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Swaras in Tamil font on Keyboard

Below is a list of all the janya ragas of Raga Shankarabharanam (major scale), Raga Natabhairavi (natural minor scale) and Raga Keeravani (harmonic minor scale) from wikipedia's List of Janya ragas.

Each of this raga can be harmonized using just the 7 diatonic chords of the major scale. You can play chords for each of the 1000s of songs built based on any of these ragas once you know the '7 safe chords' of the major scale.

Relative minors of the major scale can be used to play chords over janyas of raga Natabhairavi. Raga Jayanthashri is a janya of natabhairavi which can be harmonized using the relative minor chords.

Account for the one note difference between natural minor and harmonic minor, and we can use the same chords of the minor scale over harmonic minor scale, or janyas of raga keeravani.

The janya ragas of major, natural minor and harmonic minor scales

Janyas of Dheera shankarabharanam (ragas with same notes as the Major scale)

Janyas of Natabhairavi (ragas with the same notes as the natural minor scale)

Janyas of Raga Keeravani (ragas with same notes as the Harmonic minor scale)

Related posts:

1. How to play chords for Indian ragas – songs and ragas based on the Major scale
2. How to play chords for Indian ragas – Chords from specific scale notes
3. How to play Chords for Indian Ragas and Scale – exact chords and the nearest triads

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Past articles have discussed using exact chords and nearest triad for a raga, deriving chords for ragas from the raga notes and understanding raga mayamalavagowla.

Many of us prefer to use simple three note major, minor and 7th chords over Indian ragas even when such chords may have notes outside the notes of the raga. Most often this is done by choosing two notes within the raga and the third note to form the major or minor chord, the third note being from the scale or outside.

Below, we find out triad chords for Raga Mayamalavagowla or Malahari (janya raga or raga derived from Mayamalavagowla on which four carnatic geetams are based on) starting from the root G. You can extend the method to find out chords for other ragas in a key of your choice.

Notes of G Mayamalavagowla: G G# B C D D# F# G G# B C D D#

Below is a preliminary, starting point chord finding for G Mayamalavagowla.

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+ Chords for the 4 Malahari Geethams
Click to see details

Make groups of 3 notes each, skipping one note in between, starting from each note of the mayamalavagowla scale. See the detail of the process below.

Triad chord from the First note G

• choose G
• skip G#
• choose B
• skip C
• choose D

We get the three notes: G B D

The notes G B D forms the G major chord.

Therefore, the G major chord is an obvious choice for the note G (swara Sa) in the Mayamalavagowla scale.

Four note chord for Mayamalavagowla from G

Add the seventh note F# (again, skip D# add F#)

We get the notes G B D F# which forms the G major 7th chord.

The G major 7th chord is an obvious choice of 4 note chord for Mayamalavagowla in G. (More 4 note chords based on the scale notes.)

Chord from the second note

G# C D# – G# major chord

Third note B

We could try the reverse method: check if the major and minor chords from the note B have notes from Mayamalavagowla.

Suppose we take the B major chord – notes B D# F# – all the notes present in G Mayamalavagowla
Suppose we take the B minor chord – notes B D F# – again all notes present in G Mayamalavagowla

Chords from the note C of G Mayamalavagowla

C D# G – C minor chord

Chords from the Fifth note D

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Clik here to view.Finding major and minor triads using two notes of the scale or phrase, by adding an approximate third note reminds one of curve fitting in maths classes

D F# G# – D flat fifth

D F# B – B minor chord (B D F#)

D F# A would give us the D major chord, though the note A is not present in G Mayamalavagowla. We can try the D major chord when the notes D (Pa) or F# (Ni) comes in the melody, or as the Vth chord played before going back to the root chord G.

D F# C – root, major 3rd, minor 7th. If we add the A to the three notes, we get the D7th chord, the Vth chord of G major scale, in its dominant function. Try D7 when the melody line has the suitable notes. Listen, decide for yourself if you like the sound.

Chord from the sixth note D#

D# G B – D# augmented chord.

Try other notes from the scale which are nearby to any of the notes in the chord, to make a minor or major.

D# G C – C minor chord

D# G Bb – D# major chord, though the note Bb is not present in G Mayamalavagowla.

Chord from the seventh note F#

F# G# C – does not form any of the triads, or seventh chords, but add D# to it:

F# G# C D# – G#7 chord. (G# C D# F#: root-major3rd-fifth-minor7th)

The D major chord also has the F# note. D7th also has the F# note. In case the F# note comes just before going back to the root chord, try the D or D7 chord since they are V and V7 chords respectively, which usually precedes the root note giving the perfect cadence.

More chords from the scale notes

G C D – notes from within the scale, gives G sus 4th chord. Try it on the swaras Sa, Ma, Pa.

Similarly, combine notes from the scale notes of Mayamalavagowla to find chords that will fit for the Raga melody. You are free to choose and then decide based on your taste.

More chords for ragas

Related posts:

1. Raga Shivaranjini, minor 6th chord, its inversion and one more raga
2. Understanding South Indian Classical Music (Carnatic) Raga Mayamalavagowla – Interval structure, Basic analysis, Comparisons, Modes, Finding Chords
3. How to play Chords for Indian Ragas and Scale – exact chords and the nearest triads

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Chords of Raga Kalyani

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The one note difference between natural minor scale and Raga Kharaharapriya
(image made using the Raga app)

Chords can be found for Raga Kalyani, in two ways:

1. as a mode of the major scale (the 4th mode of C major scale is F kalyani scale)
2. as a scale with just one note different from the major scale (major scale has the perfect 4th interval while kalyani has the sharp 4th)

The same two approaches are possible with Raga Kharaharapriya also.

Raga Kharaharapriya

The long list of janya ragas of Raaga Kharaharapriya makes clear it's prominence and importance in Indian classical music. Raga Shree, Kanada (Alaipayuthey), Abheri, Abhogi are all popular names.

Kharaharapriya is a melakarta raga, which means ascending and descending note are the same, in the linear order from Sa to Ni. A scale definition, without any written note order or note skip rules as with the janyas.

Intervals and notes of Kharaharapriya

Arohana of Kharaharapriya: S R2 G2 M1 P D2 N2 S

Avarohana of kharaharapriya : S N2 D2 P M1 G2 R2 S

Use the Indian notation to Western notation relation chart to find the intervals of Raga Kharaharapriya.

• root
• major 2nd
• minor 3rd (so it is a minor scale)
• perfect 4th
• fifth
• major 6th (one note difference from the natural minor scale)
• minor 7th

Notes of A minor Kharaharapriya vs A natural minor

Starting from A note as the root, below are the notes of Raga Kharaharapriya:

A natural minor scale has a minor 6th (F note) while kharaharapriya has a major 6th (F#) note. (Natural minor scale has the same notes as Raga Natabhairavi)

We chose A natural minor for the comparison, since A minor is the cleanest or simplest natural minor, with no sharpened or flattened notes. Start with any natural minor and shift the 6th note one up, and you have the notes of Kharaharapriya scale.

Chords of Raga Kharaharapriya by changing one note

The diatonic chords (chords using the scale notes) of A natural minor scale are same as that of C major scale, because A natural minor and C major scale both have the same notes, they just start from different positions.

C major scale: C D E F G A B C

A natural minor: A B C D E F G A

A kharaharapriya : A B C D E F# G A

Chords of Kharaharapriya will be same as that of the chords of C major scale, except that any F note in the chords should be changed to F#.

Chords of C major scale / A natural minor scale

Chords of A Kharaharapriya

Change any F to F# in the notes of the chords of C major/ Aminor above.

Notes of D Kharaharapriya vs D Dorian

None of the notes have a sharp or  a flat, indicating the possibility that D Kharaharapriya is a mode of the C major scale – C major scale is the major scale whose notes do not have any sharps or flats.

D being the second note of the C major scale, and since D kharaharapriya has no sharp or flat notes, Raga kharaharapriya can be concluded to have the same notes as the second mode of the major scale – the Dorian mode.

Chords of Raga Kharaharapriya based on mode relation

D dorian has the same diatonic chords as the C major scale. They both have the same notes – all alphabets, no flats or sharps.

So the chords of D dorian, same as that of C major, can be used for D Kharaharapriya:

Chords of C major scale / D dorian/ D kharaharapriya

Find chords for Dorian scale/ mode

In the case of the C major scale, Dorian starts on D note, the second note of the C major scale. (Dorian is the 2nd mode of the C major scale)

For any Dorian scale, the root of the major scale is two notes before the root of the Dorian scale.

In the case of D Dorian, we know it is C (C – C# – D)

In the case of E Dorian, the major scale will start from D (D D# E – D is two notes before E). Therefore D major scale chords can be used for E kharaharapriya.

G# Dorian will be part of F# major scale (F# – G – G#). F# major scale chords for G# kharaharapriya.

F Dorian will be part of Eb major scale. (Eb – E – F). Eb major scale for F Kharaharapriya.

More Raga – Chord relations?

Related posts:

1. Chords of Raaga Kalyani – the one note difference with the major scale
2. How to play chords for Indian Raaga Kalyani by using modes
3. How to play major scale patterns using raga app – any string, any root, 3 fingering patterns

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Let us use C major scale notes for finding the swaras in each mode of the major scale.

