Indian Classical Music, Carnatic music learning platform

Sangathi / sangati

2020-11-19T03:12:00.001-08:00

Sangathi / sangati

Are musical phrases applied to a base phrase, and referred in the context of variations, either with subtle or gross modifications, improvisations or changes.

Saint Thyagaraja is credited with introducing sangati-s into the kriti form.

A particular variation of a phrase in a kriti or song with slight or large changes in tune and gamakas. Each phrase maybe repeated with different small or large variations or sangatis. While it is difficult to quantify change, the change is about the melodic content alongside structural many times.

Below quoted from Ramesh Mahadevan.

Sometimes, in a kriti, the first lines will be varied systematically as the singer repeats it over and over. (This happens even in some movie songs). That is, the Pallavi will be sung intentionally in different melodies as it gets repeated. The text of the line will be the same, but the music will be different. Such variations are called 'Sangatis'. These variations or Sangatis are intended by the original composer (or cleverly introduced by some other musician somewhere along the line) and are parts of the song. If you listen to a Kriti like 'Vatapi Ganapatim' in Ragam Hamsadhwani, you will notice that the singer spends a long time mulling over the first line itself. But if you paid close attention to details, the singer is in fact varying the melody of that line over and over - in other words, the singer is producing the various 'Sangati's. Sometimes, after all the variations are done, the final version of the Pallavi could sound totally different from what one started out with. In fact, usually, the final version of the Pallavi is what is the official version of the Pallavi from that point on - and this is the version that is sung after each stanza (charanam) subsequently. Even Anu pallavi can have associated Sangatis.

Poorvanga, Uttaranga, Musicology

2020-11-19T02:28:00.010-08:00

Poorvanga, Uttaranga

An anga in general means a sub-division, a part of the whole.

Literally

Purvanga; means the first section /part
Uttaranga; the latter section /part

In Indian music, it denotes one of the two parts (tetrachords) of the octave.

First, to the saptaka (S, R, G, m, P, D, N), add the taara Sa (S'). This is the octave (S, R, G, m, P, D, N, S'). Now the octave is divided into two parts:

(1) Sa to Ma: S, R, G, m;
(2) P to S': P, D, N, S'.

These constitute the two anga-s.

The first part is called poorvanga, the lower tetrachord. The second part is called uttaranga, the upper tetrachord. Each part has four members, and the two parts are similarly constructed.

Raw Source; http://sapthaswaras.blogspot.com/2009/01/poorvanga-and-uttaranga.html

Sthayi, Indian Music Terminologies

2020-11-19T02:21:00.010-08:00

Sthayi

A sthayi is an octave, one range of sa, ri, ga, ma, pa, dha, ni, and the upper Sa, which becomes the lower sa for the next higher octave. The term 'octave' is self-explanatory: octa=eight, as it contains eight individual notes.

There are five sthayis (Octaves) namely

#1. Anumandra sthayi - Two dots below the swara
#2. Mandra sthayi - One dot below the swara
#3. Madhya sthayi - Swara without dots
#4. Thara sthayi - One dot above the swara
#5. Athi Thara sthayi - Two dots above the swara

In Carnatic music, a range of three octaves is generally used. They are the Mandra, Madhya and Tara Sthayi, referring to the lower, middle and higher octaves respectively. The normal human sthayi is the madhyama (central) sthayi.

Anumandra sthayi and Athi thara sthayi cannot be achieved with vocal pitch and is possible with instruments.

#Music #terminology, #musicology #Carnatik, #Carnatic

Marulu madi kondeyalle, Kannada, Purandara Dasa, Neelambari

2020-05-18T07:18:00.001-07:00

Marulu madi kondeyalle

Composition; Marulu
Composer - Purandara Dasa
Raga - Parent Raga [if applicable] - Arohana - Avarohana - Neelambari? Shankarabharana
Tala - Anga - Jathi - Adi
Occasion - VARALAKSHMI POOJA

Source https://madhwafestivals.com/2016/08/13/marulu-madi-kondeyalle/

Lyrics

Marulu madikondeyalle mayadeviye || pa ||

Irulu hagalu ekavagi hariyu ninna bidadipante || apa ||

j~janigalu nitya panadigalannu bittu
Nanavidha tapaviddaru dhyanakke silukadavana || 1 ||

sarva sanga bittu sanyasiyada kalakku
Sarvada tannedeya mele bidade ninna dharisippante || 2 ||

pralaya kaladalli aladeleya mele malagiddaga
Halavu abharanagalu jalavu agi janatanadi || 3 ||

ranganu bhulokadi bhujanga giriyolala
Melu mangapatiyagi ninna angikarisuvante || 4 ||

makkala padedare ninna chokkatanavu popudendu
Pokkulolu makkala padedu kakkuladi paduvante || 5 ||

edake bhumi balake shriyu edurinalli durgadev
Todeya mele lakumiyagi bidade muddadisuvante || 6 ||

endendigu mareye ninnanandadi janarigella
Tandu tore svadhina purandara vitthala rayana ||7||

Sahitya - Kannada

ಮರುಳು ಮಾಡಿಕೊಂಡೆಯಲ್ಲ ಮಾಯಾದೇವಿಯೆ ||

ಇರುಳು ಹಗಲು ಏಕವಾಗಿ ಹರಿಯು ನಿನ್ನ ಬಿಡದಿಪ್ಪಂತೆ ||

ಜ್ಞಾನಿಗಳು ನಿತ್ಯ ಪಾನಾದಿಗಳನ್ನು ಬಿಟ್ಟು
ನಾನಾ ವಿಧ ತಪವಿದ್ದರು ಧ್ಯಾನಕ್ಕೆ ಸಿಲುಕದವನ

ಸರ್ವ ಸಂಗವನು ಬಿಟ್ಟು ಸನ್ಯಾಸಿಯಾದ ಕಾಲಕ್ಕು
ಸರ್ವದಾ ತನ್ನೆದೆಯಮೇಲೇ ಬಿಡದೆ ನಿನ್ನ ಧರಿಸಿಪ್ಪಂತೆ

