Dr. Shrikaanth K Murthy

kiransurya · Post by **kiransurya** » 03 Mar 2006, 14:52

Thanks for the Puranaa DRS....

drshrikaanth · Post by **drshrikaanth** » 05 Mar 2006, 06:37

ciTTeswara for the kRti

R~ , | ; | R M P D || P , M G | R , M G | R S N# S ||
R~ , | ; | S N# D# P# || N# N# S , | R M P , | D P M G ||
R M P N | , D P N | S* R* , M* || G* R* S* N | D P M G | R S N# S ||
R , | , S R | M P N S* || R*~ , | , S* N | D P M G ||

rshankar · Post by **rshankar** » 05 Mar 2006, 09:46

DRS,
It is very unusual for shivA to have 2 consorts: what is the purANa regarding indrAkshI and visalAkshI?
I assumed that you meant rAmeshwara in rAmanAthapuram, and that is why I'd made a reference to parvatavarDHinI!
Ravi

drshrikaanth · Post by **drshrikaanth** » 05 Mar 2006, 17:55

kEdAragauLa (also kEtAragauLa) is an ancient rakti rAga. Called hari kEdAragauLa, it is the 28th asampUrNa mELa. Its scale is

SRMPNS* | S*NDPMGRS ||

R is the jIva and nyAsa swara. Its tamiz paNN equivalent is gAndhArapancamam. Despite the identity/similarity in scales, KG and suraTi are quite distinct and there is hardly any room or confusion
between the two.

Unlike suruTi, madhyama is not a nyAsa. Again niShAda is not often elongated unlike in suraTi. The treatment of N and R are different in the 2 rAgas. KG is a tristhAyi rAga while suruTi does not extend below the mandra niShAda. "MGPMR," is typical of suraTi as also prayOgas such as "NN,NN,". "S*ND,NS*" is seen in suraTi but not in KG. KG is a beautiful rAga that can be sung elaborately. It is a pity that the rAga is not taken up for expansive treatment often in concerts. It is eminently suited for SlOkas, viruttams, padas, gmakavAcana and harikathe as it quickly evokes rakti.

Here are links for the Carnatica newsletters on the 2 rAgas.

http://www.carnatica.net/newsletter/ked ... letter.htm

http://www.carnatica.net/newsletter/sur ... letter.htm

cmlover · Post by **cmlover** » 05 Mar 2006, 21:33

Thanks DRS

I am trying to get a hang of that ciTTaswara which is enticing!
Thanks for the explanation of KG vs SuraTi. I agree with you that CM performers have not indeed exploited the versatility of KG fully. In fact after Saraguna I have not seen a weighty kriti. I am sure yours is the watermark for not just Sanketi but for all future compositions in this raga. Pl list the must-be-heard krits in KG. The kritis that I liked was 'anta raama soundharyam' of AruNaacala kavi. I have not heard neelakanTam of MD rendered much in concerts. Though academic, is there any relationship between KG and Desh ?

drshrikaanth · Post by **drshrikaanth** » 05 Mar 2006, 23:07

Apart from the similarity in the 2 rAgas, I am not aware any connection between dES and KG. It is very much possible that dES originally, was the same as kEdAragauLa but later became a bhAShAnga rAga with the use of N3. The 2 systems of our classical music come from a common origin and many of the rAgas, despite having different names, are quite similar. It must also be recalled here that the mUlapuruSha of HM, gOpAlanAyaka was a kannaDiga.
Now I have a question here. Just as we have the concept of dESI rAgas in CM, is there a similar concept in HM. If so, what are the called? And can someone list the rAgas in HM that are considered to have been imports from other systems of music?

As for a list of must-hears in KG, that is a difficult one as it is like choosing between different fruits. I would say, all MD`s kRtis are a must hear, whatever the rAga maybe. Here is a link to abhayAmbA (a tad fast)

http://70.132.6.11:8080/musd/servlet/ca ... track03.rm

tyAgarAja`s vENugAnalOluni (sung by MSS) is beautiful. tuLasIbilwa is good too. There is a kRti in praise of ISvara by MV. I also like Papanasam Sivan`s "sAmikku sari evarE". And there is the lilting "dhavaLagangeya gangAdhara" of SrI vADirAja which is traditionallly sung in KG.

