How to name Melakarta(janaka) Scale


With the 16 Swaras (s,r1,r2,r3,g1,g2,g3,m1,m2,p,d1,d2,d3,n1,n2,n3),there is no magic done in carnatic music to classify the ragas.Years ago ,from 14th to 17th century many scholars put a great effort in developing a base for classical music Raga Classification.THAT, is the sole source for all the other scholars in developing and enhancing the Raga patterns,both parent(janaka or melakarta) and child (janya) ragas.Melakarta or janaka ragas are classified based on Katapayadi Scheme or Ka-Ta-Pa-Ya Sankhya(numbering) system.



Ragas are classified ,in simpler terms as parent and child ragas,i.,e

  1. Melakarta or Janaka Ragas (Parent)
  2. Janya Ragas (Child).
Janya Raga scale is a subset of its parent raga,whereas Melakarta Ragas are classified based on Katapayadi system.

First 36 Ragas have Shudha Madhyamam (ma1) and next 36 Ragas have Prati Madhyamam(ma2).So the first division in 72 melakarta katapayadi system is based on Ma.

Next,72 ragas are divided into 6 Ragas per Chakra ,that will be 12 chakras(12 x 6 Melas).Each Chakra in sequence has a meaningful positioning,example,2nd chakra being netra(2 eyes) and 4th Chakra being Veda(4 vedas).



Melakarta Scale-Katapayadi system
Melakarta Scale-Katapayadi system





1st chakra - Indu
2nd chakra - netra
3rd chakra - agni
4th chakra - netra
5th chakra - baana
6th chakra - ruthu
7th chakra - rushi
8th chakra - vasu
9th chakra - brahma
10th chakra - disi
11th chakra - rudra
12th chakra - aditya




Scale in each chakra is differentiated with Rishabham and Gandharam (Ri and Ga).Example:

1st chakra - s, r1, g1 , m1, p , d , n , S

2nd chakra - s, r1 , g2 m1, p , d , n , S and so on.Hence for each chakra in a sequence the swara sthanas of ri and ga will be as follows :
In the above,as mentioned, first 6 chakras have m1 so the example chakra shows m1.Next, s, p needn't be discussed.Next swara sthana d and n will be discussed in detail in next paragraph

r1 g1 , r1 g2 , r1 g3 , r2 g2 , r2 g3 , r3 g3 .

As you know, we can not put r2 g1 or r3 g2 because those swara sthanas are similar i.e., r2=g1 (Chathusruthi rishabham=Shudha gandharam) When I say similar, the swara sthanam or the tone of the swara is same hence they cant be differentiated.

Scales for Ragas are differentiated by Madhyamam(m) for 36-36 and rishabham and gandharam(r and g) for 6 each.Now how is each raga in a chakra classified .It is with daivatham and nishadam (d and n).Example :

1st chakra - s, r1, g1 , m1, p , d1 , n1 , S

2nd chakra - s, r1 , g2 ,  m1, p , d1 , n2 , S and so on.Hence, the order of d and n combination for every 6 ragas in sequence will be ,

d1 n1, d1 n2 , d1 n3 , d2 n2 , d2 n3, d3 n3.

Scales for Ragas are defined ,now How are the Ragas Named? Katapayadi Scheme ,needless to say,as in figure gives all the 72 ragas ,their swara sthanas and names.

1  2  3   4   5   6   7   8   9          

ఖ గ ఘ ఙ్ చ ఛ జ ఝ ఞ్

ఠ డ ఢ ణ త థ ద ధ న

ఫ బ భ  మ

ర ల వ శ ష స హ ళ క్ష ఱ్

In English :

1    2     3   4      5    6   7     8   9    0
ka kha ga gha ~m cha Cha ja Jha ~n

Ta Tha Da Dha Na ta tha da dha na

pa pha ba bha ma

ya ra la va Sa sha sa ha La ksha ~r

Raga Numbering is matched with the Ka-Ta-Pa-Ya scheme as written in the above pattern.For example, Raga 15  has 1 and 5 in the number.According to katapaya scheme, forming letters in the group 1 and 5 ,we get Ya and ma.Scholars followed left to right system and reversed the letter in number ,forming the first 2 letters of Raga 15 as ma and ya,hence the name mayamalawagowla ragam.






