THIAGARAJA YOGA VAIBHAVAM SONG
chandrika ganesan
vaibhavam. If anyone knows the raaga of this song can you please
email it to me or post it in this group.
thanks
chandrika
Ranganathan Srikanth
thyagarAja yOga vaibhavam -dIkshitar -Ananda bhairavi
composed on Lord thyagarAja of thiruvArur
(not saint thyagarAja)
famous schools for rendering this krithi are of
dk pattamAl and T.brindA-T.viswanAthan (KV Narayanaswamy)
S Govindarajan
>thanks
>chandrika
It is in Anandabairavi ragam (I was listening to it just yesterday :-).
On a related note, does anybody know whether this song is dedicated to
the saint or to the deity of Tirvarur (where Dikshitar is born). I
have read that Dikshitar had a lot of respect for Tyagaraja and Syama
Sastri and has composed songs praising Tyagaraja. Is there any on
Syama Sastri?
Govind.
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______________________________________________________________________
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Email: govi...@maya.rutgers.edu
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Anand Balachandran
> Date: 19 MAR 1996 22:09:15 GMT
> From: chandrika ganesan <gane...@universe.digex.net>
> Newgroups: rec.music.indian.classical
> Subject: THIAGARAJA YOGA VAIBHAVAM SONG
>
> I need info regarding the raaga of a Dikshitar song Thyagaraja yoga
> vaibhavam. If anyone knows the raaga of this song can you please
> email it to me or post it in this group.
>
> thanks
> chandrika
>
The kriti Thiagaraja Yoga Vaibhavam, by dikshithar is in the raga
Ananda Bhairavi. It is rendered in rupakam(2 kalais). It is really
a masterpiece so far as the grammar behind it is concerned.
It is not in praise of saint Thiagarajar, but is on the lord Thiagarajar
who is the residing deity of Thiruvarur, Tanjore district.
Dikshithar has composed several krithis on this lord. Some of them are,
Thiagaraja Yoga Vaibhavam: AnandaBhairavi-Rupakam
Thiagarajaya Namaste: Begada-Rupakam
Thigaraja Palayamsumam: Gowla-Adi
I have heard these krithis rendered by Semmangudi Srinivasa Iyer
and also by Ramnad Krishnan.
The fact that it is not on St. Thigaraja is well revealed in the
anupallavi of the begada song "kathyayani pathe, pasupathe, simhasanapathe,
thiagarajaya namaste".
I would like to know more about these.
--Anand.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Time is nature's way of making sure that everything
doesn't happen at once.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ramesh
>I need info regarding the raaga of a Dikshitar song Thyagaraja yoga
>vaibhavam. If anyone knows the raaga of this song can you please
>email it to me or post it in this group.
>
>thanks
>chandrika
---------------
I have heard this sung in AnandaBhairavi.
One of the reasons I remember this song
very well is also because of the very
unique "sangathi-s" of the pallavi -
I have heard the pallavi being sung as -
thyagaraja yoga vaibhavam
yagaraja yoga vaibhavam
raja yoga vaibhavam
yoga vaibhavam
vaibhavam
bhavam
vam
Actually, I am not sure whether I am technically
accurate in calling these as "sangathi-s". If anybody
knows the technical trerm for sucha lyric, please
post the info. I would also be interested in knowing
about other similar compositions .
-- S. Ramesh
Anand Balachandran
in the pallavi. This kriti has a "samashti charanam"
i.e. it has anupallavi and charanam combined into one!
Towards the end the sangathis appear in an increasing
fashion.
suprakasham
swarropa prakasham
sapta swaroopa prakasham
sakala saptaswaproopa prakasham
shivashaktiyadi sakalasaptaswarropaprakasham
Thiagaraja Yoga Vaibhavam.
On 24 Mar 1996, Ramesh wrote:
> Date: 24 MAR 1996 04:27:36 GMT
> From: Ramesh <ram...@netline.net>
> Newgroups: rec.music.indian.classical
> Subject: Re: THIAGARAJA YOGA VAIBHAVAM SONG
Nani Iswara
yati - with decreasing "sangati" followed by increasing "sangati".
Regards,
Nani
--
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Ph (847) 342-0570 (H) (847) 632-2594 (W)
mgsriram
charming name of "GoPuccha", ie cow's tail. The quoted lyric is an
example of Sri Muthuswamy Dikshithar's erudition in Sanskrit, as well
as his fondness for word play.
Another example occurs in his krithi, "Sri Varalaksmi", in Sri Ragam. I
believe it's something like this:
Sarasapadhe
Rasapadhe
sapadhe
padhe
padhe.
Sriram
--------
In article <4j2ivo$r...@tesla.netline.net>
Ramesh <ram...@netline.net> writes:
> I have heard this sung in AnandaBhairavi.
> One of the reasons I remember this song
> very well is also because of the very
> unique "sangathi-s" of the pallavi -
>
> I have heard the pallavi being sung as -
>
> thyagaraja yoga vaibhavam
> yagaraja yoga vaibhavam
> raja yoga vaibhavam
> yoga vaibhavam
> vaibhavam
> bhavam
> vam
>
Vidyasankar Sundaresan
>
> The "sangathis" that you referred to, appear not only
> in the pallavi. This kriti has a "samashti charanam"
> i.e. it has anupallavi and charanam combined into one!
