jaan e kharabat wrote:ragamala wrote:But I am happy that I have a grasp of the tanpura tuning. The tanpura sa is there to provide the frequency reference point for the raga sa, which is different, and hence for all the other notes of the raga's scale. The presence of BOTH sas in the tanpura tuning ALSO allows more flexibility in the tuning to enable by fine adjustment the significant notes of the raga to "leap out of" the mass of overtones produced.
Some people call this going besura...
Well for a long time I couldn't understand why my ears (even given their limitation as I described above) were saying "this is out of tune"...... Now I have - I think - an understanding to correct the error of my ways.
Now if Mrs Ragamala stops me singing in the bath and tells me I'm out of tune I will just tell her I am putting my thoughts on dhrupad into practice.....
Seriously, back to the tanpura, by notes of the raga appearing I am, of course, referring to notes other than sa becoming prominent in the perceived overtone spectrum. Somewhere I read some research on this, indeed with some interesting sound samples which made the point. I'll try and find a reference for these. Dr Kashyap may be able to locate these quicker than I, we have discussed this in the past, and he has had a thoughtful interest in such topics..
That didn't take as long as I thought - here's the main link I was thinking of
http://www.tcs.tifr.res.in/~pandya/musi ... s/tanpura/
This is not related to the dhrupad changing sa particularly, but is interesting in the context of additional possibilities of the "two sa" tuning as I believe there to be.