Vid. R Umashree Guruprasad (mandolin) & team from Bangalore - Homage to Mysore Vasudevacharya Series
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- čas přidán 7. 03. 2024
- Grand Maha Shivaratri Carnatic Music Concert
Homage to Padma Bhushan Mysore Vasudevacharya
8th March 2024, 8:00 PM IST (9:30 AM EST)
Vid. R Umashree Guruprasad (mandolin) - Bangalore
(Disciple of Late Mandolin Vid. U Srinivas)
Chi. Srivatsa. S (mridangam)
(Disciple of "Navayuga nandi" Dr. Patri Satish Kumar and Late Vid. Dr. Nandyala Rama Murty) - Hudba
Beautufully presentwd and played ! The percossiin support was very good too ! Congrats to both the artists!
Excellent performance and divine rendition umashree😊👌🙏 God bless you
Very good music . Mastry of ragas. Matching mridangam . Best combo
Amazing!
kAmbhOji is an auspicious rAgam, so when sung at the commencement of a concert, it generates “mEla kkozhuppu” (proper musical atmosphere).
nAdasvaram renditions of lengthy kAmbhOji AlApanas are very satisfying experience, especially in temple festivals.
DAttu svara prayOgams like “ d g r g s r d r s n d p”, “r p m g s”, “r m g s”, and “d g r s” are a speciality of this rAgam. The prayOgam “ g m p m g” in tristhAyi adds beauty to this rAgam.
The tri shruti dhiavatam (5/3) occurs in the phrases “D; n n D”, and catushruti dhaivatam (27/16) in the phrases ”s n p d s r g”.
It is a sarva svara gamaka vArikA rakti rAgam, with high emotional impact, which makes a listener very tranquil..
Compositions in kAmbhOji usually commence in sa, ga, ma, pa, and dha. Here, a composition can commence in a vishESa sa~ncAra --- m g s and s n P.
asaMpUrNa paddhati (dIkSitar school)
In the asaMpUrNa scheme, kAmbhOji appears as the first bhASA”nga rAgam under the asaMpUrNa mELam 28 -- harikEdAragauLa.
lakSaNam (definition) - Venkatamakhi
kAmbhOjI rAgaH sampUrnaH cA’rOhE ga ni vakritaH |
niSAdaH kAkaLIyuktaH kvacit sthAnE prayujyatE ||
mUrccana ArOhaNam: s r g m p d n d S, avarOhaNam: s n d p m g r s
bhASA”ngam, saMpUrNam, SaDja graham; both gAndhAram and niSAdam are vakRam in ArOhaNam; rakti rAgam; slight touches of kAkaLi niSadam occurs in some places; suitable for singing at all times.
In the treatise, Sa”ngita samradAya pradarshini, Subbarama Dikshitar gives the ra~njaka prayOgams as well as prayOgams where kAkaLi niSAdam shows up (page 671--672 of tamil Edition). The book gives a lakshya gItam “are yama” (ve”nkaTamakhi), four kIrttanams by muttisvAmi dIkSitar (“kamalAmbikAyai”, “shri valmIkali”ngam”, “kAshIvishveshvara”, and “shrI subrahmaNyAya namaste”), the famous tAna varNam, “inta calamu” of pallavi gOpALa iyer, and concludes as usual, with a sa~ncAri by the author himself.
kAmbhOji is one of the oldest rAgams mentioned in numerous treatises on music. SangIta Makarandam (7th century) mentions kambhOji; also all subsequent musical work have dealt with kAmbhOji. It has held the status of a mELam since 16th century. However in view of its taking an extraneous note, it lost the status, and Venkatamakhin placed it as a janyam under mELam 28, harikAmbhOji.
In Tamil Music, the derivation of the name has been given as “kambUthi”, which perhaps later became ‘kAmbOdhi”. The tEvAram pann “takkEsi” is none other than kAmbhOji. In Malayalam music and kathakaLi songs, kAmbhOji is nomenclatured as “kAmOdari”. This is the name found in the compositions of svAti tirunAL, irayimman tampi, and so on.
under khammAj thAth, as an auDava-sampUrna scale (s r g p d s; s n d p m g r s), with ArOhanam omitting both “ma” and “ni”. Notes employed are: tIvra ri, tIvra ga, shuddha ma, tIvra dha, and kOmal ni. It is to be rendered during the second prAkAra of the night. But these days, this rAgam is almost extinct.
As mentioned earlier, there are majestic compositions in kAmbhOji by the trinity as well as other composers. The ever popular and famous k.rtis “shrI subrahmaNyAya namastE”, (muttisvAmi dIkSitar), and “O ra”ngashAyI” (tyAgarAja) have, no doubt, immortalized this rAgam. So are “evari mATA” , “mA jAnakI” (both by tyAgarAja), “kANa kaN kOTi vENDum” (pApanAsham shivan), tiruvaTi sharaNam (gOpAlak.rSNa bhArati), and many other songs. The kamalAmbA navAvarana caturthI vibhakti k.rti “kamalAmbikAyai” is set in kAmbhOji. Svati tirunAL’s ninth day utsava prabandham, “sharadindu sama mukhanAkum” is in this auspicious rAgam. TyAgarAja has employed kAmbhOji in both the shrIra”ngam, and the lAlgudi pa~ncaratna series.
Who can forget the beautiful neraval lines “vAsavAdi sakala dEva vanditAya” or “bhUlOka vaikunTa”? Madurai Mani Iyer’s renditions of “mA jAnakI”, or “kANa kaNkOTi vENDum”, Ariyakkudi rendition of “evari mATA”, or the DKP school handling of “shrI subrahmNyAya” are all landmarks in Carnatic concerts, and speak volumes about the grandeur of kAmbhOji.
Great musical treat to our ears , melodious with good accompaniment . Well chosen songs and immensely enjoyable ‘vaasippu’👏🏽👏🏽god bless🙏🏽
Awesome, Uma. You have really excelled. So soothing and relaxing. Enjoyed thoroughly.
Keep it up! God bless....Uru
Superb Thani !!!
P nada tanu manisam Sankaram
namami me manasa sirasa ||
I bow to Sankara every moment with mind and body. He is the embodiment of 'Nadam'
This keertana was sang by dr. Yesudas in,, Telugu,, feature film,, rudraveena,, directed by k. Balachander... Very nice presentation of the keertana by mandalin...
Superb Start !!!
Lovely Alapanai !!!
"Ananda Natamaduvar Tillai", which explains the cosmic dance (Tandava) of lord shiva as Natraja (Ananda tandavam of Nataraja) in Chidambaram. During one of these sessions, our guru asked us what the idol of Nataraja actually meant. Our answers were random. He then explained us the hidden meaning behind the divine symbol of Natraja.
JANYA OF MELA (29) RAGAM SANKARABHARANAM
Poornachandrika is a janya raga of Sankarabharanam mela; it is a vakra-shadava ragam, losing N3 in the arohanam and D2 in avarohanam. Due to the vakra prayogas, this raga has a very special flavor, very beautiful to listen at a medium to medium-fast pace.
There are few compositions from two of the Trinities, Thyagaraja and Dikshithar, as also from many of the later composers; thillanas and varnams in this raga - still, this is treated as a Rare Raga, as only very few compositions have seen the concert arena.
The ragaswaroopa can be seen as:
S R2 G3 M1 P D2 P S // S N3 P M1 R2 G3 M1 R2 S
Subbarama Dikshithar quotes the Lakshana sloka by Venkatamakhi, in his book Sangeetha Sampradaya Pradarshini, as:
"sampurnassagrahopeto ragoyam purnacandrika |
avarohe dhavarjyassyat gavakrassarvakalikah ||"
(sampoorna - vakra-shadava raga as: SRGMPDNS // SNPMGMRS)
Ragapravaham by D.Pattammal puts it under mela (29) Sankarabharanam and gives six configurations:
S R G M P D P S // S N P D P M G M R S
S R G M P M D N S // S N P D P M G M R S
S R G M P D S // S N D P M G M R S
S R G M P D N S // S N P M G M R S
S R G M P N S // S N P M G M R S
S R G M P D P S // S N P M R G M R S
Also she puts it under mela(41) Pavani,
S R G M P D P S // S N P D P M G M R S (the main difference being only the Prathi madhyamam.