> Towards the end the sangathis appear in an increasing
> fashion.
>
> suprakasham
> swarropa prakasham
> sapta swaroopa prakasham
> sakala saptaswaproopa prakasham
> shivashaktiyadi sakalasaptaswarropaprakasham
>
Correction:
prakasham
swaroopa prakasham
tattva swaroopa prakasham
sakala tattva swaroopa prakasham
shiva shaktyadi sakala tattva swaroopa prakasham
> Thiagaraja Yoga Vaibhavam.
>
> On 24 Mar 1996, Ramesh wrote:
>
> > thyagaraja yoga vaibhavam
> > yagaraja yoga vaibhavam
> > raja yoga vaibhavam
> > yoga vaibhavam
> > vaibhavam
> > bhavam
> > vam
> >
> > Actually, I am not sure whether I am technically
> > accurate in calling these as "sangathi-s". If anybody
> > knows the technical trerm for sucha lyric, please
> > post the info. I would also be interested in knowing
> > about other similar compositions .
> >
The technical term for such a structure is "yati". In the pallavi, the
yati is convergent and called "gopuccha" - cow's tail, because the
phrases keep decreasing in length. In the charanam, the yati is
divergent and called "Srotovaha" - like the flow of a river, because the
phrases keep increasing in length.
There are two other kinds of yati - mridanga - which first diverges and
after a maximum starts converging again, i.e. Srotovaha + gopuccha, like
the shape of the mridangam ; and damaru, which does the opposite, i.e.
gopuccha + Srotovaha, like the shape of the damaru (udukkai in Tamil).
S. Vidyasankar
Kris Kamisetty
>I have heard the pallavi being sung as -
>
>yagaraja yoga vaibhavam
>raja yoga vaibhavam
>yoga vaibhavam
>vaibhavam
>bhavam
>vam
>
It is called "Go Pucha Yati". The structure of the line the way it is sung
gets smaller and smaller like a "Go (Cow's) Pucha (Tail)"
Prasad
Avinash Ambale Viswanath
In a previous article, mgsr...@mom.hooked.net (mgsriram) says:
The other kind of Yati, as opposed to Gopuccha occurs in the same Krithi
Thyagaraja Yoga Vaibhavam. It is the Srotovaha Yati, which is like the
flow of a river.
Shiva Shaktyadi Sakala Tatva Swaroopa Prakasham
Tatva Swaroopa Prakasham
Sam Prakasham
Tatva Swaroopa Prakasham
Sakala Tatva Swaroopa Prakasham
Shiva Shaktyadi Sakala Tatva Swaroopa Prakasham
I haven't seen any other Krithis with both the Yatis. If somebody else
is aware of both these yatis in one Kriti, please enlighten me.
avinash
>This kind of lyrical structure is known, for obvious reasons, by the
>charming name of "GoPuccha", ie cow's tail. The quoted lyric is an
>example of Sri Muthuswamy Dikshithar's erudition in Sanskrit, as well
>as his fondness for word play.
>
>Another example occurs in his krithi, "Sri Varalaksmi", in Sri Ragam. I
>believe it's something like this:
>
>Sarasapadhe
>Rasapadhe
>sapadhe
>padhe
>padhe.
>
>
>Sriram
>
>--------
>In article <4j2ivo$r...@tesla.netline.net>
>Ramesh <ram...@netline.net> writes:
>
>> I have heard this sung in AnandaBhairavi.
>> One of the reasons I remember this song
>> very well is also because of the very
>> unique "sangathi-s" of the pallavi -
>>
>> I have heard the pallavi being sung as -
>>
>> thyagaraja yoga vaibhavam
>> yagaraja yoga vaibhavam
>> raja yoga vaibhavam
>> yoga vaibhavam
>> vaibhavam
>> bhavam
>> vam
>>
>>If anybody
>knows the technical trerm for sucha lyric, please
>>post the info. I would also be interested in knowing
>>about other similar compositions .
>>
>
--
-------------------------------------------------------------------------------
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N. Shashidhar
>
>I have heard this sung in AnandaBhairavi. One of the reasons I remember
>this song very well is also because of the very unique "sangathi-s" of
>
>thyagaraja yoga vaibhavam
>yagaraja yoga vaibhavam
>raja yoga vaibhavam
>yoga vaibhavam
>vaibhavam
>bhavam
>vam
>
This kind of structure is called "gopuram" If you notice the
sahityam in charanam you will find
Sham
Prakasham
Swaroopa Prakasham
Tatva swaroopa Prakasham
Sakala Tatva swaroopa prakasham
Shivashaktyadi Sakala Tatvaswaroopa Prakasham
Another example of this structure is in Shri Varalakshmi in Raga Shri by
Muttuswamy Dikshitar
Shri Sarasa Pathe
Rasa pathe
Sapathe
Pathe
Pathe
ENJOY!
Sankar N.
"Maye Tvam yahi" in the raga Ksheera Tharangini. The pattern is
as follows:
Sarasakaye
Rasakaye
Sakaye
kaye
--
Sankar N
s...@cisco.com
>
> This kind of lyrical structure is known, for obvious reasons, by the
> charming name of "GoPuccha", ie cow's tail. The quoted lyric is an
> example of Sri Muthuswamy Dikshithar's erudition in Sanskrit, as well
> as his fondness for word play.
