Thyagaraja (Krithis)

[nAdopAsaka]

The word “sogasu” in “intAnuCu varnimpa” – Describing the lord - The difficult task of the gunda-kriyA

The rAga gunda-kriyA is used by the Dikshitar as mudra for the drum-beat of the COla armies, in his kriti to the tanjAvUr brhadiSwara.

See post dated Aug. 16, 2023 https://www.rasikas.org/forums/viewtopi ... 02#p380002

For him "gunda-kriyA" is the pounding of the gunda-la , a drum like the maddala etc.

But the tyAgarAjas view of gunda-kriyA comes from a completely different understanding of the word "gunda".

The kriti intAnuCu varnimpa reveals this meaning.

gunda in the vernacular is that which is hard/difficult/rough..

And in the kriti the tyAgarAja repeatedly describes the difficulty of describing the greatness of the lord !

Even brahmA, indra etc. are incapable of describing
1. His eyes and face (that shame the moon)
2. His prowess in destroying the arrogant
3. His wisdom that is even beyond the vEdas and SAStras

It is this gunda-kriyA = difficult task (of DESCRIPTION of the lords greatness ) that is summarized in “intAnUCu varnimpa”.

Yet again, the rAga word is inseparable from the kritis message and also inseparable from the rAga scale.

Woe on the so-called vidwAn/viduSi who might choose to sing this in some other rAga.

But intAnuCu varnimpa is also useful in the ongoing "lesson" on Words !

sogasu and its connotation of charm/elegance associated with kAmadEva/Cupid

intAnuCu varnimpa also carries the word sogasu

kantuni kanna mA cakkani kalyANa rAma candra nI sogasu

It is easily seen (except by the clueless) that the tyAgarAja invokes rAma/viSnu as progenitor of kantu = kAmadEva in the same breath as he describes the charm of rAma (ni sogasu).

There is no ambiguity…....the word “sogasu” is ALWAYS an emblem of charm and is a mudra for the elegance/captivation of kAmadEva/Cupid.

One can run but one cannot hide from Truth.

intAnuCu varnimpa – rAga gundakriya

mani kriSnaswAmy
https://www.youtube.com/watch?v=anOv4Mwk8ts

sandhyAvandana SR
https://www.youtube.com/watch?v=dzOV0CjxCkU

[RSR]

https://youtu.be/0Ldm4eO17zE?si=9UTLffZSfJfOl2fg
..
Nadaloludai
Kalyana Vasantha
Smt.R Vedavalli
..
This is one of the 22 kruthis of Sathguru on Naadhabrammam.
.
Meaning:
O Mind! By becoming a lover of nada, attain the eternal bliss.
.
By total involvement in that music through countless ragas which result by the manipulation of the seven notes of music and which fulfills all the righteous desires.
.
Know that it is by this experience of nada that the trinity -Indra, Ganesha and Subrahmanya and other personages had done upasana. Tyagaraja is aware of this.,

..

[RSR]

From a nice blog by suresh
.
Quote follows.
.
Lets turn to another subject which was close to Tyagaraja's heart. No prizes for guessing.
Music.
He probably was the only composer who had composed krithis on music itself.
The famous ones include
'Sogasuga Mridanga Talamu' in Sriranjani,
'Naada Suda Rasam' in Aarabhi, 'Nada Tanumanisham' in Siddaranjani, '
Raga Sudha Rasa' in Andholika, "Sangeetha Sastra Gnanamu' in Mukahri,
'Sitavara Sangita Gnanamu' in Devaghandari, etc.
.
These krithis give an idea of what Tyagaraja felt about music. All these krithis are beautiful and it would take a genius immersed in music to come up with such krithis.
Infact he says that only with 'Nadopasana' (Begada) did Vishu, Brahma and Siva become great.
.
In the other great Shankarabaranam krithi, 'Swara Raga Sudha' he says that finding the exact places of each swara is the route to moksham.
.

[nAdopAsaka]

dhEnuka – the wandering cow and the rAga mudra in the tyAgarAjas “teliyalEru rAma”

dhEnuka is synonymous with a cow (the word is an ancient one for cows that give milk)

Rig Veda 4.22.6
धे॒नव॑: सिस्रते॒ वृष्ण॒ ऊध्न॑:
dheEnavaḥ sisratE vrSna Udhna (dhenu that showers milk )

But another key feature of the cow is its wandering and roaming about.

Unerringly, the tyAgarAjas ONLY kriti in this mEla rAga carries exactly this wandering icon
He describes his own aimless roaming…
Ilanantata tiruguCu

And once again, the words and pujA of the vAggeyakAras , denied by the superficial and dishonest language-challenged, assert their meaning.

Indeed, so-called “pure-music” is pure-nonsense.

All instrumentalists (are forced to) render the kritis by following their Words, a fact that eludes the clueless.

The rAgas exist only as items of worship.

Their word names are fused into the kriti, and appear in a variety of mudras.

The wandering cow = dhEnuka kriti is yet another example of this basic truth of the vAggeyakAras worship.

teliyalEru rAma bhakti mArgamunu
anupallavi
ilanantata tiruguCunu galuvarincErE gAni
Caranam
vEgalECi nIta munigi bhUti bUsi vallanenci veliki SlAganIyulai
bAga paika mArjana lOlulai rEgani tyAgarAja vinuta

teliyalEru rAma - rAga dhEnuka

bombay jayaSri
https://www.youtube.com/watch?v=3gR6-JvCEXA

Hyd bros.
https://www.youtube.com/watch?v=comuubECzfQ

flute ramani
https://www.youtube.com/watch?v=ssGEmUHV06Q

[RSR]

Indeed, so-called “pure-music” is pure-nonsense.

All instrumentalists (are forced to) render the kritis by following their Words, a fact that eludes the clueless.

.
How about grèat raaga aalaapanais by Naadhaswaram genius artistes, ?
Ever have heard any?
What a dumb observation. ,,!

[RSR]

Sitavara Sangita
Devagandhari
DK Pattammal"
.
https://youtu.be/5rf3LRv2DN8?si=t42AskaxPs3erVI
.

