Ragas and navarasas krithis

[shrinik]

Hi can anyone suggest krithis suitable for all the navarasas.
Thanks in advance
Niharikaa

[shankarank]

savEri definitely has some stridency to it - rAma bANa http://thyagaraja-vaibhavam.blogspot.co ... -raga.html
depicts vIra rasa!

[shrinik]

Thanks shankaran sir.

[sureshvv]

Lalgudi Jayaraman sir has composed a ragamalika varnam which portrays the navarasas.

[rshankar]

Lalgudi Jayaraman sir has composed a ragamalika varnam which portrays the navarasas.

angayarkaNNi Anandam koNDALE.

[shankarank]

kAruNya rasa cannot be bettered than in a SyAma Sastri piece in madyamavati and with MDR on it : https://youtu.be/kIRIbNvU8gM?t=510

Now how much structure do you need to make intervals perceptible to a percussionist at that speed?. Who other than PR can handle this in his generation.?

So many flourishes - so much silence and so much expression. Mridangam must have been soaked in water the prior night

Requires auto cabin cavity resonance to get full effect - Headset/earphones not that much effective!

kanaka giri sadana is made weighty as gold - almost shaking a mountain of gold coins to shower on AmbAl - with PR lending his two hands too!

Sastrivalluku vEra vEla illai - kovilla poi uTkArndu konDu araiyA mukkAlA enRu iDattai mATRi koNDiruppArAm ( This Sastri is jobless - he goes to temple and spends his time with looking for 1/2 and 3/4 to place syllables). But then yati viSrama plea from tyAgaraja is more actualized in his compositions.

I don't know if even PMI would have dealt with this. He has slowed down Ramnad in that Akshaya Linga vibhO!

Sivan exploits the same in his karpagamE

[shrinik]

Thanks to all for the great inputs.Request to suggest any krithi for roudram navarasa.ragas suitable for rowdram are arabhi,atana,chalanata-edaya,pantuvarali.Any other ragas that suit this navarasa?
Thanks

[shankarank]

https://www.youtube.com/watch?v=HkF3eCzUrbA

[shrinik]

Thanks sir!

[shrinik]

Ragam that conveys bhaya- navarasas?
Thanks

[shrinik]

Just came across this song yen maname unakku inda bhayam in namanarrayani by koteeswara Iyer.will this song suit this navarasam?

[shrinik]

Request suggestions pls.
Thanks

[SabashBale]

IMHO, Revathi, if sung/played with discretion can bring out the bhaya rasa. Atana is probably best suited for rowdram.

[shrinik]

Thank you. Does kanden kanden-bagyasree suits bheebatsa(disgust)navarasa.Any suggestions
Thanks

[rshankar]

I was under the impression that each of these flavors/expression of emotions is a rasa - with 9 of them, they collectively become the "navarasa", where nava represents "9". So, each one of them should be a 'rasa', and not navarasa - e.g., bhIbatsa rasa, right?

[shankarank]

IMHO, Revathi, if sung/played with discretion can bring out the bhaya rasa.

Revathi - I recently heard some etymology on this. rE refers to manas ( mAnasa sancara rE) and before sAmagAna the vEdic notes almost conform to this rAga. Since vEdAs appeal and address the mind - the rAga came to be rEvati.

More Shanta rasa!??

Atana is probably best suited for rowdram.

Dikshitar in his tyAgarAjO virAjatE projects vIRa rasa ( gambhIram). http://guruguha.org/wiki/tyagarajo.html

tyAgaraja same: viewtopic.php?t=7406

http://thyagaraja-vaibhavam.blogspot.co ... -raga.html

[shrinik]

That's very interesting to know about revathi ragam sir.Thanks to all of you once again.
I feel interpretation of these navarasas also depends on the composer apart from the ragam that conveys the emotion.like for example I read somewhere that in edutanilachite in shankarabharanam by thyagaraja rowdram is conveyed in the krithi and in nidhichala he conveys disgust through kalyani ragam.But both these ragams are not listed in rowdram or bheebatsa- category respectively.Any suggestions on this pls.Thanks

[varsha]

bhaya rasa
Man was born only with two fears .Those of loud noise and of falling down.Every other fear must be learnt

I have learnt to be fearful when revathi is being performed .

