Swara Identification Exercises, Vocal: Post Answers Here

To teach and learn Indian classical music
Suji Ram
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Post by Suji Ram »

arunk wrote:You know suji I was thinking the same but obviously instrumental clips, swaras in slow speed.

Arun
How about a kalpanaswara clip with an instrumental part- in reply to a vocal rendition. That way we can cross check by posting the vocal part after people have answered. Offcourse it works only if the instrumentalist exactly reporduced the same swaras.
This indeed is a good exercise for swara gyana vs phrase in alapana (which I also like).

With regard to tempo we can slow it down using audacity :)

arvindt
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Post by arvindt »

So the question then is - would it be possible that those gamaka notations required additional interpretation as opposed to umambigiously indicate what the pitch movement is even to some who doesnt know *his* system? But then he explains how exactly to play each one in a vINa - so per that once you put two and two together in-theory you can reconstruct the sound.
I attended a (theory) symposium hosted by TMK about the SSP, and he was wondering (almost aloud) about the same question too: how could Thodi sound so different? He seems to be of the opinion that Thodi has indeed changed, but he mentioned another point: that Subbarama Dikshitar apparently intended the SSP to preserve the tradition as he had been taught it, which was even earlier (mid 19th century). He also says that Subbarama Dikshitar mentioned that musicians are "nowadays rendering ragas differently" or something of the sort, which indicates that every day practice was already diverging from the SSP. I'm saying this on the basis of what he said, so don't have a primary source myself.

He also observed that MVI used to render Kaddanuvariki flattener than we hear Thodi today (I have heard this recording, and it sounds remarkably Sindhu Bhairavi-ish), and based on these facts I got the impression that he believes vidvans and performers have indeed enriched and added considerably complexity (in terms of gamakas) to Thodi since the mid 19th century.

But it's still a puzzle that the gems of the Trinity shine so much as masterpieces in light of the rich gamakas with which they are rendered today (and in the mid-20th century), if they were composed at a time when gamakas were more sparingly used. Does it go to show that gamakas were indeed used (and so the notation in the SSP is suspect), or does it show the greatness of the Trinity in almost divining the future? I don't know.

cmlover
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Post by cmlover »

CM definitely has changed since 1950's. Prior to that strict 'classicism' prevailed and any deviations were resented to by the 'ruling' vidvaans. The inevitable happened with the incursion of the mass media and the influx of new instruments. As wehave seen a dramatic shift in movie songs of yore to the orchestral sympony (No! I did not say cacophony :) ) of today a similar shift has silently taken place in CM as well.
he gems of the Trinity shine so much as masterpieces in light of the rich gamakas with which they are rendered today (and in the mid-20th century), if they were composed at a time when gamakas were more sparingly used.
I agree with this having heard both the pre and post 50's CM. Most definitely the Trinity in their days would have been quite conservative in rendering their kritis. Also there were nothing other than 'tambura' available to them as accompaniment. The violin most certainly has permitted vocalists to boldly experiment with their voices (since it would mask shruti lapses :)
When GNB experimented with 'Nadasvaram-type' brigas the then stalwarts looked down on it as deviations from 'classicism' and a violation of the principles of CM taught by the Trinity. (I have personally heard comments from a great stalwart: 'avan mookkaalE naayanam vaashippan (he will be playing nadasvaram using his nose!). And the self same stalwart imitated the same technique after 1960's when he found his popularity fading! ( O tempora! O mores! :)
MVI (as I havee been told) resented santhaanam playing to the gallery sacrificing classicism but then the crowds loved him for it. KJY unwittingly (due to his movie exposure) introduced non-traditional singing of CM, a crime for which he may never be considered a candidate for SK..

Levity aside, I do believe there is more to gamakams than what was known and written in the 19th century books and it is time to investigate and develop scientifically this beautiful art and integrate it with 'modern' CM. Sometime ago our Arun developed a 'primitive' software to experiment with patterns of gamakams on the computer 'objectively' that I loved. But then Arun lost interest and dedication ( as is his usual nature).
brilliant minds are like butterflies flitting from flower to flower and never to stay long enough to savour the nectar ...

arunk
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Post by arunk »

cmlover isnt the question at hand, was there a marked difference between 1905 (atleast Subbarama dikshitar and his parampara), and those of other musicians in the 1920s/1930s (i.e. music of MVI/ARI/Musiri etc.)?

Was the music of ARI/Musiri in 1920-1930 more akin to subbarama dikshitar and hence very different from those in the some of the recordings we have which are from the 1950s?

