Dr. Shrikaanth K Murthy

cmlover · Post by **cmlover** » 31 Jan 2006, 05:06

>>No snap of me in the traditional pance/vEShTi<<

Too bad! The authority with which you sing should portray you with a turban and angavastram

(glad you didn't have on the traditional steth

Sahana-priyan · Post by **Sahana-priyan** » 31 Jan 2006, 05:50

CML Sir wrote
" I am sure there are beginners among our readership who will greatly benefit from the text and your rendering. Incidentally your gamakam on the gandharam both in aro as well as avaro is picture perfect! Thank you very much!"

Shrikaanth sir,
Excellent jathi swaram. I love Reethigowla and i am so happy that i can get to practice a sample through your rendition and sahityam. Although i am a novice in the details, I am benefiting from your postings and discussions. It is so valuable and helpful. Keep it flowing..

Do you have any gitam, swarajati, jathiswaram, varna, krithi composed in Raga Sahana?

Thanks.

CML Sir,
Is there a place i can download the fourier software for sruthi analysis? Thanks.

Sahana-priyan · Post by **Sahana-priyan** » 31 Jan 2006, 05:55

Shrikaanth sir, I just read that you are following a pattern to upload your compositions. I didn't mean to interrupt with my request. Just a request.

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 07:10

WOW DRS! Lovely varnam in Ranjani.----
I would like you to clarify the avarOhaNa (which of course is given differently by different sources). Sanjay posts in Sangeetham
S' N3 D2 M2 G2 S R2 G2 S. Prof SRJ gives plain S' N D M G S (both panjama and rishabha varjyam in avarohana).
Point is 'S R S' will be illegal! Please clarify...

"SRS" prayOga is legitimate in ranjani, regardless of whether people show it as part of the scale or not. It also occurs quite frequently.

R.R.Keshavamurthy includes the phrase explicitly in the scale as well as in his sancAras in his book.
For your reference

Note the last ettugaDe swara in the GNB varNa

http://www.musicindiaonline.com/p/x/7qK ... .As1NMvHdW

It also occurs in "durmArgacara" of tyAgarAja.

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 07:19

Thanks Badri for the recordings.

Sahan=priyan
I am glad you find the compositions and the postings useful.

CML
I am posting TRS-RTP in Ranjani. You may already have it as it was posted by coolkarni here. Listin after the 46th minute at the end(2-3 minutes). There is ample use of the phrase.

Just founf that the original rapidshare link is still active

http://rapidshare.de/files/7225710/trs-RTP-Ranjini.mp3

cmlover · Post by **cmlover** » 31 Jan 2006, 08:29

DRS
vindicated! Sudha sings D#SRSRGM... and of course TRS too! However the theory leaves a sour taste in my mouth

Please tell us when you composed this. As a sahAnApriya I am sure you will fulfil his request

Dear Sahana-priyan

The Fourier software that I have was developed by a scientist at NIH and I am not liberty to distribte it. Since he has retired I have no idea where I could direct you! Sorry.

coolkarni · Post by **coolkarni** » 31 Jan 2006, 11:25

finding it difficult to keep pace with you all.
a Wow!! vakulabharana from Nednuri -Koniyada..
: http://rapidshare.de/files/12211845/114 ... -.mp3.html

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 17:53

I composed the ranjani varNa on 23rd July 2002.
Would like to point out a few things in the varNa.

There is swarAkShara usage;- saniha falls on S*ND. sadA is sung as SN#D#;. I am sure people have noted the swarAkShara in the malahari gIte too.
There is the occurrence of the srOtOvaha yati in the 3rd ettugaDe swara;- "S*- DS*- MDS*- GMDS*- RGMDS*- SRGMDS*".

The 2nd ettugaDe swara keeps the madhyama as the graha. madhyama is an important note in ranjani. The last ettugaDe emphasizes RShabha, another important swara.

D and N are also prominent swaras in the rAga. dIrgha dhaivata is swayed and is rendered as "DS*ND;". This is noted in the ciTTeswara.

As will be expected, various gamakas occur in the varNa.

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 18:04

We could use this juncture to recall the general structure and format of tAnavarNas.

