South Indian Classical Music
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Purpose of this short note is to bring more people to South Indian Classical Music concerts. help them to enjoy the listening, encourage them to buy music cassettes, invite singers for concerts etc.

This note is not intended for experts in Carnatic music. There are materials in this note, which are controvercial and not commonly accepted knowledge in the Carnatic music community. This note is intended for anybody curious to know and think about it. The note makes every effort to reduce jargon usage, which is too common with music theorists and Hindu philosophers.

Origins of the Classical Music of South India

Sruthi Magazine ( 14 First Street, Kasturi Rangan Road, Chennai 600018. September 1995, p23-24.) notes that:- " The classical music of South India is first described in the ancient Changam texts of 'pancha maRabu' and 'silappadhikaarm'. Brooni in his 'Music of the World' notes that 'Pythogoras came to South India, learnt about the seven scales of the Tamils, returned to Greece and reshaped the Greek musical system'."

isai nuNukkam, which means, 'Intricacies of Music' is a book on classical music from the Changam period. Some terminology from this work is still used in Carnatic music. Lots of words however have been replaced by Sanskrit equivalents from Sangeetha Ratnakara of Saranga Deva (13th century AD.).

The origin of the name Carnatic Music

The name Carnatic Music refers to the traditional music of a region (See Map) called Carnatic. All books on recent Indian history note that before the British rule, the kingdoms in South India were:

See Encyclopedia Britannica for a Map of Carnatic or Muir's historical Atlas, Ancient, Medieval and Modern, (9th Edition 1965), George Philip and son Ltd., London.
The word Carnatic/Karnatak/Karu Naadu Agam

Today Tamil 'Nadu' is also often called as Tamil 'agam'.

'Karu' means black and also means central.

'naadu' means country and 'agam' means home.

Thus Karunaadu meant central country, as well as black (people) country. The name 'karu naad agam' got anglicized to 'Carnatic' state. In Tamil, the word karunaadagam is still used. The British renamed the territory as Madras. The music of karunaadagam was called as karunaadaga isai.

Ragam-paN

When two songs sound alike, one might say they are in the same Raagam. That is the simplest way of recognizing the Ragam of a song. This definition is somewhat vague and subjective. But it works 90% of the time. The basis of this recognition is the manner in which groups of notes occur. Carnatic music is also characterized by continous variations in between these notes. Ragam was earlier called as 'paN' in Ancient Tamil. They identified 103 paNs (ragams). The possibility of 15456 paNs (ragams) was also spelled out. (Source: Sruthi Magazine p 24, September 1995.) Today, the classical music of South India uses a few hundred Ragams.

Most Ragams use 4 to 7 notes. (Some ragas have more than 7 notes. They are called Bhashanga ).

Solfa Names of the Seven Notes

The origin of the number seven in the seven notes is most likely due to the seven planetary bodies visible to the naked eye, namely Sun, Moon, Mars, Mercury, Jupiter, Venus and Saturn. The same is the origin of the seven days of the week. In fact, in ancient Tamil, "kizhamai" meant notes. The same word means days of the week now. In Sanskrit "svara" mean note.

The Latin names of these notes are from the time of Guido d'Arezzo 10th Century AD. The Sanskrit names of the seven notes are first mentioned in the text Brihaddesi of 5th century AD. The Tamil names are from Changam texts before Christ. 

Tamil     Sanskrit     Latin
kural       Shadja         doh
thuththam   Rishabha       ray
kaikkilai   gaandhaara     mi
uzhai       madhyama       fah
ili         panchama       soh
vilari      dvaita         la
thaaram     nishaada       si
Notes, Frequency and Pitch

Pitch is sensation of frequency. For example 800 Hz. will sound of higher pitch than 700 Hz. The spectrum between a frequency and twice that frequency is called an octave. Dividing an octave into 12 equal parts in a logarithmic scale, we obtain the notes of a 12 note octave. By logarithmic scale one means that frequency of each note is 2 to the power of 1/12 times the previous note. Thus if you take a note of any frequency and produce the next 12 notes by multiplying the previous one by 2 to the power of 1/12, you will end up with exactly twice the frequency i.e the next higher octave. That is irrespective of the first frequency you started with.

Octave was known as Sthayi in Sanskrit and mandilam in Ancient Tamil.

mELa kartha Ragams - paalai

The twelve notes of an octave are the following. 