.
https://www.gaanapriya.in/vgovindan/Tya ... dhAri.html


Meaning - Gist
O Consort of sItA – well praised by tyAgarAja!
The knowledge of music should have been ordained by brahmA.
In order to become living-free - the state which is the essence of (teachings of) all upanishads, bhagavad-gItA etc. - knowledge of music should have been ordained by brahmA.

tyAgarAja revels in the melodious sapta svara;
he, apprehending the Indwelling Lord rAma as the Supreme Lord having space as His body, says that the ‘Universe is of the nature of pure consciousness
.
9
.
https://youtu.be/h8Np6LKwgPc?si=5mbATCHCSZuZ-77i
.
Madurai Mani Iyer
sItavara sangIta jnAnamu - dEvagAndhAri

[RSR]

https://youtu.be/-wedhSve8lY?si=JYDRfOdXdXoQyByS

."T N Rajarathinam Pillai -
Thodi alapanai"

[nAdopAsaka]

Indeed, so-called “pure-music” is pure-nonsense.

All instrumentalists (are forced to) render the kritis by following their Words, a fact that eludes the clueless.

.
How about grèat raaga aalaapanais by Naadhaswaram genius artistes, ?
Ever have heard any?
What a dumb observation. ,,!

nija vAk-kulatO.. navarasa yuta kriti – the primacy of Word = vAk in the defiition of a kriti given by the tyAgarAjas “sogasugA mrd-anga”

This is the problem with lack of understanding of words and ideas.

AlApanam is NOT the kriti..

The tyAgarAja gives in the kriti “sogasugA mrd-anga” a clear definition of what a kriti is..

As he says , the kriti is ALWAYS and ONLY Words that are infused with swaraSuddham as well as the navarasas.

nija vAk-kulatO swaraSuddhamutO navarasa yuta kriti CE

Even the insipid translations will confirm that ..but they are being parroted mindlessly.

One can run but one cannot hide from Truth

sogasugA mrd-anga – rAga Sriranjani

OST
https://www.youtube.com/watch?v=meBBkXCYVhk

[RSR]

AlApanam is NOT the kriti..

Rot.
Alaapanai is MUSiC

[RSR]

This a very special recording from a concert.

https://youtu.be/734fDjHgLwE?si=9Ptto_weLBMqUvWp

M S Subbulakshmi -

Naada Tanumanisham -

Chittaranjani

[nAdopAsaka]

AlApanam is NOT the kriti..

Rot.
Alaapanai is MUSiC

the vAk-geyakAras music – Words, Sabda-mAhAtmya and nAma-sankirtana

Rot back at you.

The vAk-geya-kAras MUSIC is ONLY Words infused with song.
Absolutely Not any kind of wordless AlApana.
Why is that so hard to comprehend ?
Is it advanced dementia or is it alienation from the languages…or both ?

There is a consistent effort by the nefarious to erode and dilute the Words and pujA of the vAk-geyakAras.

Even the reason for the existence of the kritis is about Words , seen in the nAma-sankirtana in "telisi rAma" or the longing for the Words of the lord in “paluku vEmi nA daivamA", both in rAga purnaCandrikA (...naturally.. to the full-moon sOma of the raghukula)

telisi rAma Cinta - rAga purnaCandrikA

ranjani -gAyatri
https://www.youtube.com/watch?v=Ehj79p4Zr6Q

triCUr bros
https://www.youtube.com/watch?v=1SCOtGZ7el4

paluku vEmi nA daivamA – rAga purnaCandrikA

sriram P
https://www.youtube.com/watch?v=XTUaCh6Co7E

rAmnAd K
https://www.youtube.com/watch?v=px3vB8l_gqw

[RSR]

Evidently, the guy knows NOTHING about MUSIC.
Music is about swarams, sruthis, layam and melody formed by these elements.
...
https://youtu.be/cQuAknAVr-k?si=HuyXt-KYfVXbCgJN
..
Ragaratna Malikache
Sri. GN Balasubramaniam
..
Another kruthi by Sathguru on musical compositions by him.
Note that he is not talking about mere words but about hundred raagams.

Hari is immensely pleased with the garland made of a hundred melodious ragas.
Come,adore him ,let us be bestowed with abundant fortune.
..

[nAdopAsaka]

Another kruthi by Sathguru on musical compositions by him.
Note that he is not talking about mere words but about hundred raagams.

Hari is immensely pleased with the garland made of a hundred melodious ragas.
Come,adore him ,let us be bestowed with abundant fortune.

The “kirtana” in rAga ratna mAlikA CE

The nAda-sampradAya ALWAYS exposes untruth and apa-Sruti.
And the dishonesty is fully exposed here.

“rAga-ratna mAlikA CE” notes that the collection of bhAgavatas SING the kirtanas (which are not AlApanas)

bhAgavatOttamulu kUdi pAdE kIrtana-mulata

Naturally the foolish/nefarious AVOID translating the entire kriti !
It is extracted here so there is no escape for knaves.

P rAga ratna mAlikA CE ranjillunata hari Sata
A bAga sEvinci sakala bhAgyamAndudAmu rArE
C naigama Sat SAStra purAnAgamaArtha sahita mata
yOgi varulu AnandamunOndE san-mArgamata
bhAgavatOttamulu kUdi pAdE kIrtana-mulata
tyAgarAju kada tEra tArakamani CEsina Sata

Every rAga (whether one or hundred) is delivered ONLY in Words by a kriti/kirtana in the Words of the vAggeyakAras.

This so-called pure music argument is pure nonsense.

The dishonesty and untruth is on full display…and it has been revealed fully.

One can run but one cannot hide from Truth

rAga ratna mAlikA – rAga ritigaulA

rangan bros.
https://www.youtube.com/watch?v=qGf6PgJZiK4

[RSR]

No.
.
Have you ever heard of RTP?
Do you know that RTP is considered to be the highest form of real music?
.
Are you not negating the contribution of great instrumentalists? Especially, Naagaswaram , violin, veeNaa, flute and even jalatarangam players?
.
With this mindset, you are cursed to miss the greatness of hindusthani clsssical music, also.
The loss is yours.
MYOPIC and mulish .
..
T.R.Mahalingam-
Flute-
Ika nannu brova-
Bhairavi-
PallaviSeshaIyer"
.

