Swara Identification Exercises, Instrumental: Post Answers
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http://www.sendspace.com/file/c18ur9
OK folks!
Here is the super varnam of Suji in the stellar raga vasanthakokiladhvani.
I have written the Lyric for whatever has been composed so far:
Raga VasanthakOkiladhvani
MeLam 28:
Arohanam: s g3 p R2 S
Avarohanam: S p g3 r2 n2' s
P: Saami kAvAy aDimayai nOvathEn
pagaliravAka -a -a -u -unthanai paNinthE-E -n
AP: vA vA murugA kOla mayil mEl
thA thA mayal nIkkiDum aruL
Since it is difficult to do gamakams (I am not too good with pitch bends) Ihave taken very little comppromises. But svaras are as written by Suji. In my view this does not sound bad at all. Also singing is no problem but should wait for the completion of the 'oeuvre by the composer.
http://www.sendspace.com/file/c18ur9
comments please
( pardon me for the erotic piece; but that is the way varNams are supposed to be! Of course arasi would translate into 'chaste' english
OK folks!
Here is the super varnam of Suji in the stellar raga vasanthakokiladhvani.
I have written the Lyric for whatever has been composed so far:
Raga VasanthakOkiladhvani
MeLam 28:
Arohanam: s g3 p R2 S
Avarohanam: S p g3 r2 n2' s
P: Saami kAvAy aDimayai nOvathEn
pagaliravAka -a -a -u -unthanai paNinthE-E -n
AP: vA vA murugA kOla mayil mEl
thA thA mayal nIkkiDum aruL
Since it is difficult to do gamakams (I am not too good with pitch bends) Ihave taken very little comppromises. But svaras are as written by Suji. In my view this does not sound bad at all. Also singing is no problem but should wait for the completion of the 'oeuvre by the composer.
http://www.sendspace.com/file/c18ur9
comments please
( pardon me for the erotic piece; but that is the way varNams are supposed to be! Of course arasi would translate into 'chaste' english
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Thanks CML for fitting the varnam on flute. It does sound good. I was looking for the original sound of the cuckoo in the varnam and that is preserved-Im glad.
As to the lyrics I appreciate that.
But I would use very few words for the varnam otherwise it will sound like kriti.
I am polishing the rest of the varnam and it will be a while before I put it up here. Let me see if I can get creative with lyrics. It will be in colloquial telugu though.
As to the lyrics I appreciate that.
But I would use very few words for the varnam otherwise it will sound like kriti.
I am polishing the rest of the varnam and it will be a while before I put it up here. Let me see if I can get creative with lyrics. It will be in colloquial telugu though.
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Suji,
Just heard your varnam. It is fantastic. You caught on to the spirit of the rAgA. Of course, the author will have to say if this was what he had in mind. Other than that, you did a great job.
Once the final version of the rAgA is posted (VK, take your time to stamp it 'okayed'), and who knows, there may be several composers who get inspired to sing in it...
Just heard your varnam. It is fantastic. You caught on to the spirit of the rAgA. Of course, the author will have to say if this was what he had in mind. Other than that, you did a great job.
Once the final version of the rAgA is posted (VK, take your time to stamp it 'okayed'), and who knows, there may be several composers who get inspired to sing in it...
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Thanks Arasi,
I provided an audio on violin and notations in earlier post.
VK I have used the following for vasantakOkiladhwani
1. Janta prayogas for only S, G and P. And they can occur either in ascending or descending phrases.
2. No janta for N and R
3. dhIrga prayoga occurs for G, P and offcourse S.
4. A distinctive gamaka/nyasa for R and N.
5. GRNS, PRS, GPGP are used often and add beauty.
Check if this matches your thinking of this raga pattern.
Offcourse this is varnam so the tempo and swara constructions are different than for kriti
I provided an audio on violin and notations in earlier post.
VK I have used the following for vasantakOkiladhwani
1. Janta prayogas for only S, G and P. And they can occur either in ascending or descending phrases.
2. No janta for N and R
3. dhIrga prayoga occurs for G, P and offcourse S.
