RMIM Archive Article "413".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM/C Archives..
# Subject: Raga Suhag
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
#
#
Subject: Raga Suhag
Namashkar.
A couple of weeks ago I received a surprising email request for
information on Raga Suhag. Surprising because this is a rather
apracalit rAga.
Raga Suhag combines elements of rAgas Shankara, Maru-Bihag along
with a trace of Vacaspati. The swaras deployed are: S R G m (tivra)
P D n N. An A/A set may be devised as follows:
S G m P, G P N D S" N, S"::S" N P, n D P m G R S
UUU--->meenD
The Shankaric cluster of G P N D S" N is interplayed with Maru
Bihag and the komal nishAd is injected in a peculiar manner that will
soon become clear. These ideas are amplified in the sample phrases
elucidated below. The attached bandish should help reinforce the overall
flavour of the rAga. Some of you may have already sensed some similarities
with another lesser-known derivative of Shankara, viz., Raga Shankara Aran.
S (m)G m P, P (m)G, G P N D S" N, N P
UUU
G m P S" N P, P n D P m G, (S)R S
UUU
G m P N, N P, N D S N, P n D P m G
UUU
Comments and feedback may be directed to: parrikar@colorado.edu
Warm regards,
r
ps: We have some thoughts on how we can make notated bandishes more
palatable and widely available to the public and also the necessity of
developing the skill for learning bandishes off written notation (and
by extension, developing a facility for effective notating of bandish too).
Within a few more years (with multi-media etc in full force in every home)
we should be able to put up in the public domain a huge amount of easily
accessible and assimiliable material and kick every Pandit Bonehead's and
Ustad Hotshit's supermystical, supersecretive, supermysterious, superproprietary,
supererogatory, superheterodyne, superstringed ass bigtime. More on this
when we have more leisure. In the meanwhile, please savour the bandish.
*****
Raga: Suhag
Tala: Teental
Krishna-murAri sudh mori leeje
tribhuvan swAmi antaryAmi
bega krupA ab keeje
daras binA atahi hota jiyA vyAkul
"Sughar" hiyA morA chheeje
Glossary:
tribhuvan = the three worlds (the universe)
antaryAmi = knower of the innermost thoughts (the Supreme Being)
vyAkul = distressed
hiyA = hrudaya, heart
chhee = touch (in BrajbhAsA)
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.
The usual disclaimers about supplying your own nuance and imagination
at certain locations apply. The P n D molecule calls for delicate handling.
Asthaie:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G P N D S"
kri.........shNa... mu
N - P (N)D N P n D Pm Gm G (G)m G (R)S R S
rA........ri su...dh mo........ri lee........je tri...bhu...va..........na
<--meenD--> <--smooth-->
S - S - (R)S - (m)G (P)m (m)P - P (m)G m P N N
swA.......mi.... an........ta...ra...yA.........mi be..........ga..... kru
NS" G"R" S" S" Pm Gm Pn DP Pm Gm G
pA...... a....ba kee.................je..........
Antara:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G m P S" S"
da....ra....sa..... bi
S" - - - - - S" R" S" - - S" - N D S"
nA........................ a....ta....hi......... ho..........ta..... ji
N - P - - - N D S" N - S S m G G
yA........................ vyA........ku..la..... su....gha...ra..... hi
<--smooth-->
P - N N Pm Gm Pn DP Pm Gm G
yA.... mo...ra chhi.................je.........
From the RMIM Article Archive maintained by Satish Subramanian