Though this blog has been started as 'problems of telugus', we have expanded into National problems of India, and the problems of the World, particularly Poverty, Inequalities of Income and Wealth. I support Atheism and Marxism which I call TOTAL TRUE SOCIALISM, but I do not wish to impose on others. If you do not like what I write, pl. write your comment here. If you like anything, pl. tell others.
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Showing posts with label South Indian Music. Show all posts
Showing posts with label South Indian Music. Show all posts
Telugu is a language spoken by 100 million people in the World.
Telugu language has a nick-name 'Italian of the East', probably because its words mostly end in a vowel sound, whereas words of most languages often end with a consonant. This characteristic of words ending with a vowel sound, seem to give the Telugu language some additional sweetness to listen to. Hence, Telugu language has become a language loved for its melody. It has hundreds of thousands of verses and songs. Telugu is amenable both to AalAp (humming without any literature, or percussion instruments), and for singing of rhythmic songs , with accompaniment of percussion instruments.
Telugu Prosody meters called "chandas" in Indian languages, are very melodious both for recitation and singing. These metric verses are compulsorily used in the Ancient Telugu books such as Mahabharatam, Mahabhagavatam, Ramayanam, These meters have a wide range on the continuum of difficulty i.e. most difficult to compile at one end , and relatively easier meters to compose, at the other end. In variety, these meters outshine English Poetic meters in several respects.
Some important Telugu poetic meters
1. Utpala mAla (literal meaning , a garland of lotuses)
2. Champaka mAla (literal meaning , a garland of lavendars )
3. mattEbham (literal meaning , an elephant which is in its heats or which is very excited)
4. SArdUlam (literal meaning , a tiger)
5. matta kOkila (literal meaning, an excited cuckoo)
so on so forth.
Though the above meters are believed to have a Sanskrit origin, I am unable to find any popular usage for the meters in Sanskrit books such as Mahabharata, Mahabhagavata, Ramayana etc etc.
Indigenous Telugu meters
1. Kandamu
2. Sisamu
3. TETa gIti
4. AaTa veladi
5. dvipada
so on so forth.
Amenability of Kandamu prosody, in conforming to the Aadi tALam (Carnatic Music) / teen tAL (Hindusthani music
The Adi TALam /teen tAL of Indian Classic Music run with a 4 / 8 / 16 / 32 / 64 time units depending upon the expected tempo. Kanda padyams (Kandam verses) too run in these 4/8/16/32/64 beat. I shall give some examples of the verses and show how they conform to the Aadi tALam / tEEn tAL.
Note: Though Telugu classical songs (called kritis, kIrtanAs, etc. etc.) are made to adhere to fixed length meters , cycles and beats, it is rare that they conform to Telugu Prosody meters such as Utpalamala or kandamu. Literary Poetic prosody meters and Classical Music tALa cycles are unconnected. They are different.
I believe that I am the first fortunate person to identify the link between kandam and Aadi tALam; strangely it struck me in a dream when I was having an afternoon summer siesta. But, I need not be the first person; others too might have had this experience, but they might not have had time to write about it, with some good publicity such as internet.
Kandam verse has four lines called 'pAdams' (literary meaning 'feet'. Etymology akin to "ped"=feet, Indo European Prototype.).
First line and third line have a similar structure of 3 x 4 time units.
Second and Fourth lines have a similar structure of 5 x 4 time units.
Most kanda padyams have symmetric construction in the sense that first two lines have one continuity. 3rd and 4th lines have one continuity.
Thus first two lines, when combined, will have 8 time units. 3rd and 4th lines have combined 8 time units.
First two lines, we can treat as one cycle of Aadi tALam / teen tAL.
Third and Fourh lines, we can treat as one cycle of Aadi talam / teen tAL.
Alternatively, we can take the entire kanda padyam as one Aadi tALa / teen tAL cycle of 16 time units.
How to make Kanda padyam 1-2 and 3-4 lines?
POETIC PROSODY OF KANDAM
Kandam's first two lines, can be divided into total eight "gaNam"s. GaNam = a group of persons, a group of things etc. GaNam with the meaning "group" , is probably a word of Indo European Prototype origin of Scandinavia and Baltics.
Kandam two lines, require use of eight gaNams of equal length, of length of four vowels each.:
Telugu Poetic Prosody has gaNams of different lengths.
Examples:
"ha " gaNam, "va gaNam", "na" gaNam = 3 vowels length. "ha", "va" "na" gaNams are not used in kandam.
"bha", "ja", "sa" gaNams have 4 vowel length, with one Long vowel of value 2, and two short vowels of value 1 each, i.e:
L+s+s =4. vowel length. This is bha gaNam.
s+L+s = 4. vowel length. This is ja gaNam.
s+s+L = 4. This is "sa" gaNam.
