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chrisitar

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Reply with quote  #16 
Quote:
Originally Posted by "jignesh142"
Shifting the Sa makes the some of the notes sharp or flat
for example if i shift the sa to the lower Ni, and i play Kalyan scale then it will become bhairavi
but if you listed carefully sa to komal re ratio and then shift your sa to ni and then listed sa to komal re ratio, you will observe that in second case the komal nishad is flat by 21 cents.
let us take the example of the bhupali,
if i shift the sa to re then new re and pa will be flat by 21 cents
if i shift the sa to ga then new dha will be sharp by 41 cents
if i shift the sa to pa then new re will be flat by 21 cents
if i shift th sa to dha then new dha will be sharp by 21 cents

in these cases the purity of the raga cannot be maintained...
Sure, you are correct. But this wouldnt be an issue for voice or fretless instruments; sarangi, vichitra veena, sarod. Not sure if this would be a problem for bansuri. Also, perhaps this is why, but most fretted indian instruments have moveable frets. You couldn't really fix the intonation of the frets on the fly while performing but you could change your sa to accompany another instrument like violin. In fact i'm doing this now in a jugalbandhi with a vocalist whose sa is set at komal ga to c#. Tuning to Darbari gives the impression of a shuddh bilawal tuning when sa is shifted to komal ga.

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chrisitar

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Reply with quote  #17 
just listened to raag Gujari Todi on bansuri and noticed it has the same intervals as raag Jog if komal ga is used as sa! Two very different sounding raags, i might not have noticed if the recording wasn't of bansuri, the lack of drone strings makes it easier to hear the notes without the constant grounding of the droning sa.
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Reply with quote  #18 
I have heard this referred to as murchanna paddhati(?sp).

I have uploaded this recording from an interview with BGAK where he sings it quite beautifully: http://www.mediafire.com/?jwcssud92a67l82
Please let me know if the link doesn't work. I think it was from a longer clip on youtube but I can't find the original clip, so I clipped the relevant parts.

Another interesting one is bhinn shadja/kaunski duni and gunkali, by Sanjeev Abhyankar :
#t=42s
Though I have linked to the specific taan, he repeats it a few times and explains it a bit (~99 seconds in). Well worth listening
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chrisitar

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Reply with quote  #19 
There is one way of doing it called "Jasrangi" used by students of Pt. Jasraj in which two singers use two different sa's to perform two different ragas that use the same intervals like Madhuvanti and Nat Bhairav. Usually one singer uses the 'ma' from the other raga as his sa. They use different tanpuras and tablas for each raga too. Sounds pretty cool but its bit emotionally conflicting.
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Sitarismylife

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Reply with quote  #20 
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Originally Posted by "chrisitar"
You couldn't really fix the intonation of the frets on the fly while performing but you could change your sa to accompany another instrument like violin.
Actually, it can be done without changing the frets on a sitar, even while performing. One has to be perfect in meends. Those who are learning the sitar will understand what I’m saying. If you pull the string on one fret and, without leaving it, place your finger on the next fret, you will hear the consecutive note raised by the ratio that the preceding note was raised by pulling. This is very technical, but it will take years to practice that way. One can of course do alap, but playing a taan would be difficult. There is an easier way (infact the easiest)- just change the tuning of the main string by turning the peg or pushing the swan bead. This can be done in a jiffy, even while performing.
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Christianamr

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Reply with quote  #21 
Here
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