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CD data base: inventory your music

Use a collectible cd data base or an inventory system to list, locate, and sort your music collection. Let your computor help you organize your CD`s, records, tapes, or what have you.

So you have got this bunch of music cds that you have collected for years. Every now and then you look at then and think, "I`ve got to get these things in some kind of order. Find out just exacatly what I own."

It doesn`t matter what kind of music you collect, there is an inventory system suited for you. If you prefer classical recordings, you can get a system that lets you find every piece by a particular conductor, or by a particular symphany orchestra.

If you are a rock and roll fan you can sort by artist, group, or type. If you own a collection that includes several different types of music--Great! There is no problem keeping track of diverse types of recordings.

Got some really old 45`s, or 78`s? Might have something valuable there, and it would be worth your time and effort to list all your oldies and exactly who the singers, instrumentalists, or bands are. Do you have music on tape? No problem, all forms can be accomodated.

"Okay", you say. "Where do I find an inventory system?" Well, you may find one at your favorite computor store. Take a look next time you visit. Ask a clerk what they have. But since you are sitting at your computor reading this, why not take a look around the Net? Look for music inventory or CD inventory. Take a look at sites that have freeware or shareware.

Some of these sites will let you look at actual pages of their system, so you can see how the data is organized. Others may have a simplified version you can download from the Net for a trail run. If you don`t like to download from the Net, most of these companies have a CD you can get through the mail.

Telephone companies used to tell you to let your fingers do the walking, now you can let your computor bring the world to your screen. Do it the easy way--do it on your computor.

Bhimpalasi Inc

The ati-madhur and ati-priya Raga Bhimpalasi has the penetrating power to infect the human mind and control it for days and weeks on end. There is as yet no known antidote to the Bhimpalasi contagion. Fortunately, it strikes only those with a mind and so the damage is restricted to a very small fraction of humanity. My first memories of this expansive, orphic rAga hark back to the many bhajani utsavs in Goa I had the good fortune to be part of as a lad in shorts. On behalf of the charming girls at SAWF, I invite you to join us on what promises to be a balmy afternoon cruise. This special package also comes with a guest contribution, From The Carnatic Gallery, by V.N. Muthukumar.

Raga Bhimpalasi

The constituent swaras of Bhimpalasi are drawn from the Kafi thAT which corresponds to the 22nd Carnatic melakartA Kharaharapriya: S R g M P D n where M= shuddha madhyam.

The Aroha/avarohana set may be stated as:

n' S g M P n S"::S" n D P M g R S

The Aroha-avaroha barely betrays the rich fund of melodic promise vested in this mode. It is the genius embodied in the idea of Raga that impels us to look for fulfilment beyond mere scales. The abstraction and intellectual leap required to ferry us beyond a scale and into the realm of Raga must be considered a signal achievement in the history of music. The much ballyhooed Harmony, on the other hand, is a relative no-brainer.

Bhimpalasi traces its antecedents to the almost defunct Raga Dhanashree of the Kafi thAT (Dhanashree of the Bilawal thAT is still occasionally performed). In Dhanashree the primary Aroha-avaroha contour outlined above is retained but is characterized by a dominant pancham. When the accent is shifted off the pancham and the madhyam advanced there obtains an AvirbhAva of Bhimpalasi. It is this preponderance of the madhyam (nyAsa bahutva) that bestows on the rAga its allure.

The kernel of Bhimpalasi is encapsulated in the following tonal movement:

P' n' S M S g M, M g M g R S

Notice the M- centric nature of the phrase and the reprise of M g.

Supporting movements are:

n' S g R, S, n' S M, M P, g M P n D, P

The rishab and dhaivat are langhan (skipped) in Arohi movements but are assigned the role of deergha bahutva in avarohi runs. There is symmetry in the elongation of R and

M P g M P (S")n, n S", P n S" g" R" S"

The typical launch vehicle for the antarA.

S" n D, P, D (P)M P (M)g, M, M P (M)g M g R, S

The descent looks innocuous but there are always those gotchas to watch out for. A spurious phrase of the type n S" D P may soil the development (we shall have occasion to experience this event later from a very great master).

Obiter dictum: Some musicians, notably from the Agra school, view Bhimpalasi as a union of two component rAgas, viz., Bheem and Palasi. Accordingly, their Bheem drops the rishab altogether and Palasi the dhaivat (the Bheem of the Khamaj thAT is today better known by the name "Gavati"). There is a recording of Faiyyaz Khan in Raga Bheem (not adduced here).

< --Ramashreya Jha "Ramrang"

The innards of Bhimpalasi are irradiated in this magnificent clip of Ramashreya Jha "Ramrang" gleaned off the telephone line. Jha-sahab holds forth gloriously for over 5 minutes with economy of word, stripping the rAga bare until its essentials emerge with clarity. Seldom are the virtues of scholarship and expression joined in a single person and when someone of such persuasion comes by, every word he or she utters in their area of expertise ought to be captured on tape.

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