Dr. Shrikaanth K Murthy
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kEdAragauLa (also kEtAragauLa) is an ancient rakti rAga. Called hari kEdAragauLa, it is the 28th asampUrNa mELa. Its scale is
SRMPNS* | S*NDPMGRS ||
R is the jIva and nyAsa swara. Its tamiz paNN equivalent is gAndhArapancamam. Despite the identity/similarity in scales, KG and suraTi are quite distinct and there is hardly any room or confusion
between the two.
Unlike suruTi, madhyama is not a nyAsa. Again niShAda is not often elongated unlike in suraTi. The treatment of N and R are different in the 2 rAgas. KG is a tristhAyi rAga while suruTi does not extend below the mandra niShAda. "MGPMR," is typical of suraTi as also prayOgas such as "NN,NN,". "S*ND,NS*" is seen in suraTi but not in KG. KG is a beautiful rAga that can be sung elaborately. It is a pity that the rAga is not taken up for expansive treatment often in concerts. It is eminently suited for SlOkas, viruttams, padas, gmakavAcana and harikathe as it quickly evokes rakti.
Here are links for the Carnatica newsletters on the 2 rAgas.
http://www.carnatica.net/newsletter/ked ... letter.htm
http://www.carnatica.net/newsletter/sur ... letter.htm
SRMPNS* | S*NDPMGRS ||
R is the jIva and nyAsa swara. Its tamiz paNN equivalent is gAndhArapancamam. Despite the identity/similarity in scales, KG and suraTi are quite distinct and there is hardly any room or confusion
between the two.
Unlike suruTi, madhyama is not a nyAsa. Again niShAda is not often elongated unlike in suraTi. The treatment of N and R are different in the 2 rAgas. KG is a tristhAyi rAga while suruTi does not extend below the mandra niShAda. "MGPMR," is typical of suraTi as also prayOgas such as "NN,NN,". "S*ND,NS*" is seen in suraTi but not in KG. KG is a beautiful rAga that can be sung elaborately. It is a pity that the rAga is not taken up for expansive treatment often in concerts. It is eminently suited for SlOkas, viruttams, padas, gmakavAcana and harikathe as it quickly evokes rakti.
Here are links for the Carnatica newsletters on the 2 rAgas.
http://www.carnatica.net/newsletter/ked ... letter.htm
http://www.carnatica.net/newsletter/sur ... letter.htm
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Thanks DRS
I am trying to get a hang of that ciTTaswara which is enticing!
Thanks for the explanation of KG vs SuraTi. I agree with you that CM performers have not indeed exploited the versatility of KG fully. In fact after Saraguna I have not seen a weighty kriti. I am sure yours is the watermark for not just Sanketi but for all future compositions in this raga. Pl list the must-be-heard krits in KG. The kritis that I liked was 'anta raama soundharyam' of AruNaacala kavi. I have not heard neelakanTam of MD rendered much in concerts. Though academic, is there any relationship between KG and Desh ?
I am trying to get a hang of that ciTTaswara which is enticing!
Thanks for the explanation of KG vs SuraTi. I agree with you that CM performers have not indeed exploited the versatility of KG fully. In fact after Saraguna I have not seen a weighty kriti. I am sure yours is the watermark for not just Sanketi but for all future compositions in this raga. Pl list the must-be-heard krits in KG. The kritis that I liked was 'anta raama soundharyam' of AruNaacala kavi. I have not heard neelakanTam of MD rendered much in concerts. Though academic, is there any relationship between KG and Desh ?
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Apart from the similarity in the 2 rAgas, I am not aware any connection between dES and KG. It is very much possible that dES originally, was the same as kEdAragauLa but later became a bhAShAnga rAga with the use of N3. The 2 systems of our classical music come from a common origin and many of the rAgas, despite having different names, are quite similar. It must also be recalled here that the mUlapuruSha of HM, gOpAlanAyaka was a kannaDiga.
Now I have a question here. Just as we have the concept of dESI rAgas in CM, is there a similar concept in HM. If so, what are the called? And can someone list the rAgas in HM that are considered to have been imports from other systems of music?
