DivyamalatiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
Carnatic raga
Matangakamini
A janya (derived) raga of melakarta 10 Natakapriya. It takes its notes from that parent scale, using the ascent and descent shown here.
♡ Sign in to save
No ratings yetSign in to rate
- Melakarta
- 10 Natakapriya (janya)
- Jati
- Shadava–Shadava
- Notes
- 6 of 12
- Movement
- Krama (straight)
- Time
- Any time
- Rasa
- Varied
Your guide to Matangakamini
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Matangakamini, rising then falling.
Its mood
Varied. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Matangakamini, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Matangakamini 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
Matangakamini sounds dark, deep and inward, full of the lowered (komal) notes that make music sound serious or sad. 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. Matangakamini never uses Re, so the melody seems to skip over certain steps. This "missing note" sound is one of the quickest giveaways.
- 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
A janya (derived) raga of melakarta 10 Natakapriya. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Matangakamini 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
- Divyamalati, Divyagandhari, Jayanthashri 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.
- Across the North–South divide, Gopika Basant (Hindustani) uses the same notes. Listening to both side by side shows how the two traditions shape the same material differently.
- 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 Re. Once you catch it, you've started to recognise Matangakamini.
History & evolution
Matangakamini is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
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) · 6 notes
S G2 M1 P D1 N2 S'
- Devanagari
- स ग₂ म₁ प ध₁ नि₂ स•
- Tamil
- ஸ க₂ ம₁ ப த₁ நி₂ ஸ•
- Telugu
- స గ₂ మ₁ ప ద₁ ని₂ స•
- Kannada
- ಸ ಗ₂ ಮ₁ ಪ ದ₁ ನಿ₂ ಸ•
Avarohana (descent) · 6 notes
S' N2 D1 P M1 G2 S
- Devanagari
- स• नि₂ ध₁ प म₁ ग₂ स
- Tamil
- ஸ• நி₂ த₁ ப ம₁ க₂ ஸ
- Telugu
- స• ని₂ ద₁ ప మ₁ గ₂ స
- Kannada
- ಸ• ನಿ₂ ದ₁ ಪ ಮ₁ ಗ₂ 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 |
| Shatshruti Rishabham (R3) / Sadharana Gandharam (G2) | Minor 3rd | D# |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Panchamam | Perfect 5th | G |
| Shuddha Dhaivatam (D1) | Minor 6th | G# |
| Shatshruti Dhaivatam (D3) / Kaishiki Nishadam (N2) | Minor 7th | A# |
Omitted (varjya) swaras: Re.
Character
Jati (Shadava–Shadava). The ascent uses 6 distinct notes and the descent 6. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Melakarta 10 sits in chakra 2 of 12 and uses shuddha madhyamam (M1). Matangakamini is a janya (derived) raga, drawing its notes from this parent.
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
Same notes in Hindustani music
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Matangakamini 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.
- Matangakamini has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Matangakamini, and how to tell them apart.
DivyagandhariSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Coming down: Matangakamini descends S' N2 D1 P M1 G2 S, while Divyagandhari descends S' N2 P M1 G2 S.
- Divyagandhari uses a different number of notes going up than coming down; the other is more symmetrical.
JayanthashriSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Matangakamini climbs S G2 M1 P D1 N2 S', while Jayanthashri climbs S G2 M1 D1 N2 S'.
- Jayanthashri uses a different number of notes going up than coming down; the other is more symmetrical.
NilamatiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Coming down: Matangakamini descends S' N2 D1 P M1 G2 S, while Nilamati descends S' N2 D1 M1 G2 S.
- Nilamati uses a different number of notes going up than coming down; the other is more symmetrical.
DeshikatodiOne note apart
- Deshikatodi uses Shuddha Rishabham (R1), which Matangakamini avoids.
- Deshikatodi uses a different number of notes going up than coming down; the other is more symmetrical.
ShravanamallikaOne note apart
- Shravanamallika uses Shuddha Rishabham (R1), which Matangakamini avoids.
- Shravanamallika uses a different number of notes going up than coming down; the other is more symmetrical.
Other ragas from 10 Natakapriya
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
Sign in to join the discussion.
- No comments yet — be the first.
Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).