Compositions:
Telisi Rama chinthanatho - Thyagaraja
Palukavemi na - Thyagaraja
Sree Rama Rama jagadatma - Thyagaraja
Chandra mandala - Dr. Muthaiah Bhagavathar
Chandram bhaje - Dr. Muthaiah Bhagavathar
Maha Tripurasundari - Dr. Muthaiah Bhagavathar
Shashishekhara - Dr. Muthaiah Bhagavathar
Tudikkaikuriya Adiye - Dr. Muthaiah Bhagavathar
Ne jesina neramu - Patnam Subramanya Iyer
Panchanadeesha pahimam - Patnam Subramanya Iyer
Paripoorna chandra - Tanjore Sankara Iyer
Shanka cakra gada paanim - Dikshithar
Sri Rajarajeswari - Dikshithar
Sri Ranganatham upasmahe - Ambi dikshithar *
Sreekara mamava - Tulaseevanam
Palayamam deva - Swathithirunal
Ramachandra pahi - Swathithirunal
Narayana namosthuthe - Mysore Vasudevacharya
Koriyinru - Periyasami tooran
Paadame thunai - GK bharathi
Varada nipuna - GNB
Thillana - Poocci Srinivasa Iyengar
Shri raja raja raja mana(v) - Subburama Dikshithar
Palayamam deva parvathijane(v) - Swathithirunal
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Chi Srivatsa.S ( Disciple of “Navayuga nandi” Mridangam Dr. Patri Satish Kumar
And Late Vidwan Dr. Nandyala Rama Murty)
Raga Chala Nattai 36th mela Alias: chalanattai
Aro: S R3 G3 M1 P D3 N3 S Av: S N3 D3 P M1 G3 R3 S
It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music. It is the 6th rāgam in the 6th chakra Rutu. The mnemonic name is Rutu-Sha. The mnemonic phrase is sa ru gu ma pa dhu nu. The notes used in this scale are shadjam, shatsruthi rishabham, antara gandharam, shuddha madhyamam, panchamam, shatsruthi dhaivatham and kakali nishadham.
Here are the songs in Chala Nattai :
Are rupa girivasa guhajana (lkg)-Jhampa-Venkatamakhi
Arum panbu nirai tamizhe ulagettum-Adi-Abhayambika
Bhavayami satatam shri satyanarayanam-Rupaka-Kadalur Subramaniam
Chalamu jesevula nilamegha shyama-Chapu-Bellary Sheshagiriachar
Chalana lochani chanchala-Adi-Bangalore S.Mukund
Chanchala devim lakshmim pranamami-K/Chapu-Ashok R.Madhav
Chanchala nata nenjinile oru-Adi-Shuddhananda Bharati
Durayai durga parayai sarayai sarva-Adi-R.K.Suryanarayana
Edayya gati enakku-Adi-Kotishvara Iyer
Hema girishudu-Adi-Dokka Sriramamurti
Kamala vadanim japami- -Bangalore S.Mukund
Nagatmaja manoharam namami nagavairi vinutam-Adi-Balamuralikrishna
Nila mayil vahana ennai rakshikka ni vara vendumay-Adi-D.Pattammal
Ninende tayarannavo-Adi-Shrikaanth K.Murthy
Parameshvara mam paripalaya-Adi-C.Rangiah
Priye charushile priye charushile (ap 19) (Vadasi)-Jhampa-Jayadeva
Ruchira parama-Rupaka-R.K.Suryanarayana
Shikhi vahana mana mohana-Adi-R.Venugopal
Unakkinai niye bharata taye-Adi-K.Ramaraj
Vel muruga-Adi-Ambujam Krishna
Every keertana was beautifully selected by vidushi mandalin in the festival,, mahasivaratri,, on Lord Shiva... Adbhutah...
The original composition by Muthuthandavar in Abhogi, as sung by Seerkazhi. The above was set in Andolika ragam (as MMI and GNB used to sing). it is quite interesting to note that the Pitamaha, Semmangudi Swami has sung this in Kalyani Ragam.
Many musicians sing this in Andolika; Semmangudi Swami has sung this in Kalyani ragam !!
This Composition is on Thillai Natarajar of Chidambaram ! The place name Chidambaram may be derived from “chit” meaning consciousness and from “ambaram” meaning sky or cloth. It may mean “sky of consciousness.”
The earliest reference to the very ancient Chidambaram temple is found in Tamil literature in the sixth century CE. The primary deity of the temple is Shiva, and this is the only temple in India where the primary representation of Shiva is Nataraja, the Lord of Dance.
The image of Shiva dancing is an iconic symbol that brings India to mind and is recognizable all over the world. Shiva’s dance is mystical, cosmic, and has two forms - one, the ananda tandiva, is gentle and is a dance of the affirmation of life.
The other is the final dance that brings the destruction of the universe, when Shiva, cognizant that the world has descended into evil, performs the powerful dance that ends all existence, so that after the end, a new universe may arise, purified of evil.
This is a cyclic recurrence. Shiva is the creator, the preserver, and the destroyer of the Cosmos. The cycles recur, unendingly, over and over - while, on another level, there remains always the ultimate world-ground of the universe, Brahman, who is eternal, beyond existence and non-existence, who encompasses all, both form and formlessness, both change and changelessness
Akshaya Linga Vibho Ragam Shankarabharanam 29th Mela Mishra Chapu Talam Muthuswami Dikshitar Krithi The krithi akSayalinga vibhO was composed at this beautiful temple town on a hillock called kIvalUr located between tiruvArUr and nAgapattinam.
Since one of the information here, Smt Padma says that this is her hometown,One should very sure that she knows much much more about this town and the temple. One of the specialities of this temple is the straight line in which the navagrahams are situated(instead of the circular version).
One Can remember that this is how the navagrahas are situated in the tiruvArUr temple too. The locals call akSayalingEswarar as kediliyappar and SundarakuchAmbika thAyAr as Vanamullai amman.
The sthala vriksha is ilandha maram (badari tree), which is captured in the first line of the caraNam in this krithi. There are quite a few stories based on this temple too. Lord SubrahmaNya Himself is believed to have constructed this temple with the help of Indra.
One need not elaborate on the grandeur of the raga ShankarAbharaNam. It has been handled with utmost care by the trinity and pretty much all composers after the trinity. dIkshithar, especially seems to have had a great liking for this raga and he has proved his might in handling the 29th melakartha by composing big masterpieces such as the navAvarNam, akSayalinga vibhO, dakSinAmurthE and innumerably many more brilliant krithis in addition to the nottuswara sAhitya.
Historical Aspects ( Dr. Prameela Gurumurthy): While dealing with ragas and its lakshanas new ideas and thoughts come in. When we talk about Poorvikalyani, we find that there are many references to this in books - Prof. Sambamoorti's South Indian Music, Part 6, S R Janakiraman's Raga Lakshanas, Sambamoorti's Ragalakshna, 3rd Part and most importantly, Subbarama Dikshitar's Sangeeta Sampradaya Pradarsini. Apart from Sonti Venkatasubbayya's Varnam which is mentioned in the Sampradaya Pradarsini, there are two other Varnams - an Ata tala Varnam of Patnam Subramanya Iyer and an Adi tala Varnam of Vendanta Bhagavatar in Gamakakriya.
