study guid

Title
Raga
Tala
Duration
01. Gajananayutham
Chakravaka
Adi
14.00
02. Sevikkavendum
Andolika
Adi
3.39
03. Jatisvara
Gambhiranatta
Rupaka
8.35
04. Kalaivani
Suddhadhanyasi
Adi
19.24
05. Sarasanetra
Sankarabharana
Adi
2.35
06. Sottrunaivediyan
Idarinum Talarinum
Kedaragaula
Kedaragaula
Adi
3.39
07. Erumayil
Bagesri
Khanda chapu
2.25
08. Iravamal
Saranga
MisraChapu
2.04
‘Gajananayutam’ in the Raga Chakravaka and Tala Adi
Composer – Muthusvami Dikshitar
Aro – s r g m p d n s.
Ava – s n d p m g r s.
Raga Chakravaka is the 16th Melakarta belonging to a murchanakaraka
variety. Its notes are Sa, Suddha Ri, Antara Ga, Suddha Ma, Pa, Chatusruti Dha
and Kaishiki Ni. It is a sarva svara gamaka varika raga, a rakti raga and a sarvakalika raga. Saint Thyagaraja brought this raga into prominence. Ahir Bhairav
of Hindustani music resembles this raga.
The meaning of the song
This song is in praise of Ganesha the elephant-faced god, who is the lord of
Devas. He is worshipped by Brahma and Indra as he is the remover of obstacles
and whose lotus-like feet and hands are worshipped by Bhutaganas. This mighty
god exhibited his skill in vanquishing Kunjara, a demon. He is the elder brother
of GuruGuha, and is in the form of Pranava.
‘Sevikkavendum’ in Raga Andolika and Tala Adi
Aro – s r m p n s. Ava – s n d m r s.
This Upanga raga belongs to the janya of audava variety but its missing notes are
different between its arohana and avarohana orders. It is a subordinate of the
22nd Melakarta, i.e. Kharaharapriya. The svaras figuring in the raga are Sa, Chatusruti Ri, Suddha Ma, Pa, Chatusruti Dha and Kaishiki Ni. Also known as Mayuradhvani, this is a sarvakalika raga. It carries Vira rasa
(heroic sentiment). As a minor raga, Andolika has limited scope for alapana.
Very few compositions belong to this raga. The raga Sorat of Hindustani music
closely resembles this raga.
The meaning of the song
All those who pray to the Lord at Chidambaram are benefited. In the sacred
presence of this Lord of Lords, let us sanctify ourselves by bathing in the
lovely Sivagangai lake. In the sacred presence of Sivakamiyammai let us stand
and pray and circumambulate her
while the devotees,
miracle-workers and sages continue their worship.
Jatisvara.
Jatisvara is a composition very much like the svarajati in its musical
structure, but has no sahitya and the piece is sung with the solfa syllables. It
is a composition belonging to the realm of dance music. It is also known by
the word ‘svara-pallavi’. As we find the combination of number of jatis, this
type is called Jatisvara.
Jatisvara in Raga Gambhiranatta and Tala Rupaka
Aro – s g m p n s.
Ava – s n p m g s.
This Janya raga of audava - audava type is derived from the 36th Melakarta
Raga Chalanatta. Gambhiranatta closely resembles Suddha Nattai. The notes
in this raga are Shadja, Antara Ga, Suddha Ma, Pa and Kakali Ni. As a Vira
rasa pradhana raga, it impresses well in madhyamakala sancharas.
Kalaivani in Raga Suddhadhanyasi and Tala-Adi
Aro – s g m p n s. Ava – s n p m g s.
This audava - audava variety of janya raga is derived from the 22nd Melakarta
Raga Kharaharapriya. The notes taken by the raga are Shadja, Sadharana Ga,
Suddha Ma, Pa and Kaishiki Ni. This sarva murchanakaraka melaraga has a
symmetrical pattern in its arohana and avarohana. This raga is found in the
folk music of South America as well. It uses the notes of the Dorian mode
Raga Dhani of Hindustani Music has certain resemblance to this raga.
The meaning of the song
Oh! Kalaivani, the goddess of all knowledge, I will never forget to bow down
to your beautiful soft feet. In return I request you to dwell in my heart
permanently and grant me all your blessings.
You are the beloved sister of the Lord Siva, who wears the crescent moon! You
are the perfect spouse for Lord Bramha. Please teach me the exact way of
learning the various art forms.
Divyanama Kirtana.
This is a special type of simple kirtana with many charanas and is intended for
congregational singing. The Divyanama kirtanas written by the saint Tyagaraja
in
Sanskrit
and
Telugu
reveal
his
expertise
in
both
languages. Vijaya Gopala and Bhadrachala Ramadasa have also written a num-
languages. Vijaya Gopala and Bhadrachala Ramadasa have also written a number of Divyanama kirtanas in Sanskrit.
Divyanama kirtanas have two varieties, Ekadhatu and Dvidhatu. In the former,
the pallavi and charanas have the same music, and charanas are sung successively without reverting to the pallavi after each charana. In the Dvidhatu
variety, the music of the charana is different from that of the pallavi. Herein the
pallavi is sung after of each charana. Pahi Ramachandra (Sankarabharana
raga) is a good example for this.
‘Sarasanetra’ in Raga Sankarabharana and Tala Adi
Com- Saint.Tyagarajaswami
Aro – s r g m p d n s. Ava – s n d p m g r s.
