Shortbook™ of the Month:
...and they called it "Kalindaja"
...and they called it "Kalindaja"
The focus of this month's Shortbook™ features a beautiful, exotic (where is she?), and not all too unfamiliar sounding triad pair / hexatonic scale (or "pitch collection", as is the fashionable term), which can be said to be derived from several different sources - both theoretical & cultural.
From a Western point of view, it can be derived from the 5th mode of Harmonic Minor (or Major) while omitting the minor or Major 3rd, as the case may be, of its parent scale (in parenthesis, below).
As an example, the 5th mode of F Harmonic Min or Maj. = C - Db - E - F - G - (omit Ab or A) - Bb
This creates a hexatonic (6 note) scale.
The exact same tonal configuration is realized - as a triad pair - by coupling a Major triad with the minor triad one whole step below it (eg. C Maj & Bb min or C-E-G & Bb-Db-F).
From a Carnatic (South Indian) point of view, this janya raga or "derived scale" comes directly from the 14th Melakarta "Vakulabaranam", which is the Carnatic 7-note tonal equivalent of the Western 5th Mode of Harmonic Minor, as previously described.
Omitting the sixth scale degree, or "da", leaves us with our 6 note janya raga....and they called it Kalindaja (pronounced Ka - LIN - da - DSHA)...and therefore, so shall we.
From a Western point of view, it can be derived from the 5th mode of Harmonic Minor (or Major) while omitting the minor or Major 3rd, as the case may be, of its parent scale (in parenthesis, below).
As an example, the 5th mode of F Harmonic Min or Maj. = C - Db - E - F - G - (omit Ab or A) - Bb
This creates a hexatonic (6 note) scale.
The exact same tonal configuration is realized - as a triad pair - by coupling a Major triad with the minor triad one whole step below it (eg. C Maj & Bb min or C-E-G & Bb-Db-F).
From a Carnatic (South Indian) point of view, this janya raga or "derived scale" comes directly from the 14th Melakarta "Vakulabaranam", which is the Carnatic 7-note tonal equivalent of the Western 5th Mode of Harmonic Minor, as previously described.
Omitting the sixth scale degree, or "da", leaves us with our 6 note janya raga....and they called it Kalindaja (pronounced Ka - LIN - da - DSHA)...and therefore, so shall we.
As shown by the example below, Kalindaja's scale structure is:
half step - augmented 2nd - half step - whole step - aug. 2nd (min 3rd) - whole step
half step - augmented 2nd - half step - whole step - aug. 2nd (min 3rd) - whole step
Breaking down its interval makeup, Kalindaja contains:
3 Perfect 4ths (C-F, F-Bb, G-C),
2 Major 3rds (C-E, Db-F),
4 minor 3rds (Db-E, E-G, G-Bb, Bb-Db, which incidentally, spell out a diminished 7th chord),
2 minor 2nds (C-Db, E-F),
2 Major 2nds (F-G, Bb-C), as well as
2 tritones (Db-G, E-Bb, which again, configure the same diminished 7th chord).
3 Perfect 4ths (C-F, F-Bb, G-C),
2 Major 3rds (C-E, Db-F),
4 minor 3rds (Db-E, E-G, G-Bb, Bb-Db, which incidentally, spell out a diminished 7th chord),
2 minor 2nds (C-Db, E-F),
2 Major 2nds (F-G, Bb-C), as well as
2 tritones (Db-G, E-Bb, which again, configure the same diminished 7th chord).
Expressed vertically from each scale degree (starting with the lowest note in saxophone range) - as chord on chord, in all its inversions - it looks like this:
This Shortbook™ explores Kalindaja from both the vertical, triad pair perspective, as in the example above (and more), as well as from the horizontal, Eastern-like scalar perspective, as demonstrated by the partial sequence in the example below.
Intervallic possibilities are explored as well, resulting in some colorful and expressive diatonic shapes.
All sequences and exercises are expanded and presented in all 12 keys.
Have a listen to the following harmonized examples of Kalindaja (in C only). The first is a more traditional Harmonic Minor type usage, with C Kalindaja supplying the ii-V7 (G min7b5 - C7b9), resolving to an F min6.
Ex. 1
Ex. 1
Listen
In this example, the C Kalindaja triad pair (C Maj & Bb min), is employed with the ii-V in the first 2 bars, resolving melodically to F Kalindaja in the final 2 measures. Several voicings use tonal material from outside the Kalindaja system.
Ex. 2
Ex. 2
Listen
Below is an example of a harmonized intervallic modal sequence in C Kalindaja. The supporting harmony makes use of non-diatonic tonal material to create tension and resolution.
Ex. 3
Ex. 3
Listen
Again, in the example below, the melody line is diatonic to C Kalindaja, while the supporting chord progression employs tonal material from outside the scale.
Ex. 4
Ex. 4
Listen
The full harmonizations of the above examples are included at the end of the book.
When practiced in all keys, the book's 80+ pages of exercises and sequences are a fun, effective and sweet-sounding way to cover each and every Major & minor triad and their inversions, as well as every diminished seventh chord.
When practiced in all keys, the book's 80+ pages of exercises and sequences are a fun, effective and sweet-sounding way to cover each and every Major & minor triad and their inversions, as well as every diminished seventh chord.
I thought I would include these two excellent videos here, as authentic examples of Kalindaja, performed in both a strict Carnatic, as well a Western musical improvised setting.
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Carnatic Flute Guru Flute Raman explains and performs a short alap (a free, unaccompanied solo) to demonstrate the beautiful Raga Kalindaja.
Be sure to check out his link (above) for more ragas and Carnatic musical enlightenment. |
Joe Henderson's solo here on "El Barrio", from his classic Blue Note album "Inner Urge", is more than likely not based on the hexatonic scale "Kalindaja" or its triad pair.
However, Joe seems to be improvising on the 5th mode of Harmonic Minor, from which the Hexatonic is derived, and with similar effect. |
B. Stern
Click images to enlarge
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