From an erudite rasika
Sri ragam :- A raga that is auspicious in name and bhava is Sri.
Sri is aghana raga, a heavy and noteworthy one that is melodic as well as regal.
Sri is a janya of Kharaharapriya raga and is characterised by jagged traversals in the scale, the avarohana having interesting diversions from the usual linear path.
The Arohana-Avarohana pattern of this raga is SRMPNS/SNPDNPMRGRS.
In Tyagaraja’s works in this raga, the dhaivata prayoga (“PDNPM”) is not used, while in Dikshitar’s kritis, there is a sudden twist in the structure, with the prayoga featuring the dhaivata.
This raga houses sadja, chatusruti rishabha, suddha madhyama, pancama, kaisiki nishada, chatusruti dhaivata and sadharana gandhara.
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):Wiki
Shree is an asymmetric rāgam that does not contain gāndhāram or dhaivatam in the ascending scale. It is a audava-vakra-sampurna rāgam (or owdava, meaning pentatonic in ascending scale),[1] where vakra indicates the zig-zag nature of jumping notes in descending scale. Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms
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ārohaṇa: S R₂ M₁ P N₂ Ṡ[a]
avarohaṇa: Ṡ N₂ P M₁ R₂ G₂ R₂ S (or) Ṡ N₂ P D₂ N₂ P M₁ R₂ G₂ R₂ S
This scale uses the notes chatushruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chatushruti dhaivatam and kaisiki nishadam
The raga’s highlight is the exaggerated gamaka at the gandhara.
Because it is a ghana raga, it is suitable for tanam.
A skilled vainika (veenaartiste) can demonstrate the stately gait of the tanam in Sri.
The classical pieces in Sri include Tyagaraja’s fervour-filled ‘Endaro Mahanubhavulu’, the fifth and famed pancharatna, which features torrential janta swaras and ‘Namakusumamula’.
Dikshitar’s ‘Sri Kamalambike’ (the concluding Kamalamba navavarana), ‘
Sri Varalakshmi’ (sung during the Varalakshmi vratha) and ‘Sri Abhayamba’ (the final kriti of the Abhayamba vibhakti kritis on the presid
ing goddess at Mayavaram) are most notable.
Sri Varalakshmi
Muthuswami Dikshitar
M. S. Subbulakshmi .
https://youtu.be/TxEPFoFtkwM?si=-U3lvhGGh0xpkfmA.
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The Abhayamba Sri Ragam krithi is the final song in the Abhayamba Vibhakti series, a set of nine (or ten, including the dhyana) compositions by the legendary composer Muthuswami Dikshitar. It is a Mangala Krithi (auspicious concluding song) dedicated to Goddess Abhayambika of the Mayuranathaswamy Temple in Mayiladuthurai.
Notable for its unique linguistic structure, it is a Manipravalam krithi, meaning it seamlessly blends three languages: Sanskrit, Telugu, and Tamil.
shrI abhayAmbA ninnu -
Muthuswami Dikshitar
DK Jayaraman
https://youtu.be/yvivomczFB0?si=vYryosGvWKznOv62
Music lovers may recall M.S. Subbulakshmi’s rendition of Annamacharya’s ‘Vande Vasudevam’ in the raga.
Vande Vasudevam
annamacharya
MS Subbulakshmi.
https://youtu.be/exEFmVFNVSA?si=-iDmGr5wMtFlCo7f
.AI
Sriragam :- A raga that is auspicious in name and bhava is Sri. Sri is aghana raga, a heavy and noteworthy one that is melodic as well as regal. Sri is a janya of Kharaharapriya raga and is characterised by jagged traversals in the scale, the avarohana having interesting diversions from the usual linear path. The Arohana-Avarohana pattern of this raga is SRMPNS/SNPDNPMRGRS. In Tyagaraja’s works in this raga, the dhaivata prayoga (“PDNPM”) is not used, while in Dikshitar’s kritis, there is a sudden twist in the structure, with the prayoga featuring the dhaivata. This raga houses sadja, chatusruti rishabha, suddha madhyama, pancama, kaisiki nishada, chatusruti dhaivata and sadharana gandhara.
The raga’s highlight is the exaggerated gamaka at the gandhara. Because it is a ghana raga, it is suitable for tanam. Askilled vainika (veenaartiste) can demonstrate the stately gait of the tanam in Sri.
The classical pieces in Sri include Tyagaraja’s fervour-filled ‘Endaro Mahanubhavulu’, the fifth and famed pancharatna, which features torrential janta swaras and ‘Namakusumamula’.
