Kum. Bhargavi Chandrasekaran (vocal) & team from Houston TX - Homage to Mysore Vasudevacharya Series
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- čas přidán 6. 07. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
7th July 2024, 8:00 PM IST (10:30 AM EDT, 9:30 AM CDT)
Kum. Bhargavi Chandrasekaran (vocal) - Houston, TX
(Disciple of Vid. Smt Rajarajeshwary Bhat, Vid. Smt Kruthi Bhat, Vid. Smt Suguna Varadachary)
Smt. Deepa Ramachandran (violin)
(Disciple of Vid. Dr. Mullaivasal G Chandramouli)
Sri. Vishal Setlur (mridangam)
(Disciple of Sri. Ramesh Srinivasan of CA) - Hudba
My Grand daughter 's melodies concert is amazing.👏👏
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
What a Lovely Main Piece of the Day !!!!!!
She is the First Artist bringing this Krithi to Public Platform !!!
Superb Clarity of Voice !!!
Excellent Start !!!
Thanam Wah !!!!
One of the Rare Krithi not heard in Concert Platform.
Soooooper Improvement from March 2023 Concert of her's Ma Hat's off !!!
Sooooooper !!!
AP sadaya hrudaya sarvesa madana koti sundara ||
Your heart is full of compassion. You are supreme lord. You have beauty of million Manmadhas.
C karunatonu Gajarajuni moralida brovagaleda
murahara mandara giridhara muraleedhara Srikara
parama purusha vasudeva garudagamana ganalola ||
Did you not rescue Gajendra with utmost pity. You destroyed demon Mura. You lifted Mandara mountain. You hold flute beautifully. You are bestower of prosperity. You are supreme Vasudeva. Garuda bird is your Vahana. You engross in music
What an Alapana !!!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Kum. Bhargavi Chandrasekaran (Vocal) & Team, from, Houston TX Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the July 7th Sunday at 8.00 PM IST 10.30 AM EDT 9.30 AM CST
(Exclusive Compositions of Mysore Vasudevachar)
Kum. Bhargavi Chandrasekaran (Vocal) (Disciple of Vid. Smt Rajarajeshwary Bhat, Vid. Smt Kruthi Bhat, Vid. Smt Suguna Varadachary)
Smt. Deepa Ramachandran (Violin) (Disciple of Dr Mullaivasal G Chandramouli)
Sri. Vishal Setlur (Mridangam) (Disciple of Sri Ramesh Srinivasan of CA)
Ragams Covered .
Nattai,
Gowlai,
Natakapriya,
Kalyani,
Mayamalavagowla,
RTP :-
Subhapamthuvarali.
Kharaharapriya, Vasantha, Rasikapriya (Kum. Bhargavi Chandrasekaran)
Hari Khambhoji, Chandrajyothi, Jhankaradhwani (Smt. Deepa Ramachandran)
Saraswathi Manohari,
Ragamalika:-
(Shankarabharanam, Bhairavi, Simhendramadhyamam, Khamas, Mohanam, Madhyamavathi)
Surutti.
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..
shrI purandara guruvaram bhAvayEham Ragam Saraswathi Manohari Mysore Vasudevachar
This Composition is a Tribute to Purandara Dasaru Again Rare one not much heard in Public Platforms.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Here the RTP is Split between Vocalist & Violinist and Interesting Indeed
Innumerable Janya Ragas
A mELa rAgam with immense scope for detailed AlApana, kalyANI is a parent scale for a huge number of janya rAgams. There are more than 120 Janya Ragams for Kalyani, but the most popular ones are: Saranga, Mohana Kalyani,Yamuna Kalyani, Hamir Kalyani, Vandanadharini,Sunadavinodini, SarangaTarangini, Amrta Behag,hamsavinOdinI, sudhA kalyANI and Bhoop Kalyani.
D. Pattammal and M. Dandapani mention 122 Janya Ragams of Kalyani in their book Ragapravaham.
Mohana Kalyani is a pleasing ragam obtained by fusing together Mohanam and Kalyani. There is also a Hamsa Kalyani, a creation of Ashok Madhav(Pittsburgh), which is obtained by the fusion of Hamsadhwani and Kalyani.
Natai The Raga with an Intoxicating Melody
A derivative of Chalanata (Mela 36) belonging to the 6th Music Chakra, Nattai is considered to be a very auspicious raga and chosen as the first raga for any concerts.