>
> Another example occurs in his krithi, "Sri Varalaksmi", in Sri Ragam. I
> believe it's something like this:
>
> Sarasapadhe
> Rasapadhe
> sapadhe
> padhe
> padhe.
>
> Sriram
>
> --------
> In article <4j2ivo$r...@tesla.netline.net>
> Ramesh <ram...@netline.net> writes:
>
> > I have heard this sung in AnandaBhairavi.
> > One of the reasons I remember this song
> > very well is also because of the very
> > unique "sangathi-s" of the pallavi -
> >
> > I have heard the pallavi being sung as -
> >
> > thyagaraja yoga vaibhavam
> > yagaraja yoga vaibhavam
> > raja yoga vaibhavam
> > yoga vaibhavam
> > vaibhavam
> > bhavam
> > vam
> >
Dakshin
has 16 beats. I have a good reference that says Rupak tal has 5-11
letters. The book doesn't say what a letter is. If a letter is taken as a
basic swara, with no inflexions (so pa is one letter and paa is two
letters), then it is also a unit of time as long as the vocalist is
consistent in their utterance. How do beats measure up then? So Rupak tal
has 16 beats in how many seconds? Or is it just a built in system where
the tabla player uses one fixed sound to demarkate the 16 beats. In any
case, we don't have 16 fingers on normal hands, it seems the tabla player
has to use both hands and contact 8 fingers twice (thus in 2 time units)
or use one hand and contact 4 fingers 4 times (thus in 4 time units). So
isn't it apt to say these many beats per hit on the
cassette label?
Dakshin Murthy
WARVIJ
approximately
Ti Ti Na / Dhi Na / Dhi Na
Any information to the contrary (that is, that the taal has
sixteen beats) is either a misprint or a reference to some
obscure rhythmic backwater.
Rupak is perhaps the shortest taal to achieve regular use in the
"pure" classical forms. It is occasionally played on pakhawaj
as well as tabla; I have heard several dhrupad compositions in
rupak. Noteworthy is that the sam point is also the "khali" --
the bayan (bass drum) is absent on these beats, resulting in
a "release" of energy at the sam.
If you are interested I have a cassette tape prepared for my students
which demonstrates most of the major taals in accompaniment
contexts along with their thekas; email me for info.
Warren Senders
Original music blending Indian and Western traditions;
Hindustani vocal music -- Khyal & Thumri --
for info:
http://challenge.tiac.net/users/joisprng/Senders.html
also check out:
http://www.rootsworld.com/rw/
"Beauty in music is too often confused with something
that lets the ears lie back in an easy chair."
-- Charles Ives --
Milind Bhandarkar
>
> Rupak taal of Hindustani music has seven beats. The theka is
> approximately
>
> Ti Ti Na / Dhi Na / Dhi Na
>
> Any information to the contrary (that is, that the taal has
> sixteen beats) is either a misprint or a reference to some
> obscure rhythmic backwater.
As an avid fan of Marathi Light Classical music, I can safely say that
some of the best songs have Rupak as accompaniment. In a faster tempo,
it is played as "Ti Ti Na / Dhi Dhi Na Na / Dhi Dhi Na Na".
milind
--
__Milind_A._Bhandarkar___________...@cs.uiuc.edu_
(W)_____2508,DCL,1304,W.Springfield_Ave_Urbana_IL_61801_____(217)_333_5827_____
______________________________________________Cogito,Ergo_Paid_Less____________
WARVIJ
>>As an avid fan of Marathi Light Classical music, I can safely
>say that some of the best songs have Rupak as accompaniment.
>In a faster tempo,
>it is played as "Ti Ti Na / Dhi Dhi Na Na / Dhi Dhi Na Na".
Surely you don't mean the taal is of eleven beats? This I've
never heard. Are the second and third vibhags of the taal
filled at dugan laya? I would assume so, which would keep
things in 7.
Warren
Milind Bhandarkar
> Surely you don't mean the taal is of eleven beats? This I've
> never heard. Are the second and third vibhags of the taal
> filled at dugan laya? I would assume so, which would keep
> things in 7.
yes, indeed.
Ravi Rao
Woodward Hall, Pace University, Elm Rd., Briarcliff Manor,NY
Shanmukha Priya and Hari Priya, Vocal Duet
Meera Sivaramakrishnan , Violin
Melakaveri Balaji, Mridangam
They came, they saw and they conquered ------------ Subbudu
They mesmerize the audience with their singing ---- Subbudu
Shanmukha Priya and Hari Priya, popularly known as the Priya
Sisters, will present a delightful vocal duet. Having al-
ready given more than 500 concerts in all the major sabhas
in India, today they are one of the most popular and sought
after performers. They commenced their training under their
father Subba Ram, who is a prime disciple of Harikesanallur
Vaidyalinga Bhagavatar. Later they received advanced train-
ing from Smt. Radha and Jayalakshmi.
Meera Sivaramakrishanan received her training from Smt.
Radha Narayan and later from Sri T. N. Krishnan. She has
accompanied all the major artists such as Balamurali, DKJ,
MLV, U. Srinivas, Ravikiran, and others. M. Balaji received
his mridangam training from Sri M. Krishnamurthy. He has
also accompanied many of the senior vidwans.
