Melakarthas

I am happy Dr. Niranjana  has rendered them as she has clear voice and great bhava and gets involved in sahitya always and she also has always an  able guide in Dr. Bhagherathy madam to help her.

In fact I had collection of Veena Balachander's renderings recorded from gramophone into audio cassttes there was only one shop in purasai wakkam near gangadeekwarar temple which had the gramophones of balachander and also had the facility to convert them into cassettes then I had cassettes of Dr.M.Balamurali krishna's compositions in the 72 melakarthas which are par excellence as each swara is rendered distinctly clear in scale because that is what is important with mela kartha ragas and also the name of the raga embedded in each kriti. 

I also had the pleasure and privilege of associating in a very huge and interesting project of almost reproducing the same in a voice similar to Dr.M. balamurali krishna by his disciple Mohankrishna for Lotus company run by DR. Reddy former director of Pasteur institute of India and for many years I helped him exhibit at music academy corridor to sell them during the season in fact they used to come from USA and Andra and proceed from my house at Royapettah it had also raga lakshna's of 450 ragas .

Here are some important information on melakartha system 

http://contentwriteups.blogspot.in/2012/10/pi-and-sanathana-dharma.html

Dear Sir/Madam

I would like to introduce myself. My name is Malavika Muralidharan. I am a music lover. I play the veena and learned for 10 years from Shanmukhananda Sabha and later from Smt Susheela Sampath a student of Sri KalyanaKrishna Bhagavathar.

Recently I created a website for Vidvamsini Smt Padma Veeraraghavan http://www.thiruppavai.org/

Smt Padma Veeraraghavan holds the rare distinction of being the first composer to create Kritis in each of the 72 Melakartha Ragams offered to one deity Sri Bhu devi Sameta Lord Oppiliappan.

There krithis have been rendered beautifully by Dr Niranjana Srinivasan. Each krithi has been introduced by Dr. Varadhachari Sadagopan, who speaks about the Sahithya Mahimai as well as nuances of the Ragam. Dr Niranjana is accompanied on the violin by Sri Mullavasal Chandramouli. on the Veenai by Sri Mudikondan Ramesh, on the flute by Sri J.A.Jayanth, on the mridangam by Sri Guru Raghavendra.

This a rare MP3-CD of all the 72 Mela Kartha kruthis and if anyone is interested in the CD they can get in touch with mevenuganamala@gmail.com

All Musicians must know about Sri Venkatamakhi , his wonderful Katapayaadi Chakram with 72 Melakarta Ragas named as per the Sanskrit letters chosen in the columns like the 1st Mela Kanakaangi.. Ka- Na chosen as 1-0 reversed as 0-1 and hence named the no 1 of the list.

But there is something more than that , which inspired Sri Venkatamakhi in beginning his naming of 1st and 2nd Melas , about which piece of information I would like to share with you here. I feel many of us may not be aware of it. 

I had the opportunity to know that info  from Sri Embar Vijayaraghaachaariar , an erudite Harikatha exponent who was close to us and who inspired me (and my parents) during my boyhood( late 50s) .

The words Kanaka & Ratna are always associated. Kanaka always comes first. (Kanakaratnamaya Simhaasanae..  etc words of great composers testify this). Among Vyasaraaya's disciples (even though PurandaraDasa was brilliant) it was Kanakadasa who stole the show by his Brahmagnaana and the great guru made it known to others . Vide the episode of the Guru's question, "among us who goes to Moksha" and Kanaka's reply NAANU HODARAE HODAEVAE ! which angered others but the meaning of it only the great Guru knew! Thus KANAKA stood the FIRST among all !

