Features of Raga:



 In ancient era, there were ten features of Raga like Graha (ગ્રહ), Ansh(અંશ), Nyas (ન્યાસ), Upanyas (ઉપન્યાસ), Shadatva (શાદત્ત્વ), Alpatva (અલ્પત્ત્વ), Bahutva (બહુત્વ), Mandra (મન્દ્ર) and Taar(તાર). 

Some of the features are still used in Indian Music in a changed form as follows:

  • It has been said above that the composition that sooths the ear is called Raga. Thus, the first characteristic of Raga is that every Raga should have its own tint.

  • A Raga should include 5 (five) and maximum 7 (seven) Swaras. None of the Ragas consist of less then 5 Swaras.

  • Every Raga is derived from some Thaat.
    • For Example, Raga Bhupali (Bhup) derives from Thaat Kalyan.
                                                Raga Bageshwari derives from Thaat Kafi.

  • ‘Sa’ cannot be Varjya (Varjit-વરજીત) in any Raga because it the main base of Saptak.

  • ‘Ma’ and/or ‘Pa’ should be compulsorily present in all Ragas. These two Swaras cannot be Varjya (Varjit) together. In some Ragas where ‘Pa’ Swara is Varjit along with Shuddha ‘Ma’, Tivra ‘Ma’ is certainly present.
    • For Example, in Raga Bhupali, ‘Ma’ Swara is Varjit while in Raga Malkauns ‘Pa’ Swara   is Varjit. So, ‘Ma’ and ‘Pa’ Swaras cannot be excluded together in one Raga.

  • Every Raga should contain Aroha-Avroha, Vadi-Samvadi, Pakad and Time of Performance.

  • In any Raga, different forms of Swaras should not be used simultaneously or one after the other.
    • For example, Komal ‘Re’ and Shudha ‘Re’ are not sung together.

  • It is possible that in Aroha Shudha Swaras are sung while in Avaroha Komal Swaras are taken.
    • For example, Shudha ‘Ni’ in Aroha and Komal ‘Ni’ in Avaroha are taken in Raga Khamaj.

Location: Vadodara, Gujarat, India

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