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Ragam and Moods

  • Thread starter Thread starter SANDHYAV
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SANDHYAV

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Types of Hindustani compositions:

1. Dhrupad - older, serious and religious.
2. Khayaal - imaginative, elaborate, romantic.
3. Tappa - folk.
4. Thumree - light, semi-classical, romantic.
5. Tarana – short, using solfege and/or rhythmic syllables.

The last two are similar to
Javali and Tillana of Karnatak music.
 
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Mangalam, used to be sung at the end of cutcheries in the 80s, but nowadays, it is sometimes seen in the begining of cds and rarely even in live cutcheries. Initially i thought the raga of this song has got something to do with the placement of the song at the endo of a 3/4 hour cutchery. Any thoughts?
 

Dear Sandhya,

What do you mean by 'mangaLam'? No one sings the mangaLam in the beginning of a concert!!

Are you writing about the rAgams like 'MadhyamAvathi', 'SaurAshtram' and 'Surutti'?

These rAgams can appear in the beginning pf a concert as varnams or songs praising Lord GanEshA;

They can appear as a detailed version, in the middle of a concert, if the songs are in praise of other deities.

They can appear at the end of a concert, if a 'mangaLam' is composed in those rAgams.

I can give you a few examples if you want! :typing:
 
Thanks Madam, i was just about to reformat my Q, and u wrote those initial sentences!

This is what i found in the net:

Concert Format Sequence
varnam
[SIZE=+1] |[/SIZE]
[SIZE=+1] compositions of the trinity in ghana
ragams[/SIZE]
[SIZE=+1]
(Nattai,Gowla,Arabhi, Varali,Sri, etc)[/SIZE]
[SIZE=+1] |[/SIZE]

[SIZE=+1] compositons in suddha
madhyamam ragams[/SIZE]
[SIZE=+1] |[/SIZE]
[SIZE=+1] compositions in prati madhyamam
ragams[/SIZE]
[SIZE=+1] |[/SIZE]
[SIZE=+1]
ragam-tanam-pallavi[/SIZE]
[SIZE=+1] (in naya/rakti ragam)[/SIZE]
[SIZE=+1] |[/SIZE]

[SIZE=+1] tukkadas(includes folk,patriotic
music)/ tillana[/SIZE]
[SIZE=+1] |[/SIZE]
[SIZE=+1] mangalam[/SIZE] [SIZE=+1]
(Madhyamavati)

I am also aware of the various types of mangalam. I did found to my own surprise, the Mangalam in Madhyamavati in the forefront of one of the cds and in one cutchery. Novel format perhaps?:peep:[/SIZE]
 
Please do find time to write the examples and especially would like to know of all mangalams in madhyamavathi.
sincerely yours
thanks for your time and attention
 

You have not answered my question about the song in MadhyamAvathi, Sandhya!!

I will just give a few examples of songs in the same rAgam appearing in the beginning, middle and end of a concert.

Composers: T - Thyagaraja swami; D - Dhikshithar; S - Shyama sasthri; PS - Papanasam sivan

SaurAshtram:

Sri Ganapathini - T - appears in the beginning or just after varnam.

Soorya moorthE - D - appears in the middle.

Nee nAma roopamulaku - T - appears in the end.

MadhyamAvathi:

Varnam in this rAgam has to appear as the very first number.

SaravaNabhava GuhanE - PS, PAlinchu kAmakshi - S, rAma kathA - T and as the like will appear in the middle

and even as a main piece.

KarpagamE - PS will appear towards the end.

Surutti:

Varnam in this rAgam has to be the first number. There is a grand varnam by Sri. Ravikiran.

GeethArthamu - T, AngAraka - D will appear in the middle.

KANavEndum laksham kaNgaL by Arunachala kavi, Parvai ondrE pOdhumE by Ooththukadu Venkatakavi will

appear towards the end.

The chauka kAla kruthis (slow tempo) will appear in the middle. Fast numbers will appear at the end, usually.
 
