A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3: Raga Tarangini

A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3

Language: English

c3.s1 (2) Tody — 3 parts
c3.s2 (3) Gouri — 14 parts
c3.s3 (7) Sarang. (A) — 3 parts
c3.s4 (8) Megha — 3 parts
c3.s5 (9) Dhanasri — 3 parts
c3.s6 (10) Purva — 24 parts

Raga Tarangini

c3.1

The author of this work is Lochana Pandit He lived some where in the Mithila district The date of the work as given by the author himself is as folows.

c3.2

भुजवसुदशमितशके श्रीमद्लालसेनराम्पादां ।
वर्षवषाधिभोगे पुन्यस्वासन् विशाखायाम् ॥

According to this, the date works out at Shaka year 1082 Some of our music scholars are of opinion that the date is more or less doubt ful, and in support of their view they rely on the following internal evidence supplied by the work Lochana Kavi quotes from another poet Vidyapati, who, it is believed, lived about the end of the fourteenth century A.D The late Raja S M Tagore in his Universal History of Music tells us that Vidyapati was in the service of Shiva Singh the Raja of Mithila in the latter half of the fourteenth century A.D Copper plate evidence also goes to show that a Rajah of Mithila named Shiva Singh gave a jahagir to the poet Vidyapati in the year 1399 A.D Unless it can be proved that this Vidyapati is not the same as that from whom Lochana quotes, we must uphold the contention of the scholars who doubt the correctness of Lochana's date Another point these scholars lay stress on is that Lochana in his Tarangini mentions clearly Mahomedan Ragas like 'Imam' and 'Farodast', which ragas, they argue could not have become so popular about the Shaka year 1082 when the work purports to have been written Lochana in the above sloka gives some astronomical details, but as I have not been able to ascer- what the reference really means, I am unable to fix the date fre them. Hrdaya Narayana Deva, the author of Hrdaya Prakasa and Hrdaya Koutuka quotes from the Tarangini. These two last named treatises, were written about the year 1660 A.D.

c3.4

We shall now go into the subject matter of the Tarangini. Lochana, after giving the divisions of Gita as Nibaddha and Anibaddha at once takes up the question of the Srutis. In common with all his predecessors, he recognises twenty two srutis, to the scale, with their well-known names Tivra, Kumudvati, etc. The distribution of srutis among the seven shuddha swaras, as चतुश्चतुश्चतुश्चैव षड्जमध्यमपञ्चमाः। ६० is also accepted by him. The swara becomes manifest on its last sruti. The accompanying chart will show at a glance how he places his swaras on his twenty two srutis.

c3.5

Chart Showing the Shuddha and Vikrita Swaras of the Raga Tarangini.

c3.6

c3.7

(For detailed explanation, the reader is requested to refer to the translation which follows).

c3.8

रागतरंगिणी स्वरसंज्ञा प्रकरणम् । स्वस्वशेषश्रुतिं त्यक्त्वा यदा ऋषभ धैवतौ । गीयते गुणिभिः सर्वैस्तदा तौ विकृतौ मतौ ॥

c3.9

Translation.—When the notes 'ri' or 'dha' are played or sung on their penultimate srutis, literally when they give up their last srutis, they are supposed by experts to have become komal ri and komal dha, (flat 'ri' and flat 'dha').

c3.10

Observation.—Shuddha ri and shuddha dha are the sounds of the seventh and twentieth srutis respectively in the ordinary twenty two sruti scale. Komal ri and komal dha therefore, will be the sounds of the sixth and the nineteenth srutis. The Orthodox view has always been that a shuddha swara manifests itself on its last sruti.

c3.11

श्रुति मध्यस्यापि गाधारः प्रथमां श्रुतिम्।
यदा तदा जनैरेव तीव्र इत्यभिधीयते॥

c3.12

Translation.—When Gandhara stands on the first sruti of Madhyama it is said by the experts to become 'tivra' or sharp.

c3.13

Observation.—The srutis between shuddha 'ga' and shuddha 'ma' are four, the fourth being the sound of the shuddha 'ma'. The gandhara therefore could move up four srutis, right upto the place occupied by the shuddha 'ma'. It will be carefully noted that the note 'ri' only became komal but not tivra. The note gandhara again, only moved up and became tivra, but was not allowed to go back and become komal.