The pallavi and anupallavi are equal in length. In the case of AditALa, they stretch over 2 Avartas each. They are set in 2 kaLe. The sAhitya sylables are few and far between. This is followed by the ciTTeswara. Up to this point constitutes the pUrvAnga.
The uttarAnga begins with the ettugaDe pallavi. This is of one Avarta length in an AditALa varNa. The sAhitya is not so sparse in this pallavi. There are usually 4 ettugaDe swaras; occasionally 3 or 5. The first swara is formed of dIrgha notes and spans one Avarta. The 2nd swara is of faster tempo and frequently cehtres around one swara(graha) or is ornamented a spatterns. The third ettugaDe swara should be sarvalaghu i.e notes should not be stretched/elongated. and is usually 2 Avartas in length. The last swara is again ornamented with various patterns and gamakas and consists of a mixture of short and elongated swaras. The finale frequently contains a makuTa swara or a pattered ending(jati patterns). The number of Avartas are in even numbers in the overwhelming majority of varNas. There are a few exceptions with odd numbers(e.g vanajAkShi- kalyANi, Adi)

rshankar · Post by **rshankar** » 31 Jan 2006, 21:30

DRS,
It would be awesome to compare and contrast thanavarNam, padhavarNam and dharuvarNam (in a table, if at all possible)! Can I trouble you some more and ask you to do it?
THANKS.
Ravi

cmlover · Post by **cmlover** » 31 Jan 2006, 22:12

Thanks coolkarni!

Was it vakulabharanam or vasantabhairavi? I always get lost!

DRS

You are a great teacher. You have so succinctly explained the mechanics of varnam construction to us laity. I did notice the svaraaksharas but (being tone deaf (when in doubt I rush to my Fourier graph

) I was not too sure. Please do post the notations for the sahitya part too so that we may get the complete music! that is especially important for a learner to learn the vernam properly. I am quite sure we are visited by students of music at this site. With your permission I am entreating them to pose any queries they may have so that our discussions do become educational!

I completely missed the shrOtAvaha yati! It is indeed delightful! Please do highlight these specialities in case we miss them.

Incidentally I found in the sangita chUDaamaNi for Ranjani:
"ArOhE panivarjyaM vakrAvarOhE pavarjitam |
sarirIgagamAdhAsA sanidhAmagasArisA ||"

Apologetically I would say to you ranjanically
sarisari sAri sAri sAr

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 23:08

-----
Incidentally I found in the sangita chUDaamaNi for Ranjani:
"ArOhE panivarjyaM vakrAvarOhE pavarjitam |
sarirIgagamAdhAsA sanidhAmagasArisA ||"

Apologetically I would say to you ranjanically
sarisari sAri sAri sAr

hahaha. That was very good.

drshrikaanth · Post by **drshrikaanth** » 31 Jan 2006, 23:54

It would be awesome to compare and contrast thanavarNam, padhavarNam and dharuvarNam (in a table, if at all possible)! Can I trouble you some more and ask you to do it?

Structure
I have explained the tAnavarNa already. Also the notation for the pallavi and anupallavi are usually set in tAna pattern such that if you sing it in akAra, it sounds like tAna. This is not strictly followed in quite a few varNas.

padavarNas do not have these restrictions. It does not have tAna patterns. There are no strict rules as to how the swaras should be in the ettugaDe swaras. Yes, the general format of varNas is followed including even number of Avartas.
Iit is well known that padavarNas contain sAhitya for the ciTTeswaras adnd ettugaDe swaras.

daruvarNas appear to be new on the music scene. They look like a later development of darus. They are usually set as stutis/praise of a patron/iShTadEvate. The ciTTeswara has sAhitya and often jati as well. The ettugaDe swaras may or may not contain jatis set to them. Note that darus do not have a uttarAnga often and sometimes no jati either.

Purpose
tAna varNas are meant to familiarise one with the sancAras of a rAga- both ranjaka, common and rare prayOgas. Archaic prayOgas are also shown. They are used for practising. They are also a form of voice culture and help one to use them in future when singing kalpanAswaras. The theme was traditionally romantic but we often see bhakti in the recent varNas. They are the opening items in a concert. They are traditionally meant to be sung in trikAla.

padavarNas contain the ranjaka prayOgas. They do not necessarily have the rare or archaic usages as their purpose is to evoke emotions and not to show all the allowed phrases in a rAga. They are used in dance for showing abhinaya and hence must give ample scope for abhinaya (of sthAyi and sancAri bhAvas). By and large the theme is romance and love, often for God. They form the main item in a dance performance. They are sung in the viLamba tempo only.

daruvarNas are sung in the middle of concerts to create a "special effect". In my opinion it was HMB who actually first composed what we today know as daruvarNas. darus of course have been around for a long time. They are sung in the viLamba tempo. However, the uttarAnga is often sung in a faster tempo so far as HMB`s daruvarNas go.

