Saturday, January 28, 2012

Practice Notes for rAga kanakAngi Mother Tune 1


Name of the musical work: kanakAngi practice notes.
Literature : nil.
Genre: South Indian Instrumental Music. South Indian Classical Music.
Author and Composer: ybrao a donkey.
Tune used: carnATic Music Mother Tune No. 1 (mElakarta No. 1)- kanakAngi (engl: golden damsel.).
Rem: This is a rare rAga.
Ascendence-descendence called mUrchana: Indian: sa-ri-ga-ma-pa-da-ni-sa' sa'-ni-da-pa-ma-ga-ri-sa.
Western: c,c#,d,f, g,g#,a,c'. c',a,g#,g, f,d,c#,c.
Rem: You will find that e and b are omissions. c# is uttered as 'ri' by vocal musicians singing kanakAngi. The note 'a' is pronounced as 'ni' by vocal musicians, in this tune. This is a peculiar system prevalent in South Indian Carnatic Music. Thus, the Carnatic Music gets 16 notes instead of the standard 12 notes in the North Indian and Western Music.



>>c3c#df gg#a c4c#df gg#a c5c#df gg#a c6c#df gg#a c7c#df g
>>c3c#df gg#a c4c#df gg#a c5c#df gg#a c6c#df gg#a c7c#df g



>>c3c#df gg#a c4c#df gg#a c5c#df gg#a c6c#df gg#a c7c#df g
>>c3c#df gg#a c4c#df gg#a c5c#df gg#a c6c#df gg#a c7c#df g



>>c3dc#fdgfg#gag#c'c'c'c'c' c4dc#fdgfg#gag#c'c'c'c'c' c5dc#fdgfg#gag#c'c'c'c'c' c6dc#fdgfg#gag#c'c'c'c'c'
>>c3dc#fdgfg#gag#c'c'c'c'c' c4dc#fdgfg#gag#c'c'c'c'c' c5dc#fdgfg#gag#c'c'c'c'c' c6dc#fdgfg#gag#c'c'c'c'c'




>>c3dc#fdgfg#gag#c'c'c'c'c' c4dc#fdgfg#gag#c'c'c'c'c' c5dc#fdgfg#gag#c'c'c'c'c' c6dc#fdgfg#gag#c'c'c'c'c'
>>c3dc#fdgfg#gag#c'c'c'c'c' c4dc#fdgfg#gag#c'c'c'c'c' c5dc#fdgfg#gag#c'c'c'c'c' c6dc#fdgfg#gag#c'c'c'c'c'



>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3
>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3



>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3
>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3



>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3
>>gfdc#c7 ag#ggfdc#c6 ag#g fdc#c5 ag#g fdc#c4 ag#gg fdc#c3

Friday, January 27, 2012

vasanta varNam -only western notation, with free mp3 download


Note: This notation was revised on 27.1.2012. New mp3 file of approx. 7 minutes has been uploaded. See the links below.
Name of the musical work: Vasanta varNam.
Literary Name: ninnu kOri.
Genre: South Indian Instrumental Music. South Indian Classical Music. Carnatic Music.
Authors and composers: South Indian Elders.
Embellishments and digitalisation: ybrao a donkey.
Tune used: called 'Vasanta' born from the South Indian Carnatic Mother tune 17 sUryakAntam.
Rhythm used: 4/8/16 called Adi tALam. HindUsthani equivalent: tIn tAL.


tempos used 120, 200, 280.

voice 1 'sitar'

voice 2 'pizzicato strings'
>> Ascendence: :c,e,f,a,b,c'.
>> Descendence: c',b,a,f,e,c#,c.

voice 1 'sitar'

voice 2 'pizzicato strings'

>> e,,, f,,, a,,, ,,,, b,b,a,b, c',,, ,,,, a,b,c',b,,,a,a,b, a,a,f,e, f,e,c#,c, c#,c,b_,,a_,,,b,c,c#, c,c#,c,b, c,e,e,f, c',e',c#',c', b,a,c',b, a,f,e,a, f,e,c#,c,
>> e,,, f,,, a,,, ,,,, b,b,a,b, c',,, ,,,, a,b,c',b,,,a,a,b, a,a,f,e, f,e,c#,c, c#,c,b_,,a_,,,b,c,c#, c,c#,c,b, c,e,e,f, c',e',c#',c', b,a,c',b, a,f,e,a, f,e,c#,c,
--2

voice 1 'sitar'

voice 2 'pizzicato strings'

>> a, ,, ,a, f,a,b,b, a,a,f,e, f,e,c#,c, f,e,f, c,,, c#,c,f, e,f,a,b, c',,, ,,,, c',e',f',e', c#',c',b,c', e',c#',c',b, a,f,a,b, c',b,c#',c, ,,b,a,f, b,a,,,e, f,e,c#,c,
>> a, ,, ,a, f,a,b,b, a,a,f,e, f,e,c#,c, f,e,f, c,,, c#,c,f, e,f,a,b, c',,, ,,,, c',e',f',e', c#',c',b,c', e',c#',c',b, a,f,a,b, c',b,c#',c, ,,b,a,f, b,a,,,e, f,e,c#,c,
--3

voice 1 'xylophone'

voice 2 'violin'
>> c#_,c,b_,a_, b_,c,f_,a_, b_,c,c#,b_, c,e,e,f, c,c#,c,f, e,f,a,f, e,b,a,c', b,a,f,e, f,e,c#,c, ,,a,f,e, c#,b,a,f, e,c,b,c#, c',,, b,a, f,b, a,,, f,e, a,f, ,,e, c#,c,
>> c#_,c,b_,a_, b_,c,f_,a_, b_,c,c#,b_, c,e,e,f, c,c#,c,f, e,f,a,f, e,b,a,c', b,a,f,e, f,e,c#,c, ,,a,f,e, c#,b,a,f, e,c,b,c#, c',,, b,a, f,b, a,,, f,e, a,f, ,,e, c#,c, --123 fast
>> c,,, ,,,,
>> c,,, ,,,,.
--chorus

voice 1 'pizzicato strings'

voice 2 'timpani'
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab


--1ch

voice 1 'violin'

voice 2 'violin'
>> c,,b ,,a, f,,e ,,c#, c, ,b, ,a ,, b_c,e faab
>> c,,b ,,a, f,,e ,,c#, c, ,b, ,a ,, b_c,e faab
--rpt chor

voice 1 'pizzicato strings'

voice 2 'timpani'
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab

--2ch

voice 1 'violin'

voice 2 'violin'
>> c',ba fea, /c/fec#c,b_ /c/a_b_ cc#ce,fa, feba ,f /c/ab
>> c',ba fea, /c/fec#c,b_ /c/a_b_ cc#ce,fa, feba ,f /c/ab
--rpt chor

voice 1 'pizzicato strings'

voice 2 'timpani'
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
--3ch

voice 1 'violin'

voice 2 'violin'
>> a_,,b_,ca_ /c/b_ ca /c/b_a f /c/efb a,,f,e /c/fa fe /c/fe c#c#cb_ a,,b,c'a /c/b cc#cb_ c /c/eef a,,f, /c/eb /c/a fc' /c/ba faab
>> a_,,b_,ca_ /c/b_ ca /c/b_a f /c/efb a,,f,e /c/fa fe /c/fe c#c#cb_ a,,b,c'a /c/b cc#cb_ c /c/eef a,,f, /c/eb /c/a fc' /c/ba faab

--4rpt

voice 1 'pizzicato strings'

voice 2 'timpani'
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab

--4ch

voice 1 'violin'

voice 2 'violin'
>> c,,,,,b /c/cc#b,afe,c# c,,,,,e /c/c#cb,afa,b c'b,a fe,f af,e c#c,b' ab,c c#b,c fe,f a,,, ,,,, cc#cf efa /c/f eb /c/ae /c/ faab fefa,fe /c/f aab /c/b afec# fec#c efaf efab c'e'f'e' c#'c',b abaf,ec#c efab
>> c,,,,,b /c/cc#b,afe,c# c,,,,,e /c/c#cb,afa,b c'b,a fe,f af,e c#c,b' ab,c c#b,c fe,f a,,, ,,,, cc#cf efa /c/f eb /c/ae /c/ faab fefa,fe /c/f aab /c/b afec# fec#c efaf efab c'e'f'e' c#'c',b abaf,ec#c efab

--rpt chorus

voice 1 'pizzicato strings'

voice 2 'timpani'
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab
>> c',,c#' cbab aafe feec# c, ,, ,, c' /c/b aafe faab

Saturday, January 21, 2012

khamAj svarajati Indian and Western Notations


Musical name of the work: khamAj svara jati.
Literary name of the work: sAmbasivA anavE.
Genre: South Indian Classical Music. South Indian Instrumental Music. Carnatic Music. Indian Notations. Western Notations.
Authors and composers: South Indian Elders of the 19th Century.
Embellishments and digitalisation: ybrao a donkey.
tune used: called 'khamAs' in South India and 'khamaj' in North India. Born from the South Indian Mother Tune No. 28 Hari kAmbHoji equivalent North Indian khamAj ThATh.
rhythm used: 4/8/16 beat. Called Adi tALam in South India and tIn tAl in North India.


Ascendence: sa-ma-ga-ma pa-da-ni-sa. c,f,e,f, g,a,a#,c'.
Descendence: sa'-ni-da-pa-ma-ga-ri-sa. c',a#,a,g, f,e,d,c,.

g'e'd'c' a#agfedc a#_agf.


g'e'd'c' a#agfedc a#_agf.
Refrain:
--Ind notes:sA A A nI dA pA ama gA | mA A A gA | mA pA adAni
>>^c',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,



--Ind notes:sA ari nI isa'dA anipA ada | mA apa mA aga | mA apa dA ani
>>vc,,, ,,d, a#,,, ,,c',a,,, ,,a#,g,,, ,,a, f,,, ,,g, f,,, ,,e, f,,, ,,g, a,,, ,,a#,
>>vc,,, ,,d, a#,,, ,,c',a,,, ,,a#,g,,, ,,a, f,,, ,,g, f,,, ,,e, f,,, ,,g, a,,, ,,a#,

--Ind notes:rpt refrain




>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,


chorus 1
--Ind notes:1. sA' rI' sa'ni nI sA' nida dA nI | dapa mA dA maga | samAga mapadani
>>vc',,, d',,, c',a#, a#,,, c',,, a#,a, a,,, a#,,, a,g, f,,, a,,, f,e, c,f,,,e, f,g,a,a#,
>>vc',,, d',,, c',a#, a#,,, c',,, a#,a, a,,, a#,,, a,g, f,,, a,,, f,e, c,f,,,e, f,g,a,a#,
--Ind notes:rpt refrain




>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,


chorus 3
--Ind notes:2. sa'ri' sa'ni s'A A nisa' nida nI I | danidapa dA A | padapama pA sasasasa mamamama papapapa dadadada | nisa'nida nidapA | dapamaga mapadani

>>vc',d',c',a#, c',,, ,,,, a#,c', a#,a, a#,,, ,,,, a,a#,a,g, a,,, ,,,, g,a,g,f, g,,, c,c,c,c, f,f,f,f, g,g,g,g, a,a,a,a, a#,c',a#,a, a#,a,g,,, a,g,f,e, e,g,a,a#,

>>vc',d',c',a#, c',,, ,,,, a#,c', a#,a, a#,,, ,,,, a,a#,a,g, a,,, ,,,, g,a,g,f, g,,, c,c,c,c, f,f,f,f, g,g,g,g, a,a,a,a, a#,c',a#,a, a#,a,g,,, a,g,f,e, e,g,a,a#,

--Ind notes:rpt refrain




>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,



--Ind notes:3. dasa'nida pamagama pA A padanida | pamagaga mA A | sa'nidani dapadani
>>a,g',a#,a, g,f,e,f, g,,, ,,,, g,a,a#,a, g,f,e,e, f,,, ,,,, c',a#,a,a#, a,g,a,a#,
>>a,g',a#,a, g,f,e,f, g,,, ,,,, g,a,a#,a, g,f,e,e, f,,, ,,,, c',a#,a,a#, a,g,a,a#,
--Ind notes:rpt refrain




>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,



--Ind notes:4. sA' sA' sA' sa'ni nidadapa pamagaga | mA A A pada | nidamaga mapadani | sa'ma'ga'sa' sA' sA' - sa'ri'sa'sa' nI nI | nisa'nida dA dA | padapama pA pA | samAma gapApa madAda panIni | darI'ri' nisA'sa' | nisa'nida pA A | mApama pAdapa dAnida nIsa'ni | sA'ri'sa' rI'sa'ni sa'ri'sA nidapama | gamapada nisa'niri' sA A sa'ri'nisa' | danipada mA A | dapamaga mapadani |

>>vc',,, c',,, c',,, c',a#, a#,a,a,g, g,f,e,e, f,,, f,,, f,,, g,a, a#,a,f,e, f,g,a,a#, c',f',e',c', c',,, c',,, c',d',c',c', a#,,, a#,,, a#,c', a#,a, a,,, a,,, g,a,g,f, g,,, g,,, c,f,,, f, e, g,,, g, f, a,,, a, g,a#,,, a#, a,d',,,d', a#,c',,,c', a#,c',a#,a, g,,, g,,, f,,, g,f, g,,, a,g, a,,, a#,a, a#,,, c',a#, c',,, d',c', d',,, c',a#, c',d',c',,, a#,a,g,f, e,f,g,a, a#,c',a#,d', c',,, c',,, c',d',a#,c', a,a#,g,a, f,,, f,,, a,g,f,e, f,g,a,a#,

>>vc',,, c',,, c',,, c',a#, a#,a,a,g, g,f,e,e, f,,, f,,, f,,, g,a, a#,a,f,e, f,g,a,a#, c',f',e',c', c',,, c',,, c',d',c',c', a#,,, a#,,, a#,c', a#,a, a,,, a,,, g,a,g,f, g,,, g,,, c,f,,, f, e, g,,, g, f, a,,, a, g,a#,,, a#, a,d',,,d', a#,c',,,c', a#,c',a#,a, g,,, g,,, f,,, g,f, g,,, a,g, a,,, a#,a, a#,,, c',a#, c',,, d',c', d',,, c',a#, c',d',c',,, a#,a,g,f, e,f,g,a, a#,c',a#,d', c',,, c',,, c',d',a#,c', a,a#,g,a, f,,, f,,, a,g,f,e, f,g,a,a#,

--Ind notes:rpt refrain




>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,
>>vc',,, c',,, c',,, a#,,, a,,, g,,, f,,, ,,,, ,,,, e,,, f,,, g,,, ,,a,,,a#,



--Ind notes:khanDa gati -5 beat
--Ind notes:5. sA' ri' sA' nI da nI sA' nI da dapA A | pAdanI dApamA | pAmagA mAAa | mAgamA pAmapA dApadA nIdanI | sA' nIda mApAda |
>>vc',,, d', c',,, a#,,, a, a#,,, c',,, a#,,, a, a,g,,, ,,,, g,,, a,a#, a,,, g,f,
>>g,,, f,e, f,,, ,,,, ,, f,,, e,f, g,,, f, g,,, a,,, g, a,,, a#,,, a, a#,,, c',,, a#,,, a, f,,, g,,, a,

>>vc',,, d', c',,, a#,,, a, a#,,, c',,, a#,,, a, a,g,,, ,,,, g,,, a,a#, a,,, g,f,
>>g,,, f,e, f,,, ,,,, ,, f,,, e,f, g,,, f, g,,, a,,, g, a,,, a#,,, a, a#,,, c',,, a#,,, a, f,,, g,,, a,

--Ind notes:--Ind notes:--Ind notes:--Ind notes:-medium tempo--Ind notes:--Ind notes:--Ind notes:
>>g'e'd'c' a#agfedc a#_agf.
>>g'e'd'c' a#agfedc a#_agf.

>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>vc, ,d a#, ,c'a, ,a#g, ,a f, ,g f, ,e f, ,g a, ,a#
>>vc, ,d a#, ,c'a, ,a#g, ,a f, ,g f, ,e f, ,g a, ,a#


>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>vc', d', c'a# a#, c', a#a a, a#, ag f, a, fe cf,e fgaa#
>>vc', d', c'a# a#, c', a#a a, a#, ag f, a, fe cf,e fgaa#

--Ind notes:rpt refrain



>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#




>>vc'd'c'a# c', ,, a#c' a#a a#, ,, aa#ag a, ,, gagf g, cccc ffff gggg aaaa a#c'a#a a#ag, agfe egaa#

>>vc'd'c'a# c', ,, a#c' a#a a#, ,, aa#ag a, ,, gagf g, cccc ffff gggg aaaa a#c'a#a a#ag, agfe egaa#

--Ind notes:rpt refrain



>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>ag'a#a gfef g, ,, gaa#a gfee f, ,, c'a#aa# agaa#
>>ag'a#a gfef g, ,, gaa#a gfee f, ,, c'a#aa# agaa#

>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#




>>vc', c', c', c'a# a#aag gfee f, f, f, ga a#afe fgaa# c'f'e'c' c', c', c'd'c'c' a#, a#, a#c' a#a a, a, gagf g, g, cf, f e g, g f a, a ga#, a# ad',d' a#c',c' a#c'a#a g, g, f, gf g, ag a, a#a a#, c'a# c', d'c' d', c'a# c'd'c', a#agf efga a#c'a#d' c', c', c'd'a#c' aa#ga f, f, agfe fgaa#

>>vc', c', c', c'a# a#aag gfee f, f, f, ga a#afe fgaa# c'f'e'c' c', c', c'd'c'c' a#, a#, a#c' a#a a, a, gagf g, g, cf, f e g, g f a, a ga#, a# ad',d' a#c',c' a#c'a#a g, g, f, gf g, ag a, a#a a#, c'a# c', d'c' d', c'a# c'd'c', a#agf efga a#c'a#d' c', c', c'd'a#c' aa#ga f, f, agfe fgaa#

--Ind notes:rpt refrain



>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#




>>vc', d' c', a#, a a#, c', a#, a ag, ,, g, aa# a, gf
g, fe f, ,, , f, ef g, f g, a, g a, a#, a a#, c', a#, a f, g, a

>>vc', d' c', a#, a a#, c', a#, a ag, ,, g, aa# a, gf
g, fe f, ,, , f, ef g, f g, a, g a, a#, a a#, c', a#, a f, g, a

--Ind notes:rpt refrain



>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#


>>/g'//e'//d'//c'// a#//a//g//f//e//d//c// a#_//a//g//f/.
>>/g'//e'//d'//c'// a#//a//g//f//e//d//c// a#_//a//g//f/.

