Dr. Shrikaanth K Murthy

cmlover · Post by **cmlover** » 12 Mar 2006, 00:59

Thanks DRS

These terms refer to sahitya (mAtu).
Suppose the dhAtu agree (first note or dvitIya notes) I guess they are not called yati or prAsa. Is there a special terminology used to denote the musical agreement of starting notes? I mean in contexts where mAtu do not have yati or prAsa?

drshrikaanth · Post by **drshrikaanth** » 12 Mar 2006, 01:15

There is no term for consonance or agreement in swara. This is not given importance or value. yati and prAsa rules apply only to mAtu and that is what I have explained. As swaras themselves are sAhitya, they must be treated as mAtu and the relevant rules applied to them

vasanthakokilam · Post by **vasanthakokilam** » 12 Mar 2006, 02:07

vk

I am quite aware of the distinction between the two ragas. The main reason I invoked it is due to the fact that s srutibhedam on pancamam on kalyani yields painlessly shankarabharanam provided the gamakams are respected. It is easy to perform! (the varnam inherently has no gamakam notated!).

CML, first of all apologies if I came across implying you did not know the difference.. I (should) know better and I did not quite mean it that way...
And your point about gamakam is well taken.

The issue of srutibhedam on pancamam of a kalyani varnam with the appropriate sankarabaranam gamakam is interesting... My take on that is, it will still sound a bit jarring. Kalyani allows for quite a different kind of jumps in prayogams which are different from the kinds of jumps, if any, of Sankarabaranam, right?

Even taking it a step further, your probing and interesting questions on this topic point to the heart of the matter: What is a raga?

Srutibhedam itself is interesting in a technical sense and moderately artistically interesting when done in a neraval and kalpanaswaram context. And that too done in a limited way. In the neraval and kalpanaswaram context, the artists have control over which prayogams to use and can pick a few common prayogams that can port over. It is a different story for pre-composed songs.

cmlover · Post by **cmlover** » 12 Mar 2006, 06:05

vk

My apologies to you if I sounded offended! On the otherhand I was only doing a self-analysis. I was not too happy with DRS's response to why this is Kalyani. I was looking for the 'signature' of kalyani and with my limited knowledge didn't find them. Also there are no sa pa varjita prayogams characteristic of kalyani. Kalyani is indeed an ocean and nobody can completely delineate it in any one composition! I am letting DRS get away with his statement 'because I say so'

. I also liked his response elsewhere when he said that T did not compose in Hamsavinodini since he did not feel like it. A vaggeyakara composes through inspiration than through command! The reason I said shankarabharnam was because I tried to sing it that way and it sounded so terribel! I can understand why Rasikas get upset when a known kriti is rendered in a new raga unintended by the creator! It is like stealing one's child without permission!

Actually we should pursue the discussion on shrutibhedam and the related issues at the 'what is a raga' thread than break the trend of DRS. But I very much want him too to get involved since his knowledge base is very wide and has an intuition that some of us (me;-) lack!

drshrikaanth · Post by **drshrikaanth** » 12 Mar 2006, 06:13

----- I was not too happy with DRS's response to why this is Kalyani. I was looking for the 'signature' of kalyani and with my limited knowledge didn't find them. Also there are no sa pa varjita prayogams characteristic of kalyani. ---
I am letting DRS get away with his statement 'because I say so' . ---

I dont know why you should be unhappy. I myself thought your question was rather tongue in cheek.
VK raised a valid point. Would you raise the same question about any kalyANi kRti? There are loads of kalyANi kRtis without S and P- varjya prayOgas. They are still kalyANi coz the composer says so. There are several S and P varjya prayOgas in the varNa if you look. My answer though brief does answer why this is kalyANi. I olly put mildly what you are now saying- "I sang it in SankarAbharaNam and it sounded terrible".
I will indeed sound terrible in most other sampUrNa mELa rAgas.

