NAARAYANATHE NAMO/BEHAAG/AADI/ANNAMACHARYA
http://rapidshare.de/files/19294307/Siv ... a.mp3.html
Song: naaraayaNa tE namO namO
naarayaNa thE namO namO
raagam: behaag
29 dheera shankaraabharaNam janya
Aa: S G3 M1 P N3 D2 N3 S
Av: S N3 D2 P M1 G3 R2 S
taaLam: aadi
Composer: Annamaacaarya
Language: Telugu
pallavi
nArayaNa tE namO namO (bhava)
nArada sannuta namO namO
(nArAyaNa)
caraNam 1
murahara naghadhara mukunda mAdhava garuDa gamana pankaja nAbhA
parama puruSa bhava bandhanathE (namO) naramruka sharIra namO namO (namO)
(nArAyaNa)
caraNam 2
jaladhi shayana ravicandra vilOcana jalaruha bhavanuta caraNayugA
bhali bandhana gOpavadhU vallabha nalinOttara tE namO namO (namO)
(nArAyaNa)
caraNam 3
Adi dEva sakalAgama pUjita yAdava kula mOhanarUpA
vEdOdhara tiru venkaTanAyaka nAda priya tE namO namO (namO) --
(nArAyaNa)
BEHAAG
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Sivaraman
- Posts: 151
- Joined: 17 Jan 2006, 19:10
Meena,
The intention is to throw open the discussion on different ragas and to anticipate postings of compositions in these ragas by other members as well so that we can all share the joy of participating in useful discussions about raga lakshanas and various composers' compositions with lyrics and meanings and also have the opportunity of listening to other members adept at singing.This is all the more valid in view of the restrictions on uploading of commercial recordings.I think this provides an opportunity to many amateur singers among us to showcase their talent in this forum.And by posting lyrics and meanings in these ragas, we could all learn many new songs and appreciate the beauty of these songs and their composers' versatility.
If, however, this reasoning is not acceptable, I shall desist from any further raga postings.
The intention is to throw open the discussion on different ragas and to anticipate postings of compositions in these ragas by other members as well so that we can all share the joy of participating in useful discussions about raga lakshanas and various composers' compositions with lyrics and meanings and also have the opportunity of listening to other members adept at singing.This is all the more valid in view of the restrictions on uploading of commercial recordings.I think this provides an opportunity to many amateur singers among us to showcase their talent in this forum.And by posting lyrics and meanings in these ragas, we could all learn many new songs and appreciate the beauty of these songs and their composers' versatility.
If, however, this reasoning is not acceptable, I shall desist from any further raga postings.
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drshrikaanth
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
While your intentions are good, the thread do take up lot of space and cause cluttering. As you would have observed, a lot of discussion is not being generated in these threads and so we think it is best to post your renditions on a single thread with aa name say "Sivaraman`s renditions". That way, everybody knows where to find your renderings. Keep them coming.
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
Sivaraman-ji,
I appreciate your enthusiasm, but I should say you are too quick for the rest of us to follow. :cheesy:
So it would be nice if you could post one thread, then wait for some discussions, and then continue by posting another one.
It will give us some breathing gap to listen and appreciate your recordings.
We all have many years to explore all ragas and kritis. So I request some time gaps between starting threads on new ragas.
Thanks.
I appreciate your enthusiasm, but I should say you are too quick for the rest of us to follow. :cheesy:
So it would be nice if you could post one thread, then wait for some discussions, and then continue by posting another one.
It will give us some breathing gap to listen and appreciate your recordings.
We all have many years to explore all ragas and kritis. So I request some time gaps between starting threads on new ragas.
Thanks.
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Sivaraman
- Posts: 151
- Joined: 17 Jan 2006, 19:10
I accept the constructive suggestions and request the moderators to please shift my raga postings to a single thread, as suggested by DRS.And I shall also go slow with further postings as suggested by Srkris, to allow more time for others to join in the discussions and also post their own contributions.
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cmlover
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Dear Sivaraman
it is interesting and exciting to hear your renderings of nice ragas. Since you have a rich gamak-prone voice they have a good resonance.
