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2013 September 9 [Monday]

Ata tala varnam::Viriboni

A varnam is one of the hardest phase of the learning process in the shishya-parampara (student learning process) within the Karnatic classical school, a grounding in fundamentals of sorts. In my opinion, that intricacy makes them more soulful and complete as compared to, say, a kriti.

Varnam's are further classified into "pada" varnam and "ata-tala" varnams.  "Viriboni" is one such Ata-tala varnam set to Bhairavi ragam by Pacchimirium Sri Adiyappaiyer

Composition: Viriboni
Composer: Pacchimiriyam Adiyappa
Raga:  Bhairavi                 
Mela: Natabhairavi - 20

Type:  Varnam                  
Tala :  Khandajathi Ata

Arohana:    S G1 R2 G1 M1 P D2 N1 S || S Gi Ri Gi Ma Pa Dhi Ni S
Avarohana:S N1 D1 P M1 G1 R2 S      || S Ni Dha Pa Ma Gi Ri S
Bhashanga Raga: Chatusruti dhaivata


PALLAVI:
viribōṇi ninnē kōri ||
marulu konnadi-rā ||

ANUPALLAVI:
sarasuḍau dakṣiṇa dwāraka ||
sāmi śrī rājagōpāla dēva ||

CHARANAM:
chirunavvu mōmuna ||


If you are thinking this is just five lines, dont. Ata-tala varanams are very complex pada-varnams and we usually take 25 minutes to finish it. Yeah 25 minutes to practise five lines of lyrics!

Ata-tala varnam, as the name suggests, are set to a 14-beat cycle, far different as compared to a varnam set to Adi tala. That complexity in beats makes it complex and yet soulful, thanks to the complex svara structures.

They are also used for the Bharatnatyam dance recitals, where the ragam-tanam-pallavi is more intricate as compared to a regular varnam and it could go on for as long as 35-45 minutes, depending on the choreography and the visual story-telling the artiste-dancer indulges in.


2010 June 5 [Saturday]

Raga Darbari Kanada

"Devan ke pati Indra", composed in raga Darbari Kanada - Deshadi is a Hindustani raga composed by Svati Tirunal in HINDI language set to chowtaal. Pandit Ganapathi Bhatt, whose rendition is in two parts: Part one is around 8 minutes and part two is under 6 minutes, lends soul to one of the most beautiful Hindi bhajans that I have heard of Svati Tirunal, ala, Maharaja Svati Tirunal Rama Varma, a king from Travancore, now erstwhile Kerala.

Svati Tirunal's karnatic compositions were the first I learnt and it is not surprising that he was a prolific linguist, having composed music in 5 Indian languages. Most people can only learn multiple languages but imagine composing music in languages like Hindi,  Malayalam, Manipravalam, Sanskrit and Telugu -- they have different scripts, a different vocabulary and grammatical structure. That needs abnormally high intelligence. 

Had he been alive today, he would certainly put all the current narrow-minded egoists who play language-politics against Hindi to shame. I have never understood how politicians/people who cry hoarse against Hindi can readily accept English which is afterall a language we adopted after we were enslaved. But, i digress.

I noted the lyrics and all the scribblings (in brackets) are my notes made while listening to the song. These would not make much sense outside of a student wanting to learn this raga. I still prefer good old pen and paper as its easier to put small notations at each gamaka or niraval which is harder to do on a blog or a text file.

Pallavi:

देवन के पति इंद्रा ॥ तारा के पति चंद्रा ॥ 1 ॥  {repeat, देवन के....}
विद्या के पति गणेशा ॥ दुख भर हरी ॥ 2 ॥ {repeat pallavi: देवन के पति इंद्रा..}

Charanam ONE:

रागपति कानडा ॥ बजन के पति बिन ॥ 1 ॥|
रितुपति है बसंता (small aalap) ॥ रतिपति सुखकारी ॥ 2 ॥
{repeat pallavi: devan ke pati indra}

Charanam TWO:

मुनिजन पति व्यास (small aalap) ॥ पंछी पति हंसा (ट्वाइस, प्लस नीरावाल) ॥ 3 ॥
नर पति रामा (twice, small niraval+swaralapana) ॥ अवध विहारी ॥ 4 ॥
{repeat pallavi: devan ke pati indra}

Charanam THREE:

गिरीपती हिमाचल ॥ भूटान के पति महेशा ॥ 5 ॥
तीन लोकपति श्री (ट्वाइस, नीरावाल) ॥ पद्मनाभ गिरिधारी ॥ 6 ॥
{repeat pallavi: devan ke pati indra}

There is another wonderful Darbari bandish by Ustad Ghulam Hassan Shaggan (My guess is they are Pakistani singers as i've never seen them on the Hindustani classical circuit nor are their CD's available in any shops), and listening to him gives me goosebumps. Those aalaps at that age...wow, just wow!! This is my main grouse with karnatic music -- most karnatic music teachers dont want to teach aalaps. Their excuse being, students dont like to learn the hard stuff, or listeners dont like wasting time listening to boring aalaps. Doh! For me neither is true. I like mental challenges and certainly dont intend performing on stage. I'd hardly care if there is another listener around, rather I'd prefer to be alone with music, something that i can create and enjoy for myself. A very famous instrument artist had once said that he does not like to talk after a public performance and dislikes people asking for autographs, asking questions, smile and pose for pics, because he was lost in the trance that he just created through music and wanted to remain there, but he could not as he was a public figure. All he wants to do is sit in a corner thinking about a raga and I *totally* grok that feeling.

Well, now I want to check out the differences between a Darbari and the Darbari Kanada ragas. Some years ago I had created a webpage comparing Hindustani and Karnatic ragas and a listing of Ragas which are supposed to be sung only in the morning, evening and night ragas. I cant seem to find this page now. I'd declare it lost but plan to search all my backups before I give up searching.

