Indian Raga – An Insight Into The Musical Genius Of The East

Introduction

Indian classical music uses ragas as melodic frameworks for improvisation, similar to melodic modes. “Raga” is an old ancient Sanskrit word that means passion and colour. There are certain rules that govern Raga compositions, and it is characterized by a melodic structure made up of certain notes. Despite its central position in classical Indian music, the raga does not have a direct translation to classical European music. Traditionally, ragas are composed by a melodic soloist with a drum and a drone as accompaniment. Among the most popular instruments are the sitar, tabla, and tanpura or tempura. An Arohana and Avrohana is a scale for an ascending and descending form of a raga.

Structure of Raga or Raag

Generally, a Saptak consists of seven Shuddha (pure notes – similar to western 7 notes) and five Vikrit Svaras (modified notes). Thata refers to the collection of seven notes (seven pure and five modified). From these twelve notes, there can be 32 different thaats, but 10 occur very commonly in Indian Classical music. Raga should have at least 5 notes, one or two notes can be omitted. Based on the notes they use, the majority of Hindustani ragas can be segregated under one of these 10 scales.

It is quite evident from the evolution of Indian Classical Music that it has taken a different path. It is therefore important to understand what happens during a raga recital.

Example of Thata – Raag Yaman Thata is Kalyan. Raag Bhairab Thata is Bhairab.

A raga performance is typically divided into four sections: alap, jor, jhala, and gat. In ragas, there are moments when letting go and listening is fine, while other times it is beneficial to stay aware (count) and follow the tala (in gat). Observing the musicians in action is the best way to learn what they are doing.

Alap – Alap unmetered, improvised opening segment of a raga, in a slow and contemplative tempo.
The soloist is accompanied by a tambura drone while exploring notes from a rag. Improvisation is employed.

Jor (Jod) – It is the second part of the tempo. Speed has increased to medium. Now that a pulse can be sensed, there is a need for a meter. Improvisatory music takes on a rhythmic feel.

Jhala– Jhala is a term in Indian classical music which represents the quick/fast conclusion of classical compositions or ragas.

Gat – The Gat (Fixed Pre-composed) is divided into two parts called Vilambit and Drut. When the composition is with a slow tempo called Vilambit, as well as Drut is the opposite condition.

Elements of Ragas

Arohana

In music, Arohana refers to a succession of ascending notes.

Example – Arohana of Raga Yaman- Sa re ga  ma pa dha ni sa.

Avrohana

Avrohana is a set of sequenced notes in descending order.

Example -Avaroha of Raga Yaman – Sa ni dha pa ma ga re sa.

Pakad

Each Raga is distinguished by a precise sequence of notes known as the ‘Pakad’ which automatically identifies it. The English equivalent is the catchphrase.

Example – Pakad of Raga Yaman – Ni re ga re ni re sa pa ma ga re sa.

Vadi Swara

A raag or raga comprises of many swaras. Among the Swaras in a Raga, the Vadi Swara is arguably the most important. When a Raga is played, its role is as important as if it were played by a monarch. It is also known as ‘Jeeva Swara’.

Example – Vadi Swara in Raag Bhairabh- Re.

Samvadi Swara

Samvadi Swara is the swara in a raga, that’s the second important after Vadi Swara. Either four or five notes is the interval between the Vadi and Samvadi Swaras.

Example – Vadi Swara in Raag Bhairabh- Dha.

Types of Raga

A Raga corresponds to a given time of day or season in Indian classical music. Depending on the Raga, the time zone can range from any time from Morning to Afternoon to Evening to Night. Using the right Ragas according to the time zone improves the effect of the Raga, resulting in a full and beautiful melody. Ragas are also associated with the monsoon and are performed in the months of August and September during the monsoon. Raga can be categorized by Thaat or by structures.

There are innumerable Ragas. Main 83 we used to know. We will discuss them later in our upcoming blogs. Namely few are important ones – Raag Bhairab, Raag Yaman, Raag Bhupali, Raag Malkauns, and many more.

Conclusion

Start by listening to instrumental performances if you are new to Indian classical music. The fact that instruments have fewer distinctions than people makes them easier to enjoy. Occasionally, vocal artists may have personal mannerisms that can be distracting for new listeners. It may surprise you to find that vocal performances have a great emotional appeal and expressive power if you’ve mastered enough about music to tell good from the bad.