cmlover · Post by **cmlover** » 12 Mar 2006, 07:27

DRS

I am terribly sorry I gave you the wrong impression. It was my inherent scientific curiosity that prompted the question and not a bit of intention to embarrass you in any way. It was like a pathologist poring over an unlabelled tissue specimen. Especially I was tickled by this being a svarAkShara piece and was pondering how it would have been interpreted. I had the same curiosity when SSI was tuning svati's unlabelled kritis which he took over from HMB! This one was even more interesting again being a svarAkShara varna. It was indeed interesting to speculate. very sorry if I had upset you in any way!

drshrikaanth · Post by **drshrikaanth** » 12 Mar 2006, 07:38

CML
Please do not embarrass me by apologising so profusely. My upsets are by and large transient. And I do believe in the dictum "All that happens is for good".

As for SSI and HMB before him tuning ST`s kRtis, I too am at a loss to understand why they chose to tune the kRtis in rAgas different from that specified by ST. With due respect to tehir pANDitya, I can only say some people get a kick out of putting their tunes and leaving a mark of their own for posterity. Brings to mind MD`s tarangiNi kRti being mangled beyond recoginition and nearly beyond resurrection.

cmlover · Post by **cmlover** » 12 Mar 2006, 07:44

Agreed! Onward ho!

drshrikaanth · Post by **drshrikaanth** » 13 Mar 2006, 22:50

Next kRti in rAga kAntaswara, dESAdi tALa (created from my inspiration)

http://rapidshare.de/files/15397123/nay ... h.wma.html

kiransurya · Post by **kiransurya** » 13 Mar 2006, 23:27

DRS
I never heard this raaga. Chittaswaram is scintillating. I take my Hat off to you..
Notation and lyrics would be good.......

cmlover · Post by **cmlover** » 14 Mar 2006, 00:09

I decided to transplant my comment over here to continue the discussions.

clap! CLAP!! CLAP!!!

Welcome to kAnta(kutUhalam). Yes I do see alot of kAthanakuthUhalam here. But it is different too! I am ecstatic about the ciTTaswarm. Now give me time to digest the new find! The lyric is equally nice and do post it first! I amsure this is a janya of dheerashankarabharaNam. My comments are at the first blush. I need to study it more leisurely. Any way this is what I expected of you! CONGRATULATIONS! And Thanks!

Suji Ram · Post by **Suji Ram** » 14 Mar 2006, 00:44

drshrikaanth,
Here's the swarajati in rItigaula I played on violin
http://rapidshare.de/files/15270890/rit ... 3.mp3.html

This is my first rItigaula.

vasanthakokilam · Post by **vasanthakokilam** » 14 Mar 2006, 01:05

Next kRti in rAga kAntaswara, dESAdi tALa (created from my inspiration)

balE, balE. I think we have a hit here.... You have done your part: defining the raga, its lakshana through the alapana and a composition to top it all off. Now, all that needs to happen is to propagate it.

If you can provide the swara notations as well as sing the swaras in place of sathitya, it will help me. I can try to do this on the flute... It will take a while for me to do that but I WILL do it.. If others here can sing it, play it on instruments etc. and post back.. that will start the nascent propagation...

Couple of questions:

1) It sounds close to Kathanakuthoohalam. It may actually be good in the sense of explaining it and also ride on something that is already familiar. But if you can point out the differences, that will help establish its identity.

2) I see the desAdi thala with the eduppu being 1.x . What makes this desAdi and not Adi?

Thanks very much. Congratulations.

drshrikaanth · Post by **drshrikaanth** » 14 Mar 2006, 01:40

Thank you all for your encouragement. I am heartened.
Here is the lyric for the kRti

rAga- kAntaswara; dESAdi tALa

nayanAbhirAma naLinAkSha rAma |
daya tOru SyAma dharajA sukAma ||P||

nayanagaLu ninna nalidarasitaNNa |
bhayabhanga ghanna paripUrNa cenna ||AP||

SatasUrya tEja- jita rpusamAja |
stuta padasarOja Srita kalpabhUja |
tata viSvabIja daSaratha tanUja |
satata SrIkAnta swara nirata rAja ||

cmlover · Post by **cmlover** » 14 Mar 2006, 02:24

Correction:
S*a*tasUrya...

