Subramania Bharathi (1882-1921) Biography And Works

Biography

Subramania Bharathi was born to Chinnaswaamy Aiyyar and Lakshmi AmmaaL in 1882 at Ettayapuram. He lost his mother at the age of 5. He learnt music from very young age and at 11 and was invited to a conference of Ettayapuram court poets and musicians for composing poems and songs. He accepted a challenge and composed a chindu on the model of kaavadi chindu of Annaamalai Reddiyaar. There he was given the title 'Bhaarati' for his ability to compose poems and songs.

At the age of 15 he married Cellammaal and in 1898 lost his father. At 22, he became Tamil teacher at Setupati High School in Madurai and the same year was appointed Assistant Editor of a daily newspaper called "Swadesamitran." In 1906, he was editor of a weekly magazine called "India" in Madras and the next year a friend of his, Krishnaswaamy Aiyyar received from him songs he had composed on patriotism and published them, titled "SudEsa geetangaL." In 1908 the government wanted to arrest him, but he escaped to PonDicerry (under French rule) and published "India" from there.

In 1912 he translated the Bhagavad Geeta into Tamil and composed songs on Krishna (KaNNan PaaTTu), "Kuyil," and "Pancaali Shabadam" (on Draupadi of the Mahaabhaarata).

His national integration songs earned him the title "DEsiya Kavi" (National Poet).His patriotic songs emphasize nationalism, unity of India, equality of man and the greatness of the Tamil language. He sang these himself at Congress meetings at the Madras beach. He composed tamil keertanais on love, devotion,fearlessness, mysticism.

His stepbrother C.Vishwanaata Aiyyar and V.V.S. Aiyyar tell us that he himself set his songs to music and could sing them well in a variety of raagams. In "Bharata dEviyin tiru dasangam" he used 10 raagams.

In an article "Sangeeta Vishayam" (Issues in Music), Bhaaratiyaar rebukes musicians PaTnam Subramania Aiyyar and others for singing songs of the Trinity, without knowing the meaning because the songs are all in Sanskrit or Telegu. According to him, without knowing the meaning, singers are unable to sing with proper expression. He also saysthat songs usually portray devotion and love and not other emotions like courage, anger, wonder,fear, and hatred. He emphasized that musicians should not sing songs which they don't understand and should learn from Hindustani musicians how to train their voices.

He died in an accident on September 11, 1921 at the age of just 39.

Compositions:

Appavum ponnadi Jaymanohari Adi Krithi

Bharatha samudayam Hindusthani Behag Eka Padam

Chinna chiru kiliye Bhairavi Rupaka Krithi

Dikkuteriyada HanumaThodi Adi Krithi

Endaiyam tham Kambhoji Adi Krithi

Jayamundu bhayamillai Khamas Adi Krithi

Jiva padagai Anandabhairavi Adi Krithi

Jnanappal arulvai Saramati Adi Krithi

Kaathirukunren Sama Adi Krithi

Kanavendamo Sri Rupaka Krithi

Kanene en kanavan Mecha Kalyani Adi Krithi

Kanika kondutaram Varali Eka Krithi

Karumbu thottathile Saindhavi Misra Chapu Krithi

Malai pozhidil Nadanamakriya Adi Krithi

Mannar kulathinadi Nadanamakriya Adi Krithi

Muruga Muruga Nattakurinji Adi Krithi

Nenjukku neethi Sindhubhairavi Adi Krithi

Neram mikandidu Nadanamakriya Adi Krithi

Nithyamunai vendi Chakravakam Eka Krithi

Pillai prayathile Saraswati Manohari Eka Krithi

Sakthi tanake Bhoopalam Eka Krithi

Thanjamulakinil Punnagavarali Adi Krithi

Ujjaiyini Hindolam Adi Krithi

Umayirundavar Kambhoji Adi Krithi

Unnai yenamayil Kharaharapriya Adi Krithi

Vandadum cholai Harikamboji Adi Krithi

Pallavi Sesha Iyer (1842 - 1909) Biography and Works

Biography

Pallavi Sesha Iyer (or Seshayyar) is one of the important post-trinity composers and musicians in the Tyagaraja shishya parampara.
Sesha Iyer was born in Neykkarapatti, a village about 8 miles from Salem, Tamilnadu। His father, Neykkarapatti Subbayar, was a disciple of Shri Thyagaraja. Sesha Iyer had his musical training from his father, who taught him all the Thyagaraja Krishi-s.

As a singer, he was an expert at Ragam-Thanam-Pallavi, so much so, he came to be known as Pallavi Sesha Iyer। Another of his specialities was his ability to compose and sing in rare raaga-s. He composed in many rare mela-s like Kanakangi, Manavati, Tanarupi and raaga-s like Mallikavasantam and Pushpalatika. He also set his own compositions in notation, a rarity among Indian composers.

He became a singer in the court of Mysore Maharaja, staying in Mysore and Bangalore for a number of years and teaching a large number of students. Towards the latter part of his life, he lived in Madras. His prime disciples include Manattattaai Duraiswami Aiyar, Chintalapalli Venkita Rao and Nagaswaram Krishna.

Mudra: Sheshayyar

Genre Carnatic: Krithi

Languages used: Telugu

Compositions:

Chalavalachi Manirang Tisra Eka Varnam
Chittamela italaiye Manavathi Adi Krithi
Dasarathapala Kanakangi Adi Krithi
Eduruga vachi Khamas Adi Krithi
Entapalaimpa Kedaragaula Adi Krithi
Gasi ela bettevu Ahiri Adi Krithi
Indaparakelara Kharaharapriya Adi Krithi
Inta vadam ne Vakulabharanam Adi Krithi
Jessina papamulu Mecha Kalyani Misra Chapu Krithi
Maruva nike Purvikalyani Adi Krithi
Mosamu seya Simhendramadhyamam Adi Krithi
Na paritapamu Saurashtram Adi Krithi
Namadinippudu Nayaki Adi Krithi
Namavivinimu Manirang Eka Krithi
Napunya mettido Subhapanthuvarali Adi Krithi
Ne neruganu Rama Mallikavasantam Tisra Eka Krithi
Neekela dayaradura Sankarabharanam Eka Krithi
Nenerumganu Mayamalavagaula Adi Krithi
Netala Lenura Huseni Adi Krithi
Ni kanna dikkevarura Pushpalatika Adi Krithi
Ni nannu brova Bhairavi Adi Krithi
Ni samagamu Senavathi Adi Krithi
Ninnital veta Nilambari Eka Krithi
Ninnuchala nammina Harikamboji Adi Krithi
Nipai Mohamipudu Punnagavarali Misra Chapu Krithi
Nitho jeppaka Garudadhwani Adi Krithi
Nive dayavachi Vasantha Adi Krithi
Nive najivamuni Kedaram Rupaka Krithi
Oka matada Gaurimanohari Adi Krithi
Paramananadamu Gaula Adi Krithi
Ramanemini Paras Tisra Eka Krithi
Raminidu karuna Varali Eka Krithi
Saavakaasamela Rama Navaroj Adi Krithi
Saduvela Jeraka Ratnangi Adi Krithi
Samaganalola Surutti Adi Krithi
Saminee todi Surutti Adi Varnam
Sarananu Sama Adi Krithi
Sarasu rammanave Darbar Eka Krithi
Srigananatha Natta Adi Krithi
Sripathe kripa seyar Sri Misra Chapu Krithi
Sriraghukulabdi Sudha Saveri Triputa Krithi
Sundaranga Hindusthani Behag Tisra Eka Krithi
Tattrabadha Jalara Rupavathi Adi Krithi
Udhara dhim Karnataka Kapi Adi Thillana
Uraka galkuna Narayanagaula Tisra Eka Krithi
Vadda Jesavura Dhenuka Eka Krithi
Vami nannubrova Surutti Adi Krithi
Vinta Vimataga Kokilapriya Misra Chapu Krithi
Yemanti Rama Shanmukhapriya Eka Krithi

Veena Kuppayyar (1798-1860) Biography and Works

Veena Kuppayyar was a famous vainika (veena player), disciple of Shri Thyagaraja and a composer of merit.

Veena Kuppayyar was born into a musical family in Tiruvottiyur. His father Sambamoorti Sastri was a famous vocalist and a veena player. Kuppayyar had his initial training from his father. Later he became a disciple of Thyagaraja and learnt composing from him. He was also a Sanskrit and Telugu scholar. He also learnt violin, which was a new instrument in Carnatic music at the time. But, it was for his profiency in Veena that Kuppayyar came to be well known and veena became a part of his name too.

Veena Kuppayyar later shifted to Muthialpet in Madras. Kovur Sundara Mudaliar was his primary patron and enjoyed the status of asthana vidhwan there. Even Thyagaraja visited Mudaliar's madras house. Kuppayyar trained a lot of disciples in his gurukula, who carried forward the Thyagaraja shishya parampara, helping to spread his krithi-s and music.

Veena Kuppayyar composed in Telugu, both krithi-s and varnam-s. His varnam-s like saami ninne kori (Shankarabharanam) are very famous. His mudra was Gopaaladaasa, in honour of his family diety.

Mudra: Gopaladasa

Genre Carnatic: Krithi, Varnam

Languages used: Telugu

Compositions:

Inta Paralekha - Begada - Rupaka
Vinayaka Ninnuvina - Hamsadvani - Adi
Inta Chalamu - Begada - Adi
Inta Chouka - Bilahar - Adi
Nenarunchi - Danyasi - Khanda Ata
Koniyadina - Kambhoji - Adi
Sami ninne kori - Sankarabharanam - Adi

Sri Purandara Dasa (1494-1564)

Purandara Dasa was the follower (dasa) of Lord Purandara Vittala [Lord Vishnu in one of his many avatars.] is known as the father (Pitamaha) of Carnatic music.