Admission : $12/person, $25 per family (2 adults+young chil-
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will be served. For more info :
P.V.Kamesam 914-287-0094 K.Visala 914-962-5839
Subbu Iyer 914-245-5197
DRIVING DIRECTIONS TO THE CONCERT :
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Tel: 914-945-3553; Fax 914-945-2141
Andrew Purdam
<mil...@cs.uiuc.edu> wrote (and very neatly, too):
>WARVIJ wrote:
>>
>> Rupak taal of Hindustani music has seven beats. The theka is
>> approximately
>>
>> Ti Ti Na / Dhi Na / Dhi Na
>As an avid fan of Marathi Light Classical music, I can safely say that
>some of the best songs have Rupak as accompaniment. In a faster tempo,
>it is played as "Ti Ti Na / Dhi Dhi Na Na / Dhi Dhi Na Na".
Yes but the dhi dhi and na na are played twice as fast, so don't count
eleven for the above theka, but 1 2 3 4& 5& 6& 7&. Right?
>milind
______________________________________________________________
Andrew Purdam Canberra, Australia apu...@pcug.org.au
"Do I contradict myself? Very well then I contradict myself,
(I am large, I contain multitudes)." Walt Whitman (1819-92),
A. N. Sreeram
writes:
> Bimal Roy's tabla tapes where the label says Rupak tal
>has 16 beats. I have a good reference that says Rupak tal has 5-11
>letters. The book doesn't say what a letter is. If a letter is taken as a
>basic swara, with no inflexio
Hello,
Rupak taal has only 7 beats and its theka goes as follows:
Tee Tee Na | Dhee Na | Dhee Na ; here the Sam 'X' is a khaali.
X 2 3
The there has to be some mistake if someone is refering rupak taal as
16 matras (beats).
Warren is absolutely correct in saying that rupak taal is the shortest
taal in terms of beats to be regarded amongst rigorous pure classical
status taals. One other polpular one, mainly for drupad/pakhawaj is
teevra taal whose theka goes as:
Dha Din Ta | Tete Kata | Gadi Gana
X 2 3
There is no controversy/confusion involved in rupak taal's theka with
regard to its being a 7 matra taal.
Regards, Sreeram.
Sadasivan Iyer
Can someone post the lyrics of "Shanti Nilave Vendum- aatma Shakti oonga
Vendum"- I think it is in rag Tillang. nad it may be a Subramany Bharatai
Song.
thanks
Sada
******************************************************************************
Sadasivan Iyer Phone : (302)831-8705(O)
Dept. of Chemical Engineering (302)738-3361(H)
University of Delaware, Newark, DE-19716
*******************************************************************************
Martin Lee
Hello,
Rupak Tal has 7 beats thus:
O 2 3 | X 5 | X 7 where O=wave/unstressed and X=clap/stressed: I
forget the technical words at present: example tin tin na dhin na dhin
na
It is a very beautiful cycle and my favourite. Try to get hold of a
recording of Nikhil Bannerjee playing rag Pilu [my absolute favourite
rag] in rupak. I do not know the record number I'm afraid but the
piece is in the form: alap, gat [rupaktal], gat [dupchandital], gat
[tintal], jalla [tintal] and has a truly wonderful performance of rag
kedar on the other side.
These are absolutely magnificent perfomances and some of very very
best. Listen and prepare to be astounded!!
Martin Lee
Puduhai Sreeram
Sadasivan Iyer (iy...@che.udel.edu) wrote:
>
> Can someone post the lyrics of "Shanti Nilave Vendum- aatma Shakti oonga
> Vendum"- I think it is in rag Tillang. nad it may be a Subramany Bharatai
> Song.
> thanks
> Sada
The raga is Tillang. But the song is by Namakal kavingar not Bharathiyar.
shanthi nilava vendum
enghum santhi nilava vendum
aathma sakthi onga vendum, ulagile
(shanthi...)
Ghandhi mahatma kattalai aduve
karunai otrumai kadiroli paravi
(shanthi...)
kodumai sei theeyor manamadhu thirundha
nargunam adhu pugattiduvoom
madamai acham aruppoom
makkalil maasilaa nal ozhukam valarpoom
dhidam tharum ahimsa yogi nam thandhai
aathmanandam perave
kadamai maravoom avar kadan theerpoom
kalangamil aram valarpoom
(shanthi...)
When TVS gave a concert in Detroit in 1994, he sang this song wonderfully.
What an excellent song in chaste tamil from a superb poet.
--
sreeram
psre...@ford.com
Dakshin
Hi,
I am hoping to meet instrumentalists in Columbus area to practice Carnatic
music (I am a vocalist) as well as learn how to play instruments. Please
reply to dak...@aol.com or call 751-0014.
Thanks.
Dakshin Murthy
Dakshin
This particular Annamacharya kriti is plain as a rose.
The theme is set in the pallavi itself.
>enta maathramuna evvaru thalachina
>anta maathrame neevu
However much we think of YOU (venkateswara) YOU are that much
(more) to us.
>antharaantharamu lenchi chooda
>vindanthe nippadi annatlu (enta ..)