--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/c/ /d/ /a#/ /c'//a/ /a#//g/ /a/ /f/ /g/ /f/ /e/ /f/ /g/ /a/ /a#/
>>/c/ /d/ /a#/ /c'//a/ /a#//g/ /a/ /f/ /g/ /f/ /e/ /f/ /g/ /a/ /a#/


--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/c'/ /d'/ /c'//a#/ /a#/ /c'/ /a#//a/ /a/ /a#/ /a//g/ /f/ /a/ /f//e/ /c//f//e/ /f//g//a//a#/
>>/c'/ /d'/ /c'//a#/ /a#/ /c'/ /a#//a/ /a/ /a#/ /a//g/ /f/ /a/ /f//e/ /c//f//e/ /f//g//a//a#/

--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/c'//d'//c'//a#/ /c'/ /c'/ /a#//c'/ /a#//a/ /a#/ /c'/ /a//a#//a//g/ /a/ /c'/ /g//a//g//f/ /g/ /c//c//c//c/ /f//f//f//f/ /g//g//g//g/ /a//a//a//a/ /a#//c'//a#//a/ /a#//a//g/ /a//g//f//e/ /e//g//a//a#/

>>/c'//d'//c'//a#/ /c'/ /c'/ /a#//c'/ /a#//a/ /a#/ /c'/ /a//a#//a//g/ /a/ /c'/ /g//a//g//f/ /g/ /c//c//c//c/ /f//f//f//f/ /g//g//g//g/ /a//a//a//a/ /a#//c'//a#//a/ /a#//a//g/ /a//g//f//e/ /e//g//a//a#/


--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/a//g'//a#//a/ /g//f//e//f/ /g/ /c'/ /g//a//a#//a/ /g//f//e//e/ /f/ /c'/ /c'//a#//a//a#/ /a//g//a//a#/
>>/a//g'//a#//a/ /g//f//e//f/ /g/ /c'/ /g//a//a#//a/ /g//f//e//e/ /f/ /c'/ /c'//a#//a//a#/ /a//g//a//a#/

--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/c'/ /c'/ /c'/ /c'//a#/ /a#//a//a//g/ /g//f//e//e/ /f/ /f/ /f/ /g//a/ /a#//a//f//e/ /f//g//a//a#/ /c'//f'//e'//c'/ /c'/ /c'/ /c'//d'//c'//c'/ /a#/ /a#/ /a#//c'/ /a#//a/ /a/ /a/ /g//a//g//f/ /g/ /g/ /c//f/ /f/ /e/ /g/ /g/ /f/ /a/ /a/ /g//a#/ /a#/ /a//d'//d'/ /a#//c'//c'/ /a#//c'//a#//a/ /g/ /g/ /f/ /g//f/ /g/ /a//g/ /a/ /a#//a/ /a#/ /c'//a#/ /c'/ /d'//c'/ /d'/ /c'//a#/ /c'//d'//c'/ /a#//a//g//f/ /e//f//g//a/ /a#//c'//a#//d'/ /c'/ /c/ /c'//d'//a#//c'/ /a//a#//g//a/ /f/ /f/ /a//g//f//e/ /f//g//a//a#/

>>/c'/ /c'/ /c'/ /c'//a#/ /a#//a//a//g/ /g//f//e//e/ /f/ /f/ /f/ /g//a/ /a#//a//f//e/ /f//g//a//a#/ /c'//f'//e'//c'/ /c'/ /c'/ /c'//d'//c'//c'/ /a#/ /a#/ /a#//c'/ /a#//a/ /a/ /a/ /g//a//g//f/ /g/ /g/ /c//f/ /f/ /e/ /g/ /g/ /f/ /a/ /a/ /g//a#/ /a#/ /a//d'//d'/ /a#//c'//c'/ /a#//c'//a#//a/ /g/ /g/ /f/ /g//f/ /g/ /a//g/ /a/ /a#//a/ /a#/ /c'//a#/ /c'/ /d'//c'/ /d'/ /c'//a#/ /c'//d'//c'/ /a#//a//g//f/ /e//f//g//a/ /a#//c'//a#//d'/ /c'/ /c/ /c'//d'//a#//c'/ /a//a#//g//a/ /f/ /f/ /a//g//f//e/ /f//g//a//a#/


--Ind notes:rpt refrain




c, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
c, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#



>>/c'/ /d'/ /c'/ /a#/ /a/ /a#/ /c'/ /a#/ /a/ /a//g/ /c'/ /g/ /a//a#/ /a/ /g//f/
/g/ /f//e/ /f/ /c'/ /f/ /e//f/ /g/ /f/ /g/ /a/ /g/ /a/ /a#/ /a/ /a#/ /c'/ /a#/ /a/ /f/ /g/ /a/

>>/c'/ /d'/ /c'/ /a#/ /a/ /a#/ /c'/ /a#/ /a/ /a//g/ /c'/ /g/ /a//a#/ /a/ /g//f/
/g/ /f//e/ /f/ /c'/ /f/ /e//f/ /g/ /f/ /g/ /a/ /g/ /a/ /a#/ /a/ /a#/ /c'/ /a#/ /a/ /f/ /g/ /a/


--Ind notes:rpt refrain




>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#
>>vc, ,, ,, a#, a, g, f, ,, ,, e, f, g, ,a,a#

>>/g'//e'//d'//c'// a#//a//g//f//e//d//c// a#_//a//g//f/.
>>/g'//e'//d'//c'// a#//a//g//f//e//d//c// a#_//a//g//f/.

Friday, January 20, 2012

bhairavi aTa tALa varNam - Indian and Western Notations


Musical name of the work: bhairavi aTa tALa varNam.
Literary name of the work: viribONI.
Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music.
Author and composer: Pachimiriyam Adi Appayya.
Embellishments, conceptualisation and digitalisation: ybrao a donkey.
Tune used: called rAgam: bhairavi, born from the Mother Tunes 20 Natabhairavi and 22 Kharaharapriya.
Rhythm used: (5x4) first line, (5x4) second line and (4x4) third line total 14x4 letters. aTa tALam is difficult to sing or play.


ascendence and descendence, jointly called mUrchana:
shadj sa = c.
chatusriti rishabh - suddh rishabh = d.
sAdhArana gandhAram - kOmal gandhAr = d#.
suddh madhyamam - suddha madhyamam = f.
panchamam = g.
catusriti dhaivatam in ascendence - suddh dhaivat = a.
suddha dhaivatam in descendence - kOmal dhaivat = g#.
kaiSiki nishAdam - kOmal nishAd = a#.
gist: asce: c,d,d#,f, g,a,a#,c'.
desce: c',a#,g#,g, f,d#,d,c.



Refrain:
--sAari nI_dA_ - niI_sA rIiga sArI | sari gaga rI I - gagariga mapadama pagarisa | ni_sa maga risa ni_sa - riga sari ni_ni_ da_ni_

--saga rini_ sani_dapa -pa_da_ pa_da_ ni_ni_ da_pa_ da_ni_ sari | pa_da_ni_sa rigamapa - magariga manidapa magarini_ | sarigama garigaga - rII sa'nidapa

--sub-refrain: anupallavi
--magarisArini_da - sa'nidapa magariga manidapa | magaripa magarisa - pa_da_ni_sa rigani_sa rigamapa | ninidapAdamapa - garigama padanisa'


--padanisa' ri'ga'ma'ga' - ri'ga'sa'ri' niga'ri'sa' nidanisa' | ga'ri'ri'sa' sa'ninida - dapamani dapamaga rigarisa | ni_sariga mapadani - sa'nidada pamapA

--muktAyi
--pamagari sarini_da - gagarisa risani_ni_ da_ni_sari | ma_ma_pa_pa_ da_da_ni_ni_ - pa_pa_pa_da_ da_da_da_ni_ ni_sasari | pa_da_ni_sa rigamapa dapa madapA nini

--dadadapa pamanida - nipadani mapadani sa'ri'nida | ma'ga'ri'sa' ri'nisa'ri' - rigAma pada mapAda nisa' | nirI'sa' nidasA' - sa'nidapa mA pA ama

--garisA sarini_da - niI_sA rIiga sArI | sari gaga rI I - gagariga mapadama pagarisa | ni_sa maga risa ni_sa - riga sari ni_ni_ da_ni_

--chorus
--sagarini_ sanidapa - mAmA dapa dama paga mA | pAA pAA mapanini dapamaga manidapa | magariga mapadama paamadA pAmapa
two times
--1
--gA arIsa nI_ idA_pa_ amA_pa_ dA_ni_sa | ni_rIni_ sarigama gamAni_ nidaDAni nidadama
--chorus
--sagarini_ sanidapa - mAmA dapa dama paga mA | pAA pAA mapanini dapamaga manidapa | magariga mapadama pamadA pAmapa

--1 gA arIsa nI_ idA_pa_ amA_pa_ dA_ni_sa | ni_rIni_ sarigama gamAni_ nidaDAni nidadama | mapa mamAga riga - nini dadAma mA
--chorus repeat
--2 nini daDAni dada - mA ani dapamA adha pama | garIgAma pada - mapAda padanida nisa'ri'sa' | niga'rinIdapada - mapAma garisari
--repeat chorus;
--3 sAriga sarigA - rI I nI_sari ni_sarI | sA ari nI_ nida - gA arIsa nI_ idA_ni_ | pA_ aDA_ni_ sari - pa_da_ni_sa rI I 2) da_pa_garIrini_Da_ - risAsa magAri pamAga | rigAma padapama - niniDaDAni dada papAma | garIgAmapada - mapagama pA A 3) ni_sa ni_ga rima gapa - madapani danipada mapagari | gamapama paDanisa' - nisa'niga' ri'ga'nisa' niri'sa'ri' | niri'sa'ni' dapadama - paDanini sA'nini 4) sa'sa'ri'ri' ga'ga'ma'ga' - ga'ri'ma'ga' ri'sa'niga' ri'sa'niri' | sa'nidapa Danisa'ri' - mamapapa DaDanini sa'ga'ri'ni | niDari'sa' nIDani - DaDanida damamA
--repeat chorus;


(tempo 150)
(voice 1 'sitar')
(voice 2 'sitar')

>>c,,, ,,d, a#_,,, a_,,, a#_,,, c,,, d,,, ,,d#, c,,, d,,, c,d, d#,d#, d,,, ,,,, d#,d#,d,d#, f,g, g#,f, g,d#,d,c, a#,c, f,d#, d,c, a#,c, d,d#, c,d, a#_,a#_, a_,a#_,
>>c,,, ,,d, a#_,,, a_,,, a#_,,, c,,, d,,, ,,d#, c,,, d,,, c,d, d#,d#, d,,, ,,,, d#,d#,d,d#, f,g, g#,f, g,d#,d,c, a#,c, f,d#, d,c, a#,c, d,d#, c,d, a#_,a#_, a_,a#_,.

--cycle 2
>>c,d#, d,a#_, c,a#_,g#_,g, g_,g#_, g_,g#_, a#_,a#_, g#_,g_, a_,a#, c,d, g_,a_,a#,c, d,d#,f,g, f,g,d,d#, f,a#,g#,g, f,d#,d,a#, c,d,d#,f, d#,d,d#,d#, d,,, ,,,, c',a#,g#,g,
>>c,d#, d,a#_, c,a#_,g#_,g, g_,g#_, g_,g#_, a#_,a#_, g#_,g_, a_,a#, c,d, g_,a_,a#,c, d,d#,f,g, f,g,d,d#, f,a#,g#,g, f,d#,d,a#, c,d,d#,f, d#,d,d#,d#, d,,, ,,,, c',a#,g#,g,

(voice 1 'sitar')
(voice 2 'sitar')

--stanza 2
>>f,d#,d,c,,, d,a#_,g#_, c',a#,g#,g, f,d#,d,d#, f,a#,g#,g, f,d#,d,g, f,d#,d,c, g_,a_,a#_,c, d,d#,a#_,c, d,d#,f,g, a#,a#,g#,g,,,g#,f,g, d#,d,d#,f, g,a,a#,c',
>>f,d#,d,c,,, d,a#_,g#_, c',a#,g#,g, f,d#,d,d#, f,a#,g#,g, f,d#,d,g, f,d#,d,c, g_,a_,a#_,c, d,d#,a#_,c, d,d#,f,g, a#,a#,g#,g,,,g#,f,g, d#,d,d#,f, g,a,a#,c',

(voice 1 'sitar')
(voice 2 'sitar')

>>g,a,a#,c', d',d#',f',d#', d',d#',c',d', a#,d#',d',c', a#,a,a#,c', d#',d',d',c', c',a#,a#,g#, g#,g,f,a#, g#,g,f,d#, d,d#,d,c, a#_,c,d,d#, f,g,a,a#, c',a#,g#,g#, g,f,g,,,

>>g,a,a#,c', d',d#',f',d#', d',d#',c',d', a#,d#',d',c', a#,a,a#,c', d#',d',d',c', c',a#,a#,g#, g#,g,f,a#, g#,g,f,d#, d,d#,d,c, a#_,c,d,d#, f,g,a,a#, c',a#,g#,g#, g,f,g,,,

(voice 1 'sitar')
(voice 2 'sitar')

>>f,d#,d, c,d,a#_,g#_, d#,d#,d,c, d,c,a#_,a#_, a_,a#_,c,d, f_,f_,g_,g_, a_,a_,a#_,a#_, g_,g_,g_,a_, a_,a_,a#_,a#_, a#_,c,c,d, g_,a_,a#_,c, d,d#,f,g, g#,g, f,g#,g,,, a#,a#,
>>f,d#,d, c,d,a#_,g#_, d#,d#,d,c, d,c,a#_,a#_, a_,a#_,c,d, f_,f_,g_,g_, a_,a_,a#_,a#_, g_,g_,g_,a_, a_,a_,a#_,a#_, a#_,c,c,d, g_,a_,a#_,c, d,d#,f,g, g#,g, f,g#,g,,, a#,a#,

(voice 1 'sitar')
(voice 2 'sitar')

>>g#,g#,g#,g, g,f,a#,a, a#,g,a,a#, f,g,a,a#, c',d',a#,a, f',d#',d',c', d',a#,c',d', d,d#,,,f, g,g#, f,g,,,a, a#,c', a#,d',,,c', a#,a,c',,, c',a#,g#,g, g,,, ,,f,

>>g#,g#,g#,g, g,f,a#,a, a#,g,a,a#, f,g,a,a#, c',d',a#,a, f',d#',d',c', d',a#,c',d', d,d#,,,f, g,g#, f,g,,,a, a#,c', a#,d',,,c', a#,a,c',,, c',a#,g#,g, g,,, ,,f,

(voice 1 'sitar')
(voice 2 'sitar')
>>d#,d,c,,, ,,d,a#_,a_, a#_,,,c,,, d,,, ,,d#, c,,, d,,, c,d, d#,d#, d,,, ,,,, d#,d#,d,d#, f,g, g#,f, g,d#,d,c, a#_,c, f,d#, d,c, a#_,c, d,d#, c,d, a#_,a#_, a_,a#_,

>>d#,d,c,,, ,,d,a#_,a_, a#_,,,c,,, d,,, ,,d#, c,,, d,,, c,d, d#,d#, d,,, ,,,, d#,d#,d,d#, f,g, g#,f, g,d#,d,c, a#_,c, f,d#, d,c, a#_,c, d,d#, c,d, a#_,a#_, a_,a#_,


--faster tempo
(voice 1 'sitar')
(voice 2 'sitar')
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
(voice 1 'ocarina')
(voice 2 'ocarina')
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.