ಪ್ರಳಯ ಕಾಲದಲ್ಲಿ ಆಲದೆಲೆಯ ಮೇಲೆ ಮಲಗಿದ್ದಾಗ
ಹಲವು ಆಭರಣಗಳು ಜಲವು ಆಗಿ ಜಾಣತನದಿ

ರಂಗನು ಭೂಲೋಕದಿ ಭುಜಂಗ ಗಿರಿಯೊಳಲಮೇಲು-
ಮನ್ಗಪತಿಯಾಗಿ ನಿನ್ನ ಅಂಗೀಕರಿಸುವಂತೆ

ಮಕ್ಕಳ ಪಡೆದರೆ ನಿನ್ನ ಚೊಕ್ಕತನವು ಪೋಪುದೆಂದು
ಪೊಕ್ಕುಳೊಳು ಮಕ್ಕಳು ಪಡೆದು ಕಕ್ಕುಲಾತಿ ಪಡುವಂತೆ

ಎಡಕೆ ಭೂಮಿ ಬಲಕೆ ಶ್ರೀಯು ಎದುರಲ್ಲಿ ದುರ್ಗಾದೇವಿ
ತೊಡೆಯ ಮೇಲೆ ಲಕುಮಿಯಾಗಿ ಬಿಡದೆ ಮುದ್ದಾಡಿಸುವಂತೆ

ಎಂದೆಂದಿಗೂ ಮರೆಯ ನಿನ್ನಾನಂದದಿ ಜನರಿಗೆಲ್ಲ
ತಂದು ತೋರೆ ಸ್ವಾಧೀನ ಪುರಂದರ ವಿಟ್ಠಲರಾಯನ

Meaning
Meaning of the song: [source -https://honnadevi.blogspot.com/2015/06/marulu-maadikondeyalle.html]

Hey MAYADEVI (mAyAdEviye), how could you manage (mADikoMDeyalle) to lure (maruLu) and attract?
HARI (hariyu) won't be able to leave (biDadippaMte) you (ninna) day (hagalu) and night (iruLu) stay together (EkavAgi)

when HARI was sleeping (malagiddAga) on the banyan-leaf (Aladeleya mEle) during the destruction (praLaya kAladalli) of this world
you cleverly (jANatanadi) managed to transform (Agi) many (halavu) ornaments (AbjaraMagaLu) into water (jalavu)

YOU made HIM to establish (biDade dharisippaMte) YOU (ninna) at (mEle) his heart (tannedeya) at all times (sarvadA)
even during (kAlakkU) renunciation (saMnyAsiyAda) by rejecting (biTTu) all companionship (sarvasaMga)

EARTH (bhUmi) on HIS left (eDakke), WEALTH (shrIyu) on right (balake) and DURGADEVI at front (edurinalli)
and YOU as LAKSHMI on HIS lap (toDeya mEle) with so much care and love(biDade muddADippaMte)

YOU loose (pOpudeMdu) your (ninna) beauty (chokkatanavu) if you get (paDedare) children (makkaLa) in normal way
getting (paDevaMte) compassion (kakkulAti) by giving birth (makkaLa paDedu) through the navel (pokkuLoLu)

I will never (eMdeMdigU) forget (mareye) YOU (ninna) please bring (taMdu) PURANDARA VITHALA
who is in your possession (svAdhIna) and show (tOre) HIM to all people (janarigella) with pleasure (AnaMdadi) .

2020-04-24T03:30:00.004-07:00

Description -
Composer -
Raga - Parent Raga [if applicable] -
Arohana - Avarohana -
Tala - Anga - Jathi -

My mom sings an Abheri raga version, will record and update the post, shortly.

ಮುರಳಿಯ ನಾದವ ಕೇಳಿ ಬನ್ನಿ ||
ಮುರಳಿಯ ನಾದವ ಕೇಳಿ

ಮದುರಾ ನಾಥನು | ಮುರಳಿಯ ನೂದಲು | |
ಸುರಿವುದಾನಂದಜ | ಲ ನಯನದಲಿ ||1||

ಕಂಗೊಳಿಸುವ ಬೆಳ | ದಿಂಗಳ ಸೊಬಗಲಿ
ತಂಗಾಳಿಯ ಸುಖ | ದಿ ಶ್ರೀರಂಗನ||
ಶ್ಯಾಮಲಾಂಗನು ತನ್ನ | ಕೋಮಲ ಕರದಲಿ
ಆ ಮುರಳಿಯ ಪಿಡಿಯೆ ಹೃದಯದಲಿ
ಪ್ರೇಮವು ತುಂಬುವುದು ||2||

ಪಂಚಬಾಣನ ಪಿತ ಮುರಳಿಯ ಮಧುರಸ
ಹಂಚಲೆಮಗೆ ರೋಮಾಂಚವಾಗುವುದು
ರಜನೀಕಾಂತನ ಕುಲದಲಿ ಜನಿಸಿ
ವ್ರಜಜನಗಳಿಗಧಿಕ ಪ್ರಸನ್ನನ ||3||

THE PICTURE SOURCED FROM THE INTERNET THE JOY OF MURALI'S MUSIC

muraLiya nAdava kELi banni ||pa||
muraLiya nAdava kELi

madurAnAthanu muraLiyanUdalu
surivudAnandajala nayanadali ||1||

kangoLisuva beLadingaLa sobagali
tangALiya suKadi SrIrangana
SyAmalAnganu tanna kOmala karadali
A muraLiya piDiye hRudayadali
prEmavu tuMbuvudu banni ||2||

pancabANana pita muraLiya madhurasa
hancal-emage rOmAncavAguvudu
rajanI-kAntana kuladali janisi
vraja-janagaLig-adhika prasannana ||3||

2020-04-24T03:08:00.000-07:00

Description - Divya nama sankeertana
Composer - Shri Tyagaraja Swamy
Raga - Yaman [Yamuna] Kalyani Parent Raga [if applicable] - Yaman [Yamuna] Kalyani

Arohana - Avarohana -

Tala - Anga - Jathi -

Pankaja Lochana

2019-11-15T04:25:00.000-08:00

Description - Pankaja Lochana
Composer - Swati Tirunal
Raga - Kalyani
Arohana -
Avarohana -
Tala - Anga - Jathi -
Youtube - https://www.youtube.com/watch?v=SWjtQPemQxQ
Singer - Gayathri Venkata Raghavan

Pallavi:
Pankaja Lochana Paahi Murantaka
Pankajaalaya Jiva Natha Vibho Vibho

Anupallavi:
Shankara Vidhivala Shasana Nutha Guna
Shankuru Sathatham Me Saarasa Nabha Shoure!

