Haunting Arabhi

Rāga related discussions
narayan
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#26

Post by narayan » 30 May 2009, 19:52

Repetitiveness is frowned upon in theory, and both songs and musical ideas within songs are supposed to explore new themes without the mind palling. But to balance this, there seems to be a virtue
in repeating some well accepted themes. It is a bit tautological. Are these themes repeated
because they are well accepted or the other way around? I remember Tanjavur Sankara Iyer going
into raptures at the micro-but-significant repetition of Ri,Ri,Ri, in Chetashri Balakrishnam
in Dvijavanthi, but frowning at S,RSNP in Rama Katha Sudha, saying that Tyagaraja would NOT
have repeated an idea that he would subsequently use in Rajyamu in the second line. These
are within songs.

Returning to the discussion on hand, in Arabhi, the tally is now up to something like thirteen songs of the type that I mentioned. Pantuvarali has at least 6 by one composer: Tyagaraja that begin on the top sa and come down to the middle pa.

Referring to the Begada discussion, in this presumably 'old' raga, I count up to eleven songs with more or less the same pattern to start the proceedings: Nadopasana, Neeverakula, Tanavari, Gattiganu, Samikisari, Bhaktuni charitramu, Diskshitar's Vallabha nayaka, then others like Chidambaram, Innumparamukham, Manusuna nera, Anudinamunu.

I have other examples - Darbar songs with the RP,,(MPDP)PMR theme recurring in Ramabhirama,
Munduvenuka, Narada guru, Aparadhamu, the rarely heard Ela Teliya (from what I remember the one recording), etc. Athana has a whole group of songs with one theme: Narada gana, Ela ni dayaradum, Chede buddhimanura, etc. and I am sure others can add more. Many Kambhoji songs have sequences starting with the Madhyamam: (Baludau markandeya, Bhusuradi, Bhuloka vaikunthamu, Maalodayan, etc.)

Therefore it is of equal interest when there is new wine in old bottles! Spencer's Va muruga or Srivatsa's Gana lola in Darbar do break new ground in 'old' ragams. This is a different type of creativity than new ragams and new melodies.
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srikant1987
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#27

Post by srikant1987 » 30 May 2009, 20:34

Doesn't aparadhamula begin as r m p , d-pm pd pm r s?

I think you are stretching things so that they fit in a pattern.

I don't see repetition as a bad thing at all, personally.
Last edited by srikant1987 on 30 May 2009, 23:22, edited 1 time in total.
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narayan
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#28

Post by narayan » 30 May 2009, 21:59

srikant1987 wrote:I think you are stretching things so that they fit in a pattern.
I think that is very likely!
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keerthi
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#29

Post by keerthi » 31 May 2009, 15:24

I think that the rAga being same in a set of krti-s, the fact that similar motifs recur shouldn't be taken as any commentary on the competence/creative abilities of the composers/tune smiths..

(I don't mean to allege that it is being done in this thread..)

All this suggests, is that there are certain 'classic' patterns, certain classic opening phrases and certain well-tested landing phrases by which,(to use subbarama dikshitar's words) the raga will 'sparkle'..

The kind of music that arose spontaneously, probably employed these time-tested, familiar phrases..
The krti-s composed, when the musicians were more composed; :P probably gave them the space to incorporate novel motifs, and newer phrases..

Regarding narayan's opening comment on repetition, there are different kinds, aren't there.. there can be terribly meaningful repetitions, and drearily boring repetitions.. repetition either of a melodic phrase or of a line in a song can be used to great effect..
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ppraghu
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#30

Post by ppraghu » 22 Dec 2009, 02:11

If it is not too deviating from the original theme of this thread ---- I recently came across a Hindustani recording which was described to be in raga Arabhi:

http://www.esnips.com/doc/e00f852a-c1fa ... airavi-etc

The problem is, the song rendition tasted a complete Shyama raga to me, not Arabhi (technically, these ragas differ only between the presence and absence of Nishada). I may be wrong. The recording quality is not so good - therefore, it is difficult to say if the raga is "technically" Arabhi (ie, existence of Ni).

Nevertheless, a very wonderful singing it is!

