Janya is a term meaning "derive". In Carnatic (South Indian) music a janya raga is one derived from one of the 72 melakarta ragas (fundamental melodic structures). Janya ragas are classified into various types based on a variety of features.
Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (swaras) of their parent melakarta raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending arohana and descending avarohana scale. Such scales are given the names listed below.[1][2] vrja a
Sampurna – 7 note scale
Shadava – 6 notes
Audava – 5 notes
Since these terms are applicable both to the ascending and the descending scale, ragas can be classified as Audava-Sampurna – 5 notes in ārohaṇa and 7 in the avarohaṇa – Shadava-Sampurna – 6 notes in ārohaṇa and 7 in the avarohaṇa, as in Kambhoji raga and so forth. Sampurna-Sampurna ragas are not necessarily Melakarta because they may use notes not in the parent scale or vakra prayoga, a "zig-zag" scale instead of sequential ascent and descent). Such ragas are termed vakra ragas.[1][2] Examples are Nalinakanti, Kathanakuthuhalam, Darbaru, Jana Ranjani and Kedaram. 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
Upanga ragas are strictly derived from their parent melakarta raga and do not use any note 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 Kāpi.
Single octave
Some janya ragas are sung in only one octave.[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.
^ abcdA practical course in Carnatic music by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house
^ abcdefRagas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
External links
carnatic.net
A Karnatic Music Primer
January 16, 2023
janya, this, article, includes, list, general, references, lacks, sufficient, corresponding, inline, citations, please, help, improve, this, article, introducing, more, precise, citations, july, 2020, learn, when, remove, this, template, message, term, meaning. This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations July 2020 Learn how and when to remove this template message Janya is a term meaning derive In Carnatic South Indian music a janya raga is one derived from one of the 72 melakarta ragas fundamental melodic structures Janya ragas are classified into various types based on a variety of features Contents 1 Varja ragas 2 Upanga Bhashanga ragas 3 Single octave 4 Karnataka Desya ragas 5 Other classifications 6 See also 7 Notes 8 External linksVarja ragas EditRagas that omit varjyam to omit in Sanskrit one or more of the notes of the scale swaras of their parent melakarta raga in the ascending or descending scale or in both fall into this category Different notes may be omitted from the ascending arohana and descending avarohana scale Such scales are given the names listed below 1 2 vrja a Sampurna 7 note scale Shadava 6 notes Audava 5 notesSince these terms are applicable both to the ascending and the descending scale ragas can be classified as Audava Sampurna 5 notes in arohaṇa and 7 in the avarohaṇa Shadava Sampurna 6 notes in arohaṇa and 7 in the avarohaṇa as in Kambhoji raga and so forth Sampurna Sampurna ragas are not necessarily Melakarta because they may use notes not in the parent scale or vakra prayoga a zig zag scale instead of sequential ascent and descent Such ragas are termed vakra ragas 1 2 Examples are Nalinakanti Kathanakuthuhalam Darbaru Jana Ranjani and Kedaram See full List of Janya Ragas for more examples Nalinakanti arohaṇa S G3 R2 M1 P N3 S avarohaṇa S N3 P M1 G3 R2 S Kathanakuthuhalam arohaṇa S R2 M1 D2 N3 G3 P S avarohaṇa S N3 D2 P M1 G3 R2 S see swaras of Carnatic music for an explanation of above notation Upanga Bhashanga ragas EditUpanga ragas are strictly derived from their parent melakarta raga and do not use any note 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 arohaṇa avarohaṇa or both 1 2 Examples of Bhashanga ragas are Kambhoji Bhairavi Bilahari Saranga Behag and Kapi Single octave EditSome janya ragas are sung in only one octave 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 arohaṇa 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 arohaṇa 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 arohaṇa P D2 N3 S R2 G3 M1 P avarohaṇa M1 G1 R3 S N2 D2 P Karnataka Desya ragas EditKarnataka 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 EditThere 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 See also Edit India portal Music portal Wikimedia Commons has media related to Carnatic ragams svg Wikimedia Commons has media related to Janya ragams svg List of Janya Ragas MelakarthaNotes Edit a b c d A practical course in Carnatic music by Prof P Sambamurthy 15th edition published 1998 The Indian Music publishing house a b c d e f Ragas in Carnatic music by Dr S Bhagyalekshmy Pub 1990 CBH PublicationsExternal links Editcarnatic net A Karnatic Music Primer Retrieved from https en wikipedia org w index php title Janya amp oldid 1100368374, wikipedia, wiki, book, books, library,