Charanam:
Sundara Tara Rupa Nandita Bhira Naari
Vrinda Mukha Saraseeruha Madhupa
Brindaavanaantha Krutha Vividha Sukha Vihaara
Kundani Bharatha Govinda Nanda Nandana

; ; rg | rsS ; S ,n || R ; ; | RG G ; ||

Pan- ka-- ja -- Lo -- cha- na

; R rg | rsS ; S ,n || R ; ; | RG G R ||

Pan- ka-- ja -- Lo -- cha- na

N R- rg | rsS ; S ,n || R ; ; | RG G ; ||

Pan- ka-- ja -- Lo -- cha- na

; R- gm | P ; ; pm || G gmpd| pmG GR ||

- Paa- hi - - Mu- ran- - - - ta- - - kaN R- rg | rsS ; S ,n || R ; ; | G P pmR ||

Pan- ka-- ja -- Lo -- cha- na

G ; nd | dpP ; ; pm || gm Pdp md| pmG GR ||

- Paa- hi - - Mu- ran- - - - - - ta- - - kaN R- rg | rsS ; S ,n || R ; ; | G D pmR ||

Pan- ka-- ja -- Lo -- cha- na

G ; sn | dpP ; ; pm || gm pdnd| pmg- d pmgr ||

- Paa- hi - - Mu- ran- - - - - ta- - - ka- --- -

snsr rg | rsS ; S ,n || R R ; | G R N R ||

Pan- ka-- jaa- la ya Ji - vagdpm G | ; rsN ; sn || R ; ; | ; ; ; pm ||

Na- - - - tha - Vi- bho- - - - - Vi-

R , S , | ; ; ; ; ||

bho ! - - - - -

; ; - rg | rsS ; S ,n || R ; ; | G D pmR ||

Pan- ka-- ja -- Lo -- cha- na

gmpd sn | dpP ; ; pm || gm pdnd| pmg- d pmgr ||

- Paa- hi - - Mu- ran- - - - - ta- - - ka- --- -

snsr rg | rsS ; S ,n || R R ; | G R N R ||

Pan- ka-- jaa- la ya Ji - vagdpm G | ; rsN ; sn || R ; ; | ; ; ; pm ||

Na- - - - tha - Vi- bho- - - - - ViR , S , | ; ; ; ; ||

bho ! - - - - -

Anupallavi:

Shankara Vidhivala Shasana Nutha Guna

Shankuru Sathatham Me Saarasa Nabha Shoure!

; ; sn | dpP P, m || D , N , | S ; S ; ||

Shan- ka-- ra-- Vi dhi va la

mpdn- sn| dpP P, m || D , N , | S ; S ; ||

Shanka-- ra-- Vi dhi va la

; ; S | S ; S ; || nr ssnd | sn P D N ||

Sha sa- na- Nu-tha--- Gu-- na –

; ; sn | dpP d M, || D dnrd | ; S , S , ||

Shan- ka-- ra-- Vi dhi va la

; ; Srg | S ; S ; || nr ssnd | sn M dnrs ||

Sha sa- na- Nu-tha--- Gu-- na –

snN- sn | dpP d M, || D dnrd | ; S , S , ||

Shan ka-- ra-- Vi dhi va la

; ; S | S ; S ; || nr ssnd | sn P D N ||

Sha sa- na- Nu-tha--- Gu-- na –

; ; nr | sS , S ,n || D d N , | dpP P, m ||

Shan- ku- ru - Sa- tha- tham- Me--

G S ; | sndn dpP || G D pd | pmG G ; ||

Saa- ra - - sa- - Na- bha- Shou- re!

; R -D | G rg rsS || nrs snd | D P P, m ||

Shan- ku- ru - Sa- tha- tham- Me--

gmpd ns | rgr – s ndpm || gmpd- nd | pmg- d pmgr || snsr

Saa- ra - - sa- - ----- Na- - bha- - - - Shou- --- re!—

Charanam:

Sundara Tara Rupa Nandita Bhira Naari

Vrinda Mukha Saraseeruha Madhupa

Brindaavanaantha Krutha Vividha Sukha Vihaara

Kundani Bharatha Govinda Nanda Nandana

; ; rg | rs S S ; || R , R, | G ; G ; ||

Sun da- - ra- Ta ra Ru - pa

; ; gd | p P , P , m || G D pd | pmG G ; ||

Nan-di- ta -- Bhi ra -- Naa- - ri –

; R- rg | rs S ; S || S , S n | G R G ; ||

- - Vrin da-- Mu kha Sa- ra - see

G d Pm | PG gPm || pmpDp | ; ; ; ; ||

ru- ha- Ma- dhu- pa - - - - - - - -

; ; sn | dp P ; pm || D , N , | ; S S ; ||

-- Brin- daa-- - va- naantha Kru tha

; ; ss | S ; ; S || nrs snd | N M D N ||

Vivi dha - Su kha Vi-- haa - ra –

; ; sn | dp P ; pm || D , N , | ; S S ; ||

-- Brin- daa-- - va- naantha Kru tha

; ; ss | S ; ; S || nrs snd | N M dnrs ||

Vivi dha - Su kha Vi-- haa - ra –

N D- sn | dp P ; dm || D , dnr | D- S S ; ||

-- Brin- daa-- - va- naantha - Kru tha

; ; rr | rsS ; ; S || nrs snd | N M d N , ||

Vivi dha - Su kha Vi-- haa - ra –

; ; nr | sS , S ,n || D d N , | dpP P, m ||

Kun- da- ni - Bhara- tha-- Go—

G S ; | sndn dpP || G D pd | pmG G ; ||

vin--- da -- Nan- da- Nan- da --- na-

; R D | G rg rsS || nrs snd | D P P, m ||

-- Kun- da- ni - Bha-ra- tha-- Go—

gmpd ns | rgr – s nd pm || gmpd- nd | pmg- d pmgr || snsr

vin--- -- da - Nan-- da- Nan- - - da -- na - - - - - - -

=============================================

2019-07-15T23:31:00.000-07:00

EkAmrESa nAyikE - Shri Kuldeep M Pai

Composer - Muthuswamy Dikshitar, Carnatic Trinity
Raga - Karnataka Shuddha Saveri
Parent Raga - Mayamalavagowla
Arohana - S R1 M1 P D1 S
Avarohana - S D1 P M1 R1 S
Tala - Adi
Anga - 1-0-0
Jathi - Chaturashra
Language - Sanskrit
Subject - Kamaskhi, Paravti, Shiva's Consort
Singer - Kuldeep M Pai