Historical perspective
padavarNas appear to be the oldest of the 3 varNas. This is however an inference derived from a lack of written-evidence for tAnavarNas prior to the immediate pre-trinity period. padavarNas are themselves likely to be later developments of padas. Their theme, purpose and tempo are the same. daruvarNas also are development form darus in the format of varNas. Similarly one finds tillAna darus patterned after tillAnas.

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 03:17

Notation for the sAhitya part of the ranjani varNa.

Adi tALa.

S , R, | G ; , | S ; , | N# D# S R |
pa-ha--lU rA-----------------

G M G S- | R S N# D#- || S N# D# M# | D# , S R ||
vU------ un-----------------------------dE-------

S R G ,- | R G M ,- | G M D ,- | N D M D- |
va--Li kA-------------------vA-------

S* N D M | G S R ,- || S R G M | D M D , ||p||
-----------------Nin--------------------dE

S* N D ,- | S* , R* ,- | S* R* G* M*- | G* S* R* S*- |
si-----hi ka--hi el------------------------------

D S* R* S*- || S* N N D- | S* N D M | D ; , ||
lA----------------------maran----------dE

S* R* G*- D | S* R*- M D | S*- G M D- | R G M D |
SrI--------kAn---------tu--- un--------duL------

R* S* N D- | S* N D M- || D M G S- | R G S R ||AP||
Le-------------- ka---lan---------dE--------

_____________________________________________________________
ettugaDe pallavi

S* , N , | D , M , | G ; S | , R G , | S ; , | ; S N# | D# ;- S | R G M D ||
sa---ni---ha--mi---ri---dI------------ya sa------dA-- en--------de

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 03:31

CML
I will not be posting the full notations of the kRtis that follow. Reasons being, it is too time-cosuming, cumbersome and painful to type the same. I also believe there should be some effort from learners. "Easy come Easy go". And for the beginners, notation could be superfluous as audio is the most powerful medium for learning. When music is taught, it is not taught as notation.

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 03:34

Next a kRti on saraswati in vasantabhairavi (CML- you mentioned this rAga!).

http://rapidshare.de/files/12263449/mAt ... h.wma.html

cmlover · Post by **cmlover** » 01 Feb 2006, 05:36

DRS

I respectfully disagree. I am sure there are instrumentalists who will be visiting our site. The notations are very essential for them to learn the music for these compositions. You are doing a fantastic job by posting the sahityam, notations, rendition and special features. Folks should learn these songs systematically and practise them consistently. We don't want them to learn these sahityams by parrotting (like cine-music)! Also there is no need to rush; just take your time and let us have more discussions. I fully realize that you have to invest a lot of time into it. I am sure the silent majority gratefully appreciate your efforts. CML is only a vocal mouth-piece....

Speak up folks...

cmlover · Post by **cmlover** » 01 Feb 2006, 06:24

That was a lovely reendering of vasantabhairavi. Preseumably your sishya! Now I am awaiting the sahitya (meaning) as also a lively discussion of vasantabhairavi a raga into which Thyagaraja breathed life first ,though MD did equally well!

In the mean time Badri (of course coolkarni too!) can look for a superb rendering of NIdayarAdA, RamAramana as well as the superb prasanna venkatEshvaraM!

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 06:52

That was a lovely reendering of vasantabhairavi. Preseumably your sishya! -------

Not exactly. That is my wife singing my kRti.

Like you, I too would like to hear what the others feel/think. Without feedback, I feel like a blindman groping for a grip. Your observations of course are most invigorating and gladdening.

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 07:00

mAtu of "mAtADa bArade"

rAga- vasantabhairavi; rUpaka tALa; language- kannaDa

kRti on SrngEri SAradAmbe

mAtADa bAradE | mAte muddu SArade ||P||

nA tallaNisidaru unte | naguta SRngapuradi ninte ||AP||

avaniyoLage ninnante | aritavaru illavante ||
bhava bAdhegaLenuva sante | bhairavivolu tariveyante ||
Siva SrIkAntaranu munte | sRjisida SrImAteyante ||
bhava barevavanarasi enna | bagegEtake illa cinte ||C||

cmlover · Post by **cmlover** » 01 Feb 2006, 07:25

>>Not exactly. That is my wife singing my kRti.<<

That is your sishya singing the kriti. Your signature is quite evident in the singing. Of course I knew (CML has dabbled in his younger days in Tantra with Mystics) it was your wife

. Do please in future have the krits started with the aro/avaro of the raga under consideration. That gives grandeur to the rendering as well as perfect shruti alignment.

