An Analysis of Madurai Mani Iyer's Swara Singing

[SrinathK]

(This topic is split from the thread on TMK's lec-dem: http://rasikas.org/forums/viewtopic.php?f=13&t=24719 -- moderator)

MMI's ending swara patterns are unique in that they are actually more complicated and far more innovative than they look. He used janta swaras in a manner not done by any one I've heard before or since to adjust his ending patterns so that they would fall on the dot and because of this -- no matter where he was in the tala, he could never miss his landing point.

For e.g. An ending in Kalyani might end like this - ND - PPM - GMR - (Kamalambam bhajare) .... or PP-MGMR. Or Maa Janaki, (SNDP MG, ND - PPMG, P, D-PMG or SR-GMGM | G or S, NDPM GM | G). All these are 4+2 or 2+4 patterns of 6 swara endings. A 3+5 usually goes like GRS- SNDPM ...etc... and he used these too to good effect (e.g. G, RSR | G, G,) . In fact by splitting the ending G,G in even units, he maintainted the energy level of his flowing swaras instead of using odd patterns that break the flow.

It's not that he sang only these types of patterns. He also used ending patterns of 2,3,4,5,6,7,9 and even longer patterns avoiding the sterotypical t-d-g-n-t endings, cleverly using jantas or other rhythmic combinations like (P, MGM - | G----) to maintain the flow of swaras all the way to the end and in this he's in a complete class of his own. There's still no one I know who could come up with as many ways to end a line of swaras as MMI could.

[cacm]

SRINATHK,
YOU ARE ABSOLUTELY CORRECT & HE ATTRIBUTED IT NOT TO HIS SKILLS BUT THE VERY INTENSE CONSTANT PRACTICE OVER THE YEARS. M.S. ALSO SAID PRETTY MUCH THE SAME THING ABOUT HER MUSIC IN A TECHNICAL SENSE....THANKS FOR POINTING THIS OUT....VKV

[Rsachi]

Srinath, you're demystifying something very beautiful. Perhaps that's the highest goal of a forum like this!
I don't know if I am right, but I have always said that unlike or even more than Aalapana and Niraval, the Kalpana swara section is presented after constant practice and rote. The creativity comes in casting the patterns and the practice and delivery are a factor of efficiency.
So much that when someone trips, the cause maybe less practice and not any weak concept.
Am I right?

[anandasangeetham]

Brilliant explanation..Thank you very much Srinath Sir. Now I can enjoy MMI much more. Thank you once again.

[sweetsong]

One of the best explanations I have ever seen, about MMI.
Many many thanks, Srinath ji.

[SrinathK]

Thanks everyone! Makes my listening all the more enjoyable.

To elaborate more, look at these swara endings in Samaja Vara Gamana (Hindolam) with TNK :
1) DNS, SN DNSN DDMG (Yaadava) -- Yaadava falls on the samam to maintain the flow -- and Vellore Ramabhadran's role is outstanding at this even though he is just playing simple patterns.
2) DDN DDN DDN DD, ND-NDMG (Yaadava) -- Just using N and D till before the end ! And the ending is 2+4
3) -- DN SNND DS NN DD ND MMD-G (Yaadava) -- 3+1 = 4. When did you hear that ending combo?
4) SNSS (DNN MDD) GMM-G MN DNN MDD GMMG M,D-G (Yaadava) -- 4+6+4 Janta patterns and the ending is 2+1+1.
If you throw out the janta swaras and replace them with commas, you get a "laya test" that can be used to clean bowl the accompanist, but this would break the flow into just arithmetic. The janta swaras not only disguise the arithmetic, they maintain the flow of the swaras.

5) GGSN SSND NNDM DDMG G,MM,DD,NN SSNDMG (Yaadava) -- SSNDMG can also be S-SNDMG which is a 5 pattern ending, but that one extra swara at the beginning turns it into a 2+4 pattern. There are 32 ways by which a 6 pattern can be rendered (though only some of them make for good swara endings). This is in one way a kind of fail safe as if one isn't quite in the right place in the tala, a small adjustment to the swaras is all that is needed to land on the dot. MMI used this very often to maintain the sarvalaghu flow of his swaras.

