Kum. Aravinda Rangarajan (vocal) & team from Chennai - Homage to Mysore Vasudevacharya Series

Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
17th July 2024, 8:00 PM IST (10:30 AM EDT)
Kum. Aravinda Rangarajan (vocal) - Chennai
(Disciple of Dr. Rajkumar Bharathi)
Chi. Bhargav Vignesh (violin)
(Son and Disciple of Vid. CK Vijayaraghavan)
Chi. B Sai Sundar (mridangam)
(Disciple of Vid. Cherthalai Anathakrishnan)
Premiered on KZbin on Parivadini Music channel:
17th July 2024, 8:00 PM IST (10:30 AM EDT)

[@kumarrayaprolu1251]

Excellent concert by Vidushi Aravinda and her team, with beautiful singing and able instrument support. Very good choice of kritis with "e tavuna ra" in Kalyani ragam garnering the best honours for the evening.

[@JS-hl1oc]

Wonderful singing!! Wonderful support on Violin and Mirudhangam!

[@suloramgopal8638]

Very sweet voice ❤🎉

[@mysuruvasudevacharya]

Sindhubhairavi is one of the most interesting and colourful of ragas. A melange of swaras finds it way into this accommodative raga. Sindhubhairavi is a derivative of the Asavari thaat, and the conventional Aarohana / Avarohana being SRGMDNS / SNDPMGRS. The raga features the Sadja, Suddha and Chatusruti Rishabha, Suddha Madhyama (and Prati Madhyama in special phrases), Pancama, Suddha Dhaivata (and Chatusruti Dhaivata in special phrases), Kaisiki Nishada (and Kakali Nishada too), in fact, almost everything! This raga is suited for lighter pieces, exudes bhakti and sringara rasas, and could melt mountains. Classical compositions that are often sung in Sindhubhairavi include ‘Venkatachala Nilayam’ (Purandaradasa), ‘Kalyana Gopalam’ (Narayana Theertha), ‘Visweswara’, ‘Bhaja Bhaja’ and ‘Ramachandra Prabhu’ (Swati Tirunal), ‘Manadhirkugandhadhu’ (Tanjore Sankara Iyer), ‘Kantamam’ (Mayuram Viswanatha Sastri) among several others. One may recall Parvin Sultana’s rendition of the Punjabi anga ‘Bhavani Dayani’, Bhimsen Joshi’s abhang ‘Jeekaranjale’, and Kishori Amonkar’s rendition of ‘Koyaliya’, all scintillating pieces in this raga. Most ragamalika pieces also feature this raga. One of the most well-utilised ragas in film music would be Sindhubhairavi. M.S. Subbulakshmi's renditions of ‘Anandam En Solvene’ from Sakuntalai, ‘Brindavanathil Kannan Valarndha’ and ‘Kaatrinile’ from Meera, are exemplary depictions of this raga. M.K. Tyagaraja Bhagavatar’s renditions in Sindhubhairavi are some of the most refreshing, including ‘Bhoomiyil Maanida’ from Ashok Kumar, and ‘Vadhaname Chandra Bimbamo’ from Sivakavi. In ‘Vadhaname’, the complete octave is explored with splendid vocalisation in ‘...Madura Gaanamo…’, in lightning speed. Bharatiar’s ‘Theeratha Vilayattu Pillai’ in ragamalika featured Sindhubhairavi as the first raga in D.K. Pattammal’s voice (in the film Vedhaala Ulagam). ‘Sitham Ellam Enakku’ from Thiruvarutchelvar is a riveting piece, a composition of K.V. Mahadevan, who also composed ‘Manappara Madu Katti’ fromMakkalai Petra Magaraasi in this raga. The duo M.S. Viswanathan-Ramamoorthy has composed several pieces in this raga, including ‘Ennai Yarendru’ from Paalum Pazhamum, ‘Varayo Thozhi’ from Paasa Malar, and ‘Aaru Maname’ fromAndavan Kattalai. The use of the shehnai in ‘Varayo Thozhi’ is noteworthy. ‘Kalyana Saapaadu’ from Major Chandrakanth in the music of V. Kumar is a foot-tapping number in this raga, and one notices that most pieces in this ragas start at the Gandhara-Madhyama region and proceed to the Madhya-sthayi Sadja. M.S. Viswanathan's ‘Allah Allah’ from Mohammed-bin-Tughlaq, ‘Raman Ethanai Ramanadi’ fromLakshmi Kalyanam and ‘Unakkenna Mele Nindraai’ from Simla Special are evergreen pieces in Sindhubhairavi. In ‘Unakkenna’ the refrain ‘Thaai Madiyil Pirandom...’ ending with the thom-tha-dhomjathi beautifully encompasses the entire landscape of this raga - sheer genius. ‘Thiruthani Muruga’ from Neelagiri Express is a splendid composition in this raga by T.K. Ramamoorthy who passed away. Ilaiyaraaja’s forays into this raga reveal wondrous pastures and a few breathtaking examples of his many compositions in this raga are ‘Valaiosai’ from Satya in which the fusion of the raga with the guitars and Lata Mangeshkar’s voice make magic, ‘Shenbagame’ from Enga Ooru Paatukaaran, ‘Muthumani Maala’ from Chinna Goundar, ‘Madha Un Kovilil’ from Achaani (in this piece the Antara Gandhara is beautifully touched upon in ‘Thaai Endru Unnaithaan’), ‘Naanoru Sindhu’ (with a folksy touch) from Sindhubhairavi, and ‘Oru Naalum Unai’ from Ejamaan. Ilaiyaraaja has used this raga for even a sensuous number ‘Aatama Therottama’ from Captain Prabakaran. A.R. Rahman’s ‘Nenjinile’ from Uyire and ‘Margazhi Thingal Allavaa’ from Sangamam show varied hues of this rather, the latter being a more conventional approach to the scale. Harris Jayaraj has tried his hand in Sindhubhairavi in ‘Ivan Dhaanaa’ from Saamy and ‘Theeye Theeye’ from Maattrraan. In Hindi film music too this raga has been widely used, and one recalls ‘Joth Se Joth’ from the film Sant Gnyaneshwar in the lilting voices of Lata and Mukesh. ‘Mile Sur Mera Tumhara’, a multilingual song that is close to our hearts has been composed in this raga by Louis Banks and sung by several legends in Indian music, including Bhimsen Joshi and M. Balamuralikrishna. Sindhubhairavi raga, a personal favourite, has innumerable memorable melodies, of which only a fraction has been mentioned in this article.

