Thank you DRS. Heavy and tough composition and excellent rendition. For me this was like listening to the main item in a concert.
Sriram. I will post comments on your suLAdi rendering later. But you have certainly not disappointed me!. Much to the contrary. The best thing is you got over your hesitation and posted your rendering. That is the most important quality of any serious learner- Giving up inhibitions! Well done.
Thank you. Awaiting your comments.
Iwas loath to post a new kRti when the rAmAYaNa discussion was incomplete. But as you wanted to learn it by gurupUrNime, I posted it.
Thank you very very much. Kindly post the meaning as well. I am guessing this is in sankEti.
gurukRpa- guru's grace/compassion; illAde-without; guri- goal;
SErakku^ AhandA- Is it possible for one to reach?;
gurutara- lofty/complex; vidyu-science/study;
kaivaSu AhandA- Will it come within one's hand's reach.
pheripherI- great and complicated; vicAru- details/information;
teriyarhuDi- in such a manner as to be easily understood; colli- telling;
paripUrNa- complete; manasaNNu-from one's heart/fully willing;
kalpiyara- teaching; nallI- good.
hariye tAnAnAlu- even on being Lord viShNu Himself;
hara dhanu- Siva's bow; moriyakku- to break;
guruvinde anugrahu- guru's grace/blessing;
vONumAcu^ aNDO- was needed, was it not?;
gurukRpa- guru's grace; onDira- that alone being present;
SrIkAntanU- SrIkANta; sakhu-friend;
guru padakamalamE- guru's lotus feet;
parama pUjyu^ aNDO- most venerable, is it not?; sat- good.
While Rama is still waiting to be crowned it was so nice of you to oblige MNS (and us) with an appropriate kriti for the gurupournima. It is again auspicious to have the kriti sung by your guru to whom you recently presented the precious guru dakShiNa by awarding the proud title of pitAmahI!
This time you have chosen the favourite raga of Thyagaraja (his own contribution) which flows so smooth like honey. First thanks to Padmini Amma for the elaborate aalaapana that embellishes the rendering. The composition is very simple and elegant and arthagarbhita.
The line hariye tAnAnAlu hara dhanu moriyakku |
guruvindanugrahu vONumAcaNDO |
ties in nicely with our Ramayana theme. Though vashiShTa was the raja guru, vishvAmitra was the actual guru for rama and lakShmana. The suggestion that Rama was able break shiva's bow only through gurukripa is a fine poetic imagination. (Remember we discussed how sita was praying to gowri (Tulsi ramAyaNa)to give Rama the shakti to bend the bow...). While I concluded 'guru khalu shivam pratyakShaM' you identified guru with the 'shakti' which provokes me to rewrite AcArya as 'guru prasAda yuktO yadi bhavati shaktaH prabhavitum
na cEt Evam rAmO na khalu kushalaH spanditumapi|'
Musically the two kaLai rendering goes so nicely with the theme and the raga blends melodiously with the easy pace. Pl highlight any subtle points that I may have missed.
I have difficulty getting the purport behind 'gurukRpa onDira SrIkAntanU sakhu | ' (are you exclaiming 'O friend! guru's blessing is enough for shrIkanta?'
Incidentally there are quite a few here who consider you to be our cyber guru and are eagerly awaiting your compositions and especially the superb 'lecdems'. Pl don't feel pressured and maintain your pace.
DrS,
A grand composition in a grand rAga! And a grand rendition.
Kharaharapriya is a tough one. I always shy way from it.
Thankyou for listening to my suLadi attempt. We learners are encouraged with your reply. Learning it on violin wasn't easy for me. As I proceeded each one felt tougher than the other. But finally I pulled it off. I polished it further and sent it to my Mom. She called me to say that she was quite surprised that I learnt anything like that.
Thanks again and Welcome back!
Bravo MNS!
very melodious rendering of this majestic sahityam one of the earliest that he presented at this Forum. I am enchanted by your voice and poise. dES is such a beautiful raga and I wish there are more compositions in CM in it rather than handling it in ragamakai as a minor sideline. I am sure DRS will give you subtle pointers but as a Rasika let me just congratulate you.