Then many other patterns in between the swaras -- NS-SNN, SN-NDD --- ... M,DMG, M, NDM, ...

6) NDMGM, SNDMD, GSNDN, MGSNS, GSN - SND -S,N -DND - M,N- DMG (Yaadava) -- 4+2 patterns and several different patterns of 3 swaras (there are only 4 ways of rendering a pattern of 3 notes -- t,, t,k, tk, and tkt). This last S,N DND - M,N-DMG pattern will occupy 3 beats exactly so the timing is easy. But you still get an odd numbered ending pattern.

And then the way he split 8 combination patterns in the last round of swaras - MN-DND-M,M - GD-MDM-G,G (2+3+2+1) or SMGS-NS,S - NGSND-N,N (these are 5+3, but not the typical ones, but these are standard of MMI's school).

MMI's swara styles also varied slightly depending on who the mridangist was and how they would try to - PMI or PSP or VR. Swaras like the above or in Ma Janaki (my opinion the best recording of MMI) have to be credited to VR as much as MMI.

Maybe I could look at other ragas subsequently. The basic formula and approach to swaras is virtually the same in all the MMI recordings, but the variations are huge. IMHO it was the use of the janta swaras really that allowed those special MMI swara patterns to form. Mathematically it becomes possible to allow for dozens of swara combinations in even the short one 1/2 avartanam swaras. One has to have truly incredible knowledge of laya and swara patterns of every raga to avoid cliched endings and rhythms and come up with patterns on the fly like these.

[cacm]

Dear Srinathk,
IT WOULD BE GREAT IF YOU CAN ELABORATE YOUR IDEAS ABOUT MMI IN A DETAILED ARTICLE DISCUSSING THE AREAS ABOUT MMI'S MUSIC THE WAY YOU HAVE ANALYSED & I ASSURE YOU MMI HIMSELF WOULD HAVE PARTICIPATED IN YOUR IDEAS & DISCUSSIONS. I am saying this because I along with my classmate S.S.Venkataraman used to visit him BEFORE& ARFTER EVERY CONCERT OF HIS & DISCUSS MANY ASPECTS OF HIS MUSIC. HE explained to us at a kindergarden level as WE WERE DUMMBELLS(Tho' learning music ourselves & hearing concerts almost everyday) & we JUST DID NOT HAVE THE SOPHISTICATION LEVEL NEEDED. IF YOU write a comprehensive &concise article I will be happy to have it printed & distribute it at least the close to Hundred Maddies of MMI Sri S.Venugopal( Son of Chitti Sundarajan) has managed to organise meeting on a regular basis. It will be great if we can co-ordinate your POINTERS& EXPLANATIONS & distribute them to them in the group as they listen to the MMI CONCERTS. I myself will be happy to record my entire MMI COLLECTION WHICH IS CONSIDERABLE IN HD& MAIL IT TO YOU.WRITE ME at vkv@juno.com. I have several ideas how your notes on how we can pay tribute as well as UNDERSTAND ONE OF THE MUSICIANS WHO INNOVATED NOT ONLY WITHOUT TRASHING TRADITIONS(but elevating them) &pooh pooing RULES giving LOW I.Q. EXPLANATIONS & TAKING ADVANTAGE OF IGNORANCE OF THE LISTENERS AS WELL AS EXPOSING THEIR WEIRD IGNORANCE THEMSELVES. PL RESPOND& .THANKS. VKV

[SrinathK]

Unfortunately I happen to be in far away Gurgaon (owing to work) and just happen to be in town on a short vacation for the music season. There's quite a lot of things I want to do, though most of them will need me to settle down in Chennai .

To tell the truth, I'm just a music student, a little keen to absorb what I can of this art form that I've grown up with. I just started looking at MMI's music in this detail recently. But I can contribute what I can over the net. For now I will stick to looking at kalpaswaras in various ragas -- this itself will be enough fodder for months! And yeah, I can get an article in due course. But wow, looking at all aspects of music of even one (extraordinary) musician is a mammoth task. I think I'll just see the next step. In time, we'll have plenty of stuff for all MMI fans.

