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jaan e kharabat

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Reply with quote  #31 
Quote:
Originally Posted by "talasiga"

1. articulate a Ri a tad flatter than the previous raaga with the same pitch Sa
2. articulate the same pitch Ri as in the previous raaga BUT raise the Sa in this raaga.
Good try but no banana. Since there's a drone with a 'specifically' tuned tonic Sa, every note must be intoned in relation to that. In short, your #2 option is irrelevant.

Plus, if the Sa of a rāg is different to the Sa of the tampura, there's no need for the tampura.

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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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talasiga

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Reply with quote  #32 
Quote:
Originally Posted by "jaan
.....
Next, in another thread you posted an article on 22 shrutis that has Sa and Pa achal. Now either the Sa and Pa are achal or they are not, so make up your mind. The Dagars obviously believe that it these are not achal swaras.
That would be the 22 shrooti harmonium topic? why not discuss that there in the topic.
Just because I post a link for discussion doesn't mean I understand everything in the link or that I condone all the points in it. I am broad or open minded like that and I wouldn't mind such a harmonium.

For him to design a harmonium to accomodatate more refined intonations it would have to have 84 (12 X 7) options within the octave.

And if you have read all the articles in that link and understood them, have you noticed any typos? Let us know ........


And I am sorry that you often cannot understand what I am talking about. Its not your fault.
Others understand me and thats not my fault either.

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every flute harbours a muse
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talasiga

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Reply with quote  #33 
Quote:
Originally Posted by "ragamala"
Quote:
Originally Posted by "talasiga"
yes indeed interesting. I am also fascinated by the serendipity of
1.51219512195121951219512195121951219512195121951219512195121951219.......
and will experiement tuning my tamboura Pa like this.
No No - you'll be seriously out of tune .......
8)
well I am open minded and I am going to try it!

(remember that in Pythagorean Greece there was no ZERO or decimal placemnts (and indeed, in most of the Middle Ages while Roman numerals were used for calculations) so Pythagoras didn't have the calculatory precision that can be obtained by the Hindu-Arabic system. This is the reason, IMO, that the old European stuff preferred simple fractions)

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every flute harbours a muse
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ragamala

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Reply with quote  #34 
Quote:
Originally Posted by "talasiga"

(remember that in Pythagorean Greece there was no ZERO or decimal placemnts (and indeed, in most of the Middle Ages while Roman numerals were used for calculations) so Pythagoras didn't have the calculatory precision that can be obtained by the Hindu-Arabic system. This is the reason, IMO, that the old European stuff preferred simple fractions)
There's a reason this 21st century European prefers fractions too, their mathematics is not only precise but elegant and beautiful.

It's just a pity they are harder to grasp quantitatively and conceptually and work with than decimals....
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panchamkauns

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Reply with quote  #35 
Quote:
Originally Posted by "jaan
Plus, if the Sa of a rāg is different to the Sa of the tampura, there's no need for the tampura.
But Bahauddin Dagar does demonstrate differences between raga Sa and tampura sa in his video. We can’t simply discount such a tradition, can we?

I certainly never knew about it before and when I first heard about it I did not believe it. It seems I had not been paying attention to this aspect of dhrupad music even though I had listened to it quite a bit.

However I don't think this is an elaborate April fool’s joke from Bahauddin and Ashish. Even though the implications scare me. The music now becomes so frightfully complicated and difficult, I can’t quite face the fact that people can sing and play like that ...

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