After a brief hiatus (job change, new schedule etc. ete.), here is the tenth one in the series (click here for the ninth one).
This is actually a well known, charming and beautiful raga – but this still is rare and special (at least to me!) It should be fairly easy to identify I think. If you are on the right track, there is only one answer. If you are in the right neighborhood, there are only two possible answers! If did get it right, and before you read the ensuing analysis below, give some thought into why you were able to identify it and not be misdirected. I would be interesting in knowing your reasoning and intuition.
So here it goes.
Note: I have “masked out” the refrain line of the kalpanaswaras out with a tampura sound to not give things away (although I think the krithi is rare). I know it is odd – hopefully it does not affect your listening pleasure and interfere with your thought process too much!
(Audio Courtesy: Sangeethapriya)
So, can you guess the raga and the artist?
(answer below)
Select the text below to reveal the answer and some analysis:
Artist: Smt. Suguna Purushottaman
Raga: dEvagAndhAri, with the kalpanaswaras being done for the krithi nA morAlakimpa by tyAgarAja.
Arabhi and dEvagAndhAri: It is well known that dEvagAndhAri is very closely allied with the raga Arabhi with which it shares the same swaras, and nearly same skeletal structure – both have the official arohana/avarohana as S R2 M1 P D2 S / S N3 D2 P M1 G3 R2 S. The differences come out in the way certain swaras are given importance (or not) in one vs the other, the way they are handled, some key patterns which appear in one not the other, the use of a foreign swara in dEvagAndhAri in some prayogas. An oft quoted key difference is that dEvagAndhAri is generally identified with a leisurely pace whereas Arabhi is not. But that obviously is not always the case as is evidenced here. However, the other differences between the ragas are displayed even in this short clip:
- In Arabhi, the ga (G3) and ni (N3) are very weak swaras, with ni being very much dispensible as evidenced in one (the popular) version of sAdinchane which avoids it completely. In dEvagAndhAri, these two have a more prominent role. In the above, the prominent usage of ga is not at display as far as I can tell, except for the m p d p n d d p p m m g g r at 1:03 to 1:06, where ga is doubled, which is a no-no in Arabhi. On the other hand, ni (N3) is certainly used more, and in ways that either could be eschewed in Arabhi, or would be plain disallowed.
- As as example of the first kind, the s n d usage as e.g. S n da at 0:09 could be S da.. in Arabhi, wherein it is not uncommon to omit ni even in places it could be included “legally” . That is how much a weak note ni is in Arabhi! But this not so in devagAndhAri. As per Prof. SRJ’s Ragas at a Glance book, the S n da.. is also a characteristic phrase of dEvagandhari.
- As an example of the second kind, dEvagAndhAri apparently can allow ascent from ni in spite of the nominal arohana/avarohana indicating otherwise. This of course is disallowed in Arabhi. Here you see it has n s (preceded by a higher note), which is there in the very first iteration of the sample (:00 to :03) as Sa n S R S n S n da... Prof SRJ’s Ragas at a Glance book also mentions p m da n S, although does not give it much credence.
- The phrase s r g s ri sa which is used here (0:42-0:43 in upper octave, and 1:17-1:18 in middle octave) is a characteristic dEvagAndhAri phrase.
- You also see copious usages of p m da R leading up to the refrain nA morAla (where nA is S i.e. upper sa) This is a characteristic dEvagAndhAri phrase which you wont run into in Arabhi.
- dEvagAndhAri uses the foreign swara N2 in the phrase d n* d p, which occurs here in a few places. For example. between 0.08 and 0.11 as in S n da.. R S n d n* d p m. Then at the tail end of the phrase around 0:31 – m p d n d- R S- n S n d- n* d p d R nA morAla. You also see a prominent elongated kaisiki nishadna at 0:42-0.45 S R G S Ri Sa n d ni..* .d p. Arabhi does not allow any foreign swaras.
- It should be noted that at 0:41 to 0.43, you have R G Ma G R, which has an ascent from ga (again contrary to the nominal arohana/avarohana). You have the same at 1:07 to 1:08, where we have s r g ma g r. I do not know how standard these are as I cannot find evidence of them in the few books I have. They of course sound perfectly fine and divine and apt to me ! I also do not know if this would be present in Arabhi – I would guess not.
