Showing posts with label Carnatic Classical Music. Show all posts
Showing posts with label Carnatic Classical Music. Show all posts

Wednesday, August 13, 2014

Albert Einstein meets Raga Mohanam

Today I wanted to blog about an important musical concept. Who else could be a better guest in this particular blog other than the theory of relativity guy - our own favorite - saakshaath Albert Einstein? And which ragam could be a better one to describe this illusive musical phenomenon other than our favorite pentatonic queen Mohanam?

And now you are stuck with seeing my face again in Youtube. Please click the video below to hear me play Mohana raagam! Since I used the Bansuri to play this and since I incorporated vilambit laya sans south Indian gamakas, let us call this as Raga Bhoopali (which is the north Indian equivalent for the south Indian Mohana raga).



And remember, my previous promise to you is still true! For each time you click to hear me play, I will send you $ 10.00! All that you have to do is email me your invoice! There you go! I will paypal you some dough from my Gandhi kanakku bank account!

Mohanam is a beautiful raga. Even the wind chime that you buy at Home Depot plays it so nicely without having any idea that it is playing a beautiful Audava-Audava raga. Audava means 5 notes - pentatonic! Audava-Audava means both the ascending and descending has 5 notes each. Sa Re Ga Pa Da Sa! Or, in western notation - C D E G A C! In my hexadecimal notation system I call Mohanam as 024790! I once again refer you to my copyrighted piano figure below to understand why I call Mohanam as 024790. I use this system of nomenclature for its simplicity sake - it removes the ambiguity of the "sharp" and "flat" notes.


And now - talking about the main subject of this blog - that the visual and auditory perception are analyzed so differently by our intellect! Let us look at light perception. You can't see light below 400 nm (infrared). And visible spectrum starts at 400 nm. Your brain perceives this light - 400 nm - as "red light". That is true for all the humans. As soon as light is decoded by the visual cortex, the intellect stamps the "red" label on such a light that has a frequency of 400 nm. It is not like Indians see 400 nm as "red" while Chinese would look at the same as green! 400 nm is pretty red for all of humans, whether we are white, black, brown or yellow! And similarly the perception of a 700 nm light is "seen" as "violet" by the intellect. Thus there is a clear branding by the brain about what color is a particular frequency of light.

But in the auditory realm, the same thing of "light perception logic" don't hold true. Mother Nature decided to show you her caprice here! How dare you try to apply the logic of one known system to another system that you are trying to elucidate, you silly little mortal human! Can you ever decode Mother Nature! There she is, Mother Nature, laughing hysterically showing you her middle finger!

In visual perception, red is red whether it is next to green or blue. But in auditory perception, things are not absolute anymore, it is all just very relative! So, let us look at the auditory perception! Human ear is capable of hearing between 20 Hz to 20000 Hz. Mother nature doesn't brand sound waves as they pass through the auditory cortex just like the way she brands light waves! There is no branding of "Sa" or "Re" notes as the waves pass through the intellect. The psychoacoustic perception is a very relative phenomenon - you perceive one note only in relationship to the adjacent note and not by the absolute value of the solitary note alone! In fact in music perception, brain never finds joy in the notes themselves! What matters is the frequency distance between the notes and not the notes themselves. The joy of music is in listening to the various tonal patterns and not in the tones themselves!

Play a 261.62 Hz frequency note (which is the note middle C, by the way) and let us see what the heck the brain does! It cares a damn! Really! Try it! But then, as an experiment, play the 261.62 Hz frequency first and then successively play 293.66 Hz (which is note middle D), and then 329.62 Hz (which is note middle E), and now the brain begins to wonder if you are playing the Sa Re Ga of Mohana raga! So, when you are playing the raga Mohanam - 024790 - the brain never looks at the absolute notes as mentioned above! What matters is just the difference between the notes! So, all that the brain cares about is the pattern of tonal differences between various notes - and thus in this example, 22323 is the the tonal pattern that creates the "music of raga Mohanam"! I arrived at 22323 as the pattern representing raga Mohanam because the Sa and Re of mohanam are separated by 2 semitones, then Re and Ga are separated by 2 semitones and then between Ga and Pa separated by 3 semitones and so forth making "22323".

It is unbelievable how the theory of relativity applies in various aspects of our life. My parents see me as a son, my aunt sees me as a nephew, my daughter sees me as a father and my wife sees me as a lover (I could have said husband but the word "lover" gave me a little bit of a kick!). So, look at the various avatars that we all have in this world! It is like the photograph of your house that looks so different from the front, and the sides and the back! Unless you have been to that house and know it well, you may not even associate the picture of the front of a house to the picture of the back of the house and realize that they both are of the same house! It is all just different perspectives of the same thing, isn't it?

