SANGEETA GNANAMU

One translation of this is: In the opinion of the wise, that particularity of notes and melodic movements, or that distinction of melodic sound by which one is delighted, is raga. (Matanga in Brihaddesi) Scholars love the phrase ranjako janachittanam and expand on it. There is no raga in a mere combination of notes; it has to please the mind. But the definition obviously suffers from ativyapti – a fatal fallacy that our sanskritists abhor – that is, it covers or applies to more than what it is intended. There is an important insight in this – a mere combination of notes does not make a raga. The arohana and avarohana – or krama – are the mere skeleton. The raga is fleshed out by innumerable other elements. Gamaka-s come to mind immediately; prayoga-s and pidi-s are well known raga makers, but there are other features of raga which revolve around the difference in the importance given to various notes. In Hindustani music, the roles of vadi, samvadi and nyasa swara are all important. In Carnatic music, the jeeva swara is usually acknowledged as important; this is the life swara or life giving swara of a raga.