First mode – Ionian – the major scale

C major scale : C D E F G A B C
Swaras and notes starting from C note:

Swaras for each note in the major scale:

The major scale notes correspond to the swaras of Raga Shankarabharanam.

Second mode – Dorian

The second mode of the C major scale starts from the second note (D) of the C major scale. The dorian mode of the C major scale uses the exact same notes as the major scale, though from a different starting point.

D dorian scale : D E F G A B C D

Swaras and notes starting from D

Swaras for each note of the Dorian scale starting from D:

The notes of the dorian scale, which is the 2nd mode of the major scale,  correspond to the swaras of Raga Kharaharapriya.

Third mode – Phrygian

Phrygian mode of the C major scale starts from the note E. It has the same notes as the C major scale, but starts from E instead of C.
E phrygian scale : E F G A B C D E
Swaras and notes starting from E

Swaras for each note of the Phrygian scale starting from E:

The swaras of the phrygian mode correspond to that of Raga Hanumatodi.

Fourth mode – Lydian

Lydian mode of the C major scale starts from the note F. It has the same notes as the C major scale, but starts from F, the 4th note of the C major scale.
F lydian scale : F G A B C D E F
Swaras and notes starting from F

Swaras for each note of the Lydian scale starting from F:

Swaras corresponding to the notes of the Lydian scale are that of the Raga Kalyani.

Fifth mode – Mixolydian

Mixolydian mode of the C major scale starts from the note G. It has the same notes as the C major scale, but starts from G, the 5th note of the C major scale.
G mixolydian scale : G A B C D E F G
Swaras and notes starting from G

Swaras for each note of the Mixolydian scale starting from G:

Swaras corresponding to the notes of the Mixolydian scale are that of the Raga Harikamboji.

Sixth mode – Aeolian (natural minor scale)

Aeolian mode, the 6th mode of the C major scale starts from the 6th note A of the C major scale. It has the same notes as the C major scale, but starts from note A instead of note C.
A aeolian scale : A B C D E F G A
Swaras and notes starting from A

Swaras for each note of the Aeolian scale starting from A:

Swaras corresponding to the notes of the Mixolydian scale are that of the Raga Natabhairavi.

Summary: Ragas corresponding to each mode of the major scale:

1.    Raga shankara bharanam – ionian (major scale)
2.    Raga kharaharapriya – dorian
3.    Raga hanumatodi – phrygian
4.    Raga kalyani – lydian
5.    Raga harikamboji – mixolydian
6.    Raga natabhairavi – aeolian
7.    (locrian scale without pa – not a melakarta raga)

More ragas and chords

Related posts:

1. How to play chords for Indian ragas – songs and ragas based on the Major scale
2. Chords for Raga Jayanthashri – ragas based on the minor scale
3. How to play Chords for Indian Ragas and Scale – exact chords and the nearest triads

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Remembering just one set of chords – the chords of the major scale – can help us play chords for a lot many number of ragas by comparing the new raga with the major scale.

Let us take for example, the 6 ragas from each mode of the major scale. The first one Raga Shankarabharanam has the same notes as the major scale.

There are three major scale ragas among the ragas from modes – Shankarabharanam (1st mode, major scale), Kalyani (4th mode) and Harikamboji (5th mode).

Comparing Kalyani and Harikamboji with the major scale shows that each of them are just one note different from the major scale. Use the major scale chords to play chords for Kalyani and Harikamboji with just the one note changed in any chord where it appears.

There are three minor scale ragas among the ragas from modes – Raga Natabhairavi (natural minor scale – 6th mode), Raga Hanumatodi (3rd mode), Raga Kharaharapriya (2nd mode).

Raga Hanumatodi, Raga Kharaharapriya are each just one note different from the minor scale (Natabhairavi). Use this comparison to use minor scale chords for Raga Hanumatodi, Raga Kharaharapriya.

Being able to play chords for a lot many number of scales and ragas by remembering just one set of chords and then changing by comparing, makes playing music much simpler.

Relative minor and major relationship

The natural minor scale chords are same as that of the major scale chords, starting from a different position. So to play chords for the minor scale, you still need to remember the major scale chords only.

A natural minor scale and C major scale are relative minor and major to each other. C major scale and A natural minor scale use the same chords.

C major and A natural minor as basis

A natural minor is the 6th mode of the C major scale. The A natural minor which uses the same notes as the C major scale, only starting from A instead of C. Since C major scale does not have any sharps or flats, neither does A natural minor.
A natural minor chords are same as that of the C major scale.

C major scale chords: C Dm Em F G Am Bdim
A natural minor chords: Am Bdim C Dm Em F G
Look at the above sequence of chords for A natural minor, and you can use it to find the chords for natural minor from any root or Raga Natbhairavi starting from any pitch.

Sequence of chords of natural minor: Minor- dim – major – minor – minor – major – major

C natural minor (C  natabhairavi) notes : C D Eb F G Ab Bb
Chords of C natural minor: C minor – D dim – Eb major – F minor – G minor – Ab major – Bb major

Kharaharapriya chords from Natural minor chords

Kharaharapriya has the same note as Natabhairavi (natural minor) except for the dha or 6th note.
Change Ab note to A in each chord of C natural minor (Natabhairavi) where the Ab note appears, to get chords of C Kharaharapriya.

More raga chords.

Related posts:

1. How to play chords for Indian ragas – Chords from specific scale notes
2. How to play chords for raga kalyani, kharaharapriya – the one note difference
3. How to play chords for Indian ragas – songs and ragas based on the Major scale

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We have already discussed Mayamalavagowla with the G root, and about finding major and minor chords for the raga.

Below we use Mayamalavagowla with D root as an example of finding simple major and minor chords for ragas which do not naturally let us use such simple triads.

Then we use these chords to find progressions for the raga, using a phrase of Padumanabha geetam in Raga Malahari as an example.

Please note that Malahari is a janya raga derived from the parent melakarta raga Mayamalavagowla. Since Malahari uses the same notes as Mayamalavagowla, the chords found for D Mayamalavagowla will apply for phrases in D Malahari also.

The D mayamalavagowla scale

D Mayamalavagowla: D Eb F# G A Bb C# D

Triad chords for D mayamalavagowla

The above table shows chords found from each swara or note position of the scale.

The third row shows the chords we get naturally by picking alternate notes starting from each scale note.

The fourth row shows the chords after converting chords in the third column, which are other than major and minor also to major and minor chords, by adding notes outside the scale.

|Ri Sa Dha Sa, Sa,| Ma Ga Ri Ma Ma Pa , |

These are the notes of the first two bars of the Malahari Geetham Padumanabha Paramapurusha. Below we find chords for each part of the phrase. The song is in 7/8, therefore each bar has notes equivalent to 7 eighth notes.

Ri sa dha

Notes: Eb D Bb

Look at the table of chords above. See if any of the chords has at least two of the notes above.

Eb major chord has both Eb and Bb notes in it. Chord for the phrase: Eb major

Sa, sa,

Note: D

It is the root note. Obvious chord: D major

Ma ga ri

Notes: G F# Eb

G and Eb are found in the chord Eb.

Ma ma pa

Notes: G G A

We could play one chord each for the two parts:

• Part 1: Ma ma.  Note: G. Chord: Gm
• Part 2: Pa. Note: A. Chord: A major

Using the chords chosen above, the chord progression will be as follows:

|Eb     |D      |Eb      |Gm     A|

|R S D|S , S ,|M G R|M M  P ,|

Another chord option for M G R

M G R notes are: G F# Eb

Choose the notes G and Eb.

C Eb G is the C minor chord. The C note is not present in D Mayamalavagowla.

Try the C minor chord over phrases that have Ri and Ma, especially where Ri is prominent.

Using Cm for MGR, the chord progression will be as follows:

|Eb     |D      |Cm     |Gm     A|

|R S D|S , S ,|M G R|M M  P ,|

Similarly we can find chords for the whole song, and make Complete Chord sheets for all the 4 Malahari Geetams. Try using different chord possibilities for the same notes. Try using different chord progressions based on the note – chord relations, when repeating phrases, to bring variety to your arranging or playing.

Get the complete resource on Raga Chords

Related posts:

1. A minor in relation – relative minor scales and chords
2. What is in a name – chord naming – triads – major, minor, dim, aug
3. The ‘root’ case : a major, his relative, a sharp object and a minor

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Geetams are among the first compositions we learn as Carnatic Classical students. Malahari, Suddha Saveri, Kalyani and Mohanam are introduced among other ragas, at the geetam stage.

Since it is something most of us learn in the beginning, it makes sense to start with the Geethams when learning to connect Indian classical with Western harmony.

Introduction to Mayamalavagowla, Comparison with Western Scale

Introduction to playing simple major and minor chords for Mayamalavagowla and Malahari Geetams

Lambodara Geetam with Pitch change drop down (a simple java script gives us freedom over the 12 keys. Thanks to Prasanth: apps at Ragalicious)

The complete Geetam Chord Resource: Includes Chord sheets with a drop down key selector to choose your pitch

The Geetams can be broadly divided to Mayamalavagowla based and Major scale (Shankarabharanam) based. Understand why a particular set of chords are used for the melody, and you can use similar or same principles to find chords for any raga, melody, phrase or song. 