Looking into the historical background, raga Poorvi is mentioned as Poorva in Srinivasa's Raga Tala Vibodha. In Lochana Kavi's Raga Tarangini (14th century), the 10th of the 12 melas listed is Poorva. Annamacharya also seems to have dealt with the raga Poorvi. Somanatha in Raga Vibhoda (consisting of 23 melas and 75 janya ragas) mentions Poorvi as a janya of Malavagowla. Sradhala Chandrodaya (17th century) mentions Poori, a janya of the 2nd mela, Mayamalavagowla and the Anubandha(supplement) of the Chaturdandi Prakasika, which is believed to be a later addition, mentions raga Pouravi, again a janya of the 15th mela, Mayamalavagowla. Tulaja's Sangeeta Saramrita speaks about the raga Poorvi, the janya of Malavagowla. The common factor here is that all these ragas have been consistently mentioned as the janya of Malavagowla.
Tirugokaranam Vaidyanatha Iyer has composed a piece in Poorvi, which is still under controversy as to whether it is a Druphad or a Tillana.
T V Subba Rao in his Raga Nidhi mentions that Poorvi belongs to the Hindustani Poorvi That and also that it is equivalent to Kamavardhini, a sampoorna raga in Carnatic music. There are two types of Poorvi, one which uses Prati Madhyama and another that uses both Suddha and Prati Madhyamas. Panchama is rare but not omitted. Bhairav That in Hindustani is the counterpart of Poorvikalyani.
There is a raga called Poorvi in Carnatic music also which is a janya of the 15th mela, Mayamalavagowla. This is different from Poorvikalyani. And again, Poorvakalyani and Poorvikalyani are not the same. As Poorvikalyani is a Desiya raga, it can be said that this raga evolved from Hindustani music. The counter part of Gamanasrama is Pooryakalyan. The Pann name of Pantuvarali is'Sadari, but there is no equivalent Pann for Poorvikalyani. However traditionally Tevarams are also sung in Poorvikalyani.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Vid R Umashree Guruprasad ( Mandolin) & Team from Bangalore Grand Maha Shivaratri Carnatic Music Concert on Today the 8th March Friday 8.00 PM IST 9.30 AM EST
Vid. R Umashree Guruprasad (Mandolin) (Disciple of Late Mandolin Vid. U Srinivas)
Chi Srivatsa.S ( Disciple of “Navayuga nandi” Mridangam Dr. Patri Satish Kumar
And Late Vidwan Dr. Nandyala Rama Murty)
Enormous Ragams Covered .
Kanbhoji,
Malayamrutham,
Chalanattai,
Poorivikalyani,
Poornachandrika,
Chittaranjini,
Shankarabharanam.
Andolika,
Abheri,
Revathi,
Jog,
Behag,
Madhyamavathi.
All the Best wishes to them in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..
P Karpaga manohara, Kattarul kurpakara
The ever bountiful stealer of mind, Please show me your grace , giver of mercy.
AP modakara nigamottama sama
veda saram varam varam ||
He is bestower of joy. He is the quintessence of 'Samaveda' the best of the scriptures. I bow to him again and again.
C sadyojatadi pancha vaktraja
sa ri ga ma pa da ni vara saptaswara
vidyalolam vidalita kalam
vimala hrudaya tyagaraja palam ||
The excellent seven notes 'sa ri ga ma pa da ni " are generated from the five faces of Siva known as 'sadyojata' etc. He is engrossed in supreme knowledge. He eradicates the fear from Yama the god that causes death. siva's heart is pure. He is the protector of Tyagaraja.
Bhagayada Lakshmi Baramma Adi Purandara Dasaru
RAGAM ANDOLIKA - JANYA OF MELA (22) RAGAM KHARAHARAPRIYA
(It has to be remembered that Kharaharapriya has 350 and odd janya ragas; so also mela (28) Harikambhoji. These two mela ragas share the first position in the number of janyas; the number given is from the listed 7000 ragas known.
Ragapravaham by D.Pattammal gives the specifications fro 266 janyas of Kharaharapriya and 291 janyas of Harikambhoji !!!)
Andolika is one of the most beautiful janyas of Kharaharapriya. The name Andolika translates to 'swing'. Though it may not always be accurate as it depends upon the context. It is said that the raga was a favorite of the great Vidwan, Kanchipuram Naina Pillai, who is said to have sung it elaborately on many occasions.
Unfortunately, we do not have any recordings of his. This is an oudava raga, with unsymmetrical scale; losing G2 and D2 in arohanam and G2 and Panchamam in avarohanam: Aroh: S R2 M1 P N2 S // Avaroh: S N2 D2 M1 R2 S Since there is no Gandharam in both ways, this can also be obtained from mela (28) Harikambhoji (Kharaharapriya has G2 and Harikambhoji has G3, the only difference between them).
This raga is a creation of Saint Thyagaraja; also he was the first to compose in this raga - as he did in several scores of other melodies unheard of till his time. The raga’s evolution seems to have two possibilities, and either or both could have happened in course of time.
1) Andolika was previously called Mayuradhvani - SG Kittappa’s rendition of “Raga Sudha Rasa” sounds exactly like how we sing today, and the record has Mayuradhvani written on it.
2) Raga Sudha Rasa is mapped to Mayuradhvani in the Thyagaraja literature - meaning it was sung in Mayuradhvani and somehow came to be sung in Andolika in the recent past.
“Ragapravaham” by D.pattammal gives Mayuradhwani notes same as Andolika; also she gives both names for the raga.
She also puts this raga under mela (28) Harikambhoji (same notes as Andolika); (44) Bhavapriya, (45) Shubha panthuvarali and (62) Rishabhapriya as: S R1 G2 M2 P D1 N2 S // S D1 N2 D1 P M2 P G2 R1 S - (Bhavapriya janya) S R1 M2 P D1 N3 S // S N3 D1 P M2 R1 S - (Shubhapanthuvarali janya) S R2 G3 M2 P D1 N2 S // S N2 S D1 M2 R2 S - (Rishabhapriya janya)
It is to be noted that these are only theoretical explanations; practically there are no compositions in these. Sudhananda Bharathi has composed in Mayuradhwani, but not heard sung so far.
There are some ragas having the ascending (arohanam) scales of Andolika; for example, Madhyamavathi, which keeps the same scale for descending : S R2 M1 P N2 S // S N2 P M1 R2 S. Kedaragoula has same arohanam, but in avarohanam, it keeps Harikambhoji scale : S R2 M1 P N2 S // S N2 D2 P M1 G3 R2 S.
Though there are some compositions available in Andolika, the raga is alive only because of the Thyagaraja krithi, “Ragasudharasa panamu jesi”, it is one of what is generally termed as a “apoorva raga kriti” of Thyagaraja.
There is a very interesting story about this composition and the great G.N.Balasubramaniam. When a young G.N.B started with a raga alapana at a concert in Thanjavur, some of the vidwans in the concert hall walked out appalled at the vocalist who “did not even sing Madhyamavathi phrases correctly”.
But still, captivated by his voice, they could not help themselves hanging around outside the hall to hear the vocalist start off a hitherto unknown (for them) composition starting with the words - “Ragasudharasa”.
Compositions: Ragasudharasa panamu jesi - Thyagaraja Mahishasuramardini (varnam) - Dr. Muthaiah Bhagavathar Vajreshi mathe - Dr. Muthaiah Bhagavathar Nee Dayarada (varnam) - GNB Karanamemi kanane - GNB Velanai nee - M.M.Dandapani Desikar Aravinda Nayanam - Ashok Madhav
Sevikka vendum aiya - by Muthuthandavar was originally composed in Abhogi ragam (cf: Seerkazhi Govindarajan); it is now being sung in Andolika; Semmangudi Swami has sung this in Kalyani !!
“Ananda sayi nata Andholikam samarpayami” - is an RTP in this raga by the great MLV; also there is another RTP in the raga by Sri. TVS.
Upper left hand of the deity is seen as the 'Ardha Chandra hasta' (halfmoon) and is seen holding the flame, which symbolizes Fire (the second element), an element symbolizing the destruction.
These two upper hands, explains the balance between creation and destruction seen in the universe.
The lower right hand means the 'Abhaya Hasta', which explains that he is the savior of all the life.
the opposite hand is stretched (similar to that of the elephant trunk, reminding Ganesha, who removes obstacles) and points the uplifted left foot.
