1. Ragas And Raginis Amiya Nath Sanyal

L.B.S National Academy of Administration Library

42902

781.754

San

ORIENT LONGMANS PRIVATE LTD.

LONGMANS, GREEN AND CO. LTD.

First Published February 1959

Amiya Nath Sanyal, 1959

PRINTED BY S.C. GHOSH AT THE CALCUTTA PRESS PRIVATE LTD., 1, WELLINGTON SQUARE, CALCUTTA

PREFACE

The aim of the present work is to introduce a method of study of the so-called Rāgas and Rāginis of classical music of North India. The present work is only a synopsis of a much bigger and more comprehensive study which I had completed in the year 1939, but could not publish at that time.

The terms 'Rāga' and 'Rāgini' are very much in vogue among musicians and music lovers all over India. Ordinarily such terms mean some class or group of melodic entities established by tradition or convention or practice, and presentable by means of songs such as Dhrubapada and Khyāl forms, or by means of instrumental music of the forms called Gat and Ālāpa.

Regarding the vocal forms, viz. Dhrubapada and Khyāl, the very denominations imply that the former represents a fixed and conventional pattern of the songs, whereas the latter generally represents fantasia types wherein the form or the pattern and texture are subservient to the fancy of the rāga artiste.

Such Rāga-Rāgini entities generally presented in course of classical programmes go by names like Bhairava, Bhairavi, Mālkoush, Khambāf, etc. Most of the names carry a grammatical signature regarding masculinity or femininity of gender. They are also labelled on gramophone records of classical music. As a matter of fact, the classical music of India means the cultural music of the so-called Rāga-Rāgini.

The present study is based on notations of songs and instrumental music principally of the classical type. Various feelings of necessity prompted this work. I will deal briefly with the best of such incentives.

The idea of Rāga in the abstract and also as designs of musical presentation, or as melody forms of pure music,

x

Raga

and

Ragini

not

have

felt

at

all

vexed.

But

such

was

not

and

is

not

the

case.

I

had

been

feeling

like

that

since

But

there

was

a

third

and

a

happier

side

of

the

necessity

for

objective

study.

As

early

as

1914,

I

had

been

studying

music

seriously

and

working

under

the

guidance

of

Ostad

Visvanath

Rao,

Shyamlal

Khettri

and

Khalifa

Badal

Khan

Sahib,

all

of

whom

were

residents

of

Calcutta.

These

masters

repeatedly

told

me

to

stick

to

the

facts

and

the

feelings

of

beauty

of

actual

presentable

music,

and

not

to

have

much

faith

in

the

statements

made

about

those

things.

Badal

Khan

Sahib

would

have

me

do

nothing

with

any

theoretic

consideration

about

rāgas

presented

through

songs,

not

even

with

the

Vādi-Samvādi

tangle

about

rāgas.

By

that

time

I

had

scrutinised

the

point

of

issue

in

books

such

as

Samgita-manjari

by

Rāma

Prasanna

Bandopadhyāya,

Samgita-Chandrikā

by

Gopeswara

Bandopadhyāya,

Gitasūtrasāra

by

Krishnadhana

Bandopadhyāya,

Yamtra-Kshetradipikā

by

Sourindra

Mohan

Tagore,

the

book

of

notations

of

songs

edited

by

Prof.

Murtaza

Khan

Moulabux

(son

of

Ostad

Moulabux

of

Baroda,

who

claims

to

have

done

such

notations

in

1886),

books

edited

by

Khettra

Mohan

Goswami,

and

very

many

numbers

of

the

monthly

journal

of

music

Samgita-prakāsikā

edited

by

Jyotirindra

Nath

Tagore.

The

resultant

revelation,

not

of

any

reliable

law

of

music,

but

of

discrepancies

of

many

kinds,

was

enough

to

kill

all

curiosity.

The

nihilistic

views

of

Badal

Khan

Sahib

were

looming

large

in

my

mental

horizon.

According

to

him,

a

rāga

appears

by

itself

without

any

connection

whatsoever

with

any

other

rāga.

That

does

not

matter

at

all,

provided

a

particular

exhibition

presents

a

really

good

amount

of

communicable

matter

to

the

listener

and

then

it

is

'rāga-ramga',

i.e.

the

colourful

beauty

of

Rāga

music.

Otherwise,

it

becomes

a

'rāga-jung'

which

means

a

cacophonic

parade

of

musical

notes

and

nothing

else.

Raga

and

Ragini

irrespective

of

traditions,

would

have

me

keep

my

faith

in

the

bonafides

of

ancient

traditions

which

spoke

of

rāgas

and

rāginis

and

Vādi

etc.,

of

Rāga

music

of

the

carliest

times,

though

we

of

the

present

day

could

not

understand

such

words

and

intentions.

In

the

meantime,

I,

as

a

novice,

ought

to

develop

the

musical

feeling

which

helps

us

to

distinguish

good

whole-

some

music

from

insipid

and

indifferent

presentations,

whether

it

be

Dhrubapada

or

Khyāl

or

Ālāpa

or

Ghazal

or

Thumri

or

anything

else.

Forms

of

music,

e.g.

Dhrubapada,

Khyāl

etc.,

he

used

to

say,

were

but

vehicles

of

communication

and

as

such

were

not

themselves

the

subtle

aesthetic

communi-

cable

matter

intended

to

be

presented

to

the

listeners.

Without

this

communicable

matter,

all

forms

are

dead

('Murdā

chiz',

as

he

used

to

say);

impregnated

with

communicable

matter,

the

forms

come

alive,

as

for

instance

the

actual

presentation

of

good

music.

But

the

dynamic

presentations

do

not

lend

themselves

to

examination

just

as

a

bird

flying

does

not

help

us

to

examine

its

form

correctly.

Therefore,

we

have

to

take

recourse

to

the

study

of

forms

statically

presented

in

the

musical

notations;

and

Shyam

lalji

was

a

great

lover

of

notations

correctly

prepared.

He

insisted

on

my

taking

down

all

'sthāyis',

etc.,

in

black

and

white

and

in

correct

notation

as

far

as

possible.

In

fact,

he

taught

me

the

best

method

of

trans-

posing

musical

pieces

into

notations.

Later

on

I

found

that

Shyamalji's

way

of

doing

things

was

just

an

improvement

on

the

method

adopted

by

Janab

Nawab

Ali

Chowdhury

of

Lucknow,

Editor

of

Maarif-un-Nagamāt,

a

collection

of

choice

Dhrubapada

forms

of

Rāga

music.

About

1915

Shyamalji

offered

to

teach

me

certain

technical

things

which

he

said

would

enable

me

to

perform

quick

mod-

ulations

(the

dūni

and

choudūni

tāna)

of

Khyāl

and

Thumri

music

correctly

and

within

a

short

time.

Out

of

his

notebook

on

music

he

dictated

to

me

certain

things,

which,

he

said,

he

had

jotted

down

while

he

was

taking

oral

and

instrumental

lessons

from

his

erstwhile

guru

Shri

Ganeshilalji

of

Mathura.

xiv

Raga

and

Ragini

with rāga designs, I asked him broad questions about Rāga-Rāgini affairs. He told me frankly that the key to the secret is lost altogether, and only the names and skeletal traditions persisted in the cupboard of treatises on music. I asked him if it were not better in such a case to discard the masculine-feminine concepts altogether and adopt the simple word Rāga as a generality for the whole tribe, i.e. the male-female-neuter entities? To my surprise and delight, he uttered a big 'No'.

He said that such discarding of ancient traditions meant not only the degradation of our intellect, but also idleness on our part and disrespect for the rshis who saw the truth of such things. We must confess that our brains are dull and we cannot see truth directly. We have, therefore, to hunt for it. But the ancients saw truth as visions. If we discard the last marks of the traditions, we would be stifling our instinct for enquiry, the forlorn hope left to the ordinary run of mortals such as we. He said by the bye that he was not at all satisfied with the Janaka-janya systems of Rāga. But he had to accept the simplest of them because no better system was forthcoming or even in view. When and where standard measures are not available, people barter grain by handful measures. That is what we are doing.

Here, I must say that my masters also had their doubts about the practicability of Janaka-janya systems of classification of rāgas prevailing in recent and modern times. But these pillars of Dhrubapada, Khyāl and Thumri had not the requisite amount of inclination or temperament for objective study as I had at that time.

From the year 1926, I had enlarged my field of observation and was examining all sorts of musical things from Dhrubapada and Ālāpa forms, down to such refrains of folk music as are indulged in by labourers while engaged in roofing brick houses and timing their music to strokes with wooden handles. I thought I could discover essential designs even in

xvi

Raga

and

Ragini

drum) and the Rāgakalpadruma of Krishnānanda Rāgasāgar (ed. Vangiya Sāhitya Parishad, Calcutta) principally. From 1936 to 1939, I occupied myself in preparing a manuscript in which I presented my experiences in detail. My friend Dr. Haricharana Dutta, M.B., a most earnest lover of Rāga music and practical research worker with the instrument Vīnā, — and he is the only one person that I know of as yet in that line—helped me all through those four years of my application by supplying me with all sorts of materials he had in his possession. But that is the least part. For those four years as I was unfolding my method of work before him as a most interested listener, he always sided with the opposition trying to pick holes in the network of the deductions, so that I had to meet his valid arguments and make my study free from defects and errors as far as possible. I do not know how to couch or convey my heartelt thanks to him who not only provided me with materials for perfecting my work, but also presented me with a Vīnā of the best sort prepared by his own hands.

When I had finished the work, I had a talk with Prof. Satyen Bose, who was then residing at Calcutta, about the statistical aspect of my work. He became quite interested in it, so much so that he took the trouble of going through the whole work and was eagerly asking me as to when I was going to have it published. But Providence stood in the way of publishing that bigger work. I may not say more than this about Satyen Bose's approval of the work because that happened near about twenty years ago.

Such in brief is the story of my feelings of neccessity for a work of this type. I had first to satisfy myself and then to satisfy my master. Later on I felt I ought to satisfy the curiosity of those of my friends who not only appreciated Rāga music but were also eager to know the why and wherefore of rāga affairs. Last though not least, a few expericnced amateurs of music had come to me to learn things and I accorded them

Preface

xvii

the privilege of learning such things critically but not dogmatically. The fact of their satisfaction emboldened me to rewrite this as an introductory work.

Before preparing the original work I had the following major questions in mind.

1. Is it possible at the present time and by means of presentable materials of recent and modern times, to set to analysing Rāga music, setting aside the mass of loose and fluid, dogmatic and empirical statements made about rāgas, Vādī, Samvādī, etc., of classical music?

2. Is it possible by means of objective study of musical notations of the proper sort to arrive at safe, reliable and reasonable conclusions about Rāga in the abstract and categorical classifications of rāgas in the abstract or concrete.

3. Objectively speaking can we discover any signature inhering in the opening movement of musical compositions, which may lead us to distinguish big classes or groups such as the male and female of rāgas?

4. Supposing such questions may be answered affirmatively, could we utilise such knowledge for the work of educating and improving the instinctive feelings for the pure music of Rāga, i.e. those feelings which when stimulated make us appreciate the beauty of rāga music?

My work enabled me to answer all such questions in the affirmative.

I present a summary of such findings only as are directly related to the aforesaid questions.

Objective study by itself reveals certain peculiar nuclear designs, the existence of which is universal for Rāga as a phenomenon. Such nuclear designs are found to consist of 'couples', wherein the component elements are complementary to each other. Each categorical 'couple' is the basic, primordial matrix of Rāga as a class and gives rise to rāga individuals (male and female categorically) as so many distinct and different evolutes. A full-fledged rāga as an actuality of

xx

Raga

and

Ragini

experienced artiste means the artiste coming to be as such by

the

master-and-disciple

method

of direct training. That instinctive feeling evolves out of an aesthetic organisation of

our

psychic

make-up

and it is one of the best of such faculties which need delicate handling and careful training. Musical

education

is

really

a matter of educating that subtle psychic faculty by imparting the proper sort of auditory stimuli

and

evoking

the

proper sort of reaction in feeling of the students of classical music.

But

as

we

know it to be true for all arts, stimulation of mere feelings of beauty does not mean or guarantee any power

of

communication

or

giving proper expression to such communication of feeling. In other words, the superior artiste

of

today

means

a thoroughly practising student of a good many yesterdays. Moreover, he must have practised with the best

of

music

imparted

by his master. The very process of communication of such specific aesthetic matter presupposes some

specific

unity

or

wholeness of design in the contemplation of the artiste and is principally concerned with the gradual

evolution

of

the

component parts of such matter, one after another in correlated sequence, charged with the compelling

power

of

beauty,

strength, and goodness. The fundamental thing is the contemplation of perfect design. With a design in

which

there

is

no resolution of the sequential evolutes, or with a design which breaks itself into unresolved evolutes now and

then,

the

phenomenon

of communication of specific aesthetic feeling is a misnomer, whatever charm, finesse and vivacity

there

might

be

in the material expression of such communications.

