gauLipantu
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hello all
This rAgam gauLipantu is a janya of mAyAmALavagauLa and listed as a upAnga rAgam in pradarshini.
It is a rAgam which is very beautiful and shows a lot of moods in it. There are quite a few compositions in this rAgam, unfortunately none of them are popular in concerts.
Any insights about this rAgam from people in the forum?
bharath
This rAgam gauLipantu is a janya of mAyAmALavagauLa and listed as a upAnga rAgam in pradarshini.
It is a rAgam which is very beautiful and shows a lot of moods in it. There are quite a few compositions in this rAgam, unfortunately none of them are popular in concerts.
Any insights about this rAgam from people in the forum?
bharath
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Quick question ??Is this raga a combo of Gowlai and PantuVarAli .
List of krithis is this great ragam
http://www.indiamusicinfo.com/songs/raga/gaulipantu.htm
List of krithis is this great ragam
http://www.indiamusicinfo.com/songs/raga/gaulipantu.htm
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SSP states Gaulipanthu(Gauripanthu as a bhasahangam) with SRMPNS-SNDPMGRS as the aro and Avo. SRJ demostrates Gauripanthu with the krithi Krishnaananda mukundha of Sri Dikshitar in the following clip..(This clip was posted in this forum several months ago..)
http://rapidshare.de/files/7839087/SRJ- ... u.mp3.html
However, Sri ShyamaSastri`s krithi Tarunam Idamma has SNDMPMDMGRS in avarohanam(thats the way I have been taught). So kinda confusing..
DRS!!! please clarify....
http://rapidshare.de/files/7839087/SRJ- ... u.mp3.html
However, Sri ShyamaSastri`s krithi Tarunam Idamma has SNDMPMDMGRS in avarohanam(thats the way I have been taught). So kinda confusing..
DRS!!! please clarify....
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Gurjari has SRGDPMPDNS-SNDPMGRS and is 15th Mela janya..
The moorchana above is as indicated by Sri TKG. However, In SSP It is given as SRGMPDNS-SNDPMGRS. Then again, the mukthayi swaram for the krithi Gunijanadi by dikshitar has prayogams like "GDP"
Lec dem section of Sangeethapriya.org has a nice lec dem by DKJ in which one of the raagas is Gurjari. He presents the song and the raagam in his usual inimitable way... Check that out. Sorry again for deviating from the main topic..
Am sure that DRS will clear all of our doubts...
The moorchana above is as indicated by Sri TKG. However, In SSP It is given as SRGMPDNS-SNDPMGRS. Then again, the mukthayi swaram for the krithi Gunijanadi by dikshitar has prayogams like "GDP"
Lec dem section of Sangeethapriya.org has a nice lec dem by DKJ in which one of the raagas is Gurjari. He presents the song and the raagam in his usual inimitable way... Check that out. Sorry again for deviating from the main topic..
Am sure that DRS will clear all of our doubts...
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gauLipantu is a bhAShAnga janya of the 15th mELa- mAyA mALavagauLa. Its scale is
SR1M1~,PN3~,S* | S*ND1PMG3RS ||
R, M & N are the jIvaswaras with R being a nyAsa. Both the madhyama and the niShAda notes take on a tIvra quality i.e higher frequency than usual for these swaras. The madhyama treatment is similar to that in bEgaDe. "SNP" and "MDMGRS" are viSESha sancAras.
The oscillated NishAda extends in its compass upto the tAra RShabha while madhyama similarly extends to D1. Vid|| R.R.Keshavamurthy also mentions that R and D are softened.
The bhAShAngatva is interpreted in 2 ways- as shades of M2 suggested in M1 while glding from P or D and also when M is treated as long and oscillated. Others render the pratimadhyama itself.
The treatment of the rAga by the trinity is similar and does not warrant the assignment of different scales. "DPMGRS" is seen even in taruNamidamma although the avarOhaNa is assigned as "SNDPDMGRS". It only makes the scale unnecessarily tortuous and scary for learners. This is an ancient rakti rAga and understandably is not fully represented by a scale;- hence the viSEha prayOgas.
