NORTHERN INDIAN MUSIC

Volume Two

TH E M A IN RAG A S

A L A I N D A N I L O U

Halcyon Press; London

under the auspices o f UKESCO

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^ * siftph f$ro& ^*n: ^ n : n

Even if he be an expert in the Revealed and the traditional scriptures, in literature and all sacred books, the man ignorant of music is but an animal on two feet.

AUTHOR'S NOTE

The ragas of which notations appear in this book conform to the Benares Musical Tradition. They have been noted as played on the Sarasvati Vina b y Shri Shivendranath Basu of Benares and with his kind help and advice. Though they often slightly differ from those noted b y Bhatkhan.de and other modem compilers this does not mean that any of these authorities is mistaken but that some variations in form and name have gradually appeared in the ragas as taught in the different parts of India.

The raga-poems marked with a five-pointed star were translated in collaboration with the late Lewis Thompson.

C O N T E N T S

323742

4753

PageAU TH O RS N OTE vi

IN TRO DU CTIO N ixThe Modes or Ragas The expression of the Ragas Correspondences The Raga-poems Notation Remarks on the Notation

1 E A R L Y M ORNING R A g A SI. Lalita 1:5

II. VibhasS. 22III. Bhairava Group

Rangala 27Bhairava Ramakali Gunakal!

IV. Todl Group I TodiVilasakhani

V. Todi Group I I (Yavandpuri)Yavanapuri 58Asavari , 63

2 L A T E M ORNING R A g ASVI. Bhairavi Group

Shat ... yxBhairavi 76Bhupala 81

VII. Bilaval GroupBilaval 86Alhaiya

3 NOON A N D AFTERNOON R A gA SVIII. Sdrahgd Group

SarahgS gyGauda SarangS 102

IX. Shri GroupShri 10yBhimSpala&hri 112Multani ir /

4 E VEN IN G RAG AS PaSeX. Pilu . I23

X I. 'Puravi GroupPuravi I2^Marava I 33

5 RAGAS OF TH E E A R L Y N IGH TX II. Kalyand Group

Imana or Yamuna . I4IKamoda ^ 6Kedara z50Bhupali I 55Chhayanata x 2^

X III. KhammajS l67

6 r A g A s o f t h e d e e p o f n i g h tX IV. Kdnadd Group

Kanacla z75Bageshri I2Jay.ijavantI I^7Bahar x93Kafi x97

7 r A g A s o f m i d n i g h t a n d l a t e n i g h tXV. Malakosha 205

X V I. Bihaga 211XVII. Paraj 2I5

X V III. Kalingada 2I9

8 SEASO N AL RAGAS X IX . Spring Rag&s

Hindola 225Vasanta 23I

X X . Rdgds of the Rainy Season(Shuddha) MaJlar 23&Megha Mallar 24x

D ISCO G R APH Y

Recommended recordings of Indian and Tibetan music. 246

W I T J ^ 1 * *

I N T R O D U C T I O N

TH E M ODES OR RAG AS

EACH raga or mode of Indian Music is a set of given sounds called notes (svara-s) forming with a permanent tonic certain ratios. To each of these ratios is said to correspond a definite idea or emotion. The complex mood created b y the mixture and contrast of these different ideas or emotions is the mood or expression of the raga. The harmonious relations which exist between the notes and which can be represented by numerical ratios do not exclusively belong to music. The very same relations can be found in the harmony which binds together all the aspects of manifestation. These ratios can express the change of the seasons and that of the hours, the symphony of colours as well as that of forms. Hence the mood of a raga can be accurately represented by a picture or a poem which only creates an equivalent harmony through another medium.

The expression of the Ragas .

The expression of a raga is thus determined by its scale. It results from the expressions of each of the intervals (shrutis) which the different notes form with the tonic.

The ascending scale in a raga often slightly differs from the scale descending. In some ragas are found additional accidental notes used only in the particular context of definite melodic variations. Thus the mode Pila offers no less than twelve notes, though most of them are limited in their use to particular ornaments. The use of these accidental notes allows the bringing out of subtle shades of colouring within a mood. For example, a major second (Ri shuddha) always expresses strength and self-assertion. Used only in appog- giatura, it will give a faint idea of self-assertion, at once melting away. Thus it may express a vacillating resolve. Similarly a nuance of sadness, or of love, can be brought out hy careful and impermanent use of the intervals that corresponds with these emotions.

Correspondences Since there are only five intervals (shrutis) of each type

(Tati), which may be used in music, a few pentatomc modes can alone express pure, unvariegated moods. Because of their forceful character, these pentatonic scales were known to ancient music as the male rgs. _ ,

B y adding further notes to the male rgs, various hexa- tonic and heptatonic scales can be formed which, since some of their intervals must necessarily belong to different types of expression, will show more contrast or indecision, and so, in a way, more delicacy and subtlety. Such scales are known as the rgins, the feminine counterparts or consorts of the male modes. Thus every rg whose shrutis belong to a single group win tend to be represented in picture or poem by a god or a man, a rg of mixed shruti-jtis by a goddess or awoman. , . .

This rule, which corresponds to a fundamental dassmca tion in the ancient system of Nandikeshvara, lost much of its rigidity when the three main original systems of Indian music began to get mixed up, especially when, during Moghul times, the great musicians lost all contact with the Sanskrit theoretical books. This is why in modem music we come to see that the ancient basic enharmonic mode which was known as Bhairav is now called Gunakali and is considered a rgin while the modern Bhairav is a seven-notes scale. It should, however be remembered that these changes are merely matters of names and classification and do not affect the modes as such or the music in general.

The Rg-poems Poems describing the mood of the rag axe found in a

number of Sanskrit works on music. References to them in other works seem to show that many of them were ongmaJiy part of a treatise (now believed lost) b y Kohal, one of the earliest writers on music. The two best collections of poems available in print are found in the Chatvrimshchkatarga- nirpanam attributed (some think wrongly) to Nrada and in the Sangt-Darpan of Dmodar Mishr. Many of the poems are common to both. There are, however, many unpublished works, some of which are very ancient, which give numerous poems and definitions of the scales in the different

schools, important ones being the Rg Ratnkar of Gand- fcarv Raja (a work belonging probably to the medieval period) and the Rg Sgar.

The Chatvrimshchhatdrgnirpanam has been variously dated from several centuries b . c . to the fourteenth century a d. Many of its verses are found in the thirteenth-century Sangt Ratnkar, and most of its rg-poems are reproduced in the early eighteenth-century encyclopaedia, the hivtattv Ratnkar which quotes only Shaiv works. The ganglia Darpan, which is partly a compilation, is a work of the early seventeenth century. The nineteenth-century Bengali work Rg Kalp drtm, also reproduces further poems whose sources have not so far been ascertained.

It is not easy to determine which scale corresponds with a given poem or picture, for the names of the ancient rgs are now often attributed to scales which have changed. And, again, a rg of Southern India may, nowadays, differ considerably from one called by the same name in Northern India.

For the present we shall take it that the ancient poems refer in most cases to the rgs as they are known to-day.

Notation

J J J J JShrutis (intervals of one comma): Di>~Di>- i* Dt>* Dt**-

Komal (flat) ; livr (sharp) q; hold sound s ; no sound

Mtrs: one mtr two mtrs j; etc. half mtr

quarter mtr ; three 1/3 mtr fl ti etc.t Li

Octaves: high octave middle octave t, lower octave ;

Ornaments: md (glissando) q ; gamak (grace) "Tp, ,

Intensity: p p very soft; p soft; m f moderately loud; / loud;

JT very loud.

Accents: a accent, a stop sound as soon as uttered;

phrasing *;

~= " increase voice; decrease voice.

repeat

In the rarely used J and J the sides remain open for

crotchet and quaver and are closed for minim and semi-

breve J j .

Remarks on the Notation

1. In the staff notation accidental flats or sharps remain in effect for a whole measure bar, as is usual, even if their interval, their shruti is altered.

For example in: 0 -1i U 1

the second lowered D is also flat.2. The bar divisions indicated are meant only for the

facility of reading. They do not correspond to rhythm-units (tla) since in the lpa, the first exposition of the theme, alone given here, there can be no complex rhythm but mere time-units (mtrs).

Examples

1. The examples of expressive motives given with each rg are those eventually explained by our teacher; they are, of course, by no means exhaustive.

2. Examples of short variations will be found in the following rgas: Shri, Bhmapalshr, Bhpl, Jayjavanti, Mlakosh.

E A R L Y M O R N IN G R A g AS

i EARLY MORNING RAGAS

I LA LITA at dawn

Lai its

it

(ChatvarimShach'haia Ragd nir&panam p. 14)

* This very fair and amiable yogi, anointed with divine H fragrances, with tangled locks and a deer coming to his hand,

.is known as LalitS..

Xfy:-'-' Lalita

; X; rsnrr 3**fS/; 4tflji'j?f i. ' V . ;r *>;giy;T.

(idem p. 13):'r|a:

* Lahta, charming in her innocence, is bright like gold. Wlnle she holds a lute, a cuckoo perches on her lotus hand.

is seated beneath the Wishing-tree, her breasts all unadorned, a thousand times desirable.

(RSgd Sdgari 3, 7)

I?, A Vina and a book in her hands, Lalita appears, the Goddess Charmingly playful she talks lightly, her eyes lilr*

J p * lotuses.

Lalit

p i2 sr f i r f 35f3r wcft^tnft o r g f f e 14: ftftn fl i

5: wra 16 : fsftscw*# h w i

(Chatvritnfhach'hat Rg nir&panam p. 20;Sangii Darpati 2, 63; Shiv lativ Ratnkar 6, 8, 90)

* Lalit, young and fair, and garlanded with seven-fold flowers. Her long eyes like the petal of the lotus. Sighing, overwhelmed b y fate still, at dawn, dressed for a lovers' meeting.

OR, IN ANOTHER READING

* The young and fair Lord of Lalit wears a garland of the sweet-scented seven-fold flowers. His lovely laughing eyes are long like the petal of the white lotus. It is dawn. Overwhelmed b y fate, Lalit sighs dressed for a lovers meeting.

, ,CKS^ava (hexatomc)

T U N IN G O F IN S TR U M E N T :

Arohd Ascent Avaroha Descent

y j f t i t o f p l a y : Early morning (before sunrise)

% M M t t y p e (Thai): Shri s c a l k t y p e : C h r o m a t i c ( p la g a l )

. c h a r a c t e r i s t i c s : N o G ( P a ) ; t w o !' ( a M a ) [ l i b a t k h a n d e g i v e s L a l i t S

l| 'n th a natural A (Dha $huddM).]

t tP R B S S IO N :

0 .Dawn(Pa) is sunshine, the half-

ftabsence of G (Pa) ex- awake^agresses the absence of Sun.WvThe presence of both F

and K# (Mativra) is :^iharactenstic of critical ; , moments. It is found at ;&: arise, sunset, midday

midnight, equinoxes, iW'folttices, etc. dawn

m

1-- -- 9-5-|H5g 1 1 ll

A P P ===>. pp

pp ppfi * fl ^I ! U ?

fl HI

absence IUi- o j Smm 4

m f

Tu q : Ttr1 vmv, b/S ' SW8I Wfil 9/* I 'V [ W LiMirn^ ; liiQB&l Lto&l ^ loftoniian^ :uM&|UC!E

16/K jiO/o .if-tone!i&tai

CiironatiC

a)XS

I

c/i

fcjOC

BOf i

!>.itiBO

fctJX> "s 9*D k **

f fT T T T T T T^----- TT--1-------T

I U I I U I U M L J

OUTLINE

ST H A Y l

Scale

t u

ANTAR

OUTLINE

Scale

Samvadi

M a t r a 1 = 4 6

I : : ; , 133:- g~f

f j u u u u D " i U U i L 4 4 ] T n u

vpp n

II V IB H A sA at sunrise

fiwrtwpn tH^ra^rS: n

(quoted in Ragd KalpMrumd p. 30)

* Fair, and fair of face, with a white scarf. Bold like the cry of the cock at sunrise, his laughter sways the locks that brush his brow. VibhasS-ragS. is lovely like the God of Love Himself.

(.Sangitd Darpana 2, 136)

Vibhasa is like Lalita.

T U N IN G O F IN ST R U M E N T

independent

rA uda(pen tatonic)

rtra6-

Aroha Ascent

4 n

Avarohd Descent

--- * 11 >, ^

y

(F jS ): A (Dha) con son an t (Samvadi): E (Ga)

OF p la y : day a t sunrise (a fter Lalit&)

; t y p e (Tha{): MarSva s c a le ty p e : Chromatic (defective)

no Pa (G) and no N i (B). This scale is similar to that of : mode of spring PanchamS. (Bhatkhande, however, gives VibhasS with

t (B) and Pa (G) in the descending scale.) In fact three different scales known in Northern India under the name of VibhasS.

loveliness, early dawn, twittering of the birds.