Captivating Mohana Raga

Very often many people ask me , if western music tunes also are defined by Ragas, just like every tune or song of Indian music is called by a particular ragam(s).The answer is 'Yes'.I would also take this question as valid from others perspective.For example National anthem of Thailand is in Mohana Raga.Every tune falls under one of the classification of ragas.In this post,I will be writing a brief of the most captivating raga,mohana raga of carnatic ragas.

I see a lot of young talent these days with good understanding of Manodharma Sangeetam.It takes effort,interest and practice to be one among them.Great scholar Venkatamakhin of 17th century has proposed the Melakarta scheme taking into consideration,the swaras-ragas permutation in future centuries and also counting the past definitions.This Melakarta and
Janya ragas classification proposed by our great prominent scholars has huge science and calculations from which our Indian music has evolved big.

Mohana Ragam
Mohana Ragam


Mohana Raga,in ancient times called as 'Raghupati' is a Janya Raga of 28th Melakarta Raga,Harikambhoji.It is a audava raga,meaning,raga with five swaras in aarohana and avarohana.Nannu palimpa is a tyagaraja swamy vari kriti also set in mohana raga.This kriti being one of my guru's favourite,I began to understand the meaning of kirtana and explore about murccana or modulation.Tyagaraja, in the occasion of his daughter's marriage ,awaited long for arrival of his favourite disciple when he suddenly felt his presence give him a warmth feeling.Lord Rama's picture in his student's hand is what made tyagaraja sing the kirtana "nannu palimpa nadachi vachithivo" :).Through this kirtana his pure intention of communicating to Lord Rama that the Lord has come all the way to him understanding his faith in him ,clearly can be felt in the mohana raga composition.

In this context,let me mention an important concept of melakarta.Melakarta or parent ragas have saptaswara ragas but every saptaswara raga need not be a parent ragas.They might as well fall under a list of janya ragas. 
Raga version of Mohanam is Bhopali.Vara veena mrudu pani is 
a geetham praising Lord Lakshmi.

Ragam : Mohanam
Tala : Rupaka
Chatushra jathi

Aarohana
s R2 G2 P2 D2 S

Avarohana
S D2 P2 G2 R2 s

Pallavi 
Vara veena mrudu pani
Vanaruha lochana rani

Charanam
suruchira bambara veni
suranutha kalyani

nirupama subha gunalola
niratajaya pradaseela

varadapriya ranganayaki
vaanchithaphala dayaki

sarasija sanujanani
jaya jaya jaya aa...aa..aa ||

Carnatic Music and Meaning

We initiated exploring what music is and now lets continue to understand some of the basic terms in Music and their meaning.

Dwadasa Swara Sthanas:

As discussed here ,sa,re,ga,ma,pa,da,ni are called Saptaswaras.These swaras excluding sa and pa (shadjamam and panchamam) in turn have 2 more swaras each as detailed in Shruthi.

Aarohana:

Singing or playing swaras in an ascending order with any swara as reference is called Aarohana.

Example : sa,re,ga,ma

Avarohana:

Singing or playing swaras in descending order with any swara as reference is called Avarohana.

Example : Sa,ni,da,pa

Sthayi:

Tone of swara is Sthayi,divided as below:
  1. Madrasthayi 
  2. Madhyasthayi
  3. tharasthayi
  4. anumandrasthayi
  5. athitharasthayi
Aavarthamu:

When number of beats in a particular tala is followed from start to end in one cycle,it is said one aavarthamu is completed.

Example : tisra jathi triputa talam
 Laghuvu-1 drutam-1 drutsm-1
  s  r   g      |       s   r     |       g   m  ||

Dhathuvu:

Swara aavarthamu in a Raga is called Dhathuvu .

Example m p | d S S R ||          (sri gananadha geetham)

Maathuvu:

Sahithya of above music is called Mathuvu.

Example : Sri gananadha

Prathama,dwithiya,tritiya Kalam (first,second,third speeds) :

    1. Prathama kalam(first speed)  : Singing one swara for one beat ,ex: sa
    2. Dwitiya kalam(second speed) : Singing two swaras for one beat , ex: sa re
    3. thritiya kalam(third speed)     : Singing four swaras for one beat , ex: sa re ga ma
Tala:

Tala shows the rhythm or pace of Musical writings.

