Raga Appreciation

Rāga related discussions
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radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Raga Appreciation

Post by radmahesh »

Here is a humble attempt from my part where i have witten Carnatic Raga Appreciation for a few Ragas. Each Raga explained also contains Downloads in the categories of Vocal, Instrumental, RTP, Devotional and Film Songs in those respective ragas.

Ragas uploaded so far are

#1 – AnandaBhairavi – The Divine Raaga
#2- AMRITHAVARSHINI – The Raga of Rain
#3-Sindhubhairavi – A blend of Folk and Classical Touch
#4- HameerKalyani - A cool breeze from N.India
#5-BrindAvanasAranga-A Most Pleasing and Emotional Raga
#6-Ritigowla - The Raaga with a Mesmerising Melody
#7 – Charukesi- The Raga Close to the Heart
#8- Mohanam – The Most Pleasing and Enchanting Raga – Truly “Jaganmohanam”
#9 – Shanmukhapriya – The Raga with a Splendiferous Melody
#10 – Darbari Kanada – The Emperor of Ragas and the Raga of Emperors.
#11-Purvikalyani - An Aesthetically Melodious, Pleasant and Popular Raga
#12-Hamsa Nada - Call of a Swan
#13 – BOWLI - The Meditative Morning Raga
#14- Naatai – The Raga with an Intoxicating Melody
#15- Kalyani – The Queen of Ragas – Showering Motherly Touch (Latest Post)


Here is the link http://anuradhamahesh.wordpress.com/car ... reciation/

Anuradha Mahesh

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Raga Appreciation

Post by satyabalu »

* Great job..Nice way to start a thread like this on the very day of subscribing to the forum. Yet to go through . looks very elaborate covering the requirements of all the tagetted rasikas /music lovers.Appending meaning from authentic source &significance of kritis in all facets of CM, film Music are value additions. Congrats &thank you for sharing Anuradha Mahesh! We are all fortunate of being members of "Rasikas" to benefit from such gestures.Many more to come.Why don't you supplement with the relevant audio/video clippings for better understanding? Your information about Charukesi being close to heart is a very interesting &new explanation. :D :clap:
Last edited by satyabalu on 08 Apr 2012, 15:45, edited 3 times in total.

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Thank you very much for the kind words of appreciation. Videos i do not have . All audios are uploaded in Mediafire after each respective raga in the blog. I am building up a raga bank where in I pool all the ragas in their respective folders and listen to each raga for a couple of weeks and note down the important points that strike me. This I am doing for the past several years. Now that the deposit of ragas have become somewhat huge, I thought, I will share it with every one who is interested in the subject - as the saying goes " HAPPINESS IS TEN-FOLD WHEN SHARED" :D

Anuradha Mahesh (Not Magesh :) )

vasanthakokilam
Posts: 10956
Joined: 03 Feb 2010, 00:01

Re: Raga Appreciation

Post by vasanthakokilam »

Anuradha, awesome work. I will spend more time at your site later. Congrats and thanks.

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Raga Appreciation

Post by rajeshnat »

ANuradha
There is depth in each of the ragas u covered . I just read few of those and I liked it . I see from your profile that you are into webdesign , one advice rather a right usable feature is to possibly have few songs where during playing of the song there is a contextual stop to explain how that jiva rAga Swaroopam is revealed in text or words. Just a suggestion , I do know it takes a lot of time to do it , that way there is more stickiness for partially or an uninitiated carnatic rasika.

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Raga Appreciation

Post by satyabalu »

* With such comprehensive approach to Raga thread Thanks to Anuradha, We will witness more participation in these topics hereafter I believe.

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: Raga Appreciation

Post by Ramasubramanian M.K »

Anuradha: Thanks a million for your efforts. I am very much interested in probing Ragalakshanas and how they have been used over the years in the krithis,varnams, Javalis etc etc. Your effort(I have not gone thro the link yet--I will) has laid the foundation for our enjoyment.
This is the beauty of this forum--which I have not seen in ay other forum on CM--new facets,aspects of CM are being unfolded almost daily by one member or other and we are al enlightened in the process.
There are several eager CM rasikas"on the sidelines" hesitant to enter what they mistkenly believe to be an elitist or experts forum. It is OUR job as contributors to this forum to make CM less intimidating and more enjoyable. Your efforts and efforts of others like Raga Surabhi would go a long way towards drawing these folks into our folds!! We need more and more enlightened listeners to broaden the listener base to be able to sustain CM concerts especially outside India.
Please let us know what aspects you need more elucidation on and how we can all help.

