{"id":5261,"date":"2021-08-03T21:28:48","date_gmt":"2021-08-03T21:28:48","guid":{"rendered":"https:\/\/chandrakantha.com\/?page_id=5261"},"modified":"2021-08-22T18:42:34","modified_gmt":"2021-08-22T18:42:34","slug":"rag","status":"publish","type":"page","link":"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/rag\/","title":{"rendered":"The Rag (Raga)"},"content":{"rendered":"\n<p>by <a href=\"https:\/\/chandrakantha.com\/about-us\/bio-of-d-courtney\/\">David Courtney<\/a> <img loading=\"lazy\" src=\"https:\/\/chandrakantha.com\/media\/l_p_s.gif\" alt=\"working tools\" width=\"39\" height=\"10\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"392\" src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-1024x392.jpg\" alt=\"\" class=\"wp-image-5608\" srcset=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-1024x392.jpg 1024w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-300x115.jpg 300w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-768x294.jpg 768w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-1536x588.jpg 1536w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/sitar1-2048x784.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h2>Introduction<\/h2>\n\n\n\n<p>&#8220;What is a <em>rag<\/em> (<em>raga<\/em>)?&#8221; This is a question which comes up very often. In this page we will discuss the <em>rag<\/em> and explain it in some detail. We will deal primarily with the North Indian approach, but will discuss some elements of the South Indian system as well.<\/p>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n<p>The <em>rag<\/em> is the most important concept that any student of Indian music should understand. Although it is very important, it does not have any parallel in Western music. At the risk of oversimplifying, we can say that it is a mode or a scale to which certain melodic restrictions and obligations are attached.<\/p>\n\n\n\n<p><a href=\"#ety\">The etymology of the word is simple<\/a>.  It literally implies &#8220;colour&#8221; and implies the use of sound as a way colour the mind of the listener.<\/p>\n\n\n\n<p>There are a number of characteristics that a rag must have:<\/p>\n\n\n\n<p>1) <a href=\"#swa\">There must be the notes of the <em>rag<\/em><\/a><em>.<\/em> They are called the <em>swar<\/em>. This concept is similar to the Western solfege.<\/p>\n\n\n\n<p>2) <a href=\"#sap1\">These notes are arranged in into structures<\/a> known as &#8220;<em>saptak<\/em>&#8220;. A <em>saptak<\/em> is the same thing as the Western gamut.<\/p>\n\n\n\n<p>3) <a href=\"#sap2\">These structure will repeat throughout the audio spectrum<\/a>. This brings up an alternative meaning to the word <em>saptak<\/em> which means a register.<\/p>\n\n\n\n<p>4) <a href=\"#tha\">There must also be a modal structure<\/a>. This is called <em>that<\/em> in North Indian music, or <em>mela<\/em> in Carnatic music.<\/p>\n\n\n\n<p>5) <a href=\"#psy\">The <em>rag<\/em> has an internal system of consonance and dissonance<\/a>. It is derived from psychoacoustic phenomena.<\/p>\n\n\n\n<p>6) <a href=\"#ton\">There must be a tonic<\/a>. This is made clear by a drone.<\/p>\n\n\n\n<p>7) <a href=\"#jat\">There is also the <em>jati.<\/em><\/a> <em>Jati<\/em> is the number of notes used in the <em>rag.<\/em><\/p>\n\n\n\n<p>8) <a href=\"#aro\">There must be an ascending and descending structure<\/a>. This is called <em>arohana \/avarohana.<\/em><\/p>\n\n\n\n<p>9) <a href=\"#vad\">The notes do not have the same level of significance<\/a>. Some are important and others less so. The important notes are called <em>vadi<\/em> and <em>samavadi.<\/em><\/p>\n\n\n\n<p>In addition to the above obligatory characteristics, there are other characteristics which may or may not be present.<\/p>\n\n\n\n<p>1) <a href=\"#pak\">There are often characteristic movements to the <em>rag<\/em><\/a><em>.<\/em> This is called either <em>pakad<\/em> or <em>swarup.<\/em><\/p>\n\n\n\n<p>2) <a href=\"#sam\">Most, but not all <em>rags<\/em> have traditionally been attributed to particular times of the day<\/a>.<\/p>\n\n\n\n<p>3) <a href=\"#rag\">Many <em>rags<\/em> have been anthropomorphise into families of male and female <em>rags<\/em><\/a> (<em>raga, ragini, putra raga<\/em>, etc.).<\/p>\n\n\n\n<p>I believe that the vast majority of people will find this brief discussion to be sufficient.  But if you really would like more information, we will look at these points in greater detail:<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"ety\">Etymology<\/h2>\n\n\n\n<p>It is usefull to consider the origins and usage of the term &#8220;rag&#8221;. The Hindustani (i.e., Hindi\/Urdu) word \u201c<em>rag<\/em>\u201d is derived from the Sanskrit \u201c<em>raga<\/em>\u201d which means \u201ccolour, or passion\u201d (Apte 1987). It is linked to the Sanskrit word \u201c<em>ranj<\/em>\u201d which means \u201cto colour\u201d (Apte 1987). Therefore, <em>rag<\/em> may be thought of as an acoustic method of colouring the mind of the listener with an emotion.  