Here is the sixth one in the series (click here for the fifth one). It is kalpanaswaras for a relatively rare raga, and thus one for which elaboration is indeed rare to come by. But the raga is not a “new” one – so to speak. I am unable to find any alapana for this raga and this is the only one I could find that has kalpanaswaras.

First I present the excerpt of the kalpanaswaras that has just the violin part:

Can you guess the raga? If you were like me, it is possible that you arrived at an answer, and are perhaps wondering While not uncommon, elaboration for this isn’t really that rare a raga Arun!

But wait! Listen to the vocalist and the violinist doing that iteration (with refrain of the krithi taken out):

Now, if your answer still holds, congratulations! However, some of you may now be scratching your head, as the answer your arrived for your first clip could be one that has no pa, and here of course the vocalist starts bang on with pa ! Now, the violinist probably used pa too, but it is of course dead obvious when the vocalist actually says it 🙂 ! I do not know if this is due to the obscurity of elaborations in our raga vs. this other raga, but to my ears, the violinists’ response give’s very strong whiffs of that other raga.

Anyway, did you guess the raga? Can you guess the vocalist (a contemporary artist)?

(Answer below)

Select the text below to reveal the answer and some comments:

Artist: Smt. Gayatri Girish
Raga: <em>pharas/paras/paraju, a janya raga of mAyamALavagowLa. Kalpanaswaras are for the dIkshitar krithi cintayE mAhAlinga mUrtim. From what I can gather, this is a fairly complex raga, which uses all the swaras in the mela, but I think also very phrase based – as in . In the above, you see it is sgm on ascent and never srgm (from SSP I see that rgm is allowed but not srgm). Also mp, mpd as such is allowed but gmd, gmdn, mdns, dns etc. is used way more often.
Resemblance to lalita: This mdn combination is bound to give strong resemblance to lalita – the raga some of you may have had in mind initially. I still see a lot of lalita – particularly when the violinist’s portion is isolated. Note that lalita has no pa but paras has it in both ascent (although in a limited way) and in descent.

Now that you know the raga and the krithi, here is the full kalpanaswara part.

As a bonus, here is a very, very attractive krithi that I didnt know of until now. It is rendered by Shri. Nedunuri:

The tune’s start does resemble the well known tillana in this raga.

Note: All audio courtesy – sangeethapriya. Also, I am generally very wary of using renditions of contemporary, particularly current generation artists due to copyright concerns. But the above one was labelled as recorded from a TV concert and also, I am presenting only excerpts of it, that too for mainly educational and informative purposes. So I think/hope/believe this falls within “fair use” norms.