Related posts:

1. How to play Chords for Indian Ragas and Scale – exact chords and the nearest triads
2. Chords for Malahari geetams using simple minor and major chords only
3. How to play chords for Indian ragas – songs and ragas based on the Major scale

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The fretboard environment

1. Nattai – C to C – 3rd to 1st string – within 4 frets

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2. Raga Nattai – C root – all notes – 1st and 2nd string – open to 11th fret

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This 'wide' fretboard of Nattai is important because it lets us include slides and hammer-on / pull-offs necessary to play phrases that cover 4 or 5 notes without syllables, and therefore no striking. (Syllables get the strike. The rest of the phrase is played with hammer ons, pull-offs and slides on the same string.)

Two long phrases

Mahaganapathim Manasa Smarami – a long improvisation

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Mahadevasutham (2nd stanza) – long phrase

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The tab and notation were made using Tuxguitar – free notation and tab software, screenshot taken and then edited and text added with PhotoshopImage may be NSFW.
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Playing the swaras vs Playing the song (lyrics/sahityam)

The swaras of the song can be played using any fret and string that has the particular swaras to be played. Look at the pictures in the beginning to find out the swara positions, play the swaras needed for the phrase.

But when we play the lyrics, we need to make sure that we hit the string only on a consonant and not on vowels or any extensions.

Mahadevasutham as shown above are sung or played using the swaras 'Sa ni pa ma ri sa ga ma pa ni pa ni sa sa'.

When playing mahadevasutham, we need to strike the string only on those swaras which match in place with the the consonants 'Ma', 'ha', 'de', 'va''su',and 'tham'. All the remaining swaras should be played using hammer-on, pull-off and slides. This is an important consideration to be made, which will help us decide the position of the notes on the guitar. 

The notes should be played on the guitar so that we can strike the consonant and be able to play the remaining of the phrase without having to hit the string, till the next consonant.

The tabs shown above have notes arranged on the strings in a way that allows playing sahityam or lyrics properly without having to strike extra notes.

Videos of Mahaganapathim on Guitar

Mahaganapathim 03 (right click and save as)

Mahadevasutham 03 (right click and save as)

The above two links has videos that shows playing an improvisation of Mahaganapatim (same as in the first tab picture) and Mahadevasutham (2nd tab picture). Notice that strikes on the strings are made only where consonants are present on the lyrics, while the remaining parts are played using slides, hammer-ons, pull-offs.

Notes for carnatic songs are available freely on the internet. Try working out fingering possibilities on the guitar that allows sounding the lyrics in a way that only the consonants are played with a strike while the remaining saahityam (lyrics) is played in a flowing motion using slides, hammer ons and pull offs.

Interested in playing Carnatic on the guitar?

Related posts:

1. A Tool to help you Play Indian Ragas on the Guitar – The Raga on Guitar app
2. Guitar Tab, Learning Tips – Carnatic Geetham Lambodara Raga Malahari
3. How to play Indian raga compostions on the guitar using a swara sheet

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Raga Chalanaatai and Raga Nattai

Chalanattai is the 36th Melarkarta raga which is played using the swaras: S R3 G3 M1 P D3 N3 S both when ascending and descending. (The different spellings used for the names of Ragas in this article are all found to be used to transliterate the Indian name to English)

Raga Chalanattai

ārohaṇa    : S R3 G3 M1 P D3 N3 S
avarohaṇa : S N3 D3 P M1 G3 R3 S

The video given below shows Chalanaattai ascend and descend played on the guitar (standard tuning) with C as the root (Sa).

http://www.youtube.com/watch?v=9A9cpADmVWA

Raga Naattai

ārohaṇa    : S R3 G3 M1 P D3 N3 S
avarohaṇa : S N3 P M1 R3 S or S N3 P M1 G3 M1 R3 S

Raga Nattai is a derivative (janya) raga of Chalanattai which has a few notes omitted in the Avarohana (descend – coming back from a top note to the lower notes).

Most often the avarohana or descend is also sung or played as: S N3 P M1 G3 M1 R3 S.

Ascend and descend of Raga Naattai on the Guitar (C as root or Sa):

http://www.youtube.com/watch?v=NLQZjTini5g

More arohanavarohanas of Indian Ragas on guitar

Raga Nattai and Chalanaatai – Intervals from swaras

Below is the full table of 12 intervals mapped to the corresponding Swaras. Use the swaras given in the ascend and descend sequence to find the intervals for Raga Naatta and Chalanaatai

Using the above table, we write the intervals and the scale notes starting from C as the root.

Raga Chalanattai

ārohaṇa   : S R3 G3 M1 P D3 N3 S : Root – minor 3rd – major 3rd – perfect 4th – 5th – minor 7th – major 7th – octave
avarohaṇa: S N3 D3 P M1 G3 R3 S : Octave – major 7th – minor 7th – 5th – perfect 4th – major 3rd – minor 3rd – Root

Raga nattai

ārohaṇa   : S R3 G3 M1 P D3 N3 S : Root – minor 3rd – major 3rd – perfect 4th – 5th – minor 7th – major 7th – octave
avarohaṇa: S N3 P M1 R3 S : Octave – major 7th - 5th – perfect 4th – minor 3rd – Root

Raga Nattai when C note is the root

Use the interval sequence in the section above to find the notes of the ragas when C is the root.

Chalanattai scale

Ascend   : C D# E F G A# B C

Descend : C B A# G F E D# C

Naatta scale

Ascend   : C D# E F G A# B C

Descend : C B G F D# C

Chord example with S R3 S M1 G3 P M1 N3 …

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Raga Nattai Phrase 01 with chords(Tux guitar file with chord names, melody notation, swaras and a chord track. You can listen to how the chords sound along with the melody, while noting the chord notes used, the melody notes etc in notation and tab format.) 

Raga Naata on guitar – Swaminatha Paripalaya – Vamadeva

Video below shows a part of the song Swaminatha Paripalaya based on Raga Naatai, played on acoustic guitar, with standard tuning.

http://www.youtube.com/watch?v=5kfQj-_obi4

Interested in playing Indian classical lead on guitar? Get started with detailed instruction.

Chord example with the Vamadeva Phrase

Raga Nattai Phrase 02 with chords (tux guitar) Listen to the chords along with 8 bars of melody. 2 bars of it are shown below along with chord diagramn, melody notation and tab, chord notation and tab, lyrics and swaras.

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Explanation of Chords for Raga phrase: Sammohithakara (m7b5, M7, sus4)

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Sam (mohi) (thaka) ra : Pa (Sa Pa) (Ma Ga Ma) Ri : G (C G) (F E F) D#

mohi : Sa Pa : C G

The most obvious chords that include the two notes C and G are C major (chord notes: C E G) and C minor (chord notes: C D# G) chords. Both C major and C minor have chord notes within the Nattai scale – D# and E both notes are present in the raga. 

To find a variation, one could add G# note to the C minor chord (chord notes: C D# G) to get G# major 7th chord (chord notes: G# C D# G). G# is not a note from the Nattai scale, but if it sounds alright for the situation, one may use it.

Instead of G#, if we use A, along with the C minor chord, we get the C minor 6th chord (chord notes: C D# G A).

When the C minor 6th chord is used in a different inversion with A as the root, we have the A minor 7 flat 5th chord (chord notes: A C G D# – same notes as C minor 6th, used in a different order.)

The note A is not present in the Nattai scale. Use the Am7b5 chord if the chord sounds fine for the situation. (This chord is used in the example.)

Of course, pushing the A note one more note up gives us the A# note which when used with the C minor chord gives us the C minor 7th chord, which has all the notes within the scale of Chalanattai or Nattai. 

thaka : Ma Ga Ma : F E F

E and F are the major 3rd and perfect 4th notes when C is the root.

C F and G notes will give us the C sus 4 chord, but the E is omitted then. (Though nowadays, many musicians agree to the usage of 3rd note in a sus4th chord and do not strictly believe that suspended chords are got by replacing the 3rd note with a 2nd 4th or 6th. ref:Jazz theory book, Mark Levine.)

To include the perfect 4th and the major 3rd note in a chord, a robust option is the C11th chord (root – major 3rd – 5th – minor 7th – 11th /perfect 4th = C E G A# F). All the notes in the chord are part of the Nattai scale. 

A simpler option based on the C scale would be to use F major 7th chord (chord notes: F A C E) which has both the F and E notes and the root C. The note A is not present in the Nattai scale, but the chord can still be used if it sounds right for the phrase.

ra : Ri : D#

Other than the obvious option of the C minor chord, one could try finding chords within the Nattai scale which includes the note Ri.

F7sus4 (chord notes: F A# C D#) are made of notes from the C nattai scale and has the Ri note.

If we omit the C note from F7sus4, we get a simpler chord: A#sus4 (A# D# F) which is entirely made of Nattai scale notes and emphasizes the Ri well as the suspended note. This chord is used in the example. 

