BOOKS ON INDIAN RAGAS

Ragas are systems of keynotes - a bunch of melodic notes set up in a singing pattern - that signify them. The rising and plunging order of these melodic notes is similar to Hindustani and Carnatic music. At the point when organized in the ascending order of their notes, the Ragas are in an aroh design. At the point when the notes are organized in a descending style, they are in an avaroh design. It is additionally critical to recollect that these ragas are typically recommended to be practiced at specific hours of the day. In Carnatic music, Ragas are characterized given their Swaras though, whereas in Hindustani Music, Ragas are organized by their Thaat, which is a gathering of melodic notes and there are ten unique combinations of ragas in light of it. All ragas have what is known as a "Vadi" note, which stands apart from the others as the most noticeable note in that raga. This is the note that appears to wrap the raga around itself. Musical artists will return to this note on numerous occasions and use it in numerous ways. The vadi has a partner called samvadi. Some well-known ragas are-

• Raag Asaravi

• Raag Bhairav

• Raag Bhairavi

• Raag Bilawal

• Raag Kafi

• Raag Kalyan

• Raag Khamaj

• Raag Marwa

• Raag Purvi

• Raag Todi 

FAQs

Q1. How many types of raga exist according to structure?

As far as raga structure is concerned, there are symmetric, asymmetric, blended (mishra), compound, and circuitous ragas.

Symmetric ragas have a similar number of notes in both the rising and descending scales: five (audav), six (shadav), or seven (sampoorna). Also, they utilize similar notes in both the rising and descending scales. Kafi and Durga are instances of symmetric ragas. Most ragas are not symmetric. An alternate number of notes in the rising and descending scales is one justification for asymmetry. In such cases, the rising scale, for the most part, has fewer notes, since notes are avoided on the way up more frequently than on the way down, as on account of Raag Dhani. In standard traditional music, craftsmen stick to the structure of the raga rigorously. However, in light and semi-traditional settings, they can stand to be more energetic, for example, by blending in extra notes. In such cases, the adjective mishra (blended) is added to the name of the raga. Circuitous ragas can be recognized initially by their undulating climbing and plummeting scales. This happens because a portion of their notes is regularly accessed through different notes or in unambiguous note patterns. Ragas can be circuitous to various degrees.

Q2. What does “Raga” represent?

The symbolic job of traditional music through rāga has been both tasteful extravagance and profound purification in total harmony (yoga). The previous is represented in Kama writing (like Kamasutra), while the last option shows up in Yoga writing with concepts, for example, "Nada Brahman" (mystical Brahman of sound). Hindola rāga, for instance, is viewed as an indication of Kama (lord of affection), ordinarily through Krishna. Hindola is additionally connected to the celebration of dola, which is all the more regularly known as the "spring celebration of varieties" or Holi. This thought of tasteful imagery has likewise been communicated in Hindu temple reliefs and carvings, as well as paintings, for example, the ragamala.