About 38-39 years back...
I was listening to the podcast on 'Graha Bheda being aired on Akashvani Madras, by one of the musicologists, as part of their talks on music theory. This musicologist explained it with many examples.
The swaras of the 29th melakarta raga Dheerashankarābharana were sung in order from rishabha (having rishabha become the adhara shadja) to rishabha. It turned out that this new raga happened to be the arohana and avarohana of 22nd melakarta raga, Kharaharapriya.
Then, the same melakartā raga Dheerashankarābharana was taken and this time the Gandhara was taken as adhara shadja. This was sung upto the higher octave (tarasthayi) Gandhara, which gave rise to a new raga Hanumatodi, the 8th melakartā raga. This way from madhyamasthayi madhyama to madhyama, it resulted in the 65th melakarta raga Mechakalyani. When sung from panchama to panchama, it resulted in the 28th melakartā raga Harikambhoji. When sung from dhaivatha to dhaivatha, it resulted in the 20th melakarta raga Natabhairavi.
After hearing this detailed description, my curiosity knew no bounds. The program ended but a few questions came up in my mind.
"Why didn't they explain the usage of nishada to nishada and derive another raga? If they did sing it, what would those swaras be? If we continued this way, other than the 6 ragas that emerged, can we derive ragas from the remaining 66 melakarta ragas by making each swara of the raga as the adhara shadja? What would those ragas be?" My inquisitiveness to know the answers to this hidden knowledge grew stronger.
Music, a vast Ocean of profound wisdom, draws us into its depths with an irresistible charm. As we embark on the journey of uncovering its mysteries, we find ourselves captivated by its endless depth. Each step forward reveals not only the vastness of knowledge before us but also the realization that our understanding is but a fraction of what music truly offers.
This journey is not about achieving mastery but about embracing the perpetual pursuit of learning. So let this be seen as a humble attempt to make the profound wisdom of music accessible through simplicity and grace. The beauty of music transcends technical complexities. Its true power lies in its ability to stir the soul, evoke and transcend emotions beyond words.
The concept of Graha Bheda is a deep and interesting topic. Being able to do Graha Bheda and singing is a form of intellectual entertainment. It is used in sabhakacheris (musical gatherings); the same way pickle is used to add in meals, for the taste, of course! While singing a particular raga, for a short while using Graha Bheda, they enchantingly shift to another ragas demonstrate it flawlessly and entertain the audience, after which they again return to the original raga with which they had started. Experienced singers are able to showcase this effortlessly.
To observe and understand Graha Bheda one needs to have good understanding of ragas (melodic scales) and swaras (notes).
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