Monday, March 7, 2016

685, Continuation of Post No. 368. Revised Names for the new 36 Mother tunes proposed for the Indian Music.


This is in continuation of my post No. 368, at this blog. Link: Click to go to 368 . I felt that there is a need to revise the names for the 36 additional new mELa kartas (new Mother tunes) proposed, for the CarnATic Music, probably for HindusthAni Music also. These names are easier to remember, when compared to the 36 names proposed in Post No. 368. There is no change in the structure of the Notes. There are only changes in Names of the Tunes (rAgams).

When compared to North Indian Music (Hindusthani Music) which has only 10 Mother Tunes (called ThAThs- bhairav, bhairavi, pUrvi, pUria, bilAval, khamAj, kAfI, AsAvri, tODi, kalyAN, total 10 ThAThs), South Indian Music (popularly known as CarnAtic Music) has 72 mother tunes, which are called "mELa kartAs". In other words, in addition to the 10 ThAThs of Hindusthani, Carnatic Music has additional 62 ThAThs.

In HindusthAni Music, though there are 12 notes (called Svara sthAnas) in an Octave, in a Complete Tune (sampUrNa rAga) only seven notes (sapta svarAs) are used.

IN CarnATic Music, though there are 16 notes in an Octave, still only seven notes (sapta svarAs) are used.

Out of the 72 Mother tunes (mELakartas), in 40 mELakartas both the variants of a single note are used while playing with instruments. However, in vocal Music, the note's first letter is uttered with a different initial.

Example: Use of soft (kOmal) ri, and strong (catusriti) ri, Use of soft da (kOmal dha) and strong da (catusriti da), in the Tune No. 1, KanakAngi.

The ascendence of kanakAngi: c, c# (soft ri), d (strong ri. This is pronounced in vocal music as "ga", calling it shatsriti rishabham), f, g, g# (soft da), a (strong da, pronounced as "ni", calling it as suddh nishAd of Carnatic Music), c'.

In addition, what we can observe from the above ascendence (ArOhi or ArOhaNa)? Omission of the standard two gandhArs i.e. d# and e.

After c, c#, d, the tune progresses (or hops to / jumps) direct to f.

Similarly, we can find the omission of the standard two nishAds (soft ni or kaisiki ni a#, & strong ni or kAkali ni 'b').

After all the above adjustments, we get the ascendence as under:

c,c#,d,f. (First Part- uttarAng). g,g#,a,c' (Second Part -uttarAng).

Thus we get, some special treatment to Rishabh, gandhAr, dhaivat, nishAd.

But, the same luxury is not extended to madhyamams (f, f#).

Though there is no formal acknowledgement to the double madhyama (f, f#) tunes as ThAThs, Hindusthani music allows double "f" tunes such as bihAg, hamIr kalyAN, with or without adding a prefix "mishr". In CarnATic Music, Hindusthani double madhyam tunes are imported and used.

Question: So, what do you want to propose?



Ans: Carnatic Music needs addition of another 108 mELakartas to make it more scientific, and better designed. To start with we shall see how we can add an additional 36 mEla kartas (Mother Tunes), commencing from mELa karta 73. All these mELa kartas will employ the note "f#" in addition to "f", and formalise the Mishra RAga system of Hindusthani Music.

We can add the prefix "uMA (English meaning: big, enlarged, BothFs)" to the existing names of the "f" meLakartas 1 to 36.




Name of the cycle: uMA indu cakra. BothFs Moon Cycle
73. uMA kanakAngi: c, c#,d, f, f#, g, g#,a, c'.
74. uMA ratnAngi: c, c#,d, f, f#, g, g#,a#, c'.
75. uMA gAna mUrtE: c, c#,d, f, f#, g, g#,b, c'.
76. uMA vanaspati: c, c#,d, f, f#, g, a,a#, c'.
77. uMA mAnavati: c, c#,d, f, f#, g, a,b, c'.
78. uMA tAna rUpiNi: c, c#,d, f,f#, a#,b#, c'.

Name of the cycle: uMA nEtra cakra. BothFs Eye Cycle
79. uMA sEnApati: c, c#,d#, f, f#, g, g#,a, c'.
80. uMA tODi: c, c#,d#, f, f#, g, g#,a#, c'.
81. uMA dhEnuka: c, c#,d#, f, f#, g, g#,b, c'.
82. uMA nATaka priya: c, c#,d#, f, f#, g, a,a#, c'.
83. uMA kOkila priya: c, c#,d#, f, f#, g, a,b, c'.
84. uMA rUpavati: c, c#,d#, f, f#, g, a#,b#, c'.





Name of the cycle: uMA agni cakra. BothFs Fire Cycle
85. uMA sEnApati: c, c#,e, f, f#, g, g#,a, c'.
86. uMA tODi: c, c#,e, f, f#, g, g#,a#, c'.
87. uMA dhEnuka: c, e,d#, f, f#, g, g#,b, c'.
88. uMA nATaka priya: c, c#,e, f, f#, g, a,a#, c'.
89. uMA kOkila priya: c, c#,e, f, f#, g, a,b, c'.
90. uMA rUpavati: c, c#,e, f, f#, g, a#,b#, c'.





Name of the cycle: uMA vEda cakra. BothFs Knowledge Cycle
91. uMA sEnApati: c, d,d#, f, f#, g, g#,a, c'.
92. uMA tODi: c, d,d#, f, f#, g, g#,a#, c'.
93. uMA dhEnuka: c, d,d#, f, f#, g, g#,b, c'.
94. uMA nATaka priya: c, d,d#, f, f#, g, a,a#, c'.
95. uMA kOkila priya: c, d,d#, f, f#, g, a,b, c'.
96. uMA rUpavati: c, d,d#, f, f#, g, a#,b#, c'.





Name of the cycle: uMA bANa cakra. BothFs Arrow Cycle
97. uMA mAra ranjani: c, d,e, f, f#, g, g#,a, c'.
98. uMA cArukEsi: c, d,e, f, f#, g, g#,a#, c'.
99. uMA sarasAngi: c, d,e, f, f#, g, g#,b, c'.
100. uMA hari kAmbhOji: c, d,e, f, f#, g, a,a#, c'.
101. uMA SankarAbharaNam: c, d,e, f, f#, g, a,b, c'.
102. uMA nAgAnandamu: c, d,e,, f, f#, g, a#,b#, c'.





Name of the cycle: uMA ritu cakra. BothFs Seasonal Cycle
103. uMA yAgapriya: c, d#,e, f, f#, g, g#,a, c'.
104. uMA rAgavardhini: c, d#,e, f, f#, g, g#,a#, c'.
105. uMA gAngEya bhUshaNi: c, d#,e, f, f#, g, g#,b, c'.
106. uMA vAgadhISvari: c, d#,e, f, f#, g, a,a#, c'.
107. uMA SUlini: c, d#,e, f, f#, g, a,b, c'.
108. uMA calanATa: c, d#,e, f,f#, g, a#,b#, c'.

I hope to, someday add, some Videos / audios which will demonstrate the above 73 to 108 mELakartas. One of my goals is, to produce new compositions which will be free of "caste, Gods and Goddesses, religion, region, and language" to the extent possible, if I live sufficiently long.

Subject to substantial Revision, additions and deletions. To continue and revise this, with more proof.. सशेष. సశేషం.

No comments:

Post a Comment

ఘోరమైన విమర్శలకు కూడ స్వాగతం, జవాబులు ఇవ్వబడతాయి.