Hi all,
I was listening to this varnam sung by MDR (downloaded from sangeethapriya) and had some questions which I hoped
someone here might have some answers/comments for.
In the anupallavi of the varnam, there is a swara pattern "...n n g r g s r n s n d n d p..." (sa ri ga in upper octave).
where MDR sings the gandharams as sAdhAraNa gandharams (G2). My only guide for the ragam is the SSP, where it is
listed as an upAnga janyam of harikedaragaula, so G2 is not allowed.
Is it common to sing this particular passage (and one more in the chittai swarams if I recall right) using G2 or has MDR
probably just followed his taste in singing it this way?
Compared with the ragam as given in the SSP and listening to 'shrI rAmaM' by Dikshitar as sung by SSI, it seems that some prayogams
given in SSP are not found in the varnam and vice versa. The varnam has a number of 'm g r s' prayogams which are not found in the
SSP (at least in shrI rAmam and the sanchari). The plain, long 'da' found in the beginning of the anupallavi of shrI rAmaM
(and in other places in the song), doesn't seem to be found anywhere in the varnam. (also some 'p N n d D' prayogams).
I am wondering if anyone can reply or comment.
Thanks,
Panchi
Narayanagaula varnam, maguva ninne.
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Panchi,
This can be explained on the basis of the anuswaras employed in each rAga. g is a nyUna swara i.e, an insignificant note in NArAyanagaula. In the same SSP, in the anubandham (appendix) you can find a notation for maguva ninne..is the apparent SAdhArana ga always noticed in phrases which go ngr or ngrgrs etc??
This is because the N-G interval is a large one and the good lakshya way was to sing it at a frequency a little lower than Antara Ga. this doesn't mean it is SAdhArana ga. Listen to a Vainika's rendition of NArAyanagaula,(Doreswamayyangar excelled at playing SreerAmam; as acknowledged by PAlghAt mani Iyer, and there is a record available somewhere). Even better, SEE a vainika render sree rAmam or the varnam or anything in NArAyanagaula; and the treatment of g in those phrases will be evident.
'NgR/g srns' the phrase corresponding to 'NAradAdi sannuta' in sreerAmam carries this chyutha(fallen/lowered) gAndhAram. I don't know whether Semmangudi sings it that way.
This slightly lowered Antara Ga also figures in sahana,(in which this antara ga, SAdhArana ga and this AsADhArana ga all occur!) and I have heard it in DKJ's begada in nIvErA kuladhanamu, it the Anupaalavi and in the third line of charanam - gMP mP GRS where the second Ga is like our Ga.
P.S: NArAyanagaula has Ma as an important Nyasa swara (Forget your notes from the SS Pradarshini for a moment..)
Listen to thyagaraja's songs in this Raga - Kadalevadu or Darshanamu sEya sung by Chittor or voleti, should be available at Sangeethapriya and see how Ma is pivotal..
P.P.S : ThyAgaraja's, Dikshitar's, Subbarama Dikshitar's and Kuppayar's versions of the rAga represent the form extant in their times and/or the way they understood and interpreted the raga. they need not be mutually exclusive.
This can be explained on the basis of the anuswaras employed in each rAga. g is a nyUna swara i.e, an insignificant note in NArAyanagaula. In the same SSP, in the anubandham (appendix) you can find a notation for maguva ninne..is the apparent SAdhArana ga always noticed in phrases which go ngr or ngrgrs etc??
This is because the N-G interval is a large one and the good lakshya way was to sing it at a frequency a little lower than Antara Ga. this doesn't mean it is SAdhArana ga. Listen to a Vainika's rendition of NArAyanagaula,(Doreswamayyangar excelled at playing SreerAmam; as acknowledged by PAlghAt mani Iyer, and there is a record available somewhere). Even better, SEE a vainika render sree rAmam or the varnam or anything in NArAyanagaula; and the treatment of g in those phrases will be evident.
'NgR/g srns' the phrase corresponding to 'NAradAdi sannuta' in sreerAmam carries this chyutha(fallen/lowered) gAndhAram. I don't know whether Semmangudi sings it that way.