The start of you ciTTaswaram (~5:46) is S-GGP-NNRRMMD...

Note your aro is SGPNMDS* is violated by the Rishabham!
(unless I heard it wrong!)
It will help to get the notations down to study the piece more carefully and relish!...
Trust I am not hurrying you....And of course the meaning (though mostly it is sanskrit, stymied by bhUja..

drshrikaanth · Post by **drshrikaanth** » 14 Mar 2006, 02:32

CML
Scale is
SGPNRMDS* | S*NDPMGRS || (upAnga janya of dhIra SankarAbharaNa, 29th mELa)

So you did mishear. tch tch

bhUja is tree.(as bhU+ ja- born from tree). I trust this is clear. If in doubt, lets discuss over email and post the final result rather than digressing from topic.

Suji Ram · Post by **Suji Ram** » 14 Mar 2006, 02:40

drshrikaanth,
that's a lovely Kantaswara. Could you let me know which mela would you classify. It would surely be in my list to try that on violin

drshrikaanth · Post by **drshrikaanth** » 14 Mar 2006, 02:50

suji- It is upAnga janya of dhIra SankarAbharaNa, 29th mELa.
Thanks for poting rItigauLa. Neat try. Will post more later.

cmlover · Post by **cmlover** » 14 Mar 2006, 02:54

You cunning sh^Rigaala

(sorry I mean shrIkanta)! My appointment with my ENT is not due for another six months. Now I have to advance it.

That bhU+ja was very clever (and perfectly legal). With Rama on the title you sly may also be thinking in terms of sItA hiding in there.

cmlover · Post by **cmlover** » 14 Mar 2006, 03:26

Suji Ram!

Just heard your fine performance! This time the volume was good

Congratulations! Also do teach it to others too! Good Luck!

drshrikaanth · Post by **drshrikaanth** » 14 Mar 2006, 06:30

CML
I guess I have to be a SRgAla to survive in the company of vRka waiting to pounce on me.

Notation for the kRti

http://rapidshare.de/files/15409764/nay ... y.pdf.html

cmlover · Post by **cmlover** » 14 Mar 2006, 09:45

DRS

Here is the computerized version of 'nayanAbhirAma' from the Notes you provided. (I had to correct some errors.) Note that the charaNam is not included
http://rapidshare.de/files/15451354/NAYANA1.wav.html

drshrikaanth · Post by **drshrikaanth** » 14 Mar 2006, 23:52

CML
The computer version sounds cool even though gamakas take a toll. Why did you leave out the caraNa?

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 00:02

Meaning of nayanAbhirAma

rAga- kAntaswara; dESAdi tALa

nayanAbhirAma- You Who is pleasing to the eyes;
naLinAkSha rAma- O lotus-eyed rAma!
daya tOru- have compassion on me;
SyAma- dark-hued;
dharajA sukAma- The love of sItA.

nayanagaLu ninna nalidarasitaNNa- aNNa! the eyes are joyfully seeking you;
bhayabhanga- destroyer of all fears;
ghanna- mighty/majestic one;
paripUrNa- You Who are complete in all aspects;
cenna- Handsome One.

Sata sUrya tEja- You Who are resplendent as a 100 suns(innumerable);
jita ripusamAja- vanquisher/winner of groups/multitude of foes;
stuta padasarOja-You Whose lotus feet are praised by one and all;
Srita kalpabhUja- You Who are veritably the celestial wish-granting tree to those who seek You;
tata viSva bIja- You Who are the embryo/seed of the expanded universe;
daSaratha tanUja- son of daSaratha;
satata SrIkAnta swara nirata
This line admits 2 interpretations. " You Who are ever immersed in the swara/voice/music of SrIkAnta" and
"You Who are ever engrossed in the attractive voice of SrI(lakShmI, sItA)"/
It of course incorporates the rAgamudre.
rAja- king.

