Lec-Dem on North Indian Vocal Music
: Combinations of notes with one form (
) of each swara. Must be
, i.e. have one form of all 7 notes. Examples. Mathematically 72 possible (Vyankatmukhi) of which 10 main ones are given names in Hindustani music:
Bilaval, Kalyaan (Yaman), Khamaj, Kaafi, Bhairav, Marwa, Poorvi, Asavari,
of different raags in same thaat (Marwa, Pooriya, Sohni), (Yaman, Kedar,
Raag may be roughly equated with the Western term mode or scale. There is a system of seven notes which are arranged in a means not unlike Western scales. Raag, in the Sanskrit dictionary, is defined as "the act of coloring or dyeing" (the mind in this context) and "any feeling or passion especially love, affection, sympathy, vehement desire, interest, joy, or delight". In music, these descriptions apply to the impressions of melodic sounds on both the artist(s) and listener(s). A raag consists of required and optional rules governing the melodic movements of notes within a performance.
The rules of a raag can be defined by:
The list of specific notes that can be used during playing of the raag
The manner in which the notes are used, i.e. specific ways of ornamenting notes or emphasizing/de-emphasizing them
Manner in which the scale is ascended or descended
Optional or required musical phrases, the way in which to reveal these phrases, and/or combine them
The octave or frequency range to emphasize
The relative pacing between the notes
The time of day and/or season when the raag may be performed so as to invoke the emotions of the raag for maximum impact on the mental and emotional state of the performer and listener
Finally each raag is supposed to convey a specific kind of emotion or mood.
Logic behind time of raags:
raags with Komal Re – dawn & early evening
Kalyaan & others with Shuddha Re – mid-morning or mid-evening
Komal Ga Raags – late-morning or late-night
Malhaar, Hemant, etc.
( , : Tabla & Pakhawaj (used mostly in Dhrupad-Dhamar) c y c l e ) , , , :,
Page 2 of 4