Regards
Raghu
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vasanthakokilam
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#31

Post by vasanthakokilam » 22 Dec 2009, 12:43

It sounded sAmA ( shyAmA ) to me too. What a great voice. Quite smooth.
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babaji
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#32

Post by babaji » 25 Jan 2010, 12:22

There is one kirtana composition by Genius vidwan Dr.m.balamuralikrishna in Arabhi which starts at the chracteristic Rishabam of arabhi i have'nt heard any other song in a different eduppu as this both raga wise and also sahitya wise that is the kirtanas lines start at the fourth beat after a long kaarvai from samam.

Its Sri sakalaganadhipa in adi tala composed in praise of three deities ganesha,anjaneya and krishna(quite obvious).
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arvindt
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#33

Post by arvindt » 02 Feb 2010, 10:19

keerthi wrote:I think that the rAga being same in a set of krti-s, the fact that similar motifs recur shouldn't be taken as any commentary on the competence/creative abilities of the composers/tune smiths..

(I don't mean to allege that it is being done in this thread..)

All this suggests, is that there are certain 'classic' patterns, certain classic opening phrases and certain well-tested landing phrases by which,(to use subbarama dikshitar's words) the raga will 'sparkle'..

The kind of music that arose spontaneously, probably employed these time-tested, familiar phrases..
The krti-s composed, when the musicians were more composed; :P probably gave them the space to incorporate novel motifs, and newer phrases..

Regarding narayan's opening comment on repetition, there are different kinds, aren't there.. there can be terribly meaningful repetitions, and drearily boring repetitions.. repetition either of a melodic phrase or of a line in a song can be used to great effect..
Very true and well said... Interestingly, Shri GNB says something very similar in his speech
on Ariyakudi: http://www.narada.org/ariyakudi/gnb.html

"He never allowed himself, even in his early days, to fall into the dangerous illusion that originality comes
only with the avoidance of the well-known, obvious and basic sancharas and form of a raga, a shoal on
which many young musical minds are apt to wreck themselves."
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SrinathK
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#34 Re: Haunting Arabhi

Post by SrinathK » 14 Jan 2019, 15:11

Arabhi has a few unique phrases like MGR or SND where the G3 or N3 has no existence of it's own, but merely serves as a janta point for M1 and S. Also SSD, -- SD, are also valid phrases which Thyagaraja amply milked in sAdinchanE.

With Thyagaraja owning this raga - here're two of his compositions

https://www.youtube.com/watch?v=54-KA35C1dk - cAla kallalADu konna saukhyamEmirA by MS Amma.

I am unfortunately not able to find Maharajapuram Vishwanatha Iyer's alApana of Arabhi or his rendition of this krithi.

And the pancharatnam is the magnum opus in this raga :- https://www.youtube.com/watch?v=zY2d5ubwVpA#t=47m14s

There are also quite a lot of Oothukadu Venkata Subbier Krithis in this raga
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ajaysimha
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#35 Re: Haunting Arabhi

Post by ajaysimha » 14 Jan 2019, 15:30

SrinathK wrote:
14 Jan 2019, 15:11
There are also quite a lot of Oothukadu Venkata Subbier Krithis in this raga
here are the popular ones by OKV

Marakata manimaya chela - Arabhi/Adi: https://www.youtube.com/watch?v=kHTFRQ9MKuE
"especially the madhyama-kala passage is very apt. with arabhi phrases
MK:
tām takiṭataka takadhimi RSND
tajhaṇu S R M G R Ḍ S R M P ,
tajhaṇu Ṡ Ṙ Ṁ Ġ Ṙ ta jham jham ṭa ki ṭa
dittlām ta ki ṭa D P M G R ta dheengiṇatom"

Pranavakaram siddhivinayakam - Arabhi/Adi: https://www.youtube.com/watch?v=zsJsKyuiNpI

Sakala loka nayike - Arabhi/Adi: https://www.youtube.com/watch?v=vBSamgWtI0I
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SrinathK
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#36 Re: Haunting Arabhi

