Kannada Gandhara - new raga by TMK - premiered in Kalanidhi Lecdem

[shankarank]

https://youtu.be/z_uuyVp6tGY?t=3817

Conceived as R2 G2 M1 D2 N2 P M1 G3,, M1 R2 S, intended to be a rAgA that is abstract which will grow, without bounded by a definite aroha/avarOha.

Interesting that he avoided G2 on descent and formed something that will instead emphasize on G3.

[narayan]

This raga is worth exploring and a friend has done just that, tried raga and kalpana swaras. The RKSK song is also nice and who knows, it may find its footing over time.

[sureshvv]

I am not sure that the primary criterion of a raga should be its ability to grow.

Much more important is that it is "catchy" so it doesn't die off.

[narayan]

I am not sure that the primary criterion of a raga should be its ability to grow.

Much more important is that it is "catchy" so it doesn't die off.

You may be right. I guess Devamritavarshini and Manjari remain alive in that sense (TMK mentioned those two in the Rudrapriya lec dem, if I recall), but there may not be many takers for a raga exposition delineating a sharp identify. For me, even a one time exposition can be impactful - GNB's 3 minute Senjukambhoji followed by Lalgudi's spirited reply is enough to give that raga an identity, even if no one else composes in that raga. RK Shriramkumar played an effortless few minutes of Mahuri as a prelude to the Diksitar song in that obscure raga, and I found it convincing.

So anyhow, the question is, did you find kannada gandhara catchy enough, in case you heard it?

[arasi]

Just wondered: Aren't there rAgAs which can have the ability to grow as well as become 'catchy as kApi'?
Still, something like rAgavardhani (growth signalled in its name) doesn't get to be catchy as it deserves to be? vara kavi Kunjaradasan's 'kalangAdE maname' comes to mind.

By the way, dear Neela Ramgopal kept those rAgAs alive by singing them oft on stage and by teaching them to her students in Bengaluru. I do hope there are going to be younger Neelas shaping up in Chennai and elsewhere who are going to inspire their students and listeners alike.

[sureshvv]

I am not sure that the primary criterion of a raga should be its ability to grow.

Much more important is that it is "catchy" so it doesn't die off.

You may be right. I guess Devamritavarshini and Manjari remain alive in that sense (TMK mentioned those two in the Rudrapriya lec dem, if I recall), but there may not be many takers for a raga exposition delineating a sharp identify. For me, even a one time exposition can be impactful - GNB's 3 minute Senjukambhoji followed by Lalgudi's spirited reply is enough to give that raga an identity, even if no one else composes in that raga. RK Shriramkumar played an effortless few minutes of Mahuri as a prelude to the Diksitar song in that obscure raga, and I found it convincing.

100%. A violin alapana of Vijayasree from the newest SK also comes to mind.

So anyhow, the question is, did you find kannada gandhara catchy enough, in case you heard it?

nope.. it may have to grow to become catchy

But seriously, predicting the growth of a raga is somewhat dicey since it usually involves serious distortions, intended and otherwise, in unpredictable directions.

[shankarank]

Cenju KambOdhi! Hmm... it only lives through the composition! This post Thyagaraja janyams are just good for the gait and movement. GNB can spin anything with his virtuosity!

Then Ragas just grow with skill only! More skills that develop, more rAgAs. Dr BMK sings Lavangi , the 4-note scale. How many experts accept that as a rAgA?

Any deeper dwelling will bring in N3 - and it will fall into Kannada. May be that is the answer to the question in the other thread , why Kannada is in 28 in SSP. It is noted as Bhashanga! So may be it grew out of something old.

The biggest story at end about Cenju Kambodhi is in the youtube video by Sri Rajaram, son of PMI. He narrates that , after a decade of so of break up when GNB and PMI , were brought together , GNB forgot the citta svarams and PMI ended up played the pattern, from which GNB then picked up. And the interlocutors were puzzled , as no one else sang this piece to keep it alive for PMI!

So here is the reel by Vid NJ Nandini explaining the rAgA using the citta svaram: https://www.facebook.com/reel/1620623749314769

[sureshvv]

Cenju KambOdhi! Hmm... it only lives through the composition! This post Thyagaraja janyams are just good for the gait and movement. GNB can spin anything with his virtuosity!

Why say "just"? Reads better without that pejorative. And I dare say there are and will be musicians as capable of GNB around us now and in future.

Then Ragas just grow with skill only! More skills that develop, more rAgAs.

Inspiration needed as much as skill.

Dr BMK sings Lavangi , the 4-note scale. How many experts accept that as a rAgA?

Never gave them much weightage.

So here is the reel by Vid NJ Nandini explaining the rAgA using the citta svaram: https://www.facebook.com/reel/1620623749314769

Nice one. Thank you for the link.