rāgams

This section covers the theoretical and scientific aspect of this rāgam.
Chakravakam's notes when shifted using Graha bhedam, yields 2 other major melakarta rāgams, namely, Sarasangi and Dharmavati. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Shadjam to the next note in the rāgam. For an illustration refer Graha bhedam on Dharmavati.