1   2   3   4   5   6   7  8   9  10  11  12
s  r1  r2  r3  g3  m1  m2  p  d1  d2  d3  n3
       g1  g2                     n1  n2
Usually 7 or less of these 12 notes occur in a song. A major scale in Carnatic music consists of exactly 7 notes of the 12 notes. They are called mELakartha in Sanskrit or paalai in Tamil. Carnatic music also requires that: (1). Notes 1 and 8 should be present. (2). Either 6 or 7 should be present, but not both. Due to these rules there are only 72 ways. Those ragams which violate these restrictions are called Bhashanga.

The motive behind this restriction is that, while choosing seven notes, there should not be a gap of too many consecutive missing notes. For example, you should not choose 1, 2, 3, 4, 5, 11,12. We choose note 1 because all notes are relative. That is (1, 2, 5, 7, 8, 10, 11) will sound like (2, 3, 6, 8, 9, 11, 12) in music.

A logical way of choosing 7 notes from 12

The melakartha set has some scales with 2 or 3 consecutive missing notes. At the same time, it excludes 9 major scales which have only a single missing note!.

If we choose 7 of 12 notes including note 1, such that there are no gaps of more than 1 note, we get 21 major scales and not 72.

Such a set has yet to have a name. This set includes mELakarthas 8, 10, 11, 20, 22, 23, 26, 28, 29, 62, 64, 65. Not surprisingly, a vast majority of the compositions in Carnatic music are in these 12 major scales. The rest of the 60 so called mELakarthas have very few songs.

Classical Music Composers of South India
Ancient Composers

Most of ancient Tamil literature was in the form of poetry and sung as music. Prose is relative recent in Tamil literature. The earliest surviving works of paththu paattu (Ten songs) and ettu thogai (eight anthologies) were themselves set to music. The Changam literature like Silappadikaram were retained for generations in the form of music and poetry. There is ample evidence that the azhvaar pasurams in Tamil, were originally sung as music, unlike being recited like vedic manthrams, as today.

There is an abundance of Tamil compositions with deep meanings and intriguing play of words by kAraikkAl ammaiyAr (400 AD), Gnana Sambandhar (635-651 AD.)and thiru naavuk karasar (appar) (580-661 AD. thEvaaram), sundara murthy (9th century thEvaaram), maaNikka vaachakar (10th century thiruvaachakam) and various other saiva siddhars like thirumoolar and other naayanmar poet saints. Many of the tEvAram tunes have been preserved to this date due to the services of the Odhuvaars attached to temples.

Andal, the first lady poet in the world is now worshipped as a deity herself. Her 173 Tamil songs express a child like love and passion for the almighty. King Thirumangai mannan (azhvaar) composed 1360 Tamil songs with a sense of rhythm particularly suitable for dance. They also contain an ocean of details about the life in the country and the language of his time. Other azhvars composed 2700 Tamil Compositions. Originally sung as music. Recently there is renewed interest to revive this musical tradition.

Late Shri V.V. Sadagopan, Musicologist, Professor of Carnatic Music, Delhi University, dedicated his life to bringing back the Azvaar Pasurams in chaste Tamil language to the Musical realm. This endeavor is now being continued by his disciples Shri. and Srimathi. Sri Rama Bharathi. Free classes are being offered. Audio cassettes are available. Annual festival is in the month of Jan 15-Feb 15. For more information contact, Sri Sadgopan Thiru naarayanaswami Divya prabandha paatasaalai, Medavakkam, Madras 601302.

Kamba Ramayanam (800s AD.), the Tamil version of the epic Ramayana, is now being re-introduced into classical music by singers like T.N. Seshagopalan, M.S.Subbalakshmi.

The music of the thEvAram and divyaprabandham had a lot of influence on the subsequent development of musicology.

Modern Composers

Arunagiri naathar (1450 AD.), probably a Bengali by origin is supposed to have composed 16029 Tamil songs. Of those, 1311 songs called thiruppugazh are now available. He set them to ragams and thaaLams. When sung according to his rules they are believed to produce a yogic state of mind. Here is a home page dedicated to Thiruppugazh.

