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Asampurna Melakarta
The Asampurna Melakarta (transliterated as Asaṃpūrṇa Mēḷakarta) scheme is the system of 72 ragas (musical scales) originally proposed in the 17th century by Venkatamakhin in his Chaturdanda Prakasikha.〔Shree Muthuswami Dikshitar Keerthanaigal, by A Sundaram Iyer, Music Book Publishers, Mylapore, Chennai〕 This proposal used scales with notes that do not conform to the sampurna raga system. Skipped notes or repeated notes, etc., were used in some of the ragas.〔 Some of the ragas of any ''Melakarta'' system will use ''Vivadi'' swaras (discordant notes). The original system is supposed to avoid such ill-effects and was followed by the Muthuswami Dikshitar school. The naming of the original system followed Katapayadi system.〔 Muthuswami Dikshitar's compositions use the name of these ragas in the lyrics of the songs and is still referred to by those names even in radio / TV announcements of these songs.
Later Govindacharya came up with a more mathematical and regular system of 72 ragas, which is currently considered fundamental ragas (musical scales) in Carnatic music (South Indian classical music). These ''melakarta'' ragas were ''sampurna ragas''. Some of the names of the ragas had to be modified to fit into the Katapayadi system.
== Rules for ''Melakarta'' ==
In the Asampurna Melakarta system, there is no set rule for the ragas in contrast to the currently used system of ''Melakarta'' ragas.〔〔 Some ragas though are the same in both systems (like 15 - ''Mayamalavagowla'' and 29 - ''Dheerasankarabharanam''), and in some cases the scales are same, while names are different (like 8 - Janatodi and Hanumatodi, 56 - Chamaram and Shanmukhapriya).〔〔〔''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras〕
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