[@gopalakrishnanvaidyanathan9157]

Excellent concert

[@mysuruvasudevacharya]

Soooooooooper !!!!

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Lovely Alapanai !!!

[@viv_vivekananda7737]

Exciting young talent - well done! 😍

[@mysuruvasudevacharya]

She & Accompanying aretists are Excellent Combination

[@mysuruvasudevacharya]

Superb Start !!!

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Punnagavarali is a janya raga of the 8th Melakarta raga Hanumatodi. Punnagavarali raga is associated with karuna rasa and snakes (naga means snake). Snake charmers play this scale. In wedding ceremonies, a piece called the Odam usually played at the muhurtam, is often in Punnagavarali. This is an ancient raga and traditional Tamil pieces such as Nondichindu are also set in this Punnagavarali is a nishadantya raga (starts and ends in a single octave, nishada to nishada) and is hence usually presented in the madhyama sruti. In the ascent the chatusruti rishabha also occurs, sometimes. The raga's regal presence is best felt in slow phrases. The notes include kaisiki nishada, sadja, suddha rishabha, sadharana gandhara, suddha madhyama, pancama and suddha dhaivata. Its ārohaṇa-avarohaṇa structure is as follows ARO : N₂ S R₁ G₂ M₁ P D₁ N₂ AV : N₂ D₁ P M₁ G₂ R₁ S N₂ Punnagavarali has some resemblance to Nadanamakriya.

[@mysuruvasudevacharya]

On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking Kum Aravinda Rangarajan (Vocal) and team from Chennai TN Special Carnatic Concert on Today the 17th July 2024, Wednesday 8:00 PM IST 10:30 AM EDT Kum Aravinda Rangarajan (Vocal ) (Disciple of Dr.Rajkumar Bharathi) Chi Bargava Vignesh V (Violin) ( Son and Disciple of Vid. CK Vijayaraghavan) B Sai Sundar (Mridangam) (Disciple of Vid Cherthalai Anathakrishnan) Enormous Ragams Covered . Bhairavi, Gambheeranatai, Chintamani, Sri Ranjini, Jaganmohini, Kalyani, Punnadavarali, Chenchurutti, Yaman Kalyani, Sindhubhariavi, Sowrashtram. All the Best wishes to them in their Future Endeavors We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..

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Very Nice Alapana & now Replication in Violin !!!! Wah !!

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CHINTHAMANI - JANYA OF MELA (56) SHANMUKHAPRIYA RAGAM A very rare raga, created by Shyama Sastri; his lone composition still maintains the title of ‘Eka raga krithi’. It is not because there is no other composition in the raga, but no other krithi is heard sung nor become popular. This raga is considered normally as a janya of mela ragam (56) Shanmukhapriya (the prathimadhyama of Natabhairavi raga). Accordingly, many consider ‘chinthamani’ raga as the prathimadhyama of ragam Bhairavi (containing both D1 and D2). There is little confusion made by many of the internet sites; though they state that Chinthamani as janya of Shanmukhapriya, but giving the notes of a Hemavathi origin. The widely accepted ragaswaroopam is: S R2 P M2 P D2 N2 S // S P D1 P M2 G2 R2 S The normal specification from the various sites show the Hemavathi origin: S G2 R2 G2 M2 G2 R2 G2 P M2 P D2 N2 S // S N2 D2 P M2 G2 R2 S While SSP does not give any details about this raga, Ragapravaham shows this under various melas as below: 1. under mela (7) Senavathi, S R1 G2 M1 S M1 P D1 N1 S // S D1 N1 P M1 G2 R1 S 2. under mela (26) Charukesi, S R2 G3 M1 S M1 P D1 N2 S // S D1 N2 P M1 G3 R2 S 3. under mela (51) Kamavardhani, S G3 M2 D1 N3 S // S N3 D1 M2 G3 R1 S 4. under mela (52) Ramapriya, S G3 M2 P D2 N2 // D2 P M2 P G3 R1 S N2 S 5. under mela (56) Shanmukhapriya, S R2 P M2 P D1 N2 S // S P D1 P M2 G2 R2 S 6. under mela (59) Dharmavathi, S R2 M2 D2 N3 S // S N3 D2 M2 G2 R2 S Compositions: Devi brova samayamide - shyama Shastri Anni nivanuchu - Sriramachandra Murti Sistla Kannadi vendumo velava - Chitravina N.Ravikiran Ne talanu ika talanu ninnu(padam) - R.Venugopal Om shakti ganapatim - R.K.Suryanarayana Mukti dayini moda vahini(tv) - R.Venugopal Are re kodandarama (gitam)- Govindacharya Shriranga natha pundarikaksha(gitam) - Vinai Shesha Iyer (It can be seen that except the Shyama Sastri composition, none of the others are popular)

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This song describes the qualities of Lord Rama, the avatar of Lord Vishnu, who was an exemplary model of Dharma. “Shri Ramachandra Kripalu” or “Shri Ram Stuti” is a part of Vinaya Patrika, a devotional poem composed by Goswami Tulsidas. Vinaya Patrika talks about the personalities of Ramchandra, Krishna, Janaki, Parvati, Hanuman, etc. It contains devotional hymns and prayers dedicated to Sri Rama in a spirit of extreme humility (Vinaya). He extolls Rama’s beauty in wonderful verse, calling him equal to ‘innumerable’, like a ‘lustrous white lightning in his yellow garments’. The sounds of the words ring as pleasingly as the description of his Lord Shri Ram Stuti glorifies Lord Rama and his characteristics to the best. This sixteenth-century hymn was composed in a mix of Sanskrit and Awadhi languages

[@mysuruvasudevacharya]

Innumerable Janya Ragas A mELa rAgam with immense scope for detailed AlApana, kalyANI is a parent scale for a huge number of janya rAgams. There are more than 120 Janya Ragams for Kalyani, but the most popular ones are: Saranga, Mohana Kalyani,Yamuna Kalyani, Hamir Kalyani, Vandanadharini,Sunadavinodini, SarangaTarangini, Amrta Behag,hamsavinOdinI, sudhA kalyANI and Bhoop Kalyani. D. Pattammal and M. Dandapani mention 122 Janya Ragams of Kalyani in their book Ragapravaham. Mohana Kalyani is a pleasing ragam obtained by fusing together Mohanam and Kalyani. There is also a Hamsa Kalyani, a creation of Ashok Madhav(Pittsburgh), which is obtained by the fusion of Hamsadhwani and Kalyani.

