Carnatic raga details required
Vasudevan Vellambi
Hi,
Can some folks shed some light on the following?
1. I would like to get more information on the ArOhana and avarOhana
of the following rAgAs.
a. karnaranjani
"vAncha thOnu" by Harikeshanallur Mutthaiah Bhagavathar and a song
frequently sung by Sudha Raghunathan, "Om namO nArAyanA", are in
this
rAgA. This melodious rAgA is supposed to have been created by
Mutthaiah
Bhagavathar. This rAgA is supposed to be a janya of karaHarapriyA.
b. sUriyA
c. sallApam
Dr K J Yesudas has sung the Thirupugazh "Iyal isayil uchitha" by
Arunagirinathar in this rAgA in his CD that contains only
Thirupugazhs.
2. I would like to know the name of the rAgA whose ArOhana and avarOhana
are
S G2 M1 D1 N3 S, S N3 D1 M1 G2 S (ArOhana like kalyAna vasantham and
avarOhana the reverse of ArOhana - while in kalyAna vasantham, avarOhana
is the kIravANi scale S N3 D1 P M1 G2 R2 S).
Has this rAgA got any relation to either sUriyA or sallApam.
I have heard Sudha Raghunathan use this rAgA in rAgAmAlika svaras at the
end of her pallavis often.
3. I have heard "EkAmbrEshanAyikim" composed by Muthuswami Dhikshitar in
the
rAgA "karnAtaka sudhdha sAvEri". It has an ArOhana of S R1 M1 P D1 S and
avarOhana of S D1 P M1 R1 S and considered a janya of kanakAn'gi. I have
a recording of this song sung by D K Jayaraman.
Any comments of the rAgAs name or its ArOhana & avarOhana. I am planning
to add this information as-is to my rAgAs list that I am building.
4. Madurai T N Seshagopalan sang the rAgA varamu at Indian Fine Arts
Society
in December, 1996 (" . . . varamu arulvAi" was the song). It sounded
like
HindOlam except for the dhaivatham. Some in the audience said it is same
as sudhdha HindhOlam. I would like to know the ArOhana and avarOhana of
both varamu and sudhdha HindOlam.
Is suddha HindhOlam S G2 M1 D2 N2 S and S N2 D2 M1 G2 S or is the
dhaivatham different from both D1 and D2?
5. Dr K J Yesudas sang a song on Lord VinAyakA in srIkAntham, as the first
piece in his concert, at the Indian Fine Arts Society at Chennai, on
25th
December, 1996. He announced the name of the rAgA after the AlApana. Its
ArOhana and avarOhana are same as the 58th mElakarthA HEmavathi, except
the rishabha is varja in both. I could not figure out if there was any
vakra prayoga in this rAgA.
6. Shri U Srinivas has played Ilayaraja's compositions in one CD that I
have.
In that CD rukmAmbari and rAjalahari were two new rAgAs that I came
across
and they do not sound like any other rAgA in any of the books I have
come
across. They are very melodious too, proving ONCE AGAIN that Carnatic
music is an ocean, much of which is yet to be explored.
7. In one of her CDs, Sudha Raghunathan has sung Lalgudi Jayaraman's
Thillana
in the rAgA "rAgashrI" (or is it rAgEshrI). Can anyone give more details
about this rAgA along with its ArOhana and avarOhana?
Expecting some replies soon.
Thanks,
Vasu.
Email : vas...@gwi.net
Music page: http://www.gwi.net/~vasuvr/music.htm
Lavanya Krishnan
Hi,
Here's what I have to offer. Hope it's accurate..Input from others is
greatly appreciated.
karnaranjani is a janya rAgA of karaHarapriyA.
ArOhanam: Sa Ri Ga Ma Ga Pa Dha Sa
avarOhanam: Sa Ni Dha Pa Ma Ga Ri Sa
Notes: Sa, Chatusruti Ri, sAdhArana Ga, shuddha Ma, Chatusruti Dha, and
Kaishiki Ni.
The 'ni' is omitted in the ArOhanam because 'ga mA ga pA' is the rAga
chAya phrase.
The tune to 'Om namO nArAyanA' was set by Charumathi Ramachandran.
