Tyagaraja Pancharatnam - SADHINCHENE | Dr Pantula Rama

Audio - Mr Ashok, Chaitanya studios
Video - Mr Venkat
Namaste !
This is a special upload in the series of select compositions of Tyagaraja on the occasion of his 250th Birth Anniversary. This is the correct structure of the 3rd ratnam in the group of ghanaraga pancharatnas -
Sadhinchene - Arabhi ragam - Adi talam

[@VenuGopalBsnl]

For decades,I am waiting to hear St.Thyagaraju kruthis in native language with perfectly pronounced diction.Salute to the singer and video makers.The greatness is this is a single shot video. A miraculously rendered keerthana.God bless you Rama garu.

[@prabhakargundlapalli393]

Difference between Tamil & Telugu artists is seen clearly. Technical nuances are explained nicely at the beginning. Great.

[@PantulaRama9]

Thank you

[@GururajBN]

It is an unusual experience to listen to this prime composition of Shri Thyagaraja without accompaniment of violin and percussion. Her melodious voice and mastery over music makes up for this deficit. It is a pleasure to listen to Dr.Pantula Rama.

[@PantulaRama9]

Thank you

[@nagarajahshiremagalore226]

Very pleasing voice. Excellent rendition of song. 2.4.2024.

[@n.krishnarao2128]

U offered ur Original voice to the Almighty with sriti behind. That's a great gesture. Clean presentation 🙏👍👍👍👍🌹🌹🌹💐💕💕

[@kkavadhani4580]

Thanksamma verynice and apleasure tohearyou always. Aayushmanbhava.

[@psgopalan6389]

Beautiful voice God's Gift

[@GK-rk8bn]

కూర్పు: శ్రీ త్యాగరాజాచార్యులు రాగం: ఆరభి తాళం: ఆది సాధించెనే ఓ మనసా బోధించిన సన్మార్గవచనముల బొంకు జేసి తా బట్టినపట్టు - సాధించెనే ఓ మనసా దేవకీ వసుదేవుల నేగించినటు - సాధించెనే రంగేశుడు సద్గంగా జనకుడు సంగీత సాంప్రదాయకుడు - సాధించెనే గోపీ జన మనోరధ మొసంగ లేకనే గేలియు జేసే వాడు సమయానికి తగు మాటలాడెనే సారాసారుడు సనక సనందన సన్ముని సేవ్యుడు సకలాధారుడు - సాధించెనే వనితల సదా సొక్క జేయుచును మ్రొక్క జేసే పరమాత్ముడనియు గాక యశోద తనయుడంచు ముదంబునను ముద్దు బెట్ట నవ్వుచుండు హరి - సాధించెనే పరమ భక్త వత్సలుడు సుగుణ పారావారుండాజన్మ మనఘుడీ కలి బాధలు దీర్చు వాడనుచునే హృదంబుజమున జూచు చుండగ -- సాధించెనే హరే రామచంద్ర రఘుకులేశ మృదు సుభాశ శేష శయన పర నారి సోదరాజ విరాజ తురగరాజ రాజనుత నిరామయ పఘన సరసీరుహ దళాక్ష యనుచు వేడుకొన్న నన్ను తా బ్రోవకను- సాధించెనే శ్రీ వేంకటేశ సుప్రకాశ సర్వోన్నత సజ్జన మానస నికేతన కనకాంబర ధర లసన్ మకుట కుండల విరాజిత హరే యనుచు నే పొగడగా త్యాగరాజ గేయుడు మానవేంద్రుడైన రామచంద్రుడు- సాధించెనే సమయానికి తగు మాటలాడెనే సద్భక్తుల నడత లిట్లనెనే అమరికగా నా పూజ గొనెనే , అలుగ వద్దనెనే , విముఖులతో జేర బోకుమనెనే, వెత గల్గితె తాళుకొమ్మననే దమశమాది సుఖ దాయకుడగు శ్రీ త్యాగరాజ నుతుడు చెంత రాకనే సాధించెనే ఓ మనసా సాధించెనే

[@vvmanimadhuri]