As for a list of must-hears in KG, that is a difficult one as it is like choosing between different fruits. I would say, all MD`s kRtis are a must hear, whatever the rAga maybe. Here is a link to abhayAmbA (a tad fast)
http://70.132.6.11:8080/musd/servlet/ca ... track03.rm
tyAgarAja`s vENugAnalOluni (sung by MSS) is beautiful. tuLasIbilwa is good too. There is a kRti in praise of ISvara by MV. I also like Papanasam Sivan`s "sAmikku sari evarE". And there is the lilting "dhavaLagangeya gangAdhara" of SrI vADirAja which is traditionallly sung in KG.
And here is a viruttam from kambarAmAyaNam by TNS.
http://70.132.6.11:8080/musd/servlet/ca ... track08.rm
Now I have a question here. Just as we have the concept of dESI rAgas in CM, is there a similar concept in HM. If so, what are the called? And can someone list the rAgas in HM that are considered to have been imports from other systems of music?
As for a list of must-hears in KG, that is a difficult one as it is like choosing between different fruits. I would say, all MD`s kRtis are a must hear, whatever the rAga maybe. Here is a link to abhayAmbA (a tad fast)
http://70.132.6.11:8080/musd/servlet/ca ... track03.rm
tyAgarAja`s vENugAnalOluni (sung by MSS) is beautiful. tuLasIbilwa is good too. There is a kRti in praise of ISvara by MV. I also like Papanasam Sivan`s "sAmikku sari evarE". And there is the lilting "dhavaLagangeya gangAdhara" of SrI vADirAja which is traditionallly sung in KG.
And here is a viruttam from kambarAmAyaNam by TNS.
http://70.132.6.11:8080/musd/servlet/ca ... track08.rm
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Except for SrikAntanutE!
Also the sancaaram is mostly confined to uttaraanga with very sparing use of rishabha and gandhaara. Durita kaalam not used! Even prati madhyamam is not used very much but the 'shakl' of kalyani is brought out clearly ( I mean no tinge of sankarabharana gamkas). That is the first blush! Maybe more...
Also the sancaaram is mostly confined to uttaraanga with very sparing use of rishabha and gandhaara. Durita kaalam not used! Even prati madhyamam is not used very much but the 'shakl' of kalyani is brought out clearly ( I mean no tinge of sankarabharana gamkas). That is the first blush! Maybe more...
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DRS, nice kalyani varnam and good singing.
My very limited perception of Kalyani's strength is in using 'Pa' relatively sparingly resulting in prayograms involving 'ma dha' and 'dha ma', a focus on 'Ni' with prayogams like 'ni ga ri ni', 'sa ni ri sa ni' etc. I heard the above things in your varnam, among others.
My very limited perception of Kalyani's strength is in using 'Pa' relatively sparingly resulting in prayograms involving 'ma dha' and 'dha ma', a focus on 'Ni' with prayogams like 'ni ga ri ni', 'sa ni ri sa ni' etc. I heard the above things in your varnam, among others.
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As VK has mentioned, sparing use of P and S as well enhances the ranjakatva in kalyANi. Taking a head count of swaras(Without considering swara length, akShara kAla etc) will reveal that S, R and G are used sparingly. P and M are used fairly frequently while N and D occur most frequently. Anway, although of academic interest, the impotrant thing is clearly bringing out the rAgabhAva.
But CML
You still have not been able to smell the viSESha part out. Let me expand on the first hint(without letting the cat out of the bag yet). I have sung the whole varNa in swaras right? But then varNas must have sAhitya/mAtu. So where is the mAtu in the varNa?
But CML
You still have not been able to smell the viSESha part out. Let me expand on the first hint(without letting the cat out of the bag yet). I have sung the whole varNa in swaras right? But then varNas must have sAhitya/mAtu. So where is the mAtu in the varNa?
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I had a lot of difficulty getting on the forum. Now only got through!
OK! here is my take!