[nAdopAsaka]

These threads are for the vAg-geyakAras.

For those who can read and not illiterate the title...says ThyagarAja (kritis)

Not for AlApana, RTP, jalataranga, gulli-danda, kabaddi, Hindustani music, film music etc. etc.

Please go to other threads for those, preferably far away.

[RSR]

https://youtu.be/rihgiO75iYE?si=bd3hvb7eNOi7ngxkWatch "T.R.Mahalingam-
Ragam Tanam Pallavi-
Varali-
Flute"
..
Fellow said, pure music is nonsense.
..pure nonsense.
Sathguru is giving primary importance to Nadopaasana .he is only saying that such music should be used to sing the glory of the Lord and not in cheap kaama bhoja themes,
According to half wits, thyaagaraja kruthi should be sung without aalaap.
But , aalaap adds to the beauty of the rendition often.
Here is sujana jeevana in kamaaj.
By flute Mali.
T R Mahalingam
Flute
Sujanajeevana
Khamas
..
https://youtu.be/BY-QtIEO780?si=n92V_tn2te7bXmEI

[nAdopAsaka]

According to half wits, thyaagaraja required that his kritis should be sung WITH aalaap.

The samAja of the “sujana” in the kamAja “sujana jivana”

The words in the kritis are not being read or understood by the illiterate.
The kriti “sujana jivana” invokes the tAraka nAma mantra..

tAraka nAma su-Caritra daSaratha putra

How is the nAma sankirtana of the tAraka nAma possible when Words are not used ?
How is the meaning of any kriti found without understanding its Words and rendering them ?

All the examples proposed (FOOLISHLY) are evidence of the value of words.
There are ABSOLUTELY no kritis by the tyAgarAja that do not include Words.

And NO AlApana is prescribed by ANY vAggeyakAras for ANY their kritis.

If you want to discuss AlApana or RTP aspects those belong in some other threads.
ps..It is highly doubtful you have any understanding of those aspects based on the woeful ignorance shown on the kritis so far.

Why is “sujana jivana” in rAga kamAj ?

The very first word of the kriti determines the rAga.
The rAga kamAj is chosen because it derives from the word samAj , the community of all the su-jana.

satyam Eva jayatE

sujana jIvana rAma – rAga kamAj

vid. sowmya
https://www.youtube.com/watch?v=iDWJJapXwEs

[RSR]

Does this guy know that Thyaagaraaja swami was a vocalist too?
Does the guy / doll know that Sathguru gave a raaga elaboration for hours together in devagandhaari raagam at kovoor?
.
It is indeed ideal if the Sathguru kruthis are rendered without any embellishments but rendering the kruthis with preceding raagam elaboration , does add value to the singer and listener. It is not a crime or violation if within limits.
.
Honestly, a Sathguru kruthi by itself will not take more than 4 minutes to render. But doyens have sung with atleast brief aalaaps, mostly.
Even the latest example lasts for more than 3.5minutes.
The best rendition of the kruthis is by Smt .DKPattammaaL. as vintage 78 rpm records. Indeed, because of time limit. of 3.5 mintes in 78 rpm records, only the kruthi is rendered.

https://sites.google.com/site/dkpattamm ... authuser=0
.
So kamaaj is for samaaj!
Funny. Actual name is said to be kamaach too!
How will the ardha connect to sàrasa dhaLa of MD?
.






.

[RSR]

Some charanams of Tyagaraja’s ghana raga pancharatnas have swara-sahitya pattern.

Ashok maadhav

https://www.carnaticcorner.com/articles ... itions.htm

..

[RSR]

"I'm curious to know if St.Thyagaraja ever sang alapanas.
Top
ramakriya
Post 28 Mar 2007, 02:14

I am sure he would have At least, his life chronicles say that he sang dEvagAndhAri rAga every day for 7 days when he visited Veena Kuppayyar's house, and followed up with one of his kritis.

-Ramakriya"
https://www.rasikas.org/forums/viewtopi ... DRamakriya

[nAdopAsaka]

madhuraAlApa of bhava-sannuta – sweet words & words of praise - Why there is NO CHANCE the tyAgarAja indulged in wordless , narcissistic AlApana

There is zero possibility of the tyAgarAja indulging in “wordless” rAga AlApana.

For all the vAggeyakAras, even centuries before the Trinity, nAma sankirtana is the driving force and focus of the kriti/kirtana format .

Even the tyAgarAjas usage of the word AlApa (in the varAli kriti bhavasannuta as madhurAlApa) confirms the value and primacy of Words for the pujA.

Indeed the starting Word itself = “bhava-sannuta”, is a Word of praise (= sannuta) that illustrates the essence of the pujA.

AlApana may be encouraged nowadays ( for a variety of narcissistic performer and kutchEri/industry reasons).

But it is completely counter to the condensing of worship that the kriti/kirtana of the vAggeyakAras represents.

It is also easy to see, that if the vAggeyakAras WASTED their breath and time on lengthy and extenisve indulgences like AlApanas (ridiculous number of days) , their well known prodigious output of hundreds of kritis would not be what it is.

All statements to the contrary are failed/ignorant attempts to dilute and erode the sAdhana, pujA and nAma-sankirtana worship of the vAggeyakAras and ALSO their poetic/rhythmic abilities.

Especially when they are parroted by the thoughtless and the discredited, who have already shown contempt for the vAggeyakAras ideas.

Please find other avenues.

bhavasannuta – rAga varAli

nirmala S
https://www.youtube.com/watch?v=anpBl1zq1MU

[RSR]

From the twenty kruthis of Thyaagaraaja swami on MUSIC, it is evident that he considers music itself as a soulful experience of bliss.
He is ambiguous about music without devotion, though.
.
He has commended sruthi-suddham and careful adherence to swarams
and hundreds of raagams.
.
So, we cannot condemn generations of past and present musicians for giving importance to aalaapana.
and RTP.
.
Wiki has the following note on the pancharathna kruthis .

