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Atana
Mela29th, Shankarabharanam
ArohanamS R₂ M₁ P N₃ Ṡ
AvarohanamṠ N₃ D₂ P M₁ P G₃ R₂ S
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Atana, Athana or Adana (अठाण / अठाणा / अडाणा) is a raga (musical scale) in Carnatic music (South Indian classical music). It is a Janya raga (derived scale), whose Melakarta raga (parent, also known as janaka) is the 29th Melakarta Sankarabharanam, 29th raga, commonly known as Dhirasankarabharanam in the Melakarta system. There is also a Hindusthani raaga named Adana (अडाणा), however, it is unrelated.

Atana is very common in drama music. The note structures include, "Sadja, Chatusruti Rishabha, Suddha Madhyama, Pancama, Chatusruti Dhaivata, Kaisiki Nishada and as a rare feature, Kakali Nishada in descent."[1]

It is considered to be a very catchy raga that gives a stage flavor for a musician when everything is going dull in a concert. It stimulates the audience by its qualities of Veeram (courage).[2]

Structure and Lakshana

[edit]
Parent scale Shankarabharanam with Shadjam at C

Atana is one of those rare organically developed Raga where it doesn't adhere to strict ascending and descending order but has phrases which are used in interwoven patterns in its improvisation. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

The swaras used are chatushruti rishabham, antara gandharam, shuddha madhyamam, chatushruti daivatam and kakali nishadam. Atana is a bhashanga raga (kind of raga where the arohana and avarohana are not strictly followed). That is, it has two anyaswaras (alien notes; foreign swaras).[2] They are sadharana gandharam (G2) and kaishiki nishadham (N2).[2]

[edit]

Here are some more compositions set to Atana.