SR1M1~,PN3~,S* | S*ND1PMG3RS ||
R, M & N are the jIvaswaras with R being a nyAsa. Both the madhyama and the niShAda notes take on a tIvra quality i.e higher frequency than usual for these swaras. The madhyama treatment is similar to that in bEgaDe. "SNP" and "MDMGRS" are viSESha sancAras.
The oscillated NishAda extends in its compass upto the tAra RShabha while madhyama similarly extends to D1. Vid|| R.R.Keshavamurthy also mentions that R and D are softened.
The bhAShAngatva is interpreted in 2 ways- as shades of M2 suggested in M1 while glding from P or D and also when M is treated as long and oscillated. Others render the pratimadhyama itself.
The treatment of the rAga by the trinity is similar and does not warrant the assignment of different scales. "DPMGRS" is seen even in taruNamidamma although the avarOhaNa is assigned as "SNDPDMGRS". It only makes the scale unnecessarily tortuous and scary for learners. This is an ancient rakti rAga and understandably is not fully represented by a scale;- hence the viSEha prayOgas.
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As for gauripantu, mancALa Jagannatha Rao says in his book "kShEtrayya padamulu" that this is a janya of kAmavardhini and with the scale
SR2M2PN3S* | S*NPD2PMRG3RS ||
He mentions that this is called "SrI" in the hindUstAni paddhati. This scale is the same/similar to the scale given to gauLipantu for tyAgarAja and SS kRtis but for the prati madhyama. Many do sing gauLipantu in this scale.
He gives 2 padas- nEramA kommA, aytE gAni ninnE nammi, & koncegattelA.
SR2M2PN3S* | S*NPD2PMRG3RS ||
He mentions that this is called "SrI" in the hindUstAni paddhati. This scale is the same/similar to the scale given to gauLipantu for tyAgarAja and SS kRtis but for the prati madhyama. Many do sing gauLipantu in this scale.
He gives 2 padas- nEramA kommA, aytE gAni ninnE nammi, & koncegattelA.
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MSS singing kuvalayAkShirO
http://www.musicindiaonline.com/p/x/g4X ... As1NMvHdW/
DKJ`s taruNam idamma
http://www.musicindiaonline.com/p/x/_JI ... As1NMvHdW/
A version of tera tIyaga rAda.
http://www.musicindiaonline.com/p/x/aJO ... As1NMvHdW/
http://www.musicindiaonline.com/p/x/g4X ... As1NMvHdW/
DKJ`s taruNam idamma
http://www.musicindiaonline.com/p/x/_JI ... As1NMvHdW/
A version of tera tIyaga rAda.
http://www.musicindiaonline.com/p/x/aJO ... As1NMvHdW/
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DRS
http://www.musicindiaonline.com/p/x/FJO ... As1NMvHdW/
is actually 'mahaA gaNapati' (though labelled Terateyag)! Of course if it is a a different version of teratIyaga then it is the strangest gauLipantu in history
http://www.musicindiaonline.com/p/x/FJO ... As1NMvHdW/
is actually 'mahaA gaNapati' (though labelled Terateyag)! Of course if it is a a different version of teratIyaga then it is the strangest gauLipantu in history
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I think it is in the same set that starts with the Viriboni Bhairavi varnam...Other songs in that collection, if I remember right, are: Meenakshi ( Purvikalyani ), Hariharaputhram ( vasantha ), a Kedara Gowla piece, Dhanyashri Thillana, Sogasugaa Mridanga Thalamu, a Mayamalava Gowla piece etc.DRS/CML,
Do you know the name of the commercial album where MSS has rendered tera thIyagarAdA?
Thanks.
Ravi
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People like Smt Kalpakam Swaminathan and Smt R Vedavali are of the opinion that gauLipantu is a suddha madhyama rAgam and a janya of mAyAmALava gauLa. I have heard both of them sing/play taratEyaka rAdA and krishNAnanda mukunda murArE with suddha madyamam fully.
on taruNam idammA, quite contrary to the popular Adi tALa, fast renditions, Smt Vidya Sankar and her disciples render the kriti in viLamba kAlam in cApu tALam and believe it is just too good.
on taruNam idammA, quite contrary to the popular Adi tALa, fast renditions, Smt Vidya Sankar and her disciples render the kriti in viLamba kAlam in cApu tALam and believe it is just too good.
