Asai Mugam - Mahakavi Sri Subramanya Bharatiyar

 

Dikku Theriyatha Kaattil

 Dikku Theriyatha Kaattil - Mahakavi Subramanya Bharathi - Ragamalika - Adi

RADHASHTAMI - 23rd September, 2023

RADHA MUKHA KAMALA - PAPANASAM SIVAN - KAPI - ADI

HAPPY VINAYAKA CHAVITHI!!

 

BONDING MOMENTS…..

 

DHARMAVATI/RASIKARANJANI

GRAHA BHEDAM- DHARMAVATI TO RASIKARANJANI BY DELETING SHADJAMAM AND PANCHAMAM OF DHARMAVATI AND ADAPTING RISHABHAM AS ADHAARA SHADJAMAM….
 

HAMSANANDHI/HINDOLAM

 

RANDOMLY RECORDED DURING PRACTICE ON 1ST APRIL, 2023 

Main Scale (main ragam) is Hamsanandhi, Hindolam is derived through graha bhedam by deleting the shadjamam of Hamsanandhi and adapting the rishabham as shadjamam.

Please note that the recording starts midway from the graha bhedam (Hindolam) and ends by merging with the main ragam Hamsanandhi.

SAY YOU'LL BE THERE- SPICE GIRLS

A 90S RECORDING- REMIX OF SAY YOU'LL BE THERE (SPICE GIRLS)

MUSIC AND MIXING BY SURESH GOPALAN OF CHARSUR.

GHATAM-DR.S.KARTHIK 

 

Ragams of Sri Srinivasa Gadyam (SHOKAVARALI/MADHYAMAVATHI)

 SHOKAVARALI/MADHYAMAVATHI

RAGAMS OF SRI SRINIVASA GADYAM (recorded on 18th March, 2023, Saturday, Ekadasi, Sravana Nakshatram)

The avarohanam of Shokavarali can be compared to the knight's moves on a chessboard. Complex and restrictive. On the bright side the avarohanam by itself is an alaap. I have merely shown the arohana-avarohanam of Shokavarali. 

(Reference- Hema Ramanathan's Raga Lakshana Sangraha about Shokavarali-spelt as Sokavarali).

Ascent- S G M N D

Descent- P M G R M G R S.

Shokavarali is a janya ragam of Dhenuka. The raga in arohanam does not touch the top Sa. The raga Shokavarali, like its name has heavy undercurrents of pathos. I found this ragam appealing on the mandhara string (thrid base sarani string). Just like how a person who is deeply steeped in misery is unable to find relief, Shokavarali does not allow the relieving top note of shadjama to be touched. The person is depressed and gets into more complications depicted by the descent of the ragam.

Interestingly Sri Srinivasa Gadyam ragams are a mixture of different ragas expressing variety of emotions, All emotions which originate from God find their destination in Him. 

CHANDRAJYOTHI/GAMBHIRA NATA

CHANDRAJYOTHI.

CHANDRAJYOTHI IS JANYA OF PAVANI. (GAMBHIRA NATA IS DERIVED THROUGH SRUTHI BHEDAM BY ADAPTING SHUDDHA GANDHARAM AS ADHARA SHADJAMAM AND AT THE SAME TIME BY DELETING THE ADHARA SHADJAMAM OF CHANDRAJYOTHI ).

 Chandrajyothi Arohanam- S R1 G1 M2 P D2 S

Avarohanam- S D2 P M2 G1 R1 S

 

BHOGAVASANTHAM/SUDDHADHANYASI

 BHOGAVASANTHAM - Exotic, ethereal, elusive…… (IDENTIFY AADHARA SHADJAM TO UNRAVEL BHOGAVASANTHAM)

Bhogavasantham is a janya of Kamavardhini Aarohana-avarohanam-S R1 G2 M2 D1 N2 S-S N2 D1 M2 G2 R1 S. The alapana started with graha bhedam from antara gandharam as aadhara shadjam. Ragam Suddhadhanyasi is derived by deleting shadjamam of Bhogavasantham (shadjama varjyam) and adapting Suddha rishabham as aadhara shadjamam. The note which sounds like an anya swara is the actual adhaara shadjamam of Bhogavasantham.

Om Aim Hreem Shreem Shashaankasekhara Praana Vallabhaayai Namo Namaha.......

          HANDWRITTEN BY SMT. KOORMANAYAKI

(Mobile recording at home, Chennai on 11th February, 2023)

This ghazal-style-romantic devotional song is penned by Sri. Basavaraju Apparao.

Music is by the legendary Sri. Voleti Venkateswarulu and originally sung by melody queen Smt. Vedavathi Prabhakar and broadcast by All India Radio, Vijayawada in the 60s.

This haunting melody tempted me to me to try it out on Veena (impromptu) during my practice which I casually recorded on my mobile phone. The melody brought visions of love between Lord Shiva and Goddess Parvathi in Sri. Kalidasa's Kumarasambhava.