Post by SrinathK » 18 Jan 2019, 12:17

Didn't know there was a varnam in it. https://www.youtube.com/watch?v=J5k8g5MJ3nE
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ajaysimha
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#37 Re: Haunting Arabhi

Post by ajaysimha » 18 Jan 2019, 14:46

there is one more beautiful varnam in tamizh by Tiger Varadachari

Anname aravabharananai azhaittu (tv) - Arabhi - Adi - Tiger Varadachari
Last edited by ajaysimha on 18 Jan 2019, 15:14, edited 1 time in total.
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SrinathK
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#38 Re: Haunting Arabhi

Post by SrinathK » 18 Jan 2019, 14:55

Careful in sharing from live broadcasts. The last thing we need is for another forumite to get a court notice and for a rasikas's lifetime of CM music to get wiped out.
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SrinathK
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#39 Re: Haunting Arabhi

Post by SrinathK » 18 Jan 2019, 16:39

I found another recording, from this young man's own channel. https://www.youtube.com/watch?v=-fF5V9JzzaI
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Sreeni Rajarao
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#40 Re: Haunting Arabhi

Post by Sreeni Rajarao » 19 Jan 2019, 19:10

SrinathK wrote:
18 Jan 2019, 12:17
Didn't know there was a varnam in it. https://www.youtube.com/watch?v=J5k8g5MJ3nE
Reading this thread, I get a feeling that there may not be many varNa-s in Arabhi.

I would be happy to share svara and sAhitya for a varNa in telugu, composed by Veena RajaRao in the 1940s,
I would be very happy if I can get to hear a recording by our learned members SrinathK, Ajaysimha, .....
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SrinathK
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#41 Re: Haunting Arabhi

Post by SrinathK » 20 Jan 2019, 17:47

Here's a composition of Purandaradasa - lAlisidaLu magana yashode : https://www.youtube.com/watch?v=flnLI5H7i0w
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shankarank
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#42 Re: Haunting Arabhi

Post by shankarank » 21 Jan 2019, 11:34

As I had noted, her ascent upwards sounds like Suddha sAvErI.


Here by Dr. BMK : SrI.. ramaNa vibhO kalayAmi begins R....RRMGR.. without P
https://youtu.be/FAsg5_ckj54?t=539

His own ManagaladAyaka begins DSDP P..MP

https://youtu.be/Eyh2Q7NIz1g?t=126

Another of his: mahAdEva sutam begins sr..ssnd sr

https://youtu.be/vFnNNrdOS_s?t=418

Arabhi is the rAgA he said he would sing if he were to die tommorow!
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ajaysimha
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#43 Re: Haunting Arabhi

Post by ajaysimha » 21 Jan 2019, 16:42

shankarank wrote:
21 Jan 2019, 11:34
Here by Dr. BMK : SrI.. ramaNa vibhO kalayAmi begins R....RRMGR.. without P
i had this in the tip of my tongue, nice you posted it.
Dr. BMK liked this song so much, by it's inspiration , he composed shrI sakala gaNAdhipa which has the same varna mettu of sri ramana vibho.
he popularized either of the songs in many of his concerts.

shankarank wrote:
21 Jan 2019, 11:34
As I had noted, her ascent upwards sounds like Suddha sAvErI.
even i had the same doubt, and my guru told me the below lakshnas like:
arabhi is a decend/ avarohana dominated raga
where in the raga has more janta prayogas aswell it's a fast tempo-ed and catchy raga
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ajaysimha
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#44 Re: Haunting Arabhi

Post by ajaysimha » 21 Jan 2019, 16:47

Sreeni Rajarao wrote:
19 Jan 2019, 19:10
I would be happy to share svara and sAhitya for a varNa in telugu, composed by Veena RajaRao in the 1940s,
I would be very happy if I can get to hear a recording by our learned members SrinathK, Ajaysimha, .....
:D very challenging task @Sreeni Rajarao
will give a try if possible with guidance of my teacher

i also found one more varna composed completely in kannada by lalitha navile
(contemporary women composer of Karnataka, whose has composed many krithis/varnas/thillanas in kannada)
ninnane-arabhi-adi-lalitha navile
https://youtu.be/Z6FEmpnIct4?t=2508
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ajaysimha
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#45 Re: Haunting Arabhi