Annamacharya (1408-1503 AD.) was born as a follower of the advaitha philosophy (Smartha/Telugu Iyer). He had a great fascination for the compositions of the aazhvaars. Thus he converted to Visisthadvaitham of Sri Ramanuja, under the guidance of the Sri AadivaN SadagOpa Yatheendra Mahaadesikan (18 August 1379 - April 1458), the first jeeyar of Ahobila maTam. People familiar with aazhvaars' works claim that many of his compositions are literal translation of the Tamil paasurams of the aazhvaars. He composed mostly in Telugu. A few Tamil compositions were found in his collection. Authorities in Carnatic music, are of the opinion that those were composed by one of his two wives.

Srinivasa Nayak (1484-1564 AD.) composed in his mother tongue, Kannada. He uses purandhara viTala, the name of his favorite deity, in all his songs. Hence he is popularyly known as Purandhara Dasa. Most of the original tunes are now lost. They have been re-set to very catchy tunes, in south indian classical style, recently by M.L.VasanthaKumari and other south indian artists. In western Karnataka, they have been set to north indian classical music style. He says in his own song Vasudevana namavaliya that he composed 4,75,000 compositions. Some people take this literally. The story also goes that he became enlightened while he was a rich miserly man. Assuming that he started composing from the age 30, by which time he was very rich, and that he composed one composition every half an hour during the waking hours, and never sang the compositions he composed once again, this number is possible.

Muththu Thaandavar (1550 AD.) is credited with many Tamil compositions popular in Bharatha Natyam.

Arunachala kavi raayar (1711-1778AD) composed the famous Tamil dance drama of Rama Natakam and many other keerthanais and songs in Tamil. The language style is so simple that it can be understood by ordinary folk, even today.

Papanasam Mudaliyar (1750 AD) composed many Tamil pieces, out of which Kumbesar Kuravanchi, an opera and three keerthanais are alone available.

Ooththukkaadu Venkatasubbaiyer (1700-1765 AD.) composed a few hundred compositions on Lord Krishna, mostly in Tamil and a few in Sanskrit. He set them to music also. Most of them are being revived now.

Saint Tyagaraja (1767-1847 AD.) composed about 688 compositions. That includes 24, which were probably composed by his senior disciples signing his name. (source: Tyagaraja Krithis by T.K. Govinda Rao, Chennai.). He composed mostly in his mother tongue, Telugu and a few in Sanskrit. He uses his own name Tyagaraja in all his compositions. He has an unbroken lineage of highly devoted disciples even until today. They are dedicated to popularizing his compositions and preserving his original style.

For an interesting article on Tyagaraja and Tamil, see Prof.S. Pasupathy's article in SRUTI issue #55, April 1989, page 28.

Muthuswami Diskshitar (1776-1835 AD) composed mostly in Sanskrit. Uses the word Guru Guha as signature in his compositions.

Syama Sastry (1762-1827 AD.) has about 300 composions in Sanskrit and Telugu. His son Subbaraya Saasthri also composed many popular kritis. He used Kumaara (meaning son) as his signature.

Swati Tirunal (1813-1846 AD.) composed in Malayalam, Telugu, Kannada, Sanskrit and Hindi.

Patnam Subramania Iyer (1845-1902) was a disciple of Maanamboochaavadi Venkatasubbier who was the disciple of Thyagaraja. His composition Raghuvamsa sudha in Kathanakuthoohalam is very popular. His signature is Venaktesa.

kAvaDichindu and the kiLikkanni draw heavily from Tamil folk music. The kiLikkani is usually a love song. The most famous composer of kAvaDichindus is aNNAmalai reddiAr of cinnikuLam (1865-1891).

Gopala Krishna Bharathi (1811-1881.AD.) has several hundred Tamil compositions to his credit, including the dance drama nandanar charithram.

Kadigai pulavargaL (1850 AD.) were scholars in music and Tamil. They are credited with villi Baaratham opera, and many other compositions.

Ramanathapuram (Poochi) Srinivasa Iyengar (1860-1919) was a disciple of Patnam Subramania Iyer and Guru of Ariyakkudi Ramanuja Iyengar. He used Srinivasa as his signature.

Father Beschi, (1800 AD.) an Italian by origin, composed in Tamil, thEmbaavaNi the life of Jesus Christ. It was sung in Classical music style.

Kavi Kunjara Bharathi (1810-1896 AD.) and his grand son Koteeswara Iyer (1870-1936 AD.) have many Tamil compositions to their credit.