Sahitya / Lyrics - [Source; http://www.sangeetasudha.org]

EkAmrESa nAyikE - Suddha sAvEri - Adi

P	EkAmrESA nAyikE SivE Sri kAmAkshi pAhi [*pAhi] mAm \|\|	Oh Sri Kamakshi the consort of Siva the lord Ekamresa, please protect me.
AP	EkAmrESa gruhEswari Sankari SAtOdari sadbhakta vaSankari \|\|	Oh Sankari the queen of Ekamresa with slender waist, you are the captive of true devotees.
C	kAmajanaka dahana mOhita purNa phalE kAmakalE vimalE karakamalE pAmara jana pAlini guruguha janani Suddha sAvEree nuta nandini \|\| Amends	You fulfilled the wishes of Maha Vishnu the father of Manmadha. You are adept in the art of love. You hold lotus flower. You are unblemished. You are the protector of innocent folks. You are mother of Guru Guha. You are Nandini worshipped in Suddha Saveri ragam.

2019-07-15T23:30:00.004-07:00

Meru Samana Dheera - Nagarathna Sadashiva

Composer - Tyagaraja
Raga - Mayamalavagowla (15th Mela)
Arohana - S R G M P D N S
Avarohana - S N D P M G R S
Tala - Anga - Jathi - Adi, 1-0-0, Chaturashra, (2 kalai)

P - Meru Samana Dheera Varada Raghuveera Juthaamu Rara Maha (meru-)

A - Saarasaara Oyaarapu Nadalanu Neeradha Kaanthini Nitivini Maha (meru-)

C - Alakala Muddhunu Thilakapu Theerunu

Thalluku Jekkulache Dhanaru Nemmomuna

Galamuna Shobillu Kanaka Bhushanamula

Dalitha Durmaanava Tyagarajaarchita

Meaning: (TK Govinda Rao’s book)

Raghuvira! Firm and inviolable like (“samana”) the Mount Maha Meru! Bestower of boons (“Varada”)! Pray come (“raara”)!

Let us feast our eyes (“juthaamu” or “nitivini”) on your emerald (“neeradha”) hue (“kaanthini”), your majestic (“saarasaara”) and stately(“oyaarapu”) gait (“nadalanu”).

Your lovely tresses (“alakala muddhunu”), sporting ever the beautiful Kasturi Tilaka (“thilakapu theerunu”) on your forehead, your blossoming cheeks (“dhanaru nemmomuna”), effulgent countenance (“galamuna shobillu”) and the dangling gold (“kanaka”) necklaces (“bhushanamula”) adorning your bosom. Destroyer of the wicked (“dalitha durmaanava”)! Give us the privilege, the blessing, the rare good fortune of watching this grand spectacle (“tyagarajaarchita”).

2017-05-16T03:07:00.002-07:00

Lathangi, Dr BMK's [perhaps last recorded rendition]

Dr. Mangalampalli Balamurali krishna ji's Last Rendering of Lathangi - 2016
What a loss!!
Legacy remains., the most heard Carnatic musician remains in music lovers hearts for ever.

Obituary - Dr. Mangalampalli Balamuralikrishna ji [garu] no more

2016-12-03T03:32:00.001-08:00

Balamuralikrishna ji is no more.

Aum Shanti

Sad and shocking news from the Indian Classical Music world, [Carnatic Music]. Dr. Mangalampalli

Sharing a video from #DhruvArts #LIAF

https://www.youtube.com/watch?v=z4XQDo_n_O4

Sorry to hear that the legend passed away today, nothing can replace the huge void.
BMK Ji will be missed for may things, mainly for his legendary carnatic music knowledge and mastery, adapatable on and off-stage personality, his tricky and equally beautiful compositions, unrelenting sense of humour,.

Your innumerable unorthodox compositions and tuning will never leave this mortal world - Mahathi, a string of Tillanas, Lavangi, Ganapathi Raga, Ashatapadees, Annamayya kritees, Ramadas Kritees - and million others!

Aum Shanthi, let your soul attain Moksha BMK saar.

On a slightly melancholic and different tune and note, I will never forgive those [Indian authorities, sat pretty in their undeserving poistions] who snatched His deserving Bharata Ratna, by never awarding it.. Shame on those guys.
Unbearable loss!!

'Na bhuto na bhavishyati' (roughly translated as never before, never again)
BMK ji was a real rarity and an unparalleled one-off, an unorthodox gem, a musician like no other.

True legend, Bharat Ratna deserves him.

Dr. BMK with the golden voice, and the golden heart, dedicated all his life to singing, composing and spreading nada.

His quality of composition, and complete authority on diction was unparalleled. He was a contemporary composer with total control over language and pronunciation.
...

He was a highly adaptable, agile, humorous, humble yet powerful, and a collaborative musician.
His colourful Tillanas, unique compositions and unending zeal for innovation is hard to be all seen in one musician.
True legend, Bharat Ratna deserves Dr. BMK ji.

2016-09-08T11:27:00.002-07:00

Description - Bhaja Govindam; Composer - Adi Shankara
Raga Malika; Adi Tala

Bhaja Govindam also known as Moha Mudgara is a popular 8th century Hindu devotional composition in Sanskrit attributed to Adi Shankara. This work of Adi Shankara underscores the view that devotion to God, Govinda, is a vastly important part of general spirituality, as emphasised by Bhakti Yoga and the Bhakti movement. This work is generally considered a summary of Adi Shankara's Advaita Vedanta philosophy. [reproduced from Wikipedia]

Kriti - Vandanamu - Tyagaraja Swamy

2012-10-12T04:35:00.001-07:00

Description - Kriti, Vandanamu Raghu Nandana
Notation and style: Rathna Srikantiah
Composer - Tyagaraja Swami
Raga - Shahana
Parent Raga - Hari Kambhoji
Arohana - S R2 G2 M1 P M1 D2 N1 S
Avarohana - S N1 D2 P M1 G2 M1 R2 G2 R2 S
Tala - Adi or Chaturashra Triputa Tala, [1-0-0], 8 Beats

Swarajati [Carnatic classical] - Introduction

2012-10-01T11:00:00.005-07:00

Swarajati is a form in Carnatic music, which is helpful in appreciating the concepts of the structure of Kritis and Keertanas and is usually taught before the varnas. Swarajati has pallavi, sometimes an anupallavi, and at least one charana. Swarajatis have both sahitya and the swaras, in contrast to Jatiswaras that have no sahitya or the song part.