I knew at the outset there is no sahityam. But then jatiswaram also does not have sahityam. But this is not organized as a jatiswaram! The next is varNam. Of course this is not a pada varnam since there is no sahityam. OK! Is it a taana varnam? Since there is no sahityam (which is acceptable) are there distint pallavi, anupallavi and charaNam? No such identifiable features are obvious! Though PDP occurs quite often its pattern is not consistent with being a pallavi. Is it a samaShTi varnam (I have not heard about one such before)? The confinement to uttaranga leads to vishESha sancaara! Is that the vishESha (uniqueness)???
OK! here is my take!
I knew at the outset there is no sahityam. But then jatiswaram also does not have sahityam. But this is not organized as a jatiswaram! The next is varNam. Of course this is not a pada varnam since there is no sahityam. OK! Is it a taana varnam? Since there is no sahityam (which is acceptable) are there distint pallavi, anupallavi and charaNam? No such identifiable features are obvious! Though PDP occurs quite often its pattern is not consistent with being a pallavi. Is it a samaShTi varnam (I have not heard about one such before)? The confinement to uttaranga leads to vishESha sancaara! Is that the vishESha (uniqueness)???
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CML
Absolutely-- way off on all counts!
But I promise you you will not mind in the least when you hear
what I say. First, there are clear divisions between pUrvAnga and uttarAnga. And also there is
clear demarcation of pallavi, anupallavi, ciTTeswara, ettugaDe pallavi and ettugaDe swaras. And
lastly, it is a tAna varNa and also a pada varNa at the same time.
Absolutely-- way off on all counts!


what I say. First, there are clear divisions between pUrvAnga and uttarAnga. And also there is
clear demarcation of pallavi, anupallavi, ciTTeswara, ettugaDe pallavi and ettugaDe swaras. And
lastly, it is a tAna varNa and also a pada varNa at the same time.
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Do not mean to spoil the fun DRS and CML are having in the game but can I offer a guess or two... a) Is the clue in the deft handling of swaraksharas.... I thought I heard 'ga mi ni' ( if that can be a word or part of a word), 'dha ma da ma' ( that can be a word for sure )...
Or, extending the poetic license further, it could be, a whole bunch of swaras and ending with '....SrikAntanutE....' to mean ' Srikaanth likes Kalyani sung with these swaras and prayograms'...
( borrowing on the 'ka kha ga gha' story of Kalidasa....(I think it is Kalidasa) ).
Or, extending the poetic license further, it could be, a whole bunch of swaras and ending with '....SrikAntanutE....' to mean ' Srikaanth likes Kalyani sung with these swaras and prayograms'...

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CML
I will reveal the plot now. Yes, you have caught the thread although you are unable to disentangle it. The varNa is a swarAkShara varNa in kannaDa(classical). All the swaras stand for the same sAhitya akSharas as well and hence it is a padavarna too. When I say all, I mean, every swara in the varNa starting from the pallavi right until and including the last ettugaDe swara. The only other compsition of this type is rAmaswAmi dIkShitar`s swarasthAna varNa in tODi in telugu (sarigAni dAni). And this was composed about 2 centuries ago. It is given i the SSP. Thi varNa however stops at the ciTTeswara and has only the pUrvAnga.
I will reveal the plot now. Yes, you have caught the thread although you are unable to disentangle it. The varNa is a swarAkShara varNa in kannaDa(classical). All the swaras stand for the same sAhitya akSharas as well and hence it is a padavarna too. When I say all, I mean, every swara in the varNa starting from the pallavi right until and including the last ettugaDe swara. The only other compsition of this type is rAmaswAmi dIkShitar`s swarasthAna varNa in tODi in telugu (sarigAni dAni). And this was composed about 2 centuries ago. It is given i the SSP. Thi varNa however stops at the ciTTeswara and has only the pUrvAnga.
