Nata Kuranji/ Nattai Kurinji
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I have been listening a lot to this raga oflate, after listening to a soluful rendition of Mysore Manjunath & Nagaraj that i downloaded from here: http://www.sangeethapriya.org/Downloads/mnm2/mnmm2.html
And soon i found another great piece, an RTP by Nedunurigaru here:
http://www.sangeethapriya.org/Downloads ... ronto.html
I googled around and found a very well written article on this raga here:
http://www.sawf.org/newedit/edit11042002/musicarts1.asp
Budhamasrayami is one of my favourite krithis in this raga. This for me is a "soukhya pradhAna rAgam" and works as an excellent stress buster.
would like to know more about this raagam from the experts on this forum and hoping for some good RTP renditions from sri K-ji
And soon i found another great piece, an RTP by Nedunurigaru here:
http://www.sangeethapriya.org/Downloads ... ronto.html
I googled around and found a very well written article on this raga here:
http://www.sawf.org/newedit/edit11042002/musicarts1.asp
Budhamasrayami is one of my favourite krithis in this raga. This for me is a "soukhya pradhAna rAgam" and works as an excellent stress buster.
would like to know more about this raagam from the experts on this forum and hoping for some good RTP renditions from sri K-ji
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One of those ragas which I wish Tyagaraja had composed weighty pieces in (some others being Natabhairavi, Latangi, Natakapriya, Simhendra Madhyamam, Ananda Bhairavi, Jyotiswarupini to name a few).
One of my favorite ragas. None of the current crop of musicians (the Sanjays, TMKs etc) seem to be doing enough justice to this raga. KVN Sir and Nedunuri Garu adorned this raga with tremendous richness.
I still remember Nedunuri Sir's Parvati Kumaram rendition at FAS Chembur, and KVN Sir's Pahi Janani still rings in my ears from narada.org.
Does anyone have an electronic version of Syama Sastri's Mayamma? Such a lovely composition !!
One of my favorite ragas. None of the current crop of musicians (the Sanjays, TMKs etc) seem to be doing enough justice to this raga. KVN Sir and Nedunuri Garu adorned this raga with tremendous richness.
I still remember Nedunuri Sir's Parvati Kumaram rendition at FAS Chembur, and KVN Sir's Pahi Janani still rings in my ears from narada.org.
Does anyone have an electronic version of Syama Sastri's Mayamma? Such a lovely composition !!
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Mahesh_narayanan
I have heard the ShyamaSastri's nattaikurinji mAyamma. The earliest was a tape recording of santhanam rendering and the last was Gayathri venkat and Amrutha rendering in SKGS on a ShyamaSastri exclusive concert.
So far none was appealing . You said lovely composition , did you mean the words or/and the musical part . To me there are few krithis which are musically not perfect and very difficult to impress, in that list mAyamma in nattaikurinji fits well.
I fully understand that each of us have our own taste(likes dislikes etc..) , but perhaps when you throw more light it will help me to better understand . Don't mistake I am passing judgement and opinions on your taste.May be I have missed hearing a vidwan rendering the nattaikurinji mAyamma.
All,
nAttaikurinji is born for RTP and the best that I have heard in a live concert is
RTP by Vijayashiva in the pallavi lines "Sathyananda SadAnanda Nithyananda Govinda" in a bangalore concert.Also few mallari's by nAdaswara vidwans
I have heard the ShyamaSastri's nattaikurinji mAyamma. The earliest was a tape recording of santhanam rendering and the last was Gayathri venkat and Amrutha rendering in SKGS on a ShyamaSastri exclusive concert.
So far none was appealing . You said lovely composition , did you mean the words or/and the musical part . To me there are few krithis which are musically not perfect and very difficult to impress, in that list mAyamma in nattaikurinji fits well.
I fully understand that each of us have our own taste(likes dislikes etc..) , but perhaps when you throw more light it will help me to better understand . Don't mistake I am passing judgement and opinions on your taste.May be I have missed hearing a vidwan rendering the nattaikurinji mAyamma.