I'fln Paflchama where D ' nt (Ri komal) is short

never accentuated, fVadland Samvadi are

tivr3 ) and C the expression

and chalieng-

night

tendermvsterious

m

Lj ut s r x

t e t r a c h o r d s : (S c a le a n a ly s is )

EI I .I lwn& I mi. 6/r ,nmor third

Mtv y'4r. '

W s I STH Yl

II AN TAR

%%S-

Vdi Samvdl =3 r

Scale:

1=37'.: T "n H 1

Mtr i = 44

STHYdroamy and soft

^ y --- B --- C I7~ < r ^ g - v - - E V 5 g i v a s - - l l : ' * = --------- n _ s _ _ |. J__. r _ i ----

1 M U 1 1 L U

1 - S j - i j

U U 1

r-. f. --------=

1 u u u i i i 1 d U i

W-- '"*

e s r -----m /-= />==-r |, r A - ?r* V*, \] ili E------

UJ 1 1 a ..

1 UJ ujrs . t i q.

LU I UJ-7 2----- " M p aLllli i tu u

* . * _^ > n

.... .. - _ - , " ' r S *i

1 l l l IJJ7TI 1

A N TA R A .p __ ___ pp _> r-\> >

f r - 1,1 i - n~ i

h s i i a 'r r i v .---------- r *q q * p s q

p --------- > _____________r = r

f l R C p i " S . ! n V E;

I I L U 1 1 l u i L l u 1 U J u l L i d u u j I U I u

i u i 1 u 1 U LU.a t a .j..']u d i

i13 - S T ^ -U IL J u | u_

V j T " TPP

u L U. 5T IU

Rppoatfromi to n

I l l BH AIR AVA GROUP after sunrise

BAftGALA

Barigali

*Jrn s r a r i

mywfft dPi

T U N IN G O F IN ST R U M E N T :

grou p : BhairavS

CLASS (Jtiy.Shdav (hexatonic)

Arohd Ascent

v

^ t r r3=51

AvarohS Descent

- n l'~ff 3

so n a n t (Vddi): C(sa) con son an t (Samvadi): F(Ma)

t im e o f p la y : day, first quarter, (from sunrise)

MODE TYPE (ThSty. Bhairava s c a le t y p e : Chromatic-Enharmonic

c h a r a c t e r i s t i c s : No B(Ni); E(Ga)very-light [Bhatkhande gives the Vadi-

Samvadi as AMDha k.) and Dj>(Ri k.)]

e x p r e s s i o n :B natural (Ni Shuddha.)

and also E natural (Ga shuddha) indicate self-control, will and independence; their absence leaves room only for dreaming, halfconsciousness.

peace

brilliantthe Raga often begins

with a swing

3=33=)

E+(Ga+) should be used on ly ina p p o g g i a t u r a or

characteristic figure at the end of each motive

*?> te th ach o rd s : (Scale analysis)

MlW

16/ J | 5?/27 9/8 1256/245 I.rajor ij lone jlffttaane| Liama [najor tone] Limma j ditone

I 256/245 ! Limma

6 /fmicor jrc.

ChraTiatic

Enharmonic

Sb r u t is : (Analysis o f expression)

t r r

v

c

S I

-JiSitDS3

cc-p20: qj O (S;* 16 +J_ n v J1 CD d(-1 u C 2u d U if

c > - 0;d Cfil rtL-4-2 sa*"Oa02

GJPi

s

OUTLINE

* Scale

r 1 " *inr^---e- T on ic

I STH Y l

S o fl und tender ( *4 )

I I AN TARA

Vdi - [ - Samvd - s -

Mtr 1 = 44

jtTHSy

ppI sq ft a nd tandarrr 11 n l' ~i --- rr - ----- ----- rsr---- .i. - * ! >

I I I IMkiB-i9sJ

U 1 1 l i i i.qq~:

U I U* s

l 1.-H.M qqqv

1 U = L U __s_

M : its;

u sna i H C

LLUmen C * ^ 7TL y u

_T >! '; y .I u

TfJftpT ira-

LLU L r r LU ij i a

1i T T n-r

Ia > Ai,H p

1 L J 1LLJsniai^

U l iS " : > n -- n---n--

l i u i l u 1 -fiJ---Ii- * T S- ^" * a ! 1 ! 1 T( I i i !

WTCSl-....

a n t a r a

BH AIR AVA after sunrise

v,

fyy|Mgf?fr

w*ri t . g # f : n(iChatvarimshach'hatd Raga nirupanam p. 13)

* His limbs smear edjwith ashes (that lovely body), his brow lustrous with the cool rays of the moon, trident in hand and mounted on a bull, such is Bhairava, and so the sages tell,

irafi&rgjw* ggm'nft

{Sangita Darpand 2, 46 Shiva tattvd Ratnakard 6, 8, 54)

* Upholding Ganga, the crescent moon upon his brow, three-eyed, wrapped in the skin of an elephant and adorned with snakes, his scarf white, his garland of human skulls, armed with a burning trident so triumphs Bhairava, the first of ragas.

(Raga Sagard 3, 1)

We praise Bhairava, the hero, the source of life, the measure of rhythm, pervading the ocean of notes and intervals. A skull in his hand, the crescent moon upon his matted hair, he worships Shiva, Lord of Sleep. His body is smeared with sandal paste.

grout- Bhairav

T U N IN G O F IN STR U M E N T

aft-:

$k'-'

v;vr-'. v H;,

".Vy. ".

- I K -

" f e

ilS T - ; m

:iSE

CLASS iJii):Samprn (heptatomc)

Arohd Ascent AvarokH Descent

b~ a { n s- g. q n

SONANT (P& ft):A flat (Dba komal)

consonant (Samvd): D flat (Ri komal)

TIME o f p l a y : day first quarter (from sunrise)

MODE t y p e (Thf): Bhairav scale t y p e; Chromatic

ch^ iacteristics: The tender D[?- {Ri k-) can become, in ascending, Db (Ki kt>} it gives then an idea of action

expression: Morning invocation, soft, tender, melancholy

TETrachords: (Scale analysis)

ffrUusti jUtaw

Chromatic

ijrvo____ 'Utar&ftqk__.

%J

ou

co srtu

ciOOG

8**G 1 *

ef?o or

c i> -r,12 da, so -S

theme (Rpa):

OUTLINE

IScale

MW-?p%:r

I STH YI

Vrry

11 ^55>"" | I1 - \~

; j v-- - , -1

j :^y-,-^ rp i .

* 1 - '... jrr

I I AN TAR

36

V d S a m v d ~ = -

Scale

Mtr i = 5^

STHY vary sott pp p pp p p~^~ p sr* - Js*=--- -JDIl -fWTiP rr_f s "y? fl &-d-

r i r i i T - i ji 'Uj yj i lu iii

:=- pp|r n n s r, ^ iim

i II il ilnus '"il 4 t i r i

r nu T g * - *

Ul !* .

^ =~i -* -car nh ra 3 3 3 s r:L U J . U J

J W SJ1 .ti.U J l U U 1 11

A N T A R

J J LU^rT?p!r^~q~Tg

~mr~>FF

i "=ii >n~ apMj iu';~>ra

j J L L j j LU l H j l l u u j j

Rapoatfromi t o n

h ?rn~~n~g~

R A M A K A L I 1 a fte r s u n r is e

Ramakri

#gn?Hr q$?nsn m M u

(Chatvarimshach'kata Rclgd nir&panam p . 10)

* Sylph with the lotus face, for fauns and centaurs hard to win, lute in hand and standing on a mountain, the wise have called her Ramakri.

Ram&kali

jfter iPwhi qgur SIJ'cfh H* Wffo !B*T*fi^Kr2 HW lW fll rn r^ s fl -Hd-W II

i : P i I 2: i

(SangUd D a rp a n d 2, 60 ;S h iv a tattvd Ratnakard 6 , 8, 83)

* Bright like gold, her robe deep blue, Ramakali wears a garland and rich ornaments. Haughty and pretending anger, yet when her lover is near her voice grows sweeter.

Ram&kriya

sffcrci^ f lr a rg re n (? w n r iN I ) i

5TP^ ?J5lf*IW ^41 N i l u

(Saga Sdgard 3 , 18)

A shining -woman in the posture of heroes, thus should Ramakriya be seen. Dark like the jambu fruit she holds a bow and an arrow.

1 Sometimes called Ramakri or Ramakiri.

3

TUNING OF INSTRUMENT

grou p ; Bhairava

CLASS (JsliY- Audav&-sampurn& (Pentatonic in ascent, hepta- tonic in descent)

1

r - (a 0

41 cL.H x 13

--- 14--- N--------- M 1

Arohd Ascent Avarohd Descent

SONANT (Vadi): G(Pa)

t im e o f p l a y : day, first quarter (from sunrise)

m ode t y p e (That): BhairavS.

con son an t (Samvadi): C(Sa)

s c a le t y p e ; (Pythagorean) Chromatic {w ith enharmonic ascent)

c h a ra c te r is t ic s ; No D (Re) and no B (Ni) in gives Ram&kah with an additional F # (Ma tivr&) and Bb (Ni komal)

exp ress ion ; fully awake, joyful, active without the B+ (Ni+) being sparingly used. Sa and Pa(C and G) as Vadi and Samvadidenote activity

______ . | -

- A -----!----t L O -----------------------

------b 0

------------- ------------------- T T ---------------- -------- ------------------------- = T ---------- , - J

I 6 / 2 ! M s . 1U B m a : b h w 5rs.|

H _ U -----------Si-------------- ------ Cl

2 5 6 /2 4 5 \ 9 / 8 1 2 5 6 / 2 |U n a 1 * 4 t o n s | h o t srd.j minor y l \ l a

C h r o n a t i c ,

a / 6 * m a j o r 3 rd.;

C h r o m a t i c

l i n m t e a 1 * 1 / 6 4 m a j o r 3 rd .

t n h a r n o w tk n h a r r n o m c

iHBcns: Analysis of expression

THEME (Rp):

tu

OUTLINE

Seel*

& T o - n i e

I STH Yl

II ANTAR

Scale

Vdl Samvd ~tr g *~1 I

M atr I = 63

S T H fu tfy am fa

, I p - = : :=* , pa u '1 l''g1iq g1p e r

n m

\a g v Ka soc

LLJ LLJ 1 U J J J J I LU LJJJ m ! 11 LU LU L UJp g f

| r a r ^ q r r w S c s g s B lutW T r V aL

H U LLU LU LU I LU LU LU LLJ LU I LLLLU UJ I LU ! LLJ

in p r . a-----------m -------------- a-rH-^-gTrq A 5 -?

LU I LLU LU U l I U-, . fl

U

A N fT A R

* < f ^ p '

M LLU L J ! I LUTH j

U U l33L

LU U I LL

pp

U J LU

X n rra ' C5 !-: a .-i[[R d p aa t

U J U IJl 1 U I l i f n

42

GUlSlAKALl1 in the morning

Gnnakriya

qpg ft

Tji^ ra? spgfesi o(Ckatvarimshach'kati Ragi nirapaqam p. 15)

* Faithful, dear to cowherds, adorned wtih a golden pigment taken from the cow, mysterious in her movements, Gun&kriya is said to know of hidden treasures.

Gun&kiri

ii

1: n i ***1 1 25 o r a fa i .3: ^ 14: ifltfiCTi P w t f I

(Sangitd Darpand 2, 56 ; Chatvdntnskack'hatd Raga nir&panam p. 10 ;

Shiva tattvd RalnakarS. 6, 8, 75)

* Her head bowed low, lovely tresses dishevelled about her form, once famous for her beauty; since her lover went away Gunakiri is in a pitiable state. Her reddened eyes are desperate, her sorrow-shrunken limbs are soiled with mud.

Guitdakriya

iterTHWTOTfWrHmwmi

^ g 6 6 s f $ isror w i f t u{Ragd S&gara 3, 23)

I remember Gundakriya playing in a garden of sandal trees. Her silken garment is yellow her hips are beautiful. With her left hand she holds the neck of a Vina.