Therefore,

some

idea,

or still better a knowledge of designs, surely ought to be of great help in the training of the novice

of

rāga

music

par excellence. Such ideas or knowledge may not be necessary for the other kind of music which depends

solely

on

the

faculty of verbatim imitation and as such stands as a bar to the instinct of creative impulse of all true rāga

ERRATA

For

Read

p. 11, Specimen 1

NSR SNS

NSR SNS

p. 17, Specimen 6

|S-NS|

|S-NS|

p. 27, line 24

r-D-d

r-G-d

p. 57, Specimen 38

SGP - DSG i.e. SGPD

SGP - GPN i.e. SGPN

p. 111, Specimen 66

|d P-D|

|d P-d|

p. 176, line 13

SNN-dP

SNN--dP

p. 224, last line

r G

Dr G

INTRODUCTION

METHOD OF STUDY AND SELECTION OF MATERIALS

S TUDY presupposes the selection of materials and examination of such materials. What is this material? A material is a song, or a part of a song, or a picce of instrumental music set to musical notation. There are different kinds of notations. I have availed of what appears to me to be the simplest as well as the most precise kind of notation, approximating to the type as met with in Maarif-Un-Nagamat, a book containing a rare collection of Dhrubapada classical forms edited by Janab Nawab Ali Chowdhury of Lucknow. I have thought proper to transcribe the symbols into the Roman alphabet, as will be explained presently under the heading 'Interpretation of Symbols'.

A large mass of such written musical material is available at the present time. I have examined just over five thousand of them, of which a majority are available in published form, and a minority as yet unpublished. The present work does not need all of these materials.

It is one thing to hear music, and quite another thing to examine the music after transforming it into notation. The aural perception and the corresponding psychic values which are stimulated in our consciousness by actually hearing the music are not to be obtained by the reading and examining of materials. But this may not devaluate or nullify the worth, necessity and purpose underlying the work of examination, just as chemical examination of a lump of sugar has not been considered worthless, or unnecessary, or without purpose among civilised people.

The present work chiefly concerns the materials representing the classical forms, namely Dhrubapada and Khyal forms. The reason for such a preferential selection has to be gone into, briefly.

6 Raga and Ragini

Similarly, the experienced artist of music brings out a parti-

cular feature of a Rāga at a particular moment of presentation

by exhibiting unique shades of certain notes. These shades

or shade effects are usually termed Shruti or Shruti-effects by

connoisseurs. The mediocre or the inexperienced artist might

fail to bring out such shades while demonstrating the same

Rāga. Yet, the experienced listener or the connoisseur accepts

both of such presentations on the basis of a feeling of identity

or commonness regarding the Rāga presented. In other words,

shades or no shades, a Khambāj Rāga is a Khambāj Rāga by

reason of some peculiar class feature or characteristic, and not

by reason of any specific display of Shruti-effects. This is

borne out by the fact that the Harmonium has its fixed key,

the Setār its fixed frets, and the flute its fixed holes; all of

these may help an artist to present the categorical form of

Rāga, say Khambāj, as distinguished from another categorical

form, say of Jhin jhouti, or Behāg, or Desh. On the other

hand, an artist of the Sarode, or Surshringar (instruments

without any frets or markings of notes) may go in for shades or

vignetting the note effects and yet may spoil or vitiate the Rāga

claimed to be presented by him at that moment, if he does not

possess the categorical idea of the Rāga. That is to say, the

character or the motif of a Rāga does not depend on Shruti

values of notes, primarily speaking.

The present study is concerned with the investigation into

the truth of categorical and concrete forms of Rāgas and

Rāginis. Therefore, the question of shading or vignetting

effects by means of Shrutis need not arise during the work of

examination of materials.

EXPLANATION OF SYMBOLS

The present work transcribes the materials by means of the

Roman alphabet meant to represent the notes. Thus:

S—represents Shadja or Sā of the convenient middle Saptaka.

Introduction

7

S and Ṣ are equivalents for the identical notes of the lower and

the higher Saptakas respectively. S is practically equivalent to

the 'Do' or Tonic of European convention.

R—represents Rshava or 'Re' of the middle Saptaka. R and

Ṛ represent the identical notes of the lower and higher Saptakas

respectively. 'R' is practically equivalent to the 'Re' or the

Supertonic of European convention.

G—represents Gāndhāra or Gā. It is practically equivalent

to 'Mi', or mediant of European convention. G and Ḡ stand for

identities of the lower and higher Saptakas respectively.

M—represents Madhyama or Mā. It is practically equivalent

to 'Fa' or the subdominant of European convention. M and Ṁ

stand for identities of the lower and higher Saptakas respec-

tively.

P—represents Panchama or Pā. It is practically equivalent

to Sol or the Dominant of European convention. P and Ṗ stand for

identities of the lower and higher Saptakas respectively.

D—represents Dhaibata or Dhā. It is practically equivalent

to 'La' or the submediant of European convention. Ḋ and Ḏ

stand for identities of the lower and higher Saptakas respec-

tively.

N—represents Nishāda or Ni, the last note of the Saptaka.

It is practically equivalent to 'Si' or 'the leading note' of Euro-

pean convention. N and Ṅ stand for identities of the lower

and higher Saptakas respectively.

SYMBOLS WITH LETTERS

r—represents Komala Rshava or Komala Re. It is the cate-

gorical semitone between S and R. r and ṛ stand for identities

of the lower and higher Saptakas respectively.

g—represents Komala Gāndhāra or Komal Gā. It is the

categorical semitone between R and G; g and ġ stand for

identities of the lower and higher Saptakas respectively.

m—represents Teebrā Madhyama or Teebrā Mā. It is the

8

Raga

and

Ragini

categorical semitone between M and P; ṁ and m stand for identities of the lower and higher Saptakas.

d

— represents

Komala Dhaibata or Komala Dhā.

It is the categorical semitone between P and D; ḍ and d stand for identities of the lower and higher Saptakas respectively.

n

— represents

Komala Nishāda or Komala Ni.

It is the categorical semitone between D and N; ṅ and n stand for identities of the lower and higher Saptakas respectively.

SYMBOLS REPRESENTING THE DURATION OF THE NOTES

Each one of the note-symbols, as it is, denotes one standard unit measure of time. Such a unit measure is termed Mātrā.

A note-symbol immediately followed by a hyphen for example 'S — ' means the note occupies altogether two units of time. Similarly 'S—' means S equals three units of duration and so on.

Any two or more note-symbols overlined by a horizontal bar means, such a group in its entirety occupies only one unit measure of time, wherein each of the notes cover equal fractions of that one unit to time. Such groups have been termed 'Cluster' generally. There are complex cluster formations with small hyphens interposed between the notes forming the cluster. They will be explained as they appear during examination.

The notations of songs and instrumental pieces, called Gat, exhibit divisions by means of vertical bars. Such divisions are intended to help the examiner in appreciating the relation between rhythm as well as cadence and the sequential development of the music.

For each notation, there are a pair of double vertical bars, at the very start and finish of each Sthāyi pada, that is to say the first movement of the Rāga music. It means, the enclosed piece will bear cyclic repetition so far as the musical demonstration is concerned.

Chapter I

KHAMBAJ RAGA

We take up for examination a group of materials going

by the name rāga Khambāj or Khambāj, or Khammāch,

or Khammāchi among the artists and connoisseurs of the music

of North India. In books dealing with music and the teaching

of music, such names are met with as headlincs over musical

notations or chapters expounding specific melodic arrange-

ments of the rāga.

The individual specimens apparently differ from one another

regarding form and texture of presentation. It should be noted

that with this rāga Khambāj as well as many other ragas

demonstrated by classical artists, the entire presentation,

musically considered, invariably consists of an opening move-

ment, followed by a second, a third, a fourth, and even a

fifth movement. In the minimum - a presentation of classi-

cal pattern, i.e., of the Dhrupad and the Kheyal forms of songs,

the peculiar vocal forms known as Terānā, Sargam, and so on, and

the instrumental form known as Gat-todā, shows only the

first and the second movements. Such movements are called

the sthāyi (or asthāyi, astāyi) and the antarā respectively. The

third, the fourth and the fifth movements are called samchāri,

bhog and ābhog respectively. The form of pure musical pre-

sentation known as Alāp is alone supposed to consist of all

the five movements. Occasionally however, the musical

presentation may consist of only one movement, such as for

example the instrumental form known as Lahrā presented by

the artist of the instrument Sārengi.

In every case, however, the first movement, known as sthāyi,

is the most vital and important of all movements. This is

because, it introduces the Rāga, imparts definite shape and

texture to the forms such as Dhrupad, Kheyal, etc., and com-

municates the unity and harmony of melodic design in such a

12

Raga

and

Ragini

two-quarters,

i.e.,

half

of

the

unit

time,

making

up

a

total

of

one

full

unit

measure.

The

third

cluster,

immediately

following

the

second

cluster,

means

similarly

—

S

with

one

quarter

of

a

unit,

N

with

one

quarter

of

a

unit,

and

S

with

two-quarters,

i.e.,

a

half

unit,

making

up

a

total

of

one

full

unit

measure.

If

we

reproduce

the

notation

vocally

or

on

a

suitable

instru-

ment

we

feel

a

sense

of

completeness

and

satisfaction.

We

may

test

our

psychic

assessment

by

experiment

such

as

follows.

The

reproduction

of

the

first

bar

only,

or

of

the

first

and

second

bars,

or

of

the

first,

the

second

and

the

third

bars,

or

of

a

successively

increasing

number

of

bars,

up

to

seven

bars,

fails

to

impart

that

sense

of

completeness

and

satisfied

ex-

pectancy,

which

is

felt

when

we

hear

the

complete

sentence,

one

bar

after

another.

In

other

words,

such

piecemeal

dis-

positions

of

bars,

or

phrases,

may

not

be

repeated

cyclically.

Such

an

assessment

is

not

entirely

or

exclusively

subjective.

Supposing

we

are

looking

at

a

table,

with

four

legs,

among

which

one

of

the

legs

does

not

touch

the

floor.

Such

a

defect

or

incompleteness

of

objective

design

imparts

a

corresponding

sense

of

incompleteness

in

our

total

perception

of

the

object.

It

is

a

sort

of

expectancy

which

is

created,

but

not

fulfilled.

Just

as

we

do

not

want

a

repetition

of

the

sight

of

a

defective

or

incomplete

table,

so

also

we

do

not

want

to

hear

incom-

plete

musical

sentences,

repeated

twice

or

more

than

that.

Therefore,

we

may

say

that

a

musical

sentence

which

imparts

a

sense

of

completeness

ought

to

be

complete

by

design.

Such

a

sense

of

completeness

is

a

fact

of

experience,

as

much

as

the

music

heard

is

a

fact

of

our

sense

of

perception.

Let

us

analyse

the

thing

objectively,

i.e.,

in

terms

of

the

notes

and

the

values

with

which

the

notes

are

invested.

Scrutinising

with

S

R,

SG,

GM,

MP,

PD,

DN,

D

S

and

N

S

.

We

assume

for

some

reason

[See

Appendix

I—

ascent

and

descent]

that

a

train

of

successive

appearance,

such

as

S

R

G

M

P

D

N

S

14 Raga and Ragini

We also observe the comparative values of the notes. The

order, from the highest to the lowest by value is S, M, D, G,

P, N, n, and R. If anything, this means that of a totality of

thirty-two impingements on our sensorium, S alone has the

highest value specifically. Then follow notes M, D, and so on, in

order. The impingement due to R certainly has the lowest

value. Because the note S has the highest of summation

values regarding the sensorial impingement, we may say

that for this musical sentence at least, the note S is the domi-

nant note. We should not set aside or belittle this observed

fact, because of any dogmatic or a-priori statements to the

contrary, e.g., that ‘the note G (i.e., gāndhāra) is the Vādi

(i.e., the dominant note) for the rāga Khambāj’ or other such

statement which is not supported by observation of fact or

correct inference. The specimen is a notation of a Kheyal

song ‘Sābari surat mai dekh wāki’ of Khambāj in Tctala, medium

tempo. I had it from the late Madhoji of Mathura, a disciple

of Shyamlalji of Calcutta.

Specimen No. 2

|| Ṡ — | Ṡ — | Ṡ Ṡ | D S | n D | P D | G M | P D | Ṡ n | D M |

| P D | M G | G S | S S | M G | M n | D N | Ṡ Ṡ | Ṡ Ṡ | Ṙ Ṛ |

| Ṡ — | N Ṡ | n D | P D ||

The sentence consists of forty-eight units of time. It is

complete by itself, and may be repeated cyclically. It is a

notation of a song ‘Vanshi dhuna so bajai’ a famous Dhrupad

song attributed to Tansen. This particular interpretation

was taken from the late Chandan Chowbeyji of Mathura.

