The 'new' raga: Nileshwari

Hello ALL,

Announcing the new raga Nileshwari (inspired by the blues scale)
==================================

As far as can be made out, no raga with these notes has been reported until now:

aroha: C Eb F G Bb C'
avaroha: C' Bb G F, Eb-F-F#-F, Eb C

"neela" means blue in Sanskrit; "Ishwari" means Goddess (of Music in the present context) -- hence the compound word "Nileshwari".
"n e e l e s h w a r e e", strictly.

This raga should be very suitable for jamming, too.

It strongly resembles the raga Dhani :

aroha: C Eb F G Bb C'
avaroha: C' Bb G F Eb C
But a Lalit-like phrase Eb-F-F#-F has become indelibly interwoven to become its inseparable component.

It will soon develop itself into its very own mood, color, texture, hue, shades and microtonal nuances.

Regards,
Haresh.

i will check my resources to confirm your proposition
namaste

Patrick

Haresh BAKSHI <hareshbakshi@hotmail.com> wrote:
Hello ALL,

Announcing the new raga Nileshwari (inspired by the blues scale)
==================================

As far as can be made out, no raga with these notes has been reported until now:

aroha: C Eb F G Bb C'
avaroha: C' Bb G F, Eb-F-F#-F, Eb C

"neela" means blue in Sanskrit; "Ishwari" means Goddess (of Music in the present context) -- hence the compound word "Nileshwari".
"n e e l e s h w a r e e", strictly.

This raga should be very suitable for jamming, too.

It strongly resembles the raga Dhani :

aroha: C Eb F G Bb C'
avaroha: C' Bb G F Eb C
But a Lalit-like phrase Eb-F-F#-F has become indelibly interwoven to become its inseparable component.

It will soon develop itself into its very own mood, color, texture, hue, shades and microtonal nuances.

Regards,
Haresh.

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--- In tuning@yahoogroups.com, Pat Pagano <shreeswifty@y...> wrote:
>>>> i will check my resources to confirm your proposition
> namaste
>
> Patrick >>>>

Hello Patrick, thanks for offering to check your resources regarding the raga Nileshwari.

To me, Nileshwari is a very great gift to Indian music from the Blues.
That is very important -- not who got inspired to bring it across the seven seas to the Indian shores. If I am instrumental in that sublime flight, I would feel grateful and obliged and very, very humble. If it is someone else, I would be the first to congratulate him.

Regards,
Haresh.

--- In tuning@yahoogroups.com, "Haresh BAKSHI" <hareshbakshi@h...>
wrote:
> --- In tuning@yahoogroups.com, Pat Pagano <shreeswifty@y...> wrote:
> >>>> i will check my resources to confirm your proposition
> > namaste
> >
> > Patrick >>>>
>
> Hello Patrick, thanks for offering to check your resources
regarding the raga Nileshwari.
>
> To me, Nileshwari is a very great gift to Indian music from the
Blues.
> That is very important -- not who got inspired to bring it across
the seven seas to the Indian shores. If I am instrumental in that
sublime flight, I would feel grateful and obliged and very, very
humble. If it is someone else, I would be the first to congratulate
him.
>
> Regards,
> Haresh.

hi haresh.

i spend an average of 1.5 hours a day playing raga-inspired music on
the acoustic guitar (with open strings tuned to a drone), an
instrument very important in the blues. not suprisingly, since i come
from the homeland of the blues (rather than from that of raga),
something quite similar to what you've described comes into my
playing quite frequently. i hope someday we will be able to make
music together. also i hope to record my improvisations on the
shrutar (the microtonal acoustic guitar i've discussed) soon after
that instrument comes into existence, so that you can hear my take on
raga-blues even if we do not meet in person.

best,
paul

--- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
........

Hello Paul,

>>>> i spend an average of 1.5 hours a day playing raga-inspired music on the acoustic guitar (with open strings tuned to a drone), an instrument very important in the blues. >>>>

I am so glad to hear this. It is very creditable.

>>>> not suprisingly, since i come from the homeland of the blues (rather than from that of raga), something quite similar to what you've described comes into my playing quite frequently. >>>>

Isn't this a case of universality of musical ethos? I have had a similar experience with Allison, in connection with another raga (I forget the name of that raga).

>>>> i hope someday we will be able to make music together. >>>>

I look forward to getting such an opportunity. It will be my greatest pleasure to collaborate with you in the imporvisation of the raga- blues.

>>>> also i hope to record my improvisations on the shrutar (the microtonal acoustic guitar i've discussed) soon after that instrument comes into existence, so that you can hear my take on raga-blues even if we do not meet in person. >>>>

It will be very interesting to listen to improvisations of raga-blues on the shrutar.

Regards,
Haresh.

Maybe the reason you're the first has something to do with what Danielou talks about on page 137 in his Music and The Power of Sound

The number five "humanizes" music. It makes music the instrument of expression no longer of abstract prototypes but of a tangible reality. The introduction of any higher prime number would take us beyond this reality into dangerous regions that are not within the scope of our normal perceptions and understanding.