c3.14

द्वितीयमपि चैदेव तदा तीव्रतरः स्मृतः।
तृतीयामपि चैदेवततीव्रतमः स्मृतः।
चतुर्थमपि चैदेवमतितीव्रतमः स्मृतः॥

c3.15

Translation.—When gandhara stands on the second sruti of madhyama, it becomes tivratara 'ga' and when it stands on the third sruti of that note it becomes tivratama 'ga'. When again it rises up to the fourth or last sruti of 'ma' it becomes ati-tivratama 'ga'.

c3.16

Observation.—A glance at the sruti swara chart will show that ati-tivratama 'ga' and shuddha 'ma' are identically the same sound. The object of giving two different names to the same note will be clear when we examine the definitions of the ragas later on.

c3.17

षष्ठस्य च निषादस्य श्रुति प्रथमां श्रुतिम्।
तदा संगीतविदैः सोऽपि तीव्रइत्यभिधीयते॥
द्वितीयमपि चैदेव तदा तीव्रतरः स्मृतः।
तृतीयामपि चैदेव तदा तीव्रतमः स्मृतः॥

c3.18

Translation.—When nishada takes the first sruti of shadja, it becomes tivra nishada, according to those who are learned in music. When nishada takes the second sruti of shadja, it becomes tivratara 'ni' and when it takes the third sruti of shadja, it becomes, tivratama ni.

c3.19

Observation.—It will be observed that although the distance of the shuddha shadja above the nishada is four srutis, the rise of nishada is only through three srutis. Shadja and panchama do not under any circumstances, take the names of their respective preceeding notes. It will be remembered that gandhara could rise up to the fourth sruti of maddhayama, and become ati-tivratama 'ga'. There are four srutis between 'ma' and 'pa', but ma could rise only upto the third sruti of 'pa' and become tivra 'ma' tivratara 'ma' and tivratama 'ma'. There is no ati-tivratama 'ma'.

c3.20

षड्जस्य द्वे श्रुती गृहन् निषाद: काकली स्मृत: । तां तरे निषादेव गेया. सैव विचक्षणै: ॥

c3.21

Translation.—When nishads takes two srutis of shadja, it is also called Kakali nishada. It should be sung in the place of tivratama nishada.

c3.22

Observation.—Kakali is a well-known swara name in the southern music system. Kakali nishada corresponds with the tivra nishada of the Hindusthani system. Sadharana 'ga' Antar 'ga', Kaishika 'ni', and Kakali 'ni', are now universally understood to mean komal 'ga' tivra 'ga', komal 'ni', and tivra 'ni', of the Hindusthani system. The important question before us will now be what was the shuddha Thata of the Raga Tarangini? The answer will be it was no other than the Kafi Thata of our current Hindusthani music system. The shuddha 'ga' and and shuddha 'ni' of Lochana Pandita are the Hindusthani komal 'ga' and komal 'ni'. The conclusive evidence, however, on this point will be seen when we come to discuss the Thata definitions. The shuddha Thata of the Tarangini could never be our modern Bilavala Thata, because, the tivra 'ga' and tivra 'ni' necessary in the Bilawala scale are vikrita notes according to the Tarangini. Then again it will be noted that the notes 'ri' and 'dha' become komal 'ri' and komal 'dha'.

c3.23

Lochana Pandita lays down the following twelve Thatas and then classifies his 'janya' ragas under them:—

c3.24

c3.25

These Thatas are described by the author as follows:—

c3.26

(1) BHAIRAVI.

c3.27

शुद्धा: सप्तस्वरा रम्या वादनीया: प्रयत्नत: । तेन वादनमात्रेण भैरवी जायते शुभा ॥

c3.28

Translation — The seven shuddha swaras should be carefully sung or played and the moment that is done the Thata called Bhairavi will be produced

c3.29

Observation — This definition of the Bhairavi Thata will no doubt cause surprise. The Bhairavi Thata known to the student of Hindusthani Music takes komal 'ri' and komal 'dha' that of Lochana is the Kafi Thata. The Bhairavi mela of the southern system takes 'ri' tivra and 'dha' komal of the Hindusthani system. Lochana evidently knew the southern practice as well. Because in the next verse he says —

c3.30

अन्ये तु भैरवी रागे धैवत कोमल विदुः।
तदशुद्ध यतस्तत्तु नाय रागाञ्जुरजकः॥

c3.31

Translation — Others use a komal dhaivata in the Bhairavi raga I know, but that is incorrect. Bhairavi with a komal dhaivata will not be pleasing