[shrinik]

I request someone to suggest any Tamil krithi that portrays bheebatsa-navarasam.
Thanks

[varsha]

https://archive.org/details/ShivaShivaS ... iTyAgarAja

all rasas packaged in a glorious sun n shade display-swirling in and out of sight

[SabashBale]

Again this is from personal experience, but I believe Saranga can be used to portray both vira rasa and also bheebatsa. Of course, you will have to sing it differently to emphasise either rasa you choose to convey. Experts?

[SabashBale]

Laid my hands on this finally. A few years back, I was putting together a list of ragams and Krithis for my wife to sing for a dance concert based on navarasas. This is what we came up with, although it went nowhere  

1) Veera (valour and courage): Athana, Nata, Gambheeranata, Hamsanandi and Arabhi
Rama bana thrana in Saveri
Srivighnarajam Bhaje in Gambheera Nattai
Nadasudharasam in Arabhi

2) Shringara (love and romance): Behag, Kamas, Kapi, Karaharapriya,Yamankalyani, Brindavani and Neelambari
Chera raavadhemira in Reethigowla
Eppadithan in Nilambari
Muruganin marupeyar in Behag

3) Rowdra (anger): Athana, Arabhi, Chalanata, Panthuvarali and Darbaar
Chalamelara saaketharama in Marga Hindolam
Anupama in Athana
Yochana in Darbar

4) Bhibhatsa (disgust): Rishabhapriya, Ahiri, Ghanta and Mayamalavagowla
Nidhichaala sukhama in Kalyani
Adamodi in Charukesi

5) Adbhutha (wonder): Bilahari, Mohanam, Mohanakalyani, Kedaragowla, Anandabhairavi, Vasantha and Malayamarutham
Raama raghukula jalanidhi in Kapi -
Najeevadhara in Bilahari
Dayarani in Mohanam

6) Hasya (joy and mirth): Kuntalavarali, Navarasakanada, Janaranjani, Saranga and Kadanakuthoohalam
Vararagalaya in Senju Kamboji
Ninnuvina in Navarasa kaanada
Balamurali Krishna’s Tillana in Kuntalavarali

7) Karuna (grief and compassion): Sahana, Kanada, Mukhari, Punnagavarali, Saveri and Shanmukhapriya,
Sriraama paadama in Amrutavahini
Chittham Irangadadenayya in Sahana
Durusuga in Saveri
Irakkam varamal in Behag

8) Bhaya (fear): Revathi, Gowlipanthu, Dwijavanthi, Chakravakam and Sarasangi
Etulabrothuvo theliyaa in Chakravaham -
Vedambevvani in Revathi

9) Shantha (peace and serenity): Sama, Yadukula Kambodhi, Madhyamavathi and Surati
Shantamulekha in Sama
Shankara Sri Giri in Hamsanandhi
Mokshamu galada in Saramathi
Sarasa dala nayane in Khamas

Comments welcome.

[shrinik]

Vow thanks a lot!That is an amazing set of songs for the concept of navarasa.thanks

[shrinik]

Just a request .How does the krithi yochana portray anger?

[rshankar]

A couple of more questions:

4) Bhibhatsa (disgust):
Adamodi in Charukesi

- how is this bhIbhatsa? The composer is disappointed, not disgusted with rAmA, as far as I can tell from the lyrics.

