A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c15.23.3

c15.23.3

Still, the rule followed in the ancient texts that a derivative Raga must be having the same scale as the parent mode, the only difference being in the swaras deleted or added still remains. In the ancient texts, we see an absence of information which is necessary to enable one to make an accurate differential diagnosis of derivative ragas coming under the same parent mode. There the differentiation is made in aroha, avaroha, vadi, time, graha, amsha and nyasa. This differentiation can be amplified by mentioning also the "pakads", or catches, the similarity or dissimilarity of any particular raga, as compared with another derivative of the same thata, whether it is a "purvanga" or "uttaranga" raga, (that is whether its development is in the upper or the lower tetrachord), what vivadi note can be used in it and when and how, how it compares with a similar raga mentioned in the ancient texts, or in vogue in the Karnatik system, and so forth. We can also see our text books have illustrations of the "alapa" developement of a raga, set to tala and notation according to modern methods of scoring. As it is impossible to reduce to notation all the graces, meends, slurs, gamaks, and other alamkaras, the notation may be supplemented by vocal records of practical experts, which records should be indexed and registered, and thrown open to the student studying with the help of the notations.