RAGAS

Pentatonic RagasDescriptions are mainly based on the mood (rasa) traditionally prescribed for the raga.

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

Raag ShivranjaniA 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 HamsadhwaniHamsadhwani - 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-SarangRaag 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 PahadiAnd 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 YamanYaman 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 BhimpalasiAn afternoon raga, sung from late afternoon to sunset, Bhimpalasi is poignant and passionate, filled with yearning.

Raag KedarKedar 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 JogRaag 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 JaunpuriRaag 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-KanadaRaag 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 BaharBahar 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-MalharOne 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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