Krishnamani

vaidyalk77 · Post by **vaidyalk77** » 14 Aug 2007, 11:22

I was introduced to this raga by music teacher recently. The raga is very close to Hindolam.
Arohana/ Avaroghana S G M D N S , S N D M G M G S.
The krithi I am learning is "Vandisuvu Dadiyalli" by Purandara Dasa.
This krithis is normally sung in Raga Nattai by performers on stage.
I could not find any information about this raga and would request any information from the forum members

vageyakara · Post by **vageyakara** » 19 Nov 2007, 16:57

Hallo vaidyalk77
Can u arrange to post some audio clipping of the dasar pada ?
Ramaraj

vaidyalk77 · Post by **vaidyalk77** » 25 Nov 2007, 21:13

I am mailing you the song sung by master . I do not know where to upload the same.

Thanks for your help

Vaidyanathan

vijay · Post by **vijay** » 25 Nov 2007, 21:48

I really wonder if a distinct identity for this raga could be etablished GMGS is a fairly common usage in Hindolam...but perhaps the graces/anusruthis are different...

cmlover · Post by **cmlover** » 26 Nov 2007, 01:16

Do u/l the song clip to www.sendspace.com and post the link here so that we can all listen and understand the niceties.

vaidyalk77 · Post by **vaidyalk77** » 26 Nov 2007, 06:58

Let me notate the swaras
Aarohana S G2 M1 D1 N2 S
Avarohana has two distinct gandharas... S N2 D1 M1 G2 M1 G1 S

You will hear this in the beginning of the song

I have uploaded to this link http://www.sendspace.com/file/yghz0l

Vaidyanathan

cmlover · Post by **cmlover** » 26 Nov 2007, 08:29

Thanks Vaidyanathan
The closeness to Hindolam is quite there as also the distinct presence of G1 which of course plays the role of R2 gives the distinct air of the vivaditva.
Perhaps Lakshman can help us on the origin of this raga. Is there any HM equivalent?

vageyakara · Post by **vageyakara** » 26 Nov 2007, 11:18

'UREKHA" It is a new invention. I have heard the renditiion sent by Vaidya lak77 just now.so far there is no textual reference available about this ragam
"URREKA"
tHE DETAILS ARE ASUNDER.

IT CAN ALSO BE CALLED AS" hindola surya"
due to the following reasons.
SA GA (SADHARANA GHANDARA) MA DA NI SA
SA NI DHA MA GA(ANTARA) SA.
A beauitful atructure !! gives the alluringly beauitful swoorapa of a great Raga. indeed.
t

vageyakara · Post by **vageyakara** » 26 Nov 2007, 11:43

U , R. CORRECT VIJAY.
Since gmgs is a commonly and frequently use d prayoga in Hindolam , that alone does not gives the exclusive identity to this Ragam Krishnamani/Hindola surya .The deployment of 2 ghandharas adds to the beauty of the ragam .I will give yet another example for raga chandramalkauns in a seperate thread.

vasanthakokilam · Post by **vasanthakokilam** » 26 Nov 2007, 12:17

distinct presence of G1 which of course plays the role of R2 gives the distinct air of the vivaditva.

CML, Why would G1 in G2 M1 G1 S introduce vivaditva? It looks to be same as G2 M1 R2 S. Had it been G2 M1 G1 R1 S then vivaditvam is present. Isn't it? But I also sense that the manner of singing ( the glide ) is similar to how one may render aa vivadhi interval.

vageyakara · Post by **vageyakara** » 26 Nov 2007, 12:29

With all humility , I differ from Dear CML.
As far as my knowledge goes no vivaditwam seems to exist in the ragam Krishnamani( though I prefer to call it as HINDOLA SURYA).
Ramaraj

vasanthakokilam · Post by **vasanthakokilam** » 26 Nov 2007, 12:42

Ramraj-ji: Sri. Vaidyanathan ( vaidyalk77 ) mentions Shuddha Gandhara in the avarohana of Krishnamani and not Antara Gandhara. If that is indeed what Vaidyanathan intended to write, then calling this raga Hindola Surya would not match, right?

vageyakara · Post by **vageyakara** » 26 Nov 2007, 16:27

V.K.JiI, have listened to this again again and again.It is antara ghandhRAM ONLY AND sUDHA GANDHARAM DOES NOT PEEP ANY WHERE IN HIS RENDITION.
because shadshruiti rishabha staanam precedes the anthara ghandharam.and that the right janaka ragam can be fixed as Raga vardhini(32nd mElam)
and not as mentioned by me earlier.