My congratulations to sahana for her fine voice and a clean presentation of vasantabhairavi (congratulations to the expert teacher as well!).

Very clever weaving of raga mudra! Now awaiting the meaning!

srkris · Post by **srkris** » 01 Feb 2006, 07:29

DRS, you could post the notations when someone asks for the same in particular cases, if you find it difficult to key in the same for each song.

Or else, as CML points out, there is no hurry, and you can take your own time to complete each song with notations.

I request you, however to save a copy of the songs that you upload so that it will be of help when we get permanent file storage, and dont have to rely on temporary storage systems like rapidshare. Thanks

rshankar · Post by **rshankar** » 01 Feb 2006, 09:42

CML,
I am neither Badri nor Kulkarni, but here is my humble offering of another sweet v.BairavI!
http://rapidshare.de/files/12282549/03_ ... i.m4a.html
Ravi

rshankar · Post by **rshankar** » 01 Feb 2006, 09:55

DRS,
Thank you so very much for the patient explanations. I realize how time consuming it must be!

They form the main item in a dance performance. They are sung in the viLamba tempo only.

Do you mean the sAhitya here, because as far as I can tell, the jatIs and swarAs are recited/sung in all 3 speeds in a dance performance. To my untutored eyes/ears it appears that the first part of padavarNams have jatIs and the latter parts swarAs interspersed between the sAhitya passages. Is that correct?

daruvarNas are sung in the middle of concerts to create a "special effect".

Smt MSS has sung HMB's daruvarNam at the start of some of her concerts...!

Similarly one finds tillAna darus patterned after tillAnas.

Have not heard of a tillAnA daruvu...can some one post an example? Kulkarni sa'ab? Badri?

BTW, isn't a daru/daruvu a musical composition wherein there is a conversation/description?

Once again, thank you very much!
Ravi

cmlover · Post by **cmlover** » 01 Feb 2006, 11:11

Dear Sankar

The invocation to coolkarni and Badri is just traditional I know there are lots of us around who want to pitch in as well as share in this musical experience. I am hoping every one of us will contribute our expertise, experiences, exposition as well as embellishments as we enjoy the shower of sweet CM initiated by DRS. A genuine artist derives maximum fulfilment only when he sees that the recipients enjoy his creation. The joy of sharing is much greater than the joy of creation itself. Apparently he has created these music over the years with nary a profit motive. Were it not for Chembai's selfless efforts this forum would not exist. Were it not for selfess folks like DRS there is no raison d'etre for this forum. Let us not make this into a barter place but a genuine sabha of discering rasikas where art is promoted and appreciated.

abadri · Post by **abadri** » 01 Feb 2006, 12:10

In the mean time Badri (of course coolkarni too!) can look for a superb rendering of NIdayarAdA, RamAramana as well as the superb prasanna venkatEshvaraM!

An SSI rendition of Needayarada
[rapidshare link deleted]

Vijay Siva with Dikshitar's Prasanna Venkateswaram
[rapidshare link deleted]

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 18:20

Word to word meaning of mAtADa bArade, vasanta bhairavi.

mAtADa- to speak/converse;
mAtu means speech/word. This is the same word that has been borrowed from kannaDa into sanskrit to represent sAhitya in music jargon.

bAradE- Should you not? mAte- mother; muddu SArade- sweet/affectionate SArade.
muddu cannot be satisfactorily translated into English. It is the equivalent of cellam
in tamizh.

nA tallaNisidaru- Even when I am suffering/bewildered/distressed/in anguish;
tallaNisu is taDumARudal.

unte- silently/quietly/unmindfully;
unte is a rare word in kannaDa meaning summA/pEsAmal.

naguta- smiling/laughing; SRngapuradi- in SRngEri; ninte- You stood;

avani oLage- in this world/universe; ninnante- like you;
aritavaru- knowledgable person;illavante- None it seems;
bhava bAdhegaLu- the travails of samsAra; enuva sante- the market/chaos;
bhairavi volu- like bhairavi; tariveyante- It seems you uproot/destroy;

Siva SrIkAntaranu- Siva and SrIkANta; munte- In the past;
munte again is a rare kannaDa word meaning "in the days of yore".

