RMIM Archive Article "405".


From the RMIM Article Archive maintained by Satish Subramanian

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# RMIM/C Archives..
# Subject: Raga Raga Hamsanarayani
#	(Series on Hindustani ragas inspired by Carnatic ragas)
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar 
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Subject: On Raga Hamsanarayani Namashkar. Next in line for Carnatic-inspired Hindustani imports: Raga Hamsanarayani (hamsanArAyaNi). It is a janya of the 51st melakartA Kamavardhini corresponding to the Poorvi thATa in the Hindustani system. It comprises the following sequence: S r G m(tivra) P d N The A/A set of the rAga may be stated as: S r G m P, P S"::S" N P, m G r S As can be seen, Raga Hamsanarayani omits the dhaivat altogether. In its Hindustani avatAr the rAga is relatively linear and not saddled with unduly heavy meends or gamakas like, say, Shree. The pancham is a pivotal swara and the S-P consonance is exploited to pleasing effect. The nishAd appears in an alpatva role and is either rendered durbal or omitted altogether in ascent. A sample chalan may be inserted at this point: S, G r S, R G, GmP, P, m G, P P S", S" N P, m G, m G r S Raga Hamsanrayani is not heard too often in Hindustani baithaks which is to be regretted since it has such a beautiful melodic personality. I have heard private renditions of it from people back home. There are superb commercial and non-commercial recordings of Bismillah Khan, of course. What are the other Hindustani recordings? Hamsanarayani has been around the Hindustani block for quite a while given that it is recorded in works such as those by Bhatkhande. The composition offered below is also reported in Bhatkhande although it differs in some respects from his version. Also, Subbarao reports two kinds of Hamsanarayani, the other belonging to the Marwa thATa with an additonal suddha dhaivat. He remarks that that type is not in vogue; I am not familiar with it either. Finally, we hope to hear of Carnatic compositions/recordings and comments on Hamsanarayani from the Carnatic punters. Warm regards, r ***** Raga: Hamsanarayani Tala: Teental (druta) bhaja mana Narayana hamsa-nAma poorata sab tere mana ke kAm nAma leta wAko vipata na peerata jAya sarana chatura tu nirbhimAna Glossary: vipata = misfortune sarana = refuge (=sharaNa) nirbhimAna = without any pride Key: (1) All shuddha notes in caps (M=shuddha madhyam, m=tivra madhyam) (2) The " and ' following a note denotes its tAr-saptak and mandra- saptak affiliation, respectively. (3) The grace note is enclosed in parenthesis of the type () and it operates on the note immediately following it. Asthaie: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 G (G)r G m bha..ja ma....na Gm P P - m G P mP m G r S r - G r nA........rA........ya...Na ham.......sa nA..........ma poo........ra....ta <--smooth--> <---smooth---> S S P - m G m G m G r S sa...ba te........re.... ma...na ke kA..........ma <----smooth----> <---smooth---> Antara: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 P - S" S" nA..........ma le - S" S" S" r" r" G" r" S" - S" S" m G G S" .....ta wA...ko vi...pa...ta na pee.......ra...ta jA..........ya sa <---smooth---> N P m P m G m G m G r S ra...na cha..tu...ra tu ni...ra...bhi...mA........na <----------smooth----------> *****
From the RMIM Article Archive maintained by Satish Subramanian