Grahabhēda in Svrāntāra Varieties
Grahabhēda in Svrāntāra Varieties
Grahabhēda in Svrāntāra Varieties
This group consists of various rāgas which are Svarāntāra either in Ārohana or
Avarohana, i.e. Svarāntāra, Svarāntāra-Audava, Svarāntāra-Shādava, Svarāntāra-Sampoorna
rāgas. See the Murchanas of these rāgas.
1. ANNAL (59)
Srmps–sndpmgrs
RXXXMPXXXXSXR
SXXXGMXXXXNXS
RGXXMPXDXNSXR
Sgmns–sndpmgrs
PXXXXSXRXXXMP
S X X X X MX P X X X N S
PXDXNSXRGXXMP
Smpns–sndpmgrs
Sgmds–sndpmgrs
GMXXXDXXSXXXG
SRXXXMXXDXXXS
382
GMXPXDXNSXRXG
Srmds–sndpmgrs
MXXXDXXSXXXGM
S XXXGXXPXXXNS
MXPXDXNSXRXGM
Sgpns–sndpmgrs
DXXSXXXGMXXXD
SXXGXXXPDXXXS
DXNSXRXGMXPXD
Sgpds–sndpmgrs
3. BHUTANĀTHAN (10)
Sgpds–sdpgs
GXXXPXDXXSXXG
PXDXXSXXGXXXP
DXXSXXGXXXPXD
383
4. CHATURĀNANA (28)
sgmds–sdmgs
GMXXXDXXSXXXG
MXXXDXXSXXXGM
DXXSXXXGMXXXD
5. DAMAYANTI (64)
Sgmps–sndpmgrs
PXXXXSXXXGXMP
SXXXXMXXXDXNS
PXDNXSXRXGXMP
Smdns–sndpmgrs
6. ĒKAMBAN (29)
Sgpds–sdpgs
GXXPXDXXSXXXG
PXDXXSXXXGXXP
384
DXXSXXXGXXPXD
7. INDIRA (08)
Sgpns–snpgs
GXXXPXXNXSXXG
PXXNXSXXGXXXP
NXSXXGXXXPXXN
8. JNĀNAYURTHI (09)
Sgpns–snpgs
GXXXPXXXNSXXG
PXXXN SXXGXXXP
NSXXGXXXPXXXN
9. KUJAN (16)
Sgpns–sndpmgrs
385
NXSXXXGXXPXXN
SXRXXXMXXDXXS
NXSRXXGMXPXDN
Srmds–sndpmgrs
Sgpns–sndpmgrs
GXXXPXXNXSXXG
SX XXGXXPXDXXS
GXMXPDXNXSRXG
Sgpds–sndpmgrs
NXSXXGXXXPXXN
SXRXXMXXXDXXS
NXSRXGXMXPDXN
Srmds–sndpmgrs
Srmds–sdmrs
RXXXMXXDXXXSR
386
MXXDXXXSRXXXM
DXXXSRXXXMXXD
Sgpns–sndps
PXXXN SXXXGXXP
SXXXGMXXXDXXS
PXDXNSXXXXXXP
SXRXGMXXXXXXS P – to be named
Sgmds–smgrs
Sgpds–sdpgs
GXXXPDXXXSXXG
PDXXXSXXGXXXP
DXXXSXXGXXXPD
387
14. MAHATI (28) or Tannavan (14)
Sgpns–snpgs
GXXPXXNXSXXXG
PXXNX SXXXGXXP
NXSXXXGXXPXXN
Srmps–sndpmgs
MXPXXXXSXRXXM
S XRXXXXPXDXXS
MXPXDNXSXXXGM
Srpds–snpmgrs
PXXXXSXRXXMXP
SXXXXMXPXXNXS
PXDNXSXXXGMXP
Smpns–sndmgrs
388
16. NĀGA PRIYAN (59)
Srmps–sndpmgs
PXXXXSXRXXXMP
SXXXXMXPXXXNS
PXDXNSXXGXXMP
Smpns–sndpmgrs
Sgmps–sndmgrs
MXPXXXXSXXXGM
SXRXXXXPXXXNS
MXXXDNXSXRXGM
Srpns–sndpmgs
Sgpns–snpgs
GXXPXXXNSXXXG
PXXXN SXXXGXXP
389
NSXXXGXXPXXXN
Sgmds–sndmgs
GXMXXXDXXSXXG
SXRXXXMXXDXXS
GXMXXXDNXSXXG
Srmds–sdpmrs
MXXXDXXSXXGXM
S XXXGXXPXXNXS
MXXXDNXSXXGXM
Sgpns–snpmgs
Sgpns–sndpmgrs
PXXNXSXXXGXXP
SXXGXMXXXDXXS
PXDNXSXRXGMXP
Sgmds–sndpmgrs
390
NXSXXXGXXPXXN
SXRXXXMXXDXXS
NXSXRXGMXPXDN
Srmds–sndpmgrs
Sgmps–sndmgrs
GXMPXXXXSXXXG
SXR GXXXXDXXXS
GXMXXDXXNSXRXG
Srgds–sndpmrs
Sgmds–sdmgs
GXMXXDXXSXXXG
MXXDXXSXXXGXM
DXXSXXXGXMXXD
391
24. TANNAVAN (14) See Mahati (28)
sgmds–sdmgs
GXMXXXDXXSXXG
MXXXDXXSXXGXM
DXXSXXGXMXXXD
SRMDS–SNDPMGRS
RXXXMXXDXXXSR
