Sankarabharanam or DhiraSankarabharanam Ragam

DhiraSankarabharanam, commonly known as Sankarabharanam, is a raga in Carnatic music. It is the 29th melakarta raga in the 72 melakarta raga system of Carnatic music. Since this raga has many Gamakas (ornamentations), it is glorified as 'Sarva Gamaka maanika Rakti Ragam'.

By scale wise, the Sankarabharanam scale corresponds to Bilaval in the Hindustani music system. The Western equivalent is the major scale, or the Ionian mode. Hence this raga is one of the most popular scales across the world, known with different names in different musical styles.

Its nature is mellifluous and smooth. This raga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation.

mand or maand is the famous style of singing in Rajasthan. It is well recognized in classical circles and this style is very important in folk-songs of Rajasthan. This is neither accepted as a full-fledged Raga nor is it reckoned among the freely rendered folk songs. It is very near the Thumri or the Ghazal. It is the exclusive contribution of Rajasthani folklore to the classical music of India. It is the Rajasthan's most sophisticated style of folk music and is most exclusive contribution to the classical music of India. The basic format belongs to the folk tune of which is sung during festive occasions like birthday and marriages. The famous Rajasthani song Kesariya Balam is in the mand style. Some famous mand singers are: allah Jilai Bai from Bikaner, mangi Bai arya from Udaipur and last but not the least Gavari Bai (also known as Gavri Devi) from Jodhpur.

Credits: 

https://en.wikipedia.org/wiki/

Samkarabharanam scale with shadjam at C

It is the 5th raga in the 5th Chakra Bana. The mnemonic name is Bana-ma. The mnemonic phrase is sa ri ga ma pa da ni sa

Arohana: S R2 G3 m1 P D2 N3 S'

Avarohana: S' N3 D2 P m1 G3 R2 S

The notes in this scale are shadjam, chatushruti rishabham, antara gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam and Kakali Nishadam. as it is a melakarta raga, by definition it is a Sampurna raga. It is the Shuddha madhyamam equivalent of 65th melakarta raga Kalyani.

Due to the even spacing of svaras, many janya ragas can be derived from Sankarabharanam. It is one of the melakarta ragas that has high number of Janya ragas associated with it. many of the Janya ragas are very popular on their own, lending themselves to elaboration, interpretation and evoking different moods. Some of them are arabhi, atana, Bilahari, Devagaandhaari, Jana Ranjani, Hamsadhvani, Kadanakutuhalam, Niroshta, Shuddha Saveri, Pahadi, Purnachandrika, Janaranjani, Kedaram, Kurinji, Navroj, Sarasvati-manohari, Naagadhvani etc.

S R2 G3 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 P D2 N3 S'   

S' N3 D2 P G3 R2 S

S R2 m1 P D2 S

S R2 m1 P D2 S'   

S' N3 D2 P m1 G3 R2 S

S D2 P m1 G3 R2 S

S R2 m1 P N2 S'   

S' N2 D2 P m1 G2 m1 R2 S

S R2 G3 m1 P m1 R2 P S'  

S' N3 P m1 R2 G3 m1 R2 S

S G3 R2 G3 m1 P D2 P S'  

S' N2 D2 P m1 G3 R2 S

S G3 m1 P N3 D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 m2 P D2 N3 S'   

S' N3 D2 P m2 m1 G3 R2 S

S R2 G3 P D2 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 S P S'   

S' P m1 G3 R2 S

S R2 G3 m1 P S'   

S' N3 P m1 G3 m1 R2 S

S P m1 P D2 P N3 R2 S'   

S' D2 P m1 P D2 P G3 m1 R2 S

S R1 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 R1 S

S R2 m1 P D2 S'   

S' N3 D2 P m1 G3 R2 S

S m1 P D2 N3 S'   

S' N3 D2 P m1 S

S R2 m1 P D2 S'   

S' N3 D2 P m1 G3 R2 S

S R2 m1 G3 m1 N3 P D2 S'   

S' N3 D2 P m1 P m1 G3 R2 S

S R2 G3 m1 P D2 N3 S'   

S' D2 P G3 R2 S

S R2 m1 P D2 S'   

S' N3 m1 G3 R2 S

S R2 G3 P N3 S'   

S' N3 P G3 R2 S

S R2 G3 m1 D2 N3 S'   

S' N3 D2 m1 G3 R2 S

N3 S D2 N3 S G3 G3 m1 D2 N3 S'  

S' N3 D2 P m1 G3 R2 S

S G3 m1 P N3 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 P D2 P N3 S'   

S' D2 P m1 R2 S

P D2 N3 S R2 G3 m1 P   

m1 G3 R2 S N3 D2 P m1

S G3 m1 D2 N3 S'   

S' N3 D2 m1 m1 G3 m1 R2 S

S R2 G3 m1 P m1 D2 N3 S'  

S' N3 S D2 P m1 G3 m1 G3 m1 R2 S

S R2 m1 D2 N3 G3 P S'   

S' N3 D2 P m1 G3 R2 S

S m1 G3 m1 P N3 S'   

