Contents Sample - Patrick Moutal · Contents 9 14. Sorashtra Bhairav - saura`s@t@r@a bhairava...

ContentsPreface (original version) 13Preface (revised and augmented version, 2012) 15Acknowledgments (original version) 19Transliteration 23Transliteration Code 25Music Notation System - Svaralipº 5ßvrilpº° 29

A. Name of Indian notes with their correspondances 30B. Help to the hand-writing of notes & bola-s 5bol° 30C. Notation system 32D. Comparison : Bhatkhandeji & Paluskarji Svaralipº-s 5ßvrilpº° 37

Introduction 39Part I : Kalya`n@a Group - k¬y`, å‘g 45

1. Yaman - yamana - 5ymn° 472. Shuddh Kalyan - ›uddha kalya`n@a 5<uœ k¬y`,° 513. Bhupali - bhu`pa`lº 5Bªp`lº° 564. Jait Kalyan - jaita kalya`n@a 5jèt k¬y`,° 605. Chandrakant - can[draka`nta 5c‘dàk`~t° 62Chart 1 : fiuddha Kalya`n@a, Bhu`pa`lº, De›aka`ra, Jaita Kalya`n@a, Can[draka`nta Comparison 646. Puriya Kalyan - pu`riya` kalya`n@a 5pªiry` k¬y`,° 657. Sawani Kalyan - sa`vanº kalya`n@a 5s`vnº k¬y`,° 688. Malashree - ma`la›rº 5m`l>º° 709. Dhavalashree - dhavala`›rº 5Dvl`>º° 71Chart 2 : Dhavala`›rº / Mala`›rº Comparison 72Uncommon varieties of the kalya`n@a 5k¬y`,° Group 7310. Hem Kalyan - hema kalya`n@a 5hém k¬y`,° 73

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8 Comparative Study of Hindusta`nº Ra`ga-s - Vol. I

11. Panch Kalyan - pan[ca kalya`n@a 5p‘c k¬y`,° 7412. Samant Kalyan - sa`manta kalya`n@a 5s`m~t k¬y`,° 7513. Gaur Kalyan - gaura kalya`n@a 5gør k¬y`,° 7514. Shree Kalyan - ›rº kalya`n@a 5>º k¬y`,° 7515. Malarani - ma`la`ra`nº 5m`l`r`nº° 7616. Lakshmi Kalyan - lashmº kalya`n@a 5l∑mº k¬y`,° 7717. Vaijyanti - vaijayan[tº 5vèjy‘tº° 7718. Durga Kalyan - durga` kalya`n@a 5dug`! k¬y`,° 78Kalya`n@a 5k¬y`,° Group : Conclusion 80Recapitulation : Kalya`n@a ra`ga-s : different types 84

Part II : Sa`ran[ga Group - s`r‘g å‘g 931. Vindravani Sarang - vr@nda`banº sa`ran[ga 5b9~d`bnº s`r‘g° 95General features : Sa`ran[ga 5s`r‘g° family 972. Madhyamadi Sarang - madhyama`di sa`ran[ga 5mflym`id s`r‘g° 983. Shuddh Sarang - ›uddha sa`ran[ga 5<uœ s`r‘g° 1004. Miya-Ki-Sarang - miyan[ kº sa`ran[ga 5imy`‘ kº s`r‘g° 1045. Samant Sarang - sa`manta sa`ran[ga 5s`m~t s`r‘g° 1066. Badhans Sarang - bad]ahan[sa sa`ran[ga 5bF(h‘s s`r‘g° 1107. Lankadahan Sarang - lan[ka`dahana sa`ran[ga 5l‘k`dhn s`r‘g° 1128. Narayani - na`ra`yan@º 5n`r`yNº° 115Recapitulation : Sa`ran[ga ra`ga-s 5s`r‘g r`g° 118

Part III : Bhairava Group - Bèrv å‘g 1231. Bhairav - bhairava 5Bèrv° 1252. Kalingada - ka`lin[gad]a` 5k`il‘gF(`° 127Chart 3 : Bhairava / Ka`lin[gad]a` Comparison 1283. Ramkali - ra`makalº 5r`mklº° 1304. Bibhas - bibha`sa 5ibB`s° 133Chart 4 : Bibha`sa / Reva` Comparison 1345. Nat Bhairav - nat@a bhairava 5nz Bèrv° 1366. Vasant Mukhari - vasan[ta mukha`rº 5vs‘t muK`rº° 1377. Kaushi Bhairav - kau›º bhairava 5kø<º Bèrv° 139Chart 5 : Kau›º Bhairava / Vasan[ta Mukha`rº Comparison 1418. Jogiya - jogiya` 5joigy`° 142Chart 6 : Jogiya` / Sa`verº Comparison 1449. Gunkari - gun@aka`rº 5guNk`rº° 145Chart 7 : Jogiya` / Gun@aka`rº Comparison 14610. Kabir Bhairav - kabºra bhairava 5kbºr Bèrv° 14711. Bairagi Bhairav - baira`gº bhairava 5bér`gº Bèrv° 14812. Mangal Bhairav - man[gala bhairava 5m‘gl Bèrv° 14913. Bangal Bhairav - ban[ga`la bhairava 5b‘g`l Bèrv° 151

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Contents 9

14. Sorashtra Bhairav - saura`s@t@r@a bhairava 5sør`≈z« Bèrv° 15315. Prabhat Bhairav - prabha`ta bhairava 5pçB`t Bèrv° 15516. Shiv Mat Bhairav - ›iva mata bhairava 5i<v mt Bèrv° 15617. Anand Bhairav - a`nan[da bhairava 5a`n~d Bèrv° 15818. Bhatiyar - bhat@iya`ra 5Bizy`r° 16019. Bhankhar - bhan[kha`ra 5B‘K`r° 164Chart 8 : Bhat@iya`ra / Bhan[kha`ra Comparison 16720. Madhu Bhairav - madhu bhairava 5mDu Bèrv° 16821. Jogi Asavari - jogº a`sa`varº 5jogº a`s`vrº° 16922. Ahir Bhairav - ahºra bhairava 5ahºr Bèrv° 17023. Bhairav Bahar - bhairava baha`ra 5Bèrv bh`r° 173Uncommon varieties : Bhairava group 17624. Devranjani - devaran[janº 5dévr‘jnº° 17625. Desh Gaud - de›a gaud]a 5dé< gøF(° 17826. Meghranjani - megharan[janº 5méGr‘jnº° 17827. Jangula - jan[gu`la` 5j‘gªl`° 18028. Jhilaf - jhºlapha 5˜ºlf° 181Bhairava group of ra`ga-s 5r`g° : Conclusion 182Recapitulation : Bhairava ra`ga-s 5r`g° - different types 184