As I probe my mind, YOU are "vindanthe nippadi" ...could mean
something satisfying. Vindanthe could mean a banquet or a spectacular
view or something totally unrelated.
>kolu thuru mimu vaishnavulu koorimitho vishnudane
The followers of God Vishnu are called Vaishnavas. They
worship Venkateswara as though he was Vishnu incarnate.
>paluku thuru mimu vedhaanthulu parabramham vanusu
Vedantas (a middle group between devotees and atheists) think of you as
the Parabrahma (the procreator).
>thala thuru mimu shaivulu thagina bhaktudulu shivudanusu
The followers of Shiva think of you (Venkateswara) as the Vishnu
incarnate
>alari pogadu thuru kavaali kolu aadi bhairavudanusu (enta ..)
And so on... others will think of you as the Adi Bhairava
(I don't know why Annamacharya has to invoke Shiva twice, but
it is a good rhyme... to a concept that is taken to a logical
conclusion by now as: you are what we think you are)
>sari ninnu thuru saaptheyulu sakthi roopu nee vanusu
Some other group called saaptheyulu call Venkateswara a Sakthi
roopa (Sakthi could mean the progenitor).
>darisanamulu mimu naana vithulanu thala pula koladula bajinthuru
This is merely stretching the facts to make the point that people
worship, pray and sing about Venkateswara...
>sirula vimu ae alpa budhdhi thalachina vaariki alpam bhavuthu
sirulu means wealthy artifacts; alpa budhi is "small mind set";
by the way the verbs throughout this song: thalachina, talachuta,
talapu all mean some way of remembering or invoking something or
someone.
>karimala vimu ae gana mani thalachina gana budhdhulaku thanudavu
Those who think of you as a great source for their songs, you become
manifest that way.
>ee valana korathae lethu mari eeru polathi thaamaravu
>aamala bhaaheerathi thari bhaavula aalela mae oorina etlu
As the lakes naturally nurture the lotuses and the
the river Bhagheerata normally fills up the wells around it
with water...
>sri venkatapathi nee vaithae mamu chekoni unna theivmu
>ee valanae nee charananiyathanu giriae para thathvamu naaku
you Venkateswara fill up my mind and conscience; you are the
"para tatva" to me and so on.
While this song is one of the thousands of Annamacharya's kritis,
it is nevertheless a sample of the complex mind Annamacharya has.
He was always trying to elevate Venkateswara to a God, without actually
mentioning what little or great things Venkateswara, the human, had done
in his earthly life. I think anyone who tried to elevate Venakteswara to a
Godly status
ran into this bottleneck (e.g. Tyagaraja's terateeyagarada meanders
around).
But these songs do come with great lyrics. There are some songs where
Annmacharya makes a social call for equality among castes, social and
economic
classes in the society (e.g.: the song Brahmamokkate- parabrahmamokkate).
He must have been really ticked-off with something to write such a
wake-up-call
song.
By the way, the life story of Lord Venkateswara appears to me simply as--
sell your soul to support your loved ones. He has not fought any
great wars or performed miracles to free the oppressed like Rama
or Krishna. He however gets godly status because of the way he
commits himself to his wives in spite of his lack of financial
resources to do so.
It seems his life story inspires those who take enormous
risks to make their ends meet (ends justify the means in his case).
Anyway, people have told me that "Brahma Kadigina Padamu" of Annmacharya,
sung by MS Subbulaxmi, sent them to tears. I don't know if that is ever a
mark
of a singer or the writer. I view all of Annamacharya's songs as jovial,
light
hearted to make me light footed and dance. Shobha Raj who sung many of
Annamacharya's kritis has a positive up-beat way of rendering them.
Dakshin Murthy
Dakshin
I am looking for the words/raga etc. of "Dinakara Subhakara" -- probably
by Deekshitar -- that goes like: "dinakara subhakara deva, dinadhara,
timira samhara,
dinakara subhakara; patita pavana mangala data, papa santapa loka vidhata
(?);
brahma vishnu parameswara rupa; nikhila loka vigyana vidhata; dinaka loka
paripalaya bhaskara; dinakara subhakara"--. The meaning: Sun is
the one that makes our day and creates the good things; cleanses everyone
and
everything; delivers wealth; releases from sin; manifestation of
trimurtis; gives
knowledge to all and so on.
I think of this as a great tribute to sun the star, among other things.
Regards,
Dakshin Murthy
Dakshin
The long and short description of any raga is in the kritis set to it and
the notes expressed in it. The name of the raga is itself immaterial,
except as a contemporaneous reference mark. For example, Dr.Balamurali's
Vijayalalita ragam is not to be taken literally as the ex-actress,
ex-chief-minister-of-tamil-nadu's persona
(more on this later). Another way of looking at a raga is, if Vijayalalita
is defined as an auspicious raga by someone, someone else whose racing
horse was named Vijayalalita and dead very young after winning its first
race from cardiac-arrest, could think of the raga as implying an
inauspicious one. But both are not what Vijayalalita raga is about.
