The Marwa Matrix Comment On This Article Below. Return to the article Shamoli Sarkar comments : It is a pleasure to go through all the rare pictures on the site. I am highly impressed by the article Thankyou Ramana Sastry comments : Marwa Matrix is a delightful compilation of clips, pictures and the raga details. Congratulations for doing a superb service to the world of ICM. Thanks and regards Ramana Manoj Pendharkar comments : Away from home and home land getting news and be able to read article s, View rare Pictures and clips is a delight. Though I am yet to listen to the fine and rare colletion of some of the music clips for want of audio hardware and the slow connection, I would do so shortly now. My best wishes and would like to receive the articles regularly at> manojpendharkar@hotmail.com with kind regards Manoj Pendharkar Melbourne Australia Karthik Krish comments : Kindly note that there are many rasikas who are exposed to Carnatic music as well.You have mentioned HamsanandA as the equivalent as Sohini but the correct name is HamsanandI.Please note that there is a totally different raga called HamsanAdhA which is SRMPNS/SNPMRS of the Kalyani scale.Suggest that you kindly check authenticity before publishing. The author responds: Thank you for your comments. The distinction between "Hamsananda" and "Hamsanandi" is trivial; in fact, the two forms of the word may well be equivalent if the sandhi of hamsa+Ananda and hamsa+Anandi is equivalent. Note that Ananda and Anandi does have the same meaning in some contexts. A Sanskrit expert ought to be able to shed more light on this. As for Hamsanada, I am well aware that it is a different rAga. I would also call your attention to the fact that it is not a janya of the Kalyani scale as you have mistakenly stated. Rather, it is a janya of Neethimati. The shatshruti dhaivatam in Hamsanada is rarely sung these days but great musicians such as Muthiah Bhagavatar were known to take in that swara. Kindly study your material well before critiquing. Warm regards - Rajan P. Parrikar Kartik Krish comments : Dear Mr.Parikkar, There is indeed no doubt that Hamsanadham was a janya raga of Neethimathi,with D3 used and I have held the firm opinion in support of what you have said.But 'Kripanidhe'by HMB is the only composition of any popularity which uses D3.In fact I am a die-hard fan of HMB myself and have set up a website (www.geocities.com/harikesa)as a mark of respect for the great and am pretty much aware of his works.The present day form of Hamsanadham does NOT employ D3 as pointed out by you,perhaps due to the disharmony created by the vivadhi swara.Bantureethi by Tyagaraja is surely sung as SRMPNS/SNPMRS only. Also,there is also a school of thought that janya ragas born from janaka ragas employing vivadhi swaras should contain atleast one vivadhi swara of the janaka raga,which will then justify their being placed under a janaka raga with vivadhi swara.Kindly correct me if there is a more acceptable explanation for the same.Hence,I may not have been wrong in placing Hamsanadham under Kalyani.This explanation of mine should convince your kind self that I do,in fact,comment only when I study my material well. Let me also add here that Harikesanallur Muthaiah Bhagavathar was the person who brought Sohini to Carnatic music.When he went through music books,he found that there existed a raga with the same scale (though obselete)down south called HamsanandI and IT EMPLOYED THE OCCASSIONAL PANCHAMA SWARA.But when he adopted the same to Carnatic,he removed the Panchama swara.Hence in technical terms, and if we were to adhere to the older scale(with Pa),we then cannot equate hamsanandI to sohini,which I feel holds good for the presnt day avathar of Hamsanadam as well.Most definitions may hence correspond to the popular scales than to raga lakshanas which are discarded. Differences apart,I have a technical doubt here,which I am sure you will clarify.Do we employ Ri in the arohan for Sohini or the identifying phrase is NSGMDN and then SaRe SaRe in the uttaranaga and NiSa to establish sohini?In HamsanandI we use SRGMDNS with Ri in the arohan.Hence the question. Best rgds, Kartik Krish The author responds: Apropos of your final question, the rishab is indeed langhan alpatva (i.e. skipped) in Arohi prayogas in Sohani. Even in the tAr saptaka the key sangati is S"r" S"r"; whereas S"r"G" is eschewed. Pandit Ramashreya Jha "Ramrang" gives a very good account of these lakshaNAs in the opening clip. Thank you for your remarks and feedback. Warm regards, Rajan P. Parrikar Karthik Krish comments : Many thanks for your detail. Chitravina N Ravikiran comments : Interesting discussion on prayogas. Even recently, there have been artistes like Veena Balachandar and S Kalyanaraman who used the D3 in Hamsanadam as a rare phrase. I endeavour to follow this practise too (in my own compositions and concerts) as it gives the raga a striking identity. We can safely place it under 60. Ravikiran Mukunda H S comments : Splendid