cmlover · Post by **cmlover** » 15 Mar 2006, 01:24

DRS

I just did not have time to manipulate the charnam. The computer sculpting simply takes an enormous amount of time. I was experimenting to convert it into a MIDI file but failed since the CM gamakas cannot be captured by the 'digital' western notaions! Interestingly I did a global analysis and found that the song (as rendered by you) has the highest probability of belonging to C-Major (shankarabharanam scale)! Kudos to your shruti shuddham! (P value for C-Major = 0.75)

I am enjoying the melody, rhythm as well as the saahityam bit by bit. You do have a gifted talent for CM which is not to be wasted on mere Medicine!

The sahitya is very beautiful (mostly sanskrit which I easily understand!). it is lucid, simple, elegant and devotional! It vies in grandeur (liguistically) with those of MD! I loved the bahuvrIhi 'tatavishvabIja' (you the one who as the nucleus created (big bang)the universe; a deep philosophical condensation of the mahA vAkya 'sarvam khalvidam brahmam'). I would also interpret 'Srita kalpabhUja' as you are the refuge of sItA (bhUjA) who is the 'wish-granting tree'(with both the ideas of tree and sItA packed in one word). If Dandin were alive he would use it to name and exemplify a new 'alankaara'. My humble admiration to your flights of fancy!

This looks like a recent composition and a brand-new raga hot out of the smithy!

Dear DRS! Do continue these innovations since you have the genius, talent and scholarship! It is immaterial whether the 'plebians' (vRkAs) appreciate or not! Inner satisfaction is the gretest reward and I do sychronize my soul with yours in enjoying these creations!

GOD BLESS YOU!

Suji Ram · Post by **Suji Ram** » 15 Mar 2006, 04:15

DRS

Here is the computerized version of 'nayanAbhirAma' from the Notes you provided. (I had to correct some errors.) Note that the charaNam is not included
http://rapidshare.de/files/15451354/NAYANA1.wav.html

cmlover,
How did you do this? any available software?
Sounds cool.

BTW , thank you for listening to my violin. I also take this opportunity to thank you for all the great information on various topics I have been silently reading.

DRS,
You too!
Thank you for teaching us your compositions. They all are great!!

cmlover · Post by **cmlover** » 15 Mar 2006, 06:13

Dear Suji Ram

Nothing fancy I used my old GAYAKA software developed by Subramaniam and simply entered the notes as given by DRS. You can also easily do it with any MIDI software (eg., Cakewalk professional etc.,) using the MIDI enabled Keyboard! Unfortunately the Gamakams cannot be simulated (since our music is analogue while the western music is digital).

Of course we are all grateful to DRS for sharing the music with us and improving our musical/philosophical acumen at the same time. The new raga he has created is quite exciting! There is none similar to it in the raga dtabase that I searched. The descent from N3 to R2 (which is quite an unusual vakra prayOgam) introduces real tension in the raga. Try out the phrase N3(R2)M1(D2) in the violin and you will notice the vakra effect! I am waiting for DRS to explain the raga lakShaNa. I am sure if ARR or IY get to hear this, they will certainly use it in their next dance sequence (since this raga appears to be more suited for the instrumental music)!

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 06:54

I conceived the rAga and composed the kRti the day before- 12/03/07. It was the discussion on creating new rAgas here that got me started in earnest. I was discussing this with sahana. I was thinking of kathanakutUhala being inspired by kutUhala. I just altered the swara sequence of the ArOhaNa of kathanakutUhala variously and came to this ArOhaNa I have used. I then started humming it and felt the rAga was very viable and vibrant. I started composing and by the end of the day the kRti was ready. Both Sahana and my mother confirmed that the rAga, althouh reminding of KK was distinct and that this became clear in the pallavi itself and was confirmed by the ciTTe swara.
I chose this ArOhaNa because-

1) It gave the rAga a distinct identity with sufficient difference from other rAgas

2) I wanted to have a wide jump- dATu prayOga and make it work. N3 to R2 is well nigh the widest (apart form N3-R1) interval in dATu prayOga.