>>c, ,d a#_, a_, a#_, c, d, ,d# c, d, cd d#d# d, ,, d#d#dd# fg g#f gd#dc a#c fd# dc a#c dd# cd a#_a#_ a_a#_
>>c, ,d a#_, a_, a#_, c, d, ,d# c, d, cd d#d# d, ,, d#d#dd# fg g#f gd#dc a#c fd# dc a#c dd# cd a#_a#_ a_a#_

>>cd# da#_ ca#_g#_g g_g#_ g_g#_ a#_a#_ g#_g_ a_a# cd g_a_a#c dd#fg fgdd# fa#g#g fd#da# cdd#f d#dd#d# d, ,, c'a#g#g
>>cd# da#_ ca#_g#_g g_g#_ g_g#_ a#_a#_ g#_g_ a_a# cd g_a_a#c dd#fg fgdd# fa#g#g fd#da# cdd#f d#dd#d# d, ,, c'a#g#g

>>fd#dc, da#_g#_ c'a#g#g fd#dd# fa#g#g fd#dg fd#dc g_a_a#_c dd#a#_c dd#fg a#a#g#g,g#fg d#dd#f gaa#c'

>>fd#dc, da#_g#_ c'a#g#g fd#dd# fa#g#g fd#dg fd#dc g_a_a#_c dd#a#_c dd#fg a#a#g#g,g#fg d#dd#f gaa#c'

>>gaa#c' d'd#'f'd#' d'd#'c'd' a#d#'d'c' a#aa#c' d#'d'd'c' c'a#a#g# g#gfa# g#gfd# dd#dc a#_cdd# fgaa# c'a#g#g# gfg,

>>gaa#c' d'd#'f'd#' d'd#'c'd' a#d#'d'c' a#aa#c' d#'d'd'c' c'a#a#g# g#gfa# g#gfd# dd#dc a#_cdd# fgaa# c'a#g#g# gfg,

>>fd#d cda#_g#_ d#d#dc dca#_a#_ a_a#_cd f_f_g_g_ a_a_a#_a#_ g_g_g_a_ a_a_a#_a#_ a#_ccd g_a_a#_c dd#fg g#g fg#g, a#a#

>>fd#d cda#_g#_ d#d#dc dca#_a#_ a_a#_cd f_f_g_g_ a_a_a#_a#_ g_g_g_a_ a_a_a#_a#_ a#_ccd g_a_a#_c dd#fg g#g fg#g, a#a#

>>g#g#g#g gfa#a a#gaa# fgaa# c'd'a#a f'd#'d'c' d'a#c'd' dd#,f gg# fg,a a#c' a#d',c' a#ac', c'a#g#g g, ,f

>>g#g#g#g gfa#a a#gaa# fgaa# c'd'a#a f'd#'d'c' d'a#c'd' dd#,f gg# fg,a a#c' a#d',c' a#ac', c'a#g#g g, ,f

>>d#dc, ,da#_a_ a#_,c, d, ,d# c, d, cd d#d# d, ,, d#d#dd# fg g#f gd#dc a#_c fd# dc a#_c dd# cd a#_a#_ a_a#_

>>d#dc, ,da#_a_ a#_,c, d, ,d# c, d, cd d#d# d, ,, d#d#dd# fg g#f gd#dc a#_c fd# dc a#_c dd# cd a#_a#_ a_a#_

--fastest tempo
(voice 1 'sitar')
(voice 2 'ocarina')
>>/a'//g#'//g'//f'//d#'//d'//c'// a#//g#//g//f//d#//d//c// a#_//g#_//g_//f_//d#_//d_//c_/.
>>/a'//g#'//g'//f'//d#'//d'//c'// a#//g#//g//f//d#//d//c// a#_//g#_//g_//f_//d#_//d_//c_/.

>>/c//c'//c'//d//a#_//c'//a_//c'//a#_//c'//c//c'//d//c'//c'//d#//c//c'//d//c'//c//d//d#//d#//d//c'//c'//c'//d#//d#//d//d#//f//g//g#//f//g//d#//d//c//a#//c//f//d#//d//c//a#//c//d//d#//c//d//a#_//a#_//a_//a#_/

>>/c//c'//c'//d//a#_//c'//a_//c'//a#_//c'//c//c'//d//c'//c'//d#//c//c'//d//c'//c//d//d#//d#//d//c'//c'//c'//d#//d#//d//d#//f//g//g#//f//g//d#//d//c//a#//c//f//d#//d//c//a#//c//d//d#//c//d//a#_//a#_//a_//a#_/

>>/c//d#//d//a#_//c//a#_//g#_//g//g_//g#_//g_//g#_//a#_//a#_//g#_//g_//a_//a#//c//d//g_//a_//a#//c//d//d#//f//g//f//g//d//d#//f//a#//g#//g//f//d#//d//a#//c//d//d#//f//d#//d//d#//d#//d//c'//c'//c'//c'//a#//g#//g/

>>/c//d#//d//a#_//c//a#_//g#_//g//g_//g#_//g_//g#_//a#_//a#_//g#_//g_//a_//a#//c//d//g_//a_//a#//c//d//d#//f//g//f//g//d//d#//f//a#//g#//g//f//d#//d//a#//c//d//d#//f//d#//d//d#//d#//d//c'//c'//c'//c'//a#//g#//g/


>>/f//d#//d//c//c'//d//a#_//g#_ //c'//a#//g#//g//f//d#//d//d#//f//a#//g#//g//f//d#//d//g//f//d#//d//c//g_//a_//a#_//c//d//d#//a#_//c//d//d#//f//g//a#//a#//g#//g//c'//g#//f//g//d#//d//d#//f//g//a//a#//c'/

>>/f//d#//d//c//c'//d//a#_//g#_ //c'//a#//g#//g//f//d#//d//d#//f//a#//g#//g//f//d#//d//g//f//d#//d//c//g_//a_//a#_//c//d//d#//a#_//c//d//d#//f//g//a#//a#//g#//g//c'//g#//f//g//d#//d//d#//f//g//a//a#//c'/

>>/g//a//a#//c'//d'//d#'//f'//d#'//d'//d#'//c'//d'//a#//d#'//d'//c'//a#//a//a#//c'//d#'//d'//d'//c'//c'//a#//a#//g#//g#//g//f//a#//g#//g//f//d#//d//d#//d//c//a#_//c//d//d#//f//g//a//a#//c'//a#//g#//g#//g//f//g//c'/

>>/g//a//a#//c'//d'//d#'//f'//d#'//d'//d#'//c'//d'//a#//d#'//d'//c'//a#//a//a#//c'//d#'//d'//d'//c'//c'//a#//a#//g#//g#//g//f//a#//g#//g//f//d#//d//d#//d//c//a#_//c//d//d#//f//g//a//a#//c'//a#//g#//g#//g//f//g//c'/

>>/f//d#//d//c//d//a#_//g#_//d#//d#//d//c//d//c//a#_//a#_//a_//a#_//c//d//f_//f_//g_//g_//a_//a_//a#_//a#_//g_//g_//g_//a_//a_//a_//a#_//a#_//a#_//c//c//d//g_//a_//a#_//c//d//d#//f//g//g#//g//f//g#//g//c'//a#//a#/

>>/f//d#//d//c//d//a#_//g#_//d#//d#//d//c//d//c//a#_//a#_//a_//a#_//c//d//f_//f_//g_//g_//a_//a_//a#_//a#_//g_//g_//g_//a_//a_//a_//a#_//a#_//a#_//c//c//d//g_//a_//a#_//c//d//d#//f//g//g#//g//f//g#//g//c'//a#//a#/

>>/g#//g#//g#//g//g//f//a#//a//a#//g//a//a#//f//g//a//a#//c'//d'//a#//a//f'//d#'//d'//c'//d'//a#//c'//d'/ /d//d#//c'//f//g//g#//f//g//c'//a//a#//c'//a#//d'//c'//c'//a#//a//c'//c'//c'//a#//g#//g//g//c'//c'//f/

>>/g#//g#//g#//g//g//f//a#//a//a#//g//a//a#//f//g//a//a#//c'//d'//a#//a//f'//d#'//d'//c'//d'//a#//c'//d'/ /d//d#//c'//f//g//g#//f//g//c'//a//a#//c'//a#//d'//c'//c'//a#//a//c'//c'//c'//a#//g#//g//g//c'//c'//f/

>>/d#//d//c//c'//c'//d//a#_//a_//a#_//c'//c//c'//d//c'//c'//d#//c//c'//d//c'//c//d//d#//d#//d//c'//c'//c'//d#//d#//d//d#//f//g//g#//f//g//d#//d//c//a#_//c//f//d#//d//c//a#_//c//d//d#//c//d//a#_//a#_//a_//a#_/

>>/d#//d//c//c'//c'//d//a#_//a_//a#_//c'//c//c'//d//c'//c'//d#//c//c'//d//c'//c//d//d#//d#//d//c'//c'//c'//d#//d#//d//d#//f//g//g#//f//g//d#//d//c//a#_//c//f//d#//d//c//a#_//c//d//d#//c//d//a#_//a#_//a_//a#_/

--chorus
--sagarini_ sanidapa - mAmA dapa dama paga mA | pAA pAA mapanini dapamaga manidapa | magariga mapadama pamadA pAmapa
>>c,d#,d,a#_, c,a#_,g#,g, f,,,f,,, g#,g,g#,f, g,d#,f,,, g,,, ,,,, g,,, ,,,, f,g,a#,a#, g#,g,f,d#, f,a#,g#,g, f,d#,d,d#, f,g,g#,f, g,f,g#,,, g,,,f,g,
>>c,d#,d,a#_, c,a#_,g#,g, ^f,,,f,,, g#,g,g#,f, g,d#,f,,, g,,, ,,,, g,,, ,,,, f,g,a#,a#, g#,g,f,d#, f,a#,g#,g, f,d#,d,d#, f,g,g#,f, g,f,g#,,, g,,,f,g,
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg


--1 gA arIsa nI_ idA_pa_ amA_pa_ dA_ni_sa | ni_rIni_ sarigama gamAni_ nidaDAni nidadama | mapa mamAga riga - nini dadAma mA
(voice 1 'sitar')
(voice 2 'sitar')
>>d#,,, ,,d,,,c, a#_,,, ,,g#_,,,g_, ,,f_,,,g_, a_,,, a#_c, a#_d,,,a#_ c,d,d#,f, d#,f,,,a#, a,g#,a,a#, a#,a,g#,f, f,g, f,f,,,d#, d,d#, a#,a#, g#,g#,,,f, f,,,
>>d#,,, ,,d,,,c, a#_,,, ,,g#_,,,g_, ,,f_,,,g_, a_,,, a#_c, a#_d,,,a#_ c,d,d#,f, d#,f,,,a#, a,g#,a,a#, a#,a,g#,f, f,g, f,f,,,d#, d,d#, a#,a#, g#,g#,,,f, f,,,
--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg

--2 nini daDAni dada - mA ani dapamA adha pama | garIgAma pada - mapAda padanida nisa'ri'sa' | niga'rinIdapada - mapAma garisari
(voice 1 'sitar')
(voice 2 'sitar')
>>a#,a#, a,a,,,a#, g#,g#, f,,, ,,a#, g#,g,f,,, ,,g#,g,f, d#,d,d#,f, g,g#, f,g,,,g#, g,a,a#,a, a#,c',d',c', a#,d#',d',a#,,,g#,g,g#, f,g,,,f, d#,d,c,d,
>>a#,a#, a,a,,,a#, g#,g#, f,,, ,,a#, g#,g,f,,, ,,g#,g,f, d#,d,d#,f, g,g#, f,g,,,g#, g,a,a#,a, a#,c',d',c', a#,d#',d',a#,,,g#,g,g#, f,g,,,f, d#,d,c,d,

--3 sAriga sarigA - rI I nI_sari ni_sarI | sA ari nI_ nida - gA arIsa nI_ idA_ni_ | pA_ aDA_ni_ sari - pa_da_ni_sa rI I 2) da_pa_garIrini_Da_ - risAsa magAri pamAga | rigAma padapama - niniDaDAni dada papAma | garIgAmapada - mapagama pA A 3) ni_sa ni_ga rima gapa - madapani danipada mapagari | gamapama paDanisa' - nisa'niga' ri'ga'nisa' niri'sa'ri' | niri'sa'ni' dapadama - paDanini sA'nini 4) sa'sa'ri'ri' ga'ga'ma'ga' - ga'ri'ma'ga' ri'sa'niga' ri'sa'niri' | sa'nidapa Danisa'ri' - mamapapa DaDanini sa'ga'ri'ni | niDari'sa' nIDani - DaDanida damamA
(voice 1 'sitar')
(voice 2 'sitar')
>>c,,,d,d#, c,d,d#,,, d,,, ,,,, a#_,,,c,d, a#_,c,d,,, c,,, ,,d, a#_,,, a#_g#, d#,,, ,,d,,,c, a#_,,, ,,a_,,,a#_, g_,,, ,,a_,,,a#_ c,d, g_,a_,a#_,c, d,,, ,,,, g#_,g_,d#,d,,,a#_,a_, d,c,,,c, f,d#,,,d, g,f,,,d#, d,d#,,,f, g,g#,g,f, a#,a#,a,a,,,a#,g#,g#, g,g,,,f, d#,d,,,d#,,,f,g,g#, f,g,d#,f, g,,, ,,,, a#_,c, a#_,d#, d,f, d#,g, f,g#,g,a#, a,a#,g,g#, f,g,d#,d, d#,f,g,f, g,a,a#,c', a#,c', a#,d#', d',d#',a#,c', a#,d',c',d', a#,d',c',a#, g#,g,g#,f, g,a,a#,a#, c',,, a#,a#, c',c',d',d', d#',d#',f',d#, d#',d',f',d#', d',c',a#,d#, d',c',a#,d', c',a#,g#,g, a,a#,c',d', f,f,g,g, a,a,a#,a#, c',d#',d',a#, a#,a,d',c', a#,a,,,a#, a,a,a#,a, g#,f,f,,,
>>c,,,d,d#, c,d,d#,,, d,,, ,,,, a#_,,,c,d, a#_,c,d,,, c,,, ,,d, a#_,,, a#_g#, d#,,, ,,d,,,c, a#_,,, ,,a_,,,a#_, g_,,, ,,a_,,,a#_ c,d, g_,a_,a#_,c, d,,, ,,,, g#_,g_,d#,d,,,a#_,a_, d,c,,,c, f,d#,,,d, g,f,,,d#, d,d#,,,f, g,g#,g,f, a#,a#,a,a,,,a#,g#,g#, g,g,,,f, d#,d,,,d#,,,f,g,g#, f,g,d#,f, g,,, ,,,, a#_,c, a#_,d#, d,f, d#,g, f,g#,g,a#, a,a#,g,g#, f,g,d#,d, d#,f,g,f, g,a,a#,c', a#,c', a#,d#', d',d#',a#,c', a#,d',c',d', a#,d',c',a#, g#,g,g#,f, g,a,a#,a#, c',,, a#,a#, c',c',d',d', d#',d#',f',d#, d#',d',f',d#', d',c',a#,d#, d',c',a#,d', c',a#,g#,g, a,a#,c',d', f,f,g,g, a,a,a#,a#, c',d#',d',a#, a#,a,d',c', a#,a,,,a#, a,a,a#,a, g#,f,f,,,

--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg

--faster tempo
(voice 1 'sitar')
(voice 2 'sitar')
>>d#, ,d,c a#_, ,g#_,g_ ,f_,g_ a_, a#_c a#_d,a#_ cdd#f d#f,a# ag#aa# a#ag#f fg ff,d# dd# a#a# g#g#,f f,
>>d#, ,d,c a#_, ,g#_,g_ ,f_,g_ a_, a#_c a#_d,a#_ cdd#f d#f,a# ag#aa# a#ag#f fg ff,d# dd# a#a# g#g#,f f,
--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
--2
(voice 1 'sitar')
(voice 2 'sitar')
>>a#a# aa,a# g#g# f, ,a# g#gf, ,g#gf d#dd#f gg# fg,g# gaa#a a#c'd'c' a#d#'d'a#,g#gg# fg,f d#dcd
>>a#a# aa,a# g#g# f, ,a# g#gf, ,g#gf d#dd#f gg# fg,g# gaa#a a#c'd'c' a#d#'d'a#,g#gg# fg,f d#dcd
--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg

--3
(voice 1 'sitar')
(voice 2 'sitar')
>>c,dd# cdd#, d, ,, a#_,cd a#_cd, c, ,d a#_, a#_g# d#, ,d,c a#_, ,a_,a#_ g_, ,a_,a#_ cd g_a_a#_c d, ,, g#_g_d#d,a#_a_ dc,c fd#,d gf,d# dd#,f gg#gf a#a#aa,a#g#g# gg,f d#d,d#,fgg# fgd#f g, ,, a#_c a#_d# df d#g fg#ga# aa#gg# fgd#d d#fgf gaa#c' a#c' a#d#' d'd#'a#c' a#d'c'd' a#d'c'a# g#gg#f gaa#a# c', a#a# c'c'd'd' d#'d#'f'd# d#'d'f'd#' d'c'a#d# d'c'a#d' c'a#g#g aa#c'd' ffgg aaa#a# c'd#'d'a# a#ad'c' a#a,a# aaa#a g#ff,
>>c,dd# cdd#, d, ,, a#_,cd a#_cd, c, ,d a#_, a#_g# d#, ,d,c a#_, ,a_,a#_ g_, ,a_,a#_ cd g_a_a#_c d, ,, g#_g_d#d,a#_a_ dc,c fd#,d gf,d# dd#,f gg#gf a#a#aa,a#g#g# gg,f d#d,d#,fgg# fgd#f g, ,, a#_c a#_d# df d#g fg#ga# aa#gg# fgd#d d#fgf gaa#c' a#c' a#d#' d'd#'a#c' a#d'c'd' a#d'c'a# g#gg#f gaa#a# c', a#a# c'c'd'd' d#'d#'f'd# d#'d'f'd#' d'c'a#d# d'c'a#d' c'a#g#g aa#c'd' ffgg aaa#a# c'd#'d'a# a#ad'c' a#a,a# aaa#a g#ff,

