ni and tivr ma - Shuddh Kalyan
Achyut Joshi
I've recently listened to a few different Shuddh Kalyan recordings, and
I've found that different singers handle the nishaad and tivr madhyam
differently. For example, vocalists like Bhimsen, Kishori, and Padma
Talwalkar barely pronounce these two notes (especially in the P-->G, S-->D
meends), while others like Pt. Rajan-Sajan Mishra articulate them quite
clearly, and even include them in their sargam taans.
Lots of questions...
Are there general trends across gharanas with respect to Shuddh Kalyan?
(Specifically, do the Benaras gharana folks traditionally pronounce these
notes more clearly than singers of other gharanas?) If so, have these
trends developed gradually through the course of the raag's life, or were
they established soon after it came into existence? In what other raags
do we hear such variation across gharanas?
Regards,
Achyut
Arnab
Achyut Joshi wrote:
> RMIC'ers,
>
> I've recently listened to a few different Shuddh Kalyan recordings, and
> I've found that different singers handle the nishaad and tivr madhyam
> differently. For example, vocalists like Bhimsen, Kishori, and Padma
> Talwalkar barely pronounce these two notes (especially in the P-->G, S-->D
> meends), while others like Pt. Rajan-Sajan Mishra articulate them quite
> clearly, and even include them in their sargam taans.
While this is a matter of taste, the name Shuddha KalyAn implies the presence
of tivra madhyam which is essential to "the second most basic kalyan after the
grand Raga Kalyan itself". Sans the Shuddha Nishad, it will be possible to
generate expressions that will be alien to the rupa of Shuddha KalyAn.
As far as AlApi is concerned, the approach employed by the above masters
is quite acceptable, for the shuddha nishad and tivra madhyam have to be felt
in the right places, but do not have to be articulated explicitly. That is
what
makes a sublime AlApi in this raga.
It is not a very good idea to do too much tAnakAri in Shuddha Kalyan, as its
vakra chalan makes it a "small" raga for constructing tAnas - precisely for
these
reasons that the tivra ma and shuddha ni should not be overly emphasised.
Note: Please observe the frequency of madhyam and nishad in the following
tAna sequence -
SGRR RPGG mDPP, DS'NR' S'(N)S'DP, P(m)DP(m)G, RGP(m)P, GRG(R)G RS.
[The swaras in parentheses denote the "kan swaras" touched by the rebounding
gamaks].
Anyhow, most of these madhyams and nishAds in the above tAna appear as "kan
swaras". I have not heard Rajan/Sajan Mishra sing Shuddha Kalyan in many
years.
In their 1994 performance for SPICMACAY IIT Bombay, they gave a reasonably
good rendition complete with all these traits mentioned above. Banditji
painted a
grotesque picture of the same raga in 1997 (also for SPICMACAY IITB) and
evoked a very Deshkar-like sentiment with varjita swaras m and N.
Among other grand ragas that we hear being interpreted differently by various
gharanas or performers include, but are not limited to Jaijaiwanti, BihAg,
KedAra,
Gaud MalhAr, and ChhAyA (just to name a few KalyAn and MalhAr and staples).
Most modern performers tend to add a ShankarA-like twist to Bihag, often
borrowing the staply Shankaric N D S' N -- (ND) P G and adapting it to Bihag.
While geniuses like Vilayat Khan are permitted such follies once in a while,
it hurts
to see every run of the mill dingdonger (I am of course, admittedly a member
of
this much-loathed community) attempt such things. Excessive use of tivra
madhyam
in Bihag is also a modern trend that transcends gharanic boundaries. A few
traditionally minded gharanas such as Jaipur, Gwalior and our Shahjahanpur
gharana
have retained the less tainted style of rendering Bihag. The Agrawales have
their
own peculiar approach to Bihag which is appealing in the hands of a good
singer.
Jaijaiwanti. This rich and juicy Malhar-ang raga has fallen prey to
unsolicited
mangling at the hands of the modern insignificant(s). Most MUSIC TODAY and
SPICMACAY renditions of this raga will allow you to think R G M P G M R g R S,
'N S 'D 'n (MG) R, and then fill up the remaining spaces with anything the
artiste
fancies. Some interesting phrases of the traditional Jaijaiwanti are notated
below.
