Quoting ( tanpura thread )
"As the sung intervals move away from the tonic in harmonic space,
accurate perception of intonation becomes more problematic,
and often more dependent on melodic context. Tivra Ma, for example,
is both melodically and harmonically distant from the tonic (some
people construe it as a 7/5 interval, but the usual procedure would
be to intone a clear, non-beating 5/4 (major third) above the 9/8
(major second) above the tonic. That is, "the shuddh Ga of shuddh
Re." Because of this complexity, the tivra Ma relationship is
both harder to intone accurately and harder to diagnose when
mistuned.
Komal Re is melodically quite close to Sa, but very
distant in harmonic space. The most effective intonational path
in my experience is to "mentally hear" the natural fourth, and then
intone the Re a pure 5/4 major third DOWN from it, that is, such that
the 5th partial of the Re equals the 4th partial of the Ma. Another
method, useful when the Re is to be rendered with andolan, is
to imagine the note undulating freely in the exact center of the Pa-Pa
octave space. Even though komal Re will not be equidistant from
the two Panchams, the analogy is useful; when I tell my students
to "think of the two Pa-s as trees, and the komal Re as reclining in
a hammock strung between them," their vocal intonation improves
perceptibly. "
I think the kom re comes naturally when one has the habit of hearing the vedic triswari ( `n S r ) that is used in Shlokas , stotrams ...
It evokes Bairagi , Basant Mukhari and similar raags .
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