Geeta [Carnatic classical] - Introduction

2012-10-01T08:52:00.000-07:00

Geeta, the simplest music form in Carnatic music, was created by Purandara Dasa in order to introduce talas with sahitya (lyrics).

Though Geetas have no absolutely defined divisions of pallavi, anupallavi or charanas, they may be observed in some cases. Some Geetas contain sections rather than the defined divisions (pallavi etc.). They often have no sangatis or variations, with each swara taking one syllable of the sahitya. The Geeta is sung without repetition from beginning to end. However most Geetas are concluded by repeating a portion of the opening part. Geetas are set in medium tempo and contain no Sangatis or variations and the flow of the music is natural. The theme of the Sahitya (lyrics) is to praise God.

There are three types of Geetas: Sanchari or Samanya Geetas, Lakshana Geetas, and Suladi Geetas. Samanya Geetas are the simple ordinary Geetas and are called by other names such as Sadharana Geeta or Sanchari Geeta. In Lakshana Geetas, the sahitya (lyrics), instead of praising God, enumerates in so many words, the Lakshana of the Raga, in which it is composed-giving amongst other details, its Vakra Swaras, Graha, Nyasa, Amsa Swaras and lastly its parent Raga (Melakarta raga).

Carnatic music, an introduction

2012-10-01T08:02:00.001-07:00

Carnatic music evolved from ancient Hindu traditions and represents the classical music style from southern India. In contrast to northern styles, Karnatak music is more thoroughly oriented to the voice. Even when instruments are used alone or as solo instruments, they are played somewhat in imitation of singing, generally within a vocal range, and with embellishments that are characteristic of vocal music. There are no exclusively no instrumental compositions. Raga assumes or inherits the basic frame and personality from the more popular ‘kritis’ that they represent. A carnatic-insider will understand if it is said, that raga Saramati inherits its attributes and melodic flavour from the Kriti [composed song] Mokshamu galada.
The basic principles of raga (melody type, or framework for improvisation) and tala (cyclical rhythmic pattern) merits a separate introduction , and is mastered through a comprehensive repertoire of ragas and talas. Karnatak music, with its more homogeneous Indian tradition, has evolved far more orderly with uniformly understood and practised systems for the classification of ragas and talas. Although improvisation plays a major role in Karnatak music, the repertory also consists of a vast number of composed pieces, particularly the kriti or kirtana, complex devotional songs by composers from the 16th through the 20th centuries, particularly the “trinity” of great composers of the early 19th century: Tyagaraja, Muthuswami Dikshitar, and Syama Sastri. Modern and contemporary composers are continuing to influence the ‘shape of things’ too.
To many listeners, the music of the south has a restrained and intellectual character as compared with the music of the more secular Hindustani traditions. The chief centres for present-day Karnatak music include Tamil Nadu, Karnataka, Andhra Pradesh, and Kerala states. One may call Chennai as the capital of this form of music.
Since the late 12th and early 13th centuries, as a result of the Islamic conquest that was more impactful in the north of the sub-continent, another sub-genre of ICM, the Hindustani music was born

Indian Music had its origin in the "Vedas" (4000 B.C - 1000 B.C ). Four in number, the Vedas are considered the most sacred texts which contain about a thousand hymns. All the four Vedas were passed down by oral tradition and it is remarkable that both the text and the rituals remain unchanged to this day. The 4th and the newest, Sama veda laid the foundation for Indian Music. The origin of Indian classical music can be traced back to this Veda.

London International Arts Festival, 2012

2012-08-30T04:39:00.001-07:00

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Wow! what a success August's London International Arts Festival [LIAF] was! A product of 18 months of creative manoeuvre by festival curator Jyotsna Srikanth helped LIAF establish as the youngest and the most eclectic arts festival of London. Drawing audiences from Dundee to East of Essex and filling a 674 capacity venue was a big achievement. Below are festival picture-collages and highlights, www.LIAF.co.uk and www.DhruvArts.org have more.

Friday, 10th August

Above, LIAF Inauguration by Redbridge Mayor Muhammad Javed and Indian singing legend Dr. M Balamuralikrishna, as festival curator and violinist Jyotsna Srikanth looks on. Read full report here.

Saturday, 11th August

A day of big crowds. Dr. M Balamuralikrishna commanded total attention of the houseful audience and festival curator and violin virtuoso Jyotsna Srikanth delivered an awe-inspiring indo-jazz carnatic fusion concert among other acts.

Community Workshops

Community workshops were all quite interactive and well attended from across many communities.

Sunday, 12th August

Six diverse acts with three dances culminating in a big celebration with unrehearsed dance acts off-the-stage that had even Redbridge Mayor dancing was a brilliant closing remark for the eclectic festival.

Thanks to

Arts Council, England, BBC London, B4U, Barclays, Bhavan Centre, Antehc Productions, Cultural Cooperation, Cllr Jeyaranjan, Darbar Arts, Deepam TV, DJ Ritu, Feelgood Images, Guru Soundz, HerreandNow365, ICCR, Kannada Balaga, Kannadigaru UK, India Mirchi, Indybrown TV & Ashanti, NDTV, Nehru Centre, Ojas, Pickly Pear, Redbridge Arts Grants, Redbridge CVS, Redbridge Mayor, Reverbnation, Satyam, Sivasakti Sivanesan, Sonic bids, Sruthys Media, TAL, UK, UKTA, Volunteers, Western Jewellers, World Music Network, World Tamil Organisation

Thanks also to

Everyone who came, supported, volunteered and participated in the first ever London International Arts Festival, a big thank you. We had a glorious 3 days of festival displaying excellent artists in East London’s first diversity arts festival. 14 acts, 3 venues, 30+ artistes and an unforgettable arts showcase. Visit www.LIAF.co.uk for more pictures and highlights.

