RMIM Archive Article "414".
From the RMIM Article Archive maintained by Satish Subramanian
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# RMIM/C Archives..
# Subject: Raga Desi
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
#
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Subject: Raga Desi
Namashkar.
Raga Desi comes in 2 or 3 flavours depending primarily on how
the dhaivat(s) is/are treated. Despite the variability, the rAga
has a distinct signature to its identity.
The three basic types are grouped (I am ignoring the other
ramifications such as Desi Todi, Uttari Desi etc in an attempt to
keep the discussion focussed; as it is, it is not easy describing
this very vakra rAga) according to their dhaivat affiliation:
(a) shuddha dhaivat only; (b) komal dhaivat only; and (c) both the komal
and shuddha dhaivat. In the third kind, a further sub-classification is
effected on the basis of the weight planted on one dhaivat relative
to the other.
Despite these distractions, a sure pointer to a Desi is the following
cluster of phrases:
R P (M)g, R g S R n' S
(M)R M P S" P, R g S R n' S
uuuu---> meenD
The R g S R n' S is characteristic to Desi, so is the meenD from
the tAr shadaj straight to the pancham. The use of the dhaivat(s),
while not unimportant, is secondary to this defining profile.
When the shuddha dhaivat is taken it is via: RMPDMPS", S" P, P D (P)M P.
When the komal dhaivat is employed, it replaces the shuddha dhaivat above
(to a first approximation). Although these operations might seem trivial,
the divergence in effect is significant and calls for caution in handling.
In the first instance, there is a possibility for a tirobhAva (the momentory
reminder) of Raga Kafi whereas in the second case there can be a tirobhAva of
Raga Asavari.
The A/A may now be formulated as (for a bi-dhaivat Desi):
Aroha: S, R g S R n' S, (M)R M P, D M P S"
Avaroha: S" P, D M P, (M)R M P d M P, R g S R n' S
uuu
The nishAd is weak, P and R and very strong. The gandhAr figures
only in descent. The importance of dhaivat is idiosyncratic, as
briefly discussed above.
In most of the Desis in current practice we hear both the dhaivats,
one weighted much more than the other. Kesarbai's classic Desi, for
example, primarily uses the komal dhaivat (and details of its structure
are slightly different than the expose' above - the thing is, for
anything you say about things Indian, the opposite is equally true:-).
However, if you want to smoke out a Desi, the aforementioned algorithm
still holds). The shuddha dhaivat is sprung occasionally via M P D n S"
but the integration is so beautiful as to make it seem as if it had been
part of the family all along. Ratanjankar's school also maintains the
preponderance of komal dhaivat. The manner in which the dhaivat(s) is/are
handled in the hugely popular Desi number from the film Baiju Bawra by
Amir Khan and D.V. Paluskar - Aj gAvat man mero - is left as a homework
exercise. By the way, there is the famous story of the ustAd insisting
on having Paluskar as his 'sparring' partner for this song overriding
composer Naushad's misgivings, which perhaps someone else can recount.
As always, the best way to help settle these ideas in the mind is to
work through a bandish. The composition below is a sentimental favourite
and exclusively courts the shuddha dhaivat. The words are due to
Tulsidas (of Ramayan fame) and are written in Avadhi. They are in praise
of Lord Shiva who was T's ishTadeva. Shubha Mudgal informs that the lyrics
are from T's work, "VinayapatrikA." There is one line in the bandish
I do not quite grasp the import of, as indicated.
Warm regards and yodlee yodleeoooooo,
r
ps: Desi is a truly beautiful rAga; one way of ruining it to
ask the old Imdad geezer Mr Imrat to play it. Another way of ruining
it is to ask Mr Vilayat to sing it.
******
Raga: Desi
Tala: Ektala (druta)
Lyric: Tulsidasa
jANchiye Girijapati
Kasi jAsu bhavan
aNimAdika dAsi
avaDaradAni dravata
sutHi thore sakata na dekhi
deen kara joRe
Glossary:
jANchiye = examine, analyse (in this context, know)
kAsi = Kashi, Varanasi
aNimAdika = aNimA + Adika; aNimA refers to one of Shiva's
8 siddhis (what are the other 7?) which gives Him
the power to make Himself as small as the atom
dAsi = in service of
avaDaradAni = one who shows compassion for the weak and the downtrodden
dravata = one who is easily moved (emotionally)
deen = the wretched, the fallen, the poor
kara joRe = with hands joined
(Note: I don't quite understand (although I have a couple of
educated guesses) the penultimate line: sutHi thore sakata na dekhi.
Some input from those in the know would be helpful).
Asthaie:
1 2 3 4 5 6 7 8 9 10 11 12
(M)R M P D (P)M P (M)g R g R S -
jA....AN....chi...ye gi....ri....jA........... pa.....ti......
(M)R - M - P - PD MP S" P P P
kA..........si..... jA..........su........... bha....va.....na
S"R" nS" P D (P)M P (M)g R g S R n'S
a.....Ni....mA..........di....ka dA................si...............
Antara:
1 2 3 4 5 6 7 8 9 10 11 12
M M P P PD MP S" - - S" S" S"
a.....va....Da....ra....dA..........ni........... dra....va.....ta
<---smooth--->
n S" S"R" g" - (g")R" S" R"(R")n (n)S" P P
su....tHi tho...............re..... sa....ka....ta...... na
<----meenD---->
(P)R" - S" P - P PD MP (P)R g SR n'S
de..........khi dee.........na ka....ra jo...........Re........
From the RMIM Article Archive maintained by Satish Subramanian