The ascending track shows the notes S, G, M, P, D and

N. The descending track shows n, D, P, M, G, R, S.

Khambaj Raga

19

We

find

G

and

M

occupying

the

highest

place,

and

S,

G,

M,

P,

and

D

occupying

the

first

three

places.

Specimen

No.

8

||

P

D

|

S

n

D

P

|

M

P

M

G

|

M

M

P

—

|

etc.

The

sentence

shows

thirty-two

units

and

is

complete.

This

picce

is

also

taken

from

the

book

Kramika

Pustaka

Malika.

The

song

is

'Aba

Kabataka

tarasaye'.

The

ascending

track

is

S,

G,

M,

P,

D,

N.

The

descending

track

is

n,

D,

P,

M,

G,

R,

S.

Analysis

of

Note

Values

Note

values

Comparative

values

S

..

5½

P

..

highest

R

..

½

M

..

2nd

G

..

3

S,N

..

3rd

M

..

6

G,D

..

4th

P

..

6½

n

..

5th

D

..

3

R

..

6th

n

..

2

N

..

5½

Total

..

32

We

find

the

note

P

is

dominant,

and

the

first

three

places

are

occupied

by

S,

M,

P,

and

N.

I

refrain

from

citing

more

examples

of

such

specimens,

about

which

the

general

claim

is

put

down

as

Khambāj

Rāga.

Some-times,

we

come

across

the

denomination

Khambāj

rāgini

wherein

the

word

'rāgini'

is

supposed

to

mean

a

feminine

entity,

as

a

wife

to

a

Rāga.

STATISTICAL

FINDINGS

IN

GENERAL

ABOUT

KHAMBAJ

In

my

original

study,

which

was

completed

in

1939,

I

worked

with

fifty-six

specimens

of

so-called

Khambāj,

as

selected

from

20

Raga

and

Ragini

books

dealing

with

music

and

rāga

notations,

and

also

from

private,

unpublished

repertoires

of

experienced

artists

and

amateurs.

Since

that

date

I

have

examined

fresh

numbers

of

Khambāj,

from

similar

or

new

sources.

The

statistical

results

remain

almost

the

same

as

those

obtained

in

I

will

put

such

results

briefly

and

one

after

another.

The

starting

and

the

finishing

notes

of

the

opening

sentences:

Out

of

fifty-six

specimens

the

incidence

of

starting

notes

are

as

S=10,

R=1,

G=15,

M=2,

P=10,

D=4,

n=6

and

N=8.

We

can

hardly

suppose

that,

'G',

as

a

starting

note,

is

characteristic

of

the

Khambāj

class.

Because

the

percentage

is

as

low

as

26

per

cent.

The

incidence

of

finishing

notes

are

as

S=10,

R=2,

G=11,

M=9,

P=13,

D=10,

and

n=1.

Here

also,

we

can

hardly

suppose

that

P

as

a

finishing

note

is

characteristic

of

the

so-called

Khambāj

class.

The

Dominant

Note

of

the

opening

Sentences

The

incidence

regarding

the

dominant

note

(the

Vadi

note)

is

as

S=31,

G=8,

M=11,

P=6,

D=4,

and

N=1.

In

four

or

five

of

these,

two

notes

are

simultaneously

dominant.

The

incidence

regarding

S

is

more

than

fifty

per

cent

strength.

Nevertheless,

we

are

not

justified

in

concluding

that

S,

of

all

notes,

is

characteristically

dominant

for

the

Khambāj

class.

The

fact

of

G

appearing

with

1/7

in

strength

ought

to

dispel

the

illusion

of

a

statement

to

the

effect

that

'the

note

G

is

the

Vādi

note

of

Khambāj'

as

is

quite

current

in

books

dealing

with

North

Indian

rāga-music.

The

ascent-descent

factors

(āroha-abaroba)

The

incidence

for

the

ascending

combination

is:

S

G

M

P

D

N

..

34

out

of

56

S

G

M

P

N

..

13

S

R

G

M

P

D

N

..

4

S

R

G

M

P

N

..

2

24

Raga

and

Ragini

whenever

they

appear

in

the

scale

of

musical

presentation.

Briefly,

we

are

able

to

say

that

hearing

music

means

not

only

hearing

the

notes

but

also

appreciation

of

certain

relations

appearing

between

such

notes.

Taking

S,

for

example,

as

the

categorically

fundamental

note,

and

N

as

the

categorically

finishing

note,

we

observe

two

kinds

of

musically

pleasurable

relations

holding

between

any

two

such

notes.

They

are

(a)

the

relation

of

consonance

(the

Sambāda

of

ancient

Indian

traditions)

and

(b)

the

relation

of

intermediary

consonance,

(the

mediant

as

it

is

termed

in

Europe,

and

the

Anubhādu

as

termed

in

ancient

Indian

traditions).

Of

such

relations,

the

most

important

is

the

consonance.

Consonance

may

be

defined

as

the

naturally

pleasurable

relation

appearing

between

a

note

and

another

note

which

is

sequentially

either

the

eighth

counting

from

the

first

note

[App.

2

—

Sequential

number

of

notes],

or

the

sixth

counting

from

the

first

note.

Here

sequence

means

the

order

S,

r,

R,

g,

G,

M,

m,

P,

d,

D,

n,

N

and

so

on

through

three

saptaka.

For

example

—

note

P

is

sequentially

the

eighth

from

S.

Thus

the

relation

S

∫

P

is

a

consonance

for

S

and

P.

The

note

M

is

sequentially

the

sixth

from

S.

Therefore

S

∫

M

is

a

consonance

for

S

and

M.

We

observe

that

for

each

note

there

are

two

consonants

namely

by

the

eighth

and

the

sixth

sequences.

Or,

assuming

that

the

categorical

notes

are

only

seven

in

number,

and

S,

R,

G,

M,

P,

D,

and

N

by

sequence,

and

also

that

notes

r,

g,

m,

d,

and

n,

are

as

variants

of

such

categories,

then

we

might

say

that

consonant

relation

occurs

between

notes

sequentially

separated

as

the

fifth

and

fourth

from

each

other.

In

such

a

case

P

is

the

fifth

of

S,

and

M

is

the

fourth

of

S.

Next

in

importance

to

consonance

is

the

relation

of

intermediary

consonance.

I

choose

to

call

it

mediant

relation.

For

the

sake

of

brevity,

I

call

it

simply

'mediance'.

The

mediance

may

be

defined

as

the

naturally

pleasurable

relation

appearing

between

a

note

and

another

note

which

is

sequentially

either

Examination of Specimens by Relation of Notes

Mātrkā

10. G-d-N-g yields G-d-N and d-N-g

11. M-d-Ṡ-g ,, M-d-Ṡ ,, d-Ṡ-g

12. M-D-Ṡ-G ,, M-D-Ṡ ,, D-Ṡ-G

13. m-D-ṙ-G ,, m-D-ṙ ,, D-ṙ-G

14. m-n-ṫ-M ,, m-n-ṫ ,, n-ṫ-M

15. P-n-R-M ,, P-n-R ,, n-R-M

16. P-N-R-m ,, P-N-R ,, N-R-m

17. d-N-g-m ,, d-N-g ,, N-g-m

18. d-Ṡ-g-P ,, d-Ṡ-g ,, Ṡ-g-P

19. D-Ṡ-G-P ,, D-Ṡ-G ,, Ṡ-G-P

20. D-ṙ-G-d ,, D-ṙ-G ,, ṙ-G-d

21. n-ṙ-M-d ,, n-ṙ-M ,, ṙ-M-d

22. n-RM-D ,, n-R-M ,, R-M-D

23. N-Rm-D ,, N-R-m ,, R-m-D

24. N-g-m-n ,, N-g-m ,, g-m-n

The notes S and Ṡ, or ṙ and ṛ, or R and R are identies, as I have already stated. Therefore, these twenty-four meru, together with the couples inhering in them, are represented by the following modulations of one single meru, starting from the note S:

1. SgPn - showing S-g-P and g-P-n

2. SGPN - ,, S-G-P ,, G-P-N

3. SrGdN - ,, ṙ-G-d ,, G-d-N

4. SrMd - ,, ṙ-M-d ,, M-d-S

5. SRMD - ,, R-M-D ,, M-D-S

6. SrRmD - ,, R-m-D ,, m-D-ṙ

28 Raga and Ragini

7. Srgmn - showing g-m-n and m-n-r

8. SRgPn - ,, g-P-n ,, P-n-R plus S-g-P

9. SRGPN - ,, G-P-N ,, P-N-R ,, S-G-P

10. SgMd -

M-d-S

d-S-g

12. SGMD - ,, M-D-S ,, D-S-G

13. SrMmn -

m-n-r

n-r-M

15. SRMPn - ,, P-n-R ,, n-R-M

16. SgmdN -

d-N-g

N-g-m plus d-S-G

18. SgPd - ,, d-S-g ,, S-g-P

19. SrGdD -

D-r-G

r-G-d plus D-S-G

21. SrMdn - ,, n-r-M ,, r-M-d ,, M-d-S

22. SRmDN -

N-R-m

R-m-D

24. SgmnN - ,, N-g-m ,, g-m-n

These modulations, with a majority of five notes and a minority consisting of four notes, present us with clues regarding our work of analysis and synthesis by means of relations of notes among one another. Each part of the couples, such as S-g-P, or S-G-P, or g-P-n, or G-P-N, is termed 'Universal.' A Universal is a group of three notes, wherein these notes are related among one another, by means of one consonance and two mediance. These Universals, together with the couples, are now used as discrete, elementary radicles, showing new values and designs. It will be seen that eight of the twenty-

Examination of Specimens by Relation of Notes

29

four

couples

and

also

the

corresponding

modulations

pre-

suppose

the

occurrence

of

a

third

Universal,

because

the

note

S

as

the

Fundamental

is

constant

for

all

modulations,

Such

are

Nos.

8,

9,

10,

13,

17,

20,

21,

and

Such

couples

are

mis-

nomers

in

the

truc

sense

of

the

word,

because

there

are

three

instead

of

two

elementary

radicles.

Thus,

setting

aside

those

eight

couples,

we

get

altogether

sixteen

couples

or

mātrkā.

RE-EXAMINATION

OF

THE

SPECIMENS

OF

KHAMBAJ

(by

means

of

synthesis

and

valuation

regarding

the

Universals

and

the

couple).

Specimen

1

shows

the

notes

S,

R,

G,

M,

P,

D,

n

and

N.

These

notes

potentially

show

the

Universals

as

S

G

P,

R

M

D,

G

P

N,

M

D

S,

P

n

R,

P

N

R,

D

S

G,

and

n

R

M.

We

work

out

the

total

values

by

adding

up

the

note

values

as

S

–

7½

S+G+P

=14½

i.e.

S

G

P

=14½

R

–

½

R+M+D

=12¾

,

R

M

D

=12¾

G

–

4

G+P+N

=10

,

G

P

N

=10

M

–

7

M+D+S

=19

,

M

D

S

=19½

P

–

3½

P+n+R

=5¾

,

P

n

R

=5¾

D

–

5¼

P+N+R

=6½

,

P

N

R

=6½

n

–

2

D+S+G

=16½

,

D

S

G

=16½

N

–

2¾

n+R+M

=9½

,

n

R

M

=9½

Total

–

32

The

Universals

in

order

of

comparative

values

are

as

follows

:

M

D

S=19½

+the

highest

by

value;

D

S

G=16½+second

by

value;

S

G

P=14½+third;

R

M

D=12¾+fourth;

G

P

N=10

+fifth;

n

R

M=9½

+sixth;

P

N

R=6½+

seventh

and

P

n

R=5¾+eighth.

Specimen

2

worked

out

in

a

similar

way

shows

:

S

–

18

S

G

P

=26

M

D

S

highest

by

value

R

–

2

R

M

D

=16

D

S

G

2nd

,

Examination of Specimens by Relation of Notes

Specimen No. 4.

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 4 M -D.N. S G P - 13 M D S -D.Un. MDS just more than 50% of the total value MDS —DSG i.e. SGMD =71 % of the total value R - 2 D } 2nd R M D - 15 D S G - 2nd G - 6 G } G P N - 11 R M D - 3rd M - 7 S - 3rd M D S - 17 S G P - 4th P - 3 Pn R - 7 n R M } 5th D - 6 P N R - 7 G P N } n - 2 D S G - 16 Pn R } 6th N - 2 n R M - 11 P N R } Total 32

Specimen No. 5.