And here is a viruttam from kambarAmAyaNam by TNS.

http://70.132.6.11:8080/musd/servlet/ca ... track08.rm

cmlover · Post by **cmlover** » 06 Mar 2006, 00:36

Thanks for that TNS viruttam!
I have heard DKP's samiki sari which is also very popular among dancers. Of course Nityasree sings it more boisterously

drshrikaanth · Post by **drshrikaanth** » 06 Mar 2006, 04:47

Next, a varNa in rAga kalyANi

http://rapidshare.de/files/14793003/viS ... h.wma.html

cmlover · Post by **cmlover** » 06 Mar 2006, 06:16

Deleted

cmlover · Post by **cmlover** » 06 Mar 2006, 06:17

So was the KG composed on the current Sivaratri day?

Now we are getting to familiar turf. But geetting to that Kalyani without the text is tough! Also curious about the vishESha aspect!

drshrikaanth · Post by **drshrikaanth** » 06 Mar 2006, 07:51

I composed the kEdAragauLa kRti on 07/01/2004.
CML
Iam surprised you have not smelt out the viSESha aspect.

cmlover · Post by **cmlover** » 06 Mar 2006, 08:51

Give me a break!

drshrikaanth · Post by **drshrikaanth** » 06 Mar 2006, 08:58

I have sung the whole varNa in swaras, have I not!

cmlover · Post by **cmlover** » 06 Mar 2006, 09:33

Except for SrikAntanutE!
Also the sancaaram is mostly confined to uttaraanga with very sparing use of rishabha and gandhaara. Durita kaalam not used! Even prati madhyamam is not used very much but the 'shakl' of kalyani is brought out clearly ( I mean no tinge of sankarabharana gamkas). That is the first blush! Maybe more...

vasanthakokilam · Post by **vasanthakokilam** » 06 Mar 2006, 12:53

DRS, nice kalyani varnam and good singing.

My very limited perception of Kalyani's strength is in using 'Pa' relatively sparingly resulting in prayograms involving 'ma dha' and 'dha ma', a focus on 'Ni' with prayogams like 'ni ga ri ni', 'sa ni ri sa ni' etc. I heard the above things in your varnam, among others.

kiransurya · Post by **kiransurya** » 06 Mar 2006, 14:23

DRS
That was a good varnam. Why u did use Pa and Ma sparingly? Any particular reason?

drshrikaanth · Post by **drshrikaanth** » 06 Mar 2006, 15:23

As VK has mentioned, sparing use of P and S as well enhances the ranjakatva in kalyANi. Taking a head count of swaras(Without considering swara length, akShara kAla etc) will reveal that S, R and G are used sparingly. P and M are used fairly frequently while N and D occur most frequently. Anway, although of academic interest, the impotrant thing is clearly bringing out the rAgabhAva.

But CML
You still have not been able to smell the viSESha part out. Let me expand on the first hint(without letting the cat out of the bag yet). I have sung the whole varNa in swaras right? But then varNas must have sAhitya/mAtu. So where is the mAtu in the varNa?

cmlover · Post by **cmlover** » 07 Mar 2006, 00:23

I had a lot of difficulty getting on the forum. Now only got through!

OK! here is my take!

I knew at the outset there is no sahityam. But then jatiswaram also does not have sahityam. But this is not organized as a jatiswaram! The next is varNam. Of course this is not a pada varnam since there is no sahityam. OK! Is it a taana varnam? Since there is no sahityam (which is acceptable) are there distint pallavi, anupallavi and charaNam? No such identifiable features are obvious! Though PDP occurs quite often its pattern is not consistent with being a pallavi. Is it a samaShTi varnam (I have not heard about one such before)? The confinement to uttaranga leads to vishESha sancaara! Is that the vishESha (uniqueness)???

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 00:45

CML
Absolutely-- way off on all counts!

But I promise you you will not mind in the least when you hear
what I say. First, there are clear divisions between pUrvAnga and uttarAnga. And also there is
clear demarcation of pallavi, anupallavi, ciTTeswara, ettugaDe pallavi and ettugaDe swaras. And
lastly, it is a tAna varNa and also a pada varNa at the same time.

vasanthakokilam · Post by **vasanthakokilam** » 07 Mar 2006, 01:02

Do not mean to spoil the fun DRS and CML are having in the game but can I offer a guess or two... a) Is the clue in the deft handling of swaraksharas.... I thought I heard 'ga mi ni' ( if that can be a word or part of a word), 'dha ma da ma' ( that can be a word for sure )...

Or, extending the poetic license further, it could be, a whole bunch of swaras and ending with '....SrikAntanutE....' to mean ' Srikaanth likes Kalyani sung with these swaras and prayograms'...

( borrowing on the 'ka kha ga gha' story of Kalidasa....(I think it is Kalidasa) ).

cmlover · Post by **cmlover** » 07 Mar 2006, 01:03

The mystery of the Sphinx!
All ears whenever you are ready! Let us give others also a chance!
Come on! Ye problem solvers

cmlover · Post by **cmlover** » 07 Mar 2006, 01:05

Good try vk! Let me chew the cud!