So instead of slowing down why don't you join us and render the new exciting kritis that DRS is gifting us. The latest saptaratna will indeed be a treat for a raga lover. Please visit
http://freepgs.com/carnatic/viewtopic.p ... &start=825
to pick up DRS's own rendering as well as the lyric part. You will have the unique experience of adding Sanketi to your language collections. Looking forward to your renderings!
it is interesting and exciting to hear your renderings of nice ragas. Since you have a rich gamak-prone voice they have a good resonance.
So instead of slowing down why don't you join us and render the new exciting kritis that DRS is gifting us. The latest saptaratna will indeed be a treat for a raga lover. Please visit
http://freepgs.com/carnatic/viewtopic.p ... &start=825
to pick up DRS's own rendering as well as the lyric part. You will have the unique experience of adding Sanketi to your language collections. Looking forward to your renderings!
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Sivaraman
- Posts: 151
- Joined: 17 Jan 2006, 19:10
CMl,
Thanks for the compliment.I will certainly follow your suggestion to render a few of DRS's compositions provided he himself does not consider this to be an unwarranted intrusion and an effort to impose myself without invitation on other members.
Anyway, my own idea of the utility of this forum is that it should provide a wider platform to all music lovers who are able to post their own singing efforts so that our common love for CM binds us more strongly and brings us much closer into a beautiful and loving community of CM lovers.So more power to people like you and DRS who are so knowledgeable and creative to give out more of your creative singing efforts so that we all benefit from you.
Thanks for the compliment.I will certainly follow your suggestion to render a few of DRS's compositions provided he himself does not consider this to be an unwarranted intrusion and an effort to impose myself without invitation on other members.
Anyway, my own idea of the utility of this forum is that it should provide a wider platform to all music lovers who are able to post their own singing efforts so that our common love for CM binds us more strongly and brings us much closer into a beautiful and loving community of CM lovers.So more power to people like you and DRS who are so knowledgeable and creative to give out more of your creative singing efforts so that we all benefit from you.
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Suji Ram
- Posts: 1529
- Joined: 09 Feb 2006, 00:04
Mr SivaramanCMl,
I will certainly follow your suggestion to render a few of DRS's compositions provided he himself does not consider this to be an unwarranted intrusion and an effort to impose myself without invitation on other members.
.
I usually don't worry who will listen or not when I post my violin recital of DRS 's composition.
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devi
- Posts: 196
- Joined: 03 Feb 2010, 18:16
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vageyakara
- Posts: 602
- Joined: 01 Dec 2006, 20:24
Hallo Every one,
Glorifying the achievements of the Chennai Music academy, I have composed a kriti in the raga BEHAG, and the same was rendered by smt.Raji Gopalakrishnan on the 75th Aniv. of MUSIC ACADEMY.
Ramaraj
Ref:www.karnatik.com/c3492shtml
Glorifying the achievements of the Chennai Music academy, I have composed a kriti in the raga BEHAG, and the same was rendered by smt.Raji Gopalakrishnan on the 75th Aniv. of MUSIC ACADEMY.
Ramaraj
Ref:www.karnatik.com/c3492shtml
Last edited by vageyakara on 19 May 2007, 08:27, edited 1 time in total.
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Vimala Bulusu
- Posts: 200
- Joined: 15 Aug 2006, 12:11
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SrinathK
- Posts: 2481
- Joined: 13 Jan 2013, 16:10
Re: BEHAAG
One of the most organic rAgAs of all time. This would be one of the best examples to show just how vast the difference is between organic long running rAgAs with a lot of extra notes and more scalar ragas limited to their mela swaras.
behAg uses both M1 and M2 in phrases like P M2 G3 M1 G3 (this one phrase alone will give you the raga identity). It also uses both N2 and N3 (N2 is sparingly used and the raga will be fine even without using it). Eg. N3 S R2 N2, D - M2 P D2 M1, G3 or N3 S D2 N2 P or P D2 N2 D2 P
The arohana-avarohana sequence in the first post is quite a bit misleading. Ascending phrases include P N3 D S, G M P S, even S G3 M2 P (when we slide into each note from above). There is also a N3 S phrase that is very significant. Therefore both N3 D S and N3 D (S)N3 S are possible.