--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg

--fastest tempo
(voice 1 'sitar')
(voice 2 'sitar')
>>/d#//c'/ /c'//d//c'//c/ /a#_//c'/ /c'//g#_//c'//g_/ /c'//f_//c'//g_/ /a_//c'/ /a#_//c/ /a#_//d//c'//a#_/ /c//d//d#//f/ /d#//f//c'//a#/ /a//g#//a//a#/ /a#//a//g#//f/ /f//g/ /f//f//c'//d#/ /d//d#/ /a#//a#/ /g#//g#//c'//f/ /f//c'/

>>/d#//c'/ /c'//d//c'//c/ /a#_//c'/ /c'//g#_//c'//g_/ /c'//f_//c'//g_/ /a_//c'/ /a#_//c/ /a#_//d//c'//a#_/ /c//d//d#//f/ /d#//f//c'//a#/ /a//g#//a//a#/ /a#//a//g#//f/ /f//g/ /f//f//c'//d#/ /d//d#/ /a#//a#/ /g#//g#//c'//f/ /f//c'/


--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg

(voice 1 'sitar')
(voice 2 'sitar')

>>/a#//a#/ /a//a//c'//a#/ /g#//g#/ /f//c'/ /c'//a#/ /g#//g//f//c'/ /c'//g#//g//f/ /d#//d//d#//f/ /g//g#/ /f//g//c'//g#/ /g//a//a#//a/ /a#//c'//d'//c'/ /a#//d#'//d'//a#//c'//g#//g//g#/ /f//g//c'//f/ /d#//d//c//d/

>>/a#//a#/ /a//a//c'//a#/ /g#//g#/ /f//c'/ /c'//a#/ /g#//g//f//c'/ /c'//g#//g//f/ /d#//d//d#//f/ /g//g#/ /f//g//c'//g#/ /g//a//a#//a/ /a#//c'//d'//c'/ /a#//d#'//d'//a#//c'//g#//g//g#/ /f//g//c'//f/ /d#//d//c//d/

--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
(voice 1 'sitar')
(voice 2 'sitar')

>>/c//c'//d//d#/ /c//d//d#//c'/ /d//c'/ /c'//c'/ /a#_//c'//c//d/ /a#_//c//d//c'/ /c//c'/ /c'//d/ /a#_//c'/ /a#_//g#/ /d#//c'/ /c'//d//c'//c/ /a#_//c'/ /c'//a_//c'//a#_/ /g_//c'/ /c'//a_//c'//a#_/ /c//d/ /g_//a_//a#_//c/ /d//c'/ /c'//c'/ /g#_//g_//d#//d//c'//a#_//a_/ /d//c//c'//c/ /f//d#//c'//d/ /g//f//c'//d#/ /d//d#//c'//f/ /g//g#//g//f/ /a#//a#//a//a//c'//a#//g#//g#/ /g//g//c'//f/ /d#//d//c'//d#//c'//f//g//g#/ /f//g//d#//f/ /g//c'/ /c'//c'/ /a#_//c/ /a#_//d#/ /d//f/ /d#//g/ /f//g#//g//a#/ /a//a#//g//g#/ /f//g//d#//d/ /d#//f//g//f/ /g//a//a#//c'/ /a#//c'/ /a#//d#'/ /d'//d#'//a#//c'/ /a#//d'//c'//d'/ /a#//d'//c'//a#/ /g#//g//g#//f/ /g//a//a#//a#/ /c'//c'/ /a#//a#/ /c'//c'//d'//d'/ /d#'//d#'//f'//d#/ /d#'//d'//f'//d#'/ /d'//c'//a#//d#/ /d'//c'//a#//d'/ /c'//a#//g#//g/ /a//a#//c'//d'/ /f//f//g//g/ /a//a//a#//a#/ /c'//d#'//d'//a#/ /a#//a//d'//c'/ /a#//a//c'//a#/ /a//a//a#//a/ /g#//f//f//c'/

>>/c//c'//d//d#/ /c//d//d#//c'/ /d//c'/ /c'//c'/ /a#_//c'//c//d/ /a#_//c//d//c'/ /c//c'/ /c'//d/ /a#_//c'/ /a#_//g#/ /d#//c'/ /c'//d//c'//c/ /a#_//c'/ /c'//a_//c'//a#_/ /g_//c'/ /c'//a_//c'//a#_/ /c//d/ /g_//a_//a#_//c/ /d//c'/ /c'//c'/ /g#_//g_//d#//d//c'//a#_//a_/ /d//c//c'//c/ /f//d#//c'//d/ /g//f//c'//d#/ /d//d#//c'//f/ /g//g#//g//f/ /a#//a#//a//a//c'//a#//g#//g#/ /g//g//c'//f/ /d#//d//c'//d#//c'//f//g//g#/ /f//g//d#//f/ /g//c'/ /c'//c'/ /a#_//c/ /a#_//d#/ /d//f/ /d#//g/ /f//g#//g//a#/ /a//a#//g//g#/ /f//g//d#//d/ /d#//f//g//f/ /g//a//a#//c'/ /a#//c'/ /a#//d#'/ /d'//d#'//a#//c'/ /a#//d'//c'//d'/ /a#//d'//c'//a#/ /g#//g//g#//f/ /g//a//a#//a#/ /c'//c'/ /a#//a#/ /c'//c'//d'//d'/ /d#'//d#'//f'//d#/ /d#'//d'//f'//d#'/ /d'//c'//a#//d#/ /d'//c'//a#//d'/ /c'//a#//g#//g/ /a//a#//c'//d'/ /f//f//g//g/ /a//a//a#//a#/ /c'//d#'//d'//a#/ /a#//a//d'//c'/ /a#//a//c'//a#/ /a//a//a#//a/ /g#//f//f//c'/

--chorus repeat
(voice 1 'ocarina')
(voice 2 'timpani')
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
>>d#dca#_ c,dd# f,f, g#gg#f gd#f, g, ,, g, ,, fga#a# g#gfd# fa#g#g fd#dd# fgg#f gfg#, g,fg
(voice 1 'sitar')
(voice 2 'sitar')
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
(voice 1 'ocarina')
(voice 2 'ocarina')
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.
>>a'g#'g'f'd#'d'c' a#g#gfd#dc a#_g#_g_f_d#_d_c_.

Wednesday, January 18, 2012

030 bilahari svara jati in 4 beat, by Patnam Subrahmanhya Ayyar






 The above video is a condensed version of the computer generated audio produced using the following notation, with mutatis mutandis changes as necessary for abc2midi.

Name of the musical work: bilahari svara jati.
Name of the literary work: rAra vEnu gOpA bAla.
Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music.
Author and composer: South Indian elders of the 19th Century. I believe tht this is the work of Patnam Subrahmanya Ayyar.
Embellishments and converting into digital music: ybrao a donkey.
Tune used: called 'bilahari rAgam' a child tune of the Mother tune SankarAbharaNam (Melakarta No. 29).
Ascendence: sarigapadasa'. c,d,e,g,a,c'.
We observe: 5 notes only. Hence pentatone. ma-ni f,b are not used.
Descendence: sa'nidapamagarisa. c',b,d,g, f,e,d,c.
We observe: Complete with all the 7 notes.

Literature:
Refrain & chorus- pallavi: rAra vEnu gOpA bALA rAjita sadguNa jaya SIlA
Stanza 2 or sub-refrain called anupallavi: sArasAsha nEramEmi marubAdha kOrva lErA
Stanza 3 called caranam 1: nanda gOpAla nEnendu bOjAlA - nIvindu rArA sadamala madilO mudamalaraga nA keduruga gadiyara.
Stanza 4: palumAru gAravamuna nin pilacina palukavu alugakurA - karivaradA birabir nA adharamu grOlarA - kanikaramuga.
Stanza 5: rA nagadhara murahara - rA bhavahara rAvErA - I maguvanu, I lalananu, I sogasini cEkOrA. KorikalimpondA dendamu nI yandU cErenu nin cendA - maruvakurA karamula cE marimari ninu SaraNanedarA.
Note: For every stanza, refrain is repeated.

(tempo 150)
/g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/.
/g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/.
c,d,e,g,a,c',.
c',b,a,g,f,e,d,c,.
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>^c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
(voice 1 'sitar')
(voice 2 'sitar')
--sA ari gA pA mA aga mA dA rI isa nI dA pA ama gA rI
>>c,,, ,,d, e,,, g,,, f,,, ,,e,, f,,, a,,, d,,, ,,c, b,,, a,,, g,,, ,,f,, e,,, d,,,
>>c,,, ,,d, e,,, g,,, f,,, ,,e,, f,,, a,,, d,,, ,,c, b,,, a,,, g,,, ,,f,, e,,, d,,,
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
(voice 1 'sitar')
(voice 2 'sitar')
--sA ari gA gA gA A A riga | pA apa pA pA | pA A A dapa
>>c,,, ,,d,, e,,, e,,, e,,, g,,, g,,, d,e, g,,, ,,g,, g,,, g,,, g,,, g,,, g,,, a,g,
>>c,,, ,,d,, e,,, e,,, e,,, g,,, g,,, d,e, g,,, ,,g,, g,,, g,,, g,,, g,,, g,,, a,g,
s
--sA' asa' sA' sA' ga'ri' sa'ni nida pA | padapama gagarI | gapamaga risariga
>>c',,, ,,c', c',,, c',,, e',d', c',b, b,a, g,,, g,a,g,f, e,e,d,,, e,g,f,e, d,c,d,e,
>>c',,, ,,c', c',,, c',,, e',d', c',b, b,a, g,,, g,a,g,f, e,e,d,,, e,g,f,e, d,c,d,e,
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
(voice 1 'sitar')
(voice 2 'sitar')
--papa pA riri rI gapa maga gA gA | gapa maga maga risa riga risa sA sA | risa ni_da_ sA A maga riga pA A | dapa dari' sA' A' | ri'sa' nida pama gari
>>g,g, g,,, d,d, d,,, e,g, f,e, e,,, e,,, e,g, f,e, d,c, d,e, d,c, c,,, c,,, dc, b_,a_, c,,, ,,,, f,e, d,e, g,,, ,,,, a,g, a,d', c',,, ,,,, d',c', b,a, g,f, e,d,
>>g,g, g,,, d,d, d,,, e,g, f,e, e,,, e,,, e,g, f,e, d,c, d,e, d,c, c,,, c,,, dc, b_,a_, c,,, ,,,, f,e, d,e, g,,, ,,,, a,g, a,d', c',,, ,,,, d',c', b,a, g,f, e,d,
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
(voice 1 'sitar')
(voice 2 'sitar')
--ind pA A maga riga dA A maga riga | pA A maga riga pA pA pA A | gA' A' ri'sa' nida rI' I ri'sa' nida | sA' A' ri'sa' nida | sA' sA' sA' A' | gA"ri'sa' rI' rI' rI' I' rI' sa'ni | dA dA dA A | pA maga gA gA | gA A sari gada pA A ri'sa' ri'ga' | sA' A' ga'ri' sa'ni | dapa maga risa riga |.
>>g,,, ,,,, f,e, d,e, a,,, ,,,, f,e, d,e, g,,, ,,,, f,e, d,e, g,,, g,,, g,,, ,,,, e',,, ,,,, d',c', d',,, d',,, d',,, ,,,, d',,, c',b, a,,, a,,, a,,, ,,,, g,,, f,e, e,,, e,,, e,,, ,,,, c,d, e,a, g,,, ,,,, d',c', d',e', c',,, ,,,, e',d', c',b, a,g, f,e, d,c, d,e,
>>g,,, ,,,, f,e, d,e, a,,, ,,,, f,e, d,e, g,,, ,,,, f,e, d,e, g,,, g,,, g,,, ,,,, e',,, ,,,, d',c', d',,, d',,, d',,, ,,,, d',,, c',b, a,,, a,,, a,,, ,,,, g,,, f,e, e,,, e,,, e,,, ,,,, c,d, e,a, g,,, ,,,, d',c', d',e', c',,, ,,,, e',d', c',b, a,g, f,e, d,c, d,e,
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
>>c,,, ~>10~c,d, e,,, g,,, a,,, b,,, a,,, g,,, a,g, f,e, d,c, d,c, b_,a_, c,,,
--at medium fast tempo
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
--sA ari gA pA mA aga mA dA rI isa nI dA pA ama gA rI
>>c, ,d e, g, f, ,e, f, a, d, ,c b, a, g, ,f, e, d,
>>c, ,d e, g, f, ,e, f, a, d, ,c b, a, g, ,f, e, d,
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
--sA ari gA gA gA A A riga | pA apa pA pA | pA A A dapa
>>c, ,d, e, e, e, g, g, de g, ,g, g, g, g, g, g, ag
>>c, ,d, e, e, e, g, g, de g, ,g, g, g, g, g, g, ag
s
--sA' asa' sA' sA' ga'ri' sa'ni nida pA | padapama gagarI | gapamaga risariga
>>c', ,c' c', c', e'd' c'b ba g, gagf eed, egfe dcde
>>c', ,c' c', c', e'd' c'b ba g, gagf eed, egfe dcde
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
--papa pA riri rI gapa maga gA gA | gapa maga maga risa riga risa sA sA | risa ni_da_ sA A maga riga pA A | dapa dari' sA' A' | ri'sa' nida pama gari
>>gg g, dd d, eg fe e, e, eg fe dc de dc c, c, dc b_a_ c, ,, fe de g, ,, ag ad' c', ,, d'c' ba gf ed
>>gg g, dd d, eg fe e, e, eg fe dc de dc c, c, dc b_a_ c, ,, fe de g, ,, ag ad' c', ,, d'c' ba gf ed
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
--ind pA A maga riga dA A maga riga | pA A maga riga pA pA pA A | gA' A' ri'sa' nida rI' I ri'sa' nida | sA' A' ri'sa' nida | sA' sA' sA' A' | gA"ri'sa' rI' rI' rI' I' rI' sa'ni | dA dA dA A | pA maga gA gA | gA A sari gada pA A ri'sa' ri'ga' | sA' A' ga'ri' sa'ni | dapa maga risa riga |.
>>g, ,, fe de a, ,, fe de g, ,, fe de g, g, g, ,, e', ,, d'c' d', d', d', ,, d', c'b a, a, a, ,, g, fe e, e, e, ,, cd ea g, ,, d'c' d'e' c', ,, e'd' c'b ag fe dc de
>>g, ,, fe de a, ,, fe de g, ,, fe de g, g, g, ,, e', ,, d'c' d', d', d', ,, d', c'b a, a, a, ,, g, fe e, e, e, ,, cd ea g, ,, d'c' d'e' c', ,, e'd' c'b ag fe dc de
(voice 1 'ocarina')
(voice 2 'timpani')
--rpt refrain
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
--//////////////super fast tempo///////////////

(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
>>/c//c'/ /c'//d/ /e//c'/ /g//c'/ /f//c'/ /c'//e//c'/ /f//c'/ /a//c'/ /d//c'/ /c'//c/ /b//c'/ /a//c'/ /g//c'/ /c'//f//c'/ /e//c'/ /d//c'/
>>/c//c'/ /c'//d/ /e//c'/ /g//c'/ /f//c'/ /c'//e//c'/ /f//c'/ /a//c'/ /d//c'/ /c'//c/ /b//c'/ /a//c'/ /g//c'/ /c'//f//c'/ /e//c'/ /d//c'/
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
>>/c//c'/ /c'//d//c'/ /e//c'/ /e//c'/ /e//c'/ /g//c'/ /g//c'/ /d//e/ /g//c'/ /c'//g//c'/ /g//c'/ /g//c'/ /g//c'/ /g//c'/ /g//c'/ /a//g/
>>/c//c'/ /c'//d//c'/ /e//c'/ /e//c'/ /e//c'/ /g//c'/ /g//c'/ /d//e/ /g//c'/ /c'//g//c'/ /g//c'/ /g//c'/ /g//c'/ /g//c'/ /g//c'/ /a//g/
s
>>/c'//c'/ /c'//c'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /b//a/ /g//c'/ /g//a//g//f/ /e//e//d//c'/ /e//g//f//e/ /d//c//d//e/
>>/c'//c'/ /c'//c'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /b//a/ /g//c'/ /g//a//g//f/ /e//e//d//c'/ /e//g//f//e/ /d//c//d//e/
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
>>/g//g/ /g//c'/ /d//d/ /d//c'/ /e//g/ /f//e/ /e//c'/ /e//c'/ /e//g/ /f//e/ /d//c/ /d//e/ /d//c/ /c//c'/ /c//c'/ /d//c/ /b_//a_/ /c//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /a//g/ /a//d'/ /c'//c'/ /c'//c'/ /d'//c'/ /b//a/ /g//f/ /e//d/
>>/g//g/ /g//c'/ /d//d/ /d//c'/ /e//g/ /f//e/ /e//c'/ /e//c'/ /e//g/ /f//e/ /d//c/ /d//e/ /d//c/ /c//c'/ /c//c'/ /d//c/ /b_//a_/ /c//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /a//g/ /a//d'/ /c'//c'/ /c'//c'/ /d'//c'/ /b//a/ /g//f/ /e//d/
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
(voice 1 'sitar')
(voice 2 'sitar')
>>/g//c'/ /c'//c'/ /f//e/ /d//e/ /a//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /g//c'/ /g//c'/ /c'//c'/ /e'//c'/ /c'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /c'//c'/ /d'//c'/ /c'//b/ /a//c'/ /a//c'/ /a//c'/ /c'//c'/ /g//c'/ /f//e/ /e//c'/ /e//c'/ /e//c'/ /c'//c'/ /c//d/ /e//a/ /g//c'/ /c'//c'/ /d'//c'/ /d'//e'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /a//g/ /f//e/ /d//c/ /d//e/
>>/g//c'/ /c'//c'/ /f//e/ /d//e/ /a//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /c'//c'/ /f//e/ /d//e/ /g//c'/ /g//c'/ /g//c'/ /c'//c'/ /e'//c'/ /c'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /d'//c'/ /c'//c'/ /d'//c'/ /c'//b/ /a//c'/ /a//c'/ /a//c'/ /c'//c'/ /g//c'/ /f//e/ /e//c'/ /e//c'/ /e//c'/ /c'//c'/ /c//d/ /e//a/ /g//c'/ /c'//c'/ /d'//c'/ /d'//e'/ /c'//c'/ /c'//c'/ /e'//d'/ /c'//b/ /a//g/ /f//e/ /d//c/ /d//e/
(voice 1 'ocarina')
(voice 2 'timpani')
--sA ari gA pA dA sA' nI dA pA dapa maga risa risa ni_da_ sA
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,
>>c, ~>10~cd e, g, a, b, a, g, ag fe dc dc b_a_ c,

/g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/.
/g'//f'//e'//d'//c'// b//a//g//f//e//d//c// b_//a_//g_/.
c,,, ,,,, c,,, ,,,, ,,,, ,,,, ,,,, ,,,,.