All the kritis were composed in the style of a Ragam Tanam Pallavi (RTP) with the charanams (stanzas) substituting for the kalpana swaras (improvisatory passages) in the pallavi section of the RTP. “
.
Music need not be always devotional.
The soulful music of instruments can be quite uplifting.
Sangeetham is independent of theme and lyrics.
Thyaagaraaja swami just advises that such music , when combined with devotion and good lyrjcs can be greater vehicle for self-realization.
'Swara raaga sudha'..kruthi.
.
Pure music can be spoken about in this thread,as it is felt that 22 kruthis of Sathguru extol it.
.
Anyway, it is more respectful to him than wild hunting of semantics of raga choice without any evidence from known treatises of the science of music.
.
By the criterian of ardha , all the musicians, vocalists, instrumentalists,
young and old, past and present, concert or recorded ,temple procession music, ..in short, the very essence of this site, is condemned.
.
There thus can be no meeting ground.
With such an attitude, it is riduculous to give links to renditions.

[RSR]

Swara Raga Sudha-

Smt.M.S.Subbulakshmi
.
https://youtu.be/tCxvrsUjt60?si=5g5sl2VS5uaSmyap
.
Gist

O My Mind!
Devotion together with the nectarine juice of svara and rAga, is indeed heaven and also liberation.

Of what avail a crane (and/or) a frog flourishing on the Lotus called Supreme Bliss (of nAda)?

Knowing nAda originating from mUlAdhAra is, indeed the blissful liberation;

Recognising the abodes (in the body) of the splendorous seven svaras is indeed liberation;

It is also liberation to remain becoming a knower (of truth) after many births; but,

one endowed with true knowledge (of/and) music together with innate (co-born) devotion is indeed liberated (while still alive);

Is it enjoyable to thump the percussion instrument without even knowing beat and pace? Similarly, it is a piggish behaviour to perform worship without a pure mind.

This victorious tyAgrAja knows the secrets of the treatise ‘svarArNava’ which Lord Siva conveys to pArvati; understand (what I convey) by trusting (tyAgarAja).
.
Thanks to Sri.V.Govindan

[RSR]

This kruthi clinches the issue further.

Musiri Subramania Iyer

Nadopasana
Begada raagam
.....
https://youtu.be/itsGcur3v9s?si=TENseUf7dmY2oXXT

.....
https://www-shivkumar-org.translate.goo ... _tr_pto=tc

..
Meaning:
(From TK Govinda Rao’s book)

The Trinity -- Shankara, Naaraayana and Vidhi (Brahma) - outshine (“velasiri”) the other Gods thanks to their Saadhana of Naada -- divine Omkaara, a facet of you as Brahman.

They could uphold (“uddharulu”) the Vedas and transcend (“atheethulu”) them. They (“vaarulu”) pervade(“nindiyunde”) the Universe (“viswamella”).

(On the strength of Naadopaasana), they (“athmulu”) acquired immense occult powers. They have the form of Mantra, Yantra and Tantras. They have an extraordinary long span of life comprising of Manus many life-spans (Manvantaras). They delight in vocal and instrumental (“tantri”) music. They are worshipped (“vandyulu”) by Tyaagaraaja. They are free souls (“swatantrulu”) not bound by anybody’s commands. .

..

[nAdopAsaka]

This kruthi clinches the issue further.

. ..They are worshipped (“vandyulu”) by Tyaagaraaja. ..

It most certainly does..

tyAgarAja vandyulu = the vandanA = Words of worship that constitute the Asana of worship in nAdOpAsana CE ..plus the bEgada bhASAnga madhyama

The MONUMENTAL lack of understanding of Words is again on display…

The key word in "nAdOpAsana CE" is “vandanA” which derives from the root “vada” as in Words/speech

tyAgarAja vandyulu

vandanA = the words of worship (and also the words of mantras = e.g. sandhyA-vandana, gAyatri, etc)
upa-Asana – the Asana that is “posture” of this Worship

The kritis are ALWAYS and ONLY in Words..

Why is rAga bEgada chosen for this kriti ?
The rAga is properly chosen to be the bhASanga rAga with features (niSAda) of both hari (kAmbOji) and SankarA (abharanam).

But there are several such mEla 28/mEla 29 intersections.

Why rAga bEgada in particular ?.

Because only bEgada has that special “madhyama”, the unique median path…that allows both Sankara and nArAyana to be worshipped simultaneously..…with the Words of the tyAgarAja..

Notably the very word “bhASAnga” has its origins in (the word !) = bhASA = words (where different ideas are intermittently mixed)

See also post dated Aug. 15, 2023
https://www.rasikas.org/forums/viewtopi ... 99#p379999

Summary

There is absolutely no way around the fact that the kritis of the vAggeyakAras are ALWAYS and ONLY in Words..particularly words of Worship.

Anything else is dishonest and a fraudulent attempt to dilute the pujA of the vAggeyakAras.

satyam Eva jayatE

nAdOpAsana CE – rAga bEgada

rk murthy
https://www.youtube.com/watch?v=n8iPAUAKZQI

[RSR]

A nice article by Ashok Maadhav.
...
May be useful to students and learners.
...
Quote.
..
Tyagaraja compositions arie devotional in nature and surely no chittaswarams are added by him.

.Tiruvaiyaru Sivaramakrishna Iyer, a grand disciple of Tyagaraja is credited to have added chittaswarams to many Tyagaraja kritis. Other musicians have also embellished kritis of Tyagaraja like

“Nenarunchi nanu" in Malavi,
.
“Vararaga laya" in Chenchu- kamboji,
.
“Yochana kamala" in Darbar,
.
“Raka sasi vadana" in Dakka,
.
“Mamava satatam",
“Shobillu saptaswara” both in Jaganmohini
with attractive chittaswarams.
.
So are many other kritis like
“Raga ratna.malikache” in Ritigoula,
.
“Kanna tandri napai” in Devamanohari,

“ Darini telusu konti”, in Shudda saveri,

“Ninne bhajana” in Nattai,
.
“Nee pada pankaja” in Begada,
.
“Telisi rama chintanato “ in Purnachandrika,
.
“Anathudanu ganu“ in Jingla,
.
“Giriraja suta” in Bangala, .
.
“Marugelara” in Jayanthasri
.
and a few other kritis have beautiful chittaswarams.

