Audava: Audava raga is a raga that constitutes of 5 notes.Shadava: Shadava raga is a raga that constitutes of 6 notes.Antara maarga: The swara which does not belong to the raga.
It is like creating an illusion of that swara being sung, while the actual swara sounds different. So, though the langana swara appears to be performed the actual sruti/frequency of that swara is rarely performed. Langanam: The swara is pronounced but the note sung is actually the neighbouring tone.Alpathvam: The note used sparingly in the raga. Alanganam: Singing a swara without leaving it.Bahutvam: The note frequently used in the raga.Vinyaasam: In each section of the raga alapana, vinyasa is the notes used to show the raga ‘kalai’ / chhaya or the essence of the raga.Sanyaasam: It is the ending note of each section in the raga alapana.Apanyaasa is the starting note of each section. Apanyaasam: A raga alapana is done in different sections or parts or stages.Tara swaram defines the notes in tara sthayi which are allowed in the raga. Tara Swara: The highest note to which the raga sacharam can extend to.The swaras lower than that should not be sung. Mandra swara defines the notes that are singable in the Mandra sthayi for a particular raga. Mandra swara: The lowest note, beyond which the raga sancharam should not extend.There can be one or more hamsa swaras in a raga. This can be considered the main swara of the raga. To show the swarupa of the raga in an alapana or sangathi, this note is sung repeatedly, very often. Amsa / Jiva Swara: The note which reveals the melodic entity or the swarupa of the raga (soul of the raga).There may be one, two or even more graha swaras in a raga. Starting note of a sangathi or item or raga. Graha swara: The note on which the raga is commenced.“Graha, amsa, taara, mandra, nyaasa, apanyaasa, sanyaasa, vinyasa, bahutva, alpatva, antara maarga, shaadava and audava” mentions the following Thrayodasa (13) Lakshanas: The Sangita Ratnakara of Sarngadeva in 13 th century A.D. It colors the mind.īharata in his Natya Sastra (4th Cent. ‘|| रन्जयति इति राग:||’ is the etymological definition of raga i.e., that which pleases is raga. रन्जको जन छित्तानाम् सरागह कथितो बुधै:||’Īccording to the above sloka, a raga is that which is beautified or decorated by the tonal excellence of swaras and varnas and which decoration gives pleasure to the mind of the listener. Raga is the pivotal concept of Indian music, introduced by Matanga Muni in 5 th century. Music is an integral part of India’s culture.
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