Dr. Shrikaanth K Murthy

padmini · Post by **padmini** » 20 Mar 2006, 00:06

VK
dESAdi, as name suggests, is a variety of AditALa with eDupu at a point 1 1/2 beats ater the start of Adi tALa. Th5s tALa is believed to have been imported by tyAgarAja intou our system from Hindustani music. Apart from the sole gaNanAyakam by MD(pUrNaShaDja/rudrapriya), tyAgarAja appears to be the earliest to have composed in this tALa. He of course has several compositions in this tALa.
The tALa was reckoned diferently in the olden days but is now shown like Adi tALa only. vid|| R.K.Padmanabha has demonstrated and used the earlier manner of reckoning the tALa in several of his concerts.

in olden days desadi taala was reckoned differently as follows.
eduppu at a point 1 1/2 beats after the start. like after thakita first a beat then(nishabda or silent) i.e.turn the palm as in dhrutha and it should be followed by 6 beats. there is no laghu in this taala.

drshrikaanth · Post by **drshrikaanth** » 20 Mar 2006, 01:18

Thank You mum

cmlover · Post by **cmlover** » 20 Mar 2006, 02:20

DRS

I have to honestly confess that I was unable to get any feel for the vivadi raga in the 'shvetagaNapatIm' whereas your rendering is just dripping with the tension inherent in the raga. Apparently the companions who rendered it for SRJ had no grip on the raga! I can understnad the lack of kritis in this raga! Now I eagerly await your notations to get to know the sancaaraas!

vasanthakokilam · Post by **vasanthakokilam** » 20 Mar 2006, 02:27

Thank you mum Padminiji..

Just so I understand it correctly, is it kept as 4 dhruthams?

Actually I like this method of reckoning very much, it sounds simpler to me than force-fitting it into Adi and the associated complications of eduppu etc. ( I would even like it better if, for desAdi, stringent rules about keeping the right eduppu upon transitioning from one section to the other are relaxed. Sometimes even veterans miss the eduppu on these 1 1/2 eduppu songs and has to wait for another 8 beats causing an unnecessary unease in an otherwise bright and brisk presentation......but I digress ).

DRS, you mentioned before that there is no difference between 1 1/2 eduppu Adi and deSadi. So, to be precise, are the following true?

- All desAdi thlam songs are 1 1/2 eduppu Adi
- All adi thalam songs with 1 1/2 eduppu are desAdi thalam

( Because I see lot of 1 1/2 eduppu Adi songs are notated as just Adi ).

drshrikaanth · Post by **drshrikaanth** » 20 Mar 2006, 02:36

Thank you mum Padminiji..

Just so I understand it correctly, is it kept as 4 dhruthams?

Actually I like this method of reckoning very much, it sounds simpler to me than force-fitting it into Adi and the associated complications of eduppu etc.

No! only the beginning is like druta(I am not calling it druta as it is not split into laghus and drutas). 1St beat with flat of the palm. Then a husi/niSSabdakriye by turning of the hand. As the hand is lifted (takiTa from the beginning), the kRti starts. Then follow six beats with the flat of the hand to complete a cycle of 8 beats. This cycle gets repeated.

DRS, you mentioned before that there is no difference between 1 1/2 eduppu Adi and deSadi. So, to be precise, are the following true?

- All desAdi thlam songs are 1 1/2 eduppu Adi
- All adi thalam songs with 1 1/2 eduppu are desAdi thalam

( Because I see lot of 1 1/2 eduppu Adi songs are notated as just Adi ).

Yes your statement is true. even if called Adi, it is dESAdi only.

vasanthakokilam · Post by **vasanthakokilam** » 20 Mar 2006, 03:35

No! only the beginning is like druta(I am not calling it druta as it is not split into laghus and drutas). 1St beat with flat of the palm. Then a husi/niSSabdakriye by turning of the hand. As the hand is lifted (takiTa from the beginning), the kRti starts. Then follow six beats with the flat of the hand to complete a cycle of 8 beats. This cycle gets repeated.