The Samaja Vara Gamana recording is in fact this very one : https://www.youtube.com/watch?v=k--qeXJ-aE8

Maybe next time i should see the Maa Janaki recording. The swaras there are interesting for how MMI handles the Deshadi (1+1/2) eduppu in various swara segments. It might take a day even to sit through all those swaras (writing them down is hard work!), so it will take time (given my constraints) before I can look at another piece. So bit by bit I might make notes in my PC and post it all up when it's ready.

Please note though, that my knowledge of CM isn't all that great. What I shared was what I found out just a few days ago. Proficiency wise I'm still trying to figure out how to sing a few good rounds of short kalpanaswaras -- I can talk about MMI, but I am in no position to do his sadhana !

So the next one will be the Ma Janaki recording.

[vasanthakokilam]

Awesome, Srinath. Keep going. We will move this to a thread of its own soon but keep posting her for now.

As you said, keep adding to this thread and after a while it will become quite substantial.

Looking forward to the Ma Janaki analysis

[pvs]

>>The Samaja Vara Gamana recording is in fact this very one : https://www.youtube.com/watch?v=k--qeXJ-aE8

The link posted makes me write this - An interesting aside that will amuse some...
I am writing from Canada. A good friend of mine here ('sonukaush' the YouTube poster; from Tamil Nadu but brought up in many countries) mentioned that he couldn't find anything attractive about carnatic music (after listening to dozens of songs by many of the current front line singers) and was puzzled at my addiction to the same. He was happy to stay with his jazz and pop. After returning home from our meeting, I was listening to this recording and almost as an afterthought emailed him this.
Little did I know that I had caused a profound shift in his perception of our music. Rather, MMI had. After a few more exchanges all he listens to now (for almost the last 3+ years) are recordings of MMI, MDR and KVN that I gave him! He posted this recording to mark his 'conversion'- his only post on YouTube!

[cacm]

[quote="SrinathK"]

MMI's swara styles also varied slightly depending on who the mridangist was and how they would try to - PMI or PSP or VR. Swaras like the above or in Ma Janaki (my opinion the best recording of MMI) have to be credited to VR as much as MMI.

Dear Srinath, I wish I had known you or met you when I was visiting India every year trying to meet anyone who could increase my knowledge of WHY MMI
had such UNIVERSAL APPEAL as well as how he still can hold a houseful of rasikas in VANI MAHAL FOR 3.5 HOURS WHERE JUST A RECORDING OF HIS CONCERT WAS PLAYED after nearly 50 years!
REG. MAA JANAKI I feel THYAGABRAHMAM IS THE ULTIMTE SECRET&SOURCE. If you examine that composition the lyrics, swaras as well as the juxtaposition as well as the MEANING & IDEAS EXPRESSED JUST BLOWS ONE'S MIND. THE '66 ACADEMY CONCERT MMI-TNK-VR IN which he sang this song MAA JANAKI EPITOMISES YOUR POINTS. I happened to have discussed this VERY RENDERING with MMI& VR INDEPENDENTLY& THEY BOTH FELT it was one of his BEST EFFORTS IN HIS ENTIRE CAREER. V.R. IN HIS USUAL MODESTY JUST SAID THIS TYPIFIES MMI & MMI SAID when proper accompanist co-operate the results can be epoch making. I had returned to India after 8 years & presented MMI with a Sony Taperecorder in which the first recording I MADE was this concert (I played it back to him at his house!) THE EXCITEMENT you have brought back to me is unparalled. I THANK YOU....VKV

[Vyuptakesha]

Very well brought out Sir.
MMI's style was extremely innocuous; extremely difficult to replicate. Hours of practice, thoughts and discussions only on music, the mind computing permutations and combinations in sarvalaghu resulted in what we have today as recordings, and what the more fortunate have heard live.

