Excerpts from an article by Pt..Narayan Vinayak Patwardhan, illustrious son of Pt. Vinayak Rao Patwardhan,from the book Raag Vigyaan Volume .
<Translation from Hindi >
"In Indian Classical Music Raagas are divided into two broad categories, namely Shuddha Raag and Mishra Raag. A Mishra Raag is produced by mixing the swara patterns of two or more Raagas. While
mixing the Raagas it is essential to know the rules to be followed in doing so, because then only by observing these rules we are able to understand the basic principles of mixing different Raagas.
This phenomenon of Raag Mishran is a pleasurable intellectual excercise and for this purpose one should have (i) full control over the elements of the Raagas involved and (ii) skill to unite these elements skillfully and effectively.
With the help of these two elements a singer exhibits his prowess and the listeners experience surprise and pleasure repeatedly. The listeners expect the exposition of the Raag by the singer in a particular direction according to their past experience, but the artist produces a totally different swara pattern/composition and displays his skills, which, in turn is pleasurable to the listeners. This pleasure is created by getting what one gets unexpectedly. Thus a certain level of understanding of Music is expected from such listeners, otherwise all the effort made by the artist goes waste.. Therefore, ordinary listeners are not considered proper recipients of a Mishra Raag, whereas for knowledgeable listeners it is a golden opportunity and they get mental satisfaction and listening pleasure.. An ordinary listener is not able to derive listening pleasure from a Mishra Raag. Now a days singers mostly take up Mishra Raagas. Therefore, singing of Shuddha Raagas is all the more important, because through these Raagas the listeners have enjoyed Music.throughout in the past. Artists are also more adept in Shuddha Raagas. So shuddha Raagas will remain popular in future also.
Mishra Raagas mostly remain 'aparachit' (not well known/unpopular). However, some times they also become popular. But this is more as an exception and not as a rule. Through melodious 'gayaki' , 'Raag vachitrya' (innovation ) and control over the Raag, a Mishra Raag can also gain popularity. But the deciding factor this is the singer's 'Gaantapashcharya' (extensive honing of the skills) and observance of the rules of
Raag mixing. The proof of this is the scores of new Raagas which are popular now a days.
Prachalit Raagas can become Aprachalit Raagas in future and vice versa depending upon prevailing circumstances.
For deciding about the Thaat of the Mishra Raag , it is to be seen which Raag is dominant. The Thaat of that Raag should also be the Thaat of the Mishra Raag. Deciding this aspect simply through swara patterns is not proper and should be done both directly and indirectly.
Rules to be observed for mixing the Raagas;
1. In a mishra Raag only one Raag will be dominant. So the other Raagas are used as an embellishment to the main Raag just like the filgree work on a dark coloured piece of cloth. So the swara patterns of other Raagas are superimposed over the swara patterns of the dominant Raag in such a way that the beauty of the main Raag is not diminished but enhanced. The artist must always pay attention to this aspect.
2. The dominant Raag can be mixed in aaroha, avahoha, poorvaang, uttaraang at any place or many places.But other Raagas are used in mishra Raag only by observing specific rules. If the other Raag is started from a specific swara or in aaroha -avaroha ,poorvaang- uttaranga, Raag vistar is to be done only in one compartment and this should be meticulously observed. This is to ensure that the rules of the dominant Raag are not altered and the new Mishra Raag is 'Rasaanukool' (compatible) to the original dominant Raag and is pleasing to the ears.
3. The above rules are to be observed in all mishra Raagas. But there are mishra Raagas where both the Raagas are dominant in equal measures. In such cases which Raag is prominant is to be decided by minute observation.
4. In Mishra Ragas one Raag is always prominent . One more aspect that comes into focus because of this that there can be many or at least two 'Raag swaroops' of a Mishra Raag, because every mishra Raag swaroop is dependent on its dominant Raag. Therefore, which of the Raag is dominant is the deciding factor for a mishra Raag. For example Basant and Bahar, in these two Raagas any one of them can be made dominant. But generally by treating Basant as dominating Raag, Bahar is mixed to it. But if Bahar is treated as the dominating Raag , it will be a different and independent version of the mishra Raag named Basant Bahar. Many more such examples can be given. Here it is certain that only that version which is more 'rasotpattikarak' (able to generate 'rasa'), 'vistaar-sulabha' (easy to elaborate) and 'shravan-madhur' (pleasing to the ears) is likely to get recognition..