Tuesday, January 17, 2012

SankarAbharaNam gItam - gOvindAchyuta

Musical name: SankarAbharaNam gItam. also spelt as ShankarA bharaNam . Literary name: gOvindAchyuta harE Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music. Author and composer: South Indian elders of the 19th Century. Embellishments and conversion into digital western script notation: ybrao a donkey. tune used: called SankarAbharaNam, the 29th Mother tune of the Carnatic Music. rhythm used: 4+2+4 called 'caturasra jAti maThya tALam'.

--Literature --:govindA Achyuta harE madhusUdana --:vanamAla garuda dhwaja mukunda --SrIdhara SrI raghupatE sankarshaNa --sundarAnga jayajaya srIrAma --sItAbhirAmA mAm pAhi paTTAbhirAma. Ascendence: c,d,e,f, g,a,b,c', Complete seven tones. No sharp notes. Descendence : c',b,a,g, f,e,d,c, Complete seven tones. No sharp notes. An Embellishment: g'e'd'c'ba gedcb_a_g_. --Indian Notation:Indian Notation: sa'nisA' dani panidapa magamapa dapa magarisa

voice 1 'xylophone' voice 2 'timpani' >>C',,,~>25~//b//c',,, a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c, >>C',,,~>25~//b//c',,, a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c,

voice 1 'sitar' voice 2 'sitar' --Indian Notation:sasapA maga marigA sasasA' nisa' danIsa' >>c,c,g,,, f,e, f,d,e,,, c,c,c',,, b,c', a,b,,,c',,, >>c,c,g,,, f,e, f,d,e,,, c,c,c',,, b,c', a,b,,,c',,,

voice 1 'xylophone' voice 2 'timpani' >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c, >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c,

voice 1 'sitar' voice 2 'sitar' --Indian Notation:ririsa'ni dani sa'nidapa sA'sA' sA' sa'nidapa >>d,d,c',b, a,b, c',b,a,g, c',,, c',,, c',,, c',b,a,g, >>d,d,c',b, a,b, c',b,a,g, c',,, c',,, c',,, c',b,a,g,

voice 1 'xylophone' voice 2 'timpani' >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c, >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c,

voice 1 'sitar' voice 2 'sitar' --Indian Notation:magamapa apa magarisa ri'ri'nida sa'da ninipada >>f,e,f,g, ,,g, f,e,d,c, d',d',b,a, c',a, b,b,g,a, >>f,e,f,g, ,,g, f,e,d,c, d',d',b,a, c',a, b,b,g,a,

voice 1 'xylophone' voice 2 'timpani' >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c, >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c,

voice 1 'sitar' voice 2 'sitar' --Indian Notation:damapapa gama marigA sarigama pA danisA' a,f,g,g, e,f, f,d,e,,, c,d,e,f, g,,, [c'|b|c'|a]a,b,c',,, a,f,g,g, e,f, f,d,e,,, c,d,e,f, g,,, [c'|b|c'|a]a,b,c',,,

voice 1 'xylophone' voice 2 'timpani' >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c, >>C',,,~>25~//b//c',,,a,b, g,b,a,g, f,e,f,g, a,g, f,e,d,c,

voice 1 'sitar'

voice 1 'sitar' --Indian Notation:ri'ri'sa'ni dapa magarisa >>d',d',c',b, a,g, f,e,d,c, >>d',d',c',b, a,g, f,e,d,c, --Indian Notation://///////fast tempo//////// g'e'd'c'ba gedcb_a_g_.

voice 1 'xylophone' voice 2 'timpani' >>c'bc', ab gbag fefg ag fedc >>c'bc', ab gbag fefg ag fedc

voice 1 'sitar' voice 2 'sitar' >>ccg, fe fde, ccc', bc' ab,c', >>ccg, fe fde, ccc', bc' ab,c',

voice 1 'xylophone' voice 2 'timpani' >>c'bc', ab gbag fefg ag fedc >>c'bc', ab gbag fefg ag fedc

voice 1 'sitar' voice 2 'sitar' >>ddc'b ab c'bag c', c', c', c'bag >>ddc'b ab c'bag c', c', c', c'bag

voice 1 'xylophone' voice 2 'timpani' >>c'bc', ab gbag fefg ag fedc >>c'bc', ab gbag fefg ag fedc

voice 1 'sitar' voice 2 'sitar' >>fefg ,g fedc d'd'ba c'a bbga >>fefg ,g fedc d'd'ba c'a bbga

voice 1 'xylophone' voice 2 'timpani' >>c'bc', ab gbag fefg ag fedc >>c'bc', ab gbag fefg ag fedc

voice 1 'sitar' voice 2 'sitar' >>afgg ef fde, cdef g, abc', >>afgg ef fde, cdef g, abc',

voice 1 'xylophone' voice 2 'timpani' >>c'bc', ab gbag fefg ag fedc >>c'bc', ab gbag fefg ag fedc

voice 1 'sitar' voice 2 'sitar' >>d'd'c'b ag fedc >>d'd'c'b ag fedc --Indian Notation:super fast tempo /g'//e'//d'//c'//b//a/ /g//e//d//c//b_//a_//g_/. cc'c'c' dc' c'c'ec' c'c'fc' c'c' c'gc'c'

voice 1 'timpani' voice 2 'xylophone' >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/ >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/

voice 1 'sitar'

voice 1 'sitar' /c//c//g//c'/ /f//e/ /f//d//e//c'/ /c//c//c'//c'/ /b//c'/ /a//b//c'//c'//c'/ /c//c//g//c'/ /f//e/ /f//d//e//c'/ /c//c//c'//c'/ /b//c'/ /a//b//c'//c'//c'/ cc'c'c' dc' c'c'ec' c'c'fc' c'c' c'gc'c'

voice 1 'timpani' voice 2 'xylophone' >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/ >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/

voice 1 'sitar'

voice 1 'sitar' /d//d//c'//b/ /a//b/ /c'//b//a//g/ /c'//c'/ /c'//c'/ /c'//c'/ /c'//b//a//g/ /d//d//c'//b/ /a//b/ /c'//b//a//g/ /c'//c'/ /c'//c'/ /c'//c'/ /c'//b//a//g/ cc'c'c' dc' c'c'ec' c'c'fc' c'c' c'gc'c'

voice 1 'timpani' voice 2 'xylophone' >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/ >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/

voice 1 'sitar'

voice 1 'sitar' /f//e//f//g/ /c'//g/ /f//e//d//c/ /d'//d'//b//a/ /c'//a/ /b//b//g//a/ /f//e//f//g/ /c'//g/ /f//e//d//c/ /d'//d'//b//a/ /c'//a/ /b//b//g//a/ cc'c'c' dc' c'c'ec' c'c'fc' c'c' c'gc'c'

voice 1 'timpani' voice 2 'xylophone' >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/ >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/

voice 1 'sitar'

voice 1 'sitar' /a//f//g//g/ /e//f/ /f//d//e//c'/ /c//d//e//f/ /g//c'/ /a//b//c'//c'/ /a//f//g//g/ /e//f/ /f//d//e//c'/ /c//d//e//f/ /g//c'/ /a//b//c'//c'/ cc'c'c' dc' c'c'ec' c'c'fc' c'c' c'gc'c'

voice 1 'timpani' voice 2 'xylophone' >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/ >>/c'//b//c'//c'/ /a//b/ /g//b//a//g/ /f//e//f//g/ /a//g/ /f//e//d//c/

voice 1 'sitar'

voice 1 'sitar' /d'//d'//c'//b/ /a//g/ /f//e//d//c/ /d'//d'//c'//b/ /a//g/ /f//e//d//c/

Monday, January 16, 2012

bhairavi svarajati Indian and western notation

Musical name of the work: bhairavi svarajati.
Literary name of the work: kAmAkshI.
Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music.
Author and composer: Shri ShyAma Sastry, one of the trinity of Carnatic Music.
Minor embellishments and conversion into western digital: ybrao a donkey.
tune used: called rAg bhairavi. Born from the South Indian Mother tune (called mELakarta) No. 20 Natabhairavi and 22 Kharaharapriya. Bhairavi is kharaharapriya in ascendence. 'da' = a. ; natabhairavi in descendence: 'da' = g#.
Rhythm used: seven beat; called miSra cApu. 3+2+2 or 2+2+3 beats.


Ascendence: sa, ri (suddh rishabh in NIMusic and chatusriti rishabh in SIM), ga (kOmal gandhAr in NIM and sAdhAraNa gandhAram in SIM), ma (suddh both in NIM and SiM), pa, da (suddh in NIM and catusriti in SIM), ni (kOmal in NIM and kaiSiki in SIM).
western equivalents: c,d,d#,f, g,a,a#,c'.
Descendence: c',a#,g#,g, f,d#,d,c. The change is: a becomes g#. Suddh dhaivat becomes kOmal dhaivat in NIM. Catusriti dhaivatam becomes suddha dhaivatam in SIM.
South Indian bhairavi tune is not to be confused with the North Indian bhairavi tune which is an independent ThATh in Hindusthani Music. South Indian tune bhairavi is a mixture of two mother tunes and is not independent in itself.

Refrain: Literature: kAmAkshi! ambA anudinamu nE nI pAdamulE dikkanucu nammitini SrI Kanchi. This will be repeated every time the tonesets are sung. Tonesets too have very sweet literature. But I am not giving them here, because we are concentrating on instrumental part. I suggest that a vocal mp3 of the bhairavi svarajati should be heard several times, before we think of converting the following notation into instrumental music. I have tried to convert the notations into an audio mp3 file, but the result I got is not upto Carnatic Music standards. If I select a slower tempo, the music is dragging. If I select faster tempo, the result I am getting is not compatible to the tradition (called sampradAyam). The notation, I have given is by and large correct. Then, why the problem of not conforming to tradition? Carnatic Music (South Indian Music) is gamaka based, which is a sort of slow sweet melodious drip or journey from one tone to another (this is different from the legato or staccato approaches). My friends tell me that electronic instruments are not aminable to 'gamakam'. May be they are 99% right. The 1% hope is that technology will fill up the gap in future.

I am unable to throw my work into a dustbin. I apologise to my readers and present it on - as is where is - whatever it is worth, so that others can make use of it in their research work after corrections and improvements. Free download of the mp3 which I have generated, I am giving here in the links Section. By and large, it is listenable, though not conforming to traditions. It is like a failed sweet which does not conform to the label, but is somewhat sweet and palatable in its own way.

--Notation starts.

nI_i I I dA_a A da_ni_ pA_a A da_ni_ sAa A da_ni_ sariga mapa maga rIi I nI_ sAri gama pA danisa_ nI dapa magA arIsa
a#_,,, ,, a#_,,, a#_,,, g#_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, d,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, g#,g, f,d#,,, d#,d,,,c,

tone-set 1. This starts with madhya middle octave 'sa' or c.

sAri ni_sa rI ini_ri sani_ da_pa mA_a A pA_ dA_ni_ isAri
c,,,d, a#_,c, d,,, ,,a#_,d, c,a#_, a_,g, f_,,, ,, ,,,, g_,,, a_,,,a#_, ,,c,,,d,
c,,,d, a#_,c, d,,, ,,a#_,d, c,a#_, a_,g, f_,,, ,, ,,,, g_,,, a_,,,a#_, ,,c,,,d,

kAmAkshi Refrain repeat.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


tone set 2. This starts with 'ri' or d.
rIga riga sA ani_ga risa rI ini_ri sani_ dA_ anI igAri
d,,,d#, d,d#, c,,, ,, a#_,d#, d,c, d,,, ,,a#_,d, c,a#_, a_,,, ,,a#_,,, ,,d#,,,d,
d,,,d#, d,d#, c,,, ,, a#_,d#, d,c, d,,, ,,a#_,d, c,a#_, a_,,, ,,a#_,,, ,,d#,,,d,

Repeat kamakshi refrain
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


Toneset 3. This starts with 'ga' or d#.
gAma garisari nI_sa ni_sa riga mApa mari gama pAda maga risa nI_sa nI_ gA rigA mA pada nIni ida pA pAma aga risa
d#,,,f, d#,d, c,d, a#_,,,c, a#_,c, d,d#, f,,,g, f,d, d#,f, g,,,g#, f,d#, d,c, a#_,,,c, a#_,d#,,, d,d#,,, f,,, g,a, a#,,,a#, ,,g#, g,,, g,,,f, ,,d#, d,c,
d#,,,f, d#,d, c,d, a#_,,,c, a#_,c, d,d#, f,,,g, f,d, d#,f, g,,,g#, f,d#, d,c, a#_,,,c, a#_,d#,,, d,d#,,, f,,, g,a, a#,,,a#, ,,g#, g,,, g,,,f, ,,d#, d,c,
Repeat kAmAkshI refrain.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


toneset 4. This starts with 'ma' or f.
mApa nida mA padapa mA gari gAma pA gama pAga pama gari nI_sa rI ni_sa rIni sari gama pAda nisa' pA sa'nida pama gari
f,,,g,, a#,g#, f,,, g,g#,g, f,,, d#,d, d#,,,f, g,,, d#,f, g,,,d#, g,f, d#,d, a#_,,c, d,,, a#_,c, d,,,a#, c,d, d#,f, g,,,g#, a#,c, g,,, c',a#,g#, g,f, d#,d,
f,,,g,, a#,g#, f,,, g,g#,g, f,,, d#,d, d#,,,f, g,,, d#,f, g,,,d#, g,f, d#,d, a#_,,c, d,,, a#_,c, d,,,a#, c,d, d#,f, g,,,g#, a#,c, g,,, c',a#,g#, g,f, d#,d,
Rpt kAmAkshi refrain.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


Toneset 5. This starts with 'pa' or g.
pAda pama gari gAma pA maga rIga mA gari nI_sa rI I gAma gari sA apama gari sA ri'sA' nI dapa amA aga risa
g,,,g#, g,f, d#,d, d#,,,f, g,,, f,d#, d,,,d#, f,,, d#,d, a#_,,, c, d,,, ,,,, d#,,,f, d#,,,d, c,,, ,,g,f, d#,d, c,,, d',c',,, a#,,, a,g, ,,f,,, ,,d#, d,c,

g,,,g#, g,f, d#,d, d#,,,f, g,,, f,d#, d,,,d#, f,,, d#,d, a#_,,, c, d,,, ,,,, d#,,,f, d#,,,d, c,,, ,,g,f, d#,d, c,,, d',c',,, a#,,, a,g, ,,f,,, ,,d#, d,c,