Look how tonal pattern that makes the raga Mohanam (22323) takes various dimensions based on how you look at it:

22323 equals raga Mohanam!
23232 equals raga Madhyamavathi (looking at Mohanam from Re Ga Pa Da Sa Re)
32322 equals raga Hindolam (looking at Mohanam from Ga Pa Da Sa Re Ga)
23223 equals raga Suddha Saveri (looking at Mohanam from Pa Da Sa Re Ga Pa)
32232 equals raga Suddha Dhanyasi (looking at Mohanam from Da Sa Re Ga Pa Da).

When I concluded my Bansuri alapana in the above Youtube video, the short vocal alapana that I did was raga Nagaswaravali - Sa Ga Ma Pa Da Sa (045790). The tonal pattern for raga Nagaswarali is 41223. Why don't you look at that pattern in various ways - example "12234" or "22341" or "23412" or "34122" and see what other ragas you get out of it! That would be a good exercise on your keyboard!

And by the way, when Einstein came to my home to visit me, he appeared to be a little disappointed in me for wearing the same Kurta Jeans in my four Youtube videos that I have posted so far.  He also told me that I should consider hair transplant before posting stuff on Youtube!

Einstein sir, don't you know that pulchritude possesses solely cutaneous profundity? Anyway, I do agree with you regarding changing the Kurta Jeans in my next video! Until next time, cheers and see you again!







Thursday, August 7, 2014

Vigna Vinayaka - Ranjani Raga - Lord Ganesha

Lord Ganesha is a very enigmatic divine figure! He has a lot of uniqueness in Hindu mythology! Not many Gods are horizontally challenged like him! Not many Gods have animal heads like him! He proved himself very smart when it came to winning the competition started by Narada muni! These two kids had to come around the world 3 times to win the competition to prove themselves worthy of getting the much coveted fruit that Narada muni gave to Lord Shiva! Who would go around the entire 24901 miles - the actual earth circumference?

Christopher Reeves may have had the power to make the earth spin anti-clockwise to regress time in Superman! But Lord Ganesh, being a naive God child, seriously wondered his limitations, especially with his weight challenge! Could he make that long trip of 74703 miles! He used all his astuteness and figured out one thing! As a child, if he argued cutely wagging his trunk hither and thither, that "his subjective world" was just his "parents", then who could repudiate that common-sense driven logic? So, he just did that very same thing, while Lord Karthikeya was stupidly trying to whirl around the humongously big spherical earth!  He simply dumbfounded his silly and oll-lly (tamil word) brother Karthikeya when he returned back from his international trip! He didn't sweat a darn, just sat there in the nice, chilly and cozy mount Kailash, with a sly grin and told his brother that he was the victor! Put yourself in the position of Lord Kartikeya and just try to feel how much it would have made you feel angry - to be defeated by the chicanery of this elephant-headed sloth!

Anyway, my mother decided not to discriminate against this seemingly cunning God! She wrote this nice song all in praise of him! It is set in Ranjani raga!


Pallavi:
Vigna Vinayaka charanam charanam!
Dhukka nivaarana charanam charanam!

Anupallavi:
Bhakthiyudan unnai niththam thudhi paada
Sakthi maindhaa enakku sakala balam tharanum!

Charanam:
Sankaran pudhalvaa sankadangal thavirpaai
Omkaara roopanae paangaagavae vandhu
Singaara velanin seermigu sodharaa
Mangala moorthiyae magimaiyura varanum!

My mom looked at Lord Vinayaka from his father point of view (Sankaran pudhalvaa), and brother point of view (Velanin sodharaa) and also called him as "dhukka nivaaranaa". Lord Ganesh will not only cure your illness after your being afflicted, but he is also good at "preventing illness even before it occurs". He knows that prevention is better than cure, so you better start any pooja with Ganesh prayer first! Even if you are a vaishnavite, you may start your pooja with praying at least "Thumbikkai Aazhvaar"!

And now, I sang a raga that is just related by namesake to the above Ranjani raaga that my mom used for her song! Click below to hear me sing and see if you can identify the raga:


I remind you once more to my hexadecimal methodology of naming musical notes. Please see the self-explanatory figure below:


Ranjani raga has different arohanam and avarohanam. Thus when you go up (arohanam) you go "023690" and when you come down (avarohanam), you play "0b9630". Try that! You got Ranjani now!

And the raga that I sang above is Mararanjani (25th melakartha). It has the same arohanam and avarohanam. Play "02457890" up and down and you got Mararanjani!