Thanks DRS. I got it.

drshrikaanth · Post by **drshrikaanth** » 20 Mar 2006, 04:00

Notation for bhajakana kAvaradU

http://rapidshare.de/files/15929648/bha ... y.pdf.html

cmlover · Post by **cmlover** » 20 Mar 2006, 07:01

DRS

Thank you very much for the notations. I do notice you have used RG prayOgam rather judiciously. What is indeed the role of the vivaadi swaras in this ragam? How does this differ from ragavardhani? Is it the vakra prayogam that distinguishes it though you have not employed ittoo much! Also you mention that this raga can be nicely elaborated though nobody seems to have attempted it! As I mentioned I notice a distinct difference in your rendering vs the shvetaganapatim. To me it appears that your composition is a bench mark for future attempts. Congratulations! Does this have any potential for "New" janya ragas? will appreciate your thoughts.

drshrikaanth · Post by **drshrikaanth** » 20 Mar 2006, 08:15

In practice,RG prayOga does not appear to have been used too much in the rAga as can be observed in MD kRti also. A majority of the aasampUrNa mELas are handled in ways that, despite not transgressing the scales, are not conveyed clearly by heir scales.

Note however that RShabha is used invariably in the decent.

One point worth mentioning here is that no swara is vivadi in itself. It is only in relation to the adjacent swaras that they become vivAdis. It is sad that many of the asampUrNa mELas are hardly sung today despite their melodic potential in the hands of those that can work them. Rather than sticking to the easy sampUrNa mELas, many of which do not have intrinsic melodic potential, aartistes must take it as a challenge/mission to sing the asmapUrNa mELas. It will also be a mark of their musical prowess.

The rAga is different from rAgavardhini in its bhAva. I am sure you have noticed the significant differences in the scale itself. We may recall here that we discussed "mRtyunjayam bhAvayE" of oDeyar(kRti-33, old thread) in this rAga in the old thread. Please listen to it to appreciate the difference. The rapidshare link however has expired.

drshrikaanth · Post by **drshrikaanth** » 20 Mar 2006, 08:19

I composed this kRti on 15/06/2004.
MD has presented many asampUrNa mELas in a capsule form/bIja. It is amazing and humbling to see how much he has managed to pack in each of his kRtis despite their deceptively small size. rAgacUDAmaNi is one of them. I perceived the substantial melodic worth of the rAga. This kRti is my attempt at exploring and conveying that perception.

cmlover · Post by **cmlover** » 20 Mar 2006, 09:58

I just listened to mrtyunjayam again. I agree with you that the mood is so different though the swaras are the same! Ragavardhini has pathos in it but not the melonchaly as you put it. It is indeed a pity artistes do not render the asampurna melas the way MD has intended! Would it be too much to request you to render 'shvetaganapati' in your fashion so that we can get a feel for the asampurna meLam. I am quite dissatisfied with the rendering posted

vasanthakokilam · Post by **vasanthakokilam** » 20 Mar 2006, 10:18

I am barely managing to keep up here... may be what will help me is a definition of asampoorna ragas and any relationship/implication/equality to vivAdhi ragas. ( my understand of vivAdhi combination being the consecutive usage of two semi-tone apart notes among ri, ga, dha and ni )

sudarshan · Post by **sudarshan** » 20 Mar 2006, 14:18

Very sorry for the much delayed response. Sri Sharadambal was installed at Sringeri by Sri Adi Shankaracharya on the banks of the river Tunga. Acharya according to divine command etched out a Shri Chakram on a rock on the banks of the Tunga. On this Shri Chakram, he installed a vigraha of Sri Sharadambal made out of sandalwood and stayed there for about 9 years worshipping Her. Later during the time of Sri Vidyaranya, he installed a golden vigraha in place of this sandalwood image (this sandalwood image can be seen in the adjacent Vidyashankara temple even now).

Sri Sharadambal shows the abhaya hasta combined with the chinmudra on her lower right hand; on her upper right hand, she has an akshamala which signify the bijaksharas from which the universe was born; on her upper left hand, she holds the amrutha kalasha signifying the nectar of immortality which she grants to those who take refuge in her and on the lower left hand a book signifying supreme knowledge. She also has the moon adorning her forehead.

Even though, her form and name are synonymous with Saraswathi Devi, Sri Sharadambal is no different from Sri Rajarajeshwari since she is seated on the Shri Chakram, which is the subtle form of Sri Rajarajeshwari. Puja is performed to her with Lalitha Sahasranamam and Lalitha Trishati.

