I liked this:
https://www.youtube.com/watch?v=DHNo9IPLB28
I feel that the efforts of Indian Raga to bring together youngsters and produce music are laudable. True, it may at times deflect from pure classicism, but this may be a stepping stone for classicism. Here, there does not seem to be compromise.
I have a weakness for listening to youngsters. They are fresh and have less of a hangover.
Indian Raga
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shankarank
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- Joined: 15 Jun 2009, 07:16
Re: Indian Raga
https://www.youtube.com/watch?v=3QoDpiH8h1M
The girl meets boy song (the other one is alaipAyudE!) has come a long way. எல்லாம் மாறிவிட்டது! (Lots of changes!) Ambience has gotten an upgrade – new art gallery surrounds! Seating has been elevated! நட வுட பாவனேல்லாம் புதுசு! (gait, dress and bearing/expression all changed!) அட ராகத்தியே எப்பயோ மாத்திட்டாங்கோ! (Even rAgam was changed long back!) முன்ன சுத்த ஹிந்தோள் , இப்ப அசுத்த ஹிந்தோள் – Clean hindOl to unclean hindOl!
But one thing remains constant – the syllables of vicakShaNa guNa SIla dayALa and vinOda mOhana kara have not moved an inch and they hug the beats like they would fall down otherwise.
The drum beats on the soft pad does not prevent other rhythmic shift embellishments to be given up. But the syllables hug the beat like the drum does!
Did Sri tyAgarAja sing it like that? Any taccur manuscript? Do they have exact positions like SSP does? Damn it our people never preserved originals. Never wrote down and documented it! What a loss!
I guess, we have to memorialize the SRngAra rasa of countless girls meeting boys! I also guess that formed the notation. Some teacher taught somebody and it carried on – from the days of GNB – to MLV to TSK. Except three musicians: BMK, MDR and TNS have shifted dayALa to atItam! That too may be due to their propensity more than anything else.
Now don’t tell me MMI does a simple rendition – just listen to how he handles SIla – very long kArvai and very different. He doesn’t take a breath there. If anybody got all other strengths of his, then we can talk!
If you want a simple rendition listen to Santhanam. In the company of LGJ and VR in 1982! That is a travesty! May be why Sri Lalgudi stopped accompanying anybody afterwards!
So that is classicism, i.e. preserve the pAThAntaram! Now the sampradaya and classicism really expressed themselves as the hero Sanjay Subramhanyam admitted, that musicians once stopped singing the girl meets boy song, as soon as it was featured in a Movie! சினிமா பாட்டு பாட மாட்டோம்! Won’t sing cine songs to uphold classicism!
So as it makes its way into rAgA labs , it takes with it the hard classicism of syllable positions intact – only with a bit of deviation that a cine song can be now sung!
Last edited by shankarank on 05 Apr 2020, 11:12, edited 1 time in total.
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shankarank
- Posts: 4069
- Joined: 15 Jun 2009, 07:16
Re: Indian Raga
So to see how it can be sung - I made some notes there:
viewtopic.php?f=8&t=17780&start=50#p357391
vi ||ca,, ksha Na,guNa ,SI,la ,,,da | yA,,la - starts short on SI
ni ||sa,, ga sa,nisa ,da,ni,,,ni | sa,,ni
vi ||ca,, ksha Na,guNa ,SI,, la,,da | yA,,la - more kArvai to SI as sangatis progress
vi ||ca,, ksha Na,guNa ,SI,, ,la,da | yA,,la - one more mAtra to SI
Now guNa, is notated as 3 mAtras but usually guNA will be spread out as 1-1/2, 1-1/2 with a tempo rubato to add pregnancy to expression!
And it is assured that hindOLam speaks like none other in this mode! Without viSranti awareness there is no rAgA!
Well I am not holding out that what I put out here is the right way! But since the current one is unacceptable, a move has to be made somewhere! We have to fill the gap!
viewtopic.php?f=8&t=17780&start=50#p357391
vi ||ca,, ksha Na,guNa ,SI,la ,,,da | yA,,la - starts short on SI
ni ||sa,, ga sa,nisa ,da,ni,,,ni | sa,,ni
vi ||ca,, ksha Na,guNa ,SI,, la,,da | yA,,la - more kArvai to SI as sangatis progress
vi ||ca,, ksha Na,guNa ,SI,, ,la,da | yA,,la - one more mAtra to SI
Now guNa, is notated as 3 mAtras but usually guNA will be spread out as 1-1/2, 1-1/2 with a tempo rubato to add pregnancy to expression!
And it is assured that hindOLam speaks like none other in this mode! Without viSranti awareness there is no rAgA!
Well I am not holding out that what I put out here is the right way! But since the current one is unacceptable, a move has to be made somewhere! We have to fill the gap!
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shankarank
- Posts: 4069
- Joined: 15 Jun 2009, 07:16
Re: Indian Raga
Now what happens to vinOdha mOhana kara? Is the current approach a blind enforcement of yati maitri concept, forcing a beat hug.
Lets first suggest an approach:
vi || nO,,, da,mo, ,,hana ,kara, | tyA,,ga
ni || sa,,, ga,sa, ,,nida ,nisa, | sa,, ni
The "nida" above is a convenient notation, actually it is something like (nida)(nida).
Here again hana, kara, - total 6 mAtras is to be executed as 4 equals 1-1/2 each - giving musical weight (pregnancy) to it!
When dIrghas in earlier pURvAnga of second line anupallavi (vicakshaNa) and this one in fourth line of caraNam above are not aligned, it is futile to attempt a yati maitri between the two. We have to cut our losses and adopt that only for uttarAnga.
The composer did not "intend" it.
Looks like the art has some science to it
Lets first suggest an approach:
vi || nO,,, da,mo, ,,hana ,kara, | tyA,,ga
ni || sa,,, ga,sa, ,,nida ,nisa, | sa,, ni
The "nida" above is a convenient notation, actually it is something like (nida)(nida).
Here again hana, kara, - total 6 mAtras is to be executed as 4 equals 1-1/2 each - giving musical weight (pregnancy) to it!
When dIrghas in earlier pURvAnga of second line anupallavi (vicakshaNa) and this one in fourth line of caraNam above are not aligned, it is futile to attempt a yati maitri between the two. We have to cut our losses and adopt that only for uttarAnga.
The composer did not "intend" it.
Looks like the art has some science to it