In Mind, Body and Soul Chakra - Chakra 6 is the heart Chakra: This chakra is the feeling and emotion center of the body. It recognizes both the physical as well as the spiritual needs for human experience.
The essence of the raga is in how its sung- generally fast paced and hence, acts like a wake up call for the listeners - and this is why Nattai is generally used to begin a concert to set the tone for the rest of the kutcheri to follow. Nattai evokes the Veera Rasa.
Veera Rasa is created by using fast tempos while composing music. Bravery, heroism, and manliness are some of the attributes of this Rasa. Other than Veera Rasa, Naatai also evokes the emotions of Bhakthi and Valsalya.
If Raga is the soul of Carnatic music, rasa or bhava is its emotional quality.It is said that Music without emotions is lifeless. Emotions can be compared to the nectar in a flower.
When experienced with a music by a performer who touches the inner soul of the audience, it can be said that the audience is completly elevated to a state of Rasanubhava enabling them to feel the total bliss or pure enlightenment.
The Arohanam Avarohanam of the rAgam is given below:
Arohana: S R3 G3 M1 P N3 S OR sa ri ga ma pa dha ni sa
Avarohana: S N3 P M1 G3 M1 R3 S OR sa ni pa ma ri sa
( Shadsruti RI, Antara GA, Suddha MA,Shatsruti DHA and Kakali NI).
Definition (Venkatamakhin):
NAttA shadja grahOpEtA - AvaroohE ga dha varjitA
There are disputes over the Arohana and the Avarohana - some use Daivatha while ascending (arohana). There’s also the case where Rishabha is not used in the Arohana.
Jiva Swara : R, M, N
Kampita Swaras /Dirgha Swaras: R
Special Considerations:
Viavadi raga (Notes R G M are placed at very close intervals). This Vivadi character creates the intoxicating effect in Chalanata and Nattai ragas.
To a large extent it’s the Rishabha that gives this raga its unique identity more than the Gandhara or the Madhyama. The unparalled swaying effect of Rishabha while oscillating gives a majestic touch to the raga adding to its beauty and appeal.
This is a Tri StAyI RAgam, and RI is rendered as dirgha kampita svaram. It is a mangala raga, and most compositions in this raga are on Lord Vinayaka, the remover of all obstacles.
It is a Ghana raga, and the first of Thyagaraja’s Pancharatnas is in this raga.The Hindustani raga Jog closely resembles Nattai. This Ragam shines well in Madhyama KAla AlApana and TAnam. TAnam played in veena creates a very pleasing effect.
Chintayeham Janaki Kantha Mayamalavagowla Mysore Vasudevacharya Krithi
His creative endeavour started by accident. The year 1900 was cursed as plague broke out in the Mysore State. His friend Gopala Arasu, on a casual talk requested Vasudevachar to make a mark in this world before the time ends, as he was not sure how many will survive the epidemic. Vasudevachar was reluctant initially, but later agreed to compose one krithi. The krithi chintayEham jAnakI kAntha in mAyAmALavagauLa was the first to be composed.
Now the Sooooooooper Thani !!!
P: shrImadAdi tyAgarAja guruvaram namAmyaham
P: pranamamyaham shrI prananatham nirantaram pranita
janabhishtha phala pradam shrI rama seva dhurandharam
Thillana Ragam Suddha Salavi Mysore Vasudevacharya
It is a rare Composition
Kum. Bhargavi Chandrasekaran (Vocal) & Team, from, Houston TX Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the July 7th Sunday at 8.00 PM IST 10.30 AM EDT 9.30 AM CST
Superb Alapanai & Replication on Violin !!!
SARASWATHI MANOHARI - JANYA OF MELA (28) RAGAM HARIKAMBHOJI
Though a pleasing raga, Saraswathi manohari is a very Rare one; rarely heard in concerts. The only composition which is somewhat popular is the Thyagaraja krithi, “Enthavedukondu O Raghava”,
otherwise, this is a mostly forgotten one. Muthuswami Dikshithar also composed in this raga; other composers like Maharaja Swathithirunal, Dr. Muthaiah Bhagavathar and
Mysore Vasudevacharya also seem to have composed in the raga; but these are not heard in concerts - only for academic interest.
The raga is more pleasing when it is sung in medium-slow or medium tempo; but musicians like Sri. Yesudas seem to have sung in fast tempo also.