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swarAkShara varNa (mAtu!)
rAga kalyANI, Adi tALa.
padapAda padamArigam agAdha ||
pasanIdAnida pAdapamA ||P||
pada dAsaniddAnida nI sarIgari ||
sada sadani madagamani SrIkAntanute ||AP||
ciTTeswara
mA mAgada pApadA niri nI nIsannigarinidApada |
nI nidhAnisadA pasAdamanI nigamagamanI sarisadapa ||
ettugaDe pallavi
nInIda pada padapa pasarisadA sadA ||
ettugaDe swaras
nI pAda samAgamadA padamanI ||1||
ninnini dani padam amma magagam adanI nirisadanisanI
madamanisada ||2||
mamada madama damanipa padada sanipa maganigamagam adhamanigaridadanisa ||3||
nIpada pAdapada pAda nI padamamaridapa dhAma ||
mAniparigamA dhAmamanIdapa mAnini mAdada pada pani pasa pari ||4||
rAga kalyANI, Adi tALa.
padapAda padamArigam agAdha ||
pasanIdAnida pAdapamA ||P||
pada dAsaniddAnida nI sarIgari ||
sada sadani madagamani SrIkAntanute ||AP||
ciTTeswara
mA mAgada pApadA niri nI nIsannigarinidApada |
nI nidhAnisadA pasAdamanI nigamagamanI sarisadapa ||
ettugaDe pallavi
nInIda pada padapa pasarisadA sadA ||
ettugaDe swaras
nI pAda samAgamadA padamanI ||1||
ninnini dani padam amma magagam adanI nirisadanisanI
madamanisada ||2||
mamada madama damanipa padada sanipa maganigamagam adhamanigaridadanisa ||3||
nIpada pAdapada pAda nI padamamaridapa dhAma ||
mAniparigamA dhAmamanIdapa mAnini mAdada pada pani pasa pari ||4||
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Bravo! I have to give it you for the elegance and beauty of the sahitya! (let me wait till I get the meanings too!). This is the highest tribute to kalyANi; madagamani SrikAntanuta!
Many many thanks for sharing it with us! I certainly would like to learn it given time to practise!
When you are ready explain to us how this is also a pada varNam!
(Of course I am not going to bug you for notation
Many many thanks for sharing it with us! I certainly would like to learn it given time to practise!
When you are ready explain to us how this is also a pada varNam!
(Of course I am not going to bug you for notation

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Word split for the varNa.
pallavi
padapu+ Ada+ padam+ Arigam+ agAdha+ pasanu+ Idu+ Anida+ pAdapamA.
anupallavi
pada+ dAsanu+ iddAne+ ida+ nI+ sarIge+ ari+ sada+ sadani+ mada+gamani+ SrIkAntanute.
ciTTeswara
mA+ mAgada+ pApadA+ niri+ nI+ nIsu+ annigarin+ idu+ Apada+ nI+ nidhAnisade+ A+ pasAdaman+ I+ nigama+gamanI+ sarisadapa.
ettugaDe pallavi
nIn+Ida+ pada+ padapa+ pasarisadA+ sadA.
ettugaDe swaras
nI+ pAda+ samAgamadA+ padaman+ I ||1||
ninna+ ini+ dani+ padam+ amma+ magagam+ adanu+ I+ nirisade+ anisan+ I+ madam+ anisada ||2||
mamada+ madama+ damanipa+ padada+ sanipa+ maganige+ amagam+ adhamanige+ aridu+ adu+ anisa ||3||
nIpada+ pAdapada+ pAda+ nI+ padam+ amaridapa+ dhAma+ mAniparigam+ A+ dhAmaman+ Idapa+ mAnini+ mAdada+ pada+ pani+ pasa+ pari ||4||
pallavi
padapu+ Ada+ padam+ Arigam+ agAdha+ pasanu+ Idu+ Anida+ pAdapamA.
anupallavi
pada+ dAsanu+ iddAne+ ida+ nI+ sarIge+ ari+ sada+ sadani+ mada+gamani+ SrIkAntanute.
ciTTeswara
mA+ mAgada+ pApadA+ niri+ nI+ nIsu+ annigarin+ idu+ Apada+ nI+ nidhAnisade+ A+ pasAdaman+ I+ nigama+gamanI+ sarisadapa.