Both together signifies that he offers salvation to his devotees, when they seek his help.
We have two more Songs Please Stay with us Thanks
In this kruti tyagaraja reveals that Siva is the enbodiment of 'nadam' and that all musical notes and octaves (sthayees) are generated from the five heads of Siva. He states that Siva is the embodiment of nada.
In Charanam pancha vaktraja The five faces of Lord Sankara are ‘sadyojata’, ‘aghora’, ‘tatpurusha’, ‘isana’, ‘vamadeva’. tamizh saint tirumular states that Lord Sankara has one more face, ie., ‘adhomukham’.
The five basic sounds of the mridangam: tha, dhi, thom, nam and jem, have come from the five faces of Siva--Isana, Tatpurusha, Aghora, Vamadeva and Sadyojata - Source Five Sounds of Mridangam
The 5 talas were said to have originated from five faces of Lord Siva: From Vama deva - Chach chatputa tala; Sadyojata - Chaa cha puta tala;Aghora - Shatpita putrika tala; Tatpurusha - Sampadveshtakaa tala; I sana - Udghatta tala. Source - Five Talas
Lambodaram avalanbe Ragam Kambojhi Rupaka talam Mysore Vasudevacharya Krithi
This Krithi is on Lord Vinayaka
Next is the Main Krithi of the Concert of the Day !!!
Chi. Srivatsa. S (mridangam)
(Disciple of "Navayuga nandi" Dr. Patri Satish Kumar and Late Vid. Dr. Nandyala Rama Murty)
She is from an Excellent Musical Family
P pancha nadeeSa pAhimAm bhavAnidheeSa sarvESa ||
Oh lord of Panchanadi, protect me. You are the lord of the universe.
Poorvi Kalyani A raga that is intense and brings forth the bhakthi rasa with verve is Poorvikalyani. A beautiful arrangement of notes makes this raga stand tall, rising above
being a mere skeletal scale to something more complete and having personality. Poorvikalyani is derived from the 53rd Melakarta Gamanasrama and in Dikshitar’s nomenclature,
Poorvikalyani has other names like Poorvakalyani, Poorikalyani. The scale that is followed today is s r g m p d p s - S n D p M g r s. Even while singing the Arohana - Avarohana, the raga should be brought forth.
The first so-called physical format that brings out in bold relief or in a nutshell the melodic entity and individuality of a raga is the Arohana - Avarohana, which was originally called its Moorchana. The scale mentioned in the Sangeeta Sampradaya Pradarsini is s r g m p D s - S n d p m g r s, which is Gamakakriya and which is also called Poorvakalyani.
Scientifically speaking, when the scale has been purposely fixed as s r g m p d p s, the prayogas g m d s, m d s, p d s, m p d s are prohibitory. Or else the scale could have been fixed as s r g m p d s. That perhaps leads us to conclude that there is should be a definite difference between Poorvikalyani and Gamakakriya. In the kritis in Gamakakriya, prayogas like d s p d s, d d S n d, R S R S n d, p d S, d G R S n d, s r r g m d m g r s would come.
Suddha Rishabha and Chatusruti Dhaivata are not Samvadi swaras. Suddha Rishabha - Suddha Dhaivata and Chatusruti Rishabha - Chatusruti Dhaivata are only Samvadi swaras. But in Poorvikalyani the prayoga d d R S R is very common. The Rishabha in the phrase d d R S R, d d R R R sounds in two different (sruti) values. In the phrase d d G R R and g m r g the Rishabha, although Suddha Rishabha is slightly higher in its value. It would not stick to the exact sruti value of Suddha Rishabha. In one way even Prati Madhyama and Suddha Rishabha also would match, even though they are not Samvadi. Samvadis are either fourths and fifths. But Dr. Rajinikanth Rao's contention is that sometimes it is also Sapta Sruti Samvadi as in Poorvikalyani. A comfortable Chatustruti Dhaivata in the Mandra Sthayi and Antara Gandhara are extraordinary nyasas. The curvature of Dhaivata and Gandhara is very beautiful. There are no restrictions as to range as in Kamavardhani where one normally doesn't go beyond the Tara Sthyai.
Ninne Kori, a Varnam by Sonti Venkatasubbayya and Karanam Kettuvadi (Suddhananda Bharati) start with the stop phrases in the Mandra sthayi which is very common in Poorvikalyani, but for a change, Tyagaraja's Paripoorna kama starts with a phrase in the Madhya sthayi. While talking about the melodic entities, in Syama Sastri's Ninnu vinagamari, the raga just floats in the 7 beats. We talk about the melodic entities and other aspects, but the classification of ragas on utilitarian value of the composition struck only Ramamatya, to classify ragas as Uttama (superior), Madhyama (moderate) and Adhama (inferior). Poorvikalyani is suitable for all the 3 orders.
Subbarama Dikshitar says that Poorvikalyani is a Raganga and Desiya raga. It is also said that it is also a rakti raga. Whether we take it for granted that it is a Raganga or Desiya raga, we have to swear that Poorvikalyani is only a rakti raga of pre-eminence absolutely suitable and for all kinds of compositions and all kinds of manodharma sangeeta.
महाशिवरात्रि पर अपनों को भेजें खास शुभकामना संदेश, मिलेगा भोले बाबा का आशीर्वाद "On this Mahashivratri, may Lord Shiva bless you with peace, prosperity, and happiness. Om Namah Shivaya!" "May the blessings of Lord Shiva be with you and your family on this holy night of Mahashivratri. Happy Mahashivratri!"👋
Karpaga Manohara - Malayamarutham, Khanda Chapu - Shri Papanasam Sivan
Sevikka vendum Iyya Ragam Andolka Talam: Adi Muthu Thandavar Krithi
Though it is generally referred to as a sarva svara gamaka varika rakti rAga, and that too a major rAga giving endless scope for elaboration, there are certain restrictions when it comes to the gamaka patterns.
The heart of shankarAbharaNam rests in the conspicuously plain antara gAndhAra, that produces a soothing effect amidst the tIvra riShabha, dhaivata and kampita madhyama. Similarly the absence of kampita in niShAda is also significant. gAndhAra and niShAda are just characterized by nokku.
This factor easily distinguishes this rAga from kalyANi, which admits of wide kampitam in these two svaras. Sometimes N admits of mild oscillation too, as in phrases like N,,SRGMGGRSN,, but even in such instances, niShAdam sounds more like an anusvara to ShaDja, though it is intoned as N. Even if we observe the scalar arrangement of shankarAbharaNam, it can be noted that there is an alternate succession of plain and kampita svaras.
This accounts for the classy, proportionate melodic structure of the rAga, and also to its sobriety. This sedateness is balanced by the gambhIratva that is created by the strong oscillation of riShabha and dhaivata. The svastAna gamaka in these two svaras (SR,,S and PD,,P) are beautiful.
The extent of oscillation in madhyama is variable. It is either rendered plain (as in PGMRGS and S,/PMG,) or with ardha kampita (as in SRGM,, SP,M,, and RGMGGRSN), or with dIrgha kampita when it is combined with pancama (M~,,P, and GM~,,P/D,^NS'). It is this last mentioned tIvra madhyama that is widely used in bEgaDa (besides its own bEgaDa M), one of the classic janyas of shankarAbharaNam. The ardha kampita madhyama is imbibed by its other janya nIlAmbari.
It is not uncommon to hear plain svaras in this magical rAga, especially in the dhATu and jaNTa prayOgas like RNSDNPDMPGMRGS, SSRRGGMMP and GGMMDDNNR. Such usages abound in 'calamEla', the aTa tALa varNa of Swati Tirunal.
The sprightly nOTTu svara sAhityas of Muttuswami Dikshitar are all wrapped up in such plain svaras, akin to the Western band airs. Herein one can come across phrases like SGS, MRM, GPMR, SNP, etc.
gAndhAram functions as an important amsa and nyAsa svara. No delineation of this rAga would be complete without highlighting the importance of G. And equally significant is the combination of G and M. pancama and madhyama are other amsa, nyAsa svaras.
