Featured
A Raga’s Attributes and Dimensions
Musicologists state that the first treatise to introduce the term raga was Brhaddesi written by Matanga (between 6–8th century).
S Ramanathan recites the specific Sanskrit verse from the Brhaddesi text and explains its meaning:
“yo’sau dhvaniviśeṣastu svaravarṇavibhūṣitaḥ
rañjako janacittānāṁ sa ca rāġa udāhṛtaḥ[1]a raga is differentiated by its constituent svaras (musical notes) and their associated movements, namely the varnas (melodic movements) that are four in kind: sthayi (stationary), aarohi (upwards), avarohi (downwards), sanchari (up and down, circulatory)”[1]
- For additional details, see Raga — melodic fulcrum of Indian Classical music
We are also familiar with the foundational elements of the raga:
- The 12 Svaras (musical notes) that were extended to 16 in Carnatic Music
- The Sruti intervals between the svaras
- The Gamakas, movements that bring the raga to life
Now, let us look at the specific characteristics of a Raga, its attributes and dimensions. Let us start with what was defined in the music treatises across centuries and ultimately look at the salient features we focus on today in Carnatic and Hindustani music with examples of specific ragas.
Attributes of a Raga across centuries
Brhaddesi by Matanga (6-8th century) and Sangitaratnakara of Sarangadeva (13th Century), who added 3 more attributes
In Brhaddesi, Matanga described these four kinds of svaras : “That from which the melody (beauty) of a raga arises is the vadi, that which helps establish the melody of a raga is the samvadi, that which helps promote it is the anuvadi, and that which destroys it is the vivadi.” — N Ramanathan [8]
These terms are still used today in Indian Classical music as attributes to a raga.
- Some ragas in Hindustani music that have the same underlying svaras differ by which vadi/samvadi svaras they have
- Vivaadi is a type of raga in Carnatic Music that has dissonant notes
In Brhaddesi, Matanga defined the following 10 characteristics that were associated with Jatis (precursors to Ragas). And later, Sarangadeva added 3 more attributes.
Chaturdandiprakasika by Venkatamakhi (17th century)
As described in ‘From 12 musical notes to 16 svaras in Carnatic music ‘, Venkatamakhi was the catalyst for the 72 mela framework.
In her compilation Raga Lakshana Sangraha, Hema Ramanathan summarizes that in the chapter on Ragas, Venkatamakhi highlighted and described these 10 Raga Lakshanas (characteristics) : “Rāgas are (so called) because they delight the minds (of listeners). They have been attributed ten lakṣhaṇas (distinguishing features) by Mataṅga and others. These will be presented, from the first (to the tenth) — graha, aṃśa, mandra, tāra, nyāsa, apanyāsa, sanyāsa, vinyāsa, bahutvaṃ-alpatvam. “[9]
S R Janakiraman provides important context on these terms which still apply to ragas today in both Carnatic and Hindustani music.
Graha
“In the musical history there was a stage when all music was not sung to one key as at present. Modal shift of tonic (Graha Bhedha) was a musically aesthetic device to sing or play different scales on different occasions. Thus different ragas had different grahas to be commenced on. The commencing notes were technically the graha svaras. ”[6]
Amsa
“Amsa svaras are the life giving notes for a raga. Hence they are known as jiva svaras. Sarangadeva said that if among graha(starting note), amsa(prominent note) and nyasa(resting note), one is mentioned, it implies the other two as well. His statement does not work out true in current practice.
For example Gandhara is an excellent amsa svara for raga Sahana. However, Gandhara is avoided as graha and nyasa in Sahana
Gandhara is a good amsa svara for Ritigaula but is not as much an effective graha or nyasa as it is for Anandabhairavi.”[6]
Sanyasa, Vinyasa,Apanyasa
“d p g r s n d p is a lively phrase in Dhanyasi. Here the Dhaivata initiates the phrase, mandra Panchama is the intermediary nyasa. So in the case of the treatment of the ragas either in alapana(improvisation) or in the compositions, some notes may not be powerful grahas and nyasa but by all means the intermediary grahas and nyasas. Such nyasas are perhaps Sanyasa, Vinyasa and Apanyasa.”[6]
different types of Alpatva(musical note that is sparingly used)
“Anabhyasa refers to the svara not being rendered frequently, omitted for the most part and may perhaps be very rarely used. Specific examples may be had in the Dhaivata of Shri raga
Langhana is leaping over the note in a raga. It may occur profusely but with no importance whatsoever. Example : Arabhi Gandhara” [6]
Sangita Makaranda of Narada (17th century)
“introduces raga/ragini classification and also stipulating the time when a particular raga is sung” [9]
Raga/Ragini classification(masculine and feminine ragas) and Time of Singing continue to be referenced in Hindustani Music.
RĀGAVIBŌDHA of SŌMANĀTHA (17th century)
Somanatha defines these attribute of ragas:
“Time of Day for Singing the Raga (still followed in Hindustani Music)
Raga having two forms : Nādatmaka form refers to the sound or the tonal form of the rāga while Devatamaya refers to the divine attributes bestowed on the rāga.” — N Ramanathan [5]
Ragamala Paintings are a visualization of the raga based on these ‘divine attributes’ and also indicate the season/time when the raga is sung.