This slightly lowered Antara Ga also figures in sahana,(in which this antara ga, SAdhArana ga and this AsADhArana ga all occur!) and I have heard it in DKJ's begada in nIvErA kuladhanamu, it the Anupaalavi and in the third line of charanam - gMP mP GRS where the second Ga is like our Ga.
P.S: NArAyanagaula has Ma as an important Nyasa swara (Forget your notes from the SS Pradarshini for a moment..)
Listen to thyagaraja's songs in this Raga - Kadalevadu or Darshanamu sEya sung by Chittor or voleti, should be available at Sangeethapriya and see how Ma is pivotal..
P.P.S : ThyAgaraja's, Dikshitar's, Subbarama Dikshitar's and Kuppayar's versions of the rAga represent the form extant in their times and/or the way they understood and interpreted the raga. they need not be mutually exclusive.
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panchi
- Posts: 13
- Joined: 03 Feb 2007, 03:46
Hi Keerthi,
Thank you very much for your reply and comments.
I think I understand the cyuta ga concept here, especially in 'n g r' and 'n g r g s r'. Semmangudi does occasionally seem to do sing it lower in such phrases.
Actually what I understand by cyuta swaram is from this documentary about Semmangudi: http://uk.youtube.com/watch?v=TM2NQGoCBQs around 10:10 or so he demonstrates a cyuta shadjam in todi in - is that what you also meant by cyuta swaram (not to doubt you or the great man, but maybe there are different ways in which the cyuta note can occur)?
The Narayanagaula phrases seem to executed in a similar way, with the ga given a fleeting touch from below, sometimes a little low.
But the MDR version seems too low, and pretty much a sadharana gandhara, I felt.
Re. your description of ga as an 'insignificant' note in Narayanagaula I guess you meant it in the above context, and also relative to Ma which is a dominant swaram? (since there are places where ga is sung plain and flat, including the beginning)
Reg. your comment about the different treatment/facets/forms of the ragam of different composers, I guess the different versions of the ragam give more variety/breadth to exploit. But sometimes they sound so different - there are a lot of m g r s prayogams in the varnam, and almost always p n s but only one p n d n s (of course lot of n d n d p, etc.).
I am finding 'kadale vadu' a very different beast! (chittoor version). Seems like he is singing 's n d s n d n p', 'n d n p - d n s n d n S', etc. in the anupallavi. I will listen to it more carefully and try to understand it.
Thanks again,
Panchi
p.s. Vidya, MDR seems to sing an extra chittai swaram, not found in the A.S.Panchapakesa Iyer book or the SSP anubandha. He sings it as the fourth chittaswarams, before the last one which is the same as the 4th in the varnam book. Any info on the authenticity/source of this would also be appreciated.
Thank you very much for your reply and comments.
I think I understand the cyuta ga concept here, especially in 'n g r' and 'n g r g s r'. Semmangudi does occasionally seem to do sing it lower in such phrases.
Actually what I understand by cyuta swaram is from this documentary about Semmangudi: http://uk.youtube.com/watch?v=TM2NQGoCBQs around 10:10 or so he demonstrates a cyuta shadjam in todi in - is that what you also meant by cyuta swaram (not to doubt you or the great man, but maybe there are different ways in which the cyuta note can occur)?
The Narayanagaula phrases seem to executed in a similar way, with the ga given a fleeting touch from below, sometimes a little low.
But the MDR version seems too low, and pretty much a sadharana gandhara, I felt.
Re. your description of ga as an 'insignificant' note in Narayanagaula I guess you meant it in the above context, and also relative to Ma which is a dominant swaram? (since there are places where ga is sung plain and flat, including the beginning)
Reg. your comment about the different treatment/facets/forms of the ragam of different composers, I guess the different versions of the ragam give more variety/breadth to exploit. But sometimes they sound so different - there are a lot of m g r s prayogams in the varnam, and almost always p n s but only one p n d n s (of course lot of n d n d p, etc.).
I am finding 'kadale vadu' a very different beast! (chittoor version). Seems like he is singing 's n d s n d n p', 'n d n p - d n s n d n S', etc. in the anupallavi. I will listen to it more carefully and try to understand it.