Another important thing that comes to mind is that the use of komal gAndhAr in
this raga used to be far more subtle until Aftab-e-Mausiqi Ustad Faiyyaz Khan
added his own twist, causing every TDH to follow his way.
a. R G M n D P, M P D G M, R G M G R (g) R S, S 'D 'n M (G) R
b. R G M P N - N S', D n R' G' M' G' R' (g') R' S', n D P, D M P G M R, g R S,
S 'D n' R
c. P D M G M R G M P--->S', G M G R g R 'N R S 'n 'D 'P, 'M 'P 'N S, R 'n 'D
'P
ChhAya is mistreated by most of today's punters who venture to sing/play it,
the
reason for such irrevernce towards this grand, austere raga being the
popularity of
its cousin, ChhAyAnat. We have been taught that while Chhaya and Chhayanat do
differ in the former's varjanA of komal nishAd, and the latters use of it,
there are some
more subtle differences beyond this superficial one.
Chhayanat: R G M n - D P, P - P----> R, G M R S, 'D 'n 'P S
an equivalent ChhAyA movement:
R (M)G(M)G M R, ('N)S - R G M P, P(m)P - D---->R, S 'D ' P
S.
A major distinction may also be noted in the approach to the rishav in these
two
apparently similar rAgas.
I hope my humble effort in answering a few of Shri Joshi's questions will hit
home.
Warm regards,
A
PS: DISCLAIMER - THESE OPINIONS ARE VERY SUBJECTIVE AND BASED ON
PERSONAL TALEEM. ANALYSES OF OTHER PERFORMERS BASED ON WIDE
AND CONSTANT LISTENING. INSIGNIFICANT COWARDS LIKE "RAGA BASANT"
<ragab...@yahoo.com> WILL BE REPORTED TO INTERNET CRIME BUREAUS.
IF YOU EMAIL ME, PLEASE REVEAL YOUR NAMES - I AM NOT ASKING TOO MUCH.
naniwadekar
Arnab <ar...@hampshire.edu> wrote in message
news:3AA008AE...@hampshire.edu...
>
> Most modern performers tend to add a ShankarA-like twist to Bihag ...
> ... Excessive use of tivra > madhyam
> in Bihag is also a modern trend that transcends gharanic boundaries.
>
the harmonium player ran his fingers on the keyboard. His 4-5 notes
suggested Bihag to me, a raag I find terribly boring. But the artiste sang
Kedar instead. I thought I must have misread Bihag into the first 4 notes.
From Geeta Jawadekar's singing, it was impossible to determine what
on earth she was singing. Our muffled discussions never got to the point
of discussing what she was singing. Our debate over whether it can
at all be called singing was left inconclusive by chaai-samosa.
But lightening struck again soon later. Khurshid's outstanding Kedar song
'Panchhi baawaraa' (from Film Bhakt Surdas) begins with 4-5 notes which
sound very bihag-like to me. Next 4-5 notes announce Kedar in
clear terms. Rajan has posted the clip. First 4-5 notes are missing.
Does this make sense ?
In light of Arnab's post, do artistes use both madhyams in Bihag these
days in a kedar-like manner ? I am just speculating.
- nani
naniwadekar
>
Arnab :
I have heard of 2 thaaTs (kali-khamaj) and 2 ang_s (kafi-bageshri-ang
and khamaj or tilak-kamod ang) associated with Jaijaiwanti.
Does J also have malhar-ang ? Is it a third and new ang ? Or a combo
of the other 2 angs? Or is this ang very closely allied to one of the
other 2 angs ? Any commercially available examples of malhar-ang J ?
(Any private recordings of it ? We can take it up off-forum.)
- nani
Arnab
While there is no such thing as a thAt called Malhar, there is
definitely a number of ragas which, owing to certain inherent
expressions, can be classified within that group (of Malhars).
Theoretically, of course, Pandit VNB had to classify Jaijaiwanti in
either Khamaj or Kafi, for that is what his logic (based on tone
material) dictated.
It surprises me that someone would think of a "Tilak Kamod-ang
Jaijaiwanti". In terms of melodic texture, Jaijaiwanti has much more in
common with Des than with Tilak Kamod.