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 01:07

VK
you are nearly there. I wont tell you yet which of your option is right.

This is fun.

cmlover · Post by **cmlover** » 07 Mar 2006, 02:15

I got the segment
Sri kAntanu tE pada dA sanisA nida nini sarI nI sari sadA sadA nI magagama nI..

But could not make any sentence out of it in Tamil or sanskrit! Sounds like asking 'give your feet always to Sri kAnta'

If it is Telugu or Kannada I have to give up!

Am I barking up the wrong tree..?

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 02:30

CML
I will reveal the plot now. Yes, you have caught the thread although you are unable to disentangle it. The varNa is a swarAkShara varNa in kannaDa(classical). All the swaras stand for the same sAhitya akSharas as well and hence it is a padavarna too. When I say all, I mean, every swara in the varNa starting from the pallavi right until and including the last ettugaDe swara. The only other compsition of this type is rAmaswAmi dIkShitar`s swarasthAna varNa in tODi in telugu (sarigAni dAni). And this was composed about 2 centuries ago. It is given i the SSP. Thi varNa however stops at the ciTTeswara and has only the pUrvAnga.

cmlover · Post by **cmlover** » 07 Mar 2006, 02:49

Thanks

Now let us have the lyric to get the full meaning and pleasure out of it! I am also waiting eagerly for the 'ekAskShara' kritis one of these days as a fan of Vedanta Desika's citrakavi in pAdukAsahasram!

Does anybody have the audio and lyric of the sarigAni dAni of RD?

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 02:59

swarAkShara varNa (mAtu!)
rAga kalyANI, Adi tALa.

padapAda padamArigam agAdha ||
pasanIdAnida pAdapamA ||P||
pada dAsaniddAnida nI sarIgari ||
sada sadani madagamani SrIkAntanute ||AP||

ciTTeswara
mA mAgada pApadA niri nI nIsannigarinidApada |
nI nidhAnisadA pasAdamanI nigamagamanI sarisadapa ||

ettugaDe pallavi
nInIda pada padapa pasarisadA sadA ||

ettugaDe swaras
nI pAda samAgamadA padamanI ||1||

ninnini dani padam amma magagam adanI nirisadanisanI
madamanisada ||2||

mamada madama damanipa padada sanipa maganigamagam adhamanigaridadanisa ||3||

nIpada pAdapada pAda nI padamamaridapa dhAma ||
mAniparigamA dhAmamanIdapa mAnini mAdada pada pani pasa pari ||4||

cmlover · Post by **cmlover** » 07 Mar 2006, 03:54

Bravo! I have to give it you for the elegance and beauty of the sahitya! (let me wait till I get the meanings too!). This is the highest tribute to kalyANi; madagamani SrikAntanuta!
Many many thanks for sharing it with us! I certainly would like to learn it given time to practise!
When you are ready explain to us how this is also a pada varNam!
(Of course I am not going to bug you for notation

cmlover · Post by **cmlover** » 07 Mar 2006, 04:04

On second thought I do need notations since the akshara count from the sahityam does not tally with the tALam!

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 04:10

Word split for the varNa.

pallavi
padapu+ Ada+ padam+ Arigam+ agAdha+ pasanu+ Idu+ Anida+ pAdapamA.

anupallavi
pada+ dAsanu+ iddAne+ ida+ nI+ sarIge+ ari+ sada+ sadani+ mada+gamani+ SrIkAntanute.

ciTTeswara
mA+ mAgada+ pApadA+ niri+ nI+ nIsu+ annigarin+ idu+ Apada+ nI+ nidhAnisade+ A+ pasAdaman+ I+ nigama+gamanI+ sarisadapa.

ettugaDe pallavi
nIn+Ida+ pada+ padapa+ pasarisadA+ sadA.

ettugaDe swaras
nI+ pAda+ samAgamadA+ padaman+ I ||1||

ninna+ ini+ dani+ padam+ amma+ magagam+ adanu+ I+ nirisade+ anisan+ I+ madam+ anisada ||2||

mamada+ madama+ damanipa+ padada+ sanipa+ maganige+ amagam+ adhamanige+ aridu+ adu+ anisa ||3||

nIpada+ pAdapada+ pAda+ nI+ padam+ amaridapa+ dhAma+ mAniparigam+ A+ dhAmaman+ Idapa+ mAnini+ mAdada+ pada+ pani+ pasa+ pari ||4||

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 04:13

CML
Since there is sAhitya for all swaras( swara itself being the sAhitya), it is also a padavaraNa.

