Message-ID: <3BB4BBA0.223A3283@hampshire.edu> From: a c Newsgroups: rec.music.indian.classical Subject: Re: Mathematical formula for equal and natural tuning References: <20010925181329.24981.00000695@mb-mb.aol.com> <3BB39789.956E0E14@earthlink.net> boundary="------------F2AF1C0BAAB523D1DE0F3D03" X-Original-NNTP-Posting-Host: cobaltdhcpe236.hampshire.edu X-Original-Trace: 28 Sep 2001 14:02:06 -0500, cobaltdhcpe236.hampshire.edu Lines: 105 Date: Fri, 28 Sep 2001 18:04:24 GMT NNTP-Posting-Host: 206.153.194.13 X-Complaints-To: news@nic.umass.edu X-Trace: news.umass.edu 1001700264 206.153.194.13 (Fri, 28 Sep 2001 14:04:24 EDT) NNTP-Posting-Date: Fri, 28 Sep 2001 14:04:24 EDT Organization: University of Massachusetts, Amherst Xref: newsread2.funet.fi rec.music.indian.classical:11445 --------------F2AF1C0BAAB523D1DE0F3D03 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit > As to Jody's comments - it is incredibly easy on sarod to see where > the nail touches the string as you hear the shrutis. Try playing with > Todi and Multani and you will notice that Multani kRe is consistently > on the higher side auditary and visual. While you auliyas of the scientific community continue to propose theories "standardizing" shruti applications, a quick point or two from the musician's perspective. While your ideas interest me deeply, I must concede that I identify some of the generic komal rishavs aurally and use three variables (I think) in this process. 1. An approximate sense of pitch (how can I claim intonational accuracy greater than my khalifa's disciple?). 2. Duration of the swara and the way it is approached from its immediate vicinity. 3. Minor harmonic variations (jawArI). The third factor makes BGAK's voice the ultimate love-potion so far as this little musician is concerned. Take the short sur-lagav/aochar on the Great Man's "bhor bhayi" 78rpm as the basis of this analysis. The first shadja, although apparently a direct and most delectably accurate hit on the note, does actually incorporate a fractional 'N'dS, and the shadja itself is rich with the overtonal presence of ghandhar and dhaivat, as is appropriate for Gurjari (as opposed to the theoretically consonant Gandhar/Pancham - such is the mastery of this man). The purpose in that application is so evident that mortals like me are left wanting to drown and to never call ourselves musicians again. His r 'N -- r g r -- S hits home with such force and appeal that one's entire body goes limp in ecstacy. Similarly, BGAK's "navelI nAra" intro makes Kedara visible (to the naked eye) in under three seconds. As for the Multani-Todi comparison, it is very unfair given the brevity of the rishabh in Multani. One would have to agree that there appears to be a variance in pitch between the ati-komal ri of gurjari and that of shree (todi-prakars themselves have varying applications of the ri and other swaras). This apparent difference may be absolute, or may be an aural illusion created by their relative positions vis-a-vis the respective gandhars. Just some thoughts... The "incredible ease" in (visually) locating the correct shruti (mentioned by Shri Kelkar) is perhaps a special genetic trait transferred in seven generations of crossbreeding and imparted via some Martian method of DNA transfer to (Ph. D.) disciples? I am yet to hear todI and multanI from the seventh-generation stallions. The studly sixth-generation dude does have a rather be-shruti todi to his credit on All India Radio (Delhi), but it has failed to illuminate that "incredible ease" to this idiot. Warm regards, a PS: Sincere thanks to Dr. Rajan P. Parrikar for posting sound clips on the SAWF archive and one hopes not to meet his wrath for pointing a couple of links to them. --------------F2AF1C0BAAB523D1DE0F3D03 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit
As to Jody's comments - it is incredibly easy on sarod to see where
the nail touches the string as you hear the shrutis.  Try playing with
Todi and Multani and you will notice that Multani kRe is consistently
on the higher side auditary and visual.
While you auliyas of the scientific community continue to propose theories "standardizing" shruti applications, a quick point or two from the musician's perspective. While your ideas interest me deeply, I must concede that I identify some of the generic komal rishavs aurally and use three variables (I think) in this process.

1. An approximate sense of pitch (how can I claim intonational accuracy greater than my khalifa's disciple?).
2. Duration of the swara and the way it is approached from its immediate vicinity.
3. Minor harmonic variations (jawArI).

The third factor makes BGAK's voice the ultimate love-potion so far as this little musician is concerned. Take the short sur-lagav/aochar on the Great Man's "bhor bhayi" 78rpm as the basis of this analysis. The first shadja, although apparently a direct and most delectably accurate hit on the note, does actually incorporate a fractional 'N'dS, and the shadja itself is rich with the overtonal presence of ghandhar and dhaivat, as is appropriate for Gurjari (as opposed to the theoretically consonant Gandhar/Pancham - such is the mastery of this man). The purpose in that application is so evident that mortals like me are left wanting to drown and to never call ourselves musicians again. His r 'N -- r g r -- S hits home with such force and appeal that one's entire body goes limp in ecstacy. Similarly, BGAK's "navelI nAra" intro makes Kedara visible (to the naked eye) in under three seconds.

As for the Multani-Todi comparison, it is very unfair given the brevity of the rishabh in Multani. One would have to agree that there appears to be a variance in pitch between the ati-komal ri of gurjari and that of shree (todi-prakars themselves have varying applications of the ri and other swaras). This apparent difference may be absolute, or may be an aural illusion created by their relative positions vis-a-vis the respective gandhars. Just some thoughts...

The "incredible ease" in (visually) locating the correct shruti (mentioned by Shri Kelkar) is perhaps a special genetic trait transferred in seven generations of crossbreeding and imparted via some Martian method of DNA transfer to (Ph. D.) disciples? I am yet to hear todI and multanI from the seventh-generation stallions. The studly sixth-generation dude does have a rather be-shruti todi to his credit on All India Radio (Delhi), but it has failed to illuminate that "incredible ease" to this idiot.
 

Warm regards,
a

PS: Sincere thanks to Dr. Rajan P. Parrikar for posting sound clips on the SAWF archive and one hopes not to meet his wrath for pointing a couple of links to them. --------------F2AF1C0BAAB523D1DE0F3D03--