I wanted to share this... series of 4 parts (more to come insha-allah).
I have been intimately involved with Hindustani music for over 20 years and believe it or not this is the FIRST time I have ever heard a truly
intelligent, useful, logical, and clear explanation of how microtones (shrutis) are used in North Indian classical music.
These videos have had a sudden and very big impact on me and my concept of ICM. It is like something I have known for many years and then finally to
have someone explain it to you logically.
Of course there is always talk about 'this' note placements being slightly different than 'that' in this particular raga... etc, but this is something
that I, and seemingly almost all other players just did intuitively - without much conscious attention.
I now realise that I need to go back and review all ragas that I ever learned and discover consciously which shruti-placements are predominant in
which ragas... and finally there clearly needs to be a more accurate system of note-naming for the raga system. Obviously komal gandhar for example
has at least 3 variations... probably the Turkish koma system could be very very well applied here.
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