A raga is expressed in terms of "rasas" or "moods" such as Bhakti
(devotion), Soka (tragedy), Veera (inspirational), Rakti (melody) etc. A
Bhakti rasa can also be a soka rasa raga, because rasas are like planes on
a mobius-strip -- i.e. one automatically leads to the other
subconsciously. For example, Tyagaraja's "Rara ma inti daka" in Janya raga
is both bhakti and soka raga because one could interpret the meaning as a
devotee inviting Rama visiting their neighborhood to their humble abode in
all happiness and lamenting minutes after that Rama wouldn't come in spite
of the repeated invitations to their abode (that's why it is a good idea
to repeat pallavi and
anupallavi at crucial points during the kriti execution to precisely
convey the rasa of the previous charana or the coming one; when ending the
kriti it is customary to take the pallavi into "aa", "ee", "uu", "na"
karas or sounds; even though some chose to say "hareeee" implying all
rasas and sounds are to be merged with the procreator and understood that
way). The Athana raga is a prayoga pradhana raga, meaning its phrases are
overwhelming to the listeners. Appropriately, Tyagaraja chose to set the
exquisite phrases that start with "Bala kanaka maya chela" in this raga.
However, the anupallavi in it is soka ("ela nee daya radu..." i.e. a God
with so many great sounding names doesn't find it in his heart to be
benevolent to Tyagaraja at times; by the way it is possible to introduce
local sangatis here if a particular singer doesn't want to use soka in
anupallavi during a certain performance where he doesn't want to sink the
audience further down because most of them happen to be already caught in
some
disaster--e.g. a famine or flood).
A raga is also characterized by its melakarta because melakartas are
supposed to have in-built meanings. However, the context of these
melakartas is lost over the
passage of time and also in the translation. Other than as a reference for
scale
the melakartas shed little light on how a raga has to be interpreted
(that's why you don't find the 23rd Gowri Manohari janya raga "simheli
bhairavi" under the 20th melakarta "nata bhairavi" even though "bhairavi"
is a common label denominator).
To understand ragas, one has to understand the kritis sung in the raga
including
the alapanas and common phrases associated with the raga by their creators
(chiiti swaras, gamakas, etc.). However, it is not as simple as
translating the kriti to English
or whatever. There is a bhava underneath the words one finds hard to
express in words
(the Sankarabharanam movie star Sankara Sastry vocalizes it as "ardhrata"
or
an soul touching vibration in "Broche Varevararu...ninu vina raghuvara" by
Tyagaraja). The bhava is coming from nada which can be defined as an inner
cry. In other words, an ancient kriti is the inner vibes of an ancient
soul in some natural language (Telugu, Tamil, Kannada, etc.). We can't
understand everything about this ancient soul (Tyagaraja, Purandhara,
Mozart or whoever). Our hope as singers and music lovers is to perpetuate
these vibes to the extent that we find them uplifting and inspirational to
our lives to the best of our abilities. It is "punarapi jananam and
punarapi maranam" as Smt.M.S.Subbu Laxmi sang so beautifully our ancient
wisdom. A raga is an un-ending stream of consciousness like the background
noise of the universe astronomers talk about, the kriti is a particular
stream of consciousness like the roar of the Indian ocean, and the
execution by a singer is a resonance delivered to us by mixing and
matching these un-ending streams with his/her emotions and innate skills.
Now to my pet peeves:
So, with these head-in-sand views, naturally I was disappointed when
someone quoted Mr.Illayaraja here on RMCI as though attacking
Dr.Balamurali for his apparent connections as a leading artiste with the
local govt. I'd think of Dr.Balamurali as a revenue generator and
contributor to the local economy and foreign exchange because of his
record sales, if I were a govt. trade official. I'd think of him as a
humble artiste knowing that his SPICMACAY concert in Columbus, OH was
attented by a handful which in general is lackadaisical response. But as
an artiste I should respect his creativity and unique abilities.
In a different vein, Eric Clapton's "If I see you in heaven, will you know
my name" inspired by his infant's tragic drop from a high-rise penthouse
is NOT about parental neglect in rising children, a festering issue in USA
and developed countries. And Clapton by no means is trying to chide others
or justifying anything. As an artiste he was compelled to sing that song
as a reaction to an event in his life. It makes a compelling song for many
of us to listen even though we have our own problems and tasks. This is
the necessary quality of any enduring music--bond with the listener no
matter who they are and what they are preoccupied with at all times.
Dakshin Murthy
Sreenivas Paruchuri
In article <4q5mh5$q...@newsbf02.news.aol.com>, dak...@aol.com (Dakshin) writes:
> I am looking for the words/raga etc. of "Dinakara Subhakara" -- probably
> by Deekshitar -- that goes like: "dinakara subhakara deva, dinadhara,
> timira samhara,
> dinakara subhakara; patita pavana mangala data, papa santapa loka vidhata (?);
> brahma vishnu parameswara rupa; nikhila loka vigyana vidhata; dinaka loka
> paripalaya bhaskara; dinakara subhakara"--. The meaning: Sun is
> the one that makes our day and creates the good things; cleanses everyone
> and everything; delivers wealth; releases from sin; manifestation of
> trimurtis; gives knowledge to all and so on.
Its not Deekshitaar's, but written (or adapted ?) for the
film: vinaayaka chaviti (1957) by well known Telugu film lyricist;
samudraala raaghavaachaarya.
