Musical name of the work: rAg yaman drut gat.
Literary name of the work: no literature.
Author and composer: ybrao a donkey.
Genre: Indian Music. Classical Music. Instrumental Music. Hindusthani Music.
tune (called rAg): yaman or yaman kalyAN.
rhythm: 4 beat, usually with 16 units per line (called tIn tAL). Called Adi tALam in Carnatic Music.
drut gat meaning: A composition which runs in fast tempo. (Compare it with vilambit gat - slow tempo).
Tell something about rAg yaman: Yaman has all the seven tones cdef#gab (called sa-re-ga-ma-pa-dha-ni) employed in Indian Music. Hence it is called : sampUrNam sampUrNam (i.e. complete both in ascendence and descendence).
Proper part of the day to sing/play the tune yaman: first part of the night, called 'pratham prahAr' i.e. 6.00 pm. to 9.00 p.m. approximately. Hindusthani musicians are very conscious about the element of this time.
Equivalent South Indian tune: kalyANi. But, in Carnatic Music kalyAni can be sung at any part of the day. Another difference: Some Hindusthani musicians avoid g (pancham) and c (shadj) in ascendence, i.e. they use b,d,e,f#,a,b,d'. (.ni-re-ga-ma'-dha-ni in ArOhaNam).
In this western notation I have used very little initial delineation of the tune. I jumped straight into gat (rhythmic cycle sets) in fast tempo. Matching faster note-sets (tODE or tAns) I have used alternately with the literature-less refrain.
This work is not traditional. The tones have been mostly written by me using my mental set up or emotional state (called manOdharmam in South Indian Music). Some similarities with the creations of others may appear, because we have only seven tones with three octaves, which are to be adjusted in a 16 time-unit set cycle. Such similarities are only incidental, with no intent to copy or plagiarise.
Errors have cropped up in my western script notation owing to typing problems, revising, listening and revising again, before producing the final mp3. I shall try to correct them when I gain experience in this digital music arena.
>>b_~>100~c ,,,, cdef#gabc'
a_,,, ,,,, ,,,, ,,,, a_,,, ,,,, ,,,, ,,,, c,,, ,,,, ,,,, ,,,, g,,, ,,,, ,,,, ,,,,
c',,, ,,,, ,,,, ,,,, b,,, ,,,, ,,,, ,,,, a,,, ,,,, ,,,, ,,,, g,,, ,,,, ,,,, ,,,,
>> a_~>100~c',,, bag f#edc
>> a_~>100~c def#gabc' c'bagf#dcbc.
--sthayi
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--manjha
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--manjha rpt
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--antra
e~>100~f#f# a, b, f#, aa b, d', f#, aa bb d'd' e', f#'d',e' d'c'.
e~>100~f#f# a, b, f#, aa b, d', f#, aa bb d'd' e', f#'d',e' d'c'.
b_ded def#e ef#gf# f#gag f#,ed edc, edc, edc,.
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
b_ded def#e ef#gf# f#gag f#,ed edc, edc, edc,.
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
f#f#aa aabb bbc'c' c'c'd'd' e'd'c'b e'd'c'b e'd'c'b
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
f#aaa f#bbb f#c'c'c' f#d'd'd' e'e'e'd' e'e'e'c' e'e'e'b aagf#
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
aa bb aa c'c' aa d'd' aa e'e' bb c'c' bb d'd' bb e'e' bb f#f#
g'g' f#'f#' g'g' e'e' g'g' d'd' g'g' c'c'
g'g' f#'f#' e'e' d'd' c'c' bb aa gg
c', b, a, g, f#, e, d, c.
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
e~>100~f#f# a, b, f#, aa b, d', f#, aa bb d'd' e', f#'d',e' d'c'.
