AFTERMATH
OF CUCKOOS MUSICAL NOTES ................
Looking
back, I find that the number of blogs during the year is far from anything to
boast about - only one, to be precise. And, I am running out of time - like in
the limited over versions of cricket - the 50 over and 20 over varieties. When
India's second innings reaches the slog overs, we get tense, especially with
the asking rate apparently seems unassailable, and a player like Ravi Shastry
is still (?) at the crease.....
Wake up
man, wake up, says my conscience - just as the reminders on my mobile message
box threatening that my Jio plan is expiring very soon, and I will be left high
and dry without internet, and the sky will fall down in 2 or 3 days......
But, I
will come to that later. To set the records straight, let me add a tail piece
of my earlier blog in 20016......
TAIL
PIECE:
Well, after
reading my latest blog - (see the link above) - some one asked me,
"What
are the (b) and (#) mentioned in your blog when you describe about western notes?"
'Ahhaa,
subah, subah ek thagda bakra mil gaya... Aaaj iskaa satya nash karne ke baad
baakee sab ...' I told myself , 'Golden chance to exhibit and expose(?) my
musical knowledge'
(Between
us, my knowledge of music is very very very insignificant, by the way)
However,
the exhibitionist in me shook himself, and told my 'fan',
"That's
a very intelligent question. I liked it and am happy at your thirst for knowledge. Come, sit down.. "At
that moment, I could see the desperate plight in his face - he would be
cursing all his stars for his unconditional offer as the proverbial scapegoat
to some one like me, right on a Sunday morning....
"You
see, they call them, major and minor in Western music. Just as we say, 'shudha'
or 'saadhaarana' and 'chatushruthi' or 'Antara'....."
There was
this blank look in his eyes, and I couldn't miss it.
"I
shall explain in simpler terms", I told.
"For
example, D and D(b) are equivalent to our Shudha and Chatushruthi Rishabha.
Similarly, F(#) and F represent our Shudha and Prati Madhyama."
"And
just as we have two variations for (Re) Rishabha, (Ga) Gaandhara, (Ma)
Madhyama, (Pa) Panchama, and (Ni) Nishada - the 'kaishiki' and 'kakali'
variations. They have their own D(b) and D, E(b) and E, F and
F(#), A(b) and A, & of course, B(b), and B ......"
Having
sufficiently confused him, I let out a looooong sigh of relief.
"But,
you said the 7 swaras originated from the sounds of different animals and
birds. Then how come the variations?"
Aahhaa
... That was a terrific trap. I did not bargain for such clever doubts. I
should have known where I was heading to when I penned the blog....... 'Think
Anantha, think ...' I told myself, 'And be fast..'😟
🔆 And
like a thunderbolt, the answer struck me,
"Offo,
thoo bhee kaisaa bewakoof ho yaar, the minor notes are the ones that were let
out when the animals and birds were hungry, and obviously, the major notes are
the ones let out by them when their stomach was full ........"
Before he
could come out with more 'intelligent' doubts, I told him,
"Take
care, and have a great day ...."
YOU TOO - have a great day............
anand ..............