Web-Page. I pray to god, that Rajan be granted with all the chaitanya to continue his work for a long time. Great effort for the cause of music. Subhash Dhakras comments : Dear Mr Rajan Parrikar, This is a general comment.Wonderful collection and presentation indeed. It is just a week since I came to know about this site and since then I am doing nothing else but to enjoy various clips. I do not understand technicalities of clasical music but all the same have ben enjoying it for many years. It will not be out of place to request you to throw some light on the dominant swars and their connection with prahar of the day/night, the mood of the rAga etc.Once some one had said that Malakans reminds of Ravindranath Tagore!Many such similies may depict mood of the Rag. Also I am not very familiar with various artistes, their guru, gharana, legacy etc. May be you could compile it for ready reference. Lastly compliments on the style, language, English of the text. It is simply outstanding. With best regards, Subhash Dhakras Durgesh Manjure comments : The collection of the music pieces is awesome. Many thanks ! It is indeed a pleasure (and a useful learning aid) to have renditions by a wide variety of acclaimed artistes on the same page....Please keep up the good work...If I may make a request, it would be nice to have a few more instrumental pieces as well. Warm Regards, Durgesh RK comments : How can I contact you? Is there an email address that you could be reached at? Raja Pundalik comments : Dear Shri. Parrikar, I just wonder how I missed your site earlier. But now that I stumbled onto it, I must say that it's a great treat for music lovers and all those who want an insight into otherwise 'kliShTa' technicalities of Indian Classical music. It will take me some time to go thru' all the pieces and much longer to try and digest them. What struck me is the mention of Vasantrao's 'Raj-Kalyan' in the piece on 'Kalyan'. Although it's very easy to explain this rare raag this way (meaning omitting 'Pancham' from Yaman scale), I very distinctly remember hearing Late Vasantrao's explanation of this raag. He mentioned that the true nature of this raag is to use shuddha 'Re' in Maarwa scale. "Just go on singing Maarwa using shuddha 're' and you will have mastered Raj-Kalyan," were his words. This same explanation was later (much later) confirmed by Vijay Koparkar, Vasantrao's disciple and one of the foremost vocalists of the new generation. Listening to Vasantrao's rendition of Raj-Kalyan, at least I feel that true explanation of this raag is Maarwa-way and not the Yaman-way. Although I do not profess to hold any critical expertise in classical music, I have took this liberty of writing to you and I hope you will excuse me for it. With regards, Raja Pundalik E-mail: pundalik_nsk@sancharnet.in The author responds: Re. to your remark about Raj Kalyan - as you know, ragas cannot be "explained" by referring to scales alone. The basic idea and genesis of Raj Kalyan may have been inspired by Marwa (as you indicate). But as I have remarked in the relevant passage in the Kalyan article, the key in Raj Kalyan seems to me the lack of relief wrought by the absence of the pancham. My interpretation is that it is this unease and tension of Marwa that is reflected in Raj Kalyan. The switch from komal rishab of Marwa to teevra rishab may have been the seed from which Vasantrao started but that seems to me of secondary consideration in the overall effect. Warm regards, Rajan P. Parrikar Raja Pundalik comments : Sir, What are these '.ram' files that have links throughout your articles? They do not seem to open on my computer and there seems to be no way to hear those samples. I hope you will write to me on how to listen to those clippings. Thanx and regards, Raja Pundalik Vijay Shah comments : Excellent web site. Life is worth living once again....!!! I sincerely mean this positively. I wish I was able to play Indian classical music. I can only listen and appreciate. Girish Karnataki comments : This is great site . Marwa matrix is informative . However please guide how to listen to files with 'ram' extension . R.K.Padmanabhan comments : Outstanding. Only one who has had the occasion to have been moved by the 'dense' ragas like marwah, shree, puriya dhanashree, todi etc., can understand some of the comments posted. Lucky to have come across this site. Regards. Debasish Bhattacharjee comments : Respected Parrikarji This site of yours is a goldmine.I cannot thank you enough and express my gratitude for the enlightment you have provided to me.I donot have any formal training in Hindusthani classical music but I am listening to this form for last 20 years. I often wondered how bhupali at times sounded very near to shuddha kalyan, traces of bivas appeared in Deshkar, but could not find any answer.Now thanks to your articles am getting these answers.It is really spectacular how you have built up your collection through tremendous effort. Regards to you and your Guruji.