All,
nAttaikurinji is born for RTP and the best that I have heard in a live concert is
RTP by Vijayashiva in the pallavi lines "Sathyananda SadAnanda Nithyananda Govinda" in a bangalore concert.Also few mallari's by nAdaswara vidwans
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humdinger:
Definitely right. The repertoire in this rAgA is full of charming pieces but relatively few that have been accorded pride of place in concerts.
tyAgarAjA's manasu vishaya and kuvalayadaLa are nice but not very expansive. budham AshrayAmi of dIkshitar is a comprehensive lesson on the rAgA - unfortunately not too many concerts on Wednesdays. Among the other dIkshitar krithis pArvati kumAram is a common 1-down or filler piece. gajAdISA dhanyAm is seldom heard.
As Mahesh mentioned, mAyammA nannu brOvavammA of syAma sAstri is really a cornerstone of the repertoire. A weighty piece in chauka kAlam 2 kaLai Adi, it's unfortunately not very common today. This is a beautiful piece for many reasons: first of all the grand and leisurely setting; secondly, the krithi has very few words and the composer has used his full musical mastery in languidly stretching the words across a long tALA with beautiful effect. The navarAtri krithi of Swati Tirunal is the most commonly rendered 'main' piece - KVN's rendition of course was sparkling and IMO really set the standard for how this piece should be sung.
For some reason, the combination of nATakurinji and rUpaka tALA is very appealing to me: pArvati kumAram; parAkEla saraswati of tirupati nArAyaNaswAmi; dAsharathim apAra kripA of tachur singAchAryulu [with lovely chiTTa swaram] - all these krithis have a beautiful energy to them, and brisk kalpana swarams in the small tAlA have such charm in nATakurinji!
Is there a tillAnA in this rAgA?
Definitely right. The repertoire in this rAgA is full of charming pieces but relatively few that have been accorded pride of place in concerts.
tyAgarAjA's manasu vishaya and kuvalayadaLa are nice but not very expansive. budham AshrayAmi of dIkshitar is a comprehensive lesson on the rAgA - unfortunately not too many concerts on Wednesdays. Among the other dIkshitar krithis pArvati kumAram is a common 1-down or filler piece. gajAdISA dhanyAm is seldom heard.
As Mahesh mentioned, mAyammA nannu brOvavammA of syAma sAstri is really a cornerstone of the repertoire. A weighty piece in chauka kAlam 2 kaLai Adi, it's unfortunately not very common today. This is a beautiful piece for many reasons: first of all the grand and leisurely setting; secondly, the krithi has very few words and the composer has used his full musical mastery in languidly stretching the words across a long tALA with beautiful effect. The navarAtri krithi of Swati Tirunal is the most commonly rendered 'main' piece - KVN's rendition of course was sparkling and IMO really set the standard for how this piece should be sung.
For some reason, the combination of nATakurinji and rUpaka tALA is very appealing to me: pArvati kumAram; parAkEla saraswati of tirupati nArAyaNaswAmi; dAsharathim apAra kripA of tachur singAchAryulu [with lovely chiTTa swaram] - all these krithis have a beautiful energy to them, and brisk kalpana swarams in the small tAlA have such charm in nATakurinji!
Is there a tillAnA in this rAgA?
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dhIm dhIm tanana. rAgA: nATakuranji. Adi tALA. Composer: Poochi Iyengar.