Part IV : Gaurº Group - gørº å‘g ké r`g 193Introduction 1951. Gauri - gaurº 5gørº° 1952. Lalita Gauri - lalita` gaurº 5lilt` gørº° 2003. Chaiti Gauri - caitº gaurº 5cètº gørº° 203Recapitulation : Gaurº an[ga 5gørº å‘g° - different types 204

Part V : Ka`nad]a` Group - k`nF(` å‘g 209Introduction 2111. Darbari Kanada - daraba`rº ka`nad]a` 5drb`rº k`nF(`° 2192. Adana Kanada - ad]a`na`` ka`nad]a` 5aF(`n` k`nF(`° 227Chart 9 : Daraba`rº / Ad]a`na` Comparison 2303. Naiki Kanada - na`yakº ka`nad]a` 5n`ykº k`nF(`° 2314. Suha Kanada - suha` ka`nad]a` 5suh` k`nF(`° 2375. Sughrai Kanada - suhgara`º ka`nad]a` 5sugr`ı k`nF(`° 2426. Suha Sughrai Kanada - suha` suhgara`º ka`nad]a` 5suh` sugr`ı k`nF(`° 2467. Devsakh - devasa`kha 5dévs`K° 2488. Bhavsakh - bhavasa`kha 5Bvs`K° 2529. Ram Sakh - ra`masa`kha 5r`ms`K° 257Chart 10 : Na`yakº Ka`nad]a`, Suha ` Ka`nad]a`, Sughara`º Ka`nad]a`, Suha` Sughara`º Ka`nad]a` & Devasa`kha Comparison 25810. Shahana - ›aha`na` ka`nad]a` 5<h``n` k`nF(`° 264

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11. Raisa Kanada - ra`yasa` ka`nad]a` 5r`ys` k`nF(`° 26912. Huseni Kanada - husenº ka`nad]a` 5husénº k`nF(`° 27313. Mudriki Kanada - mudrikº ka`nad]a` 5muidàkº k`nF(`° 288Chart 11 : fiaha`na` Ka`nad]a`, Ra`yasa` Ka`nad]a`, Husenº Ka`nad]a` & Mudrikº Ka`nad]a`` Comparison 29314. Kafi Kanada - ka`fº ka`nad]a` 5k`fº k`nF(`° 29715. Bageshree Kanada - ba`ge›rº ka`nad]a` 5b`gé>º k`nF(`° 30016. Kaunsi Kanada - kaun[sº ka`nad]a` 5kø––––‘sº k`nF(`° 307Chart 12 : Ka`fº Ka`nad]a`, Ba`ge›rº Ka`nad]a` & Kaun[sº Ka`nad]a` (Ba`ge›rº An[ga) Comparison 31917. Abhogi Kanada - abhogº ka`nad]a` 5aBogº k`nF(`° 322

Part VI : Miscellaneous Ra`ga-s 5r`g° 3291. Ahir Lalit - ahºra lalita 5ahºr lilt° 3312. Pancham - pan[cama 5p‘cm° 333Introduction on Åsa`varº based ra`ga-s 3353. Gandhari - ga`n[dha`rº 5g`'D`rº° 3404. Devgandhar - devaga`n[dha`ra 5dévg`‘D`r° 3425. Jait - jaita 5jèt° 3446. Hemant - hemanta 5hém~t° 3487. Jhinjhoti - jhin[jhot@º 5i˜‘˜ozº° 3508. Kalavati - kala`vatº 5kl`vtº° 3549. Lalit Pancham - lalita pan[cama 5lilt p‘cm° 35710. Dhanashree - dhana`›rº - 5Dn`>º° 35911. Multani - mulata`nº 5mult`nº° 36312. Multani Dhanashree - mulata`nº dhana`›rº 5mult`nº Dn`>º° 36513. Khat - khat@a 5Kz° 36714. Vashaspati - va`caspati 5v`cßpit° 37215. Madhukauns - madhukaun[sa 5mDukø–––‘s° 37316. Bhinna Shadj - bhinnas@ad@ja 5iB~~xF3j° 37417. Maligaura - ma`lº gaura` 5m`lº gør`° 376

List of Illustrations 383List of Comparative Charts of ra`ga-s 5r`g° 385List of ra`ga-s 5r`g° examined in the Text 389Musicological Terminology 403Glossary 415Bibliography 439Index 459

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IntroductionThe study of ra`ga 5r`g° forms is the backbone of Hindustha`nº ra`ga san[gºta1 5ih~dußT`nº r`g s‘gºt° since its interest is not confined to theoriticians and grammarians of music alone but directly concerns all the performing artists who have, in their « home-work », to ponder and study the structure, form, movements and spirit of each ra`ga 5r`g° before performance. Moreover, it is also practical because, if on the one hand, the theoretical study of their rules and structures is compulsary prior to the performance of their elaboration in a`la`pa2 5å`l`p° and compositions, on the other hand, it is only through the practical study of their most representative bandi›a3 5bi~d<° that a true insight into ra`ga 5r`g° may be achieved.

Notwithstanding the utmost importance of the guru 5gu®° whose teachings are, by essence, irreplaceable, the present day musician, more than ever, has to keep his ears open to what others perform and go into the contemporary texts of the Pan@d@ita (Pan[d@ita) 5pi˙Ft? p‘iFt° for the description of the ra`ga 5r`g° and their compositions. I insist on the word « contemporary » because, while there exists an impressive amount of classics or traditional texts on music, I dare say that, for the present day artist, their study can only bringforth an intellectual satisfaction or a

1. The term san[gºta 5s‘gºt° encompasses vocal, instrumental music and dance. There is not, traditionally, a term « music » in Sanskrit. The term Hindustha`nº 5ih~dußT`nº° - literally « place » stha`na 5ßT`n° of the Hindu-s 5ih~dª° - applies to North Indian music (in opposition to karnatic music - of the South) or « highbrow » music (in opposition to the so called « popular » music) because transmitted by the classics - ›a`stra-s 5<`ßA° - of the Indian musicological literature, the appellation Hindustha`nº ra`ga san[gºta 5ih~dußT`nº r`g s‘gºt° is therefore, the most appropriate. We could translate it by « music of North Indian ra`ga-s 5r`g ° ».2. Introductory movement of a ra`ga 5r`g° without percussion. See Glossary.3. Generic term for musical theme or composition, either vocal or instrumental.