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: Raga Appreciation

Post by Ramasubramanian M.K »

Anuradha: Just Checked out your blog on Kalyani--very informative and comprehensive--here is my 2 cents: Sankarabharanam and Kalyani.

I have a mathematical explanation as to why in Kalyani we have liberty with the Anthara Ghandaram whereas in Shankarabharanam the Ga is sharp and steady sans gamakam.
The relationship pf Ga,(anthara)Ma(suddha) and Pa to the base Shadjam mathematically expressed as 1:1.25:1.33:1,50. If the base frequency is say 100 units(I am not a scientist so you may excuse me for my wrong terminology!!),then Ga would be 125 units and Ma(suddha) 133 units and Pa 150 units--so the difference between Ga and Ma(Suddha) would be only 8 units and constricting--whereas in Kalyani because the Madyamam has a higher frequency(relative to the gandhara permits the liberty of the oscillation .

MS Amma used to demonstrate this by saying the kalyani Alapana should start with Pa, Ma Ga as opposed to some musicians starting with Ni Ri Ga (making the listener guess whether it is going to be Kalyani or Sankarabharanam!!) whereas in Sankarabharanam the Ga should not have the Gamakam in the opening phase. The beauty of these Main Ragas is that one can skip several swaras and yet retain its original flavor--example-- SSI used to sing Sa Pa in Sankarabharanam or Sa Dha Pa (omitting the Nee) in the swara prasatharas without any trace of any other raga(although Mohanam has Sa da Pa as well!!).
I may not have been very articulate in this piece but be that as it may this is my 2 cents worth !!

In film music many songs omit the Panchamam using Ga Ma Dha Nee,Sa Nee Dah Ma Ga Ri Sa (Example: Kalai mangai Uruvam Kandu Kadal Konden--the Seergazhi Govindarajan song--I forget the film in the Fifties!!).

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Hello Ramasubramanian

I am poor at Maths, but your simple illustration of 125 and 133 units makes the concept perfectly clear and gives more insight to the gamaka aspect. Also Thanks to all the visitors to my blog.

Anuradha Mahesh

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Re: Raga Appreciation

Post by cmlover »

Dear Anuradha
MKR has sown the seeds of an excellent idea. You could announce a couple of ragas per week and receive suggestions and clips from our membership which you can organize and edit with clippings for the benefit of the larger CM commnity. With your excellent editorial skills you can do a splendid job without taxing too much your time through such a collaboration. That will be very useful for this Forum and educational for the CM community. This can be an ongoing process since there is an inexhaustible supply of beautiful ragas in CM. Let this be a cooperative endeavour if you agree...

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Thats a wonderful suggestion cmlover. Time has always been a constraint for me to write the raga review. Any way with all your help, clips and information on a chosen raga, I wish to continue my journey. Also thanks to MKR for the most valued advice.

Shall we take up Yamunakalyani ?

Anuradha Mahesh

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Re: Raga Appreciation

Post by cmlover »

Excellent! Let help roll in folks!
Do you want to use your email through the Forum (enough space?)?
Do we want strictly CM or even a HM/CM mix?

I am making this thread "sticky" for convenience...

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

I do not have much knowledge abt HM. Thats why i restrict myself to CM. I wouldl like to discuss Devotionals , RTP's and Film Songs,other than Carnatic songs

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Do you want to use your email through the Forum (enough space?)?
This means that you will be sending messages to my mail box ?

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Raga Appreciation

Post by satyabalu »

* Are we supposed to give what we know about/read about the ragas eventhough there may be repetition.
* some experts have to be named in order to moderate/ establish in case of matters of opinon like janya bhashanga, permissibility of certain swaras differently handled by vaggeyagaras etc., If most of you consider this aspect too premature at this stage when we are in need for collating more data to flow to form a background for a "Compendium" I will not broach such issue now. :!:

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

I would request that whatever we know let us bring out here, though there may be repetitions. I have noted that each song has got a feel and message to be passed on to the singer/listener. I do not know Telugu or Kannada. I can understand Tamil/Malayalam. If there is any striking message in the composition , please bring it out here. I shall later edit and avoid repetitions and make it pakka and add my own contibutions and post in the blog along with the songs in various categories. Thanks for all the enthusiasm shown to share your knowledge.

