SimhalaSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Mood: Hatakambari leans varies, Simhala leans varied.
Carnatic raga
Hatakambari
Melakarta number 18 in the Agni chakra, a complete seven-note parent scale using shuddha madhyamam. Many janya ragas are derived from it.
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- Melakarta
- 18 Hatakambari (melakarta)
- Jati
- Sampurna–Sampurna
- Notes
- 7 of 12
- Movement
- Krama (straight)
- Time
- Any time
- Rasa
- Varies
Your guide to Hatakambari
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Hatakambari, rising then falling.
Its mood
Varies. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Hatakambari, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Hatakambari 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.
How it feels
Hatakambari 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.
How to recognise it
- Listen for the gaps. Hatakambari never uses Dha, so the melody seems to skip over certain steps. This "missing note" sound is one of the quickest giveaways.
- It uses komal (flat) Re, the note just above the home note. Sliding off Sa onto this very close note creates tension right at the start of phrases.
- Hum the scale along with the play button above a few times. Once the shape of those notes is in your ear, you'll start spotting it in songs and concerts.
Its beauty
Melakarta number 18 in the Agni chakra, a complete seven-note parent scale using shuddha madhyamam. Many janya ragas are derived from it. The beauty of Hatakambari 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.
What makes it different
- Jayashuddhamalavi, Kallola, Simhala use the very same notes. Ragas aren't just scales: the difference lies in which notes are stressed, which phrases are used and how the melody moves. That's why two ragas built from the same notes can feel completely different.
- In Carnatic music, notes are rarely held still. They wobble, slide and bend (called gamakas), and those shakes are as much a part of the raga's identity as the notes themselves.
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 missing Dha. Once you catch it, you've started to recognise Hatakambari.
History & evolution
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.
Looking for more history…
Scale
Arohana (ascent) · 7 notes
S R1 G3 M1 P D3 N3 S'
- Devanagari
- स रि₁ ग₃ म₁ प ध₃ नि₃ स•
- Tamil
- ஸ ரி₁ க₃ ம₁ ப த₃ நி₃ ஸ•
- Telugu
- స రి₁ గ₃ మ₁ ప ద₃ ని₃ స•
- Kannada
- ಸ ರಿ₁ ಗ₃ ಮ₁ ಪ ದ₃ ನಿ₃ ಸ•
Avarohana (descent) · 7 notes
S' N3 D3 P M1 G3 R1 S
- Devanagari
- स• नि₃ ध₃ प म₁ ग₃ रि₁ स
- Tamil
- ஸ• நி₃ த₃ ப ம₁ க₃ ரி₁ ஸ
- Telugu
- స• ని₃ ద₃ ప మ₁ గ₃ రి₁ స
- Kannada
- ಸ• ನಿ₃ ದ₃ ಪ ಮ₁ ಗ₃ ರಿ₁ ಸ
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Shuddha Rishabham (R1) | Minor 2nd | C# |
| Antara Gandharam (G3) | Major 3rd | E |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Panchamam | Perfect 5th | G |
| Shatshruti Dhaivatam (D3) / Kaishiki Nishadam (N2) | Minor 7th | A# |
| Kakali Nishadam (N3) | Major 7th | B |
Omitted (varjya) swaras: Dha.
Character
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 18 sits in chakra 3 of 12 and uses shuddha madhyamam (M1). Hatakambari 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.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Hatakambari is associated with: Any time.
- In Carnatic music, the time of day is a gentle custom rather than a strict rule. Most ragas can be sung at any concert, and the time linked to a raga usually comes from temple rituals and old practice.
- Hatakambari has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Hatakambari, and how to tell them apart.
JayashuddhamalaviSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hatakambari climbs S R1 G3 M1 P D3 N3 S', while Jayashuddhamalavi climbs S R1 G3 M1 P N3 S'.
- Jayashuddhamalavi uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Hatakambari leans varies, Jayashuddhamalavi leans varied.
KallolaSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hatakambari climbs S R1 G3 M1 P D3 N3 S', while Kallola climbs S P D3 N3 S'.
- Kallola uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Hatakambari leans varies, Kallola leans varied.
KalindajaOne note apart
- Hatakambari uses Kakali Nishadam (N3), which Kalindaja does not.
- Mood: Hatakambari leans varies, Kalindaja leans varied.
Shuddha KambhojiOne note apart
- Hatakambari uses Kakali Nishadam (N3), which Shuddha Kambhoji does not.
- Mood: Hatakambari leans varies, Shuddha Kambhoji leans varied.
SamantadeeparaOne note apart
- Hatakambari uses Shatshruti Dhaivatam (D3), which Samantadeepara does not.
- Mood: Hatakambari leans varies, Samantadeepara leans varied.
Other ragas from 18 Hatakambari
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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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, …).