Thank you for the lyrics

[@nagabhushanamkancharla5471]

Pure Bliss.🙏🙏🙏

[@raghuperi6065]

అద్భుతం 👌

[@sureshbabuc2026]

Sruthy... Super mam.. Eppozhu kelkunnath.. Krishna.. Guruvayoorappa.. Kodi namskaram.. Samarpayami

[@beharaumasankarasubrahmany5718]

Melodious voice madam

[@lankavenkatasubrahmanyam3049]

So nicely rendered. It is time all the musicians take note of distortion that has unfortunately crept in rendering of this krithi. Smt Pantula Rama has explained the rationale behind this rendering style. Hope for next Aradhana in 2021 there is this practise to hear. My gratitude to Smt Rama for her yeomen service. I wish her more success.

[@chanukyamahanti931]

Great contribution to traditional ñ spiritual music world amma.❤ It's really fantastic experience to listen such a fine singing without missing even a single font.Really I bathed in divine experience. Lord Srimannarayana blesses us to find him through divine music. Hope for your good health and prosperity amma.🙏😇 Jaya Srimannarayana

[@sivaramanv.s.6043]

At present she is the best female singer from Telugu speaking states. Her voice culture is next only to Bombay Jayasree in Carnatic music, very knowledgeable student of Carnatic music.

[@modiboss8769]

technically far superior to bombay jayashree

[@satyadhavala968]

విజయనగర తేజః విరాజితం పంతుల గళే సంశోభితమ్

[@harishgopi707]

What a beautiful way of singing. Hats of to your caliber .God bless you.

[@indiragovardhanam7984]

❤🙏

[@satishmalladi9287]

Telugu is very sweet language. Pronunciation is very good. Much appreciated🙏🙏

[@vsu4u]

Wow.. So Divine

[@babjidhavala4739]

పరమాద్భుతం ఆర్యా గురు త్యాగరాజు వారు భవ గళంలో సు శోభవంతులైరి అభూత స్వర రాగయుత కర్ణభోజనమ్

[@selvarajkannan9923]

Yokoso 💅.I felt raising in my heart burst of happiness to bounteous Dr. Pantula Rama Gaaru.I’m very much fascinated your spiritual education life and your spell bounding voice is touched a young spring flower of sun Flower.You have hold prodigious and splendidly high level of Dopamine and walking meadows slowly.Wahh ! After listening your wonderful contribution of devotional music green journey is happy tears are trickle down in my eyes.Your little bit innocent smile brings in life in fuse longevity of life.Depth study of your fortune can radically change your whole existence.To day for what searching,I got answers from your explicitly voice song.Almighty will give you abundant life.See you a good one 🙏.

[@roopashreemanjunath8190]

Adbhuta

[@adityasarmam6061]

Sadhinchene is the correct.andaru prati chitta swaraaniki samayaaniki padatharu kaani saadhinchene ane pallavi padaali.super madam🧘🌷🙏

[@harishaditham918]

So basically Tyagaraja was using slesha or double entendre - in some places it is sadhinchene in the meaning of he has achieved it but in places like where the lyrics mean he is not giving a kiss or is unyielding to Gopikas or hasn’t come to save me (Brovakane) it is in the meaning of he is vexing. To non Telugu speakers the use of the pun would not be evident and that’s how the distortion crept in perhaps.

[@ksundarrajan1980]

What a excellent voice and practice. God gift.

[@tmadanmenon]

See the Thyagaraja Aradhana takes place at Tiruvaiyyaru alone in the mind-screen.....out of the Pancharatna krities , the five songs being ‘Jagadanandakaraka’ (Nata), ‘Dudukugala’ (Gaula), ‘Sadhinchene’ (Arabhi), ‘Kanakanaruchira’ (Varali) and ‘Endaro Mahanubhavulu’ (Sri) ( of course, all set in Adi tala), I love the third one in 'Aarabhi' so much! The whole eight charanams are so sweet to listen. Very beautifully presented by the acclaimed vocalist Dr. Pantula Rama. Superb indeed... best wishes