Arun

arunk
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Post by arunk »

cmlover wrote:Sometime ago our Arun developed a 'primitive' software to experiment with patterns of gamakams on the computer 'objectively' that I loved. But then Arun lost interest and dedication ( as is his usual nature).
Ha-ha :) I missed that one. Quite true indeed. Although I do tinker with this once in a while. Even recently on one my posts on my blog (Ragas and Scales: http://sunson.wordpress.com/2007/08/19/ ... nd-scales/ ), a few samples were generated using this. These (4th and 5th sample) are the ones that "were supposed to be" Sankarabharanam - but the unanimous consensus of the readers was that they sucked pretty bad :)

But I do shift around a lot. Point taken.

PS: now how is that for devious advertisement of my blog ;) ?

Arun
Last edited by arunk on 25 Sep 2007, 21:57, edited 1 time in total.

cmlover
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Post by cmlover »

Short answer to your question is that the music of the 30's was quite different from the music of the 60's and now that of the 80's. I personally like the 60's. You can listen to the 78RPM of the 30's of ARI/SSI/MVI etc and compare their recordings after 50's (of course the audio is terrible) to see the change/evolution in them. During 30's and 40's SSI was indeed brilliant. You will notice a remarkable lack of gamakas in his music since he was very fast paced. We are also finding that fast music is difficult to analyze essentially due to lack of gamakas. I do not think the raga bhavana can be brought out in the kalpana svaram singing (sorry Suji to disagree with you). Ragas exist only in the 'aalaapana' (akaara based) also only in the slow pace. GNB's fast brigas (in my view) do not reveal the 'shakl' of the raga. The instruments (vina,flute, violin, nadasvaram(the best)) are ideal for raga elaboration. Ideally the fretless vina (gottuvadyam) is ideal for raga elaboration and micro-gamakas (Uday (if he is reading this) can elaborate the ideas scientifically!). Human voice has limitations (except in the case of the rare blessed souls like MS, SJanaki ( :) )as it is not as 'malleable' like the instruments. Perhaps I should stop my rambling here (as otherwise I will start sounding like Arun :)

Arun
Thanks for that blog! I loved it and the bold experimentation behind. Don't be diffident and defensive (and apprehensive too :) We all know you are not a 'performing' musician but that does not detract from your 'scientific' inquiring nature! Do you hear shaankarabharaNam in MD's nOTTu svaram ? and for that matter does anybody refuse to label it 'shankarabharaNam' :)
a rose is still a rose whether it bloomed in bhArata varSha (full of fragrance) or in the frigid stony crevices of Canada (totally devoid of frgrance) :)

ramakriya
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Post by ramakriya »

arunk wrote:PS: now how is that for devious advertisement of my blog ;) ?

Arun
Really nice :) :)

ramakriya
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Post by ramakriya »

cmlover wrote:Short answer to your question is that the music of the 30's was quite different from the music of the 60's and now that of the 80's.
I did ask my mother if she remembers anything of her mother's singing - specifically in kritis in tODi rAga. [Whatever my grand mother learnt was in the decade of 1910]

Unfortunately my mother was not able to shed much light on it - because when my grandmother could really sing well, my mother was very young, and could not have paid attention. By the time my mother could really appreciate her mother's singing, my grandmother had sort of lost her voice, and only playing harmonium. (I remember bits of her harmonium playing, and she was an excellent player, as my very young memory remembers).

There is a clue to the excessive kampita in Ga and Da in todi being a late entry in it's history. There is a rAga called shuddha tODi - about which Prof R Satyanarayana says - which takes the same svaras as tODi, but with very limited kampana on gandhara and dhaivata. ( I had posted a translation of his speech in the jayachAmarAjendra oDeyar thread). It has been a comman occurence when rAgas morph, the older form gets a prefix as shudda (pure) as evident in cases such as shuddha dhanyAsi, shuddha sAvEri and shudda vasanta.


-Ramakriya

arunk
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Post by arunk »

cmlover

I am skeptical - need more evidence.

I am not sure how much conclusions you can draw based on the 33RPM recordings of musicians to comment on their vidwat. I think all of them were very short in nature quite contrary to the concert format of 19th century. In other words, they could have been "packaged" for release in 33RPM. Also, there were also slow-paced musicians like Tiger then. Not everyone went express speed all the time. I also did not think Musiri went super-fast (?). Also we do have regardings of vINa dhanammal - they are in the form of music we love today. Now even though they are probably from a later time - I would highly doubt that she in particular would have altered her style "as per modern times".

