Simple Krithis

[ajaysimha]

Hello Rasikas,

I wish to get inputs on the topic of Simple Krithis from the forumites.

With the youtube/ facebook being a good platform for carnatic students to learn or to showcase their talents.
They choose to learn/ present non-conventional pieces and call it carnatic music.
The intension behind this is to have a comprehensive list of simple krithis, so that students can choose to learn good krithis (self learn/ approach a guru)
Instead of choosing non-conventional pieces and bring the standard of CM down.

With the name of the krithi also share the feature that makes it simple.( Like - less sangathis, simple language, easy to handle ragam, less sahithyam, has only samashti charanam, catchy tune and etc.)

regard,
Ajay Simha

[shankarank]

When children are able to learn these these days , why we have to go for simple!

https://www.youtube.com/watch?v=vVAwmQt ... y0rrJnnS2D

[RSR]

reg p-1
-------
1) The foremost requirement is that the young students should be taught and exposed to kruthis in their own mother-tongue.

2) It is enough if the youngsters are taught 100 kruthis , one or two each for about 100 common ragas. - all in their own mother tongue
.
3) As for Thamizh younsters, there are 100 such raga/kruthis available as records and youtube uploads,sung by famous vocalists of the golden era ( 1935-1965). such as Smt MS, DKP, NCV, MLV, MMI, Alathoor, MMD, Chembai . Such songs can be found in the thread 'we need more tamil songs')-in general discussions- a compilation.

4) For students from Karnataka, Purandara Dasa and Kanakadas sahithyams are ideal;. Many simple and moving kruthis sung by MLV, MSS, ARI are available in youtube.

5) The focus should be only on such uploads without any manodharma fearures like alaap, swarams and should be of short duration only Even some popular 'geetham's are very good choice.
The duration should not exceed 7 minutes.

6) For students with Telugu as their mother-tongue, what better alternative than Thyagaraja Swami compositions.. ? There are quite
a good number of short representative kruthis/ keerthans , popularized by MMI. DivyaNaama keerthans of Thyagaraja Swami are meant for the purpose of focus on music and theme rather than manodharma .

7) there must be about 100 kruthis in 100 popular and common ragams by Swathi ThiruNaaL in Malayaalam, sung preferably by musicians from Keralam.

Ragamalikas do not serve this purpose.
Nor, VarNams, Thillanas and Javalis.

The theme should be strictly devotional in nature. .

[RSR]

in continuation of p-3
------
100 raagams for students
----------------------
1) Todi (2) Sankarabaranam (3) Bairavi (4) Mohanam (5) Karaharapriya
(6) Harikambodhi (7) Hamsadwani (8) Hamsanadam (9) Kedaragowla (10) BoopaaLam (11) BowLI (12) Kerrrwani (13) VaraaLi (14) MaayaMaaLava Gowla (15) NaadhaNamakriya (16) PanhuvaraaLi (17) Suba PanthuvaraaLI (18) Vasantha (19) Hindolam (20) Arabhi
(21) Shanmugapriya (22) Simmendramadhyamam (23) Poorvi KalyaaNi
(24) Bilahari (25) Sourashtram (26) Chenchurutti (27) Karnataka Devagandhari (28) Neelaambari (29) Aberi (30) Kamaj (31) HamsanAdham (32) Naattai (33) Sahaana (33) Abogi (34) KalyaaNI
(35) Surutti (36) Saveri (37) Nattakurinchi (38) Begada (39) Madhyamavathi ( 40) Dhanyasi (41) Suddha Dhanyasi (42) Kapi (43) Chakravaam (44) Valachi (45) Vachaspathi (46) Jonpuri (47) Behag
(48) MaNirangu (49) Kurinji (50) Sindhu Bairavi
----
The next and concluding 50 will follow soon.
The poser is , 'is it all that easy to list kannada and malayaaLam kruthis iin these 100 ragams ( should be simple and with renditions by stalwarts of yore) all the four South Indian languages)? It will be educative