The Divine Kavacha(jewellary) Lord SriRanganatha wears as He appears on the day of Vaikunta Ekaadasi at SriRangam (Sorgavaasal) , a Darshan that assures all those there  of Moksha,  KANAKA & RATNA form the front and back. Lord's ornament  is popularly known as RATNAANGI . Sri Venkatamakhi wanted to dedicate his Katapayaadi to the Lord and there can be no other better choice for the opening names of his list of Melakarta Ragas ( call it a Raagamaalika of 72 offered to the Lord) ... KANAKAANGI and the next RATNAANGI ( Angi meaning the Kavacha He wears). 

If you ask me where is the authenticity, I have no answer. You have to ask only Sri Embar Vijayaraghavaachariar who told us in our house at Shencottah , sometime around 1958. I was reminded of it when I heard Sri Velukkudi Krishnan swaamigal uttering the word RATNAANGI during his running commentary of Vaikunta Sorgavaasal Darshan through Podhigai TV recently. 
I loved to share this with friends and hence this write-up.
Dr Rajaram
Bangalore.

THE MELAKARTA FOUNDATION

OF CARNATIC MUSIC

INTRODUCTION BY

S.RAJAM

RENDERING ON THE VEENA BY

KAMALA NARASIMHAN

    Carnatic   Music   traces     it's   original   roots   to   the   chants   of the   Sama   Veda.   The   Yagnavalkya   Samhita   (III.4.115)   says   that   he who   knows   the   truth   of   Vina   play,   Srutis,   Jatis   and   Talas, treads   an   easy   path   to   salvation.  Carnatic   Music,   in   it's   present   form rests   on   the   structure   set   out   in   the   Melakarta   Scheme.  Formulated  first  by  Venkatamakhi, who is placed in the  17th. Century   A.D.,   the Scheme   envisaged  some Asampurna  ragas,  that  is,  without   the   full   complement   of  the  seven  svaras or notes of the octave. It  was  later  modified   by   Govindacharya   to  include  only  ragas  with  the   full complement   of   seven   svaras.   (Sampurna).   This   is   what   is now   followed. It is, of course,  to be noted that the octave of seven notes, is basic to vitually all music systems of the world.

    This   Scheme   envisages   the   Sa   and   Pa   as   fixed   svaras,   with   the   Ma   having   two variants   and   the   remaining   svaras   as   having   three   variants   each.   This leads   to   72   seven-note   combinations  referred   to   as   the   Melakarta   Ragas. The   omission   of   one   or   more   notes   in   the   Arohana   or   Ascending   and   /   or  Avarohana   or descending     swara   sequences   from   any   Melakarta   leads   to a   very   large   number   of   Janya   Ragas.  Janya means born of, or derived from.
 
   Thousands   of   compositions   of   different   types   :   the   Gita,   the   Vara,     Kirtana,   Padam,   Pallavi, Tillana   etc,   have   been   composed   in   these   Melakarta   or   Janya   Ragas   by   various   famous composers,   presenting   an   enormous   range   and   depth   in   presenting   the   melodic   possibilities of   each.   And   of   course,   without   the   limitations   of   a   composition,   the   Alapana   provides   the format   where   any   musician   can   elaborate   any   Raga   for   as   long   as   likes,   with   improvisation being   limited   only   by   his   or   her   imagination.
 
A   great   composition   in   this   context   is     a   Ragamalika,   embracing   all   the   72   Melakarta   Ragas, by  the great composer, Maha   Vaidyanatha   Sivan   (1844-93).   A   beautiful   rendering   of   this   composition   by Smt.M.S.Subbulakshmi   is   available   on   a   Cassette   from   HMV   under  then  title "Mela  Ragamalika  Chakra".

 
All   these   ragas   have   also   been   illustrated   by   a   complete   set   of     72   Kirtanas by  another   illustrious   composer   Kotiswara   Aiyar.   (1869-1938).   Anyone   interested in   obtaining   a   compilation   of   a   full   set   of   these   Kirtanas,   with   full   notations, along     with   their   vocal   rendering   on   a   set   of   10   Cassettes,   can   obtain   them   from the   contributor  of  this  Introduction.

