Janya.html |
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| Carnatic music |
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| Concepts |
| Śruti • Swara • Rāga • Tala • Melakarta • Janya |
| Typical instruments |
| Vocals • Violin • Mridangam • Ghatam • Morsing • Kanjira • Flute • Veena |
| Main types of improvisation & compositions |
| Varnam • Kriti • Alapana • Niraval • Kalpanaswaram • Ragam Thanam Pallavi • Thani Avarthanam |
| Timeline |
In Carnatic music (South Indian classical music), Janya ("derived from") and Janya Ragas are the Ragas (melodic modes) derived from the 72 melakarta (fundamental) ragas.
Contents |
Classifications
Janya ragas are classified into various type, based on a variety of features. Here are some of the classifications.
Varjya ragas
Ragas which skip one or more swaras in the scale in comparison with it's associated melakarta raga fall into this category. The notes skipped can be in either the ascending scale, descending scale, or both. Also, in some varjya ragas, different notes may be skipped in ascending scale, compared to its descending scale.
They are further given special terms as listed below 1 2.
- Sampoorna - all 7 notes in the scale
- Shadava - 6 notes in the scale
- Owdava (or audava) - 5 notes in the scale
- Svarantara - 4 notes in the scale
These terms may be applicable to either the ārohaṇa (ascending scale), avarohaṇa (descending scale) or both. Hence, ragas can be classified as follows.
- Owdava-Sampoorna - 5 notes in ārohaṇa and 7 in the avarohaṇa, as in Abheri and Bilahari ragas
- Shadava-Sampoorna - 6 notes in ārohaṇa and 7 in the avarohaṇa, as in Kambhoji raga
- Sampoorna-Owdava - 7 notes in ārohaṇa and 5 in the avarohaṇa, as in Saramati raga
- Sampoorna-Shadava - 7 notes in ārohaṇa and 6 in the avarohaṇa, as in Bhairavam raga
- Owdava-Owdava - 5 notes each in ārohaṇa and avarohaṇa, as in Hindolam, Mohanam, Hamsadhwani and Abhogi ragas (pentatonic scale)
- Shadava-Shadava - 6 notes each in ārohaṇa and avarohaṇa, as in Sriranjani, Malayamarutham and Suddha Seemanthini ragas
- Svarantara-Svarantara - 4 notes each in ārohaṇa and avarohaṇa, as in Lavangi raga
The above list is representative only and more combinations are possible. Also, there are Sampoorna-Sampoorna ragas, which are not necessarily Melakarta because of either use of notes from multiple mela scales (anya swara used, that is 1 or more notes not in the parent scale) or vakra prayoga (zig-zag scale, instead of strict ascending/descending).
Vakra ragas
The ragas whose ārohaṇa, avarohaṇa or both, have zig-zag notes (strict ascending / descending order is not followed) are vakra ragas 1 2.
Examples are Nalinakanti, Kathanakuthuhalam, Darbaru, Janaranjani and Kedaram to name a few. See full List of Janya Ragas for more examples.
- Nalinakanti - ārohaṇa S G3 R2 M1 P N3 S, avarohaṇa S N3 P M1 G3 R2 S
- Kathanakuthuhalam - ārohaṇa S R2 M1 D2 N3 G3 P S, avarohaṇa S N3 D2 P M1 G3 R2 S
(see swaras of Carnatic music for explanation of above notation)
Upanga/Bhashanga ragas
Upanga ragas are strictly derived from their parent melakarta raga. They do not use any note which is not found in the parent raga's scale 1 2. Examples of upanga ragas are Shuddha Saveri, Udayaravichandrika and Mohanakalyani.
Bhashanga ragas have anya swara(s) (external note; note not found in parent scale) in their ārohaṇa, avarohaṇa or both 1 2. Examples of Bhashanga ragas are Kambhoji, Bhairavi, Bilahari, Saranga, Behag and Kapi.
Single octave
Some janya ragas are to be sung sticking to one octave only 2. Moreover, the highest note is not the shadjam (sa), at which the base sruthi (drone) of a performance is set. The classifications in this category are as follows.
- Nishadantya - highest note is the nishadam (ni)
example Nadanamakriya derived from Mayamalavagowla scale (ārohaṇa S R1 G3 M1 P D1 N3, avarohaṇa N3 D1 P M1 G3 R1 S N3) - Dhaivathantya - highest note is the dhaivatham (dha)
example Kurinji derived from Shankarabharanam scale (ārohaṇa S N3 S R2 G3 M1 P D2, avarohaṇa D2 P M1 G3 R2 S N3 S ) - Panchamantya - highest note is the panchamam (pa)
example Navaroj (ārohaṇa P D2 N3 S R2 G3 M1 P, avarohaṇa M1 G1 R3 S N2 D2 P)
Karnataka/ Desya ragas
Karnataka ragas are those that are considered to have originated in Carnatic music 2. Examples are Shankarabharanam, Lalitha and Shuddha Saveri.
Desya ragas are those ragas that have their origins in other music, majority of them originating in Hindustani music. Examples are Yamunakalyani, Desh, Behag and Sindhu Bhairavi.
Other classifications
There are various other classifications of janya ragas. These are based on relationships with other ragas (they give a feel of a different but similar raga), presence of gamakas (oscillations and graces around the note), stresses on notes or lack of them, the time of day when a raga is sung, rasa or mood that they evoke, etc.