Bhoop, Deshkar, Shuddh Kalyan: A Comparative Study
Raag Bhoop, Deshkar, and Shuddh Kalyan are often compared because they use the same set of swars, yet they belong to different families. Even though the notes appear identical on paper, the vadi–samvadi relationships, important nyaas swars, and the influence of a Raag-ang give each raag a distinct identity and sound. Bhoop carries the influence of the Kalyan-ang, whereas Deshkar reflects the Bilawal-ang. Raag Shuddh Kalyan, meanwhile, is a prakaar of Kalyan and shares certain similarities with Bhoop, while still maintaining its own unique identity through characteristic meends and phrasing.
The Role of Raag-Ang in Differentiating the Raags
Raag Bhoop belongs to the Kalyan Thaat and carries the Kalyan-ang, whereas Raag Deshkar belongs to the Bilawal Thaat and is influenced by the Bilawal-ang. The word ang literally means a limb or body part. In Hindustani Music, an ang refers to the characteristic phrasing that gives a raag its family resemblance to other related raags. Thus, Bhoop carries shades of Kalyan through its characteristic phrasing, while Deshkar reflects the Bilawal-ang. Shuddh Kalyan, as its name suggests, also draws from the Kalyan family and contains characteristic Kalyan-ang phrases.
Examples of Kalyan-ang phrases found in Bhoop and Shuddh Kalyan are shown below. A more detailed discussion of these phrases can be found in the Raag Bhoop video.
p r s, r g
g r p g
s r p g
p d g p g rs
p su d sud su
Differences due to Vadi, Samvadi, and Nyaas swars
The vadi, samvadi, and nyaas swars of these raags play an important role in distinguishing them. In Bhoop, Ga is the vadi and Dha the samvadi, whereas in Deshkar the relationship is reversed, with Dha as the vadi and Ga as the samvadi. Shuddh Kalyan also uses Ga and Dha as its vadi and samvadi, respectively.
The choice of nyaas swars further differentiates these raags. In Bhoop, Ga serves as an important nyaas swar, while in Deshkar, Dha is the primary nyaas swar, helping to establish its distinct identity and keeping it separate from Bhoop. Shuddh Kalyan uses Re, Ga, and Pa as important nyaas swars.
Another important distinction lies in the usage of Re. Bhoop employs Re prominently in the ascent, whereas in Deshkar, Re exhibits langhan alpatva (omitting) in the ascent and anabhyas alpatva (no resting) in the descent. This comparatively weaker usage of Re contributes significantly to the distinct character of Deshkar and helps differentiate it from Bhoop.
Meend feature in Shuddh Kalyan
The feature that most clearly differentiates Shuddh Kalyan from both Bhoop and Deshkar is its use of Ni and teevra Ma in the descent. These swars are introduced through characteristic meends, with the glide from Sa to Dha touching Ni and the glide from Pa to Ga touching teevra Ma. A demonstration of these phrases can be found in the Raag Shuddh Kalyan video.
Time of performance
The performance times of these raags also reflect their family affiliations. Most Kalyan family raags are performed in the evening, typically between 7 PM and 10 PM, and both Bhoop and Shuddh Kalyan follow this timing. Deshkar, being associated with the Bilawal family, is performed during the morning hours, generally between 7 AM and 10 AM.
Mood and Expression
The emotional character of these raags also differs. Bhoop and Shuddh Kalyan are capable of expressing a wide range of emotions, including peace, happiness, romance, and devotion, depending on the composition and presentation. Deshkar, on the other hand, is particularly effective at conveying feelings of heroism, strength, and courage.
Conclusion
Bhoop, Deshkar, and Shuddh Kalyan demonstrate that a raag is defined not merely by its swars, but by how those swars are treated. The ang, important resting swars, characteristic phrases, and ornamentations used together create the unique identity and mood of each raag.
Related Topics: Bhoopali, Deshkar, Shuddh Kalyan