  
It   is   intended   that   this   presentation   should   provide   a   basic   point   of   entry   into   the   incredibly beautiful   world   of   Carnatic   music.   Each   entry   in   the   table   below   provides   a   link   to   a   Veena rendering   of   the   Arohana   and   Avarohana   with   a   very   brief   rendering   of   the   Raga   outline   to illustrate   the   unique   melodic   shape   that   the   notes   of   the   Raga   takes.

It   is   expected   in   due   course,   to   have   the   links   below   extended   to   take   the   viewer   on   through   onward   links   to   information   and   music   of     the   great   composers   and   artistes   who   have   contributed   to   developing   and   preserving   this   great   Indian   musical   tradition over   the   centuries.

The   Swara   symbols   used   in   the   table   below   and   the   corresponding   Swara   names   are   :

 
Sa  :  Shadjamam : this is the base note of the octave, the name Shad-ja itself
          meaning "giving birth to next 6 notes".

R1 :  Suddha   Rishabham   R2 :  Chatusruti   Rishabham   R3 : Shatsruti  Rishabham

G1 :   Suddha  Gandharam  G2  :  Sadharana  Gandharam  G3 : Antara Gandharam

M1:   Suddha Madhyamam M2 :  Prati   Madhyamam

P    :   Panchamam

D1 :   Suddha Daivatam       D2  :  Chatusruti   Daivatam      D3  :  Shatsruti   Daivatam

N1 :   Suddha   Nishadam     N2  :   Kaisiki   Nishadam          N3  :  Kakali   Nishadam
 
Note : Click on the underlined Raga name to hear the raga.  You can hear the recording only if you have Windows Media Player or Real Audio Player  on your computer.

                                         THE   MELAKARTA   SCHEME
 
1.
  Kanakangi         S         R1       G1         M1         P         D1         N1       S
  æäæ觇樠        ¡       õ¨1       æ1         ë1           ç         ê1         å¨1       ¡
2.
Rathnangi            S         R1       G1         M1         P         D1         N2       S
õ¨ê‡ä觇樠          ¡       õ¨1       æ1         ë1           ç         ê1         å¨2       ¡
3.
Ganamoorthi       S         R1       G1         M1         P         D1         N3       S
æèäßõ‡ê‡ê¨        ¡       õ¨1       æ1         ë1           ç         ê1         å¨3       ¡
4.
Vanaspathi          S         R1       G1         M1         P         D2         N2       S
ô䡉çꨠ          ¡       õ¨1       æ1         ë1           ç         ê2         å¨2       ¡
5.
Manavathi           S         R1       G1         M1         P         D2         N3       S
ëèäôꨠ           ¡       õ¨1       æ1         ë1           ç         ê2         å¨3       ¡
6.
Tanaroopi           S         R1       G1         M1         P         D3         N3       S
êèä¥ç¨            ¡       õ¨1       æ1         ë1           ç         ê3         å¨3       ¡
 
7.
Senavathi            S         R1     G2         M1         P         D1         N1         S
î¡åèôꨠ         ¡       õ¨1       æ2         ë1           ç         ê1         å¨1       ¡
8  .
Hanumathodi       S         R1       G2         M1         P         D1         N2       S
ÁÅëîêèï       ¡       õ¨1       æ2         ë1           ç         ê1         å¨2       ¡
9.
Dhenuka             S         R1       G2         M1         P         D1         N3       S
îêÄæè             ¡       õ¨1       æ2         ë1           ç         ê1         å¨3       ¡
10.
Natakapriya        S         R1       G2         M1         P         D2         N2       S
åèìæç‡õ¨áè        ¡       õ¨1       æ2         ë1           ç         ê2         å¨2       ¡
11.
Kokilapriya          S         R1       G2         M1         P         D2         N3       S
îæèæ¨ùç‡õ¨áè      ¡       õ¨1       æ2         ë1           ç         ê2         å¨3       ¡
12.
Roopavathi          S         R1       G2         M1         P         D3         N3       S
¥çôꨠ              ¡       õ¨1       æ2         ë1           ç         ê3         å¨3       ¡
 