Saraswathi manohari is an oudava- sampoorna janya of Harkambhoji, Panchama, Nishada varja in arohanam and with a slight vakra in the avarohanam with D2; can be written as:
S R2 G3 M1 D2 S // S D2 N2 P M1 G3 R2 S
Like ragam Saraswathi (janya of Vachaspathi, the 64th mela and Prathimadhyama equivalent of Harikambhoji), many of the compositions in Saraswathi manohari is on Goddess Saraswathi.
Sangeetha Sampradaya Pradarshini (SSP) by Subbarama Dikshithar places it under mela (29) Sankarabharanam; gives the raga lakshana by the Venkatamakhi slokam:
tyakta pancama arohe sarasvatamanoharı |
avarohe rivakram syat sagrahassarvakalikah ||
(as per the above, the notes will be SRGMDDNS // SNDPMGMRS; suitable for singing all times). However, Ragapravaham by D.Pattammal places it under mela 27 (Sarasangi), 28 (Harikambhoji) and 29 (Sankarabharanam) as:
S R G M D S // S N D P M R S (mela 27)
S R G M D S // S D N P M G R S (mela 28)
S G M P D S // S N D P M G R S (mela 28)
S R G M D D N S // S N D P M G M R S (mela 29)
Interesting Informaton:-
Normally for Thyagaraja Aradhanai Pancharathna Keerthanai are Rendered.
In Mysore Vasudevachar wanted to attend Thayagaraja Aradhanai. He Composed this Krithi as a Trubute to St Thaygaraja
This Krithi is Very Rarely Heard
shrI rAmachandra pAdAbjE rAgamAlikA Adi Mysore Vasudevacharya
C: saketa puradIsha sarvesha satya dharma palaka svaprakasha
raka sudhakara nibhanana rajIva nayana raksita bhuvana
Pranamamyaham shrI prananatham shrI. raga: gowla Adi tala.Mysore Vasudevacharaya Krithi
A: bhUmijA ramaNa caraNa kamala bhajana dhu
P bhajarE mAnasa mAdhavam bhAsura sharadindu vadanam
RTP on Krithi Paripahimam shrI dasharathe Ragam shubhapantuvarali.Adi .Mysore Vasudevacharyar Krithi
Next is Main Krithi of the Concert !!!
Ragam Gowla janya of 15th Mela Mayamalavagowla
Aro : S R1 M1 P N3 S’ Av : S’ N3 P M1 R1 G3 M1 R1 S
As the name suggests, it must have originated from the ancient Bengal region, which was known as Gowla desam.
This ragam is more suited for beginning the concerts. Hence there are number of songs in this ragam in praise of Lord Ganesa.
This ragam has its counterpart in Tamil Isai also in the form of a pann. This ragam is more suited for singing Bhakthi related songs, especially in the mornings.
Gowla is one of the Ghana Raga Panchakam, a group of 5 ragas namely Natta, Gowla, Arabhi, Varali and Sri in which
Tyagaraja composed his famous Pancharatna kritis. Subbarama Dikshithar describes these as particularly suitable for singing from the nabhi (navel).
This is a raga with a certain majesty. Some well known compositions in this raga are Dudukugala by Tyagaraja, Tyagaraja Palayasumam by Dikshithar and Pranamamyaham by Mysore Vasudevachar.
Mayamalavagowla - 15th Melakarta rāgam
It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
Venkatamakhin defines its lakshana thus:
पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा
pūrṇo māḻavagouḻākhyah sa graho gīyate sadā
Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
ārohaṇa: S R1 G3 M1 P D1 N3 S
avarohaṇa: S N3 D1 P M1 G3 R1 S
The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale).
It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale.
The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant.
There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S).
This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the firstyAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc.
Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time.
It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music.
It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively.
Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla.
A raga that is symmetric and very easy to teach and learn is Mayamalavagowla. This is the reason beginners' lessons in Carnatic music are based in Mayamalavagowla and its derivative ragas.
The notes that feature in Mayamalavagowla are sadja, suddha rishaba, antara gandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness
Sri. Vishal Setlur (Mridangam) (Disciple of Sri Ramesh Srinivasan of CA)
This is Sub Main Krithi !!!
This Krithi was composed in Sanskrit !
Sri. Vishal Setlur (mridangam)
(Disciple of Sri. Ramesh Srinivasan of CA)
Now this Young Child will sing RTP...