4. A distinctive gamaka/nyasa for R and N.
5. GRNS, PRS, GPGP are used often and add beauty.
Check if this matches your thinking of this raga pattern.
Offcourse this is varnam so the tempo and swara constructions are different than for kriti
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CML, nice job on the computer generated stuff and the attempts at multiple speeds.
Suji, all your ideas are consistent with what I am thinking ( 1, 5 and 3 ). And your idea on 4 ( R N ) works very well. So please go ahead. I am not sure if you intended to post another link or not. In any case, we will wait. Thanks.
Suji, all your ideas are consistent with what I am thinking ( 1, 5 and 3 ). And your idea on 4 ( R N ) works very well. So please go ahead. I am not sure if you intended to post another link or not. In any case, we will wait. Thanks.
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cmlover - pl. try again. You are not applying the procedure correctly. Can the rules I mention allow you to descend from ga for nATTai (as in m-g-r-s, as well as m-r-g-s)? That would require ga to be in avarohanam would it not? ga is not in the avarohanam for nATTai. So 1st and 2nd are disallowed. Third which is s-r-g-m-r-s is allowed (pl. apply procedure if you want and confirm).cmlover wrote:Arun
All the three phrases are kosher in NaaTTai according to your rule1 But then I believe belive naaTTai requires mrs and mgrs is not allowed for whatever reason!
Arun
Last edited by arunk on 05 Nov 2007, 05:26, edited 1 time in total.
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suji,
your varnam sounds nice! Although with mandra gandaram, it will be a fairly stiff challenge amateur vocalists to pull it off in their usual singing sruthi I liked the gamaka on the nishada
Arun
your varnam sounds nice! Although with mandra gandaram, it will be a fairly stiff challenge amateur vocalists to pull it off in their usual singing sruthi I liked the gamaka on the nishada
Arun
Last edited by arunk on 05 Nov 2007, 05:30, edited 1 time in total.
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So, Arun, is this rule/algorithm something you hit upon yourself or this is documented in books? Very clearly formulated method, by the way. Good job.
In fact, I am wondering if many of the complex aro/ava of some ragas are really not necessary except notating them as characteristic prayogas if they can be derived with your rule without vakram. I understand vakaram within an octave can not be done away with but some of the vakra definitions may be superflous.
In fact, I am wondering if many of the complex aro/ava of some ragas are really not necessary except notating them as characteristic prayogas if they can be derived with your rule without vakram. I understand vakaram within an octave can not be done away with but some of the vakra definitions may be superflous.
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Thanksarunk wrote:suji,
your varnam sounds nice! Although with mandra gandaram, it will be a fairly stiff challenge amateur vocalists to pull it off in their usual singing sruthi I liked the gamaka on the nishada
Arun
ah! I thought so someone is going to point that out. One can go until mandara M in abhogi- just a little lower and you are there.
I changed the Sruti of my recording to 5 and I did OK singing mandara G. I'm not sure of male voice. Is it difficult?
Last edited by Suji Ram on 05 Nov 2007, 08:58, edited 1 time in total.
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Thanks VK,vasanthakokilam wrote:CML, nice job on the computer generated stuff and the attempts at multiple speeds.
Suji, all your ideas are consistent with what I am thinking ( 1, 5 and 3 ). And your idea on 4 ( R N ) works very well. So please go ahead. I am not sure if you intended to post another link or not. In any case, we will wait. Thanks.
With just 5 swaras and constraints on usage we can get so much done!
I just need time to get it finished..
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No problem. Take your time. Thanks.I just need time to get it finished..
I just tried the mandra sthayi prayogams. It is relatively easy on the flute to go down to g' and it sounds quite nice.
On the jantai prayogas and gamakas, I wish I can match to the level you have played, a lot of polish needed on my side to get there.
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suji -
I was mainly talking about every-day people i.e. average amateurs. And all of the below also applies mainly to them.
(Although this is my guess) From what I have observed, in general males do better in mandra stayi. The bass nature of the average male voice allows for more "volume" (thickness/weight) there compared to females.
