Namo Namo

Ragam: Behag
Thalam: Aadi
Composer: Annamacharya
raagam: behaag
Vocal: S&S

29 dheera shankaraabharaNam janya
Aa: S G3 M1 P N3 D2 N3 S
Av: S N3 D2 P M1 G3 R2 S

pallavi

nArayaNa tE namO namO (bhava)
nArada sannuta namO namO (nArAyaNa)

caraNam 1

murahara bavahara mukunda mAdhava garuDa gamana pankaja nAbhA
parama puruSa bhava bandha vimochana (namO) naramruka sharIra namO namO (namO)(nArAyaNa)

caraNam 2

jaladhi shayana ravicandra vilOcana jalaruha bhavanuta caraNayugA
bhali bandhana gOpavadhU vallabha nalinOttara tE namO namO (namO)(nArAyaNa)

caraNam 3

Adi dEva sakalAgama pUjita yAdava kula mOhanarUpA
vEdOdhara shri venkaTanAyaka nAda priya tE namO namO (namO)(nArAyaNa)

Varnam - Sambho!

Sambho Varnam (details will be published soon)

Artist: Aishwarya

Nine gems of Balaji

On the eve of Annamacharya's Birthday, which falls on Vaikasi Visagam, was blessed to learn one of his keerthanams.

rAga: Kurinji (madhyama shruthi of SB)
tAla: Aadi
Composer: Annamacharya
Vocal: Smt Ganga R





Vocal: Sands





Pallavi
Muddugaare Yasooda mungiti muthyamuveedu
Didderaani mahimala Deevakee suthudu...

charanam 1 :
Antha nintha gollethala arachethi maanikyamu
Panthamaadey Kamsuni paali vajramu
{Kaanthula moodu lookaala Garudapachapoosa}2sangatis
{Chenthala maaloo nunna Chinni Krishnudu....} 3 sangatis

charanam 2 :
Ratikeli rukminiki rangumovi pagadamu
mithi goovardhanapu Goomedikamu
sathamye Sankha chakraala sandula vaidooryamu
gathiyai mammu gaache Kamalaakshudu


charanam 3 :
kaalinguni talalapye gappina pushyaraagamu
yelleti Sree Venkataadri Indraneelamu
paalajala nidhiloona baayani Divya ratnamu
baaluneevale dhirigi Padmanaabhudu

Artham (Courtesy: karnatik.com): Lord Venkateshwara is compared with precious gems in the form of Krishnavatar Leelas. Mother Yasoda is kissing the Bala Krishna (muDugare yasODa) and he is submerged in her kisses like in a tub of pearls (mungidi muTyamu). Like a ruby (mAnikyam) he is shining and for kamsa the demon he is strong as a diamond(Vajram). His consort RugminiÕs lips are like Coral (pagadam). When he is Govarda Giridhari, he is like gOdEDiga (a brown stone). He is wearing vaidUryam (another precious stone) in between his sanku and chakra. When he is dancing on the head of kAlinga, the serpant king, he glows like pushyaraga (yellow sapphire) and when he is Lord Venkateshwara, he is like indra nIlam (blue sapphire). On the whole he is like all the precious gem stones, always helping the devotees.

Tamizh Chem Manadu 2010!

Tamil World Conference 2010, an extravaganza festival @ Coimbatore, has interesting varied thematic sessions.

Smt Ganga R: TAMIZH POETRY AND MUSIC OF T.LAKSHMAN PILLAI – A STUDY

Happy presentation!

One more addition on Saraswathy

Composer: Dikshidar
rAga: Hindolam
tAla: Rupakam
Guru: Smt Ganga Ramachandran
Rendition: Sands



Pallavi

sarasvatI vidhi yuvatI saMrakshatu mAM SrI samashTi

CharaNam

muraLI vINA gAna vinOdinI saMvEdinI
cAru candra hAsinI sarasIruha lOcanI
(madhyama kAla sAhityam)
murAri guru guha mOdinI SabdArtha svarUpiNI
haMsinI brahmANI Arakta varNa rUpiNI

sArasa nEthra!

