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 Music
Lessons |
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Hindustani
Music |
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RAAGA |
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Raaga is a product of
a combination of musical
notes expressed in a
predetermined sequence and
emphasis, creating a
specific atmosphere,
achieving a distinctive
individual character,
infused with a mood guided
by the emotion and
creativity of the performing
artist.
No Raaga is
aesthetically possible with
less then five notes.
Rules:-
1.
It must possess aesthetic
potentialities.
2. It must always take Sa as
the fundamental Swara.
3. It must employ the full
range of an octave and so,
must cover both the
tetrachords (Purvanga &
Uttaranga).
4. It must not omit both Ma
and Pa simultaneously, which
means, that it must always
include at least one of
them, if not both.
5. It must not take both
Komal and Suddha
form of the same Swara
consecutively.
Spiritual context :-
The Raaga is always
new, it lives and grows.
Each Raaga leads the
musician to discover some
secrets of life and his
emotions and experiences
find their expression and
fulfillment in his music. It
is believed that within each
Raaga there is truth
and a presence, which gives
life to it. This is often
called the Deity in
the Raaga. |
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VADI, SAMVADI, VIVADI
AND ANUVADI
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VADI-
(That which
speaks) Each
Raaga has a
predominant
note, from which
all variations
begin and end.
It is the
Vadi that is
said to indicate
the Raaga
and it governs
the Raaga
by determining
its expression
and bringing out
its particular
mood. |
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SAMVADI-
This is
subordinate to
the Vadi
and complements
it by
highlighting the
effect of
Vadi. It
corresponds to
the Vadi
and lies in the
other ANGA (Purvanga/
Uttaranga) |
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VIVADI-
The notes which
are not used in
a Raaga,
i.e. Varjita
Swaras
Eg.: Ma and Ni
are Vivadi
Swaras in
Raaga Bhoopali,
just as Dha and
Ga are in
Raaga
Brindavani
Sarang. |
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ANUVADI-
All the
remaining notes
in the Raaga
are called as
Anuvadi Swaras |
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DEFINITIONS
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1. |
AAROHA
- The notes of the
Raaga in
ascending order,
i.e., moving from a
lower note to a
higher note. It is
also called
Anulom.
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2. |
AVAROHA
– The notes of the
Raaga in
descending order,
that is, moving from
a higher note to a
lower note. It is
also called
Vilom.
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3.. |
AAKAAR
– To sing by using
the vowel ‘aa’ and
not the syllables of
the
Swaras or the text
matter.
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4. |
STHAAYI
– The first stanza
of the song
generally consisting
of notes of the
Madhya
Saptak.
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5. |
ANTARA
– The subsequent
stanzas that follow
the Sthaayi of the
song using the upper
tetrachord or the
notes in Taar Saptak.
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6. |
PAKAD
– Important phrases
of the
Raaga that help
in its
identification. They
characterize the
Raaga.
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7. |
TIHAAI
– A combination of
Swaras
that is repeated
three times in
succession and ends
on Sam.
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8. |
DUGUN
– Singing a
particular piece in
double speed.
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9. |
SANDHI PRAKASH
RAAGA
– A Raaga
that is performed at
the juncture of day
and night, i.e., at
sunrise or sunset.
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10. |
MURCHCHANA
– Singing from a
note of a particular
Saptak to the
same note of the
next Saptak
and returning. This
leads to the
formation of
Thaat-s.
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11. |
MEEND
– A slow glide
connecting two
notes. The movement
can be both upward
and downward. Called
Glissando in Western
music.
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12. |
DAANA
– Repeating a note a
number of times is
such a way that each
repetition stands
out.
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13. |
ALANKAAR-S
– Also called Paltaa-s
– are exercises
consisting of
different
combinations of
notes in succession.
They form a very
important part of
music learning.
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14. |
AASHRAYA RAAGA
– The Raaga
that is closest to
its Thaat
and usually carries
the same name.
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15. |
SWAR MAALIKA
– A type of composition
in a particular
Raaga
set to a particular
Taala
having only notes
and no Sahitya
(words). |
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JAATI
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| The Jati of a Raaga is
determined by the number of
notes in the Aaroha and
Avaroha. The three basic
Jatis are:- |
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AUDAV :-
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Five Swara-s |
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SHADAV :-
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Six Swara-s |
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SAMPURNA
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Seven Swara-s |
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Raagas can thus be
categorized as:
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AUDAV-
AUDAV:-
when Aaroha
and Avaroha
have five
Swara-s
each.
Eg.: Raag
BHOOPALI :- Sa
Re Ga Pa Dha
Sa’, Sa’ Dha Pa
Ga Re Sa. |
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SHADAV-
SHADAV
:-
when
Aaroha and
Avaroha
have six
Swara-s
each.
Eg. Raag
PURIYA :- Sa Re
Ga Ma Dha Ni Sa |
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SAMPURNA-
SAMPURNA
:-
When
Aaroha and
Avaroha
have seven
Swaras.
Eg. Raag
BHAIRAV :- Sa Re
Ga Ma Pa Dha Ni
Sa, Sa Ni Dha Pa
Ma Ga Re Sa |
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| Likewise, there could be
combinations like
Audav-Sampurna, or
Audav-Shadav or
Shadav-Sampurna, etc. |
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TIME THEORY of RAAGAS
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Music is directly derived
from Nature. So, it goes
with the mood of the nature.
Just as the mood of nature
changes from dawn to dusk
and in the different
seasons, so too do the moods
of the Raaga-s
change. You will find this
distinction in Hindustini
Music only. There is no time
theory in Carnatik Music.
The rule follows the Indian
system of division of the
day into PRAHARAS.
The 12-hour day and
the12-hour night are equally
divided into 4 quarters (Praharas)
each.The calculation of the
Praharas begins
either at 6 am or 7 am.
There is also a connection
between the VADI, SAMVADI
and the time factor of
the Raga. The general
rule is that the Purvanga
Ragas are sung between
12 noon and 12 midnight and
the Uttaranga Ragas
are sung between 12 midnight
and 12 noon. However, there
are exceptions to this rule.
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TIME AND
RAAGAS
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1st quarter of the Day:-
7 am to 10 am
Bhairav,
Bhairavi, Bilaskhani Todi,
Hindol….
2nd quarter:- 10 am to 1
pm.
Asawari, Jaunpuri,
Gurjari/Miyan Ki Todi,
Deshkar…
3rd quarter:- 1 pm to 4
pm
Brindavani Sarang,
Suddha Sarang, Bhimpalasi,
Pilu…
4th quarter:- 4 pm to 7
pm
Marva, Puriya, Puriya
Dhanashree, Multani…
1st quarter of the
Night:- 7 pm to 10 pm
Yaman, Bhoopali, Puriya
Kalyan, Suddha Kalyan, Hamir,
Chhaya-Nat…
2nd quarter:- 10 pm to 1
am
Durga, Bihag, Desh,
Khamaj, Jaijaiwanti,
Bageshree...
3rd quarter:- 1 am to 4
am
Darbari, Malkauns,
Kaunsi Kanada…
4th quarter:- 3am to 6am
Lalit, Bhatiar, Sohani,
Basant… |
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