Post by ajaysimha » 23 Jan 2019, 15:45

this ragam is very much suited for singing gadyas/shlokas/choorikas
in long shloka-malikas we can see this raga making its majestic presence among-st other ragas.

ajaysimha wrote:
14 Jan 2019, 15:30
Marakata manimaya chela - Arabhi/Adi: https://www.youtube.com/watch?v=kHTFRQ9MKuE
"especially the madhyama-kala passage is very apt. with arabhi phrases
MK:
tām takiṭataka takadhimi RSND
tajhaṇu S R M G R Ḍ S R M P ,
tajhaṇu Ṡ Ṙ Ṁ Ġ Ṙ ta jham jham ṭa ki ṭa
dittlām ta ki ṭa D P M G R ta dheengiṇatom"
we can also see the similar jathi and swara patterns in purandaradasar's composition

AdidanO ranga-Arabhi-Adi-Purandara Daasar https://www.youtube.com/watch?v=T6zZQ2V12vs

"amburuhOdbhava akhiLa suraru kUDi ambaradali nidu avarstutise rambe Urvashi ramaNiyarellaru
cendadim bharata nATyava naTise jhamtaTa takadhimi tadhigiNi tOm endu jhampe tALadi tumburunoppise
dhA ma pa dha sa rI endu dhvaniyinda nArada tumburar gAna mADalu nandiyu maddale cendadi hAkalu"
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SrinathK
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#46 Re: Haunting Arabhi

Post by SrinathK » 01 Feb 2019, 21:09

Maharajapuram Viswanatha Iyer was known for his Arabhi and no wonder.

https://youtu.be/13L7J6Q0uzg

I really must wonder what he must have been able to do in his prime wheb he had his full range available.
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SrinathK
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#47 Re: Haunting Arabhi

Post by SrinathK » 02 Feb 2019, 10:41

Sreeni Rajarao wrote:
19 Jan 2019, 19:10
SrinathK wrote:
18 Jan 2019, 12:17
Didn't know there was a varnam in it. https://www.youtube.com/watch?v=J5k8g5MJ3nE
Reading this thread, I get a feeling that there may not be many varNa-s in Arabhi.

I would be happy to share svara and sAhitya for a varNa in telugu, composed by Veena RajaRao in the 1940s,
I would be very happy if I can get to hear a recording by our learned members SrinathK, Ajaysimha, .....
Do share. My ideas on varnams have had to be postponed (just like a many others) due to lack of time, but I've not forgotten them, and will contribute in the long run.

Not much of a vocalist in any capacity. Never ever had the opportunity to sit down and do akara sadhakam in a quiet uninterrupted environment or make my voice sound musical - but could give it a shot.
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SrinathK
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#48 Re: Haunting Arabhi

Post by SrinathK » 09 Feb 2019, 10:00

An unheard composition of Dikshitar in Arabhi - this is a musical form called "saranu daru", a component of a type of musical drama known as "nirupaNam". I just came to know of this video from Dr. T R Aravindhan's channel. These manuscripts only exist in part - so long story short, I'll just post the video link below.

This is sung completely plain like a geetham or a nOTTuswaram, but it has all the well known prayogas of Arabhi and no alien phrases. It would sound good with today's gamakas.

https://www.youtube.com/watch?v=Dji0O9yoXq8

Quoting the video description.

"...This is an unpublished composition of Sri Muthuswamy Deekshithar seen in the mansucript said to be written by Tanjore Quartette and carefully preserved by their eighth generation descendant Sri KPS Sivakumar. We sincerely thank him for the same.

This is a humble attempt to reconstruct from those manuscripts.

This is not a krti; rather a musical form called as 'Saranu daru". Saranu saru is a component of "Nirupanam", a musical drama. This has 18 components and Saranu comes second in that. Nirupanam was common during 1800-1900 CE and King Serfoji II is said to have composed around 15 nirupanam-s.

This manuscript also has ' jaya jaya', another 'saranu' and a mangalam - the different components of a nirupanam. Based on the available evidences from these manuscript, it can be presumed Deekshithar has composed more than two nirupanam-s. It might not be out of place to say only Tanjore Quartette must have been aware of this nirupanam.