[RSR]

This is from the first page of this thread.
.
09 Jan 2007, 06:07

meena wrote:
Inside the sanctum sanctorum, there are beautiful idols of Rama, Seetha and Lakshmana. But a surprise awaits the visitors here! Seetha is on the right side of Rama, unlike to the traditional left.
Anyone know what's the story behind this?
..
Quora ..why Sita is always on the left of Raama?
Not always. There are a series of stunning photos of vigrahams, showing Sita on right side of Raama.
.

[nAdopAsaka]

SambhO Siva Sankara-guru - The tyAgarAjas divya nAma sankirtana to Sankara in rAga Sankara-Abharana

It would be odd if there was not a kriti to the Siva/Sankara deity in the rAga SankarAbharana by the tyAgarAja.
Indeed, his very name tyAga-rAja is the icon of the king of sacrifice = Siva the tyAgarAja.
Unerringly, the tyAgarAja gives one kriti to Siva in rAga SankarAbharana.

There is NO coincidence in this choice (although ignorant fools who are clueless might think rAgas are chosen randomly)

SambhO Siva Sankara-guru

The reference to Siva as "Sankara-guru" is profound.

Why ?

Because in addition to the nAma-sankirtana, the kriti teaches the condemnation of all "mata bhEda" = sectarian hatred (propagated by low-class, the “patita mAnava”)

“mata bhEda patita mAnava mada santata bhanga”

No clearer message is possible for these “patita mAnava" = hina-jAti, sectarian knaves who have contempt for the vAggeyakAras ideas, seen in repeated denigration of “ardha-stuff”, “boat-stuff” , and tantras such as Sri-vidyA.

Stop the fake piety compounded by ignorance..…you have been exposed …the vAggeyakAras do not deserve the false and hollow parroting of the deceitful.

The nAda-sampradAya, the river of sound and light ALWAYS exposes apa-Sruti and untruth.

SambhO Siva Sankara-guru - rAga SankarAbharana

amrita m
https://www.youtube.com/watch?v=wBlBlXqcZfg

[RSR]

ardhas do not deserve any reply atall.
.
Still. If the half-guy really thinks that he has a path-breaking discovery about nomenclature basis of ragas by Sathguru, the best thing is to create a website and put all his pedantic putrified stuff in that website/blog.
.
To repeat, the real test for the boatguy/doll is to take up a single raaga like Todi, where Sathguru has given us more than 30 kruthis and verify his silly theory,
.
He is now abusing the parents of dissenters.
.
Rest assured, madcaps, one is defined by his values and tastes and not by his birth.
.
Wallow in the gutter of ardha and boat stuff to your hearts content. Afterall, hogs revel in sewage.

Learn from
https://sites.google.com/site/homage2mssubbulakshmi

[RSR]

There is NO coincidence in this choice (although ignorant fools who are clueless might think rAgas are chosen randomly)

..
DO NOT MISREPRESENT THE DISSENTER'S VIEW.
..
To remind you,

Raagam choice is intutive for inspired vak geya karas. It is not based on words but on emotions and rasa. Even then some raagams can find suitabilty in portraying many rasas.

[RSR]

Ananda sAgara-
garuDadhvani
...
O Lord SrI rAma! O Lord nArAyaNa!
O Lord praised by this tyAgarAja! Praised by this tyAgarAja who worships music by becoming absorbed in it!
.
That human body, which does not swim the ocean of Supreme Bliss, called the knowledge of music, on which all vEdas are dependent, is indeed a burden to the earth.
.
That human body which does not swim the ocean of bliss of worshipping music by becoming absorbed in it, is indeed a burden to the earth.


Aren’t the Trinity - Lord Siva, vishNu and brahmA, and all the holy personages worshipping music!

https://youtu.be/vKSnC6B_qIo?si=_pFZSwJLbedoEyRr

[RSR]

https://mssgems.blogspot.com/2019/08/sm ... ademy.html

Smt.MS.Subbulakshmi- 1968- MUSIC ACADEMY- -presidential address and thanks-giving speech
நமது பூஜ்ய காமகோடி பெரியவர்கள் பின்வருமாறு கூறி அருளியிருக்கிறார் .
"சங்கீதக் கலை என்பது கொஞ்சம் கூட கஷ்டம் இல்லாமல் மோக்ஷத்தையே வாங்கி கொடுக்கக் கூடியது. வீணா வாத்தியம் ஒன்றை வைத்துக்கொண்டு ஸ்வரசுத்தியோடு கலந்து வாசித்து ஆனந்த மயமாக இருக்க கற்றுக்கொண்டால் , யோகம் பண்ண வேண்டாம், தபஸ் பண்ண வேண்டாம் ,சுலபமாக மோக்ஷத்தை அடைந்து விடலாம். ......அதோடு யோகி யோகம் செய்தால், தபஸ்வி தவம் செய்தால், அவர்களுக்கு மட்டுமே ஆத்மானந்தம் உண்டாகிறது. சங்கீதம் ஒன்றில்தான் அதை அப்பியசிப்பவர்கள் மட்டுமின்றி கேட்கின்ற எல்லோருக்குமே அதே அளவு ஆத்மநாதம் உண்டாகிறது. இது நமது பெரியவாள் வாக்கு.

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 1. gati nivani

tOdi derives from the word “todaha”, an ancient reference to the Sun = surya, which is imagined as traversing the sky in a horse drawn chariot.

There are several aspects of this idea that are noted in the tOdi kritis of the tyAgarAja

In “gati nivani”, the very first word = gati is sufficient mudra.

“gati’ in the vAggeyakAras kritis refers to inevitable movement towards a destiny/fate/kAla.
“gati” as this “kAla” is the inevitable movement of time, measured by the ‘todah” = travel of the sun.