Similarly L + L= 4. = 2+2= This is called "gagam".
In the same way, s+s+s+s - 4 short vowels = 4 length. This is called "nalam".
Likewise, "ya", "ra", "ta" gaNams have five vowel lengths each. Hence they are not used in kandams.
"Ma" ganam has six vowel length. Not used in Kandam.
"nagam" has five vowel length. Not used.
In the following lines L=2 units of time or vowel length, s=1 unit of time or vowel length
Essence: Only 4 vowel lengths gaNams are permitted, i.e. "bha" i.e. Lss, "ja" i.e. sLs, "sa" i.e. ssL, "nalam" i.e. ssss, "gagam" i.e. LL are permitted. 8 gaNams x 4 vowel lengths = 32 time units, a multiple of 8/16/32/64 which will fit into the meter of Aadi tALam or teeN tAL, or 4/8/16/32/64 beat of Western Music. I am nto conversant or profificnet with Western music. Hence, I shall cover only South INdian (Carnatic), and North Indian (Hindusthani) music.
To continue.
I am writing this particular blog post, about 75% seriously, and 25% unseriously. Seriously because:--I have already burnt several years of midnight oil, (valuable?) human time on this concept of 'sthira sriti music' about which I have become somewhat idiosyncratic and obsessive, like Late Morarji Desai, Former Prime Minister of India, who was a lover of auto-urine therapy (drinking one's own urine for improvement of health). My riyaz-sAdhana (practice hours) for the last three years were spent with dabbling / meddling with a few musical instruments, while trying to experimenting with this sthira sriti music. As far as outcome and progress is concerned, I believe that I made some consolidation, clarity and progress in my efforts. But, yet, not enough to make public demonstrations on stage, or placing videos on internet. This is mainly because my voice is somewhat shrill and inflexible in reproducing intended tones. I have tried to get some assistance from one or two local classical vocal singers of Carnatic Music, but I cannot expect much co-operation from anybody because this is one idiotic activity of mine which does not yield MONEY (moolah/lucre), about which this Capialist World is enamoured with 24/7/365.
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.
354 bilahari svara jati in 4 beat by paTnam SubrahmahNya Ayyar 354 राग बिलहरि स्वर जति, आदि ताळम (तीन ताल) में, पट्नम सुब्रहमण्य अय्यर विरचित. 354 బిలహరి రాగం, స్వరజతి, ఆది తాళం లో, పట్నం సుబ్రహ్మణ్య అయ్యర్
చర్చనీయాంశాలు Topics for discussion चर्चांश: 354, Carnatic Music, South Indian Music, करनाटक संगीत, दक्षिण भारत संगीत, కర్నాటక సంగీతం, Mother Tune 29
The above video is a condensed version of the computer generated audio produced using the undernoted western notation. Name of the musical work: bilahari svara jati. Name of the literary work: rAra vEnu gOpA bAla. Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music. Author and composer: South Indian elders of the 19th Century. I believe tht this is the work of Patnam Subrahmanya Ayyar. Embellishments and converting into digital music: ybrao a donkey. Tune used: called 'bilahari rAgam' a child tune of the Mother tune SankarAbharaNam (Melakarta No. 29). २९ मेळकर्ता धीर शँकराभरणं से जनित राग।. 29 వ మేళకర్త ధీరశంకరాభరణ జన్యం. Ascendence: sarigapadasa'. c,d,e,g,a,c'. औडव राग, ఔడవ రాగం We observe: 5 notes only. Hence pentatone. ma-ni f,b are not used. Descendence: sa'nidapamagarisa. c',b,d,g, f,e,d,c. अवरोहि में संपूर्ण అవరోహిలో సంపూర్ణం. We observe: Complete with all the 7 notes.
