SaReGaPaDha Family of Ragas
In this article we shall study a group of 4 Scale-congruent Ragas namely, Bhupali,
ShuddhaKalyan, JaitKalyan and Deshkar. We shall try to understand the different
moods of the same through the Audio File attached. It is difficult to put on paper
the subtle variations in their melodic structures. A simplistic and brief theoretical
comparison of salient features of the four Ragas is given in the table below:
|
Name of the Raga
|
Bhupali
|
ShuddhaKalyan*
|
JaitKalyan
|
Deshkar
|
|
Aroha
|
S, R, G, P, D, S’’
|
S,R G P, (S’’)D, S’’
|
S R G P, D S’’
|
S R G P, D, S’’
|
|
Avaroha
|
S’’ D P G , R, S
|
S’’, D P, G, P R, G S
|
S’’ D P’ G P R S
|
S’’, D, P, G RS
|
|
Vadi
|
G
|
R
|
P
|
D
|
|
Samvadi
|
D
|
P
|
S
|
G
|
|
Meend(Glissando)
|
P->G
|
P-m->G
|
D->G
|
-
|
|
GraceNote
|
(S’’)D
|
(S’’)D, (G)R, (G)P, (S)R
|
(P)G
|
(P)D
|
|
Nyasa in Aroha
|
R, G
|
R, P
|
S, P
|
P, D, S’’
|
|
Nyasa in Avaroha
|
G, R
|
P, R
|
P, S
|
S’’, D, P
|
|
Alpatva
|
-
|
m, N
|
D;R in Aroha
|
R in Aroha & Avaroha
|
|
Time of presentation
|
7 p.m. to 10 p.m.
|
7 p.m. to 10 p.m.
|
7 p.m. to 10 p.m.
|
7 a.m. to 10 a.m.
|
|
Sangati-Combination
|
G D
|
P R
|
G P, D G
|
D G
|
|
Pakada (Prominent Melodic Phrases)
|
S ‘D S R G, P G D P G
|
G, P R, R , G-> S, G P D P S’’
|
P D G P D P R- S; S P; S’’ P, D P R S
|
P G P D, D P D, G P D P S’’
|
In practice, TeevraMadhyam “m” is shown in Meend from P to G and ShuddhaNishad “N”
is used sparingly in Avaroha which assists the artist in distinguishing the Raga
from Bhupali.
Excerpts, from Lecture Demonstration Series conducted by Late Pandit K G Ginde, illustrate
the distinctions in melodic structures of the four Ragas.
Listen
(Click on Speaker symbol to Listen to song)
(Audio- Courtesy Shri Ajay Ginde)