Can someone elaborate on these points. Is there any reason behind why Tyagaraja chose to use these aspects of the ragas?A particularly difficult musical challenge has been taken up successfully by Tyagaraja in three of these compositions. The raga Nata has a particularly distinctive use of the 'dhaivatam' note or swara. Tyagaraja has avoided the 'dhaivatam' completely in the first pancharatna kriti without losing the swarupa of Nata ragam. Similarly 'gandharam' is an accidental note of some beauty in Gaula. Tyagaraja avoids this too (except in one instance) without losing the character of the raga. Finally, he avoids the accidental 'dhaivatam' in Sri ragam, again a note that is present in some very characteristic sancharas of this raga. It requires musicality of a very high order to do something like this not once but three times in very common and much loved ragas like these.
Pancharatna kritis
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Wikipedia has this write-up on Pancharatna kritis:
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i've read a story that one CM exponent from Mysore came to verify swami's credentials and made fun of swami's simpicity of lyrics and notes. swami in reply composed the pancharatna. he never wanted to give him a direct reply and as usual he converted his genius to sing in praise of Rama than to quench his ego.
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It is indeed striking that Thyagaraja managed to pull off a krithi in Gowla with just one instance of Gandharam - RGMR is one of the most characteristic prayogas of the raga. Moreover, I did not even realize the fact until your post pointed it out! I guess that is enough evidence of his genius.
Avoidance of Dhaivatham in Nattai is a relatively less noteworthy feature - I believe quite a few composers did so. Same for PDNPM in Sree - I am not sure but I think this prayoga may be a post-trinity phenomenon
Avoidance of Dhaivatham in Nattai is a relatively less noteworthy feature - I believe quite a few composers did so. Same for PDNPM in Sree - I am not sure but I think this prayoga may be a post-trinity phenomenon
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This is incorrect. The gAndhAra appears several times in the gauLa pancaratna. It makes its first appearance in the very first line of the pallavi itself and does so in 2 places in all sangatis. It also occurs in "entO" (2nd line of pallavi). It again occurs in the anupallavi in one sangati (ghRShTuDai). Then it occurs in 4 caraNas (Or 3 in some pAThAntaras)- 2nd caraNa (sakalabhUtamulayandu at "madilEka"); 7th caraNa (dRShTiki sArambagu at "lalanA"); 8th caraNa (cakkanimukha at "smaraNalEkanE"; and 9th caraNa (mAnavatanu). It again appears in the anubandha (satulakai) at "satulakai", "sutulakai" and "iTuvaNTi".jayaram wrote:Wikipedia wrote:Similarly 'gandharam' is an accidental note of some beauty in Gaula. Tyagaraja avoids this too (except in one instance) without losing the character of the raga.
Limited use of gAndhAra will not affect the form of gauLa or its rAgabhAva.
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In fact, it is the inclusion of Dhaivata, that is rarer than the exclusion IMO. Even though dhaivata appears in MD's kritis, the use is quite minimal I'd say.vijay wrote:Avoidance of Dhaivatham in Nattai is a relatively less noteworthy feature - I believe quite a few composers did so.
However, the tillaisthana pAThAntara of jagadAnandakAraka has plenty of dhaivata You can here this version at www.surasa.net.
IIRC, Chittibabu also played this version, where the shatshruti dhaivata very prominently features right at the first sangati of the pallavi.
-Ramakriya
Last edited by ramakriya on 15 Jan 2007, 22:52, edited 1 time in total.
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I think the tillaisthanam version of sAdincEnE contains at least one instance of kA-ni in "sArasAruDu..." as SNDPMGRR...mohan wrote:Thyagaraja has also avoided the Ni in Arabhi in his Sadhinchine!
There is also a varNam "samukhamunu" in nATa in which sha-dha figures prominently in phrases like SNDNSR and PDNS along with the more common PNS.
