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Posts: 33
Reply with quote  #1 

Although we all know and accept that pa is a fixed nite and can have no komal variant  jairazbhoy suggests in “the ragas of North Indian music” that this may not always have been the case or especially in Lalith based ragas that have both teevra and shuddh ma and no pa that this may be a convenient way of proceeding. As a newcomer to ICM I am wise enough not to raise any such question from my own observation but after spending some time listening to and studying raga shri another related question had arisen for me. 

We are all conversant enough with the very flat komal re in rag Shri But listening to performances I have heard variants of the intonation of the tivra ma which occurs on the ascendant to realise that my conception Of this needing to be a flattened to give a pure fourth, in western terms between the komal re and the tivra mA can also bring into question  the exact intonation of the shuddh ga on the descent so that if one does flatten the tivra mA (or even contemplate jairazbhoy‘s komal pa you couod even end up with a komal mA replacing the shuddh mA. I realise perfectly well that some of these notes just do not exist in contemporary ICM theory but have heard enough variation in intonation in renditions to wonder whether this is going through other people’s heads.


Senior Member
Posts: 112
Reply with quote  #2 
Hi Stephen.

I really like your question, and the information you gave in your post; this is the kind of thing I think I would be asking if my knowledge of rags was more advanced than it is now, so I look forward to reading answers from others on this forum.

Thanks for posting this.
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