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  Sangathi / sangati Are musical phrases applied to a base phrase, and referred in the context of variations, either with subtle or gross modifications, improvisations or changes. Saint Thyagaraja is credited with introducing sangati-s into the kriti form. A particular variation of a phrase in a kriti or song with slight or large changes in tune and gamakas. Each phrase maybe repeated with different small or large variations or sangatis. While it is difficult to quantify change, the change is about the melodic content alongside structural many times. Below quoted from Ramesh Mahadevan. Sometimes, in a kriti, the first lines will be varied systematically as the singer repeats it over and over. (This happens even in some movie songs). That is, the Pallavi will be sung intentionally in different melodies as it gets repeated. The text of the line will be the same, but the music will be different. Such variations are called 'Sangatis'. These variations or Sangatis are intended

Poorvanga, Uttaranga An anga in general means a sub-division, a part of the whole. Literally Purvanga; means the first section /part Uttaranga; the latter section /part In Indian music, it denotes one of the two parts (tetrachords) of the octave. First, to the saptaka (S, R, G, m, P, D, N), add the taara Sa (S'). This is the octave (S, R, G, m, P, D, N, S'). Now the octave is divided into two parts: (1) Sa to Ma: S, R, G, m; (2) P to S': P, D, N, S'. These constitute the two anga-s. The first part is called poorvanga, the lower tetrachord. The second part is called uttaranga, the upper tetrachord. Each part has four members, and the two parts are similarly constructed. Raw Source; http://sapthaswaras.blogspot.com/2009/01/poorvanga-and-uttaranga.html

Sthayi   A sthayi is an octave, one range of sa, ri, ga, ma, pa, dha, ni, and the upper Sa, which becomes the lower sa for the next higher octave. The term 'octave' is self-explanatory: octa=eight, as it contains eight individual notes.   There are five sthayis (Octaves) namely #1. Anumandra sthayi - Two dots below the swara #2. Mandra sthayi - One dot below the swara #3. Madhya sthayi - Swara without dots #4. Thara sthayi - One dot above the swara #5. Athi Thara sthayi - Two dots above the swara In Carnatic music, a range of three octaves is generally used. They are the Mandra, Madhya and Tara Sthayi, referring to the lower, middle and higher octaves respectively. The normal human sthayi is the madhyama (central) sthayi. Anumandra sthayi and Athi thara sthayi cannot be achieved with vocal pitch and is possible with instruments. #Music #terminology, #musicology #Carnatik, #Carnatic

Marulu madi kondeyalle Composition; Marulu Composer - Purandara Dasa Raga - Parent Raga [if applicable] - Arohana - Avarohana - Neelambari? Shankarabharana Tala - Anga - Jathi - Adi Occasion -  VARALAKSHMI POOJA Source  https://madhwafestivals.com/2016/08/13/marulu-madi-kondeyalle/ Lyrics Marulu madikondeyalle mayadeviye || pa || Irulu hagalu ekavagi hariyu ninna bidadipante || apa || j~janigalu nitya panadigalannu bittu Nanavidha tapaviddaru dhyanakke silukadavana || 1 || sarva sanga bittu sanyasiyada kalakku Sarvada tannedeya mele bidade ninna dharisippante || 2 || pralaya kaladalli aladeleya mele malagiddaga Halavu abharanagalu jalavu agi janatanadi || 3 || ranganu bhulokadi bhujanga giriyolala Melu mangapatiyagi ninna angikarisuvante || 4 || makkala padedare ninna chokkatanavu popudendu Pokkulolu makkala padedu kakkuladi paduvante || 5 || edake bhumi balake shriyu edurinalli durgadev Todeya mele lakumiyagi bidade muddadisuvante || 6 || endendigu ma

Description - Composer -  Raga - Parent Raga [if applicable] -  Arohana - Avarohana -  Tala - Anga - Jathi - My mom sings an Abheri raga version, will record and update the post, shortly. ಮುರಳಿಯ ನಾದವ ಕೇಳಿ ಬನ್ನಿ || ಮುರಳಿಯ ನಾದವ ಕೇಳಿ ಮದುರಾ ನಾಥನು | ಮುರಳಿಯ ನೂದಲು  |  | ಸುರಿವುದಾನಂದಜ  | ಲ ನಯನದಲಿ ||1|| ಕಂಗೊಳಿಸುವ ಬೆಳ  |  ದಿಂಗಳ ಸೊಬಗಲಿ ತಂಗಾಳಿಯ ಸುಖ | ದಿ ಶ್ರೀರಂಗನ|| ಶ್ಯಾಮಲಾಂಗನು ತನ್ನ  |  ಕೋಮಲ ಕರದಲಿ ಆ ಮುರಳಿಯ ಪಿಡಿಯೆ ಹೃದಯದಲಿ ಪ್ರೇಮವು ತುಂಬುವುದು ||2|| ಪಂಚಬಾಣನ ಪಿತ ಮುರಳಿಯ ಮಧುರಸ ಹಂಚಲೆಮಗೆ ರೋಮಾಂಚವಾಗುವುದು ರಜನೀಕಾಂತನ ಕುಲದಲಿ ಜನಿಸಿ ವ್ರಜಜನಗಳಿಗಧಿಕ ಪ್ರಸನ್ನನ ||3|| THE PICTURE SOURCED FROM THE  INTERNET THE JOY OF MURALI'S MUSIC muraLiya nAdava kELi banni ||pa|| muraLiya nAdava kELi madurAnAthanu muraLiyanUdalu surivudAnandajala nayanadali ||1|| kangoLisuva beLadingaLa sobagali tangALiya suKadi SrIrangana SyAmalAnganu tanna kOmala karadali A muraLiya piDiye hRudayadali prEmavu tuMbuvudu banni ||2|| pancabANana pita muraLiya madhurasa hancal-emage rOmAncavAguvudu rajanI-kA

Description - Divya nama sankeertana Composer - Shri Tyagaraja Swamy Raga -  Yaman [Yamuna] Kalyani  Parent Raga [if applicable] - Yaman [Yamuna] Kalyani  Arohana - Avarohana -  Tala - Anga - Jathi -

Description - Pankaja Lochana Composer - Swati Tirunal Raga - Kalyani Arohana - Avarohana - Tala - Anga - Jathi - Youtube -  https://www.youtube.com/watch?v=SWjtQPemQxQ Singer - Gayathri Venkata Raghavan Pallavi: Pankaja Lochana Paahi Murantaka Pankajaalaya Jiva Natha Vibho Vibho Anupallavi: Shankara Vidhivala Shasana Nutha Guna Shankuru Sathatham Me Saarasa Nabha Shoure! Charanam: Sundara Tara Rupa Nandita Bhira Naari Vrinda Mukha Saraseeruha Madhupa Brindaavanaantha Krutha Vividha Sukha Vihaara Kundani Bharatha Govinda Nanda Nandana ; ; rg | rsS ; S ,n || R ; ; | RG G ; ||   Pan- ka-- ja -- Lo -- cha- na ; R rg | rsS ; S ,n || R ; ; | RG G R ||   Pan- ka-- ja -- Lo -- cha- na N R- rg | rsS ; S ,n || R ; ; | RG G ; ||   Pan- ka-- ja -- Lo -- cha- na ; R- gm | P ; ; pm || G gmpd| pmG GR ||   - Paa- hi - - Mu- ran- - - - ta- - - kaN R- rg | rsS ; S ,n || R ; ; | G P pmR ||   Pan- ka-- ja -- Lo -- cha- na G ; nd | dpP ; ; pm || gm Pdp md| pmG