There cannot be any nyAsa or amsa on riShabha, dhaivata and nishAda. Unlike kalyANi, niShAda is generally treated as a passing note here, but its role is more significant as an anusvara, rather than as a whole svara. It is common to hear ShaDja varjya and pancama varjya prayOgas both in the ascent and descent of kalyANi, which is the prati madhyama counterpart of shankarAbharaNam.
These types of varjya phrases enhance the interest in shankarAbharaNam too, but only in the ascent (GMDNRSNDPMGRS - N.RGMGRS - N.RGMDPMGRS). Combinations like SP,MG, S/D~,,PMG, -S'^N(d)P,- /S'DP,- PS(d)P- S,(d )P, etc. are commonly employed to add beauty. samvAdi and stAyi combinations like SP,- SM,- SS', - S'P, etc. are used but those like GD, GN, RD are better avoided lest they should suggest kalyANi.
shankarAbharaNam is a pancasvara mUrcanAkAraka mELa. If the tonic note is shifted to riShabha, gAndhAra, madhyama, pancama or dhaivata, the resulting ragas would be kharaharapriya, tODi, kalyANi, harikAmbhOji and naTabhairavi respectively. It could be noted that the madhyama mUrcana of this shuddha madhyama mELa gives rise to its prati madhyama counterpart.
This tristAyi rAga is a parent of numerous popular janyas such as hamsadhwani, Arabhi, pUrNacandrika, janaranjani, aThANa, bilahari, kEdAram, kannaDa, dEvagAndhAri, etc. The nishAdAntya, pancamAntya ragas like kuRinji and navrOj are only replicas of shankarAbharaNam, but due to the truncation, they admit of limited sancAras and are usually rendered in madhyama shruti.
Pancha nadeesa Ragam Purnachandrika 29th Mela Janya Rupaka Talam Patnam Subramania Iyer Krithi
Akshaya Linga Vibho Ragam Shankarabharanam 29th Mela Mishra Chapu Talam Muthuswami Dikshitar Krithi
Malayamarutham literally means “breeze from the hills”; and the ragam definitely lives up to its name, and is a ragam that sounds pleasant in the higher ranges and definitely sounding mild and breezy.
It is also a morning ragam and apt to play or sing in the beginning of programmes.
Technically, Malayamarutham is a shadava ragam with no madhyamam and the rest of the notes are of the 16th melakartha Chakravakam.
The scale is given below.
Aro S R1 G3 P D2 N2 S // Av S N2 D2 G3 R1 S
Malayamarutham, Valaji and Kalavathi
Sometimes it is easy to mistake Valaji for Malayamarutham or vice versa. Valaji is simply put, Malayamarutham minus rishabham. Thus it is pentatonic with the scale, S G3 P D2 N2 S / S N2 D2 P G3 S.
There is another ragam called Kalavathi which is a nearly equivalent to Valaji / Malayamarutham in Hindustani music. However, not to confuse this raga with the Kalavathi ragam of Dikshitar’s school - the latter sounds completely different from the ragam of discussion.
Carnatic Compositions
Manasa Etulorthune by Thyagaraja
Dhanyudevvado by Patnam Subramaniya Iyer
Karpaga Manohara by Papanasam Sivan
Smarane Ondhe Saaladhe by Purandara Dasar
Pahi Pahi Pahi Guru which is a Dasar padagalu on Mohana Dasar
Anumane Saamikkindha by Arunachala Kavi
Maravaadhiru Nenjame by Muthu Thandavar
Orarumugamum, a devotional song on Muruga sung by TM Soundararajan also begins with Malayamarutham
Nada tanu manisam Ragam Chittaranjani Adi Talam Thyarajar Swamigal Krithi
Eppadi Padinaro Ragam Adi Talam Sudhananda Bharathi Krithi
This song is I understand is Composed in Karnataka Devagandhari Now sung in Abheri
Bhasma Bhooshitanga Saibhajan Ragam Revathi Adi Talam
Vid R Umashree Guruprasad ( Mandolin) & Team from Bangalore Grand Maha Shivaratri Carnatic Music Concert on Today the 8th March Friday 8.00 PM IST 9.30 AM EST
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).
This comparison is as simple as possible, trying to avoid more technical matters for 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).
Nevertheless they possess their own melodic individuality. It is said that shankarAbharaNam itself, in the period of ancient Tamil music, was initially only reckoned as a madhyama mUrcana of the shuddha scale (harikAmbhOji), though it was also a paN (sampUrNa rAga).
The strings of the yAzh or the harp were tuned to the svaras of shuddha scale, and when the need to play paN pazhampanjuram arose, the tonic note was shifted to the madhyama string of the yAzh and played or sung. Thus because of the limitations of the yAzh and also of the human voice, the range of the tEvArams in shankarAbharaNam was restricted to the tAra stAyi ShaDja. Later with the advent of the vINa, the rAga evolved into a wholesome sampUrNa rAga, fulfilling the requisites of a mELa.
It can be safely claimed that shankarAbharaNam is the most utilised rAga all over the world. This ghana raga would readily accommodate any kind of musical creation, be it classical, semi-classical or light, kalpita or manodharma sangIta, would suit any emotion, any tempo - viLamba, madhyama or durita. It is not surprising that there are innumerable compositions in this rAga by all composers.
P Ananda naTam ADuvAr tillai ambalam tannil aDi
paNIbavark kapajayam illai (Ananda)
The lord performs a blissful dance. In the golden hall of Cidambaram the devotees who worship the lord’s feet have no fear of defeat in life.
Edhayya gathi Ragam Chalanattai 36th Mela Adi Talam Koteeswara Iyer Krithi
Behag
The scales of Behag are as follows :
Aro : S G3 M1 P N3 D2 N3 S’Av : S’ N3 D2 P M1 G3 M1 G3 R2 S
It is a Janya Raga, derived from Dhira Shankharabharanam, 29th on the Melakarta scale.
Being a ragam with vakra (zigzag) scale and having foreign notes, one can say that Behag can be more defined by its distinct phrases than by just a scale.
Carnatic Behag however has been influenced by other ragas such as Khamas and has foreign phrases and notes beyond its Ma’s, according to Prince Rama Verma. The popular Hindustani raga Bihag when borrowed by our Carnatic brethren becomes Behag.
The Trinity have not composed in Behag, it could have been borrowed from Hindustani music after their times.
It is widely used in Films also
CHITTHA RANJANI - JANYA OF MELA (22) RAGAM KHARAHARAPRIYA
Ragam Chittharanjani seems to be a raga created by Sadguru Thyagaraja only, as there is no reference to this raga anywhere; nor any of the other Trinities have composed in it.
Again, though there have been some krithis composed in this raga later, none of them are heard sung in concerts; the Thyagaraja krithi, “Nadathanum anisham” still maintains the status of Eka-raga krithi.
Chittharanjani, like ragam Punnagavarali, is a ‘nishadanthya’ raga - means the notes end in Nishadam, without reaching the upper Shadjam; clearly evidencing that there is only limited scope for elaboration, to be limited within the one octave only.
The notes are :
S R2 G2 M1 P D2 N2 // N2 D2 P M1 G2 R2 S
As we can see, it is only Kharaharapriya without the upper Shadjam; this makes confusion in the alapana, that in most places it shows phrases of the Janaka ragam. It is certain sancharas which make these different; as such the Thyagaraja krithi is the only one which we can depend upon to learn these.
Ragapravaham by D.Pattammal places this raga under mela (19) and mela (22) ragas.