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sound historical and cultural background but that they are absolutely of no practical use in performance.

The ra`ga-s 5r`g°, despite their traditional rules which have been set at lenght in the ›a`stra-s 5<`ßA° through the centuries, have nevertheless undergone so many changes of forms that there seems to be a paradox between tradition and change which deserves reflection.

I understand that, in the Indian context, tradition never means stagnation. On the contrary, tradition is a thoroughly dynamic process which leaves, within the rules, vast freedom for the creativity of the individual who epurates, transforms and adds within the age-old frame-work. Perhaps, this aspect of traditional music is a reflection of the Hindu 5ih~dª° way of life, so structured that, to the foreigner, it often appears to imprison the individual into an over-intricate knot of socio-religious bondages, while behind the surface, it may well turn out to be nothing else than one accepted guide-line to freedom. Something totally incomprehensible to the average modern western attitude which has discarded tradition as « old hat » and prefers to dabble for a ghost freedom. In other words, while the westerner, in his way of life, as in his avant-garde music, hopes liberating himself by doing away with the « established rules », the Indian, in his life and traditional arts, understands that freedom can be more surely achieved by accepting and making the best of them. Therefore, the study of ra`ga san[gºta 5r`g s‘gºt° offers us a valuable example of the intricacies of a system which reflects the duality of tradition and evolution as dynamic processes ― in other words ― of a living tradition.

In the context of ra`ga 5r`g°, it means that it is only possible to know what was performed a century ago at the most and that, even since Pan[d@ita Bhatkhandeji's time, there has been not only an evolution of the styles and techniques but also a change of fashion. While new ra`ga-s 5r`g° have crept in, some previously popular ones have been relegated to the background. For instance, not so long ago, ra`ga nat@a 5r`g nz° and pu`rvº 5pªvº––––!° were very much in fashion while today they are seldom performed by the artists who prefer cha`ya`nat@a 5C`y`nz° and the hybrid pu`riya` dhana`›rº 5pªiry` Dn`>º° ; a number of new ra`ga 5r`g°, either taken from karn@a`t@aka san[gºta 5kn`!zk s‘gºt° like ra`ga va`caspati 5v`cßpit° and the like, or composed by outstanding artists like Amir Khan, Kumar Gandharva, Allaudin Khan, Ali Akbar Khan and Ravi Shankar to name but a few, have momentarily established themselves but, time alone will tell whether they will remain or fall into oblivion in coming generations.

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Introduction 41

While the form of many ra`ga-s 5r`g° is unique, quite a number of other ra`ga-s 5r`g° have been attributed different forms by the scholars and artists and it can be at times a frustrating affair to look into the matter since an apparent confusion prevails because of the diversity of types. In this regard, and notwithstanding the increased consciousness of the need for a standardisation of the ra`ga-s 5r`g° which is mostly due to V. N. Bhatkhande, there are still today a number of « clashes » between ra`ga-s 5r`g°. For instance, raga 5r`g° A, type 1, may be totally similar to raga 5r`g° B, type 3, and one may wonder if there exists at all a « true » or « authentic » version of a raga 5r`g° taking into account that, in due course of time, it may have taken different forms under the same name - or vice-versa - or that both form and name have undergone transformations.

Indian music was much less widespread in the past than it is today. The vastness of the land, the lack of mass-media, the secretive attitude of the musicians who were closely guarding it within the family made it such that, many good artists of recent times only knew a few ra`ga-s 5r`g°. Many had to spend years just cooking, cleaning, lighting the hookah1 and massaging the ustad2 in the hope that he would teach them one day when convinced of their sincerity and devotion. Needless to say that it remained an unfulfilled dream for many who only ended-up with a very incomplete knowledge made-up of the scraps of what they managed to surrepticiously steal by putting their ears against the door of the practice chamber. Due to a faulty memory, to the insufficience of their material, they may have added and transformed the ra`ga 5r`g° which, in time, came to be passed on to their disciples. Such a distorted transmission must have given rise to a multiplicity of types. Otherwise, how could we explain that contemporary scholars have described four types of husenº ka`nad]a` 5husénº k`nF(`°, a ra`ga 5r`g° supposedly created by Huseni, son of Bakshu ?

It also appears that a number of uncommon varieties may have been created out of an occasional craving for originality and eccentricity or out of a mistake : a foreign note, accidentally taken during the performance is stressed instead of being covered-up, thus giving rise to another « entity » as may have been the case for ra`ga lalita pan[cama 5r`g lilt p‘cm° and the like. It is funny and sad to wonder how such ra`ga 5r`g° could manage to find their way into the ›a`stra-s 5<`ßA°.

1. Water-pipe.2. Honorific title given to one who has mastered an art. A Muslim equivalent of the Hindu` Pan@d@ita (Pan[d@ita) 5ih~dª pi˙Ft°.

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Finally, out of all the praka`ra-s1 5pçk`r° of the different groups, only a few ra`ga-s 5r`g° are truly outstanding in spirit and form and have successfully passed the « test of time ». Such forms as ka`fº 5k`fº°, khama`ja 5Km`j°, bhairavº 5Bèrvº°, daraba`rº 5drb`rº°, bhairava 5Bèrv°, tod]º 5toF(º°, pu`riya` 5pªiry`° etc. have such an intrinsic beauty and aesthetic appeal that they seem to be « self-created » and indestructible.

The analysis of their components show that they are made-up of very limited matter ― or phrases ― which are borrowed by all the secondary ra`ga-s 5r`g°. In other words, the whole of ra`ga san[gºta 5r`g s‘gºt° can be reduced to a small number of key phrases which are repeated, altered and transposed to suit each individual ra`ga 5r`g°. From these main forms, have sprung all the lesser varieties which are nothing than alterations or amputations of the basic pillars of ra`ga san[gºta 5r`g s‘gºt°.

