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A raga is a melodic framework for improvisation in Indian classical music akin to a melodic mode. Rāga is central to classical Indian music and a unique feature of the tradition: no equivalent concept exists in Western classical music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience.
Ragavardhini has two separate meanings in Indian classical music:
A thaat is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Arabhi or Aarabhi is a ragam in Carnatic music. It is a Janya raga, whose Melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. It is a combination of the pentatonic scale Shuddha Saveri and the sampurna raga scale Shankarabharanam.
Svara is a word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptaka. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
Vanaspati is a ragam 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.
Bhoopali, also known as Bhoop, Bhopali, or Bhupali, is a Hindustani classical raga. Bhupālī, is a raag in Kalyan Thaat. It is a pentatonic scale. Most of the songs in this raga are based on Bhakti rasa. Since it uses 5 notes, belongs to the "Audav jaati" of ragas.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.
Bhimpalasi or Bheempalasi is a Hindustani classical raga.
Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music
Pilu or Peelu is a raga of Hindustani classical music. It is mostly used in light-classical forms, like thumris.
Marva or Marwa portrays being with one's lover and is often portrayed in Ragamala paintings as two couples kissing. It is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.
Miyan ki Todi, often simply referred to as Todi or Darbari Todi, is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga include Todi itself, Bilaskhani Todi, Gujari Todi, Desi Todi, Hussaini Todi, Asavari Todi, and Bahaduri Todi.
Vagadheeswari is a rāgam in Carnatic music. It is the 34th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Bhogachhāyānāţa in Muthuswami Dikshitar school of Carnatic music.
Yaman is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
In Hindustani music, a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone.
References
- 1 2 Bor, Joep; Rao, Suvarnalata; Van der Meer, Wim; Harvey, Jane (1999). The Raga Guide. Nimbus Records. p. 104. ISBN 0-9543976-0-6.
- 1 2 Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. p. 229. ISBN 0-8264-1815-5.
- ↑ Jairazbhoy 1995, p. 49
- ↑ Mathur, Dr.Neeta (2011). Shashtriya Sangeet Ke Surya Acharya Pandit Dr Gokulotsavji Maharaj. New Delhi: Raadha Publication. p. 71. ISBN 978-81-7487-765-9.