short notes of classification of ragas

A Hierarchical Approach to Raga Structure and Essence

The classification of ragas into various types—such as Grama, Up, Bhasha, Vibhasha, and others—comes from ancient Sanskrit treatises and offers a holistic understanding of ragas that goes beyond just the notes. This system focuses on the bhava (emotion/essence), anga (limbs/characteristics), and the relationship of ragas to core scales (Mela in Carnatic or Thaat in Hindustani). These categories help define a raga’s unique personality, emotional impact, and structural components, making it more than just a collection of notes.

Here's a breakdown of the older classifications:

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

Murchhanas

 

 Melodic Rotation and the Evolution of Ragas

Murchhana is an ancient Indian classical music concept that involves the process of melodic rotation or shifting the tonic (known as Shadja or Sa) of a raga or scale to create new scales or ragas. This system, developed long before the modern Thaat (Hindustani) and Melakartha (Carnatic) systems, was essential for understanding the evolution and classification of ragas.

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Core Concept of Murchhana

• Murchhana involves shifting the tonic (Sa) from one note to another within a foundational seven-note scale, or Gram (which refers to the parent scale).

• By shifting the tonic (Sa) to a different note within the scale, a new set of intervals (called shruti) is created. Since the intervals between the notes in the scale are not equal (because of the microtonal differences), this new tonic results in a distinct melodic structure, which can either correspond to an existing raga or potentially form a new raga.

This system laid the foundation for the later Thaat (Hindustani) and Melakartha (Carnatic) systems, which organize ragas into families based on specific scales.

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Types of Murchhanas

Historically, murchhanas were derived from three primary Gramas (foundational tuning systems), each with seven distinct murchhanas. These Gramas were considered the root structures from which ragas evolved.

1. Shadja Grama Murchhanas

• The Shadja Grama begins with Sa as the tonic and includes the following murchhanas, starting sequentially from each note:

  1. Uttarmandra

  2. Rajni

  3. Uttarayata

  4. Shuddha-Shadja

  5. Matsrikrita

  6. Ashrakranta

  7. Abhirudgata

These murchhanas begin from different notes like Ni (lower octave), Dha (lower octave), and so on, giving each its unique flavor.

2. Madhyama Grama Murchhanas

• The Madhyama Grama begins with Ma (Madhyama) as the tonic and includes the following murchhanas:

  1. Sauveeri

  2. Harinashara

  3. Kalopanta

  4. Shuddha Madhya

  5. Margi

  • These murchhanas explore scales beginning from Ma, Ga, Re, and other notes, each offering distinct melodic possibilities.

3. Gandhara Grama Murchhanas

• The Gandhara Grama was considered a theoretical or celestial scale, not typically used in human music. It had seven murchhanas, though these are largely theoretical and were not often employed in practical music-making.

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Variations of Murchhana

In addition to the heptatonic (seven-note) murchhanas derived from the Gramas, the concept of murchhanas was expanded to include scales with fewer notes. These variations allowed for greater flexibility and creativity in melodic exploration.

• Shadav (Hexatonic): Murchhanas with six notes, often used for more compact or simplified melodic structures.

• Odav (Pentatonic): Murchhanas with five notes, similar to the pentatonic scale in Western music, which has fewer intervals and is simpler but still offers significant melodic expression.

• Sadharanikruta: A process that alters the standard murchhanas by introducing chromatic notes, such as higher Gandhar and Nishad, to create new variations of the scale.

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Modern Application of Murchhanas

In contemporary Hindustani and Carnatic music, the concept of Murchhana is primarily used theoretically to understand the relationships between different ragas that share similar interval patterns.

For instance:

• By shifting the tonic of a pentatonic raga like Bhupali (which uses the notes Sa Re Ga Pa Dha), you can derive another raga, like Megh, by shifting the tonic to Re (the second note), thus generating a new scale with the same interval structure but a different emotional flavor.

• Murchhana also helps advanced musicians master the use of microtones (shruti), which are essential for expressing the subtle nuances of Indian classical music. These shifting tonalities allow for virtuosity and provide a deeper understanding of raga formation and improvisation.

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Conclusion

The study of Murchhanas represents a rich, ancient tradition in Indian classical music that underpins much of the raga system, allowing for the derivation of new ragas through the shifting of the tonic. This concept forms the foundation for modern raga theory in both Hindustani and Carnatic music and continues to be a valuable tool for musicians exploring the complex relationships between notes and ragas. While Murchhanas are now primarily theoretical, they provide a framework for understanding the fluidity and creativity inherent in the raga tradition, allowing for ongoing exploration and evolution in classical music.