[cacm]

Dear Vyuptaesha, As one who HAS HEARD MMI in person in more than 200 concerts I can tell you that the recordings AVAILABLE ARE PALE REFLECTIONS OF WHAT HE COULD DO WITH HIS VOICE & THE SUPREME PERFECTION OF HIS CONCERTS. ESP WITH TIRUVALANGADU SUNDARESA IYER,LGJ, M.S.G., TNK & PSP MURUGABHOOPATHY & V.R. THE CONCERTS REACHED WELL BEYOND THE STRATOSPHERE MERGING WITH THE MUSE OF MUSIC TO PERFECTION......NOT A DAY PASSES BY WITHOUT MY WONDERING HOW MMI & M.S. COULD REACH THAT LEVEL.....ANY ONE WHO HAS HEARD THEM WITHIN THE RANGE OF THEIR VOICES WITHOUT AMPLIFICATION WILL AGREE.....VKV

[SrinathK]

Ok...finally, I've been able to get some time to post it. As I promised, it's the Maa Jaanaki recording. The svaras are at Raja Raja Vara.

First of all, an interesting observation about MMI's overall style, whether ragas or swaras or neravals. He was unique for being a serve & volley player (if you're tennis) fans, the way he elaborated in smaller phrases with lots of varieties and the way even long swara sequences were actually made up of numerous smaller phrases with long pauses separating every round -- the continuity being maintained by the accompanists. This serve and volley style was unique to MMI as far as I know (though ARI and SSI also used some of it in swaras, MMI used it everywhere, particularly in neraval where he would take half or even quarter of a line and keep finding variations in it). It had a few points of note:

a) It made it possible to sing several variations of small, easily graspable swaras.
b) No question of running out of breath in long uninterrupted swara passages (this has often led musicians to compromise some tone and sruthi shuddham in that portion where they pause for a note or two to grab their breath -- NADAL style 20-30 avartanams of grinding). Like the serve and volley style, it's also easier on the voice and body as a whole. It definitely helped him maintain his tone and sruthi shuddham while being easier to sing esp. when his health didn't co-operate.
c) Depending on the accompanist, putting the tala to this style of swaras was if anything more challenging, since the pauses could come at anywhere and could be of any length and MMI was a master at last second adjusting so that he was bang on even in 3/4 and 1/2 eduppu points. Fortunately, Vellore Ramabhadran's continuous tempo makes it easier for both accompanists and audience.
d) Taking a long pause between swara rounds is still the preferred style of singing long swaras even today as you can elaborate virtually endlessly with every subsequent round, not losing your imagination or the loss of breath support.

Anyway, here we go. First of all, the link : https://www.youtube.com/watch?v=xVZACLm16Ws - Swaras from 6:15 onwards.

1) | ,,,, |,, S, | RSND | P, ND ||| DP-PP | MG- (Raja raja) -- || is the samam point
It's also interesting to note TNK's responses too : S,S-G|RS-SN | ND-PD | RSS, || SNDP | MG- (Raja Raja)

2) |,,,S | SRG,| RSND | PDRS | ND-PD | RSND || P,D-P | MG - (Raja Raja) - Starting point is tricky at 3/4, but a janta on the S brings it back on beat for the rest of the sequence. Not so easy to spot when VR is playing 4x4 beats all the time, but there's that clever use of janta again.
TNK : |SRGM | GR-SR |GM-GR | S,ND || P, PP | MG - (Raja Raja)

3) |,,,S | SRG, | RS-DS |, R,S | ND, P ||, D-DP | MG - (Raja) -- Converting a tdgnt ending to a t-kTtk ending. This is not as straight forward since it uses 1/4 and 3/4 positions, but this kind of crisscrossing using a conveniently timed pause to shift (or should I use the word TRIP the swaras) from even to odd sarvalaghu is unique to MMI and very difficult for an accompanist unless he also knows how to "trip" the swara from even to odd and vice versa. In the previous swara sequence, a janta swara had tripped an odd position into an even position (either on the beat or at 1/2 beat).
TNK : |,,SR | G,- SR |G, RS | DSR, | DSR, || SNDP | MG-

