TRAYAM PLAYS GURUKRUPA!!!!! VARIJASHREE PRAVEEN D RAO B C MANJUNATH

GURUKRUPA!!!!!

TRAYAM, A DREAM TEAM for me. While I was composing this Tala, for which I have given the name as GURUKRUPA, I didn't think that this was going to get this beautiful form. Thanks to Ms. @Varijashree Venugopal 's Enviable talent, who made this more pleasing to the ears. Our dear Maestro Praveen D Rao has been a great bridge to connect melody and rhythms. without which you don't realise the value until it's not there. SUBTLETY That is where his great talent lies.

There are Two talas used here.

1st TALA GURUKRUPA goes like this all in 16th notes adding up to 130/16th notes.

4444/4443/4433/4333
3333/3332/3322/3222
2222/2221/2211/2111/1111

2nd TALA is called as Sankeerna Triputa which is 13/4

The structure of the rhythmic form goes like this.

1st Cycle: Starts with basic groove of Tala frames
2nd Cycle: Showing 13/16 groove
From 3rd cycle we have perfomed a Muktaya or Korvai that was taught to me by a good dear friend, Khanjira Maestro Vidwan G Guruprasanna.

Later same Mutaya or Korvai is performed in 13/4 in Khanda Gati or Quintuplets.

It was a fun Roller Coaster!!!!!!!

Varijashree and Praveen D Rao explanations

MELODIC description :

Gliding in with the 58th Mela raga HEMAVATHI (Sa Ri2 Ga2 Ma2 Pa Da2 Ni2) from G#.
When GRAHABEDHA is applied on notes Ri2 (Bflat) and Ga2 (B), we get ragas VAKULABHARANA (Sa Ri1 Ga3 Ma1 Pa Da1 Ni2) - 14th Mela raga, and KOSALA (Sa Ri3 Ga3 Ma2 Pa Da2 Ni3) - 71st Mela raga respectively.

130/16 :
Piece graduates into a duo of HEMAVATHI and VAKULABHARANA in the first and second cycles.

Muktaya :

First part is performed in HEMAVATHI
Second part is performed in VAKULABHARANA
Third part is performed in KOSALA

The same pattern is followed for the 13/4 in Khanda Gathi

Note : In 13/4 Khanda Gathi, the last three lines of the last part of the Muktaya ends with ascending lines (AAROHANA) in HEMAVATHI, VAKULABHARANA and KOSALA.