3) The rAga was catchy and had a western lilt to it while having typical carnatic gamakas at the same time.

4) I worked out intuitively that such a rAga does not exist even in theory.

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 07:23

rAga kAntaswara is a upAnga janya of dhIra SankarAbharaNa, the 29th mELa. It has vakra sampUrNa ArohaNa and a krama sampUrNa avarOhaNa. Its scale is

SG3,PN3R,2M1D2~,S* | S*ND,PMGRS ||

G and D are vAdi samvAdi and are important/jIva notes. They help in differentiating from allied rAgas, namely kathanakutUhala and naLinakAnti(not so close but can sound alike if difference is not brought out).
Other notes can assume prominence in places but M is not emphasised so much for the same reason as above. gAndhAra takes a slighlty higher pitch at times. D, especially when elongated, is mostly sung with a gamaka that associates it with tAra ShaDja. This clearly emphasises and brings out the rAga swarUpa. It clearly differentiates the rAga from the above two rAgas. "SGRM" is perfectly legal prayOga but has to be used judiciously avoiding elongated M to keep it away from naLinakAnti. The uttarAnga certainly allays any doubts that may arise.

The rAga is sprightly and evokes happiness and some vIra/adbhuta and a touch of hAsya.

Part of the reason why this sounds like KK is simply because it is a new rAga not known. And one tends to learn by association first before differentiation. With use and/or more compositions as tilAnas/varNas/ kRtis, it will sound much less like KK or any other rAga to rasikas.

cmlover · Post by **cmlover** » 15 Mar 2006, 08:25

kAntAswarAkhyarAgO'yaM jAtO mELa dhIrashankarAbharaNaM|
asyArOha vakram ca sagapanirimadasa iti|
yathA vakramArOhE tathApyavarohe kramasampurnaH|
gAndhAradhaivatAvasya jIvasvaramucyatE|
ESharAgam sumadhuram k^RitaH srikAntasUriNA|
sarvakAlEShugIyatE||
(just for the information of posterity in 12/03/07

)

kiransurya · Post by **kiransurya** » 15 Mar 2006, 14:53

CML,
That was a good lakshana Slokam. Did u compose it?

DRS
After seeing all your compositions and your Musical abilities, I would quite like to see what you look like?

Once again I take hats off to you..

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 17:53

DRS
After seeing all your compositions and your Musical abilities, I would quite like to see what you look like? Once again I take hats off to you..

Just goto the first pageof this thread and bingo! I am waiting to see you

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 18:01

VK
dESAdi, as name suggests, is a variety of AditALa with eDupu at a point 1 1/2 beats ater the start of Adi tALa. Th5s tALa is believed to have been imported by tyAgarAja intou our system from Hindustani music. Apart from the sole gaNanAyakam by MD(pUrNaShaDja/rudrapriya), tyAgarAja appears to be the earliest to have composed in this tALa. He of course has several compositions in this tALa.
The tALa was reckoned diferently in the olden days but is now shown like Adi tALa only. vid|| R.K.Padmanabha has demonstrated and used the earlier manner of reckoning the tALa in several of his concerts.

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 18:04

As for the name kAntaswara:- kAnta is attractive/beautiful. swara means, the swara(note)/voice/musical sound. As the rAga has attractive and typical swarasancAra, I named it kAntaswara and wove it into the sAhitya.

By the way, what happened to our dear friends Ravi Shankar and Badri? I see Ravi popping up in some other threads. Badri, are you still busy with your projects? And sahanapriyan appears to have disappeared after extracting his pound of flesh Sahana

kaumaaram · Post by **kaumaaram** » 15 Mar 2006, 18:05

Just goto the first pageof this thread and bingo! I am waiting to see you

That's great. Good looking, handsome ... (stopping it because this is not a matrimonial site!).

Kaumaaram

kiransurya · Post by **kiransurya** » 15 Mar 2006, 19:32

DRS !!!