Despite the fact that many such sub-varieties are, in the words of Dr. K. C. Gangrade « nothing more than mind-teasers », that they do not contribute in any positive way to ra`ga san[gºta 5r`g s‘gºt° and rather unnecessarily burden it, and inspite of their limited appeal and short-comings, they nevertheless « exist » and therefore, may be studied, if only for the sake of knowledge as they can help the musician to keep away from their identifiying phrases during the performance of a main type. In this respect, pairs of ra`ga-s 5r`g° like bhu`pa`lº 5Bªp`lº° and de›aka`ra 5dé<k`r°, bibha`sa 5ibB`s° and reva` 5rév`°, bhimapala`sº 5Bºmpl`sº° and dhana`›rº 5Dn`>º°, megha malha`ra 5méD m¬h`r° and madhama`da sa`ran[ga 5mDm`d s`r‘g°, bhairava 5Bèrv° and ka`lin[gad]a` 5k`il‘gF(`° to name but a few, ressemble one another so closely that, in order to perform one of them, a thorough knowledge of its immediate neighbour becomes a must.

At last, the study of the main ra`ga-s 5r`g° and their varieties gives us a deeper perception of the unequalled greatness of ra`ga 5r`g°.

™e

1. Type, version.

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Part V - Ka`nad]a` an[ga 5k`nF(` å‘g° 227

2. Adana Kanada - ad]a`na`` ka`nad]a` 5aF(`n` k`nF(`°Ra`ga ad]a`na`` 5r`g aF(`n`° comes from a`sa`varº tha`t@a 5a`s`vrº T`z° (åΩ™]®†¥]ª]å[ | å[ª]¥]†®™]Ωå ||) and is a variety of the ka`nad]a` 5k`nF(`° group which is directly rattached to daraba`rº 5drb`rº°, its immediate counterpart also using ™] - ¥] - ª] komala 5koml°.

Scholars tell us that, in the past, ad]ana 5aF(`n`° was taken to come from kafº that@a 5k`fº T`z° and was either using ›uddha 5<uœ° ¥ or totally omitting it.

Nowadays, everyone perform it with komala 5koml° ¥] but there is a « superficial » controversy regarding the note ª] : while O. Thakur, V. R. Patwardhan, Master Krishnarao, Raja Nawab Ali and others restrict the use of ª] to its komala 5koml° form, V.N. Bhatkhande, R.N. Vaze, J. Shah etc. use ›uddha 5<uœ° ª as an « accessory » note in a`roha 5å`roh° only, while komala 5koml° ª] is taken in a`roha-avaroha 5å`roh-åvroh° both.

The use of both ª is perfectly justified in ad]ana 5aF(`n`° because, moving practically exclusively in uttaran[ga 5UEr '&°, around tara 5t`r° å[, the ªå[ san[gati 5s‘git° will be frequently taken and ª, when komala 5koml°, will have the natural tendancy to raise a bit. That is why some scholars have said that the ª of ad]ana 5aF(`n`° is « higher » than an « ordinary » komala 5koml° ª] or that it is « between komala 5koml° and ›uddha 5<uœ° ª ».

Therefore, whether komala 5koml° ª] only or both ª are taken, it does not alter the vºra ra`sa 5vºr rs° and the can[cala 5c‘cl° nature of ad]a`na`` 5aF(`n`°.

Let us study its characteristics :Va`dº 5v`dº° : å[Samva`dº 5sµv`dº° : †Ja`tº 5j`tº° : can be understood as vakra-sampu`rn@a 5vkÇ sµpªN!°, although it is also considered to be sampu`rn@a-s@a`d@ava 5x`Fv-sµpªN!° because of the ¥ varjita 5vij!t° in a`roha 5å`roh°1.Åroha 5å`roh° : åΩ™]®†¥]ª]å[ | åΩ®†¥]ª]å[ || or åΩ™]®†¥]ªå[ | åΩ®†¥]ªå[ || ª ›uddha 5<uœ°Avaroha 5åvroh° : å[¥]ª]† ™]®Ωå ||Performing time : second or third prahara 5pçhr° of the night. Actually performed around midnight.Like in the other ka`nad]a` ra`ga-s 5k`nF(` r`g°, komala 5koml° ™] is vakra in

1. Although it is actually vakra 5vkÇ° and not varjita 5vij!t°.

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avaroha 5vkÇ åvroh° and also ¥], like in daraba`rº 5drb`rº°. These notes are taken in the same combinations as in daraba`rº 5drb`rº° although with different expressions.

In ad]a`na 5aF(`n`°``, the « special » ®™]– | ª] ¥] a`ndolana 5å`~doln° of daraba`rº 5drb`rº° is not done in such a pronounced and elongated manner ; moreover, ™]®Ω and å[¥]ª]† combinations are shorter in duration :

In fact, komala 5koml° ™] and ¥] are often omitted in a`roha 5å`roh° :åΩ®† | †ª]å[ | †ªå[ | †å[ ||The åΩ®† san[gati 5s‘git° is so often taken in ad]ana 5aF(`n`° that some scholars had proposed a s@ad@ava jatº 5x`Fv j`tº° ; however, as komala 5koml° ™] is also taken in aroha 5å`roh°, it is better to consider it as sampurn@a 5sµpªN!° or vakra sampurn@a 5vkÇ sµpªN!°.

These phrases omitting ™] in a`roha 5å`roh° and ¥] in a`roha-avaroha 5å`roh-åvroh°, are typical of sa`ran[ga 5s`r‘g° (åΩ®†ªå[ | åª]†®Ωå ||) and indeed, sa`ran[ga an[ga 5s`r‘g å‘g° is more prominent in ad]a`na` ` 5aF(`n`° than in daraba`rº 5drb`rº°. In this regard, O. Thakur says that ad]a`na` ` 5aF(`n`° is obtained by adding to sa`ran[ga 5s`r‘g° the notes ™] - ¥] taken in a vakra avaroha 5vkÇ åvroh° fashion.

The same phenomena of the quantitative use of the saran[ga 5s`r‘g° phrase åΩ®† as a differentiating factor between darabarº 5drb`rº° and ad]ana 5aF(`n`° is found in the raga-s 5r`g° suha 5suh`° and sugharaº 5sugr`ı° : while the former uses ª“å ®™] - ® - † and ª“åÁ® ®™] ® † in a bhºmapalasº 5Bºmpl`sº° fashion, the latter uses the ª@åΩ®† of saran[ga 5s`r‘g°.