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
e'/c'//c'//c'//c'//c'//c'/ f#'/c'//c'//c'//c'//c'//c'/ g'/c'//c'//c'//c'//c'//c'/ a'/c'//c'//c'//c'//c'//c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
g'/c'//c'//c'//c'//c'//c'/ f#/c'//c'//c'//c'//c'//c'/ e'/c'//c'//c'//c'//c'//c'/ d'/c'//c'//c'//c'//c'//c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
c'/c'//c'//c'//c'//c'//c'/ b/c'//c'//c'//c'//c'//c'/ a/c'//c'//c'//c'//c'//c'/ g/c'//c'//c'//c'//c'//c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
e/c'//c'//c'//c'//c'//c'/ d/c'//c'//c'//c'//c'//c'/
e/c'//c'//c'//c'//c'//c'/ d/c'//c'//c'//c'//c'//c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
c/c'//c'//c'//c'//c'//c'/ c/c'//c'//c'//c'//c'//c'/.
/c'//c'/f#'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
/c'//c'/g'/c'/ /c'/ /c'//c'/g'/c'/ /c'/
/c'//c'/a'/c'/ /c'/ /c'//c'/a'/c'/ /c'/
/c'//c'/g'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/
/c'//c'/e'/c'/ /c'/ /c'//c'/d'/c'/ /c'/
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
--jhala
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
gccc a_ccc gccc bccc g_b_cc g_a_cc ggcc gf#ed
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
gccc a_ccc gccc bccc g_b_cc g_a_cc ggcc gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
--manjha
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--antra
e~>100~f#f# a, b, f#, aa b, d', f#, aa bb d'd' e', f#'d',e' d'c'.
--sthayi
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--manjha
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
--manjha rpt
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
--antra
e~>100~f#f# a, b, f#, aa b, d', f#, aa bb d'd' e', f#'f#' g'f# f#'f#' e',e' d',d' c',.
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
b_ded def#e ef#gf# f#gag f#,ed edc, edc, edc,.
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
f#ab, abc', bc'd', cd'e', e'd'c'b' a,gf# a,gf# a,gf#
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
f#f#aa aabb bbc'c' c'c'd'd' e'd'c'b e'd'c'b e'd'c'b
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
f#aaa f#bbb f#c'c'c' f#d'd'd' e'e'e'd' e'e'e'c' e'e'e'b aagf#
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
e'/c'//c'//c'//c'//c'//c'/ f#'/c'//c'//c'//c'//c'//c'/ g'/c'//c'//c'//c'//c'//c'/ a'/c'//c'//c'//c'//c'//c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
g'/c'//c'//c'//c'//c'//c'/ f#/c'//c'//c'//c'//c'//c'/ e'/c'//c'//c'//c'//c'//c'/ d'/c'//c'//c'//c'//c'//c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
c'/c'//c'//c'//c'//c'//c'/ b/c'//c'//c'//c'//c'//c'/ a/c'//c'//c'//c'//c'//c'/ g/c'//c'//c'//c'//c'//c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
e/c'//c'//c'//c'//c'//c'/ d/c'//c'//c'//c'//c'//c'/
e/c'//c'//c'//c'//c'//c'/ d/c'//c'//c'//c'//c'//c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
c/c'//c'//c'//c'//c'//c'/ c/c'//c'//c'//c'//c'//c'/.
/c'//c'/f#'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
/c'//c'/g'/c'/ /c'/ /c'//c'/g'/c'/ /c'/
/c'//c'/a'/c'/ /c'/ /c'//c'/a'/c'/ /c'/
e~>100~/e/ewd e, f#f# g, f#, e, f#f# gg f#f# e,ed,dc,.
/c'//c'/g'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/
/c'//c'/e'/c'/ /c'/ /c'//c'/d'/c'/ /c'/
c~>-50~/c/b_b_ a_b_ a_g_ f#_g_ a_b_ b_, c, b_, a_, b_, ee dd cd dd
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
--jhala
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
g'c'c'c' ac'c'c' g'c'c'c' bc'c'c' gbc'c' gac'c' ggc'c' gf#ed
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
/c'//c'/c'/c'/ /c'/ /c'//c'/f#'/c'/ /c'/.
bc'c'c'bc'c'c' d'c'c'c' d'c'c'c' bc' dc' bc' dc' ac' bc' cc' dc'
....
c',,, b,,, a,,, g,,, f#,,, e,,, d,,, c,,,. c,,,,,,,c,,,,,,,,,,,,,,,c,,,,,,,,,,,,,,.
free download link for the mp3: http://azrowear.net/download/56/yamadrutyb.mp3.html. Approx. time: 7 mts. Approx. size 7 mb.