SRjisida SrImAteyante- It seems you are the SrImAte that created;
bhava barevava- Him Who writes samsAra/fate i.e brahma; arasi- queen, consort;
enna bagege- regarding me; Etake- why; illa cinte- No compassion/care.

drshrikaanth · Post by **drshrikaanth** » 01 Feb 2006, 18:28

Meaning in toto
Why dont you say something? O affectionate SArade! Mother mine!

You stand there smiling in SRngEri inspite of me languishing here bewildered, distressed and in anguish.

It seems that there is no one as knowledgable as You are in this whole universe! It is also said that you destroy and uproot the chaos of samsAra veritably like bhairavi Herself! And you are also reputed to be SrImAte who created Siva, SrIkAnta et al in the days of yore! O queen consort of brahma, the writer of all our fates, why do you not spare even a thought for me? Is there no compassion in you? Why do you not utter even a word mother?

cmlover · Post by **cmlover** » 01 Feb 2006, 21:10

Aha! What a wonderful arthagarbhida (meaningful) sahityam. Once you know the meaning the nayam in Sahana's rendering comes out. The pleading, the angusih, the bewilderment,and finally the prodding qre captured so beautifully captured in this vibrant raga. Though the pattern and idea is similar to 'nIdayarAdA', in this the devotee uses the dainya bhAva more effectively whereas Thyagaraja is somewhat demanding. It is the subtle difference between 'won't you?' vs 'why don't you?'.

Thanks DRS and Sahana for sharing this contribution.

The concept of identifying shArada with (durgaAlakShmisarasvati as we have discussed under JC thread) is consistent with shankara, JC and others and hence She is the aadiparAshakti who created the Trinity and assigned them their roles (cf dEvI bhAgavata)

cmlover · Post by **cmlover** » 01 Feb 2006, 21:13

Thanks Badri, especially that ever popular SSI rendering!

rshankar · Post by **rshankar** » 01 Feb 2006, 22:01

DRS,
This is a lovely composition: Thanks you for the word-to-word translation and the running meaning. It is a really wonderful way to seek the blessings of 'ajana paTTada rANI'!
Ravi

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 00:28

Do you mean the sAhitya here, because as far as I can tell, the jatIs and swarAs are recited/sung in all 3 speeds in a dance performance. To my untutored eyes/ears it appears that the first part of padavarNams have jatIs and the latter parts swarAs interspersed between the sAhitya passages. Is that correct?

Yes I meant the sAhitya as well as the ettugaDeswara and sAhitya. padavarNas always start with sAhitya. The jatis are added by the naTTuvanAr and do not form part of the composition as such. They are added so that the dancer can show nRtta. The first set of jati starts after singing the first line of pallavi several times. jatis are sung in 3 kAlas.
AFAIK the swara passages are sung in only one tempo- the tempo they are set in by the vAggEyakAra.

Similarly one finds tillAna darus patterned after tillAnas.
Have not heard of a tillAnA daruvu...can some one post an example? Kulkarni sa'ab? Badri?

I have not myself heard a rendition of a tillAnadaru. But you will see them in the SSP.

BTW, isn't a daru/daruvu a musical composition wherein there is a conversation/description?
Ravi

darus are of several types- swAgata daru(welcome), pAtrapravESa daru(introducing a pAtra), uttara-pratyuttaradaru(conversation), varNanadaru(description) etc.

----A genuine artist derives maximum fulfilment only when he sees that the recipients enjoy his creation. The joy of sharing is much greater than the joy of creation itself.-----

You spoke my heart. I could not have said it better.

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 00:55

DRS,
This is a lovely composition: Thanks you for the word-to-word translation and the running meaning. It is a really wonderful way to seek the blessings of 'ajana paTTada rANI'!
Ravi

Thanks for recalling that lovely line from vijayadAa`s composition "SAradeyE karuNAvAridhiyE"

ajanapaTTadarANi ambujapallavapANi.
vijaya viThalana sose muddu vANi |

The rendering in tODI makes it fit to be sung as a main item in a concert. You certainly havent forgotten kannaDa from your Suratkal days.