Varieties of Tanas

Varieties of Tanas (Melodic Patterns in Indian Music)

Tanas are intricate melodic patterns used in both Hindustani and Carnatic music, particularly in vocal improvisations. They involve rapid, ornamental movements within a raga, enhancing its emotional depth and showcasing the artist's skill. The different types of Tanas are defined by the way the notes are sequenced or accented, and they add unique flavor to the performance by either extending notes, changing the sequence, or emphasizing certain pitches.

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Common Varieties of Tanas:

1. Sapat Taan (Saral Taan)

   • Meaning: "Straight" or "simple" melodic movement.

   • Pattern: The notes move in a stepwise or ordered sequence (e.g., Sa Re Ga Ma).

   • Usage: This is the most basic form of Taan, often used to introduce a raga's melody or to showcase clarity in movement.

2. Koot Taan

   • Meaning: "Crooked" or "complex" pattern.

   • Pattern: The notes are jumbled or not in a standard order, creating a more complex sequence (e.g., Sa Ga Re Ma or Ga Re Sa Ma).

   • Usage: This form adds complexity and interest, challenging the musician’s agility and enhancing the texture of the raga.

3. Mishra Taan

   • Meaning: "Mixed" pattern.

   • Pattern: A blend of Sapat Taan (straight) and Koot Taan (crooked), combining ordered and unordered movements.

   • Usage: This form balances simplicity and complexity, offering flexibility in performance.

4. Vakra Taan

   • Meaning: "Zig-zag" or "twisted" pattern.

   • Pattern: The notes move in a zig-zag sequence, often retracing earlier notes in a non-linear fashion (e.g., Sa Re Ga Ma Pa Dha Ni Dha Ma Pa).

   • Usage: This form enhances the raga's emotional range, creating a fluctuating, dynamic feel.

5. Gamak Taan

   • Meaning: "Forceful" or "vibrant" pattern.

   • Pattern: Notes are sung with force, often involving repetition of a note (like a trill) or oscillation between two notes.

   • Usage: Adds vibrancy and intensity, emphasizing certain notes or phrases in the raga.

6. Khatke Taan

   • Meaning: "Sharp" or "abrupt" pattern.

   • Pattern: Short, quick clusters of notes are sung rapidly, often with a staccato effect (e.g., Re Re Sa Ni Sa).

   • Usage: Adds a sharp, crisp character to the raga, showcasing rapid articulation.

7. Acharak Taan

   • Meaning: "Repeated" pattern.

   • Pattern: Each note is repeated twice in quick succession (e.g., Re Re Sa Sa).

   • Usage: This form adds emphasis and continuity, allowing the musician to highlight specific notes.

8. Bol Taan

   • Meaning: "Word" or "syllable" pattern.

   • Pattern: Uses syllables or words (bols) from a composition, often driven by rhythm. For example, one might incorporate syllables like "ta", "re", or "dha" from the rhythm cycle into the melodic improvisation.

   • Usage: Adds a rhythmic and lyrical quality, intertwining the melody and rhythm of the raga.

9. Alankar Taan

   • Meaning: "Melodic figure" pattern.

   • Pattern: Incorporates specific melodic figures (alankars) like Sa Re Ga, Re Ga Ma, etc., in various combinations.

   • Usage: Creates ornamental variations in the melody, adding richness and texture to the raga.

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Other Forms & Concepts Related to Tanas:

1. Tanam (Carnatic Music)

   • A distinct section in Carnatic music, often elaborate and rhythmic. It sometimes involves Tana varnams, which are fast-paced compositions that allow for extensive improvisation.

   • In this context, Tanam serves as a precursor to more structured compositions, blending melody and rhythm.

2. Gitkari Taan

   • A form that involves the use of fast syllables or words sung in a rhythmic fashion, similar to Bol Taan, but often more complex and faster in tempo.

3. Ladant Taan

   • A fast-paced Taan style, often used in Hindustani music, characterized by rapid note sequences.

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Purpose and Role of Tanas:

Tanas allow vocalists to explore and elaborate on a raga's essence, creating dynamic and intricate patterns. They serve as a showcase of the musician's virtuosity and creativity, and are integral to both Hindustani and Carnatic music as a way of expressing emotion, complexity, and innovation while staying true to the raga's fundamental structure.

history of Indian music from Pandit Śārṅgadeva (13th century) to the present day:

Here’s a concise summary :

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Indian Music History: From Śārṅgadeva to Today

1. Ancient Vedic Roots to Śārṅgadeva (13th Century)

• Vedic Influence: Indian music has its origins in the Samaveda, the sacred Vedic texts that used chants and melodies as part of religious rituals.