5. Another aspect of the Raag mishran is that while maintaining the swaras of a Raag, the style of singing is that of another Raag e.g. by maintaining the Swaras of Raag Saarang (komal, teevra, varjit etc.) the way of singing (gayaki) is done that of Malhaar, we get Megha Malhaar. In such mishra Raagas it is difficult to search for the two Raagas, because the swaras are of one Raag but the chalan (usage) is as per the other Raag.
6. When due to lack of separate swara patterns denoting the Raagas, a mishra Raag becomes a shuddha Raag, so also in two variants of a mishra Raag, to search for the elements of the mixed Raagas needs minute observation. So, ordinary listeners find it difficult to recognise such mishra Raagas. Here it should be kept in mind that the chalan of a Raag being superimposed on another Raag should be compatible to the latter's challan. Thus if we impose swaras producing 'karuna bhava' (pathos) on swaras producing 'veer rasa' (chivalry)or fickleness ('chanchal), this will be sacrilege. What to say of 'Rasanishpatti' (creation of emotions) it will be 'Rasabhanga' (breaking of emotions), because here the cardinal principle of "Raag Ranjaktwa" is being violated and it will be a travesty of a Raag.
7. From the above discussion it is clear that the Raagas to be mixed should be compatible to each other and do not create disharmony. This should always be kept in mind. Besides building up emotions (rasa nirmity), the new Raga should also be easy to elaborate (vistaar sulabha). The swaras of both the Raagas should normally be similar as far as possible. By way of devising the rules, we can now lay down that both the Raagas to be mixed should belong to the same Thaat as far as possible. In those Raagas where vadi-samvadi, vishraanti sthaan (places for a pause) are common are easier to mix. At least there should be one swara common from where Raag vistaar can be done. This swara should be either vadi or samvadi, although there is no such strict rule.
8. If in the two Raagas concerned no swaras are common, there should be at least a swara sangati which is common to both the Raagas and used in the same way in both of them.
9. Although it is said above that there should be some common aspect of both the Raagas, it should be kept in mind that it does not impede in differentiating them. The Raag to be mixed should not be so much common with the main Raag that the mixed Raag may appear like a 'prakaar' of the main Raag. Otherwise it will be termed as a 'bhrashta' (distorted) form of the main Raag.
10. There are some variants (prakaars) of mishra Raagas, where the main swaras of a Raag are used so cleaverly that the Raag is never visible clearly, but its shades appear on the dominant Raag e.g. in Shuddha Kalyaan teevra mandyam and nishaad are used very cleavery. These swaras which are 'varjit' in Bhoopali are used in Shuddha Kalyaan in such a way that with the swaras of Bhoopali the feeling of Kalyan is created, but not a single swara pattern of Kalyaan is used openly. Only by using P R S swara sangati repeatedly the feeling of Kalyaan is produced.
11. About Mishra Raagas it is necessary to put on record that the name of the Mishra Raag should be such that it should incorporate the names of the Raagas used for creating it. As far as possible the name should be indicative of the dominant Raag. For example in all prakars of Malhaar, the Raag-vaachak name 'Malhaar' is used at the end of the name, denotes the prominence of Malhaar. If a format is adopted where the word denoting the dominant Raag is used in the name of the Mishra Raag in the end, it will make the name of the Mishra Raag more expressive and impressive.. Therefore, such Raag names which do not carry any hint of the Raag mixed in the Mishra Raag, should always be avoided e.g. in Gorakh Kalyaan, there is not even a trace of Kalyaan. It is always preferable to have a name for a Mishra Raag which denotes both the Raagas mixed in it.
Although it has been said earlier that the pleasure obtained by a mishra Raag is more of intellectual nature having the elements of surprise and novelty, but still one should not forget the emotions aroused by the Raag, because of the importance of 'ranjaktaa' for any Raag. Theelements of surprise and innovation have a limit and if it is exceeded then the resultant 'creation' will be a 'rasa-bhanga' (killjoy) and it is to be avoided assiduously. Such creations are not fit to be called a Raag. The elements of surprise and novelty should be balanced with 'ranjakta; and then only it will be proper from the point of view of creating a Mishra Raag."
,
( I have tried my best to translate the article. But a translation is never like the original article. So I may be excused for the discrepancies ,if any, that might have crept in. I hope that members will like this article so beautifully written by Pt.Vinayak Narain Patwardhan. With apologies to Shri Patwardhan for translating the article without his permission, for the benefit of Music lovers.)