Thanks again,
Panchi
p.s. Vidya, MDR seems to sing an extra chittai swaram, not found in the A.S.Panchapakesa Iyer book or the SSP anubandha. He sings it as the fourth chittaswarams, before the last one which is the same as the 4th in the varnam book. Any info on the authenticity/source of this would also be appreciated.
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Panchi,Vidya,
The ettugada swaram p/dmp/mrgr is found in the last volume of the SSP. There is something to be said about Subbarama Dikshitar's notations of Varnas; He has also included a third chitteswaram in the Bhairavi Ata-tAla varnam 'Viribhoni'. There are two versions of the swaram given consecutively.. and he says "I have demonstrated how the earlier scholars would present it"..
Panchi : You said -
(not to doubt you or the great man, but maybe there are different ways in which the cyuta note can occur)
There is an anusvara difference in the Kaisiki ni seen in srI and madhyamAvathi - In PAlimchu KAmAkshI - the notation for chAla in chAla BahuvidhamugA ninnu (Anupallavi) is PsN,, where the ni is infinitesimally higher, and this effect is accentuated by the snsnsn oscillation.
In SrI-AbhayAmba the Sree raga song of Dikshitar - the the charana's first line - Nee atyadbhuta-shubha-guna etc, the Nee is slightly lower than Kaisiki NishAdam,
If you take the instance of Thodi or VarAli (or Sahana as I mentioned before) each Raga encompasses a set of gAndharas..
In thodi one can hear the characteristic gmgmgm oscillated Ga, an occasional Sadharana Ga(Usually in the TAra octave) and even a rare suddha Ga! Varali uses a Ga slightly higher than Suddha ga more frequently than the Suddha Ga.
Several renditions of VarAli trespass onto Shubhapantuvarali because of the singers carrying an 'AndOlita'(oscillating) gamaka too far.
These things in the pre-notation days would crystallise into pathAntarams, and the different versions of the rAga?song would persist. the same may be true of MDR.
You also said :
your description of ga as an 'insignificant' note in Narayanagaula I guess you meant it in the above context, and also relative to Ma which is a dominant swaram? (since there are places where ga is sung plain and flat, including the beginning)
By insignificant swara, I just mean it is not a Landing note for phrases(Nyasa swara). I am no note Nazi, and have the highest regard for sri AnTara GAndhAra! Frequency of phrases landing at and revolving around an 'insignificant note ' is less. This is all I mean.
Regarding differences in treatment, this is an opinion I have never shared before, but I feel that most compositions are woven around a particular facet or a particular perspective of the Raga, and the AlApana prelude and the following Kalpana swaras should be cognate to the krthi, and must serve to emphasise the beauty of the krthi and the unique aspects of the rAga it stands for. It must have been the appreciation of a different melodic image of the RAga which inspired the creation of each of those many songs in each RAga.
The next level would be to try and distinguish the different versions of a rAga as seen by each composer.
Then again this is just my wooly-headed idea.
The ettugada swaram p/dmp/mrgr is found in the last volume of the SSP. There is something to be said about Subbarama Dikshitar's notations of Varnas; He has also included a third chitteswaram in the Bhairavi Ata-tAla varnam 'Viribhoni'. There are two versions of the swaram given consecutively.. and he says "I have demonstrated how the earlier scholars would present it"..
Panchi : You said -
(not to doubt you or the great man, but maybe there are different ways in which the cyuta note can occur)
There is an anusvara difference in the Kaisiki ni seen in srI and madhyamAvathi - In PAlimchu KAmAkshI - the notation for chAla in chAla BahuvidhamugA ninnu (Anupallavi) is PsN,, where the ni is infinitesimally higher, and this effect is accentuated by the snsnsn oscillation.
In SrI-AbhayAmba the Sree raga song of Dikshitar - the the charana's first line - Nee atyadbhuta-shubha-guna etc, the Nee is slightly lower than Kaisiki NishAdam,
If you take the instance of Thodi or VarAli (or Sahana as I mentioned before) each Raga encompasses a set of gAndharas..
In thodi one can hear the characteristic gmgmgm oscillated Ga, an occasional Sadharana Ga(Usually in the TAra octave) and even a rare suddha Ga! Varali uses a Ga slightly higher than Suddha ga more frequently than the Suddha Ga.
