Varnam in Kapi
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In this old notation book, I found a varnam in Kapi - "Pamaruni". I tried singing the varnam from the notation, but it didn't "sound like" Kapi - many sancharas were unusual, and some trademark ones were missing. Just wanted to know if anyone knows this varnam, or can provide any additional information on it.
Swaroop
Swaroop
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Dear Lakshmanan,
I would greatly appreciate if you could send me a copy of the notation. eagerly waiting for it. if you want my mail id.
it is ganesh.mourthy@rediffmail.com
I would greatly appreciate if you could send me a copy of the notation. eagerly waiting for it. if you want my mail id.
it is ganesh.mourthy@rediffmail.com
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there is a site called nerur.com which lists most raagams in carnatic music and its swarams. I just checked for kapi and i wonder if this can be kapi. it does not make sense to me.
karnAtaka kApi |22| SR2G2M1R2PM1PD2N2S | S N2 D2 P M1 G2 M1 R2 S
http://www.nerur.com/music/ragalist.php
karnAtaka kApi |22| SR2G2M1R2PM1PD2N2S | S N2 D2 P M1 G2 M1 R2 S
http://www.nerur.com/music/ragalist.php
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Re:
Hi Swaroop,swaroopmv wrote:In this old notation book, I found a varnam in Kapi - "Pamaruni". I tried singing the varnam from the notation, but it didn't "sound like" Kapi - many sancharas were unusual, and some trademark ones were missing. Just wanted to know if anyone knows this varnam, or can provide any additional information on it.
Swaroop
Im learning this varna now in my class. Could you please share me notations and the composer name.
THough I have the notations, just wanted to verify it.
I can share a rough recording of swaras in a week's time.
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Re: Varnam in Kapi
Sri. Subbarama deekshithar has mentioned about kapi in his Sampradaya pradarshini. He says it as a bhashanga raga belonging to the mela Sri with kakalinishada and antara gandhara as anya svaras. Strangely, he never give these anya svara marks in any of the compositions notated.
This supports the view that kaapi might have been sung as an upanga raga.
This raga not only resembles kaanada, but also the present day darbar in a few phrases.
This supports the view that kaapi might have been sung as an upanga raga.
This raga not only resembles kaanada, but also the present day darbar in a few phrases.
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Re: Varnam in Kapi
I have the same doubt about this varnam. I am currently learning this Pamaru nee ee vela, and the prayogams are not like the other kapi compositions I learned. Perhaps we can exchange our notation and discuss it.
Thanks
Lakshmi
Thanks
Lakshmi
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Re: Varnam in Kapi
SrI R.K Sriramkumar recently discussed the flavors of kApi.
https://youtu.be/yCT4MwJXMEw?t=5950
The rAgA has 3 different flavors. And one more like darbar. venkAtAcalapatE sounds kanADa flavor.
sUma SAyaka has pretty much a flavor close to today's bhAShanga kApi without anya svaras. While the gAndharam handling is similar to kAnAda, I'd say it is not sounding kAnAda because the follow up sancharas after that landing are missing - for e.g: ga-ma-ri... , instead a meliflous ri-g-ma... follows and takes it away from kAnAda!
candana carcita (haririha mukta ) - ashTapati has some references to the word kApi twice and a reference to pancama rAgAm - which SrI TNS thinks is refering to kApi thAT - which is a cycle of fifth starting gAndharam.
This ashTapati could be tuned to the sUmasAyaka vaRNam tune in the dance tradition. Both have the same bhava of seperation. That will enshrine the pure southern kApi more popularly in performing tradition.
https://youtu.be/yCT4MwJXMEw?t=5950
The rAgA has 3 different flavors. And one more like darbar. venkAtAcalapatE sounds kanADa flavor.
sUma SAyaka has pretty much a flavor close to today's bhAShanga kApi without anya svaras. While the gAndharam handling is similar to kAnAda, I'd say it is not sounding kAnAda because the follow up sancharas after that landing are missing - for e.g: ga-ma-ri... , instead a meliflous ri-g-ma... follows and takes it away from kAnAda!
candana carcita (haririha mukta ) - ashTapati has some references to the word kApi twice and a reference to pancama rAgAm - which SrI TNS thinks is refering to kApi thAT - which is a cycle of fifth starting gAndharam.
This ashTapati could be tuned to the sUmasAyaka vaRNam tune in the dance tradition. Both have the same bhava of seperation. That will enshrine the pure southern kApi more popularly in performing tradition.