ramdas
Posts: 29
Joined: 30 Aug 2010, 23:13

Re: Raga Appreciation

Post by ramdas »

" HAPPINESS IS TEN-FOLD WHEN SHARED"..........Great effort

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

#16-Yamuna Kalyani – An Endlesss Stream of Flowing Melody…

Raga Yamankalyan/Yamunakalyani is the janya of 65th Mela MechaKalyani.This raga is often taught to beginners in Hindustani music. Subbarama Dikshitar classifies the raga as bhashanga and desiya.The raga has all swaras of Kalyani except for the Suddha Madhyamam. It is this note which gives the raga its distinctive quality of peace, and tranquility.

http://anuradhamahesh.wordpress.com/car ... ng-melody/

Anuradha Mahesh :D

classicallover
Posts: 374
Joined: 21 Nov 2010, 00:05

Re: Raga Appreciation

Post by classicallover »

Anu,

The same detail similarly applies to Hamir Kalyani as well .

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: Raga Appreciation

Post by satyabalu »

* Your contribution will enliven the importance &resourcefulness this module -Raga .Many more to come :)

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Special thanks to cmlover who has shared his bit of knowledge about Yamunakalyani..

Anuradha Mahesh

cameo
Posts: 118
Joined: 26 Aug 2008, 16:01

Re: Raga Appreciation

Post by cameo »

What a tremendous amount of information and help this site provides.

Have downloaded. Eagerly waiting for this weekend travel to listen it.

Thanks a million for sharing!!

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Shall we take up Hindolam Raga this month ? Viewers please share your insights about this Raga..Thanks in Advance

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: Raga Appreciation

Post by Ramasubramanian M.K »

A few thoughts from a late-comer to the party which seems to be edging towards a close!!
Although it is considered a Desiya Raga Thygaraja has composed Manamuleda(Brindamma's favorite as also Papa Sir(Violin).The thiruppavai song Thoomani Madathu Sutrum Vilakke by the Ariyakudi clan--the Hindi song from Guddi--Hum Ko manko Sakthi Dena gives one of the facets of the raga.---the presence of both the Madhyamams lends beauty to the raga--considering the fact that the mela Karta scheme makes a clear dichotomy between Suddha Madhyamam and Prathi madhyamam--which indirectly implies a separation --Hamir kalyani stands out because of the 2 madhyamams. Saranga also has both Madhyamams but the descent with Sa Da Pa Ma Ri Ga Ma Ri sa(omitting the Nishadam in the descent) distinguishes it from HK.

It is tribute to the Cm musicians/compposers that they have taken essentially a North Indian Raga(Desiya raga) and adapted it to the CM style of gamakams and brigas and extended it to the film music as well tastefully and elegantly.

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Hello Ramasubramaniam

That was an explanation about Hameerkalyani (4th RAga in the above list).I have started working with Hindolam Raga. Can you bring out some highlights of Hindolam Raga.? Thanks in Advance.

arunk
Posts: 3424
Joined: 07 Feb 2010, 21:41

Re: Raga Appreciation

Post by arunk »

Ramasubramanian M.K wrote:Saranga also has both Madhyamams but the descent with Sa Da Pa Ma Ri Ga Ma Ri sa(omitting the Nishadam in the descent) distinguishes it from HK.
MKR sir. Saranga does also employ sndp - it occurs in a few places in varnam (both pallavi and anupallavi start with it, and last swaram passage uses it). However s d p is indeed common. Did you imply that?

Arun

satyabalu
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Joined: 28 Mar 2010, 11:07

Re: Raga Appreciation

Post by satyabalu »

* MD is clear with it in the beginning "varadaraja mubasmahe"

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: Raga Appreciation

Post by Ramasubramanian M.K »

ArunK: You are right that the S N D P prayogam occurs in the Intha Modi varnam(I guess this is what you were referring to) and the S D P is more common.
The point I wanted to emphasise was that the Nishadam is pronounced in Hamir Kalyani and the Nishadam in the descent for Saranga is used sparingly-- similar to the alpa Dhaivata in Sriragam--the varnam uses it on one occasion(so does MD in his SriVaralakshmi) whereas the Thygaraja Pancharathna eschews it completely perhaps because the Raga Lakshana stipulates the use of Dhaivatha as Alpa Daivatha Prayoga for Sri ragam --the composition is none-the-less melodious for the omission!!

