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Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c15.s1: Appendix 1

Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c15.s1

Language
English

Appendix 1

c15.s1.1

Eleven Composite Jātis (modes).

c15.s1.2

According to Dattila (Trivandram Edition, No. CII, 1930, p 5, 49-54). The data of this text, if not the text itself, may be as early as second century A D

c15.s1.3

| Names. | Component Jātis. |
| 1 Sadja-Madhyamā | Sadjā, Madhamā |
| 2. Sadja-Kaiśikī | Sadjā, Gāndhārī |
| 3. Sadjodicyavatī | Sadjā, Gāndhārī, Dhaivatī. |
| 4. Gāndharodīcyavā | Sadjā, Gāndhārī, Madhyamā, Dhaivatī |
| 5 Madhyamodīcyavā | Gāndhārī, Madhyamā, Pancamī, Dhaivatī. |
| 6. Rakta-Gāndhārī | Gāndhārī, Madhamā, Pancamī, Naisādī. |
| 7. Āndhrī | Gāndhārī, Ārsabhī. |
| 8 Nandayantī | Gāndhārī, Ārsabhī, Pancamī. |
| 9. Kārmāravī | Gāndhārī, Nisādī (*). |
| 10. Gāndhāra-Pancamī | Gāndhārī, Pancamī. |
| 11. Kaiśikī | Sadjā, Gāndhārī. Madhyamā Pancamī, Nisādī. |

c15.s1.4

* “Sa-nisādastu gāndhāryah kuryu kārmāravīmimāh” 53

c15.s1.5

The text differing from Bharata & Śārangadeva, appears to suggest that Kārmāravī is a composed of two modes:—Gāndhārī & Nisādī.

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