2010 April 13 [Tuesday]

Todi::TayeYashoda

Todi is a perennial favorite, especially the kriti "taye yashoda" composed by uthukadu venkatasubbaiyer in Tamil. We were learning this when I had stopped attending class. That rankled me enough to spend the better part of the weekend dissecting the kalpanasvarams from this fusion version in the movie Morning Raga.

While I love the ragam-taanam-pallavi style, we dont learn that too much. The reason being people, or should I say listeners, like short performances for each song sans kalpanaswarams, long aalaps and niravals. In the movie, Sudha Raghunathan renders the playback but I have more admiration for Shabana Azmi who has to lip sync to render the kalpanaswarams perfectly.

Watch the video of Morning Raga and you will realise why she is so awesome as an artiste. Not only has Shabana learnt the swarakalpanas by rote (classical indian music is not as easy as it seems) but she has rendered the swara jugalbandi perfectly. Even for a music student like me, its far easier to write down the notations and learn them as I am familiar with the intricacies. However, it would not have been easy for her. In an interview, I recall her husband mentioning that before the shooting of the movie he was subjected to this song 24x7 for six whole months. Observe the charanam part where she sings the swara jugalbandi like she were to the manor born. Tres bien!


taayE yashOdaa(lyrics from, http://www.karnatik.com/ragast.shtml)

ragam: tODi

8 hanumatodi mela
Aa: S R1 G2 M1 P D1 N2 S
Av: S N2 D1 P M1 G2 R1 S

Talam: Adi
Composer: Uthukadu VenkaTasubbaiyer
Language: Tamil

pallavi

tAyE yashOdE undan Ayarkulattuditta mAyan
gOpAlakriSNan seyyum jAlattai kELaDI (tAyE)

anupallavi

tayalE kELaDi undan paiyannai pOlavE inda
vayyagattil oru piLLai ammamma nAn kaNDadillai (tAyE)

caraNam 1

kAlinil shilambu konjak-kaivaLai kulunga muttu mAlaigaL asaiyat-teru vAsalil vandaan
kAlashaiyum kaiyashaiyum tALAmODisaindu vara nIlavaNNak kaNNanivan narttanamaaDinaan
bAlanenru tAvi aNaittEn aNaitta ennai mAlaiyiTTavan pOl vAyil muttamiTTaaNDi
bAlanallaDi un maghan jAlam migha seyyum kriSNan nAlu pErgal kETka colla nANamigha lAgudaDi
(tAyE)

caraNam 2

anroru nAL inda vazhi vanda virundivarum ayarndu paDutturangum pOdinilE-kaNNan
tinradu pOgak kaiyyil irunda vaNNaiyai anda virundinar vAyil niraittu maraindananE anda
nindai mighu pazhi ingE pAvamangE enrapaDi cintai migha nondiDavum seyya taghumO
nanda gOparkkinda vidam anda mighu piLLai pera nalla tavam seidAraDi enna sheivOmaDi
(tAyE)

caraNam 3

veNNai veNNai tarum enrAn veNNai tandAl tinruviTTu peNNai tArum enru kETTu kaNNaDikkirAn
vaNamAi niruttam Adi maNNinaip padattAl Etrik kaNNIlE iraittu viTTu kaLavADinAn
paNNIshaiyum kuzhalUdinAn kETTU ninra paNBilE arugil vandu vambungaL sheidAn
peNNinattukkenru vanda puNNiyangaL kOTIi kOTi eNNI unakkAghumaDi kaNNImaiyAip pOgudaDi
(tAyE)

caraNam 4

mundAnAL andi nErattil sondamuDan kittE vandu vindalgaL palavum sheidu viLaiyADinAn
pandaLavAgilum veNNai tandAl viDuvEnenru mundukilai toTTizhuttup pOrADinAn
anda vAsudEvan ivan tAn aDi yashOdE maindanenat toTTizhuttu maDimEl vaittEn vaittAl
sundara mukhattai kaNDu cintai mayangunEram antara vaikuNTHamODu ellAm kATTinAn
(tAyE)

caraNam 4

ThottililE piLLai kiLLi vittathum avai alaRa
Vitta kaariyam agala veNNai thinRaan!
Kattina kanRai avizhththu ettiyum oLiththu vittu
Mattilaath thumbai kazhuththil maattik koNdaan!
Vittu vittu ammE enRaan kanRinaip pOlE
Attiyillaadha maadum ammaa enRathE!
Kittina kuvaLaiyOdum ettinaal un selva magan!
Pattiyil kaRavaiyidam paalai ootturaan adee! (thaayE)

caraNam 5

ChuRRi chuRRi ennai vanthu aththai veettu vazhi kEttaan
Siththaththukku ettum varaiyil solli ninREn
Aththudan vittaanO paarum aaththankarai vazhi kEttaan
Aththanaiyum sollivittu ninREn
Viththagamaai onRu kEttaan - naaNamaaguthE!
Muththaththukku vazhi kEttu saththam ittaaNdee
Aththanai idam koduththu meththavum vaLarththu vittaai!
Iththanai avanaich chollak kuththam illaiyeyadee! (thaayE)

caraNam 6

VeNNai veNNai thaarum enRaan! VeNNai thanthaal thinRu vittu
PeNNaith thaarum enRu kaNNadikkiraan!
VaNNamai niruththamaadi maNNinaip paathaththaal eRRik
KaNNilE iraiththu vittuk kaLavaadinaan!
PaNN isaiyum kuzhal oothinaan- kEttu ninRa
PaNbilE arugil vanthu vambugaL seithaan!
PeNNinaththukku enRu vantha puNNIyangaL kOdi kOdi
ENNi unakku aagumadi- kaNNIyaamaaip pOguthadee! (thaayE)

caraNam 7

MunthaanaL anthi nEraththil sontham udan kittE vanthu
VinthaigaL anEgam seithu viLaiyaadinaan- oru
PanthaLavaagilum veNNai thanthaal viduvEn enRu
Munthugilaith thottizhuththup pOraadinaan
Antha vaasudhEvan ivan thaan adi yasOdhE!
Mainthan enRu thottu izhuththu madi mEl vaiththEn vaiththaal
Sundara mugaththaik kaNdu sinthai mayangum nEram
Anthara vaigunthamOdu ellaam kaattinaan adee ! (thaayE)

