Avarohana

Last updated March 12, 2019

An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.^[1] The notes descend in pitch from the upper tonic (taar shadja or Sa) down to the lower tonic, possibly in a crooked (vakra) manner.

Indian classical music ancient music and music theories from the Indian subcontinent

Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian expression is called Carnatic. These traditions were not distinct till about the 16th century. There on, during the turmoils of Islamic rule period of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more common features than differences.

A raga or raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.

Examples

In raga Darbari, an Asavari-thaat raga with vadi-samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with andolan on the dhaivat and gandhar.

Asavari is a Hindustani classical raga. It belongs to the Asavari thaat and is performed in the morning hours.

Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara of a given raga. "Vadi is the most sonant or most important note of a Raga." It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. Specialty of any raga depends on vadi swara and because of this, the vadi swara is also called the Jeeva swara or the Ansha swara. A good artist uses vadi swara in different ways like singing vadi swara again and again, starting a raga with vadi swara, to end a raga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath.

In Hindustani music andholan as a specific form of ornament (alankar) is a gentle oscillation around a note, touching the periphery of an adjacent note as well as shrutis in between. The notes used for andolan depend on the raga.

In Malahari, which is janya raga of 15th melakarta Mayamalavagowla, the avarohana is S D1 P M1 G2 R1 S.^[1] See swaras in Carnatic music for description of this notation.

Malahari is a Carnatic raga. This raaga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga is known to be a morning raga which brings out a sense of calmness. It is associated with the rainy season.

Janya is a term meaning "derive". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas. Janya ragas are classified into various types based on a variety of features.

Mēḷakarta is a collection of fundamental musical scales (ragas) in Carnatic music. Mēḷakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter term is inaccurate, as a sampurna raga need not be a melakarta.

In Sahana, a janya raga of 28th melakarta Harikambhoji, the Avarohana is S N2 D2 P M1 G3 M1 R2 G3 R2 S.^[1] This raga in its avarohana has the notes jumping from one to another (a bit like Dattu). This changes the whole feel of the raga, making Sahana a beautiful raga to listen to.

Sahana is a popular rāgam in Carnatic music. It is a janya rāgam associated with the 28th Melakarta rāgam Harikambhoji.

Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.

Related Research Articles

Ragavardhini has two separate meanings in Indian classical music:

Vanaspati is a rāgam in Carnatic music. It is the 4th melakarta rāgam in the 72 melakarta rāgams of Carnatic music, following the Katapayadi sankhya system. In the Muthuswami Dikshitar school of music, this raga is called Bhānumati.

Abheri is a raga in Carnatic music. It is a Janya raga, whose Melakarta raga is Kharaharapriya, 22nd in the 72 Melakarta raga system.

Chakravakam or Chakravaham is a rāgam in Carnatic music. It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is close to Raga Ahir bhairav in Hindustani music.

Kanakangi is a rāgam in Carnatic music. It is the 1st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Kanakāmbari in the Muthuswami Dikshitar school.

Mohanam is a rāga in Carnatic music. It is an audava rāga. It is a janya rāga of Harikamboji. However, there are disputes about Mohanam being the janya of Sankharbharanam also because all the swaras present in the Arohana and Avarohana of Mohanam satisfy both the melakartha ragas.

Madhyamavati (madhyamāvati) is a rāga in Carnatic music. It is an audava rāga. It is a janya rāga, as it does not have all the seven musical notes (swaras). The equivalent of Madhyamavati in Hindustani music is Madhumad Sarang.

Ganamurti is a rāgam in Carnatic music. It is the 3rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

Natakapriya, is a rāgam in Carnatic music. It is the 10th melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, the 10th melakarta rāgam is called Naţābharanam.

Manavati is a rāgam in Carnatic music. It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.

Senavati is a rāgam in Carnatic music. It is the 7th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Senāgrani in Muthuswami Dikshitar school of Carnatic music.

Rishabhapriya is a rāgam in Carnatic music. It is the 62nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is the prati madhyamam equivalent of Charukesi, which is the 26th melakarta. It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.

Gambhiranata is a rāga in Carnatic music. It is an audava rāgam. It is a janya rāga, as it does not have all the seven swaras. Gambhiranata is also known as Shuddha Nata.

Mohanakalyani is a rāgam in Carnatic music. It is a janya rāgam from the 65th melakarta scale Mechakalyani. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Mohanam and the Melakarta raga scale Kalyani. This ragam has a Prati Madhyamam equivalent of Bilahari, the janya of 29th Melakartha Dheerashankarabharanam. The equivalent of Mohanakalyani in Hindustani music is Bhoop Kalyan or Shuddha Kalyan. Bhoop Kalyan belongs to the Kalyan thaat of Hindustani music. Similar to Mohanakalyani, Bhoop Kalyan is a combination of Bhoop and Kalyan.

Andolika is a Carnatic raga, which is also sometimes written as Andholika. This raga is a janya of the 22nd Melakarta raga Kharaharapriya.

Garudadhvani or Garudadhwani is a rāgam in Carnatic music. It is a janya rāgam from the 29th melakarta scale Shankarabharanam. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Shankarabharanam and the pentatonic scale Mohanam.

Revagupti is a rāgam in Carnatic music. It is a pentatonic scale. It is a janya rāgam, as it does not have all the seven swaras.

References

1 2 3 Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Glossary pages, Pub. 1990, CBH Publications

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[ragas-1] 1 2 3 Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Glossary pages, Pub. 1990, CBH Publications