Ok, As long as I listen to music I understand the importance of gamakams and brighus. I can appreciate the beauty, the aesthetics of the raga. But learning it has opened up a lot of new questions for me, elementary ones for most of you, I guess.
I've been learning the violin for about half a year now, and I've just started working on gamakams. I have a few very elementary questions.
1) Given a raga, how do we determine which notes can take what types of gamakams?
2) If a mela ragam has certain gamakams, do the janya ragams take the same gamakams?
3) Is there a rule of thumb for determining, in a certain ragam, what notes take gamakams?
4) While I do understand the basics of swaram, what do the terms "chAya swarams", "jiva swarams", "nyasa swarams", "dheerga swarams" or "mukhtAyi swarams" mean? HOw do we determine them in a raga?
5) I there any tutorial/book that talks about the sancharams in different ragas?
And a fundamental question is, is it only though experience - listening - that we can pick up a lot of these intricacies?
Cheers
Ninja
Gamakams, rAga bhAvam, rAga lakshanam...
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
My 2 cents (much of it though more like somewhat educated guesses). Apologies for any mistakes/misinterpretations.
1. spacing with neighbouring swaras
2. Relationship to other swaras e.g. those on the other part of octave (e.g. s-p, s-m or even s-G3 type of relationships )
3. The mood/colour of the raga
These and probably other factors determine the contour of the raga, which includes the gamakas of the swaras, and also which ones are important (i.e. jIva, nyAsa etc.). I would wager that #3 trumps any tangible scientific logic and also probably plays a bigger role than other 2
As a rough example of #1, you have P D2 N2 in a raga, then D2 generally seems to take a certain set of contours, but if it is P D2 N3, then D2 takes a different set of contours; if it is P D2 S, then D2 may taken yet another set. These need not be completely distinct sets - there may be some (probably non-deterministic) overlap. Note that this also does not imply D2/N3 in all P D2 N3 S ragas would be identical. There may be some similarity but influence of #2 (and #3) can play a significant part in differentiating. So that is why N3 of kalyani is different from N3 of SankarabharaNam. This could be because of M3 (which has a S-M type of relationship with N3) and also of course could also be because of portrayal of mood of raga.
nyAsa: swaras that can be used as "resting" point (i.e. lengthen and hover before moving on to next phrase). I think this also implies that the swara would (usually?) not be alpa.
jIva: A swara that is a chief contributor to "life" (i.e. colour) of raga and hence another category of imporant swara. Patterns usually "revolve" around it. These are more important than nyAsa.
muktAyi: I think refers to swaras in varnam after pallavi/anupallavi section acting as a "full stop" for the first part (pUrvAnga) of varnam.
Arun
Yes - and of course from your guru.ninjathegreat wrote:And a fundamental question is, is it only though experience - listening - that we can pick up a lot of these intricacies?
I dont think this is as much a science i.e where given a structure you can pin-point the gamakas that the different swaras take. It is more of an art. But in general, it is possible that it is determined by some unknown combination of at least 3 factors:1) Given a raga, how do we determine which notes can take what types of gamakams?
3) Is there a rule of thumb for determining, in a certain ragam, what notes take gamakams?
1. spacing with neighbouring swaras
2. Relationship to other swaras e.g. those on the other part of octave (e.g. s-p, s-m or even s-G3 type of relationships )
3. The mood/colour of the raga
These and probably other factors determine the contour of the raga, which includes the gamakas of the swaras, and also which ones are important (i.e. jIva, nyAsa etc.). I would wager that #3 trumps any tangible scientific logic and also probably plays a bigger role than other 2
As a rough example of #1, you have P D2 N2 in a raga, then D2 generally seems to take a certain set of contours, but if it is P D2 N3, then D2 takes a different set of contours; if it is P D2 S, then D2 may taken yet another set. These need not be completely distinct sets - there may be some (probably non-deterministic
) overlap. Note that this also does not imply D2/N3 in all P D2 N3 S ragas would be identical. There may be some similarity but influence of #2 (and #3) can play a significant part in differentiating. So that is why N3 of kalyani is different from N3 of SankarabharaNam. This could be because of M3 (which has a S-M type of relationship with N3) and also of course could also be because of portrayal of mood of raga.dhIrga: An elongated/lengthened occurence of a swara. Usually (always?) applies to swaras that are important once and determined trhe character of the raga. A swara that doesnt play any role in this (deemed alpa) wouldnt (usually?) qualify.) While I do understand the basics of swaram, what do the terms "chAya swarams", "jiva swarams", "nyasa swarams", "dheerga swarams" or "mukhtAyi swarams" mean?
nyAsa: swaras that can be used as "resting" point (i.e. lengthen and hover before moving on to next phrase). I think this also implies that the swara would (usually?) not be alpa.
jIva: A swara that is a chief contributor to "life" (i.e. colour) of raga and hence another category of imporant swara. Patterns usually "revolve" around it. These are more important than nyAsa.
muktAyi: I think refers to swaras in varnam after pallavi/anupallavi section acting as a "full stop" for the first part (pUrvAnga) of varnam.
Not necessarily as spacing may change as janyas can omit swaras. But if a certain part of the structure is identical to the mela there is a good chance it retains the gamakas of the swaras.2) If a mela ragam has certain gamakams, do the janya ragams take the same gamakams?
Arun
Last edited by arunk on 13 Mar 2007, 02:53, edited 1 time in total.