A range of m1' (mandra suddha-madyama) to (tara panchama) is required and mostly handle most ragas. Again a guess - but I think a overwhelming % (i would say in high 90s) of varnams and krithis would be confined to this range. For example, if you have a valaji varnam, would it go to D2? That is pretty high.
Again among amateurs, a range of m1' to P for the same sruthi and where they can hit them clearly is not necessarily a trivial thing. I am not saying that it is rare of course - just that it is not child's play, not a given for everyone. Say one has to sing abhOgi varnam followed by hamsadhwani varnam (or kAmbhOji gItam) ...
Arun
I was mainly talking about every-day people i.e. average amateurs. And all of the below also applies mainly to them.
(Although this is my guess) From what I have observed, in general males do better in mandra stayi. The bass nature of the average male voice allows for more "volume" (thickness/weight) there compared to females.
A range of m1' (mandra suddha-madyama) to (tara panchama) is required and mostly handle most ragas. Again a guess - but I think a overwhelming % (i would say in high 90s) of varnams and krithis would be confined to this range. For example, if you have a valaji varnam, would it go to D2? That is pretty high.
Again among amateurs, a range of m1' to P for the same sruthi and where they can hit them clearly is not necessarily a trivial thing. I am not saying that it is rare of course - just that it is not child's play, not a given for everyone. Say one has to sing abhOgi varnam followed by hamsadhwani varnam (or kAmbhOji gItam) ...
Arun
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I don't know if it is documented - and I would expect to be. I think this is one of those basic principles which is strangely not highlighted enough for us average rasikas. I figured this myself - atleast this is how I eventually understood things. The trouble is when someone is asked "how does that raga go"? The response is to sing the arohana and avarohana. Of course the raga contour for most ragas is indeed there in that. The fact that cm melodies do follow the order a lot of the time results in us being able to get a familiar "snippet" of the raga from the aro/avaro. But then to the layman, I think this sort of reinforces the simplistic (and incorrect) notion that the aro/avaro does indeed determine the order. We think it must be s-r-m in sAveri, and it must be p-d-S in kAmboji. And we do hear s-r-m and p-d-S a lot in those ragas! But soon then hear d-n-d, p-d-n-d, m-p-d-n-d, in kAmbhOji and scratch our heads . We probably then conclude "ha! tough ragas dont always follow scale - this must be a special exception for kAmbhOji"!vasanthakokilam wrote:So, Arun, is this rule/algorithm something you hit upon yourself or this is documented in books? Very clearly formulated method, by the way. Good job.
I should also say the above rule(s) I mentioned should be applied only to confirm why something is allowed. I think raga laksya may rule out things which are allowed by this. For example, arbitrary jumping/skipping may seem right as-per aro/avaro, but raga mood/colour may disallow it (like what Uday mentioned earlier). Of course there are also many ragas, whose aro/avaro cannot be properly defined. And so they will allow stuff which the "approx aro/avaro" may disallow.
I think this is not always the case. The trouble with these ragas may be that you may only be able to define a aro/avaro that either allows more than what the raga allows, or allows less than what the raga allows. These ragas may have "complex" restrictions than a simple one like "you can only descend from ga". For example, they may allow p-d, p-d-n but not m-p-d or p-d-n-S.In fact, I am wondering if many of the complex aro/ava of some ragas are really not necessary except notating them as characteristic prayogas if they can be derived with your rule without vakram. I understand vakaram within an octave can not be done away with but some of the vakra definitions may be superflous.
But yes - since SINGING aro/avaro is expected to provide a "synopis of the raga" - one is forced to include characteristic prayogas. But if such a raga, has also has complex restrictions, you are sort of between a rock and a hard place. You end up with allowing too much or allowing too litttle.
It would be an interesting exercise to take some "complex" ragas and dissect them. But then we have to know for sure what is allowed and not and we are just dabblers and babblers
Arun
Last edited by arunk on 05 Nov 2007, 21:09, edited 1 time in total.
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Thanks Arun!