1 Sometimes called Gun&kriya or GunSkiri or Gaud&kri-

g ro u p : BhairavS

c la s s (Jti): Audav (Penta- tonic)

TUNING OF INSTRUMENT

150=7:

Arohd A s c e n t Avarohd Descent

-tr-~+r

SONANT (Vadi): A fiat (Dha komal) con son an t (Samvadt): D flat (Re komal}

t im e o f p la y : morning

m ode t y p e (That): Bhairavi s c a le ty p e : Enharmonic

c h a ra c te r is t ic s : Typical enharmonic having in each tetrachord a major third or ditone completed b y a half tone, itself subdivided into two

exp ress ion : Sadness and renunciation, melancholy and emptiness in the first stages of renunciation

tb tra c h o rd s : (Scale analysis)

35T.03 *1 q : ^r! t m ditonej 9/8 2J6/24 &\Hn d itore

Limma i i l /SOj JA ; comma i i6 i yd

Kuortone

Limma ! 81/00 ! /4; comma i a t y d

M S major Ji tone ifi/i S eajor hi tone ;Enharmonic Enharmonie

44

HRUTis: (Analysis o f expression)1

THEME (R p}:

a1

OrGO

4PT3 b-0G"Grt >O

GTJ'43GOo

ge

4>rfUo.

p

trPo

3 X

CXJG>Q

OUTLINE

Scale

II AN TARA

Mtr T = 60

STFLSY gravap pp p p TT ^ i m ^ n n - - - - tr r r

h n M l ' l u h 1 u- - - - - f l . *

T < ir t 1 i l U L U--T * - S 1 u

n=-_________ n1 * - r 4

p --T "TS--

1 IJ_

i j t - q tim ti u

r i W u L L ^

g T .ri

i y j y j i j 1 i l

t /

IV TODI [ g r o u p o n e ] f i r s t q u a r t e r o f t h e d a y

T O D l in the morning

5 i

i : n i

(SangM Darpana 2, 53 ; ChatvarimShach'ha- iaraganirupanam p. 15 ; Shiva tativa Rat-

nakari 6, 8, 69)

*H e r slender body anointed with saffron and camphor gleams white like the jasmin-flower. The woodland deers are spellbound at the sight of Todi splendid, holding a lute.

R iw rera^ t

{Ragi Sagara 3, 45)

Never shall m y heart forget Todi, one hand supporting her charming face, the other clasping the edge of her lovers garment. Her crystal cup is filled with the wine of Kadamba.

48

grou p : Todi

c la s s {Jli):Samprn (heptatonic)

TU N IN G O F IN ST R U M E N T

ArohA Ascent Avaroh Descent

so n a n t {Vdi): A b -(D ha k o m a l- ) con son an t {Samvdt): E b - (Ga k o m a l- )

tim e o f p la y : day, first quarter (from sunrise)

MODE TYPE (Th): Todi SCALE ty p e : Enharmonic-chromatic

c h a r a c t e r i s t i c s : A very typ ica l and attractive typ e o f enharmonic scale

exp ress ion : Very tender and loving appeal. Ga k - _(E>-) is dependent appealing, sad. (Note the E t (Ga+), impertinent vanity, in MukhanTodi)

Ma T+ (F+) is clear, manly, at ease, stern and strong.

dhmasculine: feminine:

X T t t r-yJ

XETRACHOrds: (Scale analysis)

HRUTis: {Analysis o f expression)

JT . n.i (q) : : or Ko

' * - - 3' ' 1 "!t-------- P _ 3-----KJ n -------- I i._X4J---- ------

T)C

OUTLINE

Scale

-^ rrTTiSagDgflL -" %r ~~0~jn\t

I S T H Y I

II AN TAR

Scale

Vadi cr- Samvadi~rrrn

M a tra i = 35

5 THAYI

xrs a

very slew, s o ft a n d m elancholy I = y. y -s af^-~ n .* , , T. ....

I I - I ^ IU J I U=d I

'3 ! r-rr~TTT- U D T

/"MS i

U i U I 1 U uSTT

U J

7 u > 7 11 - - rr---- if-i -g- /iU I U L U i UJ J

19~T"uj T i n

= Y j- T P T T p - r jr r

I LLJ l _ J L J y j u ! I I L I i l l " U l l _H

u ' ! 3 ii i

U L U 1 iA

ANTARA.

P 5-^-a ^ ^ 3 "J>----------

I f | T

m ^_e-i .- a s ^

LL' L U TH-ij y _ , j---y i , jj fl s -1

i f ! i i L u I

^b / = agitation___ ____ _ ____ >:==_ ^ ^ ---1- ^ x-n n u

R iuTq .____ H_s

1 1 L U l- V s v j l ti s. g ys j tJ j _ U J j I U [ U i L !

plaintivo ______ p-==- x f -=f_ni n VT - 'JTT -

u i F u j J i i l a n u r i-***-- T5-U UJ 1 Uj U llu l

with agitation ____^ pp -=; -ZzSLi.--- Z^ --- -==; O tempt! =

-^ r ^ r F1 ! i uLJj* * "w ,tlVU LU UL I4J

u i-rr-Tsir-p- , 1 i , , , , r*U_J UJ 11 11 LU UJj

___ 4 Ho do at 9----S1 iZr.^lLII I uSjI LJ U U i lT IlLJ ! I

71 from JIni ton H

:

i I h

il,

'I

V IL S K H N l TODI

This raga is the creation of Vilasa Khan, a musician of the Moghul Court. There is no Sanskrit poem depicting its mood.

g ro u p : Tod i

c la s s (Jti):hadav (hexatonic)

T U N IN G O F IN STR U M E N T

rohd Ascent Avaroh Descent

son an t (Vd): A f?- (Dha k - ) con son an t (Samvdi): E p - (Ga k ), but D [? -- (Ri k - -) is also very prominent

tim e o f p la y : day, first quarter (from sunrise}

m ode t y p e {That): Todi

s c a le ty p e : Chromatic in the lower tctrachord and usually chromatic in the upper one, which only accidentally becomes Enharmonic (B+ + ; Ni-: +)

c h a ra c te r is t ic s : X o G (no Pa). Resembles Gurjari but with F $ - - (Ma t ). [(Under the name of Vilasakhani Bhatkhande gives another rag with B ? (Ni komal) and G (Pa))]

e x p r e s s i o n : The absence of G (Pa) creates an impression of great sorrow, that of an irreparable loss mourned. Very sorrowful, intense grief and misery (like the death of a very dear friend)

31F 4 - - (Ma T - - ) gives sadness, which without G {Pa ), in the melancholy surroundings o f Todi, brings out the burning intensity o f grief (while F natural (Ma Buddha) in Gurj&ri expresses quiet and peaceful resignation). G (Pa) in Tod!, brings forth a radiant sunshine in which sorrows are dissolved

melancholy

The very sharp B + + (N i+ + ) further intensifies the sadness

yAM&sqjk.tetrachords: (Scale analysis)

25/2* n 9f t ' viz. 1BttiVrwWHtnMft- cnromalit

f/i far ton52/27

trihen tanc, 27/25larqe fetDne 1

tCKWkxv'&i

11 rrajor yd. ! an.1 ton ---Enharaoric

shrutis : (Analysis o f expression)

t-

srtOh

io *3 o . ! rO O U^ * 9

Xdi/i>3Io>

u

THEME (Rapd):

3d

OUTLINE

O- Tonic

Stole

I S T H A Y l

I I A N T A R

T ' r i f pj%. 'T 'T .^ n

? E g n ^

_i_j A_= 1_

Ls

0 = ^j?> >

r==4^ *

N - .S _

Scale

V a d i - S am vadi-~sr~

n.

r - *

Matra x = 36

STR AY!J vary sad

n>t3D

pp

t s ~ r f - j - n v - j r T ' a ' Y 7?T : >rs----- nT

LU u- U "fi iU II U 1 11LM U J ! UU uitL- .. n a s 'rtt'

PP p n

i L jT?-1 kU A

Ty j

D Ti 7 T

."I S I L y

!I l l

a n t a r a

_H_______ 3_.. s _.... - ..

* 1 " . A-n-r n t^ r-----1 l j U U Li 1 t l y=u l u 1 U j ' i i L 1 U J 1

-5 fi 'TTT'L U J L J i

A - . ns . -i. 11 . *- I , , , I I

B S 'F~S~

L U L i U Up

1 !TS , r s j g s1 1 UJ lLJ

-- - - - -i I | |.... s.,.1... n . , fl L U L U 1 1

Repeat from

1 t o n

V TOD I [GROUP TWO FIRST QUARTER OF THE DAY

Y A V A N A pO R I T O p I in the morning

n k r jft q w w i f t p r f

1

srr^ t 'rten awt ^fasraffi ^ t t s n 11

[Ragd M ala o f Pundarika Vithihali)

* Yavana TodI is fully ripe, a foreign girl. Richly dressed, her hair plaited upon her brow, she wears golden ear-rings shaped like flowers and set with precious stones. Skilful, she plays in the morning languidly, sipping the wine of grapes, letting her white limbs and lovely form be seen.

g ro u p : Tod I

CLASS (Jt): hdav- Sampurn (hexatonic in ascent and hepta- tonic in descent)

roh Ascent Avaroh Descent

* =} t f *

1 . 1 . 1--------^

so n a n t (Vdi): A(? (Dhak.) con son an t (Samvdi): E [j (Ga k.)

t im e o f p la y : morning first watch {6 to 9)

m ode ty p e : (That): Yavanpr

s c a le ty p e : Pythagorean diatonic. Plagal mode of A(Dha) in the natural scale

c h a ra c te r is t ic s : combination of Deshi and Gndhr (Bhtkhande calls this rg svar)

exp ress ion : Tender, loving and active appeal. Sensuous but with depth of feeling; daring and childish (D, Ri), but, at the same time, grown-up and serious (A [5, jDha k.), with grace and beauty

D (Ri) manly, commanding, childish, stubborn. (In svari D[? (Ri k.) is wise and melancholy)

A I? (Dha k.) is mature

Bj?+ (Ni k.+) is impure, selfish

Request with selfish motives

TU N IN G O F IN STR U M E N T:

t e t r a c h o r d s : (Scale analysis)

Pt va"?* ytia.ranqc'

I to/? I 9/s i : 9/ j / ] isVm 19/* ; 9/*I t m t o n ! I u j . t o n e : L i m a ! { . t o n e ] o o jlo n i| L i r n a j t c j . t t i B 1 n a j . t a i s

D iaton ic D ia ton ic

^HRUTJS: (Analysis o f expression)

t3 ta i~ w3oO

| |o0) y

1- D

ho 13

Oboo

.g^ Jci* cr .

fc 5Pry Lp

I IcW3

&

t

3 o

I I Ic.

0:It

>>

T3 -e S 'u* E g -g S g; S

V C *< OJ a c/l

THEME (R p) :

i

OUTLINE

AN TAR

Scale

Vdi Sam vdi tS553St3g:

STHSY1Mtr i = 58

lovingly

o 1 iv v v s, nw j - s s g i *2 J9r.JP a P 5 I- S - > atf '^' pp a/ = 1 i-- ]i IM

i !,

h u i

iLtli.jti H'-i >l^ ,!i.A..y= ii UI U I 1 1 1 LU 1 II LU 1 LUJ LU i l i

fip -----^ = r p * . ------------5 --------

Ul i i

, WW -n J - y r 4

ILUdst Uli

rm n -T T n s rUI U_U=I UJ 1 i-U-U LU 11 LU4-II UJ 1 1_p

U J U J U I : I uJ u

A N T A R

p p p-5 3 3 J2 Z25

LL1 U I LUI! U LU U II LLU LU

> ~~ tT -? ..r ^ ==~ pp p -~ *= ?-

1 I LU LU II U 1 LLU44-I M 111 II LLLU 1 M U 1

--------- --------

-rnrw^rr frnnTnr iV 5 0"H|

i lU 1 I! LLyiiJ s u i 1 lljI II LUI 11111f ? cII lt inf 'c - nT'S S !I |

_fas. b s ttspecu Lu u u i

J H.. fl iLU U LI 11

AKTARAp - == : p p p

u l_ ' U U

m sQ C

U I ut - n

t U i Lli Li U [

m.131 3Z3CS. 3=33i~~fprrs:

u u u

B B S j ,B _ OLiil

I UJ LLJ U

-jp- sa:I ! - r 7 , , .LLJ LJJ I 11

n n w y g--fRcpod tl i i i i i from IIUJ M I 1 llon ll

L A T E M O R N I N G R A G S

2 LATE MORNING RGS

VI. B H A IR A V l GROUP s e c o n d q u a r t e r o f t h e d a y

SHAT in the morning

gforc:: i

tKrafarci fa: srafa *rg*g**ffafaf3terc it

(Rat'd kalpii Drumd p. 30)

* On the blessed summit of Moirnt K ailasi dwells the Greatest of Sages. With matted locks, His body white with the ash of funeral pyres, sweetly and tenderly He smiles. Ever in him. Shat raga, at dawn, are sung majestic odes worthy of meditation. In Him there dwells the music of the Gods, its sweetness and its meaning.

