|
|
The Kalyan thaaT anga in a raga, implies relationship with the teevra madhyam (denoted by the symbol M). In the related raga-s, this may mean
(1) inclusion of teevra madhyam (M),
(2) inclusion of both teevra and shuddha madhyam (M and m),
(3) even exclusion, or alpatva, of teevra madhyam (M),
(4) Exclusion of both teevra and shuddha madhyam
Examples of type# 1: Marubihag, Yaman, Shuddha Kalyan, Hindol.
Examples of type# 2: Kamod, Chhayanat, Kedar, Gaud Sarang, Hameer, shyam kalyan, nand, yaman kalyan.
Examples of type# 3: Savani Kalyan
Examples of type# 4: Jait Kalyan, Bhupali.
In the following article we are concerned with common characteristics of the raga-s belonging to type# 2.
1) All the raga-s use both the madhyam-s.
2) Teevra madhyam is generally used only in the particular group of notes like MPDP or DPMP
3) The use of shuddha madhyam varies in each raga.
4) All the raga-s use vakra gandhar (while descending) and vakra nishad (while ascending)
5) The performance time of these raga-s is first quarter of night. Exception: Gaudsarang is performed at noon.
6) All the raga-s start their antara with PS' or PPS' or PDPPS'.
7) Almost all the raga-s use komal nishad as vivadi swar.
8) All the raga-s can be well identified and distinguished just by listening to the first phrase of the aalap.
Let us have a look at the defining phrases of the above mentioned raga-s.
Kamod
S , R P , M P D P , G m P G m R S
Chhayanat
S R G m P, P R , G m P D M P R G m R S
Kedar
S m , m P , M P D P m , S R S
Gaudsarang
S , G R m G , P , M P , D P , m G , R G R m G , P R , S
Hameer
S R S , G m D , N D , S' N D , P , M P D P , G m R , G m D P , G m R S
Shyam Kalyan
S' N , D P M P , G m R S
Nand
S , G m P D N P D M P , G m D P R S , G G m . P
Yaman kalyan
S , "N R G M P , M D P R , R G m G , R G R S
- Dhara Bakshi. 8/2/07.
|
Online Store