[RSR]

in continuation of previous post
----------------------------
(51) yadhukulakambodhi (52) saamaa (53) reethigowlai ( 54) kunthaavaraaLi ( 55) yamun kalyaaNi (56) ranjani ( 57) aanandha bairavi (58) navroj (59) rathipathipriya (60) thilang (61) sreeranjani ( 62) hameer kalyaaNi (63) maannd (64) ataaNa (65) Desh (66) Beemplas ( 67) natabairavi (68) navarasakannada ( 69) huseini (70) maanji ( 71) kedaram ( 72) ravichandrika (73) gopika vasantham (74) durbar (75) balahamsam ……. ( 25 more to follow)

[kalancheri]

Great suggestion by ajaysimha. Nice compilation of ragams by RSR. In my humble opinion, language need not be a barrier in one's search for simple kritis. "Sobilu sapthaswara" cpmes to my mind when I think simple kritis. It packs both beauty and simplicity. The meaning is uncomplicated. In the context of youngsters their relationship with mother toungue could be complicated. Also, many composers have composed songs in samskritam that may fall through the cracks if we apply the "mother toungue" rule. Finally, whether varnams are needed to establish a base to sing the simple kritis might be predicated on the natural talent a youngster may possess. For the many who need effort to sing simple kritis, a few varnams won't hurt. I love this thread for speaking to those who want to keep their music simple.

[shankarank]

I'd say initially let them wrongly pronounce samskRtam, but get the chandas (meter) right! That will provide the grounding on syllable intervals and their positions viz-a-viz the tALa kriyas strongly. As interest deepens, with today's resources they can correct the pronunciation. We should be flexible with the kids.

Whether mother tongue or otherwise, the kritis need to be well made with yati/prAsam that is foremost important.

[Manian]

The writers in general, assume that there is a nonprofit body that exists and does not do the work. Instead of saying, here are the 25 kritis I have collected and given here, please add and take this further is never seen. There is an expectation of the person who lists his or her wishful thinking but without providing any solution. Also, if one wants only Tamil kritis, some one with experience has to sort them from easy to learn to difficult to learn. Who are they, where are they? Next, just learning a kritis will be fine if one sings in his bath room. But if it has to progress, then in a selected raga, sarali varichai, jandai varichai etc., should also be provided. Pittsburgh USA temple sells a tape and when I heard that, I felt that is what is missing in our teaching. There are some teachers who do, but is not a general rule. I have not done that. The reason is, when modulating the fundamental voice (Sruti, there are several modulated wave patterns can be generated by the vocal chords and termed as Sangati or Gamagas. Without practicing the initial pattern, one can not easily master the later.
When I was learning music (to make computers generate instrumental music), the teacher says, now Vinayaka Ninnu Vina but with sangathi. It may take a week or a month, so be patient. With a background in Physics, I asked him would you mind to tell the notes for that. He closed his eyes and said, I did not learn like that. Then he said: Ga Pa Ni Sa, Ga Pa Ni SA Ri, Ga Pa Ni SA Ri Ga... So I told him that, you took four notes, next you added one note thus divided the time into five segment and then with 6 notes progressively reduced the time but moving up – making my vocal chords to move on the scale (sruti). He changed his teaching. The story is not to gloat, rather to change our perception and improve on learning. This forum is for suggestions with sample help and not to list one's own wish list.

[RSR]

reg p-8
@Manian
If you are referring to the songs mentioned in 'we need more tamil songs' (gratified to note that it is having good number of views), it is not a wish list' but a collection of famous songs in each ragam, by well-known vocalists of the golden era.
Many leading vocalists have advised ( including Smt.MS ) ( Mrs.Seetha Narayanan too) that young students can be exposed to simple kruthis right away to inculcate the awareness of ragams. Listening to good songs in each ragam is very important.
The approach is meant for developing rasikathvam in youngsters who are not likely to take up concert singing as a profession.
So much is spoken about 'bhavam in singing. Songs in mother-tongue help. Thamizh songs prescribed for students who are from Thamizh region. It does not mean that they would not be taught the usual step-by-step lessons and simple kruthis from other languages.
Kindly note that there is another thread 'Sanskrit through sung kruthis'. But Sanskrit ceased to be spoken language of people , many centuries back.