MELA RAGAS CONTAINING sudha ghandharam are
KANAKANGI SAALAKAM
RATNANGI JALAARNAVAM
GAANAMURTHY JAALAVARAALI
VANASPATHY NAVANEETHAM
MAANAVATHY PAAVANI
DHANARUPI RAGHUIPRIYA
OTHER THAN THE ABOVE NO RAGAM HAS SUDHA GHANDHARAM
hENCE MY OBSERVATION IS CORRECT.
rAMARAJ

vageyakara · Post by **vageyakara** » 26 Nov 2007, 17:47

Going by all the above posts, It struck my mind about my own creation in the raga vishnupriya - a Janya of Raagavardhini with the following scale
SA GA MA PA DA NI SA :
SA NI DA PA MA RI SA
tHIS RAGA IS AN INVENTION OF tANJ.sHAMKARA iYER.
cMlovers will do well to view and listen to the kritri "KUMARESAN MAHIMAI"
rEF: www.karnatk.com/c3470.shtml and get back with theire observsations.
Ramaraj

cmlover · Post by **cmlover** » 26 Nov 2007, 22:28

Very nice Ramraj! That is a beautiful raga and a very nice rendering. The gamakam on the rishabham gives it a unique colour! I would love to have the notations if you have it handy. What is the composition by Shankara Iyer ? Any audio available?

I only meant the prayoga G2G1S (if legal due to the vakrahood of krishnamani) as vivadi. Why do you want to call it Hindola-surya? While you have redefined it as the cross between hindolam and surya the original definition by vaidyanathan (as vk points out) does not fit. Of course hindolasurya can be a new raga awaiting a compoistion from you and perhaps waiting to be elaborated by TVS

vasanthakokilam · Post by **vasanthakokilam** » 27 Nov 2007, 00:27

OK, there is much confusion. Let me try to sort this out.

- vaidyalk77 mentions M1 G2 M1 G1 S in the avarohana. Ramraj-ji says he does not hear G1 ( Shuddha Gandara ) but only G3. So, vaidyalk77 can you please clarify if there is a typo in what you wrote?

- Are there two different Gandarams in the avarohana?

- If avarohana has only G3, then Hindola Surya naming convention matches, otherwise not. ( And that is what Ramraj- ji said he hears and so he is perfectly right based on that )

- CML: You said "G2G1S as vivadi". Why is that Vivadi when it is no different from G2R2S? G3G2 would be vivadi, G1R1 would be vivadi, R3G3 would be vivadi but not G2G1. If this is not right, then my understanding of what vivadhi is not right and I need to go back to the drawing board.

Suji Ram · Post by **Suji Ram** » 27 Nov 2007, 00:30

To me the avarohana sounds as if there is R3 in it--
so much like ragacUdAmaNi/rAgavardhini

ramakriya · Post by **ramakriya** » 27 Nov 2007, 00:34

Listened to the dEvaranAma.

As someone pointed out Krishnamani is Hindola with both the gAndhAras (sAdhAraNa and antara).

I did not know the name of this rAga, although I knew a song from Kannada movie in this rAga ( as much as a filmy song can be true to rAga structure, that is!)

http://www.musicindiaonline.com/p/x/-Uf ... As1NMvHdW/
Movie: BhAgyada lakshmI bAramma
Singer: Dr Rajkumar

-Ramakriya

ramakriya · Post by **ramakriya** » 27 Nov 2007, 00:35

vasanthakokilam wrote:OK, there is much confusion. Let me try to sort this out.

- vaidyalk77 mentions M1 G2 M1 G1 S in the avarohana. Ramraj-ji says he does not hear G1 ( Shuddha Gandara ) but only G3. So, vaidyalk77 can you please clarify if there is a typo in what you wrote?

- Are there two different Gandarams in the avarohana?

- If avarohana has only G3, then Hindola Surya naming convention matches, otherwise not. ( And that is what Ramraj- ji said he hears and so he is perfectly right based on that )

- CML: You said "G2G1S as vivadi". Why is that Vivadi when it is no different from G2R2S? G3G2 would be vivadi, G1R1 would be vivadi, R3G3 would be vivadi but not G2G1. If this is not right, then my understanding of what vivadhi is not right and I need to go back to the drawing board.