(2) Tody

c3.s1.1

शुद्धाः सप्तस्वराः कार्यो रिधौ तेषु च कोमलौ।
तोडी सुरागिणा ज्ञेया ततो गायकनायकैः॥

c3.s1.2

Translation — Take the seven shuddha swaras again. Make 'ri' and dha komal and the resulting Thata will be Todi. It should be sung as such by the singer

c3.s1.3

Observation — The Todi Thata of all ancient Sanskrit writers corresponds with our modern Bhairavi Thata of the Hindusthani system. Any of our southern friends will confirm this statement. The Todi Thata of the southern system is even now the same as our modern Bhairavi Thata. This verse proves that the shuddha scale of Lochana was our modern kafi Thata, because the Kafi Thata could easily be converted into the Todi Thata, our modern Bhairavi by making 'ri' and 'dha', komal

(3) Gouri

c3.s2.1

एवं सति च गांधारी द्वे श्रुती मध्यमस्य चेत्।
गृहति काकली नि-स्यात्तदा गौरी प्रर्वतते॥

c3.s2.2

Translation — If in the last mentioned Todi Thata, the note gandhara takes two srutis of maddhyama, and the note nishada becomes Kakali, the resulting Thata will be Gouri

c3.s2.3

Observation — The Gouri Thata of the ancient writers is universally admitted to correspond with our modern Bhairava Thata. Here again we have further proof to show that the Shuddha Thata of Lochana was our Kafi (4) KARNAT.

c3.s2.4

शुद्धाः सप्त स्वरास्तेषु गान्धारो मध्यमस्य चेत् । गृह्ाति द्वे श्रुती गीता कर्णाटी जायते तदा ॥

c3.s2.5

Translation.—If you take the shuddha swara scale of seven notes and raise gandhara therein by two srutis, the resulting Thata will be Karnat.

c3.s2.6

Observation.—The Karnat Thata will be the modern Khamaj Thata of our Hindusthani system in which all notes except the nishada are shuddha.

c3.s2.7

(5) KEDARA.

c3.s2.8

एवं सति निपादश्चेत् काकली भवतिस्फुटम् । वीणायां व्यक्तिमाधत्त केदारसंस्थितस्तदा ॥

c3.s2.9

Translation.—If in the Karnat scale, the nishada becomes Kakali the vina will produce the Thata known as Kedara.

c3.s2.10

Observation.—The Kedara Thata of the Tarangani will correspond with our modern Bilawal scale.

c3.s2.11

(6) IMAN.

c3.s2.12

एवं सति च संस्थाने मध्यमः पंचमस्य चेत् । गृह्ाति द्वे श्रुती राग ईमनो जायते तदा ॥

c3.s2.13

Translation.—If in the last mentioned Kedara Thata the madhyama takes two srutis of panchama, the resulting Thata will be Iman.

c3.s2.14

Observation.—This is exactly our modern Yaman Thata of the Hindusthani system. The only difference is that the modern Hindusthani musician uses the swara names tivra 'ga' tivra 'ni' and tivra 'ma' in place of Lochana's Tivratara 'ga' tivratara 'ni' and tivratara 'ma'.

(7) Sarang. (A)

c3.s3.1

एवं सति च गान्धारः शुद्धमध्यमतां व्रजेत् । धश्च शुद्ध निपादः स्यात् सारंगो जायते तदा ॥

c3.s3.2

Translation.—If in the Iman Thata just described, the Ga coincides with the shuddha maddhyama and the dhaivata takes the place of the shuddha, nishada the scale produced would be the Saranga Thata.

c3.s3.3

Observation.—The Gandhara which stands in the place of shuddha 'ma' would be called ati tivratama 'ga' and the dhaivata standing in the place of shuddha nishada would be called tivratara 'dha'. In ancient music, two notes of the same denomination were not allowed to appear in the same scale. Hence the use of the atitivratama 'ga' for shuddha 'ma' The Saranga scale was to be formed from the Imam, and this last already had the tivra 'ma' in it

(8) Megha

c3.s4.1

धनिषादौ च शार्ङ्गस्य वर्णितस्य गमौ यदि ।
भवेतां रागराजन्यौ मेघरागः प्रजायते ॥

c3.s4.2

Translation — In the Megha Thata the dhaivata and nishada, will be those of Saranga, and the gandhara and madhyama will be the same as used in the Kamat Thata

c3.s4.3

Observation — The retention of dhaivata and nishada of Saranga merely means that both nishadas have to be used in the megha scale The 'ga' and 'ma' of Kamat would mean tivratara 'ga' and shuddha 'ma' practically In the Saranga Thata there were two madhyamas (tivra and komal), but no gandhara The ati-tivratama 'ga' was only another name for Shuddha 'ma' The difference, therefore, between the Megha and Saranga scales, will be clearly seen Our modern shuddha 'dha' of the Kafi Thata does not appear in the Megha scale

(9) Dhanasri

c3.s5.1

ऋषभः कोमलो गस्तु द्विश्रुती मध्यमस्यचेत् ।
गृह्णाति द्वे श्रुती मश्च पंचमस्य विशेषतः ॥
धैवतः कोमलो निश्च षड्जस्य द्वे श्रुती यदा ।
गृह्णाति रागिणी रम्या धनाश्रीर्जायते तदा ॥

c3.s5.2

Translation — When rishabha becomes komal and gandhara takes two srutis of madhyama, when madhyama takes two srutis of panchama when dhaivata becomes komal and the nishada takes two srutis of the shadja, the beautiful scale known as Dhanashri is the result

c3.s5.3

Observation — This scale is the same as that of our Puriya Dhanashri It is well-known that in this Hindusthani scale, the 'ri' and 'dha' are komal, and 'ga' 'ma' and 'ni' are tivra

(10) Purva

c3.s6.1

इमन् स्वर संस्थानी निषादत्रयमां श्रुतिम् ।
गृह्णाति धैवतधैवा पूर्वायाः स्वरसंस्थितिः ॥

c3.s6.2

Translation — In the Purva thata, all the notes of the Iman thata with the exception of the Dhaivata are to be retained The dhaivata is to be raised one sruti

c3.s6.3

Observation — In this scale then we have 'sa', 'ri', 'ga', 'ma', 'pa', all of the Iman Thata and komal 'ni' which will be called tivra 'dha' by Lochana. No such scale appears to be in use in the music system of Western India at present. But there is one like it in the Southern system and is known there by the name of Chitrambari.

c3.s6.4

(11) MUKHARI.

c3.s6.5

शुद्धाः सप्तस्वरास्तेषु धैवतः कोमलो भवेत् ।
वीणायां जायते शुद्धा मुखारी संस्थितस्तदा ॥

c3.s6.6

Translation.—If in the shuddha swara scale the dhaivata becomes komal, the resulting scale will be called shuddha Mukhari, or Mukhari.

c3.s6.7

Observation.—This scale will correspond with the modern Hindusthani Asawari Thata or according to some the Jaunpuri Thata. The Southern scale answering this description would be Nata Bhairavi. There is a Mukhari scale in the Southern system also but it materially differs from Lochana's Mukhari.

c3.s6.8

(12) DEEPAKA..

c3.s6.9

The author gives no definition of this Thata. He simply says :—

c3.s6.10

सर्वैर्मिलित्वा लेख्यः ।

c3.s6.11

This shows that the Raga Deepaka had already gone out of use. Lochana says, if the Raga has to be revived, its features should be settled by the best living experts, evidently in a Conference.

c3.s6.12

Quaere.—What becomes of the usually told story that the raga deepaka was sung by Miya Tansen with disastrous results to himself in Akbar's Court.

c3.s6.13

The twelve thatas of Lochana with their swaras may be written in terms of the Hindusthani swara names thus.

c3.s6.14

(१) भैरवी—सा, री शुद्ध, ग कोमल, म शुद्ध, प शुद्ध, ध शुद्ध, नि कोमल । (२) तोडी—सा, री कोमल, ग कोमल, म शुद्ध, प शुद्ध, ध कोमल, नि कोमल । (३) गौरी—सा, री कोमल, ग शुद्ध, म शुद्ध, प शुद्ध, ध कोमल, नि शुद्ध । (४) कर्णाट—सा, री शुद्ध, ग शुद्ध, म शुद्ध, प शुद्ध, ध शुद्ध, नि कोमल । (५) केदार—सा, री शुद्ध, ग शुद्ध, म शुद्ध, प शुद्ध, ध शुद्ध, नि शुद्ध । (६) ইমন—सा, री शुद्ध, ग शुद्ध, म तीव्र, प शुद्ध, ध शुद्ध, नि शुद्ध । (७) सारंग—सा, री शुद्ध, म शुद्ध, & तीव्र, प शुद्ध, X, नि कोमल & शुद्ध । (८) मेघ—सा, री शुद्ध, ग शुद्ध, म शुद्ध, प शुद्ध, X, नि कोमल & शुद्ध । (९) पूर्वी—सा, री शुद्ध, ग शुद्ध, म तीव्र, प शुद्ध, X, नि कोमल & शुद्ध । (१०) धनाश्री—सा, री कोमल, ग शुद्ध, म तीव्र, प शुद्ध, ध कोमल, नि शुद्ध । (११) मुखारी—सा, री शुद्ध, ग कोमल, म शुद्ध, प शुद्ध, ध कोमल, नि कोमल । (१२) दीपक—Nil.