[Manian]

Shashank: There is no need to mispronounce the words in other languages. What is need is a script reform in Tmail, so that it can be used to learn any other Indian language with ease. What is lacking in Tamil script is Aspiration , that is, like “f” sound if each hard consonant (Vallinam) with a puff of air at the throat, it will become aspirated. Even some European langauge has it. By just adding an aphostope (') after the consonant it can be created. Thus, p, p', b, b'',ch ch',j, j', t, t',d,d' , k,k', g,g' will do the trick. Tamil script is phonemic in that, depending on the place where such vallinam occurs, it is either kept unmodified or gets voiced. For example, makaa (big) becomes “magaa”. So, the letter has a context based pronunciation. Now, to make this explicit, when a consonant “k' becomes 'g' in pronunciation, just underling it will do the trick, For example, “makan” will become “makan” ( I have bolded it to draw your eyes to it). There is a scholar in USA who has done it and is using it for about 30 years. He could not publish it in the current Dravidian mind set and does not care. He learns and teaches to a select few. Look at the Malalayam word “manasilakiddillaa” or Telegu “Mokshamu kaladaa b'uviloo .. (Mokshamu Galata Bhuvilo). So, the idea that Tamil can not handle other script is a wrong notion. If, Rasiga Organization allows a pdf to be uploaded I will send it.

[Manian]

Shashank: There is no need to mispronounce the words in other languages. What is need is a script reform in Tmail, so that it can be used to learn any other Indian language with ease. What is lacking in Tamil script is Aspiration , that is, like “f” sound if each hard consonant (Vallinam) with a puff of air at the throat, it will become aspirated. Even some European langauge has it. By just adding an aphostope (') after the consonant it can be created. Thus, p, p', b, b'',ch ch',j, j', t, t',d,d' , k,k', g,g' will do the trick. Tamil script is phonemic in that, depending on the place where such vallinam occurs, it is either kept unmodified or gets voiced. For example, makaa (big) becomes “magaa”. So, the letter has a context based pronunciation. Now, to make this explicit, when a consonant “k' becomes 'g' in pronunciation, just underling it will do the trick, For example, “makan” will become “makan” ( I have bolded it to draw your eyes to it). There is a scholar in USA who has done it and is using it for about 30 years. He could not publish it in the current Dravidian mind set and does not care. He learns and teaches to a select few. Look at the Malalayam word “manasilakiddillaa” or Telegu “Mokshamu kaladaa b'uviloo .. (Mokshamu Galata Bhuvilo). So, the idea that Tamil can not handle other script is a wrong notion. If, Rasiga Organization allows a pdf to be uploaded I will send it.

[Manian]

RR: Each lyrics has five components- lyrics, Tala (Time), Raga(Note syllables selected), Voice of the singer and the fifth is emotion(Bhava). Bhava is part of every language - you see when a child with sad voice asking it's mother, you did you say that (ammaa, een appadi chonne). The emotion which is simply displayed by intonation in a language - question, surprise etc., are controlled by the vocal chords and nothing to do with any one language. But it is seldom taught. That means, the vocal chords in a lower frequency with proper modulation will bring the bhava. For example, Enna kavi Padinalum on Murugan can be so melting if the lower octave and the crying emotional part is integrated while singing. Or Dhishitar's “Sri Kanthimathim can be rendered moving one's emotion”. This is a very difficult effort and when you listen to “Asai Mugam Maratthu poche ..” with O. Arun. He starts the melting but does not carry it though. A vikiki vikki emotion is not displayed. But that is a good start. Chikkil Guru Charan brings emotion to his singing. So, it is not the language that brings out the emotion, but the singer is able to tap that part of his brain and mix with his breathing and feel self that emotion. Recent Russian spectrograms in this emotional investigation (which is not available in India) tells how the Neurological events with emotion are transmitted through voice. Music is not only singing but integrating breathing with timing , lyrics, timing, vocal chord-mouth articulation and emotion. Language is just a medium.

[RSR]

reg p-6
@kalancheri
Very glad that you approve.