The rAgas are tools in the worship of the vAggeyakAras.
Their very names are of classical origin deriving from scriptural practices and icons of worship.
Because of that they CANNOT be disconnected from the words and ideas of the kritis of the vAk-geya-kAras.
Over the next several months the many tOdi kritis of the tyAgarAja (just as the hundreds of other kritis have already shown) will be used to further illustrate this discovery.

rAgas are not tools for the worship of technical performers and play-back singers/artistes, as some corrupt, dishonest and ignorant fools might think.

gati nivani – rAga tOdi

ratna prabha
https://www.youtube.com/watch?v=C3tgdqp6OW0

[Pratyaksham Bala]

.
The word "GATI' may be ignored when the RAGA is not TODI.

vErevvarE gati – Raga: SuraTi
evarurA ninu vinA gati mAku – Raga: Mohanam
ninnuvina gati – Raga: Balahamsa

“padamulE gati” in kriti “bhUvini dAsuDanE” - Raga: ShrIranjani
“nirata gati SaramurA” in kriti “nAda sudhA rasam” – Raga: Arabhi

[nAdopAsaka]

gati is a space-time idea…there is a path/conduct and there is a fate/destiny

In “gati nivani”, the tyAgarAjas destiny/path reaches its culmination in his pilgrimage to the Sri-tapastirtha deity.

In some of the other examples being noted, this idea of a “path” is also latent although the rAga is different.

For example su-raTi is the noble path, where the “path” is ploughed/dug as in rada (same root as teeth)..as “vErEvvarE gati” illustrates.

Of course other ideas can and will dominate the rAga choice…the Sriranjani or mOhana etc etc..

At least one word/idea particularly in the tyAgarAjas kritis or the Dikshitars kritis will invariably originate or be related to the meaning of the rAga name/word.

Trying to suggest that the rAga selection is “random”, (even after hundreds of kritis have been shown to be otherwise) is an attempt to dilute the sAdhana of the nAda-yOgis. It shows the corruption, dishonesty and fake piety.

The nAda-sampradAya ALWAYS exposes apa-Sruti and untruth.

vErEvvarE gati – rAga surAti

alamElu mani
https://www.youtube.com/watch?v=A59moc1X7Rg

[Pratyaksham Bala]

At least one word/idea particularly in the tyAgarAjas kritis or the Dikshitars kritis will invariably originate or be related to the meaning of the rAga name/word.

Thanks so much. The doubt is now cleared.
Based on the above premise, the whole exercise is to locate a word in the kriti which can be related to the name of the raga. Depending on the kriti and the word selected, the relation may be direct, indirect, suggestive etc. Suitable quotes from Vedas, Upanishads, Puranas, Epics, etc. do help to substantiate the argument. They also add authority and validity, and help to keep the distractors away. A challenging task, indeed.

Trying to suggest that the rAga selection is “random”, (even after hundreds of kritis have been shown to be otherwise) is an attempt to dilute the sAdhana of the nAda-yOgis.

No, No. Nobody seems to have suggested that the raga selection is random. It may be noted that a few have opined that the raga selection by the Vaggeyakaras is based on the message, emotion, etc. of the particular kriti. How else they could have selected the particular raga? The kriti/words have to be presented in the most appropriate manner with emotion and repetition. For this, suitable selection of a raga is imperative. No doubt, that is the greatness, that is the expertise (sadhana), of the Vaggeyakaras.

Now, in this devoted exercise, it is hoped that no room is given to negative expressions and harsh words. They only dilute and distort the piety of the content and the arguments

[RSR]

Gati in the kruthi cited simply means 'the last rdfuge'..
Lalkudi kruthi
I came here seeking that You are refuge for true devotees.
Why do You show unconcern?

in thamizh, we say 'pukalidam'. In no way, can it be connected with SUN. if atall the raagam name is related to SUN. Just contrived association. Zero for the first attempt. Golden duck.

[RSR]

Shriramkumar refers to Thyagaraja’s illustration of the nine forms of bhakti (Nava vidha bhakti) in his kritis:
1
Shravanam –
hearing stories of God –
Rama katha sudha (Madyamavathi)
2
Keerthanam –
Chanting or singing God’s glories – Intha Saukhyamani (Kapi)
3
Smaranam –
remembering the Lord –
Shripate (Nagasvaravali),
Smarane Sukhamu (Janaranjani)
4
Padasevanam –
offering services to holy places/holy work –
Shri Rama Padama (Amritavahini), Shri Manini (Purnashadjam),
Ni pada pankaja (Begada)
5
Archanam –
Performing puja –
Tulasi bilva (Kedaragoula), Koluvamare kadha and
Aragimpave (both in Thodi)
6
Vandanam –
Paying obeisance to God – Vandanamu (Sahana)
7
Dasyam –
selfless service to the Lord – Upacharamu jesevaru (Bhairavi), Tava dasoham (Punnagavarali)
8
Sakhyam –
unconditional friendship with God – Chelimini jalajakshu
(Yadukula Kambhoji)
9
Atma Nivedhanam –
complete surrender to God – Kalaharana (Kedaragoula),
Makelara (Ravichandrika),
Nivera kula dhanamu (Begada)
.....

[nAdopAsaka]

gati , tAlam and kAla kridA,…a lesson for the foolish = mudhamatE

gati is inseparable from time (and time is inseparable from the motion of the Sun).

The Adi Sankaras soundaryalahari (and the nAtya SAStra) also illustrate the meaning of the word “gati” as the gait or tempo.

galE rEkhas trisrO gati gamaka gitaika nipunE (soundaryalahari stanza # 69)
The three lines on the goddess throat, denote three aspects of music.

“gati” is a far-reaching concept as the march of time and derives from the root “gaccha”. It is bound to elude the language challenged.

Not surprisingly the Adi Sankara also says in his "bhaja gOvindam"..

bhaja govindam bhaja govindam govindam bhaja mUdhamatE
kAla kridati gachchhat-yA-yuhyaayuH

kridA = sport/play, kAla = fate/time, gaccha = root of gati

Naturally none of this has dawned on the ignorant and the clueless.

