Sri. Anand Ramakrishnan (vocal) & team from Atlanta, GA - Homage to Mysore Vasudevacharya Series
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- čas přidán 18. 05. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
19th May 2024, 8:00 PM IST (10:30 AM EDT)
Sri. Anand Ramakrishnan (vocal) - Atlanta, GA
(Disciple of Vid. Gopalakrishna Bhagavatar, Vid. Prashanth Krishnamoorthy and Vid. Vivek Moozhikulam)
Sri. Ravi Subramanian (violin)
(Disciple of Vid. Gomathi Seetharam)
Sri. Gurudutt Rajagopal (mridangam)
(Disciple of Vid. Sunil Subramanya) - Hudba
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
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
Gist :- O Mind! Who are the blessed souls who have attained the Kingdom of devotion for SrI RAma? The mere sight of those sublime souls who have been blessed with the kingdom of devotion to RAma is capable of conferring Supreme Bliss, here and hereafter. This Bliss is beyond words. It can only be experienced by those who endear themselves to Him by unswerving devotion to Him. He has created the three worlds for His diversion.
Sindhubhairavi is one of the most interesting and colourful of ragas. A melange of swaras finds it way into this accommodative raga. Sindhubhairavi is a derivative of the Asavari thaat,
and the conventional Aarohana / Avarohana being SRGMDNS / SNDPMGRS.
The raga features the Sadja, Suddha and Chatusruti Rishabha, Suddha Madhyama (and Prati Madhyama in special phrases), Pancama, Suddha Dhaivata (and Chatusruti Dhaivata in special phrases), Kaisiki Nishada (and Kakali Nishada too), in fact, almost everything! This raga is suited for lighter pieces, exudes bhakti and sringara rasas, and could melt mountains.
Classical compositions that are often sung in Sindhubhairavi include ‘Venkatachala Nilayam’ (Purandaradasa), ‘Kalyana Gopalam’ (Narayana Theertha), ‘Visweswara’, ‘Bhaja Bhaja’ and ‘Ramachandra Prabhu’ (Swati Tirunal), ‘Manadhirkugandhadhu’ (Tanjore Sankara Iyer), ‘Kantamam’ (Mayuram Viswanatha Sastri) among several others. One may recall Parvin Sultana’s rendition of the Punjabi anga ‘Bhavani Dayani’, Bhimsen Joshi’s abhang ‘Jeekaranjale’, and Kishori Amonkar’s rendition of ‘Koyaliya’, all scintillating pieces in this raga. Most ragamalika pieces also feature this raga.
One of the most well-utilised ragas in film music would be Sindhubhairavi.
M.S. Subbulakshmi's renditions of ‘Anandam En Solvene’ from Sakuntalai, ‘Brindavanathil Kannan Valarndha’ and ‘Kaatrinile’ from Meera, are exemplary depictions of this raga.
M.K. Tyagaraja Bhagavatar’s renditions in Sindhubhairavi are some of the most refreshing, including ‘Bhoomiyil Maanida’ from Ashok Kumar, and ‘Vadhaname Chandra Bimbamo’ from Sivakavi. In ‘Vadhaname’, the complete octave is explored with splendid vocalisation in ‘...Madura Gaanamo…’, in lightning speed.
Bharatiar’s ‘Theeratha Vilayattu Pillai’ in ragamalika featured Sindhubhairavi as the first raga in D.K. Pattammal’s voice (in the film Vedhaala Ulagam). ‘Sitham Ellam Enakku’ from Thiruvarutchelvar is a riveting piece, a composition of K.V. Mahadevan, who also composed ‘Manappara Madu Katti’ fromMakkalai Petra Magaraasi in this raga.
The duo M.S. Viswanathan-Ramamoorthy has composed several pieces in this raga, including ‘Ennai Yarendru’ from Paalum Pazhamum, ‘Varayo Thozhi’ from Paasa Malar, and ‘Aaru Maname’ fromAndavan Kattalai. The use of the shehnai in ‘Varayo Thozhi’ is noteworthy.
‘Kalyana Saapaadu’ from Major Chandrakanth in the music of V. Kumar is a foot-tapping number in this raga, and one notices that most pieces in this ragas start at the Gandhara-Madhyama region and proceed to the Madhya-sthayi Sadja.
M.S. Viswanathan's ‘Allah Allah’ from Mohammed-bin-Tughlaq, ‘Raman Ethanai Ramanadi’ fromLakshmi Kalyanam and ‘Unakkenna Mele Nindraai’ from Simla Special are evergreen pieces in Sindhubhairavi. In ‘Unakkenna’ the refrain ‘Thaai Madiyil Pirandom...’ ending with the thom-tha-dhomjathi beautifully encompasses the entire landscape of this raga - sheer genius.
‘Thiruthani Muruga’ from Neelagiri Express is a splendid composition in this raga by T.K. Ramamoorthy who passed away recently.
Ilaiyaraaja’s forays into this raga reveal wondrous pastures and a few breathtaking examples of his many compositions in this raga are ‘Valaiosai’ from Satya in which the fusion of the raga with the guitars and Lata Mangeshkar’s voice make magic, ‘Shenbagame’ from Enga Ooru Paatukaaran, ‘Muthumani Maala’ from Chinna Goundar, ‘Madha Un Kovilil’ from Achaani (in this piece the Antara Gandhara is beautifully touched upon in ‘Thaai Endru Unnaithaan’), ‘Naanoru Sindhu’ (with a folksy touch) from Sindhubhairavi, and ‘Oru Naalum Unai’ from Ejamaan. Ilaiyaraaja has used this raga for even a sensuous number ‘Aatama Therottama’ from Captain Prabakaran.
A.R. Rahman’s ‘Nenjinile’ from Uyire and ‘Margazhi Thingal Allavaa’ from Sangamam show varied hues of this rather, the latter being a more conventional approach to the scale.
Harris Jayaraj has tried his hand in Sindhubhairavi in ‘Ivan Dhaanaa’ from Saamy and ‘Theeye Theeye’ from Maattrraan.
In Hindi film music too this raga has been widely used, and one recalls ‘Joth Se Joth’ from the film Sant Gnyaneshwar in the lilting voices of Lata and Mukesh.
‘Mile Sur Mera Tumhara’, a multilingual song that is close to our hearts has been composed in this raga by Louis Banks and sung by several legends in Indian music, including Bhimsen Joshi and M. Balamuralikrishna.
Sindhubhairavi raga, a personal favourite, has innumerable memorable melodies, of which only a fraction has been mentioned in this article.
In this kruti Dikshitar describes the splendour and glory of Pattabhi Rama the king of Ayodhya and how his brothers,Sugriva,Vibhishana and others were at his service.
This is one of the famous songs sung by many ladies on Shri Lord Venkateshwara, and written by Shri Purandara Dasaru. The song is written in Sanskrit.
The form of Lord Ganesha is beloved to millions from India.
There is something so appealing about it One would like to absorb the lesson of ‘Listen, think, then write’ message from the story of Vyasa’s dictation of the Mahabharata to Lord Ganesha, as represented by His large ears (listen), His large head (think) and the missing tusk (write).
This song is a beautiful prayer song in the raga Gowla written by Mysore Vasudevachar.There are some ragas which immediately evoke the presence of certain Gods or Goddesses.
Superb Start !!!
This is one of the Main Krithi of the Concert !!!
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Sri Anand Ramakrishnan (Vocal) & Team, from Atlanta GA ““Homage to Mysore Vasudevacharya Special Series Concert on May 19th Sunday at 8.00 PM IST 10.30 AM EDT
Sri Anand Ramakrishnan (Vocal) (Desciple of Vid. Gopalakrishna Bhagavatar, Vid. Prashanth Krishnamoorthy and Vid. Vivek Moozhikulam)
Sri. Ravi Subramanian (Violin) (Desciple of Vid. Gomathi Seetharam)
Sri. Gurudutt Rajagopal (Mridangam) (Desciple of Vid. Sunil Subramanya)
Enormous Ragams Covered .