72 H A

TUNING OF INSTRUMENT!

g ro u p : Bhairavi

c la s s {Jti): Audav-Sampurna (pentatonic in ascent, heptatonic in descent)

(la) bn-

roh Ascent

U! 1

Avaroh Descent

3131 (?)

so n a n t (Vdi): G (Pa) con son an t {Samvdi): C (Sa)

t im e o f p la y : day, second quarter (9 to 12)

MODE TYPE (Thai): Bhairavi s c a le ty p e : Chromatic in ascending; andPythagorean diatonic in descending.

c h a ra c te r is t ic s : all flat notes

exp ress ion : (resembling svar but in male character). Misery, helplessness, loving and sad

compare with female shape of Bhairvari

U

characteristic motive of the male shape of ha

.... n ...qs n n n i H D q 5 qqrq ' OT t q w-q q q-q' n q 'q1 U j i ii U 1 "LU'II U 1 1 u 1

compare with female shape in svar; where Aj> (Dha k.) gives a female character

tetrachords: (Scale analysis)frvftq_____

= t = ------ ira--Vo--

--- TT---------- *--------- ~--- ---T "-I-- S ---- ------A---S

?f/2i y i fc.MBK> ; | 1 1 1 r2^ 45! q/S ! ?/* umsa ; tone jiat tone' Off ' S/5 limps j *g. to* < restonssalaire

Pythagorean diatonic triheratone ! mitral

Pythagorean diatonic ai mlim | ditone

Chromatic Enharmonic

THEME {Rp):

74 [$H-A T

OUTLINE

Sea!

I STHAYI

Mysterious (Ji ++)

O T ' j j j

II AN TAR

p F T ?

< p fn nrhrf-T"

_ sJ m p

- = ^ = = 0 0> ---

- F ^ --iflWi----------------rr 1= 4 i

l.j -ul?

= * & *

& 4r W + '

Vadi g Samvadi Scale

Frjvq ii*{?)

Matra 1= 4 4

STHAYi

mystariousI

-g-g*ESjr j j a a s

a n U JN U L k J H lil I 11 LLJ I a l I LjJPP P n

LJJ I U I Lb LLI I ! I ! I U

a m t a r A

^ Z"''* ru n u w c n v zr n'jIrT v n p "3n r

m u i u.TH'ttrt-tl-x--Jd-

L J 1 LLI U u 1: UH Jl *1 *1 * *i

1 'LLU I l La-7-*M l

ppTjmvi 0 s inSsJTJTnmiSiiJsS- n a s j fi-n-n-s a n nous

LJ i l l 11! UJ1 l i i J IN in 1 LLU 1 LU 1 I t LU 1p p .

LU UI lLU UILU LLI LLI 1 from itonLU

B H A IR A V l in the morning

41^ 4, 1^'n4'IcU2l2g v ftft& ig & f3 * M t 9 t r 4 iti: tki I 2; r^epai t^nr iy 3 : gtgflm fifci I 4 : ^ \

(Rag Kalpadrum p. 17 ; Sangii Darfan 2-48 ; Chatvrimshack'hatargnirpanam p. 13 ;

hiv tattv Rainkar 6, 8, 59)

* She whom poets in their vision see as great-eyed Bhairavi, golden consort of Bhairava, throned on carven crystal at the peak of Kailasa, with cymbals in her hands, worships Him with the leaves and flowers of the lotus.

TUNING OF INSTRUMENT

grou p : Bhairavi

CLASS IJti):Sampm (hepta tonic)

a ^ q t*TT g M (8|j ~jr=3=i

Arohd Ascent Avarokd Descent

I B ^

son an t (Vdi): C (Sa)

g-TOis: n ^ a).

con son an t (Samvdi): F (Ma)

t im e o f p la y : daj , second quarter (9 to 12)

mode ty p e (That): Bhairavi

s c a le ty p e : Pythagorean diatonic {com plete in g notes)

c h a ra c te r is t ic s : accidental use of D natural (huddh Ri) and of F J (Ma tvr)

exp ress ion : very tender, loving, and melancholy. Sadness mixed with passion and pleasure.

desire for love and caresses

passionateappeal

4 ^ trn

~ vI

= * =

:

expectation(sadness),caressing

pleading (Ab Dha k.)

P YT____

_

-s1-5

_

-

1

_al_

TETRACHORDS: (Scale analysis)

L'tt&ranga

< - m ?

6/2+5 ! 9/8 li ran i major tona

c>/tnaj.tone

. 9/t jnjor tone

256/245lima

9/* j 9/8 itejor tcna >mtan

.9/8 >256/201 msiorton , Lirai

---------------- L____19/s

naj.tiw(6/iJ 20/255

ma). Stale umna.i l0/9 ! j Bnta ;

Diatonic Diatonic

^hrxjtis:(Analysis of expression)

ira tira!- ftw) F5-

" W

g

u

I S *S P. . to

* fc -2S K 5 s ^4. 7=v ts c

ato

C+-Ce*->Gou

J

a o

OUTLINE

Q fninpfinat

& Tonte

Scale

I STHYI

II ANTAK

Vadi Samvdi ^ Scale

M tr i = 44

s t r a y !

v c - t k tander and melancholy1pp p

E33C TSTH-^ 1 5^~~UIJJ

T Tmjj I LJ U I 1 U LLT J ! LJ LL

r==- ^f , *

r p mfj&> I * i tiLL 1 L

i M i i s . < ,J J LU LU 1 LLU L - L LU 1

n1? jW w qfl i 5sr

L U ' ' ' L U L U. . * ./ y-~

n u . H~q~5 F~^ rn- u s u *a s gLU : I LU U U : I ; LLU L ' LLJJ LM ! I U I U LJ

LJJ JJJ LU LU LLUT T

L_ri; lu T J i :

ANTARA

. ! V c q S " = i X

LJ : LJJ LUT O r V t T -U 1 LJ LL

. > . . 1 , >- C 1 f l -i * 4 g vS-S_ i t i *- \~ LL LJ 1 -ULU U ilia . . 5 5 *

nf < :==:=^ i i " .BU S C U W U U C SLU L-J u i

i q ;L

c-qb 1 i 1 1 1 ** JJULiu.

i5 s fl S T,LU U l LJ

- S..i., i.

T T ^ T 'j' ~ti *-LU L i I I

Repeat from I ton

B H C P A L A the morning

RflywwiPwitta T^Ff r^arT

qRsn^ RTCTOci WW limfa

II

(RSg& SagarA 3, 3)

I see Bhupala comfortably seated on a lions throne, his huge family around him. Young women, their eyes like those of deer, fan him with a whisk.

TUNING OF INSTRUMENT.g rou p : Bhairavi

CLASS (Jati): Audav&(pentatonic)

^ = 3 ~jj - 1 -V ^ 1

Arohd Ascent Avar oka Descent

1 * I-fl XT . , H H I? 17T ' V Tf v11b-' t T

son an t {Vddi): Ajj (Dha k.) con son an t (Samvadi): Aj> (Ga k.)

t im e OF p la y : day, first quarter (from sunrise)

mode ty p e (That): Bhairavi s c a le typ e : Enharmonic (plagal)

c h a ra c te r is t ic s : no F (Ma) and no B.(Ni); all the mobile notes axe flat.

exp ress ion ; great sadness but borne with calm. Sad, tender and loving

R:No F(Ma): dejected unsatisfied, unreal

Li

lik e a story told o f love rejected

plea d in g

' : ^ s . U Li

sadness

U O u

some sa tis!act ion

(k-& -V

---- n

but s in k again in to despair

1 I

Very sad and depressed (the dominant notes being A ? and E[? (Diia k- Ga k-). Every note expresses sadness but this sadness may come either from saturation, helplessness, or devotion. G(Pa) gives the strength to endure it.

TETRACHORDS;(Scale analysis)

HRUTis: (Analysis o f expression)

A :/) v r3racdto

>n a 1 ri aI o2r-'uM ;u >c

g ri ab ^ S>, o y 5

cS rig .a

_>o:o V- cd -i 03 - r ^ +J -fcJ c c S S g

"13 &a> c to

OUTLINE:

I ST H Y l

II A N TA R

Vd! ----- Samvd Scale~D'L _ . _1 a

1 JJ

V

Mtr I = 40

S T H Y l

s/ow and sadPP P p _2

l i r t i J Lui j3 3i? 1 1 ! - 3 s 1 y b J " JJ

VII BILAVAL GROUP

R ILAV A L (VELAVALI} in the morning

?r^r2 ^ rlicT^ rft3 *

i : i 2 :

grou p : Bilaval

c la s s (Jati): Audava-shadava (Pentatonic in ascent and hexatonic in descent)

Arohd Ascent

TUNING OF INSTRUMENT:

:;n:

AvaroM Descent

^ r

E a t n q v fl I a v (r ^ Ji 0 i Iso n a n t (Vddi): A{Dha) con son an t (Samvadi): E(Ga)

tim e o f p la y : day, second quarter (from 9 to 12)

m ode t y p e {That): Bilaval

SCALE ty p e : Diatonic (but defective in ascent) in the lower tetrachord; and chromatic (minor tone and minor third) in the upper tetrachord. This explains the sometimes very pathetic expression of this apparently major mode

c h a ra c te r is t ic s : resembles the Western diatonic scale and was taken as basic scale for the first time in 'Nagmat e Asaphi (1813} by Muhammad Rezza. B(Ni) is used sparingly and only as a grace note to A (Dha)

exp ress ion : active and tender, inquisitive, mixing joy and affection. D(Ri) and G(Pa) are dear and joyful. E (Ga) and A (Dha) are soft and gentle. F-(Ma-) is uncertain and grave, tender and affectionate

t e t r a c h o rd s : (Scale analysis)

r.b'ia____fi 1-- - I r----- !

-fo j 2----T 0 O'

... ^ |-------S h on 1

g / I 1 0 / 9 '2 S 6 / 2 4 5

m j - l o r i , m in t o n e ! l i m a

(a&!: 4th. k

RHtrns: {Analysis of expression}

U

1UrtU

V,-*-1

3*557i

kCD

rt-a; V M 2 5

li +- > .o s ^

I s +-C iO o S hy

rj *533x->Jrj tT -yft y-*-j - J rf00rt-H

ay 33Saa*-_0

3OT3

c

cXI0>~>rt

'Sg

3O3a,3'o>

THEME (R p ):

--nTTJTTTTtT-'TinnTTT'"71 n 7 c< w n 7 T7 ' 7T t ri---n 7n c --fiii-LUM (1 >*% TMM'

LU LU LULU1 n 1 ( a *t\LU U 1 ! U ! ! i

^ M-nn \ -^-LL LU !

O U T L IN E

I ST H Y l

II AN TAR

ScaleVadi l ^ l Samvadi _ ?r-

LcLUl 'I *l fi 1

Matra i 29

STHAYI

with paacoful joy

*A? - .. V wm *' ( V fli! i ! i LU 1 1

1 T t *| q *L w t: y=u u

a,

1. V Jl Ts " L-i1 yj 11 1 yj 1

w ^ == *hoL ULiU,U L=M

fcFf &jj 1 LL

t * w a * x i - yJ U Mill

a *! ti_____ " 1 * ..i. a ' i a xj j 11 w 1 i'll:

> = p j 7 = * - n>

' i . r r r

Ll UiU fl s. v a 1.7 cvp pp * . ... 1 . > ~ * ==* *J q qv If: q fl 5

I u i u j

fi >

I' U i L

n... rB j

m i

uij

ill

-W7-lTd-

U J

wfl Tfl w a is

1 L L U 1 1

X23=nn IExcLL LLU LU I

w-ii-p .~r~g-s~l|Rapoat frotn 1 toO

ALH AIY BILVAL

TUNING OF INSTRUMENT:g r o u p : Bilval

c la s s (J 5ti)\ Sampm (Heptatonic)

:............... fp------T-------r--- T> ^ " ~~r - r ?: g:

Aroha Ascent Avaroha Descent

~-j ^ i>T n T ~ n r ~ i

so n a n t (Fail): G(Pa) con son an t (Samvadi): D (Ri)

t im e o f p l a y : day, second quarter (9 to 12)

m ode t y p e [That): Kharamaja s c a le typ e : Diatonic

c h a ra c te r is t ic s : use of Bj? (Ivi k.) as an ornament from G(Pa) and rarely of an accidental F# (Ma t.) as an ornament of G (Pa). [According to Bhatkhande, Dha(A) and Ga(E) are the Vadi and Samvadi]

exp ress ion : pleasing,lovely. B[? (Nik.) is tender and submissive, gently praying with folded hands. In relation with D(Ri), the samvadi, F - (Ma-) forms a minor third and thus has a melancholy expression.

=9=tfRtr-

te tk a c h o rd s : (Scale analysis)

i : 25/24 ; 256/20 | .9/Si .ri . . bnma, ra io r bn

c/S 13/9 1 16/15 o/S a / S ; q/S ! 256/20ma), tone mtcri3l 4t* reaicr ton 214'*; W ' ton Ltiid

d atonic d&tcnx

THEME [Rp)\

OUTLINE

I STH Yl

II ANTAR

Vdi Samvd Scale

St^T f^.-PT=nj=

Mtr i = 48

s t h M

gracefully

3- r w ^ T T * *

i i i

mirTcr-m-T-c

LL U I

*4 w' J rl. U M M

LLU 1ji s ' rrro s i n q b r . n .