13.
Gayakapriya        S         R1       G3         M1         P         D1         N1       S
æèáæç‡õ¨áè         ¡       õ¨1       æ3         ë1           ç         ê1         å¨1       ¡
14.
Vakulabaranam    S         R1       G3         M1         P         D1         N2       S
ôÆùèçõÚ늠    ¡       õ¨1       æ3          ë1           ç         ê1         å¨2       ¡
15.
Mayamalavagowla      S         R1       G3         M1         P         D1         N3       S
ëèáèëèóôâæóó   ¡       õ¨1       æ3         ë1           ç         ê1         å¨3       ¡
16.
Chakravaham      S         R1       G3         M1         P         D2         N2       S
òæ‡õôèÁ늠        ¡       õ¨1       æ3         ë1           ç         ê2         å¨2       ¡
17.
Suryakantham      S         R1       G3         M1         P         D2         N3       S
¡«õ‡áæèå‡ê늠     ¡       õ¨1       æ3         ë1           ç         ê2         å¨3       ¡
18.
Hatakambari        S         R1       G3         M1         P         D3         N3       S
ÁìæèëŠçõ¨         ¡       õ¨1       æ3         ë1           ç         ê3         å¨3       ¡
 
19.
Jankaradwani       S         R2       G2         M1         P         D1         N1       S
£§‡æèõê‡ô䨠      ¡       õ¨2       æ2         ë1           ç         ê1         å¨1       ¡
20.
Natabairavi         S         R2       G2         M1         P         D1         N2       S
å¨ìéçõô¨          ¡       õ¨2       æ2         ë1           ç         ê1         å¨2       ¡
21.
Keeravani           S         R2       G2         M1         P         D1         N3       S
æ©õôèÚ¨            ¡       õ¨2       æ2         ë1           ç         ê1         å¨3       ¡
22.
Karaharapriya     S         R2       G2         M1         P         D2         N2       S
æõæõç‡õ¨áè         ¡       õ¨2       æ2         ë1           ç         ê2         å¨2       ¡
23.
Gowrimanohari     S         R2       G2         M1         P         D2         N3       S
âæóõ¨ëîåèÁõ¨  ¡       õ¨2       æ2         ë1           ç         ê2         å¨3       ¡
24.
Varunapriya         S         R2       G2         M1         P         D3         N3       S
ôÕÚç‡õ¨áè       ¡       õ¨2       æ2         ë1           ç         ê3         å¨3       ¡
25.
Mararanjani         S         R2       G3         M1         P         D1         N1       S
ëõõ¢‰£ä¨           ¡       õ¨2       æ3         ë1           ç         ê1         å¨1       ¡
26.
Charukesi            S         R2       G3         M1         P         D1         N2       S
òèÕî桨           ¡       õ¨2       æ3         ë1           ç         ê1         å¨2       ¡
27.
Sarasangi             S         R2       G3         M1         P         D1         N3       S
¡õ¡è§‡æ¨          ¡       õ¨2       æ3         ë1           ç         ê1         å¨3       ¡
28.
Harikambodi        S         R2       G3         M1         P         D2         N2       S
Áõ¨æèëŠîçèꨠ     ¡       õ¨2       æ3         ë1           ç         ê2         å¨2       ¡
29.
Dhirasankarabaranam     S         R2       G3         M1         P         D2         N3       S
ê©õò§‡æõèçõÚ늠          ¡       õ¨2       æ3         ë1           ç         ê2         å¨3       ¡
30.
Naganandini      S         R2       G3         M1         P         D3         N3       S
åèæèåå‡ê¨ä¨       ¡       õ¨2       æ3         ë1           ç         ê3         å¨3       ¡
31.
Yagapriya          S         R3       G3         M1         P         D1         N1       S
áèæç‡õ¨áè         ¡       õ¨3       æ3         ë1           ç         ê1         å¨1       ¡
32.
Ragavardini        S         R3       G3         M1         P         D1         N2       S
õèæôõ‡ê䨠        ¡       õ¨3       æ3         ë1           ç         ê1         å¨2       ¡
33.
Gangeyabhushani     S         R3       G3         M1         P         D1         N3       S
æ觇îæá·ÜÚ¨     ¡       õ¨3       æ3         ë1           ç         ê1         å¨3       ¡
34.
Vagadishwari      S         R3       G3         M1         P         D2         N2       S
ôèæê©¡‰ôõ¨       ¡       õ¨3       æ3         ë1           ç         ê2         å¨2       ¡
35.
Sulini                   S         R3       G3         M1         P         D2         N3       S
Ü«ù¨ä¨              ¡       õ¨3       æ3         ë1           ç         ê2         å¨3       ¡
36.
Chalanata            S         R3       G3         M1         P         D3         N3       S
òùåèéì           ¡       õ¨3       æ3         ë1           ç         ê3         å¨3       ¡
 
