Sunday, May 24, 2009

And the winner is...

Everybody has a raaga that is closest to their heart - singing or listening. For some it may be a very happy and delightful raaga and for some it may be a touching raaga with a melancholy strain to it. I like raagas that fall under the second category more( no wonder i wrote about charukesi in the previous blog :) ). But of all the raagas in that category the one that moves me the most is Panthuvarali in carnatic --> Poorya Dhanashree in hindustani.
The carnatic version touches the equilibrium Sa and Pa more than R1, M2, D1 and N2. The glides include Pa and Sa mostly i.e N2 is sung with gamaka from Sa and M2 sung with gamaka from Pa and rarely some flat touches on M2 and glides from D to M , M D N etc This makes the raaga less sad and more pleasing for an average listener.
On the other hand, the hindustani raaga touches the non-equilibrium notes totally and beautifully before settling at equilibrium.
The aarog goes like - N2 r1 G2 M2 P M2 D1 N2 S
and avarog - R2 N2 D1 P M2 G2 M2 R1 G2 R1 S
- hence the flows of MDNRNDP, MRGRS etc produce a strain that makes you say "wah". The vaadhi swara is still Pa and samvaadhi is Sa. The usage of Pa and Sa is high but the notes that lead to Pa and the way glides are sung in hindustani make the difference. A splendid example is "payaliya jhankar" before hey raama in rangeela, kaahe ched in devdas. My first exposure to poorya dhanashree was kaahe ched and I was touched totally by the way the raag was handled and the amount of emotion it conveyed.
Not everyone gets touched by this raaga or such sad raagas and even if they do its not something they would want to keep listening to.
A friend of mine pointed out how the non-equilibrium notes raise the tension in a listener and their mind calms down only when equilibrium notes are touched. Another awesome observation by him was that these non-equilibrium notes occur when notes are one semi-tone or 3 semi-tones apart(odd semi-tones). Example S, R1 - half, R1 G2 - one and half -- poorya dhanashree is full of these intervals :)

8 comments:

Karthik said...

yes indeed! Puriya Dhanashree is heavy on the heart! Nice write up.

Shankar Narayan said...

Karthikeya Murthy directed me to your blog. Have pleasure reading it.

Just a small suggestion ... Please make clear that you are using the 14-note numbering system rather than the 16-note one which is seen in most text books and in most places on the internet.

Because, if you follow the 16 note numbering system ... you will get a G3 and Ni3 for Panthuvarali, which is basically the prathi madhyamam counterpart of Mayamalagowlai.

I totally understand your notation and can can appreciate your frequency with hindustani music (most hindustani notations are still in 14-note system) but the carnatic textbooks and internet has moved onto to the 16-note one. I am saying this just to avoid confusion amongst beginners in carnatic music, because if they open their book and search for "Panthuvarali", they will find a different arohanam, avarohanam.

So, why all this fuss with two naming systems ?

Consider the first melakartha Ragam - Kanakangi (goto any ilaiyaraja fan and ask him/her for a "mogam ennum" song from sindhu bhairavi movie)

This raga has the first three semitones and then goes to ma.

Which means this is "Sa" "Ri" and again a "higher Ri" in the 14-note system? thats why we have hard time convincing the hindustani musicians that it is a melakartha ragam because it has two-Ris and No ga.

In Carnatic, its a total different notation - Sa Ri1 Ga1 ... for Kanakangi

If you are not familiar with this 16-note notation, ask Murthy for an essay on melakartha ragams, which I had written a couple of years back. If you want to reply to this email, feel free to get my ID from Murthy :-)

Nice to talk about music to somebody :-)
and a nice blog!
Just to remind you, I am not asking you to change over to the system, but try to mention that you are using the 14-note system.
Shankar

Harini said...

Thanks a lot for the comments! :) I didn't think too many ppl would read it so didn't thnk about mentioning the 14-note system. I know about the 16-note system and how its not accepted in hindustani and tamil carnatic music(according to B.Music syllabus). I am currently doing B.Music correspondence with madras university for fun. It rejects all the ragas with these swarams R3, G1, D3 and N1. It declares only 32 melakartha ragas as opposed to the actual 72. Its quite weird the way they differentiate tamil tradition and original tradition.
My hindustani sir was quite amused by the 3rd R and G when i tried explaining to him.Its a trait so unique to carnatic music.Even their jog( equivalent to out chala natai) actually is 2 G's there. They are so used to using 2 variants of the same swaram for their main ragas unlike us.

Shankar Narayan said...

Correction!
It should be twelve instead of 14.

Ri, Ga, Ma, Dha, Ni have 2 notes each and then Sa-Pa, which makes it 12.

dj_prashu said...

too technical :) ...
u know as usual i don know much abt the flow of notes...
rather than the notes the feel of the raga is totally amazing...
certain songs in bandurali take u to a new world ..
ninai charan adaindhen kannama is one typical song...
i wud luv to discuss with reference to chord progressions....
C Em is one typical raja prog...
fer bandurali suddenly the chinna dha comes and e minor mite become e major.. i know its a sappi matter... but it gives an amazing transition feel....

Abinav Kumar said...

elllaaam purunjuruthu..!!

Unknown said...

suga raagam sogam thaaneeeee.....!!
so am sure this raag moves everyone's heart. i love it btw.
there is one raja sir's comp called
"piraye piraye" from pithamagan.. i think not many wud ve heard that song.its one amazin comp.

and some other great comps include andhi mazhai , rojavai thaalattum thenral..

and harini its really a nice write up.

Unknown said...

Hi Harini,
I found your blog quite accidentally, but am I glad to have found it.
I too, like the listen more to the melancholy raagas. What I have found is that they actually make me enthusiastic and more zealous. And for that reason I find your analysis (about tension, equilibrium and calming of the mind) very interesting.
I wonder if you have given it more thought as you too like the same kind of raagas. Also it would be great if you (or your friend) have included such analysis of other raagas in your (or his) blogs. Would really love to hear about this from you

Thanks
Atul