RAGAS

PENTATONIC RAGAS
Descriptions are mainly based on the mood (rasa)
traditionally prescribed for the raga.

Raag Bhupali
Raag Bhupali is one of the most likable ragas there could
be. It is derived from a combination of notes that is used
not just in Indian music, but universally. In the Hindustani
tradition, this particular set of notes is shared by two ragas,
Raag Bhupali and Raag Deskar. The two ragas are quite
close, naturally, but differ in that Bhupali emphasizes the
lower notes and is more pensive, while Deskar is more
playful and vivacious. Raag Bhupali is sung in the evening
hours, after sundown.


Raag Malkauns
Malkauns is a regal and solemn raga, best sung in the
lower pitch ranges at an extremely contemplative, slow
pace in the small hours of the morning, just after midnight.


Raag Durga
Raag Durga - a raga of pristine purity, reminiscent of fresh
snow on the mountains. It is sung from late evening to
midnight.


Raag Shivranjani
A hauntingly pretty raga, sung from late evening to
midnight. But it is relatively new to the Hindustani
tradition, being originally a Carnatic (or South Indian
classical) raga, and its status remains somewhat low
among the classical ragas. It is treated more as a semi-
classical or light raga.


Raag Hamsadhwani
Hamsadhwani - a lovely raga that fills one with positive
energy and a sense of well-being. It is sung in the evening
hours, after sunset.


Raag Madhmad-Sarang
Raag Madhmad-Sarang is sung during the late morning
hours, just before noon.


SIX-TONE, SEVEN-TONE AND EIGHT-TONE RAGAS.

Raag Marwa (hexatonic)
Marwa is sung during the late afternoon hours up to sunset.
As a raga, it can evoke emotions ranging from quiet
resignation and gentle compassion to foreboding and
restlessness. Whatever else it may be, it is not a raga to be
treated lightly.



Raag Bhairav (heptatonic)
Bhairav is considered by some to be the most important
raga in the Hindustani classical tradition. It is a morning
raga, extremely solemn and portraying the peacefulness of
a strong mind. Picture Shiva-the-terrible, absorbed in the
deepest meditation in a dark cave in the Himalayas.
Everything is still, except for the occasional dripping of a
stalagtite. Then dawn breaks and the first rays of sunlight
penetrate into the cave. Imagine the music in the mind of
this man of terrifying passions at that time in his state of
perfect peacefulness. And that is what Raag Bhairav is.



Raag Gaud-Sarang (oxatonic)
A very pretty, early-afternoon raga.



Raag Pahadi
And now, a raga that can get away with using just about
any note in the octave but still retains a distinct flavor all
its own. Pahadi is one of those ragas that is hard to define
an ascent or descent for, so here is a simple sol-fa song to
demonstrate a few typical tone combinations. In this
example I have only combined the nine most prominent
tones used. The remaining tones are used only rarely and
have to be done with the greatest care and expertise to
retain the raga's identity. Pahadi is an extremely charming
evening raga that combines both playful and pensive
aspects.

The vast majority of ragas, however, are not symmetric in
ascent and descent. They may use a different set or
number of notes on the way up than they do on the way
down. But what does this really mean? Well, for instance, if
a note is used only in the descent, what this means is that it
is always followed by a note lower than itself in the octave.
For instance, in Raag Yaman, the note P is used only in the
descent. So, it may be immediately followed by M, G, R or S,
but not by D, N or S'. You may climb up to P on the way up:
'N R G M P. But if you want to climb further, you would
have to climb down at least one step first: 'N R G M P, M D
N. Of course, rules exist mainly to be broken, but only by
those who have mastered them first. Here are a few
examples of asymmetric ragas.


Raag Yaman
Yaman is an evening raga, sung from sunset to late evening.
It is full of grace and majesty, and the main mood it creates
is one of devotion and dedication. It is a raga that suggests
unconditional offering of everything one has at the altar of
whatever one's calling may be, asking nothing in return.



Raag Bhimpalasi
An afternoon raga, sung from late afternoon to sunset,
Bhimpalasi is poignant and passionate, filled with yearning.



Raag Kedar
Kedar is one of the most beautiful ragas there can be. It is
sung from late evening to midnight and is said to create a
mood of peacefulness. I find, however, that this raga and
its playful tone combinations are very well suited for
creating moods of joy and elation.



Raag Jog
Raag Jog is sung in small hours of the morning, just after
midnight. It has a magical quality that lives up to its name
(jog indicates a state of enchantment). It is quite a popular
raga too, often adopted to lighter forms of music.



Raag Jaunpuri
Raag Jaunpuri is a pretty, if somewhat plaintive, raga. The
direct progression from d (minor sixth) to n (minor
seventh) to S' (octave) effectively portrays deep yearning,
which is nicely complemented by the grounding
resignation embodied by g (minor third). This raga is sung
in the late morning hours, up to noon or so.



Raag Darbari-Kanada
Raag Darbari-Kanada is one of the most stately ragas in the
Hindustani tradition. The first part of its name, Darbari,
comes from the word darbar (the king's court), and the
second part, Kanada, indicates that it is originally a
Carnatic (south Indian) raga. Solemn and grave, this raga is
best sung in a heavy bass voice during the late evening
hours, and sometimes deep into night.



Raag Bahar
Bahar means spring, and Raag Bahar is filled with the
lightness and joyous celebration of springtime. It is sung
through out the spring season during the early afternoon
hours.



Raag Miya-Ki-Malhar
One of the most ravishing Malhar ragas. Malhar means
"giver of rain" and all ragas that contain the word Malhar
in their names are rain ragas. Not just any rain; it has to be
the onset of the Indian monsoon. If you haven't endured
four months of relentlessly rising mercury, searing heat,
dry dust storms during the day and suffocating airless
nights, you don't know what it feels like when suddenly
one day, black clouds gather in the horizon, the thunder
rumbles and temperatures drop like lead as a cool wind
swirls in dried leaves and twigs ahead of the first monsoon
storm. The fragrance that rises as the first raindrops touch
the scorched earth is indescribable, peacocks start to
dance. And that is when the Malhar ragas are sung. Miyan-
Ki-Malhar can depict the joy and relief of the first rains, but
on a dramatically contrasting note, it can also depict
restless longing in separation and unnamed fears.
Ornamentations are used to great effect in this raga to
suggest the wind blowing, the thunder rumbling and
lightning cracking.












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