SXXXGXXPXXXNS
RXGXMXPDXNXSR
Sgpns–sndpmgrs
MXXDXXXSRXXXM
S XXGXXXPDXXXS
MXPDXNXSRXGXM
Sgpds–sndpmgrs
392
DXXXSR XXXMXXD
SXXXGMXXXDXXS
DXNXSRXGXMXPD
Sgmds–sndpmgrs
Sgmps–sndpmgrs
MXPXXXXSXXXGM
SXRXXXXPXXXNS
MXPDXXNSRXXGM
Srpns–sndpmgrs
Srmps–sndpmgrs
RXXMXPXXXXSXR
SXXGXMXXXXNXS
RXGMXPXDXNSXR
Sgmns–sndpmgrs
MXPXXXXSXRXXM
SXRXXXXPXDXXS
393
MXPXDXNSXRXGM
Srpds–sndpmgrs
PXXXXSXRXXMXP
SXXXXMXPXXNXS
SXRXGMXPXDNXS Smpns–sndpmgrs
394
CHAPTER XIII
CONCLUSION
Indian music is very rich in traditions and has changed through a very slow process,
so new in Indian classical music is not easy to locate. As in every research, the research in
Indian music also has been finding new facts and it is theoretical as well as practical.
The origin of our music can be traced back to Vēdas. The first note of the sāma gāna
became its key note. This gave rise to Murchanas, mēlas, jātis and rāgas. As the key note of
each song shifted, sāma was able to use Svaras of various intervals known in modern
musical parlance as komala, tivra etc. We find after vēdic music, references to grāma rāga
and jāti gāna in the Mahabharata and Ramāyana respectively. But there is no evidence of
the process and manner of evolution between vēdic music and the Grāma-Murchana-Jāti
system in the epic, Ramāyana.
My study goes deeper into the very rudiments and traces its origin from Sāmavēda
and its development through Grāma-Murchana-Jāti system and Mēla-Janya rāgas. This
ancient music culture seems to have permeated through several millennia of oral traditions.
Transcription of these traditions, however, was a relatively recent event i.e. as late as 300
B.C. In my Book “Rāgas through Modal Shift of Tonic”, I had taken the view that this veil
surrounding our ‘Ancient Music’ is by no means accidental; it was probably a deliberate act
of ‘encoding’ on the part of an advanced ancient civilization that had revelled in this music
Vēdic music and the grāma murchana jāti system were discussed and analysed for
getting an idea of the commencement of the process of Grahabhēda. The concept of
grāma, murchana and jāti were fully developed during Bharata’s period. We see, therefore,
that the scientific foundation our music consisting of grāma, murchana and jāti was laid
during the period. Jāti, grāma rāgas and dēsi rāgas have contributed to the magnificent
melodic evolution of our music. The evolution of rāga system is like a perennial river and a
rāga that is obscure today may blossom into a popular rāga tomorrow.