4) The long rounds start :- ,,,G|GM-GM ||G,, ..... (Again that odd-even interplay with the janta on the G) -- It's tough writing this...<phew>
( 2 avartanams later) ,,,G|GM-GM |G,G-G|,G-GM|G,RS |,RGM || G,RS | DS,R |, SND | PMG, |,,,P | PDSR |GMGR | SRGM || G,,-G |,,-G,|GM,P |,,M,|G,,,|,,-R,|G,S,|,,R, || G,,G,, - (The last two Gs bring it from samam to 1 1/2 exactly). Note this part "G,|,,," -- the pause on this G is 5 notes followed by that janta on the P -- not easy to read is it? It's much harder to estimate the pauses than the swara patterns.

5) ,,,G|GM-GG |M,M,|,,,,|,,, R|RG-RR || G,G, |,,,,|,,,S|SR-SS ||R,R,|,,,,|,,,D|,SRS || DS,S |,,,,|,,,D|,GR,|,,,D|, SGR |SR,R|,,,,||,,,D|,SMG |RG,G|,,,,|,,,S|,MGM |GR-SG |RSND || PDDP | MG-PD| SR GM | G,RS |NDPM |G,,, |,PPD | SRGM || G,G, ... (Now the even G,G, is brought in to keep the flow) Note the long 8 note pauses at the 3/4 positions. If you're wondering, yes, it is more complicated than it sounded.

6) ,,,G|GM-GM|G,R-S|RGM-G|GRS-D|SRGM ||G,G,
TNK : ,, GR |GMG,|RS-SR|GMG,|RS-SR|GMGM |GR-SR ||G,G,

7) ,,,,|GGMG|M,M,|MRGR |G,G,|GSRS|R,SR ||G,G,
TNK : ,,GR | GMGM |, M, M| R-RGR |G,G,|RSSR |SR,R ||G,G, (Every possible eduppu in the reply)

8) ,,GR |GM-G,|RSND |PD,S |,R,G|,RSD |,S,R ||G,G, (Trip the swara into odd splitting with that PD,)
TNK : ,,SR|GM-G,|RSND | PD,S |,R(G),M|GRSD|,S,R ||G,G, (G) is an anuswaram. It was actually PD,S|,R, M|GRSD|,S,R ||G,G, (Excellent reply with his own trip)

9) ,,,G|GM-GM |G,G-G|,G-GM|G,G-G|,G-GM |GMGG|,G-GM ||G,G, (Middle octave) - Wow, to get this much out of just 2 swaras. Jantas rule
TNK : ,,,G|GM-GM|GMG-G|,G-GM|GMG-R|GM-RG|MGRS |,RGM||G,G,

10) ,,GM|PM-MG|GR-RG|MG-GR|RS-SR|GR-RS|D,SR|GM-GM||G,G, (At this point each takes off as the other plays the 2nd G, in ||G,G,
TNK : Identical, except .... |D,S-R|GM-GM||G, (He goes for a 3+5 split instead of a 2+6 Split, the swaras are the same and plays only a single G, as MMI will take off there)

11) ,,GM|PD-MP|GM-RG|MP-GM|RG-SR|GM-RG|SR-dS|,RGM ||G,G (What did we discuss earlier about 2+4 and 3+3 = 6 combinations?)
TNK : GMPD | MPGM | RGMP |GMRG |SRGM | GMGR|S-RGM |G,G (Oh the Dhatu swara patterns ! Also note the G,G, has changed to G,G for some 3+5 starting patterns of the subsequent cycles)

12),,,P|,DS,|PDRS | ND-PD |DPMG |PMGR |Snd-S |,RGM |G,G
TNK : ,,,D|RSND | PDRS |NDPM |GMP-S|NDPM | GRS-D|,SSR ||G,G

13) ,,,S|,RG,|RSND |PMGP|,D-SR|G,-RS|ND-PM |G-RGM ||G,G (I don't know about you, but so far I've seen every possible rhythmic pattern of 4 notes in a beat by this point -- there are 8 of them)
TNK is identical almost, but ends with |G,RS |ND-PN|DPMG|RS-SR||G,G

14) ,,,G|GM-GG|RR-SS|NN-DD|PP-MM|GG-RR|SS,R|GMGM||G,G (King of Jantas)
TNK : Fairly close. He comes down the scale in two smaller sets.

