Innovative effort on an instrument
V. BALASUBRAMANIAN
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Violinists Ganesh and Kumaresh have brought out Shadjam, a CD based on the concept of graha bedham.
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EXPLORATION: Different tunes from the violin.
Ganesh-Kumaresh, violinists, are releasing a CD titled `Shadjam-the adhara swara,' based on the concept of Graha Bedam. The CD has been produced by Charsur Digital Work Station and is priced at Rs.195.
The duo shares their experiences in bringing out the CD, the concept and execution. How did you think of presenting a CD based on Graha Bedam?
(Graha Bedam as the sleeve note of the CD says is a concept, where, in a given raga another is played without changing the sruti and the notes of the given raga)
We have drawn inspiration from vidwans like GNB, MLV who were skilful in such research during their raga alapanas and a Tillana of M. Balamuralikrishna based on graha bedam. It was a long cherished dream and this is a pioneering effort in an instrument. We wanted to make it a unique presentation and worked hard for it.
Did it not restrict your imagination?
The duration of the CD is the basic parameter within which we had to do justification to Ramanathapuram Srinivasa Iyengar's Kalyani raga varnam, the first piece followed by six kritis, each based on ragas Sahana, Saramati, Hindolam, Arabhi, Madhyamavati and Desiya Todi in that order. The compositions were that of Tyagaraja, Oothukkadu, Sivan and Swati Tirunal. The fingering had to be adjusted a lot for every raga and this was quiet tough.
How well will this concept go down with the music lovers?
The compositions have been selected taking into account rasikas, in general. And for those with music knowledge, who will appreciate the concept of Graha Bedam and the challenges involved in it, this will be a treat to their palates.
Anything significant in this project?
Since we used an electronic tambura, it was easy to manipulate the seven srutis by the turn of knob, whereas Mannargudi Easwaran had to carry six mridangams tuned for each sruthi.. K V Gopalakrishnan on the Kanjira did not encounter any such difficulty, as there was no necessity for him to tune his instrument for each change. The last krithi of this CD " Namo Namo Raghvayya" in Desiya Todi is believed to be the first ever composition of Tyagaraja.
Isn't this concept against the grammar of Carnatic music? Definitely Not! Don't we play ragas like Chenchurutti, Kurinji and Punnagavarali at the end of the concert by changing over to Madhyama Sruti from the Aadhaara Sruti and sing pieces? There is very little difference between Sruti Bedam and Graha Bedam and we have handled this in a very judicious manner without compromising on the lakshana of each raga we have handled.
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