karaharapriya..Study the enchanting Swaras

Prologue from the author of this blog

With the benevolence of the esteemed members, our group is entering its ninth month. I thank all for the co-operation. I propose to slightly modify the format of the discussions, by providing appropriate links from some on-line music databases, to further illustrate the beauty of the raag under discussion and the examplescited thereof.

The Tamil Epic, Periya Puranam,

that talks of the lives of the 63 devotees of Lord Shiva, elucidates the story of Poosalar, a Nayanmar who, having no material means, built a temple for the Mahadeva in his own mind and the joy he experienced. While the emperor built a realtemple of brick and stone and mud, enriched with decorative pillars and deities adorned with jewels, Poosalar built a similar but avirtual one in his mind, thought by thought. Legend goes the Lord found it more suitable to dwell in the psychical temple of his devotee.

The joy of visualising a temple built in mind can no less be experienced while listening to the raag - Karaharapriya. The raag takes the position of 22nd melakarta in CCM. Known by thename Kafi in CCM it is original Thaat in HCM and is suited for riyaazat night. A sampoorna raag, Karaharapriya all the seven surs in a verylilting and meticulous way.

Arokan : S R g m P D n

SAvro : S n D P m g R S

The alternating major and minor notes endow the raag with the majesty,flexibility and flow to enrich the vocal chords of the learner.

Let us now listen the sur track and enjoy the nuances as portrayed.
http://www.musicindiaonline.com/ms/g/FFbkUgFHddRL/index.html

A few kirtans of Saint Thyagaraja provide memorable trips into theraag. Like "raama nee samanarevaro" or "Pakkala nilabadi". A colorful raag sung in the classical.

http://www.musicindiaonline.com/ms/g/FFbkVFFH8jDL/index.html

In HFM, the raag has been utilized in a few songs just as
"Kali ghodidwar khadi" of Chashmebuddoor or "Gaironpe karam apnonpe sitam" ofAnkhen.

The ever green ghazal of Jagjit Singh, "tum nahin, gum nahin"is another illustrious illustration.

In TFM karahapriya, though rarely used, has been the delight of boththe MDs and listeners.

The earliest dated composition could be theinimitable MS rendering of "endhan idathu tholum" in Sakunthala.P.Leela followed it up with "Ariya paruvamada" in the Missiamma of the50s. A decade later, MSV- TMS combination brought out a classical hitin "Madhavi pon mayilaal" (Iru malargal). Much later, Ilayraja furtherexplored the raag with his "poo malarndhida" in Tik Tik Tik and"maapillaikku" in Netrikann. The quintessence of the raag, to this day in TFM, remains to be heardand enjoyed in the immortal rendition of TMS - P.Suseela in Karnan. Asong which ultimately did not find a place in the final film, itremains a delight to be savored for ever. The flute and sitar vyingwith one another providing ample support to the magical vocalizationby the duo would last for ever as an experience which could hardly beforgotten:

http://www.musicindiaonline.com/ms/g/FFbkVgFRZgJL/index.html