My sincerest thanks are to our Linux/Ubuntu/Python/Gnome/KDC Community for their boundless generosity in freely providing the technology. I am, too small, a FLY/FRY before their MAGNANIMITY and UNSELFISHNESS. Hats off to Ben Fisher, Chris Walshaw, James Allwright, Seymour Shlien.
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About Me
- ybr (alias ybrao a donkey)
- 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.
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.
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.
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:
Best wishes and regards.
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.
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.
TEXT Contents
- #000 How to create music and albums of own music without buying and owning musical instruments?
- #002 Western Notation for Shankarabharanam varnam with free download
- #003 Hamsadhwani Varnam western notation and mp3 free download
- #004 Sri raga varnam western notation and free download of mp3
- #005 Saveri Varnam western notation and free download
- #006 kAlyANi varNam western script notation and free download of mp3
- #007 AbhOgi varNam with western script notation and free mp3 download
- #008 Malahari gItam ShrI gaNanatha with western script notation and free mp3 download
- #010 Western Script Notation for varavINA mridupANI and free mp3 download
- #011 Western Script Notation and free mp3 download of rAg Yaman fast tempo
- #012 nATakuranji varNam western script notation and free mp3 download
- #013 bEgaDa varNam Indian and western notation and free download of mp3
- #014 tune mAlkhaus with western script notation
- #015 sAranga varNam western and Indian notation
- #016 kAnaDa varNam Indian and Western Notation
- #017 South Indian tODi approximate NIndian Bhairavi
- #018 darbAr varNam Indian and Western Notation
- #019 valaji varNam - Indian and Western Notation
- #020 navarAgamAlika varNam -western Notation
- #021 kAmbhoji gItam - Indian and Western Notation
- #022 kAmbhOji varNam -western script notation
- #023 sAveri gItam -Indian and Western Notations
- #024 suddha sAvEri gItam -Indian and Western Music
- #025 bAgEswari drut gat (fast tempo) western notation only
- #026 kalyANi gItam -Indian and western notations
- #027 Hamsadhwani Lakshana gItam Indian and western notations
- #028 bhairavi svarajati Indian and western notation
- #031 bhairavi aTa tALa varNam Indian and Western notations
- #032 khamAj svara jati Indian and Western Notations
- #032 vasanta varNam -western notation only with free download
- #033 Practice Notes for rAga kanakAngi - western notation only
- #034 Western Notation for sarOja daLa nEtri in SankarAbharaNam Adi tALam
- #036 Flute playing -alternative note production
- #037 North Indian Tune dEsh fast tempo Western ABC Notation and mp3
- #039 tune vibhAs western ABC Notation
- #040 tune 'brindAvani sArang' abc notation and mp3
- #041 tune (rAg) bhUpali with western abc notation and mp3
- #042 tune (rAg) hamsadhwani western abc notation and mp3
- #043 tune durga (rAg durga) western abc notation and mp3
- #043 tune rAg bairagi (bairAg bhairav) western abc notation and mp3
- #044 tune (rAg) bhIm palAsi abc notation and mp3
- #045 rAg poorvi with abc notation and mp3
- #046 tune Amritavarshini abc notation and mp3
- #047 tune sunadavinodini abc notation with mp3
- #048 nAga gAndhAri with abc notation and free mp3
- #049 tune ranjani abc notation and free mp3
- #050 tune dharmavati abc notation and mp3
- #051 jaganmOhini rUpakam abc notation with free mp3
- #052 hamsanAdam banTu rIti abc notation and free mp3
- #053 How to generate midi or mp3 files using my own notations or your notations?
- #054 How to get Python IDE?
- #055 How to get Timidity Player?