Despite using a twisted scale, behAg still allows dhATTu swaras (S G3 R2 M1 G3 P M2 D2 P N3 D2 S or N3 S D2 N2 P D2 M1 P G3 M1 R2 G3 - N3, S G3....) and non-scalar phrases like S N3 (D)P M1 G, or R2 M1 G3 (R) S or M2 D2 M2, or P R3 G3 M1 G3
Even more extreme phrases like P M2 M1 G or S N3 N2 D P M2 M1 G are also possible.
All this means that a singer can really experiment tremendously with this rAgA without any loss of identity.
It can be used for varnams, kritis, RTPs and tillAnAs - I don't know if anyone composed a heavy 2 kaLai in it, but why not?
Two compositions that best exemplify everything that behAg has to offer are a) LGJ's thillAnA in tisra naDai Adi tAlA : https://www.youtube.com/watch?v=jao6d6fcB58
And b) TRS's varnam in behAg, from Madrasana's channel (listen to that audio quality!) : https://www.youtube.com/watch?v=ESEJ1BdOVnM
behAg uses both M1 and M2 in phrases like P M2 G3 M1 G3 (this one phrase alone will give you the raga identity). It also uses both N2 and N3 (N2 is sparingly used and the raga will be fine even without using it). Eg. N3 S R2 N2, D - M2 P D2 M1, G3 or N3 S D2 N2 P or P D2 N2 D2 P
The arohana-avarohana sequence in the first post is quite a bit misleading. Ascending phrases include P N3 D S, G M P S, even S G3 M2 P (when we slide into each note from above). There is also a N3 S phrase that is very significant. Therefore both N3 D S and N3 D (S)N3 S are possible.
Despite using a twisted scale, behAg still allows dhATTu swaras (S G3 R2 M1 G3 P M2 D2 P N3 D2 S or N3 S D2 N2 P D2 M1 P G3 M1 R2 G3 - N3, S G3....) and non-scalar phrases like S N3 (D)P M1 G, or R2 M1 G3 (R) S or M2 D2 M2, or P R3 G3 M1 G3
Even more extreme phrases like P M2 M1 G or S N3 N2 D P M2 M1 G are also possible.
All this means that a singer can really experiment tremendously with this rAgA without any loss of identity.
It can be used for varnams, kritis, RTPs and tillAnAs - I don't know if anyone composed a heavy 2 kaLai in it, but why not?
Two compositions that best exemplify everything that behAg has to offer are a) LGJ's thillAnA in tisra naDai Adi tAlA : https://www.youtube.com/watch?v=jao6d6fcB58
And b) TRS's varnam in behAg, from Madrasana's channel (listen to that audio quality!) : https://www.youtube.com/watch?v=ESEJ1BdOVnM
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SrinathK
- Posts: 2481
- Joined: 13 Jan 2013, 16:10
Re: BEHAAG
Here's another up close and personal AlApana from First edition fine arts channel : https://youtu.be/vpoMFE5hrsc
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: BEHAAG
Behag is such a lovely ragam. Just forget asc-desc matters and relish the ragam. Point out if the following are behag at all ( they are, in my opinion).
1) Smt.MS in Sakunthali film( 1940).
sukumaaraa en thaapam thani Nee aRiyaayo maaraa
https://youtu.be/brf1UZ3bR7g
2) naaneke badavanu naaneke paradesi ( purandaradasa) by Smt.MS
https://sites.google.com/site/homage2ms ... e-badavanu
3) hai pyar tere duniya by Lata in Jaanjar (1953) music by CRamachandra
Aye pyar teri duniya se hum
https://youtu.be/-N_LpSg0670
1) Smt.MS in Sakunthali film( 1940).
sukumaaraa en thaapam thani Nee aRiyaayo maaraa
https://youtu.be/brf1UZ3bR7g
2) naaneke badavanu naaneke paradesi ( purandaradasa) by Smt.MS
https://sites.google.com/site/homage2ms ... e-badavanu
3) hai pyar tere duniya by Lata in Jaanjar (1953) music by CRamachandra
Aye pyar teri duniya se hum
https://youtu.be/-N_LpSg0670
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Sreeni Rajarao
- Posts: 1287
- Joined: 04 Feb 2010, 08:19
Re: BEHAAG
My first memory of Behag is Veene Sheshanna's tillAna performed on the veene - I was around 5 years old and enjoyed hearing it whenever it was taught or performed.