2010 January 10 [Sunday]

Raga::Janasammodini

Last week I was terribly homesick for music class. Each time I get a chat message I am curious to know what new songs my friends have learnt as I miss the silly banter, the fun and ruckus we caused, including breaking light bulbs...all accidentally ofcourse.

I am not sure how I will catch-up and learn all the songs I missed this past year. So after two back-back reruns of listening to our old recordings, I could not rid the strong feeling and went for an hour long walk singing raga Janasammodhini [Govinda Ninna Namave Chanda] whose lyrics are below.

Sri Purandara Dasa composed this 28 harikaambhoji janya in the Kannada language and set it to Adi Tala with Arohana :: S R2 G3 P D2 N2 S and Avarohana : S N2 D2 P G3 R2 S

Pallavi : govindaa ninna naamave chanda

Anupallavi : anu renu trina kashtha paripoorna govinda || nirmalathmakanaagi iruvude aananda || (Govinda)

Charanam : srishti sthithi laya karana govinda || ee pari mahimeya thiluvude aananda || paramapurusha namma purandara vittala || hingana dasara (ninnaya karana**) sahaluve aananda || (GovinDa)

The composer, Sri Purandara Dasa used the signature "purandara vittala" in his songs which is the second-last line of the charanam (last part of the song).

** In the Charanam, the last line was taught as "ninnaya karana sahaluve aananda" (everything in this world is joyful because of you) but as a non-kannada speaker I am not sure which version is correct as I dont know what "hingana dasara" means and I assume neither does the listener.... and frankly at -16 deg C, it was just moi lonely soul on the road, as compared to the time we sang it on stage infront of an audience. 

UPDATE 20100813: Jaga left a comment for the charanam lyrics "mangalamahima purandaravittala hingade bhakutara salahode ananda". Thanks Jaga.

For more musical entries, read http://svaksha.com/category/ART/Music

2009 November 9 [Monday]

Raga::Revati

Revati can be:: the name of a person ; the wife of Balarama (elder brother of Krishna) ; or a Pisces nakshatra/lunar star ; but for me its Revati ragam in Karnatic music, which is the second ratnangi janya (argh, that is YAB entry sitting as a "draft" since months).

Tala: Adi | Composer: Dayananda Saraswati | Language: Sanskrit.

Arohanam : S R1 M1 P N2 S  || Avarohan  : S N2 P M1 R1 S

where, R1==shuddha rishabham, M1==shuddha madhyamam, and N2==kaishiki nishadham.

Pallavi: bho shambho shiva shambho svayambho
Anupallavi: gangadhara shankara karunakara mamava bhavasagara taraka
Charanam1
: nirguna parabrahma svarupa gamagama bhuta prapanca rahita | nija guhanihita nitanta ananta ananda atishaya akshayalinga ||
Charanam2: dhimita dhimita dhimi dhimikita kitatom tom | tom tarikita tarikitakita tom | matanga munivara vandita isha | sarva digambara veshtitha vesha | Isha sabhesha sarvesha||

So what is it about some ragas that have an attractive quality to them? Apparently listening (and performing?) this raga always evokes deep emotions and feelings. Hmm.... I've heard the same of raga Bhairavi but BHO SHAMBHO in Revati has a very important place for me. I had learnt this raga all by myself more than a decade ago...gee, i wonder how annoyed folks around me would been as i insisted on ghissa'oing the tape 24/7. Nothing else, just one raga months on end and a few months later when I heard CB render it with a plastic bucket as his modified tabla....absolutely mesmerising!! I had to ask him for a jam session and he helped me iron out my rough edges -- He had demoed some swara bhedams and I had no clue that I was making those errors in my niravals. See, now that is the difference between DIY effort and a propah guru to guide ya. Some years later, when I formally learnt it again from a guru, I was able to appreciate the raga more deeply.

Lastly a word on the composer, Dayananda Saraswati. He is the founder of Arya Samaj whose writings, rather commentary on the Vedic/Upanishad texts is very interesting. It has a lot of similarities to Gaudapada's karika on the Mandukya upanishad which inspired the sunyata nyaya. Yet another check in my pending ToReadList.

2009 March 1 [Sunday]

Raga::Bhairavi

"Bhairavi" is another name for the goddess Shakti and is one of the forms of Kali. In Sanskrit, Bhairavi means "fierce" and frankly I've been trying hard to find those elements in the Bhairavi raga :) 

  • arohaṇa: S R2 G2 M1 P D2 N2 S

  • avarohaṇa: S N2 D1 P M1 G2 R2 S

The notes used are chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham & shuddha dhaivatham and kakali nishadham. Notice that the two daivathams are used in the Arohana : chathusruthi (D2) and Avarohana uses the shuddha (D1) daivatham.

Considered to be an ancient raga its 15 centuries old and a hot favourite with all performers and teachers too. Heh, my teacher started out with this after my break and I desperately try to search for the fierce emotions whilst listening/performing this raga. Since summer has already started I do get hot under the collar but daresay that we cause more heat for others than anything else.

