todays ragam is nayaki.......an unique ragam....... its one of the janya ragams of kharaharapriya........ its arohanam and avarohanam are as folllows... Nāyaki S R2 M1 P D2 N2 D2 P S S N2 D2 P M1 R2 G2 R2 S Another look-alike couple who cannot come under the twin classification in the chayalagha (common features/shadow) raga because of a gender distinction, are raga Durbar and Nayaki. The former is undoubtedly marked as the ‘male’ while it goes without saying that the latter is the female! Before we proceed further, there’s an interesting anecdote about this couple: a musician was rendering the ragam Durbar wherein another expert spotted traces of the Nayaki seeping in and raised a voice in objection; to which the musician’s repartee was ‘what kind of a durbar (royal court) would it be without a naayaki? (heroine)’! Durbar and Nayaki have the same notes with markedly subtle differences. Durbar has some unique characteristics, seldom seen in other ragas. The name of the raga may be deceptive to some extent but this is a raga traceable to the folk tradition. Its proximity to raga Nayaki, where the ascent-descent goes as: Sa, Ri2, Ma1, Pa, Dha2, Pa, Sa and SA, Nii2, Dha2, Pa, Ma1, Ri2, Gaa2, Ri2, Sa- is such that is difficult to decide whether Nayaki originated prior to Durbar, or vice-versa. The word Durbar, is of Persian origin. According to musicologists its evolution, which did not precede the 18th century — can be traced to lakshya (practice), ostensibly perhaps, through modification of raga Nayaki. Durbar is a shadava-sampoorna bhashanga raga belonging to the 22nd melakarta (Karaharapriya) group. The ascent-descent (aarohana-avarohana) structure is Sa, Ri2, Ma1, Pa, Dha2, Ni2, PA, SA; SA Ni2 Dha2 Pa Ma1 Ri2 Ga2 Ri2 Sa. This raga is unique to the extent that it exhibits a federal swara-structure. Each swara has its role, purpose and effect. Yet limitations are imposed on the swaras and hence it is not conducive for expansive elaboration. It requires crisp and deft handling for depiction of aesthetic values. The opening notes should indicate sans doubt, the contours of this raga. It has a fairly wide vocal range, covering three octaval zones. The raga-chhaya swaras, are Nishada and Gandhara. The aesthetical appeal of this raga can be visualised through the elongated usage in the avarohana. In contrast, in the arohana, these two swaras appear with tremolo and a slightly modified musical visage. Durbar is suited for both medium and slow tempos, thus permitting variable speed-syllabic (swara) rendition. Needless to say, ‘Ga-Ga-Ri-Sa’ with stress on the dual gandharam is the most popular and typical phrase used in this raga as against the Nayaki where only ‘Ma, ga ri, sa’ or ‘Ga, ri, sa’ is applied. One special emphasis (Vishesha prayoga) is the use of the phrase ‘ Ri-ma-pa-da-ni-pa’. A racy-paced phrase is ‘ma-pa-da-ni-pa’, according to scholars. There is no oscillation of the Rishabam (Ri2) while the Nishadam (Ni) is tremulous (kampitha). Too much emphasis (deergha prayoga) on Dhaivatam (Dha) is avoided so as to steer clear of the nuances of raga Nayaki. Musicologically, Nayaki is devoid of brighas (speedy rendition), for instance, Muthuswami Dikshitar’s Ranaganayakam kriti depicts what exactly the raga Nayaki is all about, while in Durbar we have Thyagaraja’s Mundu venuka, iru pakkala . youtu.be/0ERzxBw4ABM Varanam Aayiram | Keladi Kanmani | Tamil Film Song Watch Varanam Aayiram song from Telugu movie Keladi Kanmani starring SP
Posted on: Fri, 12 Sep 2014 01:04:44 +0000
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