Type Composition Composer Tala
Kriti Amba Nee Irangayenil Papanasam Sivan Adi
Kriti Sri Rama Nama Papanasam Sivan Adi
Kriti Kannan Maligaikke Papanasam Sivan Adi
Kriti Atla Palukuduvu Thyagaraja Adi
Kriti Amma Dharmasamvardhani Thyagaraja Adi
Kriti Mumoorthulu Gummi Thyagaraja Adi
Kriti Rara Raghuveera Thyagaraja Adi
Kriti Rama Namamu Janma Thyagaraja Adi
Kriti Kattu Jesinaavu Thyagaraja Adi
Kriti Chedebuddhi Maanura Thyagaraja Adi
Kriti Sita Lakshmana Sahitham Thyagaraja Adi
Kriti Ye Papamu Jesitira Rama Thyagaraja Khanda Chapu
Kriti Narada Gana Lola Thyagaraja Adi
Kriti Bhajana Seya Rada Thyagaraja Rupaka
Kriti Sripa Priya Sangitopasana Thyagaraja Adi
Kriti Ela Nee Daya Radu(Balakanakamaya) Thyagaraja Adi
Kriti Ilalo Pranatarthi Harudanuchu Thyagaraja Adi
Kriti Anupama Gunaambudhi Thyagaraja Khanda Chapu
Kriti Herambaya Namaste Muthuswami Dikshitar Rupakam
Kriti Shri Madhurambikaya Rakshithoam Muthuswami Dikshitar Misra Chapu
Kriti Brihaspate Tara Pate Muthuswami Dikshitar Tisra Triputa
Kriti Sri Vaidyanatham Bhajami Muthuswami Dikshitar Adi
Kriti Mahalingeshvaraya Namaste Muthuswami Dikshitar Adi
Kriti Sri Dakshinamurthim Sada Muthuswami Dikshitar Khanda Eka
Kriti Vamankaya Sthithaya Muthuswami Dikshitar Khanda Eka
Kriti Thyagarajo Virajate Maharaja Muthuswami Dikshitar Rupakam
Kriti Kulukaga Nadavaro Kommalaala Annamacharya Adi
Kriti Kadiri Nrusimhudu Annamacharya Adi
Kriti Sakala Graha Bala (5th Navaratna Malike) Purandara Dasa Khanda Chapu
Kriti Bagilanu Teredu Kanakadasa Khanda Chapu
Kriti Sri Rama Namame Bhadrachala Ramadasu Adi
Kriti Madhura Madhura Venugitam Uttukadu Venkata kavi Adi
Kriti Brindha Mallikabharana Uttukadu Venkata kavi Rupaka
Padam (Telugu) Evate Thalunamma Kshetrayya Misra Chapu
Padam (Telugu) Dakkithinante Kshetrayya Misra Chapu
Padam (Tamil) Thiruvottriyur Thyagarajan Ghanam Krishna Iyer Roopakam
Padam (Tamil) Summa Summa Varuguma Sugam Ghanam Krishna Iyer Adi
Padam (Tamil) Ariven Ayya Ghanam Krishna Iyer Adi
Varnam Sarasijanabha Kim Swathi Thirunal Adi
Padam (Malayalam) Kantha Thava Pizha Swathi Thirunal Adi
Padam (Telugu) Valapu Thalavasama Swathi Thirunal Misra Chapu
Padam (Sanskrit) Sadhu Jane Swathi Thirunal Roopakam
Kriti Sarasayata Lochana Swathi Thirunal Adi
Kriti Sri Kumara Nagaralaye Swathi Thirunal Adi
Bhajan Sumarana Kar Swathi Thirunal Adi
Kriti Karunasagara Mayavaram Vedanayagam Pillai Adi
Kriti Ishanin Porpadha Mayavaram Vedanayagam Pillai Adi
Kriti Maname Nee Maravadhe Mayavaram Vedanayagam Pillai Adi
Kriti Shri Mahaganapatim Bhajeham Jayachamaraja Wodeyar Bahadur Adi
Kriti Vaachaama gocharundani Mysore Sadasiva Rao Adi
Kriti Parama Pavani Annaswamy Sastri Adi
Kriti Tirumal Nam Perumal Manachanallur Giridharan Aegam
Tillana Tillana Composition Nallan Chakravartula Krishnamacharyulu Adi
Kriti Pranamamyaham Shiva Parvathi Sutham Hari Sundareswara Sharma Adi
Kriti Hariyum Haranum M. D. Ramanathan Adi

Film Songs

[edit]

Language:Tamil

[edit]
Song Movie Composer Singer
Varugiraal Unnai Thedi Thanga Padhumai Viswanathan–Ramamoorthy M. L. Vasanthakumari, Soolamangalam Rajalakshmi
Kathavai Saathadi Ratha Kanneer C. S. Jayaraman M. L. Vasanthakumari
Thillana Dance Krishna Bhakthi S. V. Venkatraman P. A. Periyanayaki
Yaar Tharuvar Intha Ariyasanam Mahakavi Kalidas K. V. Mahadevan T. M. Soundararajan
Mayangugiraal Pasamalar Viswanathan–Ramamoorthy P. Susheela
Baala Kanakamaya Salangai Oli Illayaraja S. Janaki
Yaaradhu Yaro Yaro Yathumaagi James Vasanthan Belli Raj,Srimathumitha

Tamil Serials

Yamuna nadhiyin sooriya thogai Dheerga Sumangali 2005-2006 Abinaya Creations


Language : Telugu

[edit]
Song Movie Composer Singers
Joharu Sikhipincha maulee Sri Krishna Vijayamu Pendyala (composer) P. Susheela
Oho bangaaru pichukaa Bangaru Pichika K. V. Mahadevan S. P. Balasubrahmanyam
Bala Kanakamaya Chela Sagara Sangamam Ilaiyaraaja S. Janaki


Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Atana

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Atana is a prominent janya raga in Carnatic music, the classical music system of South India, derived from the 29th melakarta raga Sankarabharanam, and classified as an audava-sampurna scale with a vakra (zigzag) avarohana that incorporates anya swaras (extraneous notes) such as G3 and D2, rendering it a bhashanga raga. Its arohana (ascending scale) consists of the notes Sa Ri2 Ma1 Pa Ni3 Sa, employing chatusruti rishabha, shuddha madhyama, and shuddha nishada from the parent scale, while the avarohana (descending scale) is Sa Ni3 Sa Da2 Pa Ma1 Ri2 Ga3 Ri2 Sa, introducing the vakra phrasing and foreign notes for expressive depth. This structure allows Atana to evoke a stimulating and devotional mood, often described as energetic and valour-inspiring, making it suitable for both kritis (compositions) and alapana (improvisation). Atana features several notable compositions by Thyagaraja, such as "Ela Nee Dayaradu" and "Anupama Gunambudhi", highlighting its emotional depth and expression. The 's gamakas (oscillations) on key notes like Ri2 and Ni3 enhance its melodic contour, contributing to its popularity in concerts and adaptations in film music.

Overview and Classification

Etymology and Definition

Atana, also spelled Athana or , is a janya raga, or derived melodic scale, in South Indian classical music, originating from the 29th raga known as Shankarabharanam. It is characterized as an audava-sampurna raga, incorporating five notes in its ascending progression and all seven notes in its descending progression. The evokes the veera rasa, a sentiment of valor, courage, and heroism, while also capable of conveying through its expressive potential. Historically, Atana has evolved organically in as a rakti raga, or one with strong appeal, not rigidly confined to linear scalar movements, and it appears in treatises from the onward, such as those by Venkatamakhin, gaining further prominence through compositions in the 19th and 20th centuries.

Parent Scale and Janya Status

Atana is a janya raga derived from the 29th raga, Shankarabharanam, which follows the scale S R₂ G₃ M₁ P D₂ N₃ S'. This parent scale, also known as Dheerasankarabharanam in some classifications, serves as the foundational framework for Atana, providing the core structure while allowing for derived variations. As a janya raga, Atana holds bhashanga status, meaning it incorporates anya swaras—foreign notes outside the strict parent scale, such as Kaisiki Nishada (N₂) or Kakali Nishada—to enhance its melodic identity. This classification distinguishes it from upanga janyas, which adhere solely to the parent's swaras, and reflects Atana's flexibility in rendering, where these external notes introduce subtle deviations for expressive depth. Atana further qualifies as an audava-sampurna vakra raga, featuring a pentatonic (audava) ascent and a complete heptatonic (sampurna) descent, with vakra prayogas—non-linear, phrasing—particularly evident in the avarohana. The vakra nature arises from these circuitous note progressions, which deviate from straightforward scalar movement, adding structural intricacy. In comparison to its parent Shankarabharanam, Atana achieves simplification by omitting select notes in its primary ascent, streamlining the melodic flow, yet it counters this with added complexity via the bhashanga anya swaras and vakra elements, creating a distinct identity that balances accessibility with elaboration.

Musical Structure and Lakshana

Arohana and Avarohana

The of Atana follows a pentatonic structure with the ascending sequence S R₂ M₁ P N₃ Ṡ, presenting a straight, linear progression that excludes the and dhaivata swaras to emphasize its audava (five-note) character in ascent. This configuration derives from its parent , Shankarabharanam, but simplifies the scale for a focused melodic flow. In contrast, the avarohana employs a heptatonic descent: Ṡ N₃ D₂ P M₁ P G₃ R₂ S, incorporating all seven swaras with vakra (zigzag or non-linear) elements, particularly the repetition of the panchama () after madhyama to provide rhythmic emphasis and melodic contour. This structure introduces the omitted swaras from the arohana, creating a fuller, more intricate return to the tonic. The notation adheres to standard Carnatic conventions, where S denotes Shadjam (the tonic), R₂ Chatushruti Rishabham (a variable rising note), M₁ Shuddha (natural madhyama), P Panchamam (invariant fifth), N₃ Kakali Nishadam (sharp nishada), D₂ Chatushruti Dhaivatham (variable descending note), and G₃ Antara Gandharam (high gandhara); the dot over Ṡ indicates the upper Shadjam. A defining feature of Atana's scale is the flexibility beyond rigid linear adherence, enabling performers to interweave phrases and explore vakra movements, such as oscillating around the repeated panchama, to evoke its devotional essence.

