Sankarabharanam (raga)
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". 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. 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 Its 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". Section::::"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. 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. 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). Janya 1:Ragam Pahadi/Pahari. 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. Ascending: S R2 G3 P D2 P D2 S’ Descending:N3 D2 P G3 M1 G3  R2 S N3 D2 P D2 S Janya 2:Ragam Maand. 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 Janya 3:Ragam Begada. Ascending: S G3 R2 G3 M1 P D2 P S Descending:S N3 D2 P M1  G3 R2