9) Shantha (peace and serenity):
Shankara Sri Giri in Hamsanandhi

- how is this SAnta? - the lyrics describe the lord dancing in the citrasabha (nRtt virAjat citra sabhA mein)

[MaheshS]

For Shanta, I think you can use Thyagaraja Kriti - Saantamu Leka - Raga Saama

[SabashBale]

All of you are right. We still hadn't finalized. Also, we went by the 'tone' of the Krithi rather than the lyrics alone. Shanthamulekha for Peace is a great choice. Not sure about the lyrics for Yochana but the song has an angry tone about it. Same for the tone conveyed by Shankara Sri Giri ...

[shrinik]

Thanks sabeshbale!Can anybody suggest a tamil krithi that conveys bheebatsa?

[varsha]

Fear No More - Poem by William Shakespeare

Fear no more the heat o' the sun;
Nor the furious winter's rages,
Thou thy worldly task hast done,
Home art gone, and ta'en thy wages;
Golden lads and girls all must,
As chimney sweepers come to dust.

Fear no more the frown of the great,
Thou art past the tyrant's stroke:
Care no more to clothe and eat;
To thee the reed is as the oak:
The sceptre, learning, physic, must
All follow this, and come to dust.

Fear no more the lightning-flash,
Nor the all-dread thunder-stone;
Fear not slander, censure rash;
Thou hast finished joy and moan;
All lovers young, all lovers must
Consign to thee, and come to dust.

No exorciser harm thee!
Nor no witchcraft charm thee!
Ghost unlaid forbear thee!
Nothing ill come near thee!
Quiet consummation have;
And renowned be thy grave!
Fear No More
William Shakespeare

Fear No More - muse by u srinivas
http://www.mediafire.com/file/g3jo1ssg2 ... uality.mp3

[shankarank]

Well that is some intentional strumming producing intentionally deliberate dissonance out of two notes! Yeah as Ravikiran once explained vivAdi rAgas - they use dissonance in horror movies!

[varsha]

is there a rasa name for remorse ?
https://archive.org/details/01DuDukuGalaGauLaTyAgarAja
Glory be. to bmk

[vgovindan]

I Fear not the lion, the tiger,
I Fear not the cobra and the viper,
I Fear not the crocodile and the whale,
I Fear not the tsunami and the gale, But

I Fear the avarice and greed,
I Fear the malice and hatred, For
Man endowed with the intellect
Is the most dreaded specimen as yet.

Nature bestowed wisdom to man
To search and find his True Self again
But all efforts of teachers went in vain
For he invented the intellectual brute-man

With no malice, but extreme pain,
Sorry for bad poetry too.
V Govindan

[varsha]

an thereal mohana
followed by ..
Saveri here brings on a kind of rasa , beyond words.
Frustration , anguish .... A cry that echoes through the skies.

https://archive.org/details/04SlokamRAgamAlika

mdr and slokams - unbeatable

[Christian Kenit Ram]

For more than a decade Hamsadhwani has evoked the impression of shanta in me , or maybe I imagined it to be so because I read it on some CD liner notes , or some article or in some video comments ... ( not sure )
Point is that I can not find any source on the interent that makes this connection .

Most sources will say that this raga evokes vIra rasa .

Post edit : The trick is to look for " peaceful " -- found a video description .
Still , it could be a minority opinion since it isn´t mentioned in the specialized articles . Maybe because they writers follow some shastras where the connection with vira is given .

[KKishore]

Hamsahwani imho evokes Dynamism, optimism(hope for peace,good things etc), outgoing and action-oriented.
Probably that's why it is sung at the start like Natta etc as something bright and auspicious.
The HM version also similar but they have the time of day concept as night i think for it as it is expected to give some "solace" to listener settling the disturbed minds when rendered well.
Veena Gayathri runs a blog and i read long back a post she had written on this subject of ragas & rasas
https://egayathri.blogspot.com/2009/08/ ... tions.html
Though some ragas clearly convey some rasas due to their characteristic prayogams or by their scale itself in some cases many carnatic ragas often convey varied rasas often in unexpected way depending on the way they are rendered or creative explorative skills of composer/singer.