LU LLUJ U-l Li-s

\ 3 V 3 ir : a* t O

III LU

p >^ >_ P mX ^ z z : ~ -

_ _ _ > , v . - d - i . . , a ^>-_- >

Lujj uj i_y y j i uj [ L U J 1 lu uj uj

a v a v ^ --------------

UJ UJ LUn n 1 ti q ry"5" ^ S

j j iu ! u jl_i -.LtilLS-LSLt4La_

L i UJ LU ! UJ 1 LU-nTfrz zurM ~ qT?7r~TR

_ _ LLU U

ANTAR

j j u 1

r , , r w u ., a t r --- T7-C * ir t- tt'X"1

r- ^--?!------ ----- ---- >

r v T t-___._.. - w- x\ -

J 1 UJ0 * j

1 U 1 LU U 1 F n > -V n IJ ^

Lu 1 u_- rrpm^-!- qirznrrj~nn'

L J J J 1 J J J J 1 UJJ 1a v q q q q 5,

UJJ 1 UJ__ _

Uj LU-L U UfromItoE

N O O N A N D A F T E R N O O N R A G A S

3 NOON AND AFTERNOON RAGS

VII SARANGA GROL'P koon

SA R A N g A midday

t*i

g r o u p : SSrangi

c la s s J S i i): udav (Pentatonic)

TUNING OF INSTRUMENT:

a T M ...

Arohd Ascent Avaroha Descent

-O 1 -CH

^==gzHbjt Ffr-5=Ti--_43= g1Z3^ irg _ J

SONANT (Farfc): G(Pa) con son an t (Samvadi): D{Ri)

t im e o f p l a y : m idday

MODE t y p e (That): Khammaj SCALE ty p e : Chromatic

c h a ra c te r is t ic s : no A{Dha) and no E(Ga)

exp ress ion : pleasing and charming. The subject of all Sarang&s is lovely forms, no pathos, but only tenderness. Among Sarangas, ShuddhS Saxariga is like a motherly woman, who expresses herself in soft, moderate and affectionate terms. She is gentle, soft and selfless.

te tra ch o h d s : {Scale analysis)

turvW1

c a t - : : S9/t >2ty ?/s 52/27 9/

aaj. tone trihesiitone 5} ton! Merits! major tone6/5 ! ic/9

Binor third i nin.toneChromatic Chromatic

THEME (RHp)\

OUTLIXF.

o . .Consonant jjf.r.iTflt--

Tonict

Scote

I STHYl

II ANTAR

i , '=_T '- ^-E3=Hr?fc UJh_

stjt---- r-13i. dal?i f; * - ' ! * a -^b r 9~Wb ^ = i

Mtr * = 54

STHY* f/ve/y and r/ryf/micalp j - = pp p > : = ^ - 222/ ;

T^ r^T-jpgrn t w tg . q.J

UJ L Ui i L:s crzEZZZtiT s. t u

a=

m

3:4333 ies==t3='.T ./ TTTTT ~ ,

LU J l L U LLU U m u !

L L /

n

ANTARA

jqf

1U Li UJ UJ U UJ? g g fT

I L LLU L

j r r r 1|: IS3 UC

LU

qsq ti T3-w3 3-tnrtrtrs- tE=zjd=XI=B=l3 Repeat

iromU LL L LLLLJ L ILL11 1 non

GAUDA SARANGA midday

snwfte: g?fct: n

(Rdgi Kalpadruma p. 29)

* Seated beneath the wishing Tree his body white as snow, his long hair tightly bound, Gauda Saranga is seen in the afternoon playing upon a lute. The sages tell that he has the voice of a nightingale.

TUNING OF INSTRUMENT:g roup: SararigS. . . .. ^

c la s s (Jati): Sbadava-sam- v< > purna (Kcxatonic inascent, pentatonic in . . 1descent) 1

Arokd Ascent Avaroha Descent

JL - + 4 *

1 - :---------w 3 -I JH -I ^ K H SI ^ -Vs3

S O N A N T (Vadt): E(Ga) c o n s o n a n t [S a m v a d i): B ( N i )

t i m e o f f l a y : midday

m o d e t y p e [Thai): Kalyana s c a l e t y p e : Diatonic

CHARACTERISTICS: similar to Bihag (a midnight raga). In ah Sarahgas, D, F and G (Ri Ma and Pa) axe predominant, this is a characteristic of midday.

e x p r e s s i o n : contentment, faith, very tender and loving prayer, more restful, lovely, peaceful and contented than other Sarahgas.The two F(2 Ma) (natural and sharp) represent midday (or midnight).E + (Ga+) denotes satisfaction, contentment, faith; E (Ga) relief, consolation.

t e t r a c h o r d s : (Scale analysis)

= = l

------- 1--- - "

4=4 y - -------------------(l-l)V U IffVl----------------- -----------------------------------1------------ ----------------,------ *1---------------- ---------^1----------- ---------- ( - j J ------ IU.--------rtp

to/g ' g/8 | 16/15 mm, toiG ; Jiraj.tC'iig !ij.-stcr?

* *

16/15 !256/?4Jna^tone 1 list

-------->-M-L------- ---------------- Ki---- 1

10/g 0/8 ; 16/(3- | min.tone, tiaj.tei itajdtonej

/ & 10/g ! 2T6/24 maj.tone .nin.lone . Linnna

c/6 q/8 1 2;6/a;maj.ronc naf;cre ! Ur

.9 / srajor tone

' 2$ f r V , \ 16/n- L ir iiE , t^ '/jtaiG

i 1 1

! 1 5/S 1 c /5 c 2

shhutis: (Analysis of expression)

-T O t4nj

n~" y q7 q tj :*i; q ^

C * C c

-3 I s M S3 2 | i i s >, |o, 7 " S 'S .3 c

S, S 8 a T-5 3 1 5"* . a; -C .- y ~ - t4. a- oC . _ -X ,

J 12 a c S c- =, . h ^ 1 3 ? Si | !s 3 -s -s s - g * = * * | .S ^ 5 | . M ? | S B *3 I 2 S |t S 2 ! 2 - a 1 S s 2 s Ix l a ' 3 , G = 3 t " C g ' 5 , - s a G ,PC 4> c n O P- ^ 2 "17 & 2 ^ tt/> ni y x:- a* x -O

THEME (iK^ B):

OUTLINE

I STH YI

II A N TAE

Mtr 1= 5 2

S T H Y I

j/ o w a n d so ft

Vdi 1-n Samvd Scale

p" ^ _____ Eif _ _ mfI r n - n - V T

- > ". 7 --------r ? r r t j i jt 1 * c x r s 1 i r j l : T T ^ V t ' ~ T T T ------

>

1 I I I U - 1 ' u La- . 1 LI N i U 1 UJJ LUILiJ-,

1 LL U 1j> / = = - > j* >VI =} a ---- %V . !1 \ -T 5 T-" q *T n i . . i

m i j j l u ilfl C TJ

l Lj U i lh j - r ^ T T - s j - t i >0:1

l=J .UJ N i : li j

. = - n

Izr'v a s !

AMARu n g in g JSL-____

^onr~^~ in^'w

JJ i=dJ I u

a-: r . . nrr-: ^--I Q ';! ?a i.nnr 3 QC

L y LUJ UJ LU LUJ= LUJJ LU U/amantlng

P r T W T 4- ^ ' T^TC-

! LU JJJJ LU J

- - y /

~r^ r c cU II li LU ! UJJ LU

A 1 au 1

/ /

i 1 i i li 1 1; Rju n i.Rcpcotll

frcm1 to n II

I X S H R l G R O U P LAST QUARTER OF THE DAY

S h r I in the afternoon

i : i

(Sangita D arp an 2, 70 ; Chatvrim shachhatargnim panam 1, 68 ; S h iv taltv R atnSkar 6, 8, 103)

* hri-rg. is eighteen. With tender leaves quivering at his ears, he is the alluring image of the God of Love. Robed in red, he looks like a king. Sa and all the other notes are his slaves.

w rai ^ 11

(Rag Sgar# 3, 9)

My heart worships Shri Raga, whom lovely women surround. His hand resting on a lions head, he sits in the posture of heroes. His sceptre is laden with precious stones.

TUNING OF INSTRUMENT.'GROUP: Shri

class \Juti): Audava-$am- purna (peniatonic inascent, heptator.ic in descent!

o-3t=) (W -?r

vVt

Aroh Ascent Avar oka Descent

sr PST I M -

q"_F_ t --E----- W

sonant (Fa;/-;): D[? {Ri k.) consonant (SamvaUi): G;Pa)

TIMK of flat": second part of the afternoon

m o d e type (That): Puravi) scale type! Chromatic

characteristics: no E(Ga) and no A(Dha) in ascent. The higher A 'j (Dha k.) is used only in the following figures:

expression: lethargy, melancholy, half awake, tender, loving, sad but spiritual, as a call for evening prayer.

half awake

* r j imelancholy

-b-o-

J

Contentment,peace i jrv__iL -H

inner joy

t e t r a c h o r d s : (Scale analysis)

i i t !

TTT. TU- - 131 = 5 = : ~^ r ism2IV5 lb.rq-2 4thi| ?f/24 ! 6 ' /64~ ditcie i

||nn4-:oie;Sfflall 4iti.

2J6/24 2 6/ ffc : 6/f j s/7 1 2J/24 1 2J/24 17/14-LiB'ira ; Limma ; m .1. 'C. llarceione|tir,Atone inia^ tanz ; /arq

*5feOo

a>

feeG

art

a>Gd>

TJ

GU

GO

(A V)

THEME (Rp):

e- Tonic tT+"

1OUTLINE

I STH YI

II ANTAR

Vdi S am vdi Scale

S a . i . = B T -------~Trerha~~Tn-rr r

Mtr 1= 72

STHVl

I o f ,

U I LU

IS-t-M-CI

y j j y j

5 3 = 1 3 3 ~ ~ T T O T y g m ' ~ ~ c ~ s ~ 5 B n

UJ L11 LU IUJJJI LkU LULU~b. : H2G

---- 5_--- - H-H F~ ^ ! > . 7^ ^ q q j r - ' 1 >

LUIUJJ T ^ i LU U LU 1 &

ms - fi ^

II UU Il II UJ 1 LU U

f f n . x m t nr 3fl (! qD1 rf ^~|

L U ! 1 LU5-q-*?U

-31 u

_J3^ ---- ri l L U I . * n

w|l -

1>*l

L u l l i l l

AN TAR-*_O- 1 f ^ i q ----JTTT-----w: a . > rri

I t I L u l iJJJJ U i u. MS H

U 1 L) 1_i_i_ft s fl ^

I 1 UJ-U I J II u" 1. H -it i l l

Variation__p -r-, *iT 1 a --------. q 1 q qn ... t i . _

t ^ r ----------- r "

L U J J L U LU U1 a fc

a. - * - a r f l JI I LLUl i

, *1 1 LU 1 m 1 1 j

= -0 ............. n l a *

1 *. ..t - a s

m uj 1 LU 1 LU 1 ^ r

I LU 1 LU Li 1 J I. a . * ! _ s

LU 1ILU

c q t i F n r r * -

U LU ILU

^VV-N _ "v > ^ Ov 1 0 *-- . FV i31A tt n a - -q c~xV---un *

I I I 1 1fl fi..S.iU l y jj

r*3- ^imhtl * a1 LUI

P3 ^TUJ1I II 1 u=y=i 1 11 LLLU

P~ *rn- ==-r^5-^ U I

i 3UJI

_ fiUUIUU1 UJJ U 1 :

freinItoU

B H Im A P A L A S H R I in the afternoon

n*4torrej *^srwfi m aBHsfopjji: tfftnraisft1 spfw i)

i : *ft i[Raga Kalpadruma p. 22)

* With wide lotus eyes and fragrant with celestial flowers, Bhimapalashri, the sages tell, sings with her deep voice to the lute. Her lovely form is the embodiment of art.