[@bharathysubramanian1943]

“Kumari Aravinda Natarajan’s concert is praiseworthy. Nithaanamaagavum azhagaagavum paadiyuLLaarGaL. VaazhththukkaL pala.” - “M.K.Subramanian.”

[@mysuruvasudevacharya]

Sriranjani Ragam The scales of Sriranjani are as follows : Aro : S R2 G2 M1 D2 N2 S’ Av : S’ N2 D2 M1 G2 R2 S It is a janya raga, derived from Kharaharapriya Sriranjani means ‘that which please Goddess Sri (Lakshmi)’. A raga with a certain verve, it is often sung at the first half of the concert to infuse energy into the concert. A raga having six notes in the ascent as well as the descent (Shadava), with symmetrical tetrachords, is Sriranjani. It is known to please goddess Lakshmi and ushers in prosperity and auspiciousness. The notes present in this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Chatusruti Dhaivata and Kaisiki Nishada. The Pancama is eschewed in this scale making it more interesting, the beauty of the raga shining forth when the phrase MD, culminates with a little gamaka at the nishada. Sriranjani has several allied ragas including Abhogi and Bagesri. These ragas are different in their own striking way, but to an untrained ear these scales may sound very similar. While in Abhogi the Nishada is eschewed, Bagesri is a different ball-game altogether, the occasional Pancama appearance, the Rishabha occasionally being skipped in ascent, all contributing to a very different flavour, predominantly North Indian. Sriranjani is, however, a typically South Indian raga, as authentic as idli-sambar. The Classical kritis in Sriranjani include ‘Sogasuga’, ‘Marubalka’, ‘Brochevarevare’, ‘Bhuvini Sasudane’, and ‘Sariyevvare’ of Thyagaraja, ‘Sri Ramachandro’ and ‘Ni Sati Deiva’ of Dikshitar, and ‘Ini Oru Kanam’ of Papanasam Sivan. Dikshitar’s compositions are usually in Sanskrit, the aforementioned piece ‘Ni Sati’ being a Telugu piece, a rarity. ‘Kanavendamo’ of Gopalakrishna Bharati is a philosophical piece in this raga. Sriranjani adds pep to any kutcheri and is usually sung at the poorvangam (first half) of concerts.

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Kum. Aravinda Rangarajan (vocal) - Chennai (Disciple of Dr. Rajkumar Bharathi)

[@mysuruvasudevacharya]

Though Adiyappayya has composed many krithis and varnams, his varnam in Bhairavi raga “Viriboni”, set to Khanda Jathi Ata Talam, the first of its kind, remains unsurpassed.

[@mysuruvasudevacharya]

Kum Aravinda Rangarajan (Vocal) and team from Chennai TN Special Carnatic Concert on Today the 17th July 2024, Wednesday 8:00 PM IST 10:30 AM EDT

[@mysuruvasudevacharya]

Adiyappayya is well known for contributing the musical form Tana Varna. For this reason, he is known as the “Tana Varna Margadarsi”. He was also a great Vainika.

[@mysuruvasudevacharya]

On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming

[@bharathysubramanian1943]

“All songs sung by Kumari Rangarajan & Team are highly praiseworthy. AvaRgaL naRpaNi thodara nal vaazhththukkaL.” - “M.K.Subramanian.”

[@mysuruvasudevacharya]

Comments :- sundarula bhajimpavE - ‘worship these sapta svara divinities’ - nAdOpAsana. nAbhi, hRt, kanTha, rasana and nAsa - SrI tyAgarAja has only mentioned the abodes from where (or path through which) sapta svara are vocalised. Further, he also mentions ‘Adula’ meaning etc. It not clear whether this means ‘mUlAdhAra’. SrI tyAgarAja specifically mentions the place of origin of sapta svara as ‘mUlAdhAra’ (mUlAdhAraja) in kRti ‘svara rAga sudhA’ - rAga SankarAbharaNaM. In the same kRti, SrI tyAgarAja mentions about the abodes of sapta svara - ‘sapta svara gRhamulu’; it is not clear whether the seven cakras (of kuNDalini yOga) are meant to represent the sapta svaras ; if that be so the correspondence would be - mUlAdhAra - sa; svAdhishThAna - ri; maNipUra - ga; anAhata - ma; viSuddhi - pa; AjnA - da; sahasrAra - ni. Further, it is not clear how they are to be related to mUlAdhAra, nAbhi, hRt, kanTha, rasana and nAsa mentioned in this kRti. In lalitA sahasranAmaM, mother is called ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikharI rUpA’. The transcendent Word - above other lower stages of speech known as paSyanti (inaudible stage), vaikharI (uttered audible speech) and madhyamA (intermediate stage between paSyanti and vaikharI)”. (Translation by Swami Tapasyananda) Discourse of Kanchi Paramacharya Chandrasekharendra Saraswati (Page 30) on ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikharI. Article on 'sapta svaras' and their relation to the seven cakras. Details regarding ‘anAhata nAda’ may be found in the e-book ‘kuNDalini yOga’ by Swami Sivananda. As sapta svara belong to the category of 'ahata nAda' (caused sound), it is only at vaikharI stage that audibility is possible. gAyatrI hRdayamuna - This refers to nAdOMkAra which is the nature of the parabrahman (sadASiva mayamagu nAdOMkAra) - kRti ‘rAga sudhA rasa’. In the kRti ‘mOkshamu galadA’, SrI tyAgarAja states - prANAnala saMyOgamu valla praNava nAdamu sapta svaramulai paraga “Due to fusion of vital force with fire (energy), the sound of OM has elaborated into sapta svara.”

[@mysuruvasudevacharya]

Senjurutti The Raga known as as Chenchurutti, Shenjurutti etc. It is a janya raga, derived from Raga Harikambhoji 28th Mela Aro : D2 S R2 G3 M1 P D2 N2 Av : N2 D2 P M1 G3 R2 S N2 D2 P D2 S This raga derived from folk music and has a pleading note to it. An example of traditional folk music is the delightful Kavadi Chindu Valli Kanavan Perai set to this raga. Tyagaraja has composed Rama Rama Rama RaRa and Navaneeta Chora in this raga. Oothukadu Venkata Subbaiyer’s Pullay Piravi and Maadu Meikum Kanna are popular. Though there are other Krithis As generally percived Hindustani Jhinjoti is nowhere close to Senchuriti . In that respect, it is more like yadhukula kambhoji , which shines well in vilamba kala

[@mysuruvasudevacharya]

