1. Grama Raga (Primary Raga)
Definition:
The fundamental or principal raga that serves as the foundation for other ragas.
Characteristics: These are the core ragas from which other ragas evolve. They set the emotional and structural framework for the raga family.
Role: Represents the original melodic framework of a raga, setting the tone and mood.
2. Up Raga (Sub-Raga)
Definition:
A derivative or subsidiary raga, closely related to its Grama Raga.
Characteristics: These ragas share many aspects with their parent raga but have distinct features or modifications, allowing for subtle variations in mood and structure.
Role: Often considered as variations or extensions of the primary raga, offering a wider exploration of the emotional palette.
3. Raga Bhasha (Raga of Another Language)
Definition:
A raga that incorporates notes and phrases from another raga, but develops its own melodic character.
Characteristics: While borrowing from a parent raga, it forms an identity of its own by adopting specific melodic patterns.
Role: Demonstrates the fusion of influences from different ragas, resulting in a hybrid raga that draws from multiple sources.
4. Vibhasha (Vibhāṣā)
Definition:
A rare or special raga, often minor in nature, with unique characteristics or altered notes.
Characteristics: It might involve slightly altered notes or unusual emphasis on certain intervals, creating a distinct identity. Vibhasha ragas are often unconventional or non-standard.
Role: These ragas introduce an exotic or experimental quality to the classical tradition, often used to evoke unique emotional responses.
5. Antar Bhasha (Mixed or Internal Form)
Definition:
A blended or internal form of raga, combining elements of Raga Bhasha and other ragas.
Characteristics: This type of raga may incorporate notes and phrases from different ragas within itself, creating a dynamic fusion of tonalities.
Role: It is less common and often used to show the fusion of two or more ragas, reflecting the complexity and fluidity of Indian classical music.
6. Raganga (Rāgāṅga)
Definition:
A raga that embodies the fundamental melodic characteristics of its parent raga or scale.
Characteristics: Raganga ragas are built directly upon the core structure of a parent scale or raga, emphasizing the basic melodic features.
Role: They retain the primary essence of their source raga while adding minor embellishments, maintaining a strong connection to the parent framework.
7. Bhasanga (Bhāṣāṅga)
Definition:
A raga that uses notes from other scales or ragas as "visiting notes" (anya svara), adding an element of beauty to its structure.
Characteristics: Bhasanga ragas may incorporate foreign notes that are not part of the raga’s core scale, but these notes enhance the raga’s melodic complexity.
Role: These ragas are used to enrich the emotional expression of the parent scale by introducing an element of variation and beauty.
8. Kriyanga (Kriyāṅga)
Definition:
A raga defined by its specific melodic movements, ornamentation (like gamakas), and rhythmic gestures.
Characteristics: Kriyanga ragas emphasize the decorative elements of the melody, such as ornamentations and vibrato, and often highlight emotional expression through these embellishments.
Role: They focus on the performance techniques and virtuosity of the musician, showcasing their skill in using melodic ornaments to express the raga’s mood.
9. Upanga (Simpler or Lesser Form of a Raga)
Definition:
A raga that closely follows its parent scale or raga without much variation or complexity.
Characteristics: The notes and structure of Upanga ragas are more direct and simple, with fewer variations or complex embellishments compared to their parent ragas.
Role: These ragas serve as basic forms, often used as foundational pieces for beginners or as starting points for more complex raga development.
Why This System?
The classification of ragas into these specific categories (often found in ancient texts like the Sangeet Darpan) provided a structural framework for understanding how ragas were constructed, beyond just the sequence of notes. These classifications emphasize the emotional essence (bhava), the structural components (anga), and the melodic movements (kriya) that make each raga unique.
While modern systems like Thaat (Hindustani) and Melakarta (Carnatic) focus primarily on the scales or family structure of ragas, these older terms describe the personality and relationships between ragas, capturing the spirit of the music.
This system also aids in defining how ragas interact with one another, similar to the way ragas are depicted in Ragamala paintings that visually represent raga relationships.
Conclusion
The classification of ragas into types such as Grama, Up, Bhasha, Vibhasha, and others reflects a deeper, more nuanced understanding of ragas, not just in terms of their notes but in their emotional expression, structural characteristics, and how they evolve and relate to one another. This approach helps musicians and scholars grasp the full essence of a raga, encouraging a richer and more detailed interpretation of classical music