Swaras and Anya Swaras

In the raga Atana, the primary swaras consist of Shadja (S), Chatushruti Rishabham (R₂), Antara Gandharam (G₃), Shuddha Madhyamam (M₁), Panchamam (P), Chatushruti Dhaivatam (D₂), and Kakali Nishadam (N₃). These notes form the core melodic foundation of the raga, derived from its parent melakarta Shankarabharanam, and are employed to evoke a sense of devotion and grandeur. Atana is classified as a bhashanga raga due to the inclusion of anya swaras, or foreign notes, which are Sadharana Gandharam (G₂) and Kaisiki Nishadam (N₂). These anya swaras are used sparingly to introduce subtle variations and add expressive color to the raga's texture, particularly enhancing its emotional depth in select melodic contexts. G₂ typically appears in the avarohana, while N₂ may feature in the , but both are avoided in prominent positions to preserve the raga's characteristic purity. In terms of scale degrees relative to a tonic of C in Western notation, the primary swaras correspond to S = C, R₂ = D, G₃ = E, M₁ = F, P = G, D₂ = A, and N₃ = B, aligning closely with the scale but distinguished by Carnatic intonation practices that emphasize microtonal nuances and gamakas for idiomatic expression. The anya swaras G₂ and N₂ deviate to D♯ and B♭, respectively, introducing brief dissonances that heighten the 's dramatic appeal when rendered judiciously. Atana traditionally avoids Shadja (S) and Panchama (P) as graha swaras—the starting notes of phrases—in certain interpretive contexts to maintain its vakra (crooked or non-linear) structure and prevent resemblance to its parent scale. This restraint underscores the 's unique , prioritizing jeeva swaras like R₂, M₁, and D₂ for initiating key sancharas.

Characteristic Phrases and Rendering Guidelines

Characteristic phrases in Atana raga often begin with the motif PMGMR S, which effectively captures the raga's vakra (crooked) nature by incorporating the anya swaras G₃ and N₃ in a descending pattern from the pancama. Another prominent phrase is N D P M G R, emphasizing the fluid integration of dhaivata in the avarohana while highlighting the raga's bhashanga qualities through the use of foreign notes. Zig-zag movements, such as P M P G R, are idiomatic to Atana, showcasing non-linear explorations that avoid strict scalar ascent or descent and underscore the raga's energetic and majestic . The of Atana, as a bhashanga janya , permits a fluid and non-linear melodic development, allowing performers to weave in anya swaras like G₂ and N₂ sparingly to evoke its distinctive veera (heroic) rasa without disrupting the core shankarabharanam structure. Renderings are typically centered in the madhyama sthayi (middle octave), where the emphasis on gamakas—such as kampita on madhyama and jaru on —brings out the raga's individuality through bahutva (prominence) of pancama and dhaivata, while maintaining alpatva (restraint) on the anya swaras. In performance, Atana lends itself well to extended alapana, where phrases like PMGMR S can be elaborated across two to three octaves to build intensity, followed by neraval on lines emphasizing pancama for rhythmic variation. kalpanas in Atana prioritize korvais (concluding patterns) that resolve to sadja or pancama, incorporating zig-zag sancharas to sustain the 's purity. To preserve its , excessive deployment of anya swaras should be avoided, as over-emphasis can dilute the 's heroic essence. A common pitfall in rendering Atana is the overuse of antarakaisiki (G₂) and kaisiki nishada (N₂), which may inadvertently evoke similarities with , leading to confusion in raga identity.