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mohan
- Posts: 2807
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The only way one can learn raga lakshanam, bhavam and the application of gamakam in ragas is through a combination of the following:
(a) learning several compositions in each raga (lakshana geethams, varnams, swarajathis, krithis)
(b) getting guidance from a guru who has a good knowledge of ragas
(c) listening to renditions (alapana, krithi, neraval, swaram, etc) by masters
Although there have been attempts to notate gamakam (such as in Sangita Sampradaya Pradasini), I don't think there is perfect method. Even in Western music, although the music has a rich history of notation, the same noteated piece can be interpreted quite differently by two artistes.
The relationship between a melakartha and a janya raga is not always clear. For example, the gamakam on the Ga in Kaanada is not the same as used in Kharaharapriya. As Arun has mentioned, gamakam on a particular swaram is also different depending on the phrase in which it occurs. The chitta swaram for the Thodi masterpiece, Gajavadana, is said to demonstrate 14 different types of gamakas on the Ga!
Hence, it really necessary to get a good understanding of each raga (by appliying the above three points) to bring out their true beauty.
(a) learning several compositions in each raga (lakshana geethams, varnams, swarajathis, krithis)
(b) getting guidance from a guru who has a good knowledge of ragas
(c) listening to renditions (alapana, krithi, neraval, swaram, etc) by masters
Although there have been attempts to notate gamakam (such as in Sangita Sampradaya Pradasini), I don't think there is perfect method. Even in Western music, although the music has a rich history of notation, the same noteated piece can be interpreted quite differently by two artistes.
The relationship between a melakartha and a janya raga is not always clear. For example, the gamakam on the Ga in Kaanada is not the same as used in Kharaharapriya. As Arun has mentioned, gamakam on a particular swaram is also different depending on the phrase in which it occurs. The chitta swaram for the Thodi masterpiece, Gajavadana, is said to demonstrate 14 different types of gamakas on the Ga!
Hence, it really necessary to get a good understanding of each raga (by appliying the above three points) to bring out their true beauty.
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cmfan
- Posts: 7
- Joined: 13 Nov 2006, 08:34
Sriram Parasuram has explained the nuances about graha swara , jeeva swara etc in a lec demo at Music Academy. He had demonstrated for ragas varali, yadukulakambodhi etc
I have enclosed the links below. Thanks to Rasikapriya members for these uploads.I think it is in the first one in the links below. But check it out!
http://www.sangeethamshare.org/paramesh ... (30-05-0)/
http://www.sangeethamshare.org/paramesh ... (30-07-0)/
Trust this helps!
I have enclosed the links below. Thanks to Rasikapriya members for these uploads.I think it is in the first one in the links below. But check it out!
http://www.sangeethamshare.org/paramesh ... (30-05-0)/
http://www.sangeethamshare.org/paramesh ... (30-07-0)/
Trust this helps!
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Right. I tend to think of that relationship as one of classiciation which has its benefits. But the relationship limited to syntax and not semantics. It is not necessarily a classification system based on musical aesthetics or rasAs or mood or emotion.The relationship between a melakartha and a janya raga is not always clear
Ninja, you raise some interesting questions. As you would have experienced by now with the violin, each instrument has its own advantages and limitations with respect to the various gamakas. So you will have to learn the basic set of 'violin bag of tricks', if I may, for the various effects. After some experience you will be able to pick out the various gamakas employed by a master violinist for a new raga.
Just as an aside, this probably belongs in the technical section, it is quite educational to look at an FFT graph of cliplets of some interesting gamakas. But then transfering that to one's own playing is quite a different matter.
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
I certainly agree that the mela-janya relationship is not always clear. However, i think it is not fair to say that the relationship is limited to syntax. There are certainly some classification models which are purely syntax based like the "first matching" mela rule (but that is not consistently followed as it will lead to vivadi mela classifications for many ragas - perhaps it is "first matching vivadi/non-vivadi mela" corresponding to vivadi/non-vivadi janya ). But there are classifications which are indeed motivated by musical aesthetics. For example, most people want to assign hamsadhwani to kalyANi which is not the first matching mela but the assignment here seems to make sense from a musical standpoint.vasanthakokilam wrote:Right. I tend to think of that relationship as one of classiciation which has its benefits. But the relationship limited to syntax and not semantics. It is not necessarily a classification system based on musical aesthetics or rasAs or mood or emotion.The relationship between a melakartha and a janya raga is not always clear
Arun
Last edited by arunk on 13 Mar 2007, 20:22, edited 1 time in total.
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vasanthakokilam
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- Joined: 03 Feb 2010, 00:01
Arun, quite true, there are some aesthetic considerations. I sort did a 'CYA' with the 'not necessarily a classification based on aesthetics' 
( I did not know that most people want to assign hamsadhwani to kalyANi. Really? )
OK, let us grant that aesthetic considerations are tie-breakers. But when there is no tie, syntax is the sole determinant since that is the basis of the classification system ( a tautalogical observation ), irrespective of whether there is any aesthetic connection. A more correct way of stating the Janya relationship is, the janya raga inherits the swarasthanas of the parent mela. This way, any default assumptions of inheritance of aesthetics is removed since the mela itself can not be set to contain any aesthetics, only the ragas that have a scale relationship to that mela ( either in whole or in part ). A stronger way of stating the same is, had aesthetic considerations are necessary and sufficient, then the current CM classiciation system will necessarily have to be dissolved.
( I did not know that most people want to assign hamsadhwani to kalyANi. Really? )OK, let us grant that aesthetic considerations are tie-breakers. But when there is no tie, syntax is the sole determinant since that is the basis of the classification system ( a tautalogical observation ), irrespective of whether there is any aesthetic connection. A more correct way of stating the Janya relationship is, the janya raga inherits the swarasthanas of the parent mela. This way, any default assumptions of inheritance of aesthetics is removed since the mela itself can not be set to contain any aesthetics, only the ragas that have a scale relationship to that mela ( either in whole or in part ). A stronger way of stating the same is, had aesthetic considerations are necessary and sufficient, then the current CM classiciation system will necessarily have to be dissolved.
