Was not hamsadvani a popular raga always?.... In general ragas from carnatic music are being borrowed now as in earlier times and now in carnatic music ragas like Hamir Kalyani, Behark etc are used
--- On Fri, 9/5/08, jibandevta <[EMAIL PROTECTED]> wrote: From: jibandevta <[EMAIL PROTECTED]> Subject: [arr] Re: Dr. L Subramaniam’s special session at A.R. Rahman’s K.M. Music Conservatory To: [email protected] Date: Friday, September 5, 2008, 10:10 AM Great piece of news..I was expecting such nice discourses kind of things would happen in KM.. One point to note: Raga Hansdhwani is getting very much popular these days..It's being played by many great Performers like Ustad Zakir Hussain and Amjad ali Khan sahab.. Regards Jiban --- In arrahmanfans@ yahoogroups. com, Vithur <[EMAIL PROTECTED] > wrote: > > http://www.hindu. com/fr/2008/ 09/05/stories/ 2008090551120400 .htm > > Dr. L Subramaniam' s special session at A.R. Rahman's K.M. Music > Conservatory, brought into focus the importance of the nadha or sound which > is the very process of creation and is the only medium to a state of > consciousness. He ascribed t he development of Indian music to Vedic chants > taken in monotone, with emphasis on the words, making it a free note chant. > > Dr. Subramaniam explained how this concept of seven notes can be derived > from Sama Veda and it was around the 12th century that the two strong > classical systems Hindustani and Carnatic developed. These seven basic notes > are also present in western classical. During the 18th century, it was > Venkatamaki who determined the 72 parent scales that have seven notes each. > > Vajra ragas > > The ragas which are created by omitting notes are called the Vajra ragas. > Muthuswami Dikshitar's "Vathapi Ganapatim" in Hamsadhwani is a case in > point. It has pentatonic scale. In the second category are the Vakra ragas, > which indicate a break of continuity or regularity in the accepted order of > notes. > > There's yet another category which is a combination of the Vakra and Vajra > called the Bhashanga ragas. These are ragas with foreign notes > (accidentals) ; Bhashanga are the 'derived scale ragas,' which grow out of a > major scale by the inclusion of a minor komal swara. Anand Bhairavi, Piloo > and Bhairavi and Hindolam are some examples presenting the Vajra Bhashanga > combinations. There are innumerable opportunities in Vakra Bhashanga; on > taking one parent scale many explorations are possible. Dr. Subramaniam > pointed out the importance of the primary and the secondary notes that is > Vadi and Samvadi in a raga. The key phrase of the raga would express the > primary note. Similarly, on improvising, the ornamentation of the primary > and secondary notes would give a clear picture to the raga. Raga does not > emerge simply out of going up and down the scale; it is the ornamentation > relevant to a particular raga which gives the right emotion, the right > flavour and comes close to being a raga which is the exposition of colour > emotion and feeling, he said. > > Dr. Subramaniam spoke about the seven basic talas,108 variable talas and the > Chapu Talas. > > Dr. Subramaniam' s inter-active exhaustive talk on the basics of the > raga-tala system was a fitting introduction to the first batch of the > Foundation Programme and to the faculty drawn from different parts of the > world at the KM Music Conservatory. > > > -- > regards, > Vithur > > ARR -- The Sweet Cube always >