That is a well written piece good enough to be published in a musical Journal. I remember once tangling with Uday on this issue and he tried his level bes to make me understand. Now with your pithy rule it becomes quite clear. Not that I will not make mistakes applying it
Raga lakShaNa is a very elusive phenomenon which can be 'felt/learned' but not clearly explained. It is like the intonation of the veedic mantras wherein no amount of rules can capture the spirit of the recitations.
Could you Arun also simplify and explain the sancharas in vakra ragas? Can the vakrahood be violated in svarakalpana if it preserves raga lakshana?
That is a well written piece good enough to be published in a musical Journal. I remember once tangling with Uday on this issue and he tried his level bes to make me understand. Now with your pithy rule it becomes quite clear. Not that I will not make mistakes applying it
Raga lakShaNa is a very elusive phenomenon which can be 'felt/learned' but not clearly explained. It is like the intonation of the veedic mantras wherein no amount of rules can capture the spirit of the recitations.
Could you Arun also simplify and explain the sancharas in vakra ragas? Can the vakrahood be violated in svarakalpana if it preserves raga lakshana?
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Thanks cmlover,
From any swara, you can ascend if it is arohana.
From any swara, you can descend if it is arohana.
i.e. both as arohana . Luckily I had explanations which hopefully pointed otherwise. But this may have caused you to incorrectly apply for nATTai. Anyway I fixed it now in that old post
I will look into vakra. I am not 100% but I think the rules there may be not as uniform. In some ragas vakra patterns are truly vakra (e.g SrIraga), and in others they just may indicate highlight a special prayoga which happens to be vakra - not sure though.
Arun
Dont feel bad. I cannot even state the rules without making a mistake. Just now, I realized I had originally stated it as:cmlover wrote:Not that I will not make mistakes applying it
From any swara, you can ascend if it is arohana.
From any swara, you can descend if it is arohana.
i.e. both as arohana . Luckily I had explanations which hopefully pointed otherwise. But this may have caused you to incorrectly apply for nATTai. Anyway I fixed it now in that old post
I will look into vakra. I am not 100% but I think the rules there may be not as uniform. In some ragas vakra patterns are truly vakra (e.g SrIraga), and in others they just may indicate highlight a special prayoga which happens to be vakra - not sure though.
Arun
Last edited by arunk on 06 Nov 2007, 21:00, edited 1 time in total.
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Are you missing an "in" in your statement?From any swara, you can descend if it is in arohana.
rule or no rule-
I think there is something inherent in a melody that does not permit you to sing against the rules you mentioned.
Now that I am finishing the varnam it is hard to do a wrong move, the melody dictates you how you proceed up and down.
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To highlight the latter, take darbAr. The commonly provided aro/avaro is:arunk wrote:In some ragas vakra patterns are truly vakra (e.g SrIraga), and in others they just may indicate highlight a special prayoga which happens to be vakra - not sure though.
s r2 m1 p d2 n2 S
S n2 d2 p m1 r2 g2 g2 r2 s
Note that vakra in avarohana as well as jhaNTa ga. What does this mean? That one MUST go down vakra as in m-r-g when descending TO ga from above? Also one MUST use jhaNTa when descending from ga like ga-ga-r-s? Well actually neither , although both are common.
1. m-r-g vakra is indeed common.
2. m-r-g-g-r-s i.e r-g-g from above is also indeed common.
Both have a strong darbAr stamp, particularly the second one. However, the varnam has m-g~-r-s (e.g. in pallavi, also in last cittaswara d , n S R S n~ ; d d p m d p m g~ ; r r s). Also you also have n-G-R-S (not that that this is not necessarily allowed by above).
So darbAr scale wise could have been S-n-d-p-m-g-r-s but m-g-r is not as common as vakra (and jhanTa in vakra). It is not rare but the vakra is essential for darbAr. So a simple scalar structure like S-n-d-p-m-g-r-s would be misleading that it does not convey in that the vakra (with jhaNTa on ga) is mandatory in a synopsis of darbAr.
But a vakra scale may be misleading too as it does not readily convey that m-g-r is also allowed. Note if we propose that since the vakra pattern is m-r-g-g-r, and thus m-g-r is a subset and thus implied, then we will have trouble with SrIraga which has the same pattern, but (i think) will have none of this m-g-r business (will then simply swallow maNIrangu into it ).
