Study Fig. 6-11, the “Melakarta system showing raga scales” (WOM, p. 286). Note how different raga scales can be created by following the lines from left to right that connect the possible scale tones. While sa (the tonal center) and pa (the perfect fifth above the tonal center) are fixed and do not vary, the other scale degrees—ri,

ga, ma ,da, ni—each has two or three possibilities depending upon the scale degree and the chosen form of the scale degree. Different forms of the scale degrees are created by lowering or raising the scale degrees in half-step increments. (You may be familiar with the similar manner of creating different forms of a minor scale in the Western music culture by raising or lowering the sixth and/or seventh scale degrees.)
Write the names of each scale degree of the basic “parent” scale.

What will be an ideal response?

• sa ri ga ma pa da ni (sa)

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Playing Melakarta Scales on the Guitar
On the guitar you can "read" the chart in the following way: C = open string,
Db = 1^st fret, D = 2^nd fret, D# /Eb = 3^rd fret, E = 4^th fret, F = 5^th fret, F# = 7^th fret, G = 8^th fret, Ab = 9^th fret, A = 10^th fret, A#/Bb = 11^th fret.
Open D tuning – from the bottom string:
Low E down to D;
A & D remain unchanged from normal guitar tuning
G & B up and down respectively to unison A
High E down to D
will enable you to play raga scales on the strings tuned to D and strum drone notes. __________________________________________________________________