Subscribe to our newsletter by visitingLIAF or Dhruv Arts webpages.

Festival pictures:

Photo credits: Chris Christoforou, Kiran, LIAF Team

Upcoming Events

Music Exams: November - 2012 Carnatic music graded examinations.

Carnatic Concerts:

December, 2012

LIAF 2013: Please register your interest by sending your submissions to info@liaf.co.uk

Feedback

'I would like to thank you for a most wonderful concert. I was made most welcome and everybody was so kind and helpful. The performers were
masters at their art and it was a thrill to see and hear such skillful
works which glowed with the heart of each performer' Gloria Alexander, Audience

'Just to say a huge well done to you and everyone who worked so hard with you on LIAF – I was really impressed!'

Jane Leighton

Arts Development Officer, Vision Redbridge Culture and Leisure

'My congratulations to all for having put together a show of such dimensions and a special congratulations to Jyotsna too for her very nice concert despite all the pressure. Its now also our duty to spread the good word around and everything else will follow '

Prakash Sontakke, LIAF, 2012 Artist.

Contact us

info@DhruvArts.org

www.DhruvArts.org
Call 0207 55 888 68

Text 07984 170 750

Dhruv's photo gallery

Rough Guide to LIAF 2012

LIAF 2012 has had excellent previews and reviews in a diverse range of media. Here’s one of our favourites by World Music Network, click here to read their preview of LIAF 2012, featured on their prestigious Rough Guides section.

Please register your interest to receive our newsletter throughDhruv Arts and LIAF webpages.

Vishaka Hari London, May 12 and 13th

2012-04-21T02:12:00.000-07:00

Melakarta Chart - Carnatic Raga Schemes

2011-11-08T10:48:00.000-08:00

Carnatic Music Main Complete Raga Scheme / Chart

Rama Chandraya Janaka

2011-08-23T02:38:00.000-07:00

Description - Mangala Keertana
Composer - Shree Bhadrachala Ramadass [Ramadasu]
Raga - Navroj
Parent Raga [Dheera Shankarabharan] - Arohana - P D N S R G M P
Avarohana - P M G R S N D P
Tala - Eka Jathi - Thrishra

Rama chandraya janaka raja ja manoharaya

mamaka bheeshTa daya mahita mangalam

Kosalendraya manda hasa dasa posha Naya

vasavadi vinuta sad varada mangalam

Charu kumkumo peta chandanadi charchitaya

Haraka Sobhitaya bhoori mangalam

Lalita ratna kundalaya tulasee vana malikaya

jalaja sadruSa dehaya charu mangalam

Devakee putraya deva devottamaya chava jata

guru varaya bhavya mangalam

Pundaree kakshaya poorNa chandrananaya

anda jata vahanaya atula mangalam

Vimala roopaya vividha vedanta vedyaya

sujana chitta kamitaya subhaga mangalam

Rama dasa mrudula hrudaya tamarasa nivasaya

swami bhadra girivaraya sarva mangalam

Niravadi Sukhada - Ravichandrika

2011-06-26T04:50:00.000-07:00

Description - Composer - Raga - Parent Raga [if applicable] - Arohana - Avarohana - Tala - Anga - Jathi -

Bhajan - Shri Ganesha Sharanam, Composer: Shree Papanasam Shivan

2011-06-26T04:14:00.000-07:00

Bhajan - Shri Ganesha Sharanam

Ragam: Thilang Aro: S G₂ M₁ P N₂ Ṡ

Thalam: Adi Ava: Ṡ N₁ P M₁ G₂ S

Pallavi

1. | , , , S , G M , P , , , , N N , | Ṡ , , , , , N Ṡ | N P, , M , G , ||

2. | , , , S , G M , P N M P , N N , | Ṡ , , , , , N Ṡ | N P N P M , G , ||

| P N Ṡ N , , P , N M P , , G M , | G , , , , , G , P M | G S , , G M P , ||

| , , N P , N P , G M , P , , , , N Ṡ , | N Ṡ Ġ Ṁ Ġ Ṡ Ṡ , | P N Ṡ N P G M , ||

| P N Ṡ N , , P , N M P N P G M , | G , , , , , G M | P M N P Ṡ N P M || G S

Anupallavi

1. | , , P , , M G M P , N , N , N , | , , , N , Ṡ N , | Ṡ , , , Ṡ , , , ||

2. | , , N P , N P , M G M P N M P N N , N , | , , , N , Ṡ N , | N Ṡ Ġ N Ṡ , Ṡ , ||

| , , , N , N N , Ṡ , N , Ṡ , , , | N P , , Ṡ N Ġ Ṡ | N P , , P M G S || G M

Charanam

| , , , P , P P , , , P , , G , , | M , P , , , P , | G M N P M , G , ||

| , , , M , M M , G P M P G M S , | , , Ṇ S , G M , | P , M G M ,P , ||

| , , N P , G M P N , N , , , N , | , , Ṡ , N , , , | N , Ṡ , N , Ṡ , ||

| , , N Ṡ , N Ṡ , P , N P M , , , | , , G M , P N , | Ṡ N P M P M G S || G M

Endaro Mahanu Bhavulu

2011-06-22T11:11:00.000-07:00

Description - Shri Tyagaraja pancharathna kriti

Raga - Shree
Parent Raga Kharahara Priya - Arohana - SRMPNS Avarohana - SNPMRS, SNPMRGRS
Tala - Aadi, Anga - 1-0-0, Jathi - Chaturashra

