What's the raga? #11

[arunk]

http://sunson.wordpress.com/2009/11/09/ ... -music-11/

A rare thing with a reasonably well known raga (which happens to be one of my favorites). Comments are appreciated on the "analysis" part.

Arun

[arasi]

Arun,
Very nice! It is the violinist who plays the traditional stuff when TNS takes the folk music route! I like his pace too.
You were looking for analysis. This isn't one

[cmlover]

Arun
I don't understand. The raga is that of the Arunacala Kavi's 'eppaDi manam thuNinthathO swami'. Which iis quite well known and well handled. I remeber ARI handling the raga quite elaborately. Perhaps it is not that popular now being more of HM origin. Olden days neraval on the Thyagaraja kriti was not a rarity at all! I am lost...

[arunk]

I have not heard a neraval in this raga except this one. If you have or know of recordings of old masters containing neraval in this raga, pl. provide info.

Arun

[keerthi]

husEni and Anandabhairavi
The sa pa combination in tandem is also common in Anandabhairavi - where pa da pa S, pa S ni da pa etc. are common. For example, SyamA SAStri’s pAhi SrI girirAja sutE starts sa pa Sa (pA hi SrI"¦).

huseni has the s-p-s for sri-ra-ghu- in PUchi ayyangar's eponymous krti.Also in tyagaraja's 'raghuvira raNadhIra' - sspap for raghuvIra.

MD's tyAgarAja-yoga-vaibhavaM more or less employs S..s - P..p - S..s for thyaa-ga Raa-ja yoO-ga and for yOga- rUpa- nAma in anupallavi.

It is hard to categorically place the s-p-S set in either of Huseni or anandabhairavi based on krti handling.

However ssAppAm sppAm and such phrases seem more appropriate in huseni swarakalpana than in Anandabhairavi the p/S (tara sthayi Sa) is a promiscuous phrase, and both can use it freely.

An important distinguishing feature of Huseni is the (Tara S) Sp glide, which is its own and is used very rarely in AB.
SnSp,, or SnrSp and Spd1mpmgrs or SnSpd1d are sancara-s which illustrate this.

In husEni, srgmp is supposedly allowed (I see the notation for the Tanjore Quartette’s svarajathi use it). But it is quite rare, and instead it is very common to go from sa to pa directly.

Even though s r g m p may be rare, the combinations s r g, r g m and r g m p etc. are quite common, and are part of some stock and important husEni phrases

theoretically srgm is allowed in huseni, but can never be used in an alapana or swarakalpana, unless suitably linked to a previous phrase. srg or srgm will never occur in Huseni (or Sahana for that matter). instead phrases will begin on R.

rgM, RgmPM rgmPM are some classic phrases of huseni.

p.s - which swarajati do you refer to..? E mAyaladi..?

ri ga ma ga ri sa - husEni’s trademark
husEni has an important phrase ri ga ma ri ga sa (and variationse.g. as ri g m r g sa / ri g m r with ri elongated or r g ma g r s with ma elongated etc), which is perhaps the pivotal phrase for the raga. r g ma g r s.

Note that Anandabhairavi cannot use this phrase, and thus this can be used to tell them apart. However, this is not perhaps exclusively husEni territory as I think bhairavi can use some variations of (?).

The symmetric rgmrgs and pdnpdp phrases contribute to most of the charm of huseni, the latter being nearly as important as the former.

The rakti nature and 'Desya' background of huseni make it possible for any swara combination to be used legitimately in Huseni.

the variations of uttarardha of arohana possible are - pS, pdnS, pndnS.

Some books give avarOha as SndpmA grs . this implies the mApm within the long mA.

Alternate phrases with dirgha M and P highlight the beauty of huseni.

mApmgrgm,, mpAmgrgm,, rgmpAmgrgsr,, rgmApmgrgsr,

ri in husEni

Besides the previous phrase, another way to differentiate husEni from Anandabhairavi is simply on the importance of the ri swara. In husEni, ri is a extremely important swara. It is typical to elongate it, and even simply "park on it"

[arunk]

Thank you very much keerthi (I wish I was able to add audio snippets to explain each of these, but it takes a lot of work and time, which I dont have at this time)

About "s r g" - I am not sure what I was thinking - a momentary lapse of reason or remembering something incorrectly.

The swarajathi for which I have notations in a (tamil) book on dance compositions of Tanjore Quartette (by their descendnet) is different (Emanta/Emanda ...?). However, the book notes that E mAyaladi has the exact same tune as this one.

Arun

[sivapriya]

At the very first stroke , TNS has revealed that the raga is Huseini. NO Doubts whatsoever !! The violinist has shadowed him well.

The clear use of typical Huseini phrases srg rgs pdndnp rgmrgs has been so beautifully used by this master that the listener does not have to scratch his head. TNS has composed a beautiful short Huseini Tillana, which is a good lesson in appreciating the raga. Available on www.sangeethapriya.org.

Mr.Arunk , would you be kind enough to share the entire song with this group? if you think fit?