S' N3 P m1 G3 R2 S

S R2 G3 m1 P D2 N3 S'   

S' N3 P m1 G3 m1 R2 S

S P m1 G3 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

S N3 S R2 G3 m1 P D2   

D2 P m1 G3 R2 S N3 S

S G3 R2 G3 m1 P N3 P D2 N3 S'   

S' D2 N3 D2 m1 G3 P m1 G3 R2 S

S R2 m1 N3 D2 P N3 S'  

 S' N3 D2 P m1 G3 R2 S

S R2 G3 P D2 S'   

S' D2 P m1 G3 R2 S

S G3 m1 D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 P D2 N3 S'   

S' N2 P m1 P G3 m1 R2 S

S R2 G3 P D2 S'   

S' N3 P D2 P G3 R2 S

S R2 m1 P D2 N3 S'   

S' D2 P m1 R2 S

S R2 S m1 G3 m1 P N3 D2 N3 S'   

S' N3 D2 N3 P m1 G3 S

S R2 m1 G3 R2 G3 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

P D2 N3 S R2 G3 m1 P   

m1 G1 R3 S N2 D2 P

S R2 G3 m1 P D2 P N3 S'   

S' N3 P m1 G3 R2 G3 S

S R2 G3 D2 N3 S'   

S' N3 D2 G3 R2 S

S R2 G3 P D2 P D2 S   

N3 D2 P G3 m1 G3 R2 S N3 D2 P D2 S

S R2 G3 m1 P D2 P S'   

S' N3 P m1 R2 G3 m1 R2 S

S R2 G3 m1 P N3 D2 N3 P D2 N3 S'   

S' N3 D2 N3 P m1 G3 R2 S

S G3 R2 G3 S R2 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 P S'   

S' P m1 G3 R2 S

S G3 m1 P D2 N3 S'   

S' N3 D2 P m1 G3 S

S R2 m1 P D2 N3 S'   

S' N3 D2 P m1 R2 S N3 S

S G3 P S'   

S' N3 D2 P G3 P R2 G3 S

S R2 G3 m1 P D2 N3 S'   

S' N2 D2 P m1 G3 R2 S

S R2 G3 P N3 D2 S N3   

S D2 P G3 R2 S

S G3 P N3 S'   

S' N3 P G3 S

S m1 P D2 S'   

S' N3 D2 m1 P m1 G3 R2 S

S R2 G3 m1 P S'   

S' N3 D2 P G3 m1 P m1 R2 S

S R2 G3 m1 P N3 S'   

S' D2 N3 P m1 G3 R2 S

S R2 G3 m1 P D2 N3 D2 S'   

S' D2 P m1 R2 G3 R2 S

S R2 m1 P D2 S'   

S' D2 P m1 R2 S

S R2 G3 m1 P N3 S'   

S' N3 D2 N3 P m1 G3 S

S R2 G3 P D2 N3 S'   

S' N3 D2 P G3 R2 S

S G3 P R2 m1 D2 S'   

S' N3 D2 P m1 G3 R2 S

S G3 P D2 N3 S'   

S' N3 D2 P G3 S

S R2 G3 m1 P D2 N3 S'   

S' N3 D2 N3 D2 P m1 P G3 m1 R2 S

 S R2 m1 P N3 S'   

S' D2 P m1 R2 S

S G3 m1 P N3 S'   

S' N3 P m1 G3 S

Veerapratapa   

S G3 m1 P D2 S'   

S' N3 D2 P m1 G3 R2 S

S R2 G3 m1 P N3 S'  