Ta - Tandavam (Lord Siva)
La - Lasyam       (Power)

Talangamu:


Divisions of Tala is Talangamu
OR
Talangamu also represents the gap between letters or swaras.They are-

  1. Anudrutham - represented as U ( 1 beat )
  2. Drutham - represented as o ( 2 beats )
  3. Laghuvu - represented as I ( 4 beats for chatusrajathi laghuvu)
Sapta Tala:

Druva Tala IOII
Matya Tala IOI
Rupaka Tala OI
Jhampa Tala IUO
Triputa Tala IOO
Ata Tala IIOO
Eka Tala I

Pancha Jathi:

'Jathi' is represented by number of 'letters of laghuvu'.
  1. Chathusra jathi - I4
  2. Tisra jathi - I3
  3. Misra jathi - I7
  4. Khanda jathi - I5
  5. Sankeerna jathi - I9

What is Music

We often hear that Raga,Tala,Swara are important in 'Music'.But What exactly is Raga? Tala? Swara?Does the meaning change from one form of music to another? Oh, and What is Music?


MUSIC :

music
Keys
"Geetham vadhyamcha nruthyamcha trayam sangeetha muchyathe"

Song,Rhythm,Expression(through dance also) when combines ,is called Music(Sangeetham).

OR

"RaagaSwarascha Talascha Thribhi Sangeetha muchyathe"

Raga,Swara,Tala together is called Music(Sangeetham)


Sruthi :

"Sruyantha ithi sruthayah"

Sthaayi or tone or notes (without highs-lows) that are soothing to ear is called Sruthi.

Example : sa - Pa - Sa   ( where sa represent lower shadjamam and 'Sa' ,higher)

Swara:

"Swathoramjayati srothu chitham suswara vuchyathe"

And this is beauty --> Swa              - ram
                                        swayamuga  ranjimpachesedi is Swaram .

SapthaSwara:
musical note
Musical note


7 swaras which are sa,re,ga,ma,pa,da,ni are called Sapthaswara.Each Swara has a name as discussed HERE


This isn't everything.There are some more carnatic music terms which explain the actual meaning of 'Music'.We will explore more in the next post. :)

Sri Rama Chandra Krupal-Tulasidas

Sri rama chandra krupalu bhajumana haran bhavabhaya darunam is a Tulasidas kriti.Why I am writing now is because,remembering this kirtana gives me relief :) My Guru taught me this kirtana in Sindhu bhairavi raga.I can never forget how happy my teacher used to be when I sing the phrase, bhavabhaya dArunam.May my Guru and all the Gurus who left us be blessed with peace.

Sri Ram
Sri Ram

Pallavi:Sri Ramachandra krupalu bhajumana harana bhavabhaya darunam

Charanam1:Kandarpa aganitha amitha bhavi nava nila nirajasundaram
Pata Peet manav tadit ruchi suchi navmi galada suthaparam

Charanam2:Bhajudina bhandu dinesha danava daityavamsanikandanam
Raghunanda anandakanda kosqala chanda dsaratha nandanam

Charanam3:Siramukuta kundala tilaka char udaru angavibhushanam
Ajanubhuja sar chapadhar sangram dish kar dushanam

Charanam4:Ithivadathi tulasidaa sankara shesha munimana ranjanam
mama hridaya kunj nivas kuruka madikhala dal ganjanam

I will soon upload this Sri rama chandra krupalu kriti by tulasi das in sindhubhairavi :)

Squirrel
Squirrel
Image:Above images are part of our trip to Karnataka,Halebidu and Beluru.Found the Sqirrel image apt to discussion on Lord Rama :)

Prince rama varma

Some years back when I was searching for tutorials on Thillanas ,I found Prince Rama Varma's Videos,disciple of Balamuralikrishna .I opened a video where he explains some voice tips based on gamakas,referring prathama dwithiya,thrithiya kalam(speed) practice of janta swaralu(janta varisai) and alamkarams.There is so much devotion in his voice that I continued listening to his other videos.I say devotion because whoever listens to his swara singing will not stop repeating those swaras with hi in whichever speed or how long the swaram is.At the end I realized how easier Prince Rama Varma makes classical music learning.Person with hardly any grip into Manodharma Sangeetham feels relieved after listening to his way of explaining.

