Whatever we have talked about until now hinges on the ultimate creation
that a musician strives for, the ability to create through their art
form a venue to touch the inner soul. To get to the root of your emotions,
to blend completely through this auditory medium his emotions with
the audience. This is when the performer and his audience fuse into
one. The attainment of such purity is of primary importance in Indian music.
All that you will learn about music, Indian or otherwise, strives
for this final destination where musical notes transcend tonal boundaries
and touch centers within the inner soul with a communicative power
that can be described as pure enlightenment, or as some have put it,
"fusion with god", hence the phrase, coined by the sage Yajnavalka,
"true musicians don't have to go to heaven, they are already there!"
If you have experienced something like this then you have experienced
In the Sanskrit language, Rasa has many different meanings.
But all these in a broader sense coalesce towards defining the multitude
of human emotions. In one word, perhaps nectar would best describe
it. Some define it as a state of climax of the subtle fanciful imagination,
reflective emotions, and sentiments in a human mind. When aroused,
they produce an extraordinary emotional change or alteration called
Traditionally, there are nine different types of Rasa, although
variations on these are also possible.
As a rule of thumb, Shadaja and Rishabha (1st and 2nd
notes) represent Veera, Raudra and Adabhuta Rasa. Dhaivata
(6th) represents Bhayanak and Vibhatsaya Rasa.. Gandhar
and Nishadha (3rd and 7th) represent Karuna Rasa. 4. Madhyama
and Panchama (4th & 5th) represent Hasya and Shringar
- Shringar - This depicts the sentiment of love, sensuality, and erotic emotions.
- Raudra - This covers the realm of anger, rage, and other violent wrathful emotions.
- Hasya - Under this Rasa come the joyful, the comic, and happy emotions.
- Vibhatsaya - Disgust and ludicrous emotions.
- Veera - Bravery, heroism, and manliness are some of the attributes of this Rasa.
- Karuna - Sadness, pathos, compassion, sympathy.
- Bhayanak - This Rasa caters to the emotions of fear, anxiety, and uncertainty.
- Adabhuta- Wonder and curiosity are two of the attributes of this Rasa.
- Shanta - Contemplative, meditative and peaceful emotions form this Rasa.
The division of Ragas in three sections on the basis of Vikrit
(modified) notes was made by the Indian musicologist Pandit.Bhatkhande:
Sandhi Prakash Ragas (played during twilight /dusk)
containing Komal Re (flat 2nd) and Komal Dha (flat 6th) represent
Shanta and Karuna Rasa.
Ragas containing Tivar Re (natural 2nd) and Tivar
Dha (natural 6th) represent Shringar Rasa.
Ragas containing Komal Ga (3rd) and Komal
Ni (flat 7th) represent the Veera Rasa.
Other Factors Important to Rasa Creation
Apart from note values, the various Rasas can also be created
utilizing dynamics - volume levels and changes can create the Veera
or Shanta Rasa. For example, as the volume moves from soft
and low to a sudden crescendo, a transition from Shanta to
Veera Rasa takes place. Time of play effects the Rasa
evoking process so also do lyrics - vocal rendition adding the proper
emotional ring to the voice while singing for instance. Different
moods of anger, pathos, laughter, fear, wonder come alive. Choreography
and rhythm also play a very distinct part. The Tandava dance
of Shiva for instance creates the Veera and wrathful
moods. The Kathak form of dancing produces a variety of Shringar,
Hasya, Karuna and Shanta Rasa. Tempos in different rhythm
cycles create different Rasa. For instance, Hasya and
Shringar Rasa area created by employing medium tempos, Vibhatsaya;
Bhayanak, as well as Shanta Rasa are created by utilizing
the slow tempos. Veera and Raudra Rasa are created
by using fast tempos. Rasa can be created by different timbre.
Today, as the role of synthesizers in music increases, it is becoming
more and more apparent that music is drawing into a global center.
Samplers can now provide instrumental sounds native to any part of
this world by digitally remembering and recreating them at the touch
of a key.
In the West another element which you are very familiar with adds
its Rasa creating power to the above and that is harmony. Harmonies
that create resolution, discord, uncertainty all are example of Rasa.
And it really doesn't end here. You I am sure have your own ways of
creating these Rasa. That is really what makes each individual's
music his own.
So as you can see, Rasa is a very serious and necessary part of
music as a whole. So plan on using it well!
To order a copy of the Ragopedia book please click here
copyright ©1995, 1996, 1997 Batish Institute. All rights reserved. Intended For Personal Use Only. No part of the information here may
be reproduced or utilized in any form or by any means, electronic
or mechanical, including photocopying and recording, or by any information
and storage retrieval system, without specific written permission
from the Batish family.