Nāṭa
Janya of Chalanāṭa (36) — sampūrṇa ascent, audava descent (Ghana-rāga)
Heroic, vigorous, majestic
✓ Verified against Sambamoorthy, South Indian Music Vol. IV — Nāṭa· 2026-07-02How we verify
Ārōhaṇa (ascending)
- S
- G₂
- G₃
- M₁
- P
- N₂
- N₃
- Ṡ
Avarōhaṇa (descending)
- Ṡ
- N₃
- P
- M₁
- G₂
- S
Signature phrase
S R₃ G₃ M₁ P D₃ N₃ Ṡ N₃ P M₁ R₃ S
The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.
When to play
Pañcaratna performance, or as a powerful opening-main raga. The heroic quality suits dance-flavored compositions.
Gamaka signature
A symmetric sampūrṇa avarohana with R₃ G₃ M₁ P D₃ N₃. The phrase S R G M P D N S in ascent (audava) and full in descent. Strong Ni oscillations.
Historical context
An ancient ghana raga — the ghana-pañcaka (Nāṭa, Gauḷa, Arabhi, Varāḷi, Śrī) are the ragas most suited to the veena tanam style. Patanḍi Guru's tradition.
Key compositions to hear first
- Jagadānanda Kāraka — Tyāgarāja (Pañcaratna #1)
- Gambhīra Nāṭa — Tirunārāyaṇapuram Ārūr
- Giripai — Muttuswāmi Dīkṣitar
Listen to Nāṭa
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 4 entries across 3 composers
TyāgarājaCarnatic Trinity (Tri-mūrti) — the foundational period · 1 kṛti
- Jagadānanda Kāraka · Ādi Tāla · 88 BPM
Pāpanāsam ŚivanPost-Trinity — Tamil Tyāgarāja · 2 kṛtis
- Mahāgaṇapatiṃ · Ādi Tāla · 100 BPM
- Nava Vidha Bhakti · Ādi Tāla · 104 BPM
Oottukkādu Vēṅkaṭa KaviPre-Trinity — Dance composition master · 1 kṛti
- Kaliṅga Nartana · Ādi Tāla · 130 BPM
Tip: open the raga × composer cross-search on /composers to explore any other raga.
Similar ragas
No Parijat notes for this raga yet — the catalog covers 77 of 81 living ragas.