I have checked these, the vowel part is preceding the consonant - as given by meTake a look at OD46, OD47, OD48, OD4A, OD4B, OD4C entries
Those sounds do not exist in tamizh!jayaram wrote:but at the same time does not have alphabets to capture an entire range of sounds, e.g. kha, gha etc.
. One is tempted to think bull-headedness was there even then 
;)! No flames please!
arunk has already clarified the same.difference between the two 'na's in Tamil.
Totally agree. Very very few artists render this item in a pace that evokes the inbuilt karuna rasa in this song. The tune undoubtedly is very catchy even if rendered fast especially in instrumental music - since the fast paced rendition evokes a sort of happy mood. But then you would have to keeps the lyrics aside to relish this mood.vgvindan wrote:In regard to other rasas – courage etc, I have already mentioned in one of the posts how the song ‘nagu mOmu’ rAga Abheri which is in karuNa rasa rendered by famous singers in the ‘vIra rasa’. How appropriate is it? Is it simply to titillate the audience?
Most important is bhAva.The artiste needs to take into account the meaning of the krithi, the raga, tala, etc
Introduction:
In the December season concerts many young artistes are going to render a few well known kritis of ThyAgarAjar and others. Bombay G S Mani, a vidhwAn having 45 years of practice and experience, is advising them, as shown below, not to sing wrongly as some of the senior vidhwAns do (who are of course, incorrigible), showing the correct place to stop:
Kriti vAtApi gaNapatim
Wrong way vAraNA......Samvara pradam
Correct way vAraNAsyam vara pradam
Kriti manasulOni
Wrong way manasulOnimar........mamunu
Correct way manasulOni marmamunu
Kriti baNTu rIti kolu
Wrong way modalainamadA........dula
Correct way modalaina madA-dula goTTi
Kriti marivERa
Wrong way taralOna nI sATi
Correct way taralOna nI saTi deivamu
Kriti nagumOmu
Wrong way nagarAja.......dharanIdu & stopping at nagumO
Correct way nagarAjadhara nIdu & stopping at nagumOmu
Kriti mAkElarA
Wrong way sAkEtarA........jakkumArA
Correct way sAkEta rAjakumArA
Kriti sItamma mAyamma
Wrong way dhAta bhara..tAdulusO...darulu
Correct way dhAta bharatAdulu sOdarulu
Kriti sItamma mAyamma
Wrong way paramEshava, shISThaparA, sharanArada
Correct way paramEsha, vashiSTha, parAshara, nArada
Kriti rAma nI samAnam
Wrong way sOda..........rugala
Correct way sOdarulugala
Kriti raghunAyakA
Wrong way stopping at raghunA or raghunAya
Correct way stopping at raghunAyakA (not raghunAyagA)
Kriti endarO mahAnubhAvulu
Wrong way rAmabhaktuDaina tyAga
Correct way rAmabhaktuDaina tyAgarAjanutuni
Kriti kAlaharaNamElarA
Wrong way stopping at kA....after kalpanAswarams
Correct way stopping at kAlaharaNam or kAlaharanamElarA harE
Kriti jAnakI ramaNa
Wrong way stopping at harE rAma jAnakI
Correct way stopping at harE rAma or at jAnakI ramaNa
Kriti kaNTa cUDumi (not jUDumI)
Wrong way stopping at alanADu sau
Correct way stopping at alanADu saumitri
Kriti rAmabhakti
Wrong way mEmAnavula
Correct way EmAnavula
Kriti cUtAmu rArE (not jUtAmurArE)
Wrong way jUtA....... murArE..........
Correct way cUtAmu.. rArE...
Kriti jnAnamosaga rAdA
Wrong way jnAnamo sagarAdA & nI nAmamu cEnAmadi
Correct way jnAnamosaga rAdA or jnAnam osaga rAdA &
nI nAmamu cE nAmadi
The above is not an exhaustive list but just for illustration only. I have also observed many senior vidhwAns committing such mistakes and also ending the kritis in "ShrI". Please note that you should not end a kriti in ShrI but it should be followed by the successive word e.g., in raghunAyaka normally it is a normal practice to end pallavi or anupallavi as 'rAjIvamunanE viDajAla shrI' or 'Adarimpa nIvE gati gAdA shrI' whereas it should end as 'ShrI raghunAyakA'. In 'raghuvamsha sudhAmbudhi chandhra' the same practice is followed by many.
In the field of CarnAtic music there is another drawback – wrong pronunciation of the words even by those who have Thamizh as their mother tongue. The main reason for this is the language itself devoid of certain letters which the other languages have like only one ka, pa, ta which do not represent the correct pronunciation when the kritis of other languages are printed in Thamizh. For this either the help of the numerals or other letters of other languages are used. My advise is to learn the kriti from someone in whose mother tongue the kriti is made for proper diction and intonation.
Unlike in olden days, the youngsters have plenty of tools to learn the kritis correctly with their proper meanings nowadays. Unfortunately, in spite of this, many do not care about sAhitya shudhdham, meaning and bhAvam. One must not only do justice to one's mother tongue but also to other languages when they sing songs in those languages by understanding the meaning of the words and their proper pronunciation in the sAhityam. This alone makes the song beautiful, electrifying, emotional as well as lively. This we call janaranjakam.
For sangItam shruti is mAtA and layam is pitA. That way sAhityam is guru and bhAvam is deivam. Unless equal importance is given to these four factors no sangItam will be divine and reaching one's heart.