Composer: Tyagaraja
rAga: SB
Guru: Smt Ganga Ramachandran
Rendition: Sands



Pallavi

sārasa nētra-apāra guṇa sāmaja śikṣa gō-uddharaṇa

Charanam

pāpa gaṇa-abhra samīraṇa pāmara pālita pāvana nāma caṇa tāpasa mānasa sārasa su-bhramara-anagha rāghava mā ramaṇa (tisra gati) yōgi vandya pāhi hē sāgara-ārti haraṇa rāga lōbha dūra śrī tyāgarāja pōṣaṇa (sā)

Meaning
O Lotus Eyed! O Lord of abundant virtues! O Lord who protected the Gajendra – the elephant! O Lord who redeemed his mother!

O Wind that blows away the clouds of multitues of sins! O Protector of the ignorant! O Lord who is famous as having a holy name! O Lord who is the honey-bee hovering over the lotus of hearts of ascetics! O Sinless One! O Lord Raghava! O Beloved of Lakshmi! O Lord worshipped by ascetics! O Lord who relieved the distress of the Lord of Oceans, please protect me; O Lord who is far removed from attachment and avarice! O Nourisher of this Thyagaraja!

RAgamAlika

Wonderful composition + beautiful lyrics + mesmerizing voice + well emoted!.



Good listen!
Singer: Sindhuja

Rare rAga & kid!

Composer: Dikshitar
rAga: Geya Hejjajji

Ar.: S R1 M1 G3 M1 P D1 S
Av.: S N1 D1 P M1 G3 R1 S

rAmachandrabhaktam bhaja mAnasa
rAksasAntakam hanumantam srI (samasticharanam)
AmisI krtadivAkaram geya hejjaji rAga pItikaram
sAmadanabehdadan dachaturam sadguruguhasam moditam varam

Mooladhara Murthea!

rAgam: Hamsadhwani
tAlam: aadi
Composer: PApanAsam ShIvan
Language: Tamil
By: Shraddha & Shreya
Guru: Smt Ganga Ramachandran

Pallavi

Moolaa dhara murthy gaja
mookhane saranam unadhu ubhaya Charanam (moolaa)

Anupallavi

Velayudha Guhan thanakku munthondriya
Vimala Umayalz thiru-makkane Ammala Yamayalz Munivarthozum (moolaa)

CharaNam

Anboddu Thumbaai Arugham Pullai edduth
aruchanai seydAlum Podum (anbodu) (repeat)
aruchanai seydAlum Podum
Thunbam tudaitthu pear innbum tharum varadhan
Tunnai puri pranava thara ganapathiye (moolaa)


29 dheera shankaraabharaNam janya
Ar: S R2 G3 P N3 S
Av: S N3 P G3 R2 S




You sis' rock!

Varna and Its Significance

Tana Varna of Arabhi:


Ar: S R2 M1 P D2 S


Av: S N3 D2 P M1 G3 R2 S


By: Smt Ganga Ramachandran





Musical features of the Varna [\cited{swarasindhu} with thanks]

The Varna has the following musical characteristics:

* It is an elaborate composition which fully explores the raga in which it is composed, and serves to illustrate the standard phrases occurring in that raga as well as the exceptions and special phrases. Hence while learning a raga, it is important to learn Varnas in that raga.
* The composition also weaves intricate rhythmic patterns and illustrates the use of swara groups of 3,4,5, etc.
* The solfa passages in a Tanavarna are excellent illustrations of how to develop kalpana swaras (extempore rendering of the raga in solfa).
* The sahitya (song text) of the tana varna is typically sparse, requiring long vowel extensions during vocal rendition
* Despite the advanced nature of the Varna composition, swaras of fractional duration are avoided. The absence of trills and excessive melodic ornamentation gives the Varna a weighty and majestic feel.

The Varna consists of two parts:
a. The first part (Purvanga) comprises Pallavi, Anupallavi, and Muktayi swara
b. The second part (Uttaranga) comprises one Charana and several Ettugade swara passages

The first and the second part are approximately of equal length. They complement and balance each other.The Charana is usually one avarta (Tala cycle) long, and complements and completes the sahitya of the pallavi and anupallavi

Purvanga Uttaranga

* Pallavi * Charana
* Anupallavi * Ettugade Swara 1
* Muktayi swara * Ettugade Swara 2


Rendition of the Varna is in the following sequence:

* The Purvanga is rendered first, and concluded with the repetition of the Pallavi.
* Then the Uttaranga is rendered starting with the Charana and then each Ettugade Swara by turn. At the end of each Ettugade swara passage, the Charana is repeated.
* The varna is concluded after rendering the Charana after the last Ettugade swara.
* The Pallavi is not visited again

The Ettugade swaras are progressively elaborate, with the first one being only one avarta long and using a profusion of elongated notes. Usually the second last Ettugade Swara is composed of "sarvalaghu" swaras, i.e. all swaras having the same duration (usually four swaras per tala beat). The last Ettugade swara builds a crescendo and is also the longest musical passage. It gives a crowning conclusion to the Varna.

