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5th February 2012, 02:26 PM
#1
Administrator
Diamond Hubber
All Ragas of Rahman
AR Rahman has composed pure hindustani (one of his strengths) raag-based songs, carnatic ones as well as his own experimentation blending several ragas. This thread is to discuss these songs and related topics. I invite experts, fans & everyone interested to join the discussions.
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5th February 2012 02:26 PM
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5th February 2012, 02:27 PM
#2
Administrator
Diamond Hubber
We start with singer Padmalatha's exposition of ARR's raga usage in 'Hai rama':
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5th February 2012, 02:41 PM
#3
Senior Member
Seasoned Hubber
ARRs usage of nattai and its melakartha.....
1) Dilse re - a version of the melakartha chalanaata
2) Narumugaye- Version of gambheera naata and in some places naata
3) Chale Chalo from Lagaan- another song which uses naata.....
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5th February 2012, 06:28 PM
#4
Senior Member
Veteran Hubber
Udhaya Udhaya - Charukesi. I have no idea about classical music but once during Super Singer Junior practice session, when this song was sung by a contestant the entire Orchestra team and voice expert Anand Vaidhyanadhan went on analysing as to how beautifully AR has used this Raaga in this song. It was an interesting experience.
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5th February 2012, 06:46 PM
#5
Senior Member
Seasoned Hubber
Originally Posted by
Roshan
Udhaya Udhaya - Charukesi. I have no idea about classical music but once during Super Singer Junior practice session, when this song was sung by a contestant the entire Orchestra team and voice expert Anand Vaidhyanadhan went on analysing as to how beautifully AR has used this Raaga in this song. It was an interesting experience.
Another gem from ARR in the same raga is Edho Edho Onru from enakku 20 unakku 18
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5th February 2012, 07:37 PM
#6
Senior Member
Diamond Hubber
எனது கிராமத்தில் ஒரு நாதஸ்வர நண்பர் அடிக்கடி சிலாகித்து பேசுவது சொல்லாமல் கேட்பதில்லை என்ற காதல் வைரஸ் படப் பாடலை. அடுத்தமுறை ஊருக்குச் செல்லும்போது அவரை பேசச் சொல்லி வீடியோ எடுத்து இணையத்தில் பதிவு செய்யணும் என்ற ஆசை இருக்கிறது.
நீங்களும் இங்கே இந்தப் பாடலைப் பற்றி அலசுங்களேன்!
சொல்லிச் சொல்லி ஆறாது சொன்னா துயர் தீராது...
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5th February 2012, 08:22 PM
#7
Administrator
Diamond Hubber
Roshan & Arvind
Both are excellent charukesi's - 'edho edho' is my favorite. This raga must have fancied him a lot. He used it often and most of them were hits. 'mazhai mega vanna' - desam ('pal pal hai' - swades) is another beautiful. He also used charukesi for his Raga of dance piece in vanessa mae collaboration:
Note the graha bedam in the middle..
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5th February 2012, 10:23 PM
#8
Senior Member
Veteran Hubber
Originally Posted by
RR
Roshan & Arvind
Both are excellent charukesi's - 'edho edho' is my favorite. This raga must have fancied him a lot. He used it often and most of them were hits. 'mazhai mega vanna' - desam ('pal pal hai' - swades) is another beautiful. He also used charukesi for his Raga of dance piece in vanessa mae collaboration:
Note the graha bedam in the middle..
Thanks RR for this link. Pure bliss ! Spellbinding work with the violins there. I kept repeating the portion from 4.00-4.19 (it made me hold my breath). And interestingly what I like most about both in Udhaya Udhaya and YaethO YaethO is the way he uses the violins. Specially in the interludes. In the first interlue of Udhaya Udhaya the solo violin piece would stir your soul. And it's simply amazing in the background of un paathi vaazhgiraen - en paathi thEigiRaen. He goes berserk towards the end of 2nd interlude and also at the end of both Charanams with the violins. Same with yaethO yaethO interludes and towards the end of 2nd Charanam. Thanks once again for the link and also the previous one. Have saved them.
BTW, would appreciate if you can explain a bit about graha bedam
Last edited by Roshan; 5th February 2012 at 10:27 PM.
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6th February 2012, 10:48 AM
#9
Senior Member
Seasoned Hubber
Originally Posted by
Roshan
BTW, would appreciate if you can explain a bit about graha bedam
Its a very popular technique where scale changes in a particular raga helps in arriving at another raga.....
.
for example take the raga- mohanam- say the scale C - the notes are S R2 G2 P D2 S; in western C D E G A Ctop
.
1) if we take R2 G2 P D2 S R2 from mohanam and use R2 as S, we get the ragam - madhyamavathi
2) same way if we take - G2 P D2 S R2 G2 and take G2 as S, we get the ragam- hindolam
In the same way with, P as lower S- we get sudha saveri and with D2 as S we get sudha dhanyasi
this is what is known as graha bedam......
graha bedam is also possible in various ragams, be it melakartha or janya ragams.....
take even charukesi- we get three ragams using graha bedam - vachaspathi, natakapriya and gowri manohari.....
hope this answers your question or have i confused you even more.....
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6th February 2012, 11:40 AM
#10
Senior Member
Veteran Hubber
Originally Posted by
Arvind Srinivasan
Its a very popular technique where scale changes in a particular raga helps in arriving at another raga.....
.
for example take the raga- mohanam- say the scale C - the notes are S R2 G2 P D2 S; in western C D E G A Ctop
.
1) if we take R2 G2 P D2 S R2 from mohanam and use R2 as S, we get the ragam - madhyamavathi
2) same way if we take - G2 P D2 S R2 G2 and take G2 as S, we get the ragam- hindolam
In the same way with, P as lower S- we get sudha saveri and with D2 as S we get sudha dhanyasi
this is what is known as graha bedam......
graha bedam is also possible in various ragams, be it melakartha or janya ragams.....
take even charukesi- we get three ragams using graha bedam - vachaspathi, natakapriya and gowri manohari.....
hope this answers your question or have i confused you even more.....
Many thanks Arvind No confusion at all. It's quite clear. Another small request, can you tell me at which point the graha bedam happens in the Venessa Mae link RR had posted? ellaam oru aarva kOLaRuthaan
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