(Exclusive Compositions of Mysore Vasudevachar)
Prayogas/Sancharas
Singing the raga, by omitting the shadja and/or panchama, gives Kalyani a special flavour. This can be heard in almost every recording featured. Janta (pair) swara combinations like r r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped deliberately) like n g” r” n d n r” n d m and g n d m g r are prominent
The signature phrases of Kalyani include gmP - ddpmGr - nRgmpmgR - pmGrs - snsrgrsnd - dnsrGr - gmpdm, - dpmgR - gND - gDpmgr - gmpdNd - pdNs’ - ns’R’ - g’r’G’r’s’nd - dg’r’G’r’s’nd - mdnr’ndpmgr - nrgMGr - pmGrs.
GmpdnS’ - s’ndPmgr - gmpdnDPm - pdnS’ - s’nD - dndg’r’s’nD - dns’r’s’ndPmgr - gmgnDpm - ddpmGr - nrgmPm gg rr S - ndrS.
Kalyani is a major raga and is capable of being used in practically any kind of composition from common gitam taught to beginners of Carnatic music to complicated kritis, ragam-tanam-pallavis, padams and javalis etc.
Kum. Bhargavi Chandrasekaran (vocal) - Houston, TX
(Disciple of Vid. Smt Rajarajeshwary Bhat, Vid. Smt Kruthi Bhat, Vid. Smt Suguna Varadachary)
Smt. Deepa Ramachandran (violin)
(Disciple of Vid. Dr. Mullaivasal G Chandramouli)
Idi samayamu Ragam Nataka priya chaturasra roopaka Talam Mysore Vasudevacharyar Krithi
P shrI purandara guruvaram bhAvayEham shrI mukha candra cakOra sEvA caturam shrta kalpa bhUruham
I always bow down to Hanuman (the lord of Prana), who fulfills the desires of those who bow down to him, who is always engaged in serving Rama;
Speeds rendered were - Slow, Aus, Fast, Tisram, Khanda Tisram, Mixed (Aus & Fast), Mixed (Aus & Tisram)
Smt. Deepa Ramachandran (Violin) (Disciple of Dr Mullaivasal G Chandramouli)
bhajarE mAnasa mAdhavam (tv) Ragam Nattai Adi Mysore Vasudevachar
Kum. Bhargavi Chandrasekaran (Vocal) (Disciple of Vid. Smt Rajarajeshwary Bhat, Vid. Smt Kruthi Bhat, Vid. Smt Suguna Varadachary)
Next is the Last One a Very Very Rare one
Natakapriya is the 10th Melakartha raga and the 4th in the second Mela Chakram, ‘Netra”. In Dikshithar system, this raga is called ‘Natabharanam’.
This is not a popular raga; there seems no Hindustani equivalents also. The 46th mela ragam ‘Shadvidhamargini’ is the prathimadhyama equivalent of this raga.
The purvanga is of the notes are of Thodi and Uttaranga, that of Kharaharapriya. The notes:
Aroh : S R1 G2 M1 P D2 N2 S // Avaroh : S N2 D2 P M1 G2 R1 S
(shadjam, shuddha rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham).
JANYA RAGAS:
Alankārapriya S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S
Bhāgyashabari S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S
Deeparamu S R1 G2 M1 P D2 N2 S // S N2 D2 N2 P M1 G2 R1 S
Gunāvati S R1 M1 P D2 S // S D2 P M1 R1 S
Hindoladeshikam S M1 R1 G2 M1 P D2 N2 S // S P N2 D2 M1 G2 R1 S
Kanakadri S R1 G2 P D2 S // S N2 D2 P M1 G2 R1 S
Mātangakāmini S G2 M1 P D1 N2 S // S N2 D1 P M1 G2 S
Nātyadhārana S R1 M1 P D2 S // S N2 D2 P M1 R1 S
Niranjana S R1 G2 M1 P D2 S // S N2 D2 P M1 G2 R1 S
Shānthabhāshini S R1 G2 M1 P D2 S // S N2 D2 P M1 S
Shivashakti S G2 M1 D2 S // S N2 D2 M1 G2 S
Sindhubhairavi S R2 G2 M1 G2 P D1 N2 S // N2 D1 P M1 G2 R1 S N2 S
Except Sindhubhairavi, which is very popular, all the others are only namesake.
