50 Evergreen Ragas of Carnatic Music

Bharatanatyam Exponent, musicologist, researcher, choreographer, orator, author- these are but a few attributes of the multi-faceted personality Vidya Bhavani Suresh. Vidya began her formal training in Bharatanatyam under the eminent guru, V.P. Dhananjayan. She continued and completed her tutelage under the renowned guru K.J. Sarasa. After a continuous and strenuous learning experience of 12 years, Vidya had her Arangetram (first formal performance), at the age of 16 years. From then on, Vidya has been an active and innovative performer and researcher. Her performances have always stood apart for their profound research-based content and uniqueness. It has always been Vidya's attempt to take Bharatanatyam very close to the common viewer. Being equally alert to social problems, Vidya has also presented full-length thought-provoking programmes highlighting child labour, unemployment. women's problems, etc.

Vidya is also an accomplished Carnatic music singer, having undergone systematic training in the form. She continues to enrich her repertoire by continuing her association and training with her guru, the reputed Vidushi, A.P. Komala. Vidya's deep knowledge of Carnatic music has enabled her to specialise as a musicologist. Vidya has written more than 14 small books and 3 large and detailed tomes on Carnatic music, which are widely respected as authentic and authoritative books on the subject.

The subject of Ragas of Carnatic music is a very interesting one. The two core features of Carnatic music are Raga and Thala. Thala deals with the metre. We may call it the foundation on which compositions are built. The rhythmic combination of a song and the pace at which it is sung etc. come within the scope of thala. The musicality of a song is determined by the raga in which it is set. In short, the raga is the basic melodic structure. Every raga has a formula. This formula tells us the notes that comprise this raga. In fact, this would be putting it too simply. The formula actually throws light on many things, namely:

1. The notes present:

There are seven notes in Carnatic Music. Five notes, namely, RGM DN have variants, while S and P are constant.

2. The arrangement in which they are present: The notes can be orderly or disorderly.

3. The direction in which they are present: There are two directions - the ascent and descent.

Notes not featuring in the formula are notes that should not be included when that particular raga is being handled.

These four points are the base on which a raga is elaborated. Any deviation from the formula takes the presentation outside the raga, which is not permitted in Carnatic music.

Most people are familiar with many raga names. For many, the familiarity stops there. They are very keen to go beyond this and understand the ragas better. This book has been prepared with this goal in mind.

**Contents and Sample Pages**