Older composers have numerous compositions in this raga which is a janya of the 20th Melakarta of Nataibhairavi. Surprisingly this fierce raga is well loved and widely used in both Hindustani and Karnatic padhattis and the Hindustani Bhairavi is, as usual, vastly different from the Karnatic Bhairavi, where the latter is a Sampoorna raga (scale of 7 notes) with two different dhaivatham's in its scale. That pushes it out of the Melakarta ragam classification, which is another blog entry sitting in the drafts folder ....sheesh !!

2009 February 28 [Saturday]

A'cappella

mmm... so I have not blogged about music for such a loooooooong time and resuming class after a very loooooong time was funtastic. Guess what the teacher started with ? 

No prizes to guess that it was a Bhairavi, no less *grin*

So what is the juice with bhairavi and revati ? Both are ragas that I like (well, they did grow on me over a period of time), are tough in terms of scale, definitely not less than a todi but a todi is a todi is a todi :D and it would be utterly unfair (and even stupid) to compare these ragas in terms of laya and shruti and term any one as superior to the other.

Masti is a mild term to describe the storm we generate at music class week after week. That we are a loud, boisterous bunch is an understatement in itself.  That our 'a cappella' renditions can be heard till the end of the street has brought many a new student wanting to join and start performing like us. Talk of tall expectations :-D

Thus far we have only broken a tube-light, sung (in a group ofcourse) special notes for special people, who just dont `get` it which dissolves the kids into bouts of giggles. Gah... really kids, you dont have to make things so obvious. Hmpf !!

VS, non, I have still NOT forgiven you for the group attack and those lousy pictures. /meh plots..............

2008 October 9 [Thursday]

VijayaDashami

Vijaya Dashami (or Dashera), heralds the end of Navaratri (and nine nights of dancing :-)) and DurgaPuja. But most importantly for students dashami marks the anniversary of being one ... My respects to one of my past guru's!

Hmm,... well the correct version is : "vijaya dashami' is the first day (of learning, or vidyarambha) for any classical arts student. This is the day a new student visits the teachers home (with guru dakshina and tambula) and requests her/him to accept them as a student. A tip : on any other day the guru may reject to accept you if s/he finds you are not up to the mark, but this day is such that they will not turn any student away.

Although the ritual is small and should not take more than a few minutes, it can (and does) stretch for an hour(s) or more when hundreds of students throng the teacher's home, so one has to wait for one's turn. Students who learn dance + an instrument, or multiple forms of art have a mad rush between 3-4 teacher's homes and lotsa patient waiting :-)

The best part of it all is getting to eat 'sweet chundal' but by the time we went it was over :-(  but our guruji had made salty ones for us :-) and it tasted just like Ma makes it so I didnt care so long as i got to eat it :-) and she taught a new song [named Sarasvati, after the Raga] after we sang an old one.  Talking of music, some time ago, I had started a wiki page on NCVasanthakokilam and her song 'yen palli konder ayyaa' reminds me that i need to get out of my slumber and finish the Mohanam raga notes soon.

Sending out hundreds of dashera sms's was not such a good idea afterall ... weirdly half the messages got deferred and some group messages were just dropped ... I really dont feel like texting/thumbing again, so Shubh Dashera y'all !!


2008 September 9 [Tuesday]

Niraval

Having started learning this oh-so-famous sampoorna raga last month, I am now at the point where I must create niravals, Hmm.... i was trying to explain this  over the weekend (with a practical demonstration) to a (non-technically inclined) musical person very unsuccessfully. Maybe if i write it down the theoretical aspects will be more clear. Besides i need this for the exam next year, so i need to catalog my mental outpourings on a medium better than sheets of paper which is no good for the environment (fact: i misplace sheets but the environment sounds cooler :^))

Based on the discussions we had in class, the niraval is an extempore construction and improvisation of swaras for a particular line in the kriti to bring out the beauty of the raga and its always elaborated on a portion of a kriti, usually just one line from the charanam part of the kriti. It has to sit within the framework of a tala and highlight every rasa and bhava singularly. I cant even begin to stress how important niravals are for any student as every student dreams to be able to do thsi, atleast i did ever-since I was a kid, when i first heard it but didnt really understand what the fuss was all about ...afterall it was just a permutation-combination of svaras :-))  I WISH it was THAT easy.... reality is, it requires a good, and i mean really good grasp of the raga, its construction, make-up and all that jazz. Finally though its the artist's individuality and imagination, which is why some singers are oh-so-good and some mediocre and some oh-well-forget-it.

We know, Shankarabharanam is a 29 dhira sampoorna melakarta with panchama chakram and Madhyama Bhana. Doh... what ??

See the; Arohanam and avarohanam ... Aa: S R2 G3 M1 P D2 N3 S || Av: S N3 D2 P M1 G3 R2 S

where :

S=Shadjam, R2=Chatusruti Rishabham, G3=Antara Gandharam, M1=Suddha Madhymam, P=Panchamam, D2=Chatusruti Dhaivatam, N3=Kakali Nishadam.

Here, we can see it has all the sapta svaras, with the avarohan (descending octave) being an exact opposite of the arohan (ascending octave). It is the Suddha Madhyama counterpart of MeLam 65 - (Mecha) Kalyani and the prescence of 7 svaras in the raga metre allows far greater scope for niraval's and this is an extremely popular concert raga since the scope for manodharma (artistic elaboration) is very high and flexible, besides being simple (this is my guru's opinion, mine is still oscillating between ecstatic imagination and frustration *sigh*).