Biography

Purandara Dasa was born in 1484 in Pandarpur, an obscure village near Purandargarh near Poona. He was originally named Shreenivaasa (or Krishnappa) Naayaka. His father's name was Varada Naik. Purandara Daasa was considered an avatar of Sage Narada - when he was studying, he learned music as well. At 16 he married Lakshmibai, and four years later his parents died. Purandara Daasa had 4 sons and a daughter. He worked as a money lender, continued the family business, and became prosperous, but he was infamous as a miser. They said he earned much money and he lived only to earn it. An incident in his life, however, changed him and he gave away all his wealth. From then on, he composed and lived by the popular saying "we must swim across suffering, win victory over it." It is said that Lord Vishnu decided that it was time for Srinivasa Nayaka (Purandara Dasa) to give up his love of money and become a saint. So he came to him as a poor brahmin looking for money for his son's thread ceremony. Nayaka did not give him the money, but the brahmin visited his shop again and again, and after six months, Purandara Daasa gave him a collection of useless, worn-out coins to get rid of him. The brahmin went away unhappily, but knowing Purandara Dasa's wife was a kind woman, he went directly from Purandara Dasa's shop to his house. He told Saraswathi his story and how her husband had sent him away with nothing. Saraswathi wanted to help the poor brahmin, but felt helpless since she could not give anything without her husband's permission. When she explained her helplessness, the brahmin asked if she had something given by her parents (which, presumably, she could give without asking for her husband's permission). She agreed and gave him the diamond nose-stud that her parents had given her. The brahmin took the ornament straight to Purandara Daasa's shop. When Purandara Dasa became angry with the brahmin for coming back, despite his instructions to the contrary, the brahmin clarified that he was there not to beg, but to pledge an ornament and take a loan. Purandara Dasa was skeptical and asked the brahmin to show him the ornament. When he saw the ornament, he was confused because he immediately recognized it as the one belonging to his wife. When Purandara Dasa asked him about it, the brahmin told him that it was a gift from a benefactor. Purandara Dasa asked the brahmin to come the next day and locked the ornament away. When he saw his wife without her ornament he questioned her about it. She tried to stall him, but he insisted on seeing it immediately. He was angry because he thought she had given away a valuable ornament to a beggarly brahmin. Saraswathi knew that her husband would punish her if she told him the truth. So she decided to commit suicide by drinking poison. Just as she was about to drink the poison, she heard a metallic sound. Lo and behold, the ornament was right there in the cup. She could not believe her eyes. Her heart filled with gratitude, she bowed before the idol of Krishna and took the ornament to her husband. Purandara Dasa was astounded as it was the very same ornament that he had safely locked away in his shop. He quickly ran back to the shop to check. The box where he had safely locked away the ornament was empty! He was now completely and totally dumbfounded. He went back to his house, and pressed his wife to tell him the truth. She told him everything that had happened. After deep thought, this Shreenivaasa Naayaka came to the conclusion that the brahmin was none other than God Himself. He recalled all the incidents of the previous six months. He was disgusted with himself, and his miserliness. He felt that his wife had conducted herself far more decently and generously than himself. Since it was his love of money that had made him ill-treat the Lord, he gave away all of his wealth with the Lord's name on his lips and began to compose music.
Purandara Dasa had earned the name Navakoti Naaraayana, indicating his great riches. Then he began a new life with his family - his wife Saraswati, 4 sons (Varadappa, Gururaya, Abhinavappa and Gurmadhvapathi) and a daughter. Like him, his wife and children composed verses and songs. In course of time Purandaradasa came to Hampi and settled down with his wife and children. Every morning Purandaradasa went into the town wearing bells on his ankels and tulasi mala around his neck. He carried a tamboori in the hand and sang his Hari-keertanas sounding the tamboori with his fingers. He sang these songs to the accompaniment of tamboori and the bells tied to his ankles and went about the streets of the town. The people admired the listened to his songs. Purandaradasa accepted alms given to him during the wandering and led a life of renunication. He who had been called Navakoti Narayana now had willingly accepted the life of a saint and begged for his food. In 1525, Purandara Dasa became a disciple of the great Vyaasa Raayaa, who titled him "Purandara Vitthala," which became his signature, which he uses in all his compositions. Vyaasa Raaya praised him, saying "Among the devotees of Hari, Purandara Daasa is the greatest." Purandara Dasa expressed his gratitude by singing "My only refuge is the feet of Vyaasaraja. I was able to understand Purandara Vittala by his grace." The composer was also given the name Purandaropanishat and many other names. The title Vitthala refers to the Lord Vishnu, or Krishna.

Purandara Dasa is said to have composed 475,000 songs in both Kannada and Sanskrit. PurandaradAsa adopted a simple, lucid Kannada style with telling phrases and similes. He sang many rare ragas with among the most beautiful lyrics. He identified 84 ragas, including ragas such as kalyani, varali, todi, bhairavi, and saaveri, which are popular in use today. Tyagaraja's praise in "Prahalada Bhakti Vijayam" is for him and in fact, some of his famous songs are patterned after those by Purandara Dasa, such as Nanupaalimpa, based on Daasa's Bide ninnayya pada. Purandara Dasa also used a variety of musical types: kritis, keertanas - devotional songs, padams - a dance form using hero-heroine, plus many more rare forms. The verses he sang were his own compositiions on a variety of themes. Some of them described Sri Krishna's adventures in this world. Some others sang about God's kindness to man. A few more verses were simple compositions expounding the philosophy contained in the Vedas, Upanishads and Bhagavadgita in simple words. In yet other verses Purandaradasa praises Lord Krishna affectionately. In some verses Purandaradasa has even made fun of the Lord. His songs which preached surrender to Vittala have an elusive fragrance, poetic fervour, extraordinary logic and cutting satire. His music was popularized by M.L. Vasantakumari.
The gods his songs adored: Sri Vittala (Krishna) of Pandarapura is associated with Bhakthi and Bhajan movement since the time immemorial. Sri Vittala is still being adorned by large number of devotees barring caste, religion, sex etc. Sri Purandara Dasa has continued this tradition by keeping his ankita or mudra as Purandara Vittala, and his songs praise this Vittala, meaning Krishna or Vishnu. His songs also praised Ganesha, Saraswathi and other gods and goddesses, but the themes always returned to Vittala.

Musical Background: Although Purandaradasa did not have any musical tutelage in his early years, by the grace of God, he started singing and composing songs. He is acclaimed as the Sangita Pitamaha (Great Father) of Carnatic music, owing to his unparalleled contributions.

Region: Purandaragada, Karnataka

Contribution: He formulated the basic lessons of Carnatic music by structuring Swaravalis (graded exercises), Alankaras (exercises based on the Sapta talas), apart from composing Gitas. He introduced Mayamalavagowla as the first scale to be learnt by a beginner. However, the original tunes of his compositions are unavailable. He was the one of the most prolific composers of Carnatic music. Though he wanted to compose 5,00,000 songs in his lifetime, he could compose only 4,75,000. This has been referred to in one of his own compositions.

The poet and the composer

Purandara Dasa's songs are filled with rhyme and meaning. One song talks about how it is human nature to have desire for material objects, only for God to dispose of them, that the human has to suffer without them (kudure andhana aane bayasodhu nara chiththa paadhachaari aagodhu hari chiththavayya - to ride on a horse chariot or elephant is human desire, but to be a pedestrian is what God wills).
Popular Compositions: Jagadoddharana (Kapi), Jaya Jaya (Nata), Innudaya barade (Kalyanavasantam), Venkatachala nilayam (Sindhubhairavi), and so on.

Signature: The mudra he used was Purandara Vittala

Languages used: Kannada and Sanskrit

Theme: His devotional songs called Devarnamas, contain the essence of the Puranas and Upanishads. His songs have simple language, lofty ideas and sublime thoughts. His favourite deity seems to have been Krishna, also known as Panduranga. However, he has sung in praise of other Gods, as well.
Purandara Dasa was the first of the Haridasas, or "servants of Sri Hari" also known as Vishnu or Krishna. All the Haridasas composed in KannaDa, a language used primarily in Karnataka, but Purandara Daasa established the precedent of composing in the vernacular or common tongue. All Haridasas were servants of God and their songs included the following messages:

God is easily approachable by all.

God is to be praised and constantly remembered as our benefactor.

Realising the true nature of God's benevolence towards us and offering even simple worship within the means available to one is more acceptable to Him than ritualistic or pompous ornamentation without mental participation.

Some of Purandara Dasa's lyrics are really memorable. For example, he writes, Kendake orale muttuvudunte?... Do ants cluster around a hot coal? Another line goes, Hasida bekku hatthiya tindanthe.. Describing a hungry cat eating cotton. These lyrics make it clear that Daasa was a poet as well as a scholar of musical form.

His death: Scholars think that Purandara lived for about 80 years (until 1564). On the basis of the verse in the name of Madvapathi his son it is held that Purandaradasa must have passed away a year before the fall of Vijaynagar. Taking it as authentic, his death anniversary is celebrated on the New Moon Day, in the second fortnight of Pushya.

Compositions:

aanalekara (geetam) - sudda saaveri
amma nimma manegalalli - sowraashtram
aparaadi naanalla - revati
bandadella barali - kaapi
bhaagyada lakshmi baarammaa - shree, madyamaavati
candrachuda - raagamaalika
dayamaado dayamaado - kalyani
deva banda - shankaraabharanam
devaki nandana - raagamaalika
dharma shravanavetake - durga
dharmave jayavemba - shenjurutti
gajavadanaa beduvE - hamsadwani
govindaa ninna - jana sammodhini
hari naaraayana - revati
hari smarane maado - yamunaa kalyani
jagadoddhaaranaa - dhanakaapi, kaapi
jaya jaya jaya jaanakikaantaa - naata
kandenaa govindanaa - candrakowns
kodu bega divyamati - saraswati, vasantaa
ksheeraabdi kannige - raagamaalika
mareya beda manave - kamaas
maaraayanaa - sudda dhanyaasi
nambi kettavaru illavo - kalyani
neenyaako ninna - raagamaalika
ninnane nambi - bhairavi
ninne nodi - thodi
odi baarayya - bhairavi
raama mantrava - jonpuri
raama raama raama raama - raagamaalika
sakala graha bala - athana
sanna hejegalittu - valachi
sharanu siddhi vinaayaka - sowraashtram
sharanu sakaloddhaara - naata
simharoopanaada - kedara gowla
shreenivaasa neene - aananda bhairavi
taamboolava kollu - reeti gowla
taaraka bindige - sowraashTram, tilang
tamboori meetidava - sindu bhairavi
tirupati venkataramana -kharaharapriyaa
venkatachalanilayam - sindu bhairavi
venkataramanane baaro - shankaraabharanam
yaadava nee baa - karnataka devagandhari
yaare rangana - hindolam