Under mela (19) ragam Jhankaradhwani,
S R2 G2 R2 G2 M1 P D1 // N1 D1 P M1 R2 G2 R2 S
S R2 G2 R2 G2 M1 P D1 N1 // N1 D1 P M1 R2 G2 R2 S
S G2 R2 G2 M1 P D1 N1 S // S N1 D1 P M1 G2 R2 S
Also, under mela (22) ragam Kharaharapriya,
N2 S R2 G2 M1 P D2 N2 // N2 D2 P M1 G2 R2 S N2
S R2 G2 M1 P D2 N2 S // N2 D2 P M1 G2 R2 S
During felicitation of Sri. Trichy Sankaran on 30-12-2005 at woodlands, Padmabhushan T.N.Seshagopalan gave a beautiful concert, containing the Thyagaraja krithi, ‘Nadathanumanisham’ also.
TNS sang the composition with Suddhanishadham, as janya of 19th melakartaraga Jhankaradhwani instead of the usual form, sung as janya of Kharaharapriya. He said that it was the old tradition and later it was changed, may be due to the fact that the song is about Lord Siva who is kharaharapriya, dear to Rama , the killer of khara and because it contains the words samavedasaram , and the samaveda consists of the notes of Kharaharapriya. However the raga as sung by him was indeed Chittharanjani when listened with an open mind.
Compositions:
Bhutangalaindagi pulanagi porulagi - Manikkavachakar
Eno tamadittai ishane - Suddhananda Bharati
Kadaikkan parttarulvai kartane - N.S.Ramasvami Iyer
Nadatanum anisham shankaram - Thyagaraja
Smara manasa - Ratnakara Tirtha
Tudi sheivai - Padmavati Ammal
Vaishnavim - Bangalore S.Mukund
Vikhyata mukhyaprana - R.K.Suryanarayana
Coming to the krithi itself, right from the beginning, dIkshithar seems to have composed this song with a mindset of trying to make it something special and make it stand out amidst his other magnum opuses in this rAga. Ofcourse, a pretty famous story attached with this krithi is that when dIkshitar visited kIvalUr to sing this composition in front of the Lord, the day's worship was over and the archakar had closed the sannidhi.
Even after dIkshitar requested him to keep the sannidhi for a few more minutes so that he can present this krithi in front of the Lord, the archakar refused to cede to his requests and is known to have mentioned sarcastically to dIkshitar to "come back the next day" and that "the Lord will not run away anywhere".
Undaunted by this insult, dIkshitar is said to have started singing the krithi and a huge crowd gathered there. As he finished the krithi, the doors of the sannidhi are said to have burst open and the archakar fell on dIkshitar's feet, pleading mercy. He begins the krithi as: Dikshitar extols the Akshayalinga at Kivalur in Tamil Nadu where there is a festival in Chithra month
) saibhajan. Jog.. Adhi(arunachala shiva)
NATARAJA --- Lord of Dance & The king of Dancers...
Lord Shiva as Nataraja, a cosmic dancer is believed to perform all the cosmic activities that are necessary for the existence of universe. According to the Hindu mythology, Natraja dances for the eternal bliss with wild and graceful gestures that project the cosmic illusion and explains the "Pancha Kritya" (5 works creation, maintenance, destruction, concealment and favor) performed by him. Theinbuilt meaning in the idol was explained as follows: Upper right hand of Natraja is seen with the drum (Dumrook), which explains the origin of sound and the rhythm of life, which couples with the 'Aether' (Akasha - first of the 5 elements according to Indian Philosophy).
KAMBHOJI is a janyam of mELam 28, harikAmbhOji (fourth mELam in the fifth (bANa) cakram --- “bAna bhUH” --- Mnemonic --- ri gu ma pa dhi ni). It is a typical example of a janya rAgam that enjoys greater popularity and grandeur, and has a vast number of compositions than the parent scale. (bhairavi is another such example!). Sometimes the name “kAmbOdhi” is also interchangeably used.
ArOhaNam: s r g m p d s
avarOhaNam: s n d p m g r s
Besides Sadjam and pa~ncamam, the notes taken are: caushruti .rSabham, antara gAndhAram, shuddha madhyamam, catushruti dhaivatam, and kaishiki niSAdam. The note “ni” is omitted in the ArOhanam, thus making it an SADava- saMpUrNa (6-7) rAgam.
kAkaLi niSAdam appears as an anya svaram (extraneous note), thus making kAMbhOji an Eka anyasvara bhASA”nga rAgam.
The occurance of kAkaLi niSAdam is very minor (alpa prayOgam), and is seen only in the phrases like “S n p d s”. The usage of kAkaLi niSadam lends beauty to this rAgam. Even though kAkaLi niSAdam occurs as a viShESa prayOgam, it cannot be rendered as “dIrgham”. Careless usage of “ni” will land in the parent scale hartikAmbhoji, which should be carefully avoided.
chAyA svarams: ma, dha and ni
nyAsa svarams: ga, ma, pa, dha
Resting notes: ga, pa, dha
gamaka svarams: all svarams can be sung with gamakam.
vishESa sa~ncArams: m g s, S n p, P d m g, m g p d s
kAmbhOji is a “mUrccana kAraka rAgam” (that is, it admits “graha bedham” , or model shift of tonic). When the dhaivatam is taken as the tonic SaDjam, the graha bedham results in the rAgam “dEsya tODi ( s g m p d n s; s n d p m g r s), under mELam 8. Conversely, the “ga” mUrccana of dEsya tODi gets back kAmbhOji.
A major rAgam that enjoys the same status as those of the “big four” meLams, tODi, kharaharapriya, sha”nkarAbharaNam, and kalyANi. KAmbhoji gives ample scope for detailed AlApana. Therefore, it is well suited for rendering a major k.rti, or an elaborate pallavi exposition, both of which call for a detailed improvisation. It lends itself to excellent tAnam renditions.
It can be sung in any tempo. It is a “varnana pradAna “ and a tristhAyi” rAgam. Being a popular rAgam, all sorts of compositions exist in kAmbhOji. Every composer has snatched an opportunity to contribute to this rAgam. In essence it is indeed a majestic rAgam!
kAmbhOji is an auspicious rAgam, so when sung at the commencement of a concert, it generates “mEla kkozhuppu” (proper musical atmosphere).
nAdasvaram renditions of lengthy kAmbhOji AlApanas are very satisfying experience, especially in temple festivals.
DAttu svara prayOgams like “ d g r g s r d r s n d p”, “r p m g s”, “r m g s”, and “d g r s” are a speciality of this rAgam. The prayOgam “ g m p m g” in tristhAyi adds beauty to this rAgam.
The tri shruti dhiavatam (5/3) occurs in the phrases “D; n n D”, and catushruti dhaivatam (27/16) in the phrases ”s n p d s r g”.
It is a sarva svara gamaka vArikA rakti rAgam, with high emotional impact, which makes a listener very tranquil..
Compositions in kAmbhOji usually commence in sa, ga, ma, pa, and dha. Here, a composition can commence in a vishESa sa~ncAra --- m g s and s n P.
asaMpUrNa paddhati (dIkSitar school)
In the asaMpUrNa scheme, kAmbhOji appears as the first bhASA”nga rAgam under the asaMpUrNa mELam 28 -- harikEdAragauLa.
lakSaNam (definition) - Venkatamakhi
kAmbhOjI rAgaH sampUrnaH cA’rOhE ga ni vakritaH |
niSAdaH kAkaLIyuktaH kvacit sthAnE prayujyatE ||
mUrccana ArOhaNam: s r g m p d n d S, avarOhaNam: s n d p m g r s
bhASA”ngam, saMpUrNam, SaDja graham; both gAndhAram and niSAdam are vakRam in ArOhaNam; rakti rAgam; slight touches of kAkaLi niSadam occurs in some places; suitable for singing at all times.