Gowlai,
Nattai,
Hindolam,
Mohanam,
Asaveri,
Vasantha,
Sudda Bangala,
Atana,
Abheri,
Hondolam,
Hindola Vasantha,
Manirangu,
Maand,
Desh,
Shankarabharanam
Deshika Thodi
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..
In this kruti Vasudevacharya praises Rama as the supreme soul and as the Lord of Sita. He declares that he always kept absolute faith in Rama only.
This song was composed by Dikshitar in Tiruvaiyaru, at the house of Tyagaraja and at his behest. This kriti is in the eighth(Sambodhana Prathama) Vibhakti
Thyagaraja showed a flair for composing music and, in his teens, composed his first song, "Namo Namo Raghavayya", in the Desika Todi ragam and inscribed it on the walls of the house.
He was only 13 then. Even now, very few sing this composition, being the only one sung in Deshikathodi.
Soooooper !!!
Anandabhairavi - The Divine Raga
Ananda bhaivari is an ancient raga, which has its origins in the folk traditions of South India. It is a janya of the 20th melakarta natabhaivari. But some musicians categorize it under 22nd Mela, Kharaharapriya.
It is classified as a Shadava sampurna vakra, which means it has six notes (shadava) in the ascent and all seven (Sampurna) in descent and the notes are not in order but take a twisted route (vakra).
The Raga evokes KARUNA and SRINGARA rasams. The full effect of the Ragam is brought out when sung in VILAMBITA KALAM.
Therapeutically, it is said that Anandabhairavi supresses stomach pain in both men and women. Reduces kidney type problems and controls blood pressure
The raga uses anya swaram (external note) in comparison with its parent rāgam. The anya swaram is the usage of Suddha dhaivatham (D1) in some phrases of the rāgam .It is vakra rāgam since its arohana is not in proper sequence.
Its arohana is “sa ga ri ga ma pa da pa sa” (“ga” comes before “ri” and after “pa” comes after “da”). These two technicalities makes this rāgam vakram but only in arohana. In avarohana it is normal, that is “sa ni da pa ma ga ri sa”.
Anandabhairavi ragam is also a bhashanga rāgam, since it uses more than one anya swaram. Anya swaram of a rāgam is the swaram which does not belong to the arohana or avarohana of its melakarta (Tamil: thāi - parent)
rāgam but it is sung in prayogams (phrases used in raga alapana, kalpanaswarams). The anya swaras used are Suddha Dhaivatham and Antara Gandharam.
Arohana : s G2 R2 G2 M1 P D2 P S
AvarOhana: S N2 D2 P M1 G2 R2 S
(sAdharaNa Gaandgaram, Chatusruti R Shuddha Madhyamam P Chatusruti D - Avarohanam : Kaisiki Nishadam)
Jiva Swaras : Panchanam is the most important note in this raga. M and G are also considered the other prominent notes in this raga.
Rasa: Karuna, Sringara, Bhakthi,Vinayam,Anandam
Time: All time
Prayogas and Sancharas : GMP, P,,NPM MP,MGRG_R, GMPMGRRGS_, SRN_, SP_M, MGPMGRG_ PDPMPSN_ NSGRS_ PNSR NDP_MPR_S SNDP MP_NPM GRnnSSGG MP_MGR_ SRPMGRS_SGRGM, SGM, SGGM, SMGRS etc.,
are very pleasing svara patterns as also double notes such as GG and MM. These have been extensively used by Syama Sastri. The modern Ananda Bhairavi as it is rendered now can be said to be the contribution of Syama Sastri, one of the Trinity.
Anandabhairavi and Syama Sasthri
Syama Sastri’s handling of Anandabhairavi merits special mention. In all there are eight compositions or so of Syama Sastry in this raga. Four of his compositions are famous. Two of them, marivere gati and O jagadamba have glittering cittasvara-sahityas.
His pahi shri girirajasute is considered a perfect picture of this raga. His only varnam samini rammanave is in this raga. His himAcala tanaya, which was originally set to Sastry’s characteristic chaputala, is nowadays rendered in Adi tala.Syama Satri is always associated with Anadabhairavi (along with Misra Chapu Talam). It was he who shaped this Raga to perfection in the current form. My humble pranams at his lotus feet.
The sun is called Pankaja-mitra (friend of the lotus) as lotuses bloom at sunrise
The phrase “maNi ranga vallyA-alankRta” in the Caranam contains the Raga Mudra
Superb Thani !!!
In this kruti Tyagaraja intimately feels that Sita and Rama are his parents,Anjaneya Lakshmana and others are his brothers, and all his devotees are his relatives.
DESHIKA THODI - JANYA OF MELA (8) RAGA THODI
This raga, Deshika Thodi is a janya of Mela (8) Hanumathodi. There is a raga with similar name Deshiyathodi,which is said to be janya of mela (31) Yagapriya; however, the notes are found to be the same and in many references, these names are found used for the same raga.
Desikathodi is again a dying raga, like Ghanta; though there are many compositions available, none is being heard in any concert.
This raga is a Rishabha varjaya in arohanam only, with all notes of Thodi in avarohanam. (Aroh: S G2 M1 P D1 N2 S; Avaro: S N2 D1 P M1 G2 R1 S)
Ragapravaham by D.Pattammal also places it under same mela (8); gives the same notes as above; in addition, there is one more specification given under the same mela as:
S R G M P D N S - S N D N D P M G R S
Compositions : Namo namo Raghavaya Raju vedale joota murare Ne pogadakunte rookalu padivElunna innaallavale (all by Saint Thyagaraja) Sri Kamalambike (Subbaraya Shastry) kanukoNTini tETatella (javali, by Patnam Subramanya Iyer) ee tanuvunu benci (Veenai Kuppaiyer) aLuvudyAtako ranga (Purandaradasar) calamEla jEsEvurA (varnam - Veenai Kuppaier)
One of the very early composition in this raga is the Thyagaraja krithi, “namo namo Raghavaya”. Thyagaraja began his musical training at an early age under Sonti Venkata Ramanayya, a music scholar, after the latter heard his singing and was impressed by the child's prodigy.
Thyagaraja regarded music as a way to experience God's love. His compositions focused on expression, rather than on the technicalities of classical music. He also showed a flair for composing music and, in his teens, composed his first song, "Namo Namo Raghavayya", in the Desika Todi ragam and inscribed it on the walls of the house.
He was only 13 then. Even now, very few sing this composition, being the only one sung in Deshikathodi.
“Raju vedale” and “Innallavale” the Thyagaraja krithis, though composed in Desikathodi, are now being sung in Thodi itself. Similarly, another composition of the Saint,’Ne Pogadakunte’ is now being sung in Varali / Subha panthuvarali. In effect most of these have been either sung in other ragas, or never been sung - that the first composition of the Saint only remains popularly known under this raga now.
Pranamamayaham Ragam Gowla 15th Mela Janya Mysore Vasudevacharya Krithi
This Kriti was originally composed in Sanskrit
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
A ragam very extensively used in Carnatic music. There is a saying “ Begada Migada ( Begada is the cream ) to show the exquisite nature of this ragam that provides great relish.
This Kriti is in the sixth Vibhakti According to the Valli Kalyanam episode of Kanda Puranam, Subrahmanya sought his brother Ganesha’s help in making Valli agree to marry him.
Vasantha (raga)
Vasantha is a janya rāgam of Suryakantam, the 17th Melakarta rāgam. According to P Subba Rao, majority opinion is that the rāgam is derived from Mayamalavagowla, the 15th Melakarta rāgam.