I entirely agree with you that 'pure music' has nothing to do with language- mother tongue or else (examples- Raga Aalaapana, Instrumenta music)

However, retention and assimilation of the raagam needs a kruthi and learning CM is as much a means of imbibing good cultural and spiritual values from tender age.

And, learning good kruthis in mother-tongue , of devotional theme helps. It was Vyaasa Theertha, guru of Purandhara dasa who gave and encouraged the dasa composers to sing in mother-tongue.

Great many rasikas who speak Thamizh only besides English , know literally hundreds of kruthis in Telugu, Kannada and Sanskrit. They may not know the lyrical beauty or the theme. It has not been an obstacle.

Thanks to the labour of love and devotion by Sri.V.Govindan, we are in a position to understand word-by-word meaning of kruthis by Thyagaraja Swami, Shyaama Sastry and Muthuswamy Dikshithar
.
But that is a bonus and not perquisite for appreciating the music
.
My post at #2 is meant for students living in ThamizhNaadu. My opinion is that there is considerable opposition to CM among the crores of rural youngsters, because of language barrier. We are not talking about students from urban elite but the youngsters in rural towns and villages.
The same may be true of youngsters in the other Southern states as well.

Children in American diaspora families , may not relate to the mother tongue as they live in an English environment.

We are suggesting for present generation who are living in southern states of India - the home of Carnatic music.

Sanskrit is not well known even among the brahmins.
and VarNams are not 'warming up' compositions. Thana varnams are almost pure music of highest degree and not meant for beginners.

The ragams list given in ragas section may be of interest to you.
Thanks for the participation.
.

[Manian]

Sanskrit and Telegu were spoken a long time back in the South before Lord Thomas Babington Macaulay (1800- 1850)destroyed our education system as way to fracture our one society. If you look at history there were never Brahmin Kings, no deity is Brahmin deity; Brahmin accepted poverty but were willing to teach every one. Only after British broke our chains we have lost every thing. All right, what is that to do with Sanskrit? It has a very vast treasure of knowledge. For example, I knew some thing about Ashwagosha- controlling horses (unfortunately not fully learned) which is now practiced by one person in USA to tame wild horses without beating them. 15th Century Sir Issac Newton took the Sanskrit laws of nature - the three Laws from Kanaka which is documented by an UK University. Sanskrit was never a dividing force until British came. Now, when I wanted to learn Sanskrit there was none to teach. So, I took Hindi and then learned Sanskrit on my own - not the Siddhanda Kaumi grammatical way- Ramaha Rama Ramaa Raman.. - with seven cases like German. German, Sanskrit, Latin and Greek have the same North Persian root, where as Dravidans have the south Persian root. Remember writing did not come for a long time. Anyway, it is the Sanskrit scholars who failed to revive it and teach as a spoken language. I have done that to a limited amount . On the first day I could speak about 25 sentences : Aham ghachchaami, agham graham gachchami , aham ma mitram sahitam graham gachaami - I am going, I am going home, I going home with my friends.. So, the Norther Indian teacher was surprised that one can talk freely on the very first day. So, let us not worry about Sanskrit. Let us learn to split the words (when you later repeat after foru or five times, they join nicely called sandhi or juncture). Our learning should not be narrow minded. We learn English too to survive.
Now creating simple Kriti is not a job. It should come naturally. When I was in Kapali Temple (in my college days), one old gentleman told me, hi boy, sing something about Lord Sanishwara. I sang on the spot in Vasacchpati Raga, Rupaka Tlaka:
Saneswara swamiye, skala yur kaakum parama njaneye,
Aram prorul Inbamum atma njamum kalviyum chelvanum marrelm tharum..
That was spontaneous but rare.

[RSR]

reg p-12
@Manian
Do instrumental renditions ( Ragam elaboration) have 'bhava'? I feel that some ragams do have it. ( BowLI)

Generally, however, bhava in vocal music is related not so much to the Raga but to the theme of the song and the lyrics.

Carnatic music as exemplified by the Trinity, is firmly rooted in Devotional aspect.