TUNING OF INSTRUMENT:

group: Shri

CLASS ( / * } : A u d a v a Sampuma (pentatomc in ascent, heptatonic jn descent)

Aroha Ascent Avar oka Descent

SONANT (Vadi): F (Ma) consonant {Samvddt): C{Sa)

TIME of play: 2nd part of the afternoon

MODE TYPE {That): Kafi scale type: diatonic (with chromaticascent)

characteristics: Kafi played in Multani style, F (Ma) is always accentuated

expression: peaceful, tender and pleasing, with some ambition

tetrachords: (Scale analysis):

i 9/ iTilt) tri hcwitong; mai.tong |

Cliromatk

HRUTIS ;(Analysis of expression):

S'-fiCooT 3a;

jj. tO fi i

W>C>oIxsT3fi

a: 18 s 6 . | f . & -f10 fiS = -S

Xscc

iD>CJ

I 8

(O'3CT.3___ bo-o a8 "S3 3>SbO 2.3 3

oL>CSeu&,

ex.&4>"dG

GqX>SG

O"dGci

Sa>"d

GoOGG_Qrt-4-*so

THEME (Rfi):

OUTLINE

I STH Y l

II AN TAR

Vadi a--

Matra 1 66

s t h & 1

Samvadi 37573 Scale

rfi g h .

g r a c e fu l a n c f a cc u ra te

UJJJ til I HU UJ LiU lLU LU m LLU* a . 1 , i a

ANIARA

LLU LUIil LLU LLU UJVariation

J J U III non

-ir^ rrr^ ^- s-rpTTr7ir y^gpTTnnni.': s.q.q s s i 3LH3C5...g-g-fliUJ L J LLIUJ I LLLUJ y j j LLU L L J I 4 J J L U J

LHZE r s a g g r a j 3 a r, 1 o q n g j ig g v n n nr in n n r

r o r s s iu a s g ;

ULjUU I U I U J J 4 J m LLLUJ U

L L L L JJ U

-

MULTANI

TUNING OF INSTRUMENT!

group: Shrl

CLASS (/&): Audava-sampurna (pentatonic in ascent, hepta- tonic in descent)

Atoka Ascent

- o

Avar oka Descent

=r *ds:s*

TTzi

sonant (Vadi): E|? (Ga k.) consonant [Samvadi): B + (Ni+)

time OF play: 2nd part of the afternoon

MODE TYPE (That): Todi sca le type: Chromatic

characteristics: Todi scale

expression: Tender and melancholy, but also pleasing and lovely. More dear, more contented, more manly, less mild than Todi. No sadness, (F#+ (Ma T +) and A ? (Dhak.) do not bring sadness). Djj (Ri k.) is never used in the ascending scale and is very light in the descending one.

tetrachords: (Scale analysis)

[ f r j min. jrd .g/S

rai.Paa

ii/*4 ditore [ &1/64 ditone 1

6/f . y/24 ; 256/2^ ain.jrd.jti8.Vnn; Juma i

6/5 2T6/245 , i;Vb nin. jrd.; nma jsnajVone

C.iror.Olic WCIftoaiiltt") Chromatic

Shhutis: (Analysis of expression)

V po Vo- - 3K

I - - j 1 71 7.1I H ---- 5 ---- 0 i

-l OJ i ^X o io>VJd>

w .7-1*3"D'-4o>-*-*fl*-* aJ j - ( d_cn O-M rxo d o>*-00cr*+-*C*

** a

oD 5 g>O 0uO -o 'X Wcs -V**-1c o

75

Vo -M3u4>dtoc g

Q

cl1>. . V Cm >'TD O fl rt

a>sss 2

THEME (Rp):

p j > p j } i j i j j g p

h r r ^ - ^

L U 1 U l U _JJ I I I 1U I I I 1 , : H

OUTLINE

Scale

3 ST H Y l

II AN TAR

Vadi SamvadI Scale

I r y r h T t l

M a tra 1 = 4 0

STHAYl

[very slow and vague

p t. - s - n b 3" ."I fsT m 'C qrs r.cncTi s - - -. -"f? ;-p ^c ^? Pnvn^t'^ - ' - ^ vr c

1 i LL LJ i UL.LU LU U J M LU JJ* i i --- - . . a .. LUWA* - , , le9 fto . , >!_ 1_ 1 -

rr-v: - c V C- II T~ WC :.Jf_ 3 U

J j ! LLU U_l I LLi U =J U J

! ' g - q ; c. __*l i ri-

, U i U I LUUILLIra~r~a~

I U I UV S 3 j, K5E

LU I LL UJg,1 t . ^nr-r.

> 1 > * > > w1 nr- .** jT ?f ; jt r~q 'a rr S' s pp I ------- ^ ---------------------------------T i . y J j - J ---- j k j - ' _! ---- J y j - -

LU UJ U LLi = LU LU UJ !

-

1 LLU U i

a n t a r a

---------71rn a - r v a . n r . . . y :~ n c . c n r r a . . . m . -? > q~- - ~ r a ~ S i ' f ~ . . r " a ~ ~ - i t t t r n r n r ~ j ~ n i s 3 v

LLLI UJ UliUJ LLUI UJJ LU u 1 u j j LU LU ILU JS, >

U-UJ LLJ I LL^y

ppZ Z 3 2 : _ ~hr-|-Kr-^ IIRa pc at

I I LU I ! u u ill Ito1n

4 E V E N I N G R G S

4 EVENING RAGAS

X. PILU

g r o u p : Pilu.TUNING OF INSTRUMENT:

CLASS (/*'): SampurnS (heptatonic)

Aroha Ascent A varoha Descent

F T ^ - m q .njr-r~rH

s o n a n t {Vddi)\ E (Gak.) c o n s o n a n t (Samvadi): B + (Ni+)

t im e o f p l a y : fo u rth q u a r te r o f t h e d a y (la te a fte rn o o n b efo re sunset)

m o d e t y p e {Tha}): Pilu

s c a l e t y p e : the twelve chromatic notes. The regular descent is equivalent to the Western minor mode.

c h a r a c t e r i s t i c s : Pilu uses all the chromatic notes. F j f (Ma t .) is only used as an. ornament of G (Pa). In ascent for each note, the inferior half tone should be used as ornament, in descent the superior half tone.

e x p r e s s io n : she does not know herself what she wants, she is satisfied yet longing for something else, sometimes gay and sometimes sad, ever changing.

t e t r a c h o r d : ( S c a le a n a ly s is )

'iV'/ri ____

6/(j 0 / 8 j 210/2^

Ic/lfnajo-'iyonej

o'b irajor Iona

! io/g j 2J6/J4} < i/t); minor tone | l in ! raj. 31002

S/IJ | 0/6 12*0/245iraj.J&lonc: major tons ; Lin*.a * tcj

>'/f ; >*/if j iW? 5:/?: s "

nsjor ?rc. lES.i ;tone} j^tcne trhemitonc ulli

Si/64ditone

M6.,

l

h r o i r a t i c a s c e n t

Ernjnr-onic oscsrt

& i r u t i s : ( A n a l y s i s o f e x p r e s s io n )

y-70-7 o a-

h f-----

-y-lfoL. ^ JSZ

3 n s = E = r r :w ^ z=g

o-Co

- E

cTo

o

13-*-cu

fcJCG

i C C43 43 43+-* C/>

u133ftoT3 yao

a

S -3cj > T3

g

M

x h e m e : (Bp) continued

n' z t t "- n g *---------' I 4- S i Jl t

U! 1 l l ia

*\ i ti s . s .

LU U 1a

O U TLIN E

P iv (*)*T u n in g

I S T H Y I

Tfery lender

J ' f c l - h N f l j ' ^ W

I I ANTAR

doi ,-

Vdi Samvd Tuning

Mtr 1= 5 6

STHYv e r y t e n d e r

...tei*4-C?OTG ^ rr.^ri

Scale

rEJ~j bt.h^_K.Ltf.bh it 1 5 7 7 ] lT- tHg -.1.. fe .k-4=p

p T - n n j

Iii I I I LU L U J J. i a a

S - f

L U

: _ L _ R ^ f L L i

L I U

?* fl

V ! S V fl ':s ? a a - q i g

1 U U ' 1 1 1 U J

----- >--- ----------- ----rr~ ' a ? v n r r ~ T~z-------------- 1 a \ 3 ---------------------- fl T f l

1 u u &

_f_z T 1 f l * fl L

1 LU L U Ia >

5 - fl 11 q i v a

1 LU LJJJ _Ua

... l

u

3rr-_L' - 'a r s s s .

1 l j s = L L U lJ 1 L

>q n----- - - ;

ten d erly a tem po3 3 TI

fl ^ 5 'i V i , fl fl

AKTAM3^. r J* r* i> 1fcrss-s

ITilu miil ! mu. a 1 LU LU LU_ a a a tu m i -fi-Fm musa a

. ------ & f* 2> _>l " q TT ---S I-Pi

m m 11 L 1 Lm uu i4 m J LU 1 !LL II-u- L^ - , wa_ . ..... ^ rr - . .,r ^ ** ^ ^

m ll mu? 'H S? \ fl F1*? ^ -- ? *1u u u u J u u u LLU 1 U 1

' fl .F.F^1 LLU LU 1

W T -ri ^ > r r ji r . " J- r \ " " . -- 7TTS'* - 5 S . *"1L _L. "-, pi_i LU LLJ, * 4

L-S-g_-- .5 .m u nu

*!-x_^... g ri LLi mm

ii l

-4-L-L ; 1 1 1 1

^ _ y , ==- ^- ,=-'-- .. a r a i' n a->a----- ;ti--!l JJ=' [

_- g -H - i - iL_! 1 UJJm mi LUL' LLU ! il UJJ ^ 5 *> m u

----- a---- s --- :?---aRcpa at II from I Hon i[ lu u i i-.' fi i> *- ?fl LU 1 il 1

X I PO RV GROUP at the end of the day

PO R V

sir g*ft u

{Rg Kalpadrumd p. 23)

* PurvI, her deceitful body so charmingly beautiful is filled with the pain of separation. Her lotus eyes heavy with sleep, still, at the end of the day she is thinking of her lover.

girTrt rfcnraif: itfi&ite: n

('Chatvrimshachhatarganirpanam p. 8)

* Strong, of many colours, with a floating white veil, Purvik, skilled in archery, comes riding on an elephant.

(Rg Sugar 3, 49)

* Intoxicated with wine and with praise, Purvik is restless like a young deer. Her moonlike body is clad in a garment thinly woven with gold. Her hands hold a parrot and a cup of wine. The head of her lover rests upon her lap.

TUNING OF in s t r u m e n t :

g r o u p : Purv

c l a s s (JSti): S a m p u n j (heptatonic)

---- &J -e- w

1---- r--- -Tf C n " ^n V -t H1---- B_ r - *1-

roh Ascent varoh Descent

4 **1------------------ ;--------- 3 r~ 1 1

T

---------- !1-------i4_tiHU-SJL-Jti l i j __ v -q g q-JL-t

s o n a n t (Vdi): E (Ga) c o n s o n a n t (Samvdi): B +(Ni+)

t i m e o f p l a y : e n d o f t h e d a y (la st q u a r te r o f th e d a y )

m o d e t y p e (h): Mxv s c a l e t y p e : mixed chromatic and diatonic

c h a r a c t e r is t ic s : both F natural (Ma ihuddhl) and F# (Ma tlvr)

e x p r e s s i o n : sunset, prayer, request.The abundant use of E (Ga) gives strength.The use of both F(Ma) and Ffl (Ma t.) brings about a good natured and energetic expression.(The use of both F (Ma) and F $ (Ma t.) always accentuate the expression) the Dj>- (Ri k.-) is very tender.

t e t r a c h o r d s : (Scale analysis)

= 4 =

ttuMBPqa ----- Utt&t _

4 = > [>a irr>---jfn---- O---- D---- ------

---------- (*;) 5 q . v gJHj 2^6/245 I Vizj I >bl\Z I 6/lf I 2#.4J I 1C/9 I 2f6/22f ' 236/24; I I Lirnm jtri^crmtono; raj.istone | maj.-'fctong | Limna ] min.tjue jfercetcrej tnina |

Chromatic Diaton cI 256/22T 1 256/2*} 1 10/5 1I tore tone [inima tin, tone |

Diatonic

HRUTls: (Analysis of expression)

,7

h ~ T ~n~" g g g -g:

IS*&

-dS

C*TjaS

oai

&>

oo

o L>d

g C ,0 COofl

THEME {Rp)\

OUTLINE

P >. ruiTsmnrntrT o n ic Scale

I STH YI

II AN TARA

Vdi Samvd ^3Z. Scale

Mtr i 44STUWJ vcr y i/uw a n d a x p r a s s iv a? : ? > ' p S ---- - r > fl s

1S i 1 ! | i1 Ld

> n

i ,u

5r n i n n]UI u III

-Ljj, s j H.u-|U 1 LLLU

~ p p nv y *

U3 i

U I u pLU 1 UT~r~

uTT

A S lT A R

1.1 fi ^ 6 ~ ' ";

MARAVA before sunset

|w t $fotT 1fNrs^rmsmn ^ r i% a re n 3^ ^Mffl*mjii mtfi e i t* n

Raga M ala o f Pundarika Vithfhatd

* First among the daughters of the Rajput desert, ^this stately moon-faced girl with her long tresses, tender eyed like a young deer. Her golden limbs are robed in red and richly adorfied with flowers. Smiling, she praises the knights assembled on the battle-field. Thus, ever, is Marava, with Ni and Ga like lire, Ri and Dha like elephants.

{Sdgd SSgard 3, 37)

I see Marava who playfully holds a many coloured discus. Beneath a sweet-mango tree she stands near to Shiva, the three-eyed Lord of Sleep.