In many stotras composed by the several Acharyas that have adorned the Sringeri Sharada Peetam, she is addressed variantly as Kamalajadayite (wife of the one born out a lotus = Chaturmukha Brahma), Shivadayite (wife of Shiva), Dakshinamurthi Swaroopini and Brahmavidya Swaroopini. Moreover, Sri Adi Shankaracharya describes her as Chidananda Lahari.

DRS, Sringeri is on the banks of the river Tunga. Gangamula, not very far from Sringeri, is the birthplace for both Tunga and Bhadra. But these flow out separately up until Kudali, about 10 miles from Shimoga and from there on flow as Tungabhadra.

sudarshan · Post by **sudarshan** » 20 Mar 2006, 20:32

Coolkarni sir, many many thanks to you for those video clippings from MahaNavami celebrations at Sringeri. I remember having the good fortune of seeing the telecast then. Now, I deem myself doubly fortunate to view them again, thanks to you.

BTW, do you have the entire recording? If so, could you kindly share it with me? I know I am being greedy, but then on second thoughts, it is only about my Mother that I am greedy about. So it is okay I think.

coolkarni · Post by **coolkarni** » 20 Mar 2006, 21:06

Sudarshan
You are not greedy.stuff like these should be with people like you ,who can do much more justice to the tracks , in explaining them and putting them in context for people like us.
I had to force myself to edit it because I could never hope to upload the whole stuff .so mnay mbs.
And ofcourse I was trying to make Cmlover include Sringeri in his travel plans when he visits India Next !
I have always had to drag my feet for the return trip , everytime I visit Sringeri !
Such a wonderful experience ...
So please do mail me at [email protected] will do the rest.
are you interested in other temples as well . I can make a neat package to you on behalf of this forum !!

cmlover · Post by **cmlover** » 20 Mar 2006, 21:17

darshan/DRS
I am now slightly confused about the hasta symbolisms. The picture that I posted clearly has a parrot on her right hand along with akshamala, pustaka and chin mudra but your description is quite different! So are there different images? In that video is the acharya doing pooja to the main idol or another utsava vigraha? Was Adi shankaracArya a Srividya upaasaka? of course soundarya lahiri and other compositions do give that impression. But then is advaita compatible with Srividya? Perhaps these can be discussed elsewhere without interrupting the Muse from DRS. Just a quick short answer will do!

abadri · Post by **abadri** » 20 Mar 2006, 23:24

A rendition of Shewta Ganapatim by Nookala (accompanied by LGJ/VR)
[rapidshare link deleted]

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 02:00

I am barely managing to keep up here... may be what will help me is a definition of asampoorna ragas and any relationship/implication/equality to vivAdhi ragas. ( my understand of vivAdhi combination being the consecutive usage of two semi-tone apart notes among ri, ga, dha and ni )

Your peceived equation is incorrect. asampUrNa is Not= vivAdi mELa.
Your understanding of vivAditva is correct.

asampUrNa is a term that does not clearly imply what it tries to say. It simply means the ascent or descent do not necessarily have all the 7 swaras and if they do, not necessarily in krama(order). This means that the rules are not mandatory and some mELas can be krama sampUrNa (e.g 8, 15, 29, 65). But the ArOhaNa and avarOhaNa put ugether MUST contain the full complement of the 7 swaras. It so happens that in some of the mELas, the vakratva is a way of getting over/avoiding the vivAditva. These rAgas are those that have/had been in vogue unlike many of the sampUrNa mELas that were artificially created and forced into use.

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 02:10

darshan/DRS
I am now slightly confused about the hasta symbolisms. The picture that I posted clearly has a parrot on her right hand along with akshamala, pustaka and chin mudra but your description is quite different! So are there different images? In that video is the acharya doing pooja to the main idol or another utsava vigraha? Was Adi shankaracArya a Srividya upaasaka? of course soundarya lahiri and other compositions do give that impression. But then is advaita compatible with Srividya? Perhaps these can be discussed elsewhere without interrupting the Muse from DRS. Just a quick short answer will do!

CML
The parrot shares the right upper hand with the akShamAle. This is clearly seen in the vigraha as well as is evident from the video clipping. In the video, you can see 2 vigrhas. The larger one on the padmapITha is the original vigraha AFAIK.

