In some case both 0 and 1 may be right but 2 will certainly be wrongramakriya wrote:In folk songs - it is not a digital 0 or 1I am aware of the anyaswara uses in pahADi. Even though I did not write pahADi,
it is possible for someone to come to that conclusion based on a film song they have heard in pahADi!
"konkaNa sutti mailarakke hOda hAge" Any pointers to a recording of this annamayya sankIrtane rA rA chinnannA ?ksrimech wrote:I did indeed hear annamAchar's rA rA chinnannA. Actually, when I had downloaded the clips, I randomly clicked on one of the clips. I turned out to be the jhanjhUTi piece and you know for a moment, I was fooled that it was Smt MS singing rA rA chinnannA. But 3 or 4 seconds later I got to listen to some other stuff.
Sounds like the revenge of all the scorned heroines depicted in traditional jAvaLIs...drshrikaanth wrote:gOdArOri cinnadi
http://surasa.net/cgi-bin/plist.cgi?sit ... darori.mp3
This tells a folk tale about the rain filling a man-made lake ( madagada kere), one of the largest in Karnataka.cmlover wrote:Thanks DRS
That was just a melodious and intoxicating folk song! Is it possible to give a gist if the song?
Doc - by the same logic, could not clip no. 3 also be consrued as Mohanam instead of Madhyamavathi?drshrikaanth wrote:Folk 1 is bAgOrambA an Assamese folk song. Listen to it here
http://www.musicindiaonline.com/p/x/rUb ... As1NMvHdW/
The rAga of the song is mOhana or dEvakriya/SuddhasAvEri depending on which we fix as the SaDja.
If you listen carefully, you can detect "yE nIlE gagan kE talE". Here the song starts on the madra pancama and rests on SaDja (bAgOram bAgOram bAgOram bA).
The part in bold falls on the SaDja. the flow goes like "P#,G,R,- P#,G,R,- P#,G,R,- S;,- P,-G,G,R,- S;;,"
But if you fix the startiNg note as SaDja, the resting note is madhyama and the rAga becomes SuddhasAvEri and the flow is "S,D,P,- S,D,P,- S,D,P,- M;,- S*,- D,D,P,- M;;,". Such ambuguity is encountered in many folk songs and therein lies the beauty.
vijay,vijay wrote:Doc - by the same logic, could not clip no. 3 also be consrued as Mohanam instead of Madhyamavathi?
In folk 5 song, I hear the following swarams,for the first line: P,DRS,NSNDPMP,,D,,NSNDP,P,,,,,drshrikaanth wrote:A rAga may have upto 5 mUrchanes. Although theoretically this is correct, one cannot simply keep shifting the tonic and identify a song as in a new rAga. In the particular clip, I cannot see how the madhyama can be perceived as the ShaDja. The madhyama does not fall into prominence anywhere- as a resting note or as a starting or repeating note.
Thanks Shankarrshankar wrote:Try this:
http://www.bgfl.org/bgfl/custom/resourc ... trings.htm
Iam afraid the swaras you have posted is not correct.SahanaVasud wrote:In folk 5 song, I hear the following swarams,for the first line: P,DRS,NSNDPMP,,D,,NSNDP,P,,,,,
and that sounds like Keeravani.
Do you have a better answer than vakuLAbharaNa? And what gamakas do you expect in vakuLAbharaNa? I asked for the nearest map- in this case its not the nearest but the only right answer. Lack of gamakas does not change a mELa.I agree with what you have written above if there are gamakas.
There are not much gamakas here, so how can we say that this is Vakulabharanam?
When you start talking about closes map for folks songs and light music, i am not sure you want to be talking about an absolute closest match; given that most of them are devoid of the gamakas and patterns (pidis/pakad) associated with ragams and the subjectivity in the analysis, rather it would/should be a set of ragams that would match the music.drshrikaanth wrote:
I asked for the nearest map
Which answer do you have an issue with Shanks? be more specific.shanks wrote:When you start talking about closes map for folks songs and light music, i am not sure you want to be talking about an absolute closest match; given that most of them are devoid of the gamakas and patterns (pidis/pakad) associated with ragams and the subjectivity in the analysis, rather it would/should be a set of ragams that would match the music.
What beats you- madhyama suti or madhyama kAla? You anwered SankarAbharaNa for clip 4 and that answer is wrong regardless of whether it is in madhyama Sruti or madhyama kAla.I read about the point on some being sung at madyama sruti etc - i find this quite out of place. Madyama sruti is relative to the base that was established say at the start of the concert. When you just here a 20 second clip of music, how does one go about establishing that the music is in madyama kalam - beats me entirely.
CML, I thought you would have got it right-if you remembered nAcAramma ?cmlover wrote:I myself stretched folk5 to chakravaaham and would have swore on it and in fact when I slowed the piece by 50% AhirBhairavi jumps out; but then you have to respect the arbitration of the prof
This was recenty posted on sangeethapriya. The clip is from the violin accompaniment to TNS singing tyAgarAja's rAma ninnE namminAnuSuji Ram wrote:DRS,
Can we have the huSeni piece. Though the clip sounded familiar it took me quite a while to get its name and I verified it by listening to other pieces to arrive at the answer.
) but was glad that I pretty much nailed the 'one' note questions which were devilishly hard. Your response to my general and personal comments and opinions is surprising. Simply put, I rather expected that you would have an explanation of sorts and not the response posted.DRS wrote:
Which answer do you have an issue with Shanks? be more specific.
What beats you- madhyama suti or madhyama kAla?
Are we talking at crosspurposes here? 2 things- first you did not specify which question/answer you were taking about. What you wrote was ambiguous(madyama Sruti/madhyama kAla). Your approach came across as confrontational and critical. Even so I asked you to clarify what you said. And today your surprise surprises me.shanks wrote:Simply put, I rather expected that you would have an explanation of sorts and not the response posted.
