Durga

दुर्गा

Swara Notation

S R M P D S' | S' D P D M R S .D S

Thaat: Bilawal Late night Audava-Audava
Vadi: Ma (M)
Samvadi: Sa (S)
Raag Durga: a Bilawal thaat raga of Hindustani music, performed late at night, with Sa, Re, Ma, Pa and Dha, all shuddha. Vadi Ma, samvadi Sa.

Quick Facts

Thaat (Scale)
Bilawal
Time of Day
Late night
Jati (Notes)
Audava-audava
Vadi (King Note)
Ma (M)
Samvadi (Queen Note)
Sa (S)

Origins & Context

Raag Durga is a Bilawal thaat raga of Hindustani music, performed late at night, that uses five notes: Sa, Re, Ma, Pa and Dha, all shuddha. Shuddha means natural, and a thaat is a parent scale. It is also written Doorga. George Howlett places it in the Bilawal raganga.

In this notation, a dot marks the lower octave and an apostrophe the upper. The aroha, or ascent, is S R M P D S'. The avaroha, or descent, is S' D P D M R S .D S, and neither uses Ga or Ni. The vadi, the most prominent note, is Ma, and the samvadi, its partner, is Sa, as David Courtney and Howlett also give them. The AUTRIM project of the National Centre for the Performing Arts and the University of Amsterdam names Sa and Ma as its important notes.

Courtney links Durga to Bhupali and Malkauns by murchchana, a shift of the tonic, so that its scale started from Ma becomes Bhupali and started from Dha becomes Malkauns. He also reports the suggestion that Durga comes from the Carnatic Shuddha Saveri. Howlett calls it likely evolving from that raga and gives it as an approximate counterpart.

KalaSudha presents Hindustani musicians in concert and releases their recordings. Its academy teaches ragas online and in local workshops, and each course is built by its instructor with KalaSudha.

Technical Details

Melodic structure and movement patterns

Aroha (Ascent)

S R M P D S'

Avroh (Descent)

S' D P D M R S .D S

Pakad (Catch Phrase)

M P D, M R .D S, R R P

Additional Notes

The AUTRIM project, after Bhatkhande, gives midnight, and David Courtney late night. 9pm to midnight is also given. George Howlett tags it as an evening raga.

Phraseologies

Key for these phrases: a dot puts a note in the lower octave, and an apostrophe in the upper.

George Howlett writes that shuddha Ma is strong throughout. The AUTRIM project finds the ascent and descent straightforward and calls Pa a resting note. Accounts differ there: one teaching outline says Pa should not be a resting note in the descent, and Howlett notes that some musicians avoid resting on Pa coming down while it stays essential elsewhere.

Accounts differ on mood too. One teaching outline calls the atmosphere very soothing, neither very deep nor very playful; Howlett ties Durga to veera, the heroic rasa.

Common Phrases

D M P D S'

Classifiers

Swara geometries, relationships, and classifications

Structure

Aroha Jati Audav
Avroh Jati Audav
Varjit Swaras
Ga (G) and Ni (N)

Around the World

Global connections and equivalent scales

With Sa on C, Durga uses C, D, F, G and A. George Howlett gives the Ritusen pentatonic scale, 1 2 4 5 6, as its jazz translation, the same five notes.