Naata ragam - Kaisiki Nishadam?

[mdmurthy3]

Hello

Whatever I know, the Naata ragam does not use any anya swarams..

However, in "Jagadaananda Karaka" of Saint Tyagaraja, the the kaisiki nishadham(ni1) was used liberally in
charanams(both swara and sahithyam) which I think is not appropriate.

I heard this kriti rendered by many music stalwarts..Everyone used Ni1 and rarely teevra Ni2

Would like to have some clarification on this from the learned members..

Thanks

Dakshinamurthy
Secunderabad
India

[mohan]

Exactly in which carana lines is the Ni1 coming in?
Perhaps you can give some examples of the swaras especially.

[PUNARVASU]

What you refer to as kaishiki nishadam, is the shatshruthi daivatam or D3, the vivaadi swaram.

[Rsachi]

This point comes across very well in SB's LecDem:
http://www.rasikas.org/forums/viewtopic. ... 46#p237246

[mdmurthy3]

for example in 3rd charanam..

swaram:
paa ni paa ni pama
maapa maapa gama
............................

sahithyam:
indra neela mani

similarly in last charanam

and of course many other places...

especially in "pa ni " usage..

some places it was fine.

One more observation is : this kriti is completely void of dh3 the vivadi swaram.

[mdmurthy3]

This point comes across very well in SB's LecDem:
http://www.rasikas.org/forums/viewtopic. ... 46#p237246

Hello Rsachi

Thanks for the link.

I went through the audios.. whatever Tamil I could understand I find very little
or no mention of usage Ni1/Ni2 in Nata in the audio file 1.Other audios talk of other ragams

Pls correct me if I did not understand it properly.

Thanks in advance

[keerthi]

mdmurthy, It is true that many many people while singing nAta, use the reduced (almost kaisiki) ni, and similarly use sAdhArana gAndhAram for the antara gAndhAra. This is sometimes due to poor training, or following bad pAthAntaras; or the faulty indiscriminate use of gamakas.

g,mpnpg,, for kAmita-phaladA in the carana sRSti-sthityanta is a victim of singing a shaken and stirred sAdhAraNa g instead of G3.

The most popular version of the song swaminAtha paripAlaya, by a stalwart from the past; has pn2/mp for bhAvita instead of pn3/mp. Similarly g2/mp,p for vAmadEvA instead of G3.

There is a liberal use of catusruti R and n\gp instead of n\mp in the caranas of the gauLa pancaratna [tana madini bhuvini], where the singer takes anticipatory bail, by singing a pallavi that translates to 'Please forgive my sins, O prince'.

[vasanthakokilam]

the singer takes anticipatory bail, by singing a pallavi that translates to 'Please forgive my sins, O prince'.

Nice..

[eesha]

What you refer to as kaishiki nishadam, is the shatshruthi daivatam or D3, the vivaadi swaram.

but the saint has not used shatshruthi daivatam in any of his compositions in nAtai

[keerthi]

but the saint has not used shatshruthi daivatam in any of his compositions in nATTai

Not true. There are pAThAntaras for both (=all) compositions in nATTai using the SaTsruti dhaivatam.