rakthi ragas

bhaktha · Post by **bhaktha** » 23 May 2007, 22:07

How does a raga qualify itself to be a rakti raga? In other words, what are the characteristics of a rakti raga?
-bhaktha

bhaktha · Post by **bhaktha** » 27 May 2007, 21:37

Some light on this?
-bhaktha

mohan · Post by **mohan** » 28 May 2007, 11:14

I think rakti means 'gives pleasure'. I haven't come across a good definition for rakti ragas but they seem to be those gamakam-laden ragas suited to the slower tempo such as rithigowla, sahana, begada, ananda bhairavi, saveri, yadukula kambhoji, etc.

jayaram · Post by **jayaram** » 28 May 2007, 16:20

'Rakthi' means desire (virakthi = dropping all desires), so I guess 'rakthi raga' means a raga that satisfies one's desire. In addition to the ones mentioned by Mohan, other ragas like Mohanam, Latangi, Kalyani, Sankarabharanam are also considered Rakthi ragas.

bhaktha · Post by **bhaktha** » 28 May 2007, 17:44

Desires? Not sure I understand.
Jayaram sir, can you please explain what is that feature common to the above mentioned ragas that make them rakti ragas? I donot find any similarity in the rags mentioned by you, except that they all use the same r, g, and n.
-bhaktha

Vimala Bulusu · Post by **Vimala Bulusu** » 28 May 2007, 18:58

As per Brown's dictionary rakti means
affection
attachment
love
melody in music (gAna mAdhuryam).

Let us take the meaning as melody in music in the present context.

jayaram · Post by **jayaram** » 28 May 2007, 22:38

Bhaktha, I was just quoting stuff I have read. I would also be interested in learning about 'non-rakthi' ragas. Are there any? i.e. ragas not having any gAna mAdhuryam!

msakella · Post by **msakella** » 29 May 2007, 05:39

Dear brother-member, jayaram, As far my knowledge goes, except while singing or playing the Kriti â€˜Sattaleniâ€™, I could not get any â€˜rakthiâ€™ at all from that Raga Nagaanandini. But, still I am doubtful about my capacity in bringing out all the â€˜rakthiâ€™ of it. Why because, I would like to reminisce an incident. May be in 1959, when I had been to the residence of Shri M.S.Gopalakrishnan for the first time he played the Raga Swarabhooshani filled with beauty of very high quality which I have never heard in my life and he plays so many rare Ragas, which could never be handled by any other Violinist, like that, bringing out each and every phrase with utmost beauty of it which we can find nowhere else. That is why, I hope, even this Raga Swarabhooshani also, no doubt, becomes a rakthi-raga if it comes out of his hands. In the end I would like to add that making it or bringing out 'rakthi' mostly depends upon the calibre of the artist handling the seen. amsharma.

Anusha · Post by **Anusha** » 31 May 2007, 13:46

My hunch was that it pertains to ragas which give immense scope for elaboration. Request artists/rasikas to please clarify.

vageyakara · Post by **vageyakara** » 31 May 2007, 16:54

Hallo Every one,
Rakthitwam , as far as my knowledge goes,has a fine , parallel, (if not equal) meaning in Tamil terminology which is as follows.
"EERPU TANMAI' meaning the tendancy to attract like a magnet.
Usually , Chathusruti rishabham, Antara Gaandharam,Chathursuthi Deivatam, kaakali Nishadam have the natural tendancy to attract and qualify themswelves as Rakthi Swarams.But a combination with other swarams intermingling judiciously , will also give the effect of Rakthi Bhavam. As Mr.Akella ji, rightly opined , it attributes to the skill of the artist to bring rakthitwam to any musical phrase, he/she gets immersed with it.
Ramaraj

vageyakara · Post by **vageyakara** » 31 May 2007, 17:19

Hallo every one,
There is a kriti in the raaga GHAMBHEERA VANI-"sadaamatim talatukadara" a derivative of (30) th meLam NAAGAANANDHINI- Thyaga raja's kriti which has all the qualities of rakthi Ragam.
I have composed one in the same ragam "Ambhaa suta GanapatE" available in nKarnatik.com website.Rasikas may kindly view and listen to the kriti and get back with their views. Tronto Brothers Ashwinand Rohin have learnt it directly from me.
Ramaraj