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 03:43

mAtADa bAradE starts on a swarAkShara on madhyama. Note also the gradual development of the pallavi in the succesive sangatis. The sangatis progressively end on madhyama, dhaivata, niShAda and the tAra ShaDja. These convey an increasing intesnity of feeling. The one ending on madhyama conveys a resignation to ones fate. Then there is a gradual awakening of emotion and the dhaivata conveys questioning mingled with sadness. The nishAda brings out a deep pining and pain. tAraShaDja conveys a confident bhakta demanding without being rude, asking for what is his due from his Mother.

The anupallavi starts on the niShAda note. niShAda acts as the samvAdi of madhyama. It also is a swara most suited to convey anguish. The swaying of the note reflects the state of the bhakta`s wavering mind. It is also a suggestion to Her that if the bhakta is vadi/bimba she must necessarily be samvAdi/pratibimba. She cannot but respond consonantly.

CML
Did you receive my email?

cmlover · Post by **cmlover** » 02 Feb 2006, 04:34

DRS

I have responded.

I am still relishing the dexterity with which the raga mudra has been wovwn,
bhava bAdhegaLenuva sante bhairavivolu tariveyante = bhava bhadhaikaL ennum chaNDai bhairavi pOla thavirppavaLE...

Here is a joke (take it in the right spirit).

Our Ravi is giving a concert on Sunday. My friend Ragavan is conversing with me:

Ragavan: What special raga is Ravi going to sing on Sunday?
Me: Ragava! Sunday by Ravi will be performed!

Since Ragavan is smart he gets it! Did you?

( If my good friend Arun, the Quiz Master is following this thread he is bound to comment

cmlover · Post by **cmlover** » 02 Feb 2006, 05:22

Thanks DRS for that succinct description of the mood as well as the role of the svaras in context.

Am I right in assuming that the anupallavi:
nA tallaNisidaru unte naguta SRngapuradi ninte
would be a nice spot aesthetically to do a neravel.

If you concur could you post the swaras for just the Pallavi as well as anupallavi?

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 06:04

rAgavan- amOghamA irukkum. apUrvamAna rAgam.

CML- sari sari. pArppOm. annaikku Offce onnum kiDaiyAdE. nErAga vA. sunday! bye! ravi kacchEriya maranduDAde.

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 06:05

Just about to post the notation for pallavi and anupallavi. It will be here shortly.

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 06:55

rAga- vATI vasantabhairavi; rUpakatALa.

SR2G3M1D1N2S* | S*NDMGMPMGRS ||

Pallavi

1) M , | ,- M G | R S R || G , | G M | ; ||
mA-------tA--------Da bA---ra-dE-

2) M , | ,- P M | G R S R || G M D | M D | ; ||
mA-------tA---------Da- bA-------ra-dE--

S* ; N | D ,- N , | , D M , || P ; M | G ,- G R | S R G , ||
mA------te mud-----du SA------ra---de----

3) M , P M | G R- S R | G G M , || M N | D N~ | ; ||
mA--------------tA----------Da bA----ra-dE-

S* , R* S* | N D- N , | S* N D M || P ; M | G ,- MG | R S R G ||
mA-----------te mu---------ddu SA------ra----de----

4) G M P M | G R- M G | D M N D || M D | N S* | ; ||
mA---------------tA-----------Da bA-----ra-dE

S* R* S* N | D ,- N S* | N D M ,- || G M N , | D M- P M | G- S R G ||
mA------------te mu---------ddu SA----------ra----de-----

anupallavi

1) N , | D D | N N || S* S* | N- R* | , s* ||
nA tal----la-Ni---si--da----ru un-----te

2) S* ; N | D D M D | N N || S* S* | N- R* | , R* ||
nA tal----------la-Ni---si--da---ru un-------te

G* G* | M*- G* R* | ; S* || D N S* N | D M- P M | G- S R G ||
na-gu----ta SRn-------ga pu---ra------di nin--------te

cmlover · Post by **cmlover** » 02 Feb 2006, 07:28

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 07:43

I composed the vasantabhairavi kRti on 17.05.2004.
CML
thanks for the reply.
The start of the caraNa "avaniyoLage ninnante aritavaru illlvante" would be very suitable for neraval and swaras. as also the anupallavi as CML has already pointed out.

srkris · Post by **srkris** » 02 Feb 2006, 08:45

I am discovering the beauty of Kannada/Sanketi through these compositions... and the meanings are simply beautiful... thanks a lot.