Endaro mahaanubhavulu: There are many great men

Andariki: To all Vandanamulu: salutatations

Pallavi

P1) ; ; S R Rgr S ; | ; sn sn P P s n S ; ||

En da ro ma haa - - nu bha - - vu

2P) rSn * S R Rgr S; | ; sn r s np P sn S ; ||

lu - - *En da ro ma haa - - nu bha - - vu

P3) rrsn * S R pm R R gr S | ; sn r s np P sn S ; ||

lu - - * En da ro ma haa - - nu bha - - vu

P3a) rrsn * S S R m r r m P | ; pmpm R R G g r rs ||

lu - - * An da ri - - ki - - Van - - da na - mu - -

P4) rrsn * S R pm R R gr S | ; sn r s np P sn S ; ||

lu - - * En da ro ma haa - - nu bha - - vu

P4a) nSn * S S R m r r m P- | pmpn pnpm m p m r r g rs ||

lu - - * An da ri - - ki - - Van - - - da na - -- mu - -

P5) rSn * S R pm R R gr S | ; sn r s np P sn S ; ||

lu - - * En da ro ma haa - - nu bha - - vu

P5a) nSn * snS R m r r m p - m | pn – pn s- nsr Srs Nsn PnpMpm||

lu - - * An da ri - - ki - - - - - Van - - - da-- na - -- mu - -

P6) Rgr sn * S R snpm R R gr S | ; sn r s np P sn S ; ||

lu -- * En da ro ma haa - - nu bha - - vu

P6a) rrsn * snS R m r r m p - m | pn – pn s- nsr Srs Nsn PnpMpm||

lu - - * An da ri - - ki - - - - - Van - - - da-- na - -- mu - -

PE) Rgr sn * S S snpm r R gr S | ; sn r s np P ns R ; ||

* En da ro ma haa - - nu bha - - vu

grsn S ; ; ; ; ; ; ; ;

Anupallavi :

Chanduru Varnuni Antha Chandamunu Hrudayaaravindamuna Juchi

Brahmanandamanu Bhavimchu Vaaru

1. ; ; P M P ; R mr | rm P M ; P ; ; ; ||

Chandu ru Var-- nu - - ni - - - -

2. nnpm * P M P ; R mr | rm P M ; P ; ; ; ||

Chandu ru Var-- nu - - ni - - - -

3. snpm * P M P ; R mr | rm P M; PN PS ||

Chandu ru Var-- nu - - ni - - an - tha - -

4. nnpm * P M R G grrs | R mr rm P M; P ; ||

Chandu ru Var-- nu - - ni - - an - tha - -

; R R Rgr S , | , s n s n P P s n S ; ||

ra vin da mu - - na - -- - ju - - chi- Brah-ma -

; R R Rgr S , | , s n rs np P s n S ; ||

ra vin da mu - - na - -- - ju - - chi- Brah-ma -

rSn* R S S rs N Nsn P | Pnp M Mpm R n n p m rg rs || rS n

nanda ma - - nu - - - Bha -- Vim -- chu - - -Va --- ru –

P6a + PE

Charanas :

1. S ; ; ; ; S sn n – s | n n – sn P ; ; P mpns ||

Sa ma ga - - - - - - na lo la manasija

R ; ; ; ; ; g r r – g | r r – gr r- g r r S ; ; g r || r S n

La van- - - - ya Dhan- - - - ya Mur dhan - - nyul-

[Charanam-2: Are great men. These men have been able to control the monkey like senses and think of lord Rama clearly]

R g - r r g - rr sn – S S – rs | s r s- N n G , g r - s r g R || , r s n

Manasa vanachara Vara Sanchaa ramu Nilipi mu-rthi Bhaa guga Podagane Vaa-ru

[Charanam-3: These are the great men who place the andhakarna like lotus flower at the feet of Sri Rama without any hesitation.]

3. p p mr R – pp mr – P , - p m r | n P – n pm – mp , - pmr r G – g || r r s n

Saraguna Paa damu laku Swaan thamunu Saro jamunu Samar panamu Se- yu va—ru

[Charanam-4: These are the great men who sing the praise of the great lord who uplifts and purifies the poorest of the poor with devotion. These are the men who know the oneness of swara , raga and laya through constant discussions.]

4. s s n P - r s n P – g r , sn p | m P p n s R , g r s - r m P ||

Pathitha Paa vanuda ne Paraath paruni Gurimchi Paramaa rthamagu Nijamaar

p n S n P - m r m - p n P s n | P – r s n P – g R s n p m -rg || rr s n

gamutho nu Paa du chunu Sal- la pamu tho Swara layaa di raa gamula Theliyu vaar

[Charanam-5: These are the great men who protect the world through their kind light. These are the followers who represent the collection of gem like divinely qualities which radiates with wisdom, friendship and kindness.]

5. pm mp r r g r ns rg r r s n | p n s r , r R r - g r s r m P ||

Hariguna Manimaya saramulu galamuna Sho—bil lu Bhakthako-tu I la lo

p n s r , - r m p N – mp n - S r | g r R g r – r s , s n p - p m r – g || r - r s n

Chelivitho Chelimi tho Karu na Galgi Jagamel lanu Sudhaa Dru-sti che- Bro - chuvaar

[Charanam-6: These are the great men who appreciate the majestic bravery walk of Shri Rama whose darshan is always in their eyes. They are filled with joy on his darshan. They are renowned for having drowned in the ocean of paramananda/ eternal happiness.]

6. pn s – p , n – mp n – R m p n p m | r R – g r s N , - g r s n – pn s ||

Hoyalu Mee- ra Nata nu Galgu Sarasuni sadaa Ka nula Ju chuchunu Pulagasa

R , - m rm P - , n m p n S r | g R – s n p – s n , p m r- p m p – r || g r s n

Ree ru lai-Aa nan-da Payodhi Nima gnulai - Mudam bunanu Yashamu ga lavaar

[Charanam-7: Amongst the great bhaktas of yours, great gains, the moon, the sun, sanakasanandas, dikeeshakas, devas, kimpurushas, prahalada, Narada, Thumburu, Anjaneya, Siva, Sukha, Maharishi, Brahma, Great Brahmins, great Saints, Famous men, immortal men are all enjoying eternal bliss.]