You have infact written down the complete lyrics. Here is the complete text
following RTS scheme:
dinakaraa Subhakaraa dEvaa
deenaadhaaraa timira samhaara ||
patita paavanaa mangaLa daataa
paapa santaapa lOkahitaa
brahma vishNu paramESwara roopaa
vividha vEda vijnaana nidhaana
vinata lOka paripaalaka bhaaskara ||
The Telugu film songs (based on classical raagas) list says that its in
pantuvaraaLi (or Subha pantuvaraaLi).
Regards,
Sreenivas
Suneeta Donepudi
In article <4q5mh5$q...@newsbf02.news.aol.com>,
dak...@aol.com (Dakshin) wrote:
>I am looking for the words/raga etc. of "Dinakara Subhakara" -- probably
>by Deekshitar -- that goes like: "dinakara subhakara deva, dinadhara,
>timira samhara,
>dinakara subhakara; patita pavana mangala data, papa santapa loka vidhata
>(?);
>brahma vishnu parameswara rupa; nikhila loka vigyana vidhata; dinaka loka
>paripalaya bhaskara; dinakara subhakara"--. The meaning: Sun is
>the one that makes our day and creates the good things; cleanses everyone
>and
>everything; delivers wealth; releases from sin; manifestation of
>trimurtis; gives
>knowledge to all and so on.
>
>
>Regards,
>
>Dakshin Murthy
>
Hi Dakshin,
There are a few corrections to the above song. The lyrics go like ...
dinakara subhakara
deva deenadhara
timira samhara
dinakara subhakara
patita pavana mangala data
paapa santapa loka hita
brahma vishnu parameshwara roopa
vividha veda vigyana nidhaana
vinata loka paripalaka bhaskara
dinakara subhakara
Sorry, I do not know the raga it is composed in. I recorded this song from a
telugu movie (sung by ghantasala). It is indeed a glorious tribute to the Sun
god. In the movie, it was sung by Balarama (brother of Lord Krishna) during
sunset. Balarama is supposed to be a great bhakth of Surya.
Regards
-Suneeta
Dakshin
I don't think pakad means anything special in Carnatic music. Probably it
has implications to "tempo" or the "tala." A raga can be executed in
different talas (e.g. eka, adi, rupaka, jhampe, etc.). A tala is basically
the tempo of the raga measured as either letters or notes originating in a
time period. You can imagine that the same set of notes being executed
faster or slower as tala. Since pakad can mean "catch"
in Hindi, implying some sense of race, I have tied these two. But I could
be
wrong. Regarding vadi, samvadi, etc. ---actually they are Sanskrit terms
that mean
"argument" and "counter argument" respectively. I don't think of them as
particularly enlightening. If anyone wants to know more about them (I have
seen at least 10 people asking these questions in the past three months
alone) should
learn from tabla instrumentalists directly, probably by visiting India,
who seem to claim they know what they are doing . :)
Now if anyone has a educational/interesting/useful explanation of these
terms I would like to know. Usually, many musicians/instrumentalists on
the road tend
to get rave reviews from the back-rowers (pun intended) who carry greater
burden than the front-rowers by being able to barely listen, when there
is a sense of "dialogue" going on amongst the musical team on stage.
Because it is easy to recognize a "raging argument" in musical terms from
tens of meters
away, and it usually gets the attention.
In another vein, the so called jugaldbandi teams, seem to perpetuate their
own sense of musical body-building or body-shaping or miss/mister-world
contest than any accepted tradition of classical music (hence it is a moot
point to argue about who is the best tabla player; it is like asking who
has the best body or who is the most
beautiful woman; it depends on the year and contest sponsors and who
attends
and who judges).
An instrument cannot deliver the emotions unique to a human voice (no
matter how bad it is, imagine Amitabh Bachan singing Carnatic music; it
still makes popular sense than Amitabh Bachan on table blaring away the
rupaka tala or on violin rubbing the Deekshitar's notes).
A jugalbandhi is essentially two people locking their horns, which many
lay people find more interesting than a singer rendering the complicated
Sanskrit
terminologies of Tyagaraja's "Ksheera saga vihara" for example--which in
all
probability may be perceived as the exasperated croonings of a tired soul.
Carnatic music or classical Indian music is not about locking horns or
fists
as in the Word Wrestling Federation fake match-ups or the World Boxing
Federations
real bouts--both have their down-sides and critics and especially the
victims like
Mohammed Ali. So jugalbandhi cannot be considered as classical music, much
less part of Carnatic repertoire. It is an accomplishment of the muscular
forces of instrumentalists giving raise to musical sounds. A zealous table
player can suffer
from Carpal tunnel syndrome in the long run.
I am not entirely discounting the instruments either. Sometimes an
instrument
is the best way to deliver the raga to a cross-section of people who don't
care
about a particular natural language or consider it as "ear piercing." I
have found
my neighbors to be more pleased when I play the complicated "Ksheera
Sagara
Vihara" in Ananda Bhairavi on my Japanese recorder, than if I vocalized
it.
They can't fathom the Sanskrit words, but they can catch the lullaby notes
or the "srungara" rasa of this kriti when played on the recorder.
A veena is another instrument that is supposed to deliver the classical
notes near
exactly. I, however, have to doubt that it is melodious, espeically with a
really old dried
up gourd (or whatever fruit/vegetable ) shell coughing up notes like a
husky South
Carolina tobacco farmer . It may deliver melody in due course
of time (especially if you can record the performance on a faster speed or
play the performance faster in your tape recorder that has that feature).
