Raga and Indian Music

Written by: Ram S. Sriram

What is a Raga?

Raga is unique to Indian music - both Hindustani and Karnatic music. To my knowledge, no other system of music in the world uses such a concept.  Raga is not simply a mode or a melody. It is much more and only one word can define it "RAGA".

A very basic definition is, raga is a combination of swarams that are sung in a certain sequence during the ascending order and sun in a certain sequence during the descending order.

The order of the ascending and descending swaras are expected to create melody and listening experience.

No two ragas are alike; that is, they do not have the same set of swaras in the ascending and descending scales in the same position. A change in just one swaram would create a new raga.  Simply repeating the scales of a raga does not produce a raga.  It only shows the boundaries but not the jeeva or life within it.

However, the above definition is too simplistic to explain the concept of raga. Raga is much more than its swaras - it is an expression of something deep inside; almost a spiritual or emotional expression. We can argue that all music is spiritual and emotional. True, to some extent.

But, Raga is highly personal and unique to the artist and to the listener. The same raga (e.g. raga Kalyani) rendered by two different artists will invoke two different emotional experiences. After all, if it is the same set of notes in the ascending and descending scales, why should they not sound identical and produce the same listening experience, regardless of who sings it? No. The swara arrangements only give a physical structure to the raga. It is the singer or the artist who gives life to the physical structure.  Thus, a raga is a personal statement of what happens in the mind and spirit of an artist. 

How does an individual give life to a raga? Through Sadhana. The word Sadhana refers to enlightened practice; a yogic transformation. How does one become a yogi? Is it adequate if a person sits cross-legged and keeps his eyes closed? If so, most of us would have become yogis. Obviously, it takes more than physical postures. It takes soul-searching, devotion and dedication to the sounds that lie dormant within one self.  A Guru plays a great part in making the Sadhana possible. 

Raga is organic - something that is constantly growing, changing, and mutating. It is not static like a painting or a sculpture that, once finished, remains the same. Each time an artist sings a raga from the soul, it comes back to life - shining with all its brilliance and rejuvenating the life of the artists and the listener alike.

A raga is distinct from a composition or a symphony.  For example, you can only make minor changes to the Symphony of Tchaikovsky or Sonata of Beethoven's sonata, or the Swarajathis of Syama Sastri.  These are master pieces and a conductor or a singer can only embellish them to a certain extent.  On the contrary, a raga can be brought to life by each individual and in a most distinctive way.  The artist can put a personal stamp on the raga.  And, a raga cannot be repeated exactly the same way even by the same singer.  This is the greatness of a raga; it is reincarnated as a new each time it is sung.

 

Classification of Ragas
  • There are two types of ragas – parent ragas or Janaka ragas (also called by the names of Melakarta raga, Karta raga, or Sampoona raga), and child or children ragas called Janya ragas.
  • Janya ragas or child ragas are born from or created from the Janaka or parent ragas.
  • There are 72 Janaka or Melakarta ragas (we will discuss them soon).

 

 

Characteristics of Janaka (Melakarta) ragas
  • They carry all the seven swaras (s r g m p d n) in the ascending order and the same seven swaras (s r g m p d n) in the descending order.
  • The notes ascend and descend in exactly the same order.
  • Each swaram must occur only once in the Arohanam only once and only once in the Avarhonam                                                                                                                                                                                      
  • Both the arohanam and the avarohanam must have the Tara Sthayi (upper s)

            as one of the notes.

  • Remember:  Although there are seven swaras, there are varieties with them (e.g. Antara Gandharam and Sadharana Gandharam, Sudha Dhaivatam, Chatussruthi Dhaviatam and so on; using one of these notes in combination with the other six swaras will create a new raga).

 

Characteristics of a Janya (child) raga
  • A janya raga originates from a Janaka or a parent raga.  Each parent raga can have several child ragas originating from them.
  • Therefore, the child raga uses the same scale as the parent.  That is, it takes the same swaras that the parent uses.
  • However, unlike the Janaka or parent raga, a Janya raga may not use the same seven swaras in both ascending and descending order.  For example, it can use one type of a swara (e.g. Suddha Rishabam) in the arohanam while a different type of the same swara (e.g. Chatussruti Rishabam) in the avarohanam.   For example, Bhairavi:

                                    .    .

                     s r g m p d n s

                     .

                     s n d p m g r s

 

  • Similarly, a Janya raga need not use all the seven notes of the parent.  It may use all seven notes in the ascending order while it can use six notes in the descending order or even use other combinations (these are discussed further, later).  For example, the raga Saramathi has the following swara sequence:

                                          .

                     s r g m p d n  s

                     .

                     s n d m g s

  • Also, unlike the parent, a Janya raga can repeat a swara.  For example, the raga Sahana has the following sequence:

                                               .

                     S r g m p m D n  s

                     .

                     s n d p m G m R g r s

     

  • Sometimes, a janya raga can take one or two swaras not present in the parent raga.

