NAVYA C
The magical
Madhyamam
In the world of music, it is usually said that the tonic
(shadjam), perfect fifth (panchamam) and upper octave
(upper shadjam) carry the utmost importance. Even during
the travel of notes for an Indian aalap, they carry great
importance. These are the notes which are unfaltering, and
do not change their frequency irrespective of the change
in scales. However, there is one magical note madhyamam
which actually defines the structure of a particular scale in
Indian music.
Madhyamam typically also means the middle of a complete
scale. It can also mean the medium which is used to convey
an emotion- let it be ecstasy, sadness, melancholy or
aggression. Some ragas like Begada are heavily dependent on
madhyamam and it is even called “Begada Madhyamam” for
the exclusive treatment it gets. But here, we are talking about
those ragas which are based on the teevra ma- that is the prati
madhyamam as called in Carnatic music.
The presence of this teevra ma actually brings up lot of
exciting possibilities and hues to an expression. Even the
Hindustani musicians are extremely fond of this particular
madhyamam and ragas such as Puriya Dhanasri which was
amazingly explored in all quarters.
Raagas with Prati Madhyamam are also greatly used in
compositions which are deeply philosophical, magical and
also stir an interesting wave of thought to the listener.
One of the greatest examples of such compositions are
Gnanamosagaraada in Raaga Purvi Kalyani composed by
Saint Thyagaraja.
The beauty of one note in the entire scale is indeed
mesmerizing and gripping to showcase a particular emotion.
As per the Carnatic music system, there are 72 full scale
ragas which are typically called Melakartha ragas. Out of
these, the first half of the ragas (till no. 36) are based on
shuddha madhyamam (the ma with lesser frequency). Ragas
like Shankarabharanam, Mayamalagowla, Hanumathodi,
Gowri Manohari fall in this category. However, the second
half comprises of the same notes as the first half except with
the change in madhyamam. Isn’t it incredible to see just one
note changing the entire structure and feel of a raaga?
Take the example of Nata Bhairavi. This raga is usually quite
sober and has lot of melancholic hues with the presence of
shuddha madhyamam. But when it’s parallel Shamukhapriya
is rendered, the entire atmosphere goes to a dynamic mode.
The halt at the beautiful prati madhyamam makes all the
needed difference. In the same way, an entirely happy scaled
raga like Shankarabharanam becomes extremely devoted
Kalyani just with the presence of prati madhyamam.
The
Score Magazine
highonscore.com
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