Literature: Refrain & chorus- pallavi: rAra vEnu gOpA bALA rAjita sadguNa jaya SIlA రార వేణు గోపా బాల రాజిత సద్గుణ జయశీలా रार वेणु गोपा बाला राजित सद्गुण जय शीला Stanza 2 or sub-refrain called anupallavi: sArasAsha nEramEmi marubAdha kOrva lErA सारसाक्ष नेरमेमि , मरुबाध कोर्व लेरा సారసాక్ష నేరమేమి, మరుబాధ కోర్వ లేరా Stanza 3 called caranam 1: nanda gOpAla nEnendu bOjAlA - nIvindu rArA sadamala madilO mudamalaraga nA keduruga gadiyara. నందగోపాల నేనెందు బోజాల - నీవిందు రారా సదమల మదిలో ముదమలరగ నా కెదురుగ గదియరా. नंद गोपाल नेनॆंदु बोजाल - नीविंदु रा रा सदमल मदिलो मुदमलरग ना कॆदुरुग गदियरा. Stanza 4: palumAru gAravamuna nin pilacina palukavu alugakurA - karivaradA birabir nA adharamu grOlarA - kanikaramuga. పలుమారు గారవమున నిన్ పిలచిన పలుకవు అలుగకురా - కరి వరదా, బిరబిరాన అధరము గ్రోలరా. पलुमारु गारवमुन निन् पिलचिन पलुकवु अलुगकुरा - करि वरदा बिरबिरा ना अधरमु ग्रोलरा - कनिकरमुग. Stanza 5: rA nagadhara murahara - rA bhavahara rAvErA - I maguvanu, I lalananu, I sogasini cEkOrA. KorikalimpondA dendamu nI yandU cErenu nin cendA - maruvakurA karamula cE marimari ninu SaraNanedarA. రా నగధర మురహర - రా భవహర రావేరా, ఈ మగువను, ఈలలనను, ఈసొగసిని చేకోరా. కోరిక లింపొంద డెందము నీ యందు చేరెను నిన్ చెంద - మరువకురా కరములచే మరి మరి నిను శరణనెదరా. रा नगधर मुरहर - रा भवहर रावेरा - ई मगुवनु , ई ललननु, ई सॊगसिनि, चेकोरा. कोरिकलिंंपॊंद डॆंदमु नी यंदु चेरॆनु निन् चॆंद - मरुवकुरा करमुल चे मरिमरि निनु शऱण ननॆदरा।
Note: For every stanza, refrain is repeated. చరణానికి చరణానికి మధ్యలో పల్లవిని పాడాలి. चरण और चरण के मध्य, पल्लवि (रार वेणुगोपा बाला राजित सद्गुण जय शीला) को गाना चाहिए।
(tempo 150) तेज एक मिनट में १५० मैक्रोनोट. వేగం నిమిషానికి ౧౫౦ మైక్రోనోట్లు (సూక్ష్మ స్వరాలు). /g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/. /g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/. c,d,e,g,a,c',. c',b,a,g,f,e,d,c,.
V:1 Voice 1 we can use for main instrument. V:2 Voice 2 we can use for percussion instruments (no compulsion). %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>^c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,, >>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
(voice 1 'sitar') (voice 2 'sitar') %sA ari gA pA mA aga mA dA rI isa nI dA pA ama gA rI >>c,,, ,,d, e,,, g,,, f,,, ,,e,, f,,, a,,, d,,, ,,c, b,,, a,,, g,,, ,,f,, e,,, d,,, >>c,,, ,,d, e,,, g,,, f,,, ,,e,, f,,, a,,, d,,, ,,c, b,,, a,,, g,,, ,,f,, e,,, d,,,
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar') (voice 2 'sitar') %sA ari gA pA mA aga mA dA rI isa nI dA pA ama gA rI >>c, ,d e, g, f, ,e, f, a, d, ,c b, a, g, ,f, e, d, >>c, ,d e, g, f, ,e, f, a, d, ,c b, a, g, ,f, e, d,
V:1 V:2 %rpt refrain >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar') (voice 2 'sitar') %sA ari gA gA gA A A riga | pA apa pA pA | pA A A dapa >>c, ,d, e, e, e, g, g, de g, ,g, g, g, g, g, g, ag >>c, ,d, e, e, e, g, g, de g, ,g, g, g, g, g, g, ag s %sA' asa' sA' sA' ga'ri' sa'ni nida pA | padapama gagarI | gapamaga risariga >>c', ,c' c', c', e'd' c'b ba g, gagf eed, egfe dcde >>c', ,c' c', c', e'd' c'b ba g, gagf eed, egfe dcde
V:1 V:2 %rpt refrain >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar') (voice 2 'sitar') %papa pA riri rI gapa maga gA gA | gapa maga maga risa riga risa sA sA | risa ni_da_ sA A maga riga pA A | dapa dari' sA' A' | ri'sa' nida pama gari >>gg g, dd d, eg fe e, e, eg fe dc de dc c, c, dc b_a_ c, ,, fe de g, ,, ag ad' c', ,, d'c' ba gf ed >>gg g, dd d, eg fe e, e, eg fe dc de dc c, c, dc b_a_ c, ,, fe de g, ,, ag ad' c', ,, d'c' ba gf ed