TUNING OF INSTRUMENT:

group: Prav

class (Jti): hadav (hexatonic) T ...F T

Aroka Ascent Avaroka Descent

T

sonant {Vdi}: E(Ga) consonant (Samvd): A(Dha)

time of play: late afternoon before Sunset

m o d e type [That): Mrv

scale type: Chromatic

characteristics: no G(Pa), D(Ri) and B(Ni) sparingly used in ascent

expression: uncomfortable time, when something is expected to happen. Somewhat warlike, but with tender Dj> (Ri k.) ; rough, unfinished, uncomfortable, uneasy.No G (no Pa) means that something essential is missing.E + (Ga+) and A +{Dha+) are active energetic. Dj? (Ri K.) is reluctant, tender.

tetrachorjds: (Scale analysis)

Chromatic (Iwqa *111,27/20) Chromatic

JJ

Abrutis: (Analysis of expression)

'jfr ' '. " ' ntf VO

L-----4----- -------3------- * 3---- ia_J

D

EPVav

u

30 "C>fi3g1.5

S"(3

3rta.

-M bn cI I

TH E M E (Rp):

OUTLINE

I ST H Y l

II ANTAR

Vdi Samvdi a Scale

r n .V , f w '.jC31

Mtr r=8o

STHY

softfyXP =-- *F -----jrrrw-7T . . . . . . . v sr_w ( il >V .

r \ u i u 11

4., 4 _3k-LJJ LU UJ

4 .~t..LU LU 1 11 LU

- _fi-IU I

S_^ HIl 1

---7--. V IffS.i ; ir-fl-s" j .'n' ^ LU. ^ J>M*eJ-.V- VTJ-VII LUJ LLU UJ !

4--- iaLL 1 UJ

. . t f *... ?*!!-. *L.a U 1 LLU U 1 1 LJJ U 11

N TA R A

more animatedV i n ' l *1 n j n : ' i _ ; * i _ !t ~ A y | i < i " s i\'j | y3 = 3

u u j j n y U i ! UJJ u LU I LUJ U i LU UJ

5EE

UJ 11ryTTTti ny o .-yi ..n a i- ro-xPtrr a .=335 " s a ^ * q ~

LLUJ ID LL) LiJ illlJ L1J il LLJ LjJ illlJ LLiUJ

..S_

1 LU !

V 1fT.S T fi.

Il UJa7 ' J u L

LU 1 1a

* w l i nfi j fl

LUI LJjllLU ! 1 LU 1 v:

1 LU 1i

i i r ----q a -.a

LU 1U

11 LU

503=

LUp a s e r iU li Ljj ! N iton

g. R A G A S O F T H E E A R L Y N I G H T

5 RGS OF TH E E A R L Y NIGHT

X II K A LY N GROUP n i g h t , f i r s t w a t c h

IMAN or YAMUN1 night first quarter

*gur r^fRRrg5TT

{Rg Sgar 3, 56)T'

Holding a drum Yamuna, mother of voluptuousness rests in the arms of the vanquisher of demons. How could I forget her radiance that puts to shame the blue Jumna.

KalyS^S*

(Rg Kalparum p. 32 ; Sangii Dar pan 2, 82}

* Blood-red, sword in hand, his forehead marked with sandal

si^ h: i

paste, he enters the battle robed in gold. The sages speak of Kalyana-raga as the embodiment of fury.

* h a Sanksritised form of the word ImanKalyi; rg is a form of Iman,

TUNING OF INSTRUMENT:

g ro u p : Kalyn

CLASS (Jti): Sampura (heptatonic)

roh Ascent

= rr~ m---- ^v ' * ..

a i3---- u i. v I - H AI 1 IT 1Hn 1 1 1 . _z a 1

son an t {Vdi): E (Ga) con son an t (Samvdt): B(Xi)

t im e o f p la y : night first quarter

m ode t y p e (h): Kalyn

s c a le ty p e : Pythagorean diatonic

c h a ra c te r is t ic s : F (Ma t.)

exp ress ion : joyful and contented

te t r a c h o rd s : (Scale analysis)

[ 9/8 J 9/8 I I 9/8 : 2 5 6 / 2 4 5 : 9 / 8 1 9 / 8 1 256/24) { ; frgq,tone; ffiaj.tona| |maj.tone; Um ;mztj.tone j majione j Liwma ;

Diatonic Diatonic

I

Avaroh Descent

SHRtflis: (Analysis of expression)

theme (Riipa):

t omrwt-Teme

O U TLIN E

Scale

I S T H Y l

Mtr 1= 52

ST H A Y i

Vadi -q Samvdi Scale

I pp q T~ .* w 'J* --IT T~g

J U

p pp n ^ n - . . r r3 n 1 1/1 s . 1 >n 41 1 - r [ r . t a

LU LU" t q .q . s.i

^jj :j=y u{ qx q i q q 5 q .

i LLU LLJ LLJ

pr~" .mcr

u u m j

pps . i , , . _ i = L 3 -r r T n - r r ^ - ' 'a"T~ra~

U U U h I I LU U

p > ^ --

I J U! -JJJ ! LLJ JJ,zm---- n 1 ; r-1-** r fs 4 ^ 'it? gxr^ Trrr L>-U-_iCHSC

i i LL UjJ I l|J_ LiJ I, I LLjJJ 1L=L HJHp -= x - D

3 3 3

LLLLU

n ZZT^ CZZ~ , 1 I ===_9 qjT T ^ V T - S S 7 h .s fl 7 fi s s s

U I U : I u j= y U I I U=LU' . . . a

A N T A R A

V w P1 * 3 13 T",* . -, 3V-z x .rf l 1 " la : -V I { fl

L L L U L LLJ LLU LLLLJ LL! Up p 5 I RoJjeatJl u J I M l SSSI

KAMODI (KAMODIKA) night first quarter

fat TORT 8RR

ssPrmg^R^t u

(Sangita Darpana 2 , 68)

* In the forest, dressed in yellow and with lovely hair, Kamodx looks about on every side in terror. Thinking of her lover, even the cuckoos happy cry fills her with desperation.

TUNING OF INSTRUMENT:

grou p : Kalyn

CLASS (Jtiy. Sampurn (8 notes)

Aroh Ascent

T ~ c 3- A :

Avarok Descent

F= ^-r---rr-q:_vjfea^ 5 T h I a X s1 'q T r^ -Q C

so n a n t {Vdi}: D (Ri) con son an t (Samvdi): G(Pa)

t im e o f p la y : first quarter o f the night

m ode t y p e {h)\ Kalyn s c a le ty p e : diatonic

ch a ra c te r is t ic s : additional ornamental F $ (Ma t.)

exp ress ion : pleasing, contented

te t r a c h o rd s : (Scale analysis)

/S ; !0/9 ' l6/ifmaj.ionzi min.tone 'wj-fctonz

majAtcnz; Limroa. 5/ 6

DiajCf tone

p/s j 10/9 ! 16/if raj. tone jsnn. tone j^ .4t

HRUTis; (Analysis of expression)

/> a '

1 I .. . V . 1! B--- __4 _ 0 3 5 H. _ q 8 J

o00a1*

rt

Eao&

oc+-

Sc

a;>rt

o

rt"P.

c/i

c?'Po

3'S.

THEME {Rttp):

- r h f 0 ~

B - fj T33P:

j J -- K ^ L i _ j-fJ

n =s3n;gJ

LU I I LLLJ U J U ! U=U U J U J J

- Tonic

I STH YI

O U TLIN E

Scale

Vdi Samvdi Scale

h o n TnrffopSnfrrbir-r^ g iU Ji.

Mtr 1 = 1x2

STHY

f lively 1P

tender

W w

ttandar

'=-wjii r tr

U I Irq -> _

r r l u i*, tti.tr:

1 L U LLLUK

i ... j w 'S

l l l i L i . 1 LU... *

1 1 U

$y-4r-.--. 'itf.........a s .*a ^ M i r fi .* ^ siUJ L L L i L U L L U 1 1

-n 3 a t nun jn n s i h t a s s

L L 4 L J L U J L U J l U 1 L L p 1 1 1

r-2--------a t v H,tender r^ r* f -|

* 7TT1 3 3 0

1 LLLLJ U J L L L I L L LI U I I U Jr ussiumrmraJl

L J L U J LL LI & U U I

A l r& & t *1 3 t i ri.:g^ &Ei?Dt J

U U - U M U L L U J J 1 LLLLLLJ ILJJ LU UJ

K E D A H A 1 early in the night

3TCT W T l ^Ruffin2 SpUTTWf3 I

(i

l: srfiw I 2: qh 3:4fc I 4: fh

5; fMHawr: I : ^w i>n sftra q^ l i

(Sa?igfta Darpana 2, 65 ;Shivd tattva Ratnakara 6, 8, 93)

Her|matted locks are crested with the silver moon, her breast and shoulders wreathed with snakes. Wearing the veil that Yogins use in meditation, her mind immersed in contemplation of the Lord of Sleep upholder of the Ganges, Kedarika is the ragini of Dipaka, the raga of fire.

Kedari

ggtatwuif ?jf * 'swt mu 11

iR dgd Sagara 3, 41)

I ever think of Kedari. A rare book in her hand, she sits, beautifully dressed, in front of the temple of Shiva, Lord of Sleep.

1 Also known as Kedarika, Keditri, Ketdra.

TUNING OF INSTRUMENT!

group: Kalyn

class (Jli): Sampurn (heptatonic)

-ts-

e x -st

Arohii Ascent Avatohii Descent:

-tP*

-5 i? ' T B ]

sonant (Vadi): F natural (Ma} consonant C(Sa)

TIME OF play; first quarter of the night

m o d e type {That): Bilaval with both F natural (Ma shuddha) and F$ (Ma tivra)

scale type: diatonic

characteristics: no D(Rij and usually no E(Ga) in ascent. Ornamental sharp F $ (Ma t.)

expression: pleasing, tender

tetrachords: (Scale analysis)

t>0r v&aq*

HRUTlS: (AnaJysis'of expression)

THEME (Rp):

r ^ r r -

- = _ , "V

- f f s ? rn-W*---- i - S - j - J -

e * /

P 1

g d

. U i w

ya_g_=J4-g=

1 i 1 U

i r = tc '-

l _ ! 1

- T i p g : - u u * q i ^

L L U L i

-g_T ~-q ? -g .p n

L L U L L L i L L J J U

OUTLINE

STHAYI

axtramaiy soft and vague - very sibw

R H U P A L l in the night

nfrcjpf:

whji 1

^R!1 T O t Q^

TUNING or instrument:group: Kalyana

class (Jii):Audav (pentatonic)

roh Ascent

* t g

sonant (Vadi): E+(Ga+) consonant (Samvadi): A_{Dha_)

time of play: second quarter of the night

m o d e type (That)'. Bilval

scale type: Chromatic harmonic (6/5 X 10/9 = 4/3)

characteristics: basic Pythagorean pentatonic (as used in Tibetan and Chinese music)

expression:The ragS of cosmic movement; harmony, contentment, in the dusky oppressive night, the jo y of saintly detachment. (Ni (B) is physical pleasure, Ma (F) is loving); the absence of B(Ni) and F(Ma) means non attachment. E +(Ga+), meaning confidence, self reliance, in the tender night, is the basis of the expression of Bhupali.

G (Pa) is plenitude and E^(Ga+) contentment but their union expresses some tenderness, some devotion.

satisfaction

u u

Avar aha Descent

-Jf

tetrachords: (Scale an alysis)

, 9/S I s/ ! II 5/S I J&7 I | naj.tonc Jm3j.tono ;tfineaitone||iaj.toiie ;tr hnitcnz|

Pjth. Chromalic Pyt.T. ChroaiKic

Sh r o t is : (A n a ly s is o f exp ression )

>> >> 3 a 1> *tB +C C rto 3 0

t3u

rtv>60G

55C3aj"ft

I&rt

afc.oz +-* O H

^ O cs>P4 > -*- rta ? o -h a

5 313 S 2 * M rt) . 1

OJ

^a

'LS's

134>oca

bo. 3a3So

!"3 .

a ?a o53-S 0>

g 03 o w

* l sZ !23 ^ OSH T3

THEME (Riip}'.

OUTLINE

- r iOTViMlt-Tonic

S ca le

I STH YI

Niik fwwrf l juy ( J ' fccj------------= = = -------- = = = = = ---------k -i -------------2 --------------------

r P * j P 4

^ r f l i----j_

ii+\ ^ = j

II A N TA R

V X l i l / i

i =60

STHAYI

Vadl 5-^ EE Samvadf ^ Scale

r v .gziz :

II* H Y * v 5 o r -*v*VT7T~ TT--T---- mft------1

1 1 l l l i l l M U ^ U I U L !