But the
veena notes can't move me much faster than the harp. Besides, a veena seem
to have the additional string that serves almost rings like a cheap alarm
clock's
buzzer. I think I am mostly touched by the hard work of the veena player
in terms of trying to make ends meet (in all facets; pun not intended).
I admire the cleverness of Mr.U.Srinivas and other mandolin players. They
seem to
have figured out the efficient way to deliver Carnatic notes on a string
instrument giving
new twist to "reach and touch some one." Especially, the success of young
Srinivas,
can be attributed to the size of the mandolin relative to the size of his
young fingers,
with of course of his intellectual abilities to reproduce the classical
sense of our
music. You can only speculate about the role of his parents and teachers
in his
early success and uncertain future.
One can deliver carnatic music on a harmonium, synthesizer (MIDI
compatible or
whatever), violin, guitar, flute and so on. While doing so one can make up
for the
lack of human-voice-based-quality by creating dramatic twists or long
overtures
(that are especially impressive coming from a flutist--so much for the
lung
capacity). One can also take hints from the western composers who long ago
figured out that one instrument alone for a concert is so dull that now it
is hard to restrict which instruments will stay out of a concert (in the
film Armadeus (sp?) the
young Mozart seems to have gone schizophrenic while trying to imagine the
various instruments playing while he was writing the score itself; it was
grave tragedy
that this combined with alcohol has robbed the world of this great
prodigy; so the
general lesson is don't put too many instrumentalists together in a
Carnatic concert
and especially if you are a vocalist don't drink alcohol or coffee; they
are both
terrible for you, especially when veena players offer it to you :).
It seems any darn thing that can make noise can be integrated into a
Beethoven number by a clever conductor and still obtain rave reviews for
this darn thing all by itself. Yanni is one such conductor. It seems he
can make the pyramids or the ruins of American civil war sing (with their
faint echos I guess) to the general commotion he and his human musical
partners produce on their expensive electronics-integrated instruments. I
do enjoy Yanni's music (not as much as my wife though) when I am in an
elevator and during a long ride.
You can also wonder if the co-host of Entertainment Tonight (ET) is really
that
talented to produce great music by just playing a piano or is it that he
was
in the public eye for too long like the Hue Downs of 20/20 sitting next to
beautiful
and powerful women explaining what the hard-working reporters and
camera-crew
are doing.
I think any instrumentalist has limited powers of presentation. Only a
vocalist
has unlimited potential. Many of us, who enjoy singing, tend to "save our
voices"
from serious injury. At the least, I worry about soar throat. I don't want
to swallow
sugar coated pills loaded with sleep inducers or drink alcohol based
soar-throat
busters. Sometimes vocalists do come out of their conservative closet and
stretch
their voices beyond their own imagination. If there is a tape-recorder
nearby, that
particular vocal effort becomes part of our legacy. However, the very same
tape-recorder robs the vocalist of his/her creative use of literature and
grasp of the notes that are key to melody and form as an analog signature
of a raga. I can easily sing my "Ksheera Sagara Vihara" in Ananda Bhairavi
after listening to Dr.Balamurali's tapes ten times (because my guru is not
any more with me). I don't have to even pay him the fees I'd normally pay
to a teacher. But then singers do get royalties for their tapes. And I
also find it as unfair when the commercial tapes/CD covers don't mention
who played the instruments along side so-and-so famous singer (name and
picture printed in multi-colors).
All vocalists are not alike and deserving greater credit for a concert
well done. I think the Gazal singers have it all easy. First of all, those
who can sing as well as play harmonium are the real easy-goers and snake
charmers. Now I
don't know if the alapana is coming from his voice or the box he is
tweaking
(with the snake charmer you don't know if the snake "hears" or "senses the
vibrations from ground" somehow). Second of all, with all the
Audio-Graphical
User Interface going on, it is hard to say what is an anya-swara such as
only
Carnatic music nerds can twitch their ears and catch in the airwaves. It
seems
the gazal singers either encourage frequent interruptions from the
audience or
put up with the excessive praise they receive from the Urdu lovers in the
audience (if
it is an Urdu gazal; and usually gazals have a few urdu words thrown in;
imagine you are singing a Purandhara and you mention Deekshitar for a
fleeting
second in the middle; what a circus it will be and what a cheap shot it
shall be). It can't simply be the fault of the audience who don't pay
pricy tickets to bolster someone's ego. However, audience can pay to
receive the previlege of unfettered freedom in a so called "concert" much
like the pop concerts, while encouraging the organizers and performers to
just do their "good job."
All in all, I am for the discipline and training of a Carnatic vocalist. I
think the
instrumentalists would have a better job of sustaining our great
literature and music,
if they can find in their hearts the humility to team up with a vocalist
as opposed
to other instrumentalists. While doing so the instrumentalists could not
be
under-cutting the vocalist's freedom. An instrumentalist, in spite of
his/her musical
knowledge, is like a technologist or a computer programmer who has the
potential
to make this world a better place by delivering at the right time, right
place, right
price to the creative people who seem to know how to be happy and make
others
happy.
Dakshin Murthy
sundar
This was personally verfied from Smt.D.K.Pattammal by me.
Rgds,
Sundar