Classical Compositions

Compositions by Major Composers

Saint Thyagaraja composed several kritis in Atana, often expressing deep devotion and pleas to , leveraging the raga's bhashanga nature for emotional elaboration. His renowned kriti "Ela Nee Daya Radu" (Adi tala), also known from its anupallavi "Balakanakamaya," portrays a devotee's earnest appeal for divine mercy, highlighting the raga's vakra phrases in the charanam. Another significant work, "Ilalo Pranatharthi" (Adi tala), conveys longing and surrender, frequently rendered to showcase Atana's characteristic Nishada-Dhaivata oscillations. "Atla Palukuduvu" (Adi tala) further exemplifies his style, invoking 's grace through rhythmic interplay suited to the raga's structure. Muthuswami Dikshitar's contributions to Atana are fewer but notable for their lyrics and adherence to the raga's sampurna avarohana, emphasizing vakra sancharas. His kriti "Brihaspate Tarapathe" (Tisra-jati Triputa tala) praises () as the remover of obstacles, integrating vivid astronomical references and the raga's for a majestic rendering. This composition underscores Dikshitar's scholarly approach, blending devotion with philosophical depth. Papanasam Sivan enriched Atana with Tamil kritis that evoke pathos and bhakti toward the divine feminine. "Amba Nee Irangayenil" (Adi tala), addressed to Goddess , pleads for her descent and grace, utilizing the raga's emotive Nishada to heighten the supplicatory mood. Similarly, "Sri Rama Nama" (Adi tala) extols the sanctity of 's name, blending simplicity with profound sentiment in its lyrical flow. These works reflect Sivan's signature style of accessible yet intricate Carnatic expression. Other composers also left indelible marks on Atana. Purandara Dasa's "Sakala Graha Bala Neene" (Khanda Chapu tala), a ugabhoga, invokes via Krishna, showcasing rhythmic vitality. Swathi Thirunal's "Sarasayata Lochana" (Rupaka tala) poetically describes divine beauty, while "Sri Kumara Nagaralaye" (Adi tala) honors Lord Subrahmanya, both highlighting the raga's versatility in royal courtly compositions. Atana hosts numerous such kritis across traditions, predominantly in Adi tala, affirming its prominence in Carnatic .

Other Forms and Varnams

In Carnatic music, varnams in raga Atana serve as foundational exercises that encapsulate the raga's melodic structure, with the tana varnam composed by exemplifying its brisk rhythmic patterns and characteristic phrases like the oscillating movements around madhyama and nishada. This tana varnam, often rendered in adi tala, emphasizes technical precision in sequences, allowing performers to explore Atana's janya features without sahitya in the ettugada pallavi and anupallavi sections. Another notable adi tala varnam in Atana, "Ambikaiyin" by , highlights the raga's emotive ascent and descent, incorporating gamakas on and dhaivata to illustrate its vakra sancharas. Padams and javalis in Atana leverage the raga's inherent of yearning and subtle sensuality, often portraying narrative themes of devotion or romance through expressive sahitya. The javali "Meragadu" in adi tala, attributed to Pattabhiramayya, uses Atana's scale to convey playful longing, with lyrics addressing a beloved in a light, erotic tone typical of the form. These pieces, rooted in 19th-century traditions, prioritize lyrical interpretation over complex rhythm, making them suitable for in recitals. Tillanas in Atana provide rhythmic finales to concerts, focusing on korvais and jatis that accentuate the raga's lively contours. A well-known example is the tillana composed by the Tanjore Quartette's Ponnayya, as notated by Chockalingam Pillai, which unfolds in adi tala with intricate taanam-like phrases leading to bursts. Performances by vocalists like Madurai Mani Iyer often feature such tillanas, adapting them to showcase Atana's melodic agility in concert closers. Atana's forms find prominent expression in instrumental renditions, particularly on and , where the absence of allows emphasis on technical virtuosity and elaboration. Violinists like G. Jayaraman have composed varnams such as "Ramanai" in adi tala, enabling extended manodharma explorations of the raga's phrases through double stops and gamaka variations. On , artists including S. Mahadevan render Atana pieces to highlight its string resonances, often incorporating tanam segments that underscore the raga's harmonic potential without vocal constraints. These instrumental interpretations prioritize the raga's structural purity, making Atana a staple for solos that balance and .