Shyama Shastri (1762-1827) - Biography and Complete Works

BIOGRAPHY

Shyama Shastri was the oldest of the Trinity of Carnatic music. He was a contemporary of the other two, Tyagaraja and Muthuswami Dikshitar, and was a personal friend of the former. He was born Venkatakrishna, in Tiruvarur (of Thanjavur district in Tamil Nadu) on April 26, 1762, into the scholarly and priestly Tamil Brahmin family of Viswanatha Iyer; a family not particularly interested in music. Though Shyama Shastri attained scholarship in Telugu and Sanskrit at a young age, he got no further than the elementary stages in music education, in spite of his melodious voice. When he was eighteen years old, his family moved to Tanjore.
Around then, his family got a chance to host a sanyasi (monk), sangitaswami, a master of dance and music, who was spending some four months in Tanjore. The sanyasi was quick to discover Shyama Shastri's keen intellect, melodious voice and musical talent and foresaw greatness in him. He obtained the father's consent to tutor the son in music and taught Shyama Shastri all aspects of raga, tala and swara prasthara-s. The teacher found that the student could absorb even the intricate details very quickly, all in a matter of four months or less. Sangitaswami presented Shyama Shastri with a few rare treatises on music and certified that the student had gained full knowledge on the theoretical aspects of music. He advised his student to seek the friendship of and listen to the music (but not learn anything from) one Pachimiriam Adiyappayya Ayya, a composer of the famous bhairavi ata tala varnam, viriboni, and a court musician in Tanjore. Shyama Shastri duly did as he was advised.
Over the years, Shyama Shastri became a well-known and respected musician, scholar and a composer. He was quite admired and respected by Tyagaraja and it appears that the two of them often held scholarly and lengthy discussions on their latest compositions. Shyama Shastri, like his father was the archaka (priest) in the Bangaru Kamakshi Temple in Tanjore. He was a very pious and genuine devotee of Goddess Kamakshi. He is believed to have lost consciousness of the outside world on several occasions as he prayed to the Goddess. On such occasions, he would sing his kriti-s extemporaneously. His father had the patronage of the Tanjore king. Hence, the family was financially comfortable.
Shyama Shastri had two sons, Panju Shastri and Subbaraya Shastri. The former became a priest and the latter was a versatile musician (and a disciple of Tyagaraja). Through Panju Shastri, the family tree grew and produced quite a few scholars. Shyama Shastri's great grandson was alive till the age of 94 and passed away only in 1950. Hence, many incidents of Shyama Shastri's life are known. He was reportedly a tall and a rather stout person with a fondness for betel leaves! Shyama Shastri, like Tyagaraja and Dikshitar, was well-versed in astrology. Like his great contemporaries, he too correctly predicted the time of his passing. He passed away on February 6, 1827, six days after, his devoted wife passed away.
Although he did not compose as many kriti-s as his two prolific contemporaries, Shyama Shastri's compositions are equally well known. It is said that he has composed about three hundred pieces in all. He did not have too many disciples to propagate his compositions, nor was the printing press an easy convenience during his time! More importantly, the scholarly nature of his compositions was not appealing to the layperson; they needed to be studied to be savoured. He composed in Telugu, Sanskrit and Tamil and mostly on Goddess Devi. He has composed kriti-s in, varnam-s and swarajati-s with the ankita/mudra (signature) 'Shyama Krishna'. He is said to be the architect of the swarajati musical form. His set of three famous swarajati-s is referred to as ratna trayam. These are in Bhairavi, Yadukulakambodhi and Todi.
Shyama Shastri's compositionsare usually in common raga-s, except for a few in raga-s such as Manji, Chintamani, Kalagada and Karnataka Kapi. His favourite raga-s seem to have been Saveri and Anandabhairavi, judging from the number of kriti-s composed in these raga-s. Anandabhairavi, an old raga that was frequently used in folk music, seemed to acquire a new stature after he composed masterpieces such as mariveregati, himachala tanaya, o jagadamba, pahi sri giriraja and even a couple of varnam-s in it. His rare originality was in swara sahitya compositions and the use of swarakshara. In other words, swara and sahitya having identical sounding syllables such as 'padasarara' corresponding to the swara-s pa da sa in the kriti, devi ni in Kambodhi. Though most of his compositions are on Goddess Kamakshi, he is said to have composed his navaratnamalika on Goddess Meenakshi of Madurai at the request of a person unknown to him. These include kriti-s such as saroja dala netri in Shankarabharanam, mayamma in Ahiri, meena lochana brova in Dhanyasi , etc. His Krithis usually have the pen-name ShyamaKrishna in the charanam of the song.
Shyama Shastri would perhaps stand out most for the "rhythmic beauties" employed in his kriti-s, such as the use of five-syllable words like sarasamukhi, varamosagu, kamalamukhi, etc. These correspond to the rhythmic phrase "ta dhin gi na thom". His kriti-s feature the abundant use of the misra chapu tala (4+3). He also features dual rhythms as in sankari samkuru in raga saveri, with the inherent rhythm of rupakam and a suggestive rhythm of adi tala. "Shyama Shastri had a rhythmical frame of mind and he was always swimming in the ethereal regions of rhythm and tala prasthara.

Musical Background: Syama Sastri did not come from a family of musicians, but was taught some music by his uncle. Despite being groomed to be a priest, he had plenty of interest and talent in music. He was taught by an ascetic, Sangeeta Swami, about the intricacies of raga and tala.

Region: Syama Sastri was born in Tiruvarur, Tanjavur district, but lived in Tanjavur. He did not travel much.

Contributions

Rhythmic aspects: Some of Syama Sastri’s songs are very rich in rhythmic conception. Though he composed in talas like
Adi, Triputa, Roopaka, etc., he specialised in Misra Chapu, where he not only used the normal pattern (3+4), but also
the reverse (4+3), called the Viloma Chapu. His use of different gatis like Tisra and Misra in his compositions show his
prowess in Laya. There is an interesting incident, which is a testimony to his strength in Laya. He was once challenged by Bobbili
Kesavayya to sing a Pallavi in Simhanandana tala (the longest tala with 128 beats per cycle). To everyone's amazement,
he not only sang it but also composed a new Pallavi in Sarabhanandana tala (79 beats per cycle).

Theme: His compositions were totally devotional in nature, mostly in praise of Goddess Kamakshi of Kanchipuram.

Languages used: Predominantly Telugu; a few in Sanskrit and Tamil.

Signature: Syama Sastri used the mudra, Syamakrishna.

Popular kritis: Kamakshi (Bhairavi), Himadrisute (Kalyani), Sankari Sankuru (Saveri) etc.

Compositions: Shyama Shastri is credited with about 300 songs, of which only about 60 - 70 are available today. He
composed a group of nine kritis known as Navaratnamalika (garland of nine gems) in praise of Goddess Meenakshi of
Madurai temple. He has composed three peerless Swarajatis, collectively known as the Ratnatrayam. He has also
composed a few Varnams, not to mention other compositions in rare ragas, like Chintamani (his own discovery),
Kalagada etc. His favourite raga seems to be Anandabhairavi, in which he has excelled himself.

Compositions Of Shyama Shastri (1762-1827)

These compositions are ordered by Ragam classified by mela. These are fllowed by the song title, specific janya ragam,
and the talam. If you are looking for a particular song in this massive list, I can offer you two suggestions: 1)Hit
CTRL+F or go to the edit menu and select find on your browser and enter the contexts you would like to search for

Melakartas

8. HanumatodiEmani Migula - Todi - Adi Karunanidhi Ilalo - Todi - Rupakam Ninne Namminanu - Todi - Mishra Capu Rave Himagiri Kumari (Svarajati) - Todi - Adi Mina Locana Brova - Dhanyasi - Mishra Capu Enneramum - Punnagavarali - Adi Kanaka Shaila Viharini - Punnagavarali - Adi Brova Samayamu - Punnagavarali - Adi

13. GayakapriyaParvati Ninnu Nera - Kalgada - Tishra Gati Adi

14. VakulabharanamMayammayani Ne - Ahiri - Adi

15. MayamalavagaulaTarunam Idamma - Gaulipantu - Adi Nannu Brovarada - Gaulipantu - Mishra Capu Purahara Jaye - Gaulipantu - Mishra Capu Dayajuda - Jaganmohini - Mishra Capu Kamaksi Karunakataksi - Pharaj - Triputa Triloka Mata Nannu - Pharaj - Mishra Capu Santatam Ennai Raksippai (Gitam) - Pharaj - Adi Nannu Brova - Vasanta - Eka Janani Natajana - Saveri - Adi Durusuga Krpa Juci - Saveri - Adi Sarasaksi (Gitam) - Saveri - Triputa Shahnkari Shamkuru Candramukhi - Saveri - Tishra Gati Adi Shri Patimukha Viracita - Saveri - Adi Rave Mayamma Bahngaru - Saveri - Adi Sarva Sakhi (Gitam) - Saveri - Triputa Nilayataksi - Saveri-Mayamalavagaula-Pharaj - Triputa

17. SuryakantamNannu Brovu Lalita - Lalita - Mishra (Viloma) Capu Namanavini (Varnam) - Saurastram - Caturashra Ata

20. NathabhairaviAdinamunihnci - Anandabhairavi - Triputa O Jagadamba - Anandabhairavi - Adi Pahi Shri Girirajasute - Anandabhairavi - Rupakam Marivere Gati - Anandabhairavi - Triputa Mahilo Amba - Anandabhairavi - Adi Samini Rammanave (Varnam) - Anandabhairavi - Ata Himacala Tanayu - Anandabhairavi - Viloma Capu Bahngaru Kamaksi - Anandabhairavi - Adi Ninnu Namminanu (Pada Varnam) - Anandabhairavi - Adi Sara Saksi I Vela - Anandabhairavi - Ata Kamaksi Amba (Svarajati) - Bhairavi - Mishra Capu Parvati Janani (Gitam) - Bhairavi - Khanda Matya Sari Evaramma - Bhairavi - Jhampa Vanita Ninne (Tana Varnam) - Bhairavi - Adi Brovavamma - Mahnji - Mishra Capu

21. KiravaniBrovumu Manine - Kiravani - Adi

22. KharaharapriyaAkhilandeshvari - Karnataka Kapi - Adi Kamaksi Lokasaksi - Madhyamavati - Triputa Palihncu Kamaksi Pavani - Madhyamavati - Adi Brhannayaki - Madhyamavati - Tishra Matya Palimpavamma Parama Pavani - Mukhari - Adi Ninnu Vina Mari Galada - Ritigaula - Rupakam (Tishra Nadai Adi) Karunajuda Ninnu - Shri - Mishra Capu