15) ,,,S|,RGM|G,G-D|,S-RG|R,R-P|,D-SR|S,ND|PMGM||G,G
TNK : Minor variation in the last pattern |,D-SR|S,S-P|,MGM||G,G

16) ,,,R|G-MGM|,M,-M|RGR-G|,G,S|S-RSR|,SND|PMGM || G,G
TNK : ,,,R|G-MGM|,M,-M|RGR-G|,G,S|S-RSR|,R,S|NDPM ||G,G

17) ,,,P|MPP-G|MM-RG|G-SSR|G,G | (You've got to be kidding me...) Now it is 1/2 avartanam each
TNK : PMPP|GMM-R|G-MGR|G,G | (Ok that P at 3/4 I agree was too wicked to follow exactly)

18) ,D,PD-D|DM-PP|GMM-R|GSSR||G,G (That was a double speed D,PD
TNK : ,,,D|PD-MP|GM-RM|GR-SR ||G,G

19) ,,ND | NDPM |GR-SR |GM-GM ||G,G,
TNK : ,,P,| (N)D,PM |GR-SR |GM-GM ||G,G,

20) ,,S, | NDPM |GRSd |pd-SR || G,G, (Swara syllables are slurred here so it's not too clear -- this was one of MMI's idiosyncrasies (Please don't hang me for using the word , but what do I call that? In fact, there is surprisingly only this particular instance that too very mild in this recording.)
TNK : ,,RS | NDPM |GR-SR |GM-GM ||G,G,

21) ,,,S|,RG,|RS,D|,SR,|SNDP|,D,P|MG,(M)G|,RSR ||G,G, (Trip, trip, trip all the way. And we're back to 1 avartana long swaras for this round)
TNK : ,,,S|,RG,|RS,D|,SR,|SD,-D|,PM,|GRS-S|,RGM ||G,G

22) ,,SR |GMP, |MGPD|,S,R |G,,,
TNK : SRGM | PDS, |,S,R|G,

23) ,,GR|RS-SN|ND-DP|PM-GM |G,
TNK : Identical

24) ,,,P|PD-PD|S-DSR|SRGM |G, (Again that odd split-even split-odd split-even split pattern, now on every beat)

25) ,,,G|RS-RS|ND-PD|PMGM|G,
TNK : ,,,G|RS-SN|ND-PP|PM-GM||G,

26) ,,PD|PDS-D|SR-SR|GMGM||G, (There is a symmetry in this pattern of 5+3+5)
TNK : Identical

27) ,,GM|G-RGR|SRS-N|DP,M||G, (3-3-3-5)
TNK : ,,GM|G,RS|RSND |PNDP||MG,

28) ,,,P|PD-PD |DS,S|,R-R,|G, (Simple? God. Someone list out all the 16 possible variations of 4 notes in a beat and see how many you've found so far. There are 8 patterns and since each position can either have a note or a comma, you have 16 possible ways)
TNK : ,,,P|,D-PD|DS,S|,R-SR||G,

29) ,,,G|RS-RS|ND-PD|PMGM|G, (Same as #25)
TNK : Ends with -PM||G, but otherwise the same

30) PDD-P| SS-DR| R-SGG |RMGM |G, (Na bhuto na bhavishyati. Never heard that once since anywhere)
TNK : ,,PS|S-DRR|SGRM|GMGM ||G, (Not enough space given to fit it in, so he had to clip something somewhere)

31) ,,,S|GRS-D|RS-ND|PMGM |G,
TNK : ,,,S|GRSD|RS-ND|PDPM ||G,

32) GMP-M|PD-PD|S-DSR|SRGM |G (Starts off on samam itself as TNK is finishing his G, -- man this one is genius)
TNK :- ,,PD|PDS-D|SR-SR|GM-GM ||G (For the 2nd time in a row, TNK gets 2 swaras less space to reply, but he does)

33) ,RS R|S-NDP | DD-PM |G-RGM |G (1/4 eduppu!)
TNK :- ,GRS|SNND|P-SND|PMGM ||G (Good one !)

