query on raga Suha
Abhinav & Pradnya Jawadekar
Could anyone:
1) Explain the chalan of raga Suha
2) Are there any good recordings of this raga whch might be commercially
available.
I have also heard that Suha is similar in the purvanga to another raga,
Bhankar, the chalan
of which is also unknown to me. Could someone also briefly explain how
the two ragas
differ.
Thanks in advance,
Pradnya Jawadekar.
Rajan P. Parrikar
>
>Hi! All,
>
>Could anyone:
>
>1) Explain the chalan of raga Suha
Briefly:
It is a kAnaDA-anga rAga (hence it is sometimes referred to
as Suha Kanada). A few local variations exist around a central
core which is (M=shuddha madhyam):
n' S (M)g (M)g M, M (P)n P, M P n P S", (P)n P, (M)g (M)g M, (S)R S
uuu uuu--->denotes meenD
Points of note:
(a) The Andolan of the gandhAr with the kaN of madhyam and the
recurring (M)g M n P
uuu
(b) The nyAsa on the madhyam (its vAdi swara): the approach to M is
usually via the Andolita gandhAr. A straight descent on the madhyam
of the type S" n P M is to be avoided; the journey downward is
interrupted with a nyAsa in the pancham with (P)n P
uuu
(c) The kAnaDA elements are supplied via (M)g M (S)R, S and
the meenD-laden (P)n P
uuu
(d) The dhaivat is varjya throughout; the rishab in Aroha (although
occasional trangressions are observed).
>2) Are there any good recordings of this raga whch might be commercially
>available.
Yes, Bhimsen Joshi has popularised the well-known "tu hai Mohammad Shah
darbAr Nizamuddin sujAna, jo'i jo'i dhAve so'i phal pAve, sadAranga tero
hi guna gAve Nizamuddin sujAna" composition in druta ektAl. His treatment
is in most respects aligned with the points made above.
Mogubai Kurdikar has a short recording of a bandish in drut teentAla.
As I recall, the chAyA of sArang is more explicit in her treatment with
some phrases of the type: PnPnS"R"M"R"S"nPMRSRP followed by the
customary Suhaic (M)g (M)g.
I remember recordings by H.H. Mr Jasraj and by K.G. Ginde (very
good rendition this); I do not, however, retain details of either.
There are quite a few Amir Khan recordings of Suha; I haven't
yet heard any and I do not know of commercial releases.
>I have also heard that Suha is similar in the purvanga to another raga,
>Bhankar,
This rumour has no basis at all. Only someone of unsound mind and
glands in poor working condition could have supplied such piece
of misinformation. May I urge you to uproot this poisonous weed from
the soil of your mind at your earliest convenience.
Ragas allied with Suha are Nayaki Kanada and Sughrai. Occasionally
the congress between Suha and Sughrai gives us Suha-Sughrai. I do not
intend filing all these salacious details in public. Those with further
interest in the matter are directed to Mallikarjun's Nayaki Kanada (the
same bandish in roopak is also recorded by Mogubai and it is striking
that she takes in the komal dhaivat once (IIRC) whereas MM does not
(again, IIRC). Striking because the one thing JaipurwAllAhs excel at
is consistency in presentation), Sughrai and Suha-Sughrai.
> the chalan of which is also unknown to me.
Raga Bhankar was discussed some months ago and you are referred to
DejaNews archive. A search on "bhankar" should yield the desired result.
Warm regards,
r
Samir Bhattacharya
...
> Those with further
>interest in the matter are directed to Mallikarjun's Nayaki Kanada (the
>same bandish in roopak is also recorded by Mogubai and it is striking
^^^^^^^^^^^^^
"Mero piya rasiya" ? Is the Mogubai record available commercially?
I'll appreciate if someone can tell me where.
Also, I have heard "Mero Piya Rasiya" in Nayaki KanaDa by 3 artists:
MM, Shruti Sadolikar and Manik Bhide. The words in the "drut" portions
are different in the three renditions. How many bandishes are we
talking about here? Who composed the "mero piya rasiya" portion? Who
composed "piyaa nahiN paas", "piyaaka ghar chali na" and , .. I forget
the Manik Bhide drut.. something like "... bikaashe chNaad, chaaNdni
raat..." ?
Are there other recordings of "Mero Piya Rasiya"?
Thanks in advance,
Samir
Rajan P. Parrikar
s...@hogpa.att.com (Samir Bhattacharya) wrote:
Re: Nayaki Kanada
>"Mero piya rasiya" ? Is the Mogubai record available commercially?
>I'll appreciate if someone can tell me where.
The Mogubai tape is an HMV release. Yes, it is "mero piyA rasiyA."
>talking about here? Who composed the "mero piya rasiya" portion?
Don't know, but it is a composition with a long pedigree and
is also sung by the Agra fogeys, albeit in a different format.
r
Richard
The address is: http://www.aoe.vt.edu/~boppe/MUSIC/RAGA/hragn.html
Samir Bhattacharya
>Re: Nayaki Kanada
>
>>"Mero piya rasiya" ? Is the Mogubai record available commercially?
>>I'll appreciate if someone can tell me where.
>
>The Mogubai tape is an HMV release. Yes, it is "mero piyA rasiyA."
>
>>talking about here? Who composed the "mero piya rasiya" portion?
>
>Don't know, but it is a composition with a long pedigree and
>is also sung by the Agra fogeys, albeit in a different format.
Can you please share some details about the recordings by the Agra
folks?
Thank you,
Samir
>
>
>r
Rajan P. Parrikar
s...@hogpa.att.com (Samir Bhattacharya) writes:
>Rajan Parrikar wrote:
>>Don't know, but it is a composition with a long pedigree and
>>is also sung by the Agra fogeys, albeit in a different format.
>
>Can you please share some details about the recordings by the Agra
>folks?
Apropos of Nayaki Kanada and the Agra punters - the rAga has been
recorded by Khadim Hussein Khan, Latafat Hussein Khan, K.G. Ginde,
Dinkar Kaikini and perhaps also by the AftAb-e-mousiqui Faiyaz
Khan (his Suha rendition exists). I have none of these but have
heard the Ginde and Kaikini performances. IIRC they sang
Ratanjankar's compositions. Khadim Hussein Khan, Ratnakant
Ramnathkar etc had the "mero piyA rasiyA" composition in their
repertoire; it is in free circulation and often used in instruction
sessions. The mukhDA is as follows (drut teentAl, M=shuddha):
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
(M)g (M)g M
me........ro
(P)n - P - - - P(P)S" S" - - - P
pi......yA . . . ra..si..yA..................
<-meenD-> <------meenD------->
Note that although the Jaipur sam also lands on the komal nishAd
the approach is different. For a charming nATyageet in the rAga
listen to Jitendra Abhisheki's creation sung - no, molested -
by fellow goenkAr Ramdas-bab Kamat: "chandra havA..." What was
the nATak? Yayati-Devyani?
Warm regards,
r