Come on guys. Would someone try to take a shot at the meaning. Even a gist is fine.

Ravi, Collkarni(being a kannaDiga you must try!).
Ye kannaDa brethren, give it a try.

cmlover · Post by **cmlover** » 07 Mar 2006, 05:53

thAthaithUthOthIthu
thaththaithUthOthAthu
thiththiththathUthithai
thuthithuthuthithOthuthi
(AruNagirinaathar thakara ethukai)

vasanthakokilam · Post by **vasanthakokilam** » 07 Mar 2006, 06:35

Nicely done DRS.

1) SrIkAntanute portion has the gist of Kalyani wonderfully put together. Your name is taylor made for Kalyani. Due to this venture, your varnam is the most frequently listened to varnam by me in any 4 hour period.

2) What other ragas will the prayogam sa ri ga ni tha ni tha fit? I am curious.

3) So, for swaraksharas, does the following mapping work?

- All the vowels are free to be put to good use.
- ka kha ga gha --> Ga
- pa pha ba bha --> Pa
- sa sha shiva-sa ksha --> Sa
- ta tha da dha --> da
- ri, hard ri ---> ri
- ma ---> ma
- ni, hard ni ---> ni
- cha, chha, ja, jha ---> No mapping, so avoid
- nga, va, la, La ---> No mapping, so avoid
- Other consonants -> No mapping, so avoid

4) A raga that allows lot of jumps seems to be a good candidate for this kind of treatment, right?

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 07:19

Nicely done DRS.

1) SrIkAntanute portion has the gist of Kalyani wonderfully put together. Your name is taylor made for Kalyani. Due to this venture, your varnam is the most frequently listened to varnam by me in any 4 hour period.

Much Honoured sir.

So, for swaraksharas, does the following mapping work?

- All the vowels are free to be put to good use.
- ka kha ga gha --> Ga
- pa pha ba bha --> Pa
- sa sha shiva-sa ksha --> Sa
- ta tha da dha --> da
- ri, hard ri ---> ri
- ma ---> ma
- ni, hard ni ---> ni
- cha, chha, ja, jha ---> No mapping, so avoid
- nga, va, la, La ---> No mapping, so avoid
- Other consonants -> No mapping, so avoid

I have only used the 7 swaras strictly as they are "sa, ri, ga, ma, pa ,dha/da, ni". The vowels have to stay as they are on each swara. i.e su, gi or ra will not be acceptable. that makes the job a lot more easy. No challenge there! I have also not used Ni(hard Ni, TaNNagaram). And of course ka and kha for ga or ta and tha for da are a strict no-no as far as Im concerned. In fact I have not even used mahAprANa (i.e gha for ga). using dha is ok as dhaivata is pronounced as dha or da. Likewise sa should be sa only and not Sa or Sha or kSha strictly. I have stuck to this rule without transgressing anywhere.

A raga that allows lot of jumps seems to be a good candidate for this kind of treatment, right?

spot on.

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 07:40

CML
I have seen that EkAkShari before.Can you please correct any errors and post it without the "h"s please.

cmlover · Post by **cmlover** » 07 Mar 2006, 08:09

I used 'th' for the regula 't' by habit for Tamil! here it is without the 'h'. It is corrected! I shall resolve it later if you didn't! But our focus is now on the varNam and I hope our kannada friends will pitch in! I would at least get somewhere with sankEti but (classical) kannada is too difficult for me!

tAtaitUtOtItu
tattaitUtOtAtu
tittittatUtitai
tutittututittOtuti
(AruNagirinaathar takara ethukai)

In this context I remember RD's 'sArasanayana' in gangaatarangiNi which was a reversible kriti (but not svaraakSharam-wise)! Apparently he has ventured into some fancy constructions. Since you have done it with svaraakSharams I can imagine the level of difficulty! Congratulations again!

vasanthakokilam · Post by **vasanthakokilam** » 07 Mar 2006, 09:23

First I thought the plot was along the lines of the famous poem attributed to kalidasa composed on the spot when he was challenged by his patron to compose a poem that ends with ka kha ga gha.

kA tvam bAle
kAnchanamAlA
kasyAH putrI
kanakalatayAH
haste kiM te
tAlIpatraM
kA vA rekhA
ka kha ga gha
------------------
The following is also attributed to kalidasa (but is questionable..) I thought I will put this here, I was reminded of this when I read the CML posted ekAksharam poem.

