Grahabedam & Ganesh Kumaresh
December 30, 2006I dont think many of us learning or listening to Karnatic music have ever heard or witnessed something called Grahabedam. For me I really didnt have any clue about this area of Karnatic music nor I have never heard of Grahabedam before. But thanks to the Jaya Tv Margali Utsavam I got to know this concept and quite intrigued by it.
Grahabedam is really advanced and quite abstract concept in Karnatic music. We should be quite familiar and quite strong with the basic concepts in order to understand it. But if you are thinking of performing it to an audience you should be an expert in the other aspects before even thinking of this concept. Its quite complicated and takes large amounts of practice, talent and skill.
So usually we set a Sruthi and base our Sa or first note on that Sruthi and play an instrument or sing. But what Grahabedam is about is that we keep on changing the Sruthi or the base note of the Tampura or Sruthi petti, but keep our voice or the instrument’s sruthi constant. For example we may sing at 3 kattai Sruthi and the Tampura is set at 3 Kattai as well. If you want to experiment the concept of Grahabedam we keep on singing at 3 Kattai but change the Tampura either low or high. Therefore becuase of the change in position of the notes automatically by the Sruthi you will sing a different raaga without doing any change to your voice. Graham means placement, pedam means change. Grahabedam means change in placement. Grahabedam can be done for Janaha as well as Janya Raagas. Heres is an example I found on the web: Grahabedam

So this concept was demonstrated for the very first time on the Margali Maha Utsavam by the Violin duo Ganesh and Kumaresh. And I think it was a success. They explained the concepts very simply and used Kalyani my favourite raaga to demonstrate it. Their skill on the violin and the smoothness in their playing is spellbounding. I liked their ease and comfort in playing the instrument and the pleasant presentation they provided to the audience. Hats off to them. Here is how they used it:
1. Initially they started off with Kalyani.
2. Then the Grahabedam to R2 we get Harikambhoji- They played a piece on Sahana whihc is a Janya of Harikambhoji.
3. Grahabedam to G2 we get Nada Bhairavi- Then played a piece on Saaramathi (Janya of Nada Bhairavi)
4. Grahabedam to M2- This one is a bit complicated. Becuase when M2 becomes the base Pa becomes Rishabam. But Pa is a achala svaram where you cannot do any gamakam. Therefore they used M1 and M2 ignoring Pa and get the svaras of Hindolam.
5. Grahabedam to Pa results in Sankarabharanam. and They played Aarabi (Janya of 29)
6. Grahabedam to D2 resulting in Karaharapriya- Played a piece in Madyamavathi.
7. Finally Grahabedam to N2 resulting in Thodi and they played its Janya Thesiya Thodi.
This was a whole new experience for me. Eventhough its a very complicated concept it was really interesting to hear something totally new and experimental and being performed for the first time. We should also note that performing this concept using voice is quite complicated as many of us do not possess the range of voice needed to clearly show thsi concept. So it is best done using an instrument where we do not need to worry about range.