Subramanya Bharathi (1882-1921 AD.) brought back respect for Tamil music in Tamil Nadu. He composed almost a 1000 songs in his short life. He set most of them to music himself. He covered nature, politics, hinduism, christianism, Islam, social life. In addition, he published cartoons and articles in English, French and Tamil.

Papanasam Sivan, whose compositions are now being accepted slowly in the Carnatic music world has himself composed a song in praise of the poetic ingenuity of Subramanya Bharathi.

Papanasam Sivan (1890-1973 AD.) composed more than 500 compositions for classical music rendering in Tamil. They have recently been getting recognition after his death. He uses Rama Dasan in most of his compositions. He has also composed several hundred songs for Tamil films.

Ariyakkudi Ramanuja Iyengar (1890 - 1967 AD.) was one of the first to re-introduce Tamil music in Carnatic music concerts. The tradition was further enhanced by Kalki Krishnamurthy who was one of the founders of Tamil Isai Changam. It was dedicated to bring the re-acceptance of Tamil in the Classical music world.

M.M.DhandapaNi Desikar (1908-1972 AD.) composed and has sung many Tamil compositions. He popularized Tamil compositions as main pieces of concerts. It was a practice to allocate a few Tamil songs at the end of concerts.

T.S.Parthasarathy (b. 1913) has published Tamil translation of many works including thiruvengadamudaiyaan thiruppaLLi ezhucchi (Venkatesa Suprabhatam), thirumaalin naamamaayiram (Vishnu Sahasranam). These have been rendered by Srimathi M.S. Subbalakshmi and others.

Maharajapuram Santhanam (1928-1990 AD.) composed mostly in Tamil. Uses Maharajan in his songs.

Lalgudi Jayaraman (b.1930) is famous for his Tamil compositions and dance dramas.

M. Balamurali Krishna has composed in Telugu, Sanskrit, Kannada and Tamil. Uses his own name Murali in all his songs.

Mysore Vasudevachar was a disciple of Patnam Subramania Iyer and composed the many famous krithi like Brochevarevarura (Kamas). He uses Vasudeva as Mudra.

Thanjavur Ponniah Pillai (perhaps comes in the line of Dikshithar's disiciple Ponniah of the Quartet Sivanandam, Vadivelu, Chinniah, Ponnia - to be checked). Composed Amba Neelaambari (Neelambari), Maayatheetha (Maayaamaalavagowla), Saatile (Poorvikalyaani) etc. Used Gurugaha as mudhra! (generally as Guruguha daasa but sometimes as Guruga alone-the use of this mudhra may be due to reverence to Dikshithar, who also uses Guruguha.).

Thanjavur Sankara Iyer. A contemporary composer with many krithis and dance dramas. They have been sung by D.K.Jayaraman, MLV, T.V.Sankaranarayanan. Composer of Mahaadeva Siva(Revathi) Ranjani maala (Ragamalaika in 4 *ranjani's), Nathajana (Nalina Kaanthi), Manasaaramathiyanai (Saaramathi), Manathirkkuhandadu (Sindhubhairavi), Raama naamame (Desh) and continue to compose even today although he had a severe stroke 2 years ago.

Maarimuthaa Pillai is considered one of the 'Tamil Trinity'.

Vedhanayakam Pillai composed songs on god without reference to any particular name (like Karunalaya Nidhiye in Hindolam) and his songs are supposed to be applicable to all religions.

Note that this list is not exhaustive. Please do feel free to add, correct and send additional names to me for inclusion. You can read about many more music related personalities in The Garland Series by N. Rajagopalan. Carnatic Composers and Musicians, by N.Rajagopalan. Carnatic Classicals, 3, 24th Cross Street, Indira Nagar, Madras 600020

The Changams of Antiquity

Ardent Tamils believe that academies to recognize and promote Tamil literature, music and drama existed many thousand years ago. The first such academy was from 14004 BC to 9564 BC. All works from this period are now lost. There are however references to several works of the first academy like agaththiyam, mudhunaRai, perunkurugu etc.. in later works. The second academy was from 6805 BC to 3105 BC. Most works of the second period is also now lost. Tolgaappiyam, is the main work that has survived. It gives the grammatical rules for Tamil language. It has also verses about music and musical instruments of that time. The third academy was from 1715 BC to 235 BC. Many works from this period have survived. ettu thogai and paththu paattu mention music and dance at several places. The Hindu gods seem unheard of in the Changam works. However, the concept of mother godess, father god and some names like maayOn, maal were known to them. When Hinduism became popular in the Tamil country, these words got associated with names of Lord Vishnu.