<Translation from Hindi >
"In Indian Classical Music Raagas are divided into two broad categories, namely Shuddha Raag and Mishra Raag. A Mishra Raag is produced by mixing the swara patterns of two or more Raagas. While
mixing the Raagas it is essential to know the rules to be followed in doing so, because then only by observing these rules we are able to understand the basic principles of mixing different Raagas.
This phenomenon of Raag Mishran is a pleasurable intellectual excercise and for this purpose one should have (i) full control over the elements of the Raagas involved and (ii) skill to unite these elements skillfully and effectively.
With the help of these two elements a singer exhibits his prowess and the listeners experience surprise and pleasure repeatedly. The listeners expect the exposition of the Raag by the singer in a particular direction according to their past experience, but the artist produces a totally different swara pattern/composition and displays his skills, which, in turn is pleasurable to the listeners. This pleasure is created by getting what one gets unexpectedly. Thus a certain level of understanding of Music is expected from such listeners, otherwise all the effort made by the artist goes waste.. Therefore, ordinary listeners are not considered proper recipients of a Mishra Raag, whereas for knowledgeable listeners it is a golden opportunity and they get mental satisfaction and listening pleasure.. An ordinary listener is not able to derive listening pleasure from a Mishra Raag. Now a days singers mostly take up Mishra Raagas. Therefore, singing of Shuddha Raagas is all the more important, because through these Raagas the listeners have enjoyed Music.throughout in the past. Artists are also more adept in Shuddha Raagas. So shuddha Raagas will remain popular in future also.
Mishra Raagas mostly remain 'aparachit' (not well known/unpopular). However, some times they also become popular. But this is more as an exception and not as a rule. Through melodious 'gayaki' , 'Raag vachitrya' (innovation ) and control over the Raag, a Mishra Raag can also gain popularity. But the deciding factor this is the singer's 'Gaantapashcharya' (extensive honing of the skills) and observance of the rules of
Raag mixing. The proof of this is the scores of new Raagas which are popular now a days.
Prachalit Raagas can become Aprachalit Raagas in future and vice versa depending upon prevailing circumstances.
For deciding about the Thaat of the Mishra Raag , it is to be seen which Raag is dominant. The Thaat of that Raag should also be the Thaat of the Mishra Raag. Deciding this aspect simply through swara patterns is not proper and should be done both directly and indirectly.
Rules to be observed for mixing the Raagas;
1. In a mishra Raag only one Raag will be dominant. So the other Raagas are used as an embellishment to the main Raag just like the filgree work on a dark coloured piece of cloth. So the swara patterns of other Raagas are superimposed over the swara patterns of the dominant Raag in such a way that the beauty of the main Raag is not diminished but enhanced. The artist must always pay attention to this aspect.
2. The dominant Raag can be mixed in aaroha, avahoha, poorvaang, uttaraang at any place or many places.But other Raagas are used in mishra Raag only by observing specific rules. If the other Raag is started from a specific swara or in aaroha -avaroha ,poorvaang- uttaranga, Raag vistar is to be done only in one compartment and this should be meticulously observed. This is to ensure that the rules of the dominant Raag are not altered and the new Mishra Raag is 'Rasaanukool' (compatible) to the original dominant Raag and is pleasing to the ears.
3. The above rules are to be observed in all mishra Raagas. But there are mishra Raagas where both the Raagas are dominant in equal measures. In such cases which Raag is prominant is to be decided by minute observation.
4. In Mishra Ragas one Raag is always prominent . One more aspect that comes into focus because of this that there can be many or at least two 'Raag swaroops' of a Mishra Raag, because every mishra Raag swaroop is dependent on its dominant Raag. Therefore, which of the Raag is dominant is the deciding factor for a mishra Raag. For example Basant and Bahar, in these two Raagas any one of them can be made dominant. But generally by treating Basant as dominating Raag, Bahar is mixed to it. But if Bahar is treated as the dominating Raag , it will be a different and independent version of the mishra Raag named Basant Bahar. Many more such examples can be given. Here it is certain that only that version which is more 'rasotpattikarak' (able to generate 'rasa'), 'vistaar-sulabha' (easy to elaborate) and 'shravan-madhur' (pleasing to the ears) is likely to get recognition..
