Raga- A Cluster of Imagination



        The systematic formation of melodic structure which pleased the mind and soul is the basic concept of Raga. Indian Classical Music basically depends on the melodic structure of the notes with systematic ascent and descent having a minimum of five notes. It is described as the grammar of Indian music tied with certain rules and regulations of Swar and Tala. The Raga is basically a soothing melody created to express the aesthetics with the combination of microtones scaled under a certain format with confined notes combination with proper ascent and descent. The basic rule described in Shastra about the raga are those to establish the frame i.e. Sa is mandatory to create Raga, either Pa or Ma must be included in its formation, at least 5 notes from the Scale should be included, Grah-Ansh, Alpato-Bahuto, Shadav-Audav, Nyas- Apnays and Vadi-Samvadi should be in a systematic format.

    In Indian Classical music, Raga is not only the melody but also the body or the object stand with Swar, Tala, and Laya (notes rhythm and tempo), and its fundamental essence is controlled with the principle of Shruti Gaya, a skeleton to structure the frame with tiny notes in between the tones and semitones. In the ancient text, the first raga word was used by Sage Matang Muni in his Epic texture called Brihaddeshi. Initially, it is the replication of the natural color of Shruti and Swara to reform the pigmentation constructive melody. The Raga in Hindustani music or in Carnatic music are the main elements and was designed with the systematic rules of implementing notes in a proper way. The scale of the raga is pre-determined and the frame is also considered as an absolute and con-creed element but the improvisation is built with the imagination of the individual artist. The Dhrupad tradition is more confined with the improvisation of notes in rhythm and the rhythmic inversion called Layakari whereas the Khayal tradition is typically based on a flexible rhythmic cycle mostly based on the imagination and improvisation of Bandish in bonding with notes. The raga in terms of  Thumri describes as a melody of imagination and beauty of literature to explore the aesthetics of love and affections, feeling of an engagement, or the misery of breakaway of relations. 

    Understanding the Raga in Indian classical music is more saturated form either by learning or by listening with proper patience and dissolving yourself to the eternal essence of Nad-E- Brahma( Sound is absolute truth). One can be nurtured in Raga music by means of devotion and proper practice under the guidance of a respected Guru. A Raga can be realized, understand, and explore with the melodic fragrance of Shruti in-weave in Swar, Laya, and Tala. The Raga is the beginning, the ultimate truth, and the conclusion always revolve and rotate around with different thought and beauty of expression to understand the divinity of Indian Music. 

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