Several renditions of VarAli trespass onto Shubhapantuvarali because of the singers carrying an 'AndOlita'(oscillating) gamaka too far.
These things in the pre-notation days would crystallise into pathAntarams, and the different versions of the rAga?song would persist. the same may be true of MDR.
You also said :
your description of ga as an 'insignificant' note in Narayanagaula I guess you meant it in the above context, and also relative to Ma which is a dominant swaram? (since there are places where ga is sung plain and flat, including the beginning)
By insignificant swara, I just mean it is not a Landing note for phrases(Nyasa swara). I am no note Nazi, and have the highest regard for sri AnTara GAndhAra! Frequency of phrases landing at and revolving around an 'insignificant note ' is less. This is all I mean.
Regarding differences in treatment, this is an opinion I have never shared before, but I feel that most compositions are woven around a particular facet or a particular perspective of the Raga, and the AlApana prelude and the following Kalpana swaras should be cognate to the krthi, and must serve to emphasise the beauty of the krthi and the unique aspects of the rAga it stands for. It must have been the appreciation of a different melodic image of the RAga which inspired the creation of each of those many songs in each RAga.
The next level would be to try and distinguish the different versions of a rAga as seen by each composer.
Then again this is just my wooly-headed idea.
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vainika
- Posts: 435
- Joined: 03 Feb 2010, 11:32
=> To me these oscillating Gs sound more tODi-ish* than sp-varALi-ish, as sp-varALI does not have an oscillating G: it has a relatively plain G- sAdhAraNa in both senses of the adjective. This higher plain G is close to what one sometimes finds in older varALi renditions such as in nAgasvaram recordings of Rajarathnam Pillai.keerthi wrote: Several renditions of VarAli trespass onto Shubhapantuvarali because of the singers carrying an 'AndOlita'(oscillating) gamaka too far.
=> These ideas have both precedent and merit, and Prof SRJ has discussed them in many a lecdem. The mukhAri-s of the Trinity and nIlAmbarI of tyAgarAja vs. dIkShitar are oft-cited examples of inter-composer differences in treatment of the same rAga.keerthi wrote: I feel that most compositions are woven around a particular facet or a particular perspective of the Raga, and the AlApana prelude and the following Kalpana swaras should be cognate to the krthi, and must serve to emphasise the beauty of the krthi and the unique aspects of the rAga it stands for. It must have been the appreciation of a different melodic image of the RAga which inspired the creation of each of those many songs in each RAga. The next level would be to try and distinguish the different versions of a rAga as seen by each composer. Then again this is just my wooly-headed idea.
There are also intra-composer differences, such as kamalAmbA vs. mAnasa guruguha treatments of Ananda-bhairavI.
vainika
* Have you noticed how many people render tODi G as flat as varaLi G too?
Last edited by vainika on 09 Jan 2009, 18:10, edited 1 time in total.
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
vainika,
What I find is in some ragas with G2 (not Shubhapantuvarali), the ga has G1 touch. One is shadvidamargini (some styles), and I also find it to be true with asAveri (although may be that is R2 there?).
Am I correct in presuming that the G1 in varali is unique in the sense that other ragas with G1 may render it flat or as a descending slide from ma (m1 or m2) ?
Arun
What I find is in some ragas with G2 (not Shubhapantuvarali), the ga has G1 touch. One is shadvidamargini (some styles), and I also find it to be true with asAveri (although may be that is R2 there?).
Am I correct in presuming that the G1 in varali is unique in the sense that other ragas with G1 may render it flat or as a descending slide from ma (m1 or m2) ?
Arun
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vainika
- Posts: 435
- Joined: 03 Feb 2010, 11:32
There is the common version of asAvEri where R2 occurs explicitly. You will find this in kRtis such as rAra mAyiNTi dAka. S Balachander once drove home this point in a 1980s IFAS concert where he dwelt on the phrase r2 p m1 r2 - G2 r1 S and variants of it in kalpanAsvara passages.arunk wrote:What I find is in some ragas with G2 (not Shubhapantuvarali), the ga has G1 touch... and I also find it to be true with asAveri (although may be that is R2 there?).