Raga Gambheera Nattai Janyam of 36th mela Chala Nattai. Alias: gambheeranattai, gambeera-nattai, gambeeranattai, gambhira-nattai, Aro: S G3 M1 P N3 S Av: S N3 P M1 G3 S Gambheera Nattai is closely aligned to Nattai. One of the important functions of this raga is in the playing of Mallari, the processional music of temples played on the Nadaswaram. . Well known kritis in this raga are Sri Vighna Rajam Bhaje by Oothukadu Venkata Subbaiyer and Sri Jalandharam by Jayachamara Wodayar Film Songs Just Few of them Maha Ganapathim (Sanskrit) Film: Sindhu Bhairavi Composer: Muthuswamy Dikshitar Narumugaye (Tamil) Film: Iruvar Music Director: A.R.Rahman Panivizhum Malar Vanam (Tamil) Film: Ninaivellam Nithya Music Director: I.Ilaiyaraja Thanga Magan Ingu (Tamil) Film: Badshah Music Director: Deva Chale Chalo (Hindi) Movie: Lagaan Music Director: A.R.Rahman Gopangane Atmavile (Malayalam) Film: Bharatham Music Director: M.Raveendran Sreerama Naamam (Malayalam) Film: Naarayam Music Director: Johnson Chennai Sentamizh (Tamil) Film: M. Kumaran Music Director: Srikanth Deva

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Now Soooper Thani by Chi. B Sai Sundar (mridangam) (Disciple of Vid. Cherthalai Anathakrishnan)

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Raga Bhairavi Janyam of 20th mela Natabhairavi Aro: S G2 R2 G2 M1 P D2 N2 S Av: S N2 D1 P M1 G2 R2 S Bhairavi can be likened to a prayer, a divine call from the soul to the supreme Brahman. Named after the primordial Mother goddess herself, this raga is majestic in structure and lofty in stature - an imposing combination that can only be fathomed by the receptive mind. The notes that occur in this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Suddha Madhyama, Pancama, both Dhaivatas (Shuddha and Chatusruti), and Kaisiki Nishada. The jagged arrangement of the Gandhara and Rishabha (SGRG) in the ascent adds colour and spunk to this raga's already gargantuan personality, while the Suddha Dhaivata in the descent adds elusive charm. Replete with gamakas or oscillations, this is a ghana raga, heavy and heady. Bhairavi occupies a place of pride in Carnatic music. Several compositions come to mind in Bhairavi, the important ones being ‘Balagopala’ and ‘Chintayamam’ of Dikshitar, ‘Koluvaiyunnade’ and ‘Rakshabettare’ of Thyagaraja and ‘Sari Evaramma’ and ‘Kamakshi’ (swarajati) of Shyama Sastri. Students of music over the ages have often found themselves struggling to master the complex ‘Viriboni’ ata tala varnam. Other well-known pieces include ‘Thanayuni Brova’, ‘Upacharamu (lanu)’, ‘Yaaro Ivar Yaaro’. A raga like Bhairavi is difficult to visualise in commercial cinema. A highly classical approach is required while using this scale and an added constraint would be the tough raga grammar that has to be followed uncompromisingly. Notwithstanding such restrictions, the beauty of this raga has attracted a few film composers to try their hand at it. ‘Unnai Kandu Mayangadha’ from the film Ashok Kumar sung by M.K. Thyagaraja Bhagavatar is an outstanding example of Bhairavi in film music. Brimming with sringara rasa, this composition of Papanasam Sivan begins in the upper octave with the key phrase “GRS...NRSNDP..” In the line ‘Nadai Azhagilum..’ the gamaka at the Nishada in conjunction with the Dhaivata is executed with elan. One of the most spectacular forays into Bhairavi on the silver screen was that of T. R. Mahalingam in the stunning ‘Kaayaatha Kanagathe’ viruttam from the film Sri Valli (music G. Ramanathan). The countless brighas and lightning fast sweeps across the scale leave us in raptures. Even now, after nearly 67 years of its release, this song is a hot favourite among music lovers, an example of the timelessness of raga-based melodies.

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PLEASE POST your valuable comments also in the above "Comment" Section of this Video, ”

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Pavamaana Suthudu Pattu, Pathara Vinthiya Mulaku Nee nama rupamulaku, Nitya Jaya Mangalam Prahlad NaraDadhi, Bhaktulu Pogadu Sandhu Nee nama rupamulaku, Nitya Jaya Mangalam Rajeeva Nayana Thyaga, Rajathi Vinudhamaina Nee nama rupamulaku, Nitya Jaya Mangalam

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From Friday to Sunday there are 5 Priemieres Please watch Thanks !!!

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karuNArasa poorna smarahara nagabharana Oh Siva the lord of Parvati, you are protector of devotees. You are full of compassion. I meditate upon Hara who has serpent as ornament

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This Krithi is on Lord Shiva of Chidambharam Temple Since ancient times, it is believed that this is the place where Lord Shiva and Parvathi are present, but are invisible to the naked eyes of normal people. In the Chidambaram temple of Lord Nataraja,

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Chi. Bhargav Vignesh (violin) (Son and Disciple of Vid. CK Vijayaraghavan)

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We have two more songs Please Stay with us

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Vaikunta pathi thannil - Punnaga Varali - Aadi

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Kum Aravinda Rangarajan (Vocal ) (Disciple of Dr.Rajkumar Bharathi)

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Chi. B Sai Sundar (mridangam) (Disciple of Vid. Cherthalai Anathakrishnan)

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Sri Ramachandra kripalu Goswami Tulsidas Bhajan This Bhajan is Sung in Yaman Kalyani, Kalyani & Behag etc

[@jagannathrao6689]

Excellent. Melodious. शुभकामनाएँ.

[@RamanujanTV]

Excellent rendition. Very good support by violin and mridangam artists. Divine singing .

[@mysuruvasudevacharya]

Chintamani is another rarely heard ragams. This is a janya of Shanmukhapriya. A night raga that evokes karuna rasa. Syama Sastri is believed to be the only composer to have composed a kriti in this raga as of earlier. This song is also rendered in different styles with different notations by various vidwans. The only krithi available in this ragam is Shyama Sastri's Devi Brova. There does not appear to be any Hindustani raga close to this. Similarly there are no film songs in this ragam.