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 02:11

Badri
Thanks for the clipping. That gives a diffenrent feel to the rAga from the SRJ clip.

CML
I ahve not been taught the MD kRti

kiransurya · Post by **kiransurya** » 21 Mar 2006, 02:17

DRS
Aren`t quite a few raagas in Venkathamakhi-MD mela system vakra sampoorana raagas?

kiransurya · Post by **kiransurya** » 21 Mar 2006, 02:21

CML
If Iam not wrong, Sri Sankaracharya is a Devi Upaasaka as well as Sri Vidyopasakaa . I think most(all) of his successors in the peetham will be inititated with both Sri Vidya and Baala Upaasanaa..

vasanthakokilam · Post by **vasanthakokilam** » 21 Mar 2006, 02:26

asampUrNa is a term that does not clearly imply what it tries to say. It simply means the ascent or descent do not necessarily have all the 7 swaras and if they do, not necessarily in krama(order). This means that the rules are not mandatory and some mELas can be krama sampUrNa (e.g 8, 15, 29, 65). But the ArOhaNa and avarOhaNa put ugether MUST contain the full complement of the 7 swaras. It so happens that in some of the mELas, the vakratva is a way of getting over/avoiding the vivAditva. These rAgas are those that have/had been in vogue unlike many of the sampUrNa mELas that were artificially created and forced into use.

Thanks DRS. I think I understand it. Just to make sure.... 1) So these ragas are outside the 72 melakarthas of Venkatamakhi 2) Venkatamakhi's 72 and sampUrNa meLAs mean the same thing 3) A question. Since the asampUrNa melas existed for a while, did Venkatmakhi accomodate them in his scheme some how, like in force-fitted janya or some such thing 4) Can asampUrna ragas have one ri, ga, dha or ni in ArOhaNa and the other non-duplicating one in the avarOhaNa?

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 02:57

Thanks DRS. I think I understand it. Just to make sure.... 1) So these ragas are outside the 72 melakarthas of Venkatamakhi 2) Venkatamakhi's 72 and sampUrNa meLAs mean the same thing 3) A question. Since the asampUrNa melas existed for a while, did Venkatmakhi accomodate them in his scheme some how, like in force-fitted janya or some such thing 4) Can asampUrna ragas have one ri, ga, dha or ni in ArOhaNa and the other non-duplicating one in the avarOhaNa?

I think the discussion is going way off the topic here. This should have been in the technical section. Let this be the last post dwelling on the topic. Answer to your points

1) No. They are within the remit.
2) Yes with a "qualification". He formulated mELas to be comprehensive and consolidative. He did NOT say anywhere that mELa=rAga. After describing the mELa system , he goes on to describe some mELas as asampUrNa/vakra only. mudduvEnkaTamakhi, from venkaTamakhi`s line, describes asapUrNa mELas only.
3) Answered above- no force fitting here
4) A BIG NO if you are talking of mELas here. This is obvious if you dont think too hard.

The rAgas are rAgAnga and CANNOT have foreign notes. This is why kAmbOdhi was demoted from its mELa status. This will be clear from the asampUrNa mELas I have discussed here so far.

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 18:04

Here is the next kriti in rAgA hamIr kalyANi - Adi tALa - 2 kalEs. Bear with my not very co-operative voice, the result of an infection in the throat.

http://rapidshare.de/files/16045875/vEN ... y.wma.html

sudarshan · Post by **sudarshan** » 21 Mar 2006, 18:11

Foremost, DRS, apologies if I seem to be veering away from the topic.

Coolkarni, very gracious of you to kindly consent to my request. I shall mail you right away.

CML, in the video Acharya is worshipping the mula vigraha of Sri Sharadambal. This is during the Navarathri celebrations. I have a picture of the mula vigraha. I do not know how to upload it here. If any of you need it, please let me know. Also, Adi Shankaracharya is one of the important Acharyas in Srividya as far as Dakshinamurthi Sampradaya is concerned. Srividya is very much in line with Advaita since it leads the sadhaka towards Nirguna and thereby, atma jnana.

