F
Todiang: Unique prespective of Hindustani Music
Todi is one of the major raga and associated ragang of hindustani music, Todi always resemble the softness and the symbol of separation-"Viyogant" can describe someone experiencing longing or sorrow due to separation from a loved one. Among the Todi Raga the prominent part" Todiaang" is the most crucial phrase that reflect and refract the Ragaang Todi is all adjoining raga of Todiaang.
Here the Todi is : Sa re ga, re ga re Sa, in Purbang and Ma da Ni da, Sa. Ni da Ni re. Ni da, Ma ga re ga re Sa
Note : Komal swar/ Flat notes are written in small letter and Suddh/ natural notes are in Capital. Madhyan is Tivra sso sharp madhyan is written as "Ma". Higher octave notes are written followed by "dot" after the note.
More or less the combination of these notes with any other "aang" in any of the Raga resemble the "Todiaang". There are many Ragas classified under the Todi Thaat but Todi Thaat is not the Todiaang. Raga Multani is not the Todiaang Raga but fall under the Todi thaat. we never use Pa Ma ga re ga re Sa in Multani. The phrase of Todiaang is called Todi Raganga and used in various note combination to create a new Raga. Like Gujari Todi, Pancham note is completely abandon and follow the similar sequence of Todi. Bhupal Todi, Bilashkhani Todi, Badhuri Todi, Hussaini Todi Parameshwari, Anjani Todi, Lachari Todi, Malgunji, Ahari Todi, Bairagi Todi are few examples. these raga are create with mixing the todi in nay other Raganag .
More Practical related knowledge and lectures you can catch me on https://youtube.com/shorts/IfD11CDeYJY?si=rTFLQ_CEyKTG6AGL
Kalyanaang and its associated raga in hindustani music
The Anag means the parts or the phrase that determine the raga with whom it is associated with. Among the Ragaang classification in Hindustani music, Kalyan- aang is one of the major phrase that are used in many of the associated raga. Kalyan-aang means the phrase or the group of notes that determine the kalyan/yeman raga - a mother raga of kalyan-aang.
https://youtube.com/shorts/IfD11CDeYJY?si=rTFLQ_CEyKTG6AGL
The main notes combination that determine the kalyan-aang are:
- Ni Re Ga Re, Ni Re Sa- (Ni is of lower octave and other are of middle octave )
- Pa --Re Ga, Ga Ma Pa
- Ma Dha Ni Dha Pa --Re
- Pa Ma Ga Ma Re Ga ,
- Sa Ni Dha Ni Dha Pa.. Ma Ga (Shadaj is of Higher octave rest are of middle octave )
The phrase mentioned above are the most dominating notes combination that indicate/ show the raga Kalyan/ Yeman so, it these phrase of notes if used in any of the raga can be called as the kalyan- aang raga because these phrase particularly manifest the mother raga Kalyan.
There are many ragas of kalyan-aang where phrases of Yeman is taken to create a new ragas.
- Yeman-Kalyan is one raga where both Madhyam are used and have similar structure as Yeman. it is sometimes a controversial statement that few music maestro do not accept that Yeman and Yeman kalyan are two different raga but few accept the concept and use Suddh madhyam as Anuvadi note. Where other use Suddh madhyam as Vivadi notes. Ni Re Ga , Ga Re Ma Ga Pa Re, Ga Ma Dha Ni Dha Pa , MGa ma Ga Re Sa.
- Shyam Kalyan - This raga is created with the combination of Kamod and Kalyan. Few of the artist and musicologist supposed that Shyam- Kalyan raga is a combination of Raga Kedar , Hameer and Gaud Sarang. Kalyan aang is the part of these raga so the phrase of Shyam Kalyan - Sa Ni Dha Pa, Dha Ma Pa, and Ni Re Sa is used in the combination of Ni Sa Re, Ma Pa , Ga ma Pa Ga ma Re Sa, Ni Re Sa .
- Omitting few of the notes in Raga also created different raga like Suddha Kalyan where Tivra madhyam and nishad is hidden during the raga singing . Dha Sa Re, Ga .. Pa Re Ga , Re Dha Re Sa (Dha is of lower octave )
- Kalyan aang can be seen in Raga Jait,, Puriya Kalyan, Bihag, Maru Bihag, Hameer, Kamod, Kedar, Chhyanat, Saraswati, Nand, Suddh Sarang, Gaud Sarang, Yemani Bilawal, Devigiri Bilawal, Hem Kalyan and may other raga are in use where Kalyan aang can be noticed
The Beauty of raga music is that maestro has created so many melodies with combination of different raga 's phrase what we called Ragaang. For this you need to sit together and learn the elementary essences of Indian Classical Music.
More Practical related knowledge and lectures you can catch me on https://youtube.com/shorts/IfD11CDeYJY?si=rTFLQ_CEyKTG6AGL
Ragaang : An Unique Perspective of Hindustani Classical Music
In Hindustani classical music, the concept of Ragang plays a pivotal role. Derived from the words "Raag" and "Ang," where Raag signifies a melodic framework that evokes a specific mood or emotion, and Ang means a part or characteristic, Ragang refers to a distinctive pattern of notes or musical phrases that shape the identity of a Raag. In essence, when a set of characteristic notes (usually two or three) from one Raag is incorporated into another, it is called Ragang. This technique enriches the Raag by blending its traditional structure with influences from another.
https://www.youtube.com/@musicbanaras
The use of Ragang is especially significant in the creation of new Raags. The earliest mention of this concept can be found in the ancient text Brihaddeshi, written by Matanga Muni, where he discusses Desi and Gram Raags, along with related concepts like Ragang, Bhashang, and Kriyāng. According to Matanga Muni, Raags that carry the essence or influence of Gram Raags are termed Ragang Raags.
The renowned musicologist Pt. Vishnu Narayan Bhatkhande adopted this method of classifying Raags, which he detailed in his book Bhatkhande Sangeet Shastra. Bhatkhande explained that Raags are identified and categorized based on their dominant notes. For instance, in Raag Asavari, the characteristic notes in the Purvanga (lower tetrachord) are Re, Ma, and Pa, while in the Uttaranga (upper tetrachord) they are Ma, Pa, Dha, and Sa. This distinctive note pattern gives Asavari its unique identity, and when this pattern is used in other Raags, it is known as Asavari Ang.
Contributing to this classification, musicologist Pt. Narayanrao Moreshwar Khare identified 30 key Ragang Raags, which have played a crucial role in shaping the landscape of Hindustani classical music. He also highlighted various Angs(distinctive patterns) from different Thaats (parent scales) such as Sarang, Dhansari, Malhar, and Kanhada. These are listed below:
Ragang Raags and Their Characteristics:
- Bhairav –
- Bilawal –
- Kalyan –
- Khamaj –
- Kafi –
- Purvi –
- Marwa –
- Todi –
- Bhairavi –
- Sarang –
- Dhansari –
- Lalit –
- Sohni –
- Pilu –
- Nat –
- Shree –
- Bageshree –
- Kaus –
- Kedar –
- Shankara –
- Asavari –
- Kanhada –
- Malhar –
- Hindol –
- Sorath
- Bihag –
- Kamod –
- Bhatyar –
- Des
- Bimpalasi –
These Ragang Raags, with their unique note combinations and patterns, continue to play a foundational role in the evolution and creativity within Hindustani classical music, offering a rich interplay of tradition and innovation.
Please subscribe like and share - https://www.youtube.com/@musicbanaras
Copyright @reserved
Posts