J> "W 1 J_ >L_ 'i , . n hi *1 his 11 ^ in

n t y u j

u i l ij 14J y 1 ill

TV T ' VpjLS UBS q . TJ 5 . H . >1 f _i

LJJ LJJ L J J LLJ LUJ ! [ I l l U l i LLJ. . *

. . r 9 ' f f!

u u u 1

s - a 1 b.t flf---a---H,AB. ' 1* T 7 ** ? q

! 1 LU LLU L U L U J L L H L U I I L U

j --

! 3

A A

ANTABA

ti w' x""v . *i : 1 . . . . *f vw ?t~ti w t~th-- it u. fl'H ^ r s ~ ~tmrr~ ~rir b t . 1

LLJJ LU n y j u_u 1 i m i i u j j l l u i l l j

s. ^ Rapeot

I U I 1 1 / S n

Variation

v 5 11 n m r - jt.........-..... it -----p a ?

U_U _U I UUJ JJ=L i L LU U LU i LU LJUU

-Sr;

u jy wr ntgrgr-Ta_qrx a 3 7 X

UJJ

a- p~r fnrr ~tr: a^

LJ I m UJJJ

M l 11111 L U J J L L U U 1 U L Ui i i

tb: zsoc

i LLJ UJ

V ~'fr?TTn~"~'r|

UJJ I I LLLLLJ U I UJJ U_ VT ?1a r a s a n

lu jj i ! UJJ LU UJ

3 2

u j u j : u j j j _y

Rapaotlfrom Iito n 1

CHHAYANATA night first quarter

tl[

TUNING OF INSTRUMENT:group: Kalyn

class {Jli):Samprn (heptatonic)

roh Ascent Avaroh Descent

-V * - 1 . .. ----------------------- --------- u

1____ E ...i s M H 'j -i CT a -i. a i h u t o i* u

SONANT (Vdi): D(Ri) CONSONANT (Samvdi): G (Pa)

t i m e o f p l a y : f irs t q u a rte r o f th e n ig h t

MODE TYPE {h): Khammj scale type: Diatonic

characteristics: both B natural (Ni huddh) and B|j {Ni komal). One additional ornamental F# (Ma tivr) very rarely used, and this only in the later part of the development of the rg. Whenever a motive ends on G(Pa) the next melodic figure should start from D{Ri), B(Ni) is rarely used in ascent.

e x p r e s s i o n : p r a y e r a n d j o y w ith ten d ern ess. B[> (Ni k .) m e a n s s u p p lic a tio n .

t e t r a c h o r d s : (Scale a n a ly sis)

/s ! 10iq 16/15maj. tone (min.tore maihtone

Diatcac

m ! 2J6/Z4 rejAtcuie ; Limma

p/s rraj. tone

I .5/8icy'9 lEaj.Atone. mai. tonemin.fcnel p/s ! '6/if j mai.tsie jgajAtoie

Diatonic

h^rutis: (Analysis of expression)

- -

l

eoU3C8

P

S.6au

60c

5o 1

o

S

G0

1 3

rto%o,S

u

OUTLINE

Scote

TonteI M o t i v r i ) F s K r p i s w r y r a r a t y u s s d .

I S T H Y l

II A N TA R

Y66 ; c H H A Y A N A 1 A

Vadi p~ Samvadi Scal e

Matra i =60 (Ma tivra) F sharp is very rarely used

STHAYt

-JJ U ! liLU Li iT/T U T'H1 UL 1 1 LU

TT Sfl'If--U UM

ANfTARAp

. 0 B B HJ a

I LU n i l_1 LUJ LU Li Ul LUJ LU 1 11 1 LU 1. a

P > =T~a~Tpa T fi

u ^ Tqq -i n C;ttq * j fl ------ti i { M Hi d

! 1 [-1_I 1 u 1 MM 11 U LLU

V) R a I i P. .-.415-1-

UJ LU LU*G T 3 M

LU 1 Uc s

. i o j

X III. KHAMMAJA

Kambhojika

qicf STCTTCT $ $

^ ^ !r I

iftBnsr it

(Shiva tattvd Ratnakara 6, 8, 99)

* A lovely girl in the flower of youth, robed in yellow, Kambhojika of the beautiful hair. Searching everywhere in the forest with her maids, the thought of her lover makes her weep with tenderness.

Khamraaji (Kambhoja)

yujfhrerai**ft5n u

[Chatvarimihach'hataragdninipanam p. 18)

* Bearing arrows of flowers and adorned with the blue lotus, moon-faced Kambhoja, her breasts like lily buds.

Kambhojl

WIT

w R l ^ TRTT^ T fl-SW (I

(Ragd Sagarct 3, 31)

In a sensuous mood, ever ready to sing, Kambhojl holds wooden clappers near her left temple. Her dancing feet seem to write, restless, on the ground. I ever think of her.

/

TUNING OF INSTRUMENT:

g r o u p : Khammaja

CLASS (/& ):Sampurn. (heptatonic)

Aroha Ascent Avaroha Descent

s o n a n t {Vdi): E(Ga) c o n s o n a n t (Satnvdt): B natural (Ni)

t i m e o f p l a y : f irs t q u a r te r o f the n ig h t

m o d e t y p e {That): Khammaja

s c a l e t y p e : Pythagorean diatonic with both B natural (Ni Shuddhi) and B|> (Ni komail)

c h a r a c t e r i s t i c s : b o t h B a n d (Ni and Ni k .)

e x p r e s s i o n : early night, tender remembrance of joy, contentment with hope and desire

t e t r a c h o r d s : (Scale analysis)

| io/naj.fetone; min.tone

o / 6 ! 9 / 5 a/iaj. tont ;maj. tone; Liana |nation

Diatonic Diatonic

l y . t t j a . z n m s i 7 - n j 169

OUTLINE

I STH Y l

Vdi Samvdi Scale

rn "'vr a""~ I sv ' "~) i H- .. Ht fl 1 1 i fC

Mtr 1=44

S T H &

graceful

3srs=ax=iE

llj Lu LLLJ LU I LLLLU UJuU p --------------- j v ir

L S l ^ - M W -------a i r SL>__ P P

P j r "fi s s. t - 0 0

1 LU LLU 1J_s_L_a_g : u l w . n

LU ULUI! fl . g . s -

1 1 1 1 1 1 l q < d

; 1 l _

A N T A R

iu. ii.. > ... "w ^ "w np_ ~ p p

Y1 fi b . q . ^ - i >3*tl ti M T V r r -------r r ^ - q qII I LLLLU i

i r s 1h_LU LU LU

-.aLU

t - u n1 UJJ ;

JL - ' Sq 7 flm -[ m im

pp Z Z 2 2 2 3 1

LU u_yj U iRapaat from ] ton

6 R G S O F T H E D E E P O F N I G H T

6 RGS OF THE DEEP OF NIGHT^

X IV . KANAD A GROUP s e c o n d q u a r t e r o f t h e n i g h t

KANAD A1 (KANADEYA, K AR N A TA )*' the deep o f night

$ 5 I

ST f%5T RSq4^ : II

i:.i?r i 2: I 3: I4 ; f t f t f f a I

(SangiU Darpand 2, 66 ; Shivi tattvd Ratnakara 6, 8, 95)

* With uplifted sword and, in the other hand, the tusk of an elephant, the divine form of Kanada is lauded by the hosts of heaven.

WfrmglflgT TH3T II(Rag* Sagard 3, 34)

I see Kanada a sensuous woman, who plays the stronger part in Loves gentle fights. Her limbs are dark, her ornaments charming.and strange/ Her open tresses fall to her waist. She remains playfully near a banian tree, her hand caressing the muzzle of a deer.

1 Also called Darbri

TONING OF INSTRUMENT:g r o u p : Kanada

c l a s s {Jaii)'. AudavS-sampurua (pentatonic-heptatonic) | ^ -y *J - u ^ ^ |

Aroka Asceat Avarohd Descent

3L h t tTTE 7 - f r - N r ~ r r - g a -1 i - 1 q t g 1l J l _j

s o n a n t (Vddi): D(Ri) c o n s o n a n t (Samvadi): G(Pa)

t i m e o f p l a y : s e co n d q u a r te r o f th e n ig h t

m o d e t y p e (That): Yavanapuri

s c a l e t y p e : Diatonic {with chromatic ascent)

c h a ra c te r is tic s : very particular style of play [on the Viija never use th e E(Ga) or A{Dha) keys but pull the string from D(Ri) and G(Pa)]

e x p r e s s i o n : deep emotion and satisfaction, with some happiness and passion.E ( G a k.) and A ? (Dha k.) mean satisfaction, contentment, but the particular shake expresses passion.

Efc>(Ga k.) and A?(Dha k.) are high and light, not heavy as in Yavanapuri.

D(Ri) renders the expression definite, accurate, clear and precise.

t e t r a c h o r d s : (Scale a n a ly s is )

Chromatic Chromatic

HRUTis: [(A n a ly s is o f exp ression )

SC

3s

8*~" II t3 . 1cn

a s , Ck

? 1aaJ

X1 w?

be.3c

4) ^C be o

-5 "ieSi

XI8

Ia.

>-moV,

3

THEME (Rp):

OUTLINE

z & m n n t r

. CLTodnm l^ T o n ic m

I STHYI

G r a v a n d n a b t e (J -60)

I I ANTAR

Vdi t 1 Samvdi ^ Scale

u uM tr 1 60

STHAYI

Igrava and aolrft

rj - r- g;5333 gTTffypTCE n m m p r-53

IU L U i: ! L U U l

TffyisnE r~\y V T T35S S 3ISS3C 3310S 5333T

IIUUJ; IUI IUI III LUUI UI IUI ill III IUI IUIt -- X .

J-TKi^nn y;ST C,-i-jTrTTT3 - > > i_S_ [3333:bc-axe.|.sJ

II UilUlilU IUI III 111 UUI . 1 111 1 ; Ul UU Jy > y . > TM i M S -

'II lUlilUI 'Ulr 1 f ' 1 i ,

1 Ul 11 LU lu : in IUI H--s-

zgzgg;51-SU33-3 ISST 3X51 H3S

U U:

J > p

I ?- J - q SS

nI 3.5.5

U U i I I L J J .5-55E:

I U I3331 X33d3TT~j~5 S S3

UUIIIN j L ' l l l U I :

A N T A R

,VS/ ,s * , > TS^SX.TT*T-1 U! IL ' 1III IUI IU I S U1 III l l I L 1 u u :

?T~r

LULi : :uu ULU II II iU J

r-I* > . . . 1 nr-P

III IULJJM11 UU. I l 1 1 1 H J J

I L 1r-y y s y i~^

JJ UU ll LUI! I IIMUj____ - w j

tst- _ IM-S'L as a a a 1 - ^ s s j s s n s u s- r

TTTTS- ? f l 7 S | S -S

1 J! UUlilUI llilUJ II: ! 1 1 UI

U Lra-syTTv-fH Bgpa atlj

J from IIl ito n I

B A G E SH R I (V A G ISH V A R I) in the deep o f night

u fa ra sr

(Raga Kalpadmtna p. 19)

* Her voice seductive when she is near her lover, Vagishvari is lovely, desirable. With eyes large like the lotus and a flawless pale body, she plays upon the lute her songs of love.

TUNING OF INSTRUMENT:group: Kanada

class (JSti): Shadav-sampurn (hexatonic in ascent, hepta- | u j n u 3 Jtonic in descent) - ^

rok Ascent Avaroh Descent

A T T T T ^ V . * w 1** .' l 0 ** ,

". a i'tj ii c * - ^ ^ / fl q 7 3 *

Vd): F(Ma) CONSONANT (Samvdi): C(Sa)

time of play: second quarter of the night

MODE TYPE {h): Kfi

scale type: Diatonic {with chromatic and enharmonic ascent)

characteristics: in ascent no G{Pa) and almost no D(Ri)

expression: calm and profound night, deep and moving

tetrachords: (Scale analysis)

I 9? ! [ ? I 9/8 I 9/s ; IW ; to/g |jaatone'i Unita ; maj.tone) raj. tona| uaj.tone !a). Hitona. initiate |

Diatonic DiatonicI J?/27 ; g/i |[ si/64 ; 16/ij 1[ trihgmltonc jmaj-toncli dito.ne ;maj.^ tone[

Cnromatic En har monic{iarqe 4tt. ufo)

54

HRUTis: (A n a ly s is o f exp ression )

y ^ w * * * --------------

i . - . - . a

1---------------- : = ) a ------------- C a l -------------

11s.c

D A L , E . 3 H . K l J I5

OUTLINE

$ , SealeT onic

Mtr 1= 36

STHYlv e r y s lo w a n d s o ft

P , Pl> KKP _ . 3 . . . _- 7 ' T s r ; vn 5 JT >7TJS a - T ? r , - J l3 " - T O ^ r r a r ^ r ^ -

lii 1 i LLJ . 1 LUJ LL=J L II J 1 i UJ UJ

W' - *aq'V-fi J'----------3- S'_ _ 4i_21Z

> vt ^ ^ 1 -----K U -

UJ UJ u> L./H