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 18 S - D.N. S G P - 28½ M D S - D.Un. MDS —just over 66% of the total value MDS DSG i.e. SGMD =81 % of the total value G - 6 D - 2nd M D S - 33 D S G - 2nd M - 6½ M - 3rd D S G - 32½ S G P - 3rd P - 4 D - 8½ n - 5 Total 48

3

34

Raga and Ragini

Specimen No. 6.

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 5 N - D.N.

SGP - 14½ GPN - D.Un.

GPN -just SGP -GPN

i.e. SGP -64% of the total value

R -1 S } 2nd

RMD - 8½ SGP - 2nd about 50% of the total value

G - 5 G

GPN - 15½ DSG - 3rd

M - 4½ M } 3rd

MDS - 12½ MDS - 4th

P - 4½ P

PnR - 8½ PNR - 5th

D - 3 n - 3 N - 6

PNR - 11½ RMD } PnR } 6th nRM - 8½ nRM }

Total 32

Specimen No. 7.

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

MDS - DSG i.e. SGMD is just about 68%

S - 3 G } D.N.

SGP - 13 SGP

Each of SGP, MDS, and DSG is just less than 50%

R -1 M

RMD -11 MDS } D.Un.

G - 6 P } 2nd

GPN -12 DSG

M - 6 D

MDS - 13 GPN -2nd

P - 4

PnR - 7 RMD - 3rd

D - 4 n - 2 N - 2

PNR - 7 nRM - 4th DSG - 13 PnR } 5th nRM - 9 PNR }

Total 28

36

Raga and Ragini

Specimen No. 9.

Song: Taba kahat chatura . . .' Khambaj from Kramika Pustaka Malika 'Part II.

N.V.

C.V.N.

U.V.

C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 7

M - D.N

• 14½ M D S-D.Un.

M D S = just over 60 % of the total value M D S -D S G i.c. S G M D is ncar 79 % of the total valuc

G - 6

S - 2nd

D S -19½ D S G - 2nd

M - 8

G - 3rd

• 17½ S G P - 3rd

P - 1½

n - 4th

D - 4½

n - 5

Total 32

Specimen No. 10.

Song: 'Saba sakhiya mila khambāj gabo . . . from Kramika Pustak Malika, Part II.

N.V.

C.V.N.

U.V.

C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 9

S - D.N.

S G P -15 S G P-D.Un.

S G P = 53 % of the total value -G P N i.e. S G P N = 71 % of the total valuc

G - 3

N - 2nd

G P N -11 M D S 2nd

M - 3

G

M D S -14½ D S G

P - 3

M 3rd

D S G -14½ G P N - 3rd

D - 2½

P

n - 2½

N - 5

Total 28

Examination of Specimens by Relation of Notes

Specimen No. 11.

Song: 'Na manungi . . .' from Kramika Pustaka Malika, Part II

N.V. C.V.N. U.V. C.V.U. P.C. of Value P.C. Value of D.Un. D.Couple

S - 16 S - D.N. S G P - 27½ S G P

G - 7 G G P N - 18½ M D S

M - 7 M M D S - 27½ D S G

P - 4½ N D S G - 27½ G P N - 2nd

D - 4½

n - 2

N - 7

Total 48

Specimen No. 12.

Song: 'Shyam sundara . . .' from Kramika Pustaka Malika, Part II.

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 11 S - D.N. S G P - 18 D S G - D.Un. D S G = 64% of the total value D S G - M D S i.e. S G M D = 78% of the total value

G - 5½ G - 2nd G P N - 9½ M D S - 2nd

M - 4½ M - 3rd M D S - 19½ S G P - 3rd

P - 1½ D S G - 20½ G P N - 4th

D - 4

n - 3

N - 2½

Total 32

38 Raga and Ragini Specimen No. 13. Song: 'Maira barajo na māne' of Shreeman U.N. Bhatkhande, published in Maorif-Un-nagamat, edited by Ali Janab Muhammad Nawab Ali Khan Saheb of Lucknow.

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple S - 7 S } DN S G P - 15½ M D S -D.Un. M D S =57% of the total value M D S - D S G i.c. R - 1 D } R M D - 14½ D S G - 2nd S G M D approxim- G - 4½ M - 2nd G P N - 10½ S G P - 3rd ately of the M - 6½ G - 3rd M D S - 20½ M D - 4th total value P - 4 P n R - 9 n R M - 5th D - 7 P N R - 7 G P N n - 4 D S G - 18½ P n R - 7th N - 2 n R M - 11½ P N R - 8th Total 36

Specimen No. 14. Song: 'Khelan aye hori ...' from Shreeman Lalluji of Mathura. N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple S - 8 S } D.N. S G P - 18 M D S -D.Un. M D S =54% of the R - 1 D } R M D - 16 D S G - 2nd total G - 4 M - 2nd G P N - 15 S G P - 3rd M - 7 P - 3rd M D S - 23 R M D - 4th P - 6 P n R - 10 G P N - 5th D - 8 P N R - 12 P N R - 6th n - 3 D S G - 20 n R M - 7th N - 5 n R M - 11 P n R - 8th Total 42

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple S - 8 S } D.N. S G P - 18 M D S -D.Un. M D S =54% of the R - 1 D } R M D - 16 D S G - 2nd total G - 4 M - 2nd G P N - 15 S G P - 3rd M - 7 P - 3rd M D S - 23 R M D - 4th P - 6 P n R - 10 G P N - 5th D - 8 P N R - 12 P N R - 6th n - 3 D S G - 20 n R M - 7th N - 5 n R M - 11 P n R - 8th Total 42

Examination of Specimens by Relation of Notes

Specimen No. 15.

N.V.

C.V.N.

N.V.

C.V.N.

U.V.

C.V.U.

S - 13 1/2

S - D.N.

S G P - 19 1/2

M D S -D.Un.

R - 3

D - 2nd

R M D - 16

D S G - 2nd

G - 3

N - 3rd

G P N - 13 1/2

S G P - 3rd

M - 5

M D S - 26 1/2

R M D - 4th

P - 3

P n R - 11

G P N

D - 8

P N R - 13 1/2

P N R

n - 5

D S G - 24 1/2

n R M - 6th

N - 7 1/2

n R M - 13

P n R - 7th

Total 48

Saragam in Jhamptala obtained from the late Visvanathji of Calcutta.

Specimen No. 16.

N.V.

C.V.N.

N.V.

C.V.N.

U.V.

C.V.U.

S - 5

M - D.N.

S G P - 20

M D S -D.Un.

R - 2

D - 2nd

R M D - 22

D S G - 2nd

G - 9

P - 3rd

G P N - 19

R M D - 3rd

M - 11

M D S - 25

S G P - 4th

P - 6

P n R - 12

G P N - 5th

D - 9

P N R - 12

n R M - 6th

n - 4

D S G - 23

P n R

N - 4

n R M - 17

P N R

Total 50

Examination of Specimens by Relation of Notes

Specimen No. 19.

Song: 'Terohi chandrabadana . . .' Chowtāla, of Kramika Pustaka Mālikā.

N.V. C.V.N. U.V. C.V.U. P.C. P.C. Value of Value of D.Un. D.Couple

S - 7 M - D.N. S G P -15 M D S - D.Un. M D S M D S =58% -D S G of the i.c. total S G M D value =72% of the total value

R -1 S -2nd R M D -15 D S G -2nd

G -5 D -3rd G P N -10 S G P } R M D } 3rd

M -7½ M D S -21 n R M -4th

P -3 P n R -8 G P N -5th

D -6½ P N R -6 D S G -18½ P n R -6th

n -4 n R M -12½ P N R -7th

N -2

Total 36

Regarding the columns showing percentage values, I will state for the present and in general that:

(a) The Dominant Universal shows the specific 'motif' of the individual specimen. A strength such as fifty per cent or of a higher amount shows the force or strength of motif in measurable terms. The value concerns the specific amount of impingement on the sensorium of the person hearing the presentation. Values such as fifty per cent or more indicate that the specimen is strong regarding the specific motif signified by the dominant Universal. It may also be said that values below fifty per cent indicate weak quality of the specific motif of the presentation.

(b) The dominant couple shows the mātrkā, i.c. the ground matrix, from which the class evolves into the individual. Thus the force or strength of the couple means the quantitative

Examination of Specimens by Relation of Notes

Specimen No. 21.

The sthayi or mukhachāla of Alāpa for the Sarode, copied from a demonstration made by Ostad Hafiz Ali Khan of Gwalior.

N.V. C.V.N. U.V. C.V.U. P.C. P.C. Value of Value of D.Un. D.Couple

S -25½ S - D.N. S G P -45 M D S-D.Un. M D S M D S =58% -D S G of the total i.e. value S G M D =73% of the total value

R -7 M - 2nd R M D -38 D S G - 2nd

G -14 G }3rd G P N -28½ S G P - 3rd

M -17 D } M D S -56½ R M D - 4th

P -5½ P n R -16½ G P N - 5th

D -14 P N R -21½ n R M - 6th

n -4 D S G -53½ P N R - 7th

N -9 n R M -28 P n R - 8th Total 96

A simple instrumental piece for the Harmonium.

Specimen No. 22.

N.V. C.V.N. U.V. C.V.U. P.C. P.C. Value of Value of D.Un. D.Couple

S -3 G - D.N. S G P -18 S G P -D.Un. S G P S G P =56% - G P N of the total i.e. value S G P N =62% of the total value

R -2 P - 2nd R M D -10 G P N - 2nd

G -8½ M - 3rd G P N -17 D S G - 3rd

M -6 M D S -11 M D S - 4th

P -6½ P n R -10½ P n R }5th P N R -10½ P N R }

D -2 D S G -13½ R M D }6th

n -2 n R M -10 n R M }

N -2 Total 32

44

Raga

and

Ragini

N.B.

A

major

group

I

prescnt

two

interpretations

of

one

and

the

same

song

demonstrated

by

the

late

Zohra

Bai

and

Gohur

Jan,

famous

songstresses

of

their

times.

The

song

runs

as

'Hā

koeliā

kulhuka

sunābe

Specimen

No.

||

P

D

Ś

|

n

D

P

M

|

M

G

R

|

G

M

P

D

|

M

P

Ś

n

|

D

M

P

D

|

M

G

|

M

G

R

S

|

S

G

M

P

|

D

M

G

|

N

S

G

M

|

P

D

N

Ś

|

N

Ś

n

D

|

P

D

N

Ś

|

Ś

G

M

||

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

Value

of

D.Un.

P.C.

Value

of

D.Couple

S

10

M

D.N.

S

G

P

30

M

D

S

-D.Un.

M

S

=50%

of

the

D

S

M

-D

S

G

i.c.

G

2nd

S

M

D

=67%

of

R

4

G

P

N

25

R

M

D

S

G

P

D

S

G

3rd

G

11

M

P

n

R

R

M

32

G

P

N

R

M

D

M

13

P

N

5

D

P

9

N

P

N

R

n

R

M

D

9

P

n

3

D

D

S

G

P

N

R

Total

64

Specimen

No.

||

P

D

P

Ś

|

n

D

P

M

|

M

G

G

|

M

P

D

|

M

P

Ś

n

|

D

M

P

D

|

M

G

|

M

G

R

S

S

|

S

G

M

P

|

D

M

G

|

N

S

G

M

|

P

D

M

P

N

Ś

|

R

g

R

Ś

|

N

Ś

n

D

|

D

N

Ś

N

|

Ś

M

G

M

||

Examination of Specimens by Relation of Notes

45

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 11½ M - D.N. S G P -29 M D S -D.Un. M D S =54% M D S R - 2½ S - 2nd R M D -26 D S G - 2nd g - 1 G - 3rd G P N -22½ S G P - 3rd G -10 M D S -35 R M D -4th M -15½ P n R -13 G P N - 5th P - 7½ P N R -15 n R M - 6th D - 8 D S G -29½ S g P - 7th n - 3 n R M -21 P N R - 8th N - 5 S g P -20 P n R - 9th Total 64 g P n -11½ g P n - 10th

Note that (a) R is used in the ascending, as Rg in the 13th bar, and (b) the note g is introduced without the least hesitation. Yet (1) the class motif remains M D S–D S G as in many other so-called classical specimens, (2) the strength appears to have increased in spite of Rg.

I should also point out that the first interpretation is one of the best of older interpretations of the song, while the second was remodelled by the late Ganapat Rao Vaiyasahcb, who was the 'Guru' of Shyamlalji. And Gohar Jan learnt it from Shyamlalji. The mere introduction of g in the design does not disturb or affect the motif, nor does it turn the presentation into one of Kāfi or Kāfi-Khambāj, provided that the artist knows how to set about the business of presenting the music. In the pages of 'Maarif-Un-Nagamat' we find a Dhrupad of Khambāj exhibiting g at the closing of the sentence. The song is attributed to no less a person than Ostad Muhammad Ali Khan Saheb, supposed to belong to the lineage of Mia Tanseyne. The order of Universals and couples is :

M D S—24 out of a total 48; strength=50%

D S G—23 ,, ,, ,, ,,

S G P—20½ ,, ,, ,, ,,

R M D—17 ,, ,, ,, ,,

The strength of S G M D—61% out of a total of 48.