P: dhIm dhIm tanana dhirana dhImta dhiranA nAdhru tAni tomdhru tAni dhru dhru
A: nAdhru dhru dhIm tom dhru dhru dhIm tana dhirana tadharatAni udara dhIm dhIm tanana
nAdhru tAni tom dhru tAni dhru dhru dhIm tanana dhru dhIm tanana dhIm tanana tanana
C: rAkEndu vadana krta janAvana nA cintalanu vEga dIrcci
nannu rakSincuTakidi samayamurA manOhara shrInivAsa
(sholkaTTu)
tAm kiTata pa dha ni dha ma taka tajhaNu dhIm kiTata takatiku ri gA ma dha ni
takiTa taka jhamta sa ri ri sa ni dha tadhingiNatOm tadhingiNatOm tadhingiNatOm
P: dhIm dhIm tanana dhirana dhImta dhiranA nAdhru tAni tomdhru tAni dhru dhru
A: nAdhru dhru dhIm tom dhru dhru dhIm tana dhirana tadharatAni udara dhIm dhIm tanana
nAdhru tAni tom dhru tAni dhru dhru dhIm tanana dhru dhIm tanana dhIm tanana tanana
C: rAkEndu vadana krta janAvana nA cintalanu vEga dIrcci
nannu rakSincuTakidi samayamurA manOhara shrInivAsa
(sholkaTTu)
tAm kiTata pa dha ni dha ma taka tajhaNu dhIm kiTata takatiku ri gA ma dha ni
takiTa taka jhamta sa ri ri sa ni dha tadhingiNatOm tadhingiNatOm tadhingiNatOm
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I could not have provided a more detailed and yet concise explanation than Prashant. Mayamma's optimum use of words and the Raga bhava in an expansive tala were the attractive factors for me. Dikshitar's Budham Ashryami and ST's Mamava Sada Varade in Rupaka Tala didn't satiate my hunger for a more expansive treatment of this raga:) (though both are pretty majestic compositions). Budham Ashrayami, mamava Sada, and Nachai Vidavakura, all seem to have the same or nearly same mettu. Seems a bit hackneyed to me. Prashant, your knowledge of existing kritis is impressive. I hadn't even heard of some of the kritis you mentioned.
Coming back to Nedunuri Sir's raga alapanas, some very distinct prayogas are M M S in Mandra Stayi ( instead of the common M G S), and G R G M P G R S, with his exquisite delays and pauses (although I am not sure whether R is used or okay to use in avarohana).
My Thiruppugazh guruji A. S Raghavan has set 'thiraivanja iruvinaigaL' to a beautiful Nata Kuranji, and it starts with D N S S S N D D M (Khanda Chapu Tala).
Coming back to Nedunuri Sir's raga alapanas, some very distinct prayogas are M M S in Mandra Stayi ( instead of the common M G S), and G R G M P G R S, with his exquisite delays and pauses (although I am not sure whether R is used or okay to use in avarohana).
My Thiruppugazh guruji A. S Raghavan has set 'thiraivanja iruvinaigaL' to a beautiful Nata Kuranji, and it starts with D N S S S N D D M (Khanda Chapu Tala).
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Quite a substantial difference b/w budham AshrayAmi and the other krithis you have mentioned, no, Mahesh? Perhaps you meant pArvati kumAram of dIkshitar which is also in the 'standard' rUpaka tALA setup.mahesh_narayan wrote:Dikshitar's Budham Ashryami and ST's Mamava Sada Varade in Rupaka Tala didn't satiate my hunger for a more expansive treatment of this raga:) (though both are pretty majestic compositions). Budham Ashrayami, mamava Sada, and Nachai Vidavakura, all seem to have the same or nearly same mettu. Seems a bit hackneyed to me.
nAtAkurinji is such a classic phrase-oriented rAgA, and in that light, I was thinking about your apt statement on all the above krithis having the same meTTu. Maybe it's an occupational hazard with these types of rAgAs? I was thinking about husEni, for one example - many of the krithis in vogue - rAmA ninnE, emani vEgintunE, sri rAmachandra [ST], eppaDi manam, kanakamaya etc stick to a similar, but charming formula - they are all great lessons in a concise and crisp delivery of the rAgA but to get to the 'next level' you have to go to shrI kAlahastISa or shrI raghukula nidhim or pAhimAm brhannAyikE which are krithis on a bigger scale. husEni is just one example I came up with - I am sure there are several others beyond my ken.