This is expressed in the Sanskrit saying, &#8220;<em>Ranjayati iti Ragah<\/em>&#8221; (Shankar 1968).<\/p>\n\n\n\n<p>But when did the equation of colour began to be equated with music?  In specific, where does <em>rag<\/em> in the musical sense come from? <\/p>\n\n\n\n<p>The first use of the term <em>raga<\/em> is traceable to Matang. He was a fifth century music scholar who wrote the <em>Brihadeshi<\/em> (Menon 1995). Although it is clear that Matang is using the word <em>raga<\/em> in musical sense, there seems to be considerable doubt as to whether he is referring to <em>raga<\/em> in the same way that we look at contemporary <em>rags<\/em>.<\/p>\n\n\n\n<p>There is the thorny question of transliteration.  It is variously transliterated as <em>rag<\/em>, <em>raga<\/em>, <em>raag<\/em>, and even <em>raaga<\/em>; so which is correct?  This is not an easy question to answer, for there are two major areas where there can be confusion; pronunciation and the vagaries of the Roman script.<\/p>\n\n\n\n<p>India is a country of many different dialects and languages.  Making any definite statement as to how a word is to be pronounced is folly. In general we will concern ourselves with Sanskrit and Hindustani (Hindi\/Urdu).  In Sanskrit, the last syllable is slightly elongated, therefore when we transliterate this from Sanskrit, we will use the Roman spelling of &#8220;raga&#8221;. Hindi and Urdu on the other hand will cut this last syllable completely short.  Therefore we would transliterate it as &#8220;rag&#8221;.<\/p>\n\n\n\n<p>There is also the fundamental weakness of the Roman script.  The problems associated with attempting to write words phonetically in English need no explanation.<\/p>\n\n\n\n<p>Therefore, the question of &#8220;correct&#8221; transliteration is but mere quibbling.  As is the case with every word from the South Asian subcontinent, a considerable amount of latitude is expected.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"swa\">Swar (The Notes)<\/h2>\n\n\n\n<p><em>Swar<\/em> are nothing more than the seven notes of the Indian musical scale. <em>Swar<\/em> are also called <em>&#8220;sur&#8221;<\/em>. At a fundamental level they are similar to the <em>solfa<\/em> of Western music.<\/p>\n\n\n\n<p>These are shown in the table below. Two of these <em>swar<\/em> are noteworthy in that they are immutably fixed. These two notes are <em>shadj<\/em> (<em>Sa<\/em>) and <em>pancham<\/em> (<em>Pa<\/em>) and are referred to as <em>&#8220;achala swar&#8221;<\/em>. These two <em>swar<\/em> form the harmonic anchors for all Indian classical music. The other notes have alternate forms, and are called <em>&#8220;chala swar&#8221;<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>Indian Swar (Full Name)<\/td><td> Short Name<\/td><td>Western Equivalent<\/td><\/tr><tr><td>Shadj<\/td><td>Sa<\/td><td>Do<\/td><\/tr><tr><td>Rishabh<\/td><td>Re<\/td><td>Re<\/td><\/tr><tr><td>Gandhara<\/td><td>Ga<\/td><td>Mi<\/td><\/tr><tr><td>Madhyam<\/td><td>Ma<\/td><td>Fa<\/td><\/tr><tr><td>Pancham<\/td><td>Pa<\/td><td>So<\/td><\/tr><tr><td>Dhaivat<\/td><td>Dha<\/td><td>La<\/td><\/tr><tr><td>Nishad<\/td><td>Ni<\/td><td>Ti<\/td><\/tr><\/tbody><\/table><figcaption>The Indian Swar<\/figcaption><\/figure>\n\n\n\n<p>Notice that there are two forms of the names of the notes. There is a full version (i.e. <em>shadaj<\/em>, <em>rishabh<\/em>, etc.) and an abbreviated version (i.e., Sa, Re, Ga, etc.). The abbreviated name is most commonly used; this is called &#8220;<em>sargam<\/em>&#8220;.<\/p>\n\n\n\n<p>In <em>Hindustani sangeet<\/em> (North Indian system) the movable notes have two forms. Therefore, the notes; <em>rishabh<\/em> (Re), <em>gandhara<\/em> (Ga), <em>dhaivat<\/em> (Dha), and <em>nishad<\/em> (Ni), may be either natural (<em>shuddha<\/em>) or flattened (<em>komal<\/em>). <em>Madhyam<\/em> (Ma) is unique in that its alternate form is augmented or sharp. This note is called <em>tivra<\/em> Ma. Therefore, we find that we are actually dealing with 12 swar. This extended concept is shown in the table below. These are roughly comparable to the keys on a harmonium, or piano (chromatic scale).<\/p>\n\n\n\n<p>The notation of the <em>swar<\/em> is simple. and lends itself well to the multiplicity of Indian languages and scripts. One merely has to write the short name (i.e., Sa, Re Ga, etc.) for the <em>shuddha<\/em> (natural ) notes. In the case of <em>komal<\/em> notes they are underlined. In the solitary case of the <em>tivra<\/em> Ma, a vertical line is placed above it. (Rhythm, and registers will be discussed elsewhere.)