Specimen No. 25.

The following is an interpretation of the song ‘More saiyān āye na sābanake dina bite’ which I learnt from the late Hakimjee of Calcutta, formerly of Lucknow.

|| P P | G P DnD P | D G—M | G — — | GR G—RS | R—SN S | SR G—RG | P P ||

The ascending track is S R G P D N. The descending track is n D P M G R S. The catch ‘n D P D G—M G—’ is quite distinct.

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S -2½ G -D.N. S G P -22½ S G P -D.Un. S G P =70% S G P -G P N i.e.

R -4 P -2nd R M D -8½ G P N -2nd of the total S G P N

G -14½ R -3rd G P N -20½ D S G -3rd value =72% or near about

M -2 M D S -7 P n R } 4th

P -5½ P n R -10 P N R }

D -2½ P N R -10 R M D -5th

n -½ D S G -19½ M D S -6th

N -½ n R M -6½ n R M -7th

Total 32

The class motif is S G P—G P N. The song stands by reason of the strength of the motif and not for the reason of its label

Examination of Specimens by Relation of Notes

47

as Khambāj or Behagadā, or Behag-Khambāj or any name imagined.

But, if a claim is put forward to the effect that it is as good a Khambāj as—specimen Nos. 1, 2, 3, 4, 5, 7, 9, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 23 and 24—then, such a claim is set aside, because the motif or essential design is different from that of the specimen numbers quoted.

Specimen No. 26.

Song: 'Are more sayian', Kramika Pustaka Malika, PartII.

N.V. C.V.N. U.V. C.V.U. P.C. P.C. Value of Value of D.Un. D.Couple

S −6¾ G - D.N. S G P −17¾ S G P - D.Un. S G P S G P R - 1 S - 2nd R M D - 7 G P N } 2nd =55% -G P N G - 8 N - 3rd G P N -17 D S G } of the i.e. M - 3¾ M D S - 12¾ M D S - 3rd total S G P N P - 3 PnR - 5¼ P N R - 4th =74% D - 2¼ P N R - 10 R M D - 5th of the n - 1¼ D S G - 17 n R M - 6th total N - 6 n R M - 6 PnR - 7th Total 32

54

Raga

and

Ragini

if

the

listener

is

not

biassed

against

the

popular

cadence

of

Dādrā.

Specimen

No.

Song:

'Paniya

bharana

kaise'

obtained

from

the

late

Hakimji.

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

Value

of

D.

Un.

D.

Couple

S

10

S

D.N.

S

G

P

15½

M

D

S-D.Un.

M

D

S

just

M

D

R

1½

M

2nd

R

M

D

8

S

G

P

2nd

over

2¼

P

3rd

G

P

N

12

D

S

G

M

3½

G

P

3¼

P

n

R

5th

D

3

P

N

R

6th

R

11¼

n

N

6½

R

Total

32

Specimen

No.

Song:

'Hori

āja

jāre'

from

Kramika

Pustaka

Malika

Part

II.

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

Value

of

D.

Un.

D.

Couple

S

6

P

D.N.

S

G

P

28¼

S

G

P

-D.Un.

S

P

just

S

G

R

4

D

2nd

R

M

G

5

G

P

N'

2nd

M

8½

P

G

P

N

26¼

P

N

M

D

S

23

P

n

R

4th

Examination

of

Specimens

by

Relation

of

Notes

57

Khambāj

because

of

the

introduction

of

g

to

the

general

design

of

Khambāj

.

There

are

anomalies

,

however

.

Iman

rāga

has

no

M

;

Kalyāni

has

no

M

.

But

we

come

across

Iman

Iman

Kalyāni

with

M

added

to

the

notes

of

Iman

.

Of

course

,

there

are

classical

specimens

of

Iman

Kalyāni

without

M

.

The

reason

for

such

an

introduction

will

be

discussed

later

on

.

Specimen

No

.

38

Song

:

'So

le

kaleja

me'

of

Jhamptala

,

Kramika

Pustaka

Malika

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

D.Couple

S

85⁄6

S

D.N.

S

G

P

212⁄3

S

G

S

G

P

=

of

the

total

value

R

11⁄6

G

2nd

R

M

D

108⁄9

D

S

G

2nd

G

7

P

3rd

G

P

N

173⁄4

M

D

S

3rd

M

51⁄2

M

S

181⁄6

G

N

4th

P

6

P

R

101⁄8

P

R

5th

D

4

P

R

112⁄3

R

D

6th

n

3

D

G

193⁄4

P

R

7th

N

42⁄3

n

M

95⁄6

n

M

8th

Total

40

I

finish

citing

examples

here

with

number

thirty-eight

.

My

original

work

deals

with

fifty-six

examples

of

Khambāj

,

the

majority

of

which

were

taken

from

published

notations

in

books

and

journals

dealing

with

the

music

of

Rāga

.

For

the

present

I

have

covered

all

the

varieties

that

I

have

come

across

.

Students

may

come

across

hundreds

of

new

examples

cropping

up

at

different

times

and

places

.

I

have

suggested

the

method

of

analysis

and

synthesis

in

general

.

Examination of Specimens by Relation of Notes

59

(d) The catch-phrases, n D-M, P D--M, M P D-M or P N S R N S, though occurring inside normal specimens of Khambäj, are not exclusive signatures for a normal Khambäj. They are merely artifices of presentation. For instance, the sentence P N S R | N S n D | P D M P D G-M, which is cyclic and complete by itself, shows that:

N.V. C.V.N. U.V. P.C. Value of D. Un. P.C. Value of D.Couple

S -2 P S G P -7 Each of the D.Universals is less than 50% in strength S G P D i.e.

R -1 D G P N -7 D. Un. -D S G -S G P has the highest value i.e. 10. That means 62% of the total value

G -2 S M D S -7 M -2 G D S G -7 P -3 M R M D 2nd D -3 N P N R 2nd n -1 P n R -3rd N -2 n R M -4th Total 16

Here the individual shows crowding of the four Universals, whereas the leading class-motif is S G P D by a combination of choice. Such an abnormal design does not compare favourably with the norm for Khambäj which shows, in order, MDS, DSG, SGP, GPN or MDS, DSG, SGP, RMD, GPN. Also, the note P as dominant cannot be associated with normal Khambäj.

Supposing, for the sake of argument, that the sentence is incomplete, and may have to be completed as || P N S R | N S n D | P D M P | D G-M | G-S G | M P D G | |-M n D | P G-M || We have:

In this example the individual as well as the class-motif, has become stronger. Yet the design scarcely approaches that of normal Khambāj. The individual and the class-motif are both of them confused.

Therefore the idea of signature by means of catch phrases (i.c. the Pakad or khās tāna, as it goes in colloquial Hindi) has to be abandoned, so far as the norm for Khambāj, or any rāga is concerned.

6. Regarding class-names or labels, we are justified in proposing that all specimens of Khambāj showing normality of design should be called simply Khambāj.

Except such a normal Khambāj by design, all the others showing abnormalities of design should be called Chitra Khambāj that is ‘Variety of Khambāj’.

7. A Chitra Khambāj does not mean that the specimen is necessarily weak by motif, or insipid or uninteresting by presentation. Strength or weakness of motif has nothing to do with labels.

On the contrary, a Chitra Khambāj may be exceptionally strong and interesting by itself, just as a freak or mutation may be stronger and prettier than a normal individual of the species.

Examination of Specimens by Relation of Notes

63

very well deserves the class name Bhīp-Kalyāṇa a name which is no longer in vogue.

4. Deśhkāra Rāga. This is associated with either D S G, or S G P as the dominant Universal, but invariably shows P, S, and D in the first three places and G and R as the lowest in value.

These four divisions are statistical. But the first two divisions are certainly categorical and will comprise any creation new or old, normal and abnormal within their folds. Examination shows, however, that the distinction and difference occur along with the categorical predominance of one of the two Universals forming the couple D S G-S G P.

Because such a distinction is natural, we are therefore logically justified in inferring that inversion occurring with the Universals of the leading couple (i.e. the prime class-motif) makes some distinction in the Rāga as a class, whether such distinctions are recognised as such or not during the actual presentation. This peculiar distinction occurs irrespective of the facts of normality and abnormality; and runs through each individual specimen, because each individual shows the leading Universal at least.

What is the natural distinction between the Universals D S G and S G P ? Why should we take it as natural ?

The answer is this—the total motif is represented by D S G P, that is to say, by S G P D. We have already accepted the naturalness of such modulations with reason. Such a couple, and certainly every other couple, shows complementary Universals. Examination shows that each Universal of such a couple is reducible to the categorical arrangement either of S g P or of S G P. These represent the major and the minor chords of European terminology and are the Khanda meru. D S G is equivalent to S g P ; S G P fundamentally remains as S G P. Now the musically trained ear appreciates a qualitative difference or some distinction between S g P and S G P. Such appreciation is natural or instinctive.

66

Raga

and

Ragini

Nevertheless,

the

European

system

recognises

the

peculiar

effects

of

the

major

and

minor

chords,

that

is

to

say,

the

modulation

values

of

S

g

P,

and

S

G

P,

or

simply,

of

S

g

and

S

G.

So

we

should

recognise

the

distinction

between

two

designs

such

as:

D

S

G

—

D.

Univ.

S

G

P

—

D.

Univ.

S

G

P

—

2nd

D

S

G

—

2nd

Though

the

class-motif,

viz.

S

G

P

D,

is

the

same

for

the

two

designs

and

such

a

class-motif

may

evolve

into

actual

Rāga,

such

as

Bhīpāli,

and

Suddha-Kalyāṇa,

with

S

R

G

P

D,

yet

the

basic

distinction

regarding

the

individual

dominance

of

an

Universal

has

to

be

recognised

as

such.

That

being

granted,

we

must

suppose

some

distinction

between

the

following,

whether

we

appreciate

it

or

not,

by

actually

hearing

the

presentations.

There

are

persons

who

do

not

care

to

recognise

the

distinction

between

presentations

of

normal

Bhūpāli

and

normal

Suddha-Kalyāṇa.

Similarly,

there

are

persons

who

do

not

care

to

recognise

the

distinctions

regarding

the

class

Khambāj.

That

does

not

matter

as

long

as

we

recognise

the

facts

of

such

inversion-designs.

M

D

S

—

D.

Univ.

D

S

G

—

D.

Univ.

D

S

G

—

2nd

M

D

S

—

2nd

S

G

P

—

3rd

S

G

P

—

3rd

R

M

D

or

G

P

N

—

4th

R

M

D

or

G

P

N

—

4th

Distinctions

based

on

inversion

of

design

concerning

the

leading

couple

being

taken

for

serious

consideration,

how

are

we

to

expound

or

clarify

them

regarding

our

examinations?

That

question

is

answered

after

we

have

studied

the

specimens

of

Rāga

Bhairava.

74

Raga

and

Ragini

as

shown

here.

Whether

this

Bhairava

belongs

to

species

a,

or

to

speccics

b

of

that

genus

is

a

question

which

has

to

be

settled

by

statistical

findings,

based

on

an

examination

of

strong

specimens,

claimed

to

represent

Rāga

Bhairava.

From

1919

to

the

present

day

I

have

examinced

more

than

one

hundred

and

fifty

claiming

to

belong

to

the

Bhairava

group.

Eliminating

weak

specimens,

I

have

come

to

conclude

that

the

group

which

follows

ought

to

be

labelled

as

normal

Bhairava.

{

r

M

d-M

d

S

the

D.

couple

i.e.

S

r

M

d

as

the

D.

motif.

{

r

G

d-G

d

N

the

Sub-dom.

couple

r

G

d

N

as

the

Sub-dom.

motif.

If

anyone

chooses

to

belicve

that

the

following

ought

to

be

labelled

as

normal

Blhairava,

there

is

not

the

slightest

harm,

provided

he

is

prepared

to

label

the

former

with

any

name

other

than

normal

Bhairava.

{

r

M

d-M

d

S—as

the

leading

couple

S

G

P-G

P

N—as

the

Sub-Dom.

couple

In

support

of

my

findings

I

should

say

that

the

notc

P

is

generally

missed

in

the

ascending

track,

that

thec

notc

P

is

not

very

prominant,

and

that

it

can

be

dispensed

with

altogether

without

disturbing

the

specific

feeling

due

to

Bhairava

as

a

species.

Thus

—

S

G

P

G

P

N,

containing

the

notc

P,

has

but

a

faint

claim

as

a

sub-dominant

motif.