When vaidyalk said G1 and G2, he meant sAdhAraNa and antara

There are indeed these two gandhArasa in the avarOhaNa. But in that case he should have had G1 in the ArOhaNa, but has G2. That is a typo.

-Ramakriya

vasanthakokilam · Post by **vasanthakokilam** » 27 Nov 2007, 01:00

( I caused some confusion myself by writing 'G1 ( Sadarana Gandhara )' instead of 'G1 ( Suddha Gandhara ). I have now fixed that. Sorry about that. )

Getting back to the point in hand, Ramakriya do you hear the Avarohanam then as: S N2 D1 M1 G2 M1 G3 S ? Arohanam sounds like straight Hindolam - S G2 M1 D1 N2 S

ramakriya · Post by **ramakriya** » 27 Nov 2007, 01:04

As I see it the scale is:

S G2 M1 D1 N2 S

S N2 D1 M1 G3 M1 G2 S

(here G2: SadharaNa, G3: antara)

-Ramakriya

vasanthakokilam · Post by **vasanthakokilam** » 27 Nov 2007, 01:09

Thanks Ramakriya. Now we have a solid base to work with.

Regarding vivadithwa, G3G2 in sequence would be vivadi but not G3MG2, Is that correct?

cmlover · Post by **cmlover** » 27 Nov 2007, 02:15

vasanthakokilam wrote:OK, there is much confusion. Let me try to sort this out.

- CML: You said "G2G1S as vivadi". Why is that Vivadi when it is no different from G2R2S? G3G2 would be vivadi, G1R1 would be vivadi, R3G3 would be vivadi but not G2G1. If this is not right, then my understanding of what vivadhi is not right and I need to go back to the drawing board.

My simplistic understanding is that whenever the gap between two svaras is less than or equal to a semitone then they are vivadi svaras.
Typically G2 =316 cents and G1 = 294 cents
Hence vivaditva is obvious.
I would appreciate where ramakriya is hearing G3 (time point please) in the piece!

vasanthakokilam · Post by **vasanthakokilam** » 27 Nov 2007, 02:53

CML:

My simplistic understanding is that whenever the gap between two svaras is less than or equal to a semitone then they are vivadi svaras

That does not sound right.

By this logic, any raga with S R1, R2 G2, G3 M1, M2 P, P D1, D2 N2, N3 S etc. would be considered vivadi. By your rule there will be only a small set of ragas that does not have the one semitone interval.

It is only a vivadi when you have any one of these pairs: R1R2 , G2G3, D1D2, N2N3 . Convert the 4 artificial swara names R3 to G2, G1 to R2, D3 to N2 and N1 to D2 before applying this rule. They are all a semi tone apart, that is true.

M1M2 though still only a semi tone apart are not even considered vivadi since they are completely prohibited in the melakartha scheme.

ramakriya · Post by **ramakriya** » 27 Nov 2007, 03:10

cmlover wrote:I would appreciate where ramakriya is hearing G3 (time point please) in the piece!

The very first occurence of antara gAndhAra is at 33-34 sec falling on the 'dA' in vandisuvudAdiyali.

And antara gAndhAra is not rare in this song - it shows up a large number of times, with the phrase d m g m g -where the first is always antara, and the second is sAdhAraNa.

-Ramakriya

ramakriya · Post by **ramakriya** » 27 Nov 2007, 03:13

Vaidyanathan,

By the way you have a very nice voice.

I remember Nagamani Srinath singing a composition in this rAga - Can't recall which one though.

-Ramakriya

cmlover · Post by **cmlover** » 27 Nov 2007, 06:08

Thanks ramakriya!
As per my analysis of the aro/avaro in the audio posted by vaidyanathan I get:

S G3 M1 D2 N2 S' / S' N2 D1 M1 G3 M1 G2 S

vandisuvudA is a S'N2D1M1,G3,,with the dA clearly a G3. I invite vk, Arun,Suji... to check my analysis...

vk
I was thinking of vivadi note in the context of vaadi, samvaadi and vivadi context. You are right in the definition of the vivadi raga!