The topic taken up for research is ‘Rāgas through Modal Shift of Tonic’. Only a very
few books have been written on Grahabhēda. Earlier books have neglected the Grahabhēda
395
possibilities of a large number of rāgas because deducing them manually requires "an
enormous amount of time". I have dealt with these aspects in great detail
The purpose of the study is to familiarise the method in which new scales were
originated through the application of Grahabhēda since practical oriented research in
Carnatic music found to be inadequate.
The main purpose of this book has been to show the process of modal shift of tonic
and how the intervals of various scales were redistributed to find out new scales. Many
unknown rāgas have been brought out for this purpose. The hypothesis is that music being a
creative performing art, the experimental application of the process of modal Shift of tonic
to find out new rāgas. What I have actually tried to discuss is the possibilities of arriving new
scales by various applications. Grahabhēda is one among them. Almost all the varieties of
rāgas such as Heptatonic, Hexatonic, Pentatonic and Svarāntāra are experimented by the
application of the process of Grahabhēda and we could see the resultant scales.
After the study, I have reached some generalisations which were explained in
chapter II, Grahabhēda and chapter III, Murchanakāraka mēlas. The main findings are given
as in the following.
1. If of two rāgas A and B, A’s Panchama murchana results in B; and B’s Madhyama
murchana rāga will be A. Janya rāgas with similar patterns of Ārohana and
Avarohana (i.e., Audava Sampoorna or Shādava Sampoorna, etc.) and derived from
Samvādi mēlas will also bear these relationships.
2. If of two rāgas A and B, A’s Gāndhāra murchana results in B; and B’s Dhaivata
murchana rāga will be A.
3. If of two rāgas A and B, A’s Rishabha murchana is equal to B; and B’s Nishāda
murchana equal to A.
4. The Nishāda murchana of a rāga taking Suddha Nishāda will result in a rāga taking
the Shatsruti Rishabha.
396
5. The Gāndhāra murchana of a rāga taking Suddha Gāndhāra and Suddha Madhyama
will give rise to a rāga taking Shatsruti Rishabha
6. Of the 56 Murchanakāraka mēlas there are 20 which are capable of yielding one
scale each, 18 mēlas: yielding 2 scales each, 12 mēlas: yielding 3 scales each and 6
mēlas: yielding 5 scales each by the process of Modal Shift of Tonic.
(1,51). (2,19,53), (3, 54, 55), (4,25), (5,61), (7,17,63), (8,20,22,28,29,65), (9,35,56,66),
(10,23,26,64), (11,62), (13,69), (14,21,58,71), (15,57,72), (16,27,59), (18,43), (24,32),
(30, 34,44), (33,60), (36,45) and (46,70).
8. There are 10 mēla pair in Grahabhēda. (1,51), (4,25), (5,61), (11,62), (13,69), (18,43),
(24,32), (33,60), (36,45) and (46,70).
9. There are 6 mēla triples in Grahabhēda. (2,19,53), (3, 54, 55), (7,17,63), (15,57,72),
(16,27,59), (30, 34,44).
397
14. The seventh chakra, ‘Rishi’ is the only chakra in which no mēla is capable of
producing resultant scale by the process of Modal shift of Tonic.
15. Madhyama murchanas of Prati Madhyama mēlas will not result in correct scales.
18. Mēchakalyāni is the only mēla whose Panchama murchana give rise to its
corresponding Suddha Madhyama mēla
19. Gopriya; furnishes the solitary example of a rāga which results in the same scale in
the process of Modal Shift of Tonic, whatever the tonic note is chosen.