Besides do you realize what you are saying would mean? The so call prized gamakas of carnatic music in the form that we cherish today (and i may add puff our chests and thump our chests at the drop of the hat - you know "being most evolved, most sophisiticated, etc. etc.),. is really something that developed *just* 50 years ago.

And thus in spite of an evolved theory and notations of SSP and mentions of gamakas earlier, to our palette today "it is very bland". Damning indeed - isnt it :) ?

But not because of this, IMO, things just does not add up at all.

I do not disagree that music changes/evolves - but to say that the music in the 19th century was "flat" and minimal gamakas (compared to today) like some interpretation of SSP today suggests, is a huge stretch. I like a lot more evidence. For example, how come all musicians suddenly started performing with gamakas in 50s (or event 40s, 30s)? Who was the torch-bearer of that style? Why didnt his/her "unique style" stand out so much that people didn't know of it? (newspapers and media were around then). And there are people alive today who were alive then or even alive 20 years ago. How come this went "unnoticed"?

To reiterate - just does not add up at all. If one applies Occam's Razor - the conclusion is our interpretation of SSP is not entirely accurate that the notations do not reflect all the dynamics of the gamakas.

Arun
Last edited by arunk on 26 Sep 2007, 03:08, edited 1 time in total.

arunk
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Post by arunk »

cmlover wrote:Do you hear shaankarabharaNam in MD's nOTTu svaram ? and for that matter does anybody refuse to label it 'shankarabharaNam' :)[/b]
I hear as much sankarabharam as sample #2 in my blog. It follows the structure like sankarabharanam (i.e. like a raga rather than a western piece in that scale - the difference being the theme of that blog post), but you take the gamakas out - it is like that varnam sample on a piano.

Arun

ramakriya
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Post by ramakriya »

cmlover wrote:Do you hear shaankarabharaNam in MD's nOTTu svaram ? and for that matter does anybody refuse to label it 'shankarabharaNam' :)[/b]
I beg to differ - I do not see shankarAbharaNa - of the akhayalinga vibhO, svararAgasudhA or pOgadirelo ranga - in any of the noteswaras, or in kritis such as varalIlagAna lOla.

They are of course in shankarAbharaNa scale, but not in shankarAbharaNa rAga.

-Ramakriya

vasanthakokilam
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Post by vasanthakokilam »

I am not sure how much conclusions you can draw based on the 78RPM recordings of musicians to comment on their vidwat. I think all of them were very short in nature quite contrary to the concert format of 19th century.
Right. Also, another thing to consider about the early 78 RPM recordings is, musicians are asked to sing at high volume ( 'shout' ) due to the primitive recording technology then. They put this huge 'sound capture' thing in front of the artist and and asked them to sing as loud as they can. That is not quite condusive to singing with subtlities. This, in combination with the short duration probably contributed to some of the 'uniqueness' of those early recordings.

I am stating this just in isolation about the nature of the 78 RPM recordings and not necessarily link it to the gamakam issue at hand.

It is a hard puzzle to figure out how the CM of the 19th century sounded. Interviews like the one Ramakriya attempted is definitely a great idea and people should pursue along those lines.

cmlover
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Post by cmlover »

Time for some objective analysis!
First of all let me correct my bloomer! It is 78rpm and not 33rpm which came much later.

I want you folks to listen carefully to the following and comment on the raga and the pattern of delivery.
http://www.sendspace.com/file/i5y05v

I apologize for the quality since it was made long before some of you were born (or even your parents!). It is from part of my family heirloom and there is a poignant family story behind it which if you like I will narrate (but do not want to digress from our topic or usurp the role of our dear Kulkarni who used to entertain us with his delectable family anecdotes (bless him!)

ninjathegreat
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Post by ninjathegreat »

Well, I did ask my grandmother this question about gamakams when she was here with me a couple of months ago. She says that the way gamakams are delivered is different - and it depends on the person, basically - but gamakams have been there since she learnt it (1920s and 30s)... (Her guru was Subbarama Dikshithar's disciple)... She also says that she finds the music nowadays to be more innovative and imaginative than in the 30s or even the 60s, as people are not afraid to innovate these days... (might have misunderstood her, of course :))

vasanthakokilam
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Post by vasanthakokilam »

CML, I can not download that file. Mediafire says 'Your download is starting' but nothing happens for a while and then it fails. Can you reupload please? Thanks.