vasanthakokilam · Post by **vasanthakokilam** » 27 Nov 2007, 07:36

CML, given that vivadi has the connotation of 'dissoanance', I do not think a vivadi swara can be defined as any swara that is a semi tone apart from another swara, for obvious reasons.

cmlover · Post by **cmlover** » 27 Nov 2007, 07:41

vk
As I understand the 'dissonance' is applicable only when the notes are sounded simultaneously!

vageyakara · Post by **vageyakara** » 27 Nov 2007, 07:57

Hi Ramakriya
U caught the point.
The phrase da ma ga ma ga sa is beyond any stretch of imagination enriches the tranquility of this great raga !! that too with in a short phrase two ghandharams appearing and transforming into a sullen atmosphere.Even if deliberate or unintentional deployment of sudha ghandhara (as erroneously mentioned by vaidyalak77) woundn't have endowed this raga with the divine mood it already inherits.
A nice raga , nice sAhitya, a nice rendition , all combined togather emanicipating a nice RASANUBHAVA.
HATS OFF TO KRISHNAMANI ! !!
Ramaraj

vijay · Post by **vijay** » 27 Nov 2007, 10:25

With the notations and subsequent iterations, it is now quite clear that the raga is related but distinct from Hindolam....in fact it reminds me of the HM raag Nand Kauns which additionally includes the panchamam. A really haunting melody...

cmlover · Post by **cmlover** » 27 Nov 2007, 10:46

Lakshman/ramakriya/meena/...
Could you kindly post the lyrics for Vandisuvu Dadiyalli

coolkarni · Post by **coolkarni** » 27 Nov 2007, 11:11

Vijay
haunting -- Yes thats the effect of "Jog " built in ,at some places.(especially around "poojisu")
Sd.. Kansen
http://rapidshare.com/files/72570344/Jog.mp3
A small slice from a Harmonium.
A Lovely rendering too....

vijay · Post by **vijay** » 27 Nov 2007, 14:35

Thanks Coolji....an excellent Nand Kauns by Parweeen Sulthana can be heard at:
http://www.sawf.org/audio/jog/parveen_nandkauns.ram

cmlover · Post by **cmlover** » 27 Nov 2007, 21:45

Thanks coolkarni for that serene episode which is very soothing.

vijay
Parveen's nandkauns is stimulating but the pancamam gives a distinctly different feeling from krishnamani. I agree with Ramraj that the soothing dmgmgs is just divine!

ramakriya · Post by **ramakriya** » 27 Nov 2007, 23:50

cmlover wrote:Lakshman/ramakriya/meena/...
Could you kindly post the lyrics for Vandisuvu Dadiyalli

vandisuvudAdiyali - purandara dAsa

pallavi :
vandisuvadAdiyali gaNanAthana

anupallavi :
sandEha salla SrI hariyAJ~neyidakuNTu

caraNa 1:
hinde rAvaNa tAnu vandisade gajamukhana nindu tapavanugaidu vara paDeyalu
ondu nimiShadi bandu vighnavanu Acarisi tanda varagaLanella dharege iLisidanu

caraNa 2:
andinA bageyaritubandu hari dharma jaga munde gaNapana pUjisendu bare
ondE manadali bandu pUjisalu gaNanAtha hondisida nirvighnadinda rAjyavanu

caraNa 3:
indu jagavella ume nandanana pUjisalu cendadindali sakala siddhigaLanittu
tande siri purandara viTTalana sEveyoLu bhakta vighnava kaLedAnandavanu koDuva

ವಂದಿಸುವುದಾದಿಯಲಿ - ಪುರಂದರ ದಾಸ

ಪಲ್ಲವಿ :
ವಂದಿಸುವದಾದಿಯಲಿ ಗಣನಾಥನ

ಅನುಪಲ್ಲವಿ :
ಸಂದೇಹ ಸಲ್ಲ ಶ್ರೀ ಹರಿಯಾಜ್ಞೆಯಿದಕುಂಟು

ಚರಣ 1:
ಹಿಂದೆ ರಾವಣ ತಾನು ವಂದಿಸದೆ ಗಜಮುಖನ ನಿಂದು ತಪವನುಗೈದು ವರ ಪಡೆಯಲು
ಒಂದು ನಿಮಿಷದಿ ಬಂದು ವಿಘ್ನವನು ಆಚರಿಸಿ ತಂದ ವರಗಳನೆಲ್ಲ ಧರೆಗೆ ಇಳಿಸಿದನು