ettugaDe pallavi
nIn+Ida+ pada+ padapa+ pasarisadA+ sadA.
ettugaDe swaras
nI+ pAda+ samAgamadA+ padaman+ I ||1||
ninna+ ini+ dani+ padam+ amma+ magagam+ adanu+ I+ nirisade+ anisan+ I+ madam+ anisada ||2||
mamada+ madama+ damanipa+ padada+ sanipa+ maganige+ amagam+ adhamanige+ aridu+ adu+ anisa ||3||
nIpada+ pAdapada+ pAda+ nI+ padam+ amaridapa+ dhAma+ mAniparigam+ A+ dhAmaman+ Idapa+ mAnini+ mAdada+ pada+ pani+ pasa+ pari ||4||
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Nicely done DRS.
1) SrIkAntanute portion has the gist of Kalyani wonderfully put together. Your name is taylor made for Kalyani. Due to this venture, your varnam is the most frequently listened to varnam by me in any 4 hour period.
2) What other ragas will the prayogam sa ri ga ni tha ni tha fit? I am curious.
3) So, for swaraksharas, does the following mapping work?
- All the vowels are free to be put to good use.
- ka kha ga gha --> Ga
- pa pha ba bha --> Pa
- sa sha shiva-sa ksha --> Sa
- ta tha da dha --> da
- ri, hard ri ---> ri
- ma ---> ma
- ni, hard ni ---> ni
- cha, chha, ja, jha ---> No mapping, so avoid
- nga, va, la, La ---> No mapping, so avoid
- Other consonants -> No mapping, so avoid
4) A raga that allows lot of jumps seems to be a good candidate for this kind of treatment, right?
1) SrIkAntanute portion has the gist of Kalyani wonderfully put together. Your name is taylor made for Kalyani. Due to this venture, your varnam is the most frequently listened to varnam by me in any 4 hour period.

2) What other ragas will the prayogam sa ri ga ni tha ni tha fit? I am curious.
3) So, for swaraksharas, does the following mapping work?
- All the vowels are free to be put to good use.
- ka kha ga gha --> Ga
- pa pha ba bha --> Pa
- sa sha shiva-sa ksha --> Sa
- ta tha da dha --> da
- ri, hard ri ---> ri
- ma ---> ma
- ni, hard ni ---> ni
- cha, chha, ja, jha ---> No mapping, so avoid
- nga, va, la, La ---> No mapping, so avoid
- Other consonants -> No mapping, so avoid
4) A raga that allows lot of jumps seems to be a good candidate for this kind of treatment, right?
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Much Honoured sir.Nicely done DRS.
1) SrIkAntanute portion has the gist of Kalyani wonderfully put together. Your name is taylor made for Kalyani. Due to this venture, your varnam is the most frequently listened to varnam by me in any 4 hour period.![]()

I have only used the 7 swaras strictly as they are "sa, ri, ga, ma, pa ,dha/da, ni". The vowels have to stay as they are on each swara. i.e su, gi or ra will not be acceptable. that makes the job a lot more easy. No challenge there! I have also not used Ni(hard Ni, TaNNagaram). And of course ka and kha for ga or ta and tha for da are a strict no-no as far as Im concerned. In fact I have not even used mahAprANa (i.e gha for ga). using dha is ok as dhaivata is pronounced as dha or da. Likewise sa should be sa only and not Sa or Sha or kSha strictly. I have stuck to this rule without transgressing anywhere.So, for swaraksharas, does the following mapping work?
- All the vowels are free to be put to good use.
- ka kha ga gha --> Ga
- pa pha ba bha --> Pa
- sa sha shiva-sa ksha --> Sa
- ta tha da dha --> da
- ri, hard ri ---> ri
- ma ---> ma
- ni, hard ni ---> ni
- cha, chha, ja, jha ---> No mapping, so avoid
- nga, va, la, La ---> No mapping, so avoid
- Other consonants -> No mapping, so avoid
spot on.A raga that allows lot of jumps seems to be a good candidate for this kind of treatment, right?