37.
Salakam              S         R1       G1         M2         P         D1       N1       S
¡èóæ늠           ¡       õ¨1       æ1         ë1           ç         ê1         å¨1       ¡
38.
Jalarnavam          S         R1       G1         M2         P         D1         N2       S
£ùèõ‡åô늠        ¡       õ¨1       æ1         ë1           ç         ê1         å¨2       ¡
39.
Jalavarali            S         R1       G1         M2         P         D1         N3       S
£èùôõèó¨          ¡       õ¨1       æ1         ë1           ç         ê1         å¨3       ¡
40.
Navaneetham     S         R1       G1         M2         P         D2         N2       S
åôå©ê늠           ¡       õ¨1       æ1         ë1           ç         ê2         å¨2       ¡
41.
Pavani                S         R1       G1         M2         P         D2         N3       S
çèô䨠             ¡       õ¨1       æ1         ë1           ç         ê2         å¨3       ¡
42.
Ragupriya           S         R1       G1         M2         P         D3         N3       S
õÆç‡õ¨áè            ¡       õ¨1       æ1         ë1           ç         ê3         å¨3       ¡
 
43.
Gavambhodhi       S         R1       G2         M2         P         D1       N1       S
æèôèëŠîçèꨠ      ¡       õ¨1       æ2         ë2           ç         ê1         å¨1       ¡
44.
Bhavapriya           S         R1       G2         M2         P         D1         N2       S
çèôç‡õ¨áè            ¡       õ¨1       æ2         ë2           ç         ê1         å¨2       ¡
45.
Subhapantuvarali   S         R1       G2         M2         P         D1         N3       S
àççå‡Êôõèó¨     ¡       õ¨1       æ2         ë2           ç         ê1         å¨3       ¡
46.
Shadvidamargani   S         R1       G2         M2         P         D2         N2       S
Üì‡ô¨êëõ‡æ䨠    ¡       õ¨1       æ2         ë2           ç         ê2         å¨2       ¡
47.
Suvarnangi             S         R1       G2         M2         P         D2         N3       S
¡¦ôõ‡Ú觇樠      ¡       õ¨1       æ2         ë2           ç         ê2         å¨3       ¡
48.
Divyamani              S         R1       G2         M2         P         D3         N3       S
ê¨ôŠáëÚ¨             ¡       õ¨1       æ2         ë2           ç         ê3         å¨3       ¡
49.
Dhavalambari        S         R1       G3         M2         P         D1         N1       S
êôóèëŠçõ¨           ¡       õ¨1       æ3         ë2           ç         ê1         å¨1       ¡
50.
Namanarayani       S         R1       G3         M2         P         D1         N2       S
åèëåèõèáÚ¨       ¡       õ¨1       æ3         ë2           ç         ê1         å¨2       ¡
51.
Kamavardhani       S         R1       G3         M2         P         D1         N3       S
æèëôõ‡ê䨠         ¡       õ¨1       æ3         ë2           ç         ê1         å¨3       ¡
52.