Repeat kAmAkshi refrain.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


Toneset 6. This starts with 'dha' or g# or a.
dhapani dhA pama garI gama pada pAa A maga mapama gari gama gAa A riga magari gasa rini_ sAa A gari sa'nida pama gari
g#,g,a#, g#,,, g,f, d#,d,,, d#,f, g,g#, g,,, ,, ,,,, f,d#, f,g,f, d#,d, d#,f, d#,,, ,, ,,,, d,d#, f,d#,d, d#,c, d,a#_, c,,,,, ,,,, d#,d, c',a#_,g#, g,f, d#,d,
g#,g,a#, g#,,, g,f, d#,d,,, d#,f, g,g#, g,,, ,, ,,,, f,d#, f,g,f, d#,d, d#,f, d#,,, ,, ,,,, d,d#, f,d#,d, d#,c, d,a#_, c,,,,, ,,,, d#,d, c',a#_,g#, g,f, d#,d,
Repeat kAmAkshI refrain.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


toneset 7. This starts with 'ni' or a#.
nIri' sa'ri' niri' nIda pada mapa gAri sari ni_sa rigama pA mapa sa'nida pA maga risA nI_ da_ni_ sariga mapa maga rIi I ni_sa rigama pA sari gamapa dA mapa gariga mA pama padani sA pada nisa'ri' gA' ma'ga' ri'sA' nI dapa ga'rI' I sa'ni dapA A gari
a#,,,d', c',d', a#,d', a#,,,g#, g,g#, f,g, d#,,,d, c,d, a#_,c, d,d#,f, g,,, f,g, c',a#,g#, g,,, f,d#, d,c,,, a#_,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,c_, d,d#,f, g,,, c,d, d#,f,g, g#,,, f,g, d#,d,d#, f,,, g,f, g,a,a#, c',,, g,a, a#,c',d', d#,,, f',d#, d',c',,, a#,,, g#,g, d#,d',,, ,,,, c',a#, g#,g, ,,,, d#,d,
a#,,,d', c',d', a#,d', a#,,,g#, g,g#, f,g, d#,,,d, c,d, a#_,c, d,d#,f, g,,, f,g, c',a#,g#, g,,, f,d#, d,c,,, a#_,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,c_, d,d#,f, g,,, c,d, d#,f,g, g#,,, f,g, d#,d,d#, f,,, g,f, g,a,a#, c',,, g,a, a#,c',d', d#,,, f',d#, d',c',,, a#,,, g#,g, d#,d',,, ,,,, c',a#, g#,g, ,,,, d#,d,

Repeat kAmAkshi refrain
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,


Toneset 8. This starts with 'sa' or c' of the higher octave.
sA'ga' rI' sa'ri' sA'ri' nI dama | pAda nI dani | sAa A ga'ri'| sa'ri'sa' nI dapa| magA maga risa| ni_sA A A| rigama pA pA | agama pA A | rIi I sani_ sAa pama pAa dA nI sA'a rI' gA' ma'gA' rI'ga'ri sA'ri' nIdapa magA rI gari
c',,,d#', d',,, c',d', c',,,d', a#,,, g#,f, g,,,g#, a#,,, a,a#, c,,, ,, ,,,, d#,d', c',d',c', a#,,, g#,g, f,d#,,, f,d#, d,c,{} a#_,c,,, ,,,, ,,,, d,d#,f, g,,, g,,, ,,d#,f, g,,, ,,,, d,,, ,, ,,,, c,a#_, c,,, ,, g,f, g,,, ,, a,,, a#,,, c',,, ,, d',,, d#',,, f',d#',,, d',,, d#',d, c',,,d', a#,,, g#,g, f,d#,,, d,d#,d,
c',,,d#', d',,, c',d', c',,,d', a#,,, g#,f, g,,,g#, a#,,, a,a#, c,,, ,, ,,,, d#,d', c',d',c', a#,,, g#,g, f,d#,,, f,d#, d,c,{} a#_,c,,, ,,,, ,,,, d,d#,f, g,,, g,,, ,,d#,f, g,,, ,,,, d,,, ,, ,,,, c,a#_, c,,, ,, g,f, g,,, ,, a,,, a#,,, c',,, ,, d',,, d#',,, f',d#',,, d',,, d#',d, c',,,d', a#,,, g#,g, f,d#,,, d,d#,d,
Repeat kAmAkshI refrain.
a#_,,, ,, ,,,, ,,,, a_,,, ,, ,,,, a_,a#_, g_,,, ,, ,,,, a_,a#_ c,,, ,, ,,,, a_,a#_, c,d,d#, f,g, f,d#, d,,, ,, ,,,, a#_,,, c,,, d, d#,f, g,,, a,a#,c', a#,,, a,g, f,d#,,, d#,d,,,c,
f',d#',d',c', a#,g#,g,f,d#, d,c,.
c,,, ,,,, c,,, ,,,, ,,,, ,,,,.





All the above in fast tempo is repeated below.



>>^a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>^a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>c,d a#_c d, ,a#_d ca#_ a_g f_, , ,, g_, a_,a#_ ,c,d
>>c,d a#_c d, ,a#_d ca#_ a_g f_, , ,, g_, a_,a#_ ,c,d



>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>d,d# dd# c, , a#_d# dc d, ,a#_d ca#_ a_, ,a#_, ,d#,d
>>d,d# dd# c, , a#_d# dc d, ,a#_d ca#_ a_, ,a#_, ,d#,d

>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>d#,f d#d cd a#_,c a#_c dd# f,g fd d#f g,g# fd# dc a#_,c a#_d#, dd#, f, ga a#,a# ,g# g, g,f ,d# dc
>>d#,f d#d cd a#_,c a#_c dd# f,g fd d#f g,g# fd# dc a#_,c a#_d#, dd#, f, ga a#,a# ,g# g, g,f ,d# dc


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>f,g, a#g# f, gg#g f, d#d d#,f g, d#f g,d# gf d#d a#_,c d, a#_c d,a# cd d#f g,g# a#c g, c'a#g# gf d#d
>>f,g, a#g# f, gg#g f, d#d d#,f g, d#f g,d# gf d#d a#_,c d, a#_c d,a# cd d#f g,g# a#c g, c'a#g# gf d#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c




>>g,g# gf d#d d#,f g, fd# d,d# f, d#d a#_, c d, ,, d#,f d#,d c, ,gf d#d c, d'c', a#, ag ,f, ,d# dc

>>g,g# gf d#d d#,f g, fd# d,d# f, d#d a#_, c d, ,, d#,f d#,d c, ,gf d#d c, d'c', a#, ag ,f, ,d# dc


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>g#ga# g#, gf d#d, d#f gg# g, , ,, fd# fgf d#d d#f d#, , ,, dd# fd#d d#c da#_ c,, ,, d#d c'a#_g# gf d#d
>>g#ga# g#, gf d#d, d#f gg# g, , ,, fd# fgf d#d d#f d#, , ,, dd# fd#d d#c da#_ c,, ,, d#d c'a#_g# gf d#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>a#,d' c'd' a#d' a#,g# gg# fg d#,d cd a#_c dd#f g, fg c'a#g# g, fd# dc, a#_, a_a#_ cdd# fg fd# d, , ,, a#_c_ dd#f g, cd d#fg g#, fg d#dd# f, gf gaa# c', ga a#c'd' d#, f'd# d'c', a#, g#g d#d', ,, c'a# g#g ,, d#d
>>a#,d' c'd' a#d' a#,g# gg# fg d#,d cd a#_c dd#f g, fg c'a#g# g, fd# dc, a#_, a_a#_ cdd# fg fd# d, , ,, a#_c_ dd#f g, cd d#fg g#, fg d#dd# f, gf gaa# c', ga a#c'd' d#, f'd# d'c', a#, g#g d#d', ,, c'a# g#g ,, d#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>c',d#' d', c'd' c',d' a#, g#f g,g# a#, aa# c, , ,, d#d' c'd'c' a#, g#g fd#, fd# dc a#_c, ,, ,, dd#f g, g, ,d#f g, ,, d, , ,, ca#_ c, , gf g, , a, a#, c', , d', d#', f'd#', d', d#'d c',d' a#, g#g fd#, dd#d
>>c',d#' d', c'd' c',d' a#, g#f g,g# a#, aa# c, , ,, d#d' c'd'c' a#, g#g fd#, fd# dc a#_c, ,, ,, dd#f g, g, ,d#f g, ,, d, , ,, ca#_ c, , gf g, , a, a#, c', , d', d#', f'd#', d', d#'d c',d' a#, g#g fd#, dd#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c

f'd#'d'c' a#g#gfd# dc.
c, ,, c, ,, ,, ,,.



all the above with faster tempo


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c

>>c,d a#_c d, ,a#_d ca#_ a_g f_, , ,, g_, a_,a#_ ,c,d
>>c,d a#_c d, ,a#_d ca#_ a_g f_, , ,, g_, a_,a#_ ,c,d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c



>>d,d# dd# c, , a#_d# dc d, ,a#_d ca#_ a_, ,a#_, ,d#,d
>>d,d# dd# c, , a#_d# dc d, ,a#_d ca#_ a_, ,a#_, ,d#,d

>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>d#,f d#d cd a#_,c a#_c dd# f,g fd d#f g,g# fd# dc a#_,c a#_d#, dd#, f, ga a#,a# ,g# g, g,f ,d# dc
>>d#,f d#d cd a#_,c a#_c dd# f,g fd d#f g,g# fd# dc a#_,c a#_d#, dd#, f, ga a#,a# ,g# g, g,f ,d# dc

>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>f,g, a#g# f, gg#g f, d#d d#,f g, d#f g,d# gf d#d a#_,c d, a#_c d,a# cd d#f g,g# a#c g, c'a#g# gf d#d
>>f,g, a#g# f, gg#g f, d#d d#,f g, d#f g,d# gf d#d a#_,c d, a#_c d,a# cd d#f g,g# a#c g, c'a#g# gf d#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>g,g# gf d#d d#,f g, fd# d,d# f, d#d a#_, c d, ,, d#,f d#,d c, ,gf d#d c, d'c', a#, ag ,f, ,d# dc

>>g,g# gf d#d d#,f g, fd# d,d# f, d#d a#_, c d, ,, d#,f d#,d c, ,gf d#d c, d'c', a#, ag ,f, ,d# dc

>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>g#ga# g#, gf d#d, d#f gg# g, , ,, fd# fgf d#d d#f d#, , ,, dd# fd#d d#c da#_ c,, ,, d#d c'a#_g# gf d#d
>>g#ga# g#, gf d#d, d#f gg# g, , ,, fd# fgf d#d d#f d#, , ,, dd# fd#d d#c da#_ c,, ,, d#d c'a#_g# gf d#d

>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>a#,d' c'd' a#d' a#,g# gg# fg d#,d cd a#_c dd#f g, fg c'a#g# g, fd# dc, a#_, a_a#_ cdd# fg fd# d, , ,, a#_c_ dd#f g, cd d#fg g#, fg d#dd# f, gf gaa# c', ga a#c'd' d#, f'd# d'c', a#, g#g d#d', ,, c'a# g#g ,, d#d
>>a#,d' c'd' a#d' a#,g# gg# fg d#,d cd a#_c dd#f g, fg c'a#g# g, fd# dc, a#_, a_a#_ cdd# fg fd# d, , ,, a#_c_ dd#f g, cd d#fg g#, fg d#dd# f, gf gaa# c', ga a#c'd' d#, f'd# d'c', a#, g#g d#d', ,, c'a# g#g ,, d#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c


>>c',d#' d', c'd' c',d' a#, g#f g,g# a#, aa# c, , ,, d#d' c'd'c' a#, g#g fd#, fd# dc a#_c, ,, ,, dd#f g, g, ,d#f g, ,, d, , ,, ca#_ c, , gf g, , a, a#, c', , d', d#', f'd#', d', d#'d c',d' a#, g#g fd#, dd#d
>>c',d#' d', c'd' c',d' a#, g#f g,g# a#, aa# c, , ,, d#d' c'd'c' a#, g#g fd#, fd# dc a#_c, ,, ,, dd#f g, g, ,d#f g, ,, d, , ,, ca#_ c, , gf g, , a, a#, c', , d', d#', f'd#', d', d#'d c',d' a#, g#g fd#, dd#d


>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c
>>a#_, , ,, ,, a_, , ,, a_a#_ g_, , ,, a_a#_, c, , ,, a_a#_ cdd# fg fd# d, , ,, a#_, c, d d#f g, aa#c' a#, ag fd#, d#d,c

f'd#'d'c' a#g#gfd# dc.
c, ,, c, ,, ,, ,,.

Sunday, January 15, 2012

Hamsadhwani lakshaNa gItam with Indian and Western Notations




Musical name of the work: hamsadhwani lakshaNa gItam.
Literary name of the work: are dakshiNa dwArakapuri nivAsa.
Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music.
Author and Composer: South Indian elders of the 19th Century.
Tune used: called rAgam hamsadhwani, a derivative of the Mother tune No. 29 SankarAbharaNam. Rhythm used: 7 beat - triputa tALam 3+2+2. We can even treat this 3+2+2 as mishra cApu tALam.
Ascendence: Indian: sa-ri-ga-pa-ni-sa'.
western: c,d,e,g,b,c'.
Descendence: sa-ni-pa-ga-ri-sa. Western: c',b,g,e,d,c. Taboo(not permitted): ma western:f. da western:a. Both in ascendence and descendence. Hence this tune is classified as pentatone, or auDav-auDav.

Question: What is a lakshaNa gItam?
Ans: A lakshaNa gItam describes the characteristics of the tune. The song is also in the same tune. In other words, it demonstrates the tune by means of a song written for the purpose. You see the literature here: catusriti rishabha antara gandhAra panchama svara kAkali nishAda itara Suddha svara sa grahanyAsamSa tripuTayukta dhIra SankarAbharaNa mEla janita hamsadhwani rAga mavadhArayE.
Meaning: AvadhAraE= Listen. Listen catusriti rishabha = western d; antara gandhAra = western e; panchama svara = western g tone; kAkali niShAda = ni of the type kAkali i.e. western b; itara Suddha svara = All others are pure tones; sa grahanyAsamSa = end stress will be on the tone c; tripuTayukta = accompanied by the rhythm tripuTa (3 parts); dhIra SankarAbharaNa mEla janita = born from the mother tune "Dhira SankarAbharaNam i.e #29" hamsadhwani rAg mavadhAraye = Listen to the tune hamsadhwani!.
Thus, the lakshaNa gItam works as a demo song of the tune.