From that point of view, ad]a`na`` 5aF(`n`° and sughara`º 5sugr`ı°, both having a strong sa`ran[ga 5s`r‘g° element, are close to one another especially if, to complicate matters, we bring in the fact that there exists a type of sughara`º 5sugr`ı° in which ¥] is komala 5koml° ! Then, both ra`ga-s 5r`g° - uttara`n[ga pradha`na 5UEr`'& pçD`n° and sa`ran[ga 5s`r‘g° dominant - would be undissociable. Furthermore, if ka`fº tha`t@a 5k`fº T`z° ad]a`na`` 5aF(`n`° was performed with ¥ varjita 5vij!t°, it would become similar to a variety of sughara`º 5sugr`ı° in which ¥ is varjita 5vij!t°. At last, ka`fº tha`t@a 5k`fº T`z° ad]a`na`` 5aF(`n`° using ›uddha 5<uœ° ¥ would also get similar to the accepted form of sughara`º 5sugr`ı° which uses ›uddha 5<uœ° ¥ in avaroha 5åvroh°.

daraba`rº 5drb`rº°

ad]a`na`` 5aF(`n`°

®™]–®ÁΩ——åΩ——å || å[Áª]Á¥]– ª]Á† ||®™]—— ®Ωå | ™]®Ωå or ®™]– ®Ωå | å[¥]ª]† | å[ª]¥]ª]† ||

Sample


Therefore, we must stick to the accepted versions of these ra`ga-s 5r`g° in order not to end-up completely confused : the note ¥ acts as a « separating agent » between ad]a`na`` 5aF(`n`° and sughara`º 5sugr`ı° which are, otherwise, quite similar in spirit and movements.

As ad]a`na`` 5aF(`n`° uses åΩ ® ™] as well as åΩ®, we could also speak of its resemblance with ra`ga 5r`g° suha` sughara`º 5suh` sugr`ı° which uses both a`rohº 5å`rohº° forms and with megha malha`ra 5méD m¬h`r° whose formula is madhuma`da sa`ran[ga 5mDum`d s`r‘g° in a malha`ra 5m¬h`r° spirit.

That is why some scholars have said that ad]a`na`` 5aF(`n`° is a mixture of ka`nad]a` 5k`nF(`° and megha 5méD° while others have given its formula as a mixture of sughara`º 5sugr`ı°, sa`ran[ga 5s`r‘g° and ka`nad]a` 5k`nF(`°. I feel that it is better to consider ad]a`na`` 5aF(`n`° as a mixture of ka`nad]a` 5k`nF(`° and sa`ran[ga 5s`r‘g° than anything else because åΩ®† and ª]† are sa`ran[ga 5s`r‘g° movements found in megha 5méD° and not vice-versa ; furthermore, against the second formula, suffice to say that sughara`º 5sugr`ı° is itself a ka`nad]a` 5k`nF(`° variety and that it is sa`ran[ga 5s`r‘g° dominated.

Most of all, ad]a`na`` 5aF(`n`° is just an uttara`n[ga pradha`na 5UEr`'& pçD`n°, faster moving and lighter version of the gan[bhºra 5g‘Bºr° daraba`rº 5drb`rº°.

Calana 5cln°(a&)ªËyuét rtoa&ªa&--ªËyé uét eérza ¡ azrtyéua& ua&z& a&yé uzt rtªËyéua& z&®Áeé& r&z&a& a&ua&z&a&ua&- uét rtªa& yéua&z&pyéuét uéuétrtb eérza ¡ u`a®zrtªËyéua& uéuétrtua&, rtyéuéa& ¡ t rtpa&ªa&oyé uét tua&z&r&t& ®Áe&é r&z&a& ua&z&uaBªËyéuét rtpa&-- uétrtuét®eé rza z®eé, rtªËyé, ua& yéuéa& z&a&ua&b yéué®t ª(a&) ¡¡

Bibiographical ReferencesBHATKHANDE, Vishnu Narayan. Kramika Pustaka Ma`lika`. Vol.IV : descr. 698-699 ; compos. 700-740 ; vista`ra 837-840.BHATKHANDE, Vishnu Narayan. San[gºta fia`stra. Vol.IV : descr. 561-582 ; compos. 569, 578-580 ; vista`ra 569-570, 576-577.BHATKHANDE, Vishnu Narayan. Svara Ma`lika`. Compos. 106-108.BHATT, Balvantray. Bha`varan[ga Laharº. Vol.I : compos. 102-114.GANDHARVA, Kumar. Anu`pa Ra`ga Vila`sa. Compos. 76-78.KHAN, Raja Nawab Ali. Ma`riphunnagama`ta. Vol.I : descr. 241-242 ; compos. 242-243. Vol.II : compos. 201-203.MOUTAL, Patrick. Hindusta`nº Gata-s Compilation : Instrumental Themes in North Indian Classical Music. Compos. 59-60.PATWARDHAN, Narayan Rao. Tarala Praban[dha`valº. Compos. 1.

Sample


PATWARDHAN, Vinayak Rao. Ra`ga Vij~a`na. Vol.I : descr. 38-39 ; compos. 41-62 ; vista`ra 39-41.PHULAMBRIKAR, Master Krishnarao. Raga San[graha. Vol.III : compos. 61-70.RATANJANKAR, S. N. Abhinava Gºta Man[jarº. Vol.I : compos. 188-191. Vol.IIb : compos. 100-101, 212-214.SHAH, Jaisuklal. Kanad@a Ke Prakara. Descr. 34-35 ; compos. 36-45 ; vistara 35.SRIVASTAVA, Harichandra. Raga Paricaya. Vol.III : descr. 48-50 ; vistara 50-51.THAKUR, Omkarnath. San[gºta`njali. Vol.III : descr. 70-71 ; compos. 74-81 ; vista`ra 71-74.VAZE, Ramkrishna Narahar. San[gºta Kala` Praka`›a. Vol.I : descr. 119 ; compos. 118. Vol.II : descr. 81 ; compos. 81-84.