I am not implying that the usage or the lack of what is a discretionary note violates or upholds any tradition or it detracts from our enjoyment if it is JUDICIALLY used(again this is subjective I admit!!!).

puru00047
Posts: 87
Joined: 18 Oct 2007, 11:37

Re: Raga Appreciation

Post by puru00047 »

Some of my imaginations about certain raagas and their human manifestations .

- It always occurred to me that Kalyani was a cute 2-3 yr. old girl child smiling from her first pattu pavadai.
- bEgada as a 3-4 yr. old who dances haphazardly in random swaying motions.
- sAma as a naughty yet innocent 5 yr old boy child. Specifically the lord Muruga pictures in Rani Muthu calendars
- thodi – Sherlock Holmes! Daring, intelligent, egoist, clever, cunning! (I often compare thodi with me)
- dhanyAsi – Dr. Watson! Not as clever as thodi but he thinks he can get there.
- bhairavi – vivacious young woman in her 20s. Egoist again!
- Anandabhairavi – bhairavi’s younger sister. Hasn’t grown an attitude like her elder sister…is cuter though 

gobilalitha
Posts: 2056
Joined: 03 Feb 2010, 07:12

Re: Raga Appreciation

Post by gobilalitha »

what is the carnatic equivalent of hindustani raaga 'ghara'? what is the raaga of the song 'engum nirai nada brahmam by the legend MSS in film Sakuntalai .

Lakshman
Posts: 14019
Joined: 10 Feb 2010, 18:52

Re: Raga Appreciation

Post by Lakshman »

Please check your email.

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

#17- Hindolam – The Raga with a Hypnotizing Melody

A derivative of Hanumathodi (Mela8) belonging to the 2nd Music Chakra, Hindolam is a serene,gentle,soulful,enchanting and pleasing meditative raga. It is an audava – audava janya ragam. Experts in Carnatic music hold differences of opinion on the janaka ragams (ragams of origin) that should be attributed to Hindolam. It is widely accepted that 20th melakarta, Natabhairavi is the parent ragam of Hindolam. It can be derived from both Natabhairavi and Hanumathodi, by dropping the rishabham and panchamam. The Hindustani equivalent of Hindolam is “Malkauns”. Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said to have been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.

Read More here

http://anuradhamahesh.wordpress.com/car ... ng-melody/ :)

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

[b]#18-Sahana – The Raga that kindles Subtle Emotions portraying Unconditional Surrender[/b]

Sahana is a very popular Carnatic raga, janya of 28th Melakarta Harikambhoji(5th Chakra). The word Sahana is another name for Goddess Lakshmi/ Maa Durga. It also means ‘”Pure and Blissfully Happy”. ” In Kannada the meaning is – a person who have a great knowledge about all things present, past and future ……. Sahana is referred to as ”ranjakatva ubhaya vakra raga which means that the raga is very asthetic and pleasing.Ubhaya Vakra means that the notes in both ascent and descent follow a zig zag pattern. The vakra phrases lends a unique beauty to this raga. It is also classifed as a rakti raga – raga with high melodic content. Sahana is predominantly a “Karuna Rasa Pradhaana Raga- the raga that reflects a mood of pathos.This raga is an exemplary illustration of Daasya Bhakti Bhava-(there are nine ways of serving God..). Compassion due to overflowing love is also represented by this raga.

Read more here...

http://anuradhamahesh.wordpress.com/car ... surrender/

archa
Posts: 36
Joined: 22 Sep 2012, 11:46

Re: Raga Appreciation

Post by archa »

radmahesh, I read your raga appreciation of Sahana. Quite good and informative. But you have written that Thyagaraja predicted his passing away in this song. This is not correct. Thyagaraja had got a vision of Rama who promised him salvation in 10 days. This Thyagaraja reminds Rama (kaluvArinchaga padipUtalapai, gAchEdananu). 'You promised me salvation in 10 days.' The same sentiment is echoed in his other last song paritApamu (manOhari). I hope you'll correct this.

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Thats a new information for me archa. Thank you very much for alerting the error. Shall correct it asap.

Regards

classicallover
Posts: 374
Joined: 21 Nov 2010, 00:05

Re: Raga Appreciation

Post by classicallover »

kaluvArinchaga padipUtalapai, gAchEdananu


It is " kaluvarinchagani padipUTalapai " and " gaachEdanani ".

In the kriti ' paritaapamu ' , it is " karuNinchedananuchu ".