‘Song:

‘Anataka

hajina’

from

Kramika

Pustaka

Malika,

Part

II.

Specimen

No.

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

Value

of

D.

Un.

D.Couple

S

9½

S

D.N.

S

G

P

22½

M

d

S-D.Un.

M

d

S

less

than

50%

of

the

total

M

d

S-r

M

d

i.e.

S

r

M

d

r

8½

r

2nd

S

G

P

r

d

20½

}

2nd

r

M

d

22½

r

M

d

G

5½

M

}

3rd

M

7½

P

G

P

N-15

r

G

d

3rd

=66%

Bhairava Raga

75

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

P - 7½ Gd N-14 nr M - 4th

d - 6½ Md S-23½ G P N - 5th

n - 1 nr M-17 Gd N - 6th

N - 2

Total 48

Here S G P N = 24½ and r G d N = 22½. Therefore it belongs to species (a) of class or genus r M D-M d S. The specimen is weak. But that docs not disallow its reception into the genus and species.

Specimen No. 45.

A instrumental picce of the Feroz Khani type, preferably for sarode and fairly popular among classical artists. It claims to be a Bhairava.

|| N SS GG MM | N.d.M | M PP G M | r GG MM PP | M.r.S | dd dd S.r.S | MG PM M.r.S ||

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. of Value of D.Couple

S - 5½ M - D.N. S G P - 11½ Md S } D.Un. Md S or r M d = 56% of the total value

r - 5½ S r G d - 12½ r M d } S r M d = 73%

G - 3½ G d r M d - 18 r G d - 2nd

M - 9 G P N - 8½ S G P - 3rd

P - 2½ Gd N - 9½ Gd N - 4th

d - 3½ Md S - 18 G P N - 5th

N - 2½

Total 32

Bhairava Raga

||PdMPMG|MMPP|d--P|--MM|PdNŠNd|

|-PMP|MGMG--r|GPM-|rGGr|-SPd|PdPd|MPGM||

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

Value of

D.Un.

P.C.

S - 1½

P - D.N.

S G P - 21¾

rMd-D.Un.

r - 4

M - 2nd

rGd - 19¾

MdS - 2nd

G - 6¾

d - 3rd

rMd - 24¾

S G P

M - 11¾

GPN - 21¼

GPN

P - 13½

GdN - 17¼

rGd - 4th

d - 9

MdS - 22¼

GdN - 5th

N - 1½

Total 48

rMd is

just

over 50%

of the total value

rMd -MdS

i.e.

SrMd

= 54% of the total value

Evidently S G P N is the sub-dominant motif.

Ostad Visvanathji, Lachmiprasad Misra, Radhikamohana Goswami, Pathakji of Kashi, all of them Dhrupadiyas of the old times, had minor disagreements about Rāgas.

Yet they sang Rāmakeli with S r G M P d N, and sometimes with n also, but never introduced m into the design.

Ostad Muhammad Ali Khan Sahab, classicalist, agreed to both of such scales.

The case is like that of Iman Kalyāṇa.

The older school had nothing to do with M in the design.

The new school introduces M inside the Iman Kalyāṇa with S R G m P D N.

I am of the opinion that failure to distinguish between Bhairava and Rāmakeli, both with S r G M P d N is responsible for the creation of an artificial distinction between them, by the introduction of m.

Similarly, M was introduced just to distinguish between Iman and Imana Kalyāṇa.

78 Raga and Ragini Specimen No. 48. Here is an analysis of a specimcn of Rāmakeli from Maarif-un-Nagamat from Maarif-un-Nagamat credited to Ostad Muhamınad Ali Khan Sahab. Song ‘Utho pyaro bhor’

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple S - 6 P - D.N. S G P - 23½ M d S-D.Un. M d S just over 50% r - 5 M - 2nd r G d - 18½ r M d r M d =61 % of the G - 4½ d - 3rd r M d - 23½ S G P total value M - 9½ M d S- 24½ r G d -3rd P - 13 n r M - 15½ n r M - 4th d - 9

Total 48 N occurs in the fourth movement of the presentation. Therefore the Universals GPN and GdN are certainly in the design but suppressed in the first movement. Assuming the value of N as zero, we have GPN= 17½ and GdN = 13½. That gives us a comparative order of Universals as

MdS—D. Universal. rMd SGP —2nd rGd—3rd GPN—4th nrM—5th GdN—6th Now, we have S G P N = 23½, and rGdN= 22½. Thus, we can say that S G P N is a sub-dominant and rGdN is a

80

Raga

and

Ragini

Because

the

note

N

appears

in

the

second

movement,

we

might

therefore

say

that

N

is

suppressed

in

the

first

move-

ment.

Granting

a

value

zero

for

N,

we

have

GPN=14½

and

GdN

=13.

Thus

the

design

intended

is

as

follows

:

SGP—18½

D.

Universal.

rMD—MdS—D.

Couple

MdS—17½

2nd

SrMd—D.

motif.

rMd—16½

3rd

rGd—16

4th

GPN—14½

5th

GdN—13

6th

Now,

S

G

P

N

=18½,

and

r

G

d

N

=16.

That

means,

S

G

P

N

is

the

subdominant

motif,

and

r

G

d

N

is

the

subsidiary

motif.

That

is

to

say,

the

design

is

similar

to

Nos.

46,

47

and

It

matters

little

whether

m

is

used

or

not

in

such

a

design.

Specimen

No.

A

Sargam,

labellcd

as

'Bhairava-tritalā,

madhyalai,

Kalābanti'.

The

adjective

Kalābanti

may

qualify

either

Bhairava

or

tritalā

or

madhyalai,

or

any

two,

or

even

the

three

of

them,

as

possibilitics.

I

am

unable

to

determine

the

meaning

beyond

all

doubt.

Sec

Kramika

Pustaka

Malika,

the

very

first

example

of

Bhairava.

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

D.Un.

Value

of

D.Couple

S

—1

G

—D.N.

SGP—19

rGd—D.Un.

rGd

=66%

rGdN

=75%

of

the

total

r—10

r—2nd

rGd—32

GdN—2nd

G—15

M—3rd

rMd—25

rMd—3rd

M—8

D—4th

GPN—22

GPN—4th

82 Raga and Ragini

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S - 1½ G - D.N r G d -2½ r G d -D.Un. r G d r G d N r - 6 r - 2nd r M d -11½ G d N - 2nd over 65% of the total value =79% of the total value G - 12 N - 3rd M d S - 7 r M d - 3rd M - 2 G d N -20 M d S - 4th m - 2½ d - 3½ N - 4½ Total 32

The similarity in musical feeling between Nos. 49 and 50, may be personal. However, others may feel it for themselves. The find, viz. r G d N = seventy-nine per cent, is not personal however, nor is the commonness regarding the dominant Universals and the leading motif a personal element.

Specimen No. 51.

Song: 'Keo re mana elāhike nāma' of Shuddha-Dhanāshri, according to Ostad Badal Khan Sahab. The song is in slow tempo.

|| mmGr GmdN | md Gm rG rS | Sr-S | rNr-S | r rN r G || - Gr G | -- m d | mdNS Nr N d | m G ||

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple S - 3¾ r - D.N. r G d -20¾ r G d -D.Un. r G d =64% r G d N =74% of the total value r - 9¼ G - 2nd G d N -14¼ G d N - 2nd G - 8½ m - 3rd

84

Raga

and

Ragini

Here

S

G

P

N

=

20;

r

G

d

N

=

191⁄2.

Thus,

S

G

P

N

represents

the

sub-dominant

motif.

The

words

of

the

song

are

intended

to

give

broad

hints

regarding

the

body

or

structure

of

the

rāga

Bhairava.

The

words

in

the

second

movement

of

the

song

mean

that

d

is

the

Amsa

note.

The

appellation

amsa

is

not

clear

at

all.

Whether

amsa

is

the

same

as

Vādi

or

not,

it

is

evident

that

the

note

d

in

this

specimen

is

far

from

being

dominant.

Specimen

No

53

Song:

'Bhere

bhailo'

from

Kramika

Pustaka

Malika.

There

is

variation

for

the

first

two

bars.

Therefore

two

computations

are

given

as

follows:

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

Value

of

D.Un.

P.C.

Value

of

D.Couple

S

6

d

-D.N.

S

G

P

-221⁄2

r

G

d

-D.Un.

r

G

d

=52%

of

the

total

value

Sr

Md

(which

is

greater

than

r

G

d

N)

r

-5

G

2nd

r

G

d

-25

M

d

S

-2nd

G

-9

M

r

Md

-231⁄2

r

Md

-3rd

M

-71⁄2

P

G

P

-71⁄2

N

-181⁄2

S

G

-4th

d

-11

G

d

N

-2

N

-5th

Total48

M

d

S

-241⁄2

G

P

N

-6th

=61%

We

find

an

example

where

d

is

the

dominant

note

and

r

G

d

N

is

the

sub-dominant

motif.

It

claims

to

be

put

in

the

same

class

with

Nos.

39,

41,

43

and

Bhairava Raga

3rd to 14th bar.

85

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 6

G - D.N.

S G P - 23

M d S-D.Un. M d S =50% of the total value

r - 5 G - 9½

M d 2nd

r G d - 23½ r G d - 2nd r M d - 23 r M d 3rd

r M d i.e. S r M d =60% of the total value

M - 9

P - 3rd

G P N - 19 S G P

P - 7½

G d N - 20½ G d N - 4th

d - 9

M d S - 24 G P N - 5th

N - 2

Total 48

Here r G d N = 25½; S.G P N = 25. Thus r G d N is the sub-dominant motif. The disposition of the bars shows that this second variant opening is really intended to be musically demonstrated, cyclically or repeated.ly. Here, the note 'd' is no longer the dominant note.

Specimen No. 53.

Song: 'Meherko najar' from Kramika Pustaka Malika. Bars 2nd to 13th inclusive.

N.V.

C.V N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 9 r - 6 G - 4½

S M d D.N.

S G P - 20 r G d - 19½ r M d - 2nd r M d - 3rd

M d S - D.Un. M d S = 56% of the total value S r M d = 68% of the total value

86

Raga and Ragini

N.V.

C.V.N.

N.V.

C.V.N.

U.V.

C.V.U.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

M - 9

P - 2nd

G P N - 15

r G d - 4th

P - 6½

G d N - 17½

G d N - 5th

d - 9

M d S - 27

G P N - 6th

N - 4

Total 48

Here r G d N = 23½ S G P N = 24. Thus S G P N is the sub-dominant motif.

Specimen No. 54.

Song: 'Pravu dātā' from Kramika Pustaka Malika. The first bar is excluded.

N.V.

C.V.N.

U.V.

C.V.U.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 5

M -D.N.

r M d - 21

r M d -D.Un.

r - 6

r - 2nd

M d S - 20

M d S - 2nd

M - 12

S - 3rd

n r M - 19

n r M - 3rd

P - 4

d - 3

n - 1

N - 1

Total 32

The collector of the specimens enlisted in Kramika Pustaka Malika, as well as the editor, does not find any difficulty in enlisting this among specimens of Bhairava. Or, putting it the other way, they do not find sufficient reason for classing this specimen along with similar specimens of what is

88

Raga

and

Ragini

Here,

r

G

d

N

is

sub-dominant.

I

stop

here,

because

all

the

possible

varieties

of

design

claimed

as

Bhairava

rāga

have

been

presented

in

the

preceding

text.

I

will

present

my

ideas

about

the

structure

of

Bhairava

with

S

r

G

M

P

d

N

based

on

such

findings.

M

d

S

r

M

d

is

the

leading

couple;

S

r

M

d

is

the

dominant

motif.

And,

surely,

M

d

S

is

the

dominant

universal.

This

means

that

any

of

S,

M,

or

d,

may

be

dominant.

The

note

'r'

will

never

be

dominant,

because

if

that

was

so,

then

r

M

d

would

be

greater

than

M

d

S.

r

G

d

N

is

the

sub-dominant

motif;

S

G

P

N

is

the

third,

subsidiary

motif.

The

conditions

may

be

met

with

in

three

designs

such

as

:

(1)

(2)

(3)

M

d

S-D.Un.

M

d

S-D.Un.

M

d

S-D.Un.

r

M

D-2nd

r

M

d-2nd

r

M

d-2nd

r

G

d

-3rd

S

G

P-3rd

r

G

d

-3rd

G

d

N-4th

r

G

d

-4th

S

G

P-4th

S

G

P-5th

G

d

N-5th

G

d

N-5th

In

each

casc,

however,

r

G

d

N

should

be

the

sub-dominant

motif.

Of

three

such

designs

the

first

is

to

be

understood

as

'regular'

in

the

sense

that

the

order

of

the

2nd,

3rd

and

4th

Universals

manifestly

points

to

the

sub-dominance

of

r

G

d

N.

