Why are the initial exercises for a beginner in MÄÂÂ

[sama]

The musical exercises Saraḷi Varisai, Janá¹­a Varisai et al are set in RÄÂÂ

[srikant1987]

I think Purandara Dasa started the tradition of having few initial lessons done in MMG.

It has 1-semitone intervals (sr, gm, pd, ns), 2-semitone interval (mp) as well as 3-semitone intervals (rg, dn).

Among the ancient srgmpdns - sndpmgrs ragas of kalyANi, Sbharanam and MMG, 3-semitone intervals are possessed only by MMG.

Hindustani musicians usually start with bilAwal which corresponds to Sbharanam's scale.

kalyANi has the pratimadhyama which is supposed to be a "difficult note" for beginners.

[vasanthakokilam]

>I think Purandara Dasa started the tradition of having few initial lessons done in MMG.

We had discussed the validity of this often written about aspect of CM history before. I realize it is hard to come up with solid evidence as to who started it, but what is the evidence that it was indeed Sri. Purandara Dasa who started this tradition. I am not necessarily questioning the evidence or the validity of it, but want to know on what available material this 'belief' is based on. Are there any written references or it is just based on the transmission of information from one generation to another?

Answering the question about why MMG, people do say that there is a self symmetery between the purvanga ( SRGM ) and uttaranga ( PDNS ). I see that and I can see the benefits of it but is that necessarily easier to grasp for the beginner? As we discussed in another thread, on the flute, it is hard to produce these semi-tone intervals ( produced through half open holes ) and so teachers start with Hari Kambhodi swarasthanas for getting the basic techniques right and then start the lessons on MMG.

[sama]

I do agree with you, there is a certain symmetry between the Ä€rÃ…ÂÂ

[sramaswamy]

Another reason trotted out in favour of Mayamalavagowla is this. Even sankarabharanam,. karaharapriya and thodi present same uttaranga as purvanga. But in mayamalavagowla we have r1, g3 d1 and n3 that does double up as another swarasthana.

[baboosh]

I think Purandara Dasa started the tradition of having few initial lessons done in MMG.

It has 1-semitone intervals (sr, gm, pd, ns), 2-semitone interval (mp) as well as 3-semitone intervals (rg, dn).

Among the ancient srgmpdns - sndpmgrs ragas of kalyANi, Sbharanam and MMG, 3-semitone intervals are possessed only by MMG.

Hindustani musicians usually start with bilAwal which corresponds to Sbharanam's scale.

kalyANi has the pratimadhyama which is supposed to be a "difficult note" for beginners.

I remember seeing an interview with Semmangudi where he suggested starting lessons with Dheera sankarabharanam which he felt was better for starting lessons

[srikant1987]

I've attended an SRJ lecture where he said he felt Sbharanam or khpriya will be good to start with.

[lifeisasong]

My parents have learned Hindustani and I learn Carnatic.
They began with Yaman and Yaman thaat ragas (some schools follow this system), not Bhairav.
When I explained to my dad about MMG he exclaimed, "Wow that's a tough raga to begin with-but maybe you'll find the others easier if you master MMG".
I have a tough time with the semi-tones in akara sadhana, without lots of practice...though I am okay singing the swaras.
Seetha Rajan teaches her students Mohanam first.

[ramakriya]

>I think Purandara Dasa started the tradition of having few initial lessons done in MMG.

We had discussed the validity of this often written about aspect of CM history before. I realize it is hard to come up with solid evidence as to who started it, but what is the evidence that it was indeed Sri. Purandara Dasa who started this tradition. I am not necessarily questioning the evidence or the validity of it, but want to know on what available material this 'belief' is based on. Are there any written references or it is just based on the transmission of information from one generation to another?

Answering the question about why MMG, people do say that there is a self symmetery between the purvanga ( SRGM ) and uttaranga ( PDNS ). I see that and I can see the benefits of it but is that necessarily easier to grasp for the beginner? As we discussed in another thread, on the flute, it is hard to produce these semi-tone intervals ( produced through half open holes ) and so teachers start with Hari Kambhodi swarasthanas for getting the basic techniques right and then start the lessons on MMG.

I think there are 2 reasons that are cited as evidence - but both of them are indirect.

1. Subburama Dikshita (in SSP) states that the bAlapAThas were set by Purandara dasa. But we all know he came a good 3 centuries after Purandara Dasa, but he must have based his writing on some traditional belief.

2. Most texts composed by authors in Karnataka have given a supreme status to mALavagouLa as a mELa and rAga ( Pandarika Vithala, Ramamatya etc). Indirectly we can infer that the rAGa was popular in karnATaka region.


Additionally, according to Prof R Satyanarayana, Malavagoula was derived from the uttaramandrA murchane of shaDja grAma, and this relation was instrumental to make it an important mELa during grama ---> mELa transition in the 14th-15th centuries.

[ Interestingly, Govinda Dikshita, on the other hand (living in Tanjavoor) says mALavagouLa is not very well known rAga, and places gurjari as a mELa - however his son Venkatamakhi changes it back to gouLa mELa]

-Ramakriya