There used to be a practice of having a tailpiece to the Varna called the Anubandham, in order to bring the composition to a more comprehensive conclusion. But with the time rendering of Anubandham fell into disuse, and now this part of the composition is practically abandoned and forgotten.

The above overview of the musical characteristics would give an impression that the Varna is a musical composition of a high order and only very accomplished composers would be adept at composing a Varna. This is indeed so.

However, this form of music is essentially for musical training. There is no scope for improvisation and expression of the artist's own creativity. Also, the composer's thoughts can't find free flow in this form. For this reason, even the great composers have delighted in composing Kritis (the main concert form of Carnatic Music) rather than Varnas. As a result, only a few hundred Varnas exist, whereas there are thousands of Kritis.

This is not a hindrance, since mastering about 30 to 40 Varnas is considered to be a good enough musical foundation even for advanced musicians.

Tana Varna and Pada Varna

The comparison between the two types of Varnas may be summarised as follows:

* In Tana Varna, the Pallavi and Anupallavi have sahitya, whereas Muktayi swara is sung in solfa. In Pada Varna, even the Muktayi swara has sahitya
* The Ettugade swaras have Sahitya in Pada Varnas, but none in Tana Varnas (sung solfa)
* The Sahitya in Tanavarna is sparse, requiring extensive vowel elongations during vocal rendition. The Sahitya of the Pada Varna on the other hand is more expressive and full.
* The Tana Varna is rendered in two or three speeds, whereas the Pada Varna is rendered at a single appropriate speed.

Benefits of practising Tana Varnas

The Sadhana or regular musical practice of even seasoned artists almost invariably includes rendering Tana Varnas, since this brings about good results in voice training and instrument play. Some of the many benefits of practising Tana Varnas are mentioned here:

* "The practice of varnas considerably helps one in the artistic, polished, and stylish rendering of pieces". This quotation from Prof. P. Sambamoorthy's outstanding book 'South Indian Music - Part 3' summarises in one sentence the utility of practicing Varnas.
* The Varna is an excellent illustration for the raga in which it is composed.
* The extension of vowels typical of the text of the varna gives a good training to vocalists to sing smoothly with an open throat, and improves lung power and breathing technique. Similarly it helps instrumentalists to refine the blowing, bowing or plucking technique depending on the instrument.
* Improves dexterity of voice, and fingering in case of instrument play
* Improves grasping of rhythm (Laya Gnana). An exercise for this is to render the Varna in different speeds, like two, three, and four aksharakalas per tala beat.
* By studying the solfa passages, very useful hints can be gathered about rendering swara improvisations in the raga.
* By singing the entire varna in akara (vocalising the sound 'a'), one improves the ability to develop alapana in the raga.
* There is a special technique of rendering the varna using the tana syllables "a", "nam", "ta" instead of the sahitya, which improves the ability to render tanam during Ragam Tanam Pallavi in concerts.

First Upload Jan 2010

Deity:Lord GaneshA

RAgam: Shivaranjani (Audava rAgam)

Talam: rUpaka

Composer: PApanAsam Shivan

Artist: Ganga Ramachandran

Ar.: S R2 G2 P D2 S

Av.: S D2 P G2 R2 S

P: taruNam idaiyA dayai puri tudikkaiyA uriya
A: sharaNam enrun malaradi paNi tamiyanai tavikka viDAmal
C: un aruLaladOr tuNai ini ulagil illaiyEendan
munnavanE yAnai mukhanE muruganuk-karuLum tudikkaiyAna (madhyama kAlam)
mukkaTparan maganE vighna vinAyakanEmukkani
mOdaka priyanE abhayam abhayam viraindu vandaruL

Welcome to this music space!

Keyphrases of my likely postings:

1) Random rhythm which evokes happiness, bakthi, devotion, peace, love!
2) Musical exponents and their compositions.
3) Learners pieces and practices.

Happy listening!