I liked this article where he explains 'Why Music? Why Music by Prince Rama Varma
Guitar
Music is divine
In relation to what I said ,here is the video,say sample of my description :)


Carnatic Music Idol

Having interest towards Music reality shows of good standard(not participating though ;)),I have been browsing for some gamaka janta swara on Youtube and was awestruck coming across these videos.Since my mother tongue is telugu,I hardly watched any shows in other languages.But by this,I learnt once again that ,in art, you should explore widely.Classical music reminds us everytime from every composition to understand and experiment each Raga,understand it more deeply.

I just want all the Carnatic music lovers not to miss such good videos available on web.


Padumnabha Paramapurusha

When I was learning this geetham, padumanabha paramapurusha ,which is in Malahari Ragam,composed by Purandhara Das garu,I felt proud singing the swaram.The composition is so beautiful.Later when I understood the meaning of geetham,I realised why these composers are treated as God.This geetham is praising Lord Rama ,describing with beautiful adjectives ,nouns and we can see Purandara das ability in composing ,with this small example.Praising ,describing ,praying Lord Rama doesn't have suitable composition than this.I will put forward some of the word's meanings,not all in the below.

Ragam-Malahari

Pallavi : Padumanabha paramapurusha Paramjyothi swaroopa

paduma is lotus , nabha is navel

Vidhuravandhya vimalacharitha vihamgadhi rohana

vandhya is the one who destroys ,vimala -charitha is pure stories :)

Anupallavi :Udathi niwasa uragashayana unnathonnatha mahima
yadukulothama yagna rakshaka ,yagna sikshaka rama nama

sikshaka is preach

Charanam : Vibhishanapalaka namo namo Ibha varadayaka namo namo
Shubhaprada sumanorada surendra manoranjana abhinava purandara vithala bhallare rama nama

subhaprada is good fortune,manoranjana is cheerfulness

Padumanabha paramapurusha
Music





Dudukugala Pancharatna Kriti

Dudukugala nanne brova composition is so beautiful that whenever I listen to gain perfection ,I do nothing except closing my eyes and enjoy the sahityam,composition.
Legends MS subbalakshmi garu ,kunnakudi and many others in thyagaraja aaradhana utsavam. smile emoticon

pallavi
duDuku gala nannE dora koDuku brOcurA entO
anupallavi
kaDu durviSayA krSTuDai-gaDiya gaDiyaku ninDAru
caraNam 1
shrI vanitA hrtkumudAbjA vAngmAnasa gOcara
caraNam 2
sakala bhUtamula andu nI vaiyuNDaga madilEka pOyina
caraNam 3
ciruta prAyamu nADe bhajanAmrta rasavihIna kutarkuDaina
caraNam 4
para dhanamula koraku nOrula madini karaga-baliki kaDupu nimpa diriginaTTi
caraNam 5
tanamadini bhuvini saukhyapu jIvanamE anucu sadA dinamulu gaDipE
caraNam 6
telayani naTaviTa kSUdrulu vanitalu sva vashamauta- kupadEshinci santasilli
svaralayambu lerungakanushIlAtmuDai su-bhaktulaku samanamanu
caraNam 7
druSTiki sArambagu lalanA sadanArbhaka sEnAmita dhanAdulanu dEvadi dEva
nera nammitini gAkanI padAbja bhajanambu maracina
caraNam 8
cakkani mukha kamalambunu sadA nA midilO smaraNa lEkanE durmadAndha-
janula kOri paritApamulacE dagili nogili durvisaya durAsalanu rOyalEka
satata maparAdhinai capala cittuDanaina
caraNam 9
mAnavatanu durlabha manucu nEnci paramAnanda mondaleka mada matsara
kAma lObha mOhamulaku dAsuDai mOsabOti gAka modaTi kulajuDagucu bhuvini
shUdula panulu salpucunu uNTinigAka nArAdamulu kOri sArahIna matamulanu sAdhimpa dArumAru
caraNam 10
satulakai konnALLAstikai sutulakai konnALLu dhana tatulakai tirigiti nayya tyAgarAjApta ituvaNTi

Lyrics of Dudukugala nanne brova reference : www.karnatic.com

Modern twist to Carnatic

Modern twist to Carnatic: The raga was Hamsadhwani for sure. And what followed was “Vathapi Ganapathim Bhaje” by Mutthuswamy Dikshitar. The grand voice too was immediately recognizable – the music colossus Mangalampalli Balamuralikrishna! But it sounded different. It was a very peppy and brisk number like the following one, “Himadri Suthe”, a Shyama Sastry composition sung by Bombay Jayashri.

