In my posts thus far, I have tried to share my impression of music, as I perceive it, with as little technical intervention as possible. Though the scientific temper in me does hunger for the pure technical facets of music, the romantic in me prefers to appreciate it for its impact on the heart!
It is pertinent to note that the microtones interspersed (albeit, unequally) between the semitones provide the ‘space’ for them to be maneuvered by the musician, without compromising on the identity of the semitone. It is this space that allows for the development of melody, expression of ‘Rasa’ and the creation of Ragas.
So, while in Raga Todi the komal gandhaar (flat 3rd note) leans towards the komal rishab (flat 2nd note), the komal gandhaar of Raga Multani is rendered with a flavour of the teevr madhyam (sharp 4th note). In effect, though both the ragas use the komal gandhaar, their unique rendition in its space creates an independent identity and flavour for the semitone while bringing out the ‘rasa’ of the Raga.
Raga Todi belongs to the Todi family (that) of Ragas. It is a morning Raga characterised by the microtonal play between the komal rishab and the komal gandhaar. This Raga creates a mood of both, heroism and devotion.
Gana Saraswati Kishori Amonkar’s Raga Todi…
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Each semitone or swara is considered to carry with it an emotion. While the microtones or shrutis are believed to be independent of emotions, they lend a certain freedom for complete expression conveyed by the semitone or swara.
Based on my limited learning, the shadaj (1st semitone of the octave) is thought to express heroism, rishab – heroism, wonder and wrath, gandhaar - pathos, madhyam - mirth, pancham - love, dhaivat – terror and abhorrence and nishad – pathos. The rendering of notes in a particular raga is, therefore, structured to carry along the general emotion or ‘rasa’ of the raga. Hence, it becomes necessary for the microtones to provide the flexibility.
Raga Multani, too, belongs to the Todi family (that) of Ragas. Yet, it is completely different in flavour, since, in rendering this Raga, the artiste would approach the komal gandhaar from the teevr madhyam. This is an afternoon raga with a contemplative mood.
Raga Multani – Vidushi Shruti Sadolikar
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The beauty and completeness of the octave in being able to provide the opportunity for every emotion and the room for us to find ourselves in it, is indeed remarkable!
I end this post with one of my favourite ragas, Bageshri. A late night raga of the Khafi family (that), this Raga technically omits the use of pancham (5th note). But the occasional hint of the pancham in certain note-phrases adds to the beauty of this raga that oozes shringar and viraha rasa.
Raga Bageshri, Koushik Aithal…
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4 comments:
So true!
I would say the same about Lalit and Bhatiyar, too...
Good links.
Good reading, I must say.
A more indepth explanation of ragas may help those of us who have not much idea.
You write very well. Your passion for music is quite obvious, from all your posts.
Keep them coming!
Hi!
I have read all your posts and enjoyed them all. You write well and seem to have a good knowledge of classical music.
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