I give 2 links here for the same tillana:
https://www.youtube.com/watch?v=IAvE18rMOog
https://www.youtube.com/watch?v=2N-aiLvV34k
I give 2 links here for the same tillana:
https://www.youtube.com/watch?v=IAvE18rMOog
https://www.youtube.com/watch?v=2N-aiLvV34k
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
BEHAG
Hindusthani Music has given CM composers some wonderful raagams like Kaapi, kamaaj, HindoLam, Darbari Kanada, Jaijaivanthi, Paraj, Sindhubairavi ,Tilang, Bagesree, Maand, Jonpuri and Behag.
Quite unrelated to the theme of the song and the lyrics , these raagams evoke some moods. ( may be subjective ?)
Behag is one such wonderful ragam.
To the best of my knowledge, The Trinity have not used this raagam.
But Gopaalakrushna Bharathy , a contemporary of the Trinity, has used this raagam . ( He had learnt HM ) ( 'Aadum Chithambaramo' )
( If it is not a retuned version), Purandara Dasa ' Naneke badavanu'is a very nice song., rendered by Smt.MS
'Sukumaaraa' by Smt.MS in 'Sakunthalai' is worth listening again and again for the niraval and second stanza(mannar mannava)
https://youtu.be/ClUjUATxfDk
(Kumaran nadesan upload)
A few more in Behag may be found in
https://sites.google.com/site/hindustha ... home/behag
.
'Aranga un makiamaiyai in Meera (Tamizh) is another fine tune.
CRamachandra has given a wonderful tune sung by Lata in the film Jhanjar. ( pyar teri duniya')- 1955
https://youtu.be/iJqhmOQe8AM
Would welcome kruthis and other types of compositions in this ragam for reference and information.
( especially from post-trinity composers) ---of Mysore which had a relatively greater patronage to HM and HM musicians
----
Quite unrelated to the theme of the song and the lyrics , these raagams evoke some moods. ( may be subjective ?)
Behag is one such wonderful ragam.
To the best of my knowledge, The Trinity have not used this raagam.
But Gopaalakrushna Bharathy , a contemporary of the Trinity, has used this raagam . ( He had learnt HM ) ( 'Aadum Chithambaramo' )
( If it is not a retuned version), Purandara Dasa ' Naneke badavanu'is a very nice song., rendered by Smt.MS
'Sukumaaraa' by Smt.MS in 'Sakunthalai' is worth listening again and again for the niraval and second stanza(mannar mannava)
https://youtu.be/ClUjUATxfDk
(Kumaran nadesan upload)
A few more in Behag may be found in
https://sites.google.com/site/hindustha ... home/behag
.
'Aranga un makiamaiyai in Meera (Tamizh) is another fine tune.
CRamachandra has given a wonderful tune sung by Lata in the film Jhanjar. ( pyar teri duniya')- 1955
https://youtu.be/iJqhmOQe8AM
Would welcome kruthis and other types of compositions in this ragam for reference and information.
( especially from post-trinity composers) ---of Mysore which had a relatively greater patronage to HM and HM musicians
----
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Lakshman
- Posts: 14124
- Joined: 10 Feb 2010, 18:52
Re: BEHAG
Here is a partial list of songs by karnATakA composers.
