Identification of ragam

rameshviyer · Post by **rameshviyer** » 25 Jun 2007, 22:41

hi,

offlate i have come across people matching raagams in film songs even though they are not officially trained in carnatic music, sometime i have made that too. what are the best tips to identify raagams.
i mainly identify raagam based in arohanam avarohanam and that too using geethangal, varnams

rgds
ramesh

MaheshS · Post by **MaheshS** » 26 Jun 2007, 14:59

I not classically trained [I was but I didn't grasp any of it

], I just match patterns. I suppose if you contstanlt listen to concerts like I do, you do get familiar with the nuances. I can't do stuff liek Ga Ri and pidi's like some folks in the forum but I can most often than not identify the ragam.

The two artists who keep stumping me are Dr Balamuralikrishna and Madurai Somu, some of their intrepretations of even familiar ragams are just too much for an untrained person like me. Just listening to Somu singing a fantastic Bhairavi, but I didn't "get" it when he starts. He takes breath for a couple of seconds about 2 mins into the alapana and Lalgudi fills it with a couple of typical Bharavi pharases. Result.

I suggest that you listen to Lalgudi's alapanas to idenify the raga, the genius has used all of his knowledge and experience to bring the essence of any raga he plays. And I use his version as a bench mark.

Sundara Rajan · Post by **Sundara Rajan** » 26 Jun 2007, 19:24

RameshViyer ! If you Know ArohNam & avarOhaNam of ragas and can use them to identify ragas, then you are better informed than average novice in the field ! An easier way to identify ragas is to associate with well known songs in each of the ragas, such as yAro ivar yAro for Bhairavi, Valli dEvasEnApathE for natabhairavi, BrochEvArevarurA for Khamas etc. It is sometimes easier to identify ragas during AlApana by following the violin accompaniment , at least in my case.

Sam Swaminathan · Post by **Sam Swaminathan** » 27 Jun 2007, 05:24

Recently I attended a katcheri where the singer was doing RTP and at the swara end of the piece, did a ragamaalika where one of the ragaas used was Thilang ( I am writing this in hindsight !). When she first started, I immediately recongnised the ragaa as Thilang, but for some funny reason, I decided that it was Bahudhari. This decision stayed in my mind, but, there was this tick of confusion at the corner of the mind and refused to go away. Came home, played back my MP3 player ( iriver in my pocket) and played mental games with Big N and Small N and corrected my decision back to Thilang. I suppose I got lucky in this instance. But in many a situations, I have been stumped and had to lean on people who know better to come to my rescue !!

vageyakara · Post by **vageyakara** » 27 Jun 2007, 19:13

Sri Sam,
As far as BHAHUDHARI &tHILANG ARE CONCERNED , The following tips may serve to get established with the proper acquaintance with the ragams.
BHAHUDHAARI:
SA GA MA PA DA NI SA
SA NI PA MA GA MA GA SA
(1) cHATHUSRUTI dEIVATAM to be used as nyaasa swaram
(2)Kaisiki Nishadham -to be given maximum kaarvai-stretching up to Shadjam.(taarastaayi)
TILANG:Saamantam - a janya of Naaga nandini(30th MeLam) has come to stay and be known as Tilang. That is the reason why Kaakali Nishadam is used in (Tilang/Saamantham)
Other wise Both Tilang and Bhahudaari are known as janya of 28th mELam H.Kambhodi As per Raagam pravaaham of D.Pattammal.
vageyakara.

Sam Swaminathan · Post by **Sam Swaminathan** » 28 Jun 2007, 03:30

Vageyakara....thank you sir !!

vageyakara · Post by **vageyakara** » 01 Jul 2007, 09:54

Hi Sam,
M.D. has two kritis to, his credit(in the rAgam sAmantA(dubiously adopted as tilang by some)
(1)praNadArdhi harAya-in Adi(2)vishwanAthena-Adi.
The 1st one is in praise of the presiding Deity of Thiruvayyarand the second is in praise of kAsivishwa nAthar of kAshi.
Vageyakara

vageyakara · Post by **vageyakara** » 01 Jul 2007, 15:39

Hi Sam and other CM devotees,
It is with pleasure I invite CMdevotees to view and listen to my composition in the rAga GhambheervANi -yet another janya of nAgAnandini(30thmELam)which is a near similar one as sAmanta with the exceptional ArOhanam SA DA PA MA GA RI GA RI SA.
Inspired by the kriti "sadA matim talatu kadarA" of Thyagaraja, I have composed one , and it has been appreciated by no less aperson than Prof.SRJ, in his key note address on the occasion of book-release function(7.12.2002)Tronto brothers(Ashwin and Rohin) have learnt it directly from me.
Link ref:www.karnatik.com/c3473.shtml
Vageyakara