ಚರಣ 2:
ಅಂದಿನಾ ಬಗೆಯರಿತುಬಂದು ಹರಿ ಧರ್ಮ ಜಗ ಮುಂದೆ ಗಣಪನ ಪೂಜಿಸೆಂದು ಬರೆ
ಒಂದೇ ಮನದಲಿ ಬಂದು ಪೂಜಿಸಲು ಗಣನಾಥ ಹೊಂದಿಸಿದ ನಿರ್ವಿಘ್ನದಿಂದ ರಾಜ್ಯವನು

ಚರಣ 3:
ಇಂದು ಜಗವೆಲ್ಲ ಉಮೆ ನಂದನನ ಪೂಜಿಸಲು ಚೆಂದದಿಂದಲಿ ಸಕಲ ಸಿದ್ಧಿಗಳನಿತ್ತು
ತಂದೆ ಸಿರಿ ಪುರಂದರ ವಿಟ್ಟಲನ ಸೇವೆಯೊಳು ಭಕ್ತ ವಿಘ್ನವ ಕಳೆದಾನಂದವನು ಕೊಡುವ

वन्दिसुवुदादियलि - पुरन्दर दास

पल्लवि :
वन्दिसुवदादियलि गणनाथन

अनुपल्लवि :
सन्देह सल्ल श्री हरियाज्ञॆयिदकुण्टु

चरण 1:

हिन्दॆ रावण तानु वन्दिसदॆ गजमुखन निन्दु तपवनुगैदु वर पडॆयलु
ऒन्दु निमिषदि बन्दु विघ्नवनु आचरिसि तन्द वरगळनॆल्ल धरॆगॆ इळिसिदनु

चरण 2:

अन्दिना बगॆयरितुबन्दु हरि धर्म जग मुन्दॆ गणपन पूजिसॆन्दु बरॆ
ऒन्दे मनदलि बन्दु पूजिसलु गणनाथ हॊन्दिसिद निर्विघ्नदिन्द राज्यवनु

चरण 3:

इन्दु जगवॆल्ल उमॆ नन्दनन पूजिसलु चॆन्ददिन्दलि सकल सिद्धिगळनित्तु
तन्दॆ सिरि पुरन्दर विट्टलन सेवॆयॊळु भक्त विघ्नव कळॆदानन्दवनु कॊडुव

వందిసువుదాదియలి - పురందర దాస

పల్లవి :
వందిసువదాదియలి గణనాథన

అనుపల్లవి :
సందేహ సల్ల శ్రీ హరియాజ్ఞెయిదకుంటు

చరణ 1:
హిందె రావణ తాను వందిసదె గజముఖన నిందు తపవనుగైదు వర పడెయలు
ఒందు నిమిషది బందు విఘ్నవను ఆచరిసి తంద వరగళనెల్ల ధరెగె ఇళిసిదను

చరణ 2:
అందినా బగెయరితుబందు హరి ధర్మ జగ ముందె గణపన పూజిసెందు బరె
ఒందే మనదలి బందు పూజిసలు గణనాథ హొందిసిద నిర్విఘ్నదింద రాజ్యవను

చరణ 3:
ఇందు జగవెల్ల ఉమె నందనన పూజిసలు చెందదిందలి సకల సిద్ధిగళనిత్తు
తందె సిరి పురందర విట్టలన సేవెయొళు భక్త విఘ్నవ కళెదానందవను కొడువ

വന്ദിസുവുദാദിയലി - പുരന്ദര ദാസ

പല്ലവി :
വന്ദിസുവദാദിയലി ഗണനാഥന

അനുപല്ലവി :
സന്ദേഹ സല്ല ശ്രീ ഹരിയാഞെയിദകുണ്ടു

ചരണ 1:
ഹിന്ദെ രാവണ താനു വന്ദിസദെ ഗജമുഖന നിന്ദു തപവനുഗൈദു വര പഡെയലു
ഒന്ദു നിമിഷദി ബന്ദു വിഘ്നവനു ആചരിസി തന്ദ വരഗളനെല്ല ധരെഗെ ഇളിസിദനു