Random thoughs, I know, but perhaps that's the case with nATakurinji also? Fewer bigger krithis which go one [or many] step(s) deeper into esoteric and deeper prayOgAs and phrasings?
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Mahesh: 'kAlakAlamu' in the varNam is set to the swaras sNDMPGRS. I'm no rAgA grammar expert, but it seems OK by that benchmark...?mahesh_narayan wrote:(although I am not sure whether R is used or okay to use in avarohana).
Last edited by prashant on 21 Sep 2006, 21:06, edited 1 time in total.
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Oops.......Parvati Kumaram in Rupaka Tala is what I meant indeed. Guess mind and hand were working out of sync:). What I wanted to say about Budham Ashrayami was that it sounds too similar to the other kritis in terms of phrases, but that might be precisely because of the reason you provided: phrase-oriented raga. I see your point about phrase-oriented ragas like Nata Kuranji and Huseni. Sri Kalahastisha provides a really different flavor to the raga. When I heard Jambupate in Yamuna Kalyani, I was surprised by how different it sounded than Haridasulu Vedale, for example. I guess thats another reason we need to feel indebted to Dikshitar. Under Dikshitar, ragas like Purna Chandrika, Saranga (handled in a grand manner by Tyagaraja also), Dwijavanti, Narayanagowla, Lalita etc underwent a transmogrification from sadharana ragas to ragas worthy of detailed treatment .
Sorry, I digressed from the main topic a little. Thanks for the feedback on the use of R in avarohana. I was listening to Smt. DKP sing Sivakamipatim with chitta swaras, and the prayogas were MGS always. That is what created the doubt !!!
Sorry, I digressed from the main topic a little. Thanks for the feedback on the use of R in avarohana. I was listening to Smt. DKP sing Sivakamipatim with chitta swaras, and the prayogas were MGS always. That is what created the doubt !!!
Last edited by mahesh_narayan on 21 Sep 2006, 23:33, edited 1 time in total.
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Just heard the nAta kurinji AlApana and the kriti ekkAlaththilum maRavEnE sung by KVN. ninjathegreat posted it yesterday with other songs by Ramaswamy Sivan. Look under Sahitya Requests.
Last edited by arasi on 22 Sep 2006, 01:25, edited 1 time in total.
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nIdu mUrtini by pallavi gOpAlayyar- is that in 2 kaLe Adi?Ashwin wrote:Let us not forget some of the wonderful pretrinity contributions to this rAgA: nIdu murtini and ninnu mincina vAru, the latter being a possible inspiration for tyAgarAjA's manasu viShaya...
I thought ninnu mincinavAru was by Poochi Srinivasa Iyengar. Is there another song with the same beginning?
Ashwin, if you have learnt either of these pieces, please sing and post here.
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Most certainly PGRS can and does occur in the descent. Even the ciTTEswara in bhAvayAmi contains it. (NDM,GR | GMPGRS |)mahesh_narayan wrote:Coming back to Nedunuri Sir's raga alapanas, some very distinct prayogas are M M S in Mandra Stayi ( instead of the common M G S), and G R G M P G R S, with his exquisite delays and pauses (although I am not sure whether R is used or okay to use in avarohana). .
budhamASrayAmi may not be in 2 kaLe but it certainly is in viLAmba kAla. Note that it has 1 hrasva sAhityAkShara to each beat.
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RTP
http://rapidshare.de/files/33981622/trs ... i.mp3.html
can someone please clarify the tala and nadai for this pallavi??
http://rapidshare.de/files/33981622/trs ... i.mp3.html
can someone please clarify the tala and nadai for this pallavi??