28. HarikambhojiDevi Ni Pada Sarasamule - Kambhoji - Adi Ninne Nammiti - Kedaragaula - Adi Parakela Nannu - Kedaragaula - Adi Mayamma Nannu Brova - Natakurahnji - Adi Kamaksi Nipadayugamu (Svarajati) - Yadukulakambhoji - Mishra Capu

29. DhirashahnkarabharanamDevi Mina Netri - Shahnkarabharanam - Adi Saroja Dala Netri - Shahnkarabharanam - Adi Nannu Karunihnci Brovu - Shahnkarabharanam - Rupakam Palayashumam - Arabhi - Triputa Nannu Brovarada - Janarahnjani - Triputa Brovavamma - Nilambari - Triputa Ninnu Vina - Bilahari - Jhampa Kamaksi Natovada - Begada - Adi Dayanidhe Mamava (Varnam) - Begada - Adi Sami Ninne - Begada - Adi

36. CalanataPahi Mam Shri Rajarajeshvari - Nata - Rupakam

39. JhalavaraliKarunajudavamma - Varali - Mishra Capu Kamaksi Bahngaru - Varali - Triputa

53. GamanashramaEnneramum - Purvikalyani - Triputa Ninnuvinaga - Purvikalyani - Deshadi, Mishra Nadai

56. ShanmukhapriyaDevi Brova Samayamide - Cintamani - Adi

65. MecakalyaniTalli Ninnu Nera - Kalyani - Mishra Capu Devi Nannu Brova - Kalyani - Jhampa Nive Gatiyani - Kalyani - Tishra Matya Paramukhamenamma - Kalyani - Triputa Birana Varalicci - Kalyani - Tishra Nadai Adi Rave Parvata Rajakumari - Kalyani - Jhampa Shahnkari Shahnkari - Kalyani - Ata Shri Kamaksi - Kalyani - Adi Himadri Sute Pahimam - Kalyani - Tishra Nadai Adi

MUTHUSWAMI DIKSHITAR (1775 - 1835) - BIOGRAPHY AND COMPLETE WORKS

Muttusvami Dikshitar (1775-1835) - The youngest of the Carnatic Musical Trinity was born in 1776, brought up with 2 brothers and a sister with great care and acquiring proficiency in both music and Sanskrit. His family moved to Manali, where he became a disciple of Cidambaranaata Yogi and went to Varanaasi. For 5 years he stayed there and learned Hindustani music, especially the Dhrupad style of music. After his guru died, he returned to the south and came to the holy shrine of Tiruttani to pray and meditate before Lord Subramanya. One day the Lord appeared to him, asked him to open his mouth, placed a piece of sugar candy in his mouth, and disappeared. After this, Dikshitar began composing beautiful kritis. The first piece he sang was "ShreenataDi guruguhO jayati jayati." Then he went to Kaanceepuram and sang songs in praise of Ekaambaratanaata and Kaamaakshi. He visited various temples to compose songs, from the TaamrapaaNi River (Shree kaantimateem) and Rameshwaram (Raamanaatham bhajEham) to Kaasi (Kaasi visaalakshi). Then he returned to Tiruvaaroor, where he gathered disciples and taught them his composition. His brothers became proficient at rendering his compositions as well and went to Madurai to teach these songs. Once, because of poverty, Dikshitar did not have the means to make his offerings to the deity. His disciple, the famous dancer Kamalam, offered to pledge her jewels and raise the money. He refused and composed "Tyaagaraajam bhajarE," trusting in God. Soon 2 cartloads of food and articles reached his house as a gift from the manager of the choultry. After the death of his brother Cinnaswaami, his brother Baalaswaami left and was made a Samastaana Vidwaan at ETTayapuram in 1824. Dikshitar left to meet his suriving brother, and on the way fervently sang "Aanandaamruta" in amritavarshini, seeing the dry condition of the land. Apparently, there was a heavy downpour soon afterward. Dikshitar met his brother and attended his marriage as well. Then he returned to Tiuvaaroor. His group kritis include the navagraha kritis in praise of the 7 principal planets and the Kamalaambaa navaavarana kritis - 9 songs in praise of the deity of Tiruvaaroor. He also composed small kritis with SamaashTi caraNams (which include both Anupallavi and CaraNam). 461 songs in 191 raagams are available today. He used characteristic phrases of raagam and was a master of rhyme. He often chose a slow tempo. In 1835 he went to ETTaiyapuram to attend a marriage in the royal family and stayed there. "Meenaakshi mE mudam" is supposed to be one of his last compositions, created in Madurai on his way to ETTaiyapuram, where he passed away on October 21, 1835

Early years

Consistent with the education of Brahmin boys of that time, Muttuswami learnt the Vedas, Sanskrit and other important religious texts. He also obtained his preliminary musical education from his father. While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi, to gain musical and philosophical knowledgde. Over the course of this pilgrimage, he visited many places in North India, and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambarantha Yogi, presented him with a unique Vina, and passed away shortly thereafter. The Samadhi of Chidambaranatha Yogi can still be seen in the Hanuman Ghat area in Varanasi.
Muttuswami Dikshitar attained mastery over the Vina instrument, and the influence of Vina playing is evident in his compositions. He composed his first song "Sri nathadhi guruguho" in the Raga Maya-malava-gowla, in the temple of Tiruttani (near present day Chennai). The song was in praise of his Guru, but also in praise of the Lord Subramanya, who is identified with the concept of a "teacher" or guru in the Hindu theology.

Contribution

Muthuswami Dikshitar, it is said, composed his first kriti after having a vision of Lord Subramanya, his favourite deity. He composed the Vara kritis, which are seven in number, one for each day of the week. These are set to the Sooladi Sapta talas. Drawing inspiration from Oothukadu Venkata Kavi, he also composed the Navavarana kritis in praise of Devi (Kamalamba), one for each of the nine days of the Navaratri festival. Being a widely travelled man, he composed several songs in many Hindustani ragas. His songs are normally slow in tempo and bring out the depth and beauty of the raga using ornamentation (gamakas). He also used what is known as Madhyamakala (medium tempo) Sahitya very effectively in his compositions.

Theme

That he was a much-travelled man is reflected in his compositions. Most of them contain descriptions about famous temples and their chief deities. There are also several others based on Vedas, Upanishads, Tantra, etc.

Languages used
Mostly Sanskrit and a few in Telugu. He has also composed Manipravala kritis, which is a mixture of two or more languages.

Signature: His signature or mudra is Guruguha, which is another name for Lord Subramanya.

Mudra: Guruguha

Popular kritis: Vatapi Ganapatim (Hamsadhwani), Annapoorne (Sama), Kanjadalayatakshi (Kamalamanohari) and so on.

Compositions Of Muthuswamy Dikshitar (1776-1827)

These compositions are ordered by Ragam classified by mela. These are followed by the song title, specific janya ragam, and the talam. If you are looking for a particular song in this massive list, I can offer you two suggestions: 1)Hit CTRL+F or go to the edit menu and select find on your browser and enter the contexts you would like to search for.

Melakartas:

1. Kanakambari - Kanakahngi

Kanakambari Karunyamrta Lahari - Kanakambari - Rupakam Akhilandeshvaro Raksatu - Shuddha Saveri - Rupakam
Ekamreshanayike - Shuddha Saveri - Adi
Muraharena Mukundea - Shuddhamukhari - Rupakam

2. Phenadyuti - Ratnangi

Shri Daksinamurtimisham - Phenadyuti - Adi

3. Ganasamavarali - Ganamurti

Brhadishvaro Raksatumam - Ganasamavarali - Rupakam Parameshvarena - Purvavarali - Adi
Matsyavatara Mamava - Bhinnapahngamam -Adi

4. Bhanumati - Vanaspati

Guruguhasvamini - Bhanumati - Khanda Triputa Talam
Brhadamba Madamba - Bhanumati - Adi

5. Manorahnjani - Manavati
Balambike Pahi - Manorahnjani - Matyam

6. Tanukirti - Tanarupi Cidambara Natarajamurtim - Tanukirti - Mishra Capu

7. Senagrani - Senavati
Jhnanambike Palaya Mam - Senagrani - Tishra Ekam

8. Janatodi - HanumatodiTodi - Rupakam Todi - Rupakam Mahaganapatim Vande - Todi - Rupakam Palaya Mam Brhadishvari - Todi - Rupakam Ramacandraya - Todi - Mishra Capu Vedaranyeshvaraya - Todi - Adi Shri Krsnam Bhaja Manasa - Todi - Adi Shri Subrahmanyo Mam Raksatu - Todi - Adi Kumarasvaminam - Asaveri - Adi Candram Bhaja Manasa - Asaveri - Caturashra Matyam Ganalole - Nagavarali - Mishra Capu Ehi Annapurne- Punnagavarali - Adi Kamalambikayastava Bhaktoham - Punnagavarali - Rupakam

9. Dhunibhinnasadjam - DhenukaCidambareshvam - Dhunibhinnasadjam - Adi Shri Guruguhamurte - Udayaravicandrika - Rupakam Sadacaleshvaram Bhavaye - Bhupalam - Adi Mohananataragapriye Lalite - Mohananata - Adi

10. Natabharanam - NatakapriyaVishvanatham Bhajeham - Natabharanam - Adi

11. Kokilaravam - KokilapriyaKodandaramam - Kokilaravam - Adi

12. RupavatiShri Krsnam Bhajare - Rupavati - Tishra Ekam

13. Geyahejjajji - GayakapriyaRamacandrabhaktam - Geyahejjajji - Adi

14. Vativasantabhairavi - VakulabharanamPrasannavehnkatesham - Vativasantabhairavi - Triputa Brhadishvarim Bhajare - Lalitapahncamam - Adi