Ramapriya            S         R1       G3         M2         P         D2         N2       S
õèëç‡õ¨áè             ¡       õ¨1       æ3         ë2           ç         ê2         å¨2       ¡
53.
Gamanasrama       S         R1       G3         M2         P         D2         N3       S
æëä衉õëè         ¡       õ¨1       æ3         ë2           ç         ê2         å¨3       ¡
54.
Viswambari          S         R1       G3         M2         P         D3         N3       S
ô¨¡‰ôèëŠçõ¨         ¡       õ¨1       æ3         ë2           ç         ê3         å¨3       ¡
55.
Syamalangi          S         R2       G2         M2         P         D1         N1       S
ò‹áèëó觇樠      ¡       õ¨2       æ2         ë2           ç         ê1         å¨1       ¡
56.
Shanmugapriya    S         R2       G2         M2         P         D1         N2       S
ÜÚˆËæç‡õ¨áè   ¡       õ¨2       æ2         ë2           ç         ê1         å¨2       ¡
57.
Simhendramadyamam   S         R2       G2         M2         P         D1         N3       S
¡¨ëŠîÁå‡ê‡õ¨ëê‡áë늠  ¡       õ¨2       æ2         ë2           ç         ê1         å¨3       ¡
58.
Hemavathi           S         R2       G2         M2         P         D2         N2       S
îÁëôꨠ          ¡       õ¨2       æ2         ë2           ç         ê2         å¨2       ¡
59.
Dharmavathi        S         R2       G2         M2         P         D2         N3       S
êõ‡ëôꨠ             ¡       õ¨2       æ2         ë2           ç         ê2         å¨3       ¡
60.
Neethimathi         S         R2       G2         M2         P         D3         N3       S
å©ê¨ëꨠ               ¡       õ¨2       æ2         ë2           ç         ê3         å¨3       ¡
61.
Kanthamani         S         R2       G3         M2         P         D1         N1       S
æèå‡êèëÚ¨        ¡       õ¨2       æ3         ë2           ç         ê1         å¨1       ¡
62.
Rishabapriya        S         R2       G3         M2         P         D1         N2       S
õ¨Üçç‡õ¨áè          ¡       õ¨2       æ3         ë2           ç         ê1         å¨2       ¡
63.
Lathangi               S         R2       G3         M2         P         D1         N3       S
ùê觇樠             ¡       õ¨2       æ3         ë2           ç         ê1         å¨3       ¡
64.
Vachaspathi          S         R2       G3         M2         P         D2         N2       S
ôèò¡‰çꨠ           ¡       õ¨2       æ3         ë2           ç         ê2         å¨2       ¡
65.
Mechakalyani       S         R2       G3         M2         P         D2         N3       S
îëòæùŠáèÚ¨     ¡       õ¨2       æ3         ë2           ç         ê2         å¨3       ¡
66.
Chitrambari          S         R2       G3         M2         P         D3         N3       S
ò¨ê‡õèëŠçõ¨            ¡       õ¨2       æ3         ë2           ç         ê3         å¨3       ¡
 