The

second

and

the

third

are

to

be

understood

as

'irregular'

in

the

sense

that

the

order

does

not

manifestly

prove

the

sub-dominance

of

r

G

d

N.

And

the

sub-dominance

has

to

be

worked

out.

All

other

designs,

with

M

d

S

as

the

dominant

Universal

and

S

G

P

N

as

the

sub-dominant

motif,

should

be

considered

as

Chitra

Bhairava

i.e.

variety

of

Bhairava.

NORMAL

VERSUS

VARIETY

We

had

the

normal

and

the

varieties

for

Khambāj.

We

also

have

the

normal

and

varietics

for

Bhairava

Rāga.

92

Raga

and

Ragini

feel

the

distinction.

These

others

are

spread

all

over

the

world.

I

feel

it

myself,

so

I

appraise

my

feelings

and

try

to

find

out

the

cause

which

goes

to

make

such

distinction.

The

distinction

between

the

feels

concerning

'M

d

S'

and

'r

M

d'

is

similar.

In

fact,

the

same

distinction

is

felt

between

the

two

Universals

going

to

make

a

couple.

The

dominance

of

M

d

S

in

a

specimen

really

means

a

cumulated

impression

created

in

the

mind

of

the

hearer

by

the

fact

of

impingement

of

the

notes

M,

d,

and

S.

If

the

specimen

is

strong

i.e.

when

M

d

S

is

greater

than

50

per

cent

of

the

total

value,

certainly

the

impression

created

by

M

d

S

over-

rules

the

other

specific

impressions

duc

to

other

Universals.

Similarly,

the

dominance

of

M

d

S,

over

d

S

g,

regarding

the

presentation

of

rāga

Mālkoush

creates

a

similar

impression

with

a

different

setting.

The

name

Mālkoush

is

an

abbreviation

of

'Malla-Koushika'

meaning

generally,

he

who

plays

with

a

serpent.

Specifically

it

means

'Shiva'.

Just

as

Bhairava

is

a

male

rāga,

so

is

Mālkoush.

Such

is

true

also

for

the

rāga

called

Bhūpāl

or

Bhūpāli,

or

Bhūp

which

shows

D

S

G

as

the

dominant

universal.

A

similar,

but

vivid

impression

is

created

by

the

same

D

S

G

in

a

setting

of

rāga

Hindole.

The

rāga

Suddha-Kalyānā

or

Kalyāni

with

S

R

G

P

D

as

the

scale,

is

based

on

the

dominance

of

S

G

P.

The

variant

names,

as

for

example,

Bhūp,

Bhūpal

and

Bhūpāli,

or

Kalyān-Kalyāni,

or

Lalat-Laltā,

Khammāch-Khamāchi

appear

to

be

mere

dialectal

accidents,

superficially.

Yet,

the

entities

which

are

signified

by

them,

reveal

on

examination

the

inversion

of

the

Universals

of

the

structurally

dominant

couples.

Let

us

take

a

few

of

them

for

cursory

study.

94

Raga

and

Ragini

I

cannot

help

saying

that

properly

interpreted

by

techniques

such

as

meerh

and

sut,

the

song

brings

out

with

grace

and

loveliness,

the

pathos

of

d

S

g,

a

motif

which

aptly

responds

to

the

aesthetic

and

ethical

character

of

a

Dheera

naika

who

is

the

speaker

of

the

words

of

the

song.

As

events

of

my

life

worth

remembering,

I

have

heard

all

sorts

of

Bhairavi,

pretty,

graceful,

splendid,

vivacious,

flimsy,

coy,

or

even

heroic

and

austere,

of

the

types

of

Dhrupad,

Kheyal,

Thumri,

Tappa,

Gazal,

Bhajan,

Dadra,

and

what

not.

And

yet,

I

have

not

met

the

equal

of

this

song,

so

far

as

the

ethos

of

d

S

g

is

concerned.

All

honour

gocs

to

the

composer,

and

to

such

other

composers

of

song,

who

have

the

proper

clarity

of

aesthetic

vision

in

combining

the

meaning

and

innuendo

of

the

words

with

the

spirit

of

the

raga.

Here

is

another,

from

the

same

composer.

||

d

P

d

M

|

d

M

M

g

|

g

g

g

M

|

g

r

S

S

|

r

n

S

d

d

|

d

n

S

S

|

g

g

r

S

|

n

S

d

P

g

M

||

It

shows:

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

P.C.

Value

of

D.Un.

Value

of

D.Couple

S

8

d

-D.N.

S

g

P

-18

1/3

d

S

g

-D.Un.

d

S

g

M

d

S

d

S

g

M

i.e.

=67%

r

3

1/2

S

r

M

d

-19

1/2

M

d

S

-2nd

of

the

total

value

S

g

M

d

=80%

of

the

total

g

8

1/3

g

g

-12

5

r

M

d

-3rd

M

4

2/3

M

M

-3rd

M

d

S

-23

2/3

S

g

P

-4th

P

2

d

S

g

-27

1/3

g

P

n

-5th

d

11

n

r

M

-10

2/3

n

r

M

-6th

n

2

1/2

Total

40

The

name

Bhairavi,

in

the

feminine,

is

quite

fit

in

the

sense

that

M

d

S

as

the

dominant

Universal

finds

its

best

expression

Bhairavi

99

Pahār

S R G P D

and so forth. All of these entities are done with

Because of only one couple and two possible dominant

features, we naturally infer that there ought to be two rāgas

only. But in fact there are many, and statistical study alone

shows that with only one class motif there might occur

different groups of rāgas, normals and varieties.

What has happened with the scale of notes S, R, G, P, D with

only the couple D S G—S G P, may certainly be expected to

happen with the notes S R M P n with only the couple P n R—

n R M. In other words, two stable groups represent the two

stable motifs P n R and n R M. All others spring from such

groups as varieties, and certainly merge in them regarding

class-motif.

I shall not go into the details regarding the rāgās Sāranga,

Megha, Megha-Mallār, and other Mallāras. They form a subject,

and a very interesting one, requiring special study.

But I will say generally and for the present that (a) the

word Sāranga in Sanskrit (certainly not the word Shārnga

in Sanskrit) means Megha or cloud, though it means other

things also; (b) the rāga Sāranga is a particular variety of the

traditional Megha rāga which shows a preponderance of PnR;

(c) the fact that specimens of Megha as a male entity are rare,

goes to prove that this particular rāga has surrendered its

speciality and has merged into the norm of a male entity named

Sāranga, which also incans Megha after all.

These are the best of a number of examples which show that

inversion of the dominant couple was appreciated and accepted

as a new rāga with a new name, the class-motif remaining

the same as ever.

Such is the reason why I have chosen for the Bhairava Rāga

the dominance of the Universal M d S, instead of the domi-

nance of r M d.

Likewise we may say that the norm accepted for the rāga

Khambāj, with M D S as dominant, shows it to be a female

Ramakeli and Others

107

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 5 r - 5

G M } D.N.

S G P - 22½ r G d - 20½

S G P-D.Un. r M d

G - 9½

P - 2nd

r M d - 20½

r M d } 2nd

M - 9½

d - 3rd

G P N - 19½

M d S

m - 1

G d N - 17½

G P N - 3rd

P - 8

M d S - 20½

G d N - 4th

d - 6

m n r - 8

n r M - 5th

n - 2

n r M - 16½

m n r - 6th

N - 2

Total 48

Specimen No. 60.

Song: 'Sagari rainake' from Kramika Pustaka Malika, Part IV

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 4½

P - D.N.

S G P - 25

S G P -D.Un.

r - 4½

M - 2nd

r G d - 15

G P N - 2nd

G - 7

G - 3rd

r M d - 19½

r M d } 3rd

M - 11½

G P N - 22½

M d S

P - 13½

G d N - 12½

n r M - 4th

d - 3½

M d S - 19½

r G d - 5th

n - 1½

n r M - 17½

G d N - 6th

N - 2

Total 48

GYANLOK LIBRARY

4544

11574

Ramakeli and Others

111

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

M - 4½

M - 3rd

G P N - 15½

r G d

P - 7½

G d N-13

G d N

4th

d - 5

M d S-13½

r M d

• 5th

N - 3

Total 32

Here, S r M d is the sub-dominant motif and r G d N is the subsidiary.

Specimen No. 66.

Popular song, generally accepted as Kalangrā.

|| Ś N| d P-D| M P G M| G---| G M G r| G---| Gr S-|

| Ṇ S G M| P d N Ś| Ś G ṛ Ś| -ṛ N Ś| d Ś N d | P -||

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 10

G - D.N.

S G P -30

S G P -D.Un.

r - 4

S -2nd

r G d -23

G P N -2nd

G - 14

P -3rd

r M d -13

G d N -3rd

M - 4

G P N-25

r G d -4th

P - 6

G d N-24

M d S -5th

d - 5

M d S-19

r M d -6th

N - 5

Total 48

S G P =61% of the total value

S G P -G P N i.e. S G P N =71% of the total value

114

Ragu and Ragini

Specimen No. 69.

The song: 'Eman din ar pābe nāre', is a popular Bengali song. The following interpretation, credited to Gohar Jan Baiji, as I actually had the good fortune to hear it from her, not only does justice to the song, but to Gohar Jan also, a unique personality who had her ears alive to the beauty of all sorts of musical compositions and the genius to interpret folk tunes, caring little for the biassed criticism on the part of connoisseurs of classical forms.

||M|M M M|MP̄ G-|G ḠM Pd|MP-M|M̄n d P|G M G|r S r|N S d|N S-||

N.V. C.V.N. U.V. C.V.U. P.C. Value of D.Un. P.C. Value of D.Couple

S -6 M-D.N. S G P-15 M d S-D.Un. M d S =55% of the total M d S -r M d i.e. S r M d =61% of the total value

r -2 S-2nd r G d-10 S G P-2nd G-5½ G-3rd r M d-12½ r M d-3rd M-8 G P N-11 G P N-4th P-3½ G d N-10 n r M-5th d-2½ M d S-16½ r G d 6th n-½ n r M-10½ G d N}6th N-2 Total 30

Here S G P N is the sub-dominant motif. This also is popularly called Gouri.

Specimen No. 70.

Song: 'E mãyā prapanchamaya' with a popular tune, called Khat.

||R R̄M|M-M|P-|P P-|P d|Ś-Ś|N Ŝ|N dP|d d|d-d|P n|d-P|M P|MP̄d P|M G|r S-||

After the full sentence is sung, the opening bars are cyclically repeated, and with the fourth bar a beautiful improvisation occurs as follows :

118

Raga and Ragini

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

G - 5

P - 2nd

r M d -17

r G d

M - 5

G

G P N -14

r M d

P - 7

M

G d N -15

G d N

d - 8

M d S -21

G P N

n - 1

N - 2

Total 40

Although r G d and G d N are nearer to each other in order than S G P and G P N, still S G P N is the sub-dominant motif by reason of valuc.

Specimen No. 75.

Song: 'Pyari ayi' Rañkali Jhabtãla

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S - 6

d -D.N.

S G P - 17½

M d S

r - 3

P - 2nd

r G d - 17½

r M d

G - 3½

S - 3rd

r M d - 19½

S G P

M - 5½

G P N-12½

r G d

P - 8

G d N-15½

G d N

d - 11

M d S - 22½

G P N

n - 2

n r M - 10½

n r M

N - 1

Total 40

Ramakeli and Others

119

Here S G P N = 18½; r G d N = 18½. Thus both S G P N and r G d N contend for sub-dominance.

Specimen No. 76.

Song: 'Achho rangile' Ramakali Jhūmrā

N.V.C.V.N.U.V.C.V.U.P.C. Value of D.Un.P.C. Value of D.Couple

S - 8 M -D.N. S G P - 26 M d S - D.Un. M d S = 55% M d S -r M d i.e. r - 6 P - 2nd r G d - 20¾ r M d - 2nd of the total value S r M d = 66% G - 6 d - 3rd r M d - 29 S G P - 3rd of the total value M - 14¼ m - ½ P - 12 d - 8¾ n - ½ Total 56

Specimen No. 77.

Song: 'Darbara dhaun' Ramakali Tritāla

N.V.C.V.N.U.V.C.V.U.P.C. Value of D.Un.P.C. Value of D.Couple

S - 10 d -D.N. S G P - 22 M d S -D.Un. M d S = 53% M d S -r M d, i.e. r - 6 S - 2nd r G d - 19½ S G P - 2nd of the total value S r M d = 65% G - 2¾ P - 3rd r M d - 21½ r M d - 3rd of the total value M - 4¾ G P N - 14 r G d - 4th m - 1 G d N- 15½ G d N - 5th

120

Raga

and

Ragini

N.V.

C.V.N.

U.V.