15. MayamalavagaulaNilotpalambikayastava - Mayamalavagaula - Mishra Capu Shri Nathadi Guruguho Jayati - Mayamalavagaula - Adi Shri Ganeshatparam - Ardradeshi - Jhampa Agastishvaram - Lalita - Mishra Capu Hiranmayim Laksmim - Lalita - Rupakam Renukadevi - Kannada Bahngala - Mishra Jhampa Gunijanadi - Gujjari - Adi Rajarajendra - Gundakriya - Triputa Tyagaraja Palaya - Gaula - Adi Nilotpalambikayah Param - Gaula - Rupakam Mahisasuramardini - Gaula - Khanda Capu Shri Mahaganapati- Gaula - Mishra Capu Krsnananda Mukundamurare - Gaulipantu - Mishra Capu Gauri Girirajakumari - Gauri - Rupakam Shri Minaksi Gauri - Gauri - Rupakam Nilotpalambike - Chayagaula - Rupakam Sarasvatya Bhagavatya Samraksitoham - Chayagaula - Mishra Capu Namaste Paradevate - Devarahnji - Tishra Ekam Sundaramurtim Ashrayami - Takka - Rupakam Nilakanthaya - Nadanamakriya - Mishra Capu Pratyahngirabhagavatim - Nadanamakriya - Mishra Capu Shri Guruna Palitosmi- Padi - Rupakam Cintaye Mahalihnga - Pharaj - Adi Madhuramba Jayati - Pharaj - Mishra Capu Mahalihngeshvaram - Pharaj - Adi Shri Shukrabhagavantam- Pharaj - Khanda Ata Sadhujanacitta Sarasijodayam - Purnapahncamam - Triputa Shri Guruguhasya Dasoham - Purvi - Mishra Capu Shri Parvatiparameshvarau Vande- Bauli - Adi Shri Bhargavi - Mahngalakaishiki - Mishra Capu Pahncamatahngamukha Ganapatina - Malahari - Rupakam Vighineshvaram - Malahari - Adi Vasudevamupasmahe - Malavapahncamam - Rupakam Maruvakadi Malini Sulini - Maruva - Adi Mahngaladevate Paradevate - Margadeshi - Adi Vehnkateshvara Yadava Bhupatim - Megharahnjani - Rupakam Govindarajena Raksitoham - Mecabauli - Rupakam Rama Rama - Ramakali - Rupakam Sharavanabhava - Revagupti - Rupakam Sadavinathasadare - Revagupti - Rupakam Nilakantha - Vasanta - Rupakam Brhadambikayai - Vasanta - Mishra Capu Marakatalihngam - Vasanta - Adi Ramacandram Bhavayami - Vasanta - Rupakam Hariharaputram- Vasanta - Khanda Ekam Avyajakarunakataksi - Salahnganata - Tishra Triputa Karikalabhamukham- Saveri - Rupakam Shri Rajagopala - Saveri - Adi Gokarneshvara - Saurastram - Adi Varalaksmim - Saurastram - Adi Suryamurte Namostute- Saurastram - Caturashra Dhruvam

16. Toyavegavahini - CakravakamKailasanatham - Vegavahini - Adi Gajananayutam - Vegavahini - Caturashra Ekam Varahim Vaisnavim - Vegavahini - Mishra Capu Vinayaka Vihna - Vegavahini - Rupakam Vinapustakadharinim - Vegavahini - Khanda Ekam

17. Chayavati - SuryakantamChayavatim Anandavallim - Chayavati - Adi

18. Jayashuddhamalavi - HatakambariNaraharimashrayami - Jayashuddhamalavi - Triputa

19. Jhahnkarabhramari - JhahnkaradhvaniHimacalakumarim Bhaje - Jhahnkarabhramari - Rupakam

20. Nariritigaula - NatabhairaviNilotpalambam- Nariritigaula - Mishra Capu Shri Nilotpalanayike - Nariritigaula - Rupakam Abhayamba Nayaka Harisayaka - Anandabhairavi - Adi Anandeshvarena - Anandabhairavi - Mishra Capu Kamalamba Samraksatu Mam- Anandabhairavi - Mishra Capu Tyagarajayogavaibhavam - Anandabhairavi - Rupakam Dandayudhapanim - Anandabhairavi - Rupakam Paradevate - Anandabhairavi - Adi Manasa Guruguha - Anandabhairavi - Rupakam Sami Ni - Anandabhairavi - Adi Vinabheri- Abheri - Adi Kusumakara - Ahiri - Adi Shri Kamalamba Jayati- Ahiri - Rupakam Balakrsnam - Gopikavasantam - Adi Shri Kamalambike Avava - Ghanta - Adi Shri Mahngalambikam - Ghanta - Jhampa Paradevata Brhatkucamba - Dhanyashi - Adi Mahngaladevataya - Dhanyashi - Rupakam Mayuranatham - Dhanyashi - Mishra Capu Ramacandradanyam - Dhanyashi - Khanda Capu Vedapurishvaram - Dhanyashi - Adi Shri Rahnganathaya - Dhanyashi - Rupakam Navaratna Vilasa Vaibhava - Navaratnavilasam - Adi Nagagandhari - Nagagandhari - Adi Sarasijanabha Sodari- Nagagandhari - Rupakam Aryam Abhayambam Bhajare - Bhairavi - Khanda Jati Ata Cintaya Makanda - Bhairavi - Rupakam Trilocanamohinim - Bhairavi - Adi Devi Jagadishvari - Bhairavi - Rupakam Balagopala - Bhairavi - Adi Lalitambikayai - Bhairavi - Mishra Capu Shri Kamalambikayah Param Nahi Re- Bhairavi - Mishra Jhampa Ramacandrena - Mahnji - Rupakam Shri Sarasvati Hite - Mahnji - Adi Candrasekharam- Margahindolam - Adi Margahindolaraga - Margahindolam - Adi Ekamranathaya - Mukhari - Rupakam Govindarajam - Mukhari - Mishra Capu Pahi Mam Ratnacalanayaka - Mukhari - Adi Govarddhana Girisham - Hindolam - Rupakam Nirajaksi Kamaksi - Hindolam - Rupakam Sarasvati Vidhiyuvati- Hindolam - Rupakam Tyagaraja - Hindolam - Rupakam Santana Ramasvaminam- Hindolavasantam - Adi

21. Kiranavali - KiravaniPahncabhutakiranavalim - Kiranavali - Khanda Ekam Shri Vehnkatesham - Kalyanavasantam

22. Shri Raga - KharaharapriyaKameshvarena - Shri - Adi Tyagaraja Mahadhvajaroha - Shri - Adi Shri Abhayamba - Shri - Adi Shri Kamalambike- Shri - Khanda Ekam Shri Muladharacakravinayaka - Shri - Adi Shri Varalaksmi - Shri - Rupakam Shri Laksmivaraham- Abhogi - Adi Nilotpalambikaya - Kannadagaula - Adi Balambikayah - Kanada (Kapi) - Adi Vishveshvaro Raksatu - Kanada (Kapi) - Adi Virahanumate Namo- Kapi - Rupakam Vehnkatacalapate - Kapi - Adi Shri Maharahnji (Manipravalam) - Kapi - Khanda Ekam Kayarohanesham- Devagandharam - Rupakam Pahncashatpitharupini- Devagandharam - Adi Tripurasundari - Devamanohari - Adi Bharati Mathisna - Devamanohari - Rupakam Mahadevena - Devamanohari - Adi Varahim - Devamanohari - Triputa Tyagarajadanyam - Darbar - Adi Halasyanatham - Darbar - Adi Palaya Mam Brhadishvara - Nayaki - Rupakam Pranatartiharam - Nayaki - Adi Rahnganayakam Bhavayeham- Nayaki - Adi Rahngapuravihara - Brndavana Sarahnga - Rupakam Saundararajam Ashraye - Brndavana Sarahnga - Rupakam Svaminathena - Brndavana Sarahnga - Adi Kalabhairavam - Bhairavam - Rupakam Mamava Pattabhirama - Manirahngu - Mishra Capu Dharmasamvardhani- Madhyamavati - Rupakam Pannagashayana - Madhyamavati - Adi Mahatripurasundari - Madhyamavati - Rupakam Shri Rajarajeshvarim - Madhyamavati - Rupakam Kanakasabhapatim - Malavashri - Adi Mahngalambayai Namaste - Malavashri - Jhampa Mahalaksmi Karunarasalahari - Madhavamanohari - Adi Gananayakam Bhajeham Bhaje - Rudrapriya - Adi Tyagesham Bhajare - Rudrapriya - Adi Parashaktim - Rudrapriya - Adi Rudrakopa - Rudrapriya - Rupakam Shivakayarohaneshaya - Rudrapriya - Rupakam Shri Tyagarajasya - Rudrapriya - Mishra Capu Shri Parthasarathina - Shuddha Dhanyashi - Rupakam Subrahmanyena Raksitoham - Shuddha Dhanyashi - Adi Kamaksi Mam Pahi - Shuddhadeshi - Rupakam Ni Sati Daivamu (Telugu Daru) - Shrirahnjani - Rupakam Parvatarajakumari - Shrirahnjani - Adi Balambikaya - Shrirahnjani - Caturashra Ekam Shri Dum Durge - Shrirahnjani - Khanda Ekam Shri Ramacandro - Shrirahnjani - Mishra Capu Abhayambayam Bhaktim Karomi - Sahana - Triputa Ishanadi Shivakaramahnce - Sahana - Rupakam Ramakrsnena - Sahana - Adi Shri Kamalambikayam Bhaktim Karomi - Sahana - Tishra Triputa Tyagarajena - Salagabhairavi - Adi Saindhaviragapriye - Saindhavi - Adi Paradevate Bhaktapujite - Huseni - Adi Shri Kalahastisha - Huseni - Khanda Capu

