Introduction to Indian Classical Music and Raags with All 12 Notes

Indian classical music, a melodic tradition deep-rooted in centuries of tradition and culture, features a rich tapestry of ragas (or raags) that evoke a wide array of emotions and moods. Amongst these, a particular fascination lies in the exploration of ragas that incorporate all twelve notes, or shrutis, in their structure. This article delves into the nuances of such ragas and explores the practical and theoretical aspects of this musical phenomenon.

The Philosophical and Theoretical Foundations

Ragas in Indian classical music are not just scales but complex frameworks for expression. The arrangement of notes in an raga is derived from the svaras (notes) used in that raga, typically adhering to a specific ascending (aroh) and descending (avaroh) scale. A raga with all twelve notes would be considered a rare and unique specimen, pushing the boundaries of traditional composition.

Notable Examples of Ragas with All 12 Notes

One of the most notable ragas that includes all twelve notes in its structure is Raag Khamaj. While primarily based on a pentatonic scale, it can incorporate all 12 notes in various improvisational forms. Another significant raga is Raag Bageshree, known for its ability to incorporate all twelve notes in its elaboration. However, it is important to note that these ragas typically adhere to specific combinations of notes rather than a strict sequence of all twelve notes in a single performance.

The Role of Improvisation

While traditional ragas focus on specific sets of notes, the exploration of all twelve notes can be achieved through improvisation and creativity. This is exemplified by Raag Khamaj, which is known for its flexibility and adaptability in incorporating all twelve notes. Similarly, Raag Bageshree showcases the skill of performers in weaving together all twelve notes in a virtuosic display of musical prowess.

The Concept in Carnatic Music: Sindhu Bhairavi

In the Carnatic music tradition, the raga Sindhu Bhairavi is the equivalent of Hindustani Bhairavi. It is often mentioned that Sindhu Bhairavi includes all twelve svarasthanas (tonic points). However, it is crucial to understand that the inclusion of all twelve notes in a single musical piece is more of an exceptional feat rather than a standard requirement. Ali Akbar Khan, the renowned maestro, made a unique play on Sindhu Bhairavi where he incorporated all twelve notes simultaneously, leaving listeners in awe. This performance is a testament to the artistic innovation and technical mastery within Indian classical music.

Comparing Ragas: Bhairavi and Peeulu

Two ragas that are known for using all twelve notes are Bhairavi and Peeulu. Bhairavi, derived from the Bhairavi thaat and F minor scale, uses all seven notes in both ascending and descending scales. It is melodious and capable of expressing a wide range of emotions, making it a favorite for musical presentations. Similarly, Peeulu, derived from Kafi thaat and Bb scale, also uses all twelve notes and is known for its melodic beauty and versatility.

The Artistic Techniques Involved

In both Bhairavi and Peeulu, the sharp and flat versions of the notes are skillfully interwoven. For instance, in Bhairavi, notes like Re, Ga, Ma, Dha, and Ni are used in their flat (komal) versions while ascending and sometimes in their sharp (teevra) versions during descent. This technique is employed to enhance the charm and depth of the raga. Similarly, in Peeulu, the usage of Re and Ga in their sharp versions during ascent and their flat versions during descent is a hallmark of this raga.

Conclusion

While traditional ragas focus on specific sets of notes, the exploration of all twelve notes is a celebrated achievement within the realm of Indian classical music. This exploration is not only a testament to the musical prowess of the performer but also a beautiful demonstration of the artistic creativity inherent in this ancient tradition. Whether through Bhairavi, Peeulu, or Khamaj, the journey of these ragas highlights the richness and diversity of Indian classical music.