[@mysuruvasudevacharya]

Very Interesting Episode :- During Sharabhoji’s reign (1777 AD - 1832AD), a musician named Bobbili Keshavayya, visited his court. Keshavayya with his Flag on the intrument was well known for challenging musicians to the King . Since no other musician in Tanjavoor court were ready to face Keshavayya who was known for his expertise at singing pallavis with extremely complicated rhythmic structures, the responsibility fell on Syama Sastry. In the music-duel that followed, Keshavayya sang a pallavi in Simha nandana tALa, which Shama Sastry comprehended and reproduced. Now, it was Shama Sastry’s turn to challenge Keshavayya next day. That night during his prayers to Goddess Kamakshi, Syama Shastry sang a new composition in a brand new raga - Chintamani, pleading her to protect him at this critical moment (dEvI brOva samayamidE ati vEgamE vacci) In Fact Syama Sastry has saved the King, Kingdom and Court Musicians. Kingldom would has otherwise fallen into the hands of Keshavayya

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Prayogas/Sancharas Singing the raga, by omitting the shadja and/or panchama, gives Kalyani a special flavour. This can be heard in almost every recording featured. Janta (pair) swara combinations like r r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped deliberately) like n g” r” n d n r” n d m and g n d m g r are prominent The signature phrases of Kalyani include gmP - ddpmGr - nRgmpmgR - pmGrs - snsrgrsnd - dnsrGr - gmpdm, - dpmgR - gND - gDpmgr - gmpdNd - pdNs’ - ns’R’ - g’r’G’r’s’nd - dg’r’G’r’s’nd - mdnr’ndpmgr - nrgMGr - pmGrs. GmpdnS’ - s’ndPmgr - gmpdnDPm - pdnS’ - s’nD - dndg’r’s’nD - dns’r’s’ndPmgr - gmgnDpm - ddpmGr - nrgmPm gg rr S - ndrS. Kalyani is a major raga and is capable of being used in practically any kind of composition from common gitam taught to beginners of Carnatic music to complicated kritis, ragam-tanam-pallavis, padams and javalis etc.

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The composer of the Bhairavi Ata Tala Varnam is Pachchimiriyam Adiyappayya who lived in the 18th century.He is the guru of Syama Sasthry, one of the trinities of the Carnatic Music.

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Ramanujar Kilikanni - Senchuruti - Aadi

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Sourashtram raga Janyam of 17th Mela Suryakantham This is the Janya ragam of the melakartha ragam Suryakantam. Though it is a janya ragam, Aro: S R₁ G₃ M₁ P M₁ D₂ N₃ S // Av: S N₃ D₂ N₂ D₂ P M₁ G₃ R₁ S it is much more popular than its melakarta ragam and apart from Sowrashtram, only Vasantha is the other Janya of Suryakantam, which is popular. Though there are several compositions in Carnatic music in this slow moving ragam, it is not sung very often in concerts, may be because it offers limited scope for elaboration.. In Thevaram- the collection of songs of Saivite Saints Nayanmars- it is popular and it is known as Viyazhakkurinji Pann.

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Chi B Sai Sundar (Mridangam) (Disciple of Vid Cherthalai Anathakrishnan)

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Chi Bargava Vignesh V (Violin) ( Son and Disciple of Vid. CK Vijayaraghavan)

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JAGANMOHINI - JANYA OF MELA (15) MAYAMALAVAGOULA Jaganmohini, though there are a few compositions, is not a very familiar ragam - except for the Thyagaraja krithi, “Shobhillu Sapthaswara”. This raga is a janya of mela (15) Mayamalavagoula, with following notes: Aroh: S G3 M1 P N3 S // Avaroh: S N3 P M1 G3 R1 S Ragapravaham also confirms the same scale; but it is also shown as a janya of mela (64) Vachaspathi raga : S G P N S - S N D P M G R S Also, a raga with name, ‘Jaganmohana’ also is shown under mela (66) Chithrambari, with similar notes as the conventional specification: S G M P N S - S N P M G R S This raga is not to be confused with ‘Jaganmohana’, which is a janya of mela (38) Jalarnavam, known as Jaganmohanam in Dikshithar system. (Dikshithar krithi, “Sri Vidya Rajagopalam” is composed in Jaganmohanam). Govindacharya has written a Lakshana Geetham for Jaganmohini raga, “ArE murArE garuDagamana”: "ArE murArE garuDagamana sarasija nayana jagannAthurErE antara gAndhAra kAkali svara itara shuddha ArOha ri dha varjita avarOha dha varjita sagrahanyAsAmsha tripuTa yukta mAyAmALavagauLa mEla janita jaganmOhini rAgamavadhAraya shrI rAma namO namO". As already said, there are considerable number of compositions available in this raga; but many of them are not heard at all; some are seen sung by musicians, but not heard in concerts. Compositions available: Shobhillu sapthaswara - Thyagaraja Mamava sathatham Raghunatha - ,, Daya Juda samayamithe - Shyama Sastri Sivakama sundari - G.K.Bharathi Pahi Tharkshupuralaya - Swathithirunal Pari pahimam - Mysore Vasudevacharya Gajanana pahi sada - Lalitha dasar Daya payo nidhe mampahi - Meesu Krishna Iyer Pranoumi sathatham - Dr. V.V.Srivatsa Arivila pittar - Arunagirinathar Kalai magale - Periyasami Tooran Marudamalai vasan - Kovai Subri Kalai Vani arula - Sudhananda Bharathi Sree shubhadevi - Muthaiah Bhagavathar

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Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋

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​​Next is the Main Krithi of the Concert !!!

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Other rare compositions in this Raga - Anni nivanuchu- -Sriramachandra Murti Sistla Are re kodandarama (lng)-Triputa-Govindacharya Devi brova samayamide ati vegame vachchi-Adi-Shyama Shastri Kannadi vendumo velava en kuraigal kana-Adi-Chitravina N.Ravikiran Mukti dayini moda vahini muladhara vasini (tv)-Ata-R.Venugopal Ne talanu ika talanu ninnu judani bratuku (p)-Chapu-R.Venugopal Om shakti ganapatim-Adi-R.K.Suryanarayana Shriranga natha pundarikaksha sarangapanim (g)-Triputa-Vinai Shesha Iyer

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P devi, brova samayamide. ati-vegame vacci na vetalu dIrcci karunimpave. zagkari! kamaksi! O Goddess! This is the very time to protect me; to come very quickly, remove my grief, and have mercy. O Śaṅkarī! O Kāmākṣī!

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Etavunara Ragam Kalyani Adi Talam Thyagarajar Krithi In this kruthi Tyagaraja asks Rama where He actually dwells and in which form He is.

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AP para vasudevaradhana dhureena kara dhruta harina kalimala harana He is great devotee of Vasudeva. He holds deer. He is destroyer of evils of Kali age.