So what is the ideal representation for such ragas? And darbAr is perhaps not even the most complex of ragas
Arun
Last edited by arunk on 07 Nov 2007, 08:16, edited 1 time in total.
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doesn't g-r-n'-s appear in avarOhana? So descending from ri is allowed. For example, in darbAr and SrIraga, you can have n-G-R. They do not mandate n-R-G-R i.e. with vakra. So here, s-r-n'-s can be allowed in the same vein. s-r-s => probably not (?). But then like I implied, vakra in the aro/avaro simply is whatever the raga melody dictates . If raga mood is retained, I say why not?
Arun
Arun
Last edited by arunk on 07 Nov 2007, 08:17, edited 1 time in total.
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Arun
That Darbar discussion is helpful. But the rules are not etched in stone. Judicious use of violations should be tolerable as long as the raga svaroopa is not destroyed. The janta is vital for darbar and hence should be preserved wherever possible. While gg,rs is builtin the avraohanam nn,dp which is equally common is not builtin. Also there is no consistency in the definitions though you have used SRJ there are others which do not include the jantai and hence permit mrgs and even mgrs ignoring vakrahood!
That Darbar discussion is helpful. But the rules are not etched in stone. Judicious use of violations should be tolerable as long as the raga svaroopa is not destroyed. The janta is vital for darbar and hence should be preserved wherever possible. While gg,rs is builtin the avraohanam nn,dp which is equally common is not builtin. Also there is no consistency in the definitions though you have used SRJ there are others which do not include the jantai and hence permit mrgs and even mgrs ignoring vakrahood!
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My personal preference would be not to overload the Aro/Ava with prayoga specific sequences and leave them to the listing of characteristic phrases. But then most people have gotten used to looking up only the Aro/Ava for the definition of the raga which is hopelessly incomplete.
If we simplify the Aro/Ava to its bare essentials, then many ragas might have the same Aro/Ava. People will then start considering them Allied ragas when the raga personality itself can be so different. That I guess is the danger of simplfying the Aro/Ava to its bare essentials.
I guess we have to reformulate the Aro/Ava as a plain old Set and not as an Ordered Sequence for non-vakra ragas, borrowing a computer science/math metaphor. Stictly speaking from set-theoretic point of view, a vanilla Set does not allow duplicates and it does not imply an order to its members. If you want to take it to the extreme, atleast for non-vakra ragas, the Set just contains the swaras allowed in a raga and each swara having a property whether it is Aro only, Ava Only or both. Then we can apply Arun's State Transition Algorithm (ASTA) to verify if a particular sequence is derivable from that Set.
If we simplify the Aro/Ava to its bare essentials, then many ragas might have the same Aro/Ava. People will then start considering them Allied ragas when the raga personality itself can be so different. That I guess is the danger of simplfying the Aro/Ava to its bare essentials.
I guess we have to reformulate the Aro/Ava as a plain old Set and not as an Ordered Sequence for non-vakra ragas, borrowing a computer science/math metaphor. Stictly speaking from set-theoretic point of view, a vanilla Set does not allow duplicates and it does not imply an order to its members. If you want to take it to the extreme, atleast for non-vakra ragas, the Set just contains the swaras allowed in a raga and each swara having a property whether it is Aro only, Ava Only or both. Then we can apply Arun's State Transition Algorithm (ASTA) to verify if a particular sequence is derivable from that Set.
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Then perhaps somewhat like the MD paddhaati just list the notes that go into the raga (somewhat like the asampurna approach) and liist the characteristic phrases (not too many) and formulate rules of concordant use of the notes to embed the phrases in which will leave room for enough innovations and improvisations. That will kill the edifice of the melakartha approach and will it still be CM. Somewhat I think yes since most of us recognize ragas only through oft-used phrases. Shall we try with VKdhvani. We need to simplify the raga as it is since it cannot be sung vocally with voice ranges like mine!