<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td><\/td><\/tr><tr><td>Shadj<\/td><td>Sa<\/td><\/tr><tr><td>Komal Rishabh<\/td><td><span style=\"text-decoration: underline;\">Re<\/span><\/td><\/tr><tr><td>Shuddha Rishabh<\/td><td>Re<\/td><\/tr><tr><td>Komal Gandhara<\/td><td><span style=\"text-decoration: underline;\">Ga<\/span><\/td><\/tr><tr><td>Shuddha Gandhara<\/td><td>Ga<\/td><\/tr><tr><td>Shuddha Madhyam<\/td><td>Ma<\/td><\/tr><tr><td>Tivra Madhyam<\/td><td>M&#8217;a<\/td><\/tr><tr><td>Pancham<\/td><td>Pa<\/td><\/tr><tr><td>Komal Dhaivat<\/td><td><span style=\"text-decoration: underline;\">Dha<\/span><\/td><\/tr><tr><td>Shuddha Dhaivat<\/td><td>Dha<\/td><\/tr><tr><td>Komal Nishad<\/td><td><span style=\"text-decoration: underline;\">Ni<\/span><\/td><\/tr><tr><td>Shuddha Nishad<\/td><td>Ni<\/td><\/tr><\/tbody><\/table><figcaption>12 Semitones of the North Indian System<\/figcaption><\/figure>\n\n\n\n<p>The situation in <em>Carnatic sangeet<\/em> (the South Indian system) is a bit more complex. In the South the movable notes Re (Ri), Ga, Dha, and Ni may occupy one of three positions. Ma however still only occupies two positions, either a natural or augmented position (sharp). This is shown in the table below.<\/p>\n\n\n\n<p>The notation of the <em>swars<\/em> in <em>Carnatic<\/em> music is a bit more complicated. Since the notes, Ri, Ga, Dha, and Ni have three forms; they are generally designated as R<sub>1<\/sub>, R<sub>2<\/sub>, R<sub>3<\/sub>, G<sub>1<\/sub>, G<sub>2<\/sub>, etc.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><\/tr><tr><td>Shadj<\/td><td>S<\/td><\/tr><tr><td>1st Rishabh<\/td><td>R<sub>1<\/sub><\/td><\/tr><tr><td>2nd Rishabh \/ 1st Gandhara<\/td><td>R<sub>2<\/sub>, G<sub>1<\/sub><\/td><\/tr><tr><td>3nd Rishabh \/ 2nd Gandhara<\/td><td>R<sub>3<\/sub>, G<sub>2<\/sub><\/td><\/tr><tr><td>3rd Gandhara<\/td><td>G<sub>3<\/sub><\/td><\/tr><tr><td>1st Madhyam<\/td><td>M<sub>1<\/sub><\/td><\/tr><tr><td>2nd Madhyam<\/td><td>M<sub>2<\/sub><\/td><\/tr><tr><td>Pancham<\/td><td>P<\/td><\/tr><tr><td>1st Dhaivat<\/td><td>D<sub>1<\/sub><\/td><\/tr><tr><td>2nd Dhaivat \/ 1st Nishad<\/td><td>D<sub>2<\/sub>, N<sub>1<\/sub><\/td><\/tr><tr><td>3nd Dhaivat \/ 2nd Nishad<\/td><td>D<sub>3<\/sub>, N<sub>2<\/sub><\/td><\/tr><tr><td>3rd Nishad<\/td><td>N<sub>3<\/sub><\/td><\/tr><\/tbody><\/table><figcaption>12 Semitones of the South Indian System<\/figcaption><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"sap1\">Saptak (Gamut)<\/h2>\n\n\n\n<p>The word &#8220;<em>saptak<\/em>&#8221; in Sanskrit means &#8220;containing seven&#8221;, and is derived from the Sanskrit word &#8220;<em>sapta<\/em>&#8221; which means &#8220;seven&#8221;. (Incidentally, the English month &#8220;September&#8221; was original the seventh month in the old Roman calendar). Therefore, the <em>saptak<\/em> is simply a collection of the full seven notes.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"sap2\">Saptak (Register)<\/h2>\n\n\n\n<p>The word &#8220;<em>saptak<\/em>&#8221; has an additional meaning. Since the seven notes will repeat upward and downward throughout the audio spectrum, this brings up the obvious question as to which <em>saptak<\/em> one is referring to. Therefore an alternative meaning corresponds to the Western concept of &#8220;register&#8221;.<\/p>\n\n\n\n<p>In absolute terms, how many registers are there? In engineering circles the audio spectrum is conventionally accepted to extend over 10 octaves. But this is not the way that musicians conceptualise things. In the West, musicians tend to conceptualise the registers as per the piano keyboard. In which case there were typically be considered to be 8 octaves. Therefore a note like &#8220;C3&#8221; tells us not only the musical note (C), but also which octave on the piano it is to be found (3)<\/p>\n\n\n\n<p>But the Indian concept of octave is different. Unlike Western music, which has an absolute frame of reference, the North Indian system changes from instrument to instrument. The middle register, referred to as <em>madhya saptak<\/em>, is whatever is most comfortable for that person or instrument; everything else is reckoned from here. Therefore, one register above this is referred to as <em>tar saptak<\/em>; and the lower register is referred to as <em>mandra saptak<\/em>. Additionally, two octaves above the middle is called <em>ati-tar saptak<\/em>; three octaves is called <em>ati-ati-tar saptak<\/em>, etc. In a similar manner, two octaves below is called <em>ati-mandra saptak<\/em>; three octaves below is called <em>ati-ati-mandra saptak<\/em>, etc.<\/p>\n\n\n\n<p>This system is convenient but it does not provide us with an absolute frame of reference. For instance, Sa in the middle register of one instrument could wind up being the Sa of the lower octave of another. One would think that this situation could become problematic, but it never seems to have created a problem in practice.