A movement in 5s

If you use the chords Cm7b5, FM7 and A#sus4 for the phrase, note that the roots of the three chords move in circle of 5ths. C is 5th of F, F is 5th of A#. For a perfect cadence feel, we may need the dominant or dominant 7th version of the 5th chords moving to the root, but even without that, the movement could be one that naturally feels right in music. 

Chords in action – Vocal + guitar of Swaminatha Paripalaya (Raga Nattai)

The melody and chords shown in the previous sections can be found in the following video of the song.

http://www.youtube.com/watch?v=iztKApMvGl8

You may try to find chords for the remaining melody parts or find the logic behind the suggested chords. Get familiar with the notes in the raga, identify how the phrase notes can be used along with other scale and non scale notes to find suitable chords for Ragas. Need more guidance or details about finding chords for Ragas? Have a look at the Raga Chord Resources.

Related posts:

1. Raga Shivaranjini, minor 6th chord, its inversion and one more raga
2. How to play chords for raga kalyani, kharaharapriya – the one note difference
3. 13 Western chords written using Indian music notation

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Playing chords for Indian ragas? Using Indian ragas in western improvisation situations? 

Mark Levine's The Jazz Theory BookImage may be NSFW.
Clik here to view. book gives a lot of importance to the Melodic minor scale in the jazz music context. Gowrimanohari, Charukeshi and other ragas based on the Melodic minor scale notes are popular in Indian classical music. We will be referring to the Jazz theory book in this article, because that is solid gold when it comes to Jazz/Music theory, one of the most authoritative and useful books on the usage of chords and scales.

Western musician can benefit from the wealth of raga phrases which they can adopt to the jazz or other music playing context, while the Indian musician can gain from the detailed Melodic minor harmony study available through numerous popular jazz improvisations and songs. 

Here is an introduction towards bridging the two worlds – Melodic minor scale, its modes and chords to the Indian ragas based on the Melodic minor scale.

The melodic minor scale

The C melodic minor scale

For ease of comparison, let us use C Melodic minor as the example.

C melodic minor notes: C D E♭ F G A B C

There is just one note difference from the C major scale: C D E F G A B C

The third note of the major scale is flattened to get the melodic minor scale. The major scale has a major 3rd note (E), while the melodic minor scale has a minor 3^rd note (E♭).

Example: the F major and melodic minor scales

The F major scale: F G A B♭ C D E F

The F melodic minor scale: F G A♭ B♭ C D E F

Finding chords for Melodic minor, based on the Major scale chords

Three note chords for the C major scale

Below table shows the triad chords of the C Major scale, made by choosing three alternate notes starting from each note position. The chord notes are listed below the chord names.

Each mode of the melodic minor scale has associated chords.

Which Mode?	1st	2nd	3rd	4th	5th	6th	7th
Melodic Minor scale notes	C	D	E♭	F	G	A	B
Swaras	Sa	Ri2	Ga2	Ma1	Pa	Dha2	Ni3
Chord from each mode	C-Δ	D sus♭9	E♭ Δ#5	F7 #11	G7♭13	A Ø	B7alt

 

 

 

 

 

 

 

The The Jazz Theory Book mentions that the Melodic minor scale does not have ‘avoid notes’, which makes it possible to use the chords from any mode of a particular melodic minor scale with any of its modes.

Therefore, each chord in the bottom most row of the table can be used along with the C melodic minor scale and its modes. Similarly we can find chords for melodic minor scale starting from any root. Those chords can be used for any mode of that particular melodic minor scale.

Scales and ragas from each mode of the Melodic minor scale

Mode I

C Melodic Minor notes: C D Eb F G A B C

Intervals: Root – M2 – m3 – 4 – 5 – M6 – M7 – octave

Chord: CmM7 (root – m3 – 5^th – M7)

Swaras: S R2 G2 M1 P D2 N3 S

Raga: Gowrimanohari

The only difference from the major scale (Raga Shankarabharanam) is the third note. Major scale has a major 3^rd note, while the melodic minor scale has a minor 3^rd note.

Videos shows the ascend and descend of the raga Gowrimanohari using a guitar fretboard. Note how the scale notes are connected to form the raga. Also, one can compare the connections Raga Shankarabharanam’s ascend and descend. Ri, Ga and Ma are treated a bit differently in the two ragas.

III mode

The third mode of the C melodic minor scale starts from Eb: Eb F G A B C D Eb

Intervals: root – M2 – M3 – #4 – m6 – M6 – M7 – octave

Chord: Δ#4#5 (Major 7^th #4, #5) also written simply as Δ#5. The #4 part notes the Lydian part of the scale while the #5 shows the augmented nature of the scale.

Swaras: S R2 G3 M2 D1 D2 N3 S

This scale is similar to the Lydian mode (Raga Kalyani). The Lydian mode has a 5^th note, while this mode has a #5^th note – the minor 6^th interval. This mode, the 3^rd mode of the Melodic minor scale can be called the Lydian augmented scale because it has the notes of the Lydian scale, with the 5^th note sharpened or augmented. (Remember the augmented chord: the 5^th note sharpened from the major chord.)

Since a Pa note is absent and two Dha notes are present, this scale is not a Melakarta raga. But, if we avoid some of the notes, we can find similarities with some janya ragas.

For example if we do not use the D1, the resulting scale has the same notes as the Raga Kalyani, without a Pa. Look for janya ragas of raga Kalyani, which do not use Pa. Use this Wikipedia list of Janya ragas (scroll down to number 65, Mechakalyani).

e.g.Raga Kalyānadāyini: Arohana: S R2 G3 M2 D2 N3 S Avarohana: S N3 D2 M2 G3 R2 S

Raga Kalyanadayini, along with D1 note has all the notes of the 3^rd mode of the Melodic minor scale.

Similarly, if we use the D1, and not the D2, the resulting scale has same notes as Raga Latangi (number 63 in the list of ragas) without a Pa. Look for janya ragas of Latangi, which do not have a Pa.

e.g.Raga Lalithāngi: Arohana: S R2 G3 M2 D1 N3 S | Avarohana: S N3 D1 M2 G3 R2 S

Raga Lalithangi, along with D2 note has all the notes of the 3^rd mode of the melodic minor scale.

Also, Kalyani and Latangi phrases without using the note Pa, will fit for the 3^rd mode of the melodic minor scale.

IV mode

Raga: Vachaspathi

This scale has the same notes as the Lydian (4^th mode of the major scale / Raga Kalyani) except for the 7^th note. Lydian has a major 7^th note (Ni3) while the 4^th mode of the melodic minor scale has a minor 7^th note (Ni2).

Video showing the ascend and descend of the raga Vachaspathi using the guitar fretboard.

V mode

Raga: Charukeshi

This scale starts out like a Major scale, till the 5^th note. Instead of the major 6^th and 7^th notes of the major scale, this 5^th mode of the melodic minor scale has minor 6^th and 7^th notes.

Finding chords for any mode using the relation of modes

C Charukeshi

Charukeshi is the 5^th mode of the Melodic minor scale. To find the root of the melodic minor scale it belongs to, we just need to find out which scale has C as the 5^th note.

Scales starting from F as the root, will have C as the 5^th note. We can use all the chords of the F melodic minor scale on C Charukeshi. According to Mark Levine (The Jazz Theory Book), in a jazz context, it is better to use the chords of the modes other than the 5^th mode, with a slash. For example instead of using C7♭13, use chords like F-Δ/C, AbΔ#5/C etc.

Three note chords	F minor	G minor	Ab aug	Bb maj	C major	D dim	E dim
Detailed chords	F-Δ	G sus♭9	Ab Δ#5	Bb7 #11	C7♭13	D Ø	E7alt

 

 

 

 

Find more examples and details about Melodic minor and associated ragas + detailed practical information on Ragas, and chords for Ragas in the Raga Chord resource.

How to play the chords for Melodic minor based scales and ragas

You know what chords belong in the melodic minor family. Now, how do we actually play those chords? Which notes do we use? 

Here are a few examples:

Example of notes of chord based on the Melodic minor scale

Notes (top to bottom):

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• C# – fifth
• B – perfect 4th
• G – ♭9 note
• E – minor 7th
• F# – root 

Those are the notes of F# sus ♭9 chord, the chord for the second mode of the E melodic minor scale

E melodic minor scale: E F# G A B C# D# E

2^nd mode of E melodic minor (starts from F#):

The minor 7^th note E is part of the scale, so it is fine to be played. Playing D# instead of E would include major 6^th interval instead of minor 7^th in the chord. 

Example 2

Notes (top to bottom):

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• E♭ – ♭9^th
• B♭ – ♭13^th
• F – #9^th
• C – minor 7^th
• F# – major 3^rd
• D – root

The root D along with the major 3^rd and minor 7^th intervals forms the D7 chord.

All possible alterations except the #4^th are there in the chord making it a D7alt or the D altered dominant chord, which is derived from the 7^th mode of the D# (E♭) melodic minor scale.

Like the two examples above, use the name of the chord to find out the notes of each chord.

Have a look at the Raga Chord resource.