23. Gaurivelavali - GaurimanohariKaumari Gauri Velavali - Gaurivelavali - Adi Parashakti Ishvari - Gaurivelavali - Adi

24. Viravasantam - VarunapriyaEkamranathaya - Viravasantam - Rupakam Viravasanta Tyagaraja - Viravasantam - Adi

25. Sharavati - MararahnjaniSharavatitata - Sharavati - Rupakam

26. Tarahngini - CarukeshiPalaya Mam Parameshvari - Tarahngini - Rupakam Maye Tvam Yahi - Tarahngini - Adi

27. Saurasena - SarasahngiSaurasenesham Vallisham - Saurasena - Adi

28. Harikedaragaula - HarikambhojiAbhayamba Nayaka Varadayaka - Kedaragaula - Adi Abhayambaya Anyam Na Jane - Kedaragaula - Jhampa Nilakantham Bhajeham - Kedaragaula - Rupakam Nilotpalambikayai - Kedaragaula - Adi Balambikayah - Kedaragaula - Rupakam Tyagarajo - Atana - Rupakam Brahaspate Tarapate - Atana - Tishra Triputa Mahalihngeshvaraya - Athana - Adi Vamahngastitaya - Athana - Khanda Ekam Shri Daksinamurtim - Athana - Khanda Ekam Shri Madhurambikaya - Athana - Mishra Capu Shri Vaidyanatham - Athana - Adi Herambaya - Athana - Rupakam Brhannayaki - Andhali - Adi Ananta Balakrsna - Ishamanohari - Adi Jagadishamanohari - Ishamanohari - Rupakam Shri Gananatham - Ishamanohari - Rupakam Giticakrarathastitayai - Kannada - Mishra Capu Palaya Mam Parvatisha - Kannada - Rupakam Shri Matrbhutam - Kannada - Mishra Capu Dandanathaya - Kamas - Adi Shri Svaminathaya - Kamas - Khanda Capu Sadanane - Kamas - Adi Santanagopalakrsnam - Kamas - Rupakam Sarasadalanayana - Kamas - Triputa Enta Ninne Dhelupudura - Kamas - Tishra Ekam Kamalambikayai Kanakamshukayai - Kambhoji - Khanda Ata Kashi Vishveshvara Ehi - Kambhoji - Ata Kailasanathena - Kambhoji - Mishra Capu Gopalakrsnaya Namaste - Kambhoji - Adi Marakatavallim Manasa - Kambhoji - Adi Shri Valmikalihngam - Kambhoji - Ata Shri Subrahmanyaya Namaste - Kambhoji - Rupakam Sambasadashivaya - Kambhoji - Adi Sarasvati Chayatarahngini - Chayatarahngini - Adi Gahnge Mam Pahi - Juhnjuthi - Khanda Ekam Gajamba Nayako - Juhnjuthi - Mishra Capu Ganesha Kumara - Juhnjuthi - Caturashra Ekam Akhilandeshvari - Jujavanti - Adi Cetas Shri Balakrsnam Bhajare- Jujavanti - Rupakam Shrirama - Jujavanti - Rupakam Madhuramba Samraksatu - Devakriya - Adi Lalitambikam - Devakriya - Adi Shri Guruguha Tarayasumam- Devakriya - Rupakam Shri Vatukanatha - Devakriya - Mishra Capu Sandhya Devim - Devakriya - Adi Mahaganapate Palayasu - Natanarayani - Adi Gajadishadanyam - Natakurahnji - Mishra Capu Parvatikumaram - Natakurahnji - Rupakam Balambikayai - Natakurahnji - Rupakam Budham Ashrayami- Natakurahnji - Mishra Jhampa Shivakamipatim - Natakurahnji - Adi Nilotpalamba Jayati - Narayanagaula - Mishra Capu Shri Ramam Ravikulabdhi - Narayanagaula - Adi Guruguhadanyam - Balahamsa - Jhampa Mamava Raghuvira - Mahuri - Mishra Capu Abhayambikayai Ashvarudhayai- Yadukulakambhoji - Rupakam (2 Kalai) Tyagarajam Bhajare - Yadukulakambhoji - Mishra Capu Divakaratanujam Shanaishcaram- Yadukulakambhoji - Caturashra Ekam Annapurne Vishalaksi - Sama - Adi Guruguhaya - Sama - Adi Tripurasundari - Sama - Rupakam Parvatavardhani - Sama - Adi Ahngarakam Ashrayami Aham- Surati - Rupakam Govindarajaya Namaste - Surati - Rupakam Balakucambike - Surati - Rupakam Balasubrahmanyam - Surati - Adi Lalitaparameshvari - Surati - Adi Shri Vahncanatha - Surati - Adi Shri Vehnkatagirisham - Surati - Adi

29. DhirashahnkarabharanamAksayalihngavibho - Shahnkarabharanam - Mishra Capu Gajananaya Namaste - Shahnkarabharanam - Rupakam Girijayajaya Abhayamibikaya - Shahnkarabharanam - Adi Tarakeshvara - Shahnkarabharanam - Adi Daksinamurte - Shahnkarabharanam - Mishra Jhampa Nagalihngam Bhajeham - Shahnkarabharanam - Adi Pavanatmajam - Shahnkarabharanam - Adi Brhadishvaraya - Shahnkarabharanam - Adi Shri Kamalambikaya Kataksitoham- Shahnkarabharanam - Rupakam Shri Venugopalam - Shahnkarabharanam - Rupakam Sadashivamupasmahe - Shahnkarabharanam - Adi Sundareshvaraya - Shahnkarabharanam - Rupakam Shahnkarabharanam Nottusvara: Ahnjaneyam - Tishra Ekam Kamalasana - Caturashra Ekam Kahncisham - Tishra Ekam Guruguha Sarasija - Caturashra Ekam Guruguhapadapahnkaja - Tishra Ekam Gurumurte - Rupakam Cintayeham Sada - Caturashra Ekam Jagadisha - Caturashra Ekam Dasharathe - Tishra Ekam Dinabandho - Tishra Ekam Pahnkajamukha - Tishra Ekam Paradevata - Tishram Paradevate - Rupakam Parvatipate - Caturashra Ekam Pahi Durge - Caturashra Ekam Pahi Mam - Tishra Ekam Pitavarnam - Tishra Ekam Maye Citkale - Tishra Ekam Mucukundavarada - Tishra Ekam Rajivalocanam - Tishra Ekam Rama Janardana - Tishra Ekam Ramacandram - Caturashra Ekam Vande Minaksi - Caturashra Ekam Varadaraja Pahi - Tishra Ekam Varashivabalam - Caturashra Ekam Vagdevi - Caturashra Ekam Shaktisahita - Tishra Ekam Shahnkaravara - Rupakam Shaurividhi Nute - Caturashra Ekam Shyamale Minaksi - Caturashra Ekam Shri Shahnkara - Tishram Sakalasuravinuta - Caturashra Ekam Sadashiva Jaye - Caturashra Ekam Santatam Govindarajam - Tishra Ekam Santatam Pahimam - Tishra Ekam Santanasaubhagya - Tishra Ekam Samaganapriye - Caturashra Ekam Subrahmanyam - Caturashra Ekam Somaskandam - Tishra Ekam He Maye - Tishra Ekam Akhilandeshvaryai - Arabhi - Adi Adipurishvaram - Arabhi - Adi Ganarajena - Arabhi - Mishra Capu Gaurishaya Namaste - Arabhi - Triputa Marakoti Koti Lavanya - Arabhi - Jhampa Shivakameshvaram - Arabhi - Adi Shri Sarasvati Namostute - Arabhi - Rupakam Shvetaranyeshvaram - Arabhi - Adi Shri Venugopala - Kurahnji - Jhampa Ambikaya Abhayambikaya- Kedaram - Adi Anandanatanaprakasham - Kedaram - Mishra Capu Cidambara Natarajam - Kedaram - Adi Kumbheshvaraya - Kedaram - Rupakam Ksitijaramanam - Devagandhari - Adi Vadanyeshvaram - Devagandhari - Adi Shalivatishvaram - Devagandhari - Adi Shri Minambikayah - Devagandhari - Rupakam Amba Nilayataksi - Nilambari - Adi Tyagarajam Bhajeham - Nilambari - Rupakam Nilahngam - Nilambari - Khanda Ekam Siddhishvaraya - Nilambari - Mishra Capu Hastivadanaya Namastubhyam - Navaroj - Mishra Capu Brhadishvaram Bhajare - Nagadhvani - Adi Shahnkaranarayanam - Narayanadeshaksi - Adi Mahisasuramardinim - Narayani - Mishra Capu Shahnkhacakragadha Panim - Purnacandrika - Rupakam Shri Rajarajeshvari - Purnacandrika - Adi Shri Rahnganathamupasmahe - Purnacandrika - Adi Nilotpalambikayam - Purvagaula - Rupakam Ekadantam Bhajeham - Bilahari - Mishra Capu Kamaksi Varalaksmi - Bilahari - Adi Shri Balasubrahmanyagaccha - Bilahari - Mishra Capu Shri Madhurapuriviharini - Bilahari - Rupakam Shri Sambashivam - Bilahari - Adi Hatakeshvara - Bilahari - Rupakam Tyagarajaya Namaste - Begada - Rupakam Madhurambayah - Begada - Mishra Capu Vallabhanayakasya Bhakto - Begada - Rupakam Shri Matah Shivavamahnge - Begada - Adi Somasundareshvaram - Shuddhavasantam - Adi Sarasvati Manohari Shahnkari - Sarasvatimanohari - Adi Parvatipatim - Hamsadhvani - Adi Vatapi Ganapatim Bhajeham - Hamsadhvani - Adi

30. Nagabharanam - NaganandiniNagabharanam - Nagabharanam - Adi Pranatartiharaya - Samanta - Adi Vishvanathena - Samanta - Adi

31. Kalavati - YagapriyaKalavati Kamalasana Yuvati - Kalavati - Adi

32. Ragacudamani - RagavardhaniShvetaganapatim - Ragacudamani - Triputa

33. Gahngatarahngini - GahngeyabhusaniVaradaraja Vava Vahncitadhika - Gahngatarahngini - Rupakam Kahnjadalayataksi Kamaksi Kamalamanohari Tripurasundari - Manohari - Adi Shahnkaramabhiramimanoharam - Manohari - Rupakam

34. Bhogachayanata - VagadishvariBhogachayanatakapriye - Bhogachayanata - Adi

35. Shailadeshaksi - ShuliniShailarajakumari - Shailadeshaksi - Adi Shri Shulinim Shri Tapalini - Shailadeshaksi - Adi

36. Calanata - CalanataParameshvara Jagadishvara - Calanata - Adi Pavanatmajagaccha - Calanata - Jhampa Mahaganapatim Manasa Smarami - Calanata - Caturashra Ekam Svaminatha Paripalayasumam - Calanata - Adi Sakala Sadanakela - Nata

37. Saugandini - SalagamKamakotipithavasini - Saugandini - Adi

38. Jaganmohini - JalarnavamShri Vidya Rajagopalam - Jaganmohini - Tishra Ekam

39. Dhalivarali - JhalavaraliMamava Minaksi - Varali - Mishra Capu Lambodaraya - Varali - Khanda Capu Shesacalanayakam - Varali - Rupakam

40. Nabhomani - NavanitamNabhomani Candrahni Nayanam - Nabhomani - Mishra Capu Shri Nathasodarim - Nabhomani - Rupakam

41. Kumbhini - PavaniSaccidanandamaya - Kumbhini - Adi

42. Ravikriya - RaghupriyaHimagirikumari Ishvari - Ravikriya - Adi

43. Girvani - GavambodhiNamonamaste Girvani - Girvani - Mishra Capu

44. Bhavani - BhavapriyaJayati Shiva Bhavani - Bhavani - Rupakam

45. Shivapantuvarali - ShubhapantuvaraliPashupatishvaram - Shivapantuvarali - Adi Shri Satyanarayanam - Shivapantuvarali - Rupakam Sadashivena - Sindhuramakriya - Adi Bhagavatishvaram - Shubhapantuvarali - Adi

