tag:blogger.com,1999:blog-3356496417900922382024-03-08T13:44:30.444-08:00YAMINIAnonymoushttp://www.blogger.com/profile/11844973540521517608noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-335649641790092238.post-67046159833359811542015-06-06T10:59:00.000-07:002015-07-16T00:29:07.002-07:00LOST MELODY: RAGA BAGESHRI AHIR BHAIRAV<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Mishrit</span></i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;"> or <i>jod </i>ragas are a tricky area of Indian
Classical Music. A person like me cannot create and launch a new <i>sammishran</i>, unless I am, and also <i>am considered</i>- an authority. The <i>Gharana</i> I belong to, Gwalior, being one
of the oldest and traditional, is not that excited about <i>sammishran.</i> Readers might have seen the movie <i>Sur Sangam</i> (based on <i>Sankarabharanam</i>)
– Pt. Shivasankar Shastri (Girish Karnad) is furious with his daughter when she
uses <i>re </i> in Kalawati- that was Pt. Ravi Shankar’s
innovation historically which became a big issue one day. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">There are some reasons for the
orthodox approach.<i> Firstly, </i>the
traditional ragas have survived the test of time and can never be nine-day
wonders like <i>Gandhi Malhar</i>. Naturally
a new <i>mishran</i> has not stood the test
of time. Over time, virtually all viable combinations must have survived as
known ragas. Some authorities like Ustad Amir Khan have tried all 5040 <i>swara</i> combinations, called the <i>merukhand</i>, and found that only around 168
are melodious. All facets of human emotions have been covered by the system. <i>Secondly</i>, a raga follows strict grammar
and if you seriously launch a new raga, who will be the referee? Who will
decide the rules of <i>vaadi-samvaadi </i> or <i>chalan</i>
etc. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Even then, as more and more
practitioners and <i>shrotas </i>or
listeners could reach this music, it was clear that nothing should be static,
and our music must be freed of chains to the extent possible. Geniuses like Pt.
Ravi Shankar and Pt. Bhimsen Joshi experimented with ragas and some like <i>Jansammohini </i>or <i>Kalashree</i> are now frequently sung. It is like the English language,
where also the authority of Oxford is a thing of the past.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">The <i>mishrit</i> raga <i>Bageshri Ahir
Bhairav</i> which we are discussing here was created and played in this shape by
Pt. Hari Prasad Chaurasia sometime and was found by us in a family collection.
That was the first time we had heard of this innovation of the greatest
flautist, and was put on youtube by me:<o:p></o:p></span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/teuB0ceubuk/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/teuB0ceubuk?feature=player_embedded" width="320"></iframe></div>
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<span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">I, guided by my </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">guru</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;"> Mrs. Shubhangi Ghan analysed
the raga out of academic interest, particularly as it was an attempt to combine
two dramatically opposite ragas so far as the performance timing is concerned,
that too, two </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">gayaki </i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">ragas, on flute.
It is easy to reach the </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">swara</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;"> from
the composition, but very difficult to attempt the reverse. The earlier one is like
finding the landline number at a given address, and the latter, like locating a
lost friend with the last five digits of
her or his cell number. Moreover as our g</span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">uru
</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">Pt. Ramashray Jha ‘Ramrang’ used to
say, the raw </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">swaras </i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;"> are the same, the way they are used determines
the raga.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Add to that the challenges
in producing a non-<i>shuddh</i> <i>swara</i> on the flute and the innate beauty of the flute which keeps distracting you!<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">To begin, I repeat below the
theory of <i>mishran</i> or <i>jod</i> given very crisply by <i>swarganga.org </i>:<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;">The basic principles in combining
two raag is the constituent raags should complement each other. The emotional
effect of combining them should be pleasing and not disturbing, and not only
for intellectual curiosity. There are at least two forms of Jod raag.</span></div>
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<div class="MsoListParagraphCxSpFirst" style="margin: 0cm 26.05pt 0.0001pt 78.55pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings; mso-fareast-language: EN-IN;">ü<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">One raag is given predominance than the other. For
example in <i>Raag Basant Bahaar, Basant</i>
is considered the main <i>raag</i> to which <i>Raag Bahaar</i> is combined.</span><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0cm 26.05pt 0.0001pt 78.55pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings; mso-fareast-language: EN-IN;">ü<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">The other way of combining is to use the notes of