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
sorry - i should have said some people. Was a freudian slip But this is not the only example. The reason why you have different mela claims for some ragas (mohanam, aTANA etc.) is because of aesthetics - i.e. in terms of reasonings offered.
Arun
But this is not the only example. The reason why you have different mela claims for some ragas (mohanam, aTANA etc.) is because of aesthetics - i.e. in terms of reasonings offered.Arun
Last edited by arunk on 13 Mar 2007, 23:15, edited 1 time in total.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear members, ninjathegreat, arunk, mohan & vasanthakokilam, The greatness of any country mostly depends upon the proper documentation of its rich cultural heritage. Even though we have a very great cultural heritage of our Classical music, this has, since a very long time, been suffering a lot due to improper documentation of our practical music. Most unfortunately, even in this modern age, many of our stalwarts prefer to teach the compositions even without any notation at all and, thus, no proper care has ever been taken by our stalwarts in this direction to find suitable ways in properly notating thousands of compositions of our great composers and preserve them for the posterity. At this juncture, since some time past I have very deeply been analyzing our Kampitas and Gamakas of our Karnataka music to make them more clear in their application in our practical music. In this respect the so called Pancha-dasha-gamakas or Dashavidha-gamakas prescribed in our ancient texts are not at all sufficient to cater the present day needs of our Karnataka music. So, I have categorized these Kampitas and Gamakas and symbolized to facilitate their easy utilization in our notation system in the process of bringing it much nearer to the common man to follow in notating our compositions. Thus, previously, in 2002, I have brought out one book, Sangita Svararaga Sudha (English/Telugu) in which I have furnished the Alapana of 36 Ragas with detailed notation along with nearly 60 to 70 symbols for all the different shades of our Kampitas and Gamakas each of which resembles only the contour of the sound and supplied along with 9 pre-recorded cassettes containing the same notation of Alapana of all these 36 Ragas. To facilitate easy learning of this Ragalapana to the aspirants I have made segments of each Raga and sang the Svara-portion once and Akara-portion twice of each segment of each Raga in these pre-recorded cassettes (plans are afoot in the near future to bring them in the form of CDs). By this, unlike before, Ragalapana has been made easy to learn to the aspirants and, now, these books are on heavy demand (more over, recently, when I brought out another book, ‘Sangita Vidya Bodhini (Telugu), containing all the items of the syllabus of Certificate and Diploma Examinations, right from Saralee-svaras up to nearly 70 Kritis in notation supplied along with 4 CDs of all these compositions sung by me with the same notation carrying independent track of each composition and also independent track of each division of Pallavi, Anupallavi and Charana of each composition, this book is also on heavy demand now). Whether it be a Janaka-raga or Janya-raga, it depends upon the inter-relation of Kampitas and Gamakas of its constituent notes and while there are some general rules applicable to many of the Ragas there are special rules also which are applicable to a particular Raga like the treatment of Sadharana-gandhara of Darbar and Nayaki or the treatment of Antara-gandhara of Aarabhi and Devagandhari.
Now, I shall hereunder furnish the general application of Kampita and Gamaka (long note is indicated with the letter of upper-case and the short note is indicated with lower-case
and the number given above the note is the serial number of the respective note as indicated below)
While the natural notes, Shadja and Panchama does not have any varieties
the varieties of the remaining notes, Rishabha, Gandhara, Madhyama, Dhaivata and
Nishada of an octave are furnished hereunder along with numerals.
1. Rishabha - Shuddha-rishabha (r1 ), Panchashruti-rishabha (r2 ) and
Shatshruti-rishabha (r3 ).
2. Gandhara - Shuddha-gandhara (g1), Sadharana-gandhara (g2 ) and
Antara-gandhara (g3 ).
3. Madhyama - Shuddha-madhyama (m1 ) and Prati-madhyama (m2).
4. Dhaivata - Shuddha-dhaivata (d1 ), Panchashruti-dhaivata (d2 ) and
Shatshruti-dhaivata (d3).
5. Nishada - Shuddha-nishada (n1), Kaishiki-nishada (n2) and
Kakali-nishada (n3).
To make the Gamaka aspect easily understandable and followable to the aspirant
this has been categorised into two varieties i.e., 1.Kampita and 2.Gamaka.
1. KAMPITA:- In Kampita a note oscillates itself slightly or in relation with either the upper or the lower note. This is of four kinds and they are:
(a) Adho-svaragatasthana-pradhaanya-oordhva-kampita or slight oscillation towards the upper side of the note basing upon the lower adjacent note:
Shuddha-rishabha - r1 : S r1 - S r1 - Saveri
Shuddha-dhaivata - d1 : P d1 - P d1 - Saveri
Sadharana-gandhara - g2 : R2g2 - R2 g2 - Bhairavi
Kaishiki-nishada - n2 : D2 n2 - D2 n2 - Bhairavi
Shuddha-madhyama - m2 : G3m1 - G3m1 - Kambhoji
(b) Oordhva-svaragatasthana-pradhaanya-adho-kampita or slight oscillation towards the lower side of the note basing upon the upper adjacent note:
Prati-madhyama -m2 :P m2 - P m2 - Pantuvarali
Kakali-nishada -n3 :S n3 - S n3 - Pantuvarali
Shuddha-gandhara -g1 :G2 g1 - G2 g1 - Varali (Arohana)
Shatshruti-rishabha -r3 :G3 r3 - G3 r3 - Nata
Antara-gandhara -g3 :M1 g3 - M1 g3 - Mayamalavagaula
Shatshruti-dhaivata -d3 :N3 d3 - N3 d3 - Nata
Note:1. The notes ‘n3, r1, m2 and d1’ which are on the either side of the natural Svaragatasthanas, Shadja and Panchama are predominantly kampitas.
