raag charukeshi
bhargav
it is a morning raaga and some say it is an evening raaga...what are
its vaadi/samvadi and pakkads?
thanks
bhargav
Rajan P. Parrikar
Quickly:
Raga Charukeshi is a relatively recent import into Hindustani
music from the Carnatic paramparA.
It is a janya of the 26th melakartA of the same name with
the following set (M=shuddha madhyam):
S R G M P d n
In the Hindustani adaptation no consensus prevails as regards
its svaroopa and lakshaNAs. But there are some common
currents. For instance, the dhaivat is distinguished in
ucchAraNa, the pancham is a nyAsa sthAna. The skipping of
pancham in Arohi sangatis lends a small Bhairav effect.
Then there are the familiar (to the Hindustani mind) features
such as Nat-like behaviour in the poorvAnga (a la Nat Bhairav),
chhAyAs of Jaunpuri and Darbari. Not everyone subscribes to
these uniformly. Some consider the madhyam to be the dominant
swara, other say it is the pancham. For purposes of discussion
it is, therefore, prudent to reach out to key renditions and
examine them for lakshaNAs.
We have here an especially fortunate set of clips where we shall
see how the rAga takes shape as the scale passes through the
creative filters of two great vAggeyakArAs and Amir Khan.
Amir Khan's manner of dhaivatic approach and attack stands
out. There is the R G M R S type of movement also heard in
Nat Bhairav; also the G M d, P. The n'SRSd' and d'n'R S Darbari
chhAyAs. Notice also the bright, mukta madhyam.
Amir Khan -
http://www.sawf.prohosting.com/rajan/amirkhan_charukeshi.ram
S.N. Ratanjankar's conception is strong on the pancham. The
advance is S (G)R G, M P. Another standout is SRGMPMGR.
The Darbaric n'SRSd' is heard clearly. Special
sanchAris - GMPdn, d, P and G M n d, P which reach out
to the komal nishAd and retreat - flavour the development.
K.G. Ginde delivers the bandish, set in Tilwada tAla: naiyyA
paRi majhdhAr -
http://www.sawf.prohosting.com/rajan/ginde_charukeshi.ram
Ramashreya Jha "Ramrang" has composed a whole suite in Charukeshi
and the two compositions adduced are masterpieces, the druta
especially.
Jha-sahab places a premium on the madhyam. There are Nat-like
phrases in the poorvAngA (SR RG GM), the Bhairavic G M d, P.
The pancham is skipped occasionally in avarohi sangatis as
well (d M). The dhaivat, pancham and madhyam are dominant.
The lyrics for his suite are adopted from the famous prasanga
of Shri Rama's encounter with the boatman in The Ramayana.
The vilambit places its sam on the mandra dhaivat (like Amir
Khan does). The composition is exquisite; every mAtrA of the
tAla and the swara are coupled: Raghuvira rAjA naiyyA nA
chaDhA'ooN -
http://www.sawf.prohosting.com/rajan/jha_charukeshi_vil.ram
The mukhDA of the druta cheez has a quirk that is commented
on by Jha-sahab in the clip. He demonstrates the intuitive
way of conceiving the mukhDA and then the way it actually is (off
by a beat). These compositions are magnificent and ought to be
adopted for wider performance by vocalists: hamari tumari Rajan -
http://www.sawf.prohosting.com/rajan/jha_charukeshi_drutaektala.ram
(Perhaps this shall be written up in more detail (hopefully with
better clarity) for Sawf, in the not-too-distant future, time and
weather permitting))
Warm regards,
r
Arun Sampath
"Rajan P. Parrikar" <parr...@yahoo.com> wrote in message
> Quickly:
>
> Raga Charukeshi is a relatively recent import into Hindustani
> music from the Carnatic paramparA.
>
> It is a janya of the 26th melakartA of the same name with
> the following set (M=shuddha madhyam):
>
> S R G M P d n
My confusion when I read the aarohanam/avarohanam of a raga in this
newsgroup is, why the clarification is provided only for the M (shuddha or
prati madhyamam) of the raga and not for R, G, D and N? Aren't there 2 Rs, 2
Ds, 3 Gs and 3 Ns in carnatic music?? Am I mising something here?
A
Lakshman Ragde
Hindustani music uses only two-komal and tivra for these four notes. Madhyama
is either shuddh or prati.
naniwadekar
Arun Sampath <as...@hotmail.com> wrote -
>
> My confusion when I read the aarohanam/avarohanam of a raga in this
> newsgroup is, why the clarification is provided only for the M (shuddha or
> prati madhyamam) of the raga and not for R, G, D and N? Aren't there
> 2 Rs, 2 Ds, 3 Gs and 3 Ns in carnatic music?? Am I mising something here?
>
I am dealing with Hindustani scene only.
Reason is simple.
For r-g-d-n, lower case is komal (lower freq).
This is a well-established convention.
For madhyam, the vikrit swaroop is not komal,
but a tivra (higher freq) variant. Hence the scope
for different interpretations..
If you stick to (lower case = lower freq) convention,
you get m = shuddha m. M = tivra m.
If you stick to upper case for shuddha swaroop,
M=shuddha m, m = tivra m.
Karnatak music also has the same set of 12 notes.
For detailed explanation, check sawf.org's music
page. (Kiranvali Vidyasankar's articles.)
- dn
ChristianAMR
https://www.youtube.com/watch?v=y8KihuIcmE0
----
Pritam Bhattacharjee
https://www.youtube.com/watch?v=_efMc0sSN7o