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Yes these simply point to the fact that for many ragas, aro/avaro neither fits as a concise formula to determine order nor as an accurate synopsis. It also points to the fact that ragas are not scalescmlover wrote:Arun
That Darbar discussion is helpful. But the rules are not etched in stone. Judicious use of violations should be tolerable as long as the raga svaroopa is not destroyed. The janta is vital for darbar and hence should be preserved wherever possible. While gg,rs is builtin the avraohanam nn,dp which is equally common is not builtin. Also there is no consistency in the definitions though you have used SRJ there are others which do not include the jantai and hence permit mrgs and even mgrs ignoring vakrahood!
Arun
Last edited by arunk on 07 Nov 2007, 02:59, edited 1 time in total.
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I am not sure this would for work complex ragas - which require order, and disallow certain combinations.vasanthakokilam wrote:My personal preference would be not to overload the Aro/Ava with prayoga specific sequences and leave them to the listing of characteristic phrases. But then most people have gotten used to looking up only the Aro/Ava for the definition of the raga which is hopelessly incomplete.
If we simplify the Aro/Ava to its bare essentials, then many ragas might have the same Aro/Ava. People will then start considering them Allied ragas when the raga personality itself can be so different. That I guess is the danger of simplfying the Aro/Ava to its bare essentials.
I guess we have to reformulate the Aro/Ava as a plain old Set and not as an Ordered Sequence for non-vakra ragas, borrowing a computer science/math metaphor. Stictly speaking from set-theoretic point of view, a vanilla Set does not allow duplicates and it does not imply an order to its members. If you want to take it to the extreme, atleast for non-vakra ragas, the Set just contains the swaras allowed in a raga and each swara having a property whether it is Aro only, Ava Only or both. Then we can apply Arun's State Transition Algorithm (ASTA) to verify if a particular sequence is derivable from that Set.
For example take nATAkurinji, you can do n-p-d-n-s. And can do g-m-p-g-r-s but will not allow m-p-d or d-p-m. In other words if you approach pa from uttaranga, you cannot cross over to pUrvanga and vice versa.
One theoretical possibility is:
1. List swaras in aro, avaro. This indicates swaras from which you can descend/ascend - but subject to additional rules
2. List specific transitions that are disallowed.
3. List characteristic phrases.
4. A predefined short swara passage that captures the essence of raga and includes most important characteristic phrases. This then substitutes for singing aro/avaro.
For scalar ragas, #2 would be absent. Also #3 may be absent.
Arun
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CML, that will not be the implication. The sampUrna melakartha scheme would just be represented by 72 unique sets. Each set will consist of 7 swaras. Each swara will be mared as BOTH. With asampoorna case, some swaras will be marked as BOTH, Some as ARO-ONLY and some as AVA-ONLY.That will kill the edifice of the melakartha approach
But the problem Arun pointed out exists. So even considering only non-vakra cases, we still have to specify the disallowed sequences or be quite exhaustive in allowed sequences with the implication that those that are not specified would not normally be part of the raga characteristics ( even though one can justify them with the ASTA ).
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Folks,
Happy dIpAvaLi to all !!
On this occasion I would like to release my first varnam composed in rAga vasantakOkiLadhwaNi in Adi tALa.
S G3 P R2 S'
S' P G R N`2 S
http://www.sendspace.com/file/kh8rho
It turned out to be more an "Overture".
Please give your feed back.