The Kafi and Khamaj classifications are valid, but expressionally, I
will argue, these is not quite consistent with the sentiment of the
raga. There is no such thing as "Malhar-ang J", for one can either
believe that all J is Malhar-ang or completely reject that theory.
All structural basis of basic Malhars seems to have been forgotten
today, for many musicians roam freely in the Kukuv Bilawal territory
while performing "Gaud Malhar". Jaijaiwanti and Sorath are about as far
as I am willing to extend the Malhar umbrella. If you assign "cultural
or behavioural properties" to ragas, you will see that Malhars range
from behaving like Sarangs to behaving like Kanada and Khamaj! So what
is a Malhar? It is essentially an abstract set of sentiments contained
within various applications of some phrases and expression within a
contextual framework. Illustrations via notation will come later, for I
am now heading to a party at Mt. Holyoke College! Have a nice weekend,
all!
Warm regards,
A
naniwadekar
Arnab <ar...@hampshire.edu> wrote -
>
> It surprises me that someone would think of a "Tilak Kamod-ang
> Jaijaiwanti". In terms of melodic texture, Jaijaiwanti has much more in
> common with Des than with Tilak Kamod.
>
It is only since very recently that I am occasionally able to distinguish
between Des and TilakKamod. When I wrote tk-ang Jaijaiwanti,
I was quoting from memory. Amend it to des-ang J then. My mistake.
Profuse apologies. etc etc.
> The Kafi and Khamaj classifications are valid, but expressionally, I
> will argue, these is not quite consistent with the sentiment of the
> raga. There is no such thing as "Malhar-ang J", for one can either
> believe that all J is Malhar-ang or completely reject that theory.
>
> All structural basis of basic Malhars seems to have been forgotten
> today, for many musicians roam freely in the Kukuv Bilawal territory
> while performing "Gaud Malhar". Jaijaiwanti and Sorath are about as far
> as I am willing to extend the Malhar umbrella.
>
Some people extend malhar umbrella to include des and kedar. I can see
the point. IIRC, kedar is also referred to as Jaldhar (liner notes of
Kumar's Geet Varsha cassettes is/are my source). Over our private
conversations, you had offered different view about Jaldhar. I forget
exact details.
But *I* can't see malhar umbrella covering Jaijaiwanti. That is why
I had asked for an example of malhar-ang Jaijaiwanti.
> If you assign "cultural
> or behavioural properties" to ragas, you will see that Malhars range
> from behaving like Sarangs to behaving like Kanada and Khamaj!
>
Malhars, Sarangs and Kanadaas surely are confoundedly and
confoundingly close.
- nani
vimal aga
>>
>Some people extend malhar umbrella to include des and kedar. I can see
>the point. IIRC, kedar is also referred to as Jaldhar (liner notes of
>Kumar's Geet Varsha cassettes is/are my source). Over our private
>conversations, you had offered different view about Jaldhar. I forget
>exact details.
>But *I* can't see malhar umbrella covering Jaijaiwanti. That is why
>I had asked for an example of malhar-ang Jaijaiwanti.
nani:
please use other sources too before posting stuff like this, and i do not
care what geet varsha says. kedar is NOT referred to as jaladhar; jaladhar
kedar is just one type of kedar, like maluha kedar or adambari kedar.
jaladhar kedar shares the same notes as durga (bilawal thaat) and shuddha
malhar, and the trick is to sing it while AVOIDING the malhar ang, not by
embracing it. sorry, just could not resist.
vimal.
naniwadekar
vimal aga <vm_...@hotmail.com> wrote -
>
> please use other sources too before posting stuff like this, and i do not
> care what geet varsha says. kedar is NOT referred to as jaladhar; jaladhar
> kedar is just one type of kedar, like maluha kedar or adambari kedar.
>
it is your problem.
If other sources are at odds with it, it can be discussed on RMIC, and
a pandit like Rajan can give his interpretation.
I didn't know when I wrote that post, and I still don't, whether the liner
notes for Geet Varsha had Kumar's sanction. A friend who had bought
the cassette-set told me over phone that they were written by Vandana
Malhotra, using Rahul Barpute's introduction to a book by Kumar.