Every line has been repeated twice as is the custom. I have presented this in three speeds: slow speed, fast speed, superfast speed. Tones or svaras are same.
refrain.
ind: sariga rI sani_ sagari sasa sani_ sani_sa risa nI_. Litera: are dakshiNa dvArakA pura nivAsA
c,d,e, d,,, c,b_, c,e,d, c,c, c,b_, c,b_,c, d,c, b_,,,
c,d,e, d,,, c,b_, c,e,d, c,c, c,b_, c,b_,c, d,c, b_,,,
ind sagari gari sani_ sariri sA sA ni_sA riga risa
Litera: SrI rAja gOpAla rE rE catusriti risha
c,e,d, e,d, c,b_, c,d,d, c,,, c,,, b_,c,,, d,e, d,c,
c,e,d, e,d, c,b_, c,d,d, c,,, c,,, b_,c,,, d,e, d,c,
ind: garisa ni_sa riga pagapa gari sari garI sani_ sA
Literat: bha antara gandhAra panchama
e,d,c, b_,c, d,e, g,e,g, e,d, c,d, e,d, c,b_, c,,,
e,d,c, b_,c, d,e, g,e,g, e,d, c,d, e,d, c,b_, c,,,
ind: rigA sari gA pagapa gari gapa nipani paga riga
literat: svara kAkalI nishAda itara suddha svara
d,e,,, c,d, e,,, g,e,g, e,d, e,g, b,g,,,b, g,e, d,e,
d,e,,, c,d, e,,, g,e,g, e,d, e,g, b,g,,,b, g,e, d,e,
ind panI sa'sa' sa'ni sa'nisa' sa'sa' sa'ni panisa' pani sa'ni
literat ArOha avarOha mada varjita
g,b,,, c',c', c',b, c',b,c', c',c', c',b, g,b,c', g,b, c',b,
g,b,,, c',c', c',b, c',b,c', c',c', c',b, g,b,c', g,b, c',b,
ind sA'sa' sa'ni paga nIni paga risa rigapa gari sani_
literat sA graham nyAsAmSa tripuTa yukta
c',,,c', c',b, g,e, b,,,b, g,e, d,c, d,e,g, e,d, c,b_,
c',,,c', c',b, g,e, b,,,b, g,e, d,c, d,e,g, e,d, c,b_,
ind sariri sasa riri gapaga risa riga garisa risa ni_sa
literat dhIra SankarAbharaNa mELa janita hamsa
c,d,d, c,c, d,d, e,g,e, d,c, d,c, e,d,c, d,c, b_,c,
c,d,d, c,c, d,d, e,g,e, d,c, d,c, e,d,c, d,c, b_,c,
ind risani_ sani_ sani_ sariga pani sa'ni pagari sani_ pa_ni_
literat dhvani rAga mavadhAraya SrI rAma namO namO
d,c,b_, c,b_, c,b_, c,d,e, e,b, c',b, g,e,d, c,b_, g_,b_, c,d,e, d,d, c,,,
d,c,b_, c,b_, c,b_, c,d,e, e,b, c',b, g,e,d, c,b_, g_,b_, c,d,e, d,d, c,,,
all the above at double speed
cde d, cb_ ced cc cb_ cb_c dc b_,
cde d, cb_ ced cc cb_ cb_c dc b_,
ced ed cb_ cdd c, c, b_c, de dc
ced ed cb_ cdd c, c, b_c, de dc
edc b_c de geg ed cd ed cb_ c,
edc b_c de geg ed cd ed cb_ c,
de, cd e, geg ed eg bg,b ge de
de, cd e, geg ed eg bg,b ge de
gb, c'c' c'b c'bc' c'c' c'b gbc' gb c'b
gb, c'c' c'b c'bc' c'c' c'b gbc' gb c'b
c',c' c'b ge b,b ge dc deg ed cb_
c',c' c'b ge b,b ge dc deg ed cb_
cdd cc dd ege dc dc edc dc b_c
dcb_ cb_ cb_ cde eb c'b ged cb_ g_b_ cde dd c,
dcb_ cb_ cb_ cde eb c'b ged cb_ g_b_ cde dd c,
all the above at superfast speed
/c/ /d/ /e/ /d/ /c'/ /c/ /b_/ /c/ /e/ /d/ /c/ /c/ /c/ /b_/ /c/ /b_/ /c/ /d/ /c/ /b_/ /c'/
/c/ /d/ /e/ /d/ /c'/ /c/ /b_/ /c/ /e/ /d/ /c/ /c/ /c/ /b_/ /c/ /b_/ /c/ /d/ /c/ /b_/ /c'/
/c/ /e/ /d/ /e/ /d/ /c/ /b_/ /c/ /d/ /d/ /c/ /c'/ /c/ /c'/ /b_/ /c/ /c'/ /d/ /e/ /d/ /c/
/c/ /e/ /d/ /e/ /d/ /c/ /b_/ /c/ /d/ /d/ /c/ /c'/ /c/ /c'/ /b_/ /c/ /c'/ /d/ /e/ /d/ /c/
/e/ /d/ /c/ /b_/ /c/ /d/ /e/ /g/ /e/ /g/ /e/ /d/ /c/ /d/ /e/ /d/ /c/ /b_/ /c/ /c'/
/e/ /d/ /c/ /b_/ /c/ /d/ /e/ /g/ /e/ /g/ /e/ /d/ /c/ /d/ /e/ /d/ /c/ /b_/ /c/ /c'/
/d/ /e/ /c'/ /c/ /d/ /e/ /c'/ /g/ /e/ /g/ /e/ /d/ /e/ /g/ /b/ /g/ /c'/ /b/ /g/ /e/ /d/ /e/
/d/ /e/ /c'/ /c/ /d/ /e/ /c'/ /g/ /e/ /g/ /e/ /d/ /e/ /g/ /b/ /g/ /c'/ /b/ /g/ /e/ /d/ /e/
/g/ /b/ /c'/ /c'/ /c'/ /c'/ /b/ /c'/ /b/ /c'/ /c'/ /c'/ /c'/ /b/ /g/ /b/ /c'/ /g/ /b/ /c'/ /b/
/g/ /b/ /c'/ /c'/ /c'/ /c'/ /b/ /c'/ /b/ /c'/ /c'/ /c'/ /c'/ /b/ /g/ /b/ /c'/ /g/ /b/ /c'/ /b/
/c'/ /c'/ /c'/ /c'/ /b/ /g/ /e/ /b/ /c'/ /b/ /g/ /e/ /d/ /c/ /d/ /e/ /g/ /e/ /d/ /c/ /b_/
/c'/ /c'/ /c'/ /c'/ /b/ /g/ /e/ /b/ /c'/ /b/ /g/ /e/ /d/ /c/ /d/ /e/ /g/ /e/ /d/ /c/ /b_/
/c/ /d/ /d/ /c/ /c/ /d/ /d/ /e/ /g/ /e/ /d/ /c/ /d/ /c/ /e/ /d/ /c/ /d/ /c/ /b_/ /c/
/d/ /c/ /b_/ /c/ /b_/ /c/ /b_/ /c/ /d/ /e/ /e/ /b/ /c'/ /b/ /g/ /e/ /d/ /c/ /b_/ /g_/ /b_/ /c/ /d/ /e/ /d/ /d/ /c/ /c'/
/d/ /c/ /b_/ /c/ /b_/ /c/ /b_/ /c/ /d/ /e/ /e/ /b/ /c'/ /b/ /g/ /e/ /d/ /c/ /b_/ /g_/ /b_/ /c/ /d/ /e/ /d/ /d/ /c/ /c'/
Added as an embellishment to make the ending more pleasant.
/g'/e'/d'/c'/ b/g/e/d/c/ b_/g_/.
/g'/e'/d'/c'/ b/g/e/d/c/ b_/g_/.
Added to prevent an abrupt ending ending.
c,,, ,,,, c,,, ,,,, ,,,, ,,,, ,,,, ,,,,.

Saturday, January 14, 2012

kalyANi gItam with Indian and western notations

Musical name of the work: kalyANi gItam.
Literary name of the work: kamalaja daLa vimala sunayana.
Genre: South Indian Music. South Indian Classical Music. South Indian Instrumental Music. Carnatic Music.
author and composer: South Indian Elders of the 19th Century.

Usage of 'gItams' in SI Music: Also, sometimes, called 'piLLAri gItams'. These are simple constructions. Hence taught to beginners, after introducing tones and tonal frames (saraLi svaras, janta svarAs, and dATu svaras). But a student need not be ashamed of singing or playing 'piLLAri gItams' simply because they are taught to beginners. Great singers like Chembai VaidynAtha bhAgavatAr sang them with equally great gusto. That means we can derive great joy from singing/playing them even when we advance, and improvise on our technic.

tune used: kalyANi rAgam, Mother tune No. 65 of the South Indian Music. Hindusthani equivalent: Yaman kalyAN of the kalyAN ThATh.

rhythm used; 3+2+2. Called 'trisra tripuTa tALam'. Incidentally the Mishra cApu tALam too has similar beats of 3+4 or 4+3 or 3+2+2 or 2+2+3. Useful notes : In the 3+2+2, the first three is called 'laghuvu'. trisra=three. If the laghuvu has 4 letters instead of three, it becomes caturasram=4. Then 4+2+2=8 becomes caturasra tripura tALam or Adi tALam of 4/8/16 beats. trisra tripuTam, thus has some elements of Adi tALam.

Ascendence: South Indian: sa, catusriti rishabham (suddh rishabh in NI music), antara gandhAram (suddh gandhAr in NI), prati madhyamam (tIvra madhyamam in NI), pancham, catusriti dhaivatam (suddh dhaivat in NI), kAkali nishAdam (suddh nishAd in NI).
Western notation: c,d,e,f#, g,a,b,c'. Complete with seven tones.

Descendence: sa' ni dha pa ma ga ri sa. Western: c',b,a,g, f#,e,d,c. Complete with all the seven ones. This tune is nearly the opposite of the Mother tune tODi (bhairavi in North India). Sung during evenings in North India. But in SI music, we can sing at any time.
Usage: kalyAN or kalyANam means something auspicious. It also denotes marriage or wedding. Considered as suitable for all moods, including especially love or 'sringAra'. But this tune, has been successfully used even to express pathos (SOkam or vishAdam) and bhakti (devotion and dedication).
Some embellishment added by yb
c,d,e,f#,g,a,b,c',.
c',b,a,g,f#,e,d,c,.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,,,.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,,,.

refrain
Indian notation: sa'sa'sa' nida nisa' nidapa dapa mapa
literature: kamalaja daLa vimala sunayana. Engl:lotus petal like clean beautiful eyes.
c',c',c', b,a, b,c', b,a,g, a,g, f#,g,
rpt
c',c',c', b,a, b,c', b,a,g, a,g, f#,g,

ind gamapa pada dani dapama paga risa papapa gaga gA mapA magarisa rIi sA A
litera: kari varada karuNAmbudhe karunA saradhE kamalA kAntA engl: protector of elephant-devotee, Ocean of kindness, beloved of lotuses
e,f#,g, g,a, a,b, a,g,f#, g,e, d,c, g,g,g, e,e, e,,, f#,g,,, f#,e,d,c, d,,, ,, c,,, ,,,,
e,f#,g, g,a, a,b, a,g,f#, g,e, d,c, g,g,g, e,e, e,,, f#,g,,, f#,e,d,c, d,,, ,, c,,, ,,,,

ind gamapa mapa dapa nidapa dapa mapa
litera: kEsi narakAsura vibhEdana ; engl: Annihilator of the demons kEsi and naraka.
e,f#,g, f#,g, a,g, b,a,g, a,g, f#,g,
e,f#,g, f#,g, a,g, b,a,g, a,g, f#,g,

ind gamapa pada dani dapama pagarisa
litera: varada vELa sura purOttama
e,f#,g, g,a, a,b, a,g,f#, g,e,d,c,
e,f#,g, g,a, a,b, a,g,f#, g,e,d,c,

ind papapa gaga gA mapA maga risa rIi sA A
litera: karunA saradhE kamalA kAntA aa.
g,g,g, e,e, e,,, f#,g, f#,e, d,c, d,,, ,, c,,, ,,,,
g,g,g, e,e, e,,, f#,g, f#,e, d,c, d,,, ,, c,,, ,,,,

rpt refrain
c',c',c', b,a, b,c', b,a,g, a,g, f#,g,

all the above at medium tempo
cdef#gabc'.
c'bagf#edc.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,.
c'c'c' ba bc' bag ag f#g
c'c'c' ba bc' bag ag f#g
ef#g ga ab agf# ge dc ggg ee e, f#g, f#edc d, , c, ,,
ef#g ga ab agf# ge dc ggg ee e, f#g, f#edc d, , c, ,,
ef#g f#g ag bag ag f#g
ef#g f#g ag bag ag f#g
ef#g ga ab agf# gedc

all the above at fast tempo
/c/ /d/ /e/ /f#//g/ /a/ /b/ /c'/.
/c'//b/ /a/ /g/ /e/ /d/ /c/ .

c'c'c' ba bc' bag ag f#g
c'c'c' ba bc' bag ag f#g
/e/ /f#//g/ /g/ /a/ /a/ /b/ /a/ /g/ /f#/ /g/ /e/ /d/ /c/ /g/ /g/ /g/ /e/ /e/ /e/ /c'/ /f#//g/ /c'/ /f#//e/ /d/ /c/ /d/ /c'/ /c'/ /c/ /c'/ /c'//c'/
/e/ /f#//g/ /g/ /a/ /a/ /b/ /a/ /g/ /f#/ /g/ /e/ /d/ /c/ /g/ /g/ /g/ /e/ /e/ /e/ /c'/ /f#//g/ /c'/ /f#//e/ /d/ /c/ /d/ /c'/ /c'/ /c/ /c'/ /c'//c'/
/e/ /f#//g/ /f#//g/ /a/ /g/ /b/ /a/ /g/ /a/ /g/ /f#//g/
/e/ /f#//g/ /f#//g/ /a/ /g/ /b/ /a/ /g/ /a/ /g/ /f#//g/
/e/ /f#//g/ /g/ /a/ /a/ /b/ /a/ /g/ /f#/ /g/ /e/ /d/ /c/
/e/ /f#//g/ /g/ /a/ /a/ /b/ /a/ /g/ /f#/ /g/ /e/ /d/ /c/
/g/ /g/ /g/ /e/ /e/ /e/ /c'/ /f#//g/ /f#//e/ /d/ /c/ /d/ /c'/ /c'/ /c/ /c'/ /c'//c'/
/g/ /g/ /g/ /e/ /e/ /e/ /c'/ /f#//g/ /f#//e/ /d/ /c/ /d/ /c'/ /c'/ /c/ /c'/ /c'//c'/
c'c'c' ba bc' bag ag f#g
/e//f#//g// g//a// a//b// a//g//f#// g//e//d//c/
/g//g//g// e/ /e// e/ /c'// f#/ /g// f#/ /e// d/ /c// d/ /c'//c'//c'//c'//c'/ /c'//c'/
/g//g//g// e//e// e//c'/ /f#//g// f#//e// d//c// d//c'//c'//c'// c'//c'//c'/
c'c'c' ba bc' bag ag f#g

some embellishment by ybrao a donkey and withdrawal.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,,,.
/g'//f#'//e'//d'//c'//b//a//g//f#//e//d//c//b_//a_//g_//f#_/c,,,.
c,d,e,f#,g,a,b,c',.
c',b,a,g,f#,e,d,c,.
c,,, ,,,, c,,, ,,,, ,,,, ,,,,.

Friday, January 13, 2012

rAg bAgEswari drut gat -western notation

musical name: bAgeswari drut gat fast tempo
Literary name: no literature.
Genre: North Indian Classical Music. North Indian Instrumental Music. Hindusthani Music.
author and composer: ybrao a donkey.
tune used: called rAg 'bAgEswari' belonging to the Mother Tune (Hindusthani ThATh) kApi. Equivalent: Born from South Indian Mother Tune No.22 kharaharapriya mELakarta).
rhythm used: 4/8/16 4 beat, called 'tin tAL' in North Indian Music. Adi tALam in South Indian Music.


Ascendence: c,d#,f,a,a#,c', (ind: sa,kOmal ga, Suddh madhyam, Suddh Dhaivat, kOmal nishAd).
You will observe: re (d) is omitted. pa (g) is omitted.
Descendence: c',a#,a,g,f,f,,,c,.
Complete or full.


/d#'//d'//c'//a#//a//g//f//d#//d//c//a#_//a_//g_/c,...
/d#'//d'//c'//a#//a//g//f//d#//d//c//a#_//a_//g_/c,...


refrain sthAyi runs in middle octave
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'
c'c'c'c'
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

sub-refrain manjha goes down into lower octave
>>a#_a#_a_, a#_a_f_a_ g_f_a_a#_ f_,aa a#,c,a#_,a_, f_,a_,a#a#c,
>>a#_a#_a_, a#_a_f_a_ g_f_a_a#_ f_,aa a#,c,a#_,a_, f_,a_,a#a#c,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

rpt refrain
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

antra goes up into higher octave
f,a#a# a#,c', c',d#'d#' f',a', f',a'a'a#'a'f'd#' d'c'a#,a,g,
f,a#a# a#,c', c',d#'d#' f',a', f',a'a'a#'a'f'd#' d'c'a#,a,g,

rpt refrain sthAyi
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

toneset (tOdE or tAnE) 1
cd#df faa#f' c'a#ag fd#fd cd#df faa#f' c'a#ag fd#fd cd#df faa#f' c'a#ag fd#fd cd#,g cd#,g cd#,g ,,,,
--rpt refrain
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

toneset 2
cd#fa cd#fa cd#fa faa#c'
d#faa# d#faa# d#faa# aa#c'd#'
faa#c' faa#c' agfd# dc,,
agfd# dc,, agfd# dc,,
--rpt refrain
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

toneset 3
cd#fd# fafa faa#c' a#agd#
fd#d#f fafa faa#c' agfd#
gd#d#g fafa faa#c' fd#dc
ad#d#a c',,, c',,, c',,,
--rpt refrain
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

toneset 4
dcd#d fd#gf aga#a c'a#d'c'
d#'d'f'd# g'f'a'g' f'd#'d'c'
a#agf a#agf d#dc, ,,,,
d#dc, ,,,, d#dc, ,,,,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

jhala fast tones
f, c',c',c', a,c',c',c', a#,c',c',c', f,c',c',c',
c',a#,c',c', /c//c'//c//c'/ c',a#,c',c, /c//c'//c//c'/
c,d#,c',c', /c//c'//c//c'/ d#,f,g,f, /c//c'//c//c'/
f,a,a#,c', a,a#,c',d#, a#,c',d#',f', c',d#',f',dc'
/c//c'//c//c'/ /c//c'//c//c'/ cccc cccc
cd#fa cd#fa c,d#,f,a, /c//c'//c//c'/ /c//c'//c//c'/
c'/c//c//c//c/c' f,d#,d,c, f,,, d#,,, d,,, c,,,.

f,c'c'f f,c'c'f f,c'c'f c'c'c'c'ff c'c'c'c'ff c'c'c'c'fg c'c'c'c'gf c'c'c'c'aa#
f,c'c'f f,c'c'f f,c'c'f c'c'c'c'ff c'c'c'c'ff c'c'c'c'fg c'c'c'c'gf c'c'c'c'aa#
c,c, cd#f c,c, d#f,g c,c, /c'//c'//c'//c'/ c,c, /c'//c'//c'//c'/
d,d, d#fa#c' d,d, faa#c' d#',d#', /c'//c'//c'//c'/ d#',d#,c',c,
c',a#,a,g, f,d#,d,c, c'a#ag fd#dc c'a#ag fd#dc c'a#ag fd#dc
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>f,,, f,,, c,d#d#,f,a, a,a#a#aaa#a# g,fd#,dc,
>>c,,, ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c' ,,,c'

rpt antra

antra goes up into higher octave
f,a#a# a#,c', c',d#'d#' f',a', f',a'a'a#'a'f'd#' d'c'a#,a,g,
f,a#a# a#,c', c',d#'d#' f',a', f',a'a'a#'a'f'd#' d'c'a#,a,g,
/d#'//d'//c'//a#//a//g//f//d#//d//c//a#_//a_//g_/c,...
c,,, ,,,, ,,,, ,,,, ,,,, ,,,, c,,, ,,,,.


Some errors have crept in, in spite of best efforts. Kindly bear with me. I shall try to correct them as soon as possible. I shall also try to make this more melodious.

About Me

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multisubj or yb or ybr or ybrao a donkey. occupation: Retired Bank Officer and LAWYER. Kindly see autobiographicalyb.blogspot.com, if you will like to know more about me as a person. Main goal: Marxism through non-violent means. Sub-goal: minimising the effects of the opium i.e. the religion on human minds.