46. Stavarajam - SadvidhamarginiMadhurambam Bhajare - Stavarajam - Adi Stavarajadinuta - Stavarajam - Mishra Capu

47. Sauviram - SuvarnahngiSarasa Sauvira - Sauviram - Adi

48. Jivantika - DivyamaniBrhadishakataksena - Jivantika - Rupakam

49. Dhavalahngam - DhavalambariShrhngaradi - Dhavalahngam - Khanda Ekam

50. Namadeshi - NamanarayaniNarmada Kaveri Nilaiye - Namadeshi - Mishra Capu

51. Kashiramakriya - KamavardhiniUccista Ganapatau - Kashiramakriya - Adi Margasahayashvaram - Kashiramakriya - Mishra Capu Ramanatham Bhajeham - Kashiramakriya - Rupakam Vishalaksim Vishveshim - Kashiramakriya - Triputa Shri Sundararajam - Kashiramakriya - Adi Senapate - Kashiramakriya - Adi Arddhanarishvaram - Kumudakriya - Rupakam

52. Ramamanohari - RamapriyaMatahngi Shriraja - Ramamanohari - Rupakam Shrhngarashaktyayudha - Ramamanohari - Jhampa Smaramyaham Sada Rahum - Ramamanohari - Rupakam

53. Gamakakriya - GamanashramaEkamranatham - Gamakakriya - Adi Kashi Vishalaksim - Gamakakriya - Rupakam Tiruvatishvaram - Gamakakriya - Rupakam Navaratnamalinim - Gamakakriya - Khanda Ekam Minaksi Me Mudam Dehi - Gamakakriya - Adi

54. Vamshavati - VishvambariBhaktavatsalam - Vamshavati - Adi Vamshavati - Vamshavati - Adi

55. Shyamalam - ShyamalahngiShyamalahngi - Shyamalam - Adi

56. Camaram - ShanmukhapriyaEkamreshanayakim - Camaram - Adi Sadashraye Abhayambike - Camaram - Rupakam Siddhivinayakam Anisham- Camaram - Rupakam Mahasuram Ketumaham<- Camaram/Rupakam

57. Sumadyuti - SimhendramadhyamamKamaksi Kamakoti Pithavasini - Sumadyuti - Rupakam Nilacalanatham - Sumadyuti - Adi Pamarajanapalini - Sumadyuti - Rupakam Shaileshvaram - Sumadyuti - Adi

58. Deshisimharavam - HemavatiMadhurambikayam - Deshisimharavam - Rupakam Shri Kantimatim - Deshisimharavam - Adi Hariyuvatim Haimavatim - Deshisimharavam - Rupakam

59. Dhamavati - DharmavatiParandhamavati Yuvati- Dhamavati - Rupakam Ramacandrasya - Dhamavati - Adi

60. Nisadam - NitimatiNisadadi Deshadhipatinuta - Nisadam - Mishra Capu

61. Kuntalam - KantamaniShri Sugandhikuntalambike - Kuntalam - Rupakam

62. Ratipriya - RishabhapriyaMararatipriyam Bhaktipriyam - Ratipriya - Adi

63. Gitapriya - LatahngiSadhujanavinutam - Gitapriya - Triputa

64. Bhusavati - VacaspatiAbhiramim - Bhusavati - Rupakam Parvatishvarena - Bhusavati - Adi Bhusavatim - Bhusavati - Rupakam

65. Shantakalyani - MecakalyaniAbhayamba Jagadamba Raksatu - Kalyani - Adi (2 Kalai) Kamalambam Bhajare - Kalyani - Adi Kamaksim Kalyanim - Kalyani - Rupakam Kumbheshvaraya - Kalyani - Mishra Capu Kumbheshvarena Samraksitoham - Kalyani - Adi Ganapate - Kalyani - Rupakam Jhnanaprasunambike - Kalyani - Rupakam Brahmavidyambike - Kalyani - Adi Bhajare Re Citta - Kalyani - Mishra Capu Shivakameshvarim Cintayeham - Kalyani - Adi Shri Mahngalambike - Kalyani - Ata Shri Madhurambike - Kalyani - Khanda Capu Kadambaripriyayai - Mohanam - Mishra Capu Gopika Manoharam - Mohanam - Rupakam Narasimha Agaccha - Mohanam - Mishra Capu Nagalihngam Namami - Mohanam - Adi Pahi Mam Parvati - Mohanam - Rupakam Raktaganapatim - Mohanam - Adi Rajagopalam - Mohanam - Rupakam Jambupate - Yamunakalyani - Rupakam Nandagopala Mukundagokul - Yamunakalyani - Adi Paramashivatmajam - Yamunakalyani - Adi Arunacalanatham - Sarahnga - Rupakam Tyagaraje Krtyakrtyam - Sarahnga - Jhampa Varadarajamupasmahe - Sarahnga - Rupakam Sarahngaragapriye - Sarahnga - Mishra Capu Parimalarahnganatham - Hamirkalyani - Rupakam Puraharanandana - Hamirkalyani - Adi

66. Caturahngini - CitrambariEkamranatheshvarena - Caturahngini - Adi Guruguha Bhavantarahnginim - Caturahngini - Mishra Capu Anandamrtakarsini Amrtavarsini - Amrtavarsini - Adi Himagirikumari - Amrtavarsini - Adi

67. Santanamahnjari - SucaritramSantanamahnjari - Santanamahnjari - Adi

68. Jyoti Raga - JyotisvarupiniParamjyotismati Parvati - Jyoti - Adi Rame Bharatapalita - Jyoti - Khanda Capu

69. Dhautapahncamam - DhatuvardhaniMatahngi Marakatahngi - Dhautapahncamam - Rupakam

70. Nasamani - NasikabhusaniShri Krsno Mam Raksatu - Nasamani - Rupakam Shri Rama Sarasvatisevitam - Nasamani - Adi

71. Kusumakaram - KosalamKusumakarashobhita - Kusumakaram - Rupakam

72. Rasamahnjari - RasikapriyaShrhngararasamahnjarim - Rasamahnjari - Rupakam

Origins of Carnatic Music

Origins of Carnatic Music

It is thought that Carnatic Music originated from the Vedas (the most important Hindu scriptures), although it is very difficult to pin point a time within history that Carnatic Music began to develop into the form we know today. The Sama-Veda (one of the four volumes of the Holy Scriptures the others being: the Rig-Veda, the Yajur-Veda and the Artharva-Veda) is thought to have laid the foundations for Indian music for it is within this volume that many of the hymns and prayers in the Rig-Veda were set to musical tunes. The seven swara system in Carnatic music is also Vedic in origin.
In line with most other aspects of Indian culture it is also thought that there are many divine origins in Carnatic Music. Carnatic Music is very much associated with Hinduism (the dominant religion in India) with many songs praising a God or Goddess. Some Gods and Goddesses are also linked to certain instruments e.g. Krishna and the flute and Saraswathi and the veena. Many literary epics such as the Mahabharata and the Ramayana also contain references to Carnatic Music. Perhaps most significantly, the Yajnavalkya Smriti (one of the three main Smritis, written by sage Yajnavalkya of Mithila) says:

"Veena vadhana tathvangna sruti, jathi, visartha talanjaaprayasena moksha margam niyachathi"

("The one who is well versed in veena, one who has the knowledge of srutis and one who is adept in tala, attains salvation without doubt.")

Many aspects of Carnatic music are also thought to be derived from Ancient Tamil Music. Pann (the melodic mode which has been used by Tamil people since Ancient times) is thought to be the precursor to the raga system that is found today in Carnatic Music. The rhythmic meters found in Thirupugzh, for example, bear a resemblance to talas that are used today. Tamil works like Silappadikaram, Tolkappiam and other Sangam literature works give old Dravidian names for the seven notes in the octave, and describe how new scales can be developed by the modal shift of tonic (shifting the reference Shadja) from an existing scale.

Tala System for Carnatic Music

Tala System for Carnatic Music

In the following :
a. The blue ANGAS are the major ANGAS (The Classical 108 talas)

b. The red ANGAS are the popular ANGAS (Sapta Suladi Talas)

c. In the literature the symbols are placed one above the other. Here for convenience, the symbols are grouped together in the paranthesis.

For the laghu a subscript indicates the jati (3,4,5,7,9). In the following it is omitted. All laghus are 4-jati unless indicated otherwise.

d. An alternate tala count is the "matra" which has a unit of 1 corresponding to the chaturasa-jati laghu.




Anga Symbol Aksharakala Mode of Counting Anudrutam U 1 1

beat Druta O 2 1 beat +

Visarijitam (wave of hand)
Druta-virama (OU) 3

Laghu (Chatursa-jati) 4 1 beat + 3 finger count

Laghu-virama (U) 5

Laghu-Laghudruta (O) 6

Laghu-druta-virama (OU) 7

Guru 8 8 A beat followed by circular movement of the right hand in the clockwise directions with closed

Guru-virama (8U) 9

Guru-druta (8O) 10

Guru-druta-virama (8OU) 11

Plutam (8) 12 1 beat + kryshya (waving right hand from right to left) to + 1 sarpini(waving the right hand from left to right) - 4 aksharakalas

Pluta-virana (8U) 13 Pluta-druta

Pluta-druta (8O) 14

Pluta-druta-virama (8OU) 15

Kakapadam + 16 1 beat + patakam(lifting the right hand) + kryshya + sarpini - each of 4 aksharakalas)


Based on the above : Sarabhandana tala - first ascribed to Syama Sastri - has 24 ANGAS and79 aksharakalas as follows : ( The construction below is only for clarity - theangas follow one another) 8 O O U (U) O O O U (O) (OU) (U) O U O U O (U) O (OU) (O) Simhanandana tala : It is the 37 th of the classical 108 talas. It isthe longest tala and does not use any sub-angas. Of the major six the anudrutamis omitted. Maha Vaidyanatha Iyer and Patnam Subramania Iyer are the primarycomposers in this tala. It has 18 angas and 128 aksharakalas as follows: 8 8 (8) 8 O O 8 8 (8) (8) 8 +

(Ref: Prof. P.Sambamurthy)

Swaras in Carnatic Music

Swaras in Carnatic Music

The Basic Swaras

There are seven basic notes in Carnatic music:
Shadjam (Sa),
Rishabam (Ri),
Gandharam (Ga),
Madhyamam (Ma),
Panchamam (Pa),
Dhaivatham (Da) and
Nishadam (Ni).
Sa is the basic note and the rest of the notes are successively higher to the basic Sa. This gives an ascending scale of seven notes. Once the seventh note or the higher Sa is reached, the notes begin to descend in frequency from Sa to Ni to Da and so on by the same interval.
These seven notes or swaras are not specific to Carnatic Music but are also common to Hindustani, Western, and other systems of music.
In Carnatic music and Hindustani music, we call the seven swaras as Sa, Ri, Ga, Ma, Pa, Da, and Ni and in Western Music, the same seven swaras or notes are called doh, ray, me, fa, soh, lah, te respectively.

