Indian Classical Music, Carnatic music learning platform

  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 || end...

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 ...

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 | ...

EkAmrESa nAyikE -  Shri Kuldeep M Pai Composer - Muthuswamy Dikshitar, Carnatic Trinity Raga -  Karnataka Shuddha Saveri Parent Raga - Mayamalavagowla Arohana - S R1 M1 P D1 S Avarohana - S D1 P M1 R1 S Tala - Adi Anga - 1-0-0 Jathi - Chaturashra Language - Sanskrit Subject - Kamaskhi, Paravti, Shiva's Consort Singer - Kuldeep M Pai Sahitya / Lyrics - [Source; http://www.sangeetasudha.org] EkAmrESa nAyikE - Suddha sAvEri - Adi P EkAmrESA nAyikE SivE Sri kAmAkshi pAhi [*pAhi] mAm || Oh Sri Kamakshi the consort of Siva the lord Ekamresa, please protect me. AP EkAmrESa gruhEswari Sankari SAtOdari sadbhakta vaSankari || Oh Sankari the queen of Ekamresa with slender waist, you are the captive of true devotees. C kAma janaka  *dahana mOhita purNa phalE kAmakalE vimalE karakamalE pAmara jana pAlini guruguha janani Suddha sAvEree nuta nandini || *Amends You fulfilled the wishes of Maha Vishnu the father of Manmadha. You are adept in...

Meru Samana Dheera  - Nagarathna Sadashiva Composer - Tyagaraja Raga - Mayamalavagowla (15th Mela) Arohana - S R G M P D N S Avarohana - S N D P M G R S Tala - Anga - Jathi - Adi, 1-0-0, Chaturashra, (2 kalai) P - Meru Samana Dheera Varada Raghuveera Juthaamu Rara Maha (meru-) A - Saarasaara Oyaarapu Nadalanu Neeradha Kaanthini Nitivini Maha (meru-) C - Alakala Muddhunu Thilakapu Theerunu Thalluku Jekkulache Dhanaru Nemmomuna Galamuna Shobillu Kanaka Bhushanamula Dalitha Durmaanava Tyagarajaarchita Meaning: (TK Govinda Rao’s book) Raghuvira! Firm and inviolable like (“samana”) the Mount Maha Meru! Bestower of boons (“Varada”)! Pray come (“raara”)! Let us feast our eyes (“juthaamu” or “nitivini”) on your emerald (“neeradha”)  hue (“kaanthini”), your majestic (“saarasaara”) and stately(“oyaarapu”)  gait (“nadalanu”). Your lovely tresses (“alakala muddhunu”), sporting ever the beautiful Kasturi Tilaka (“thilakapu theeru...

Lathangi, Dr BMK's [perhaps last recorded rendition] Dr. Mangalampalli Balamurali krishna ji's Last Rendering of Lathangi - 2016 What a loss!! Legacy remains., the most heard Carnatic musician remains in music lovers hearts for ever.

Balamuralikrishna ji is no more. Aum Shanti Sad and shocking news from the Indian Classical Music world, [Carnatic Music]. Dr. Mangalampalli Sharing a video from # DhruvArts # LIAF https://www.youtube.com/watch?v=z4XQDo_n_O4 Sorry to hear that the legend passed away today, nothing can replace the huge void. BMK Ji will be missed for may things, mainly for his legendary carnatic music knowledge and mastery, adapatable on and off-stage personality, his tricky and equally beautiful compositions, unrelenting sense of humour,. Your innumerable unorthodox compositions and tuning will never leave this mortal world - Mahathi, a string of Tillanas, Lavangi, Ganapathi Raga, Ashatapadees, Annamayya kritees, Ramadas Kritees - and million others! Aum Shanthi, let your soul attain Moksha BMK saar. On a slightly melancholic and different tune and note, I will never forgive those [Indian authorities, sat pretty in their undeserving poistions] who snatched His deserving Bharata R...