cmlover
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Post by cmlover »

VK
here you go
http://www.sendspace.com/file/i5y05v
I trust this works

ramakriya
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Post by ramakriya »

ramakriya wrote:
cmlover wrote:
I was convinced it was suddha-dhanyasi during a many minute alapana. The he started "sAmavajavaragama
In spite of the single note difference there is amountain of difference between Hindolam and Sud dhanyasi. Perhaps BMK was doing some tricks :)
cml,

The point Arun was making was that he latched on to the wrong AdhAra shaDja ! :)

The fact was he they were singing Hindola all the time, and they must have tuned the tamboora to m-s-s-s (as they do in Hindustani). This must have made Arun to fix the AdhAra ShaDja on madhyama - and that is how he heard Shuddha dhanyAsi.

-Ramakriya
Here is a song from a kannada movie:

Ilayaraja nicely illustrating grahabhEda.

http://www.musicindiaonline.com/p/x/G4x ... As1NMvHdW/

Now, is it based on shuddha dhanyAsi or hindOLa? ;)

-Ramakriya
Last edited by ramakriya on 27 Sep 2007, 22:09, edited 1 time in total.

arunk
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Post by arunk »

hey that is pretty cool. BTW, I knew rajkumar was this good - he can even sing like janaki ;) (i am talking about the info about this song as displayed by mio)

cmlover - thanks for that one. Reminded me of vaNDinam muralum sOlai by MSS (azhwar pasuram). Also can people see similarities to hindolam in that?

Arun

cmlover
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Post by cmlover »

with his shruti travelling all over town I would say he is singing
avial :)

vasanthakokilam
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Post by vasanthakokilam »

cmlover wrote:VK, here you gohttp://www.sendspace.com/file/i5y05v I trust this works
Thanks CML. Great example to illustrate what we are talking about. In a few places it sounds a lot closer to sindu bhairavi and in most places like thodi with less pronounced gamakas. It is probably due to the fast paced nature of the song.

Arun, I did not hear hindolam in it, but I was not keenly paying attention to all of it either.

vasanthakokilam
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Post by vasanthakokilam »

Ramakriya, where all are the grahabedam segments? Are you referring to the swara singing starting around 4:25? If not, or if there are other places, please point to them as well. Thx.

ramakriya
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Post by ramakriya »

vasanthakokilam wrote:Ramakriya, where all are the grahabedam segments? Are you referring to the swara singing starting around 4:25? If not, or if there are other places, please point to them as well. Thx.
vk,

You can see it begining around 3:30 to about the time you are indicating.

-Ramakriya

vasanthakokilam
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Post by vasanthakokilam »

Thanks Ramakriya.

cmlover
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Post by cmlover »

Well done VK!
I just don't know where Arun listens to Hindolam!
That was by shanmukavadivu (who I guess is the mother of MS). It is not the speed alone but tODi was sung more flat in those days.
Now listen to the following
http://www.sendspace.com/file/i26bhu
We can then discuss both together! In the absence of DRS I will need a lot of help from ramakriya in my interpretations :)
I wish some of the oldtimers should also participate in these discussions. TMK is presenting only secondhand information when he is interpreting SSP...

arunk
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Post by arunk »

I did not imply that the whole thing is like hindOLam: resemblances are fleeting and with tODi it is possible because absence of pa in tODi is not uncommon (e.g. check the entire second half of tODi varnam) - so hovering around "g m d n s" with not much deep tODI ga would resemble hindolam. You bring ri "or remember its feel" - then the resemblance would just vanish in a flash

But then I was the guy who thought hindOLam was suddha-dhanyasi :)

Arun
Last edited by arunk on 28 Sep 2007, 06:59, edited 1 time in total.

arunk
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Post by arunk »

cmlover wrote:TMK is presenting only secondhand information when he is interpreting SSP...
:rolleyes: Let us watch our words shall we ? A couple of samples all of a sudden we are claiming we are doing a better objective analysis than TMK?

I am sorry - I am out of this discussion as of now.

cmlover
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Post by cmlover »

Thanks Arun! No harm meant. I was only poiting out that he has no first hand experience of litening to the way tODi was sung in days of yore. Of course he has done a good research and has brought to our attention the differences that existed in raga bhava in olden times compared to the evolutions that have taken place subsequently.

The tODi of the nAdasvara vidvaans of old were quite different and highly gamakam prone. It is quite possible that the vocalists started imitating them. Listen to GNB's majestic 'thaamatham En' or 'aananda nateshA' which is practically the tOdi of today....

