Nata (raga)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Nata" raga – news · newspapers · books · scholar · JSTOR (July 2020) (Learn how and when to remove this message)

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
v t e

Nata (nāṭa), also known as Nattai, is a rāgam in Carnatic music (musical scale of South Indian classical music), sometimes spelled Nattai. It is a janya rāgam (derived scale) from the 36th melakarta scale Chalanata. It is a janya scale, as it does not have all the seven swaras (musical notes) in the descending scale. It is a combination of the sampurna raga scale Chalanata and the pentatonic scale Gambhiranata.^[1][2] It is an auspicious raga, which is mostly sung in the early part of the concert.^[1]

There is a raaga named Nata in Hindusthani music as well, and another raaga named Shuddha Nat. But they are sung rarely, and have no association with the Nattai of Carnatic Music.^[3] The closest comparable raga to be the Hindustani equivalent of Carnatic Nattai, is the Raga "Jog", which is believed to be a derivative of the Kafi Thaat.

Nata is an ASYMMETRIC rāgam that does not contain gandharam and dhaivatam in the descending scale. It is an sampurna-audava rāgam (or owdava rāgam, meaning pentatonic descending scale).^[1][2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:

• ārohaṇa : S R₃ G₃ M₁ P D₃ N₃ Ṡ^[a]
• avarohaṇa : Ṡ N₃ P M₁ R₃ S^[b]

It is a vivadi raga. The notes used in this scale are shadjam, shatsruthi rishabham, antara gandharam, shuddha madhyamam, panchamam, shatsruthi dhaivatam and kakali nishadham in ascending scale, with dhaivatam and gandharam skipped in descending scale. For the details of the notations and terms, see swaras in Carnatic music.

There are many compositions set to Nata rāgam. Many compositions in praise of Lord Ganesha are set to this raga.^[1] Here are some popular kritis composed in this ragam.

• Sri Rajadhiraja (Tanavarnam)
• The first Pancharatna Kriti Jagadananda karaka and Ninne Bhajana by Tyagaraja
• Mahaganapathim, Swaminatha paripalaya, Parameswara and Pavanathmajaagachcha by Muthuswami Dikshitar
• The first Thiruppavai Margazhi Thingal by Andal
• Paahi Saure and Jaya Devaki Kishora by Swathi Thirunal
• Umaiyor Bhagane by Papanasam Sivan
• Veda Mathe Veda Vinuthe by Muthiah Bhagavathar
• Pahi Nikhila Janani by Irayimman Thampi
• Sarasijanabha Mam Pahi by Palghat Parameswara Bhagavathar
• Sri Mahaganapathe Surapathe by Mayooram Viswanatha Sasthri
• Kamalambike Mamava Sada by Jayachamarajendra Wodeyar
• Karimukhavarada by G. N. Balasubramaniam
• Sri Gajanana, Sri Padmanabham, Pranathosmi Devam and Re Re Manasa by Thulaseevanam
• Sri Gananatha by Pallavi Sesha Iyer
• Tanthi Ma Mukha by Koteeswara Iyer
• Suryakodi Mamaprabhamakudei by Kutti Kunju Thankachi
• Namo Namo Raghukulanayaka by Annamacharya
• Jaya Jaya Janaki (1st Navaratna Malike), Vandisuvudadiyali by Purandaradasa
• Ananda Nartana Ganapathim by Oothukkadu Venkata Kavi
• Sidhi Arul Siva Sakthi Balagane by Nilakanta Sivan

This section covers the theoretical and scientific aspect of this rāgam. chalanattai