Example : ShyamaShastri's "sarojadala netri himagiri putri" set to Adi talam (double) was the one for which i constructed and recorded some 4-beat niravals for "sama gana vinodhini guna" (like this : gpmgrs | s,ndpmgrs). Now i need to get the records corrected and start recording longer cycles. ; I also need to learn and keep a repositary of 40 ragams (being mandatory basic knowledge) ....gosh, so much to do and i wonder when will i "think" and _then_ record the 8-beat, and 16-beat talam niravals ???? not much time :-/

Anyway, each kriti has a different line for which a niraval is sung which is what makes it tough (and maybe unique) and the svaram should compulsarily be sung for the same line, either in the course of the song or after it is over, depending on the raga, kriti, etc.... Here knowledge of the jiva swaras and the melakarta system is important. Think of it as small building blocks of svaras. As i write this i am listening to a hindustani rendition of Raga Raageshri with the flautist and the tabla player throwing snippets of svaras (is it called 'bol' in hindustani???) at each other. The other will have to match it and return one snippet of his own. Thus they managed to build a whole tower which spirals into a crescendo where both match the others play with a simultaneous play of svaras.

Did i mention that the niravals are ALWAYS impromptu. If you had to write/document it and read off or sing whilst looking at a piece of paper then you are not considered a good artist. To this date, i have never, and i mean never seen a single artist read off from a sheet of paper or tele-prompter during the performance. Do that and in all likelihood there wont be an encore. This is also why every rendition sounds different, unlike a recorded session (ughh..predictable), and hence unique.

In Hindustani classical the artiste does the aalap (raga construction) at the beginning of the raga and does it for the _whole_ ragam. In Karnatic, we have ragam-tanam-pallavi BUT people dont want elaborate pieces. They want short and simple stuff according to our mridangam artiste last year...and oh, fast songs....this is not exactly pop ya know. *sigh*

Having said this comparing Hindustani with Karnatic music is akin to saying the North and South poles are the same, figuratively speaking, because they are not. Rather they are parallel in nature and dont overlap much if at all.

Raga::Shankarabharanam

Renowned violinist Sri.KunnakudiVaidyanathan passed away on Sept08 :-( RIP

Shankarabharanam is a 29 dhira Shankarabharanam Melakarta Ragam with the same name in Dikshitar's asampoorna melakarta system. Its a sampoorna ragam with panchama chakram and Madhyama Bhana (see niraval for the meaning). In Hindustani music, its called the 'Bilaval thaat', one of the major building blocks of Hindustani musical system. Apparently its Western classical equivalent is C Major with the notes Doh, Re, Mi, Fah, So, La, Ti set to this raga. Interesting !!

Considering the Arohanam and avarohanam ...

Aa: S R2 G3 M1 P D2 N3 S

Av: S N3 D2 P M1 G3 R2 S

By definition, the Melakarta Ragams are symmetric with respect to going up in octave or down and technically speaking the Arohanam and the Avarohanam are simply reversed in Melakarta Ragams, hence called "Sampoorna (complete)" ragam. This raga has tremendous scope for elaboration and is very popular and a particular favorite of all singers in the Ragam-Tanam-Pallavi segment of a concert and is suitable for singing in the evening... yeah, karnatic music has time-based ragas too :)

Shankar+abharanam=Shankarabharanam, meaning the ornaments of Lord Shiva, symbolically associating swaras as the seven ornaments. 

Shankarabharanam has the largest number of Janya ragams (the janya entry is still under construction) viz. :: Arabhi, Athana, Bangala, Begada, Behag, Bilahari, Durbar, Durvanki, Devagandhari, Garudadhwani, Gaudamalhar, Hamsadhwani, Hamsavinodhini, Janaranjani, Kadanakuthoohalam, Kanada, Kannada, Kedaram, Kuranji, Maahuri, Navaroj, Nagadhwani, Narayani, Narayanadesakshi, Nilambari, Phalamanjari, Purnachandrika, Purvagowla, Sahana, Sama, Saraswatimanohari, Sindumandari, Suddha Vasantham, Suddha Saveri, Vasantha.

Hmm... there is so much more but the entry is long as is so let me stop the technical details for now or i shall never finish. I did want to mention that it is possible to compose sahityam in different talams and Muthuswami Diskhitar has composed around 40 songs in Sankarabharanam known as Nottu Swara sahityam. I have been learning ShyamaShastri's "sarojadaLa nEtri himagiri putri" set to Adi tala and the niraval explanation will be specific to this song.

For more musical entries, read http://svaksha.com/category/ART/Music

2008 September 1 [Monday]

Raga::Bowli

Its been long since i wrote an entry on music, most of them are still in the learning/search stage but this entry is special.

Dear P, i am deviating from the norm here and am dedicating this raga entry to you on your big day :-) That you used to enjoy each raga was the common factor for me and I shall miss the passion you brought to music class. Most of all I shall miss all the leg pulling, laughter, secret signs, giggles, masti and hooliganism we indulged in class. This raga, especially  the song TAndanAnA ahi - BrahmamOkate, will always remind me of our practice sessions for our performance last year [and your dance (sorry, I had to say it ;-))]. Keep smiling, be happy :-) vid

RAGA : BOWLI

Bowli is a madhyama-varjaya janyam of 15th Melakarta raga;mAyamALava gowLa janya. The scale is :

Arohan: s r1 g3 p d1 S
Avarohan: S n3 d1 p g3 r1 s

Talam : Adi

Here is another link for talam that has a good explanation about the theoretical bits.

Note that the Arohanam of Bowli does not have the Nishadha (N) which is left out making it a nishaada-varjaya in the arohana scaling. The most famous song in this raga is  "TAndanAnA ahi - BrahmamOkate", a fast paced telugu kriti (song) by Annamacharya.