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Kum Aravinda Rangarajan (Vocal ) (Disciple of Dr.Rajkumar Bharathi Grandson of Mahakavi Subramania Bharathi

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Venkatachala Nilayam Vaikuntha Pura Vasam Ragam Sindhu Bhairavi 10th Mela Janya Adi Talam Purandaradasaru Krithi

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Girija ramana Ragam Gambheeranatai Adi Mysore Vasudevacharya Kruti

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Shobillu saptha swara Ragam Jaganmohini Thyagarajaru Krithi

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Differences between Kalyani and Sankarabharanam. Technically, the fundamental difference between Kalyani and Sankarabharanam is the Madhyamam. Kalyani has Prathi Madhyam or Teevra Madhyamam, whereas Sankarabahranam has Suddha Madhyamam. Both are melakartha ragas and Sankarabharanam(29th mela) is the Suddha madhyama counterpart of Kalyani, all other swaras remaining the same. Sankarabharanam has the jeeva swara as Gandharam which is as still as a rock. There is absolutely no oscillation for Gandharam in Sankarabharanam, where as Kalyani is a sarva swara Gamaka Raga (Courtesy : South Indian Music-P.Sambamoorthy) where all notes are oscillated. According to Subbarama Deekshithar G and N are the Jeeva Swaras of Kalyani with strong oscillation. These two form a set of complementary mELams are like Shakti and Shiva. If sha”nkarAbharaNam is shiva’s favourite, then, Goddess is very much pleased with kalyANi, which also bears her name! In a Lec-Dem, Prince Ramavarma quotes that ” in most ragas where there is gamakam, the rule goes that when one note is steady, the next note will oscillate. Here Kalyani and Thodi are exceptions to this rule. One of the classical examples of this gamaka pradhaana raga, is the ata thala varnam by Pallavi Gopala Iyer where all notes are oscillated. Among the prati madhyama rAgAs, it is kalyANi alone that is able to stand equal to the mighty shuddha madhyama rAgas such as Todi, Kamboji, Bhairavi and Shankarabharanam in stature. The variety, the depth and the myriad feelings it is capable of portraying has made the raga a perennial favourite of musicians for centuries.

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C maha panchaksharee mantra moorte maha bhakta kounteya nuta keerte mahaganapati guha sevita moorte mahadeva parihruta deenajanarte mahanandi bhrungyadi gambheera natya pradarsaka kailasapate He is the embodiment of powerful 'Panchakshari' mantra. Great devotee Arjuna the son of Kunti praised his glory. Great Ganesa and Guha worship him. Mahadeva dispels afflictions of the desolate. He is the lord of Kailasa who revels in magnificient dance with Nandi and Bhrungi,

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Chidambara Ragasiyam is hidden by a curtain (Maya). Darshan of Chidambara Ragasiyam is possible only when priests open the curtain (or Maya) for special poojas. People who are privileged to have a darshan of Chidambara Ragasiyam can merely see golden vilva leaves (Aegle Marmelos) signifying the presence of Lord Shiva and Parvathi in front of them. It is also believed that devout saints can see the Gods in their physical form, but no such cases have been officially reported. The phrase "Chidambara Ragasiyam" really means something different. The pharse literally means a secret associated to Chidambaram - the place. Behind this is a real meaning to a secret. As described above there is a particular curtain kind of curtain which when removed enables us viewing the secret. The real significance of doing so is that, when the curtain which is "maya" is removed one can see his real self. And the seeing of oneself removing the curtain of maya is viewing the secret. According to legend, "Chidambara Ragasiyam" will never be revealed as it is the secret relating to a particular person who sees it removing the screen of "maya". In the temple, when the poojas are performed and the screen is removed, one will be able to see the secret only when he applies this to his mind and soul.

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Devi brova samayamide Ragam Chintamani 56th Mela Janya Adi Talam Syama Shastri Krithi One of the Best Krithi This is the only song Syama Sashtri has written in this Raga

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P: kANa vENDAmO iru kaNNirukkum pOdE viNNuyar gOpuram Should I not see, before I lose my eyes, Should I not see the tower as high as the sky

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Gist O Lord gOvinda! O Lord who is bestower of prosperity, worshipped by the very hands of this tyAgarAja! In which place are You located? You are not to be apprehended in thought. Are You located in the embodiments of mahAlakshmI called sItA, gauri and sarasvati? Or are You located in the Great elements - earth, water, fire, air and space or in the innumerable Worlds? Or, are You located in the forms of Siva, vishNu and brahmA?

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‘Bhairavi Thunaivan Paadam Paninthu Unnai Vendriduven...,’ sings Seerkazhi Govindarajan in the popular ragamalika duet ‘Vendriduven...’ (the other singer being TMS), as he dons the title role in the film Agathiyar . This phrase begins with the characteristic prayoga “PG,RS NRSNDP”, the Pancama-Gandhara connection being vital in this raga. The composer of this piece is Kunnakudi Vaidhyanathan, and this song is a grand feather in his cap. The song gains tempo and at the crescendo the Bhairavi swara repartee is attractive and the jugglery of swaras gripping. ‘Thirupparkadalil Palli Kondaaye’ from Swami Iyyappan (music G. Devarajan), in the sonorous voice of Yesudas, is outstanding . Again, this piece begins in the upper Gandhara (GRS) and the Nishada gamaka in ‘Sriman Narayana’ clearly establishes the raga’s stamp. While the charanam is marked by plain notes that give a cinematic touch, the pallavi is traditional, time-tested Bhairavi. The film Apoorva Ragangal , with the music of M. S. Viswanathan, has an attractive ragamalika. ‘Adisaya Ragam...’ starts off beautifully in Mahati raga and in the stanza that begins with ‘Oru Puram Paarthaal’, suddenly shifts to Bhairavi. Once again Yesudas breathes life into these lines and the noteworthy phrase in this stanza is ‘Maru Puram Paarthaal Kaaviri…’ - the twisty sangati connecting the dhaivata-nishada-shadja deserves special mention. Not many composers have attempted Bhairavi in film music, though a flute interlude in the song ‘Sandhana Thendralai’ from the film Kandukondein Kandukondein (music A. R. Rahman) happens to be in Bhairavi.

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The Bhairavi Ata Tala Varnam contains the Dasavidha Gamakas and several prosodical beauties like Soochitha and Suddha Swaraksharas, Dwitheeyakshara prasa, Srothovaha, Gopuchcha and Sama Yati or Pipeelika Yati (resembles the marching of ants) etc.