Kiransurya, Bala upasana is a part of Shrividya upasana. For every Acharya of Sringeri Sharada Peetam, initiation into ShriVidya (MahaGanapathi, Bala, Panchadashi), Dakshinamurthi, and Narasimha upasanas is mandatory.

cmlover · Post by **cmlover** » 21 Mar 2006, 22:49

Thanks DRS

That was sheer delight! Where is the throat problem

The aalaapanai and rendering were indeed nice. I wish there was more swarakalpana. Let us have the lyric first! Normally I would have invoked coolkarni/Badri to load us with the HM version of HK. I notice the distinct CM style in yours and would like to hear more on the same line. Hence you call for the appropriate ones and of course I know MD will be there! And let me put in my claim in advance for the notations (most definitely!). You correctly avoided the mUrcana with the disclaimer and be prepared for a long discussion on that issue. I look forward to an entertaining journey. Tally ho! Cheers!

Thanks darshan
for those clarifications though I have a number of questions and comments. Let us pursue that in a different thread than interrupting the divine flow of music from DRS!

rshankar · Post by **rshankar** » 21 Mar 2006, 23:12

CML,
Santhanam singing one of my favorites in HK:
http://rapidshare.de/files/16067176/05_ ... i.m4a.html

DRS, I hope I do not offend you, but my first registered enjoyment of this very lilting rAg was from this song in the movie karNan!
http://as01.cooltoad.com/music/song.php?id=190259

Ravi

coolkarni · Post by **coolkarni** » 21 Mar 2006, 23:13

http://rapidshare.de/files/16049531/108 ... alyani.mp3

by MLV

cmlover · Post by **cmlover** » 21 Mar 2006, 23:39

Ooo!

This is sheer unadulterated delight!

Coolkarni
Any superb RTP?(Even instrumental!)

cmlover · Post by **cmlover** » 21 Mar 2006, 23:44

DRS

I notice MLV straying into Saranga and the violinist (MC?) following suit By the by did Swati compose it in CM or HM style? ( I am almost certain thsi is tuned by HMB! Kartik can you confirm?)

drshrikaanth · Post by **drshrikaanth** » 21 Mar 2006, 23:47

mAtu of vENupurISam

rAga- hamvIru/hamIrkalyANi; Adi tALa- 2 kaLe

vENupurISam vidaLita pASam |
viluLita ghanakESam bhajE Sam ||P||

vENuravE vismRta paSu nivaham |
prEmarasavaham vIrataram aham ||AP||

SyAmaLa gAtram SatadaLa nEtram |
cAru kaTi baddha suvarNa sUtram |
kAmahara kamalabhava nutipAtram |
kAmyam SrIkAntam cinmAtram ||C||

cmlover · Post by **cmlover** » 22 Mar 2006, 00:38

The sAhitya is equally enchanting! I certainly will wait till you post your inimitable interpretations before jumping in

But could we first have a darshan of your 'vENu purIshaM' ?

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2006, 01:10

CML
you have aleady had the darSana of vENugOpAlaswAmi of koNanUru(koLalu+ Uru= vENu+puri)

A gentle reminder- any doubts/clarifications you have regarding sAhitya, email me first.

As for tha rAga hamIru- what is there to say, I have said it all in the kRti itself.

I dont want to rip the rAga to pieces as it will take us nowhere. Will post something though.

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2006, 02:59

Meaning for vENupurISam

rAga- hamvIru/hamIrkalyANi; Adi tALa- 2 kaLe

vENupurISam- Lord of koNanUru; vidaLita pASam- destroyer/remover of all worldly attachments;
viluLita ghanakESam- Him with dark/thick hair that wavers and sway gently;
bhajE- I sing praise of Him;
Sam- happiness, prosperity, welfare Himself;

vENuravE- in the sound emanating from the bamboo flute;
vismRta- lost/immersed; paSu nivaham- the herd of cows/jIvAtmas/all life;
prEmarasavaham- Him Who is the stream/bearer of love;
vIrataram- The brave One; aham- I.

SyAmaLa gAtram- The dark-complexioned One; SatadaLa nEtram- Loyus-eyed One;
cAru- beautiful; kaTi- waist, middle; baddha- tied;
suvarNa sUtram- golden thread;
kAmahara- ISvara; kamalabhava- brahma(born from a lotus);
nutipAtram- Him Who is the object of praise;
kAmyam- Him that is attractive and affectionate;
SrIkAntam; cinmAtram- Him That is the embodiment of cit/knowledge/awareness.