In the treatise, Sa”ngita samradAya pradarshini, Subbarama Dikshitar gives the ra~njaka prayOgams as well as prayOgams where kAkaLi niSAdam shows up (page 671--672 of tamil Edition). The book gives a lakshya gItam “are yama” (ve”nkaTamakhi), four kIrttanams by muttisvAmi dIkSitar (“kamalAmbikAyai”, “shri valmIkali”ngam”, “kAshIvishveshvara”, and “shrI subrahmaNyAya namaste”), the famous tAna varNam, “inta calamu” of pallavi gOpALa iyer, and concludes as usual, with a sa~ncAri by the author himself.
kAmbhOji is one of the oldest rAgams mentioned in numerous treatises on music. SangIta Makarandam (7th century) mentions kambhOji; also all subsequent musical work have dealt with kAmbhOji. It has held the status of a mELam since 16th century. However in view of its taking an extraneous note, it lost the status, and Venkatamakhin placed it as a janyam under mELam 28, harikAmbhOji.
In Tamil Music, the derivation of the name has been given as “kambUthi”, which perhaps later became ‘kAmbOdhi”. The tEvAram pann “takkEsi” is none other than kAmbhOji. In Malayalam music and kathakaLi songs, kAmbhOji is nomenclatured as “kAmOdari”. This is the name found in the compositions of svAti tirunAL, irayimman tampi, and so on.
Phaala Netra Shooladhari Sai Shankara [ Bhasma Bhooshitanga ... ]
Saama Gaana Priyakara Sai Shankara
Hara Hara Hara Shiva Shambho Natana Shekara
Parthi Vasa Sai Deva Sai Shankara
Sai Shankara Sathya Sai Shankara
Shankarabharanam :- 29th Mela The Arohana and Avarohana of this raga are:
Sa Ri Ga Ma Pa Dha Ni Sa (2 3 1 2 3 ) Sa Ni Dha Pa Ma Ga Ri Sa (3 2 1 3 2 )
shankarAbharaNam is a melody that enjoys great importance universally, in almost all the systems of music, from time immemorial. Almost similar to the Major Diatonic scale, or the C Major of Western music, this rAga enjoys a regal status in the realm of Indian music.
Rightly has it been referred to as 'rAga rAjasya mELakaha' in the Chaturdandiprakasika. Even in the 12th Century, it was classified as a rAgAnga rAga by Parsvadeva, and it is one of the pUrva prasiddha rAgAnga ragas listed by Sarangadeva.
Besides, most of the works on music have classified it as an important mELa. This rAga is only the nishAda mUrchana of the ancient ShaDja grAma scale and was known as ranjani in the mUrchana-jAti system.
The rAga was very much in practice in the Ancient Tamil Music system as a sampUrNa scale known by the name paN pazhampanjuram. We have bilAval thAT of Hindustani music which corresponds to shankarAbharaNam.
It has always maintained the status of a major parent rAga, giving rise to a number of janya ragas.
Being the 29th mELa, shankarAbharaNam is one of the six mELas that can boast of possessing symmetrical tetra chords in the scale arrangement, the other five being kanakAngi, hanumatODi, mAyAmALavagauLa, kharaharapriya and calanATa.
The svaras are ShaDja, catushruti riShabha, antara gAndhAra, shuddha madhyama, pancama, catushruti dhaivata and kAkali niShAda. It may be of interest to observe the well-distributed svara intervals of shankarAbharaNa scale. S-R2, M1-P & P-D2: chatushruti interval; R2-G3 & D2-N3: trishruti interval; G3-M1 & N3-S : dvishruti interval. Thus it is one of those uttama mELas having samvAdi pairs for all the svaras, like S-M1, S-P, R2-P, R2-D2 & G3-N3. It is not surprising that the rAga is so appealing to the senses and that it instantly ushers in a mood of sublimity considering that there is so much of samvAditva or consonance inherent in its structure.
Also, all svaras excepting the madhyamam, are tIvra svaras. This shuddha madhyama here acts as a bridge and balances the tIvra svaras of the pUrvAnga and the uttarAnga, thus sustaining the innate sublimity of the melody throughout.
Subbarama Dikshitar states that it is the unanimous opinion of the pUrvAcAryas that shankarAbharaNam is the most superior amongst all ragas. niShAdam, gAndhAram, madhyamam and pancamam are the jIva svaras. He says all the svaras contribute equally to the rAga's rakti, though ShaDja is the main graha, amsa and nyAsa svara. He points out the 'nokku's for riShabha, gAndhAra, dhaivata and niShAda in the ascent and the 'odukkal's and 'iRakka jAru's for all the vikrta svaras in the descent. He specifies that usages such as S'\DP,- S'N(d)P,- S'(d)P, -M/P(g)R,S contribute largely to the ranjakatva of the rAga.
Vid. R Umashree Guruprasad (mandolin) - Bangalore
(Disciple of Late Mandolin Vid. U Srinivas)
P Edayya gati enakk-
What refuge have I but you?
Sankaraabharam raagaalaapana is best..
Vid. R Umashree Guruprasad (Mandolin) (Disciple of Late Mandolin Vid. U Srinivas)
Glory to Lord Shiva who is besmeared with sacred ash, who is adorned with the moon on His head, who has a third eye on His forehead and who holds the Trident. O liker of music of the Sama Veda, O King among the dancers, we bow down to You
Worship the charming Lord Sai: Who wears sacred holy ashes all over Him; Who is decorated with Moon on Head; Who has third spiritual eye on forehead; and Who holds Trident (representing three phases each of, time, space and attributes). O King among the dancers! O Charming One! Virtuous persons adore and worship Thee. Chant the name of Lord Sathya Sai Shankar, Resident of Parthipuri and Lord of Lords.
Pallavi
akṣaya liṅga vibhō swayambhō
akhilāṇḍa kōṭi prabhō pāhi śambhō
Oh Lord who is the undiminishing Linga who was born by himself,
Oh Lord of the billions of worlds , Oh Shambho , please protect me.
It is a beautiful Hindu Kannada devotional and traditional song (In Madyamavathi rag). The married ladies prey the goddess Lakshmi to give good health and wealth.
They perform pooja and invite other people to participate in their function. I want to share my house pooja with you.
Next is Sub Main after this
AP Chithpara , Kapaleesa , Thiru mayilapurthil valarum
Divine one, Lord of the skull Who lives in Mylapore
C1 .Unadu adi paninthen . Ulagellam thozhum eesan,
Unadu thiru nama thannai Ullam kaninthu uraikiren.
I salute at your feet, You are the God saluted by all the world,
I am with a devoted and melting mind, Saying your names.
C2 Annayum en thandayum nee, Anri ver ondrum ariya agathi naan,
Endru unarndhu pugalvado endan annai
You are my mother and father, I am a refugee, who does not know,
Anything except this Understanding this shall IU say , my mother.
P: lambOdaram avalanbe ambasutam aharnisham
I take as support Ganesha the long-bellied one, the son of Parvati, day and night.
How did they sing, O Lord Shiva? I too would like to sing like that! Just as the saints Appar, Sundarar, Sambandar and Manikkavasagar sang of you with full knowledge, I too would like to sing like that ! As the great teacher Sankara (not a Tamil poet), Thaayumaanavar, Arunagirinathar and ArulJyoti Vallal (a reference to the poet commonly known as Vallalaar), their oceans of compassion overflowing (karunaik kadal perugi ), melting in their love for you(kaadhalinaal urugi), sang of you sweetly (inidhunai) each day (anudhinam) in chaste tamil words (kannith thamizh chollinaal), I also wish to sing.
P ADum cidambaramO ayyan kUttADum cidambaramO
(ADum) !!
Is it the dancing Chidambaram Is it the Chidambaram where our Lord Dances.
AP Adum cidambaram anbar kaLikkavE nAdum cidambaram namashivAyavenru
(ADum) !!
It is the dancing Chidambaram, for entertaining devotees, It is the Chidambaram where people desire to say Namashivaya
C1 yArum ariyAmal ambala vANanAr shIraDiyAr pArkka sEvaDi tUkki ninru
(Adum) !!
Lord shiva without any one knowing , Dances lifting his feet so that good devotes see it.
C2 bAlakrSnan pOTrum panimadi shaDaiyinAr tALa maddaLam pODa tAttattai enavE
(Adum !!