I have noticed that Kanthaswara is more related to kadanakuthoohalaam as for some prayogams are concerned. Perhaps, because of Ri Ma Da prayogams and Ga Pa prayogams as well. Having said that, it is very different and distinctive from kadanakuthoohala. Correct me If I am wrong...

I was expecting to see someone in late forties or early fifties and was surprised to see you the way you are in the picture (dont take it personally, I dont mean to be mean, nor cheeky)

vasanthakokilam · Post by **vasanthakokilam** » 15 Mar 2006, 21:44

VK
dESAdi, as name suggests, is a variety of AditALa with eDupu at a point 1 1 1/2 beats ater the start of Adi tALa. Th5s tALa is believed to have been imported by tyAgarAja intou our system from Hindustani music. Apart from the sole gaNanAyakam by MD(pUrNaShaDja/rudrapriya), tyAgarAja appears to be the earliest to have composed in this tALa. He of course has several compositions in this tALa.
The tALa was reckoned diferently in the olden days but is now shown like Adi tALa only. vid|| R.K.Padmanabha has demonstrated and used the earlier manner of reckoning the tALa in several of his concerts.

DRS, thanks very much. Just a follow up: Is there any structural difference in the compositions between a 1 1/2 eduppu Adi and dESAdi?

drshrikaanth · Post by **drshrikaanth** » 15 Mar 2006, 21:54

OOPs deleted. Dont know how this got here.

rshankar · Post by **rshankar** » 15 Mar 2006, 22:50

By the way, what happened to our dear friends Ravi Shankar and Badri? I see Ravi popping up in some other threads. Badri, are you still busy with your projects? And sahanapriyan appears to have disappeared after extracting his pound of flesh Sahana

DRS,
I am very much around..bit busier than usual, but not unusually so...If I was flabbergasted by the swarAkshara varNam, the new rAgam was mindboggling! ABSOLUTELY fantastic and superb efforts (and, may I add, your being a practicing physician makes it specially so, because I am so tired of hearing that we are a unidimensional lot...well most of us probably are, anyway, with you and CML being the exceptions that prove the rule!). But getting back to my silence, I just feel that you have ascended to a plane that I can't aspire for: I listen, quietly appreciate (my wife would say that associating 'quiet' with me would be an oxymoron!), and applaud your efforts! Keep them coming!
Ravi

cmlover · Post by **cmlover** » 15 Mar 2006, 22:59

That's great. Good looking, handsome ... (stopping it because this is not a matrimonial site!).

Good you stopped! Otherwise 'sahAnA' would kill you! SrikAnta is indeed adoring Sri rAma whose motto he will follow ('okka mADa...').

Oh I forgot! one may add 'a practising physician' to glamorize the quote! Now despair must be setting in to find that 'shankar' too is hooked! Poor CML! Nobody will even ask him

kiran!
I ventured on that shlOka for the books so one may quote it and say that the raga existed centuries ago!

DRS

I still cannot follow the reference to nalinakanti since you have not legitimized dhaivata varjya prayoga!

Also I understand dESAdi taalams do not have distinct features (like drutham etc) i.e., it just has simply four beats repeated!(apart from the eduppu). am I right?

kiransurya · Post by **kiransurya** » 15 Mar 2006, 23:15

DRS
I couldnt figure the nalinikanthi in the Kanthaswara?
Enlighten us please...

CML
That was a good piece of work that you did on the sloka. However, If we say that the raaga existed centuries ago, DRS wont be credited for his beautiful creation. Dint know that DRS is physician. We are in the same profession. Iam a physician as well.

BTW CML !! you can post your picture too. Lets give us a chance to take a look you.. "Marugelara O` Raghava"
(Oops, Seems like we are branching into personal affairs

)

rshankar · Post by **rshankar** » 15 Mar 2006, 23:22

Kiran,
I will add you to the exception list as well!
BTW, we are still waiting for your excellent translation skills on other threads.
Ravi

cmlover · Post by **cmlover** » 15 Mar 2006, 23:27

kiran

SrikAntA was the divine dhanvantari who brought along with nectar, medicinea and music too into this universe!