There is also the (older? MD paddhati?) version illustrated by some renditions of chandram bhaja without R2 at all.
arunk wrote: Am I correct in presuming that the G1 in varali is unique in the sense that other ragas with G1 may render it flat or as a descending slide from ma (m1 or m2) ?
I suspect G1 is sharper in all rAgas where it is succeeded by a M2 than in those where it is succeeded by M1.
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panchi
- Posts: 13
- Joined: 03 Feb 2007, 03:46
Hi Keerthi,
I think what Vidya meant and my unclear reply regarding that was that MDR sings an extra chittaswaram
(making a total of 5), between the 3rd and 4th chittaswarams of the ASPIyer varnam book
and the SSP. It goes like:
m , g r s-n.s r m ,-p d p m g r m ,-p n |
n d d p m ,-p S n d p d m , p d m , g r |
m , g r s n s r m , p m p m g r ||
m , g r s r m p
(chinna...)
(MDR sings it nicely the second time, emphasizing some of the ma's by singing the two swaras just before
them and pausing after them)
Thanks for your other comments, I will think about them and reply.
Panchi
I think what Vidya meant and my unclear reply regarding that was that MDR sings an extra chittaswaram
(making a total of 5), between the 3rd and 4th chittaswarams of the ASPIyer varnam book
and the SSP. It goes like:
m , g r s-n.s r m ,-p d p m g r m ,-p n |
n d d p m ,-p S n d p d m , p d m , g r |
m , g r s n s r m , p m p m g r ||
m , g r s r m p
(chinna...)
(MDR sings it nicely the second time, emphasizing some of the ma's by singing the two swaras just before
them and pausing after them)
Thanks for your other comments, I will think about them and reply.
Panchi
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bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
I was taught to play G3 all the way in this varnam. There are also recordings of TNK on MusicIndia/Sangeethapriya and MSG on Sangeethapriya of this varnam. Can anyone shed some light on nature of gamakas/ phrases in this ragam? Also, when you play M-N phrases in this raga, do you slide from M to N? In one rendition I hear noticeable glides, but my teacher told me specifically not to (too much Surutti?)? One distinct thing I've always noticed is in the panchamam, which usually takes a slow glide from madhyamam (especially noticeable in lower octave MMP,, phrase in varnam's swaras). As a big fan of the Narayanagowla/ Kedaragowla/ Surutti group of ragams, I'm especially interested in Narayanagowla's distinct character, which I have always found difficult to exactly pin down.
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davalangi
- Posts: 90
- Joined: 08 Jul 2005, 01:36
Prof.SRJ's rendition of the varnam is available here:
http://www.youtube.com/watch?v=vaKWukOEzG0
http://www.youtube.com/watch?v=vaKWukOEzG0
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vijay
- Posts: 2522
- Joined: 27 Feb 2006, 16:06
To me, NDNS is one of the characteristics phrases that gives N Gowla away. As SRJ explained, NG can support a plain rest on the Gandharam (esp SRM,G) which is much weaker in KG. NSRN - MPDM is also a characteristic samvadhi prayoga. Between these I think NG's identity can be established.
I am afraid I don't know enough about the glide from M to N
I am afraid I don't know enough about the glide from M to N
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panchi
- Posts: 13
- Joined: 03 Feb 2007, 03:46
Hi all.
Thanks for the SRJ link (and for uploading other videos of his on youtube), davalangi. He also mentions the lowered ga in ni-ga phrases.
He gives an interesting demo about Tiger's swaram singing style too.
Keerthi, I managed to get part of Doreswamy Iyengar's rendition of Shri ramam, which gets cut off just after 'nAradAdi sannuta':
http://sangeethamshare.org/parameshwar/ ... agowla.mp3
In this rendition of the phrase I don't see the cyuta gandharam. In fact he plays the second ga a little plainly as opposed to the n/g r/g slides which others sing.
I listened more to kadalevADu (Somu and Chittoor versions) and found it very different.
There is a place where there is 'g m g m g r s ,' (at 'rAmuDu', after 'r p , m , ,' - gADE) in the pallavi.
Could it be that in Tyagaraja's version of Narayanagaula 'p m g m g r s' is okay too, just like 's n d n d p' ?
