KUMUD MOHAN introduces us to the beautiful world of raga music
Todi Sitaramayya got into serious financial trouble when he got his daughter married. A moneylender agreed to give him the sum he needed on condition that the musician would mortgage his most precious possession — Raga Todi. Todi Sitaramayya hesitated. He knew that he was to sing in royal presence within a fortnight, but he could forego his choice for once.
On the day of the Royal Durbar, top musicians were invited to Maharaj Saraboji’s court in Thanjavur. When Todi Sitaramayya’s turn came, he sang Raga Vrindavani Sarang, followed by Raga Des. The court warmed up to his performance, waiting for him to sing the incomparable Raga Todi. But he would not sing it. When the king was told the reason for this, he laughed and paid off Todi’s debt. Todi Sitaramayya was free once more to sing his favourite Raga Todi....
Indian ragas have many such entertaining stories associated with them. Regarding their origin, Indian scriptures mention six main musical modes represented by male ragas. According to some texts these male ragas were meant to be sung at different times of the year. For instance Raga Bhairav, meaning ‘ascetic’, associated with the worship of Shiva, was sung in the months of Ashwin (Sep-Oct) and Baisakh (April-May); Raga Megh, meaning ‘rain-bearing clouds’, during the monsoon months of Asaad-Sawan; Sri, named after the God of wealth, sung in October-November to celebrate the harvest.
The secondary musical modes or raginis were supposed to be the brides of these ragas. Each raga possessed six raginis and gave birth to eight raga putras — sons of raga-raginis. Among the wellknown raginis are Bhairavi — bride of Bhairav, Ramkali — bride of Sri, and Malhar — bride of Megh.
Pictorial representation of ragas and raginis became popular between the 14th and 18th centuries. The devta or inner spirit of the raga was portrayed as a human figure in the background depicting its different aspects, for instance, clouds and raindrops in Megh-Malhar, and a swing and dancing peacock in Raga Hindol. In the Krishna cult, a hindola, swing, symbolises ecstatic love, while a dancing peacock portrays the lover in his glory.
The time at which any raga is played is supposed to increase its effectiveness. Perhaps one reason is that people have come to associate certain ragas with popular songs. For example, Raga Bhairav, the raga for dawn, with the song Jaago Mohan Pyare, and Sri, the raga for the evening with Saanjh Bhayi.
Some scholars attribute the different times assigned to ragas to the physical state of the body. The morning ragas usually emphasise the upper notes of the musical scale. At that time the vocal cords are rested, so it is easier to sing such ragas. In any case, most musicians claim that they are not inspired to sing or play untimely ragas. It is said that once the celebrated Tansen was ordered by Emperor Akbar to sing a night raga at noon. As Tansen sang, darkness descended on the palace and spread as far as the sound reached out.
The best way to enjoy raga music is to drench yourself in it, for then you will experience the higher planes of pure ecstasy to which your soul is elevated. Your wonder and exhilaration will straddle two worlds: the tangible, physical one, and the intangible, spiritual one. Indian music is not merely a fine vocal or a fine playing or a fine interpretation of a raga. It is also a mysterious, incalculable element added to everything. Adapted from Nectar Of Indian Culture, Culture India
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