Related posts:

1. Know the modes & use indian raga for jazz improvisation – Melodic minor and Raga Charukesi
2. Chords for Raga Jayanthashri – ragas based on the minor scale
3. How to play chords for Indian ragas – Chords from specific scale notes

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Want to play the guitar? Interested in Indian classical music? Combine the two for a satisfying learning method

It is always a good idea to keep the learning process closer to what we finally want to play. This way we know where we are going – filling up the blanks becomes easier (as agreed by Edward de Bono and the like). One stays motivated because the final result is something desirable from the start.

Starting with the basic C major scale, playing through Mohana Geethams, one understands the fretboard, while learning to play the slurs (hammer ons, pull offs and slides) that let us play Indian classical music on the guitar. 

Use the C major scale note positions to play swaras the Mohanam Geetam, the Kalyani Geetam and the Swarajati in Bilahari.

The Geetams and Swarajathi are good exercises for the fretboard. Morover, they can be played with the knowledge of the C major scale position, which is a basic path to playing guitar. Then include slides, hammer ons and pull offs to bring in the Indian classical sound.

The article contains videos and content which are better viewed on a page without sidebar, so please click on the link below to view the full content:

​Click here or on any of the below links to continue reading… and learning…

Related posts:

1. Mahaganapatim – How to play Indian Classical Carnatic Lead on Guitar – Raga Nattai
2. Playing the guitar – learning what matters – C major scale and melody
3. How to play the guitar – Hand and finger best practices when playing the guitar

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Any raga, scale or phrase has a group of notes. Choosing from within the notes gives us chords.

Below is an example using the Hindustani ragas Marwa, Pooriya and Sohani each of which are based on the notes: C Db E F# A B C.

As the chord player, our job is to find chords that fit the phrase or using the notes within the scale (you can choose to use notes outside the scale if that is your personal taste of harmonization, about which we won’t be discussing here).

The grouping, combination and dynamics of the notes according to the raga is mainly the responsibility of the melody player [chalan bheda (differences in melodic formulation), uccharana bheda (differences in intonation of swara) and vadi bheda (differences in relative emphasis of swara) etc that differentiates one Raga from the other even though the same notes are used].

But, knowing the emphasis of swaras is useful for us to decide which notes out of a phrase to consider for the chords.

Chords from the notes

The notes: C Db/C# E F# A B C

• Consider the notes C E and A (alternate notes starting from C) which gives us the chord Am (notes: A C E: root – minor 3^rd – fifth. Swaras: Dha, Sa, Ga)
• The notes: A C# E gives us the A major chord. (Swaras: Dha, Ri, Ga)
• Consider the notes F# A C# – gives us the F#m chord (Swaras: Ma, Dha, Ri)

The Lydian Flat 9^th scale

C Lydian: C D E F# G A B C

C Lydian b9: C Db E F# G A B C

The notes of the raga Marwa or Pooriya or Sohani are same as that of the Lydian b9 scale. In the raga, we don’t use the Pa or 5^th note (G) – that is the only difference.

Go through the information about chords for each mode of the Major scale, chords for the Lydian scale/Kalyani, and chords for b9 scales. Practicing these parts gives us further idea about find chords for ragas with #4^th (lydian) and b9 notes.

Chords for Raga Marwa

The raga Marwa has the characteristic use of Ri and Dha, which can be emphasized by the A major and F#m chords which have both the Ri and Dha swaras.

The absence of Pa, (note G) and the phrasing with importance to Dha and Ri, often gives us a feeling that the phrases are based on the Dha and Ri based chords: A or F#m. When the phrase lands on Sa, the absence of Pa and dominance of Dha may lead us to use the A minor chord for Sa.

Below are a few phrases of Raga Marwa, which are good examples of the sound of Raga Marwa.

Phrase 1: D, m G r G m D, D m G r 

Phrase written as Notes: A F# E C# E F# A, A F# E C #

The whole phrase is made of the notes: F# A C# E.

1. As mentioned before, F# A C# is the chord F#m, which can be used in places where the swaras Ma, Dha and Ri appear.
2. Using all the notes in the phrase: F# A C# E gives us the F#m7 chord (notes: F# – A – C# – E = root – minor 3^rd-5^th - minor 7th) which is a definite ‘safe chord’ for the phrase.
3. The notes ‘A C# E (Dha, Ri, Ga)’ gives us the A major chord, which can be used in phrases where the swaras Dha and Ri are prominent (which happens a lot in Raga Marwa)

Phrase 2: D’ N’ r G r, N’ D’, m’ D’ S N’ r, S

Phrase as notes: A B C# E C#, B A, F# A C B C#, C

D’ N’ r G r (A B C# E C#)

The notes used in the phrase are: A C# E B

A C# E gives the A major chord.

Adding the note B to the A major chord gives the A major added 9^th chord (A add 9th).

The note B is a major second interval from the root note A (A-root, A#- minor 2^nd, B – major 2nd). The major 2^nd note is also known as the 9^th note. Therefore adding the B note to the A major chord gives us a chord with the name: A add 9^th. (The A 9^th chord is slightly different from the A add 9^th chord. The A9th chord will need a 7^th note in addition to the notes of A add 9th).

N’ D’

Notes: B A

Usually in Marwa, Dha will be the emphasized note. Therefore, use a Dha based chord for the phrase. Try A major, F#m or even Aminor and use whichever suits according to you.

If we want to include both the notes B and A, A sus 2 (notes: A B C# = swaras: Dha Ni Ri) will be apt. All the notes are from within the scale of Marwa.

m’ D’ S N’ r, S

Notes: F# A C B C#, C

Example chords 1

• m’ D’ S N’: Let us choose (m’ D’ S) as the swaras for the chord. Swaras (m’ D’ S) = notes (F# A C). The notes F# A C give us the F# diminished chord (Notes: F# – A – C = Root – minor 3^rd – flat 5th)
• Ri: use the A major chord
• Sa: use the A minor chord

Example chords 2

If we were to give importance to the swaras (m’ D’ r) out of (m’ D’ S N’ r), the notes of (m’ D’ r) = (F# A C#) give us the chord Fm.

Sa, again Am

Example chords 3

If (m’ N’ r) is given importance, the notes (F# B C#) give us the chord F# sus 4. Since usually Dha and Ri are given prominence in Marwa, use Ni based chord only if sounds suitable.

Phrase 3: D N r” N D, m D N D S” 

Try it on your own. Explanation available within the Raga Chords Resource.

Raga Pooriya

Phrase 1: N’ r G, G r N’ D’ N’, N’ m’ D’ S

N’ r G, G r N’ D’ N’

The swaras: D’ r G (notes: A C# E) form the A major chord, which will sound fine.

N’ (note B) is the major 2^nd note (same as the major 9^th note) with respect to the root A. Therefore adding the note B to the A major chord gives us the A add 9^th chord, which has all the swaras (D’ N’ r G) from the phrase, with emphasis on the Ni’ swara.

More phrases and examples?  Explanation from the basics, for different ragas, in the Raga Chords Resource.

Sohani

Phrase: G m D N S”, S”r” S”r” N S” N D, N D-G m G

G m D N S”

Notes: E F# A B C

G m D N: The notes (E F# A B) form the B7sus4 chord.

S”: Shift the Ni (note:B) to a Sa (note:C), and we have the notes: (E F# A C), which is the F#m7flat5 chord as seen in Phrase 3 of Raga Pooriya.

The notes (A E C F#) form the Am6th chord, which may suit the sound of the phrase.

More phrases and examples?  Explanation from the basics, for different ragas, in the Raga Chords Resource.

Related posts:

1. Raga Shivaranjini, minor 6th chord, its inversion and one more raga
2. Chords for Raga Jayanthashri – ragas based on the minor scale
3. How to play chords for Indian Raaga Kalyani by using modes

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Rag Bhopali, also known as Bhoop, Bhoopali or Bhupali, is a Hindustani classical raga, is a pentatonic scale (uses 5 notes in ascending and descending scale) with the same notes as the major pentatonic scale.

Raga Bhoopali has the same notes as in the Carnatic raga Mohanam.

Notes/ Swaras/Intervals of Raga Bhopali

Notes

If we were to play the notes with C note as the Sa,

Raaga Bhupali/ Raga Mohanam notes: C D E G A C

(see the end of this article for more about playing it on a western instrument – C major /F major scale etc)

Aroha & Avaroha of The scale of Bhopali (Hindustani)

Aroha (ascent): Sa Re Ga Pa Dha Sa

Avaroha (descent): Sa Dha Pa Ga Re Sa

Where all the notes – Sa Ri Ga Pa Dha – are Suddha Notes

Arohana Avarohana in Carnatic terms

Arohana: Sa Ri2 Ga3 Pa Dha2 Sa

Avarohana: Sa Dha2 Pa Ga3 Ri2 Sa

Raga Bhoopali notes in terms of Intervals

Root – Major 2nd – Major 3rd – perfect 5th – Major 6th – Octave

Example movements for Raaga Bhopali

Below are a few phrases which are characteristic to Raag Bhoopali, along with example chords.

See how the chords match with the melody phrase or notes at that point. Understand the method behind it, and then you can use it for any phrase.

An underlined swara indicates the mandra saptak (lower octave) and ‘ indicates the taar saptak (higher octave).

Usual pakads (characteristic phrases):

1. S R G R S D S R G
2. S R G R S D S R G P G D P G R S

See the video or image below to see chords for the melody phrases.