Ashwin
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Yes, I believe its a composition of vaDivElu in praise of svAti tirunAL. I have only recently learnt it, so I hope my early interpretation of the sAhitya is correct:
P: samukhamunu kanukoNTinipuDu tsapalamanukoNTirA ipuDu
A: sumaSarunikannaTi SRI padmanAbhuni mamatatO pUjincu mA kulaSEkharEndruni
C: madana tApamu dIrccu mOhanANga
Ashwin
P: samukhamunu kanukoNTinipuDu tsapalamanukoNTirA ipuDu
A: sumaSarunikannaTi SRI padmanAbhuni mamatatO pUjincu mA kulaSEkharEndruni
C: madana tApamu dIrccu mOhanANga
Ashwin
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Sangeethapriya (upload by Raju Asokan) - 46 min
SSI, Alathur Srinivasa Iyer
http://www.sangeethapriya.org/~asokan/C ... -Natta.mp3
SSI, Alathur Srinivasa Iyer
http://www.sangeethapriya.org/~asokan/C ... -Natta.mp3
Jagadananda by MBK - 13 min @ Nada Anuboothi
http://home.sprynet.com/~dsivakumar/music/intromus.htm
Music Categories > Carnatic - Vocal > Ragas N... > Natta
http://home.sprynet.com/~dsivakumar/music/intromus.htm
Music Categories > Carnatic - Vocal > Ragas N... > Natta
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Ramakriya,
As far as I have heard,
SR,GMPD(Shatsruti),NS - SNPMGMR,S - is more of Dikshithar school, he uses the Dhaivatham, Mahaganapthim song - chittaswara has Daivatham in it in one phrase - p, dnsrgm- mrsrsnpm - in thara sthayi.
SR,GMPNS - SNPMGMR, S - The dha does not usually come in Thyagaraja school.
Thanks for the surasA.net version. I don't seem to hear the shatsruthi Dhaivatham. It sure isn't in the charanams. I missed it out somewhere in the pallavi/anupallavi
Can you help me out with one or two instances.
Do you have the Chittibabu version with you?
Thanks.
Nandy.
As far as I have heard,
SR,GMPD(Shatsruti),NS - SNPMGMR,S - is more of Dikshithar school, he uses the Dhaivatham, Mahaganapthim song - chittaswara has Daivatham in it in one phrase - p, dnsrgm- mrsrsnpm - in thara sthayi.
SR,GMPNS - SNPMGMR, S - The dha does not usually come in Thyagaraja school.
Thanks for the surasA.net version. I don't seem to hear the shatsruthi Dhaivatham. It sure isn't in the charanams. I missed it out somewhere in the pallavi/anupallavi
Can you help me out with one or two instances.
Do you have the Chittibabu version with you?
Thanks.
Nandy.
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Nandy - check out this: http://surasa.net/music/karnatak/contri ... n_v1_songs
This is the thillasthanam tradition - the D3 should be very obvious at the beginning itself.
Arun
This is the thillasthanam tradition - the D3 should be very obvious at the beginning itself.
Arun
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I have heard people sing this caraNam with s s d p m g r r.. and not s n d p m g r r... my teacher also taught me as s s d p m g r r. only...Ashwin wrote:I think the tillaisthanam version of sAdincEnE contains at least one instance of kA-ni in "sArasAruDu..." as SNDPMGRR...mohan wrote:Thyagaraja has also avoided the Ni in Arabhi in his Sadhinchine!
Ashwin
some people do it to save time.mohan wrote:she didn't sing the Pallavi line after the charana swarams - she went straight into the sahityam.
Also, there is this varNam 'srI nAta' composed by vINai kuppaiyyar, which has a liberal usage of the dhaivatam.
The popular sarasijanAbha varNam also has some dhaivatam in it i guess.
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I'm assuming that later in the same caraNam you sing s d r s r , r instead of n d r s r , r ... I remember hearing a very compelling argument that the tillaisthAnam school uses niShAda in Arabhi but have forgotten the specifics - will have to look into it and will post it if I find it.I have heard people sing this caraNam with s s d p m g r r.. and not s n d p m g r r... my teacher also taught me as s s d p m g r r. only...
Ashwin