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MD`s kRShNAnanda by Vid|| Kalpagam Swaminathan
http://rapidshare.de/files/7772205/GauLipantu.mp3.html
http://rapidshare.de/files/7772205/GauLipantu.mp3.html
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Re: gauLipantu
T M Krishna has done swaras for Thereteeyagarada at the pallavi. Judging by that, it would be SRSPMPNS SNDPMDMGRS, as a Janya of Panthuvarali. Also, Gurjari is also defined as SRGMPDNS SDNPMGRS. In fact that is the more common one. Listen to TMKs Varalandu Kommani on YouTube (its the first song in. Aconcert that’s about 2:57 long). Again, the swaras show this pattern.
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Re:
I intended to cover modern gauLipantu as we sing it now, with M2, in this thread. That quote above by Dr. Shrikaanth has already done some of my work for me. Right now what is being sung is :drshrikaanth wrote: ↑18 Apr 2006, 02:05 gauLipantu is a bhAShAnga janya of the 15th mELa- mAyA mALavagauLa. Its scale is
SR1M1~,PN3~,S* | S*ND1PMG3RS ||
R, M & N are the jIvaswaras with R being a nyAsa. Both the madhyama and the niShAda notes take on a tIvra quality i.e higher frequency than usual for these swaras. The madhyama treatment is similar to that in bEgaDe. "SNP" and "MDMGRS" are viSESha sancAras.
The oscillated NishAda extends in its compass upto the tAra RShabha while madhyama similarly extends to D1. Vid|| R.R.Keshavamurthy also mentions that R and D are softened.
The bhAShAngatva is interpreted in 2 ways- as shades of M2 suggested in M1 while glding from P or D and also when M is treated as long and oscillated. Others render the pratimadhyama itself.
The treatment of the rAga by the trinity is similar and does not warrant the assignment of different scales. "DPMGRS" is seen even in taruNamidamma although the avarOhaNa is assigned as "SNDPDMGRS". It only makes the scale unnecessarily tortuous and scary for learners. This is an ancient rakti rAga and understandably is not fully represented by a scale;- hence the viSEha prayOgas.
As for gauripantu, mancALa Jagannatha Rao says in his book "kShEtrayya padamulu" that this is a janya of kAmavardhini and with the scale
SR2M2PN3S | SNPD2PMRG3RS ||
He mentions that this is called "SrI" in the hindUstAni paddhati. This scale is the same/similar to the scale given to gauLipantu for tyAgarAja and SS kRtis but for the prati madhyama. Many do sing gauLipantu in this scale.
He gives 2 padas- nEramA kommA, aytE gAni ninnE nammi, & koncegattelA.
Aro : S R1 M2 P N3 S
Avaro : S N3 P D1 P M2 G3 R1 S
Now gauLipantu is not the same raga as what it used to be. Once upon a time, it used to be a janya of mayAmALavagauLa, which means it actually used shuddha madyama (M1). A change of this nature is something pretty drastic, even more so than changing a N or a R. It might have got mixed up with this gauripantu and the two ragas as a result ended up becoming one. You all might have suffered a mid life crisis, but whoever heard of a raga that had one!
And as always, the kriti renditions were altered to suit the new raga and have been sung that way for so long they are now accepted as de facto. I have unfortunately not been able to hear the old gauLipantu in a live concert, but fortunately recordings are there.
Coming to phrases, while modern gauLipantu follows the scale, it also has plenty of vakra and non-scalar phrases. For one, NPNS and SNDP are also possible, but a direct SNDP has almost vanished today, appearing only in slow phrases. The SNPDP might have been an outgrowth from the gamakas used in SNDP and it now dominates the avarOhanam. NPNS however finds profuse use. SRMPDPNS is rare, but it has been used.
But also, this is not the only possible way to descend. We also have a PDN-DPM (a signature phrase) that gives a glancing blow to the N3. We can also sing NDPMGR (also DDPMGR) and MDPMGR on the descent. PDM and MDM are also used for an extra shot of pallor. The raga revolves mostly around S and P, while M2 remains mostly as an oscillation from P, but M2 sung plain in PDM and MDM stands out.
N3 is the next strongest note after S and P and it can be sung plain in phrases like PPN, NPN, SRN, etc. and with oscillation also. The strong kAkali nishAdam adds a dark flavour to the rAgA. SNGRS is also possible. Also there is a tendency to sing GR-GR-SN over GRSN which is a recognizable quirk of modern gauLipantu. This GRGR-SN indirectly allows the possibility of S-RGRS-N, to appear which is mostly used as a tail ending phrase pairing up P-DNDP-M.
R1 does get it's own time in phrases like RR,R,,R,R, but never as a plain note, always being shaken between R1 and S
Among other vakra phrases, a direct slide from S-P in phrases like S-P,MGRGRSN is possible and is another characteristic phrase. Therefore SPN and SPS can be used more often than just a special touch, although it is an aha moment when someone conjures them up.
gauLipantu also seems to favour the middle and lower octaves, and while jODi singing has made it possible for one to sing high into the upper octave (touching the upper N3 if your voice can while the other sings low, I have not seen a trend of marching up to SRMP or PMGRGRSN and singing full fledged upper octave phrases. The upper G being touched briefly in SRGRSN, or SNGRSN seems to be the limit.
In the Dhannamal school renditions of padams in gauLipantu, they have at one place only, used S N2 P and this sounds so completely different. It seems to be only to act as a foil to the actual lakshana.
gauLipantu in the Dikshitar school of rAgAs is known as gauDipantu, and that along with gauripantu means we have a few alternate spellings, also revolving around the central character. For gauDipantu of the Dikshitar school is the original shudda madhyama rAgA that goes as a straightforward SRMPNS-SNDPMGRS with lots of gamaka on M and N and some vakra phrases like RGRS and other phrases bypassing P and S (more on this in the thread for the Dikshitar school version). This version is one of the few ragas in which all 3 of the Holy Trinity have composed in (although since then, Thyagaraja and Syama Sastri's kritis have morphed into their modern prati madhyama versions). It may be that the heavily oscillated M1 gave an impression of being higher than it is, and a poorly sung or heard version could have easily lead to it morphing into M2.
Old gaudipantu shares some phrases with the rAgA gauri (and the new one a lot more phrases, but for that M2), which I will cover separately.
gauLipantu actually has a surprising number of compositions in its repertoire, mostly by the trinity, but also indirectly via Kshetrayya (imported from gauripantu??) - and all 3 have handled it very similarly, so there doesn't seem to be any school specific versions of it. Some other older compositions have also been set to tune in it.
So let us start with the most popular song, Thyagaraja's tera teeyaga rAdA, by the one and only :
https://www.youtube.com/watch?v=J7RNO8ByQrI - The actual song starts at 0:58 and was preceded by hamsadhwani. notice the 2 octave singing in the pallavi? tera teeyaga rAdA is often sung as a fast opener or filler, but it actually contains almost all the phrases characteristic of gauLipantu that I wrote about earlier.
https://www.youtube.com/watch?v=3cUw6NnYDDo - And of course, this one.
https://www.youtube.com/watch?v=wAuuvmNaKck - A rare solo by Papa K S Venkataramiah
mosapOku vinavE is another kriti of Thyagaraja that could seriously do with more time in the spotlight.
Here's SSI singing it - https://www.youtube.com/watch?v=NvHegaqOgO8
and MSS - https://www.youtube.com/watch?v=UalPdENK79E
parabhrama svarUpamE is a composition of Arunachala Kavi - https://www.youtube.com/watch?v=AtPEcIhrC3I by S Sowmya. It looks like she has used M1 in oscillation here and there.
The Parur school still plays gauLipantu with M1 clearly heard though. That's a living fossil. https://www.youtube.com/watch?v=n3lwl9-3NmY - more on the old lakshanas in the Dikshitar thread.
Some others do sing M1, but oscillate it so high, it sounds like a disguised M2, but here MSG does not.
As an example of how you can disguise M1 as M2 almost, here's Dikshitar's composition krishnAnanda mukunda murArE : https://www.youtube.com/watch?v=7lrhXVwXBpA
Shyama Sastri's tarunamiddamma is a popular number, often it is sung at madhyama kala, but here's a rare slow speed version by MSS : https://www.youtube.com/watch?v=j4Uv0iyPrNM
DKP's version : https://www.youtube.com/watch?v=8_4znI03eQQ - this is the more popular one.
GNB has also sung a brisk version on record : https://www.youtube.com/watch?v=SYJ4dTwcDXw
There is another Syama Sastri kriti, purahara jAyE pAlaya : https://www.youtube.com/watch?v=vkhEArZ14Jk
Of course, HMB cannot be far behind - https://www.youtube.com/watch?v=9h-ZYpq1g2s - mahArAni mahArAgni
A version of namakkinE bhayamEdu by Parankushadasar is in gauLipantu : http://www.sangeethamshare.org/manjunat ... /S_sowmya/
And now, the kshetrayya padam - kuvalayAkshirO (the Dhanammal School owns this) :
https://www.youtube.com/watch?v=Y_ZwUckkWZY - MS Amma. Note the use of SN2P in one of the charanams.
A rare one by Balasaraswati : https://www.youtube.com/watch?v=Vz9SNdQdmh0
https://www.youtube.com/watch?v=ZnVleoHgLUo - Alamelu Mani
I was not able to find B-M's rendition on YT although it's in my collection. But here it is : http://www.sangeethamshare.org/murthy/K ... sicAcademy
The other padam of kshEtrayya, evatE goovina (??) is also available by Brinda Mukta : http://www.sangeethamshare.org/kasturi/ ... nda_Mukta/
Finally, I leave you with this last gem - dhUrjati natinchEnE by Dorasamayya (is this the same as Pallavi Doraisvami Iyer, father of Maha Vaidyanatha Iyer???).
And here's something weird. In the SSP, the rAgA is indicated as gauri in the anubandham. Some kritis in the anubandham part B of the SSP aren't exactly as per the lakshana in the main text. So I checked it up, the notation indicates it's almost gauri. But here we have a version using M2, that isn't gauri, even though it says so in the title, but actually gauLipantu! A case of impersonation??
https://www.youtube.com/watch?v=Ig-2g_KV52E
I joke that gauLipantu is an actual case of a rAga that suffered a literal mid life crisis - changed not only the middle letter in it's name, but also the actual madhyama swara itself from M1 to M2. Looks like ragas are more akin to humans than I thought.
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Re: gauLipantu
TRS also has popularised Mosabogu vinanve with elaborate swara prastarms in his inimitable style.
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Re: gauLipantu
https://youtu.be/yG4DZMjLkgI
Thera Theeyaga Radha - Gowlipanthu - Aadi ( 3.17 mins only)
67 views
•Feb 15, 2019
M. S. Subbalakshmi - Topic
Provided to YouTube by Saregama India Ltd
Is it an old recording? How does her voice sound?
-----------------------
https://youtu.be/VQmj8jvPb-8
Flute-T.R. Mahalingam - Tera Tiyaga Rada - Gowlipanthu - Adi - Thyagaraja
Thera Theeyaga Radha - Gowlipanthu - Aadi ( 3.17 mins only)
67 views
•Feb 15, 2019
M. S. Subbalakshmi - Topic
Provided to YouTube by Saregama India Ltd
Is it an old recording? How does her voice sound?
-----------------------
https://youtu.be/VQmj8jvPb-8
Flute-T.R. Mahalingam - Tera Tiyaga Rada - Gowlipanthu - Adi - Thyagaraja
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Re: gauLipantu
Can you please share the link of the TMK concert in which he has sung varaalandhu kommani in Gurjari ragam.shreyas wrote: ↑16 Sep 2018, 09:03 T M Krishna has done swaras for Thereteeyagarada at the pallavi. Judging by that, it would be SRSPMPNS SNDPMDMGRS, as a Janya of Panthuvarali. Also, Gurjari is also defined as SRGMPDNS SDNPMGRS. In fact that is the more common one. Listen to TMKs Varalandu Kommani on YouTube (its the first song in. Aconcert that’s about 2:57 long). Again, the swaras show this pattern.
thank you