Sankarabharana is a major and popular Melakarta raga. It is found in most of
the systems of world music. It is the 29th Melakarta in Karnatic music. Its
notes are Shadja, Chatusruti Ri, Antara Ga, Suddha Ma, Pa, Chatusruti Dha,
and Kakali Ni. This raga is the same as the major diatonic sclae of western
music. It corresponds to the pan, pazham panjuram of ancient tamil music.
This raga has a pair of perfectly symmetrical tetra chords- the tetra chords
being separated by the interval of a major tone.
Sankarabharana offers tremendous scope for rendering raga alapana, tana,
pallavi and svara prastara. This major raga has a large number of janya ragas.
It is suitable for all times (sarvakalika raga) even though evening is most appropriate for the raga. All types of musical forms such as Gitas, Svarajatis, Varnas, Kritis, Padas, Ragamalikas etc figure in this raga.
The meaning of the song
O Lotus eyed! Lord of limitless attributes! You are Destroyer of the mighty elephant of Kamsa! You are one who lifted the Govardhana hill!
Like a gale scattering the clouds, you drive away the accumulated sins of men.
Protector of hopeless! You bear a holy name. You are the bee which circumambulates the lotus hearts of sages. You are flawless. You are of the Yadu
race. Lord of Sri and extolled by Yogis. Protector of the ocean King. You are
free from the traits of passion and miserliness.
Tevaram
Tevaram or a “Garland of God” means a song containing the fragrance of devotion. The Tevaram hymns are in old quatrains. A Tevaram is also
considered to be one of the four musical forms in Isaittamil, namely, Mudal
nadai, Varnam, Kudal and Tiral. Normally Tevarams were composed and sung
by the same person. Sambandhar, Appar and Sundarar are the three Saivaite
saints who have composed most of the Tevaram hymns famous in Tamil. They
are sung even today in the temples of the Tamil Nadu.
The meaning of the song
O Lotus eyed! Lord of limitless attributes! You are Destroyer of the mighty elephant of Kamsa! You are one who lifted the Govardhana hill!
Like a gale scattering the clouds, you drive away the accumulated sins of men.
Protector of hopeless! You bear a holy name. You are the bee which circumambulates the lotus hearts of sages. You are flawless. You are of the Yadu
race. Lord of Sri and extolled by Yogis. Protector of the ocean King. You are
free from the traits of passion and miserliness.
Tevaram
Tevaram or a “Garland of God” means a song containing the fragrance of devotion. The Tevaram hymns are in old quatrains. A Tevaram is also
considered to be one of the four musical forms in Isaittamil, namely, Mudal
nadai, Varnam, Kudal and Tiral. Normally Tevarams were composed and sung
by the same person. Sambandhar, Appar and Sundarar are the three Saivaite
saints who have composed most of the Tevaram hymns famous in Tamil. They
are sung even today in the temples of the Tamil Nadu.
Thiruppugal
Arunagirinathar of the 15th century A.D. and the author of Thiruppugal, was
a believer in all religions. It is said that Lord Muruga cured him from leprosy
and gave him the great capacity to compose Thiruppugal. The words of these
devotional songs are very simple though containing sublime ideas. The author
has used various patterns of rhythm and in rare talas. We find some songs in
which the author considers himself as the Nayaki (heroine) speaking to God
as the Nayaka (hero). The aim of the author in composing these songs was
to share the joy he had received from the Lord with others.
‘Erumayil’ in Raga Bagesri and Tala Khanda chapu
Aro – s r g m d n s. Ava – s n d n p m g r s.
This janya raga is derived from the 22nd melakarta Kharaharapriya. This is a
very popular raga in the Karnatic music. The svaras in this raga are Sa, Chatusruti Ri, Sadharana Ga, Suddha Ma, Pa, Chatusruti Dha and Kaishiki Ni. This
is a shadava vakra sampoorna janya raga. This pleasing, yet minor raga is
with limited scope for alapana and svara prastara. Santha and Bhakti are the
rasas (sentiments) evoked by this raga. In addition to kirtanas, this raga is
also used in viruttams, padams, bhajans etc.
The meaning of the song
This Lord is glorious with six faces. One of these frolics mounted on the
peacock; another speaks the mystic mantra “Om” with Lord Siva; yet
another eradicates the effects of deeds done by devotees who chant his name;
one throws spear which pierces the hill (called the Krauncha hill); One annihilated the opposing suran and others; one came to marry Valli!
I long to understand the mystic significance of the six faces! Oh Primal One!
I always contemplate upon you as the Lord residing at Tiru Annamalai!
‘Iravamal’ in Raga Saranga and Tala Misra Chapu
Aro – s r g m p d n s.
Ava – s n d p m r g m R s.
This bhashanga sampoorna raga is derived from the 65th melakarta
Mechakalyani (Kalyani) raga. Avarohana admits vakra sancharas. Svaras taken
by the raga besides Sa and Pa are Chatusruti Ri, Antara Ga, Prati Ma, Chatusruti Dha and Kakali Ni. This pleasing raga is has a limited scope for alapana.
The meaning of the song
This Lord of Kadirgama, Guha, Kumaresha is the younger brother of Vinayaka.
His beloved wife is Valli. I seek Him to be my Guru and beg him to grant me
salvation from death and rebirth.