one <i>raag</i> and <i>Chalan</i> (melodic movement) of the other. For instance in <i>Raag Megh Malhar</i>, the notes belonging to
<i>Raag Saarang</i> are used and the <i>raag</i> is sung in the manner employed by
the Malhaar group.</span><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">There are three ways these raags
are created:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">Combining the <i>Aaroha</i>
of one <i>raag</i> and the <i>Avaroha</i> of another.</span><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">To have each tetrachord composed of notes of
different <i>raag</i> (either <i>shuddha</i> or <i>vikrit</i>).</span><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">Use phrases from two or more <i>raags</i> and alternate between them.</span><span style="font-family: "Times New Roman","serif"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">One may add that in this
case, it is somewhat like trying to make a mixture of oil and water. An organic
bonding has to be there between the two ragas and here the creator achieves it
perfectly. In the process, he has tried all the 3 methods given above.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Since <i>Bageshri </i>is <i>uttarang pradhan </i>the
presence of <i>Bageshri</i> is felt more as
the recital progresses. It is then that you see phrases like GA MA DHA MA DHA
ni DHA ni DHA and MA DHA MA DHA ni DHA ni SA NI DHA (*)<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">It starts with <i>Ahir Bhairav</i> only. As Panditji tells,
this is a morning concert. The use of <i>swaras
</i>is as follows:<o:p></o:p></span></div>
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<span style="font-family: Wingdings; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;">Ø<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="font-family: "Arial","sans-serif"; font-size: 12pt; line-height: 115%;">Use
of <i>komal gandhar</i> gives rise to shades
of <i>Bageshri</i></span></div>
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<!--[if !supportLists]--><span style="font-family: Wingdings; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;">Ø<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Initial
<i>nyas</i> on <i>madhyam</i> and <i>andolan</i> on <i>rishabh</i> is as per <i>Ahir Bhairav</i>, as in phrases like ga MA re PA GA MA re ni ni SA GA
MA re and MA ga re SA..<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">The highlight of the <i>jod</i> is the presence of <i>kafi</i> notes. The commonality of the two
ragas which makes the <i>jod</i> viable is
that both the ragas adhere to <i>kafi</i> <i>thaat</i> in <i>uttaranga</i>. In the latter part of the recital, we see <i>kafi</i> related <i>swar samoohs</i> which contain the <i>aabhas</i>
or impression of both the ragas, for example:<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">MA DHA ni DHA PA which is
one of the <i>Ahir Bhairav</i> strings
related to <i>kafi angg</i>.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">MA DHA MA DHA ni DHA around
20.18 minutes<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Ga MA DHA around 34.00 to
34.40 minutes<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">The <i>taans</i> at the end are mostly based on <i>Ahir Bhairav</i>, presumably the <i>josh</i>
comes because it is a morning concert.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">To sum up, it was/is a very
interesting innovation. Separately, both ragas emit <i>gambhirya. </i>But it abounds with <i>ati karun
rasa</i> created by phrases like MA GA re SA and ample use of <i>karun swaras</i> like <i>komal gandhar</i> and <i>komal
rishabh</i>, as well as <i>kautuhal rasa</i>
created by the streamers of <i>Bageshri</i>
and <i>Ahir Bhairav</i> that flow from the <i>kafi</i> junction in the <i>uttaranga</i>. One keeps anticipating these
treats.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">The raga deserves to
be played and heard more! Instead of oil and water, audience awaits eagerly for a combination of petrol and match-stick…! Was <i>Bilaskhani Todi </i>the last one such? (**)</span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;"><br /></span>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">Finally,
isn’t the name a bit cumbersome?<o:p></o:p></span></div>
<br />
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<span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">(*) if capitalised, notation
stands for </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">shuddha</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">, if small, </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">komal</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">, only in case of </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">madhyam</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">, capitalised is </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">shuddha</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;"> and small is </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">teevra</i><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">(**) Composed and sung by grieving Ustad Bilas Khan at the funeral of his father Tansen, fusing Todi and Asawari</span><br />
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">(<i>Special thanks to <a href="http://indrayanikaathi.com/">Sanjiv Bokil</a> for his inputs)</i></span></div>
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