You probably wonder why it sounds so close to Charukesi! Playing Charukesi is simple - "024578a0". Try that in your keyboard! Thats it! So, now you see that Mararanjani and Charukesi are very closely related ragas! Instead of "9" (Na1 in Mararanjani), you have to go with "a" (Ni2) to get Charukesi.

And the last 30 seconds in the above video I sang "Saama" - its arohanam is "025790" and its avarohanam is "0975420". Do you see how these ragas are genetically related?

Have fun playing your keyboard! Cheers, until next time!

Sunday, July 27, 2014

Raga Marvels - Hamsanadam and Varali

Thank you to all of those thousands of people who listened to my previous raga alapana and tried to figure out what raga it was as per my request. Now, before we go into the answers to those questions, I sang again today. I sang Varali and Hamsanadam.



These two are seemingly unrelated ragas. But, you know what, these are so closely related to each other genetically. Let us see how!

Varali - it is the 39th melakartha raga with all the 7 swaras:

Sa Ri1 Ga1 Ma2 Pa Da1 Ni3 Sa
Sa Ni3 Da1 Pa Ma2 Ga1 Ri1 Sa

The first Rishabha, the first Gandhara and all the ones and twos are confusing isn't it? That is why I want to use a new methodology to denote music. Who knows - this may become the accepted methodology in the future scientific world. Since there are 12 notes in one octave, we can't use the decimal system to notate them. Hence, I went with the hexadecimal system.


Please see the piano key note charting that I have included as an image in this blog. That is self-explanatory. My hexadecimal notation is marked in "red ink". Now this new notation system removes the complexities of music, ie, whether you have to play the small Ri, or big Ri, or E sharp or E flat etc. The new hexadecimal system that I have given you below doesn't have any ambiguity. If you are a student of carnatic music and want to try ragas and don't know where to start, here you go, today after reading this blog you can play Varali and Hamsanadham!


Lakshmi's Hexadecimal Nomenclature
Western Nomenclature
Indian nomenclature
Physics
0
C
Sa
X+X0/12
1
C# or Db
Ri1
X+X1/12
2
D natural
Ri2 or Ga1
X+X2/12
3
D# or Eb
Ri3 or Ga2
X+X3/12
4
E natural
Ga3
X+X4/12
5
F natural
Ma1
X+X5/12
6
F# or Gb
Ma2
X+X6/12
7
G
Pa
X+X7/12
8
G# or Ab
Da1
X+X8/12
9
A natural
Da2 or Ni1
X+X9/12
a
A# or Bb
Da3 or Ni2
X+X10/12
b
B natural
Ni3
X+X11/12
0
C
Sa
X+X12/12

Varali in my hexadecimal notation system would be represented as: 012678b0! That is it! Isn't that darn simple to notate a ragam?

And now - Hamsanadam is a pentatonic ragam with just 5 swaras:

Sa Ri2 Ma2 Pa Ni3 Sa
Sa Ni3 Pa Ma2 Ri2 Sa

And in my hexadecimal notation system this would be notated as: 0267b0! That is it.

Now you take your keyboard and practice the above two ragas based on the notation that I gave you! You are done. You have learnt the above two ragas! But, without gamakas, there is no Indian music, both North and South Indian. We will talk about the gamakas in future.

Look how similar these two ragas are - 0267b0 is Hamsanadam and 012678b0 is Varali - there are two extra notes in Varali compared to Hamsanadam - add the note "1" between "0" and "2" and add note "8" after "7" and that is it! That makes the pentatonic Hamsanadam into the heptatonic Varali!  The psychoacoustic quality of the raga completely changes between these two ragas just because of subtle addition of such close notes as above.

And look at the genius of the Indian music system - in no other world music system that I know of, do we have a raga like Varali - it has got 4 straight adjacent notes such as b012 (which are 4 continuous note in the keyboard) and after skipping notes 345, it then recruits 3 adjacent notes again - 678! Wow! How can you make melody out of this cacophonic mess! That is the beauty of Indian music system!

Listen to wonderful Thyagaraja's Bantureeti Kolu in Hamsanadam or Papanasam Sivan's Kaa Vaa Vaa in Varali and then go to your Keyboard practice! Cheers!

We will talk about the answers to my previous questions soon!

Thursday, July 24, 2014

Song on Goddess Saraswati, Amruthavarshini raga & Music quiz

If you had few minutes please listen to my amma’s song that I uploaded in youtube recently. This is the 4th song of hers that I have uploaded so far. She wrote this song on Goddess Saraswathi. Ragam is Amruthavarshini.