Vasantha has ample scope for alapana. This scale has been used by many composers for compositions in classical music
Vasantha is suitable to be sung in evening and is considered an auspicious rāgam. It has been in use for more than 1000 years.
The name Vasantha invokes images of springtime and the burst of energy
Structure and Lakshana
Vasantha is an asymmetric scale that does not contain panchamam.
It is called a vakra audava-shadava rāgam, in Carnatic music classification (as it has 5 notes with zig-zag notes in ascending scale and 6 notes in descending scale). Its ārohaṇa-avarohaṇa structure is as follows
Aro : S M1 G3 M1 D2 N3 S Av : S N3 D2 M1 G3 R1 S
This scale uses the notes shadjam, shuddha rishabham, antara gandharam, shuddha madhyamam, chathusruthi dhaivatham and kakali nishadam.
Lalitha is a popular rāgam that sounds very similar to Vasantha.
Lalitha uses chatusruti rishabham in ārohaṇa also,] while the dvisruti dhaivatam is used in it, compared to trisruti dhaivatam in Vasantha.
Interestingly there are Similar Sounding Ragams
Gopika Vasantham, Hindola Vasantham, Vasantha Bhairavi etc etc
jaya jeya jeya jaanakikaantha ragam nattai Khanda Chapu Talam Purandaradasaru Krithi
This song is fully in praise of Rama. All adjectives of Rama
प्रन्मंयाहं श्री गौरीसुतं
फनितल्प-वासुदेव-भक्तं सततं
I constantly salute the son of Gauri, the devotee of Vaasudeva who uses a snake (phaNi) as a couch .
Another Main Krithi of the Concert !!!
Raga Sugha Bangla :- Aro srmpds Av sdpmrgrs
It belongs to the 22nd melakartha Kharaharapriya. Svaras used are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama, Panchama and Chatusruti dhaivata. It is an audava vakra shadava raga, gandhara and nishada varjya in the arohana and nishada alone in the avarohana. Tyagaraja introduced this raga to Carnatic music through his 3 kritis ie.1) Ramabhakthi-Adi, 2) Toline jesina-Adi, 3) Tappagane-Rupaka.
Manirangu is the janya raga of the 22nd Melakarta Raga Kharaharapriya.
Aro: S R₂ M₁ P N₂ S // Av: S N₂ P M₁ G₂ R₂ S
Till it is fully elaborated, many of us mistake Manirangu for Madhyamavathi. . Madhyamavathi : SR2M1PN2S // SN2PM1R2S
Shriragam : SR2M1PN2S // SN2PM1R2G2R2S (also SNPDNPMRGRS)
It can be seen that the arohanam is same for all.. Hence its closest ally in the Hindustani Music is once again Madhmadh Sarang.
The swarams of this ragam are very similar to Madhyamavathi with only a minor variation in the descending scale, with the additional Ghandaram in the former.
Hence its closest ally in the Hindustani Music is once again Madhmadh Sarang. Till it is fully elaborated, many of us mistake Manirangu for Madhyamavathi.
maṇiraṅgu is a beautiful, little raga and perhaps has an unenviable position of being “in the middle” of two heavy-weight ragas - madhyamāvati (madyamAvati) and śrīrāga (SrIrAga), and differs from them in a rather subtle way in terms of ārōhaṇa/avarōhaṇa.
madhyamāvati has an ārōhaṇa/avarōhaṇa that is S R2 M1 P N2 S | S N2 P M1 R2 S. This actually does not tell the whole story because the swaras in madhyamāvati carry a lot of gamakās with them, but that is a different story.
The nominal ārōhaṇa/avarōhaṇa of śrīrāga is S R2 M1 P N2 S | S N2 P D2 N2 P M1 R2 G2 R2 S. You can see that it has the same ārōhaṇa structure as madhyamāvati but has a more meandering avarōhaṇa.
However, in the avarōhaṇa, the part “P D2 N2 P M1” (i.e. pdnpm) is a special but rare phrase, which is to be used quite sparingly like once of twice in a song (the popular endarō mahanubhāvulu actually eschews it completely).
Hence, for most purposes, the melody of śrīrāga usually follows: S R2 M1 P N2 S | S N2 P M1 R2 G2 R2 S, which brings it closer to madhyamāvati (from a structural perspective) but still with a vital difference in avarōhaṇa.
Again in actual usage, gamakās vary between it and madhyamāvati (e.g. the ri in śrīrāga, and for that matter maṇiraṅgu is flat, never shaken, while it is not so in madhyamāvati).
Now maṇiraṅgu, again has the same ārōhaṇa as the other two i.e. S R2 M1 P N2 S. The avarōhaṇa is yet another variation of the same base swaras, and is the more straight forward S N2 P M1 G2 R2 S (again from a structural perspective only - not all swaras are to be rendered flat!)
Thus G2, the ga, is completely absent in madhyamāvati, occurs in a vakra i.e twisted pattern in the avarōhaṇa of śrīrāga, and in a normal descent pattern in the avarōhaṇa of maṇiraṅgu.
Atana is a raga is a Janya raga whose Melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system.
It is considered to be a very catchy raga that gives a stage flavor for a musician when everything is going dull in a concert. It stimulates the audience by its qualities of Veeram (courage)
Its ārohaṇa-avarohaṇa structure is as follows
Aro : S R2 M1 P N3 S // Av : S N3 D2 P M1 P G3 R2 S
The swaras used are chathusruthi rishabham, antara gandharam, shuddha madhyamam, chathusruthi dhaivatham and kakali nishadham. Atana is a bhashanga raga (kind of raga where the arohana and avarohana are not strictly followed). That is, it has two annyaswaras (alien notes; foreign swaras). They are sadharana gandharam (G2) and kaisiki nishadham (N2).
I understand that I may be corrected that this krithi is on Tiruvarur Vanmikanathar represents the Moolavar while the shrine dedicated to Tyagaraja is the better known shrine in the temple.
Raga Hamsadhani Natta etc , for example, makes one think immediately of Lord Ganesha for it has the same powerful, strident, confident quality that one finds in Lord Ganesha.
Similarly raga Gowla, has the a steady and rooted quality to it, as well as a certain majesty and grandeur which echoes the qualities of Lord Ganesha.
Gowla is particularly impressive in the Mandra Sthayi (the lower octave) and the lower half of the chosen octave (listen to Tyagaraja’s Dudukugala to appreciate this).
This gives it a certain weight which reminds one of the heaviness of the form Lord Ganesha and his quality of being a foundation for everything.
Sri Anand Ramakrishnan (Vocal) & Team, from Atlanta GA ““Homage to Mysore Vasudevacharya Special Series Concert on May 19th Sunday at 8.00 PM IST 10.30 AM EDT
Interesting points to note from the Kriti:
Shriman Narayana : His name gets addressed three times to start with. This is a song which is typically sung as 'suprabhata' to Lord Venkateswara of Tiruppati. The Lord Venkateswara is like a King. And, it is a typical thing to address the king three times as the king comes into the court. Shri Annamacharya has structured the kriti as if he is addressing the Lord coming into the court where thousands of devotees are waiting. And, he is addressing the Lord three times.
Kamala : The usage of this term in the anupallavi is beautiful.'Kamala' is used a total of eight times in the Anupallavi. "Srimannarayana" in sanskrit is called "Ashtakshara" - the mantra with 8 letters in it. It is only fitting that the Kamalavasa's connection with Lotus flower is mentioned eight times :
Kamala Sati - with a wife "Kamala"
Mukha Kamala - with a face like lotus
Kamala hita - He does good deed like a lotus flower; He is soft like a lotus flower; He tends to Lotus
Kamala Pirya : He loves lotus
Kama Lekshana - with eyes like lotus flower
Kamalasanahita - in the lotus posture
Kamala nabane - with a navel from which a lotus flower springs up
Pada kamalame - The one with the lotus feet
Paramanu rupa : Shri Annamacharya lived in the 15th century. From 1408 to 1503. That time, the scientific world did not even know of 'Atom'. But, here is the 15th century poet and he is beautifully talking about the basic building block of life and how Tiruvenkatapati is there in that building block also.