Even at this age my wife watches over me like a hawk in spite of being a ramachandra moorthy though boasting a naryana nickname!

venkatpv · Post by **venkatpv** » 16 Mar 2006, 01:06

i guess its redundant now... but here goes... BRILLIANT!!!!

DRS,
are you going to compose in all 72 asampurna melas?? have you already??
would love to hear them!!

drshrikaanth · Post by **drshrikaanth** » 16 Mar 2006, 02:05

----Also I understand dESAdi taalams do not have distinct features (like drutham etc) i.e., it just has simply four beats repeated!(apart from the eduppu). am I right?

Correct. Only these days dESAdi is reckoned as Adi.

VK
dESAdi is simply the name given to Adi at 1 1/2 eDupu. No structural differences as they are one and the same.

drshrikaanth · Post by **drshrikaanth** » 16 Mar 2006, 02:07

Thank you dear friends for all the accolades. All of us here have more than one dimension which is why we are here! So Ravi, keep saying what you want to. Its nice to hear from kaumaaram and venkatpv too.

Kiran
When you say physician , are you in Internal Medicine?

venkatpv
I intend to compose in all the 72 asampUrNa mELas. I have some way to go but God-willing, that will be completed.

kiransurya · Post by **kiransurya** » 16 Mar 2006, 02:20

DRS
I would really like to see and listen to your compositions if you have/ever composed them in asampurna melas. You are already on the same track as Sri Dikshitar...

** Yes Iam in Internal medicine. I take it that you too are in to it....

drshrikaanth · Post by **drshrikaanth** » 16 Mar 2006, 02:36

Let us take the 3 rAgas kAntaswara, kathanakutUhala and naLinakAnti side by side.

kAntaswara SGPNRMDS | SNDPMGRS ||

k.k SRMDNGPS | SNDPMGRS ||

naLinakAnti SGRMPNS | SNPMGRS ||

PMGRSGRM,GRSG,RM, is legitimate in kAntawara but will remind of naLinakAnti. As an example, this is avoided by a simple change to PMGRSGRMG,PMGRSGRM. Combining the pUrvAnga and uttarAnga of course removes all doubt.

SNDPMGPMGRMGPMGRS for instance is common to both kAntaswara and KK. This is because to degree, the 2 set of phrase in KK ArOhaNa are reversed in kAntaswara. Especially when coming from above, this
happens. A simple manoeuvre of associating with the AdhAra ShaDja clarifies the difference as SGP occurs in kAntaswara only while SRMD occurs only in k.k. Likewise MD,S and MDS as well as GPN show kANtaswara clearly as thi will not occur in K.K.

Some overlap between rAgas in unavoidable and often is unnoticeable as it is the overall effect that lasts. I am just being picky and explaining this as vk had requested it. It also illustrates what all consideration and thought has gone into the making of the rAga.

drshrikaanth · Post by **drshrikaanth** » 16 Mar 2006, 02:50

Kiran
I am a psychiatrist.
For the record, I have posted compositionss in the following asampUrNa mELas-
harikEdragauLa
gaurI vELAvaLi
nArI rItigauLa
vATI vasantabhairavi
jhEnkArabhramari.

And of course the SAnta kalyANi varNa.

abadri · Post by **abadri** » 16 Mar 2006, 02:52

By the way, what happened to our dear friends Ravi Shankar and Badri? I see Ravi popping up in some other threads. Badri, are you still busy with your projects? And sahanapriyan appears to have disappeared after extracting his pound of flesh Sahana

Still busy (have learnt to cope with the workload better

).
But still around.. providing the odd audio track in a few threads
(which is the easy part when you're otherwise tied up!).

Am following the thread as much as I can... of course when the direction
of the discussion takes it to places above my knowledge, can't contibute
actively.. can just passively absorb knowledge.

So, what if "sahanapriyan" is missing, don't we've the real life "Sahana priyan" in you?!