Raga Vibodha 

Image result for Raga vibodha of Somanatha

Raga-vibodha of Somanatha (1610 A.D) is an important text in many ways. It is also an interesting link between the Karnataka Sangita of the South and Hindustani Music of the North.

His use of the svara names as Tivra, Tivratara and Tivratama; and the term ‘Thaat’, as a synonym for “Mela,” will also show that he had come into contact with Northern music.  Somanatha Pandit, unlike the writers of his time, makes use of the Svara names Mrudu-Sa, Mrudu-Ma, and Mrudu-Pa to denote the sounds of the third Shruti of each of the notes Sa, Ma and Pa.

Apart from discussing theories (Lakshana) of Music, the Raga Vibodha pays special attention to practical (Lakshya) aspects of music performance. It deals elaborately with the Gamakas and Alamkaras that adorn and enhance the beauty of music-presentation. Though his exposition is based on the vocal styles of Gamakas and Sthaya, Somanatha excels in offering varieties of left and right-finger-techniques for  playing on stringed instruments (Veena) –Vadana bedha –  such as, deflections, slides  and others that help to explore the limits of the subtleties that the instrument is capable of.  Veena occupies an exalted position in Raga- vibodha.

The Raga-vibodha is made of five Chapters.

The first chapter deals with Sruti and Svara-s; the second with Veena; the third with Mela; the fourth with Raga; and, the fifth with Raga-rupa (structure of the raga). There are 83 verses in the First chapter; 53 in the Second; 61 in the Third; 48 in the Fourth; and, 225 in the Fifth.

 Somanatha mentions that, in his work, he has adopted the Arya Chhandas (meter) throughout, as it is the only meter that  provides the facility to express short syllables  like SaRiGa and Ma in quick succession.

Raga-vibodha deals with the Marga and the Desi streams of classical Indian Music. Following the earlier tradition, Somanatha describes Marga Music as that which was sought for (from the root Mrg, to search) by the gods; And, as the pristine Music that was practiced by Bharata and other sages in the presence of Shiva . Marga, therefore, he says, is worthy of veneration.

Somanatha (1610 A.D – Ku-dahana-tithi-ganita-Sake 1531)) a musician scholar hailing from Andhra Desha, son of Mudgala Suri a versatile scholar in all arts (sakala kala) , was perhaps the earliest musician-scholars to introduce the system writing notation (Raga-sanchara) to music passages in a systematic manner.

Somanatha’s Raga-vibodha, spread over five Chapters, also follows the general plan of Ramamatya’s Svara-mela-kalanidhi and Pundarika Vittala’s Ragamanjari.

The first Chapter of Raga Vibodha closely resembles the first Chapter of Pundarika Vittala’s  Ragamanjari. It summarizes the ancient terminologies in the same order.

Somanatha starts in Chapter Two a discussion on tuning of the Shuddha and Madhya-mela Veena, which resembled Hindustani Bin (Rudra Veena). This Chapter corresponds to Chapter 3 of Svara-mela-kalanidhi of Ramamatya.

In Chapter Three, It corresponds to Chapter Four of Svara-mela- kalanidhi; of Ramamatya; and, it deals with Melas. Here, Somanatha added five more Melas  (Bhairava, Malhara, Kalyana, Suddha-vasanta and Hammira ) to the 20 listed by Ramamatya  and deleted two Melas  ( Hindola, and Hejujji ) to bring up the net number of Melas to 23. (In this list,  Malava-gauda  is sometimes accepted in place of Bhairava).

Somanatha’s  arrangement of 23 Mela (scales) is based on the division of the Octave (Saptaka) of 17 notes, some of which bear two names. Therefore, the 22 (theoretical) names of the notes cover only 17 actual Srutis.

Out of these, thirteen Melas are identical with Ramamatya’s Melas; and, three (Shuddhavarati, Sriraga and Karnatagaula) are slightly different from their equivalents in Ramamatya’s system.

Out of the remaining Seven Melas, three (Todi, Hammira and Saranga) corresponds to the Melas of the same name which Pundarika Vittala describes in his Ragamanjari.  Of the other four, Somanatha’s Kalyana has its equivalent in Srikantha’s system. And, Somanatha’s Mallari, Bhairavi and Vasantha Melas are not found in any of the works of his predecessors.

In Chapter Four, which corresponds to Chapter Five of Somanatha’s Svara-mela-kalanidhi, describes the individual characteristics (Lakshanas) of the Ragas. Here, after giving the division of the Ragas according to the different standards, their structure in terms of Graha, Amsa and Nyasa are presented.

Somanatha in his Raga-vibodha mentions 51 Ragas, of which 29 are used in the Music of the present-day: 17 in Karnataka Music, 8 in Hindustani and 4 in both the systems

Chapter 5 which is the last Chapter is the most valuable part of Raga Vibodha. Following his processor Srikantha, Somanatha gives the pictorial descriptions (Dhyana) of the Ragas and specifies their appropriate times of performance.  But, in Somanatha’s opinion a mere abstract, aesthetic picture (Devamaya rupa = Divine form) of the Ragas would not suffice. He therefore presents their sound-pictures (Nadatmaka rupa) as well through musical notations.

Thus, Somanatha has presented most interesting music examples of the history of Indian Music.  In contrast to the ancient and almost forgotten music-examples of Jati and Gramas as in the older treatise, Somanatha’s music-pictures give an insight into contemporary music practices. The notations he provides indicate various musical ornaments (Gamakas) that were played on the Veena.

Raga Alapana and other modes of elaborations i.e. a map for improvised explorations in freestyle.

Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each Raga’s unique character.

The Raga-vibodha, a distinctive text, serves as a bridge between the music of the sixteenth and seventeenth centuries and that of the present-day. Somanatha is, therefore, regarded by many as the most important and the most original of all the sixteenth and seventeenth century Musicologists.