Chart 9 : Daraba`rº / Ad]a`na ComparisonA. Points of resemblance

B. Points of difference

1

23456

both are"""""

ka`nad]a` ra`ga-s 5k`nF(` r`g°

come from a`sa`varº tha`t@a 5a`s`vrº T`z°use ™] - ¥] - ª] komala 5koml°use ™] - ¥] as vakra svara-s 5vkÇ ßvr° in avaroha 5åvroh° : ™]®Ω | ¥]ª]† |are vakra sampurn@a 5vkÇ sµpªN!° or sampurn@a s@ad@ava jatº 5sµpªN! x`Fv j`tº°are performed around midnight

Nb

12

3

4

5

6789

10

P o i n t s o f comparisonVa`dº-samva`dº Use of ªÅndolana5å`~doln°

™] - ¥] value

Vakra 5vkÇ° expression

Mºn[d@a-s 5mº‘F°Stha`na-s 5ßT`n°MovementsNature

Sa`ran[ga 5s`r‘g°

Daraba`rº5drb`rº°

Ω - †only komala 5koml° ª]

®eé –ªËy é–Low in between Ω+ & ™] +®eé– roz - åz-a®eé– z - z - aa&oªËoyé–uéotlong, slow movingmandra & madhya 5m~dà-mfly°slow, dignified

gan[bhºra 5g‘Bºr°azeé rza : azeé, rtyésometimes azrtyé– uét

Ad]a`na5aF(`n`°å[ - †

both ª usually taken®e é– short or not a`ndolitaªËyé – short or not a`ndolita

Normalalthough slightly oscillated

®eé rz a®eérza

a&yuét, a&uétfaster & shorter

madhya & ta`ra 5mfly-t`r°faster, vivaciouscan[cala 5c‘cl°

more proeminent

Sample


Sample


Aabhogi 322abhogi kanada 322-324, 356

bibliography 325chalan 324

abhori 322bibliography 325

adana kanada 212, 214-215, 224-225, 227-230 , 231-233, 242-245, 256, 266, 279, 368, 370


ahir bhairav 168, 170-172, 173-174, 185, 188, 189, 331-332


ahir lalit 183, 331-332bibliography 332chalan 332

alhaiya bilaval 159anand bhairav 158-159, 161, 175, 180, 185, 188, 189

bibliography 160chalan 159-160

asa gauri 195, 203asavari 157, 169-170, 223-224, 335-338, 340, 342, 368, 370


asavari ang 335, 370audav bilaval 375audav devgiri 58, 60

Bbadhans sarang 97-98, 106-107, 110-112, 119, 250

bibliography 112

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chalan 112bageshree 139, 171, 265-267, 274-275, 289-290, 298, 300-304, 308-311, 313, 323

bibliography 281bageshree ang 139, 289, 301-302, 307-311, 319bageshree kanada 215, 271, 273-274, 278, 289, 298, 300-304, 307-309, 319


bahaduri todi 212bahar 172-173, 189, 238-239, 256, 265-267, 274-275, 278-280, 288-289, 309

bibliography 282bahuli 368bairag 148, 168bairagi bhairav 148-149, 168, 184, 188


balhans 110bangal 151bangal bhairav 151-152, 184, 186


bans kanada 279-280bibliography 283

barari 368barwa 276

bibliography 283basant mukhari 137bhairav 42, 125-126, 127-128, 130-133, 136, 139-141, 145, 147-149, 151, 154-160, 170-171, 173, 183-184, 185, 186, 188, 195,

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Index 461

197, 200, 221, 225, 266, 331, 368, 370


bhairav ang 123, 125-126, 128-131, 136-142, 144, 145, 147-151, 153, 155-158, 160, 164, 168-170, 173, 178, 180-184, 195-196, 198, 201-202, 205, 369bhairav bahar 139, 170, 172, 173-175, 185, 189


bhairavi 42, 138, 157, 186, 365-366, 368, 370bhairavi ang 137, 359, 361, 365-366bhankhar 161-163, 164-167, 184-185, 188, 334


bhatihar 160bhatiyali 160bhatiyar 158-159, 160-163, 164-166, 167, 184-185, 188, 189, 201, 205, 266


bhatiyari 160bhavsakh 248, 249, 252-254, 255, 256, 257-258, 368

bibliography 256chalan 253, 255-256

bhimpalasi 42, 228, 234-235, 238-240, 254, 265, 270, 311, 313, 322, 360-362bhimpalasi ang 360bhinnashadj 349, 374-375


bhookosh 375

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bhup 52, 56, 75, 90bibliography 59

bhup kalyan 51-53, 56bibliography 55, 59

bhupali 42, 51-54, 56-58, 60, 62-63, 64, 71, 76, 78, 80, 83, 85, 129, 133-134, 186, 344


bibhas 42, 129, 133-135, 152, 184, 186, 344-345


bihag 68-69, 73, 75, 78, 80, 84, 89, 90, 362bihagda 171bihari 312bilaskhani todi 338

chalan 338bilaval 180, 257bilaval ang 175, 248, 266, 362bindrabani 95

Cchaiti gauri 182, 195, 197-198, 203, 205


chanchalsas malhar 114, 119chandini kedar 88chandrakant 55, 62-64, 80, 83, 85


chandrakauns 307, 373bibliography 316

chaurasi tank 153chaurayshi tank 153chayanat 40, 77, 80, 84, 87, 360

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Ddarbari kanada 42, 51, 56, 211-214, 219-225, 227-229, 230, 231-232, 235-236, 244, 266, 275, 279, 281, 297-298, 303-304, 312, 314, 324


desh 96, 106, 108-109, 119, 360desh ang 116desh gaud 178, 179, 183-184, 187


deshakh 248deshakhya 248deshashi 248deshkar 42, 57-58, 60, 62, 64, 134, 186, 344-345, 353desi 113, 119, 223, 276-277, 303, 368, 370

bibliography 283desi ang 113desi kanada 303devgandhar 279, 335, 337, 340, 342-343, 370

bibliography 284, 343chalan 342-343

devgandhar todi 342bibliography 344

devgiri bilaval 54, 58devranjani 176-177, 178-179, 183-184, 187


devranji 176devsag 248devsakh 212-213, 215, 231, 234, 236-237, 239-240, 242, 244, 248-251, 253, 258-259, 265, 290, 292, 368