Consider this varnam as "work in progress"
There is no lyrics yet- So it is a "dIpAvaLi swarAkshara"
Pallavi:
G , R~, |N`~, S , |R N` S G |R~, N` S|
S S G R |N` S S P`|G` P`P`G|P` P` R S|
G G P P |G R N` S |G P G G |R N` S ,|
P G R N`|S , G P|G G P G |P- R’ S’ ,|
Anupallavi
G , G , |P G G R| N` S S G|S G G P|
G P P G |P R’S’S’|G’ R’ N~,|S’ , , , |
G P G P|G R N S|G G P G|P- R’S’S’|
G’R’N S’|G’R’N~,|S’,- P G|R N`~ S,|
Mukthayi swaram
G , R N |S G R~,| N` S G R|N`~, S P`|
P`G`G`P`|R , S S| G R N`~ |S , , ,|
S G G P|P R’ S’ S’|G’, R’ N|S’G’R’,|
N~, S’G’|R’ N S’,|S’ P P G|R N` S,|
Charanam
S’, , , | P , , , | G P P G |G R N~`,| (edited)
S , , , | G P G P| P R’ S’ ,|G’ R’ N~,|
(1)
S’, , P | , , -G , |, RN~,|S , , ,|
R~, N~,| , S , ,-| G , , P| , , P R’|
(2)
G, P G |G R N` S |G , P G| R N `S,|
G, P G |P G R N`|S , GP| P R’ S’, |
(3)
P, G P | G , R N` |S, G P | G G R N`|
S, G P |G P R’, |S’ , –P| G, P’ R’ |
(4)
S’ , , , | S’ P P G|G R N`~,|S , , ,|
N~ , S G|S , G P|G , P G|P, R’ S’|
G’ R’ N S’|G’ R’ N S’|S’, P G|R N` S G|
R N` S , |N`S S G|S G G P|G P P R’|
http://www.sendspace.com/file/kh8rho
recording is not that great. I need more practice!
Happy dIpAvaLi to all !!
On this occasion I would like to release my first varnam composed in rAga vasantakOkiLadhwaNi in Adi tALa.
S G3 P R2 S'
S' P G R N`2 S
http://www.sendspace.com/file/kh8rho
It turned out to be more an "Overture".
Please give your feed back.
Consider this varnam as "work in progress"
There is no lyrics yet- So it is a "dIpAvaLi swarAkshara"
Pallavi:
G , R~, |N`~, S , |R N` S G |R~, N` S|
S S G R |N` S S P`|G` P`P`G|P` P` R S|
G G P P |G R N` S |G P G G |R N` S ,|
P G R N`|S , G P|G G P G |P- R’ S’ ,|
Anupallavi
G , G , |P G G R| N` S S G|S G G P|
G P P G |P R’S’S’|G’ R’ N~,|S’ , , , |
G P G P|G R N S|G G P G|P- R’S’S’|
G’R’N S’|G’R’N~,|S’,- P G|R N`~ S,|
Mukthayi swaram
G , R N |S G R~,| N` S G R|N`~, S P`|
P`G`G`P`|R , S S| G R N`~ |S , , ,|
S G G P|P R’ S’ S’|G’, R’ N|S’G’R’,|
N~, S’G’|R’ N S’,|S’ P P G|R N` S,|
Charanam
S’, , , | P , , , | G P P G |G R N~`,| (edited)
S , , , | G P G P| P R’ S’ ,|G’ R’ N~,|
(1)
S’, , P | , , -G , |, RN~,|S , , ,|
R~, N~,| , S , ,-| G , , P| , , P R’|
(2)
G, P G |G R N` S |G , P G| R N `S,|
G, P G |P G R N`|S , GP| P R’ S’, |
(3)
P, G P | G , R N` |S, G P | G G R N`|
S, G P |G P R’, |S’ , –P| G, P’ R’ |
(4)
S’ , , , | S’ P P G|G R N`~,|S , , ,|
N~ , S G|S , G P|G , P G|P, R’ S’|
G’ R’ N S’|G’ R’ N S’|S’, P G|R N` S G|
R N` S , |N`S S G|S G G P|G P P R’|
http://www.sendspace.com/file/kh8rho
recording is not that great. I need more practice!
Last edited by Suji Ram on 02 Dec 2007, 02:07, edited 1 time in total.
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Thanks VK,
I'm really thrilled how it turned out.
The 4 th charana was difficult. I was running out of ideas and thought I would have only three. But I did not give up. It just came to me while I was commuting on bus. I couldn't wait to come home and try that. The GRNS GRNS SP GRNS GRN~S effect turned out to be like the ending parts of Mozart's overtures.
The mukthayi was also the last I complete. I had the first 2 lines done and did not know what to do next.
If there are any suggestions I'll incorporate.
I'm really thrilled how it turned out.