In this prayer song Annamaiah describes the divine appearence and great qualities of the Super Soul Sriman nArAyaNa. He expresses total surrender to his lord.
In this krithi Tyagaraja considers devotion to Rama as enjoying the kingdom of Rama. He also says that Supreme bliss of His Presence is indescribable and could only be experienced.
Ramabhakti Samrajyam is a phrase that refers to the empire of Rama Bhakti, which is a rare experience of closeness with Saint Thyagaraja. The term Samrajyam literally means "an empire," and the ruler of the Samrajyam is called an emperor. Saint Thyagaraja is considered to be the emperor who ruled the Samrajyam of Rama Bhakti
In this keertana Tyagaraja entreats Rama to come to his home saying that he would forget all desires and problems as he gazes at Him. This kRti forms part of dance-drama ‘prahlAda bhakti vijayam’. After Lord hari has bestowed His grace, prahlAda invites Him to come to his house and be with him always. This is part of concluding songs the dance-drama.
Sri. Gurudutt Rajagopal (Mridangam) (Desciple of Vid. Sunil Subramanya)
Sri Anand Ramakrishnan (Vocal) (Desciple of Vid. Gopalakrishna Bhagavatar, Vid. Prashanth Krishnamoorthy and Vid. Vivek Moozhikulam)
Ragam Asaveri :- This janya ragam is derived from Todi. Though this ragam is having number of interesting songs, it is not heard often in the concerts. Though there is a similar sounding Hindustani Raga ( Asavari of the Asavari Thhat ), their swaras especially in the avarohanam are different.
Ragam Begada :- Janyam of 29th mela Shankarabaranam.
Aro: S G3 R2 G3 M1 P D2 P S Av: S N3 D2 P M1 G3 R2
The raga Begada is a delightful one, highly classical, and full of little surprises - be it a foreign note ( bhashanga swara) or the exaggerated gamaka. Begada is a vakra shadava sampoorna scale, meaning only six notes are present in the ascent, and take on a jagged path, while in descent all seven notes occur. Begada is a janya of the 29th melakarta Shankarabharanam. The aarohana-avarohana of Begada are SGRGMPDPS / SNDPMGRS. The speciality of this raga is the slightly elevated tonal level of the suddha madhyama, a ‘pratyantara madhyama’ level, and the usage of the kaisiki and kakali nishadas. The other notes in this raga include the sadja, chatusruti rishaba, antara gandhara, pancama, and chatusruti dhaivata.
A unique raga, it is often referred to as Begada-meegada (Telugu), the smoothness of this raga is like fresh cream. Classical composers have explored the uniqueness of this raga to their heart’s content. Tyagaraja’s ‘Nadopasana’, ‘Lokavana’ and ‘Neeverakula’ are outstanding, while Dikshitar’s ‘Vallabha Nayakasya’ and ‘Tyagarajaya Namaste’ stand lofty. Shyama Sastri composed the melting ‘Kamakshi Nato Vada’ in this raga. Tamil kritis such as ‘Ganarasamudan’ and ‘Kadaikann Vaithu’ are popular and merit mention.
P rAma bhakti sAmrAjaya mE mAnavula kabbenO manasA ||
Oh my heart. Who will enjoy the splendor of the kingdom of devotion to Rama.
AP A mAnavula sandarSana atyanta brahmAnandamE ||
Visiting such people is itself a Supreme Bliss.
C ee lAgani vivarimpa lEnu chAlA swAnubhava vEdyamE
leelA srushTa jagatraya manE kOlAhala tyAgarAja nutuDagu ||
I cannot describe, It can only be experienced.
All the three illusory worlds are Vishnu's creations.
He is worshipped by Tyagaraja.
Namonamo raagavaaya Rupaka Talam Thyagarajar Krithi
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).
Rama Namamu Janma Rakshaka Raga Athana Adi talam Thyagarajar Krithi
P Pranamaamyaham Sree gaureesutham
phanithal_pa-vaasudaeva-bhaktham-sathatham
Sri. Ravi Subramanian (Violin) (Desciple of Vid. Gomathi Seetharam)
Ramanai bhajittal Ragam Mand Adi talam Papanasam Sivan Krithi
Bowli, a janya of 15th mela Mayamalavagowla, is a morning / purvodaya raga with a calm,pious and deep meditative quality. I think this is the main reason for choosing this particular raga for Suprabhathams. The word Suprabhatham itself means Auspicious Morning and Raga Bowli -a Bakthi Rasa pradhana raga is chosen for tuning most of the Suprabathams. Listening to Raga Bowli in the dawn transforms the morning mood to be one of serenity and sacredness. Bowli calms the turbulent mind and promotes relaxation and prevents the effects of chronic stress, promotes emotional well being and maintains positive mental health to begin the day. Bowli has the following Arohana and Avarohana.
Arohana: S R1 G3 P D1 S
Avarohana: S N3 D1 P G3 R1 S
(Shadjam, Shuddha Rishabham, Anthara Gandharam, Panchamam, Shuddha Dhaivatham, Kakali Nishadam).
Note that the Arohanam of Bowli does not have the Nishadha (N) which is left out making it a nishaada-varjaya in the arohana scaling
Ramabhadra rara Adi talam Badrachalam Ramadasu Krithi
Seethamma maayamma 17th Mela Janya Rupaka Talam Thyagarajar Krithi
Pavamaana Suthudu Pattu, Pathara Vinthiya Mulaku
Nee nama rupamulaku, Nitya Jaya Mangalam
Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu
Nee nama rupamulaku, Nitya Jaya Mangalam
Rajeeva Nayana Thyaga, Rajathi Vinudhamaina
Nee nama rupamulaku, Nitya Jaya Mangalam
Pavamana Suthudupattu - Sowrashtram - Thyagarajaja Krithi
This Song was Composed in Raga Karnataka Devagandhari
Sreeman narayana Ragam Bowli 15th Mela Adi Talam Annamayya Krithi
It is believed that Tyagaraja sang this song when he received the sacred magnum opus 'swararnavam
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.
Vallabha nayakasya Ragam begada 29th Mela janya Rupaka Talam Muthuswami Dikshitar
Hindolam The Raga with a Hypnotizing Melody..
A derivative of Hanumathodi (Mela 8) belonging to the 2nd Music Chakra, Hindolam is a serene,gentle,soulful,enchanting and pleasing meditative raga. It is an audava - audava janya ragam.
Experts in Carnatic music hold differences of opinion on the janaka ragams (ragams of origin) that should be attributed to Hindolam. It is widely accepted that 20th melakarta,
Natabhairavi is the parent ragam of Hindolam. It can be derived from both Natabhairavi and Hanumathodi, by dropping the rishabham and panchamam. The Hindustani equivalent of Hindolam is “Malkauns”. Malkauns is one very beautiful raga, derived from the Bhairavi Thaat.
This raga is said to have been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.
In Mind, Body and Soul Chakra - Chakra 2( Nestled between the Root and Sacral Chakras) depicts Joy arising out of desire fulfillment;to bring a richer feeling of everything that one does - to remember the joy of life, the joy of living, it is the bringing of Heaven onto earth. Hindolam (meaning swing) invariably evokes a romantic feeling.
This raga is associated with Vasantha Rithu(Spring) which is full of freshness and colours,which brings forth the feelings of well being and boosts your mood. The air smells clean and floral. It can be aptly said that Hindolam conveys the moods of Shringara primarily.
The raga creates increased feelings of compassion and reduced anxiety which in turn provides relief to patients of low blood pressure. It is also said that the raga helps to maintain normal digestive gas and body temperature along with restful sleep and tranquility.
This raga also conveys the divine Bhakthi Bhava and is astonishingly refreshing when sung in the mornings.
The arOhanam avarOhanam of the rAgam is given below:
Arohanam : S G2 M1 D1 N2 S
Avarohanam : S N2 D1 M1 G2 S
[sadharana gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham.]
Rasa:Shringara, Bhakthi
Time:Morning
Season:Vasantha Rithu
Jeeva Swaras: D, N
Amsa Swaras: M
Sruthi Bedham (Sarvaswara Murchanakara Janya ragam)-S-Hindolam, G-Sudhasaveri, M-Sudhadhanyasi,D-Mohanam,N-Madhyamavathi)
Special Considerations: Hindolam is a Tri-sthyayi Raga. It is known to be a ragam that is generally beautiful and soothing to listen to. Being symmetrical in its ascending and descending scales, it lends itself very well to improvisation and is therefore popular at concerts.
It is one of the most popular ragas,extensively used in concerts.It is also considered an auspicious raga and is a favourite of Nadaswara Vidwans for playing in temples and marriages.It is a raga with great scope for extensive swaraksharas and beautiful phrasing of the raga alapana and sangatis.
Compositions start on s; m; n In the hands of a skilled vocalist or instrumentalist,the raga transports one to an ethereal world of divine bliss.
Prayogas/Sancharas
M is the important note that lends charm to the music created in this raga.
Slight oscillation of Ga, Dha and Ni is allowed. Some beautiful sancharas of this raga are NSG-GMDNDMGS-NSMGDMGS-NSMGMSGS-NNSND-MDNGS-NGSNSD-SGMGSND DNSNDN, MGS SSN DNS.
Venkatachala Nilayam Vaikuntha Pura Vasam Ragam Sindhu Bhairavi 10th Mela Janya Adi Talam Purandaradasaru Krithi
P sItamma mayamma shri ramudu ma tandri
Sita is our mother, Sri Rama is our father.
AP vatatmaja saumitri vainateya ripu mardana dhata bharatadulu sOdraulu mAku O
Oh my mind "Anjaneya, Lakshmana, Garuda, Satrughna, Jambavanta, and Bharata, are brothers to us."manasa
C paramesha vashistha parashara narada shaunaka suka surapati gautama lambodara guha sanakadulu
dharaija bhAgavata-gresaru levvaro varellaru vara tyagarajuniki parama bandhavulu manasa
Oh my mind, "Maheswara, Vasishta, Parasara, Narada, Saunaka, Suka, Indra, Gautama, Ganesa, Shanmukha, Sankara and others who are the prominent devotees of the lord are all important relatives to the blessed Tyagaraja
This kRti is marked as ‘doubtful’ in the book ‘Compositions of Tyagaraja’ by Shri TK Govinda Rao which means that it is doubtful whether this krti was indeed composed by SrI tyAgarAja. Also, this krti is not available in any other book.
Bhajare Re Manasa Ragam: Karnataka Devagandhari (Abheri) Talam Vilamba Kala: Adi Composer: Mysore Vasudevacharya
Mohanam The Most Pleasing and Enchanting Raga Truly “Jaganmohanam
Appropriately named for its beauty, rAgam MOHANAM is a very pleasing and enchanting pentatonic scale, that captures the mind of every listener. A janya of the 28th Melakarta Haikambhoji, it is an audava audava raga.
The beautiful colours and shades of Mohana raga is just brought out in 5 swaras.This raga is called as Bhoop in Hindustani. Suitable for singing at all times, but the night time is best suited for this ragam. Ancient name of Mohanam is “rEgupti” or “raghupati”.
Arohana: S R2 G3 P D2 S
Avarohanam : S D2 P G3 R2 S
( Chatusruti Rishabam, Antara Gandharam, Chatusruti Daivatham.)
Raga chaya svarams/Jiva svarams: ri, ga, dha
Nyasa svarams: ga and pa
Graha svarams : ga, pa dha
Prayogams of the type of “Janta”(dual swaras like gagapapadhadha) and “Datu”(skipping of a swara in between like dhagarigasari) lend great enchantment to the raga and make it very captivating. The notes R and D can be oscillated. G gets a kampitha gamaka or in the prayogas where there is a heavy expression of Gandharam as PG…
where Panchama is played in Gandharam (in Veena). Gamaka or oscillation make these notes beautiful, and prayogas in the raga aalapana containing these notes with gamaka are really bewitching… Mohanam has the ability to lift up a sagging concert.
A sarva svara mUrccanakAraka rAgam. All the four notes ri, ga, pa, dha admit graha bhEdam (modal shift of tonic). The ri, ga, pa, dha mUrccanas of mOhanam result in rAgams madhyamAvati, hindOLam, shuddha sAvEri and udayaravicandrika, respectively.
This raga was known as Mullai Pann in ancient times. Mohanam is basically a Veera rasa pradhana raga. A wide range of emotions like Sringara,Karunya etc can be very well portrayed in this raga. A well tread Mohanam reveals its folkish melodies too. Heavy classical compositions as well as light ones sound beautiful in this raga.
Historically speaking, mOhanam is perhaps the oldest rAgam known to mankind. Dr. S. Ramanathan’s doctoral dissertation on the music in shilappadikAram mentions that it is one of the most ancient paNNs. This pentatonic scale is, therefore, found in the music of various nations, including primitive tribes.
Ancient chinese, japanese, hungarian, swedish, and gypsy music all have traces of Mohanam.This raga claims to possess international melody. This raga is widely used in many countries namely Burma, Thailand, Japan, China. The national Anthem of Thailand is set in raga Mohanam.
Gist:- All the miseries, worries and ailments in life are eradicated by chanting Rama namam. Having darshan of Seetha Raman today, will satisfy the purpose of nascency (event of being born).
The life in the universe is a mix of enjoyments and miseries, like enjoying shadow in a hot sun. If no miseries, no one will think/remember Lord Rama, the supreme personality.
You will be tested with a pool of miseries; finally Rama will grab, embrace and get you out of all sufferings by his cacoetheal (irresistible/passionate/love motive) actions. Ramanamam is sacred amurtham and divined soothing medicament to ears.
The scales of Mand are as follows :
Aarohanam : S G3 M1 P D2 S’
Avarohanam : S’ N3 D2 P M1 G3 R2 S
It is considered to be a janya raga, derived from Shankarabharanam, 29th of the Melakarta scale.
The zig-zag pattern of the avarohanam is not expressed in the above; it may be better expressed as in Hindustani music as below :
S’,S’-N3-D2-P-D2,P-N3-D2-P,G-M1-G3-R2-S
There is a doubt as to whether Mand is truly accepted as a Raga in the Hindustani system. If accepted as a Raga, it seems to be placed in the Bilawal Thaat.
Some commentators see it as a sampoorna raga with low usage of R2 and N3 in the ascent. Others see it as a shadav-sampoorna raga.
In the Carnatic System, it is mainly used for bhajans and tukkadas or short pieces sung towards the end of a concert. There are a few noteworthy compositions in this Raga; Janaki Manoharam by Mysore Vasudevachar, Ramanai Bhajithal by Papanasam Sivan, Arumo Aval by Kannan Iyengar and the marvellous Thillana by Lalgudi Jayaraman are all worth your attention.
Analysis :- In the kriti „Rama bhakti samrajyam‟ - raga Sudha bangala Tyagaraja describes the ecstasy he experienced. The deletion of gandhara in the arohana and its prayoga in the avarohana resembles the raga Sri, generates the feeling of devotion. Tyagaraja begins his kriti with the svara mandrasthayi dhaivata. 5th sangathi of pallavi avarohana krama is present. d,,s, r,,, srmp dsrm
rsrs dsdp mrg,grrs. ra-ma bha---- kthi---- sa---- mra----- ---jya---
„s r m , r‟, „r m p , m‟ are beautiful prayogas . Madhyamakala sancharas are
more attractive. Kriti begins with mandrasthayi dhaivata and ends with madhyasthayi shadja. Sancharas ranges from mandrasthayi dhaivata to
arasthayi panchama. This kriti is well suited to initiate a concert and infuse
bhakthi straightaway. Tyagaraja considers bhakthi as a kingdom by itself and
dds blessed are those who have attained it.
In this krithi Tyagaraja considers devotion to Rama as enjoying the kingdom of Rama. He also says that Supreme bliss of His Presence is indescribable and could only be experienced, SrI tyAgarAja describes the ecstasy he experiences. This song is addressed to his mind.
P ra ra rajeeva lochana rama nannu brochutaku
deena srita jana mandara karuna para vara ||
Oh lotus eyed Rama, please come to protect me. You are the sacred Mandaara flower for the distressed who seek your protection. You are ocean of compassion.
AP e ra nee karuna kalgani karana memo kanara
murari vinuta subhada sucharita
paratpara dharani ja manohara ||
Oh Rama, I don't know why you are not compassionate to me. You are adored by Sri Krishna. You are bestower of happiness and you are known for your excellent character. You are the supreme soul. You captivated the heart of Sita the daughter of the earth.
C nee ve na vibhudani niratamu
nee padamulanu nera nammiti
nee vadani nanu karuninchi
ee vela na cheyi viduvakura
deva deva daaaratha nrupa nandana
dasa mukhadi sakala ripu jana harana
neevanadarana seyakura
pavanajapta sree vasudeva !
I considered you as my lord and I always had absolute faith in your feet. Pity me as your own and please don't leave my hand. Oh lord of the lords, Oh son of King Dasaratha, you defeated the ten headed Ravana and his clan. Please don't neglect me. Oh Vasudeva, you are very dear to Anjaneya, the son of Vayu the wind- god.
P mamava pattabhirama jaya maruti sannuta nama rama||
Oh Pattabhi Rama, (coronated Rama) protect me. Victory to Rama whose name is chanted by Anjaneya.
AP komalatara pallava pada kodandarama
ghana syamala vigrahabja
nayana sampoorna kama raghurama kalyanarama rama||
Oh kodanda Rama (Rama with bow), Your feet are delicate like tender leaves. Oh RaghuRama, You are blue with lotus like eyes. Oh Kalyana Rama (auspicious Rama), you fulfill our desires.
C chatra chamara kara dhruta
bharata lakshmana Satrughna vibheeshana
sugreeva pramukhadi sevita
athri vasishtyadranugraha patra
dasaratha putra maniranga valayAnkruta
navaratna manTapE
vichitra maNimaya simhasane
seetaya saha samsthita sucharitra
parama pavitra guru guha mithra pankaja mithra
vamsa sudhambudhi chandra medineepala ramachandra ||
Bharata and Lakshmana sway chamaram and hold parasol. Satrughna, Vibheeshana, Sugriva and other stalwarts are at your service. Oh son of Dasaratha, eminent sages like Athri, Vasista are your well wishers.
You majestically sit along with your consort Seeta on a gem studded throne in a pavillion shinning with nine kinds of gems. It is decorated with colorful buntings (toranam). Oh Rama Chandra, you are the most pious,
You are known for your unblemished character. You are like the moon to the nectar like ocean of the Sun dynasty. You are the ruler of this earth. You are dear to Guru guha
To your sacred Name and to your divine Form let there be success and prosperity! Your sacred feet supported reverently by AanjanEya, to your lap on which your consort SeetaadEvi, possessing eyes as beautiful as the lotus, to your bosom on which fresh pearl necklaces sport dangling daintily and to your charming face which puts to shame the splendor of the moon, let there be victory and ever growing prosperity and welfare. Oh, One with eyes like the lotus which fascinated and attracted the praise of Sage Naarada, devotees like Prahlaada and others. To your Nam and divine Form, eternal victory and repute galore!
Preface :- King Dasharatha consulted his advisors and decided to anoint Rama with the title “Prince Regent” (yuvarAja). KaikEyi’s maid servant mandarai got word of it and rushed to KaikEyi to give her the news. KaikEyi was happy and gives mandarai a pearl necklace as a gift for bearing such good news. But mandarai tries to dissuade her from accepting the news with a positive outlook and that KaikEyi should insist on her own son should be given the title instead of Rama. At that point KaikEyi ridicules mandarai that Rama deserves the title more than her own son, Bharatan, and praises the merits and virtues of Rama. What happened later viz., Rama sent to exile, changed the course of Ramayanam (or to be more precise laid the foundation for the intended course)
(Public hail Rama as crown prince... )
P rAmabhadra rArA Sri rAmachandra rArA
tAmarasa lOchana sitAsamEta rArA ||
Oh Ramabhdra, please come. Come along with Sita whose eyes are beautiful like lotus petals.
AP muddu muddu gAraga navamOhanAnga rArA
naddampu chekkiLLavADa neerajAksha rArA ||
C1 chunchu ravirEkhatO nee hempu jootu rArA
panchadAra chilaka nAtO palukuduvu rArA
paTTarAni prEma nApaTTukomma rArA
gaTTiga kausalya muddupaTTi vEga rArA ||
C2 ninnu mAnalEnurA neelavarNa rArA
kannula panDuvugA kandu kanna tanDri rArA
andela muvvala chEta sandaDimpa rArA
kundanapu bomma entO andagADa rArA ||
I can not be without you.Your complexion is blue. You are feast for my eyes. Ringing sound of bells on your anklets is delightful. You are my golden doll. Please come.
C3 nAyeDa dayayunchi nallanayya rArA
bAyaka yeppuDu nee banTunayya rArA
pAdukunna prEma nibbaramAye rArA
pAdasEvakuDanu nEnu pratyakshamuga rArA ||
Please be kind to me. I am your servant. My love for you is deep. I am your humble servant. Please come.
C4 mujjagamulaku nAdi moolabrahma rArA
gajjela chappuDu ghallu ghallumana rArA
sAmagAna lOla nA chakkanayya rArA
rAmadAsunElina bhadrAdrivAsa rArA ||
You are the primordial lord of the universe. Please come with your ringing dancing bells on anklets. You engross in Samaveda music. Oh beautiful Rama dwelling at Bhadrachalam, you are protector of Ramadasu.
O Lord raghuvIra! O Charming Youth! O Son of King daSaratha! O Lotus Eyed! O Protector of pious people! O Fortune of tyAgarAja! I salute You. Deign to come to my house. Deign to come and govern me. I cannot withstand (the misery of being separated from You). (Earlier) my entreaty, without being fulfilled, I became fatigued looking forward for Your arrival. Therefore, (now that You have come here), at least today, in this occasion, deign to come along to my house. Right from early morning, You would protect me by advising on things conducive to merit; and, I shall worship You daily, standing near You, beholding Your charming face. Even after knowing that You are my refuge, won’t You come quickly to protect me compassionately? Is it appropriate to forget even now about me caught in Your hands? Deign to come to my house.