Anyway, here is the full krithi without any irritating masking. As you can see she does an alapana as well 🙂
And also, what is rare about a popular raga? (Besides the rare krithi) I don’t think I have heard kalpanaswaras in this raga (Have you?), which allowed me to discern the unique characteristics of this raga more readily!
October 11, 2009 at 1:51 am
I got the raga correctly. Thanks for the details. Even without thinking about such things, the difference between this raga and its very close cousin is quite evident. More than the cousin, I thought in a couple of places, there was a fleeting appearance of attANA. I guess it is hard to avoid that.
Thanks for swara level info. Very educational. All interesting ragas seem to violate the arohana/avarohana as part of their characteristic phrase. That makes me wonder if the Aro/Ava defines the set of swaras and not necessarily any strict grammar about ascent and descent rules.
October 11, 2009 at 1:58 am
>some thought into why you were able to
>identify it and not be misdirected.
>I would be interesting in knowing
>your reasoning and intuition.
It was pretty much intuition based and non-analytical holistic pattern matching 🙂
The closely allied raga did enter my mind but quickly done away with due to the overwhelming evidence to the contrary.
October 11, 2009 at 10:37 am
Arun
The zone was crystal clear to me ,for me to conclude between this or that, it was difficult in first pass.
But the most important defining characteristic is during 0:40- 0:45 . To an extent that got confirmed in 1:07 -1:09. Also the age of the artist and the cracking voice also helped me to guess this rAga, usually the wrong answer of the two is taken by more aggressive and capable musicians.
Very good one
October 11, 2009 at 11:35 am
Definitely got aTANa in the beginning, and the closely allied raga towards the end, though the actual ragam wasn’t very much in doubt throughout. Nice!
October 11, 2009 at 11:39 am
The clincher is at 0:40 as Rajesh says, with the sequence S R G S, N D N, D P, with the gamaka on the last nishAdam giving it away completely. The slide up to the shadjam there is important too, I think.
October 11, 2009 at 4:58 pm
Catch the atANa at 2:50 in the alapanai… and then at 3:10.
October 11, 2009 at 5:30 pm
I am a novice in these things, but I got this one right! I don’t know how I do it but I mostly do not mistake Devagandhari for Arabhi and vice versa. I guess it is the slowness of DG but the swarams were not slow in this clip.
‘Enneramum undhan’ is so stuck in my head that whenever someone finishes a DG alapana I expect them to start it 🙂 Thanks for these quizzes.
October 11, 2009 at 9:18 pm
I fell into the Arabhi trap, but was never fully convinced – but that says more about my lack of familiarity with devagAndhari than about arabhi.
BTB, is devagandhari not supposed to be closed to abheri ? based on this, they are like day and night – how are they close ?
October 11, 2009 at 10:18 pm
hmm – AThana, yes, Arabhi no. And if you just mask out outside a specific range, you could get a Sourashtra shade. Fancy if any others felt it..
October 12, 2009 at 8:04 am
@vk,bilahari,neelanjana: The closeness with aTHAAA – yes definitely there – and that pidi in the alapana at 2:50 seemed to be signature aThana 🙂 !! This clobess is probably primarily due to the way “dha” is intonated i.e. as a caressing slide-down from sa/ni area with a very perceptible tinge of N3. This is there in both devagAndhAri (in s n da..) and aTHANA (sa da..). However, if I am not mistaken, Arabhi will not employ such a dha. So a sa-dha of Arabhi wouldnt be like this.
@neelanjana: I presume similarity to Saurashtram also owes a lot to similar prominent usages of dha. Of course it uses both ni’s – and thus if we restrict the range (i.e. exclude ri), things get closer.
@arvind: I dont think abheri and devagandhari are close at all.
@rajesh: Yes that place is very signature (reminds me of a place in enneramum).
@enna_solven: Thanks. We are all novices at some level. I learned more about devagandhari in the last couple of days than before! I always could “sense” the difference but never dug deeper. The kalpanaswaras helped me a lot.
October 12, 2009 at 4:20 pm
Yes – did some googling, and found karnataka devagandhari close to abheri – so it was my memory that failed me…
November 6, 2009 at 9:18 pm
apologize…my comment has nothing to do with this post of yours….found your blog while exploring interests similar to mine….
i could relate to a lot of what you mentioned about yourself…hence this blurb…
meet me at http://www.kuppurao.com when you get a chance
May 31, 2010 at 5:34 am
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