67.
Sucharithra          S         R3       G3         M2         P         D1         N1       S
¡¦òõ¨ê‡õè           ¡       õ¨3       æ3         ë2           ç         ê1         å¨1       ¡
68.
Jyothiswaroopini     S         R3       G3         M2         P         D1         N2       S
î£èꨡ‰ô¥ç¨Ú¨   ¡       õ¨3       æ3         ë2           ç         ê1         å¨2       ¡
69.
Dhathuvardani     S         R3       G3         M2         P         D1         N3       S
êèÊôõ‡ê䨠      ¡       õ¨3       æ3         ë2           ç         ê1         å¨3       ¡
70.
Nasikabhushani     S         R3       G3         M2         P         D2         N2       S
å表æè·ÜÚ¨     ¡       õ¨3       æ3         ë2           ç         ê2         å¨2       ¡
71.
Kosalam.            S         R3       G3         M2         P         D2         N3       S
îæè¡ù늠         ¡       õ¨3       æ3         ë2           ç         ê2         å¨3       ¡
72.
Rasikapriya         S         R3       G3         M2         P         D3         N3       S
õ¡¨æç‡õ¨áè         ¡       õ¨3       æ3         ë2           ç         ê3         å¨3       ¡

As far as the 72 Melakarta ragas go, the raga names according to the Asampoorna Mela classification are as follows :

1. Kanakangi - Kanakambari
2. Ratnangi - Phenadyuthi
3. Ganamurthi - Ganasamavarali
4. Vanaspati - Bhanumati
5. Manavati - Manoranjani
6. Tanarupi - Tanukeerthi
7. Senavathi - Senagrani
8. Hanumathodi - Janathodi
9. Dhenuka - Dhunibhinnashadjam
10. Natakapriya - Natabharanam
11. Kokilapriya - Kokilaravam
12. Rupavati - Rupavati
13. Gayakapriya - Geyahejjaji
14. Vakulabharanam - Vativasantabhairavi
15. Mayamalavagaula - Malavagaula
16. Chakravaham - Toyavegavahini
17. Suryakantham - Chayavathi
18. Hatakambari - Jayasuddhamalavi
19. Jhankaradhwani - Jhankarabhramari
20. Natabhairavi - Nariritigaula
21. Keervani - Kiranavali
22. Kharaharapriya - Shri
23  Gaurimanohari - Gaurivelavali
24. Varunapriya - Veeravasantham
25. Mararanjani - Sharavati
26. Charukesi - Tarangini
27. Sarasangi - Saurasena
28. Harikambodhi - Harikedaragaula
29. Dheerashankarabhara nam - Dheerashankarabhara nam
30. Naganandini - Nagabharanam
31. Yagapriya - Kalavati
32. Ragavardhini - Ragachudamani
33. Gangeyabhushani - Gangatarangini
34. Vagadeeshwari - Bhogachayanata
35. Sulini - Sailadesakshi
36. Chalanata - Chalanata
37. Salagam - Sauganandini
38. Jalavarnam - Jaganmohanam
39. Jhalavarali - Dhalivarali
40. Navaneetam - Nabhomani
41. Pavani - Kumbhini
42. Raghupriya - Ravikriya
43. Kavambodhi - Kirvani
44. Bhavapriya - Bhavani
45. Subhapanthuvarali - Sivapanthuvarali
46. Shadvidamargini - Sthavarajam
47. Suvarnangi - Sauviram
48. Divyamani - Jeevantika
49. Dhavalambari - Dhavalangam
50. Namanarayani - Namadeshi
51. Kamavardhini - Kasiramakriya
52. Ramapriya - Ramamanohari
53. Gamanasrama - Gamakakriya
54. Viswambari - Vamsavati
55. Shyamalangi - Syamalam
56. Shanmukhapriya - Chamaram
57. Simhendramadhyamam - Sumadhyuthi
58. Hemavathi - Desisimharavam
59. Dharmavathi - DhAmavathi
60. Neethimathi - Nishada
61. Kantamani - Kuntala
62. Rishabhapriya - Ratipriya
63. Lathangi - Gitapriya
64. Vachaspathi - Bhushavathi
65. Mechakalyani - SAntakalyAnI
66. Chitrambari - Chaturangii
67. Sucharitra - Santanamanjari
68. Jyotiswarupini - Jyoti
69. Dhatuvardhini - Dhautapanchamam
70. Nasikabhushani - Nasamani
71. Kosalam - Kusumakara
72. Rasikapriya - Rasamanjari