Unless the vocalist understands the theme and lyrics of the kruthi being rendered by him, - that comes naturally if the lyrics are in the mother-tongue,- he cannot do full justice. to the composition
nor can common rural people , imbibe the message of the kruthi.

In the pre-1947 decades, tamil films were full of songs in chaste Carnatic ragams and rural common folk knew quite a good number of ragams and could even sing them.
In the same decades, Drama troupes ( SG Kittappa , KB SundarambaL) also contributed much to taking CM to the working people in rural areas.
MK Thayagaraja Bhagavathar did the same through films.

All activities, including Fine Arts, have a social function, beneficial or baneful.
CM was never thought of as a mere means for entertainment. It definitely had a social function.- that of inculcating devotion to deity, and rejecting the ritualistic religion and caste- hierarchy.

Even your first inspired composition , sub-consciously, was theistic.
It is thus very difficult for non-telugus to really assimilate the kruthis of Thyagaraja and Shyama Sastry. and for all Indians to appreciate MD kruthis fully, except as musical expression
.
That is fine. CM is not tied to Devotion to deity nor to any language. but people do like to sing. at east in their mind. Lyrics then are inevitable. The classic composers always related the lyrics to deity. Even in durbar music, the compositions had referred to the deity indirectly.

CM requires a cultural ambience and no foreigner , even local peope without the devotional mind-set, can really appreciate CM.

[Manian]

RSR : When Veena, Saxaphone,, etc are played with care bring out the emotions like the vocal. In fact a friend of mine' uncle use to whistle notes with full of emotion. What we do is to perform and not to immerse in emotion. So, once I asked Chitti Babu (when he was alive) and he demonstrated how you can bring out emotion in Veena. So, once in a while you will hear it but in general, no. There is no reward to the artist unless he or she is enjoying himself or herself. In low octave with seven different wave patterns one can find some thing there. But lot of care and dedication is needed.
As to Telugu lyrics, one has to find separation of words, and the right vowel and consonants like aspirated p', k',ch't', d' etc., and also get the meaning. I have some books with the meaning and I had asked my Telugu friends for the meaning, thus able to feel the emotion. Look at this Mokhshamu gala taa- can I not get Mokhsha , bhuvilo in the bhuvi.. One can sing tevaram without emotion as it done in some temple and other can bring out the bhava or emotion - Uninai Urukki Ul Oli Perukki in different ways. As to the listener, these Kritis were written when we never had such a divisive linguistic antagonism. An American friend's son asked me can you sing "Twinkle Twinkle Little star" in different Ragas. I did and he started learning music in the USA for quite some times.
The point is those who can enjoy classical music irrespective of the language and those who have a closed mind who can only imaging that they can enjoy music in their mother tongue. For them there is a Cinema music but will not be retained like the classic music. The same is true in the West too.

My view is not to disagree or agree with your view, but to share that an Umbrella has many parts where as a walking stick made from the same Umbrella has different purpose.

[RSR]

reg-p-16
@Manian
Some ragas like Todi, MayamaLavagowLa, Harikambodhi etc seem to appeal to some indescribable emotions. May be subjective. All the ten scales in HM are emotion-evoking. I find that the most popular kruthis of Thyagaraja Swami are based on MK like Todi, ( HM Bairavi), Karaharapriya ( HM Kapi), Mayamalavagowla( HM Todi), Harikambodhi ( HM Kapi), kalyaaNI (HM yaman) and so on. Even 90% of Thyagaraja Swami kruthis are janya ragams of these ten scales.

Nevertheess, kruthis are essential to form an idea of the raga swaroopam .

. No one without exposure to chaste Thamizh can really appreciate Smt.MS rendering of ILango adikaL's 'vadavaraiyai ' ragamalika . He must also have basic knowledge about episodes on Vishnu, Krishna and Rama
.
The discussion is about 'rasikas' and not 'performers'
=================
.
As you are fond of 'multi-discipline' approach, especially neurology-based, I would venture to state that 'ear for music' is genetically determined. There are critics to the singing style of even legends of yore like ARI, MMI, GNB, MDR,

A senior friend of mine, a student of Alladi Ramakrishna , used to opine that we cannot blame people who do not like Carnatic music or hm , or renditions by particular vocalists, because it is the way that their cells have been conditioned by birth

But, it is definitely not a matter of birth. Sometimes, environment modifies the cells to change the taste. - social , family and even political cultural environment. And also , leisure to learn.