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2 nattaikurinji krithis that I think is rare as I have only heard once.
parAkela saraswati - Tirupati Narayanaswamy? - sung by gayathri venkat
kandan Sevai Anro ?? -LGJ - sung by saketharaman with excellent shruthi suddham
Mahesh_narayanan
After i posted my last post ,did discover a very good explanation from prashant. Tx.Can you let me know who are the singers whom you heard singing mAyamma in nAttaikurinji, just for my curiosity,if you recollect?
parAkela saraswati - Tirupati Narayanaswamy? - sung by gayathri venkat
kandan Sevai Anro ?? -LGJ - sung by saketharaman with excellent shruthi suddham
Mahesh_narayanan
After i posted my last post ,did discover a very good explanation from prashant. Tx.Can you let me know who are the singers whom you heard singing mAyamma in nAttaikurinji, just for my curiosity,if you recollect?
Last edited by rajeshnat on 22 Sep 2006, 17:47, edited 1 time in total.
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a very good RTP by Sri LGJ is available on MIO....here is the link
http://www.musicindiaonline.com/music/c ... ragam.492/
http://www.musicindiaonline.com/music/c ... ragam.492/
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DRS / Lakshman Sir: is a rendering / notation available for the SEShaNNA varNam? Also thanks for pointing out nIdu mUrtini which is a lovely krithi.
Most of you might have seen this, but for those who haven't, Carnatica has an informative writeup on nATakurinji
http://carnatica.net/newsletter/natakur ... letter.htm
It's interesting to read the divergent views on the role of the panCama and even more divergent views on dIkshitar's use of panCama. Personally I think the usage of this swara is integral to the beauty of the rAgA - the madhyama and dhaivata of nATakurinji are very dominant so it's a useful stepping stone between them [bad analogy I know since both MPD and DPM are not allowed ].
One piDi which GNB sang to startling effect in his RTP suite was DNsNNDDPP,,, DN,,, [s - tAra sthAyi]. Only he could pull that off, I think. I am sure the TRS RTP which venkatpv has posted must be full of ideas further pushing the limits of this rAgA.
Most of you might have seen this, but for those who haven't, Carnatica has an informative writeup on nATakurinji
http://carnatica.net/newsletter/natakur ... letter.htm
It's interesting to read the divergent views on the role of the panCama and even more divergent views on dIkshitar's use of panCama. Personally I think the usage of this swara is integral to the beauty of the rAgA - the madhyama and dhaivata of nATakurinji are very dominant so it's a useful stepping stone between them [bad analogy I know since both MPD and DPM are not allowed ].
One piDi which GNB sang to startling effect in his RTP suite was DNsNNDDPP,,, DN,,, [s - tAra sthAyi]. Only he could pull that off, I think. I am sure the TRS RTP which venkatpv has posted must be full of ideas further pushing the limits of this rAgA.
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SDP is a legitimate phrase in the rAgaprashant wrote:[bad analogy I know since both MPD and DPM are not allowed ].
NDPDNS* sounds fine. Remember that nATakuranji is a rakti as well as ghana rAga. It is not scalar.One piDi which GNB sang to startling effect in his RTP suite was DNsNNDDPP,,, DN,,, [s - tAra sthAyi]. Only he could pull that off, I think. I am sure the TRS RTP which venkatpv has posted must be full of ideas further pushing the limits of this rAgA.
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Mahesh_Narayanan
Guruji has composed several other tirupugazh in Nattaikuriji. Perhaps you would recall "Eenamigu..." which also starts S....N D M.... GMPGRS"My Thiruppugazh guruji A. S Raghavan has set 'thiraivanja iruvinaigaL' to a beautiful Nata Kuranji, and it starts with D N S S S N D D M (Khanda Chapu Tala).
Last edited by srinidhi on 22 Sep 2006, 18:50, edited 1 time in total.
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Hello Srinidhi,
I learnt 'Eena Migutthula' too, but I quoted 'thiraivanja' since it is a more detailed piece. I also learnt 'Arumugam' in Nata Kuranji, in addition to Mohanam. 'Suruthi mudi' and 'Aanada pirudhi' are also in the same raga, but I have't learnt them yet.