5. Another aspect of the Raag mishran is that while maintaining the swaras of a Raag, the style of singing is that of another Raag e.g. by maintaining the Swaras of Raag Saarang (komal, teevra, varjit etc.) the way of singing (gayaki) is done that of Malhaar, we get Megha Malhaar. In such mishra Raagas it is difficult to search for the two Raagas, because the swaras are of one Raag but the chalan (usage) is as per the other Raag.
6. When due to lack of separate swara patterns denoting the Raagas, a mishra Raag becomes a shuddha Raag, so also in two variants of a mishra Raag, to search for the elements of the mixed Raagas needs minute observation. So, ordinary listeners find it difficult to recognise such mishra Raagas. Here it should be kept in mind that the chalan of a Raag being superimposed on another Raag should be compatible to the latter's challan. Thus if we impose swaras producing 'karuna bhava' (pathos) on swaras producing 'veer rasa' (chivalry)or fickleness ('chanchal), this will be sacrilege. What to say of 'Rasanishpatti' (creation of emotions) it will be 'Rasabhanga' (breaking of emotions), because here the cardinal principle of "Raag Ranjaktwa" is being violated and it will be a travesty of a Raag.
7. From the above discussion it is clear that the Raagas to be mixed should be compatible to each other and do not create disharmony. This should always be kept in mind. Besides building up emotions (rasa nirmity), the new Raga should also be easy to elaborate (vistaar sulabha). The swaras of both the Raagas should normally be similar as far as possible. By way of devising the rules, we can now lay down that both the Raagas to be mixed should belong to the same Thaat as far as possible. In those Raagas where vadi-samvadi, vishraanti sthaan (places for a pause) are common are easier to mix. At least there should be one swara common from where Raag vistaar can be done. This swara should be either vadi or samvadi, although there is no such strict rule.
8. If in the two Raagas concerned no swaras are common, there should be at least a swara sangati which is common to both the Raagas and used in the same way in both of them.
9. Although it is said above that there should be some common aspect of both the Raagas, it should be kept in mind that it does not impede in differentiating them. The Raag to be mixed should not be so much common with the main Raag that the mixed Raag may appear like a 'prakaar' of the main Raag. Otherwise it will be termed as a 'bhrashta' (distorted) form of the main Raag.
10. There are some variants (prakaars) of mishra Raagas, where the main swaras of a Raag are used so cleaverly that the Raag is never visible clearly, but its shades appear on the dominant Raag e.g. in Shuddha Kalyaan teevra mandyam and nishaad are used very cleavery. These swaras which are 'varjit' in Bhoopali are used in Shuddha Kalyaan in such a way that with the swaras of Bhoopali the feeling of Kalyan is created, but not a single swara pattern of Kalyaan is used openly. Only by using P R S swara sangati repeatedly the feeling of Kalyaan is produced.
11. About Mishra Raagas it is necessary to put on record that the name of the Mishra Raag should be such that it should incorporate the names of the Raagas used for creating it. As far as possible the name should be indicative of the dominant Raag. For example in all prakars of Malhaar, the Raag-vaachak name 'Malhaar' is used at the end of the name, denotes the prominence of Malhaar. If a format is adopted where the word denoting the dominant Raag is used in the name of the Mishra Raag in the end, it will make the name of the Mishra Raag more expressive and impressive.. Therefore, such Raag names which do not carry any hint of the Raag mixed in the Mishra Raag, should always be avoided e.g. in Gorakh Kalyaan, there is not even a trace of Kalyaan. It is always preferable to have a name for a Mishra Raag which denotes both the Raagas mixed in it.
Although it has been said earlier that the pleasure obtained by a mishra Raag is more of intellectual nature having the elements of surprise and novelty, but still one should not forget the emotions aroused by the Raag, because of the importance of 'ranjaktaa' for any Raag. Theelements of surprise and innovation have a limit and if it is exceeded then the resultant 'creation' will be a 'rasa-bhanga' (killjoy) and it is to be avoided assiduously. Such creations are not fit to be called a Raag. The elements of surprise and novelty should be balanced with 'ranjakta; and then only it will be proper from the point of view of creating a Mishra Raag."
,
( I have tried my best to translate the article. But a translation is never like the original article. So I may be excused for the discrepancies ,if any, that might have crept in. I hope that members will like this article so beautifully written by Pt.Vinayak Narain Patwardhan. With apologies to Shri Patwardhan for translating the article without his permission, for the benefit of Music lovers.)
Thank you so much for this topic
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