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Vibrant Moods
Raag Yaman
Raag Lalit
Raaga - An introduction

“Bhavana” is an attempt by NFT to make one feel the music within and make it a guiding force to focus the inner thoughts towards mental development to facilitate a clear interaction with the conscience for a better understanding of life. To achieve this object, we aim at making the divinity in music our inner expression. An effort is made to experience the inner divinity in music by observation of the self in silence through music. In order to experience the serenity and sanctity of music and to attain the above objects, the artistes have been requested to present music as a meditative experience and not as a mere entertainment.
Raagas in Indian Classical music are generally presented keeping in mind the time theory. In other words, a Raaga or a melody is based on the suitable time for its presentation both during practice and performance. This has been a tradition more religiously followed by musicians in Hindustani Classical Music.

The Raagas during this event was presented on the basis of the time theory and the ragas presented this evening are Raag Purya Kalyan, Raag Chaayanat and Raag Adaana, which are orthodox Hindustani Classical Raagas.

Raag Purya Kalyan –belongs to Marwa Thaat.
The Swaras used are - “Sa, Komal Ri, Shudha Ga, Teevra Ma, Pa, Shudha Dha, Shudha Ni”.
Taking “C” as the reference tonic note, in the western scale the notes are as follows:
C, C#, E, F#, G, A, B
Purya Kalyan is considered a twilight Raaga, normally performed in the fourth quadrant of the day. Purya Kalyan is formed by the combination of Purya in Poorvanga and Kalyan in Uttaranga and therefore in Raag Purya Kalyan an effort is made to show the complete beauty of how two Raagas are working together (viz., Raag Purya and Raag Kalyan).
A Raaga with the power of depicting deep emotions ranging from pathos to devotional, with peace and serenity within the scale, it is presented from evening until night. It’s equivalent in Carnatic Music is Raag Poorvi Kalyani derived from the 53rd Melakartha Gamanashrama, which corresponds to the Marwa Thaat in Hindustani music. 

Raag Chaayanat – belongs to Kalyan Thaat. The notes used in the Raaga are Sa, Shudha Ri, Shudha Ga, both Madhyams i.e. Shudha and Teevra Madhyam, Pa, Shudha Dha, Shudha Ni. It may be noted that regarding the usage of Ma, Teevra Ma is used only in an ascending progression (Arohan), whereas Shudha Ma is used as a part of both ascending and descending progression.  Taking “C” as the reference tonic note, in the western scale the notes used in the raga are as follows:
C, D, E, F, F#, G, A, B

The progression usually appears as follows:
Sa, Ri, GaMaPa, NiDha, Sa and SaNiDhaPa, Teevra MaPaDhaPa, GaMaRiSa. 
Occasionally a touch of the note Komal Ni (the note A#) is observed in this Raaga.This Raaga is usually presented during the late evening progressing towards the first Prahara in the night and its equivalent in Carnatic music is Raaga Saranga, which is a Janya of the 65th Melakarta Mechakalyani, which corresponds to the Kalyan Thaat in Hindustani Music.  The mood of this Raaga is a combination of devotion filled with romance and shringara. The Hindustani Raagas Nat, Hamir, Kamod are very close to this Raaga with subtle differences.

Raag Adana - belongs to Asavari Thaat (equivalent to the 20th Melakartha Natabhairavi in Carnatic music). The notes used in the Raag are Sa, Shudha Ri, Komal Ga, Shudha Ma, Pa, Komal Dha, Komal Ni. Taking "C" as the reference tonic note, in the western scale the notes used in the raga are as follows:                                                
C, D, D#, F, G, G#, A#. sometimes even the note 'B' is used in this raga.
It may be noted that in this Raaga sometimes both types of Ni are used i.e. Komal and Shudha Ni. This is because it is believed that by doing so, it helps us distinguish between Raag Adana and Darbari Kanada (it may be noted that Darbari Kanada is a Poorvanga Raaga) clearly. But it is dangerous to use Shudha Ni in abundance, while rendering the Raaga, since it may totally disturb the character of Raag Adana. The sancharas (movement) of this Raaga are mostly in the Madhya and Tara Saptak and therefore it is an Uttaranga Raaga. It is performed during the third Prahara of the night.

Select References:

  1. Raganidhi by B.Subba Rao – Music Academy, Madras.
  2. Hindustani Sangeet Paddati (Kramik Pustak Malika) by Vishnu Narayan Bhatkande – Sangeet Karyalay, Hathras.
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