The lord with crescent in his hand Who is appreciated by Lord Bala Krishna,
Along with the drums keeping the beat , Dances making sound Thatha thai,
What refuge have I but you? My compassionate one ! Son of Shiva ! O bestower of boons! O hoard of goodness ! Who else but you! Accepting this ignorant person, why have you not shown mercy? Why do you play this game with me? In this world only your feet are my sanctuary! Have we no control over our lives then? Here I was feeling so good about myself! How delusional am I!’. ‘What refuge have I but you?’ says Koteeswara Iyer in the exquisite pathos of Raga Chalanatta. ‘Why have you not shown mercy? Why do you play this game with me?’.
AP tAnandam illAda rUpan tajjam takajham takajhaNu taLAngu taka tatingiNatOm taLAngu taka tatingiNatOm taka dhimi taka tatingiNatOmenRu (Ananda)
He is forever and he dances rhythmically.
C1 vanjcakam illAda aDiyAr kuvikka vAnava munivar Anavar tudikka cancala vizhi
mAdumaiyAL madikkat takkiTa tarikiTa tongiTa dhittimi dhimi taka tatingiNa takatOm
takatOm takatOm taka dhimi taka tatingiNatOmenRu (Ananda)
His sincere devotees worship him. The celestials and the sages too extol him. His consort (umai) adores him. He dances rhythmically.
C2 bhAgya muyalagan mIdoru kAl tAkkip bhaktar tozha maTra oTraikkAlum tUkki
Akki aLippOrai mELakArar Akki ambara nAtha cidambara shambhu sadAshiva sundara
arai maNi sala salavena aNi paNi kala kala vena (Ananda)
He places one foot on the demon muyalagan. He lifts his other foot which is worshipped by his devotes. The creator Brahma keeps the beat. His waist bells make a jingling noise. His other ornaments too sound gently
C3 pAdi madi jyOti paLir paLIrena pAda silamboli ghalIr ghalIrena
Adik kaRai uNDa nIlakaNTham minna harapura harasiva sundara aruLpuri gurupara shiva shankaraaNDamum piNDamum ADiDa eNdisaiyum pugazh pADiDa (Ananda)
The crescent moon on his head shines brilliantly. His anklets make a resounding noise. His (blue) neck shines as a result of the primordial poison (which came out of churning the ocean for nectar) he consumed. The whole universe trembles as he dances. His fame is sung in all directions.
AP sanchita karma Samana charAchara pAlana dhureeNa ||
You assuage us from accumulated sins.You are the supreme ruler of the universe.
C dArukAvana vihAra dakshAdhwara harachatura
veerabhadra janaka venkaTESa mOdakara
Soora samhAra kumAra janaka praNavArdha swarupa
SrikAnta mudita hrudayAnanda ||
You stroll in Daruka forest. You skillfully punished Daksha by creating Veerabhadra. You delight the heart of Sri Venkatesa
Anupallavi
akṣara swarūpa1 amita pratāpa
ārūḍha vṛṣa vāha2 jaganmōha
dakṣa śikṣaṇa dakṣa-tara sura lakṣaṇa
vidhi vilakṣaṇa lakṣya lakṣaṇa
bahu vicakṣaṇa sudhā bhakṣaṇa
guru kaṭākṣa vīkṣaṇa
God with never fading form who has limitless glory,
Who rides on the bull and enchants the universe.
God who taught Daksha , who is an expert in protecting devas,
Who made Brahma strange looking in the aim for which he was searching,
Who is greatly clever , who ate nectar and towards whom the Guru glances for being looked at.
Charanam
badarī vana mūla nāyikā sahita
bhadra kāḷīśa bhakta vihita
madana janakādi dēva mahita
māyā kārya kalanā rahita
sadaya guru guha tāta guṇātīta
sādhu janōpēta śaṅkara
navanīta hṛdaya vibhāta tumburu saṅgīta
hrīṃkāra saṃbhūta hēma giri nātha
sadāśrita kalpaka mahī ruha
padāmbuja bhava ratha gaja turaga-
3padāti saṃyuta caitrōtsava
sadāśiva saccidānanda-maya
He who is partial to devotees , the lord of BHadra Kali ,
Who stays in Badrika forest along with the original goddess,
Who is respected by father of Manmatha(Vishnu) and others ,
Who does not incite one in acts of illusion,
Who is the father of Guru Guha(Subrahmanya), who is beyond properties,
Who is well known to sages, who is the butter called Sankara ,
Whose heart shine out when music of Thumburu is played,
Who is merged with sound Hreem and the lord of the ice mountain.
SAdasritha kalpaka maheeruha paadambuja bhava radha gaja thuranga,
Padathi samyutha chaithothsava sadashiva sachidananda maya.
He who is the wish giving tree to those who depend on his lotus like feet,
Who helps us to cross worldly existence , Who celebrates the festival of Chithra(April-May)
Along with chariot , elephants, horses and infantry ,
Who is permanently at peace and pervaded with divine joy.
A: tumburu narada vinutam lambalakam ibhavadanam
the one extolled by the sages Tumburu and Narada the one with long, hanging curls
the elephant faced one.
C: surabhUsura samsevita charanamagha viduram
sharanagata mandaram karunasAgaram
harinanka garvaharam dhIram guha sodaram
vara pashankushadharam vasudava bhakta varam
the one whose feet are worshipped by Devas and Vedic scholars, the one who removes sins,
the wish-fulling Mandaara tree to those who surrender,the ocean of mercy,
the destroyer of the pride of the Moon (who has a deer-shaped mark), the wise one,
the brother of Subrahmanya, the one holding an excellent noose and goad,
the eminent devotee of Vasudeva.
P eppaDi pADinarO tiruvadiyAr appaDi pADa nAn Ashai koNDEn shivanE
(eppaDi)
Oh Lord Shiva, I wanted to sing about you,
The same way that your devotees sang about you.
AP apparum sundararum ALuDai piLLaiyum aruL maNi vAcakarum poruLuNarnDu unnaiyE
(eppaDi)
Like Appar, Sundarar , Sambandar and thiru Navukkarasar,
I want to sing about you understanding the meaning….
C gurumaNi shankararum arumai tAyumAnArum aruNagirinAtharum arutjyOti vaLLalum
karuNaikkaDal perugi kAdalinAl urugi kanittamizh sollinAl inidunai anudinam
(eppaDi)
Like the great Guru Sankara , the dear Thayumanavar,
Like Arunagiri Nadhar,like the philonthrophist of divine light,
With the ebbing of the ocean of mercy , melting due to excess of love,
Using the virgin tamil words ,daily and sweetly , Oh Lord
Anandha natam aaduvar raagam: poorvi kalyaaNi 53 gamanashrama janya taaLam: roopakam Composer: Neelakaanta Shivan
Aa: S R1 G3 M2 P D2 P S Av: S N3 D2 P M2 G3 R1 S
AP ma dayanidhi umapati sukumara varaguna nidhi ni dan alladu ver
My compassionate one ! Son of Uma’s husband (Shiva) ! O bestower of boons! O hoard of goodness ! Who else but you (are my refuge)!
C pedai erkka un aruL kattadu ennodedayya vilaiyatta
bhutala chalanatta nin taL tan gati pugazh kavi kunjaradasanukku ver
In not showing your mercy in accepting this ignorant person, are you playing a game with me? In this world only your feet are my sanctuary. For this poet Kunjaradasa who else but you (are my refuge)!
Upper left hand of the deity is seen as the 'Ardha Chandra hasta' (halfmoon) and is seen holding the flame, which symbolizes Fire (the second element), an element symbolizing the destruction.
These two upper hands, explains the balance between creation and destruction seen in the universe.
The lower right hand means the 'Abhaya Hasta', which explains that he is the savior of all the life.
the opposite hand is stretched (similar to that of the elephant trunk, reminding Ganesha, who removes obstacles) and points the uplifted left foot.
Both together signifies that he offers salvation to his devotees, when they seek his help.