Vivadi ragas:

[hanquill]

In Carnatic Music ,Vivadi Swarams -form an important place ,as out of 72 mela Ragas -40Nos are vivadi ragas, they do not occupy the status, in which they are intended to . Many reasons are there for this condition.
The following "attachment" and "detachment" about these ragas would reveal the truth(The detachment go first, so that the attachment would satisfy the detachment position:

Now, at first, let us find out which are the swarams that are called vivadi swarams:
a. Sudha Gandaram-Ga
b.Shatsruthi Rishabam-Ru-
c.Sharsruti Dhaivatam and
d. Sudha Nishadam
Now What is vivadi Swaram-In one "stanam" two "swarams speak"-considering this we get following the vivaadi swarams:-
a. From Sadharana Gandharam-we get Shatsruti Rishabam-Ru
b.From Chatusruti Rishabam- We get Sudha Gandharam-Ga
c.From Chatusruti Dhaivatam- we get Sudha Nishadam-Na
d. From Kaisika NIshadam- we get Shatsruti Dhaivatam-Dhu
Detachment:
1. There is a reference in the "Mridanga Pata Bhodinit" of Anna Malai University book-the term "vivadi" means "Satru"-means enemy-probably occupation for one seat by two persons
2. There is a sying that these are "dissonant"notes.
3.There was a taboo that these swarams have "Dosham" hence many famous musicians of yester years
-refrained from singing these ragas. ( I made kritis in all 72 mela rgams and while doing so, many musicians deterred me, because of the mundane "dosham". I went on as per advice of Vid.S. Rajam
.
Attachment:
1. The venkata Mahin Padhadhi"Asampoorna" was followed by Muthu Swamy Dikshithar -MD IN HIS kRITIS ( tYAGARAJA FOLLOWED "sAMPOORNA pADHADHI) WHICH IS IN vogue to day.

MD used in his kritis vivadi melams in a careful manner -probably due to the difficulty in pronoucing. We can find that in his kritis-the first chakra-of both Sudha Madhyama _MA andPradhi Madhyama-MI- he has used in Arohana "Sa Ra Ma"-omitting Sudha Gandharam-"Ga"-may be due to "RA Ga:-if played together-there will bbe dificulty(only vocal) because Ga requires a certain amount of landing after "Ra"-hence the omission (may not be due to "dosham:-because since MD beinga Srividya Upasaka- he was above the mundane "dosham"
This is proved because-He used both vivadi Ga and Na in Avarohanam-Sa Na Dha Pa Ma Ga Ra Sa.-because it is easy to sing- as in Kanakambari-(reference LDM of Dr Hemalatha-violinist on 72Melam)

2. In the LDM of Dr S. Ramanathan on "Harmony in Vivadi Swarams"- he is very claear in saying about harmony in vivadi swarams.He says for example "when we sing Ru and Gu-they are very close.The proximity that is the problem. If we have a neighbour there will be possibility that there will be bickerings always..Bu to solve this "after Shatsruti Rishabam- tha Anthara Gandharam Gu comes as a "relief" and solve this difficulty.
(If our frined live ina distant place, we have more attachment-likethat)-the word "relief" is used in Western Music- in a sensible manner.

3.This is more clear in Raga like Myamalava gaula-M15-Experts chosen as the "learning" Raga because the the Ra Gu-stand poles apart and there will not be any difficulty for the students to sing or with ease.
Also applicable "Dha and Nu"- same catagory.

These are all my notings on vivadi Ragas-Suggestion Please..-hanquill ..

[satyabalu]

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