(c) Sveeya-svaragathasthana-pradhaanya-adho-kampita or slight oscillation of the self-note towards the lower side of the note:
Shatshruti-rishabha -r3 :R3 r2 - R3 r2 - Nata (Arohana)
Shatshruti-dhaivata -d3 :D3 d2 - D3 d2 - Nata (Arohana)
(d) Sveeya-svaragathasthana-pradhaanya-oordhva-kampita or slight oscillation of the self-note towards the upper side of the note:
Shuddha-rishabha -r1 :R1 r2 R1 - Revati
Panchashruti-rishabha -r2 :R2 g2 R2 - Hamsanada
Shatshruti-rishabha -r3 :R3 g3 R3 - Chalanata (Avarohana)
Shuddha-gandhara -g1 :G1 g2 G1 - Varali (Avarohana)
Sadharana-gandhara -g2 :G2 g3 G2 - Hindola
Antara-gandhara -g3 :G3 m1 G3 - Mohana
Shuddha-madhyama -m1 :M1 m2 M1 - Hindola
Prati-madhyama -m2 :M2 p M2 - Hamsanandi
Shuddha-dhaivata -d1 :D1 d2 D1 - Hindola
Panchashruti-dhaivata -d2 :D2 n2 D2 - Mohana
Shatshruti-dhaivata -d3 :D3 n3 D3 - Chalanata (Avarohana)
Kaishiki-nishada -n2 :N2 n3 N2 - Hindola
Kakali-nishada -n3 :N3 s N3 - Hamsanada
2. GAMAKA:- In gamaka the oscillation of a note starts with a downward glide from the 2nd or further Svaragatasthana on the upper side and upto the self note or one note below it on the lower side. To make it more easily understandable and followable this has been categorized into two varieties and they are 1. Traditional-gamaka and 2. Sensitive-gamaka.
Important note:- While teaching ‘gamaka’ of a note it is always desirable to start with downward glides only to make the matters easier to the primary students.
Example: Sadharana-gandhara:
(a) In the traditional gamaka, in the Arohana of Kanada, the gamaka starts downwards with a glide from the 2nd upper Svaragatasthana, Shuddha-madhyama till the immediate lower note of Sadharana-gandhara which is Panchashruti-rishabha and oscillates covering the svaragatasthanas of Shuddha-madhyama, Antara-gandhara, Sadharana-gandhara and Panchashruti-rishabha but between the two extremes, Shuddha-madhyama and Panchashruti-rishabha being clearly perceptible and
(b) in the sensitive gamaka, in the Avarohana of Kanada, the gamaka starts downwards with a glide from the 2nd upper Svaragatasthana, Shuddha-madhyama coming down up to Sadharana-gandhara only and oscillates covering the Svaragatasthanas of Shuddha-madhyama, Antara-gandhara and Sadharana-gandhara but between the two extremes, Shuddha-madhyama and Sadharana-gandhara being clearly perceptible.
In the usage of both kampita and gamaka the 12 notes of an octave are divided into the following three kinds:
(a) The notes which are sung or played flat without either kampita or gamaka: The natural notes:
1.Shadja -s Panchama-p
(b) The notes which are sung or played with kampita only being adjacent to either Shadja or Panchama:
1. Shuddha-rishabha - r1 2. Kakali-nishada - n3
3.Shuddha-dhaivata - d1 4. Prati-madhyama - m2
(c) The notes which are sung or played flat or with kampita or with gamaka according to the requirement needed:
1. Panchashruti-rishabha- r2 2. Sadharana-gandhara - g2
3. Antara-gandhara - g3 4.Shuddha-madhyama - m1
5. Panchashruti-dhaivata - d2 6. Kaishiki-nishada - n2
The different usages of these above six notes are furnished hereunder briefly:
1. Panchashruti-rishabha becomes flat in combination with Sadharana-gandhara (Bhairavi) and is used with gamaka in combination with Antara-gandhara (Shankarabharana).
2. Sadharana-gandhara, being a predominantly gamaka note, is used in gamaka in combination with either Shuddha-rishabha or Panchashruti-rishabha (Todi, Bhairavi). But, in combination with Panchashruti-rishabha while this is used with kampita the Shuddha-madhyama is used with gamaka (with Dhivata-touch in the Arohana of Bhairavi). In combination with Prati-madhyama this is always used with kampita only.
3. Antara-gandhara, in combination with Shuddha-rishabha and Shuddha-madhyama, becomes flat and with Oordhva-svaragatasthana-pradhanya-adho-kampita (Mayamalavagaula) and in combination with Prati-madhyama this mostly becomes flat and occasionally with gamaka (Pantuvarali).
4. Shuddha-madhyama, in combination with the Antara-gandhara, is used with gamaka in the Arohana (Mayamalavagaula) and with Adho-svaragatasthana-pradhanya-oordhva-kampita in the Avarohana (Shankarabharana). In combination with Sadharana-gandhara, in the Arohana, if Gandhara is used with kampita Madhyama is used with gamaka (with Dhivata-touch in Bhairavi) and if Gandhara is used with gamaka Madhyama becomes flat (Bhairavi) and in the Avarohana Madhyama always becomes flat (Bhairavi).
5. Panchashruti-dhaivata becomes flat in combination with Kaishiki-nishada (Kharaharapriya) and is used with gamaka in combination with Kakali-nishada in the Arohana and flat in the Avarohana (Shankarabharana).