I haven't come across a rAgA named 'sUriyA'. 'sUryakosh' or
'sUryakauns' are the only related rAgAs that I have information on. It
would be helpful if you specified a composition in this rAgam.
rAgA varamu - There is another composition in this rAgam called
'thunai purindharul'. Ashok Ramani has sung this song. shuddha hinDolam
is another name given to varamu, so they are the same rAgam.
> Is suddha HindhOlam S G2 M1 D2 N2 S and S N2 D2 M1 G2 S?
Yes, it is. The chatusruthi dhA is used and this is what differentiates
this rAgam from hindOlam. Thyagaraja's composition 'ManasulOni' also
employs chatusruthi dhA.
Lalgudi Jayaraman's thillAna is in rAgEshri. It is a hindustani rAgA
which is usually sung in the evening/night.
The ArOhanam and avarOhanam are as follows:
ArOhanam: sA gA mA dhA nI sA
avarOhanam: sA nI dhA mA gA rI sA OR sA nI dhA nI dhA mA gA rI sA.
In Hindustani music, the notes used are tIvra rI, tIvra gA, kOmal mA,
tIvra dhA, kOmal nI(in the avarOhanam) and tIvra nI (in the ArOhanam
only). Correspondingly, in Carnatic music, the notes are chatusruti rI,
antara gA, shuddha mA, chatusruti dhA, and kaisiki nI (avarOhanam) and
kAkali nI (ArOhanam). If kaisiki nI is used in the ArOhanam, rAgeshri
will sound just like bAgeshri. But that's a whole different story by
itself.;)
tAtA,
Lavanya
Lavanya Krishnan
sUriyA is a hindustAni rAgA and although I am not sure about the ArOhana
or avarOhana, I think that Lalgudi Jayaraman's tune to Bharathiar's
Kaakai Chiraginile has a few phrases in sUriyA, as part of the
rAgamAlikA.
Lavanya
Vijay Ganesh Hariharan
Isn't sUriyA the rAgam 'discovered' by TV ShankaranArAyanan? I've even heard a
RTP sung by him in this rAgam, thanks to Dr. Pasupathy.
-Vijay
On Sat, 10 Jan 1998, Lavanya Krishnan wrote:
> Date: Sat, 10 Jan 1998 19:34:08 -0500
> From: Lavanya Krishnan <lavanya....@utoronto.ca>
> Newsgroups: rec.music.indian.classical
> Subject: Re: sUriyA
Vijay G Hariharan
vha...@umbc.edu
Geeta Iyer
>
>2. I would like to know the name of the rAgA whose ArOhana and avarOhana
>are
> S G2 M1 D1 N3 S, S N3 D1 M1 G2 S (ArOhana like kalyAna vasantham and
> avarOhana the reverse of ArOhana - while in kalyAna vasantham, avarOhana
> is the kIravANi scale S N3 D1 P M1 G2 R2 S).
> Has this rAgA got any relation to either sUriyA or sallApam.
> I have heard Sudha Raghunathan use this rAgA in rAgAmAlika svaras at the
> end of her pallavis often.
I think the raga is chandrakauns. (I haven't heard Sudha
Raghunathan's ragamalika referred to above).
K. Rajaraman
Sooryaa : S G3 M1 D1 N1 (reverse for avarohanam)
Ilayaraja has tuned a film song in this raga in the movie
Thaai moogambigai - "Isaiarasi ennaalum naane".
-Rajaraman
On Sat, 10 Jan 1998, Lavanya Krishnan wrote:
> sUriyA is a hindustAni rAgA and although I am not sure about the ArOhana
> or avarOhana, I think that Lalgudi Jayaraman's tune to Bharathiar's
> Kaakai Chiraginile has a few phrases in sUriyA, as part of the
> rAgamAlikA.
>
> Lavanya
>
>
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radh...@hotmail.com
Hi Here is my 2 cents worth of contribution. Most of these are
definitions taken from the book Palaiyazhi published by B.M. Sundaram ,
musicologist and disciple of M.Balamuralikrishna.
