Raga Classification (Brief) MCQs Quiz | Class 10

Understanding Raga Classification in Carnatic Music

Carnatic music, with its profound melodic structures known as ragas, demands a systematic approach for comprehension and creation. The classification of ragas is not merely an academic exercise but a foundational principle that organizes a vast repertoire into a logical framework, making it accessible and allowing for limitless innovation.

The Idea Behind Raga Classification

The primary purpose of classifying ragas is to bring order and clarity to the multitude of melodic forms. With potentially thousands of ragas, classification helps musicians and students:

• Identify structural similarities and differences between ragas.
• Trace the lineage of derived ragas back to their parent scales.
• Understand the ‘grammar’ or specific rules governing each raga, including its characteristic phrases, permissible notes (swaras), and melodic movements.
• Systematize the learning and teaching process of Carnatic music.

Primary Basis for Grouping Ragas

The most fundamental and systematic classification in Carnatic music is based on the Melakarta system.

1. The Melakarta System (Janaka Ragas)

This system forms the bedrock of raga classification. There are 72 theoretical parent scales, each known as a Melakarta Raga (or Janaka Raga, meaning ‘generative’ raga). Each Melakarta raga is a Sampoorna raga, meaning it comprises all seven distinct notes (sapta swaras) in both its ascending (aarohana) and descending (avarohana) scales, in a linear order.

The Melakarta system employs the Katapayadi Sankhya, an ancient mnemonic device that links consonants in the raga’s name to numbers, which in turn indicate the specific notes present in the raga. This provides a mathematical and systematic way to derive the notes for all 72 parent scales.

2. Janya Ragas (Derived Ragas)

The vast majority of ragas performed and heard in Carnatic music are Janya Ragas, meaning ‘derived’ ragas. These are formed from the 72 Melakarta ragas by:

• Omitting notes: A Janya raga might not use all seven notes of its parent scale.
• Vakra prayogas: Having a zig-zag or non-linear movement in its ascent or descent.
• Anya swaras: Incorporating one or more ‘foreign notes’ (notes not strictly belonging to its parent Melakarta scale) in certain phrases, leading to special categories like Bhashanga Ragas.

Further Classification of Janya Ragas

Janya ragas are further categorized based on the number and type of notes they employ:

• Sampoorna Ragas: These Janya ragas use all seven notes in both their aarohana and avarohana, similar to their parent Melakarta (e.g., 7 notes up, 7 notes down).
• Shadava Ragas: Ragas that use exactly six notes in either their ascent, descent, or both (e.g., 6-6, 7-6, 6-7 structures).
• Audava Ragas: Ragas that use exactly five notes in either their ascent, descent, or both (e.g., 5-5, 7-5, 5-7, 6-5, 5-6 structures).
• Varja Ragas: A general term for ragas that omit notes in their scales. Audava and Shadava are specific types of Varja ragas.
• Vakra Ragas: Ragas where the sequence of notes in the aarohana or avarohana is not strictly ascending or descending but involves a zig-zag movement.
• Upanga Ragas: These Janya ragas use only the notes (swaras) that are strictly present in their parent Melakarta raga.
• Bhashanga Ragas: These are distinctive Janya ragas that, in addition to the notes from their parent Melakarta scale, incorporate one or more ‘anya swaras’ (foreign notes) in specific contexts, giving them a unique identity.

Quick Revision List

• Melakarta System: The primary framework of 72 parent scales.
• Janaka Raga: A parent raga; same as Melakarta.
• Janya Raga: A derived raga; formed from a Janaka raga.
• Katapayadi Sankhya: Mnemonic system for numbering and naming Melakarta ragas.
• Sampoorna Raga: Uses 7 notes in both ascent and descent.
• Shadava Raga: Uses 6 notes in ascent, descent, or both.
• Audava Raga: Uses 5 notes in ascent, descent, or both.
• Vakra Raga: Features zig-zag note movements.
• Upanga Raga: Uses only notes from its parent scale.
• Bhashanga Raga: Uses one or more ‘anya swaras’ (foreign notes).

Table: Raga Classification based on Number of Notes

Extra Practice Questions

1. What is another name for a Janaka Raga?
   1. Janya Raga
   2. Melakarta Raga
   3. Audava Raga
   4. Sampoorna Raga
2. Which concept provides a systematic way to assign numbers to the 72 Melakarta ragas?
   1. Tala Dasha Prana
   2. Raga Lakshana
   3. Katapayadi Sankhya
   4. Graha Bhedam
3. A raga that uses 6 notes in its ascent and 7 notes in its descent would be classified as:
   1. Audava-Sampoorna
   2. Shadava-Sampoorna
   3. Sampoorna-Shadava
   4. Shadava-Audava
4. What is an ‘anya swara’ in the context of Bhashanga Ragas?
   1. A prominent note
   2. A note omitted from the scale
   3. A foreign note not typically found in its parent scale
   4. The tonic note of the raga
5. Which classification system groups ragas based on their potential to evoke specific emotions or ‘rasas’?
   1. Melakarta System
   2. Audava-Shadava-Sampoorna classification
   3. While ragas evoke rasas, this is not a primary structural classification system.
   4. Janaka-Janya classification