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Let me try RR. Here we go.
S G3 M1 P D2 N2 S - F G A Bb C D Eb F – karnATaka khamAs (??)
(Format problem is there.
All B & E are flats and appear here as Bb , Eb
Also, hope that one can guess & make out the difference between different sthayi of swaras based on the song progression as I am unable to differentiate with underscore or bar etc. )
PALLAVI
Chandra bimbathin chantham chinthum
FEbEb FABb CBbBbA AFFEb
nanda vrindaava nam
EbF EbFEb DC
Antha rangathi limpam vempum
FEbEb FABb CBbBbA AFFEb
raasa keleera vam
EbF EbFEb DC
Udaya kirana kana mo o
EbFA EbFA EbFA Bb
uthirum amrutha jala mo
ABbC ABbC ABb- CDC
Izhuki yaliyum unar vaa yo
EbFA EbFA EbFA Bb
vidarum adhara puda dalamathi lidariyum
ABbC ABbC ABb- CEbDC BbAFEb
(Chandrabimbathin chantham chinthum nanda vrindaavanam ..ah ha ha
Antharangathilimpam vempum raasa keleeravam)
CHARANAM
Kaalthala kingini aramani yilakiya
CBbA FEbFA CBbA FEbFA
neela megha varnnan
CBb CBb CCA
Ara yaal-mara shaakhayil chelakal thookkiya
CBbA FEbFA CBbA FEbFA
Raga lola roopan
CBb CBb CCA
Anthima yangiya gokkalma dangiya
CCCEb DEbCC BbDCBb AFABb
neramitha vanevi de
CCCF EbCCCBbCBbA
Anthi mayangiya gokkal madangiya
CCCEb DEbCC BbDCBb AFABb
neramitha vanevide
CCCF EbCCCBbCBbA
Koncha baalya mevide mrugamadama
CDEb CDEb CDEb F EbCAF
manthra sangeethavum
DFA BbD EbFEbD
Koncha baalya mevide mrugamadama
CDEb CDEb CDEb F EbCAF
manthra sangeethavum
DFA BbD EbFEbD
Aaru mo raathe
DEb FEb EbCC
Ulli laa mayil
ABb CA AFF
peeli thedunnu njaan
DEb FBbA FEbD
( Chandrabimbathin chantham chinthum nanda vrindaavanam ..ah ha ha
Antharangathilimpam vempum raasa keleeravam )
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The penultimate & last lines of Charanam are killer phrases of the song with covering nearly two octaves with beautiful forward & backward broken chords like phrases. Pure Divine experience.
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csr sir,
Great to see you here. Thanks to Maestro and KV. Wonderful analysis. :clap: You all are dissecting the song to the core, wow! Thanks for the western notes. One basic question. I never thought there can be two raagams for the same set of notes (swaras). If all the notes (arohanam/avarohanam) are same and also assuming karnataka kamas and Pravritti belong to carnatic family of raagas (I know there are called differently in hindustani for the same set of swaras), why are they called out differently here?. Any other parameter needs to be looked upon? I know this is silly, but wanted to know, if you can please explain. Also, please come here often and share your thoughts.
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V_S (the great scenic-writer):
I used the western notation because, it is an absolute system and can avoid confusions that can prevail in the Sargam notations which is a relative system. (since already the SriRanjani Vs other raga issues have cropped up for this song based on different perceptions of which shall be the Sa)
Regarding the other query from you : Why two raga names with same swaras ?
If that’s your query, the possible answers are -
(1) If the two sets in consideration, are denoting two different ragams (even though the swarams may be same, for example, Sindhu Bairavi & Thodi, the phrases and usage patterns are different), then there may be two different names.
(2) When the parent mela ragas are different from which these are derived, then the names may be different. (Whenever, one ore two swaras are dropped from the parent raga, names of many possible parent crops up, and thus to differentiate, the names might have been different
(3) Considering another instance, that these two ragas are identical in all respect, swarams, raga bhavams etc etc, still the names may be different, because of the documentation system followed by two different set of peoples, in two different time periods, or even following two different system of fundamentals - one system with 12 musical notes and another with 16 musical notes to select the 7 (or less notes) to form the raga. (in this case even our notation of D2, D3 etc may go wrong)
In our current discussion, whether Pravritti or Karnataka khamas, we have no knowledge or previous carnatic examples for these ragams, to depend upon and pinpoint the correct one.
What we have are, a lot of IR songs with the swarams listed as above and guessing the name from the index available in the internets (whose authenticity itself not fully known to us)
Hope, I have not confused you. (I have only put my registered confusions to others!)
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Thank you very much sir for the detailed explanation and also for your kind words. :smile: Yes, now I got it, your third point answered my question very well. Thank again!
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V_S,
Pardon me for the self plug but in my most recent article on Hindustani Aarabhi I have made some comments about two ragas having same swaras but differing. You can check it here: http://sureshs65music.blogspot.com
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Suresh ji,
Can't believe my question was already answered in your article. It seems you read my mind. :wink: So, the landing note 'Nyasa Swara' makes the difference. Wonderful article with digging out these marvellous treasures. Without your article, I would not have known Hirabhai Barodekar, thank you! :smile: I also took the opportunity to listen to that African brindavana saranga, that man's hand is so fluent on guitar with laughing and looking around, but not one note slipped.wow! Unbelievable!!
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Thanks V_S. I have crossed 50 songs in my series. So you can dig around. You will find some nice treasures there.
Getting back to our raga topic, in this clip of a contestant singing 'sree rama lera', SPB says that 'Sree Rama Lera' is basically Panthuvarali. He also hums the pallavi of 'rojavai thaalatum thendral' :
http://www.youtube.com/watch?v=p21ErhJnbVc
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/dig
V_S,
That guy playing the Brindavana Saranga is just too good. Supposed to be a well known figure in the jazz circles.
/End Dig
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Thanks Sureshji for introducing me to such a wonderful piece of music. Good to know he is popular, he should be, great talent!
