Hindustani Classical Music - My little understanding - Part 7 (Raag)

In the previous article on this topic we looked into some basic concepts that can be used to define a Raag. In this article let us further learn some important aspects around Raags.

The 10 Thaats (Raag Taxonomy)
Pandit Vishnu Narayan Bhatkhande was a great scholar of music in the early 20th century. He is probably the first to document the Raags of Hindustani Classical music in a systematic form. Out of the many books, he produced two very important treatises on modern Indian classical music. "Hindustani Sangeet Paddhati" (4-Volumes, It has explanation of 100+ Raags and related theory) and "Kramik  Pustak Malika" (6-Volumes, It has a brief explanation of Raags followed by detailed notations of songs based on a particular Raag. It will easily have 1000+ songs).

Pandit ji devised a system of  ten "Thaats" to classify the raags under it. They are:

1. Bilawal: S R G m P D N S.  Examples of raags in this group: Ahilya Bilawal, Deshkar etc.
2. Kafi: S R g m P D n S. Examples of raags in this group: Dhanashree, Bheempalasi etc.
3. Bhairavi: S r g m P d n S. Examples of raags in this group: Malkauns, Kausi Kanada etc.
4. Kalyan: S R G M P D N S. Examples of raags in this group: Yaman, Bhupali, Kedar etc.
5. Khamaj: S R G m P D n S. Examples of raags in this group: Rageshree, Tilak Kamod etc.
6. Asavari: S R g m P d n S. Examples of raags in this group: Darbari, Jaunpuri etc.
7. Bhairav: S r G m P d N S. Examples of raags in this group: Ramkali, Jogiya etc.
8. Marva: S r G M P D N S. Examples of raags in this group: Marwa, Bhatiyaar etc.
9. Purvi: S r G M P d N S. Examples of raags in this group: Shree, Puriya Dhanashree etc.
10. Todi: S r g M P d N S. Examples of raags in this group: Madhuwanti, Miyan ki Todi etc.

[R, G, m, D, N = shudha swars, M = Teevra madhyam, r, g, d, n = Komal swars]

There are certain rules that have to be fulfilled while defining a thaat. We will not go into those. However, it is important to note that he theorised that all the raags can be said to be "born out of" these ten thaats. Some musicologists do differ with this theory, but the essence is that this system provides a good method of classification of the raags. It is also true that is widely accepted and the de-facto standard in the modern times. When a raag is defined, it is almost mandatory to define the thaat that it belongs to.

It is important to note the following points. A thaat is not to be sung independently. It is a set of notes that can be used to create permutations to create raags under it. Also most of the thaats have a raag with the same name. For example Bilaawal thaat has a raag with the name "Bilaawal", Kalyan has a raag by the name "Kalyaan", Marwa has one too and so on. This sometimes leads to confusion among starters.

Sampooran, Shaudav & Audav (Jaati of a Raag)
One will often hear about Raags in terms of combination of above terms. Like, Asawari belongs to  Audav / Sampooran jaati. The basic concept behind this is the fact that all raags will have atleast 5 notes in its Aaroh and Avroh. So when there are 5 notes in an Aaroh or Avroh it is called "Audav". With six notes it is called "Shaudav". With 7 notes it is called "Sampooran". So Asawari has 5 notes in Aaroh (S R M P d) and 7 notes (n d P M g R S) in Avroh. Note the jaati does not tell us which notes, it tells us the count of notes only.

Raag "Ras" Emotion of a Raag
Probably this aspect gives the most distinguishable aspect to a Raag. Each raag is supposed to elucidate some emotion when rendered. As per theory, the notes playable in the raag are the key to bringing out this emotion. Theory defines the following "Ras":

• Shringaar
• Veer
• Hassya
• Karuna
• Roudra
• Bhayanak
• Bibastha
• Adbhut
• Navras

Time of a Raag
There is a time theory for raags. Based on the Vaadi and the Samvaadi notes in a Raag, a Raag has a specific time of the day when it can be performed. For instance some early morning raags are Bhairavi, Raamkali etc. Late evening raags include Kedar, Desh, Durga etc. I have read and heard interviews of contemporary masters of Indian Classical Music holding different views on this aspect of Raag. Some are very rigid even going to the extent of not singing raags during concerts that do not agree with the time theory of the raag. Some are flexible saying that the theory is not so significant in modern times of performance.