6. Kaishiki-nishada, being a predominantly gamaka note, is always used in gamaka in combination with either Shuddha-dhaivata or Panchashruti-dhaivata (Todi, Bhairavi).
Among the 12 notes the circumference of the traditional Gamaka of the three notes i.e., Sadharana-gandhara, Shuddha-madhyama and Kaishiki-nishada is more than all other notes. Unlike in any other system of music in the world the Sadharana-gandhara and Kaishiki-nishada have more shades of gamaka than any other note and there lies the greatness of the scientific approach of our Karnataka music. In the circumference of Gamaka while Sadharana-gandhara covers ‘m1, g3, g2 and r2’, Shuddha-madhyama covers ‘p, m2, m1 and g3 and Kaishiki-nishada covers ‘s, n3, n2 and d2 ’. Recently, in the preparation to give a Lecture-demonstration on the inter-relation of Kampitas and Gamakas held in last January, 2007, I have found that there are nearly 30 varieties of shades of Kashiki-nishada alone and demonstrated the same. amsharma.
Now, I shall hereunder furnish the general application of Kampita and Gamaka (long note is indicated with the letter of upper-case and the short note is indicated with lower-case
and the number given above the note is the serial number of the respective note as indicated below)
While the natural notes, Shadja and Panchama does not have any varieties
the varieties of the remaining notes, Rishabha, Gandhara, Madhyama, Dhaivata and
Nishada of an octave are furnished hereunder along with numerals.
1. Rishabha - Shuddha-rishabha (r1 ), Panchashruti-rishabha (r2 ) and
Shatshruti-rishabha (r3 ).
2. Gandhara - Shuddha-gandhara (g1), Sadharana-gandhara (g2 ) and
Antara-gandhara (g3 ).
3. Madhyama - Shuddha-madhyama (m1 ) and Prati-madhyama (m2).
4. Dhaivata - Shuddha-dhaivata (d1 ), Panchashruti-dhaivata (d2 ) and
Shatshruti-dhaivata (d3).
5. Nishada - Shuddha-nishada (n1), Kaishiki-nishada (n2) and
Kakali-nishada (n3).
To make the Gamaka aspect easily understandable and followable to the aspirant
this has been categorised into two varieties i.e., 1.Kampita and 2.Gamaka.
1. KAMPITA:- In Kampita a note oscillates itself slightly or in relation with either the upper or the lower note. This is of four kinds and they are:
(a) Adho-svaragatasthana-pradhaanya-oordhva-kampita or slight oscillation towards the upper side of the note basing upon the lower adjacent note:
Shuddha-rishabha - r1 : S r1 - S r1 - Saveri
Shuddha-dhaivata - d1 : P d1 - P d1 - Saveri
Sadharana-gandhara - g2 : R2g2 - R2 g2 - Bhairavi
Kaishiki-nishada - n2 : D2 n2 - D2 n2 - Bhairavi
Shuddha-madhyama - m2 : G3m1 - G3m1 - Kambhoji
(b) Oordhva-svaragatasthana-pradhaanya-adho-kampita or slight oscillation towards the lower side of the note basing upon the upper adjacent note:
Prati-madhyama -m2 :P m2 - P m2 - Pantuvarali
Kakali-nishada -n3 :S n3 - S n3 - Pantuvarali
Shuddha-gandhara -g1 :G2 g1 - G2 g1 - Varali (Arohana)
Shatshruti-rishabha -r3 :G3 r3 - G3 r3 - Nata
Antara-gandhara -g3 :M1 g3 - M1 g3 - Mayamalavagaula
Shatshruti-dhaivata -d3 :N3 d3 - N3 d3 - Nata
Note:1. The notes ‘n3, r1, m2 and d1’ which are on the either side of the natural Svaragatasthanas, Shadja and Panchama are predominantly kampitas.
(c) Sveeya-svaragathasthana-pradhaanya-adho-kampita or slight oscillation of the self-note towards the lower side of the note:
Shatshruti-rishabha -r3 :R3 r2 - R3 r2 - Nata (Arohana)
Shatshruti-dhaivata -d3 :D3 d2 - D3 d2 - Nata (Arohana)
(d) Sveeya-svaragathasthana-pradhaanya-oordhva-kampita or slight oscillation of the self-note towards the upper side of the note:
Shuddha-rishabha -r1 :R1 r2 R1 - Revati
Panchashruti-rishabha -r2 :R2 g2 R2 - Hamsanada
Shatshruti-rishabha -r3 :R3 g3 R3 - Chalanata (Avarohana)
Shuddha-gandhara -g1 :G1 g2 G1 - Varali (Avarohana)
Sadharana-gandhara -g2 :G2 g3 G2 - Hindola
Antara-gandhara -g3 :G3 m1 G3 - Mohana
Shuddha-madhyama -m1 :M1 m2 M1 - Hindola
Prati-madhyama -m2 :M2 p M2 - Hamsanandi
Shuddha-dhaivata -d1 :D1 d2 D1 - Hindola
Panchashruti-dhaivata -d2 :D2 n2 D2 - Mohana
Shatshruti-dhaivata -d3 :D3 n3 D3 - Chalanata (Avarohana)
Kaishiki-nishada -n2 :N2 n3 N2 - Hindola
Kakali-nishada -n3 :N3 s N3 - Hamsanada
2. GAMAKA:- In gamaka the oscillation of a note starts with a downward glide from the 2nd or further Svaragatasthana on the upper side and upto the self note or one note below it on the lower side. To make it more easily understandable and followable this has been categorized into two varieties and they are 1. Traditional-gamaka and 2. Sensitive-gamaka.
Important note:- While teaching ‘gamaka’ of a note it is always desirable to start with downward glides only to make the matters easier to the primary students.