rshankar · Post by **rshankar** » 02 Feb 2006, 08:56

DRS,
In addition to the absolutely wonderful vijaya vittala composition you have refered to, I am sure you are also familiar with the AraBI composition of the 'other' dAsa, viz. purandara: kodubEga divyamatI saraswatI..where one of the charaNA goes
"aKila vidyABimAni, ajana paTTadarANi
suKa viddu pAlisE sujana shirOmaNI"
A grand composition that gives me goose-bumps everytime I hear it! Every word seems an irreplacable gem. Your composition is right up there!
And BTW, I am not in the least surprised by your (fabulous) memory!
Ravi

kiransurya · Post by **kiransurya** » 02 Feb 2006, 12:50

Well done DRS, Hats off to your Skills!!!!!

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 16:43

(vATI) vasantabhairavi is the 14th asampUrNa mELa, the sampUrNa mELa being vakuLAbharaNa. Scale

SR1G3M1D1N2S* | SNDMGMPMGRS ||

It is an ancient rAga and a pUrvaprasiddha mELa The "vATI" prefix is a later addition to make it fit the kaTapayAdi nomenclature. pancama is used sparingly as mentioned in the lakShaNa SlOka itself.(swalpa pancamaH). pancama should only rarely be used as a halting note. M and N are important swaras as also G and D. M is an important nyAsa(resting note). D is also a nyAsa. The rAga evokes SRngAra and vira rasa. Repeated use of kampita nIShAda gives a karuNA flavour.
There are 2 padas of kShEtraj~na in the rAga- "inta rApu cEsitE" in AditALa and "ikkaDa ledE manasu" in tripuTa tALa. Any recordings anyone?

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 17:03

Here is a preview of the next kRti.

http://rapidshare.de/files/12372405/tir ... u.rar.html

srkris
Please upload these 2 images directly here.

OK here they are:

Admin

drshrikaanth · Post by **drshrikaanth** » 02 Feb 2006, 23:07

Thanks srkris

Here is "naTarAjam" in kEdAra.

http://rapidshare.de/files/12396193/naT ... h.wma.html

rshankar · Post by **rshankar** » 02 Feb 2006, 23:43

DRS,
LOVELY!
Very soothing kEdAram: very 'AnandanaTanaprakASamesque'!
Lovely rhythm to it: as I was listening to it, I was imagining a sprighly choreography along with it!
When you post the words, can you also please briefly explain the sthala purANa? The only thing I have heard about this sthalam is in a composition by one Aru Gopalan who describes the various saBAs that the lord dances in: 'IdillA kuTRalam chithira saBai koNDAn, ezhil alangADu tannil rathina saBai kaNDAn...AdavallAn yemmai ALavallAn'. And I am intrigued by the ambAL's name: vaNDArkuzhali - to go with mattuvArkuzhali of trishIragirIsham - lovely!
THANKS again for sharing your time, creative genius and intellect with us.
Ravi

drshrikaanth · Post by **drshrikaanth** » 03 Feb 2006, 00:01

rAga kEdAra; caturaSra rUpaka tALa

stuti of tiruvAlangADu natarAjan( ratnasabhpati)

naTarAjam | AlOkaya ||
nAdiridAni tOm dira dittillAna tanadira ||P||

vaTataru mUlavirAjam |
vararatnasabhA rAjam ||
paTaha maddaLAdi vAdya paTutara kuTilapadAbjam||AP||

solkaTTU
takatarEku jhamtaritA |tatari tadhaNa tajhaNu tadhimi ||
taka dika Nam tari taLAngu taka diku tadigiNatOm-ta |
taLAngu tadhigiNatOmm- ta - dittillAna tanadira ||

nArImaNi muktidam su-nandAdi nuta vaibhavam ||
cAru hasita mukhabhAvam sakalIkRta prabhAvam ||
vArijabhava nandIkShita brahmAnanda tANDavam ||
sUrijanEDitam bhavam kAruNyArNavam Sivam ||
mAra kAla garvaharam mad bhramarAlakAmbikE- |
dAram SrIkANtaparam tALa rAga gamakakaram ||C||

tandu · Post by **tandu** » 03 Feb 2006, 00:51

HI CML and DRS
I have been following this thread very keenly.Although have not contributed much.Here is an intresting article I found i the net on the Nataraja.

http://www.lotussculpture.com/shiva1.htm
DRS
Kudos to your talent.Please keep these wonderful compositions coming along with their meaning.

Thanks
Govind