c3.s6.15

The author classifies his seventy-five 'janya' ragas under these Thatas as follows:—

c3.s6.16

(१) भैरवी—भैरवी, नीलांबरी। (२) तोडी—तोडी। (३) गौरी—मालव, धंनाश्री, चेतगौरी, पहाडी गौरी, देशी तोडी, देवकारी, गौंड, त्रिवण, मुलतानी, धनाश्री, बसंत, भैरव, रिमझिम, रामकली, गुर्जरी, बहुली, रेवा, मलिया, नट, मालवपंचम, जयतश्री, आसावरी, देवगंधार, सिन्धु आसावरी, गुणकली। (४) कर्णाट—कर्णाट, वागीश्वरी, सम्माच, सोरठ, परज, मारु, जयजयवन्ती, हुसेन, कामोद, केदार, मालवकौशिक, हिंडोल, धपराई, अडाणा, मालकन्स, सारंग। (५) केदार—केदारनाट, आमारनाट, खबावती, शंकराभरण, बिभास, इंडीर, श्याम, छाया नट, भूपाली, भीमपलासी, कौशिक, मारु। (६) ইমন—इमन, शुद्धकल्याण, पूरिया, जयकल्याण। (७) सारंग—मारंग, पटमंजरी, वृंदावनी, सामन्तसारंग, खड़स। (८) मेघ—मेघमल्हार, गौंडसारंग, बिलावल, अहेरा, शुद्धमेघ, देस, शुद्धनट। (९) धनाश्री—धनाश्री, ललित। (१०) पूर्वा—पूर्वा। (११) मुखारी—मुखारी। (१२) दीपक—Nil.

c3.s6.17

It will be observed that all these janya ragas of the Tarangini are known to the Hindusthani musicians of the present day. The grantha therefore should be of the greatest historical importance to them. It is interesting to note how many of these janya ragas have changed their swaras during the Mohamedan regime. Some of the ragas seem to have retained their original Thatas even to this day. The author does not give any detailed definition of the janya ragas because I believe the work Tarangini is essentially a book on prosody and not on Music. As to the times assigned for the singing of these ragas the author says as follows:—

c3.s6.18

अर्वाचीन रागसमयाः। आद्ये प्रहरे गातव्यो भैरवी रागमतमः। अन्त्येप्रहरवेलायां ज्ञेया रामकली पुनः॥ प्रातर्वेलावली ज्ञेया पूर्वाहे सुगमेऽपि च। पूर्वाह्ने चापि गातव्यो तोडीमति मनोहरः॥ षड्जदीं श्रादी च ज्ञेया गायकाद्यकैः। दिवा तृतीय प्रहरे गातव्यासारंग जनैः॥ कादी मध्याह्नसमये सरोऽपि च गीयते। अष्टमे प्रहरेऽस्तदन् गायेतु मालवम्॥

c3.s6.19

अपराहावसाने वा सायाह्ने सति याति वा । सायंकालस्तु कालो वै गौरारागस्य भूतले ॥ निशामुखे तु कल्याण: केदारस्तु महानिशि । द्वितीयप्रहरे रात्रौ कर्णाट: सर्वसंमत: ॥ तृतीयप्रहरे रात्रावडानाऽपि च गीयते । अपराहेपि सौराष्ट्र: प्रभाते संगवेऽपि च ॥ पंचमो मेघसंचारे मल्हार: परिकीर्तित: ।

c3.s6.20

These times of singing throw a good deal of light on the modern classifications of the Hindusthani ragas. The following times for instance will attract particular attention of the Hindusthani Musician.

c3.s6.21

BHAIRAVA & RAMAKALI.—To be sung in the early morning. GOURI.—To be sung in the evening. BILAWALI.—To be sung in the first quarter of the day. KALYAN.—To be sung in the first quarter of the night. TODI and SUHA.—To be sung in the forenoon. SARANG.—To be sung at midday. KANADA.—To be sung at midnight. ADANA.—To be sung in the third quarter of the night. MEGHA.—To be sung in the rainy season.

Linked texts (2)

Rāgataraṅgiṇī — Locana Paṇḍita 1706, Sanskrit
Hṛdayakautuka — Hardayanārāyaṇa 1642, Sanskrit