| Carnatic |
|
|
 |
| Culture |
|
|
|
|
|
|
|
GRAHABEDAM
AND SYMMETRIES
|
|
|
| It
is important to note that Grahabedam is necessarily a two way
process. Instead of generating
Kharaharapriya from Sankaraabharanam, we can start with
Kharaharapriya and move the sruthi to the
Ni to get Sankaraabharanam. Hence, it is appropriate to group
together ragas which can be derived from each other and state, for
example, that Kharaharapriya
and Sankaraabharanam are Grahabeda pairs instead of inappropriately
stating that Kharaharapriya can be derived
from Sankaraabharanam through Grahabedam. The example just
considered leads to the most famous Grahabedam group of melakartas
consisting of Mechakalyaani (65),
Dheerasankaraabharanam (29), Harikaambhoji (28), Kharaharapriya (22),
Natabhairavi (20) and Hanumathodi (8). This group possesses
another interesting property.
Mechakalyaani uses the 'big' variety of all the swaras (big Ri, big
Ga etc.) and proceeding down the group as
it is written above, the 'big' swaras are progressively replaced by
corresponding 'small' swaras. Thus Dheerasankar- aabharanam uses
'small' Ma ( and the rest, 'big'),
Harikaambhoji uses 'small' Ma and Ni and so on until we reach
Hanumathodi, which uses the 'small'
variety of all the swaras. |
|
[ Back ] [ A Carnatic Music Primer ] [ Up ] [ Next ]
|
|
|
| About
Grahabedam and Symmetries |
|
|
|
|