<\/p>\n\n\n\n<p>The register is indicated in traditional notation by the presence or absence of dots. If there is no dot, then the middle register (<em>madhya saptak<\/em>) is presumed. The dot over a <em>swar<\/em> indicates that it is <em>tar saptak<\/em>. Two dots over the <em>swar<\/em> indicate that it is <em>ati-tar saptak<\/em>. Conversely, a dot below indicates that it is <em>mandra saptak<\/em>. Two dots below indicate that the <em>swar<\/em> is <em>ati-mandra saptak.<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"tha\">That (Mode)<\/h2>\n\n\n\n<p>The <em>that<\/em> (<em>thaat<\/em>) is the specification as to which of the alternate forms of <em>swar<\/em> will be chosen. We pointed out that several of the <em>swar<\/em> have alternate forms. The permutations of the various forms give rise to numerous scales with vastly differing intervals. Therefore the concept of <em>that<\/em> is essentially the same as the Western concept of a mode.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>Bilawal (Ionian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/01_bilawal_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Khammaj (Mixolydian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/02_khammaj_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Kafi (Dorian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/03_kafi_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Asawari (Aeolian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/04_asawari_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Bhairavi (Phrygian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/05_bhairavi_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Bhairav<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/06_bhairav_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Kalyan (Lydian)<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/07_kalyan_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Marwa<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/08_marwa_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Purvi<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/09_purvi_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><tr><td>Todi<\/td><td><img src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/02_10_todi_that.jpg\" alt=\"\" style=\"width: 250px;\"><\/td><\/tr><\/tbody><\/table><figcaption>The 10 Common Thats of North indian Classical Music<\/figcaption><\/figure>\n\n\n\n<p>Table of Thats (from &#8220;Elementary North Indian Vocal: Vol 1&#8221;)<\/p>\n\n\n\n<p>(note &#8211; The above notation has been normalised to the key of C. No absolute pitch is implied)<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/bhatkhande1.jpg\" alt=\"\" class=\"wp-image-5395\" width=\"339\" height=\"500\" srcset=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/bhatkhande1.jpg 571w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/08\/bhatkhande1-203x300.jpg 203w\" sizes=\"(max-width: 339px) 100vw, 339px\" \/><figcaption>First Volume of Bhatlhande&#8217;s &#8220;Hindustani Sangeet Paddhiti&#8221;<\/figcaption><\/figure>\n\n\n\n<p>There are problems whenever one is talking about the number of <em>thats<\/em>. Generally only ten are commonly acknowledged in North Indian music. This goes back to a tradition of pedagogy based upon the work of the early twentieth century musicologist Vishnu Narayan Bhatkhande (1860-1936). But even a mid-level student knows that there are very common <em>rags<\/em> such as <em>Ahir Bhairav, Charukesi<\/em>, or <em>Kirwani<\/em>, which clearly do not belong to these ten <em>thats<\/em>. It appears that in <em>Hindustani sangeet<\/em>, around twenty are in common usage. If we look at the present concepts of scale construction as they exist in the North Indian system of music, there are 32 possible <em>thats<\/em>. This has created a lot of confusion in north Indian pedagogy.<\/p>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"psy\">Psychoacoustics of Consonance &amp; Dissonance<\/h2>\n\n\n\n<p>Consonance and dissonance are two very important concepts which are based upon psychoacoustic phenomena. By its very nature, it transcends culture and goes to the very heart of the way that we hear sound. Therefore, many of the points that we will discuss are common to all music, not just the Indian <em>rag<\/em>.  But as we will see later, the practical expression of which brings us to some interesting points.<\/p>\n\n\n\n<p>The modern scientific approach to psychoacoustics owes its greatest debt to the 19th century scientist Hermann Von Helmholtz (1821-1894). Although individual elements of psychoacoustics have been alluded to by a variety of sources around the world, he was the first to bring the physics of sound, the physiology of hearing, and musical acoustics all together. Research in the last 150 years have clarified or even modified many of his points; but his basic approach remains firm.<\/p>\n\n\n\n<p>It is impossible to go into a complete discussion of a Helmholtzian approach to music in this page. But germane to the discussion of <em>rag<\/em> is the psychoacoustic foundation of consonance and dissonance.