We allow the viewers to identify the raga mudra interwoven into the sahityam.

This has a pallavi and two two kandika-s of anupallavi. But the notation is available only for the pallavi and the second kandika. Hence, that alone is presented.

Sahityam
Pallavi
Śaraṇu Śaraṇu mahēṣa śaṅkari śaraṇu bhaktavaṣaṅkari
Śaraṇu viṣṇusahōdari Śaraṇu śrī ṣatodari (Śaraṇu)
Anupallavi
Śaraṇu viṣvavikalpahāriṇi śaraṇu mukta hāriṇi
Śaraṇu pāṣavidāriṇi śaraṇu bhuvanōdhāriṇi (Śaraṇu)

Śaraṇumārabhīru priyakari śaraṇu guruguha samudbhavakari (Śaraṇu)
...


More information at the guruguha.org site :http://guruguha.org/wp/?p=2638
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bhakthim dehi
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#49 Re: Haunting Arabhi

Post by bhakthim dehi » 09 Feb 2019, 15:02

It would sound good with today's gamakas.
Whenever I think of gamakam, I am flooded with the thoughts given below. Anyone can clarify .

Pradarshini is the only text which gives the notation of a kriti with extra precision. These gamakas are not his imaginations and represent a continuous tradition ,at least from Venkatamakhin. Hence it represents the gamakas extant during the period of Svamigal , Deekshitar etc.
When we look into the gamakas, what I could understand is any gamakam is a deflection of a particular note. Sometimes, two or more gamakas are given to a single note or two swaram in a phrase has gamakam. But, the gamakas we use today are totally different. we fill the space between two swaras with some phrases and call it as a gamakam (please correct me if I am wrong).
Have we changed the concept of gamakam too ?
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SrinathK
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#50 Re: Haunting Arabhi

Post by SrinathK » 09 Feb 2019, 15:45

I was looking at some old definitions of gamakas - namely the 10 types and the 15 types.

The 15 type gamakas (panchadasha) are mainly veeNa techniques with some other effects like attacking a note, varying the volume, slides etc..

The ten types of gamakas include the arOhanam avarOhanam (yes) and various kinds of patterned arrangements of notes and connections.

Both of them talk of the kampita. Now one thing is clear - in the past the kampita was used like salt in the food, an occasional shake, now-a-days it's the thing that differentiates apples from bananas and sambhar from rasam or even between two types of mangoes or even the difference between an Indian grape and a French grape!

So yes, the definition of gamaka has expanded from ornamentation, techniques and combinations, into the things that create individual personalities made up of musical phrases. The common man's understanding of gamaka has changed from the former to the latter. And I think this is why I don't quite get the old versions of ragas either - they are using them differently. If gamaka back then was to modulate a note, gamaka today is (as you said it), exploring the space between the notes. Gamaka now refers to the phrase labelled by the note more than anything else.

Still I raise another question as to whether even a book as detailed as the pradarshini could have adequately captured the weight of playing of those days (because it does feel raw when it's fresh off the notation) - no book is enough to capture all the microscopic nuances and their individual variations. Very few people have tried to replicate gamakas on print in recent times because at one point it becomes easier to use your ears than to write them down. Though I do not doubt for one second that the level of gamaka massively increased in the last 150 years.

While all the gamakas mentioned are all valid even now, they need to get a major update, because the spectrum of gamakas, singing and playing techniques is now vastly more detailed and diversified. Also at this point there is no way to label all the variations adequately except to directly sing the phrase itself. (E.g. N2, which has like 50-60 variations!)

These concepts of gamaka as a moving phrase is not new. In recorded history, here's an example : https://en.wikipedia.org/wiki/Music_of_Mesopotamia

But, if I had to look at the fundamentals of gamaka as deep as I can go, the animal kingdom beat us to it long back - they just couldn't define it. Listen to this.
https://www.youtube.com/watch?v=7zLzYiw1wdQ
https://www.youtube.com/watch?v=HmEQQtBt8dw
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