ചരണ 2:
അന്ദിനാ ബഗെയരിതുബന്ദു ഹരി ധരമ്മ ജഗ മുന്ദെ ഗണപന പൂജിസെന്ദു ബരെ
ഒന്ദേ മനദലി ബന്ദു പൂജിസലു ഗണനാഥ ഹൊന്ദിസിദ നിരവ്വിഘ്നദിന്ദ രാജ്യവനു

ചരണ 3:
ഇന്ദു ജഗവെല്ല ഉമെ നന്ദനന പൂജിസലു ചെന്ദദിന്ദലി സകല സിദ്ധിഗളനിത്തു
തന്ദെ സിരി പുരന്ദര വിട്ടലന സേവെയൊളു ഭക്ത വിഘ്നവ കളെദാനന്ദവനു കൊഡുവ

வந்திசுவுதாதியலி - புரந்தர தாச

பல்லவி :
வந்திசுவதாதியலி கணனாதன

அனுபல்லவி :
சந்தேஹ சல்ல ஸ்ரீ ஹரியாஞெயிதகுண்டு

சரண 1:
ஹிந்தெ ராவண தானு வந்திசதெ கஜமுகன நிந்து தபவனுகைது வர படெயலு
ஒந்து நிமிஷதி பந்து விக்னவனு ஆசரிசி தந்த வரகளனெல்ல தரெகெ இளிசிதனு

சரண 2:
அந்தினா பகெயரிதுபந்து ஹரி தர்ம ஜக முந்தெ கணபன பூஜிசெந்து பரெ
ஒந்தே மனதலி பந்து பூஜிசலு கணனாத ஹொந்திசித நிர்விக்னதிந்த ராஜ்யவனு

சரண 3:
இந்து ஜகவெல்ல உமெ நந்தனன பூஜிசலு செந்ததிந்தலி சகல சித்திகளனித்து
தந்தெ சிரி புரந்தர விட்டலன சேவெயொளு பக்த விக்னவ களெதானந்தவனு கொடுவ

Thanks to Arun's translation engine

-Ramakriya

cmlover · Post by **cmlover** » 28 Nov 2007, 02:02

Many thanks ramakriya! I can now follow the rendering more carefully with the words you have provided. I guess he is not singing the second charanam.

By the by what is the connection of Ravana to gaNanAtha as I cannot follow the meanings clearly!

ramakriya · Post by **ramakriya** » 28 Nov 2007, 02:44

cmlover wrote:By the by what is the connection of Ravana to gaNanAtha as I cannot follow the meanings clearly!

This refers to the story of Atmalinga in Gokarna. After doing tapas, Shiva gives his own svarUpa - The Atmalinga to Ravana, on his request. He asks Ravana never to leave it on the ground till its final destination in Lanka. En route, Ravana has to stop for his sandhyA vandane. Ganapati takes the form of a little boy and shows up on the scene. Ravana asks the little lad to hold the Atmalinga till he can finish his prayers. The boy agrees on the condition that Ravana should return before the boy calls out his name thrice. As luck would have it, ganapati calls out the name thrice quickly and leaves the Atmalinga on the earth. Ravana tries in vain, but can't lift the linga. This is the story depicted in the first charaNa.

This place, Gokarna is situated on the west coast of Karnataka.

-Ramakriya

cmlover · Post by **cmlover** » 28 Nov 2007, 04:19

Oh yes! I know that mythological story and there was an excellent movie 'Bhakta Ravana' on that episode dubbed from Kannnada. Thanks.

rshankar · Post by **rshankar** » 28 Nov 2007, 07:34

Ramakriya,
To carry your story further, isn't it true that when rAvaN tries to muscle his way and uproot the linga, he distorts it to look like a cow's (gO) ear (karNa), and hence the name?

ramakriya · Post by **ramakriya** » 28 Nov 2007, 08:05

rshankar wrote:Ramakriya,
To carry your story further, isn't it true that when rAvaN tries to muscle his way and uproot the linga, he distorts it to look like a cow's (gO) ear (karNa), and hence the name?

rshankar,

Yes, you are 100% correct

-Ramakriya

vaidyalk77 · Post by **vaidyalk77** » 28 Nov 2007, 20:32

I am amazed the way this thread has moved so far. Many thanks for all the contributors. The lyrics and story are all in line with what I have heard from my master. My master Ranganatha is a student of Engineering in RV College Banaglore doing final year in Engineering and the clip is his recording, not mine. The Gandharam are G2 and G1 and the glide from M1 to G1 is a special feature of the raga.

vasanthakokilam · Post by **vasanthakokilam** » 02 Dec 2007, 04:44

vaidyalk77, Your teacher sings very well and has a great voice.