20. There is another rāga, Lokapriya which is a Janya of 13th mēla which results in the
same scale in the process of Grahabhēda, when its Gāndhāra and Dhaivata are taken
as tonic note. The other notes give rise to different rāgas.
Unlike some other musical systems where compositions are tied to specific octaves
(or base notes, or tonics) Indian classical music does not have a fixed reference for
performing. The performer chooses his or her own pitch and sings a composition. This
becomes the Ādhāra Shadja – or the base note for the performance.
Performers sometimes execute a Grahabhēda during their singing; this means that
they switch the base note for short intervals, and create a different rāga and a different
mood). This requires a degree of finesse to do an effective and elegant Grahabhēda. It is a
challenge to a vocalist, comparatively trivial to instrumentalists.
Musicians with sound Svara jnānam and experience may occasionally attempt
Grahabhēda in the course of a rāga Ālāpana, just as a melodic variety and as a vichitra
kālāpana. The term anya rāga Kāku occurring in early music literature suggests that
Grahabhēda was occasionally resorted to in appropriate places. Only certain classes of rāgas
admit of this treatment; and even in them only certain Svaras will be found fit as tonic notes
for the purpose of Grahabhēda. Grahabhēda need not necessarily create a feeling of
398
confusion. To the intelligent listener, the new rāga will just strike as a flash, on the
background of the basic rāga. It will be wrong on the part of a musician to sit tight over the
new tonic note as the Ādhāra Shadja itself, and forgetting the old sruti altogether, though
temporally, sing the resultant rāga in the new sruti. The phrases sung or performed with the
new tonic note should lie within the limits of a fraction of an octave. In some rāgas, there is
more scope to show these things more clearly.
According to me, practicing Grahabhēda in the sphere of rāga ālāpana and Kalpana
Svara may help one to acquire Svara jnānam. For the musically inclined with an innovative
touch, this kind of analysis can help in looking for and creating new rāgas, which may be
very good to listen to. Usually, if a rāga has well spaced svaras, in terms of frequency ratios
and vivādi notes, their grahabēdhas produce good rāgas too. Not all such Grahabhēdas of
popular rāgas have been exploited
Classical music is a complex art and a taste for it, is acquired over a number of years.
Special techniques have to be dēvised to elicit responses from listeners of classical music.
There is a popular fallacy that music can only be demonstrated and not written about it.
Music as a descriptive suffers from lack of research, so less research has been done in music
than in the social science. Most artists feel that it is not possible to express anything their
art with more words; they feel happy when they demonstrate their point by singing rather
than by talking. The thesis is an outcome of the devoted study of new rāgas through the
application of the process of Modal Shift of tonic..
The source, which provides materials for constructing a detailed study of music, is
varied and extensive. I have mainly employed sources from books, periodicals, reference in
the literature, printed materials, interviews, radio, CD’s, Cassettes, Websites, web articles
and live concerts. It provides factual knowledge, which encourages independent thinking, a
growing understanding and increased appreciation of fundamental principles and values in
music.
I haven’t given names to many of the new rāgas, which are arrived by the process of
Modal shift of Tonic, since most of them are not known to the present sphere of music. It
may be named by the musicologists, musicians and Rasikas as well.
399
In this thesis, I have shared my views with the Reader regarding the concept of
reviving and installing the ‘Rāgas through Modal Shift of Tonic’ in today’s environment. I
would also welcome the Reader’s views for any alternative options towards this end. I have
enclosed a ‘Compact Disc’ (CD) along with this thesis to serve as ‘self-learner’. Various
possibilities and practical applications and demonstrations of Grahabhēda are given in this.
Three videos and some audio files, in which a Jugalbandi by Dr. Balamurali Krishna and
Pandit Jasrāj, performances by Sri Sanjeev Abhyankar, and Dr. Nāgavalli Nāgaraj featuring
Grahabhēda, in rāga Ālāpana and Svara singing as well, have been included. A PowerPoint
presentation is also included in the Compact disc for getting a faster idea on Grahabhēda.
400
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