Mind blowing! What is so evident is the incredible command over the ragas. You can see how beautiful it is when an complete master handles the raga, and stamps the raga even as she effortlessly (for her, mind you!) executes the tonic shift. This is the result of intense devotion to the craft and a sensitivity that far surpasses the ordinary. What a treat it will be to see how they practice! The RaGa duo is a genuine credit to the world of carnatic music! Thank you for the upload!
Wah !! This lec dem blew me out . Extremely beautiful this was ! Am blessed to hear this ☺️. Gayatri Mam you are a genius and there is no doubt in it . The way you traverse in between ragas in a small time frame indicates that you're out of the world . Awesome Gayatri Mam . Always love you much !! ❤️ But without Ranjani Mam this seems incomplete . She is amazing at lec Dems and what a great one she is !! Now there's none to match those koraippu and korvai she sings out of magic from the air . Oh my !! You both are just splendid ! Definitely this is a master's cup of tea ☕ . Thank you . Splendid !!
I remember the last time I listened to a graha bedham lec-dem, and the lecturer at that time was my all-time favorite vocalist -- Thanjavur S. Kalyanaraman. Frankly speaking, yours turned out better. No doubts about his knowledge of the subject matter, but in that lecture, he had a tendency to trail off-topic (e.g. when graha bedham landed you in dvi-madhyama ragas -- he had way too much fun digressing on the subject of dvi-madhyama ragas). You stayed on topic much better, and covered a wider range of examples. It's especially hard because I feel like you picked the hardest topic within the subject. In essence, you are covering those key points that make graha-bedham such a deep topic. I studied both Carnatic and Western classical, and on a purely technical level, you can say that graha bedham is all over the place in Western classical music, but it is inherently more superficial there because there is no specificity of melodic content to a scale in the same way there is with a raga.
Very very useful. i am in US and i have studied 3 styles of music. carnatic vocal, hindustani vocal,and western vocal. some times, western vocal has alot of transposing and key changes in the same song. for example if the song is in the key of c major somewhere in the middle of the piece, the key will transpose and shift to half a step higher which is c sharp, and that becomes the new pitch and new key to sing. this could be the equivalent to grahabedam in canatic music. but in grahabedam, a whole new raga comes, because the position of SA changes.
In greha bedham, key never changes i.e sa never changes, only another note of raag is taken as sa and a new raag emerges, however in transposing, key change happens i.e sa changes altogether
Two more examples of graha bedham based on my observation: 1. While listening to reethi gowla alapana, at some places I could get the touch of natta kurinji/neelambari. 2. Lingashtakam shlokam, which is in Shiva ranjani ragam, at some places sounds like revathi ragam
Mam, nothing much to say. Fantabulous session.. Really informative to general listeners too.. You are really a versatile artist, plays violin well, obviously sings beautifully and more over transfering your knowledge clearly to all kinds of people. You really possess Saraswathi Kadaksha in all respects..
You can't assume that. There may be people from Telugu, Malayalam, Kannada or even Western backgrounds present there. Moreover, those watching this on UA-cam even today are definitely not all Tamilians. And this Sangeetham is not limited only to Tamil Nadu or Tamil-speaking people. So inevitably English as a more common and inclusive language will be used. Maybe the sisters can make use of the subtitles feature in UA-cam as a solution, in future.
Had the effect of a 2 hour Kutchery! By the way felt like being manifested the true genius that Gayatri Devi is! Blessings.
Super. Awsome presentation.🙏
This is hands down the best lecdem I've come across on graha bhedam. RaGa is a national treasure!
Waiting for their visit to Seattle again 🙏🏽
Mind blowing! What is so evident is the incredible command over the ragas. You can see how beautiful it is when an complete master handles the raga, and stamps the raga even as she effortlessly (for her, mind you!) executes the tonic shift. This is the result of intense devotion to the craft and a sensitivity that far surpasses the ordinary. What a treat it will be to see how they practice! The RaGa duo is a genuine credit to the world of carnatic music! Thank you for the upload!