Abhinandayami vihanga rajam - Bangalore S.Mukund
Ada hogona baro ranga odi hogalu bedo - Purandaradasa
Anjana tanuja -Ratnakara Tirtha
Ara sari ninage bommandadaolage - Purandaradasa
Arenu maduvaru ta - Purandaradasa
Artiyagide banni - Mahipatdas
Avane dhanya - Dsappadasa
Bailige bailagidu bailolage - Purandaradasa
Balaka priyane balaganapati - Ganapati Saccidananda
Baro krishnayya ninna bhaktara manege - Kanakadasa
Baro murari balaka shaure sada vichara - Vadirajasvami
Bevu belladolidalenu phala havige - Purandaradasa
Bhajare gopalam balam -Mysore Vasudevachar
Bhajare shankaram - R.K.Padmanabha
Bhavayeham mama - R.K.Padmanabha
Bhavayeham raghuviram shrikaram sevakarti - Mysore Vasudevachar
Bhayya jano - Bangalore S.Mukund
Datta namma tayi - Ganapati Saccidananda
Dattam dattam shrigurum - Ganapati Saccidananda
Daya leda napai dalachi vaccitinayya (tv) - Mysore Vasudevachar
Deva banda namma svami bandano - Purandaradasa
Dhaniya nodidenu venkatana - Purandaradasa
Dharabale - Patnakara tirtha
Ela larada - Vidyaprasanna Tirtha
Elliruva tande baro maruti - Purandaradasa
Elliruvano ranganemba samshaya beda elli bhaktaru - Kanakadasa
Elliruve tande baro maruti - Purandaradasa
Ellyadi bandya ni - Dasappadasa
Godadevi yemba - Bangalore S.Mukund
Gopiya bhagyavidu shripati ta shishu - Purandaradasa
Hara bhamini - Bangalore S.Mukund
Hari kunidanamma hari kunida - Purandaradasa
Hari narayana hari narayana hari narayana - Purandaradasa
Hogalihadi - Bangalore S.Mukund
Hondi badukiro raghavendra rayara -Jagannathadasa
Hontakari nineve ento hanumantaraya - Purandaradasa
Illi nodalu rama alli nodalu rama ellelli - Purandaradasa
Indire narahari - Ratnakara Tirtha
Isha ninna charana bhajane ashaiynda maduve - Kanakadasa
Ita mukhya prananatha - Purandaradasa
Itanaga krishna nathanu - Mahipatadas
Ivane pididu kondu - Purandaradasa
Jaganmohanane krishna krishna jagava palipane krishna - Purandaradasa
Kaliyugadali harinamava nenedare kula koti - Purandaradasa
Kaliyugadolu hari namava nenedare - Purandaradasa
Kande kandenu kodandapaniyanu - Purandaradasa
Kandu dhanyanade shri udupiya krishna - Mohanadasa
Kandu dhanyanadeno - Kamaleshadasa
Kandu kandu ni enna kaibiduvare krishna - Purandaradasa
Kannare kande achutana kanchi punya - Purandaradasa
Karadare barabarade guru raghavendra - Kamaleshadasa
Karunadhi enna poreye - Jagannathadasa
Karunanidhi enna poreye - Jagannathadasa
Katha shravana mado harikatha shravana - Purandaradasa
Kayo kayo kayo kamalayataksha - Jagannathadasa
Keliya bhagya - Purandaradasa
Keshava keshavanendu - Vidyaprasanna Tirtha
Kodo kodo kodo kodo ranga kodo -Purandaradasa
Krishna baro shri krishna baro krishnayya - Purandaradasa
Kshira sarathi shayana - Vidyaprasanna Tirtha
Madi madi madiyendu adigadiga haruve - Purandaradasa
Mahime yaridu - R.K.Padmanabha
Manuja sharira videnu sukha idu nenedare - Purandaradasa
Abhinandayami vihanga rajam - Bangalore S.Mukund
Ada hogona baro ranga odi hogalu bedo - Purandaradasa
Anjana tanuja -Ratnakara Tirtha
Ara sari ninage bommandadaolage - Purandaradasa
Arenu maduvaru ta - Purandaradasa
Artiyagide banni - Mahipatdas
Avane dhanya - Dsappadasa