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dhaka 375dhanashree 42, 254, 290, 311, 313, 342, 359-363, 365-366


dhanashree (bhairavi ang) 361dhanashree (khamaj or bilaval ang) 362dhanashree kalyan 66dhani 270, 361, 373dhani kanada 270dhannasi 359dhannasika 359dhanyashree 359dhavalashree 60, 71-72, 80, 84, 86


dhuliya malhar 96, 108, 116divya hindol 374divya pancham 333durga 51, 56, 78, 81, 88-89, 116, 145, 150, 188, 322-323, 351, 355, 374durga kalyan 51, 78, 81, 88

bibliography 79dvigandhar 342

Ggandhar 368gandhari 335, 337, 340, 342, 368-370


gandhari todi 336-337, 340, 341gara 350, 352gaud sarang 80, 83-84, 88, 118gaur kalyan 75, 81, 90

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Index 463


gauri 128, 182, 184, 185, 195-199, 200-204, 205, 368, 378

bibliography 199chalan 197, 199

gauri ang 182, 195, 204gopi ka vasant 312

bibliography 317gorakh kalyan 82, 108, 116, 119, 323

bibliography 325gujari todi 368gunji kanada 279

bibliography 285gunkali 145, 376gunkari 144, 145-146, 184, 187


gunkri 145gurjari 368

Hhamir 56, 73, 75, 77, 80-81, 84, 87, 89-90hamir kalyan 74, 81, 89hans kalyan 82hansdhwani 82hem 74hem kalyan 73-74, 81, 89, 90


hem khem 73hemant 348-349


hevitri 355hindol 80, 83-84, 86, 333-334, 376hindoli 375

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huseni kanada 41, 267, 271, 273-276, 278-281, 288-289, 291, 293, 300-302

bibliography 281chalan 277-278, 281

Iiman 47

Jjaijaiwanti 280, 352

bibliography 285jait 60, 344-345

bibliography 62, 346chalan 345-346

jait kalyan 58, 60-61, 62-63, 64, 80, 83, 85, 345, 353

bibliography 61, 347chalan 61

jaitshree 345bibliography 347

jaldhar kedar 81, 89, 116, 351jamini kalyan 47jangula 180, 184, 188


jaunapuri 336jaunpuri 157, 223-225, 335-338, 340-343, 370


jaunpuri todi 337jayant kanada 280

bibliography 286jayat 344jet 344jhilaf 181, 184, 186


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jhinjhoti 350-353bibliography 354chalan 353

jhinjoti 350jogi 142jogi asavari 169-170, 182, 184, 187


jogiya 142-144, 145, 146, 147-148, 169-170, 177, 183-184, 186, 187, 366, 376


jogkauns 307, 312bibliography 317

Kkabir bhairav 147-148, 183-184, 186


kafi 42, 104, 170, 223, 246-247, 271, 276, 280, 297-299, 301-304, 310, 350, 359-361kafi ang 298-299, 313, 360-361kafi kanada 104, 215, 271, 273, 278-280, 289, 297-300, 301, 303-304, 319


kalavati 322-323, 354-356bibliography 325, 356chalan 356

kalavati (karnatak) 355-356kalavati kalyan 355kalingada 42, 125, 126-129, 131-132, 138, 147-148, 153-156, 161, 184, 185, 186, 196-197, 199-205, 225

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kalingada paraj 128kalyan 47, 65-67, 69, 73-74, 82, 86-87, 90kalyan ang 45, 47, 51, 54, 56-57, 60, 62, 65, 68, 70-71, 73-78, 80-81, 83-84, 101, 118, 345, 372kalyani 47kamod 56, 73-74, 77, 80-81, 84, 87, 89-90, 101kamod kalyan 81kanada 104kanada (rag) 214kanada ang 56, 73, 99, 104, 211-215, 219, 221, 224, 227, 229, 231, 234, 235, 238, 240, 242-243, 244-245, 246, 248-249, 252-254, 256-258 , 264-271 , 273-277 , 279-280 , 288-293 , 297-305 , 307-315, 319, 322, 360, 368, 370kanada bahar 280

bibliography 286kanada malhar 280

bibliography 286kaunsi 307kaunsi kanada 139, 140, 141, 300-301, 307-315, 319

bibliography 315-316chalan 315

kaushi 139, 307, 312bibliography 317

kaushi bhairav 137, 139-141, 147-148, 184, 186


kaushi dhvani 375kaushi kanada 186

bibliography 317kaushidhvani 375kaushik 307

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Index 465

kaushikadhwani 375kaushiya 312kausi 307kedar 69, 73-74, 80, 84, 88, 89, 116, 171, 265khamaj 42, 82, 171, 213, 257-258, 348, 350-352, 368, 370, 372, 374khamaj ang 350-351, 362khanbavati 116, 140, 350-351khat 367-369


khat todi 369bibliography 371

khem 73khem kalyan 73-74kokila pancham 333komal asavari 335-337, 340, 369

bibliography 339komal bageshree 312

bibliography 317konsi 311kosi 311koushiya 312kudai 243kulai 243

Llacchasakh 248-249, 356lachari todi 337, 343lakshmi kalyan 77, 81, 88


lakshmi todi 337, 343lakshmisakh 248lalit 154-156, 179, 186-187, 200-202, 205, 331, 357-358lalit ang 179, 183, 187, 199-200, 202, 333-334, 357

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lalit pancham 41, 183, 200, 357bibliography 358chalan 358

lalita gauri 182, 195, 199, 200-202, 205


lankadahan sarang 108, 112-115, 118, 119


Mmadhamad sarang 42, 96-97, 98, 109, 111, 118, 119, 149madhu bhairav 168, 184, 188


madhukauns 307, 373-374bibliography 374chalan 374

madhumad sarang 98, 107, 188, 229madhur dhvani 374madhuvanti 373-374madhyamadi 98-99madhyamadi sarang 98-99, 106-107, 110


malarani 76, 81, 88bibliography 77chalan 77

malashree 60, 70-72, 80, 84, 86bibliography 71chalan 71

malav 378malayamaruta 355malgunji 279, 352

bibliography 286

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Sample


malhar 104, 224malhar ang 99, 105, 108, 114-116, 119, 213, 224, 229, 234-235, 243, 258, 266, 280, 291, 360malhua kalyan 73, 82malhua kedar 89mali gaura 199maligaura 376-379


