Asampurna Melakarta

Carnatic music
Tanjavur-style tambura
Concepts
Śruti Svara Rāga Tāḷa Mēḷakarta Asaṃpūrṇa Mēḷakarta
Compositions
Gītaṃ Svarajati Varṇaṃ Kr̥ti Kīrtana Rāgaṃ Tānaṃ Pallavi Tillana
Instruments
Melody Sarasvati Vīṇā Veṇu Nādasvaraṃ Goṭṭuvādyaṃ (Citra Vīṇā) Violin Percussion Mr̥daṅgaṃ Ghaṭaṃ Morsing Kanjira Thavil Drone Tambura Shruti box
Composers Glossary
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The Asampurna Melakarta (transliterated as Asaṃpūrṇa Mēḷakarta) scheme is the system of 72 ragas (musical scales) originally proposed in the 17th century by Venkatamakhin in his Chaturdanda Prakasikha.^[1] This proposal used scales with notes that do not conform to the sampurna raga system. Skipped notes or repeated notes, etc., were used in some of the ragas.^[1] Some of the ragas of any Melakarta system will use Vivadi swaras (discordant notes). The original system is supposed to avoid such ill-effects and was followed by the Muthuswami Dikshitar school. The naming of the original system followed Katapayadi system.^[1] Muthuswami Dikshitar's compositions use the name of these ragas in the lyrics of the songs and is still referred to by those names even in radio / TV announcements of these songs.

Later Govindacharya came up with a more mathematical and regular system of 72 ragas, which is currently considered fundamental ragas (musical scales) in Carnatic music (South Indian classical music). These melakarta ragas were sampurna ragas. Some of the names of the ragas had to be modified to fit into the Katapayadi system.