rAga, tALa & SRti mAlikalu

Ram Vishnubhotla (vishnurx@frc.com)
Tue, 17 Jun 1997 08:56:02 -0400 (EDT)


namastE!

   It is more than a year since I posted on this group. I did not have 
an e-mail account until recently. I am happy to learn from Sreenivas 
Paruchuri about the progress the group is making in discussing various 
topics about G's music.

Coming to the subject of this mail: rAga, tALa & SRti mAlikalu sung by G.

Many of you know what a rAga mAlika is? If a song is composed in more 
than one rAga, it is called rAga mAlika. Usually a rAga mAlika is 
composed in more than two rAgAs. Many of you can recall the rAgamAlika 
songs sung by G. Two quick examples are:

1) hAyi hAyigA Amani sAgE (in suvarna sundari kadha)
2) nIla kandharA dEvA (in bhUkIlAs)

Each song also is set to a tALa (beat). Like rAga mAlika, if a 
song is set to more than two tAlAs, it is called a tALa mAlika. 
Similarly if a song is sung in more than one SRti, it is called a SRti 
mAlika. But SRti mAlikalu are vey rarely done. 

In the above example, 1 is only a rAga mAlika and 2 is a rAga, tALa & SRti 
mAlika.

Now can we compile all the songs sung by G that fall into:

1) rAga mAlikalu
2) rAga tALa mAlikalu
3) rAga tALa SRti mAlikalu

For those curious minds, changing SRti to the exact higher octave is not 
a SRti change. Example: In the MBK's (mangaLampalli bAla muraLikRSNa) 
tillAnA "vadanamadE virisEnE" in rAga "kadanakutUhala", he sings the notes in 
exactly one octave higher and one octave lower notes of the base SRti he 
starts the tillAna.

What is the purpose of rAgamAlikalu?

The main purpose (I think) is to establish the relationship (mostly 
romantic) for a longer period of time. Usually the rAgamAlikalu are twice 
the length of a regular song. In the above song "hAyi hAyigA", the 
director shows the romantic relationship for 4 seasons establishing the 
fact that the hero and heroine were together for a long period. Similarly 
the song "praLayapayOdhijalE" in bhakta jayadEva, the writer establishes 
dasAvatArAs the same way.

In a rAga mAlika, the composer composes the inter-stanza (caraNAniki 
caraNAniki madhya) music in such a way that the lister/singer would not 
have any difficulty listening/singing the next stanza (caraNam).

If the group member show some interest on this, I would like to continue 
this thread.

Regards,
Ramanna

P.S:- I borrowed this idea after watching one of the episodes on the ETV 
show pADutA - tIyagA.


P.P.S:- Somehow I feel that we can enjoy G's songs/composition better if we 
pay some attention about the music.

Any comments or corrections are welcome.