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2006, 07:43

Notation for vENupurISam- hamIru

http://rapidshare.de/files/16105114/vEN ... y.pdf.html

cmlover · Post by **cmlover** » 22 Mar 2006, 08:15

Thanks very much DRS!

cmlover · Post by **cmlover** » 22 Mar 2006, 09:38

Dear DRS

could you explain the flow of thought in the AP since I have difficulty in reconciling it with the rest of the lyric, especially the use of 'aham' in that context!

coolkarni · Post by **coolkarni** » 22 Mar 2006, 11:09

http://rapidshare.de/files/16102161/106 ... alyani.mp3
http://rapidshare.de/files/16105502/092 ... alyani.mp3
http://rapidshare.de/files/16110618/197 ... alyani.MP3

First one by BMk.Rest by kalyanraman.

badri must be having a RTP by BV Raman / Laxman in hamir kalyani ?
My Track has gone to bangalore for a face lift !!

HM-- malini rajurkar and abdul halim Jafar Khan would be recommended .

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2006, 18:02

Dear DRS

could you explain the flow of thought in the AP since I have difficulty in reconciling it with the rest of the lyric, especially the use of 'aham' in that context!

The aham at the end of AP goes with bhajE in the pallavi. I have placed it there for the sake of maintaining antyaprAsa. Start with aham and read the pallavi and it will become clear

aham vENupurISam-----bhajE

To make it clear for others, posting the meaning of the relevant part in kannaDa and tamizh:

nAnu vENupurISanannu, pASavanu kaLedavanannu, nasu alugADutaliruva kESarASi uLLavanannu bhajisuvenu

nAn vENupurIsanai, pAsattai aRuttavanai, mella asaiyaum karnkuzhalAnai, bhajikkirEn.

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2006, 18:19

Thanks Coolkarni and Ravishankar

Some other tracks in hamIrkalyANi- thanks to Badri and Sridhar

MD`s parimaLaranga by Trichur V.Ramachandran.

http://rapidshare.de/files/16030958/par ... m.mp3.html

MD`s puraharanandana

http://rapidshare.de/files/16010141/San ... i.mp4.html

For those loking for an RTP
Please got to the ragam-tanam-palavi thread under genreal discussions on page 8 .

Also Ashwin & Rohin have rendered puraharanandana very nicely. It is on their website.

ammamaha · Post by **ammamaha** » 22 Mar 2006, 21:03

[quote=""cmlover""]darshan/DRS
Was Adi shankaracArya a Srividya upaasaka? of course soundarya lahiri and other compositions do give that impression. But then is advaita compatible with Srividya?

These questions are very nicely answered by Kanchi Paramacharya in his commentary on Soundarya Lahari. This book has been published by Bharatiya Vidya Bhavan. Also Prof V Krishnamurthy has summarised the paramacharyas views in his series of posting in the advaita yahoo group. I think he has them posted on his website also.

Raja Chandra · Post by **Raja Chandra** » 23 Mar 2006, 00:27

Thanks ammamaha for the inputs.

After some search i found this thread:

http://www.geocities.com/profvk/

Also see the webpages on Paramacharya's Soundaryalahari :
http://www.geocities.com/profvk/gohitvip/DPDS.html

cmlover · Post by **cmlover** » 23 Mar 2006, 00:46

ammamaha/RC

Thanks for those references. Though I am aware of those disscussions the question of Srivdya vs advaita is still open! I would not distract the flow of the nectar from DRS on that score but will be glad to pursue the discussions elsewhere if there is any interest!

abadri · Post by **abadri** » 23 Mar 2006, 03:41

badri must be having a RTP by BV Raman / Laxman in hamir kalyani ?
My Track has gone to bangalore for a face lift !!