Download or click to see the melody and chords as image

1. G R P G G R S R D S
2. G R S D S R G R P G D P G R S

See the video or image below to see chords for the melody phrases.

 Download of click to see the chords and melody as image

The chords given above use 2 note groups from the phrase as the basis. Consider them example chords, use the same method for any note grouping within a phrase of your choice.

How to find and use chords from melody phrases

Let us take a few chord examples from the above melody chord set.

Swaras: Ga Ri

Equivalent to the notes: E D

The Em7 chord has the notes: E G B D

The E7 (dominant 7th chord) has the notes: E G# B D

Since both the 7th chords have the notes E and D in it, we have tried each chord and used both in two places for the same notes (see 2nd video).

The Em chord is part of the family of C major scale chords. Em7 is an extension, adding another note from within the C major scale (from which the major pentatonic Raga Bhoopali is derived). The E7 chord has the G# note which is note in the C major scale. Try it and if you find it sounds good, use it. The theory is for guidance or for a path or a hint or idea to begin with. The final arrangement is about choices.

Swaras: Sa Ri

Notes: C D

We have used both the Cadd9 and Dm chords for the two notes (C D)

The Cadd9 chord (notes: C E G D) has both the notes C and D

The Dm chord (notes: D F A) has the D note. When the C note is sounded in the melody along with the Dm chord, the resulting sound is that of the Dm7 chord (notes: D F A C).

Notice how the above logic works in the given situations, extend them to new situations.

Swaras: Sa Ri Dha

Notes: C D A

The chord D7 (Notes: D F# A C) has all the notes.

One can try the Dm7 chord (notes: D F A C) too, which has all the notes completely within the C major scale.

More at: How you can learn to play Chords for any Song, Raga, Melody or Phrase

Few more phrases:

Some chalans (elaborations of the pakad):

1. G P D P D D S’
2. P G P D P D S’ R’ G’ R’ G’
3. S R G P |R G P D|
4. S’ _ D2 P |G2 R2 S _|

See the video or image below to see chords for the melody phrases.

Download/ Click to see the melody/chords as image

The missing Madhyam – Kalyani thaat, F Major scale etc

Bhupali is classified under Kalyan that (Lydian scale notes). Deshkar is another raga with the same notes as Bhupali, and is included in the Bilawal Thaat (Major scale notes).

Kalyan that has the Theevra Madhyam (note F# when C is the Sa), while Bilawal has the Suddha Madhyam (note F when C is the Sa). The 4th note Ma, makes the difference between Kalyan or Bilawal – Major scale or Lydian.

The original thaat decides the movements, nyasa etc in Bhoopali and Deshkar, which brings the difference in the ragas though the notes are the same. The movements, the note groupings etc are different but the notes are the same.

Since the Madhyam is completely missing in either raga Bhupali or Deshkar, in practice, as far as the scale notes concerned, the raga doesn’t show if it belongs to Bilawal or Kalyan. If it is seen as part of the Major scale or Lydian scale won’t make any difference since the 4th note which brings the difference between the two scales is completely absent in the notes of Raga Bhopali or Raga Deshkar.

It has also been noted that F major scale is mentioned in some places as the scale on which Bhupali is based.

The C major scale notes, when played from the F note as Sa, gives us Kalyan or Lydian with F as the Sa.

F Lydian has same notes as Kalyan, while F major scale will still have the notes as Bilawal, with F as the Sa.

Just remember that ‘Major scale’ or ‘Lydian’ etc is the part which tells us the pattern of the raga, while the preceding alphabet C or F purely tells us what the Sa or the root pitch has been chosen as, which can vary from singer to singer, need to need, song to song.

Playing the white keys on the keyboard or harmonium, starting from the C note gives the notes of Bilawal. While starting from the F note and playing the white keys gives Kalyan. The only note difference is in the 4th note.

To define the raga, the movement of notes from the original thaat are important. But when playing on an instrument, the notes used are the same, and won’t affect the scale whether you start with C or F and play the white keys or respective frets.

In the case of Rag Bhopali, since the Ma is absent, whether you start with C or F and play the needed white keys, it is the same scale with a different Sa.

When applying chords, please remember that the chords from The Lydian scale will have the #4th note while the major scale chords will have the perfect 4th note.

That is, the C major scale chords will have F note in it while the Kalyan/Lydian scale will have the F# note in it. Whether to use F or F# included chords be decided as you find suitable in a case to case basis.

More at Raga/Song chord resource – Chords for any Song, Raga, Melody or Phrase

Related posts:

1. How to play chords for Indian Raaga Kalyani using modes
2. Understanding South Indian Classical Music (Carnatic) Raga Mayamalavagowla – Interval structure, Basic analysis, Comparisons, Modes, Finding Chords
3. Chords for Raga Mayamalavagowla

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The Western scale equivalent of Raga Mayamalavagowla is the double harmonic major scale.

Notes of the Mayamalawagowla scale when C is the root: C Db E F G Ab B

Finding basic chords for ragas scales songs

Any phrase can be shortened enough and reduced to two prominent notes, based on which a chord can be found. It is also possible to include more notes from the phrase and find more exact chords.

Below we try to find out chords possible for the scale of Mayamalavagowla (at times referred to in this article as MMG or similar, since the name is pretty long!), phrase by phrase.

Let us start by finding chords for pair of notes,  the note C paired with each other note in the scale of Mayamalavagowla. The intention is to get familiar with the possible western chords and related raga notes, so that one has options to choose from and use in phrase situations. 

Follow similar logic to find chords for any song raga scale or phrase.

Notes paired with the root, C

C Db (Sa Ri)

We try to match the two notes with a pattern of a familiar chord.

C and Db are notes adjacent to each other, with no notes in between.

The major 7th note and the root note in a major 7th chord are adjacent notes. C would be the major 7th note and Db the root. So, the DbM7 chord (notes: Db F Ab C) is an example chord that has the both the C and Db notes and can be tried as a possible chord option. Interestingly, if we check the notes of the chord with the notes of the Mayamalavagowla scale (see beginning of the article), we see that all the notes in this chord are within the scale of the raga, which is good, because that means there is no possibility of any notes clashing in sound; safe chord.

The major 2nd note and the minor 3rd note in a Minor added 9th chord are adjacent notes. C will be the Major 2nd note and Db the minor 3rd note. When C is the major 2nd note, Bb is the root. So, the Bbmadd9 chord (notes: Bb Db F C) is another chord option with both the notes C and Db. The Bb note in the chord is not part of the Maayamalavagowla scale. So be careful to make sure that the chord is not clashing with any possible B note usage in the melody phrase.

C E (Sa Ga)

C major chord (notes: C E G) has all the notes within the MMG scale.

A minor chord (notes: A C E) is the other usual possible chord from within the C major scale chords, for the notes C and E. In the case of MMG, the A note can be changed to Ab, to give the Ab augmented chord (notes: Ab C E). Try both the Aminor and Aaug chords and decide if they suit the purpose.

Also, if the phrase has other notes, try adding those notes to the C major chord to get chords with more of the phrase notes.

C F (Sa Ma)

The F major chord (notes: FAC) is an option. Try it and make sure that the A note (not within the MMG scale) doesn’t clash with any notes in the phrase, especially if Ab note is used in the rest of the phrase.

Change the A note to Ab note and we have the Fminor chord (notes: F Ab C) which is a safe chord with notes only from the MayaMalawaGowla scale

C sus 4th chord (notes: C F G) is another option, all notes within the MMG scale.

C G (Sa Pa)

Since C is the root and G is the fifth note of the C scale, naturally the C major chord is an option for the notes C and G (Sa Pa) and so is the C minor chord. The raga mayamalavagoula scale is a major scale (presence of the major third note E instead of the minor third Eb), so try the C major chord first. But in phrases where the third note (E or Eb) is not specified or present, try the C minor chord too.

For some reason, it is found that the C minor chord does work emotionally, for some phrases for Mayamalavagowla, contrary to the major scale, hence major chord logic. Personal choice/ taste.

C Ab (Sa Dha)

The F minor chord (notes: F Ab C) is a minor chord with both the swaras, and all the notes from within the raga’s scale.

C B (Sa Ni)

C and B notes can be the Sa and Ni (Ni3 or big Ni or shuddh Ni) when C is the Sa.

B is the major 7th note when C is the root.

The C major 7th chord (notes: C E G B) has the notes of the C major chord and the additional B.

More note pairs and phrases from Mayamalavagoula

Ri Sa Dha (Db C Ab)

We have already looked at the possible chord options for Sa Ri and Sa Dha separately.

The DbM7 (notes: Db F Ab C) chord was seen as an option for Sa Ri. The same chord has Dha (note: Ab) also, hence a possible option for the given phrase.

F Db (Ma ri)

The notes Db and F are separated by a major 3rd interval. Add the Ab note (the 5th of Db) and we have the Db major chord (notes: Db F Ab).

E Db (Ga Ri)

The notes Db and E are separated by a minor third interval. Add the Ab note (the 5th note of Db) to get the Db minor chord (notes: Db E Ab)

F E (Ma Ga)

E and F are two consecutive notes: nearby keys or nearby frets. The E note is the major 7th note when F is the root.