[@suryabhagavanulubhattiprol2393]

Excellent 🙏

[@palakodetyvenkataramasharm2194]

అద్భుతం

[@Super11111963]

Very divine...Her voice is very sharp and excellent clarity

[@rajusreyarajujoseph4566]

Great perfection and tutorial class 🙏🙏🌹🌹very humble

[@ravim161]

Beautiful rendition Dr Rama garu🙏.I thoroughly enjoyed the beauty and the bhavam in the keerthana as I grew up and studied in Telugu medium and lived in villages and small towns around Tirupati until early 90s. I am looking forward to your concert in DC area USA this year.🙏

[@suryanarayanaraju282]

సాధించెనే ఓ మనసా బోధించిన సన్మార్గవసనముల బొంకు జేసి తా బట్టినపట్టు సాధించెనే ఓ మనసా సమయానికి తగు మాటలాడెనే దేవకీ వసుదేవుల నేగించినటు సమయానికి తగు మాటలాడెనే రంగేశుడు సద్గంగా జనకుడు సంగీత సాంప్రదాయకుడు సమయానికి తగు మాటలాడెనే గోపీ జన మనోరధ మొసంగ లేకనే గేలియు జేసే వాడు సమయానికి తగు మాటలాడెనే సారాసారుడు సనక సనందన సన్ముని సేవ్యుడు సకలాధారుడు సమయానికి తగు మాటలాడెనే వనితల సదా సొక్క జేయుచును మ్రొక్క జేసే పరమాత్ముడనియు గాక యశోద తనయుడంచు ముదంబునను ముద్దు బెట్ట నవ్వుచుండు హరి సమయానికి తగు మాటలాడెనే పరమ భక్త వత్సలుడు సుగుణ పారావారుండాజన్మ మన ఘూడి కలి బాధలు దీర్చు వాడనుచునే హృదంబుజమున జూచు చుండగ సమయానికి తగు మాటలాడెనే హరే రామచంద్ర రఘుకులేశ మృదు సుభాశ శేష శయన పర నారి సోదరాజ విరాజ తురగరాజ రాజనుత నిరామయ పాఘన సరసీరుహ దళాక్ష యనుచు వేడుకొన్న నన్ను తా బ్రోవకను సమయానికి తగు మాటలాడెనే శ్రీ వేంకటేశ సుప్రకాశ సర్వోన్నత సజ్జన మానస నికేతన కనకాంబర ధర లసన్ మకుట కుండల విరాజిత హరే యనుచు నే పొగడగా త్యాగరాజ గేయుడు మానవేంద్రుడైన రామచంద్రుడు సమయానికి తగు మాటలాడెనే సద్భక్తుల నడత లిట్లనెనే అమరికగా నా పూజ కొనెనే అలుగ వద్దననే విముఖులతో జేర బోకుమనెనే వెత గలిగిన తాళుకొమ్మననే దమశమాది సుఖ దాయకుడగు శ్రీ త్యాగరాజ నుతుడు చెంత రాకనే సాధించెనే ఓ మనసా.. సాధించెనే

[@vinayakumarbvk]

Thanks Rama ji for enlightening us the correct method of rendering this "arabhi pancharatna" . For novices like me it is a real tution. GOD bless Dr. Rama ji. Truly divine feeling.

[@PantulaRama9]

Thank you

[@1111Reiki]

🙏🙏Dr.pantula Rama medam, very nice to listen i feel your inner voice.

[@crajasekharreddy5405]

Chala baba padaru

[@vijayapratap1]

A melodious rendition combined with scholarship, dedication to art and a great respect for tradition...thank you.