Kumarasambhavam-

Upaathavarne Charithe Pinaakinaha Savaashpakanthaskhalithaihi

Aneykashaha Kinnararaajakanyaka Vanaanthasangeethasakheerarodayath.

Meaning- Parvathi was going to the woods for learning music with Kinnara maidens who are famous for their sweet voices and knowledge of music. There they all used to sing in praise of the heroic deeds of Shiva. The songs used to make a powerful impression on Parvathi, that she often wept and could utter only faltering words, her voice being choked with tears. The princesses of Kinnara, sympathising with the lovelorn Parvathi wept along with her.

VEENA UNPLUGGED

DANCE LITTLE LADY DANCE.                                                                          Karaoke for my granddaughters Shreeya and Shreeja (song features them in the video). (PLEASE USE PHONES)

NIDHICHAALA SUKHAMA (Triple fusion of Western, Hindusthani and Carnatic Music)

SONG-NIDHICHAALA SUKHAMA

SITAR-USTAD SHAHID PARVEZ

VEENA-MYSELF

TABLA- SRI. VIJAYA GHATE

MRIDANGAM- SRI. R.RAMESH

Teaming with western music and Hindusthani music played outstandingly by Ustad Shahid Parvez on sitar and Sri. Vijay Ghate on tabla, Nidhichaala Sukhama is presented in the form of modern art on the canvas of Carnatic music.

Sri. R.Ramesh, one of the most formidable mridangam vidwans in the field of Carnatic music was my dynamic support.

Mahaganapathim, Himagirithanaye (Triple Fusion of Western, Hindusthani and Carnatic music)

SONGS-MAHAGANAPATHIM, HIMAGIRITHANAYE

SITAR-USTAD SHAHID PARVEZ

VEENA-MYSELF

TABLA-SRI.VIJAY GHATE

MRIDANGAM-SRI.R.RAMESH

The krithis Mahaganapathim in Natta and Himagirithanaye in Suddhadhanyasi projected in an abstract form by combining Hindusthani and Western music.

Recorded in late 90s, this recording was absolutely engrossing and inspiring. I cherish the memory of teaming with experts like Shahidji, Vijay Ghateji and Sri. R.Ramesh.

RETROMAGIC - ACOUSTIC VEENA (MEDLEY OF FILM SONGS)

EXCERPTS FROM A CONCERT FOR A 
PRIVATE FUNCTION IN CHENNAI IN 2012. (Please listen with phones for clarity).

1) KAATRU VELIYIDAI KANNAMMA

2) KALYANA THEN NILA

3) ROJAPOO ADI VANTHATHU

4) KALYANA MALAI

5) ROJAVAI THAALATTUM

6) MOUNAMANA NERAM

7) NAAN THEDUM SEVVANTHI POO

Karana Shareeram in Karachi

 

 Saint composer, Sri Sadasiva Brahmendram.(Sthoola Shareera samadhi in Nerur, Tamilnadu and Karana Shareera samadhi in Karachi, Pakistan). (Kreedathi Vanamali, Sindhubhairavi, composed by saint composer Sri Sadasiva Brahmendram. A practice session recording on mobile on 15th February, Hyderabad).

SAPTA SWARA- (dd telecast-1989)

ALAMELU MANGA NEE ABHINAVA ROOPAMU (RAGAM- BHAIRAVI, COMPOSED BY SRI TALLAPAKA ANNAMACHARYA).

LOCATION- SRI KAMAKSHI TEMPLE AND SRI VARADARAJA SWAMI TEMPLE, KANCHIPURAM.

COURTESY-PLAN B PRESENTATION YouTube Channel. Episodes of vocal and instrumental stalwarts can be viewed here.

ANDHRA FOLK SONG

 

Andhra and Telangana are famous for my favorites like aavakaya, gongura pachchadi, pootharekulu, chinthachiguru pappu, kanda attu, gutthi vankaya koora, dibba rotte, poornam boorelu... (to name a few) and FOLK SONGS  (Janapada Geethalu)!! My mother taught me "Appanna Kondaki" (song in the video above) many years ago. She sent me her handwritten sahithyam of my favorite folk song and signed off as "Gayathri's mother"! 

(ACCOMPANIED ON THE MRIDANGAM BY SRI SRIMUSHNAM RAJARAO, ON THE GHATAM BY SRI.E.M.SUBRAMANIAM)

TEMPO AND STRUCTURING.....

The three gems in the first video and the Hindolam Thillana in the next video are structured by Sri.TMT in his unique style. He used to be very particular about the gradual and striking improvisation of the structure of compositions and raga/thanam/kalpana swaram/neraval essays.

In my days of learning from Sri.TM Thyagarjan legendary musicians used to drop by for his guidance in structuring krithis, varnams, etc. TMT "padantharam" lies in his formidable discipline in maintaining the tempo and structure of presentation.

With TMT Sir after my learning session (90s)