34) ,,,P|PDSR |G,,
TNK :- Same
35) ,,,S|NDPM |G,,
TNK :- Same
36) ,,,P|,DSR |G,,
TNK :- Same
37) ,,,P|,MGM|G,,
TNK :- Same

Ending - 38) ,,,P|PD-PD|S,S-D|SR-SS|R,R,|,,,,|,,,S|RG-RR || G,G, |,,,,|,,,,|,,SR |GM-GG |M,M,|,,,,|,,,,|| ,,DS |RG-RR|G,GR|RSS,|ND-PD|DP-MG|,,,,|,,PD || SRGM |GGRR |SSND |PMG-P|,D,S|,R,G|,RSN|D,,,|| P,D-P |MG- (Raja Raja Vara) --- And there we are! <Phew>

PS : Now I was pretty sure he wanted to sing -- ||SRGM |GGRR |SSNN |DDPM|G-P,D|,S,R|,G,R|SND, || P,D-P | MG - (Raja raja) -- that would have fit in a bit more neatly with those 2 note rhythms, but that's spontaneity for you....you have to take that risk in the moment and know how to adjust so that you still land on the dot, and MMI is a master of adjustment and getting out of tight spots. Thanks to the support of VR playing a t-TkT on that last "D,,,||", the continuity isn't broken and the ending is achieved with the comfortable P,D-P|MG pattern on samam seen in #2

Overall, this has been truly an amazing set of swaras. It takes about half a day to write these things down in proper notation, so I don't know how frequently I can do this. Still it was totally fulfilling to take such a detailed look at swaras. We have the excitement of a world class tennis match, but it takes a match report sort of analysis to see the details in these swaras. Now in music class, this is the way we go about trying to understand kalpanaswaras -- simply listening doesn't make these subtleties apparent. But with the power of the pen and paper, just about anything can be decoded if one is patient enough.

This recording would have also told you how good TNK and VR were in their ability to follow MMI's ideas.

See you next time, for Sarasa saama daana (hopefully...this is exhausting work!). Perhaps next time I'll stick to a swara clip telling where the eduppu point is. 3-).

[rajeshnat]

O gosh Srinathk,
RIght now it is like machine language , will take my time .It is a joy to read your side comments like janta , double speed. Appreciate your will to decode swaras

[SrinathK]

Read with the audio running and it will all be clear. Swaras start at 6:15 in the video. The tala I believe is Deshaadi. And yeah, I edited the formatting. Now it should be readable. I used the same notation you get in any basic book, so it shouldn't be out of reach.

[cacm]

THANKS A MILLION! WILL DEFINITELY HEAR IT; WHETHER I AM COMPETENT TO COMMENT USEFULLY I DO NOT KNOW. WILL GET PROFESSIONAL ARTIST LIKE DR.M.Narmadha to comment. VKV

[uday_shankar]

Srinath, wow !!! What a lovely labor of love. The least we can do is to listen and follow along. Will definitely get to it "soon" .

[bombal]

what a painstaking effort which is extremely laudable SrinathK. will read it at leisure..

dhanyavaadaha

[anandasangeetham]

I just listened.......goose pimples all over me....still in a trance..didnt know how I wrote this.....hats of to you Srinath Sir....Bow to your efforts.....

[ravichitrapu]

thanks very much shri. srinath for the analysis. excellent though it must have been really painstaking.
eagerly waiting for the next analysis.

[natts1959]

I'm new to this forum. Its quite serious discussion here and i really enjoyed reading thru. My father was a big fan of MMI and we had the music going on all the time and this is great analysis by Srinath.

There was a function in Raga Sudha hall in remembrance of MMI and i remember TRS say.. for people like MMI they dont follow grammer, the grammer follows them. Which is so true.