<\/p>\n\n\n\n<p>Consonance and dissonance describe the psychological effect of playing two musical tones together. If two musical tones have a jarring effect (e.g., simultaneously playing Sa and <em>Komal<\/em> Re), this is referred to as dissonance. Conversely if two notes have a very pleasing and relaxing effect (e.g., Sa and Pa sounded simultaneously), this is known as consonance.<\/p>\n\n\n\n<p>The consonance and dissonance of various note combinations is based upon interactions of their fundamental frequencies and their harmonics. This is a fascinating study in its own right, but one which we will not go into here. However, the relationship of various notes to our tonic (i.e., <em>shadaj<\/em>), deserves some discussion.<\/p>\n\n\n\n<p>The consonance \/ dissonance of two tones (e.g., Sa and another note), are of prime importance to Indian music. But consonance \/ dissonance is not a binary phenomenon for there are numerous shades in between. This is often expressed as the graph below:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img src=\"http:\/\/chandrakantha.com\/images\/rag\/consonance_disonance.jpg\" alt=\"\"\/><figcaption>Consonance and dissonance of swar related to Sa (Jairazbhoy 1971)<\/figcaption><\/figure>\n\n\n\n<p>According to this graph, the lower value reflects a greater consonance while the higher value reflects dissonance. There are many interesting things which may be seen in the above graph; but the most noteworthy is the extreme consonance of the octave, the fifth (i.e., Pa), and the natural fourth (Ma).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"ton\">The Tonic<\/h2>\n\n\n\n<p>The special relationship shown between the octave, the fifth, and the fourth are reflected in the Indian concept of the tonic. This is very similar to the Western concept; but it is treated differently.<\/p>\n\n\n\n<p>The tonic is the harmonic centre of the scale. Within the Indian system, this is firmly anchored in the Sa. However the Indian concept of the tonic requires there to be a secondary anchor. This is usually Pa, but also quite commonly it is Ma. The psychoacoustic justification for this is firmly rooted in basic concepts of consonance. On very rare occasions this secondary anchor will be something other than Pa or Ma.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"http:\/\/chandrakantha.com\/images\/rag\/sa_pa_anchor.jpg\" alt=\"Sa Pa  Harmonic anchor\" width=\"645\" height=\"117\"\/><figcaption>Sa Pa Sa Tonic<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"http:\/\/chandrakantha.com\/images\/rag\/sa_ma_anchor.jpg\" alt=\"\" width=\"645\" height=\"117\"\/><figcaption>Sa Ma Sa Tonic<\/figcaption><\/figure>\n\n\n\n<p>It is at this point that the treatment of the tonic in India begins to diverge from Western concepts. In the Occidental approach to music, the tonic may be deduced from the scale structure. However, Indian music is modally far richer than that of the West; therefore a far more direct approach is required.<\/p>\n\n\n\n<p>In Indian classical music the modal characteristics are sharply delineated with a drone. At a minimum this will be the solid anchor of the 1st (Sa) and the secondary anchor of Pa or Ma. But on occasion other notes may be added to the drone.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"jat\">Jati (The Number of Notes in the Rag)<\/h2>\n\n\n\n<p><em>Jati<\/em> is another characteristic of the rag. The word &#8220;<em>jati<\/em>&#8221; or &#8220;<em>jaati<\/em>&#8221; literally means a &#8220;caste&#8221; or &#8220;collection&#8221;; as such it has numerous musical and non-musical usages. In the musical sense it can mean a rhythmic pattern, an ancient musical mode, or the number of notes in a modern mode. It is this latter definition that we will deal with here.<\/p>\n\n\n\n<p>The number of notes in the <em>rag<\/em> is significant, for not every one uses all seven notes. Normally, a <em>rag<\/em> will consist of either five, six, or a full seven notes. A five-note <em>rag<\/em> is said to be an <em>audhav jati<\/em>; a six note <em>rag<\/em> is said to be <em>shadav jati<\/em>; and one of seven notes is said to be <em>sampurna jati<\/em>. Furthermore, <em>rags<\/em> may be mixed <em>jatis<\/em> (i.e., different <em>jatis<\/em> for the ascending and the descending structures.) For instance, a <em>rag<\/em> which has only five notes in the ascending, but all seven notes in the descending, would be called <em>audhav-sampurna<\/em>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"aro\">Arohan \/ Avarohana (Ascending &amp; Descending Movement)<\/h2>\n\n\n\n<p><em>Arohana<\/em> and <em>avarohana<\/em> are the descriptions of how the <em>rag<\/em> moves. The <em>arohana<\/em>, also called <em>aroh<\/em> or <em>arohi<\/em>, is the way in which a <em>rag<\/em> ascends the scale. The <em>avarohana<\/em>, also called <em>avaroh<\/em> or <em>avarohi<\/em>, describes the way that the <em>rag<\/em> descends the scale. Both the <em>arohana<\/em> and <em>avarohana<\/em> may use certain characteristic twists and turns. Such prescribed twists are referred to as <em>vakra<\/em>. Such twisted movements are a reflection of catch phrase or <em>pakad<\/em>.