Music and Moods: Practical Consideration
The Readers of this article can have some ideas about the various ragas and musical instruments that reflect particular moods. It is recommended that the Readers may make an attempt to listen to those ragas, preferably played on those instruments attributed with such moods. Though the Western musical instruments may not be used in carnatic system, it is their timbre or tonal colour that makes them categorized against such moods and can be easily spotted out in several Western compositions. Happy listening!
|Nature of feelings||Ragas Associated||Musical Instruments Associated||Author's Comments and Remarks|
|Anger and Violence||Atana, Deepak, Gauri Manohari, Hamsadhwani, Hari Khamboji, Nagawara Valli, Sankarabharanam, Shanmukha Priya, Simhendra Madhyamam, Sunada Vinodini, Todi, Vasantha and others.||Brass instruments, Cymbals, Drums, Ghatam, Gottuvadhyam, Manjira, Mridangam, Nagaswaram, Sarod, Saxophone, Shenai, Tabla, Tavil, Trumpet and others.||
1. Papanasam Sivan uses Atana, a raga associated with anger and violence, in his composition Nee Irangaayenil Pugaledhu to pacify the Fiery Goddess.
2. Vivaldi in his Concerto No. 2 in G Minor (Summer III, Presto) depicts how violins could be violent, breathing fire.
|Compassion, Fellow –feelings and Sympathy||Mukhari, Natta Kurinji, Nadanamakriya, Sahana, Sama and others.||Bassoon, Cello, Flute, Ganjira, Gottuvadhyam, Nagaswaram, Sarangi, Shenai, Sitar, Veena, Violin and others||
1. Slow tempo was found to enhance the impact of Natta Kurinji, the associated raga
2. Natta Kurinji is a nascent and non-standardised raga, serived from an ancient parent (melakarta), Hari Khamboji
|Eroticism and Sensuality||Abheri, Behag, Brindavana Saranga, Hamir Kalyani, Karaharapriya, Kiravani, Khamas, Sri Kalyani, Suddha Saveri, Tillang, Todi and others||Bassoon, Castanets, Magudi, Morsing, Mridangam, Rudra Veena, Santoor, Sarod, Saxophone, Tabla, Tavil, Veena, Vibrophone, Xylophone and others||
1. The powerful combination of D-M-G in the raga Khamas, demonstrated showed the essentials of srngara rasa: the curvatures, taut and intonation.
2. RD Burman's treatment of Khamas was more maternalistic in his Bada Natkhat Hai (Film: Amar Prem)
3. Begum Akhtar's Khamas in her Naa Jaa Balmaa Pardes has all the potentials to stop the emigration of our youth.
|Fear , Doubts, Suppressed feelings, Timidity and Uncertainties in life||Chandrakauns, Chenchurutti, Khambhoji, Nadanamakriya, Natta Bhairavi, Punnagavaralli, Revati, Shivaranjani, Todi and others||Bass Guitar, Castanets, Cello, Flute, Ganjira, Morsing, Mridangam, Sarangi, and others.||Revati played during the lec-dem showed enough fire, recalling the recent kriti of Maharajapuram Santhanam (Note the sound vibrations as you read loudly): Bho Shambho Shiva Shambho Swayambho (and now note its rhythms): Dhimita Dhimita Dhimi Dhimikita Kita Tom Feel the Fiery Dance of Shiva!|
|Joy, Beauty, Lightness, and Flotation||Abheri, Ananda Bhairavi, Behag, Bimplas, Brindavana Saranga, Kapi, Kalyani, Kadana Kuthoohalam, Khambhoji, Kuntala Varali, Mohanam, Natta, Sankarabharanam, Sindhubhairavi, Shivaranjani, Subhodhini, Suddha Dhanyasi, Suddha Saveri, Sunada Vinodini and others||Castanets, Double Bass, Drums, Ghatam, Guitar, Kettle Drums, Mandolin, Piano, Tabla, Tavil, Trumpet, Veena, Vibrophone, Xylophone and others||
1. Playing the raga Kadana Kuthoohalam in Veena in Tisra Jaati with three maatras produced immense joy and smile and brightness in the face of the elders who witnessed it.
2. Mozart's suite also produced identical effects
|Pathos||Bageshwari, Behag, Chakravaham, Desh, Kalyana Vasantham, Kiravani, Natta Bhairavi, Pantuvarali, Revati, Sahana, Sankarabharanam, Sindhu Bhairavi, Subha Pantuvarali, Sohni, Todi and others||Bass Guitar, Double Bass, Flute, Gottuvadhyam, Hawaiian Guitar, Sarangi, Santoor, Sitar, Veena, Violin and others||
1. How correct it is that sweetest songs are those that tell of saddest thoughts! Subha Pantuvarali did the same.
2. Slow phrases did enhance the impact of this raga.
3. To destoy sadness (soka), Tulasivanam has used Subha Pantuvarali in his Sokavinasini.
4. Tchaikovsky's Slavonic March Op 61 was visualized by the audience of the day as a picture of the war-torn battlefied!
|Peace , Tranquility and Contentment||Desh, Hamsa Manjari, Kaanada, Nilambari, Sama, Sri, Yadukula Khambhoji||Cello, Flute, Harmonium, Morsing, Mridangam, Piano, Santoor, Sitar, Tambura, Veena and others||
1. Raga Sama with its notes descending more than ascending (SDPMGRS in avarohanam and SRMPDS in arohanam) brought peaceful feelings
2. The piece from Blue Danube of Strauss, played was the personification of peace
|Valour and Dominance||Gambhira Natta, Gauri Manohari, Natta, Sankarabharanam and others.||Bugle, Drums, Ganjira, Kettle Drums, Nagaswaram, Piano, Sarod, Saxophone, Tabla, Tavil, Trumpets and others||Natta with more swaras in ascendence than in descendence (SRGMPDNS in arohanam and SNPMRS in avarohanam) kept the moods up! Mozart's overture, Le Nozze di Figaro maintained the decorum|
|Wonder, Awe and Pleasantness||Suddha Saveri||Bugle, Cymbals, Drums, Flute, Ghatam, Guitar, Kettle Drums, Magudi, Mandolin, Mouth Organ, Organ, Piano, Sarod, Santoor, Sitar, Tabla, Veena etc.||
1. Suddha Saveri, played in veena was sparkling with dazzling sankatis
2. Mozarto's concertos too woke up the child in the elders!