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Absolutely Divine Blissful & Superb Ma All the Best Wishes 👋🤏👋

ABHERI, KARNATAKA DEVAGANDHARI, BHIMPLAS - A COMPARATIVE STUDY Abheri is a fairly old raga; The present type is a pleasing and melodic raga, janya of mela (22) ragam Kharaharapriya, with notes : S G2 M1 P N2 S - S N2 D2 P M1 G2 R2 S. But the original Abheri, as described by Venkatamakhi and followed by Muthuswami Dikshithar had been different. The Sangeetha Sampradaya Pradarshini (SSP) by Subbarama Dikshithar shows the lakshna sloka by Venkatamakhi, as: “abheri sagraha purna syadarohe nivarjita”, which says it is losing Nishadam only in Arohanam; but from the geetham and tAnam, it can be derived that it has a Rishabha Dhaivatha varja, Gandhara-vakra arohanam as SMGMPPSS. Dikshithar followed this scale in his composition, “Veenabheri venu vadyadi vinodini”, which contains the raga-mudra also. The Dhaivatham used is D1, showing it is a janya of mela (20) NaTabhairavi. The Thyagaraja school used a different form of this, from the same mela, using SGMPNS as arohanam (Dikshithar system does not allow usage of SGM phrase; but only SMGM). The Abheri which Thyagaraja followed was also a janya of mela (20) NaTabhairavi, with structure as: S G2 M1 P N2 S - S N2 D1 P M1 G2 R2 S; this was the scale used to sing ‘Nagumomu’ in early years. How or when musicians started using D2 is unknown, it was a morphed or corrupted version of the original Abheri. Still, we can see that the arohanams of both the versions, as also avarohanam, except Dhaivatham, are same for both the old and new scales; so the renditions in both scales show much similarity than to Dikshithar scale. Hence it can be assumed that there were originally two different Abheris based on the different schools; both based on D1 only. It can be presumed that changing D1 to D2 had given a more melodic mood than the somber mood of D1; this may be the reason why musicians accepted this formula, which is followed even now. Now we come to an allied ragam - Devagandharam / Karnataka Devagandhari. Subburama Dikshithar, in SSP gives details of two ‘Devagandharis’; one under mela (22) and the other, under (29). The first is a janya of Shriragam mela, with murchana arohanam /avarohanam as: SRSGGMPDPNNS - SNDPMMGGRS. The details have to be learned from the geetham and suladi by Purandara Vittaladasa. The other is a janya of Sankarabharanam mela, with SRMPDDS - SNDPMGRSRGRS. This second one is also referred to as Desiya Devagandhari; the Dikshithar krithi ‘Kshithija ramanam’ is shown analysed. This is a bhashanga raga, with N2 coming at some places; also in the arohanam, G3 and N3 showing up in some places. In fact this scale is almost similar to the common Devagandhari; then what about the first scale? Muthuswami Dikshithar, in his krithi, “Panchashatpitha roopini” incorporates the raga-mudra as ‘devagandhara raga toshini’, which shows it is different than the ‘Kshithija ramanam’ or ‘SAlivAtiswaram’. Though the raga-mudra is not found in these two, in ‘Sri meenambikayah param’, Dikshithar includes it as’ SrI dEva gAndhAri pUjitA’. Hence, it is to be assumed that the differenciation is made to identify the raga, it is the ‘Devagandhari’ (mela 22 janya) same as the Devagandharam. This would have caused problems as in Suddha Saveri; musicologists began applying the same method of prefixing ‘Karnataka’ to it - raga began to be known as Karnataka Devagandhari. In course of time, it seems that this scale also has been modified as S G3 M1 P N2 S - S N2 D2 P M1 G3 R2 S; thereby making it a janya of mela (28) Harikambhoji. Still, some musicians have rendered the Dikshithar krithi with D2 only (MLV). Since the original Abheri began using D2, musicians began saying ‘nagumomu’ and ‘bhajare re manasa’ are in Abheri, while ‘panchashatpeetha roopini’ or ‘eppadi paadinaro’ is “sung” in Abheri; just to avoid the controversy. In fact, both the krithis are to be mentioned and sung in Karnataka Devagandhari only. The Hindustani ragam Bhimplas or Bhimpalasi is having a similar scale of the present version of Abheri; the arohanam beginning with lower Nishadam as : N2SG2M1PN2S - SN2D2PM1G2R2S. Another Hindusthani raga, Dhanasree (the Swathithirunal Tillana ‘gIdhu nadIkuand the krithi, ‘visweswar darshan kar’ are in this raga; the latter is sung in Sindhubhairavi also) also has the same notes (the only difference being the ‘VAdi’ notes). I have tried to make this comparison as simple as possible, trying to avoid more technical matters of academic interest only. Hope this will be helpful in solving the mystery. In any case, now there seems no differenciation made between Abheri and Karnataka Devagandhari; saying both are same (which is incorrect, as you have seen above).