[@sriramkudarla75]

#jagadanandakaraka 😍💋

[@mysuruvasudevacharya]

Hat's Off to your Rendition with Lovely Explanation ! Enjoyed a lot ! Please correct me for any Mistakes ! Sadhinchene O Manasa Ragam Arabhi 29th Mela janya Adi Talam Thyagarajar Krithi ARO: S R2 M1 P D2 S AV: S N3 D2 P M1 G3 R2 S || This pancharathna krithi has been well set on the easiest of ragas, Arabhi. This Krithi has been carved out in a language full of liberty, teasing tone, metaphor and simile without having a surfeit of adjectives - all the while arresting the attention of the singers. Thyagaraja swamigal, in this krithi, appeared to be telling the greatness of the lord in a lucid manner most enthusiastically. The style adopted in this krithi is very sweet in comparison to the other four kirthanas. Oh Lord you are an opportunist, You deceived your parents Devaki , Vasudeva as also the gopikas who surrendered to you, You mischievously smile when Yashoda innocently folded you with love at the thought that she too would be disappointed on being separated from him, You falsified the aforesaid words of Sruti and Smruti. You have somehow not come to me despite the fact that I was overjoyed in keeping your memory always in my heart, You preached patience, tolerance in the face of adversity freedom from anger, satsang etc; and coolly accepted my pujas, You give bhakti and peace, Despite all this you have steadfastly not come closer to me to the end, Thus this kirthana, a gem amongst the five kirthanas which bring out the thought and reminiscences of Shri Thayagaraja; is a great gift to the singer and bhaktas pallavi sAdhincenE O manasA O My Mind (manasA)! The Lord had His say (sAdhincenE). anupallavi bOdhincina sanmArga vacanamula bonku jEsi tA paTTina paTTu (sA) O My Mind! Falsifying (bonku jEsi) the dictums (vacanamula) of true path (san-mArga) (He Himself) taught (bOdhincina), He maintained the stand (paTTu) (literally hold) He (tA) held (paTTina). charanam samayAniki tagu mATalADenE He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki) in the following ways - svara sAhitya 1 dEvaki vasu dEvula-EkincinaTu (sama) As if (aTu) defaming (Ekincina) (EkincinaTu) His parents - dEvaki and vasu dEva (dEvulanu) (dEvulanEkincinaTu), He spoke words suited to the occasion. svara sAhitya 2 ranga-ISuDu sad-gangA janakuDu sangIta sAmpradAyakuDu (sama) The Lord (ISuDu) of SrI rangam (rangESuDu), One who generated (janakuDu) sacred (sad) river gangA, One belonging to musical (sangIta) tradition (sAmpradAyakuDu), spoke words suited to the occasion. svara sAhitya 3 gOpI jana manOrathamu-osanga lEkanE gEliyu jEsE vADu (sama) He (vADu) who, without (lEkanE) fulfilling (osanga) the desire (manOrathamu) (manOrathamosanga) of the gOpis (gOpI jana), makes (jEsE) fun (gEliyu) of them, spoke words suited to the occasion. svara sAhitya 4 vanitala sadA sokka jEyucunu mrokka jEsE paramAtmuDu-adiyu gAka yaSOda tanayuDu-ancu mudambunanu muddu peTTa navvucu-uNDu hari (sama) The Supreme Lord (paramAtmuDu) who, while always (sadA) making (jEyucunu) the damsels (vanitala) enamoured (sokka) of Him, also makes (jEsE) them worship (mrokka) Him, further (adiyu gAka) (paramAtmuDadiyu), Lord hari who, when yaSOda joyously (mudambunanu) kisses (muddu peTTa) Him as (ancu) her son (tanayuDu) (tanayuDancu), would keep (uNDu) smiling (navvucu) (navvucuNDu), spoke words suited to the occasion. svara sAhitya 4A sAra-asAruDu sanaka sanandana san-muni sEvyuDu sakala-AdhAruDu (sama) The Lord who is - both the substance (sAra) and non-substance (asAra) (sArAsAruDu), worshipped (sEvyuDu) by great sages (san-muni) like sanaka and sanandana, the prop (AdhAruDu) of everything (sakala) (sakalAdhAruDu), spoke words suited to the occasion. svara sAhitya 5 parama bhakta vatsaluDu suguNa pArAvAruNDu-Ajanmamu-anaghuDu-I kali bAdhala tIrcu-vADu-anucu nE hRd-ambujamuna jUcucu-uNDaga (sama) While I (nE) am (uNDaga) beholding (jUcucu) (jUcucuNDaga) Him in my heart (hRt) Lotus (ambujamuna) (hRd-ambujamuna) as (anucu) - the supremely (parama) affectionate One (vatsaluDu) towards devotees (bhakta), the Ocean (pArAvAruNDu) of virtues (suguNa), the Sinless One (anaghuDu) throughout life (Ajanmamu), and the reliever (tIrcu-vADu) (vADanucu) of the troubles (bAdhala) of this (I) (pArAvAruNDAjanmamanaghuDI) age of kali, He spoke words suited to the occasion. svara sAhitya 6 harE rAma candra raghu kula-ISa mRdu subhAsha SEsha Sayana para nArI sOdara-aja virAja turaga rAja rAja nuta nirAmaya-apaghana sarasI-ruha daLa-aksha-anucu vEDukonna nannu tA brOvakanu (sama) Instead of protecting (brOvakanu) me (nannu) who prayed (vEDukonna) to Him as (anucu) - ‘O Lord (harE) rAma candra! O Lord (ISa) of raghu dynasty (kula) (kulESa)! O Soft (mRdu) and sweet-spoken (su-bhAsha)! O Lord reclining (Sayana) on SEsha! O Brother (sOdara) of pArvatI - the Supreme (para) Goddess (nArI) (literally woman)! O Unborn (aja) (sOdarAja)! O Lord who speeds (turaga) on garuDa (virAja)! O Lord praised (nuta) by Emperors (rAja rAja)! O Lord with healthy (nirAmaya) limbs (apaghana) (nirAmayApaghana)! and O Lotus (sarasI-ruha) petal (daLa) Eyed (aksha) (daLAkshayanucu)!’, He (tA) spoke words suited to the occasion. svara sAhitya 7 SrI vEnkaTESa svaprakASa sarva-unnata sajjana mAnasa nikEtana kanaka-ambara dhara lasan-makuTa kuNDala virAjita harE-anucu nE pogaDagA tyAgarAja gEyuDu mAnava-indruDaina rAma candruDu (sama) Even though I (nE) extol (pogaDagA) Him as - ‘O Lord SrI vEnkatESa! O Self-effulgent One (svaprakASa)! O Most Eminent (unnata) of all (sarva) (sarvOnnata)! O Lord abiding (nikEtana) in the hearts (mAnasa) (literally minds) of virtuous people (sajjana)! O Lord hari (harE) (harEyanucu) wearing (dhara) golden (hued) (kanaka) garments (ambara) (kanakAmbara) and resplendent (virAjita) with shining (lasat) diadem (makuTa) (lasan-makuTa) and ear-ornaments (kuNDala)!’, He - Lord rAma candra (rAma candruDu) who is (aina) the Lord (indruDu) of humans (mAnava) (mAnavEndruDaina) and who is sung about (gEyuDu) by this tyAgarAja - spoke words suited to the occasion. charanam samayAniki tagu mATalu-ADenE sad-bhaktula naDatalu-iTlu-anenE amarikagA nA pUja konenE aluka vaddu-anenE vimukhulatO cEra pOkumu-anenE veta kaligina tALukommu-anenE dama Sama-Adi sukha dAyakuDagu SrI tyAgarAja nutuDu centa rAkanE (sA) He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki); He prescribed (anenE) (literally said) that this (iTlu) is how the conduct (naDatalu) (naDataliTlanenE) of true devotees (sad-bhaktula) is; He accepted (konenE) my (nA) worship (pUja) in a befitting manner (amarikagA); He asked (anenE) me not to be (vaddu) (vaddanenE) afraid (aluka); He asked (anenE) me not to associate (cEra pOkumu) (pOkumanenE) with those who have turned their faces away (vimukhulu) (vimukhulatO) from Him; He asked (anenE) me to forbear (tALukommu) (tALukommanenE) even when I am distressed (veta kaligina); thus, He who confers (dAyakuDu) (dAyakuDagu) the comfort (sukha) of control of mind (Sama) and control of body (dama) etc (Adi) (SamAdi), praised (nutuDu) by this tyAgarAja (SrI tyAgarAja), without coming (rAkanE) near (centa), had His say. Raga Arabhi Janyam of 29th mela Shankarabaranam. Alias: arabi Aro: S R2 M1 P D2 S Av: S N3 D2 P M1 G3 R2 S Arabhi is an ancient raga. It is an audava sampoorna raga, a janya of Shankarabharanam. An auspicious raga, Arabhi conveys veera and bhakti rasas. It infuses one with enthusiasm and positive energy. It is a sarvakalika raga and is best suited for faster pieces, preferably at the beginning of concerts. The notes that Arabhi features are Sadja, Chatusruti Rishabha, Suddha Madhyama, Pancama, Chatusruti Dhaivata, Kakali Nishada (descent only), and Antara Gandhara (descent only), the Aarohana-Avarohana being SRMPDS / SNDPMGRS. Devagandhari is an allied raga, differing in the way in which these same notes are handled. In Devagandhari, the Gandhara is elongated and the raga in itself is sung with richer curves and in slow tempo. Also, in Devagandhari, the Kaisiki Nishada features as a bhashanga swara(foreign note) in phrases such as ‘DN,DP’. Kritis in Arabhi include the famed Pancharatna ‘Sadinchene’ of Tyagaraja. Other Tyagaraja kritis include ‘Nada Sudha Rasa’, ‘O Rajeevaksha’, ‘Jutamurare’, and ‘Salakalla’. Dikshitar has composed ‘Sri Saraswati’ and ‘Ganarajena’ in Arabhi, and has placed the raga mudra cleverly in the ragamalika piece ‘Sri Viswanatham’. Other well-known kritis in Arabhi are ‘Narasimha Mamava’ of Swati Tirunal and ‘Maragathamanimaya’ of Oothukadu Venkatakavi.