Raga Parampara is a beautiful concept introduced and very well organised,run and implemented by my friend and his group.It's a pleasure listening to all the great singers,legends in one album as a fusion,not missing the originality of carnatic music,adding more sweetness.
I would want to share this effort from my friends through this page.Ofcourse who wouldn't encourage good things /hmm.Oh yes, here's the link to what media says about Raga Parampara :)

http://www.thehansindia.com/posts/index/Sunday-Hans/2016-01-31/Modern-twist-to-Carnatic/203755


Kill Piracy,encourage talented and young artists.I am ready to place order of the cd ,are you ? 
Watch and listen great artists Balamuralikrishna garu,Shankar Mahadevan,Bombay Jayashree etc in Raga Parampara.
http://www.ameyarecords.com/shop/
https://www.facebook.com/ameyarecords/?fref=ts





AIR Recording

Becoming an AIR artist was always my dream.With the guidance of my guru and my uncle ,I decided to give an audition in Indian Music-Devotional ,in All India Radio,Vijayawada(AIR).Thankfully,I became B grade artist of AIR Vijayawada .This was almost 2 or even 3 years back,and now I get a post to my Hyderabad address that I have a few minutes of recording allotted on 5th of Jan , 10 am at AIR ,vijayawada.When asked the reason for delay in allotting the 1st recording, they said,there are many artists this year and seems like all this is dependent on budget too.(Competition /no ).

As usual, dad came all the way from hyderabad to vijayawada just to accompany me and boost up my confidence.Frankly speaking, my recording was not up to mark.I had to select any three devotional/light music songs.And they are,

  1. Paluke bangaramayena - ramadasu keertana
  2. nanati bathuku natakamu in revathi ragam
  3. Jayadevuni ashtapadi - anilatarala kuvalayanayanena
I realized my mistakes and my satisfaction levels were going down but I met this person, Modumudi Sudhakar , a top grade carnatic vocalist,working as grade 1 music composer in AIR vijayawada(I read about him after coming back home) who was so simple,and had been encouraging me during the whole performance.He said its not necessary to record again,this is fine,you don't worry' :) .Its not about how I sang but the way he carries himself and doesn't show off,smiles always,I am very impressed.
Modumudi Sudhakar
Modumudi Sudhakar

Through this program,I came across few more artists and it was good to be part of conversation with them.

Alankaram 8 - Ata Talam

8. Khanda Jati
ATA TALAM Alankaram:
I5 I5 0 0 = 5 + 5 + 2 + 2 = 14 beats
 I5         I5          0      0
s r , g , | s , r g , | m , | m , ||
r g , m , | r , g m , | p , | p , ||
g m , p , | g , m p , | d , | d , ||
m p , d , | m , p d , | n , | n , ||
p d , n , | p , d n , | S , | S , ||
S n , d , | S , n d , | p , | p , ||
n d , p , | n , d p , | m , | m , ||
d p , m , | d , p m , | g , | g , ||
p m , g , | p , m g , | r , | r , ||
m g , r , | m , g r , | s , | s , ||

I hope you already know what the above notation reperesention and 'jathi' is.

Alankaralu 6 & 7 - Eka Talam

6. Chatushra Jati
EKA TALAM Alankaram:
I4 = 4 beats
 I4
s r g m ||
r g m p ||
g m p d ||
m p d n ||
p d n S ||
S n d p ||
n d p m ||
d p m g ||
p m g r ||
m g r s ||


7. Thishra Jati
EKA TALAM Alankaram:
I3 = 3 beats
 I3
s r g  ||
r g m  ||
g m p  ||
m p d  ||
p d n  ||
S n d  ||
n d p  ||
d p m  ||
p m g  ||
m g r  ||

I hope you already know what the above notation reperesention and 'jathi' is.

