Raga
: Its Structure
WHAT
IS A RAGA? | ITS STRUCTURAL FEATURES | ITS CLASSIFICATION | RAGAMALA | RAGAS IN PERFORMANCE | TALAS IN PERFORMANCE | RAGA THERAPY | RAGA NOTATIONS | RAGA TIMINGS | HINDI FILM SONGS based on ragas | DICTIONARY
Ragas
must consist of at least five notes. They must contain
the tonic (Sa) and at least either the fourth (Ma) or
fifth (Pa). Both varieties of a note which can be altered
(Re, Ga, Ma, Dha or Ni) should not be used consecutively,
although there are some exceptions.
The
broadest way to describe a raga is by its characteristic
ascent-descent pattern (aroha-avaroha), from middle
Sa to high Sa, although it should be remarked that not
all ragas begin on the middle tonic. When ragas contain
all the seven notes of the scale in ascent and descent
they are called sampurna ('complete'). Ragas with six
notes are called shadav, and those with five, audav.
However,
there are many ragas in which the number of notes in
ascent and descent are not identical, and where one
or more notes may be omitted in the ascent (or less
frequently in the descent). These are the so-called
compound (sankirna or mishra, 'mixed') ragas, which
may even have more than seven notes, when both the natural
and flat or sharp varieties of one or more notes are
included in either ascent or descent.
TOP
A
raga may be further characterised by one or more key
phrases or motifs (pakad), or by a more extensive series
of note patterns in the form of a melodic outline (chalan,
'movement') which summarises its development. In the
raga descriptions we have focused on their melodic outlines,
given as a series of consecutive ascending and descending
phrases. The notes may be phrased in straight sequences,
or in oblique, zigzag (vakra) patterns or, more often,
a combination of both, since not all ragas permit a
direct ascent-descent. A raga is more dynamic, far more
complex and less fixed than a melodic outline; however,
a chalan composed by a master musician can disclose
its basic grammar, and the treatment and melodic context
of each tone. Melodic outlines may vary from one musician
to another; they appear to depend very much on the traditional
songs the artist has in mind when he composes them.
Yet there are few differences of opinion about the melodic
progression of common and well-known ragas.
Brief
as it is, a melodic outline cannot (and is not intended
to) reveal the minute and decorative details of a raga
performance. It cannot disclose how an artist builds
up or releases tension by creating a micro-universe
around one tone for some time, or how he increases the
tension by creating ever-changing combinations of two,
three, four or more notes. But a melodic outline can
show the characteristic patterns and motifs of a raga,
and in which way it is distinguished from other ragas.
It can also show which notes are emphasised, often repeated
and sustained, which notes are weak or hidden, and on
which notes phrases should end.
A
note that is frequently used, or that is held for a
long duration is usually referred to as the vadi ('sonant'
or dominant note). Theoretically there should be another
strong note at a perfect fourth or fifth from the vadi
which is called the samvadi ('consonant'). Since there
is not always perfect agreement about which note-pair
to designate as sonant-consonant in a given raga, we
have chosen to use terms such as 'important', 'strong',
'emphasised', 'articulated', 'sustained' or 'pivotal',
as well as 'weak' or 'oblique' to denote the various
musical functions of tones.
WHAT
IS A RAGA? | ITS STRUCTURAL FEATURES | ITS CLASSIFICATION | RAGAMALA | RAGAS IN PERFORMANCE | TALAS IN PERFORMANCE | RAGA THERAPY | RAGA NOTATIONS | RAGA TIMINGS | HINDI FILM SONGS based on ragas | DICTIONARY