Usually we can try the Major 7th chord. F major 7th (notes: F A C E) has both the notes E and F. C is the root of the scale. The note A is not within the scale. Still you can try the chord as long as it sounds appropriate and doesn’t clash with the melody especially if the Ab note is present in the extended melody.

If you change the A note to Ab note, in the FM7 chord, we get the FmM7 chord. The sound of the chord may prevent it from being used in all situations.

Ma Ga ri (F E Db)

It is a combination of the above two situations: Ma ri and Ga ri and Ma Ga.

Since these are three consecutive notes, it is alright to try a chord that suits two of the three, while the third one can be present in the melody. Try one of the three chords Dbmajor, Dbminor, FM7. I would finally choose the Db major chord since it sounds appropriate (probably also because it has the beginning and ending notes of the phrase).

Ma Ma Pa (F F G)

F and G notes can use the G7th chord (notes: G B D F). Try it on the phrase.

If there is enough time to play two chords, we could use separate chords for Ma and Pa.

• The Fminor chord, for example for the Ma note.
• The C major chord/ G7 or even C minor chord for the Pa. Try the C minor (I find it very emotionally suiting for the situation) even though technically C major is the safe chord for the scale.

Chords for Geethams: Malahari Geetham

Click to see the chords for the Malahari Geetham Padumanabha Paramapurusha written for the root D, using the same logic as above.

Here is the Pallavi:

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More chords for Geethams, Ragas, Scales, Melodies and Songs at Resource on how to play chords for any Song Raga Melody Phrase Scale.

Another chord example

The video below starts with chords similar to above, and then adds a few extra chords.

Related posts:

1. Chords for Raga Mayamalavagowla
2. Notes notes everywhere, where to play the C Major scale notes on guitar – string, fret and modes
3. Chords for Malahari geetams using simple minor and major chords only

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Raga bhairav-aroh chords (‘N S G M P G M, P G M (N)d, G M (N)d, (N)d N S’)

The full article with explanations, at Chords for Raga Bhairav and related Ragas

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Raga Bhairav Avarohana: N S’ (N)d N d P, P G M P G M (G)r S

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G M P G M (G)r, S, G M (N)d, d, P

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G M (n)d, (n)d, P, P G M (G)r, S

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Version: G M (N)d, (N)d, P, P G M (G)r, S

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Detailed, organized Chords for Indian ragas at Raga Chord Resources

Raga Bhairav

Raaga Bhairav has the same swara or note positions as the 15th Carnatic melakarta Raaga Mayamalavagoula.

Raga Bhairav has the same scale notes as the western Double Harmonic major scale. The double harmonic major scale has all the notes as the major scale with the 2nd and 6th notes flattened (reduced by one note – the shuddh notes become komal).

Raga Bhairav swaras be written as S r G M P d N, where:

•         ‘r’ represents the komal ri, minor 2nd interval
•         ‘d’ represents the komal dha, minor 6th interval
•         G M N are shuddh Ga Ma and Ni respectively (major 3rd, perfect 4th, major 7th)
•         P represents Pa, the 5th note.

The notes / swaras / intervals

Swaras

Carnatic: Sa Ri1 Ga3 Ma1 Pa Dha1 Ni3 Sa

Hindustani: All swaras shuddh except Ri and Dha.

Notes

When C is the root: C Db E F G Ab B C

When D is the root: D Eb F# G A Bb C# D

etc…

Intervals

Root – minor 2nd – major 3rd – perfect 4th – perfect 5th – minor 6th – major 7th – octave

Detailed ascend and descend patterns

•         Aroha: ‘N S G M P G M, P G M (N)d, G M (N)d, (N)d N S’
•         Avroha: N S’ (N)d N d P, P G M P G M (G)r S

Chords based on Arohana Avarohana of Raga Bhairav

Below we look at the Arohana and Avarohana of the Raag Bhairav and find chords for each by dividing them into manageable parts or pieces.

Raaga Bhairav arohana: ‘N S G M P G M, P G M (N)d, G M (N)d, (N)d N S’

‘Ni Sa Ga Ma Pa Ga Ma

Notes: B C E F G E F

The FM7add9 chord (notes: F A C E G) has F,E,C and G notes from the phrase.

The CM7add11 chord (notes: C E G B F) has the notes B C E F G from the phrase, therefore being a chord that has all the phrase notes.

The notes C F G gives the Csus4^th chord.

The Em add b9 chord (E minor added flat ninth chord notes: E G B F) has 4 of the notes.

Pa Ga Ma (Ni)dha G M (N)d

Notes: G, E F B Ab, E F B Ab

The F dim Chord (notes: F Ab B) has three of the notes in the phrase

The E add b9 chord (E added flat ninth chord notes: E Ab B F) has 4 of the notes in the phrase

The Em add b9 chord (E minor added flat ninth chord notes: E G B F) also has 4 of the notes.

(N)d N S’

Notes: B Ab B C

The E major chord (notes: E Ab B) has two of the notes in the phrase, plus the Ga note within the scale

Use the C major chord for the Sa note C.

The F minor chord (notes: F Ab C) has two of the phrase notes and the Ma note F.

Chords for Raga Bhairav Arohana Phrase Video

The chords and melody as an image at Raga Bhairav Chord Melody Arohana images

Raga Bhairav Avarohana: N S’ (N)d N d P, P G M P G M (G)r S

View or Download Chords for Raaga Bhairav Avarohan jpg

Raga Bhairav Phrases

G M P G M (G)r, S, G M (N)d, d, P

GMPGMG part has the same notes as a major scale – Major 3rd (Ga3), perfect 4th (Ma1) and Pa. The difference comes with the Ri (‘r’), since Raga Bhairav has the small Ri/ R1 (Komal Ri)/ minor 2nd while the major scale has a Shuddh Ri/R2/major 2nd.

G M

Notes: E F (when C is the root note – Sa)

The FM7 chord (chord notes: F A C E) has the notes E and F in it.

P G M

Notes: G E F

The Csus4 chord (chord notes: C F G) has the F and G notes in it. We have not included the E note of the phrase in the chord. This is alright, especially if the E note is not very prominent in the melody. Anyway, we don’t have to include all the melody notes in the chord; the melody note + the chord will give us a denser total chord variation.

Another possible chord you could try is, adding the F note to the C major scale.

For example when playing the C major scale with open strings in the first 3 frets of the guitar, the F note can be added on the first string 1st fret or 4th string 3rd fret. Below images show how they look on the fret board. Try them, and decide if you like it for the situation.

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(G) r

Notes: E C#

We have used the C# major chord (notes: C# F G#) for these two notes. One could try using the A major chord (notes: A C# E) which has both the melody notes in it.

S

The C major chord would be the most obvious option – being the root chord.

G M (N)d, d, P

Similarly one can find chords for the second part of the phrase. Below video shows the chords derived.

G M (N) d

Notes: E F B G#

The E major chord (chords notes: E G# B) has been used for this part of the melodic phrase. Only the F note from the melody has been omitted in the chord. The F note can also be added to the E major chord (on the 4th string on the guitar, for example)

d

The C# chord (notes: C# F G#) has been used when the ‘dha’  is repeated. The E major chord used before is ‘enough’ but variety or change is always welcome – like changing the context while keeping the idea the same.

P

The C major chord (chord notes: C E G), which is the basic chord from the root note Sa (when Sa is C), can be used for the Pa too.

Download or view the chord – melody as image

G M (n)d, (n)d, P, P G M (G)r, S

The small Ni, minor 7th note, Komal Ni is not a part of the Bhairav raaga usually, but in this phrase, the dha note is arrived to from the komal ni note.

G M

Notes: E F

The FM7 chord (notes: F A C E) is a possibility.

(n) d

Notes: Bb A#

The Bb7 chord (notes: Bb D F Ab) is a possibility, with all notes except the D note within the raga.

The Bbm7 chord (notes: Bb Db F Ab) has all the notes of the phrase and within the raga.

The Db6 chord (notes: Db F Ab Bb) is another chord with all the phrase notes.

P

The Em chord, the C major chord

P G M

PM (notes: GF) gives us the option of the Csus4 chord (notes: CFG).

(G)r

‘r’ the R1 note, minor 2nd note. Db note when C is the root.

The Db major chord (notes:Db F Ab) is an option with all notes within raga.

The A#m chord (notes: A# Db F) is another option with the Db note, though the A# note is not within the strict raga notes.

S

The C major chord.

The below video uses some of the chord options in one possible way. You can find your own ways of arranging the chords, following the basic logic.  Download or view as jpg

Version: G M (N)d, (N)d, P, P G M (G)r, S

If the same phrase had ‘N’ – the shuddh Nishad, major 7th note, the chords for the n-d part will change.

(N)d

Notes: B Ab

The E major chord (notes: E G# B) has both the notes of the phrase and all the notes are within the raga.

The Db6 chord above will become Db7 chord (notes:Db F Ab B) when the Bb note is changed to a B note.

Here are a few more usual phrases.