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@C Sree karuDagu tyAgarAja karArchita Siva mAdhava brahmAdula yandA

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Vaikunda pathi thannil adiseshan vaithehi ramnukor ilakkumanan geethai sonna kananuku balaraman (engal) kodaikum annanana ramanujan (ramanujan)

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C1 lōkajanani, nāpai daya lēdā? nī dāsuḍu gādā? śrī kāñci-vihāriṇi! kalyāṇi! ēkāmrēśvaruni priya-bhāmayaiyunna nīkēmammā? entō bhāramā? vinumā? talli! O mother of the world! Do you not have kindness towards me? Am I not your devotee? You who reside in Kāñci! Auspicious one! What is it to you, who are the beloved of Ēkāmrēśvara? Is it such a burden? Will you listen to me? O mother! C2 rēpu-māpani ceppitē, nē vinanu, dēvi ika tāḷanu nēnu, ī proddu daya cēyavē, kṛpa jūḍavē nī padāmbujamulē madilō sadā yeñci nī prāpu kōriyunnānammā, mudamutō, mā talli If you say [you will protect me] tomorrow or the day after, I will not listen, O Goddess. I cannot bear it any longer. Always thinking of your lotus feet in my mind, I ask you for your cheerful support to immediately show me mercy and compassion. O my mother! C3 śyāmakṛṣṇuni sōdari kaumāri bimbādari gauri hēmāpāṅgi5 lalitē paradēvatē kāmākṣi, ninnu vinā bhūmilō prēmatō kāpāḍēvārevarunnārammā? talli! Sister of Krishna! Youthful one! One who carries the moon! Gauri! One with golden eye-corners! Beautiful one! Greatest goddess! O beautiful-eyed one, except for you, who is there in the world who will protect me with love? O mother!

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We all know the importance of AUM, I shall not venture there. The Vedas themselves are also called Shruti meaning ‘That which is heard‘, emphasising both their divine origin and their oral tradition. Samaveda, in particular, ‘the Veda of Songs‘ includes notated music, perhaps the oldest surviving tunes of this world.

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To your sacred Name and to your divine Form let there be success and prosperity! Your sacred feet supported reverently by AanjanEya, to your lap on which your consort SeetaadEvi, possessing eyes as beautiful as the lotus, to your bosom on which fresh pearl necklaces sport dangling daintily and to your charming face which puts to shame the splendor of the moon, let there be victory and ever growing prosperity and welfare. Oh, One with eyes like the lotus which fascinated and attracted the praise of Sage Naarada, devotees like Prahlaada and others. To your Nam and divine Form, eternal victory and repute galore!

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This is one of the famous songs sung by many ladies on Shri Lord Venkateshwara, and written by Shri Purandara Dasaru. The song is written in Sanskrit. Normally there is a Slokam some render preceding the Pallavi as वसुदॆव सुतं दॆवं कंस चाणूर मर्दनम् । दॆवकी परमानन्दं कृष्णं वन्दॆ जगद्गुरुम् ॥१॥ vasudeva sutaṁ devaṁ kaṁsa cāṇūramardanam | devakī paramānandaṁ kṛṣṇaṁ vande jagadgurum || 1 || vasudeva sutaṁ -- son of Vasudeva; devaṁ -- the divine; kaṁsa cāṇūramardanam -- killer of kaṁsa and cāṇūra; devakī paramānandaṁ -- one who gives great joy to Devakī; kṛṣṇaṁ -- to Kṛṣṇa; vande - praise, salutations; jagadgurum -- to the guru of the universe; I offer my obeisance’s to Lord Kṛṣṇa, the beloved son of Vasudeva, who killed the great demons Kaṁsa and Cāṇūra, who is the source of great joy to Mother Devakī; and who is indeed a world teacher and spiritual master of the universe. 1st slokam from the Krishna Asthakam.. 2nd slokam "Shanta kAram"is the popular one from the Vishnu Sahasranama..

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P Venkatachala Nilayam Vaikunta Pura Vasam Pankaja Netram Parama Pavitram Shanka Chakra Dhara Cinmaya Rupam Venkatacala Nilayam Vaikunta Pura Vasam || Venkata hill is the abode of Lord Venkatesvara. He dwells in Vaikuntha. His eyes are beautiful like lotus flower. He is very holy. He wields conch and discus. He is personification of Supreme Conciousness. C1 Ambujodbhava Vinutam Aganita Guna Namam Tumbur Narada Gana Vilolam Ambudishayanam Aatmabhiramam Venkatacala Nilayam Vaikunta Pura Vasam || 1 || Brahma the lotus borne worships him. He is repository of countless virtues. He is engrossed in the holy renderings by sages Tumburu and Narada. C2 Pahi Pandava Paksham Kaurava Madaharanam Bahu Parakrama Purnam Ahalya Shapa Bhaya Nivaranam Venkatacala Nilayam Vaikunta Pura Vasam || 2 || I worship Madana Gopala who is adorned with ear-rings with crocodile design. Sri Purandara Vitthala is the protector of devotees. C3 Sakala Veda Vicharam SarvaJeevana Karam Makara Kundala Dhara Madana Gopalam Bhakta Posaka ShrI Purandara Vithalam Venkatacala Nilayam Vaikunta Pura Vasam || 3 ||

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Superb Replication Chi Bhargav !!!

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A: vINil ulagai shuTri shuTri vandAl mEdini pOTrum cidambara dEvanaik- Instead of wandering aimlessly in the world Should I not see Lord of Chidambaram praised by the world

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Interesting :- SrI rUpamulandA - The following verses in dEvi mahAtmyaM - uttara bhAga - prAdhAnika rahasyaM - are relevant - sarvasyAdyA mahA-lakshmIs-triguNA paramESvarI lakshyAlakshya-svarUpA sA vyApya kRtsnaM vyavasthitA 4 tapta-kAMcana-varNAbhA tapta-kAMcana-bhUshaNA SUnyaM tadakhilaM svEna pUrayAmAsa tEjasA sA bhinnAMjana-saMkASA daMshTrAMkita-varAnanA viSAla-lOcanA nArI babhUva tanu-madhyamA maha-mAyA mahA-kAlI mahA-mArI kshudhA tRshA nidrA tRshNA caikavIrA kala-rAtrir-duratyayA tAm-ityuktvA mahA-lakshmIH svarUpam-aparaM nRpa satvAkhyEnAti-SuddhEna guNenEnduprabhaM dadhau aksha-mAlAMkuSa-dharA vINA-pustaka-dhAriNI sA babhUva varA nArI nAmAn-yasyai ca sA dadau “mahAlakshmI who is the embodiment of three gunAs and also the Supreme Lord is the first cause. She encompasses everything in Her form as both perceivable and non-perceivable. She is of the hue of molten gold and She wears ornaments made of molten gold. She filled the whole Universe, which contained nothing, with her own light. (6) She assumed a form of beautiful woman with hue like that of eye-ointment (dark) (bhinnAnjana), a beautiful face with tusks, large eyes and slender waist. (8) mahAlakshmI, looking at the dark formed woman said “Your names will be mahAmAya, mahAkAli, mahAmAri, kshudha, tRshA, nidrA, tRshNA and EkavIra and also kAlarAtri which is not easy to exceed by any one. (11) mahAlakshmI, having said like that, assumed another form with pure satva guNa and shining with the radiance of a moon. (13) To the woman who shone with a rosary, elephant-driver’s hook (ankuSa), vINA and a book, mahAlakshmi gave names (mahAvidyA, mahAvAnI, bharatI, sarasvatI etc). ”