malkauns 139-141, 186, 307-308, 311-315, 373-374, 376malkauns ang 301, 307-308, 310-311, 315malva gauri 195, 199, 205mand 161-163, 166, 188, 255, 348mangal bhairav 145, 149-150, 185, 188


mangal kanada 292manjh 348maru bihag 89, 334, 363marugaura 376marwa 65, 67, 86, 161, 195, 198, 205, 377-379marwa gauri 195, 198, 205marwa kalyan 67megh 213megh malhar 42, 51, 99, 115, 119, 229, 234-235meghranjani 178-179, 183-185, 187


mirabai ki malhar 280-281bibliography 286

miya ki malhar 104-105, 213, 223, 234, 280-281

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bibliography 287miya ki sarang 104, 119


mudrika kanada 292mudriki kanada 273-274, 288-293, 300-301


multani 363-364, 365-366bibliography 364chalan 364

multani dhanashree 359, 365-366, 373


Nnaiki kalyan 81naiki kanada 56, 211-215, 219, 223, 231-236, 237-238, 240, 242-244, 250, 258-259, 264, 266, 271, 277, 290-292, 301-303, 315


narayani 108, 115-116, 119bibliography 116chalan 116

nat 40, 69, 90, 136, 186, 360nat bhairav 136, 184, 186


nat kalyan 81nur sarang 102, 119

Ppahadi 171, 350, 353pahadi jhinjhoti 353panch kalyan 74, 81, 89

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Sample

Index 467


pancham 333-334, 375bibliography 335chalan 334

pancham bageshree 289, 300, 304pancham malkauns 312

bibliography 318paraj 128, 183patdeep 362patdeep ang 362patdeepki 362pathahansika 110patmanjari 277

bibliography 287prabhat bhairav 155-156, 184, 186, 200


pradeepki 362pranvendra madhyam 331purba 65purba kalyan 67purbya 65puriya 42, 65-67, 86-87, 199, 377-379puriya ang 379puriya dhanashree 40, 66-67, 87, 195, 199, 202, 205, 360, 378-379puriya kalyan 65-67, 80, 82-83, 87


purn pancham 333purva 66, 86purva kalyan 65-67, 86

bibliography 68purvi 40, 65-66, 82, 195, 204, 360, 377-379

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purvi ang 195, 197-202, 204-205, 379purvi kalyan 82

Rraisa kanada 215, 233, 254, 264, 267-268, 269-272, 273, 276, 278, 289, 291, 293, 300-301, 309


ramkali 126, 128, 130-131, 155, 184, 185, 368


ramsakh 248-249, 252, 257-258bibliography 258

revti kanada 303rewa 42, 134, 186, 345

Ssahana kanada 264sahna kanada 264sakh ang 215, 248, 249, 251, 253, 256-257, 368-370salang 96, 118samant 106samant kalyan 75, 81, 89


samant sarang 106-109, 116, 119bibliography 109

sampurn pancham 334sarang 95, 96, 101, 104, 108, 148-149, 223-224, 229, 368, 370sarang ang 93, 95-99, 101, 105-106, 108-116, 118-119, 213, 224-225, 228-229, 234-235, 238-239, 243-246, 250-251, 258,

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266-267, 271, 291-292, 298, 335, 360saraswati 73, 372-373savani kalyan

chalan 90savant 106savant sarang 106saveri 143-144, 184, 187sawani 68, 69sawani kalyan 68-70, 80, 90, 353

bibliography 70shahana 254, 257shahana kanada 56, 212, 215, 233, 242, 245, 264-268, 269, 271, 273-276, 278-279, 288-292, 293, 300-301, 309-311


shahanai kanada 244shahna kanada 264sham ka vasant 376sham ki vasant 379shana kanada 264shankara 51, 56, 60, 71, 81shankara kalyan 51, 81shiv bhairav 156shiv mat bhairav 156-157, 184, 186


shivranjani 323bibliography 326

shobhana kanada 264shorastra tank 187shree 178, 196-198, 203-205, 378-379shree ang 134, 197-198, 379shree bhairav 156shree gauri 195, 198, 205shree kalyan 75, 81, 86

bibliography 76

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shuddh bhairav 156shuddh kalyan 49, 51-55, 56-58, 60-63, 64, 68-69, 74-76, 78, 80, 83, 85, 89-90


shuddh karnat 214shuddh malhar 81, 89, 116, 351shuddh pancham 333shuddh sarang 77, 88, 95-96, 100-103, 111, 118, 119


shuddh vasant 334shyam 368shyam kalyan 74, 76-78, 80, 82, 84, 87, 88-89, 101-102sindhura 223, 246-247, 301, 303-304, 350sohni 333-334sorashtra bhairav 153-154, 184


sorashtra tank 153sorat 96, 360sugharayee 246sughrai kanada 212, 214-215, 223, 228-229, 231-233, 237, 239-240, 242-245 , 246-247, 250-251, 253, 258-259, 265-267, 290-292, 308, 368, 370


suha kanada 212, 214-215, 228, 231-236, 237-240 , 242-244, 246-247, 250-251, 253-254, 258-259, 265-267, 274-275, 277, 292, 308, 311, 368-370


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Index 469

suha sughrai kanada 212, 214-215, 229, 231-232, 234, 237, 239-240, 242, 244, 246-247, 253, 258-259, 308


sur malhar 108-109, 116sut sarang 100

Ttilak kamod 82, 312, 350-351

bibliography 318tilak shyam 82todi 42, 157, 337, 340, 368-370

Vvaijyanti 77-78, 81, 86


vairati 368vangeshree 350, 352varari 368vasant 334, 378-379vasant mukhari 137-138, 141, 184, 186

bibliography 138

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chalan 138vashaspati 40, 82, 372-373


vindrabani 95vindravani 95vindravani sarang 51, 95-97, 9 8 - 9 9 , 1 0 3 - 1 0 4 , 1 0 6 - 1 0 7 , 109-111, 118-119, 243


vinod kalyan 81vriddhans 110

Yyaman 47-49, 63, 66-67, 75, 78-80, 82, 84, 85, 86-88, 90, 126, 222, 372


yaman kalyan 47, 49-50, 55, 74, 85, 89

bibliography 51yamani bilaval 49, 80, 83-84, 89yamuna kalyan 47

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