Presentation Of Raaga In Hindustani Classical Music

The definition of raaga has been given in so many books and texts, but the perfect way to identify its nature and explain it is a different matter. A RAGA (melodic line) is developed in a performance by a vocalist or an instrumentalist in much the same way as a painter starting with a blank canvas. The end result is determined by the training, the skill and the inspiration brought into the performance. The development of the RAGA (melodic line) is accompanied by TAAL (percussive line). The Indian Classical Music by its nature is introspective and the RAGA tradition has evolved into a solo performance of the melodic line. Unlike the Western Music tradition, there is no score as such — only predefined conceptual framework of the RAGA, the TALA and the various presentation styles which have evolved over the centuries. There are many kinds of raagas, but let’s first start with the anatomy of the Raag which is the conglomeration of the elements namely aaroh, avroh, pakad, aalap, bol-aalap, sargam, taan, bol-taan and so on.

In Hindustani classical music, the rendition of RAAG is tightly coupled with Khayal. The word Khayal is derived from the Persian language and connoted an environment of “meditation”, “imaginative improvisation”, “flights of fancy”. The Khayal style of Raag presentation was developed in the 17th century and has become the principal mode of RAGA presentation in Hindustani Music.

The RAAG presentation consists of two parts:

1. Development Of Raag: The Raag presentation begins with a very slow and deliberate development of the RAGA — note by note and phrase by phrase, bringing out the underlying moods and emotions associated with the RAGA. It contains aalap and bol-aalap. The artist using the notes in slow tempo in aakar (formation of mouth in round or oval shape) is called the aalap and when the artist uses the notes with the words of the poetry it is called bol-aalap. This part is usually composed in one of the rhythmic cycles (TALAS) in a very slow and meditative tempo.
2. Composition: Development of the Raag lays the foundation of the presentation which is carried forward by the composition. Composition is set to one of the many taals and played successively in medium and fast tempo. This part is characterized by complex and fast moving note patterns (taan) exploiting all the possibilities of complex and exciting cross rhythms provided by the taal in use. The part of composition set to Taal is called cheez for vocal music and gat for instrumental compositions. The first part of the composition (Sthayi) predominantly utilizes the notes in the lower tetra chord and the second part (Antara) plays the notes in the upper tetra chord. Based on the framework, the rest of the presentation is improvised.

Sources: Nescm.com and NadSadhna.com