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Aadhi seshan amsamadi, aandaalin annanadi Aalavantharukku adimayadi kiliye Yengal Ramanujanadi kiliye , swami yathi rajanadi He is a part of Adhi sesha , the elder brother of AAndal He is the slave to Aalavandhar, oh parrot He is our Ramanuja oh parrot, he is Swami Yathiraja Aranganin adimayadi, vengadathu vedhiyanadi Perumpudhoor vallaladi kiliye Yengal Ramanujanadi kiliye , swami yathi rajanadi He is slave to Ranganadha, the Brahmin of Thiruvengadam He is philanthropist of Perum pudhoor , oh parrot He is our Ramanuja oh parrot, he is Swami Yathiraja Devaraja dasanadi, parthasarathi puthiranadi Paarukkellam deivamadi kiliye, Yengal Ramanujanadi kiliye , swami yathi rajanadi He is servant of Devaraja, the son of Parthasarathy, He is the god to all the world , Oh Parrot He is our Ramanuja oh parrot, he is Swami Yathiraja Narananai kaattinaandi, chella pillaikku thandayadi Vaira mudi chaathinandi kiliye, Yengal Ramanujanadi kiliye , swami yathi rajanadi He showed Narayana, he is like father to Chellapillai He made god wear diamond crown, Oh parrot He is our Ramanuja oh parrot, he is Swami Yathiraja Chenniyai chooduvaarai , vaikunthathil vaazha vaikkum Uyyum vazhi athuve kiliye Yengal Ramanujanadi kiliye , swami yathi rajanadi Those who wear it on the head , would be made to live in Vaikunta, And that is the only way to live, Oh parrot He is our Ramanuja oh parrot, he is Swami Yathiraja

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P Sobhillu saptaswara sundarula bhajimpave manasa || Saptaswaras flourish in Gods, Oh my heart pray them. AP nabhi hrut kantha rasana nasadulayandu || Saptaswaras emanate from the navel, the heart, the throat and the tongue. C dhara ruksamadula lo vara gayatri hrudayamuna surabhoosura manasamuna subha tyagarajadulalo || Saptaswaras evolved from Rigveda and other Vedas. They are in Gayathri mantra. They are in the hearts of Gods and learned men as well as in Tyagaraja and other singers.

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Without Nada, there is no music. Without Nada, there are no musical notes. Without Nada, there is no dance. Therefore the whole universe is composed of Nada. Brahma is known to be incarnate in Nada, as is Vishnu, Parashakti and Shiva. In this kruti, Tyagaraja spiritualizes the seven notes of music as gods. Further, he says that they evolved from the Vedas. He also says that the saptaswaras should be worshipped. (i.e nadopasana) SrI tyAgarAja describes the greatness of music (sangItam).

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C1: vaiyattinilE karuppaiyuL kiDanduLLam naiyap-piravAmal aiyan tiru naTam Instead of taking a birth painful to the mind, Lying in the womb in the abdomen, Should I not see the divine dance of the lord. 2: OTTai shaDalam oDunga veTrelumbuk-kUTTil irunduyir OTTam piDikkumun Should I not see the Lord before the soul, Before the soul leaves the body with holes Leaving only the cage made of bones.

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Gambheeramana Voice la Gambheera natai she is Singing

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AP seetA gowri vAgeeswari yanu stree roopamu landA govindA Are you in the feminine form of Seeta, Parvathi or Saraswati? Oh Govinda! C bhoo kamalArkAnila nabha mandA lOka kOTulandA Sree karuDagu tyAgarAja karArchita Siva mAdhava brahmAdula yandA Are you on the earth, in the water, in the Sun, in the Air, in the Sky or in the millions of creatures? Oh Rama the bestower of prosperity, are you in Siva, in Vishnu, in Brahma or in other Gods ? Tyagaraja worships you.

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न नादेन विना गीतं न नादेन विना स्वराः न नादेन विना नृत्तं तस्मान् नादात्मकं जगत् नादरुपः स्मृतो ब्रह्मा नाद रूपो जनार्दनः नादरूपा पराशक्तिः नाद रूपो महेश्वरः

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P E tAvuna rA nilakaDa neeku. Enchi chooDa naga paDavu Which is the place you dwell in always? I search for you but you are not to be seen.

[@mysuruvasudevacharya]

marulu konnadira AP: Sarasudou Dakshina dwaraka Sami Sree Rajagopala deva Mukthayi Swaras G G R S R S n n d n S R || m m p p d d n n p p p - d d d - n n n - S S R || p d n S R G M P || D P - M D P , - N N || D D - D P P M - N D N - P D N M P D N S R N D || M G R S R N S R R G , M P D - M P , - D N S || N R , S N D - S , || , N D P P , , M || G R - S , , - R N D || (Viriboni) C: Chiru navvu momuna

[@mysuruvasudevacharya]

Viriboni varnam - bhairavi- ata thalam- Pachimiriyam Adiyappaiyer 20th Mela Natabhairavi Janya - Aro S G₂ R₂ G₂ M₁ P D₂ N₂ Ṡ // Av Ṡ N₂ D₂ P M₁ G₂ R₂ S

[@mysuruvasudevacharya]

Sriranjani is, however, a typically South Indian raga, as authentic as idli-sambar.

[@dandapaniramasamy6177]

Top class @ 1:14:52 😅

[@mysuruvasudevacharya]

Kana vENDAmO. rAgA: shrIranjani. rUpaka tALA. Papanasam Sivan Krithi

[@mysuruvasudevacharya]

Pavamana Suthudupattu - Sowrashtram - Thyagarajaja Krithi