How Do We Identify A Raag When We Hear It - Page 4

THAT (thaat) - THE INDIAN MODES

by David Courtney, Ph.D.

The that (thaat) is the specification as to which of the alternate forms of swar will be chosen.  It has been pointed out elsewhere that several of the swar have alternate forms.  The permutations of the various forms give rise to numerous scales with vastly differing intervals.  Therefore the concept of that is essentially the same as the Western concept of a mode.

 

THE TEN THATS (Thaats)

Edited by vinnie-thepooh - 17 years ago

PAKAD OR SWARUP

by David Courtney, Ph.D.

The pakad or swarup, is a defining phrase or a characteristic pattern for a rag.  This is often a particular way in which a rag moves; for instance the "Pa M'a Ga Ma Ga" is a tell-tale sign for Rag Bihag, or "Ni Re Ga M'a" is a telltale sign for Yaman.  Often the pakad is a natural consequence of the notes of arohana / avarohana (ascending and descending structures).  However, sometimes the pakad is unique and not implied by the notes of the arohana /avarohana.  It is customary to enfold the pakad into the arohana / avarohana to make the ascending and desending structures more descriptive.

Sometimes the pakad involves a particular ornamentation.  A good example is the peculiar andolan (slow shake) that is found in Rag Darbari Kannada.  This particular andolan slowly oscillates around a komal Ga which is so low that it is almost a shuddha Re.

Not every rag has a clear pakad.  For instance some peculiar rags may be defined simply by their modal characteristics.  This seems to be a growing trend, especially for new rags which are coming into Hindustani sangeet from other sources.

 

Edited by vinnie-thepooh - 17 years ago

VADI AND SAMVADI

by David Courtney, Ph.D.

The different notes (swar) of the rag have different levels of significance.  The note which is strongly emphasized is referred to as the vadi.  Another note which is strong but only slightly less so is the samavadi.  A note which is neither emphasized nor de-emphasized is called anuvadi.  Notes which are de-emphasized are referred to as being durbal, while notes which are excluded are called vivadi.

The concept of vadi and samavadi are particularly problematic for the music student.  Although certain notes clearly show importance, the "official" vadi and samavadi are sometimes quite different.  In many cases this reflects the fact that the theory was laid down quite a few years ago while the performance of the rags has continued to evolve.  In other cases it reflects Bhatkhande's failed efforts to develop a cohesive theory about the structure of rags and the time of day that they should be performed.  For whatever reasons, the concept and application of the Vadi / Samvadi theory has become so muddled and irrelevant that there is a growing move to just ignore it entirely.

 

Edited by vinnie-thepooh - 17 years ago

 

INSTRUMENTS USED TO PLAY RAGS

Bansuri Dilruba Esraj Gottuvadyam Harmonium Jal Tarang Mayuri Vina Nadaswaram Rabab Rudra Vina Santur Sarangi Sarod Sitar Surbahar Tabla Tarang Vichitra Vina
• Violin

 

Edited by vinnie-thepooh - 17 years ago

RAG AHIR BHAIRAV (CHAKRAVAKA)

by David Courtney, Ph.D.

DESCRIPTION

This is an old rag.  It is characterized by the use of Komal Re and Komal Ni.  This mode does not belong to any of the 10 thats put forward by Bhatkhande; however for some inexplicable reason, he ascribed this rag to Bhairav That.   Often times, this rag is referred to by its south Indian name of Chakravaka.  This is an early morning rag.  For those who are still inclined towords the Vadi / Savadi theory it has been suggested that Ma is its vadi and Sa as its samvadi.

Ahir Bhairav is very well known through old film songs such as "Pucho Na Kaise" and "Meri Bina Tum Bin Roye Sajana".  There are actually so many film songs in Ahir Bhairav that it is not really possible to go over them here.

There are two approaches to this rag (Rao 1980).  The first type omits Ni in the arohana: it is therefore shadav - sampurna.  The second approach does not omit any note; therefore it is sampurna - sampurna.  However, since no other rag shares the same modality, one need not worry too much about impinging upon a differnt rag.

AROHANA

(

AVAROHANA

JATI

Sampurna - Sampurna (disputed) -

TIME

Early Morning -

THAT

Chakravaka Mela (not one of Bhatkhande's thats) -

DRONE

Sa - Pa -

 

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Edited by vinnie-thepooh - 17 years ago

Originally posted by: charades

If it is ok with you everyone
Can we stick to Yaman in this thread.... 😊 .

So that we can have one thread for each Raga😛

sure VJ,

i won't post anymore😊

Very interesting post, Barnali!

Frankly, the hindi terminology mostly went over my head. Thanks, Vinnie for posting the sheet music notes for each raag. Now, this stuff makes more sense to me.

Originally posted by: vinnie-thepooh

AROHANA AND AVAROHANA

Arohana and avarohana are the descriptions of how the rag moves.  The arohana, also called aroh or arohi, is the pattern in which a rag ascends the scale.  The avarohana, also called avaroh or avarohi, describes the way that the rag descends the scale.  Both the arohana and avarohana may use certain characteristic twists and turns.  Such prescribed twists are referred to as vakra.  Such twisted movements are a reflection of the pakad.  Furthermore, notes may have different levels of significance; notes may be strong or weak.

Just have a doubt.. Is Arohana the one that we sing at the beginning of any song so as to get raaga correctly while singing the song and avarohana is the ending notes of the song... Each and every raaga has its own Arohana and Avarohana...

The arohana and avarohana constitutes the briefest description of a raga and is like a theorem in geometry. It gives in a concise form the outline or framework of the raga. It defines the contour of the raga. The normal sancharas that the raga admits of are directly revealed by its arohana and avarohana. Sometimes a rare prayoga is incorporated in the arohana and avarohana (Ex: Nata raga) and in a few instances, the arohana - avarohana instead of being in a concise form is slightly expanded and presented. Janta swaras, dirgha swaras and kampita swaras figure in the arohana and avarohana of some ragas. All these features serve only to reveal better the melodic individuality of those ragas. Instances of such ragas are however not many.

Originally posted by: T.

Very interesting post, Barnali!

Frankly, the hindi terminology mostly went over my head. Thanks, Vinnie for posting the sheet music notes for each raag. Now, this stuff makes more sense to me.

if u want i can post more

 

Originally posted by: vinnie-thepooh

if u want i can post more

 

sure, i'd love that 😊