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I used 'th' for the regula 't' by habit for Tamil! here it is without the 'h'. It is corrected! I shall resolve it later if you didn't! But our focus is now on the varNam and I hope our kannada friends will pitch in! I would at least get somewhere with sankEti but (classical) kannada is too difficult for me!
tAtaitUtOtItu
tattaitUtOtAtu
tittittatUtitai
tutittututittOtuti
(AruNagirinaathar takara ethukai)
In this context I remember RD's 'sArasanayana' in gangaatarangiNi which was a reversible kriti (but not svaraakSharam-wise)! Apparently he has ventured into some fancy constructions. Since you have done it with svaraakSharams I can imagine the level of difficulty! Congratulations again!
tAtaitUtOtItu
tattaitUtOtAtu
tittittatUtitai
tutittututittOtuti
(AruNagirinaathar takara ethukai)
In this context I remember RD's 'sArasanayana' in gangaatarangiNi which was a reversible kriti (but not svaraakSharam-wise)! Apparently he has ventured into some fancy constructions. Since you have done it with svaraakSharams I can imagine the level of difficulty! Congratulations again!
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First I thought the plot was along the lines of the famous poem attributed to kalidasa composed on the spot when he was challenged by his patron to compose a poem that ends with ka kha ga gha.
kA tvam bAle
kAnchanamAlA
kasyAH putrI
kanakalatayAH
haste kiM te
tAlIpatraM
kA vA rekhA
ka kha ga gha
------------------
The following is also attributed to kalidasa (but is questionable..) I thought I will put this here, I was reminded of this when I read the CML posted ekAksharam poem.
Ramabhisheke jalamaharantyah Hastachchyutoh hemaghto yuvatyah Sopana margena karoti sabdam Tha tham thathamtham thathatham thathamthah!
------------------
This is a really silly one.
Passenger: What time does the train to Chennai stop here?
Railway Clerk: tu tu tu tu tu tu
------------------
kA tvam bAle
kAnchanamAlA
kasyAH putrI
kanakalatayAH
haste kiM te
tAlIpatraM
kA vA rekhA
ka kha ga gha
------------------
The following is also attributed to kalidasa (but is questionable..) I thought I will put this here, I was reminded of this when I read the CML posted ekAksharam poem.
Ramabhisheke jalamaharantyah Hastachchyutoh hemaghto yuvatyah Sopana margena karoti sabdam Tha tham thathamtham thathatham thathamthah!
------------------
This is a really silly one.
Passenger: What time does the train to Chennai stop here?
Railway Clerk: tu tu tu tu tu tu
------------------
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DRS,CML
Since there is sAhitya for all swaras( swara itself being the sAhitya), it is also a padavaraNa.
Ravi, Collkarni(being a kannaDiga you must try!).
Ye kannaDa brethren, give it a try.
Like rAhul in Ramdhari Singh Dinkar's 'yashODHarA', where at the end of a story that he has bugged her for, she asks him for his verdict, and he (rAhul) says: 'mA, mErA kyA bAnI? mein sun rahA kahAnI'...I feel like saying 'DRS, mErA kyA bAnI? mein sun rahA kalyANI'!
I tried, but it is too tough! And my kannada is patchy at best. So, unlike, rAhul, I have to give up!
Ravi
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Question then: How do you fit 'SrIkAntanute' to such a scheme?I have only used the 7 swaras strictly as they are "sa, ri, ga, ma, pa ,dha/da, ni". The vowels have to stay as they are on each swara. i.e su, gi or ra will not be acceptable.......And of course ka and kha for ga or ta and tha for da are a strict no-no as far as Im concerned
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DRS, just so I get the full idea, the rules you imposed on yourself apply to everything in the varnam except the mudra and in the mudra you map to the closest swaram. Correct?As for the sUcya, I meant no hidden meaning. Simply that SrI has Ri and hence the swara is R. ga for kA and da for ta in SrIkAnta
Also, if I follow the rules like an automaton, would not 'srikanthanuthe' map to ri ga ni da ni da ...?
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- Posts: 4066
- Joined: 26 Mar 2005, 17:01