Bailige bailagidu bailolage - Purandaradasa
Balaka priyane balaganapati - Ganapati Saccidananda
Baro krishnayya ninna bhaktara manege - Kanakadasa
Baro murari balaka shaure sada vichara - Vadirajasvami
Bevu belladolidalenu phala havige - Purandaradasa
Bhajare gopalam balam -Mysore Vasudevachar
Bhajare shankaram - R.K.Padmanabha
Bhavayeham mama - R.K.Padmanabha
Bhavayeham raghuviram shrikaram sevakarti - Mysore Vasudevachar
Bhayya jano - Bangalore S.Mukund
Datta namma tayi - Ganapati Saccidananda
Dattam dattam shrigurum - Ganapati Saccidananda
Daya leda napai dalachi vaccitinayya (tv) - Mysore Vasudevachar
Deva banda namma svami bandano - Purandaradasa
Dhaniya nodidenu venkatana - Purandaradasa
Dharabale - Patnakara tirtha
Ela larada - Vidyaprasanna Tirtha
Elliruva tande baro maruti - Purandaradasa
Elliruvano ranganemba samshaya beda elli bhaktaru - Kanakadasa
Elliruve tande baro maruti - Purandaradasa
Ellyadi bandya ni - Dasappadasa
Godadevi yemba - Bangalore S.Mukund
Gopiya bhagyavidu shripati ta shishu - Purandaradasa
Hara bhamini - Bangalore S.Mukund
Hari kunidanamma hari kunida - Purandaradasa
Hari narayana hari narayana hari narayana - Purandaradasa
Hogalihadi - Bangalore S.Mukund
Hondi badukiro raghavendra rayara -Jagannathadasa
Hontakari nineve ento hanumantaraya - Purandaradasa
Illi nodalu rama alli nodalu rama ellelli - Purandaradasa
Indire narahari - Ratnakara Tirtha
Isha ninna charana bhajane ashaiynda maduve - Kanakadasa
Ita mukhya prananatha - Purandaradasa
Itanaga krishna nathanu - Mahipatadas
Ivane pididu kondu - Purandaradasa
Jaganmohanane krishna krishna jagava palipane krishna - Purandaradasa
Kaliyugadali harinamava nenedare kula koti - Purandaradasa
Kaliyugadolu hari namava nenedare - Purandaradasa
Kande kandenu kodandapaniyanu - Purandaradasa
Kandu dhanyanade shri udupiya krishna - Mohanadasa
Kandu dhanyanadeno - Kamaleshadasa
Kandu kandu ni enna kaibiduvare krishna - Purandaradasa
Kannare kande achutana kanchi punya - Purandaradasa
Karadare barabarade guru raghavendra - Kamaleshadasa
Karunadhi enna poreye - Jagannathadasa
Karunanidhi enna poreye - Jagannathadasa
Katha shravana mado harikatha shravana - Purandaradasa
Kayo kayo kayo kamalayataksha - Jagannathadasa
Keliya bhagya - Purandaradasa
Keshava keshavanendu - Vidyaprasanna Tirtha
Kodo kodo kodo kodo ranga kodo -Purandaradasa
Krishna baro shri krishna baro krishnayya - Purandaradasa
Kshira sarathi shayana - Vidyaprasanna Tirtha
Madi madi madiyendu adigadiga haruve - Purandaradasa
Mahime yaridu - R.K.Padmanabha
Manuja sharira videnu sukha idu nenedare - Purandaradasa
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KKishore
- Posts: 91
- Joined: 31 Aug 2021, 07:19
Re: BEHAAG
There's a Pria Sisters bhajan "Tero chakar kare Pukar Bhavani Beg Padhorona.."
Is above sung in Behaag or Bihag ragam?
If not can anyone tell the right ragam.its available in youtube.
Also there's an old tamil movie song "Unnai ethanai murai paarthalum" ,is it behaag too?
Is above sung in Behaag or Bihag ragam?
If not can anyone tell the right ragam.its available in youtube.
Also there's an old tamil movie song "Unnai ethanai murai paarthalum" ,is it behaag too?