1-a. karnaranjani - S R G M G P D S / S N D P M G R S (janya of 22)
(Muthaiah Bhagavathar) 1-c. sallapam - S G M D N S / S N D M G S (janya
of 14 - Vakulabharanam) (Sangeetha Swara Prasthara Sagaram - M.Nadamuni
Pandithar). 2- S G2 M1 D1 N3 S / S N3 D1 M1 G2 S - Chandrakouns -
hindustani raga which is similar to Hindola except the nishadaha (N) is
kakali nishadha (Theevra nishadh) 3- . karnataka sudha saveri - could be
a janya of Mayamoulagowla also since the difference between kanakangi
&mayamoulagowla are the varjaya swaras in this raga. I also look at this
raga as malahari Minus Gandhara in the avarohana. 4- varam - If you
really go back, Semmangudi school of music including M.S. sing
'Manasuloni' in this raga (still called Hindolam) and G.N.B and M.L.V
sang the same in Hindola with sudha rishabham. There are other names for
this raga - Hindolagamini, Madhuradhwani (Saraswathi Mahal manuscript -
Tanjavoor). In fact I have composed a Saptaragamalika bearing the names
of 7 ragas in 7 stanzas where the second raga is Hindolagamini - it goes
like this - "Hemavathi Hindolagamini, Haribrahmadhi poojitha pavani"
(http://www.science.wayne.edu/~vhari/radha) 6 - rukmambari - I know a
raga spelled as rugmambari which probably is the same. S R G P N S / S N
P G R S and is a janya of melakartha 15 (mayamoulagowla) 7 - rageshri -
my most favorite raga and thillana - Lavanya has given a wonderful
description of this. I might add that the jeeva prayoga here seems like
r(sns) gm<rs>n<s> <gmrs>n<s> gmrs(ns) gm<rs>n<s> - the notation ( ) is
for low octave and < > for high octave. You have stated that carnatic
music is an ocean. Can we all take a synergic approach to data model the
ocean (may be some Oracle data base running in some server with a java
GUI interface and application to run a query with possibly an 'rau' file
to demo the raga) so that everybody can access and share information.
After all 90% of us here are software engineers and certainly have the
expertise to do this (nothing commercial). I know there is of course the
time constrains. Radha --------------------------------------------- In
article <01bd1d77$c600d920$2787f8cc@hrhsnicb>, "Vasudevan Vellambi"
<vas...@gwi.net> wrote:
>
> Hi,
>
> Can some folks shed some light on the following?
> Expecting some replies soon.
> Thanks,
> Vasu.
>
> Email : vas...@gwi.net
> Music page: http://www.gwi.net/~vasuvr/music.htm
-------------------==== Posted via Deja News ====-----------------------
http://www.dejanews.com/ Search, Read, Post to Usenet
Doddaballapur Jayasimha
>are
> S G2 M1 D1 N3 S, S N3 D1 M1 G2 S (ArOhana like kalyAna vasantham and
> avarOhana the reverse of ArOhana - while in kalyAna vasantham, avarOhana
> is the kIravANi scale S N3 D1 P M1 G2 R2 S).
> Has this rAgA got any relation to either sUriyA or sallApam.
> I have heard Sudha Raghunathan use this rAgA in rAgAmAlika svaras at the
> end of her pallavis often.
this is a Hindustani raga Chandrakauns. i have heard excellent renditions
of the raga by Hariprasad Chaurasia at the Sawai Gandharva festival in the
early 90s and an IIT Bombay Mood Indigo concert in 1988.
on the Carnatic side, i have heard a soulful rendering of Gopala Vittala's,
"Ena bEDali ninna baLigE bandu" sung in Chandrakauns by
Vidyavibhusana Thirtha, the former pontiff of the Subramanya Mutt.
the raga seems to have so much potential but remains relatively minor
(in Carnatic music).
jayasimha,
djay...@mipos2.intel.com
opinions mine, not Intel's
Balaji Raghavachari
Vasudevan Vellambi (vas...@gwi.net) wrote:
: 3. I have heard "EkAmbrEshanAyikim" composed by Muthuswami Dhikshitar in the
: rAgA "karnAtaka sudhdha sAvEri". It has an ArOhana of S R1 M1 P D1 S and
: avarOhana of S D1 P M1 R1 S and considered a janya of kanakAn'gi. I have
: a recording of this song sung by D K Jayaraman.