S' N3 P m1 G3 R2 S

Tamil Film Songs

Tamil Film Songs in Janya 2:Ragam maand

1. maasila Nilave (Ragamalika:maand,Khambodhi,Punnagavarali)
2. ambikapathy - G. Ramanathan - T. m. Soundararajan, P. Bhanumathi
3. Ulavum Thendral - manthiri Kumari - Thiruchi Loganathan, Jikki
4. aaduvome Pallu Paaduvome - Naam Iruvar - R. Sudarsanam - D. K. Pattammal
5. aayiram Kan Podhadhu - Paavai Vilakku - K. V. mahadevan - C. S. Jayaraman
6. Oru Naal Podhuma - Thiruvilaiyadal - m. Balamuralikrishna
7. Kumari Pennin - Enga Veettu Pillai - Viswanathan Ramamoorthy - T. m. Soundararajan, P. Susheela
8. Nenjam marappathillai - Nenjam marappathillai - P. B. Sreenivas, P. Susheela
9. azhage Vaa - aandavan Kattalai - P. Susheela
10. aayiram Penmai malaratume - Vaazhkai Padagu
11. aayiram Pookkal - aayiram Pookkal malarattum - V.S.Narasimhan
12. Kadhal Enbathu - Naalai Namadhe - m. S. Viswanathan - K. J. Yesudas, P. Susheela
13. Naan Endral adhu avalum - Suryagandhi - S. P. Balasubrahmanyam, J. Jayalalithaa
14. Nadanai Kandeanadi (Ragam kathanakuthuhalam touches in charanam)
15. Rajaraja Cholan - Kunnakudi Vaidyanathan - P. Susheela,B. Radha
16. Raasaave Unna Naan Ennithan - Thanikattu Raja - Ilayaraja - S. P. Sailaja
17. Kungumam Thaane Oru Pennukku - Raja Enga Raja
18. Chellapillai Saravanan - Penjenmam - K. J. Yesudas, P. Susheela
19. Kuyiley Kuyiley - Pulan Visaranai - K. J. Yesudas, Uma Ramanan
20. Yele Ilankiliye & Singara Cheemaiyile - Ninaivu Chinnam - P. Susheela(ver 1), Ilayaraja(ver 2)
21. Dhoori Dhoori - Thendral Sudum - S. Janaki, Yuvan Shankar Raja, Bhavatharini, P. Susheela(Pathos)
22. Vanna Chindhu - Koyil Kaalai - mano, S. Janaki
23. adichen Kadhal Parisu - Ponmana Selvan - mano, K. S. Chitra
24. machan Un machini - Raman abdullah - malgudi Subha
25. Chinna Kuyil Paadum Pattu - Poove Poochooda Vaa - K. S. Chitra
26. Vaanaththil Irunthu (Ragamalika:mohanam,maand)
27. Vellaiya Thevan - arunmozhi, Uma Ramanan
28. Sinagarama Nalla (in charanam)
29. Periya marudhu - Uma Ramanan
30. aalappol Velappol (Ragam Shankarabharanam touches also)
31. Ejamaan - S. P. Balasubramaniam, K. S. Chitra
32. anjali anjali - Duet - a. R. Rahman
33. maanooththu manthaiyile - Kizhakku Cheemayile - S. P. Balasubrahmanyam, Sasirekha
34. Sowkiyama Kannae - Sangamam - Nithyashree mahadevan
35. Swasame Swasame (Ragamalika:Kedar/Hamirkalyani,maand)
36. Thenali - S. P. Balasubrahmanyam, Sadhana Sargam
37. Khwaja Endhan Khwaja - Jodhaa akbar - a. R. Rahman
38. aye mr.minor! - Kaaviya Thalaivan - Shashaa Tirupati, Haricharan
39. maya maya - Sarvam Thaala mayam - Chinmayi
40. O meghame - Chinna Chinna aasaigal - Chandrabose - K. J. Yesudas, Vani Jairam
41. Sathi malli Poocharame - azhagan - maragadha mani - S. P. Balasubrahmanyam
42. marakamudiyavillai - Jaathi malli - S. P. Balasubrahmanyam, K. S. Chitra
43. Paithiyamaanene - Kadal Pookkal - Deva - Harini, P. Unnikrishnan
44. Putham Pudhu malargal - Kaalamellam Kadhal Vaazhga - K. S. Chitra
45. Kaddu Thirande Kidakinrathu - Vasool Raja mBBS - Bharadwaj - Hariharan, Sadhana Sargam
46. Narayana Narayana - Ramanujan - Ramesh Vinayakam - Vani Jayaram, Karthik Suresh
47. Sandana Poongatrae - azhagiya Theeye - Lavanya, Ramesh Vinayakam
48. Yaaroodum - Sollakkathai - Chinmayi, Ramesh Vinayakam
49. Un Kannanguzhiyil - Thittam Irandu - Satish Raghunathan - Karthika Vaidyanathan

Sankarabharanam has been decorated with compositions by almost all composers. a few of the compositions are listed here.

Chalamela,a popular adathaalavarnam by maharaja Swathi Thirunal in Telugu

Nrityati Nrityati By Swati Thirunal

Eduta Nilacite, Bhakti Bhik?amiyave, maryada Kadura, Svararagasudharasa, SundareSvaruni, manasu Svadhinamaina and Emduku Peddalavale by Tyagaraja in Telugu.

Samkarabharanam's notes when shifted using Graha bhedam, yields 5 other major melakarta ragas, namely, Kalyani, Hanumatodi, Natabhairavi, Kharaharapriya and Harikambhoji. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the raga. Refer table below for illustration of this concept.

Notes on above table

C as the base for Samkarabharanam is chosen for above illustration only for convenience, as Carnatic music does not enforce strict frequency/note structure. The shadjam (S) is fixed by the artist as per the vocal range or the instrument's base frequency. all the other svarams are relative to this shadjam, falling into a geometric progression-like frequency pattern.

The 7th Graha bhedam of Samkarabharanam has both madhyamams (ma) and no panchamam (Pa) and hence will not be considered a valid melakarta (raga having all 7 swarams and only 1 of each). This is only a classification issue with respect to melakarta scales, while this structure could be theoretically used well to create good music.

The swaras are regularly spaced in these ragas. Hence these six ragas give very good melody, scope for elaboration, experimentation and exploration of phrases. In practice, Natabhairavi is not elaborated extensively much. Harikambhoji is taken up for elaboration, but not as much as the rest of the 4 ragas, namely, Samkarabharanam, Todi, Kalyani and Kharaharapriya. One of these 4 ragas is sung as the main raga in a concert quite often.

As can be seen in the illustration, these ragas can be played using just the white keys of a piano/ organ/ keyboard