DRS
It will be very nice if more of your compositions are rendered and I wonder whether they should be done in a separate thread without interrupting the flow of thought in this one devoted to discussions relating to your own. The folks rendering these deserve feedback and appreciation from you as well from us Pl let us know! Thanks.
We do learn from your objective critiquing as you resume the role of 'music critic' once again
I have difficulty getting the purport behind 'gurukRpa onDira SrIkAntanU sakhu | ' (are you exclaiming 'O friend! guru's blessing is enough for shrIkanta?'
"If there be guru's grace on one, SrIkAnta himself is a friend of such a blessed one".
I will leave the various interpretations of "SrIkAnta" to rasikas.
Is it possible to reach one's goal without the grace of ones guru?
Will complex and great sciences and arts ever be within ones reach without this grace?
Without the grace of that guru who teaches in a simple manner full-heartedly, all those big and lofty details, can one reach ones goal?
Even on being Lord viShNu himself, to break the bow of Siva and win sItA's hand, was it not necessary for rAma to have his gurur's grace? If ther be guru's grace, SrIkAnta himself is a friend of such a blessed one. guru's lotus feet is most worthy of worship. Without such a guru's grace, is it even thinkable to reach ones goal! nay, impossible.
kamalAmbikayA kaTakShitOham -- dES -- Adi -- Dr. Srikaanth K Murthy----
I could have done better but this is all I could get today . Any corrections/feedback most welcome.
Very good job Sriram- beautifully rendered. Good pace. The rAgabhAva of dES is amply evident throughout. Some places, you have nt adhered to original notation- nayaghana dESI "SI" should be on N3 while you have halted on ShaDja. "akhaNDa" should be brisker and bring out the meaning of "akhaNDa" by quickly climbing to RShabha in the tAra sthAyi. ANd in karuNArasasAgarayA "garayA' should fall on "G2RS" and not on G3.
Well done. Keep it up.
While I am not sure I understand the technical points that you have mentioned (wish I understood notation/the notes of the rAgAs), I think I know what you are talking about . I will post another attempt later this week.
DRS,
The latest composition was sweet, and I appreciated the fact that your guru rendered it! What a lovely gesture!
I loved the AlApanai...please thank your mother/guru for letting you share this with us.
Ravi
I didn't think I'd manage to learn this composition before guru pourNima but the more I listened to this composition, the more I liked it and it slowly started registering in my mind. After about 20 failed attempts to record this yesterday night, I gave up and couldn't get it right this morning either. I took a slightly longer lunch break from work today and finally managed to record it. There is hesitation at times but with some more practise I can do better.
Please let me know any corrections/suggestions and I will try to post an improvised version later this week.
A great performance of a sanketi kriti by a non sanketi (am I right?). The sahitya enunciation is just excellent and the raga is impeccable. These of course are the comments from a saha rasika though you have to await the subtle points from the Guru svAmi himself!
The only problem I noticed was in fitting the taaLam at the end where the final word 'sat' seemed to cause you trouble. For the 2 kaLai without the notations it is difficult to control kaala pramaaNam without notations and rhythm accompaniment (DRS! incidentally may I put in my usual request for the notations which please oblige at your convenience!).
MNS! You have great potential if you want to turn professional!
Thank you CML. Thanks for your time. My mother tongue is telugu.
After I get comments from DRS, I will post a corrected version later this week. I personally found the composition very rich and this being my first one in kharaharapriya, thoroughly enjoyed it.
congrats MNS. you have rendered the krithi in kharaharapriya excellently. it is really amazingthat u have sung the krithi even without notation, that too within three days! really well done. only in a couple of sangathis u have sung differently. but it is ok. raga is intact . keep it up.
Dear Smt. Padmini gAru, thank you very very much for your time and your comments. After the previous post I practised some more and I think I now can sing the right sangatIs. Will post it this week.
Very very nice. Thanks for posting again. Found this on pages 15-17 of this thread. I think I have missed a few other compositions. Will check and request the missing ones.
Also, any plans of continuing with the rAmAyaNa discussions? Just checking as there has been a really long gap.
Thanks DRS. The last time I was very eager to learn the suLAdi and post it for your comments. With your help I will try to learn it better before this discussion ends.