Gist:- :
Eternal salutations to Shri Raaghava, worshipped by sage Shuka. He is ever closely related to all who have none else to depend on, ocean of mercy that he is. He eliminates the sins of devotees as the sun dispels darkness. He is a patron of worthy poets. He grants the wishes of genuine devotees, just as the Kalpaka tree does. He is mentor of gods like Brahma, Shiva, and other celestials. He is concerned with the welfare of innocent and pious devotees. He is the destroyer of Raakshasaas. He is infinitely wise. He confers health, longevity, and prosperity on worthy followers. He lies on the snake AadisEsha and is fond of fresh butter. He is the sole witness of all that happens in the universe. With hands long and powerful like the trunk of a royal elephant, he flung the mighty Subaahu to the distant ocean by a single arrow. He is the protector of AadisEsha and Tyaagaraaja.
raa raa raajeeva lOchana raagam: mOhanam taaLam: aadi Composer: Mysore VaasudEvaacaarya
maamava paTTaabhiraama raagam: maNirangu Composer: Muttuswaamee Dikshitar
O My Mind!
The name ‘rAma’ is the mantra that could save this human birth.
Therefore, do chant His names without delaying any further.
Who is equal to SrI rAma candra who is Moon and Sun Eyed?
O Lord rAma candra having an excellent form like cupid!
O Lord rAma candra who bestows desired fruits!
O Lord rAma candra who is the embodiment of true knowledge!
O Lord rAma candra, worshipped by this tyAgarAja!
raara maayiNTi dhaaka raagam: asaavEri taaLam: aadi Composer: Tyaagaraaja
P Jaya jaya jaya jaanakikantaa jaya Sadhu jana vinutha
Jayathu mahimaanandha jayabaagya vandha
(Jaya)
Victory , victory, victory, consort of Sita,
Victory to him who likes sagely people,
Victory to him who becomes happy by his greatness
Victory to the lucky one.
AP Dasaratha Mahaveera Dasakanta Samhaara
Pasupathi svaramithra paavana charithra |
Kusumabaana svaroopa kuchalakeerththi kalaaba
asama saahasa siksha ambujadhalaaksha ||
(jaya)
The great hero who was the son of Dasaratha who killed Ravana,
Who is the friend of Lord Shiva and has a holy history,
Whose form is praised as better than the God of love,
And who has lotus leaf like eyes and has incomparable valour.
C1 vilOla Saadhujana paripaala
Kaamidhaarththa vidhaatha keerththi samjaatha |
SOmasoorya prakaasa sakala LOkaadheesa
Sri mahaaveera Raghuveera Sindhukambeera ||
(jaya)
The God who enjoys singing of Sama Veda,
The god who takes care of people like sages,
The God who blesses us with wealth that we desire,
The God who earns great fame and shines like Sun and moon,
The God who is the Lord of the world who is greatly valorous,
The god who is the hero of Raghu clan who got angry with the sea.
C2 Sakala Saasthra vichaara Charanujana mandhaara
Vihasithaambuja vadhana viswamaya sadhanaa |
Suhrutha MOkshadheecha Saakethapuravaasa
Bakthavathsala Rama Purandha vitalaa ||
(jaya)
The God who knows all Sasthras who has feet like flowers,
The God who has face like a fully opened lotus flower,
The God who is spread through out the world,
The who is the friendly God who grants salvation,
The God who belonged to Ayodhya ,
The Rama who loves his devotes and Purandara Vittala
Ramabhakti samrajya Ragam Sudda bangla Adi Talam Thyagarajar Krithi
Gist :- Oh, Auspicious Narayana, I seek the shelter of your auspicious feet.
Oh, one whose wife is KamalA (Lakshmi sitting on lotus), having the face of a lotus, one who tends lotus, one who likes lotus, one with eyes like lotus,
Oh, one in lotus posture, one who rides the eagle Garuda,
Oh, one with a lotus on his navel, I seek your lotus feet.
One who brings good fortune to great yogis
One the supreme soul beyond, Oh one who has the shape of an atom (or one who gives substance to an atom)
Oh, God of Thiruvenkata mountains, I seek your feet.
Shreeman- auspicious, venerable, pAdam- feet, sharanam �seek feet, surrender
Kamala �lotus, sati- wife, mukha- face, hita- welfare, tending, priya- lover, akshi- eye,
Aasana- posture, seat, - garudagamana- going on Garuda, nAbha- navel,
Parama- supreme, beyond, bhagya- fortune, deya- giver, atmA- soul, aNu- atom, giri , deva- god,
P Venkatachala Nilayam Vaikunta Pura Vasam
Pankaja Netram Parama Pavitram
Shanka Chakra Dhara Cinmaya Rupam
Venkatacala Nilayam Vaikunta Pura Vasam ||
Venkata hill is the abode of Lord Venkatesvara. He dwells in Vaikuntha. His eyes are beautiful like lotus flower. He is very holy. He wields conch and discus. He is personification of Supreme Conciousness.
C1 Ambujodbhava Vinutam Aganita Guna Namam
Tumbur Narada Gana Vilolam Ambudishayanam Aatmabhiramam
Venkatacala Nilayam Vaikunta Pura Vasam || 1 ||
Brahma the lotus borne worships him. He is repository of countless virtues. He is engrossed in the holy renderings by sages Tumburu and Narada.
C2 Pahi Pandava Paksham Kaurava Madaharanam
Bahu Parakrama Purnam
Ahalya Shapa Bhaya Nivaranam
Venkatacala Nilayam Vaikunta Pura Vasam || 2 ||
I worship Madana Gopala who is adorned with ear-rings with crocodile design. Sri Purandara Vitthala is the protector of devotees.
C3 Sakala Veda Vicharam SarvaJeevana Karam
Makara Kundala Dhara Madana Gopalam
Bhakta Posaka ShrI Purandara Vithalam
Venkatacala Nilayam Vaikunta Pura Vasam || 3 ||
P vallabha nayakasya bhakto bhavami
vanchitartha dayakasya vara mooshika vahanasya
I am the devotee of VallabhanAyaka the chief of Ganas (demi-gods). He is the bestower of boons. His mount is mouse.
C pallavapada mrudu tarasya pasankusadi dharasya
mallikajati champaka harasya
manimalasya vallee vivaha karanasya
guru guha pujitasya kalee kalamAlinee kamalakshi sannutasya
His feet are delicate like tender leaves. He wields a noose and a goad in his hands. He is adorned with garlands of chosen flowers. He shines with gem-studded necklaces. Guru Guha worships him before his auspicious wedding. Goddess Kali, Saraswati the goddess for arts and Lakshmi whose eyes are beautiful like lotus flower adore Sri Ganesa.
P Namo nama Raghavaya anisam,
Namo nama Raghavaya
Again and again salutations to Raghavam
Salutations to Raghava
C1.Sukhanuthaya , dheena bandhave,
SAkala loka Dhaya sindhave
He who is praised by Sage Sukha ,
Who is the relative of those suffering,
And ocean of mercy to all the world.
C2.Sritha durithothama bahuravaye,
SAtha palithabutha kavaye
He who is like several suns , who removes,
The darkness of sins of those who surrendered,
And who always protects wonderful poets.
C3.Nija sevaka kalpaka tharave ,
Aja rudradhyamara sugurave
The wish giving tree to the true devotees,
And the great Furu to Brahma , Shiva and all other devas.
C4.Dheena manava Gana pathaye,
Dhanava anthakaya sumathaye
He who is the lord of all those who are suffering,
Who kills Asuras and one who has good thought
C5.Ayurarogya dhayine,
Vayubhoji bhogi sayine
He who grants health and long life,
And who sleeps on the serpent that eats only wind
C6.Noothana navaneetha bhakshine ,
Bhoothadhi sarva sakshine
He who eats freshly churned butter,
And who is the great witness to entire universe.
C7.Vara gaja katathilitha behave,
Sara jitha dhanava subahave
He who hands resembling the trunk of the great elephant,’
Who won over with his arrow the Asura called Subahu
C8.Nagaraja palanaaya ,
Thyagaraja sevithaya
He who protects Adhisesha ,
And who is served by Thyagaraja
P shrIman nArAyaNa shrIman nArAyaNa
shrIman nArAyaNa nI shrIpAdame sharaNu
Oh Sriman nArayaNa, I surrender to your lotus feet only.