<\/p>\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"vad\">Vadi \/Samvadi &amp; The Different Importance of Notes<\/h2>\n\n\n\n<p>The different notes (<em>swar<\/em>) of the rag have different levels of significance. A note which is strongly emphasized is referred to as the <em>vadi<\/em>. Another note which is strong but only slightly less so is the <em>samavadi<\/em>. A note which is neither emphasized nor de-emphasized is called <em>anuvadi<\/em>. Notes which are de-emphasized are referred to as being <em>durbal<\/em>; while notes which are excluded are called <em>vivadi<\/em>.<\/p>\n\n\n\n<p>Some of these are intuitive and need not be elaborated upon. A particular a note which has no particular importance (<em>anuvadi<\/em>) also deserves no particular discussion. In a similar way, a note which is excluded from the <em>rag<\/em> (<em>vivadi<\/em>) is just that, excluded. However a <em>durbal<\/em> note might be worth a second look, but only to the extent that such notes are either not present in both <em>arohanna<\/em> and <em>avarohana<\/em>, or present only in some twisted melodic structure.<\/p>\n\n\n\n<p>Now we can concentrate on the <em>vadi<\/em> and <em>samvadi<\/em>. Strictly speaking The terms refer to situations of extreme consonance. That is to say the importance is in how the <em>vadi<\/em> and the <em>samvadi<\/em> relate to each other. However in present usage they are used to describe certain melodic anchors of the <em>rag<\/em>.<\/p>\n\n\n\n<p>It is appropriate for us to look at what the system of <em>vadi\/samvadi<\/em> is intended to be. Earlier we showed how there was the Indian concept of the tonic which forms harmonic anchors for the <em>rag<\/em> (i.e., Sa and Pa). But layered over this is another set of anchors; these may be viewed as a melodic anchors. Just as the main harmonic anchors are Sa and Pa, in a similar way the melodic anchors are the <em>vadi<\/em> and the the <em>samvadi<\/em>. Just as your harmonic anchors are almost always either a fifth or a fourth apart, in a similar way your <em>vadi<\/em> and <em>samvadi<\/em> are almost always a fifth or a fourth apart!<\/p>\n\n\n\n<p>Much of the feeling of the <em>rag<\/em> is easily explained by looking at the juxtaposition of these two sets of anchors. Let us take the situation where Sa and Pa are both present in a <em>rag<\/em> and the <em>vadi<\/em> is Sa while the <em>samavadi<\/em> is Pa. This is shown in the figure below. A simple Helmoltzian approach to this arrangement shows that such a <em>rag<\/em> would be steeped in a feeling of peace and repose.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"http:\/\/chandrakantha.com\/images\/rag\/vadi_samvadi_anchor.jpg\" alt=\"\" width=\"645\" height=\"193\"\/><figcaption>A feeling of peace and repose is felt when the vadi and samvadi correspond to the tonic.<\/figcaption><\/figure>\n\n\n\n<p>Let us now take a different situation. Let us imagine a situation where there is still Sa and Pa, but now the <em>vadi<\/em> and <em>samvadi<\/em> are located a half-step from this. Again a simple Helmholtzian view shows us this <em>rag<\/em> that would exhibit a tremendous degree of tension.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"http:\/\/chandrakantha.com\/images\/rag\/vadi_samvadi_anchor2.jpg\" alt=\"\" width=\"645\" height=\"193\"\/><figcaption>A feeling of tension is felt when the vadi and samvadi have a dissonant relationship to the tonic.<\/figcaption><\/figure>\n\n\n\n<p>This is the way that the system of <em>vadi<\/em> and <em>samvadi<\/em> is supposed to work; unfortunately these concepts have become corrupted. Consequently it is particularly problematic for the music students today. Musicians never seem to be able to agree with each other as to what the <em>vadi<\/em> and <em>samvadi<\/em> of any given <em>rag<\/em> are. Furthermore, the stated <em>vadi<\/em> and <em>samvadi<\/em> often have no bearing as to the actual usages of the notes.<\/p>\n\n\n\n<p>There are undoubtedly numerous reasons for the abysmal situation behind this bit of arcane music theory. But perhaps the biggest culprit lies in the foundational work of V.N. Bhatkhande.<\/p>\n\n\n\n<p>Bhatkhande was a great musicologist and was largely responsible for the development of a workable pedagogical and theoretical system for North Indian music. Unfortunately his original work did have some flaws.  