Dikshitar’s ‘Sri Kamalambike’ (the concluding Kamalamba navavarana),
‘Sri Varalakshmi’ (sung during the Varalakshmi vratha) and
‘Sri Abhayamba’ (the final kriti of the Abhayamba vibhakti kritis on the presiding goddess at Mayavaram) are most notable.
Music lovers may recall M.S. Subbulakshmi’s rendition of Annamacharya’s ‘Vande Vasudevam’ in the raga.
kruti composed by Muthuswami Dikshitar in the Raga Sri (Sriragam) is "Sri Kamalambike".ube
Raga: Sri (also known as Sri Raga)
This is the Mangala Kriti (concluding composition) of the famous Kamalamba Navavaranam set.[/code]
Sri Kamalambike
Smt T Muktha
Raga Sri .
https://youtu.be/OnO7fLZa3wU?si=-a58TgvejnmzG2os
.
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Sri.Muthuswami Dikshitar has given us another special kriputhi in thjs raagam. Thiruvarurur kshetra kruthi.
Tyagaraja Mahaa dhvaja aaroha
AI
Tyagaraja Mahaa dhvaja aaroha is a monumental Carnatic composition by Muthuswami Dikshitar.
Composed in the auspicious Shree Raga, it is celebrated as a "musical documentary" of the annual Panguni Utsavam festival at the Thyagaraja Temple in Thiruvarur.
Unlike most devotional songs that focus on emotional surrender, this kriti provides a meticulous, chronological description of temple rituals, from the hoisting of the flag (Mahadhvajaaroha) to the grand chariot procession..
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The song is unique because it serves as a lyrical map of a 25-day festival. It captures specific details often omitted in standard kritis:
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Mentions the Ashlesha star chariot festival and the Vasantotsavam.
Instruments:
References traditional music like the Nagaswaram and Maddalam.
Vahanas:
Describes the various temple mounts (bull, kailasa, elephant) used during processions
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While descriptive, the song also explores high philosophy, describing the Lord as Nama Rupa Ateetam (beyond name and form) and Anadyam (without beginning). It bridges the gap between physical temple worship and abstract spiritual realization...
tyagaraja mahadhvajaroha
Amritha Murali -
-
https://youtu.be/O5sqsIc7Ykw?si=P6EY6JntXkRsXOCS
pallavi
tyAgarAja mahadhvajArOha
tAraka brahmarUpamAshrayE
gaNEsha guruguha bhakta bhairava
sOmamayam shrI
anupallavi
Agama siddhAnta pratipAdyam
Ananda candrashEkhara vEdyam
nAgasvara maddaLAdi vAdyam
nAmarUpAtItam-anAdyam
yAgashAlAdyutsava cOdyam
yamAdyaStANga yOgamAdyam
bhOga rAga bhEda
rOgavaidyambOdhAmrta mahAnaivEdyam
caraNam
srSTi svarUpa vasanta vaibhavam
aSTadhvajEndra vimAna bhUta
samaSTi gaja vrSabha kailAsa vAham
AshlESamahAratha
sthitam vishiSTaharam
krSNa gandhadharaNam
shiSTa sEvitAjapAnarttanam
aSTa pAshahara tIrtthaprabhAvam
anugrahAtmaka pAda darshanam
iSTa phalaprada
kalyANasundarEsha nAmam
AcArya prabhAvam
aSTasiddhi dAyakAmbikOtsavam
ArUDha caNDEshvaram shivam
The kriti refers to many ceremonies that are part of the 60-day Vasantotsava (spring festival) at the festival of Tiruvarur such as
The flag hoisting
The festivals for the subsidiary deities - Ganesha, Subrahmanya, the devotees (Nayanmars) and Bhairava
The Yagashala ceremony
The various mounts on which the lord is taken in procession
The grand, special Ther (chariot) festival on Aslesha (Ayilyam) asterism
The black paste made of sandalwood applied to the lord during the vesper worship
The enactment of the Ajapa dance by those carrying the lord in procession
The Tirtha-vari or ceremonial bathing in the tank
The glimpse of the feet of Tyagaraja on Panguni Uthiram day (one of the only two days in the year when this happens , the other being Margazhi Tiruvadirai)
The processions of Kalyana-Sundareshvara, festival for the goddess, and for Chandikeshvara
kshEtra - tiruvArUr
Ref.
http://guru-guha.blogspot.com/2007/11/d ... araja.html
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