Narayana is never without His consort, Goddess Lakshmi. Goddess Lakshmi is referred to as "Shri". Even in addressing people, we call him "Shrimaan...." this is just to ensure that the person being referred to is blessed with the grace of Goddess Lakshmi. Here, Nayarayana is also referred similarly. And, the addressing goes on for three times. I bow to such a feet. I take shelter in such a feet.
AP kamalAsati mukhakamala kamalahita kamalapriya kamalekShaNA
kamalAsanahita garu.dagamana shrI kamalanAbha nI padakamalame sharaNu
You are like the Sun to your lotus faced consort Kamala. You are dear to your consort Kamala. Your eyes resemble lotus petals. You are dear to Brahma the creator. You move on Garuda bird. Your navel is like lotus. I surrender to your lotus feet.
His wife is Kamala - Goddess Lakshmi, who sits on the lotus flower. He has the face like a lotus flower. He tends lotus. He loves lotus flower. He has eyes like lotus flowers. He sits on a lotus posture. He rides on Garuda, the eagle. He has a lotus flower coming out of his Navel. I pray for your lotus feet.
C parama yogijana bhAgadheya shrI paramapuruShA parAtparA
paramAtmA paramANurUpa shrI tiruveN^kaTagiridevA sharaNu
You are the final destination for supreme sages. You are the supreme personality. You are transcendental. You are the supreme soul. You manifest yourself even in the tiniest atom. Oh Lord of holy Venkata hill, I surrender to you.
He is the one who brings good fortune to yogis. He is the supreme one. He is the great soul who is everywhere. He has the shape of the atom. He is the one who makes the atom what it is. He is the one who is there in Tiruvenkatagiri - Tiruppati.
SUDDHA BANGALA - JANYA OF MELA (22) RAGAM KHARAHARAPRIYA
Ragam Suddha Bangala seems to be created by Saint Thyagaraja only; as there is no reference to this raga found anywhere before his period.
Again it seems that only the Saint has composed three krithis in this raga; so could not be grouped under Eka-krithi ragas. Suddha bangala is a very sweet raga; mostly evoking bhakthi,
karuna, devotion etc. Unlike many other ragas like Hindolam, Dhanyasi, Saveri etc., for which there are ragas prefixed with ‘suddha’ and having some similarities with the counterparts, the ragas Suddha Bangala and Bangala have no claimable similarities.
Here is the ragaswaroopa:
S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
Though SSP shows no reference to this raga, Ragapravaham gives the same specification; in addition, it gives another specification under mela (54) Vishvambari as:
S R1 M2 P D3 S // S D3 P M2 R1 G3 R1 S
Now, we come to a very interesting point. Please look at the notes for the two ragas, Suddha Bangala and Shriragam.
Sud. Bangala : S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
Shriragam : S R2 M1 P N2 S // S N2 P M1 R2 G2 R2 S
(Though there is another avarohanam for Shriragam, this was the type used by Venkatamakhi in his Geetham, also by Saint Thyagaraja (Endaro mahanubhavulu) and Dikshithar (Sri Varalakshmi).
We can see that the only difference is the D2 and N2 being interchanged in the two. So, like the Madhyamavathi group, we can formulate another similar group of Suddha Saveri, with D2 in place of N2 as:
(A) Madhyamavathi : S R2 M1 P N2 S // S N2 P M1 R2 S
Manirangu : S R2 M1 P N2 S // S N2 P M1 G2 R2 S
Shriragam : S R2 M1 P N2 S // S N2 P M1 R2 G2 R2 S
Similarly,
(B) Suddha Saveri : S R2 M1 P D2 S // S D2 P M1 R2 S
Lokendrini : S R2 M1 P D2 S // S D2 P M1 G2 R2 S (also called Lokottharamani)
Suddha Bangala: S R2 M1 P D2 S // S D2 P M1 R2 G2 R2 S
(the above is only a theoretical approach; in practice the members of the second group may differ due to their origin, as well as other properties).
Compositions:
Ramabhakthi samrajya - Thyagaraja
Toline jesina - Thyagaraja
Tappagane vacchuna - Thyagaraja
Aaro vandennai - Sudhananda Bharathi
Nannu brovasamayamu (V) - NCH Krishnamacharyulu
P rAmanukku mannan muDi taritAlE |
nanmaiyunDoru kAlE (rAmanukku)
If Rama wears the crown there will be benefits for all.
AP pAmaramE unakku ennaDi pEccE
pazham nazhuvip pAlil vizhundAl pOl AccE (rAmanukku)
You ignoramus, the news (you brought) is like a delicious fruit having slipped into milk (making it all the more delicious).
C1 inda vArthai sonnAi enakkevar nEraDi
brahmAdigaLum varuvAraDi
iduvE nalla sIraDi vAyADAdE
pAraDi AraDi enakku sari (rAmanukku)
You brought this good news. There is nobody who is equal to me now. The celestials (including Brahma) will attend this event. This is a very pleasant one. Do not argue. Look there is nobody who is equal to me.
C2 parasuraAman garvam tIrttavanDi (avan)
nammai ellAm kAttavanDi
paTTam kaTTa EttavanDi (rAman)
paTTam kaTTa EttavanDi nAlu pEril
mUtavanDi avan tAn en kaNmaNi (rAmanukku)
He (Rama) quelled the arrogance of ParshurAma ***. He saved us all (from disaster). He is the oldest of the four (brothers). He is the right person to wear the crown. He is my darling.
RAma’s impromptu Encounter with ParashurAma
After the consummation of the wedding of SitA and RAma in Mithila, the entire retinue of King Dasharatha, along with the newly-weds, is on its way to ayOdhya. Suddenly Parashurama appears on the scene from nowhere. Dasharatha senses trouble, knowing the obsessive animosity of Parashurama towards Kshatriyas. He begs Parashurama to spare Rama. But Parashurama ignores Dasharatha and tells Rama about the longbows of Vishnu and Shiva and denigrates Rama about breaking the weaker Shiva bow. He gives the Vishnu bow to Rama and tells him if he could flex the Vishnu bow, string it, and set the arrow in it ready to dispatch, he (Parashurama) would engage him (Rama) in a combative duel.
Rama, offended by such an insult, gets the bow from Parashurama, flexes it, strings it, and asks Parashurama to specify the target for the arrow. The Vishnu bow being very powerful would destroy the target if the arrow was released. Rama tells Parashurama that he would spare the latter’s life since he is a Brahmin and related to sage VishvAmitra (Parashurama’s grandfather married VishvAmitra’s sister) and that VishvArmitra was Rama’s guru. Rama tells Parashurama to choose the target between his powerful motility (the ability to move from place to place instantaneously) and the powers of his ascesis. Parashurama chooses to lose most of his ascetic powers. Accordingly Rama releases the arrow towards the open hands of Parashurama. The arrow retrieves the merits of Parashurama’s ascesis and heads back to Rama.
Parashurama having been humiliated, and recognizing the merit of Rama heads towards his abode (Mahendra giri) after paying obeisance to Rama, never to be seen again. He came in like a lion and left like a lamb. The wedding party, to the great relief of Dasharatha, reaches ayOdhya safely.
Pavamaana Suthudu Pattu, Pathara Vinthiya Mulaku
Nee nama rupamulaku, Nitya Jaya Mangalam
Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu
Nee nama rupamulaku, Nitya Jaya Mangalam
Rajeeva Nayana Thyaga, Rajathi Vinudhamaina
Nee nama rupamulaku, Nitya Jaya Mangalam