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Vennalave

Chaturasra Talam 4/4 1. Structure: - Laghu (beat with finger counts): 4 beats - Drutam (beat with a wave): 2 beats - Anudrutam (single beat): 1 beat

However, in the context of "Taka Dhimi Taka Din," we are specifically looking at a 4-beat cycle.

Mnemonic Syllables (Solkattu)

In Chaturasra Talam, "Taka Dhimi Taka Din" can be broken down as follows:

  • Taka: Two beats
  • Dhimi: Two beats
  • Taka: Two beats
  • Din: One beat

Application in Chaturasra

  1. Chaturasra Jaati (4-beat cycle):

  2. The mnemonic syllables "Taka Dhimi Taka Din" fit into this cycle, where each syllable is evenly distributed.

  3. Counting:

  4. Taka: 1-2
  5. Dhimi: 3-4
  6. Taka: 1-2

  7. Din: 3-4

  8. Cycle 1:

  9. Taka (1-2)
  10. Dhimi (3-4)
  11. Taka (1-2)
  12. Din (3-4)

When practicing, you would typically keep the talam with your hand, marking the beats clearly. For Chaturasra Talam:

  1. Beat 1: Clap(Taka)
  2. Beat 2: Little finger tap(Dhimi)
  3. Beat 3: Ring finger tap(Taka)
  4. Beat 4: Middle finger tap(Din)

This song composed by ar Rahaman by combining two raagas i.e simhendramadhyamam and kapi

Simhendramadhyamam

  1. Melakarta Raga: Simhendramadhyamam is the 57th Melakarta raga in the Carnatic music system.
  2. Mood: Simhendramadhyamam is known for its serious, somber, and meditative mood. It has a profound and intense emotional expression.
  3. Compositions:
  4. "Venkatachala Nilayam" by Muthuswami Dikshitar
  5. "Ninne Nammitinayya" by Mysore Vasudevacharya
  6. "Needu Mahima Pogada Tharama" by Thyagaraja

Metulu 1. Arohana (Ascending scale): S R1 G2 M2 P D1 N3 S 2. Avarohana (Descending scale): S N3 D1 P M2 G2 R1 S 3. Notes (Swaras): - Shadjam (S) - Shuddha Rishabham (R1) - Sadharana Gandharam (G2) - Prati Madhyamam (M2) - Panchamam (P) - Shuddha Dhaivatam (D1) - Kakali Nishadam (N3)

Kapi

  1. Janya Raga: Kapi is a janya (derived) raga of the 22nd Melakarta raga, Kharaharapriya.
  2. Mood: Kapi is known for its emotional depth and is often associated with devotion and pathos. It has a soothing and often melancholic tone.
  3. Compositions:
  4. "Mee Valla Gunadosha" by Thyagaraja
  5. "Intha Sowkhya" by Mysore Vasudevacharya
  6. "Jagadodharana" by Purandara Dasa

Methulu 1. Arohana (Ascending scale): S R2 M1 P N2 S 2. Avarohana (Descending scale): S N2 D2 P M1 G2 R2 S 3. Notes (Swaras): - Shadjam (S) - Chatushruti Rishabham (R2) - Sadharana Gandharam (G2) - Shuddha Madhyamam (M1) - Panchamam (P) - Chatushruti Dhaivatam (D2) - Kaishiki Nishadam (N2)

  • Scale Structure:
  • Simhendramadhyamam: Uses prati madhyamam (M2) and has a more structured and symmetrical arohana-avarohana.
  • Kapi: Uses shuddha madhyamam (M1) and has a more fluid and expressive descent, with potential for oscillations and gamakas.

Sruthi= 4.5 (F#)

Given the Sruthi (pitch) of F# (which is 4.5 on the Carnatic music scale), we can map the Carnatic swaras (notes) to their equivalent Western notes. Here’s how the mapping works:

  • S (Shadjam): F#
  • R1 (Shuddha Rishabham): G
  • R2 (Chatushruti Rishabham): G#
  • G2 (Sadharana Gandharam): A
  • G3 (Antara Gandharam): A#
  • M1 (Shuddha Madhyamam): B
  • M2 (Prati Madhyamam): C
  • P (Panchamam): C#
  • D1 (Shuddha Dhaivatam): D
  • D2 (Chatushruti Dhaivatam): D#
  • N2 (Kaishiki Nishadam): E
  • N3 (Kakali Nishadam): F

Kapi Raga (Arohana and Avarohana)

  • Arohana (Ascending scale): S R2 M1 P N2 S
  • Avarohana (Descending scale): S N2 D2 P M1 G2 R2 S

Simhendramadhyamam Raga (Arohana and Avarohana)

  • Arohana (Ascending scale): S R1 G2 M2 P D1 N3 S
  • Avarohana (Descending scale): S N3 D1 P M2 G2 R1 S

Western Notes for Kapi Raga

Arohana (Ascending scale): - S (Shadjam): F# - R2 (Chatushruti Rishabham): G# - M1 (Shuddha Madhyamam): B - P (Panchamam): C# - N2 (Kaishiki Nishadam): E - S (Upper Shadjam): F#

Avarohana (Descending scale): - S (Upper Shadjam): F# - N2 (Kaishiki Nishadam): E - D2 (Chatushruti Dhaivatam): D# - P (Panchamam): C# - M1 (Shuddha Madhyamam): B - G2 (Sadharana Gandharam): A - R2 (Chatushruti Rishabham): G# - S (Shadjam): F#

Western Notes for Simhendramadhyamam Raga

Arohana (Ascending scale): - S (Shadjam): F# - R1 (Shuddha Rishabham): G - G2 (Sadharana Gandharam): A - M2 (Prati Madhyamam): C - P (Panchamam): C# - D1 (Shuddha Dhaivatam): D - N3 (Kakali Nishadam): F - S (Upper Shadjam): F#

Avarohana (Descending scale): - S (Upper Shadjam): F# - N3 (Kakali Nishadam): F - D1 (Shuddha Dhaivatam): D - P (Panchamam): C# - M2 (Prati Madhyamam): C - G2 (Sadharana Gandharam): A - R1 (Shuddha Rishabham): G - S (Shadjam): F#

Summary:

  • Kapi Raga in Western Notes:
  • Arohana: F# G# B C# E F#

  • Avarohana: F# E D# C# B A G# F#

  • Simhendramadhyamam Raga in Western Notes:

  • Arohana: F# G A C C# D F F#
  • Avarohana: F# F D C# C A G F#

These mappings allow for a clear understanding of how the ragas translate to Western notation for a given Sruthi of F#.

Pallavi = venaalave venaalave niney dati = kapi raga =12 Anupallavi = neeku boolokuna kanusokey mudey = simhendramadhyamam raga

Pallavi

Ma=>ri. = Slideu

Anupallavi

Ma2 = gamakama slight touch

Chords

Base only heared by headphones In song,how notes come

Pallavi = pa,ri,ri,ri,pa,sa,sa,sa Anupallavi = pa,sa -3 Pa,pa sa,sa,sa pa,pa,pa Tari na na naa na = simhendramadhyamam avarohana Pa sa sa sa sa sa ,pa sa, Again pallavi

ni,da,da,ma,ri,ri,sa,ri,pa = kapi ఛాయాలు

Synth = simhendramadhyamam avvaroha swaras in that 1st time ri miss ,next all

Charanam = edi sarsala..si Andi evella = simhendramadhyamam after again base

Phrase and gamakam