Other songs in the same raga are :

0] anantAya sarvAya - HB

0] dIna janAvana - T

0] melukOvayya - T

0] parama purusha nirupamAna (also shhanmugapriyA) - AC

0] shambhO mahAdEva

0] shrIman nArAyaNa

0] tappulanniyu - HB

0] yOginI gaNasEvitE - HB

2008 July 26 [Saturday]

Composer::UthukaduVenkatasubbaiyer

Uthukadu Venkatasubbaiyer was born in 1700 in the village "uthukadu" in Kerala, which was prefixed to his name "venkatasubbaiyer". His compositions were mainly on SriKrishna, his ishta devata but he did not incorporate any mudra or signature in his songs.

He did compose kritis on Ganesha (sri vignarajam bhaje | todi | sanskrit) and also a set of navavarna krithis. Composed in raga Kanada - 22 kharaharapriya janya, the sublime "Alaipayuthe" is set to Adi Talam in Tamil.

2008 July 25 [Friday]

Raga::GambhiraNattai

The last I blogged about music was two months ago, around the time I had stopped attending class. Having resumed class few days ago, let me start out with the raga we had performed on stage : GambhiraNattai raga, a classic belonging to the 36 mela janyam with Arohan : S G3 M1 P N3 S and Avarohan : S N3 P M1 G3 S

SRI_VIGNARAJAM_BHAJE in KhandaChapu by SriUthukadu Venkatasubbaiyer in Sanskrit was the song but minus the jatis, which is partly due to lack of time and largely due to lack of listener interest. Our teacher keeps urging us to practice jatis on our own but half the time all we indulge in masti.

Music is one unspoken language and  does not need words, a glance, a half smile, raised eyebrow, change in pitch with the right nuance can convey a lot resulting in a burst of laughter. Here is a second song, a tillana "kALinga nartanam" (lyrics link) in the same raga "gambheera nattai" composed by SriUthukadu Venkatasubbaiyer in Sanskrit which is being performed by Sri. Aruna Sairam at the december festival.

2008 May 13 [Tuesday]

Raga::Yamunakalyani

Raga: Yamunakalyani [65 mecha-kalyani janya] is a modern version of Yaman Kalyan of the Hindustani idiom. SubbaramaDikshitar classifies the raga as bhashanga and desiya.

The arohana/avarohana is given by:

A: S R2 G3 P M2 P D2 S

Av: S D2 P M2 P G3 R2 S

It is a sampoorna raga and the shuddha madhyama (M2) appears in vakra prayogas in the avarohana such as "g M r" and "g M g r s" but is often rendered in madhyama sruti.

[1] BHAVAYAMI_GOPALA_BALAM | khanda chapu | Annamacharya | Telugu |

[2] KrishnaNee BeganeBaro | khanda-chapu | Vyasaraya tirtha | Kannada (There is also a Tamil version which is what I learnt from my g'ma).

In his treatise, "Raganidhi", Subba Rao notes that there are two versions of this raga and the second does not employ the shuddha madhyama. It skips the nishada and the arohana/avarohana is "s r g p m p d s" - "s d p m s g r s".

There are many sanchari geethams and jathi swarams (the basics) in Kalyani raga.


2008 May 8 [Thursday]

Raga::Kuranji

Kuranji raga is derived from the 29th melakarta Shankarabharanam. It is a sampoorna raga with vakra sancharas (needs a separate post) in the arohana and avarohana.

A: s r g m g m p d n s
Av: s n p n d d p m g r s
The notes taken by the raga besides Shadjam and Pancham are :: R2-Chatusruti rishabham, G2-Antara gandharam, M1-shudha madyamam, D2-Chatusruti daivatam and N2-kaishiki Nishadham. Jiva and nyasa swaras are G, P, N. The phrase "snNS" has N as tevra swara and the upanga raga has all the notes rendered with gamaka.

Since the svara sanchara is limited, it is sung in madhyama (slow tempo) shruti in vilambit laya to enhance feelings of compassion. Kuranji is actually a Tamil folk tune adopted into Karnatic music.

[1] Kshirabdi Kanyakaku | KhandaChapu (29MelaJanyam) | Annamacharya | Telugu |


pallavi

ksheerAbdi kanyakaku Sree mahA lakshmikini
neerajAlayakunu neerAjanam

caraNam 1

jalajAkshi mOmunaku jakkuva kucambulaku
nelakonna kappurapu neerAjanam
aLivENi turumunaku, hasta kamalambulaku
niluvu mANikyamula neerAjanam

caraNam 2

pagaTu Sree vENkaTESu paTTapu rANIyai
negaDu sati kaLalakunu neerAjanam
jagati alamElu manga tsakkadanamula kella
niguDu nija SObhanapu neerAjanam

caraNam 3

charana kisalayamulaku sakhiyarambhorulaku
niratamagu muttela neerajanam
aridi jaghanambunaku ativa nijanabhiki
nirati nanavarna neerajanam


[2] Muddugare Yashoda | Adi | Annamacharya | Telugu |


29 shankaraabharaNam janya
Aa: S N3 S R2 G3 M1 P D2
Av: D2 P M1 G3 R2 S N3 S

taaLam:
Composer: Annamaacaarya
Language:

pallavi

MuddugAre YasodA mungiti muthyamuvidu
DidderAni mahimala Devaki suthudu

caraNam 1

Anthanintha gollethala arachethi mAnikyamu
PanthamAdey Kamsuni pAli vajramu
KAnthula moodu lokAla Garudapachapoosa
Chenthala mAlonunna Chinni Krishnudu

caraNam 2

ratikeli rukminiki rangumovi pagadamu
mithi gOvardhanapu Gomedikamu
sathamye SankhachakrAla sandula vaidooryamu
gathiyai mammu gAche KamalAkshudu

caraNam 3

kAlinguni talapye gappina pushyarAgamu
yelleti Sri VenkatAdri Indraneelamu
pAlajalanidhilona bAyani Divya ratnamu
bAluneevale dhrigi PadmanAbhudu

For more musical entries, read: http://svaksha.com/category/ART/Music

2008 May 5 [Monday]

Raga::Chakravakam

Chakravakam is a melancholy 16th Melakarta sampoorna raga and its corresponding Hindustani raga is Aahir Bhairav. The Arohan: S R1 G3 M1 P D2 N2 S , has vakra svarams and Avarohan: S N2 D2 P M1 G3 R1 S, which manage to evoke bhakti bhava in the listener. If the notes N2 and M1 are sung as S (Shadjam), a shruti bhedam occurs resulting in Dharmavati and Sarasangi ragam, respectively.