The dates of these academies are as much disputable as the dates of the Ramayana, Mahabharatha, etc.. Indus Valley Civilization which ended in about 1500 BC. seems unaware of all the Vedic, Sanskrit and Tamil mythologies. Most historians place all the yugas, Hindu mythology, the Tamil Academies after 1500 BC.

Azhvaars

Historians and tradition do not agree about the time when the Azhvaars lived. There are about 3800 compositions available now. The well known 30 songs of thiruppaavai are among the 173 composed by Andal, probably the first female composer of the world. The style of the 1360 compositions of thirumangai mannan is believed to be specially suited for music and dance. Ariakkudi Ramanuja Iyengar is responsible for re-introducing Thiruppaavai into Classical Music of South India. Late Shri V.V. Sadagopan, Musicologist, Professor of Carnatic Music, Delhi University, dedicated his life to bringing back many more Azvaar Pasurams into the Musical realm.

Discovery of Azhvar Pasurams

By 850 AD, the compositions of the Azhvars had become almost totally extinct in the Tamil Country. One day a Vaishnava scholar, naadhamuni by name (born 823 AD) accidentally heard a group of pilgrims singing some songs in chaste Tamil in the temple of 'aaraavamudhan' in KumbakONam. He was thrilled. They said they are from the 'western areas'(probably today's Karnataka region). The songs were composed by one 'maaRan sadagOpan' from thirunel vEli in south. Nadhamuni went to thirunelvEli and could get just the following verse:

As the story goes, he meditated on this verse 100000 times. Then nammaazhvaar himself appeared in person and gave not only his own 1000 compositions, but the 3800 and odd compositions of all the 12 aazhvaars.

These are popularly known as 'naalaayira divya prabandham'. He named the 3800 compositions in chaste Tamil as "thamizh maRai" in Tamil and as the "Dravida vedam/ Dramida vedam" in Sanskrit. He set them to music as they were originally sung by the Azhvars. He taught them to his nephews mElagaththaazhvaan and keezhagaththaazhvaan and also to his son Isvara muni and grand son aaLavandhaar. Later Alavandhaar taught those to his disciples Peria nambi, peria thirumalai nambi, thirumalai aandaan etc.. They in turn taught them to Sri Ramanujacharya (1017-1137 AD). Sri Ramanuja publicized them among his followers.

If you want the full text of all the 4000 verses composed by the 12 azhvaars, thiruvarangaththu arayar, and Sri Vedanta Desikar, you can down load them in Readable Romanized Tamil format in the World Wide Web

You will find there also information on how to search and print them in Tamil or Roman script.

