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.
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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.
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