I am awaiting comments on the second clip. Of course I will give time for you to 'chew the cud'.

cmlover
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Post by cmlover »

Arun

I trust you are not upset!

cmlover
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Post by cmlover »

Arun
You are quite right! Todi, shadjama pancama varjita prayOgam (not uncommon) with shruti bhedam on madhyama will prcisely be Hindolam! Thanks for alerting...

vasanthakokilam
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Post by vasanthakokilam »

I am awaiting comments on the second clip. Of course I will give time for you to 'chew the cud'.
I guess this shows that one can sing fast and still bring out the thodi gamakams.

arasi
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Post by arasi »

CML,
So, you put Arun in orbit:)
Now, he can get upset with me if he wants to!

Not really, Arun. I am always impressed by your zeal, don't forget...:)

arunk
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Post by arunk »

no problem. I just did not like the way you worded and even if not seriously aimed - to trivialize TMK and his effort. And maybe others dont feel this way - but I for one am always aware that we are *just* dabblers. At the end of any day, I know like 1% of what they know :)

BTW, I didnt think a graha-bedham was necessary for tODi to sound like hindolam. Same sruthi/graha but keep to g m d n s' (i.e. no ri and no pa). I remember some other discussion on this.

I will look at the sample later. A better sample would be a big 2-kaLai krithi.

Arun

cmlover
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Post by cmlover »

I agree but sa-pa varjitam is common in todi in comparison with ri-pa varjitam. In fact GNB has used the Hindolam grahabhedam using the sa-pa varjitam which was discussed at sangitam some time back.

arasi
it is difficult to argue with Arun; he will never giveup easily!
But it is so easy to get him upset :)

VK
you have very good hearing! But do you think it is 'standrd' tODi that we are used to ?
(clue for others with not so sharp hearing like VK :)
Just slow it down (?200%) using audigy and listen !

venkatpv
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Post by venkatpv »

about SSP's Thodi being different from today's Thodi... there are a couple of points.

First, it is well known that MD composed certain kritis (like Kamalamba Samrakshatu) in the "older" version of the raga (Ananda Bhairavi) and other kritis (like Manasa Guruguha perhaps) in the more prevalent version of the same raga. Maybe he was following the same template for Thodi here? So we have Shri Subramanyo and Dakshayani... and maybe even Shri Krishnam (which is of doubtful authenticity) composed in the more prevalent Thodi. What complicates matters is that, IIRC, Kamalambike is the only kriti in Thodi that is notated in the SSP. so there's no "proof" of him composing in two different versions :( interestingly, rupamu joochi as notated in the SSP is also in that older style of thodi! and Subbarama Dikshitar's ragamalika varnam (Garavamu), sung so beautifully by Prof SRJ, has a thodi passage, which is the thodi of today. i am not sure how it is notated, though...

Second, when i listened to the two versions of Kamalambike sung by TMK, i could see why Thodi has become what it has become... you expect gamakams in certain places, and when they dont come it feels un-Thodi-like... its almost like an invisible thread running between the two Thodi's... i can feel it, but sadly cant explain it.
Last edited by venkatpv on 28 Sep 2007, 18:17, edited 1 time in total.

cmlover
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Post by cmlover »

Here is the answer to sample 4
MPRS',S',S'NR'S'NS'D, D,D,
NDN,,NS'R'M'R'S'P
PDDNP,P
MP MP PMGM,G
GMP,P PNPP PDDN,P
You can verify from the artiste's own words from
http://www.sendspace.com/file/6r3m5o
I agree it is not easy to decipher aTHANA since it does not have a well defined aro/avaro !

Congratulations to Vikram for the 100% accuracy. It will be quite nice if he can explain how he unravelled it.

Thanks venkatpv for that clarification on the tODi issue. Why should MD have two different styles of the same raga? He could have given it a slightly different name! In my view SS should have been the gold standard. However his svarajati which is almost like a lakshnana gItam is very much like modern tODi as rendered by SSI who must have learned it when he was quite young!

venkatpv
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Post by venkatpv »

"Why should MD have two different styles of the same raga?"

the same reason why he composed in Mecha Bauli, Gowri, Navaratna Vilasa, Devaranji etc... i.e. to preserve the old ragas that were dying. although Thodi and A.Bhairavi were not dying, they were assuming a different colour.

vasanthakokilam
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Post by vasanthakokilam »

Thanks CML. I will have to revisit Atana once I have more time. I guess the good thing with Athana which should make it easier than others is, once you get a template like this, other songs should be a bit easier to decode since it has a small set of well defined and identifiable prayogas.