The 4 th charana was difficult. I was running out of ideas and thought I would have only three. But I did not give up. It just came to me while I was commuting on bus. I couldn't wait to come home and try that. The GRNS GRNS SP GRNS GRN~S effect turned out to be like the ending parts of Mozart's overtures.
The mukthayi was also the last I complete. I had the first 2 lines done and did not know what to do next.
If there are any suggestions I'll incorporate.
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- Joined: 22 Jun 2006, 09:30
Suji,
Just heard your Deepavali release (as with films!) of vasanthakOkila dhvani which transcends seasons. You really bring out the bhAvA of the rAgA. VK's creation has that appealing quality which you have brought about very well in the varNam mode.
VK,
The more we hear it, the more it sounds like a full fledged rAgA. It does not seem as if it is suitable just for movie music. There is a certain seriousness about it as well...
Just heard your Deepavali release (as with films!) of vasanthakOkila dhvani which transcends seasons. You really bring out the bhAvA of the rAgA. VK's creation has that appealing quality which you have brought about very well in the varNam mode.
VK,
The more we hear it, the more it sounds like a full fledged rAgA. It does not seem as if it is suitable just for movie music. There is a certain seriousness about it as well...
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Thank you Suji! That is a dIpAvali sweet that will not upset my health
It has come out nice and does give a new flavor to the rga distinct from others. I saw some hitches in your playing more due to the fact that you also have to learn it yourself to play!
The melody and the gamakams are clean and haunting. Congratulations.
Now I should hear it a few more times to internalize the raga!
It has come out nice and does give a new flavor to the rga distinct from others. I saw some hitches in your playing more due to the fact that you also have to learn it yourself to play!
The melody and the gamakams are clean and haunting. Congratulations.
Now I should hear it a few more times to internalize the raga!
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Thank you Arasi, CML. VK,
I thought I should explain a bit in constructing this varnam.
Pallavi: It starts with descending a phrase and stays in madya to mandra stayi throughout. I made sure I do not climb too quickly, so kept descending after few climbs until the last phrase PR'S'
Anupallavi: I started building phrases in ascending order staying in madya and reaching tara stayi towards the end.
Mukhyai: Started off slow . If you notice the same phrase G, RN` S G R, at the beginning in madya stayi sounds so different when I used in the third line again but in tara stayi.
Caranam: I introduced a unique ending G'R'N -staying at N - because when you repeat it will get back to S.
All cittaswaras end in R' (exceptone) so they get back to S' in caranam
The first cittaswara is nothing but avarOhana and arohana
The second starts with G
The third with P and
last one with S'.
CML,
The sahitya has to come to me. I cannot just put random words. Though ninnu kori, calamelara, nannu palimpa will all fit.
I am having a unique idea for this varnam. Lets see how that will work out. But someone has to volunteer to sing it.
This will take more time-I probably will get it done in my long trip to India.
So that's it for now
I thought I should explain a bit in constructing this varnam.
Pallavi: It starts with descending a phrase and stays in madya to mandra stayi throughout. I made sure I do not climb too quickly, so kept descending after few climbs until the last phrase PR'S'
Anupallavi: I started building phrases in ascending order staying in madya and reaching tara stayi towards the end.
Mukhyai: Started off slow . If you notice the same phrase G, RN` S G R, at the beginning in madya stayi sounds so different when I used in the third line again but in tara stayi.
Caranam: I introduced a unique ending G'R'N -staying at N - because when you repeat it will get back to S.
All cittaswaras end in R' (exceptone) so they get back to S' in caranam
The first cittaswara is nothing but avarOhana and arohana
The second starts with G
The third with P and
last one with S'.
CML,
The sahitya has to come to me. I cannot just put random words. Though ninnu kori, calamelara, nannu palimpa will all fit.
I am having a unique idea for this varnam. Lets see how that will work out. But someone has to volunteer to sing it.
This will take more time-I probably will get it done in my long trip to India.
So that's it for now
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- Joined: 03 Feb 2010, 00:01
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- Posts: 10956
- Joined: 03 Feb 2010, 00:01