Clearly the more relevant word in "bhaja gOvindam" is.... mudhamatE… as in FOOLISH

gati nivani

bombay sisters
https://www.youtube.com/watch?v=BefzBvIkYiM

[Pratyaksham Bala]

Though built on the root गम् / गच्छ, the Sanskrit word गति has multiple meanings. Whereas it has more than 25 popular meanings, if its usage in different fields are taken into account, the number may go beyond 40.

In the Telugu kriti under reference, Tyagaraja has used the Telugu word gati. He must have used the word in a particular context, with a particular meaning, That deserves attention. Being unfamiliar with Telugu language, I am unable to add anything further.

[RSR]

https://www.wisdomlib.org/definition/gati

) A means, expedient, course, alternative; अनुपेक्षणे द्वयी गतिः (anupekṣaṇe dvayī gatiḥ) Mu.3; का गतिः (kā gatiḥ) what help is there, can't help (often used in dramas) Pañcatantra (Bombay) 1.319; अन्या गतिर्नास्ति (anyā gatirnāsti) K.158; cf. also अगतिका हि एषा गतिः यत् कृत्स्नसंयोगे सति विकल्पसमुच्चयौ स्याताम् (agatikā hi eṣā gatiḥ yat kṛtsnasaṃyoge sati vikalpasamuccayau syātām) ŚB. on MS.1.5.47.

1) Recourse, shelter, refuge, asylum, resort; विद्यमानां गतिर्येषाम् (vidyamānāṃ gatiryeṣām) Pañcatantra (Bombay) 1.32,322; आसयत् सलिले पृथ्वीं यः स मे श्रीहरिर्गतिः (āsayat salile pṛthvīṃ yaḥ sa me śrīharirgatiḥ) Sk.

11) Source, origin, acquisition; क्रियाविशेषबहुलां

[nAdopAsaka]

ibharAja gatyAha iSwaryA-jagatyAha nabhOmani gatyAha nAda laya gatyAha.

gati and its root originate from Sanskrit..(and are incorporated in to many of the languages)

As a measure of time, gati applies also to kAla = fate/destiny , which is the essence of the tyAgarAjas kriti.

Indeed, no less an authority than the Dikshitar gives in one sentence, the entire meaning of “gati”
ibharAja gatyAha iSwaryA-jagatyAha nabhOmani gatyAha nAda laya gatyAha.

(from the kEdAragaula the first Cakra kriti of the abhayAmbA navAvarana)

Not only is the gati =gait of the goddess noted (as that of the elephant), the fate of the universe = jagatyAha, the trajectory of the Sun and the meter of “nAda-laya” as “gati” are each specified.

For the clueless..Sun = nabhOmani

The tOdi choice for the tyAgarAjas “gati nivani” is irrefutable..(and certainly not by any mudhamatE)

abhayAmbikAyAha anyam na jAne – rAga kEdAragaula of the Dikshitar

Hyd. Bros.
https://www.youtube.com/watch?v=ti7fSSJ4uRY

[RSR]

The word has multiple meanings. The link has been given.
The meaning should relate to the context. It should not be torn out of context and mis-interpreted.
Every post of ardha proves aggravation of the disease.

[RSR]

Musiri Subramania Iyer

- endu dAginadO -

tODi - thyagaraja"
...
https://youtu.be/Q0OMlj7gRtg?si=4kmMHVCq81kOltay
...
Gist

O My Mind!

Why do you waver? Listen to my appeal.
As happened earlier, in order to nurture His devotees, who knows where Lord is hiding and when will He have compassion to come here.?

That day, when hiraNya kaSipu, resorting to many trickeries, troubled his son a lot, (the Lord) unable to tolerate, was He not (found) inside a pillar for the sake of unwavering prahlAda?

Earlier, finding vAli arrogantly thrashing (his brother) sugrIva much, unable to bear the sight, was He not (found) standing behind a palmyra tree in order to lovingly protect sugrIva?


In the same manner, who knows where He is hiding today and when will He have compassion to come here.

To subjugate the (results of) wicked deeds committed during our previous births,
to get hold of the six (internal) enemies (kAma, krOdha, lObha, mOha, mada, mAtsarya) and pound them to pulp, and,
to protect unwavering true devotees in this World as also this tyAgarAja,

who knows where He is hiding today and when will He have compassion to come here.?
..
Thanks to Sri,V.Govindan

[nAdopAsaka]

Who/what is “pravrddha Srimati” – the Solar emblems of the Sritapastirtha LALITA dEvi and the tOdi rAga mudra in gati nivani

gati – the tyAgarAjas fate/destiny = kAla.
kAla = time is measured by the passage of the Sun.
tOdaha = the driving force of the Sun, related to its horse driven chariot and their instigation by the whip of the Sun
tOdi – the rAga choice based on tOdaha/Sun
pravrddha – belongs to raghu vamSa Solar dynasty - see the vAlmiki rAmAyana bAla kAnda sarga 7 verse 39
pravrddha = implies that which increases/expands = the rise of the Sun
pravrddha – The name of Srimati at Sritapastirtha
udya bhAnu sahasrAbha – lalitA sahasranAma # 6 – she who shines like a thousand suns

Why is the lalitA sahasranAma relevant to Sritapastirtha dEvi ?

Because the tyAgarAja says so !

He SPECIFICALLY calls her “lalitE Sri pravrddhE” in the bhairavi kriti !

There is zero doubt that the rAga tOdi represents the Solar icons unique to the “pravrddha Srimati” of the “gati nivani”

Case closed....game over

Any attempt to suggest the tOdi rAga choice is random for "gati nivani" (or any of the other hundreds of kritis already shown have random rAgas) is an attempt by the illiterate to dilute and deny the puja of the vAggeyakAras.

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 2. endu dAgi nAdo

tOdi derives from the word tOdaha, the Sun that traverses the sky riding a horse-driven chariot.

The (7) horse chariot (saptASwara ratha) is central to the idea of tOdaha as the rAga mudra in “endu dAgi nAdo” because the Sun instigates the horses, by whipping them.

