Of Hindustani

The enlightening discussions by prc and aakarsh on mavericks forced me into thinking(literally!! I had stopped thinking for a while now!) about this...

Hindustani system has a definite signature for each raga, called the raagaanga, and a singer wishing to elaborate on a raga first provides the signature and then launches into in-depth analysis and experimentation on the raga ("Nee RaaNi chacchindi po!" types).

The signatures of some of the very well-known ragas are very very interesting:

ex: Yaman(Kalyani) and Bilawal(Sankarabharanam) have only a difference of madhyamam...

It seems quite obvious that their signatures have madhyamam in the starting phrases as well... but surprise surprise!!

yaman: n3 r2 g3, p--r2 s, m2 d2 n3 d2 p.

bilawal: g3 r2 g3 p, n3 d2 n3 s, d2 n2(uses both n s, n2 optional though) d2 p m1 g3.

In the above example, both m1 and m2 are not exactly necessary for fairly acquainted listeners to identify them as the respective ragas. In fact, just n3-r2-g3 is sufficient to dump a raga into the yaman catalogue.

Also, Todi (Shubhapanthuvarali) needs only 3 swaras as its signature: s-r1->g2->r1-s.
Of course, uccharana is of utmost importance.

The Hindustani system provides ample opportunity for-

1) having more than one raga with the same notes:

ex 1: Bhoopali, Deshkar, Jait Kalyan, and Audav Devgiri (never heard that one!) have same notes but since they have different raagaangas prominent, they sound differently. Since I am only an amateur, I can only guide you where to find the exact solution:
http://www.sawf.org/newedit/edit08052002/musicarts.asp

ex 2: just the intonation of the meend from p to r2 differentiates 3 ragas: Chhaaya, goud-sarang, and of course yaman:
http://www.sawf.org/audio/kalyan/jha_panchamrishabspeak.ram


2) creating composite ragas, called jod-ragas: Since each raga (well, most!) has its corresponding raagaanga, it is possible to interface two ragas and create a unique phrase for the composite raga borne out of the two parent-ragas. Of course it requires tremendous talent and skill to catch hold of the right parent ragas and the right sewing points-- points where shift of ragas occurs.

ex: Malhar anga is : m1 r2 p
i) malhar anga + Kaanada anga (deergha kampitha g2 m1 r2 s)= miya ki malhar (of course it also has some other ornaments such as both the n s),
ii) malhar anga + nat anga (s r2, r2 g3, g3 m1)= nat-malhar
iii)malhar anga + kedar anga (s m1, m1 p, p d->(m2)->m1, s r2 s) = kedar-malhar

There are more than 25 malhars...
http://www.sawf.org/Newedit/edit10162000/musicarts.asp

Similarly, nat anga and Kedar anga are very popular and are a part of many jod-ragas.

I wonder if Carnatic music has raga-signatures, or does it leave to the performer on using the notes to create the required bhava. I just know that varnams are used to provide the basic support on what swara-phrases impart that characteristic colour to the raga.

Kedar.