Kalyan, Puriya. Kalyan, Shuddha. Kalyan, Shyam. Kalyan, Yaman. Kanada, Bageshree. Kanada, Darbari. Kanada, Gunji. Kanada, Hussaini. Kanada, Kafi. Kanada, Kaunsi. Kanada, Nayaki. Kanada, Shahana. Kanada, Sughrai. Kanada, Suha. Kanada, Suha Sughrai. Kedar, Basanti. Kedar, Chandni. Kedar, Jaldhar.
Kedar, Maluha. Kedar, Nat. Khamaj, Manjh. Malhar, Gaud. Malhar, Jayant. Malhar, Meera. Malhar, Miyan. Malhar, Nanak. Malhar, Nat. Malhar, Ramdasi. Malkauns, Pancham. Malkauns, Sampoorna. Puriya Dhanashree. Sakh, Dev. Sarang, Badhans. Sarang, Gaud.
Sarang, Lankadahan. Sarang, Samant. Sarang, Shuddha. Sarang, Vrindavani. Tilak Kamod. Todi, Bahaduri. Todi, Bilaskhani. Todi, Gujari. Todi, Jaiwanti. Todi, Lachari. Todi, Miyan Ki. Todi, Saheli. Vachaspati or Champakali. Zilaf, Bhairav Ang Ka. Malhar, Charju Ki. Malhar, Des. Sakh, Lachchha. Sakh, Bhav. Bhairav, Kabir. Bhairav, Bangal. Gunakali, Utari. Todi, Laxmi. Kalyan, Raj. Bihag, Sawani. Malhar, Dhulia. Kanada, Raisa. Kanada, Gara. Bahar, Kanada. Bahar, Rageshree.
Kedar, Sawani. Hindol, Sampoorna. Basant Pancham. Lalit Pancham. Bhairav, Mangal. Bhairavi, Sindh. Todi, Darbari. Todi, Hussaini. Kalyan, Chandra. Todi, Chhaya. Manjiri, Rudra. Desi, Komal. Bhairav, Hijaj. Ranjani, Kamal. Basant, Gopika. Basically, to make melodies the musician moves from note to note for the performance to create a Rasa or mood that is unique to each Raga.
A Raga can be written on a scale. Theoretically, there are thousands of Ragas possible given 5 or more notes, but in practical use, the classical Indian tradition has refined and typically relies on several hundred. In Indian Classical Music , Ragas are associated with different times of the day or even seasons.
When the correct Ragas are used according to the time zone, the Ragas have a maximum effect, creating beautiful and full melodies. There can theoretically be thousands upon thousands of Ragas but it was narrowed down to 83 Ragas out of which Six Ragas are considered as the primary Ragas by Pandit Jasraj.
This stage included chanting with three swaras or notes. It is believed that Indian music came about after the introduction of the sama veda. There is a fascinating mythological tale about the origin of the swaras, as follows:. It is believed that Lord Shiva once addressed a celestial congregation, for the welfare of mankind. While the subject of His address became the Vedas, the differences in His tonal quality became the seven swaras. He first addressed the audience at the centre, and then the immediate left and right.
Shiva then addressed the audience to the far left and right. Here, two notes emanated out of each face, to reach to the farthest sides. One interesting fact that the origin of swaras gives us is that they were derived from Mother Nature Herself!
The tonal quality of each note is associated with the call of a specific animal or bird, as listed below:. Though the seven note system in music is universally accepted, Indian system adds an extra 5 notes, depending on the variation of the srutis. The manipulation of these swaras is what gives rise to one of the most important concepts of Indian classical music, the raga. That which pleases the ear is referred to as a raga. The raga can be defined as a melodic type or melodic mould.
It is a collection of notes in a particular order, giving rise to a melody type. The raga is the very soul of Indian music. It is very difficult, almost impossible, to define a raga in just a word or two. Though the above-mentioned definition of a raga exists, it is only valid for academic purposes. As Harold. Powers states, "A raga is not a tune, nor is it a 'modal' scale, but rather a continuum with scale and tune as its extremes.
The raga is also much more complicated than just a tune. Ragas are ever-changing, dynamic entities. They veritably pulsate with life and help produce an almost unlimited flow of ideas in the artist. The raga, being so vast a subject, goes beyond the most detailed definition and has to be experienced by both the singer and the listener to be properly understood. Raga is the pivotal concept of Indian music.
Nowhere else in world music can you see the existence of a phenomenon like the raga. Hence the Indian raga system generates much interest among musicians and musicologists of world music. The raga is a compilation of a series of notes in an octave, which bear a definite relationship to one another and occur in varied phrases of permutation and combination, thereby giving a shape and a unique personality to it. The raga must have a minimum of five notes in the order as prescribed by the ancient texts on music.
Further, it must have a Sa and either the Ma or the Pa. There are exceptions in Carnatic music, of course, but those ragas have limited scope and do not sound very pleasing when sung for too long.
The raga is ornamented with various shakes and graces too, thereby enabling it to emote and breathe life and expression into a song. Western music places importance on scales. Western classical music deals with various major and minor scales as the basis of its music.
These scales are of equal temperament, meaning they are rendered in the same way by each and everyone singing or playing that particular scale. Here, the notes of each raga or melody are rendered in different raga. The notes of a scale are embellished with shakes and oscillations, which enhance the beauty of the raga.
It is the usage of these gamakas or ornamentations that makes Indian music what it is today. These gamakas give character and a unique emotional quality to the raga as a whole.
Ragas are said to have healing properties, if sung properly. There is also a historical reference to how he brought a dead man to life by singing a particular raga. Ragas in Indian music are known to have healing properties. While ragas like Sahana heal the body of mild ill-health, Todi relieves severe sinus headaches.
Singing the Carnatic ragas Bharavi and Athana restore sagging spirits and bestow a feeling of well-being both on the singer and his audience. The raga, as discussed earlier, is capable of emoting and expressing feelings and thoughts.
This happens through the clever use of the appropriate srutis, swaras and pakads the most important phrases of a raga. This emotional quality of the raga is known as the rasa, or the quality of that emotion. Raga and rasa go hand-in-hand in Indian classical music. If rendered properly, every raga is capable of giving rise to some emotion, both in the person singing it and among the general audience too.
These are:. Each raga admits of one predominant rasa. Gaud Malhar and Miyan Malhar rag sung in monsoon. There are around 83 ragas in Indian classical music. The raag is grave in mood and suggests seriousness, introversion as well as devotional attitude. The effect of the raga is soothing and intoxicating. The raga is believed to have been created by goddess Parvati the wife of Shiva to calm Shiva, when the lord Shiva was outraged and was not calming down after Tandav in rage of Sati's sacrifice.
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