A number of bhajans are composed in this ragam and listening to either Aruna Sairam or Pandit Bhimsen Joshi render the popular abhang "Teertha Vittala, Kshetra Vittala", is very soothing and relaxing. 

Sri.SwatiThirunal had composed "Saroja Nabhada" in Sanskrit which is set to Adi Talam.  Kailasanadam, composed by Sri MuthuSwami Dikshitar in Sanskrit language was set to rupaka talam and referred to as raga Vegavahini. He also composed Gajanana Yutam in Sanskrit, set to Adi talam and Vinayaka Vignanashaka, also in Sanskrit, set to Rupaka talam.

Sri. ArunaGiri Nathar composed Apakara NindaiPat, a  Tamil Thirupugzal (Thirupugzal, composed in Tamil are hymns in praise of Lord Muruga) which was set to Chatusra Jati Jhumpa Tala (4+3).

For more musical entries, read: http://svaksha.com/category/ART/Music

2008 May 3 [Saturday]

Raga::Todi

Why not kick off the raga series with todi as the first raga !

In the Karnatic system, 'Todi' ragam is commonly referred to as "HanumantaTodi" and is placed as the 8th in the melakarta system and being an ancient raga it was called Janatodi.

Todi is a sampoorna raga, i.e. a raga with all 7 notes and perfectly symmetrical tetra-chords as swaras. It has S-shudha, R1-Rishabham, G2-sadharana gandharam, M1-shudha madhyamam, P-Panchamam, D1-shudha dhaivatam, N2-kaishiki nishadham and S.

The poorvanga (S to P) and uttaranga (P to S) are very balanced. The jeeva swaras of Todi are GMDN. Their usage in prayogas during raga aalapana of Todi brings out the beauty of this raga. Nyasa swaras are GMPDN. One can weave different patterns of notes centred around these notes, but some prayogas without panchama (P) sound very beautiful.

Todi lends itself beautifully for slow medium-paced kritis, varnams, tillanas, viruttham etc. For example, tAyE yashOdA undan | Adi | UttukkADu venkatasubbaiyer, from the movie Morning Raga. The swara kalpana's and the ragam-taanam-pallavi coupled as fusion music was simply fantastic and Era napai | Adi | Patnam Subramanya Iyer, is another varnam aptly suitable for ragam-taanam-pallavi, where all swaras should be handled softly and each note is suitable for Gamaka prayoga or oscillation.

This page has a composite list of all the Karnatic todi ragam songs. Looking at the "peculiar compositions" by Ramaswami Dikshitar (svarastAna pada varNam) and "Ma manini" Dr.MB.Krishna (which i remember partly, egad :-S), you will find them constructed without words. The whole song consisting of pallavi, anupallavi and charanam is composed with only the 7 swaras... WOW!!

Practically speaking, each of these songs in Todi, sounds different at first. The difference is not because of the lyrics, which albeit different, but look at the swara sthanas (hint: arohanam and avarohanam) which differ. Shruti-bhedam i.e. while singing alap, using tharasthayi R as S, makes Todi sound like Kalyani, but since it interferes with bhava (emotional flow of the raga) which should not be done extensively.

The composers have the liberty of starting off anywhere but are still bound within the raga metrics and that is their playground for creativity. Ofcourse each composition can have a different talas (beats) and no two songs of the same raga will sound alike, else your credibility as a composer is zilch. Duh, imagine the precarious position of the hindi film music composers(?), who are renowned for -copying- err.. being inspired .. *cough*.... by other peoples tunes frequently.

Now you must be wondering how a listener will know who is the composer of a particular song in say raga: Todi.

Simple.... Every composer had a signature embedded in the song he/she wrote, akin to the "comments" that programmers include in their programs. Some composers used a pseudonym/pen name and some their real names but they always inserted their names in the charanam (last stanza) of the song, never earlier. Humility matters :).

Legend has it that some not-so-famous students of famous composers in order to give credibility to their compositions used to pen them in their "famous composer teachers" names and bask in their shadowed glory. I am not sure how true this is and dont particularly care. Its more fun to enjoy the music!!

In Hindustani music there are quite a few ragas with the suffix Todi but sounds very different from the Karnatic HanumantaTodi. Example : The Hindustani Gurjari Todi, Mian ki Todi, Multani Todi etc., do not resemble the Carnatic Todi. This is true for many ragas which only share a common raga name.

There are many compositions in HanumantaTodi. Every southern Vaggeyakara has composed in Todi. SriThyagaraja has composed around 30 kritis and the speciality is that each one highlights a different nuance of the ragam.

1] The kriti 'Dasarathe' starts in mantra sthayee "D" and emphasizes the prayoga of gamaka-laden "D".
2] The kriti 'Dasukovalena' centres round Madhya sthayee "D".
3] The kriti 'Koluvamaregada' starts at Taara sthayee "S" and comes down the avarohana slowly. Shyama Sastri has done a slow vilambit kala kriti with Swarajati Raave, thereby bringing out the slow beauty of this raga.