Alankaram 5 - Triputa talam

5. Tisra Jathi
TRIPUTA TALAM Alankaram:
I3 0 0 = 3 + 2 + 2 = 7 beats
 I3     0     0
s r g | s r | g m ||
r g m | r g | m p ||
g m p | g m | p d ||
m p d | m p | d n ||
p d n | p d | n S ||
S n d | S n | d p ||
n d p | n d | p m ||
d p m | d p | m g ||
p m g | p m | g r ||
m g r | m g | r s ||

I hope you already know what the above notation reperesention and 'jathi' is.

Again, There are two alankaralu in below audio so please note that the first one I rendered is Tisra jathi :)

Alankaram 4 - Jhampa Talam

4. Mishra Jati
JHAMPA TALAM Alankaram:
I7 U 0 = 7 + 1 + 2 = 10 beats
 I7              U    0
s r g s r s r | g | m , ||
r g m r g r g | m | p , ||
g m p g m g m | p | d , ||
m p d m p m p | d | n , ||
p d n p d p d | n | S , ||
S n d S n S n | d | p , ||
n d p n d n d | p | m , ||
d p m d p d p | m | g , ||
p m g p m p m | g | r , ||
m g r m g m g | r | s , ||

I hope you already know what the above notation reperesention and 'jathi' is.

Below audio has two alankaralu so please do not get confused,the second one is jhampa talam alankaram.

Alankaram 3 - Rupaka Talam

3. Chatushra Jati
RUPAKA TALAM Alankaram:
0 I4= 2 + 4 = 6 beats
 0     I4
s r | s r g m ||
r g | r g m p ||
g m | g m p d ||
m p | m p d n ||
p d | p d n S ||
S n | S n d p ||
n d | n d p m ||
d p | d p m g ||
p m | p m g r ||
m g | m g r s ||

I hope you already know what the above notation reperesention and 'jathi' is.


Alankaram 2 - Matya Talam

2. Chatushra Jaati
MATYA TALAM Alankaram:
I4 0 I4 = 4 + 2 + 4 = 10 beats
 I4       0      I4
s r g r | s r | s r g m ||
r g m g | r g | r g m p ||
g m p m | g m | g m p d ||
m p d p | m p | m p d n ||
p d n d | p d | p d n S ||
S n d n | S n | S n d p ||
n d p d | n d | n d p m ||
d p m p | d p | d p m g ||
p m g m | p m | p m g r ||
m g r g | m g | m g r s ||

NOTE - I hope it is understood that when we stay 'matya tala,',the pronunciation should be 'Mat'ya :)

I have just done a silly thing :> .Just want to be clear with the pronunciation of talam,
so not wasting much time,here is my silly bad,naughty idea of showing u in paint :P

I also hope you already know what the above notation reperesention and 'jathi' is.



Alankaram 1 - Dhruva Talam


1. Chatushra Jaati
DRUVA TALAM Alankaram:
I4 0 I4 I4 = 4 + 2 + 4 + 4 = 14 beats
I4          0       I4       I4
s r g m | g r | s r g r | s r g m ||
r g m p | m g | r g m g | r g m p ||
g m p d | p m | g m p m | g m p d ||
m p d n | d p | m p d p | m p d n ||
p d n S | n d | p d n d | p d n S ||
S n d p | d n | S n d n | S n d p ||
n d p m | p d | n d p d | n d p m ||
d p m g | m p | d p m p | d p m g ||
p m g r | g m | p m g m | p m g r ||
m g r s | r g | m g r g | m g r s ||

Checkout the audio for your reference




I hope you already know what the above notation reperesention and 'jathi' is.Isn't the first Alankaram beautiful?Let's concentrate on other Alankaramulu too.