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

#19-Arabhi – The Raga with a Pleasing and Haunting Melody

Raga Arabhi dates back to the 7th century. Among the panns or ragas of ancient Tamil music, it corresponds to the pann, Pazhanthakka. Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam,(the 29th Melakartha Ragam – the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas. A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour – “Mangalakaramaana Isai” or “Auspicious Music”. Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga Sankarabharanam. Tanam on Veena is particularly enjoyable in this raga.

http://anuradhamahesh.wordpress.com/car ... ng-melody/

knrh05
Posts: 162
Joined: 05 Feb 2010, 20:52

Re: Raga Appreciation

Post by knrh05 »

radmahesh wrote:#19-Arabhi – The Raga with a Pleasing and Haunting Melody

Raga Arabhi dates back to the 7th century. Among the panns or ragas of ancient Tamil music, it corresponds to the pann, Pazhanthakka. Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam,(the 29th Melakartha Ragam – the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas. A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour – “Mangalakaramaana Isai” or “Auspicious Music”. Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga Sankarabharanam. Tanam on Veena is particularly enjoyable in this raga.

http://anuradhamahesh.wordpress.com/car ... ng-melody/
I saw a huge collection of files - 900MB - posted on the website for Arabhi. Is it possible to list what's in each zip file so users can selectively download? Thanks for your efforts in collating all the info about the raga.

KN

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Oops.. thats a difficult task as I lack time. But i can assure you that it is in a-z order. Thanks for visiting my blog. :)

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

#20-Gowrimanohari- The Raga that Steals your Heart !

Post by radmahesh »

#20-Gowrimanohari- The Raga that Steals your Heart !

Gowrimanohari is the 23rd Melakartha which belongs to the fourth Chakra, the Veda Chakra. Dikshitar school had a different name called Guarivelavali for this raga. Gaurimanohari is a versatile raga which renders a very pleasing effect. The raga gives us unbridled joy and happiness. The raga expresses the feeling of Bhakthi and Sringara and it is an all time raga (sarvakaalika raga).

The meaning of the raga name is interpreted as Gauri(Goddess Parvathy) who steals the heart – (manohari means one who steals the heart). So Gaurimanohari means Gauri who steals the heart. Another version of meaning is ‘one that is as pleasant and beautiful as Gauri’(Manoharam- pleasing)

http://anuradhamahesh.wordpress.com/car ... our-heart/

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

Ragas uploaded so far are

#1 – AnandaBhairavi – The Divine Raaga
#2- AMRITHAVARSHINI – The Raga of Rain
#3-Sindhubhairavi – A blend of Folk and Classical Touch
#4- HameerKalyani - A cool breeze from N.India
#5-BrindAvanasAranga-A Most Pleasing and Emotional Raga
#6-Ritigowla - The Raaga with a Mesmerising Melody
#7 – Charukesi- The Raga Close to the Heart
#8- Mohanam – The Most Pleasing and Enchanting Raga – Truly “Jaganmohanam”
#9 – Shanmukhapriya – The Raga with a Splendiferous Melody
#10 – Darbari Kanada – The Emperor of Ragas and the Raga of Emperors.
#11-Purvikalyani - An Aesthetically Melodious, Pleasant and Popular Raga
#12-Hamsa Nada - Call of a Swan
#13 – BOWLI - The Meditative Morning Raga
#14- Naatai – The Raga with an Intoxicating Melody
#15- Kalyani – The Queen of Ragas – Showering Motherly Touch
#16-Yamuna Kalyani -An Endlesss Stream of Flowing Melody…
#17-Hindolam -The Raga with a Hypnotizing Melody..
#18-Sahana-The Raga that kindles Subtle Emotions portraying Unconditional Surrender
#19-Arabhi-The Raga with a Pleasing and Haunting Melody
#20-Gowrimanohari- The Raga that Steals your Heart !


Here is the link... :)


http://anuradhamahesh.wordpress.com/car ... preciation

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

#21-Vachaspati-The Raga that Exhilarates the Mind,Body and S

Post by radmahesh »

Vachaspati is the 4th raga in the 11th Chakra- the Rudra Chakra. The Rudra Chakra marks the 11 Devas headed by Lord Siva (Aja, Dwasha, Ekapada, Triambake,Aparajita, Isana,Tribhuvana, Sambhu, Hara, Rudra and Ahirputniya). It is the 64th Melakarta ragam in the 72 melakarta ragam system of Carnatic music.

