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'''''Yakshagana rāga''''' ([[Kannada]]:ಯಕ್ಷಗಾನ ರಾಗ, pronounced as ''yaksha-gaana raaga'') refers to [[musical mode|melodic modes]] used in [[Yakshagana]]. It is based on pre-classical melodic forms that consist of a series of five or more [[musical notes]] upon which a [[melody]] is founded.<ref name="preclassical">Prof. Sridhara Uppara. 1998.Yakshagana and Nataka Diganta publications</ref> Yakshagana rāgas have indigenous rāgas and others derived from other forms of music. Rāgas in yakshagana are closely associated with a set of melodic forms called ''mattu''. Yakshagana rāgas have their own ''[[Gamaka (music)|gamaka]]''. Although yakshagana rāgas share names with rāgas in other Indian music systems, they are compositionally different, with a few exceptions. More than 80 rāgas have been identified to have survived the onslaught of popular and elite musical systems.<ref name="DrShivarama">''Dr. Shivarama Karantha, Yakshagana Bayalaata, Harsha Publications, 1963, Puttur, South Canara.</ref> In Yakshagana tradition, rāgas are associated with different times of the night throughout which Yakshagana is performed.<br />
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== Nature of yakshagana rāga ==<br />
''Rāga'' describes a generalised form of melodic practice. It also records a set of rules for building the [[melody]]. Yakshagana rāga follows not only these rules but also certain rhythmic and melodic structures called ''mattu''. Rāga specifies the rules for movements up (''aaroha'' [आरोह]) and down (''avroha'' [अवरोह]) the [[musical scale]]; which ''[[swara]]'' ([[Note (music)|notes]]) should figure more and which should be used more sparingly; which notes to stress more; which notes may be sung with ''[[gamak]]a''; phrases to be used; phrases to be avoided; and so on. The result is a framework that can be used to [[musical composition|compose]] or [[improvisation|improvise]] melodies, allowing for endless variation within the set of notes. What makes yakshagana singing different are, among other things, ''yaksha gamaka'', which are distinct sets of notes and also way of approaching a note or rendering a note to form a particular ''mattu''.<br />
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More than adhering to stricter scale, yakshagana rāga follows the metre of [[yakshagana poetry]] called the ''[[Yakshagana Chandhas]]''. The melody is formed from a deep voice formed by controlling muscles as low as pelvic and abdominal muscles. This high pitched singing might have come out of need to reach all audience in a ''yakshagana bayalata'', which is an outdoor activity. Recently singers have adopted softer singing because of the microphone. Some Hindustani rāgas modified to suit yakshagana performance can also be seen (e.g. bhimpalas).<ref name=psuyn>Prof.Sridhar Uppura, Yakshagana and Nataka, Diganta publications, 1998</ref><br />
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Yakshagana rāgas are rendered but are not elaborated, sung swiftly to suit theatrical performance. Each song may complete within less than a minute, or a few minutes. Therefore, several songs of same rāga used for various plots must be heard to experience the full features of yakshagana rāga.<br />
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== Yakshagana rāga and time ==<br />
Unlike in other classical forms yakshagana performance starts with Rāga Naati or Chala Naati in late evening (though the actual story or prasanga starts with Rāga Bhiravi), and ends with Mohana Rāga in early morning.<ref name="preclassical" /><br />
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== Yakshagana gamaka ==<br />
Yakshagana music has its own ''gamakas''. Yakshagana gamakas are name given to the set of sequence of notes often used in only in yakshagana rāgas. It can also refer to, in popular parlance, inflections applied on notes. These gamakas give a distinct flavor to yakshagana rāgas. These gamakas are learned by training and are among features such as '''mattu''' which make yakshagana sound different from other forms of music.<ref name="preclassical" /><br />
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== Indigenous yakshagana ragas ==<br />
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*Shatpadi (Note that this is different from [[Kannada]] prosody by the same name)<br />
*Sangatya<br />
*Kannada (This is different from Kaanada of Hindusthani)<br />
*Hoovu<br />
*Koore (This is different from Kore Tala)<br />
*Nepali<br />
*Gopanithe<br />
*Navarasa<br />
*Vrundhavana<br />
*Mechaali<br />
*Koravi<br />
*Divaali<br />
*Mechchu<br />
*Ghantaarava <ref name="DrShivarama" /><br />
*Madhumaadhavi<br />
*Mechaali<br />
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== Some well-known ragas ==<br />
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These ragas share names of the ragas of Karnataka Sangeetha but structurally different from them with very few exceptions.<ref name="DrShivarama" /><br />
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*Naati ---- Vaaranaa vadana/Mudadinda Ninnaaa<br />
*Sangatya ---- Kururaaaya idanella kandu<br />
*Regupti ---- Kelu<br />
*Kambhodhi ---- Shatrugna senegala sUtravanu sharisutta (Cognate of Hinsuthani raga)<br />
*Bhairavi ---- Elavo sanjayane kelu, any starting song of a prasanga<br />
*Madhyamavathi ----<br />
*Kalyani<br />
*Kaaphi<br />
*Nilaambari<br />
*Paraju<br />
*Desi (Desh?)<br />
*Navaroju<br />
*Savaay<br />
*Saurashtra<br />
*Saranga <br />
*Saveri<br />
*Suruti<br />
*Todi<br />
*Begadi<br />
*Mukhari<br />
*Panturavali<br />
*Kedaragaula ---- Taye kel sri krishna rayana bari salu<br />
*Madhumadhavi<br />
*Mohana ---- Maranayyana Maata, ranganayaka rageeva lochana<br />
*Janjooti<br />
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==See also==<br />
*[[Melody type]]<br />
*[[Maqaam|Maqam]]<br />
*[[makam]]<br />
*[[echos]]<br />
*[[muqam]]<br />
*[[Nava rasas]]<br />
* ''[[Raga (film)|Rāga]]'', a documentary about the life and music of [[Ravi Shankar]]<br />
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== Notes ==<br />
{{reflist}}<br />
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==References==<br />
*{{ Citation<br />
| last=Uppura<br />
| first=Prof. Sridhara<br />
| title=Yakshagana and Nataka<br />
| publisher=Diganta Sahitya Publications<br />
| place=Mangalore<br />
| year=1998<br />
}}<br />
*''Rāga-Rupanjali'' Ratna Publications: Varanasi. 2007.<br />
* [http://shruti.hejje.com Yashagana Shruti Box Software Online/WINDOWS/Linux/Mobile/iPhone/Android].<br />
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==External links==<br />
* [http://shruti.hejje.com/ Yakshagana Shruti Software]<br />
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{{Melakarta ragas|state=collapsed}}<br />
{{Indian Music}}<br />
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[[Category:Ragas]]<br />
[[Category:Yakshagana]]</div>imported>Revirvlkodlaku