In the creator/preserver/destructor triumvirate, the Brahma, Vishnu, Shiva mummoorthies, so to speak, lord Brahma is kind of like divine step child. You would want to assume that the creator, Lord Brahma would be as important as the other two, but for reasons unclear, the rest of them became a lot more popular than Lord Brahma. They got all the temples, all the offerings from the Bhakta jana (especially Vishnu getting such a fortune in Tirupati alone) while Brahma got nothing. Is the theory true that Hindu people favored those Gods that possessed weapons (such as Vishnu with his Sudarshana Chakra, and Shiva with his Trident) and since Brahma did not have any armamentarium, he got banned? 

Or is it true that Lord Shiva cursed Brahma that he wouldn't have anybody in the world worship him? I guess we will never get to know the answer to this idiosyncratic discrimination of one of the most important Hindu Gods! It kind of sounds silly that Lord Shiva would curse him like that, but my amma, chose not to discriminate at all! She wrote this song on Lord Brahma’s wife, Goddess Saraswati!


Pallavi:


Veenai Aendhum Vaaniyae
vedham potrum puraaniyae!

Anupallavi:


Brahma devan paththini
kribai seidhennai rakshi nee!

Charanam:


Paadum paatin porulum nee
Aedum, aettin vadivam nee
Thaedum gnaana guruvum nee
Unai naadum enakku arula vaa!

Writers take the liberty in twisting existing words, change it into a new form and give it a new meaning. That is a matter of their creativity. Shakespeare is credited with creating about few thousand English words. I remember long ago reading a Tamil word in a popular writer's novel. He did something like that. The opposite of Tamil word “Iyarkai” (இயற்கை, meaning natural) is “seyarkai” (செயற்கை, meaning unnatural). I remember this Tamil writer to have coined a new word “un-iyarkai” (அனியர்கை). That is a polyglottic expression, mixing “un” from English and then adding “Iyarkai” (இயற்கை) from Tamil and then making a new, funny word out of it. I think it was in a Sujatha’s book that I read that. Once a word like this gets coined, then it is up to the public to use it or not. When shakespeare used “friended” instead of “befriended”, people could have ridiculed him for writing “wrong English”. But, Shakespeare knew better. What is right and what is wrong in this world! As long as it conveyed what he wished to express, then he must have gotten happy with it and not worried about the readers. Let them interpret it however they want to, and if they chose to call Shakespeare as a guy who didn’t know to write proper English, then so be it!

My amma did something like Shakespeare in this song. She chose to call Goddess Saraswati as “Puraani”, meaning, a Goddess that is described in “Puranam” (the scriptures), and also used it to denote “a Goddess belonging to the really really olden times” (Puranam means “old” as well). And then she took it upon her creativity to make that word into a feminine gender by calling her as “Puraani”! Then “Puraanaa" could probably be used to denote masculine gender - like for instance, Lord Brahma!

And talking about Amruthavarshini - it is funny how this raga got associated with its ability to align all the clouds right over your head and pour all its moisture content on you as torrential rain! Does that really happen? No, it doesn't! It is just a silly folklore! It is like believing that the Gods would reward the politicians for offering their prayers and "black money" dumped into the Tirupati Hundial! As though Clouds and Gods don’t have anything else to do! They are as much children of mother Nature, just like as we all are, and they pour their pleasing rain or reward when the “Fate maharaja” orders those events to happen! So, the real power-monger in this universe is not the God, or the Satan, but our illusive "Fate Maharaja". He is the real Dharma raja!

And now guys, pardon me for using this opportunity to start singing! But I couldn't help it. Since amma did her song in Amruthavarshini, I chose sing a closely related raga, and elaborated 1.5 minutes of raga alapana. I hope you will listen to this video that I uploaded and make it as a viral hit so that I can become like Gangam style Psy! I promise you, I will pay $ 10 for each and every person who listened to my youtube video! After you listen to it fully, send me your invoice and address and I will send you the money from my Mahatma Gandhi bank! After you listen to it, please go to the music quiz below.

A) What is the name of this raga?
B) What is its relationship to Amruthavarshini, and Vasantha?
C) What is its relationship to Hamsavinodhini and Sankarabharanam?
D) What is the physical (tonal) relationship between Amruthavarshini’s “Ma Pa Ni” and Revathi’s “Sa Ri Ma”?
E) And do you have any comments about the psychoacoustic similarity or dissimilarity of the above two phrases in question D?

You can gladly write your comments below in the blog. I will update this blog in few days to discuss the answers to the above questions.