RMIM Archive Article "407".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM/C Archives..
# Subject: Raga Viyogavarali
# (Series on Hindustani ragas inspired by Carnatic ragas)
#
# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
#
#
Subject: On Raga Viyogavarali
Namashkar.
First off, my deep apologies for posting some more music-related
material. I shall consider looking into conducting some straw-polls
about musicians and supplying concert-announcements but until then
please bear with this.
Continuing with our exploration of the Carnatic-Hindustani nexus, we
next present Raga Viyogavarali (viyogavarALi). The rAga is a
conception of S.N. Ratanjankar. It belongs to the 9th melakartA
"Dhenuka" which employs the following sequence: S r g M(shuddha) P d
N. The scale forms a grAha-bhedam pair with melakartA #56
Shanmukhapriya if its (Dhenuka's) Sa is translated to the madhyam).
Subbarao says that melakartA rAga Dhenuka is not very popular and
cites a composition of Tyagaraja in Telugu (Teliyaleru Rama). We
invite comments from the Carnatic side about other compositions and/or
recordings.
In developing Viyogavarali, Ratanjankar has completely eliminated the
pancham from the parent melakartA. He has also assigned a toDi-anga to
the melody.
The A/A set is as follows:
S r M d N S"::S" N d M, r g, r, S
It is seen that in ascent, both the gandhAr and pancham are
absent. The descent employs vakra sachAras. In particular, the gandhAr
is approached from the madhyam via a detour to the komal rishab, to
wit: M, r g, r S. The nyAsa swaras are the dhaivat (vAdi), the rishab
(samvAdi) and the madhyam. The link from the komal dhaivat down to
the shuddha madhyam is often via a meenD. There is a tirobhAva of Raga
Todi at times but it is quickly dispatched by the Andolan around the
shuddha madhyam. The r g facet of the toDi-anga is, however, retained
throughout. A possible chalan is:
S, (N')d', N' S...r g, r, S, r M, M (N)d M, d N d M, (g)r g, r, S
Raga Viyogavarali is a very attractive rAga and deserves wider
popularity. It will be interesting to see what lighter melodies exist
in the parent scale and we can count on the likes of Abhinav
Jawadekar, Vish Krishnan and other to fill us in with some additional
material.
The composition offered is of Ratanjankar and appropriately speaks of
viyoga. It is hoped that the interested will have fun working through
it.
Warm regards,
r
*****
Raga: Viyogavarali
Tala: Teental (druta)
Composer: Shrikrishna Narayan Ratanjankar
binati yahi na jaiiyo Mathura nagari
Gokula-dhAm chhANDi
bhaye udAs nara-nAri sab jeeva-janta grAma Gokula ke
tore binA ghara-ANganA ujARi
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
d M (g)r g r
bi....na....ti..... ya
<---curve--->
S - M dN S"(N)d M (g)r g r S (g)r g r S -
hi.... na jai.......yo.... ma...thu..rA..... na....ga....ri....go.....
<----smooth---->
r M dN S"r" g" r" S"(g)r g r S
ku...la dhA............ma.... chh..AN...Di.....
<-------sweep-------> <----smooth---->
Antara:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
M (N)d N
bha...ye u
S" - S" r" S" r" g" r" - S" (N)d N d d M -
dA........sa na...ra nA........ri.... sa....ba jee.........va jan....
<--smooth--> <---smooth--->
M r g r S - r M (g)r g rS r M (N)d N S"
ta grA.......ma go........ku...la ke........... to....re bi....nA.....
<--smooth--> <--smooth--> <---smooth--->
-(g")r" g" r" S"(N)d N d M - M
. gha..ra AN...ga...nA.... u....jA.........Ri
<---------smooth---------> <-----meenD----->
*****
From the RMIM Article Archive maintained by Satish Subramanian