Every raga is governed by certain grammatical principles and structural obligations. In addition, each raga possesses a set of basic attributes that must be understood in order to appreciate its form and character. In this article I will outline the essential framework of these rules. Wherever deeper explanation is required, links will be provided to other articles within the series.
The fundamental aspects of raga have already been discussed in the linked articles. In this piece, however, I briefly introduce some of the more technical elements of raga, such as vadi, samvadi, chalan, and pakad. Those earlier discussions were written primarily from the perspective of a listener, but here it may be useful to take note of a few of the more formal and somewhat austere aspects of raga theory.
A raga must contain at least five notes. The note Shadja (Sa)—the tonic—is indispensable and must always be present. In addition, at least one of the two notes Madhyam (Ma) or Pancham (Pa) must be included in the scale.
For notes whose pitch may vary—such as Re, Ga, Ma, Dha, and Ni—their two forms (the natural and altered versions) are generally not used consecutively, although a few exceptions exist.
The most common way of describing a raga is through its Arohan and Avarohan—that is, its ascending and descending movement. Typically, this range extends from the Sa of the middle octave to the Sa of the upper octave, though not all ragas necessarily begin from the middle Sa.
When a raga contains all seven notes in both its ascending and descending movements, it is known as a Sampurna (complete) raga. A raga with six notes is called Shadav, while one with five notes is known as Audav.
There are also many ragas in which the number of notes in the ascent and descent is not the same. In such cases, one or more notes may be omitted in the ascending movement—though omissions in the descent are comparatively less common.
Finally, there are Sankirna (mixed) ragas, in which both forms of certain notes—natural and altered—may appear within the ascent or descent. In such cases, the scale may contain more than seven notes in total.
Recognising the Structure of a Raga
A raga can often be identified more clearly through one or more of its characteristic note patterns or motifs, known as pakad. In addition, the condensed outline of a raga’s movement or development is called its chalan, which provides a concise picture of the raga’s overall structure.
In describing ragas, we primarily emphasise this chalan, which is usually illustrated through the sequence of notes in its ascending (arohan) and descending (avarohan) movements. These notes may progress in a straight, linear fashion, but they may also follow a curved or ‘vakra’ (zigzag) movement. In most ragas, a combination of both types of movement is found, since direct ascending and descending motion is not always permitted.
However, a raga is not merely confined to the rules written in textbooks. In reality it is far more vibrant, nuanced, and expansive. Yet when one observes the chalan devised by an experienced master, the essential rules of the raga and the proper use of each note become much easier to understand.
Different musicians may arrange or interpret the chalan in slightly different ways. Much of this variation depends on the particular composition or bandish upon which the raga is being performed. Nevertheless, in the case of well-known ragas, there is usually little disagreement regarding the fundamental melodic movement. Often, a knowledgeable listener can recognise a raga almost immediately simply by observing its chalan.
The note that is most frequently used or sustained within a raga is called the vadi. In theory, another important note—located at an interval of a fourth or a fifth from the vadi—should accompany it. This second note is known as the samvadi.
Ragas are also associated with thats, though the concept of the that is largely a theoretical classification system used to group ragas. A common question among beginners is: Which came first—the raga or the that? The answer to this question will also be discussed.
The jati (classification based on the number of notes) of a raga is likewise a theoretical concept.
Since our tradition of raga music is closely tied to specific times of day, the time or prahar of performance is also considered part of its theoretical framework.
Similarly, rasa (emotional essence) holds great importance in music. Therefore, the mood and aesthetic flavour associated with a raga also form part of its theoretical understanding.
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