[@VenuGopalBsnl]

Excellent explanation to the maximum possible way.Great.

[@mysuruvasudevacharya]

@@VenuGopalBsnl ji My Pleasure

[@vidyamsvidya7112]

Wonderful explanation of the closest possible meaning

[@mysuruvasudevacharya]

@@vidyamsvidya7112 ji My Pleasure ❤️🙏🏼❤️

[@vignanavedika940]

When meaning of the song is known ,importance is given not only to raaga but to the words pronunciation.Veri nicely rendered. Thank you.

[@bhramarambaakella574]

No words only tears

[@girishnairp]

Amazing

[@sundatangirala2346]

Very..Very..nice..

[@vedulasrikiran9364]

So motivating about the concept and also strong rendering

[@balasubramanianl.v.7005]

Very enjoyable, even without accompaniments incl. mike.

[@ramuboppani9254]

Excellent voice madam. Thanks for background explanation

[@bhamidipatiramakrishnamurt9443]

Excellent presentation with feel Amma.

[@krishnakoushik6178]

Madam hats off to you for your divine presentation of kruthi of Sri Thyagaraaja Swami. I am very much fascinated by it . Please you teach the music from sa pa sa to atleast sarali swaraalu n arohana avarohana varnaalu n some raagaas. So that they will be useful to people like me to learn music. I can sing but without gurumukham learning it is all in vain. Nobody recognise it. TQ.

[@balaramakrushnagutta8093]

Hare Krishna, wonderful diction with voice quality endowed with Bhakti bhavam. Much relished n blessed to be ur fan. Thanks

[@PantulaRama9]

Thank you

[@jagannathrao6689]

Superb.

[@radhakolipaka598]

Exceptional voice quality with bhavam, needs no accompaniment.

[@venkatakella8]

Excellent no words thank you very much madam

[@Jvs-eq3iy]

Melodious and scholarly, a difficult combination

[@lakshmivithal3252]

An amazing sadhinchane.Even without accompaniments you have given a wonderful treat to my ears. God bless you Madam. It's a blessed day to me

[@pallathprem1443]

🙏🙏🙏

[@sampathkumar3368]

Excellent voice....

[@ramachaganti]

Extremely well rendered and explained Madame Garu.

