Durga is a raga in Hindustani Classical music. It shares some features with Shuddha Saveri of Carnatic music (such as the note positions), but is significantly different from it in terms of the sancharas of the raga.
| Thaat | Bilaval |
|---|---|
| Type | Audava |
| Time of day | Night, 9-12[1] |
| Arohana | Sa Re Ma Pa Dha Sa |
| Avarohana | Sa Dha Pa Ma Re Sa |
| Pakad | Re Ma Pa Dha, Ma Re |
| Vadi | Ma |
| Samavadi | Sa |
| Similar | Shuddha Saveri |
Unless mentioned otherwise, notes refer to the concept of notes in Indian classical music, called ‘swara’ in Hindustani.Durga raga evokes the sringara rasa – romantic love.[2]
Technical description
| Feature | Detail | Notes |
|---|---|---|
| Jati / Nature | Audav-Audav | 5 Notes on both Aaroh and Avroh[3] |
| Aroha | Sa Re Ma Pa Dha Sa | सा रे म प ध सा^ |
| Avaroha | Sa Dha Ma, Pa Dha Ma, Re Dha. Sa | सा^ ध म, प ध म, रे ध_ सा Pancham should not be a resting note in Avroh[4] |
| Pakad | Re Ma Pa Dha, Ma Pa Dha, Ma Re, Sa Re Dha. Sa | |
| Vadi | Ma | |
| Samvadi | Sa | |
| Poorvang-Uttarang | Poorvang | The lower half of the saptak (octave) i.e. S R G M are present. |
| Thaat | Bilawal |
Notes and features
- All swaras used are suddha
- Gandhar and Nishad are not used.
Example composition
R m P D ; P D m ; m P D D m ; D m P D S' ; D D S' S' D D m; m P D ; m R, D S;Here m is Shuddha Madhyam, M is Tivra Madhyam but this is not used in Durga at all.
Samay (time)
Second Prahar of night : 9:00 p.m. to midnight (nishitha)
Comparable to
Malhar
Durga has the same notes as Malhar, another popular raag and one of old pedigree. The aural experience of both are significantly different. Technically, they are made apart by the use of rishabh (Re). Durga is also readily distinguished by its salient use of the phrase Sa Re Dha Sa
1) Common phrase Re Pa, distinguished by the use of Re
Both Durga and Malhar have the Re Pa pairing (sangati), however, the Re Pa cohort in Malhar involves a repetition of Re twice or thrice. More importantly the Re has a kaṇ of shuddha madhyam. (ma)
- Malhar: Ma Re Re Re[ma] Pa
- Durga: Ma Pa Dha Sa’ Re Dha Pa Dha Ma Re Pa.
Here, in Malhar, the transition between Re to Pa, the Re has a kaṇ of ma, and is not independently pronounced. The ma is shown stuck to Re in square brackets.Stylistically, the duplication of ‘Re’ is also noted.
2) Different phrases
Also present in the pakad of the raag, Sa Re, Dha Sa is the quintessential phrase of Durga, which is not present in Malhar. (dha denotes dhaivat (dha) of the lower octave i.e. mandra saptak)[5]
Jaldhar Kedar
Jaldhar Kedar is a variant of, the major raag Kedar , and a part of the raagang of its namesake.
Film songs
| Song | Movie | Composer | Artists |
|---|---|---|---|
| Geet Gaya Pattharon Ne | Geet Gaya Patharon Ne | Ramlal Hirapanna Chowdhury | Asha Bhosle |
| Chanda Re Mori Patiya Le Ja | Banjaarin(1960 film) | Chand Pardesi | Mukesh (singer) & Lata Mangeshkar |
| Brindavan Ka Krishna Kanhaiya | Miss Mary (1957 film) | Hemant Kumar | Lata Mangeshkar & Mohammed Rafi |
| Hum Intezar Karenge | Bahu Begum | Roshan (music director) | Mohammed Rafi |
| Hoga Tumse Pyara Kaun | Zamane Ko Dikhana Hai | R D Burman | Shailendra Singh |
Bollywood songs
- Geet gaya pattharo ne - Geet Gaya Patharon Ne (1964)
- Chanda re mori patiya le ja - Banjaarin
- Vrindavan ka Krishna Kanhaiya - Miss Mary
- Hum intezaar karenge – Bahu Begam
- Be Nazaara - Mom
- Hoga Tumse Pyara Kaun - Zamane Ko Dikhana Hai
Language:Tamil
Note that the following songs are composed in Shuddha Saveri, the equivalent of raga Durga in Carnatic music.
References
External links
- More details about raga Durga
- Durga, ITC Sangeet Research Academy