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nicneufeld

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Every now and then, though my sitar is tuned for ongoing focus on Yaman and I rarely take it out of that mode, I like to tinker with a few pentatonics, usually the basic note selection (if not all the proper pakads and a[va]rohanas) of Bhupali and Durga.

The other week I was playing around rather informally with Durga and started changing the shuddh Dha to komal Ni, and I've been really working with that a lot. It has a lot of similarities to the common blues pentatonic used in Western music except with the much more pleasing major/minor ambiguity by omitting the third/ga.

I had a feeling that this must already be something! Took me a good bit of searching to find it, but Madhmad Sarang appears to be the one:


Sa, Shudh Re, Shudh Ma, Pa, Komal Ni. Has a very balanced feel...as someone's article on the raag indicated, it is symmetrical in the same manner Bhairav is. Both the upper half (Pa to Sa') and lower (Ma to Sa) appear to essentially mirror each other, hinged on the (unused) tivra Ma.
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jaan e kharabat

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The tonality of Madhmad Sarang was already latent in the Durga scale, without any need to change the Dha to kNi. Transpose your tonic to the Pa of Durga and you get Madhmad Sarang.
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a, Shudh Re, Shudh Ma, Pa, Komal Ni. Has a very balanced feel...as someone's article on the raag indicated, it is symmetrical in the same manner Bhairav is. Both the upper half (Pa to Sa') and lower (Ma to Sa) appear to essentially mirror each other, hinged on the (unused) tivra Ma.
Surely this is true of Durga with Sa Re Ma being mirrored by Pa Dha Sa, but not so for MS.

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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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nicneufeld

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Quote:
Originally Posted by "jaan
Surely this is true of Durga with Sa Re Ma being mirrored by Pa Dha Sa, but not so for MS.
Perhaps we are just talking about a different sort of mirroring...Durga's "top" repeats the form of the "bottom" when moving in one direction.

SrRgGmMPdDnNS'
(asterisks are used notes, hyphens not used, from low Sa to upper Sa)
Durga: *-*--*-*-*--*

Madhmad Sarang: *-*--*-*--*-*

Bhairav: **--**-**--**

Durga has a sort of linear repetition of form from the lower to the top half, Madhmad sarang and bhairav have a more visible "mirroring" or symmetry from a central axis. Both are a type of mirroring I guess! And it may have no real affect on musical aesthetics, I just find it interesting!
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