V:1 V:2 %rpt refrain >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar') (voice 2 'sitar') %ind pA A maga riga dA A maga riga | pA A maga riga pA pA pA A | gA' A' ri'sa' nida rI' I ri'sa' nida | sA' A' ri'sa' nida | sA' sA' sA' A' | gA"ri'sa' rI' rI' rI' I' rI' sa'ni | dA dA dA A | pA maga gA gA | gA A sari gada pA A ri'sa' ri'ga' | sA' A' ga'ri' sa'ni | dapa maga risa riga |. >>g, ,, fe de a, ,, fe de g, ,, fe de g, g, g, ,, e', ,, d'c' d', d', d', ,, d', c'b a, a, a, ,, g, fe e, e, e, ,, cd ea g, ,, d'c' d'e' c', ,, e'd' c'b ag fe dc de >>g, ,, fe de a, ,, fe de g, ,, fe de g, g, g, ,, e', ,, d'c' d', d', d', ,, d', c'b a, a, a, ,, g, fe e, e, e, ,, cd ea g, ,, d'c' d'e' c', ,, e'd' c'b ag fe dc de
V:1 V:2 %rpt refrain >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, %//////////////super fast tempo///////////////
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar') To reduce size and running time, the following portion has been removed from the above video. सैज और चलन समय को कम रखने केलिये, निम्न लिखित नोटेशन ऊपर दिया हुआ वीडियो मॆ काटना पडा। ఫైల్ సైజుని, రన్నింగ్ టైము ని కుదించటానికి ఈక్రింద నొటేషన్ పై వీడియో లోంచి తొలగించటం జరిగింది. (voice 2 'sitar') >>/g//c'/ /c'//c'/ /f//e/ /d//e/ /a//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /g//c'/ /g//c'/ /c'//c'/ /e'//c'/ /c'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /c'//c'/ /d'//c'/ /c'//b/ /a//c'/ /a//c'/ /a//c'/ /c'//c'/ /g//c'/ /f//e/ /e//c'/ /e//c'/ /e//c'/ /c'//c'/ /c//d/ /e//a/ /g//c'/ /c'//c'/ /d'//c'/ /d'//e'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /a//g/ /f//e/ /d//c/ /d//e/ >>/g//c'/ /c'//c'/ /f//e/ /d//e/ /a//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /g//c'/ /g//c'/ /c'//c'/ /e'//c'/ /c'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /c'//c'/ /d'//c'/ /c'//b/ /a//c'/ /a//c'/ /a//c'/ /c'//c'/ /g//c'/ /f//e/ /e//c'/ /e//c'/ /e//c'/ /c'//c'/ /c//d/ /e//a/ /g//c'/ /c'//c'/ /d'//c'/ /d'//e'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /a//g/ /f//e/ /d//c/ /d//e/
V:1 V:2 %sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c, >>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
352 South Indian Carnatic Music Tune vAcaspati in 4 beat kanTa jUDumI by St. tyAgarAja. 352 దక్షిణ భారతీయ కర్నాటక సంగీత శైలి రాగం వాచస్పతి, ఆది తాళంలో. కంటజూడుమీ క్రీగంట జూడుమీ ఒక పరి, అనే త్యాగరాజస్వామి వారి కీర్తన. ३५२ दक्षिण भारतीय कर्नाटक संगीत शैली राग वाचस्पती , आदि ताळं में (तीन ताल में). संत त्यगराज के एक महानु कृति कंट जूडुमी क्रीगंट जूडुमी ऒक परि।
चर्चांंश, Topics for discussion, చర్చనీయాంశాలు: 352, South Indian Music, Carnatic Music, Tyagaraja, Mother tune 64, కర్నాటక సంగీతం
Information on Poet and composer
tyAgarAja perfected rAga vAcaspati in his work 'kanTa jUDumI krIganTa jUDumI'.
Secular meaning: Oh Lord, look at me. Look me at, (at least), with the edges of your eyes.
This is a sweet soothing tune. In experiments on cures with music, vAcaspati can also be tried to tranquilise agitated minds.
Information for Euro-American Music
Sequence of notes of vAcaspati: c,d,e,^f,g,a,^a,c'. c'^a,a,g,^f,e,d,c.
Comparison with CMajor: f becomes stronger ^f (f sharp/hash). b becomes softer ^a.
rhythm used: 4/8/16.
Information for North Indian HindusthAni Music
Not able to trace rAg/ThATh with same name in HindusthAni.
Probably can use same name vAcaspati in HindusthAni also.
rhythm: tIn tAL.
Information for South Indian Music
vAcaspati is an independent mother tune with No. 64. It ranks just before kalyANi which is 65.
vAcaspati uses ^a, but kalyAni uses b.
kalyAni is a more popular rAga. Hence till we hear ^a in a composition, we get a feeling that we are listening to kalyANi.
For composers: We have to copy and paste the following notation in a text editor and convert into mid file using abc2midi. Thereafter, depending on need, we can convert into wav and mp3 file.
X:1
T:vAcaspati Adi kanTacUDumI tyAgarAja
M:4/4
L:1/8
Q:190 %190 in the first part and 380 in the second part
K:C
%ascendent and descendent note sequence of vAcaspati
