Carnatic raga
Melakarta number 28 in the Bana chakra, a complete seven-note parent scale using shuddha madhyamam. Many janya ragas are derived from it.
Your guide to Harikambhoji
New to classical music — moods, stories, film songs and simple listening.
Press play to hear the notes of Harikambhoji, rising then falling.
Varies. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Think of a raga as more than a scale: a set of rules and a personality. Harikambhoji has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
Harikambhoji sounds mostly bright, with a few shadowed notes that add a bittersweet tint. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
Melakarta number 28 in the Bana chakra, a complete seven-note parent scale using shuddha madhyamam. Many janya ragas are derived from it. The beauty of Harikambhoji comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the melody circling back to Sa. Once you catch it, you've started to recognise Harikambhoji.
The 72-melakarta system was devised by Venkatamakhin in his treatise Chaturdandi Prakasika (c. 1660). It is a mathematical grid that lists every possible seven-note scale built from Carnatic swara variants.
The melakarta names used today, encoded with the Katapayadi system so each name reveals its number, were standardised later by Govindacharya in the 18th century. Many melakartas existed only on paper until composers like Muthuswami Dikshitar and later Koteeswara Iyer wrote pieces in all 72.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
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Arohana (ascent) · 7 notes
S R2 G3 M1 P D2 N2 S'
Avarohana (descent) · 7 notes
S' N2 D2 P M1 G3 R2 S
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Chatushruti Rishabham (R2) / Shuddha Gandharam (G1) | Major 2nd | D |
| Antara Gandharam (G3) | Major 3rd | E |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Panchamam | Perfect 5th | G |
| Chatushruti Dhaivatam (D2) / Shuddha Nishadam (N1) | Major 6th | A |
| Shatshruti Dhaivatam (D3) / Kaishiki Nishadam (N2) | Minor 7th | A# |
Jati (Sampurna–Sampurna). The ascent uses 7 distinct notes and the descent 7. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Melakarta 28 sits in chakra 5 of 12 and uses shuddha madhyamam (M1). Harikambhoji is a parent (melakarta) scale with all seven notes in strict order.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Same notes, but a different character because of emphasis, movement and phrasing.
Harikambhoji is associated with: Any time.
Ragas that sound most like Harikambhoji, and how to tell them apart.
No well-known Hindi film song is confidently attributed to this raga yet.
No regional film song is confidently attributed to this raga yet.
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).