: Vasu.
I have a question about another pentatonic raga.
Does any one know the name of the following raga?
S R1 G3 P D2 S (avarOhaNam is same in reverse)
It is kind of between mOhanam and bhoopALam.
The song "amudE thamizhE" in the movie "Koil puraa"
(by iLayaraajaa) seems to be in this raga.
Thanks,
Balaji
Krishna Kunchithapadam
r...@utdallas.edu (Balaji Raghavachari) writes:
:
You are quite correct about the association between the scale and
the song "amude thamizhe". One of the names for this raga is
"rasika ranjani".
On a somewhat related note, there is more information about
penta-tonic scales in:
http://www.cs.wisc.edu/~krisna/rmic/rmic.1993.05.28.html
http://www.cs.wisc.edu/~krisna/rmic/rmic.1993.05.30.html
There you will find that "latAntapriya" is an alternative name
for "karnataka suddha saveri". During a Doordarshan Madras
concert many years ago, I have heard Vaigal Gnanaskandan sing the
above mentioned Dikshitar kriti in this raga using the name
"latAntapriya". I have also heard Dr.Rajam Iyer use the name
"karnAtaka suddha saveri" for the same kriti.
Reference books list both names.
--Krishna
kv...@hotmail.com
In article <69rdib$p...@spool.cs.wisc.edu>,
kri...@calico.cs.wisc.edu (Krishna Kunchithapadam) wrote:
>
> :
> : : 3. I have heard "EkAmbrEshanAyikim" composed by Muthuswami Dhikshitar in the
> : : rAgA "karnAtaka sudhdha sAvEri". It has an ArOhana of S R1 M1 P D1 S and
> : : avarOhana of S D1 P M1 R1 S and considered a janya of kanakAn'gi. I have
> : : a recording of this song sung by D K Jayaraman.
>
>
> for "karnataka suddha saveri". During a Doordarshan Madras
> concert many years ago, I have heard Vaigal Gnanaskandan sing the
> above mentioned Dikshitar kriti in this raga using the name
> "latAntapriya". I have also heard Dr.Rajam Iyer use the name
> "karnAtaka suddha saveri" for the same kriti.
>
> Reference books list both names.
>
> --Krishna
The prefix "KarnAtaka" is a recent addition. sAvEri had originally a
auduva structure ( S R1 M1 P D1 S ) during the age of Govinda Dikshita.
Over the years, when N3 and G3 started appearing in the rAga, the
original version was termed "s'uddha" sAvEri - to differentiate.
Muttuswami dikshita , following Venkatamakhi's school, has composed in
both rAgas sAvEri & s'uddha sAveri ( EkAmrEsha nAyikE)
However , in the history of sAvEri, earlier to Govinda dikshita, there
are references to take the svara's of sAranga nAta mELa ( corresponding
to present day shankarAbharana. So, composers like tyAgarAja connsidered
this as the original version of sAveri = s'uddha sAveri and composed
with this scale ( S R2 M1 P D2 S)
To distinguish between the two s'uddha sAvEri's , these days the prefix
"Karnataka" is being added to Dikshita's version, probably to show that
it has more consistency with the tradition. The rAga mudre in the kriti
in question is only "s'uddha sAvEri" We can see a similar example in the
name " karnAtaka DevagandhAri" being used as the name for the rAga of
Dikshita's kriti "panchAshatpIthA rUpiNi" , which has the rAga mudre as
'dEvagAndhAra" . I have read somewhere that this addition is a
development of 1930s or so.
I'm not sure if the reason for the name "karnAtaka behAg" - are also
similar. ( tyAgarAja's nEnendu vedakudurA is in supposedly in this
rAga. Some versions give the rAga of this kriti as harikAmboji. )
Ramaprasad K V
prave...@gmail.com
AVAROHANA: S N2 D1 M1 G3 S
pLZ PLZ PLZ REPLY.... The raga sounds amazing..... I am mad to this raga.... Plz reply.... it seems to be mix of hindolam and sallapam (soorya) ragas.... It is used in telgu movie pournami and in the song Bharataveda muga. And plz tell me that the raga I mentioned is "ragachudamini" a janya raga of 'ragavardhini" or not....