The song seems to have also have phrases like 'p d n , d n s ,' in one sangati of the pallavi in Somu's version.
Chittoor even sings what seems like 'd n s r g m g r s ,' (supposed to be 'd n s r g m g g r s ,' ?) in the anupallavi which was too much for me
.
I guess I am too attached to the shrI rAmam (and now the varnam) versions of narayanagaula and needed to detach myself from that to appreciate this version of the ragam.
Bilahari, in reply to your question about characteristic usages of Narayanagaula, just my 2c based on listening and observing (and humming):
As observed by Shrikaanth K Murthy in the discussion on http://www.forumhub.com/indcmusic/4382.07.22.35.html
jarus are very important in Narayanagaula.
This includes slides up from ri to ma, and pa to ni, followed by emphases on ma and ni respectively, and also the r/g, n/g slides
observed in the conversation earlier.
One slide that MDR (and SRJ) sings a couple of times in the varnam is the r/n slide - in the anupallavi (n s r m , m g r-n , , n d p' - '(sogasulA) A di ...pai....') and in the
muktayi-swarams: m,mgr-n,ndp. This r/n slide reminds me of the one in desh like in the first line Lalgudi tillana (I've only heard his rendition). But imho it seems apt here
(and probably predates the popularity of desh in south India?)
Jantais at ma and ni seem to give beauty to the ragam and seem to be used a lot in the varnam.
I like the way of pronouncing phrases with 'm , m' and 'ni ni' as 'mam-ma' and 'nin-ni' respectively.
This also seems to result in the ma/ni notes being emphasized more and adds to raga bhavam.
There is also a nice symmetry in the swarams around sa and pa (not necessarily always harmonic relationship between notes),
E.g.:
s r n s n n d p
p d m p m m g r g r s
n s n g r g s r
m p m n d n p d
Of course, if you know the varnam, then you know all the beautiful patterns that Kuppayyar has explored.
Interestingly, a google search for 'narayanagaula' turned up this nice short story:
The Grass On The Other Side
- Chaya Raman
http://www.sawf.org/newedit/edit09272004/sstory.asp
Exerpts:
"Varadarangan ventured to look out of the window boldly. There was the dignified Shanta kumar the greatest playback singer in South India. Frenzied hands were seeking his autographs and his secretary had to intervene and ask the singer to board the train."
...
Shanta Kumar's head was a cauldron. Life had offered him fame and fortune yet he sought something else, something that Iyer alone had. He tried to go back to sleep but the jarring voice of the Mylapore connoisseur kept ringing in his years, " Saar, Anyone with a good voice can sing in 300 movies. These playback singers are mere performing monkeys in the hands of music directors. Now Look at our Narayanaswami Iyer. He is the direct descendant of Tyagaraja. Can anyone sing the raga Narayanagaula like him with not even an iota of Kedaragaula sneaking in? Our music lives because of musicians like Iyer"!
......
(End of excerpt).
The story then goes into the thoughts in Iyer's mind and is interesting.
Panchi
Thanks for the SRJ link (and for uploading other videos of his on youtube), davalangi. He also mentions the lowered ga in ni-ga phrases.
He gives an interesting demo about Tiger's swaram singing style too.
Keerthi, I managed to get part of Doreswamy Iyengar's rendition of Shri ramam, which gets cut off just after 'nAradAdi sannuta':
http://sangeethamshare.org/parameshwar/ ... agowla.mp3
In this rendition of the phrase I don't see the cyuta gandharam. In fact he plays the second ga a little plainly as opposed to the n/g r/g slides which others sing.
I listened more to kadalevADu (Somu and Chittoor versions) and found it very different.
There is a place where there is 'g m g m g r s ,' (at 'rAmuDu', after 'r p , m , ,' - gADE) in the pallavi.
Could it be that in Tyagaraja's version of Narayanagaula 'p m g m g r s' is okay too, just like 's n d n d p' ?
The song seems to have also have phrases like 'p d n , d n s ,' in one sangati of the pallavi in Somu's version.
Chittoor even sings what seems like 'd n s r g m g r s ,' (supposed to be 'd n s r g m g g r s ,' ?) in the anupallavi which was too much for me
.I guess I am too attached to the shrI rAmam (and now the varnam) versions of narayanagaula and needed to detach myself from that to appreciate this version of the ragam.
