The raga system is a contribution by the Indian sub-continent unique to the World of music. Matanga, the ancient Indian musicologist (9-10th Century AD) was perhaps the earliest writer to define a raga. ‘Raga’, he said ‘is the kind of sound composition consisting of melodic movements which has the effect of colouring the hearts of men.
A raga in Indian music is a melodic abstraction, which finds its existence somewhere between a scale and a fixed melody. Some authors have coined a new word to define a raga: ‘melodic scale’.
Indian ragas, which are formed by a series of swaras, are melodies with a difference. They differ from their Western counterparts in terms of the flexibility they enjoy in the treatment of their notes. They are just not mere melodies; they are not based on precise frequencies of the mechanical notes, but on a notion of swaras, the self-shining entities that could easily get decomposed into partials and harmonics. It is the appropriate inclusion of these partials that renders a raga unique and sans pareil. Further, the concept of anuswaras or semi-tones and their relevance in determining the characteristics of a raga indicate the extent to which the manipulative mind of the Indians could go! It is the Indian genius again which has recognized that ragas are not just conceived for sensual entertainment alone. As their vibrations can touch one’s interiors, they could be made use of as a powerful tool in the treatment of ailments concerning the body, mind and spirit. Anuswaras, which render richness in variety and depth to the raga system, in the right combination can even work therapeutic wonders. Unlike in the Western system, the raga system allows – rather welcomes – anuswaras. However, it would not mean that any anuswara can be given free access to any raga, as there exists rigid conventions in their selection for depicting a particular raga.
The immense scope offered through permutation and combination of swaras makes it possible to produce an equivalent raga for every Western scale. For example, Nattai, a Carnatic raga (Hindustani equivalent: Jog) is an equivalent raga for the Blue Scale. The Lydian Scale is represented by the Carnatic raga, Kalyani (Hindustani equivalent: Yaman). The major scale in Western music has an equivalent in the Carnatic raga Sankarabharanam, (Bilawal Thaat in the Hindustani school).
While music as a whole is well recognized for its entertainment value throughout the globe, it was the Indian genius that could work out a subtle relationship between the sound and the living organisms. By categorizing the otherwise universal sound into specific ragas and raginis, an elaborate system of music could be evolved through permutation and combination of talas, swaras and bhavas. It is the prescription of a particular combination of all these components that renders the character or individuality to a particular raga, which makes it unique in the Universe of sound vibrations.
Each raga, depending on its characteristics, can recall or intensify certain emotions or their combinations in listeners. Emotions, such as anger, fear, lust, joy, depression etc. could be accentuated depending on the emotional spectrum inherent in a particular raga. The ancient and contemporary Indian theatre and cinema have been exploiting these characteristics hidden in swara-clusters (proof-ragas) and also ragas to create the required feelings in the audience. It is well recognized that music could induce a stronger and quicker impact as compared to any spoken word or for that matter even non-verbal gestures or mimes.
Certain ragas do have a direct impact on emotions. This feature has made its application in theatre and in cinema, to create pathos, joy and suspense in the minds of the audience.
In one of the systems of classification, there are six fundamental raga-scales from which 126 derivatives (raginis or wives and putras or sons) emerge. Each of these six fundamental ragas has a natural correspondence with certain hours of the day as a day is divided into six tranches and also seasons of the year.
The following table attempts to simplify:
| The fundamental raga | Time of the day assigned | Season Assigned | Expected Attitudinal Development |
| Hindol | Dawn | Spring | Universal love |
| Deepak | Evening | Summer | Compassion |
| Megha | Midday | Monsoon | Courage |
| Bhairava | Morning | August to September | Tranquillity |
| Sri | Twilight hours | Autumn | Pure Love |
| Malkauns | Midnight | Winter | Valour |
(From various books and own source)
Yet another system outlines 72 thaats or scales called melakarta from which a vast range of raga experience could be derived.
The beauty about the Indian raga system is that it offers endless opportunities for those who are musically-inclined, for constant improvisation around a fixed melodic scale. Depending on the definite mood or a central theme, one could embroider and decorate this melodic scale through one’s enthusiasm, originality, mental make-up and emotional fall out. The musician is hardly bound by a set of notes or notions.
This article was published in Shanmukha July-September 2007, Pages – 23, 24
Edited by Geeta Shreedar, July 12, 2021