Lesson 10 – Sankarabharana ragam

Sankarabharanam Raagam, also called Shankarbharanam or Dhirashankarabharanam, is the 29th Melakarta raga of the 72 melakarta ragas in Carnatic music. It is a Sarva Gamaka Maaṇika Rakti Rāgaṃ, meaning it has many Gamakās (ornamentations). Sankarabharanam Raagam is a heptatonic raga because it uses all seven notes, ascending and descending. Natabhairavi, the 15th Melakarta raga, has a janya named Sankarabharanam as one of its components. The “king of ragas,” Sankarabharanam, is one of Carnatic music’s most prominent ragas. Sankarabharanam is the shadjam (or starting note) for all Melakarta ragas. The history, characteristics, and famous compositions of Sankarabharanam in classical music are all explored in this article.

What is Sankarabharanam Raagam?

Sankarabharanam is a serene and calming raga and is the most critical C Major scale in Western classical music. In the Hindustani music system, the ‘Sankarabharanam’ scale is equivalent to the ‘Bilaval’ scale in terms of its pitch range. The Sankarabharanam raga has a feeling of royalty and grandeur about it. It is one of the most well-known ragas in Carnatic music, and it is famous for the meditative and relaxing effects that it produces on the people who listen to it. The tempo of the songs in Sankarabharanam is normally either slow or medium, depending on the song. As a “preliminary” raga, singing always begins with Sankarabharanam Raagam. It’s an opening raga. Sankarabharanam has an auspicious role in temples and religious ceremonies.

Sadja, chatusruti rishaba, Antara Gandhara, suddha madhyama, panchama, chatusruti dhaivata, and kakali nishada are the notes that make up the Sankarabharanam raga.

Characteristics of Sankarabharanam Raagam

The Sankarabharanam raagam is characterized by its use of gamakas, or ornamental embellishments, on specific notes. These gamakas are particularly important on the rishaba (second scale degree) and sadja-nishada-dhaivata (seventh, ninth, and tenth scale degrees). In addition to gamakas, Sankarabharanam is also known for its exaggerated gamaka on the sadja-nishada-dhaivata. This results in a unique sound that is characteristic of the Sankarabharanam raagam. It is famous for having a calm landing and remaining in the Gandhara for some time. Sankarabharanam’s close association with Carnatic music gives it a unique sound that distinguishes it from other ragas.

History and Origin of Sankarabharanam Raagam

Sankarabharanam is one of the most majestic and revered ragas in Carnatic music. It evokes Sringara Rasa, a feeling that originates from love for Lord Vishnu’s celestial dance form known as “multiplier,” and Bhakti-rasa, which means religious sentiment linked with devotion to God or goddess. The calmness that this raga brings out is like a rock without any oscillations-like how our devotional remakes it into an artful masterpiece! The fivefold swara of Sankharabharanam R, G, M, D, N arises from his many-faceted face – Satyojatham(the shining one), Thathurusham (stability), Eesaananam Sankaram ( auspiciousness), Vaamadevam ( the left-handed one) and Aghoram ( the one who is not afraid). The Sa and Pa are Prakrutishwaras or natural notes. These seven sounds correspond to Lord Shiva’s various adornments.

The raga is also mentioned in Sangeetha Ratnakaram, where it’s described as a magnificent and delightful deity who has white skin smeared with ashes or the sacred vibhoothi on its forehead. They are adorned by serpents that make them look like Lord Shiva – his traditional appearance.

The seven notes of a Raga correspond to Lord Shiva’s ornaments. The first note is Sa-the serpent, followed by R – Rudraksha flower, which he holds in one hand and grants boons G- Ganga on his head, M- Mriga ( deer), which he holds by his side, P- Pasupatha (Siva’s weapon) which he has slung across his back, D- Damaru (Siva’s drum) which he holds in his other hand and N – Nagendra ( king of snakes) who resides on Siva’s head. All these correspond to the various aspects or avatars of Lord Shiva.”

The Sankarabharanam scale is global. In ancient Tamil music, the Pann Pazhampanjuram was this scale’s name. In Hindustani, it is Bilaval, and in Western music, C Major is its name.

How do classical music compositions use Sankarabharanam Raagam?

Carnatic music often uses the raga Sankarabharanam in classical compositions. A wide variety of classical music composers have used Sankarabharanam raagam in their compositions, including Muthuswami Dikshitar, Thyagaraja, Swathi Thirunal, and Mysore Vasudevachar.

The well-known Adathaalavarnam, written by Maharaja Swathi Thirunal in Telugu, and Nrityati Nrityati, written by Swathi Thirunal, are notable pieces. Other well-known compositions include Dakṣhiṇāmūrtē, Sadāśivam Upāsmahē, Akṣhayaliṃgavibho, and Śrī kamalāmbā by Muthuswami Dikshitar in Sanskrit, Pogadirēlo Ranga (6th Navaratna Malike), Kande naa kanasinali, and Enagu aane by Purandara Dasa in Kannada, Yenu Olle Hariye by Kanaka Dasa, Sarōjadala Nētri and Dēvī Mīnānētri by Syama Sastri in Telugu.

The composition of 22 “Nottu Svara” pieces by Muthuswami Dikshitar, based on the notes of the Western Major Scale, is credited to him. These pieces are incredibly well-liked, and they are a welcome addition to the already great playlist.

Musicians use Sankarabharanam a lot in film music, especially in Tamil cinema. Some of the most popular songs in Sankarabharanam include “Enthara Enthara,” “Kadhal Rojave,” “Muthu Muthu,” and “Rama Rama.”

Renowned Carnatic musicians such as M. S. Subbulakshmi, Balamuralikrishna, and K. J. Yesudas have sung in the composition of Sankarabharanam.

Conclusion

In the genre of Carnatic music, the Sankarabharanam raagam is one of the most popular ragams, and it is playable by musicians of all experience levels. Sankarabharanam is a great ragam to start with if you are new to Carnatic music. It is also a good choice for those who want to relax and unwind after a long day. Enroll in Music Master Carnatic music classes today, and start learning Sankarabharanam raagam! 

I hope this article has given you a better understanding of Sankarabharanam raagam in Carnatic music. If you have any further questions, please feel free to comment below.