Example: Sadharana-gandhara:
(a) In the traditional gamaka, in the Arohana of Kanada, the gamaka starts downwards with a glide from the 2nd upper Svaragatasthana, Shuddha-madhyama till the immediate lower note of Sadharana-gandhara which is Panchashruti-rishabha and oscillates covering the svaragatasthanas of Shuddha-madhyama, Antara-gandhara, Sadharana-gandhara and Panchashruti-rishabha but between the two extremes, Shuddha-madhyama and Panchashruti-rishabha being clearly perceptible and
(b) in the sensitive gamaka, in the Avarohana of Kanada, the gamaka starts downwards with a glide from the 2nd upper Svaragatasthana, Shuddha-madhyama coming down up to Sadharana-gandhara only and oscillates covering the Svaragatasthanas of Shuddha-madhyama, Antara-gandhara and Sadharana-gandhara but between the two extremes, Shuddha-madhyama and Sadharana-gandhara being clearly perceptible.
In the usage of both kampita and gamaka the 12 notes of an octave are divided into the following three kinds:
(a) The notes which are sung or played flat without either kampita or gamaka: The natural notes:
1.Shadja -s Panchama-p
(b) The notes which are sung or played with kampita only being adjacent to either Shadja or Panchama:
1. Shuddha-rishabha - r1 2. Kakali-nishada - n3
3.Shuddha-dhaivata - d1 4. Prati-madhyama - m2
(c) The notes which are sung or played flat or with kampita or with gamaka according to the requirement needed:
1. Panchashruti-rishabha- r2 2. Sadharana-gandhara - g2
3. Antara-gandhara - g3 4.Shuddha-madhyama - m1
5. Panchashruti-dhaivata - d2 6. Kaishiki-nishada - n2
The different usages of these above six notes are furnished hereunder briefly:
1. Panchashruti-rishabha becomes flat in combination with Sadharana-gandhara (Bhairavi) and is used with gamaka in combination with Antara-gandhara (Shankarabharana).
2. Sadharana-gandhara, being a predominantly gamaka note, is used in gamaka in combination with either Shuddha-rishabha or Panchashruti-rishabha (Todi, Bhairavi). But, in combination with Panchashruti-rishabha while this is used with kampita the Shuddha-madhyama is used with gamaka (with Dhivata-touch in the Arohana of Bhairavi). In combination with Prati-madhyama this is always used with kampita only.
3. Antara-gandhara, in combination with Shuddha-rishabha and Shuddha-madhyama, becomes flat and with Oordhva-svaragatasthana-pradhanya-adho-kampita (Mayamalavagaula) and in combination with Prati-madhyama this mostly becomes flat and occasionally with gamaka (Pantuvarali).
4. Shuddha-madhyama, in combination with the Antara-gandhara, is used with gamaka in the Arohana (Mayamalavagaula) and with Adho-svaragatasthana-pradhanya-oordhva-kampita in the Avarohana (Shankarabharana). In combination with Sadharana-gandhara, in the Arohana, if Gandhara is used with kampita Madhyama is used with gamaka (with Dhivata-touch in Bhairavi) and if Gandhara is used with gamaka Madhyama becomes flat (Bhairavi) and in the Avarohana Madhyama always becomes flat (Bhairavi).
5. Panchashruti-dhaivata becomes flat in combination with Kaishiki-nishada (Kharaharapriya) and is used with gamaka in combination with Kakali-nishada in the Arohana and flat in the Avarohana (Shankarabharana).
6. Kaishiki-nishada, being a predominantly gamaka note, is always used in gamaka in combination with either Shuddha-dhaivata or Panchashruti-dhaivata (Todi, Bhairavi).
Among the 12 notes the circumference of the traditional Gamaka of the three notes i.e., Sadharana-gandhara, Shuddha-madhyama and Kaishiki-nishada is more than all other notes. Unlike in any other system of music in the world the Sadharana-gandhara and Kaishiki-nishada have more shades of gamaka than any other note and there lies the greatness of the scientific approach of our Karnataka music. In the circumference of Gamaka while Sadharana-gandhara covers ‘m1, g3, g2 and r2’, Shuddha-madhyama covers ‘p, m2, m1 and g3 and Kaishiki-nishada covers ‘s, n3, n2 and d2 ’. Recently, in the preparation to give a Lecture-demonstration on the inter-relation of Kampitas and Gamakas held in last January, 2007, I have found that there are nearly 30 varieties of shades of Kashiki-nishada alone and demonstrated the same. amsharma.
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mohan
- Posts: 2807
- Joined: 03 Feb 2010, 16:52
quote from Dr Raghava Menon, Indian Music: The Magic of the Raga, Somaiya Publications, New Delhi, 1998For every one who has ever tangled with the music of the Raga knows that the hidden agenda of this art is spiritual. That is the principal reason why it is foolish to try and learn it from a book or through five easy lessons.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member, arunk, The copies of all my books are available in the Karnatak Music Book Centre, 23-A, Sripuram First St., Royapettah, Chennai-600 014 (Ph:044-28111716, 28113253 & 09841970203). Few copies of ‘Sangita Svararaga Sudha (English-price $ 50)’ along with an album of 9 pre-recorded cassettes are also available in US with Mrs. Meena and you contact her e-mail address mtumuluri@wesleyan.edu and obtain it. I also wish to become more accessible to our brothers and sisters in learning our Karnataka music much easier and quicker with the multi-media facilities. Wishing you all the best, amsharma.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member, mohan, ‘It is foolish to try and learn a Raga from a book or through five easy lessons’ - no, I don’t and can’t believe in it. Being a teacher for more than 4 decades I have made umpteen experiments upon my students and successfully found a way to very easily learn Svarakalpana and Ragalapana. Basing upon these experiments only I wrote this book, Sangita Svararaga Sudha (English/Telugu) along with an album of 9 pre-recorded cassettes in which Svarakalpana in 6 popular Talas is furnished in terms of Jatis and Svaras in different Ragas and Ragalapana of 36 Ragas is furnished along with notaion in the book and sung in detail in these cassettes to be helpful to the aspirant. One will not be come spiritual by over night. After learning things properly, only by regular practice, heavy acquaintance, single minded devotion like ‘TAPAS’ towards the art a person attains spirituality. amsharma.
