RMIM Archive Article "413".


From the RMIM Article Archive maintained by Satish Subramanian

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# RMIM/C Archives..
# Subject: Raga Suhag
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar 
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Subject: Raga Suhag Namashkar. A couple of weeks ago I received a surprising email request for information on Raga Suhag. Surprising because this is a rather apracalit rAga. Raga Suhag combines elements of rAgas Shankara, Maru-Bihag along with a trace of Vacaspati. The swaras deployed are: S R G m (tivra) P D n N. An A/A set may be devised as follows: S G m P, G P N D S" N, S"::S" N P, n D P m G R S UUU--->meenD The Shankaric cluster of G P N D S" N is interplayed with Maru Bihag and the komal nishAd is injected in a peculiar manner that will soon become clear. These ideas are amplified in the sample phrases elucidated below. The attached bandish should help reinforce the overall flavour of the rAga. Some of you may have already sensed some similarities with another lesser-known derivative of Shankara, viz., Raga Shankara Aran. S (m)G m P, P (m)G, G P N D S" N, N P UUU G m P S" N P, P n D P m G, (S)R S UUU G m P N, N P, N D S N, P n D P m G UUU Comments and feedback may be directed to: parrikar@colorado.edu Warm regards, r ps: We have some thoughts on how we can make notated bandishes more palatable and widely available to the public and also the necessity of developing the skill for learning bandishes off written notation (and by extension, developing a facility for effective notating of bandish too). Within a few more years (with multi-media etc in full force in every home) we should be able to put up in the public domain a huge amount of easily accessible and assimiliable material and kick every Pandit Bonehead's and Ustad Hotshit's supermystical, supersecretive, supermysterious, superproprietary, supererogatory, superheterodyne, superstringed ass bigtime. More on this when we have more leisure. In the meanwhile, please savour the bandish. ***** Raga: Suhag Tala: Teental Krishna-murAri sudh mori leeje tribhuvan swAmi antaryAmi bega krupA ab keeje daras binA atahi hota jiyA vyAkul "Sughar" hiyA morA chheeje Glossary: tribhuvan = the three worlds (the universe) antaryAmi = knower of the innermost thoughts (the Supreme Being) vyAkul = distressed hiyA = hrudaya, heart chhee = touch (in BrajbhAsA) Key: (1) All shuddha notes in caps (M=shuddha madhyam, m=tivra madhyam) (2) The " and ' following a note denotes its tAr-saptak and mandra- saptak affiliation, respectively. (3) The grace note is enclosed in parenthesis of the type () and it operates on the note immediately following it. The usual disclaimers about supplying your own nuance and imagination at certain locations apply. The P n D molecule calls for delicate handling. Asthaie: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 G P N D S" kri.........shNa... mu N - P (N)D N P n D Pm Gm G (G)m G (R)S R S rA........ri su...dh mo........ri lee........je tri...bhu...va..........na <--meenD--> <--smooth--> S - S - (R)S - (m)G (P)m (m)P - P (m)G m P N N swA.......mi.... an........ta...ra...yA.........mi be..........ga..... kru NS" G"R" S" S" Pm Gm Pn DP Pm Gm G pA...... a....ba kee.................je.......... Antara: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 G m P S" S" da....ra....sa..... bi S" - - - - - S" R" S" - - S" - N D S" nA........................ a....ta....hi......... ho..........ta..... ji N - P - - - N D S" N - S S m G G yA........................ vyA........ku..la..... su....gha...ra..... hi <--smooth--> P - N N Pm Gm Pn DP Pm Gm G yA.... mo...ra chhi.................je.........
From the RMIM Article Archive maintained by Satish Subramanian