Raji Ram said:
For the abaswarams?? :decision: [/COLOR]
Click to expand...
In those days, the artists were weary about the ragas they sing; not all can be sung at any time of the day.
If they do, I understand they will compulsorily sing a kriti in Madyamavathi as prayaschittam.
 
ozone said:
....... not all can be sung at any time of the day. .....
Click to expand...
That is very true, Sir! In many evening concerts, rAgams like BowLi, MalayamArutham, Revagupthi are sung!

Note: What is known widely as BoopAlam is actually REvagupthi. S R1 G2 P D1 S. S D1 P G2 R1 S.

BoopAlam has G1 in the place of G2. ( I have noted the swarams as 1 for minor and 2 for major and NOT the 1 2 3 notation)

I do not know whether BoopAlam is also a morning rAgam because it has a sad touch!!

Here it is: [TABLE="class: ts, width: 512"]
[TR]
[TD="colspan: 2"]
'E'-SWARA-004-Nitya shree Mahadevan-Sadhachaleswaram ...[/TD]
[/TR]
[/TABLE]
 
ozone said:
Doesnt this ragam have a similarity with Sri?
Click to expand...
They also sound very similar. The ArOhaNams are same: S R2 M1 P N1 S.

But avarOhaNams are different:

M - S. N1 P M1 R2 S -------- S - S. N1 p D2 N1 P M1 R2 G1 R2 S

In the rAgam Sri, D is not used often. The S N P combination makes it more similar to MadhyamAvathi.

Of course the G2 is just a note away from R2 and sounds sometimes like just a gamakam!!

The song BhAgyadha Lakshmi BArammA is sung in both the rAgams.

Just replace 'r m r s' with 'r g r s'! :cool: ... Right?

Have you heard this new version, Sir?

[TABLE="class: ts, width: 512"]
[TR]
[TD="colspan: 2"][h=3]Bhagyada Laxmi Baramma - Bhimsen Joshi - YouTube[/h][/TD]
[/TR]
[/TABLE]
 
hi
apaswaram is abhacharam in music concerts....any way i like kalyani and sankarabharanam very much...
 
Raji Ram said:
T
I do not know whether BoopAlam is also a morning rAgam because it has a sad touch!!
Click to expand...

Yes, it is ... see http://en.wikipedia.org/wiki/Bhupalam
[TABLE="class: ts, width: 512"]
[TR]
[TD="colspan: 2"]
'E'-SWARA-004-Nitya shree Mahadevan-Sadhachaleswaram ...[/TD]
[/TR]
[/TABLE]
Click to expand...
nice song ...gOpAlaka pAhimAm of swati tirunal is another more popular one.
Since it is a morning raga, there arent many albums

.. I just came to know that gOpAlaka pAhimAm is more popularly sung in rEvagupti. That correlates with what you explained in #14
 
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Dear Ozone Sir,

I can not think of singing the sad Bhupalam in the morning!! :nono:

From Wiki.....

Scale similarities

Revagupti rāgam differs from Bhupalam only by the gāndhāram. It uses antara gāndhāram instead of

sadharana gāndhāram and its ārohaṇa-avarohaṇa structure is S R1 G3 P D1 S : S D1 P G3 R1 S

Bhauli rāgam uses an additional nishadam in descending scale, in comparison to Revagupti above.

Its ārohaṇa-avarohaṇa structure is S R1 G3 P D1 S : S N3 D1 P G3 R1 S

Note: Here the numbers given to the swarams follow the 123 system.
 

When we teach the carnatic music to beginners, we tell them that there are two each in Ri, Ga, Ma, Dha and Ni.

They are given 1 and 2 as the numbers and called chinna ri - periya Ri; chinna Ga - periya Ga and so on.

When they start learning more rAgams, then comes the use of the four vivAdhi swarams (viz)

shatsruthi rishabam, suddha gAndhAram, shatsruthi daivatham and suddha nishAdham.

Then we have to teach them the 123 numbering system.

We get 16 swarams in the place of 12 swarasthAnams. They are:

S, R1, R2, R3 (chinna Ga), G1 (peiya Ri), G2 (chinna Ga), G3 (periya Ga),

M1, M2 (no M3!!) P (one and only!)

D1, D2, D3 (chinna Ni), N1 (peiya Dha), N2 (chinna Ni) N3 (periya Ni)

I mention this as the 123 numbering of swarams. :)
 
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