IIRC the book in question is also titled 'Geet Varsha'.
The liner notes make the following three claims.
1. "Jaldhar Des is a blend of Jaldhar (Kedar) and Des."
2. Jaldhar Basanti has been made popular by Jaipur gharana; they
call it Basanti Kedar.
3. Kedar ... also referred to as Jaldhar ...
I have also heard on the grapevine that Kishori considers Kedar
to be a raag with Malhar-ang.
- nani
Arnab
Kedar, and is rarely heard. Vimal is quite right about its constituent tone
material, and also gives a good approximate of its chalan. To state that
Jaladhar and Kedar are interchangeable terms is a crime that should be punished
with the worst sentence law can afford.
I think I know Vandana Malhotra. She is a senior music critic with Hindustan
Times, and I do not know if she is the person making these statements or whether
she is acting on someone's instructions. Kumar G was quite a romantic and prone
to extending definitions beyond their territories, and his involvement, I am
sure, has something to do with the misinformation disseminated by Geet Varsha.
Jaladhar Des is a blend of Jaladhar Kedar and Des, and not of Kedar and Des. It
is a small raga of limited attractiveness.
Warm regards,
A
naniwadekar
Arnab <ar...@hampshire.edu> wrote -
> Many a time, I have tried explaining to Nani that Jaladhar Kedar is a
variant of
> Kedar, and is rarely heard.
>
something, and I am refusing to listen. What DID happen was that you
mentioned 'Jaldhar Kedar'. I askd whether kedar itself was not known as
Jaldhar. You said no. I had access to Geet Varsha liner notes when we
had this talk. I pulled them out and told you the claim made by the liner
notes that kedar is also referred to as Jaldhar. For me, end of story.
I noted your claim. And I also noted what the liner notes said. Because
I knew that kedar=jaldhar claim was disputed (by you), I made a mention
in my last post in this thread that it was a disputed claim. If that claim
had been made by Bhatkhande, I would have given it lot of weight.
- nani
> ... approximate of its chalan. To state that
> Jaladhar and Kedar are interchangeable terms is a crime that should be
punished
> with the worst sentence law can afford.
>
> A
>
Arnab
to the number of times I have tried to convince that 'Jaladhar' is not
interchangeable with 'Kedar'. Apologies for the misleading expression.
naniwadekar wrote:
I noted your claim. And I also noted what the liner notes said. Because
I knew that kedar=jaldhar claim was disputed (by you), I made a mention
in my last post in this thread that it was a disputed claim. If that claim
had been made by Bhatkhande, I would have given it lot of weight.
Bhatkhande as opposed to Kumar, or are we talking Pt. VNB vs. Arnab?
There is no disagreement between Pandit VNB's writing and myself as
far
as Jaladhar and Kedar are concerned. The Chatur Pandit mentions Jaladhar
as a prakAr of Kedar in his "tritiya pustak". But if
it is KG vs. VNB that is
in consideration, VNB is always far more accurate and academic.
As far as general stuff is concerned, I would be more at peace with
myself if
(and only if that is what you are doing) my humble opinions are not
compared
with the scholarly views of giants like Pandit Bhatkhande whose raga
reasoning
was far more sound then most of us (not saying that he did not make
'mistakes')
and of course, that of the modern ethnop*** {one has to love Rajan
for such
tasteful coinages}.
As for Kumarji, I feel uninhibited in dissecting his opinions only for
the lack of
an analytical component to his observations. Let us face reality here
- that great
genius was, after all, a puddle of idiosyncrasies.
Warm regards,
A
naniwadekar
Arnab <ar...@hampshire.edu> wrote -
>
> naniwadekar wrote:
>
> > I noted your claim. And I also noted what the liner notes said. Because
> > I knew that kedar=jaldhar claim was disputed (by you), I made a mention
> > in my last post in this thread that it was a disputed claim. If that
claim
> > had been made by Bhatkhande, I would have given it lot of weight.
>
> Bhatkhande as opposed to Kumar, or are we talking Pt. VNB vs. Arnab?
>
> There is no disagreement between Pandit VNB's writing and myself as far
> as Jaladhar and Kedar are concerned.
>
That makes your case very strong.
- nani