As Ramakriya mentioned before, you seem to be using G1 and G2 in a non-standard way. You probably meant in the sense of 'small Ga' (G1) and 'big ga'(G2) using the 12 swarasthanas to refer to sAdhAraNa and antara gAndhArAs. Normally, in the 16 swara name notation, they should really be G2 and G3.

matterwaves · Post by **matterwaves** » 02 Dec 2007, 06:18

I listened to the clip on send space. I can recall a HM raga Mohankauns which has G2 G1 in the avarohana. I had taped a great rendition of this raga by the Mishra Brothers once broadcast on mysore akashvani. I think i still have the tape back home. The creation of this raga in HM is attributed to pandit ravishankar, who did so on gandhi jayanti dy and hence named it 'mohan' kauns (after mohandas k gandhi)

vageyakara · Post by **vageyakara** » 03 Dec 2007, 20:44

For quite some time , The great Ragam krishnamani has been haunting my mind, and I as composer myself had the natural tendency to try my hand surrendering before the Raga Devathai.Even during the process of composing a kriti I received a google alert for chat with VidyaLK ji, It was a pleasure not only to speak to him but I considered an ORDAIN FROM the DIVINE and sung to him over phone the Pallaviand Anupallavi lines of m y Sahityam.He was very much pleased.
Ad now I rerquest fellow devotees wait for some time to the full fledged Sahityam rerndered by me after some embellishments.
Ramaraj.

vageyakara · Post by **vageyakara** » 03 Dec 2007, 21:05

And now the Lyrics !!!
Ragam KRISHNAMANI -(nata Bhairavi (2o) janyam

SA GA sADHARANA) MA DA NI SA ;
SA NI DA MA GA-(ANTARA) MA GA -(SAADHARANA)SA

Pallavi:

gamaka naLinam kamazh isai uruvE !
nimala shri KRISHNAMANI enum sunAdhamE !! (gamaka)

Anupallavi
amararum aRa vazhi tandavarum uvanda
samarasa uNarvUTTum sAmagAnam thanda (gkamaka)

caraNam

nAmagaLum nAaDum nAraNan pOtRiDum
ThEmakdhura tamizh gAnam thanil negizhnda
pAmaran enai ALum pAvaniyE ! umayE !!
nImanam, kanindemakkaruLsei tAyE !!! (gamaka)
Rasikas please bear with me for any short comings.
Ramaraj

The full rendering of mine will be posted in the website Karnatik.com soon .

cmlover · Post by **cmlover** » 03 Dec 2007, 21:58

very nice! I can already sense many svarAkShara snippets. Looking forward to your audio with a nice aalaapana. Have you decided under what meLa krishnamani should go?

vageyakara · Post by **vageyakara** » 03 Dec 2007, 22:06

Dear CML, for your write up
I have already given the mElam as (20) Nata Bhairavi since the Arohanam consists of Sadharana Ghandharam and and krishna mani being a janya ragam .and the Anthara Ghandharam in Avarohanam is anya swaram.
I sang to this to Mr.LKV over phone and of course Pallavi And anupallavi lines only.Where as I have E.mailed u the entire Sahityam today.Please view.I have to get recorded first and get uploaded in to the Karnatik.website.
God willing I hope to do so soon
Ramaraji
Thanks,

cmlover · Post by **cmlover** » 04 Dec 2007, 01:31

Dear Ramaraj
Without your audio I was tempted to give a try and here it is:
http://www.sendspace.com/file/mlwfjy
Though I have taken some liberties with the lyric I have stuck as much as possible to yours. It was of course very difficult to get out of the hindolam spell

Now I await the 'original' dark jewel, I mean Krishnamani!

vageyakara · Post by **vageyakara** » 04 Dec 2007, 07:16

DEar CML ji, your emulative enthusiasm is fantastic !!
while rendering n the pallavi line Ga ma ka should start with the first ga should deploying Antha gahdhaaram and for ka Sadharana ghandham with a little bit of spuritam , which will give clarity to the ragam Krishnamani.hats off to u sir for ur sincere effort.
Ramaraj.