Wah !! This lec dem blew me out . Extremely beautiful this was ! Am blessed to hear this ☺️. Gayatri Mam you are a genius and there is no doubt in it . The way you traverse in between ragas in a small time frame indicates that you're out of the world . Awesome Gayatri Mam . Always love you much !! ❤️ But without Ranjani Mam this seems incomplete . She is amazing at lec Dems and what a great one she is !! Now there's none to match those koraippu and korvai she sings out of magic from the air . Oh my !! You both are just splendid ! Definitely this is a master's cup of tea ☕ . Thank you . Splendid !!
I remember the last time I listened to a graha bedham lec-dem, and the lecturer at that time was my all-time favorite vocalist -- Thanjavur S. Kalyanaraman. Frankly speaking, yours turned out better. No doubts about his knowledge of the subject matter, but in that lecture, he had a tendency to trail off-topic (e.g. when graha bedham landed you in dvi-madhyama ragas -- he had way too much fun digressing on the subject of dvi-madhyama ragas). You stayed on topic much better, and covered a wider range of examples.
It's especially hard because I feel like you picked the hardest topic within the subject. In essence, you are covering those key points that make graha-bedham such a deep topic. I studied both Carnatic and Western classical, and on a purely technical level, you can say that graha bedham is all over the place in Western classical music, but it is inherently more superficial there because there is no specificity of melodic content to a scale in the same way there is with a raga.
Very very useful. i am in US and i have studied 3 styles of music. carnatic vocal, hindustani vocal,and western vocal. some times, western vocal has alot of transposing and key changes in the same song. for example if the song is in the key of c major somewhere in the middle of the piece, the key will transpose and shift to half a step higher which is c sharp, and that becomes the new pitch and new key to sing. this could be the equivalent to grahabedam in canatic music. but in grahabedam, a whole new raga comes, because the position of SA changes.
In greha bedham, key never changes i.e sa never changes, only another note of raag is taken as sa and a new raag emerges, however in transposing, key change happens i.e sa changes altogether
Ma'am your explanation about grahabedham is too informative
Two more examples of graha bedham based on my observation:
1. While listening to reethi gowla alapana, at some places I could get the touch of natta kurinji/neelambari.
2. Lingashtakam shlokam, which is in Shiva ranjani ragam, at some places sounds like revathi ragam
Mam, nothing much to say. Fantabulous session.. Really informative to general listeners too.. You are really a versatile artist, plays violin well, obviously sings beautifully and more over transfering your knowledge clearly to all kinds of people. You really possess Saraswathi Kadaksha in all respects..
Sindhu Bhairavi, Mohanakalyani, Nagaswarali
Krishna thulasi kadirukkal choodiya asra kudiram jnan- Ragam Lalith
Such an educational and melodious presentation
One shd b blessed to be a student of ranjini gayathri maam 🙏🙏🙏
Lalith - hindustani raga
Excellent 👌
Where is ranjani ji
🙏🙏
Wonderful
Madam, excellent demo
No words akka 🙏🙏🙏 .. Your viewpoint is Always welcome 🙏😍
Explaining well
Excellent
Very nice lecDem.....
Very intelligent not essay for everyone
Actually I could not understand anything
Was Gayatri speaking to a foreign audience? Must she speak in English? I am sure the audience was all Tamilians.
You can't assume that. There may be people from Telugu, Malayalam, Kannada or even Western backgrounds present there. Moreover, those watching this on UA-cam even today are definitely not all Tamilians. And this Sangeetham is not limited only to Tamil Nadu or Tamil-speaking people. So inevitably English as a more common and inclusive language will be used. Maybe the sisters can make use of the subtitles feature in UA-cam as a solution, in future.
I am not sure everyone is tamizh
Everyone is listening she is equally doing in both languages