POPULAR COMPOSITIONS:
Irangatha Saminatha - Koteeswarayyar
Geetha vadya natana - Tanjore Shankarayyar
Maara jananeem Aashraye - Nallan Chakravartula Krishnamacharyulu
Idi Samayamu - mysore Vasudevacharya
Paripalaya Maam - Dr. Balamuraleekrishna
Endukinta Kopamu - Thiruvottiyur Thyagayya
Natakapriya intha - Sudhananda Bharathi
Viswanatham bhajeham - Dikshithar
Seethadhidevam natham - Dr. Suvarna Nalappat
Differences between Kalyani and Sankarabharanam.
Technically, the fundamental difference between Kalyani and Sankarabharanam is the Madhyamam. Kalyani has Prathi Madhyam or Teevra Madhyamam, whereas Sankarabahranam has Suddha Madhyamam. Both are melakartha ragas and Sankarabharanam(29th mela) is the Suddha madhyama counterpart of Kalyani, all other swaras remaining the same. Sankarabharanam has the jeeva swara as Gandharam which is as still as a rock.
There is absolutely no oscillation for Gandharam in Sankarabharanam, where as Kalyani is a sarva swara Gamaka Raga (Courtesy : South Indian Music-P.Sambamoorthy) where all notes are oscillated. According to Subbarama Deekshithar G and N are the Jeeva Swaras of Kalyani with strong oscillation.
C: sakala lOka samsEvita sangIta sAhitya sAra bharitasu lalitapada sammELana samshObhita
(madhyamakAlam)
sankIrtana su-racana samupArjita sat-kIrtim sura munivara kAruNya samjAta su-jnAnam
sAmagAna lOla vAsudEva hrdaya su-sthitam sujana hrdaya jaladhi candra mamalavamsha samjAtam
randharam
The Hindustani equivalent of Shubhapantuvarali is Thodi thaat (whereas the Hindustani equivalent of Carnatic Thodi is Bhairav thaat).
Why did he Chose Kalyani It has probably same reason as Nidhi Chala Sukhami by Thyagaraju the Ragam has the Property to acheve the goal if sung with Devotion
AP aja rudrAdi vandita caraNam gajarAjEndrAdi sharaNam
C shrI vAsudEvam shritajana mandAram
AP shrI puruSOttamAnugraha pAtram sucaritram shrI manmadhva shAstra bOdhana tatparam shrIsha sAkSAtkAra santuSTa hrdayam-udAram
C parama dayA sAgaram vara nAradAvatAram
paramAdbhuta krtya darshakam gAna kalOddhArakam
vara guru vyAsa rAja yativarya shishyAgrEsaram
para vAsudEva hrNmandiram upanishat satsamAna
kIrtana kartAram vAram vAram
C2 (rAgA: bhairavi)
yah kIrtanAni svIyAni bhAva rAgayutAni ca gAyannirantaram bhaktyA prINayAmAsa rAghavam
he who, sang always, with devotion, his own compositions replete with Bhava and Raga and pleased Rama,
C3 (rAgA: simhEndrmadhyam
nAradAnugrAhAd-yastu lEbhE su-jnAna sampadam yatkIrtana rasAsvAdamAdriyantE budhAssadA
he who, by the grace of Sage Narada, jnAna sampadam attained the wealth of superior wisdom, savouring the Rasa of whose works, wise people favour,
C4 (rAgA: khamAs)
sItA lakSmaNa shatrughna bharatAnila sUnubhih sEvitam rAmamAlOkya janma sAphalyam AptavAn
having seen Rama, sItA lakSmaNa shatrughna bharatAni lasUnubhihi sEvitam - attended upon by Sita, Lakshmana, Bharata, Shatrughna and the son of Vayu (ie Hanuman), Janma sAphalyam AptavAnam - he attained the purpose of his birth.
C5 (rAgA: mOhana)
kIrtikAyEna yO bhAti tyAgarAjO gururmahAn tam stuvImO vayam nityam rAma bhakta shirOmaNim
He who shines with his immortal fame Guru Tyagaraja
mahAn - the great soul, we praise him, always the best among devotees of Rama.
C6 (rAgA: madhyamAvati)
shrI tyAgarAja caritam sadA sarvajana priyam vAsudEvasya krpayA vAsudEvEna varNitam
The life of Tyagaraja, dear to all people, by the grace of Krishna,
vAsudEvEna varNitam has been described by (the composer) Vasudeva.
