Raga

                                                                                  RAGA

                                 The term Raga is derived from the Sanskrit root “Ranja” which means to please or to be agreeable. Literally, therefore, the word raga would mean anything that pleases the mind. But from the musicsl point of view the term Raga connotes some particular thig and is used to express that thing alone. Therefore in it’s technical sence the term Raga means a sweet combination of musical tones in successive order.

                                 In order to understand the definition of raga three things must be keot in mind:

     1 .     Specific combination of sound

     2 .     Presence of “ Swar” and “Varna”

     3 .     Presence of sweetnes ( Ranjakta )

                                 The words “Varna” and “Ranjakta” are very significant in the definition of Raga. “Varna” refers to the succession of musical tones which means that the notes should be in successive order and not simultaneous sounding thereof. “Ranjakta” means sweetness or musical value.

                                 The word Raga is derived from the ancient Indian language Sanskrit root “Ranja” which means to make happy, to delight and to satisfy. Anciant scholars have difined Rag as a special melody, embellished with different notes that has the characteristic capability to charm and delight the listner. The spesific quality of the Raga is to make the listner very happy and contented. I would like to make it clear that all the Ragas do not express a happy mood. The notes used in a Rag time to singing and playing, all these things influence the mood of the Rag to a great extent. In thi context the word happiness has a wider meaning. It varies from person to person. The aim of the musician and the listner, which can take both to greater heights, to the state of supream bliss. In ither words Rag has the quality to blend different moods and emotions into ane distinguishing sentiment that is happiness the state of ecstacy.

                                                                      Definition of Raga

                        A Raga is that which is beautified by the excellence of “Swara” and “Varna” and which gives pleasure to the mind of the listner. In common parlance we can say that an arry of sounds in Musical tines and in sucessive order which pleases the ear and satisfies the craving for Music is known as Raga.

                                                                     Essentials of Ragas

     1 .   Ragas are derived from “Thaatas”.

     2 .   A Raga to be legitimate must have Five notes belonging to the scale from which it is derived.

             There can be no Raga unless it has Five notes belonging to the scale from which it is produced.

     3 .   A Raga must have a fixed ascent ( Aroha ) and a fixed descent ( Avaroha ). These Two together

             make up a Raga.

     4 .   A Raga must always take “Sa” the fundamental note. No Raga is allowed to drop “Sa” the

             fundamental note or the basic note.

     5 .   A Raga must not drop “Ma” and “Pa” simultaneously. It must have atleast one of them.

             It may drop either “Ma” or “Pa” but not the Two together simultaneously.

     6 .   A Raga must have a fixed Vadi note. There can be no Raga with out a vadi note. Vadi note is a

             predominent note of a Raga.

     7 .   A Raga must not take Two notes of the same denomination consectively. Two notes of the same

             denomination, i. e. sharp and flats of the same note suchas “Ga” sharp and “Ga” flat or “Ma”

              sharp and “Ma” flat should not, as a general rule.

     8 .   A Raga must necessarily have musical value ( Ranjakta ) or aesthetic potentialities. It must be

             Pleasing to the listners.

                                                                               JATHIS

                                                   The term Jathis cannotes the number of notes that are used both in the ascent and descent of a Raga. Ragas have been broadly classified under three groups according to the number of notes that are used in their formation. These are knwn as Oudava, Shadava and Sampoorna.  

OUDAVA RAGA

                           That Raga which takes only five notes both in the ascent and descent called Oudava Raga. Example; Bhoopali, Hindol, Malkouns, etc.

SHADAVA RAGA

                           That Raga which takes only Six notes both in the ascent and descent, is called shadava Raga. Example; Marva, Puriya, etc.

SAMPOORNA RAGA

                          That Raga, which takes all the seven notes both in the ascent and descent, is called Sampoorna Raga. Example; Yaman Bilawal etc.

                           From the above it is clear that the three “Jathis” of Ragas take Five, Six and Seven notes respectively in their ascent and descent. But apart from the above three classes of Ragas there can also be another varieties of Ragas. There may be a Raga having all the seven notes in the ascent and only Six notes in the descent. For example, Rag “Miyan Malhar”. Such a variety is known as a Raga of Sampoorna-Shadava Jathi. Again there may be a Raga which may have Six notes in the descent. For example, Rag “Khamaj”. Such a variety is known as a Raga of Shadava-Sampoorna Jathi. Thus the above mentioned three groups of Ragas can be futher sub-divided in to three groups of each in the following manner.

    1   SAMPOORNA

                Sampoorna-Sampoorna           Sampoorna-Shadava         Sampoorna-Oudava

                                                         2   SHADAVA

                            Sadava-Sampoorna         Shadava-Shadava          Shadava-Oudava

                       3  OUDAVA

 Oudava- Sampoorna        Oudava-Shadava         Oudava-Oudava

  SAMPOORNA-SAMPOORN - Having seven notes both in the ascent and descent.

  SAMPOORNA-SHADAVA - Having seven notes in the ascent and six notes in the                                                                     descent.

  SAMPOORNA- OUDAVA - Having seven notes in the ascent ant five notes in the                                                   descent.

  SHADAVA-SAMPOORNA - Having six notes in the ascent and seven notes in the                                                                descent.

  SHADAVA-SHADAVA - Having six notes both in the ascent and descent. 

  SHADAVA-OUDAVA - Having six notes in the ascent and five notes in the descent.

  OUDAVA-SAMPOORNA - Having five notes in the ascent and seven notes in the

                                                 Descent.                                             

  OUDAVA-SHADAVA - Having five notes in the ascent and six notes in the descent.

  OUDAVA-OUDAVA - Having five notes both in the ascent and descent.