[@PantulaRama9]

Thank you

[@shekarkc7567]

Very good. Appealing and touched my heart. Thank you very much. Awaiting much more releases eagarly.

[@sajancvsajancv3967]

Mam. Love from Kerala 🙏🙏🙏

[@raviprasadmvsnful]

Devine and great performance 🙏

[@subrahmanyadhanvantri9910]

We are blessed to have the prosperity of listening pure music from your great vocal presentation! My pranams to respected madam garu!

[@ssk34231]

The advantage of knowing the language..she is singing with bhava....thank you Rama garu🙏

[@prabhakargundlapalli393]

Well said. Difference between Tamil & Telugu artists is seen clearly. Technical nuances are explained nicely at the beginning. Great.

[@gajanan1187]

Good

[@ssk34231]

feast to ears....we can't repay the debt of gratitude and joy to Thyagaraja for blessing us with such soulful compositions !!

[@bhadrasarangi]

❤️🙏🏻

[@shoo1963]

So divine!

[@sriramkudarla75]

Time is important to pass 💯

[@agudam]

Please release a pancharatna kritis album with this version of Sadhinchene.

[@hemalathadevi6904]

Excellent rendition madam

[@PantulaRama9]

Thank you

[@narayananvelliottu1293]

The harmony and beauty of music is felt when unaccompanied by pakkavadyas. Very nice rendering madom. Expect further postings.

[@PantulaRama9]

Thank you

[@pdamarnath3942]

Beautiful. Really good rendering.

[@jjrjjr8481]

Very nice voice and attracts the deapth of my heart and mind

[@bhamidipatiramakrishnamurt9443]

Amma Baga padarandi.Dhanyavadalandi.

[@gk1186]

👏👏👏 🙏🙏🙏

[@varadarajdesikachar7558]

blissful

[@rajeevnaralasetty]

now i am in serenity

[@shanthip3987]

very nice rendition

[@venkatabharghavp6838]

రమ గారు మీరు ఆ కృతి యొక్క భావాన్ని అనుసరించి పాడిన విధానం చాలా బాగుంది.

[@anilkumarvyasabhattu693]

madam garu excellent.pl post videos on how to sing alapana

[@ramaswamygowri]

Excellent without accompaniment what a performance.

[@vpravin]

Very nice

[@varalakshmi1352]

👏👏👏👌👌👌🙏🙏

[@sriskinzonedermatologyandc2526]

Excellent 🙏🙏🙏🙏🙏

[@PantulaRama9]

Thank you

[@sheriffmohideen1]

Wonderful rendition.. So sweet

[@srinivasanraghunathan8656]

Excellent rendition. Great.

[@PantulaRama9]

Thank you

[@srinivasanraghunathan8656]

@@PantulaRama9 If you are interested, I might need your voice for my documentary films. If it's ok, then I will send my Email id for further communication.

[@anilkumarvyasabhattu693]

Respected madam Excellent Pl post videos how to sing alapana

[@anjigonugunta5271]

Wonderful

[@rajeswararaochvs5079]

Congratulations great performance

[@PantulaRama9]

Thank you

[@rajeswararaochvs5079]

I watched almost all your valuable programs.....proud of you..... you are very great Ramajeeeee🙏🙏

[@ammukm]

congrats mam

[@RanjaniSivakumar]

Peaceful

[@SudevanKalpetta]

Hi Madam, Awesome

[@vyasakaveendra7510]

Samayaniki tagu maatalaadene: To talk in accordance with time, times Saadhinchene Manasaa: Mind wins.

[@sriramkudarla75]

8910 ...

[@krishnamurthiramachandran2432]

Why not all telugu Carnatic musicians organise a parallel sri sathguru araadhana in their version in some temple with satguru's vigraham?

[@sriramkudarla75]

They hate time Because Govindha Govindha means Time kararam Cheppi One Govindha rama left Same Govindha Left

[@sriramkudarla75]

RamaKrishnayaNamaha BhajaGovindamGovindha not Because both are same that's called Krishna maya Bhaja Govindham Again Start from scratch Bhaja Govindham

[@sivaramanv.s.6043]

Very perfect struti, I wish Sudha Raghunathan to learn?