Listing of the 72 mELakartha Scales
1   2   3   4   5   6   7  8   9  10  11  12
s  r1  r2  r3  g3  m1  m2  p  d1  d2  d3  n3
       g1  g2                     n1  n2
 1 : s r1 g1 m1 p d1 n1 s       25 : s r2 g3 m1 p d1 n1 s       49 : s r1 g3 m2 p d1 n1 s
 2 : s r1 g1 m1 p d1 n2 s       26 : s r2 g3 m1 p d1 n2 s       50 : s r1 g3 m2 p d1 n2 s
 3 : s r1 g1 m1 p d1 n3 s       27 : s r2 g3 m1 p d1 n3 s       51 : s r1 g3 m2 p d1 n3 s
 4 : s r1 g1 m1 p d2 n2 s       28 : s r2 g3 m1 p d2 n2 s       52 : s r1 g3 m2 p d2 n2 s
 5 : s r1 g1 m1 p d2 n3 s       29 : s r2 g3 m1 p d2 n3 s       53 : s r1 g3 m2 p d2 n3 s
 6 : s r1 g1 m1 p d3 n3 s       30 : s r2 g3 m1 p d3 n3 s       54 : s r1 g3 m2 p d3 n3 s
 7 : s r1 g2 m1 p d1 n1 s       31 : s r3 g3 m1 p d1 n1 s       55 : s r2 g2 m2 p d1 n1 s
 8 : s r1 g2 m1 p d1 n2 s       32 : s r3 g3 m1 p d1 n2 s       56 : s r2 g2 m2 p d1 n2 s
 9 : s r1 g2 m1 p d1 n3 s       33 : s r3 g3 m1 p d1 n3 s       57 : s r2 g2 m2 p d1 n3 s
10 : s r1 g2 m1 p d2 n2 s       34 : s r3 g3 m1 p d2 n2 s       58 : s r2 g2 m2 p d2 n2 s
11 : s r1 g2 m1 p d2 n3 s       35 : s r3 g3 m1 p d2 n3 s       59 : s r2 g2 m2 p d2 n3 s
12 : s r1 g2 m1 p d3 n3 s       36 : s r3 g3 m1 p d3 n3 s       60 : s r2 g2 m2 p d3 n3 s
13 : s r1 g3 m1 p d1 n1 s       37 : s r1 g1 m2 p d1 n1 s       61 : s r2 g3 m2 p d1 n1 s
14 : s r1 g3 m1 p d1 n2 s       38 : s r1 g1 m2 p d1 n2 s       62 : s r2 g3 m2 p d1 n2 s
15 : s r1 g3 m1 p d1 n3 s       39 : s r1 g1 m2 p d1 n3 s       63 : s r2 g3 m2 p d1 n3 s
16 : s r1 g3 m1 p d2 n2 s       40 : s r1 g1 m2 p d2 n2 s       64 : s r2 g3 m2 p d2 n2 s
17 : s r1 g3 m1 p d2 n3 s       41 : s r1 g1 m2 p d2 n3 s       65 : s r2 g3 m2 p d2 n3 s
18 : s r1 g3 m1 p d3 n3 s       42 : s r1 g1 m2 p d3 n3 s       66 : s r2 g3 m2 p d3 n3 s
19 : s r2 g2 m1 p d1 n1 s       43 : s r1 g2 m2 p d1 n1 s       67 : s r3 g3 m2 p d1 n1 s
20 : s r2 g2 m1 p d1 n2 s       44 : s r1 g2 m2 p d1 n2 s       68 : s r3 g3 m2 p d1 n2 s
21 : s r2 g2 m1 p d1 n3 s       45 : s r1 g2 m2 p d1 n3 s       69 : s r3 g3 m2 p d1 n3 s
22 : s r2 g2 m1 p d2 n2 s       46 : s r1 g2 m2 p d2 n2 s       70 : s r3 g3 m2 p d2 n2 s
23 : s r2 g2 m1 p d2 n3 s       47 : s r1 g2 m2 p d2 n3 s       71 : s r3 g3 m2 p d2 n3 s
24 : s r2 g2 m1 p d3 n3 s       48 : s r1 g2 m2 p d3 n3 s       72 : s r3 g3 m2 p d3 n3 s
Listing of the logical Major Scales
1   2   3   4   5   6   7  8   9  10  11  12
s  r1  r2  r3  g3  m1  m2  p  d1  d2  d3  n3  s
       g1  g2  m0      p0     p2  n1  n2

 1 s r1 g1 m0 p0 d1 n2 Melam --    12 s r2 g3 m1 p0 d1 n2 Melam --
 2 s r1 g2 m0 p0 d1 n2 Melam --    13 s r2 g3 m1 p1 d1 n2 Melam 26
 3 s r1 g2 m1 p0 d1 n2 Melam --    14 s r2 g3 m1 p1 d2 n2 Melam 28
 4 s r1 g2 m1 p1 d1 n2 Melam  8    15 s r2 g3 m1 p1 d2 n3 Melam 29
 5 s r1 g2 m1 p1 d2 n2 Melam 10    16 s r2 g3 m2 p1 d1 n2 Melam 62
 6 s r1 g2 m1 p1 d2 n3 Melam 11    17 s r2 g3 m2 p1 d2 n2 Melam 64
 7 s r2 g2 m0 p0 d1 n2 Melam --    18 s r2 g3 m2 p1 d2 n3 Melam 65
 8 s r2 g2 m1 p0 d1 n2 Melam --    19 s r2 g3 m2 p2 d2 n2 Melam --
 9 s r2 g2 m1 p1 d1 n2 Melam 20    20 s r2 g3 m2 p2 d2 n3 Melam --
10 s r2 g2 m1 p1 d2 n2 Melam 22    21 s r2 g3 m2 p2 d3 n3 Melam --
11 s r2 g2 m1 p1 d2 n3 Melam 23

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