A Raga may be defined as a specified combination, decorated
with Varnas (embellishments) and graceful consonances of notes
within a Thaat (mode) which has the power of evoking a unique
feeling distinct from all other joys and sorrows and which possesses
something of a transcendental element. This esthetic feeling was termed
by ancient pandits of musical science as Rasavadhana - a state
completely unrelated to desire or fulfillment of desire; a feeling
which is pure, self manifested, compounded of joy and consciousness,
a sort of mystic experience.
Ragas are derived from Thaats or parent modes. North
Indian music recognizes 10 such modes. They are Sampooran i.e.
containing seven tones in the octave, whereas a Raga may contain
five, six or all the seven notes or any combination thereof. A Thaat
is only a group of abstract tonal forms, but a Raga is a combination
of notes having the power of generating and creating emotional values.
The Ten Thaats Of North Indian Music System
Please note that flat (komal) notes are shown with a (b) next to the note
for example Re komal will be written as Re(b) and sharp (tivar) notes are
written as (#) for example Ma tivar is written as Ma(#). Notes in the upper
octave are written with a (u) next to them for example an Upper octave Sa
will be written as Sa(u) and a lower octave Ni is written Ni(l). These
conventions will be followed until we find a way to use staff notation on the Net.
Sa Re(b) Ga Ma Pa Dha(b) Ni Sa(u)
Sa Re Ga(b) Ma Pa Dha(b) Ni(b) Sa(u)
Sa Re Ga Ma Pa Dha Ni(b) Sa(u)
Sa Re(b) Ga(b) Ma(#) Pa Dha(b) Ni Sa(u)
Sa Re Ga(b) Ma Pa Dha Ni(b) Sa(u)
Sa Re Ga Ma Pa Dha Ni Sa(u)
Sa Re Ga Ma(#) Pa Dha Ni Sa(u)
Sa Re(b) Ga Ma(#) Pa Dha(b) Ni Sa(u)
Sa Re(b) Ga Ma(#) Pa Dha Ni Sa(u)
Sa Re(b) Ga(b) Ma Pa Dha(b) Ni(b) Sa(u)
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