That is all for today. In the next article, I will describe the concepts of "Purvaang" and "Uttaraang", "Raagaang" and "Swar Vistaar". These are important concepts we need to understand, before we take one raag as an example and study it in great detail.

Hindustani Classical Music - My little understanding - Part 6 (Raag)

In the previous article and ones before that on this topic, I have defined some basic  knowledge of terms and definitions used in Indian Classical Music. In this post and subsequent posts I will try to define what we understand by "Raag" and explain a few concepts around it.

What is a Raag?
It is difficult to define in one or two sentences. In an interview with Pandit Nikhil Banerjee and some westerner, when Ustad Amir Khan was asked this question he replied, "It is a combination of notes...". He gave  this definition because I think this the most simple definition that can be given to anyone not associated or familiar with our kind of music. (As was the case during the interview)
Raag is definitely a combination of notes. But there is much much more that should be said before the definition is complete.

Combination of notes
Each Raag has a defined set of notes that are 'allowed' and 'prohibited' to be used in the Raag. The quotes in the sentence above indicates that no one stops you from going out of the way and break this rule but most probably your composition or rendering will get altered to another Raag than what you set out to present at first or worst sound jarring to the listeners including yourselves.

The Raag notes structure is defined as ascending and descending structures.
The ascending (rising pitch) structure is called 'Aarohi' and the descending (descending pitch) structure is known as 'Avrohi'.

(Symbols: Re, Ga, Dha, Ni are shudh swars. Ma is Teevra. A dot (.) after a note indicates higher octave and a dot (.) before a note indicates the lower octave. Refer to earlier posts explaining the saptak)

If we take Raag Yaman as an example then:
Aarohi: Sa Re Ga Ma Pa Dha Ni Sa.
Avrohi: Sa. Ni Dha Pa Ma Ga Re Sa

Few things to point out here. This Aarohi starts with Sa and ends with the Sa in the next octave. All the notes are 'Shudh' except the 'Madhyam' which is Teevra. It employs all the 7 notes.

Some questions arise immediately:

Q1.Does the descending structure always have to be the reverse of the ascending structure?
Answer: No.

Q2. Do the "number of notes" have to same in ascending and descending structures?
Answer: No. They can be  different.

Q3. Can two Raags have same Aarohi and Avrohi structures?
Answer: Yes there are Raags that have the same Aarohi & Avrohi structures. Example Raag Bhoopali and Deshkar have the same Aarohi and Avrohi. But both sound totally different. Why? Read on.

'Vaadi', 'Samvaadi' and 'Vivaadi' notes of a Raag

After defining the Aarohi and Avrohi of a Raag, we define the 'Vaadi' and 'Samvaadi' swars.
Vaadi swar is the most emphasized note in the Raag and Samvaadi is the next most emphasized note. For example in Raag Yaman the Vaadi note is Ga (Shudh Gandhaar) and the Samvaadi note is Ni (Shudh Nishaad). When we say that a particular note is 'most emphasized' it means that the performer will make it a point to stress on that note the maximum and it will be the 'most heard' note. It does not mean that you need to take a stopwatch and calculate the timings of the notes during the entire Raag performance!! I have read books, (mainly by non-Indians) who did such a methodical analysis and came out with contrary conclusions on the 'most heard note' part of it. Indian music does not work that way!

Vivaadi notes are prohibited notes of a Raag. Experts say, that when such notes are added to a Raag they spoil the structure, construct and mood of the Raag. On the other hand, great musicians and vocalists have used such notes in their performances and produced real classics. But remember these are great artists of the field I am talking about. Generally, beginners should avoid using the Vivaadi notes.

Effect of Vaadi & Samvaadi notes

Why are the Vaadi and Samvaadi notes important? They are important because they form a crucial part in establishing a Raag. Remember that two Raags can have the same Aaroh and Avroh? But then they will invariably have different Vaadi and Samvaadi notes. This difference will in turn have an effect on the entire movement of the notes in the Raag, and the way the notes are grouped, making them sound totally different. For example Raag Bhoopali has Ga (Gandhar) as the Vaadi swar whereas Raag Deshkar has Dha (Dhaivat) as the Vaadi swar.
I will come up with many examples in audio and annotated audio gradually. But we need to understand some more theory before we appreciate these aspects in real time audio.

Let us keep this much for today. We are far from over with this and I will write on this in subsequent posts.