Bilahari, in reply to your question about characteristic usages of Narayanagaula, just my 2c based on listening and observing (and humming):
As observed by Shrikaanth K Murthy in the discussion on http://www.forumhub.com/indcmusic/4382.07.22.35.html
jarus are very important in Narayanagaula.
This includes slides up from ri to ma, and pa to ni, followed by emphases on ma and ni respectively, and also the r/g, n/g slides
observed in the conversation earlier.
One slide that MDR (and SRJ) sings a couple of times in the varnam is the r/n slide - in the anupallavi (n s r m , m g r-n , , n d p' - '(sogasulA) A di ...pai....') and in the
muktayi-swarams: m,mgr-n,ndp. This r/n slide reminds me of the one in desh like in the first line Lalgudi tillana (I've only heard his rendition). But imho it seems apt here
(and probably predates the popularity of desh in south India?)
Jantais at ma and ni seem to give beauty to the ragam and seem to be used a lot in the varnam.
I like the way of pronouncing phrases with 'm , m' and 'ni ni' as 'mam-ma' and 'nin-ni' respectively.
This also seems to result in the ma/ni notes being emphasized more and adds to raga bhavam.
There is also a nice symmetry in the swarams around sa and pa (not necessarily always harmonic relationship between notes),
E.g.:
s r n s n n d p
p d m p m m g r g r s
n s n g r g s r
m p m n d n p d
Of course, if you know the varnam, then you know all the beautiful patterns that Kuppayyar has explored.
Interestingly, a google search for 'narayanagaula' turned up this nice short story:
The Grass On The Other Side
- Chaya Raman
http://www.sawf.org/newedit/edit09272004/sstory.asp
Exerpts:
"Varadarangan ventured to look out of the window boldly. There was the dignified Shanta kumar the greatest playback singer in South India. Frenzied hands were seeking his autographs and his secretary had to intervene and ask the singer to board the train."
...
Shanta Kumar's head was a cauldron. Life had offered him fame and fortune yet he sought something else, something that Iyer alone had. He tried to go back to sleep but the jarring voice of the Mylapore connoisseur kept ringing in his years, " Saar, Anyone with a good voice can sing in 300 movies. These playback singers are mere performing monkeys in the hands of music directors. Now Look at our Narayanaswami Iyer. He is the direct descendant of Tyagaraja. Can anyone sing the raga Narayanagaula like him with not even an iota of Kedaragaula sneaking in? Our music lives because of musicians like Iyer"!
......
(End of excerpt).
The story then goes into the thoughts in Iyer's mind and is interesting.
Panchi
-
bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
Thank you for that excellent and informative post, panchi. I have only heard Sri Ramam and Maguvaninne in this ragam, so I do not know anything about the odd phrases in other compositions. Just on some rough humming, I find gmgm acceptable to the raga's "feel," but find any srgm or rgm phrases rather alien. In fact, in one rendition of Maguva, I heard the G in mg, rGrG s,,, sung as GMG GMG, brushing the madhyamam, and liked that particular oscillation so much that's how I play that gandharam nowadays! No idea if it's technically correct. As you observe, the bhavam of the ragam seems to me to center on the madhyamam and nishadam, and a SRGM phrase seems to detract from the emphasis on the madhyamam otherwise achieved by a RM or SM phrase even. Punctuating those phrases with the gandharam seems to abrupt the progression to the madhyamam (just my rather poor hypothesis on why such a phrase sounds weird to me).
Of the phrases you list, MPMNDNPD seems to me to be one of THE characteristic NG phrases. If I were to sing an alapanai or sketch in the ragam, I would probably start it with the charanam phrases of the varnam, like NDN,,,,, NDND P,,,,,, MPMNDNPDMPMMGRG S,,,,, etc.
Of the phrases you list, MPMNDNPD seems to me to be one of THE characteristic NG phrases. If I were to sing an alapanai or sketch in the ragam, I would probably start it with the charanam phrases of the varnam, like NDN,,,,, NDND P,,,,,, MPMNDNPDMPMMGRG S,,,,, etc.