Shuddha Salavi
Ragapravaham by Smt D Pattammal gives as
20 naThabhairavi janya Aro: S G2 M1 P N2 S // Av: S N2 P M1 R2 S
C1 rAgA: shankarAbharaNa)
shrI rAmachandra pAdAbjE yanmanO madhupAyitam svadharma niratO yastu nihsprhO yO dvijOttamah
the lotus feet of Rama, he whose mind became a honeybee, happy in performing his duties he who had no desires, who was the best among the twice-born,
pallavi
dhIm tadhIm tadhiranA
1. S, N, S, N, P, N, M, P, |
Dheem ta Dheem ta di ra
S, N, P, M, R, S, N, S, ||
naa dir da ni. tom dir daa ni
G, ; ; ; ;; P, M, |
Dheem ta na
R, ; ; ; S, ; ;; ||
Dheem taam
2. S, N, S^, N, P, N, M, P, |
Dheem ta Dheem ta dhi ra
S^, N, P, M, R, S, N , S, ||
naa dir daa ni tom dir daa nee
G, ; ; ; ; ; P, M, |
Dheem ta na
R, ; ; ; S, ; ; ; ||
Dheem taam
S, N, S, G, ; M, P, M, |
Dheem ta tom ta na na
P, N, M, P, S^, N, S^, ; ||
tom ta na jha nu ta
S^, N, S^, G^, ; M^, ; R^, |
Dheem ta ti llaa na
S^, R^, S^N S^, P, N, PM P, ||
dir dir Daa. ni ti lli lla na
anupallavi
M, MM MM P, PP PP N, ; |
taa kita taka dhee kita taka tom
R^, S^, ; N, S^, G^, R^, S^, ||
ta nom ta na dhi ra na
S^, N, S^, G^, ; M^, P^, M^, |
dhi Tthi, llaa na dhi ra
R^, ; ;- N, P, S^, ; ||
naa dhi ra naa
G^G^ M^M^ R^R^ S^, S^, PP R^R^ PP S^, |
taka jhunu jhunu taka dhimi kita kita dhimi
N, S^,-P N- MP S^, ; S^, NP ||
dhee tthillaa na mapa saa dhee tthillaa
M PM R, ; NN N-S SS GG |
na pama ree tajhu Nu-sa sasa jhunu
G-M MM GG G-M MM P-P PN NN ||
thama mama thaki tatha dimi dhimi thaki tatha
caraNam 1
1. S^, N, S^, P, N, P, P, S^, |
pa ra ma pu ru sha shree
N, P, ; M, R, R, S, ; ||
vaa su de vaa
N, ; S, G, ; M, P, N, |
nee ra jaa ksha pa ri
N, P, S^, N, S^, ; ; ; ||
paa hi maam
caraNam 2
2 S^R^ S^N S^,- PN PM P,- GM PN |
pa ra maa pu ru sha shree
S^, N, P, M,- GM PM R, S, ||
vaa su de vaa
N, ; S, G, ; M, P, N, |
nee ra jaa ksha pa ri
N, P, S^, N,- S^, ; ; ; ||
paa hi maam
S^, N, S^, G^, ; ; G^, ; |
bhaa ra maa na
M^, R^, ; S^, N, P, S^, N, ||
nnu bro va nee ku
P, S^, ; N, P, M, R, S, |
bha vaa bdhi taa ra ka
R, N, S,- G, ; M, P, N, ||
bhu va na ra ksha ka
caraNam 3
3. G^, N, S^, G^, ; ; GM P, |
bhaa ra ma na
M^, R^, ; S^, N, P, S^, N ||
nnu bro va nee ku
P, S, ; N, P, M, R. S, |
bha vaa bdhi taa ra ka
RR SN S,= G, ; M, GM PN ||
bhu va na ra ksha ka
Meaning of Charanam :-
O supreme Being ! revered VasudEvA! Is it too much of a burden for you to protect me, one that resides in the ocean and who rescues and protects the good souls?
Tribute to Thagaraja by Mysore Vasudevachar
shrImadAdi tyAgarAja. rAgA: kalyANi. rUpaka tALA.Mysore Vasudevachar
Chintayeham Janaki Kantha Mayamalavagowla Mysore Vasudevacharya Krithi