What is a Raga?

It is believed that the great sage Bharat invented the musical scale and divided the same into 22 divisions (Shrutis), some time between years 200 B.C. to 500 A.D. i.e., about 1500 years ago.  It is also believed that based on this scale, the raga system was conceived somewhere around 500 A.D. i.e. about 1500 years ago.  Raga system has been perfected over the years by great musicians and musicologists. It would then useful to understand what a Raga is, and what are its special characteristics.

In ancient treatises a Raga has been defined as ‘RAJNAYATI ITI RAGA’ meaning “A Raga is a musical rendering that pleases the mind”.  This, of course, is a very general definition and not analytical enough for this paper.

A Raga is the very basis of the rendering of Indian classical music.  A Raga which can be defined as a combination of selected notes expressed in a pre-determined sequence and emphasis, resulting in the creation of a distinctive and specific atmosphere, character and mood, guided by the emotions of the performing musician.  Therefore, in reality, a Raga is not a scale or a mode or even a theme but is a musical rendering which is the product of several ingredients. Therefore, in reality, a Raga is not a scale or a mode or even a theme but is a musical rendering which is the product of several ingredients.

1. SELECTION : In the formulation of a Raga, specific notes are selected (minimum five), from amongst the several full-tones and five half-tones.  These selected notes are the only ones which are used and all the other notes are scrupulously avoided in the entire rendering of the Raga.
2. COMBINATION : In addition to the selection of the notes, the combination of the selected musical notes is also very pertinent to the formation of the Raga- structure.  The same notes combined in different ways, will produce different effects and therefore the combination of notes in a particular Raga is always subject to definite rules and discipline.
3. EMPHASIS : Apart from the rendering of selected notes combined as per rules, the emphasis with which different notes are rendered also determines the character of the Raga.  In other words, two Ragas might have the same notes but the emphasis on the notes of one may differ from that of the other.  The three concepts of Vadi (melodic centre) Samvadi and Anuwadi define this aspect of a Raga’s character in terms of varying emphasis on different selected notes of a Raga.
4. MOOD OR RASA : Every Raga depicts a ‘Rasa’ i.e., a mood or emotion.  There are different ‘rasas’ emotions like (1) Sringar (romantic), (2) Hasya (joy), (3) Karun (pathos), (4) Shanta (peaceful), (5) Veera (aggressive), etc.  When Ragas are rendered in the respective ‘Rasas’ to which they are most suited, they are most effective.  In other words every Raga has a basic Rasa or two, whose communication constitutes the primary effort of a music rendition.
5. INDEPENDENT CHARACTER : As an end-result of the above four processes and distinctive features, the Raga achieves an independent character.  In essence, every Raga should have an individuality, distinct from all other Ragas.  By this logic, the mere selection of certain notes from the scale, and their sequencing into phrases, with an arbitrary emphasis pattern, cannot create a new Raga, unless the product has a colour or character of its own.

Apart from the above, a Raga acquires a contextual value as a result of two additional elements.

1. TIME FACTOR : An important element in the atmospherics of a Raga is the “time factor”.  There are prescribed periods of the day or night for the rendition of each Raga.  These prescriptions are scrupulously observed in Hindustani music because it is believed that there is a definite relationship between “sound” and “light”.  Hence when a Raga is performed according to its prescribed “time”, it is most effective.

2. SEASONAL RAGAS : Some Ragas are rendered more effectively during certain seasons – monsoon, spring, etc.  In fact, according to some musicologists, all Ragas can be assigned to different seasons in a very broad manner.

Each Raga represents centuries of evolution and maturation as a melodic, aesthetic, and cultural entity.  It deserves to be treated with the greatest respect by performing musicians, and studied very diligently by scholars.