 

 Varja Ragam
  • Is a characteristic of Janya ragas.
  • Either in the arohanam or in the avarohanam, one or two swaras may be omitted.  These omitted swaras are called varja swarams. 
  • When a raga has only six of the seven notes of the parent in both avarohanam and the arohanam, it is called Shadava.   For example, Sriranjani raga:

                               .

             s r g m d n  s

             .

             s n d m g r s

  • When a raga takes only five of the seven notes of the parent, it is called audava.  For example, Mohanam:

                      .

                 s r g p d s

           .

           s d p g r s

·        Other combinations include, seven swaras in arohanam and six on the avarohanam (Sampoorna – shadava); six in the arohanam and five in the avarohanam (Shadava – audava) etc. The following tables shows the eight varja raga possibilities.

 

Arohanam

Avarohanam

Example

Sampoorna  (7)

Shadava  (6)

Neelambari

Shadava      (6)

Sampoorna  (7)

Kamboji

Sampoorna  (7)

Audava     (5)

Saramathi

Audava    (5)

Sampoorna  (7)

Bilahari

Shadava  (6)

Shadava  (6)

Sriranjani

Shadava (6)

Audava (5)

Nattakuranji

Audava (5)

Shadava (6)

Vasantha

Audava (5)

Audava (5)

Mohanam

 

                                                                                                       

Note 1: During the count for seven, six, or five notes, the tara sthayi shadja (the s with a dot on its had) is omitted from the count.

 

Note 2:  In theory, three notes could be omitted to form a new raga.  Such instances are not discussed here.

 

A Vakra Ragam
  • When one or two swaras, either in arohanam or the avarohanam occur out of order or in an irregular manner, it is called a vakra ragam.  For example, Sriragam, where the avarohanm is vakram or not in the order of swaras.

                                        .

                                  s r m p n s

                                  .                

                                  s n p d n p m r g  r s

 

  • Note: In non-vakra ragas, notes go up and down in a regular order
  • In vakra raga, a prior note could repeat itself (e.g. n and r in the above example).  However, this is not always true (e.g, Mukhari).
  • There are three kinds of vakra ragams.

1.            Ragas in which only the arohanam has vakra swarams (irregular order).  Example:  Anandhabhairavi.

2.            Ragas in which only avarohanam has vakra swarams (irregular order).  Example:  Sriragam

3.            Ragas in which vakra swaras (irregular order) occur both in arohanam and avarohanam (e.g. Sahana).

 

 

 

 

Upanga and Bhashanga Ragas
  • A upanga raga is a janya raga that only takes swaras belonging to its parent (e.g. Mohanam (child of Harikamboji which has the swaras Sa, Ri (chatusruthi), Ga (Antara), Ma (Suddha), Pa, Da (Chatusruthi), and Ni (Kaisiki) – s n d p m g r s)

                      .

                 s r g p d s

           .

           s d p g r s

 

  • A bhashanga raga is a janya raga that takes both swaras belonging to its parent and also one or two foreign swaras - e.g. Kambhoj.  (also a child of Harikamboji which has the swaras Sa, Ri (chatusruthi), Ga (Antara), Ma (Suddha), Pa, Da (Chatusruthi), and Ni (Kaisiki) – s n d p m g r s)).

                         .

                 s r g m p d s

           .

           s n d p m g r s

 

 

Gana Ragas
  • The characteristics or true nature of a Gana raga is revealed by singing the thanam (Ghanam); also, known as the Madhyama Kalam.
  • Examples of Ghana raga include: Nattai, Gowlai, Arabhi, Varali, and Sri in which Sri Thyagaraja has composed the pancharathnas. 
  • It also includes the ragas – Kedaram, Narayanagowlai, Saranganata, Bauli, and Ritigowla.

 

Ragas for various periods of a day

Although today we do not differentiate between ragas suited for various periods of a day, certain ragas are best sung at certain times of the day.  The following list gives a brief overview of ragas that are appropriate for a certain time of the day.

 

Time

Suitable Ragas

Early morning and before sun rise

Bhoopalam, Bauli, Malayamarutham

Mornings and after sun rise

Bilahari, Kedaram, Dhanyasi

Before mid-day

Asaveri, Saveri, Devamanohari

Noon to Midday

Sriragam, Manirangu, Madhayamavati

Late noon (1 to 4 PM)

Mukhari, Begadai

Evening

Vasantha, Nattakuranji, Poorvikalyani

Night

Neelambari, Kedaragowla

Any time of the day

Bhairavi, Kamboji, Shankarabharanam, Kalyani

 

Source: Splendor of South Indian Music by Dr. Chelladurai

 

Ragas expressing various emotions

Certain ragas bring out certain emotions when they are rendered.  The following gives a brief example of such ragas.

 

Emotion

Examples of Ragas

Karuna or Compassion

Sahana, Nadanamakriya, Kanada

Sringara (Romance)

Surai, Khamas, Huseni

Raudra (Anger)

Atana, Arabhi

Veera (Valor)

Bilahari, Devagandhari, Hamsadvani

Hasya (Humor)

Mohanam, Kedaram, Hamsadvani

Mangalam (conclusion of auspicious or happy occasions)

Saurashtram, Surari, Madhyamavati, Yadukulakamboji

Arpuda (amazement)

Saranga, Hindustani Behag

Bibatsa (Disgust)

Atana

Bhayankara (Fear)

Punnagavarali

Shantha (Peace)

Sama, Vasantha

 

Source: Splendor of South Indian Music by Dr. Chelladurai