msakella · Post by **msakella** » 03 Jun 2007, 14:02

Dear brother & sister members, How efficiently a real ARTIST handles even a rare Raga having a very little scope for Alapana and makes it more enjoyable than even a Raga having immense scope for elaboration, so inefficiently another person, who claims himself an artist, kills the audience every time handling even a Raga having immense scope for elaboration.
Irrespective of any reservations, each and every note is the incarnation of the DIVINE MOTHER and with HER blessings only any person, who performs TAPAS of each note, can embellish any Raga bringing out all its facets. amsharma.

vageyakara · Post by **vageyakara** » 03 Jun 2007, 18:02

Kudos to SHARMA GARU,
I am 200% in agreement with u Sir for the fact that u rightly hit the nail on it's head !!!.Unless one has the POORVA JANMA SUKRUTAM, even an initial ruchi towards the Diwyadhwani is not possibleat all !!!Leave alone attaining prowess !!!.My father,(swargeeya) KRISHNA BHAGAVATHA SWAMIGAL,who was a great Harikatha exponent and a vageyakara himself used to mention quite often, that any child with a penchant for
the "Antarara Ghandhaara"and is able to precisely stay in three octaves
will defenitely be a blessed soul and the parents should take it as a clue to nurture the child in such a way that proper training is imparted and the child's inherent talent will take care of further enrichment and the world of DIVINE music, wil be even more blessed .As u have rightly said ,to master/nay !!! TO TAME atleast one SwaraSthanam, even one single Janma is not sufficient and SHRUTI anantham , (a universal truth)is once again established insofar as Divine Music is concerned.There is nogainsaying this fact, time and again
Ramaraj

vgvindan · Post by **vgvindan** » 03 Jun 2007, 18:37

Thyagaraja Kriti - maryAda gAdurA - rAga SankarAbharaNam - http://rasikas.org/wiki/mariyada-gadura

rAgamu tALamu rakti bhakti jnAna
yOgamu mariyanurAgamu lEni
bhAgavatuludara zayanulE gAni
tyAgarAjArcita tAraka carita

Those (so called) great devotees, who do not have knowledge of music (rAga and tALa), loving devotion, practice of true knowledge, and Supreme Love towards the Lord, are indeed subject to rebirth.

UtukkADu VenkaTa kavi - bhakti yOga sangIta - kharaharapriya -
http://www.geocities.com/vc_sekaran/fil ... s_a2e.html

rakti rAgamaya layam isai ellAm bhakti illAviDil phalan
viLaiyAdu (orupOdum) shakti illAviDil shivan uLadEdu

msakella · Post by **msakella** » 05 Jun 2007, 13:40

Dear brother-member, vageyakara, Thank your for your kind compliments. I sincerely feel that real music, irrespective of any system, is the one which makes the listeners weep heavily having their hearts melt with indescribable feelings. amsharma.

mohan · Post by **mohan** » 07 Jul 2009, 08:32

Here is a quote from Sri DK Jayaraman in Sruti issue no 10 page no 23:

I feel we should sing only rakti raga-s in kutcheri-s by and large. They are called by that name because of their powerful appeal. Kalyani, Sankarabharanam. Kambhoji, Bhairavi, Karaharapriya, Hindolani, Suddha Danyasi, and many others. Swara-s flow easily in these raga-s, sangati-s can be sung abundantly and the listener is immensely satisfied. 'Then again, for some saareeram-s, certain raga-s are most suited: In each school of music and its products, you will see some raga-s being a speciality. Some singers insist on singing rare raga-s like Nabhomani, Nasikabhushani and so on. But these raga-s lack rakti. Raga is not just a combination of swara-s, an arohana and an avarohana.

Rasika911 · Post by **Rasika911** » 07 Jul 2009, 11:52

Hindolani?

mohan · Post by **mohan** » 07 Jul 2009, 12:05

Must be Hindolam - I had cut and pasted from the Sruti site.

ragam-talam · Post by **ragam-talam** » 09 Jul 2009, 03:01

And here's Sanjay's take on 'rakti':
http://sanjaysub.blogspot.com/2009/06/s ... akthi.html