Last edited by msakella on 15 Mar 2007, 12:17, edited 1 time in total.
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
arunk, sharmaji, meena, vk, mohan:
Wow, this is a lot to take in. Sharmaji, that was an amazing detail of gamakas and kampitas. Naturally, with my current un-knowledge (I'm fast reaching that conclusion!!!!), I'm going to take time to absorb all this.
One of the reasons I brought this up is that in the ragas section, when discussing a raga, we do not seem to dwell on the technical aspects of the raga which helps me understand it. I guess my mind works only by detailed explanations - (I'm a theoretical engineer)... I'm going to try and understand some of the aalaapanas and swarakalpanas in the light of the revelations in this thread. That should help me...
what are the ancient 15 types of gamakas? I find references and short descriptions of the 10 types; but I have never found a description of the 15 types. Mohan's comment of the 14 gamakas in gajavadana made me go back and listen to all the Gajavadana todi pieces I have - I am still not able to detect more than 6 types of gamakas on Ga!
Here is the chittaswaram by Semmangudi...
http://www.sendspace.com/file/l6bxi9
Sharmaji, is your description of 50-60 types of Gamakas an extension of the 15, or has music itself changed to introduce new ornamentation and beauty over the years?
wow! Thanks!
Ninja
(edited to include the chittaswaram audio)
Wow, this is a lot to take in. Sharmaji, that was an amazing detail of gamakas and kampitas. Naturally, with my current un-knowledge (I'm fast reaching that conclusion!!!!), I'm going to take time to absorb all this.
One of the reasons I brought this up is that in the ragas section, when discussing a raga, we do not seem to dwell on the technical aspects of the raga which helps me understand it. I guess my mind works only by detailed explanations - (I'm a theoretical engineer)
... I'm going to try and understand some of the aalaapanas and swarakalpanas in the light of the revelations in this thread. That should help me... what are the ancient 15 types of gamakas? I find references and short descriptions of the 10 types; but I have never found a description of the 15 types. Mohan's comment of the 14 gamakas in gajavadana made me go back and listen to all the Gajavadana todi pieces I have - I am still not able to detect more than 6 types of gamakas on Ga!
Here is the chittaswaram by Semmangudi...http://www.sendspace.com/file/l6bxi9
Sharmaji, is your description of 50-60 types of Gamakas an extension of the 15, or has music itself changed to introduce new ornamentation and beauty over the years?
wow! Thanks!
Ninja
(edited to include the chittaswaram audio)
Last edited by ninjathegreat on 15 Mar 2007, 22:17, edited 1 time in total.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member, ninjathegreat, Generally people are bothered about the traditional usage of ‘sangathis’ of a particular Raga but not the technical details of it. Different shades of Kampita and Gamaka of the constituent notes of a Raga bring out the correct picture of it.
Unlike a person who funnily eats away the chatny but leaves away the main idli, one should not bother about the ‘sangathis’ leaving away the technicalities of a Raga to make him more knowledgeable and, in turn, to properly teach the same to the aspirants in a scientific approach. Having worked as a critical teacher for more than four decades I have, at last, arrived at this point. Once, having attended the Lec-dem of the Veena Vidwan Sri R.Vishweshwaran of Mysore I had arrived at a very vague description of 15 Gamakas. Gamaka means the oscillation of note. But, surprisingly enough, among these 15 Gamakas, there are two Gamakas, Mudrita which should be sung keeping his/her mouth shut and Tribhinna which is an instrumental-gamaka tobe played simultaneously plucking three strings at a time. But, how can we call them Gamakas at all? Even the other varieties are not at all enough to cater our needs. So, being a professional Violinist, having experienced a lot of head-ache of accompanying hundreds of main artists (and, fortunately, having given up that head-ache since last 15 years) and having dwelled upon this technical aspect, yet found 30 kinds of Gamakas. To make it easier to follow to a common man in writing notation I have symbolized them arriving at 60 to 70 symbols, including such other similar shades of notes, each one of which always resembles the contour of the note. This can only be demonstrated but not narrated. If needed, I shall demonstrate them in a special meeting of our bother-sister-members of our forum, if it is arranged in Chennai in near future. amsharma.
Unlike a person who funnily eats away the chatny but leaves away the main idli, one should not bother about the ‘sangathis’ leaving away the technicalities of a Raga to make him more knowledgeable and, in turn, to properly teach the same to the aspirants in a scientific approach. Having worked as a critical teacher for more than four decades I have, at last, arrived at this point. Once, having attended the Lec-dem of the Veena Vidwan Sri R.Vishweshwaran of Mysore I had arrived at a very vague description of 15 Gamakas. Gamaka means the oscillation of note. But, surprisingly enough, among these 15 Gamakas, there are two Gamakas, Mudrita which should be sung keeping his/her mouth shut and Tribhinna which is an instrumental-gamaka tobe played simultaneously plucking three strings at a time. But, how can we call them Gamakas at all? Even the other varieties are not at all enough to cater our needs. So, being a professional Violinist, having experienced a lot of head-ache of accompanying hundreds of main artists (and, fortunately, having given up that head-ache since last 15 years) and having dwelled upon this technical aspect, yet found 30 kinds of Gamakas. To make it easier to follow to a common man in writing notation I have symbolized them arriving at 60 to 70 symbols, including such other similar shades of notes, each one of which always resembles the contour of the note. This can only be demonstrated but not narrated. If needed, I shall demonstrate them in a special meeting of our bother-sister-members of our forum, if it is arranged in Chennai in near future. amsharma.