• G M (N)d, (N)d N S”, N S” (N)d N d P
• S G M P G M, G M (G)r, S r G M P
• S, (G)r (G)r S, (N’)d’ N’ S, N’ S G M, G M (G)r, S
• S r G M P, P G M (N)d, d, P, P GMPGM (G)r, r S
• G M (N)d, d, P, G M P d N S”, r” S” N S” (N)d, d, P

Detailed, organized (the full story starting from the basic logic) Chords for Indian ragas at Raga Chord Resources

Chords for more ragas in the Bhairav family

Chords for the following ragas can also be found in a similar manner, phrase by phrase, exact and safe, within the scale or with conscious additional notes.

All the following ragas are associated with the Bhairav family in one way or the other.

1. Raga Bairagi
2. Raaga Kshanika
3. Raga Anand Bhairav
4. Raga Saurashtra Bhairav
5. Raga Mangal Bhairav
6. Raga Bhatiyari Bhairav
7. Raga Ahir Bhairav
8. Raga Virat Bhairav
9. Raga Kabiri Bhairav
10. Raga Shivmat Bhairav
11. Raga Devata Bhairav
12. Raga Beehad Bhairav
13. Raga Prabhat Bhairav
14. Raga Bhavmat Bhairav
15. Raga Ramkali
16. Raga Roopkali
17. Ragas Hussaini Bhairav
18. Raga Bakula Bhairav
19. Raga Basant Mukhari
20. Raga Kaushi Bhairav
21. Raga Zeelaf
22. Raga Devaranjani
23. Raga Nat Bhairav
24. Raga Asa Bhairav
25. Raga Jaun Bhairav
26. Raga Gunakali/Gunakri
27. Raga Bhairav Bahar

Raga Jogiya

Let us find out chords for ragas which are similar to Raag Bhairav. Raag Jogiya has all the swaras of the Bhairav thaat plus komal nishad : (when C is the root) C Db E F G Ab B C + Bb (komal Ni)

Chord implications:

1. The komal Ni (minor 7th note) implies the possibility of the Cdominiant7th chord (the usual C7)with the notes: C E G Bb.
2. Use all the chords of Bhairav, but when the melody phrase has the komal Ni or minor 7th note or Bb note in it, make sure that the chord doesn’t have a B note, in case the two sounds (B and Bb consecutive notes) clashing is not desirable. You can do this by:
   1. avoiding chords with the B note while the melody phrase has the Bb note, or
   2. if a chord has the B note, change the B note to a Bb instead. For example, the C major 7th chord has the B note, which when flattened to the Bb note gives us the C7 chord mentioned above.

The Ma note is nyaasa, paused and important. We may encounter phrases where the Ma is important. So in case of doubt on which chord to choose, during phrases with Ma important, try the Ma important chords like (when C is the root) the F minor chord (notes: F Ab C, the chord based on the 4th note Ma, all notes from within the scale) or C# major chord (notes: C# F Ab, all notes from within the scale), C sus 4, G7(Especially when Ma and Pa are present) etc… See below for usage examples.

Example Raaga Jogiya phrases

M1 P D1 S”, S” (N2)D1 P, M1 P D1 N1 D1 M1, M1 R1 S

M1 P D1 S”

Notes: F G Ab C

FAbC is the Fminor chord. G note along with the F minor chord gives Fmadd9 (F minor added 9th chord)

S” (N2)D1 P

Notes: C B Ab G

The notes CAbG are in the Fmadd9 as found in the above phrase.

C G B note are found in the CM7 (C major 7th) chord.

M1 P D1 N1 D1 M1

Notes: F G Ab Bb Ab F (remember that Bhairav has B as the Ni, but Jogiya includes Bb note also as the Ni in some of its phrases)

F G Ab are included in the Fmadd9 chord.

Bb Ab F are included in the Fm11 chord. Fsus4 chord (notes: F Bb C) has two of the notes of the phrase.

Other Chords from the Raga phrase notes

The phrase is made of the notes: F G Ab Bb

If we need a chord that has all the notes, the Gm7b9 chord would be an example, with the notes:

• G(root)
• Bb(minor 3rd)
• D(5th – can be omitted)
• F(minor 7th)
• Ab (flat 9th)

The Fm11 chord is another example, which has the following notes:

• F(root)
• Ab(minor 3rd)
• C(fifth)
• Eb (minor 7th – maybe omitted, not in the raga nor phrase)
• G (9th)
• Bb (11th)

Other example options:

F Ab notes are in the Fm chord

G Bb notes in the G minor chord.

Ab and F in the F minor chord.

Try the chords, depending on how frequently you want to change chords within the phrase and also depending on which note or part of the phrase you want to base the chord on.

M1 R1 S

Note: F Db C

The Db Major 7th chord (notes: Db F Ab C) has the notes of the phrase and the extra note Ab is also from within the raga/scale.

Raga Kalingada

Another example of finding chords for Raga similar to or based on the Raga Bhairav family. Folk forms and bhajans may have elements of the raga Kalingada.

An example chalan (melodic pathway):

S r G M P, d P M P M G, M G r G

S r G M P

Notes: C Db E F G

C E G -> C major chord

C F G -> C sus 4 chord

All the notes together, is a major added 11th chord with a b9 note.

The notes Db F G and C can form another chord which sufficiently expresses the whole phrase. It is a C sus 4 chord with the b9 note. Maybe we could call it the susb9 chord (suspended flat 9th chord).

This is how one could play the chord on the guitar, with open strings:

1. C# – b9 note – 5th string
2. F – 4th note – 4th string
3. C – root – 2nd string,
4. E – major 3rd note – 1st/6th string
5. G – 5th note – 3rd string

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(the ‘1’ on top left of the image indicates 1st fret.)

d P M P M G

Let us divide the phrase into two parts using the ‘|’.

Notes: Ab G F G | F E

Chords for the phrase:

• Fm | C
• Fm2 | C
• G7 | C
• Fm2 | C with 4th note added (Cadd11)

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M G r G

Notes:  F E Db E

Db F Ab -> Db major chord, has two of the notes (F Db) of the phrase.

Db E Ab -> Db minor chord has two of the notes (E Db) of the phrase.

Try and use what suits.

The notes B and G could suggest the G major chord (notes: G B D, where D is not a note within the scale – try the chord and decide).

Based on the notes Ab and B, we get the Db7 chord (notes: Db F Ab B) which has all the notes within the scale of Bhairav (or Mayamalavagowla)

Choose a chord based on the sound you need.

Chords are based on the raga notes, regardless of the specific movements etc

Ragas Kalingda and Gouri of the Bhairav thaat use the same notes and therefore have the same family of chords to choose from. The melody player makes different ragas with the same group of notes, by playing the notes in different combinations, different ragangas, different usage of nyasa (which notes are paused) etc.

As a chord maker our job is to find chords that suit the notes.

Ragas that have the same notes will have the same group of chords to choose from, but depending on the difference in phrases, naturally some chords are more obvious choices than others for a particular raga.

Also, the notes that begin and end each phrase, the emphasized note, the paused note etc make the decision easier, distinguishing one raga from the other and thereby making some of the chords a better choice over the others.

Detailed, organized basics and step by step logic for Chords for Indian ragas at Raga Chord Resources

Once you are familiar with the C major scale position, start playing the Mayamalavagowla raga, which is the raga on which the basic lessons of Carnatic Indian classical are based.
Here is how to do this, by changing just two notes.
Remembering scale positions with reference to one basic scale – the major scale – so that you will have a unified perspective about how the different scales are connected.

String/Fret/Slides List for each Syllable of the Song (pdf)

To clear doubts, learn, get clarity, discuss: Join me for skype meetings/lessons

The first video below shows Marugelara O Raghava being played on the acoustic guitar using slides, hammer on’s and pull offs.

Excuse me for the unintended rhythmic sound in the background – my persistent old chair friend insisted on doing his part as long as I chose to sit on him. Will be making a recorded version of the same Carnatic song on guitar, where I will try to go solo without the chair.

The second and third videos show you how to play the Carnatic song on guitar, explaining the moves. I have decided to give away the complete instruction video for free here. Maybe later I may make available the tab and detailed videos and other material for a reasonable fee. (Why fee)

How to play the Carnatic moves on Guitar

Here are the videos to help you play the carnatic song Marugelara Oh raghava on the guitar (acoustic or electric):

Marugelara part 2 of the basic instruction video:

Note: What you can play on the acoustic guitar, you can on the electric guitar – at least when it comes to the ease of playing slides, hammer ons, pull offs etc. So if you want to play carnatic on the electric guitar, go ahead and please try it with no hesitation. The same frets, strings, fingering and playing techniques used to play carnatic on acoustic guitar will apply for carnatic on electric guitar too…

(A fee is better than fRee when it comes to learning stuff which needs persistence and practice. Given free, most of us won’t learn it – my close friends and acquaintances have proven that to me Image may be NSFW.
Clik here to view. . To be honest, playing this kind of songs on the guitar is not easy without continued effort. And a fee helps you make the commitment to see you through.)

Identify the pattern of notes used in a scale.
Either remember how many notes to skip or remember it as Tone Semi-tone or remember the swaras.
Use this information, start from any note on any string, play the pattern to get the scale for that particular note as the Root or Key.
Is it useful? This means that you don’t have to learn each scale, you have a better idea of what you are doing, you understand structures of music and the instrument much much better.