C.V.U.

P

-9½

MdS

-2½

GPN

-6th

d

-10½

mnr

-8½

nrM

-7th

n

-1½

nrM

-12¼

mnr

-8th

N

-2

Total

48

Here

SGPN

is

the

sub-dominant

motif.

Specimen

No.

Song:

'Medā

dil'

Ramkali

Ektāla

N.V.

C.V.N.

U.V.

C.V.U.

P.C.

Value

of

D.Un.

P.C.

Value

of

D.Couple

S

-1½

P

}

D.N.

SGP

-10½

rMd

-D.Un.

rMd

=50%

MdS

-rMd,

i.c.

r

-3

M

}

rGd

-9

MdS

}

2nd

of

the

total

value

G

-3

r

}

rMd

-12

SGP

}

2nd

M

-6

G

}

GPN

-9½

nrM

-3rd

2nd

P

-6

d

}

GdN

-6½

GPN

-4th

d

-3

MdS

-10½

rGd

-5th

n

-1

nrM

-10

GdN

-6th

N

-½

Total

24

Here

SGPN

is

the

sub-dominant

motif.

Ramakeli and Others

Specimen No. 79.

Song: 'La sahebko māma' Ramkali Ektāla

N.V.

C.V.N.

U.V.

C.V.U.

P.C. Value of D.Un.

P.C. Value of D.Couple

S -1½

P -D.N.

S G P -11½

r M d -D.Un.

r -2½

d -2nd

r G d -10½

S G P -2nd

G -3

M -3rd

r M d -12

M d S -3rd

M -4½

G P N-10½

r G d }4th

P -7

G d N -8½

G P N }

d -5

M d S -11

G d N -5th

N -½

Total 24

r M d =50% of the total value

S r M d =56% of the total value

Here S G P N is the sub-dominant motif.

I will not enlarge the list of examples. There are many more recorded in other books. I examined them and found all of them falling under one or other of the groups placed here.

Let us analyse first of all those which are labelled as Ramkali or Ramakeli. Such are specimens Nos. 56, 57, 58, 59, 60, 61, 62, 64, 71, 72, 73, 74, 75, 76, 77, 78 and 79.

We find that (a) the dominant note is varying, (b) the actual scale of notes is varying, yet all are labelled as Ramkali.

From our point of view can we fix any common design or norm for Ramakeli or not ? Yes, we can.

Taking into consideration these seventeen specimens only, and setting aside the issue of names assigned by various authorities, we find two big groups :

(A) r M d—M d S couple as the dominant couple, S r M d as the dominant motif.

(B) S G P—G P N couple as the dominant couple, S G P N as the dominant motif.

124

Raga

and

Ragini

I

have

tried

to

follow

the

thread

of

tradition,

viz.

Ramakeli

is

a

female

entity,

'one

of

the

wives

of

Bhairava'.

We

must

remember

that

a

number

of

specimens

belonging

to

this

class

have

been

enlisted

empirically

under

the

title

of

Bhairava.

In

doing

this

kind

of

work,

we

have

also

to

remember

that

our

intention

is

not

to

discard

or

neglect

some

one

or

more

of

the

specimens;

far

from

it.

We

cannot

neglect

the

empirical

names

and

intentions,

too,

because

the

world

goes

by

empirical

names

and

practical

outlooks.

Nevertheless

we

are

compelled

to

observe

that

it

is

easy

to

produce

a

thing

or

to

utilise

it,

and

it

is

as

easy

to

name

it

by

any

trick

of

the

imagination

or

popular

belief.

But

it

is

very

difficult

to

classify

things

from

the

point

of

objective

findings,

and

it

is

as

difficult

to

put

class

labels

which

will

distinguish

one

class

from

another.

We

are

tempted

to

put

new

class

names

as

labels,

irrespective

of

tradition.

But

that

is

not

wholesome.

Doing

so

will

set

everything

to

psy-turvy.

On

the

other

hand,

we

possess

the

clues

in

the

form

of

class

names.

Therefore

first

and

foremost

we

should

avail

ourselves

of

such

clues.

In

the

absence

of

any

clue

whatsoever,

we

shall

be

justified

in

proposing

a

new

name.

Group

B

Once

we

determine

the

classes

and

the

norms

regarding

Bhairava

and

Ramakeli

or

Ramkali,

and

Ahiri,

as

we

have

done,

we

cannot

put

the

specimens

which

reveal

S

G

P

N

as

the

class-motif

in

the

classes

named

Bhairava,

Ramakeli

or

Ahiri.

The

reasons

are

objective

and

obvious.

Therefore

we

have

to

define

two

other

classes

by

means

of

the

class-motif

such

as

(a)

S

G

P

—

G

P

N

i.e.

S

G

P

N

and

(b)

r

G

d—G

d

N,

i.e.

r

G

d

N.

There

is

no

other

alternative

from

the

objective

point

of

view.

Of

those

two

classes,

one,

i.e.

with

S

G

P

N

as

the

class

motif,

will

comprise

within

its

fold

the

specimens

of

group

B

and

will

give

rise

to

two

distinct

norms

as

follows

126

Raga

and

Ragini

No.

69

is

a

varicty

of

Bhairava,

as

we

have

tabulated;

such

also

is

No.

GENERAL

PRINCIPLES

OF

CLASSIFICATION

OF

SPECIMENS

WITH

THREE

COUPLES

Taking

the

scale

S

r

G

M

P

d

N

for

instance,

which

shows

three

couples,

r

Md—M

d

S,

S

G

P—G

P

N

and

r

G

d—G

d

N,

we

are

justified

in

supposing

that

the

outstanding

motif

represen-

ted

by

the

dominant

couple

is

the

signature

of

the

class,

i.e.

the

fundamental

class.

The

class,

as

signified

by

the

dominant

class-motif,

may

undergo

primary

modification

by

the

co-existence

of

the

sub-

dominant

motif,

and

secondary

modification

through

the

agencies

such

as

subsidiary

and

other

couples.

All

such

modifi-

cations

involve

the

class

of

the

thing.

In

the

case

of

cntitics

exhibiting

S

r

G

M

P

d

N,

signifying

the

dominance

of

the

r

M

d—M

d

S

couple,

and

with

S

r

M

d

as

the

dominant

motif,

we

have

the

class

with

its

modifications

as

follows

S

r

M

d—dominant

motif

r

M

d—M

d

S--dominant

couple

I

S

G

P

N—sub-dom.

motif

r

G

d

N—sub-dom.

motif

S

G

P—G

P

N—couple

r

G

d—G

d

N—couple

r

G

d—G

d

N—subsidiary

S

G

P—Ġ

P

N—subsidiary

The

class

is

represented

by

r

M

d—M

d

S;

the

sub-classes

by

I

S

G

P—G

P

N

and

II

r

G

d—G

d

N.

If

the

concept

of

individuals

of

the

class

and

sub-classes

is

now

necessary

for

our

understanding,

then

we

have

to

begin

with the incidence (a) r M d as the dominant individual motif,

(b) M d S as the dominant individual motif. Thus we have the following individualities of the class :

(1) r M d as the dominant Universal and standing for feminine individuality regarding the motif.

(2) M d S as the dominant Universal and standing for masculine individuality, regarding the motif.

Each of these may undergo further evolution accordingly as (a) S G P–G P N is sub-dominant or (b) r G d–G d N is sub-dominant. Lastly, each of such evolutes may individuate accordingly as (a) S G P or G P N predominates, one over the other, (b) r G d or G d N predominates, one over the other.

Thus, we have sixteen kinds of regular individuated evolutes, all of them springing from one, single, common motif, viz., S r M d as the class-motif, and all of them made up of the notes S r G M P d N. They show the following designs and essentially individuated characters :

1

Class design:

r M d — MdS — Dominant Couple

S r M d — Dominant class-motif

S G P N — Sub-dominant motif

r G d N — Subsidiary motif

Regular individuated design of the class:

M d S — Dominant Universal

r M d — 2nd

S G P — 3rd

G P N — 4th

128 Raga and Ragini

r G d — 5th Universal G d N — 6th

Popular or empirical names Bhairava, Ramakeli, ctc. Suggested scicntific name Bhairava rāga variety No. 1.

2 Class design: r M d — M d S—Dominant couple S r M d — Dominant class motif S G P N — Sub-dominant motif r G d N — Subsidiary motif

Regular individuated design of the class: M d S — Dominant Universal r M d — 2nd S G P — 3rd G P N — 4th G d N — 5th r G d — 6th

Popular or empirical names—Bhairava, Ramakeli, etc. Suggested scientific namc—Bhairava rāga variety No. 2.

Ramakeli and Others

3

Class design:

Sr M d — M d S-Dominant couple

Sr M d — Dominant class-motif

S G P N — Sub-dominant motif

r G d N — Subsidiary motif

Regular individuated design of the class:

M d S — Dominant Universal

r M d — 2nd.

G P N — 3rd.

S G P — 4th.

r G d — 5th.

G d N — 6th.

Popular empirical names—Bhairava, Rāmakeli, etc.

Suggcsted scientific namc—Bhairava rāga variety No. 3.

4

Class design:

r M d — M d S dominant couple

S r M d — dominant class-motif

S G P N — sub-dominant motif

r G d N — subsidiary motif

Regular individuated design of the class:

M d S — Dominant Universal

r M d — 2nd.

G P N — 3rd.

S G P — 4th.

G d N — 5th.

r G d — 6th.

130

Raga

and

Ragini

Popular

empirical

names—Bhairava,

Rāmakeli,

etc.

Suggested

scientific

name—Bhairava

rāga

variety

No.

5

Class

design:

r

M

d

—

M

d

S-Dominant

couple

S

r

M

d

—

Dominant

class-motif

r

G

d

N

—

Sub-dominant

motif

S

G

P

N

—

Subsidiary

motif

Regular

individuated

design

of

the

class:

M

d

S

—

Dominant

Universal

r

M

d

—

2nd.

r

G

d

—

3rd.

G

d

N

—

4th.

S

G

P

—

5th.

G

P

N

—

6th.

Popular

empirical

names—Bhairava,

Rāmakeli,

etc.

Suggested

scientific

name—Bhairava

rāga

Normal.

6

Class

design:

r

M

d

—

M

d

S-Dominant

couple

S

r

M

d

—

Dominant

class-motif

r

G

d

N

—

Sub-dominant

motif

S

G

P

N

—

Subsidiary

motif

Regular

individuated

design

of

the

class:

M

d

S

—

Dominant

Universal

r

M

d

—

2nd.

r

G

d

—

3rd.

G

d

N

—

4th.

G

P

N

—

5th.

S

G

P

—

6th.

Ramakeli and Others

131

Popular empirical names—Bhairava, Rāmakeli etc.

Suggested scientific name—Bhairava rāga variety No. 5.

7

Class design:

r M d — M d S-Dominant couple

S r M d — Dominant class-motif

r G d N — Sub-dominant motif

S G P N — Subsidiary motif

Regular individuated design of the class:

M d S — Dominant Universal

r M d — 2nd.

G d N — 3rd.

r G d — 4th.

S G P — 5th.

G P N — 6th.

Popular empirical names—Bhairava, Rāmakeli etc.

Suggested scientific name—Bhairava rāga variety No. 6.

8

Class design:

r M d — M d S-Dominant couple

S r M d — Dominant class-motif

r G d N — Sub-dominant motif

S G P N — Subsidiary motif

Regular individuated design of the class:

M d S — Dominant Universal

r M d — 2nd.

G d N — 3rd.

r G d — 4th.

G P N — 5th.

S G P — 6th.

132

Raga

and

Ragini

Popular

empirical

names—Bhairava,

Rāmakeli, etc.

Suggested

scientific

name—Bhairava

rāga variety No. 7.

9

Class

design:

r

M

d

—

M

d

S—Dominant

couple

S

r

M

d

—

Dominant

class-motif

S

G

P

N

—

Sub-dominant

motif

r

G

d

N

—

Subsidiary

motif

Regular

individuated

design

of

the

class:

r

M

d

—

Dominant

Universal

M

D

S

—

2nd.

S

G

P

—

3rd.

G

P

N

—

4th.

r

G

d

—

5th.

G

d

N

—

6th.

Popular

Empirical

names—Bhairava,

Rāmakeli, etc.

Suggested

scientific

name—Rāmakeli

Normal.

10

Class

design:

r

M

d

—

M

d

S—Dominant

couple

S

r

M

d

—

Dominant

class-motif

S

G

P

N

—

Sub-dominant

motif

r

G

d

N

—

Subsidiary

motif

Regular

individuated

design

of

the

class:

r

M

d

—

Dominant

Universal

M

d

S

—

2nd.

S

G

P

—

3rd.

G

P

N

—

4th.

G

d

N

—

5th.

r

G

d

—

6th.