7. rm p n , - m p n R , m – p n pm | r R – g r s n p m p n n S ; ||

Parama Bhaagavatha Mouni Vara Sashi Vibhaakara Sanaka Sanandanaa

n P – n s r R , g r s r m p n | p n m p r g r s r m p m P ; ||

Dikeesha Sura Kimpurusha Kanaka Ka shipusutha Naaradha Thumbu ru

n p n – m , p R m P n m p n s | r R – g r s n p m p n n S ; ||

Pavana Sunu Baala Chandra Dharasukha Saro ja Bhava Bhusuravarulu

r g r – r , - g r s n s r – s , s n p | m p r m r p m n p S n p m – r g || r – r s n

parama Paavanulu Ghanulu Sasvathulu Kamalabhavasukhamu Sadaanubhavulu Gaaka

[Charanam-8: These are the great men who knowing your greatness & happily sing your praises and derive great pleasure. The gem of Raghukula, your devotees have been fascinated by your divinely form, the greatness of your divine namas, your peaceful mind, your bravery, your generosity, your quality of practising what is preached and the quality which you have proved the greatness of true bhakthi. You have also made it amply clear that religion devoid of bhakti is meaningless.]

8. P ; ; rm p – R m rm P | m P – r g r – R , g r s n - p - n s ||

Nee me - nu Naama Vai-- bhavambulanu Nee paraa kra ma Dhai

p n s – p , p R g r s – p , p m r | m p n - r , m p n s r m p N – pn ||

ryamula Shaantha Maanasamu Neevulanu Vachana Sa thyamulu Raghuvara Neeyada

s n S n s r – r , - r g r R – gr | r g r- r , r – sr s – ns n p n s r ||

Sadbhak thiyu Janim Chaganu Durmatha mulanu Galga Je- si Natti Neemathi

g R – r S – s n , n p m r m p n | S , n P , m R , g - r s n s || r – r s n

Nerin gi San thatham bunanu Guna Bhaja naa nan da Keerthanamu See yu vaar

[Charanam-9: These are the great men who have derived boundless happiness by gathering the ocean of knowledge contained in Bhagvatam, Ramayana, Geeta, Vedas, Shastras by pondering over the secrets of the six religions orders under the class Sauram and Koumaram, by understanding the mind of the countless devas, by living a full life through the joy derived from music based on bhava, raga and laya.]

9. R ; ; - p n s R – n s r g r | R , - s , s n p m p n s R – p n ||

Bhaa - gava tha raamaayana geethaa di Sruthi Shaastrapu ra napu

P – r s R – gr , s n s rm pn | P - pm R – P pm R n p P ||

Marmamula Sivaadi Shan mathamula Gudamulan Mupadi Mu kko

sn P r R – s n p - P P – g r | r - g r – r , r R – g r r – g r R r ||

disuran Tharangamula Bhaavam bula Nerugi Bhaa va Raa ga Layaa- di Sowkya

s S - p P r r , g r s n p n s | r – S s S P p P - r , r R || g r s n

muche Chirayuvul Kaligi Niravadhi Sukaathmulai Thiagaraa japthulai navaar

[Charanam-10: The people who through bhakti which crystallizes due to concentrated meditation, think of your name become true devotees of Sri Rama who is worshipped by his devotee Thyagaraja.]

; ; P M P ; r m P | mp np pm R R G g r r s ||

Pre ma mu pi – ri ko --- nu - - Ve- la - - -

n s r m pm pm r g r s n S n | R m r r m p m p m p n P ; ||

na- ma – mu - - nu - - Da la- che - - - vaa- --- ru

; ; R R Rgr S n s Rgr | S s n r s n p P s n S ; ||

ra ma Bha - kthu - -- - - Dai- - - na- Thia-- ga-

; ; R S S rs N Nsn P | Pnp M Mpm R n n p m rg rs || nS n

raaja nu - - thu - - ni - - - ki -- ni – ja - da—su lai-na

Eru mayil - Raga Madhyamavathi

2011-05-13T14:03:00.000-07:00

Description - yeru Mayil yeri vilayadum
Composer - arunagiri nadhar
Raga - Madhyamavathi, janya rāgam of Kharaharapriya, the 22nd Melakarta rāgam
ārohaṇa : S R2 M1 P N2 S avarohaṇa : S N2 P M1 R2 S

Image taken from Wikipedia

Tala - Chatursahra jathi Eka tala, khanda nade

ERu mayil ERi viLaiyaadu mukam ondrE
eesarudan nyaana mOzhi pEsu mukam ondrE
kooRum adiyaargaL vinai theerkku mukam ondrE
kundruruva vElvaangi nindra mukam ondrE

maaRupadu soorarai vadhaithhta mukam ondrE
vaLLiyai maNam puNara vandha mukam ondrE
aaRumugam aanaporuL nee aruLal vENdum
aadhi aruNaachalam amarndha perumaaLE X 3

Mohana Varna

2011-02-06T02:57:00.000-08:00

Description - Varna

Composer - Ramnad Srinivasa Iyengar

Raga - Mohana, Parent Raga @8th HArikambhoji

Arohana - SRGPDS Avarohana - SDPGRS

Tala - Adi, Anga - 1-0-0, Jathi - Chaturashra

Indian Classical Music, Carnatic music learning platform

Sangathi / sangati

Sangathi / sangati

Poorvanga, Uttaranga, Musicology

Poorvanga, Uttaranga

Sthayi, Indian Music Terminologies

Sthayi

Marulu madi kondeyalle, Kannada, Purandara Dasa, Neelambari

Marulu madi kondeyalle

Composition; MaruluComposer - Purandara DasaRaga - Parent Raga [if applicable] - Arohana - Avarohana - Neelambari? ShankarabharanaTala - Anga - Jathi - AdiOccasion - VARALAKSHMI POOJA

Pankaja Lochana

EkAmrESa nAyikE - Suddha sAvEri - Adi

Obituary - Dr. Mangalampalli Balamuralikrishna ji [garu] no more

Kriti - Vandanamu - Tyagaraja Swamy

Swarajati [Carnatic classical] - Introduction

Geeta [Carnatic classical] - Introduction

Carnatic music, an introduction

London International Arts Festival, 2012

Vishaka Hari London, May 12 and 13th

Melakarta Chart - Carnatic Raga Schemes

Rama Chandraya Janaka

Niravadi Sukhada - Ravichandrika

Bhajan - Shri Ganesha Sharanam, Composer: Shree Papanasam Shivan

Endaro Mahanu Bhavulu

Eru mayil - Raga Madhyamavathi

Mohana Varna

Composition; Marulu
Composer - Purandara Dasa
Raga - Parent Raga [if applicable] - Arohana - Avarohana - Neelambari? Shankarabharana
Tala - Anga - Jathi - Adi
Occasion - VARALAKSHMI POOJA