Kunda goura

Kunda Goura

Malahari ragamRupaka Talam

Aa: S R1 M1 P D1 S
Av: S D1 P M1 G3 R1 S

Kunda goura gowri vara
mandiraya manamakuta
mandara kusumakara
makaramdam vasithuva

hemakuta simhasana
virupaksha karunakara
mandara kusumakara
makaramdam vasithuva

chandamama mandakini
mandiraya manamakuta
mandara kusumakara
makaramdam vasithuva



caraNam 1

d  p   |  m  g  r  s   ||  r  m   |  p  d  m  p   ||
kunda  |  gow.  .  ra  ||  gow.   |  ri . va  ra  ||

d  R   |  R  s  d  p   ||  d  p   |  m  g  r  s   ||
mandi  |  ra .  .  ya  ||  maa.   |  na ma ku ta  ||

s  ,   |  r  ,  r  ,   ||  d  p   |  m  g  r  s   ||
man.   |  da .  ra .   ||  ku su  |  ma .  ka ra  ||

s  r   |  m  ,  g  r   ||  s  r   |  g  r  s  ,   ||
maka   |  ran.  dam.   ||  va .   |  si tu vaa.   ||


caraNam 2


d  p   |  m  g  r  s   ||  r  m   |  p  d  m  p   ||
hE .   |  ma ku .  ta  ||  sim.   |  ha .  sa na  ||

d  R   |  R  s  d  p   ||  d  p   |  m  g  r  s   ||
vi ru  |  paa.  .  ksha||  ka ru  |  naa.  ka ra  ||

(mandara)

caraNam 3

d  p   |  m  g  r  s   ||  r  m   |  p  d  m  p   ||
canda  |  ma .  .  ma  ||  man.   |  daa . ki ni  ||

d  R   |  R  s  d  p   ||  d  p   |  m  g  r  s   ||
mandi  |  raa.  .  ya  ||  ma .   |  na ma ku Ta  ||

(mandara)

Kunda goura is usually sang in continuation to our first geetham as discussed , Sri Ganandha and followed by padumanabha geetham




Sri Gananadha

Oh wow,how beautiful when you listen to your favorite playlist that you used to listen in your college days and the rest of good old days(not too old though,but somehow missing the time I used to enjoy this music on the way to office).Currently playing Laali Laali anu ragam saaguthunte ...♬♬♬ .I really want to take this blog seriously which I have not been able to.Though I don't post here regularly :( ,ooph,thoughts about this blog,more and more ideas on research and implementation have been continuously running in my mind all the time.
We just get so busy in our lives.I don't know why there are many and many things running in my mind all the time,particularly these days.My sister says :D you shouldn't allow situations deal you,you should deal the situations.Every one is different and no one understands the other completely and it is because of the environment each of us are bought up.But I somehow feel me and my sister are always confident about what we believe and the way we lead our life.So let the bad circumstances try hitting me,its okay,believe in yourself ,let the worst come,yes why not,its life and they do come.I am here,ready all the time not to face it but fight it saying,I know what I am doing and I believe in life and what HE has blessed me with :)./nobigdeal .Too much of outburst,but I promise I will surely update the notes from today on a REGULAR BASIS.Anyhow :D I know I know,I should talk subject now :P.Sri Ganandha is the first geetham.
Let us talk about our first geetham,on Ganapathi,it is in malahari ragam.Very familiar geetham to all , lambodara lakumikara,ambasutha amaravinutha.I love to sing this any number of times in a day.

Ragam - Malahari
Talam - Rupaka
Arohanam : S R1 M1 P D1 S Avarohanam: S D1 P M1 G2 R1 S
(NOTE : Above is first charanam audio,charanam 2 & 3 must be sung similarly)

Charanam1:  

MP|DSSR||RS|DPMP||
Sree|Gananatha||sindhu|ravarna||
RM|PDMP||DP|MGRS||
karu|Nasagara||kari|vadhana||
S,|RMGR||SR|GRS,||
lam|bodhara||laku|mikara||
RM|PDMP||DP|MGRS||
am|basutha||ama|ravinutha||
S,|RMGR||SR|GRS,||
Lam|bodhara||laku|mikara||

Charanam2:

MP|DSSR||RS|DPMP||
Siddha|charana||gana|sevitha||
RM|PDMP||DP|MGRS||
Siddhi|vinayaka||the|namonamo||
(Lam)

Charanam3:

MP|DSSR||RS|DPMP||
Saka|lavidya||dhi|pujitha||
RM|PDMP||DP|MGRS||
Sa|rvotthama||the|namonamo||