I see that there is one other non-samashti charanam MD kriti in this raga, viz 'Balambikayai Namaste'. Never heard it being sung. Does anyone have an electronic copy?
Dr. Shrikaant, just for getting some clarity, could you please spell out the arohana/avarohana of this raga, and also some sequences that are not permitted? It seems that the raga is quite catholic in its admittance of swara sequences.
I learnt 'Eena Migutthula' too, but I quoted 'thiraivanja' since it is a more detailed piece. I also learnt 'Arumugam' in Nata Kuranji, in addition to Mohanam. 'Suruthi mudi' and 'Aanada pirudhi' are also in the same raga, but I have't learnt them yet.
I see that there is one other non-samashti charanam MD kriti in this raga, viz 'Balambikayai Namaste'. Never heard it being sung. Does anyone have an electronic copy?
Dr. Shrikaant, just for getting some clarity, could you please spell out the arohana/avarohana of this raga, and also some sequences that are not permitted? It seems that the raga is quite catholic in its admittance of swara sequences.
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The kriti I have learned is by SRInivAsulu, and begins with the sAhitya, "ninnumincina varEvvaramma nikhilalOka janani nIvE ambA." I have never heard of a commercial recording of this kriti, and would be very interested to hear one (I have heard one or two recordings of MDR singing nIdu mUrtini). I will try to make a recording soon.drshrikaanth wrote:I thought ninnu mincinavAru was by Poochi Srinivasa Iyengar. Is there another song with the same beginning?
Ashwin
Last edited by Ashwin on 25 Sep 2006, 19:52, edited 1 time in total.
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nIdu mUrtini nanukoni- nATakurinji - pallavi gOpAla ayyar by sree mdr:(I have heard one or two recordings of MDR singing nIdu mUrti)
http://www.rogepost.com/dn/98d3
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meena:
That was a wonderful clip of nIdu mUrtini. I always wondered how nATTaikuranji would sound in madhyamakAla compositions, and hearing your clip I got the answer. The chauka kAla krithis can be sedate (i.e. budhamAShrayAmi, manasu vishaya etc.), while the madhyamakAla krithis can be vigorous, lively compositions to uplift the concert ambiance.
Ashwin: do you have the notation for the composition you mentioned?
That was a wonderful clip of nIdu mUrtini. I always wondered how nATTaikuranji would sound in madhyamakAla compositions, and hearing your clip I got the answer. The chauka kAla krithis can be sedate (i.e. budhamAShrayAmi, manasu vishaya etc.), while the madhyamakAla krithis can be vigorous, lively compositions to uplift the concert ambiance.
Ashwin: do you have the notation for the composition you mentioned?
Last edited by kmrasika on 29 Sep 2006, 06:25, edited 1 time in total.
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here goes...
http://www.rogepost.com/dn/dybd
the pallavi is 'ninaippom manimozhi vazhi nadappom, mahatma gandhiyai"
the last round of swaras, TRS sings SDNSMGM... MSGMNDN.. SDNSMG ninaippom NSDNM.. MPGMR.. NSD vazhi nadappom... awesome stuff!!!
btw, can someone tell me the tala for this pallavi...
http://www.rogepost.com/dn/dybd
the pallavi is 'ninaippom manimozhi vazhi nadappom, mahatma gandhiyai"
the last round of swaras, TRS sings SDNSMGM... MSGMNDN.. SDNSMG ninaippom NSDNM.. MPGMR.. NSD vazhi nadappom... awesome stuff!!!
btw, can someone tell me the tala for this pallavi...
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in case you are not aware, i have some manodharma snippets for several ragas.