His biggest folly revolved around the belief that all <em>rags<\/em> have a time attached to them, and that this time can be explained in terms of their internal structures. In his efforts to support his cumbersome system, he routinely ascribed <em>vadis<\/em> and <em>samvadis<\/em> to <em>rags<\/em> which in no way reflected their usage. The result was that successive generations of music students have been encumbered by his failed system of <em>vadi<\/em> and <em>samvadi<\/em>.<\/p>\n\n\n\n<p>Numerous musicians and scholars over the last century have attempted to rectify this situation. But there is an overall lack of intellectual exchange between practising musicians and academics. This lack of communication continually hampers efforts to develop an accurate and cohesive system for North Indian classical music.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"pak\">Swarup or Pakad (The &#8220;Catch Phrase&#8221;)<\/h2>\n\n\n\n<p>The <em>pakad<\/em> or <em>swarup<\/em>, is a defining phrase or a characteristic pattern for a <em>rag<\/em>. This is often a particular way in which a <em>rag<\/em> moves; for instance the &#8220;Pa M&#8217;a Ga Ma Ga&#8221; is a tell-tale sign for <em>Rag Bihag<\/em>, or &#8220;N<sub>.<\/sub>i Re Ga M&#8217;a&#8221; is a telltale sign for <em>Yaman<\/em>. Often the <em>pakad<\/em> is a natural consequence of the notes of <em>arohana \/ avarohana<\/em> (ascending and descending structures). However, sometimes the <em>pakad<\/em> is unique and not implied by the notes of the <em>arohana \/avarohana.<\/em> It is customary to enfold the <em>pakad<\/em> into the <em>arohana \/ avarohana<\/em> to make the ascending and descending structures more descriptive.<\/p>\n\n\n\n<p>Sometimes the <em>pakad<\/em> involves a particular ornamentation. A good example is the peculiar <em>andolan<\/em> (slow shake) that is found in <em>rag Darbari Kanada<\/em>. This particular <em>andolan<\/em> slowly oscillates around a <em>komal<\/em> Ga which is so low that it is almost a <em>shuddha Re<\/em>.<\/p>\n\n\n\n<p>Not every <em>rag<\/em> has a clear <em>pakad<\/em>. For instance some rags may be defined simply by their mode. This seems to be a growing trend, especially for new <em>rags<\/em> which are coming into <em>Hindustani sangeet<\/em> from other sources.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"sam\">Samay (The Timings)<\/h2>\n\n\n\n<p>Tradition ascribes certain <em>rags<\/em> to particular times of the day, seasons, or holidays; this is called <em><span style=\"text-decoration: underline;\">samay<\/span><\/em>. It is even said that appropriate performance may bring harmony, while playing at different times may bring disharmony. It is said that the great Tansen was able to create rain by singing a monsoon <em>rag<\/em>.<\/p>\n\n\n\n<p>There is not a universal agreement as to the correctness of <em>samay<\/em>. There are some musicians who argue that a <em>rag<\/em> must be performed at the time of day that it is assigned; conversely, other musicians argue that one may play a <em>rag<\/em> at any time if one wishes to evoke the mood of that time. For instance, if one simply wished to evoke the mood of a monsoon day, one could perform <em>Megh Malhar<\/em>; even in the middle of summer.<\/p>\n\n\n\n<p>The concept of <em>samay<\/em> has other complications. There are a number of <em>rags<\/em> that have different times ascribed by different musical traditions (gharanas). The concept is further weakened by the influx of <em>rags<\/em> from south Indian music. Many years ago <em>Carnatic<\/em> musicians and musicologists abandoned the concept of <em>samay<\/em>. It seems that it did not fit into their rational, scientific system. The result is that when <em>Carnatic rags<\/em> enter the <em>Hindustani<\/em> system, they come stripped of any conventionally accepted timings. The number of such <em>Carnatic rags<\/em> entering the <em>Hindustani<\/em> system is very large and constantly growing.<\/p>\n\n\n\n<p>If one is disposed to follow the system of <em>samay<\/em>, one can only accept that it is merely a question of tradition.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 id=\"rag\">Raga \/ Ragini (The Mythical Families of Rags)<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" src=\"https:\/\/chandrakantha.com\/images\/rag\/vardhan.jpg\" alt=\"Ragmala\" width=\"194\" height=\"300\"\/><figcaption>Ragaputra Vardhan, (circa 1790)<\/figcaption><\/figure>\n\n\n\n<p>The concept of families of <em>rags<\/em> is an interesting aspect of Indian music. Over the centuries <em>rags<\/em> have been ascribed to certain demigods. A natural consequence of such anthropomorphism is that there be a familial relationship between them. Therefore, in the past few centuries there arose a complicated system of <em>rags<\/em> (male <em>rags<\/em>), <em>raginis<\/em> (female <em>rags<\/em>), <em>putra rags<\/em> (sons of <em>rags<\/em>), etc. This was the basis for a system of classification before the advent of modern musicology.