Ramabhisheke jalamaharantyah Hastachchyutoh hemaghto yuvatyah Sopana margena karoti sabdam Tha tham thathamtham thathatham thathamthah!
------------------
This is a really silly one.
Passenger: What time does the train to Chennai stop here?
Railway Clerk: tu tu tu tu tu tu

------------------

rshankar · Post by **rshankar** » 07 Mar 2006, 09:49

CML
Since there is sAhitya for all swaras( swara itself being the sAhitya), it is also a padavaraNa.

Ravi, Collkarni(being a kannaDiga you must try!).
Ye kannaDa brethren, give it a try.

DRS,
Like rAhul in Ramdhari Singh Dinkar's 'yashODHarA', where at the end of a story that he has bugged her for, she asks him for his verdict, and he (rAhul) says: 'mA, mErA kyA bAnI? mein sun rahA kahAnI'...I feel like saying 'DRS, mErA kyA bAnI? mein sun rahA kalyANI'!
I tried, but it is too tough! And my kannada is patchy at best. So, unlike, rAhul, I have to give up!
Ravi

rshankar · Post by **rshankar** » 07 Mar 2006, 09:54

DRS,
I am still listening to the divine kalyANI (which BTW is my mother's name!) and still trying to separate the words from the swarams!
VERY VERY SCHOLARLY!
Congratulations!

Ravi
kalyANI kamanIya kalpalathikA, kailAsanAtha priyA

vasanthakokilam · Post by **vasanthakokilam** » 07 Mar 2006, 10:27

I have only used the 7 swaras strictly as they are "sa, ri, ga, ma, pa ,dha/da, ni". The vowels have to stay as they are on each swara. i.e su, gi or ra will not be acceptable.......And of course ka and kha for ga or ta and tha for da are a strict no-no as far as Im concerned

Question then: How do you fit 'SrIkAntanute' to such a scheme?

kiransurya · Post by **kiransurya** » 07 Mar 2006, 14:30

DRS
Thats too complicated a language that you used in the varna. Kannada?
I give up..

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 15:59

-----
Question then: How do you fit 'SrIkAntanute' to such a scheme?

Surely I have to fit in my mudre! Too bad my parents did not have divyadRShTi so that they could have named in swarAkShara to fit into this racane.

The notation for SrIkAntanute is "R, G,DPMG," which is sUcya swarAkShara.

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 16:09

tAtai tUtO tItu
tattai tUtu OtAtu
tittitta tUtitai
tutittu tutittu Otuti |

Embassy of/message through a woman is bad. A parro will not declare/read the message, Prasie! O praise and declare thie sweet message.

drshrikaanth · Post by **drshrikaanth** » 07 Mar 2006, 19:29

nInE nannannana nau |
nInennannAnenenne nAnEnennen |
nInE nA nInE nA-
nA nAnAnanane nInu nA nAnennen ||

cmlover · Post by **cmlover** » 07 Mar 2006, 21:36

Congrats on the Arunagiri puzzle!

What language is yours?

I am puzzled by 'R, G,DPMG' as sUcya for SrIkAntanute!

At the first blush, I am getting 'Reegaadapa maga' (son of Reegaadapa) which unless means something in Kannada does not make sense to me yet!

cmlover · Post by **cmlover** » 07 Mar 2006, 21:37

vk

That was a nice collection!

drshrikaanth · Post by **drshrikaanth** » 08 Mar 2006, 01:28

--What language is yours?

I am puzzled by 'R, G,DPMG' as sUcya for SrIkAntanute!---

My EkAkShari is in kannaDa.

As for the sUcya, I meant no hidden meaning. Simply that SrI has Ri and hence the swara is R. ga for kA and da for ta in SrIkAnta. That is all.

cmlover · Post by **cmlover** » 08 Mar 2006, 02:46

DRS

GRGDDRPDMNMG would work if you can fit it!
GRGDDR =GiRi GuDa(kudai) DhaRi = Krishna(murti)
PDMN =PaDaMaNi = Padmini
MG = MaGa = son

vasanthakokilam · Post by **vasanthakokilam** » 08 Mar 2006, 02:50

As for the sUcya, I meant no hidden meaning. Simply that SrI has Ri and hence the swara is R. ga for kA and da for ta in SrIkAnta

DRS, just so I get the full idea, the rules you imposed on yourself apply to everything in the varnam except the mudra and in the mudra you map to the closest swaram. Correct?

Also, if I follow the rules like an automaton, would not 'srikanthanuthe' map to ri ga ni da ni da ...?

drshrikaanth · Post by **drshrikaanth** » 08 Mar 2006, 02:54

VK
Just forget the rules when it comes to the mudre and enjoy.

CML
Smart suggestion.