The name Vachaspati literally means Lord of Speech. The name is applied especially to Brhaspati, the lord of eloquence. This raga is the pratimadhyama counterpart of Harikamboji-the 28th mela. This is a Gana rasa pradhana raga and a sarva-kalika raga or all time raga. The raga has a totally relaxing and meditating effect. Vachaspati offers interesting mix of emotions, primary bhava being Sringara. This raga has a distinctive melodic entity which is most pleasing for the ear. A very delightful soul stirring raga, Vachaspati comes alive with vibrant emotions and spiritual energy. The raga is addressed as a high energy raga as it invokes a sudden rush of energy flow in the mind of listeners, capable of removing fatigue and promoting relaxation.
http://anuradhamahesh.wordpress.com/ca ... -and-soul/

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

Re: Raga Appreciation

Post by SrinathK »

One good way to appreciate ragas would be to listen to raga alapanas in the beginning as though they were compositions and memorize a lot of those phrases. Many schools and musicians have their own unique "standard" phrases and brighas that appear time and again in alapanas and this quickly helps gain familiarity over the raga. Over time the intutive ability to recognize them becomes very easy and one can study the phrases of any new raga and grasp it quickly enough. A few vidwans and their skill at handling ragas would do. I remember though that was how I learnt to recognize them. For the first 6 years of my listening to CM, I didn't even understand how raga improvisation worked but only gained familiarity with raga phrases. My mother also despite never having learnt music can now easily identify all the major ragas.

Someone correct me if I am wrong, but as per what I have heard from TMK, Naari Reethigowla uses a Shuddha Dhaivatam D1 which differentiates it from the usual Reethigowla.

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: Raga Appreciation

Post by RaviSri »

Reetigaula's actual lakShaNa has been misunderstood by most, including leading musicians. Now, it has gone to the extent of declaring that Dikshitar's rItigauLa is different from that of Thyagaraja's. nAri ritigauLa is the name of the 20th mELa in Venkatamakhi's scheme. And the 20th mEla uses only the D1.

The Thillaistanam school of Thyagaraja's disciples used to sing Thyagaraja kritis in ritigauLa only with D1. In their book of Thillaistanam pATam, Sri.S.Parthasarathy who belongs to that school, while giving the notation of Thyagaraja's 'bAlE bAlEndu bhUShaNi', says that in both Dikshitar as well as Thyagaraja sampradayas only D1 is used. But, as time went by, the value of D kept on increasing and now it has become D2. So much so, that this raga has been classified under Karaharapriya mELA. In many of the 20th mELa kritis, D2 is being used because of the difficulty in enunciating D1. An example is AbhEri. nagumOmu has been changed employing D2. And this was by Musiri himself. Only Vedavalli sings nagumOmu with D1. Of course Dikshitar's vINAbhEri and Shyama Sastri's ninuvinA marigaladA hav been retained with D1.

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

#22-Mayamalavagowla-The Raga with the Freshness of Morning Dew !

Mayamalavagowla is the 3rd raga in the 3rd Chakra – The Agni Chakra. Three kinds of fire is stated in the Vedas – Dakshina, Ahvaniya and Garhapadya. The mythological trinity are Brahma, Vishnu and Siva. In Mind, Body and Soul Chakra – Chakra 3 is Sacral or Kundalini Chakra which rules over the pleasure centers. Ragas are believed to affect various “chakras” (energy centers or moods) in the path of the Kundalini. Aptly Mayamalavagowla belongs to the Sacral/Kundalini Chakra. Singing this raga in alignment with the Sruthi and with complete devotion leads to spiritual enlightenment or illumination. It is the 15th Melakarta ragam in the 72 melakarta raga system of Carnatic music.It can be called the gateway to Carnatic music.

http://anuradhamahesh.wordpress.com/car ... rning-dew/

radmahesh
Posts: 62
Joined: 05 Apr 2012, 06:59

Re: Raga Appreciation

Post by radmahesh »

#23-Sivaranjani-The Raga that gathers Strength from Sadness !

A derivative of Kharaharapriya (Mela 22) belonging to the 4th Music Chakra, Sivaranjini is a hauntingly meloncholic raga usually sung from late evening to midnight(9 PM to 12 AM). A serene Raga like Karaharapriya could give birth to a Raga that gives a totally different feel! The raga can be derived from 3 other melakarta ragams, Gourimanohari, Hemavati or Dharmavati too. This Hindustani scale is also the currently popular scale in Carnatic music.

http://anuradhamahesh.wordpress.com/car ... om-sadness/

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