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chee_zee

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Reply with quote  #1 
This is obviously one of the biggest aspects of ICM, the intonation. However, I'm studying up on raga Panthuvarali (KM)/Puriya Dhanasri (HM) and I can't seem to get much info on it, whether from textbooks or the internet. Hardly a mention of gamakas. I'm left wondering what notes get vibrato, portamento etc. I know that in this raga, 'ga' is stressed a lot through duration (and I'm guessing volume dynamics as well)repetition, but that's about all I can find.
there's a few phrases where 'pa' and 're' are grace notes, though they are definitely in the minority, just a handful, so I don't really think that it's an integral part of the raga since they are not always graces. Is this the kind of raga where the phrasing is more of a 'just wing it' kind of approach? Are those really all the gamakas integral to this raga?

edit:
I've been checking out some compositions in this raga, namely 'siva siva siva' kriti from thyagaraja. it would seem that my idea on 'ga' being stressed through duration and repetition is correct, and in spite of the fact that graces on 'p' and 'r' are not integral, the notations don't seem to explicitly show any graces. I can also tell that tar-sa(upper octave sa) is pretty important, with 'ni' below it and the 're' above it often acting as 'portamento buddies' in phrases that use it. So anything I'm missing, such as a constant microtonal offset of a specific swara in general or in a specific phrase only? any integral vibrato? As much as I like listening to thyagaraja, it'll take months for me to figure it out by listening/viewing the notation.
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nigama

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Reply with quote  #2 
Hi, I am afraid I cannot help in any such specific questions, but feel that one book I read called „Evolution Of Raga And Tala In Indian Music“ by musician scholar M R Gautam can help you in understanding what Raga should really be about and how subtleties came into mode at various times. :?:
http://www.flipkart.com/evolution-raga-tala-indian-music-book-8121504422
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Raga_Mala

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Reply with quote  #3 
Not every raga has prescribed meends/gamaks/alankars. For instance, Yaman.
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jaan e kharabat

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Reply with quote  #4 
Yaman has the meend from Pa down to Re which is a major feature.
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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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povster

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Reply with quote  #5 
Quote:
Originally Posted by "jaan
Yaman has the meend from Pa down to Re which is a major feature.
That Pa to Re descent is a favorite of mine. On the rudra vin it is magical!

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Dasani - the official bottled water of ICM
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