Tamil Film Songs

The raga Atana has been effectively employed in Tamil cinema to evoke a sense of valour and emotional intensity, drawing from its classical Carnatic roots while adapting to film narratives. One early example is "Varugiraal Unnai Thedi" from the 1959 film Thanga Padhumai, composed by the duo and sung by M. L. Vasantakumari and Soolamangalam Rajalakshmi. This fast-paced piece highlights characteristic Atana phrases like "MPRS SSNSD," maintaining a classical style within the cinematic context. A notable later adaptation is "Baala Kanakamaya" from Salangai Oli (1983), composed by and rendered by . Inspired by Thyagaraja's kriti "Ela Nee Dayaraadu" in the same raga, the song incorporates traditional elements such as , , and cymbals, culminating in a swara-jathi segment that blends devotion with dramatic flair. During the to , composers frequently integrated Atana into Tamil films to convey emotional depth, often merging Carnatic purity with popular appeal to heighten narrative tension in themes of longing and heroism.

Telugu Film Songs

In Telugu cinema, Atana raga has been prominently featured by composers like and , particularly from the 1970s to the , to evoke heroic or devotional themes through its majestic and poignant structure. These compositions often integrate the raga's characteristic phrases into melodic lines that resonate with audiences, blending Carnatic classical nuances with cinematic storytelling. A key example is "Bala Kanakamaya Chela" from the 1983 film , directed by and composed by , with vocals by . This song adapts Thyagaraja's kriti "Ela Nee Daya Radhu" (also known from its anupallavi "Balakanakamaya Chela"), a composition in Atana raga that highlights the raga's vira rasa (heroic sentiment). The track appears in a pivotal dance sequence, underscoring the film's exploration of classical arts. Another adaptation is "Oho Bangaaru Pichukaa" from Bangaru Pichika (1968), composed by and rendered by , which employs Atana's scales to convey exuberance and devotion. This approach in , especially in productions, bridges classical Carnatic elements with folk-inspired expressions, making intricate ragas accessible through film songs that often accompany dramatic or spiritual moments.

Cultural Significance

Emotional Expression and Thematic Associations

Atana is renowned in for evoking the veera rasa, a mood of heroism, courage, and valor that inspires listeners with a sense of and . This primary emotional association stems from its bold melodic contours, which effectively convey triumphant and motivational themes, making it a staple for expressions of inner strength. Thematically, Atana has been traditionally employed in dramatic contexts to underscore heroic scenes, such as in operatic presentations and harikathas, where its vigorous patterns heighten the intensity of valorous narratives. Historically, it featured prominently in temple and kutcheri concerts during the 18th and 19th centuries, serving as a vehicle for devotional and performative expressions of heroism in sacred and secular settings. The evolved significantly within the musical traditions of , as evidenced by compositions from Swathi Thirunal, and , where it was integrated into the repertoires of court musicians and composers like , solidifying its role in regional Carnatic heritage. In modern practice, Atana remains a concert staple, particularly for elaborate alapana expositions that allow performers to explore its dynamic emotional range through . Its versatile structure has also influenced contemporary fusion music, where the 's heroic and poignant qualities are adapted into hybrid genres to evoke inspiration in innovative contexts. The bhashanga nature of Atana, with its inclusion of foreign notes, further enhances this expressive flexibility without adhering strictly to scalar rules.

