Subtle Graha Bhedams

Ideas and innovations in Indian classical music
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SriKrishnan
Posts: 40
Joined: 22 Oct 2014, 19:12

Subtle Graha Bhedams

Post by SriKrishnan »

Some thoughts triggered after watching the wonderful LecDemo by Gayatri...

I am a Rasika of KVN and amazed by his unusual approach and prayogas during Raga Alapana and Neraval. I could pick up an example ( not necessarily the best- the best ones that I heard live are still ringing...)

https://www.youtube.com/watch?v=5QgW8uiCYGI

Raga Kharaharapriya - Raga alapana starts at 21.28 Min,
listen to the beautiful prayogas at 23.03 to 23.44. Starts with Kharaharapria shade clearly and at 23.17, enters interesting phrases , boldly basing "Ma" and rounds off with "ma da pa da" , back to the conventional form by 23:35.
Technically this is not a full Grahabhedam, in full form it would transform to Harikambodhi. But by limiting to ma pa da ni sa- he transforms to sa ri ga ma pa. That too a subtle form.
I have heard him perform similarly in Kambodhi, Khamas lingering on "Ma".
I find such subtle Graha Bhedams bring out unusual prayogas and create an "Aha" moment.

Of course Graha Bedhams based on "Ma" are somewhat natural and fit unobtrusively, are there any other examples, on any other notes ?

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: Subtle Graha Bhedams

Post by SrinathK »

Here's the Simhendramadhyam - Maayamaalava Gowla Graha Bhedam in an all time epic piece of film music : https://www.youtube.com/watch?v=z2klpOa4SlU

sureshvv
Posts: 5523
Joined: 05 Jul 2007, 18:17

Re: Subtle Graha Bhedams

Post by sureshvv »

Much prefer these Grahabedams for front benchers. Current mode seems to be "Grahabedam for back benchers" that rip any subtlety out.

Sriram Gangadharan used to drive me nuts with his Grahabedam (omitting sa and pa in sancharas) in raga alapanas. Even though his mastery was evident. It became "too much of a good thing".

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