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
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coolkarni
Dear Sarmaji,bother-sister-members of our forum, if it is arranged in Chennai in near future
In the next three months , we can wait for an opportunity for you to be travelling to Chennai on any other purpose and we can quickly organise your program , in our chamber Music series.
If that does not happen , then we will decide about this ,as a monthly program ,sometime in June or after.This is definitely on our priority lists.
I shall send you a separate mail on this subject Regards.
BTW when was Ninja supposed to be visiting India - May ??
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member, ninjathegreat, In music, with the aid of the pitch-pipe or harmonium, you can identify in which Shruti the artist is singing/playing and tell that he is singing either in 1 or 1 ½ or 2 or 2 ½ and so on accordingly. In the same manner, though many are not aware of it, we can tell in which speed the artist is singing/playing with the aid of ‘metronome’. The metronome is just like a clock working on ‘key’ along with a pendulum swinging from one side to the other and a metal piece in the middle which could be adjusted by pushing it up or down according to the numbers written on the thin metal bar to increase or decrease the needed speed. But, we have to re-wind the key for every 15 or 20 mts. to use it continuously. But, nowadays, we are getting far developed electronic-metronomes to use them with any amount of speed and to any amount of time.
The electronic-metronome being produced by one of my disciples is provided with 9 talas, 1.Chaturashra-rupaka. 2.Trisra-rupaka 3.Trisra-triputa 4. Adi (medium tempo) 5. Adi (slow tempo) 6.Khanda-triputa 7.Mishra-jhampa 8.Khanda-ata & 9.Single-beat and with 95 speeds ranging from 30 beats per minute to 210 beats per minute in19 levels which costs $30. The sound of the beat could be adjusted to the required Shruti alaong with the speed. Default Tala is Adi (medium tempo) and the speed is 120 beats per minute. While the increasing 9 levels of tempo are indicated with figures 1 to 9 the decreasing 9 levels are indicated with figures 1• to 9•. While two red LEDs are used to indicate Laghus two green LEDs are used to indicate Drutas and one another red LED indicate each Kriya. In indicating the tempo the same LEDs are used to glow from left to right indicating the increase and from right to left the decrease.
Many of the musicians do not recommend to practice along with it. As per the orders “never take out the Violin without metronomeâ€
The electronic-metronome being produced by one of my disciples is provided with 9 talas, 1.Chaturashra-rupaka. 2.Trisra-rupaka 3.Trisra-triputa 4. Adi (medium tempo) 5. Adi (slow tempo) 6.Khanda-triputa 7.Mishra-jhampa 8.Khanda-ata & 9.Single-beat and with 95 speeds ranging from 30 beats per minute to 210 beats per minute in19 levels which costs $30. The sound of the beat could be adjusted to the required Shruti alaong with the speed. Default Tala is Adi (medium tempo) and the speed is 120 beats per minute. While the increasing 9 levels of tempo are indicated with figures 1 to 9 the decreasing 9 levels are indicated with figures 1• to 9•. While two red LEDs are used to indicate Laghus two green LEDs are used to indicate Drutas and one another red LED indicate each Kriya. In indicating the tempo the same LEDs are used to glow from left to right indicating the increase and from right to left the decrease.
Many of the musicians do not recommend to practice along with it. As per the orders “never take out the Violin without metronomeâ€
Last edited by msakella on 21 Mar 2007, 07:44, edited 1 time in total.
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member/moderator, coolkarni, I have taken the propagation of the subject, what little I know, as the mission of my life until my last breath and I am always ready to serve my brothers and sisters in this respect even without any monetary benefit at all. I need only II sleeper and more saadam (not even thair saadam) - avaldaa. OK. Always with pleasure to serve, amsharma.
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear brother-member, ninjathegreat, I shall go out for a week, between 26-04-2007 and 06-05-2007, to hold workshops on the 'AMS Easy methods in Swarakalpana & Ragalapana', one for three days at Munganda, East Godavari Dt., and another for another 3 days at Anantapur, A.P. Presently, I have no plan for the remaining month of May or June. I am giving this details to you to make your own plan and inform me at an early date. With best wishes, amsharma.
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear brother-member, ninjathegreat, The teaching assignment of these easy methods in teaching music to teach the students and teaching staff of all the 12 Govt. Music Colleges in our State, which I have been doing since last 2 years, is successfully completed and over in the month of February, 2007 and, hereafter I shall, mostly, remain at my residence at Hyderabad except for some occasional trips of the same nature. So, by the time you go over here, I shall remain here only and we shall definitely meet in person. Moreover, there is every chance of myself visiting Chennai in July, 2007, as I, as a committee-member, have to attend a meeting to be held at Chennai or at Thanjavur by South Zone Cultural Centre, Thanjavur, at that time. After finalization they will inform me the dates of these meetings and, in such case, immediately after getting this information I shall let you know to decide our meeting place. If this happens and if things permit, I would also like to hold, at Chennai, a Lecture-demonstration of 3-hrs. duration on these easy methods exclusively to the members of our forum followed by a workshop of a couple of days on the remaining portion of Talaprastara to our members who are learning this topic through our posts. Eagerly waiting to meet you in person, amsharma.