[@suneelpunamalli2936]

Chala baga paadaru madam

[@ramanarayanaml9090]

One of the greatest musician of present music era

[@burugulaswamy3746]

Madam; Sorry to differ from you. The meaning of sadhinchene is achieved and not teased. And just like present day Modi our prime minister , God as Krishna achieved the things by mostly talking as per that time (samayaniki) and acting and achieved the results. Janaranjakamga paadaalani Tyagaraja view. Bhakti and sahityam both should get mixed with major part devotion. So Tyagaraja chose samayaniki Tagu mataladene .This is more apt than Stress on Sadhinchene. Even lord Rama also convinces his mother , brother and wife saying that he will go to forests for 14 years and talks long conversation to know their opinion and convince them of the situation. He also talks Samayaniki Aa vidhaanangaa so many times. Nothing wrong in that . God as jagadadhara , as an incarnation has to talk and act as per that time ,place and people accordingly. The major catastrophe for India occurred because kings didn't do it and blindly followed rules with enemies even though the enemies killed the Indian other kings floating all those rules. Either with British or Invading muslims the native kings should have followed samayaniki and should have achieved sadhinchene. O.k. so samayaniki is correct.

[@vyasakaveendra7510]

Looks highly convincing. MBMK followed this in his rendition. He was a critical thinker too.

[@balakrishnapanicker.5804]

Madam , EVER FULLY COMFORTABLE BEFORE YOU, REMAIN WITH OUR LOVE BEYOND LANGUAGE.

[@c8213]

Madam don't use the raaga name arabhi for this composition because of "sa ne da" proyoga was not used in this composition. It is against the rules of raaga Arabhi. Arabhi is owdava sampurna raaga but we did not find "Sa ne da" in the whole composition. If you people did not correct this mistake may be future generation people will get confused about for to decide the raaga name is arabhi or sama or any other name. I think the people like you who are being called as vidwans in this generation are authentic persons to solve the raaga dispute. Older generation musicians like Sri Muttaih bhagavatar, Sri Patnam subramanyaiyyer, Sri Hari naga Bhusham, Sri parupalli Ramakrishna pantulu, Sri MBK, and other did not have any knowledge in the sahitya part and for that reason they don't changed the tradition and continue the style what they learned from their guru. But this generation musicians like are well educated. So, they are doing corrections in this krithi. So my request is not to use the raaga name arabhi for this composition. Instead of that we can use sama. When we are strictly following the rules of sahitya we should follow the rules of raaga also. If u sing this composition for samayaniki then use raaga name arabhi or else other wise don't use. Please use the raaga name sama

[@PantulaRama9]

All ragas do not follow only the scale that is the arohana and avarohana. They are defined by additional lakshya oriented phrases. Arabhi is one such Ragam. Even without sndp the shape of Arabhi in Sadhinchene and many other compositions remains intact because of the colour and texture of the swarasthanas, Sruthis, gamakas and sangatis. It can in no way be Sama because of the very specific difference in the treatment of the raga. sdp , dsdp , mpdsdp are all admissible in Arabhi.

[@c8213]

@@PantulaRama9 well said madam. as you said that all raagas do not follow scale. Then why we fixed the scale to every raaga? Definitely aarabhi is odwava Sampurna raagam and has fixed scale. Even in other krithis of tyagaraja like o rajeevaksha, chala kallaladagane, Chutamurare, and Sri sarawathi by deekshitar except this pancharatna all other krithis have followed the raaga structure and raaga scale. As u said even with out sa ne da prayoga shape of arabhi has evolved. Like that the meaning of this pancharatna krithi has established with samayaniki also. The composer mainly established the character of krishna. From many years and many scholars followed the same procedure even your guru also followed the same. Musically also samayaniki was very apt. Rest I will leave to your knowledge and wisdom

[@murarivaddekchari2335]

Madam what he said is right even Tamilians also followed the old one

[@savanthtrichinapalli5614]

English? Buk buk buk buk, blabla bla bla