Suji Ram
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Post by Suji Ram »

I am amazed VKS has got 100% accuracy-every bit of swara!! You sure are not a dabbler.

I can now fix mine to correct identification of the "swaras"
However I am not far in my interpretation as I perceive the sounds on the instrument -what's in a name (of the swara)? :)

Learnt quite a bit of prayogas in aThaNa

Cml, you made a mistake in the second line -it should be NDN instead of NSN

sramaswamy
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Post by sramaswamy »

arunk wrote:BTW, I didnt think a graha-bedham was necessary for tODi to sound like hindolam. Same sruthi/graha but keep to g m d n s' (i.e. no ri and no pa). I remember some other discussion on this.
Arun
Maybe this discussion?

http://punar-nava.blogspot.com/2007/02/ ... -todi.html

cmlover
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Post by cmlover »

Thanks Suji! I have corrected my typo...

cmlover
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Post by cmlover »

Thanks sramasvamy for that informative refeerence!

arunk
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Post by arunk »

sramaswamy: Thanks - I remember reading that blog and may be it was that.

vasanthakokilam
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Post by vasanthakokilam »

Thanks for the blog reference. Quite useful and well done with illustrations.

cmlover
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Post by cmlover »

Arun
That voletti Hindolam excursion (malkauns?) quite exciting. Should we look at it more critically? You can choose a right (short please!) passage for our learning experiment!

vasanthakokilam
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Post by vasanthakokilam »

Before we move on to other exercises, can Arun or/and Suji do one thing for the Abhogi piece? Pick out the small prayogas in that clip that brings out the raga swaroopam of Abhogi and provide the timeline for it in the clip. The information is there in the consensus decoded form, but it will be good to have it mapped to the characteristic prayogas of Abhogi. The rest of the swarams will be the bridge notes that take it from one characteristic prayogas to the other.

If we want to do this for all the ragas we discuss, at the end of the exercise, we can crate a table like this. ( made up data just for filling the table )

Code: Select all

"Prayoga Sequence"     "time of occurrence     "esnips embedded url if available"
                      in the exercise clip"     

   MA PA DA SA            2:15 to 2:20          If available, one can click on it and hear just the prayoga
                                                like the Thodi blog or Arun's blog
                                                If it is too short, then it can be a bit longer but then the time of
                                                occurrence in the shortened esnips clip can be specified.
   SA GA RI GA            1:22 to 1:23

   etc.

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

Post by cmlover »

Excellent suggestion VK!
perhaps even the same can be done for the mohanam instrumental as well!

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

Post by arunk »

cmlover, vk: Give me a day or two to look at both (abhOgi and voleti's tODi). This weekend is a very hectic one.

But this does take time and effort though. For the ragas in my blog, I had to sort of listen to many songs and renditions in that raga (as i dont know all the prayogas beforehand).

Will esnips url work here?

Arun

PS: You know it kind of strokes my ego to see comments on the blog ;) . But seriously - some feedback good or bad always helps - i do see hits from rasikas.org but very very few comments

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

Post by vasanthakokilam »

Arun, I have not been to your blog in a while but i will go there and will sure add a comment if I have something to say at that time. That will be my pleasure.

With respect to this table, it does not have to be exhaustive and complete, initially you can just work with the Abhogi clip we studied. Since you already decoded, you can arrange it the reverse way: Prayogas to the timeline. I am not sure if esnips will work here but worth a try. But I found the esnips links in that thodi blog to be very unreliable and at best very slow. But it was OK at your blog.

CML, the short clip you posted, it sounds like Madhuvanthi. I will try to match it with swaras later on. That is the first thing that came to my mind so I will go with that. But given the short clip, let me put down another raga which I have felt have closeness to Madhuvanti: Sumanesa Ranjani. And by another stretch to samudrapriya and madhukauns..( with which I do not have much acquaintance )

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

Post by cmlover »

VK
Do you smell pratimadhyamam in the neighbourhood :)

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

Post by vasanthakokilam »

yes, of course ;) Does not mean it is right. May be I am latching on to the wrong sa. Anyway, the swaras I can come up for this clip is : SA GA2 SA GA2 MA2 PA.... And this is how it come out for me: http://www.sendspace.com/file/8d089h (It is quite frustrating that small clips are also hard to replicate correctly.)

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