4.1 Raga system and melodic structures in Indian classical music

Indian classical music's raga system is a melodic framework for composition and improvisation. Ragas provide guidelines for creating melodies, each with unique characteristics that give it a distinct identity and emotional flavor. They're central to Indian music's expression and aesthetics.

Ragas have specific components, including scale patterns, prominent notes, and characteristic phrases. They're also associated with moods, times of day, and seasons. Performances typically start with unmetered improvisation (alap) before moving to rhythmic compositions, allowing for creative exploration within defined parameters.

Raga in Indian Classical Music

Definition and Significance

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• A raga is a melodic framework for composition and improvisation in Indian classical music, providing a set of guidelines for how to construct a melody
• Ragas are not fixed compositions, but rather a foundation upon which a musician can create an original melody within certain parameters
• Each raga has a unique set of characteristics including specific notes, phrases, and ornamentations that give it a distinct musical identity and emotional flavor
• Ragas are central to the expression and aesthetics of Indian classical music, with performances typically featuring the exploration and elaboration of a single raga
• The concept of raga dates back to ancient treatises on Indian music, and has evolved over centuries to encompass a vast repertoire of melodic structures (Natya Shastra, Brihaddeshi)

Evolution and Repertoire

• The raga system has its roots in ancient Indian music theory texts such as the Natya Shastra and Brihaddeshi, which outlined the basic principles of melody and aesthetics
• Over centuries, the raga concept has evolved and expanded to include a vast repertoire of melodic structures, with thousands of ragas in existence
• Ragas have been developed and codified by generations of composers and musicians, each contributing to the rich tradition (Tansen, Tyagaraja, Muthuswami Dikshitar)
• While some ragas have remained popular and widely performed over time, others have fallen out of practice or are rarely heard today
• New ragas continue to be created by contemporary composers and musicians, adding to the ever-evolving raga repertoire (Ravi Shankar, L. Subramaniam)

Components of Raga

Scale and Notes

• A raga is defined by its ascending (aroha) and descending (avaroha) scale patterns, which specify the order and hierarchy of notes to be used
• Each raga uses a combination of swaras (notes) from the 12-note octave, with some ragas using all 7 notes and others using fewer
• Ragas often have a vadi (most prominent note) and samavadi (second most prominent note) that are emphasized in the melody
• Some ragas may omit certain notes entirely or use them only in specific contexts (varjit swaras)
• The selection and arrangement of notes in a raga's scale creates its unique melodic flavor and character (Bhairav, Malkauns, Yaman)

Characteristic Phrases and Ornamentations

• Characteristic phrases or motifs known as pakad are associated with each raga and help define its melodic shape and identity
  • These catch phrases are often used as a starting point for improvisation and to establish the raga in the listener's mind
• Many ragas also specify microtonal ornamentations such as gamakas (oscillations between notes) and andolan (gentle oscillation)
• Other common ornamentations include meend (slides between notes), kan swaras (grace notes), and murki (rapid alternation between notes)
• The use of these ornamentations and articulations is essential to bringing out the raga's emotional character and adding expressive detail to the melody
• Different styles and traditions of Indian classical music may employ ornamentations in slightly different ways (Hindustani vs. Carnatic)

Raga and Context

Raga and Mood (Rasa)

• In the Indian musical tradition, ragas are often categorized according to the moods they evoke, with each raga intended to create a specific emotional atmosphere (rasa)
  • For example, some ragas are associated with feelings of love (Shringara), devotion (Bhakti), longing (Karuna), joy (Hasya), or peace (Shanta)
• The emotional character of a raga is conveyed through its unique combination of notes, phrases, and ornamentations, as well as the way it is performed
• Musicians aim to evoke and intensify the rasa of a raga through their interpretation and improvisation, creating a powerful emotional experience for the listener
• The concept of rasa is central to Indian aesthetic theory and is deeply connected to the spiritual and philosophical dimensions of Indian classical music (Bhava, Nava Rasa)

Raga and Time/Season

• Ragas are also traditionally linked to specific times of day or night, with some considered appropriate for morning, afternoon, evening, or late night
  • This association is based on the belief that each time of day has a particular quality that can be enhanced by the appropriate raga (Bhairav for morning, Malkauns for late night)
• Some ragas are also associated with particular seasons, such as monsoon or spring, and are meant to evoke the mood and atmosphere of that time of year (Miyan ki Malhar for monsoon, Bahar for spring)
• These associations between raga and time/season are an important part of the Indian classical music tradition, though not all ragas have a strict designation
• Musicians may take these associations into account when selecting a raga for performance, but may also have some flexibility in interpretation
• The connection between raga and time/season adds another layer of meaning and context to the music, and reflects the deep relationship between Indian classical music and the natural world

Melodic Structures in Raga Performance

Alap and Composition

• A typical raga performance has a structure that begins with the alap (free, unmetered improvisation) and progresses to compositions set to a rhythmic cycle (tala)
  • The alap serves to introduce and elaborate the raga's melodic features without rhythmic accompaniment, establishing the mood and exploring the notes in a gradual, meditative way
  • The composition section features fixed melodies that showcase the raga's characteristics, as well as improvised variations and embellishments
• The alap is further divided into three stages: vilambit (slow), madhya (medium), and drut (fast), each with increasing tempo and intensity
• Compositions in a raga performance may include bandish (fixed compositions), gat (instrumental compositions), and tarana (compositions with rhythmic syllables)
• The structure of a raga performance allows for a balance between the expressive exploration of the raga and the rhythmic excitement of the compositions

Improvisation and Ornamentation

• Raga performances feature a wide range of ornamentations and articulations that add expressiveness and detail to the melody
  • These include gamakas (oscillations), meend (slides), kan (grace notes), andolan (gentle oscillation), and zamzama (trill)
• Improvisation plays a major role in raga performance, with musicians expected to creatively explore the raga's potential within its defined parameters
  • Types of improvisation include taan (fast, virtuosic runs), sargam (use of solfege syllables), and layakari (rhythmic play)
• The use of silence and space is also an important element of raga performance, with pauses and breaths used for dramatic and emotional effect
• Raga performances may feature call-and-response interactions between the soloist and accompanist (sawal-jawab), adding an element of spontaneity and dialogue
• The skilful use of improvisation and ornamentation in raga performance requires a deep understanding of the raga's structure and character, as well as a high level of technical mastery and creative imagination