TO-DO in Todi, including the derivative janya ragas are :

1] Venugana ramana | Mishra Chapu.
2] Dasuko | Misra Jhampa | Thyagaraja.
3] Koluvamaregada | Adi | Thyagaraja.
4] Rajuvedala (Srirangam Pancharatna) | Rupakam | Thyagaraja |
5] Sri Krishnam Bhaja (on Guruvayurapan) | Adi | Dikshitar |
6] Ninne Nammi | Misra Chapu | Shyama Sastri |
7] Raave (Swarajati) | Adi | Shyama Sastri |
8] Sarasija nabhada | Misra Chapu | Swati Tirunal |
9] Thamatham en | Adi | Papanasam Sivan |
10] Tanigai Valar-Khanda Chapu- Papanasam Sivan |
11] Kartikeya- Aadi- Papanasam Sivan |
12] Anjananandam | Adi |
13] Annaiyargal vanam nadi vandar | Adi |
14] Dasharathe dayanidhe | Adi
15] En inge vandu | Adi
16] Jatadhara shankara devedeva | Adi
17] Rasa loka vaibhoga | Adi
18] Tale sharanam amma | Adi
19] Tannam taniyaha senrale | Mishra Chapu
20] Urugada manam enna manamo | Adi
21] Vandavarai varum enrazhaittu mani polum | Adi

Janya (derivative) raga :

1] Bhuvana moha saundara sukumara | Dhanyasi | Adi
2] Nada nada nada krishna | Dhanyasi | Adi
3] Padmini vallabha dehi pradehi | Dhanyasi | Adi
4] Natajana kalpavalli | Punnagavarali | Adi
5] Nila vanam tanil oli vishum niraimadiyo | Punnagavarali | Adi
6] Na dhru dhim tadana tomtana (tillana) | Sindhubhairavi | Adi
7] Shen shiva jatadhara shambho | Sindhubhairavi | Adi

2008 May 2 [Friday]

Raga

I had always wanted to record the kritis we had performed earlier on the basis of the ragam, rather than bifurcate it on the basis of the name of the song, composer or even language. That didnt seem very educative since the examinations are structured along those lines and its important to get the theory part correct. *sigh* now the word "theory" != "by rote".

Unless I understand the difference between a N2 and N3 and am able to distinguish that swara in the construction of the swara kalpana, i cant get the raga right, and therein lies the challenge. Classifying songs according to the raga is much more simpler and easier to understand since many songs can share the same raga and yet sound so different. Some brilliant composers literally play around with this aspect, including the language and speed. Teachers dont have the time to teach every song ever composed on a particular raaga, or they may not even know that many songs. So its upto the student to learn various styles, get a good grasp and try to extend their repetoire.

|| What is a RAGA? ||

A raga consists of 7 swarams and the sapta-swarams are :- SA - Shadjam
RI - Rishabham
GA - Gandharam
MA - Madhyamam
PA - Panchamam
DA - Daivatam
NI - Nishadham

Of these swarams, S and P are constant but R, G, D, and N have three variations.

R could be Shudha (R1), Chatusruthi (R2), or Shatsruthi (R3) Rishabham.
G could be Shudha (G1), Sadharna (G2) or Anthara (G3) Gandharam.
D could be Shudha (D1), Chatusruthi (D2)or Shatsruthi (D3) Daivatam.
N could be Shudha (N1), Kaishiki (N2), or Kakali (N3) Nishadham.
|| MELAKARTA RAGAM ||
Any ragam that contains all seven swarams is called a Melakartha Ragam. The 72 Melakarta ragams are all sampoorna ragas which means they have all the 7 swaras in the arohanam and avarohanam. Ragams with less than seven swarams are derived ragas from one of the parent melakarta ragams. Here is a nice chart for calculating the Melakarta ragam.

Janya meaning "derived from" is a set of Janya Ragams derived from the 72 melakarta (sampoorna basic) ragams.

2007 December 15 [Saturday]

Encore

We did it...... after an anxious[0] morning and months of practice (...ok just 8 weeks), our ragitty troup managed to pull of an evening of karnatic musical performance. There was the usual excitement, anxiety (for the teacher), tears[1]. The juniors (kids really) started off before us and we observed that both instrumentalists (who were superb) hardly played as some kids were not able to keep the swara (tune). Thankfully by the time we started, the accompanists caught on very quickly and our hour long performance stretched out to a whole 90 min... and this without any tani avartanams (solo performances by instrumentalists). The major credit goes to our guruji's as they took a lot of trouble... no two students are the same, each of us has an individual way of learning, and yet they were able to acomodate us all with our individual uniqueness. In the past i had a teacher who took 4 months to teach one raaga, and needless to say i was not her student for long. Teaching is definitely an art ! Our team had girls with almost 10-20 years age difference between them and yet we sync'd well. Rather we were making such a ruckus backstage that the accompanists glared at us often, sometimes used the instrument to talk to us ...very interesting ;-)
Besides swara, in a duet or group, what is it that makes the team tick ? To me the most important thing is synchrony. Just as in a team, one person may have a strong voice, other shrill, yet another may have good gamakas, ..... so how do we keep all this in mind while performing as a team ?

SALT ...
Synchronise yourself to your team (members),
Adjust your voice/tone/pitch,
Learn to Listen ... i cant stress this enough and we all know how difficult that is in any situation ;-)
Train yourself to "Observe" the big picture (== the overall team output) and not just yourself.

[0] Most classical performances are impromptu, so no rehearsals with the accompanists (violin, mridangam, etc..]. The only time we will meet is on stage, for a live performance.
[1] A song was supposed to start on the 8th pitch, she could not and was upset when the audience spoke about it. Unlike western classical music, Indian classical/Karnatic music does not have written scale / musical notations .