Description - Bhaja Govindam; Composer - Adi Shankara Raga Malika; Adi Tala Bhaja Govindam also known as Moha Mudgara is a popular 8th century Hindu devotional composition in Sanskrit attributed to Adi Shankara. This work of Adi Shankara underscores the view that devotion to God, Govinda, is a vastly important part of general spirituality, as emphasised by Bhakti Yoga and the Bhakti movement. This work is generally considered a summary of Adi Shankara's Advaita Vedanta philosophy. [reproduced from Wikipedia]

Description - Kriti, Vandanamu Raghu Nandana Notation and style: Rathna Srikantiah Composer - Tyagaraja Swami Raga - Shahana Parent Raga - Hari Kambhoji Arohana - S R2 G2 M1 P M1 D2 N1 S Avarohana - S N1 D2 P M1 G2 M1 R2 G2 R2 S Tala - Adi or Chaturashra Triputa Tala, [1-0-0], 8 Beats

Swarajati is a form in Carnatic music, which is helpful in appreciating the concepts of the structure of Kritis and Keertanas and is usually taught before the varnas. Swarajati has pallavi, sometimes an anupallavi, and at least one charana. Swarajatis have both sahitya and the swaras, in contrast to Jatiswaras that have no sahitya or the song part.

Geeta, the simplest music form in Carnatic music, was created by Purandara Dasa in order to introduce talas with sahitya (lyrics). Though Geetas have no absolutely defined divisions of pallavi, anupallavi or charanas, they may be observed in some cases. Some Geetas contain sections rather than the defined divisions (pallavi etc.). They often have no sangatis or variations, with each swara taking one syllable of the sahitya. The Geeta is sung without repetition from beginning to end. However most Geetas are concluded by repeating a portion of the opening part. Geetas are set in medium tempo and contain no Sangatis or variations and the flow of the music is natural. The theme of the Sahitya (lyrics) is to praise God. There are three types of Geetas: Sanchari or Samanya Geetas, Lakshana Geetas, and Suladi Geetas. Samanya Geetas are the simple ordinary Geetas and are called by other names such as Sadharana Geeta or Sanchari Geeta. In Lakshana Geetas, the sahitya (lyrics), instead of p...

Carnatic music evolved from ancient Hindu traditions and represents the classical music style from southern India. In contrast to northern styles, Karnatak music is more thoroughly oriented to the voice. Even when instruments are used alone or as solo instruments, they are played somewhat in imitation of singing, generally within a vocal range, and with embellishments that are characteristic of vocal music. There are no exclusively no instrumental compositions. Raga  assumes or inherits the basic frame and personality from the more popular ‘kritis’ that they represent. A carnatic-insider will understand if it is said, that raga Saramati inherits its attributes and melodic flavour from the Kriti [composed song] Mokshamu galada. The basic principles of raga (melody type, or framework for improvisation) and tala (cyclical rhythmic pattern) merits a separate introduction , and is mastered through  a comprehensive repertoire of ragas and talas. Karnatak music, with its more homog...

Email not displaying correctly?  View it in your browser. Wow! what a success August's London International Arts Festival [LIAF] was! A product of 18 months of creative manoeuvre by festival curator Jyotsna Srikanth helped LIAF establish as the youngest and the most eclectic arts festival of London. Drawing audiences from Dundee to East of Essex and filling a 674 capacity venue was a big achievement. Below are festival picture-collages and highlights,  www.LIAF.co.uk  and  www.DhruvArts.org  have more. Friday, 10 th  August Above, LIAF Inauguration by Redbridge Mayor Muhammad Javed and Indian singing legend Dr. M Balamuralikrishna, as festival curator and violinist Jyotsna Srikanth looks on.  Read full report here . Saturday, 11 th  August A day of big crowds. Dr. M Balamuralikrishna commanded total attention of the houseful audience and festival curator and violin virtuoso Jyotsna Srikanth  delivered...

Carnatic Music Main Complete Raga Scheme / Chart

Description - Mangala Keertana Composer - Shree Bhadrachala Ramadass  [Ramadasu] Raga - Navroj Parent Raga [Dheera Shankarabharan] - Arohana -  P D N S R G M P Avarohana - P M G R S N D  P Tala - Eka Jathi - Thrishra Rama chandraya janaka raja ja manoharaya mamaka bheeshTa daya mahita mangalam Kosalendraya manda hasa dasa posha Naya vasavadi vinuta sad varada mangalam Charu kumkumo peta chandanadi charchitaya Haraka Sobhitaya bhoori mangalam Lalita ratna kundalaya tulasee vana malikaya jalaja sadruSa dehaya charu mangalam Devakee putraya deva devottamaya chava jata guru varaya bhavya mangalam Pundaree kakshaya poorNa chandrananaya anda jata vahanaya atula mangalam Vimala roopaya vividha vedanta vedyaya sujana chitta kamitaya subhaga mangalam Rama dasa mrudula hrudaya tamarasa nivasaya swami bhadra girivaraya sarva mangalam