Equivalents in Hindustani Music

In the Hindustani tradition, there is no direct equivalent to the Carnatic raga Atana, though Adana from the Kafi thaat is considered the closest counterpart due to shared melodic contours and historical connections between the two systems. While Adana is often considered the closest counterpart, some comparisons identify Bageshri as an equivalent due to melodic similarities. This association stems from comparative musicological studies that trace the evolution of ragas since the 15th-16th century divergence of Hindustani and Carnatic traditions, highlighting Athana (another name for Atana) alongside Adana Kanada. A primary difference lies in their swara compositions: Atana employs the notes S R2 G3 M1 P D2 N3, derived as an audava-shadava janya of the 29th Shankarabharanam, whereas in the (historically linked to ) incorporates komal , dhaivata, and nishada (S R g m P d n S). Atana's structure is vakra in the avarohana, featuring zig-zag phrases like R2 G3 R2, and avoids flat notes entirely, contrasting 's sampurna jati with its lighter, flittering treatment and Kanada ang influences. Despite these distinctions, both ragas share evocative qualities of and , allowing for interpretive flexibility in phrasing, though Atana permits greater ornamentation through gamakas in Carnatic renditions. Crossovers occur rarely in fusion concerts, where artists juxtapose Atana with Hindustani ragas to demonstrate structural parallels.

References

  1. https://www.ragasurabhi.com/carnatic-music/raga/raga--atana.html
  2. https://carnaticmusicexams.in/2020/06/08/attana/
  3. https://www.thehindu.com/features/friday-review/music/atana-for-inspiring-valour/article3896793.ece
  4. https://ia902806.us.archive.org/11/items/RagasOfCarnaticMusicByNSRamachandran/RagasOfCarnaticMusicByRamachandran_text.pdf
  5. https://bheemashankar.net/wp-content/uploads/2024/07/Athana.pdf
  6. https://carnatic-circle.com/carnatic-lessonsnotes/music-theory/janya-ragams-2/
  7. https://www.karnatik.com/symbols.shtml
  8. https://www.thehindu.com/entertainment/music/tm-krishna-on-how-one-can-recognise-if-a-tune-is-a-raga/article69057659.ece
  9. http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-English/BkE-Ravi-Sridhar-compld-Sri-Muthuswamy-Dikshitar-0169.pdf
  10. https://www.chandraveena.com/blog/raga-alapana/
  11. http://www.carnaticcorner.com/articles/improvisation.html
  12. http://thyagaraja-vaibhavam.blogspot.com/2009/03/tyagaraja-kritis-alphabetical-list.html
  13. https://vishnuvasudev-63314.medium.com/a-for-atana-f98082c75c55
  14. https://www.youtube.com/watch?v=0XzTiv9JOWM
  15. https://www.youtube.com/watch?v=p8JdTjp5hHY
  16. https://carnaticconnection.wordpress.com/2021/04/01/compositional-forms-in-carnatic-music-2/
  17. https://members.acharyanet.com/videos/ambikaiyin-atana-varnam-adi
  18. https://www.karnatik.com/c26057.shtml
  19. https://ramsabode.com/2009/01/19/padams-javalis-as-handled-in-brinda-mukta-bani/
  20. https://www.youtube.com/watch?v=-uO9AqCqALk
  21. https://shankarkrish.blog/carnatic-vocal/madurai-mani-iyer/
  22. https://www.youtube.com/watch?v=dAyJf7B60ts
  23. https://www.youtube.com/watch?v=M1eCgKSdK-4
  24. https://www.youtube.com/watch?v=W5hSQ4eX4WE
  25. https://www.scribd.com/document/928619748/List-of-Film-Songs-Based-on-Ragas-1
  26. http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-English/BkE-HMV-ClassicalRecords-Catalogue-31-12-1975-0108.pdf
  27. https://swarsindhu.pratibha-spandan.org/wp-content/uploads/v11i02a43.pdf
  28. https://www.swathithirunal.in/?page_id=5041
  29. https://www.youtube.com/watch?v=zQ1qhf1Lr9s
  30. https://musicacademymadras.in/catalogue/files/journals/Vol.66_1995.pdf
  31. https://www.scribd.com/doc/6965187/raga-raga-comparison-of-hindustani-and-carnatic-ragas
  32. https://ragajunglism.org/ragas/adana/
  33. https://www.facebook.com/vasantraofans/videos/vasantrao-raag-adana/365373554735430/
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