Kji, negative I'm afraid

will look forward to the return of the "beautified" track from Bangalore

drshrikaanth · Post by **drshrikaanth** » 23 Mar 2006, 03:42

hamvIru or hamIrukalyANi is a bhAShAnga janya of the 65th mELa- SAntakalyANi/mEcakalyANi. It is a dESI Raga adapted from HM. The full credit for giving the rAga a from and presence in CM goes to MD. As I have mentioned earlier, the rAga cannot be captured in a scale.
In the SSP, subbarAma dIkShitar gives ubhaya krama sampUrNa mUrchane. i.e

SRGMPDNS* | S*NDPMGRS ||

But practice can hardly be reconciled to this scale. The SRGM prayOga does not occur at all. The takeoff is usually as "SM1GPM2" and ccasionally as "SM1RPM2". "GMP" and "SGM" also occur. The uttarAnga ascent can be varied "PDPS*", "PD,S*" or less frequently "PDNS*". The descent also can be varied as "S*P", "SDP" or "S*ND,P". The descent to ShaDja can be as "PM2PGM1R,S" and less frequently as "PGRS" and "PM2GRS".
All these prayOgas can be seen in the notation for my kRti.

The suddhamadhyama occurs in the prayOgas "M2PGM1,". Note that although on first glance/hearing the M1 and M2 may appear to be juxtaposed, they are most definitely not placed together. While
descending from P to M either G is shown explicitly or when sung in madhyamakAla, there is an underlying drutakAla gamaka(uruTu) of "PM2PGM1,".

dATu prayOgas such as GD, and GND, are seen.

R, G and D are jivaswaras. There is a slight oscillation to R and D. Both these swaras often get elongated. Apart from S and P, M1 acts as a resting note and to a lesser extent D.

The nyAsa on Suddhamadhyama is an important difference when compared with sAranga where the nyAsa is on M2(DPM2~,).

The hindUstAni rAga kEdAr and its particular variant dIpak kEdAr are very similar ro hamvIru. It is interesting that the rAga is not very similar to the hindUstAni hamIr, a least as it is sung today(I mean as HM hamIr is sung today). hamIr or hamIrkalyAN has M1 in the ascent. This plus
the gamaka on D(GMD~,) give it an immediately recognizble kannaDa flavour. Perhaps hamIr was sung differently in the days of MD/ mudduvenkaTamakhi(who mentions it as a dESya rAga in his rAgalakShaNa). Otherwise it is difficult to understand why the rAga would have been named hamvIru/ hamIrkalyANi. If they wanted to rename it, they would certainly have given it a more karNATaka/traditional name.

kartik · Post by **kartik** » 23 Mar 2006, 05:16

DRS,
Dont we allow an alpa parayoga of N2 (kaishiki) also sometimes in Hamir Kalyani?Does Kedar employ Nishada in the arohana,where as it is done in Hamir Kalyani?

new_cmfan · Post by **new_cmfan** » 23 Mar 2006, 05:19

DRS
Thanks for sharing your vast knowledge.

I did not know much about kAmbhojI until i heard one of TRS' Raga Lessons (thanks to coolkji) where he says "when in doubt leave whereever you are and come to m-g-p-d" and his student demonstrates it. It's so beautifully enlightening.

In the same vein, could I implore you to "lec demo"ize your explanations - like the one above - where a neophyte like myself who finds it hard to understand the nuances as written on paper - might learn a whole lot more when hearing alongside - particularly some of prayogas you explain that do not exist in the raga.

Anyone to second this request?

Perhaps if you can do just one rAgam. Please.

drshrikaanth · Post by **drshrikaanth** » 23 Mar 2006, 05:22

DRS,
Dont we allow an alpa parayoga of N2 (kaishiki) also sometimes in Hamir Kalyani?Does Kedar employ Nishada in the arohana,where as it is done in Hamir Kalyani?

I have used N2 in one place in the pallavi itself as it sounded beautiful, apt for the sAhitya and reflected the beauty and lovely nature of the lad kRShNa. I dont think MD has used it.
I am no expert on HM but Kedar does employ N in ArOhaNa according to article on SAWF. Here is the link

http://sawf.org/Newedit/edit05152000/musicarts.ASP

Suji Ram · Post by **Suji Ram** » 23 Mar 2006, 05:40

DRS

In the same vein, could I implore you to "lec demo"ize your explanations - like the one above - where a neophyte like myself who finds it hard to understand the nuances as written on paper - might learn a whole lot more when hearing alongside - particularly some of prayogas you explain that do not exist in the raga.

Anyone to second this request?

Perhaps if you can do just one rAgam. Please.

I second.
I have been thinking about the same. Didn't have the courage to ask.