- #055 Peculiar features of abc notations used in tunescript
- #056 -My first abc2midi file notation with mp3 in tune bhUpAli (mOhanaM)
- #058 rAga nAgasvarAVALi abc2midi notation and mp3
- #059 -rAg vijayanAgari mp3 and abc2midi notation
- #060 tune candrajyoti mp3 and abc2midi notation
- #062 tune kalyANa vasantam nAdalOluDai free mp3 and abc2midi notation
- #063 tune cArukEsi rAga ADa mODi kaladA tyAgayya free mp3 and abc2midi notation
- #064 kAnaDa rUpakam mAmava sadA janani free mp3 and abc2midi notation
- #065 tune udaya ravi candrika suddha dhanyAsi free mp3 and abc2midi notation
- #066 tune gAnamurtE instrumental mp3 and abc2midi notation
- #067 tune vasantabhairavi raga free instrumental mp3 and abc2midi notation
- #068 tune mAyAmALava GouLa mAyAtita mp3 and abc2midi notation
- #069 tune simhavAhini free instrumental mp3 and abc2midi notation
- #070 tune saraswati manOhari free mp3 and abc2midi notation
- #071 tune bindumAlini free mp3 and abc2midi notation
- #072 tune suddha bangALam free instrumental mp3 and abc2midi notation
- #074 tune nAsikAbhUshaNi instrumental mp3 and abc2midi notation
- #075 kadana kutUhalam both medium and fast tempo
- #076 tune simhEndra madhyamam free mp3 and abc2midi notation
- #078 tune rAmapriya free mp3 and abc2midi notation
- #079 tune saraswati anurAgamu lEni free mp3 and abc2midi notation
- #080 tune mOhana kalyANi free mp3 and abc2midi notation
- #081 tune hamsadhwani raghunAyakA free mp3 and abc2midi notation
- #082 tune bEhAg rhythm 4/8/16
- #084 hamsadhwani 4/8/16 beats SRI RAGHUKULAMANDU by tyAgarAja
- #085 tune pUrNacandrika 4 beat instrumental mp3 and abc2midi notation
- #086 tune naLina kAnti 4 beat
- #087 tune bilahari - composition paridAna miccite -paTnam subrahmaNya Ayyar
- #088 tune sAma 4 beat -abc2midi notation and mp3
- #089 kalyANi 4 beat vAsudEvA ani - tyAgarAja
- #090 shanmukhapriya - 4 beat - composer patnam subrahmanya ayyar
- #091 tune hamsadhvani - vAtApi gaNapatim
- #092 mOhana rAgam - nanu pAlimpa naDaci - 4 beat
- #093 tune suddh sAvEri kAlaharaNamElarA mp3 and abc2midi
- #094 Arabhi nAda sudhArasmbilanu mp3 and abc2midi notation
- #095 tune hamsadhvani rUpaka tALam 3 beat mp3 and abc2midi
- #096 tune madhyamAvati 4 beat - vinAyakunivale mp3 and abc2midi notation
- #097 tune sriranjani brOcE vArevarE raghupati free mp3 and abc2midi notation
- #098 tune hindOLam 4 beat sAmaja vara gamanA
- #099 tune kharahara priya -4beat -cakkani rAja mArgamu -tyAgarAja
- #100 tune kalyANi - khanDa cApu - amma rAvammA - tyAgarAja
- #101 kApI 5 beat - nI valla guNa dOsha - composer tyAgarAja
- #102
- #103
- #104
- #105
- #106
- #107
- #108
- #109
- #110
- #111
- #112
- #113
- #114
- #115
- #116
- #117
- #118
- #119
- #120
- #121
- 029
- 029 SankarAbharaNam gItam Indian and western notations
- 030
- 035
- 046
- 057
- 061
- 073
- 077
- 083
- 122
- 126
- 127
- 128
- 129
- 130
- 131
- 132
- 133
- 134
- 135
- 136
- 137
- 138
- 139
- 140
- 141
- 142
- 143
- 144
- 145
- 147
- 148
- 149
- 150
- 151
- 152
- 153
- 154
- 155
- 156
- 157
- 158
- 159
- 159A
- 3 beat
- 4 beat
- 5 beat
- 53rd Mother Tune (Melakarta)
- 7 beat
- Adi tALam
- Alhayya Bilaval
- amba vANi nannAda rincavE
- ANNAMACARYA
- Aparadhamulanni
- AsAvri thAT
- Bangalam
- bhajarE gOpAlam
- Bhanumati
- bhaTiyAr
- bhoop
- bhOpAli
- bhUp
- bilahari
- Bilaval thAT
- brOcE vArevarurA ninu vinA?