Is he voicing an Indian aesthetic? --Rick

Haresh BAKSHI wrote:

>--- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
>........
>
>Hello Paul,
> >
>>>>>i spend an average of 1.5 hours a day playing raga-inspired music on the acoustic guitar (with open strings tuned to a drone), an instrument very important in the blues. >>>>
>>>>>
>
>I am so glad to hear this. It is very creditable.
>
>>>>>not suprisingly, since i come from the homeland of the blues (rather than from that of raga), something quite similar to what you've described comes into my playing quite frequently. >>>>
>>>>>
>
>Isn't this a case of universality of musical ethos? I have had a similar experience with Allison, in connection with another raga (I forget the name of that raga).
>
>>>>>i hope someday we will be able to make music together. >>>>
>>>>>
>
>I look forward to getting such an opportunity. It will be my greatest pleasure to collaborate with you in the imporvisation of the raga- blues.
>
>>>>>also i hope to record my improvisations on the shrutar (the microtonal acoustic guitar i've discussed) soon after that instrument comes into existence, so that you can hear my take on raga-blues even if we do not meet in person. >>>>
>>>>>
>
>It will be very interesting to listen to improvisations of raga-blues on the shrutar.
>
>Regards,
>Haresh.
>
>
>
>
>
>
>You do not need web access to participate. You may subscribe through
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>
>

--- In tuning@yahoogroups.com, Rick Tagawa <ricktagawa@e...> wrote:
> Maybe the reason you're the first has something to do with what
Danielou
> talks about on page 137 in his Music and The Power of Sound
>
> The number five "humanizes" music. It makes music the instrument of
> expression no longer of abstract prototypes but of a tangible
reality.
> The introduction of any higher prime number would take us beyond
this
> reality into dangerous regions that are not within the scope of our
> normal perceptions and understanding.
>
> Is he voicing an Indian aesthetic?
>
> --Rick

i doubt it, but even if he were, i don't see how that would be
relevant here. the raga haresh proposed uses only notes of the modern
indian gamut, whose ratios have a prime limit of 5.

from my (american) end, i hear very little connection between blues
and ratios of 7 -- "blue thirds" and "blue sevenths" are usually
neutral thirds and sevenths, almost a semitone higher than
the "subminor" or "septimal" thirds and sevenths that they're often
claimed to be. meanwhile, one can hear ratios of 7 in barbershop
singing, which certainly doesn't evoke "dangerous regions" or seem to
go beyond normal understanding, to my ears anyway.

>
> Haresh BAKSHI wrote:
>
> >--- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
> >........
> >
> >Hello Paul,
> >
> >
> >>>>>i spend an average of 1.5 hours a day playing raga-inspired
music on the acoustic guitar (with open strings tuned to a drone),
an instrument very important in the blues. >>>>
> >>>>>
> >
> >I am so glad to hear this. It is very creditable.
> >
> >>>>>not suprisingly, since i come from the homeland of the blues
(rather than from that of raga), something quite similar to what
you've described comes into my playing quite frequently. >>>>
> >>>>>
> >
> >Isn't this a case of universality of musical ethos? I have had a
similar experience with Allison, in connection with another raga (I
forget the name of that raga).
> >
> >>>>>i hope someday we will be able to make music together. >>>>
> >>>>>
> >
> >I look forward to getting such an opportunity. It will be my
greatest pleasure to collaborate with you in the imporvisation of the
raga- blues.
> >
> >>>>>also i hope to record my improvisations on the shrutar (the
microtonal acoustic guitar i've discussed) soon after that instrument
comes into existence, so that you can hear my take on raga-blues even
if we do not meet in person. >>>>
> >>>>>
> >
> >It will be very interesting to listen to improvisations of raga-
blues on the shrutar.
> >
> >Regards,
> >Haresh.
> >
> >
> >
> >
> >
> >
> >You do not need web access to participate. You may subscribe
through
> >email. Send an empty email to one of these addresses:
> > tuning-subscribe@yahoogroups.com - join the tuning group.
> > tuning-unsubscribe@yahoogroups.com - unsubscribe from the tuning
group.
> > tuning-nomail@yahoogroups.com - put your email message delivery
on hold for the tuning group.
> > tuning-digest@yahoogroups.com - change your subscription to
daily digest mode.
> > tuning-normal@yahoogroups.com - change your subscription to
individual emails.
> > tuning-help@yahoogroups.com - receive general help information.
> >
> >
> >Your use of Yahoo! Groups is subject to
http://docs.yahoo.com/info/terms/
> >
> >
> >

--- In tuning@yahoogroups.com, "Paul Erlich" <paul@s...> wrote:

/tuning/topicId_46668.html#47726

> --- In tuning@yahoogroups.com, Rick Tagawa <ricktagawa@e...> wrote:
> > Maybe the reason you're the first has something to do with what
> Danielou
> > talks about on page 137 in his Music and The Power of Sound
> >
> > The number five "humanizes" music. It makes music the instrument
of
> > expression no longer of abstract prototypes but of a tangible
> reality.
> > The introduction of any higher prime number would take us beyond
> this
> > reality into dangerous regions that are not within the scope of
our
> > normal perceptions and understanding.
> >
> > Is he voicing an Indian aesthetic?
> >
> > --Rick
>
> i doubt it, but even if he were, i don't see how that would be
> relevant here. the raga haresh proposed uses only notes of the
modern
> indian gamut, whose ratios have a prime limit of 5.
>
> from my (american) end, i hear very little connection between blues
> and ratios of 7 -- "blue thirds" and "blue sevenths" are usually
> neutral thirds and sevenths, almost a semitone higher than
> the "subminor" or "septimal" thirds and sevenths that they're often
> claimed to be. meanwhile, one can hear ratios of 7 in barbershop
> singing, which certainly doesn't evoke "dangerous regions" or seem
to
> go beyond normal understanding, to my ears anyway.
>

***I guess that depends on the kind of barber you have... wasn't
there Sweeney Todd... (??)

JP