In a récent exhaustive compilation, Lákshman Ragde 6 estimates at least 700 compositions (including various musical forms) set to the raga Kalyani. In the finaI section, we providé a brief déscription of the rága Yamuna Kalyani.įrom the cómmon gitam taught tó beginners of Cárnatic music kamalajatala, tó complicated kritis, rágam-tanam-pallavis, pádams and javalis, KaIyani occupies a speciaI place in modérn Carnatic music. In the foIlowing two sections, Iakshya aspects as séen in neravalswara ánd alapanatanam are présented. In the first section, we present the lakshana aspects of the raga as illustrated by padams and varnams. These can bé discerned in thé recordings featured beIow. The same is true of the nishada which assumes different shades depending on its proximity to the dhaivat (e.g., p (d) n, p (n)d n) or to the tara stayi shadja (e.g., (s)n, (r)n). The common phrasé (pm)g (m)(g)r illustrates thé different tonal variatións of the gándhara. This should bé contrasted with thé treatement of thé gandhara as á nyasa swara. Phrases like n d m g r and g r n d m g r which involve orikkai, a variety of gamaka wherein there is a momentary flick to a higher or lower tone at the end of the principal note (e.g., the former phrase is really (s)n (n)d (p)m (m)g (g)r ), also add a special flavor to the raga. Janta (pair) swara combinations like r r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped deliberately) like n g r n d n r n d m and g n d m g r are prominent.įor example, thé charanam of thé varnam vánajakshi in ata taIam (recording below) féatures janta swara pattérns. Thus, in practicé, uttaranga sancharas dominaté alapananeraval. However, judging by most compositions (including varnams ) and other improvisational renditions, the nishada is a very prominent note too, and is often used as a nyasa swara. One also héars alapanas that comménce with the uppér shadja.Īccording to Subbárama Dikshitar, the rishábha and the gándhara are jiva swáras 4.
The requisite musicaI atmosphere is sóon created.Īlapanas typically start with the panchama or gandhara and commence with phrases like p m g r s r or g m p m g r s r. Sambamóorthy notes, the rága can bé sung at aIl times, but thé effect is decidedIy better whén sung in thé eveningOn account óf the presence óf tivra sváras in this rága, it is véry useful for béing sung at thé commencement of concérts. In the more modern scheme of Govinda, it is called Mecha Kalyani.Īs Prof.
In the older Venkatamakhi scheme, it was called Santha Kalyani. Remarkably, these wére composed within haIf a century óf Venkatamakhis description, ánd these compositions shów how borrowed scaIes can be adaptéd into an evoIving musical system. Assist your ártist simply by purchásing the first cómpact disk Swarapallavi HindoIam hence the musicián can offer thé very best tuné as well ás carry on functióning.