P bhajare re maanasa Sree raghuveeram bhukthi mukthi pradam vaasudevam harim Oh Mind , meditate upon the heroic Raghuveera. He is bestower of food. He bestows salvation. He is Vasudeva. AP vyajina vidooram visvaadhaaram sujana mandaaram sundaraakaaram He is at a distance from wicked people. He is sustainer of the universe. He is like celestial "Mandara Tree" which fulfills the desires of pious people. He is handsome. C raavana marthhanam rakshitha bhuvanam ravi sasi nayanam ravijaari mar_danam ravijaadi vaanara parivrtham naravaram rathnahaara parisobhitha kandharam He destroyed Ravana and saved the world. Sun and Moon are his eyes. He is the King in Soorya lineage. Sugreeva and multitudes of monkeys were at his service. He is the most ideal person. He wears gem-studded necklaces beautifully. madhyama kaalam ravi sasi kuja budha guru sukra sanaischara raahi kethu nethaaram raajakumaaram raamam pavanajaaptham avanijaa manOharam Sun, Moon, Mercury, Jupiter, Venus, Saturn, Mars, Rahu and Ketu are governed by him. He was King of Ayodhya. He is very dear to Anjaneya. He captivated the heart of Sita, the daughter of Goddess Earth.

A wonderful song in by Mysore Vasudevachar. The composer urges his -and our- mind to dwell upon Lord Rama, describing his many qualities. He is referring to Him as the leader of the Navagrahas.

This Song was Composed in Raga Karnataka Devagandhari

Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya

Beautiful rendition Talli 🙏

అద్భుతం … చాలా బాగుంది .

Very nice శ్రీదేవి

Rare keertana good but Liric సరిగా తెలియడం లేదు liric clarity ledu unnecessary chotla voice modulation up and down avutondi

ಹೃತ್ಪೂರ್ವಕ ನಮನಗಳು 🙏🏼🙏🏼🙏🏼. Thank you for delivering this master piece. Best part was... Koralalu rudrakshi, basma... parama vaishnava neene... What a marvelous compositon, hence purandara dasa is deemed to be the greatest of yester century poets. 🙏🏼

Very rare kruthi.🎉❤🎉 Valuable lyrics brought to light again. 😊

Thank you all 🙏

👍👍👍

పరమపురుషాశేషా పాలపరిజనతోషా... ఈ చరణం పాడలేదేంటి మేడం గారు..

🙏🙏🙏🙏🙏

Madhuranga paadaaramma🙏🙏

🙏🙏🙏🙏🙏

Ammaa🙏🙏🙏🙏

Excellent. Melodious. शुभकामनाएँ.

Adbhuta gaatram, namaste

God gifted voice

Attunnata bhavanatookudinatti sreerama somsmarana bhajanaamrutam gaanam

🙏🏻

Adbhutam andi Sridevi garu 🙏

Beautiful rendition Sridevi Josyula

Beautiful rendition...❤

Poddute nee గొంతు lo రామ keertana వింటుంటే మనసు ప్రశాంతం గా వుంది. Beautiful శ్రీదేవి. Thanq for sharing

Namaskarum

Adbhutam ga undi

Thanks andi lyrics kuda upload chesinandhuku ,, chala baga padaru madam

చాలా బాగా పాడారు అమ్మా..🎉🎉 మీకు అభినందనలు 🎉🎉

Chaala chakkaga padaaru andi

SUPER SUPER SUPER SUPER SUPER SONG MADAM SUPER SUPER VOICE MADAM HAPPY UGADI MADAM 🎵🎵🎵🎸🎸🎸.

Devine rendition madam🙏🏻

Adhbhutauga undi.jai shree Ram ji 🚩

Super! Sridevi.👏👏👏

super

lyrics kuda add cheste bagunnu ani anipistundhi endhukante ragamlo konni sarlu cheppe padam danitho vache bavam ardam kadhu bavam ardam chesukovadaniki lyrics chustu mee pata vinte inka adbutam ga untadhi

🙏🙏🌹🌹

Amratamyamuga vundi

Please add these to Apple music

Superga padaramma

Chelikadavani pandavulu virodhivatanchu Sisupalajarsdandhadulu klavadsvs I alkucheludunerigirihani Pathithspsvanudani mathi teliyaleriri

Excellent. शुभकामनाएँ.

Jai sree ram

❤️👌💐

Excellent Sridevi garu

Madam, divine rendition.❤🙏🏻🙏🏻🙏🏻

చక్కగా పాడారు.అభినందనలు.