( perhaps, chemical therapy? )some vaccination ? immunization? surgery? ) We never know what the result could be. Should we perhaps study the frequency response spectrum of the listener? You mentioned a device programmed to sing like MMI but who is to program the ear of lacs of listeners? Are we going to make tablets to make people like your synthesized MMI? as anti-depressant medicines change the mental state.

No technology can create another composer like any of the Trinity. Genetic Engg can perhaps do it but the scientist may end up cloning himself! Let us leave it at that.

How can a non-tamil sing thevaaram 'nekkuruki', if he does not know the language. Even many tamils may not.

You can only take the horse to water- you cannot make it drink'
as the saying goes.
,

[shankarank]

I have heard people mention that Yehudi Menuhin is a well known popular violinist because he emotes better ( I am not a listener so I don't know myself)! Same can be said of Mandolin Srinivas, even if once Mandolin (or Guitar if it was) was a big draw due to it's western credentials, still he stuck out there only because he emoted , beyond his technical prowess I should say!

Yes emotional appeal creates popular musicians , and any musical system needs them and benefits from them!

But there are things other than that!

[ajaysimha]

Actually the discussion went beyond the scope of the topic,

When you say shakarabharanam as a good choice of ragam for choosing for beginner's practice, we can see svaravalis, geetham, jathiswaram, varnam and simple Krithis like - see below

(I was looking for such list of Krithis, please share your thoughts on similar lines)

The first and the most popular is ‘Vara Lila Gana Lola,’ set to Sankarabharanam rather on the lines of Dikshitar’s nottuswarams. This being the same as the C Major scale in western music, it is perhaps not surprising that the composer took to this raga when he wanted to set a piece in the new idiom. It still remains a popular song, especially for students of the keyboard. The second, ‘Sarasa Netra’ is also in Sankarabharanam. The third, ‘Raminchuvarevarura’ is in Suposhini, a raga in which Tyagaraja was the first to compose.

[Manian]

The funny thing is, in Tamil we want to sing.. implies as though there are hundreds of thousands of student thought out - including villages want to learn music. Excepting some major cities and some middle and upper class homes, music means film music, folk music, thappattam etc. Now, when I learned music, I did not insist geethams, varnams etc., should be in Tamil. I learned what my teacher taught. Later, I told him I don't have time to learn Anuragamule Saraswathi Ragam etc., like historical time due to lack of time. So, the teacher was nice and taught about 15 Kirtanas in various languages that were easy to learn. Later, I went back to musical books and redid and also wrote the meaning. So, the point is, if one insists using only a particular language based kririts, finding a teacher will be difficult if not impossible, but the price - time, travel etc., will be high.

[shreyas]

Depends on what we can consider a simple krithi. If you look at both Tyagaraja and Dikshithar, they have various small compositions that are easy to learn and render.

T - Oka Mata (Harikambhoji), Undedi Ramudokadu (Harikambhoji), Koniyade (Kokiladhwani), Raka Sasivadana (Takka), Ni Muddumomu (Kamalamanohari), Kripala Vala (Nadavarangini), Raminchuvarevarura (Suposhini) etc. He has also written a couple of nottuswaram-like compositions such as Vara Lila Gana Lola (sung very often by Prince Rama Varma).

MD - PLENTY. A few that come to mind are Sri Gananatham (Isamanohari), Jagadisamanohari (also Isamanohari), Panchabhutha Kiranavalim (Kiranavali), Jayati Siva Bhavani (Bhavani), Parandhamavathi (Dhamavathi), Namo Namaste (Girvani) etc. And of course his 36 nottuswarams.

SS - Not so much, but he does have smaller krithis and geethams (different from what we know as geethams today, though).

There are other simple krithis such as Nidu Murtini in Natakurinji by Pallavi Gopalayyar.

[ajaysimha]

Talking about the simple Krithis - this flashed.