This instigation is the classical torment..

And the tyAgarAja REPEATEDLY refers to it in all Caranams
[1] the torment of mental worry at the absence of the lord – endu dAginAdo enduki Capalamu
[2] the torment of prahlAda by hiranyakAsipu –kanaka kaSipu nindAru bAdhala pettaga
[3] the torment of sugriva by vAli - munu vAri vAha vAhana tanayudu madamuna ravijuni cAla kottuta
[4] the torment of a life of bad deeds - toli janmamula nADu jEsina dush-karmamulanu
[5] the torment of the six Evils (Sat-ripu) = sEya-Aru Satrulanu ilanu cancala virahita nija bhakta

rAga tOdi represents this aspect of the word “todaha” , deriving once again from the Sun

No one with zero understanding of words/ideas and contempt for the vAggeyakaras is in a position to judge the sAdhana and puja within the kritis.

Please find other avenues...the so-called pure-music wordless sounds etc. You cannot handle the words.

satyam Eva jayatE

endu dAgi nAdo – rAga tOdi

mani kriSnaswAmi
https://www.youtube.com/watch?v=zu61HMUQJyI

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 3. AragimpavE -pAl-AragimpavE – Om prAnAya svAha - the naivedya kriti

In the simple yet profound kriti, AragimpavE the tyAgarAja offers ceremonial naivEdya, the milk and butter etc. offering.

All naivEdya is offered with the utterance of the mantra that begins as “Om prAnAya svAhA”. (there are other words in this mantra but only the first is needed to establish the rAga)

And immediately the choice of rAga tOdi for this naivEdya kriti is comprehended.

How ? Why ? …the non-plussed language and idea challenged stagger dumbly making meaningless wordless sounds..….as they have been doing all their wretched lives…the insipid translations have no clue either…

The naivEdya mantra “Om prAnAya svAhA” conveys the food offering to the celestial deity (residing in suvah) via the panCa vAyus starting from prAna. (prAnaya apAnAya vyAnAya udAnAya samAnaya)

The purification of food is simultaneous with purification of breath.

Because these vAyus also collectively represent the “prAna-yAma” the purificatory breathing which is associated with…. the surya-gAyatri mantra…to savitur !.. the surya deity.

And naturally, the tyAgarAja has assigned the tOdi rAga (with its origins in tOdaha = surya ) to his naivEdya kriti AragimpavE.

Summary
The rAga choices (when understood) unlock the spiritual heritage of the vAggeyakAras.

The claim that rAgas are chosen randomly is not only false, it represents an ignorant, contempt-filled, malicious attack on the pujA of the vAggeyakAra.

AragimpavE – rAga tOdi

nEdunuri k
https://www.youtube.com/watch?v=7B718LBuKZg

[RSR]

Aaragimbave is a sublime kruthi for naivedhyam, .offering of milk and other delicacies to Lord Raamachandra, .Sathguru visualizes the feast, for the Lord, his spouse, brothers and othrrs in the sacred assemblage.
.AragimpavE pAl(A)ragimpavE
Anupallavi
raghuvIra janakajA kara pavitritamau venna pAl(Ara)
caraNam
sAramaina divy(A)nnamu shaD-rasa yuta bhakshaNamulu
dAra sOdar(A)dulatO tyAgarAja vinuta pAl(Ara)
..
: Deign to partake (AragimpavE) milk (pAlu) (pAlAragimpavE).

A: O Lord raghuvIra! Deign to partake milk and butter (venna) sanctified (pavitritamau) by the touch (kara) (literally hand) of sItA – daughter of King janaka (janakajA).

C: O Lord well-praised (vinuta) by this tyAgarAja! Deign to partake –

along with Your spouse (dAra), brothers (sOdara) and others (AdulatO) (sOdarAdulatO),

the tasty (sAramaina) sacred (divya) rice (annamu) (divyAnnamu) and eatables (bhakshaNamulu) consisting of (yuta) six (shaD) different flavours (rasa) along with milk.

"G N Balasubramaniam -
Aragimpave - Raga Todi"

https://youtu.be/-cT1wkmDX0Y?si=iN8t9OUCiJOHBSpP
..
பொருள் - சுருக்கம்
இரகுவீரா! தியாகராசனால் போற்றப் பெற்றோனே!

ஏற்றருள்வாய்;
பாலேற்றருள்வாய்.
சனகன் மகள் கரங்களினால் புனிதமடைந்த வெண்ணையும் பாலும் ஏற்றருள்வாய்.
மனைவி, சோதரர்கள் ஆகியோருடன், இனிய, புனித அன்னம், அறுசுவை கூடிய உண்டிகள், பாலும் ஏற்றருள்வாய்
..
......
In no way connected with soorya. Pure gas.
..
.

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 4. kaddanu vAriki and the destruction of Sleep = “niddura nirAkarinCi” by the light of the sun

In “kaddanu vAriki”, the tyAgarAjas asserts the presence of the lord.

Indeed, this lord is the light of the day that drives away sleep, the darkness of the night = niddura nirAkarinCi”

Is there a clearer emblem of the rAga tOdi as the surya icon than this kriti ?

No !

The vAggeyakAras pujA , words and choices cannot be diluted and denied by the deceitful and the ignorant.

kaddanu vAriki – rAga tOdi

s rAmanAthan
https://www.youtube.com/watch?v=rq-PebowZDo

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 5. dACukO valEna – the reverse psychology of the grace that is Hidden = Concealed in shade from the light of the Sun

With his very first word, the tyAgarAja establishes the relationship between the tOdi rAga and the hidden-from-the-Sun daya of the concealed lord.

dACu is the synonym for this Hidden.

A wonderful reverse-psychology idea..

No further mudra etc. is needed.

tOdi (via tOdaha) as the surya = light mudra is immediately established.

The tOdi choice is also symbolic of the tyAgarAjas pujA to have the illumination = the exposure of the lords grace to the light of day..

dACukO valEna – rAga tOdi

ramA ravi
https://www.youtube.com/watch?v=yB7sw7cbwcE