A Little Shubhap in Your BeBop?
Melakarta #45 - Shubhapantuvarali
In this post we'll take a look at Melakarta #45 - Shubhapantuvarali (that's shoo-bop pahn-too-vah-rahlly....no really!). "Shubhap" (for short) has the same tonal DNA as another Melakarta, namely, #36 - Chalanata, which is the subject of an earlier post. It might be helpful to check that out for some pertinent background info, as well as any of the other posts in this category (hey, why not? - they're FreeB's).
Due to the process known as graha bedham, which changes the śruti, or tonic, of a scale (Melakarta) to a different note within that scale, Melas #36 and #45 have the same tonal makeup, with each containing the exact same interval relationships. Only the starting point is different in each case.
This is the same type of relationship found between, for example, the Major scale and any of its modes (Dorian, Phrygian, etc.) - same 7 scale tones; different tonic.
As with the other posts on the subject, the objective here is to investigate the usage of these Carnatic (South Indian) Melakartas (there are 72 in all), as one would treat any 7 note western scale - as a melodic improvisational tool.
Due to the process known as graha bedham, which changes the śruti, or tonic, of a scale (Melakarta) to a different note within that scale, Melas #36 and #45 have the same tonal makeup, with each containing the exact same interval relationships. Only the starting point is different in each case.
This is the same type of relationship found between, for example, the Major scale and any of its modes (Dorian, Phrygian, etc.) - same 7 scale tones; different tonic.
As with the other posts on the subject, the objective here is to investigate the usage of these Carnatic (South Indian) Melakartas (there are 72 in all), as one would treat any 7 note western scale - as a melodic improvisational tool.
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