<\/p>\n\n\n\n<p>Although this may have been a great inspiration to the painters of the old <em>ragmala<\/em> tradition, (see example above) it proved to be worthless as a means of musical taxonomy. The obvious problem was that there was no objective way to accommodate the new <em>rags<\/em> that were coming into existence. Today the <em>that<\/em> is the basis for the classification of <em>rags<\/em>.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2>Conclusion<\/h2>\n\n\n\n<p>The myriad of technical considerations are interesting. They are important to know for any serious musician. But ultimately a <em>rag<\/em> is like a person. It is a person that you must get to know from a very intimate relationship. Only after such a close personal experience can one perform it.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2>Selected Video<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bansuri: Raga Jog\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/CGOlv_bXLIs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ustad Amir Khan Raga Malkauns\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/rhVE4sQIdS0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pt Ravi Shankar Explanations on Raag\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/rcSZE-4q_yA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2>Works Cited<\/h2>\n\n\n\n<p><strong>Apte, Vasudeo Govind<\/strong><br>1987 <em>The Concise Sanskrit Eng\u00adlish Dictionary<\/em>. Delhi: Motilal Banarsidas.<\/p>\n\n\n\n<p><strong>Bhatkhande, Vishnu Narayan<\/strong><br>1934 <em>Srimal-laksyasangitam<\/em>. Poona. (under pseudonym, Chatur Pandita Visnu Sharma)<br>1934 <em>A Short History of the Music of Upper India.<\/em> Bombay, India: reprinted in 1974 by In\u00addian Musicological So\u00adciety, Baroda.<br>1993 <em>Hindustani Sangeet \u2013 Paddhati (Vol 1 \u2013 4): Kramik Pustak Malika<\/em>. Hathras: Sangeet Karyalaya.<\/p>\n\n\n\n<p><strong>Jairazbhoy, N.A.<\/strong><br>1971 <em>The Rags of North In\u00addian Music: Their Structure and Evolution.<\/em> Middletown CT: Wesleyan University Press.<\/p>\n\n\n\n<p><strong>Menon, Raghav R.<\/strong><br>1995 <em>The Penguin Dictionary of Indian Classical Music<\/em>. New Delhi, Penguin Books.<\/p>\n\n\n\n<p><strong>Shankar, Ravi<\/strong><br>1968 <em>Ravi Shankar: My Music, My Life.<\/em> New Delhi, India: Vikas Publishing House Pvt. Ltd.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2>Other Sites of Interest<\/h2>\n\n\n\n<p><a href=\"https:\/\/cnx.org\/contents\/bDLyHWWs@16\/Indian-Classical-Music-Tuning-\" target=\"_blank\">Indian Classical Music: Tuning and Ragas<\/a><\/p>\n<p><a href=\"http:\/\/citeseerx.ist.psu.edu\/viewdoc\/summary?doi=10.1.1.606.4057\" target=\"_blank\">Raga identification by using Swara intonation (2009)<\/a><\/p>\n<p><a href=\"https:\/\/cnx.org\/contents\/Fxmh7wKe@16\/Modes-and-Ragas-More-Than-just\" target=\"_blank\">Modes and Ragas: More Than just a Scale <\/a><\/p>\n<p><a href=\"https:\/\/doaj.org\/article\/dde32cf2f0f34a86be9d7eb1ee785252\" target=\"_blank\">Emotional responses to Hindustani Raga music: The role of mus&shy;ical struc&shy;ture<\/a><\/p>\n<p><a href=\"http:\/\/citeseerx.ist.psu.edu\/viewdoc\/summary?doi=10.1.1.648.4653\" target=\"_blank\">Distinguishing Raga-Specific Intonation of Phrases With Audio Analysis<\/a><\/p>\n<p><a href=\"https:\/\/arxiv.org\/abs\/1708.02322\" target=\"_blank\">Automatic Raga Recognition in Hindustani Classical Music<\/a><\/p>\n<p><a href=\"http:\/\/ethnomusicologie.revues.org\/2459\" target=\"_blank\">Patrick Moutal. A Comparative Study of Selected Hindust\u0101n\u012b R\u0101ga-s based on Contemporary Practice<\/a><\/p>\n<p><a href=\"http:\/\/citeseerx.ist.psu.edu\/viewdoc\/summary?doi=10.1.1.677.5338\" target=\"_blank\">BFS Algorithm<\/a><\/p>\n<p><a href=\"https:\/\/repositori.upf.edu\/handle\/10230\/25675\" target=\"_blank\">Automatic Tonic Identification in In&shy;dian Art Music: Approaches and Evaluation<\/a><\/p>\n\n","protected":false},"excerpt":{"rendered":"<p>by David Courtney Introduction &#8220;What is a rag (raga)?&#8221; This is a question which comes up very often. In this page we will discuss the&#8230;<\/p>\n<div class=\"more-link-wrapper\"><a class=\"more-link\" href=\"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/rag\/\">Continue reading<span class=\"screen-reader-text\">The Rag (Raga)<\/span><\/a><\/div>\n","protected":false},"author":1,"featured_media":0,"parent":2487,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/5261"}],"collection":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/comments?post=5261"}],"version-history":[{"count":97,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/5261\/revisions"}],"predecessor-version":[{"id":5664,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/5261\/revisions\/5664"}],"up":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/2487"}],"wp:attachment":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/media?parent=5261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}