Hema Ramanathan states in her compilation Raga Lakshana Sangraha that most of the ancient texts mention the Amsa (important svaras), Nyasa (ending or pausing svara) and Graha (the starting svara).
Some of the additional attributes that are mentioned are Gamakas and framework for improvisation of the raga.
Get KavyaVriksha’s stories in your inbox
Join Medium for free to get updates from this writer.
Sangita Sudha (17th century)
“first to elaborate on Alapa(precursor to today’s raga alapana or free form improvisation of the raga)
vādī (sonant), saṃvādī (consonant), vivādī (dissonant) and anuvādī (assonant), are also named, while describing a rāga.” [9]
Sangita Sampradaya Pradarshini (1904)
The Sangita Sampradaya Pradarshini by Subbarama Dikshitar (Muthuswami Dikshithar’s grandnephew) is one of the most critical musical treatises for several reasons:
- It is the text that describes the musical tradition that Muthuswami Dikshithar followed and the source of authentic notation for Dikshithar’s compositions
- It also includes a brief biographical section of the key Carnatic music composers
- Subbarama Dikshithar includes gamaka symbols in the notation of the songs (again, another unique feature)
- Each of the 72 Raganga ragas and their key janya (child) ragas are also described in detail
Let us look at the Raga Attributes elaborated for Raga Shri:
- Verse describing the raga
- Murchana (Ascent and Descent)
- Type of Raga: 22nd Raganga (parent raga), Sampurna (contains all 7 notes in ascent+descent). Sadja Graha (starts at Sa), there is no Gandhara in the ascent; in the descent, the gandhara appears in vakra (non-linear) mode and the Dhaivata is alpa (used sparingly)
- Nyaasa/Amsa (Jiva) Svara: Rishabha (R)
- Key Identifying Phrases
- Additional Clarifications such as the phrase pdnp that includes the dhaivata appears only once; this is seen in multiple Dikshithar compositions in this raga
- Ghana Raga (suitable for singing Tanam)
- Auspicious raga
Subbarama Dikshithar also includes a detailed Sanchari for every raga where the key musical phrases of the raga are highlighted. Interestingly, this sanchari is frequently set to Matya Tala l40l4
RagaNidhi (1965) — A comparative study of Hindustani and Karnatak ragas by B Subba Rao
Ragasudharasam by S R Janakiraman and K S Rangachari
A rough translation of the attributes of Raga Anandabhairavi from this book where information is provided based on both the schools followed by Dikshithar (Raganga) and Tyagaraja (Melakarta) :
- Janya of 20th melakarta Natabhairavi; Shadava Vakra (on ascent 6 non-linear notes), Sampooranam (descent 7 notes)
- Bhashanga(contains foreign notes), Rakti Ragam (not svara based, based on bhavam(feeling))
- Sadharana Gandharam(ga), Suddha Madhyamam(ma), Kaisiki Nishadam(ni) are the jiva svaras; in Sancharis(phrases), Antara Gandharam(Ga) and Kakali Nishadam(Ni), and in the avarohanam Pancha Sruti Dhaivatam(Dha) are used based on sampradaya (tradition)
- There is no sancharam seen below mantra sthayi nishadam (lower register ni)
- A very mangalakaramana (auspicious) ragam. Can be sung at any time.
- In Venkatamakhi’s sampradaya(tradition), being considered an upanga raga(a raga with no foreign notes) is against the lakshya (practice, what is sung).
- Today, some consider this a janya of 22 Kharaharapriya
Current Hindustani Raga Attributes — Tanarang
Raag Puriya, Marwa and Sohini — very similar scale yet different ragas
- differences in Nyaasa (Resting Notes), and Vadi-Samvadi
Current Carnatic Raga Attributes — Raga Surabhi
Beyond notation
As it is repeatedly emphasized by musicians and scholars, these raga attributes are just the starting guidelines. The raga itself transcends the scale or notation written on a page. A true understanding of a raga is gained only by immersion, listening to many, many compositions and improvisations in that raga.
- Playlist — Lecdems on Ragas
References
- Music Research Library — The Concept of Raga, by N Ramanathan
- Music Research Library — Brhaddesi of Matanga — A Note by N Ramanathan
- Music Research Library — Saṅgītaratnākara of Śārṅgadēva — A Note by N Ramanathan
- Music Research Library — Musical Forms in Sangitaratnakara, by N Ramanathan
- Music Research Library — Ragavibodha of Somanatha by N Ramanathan
- Music Research Library — Essentials of Musicology by S R Janakiraman
- English Translation of Subbarama Dikshithar’s Sangita Sampradaya Pradarshini — Volume 1
- JMA 1983 — Vadi,Samvadi,Vivadi And Anuvadi Svaras — N Ramanathan
- Music Research Library — Ragalakshana Sangraha, Compilation and Translation by Hema Ramanathan