• Pandit Śārṅgadeva (13th century): The author of the Sangeet Ratnakar, a foundational text that bridged ancient traditions (such as Bharata Muni’s Nāṭyaśāstra) with emerging practices. He defined key concepts like Raga, Tala, and the distinction between Marga (classical music) and Desi (folk/regional) music, laying the groundwork for both Hindustani and Carnatic traditions.

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2. Mughal Influence & Medieval Period (15th-18th Century)

• The Mughal Empire (15th–18th century) brought a strong Persian and Central Asian influence, particularly in the royal courts, which enriched Hindustani music.

• Persian and Islamic music merged with indigenous traditions, giving rise to Qawwali, Ghazals, and fostering a deeper connection between music, poetry, and court patronage.

• This era saw the formalization of classical music and the refinement of ragas, fostering complex musical forms.

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3. The Great Bifurcation (14th Century)

• Split into Two Systems:

  • Hindustani Music (North India): Influenced by Persian and Central Asian traditions, it developed genres like Khayal, Thumri, Tarana, and Ghazal, with intricate raga systems.

  • Carnatic Music (South India): Kept closer to ancient traditions, focusing on forms like Kritis, Varnas, and Padams. While the styles differ, both traditions share foundational theoretical principles.

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4. Modern Era (19th Century – Present)

• 19th-20th Century Developments:

  • Hindustani Music saw the emergence of Gharanas (musical schools), such as Gwalior, Agra, and Jaipur, which shaped the regional diversity of the tradition.

  • In Carnatic music, composers like Tyagaraja, Muthuswami Dikshitar, and Purandara Dasa continued to shape the Kriti form while promoting classical purity.

• 20th Century & Contemporary Era:

  • Hindustani music witnessed the popularization of Khayal, Thumri, and Ghazal through iconic figures like Ustad Bade Ghulam Ali Khan and Pandit Vishnu Narayan Bhatkhande (who codified music theory).

  • Carnatic music, consolidated by the work of composers like Tyagaraja and Muthuswami Dikshitar, became a major force in classical music.

  • Fusion & Global Reach: The 20th century brought global exposure to Indian music, especially through collaborations like Ravi Shankar's work with Yehudi Menuhin. Indian classical music began merging with Western styles like Jazz Fusion, giving rise to a cross-cultural musical landscape.

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Summary:

From Śārṅgadeva’s synthesis of Vedic and ancient theories, Indian music evolved through the Mughal era, which introduced Persian influences, to the 14th-century bifurcation into Hindustani and Carnatic systems. Over time, new forms emerged, and regional styles flourished. In the modern era, Indian classical music continued to thrive with increasing globalization and fusion with Western genres, resulting in a vibrant, contemporary blend of classical purity and innovative experimentation.

Indian Music Glossary -2

Rāga Lakṣaṇas
Rāga Lakṣaṇas are the essential characteristics that define the identity and emotional expression (rasa) of a rāga. These include:

Specific swaras used

Arohaṇa (ascending order) and Avarohaṇa (descending order)

Pakad (characteristic phrase)

Vādi–Samvādi (principal and secondary notes)

Nyāsa (resting notes)

Together, these elements distinguish one rāga from another.

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Jāti-ke-Lakṣaṇa
In ancient musical theory, Jātis were early melodic structures that existed before the modern rāga system. As described in treatises like the Nāṭyaśāstra, each Jāti was defined by ten lakṣaṇas, including:

Graha – starting note

Aṁśa – dominant note

Nyāsa – concluding or resting note

Apanyāsa – secondary resting note

Alpatva – rarely used note

Bahutva – frequently used note

Audava, Ṣāḍava, Sampūrṇa – classification based on number of notes

These rules governed melodic movement and aesthetic balance.

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Treatise
A treatise is a scholarly written work that systematically explains the principles and rules of a subject.
In Indian classical music, treatises explain:

Music theory

Rāgas, Jātis, and Swaras

Performance practices

Aesthetic concepts

Important musical treatises:

Nāṭyaśāstra – Bharata Muni

Dattilam – Dattila

Bṛhaddeśī – Matanga

Saṅgīta Ratnākara – Śārṅgadeva

One-line definition (exam):

A treatise is an authoritative scholarly text explaining a subject in a systematic manner.

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Rāgālapa (Rāga Ālāpa)
Rāgālapa is the ancient practice of unmetered and wordless melodic exposition of a rāga. It is performed without tāla or lyrics to gradually reveal the rāga’s swaras, mood, and structure.