What is an ideal Krithi to begin?

What was/is the first Krithis that is taught commonly and widely at the start?

And you could also share which Krithi you learnt at first, from a guru?

[CRama]

Simple kriti- sahithyam should not be lengthy. sangatis should be minimum, may be linear- no vakra prayogams. Here people are listing their favourite songs or what they would like to hear- but not hearing- like Okamata, Nadvarangini, Panchabhootha kiranavalim etc.

To mind immediately these songs comes to my mind- Brovabharama, Marugelara

The first kritis I learned- Mahaganapthim, Gajananayutham- These are examples of simple kritis.

[CRama]

One more aspect of simple kriti- No chittawaram

[RSR]

Along with the traditional lessons upto Geethams, the students should listen to vintage gramophone records of singers like DKP, MS, NCV ,and MLV and Radha-Jayalakshmi. and try to sing them. The advantage is that they are all of 3 mins duration and sometimes, 6 mins ( two sides of the plate).
DKP records are really ideal and a few by Smt.MS
Here is my list - mostly Thamizh songs.
1) ThaNikai vaLar saravanabhava- Todi- DKP- P.Sivan
2) Thookkiya Thiruvadi - Snkarabaranam - DKP- Suddhananda Brathi
3) Saami ki sari evare - Kedhara Gowla- DKP-P.Sivan
4) Paraathpara - Vachaspathi- DKP - P.Sivan
5) Yaro Ivar yaaro- Bairavi- DKP- Arunachalakavi
6) Amba Nee irangaayenil- Ataanaa- MS- P.Sivan
7) vaNdaadum Solai thanile- Harikambodhi- MS- Kalki ( music?)
8) eppadip paadinaro - Karnataka devagandhari- DKP-Suddhananda Baraty
9) aruL purivaay - Hamsadhwani- MS- Suddhananda Barathi
10) veLLai thaamaraip poovil - MS- Beemplaas
11) pozhuthu pularnthathu - BoopaaLam- MS
12) KA VA VA - Varaali - MMI
13) MAA Ramanan - Hindolam- MS
14) NaaraayaNa Divya Naamam- Mohanam
15) jayathi jayathi- Kamaj- GNB
16)jankaara sruthi seykuvaay- poorvikalyaaNi-MS-Suddhananda Barathy
17) sivakama sundari- Mukhaari- DKP-P.Sivan
18)Oangi ulakaLantha - Aarabhi- MLV
19) Orutthi makanaay piRanthu- Behag-MLV
20) VaNdinam muralum Solai-Todi-MS
21) KaNNedutthakilum kaaNeero-Simmendra Madhyamam-MS
22) Naadha bindhu kalAdhi- Senjurutti-MS
23) Maa dhayai - Vasantha- MS-PSivan
24) kaaranam kaettu vaadi- Poorvi KalyaNI-MLV
25) Aaanandha Natanam - Kambodhi- NCV-Suddhanandha Bharathi
26) innamum sandhehap padalamo -KeerwaNi- MLV
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Likewise, we can get about 60 simple kruthis in various common ragas like Bilahari, Neelaambari, Shanmugapriya, Naadhanaamakriya, kunthalavaraaLi, aanandhabairavi, huseini, dhanyaasi, ..mostly by DKP.
Niravals if any can be skipped by beginners in singing these. The aim is to get familiarity with the raagams.
As CRama points out, no Aalap, no swarams, no chittaswarams. --just plain kruthi. ( In fact, that is applicable to the kruthis of Thyagaraja Swami as well. ) . Brundha -Muktha are reported to have said, that a faithful rendering of the Trinity kruthis in the original pace, itself is akin to manodharma sangeetham.
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I have not included many hits of NCV- seemingly simple and short -but very difficult to emulate, high pitch, razor sharp sruthi and fidelity.
The same applies to a marvel of rendering of P.Sivan's 'Goridhara Gopaala' in Mohanam. ( the original 1945 version). Simply impossible to sing exactly as done by Smt.MS and even to play in any instrument.! ( they say, that instruments can have higher range but almost impossible to reproduce, the great rendering. )
Just 'Try that!'
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