Yakshagana raga: Difference between revisions
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*''Rāga-Rupanjali'' Ratna Publications: Varanasi. 2007. |
*''Rāga-Rupanjali'' Ratna Publications: Varanasi. 2007. |
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* [http://shruti.hejje.com Yashagana Shruti Box Software Online/WINDOWS/Linux/Mobile/iPhone/Android]. |
* [http://shruti.hejje.com Yashagana Shruti Box Software Online/WINDOWS/Linux/Mobile/iPhone/Android]. |
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==External links== |
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* [http://shruti.hejje.com/ Yakshagana Shruti Software] |
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Revision as of 17:10, 20 January 2012
![]() | This article possibly contains original research. (July 2010) |
Yakshagana Rāga (Kannada:ಯಕ್ಷಗಾನ ರಾಗ, pronounced as yaksha-gaana raaga)refers to melodic modes used in Yakshagana. It is based on pre-classical melodic forms that comprise of a series of five or more musical notes upon which a melody is founded[1]. Yakshagana Ragas have indigenous ragas and others derived from other forms of music. Ragas in Yakshagana are closely associated with a set of melodic forms called as Mattu. Yakshagana Ragas have their own Gamaka. Although Yakshagana Ragas shares names with other systems of music Ragas are different though names are same with a few exceptions. More than 80 ragas have been identified to have survived the onslought of popular and elite musical systems[2]. In Yakshagana tradition, rāgas are associated with different times of the night throughout which Yakshagana is performed.
Nature of Yakshagana rāga
Rāga describes a generalised form of melodic practice. It also prescribes a set of rules for building the melody. Yakshagana Raga is based not only on rules but also certain melodic structures called Mattu. It specifies the rules for movements up (aaroha [आरोह]) and down (avroha [अवरोह]) the scale, which Swara (notes) should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, phrases to be used, phrases to be avoided, and so on. The result is a framework that can be used to compose or improvise melodies, allowing for endless variation within the set of notes. What makes Yakshagana singing different are, among other things, 'Yaksha Gamaka'. Yaksha Gamaka are distinct sets of notes and also way of approaching a note or rendering a note to form a particular "Mattu".
More than adhering to stricter scale Yakshagana Raga follows the metre of Yakshagana Poetry called the Yakshagana Chandhas. The melody is formed from a deep voice formed by controlling muscles as low as pelvic and abdominal muscles. This high pitched singing might have come out of need to reach all audience in a Yakshagana bayalata which is an outdoor activity. Recently singers have adopted softer singing because of the mike. Some Hindustani Ragas modified to suite Yakshagana performance can also be seen (e.g. Bhimpalas). [3].
Yakshagana Rāga and Time
Unlike in other classical forms Yakshagana performance starts with Raga Naati or Chala Naati in late evening( But the actual story or prasanga starts with raga bhiravi) and ends with Mohana Raga in early morning[1].
Yakshagana Gamaka
Yakshagana music has its own Gamakas. Yakshagana Gamakas are name given to the set of sequence of notes often used in only in Yakshagana ragas. It can also refer to, in popular parlance, inflections applied on notes. These Gamakas give a distinct flavor to Yakshagana ragas. These Gamakas are learned by training and are among features which make Yakshagana sound different from other forms of music[1].
Indigenous Yakshagana ragas
- Shatpadi (Note that this is different from Kannada prosody by the same name)
- Sangatya
- Kannada (This is different from Kaanada of Hindusthani)
- Hoovu
- Koore (This is different from Kore Tala)
- Nepali
- Gopanithe
- Navarasa
- Vrundhavana
- Mechaali
- Koravi
- Divaali
- Mechchu
- Ghantaarava
Some well known Ragas
These ragas share names of the ragas of Karnataka Sangeetha but structurally different from them with very few exceptions[2].
- Naati ---- Vaaranaa vadana/Mudadinda Ninnaaa
- Sangatya ---- Kururaaaya idanella kandu
- Regupti ---- Kelu
- Kambhodhi ---- Shatrugna senegala sUtravanu sharisutta (Cognate of Hinsuthani raga)
- Bhairavi ---- Elavo sanjayane kelu, any starting song of a prasanga
- Madhyamavathi ----
- Kalyani
- Kaaphi
- Nilaambari
- Paraju
- Desi (Desh?)
- Navaroju
- Savaay
- Saurashtra
- Saranga
- Saveri
- Suruti
- Todi
- Begadi
- Mukhari
- Panturavali
- Kedaragaula ---- Taye kel sri krishna rayana bari salu
- Madhumadhavi
- Mohana ---- Maranayyana Maata, ranganayaka rageeva lochana
- Janjooti
See also
- Melody type
- Maqam
- makam
- echos
- muqam
- Nava rasas
- Rāga, a documentary about the life and music of Ravi Shankar
Notes
References
- Uppura, Prof. Sridhara (1998), Yakshagana and Nataka, Mangalore: Diganta Sahitya Publications
- Rāga-Rupanjali Ratna Publications: Varanasi. 2007.
- Yashagana Shruti Box Software Online/WINDOWS/Linux/Mobile/iPhone/Android.