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Producing tones on a South Indian Bamboo flute


South Indian bamboo flutes, classical type have eight holes. North Indian flutes have six holes. Some Bengali/North Eastern flutes have an additional hole separately slightly in a different position. I am, at present, using one such 6+1 hole bass flute, as it produces sweet low tones, without disturbing family members. In SI music, six hole flutes are not a TABOO. Six hole flutes are preferred in light music.
tones:
Bass octave (mandra saptakam)
ma - f_ : close all the six holes.
pratimadhyamam strong ma f#_ : close 5 and half of sixth.
pa g_ : close first 5 holes.
suddha dhaivatam mild da g#_: close first 4+ half of fifth.
chatusr dhaivatam da a_ : close first 4.
kaisiki nishAdam ni a#_ : close first 3. (There is no position for 3 and half).
kAkali nishAdam ni b_ : close first 2 and half.
We can use low breath for these.
Middle octave - madhya saptakam
sa c : close first two holes.
suddha ri c# : close first 1 and half.
chatusr ri d : close first 1 hole.
sadhAr ga d# : close first half hole.
antara ga e : open all holes.

From here onwards, we have to use stronger breaths
suddh ma f: open first hole. Close all the remaining holes.
prati ma f#: close first 5 and half. stronger breath when compared to f#_.
pa g : close first 5. stronger breath.
suddh da g#: close first 4 and half. strong breath.
chatusr da a: close first 4. strong breath.
kaisiki nishad ni a# : close first 3. strong breath.
kAkali nishAd ni b : close first 2 and half. strong breath.
Upper octave - tAr saptakam
tAr shadj sa' c' : close first two. Strong breath.
tAr suddh ri ri' c#' : close first 1 and half. Strong breath.
tar chatushr ri' d' : close first 1. Strong breath.
tar sAdhARaN ga d#' : close first half hole. Strong breath.
tar antar ga' e' : open all holes. Use strong breath.
tar suddh ma' f' : open first whole. Close all others. Use very strong breath.
tar prati ma' f#' : close first 2 and half. Close last two. Keep middle holes open. Use very strong breath.
tar pancham pa' g' : close first two, last two. Open middle two. Use very strong breath. Difficult for beginners. Success also depends on the quality of the flute.
We cannot go above pa' or wesern g'.

summary: We can get about 2 to 2 and half octaves. Not all the three bass, middle and upper octaves in full i.e. 36 notes.
gist: bass: lower f_ to b. 7 notes. middle: c to c' (all the 12). upper: c' to g. 8 notes. Total 27 notes.
I have seen my teacher going down even to lower ga_ i.e. e_ below f. We ordinary humans cannot go below ma_ or f_.

Note: Though it is a practice in South India to take close first 2 holes for getting sa or c, (North India first 3 hole closing is taken as sa or c), we can practice taking every hole as sa or c. But then tone points (svara sthAnas) will change and tunes will change. For example, when we take 2 hole saw, we are getting hari kaMbhoji in South India. Suppose we close first three holes and take it as sa or c, we get kalyANi tune and not hari kAmbhOji (khamAj tune of NI). Everything revolves around calculation of relative position and reallocating tones. This change of position of the sa or c may become necessary when sufficient flutes of different sizes and different frequency Nos. are not available with the player. Advanced players know this. Beginners too have to develop, but it requires some effort.



CONVERSION FROM SOUTH INDIAN MUSIC TONES TO WESTERN NOTATION


sa (shadjam of the madhya saptakam) = c.
ri (suddha rishabham, a tone softer than catusriti rishabh) = c#.
ri (catusriti rishabh) = d.
ga (sAdhAraNa gandhAram, a tone softer than antara gAndhAram) = d#.
ga (antara gandhAram) = e.
ma (suddha madhyamam, a tone softer than tIvra madhyamam) = f.
ma (tIvra madhyamam) = f#.
pa (pancamam) = g.
da (suddha dhaivatam, a tone softer than catusriti dhaivatam) = g#.
ni (kaisiki nishAdam, a tone softer than kAkali nishAdam) = a#.
ni (kAkali nishAdam) = b.
sa' (shadjamam of tAra saptakam, i.e. higher octave) = c'.
suddha ri' = c#'.
kAkali nishAdam of mandra saptakam i.e. lower octave = b_
kaisiki nishAdam of mandra saptakam i.e. lower octave = a#_.
so on and so forth. Apply analogy and reasoning.
Note: Carnatic Music (South Indian Music) has 16 notes instead of 12 notes used in North Indian and Western Music.

It is possible to show some distinction in the additional four tones, while it is not really possible in instrumental music.
E.g. : suddha gAndhAram in the first cyclic (called cakra) tune called mELakarta No.3 uses catusriti rishabham as suddha gandhAram. The ascending octave called ArOhaNa of the tune gAnamurtE will thus be as under:
c c# d f g g# b c'.
Descending octave called avarOhaNa will be as under: c' b g# g f d c# c.
Vocalists will utter 'ga' while using the tone d, whereas it is actually 'ri strong of 4tone catusriti'. Vocalists have this advantage over instrumentalists. When an instrumentalist plays this tune gAnamurtE will be heard as: sa ri(light) ri(strong) ma pa da ni sa'. That means we use two rishabhs (komal rishabh and suddh rishabh of North Indian Music) and call the ri ga. The original "ga"s i.e. d# and e lose their place.

FOR THIS REASON ONLY I AM TEMPTED TO SAY THAT WE CANNOT RESTRICT HINDUSTANI MOTHER "ThAT"S TO JUST 38 OR 40. WE CANNOT RESTRICT THE SOUTH INDIAN CARNATIC MELAKARTAS TO JUST 72. WE CAN HAVE HUNDREDS OF THATS AND MELAKARTAS in both the systems. Yet, we cannot find fault with the designers of the 'that' and 'melakarta' systems, because they gave us good framework of mother tune permutations and combinations to work upon in this land of the Rivers Ganges and gOdAvari.


Similar double usage sets:


ri (shatsriti rishabham of 6tones stronger than the 4tone catusriti rishabham d) = d#.



da (shatsriti dhaivatam of 6 tones stronger than the 4tone catusriti dhaivatam a) = a#.



ni (suddha nishAdam softer than the kaisiki nishAdam a#) = a.



These ga ri da ni (d d# a# a), the instrumentalists of North India and the West need not worry about, except while reading the Carnatic notations and converting them to the western or North Indian Hindusthani notation.

Carnatic South Indian Vocalists have to worry because while playing gAnamurtE they have to say 'ga' while using the tone 'ri'. They will have a similar problem while singing the tune 'nAta' which uses 'ga' as 'ri'. That is you will utter "sa ri ga' but note frequency levels will be c d# e". Such tunes are few in number and are less popular (relatively. A somewhat subjective view). Examples: candrajyOti, kanakAngi, ratnAngi, vanaspati, varALi, sUlini.

summary: By and large we use 12 tones only except when singing exceptional tunes mentioned above.

CONVERSION TABLES

CONVERSION TABLE FROM NORTH INDIAN MUSIC TONES TO WESTERN NOTATION

sa (shadj) = c
re (komal rishabh) = c#
re (suddh rishabh) = d
ga (kOmal gandhAr) = d#
ga (suddh gandhAr) = e
ma (suddh madhyam) = f
ma (tIvr madhyam) = f#
pa (pancam) = g
dha (kOmal dhaivat) = g#
dha (suddh dhaivat) = a
ni (kOmal nishAd) = a#
ni (suddh nishAd) = b
sa' (tAr shadj of higher octave) = c'
ri' (kOmal rishabh of higher octave) = c#'
same way others.
ni_ (suddh nishAd of lower octave) = b_
ni_ (kOmal nishAd of lower octave) = a#_.
same way others.
, = legato repetition of the same tone.

How to produce tones (svaras) on North Indian bamboo flutes



North Indian Hindusthani flutes usually have six holes.
The method of producing tones:
Lower relatively bass octave - mandra saptakam:
Close all the six holes and blow with less air: mandra pancham = g_.
Close first 5 and half holes and blow with less air: mandra kOmal dhaivat dha_ = g#_.
Close first 5 holes and blow with less air: mandra suddh dhaivat dha_ = a_.
Close first 4 and half holes and blow with less air: mandra kOmal nishAd ni_ = a#_.
Close first 4 holes and blow with less air: mandra suddh nishAd ni_ = b_.




From here middle octave - madhya saptakam
Close first three holes o-o-o = shadj or c.
Close first 2 and half holes o-o+half of third = kOmal rishabh or c# ( or Db).
Close first two holes o-o : suddh ri = d.
Close first one and half holes: kOmal gandhAr = d#.
Close first hole o : suddh gandhAr = e.
Close first hole half only : suddh madhyam ma = f.
Open all the holes : tIvr madhyam ma = f#.
Close all the six holes (if necessary open the first hole) and blow slightly hard: pancam pa = g.
Close first 5 and half holes blow slightly hard: kOmal dhaivat dha = g#.
Close first 5 holes and blow slightly hard: suddh dhaivat dha = a.
Close first 4 and half holes, and blow slightly hard: kOmal nishAd ni = a#.
Close first 4 holes and blow slightly hard: suddh nishAd ni = b.
There is no tone for closing 3 and half holes.


Upper Octave (relatively treble) or tAr saptak:
Close first 3 holes and blow slightly hard: tAr shadj sa' = c'.
Close first 2 and half holes and blow slightly hard: tAr kOmal ri' = c#'.
Close first 2 holes and blow slightly hard: tAr suddh ri' = d'.
Close first 1 and half holes and blow slightly hard : tar kOmal gandhAr ga' = d#'.
Close first hole and blow slightly hard : tAr suddh gandhAR ga' = e'.
Close first hole only half and blow slightly hard: tAr suddh madhyam ma' = f'.
Open all the holes and blow slightly hard: tAr tIvr madhyam ma~' = f#'.
Close all the six holes and blow hard (if necessary open the first hole): tAr pancam pa' = g'.
Close first 5 and half holes and blow hard (If necessary close first two and half holes and the last two holes) : tAR KOmal dhaivat dha~' = g#".
(Somewhat difficult, but practice makes us perfect).
Close first two and last two holes with middle two holes open and blow very hard without sounding very harsh: tAr suddh dhaivat dha' = a'.
Note: I have not seen anybody who can play all the three 12 bass + 12 middle + 12 top or treble octaves on flute. Presumably it is not possible.
What we get on a Hindusthani flute with no special mechanical additions is:
lower octave -mandra saptak = pa_ (g_) to suddh ni_ (b_).
middle octave madhya saptak = sa (c) to ni (b).
treble or top octave -tAr saptak = sa' (c') to tar suddh dhaivat dha' = a'.

Difference between North Indian and South Indian flutes: In SI flutes sa or c = close first two holes.
In NI flutes sa or c = close first three holes.


ybrao a donkey's observations: By closing first three holes we are getting rAg yaman. Suppose we close only first two holes and call it 'sa', the whole thing will change and we get 'khamAj'. (South Indian equivalent 'hari kAmbHoji'. In North India, music flute beginners, I believe are taught the tune rAg yaman, with no half notes (closing half holes). In South India, flute beginners are taught hari kAmbhOji or khamaj ThATh.

We can regard any hole first one closing, first one and half closing or first two closing or first two and half closing or first three close (so on) as sa or c. Then tunes (rAgas) will not be same. You will get different tunes such as Hindusthani kApI. A professional flutist needs such changing skills. It requires lot of mathematical skill and retention (dhAraNa). Beginners, we may not have.

listen/download HINDUSTHANI MUSIC (NORTH INDIAN MUSIC)

Apologies for the disappearance of our painstakingly uploaded mp3 files at azrowear.net. They have deleted all the files without information to me.


I found a solution, at last. Uploading these files to soundcloud.com and sharing them publicly.


I am trying to upload all the files to soundcloud.com and provide links here. In the meantime kindly bear with me.


As a solution, you can try to create your own midi and mp3 files using either tunescript or abctomidi and thereafter to mp3. This will strengthen your own skills.

Why flute?

1. Flutes are cheap. They are poor person's nectars.

2. Flutes are portable. We can carry them easily even in unreserved Second Class General Compartments.

3. We do not lose much, even if we discontinue in the middle, owing to personal problems. We go all over the world in search of livelihood. Suppose we invest some 30,000 bucks on a sitar and discontinue in the middle, not only do we lose some part of money, but also when we see the instrument accumulating dust, we get mental agony.

4. I am happy for one reason with the North Indian Hindusthani Music. They use bass flutes. They produce low frequency melodious sounds. They do not disturb neighbors. South Indian musicians use small flutes which have higher frequencies. They produce shrill sounds and sometimes disturb neighbors, particularly when played in rooms and populated areas.

Small shrill high frequency flutes are unavoidable in South Indian Music, because of the need to play number of literary works, sometimes even in higher octaves. Large bass flutes are not suitable for South Indian literary works called 'kritis'. But, the South Indian musicians have started using long bass flutes for the purpose of alAp (delineation of the tune or rAga) of the main piece of the concert, in low octaves. This suits when there are no percussion instruments and only melody is shown.

5. Bass flutes are difficult to start with. It is difficult to produce the initial sound. Fingers may not stretch. We may not have adequate breath. But these are all initial troubles. They go, once we practice.

6. Does flute-playing cause respiratory troubles?

Some Ayurvedic physicians and books suggest that possibility.

But I understand from some music teachers, that flute playing is equivalent to prANAyAma, a sort of yOgic breathing exercise. Anything in moderation, may not probably be bad. When any adverse indications are found, the flute playing may be discontinued and after some weeks cause-and-effect relationships may be studied. Breathing troubles may arise from numerous causes including climatic or weather changes. They may arise from allergies and infections. I find thousands of persons suffering from respiratory diseases, who have never touched a flute in their life. People smoke expensive cigars and cigarettes. People purchase gutkha at high prices and cnsume notwithstanding statutory warnings. Swami Vivekananda himself was a slave of tobacco. Tobacco must be more blameworthy than musical instruments. Anyway, one must be very careful about health. But then, mental health is as important as physical health. We can see how celebrities like Michael Jackson, and Tyson have become nervous wrecks owing to lack of mental training.

Music, particularly, classical music, inculcates discipline among practitioners because we have to adhere to tonal and tune structures and follow rhythm and timing. Sufficient mathematics goes into classical music. For this reason only, classical music has become difficult to learn and is abandoned by many in the middle.

We have to strike a balance between physical health and mental health, while continuing to earn our livelihood under testing conditions. This is a Herculean task, but it saves us from stresses and burnouts.

LISTEN/DOWNLOAD/STUDY AS YOU LIKE --HOW TO MAKE BEST USE OF THE NOTATIONS AND MP3s PROVIDED HERE

First disclosure: I am not an expert in NI Music or SI Music. "nAku nAlugu telugu mukkala pasE kAnI sangItam rAdu". (Engl: My strength is only some four Telugu words. I do not know music like an expert.). Hence these humble suggestions:


1. For enjoying classical music, particularly the instrumental music, we need the ability to identify the musical tones (svara gnAnam) and relate them to the tunes, and if we know the literature, to the literature's emotional content (bhAva). Even if we do not know the literature part of the composition, we can enjoy the rAga bhAva (emotional essence of the tune).

2. For getting 'note identification capabilities (svara gnAnam), our ears need training. My search on the net, both about the Western music, as well as the Indian Music, often ended up with an obstructive assertion that svara gnAnam is God-given. I am not sure, whether ears are given by God or parents or the human race as a part of this NATURE (prakriti). Anyway, as an atheist, I cannot accept that svara gnAnam is God-given.

3. Hence, I view that our ears (particularly those who have parent-given ears or Nature given ears, and not God-given ears), need some training. Some ear-training softwares such as solfege are already available on the net. I thought that we need lengthier pieces with READABLE notations, while listening the music.

4. I am providing you the READABLE notations. I am providing you the mp3s which are based on the notations.

5. Now, how to make best use of both: 1. Save the notations by pressing Control F and select 'save as'. Give a file name and save to your computer for offline viewing. You will get a html file. You can open it on your computer using browsers such as firefox/google/IE or any text editor with right click. 2. Download the mp3 file by clicking the link in the boxes of South Indian Music or the North Indian Music of this page. The downloaded file you can open in your favourite music player both in windows and in linux or Ubuntu


6. Open the notation file. Start comparing it to the mp3 while you listen. Initially, there may be difficulties in linking the abc notations with the sounds. I believe, that over a period of 3 or 4 months of reading-listening-comparing, you will get some note identification skills. And these note identification skills will help us not only in Indian music, but also the world music. In fact, this is the reason for my giving the notations in English-abc and not in dEvanAgari or Telugu or Tamil or KannaDa or MalayALam.


7. By and large, the mp3 files and notations agree with one other. Some deviations might have crept in, when I by error, altered the notation, after producing the mp3 and did not bother to re-produce the changed mp3.



Best wishes and regards.


Apologies

Apologies for the failed links of azrowear.net here. They have deleted all the uploaded files without informing me. At last I found a solution.

Converting the mp3s into videos, upload to U tube, and then provide a link here.

I know this will be very expensive as videos tend to consume more mb-s and conversion also takes time. But I am trying to finish it. Kindly bear with the me. In the meantime, if you need any item for which notations were given here, in a particular amr/wav/3gp/avi/flv format, you can email to ybhask [at] gmail [dot] com. I shall try to convert into that format and send you.


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