Sriram
My reason for leaving the thread dormant for this long is two-fold. One is of course I was busy with my life. The second, reason is to give people to catch up by reading what is already written PLUS practise and post recordings of previously discussed kRtis. Its been a good few months since I stopped discussions and much much longer since we started. There cannot be too many excuses now
Only Suji and yourself have come up with some recordings(Now as well as earlier). That is very nice. So we will see if people come up with their recordings. If not, I will tie the loose ends for the time being and leave it there.
drshrikaanth wrote:So we will see if people come up with their recordings. If not, I will tie the loose ends for the time being and leave it there.
cmlover wrote:Incidentally there are quite a few here who consider you to be our cyber guru and are eagerly awaiting your compositions and especially the superb 'lecdems'. Pl don't feel pressured and maintain your pace.
I am not sure about other people but CML has definitely spoken for some of us. We would be grateful if you continue with your educational postings and compositions.
Last edited by mnsriram on 02 Sep 2006, 16:19, edited 1 time in total.
Kiran
Its a give and take. You first post a few recordings of you playing some of my compositions. Sorry to put you on spot but you have been promising ever since the first composition was posted(malahari gIte).
Kiran (and others)
You must put aside your hesitation first to learn something. Im sure 7 months is a long enough time to practise some of the compositons. Just post them now. You can post again after practising. No more excuses from anyone please
drshrikaanth:
Your compositions do reflect the depth of your musical knowledge. Wondered whether you could compose a pUjA song for navarAtrI incorporating the basic ShODaSha upacArAs for rasikas who can't perform the required rite(s) or would liek to do sangItArAdhana in place due to shortage of time. Haven't come across one for dEvI so far(I think vINai kuppaiyyar has one in kamAs). A rAgamAlikA would be nice.
Beutiful! Very well executed. Both yours (ramakriya) and that o MNS should make DRS feel proud as an excellent teacher. When I compared with his original I noticed both of you followed him to the letter with minor deviations in the aalaapana. Unquestionably this is an excellent composition well worth singing during this Puja festive season. I would love to hearing from more from our Rasikas.
Kudos to the teacher as well as the excellent sishyas!
DRS
I am a bit going off on putting adi tala at places where the prolongation takes place. Is it fair to violate the tala during those phases or should one wait for the tala cycle to be completed to resume the singing?
cmlover wrote:I am a bit going off on putting adi tala at places where the prolongation takes place. Is it fair to violate the tala during those phases or should one wait for the tala cycle to be completed to resume the singing?
tALa must be maintained even during akAra or rAga prolongation phrases. It cannot be viloated
Nice work Ramakriya. Looks beautiful in the kannaDa script. Also minimises the chance of mispronunciation as it is phonetic. I think making the full notation bold will be easier on the eyes.
Ramakriya,
Very nice rendition. Thanks for the pdf-ranjani varna.
This varna turned out to be tough on voilin. A few months back I met Mysore Nagaraj and Manjunath and they too said that Ranjani raga is difficult on violin due to M2 and absence of P
Would like to hear some one play on instrument.
ranjani can be challenging to sing vocally as well at times for the same reasons. There will be times when you feel you are singing off-key(Even though it will be Sruti aligned) because pancama is not there to align ones Sruti.
Suji
You are hypertuned! DRS sings at about 1.5 to 2 kaTTai shruti. You should have played much lower though you seem to be accompanying right! Try again if you can!
cmlover wrote:Suji
You are hypertuned! DRS sings at about 1.5 to 2 kaTTai shruti. You should have played much lower though you seem to be accompanying right! Try again if you can!
CML,
I think DRS sings at 1. I used the higher 2 strings. Lets hear from him.
cmlover wrote:Suji
Usually he does at one but in this piece he is reaching higher!
If I played on the lower strings it may sound better and blend with voice.
But I still think the pitch is C.
My violin is tuned to C here and tuning higher sounds off key. What I can try is play on the lower strings or alternate between higher and lower strings like most accompanists do.
Still waiting for DRS to answer. Meanwhile will investigate...
. Any corrections/feedback most welcome.
. I will post another attempt later this week.
:rolleyes: