varieties of ragas

                                                   POORVA  RAGA  AND  UTTAR  RAGA

                           Ragas of Hindustani system of Music have been divided in to Two classes under Two heads according to the time of singing and according to Vadi Swara. This classification is known as Poorva Raga and Uttar Raga and Poorvanga Vadi and Uttaranga Vadi Ragas.

                                                                 24 Hours of the day is divided in to Two according time theory of Hindustani Music. The 1^st part is from 12 noon to Mid Night. This period is known as poorva Raga singing period. (Poorva Ragas are sung between 12 noon to 12 Mid Night ) The Ragas sung from Mid Night to Mid Day are called Uttar Ragas.

                                        POORVANGA  VADI  AND  UTTARANGA  VADI  RAGAS

                          The Sapthak ( Octave ) is set with Two parts. From the note “Sa” up to “Ma” is the 1^st part. “Pa” note to “Sa” note is the 2^nd part. The 1^st part is known as Poorvanga. When Vadi Swara is with in Poorvanga. Such Raga is identified as Poorvanga Vadi Raga. When Vadi Swara of a Raga falls with in Uttaranga, that raga becames an Uttaranga Vadi Raga.

                                                                Poorvanga Vadi Ragas are recommended to be sung from 12 noon to 12 Mid Night. Uttaranga Vadi ragas are sung in between 12 Mid Night to 12 noon.

                                                                SANDHI PRAKASH RAGA

                           “Sandhi” means junction, and “Prakash” means light. And there is a junction between day and night. So the term “Sandhi-Prakash” means junction of day and night or the time when day and night meat or the twilight time. Thi period comes twice within twenty Four hours, one at Sunrice and the other at Sunset, and is known as Sandhi-Prakash time. According to time theory the Sandhi-Prakash time is of Three hours duration, from 4 to 7 both in the morning and evening. The Ragas that are sung during thi period are called Sandhi-Prakash Ragas.

                                                            The Ragas taking  Re  and  Dha komal and belonging to Bhairav, Poorvi and Marva Scales, and assigned to the morning, better known as morning Sandhi-Prakash Ragas, such as Paraj, Vasant,Sohani, Bhairav, Ramkali, Kalingada, Jogia ect; are sung from 4 a. m. to 7 a. m.

                                                              The Ragas taking both  Re  and   Dha  Teevra and derived from Yaman, Bilawal and Khamaj scales and those assigned to the night, better known as evening Sandhi-Prakash Ragas, such as Yaman, Bhoopali, Hamir, Kedar, Kamod, Chayanat, Bihag, Tilakkamod, Jhinghooti  ect; are sung from 7 p. m. to 10 p. m.

                                                                  SHUDDHA  RAGA

                                                            “Shuddha Raga” is that Raga which does not require the help of another Raga for its display. In other words, the Raga which can be displayed with its own resources quite independently, is called Shuddha Raga. For example, Yaman, Bhairav and Todi ect.

                                                                 CHAYALAG  RAGA

                                                        “Chayalag Raga” is the Raga which is shadowed by other Ragas. For example, Ahir-Bhairav, Pooriya-Dhana-Sri  ect.

                                                                SANKEERNA  RAGA

                                                         “Sankeerna Raga” is a mixture of several Ragas. For example, Rag peelu.

                                                                   GRAHA  SWARA

                                                         “Graha Swara” is that note with the singing of a Raga commences. It is the starting note of a Raga.

                                                                  ANSHA  SWARA

                                                         “Ansha Swara” is that note which is most frequently used in a Raga. It is the reining note or the predominent note of a Raga. In other words, it is the very life-note of a raga.

                                                                 NYASA  SWARA

                                                          “Nyasa Swara” is that note on which the singing of a Raga concludes. It is the concluding note of a Raga.