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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