| Carnatic |
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GRAHABEDAM
AND SYMMETRIES
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| Note
that Maayaamaalavagowla possesses both types of symmetries we have
looked at. Further, it has no isolated swaras
(denoted by the ones all appearing in pairs). This characteristic
makes a raga easier to sing (or play on an instrument) since pairs
of swaras occur together. It is probably
for this reason that this ragam is almost invariably the first that a
student is taught. In fact many of the
initial lessons are set to this ragam. (This practice is generally
attributed to Purandara Dasa,
who is often called the father of modern Carnatic music). When an
advanced stage is reached and students begin to render
Kalpanaaswaras, many find it
convenient to sing first in Maayaamaalavagowla or its Prati Madhyama
pair Kaamavardhani. A
systematic examination of the compositions of Muthuswamy
Dikshithar reveals a good
degree of specialization in Maayaamaalavagowla and its janya ragas.
(In fact, there is an
interesting story in folklore about how Dikshithar started composing
songs. From a very young age,
Dikshithar was a religious person and used to travel to many
temples. Onone such tour, he was at the temple of Lord Subramanya in
Thirutthani when an old man suddenly came up to him, dropped a piece of sugar in his mouth and
after blessing him, disappeared mysteriously. Dikshithar was inspired by this incident and almost
immediately composed the some say his first song 'Sri Naathaathi
Guruguho' in Maayaamaalavagowla. Saint Thyagaraja's compositions exhibit a similar lean towards
Kharaharapriya and its janya ragas. Perhaps, these facts are related to
the high degree of symmetry possessed by these two ragas. |
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Grahabedam and Symmetries |
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