prati madyama priya or rishaba priya?

[shankarank]

Rishaba Priya - the 62 has all ratios of prati madyamam. Most notes lack samvadi/anuvadi except pa - ri. But then a closer look we can see a uniform parati-madyama ratio between R2 - D1 , G3 - N2 , with M2 itself present as well.

But then since there is a samvadi bias - the rAga has been named rishaba-priya - should be pratimadyamapriya!.

No wonder the man who new the M2 so well to dwell on dwimadyama rAgAs excelled in this raga: https://archive.org/details/03GhananayaRishabhapriyA with a mind blowing neraval.

niShAdapriya - is it a reference to the lord as a friend of niShAdas - where one of his consort is from?

The way ga-na in gana naya desika is taken in subsequent sangatis as well as when heading back from AP and caranams - is a S-M2 in action. A sUcita swaraksharam - where na in gana is at N2(Ni) adorns the beginning and a caranAm is devoted to celebrate the swaras.

A fitting reply to samvAditava-vAdis - where the raga is not viVadi ( no dry arguments) - but prativAdi.

prativAditva could be a concept of its own?

[shankarank]

Here is the rAgA gOpriya - with pancamam removed from rishabhapriya from Dr Sowmya - so even the one samvAdhi ( R2 - P) is gone.

https://youtu.be/GuU2A3VWFrc?t=815

rAga is conserved when it is invariant under graha bhEda transformation if I may use physicist's language

May be this rAga can be called with the name pratimadyama priya!

Lots of other SR treasures in this concert/presentation!

[Ranganayaki]

Just as every swara in this raga, with the exception of P, has a pratimadhyama pair : S-M, R-Dh, G-N, M-S, Dh-R, N-G, we also see that every swara, again with the exception of P, has a chatusruti rishabha pair with the swara immediately following it: S-R, R-G, G-M, M-Dh, Dh-N, N-S and all these pairs fall within the same octave. So by the token described above by Shankarank, Rishabhapriya is a perfectly fine name for this raga if not better. But thank you for providing me the logic of this name. It sounded quite randomly named to me. Still, all this would be silly if "Rishabha" were to simply mean the bull, and the proportions were just a coincidence. Who knows!

I do have a feeling "Pratimadhyamapriya" would break the rule of the katapayadi system. It has to be 62, but I think it would become 61 with the new name. What is the convention for half letters? I can't imagine that we would consider the first letter to be Ra and not Pa which would make it 61.

So Gopriya could be Rishabhapriya too.

[shankarank]

Well in a sampURna rAga - every next note is a rishabam to the previous! What rishabam it is may differ. but relation between upper / lower tetra chord is the one that is a bigger factor in the expression of the rAgA - so I focused on that more.

[sureshvv]

Well in a sampURna rAga - every next note is a rishabam to the previous! What rishabam it is may differ.

I think Ranganayaki's point was that in this raga it is the same. And I can't see this being true of any other raga. But yes! has to be a coincidence

[shankarank]

Yes on the same lines for gOpriya - every other note ( remember farther the notes are apart - more mutual consonance they exhibit) is an antara gandhara ( 5/4 - still quite a low simple integer ratio) to the former.

So ga-priya -> gOpriya - some paNiNi sUtram will save us rakshati DukkrinckaraNE - well musically it is a sUcita svarAksharam

[Ranganayaki]

I thought of both your points as I wrote. I agree that the musicality is more important. However while every note of any sampurna raga is a rishabha of the previous note, only this raga has a uniformly chatushruti rishabha relationship between its notes, dropping pa. No other raga can have this relationship, and no other rishabha relationship can be as uniform. I'm just going with the logic.

Still I don't mean to argue with you. I don't mean to nitpick either, but just extend our thoughts further as we talk.

[shankarank]

No worries ranganAyaki - all in light spirit!