- brovabharama
- cakravAkam
- CarnATic Music
- chAyAnaT
- dhAtuvardhani
- Durga
- Dvijavanti
- Ear Training
- enta bhAgyamO
- enta nErcinA
- faraz tillAnA
- Gangeya bhushani
- Gavambodhi
- gouLi pantu
- gOvinda achyuta
- Gujri tODI
- hari kAmbhOji
- Haripriya
- hindOLam
- Hindustani Music
- Hindusthani Bhairavi
- Hindusthani Music
- Hindusthani Raag Sri
- Hindusthani tODI
- Jaijayavanti
- Jalarnavam
- Jammu
- Kafi Group (kAfi thAT)
- kalyANi
- Kanakangi
- Kashmir
- Khamaj thAT
- khamAs
- khanDa cApu
- kIra vANi
- Kosalam
- KURINJI
- latangi
- Listening Exercises
- Listening Quizzes
- madhyamavati
- malaya mArutam
- manasu lOni marmamunu telusukO
- mAra ranjani
- Marva thAT
- Mathya tALam
- mEgh
- mELa karta 45
- Melakarta 01
- Melakarta 02
- Melakarta 04
- Melakarta 08
- Melakarta 12
- Melakarta 22
- Melakarta 24
- Melakarta 25
- Melakarta 28
- Melakarta 33
- Melakarta 43
- Melakarta 45
- Melakarta 51
- Melakarta 54
- Melakarta 64
- Melakarta 65
- Melakarta 69
- Melakarta 71
- miSra cApu
- Mlakarta 28
- Morning Tunes
- Mother tune 47
- multani
- Music Lessons
- Music Notations
- muttayya bhAgavatAr
- muttuswami dIkshitar
- mysore vAsudEvAcAri
- North Indian Music
- North Indian Style
- pantu varALi
- Patnam Subgrahmanya Ayyar
- patnam subrahmanya ayyar
- pUrvI kalyANi
- rAg aDAna
- rAg bahudhAri
- rAg Gaula
- Rag Nasikabhushani
- rAg vibhAs
- Raga identification exercises
- Raganayaki
- rAma nannu brOvarA
- ratnAngi
- rUpaka
- rUpaka tALam
- rUpavati
- Salagam
- SankarAbharaNam
- Sankarabharanam Melakarta
- sAranga
- sAvEri
- Shivranjan
- Sivaranjani
- South Indian Music
- South Indian tODi
- SubhALi
- subhapantuvarALi mELakarta
- Suddh Saveri
- sUryakAntam mElakarta
- Svarajatis
- SyAma SAstry
- ta dhIm dhim ta tana
- tera tIyaga rAdA
- tODi thAT
- Tune bangAlam rhythm 4/8/16 western notation
- Tune family 45
- tunes without g
- tyAgarAja
- vAcaspati
- Vanaspati
- Venkatamakhi
- Visvambari
- Yaman
- उत्तर भारतीय संगीत
- कर्नाटक संगीत
- तिलंग
- राग बहुधारी
- हिंदूस्थानी संगीत
- కర్నాటక సంగీతం
- తిలంగ్
- హిందూస్థానీ సంగీతం
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musical name: bAgeswari drut gat fast tempo Literary name: no literature. Genre: North Indian Classical Music. North Indian Instrumental Mu...
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Musical name of the work: hamsadhwani lakshaNa gItam. Literary name of the work: are dakshiNa dwArakapuri nivAsa. Genre: South India...
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Musical name: SankarAbharaNam gItam. also spelt as ShankarA bharaNam . Literary name: gOvindAchyuta harE Genre: South Indian Music. South...
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The above video is a condensed version of the computer generated audio produced using the following notation, with mutatis mutandis ...
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Musical name of the work: bhairavi aTa tALa varNam. Literary name of the work: viribONI. Genre: South Indian Music. South Indian Classical ...
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MOHANA 4 beat "nanu pAlimpa naDaci" mp3 approx. 8 minutes 8 mb. with two different tempos and 3x2=6 instruments. free online liste...
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Musical Name of the work: kAnaDa varNam. Literary Name of the work: ninnE kOri yunnadi rA. Engl: She waits longing for you today. Genre: So...
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