The nata kuranji one is here:
http://www.ecse.rpi.edu/Homepages/shivk ... dex.html#n
i liked the semmangudi rtp piece.
enjoy
Shivkumar Kalyanaraman
The nata kuranji one is here:
http://www.ecse.rpi.edu/Homepages/shivk ... dex.html#n
i liked the semmangudi rtp piece.
enjoy
Shivkumar Kalyanaraman
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Venkat: this is a superb pallavi setup. Simple but very sophisticated. Here are the calculations:
"ninaippOm maNimozhivazhi naDappOm, mahAtmA gAndhiyai"
misra tripuTa [tisra gati]
1 beat = 6 aksharAs. The tALA is 7 + 4 = 11 beats long. Therefore 11 x 6 = 66 total aksharAs.
The pallavi starts 1 beat = 6 aksharAs after samam i.e. on the 'little finger'.
Calculations:
ni = 3; nai = 3; ppOm = 6 [Total 12]
ma = 2; Ni = 3; mo = 3; zhi = 6 [Total 14]
va = 2; zhi = 2; na = 3; Da = 3 [Total 10]
Arudi at 'ppOm' = 10 [Total 10]
ma = 3; hAt = 3; mA = 4 [Total 10]
gAn = 4; dhi = 2; yai = 4 [Total 10]
Note: sometimes he sings this as gAn = 3; dhi = 3; yai = 4 [Total 10]
12 + 14 + 10 + 10 + 10 + 10 = 66 aksharAs
Corrections welcome. Hope this is of help.
BTW, the kAmbhOji swarams are just spectacular!!
"ninaippOm maNimozhivazhi naDappOm, mahAtmA gAndhiyai"
misra tripuTa [tisra gati]
1 beat = 6 aksharAs. The tALA is 7 + 4 = 11 beats long. Therefore 11 x 6 = 66 total aksharAs.
The pallavi starts 1 beat = 6 aksharAs after samam i.e. on the 'little finger'.
Calculations:
ni = 3; nai = 3; ppOm = 6 [Total 12]
ma = 2; Ni = 3; mo = 3; zhi = 6 [Total 14]
va = 2; zhi = 2; na = 3; Da = 3 [Total 10]
Arudi at 'ppOm' = 10 [Total 10]
ma = 3; hAt = 3; mA = 4 [Total 10]
gAn = 4; dhi = 2; yai = 4 [Total 10]
Note: sometimes he sings this as gAn = 3; dhi = 3; yai = 4 [Total 10]
12 + 14 + 10 + 10 + 10 + 10 = 66 aksharAs
Corrections welcome. Hope this is of help.
BTW, the kAmbhOji swarams are just spectacular!!
Last edited by prashant on 08 Oct 2006, 13:05, edited 1 time in total.
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what a pallavi...esp the hindolam, amritavarshini, and the ragamalika finale porutham.
sri. venkat, do u think u can post some more RTPs by sri. TRS?
i remember sri. kulkarni had posted a host of RTPs by TRS a long time ago; i dled all of them, but unfortunately lost them when my computer became overrun with viruses.
if u have any of them, i humbly request u to post some of them again, if it is not too much trouble.
thanx
sri. venkat, do u think u can post some more RTPs by sri. TRS?
i remember sri. kulkarni had posted a host of RTPs by TRS a long time ago; i dled all of them, but unfortunately lost them when my computer became overrun with viruses.
if u have any of them, i humbly request u to post some of them again, if it is not too much trouble.
thanx
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- Joined: 22 Jun 2006, 09:30
Would very much like to hear Ambujam KrishnA's
nADith thavikkudaDI, en uLLAm--if anyone has it and would kindly share it. kOlam kANa vArIr is a more popular song of hers in nAtak kurinji...
nADith thavikkudaDI, en uLLAm--if anyone has it and would kindly share it. kOlam kANa vArIr is a more popular song of hers in nAtak kurinji...
Last edited by arasi on 09 Oct 2006, 06:51, edited 1 time in total.
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Venkat, thanks so much for posting TRS Mama's pallavi - I cant help but feel in the renditions of these great masters that their intention is not only to entertain but to educate on the usage of these ragas - take for instance TRS Mama's tactful avoidance/judicious inclusion of pancama in nATakuraNji - simply brilliant.