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Rūpakālapa
Rūpakālapa was a structured method of ālāpa presentation that emphasized:

Clear melodic exposition

Natural sequencing of swaras

Revealing the form (rūpa) of the rāga

It relied purely on musical expression without verbal explanation.

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Ālāpti
Ālāpti is another term for ālāpa. It refers to the free, rhythm-less introduction of a rāga, meant to:

Establish the emotional mood (rasa)

Present the melodic framework

Prepare the listener for composition

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Avirbhāva and Tirobhāva
These concepts describe advanced techniques in rāga elaboration:
Tirobhāva – temporary concealment of the main rāga using phrases of a related rāga
Avirbhāva – reappearance and clear re-establishment of the original rāga
They reflect the performer’s control and depth of understanding.

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Svasthāna
Svasthāna refers to the natural and fixed pitch position of a swara within the octave. It represents tonal stability, especially in relation to Śadja (Sa), and is fundamental to scale formation.

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Akṣiptikā
Akṣiptikā was an introductory melodic phrase used at the beginning of a Jāti performance. Its purpose was to:

Highlight the essential melodic character

Establish tonal and emotional direction

Prepare the listener for further development

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Vāggeyakāra
A Vāggeyakāra is a composer-poet who creates both the melody and the lyrics of a musical composition.

Raga Multhani

 

Scale: Thodi

Jathi : Ovdawa Sampurna

Ascent :   NS , GMP , NS

Descent : SNDP , MG , RS

Catch Note : - NS , MG , PG , RS

Vadi : P

Samvadhi: S

Time of Singing : 3rd Phahar of the day

Raga Multhani is derived form Thodi Scale. It is raga of Oudawa Sampoorna jathi. Because it used five notes in ascent and used seven notes in descent. Its ascent is NS , GMP , NS and its descent is SNDP , MG , RS. It used “M” sharp and “G” flat both ascent and descent. Also “D” flat in only descent. Raga Multhani catch notes are NS  MG , PG , RS. Its vadi note is “P” and its samavadi note is “S”. Raga Multhani is uththarangavadi raga because its vadi note “P” is in the second part of the octave. This raga is singing at the 3^rd prahara of the day.

 

Key Features of Shuddh Kalyan

The meend or glide from taar (upper) Sa to Dha must graze(kan) Ni and the meend from Pa to Ga must graze teevra Ma.  Watch the video for a demonstration.

The Ni and teevra Ma in the avrohee phrases are not pronounced, however when singing taans they are pronounced.

It is a poorvang pradhan raag which means you develop this raag a lot in the mandra and madhya saptaks.

Bhoopali, Deshkar and Shuddha Kalyan are samaprakritik raags. Care must be taken to avoid accidentally entering another raag’s territory.

Movement of notes: Languid

Mood: Happy, peaceful, romantic, devotional

Aaroh-Avroh

s gr g p sud su

su nd p Mg r, pg pr s

Vaadi, Samvaadi

g, d

Nyaas Swars g

Avrohee phrases: r, p

Jaati Audav-Sampoorna

Pakad n d Mp, pg pr s

Time 1st prahar of the evening (7 pm - 10 pm)

Thaat Kalyan

Raga Shuddha Kalyan is derived from Kalyan Scale. It is raga of Oudawa-Sampoorna jathi. Its ascent is S , RG , PDS and its descent is SNDP , MG , R , S. It used all the seven notes in descent and used in five notes in ascent. Raga Shuddha Kalyan catch notes are G , RS , NDP , S , GR , PR , S. Its vadi note is “G” and samavadi note is “D”.Raga Shuddha Kalyan is poorrangavadi raga because its vadi note “G” is in the first part of the octave. Raga Shuddha Kalyan is singing at 1^st prahara of night.

  

Introduction to Raag Chhayanat

 

Key Features of Raag Chhayanat:

The Nat aspect and the Chhaya aspects of the raag are as follows:

Key Nat Phrase - s r r g g m qpw er

Key Chhaya Phrase - qpw er, r g m p g m r s

The qpw er meend is characteristic of Raag Chhayanat

It has both the Ni's and both the Ma's. However the shuddh Ni and the teevra Ma are in the form of a kan swar.

The Kalyan thaat is justified because of the existence of teevra M and some Kalyan phrases such as p d p p su

Chhayanat displays shades of many raags including Kedar, Kamod, Alhaiya Bilawal and Hameer.

It expresses a mood of adornement and also separation in love.

