Pakaḍa and Calana

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The components of a raga are articulated in simple melodic formulas, called pakaḍa, which synthesize the musical personality of a raga. The Hindi pakaḍa means "catch" or "capture" and, according to Ashok Ranade, this is exactly what this musical concept can achieve: "To performers and auditors alike, pakad offers a good grip on the raga.” (1990: 73-74) It is considered by Bhātkhaṇde as a specific combination of notes that alone can depict the raga. (1916: 41)

 

Calana, "to walk", refers to the melodic outline of a raga (Bor et al., 2002: 179) and how to effectively combine the notes of a raga into a melody. (Widdess, 1995: 399) This is a series of musical phrases, no more than eight or ten (Raja, 2005: 414), which illustrate the general melodic movements of a raga. In short, pakaḍa and calana conjugates the components of a rāga, organizes them in movement and gives a specific and recognizable form to each raga.

 

References:

• Bhatkhande, V. N. (1916). A Short Historical Survey of the Music of Upper India. Baroda: Indian Musicological Society.

  Bor, J. et al. (2002). The Raga Guide: A Survey of 74 Hindustani Ragas. Netherlands: Nimbus : Rotterdam Conservatory of Music.

  Ranade, A. D. (1990). Hindustani Classical Music : Keywords and Concepts. New-Delhi: Promilla.

• Raja, D. (2005). Hindustani Music: A tradition in Transition (2015 ed.). New-Delhi: D.K. Printworld.

• Widdess, R. (1995). The Rāgas of Early Indian Music: Modes, Melodies, and Musical Notations From the Gupta Period to 1250. Oxford : Clarendon Press.