Aaroh-Avroh

s r g m p, p Md p p su

su nd N p, p Md qpw er, r g g m r s

Vadi, Samvadi

r, p

Nyaas Swars

r, s

Jati Shadav-Sampoorna

Pakad qpw er, r g g m qpw er s

Time 1st prahar of the night (7pm - 10pm)

Thaat Kalyan

- Raga Chayanat is derived from Kalyan scale. It is raga of Sampoorna- Sampoorna jathi. Because it used all the seven notes both ascent and descent.Its ascent is S , R , GMP , NDS and its descent is SNDP , MPDP , GMRS. It used “M” sharp and remaining shuddha notes and also it used natural “M” rather than sharp “M”. Raga Chayanat catch notes are P , R , GMP , GM , MRS. Its vadi note is “P” and its samavadi note is “R”. Raga Chayanat is uththarangavadi raga because its vadi note “P” is in the second part of the octave. This raga is singing at the 1^st prahara of night 

Raga Chayanat use “N” and “G” as crooked notes. As an example GMP , NDS and RGMPMG, MRS. It used “N” flat note as a vivadi note in the descent. Because it used to beautify the raga. It develops the notes in order “M” to “R”. its clearly prove the raga as Chayanat.

 

 

History of Indian Classical Music

History of Indian Classical Music (Brief but Detailed)

Indian classical music originated in Vedic times, nearly 6,000 years ago, and is based on the philosophy of Nāda Brahma (sound as divine). The Vedas contain references to musical notes and rhythm, with the Sāma Veda forming the foundation of Indian music. It consists of Rigveda hymns set to melody, sung using three to seven notes during rituals. Musical meters in the Rigveda are believed to be the earliest source of ragas. In ancient times, music was classified into Gandharva, which was formal and ceremonial, and Gāna, which was informal and meant for entertainment.

A major theoretical foundation was laid by Sage Bharata in the Nāṭya Śāstra (200 BCE–200 CE), which systematized music, dance, and drama and introduced the concept of Rasa, a key aesthetic principle in Indian arts. Another important treatise, Sangita Ratnakara, was written by Sharangadeva in the 13th century. Divided into seven chapters on swara, raga, tala, composition, and instruments, it influenced both Hindustani and Carnatic music traditions.

During the medieval (Muslim) period (c. 1200–1700 CE), Hindustani classical music developed rapidly due to Persian influence. Amir Khusrau (1253–1325 CE) played a crucial role by introducing new ragas and musical forms such as Qawwali and Tarana, along with instruments like the sitar and tabla. Under the Mughal ruler Akbar, music flourished, and his court musician Tansen (c. 1500–1586 CE) composed famous ragas such as Miyan ki Todi, Miyan ki Malhar, and Darbari Kanada, shaping many gharanas.

By this time, Indian classical music had clearly divided into Hindustani (North India) and Carnatic (South India) systems. In the 18th century, Khayal evolved from Dhrupad and became the main form of Hindustani music, leading to semi-classical styles like Thumri. Royal patronage by Nawabs and Maharajas supported musicians until the British period, when this system declined.

After India’s independence in 1947, classical music moved from royal courts to public concerts and institutions. In the late 19th and early 20th centuries, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande helped popularize and systematize Hindustani music. In the 20th century, artists like Pandit Ravi Shankar and Ustad Ali Akbar Khan introduced Indian classical music to global audiences, earning worldwide recognition.

What is Raga?

What is Raga?

A Raga is the foundation of Indian classical music. It is a melodic framework made of selected musical notes (swaras) arranged in a specific order, used to create a particular mood or emotion.

A raga is not just a scale. It is a set of rules that guide how notes are used, emphasized, and ornamented to express rasa (feeling).

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Definition

A raga can be defined as:

A melodic structure that evokes a specific emotion and is formed according to fixed rules of swaras, ascent (Aroha), descent (Avaroha), and characteristic phrases.

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Main Features of a Raga

• Swaras: Selected notes from the seven basic notes (Sa, Re, Ga, Ma, Pa, Dha, Ni)

• Aroha: Ascending order of notes

• Avaroha: Descending order of notes

• Vadi: Most important note

• Samvadi: Second most important note

• Pakad: Characteristic phrase of the raga

• Time Theory: Each raga is traditionally sung or played at a specific time of day or season

• Rasa: The emotion or mood (peaceful, joyful, devotional, etc.)

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Importance of Raga

• Ragas give identity and structure to Indian classical music

• They allow creativity within discipline

• Different ragas express different moods and emotions

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Example

• Raga Yaman – peaceful and devotional, usually performed in the evening

• Raga Bhairav – serious and meditative, performed in the morning

ONLINE HELP:

https://raag-hindustani.com/Scales1.html