Octave

Converting the Seven Swaras to twelve Swaras (or sixteen swaras)

What is an octave?

An octave is doubling the pitch of a swara by a factor of 2.
Take a look at a keyboard. You will notice the C key. In Carnatic music, the C key is called one kattai or a pitch of one. In a keyboard, the C key is followed by D, E, F, G, A, and B keys. The B key is again followed by another C key. That is, the range between a lower C to the next high is one octave. The range that begins from the next C until the next higher B is reached is Octave 2 and so on.
In Western Music, the interval between two keys or frequencies between two keys (.e.g. D and E) are of fixed intervals.
However, in Carnatic music, the intervals between two keys are not absolute intervals but relative intervals or nominal intervals.
In the keyboard, there are black keys in between the white keys that represent pitches (e.g. C, D, etc.) These black keys represent half piches or frequencies between two swaras or notes (e.g. between C and D). In a keyboard, there are five white keys in between the seven black keys that represent the primary notes. The twele notes are formed when we add the seven primary notes to the five half-notes or in-between frequency notes.
The twelve divisions are common both to Carnatic music and Western music.

Carnatic Swaras and Western Notes -A Comparison

Carnatic Swara Name

Notes in the Western System

1
Sa or Shadja
C

2
Suddha Rishabha
D flat

3
Chatussruti Rishabha
D

4
Sadharana Gandhara
E flat

5
Antara Gandhara
E

6
Suddha Madhyama
F

7
Prati Madhyma
F sharp

8
Panchama or Pa
G

9
Suddha Daivata
A flat

10
Chatussruti Dhaivata
A

11
Kaisiki Nishadha
B flat

12
Kakali Nishadia
B

• Please note that the swaras Sa and Pa do not admit variations and are called fixed notes or achala swaras.

• The notes with Suddha in their names -- Suddha Rishabha and Suddha Madhyama - refer to the lowest pitch of the corresponding note - the Rishabha or Ri and Madhyama or Ma, respectively.

• These twelve swaras become sixteen swaras with the addition of four more swaras called Vivadi (or tainted) swaras. These additional swaras occupy the same nominal swarasthana or frequency position as some of the swaras from the group of twelve swaras. In other words, the sixteen swaras are formed basically by calling the same swara by two different names.. Depending on the a raga scale used, a swaram may be called by a different name (e.g. Shatsruti Rishaba is the new name given to Sadharana Gandhara; Suddha Gandhara is the new name given to Chatussruti Dhaivata; Shatsruthi Dhaivata is the new name for Kaisiki Nishada; and Suddha Nishada is the new name for Chatussruti Dhaivata).

Source: South Indian Music by Prof. P. Sambamurthy

Swaras and Swarasthanas

Swaras and Swarasthanas

There are seven swaras in Carnatic music, namely, Shadjam (Sa), Rishabam (Ri), Gandharam (Ga), Madhyamam (Ma), Panchamam (Pa), Dhaivatham (Da) and Nishadam (Ni). There is some theoretical basis for why there is an odd number (seven) of swaras and we will deal with this subsequently. For simplicity, let us fix the Sa at one kattai and place the remaining swaras at the successive white keys. This provides us with a scale or a raga (in this case, containing all the seven swaras). As mentioned previously, ancient Vedic chants have but three swaras and somewhat later forms of music (Indian as well as other forms, eg. Chinese) use five swaras - eg. the Sa, Ri, Ga, Pa and Da of the scale we just created. Our present system is based on seven swaras, and perhaps, a few thousand years from now, the human race will advance to a point of discriminating scales of more swaras (unlikely). The seven swaras are mythologically associated with the sounds produced by certain animals and the names of the swaras are related to the names of these animals. The name Madhyamam appears to be related to the central or madhya location in the seven notes and Panchamam is most probably derived from the number five, denoting the position of the note.
We observed earlier that doubling the pitch of a swara by a factor of two results in going up in pitch by one octave. Thus, doubling the pitch of Sa (say Sa1) results in another Sa (Sa2) which is one octave higher than our original Sa. A further doubling produces Sa3 which is one octave higher than Sa2 and two octaves above Sa1. Three times the original Sa produces the Pa located between Sa2 and Sa3. In other words, the pitch of the swara Pa is one and half times the pitch of the Sa below it (and three fourths the pitch of the Sa above it). Now we come to an important limitation of the keyboard - the way the octave is divided into the twelve swara sthanas. Since it is based on current western music norms, the division is done on a logarithmic basis (which is just a more technical way of saying that the pitch values of the successive swara sthanas form a geometric progression). An octave is a factor of two and there are twelve intervals in it. If we make all the intervals equal to a multiplicative factor x, then the pitch corresponding to any key will be x times the pitch of the key (white or black) immediately to the left of it. Extending the procedure we arrive at what the value of x should be. The thirteenth swara sthana results in an octave, or, stated mathematically, x12=2. Then, we have x to be the twelfth root of two or a factor of approximately 1.06. Using this logarthmic division procedure, Pa (the 8th swara sthana) corresponds not to a ratio of 1.5 but 1.498. Though the discrepancy is very small, a well trained ear (eg. professional musician) can pick out this difference.
Carnatic music is based not on logarithmic division but on rational division. An octave is based on the ratio 1:2; Pa is located through the ratio 2:3; similar definitions exist for all the twelve swara sthanas. A few centuries ago, Western classical music too was based on rational division (the resulting scale was called as the natural scale), but this has given way to the equally tempered (also called chromatic) scale produced by logarithmic division. The difference is subtle, but quite important. The rational division claim is supported by the fact that tuning of instruments (for example, in setting the frets of veena) is performed mostly by the ear and not by reference to standards. Further, the swara sthanas of Carnatic music define only nominal locations for the swaras. Depending on the raga in which the swara is used, it manifests a deviation from the nominal sthana. Actually, the deviation from the nominal sthana depends on the swara phrase in which the swara occurs; thus, a single swara in a given raga can appear at different deviations from its nominal sthana when occuring along with various other swaras of the same raga. In a general sense, this deviation is called gamaka. Gamaka can refer to a constant deviation from the nominal swara sthana or a time dependent deviation or the path taken in reaching the nominal swara etc. Truly, gamaka is the life blood of Carnatic music and the raga system. Ragas are defined more by the gamakas and the way in which certain swara phrases (chain of swaras) are used than by the mere presence or absence of certain swaras. Thus, playing the keys corresponding to the swara sthanas of a certain raga will not reproduce the true character of the raga but only provide a general idea of what it sounds like. This is the reason why purists object to the use of keyboard instruments in Carnatic music - the lack of gamaka, which leads to a mutilation of the raga swaroopa. The use of gamaka also implies that the method used for defining nominal swara sthanas (rational or logarithmic division) is not too critical as long the correct raga swaroopam can be accommodated.
In the past, Hindustani music also had complex gamaka schemes, but the acceptance of the Harmonium has caused their virtual disappearance and only a few of the gamakas remain in use. The result is that the current form of Hindustani music has lost some of its traditional character - perhaps forever. Carnatic music is one of the very few musical forms in the world that have not lost their traditional character due to the influence of western culture. On the contrary, Carnatic music has enhanced its traditional character by borrowing good things from other systems of music. The introduction of the violin is a very good example of a positive influence. The instrument and its playing techniques have been successfully adapted to fit in with the rest of the system. This adaptation is so complete that the present day listener can hardly imagine a concert without a violin accompanying the singer.
The seven basic swaras occupy various swara sthanas and produce a total of sixteen swaras that form the basis of the raga scheme. It should be emphasized that the swara sthanas are nominal and in actual usage, depending on the raga, the swara is not fixed at any one sthana but appears at various locations around a nominal swara sthana in different swara phrases. The Shadja and Panchama swaras are like the foundations upon which the rest of the melody is constructed. So, these occupy fixed sthanas. This is denoted by naming these swaras as Prakruthi swaras (all the other swaras are grouped under Vikruthi swaras). Further, these two swaras are usually employed without any gamakas. In order to identify the sthanas of the various swaras, let us number the twelve sthanas. The names of the swaras and the swara sthanas they occupy are given in the following table.
The numbering used above allows one to easily locate the swaras on fretted string instruments (veena, mandolin etc.). One simply counts up the frets till the desired swara is reached. For example, if a Sa is played on a particular fret, to get a Prati Madhyamam, one simply moves up 6 frets on the same string (moving six steps from 1 results in 7, the number denoting the Prati Madhyamam). The Ra-Ri-Ru notation exists chiefly for convenience and is not used very widely. In conformance with that practice, this document will point out when the notation is being used. In the absence of such an indication, Ra should be taken to imply not Suddha Rishabam but a generic Rishabam. The following keyboard diagrams show the locations of the swaras for one kattai and four and a half kattai reference pitch using the ra-ri-ru notation. A similar indication can be easily made up for fretted string instruments simply by using the swara sthana table and counting up the frets starting from Sa.
The use of sixteen swara names has led to some people describing an octave as being divided into more than twelve swara sthanas (as many as twenty two). But, as the table and keyboard diagrams show, there are only twelve sthanas and certain pairs of swaras occupy the same nominal swara sthana (eg. Chatusruthi Rishabam and Suddha Gandharam). In an earlier era (or for that matter, in contemporary Hindustani music), the duplicate name swaras were not used i.e. each swara sthanam was associated with one and only one swaram. The swaras of the octave then read (in Ra-Ri-Ru notation) Sa - Ra - Ri - Gi - Gu - Ma - Mi - Pa - Da - Di - Ni - Nu - Sa. The remaining swaras, Ru, Ga, Du and Na, were considered to be tainted ('Dhosham') and their use was to be avoided. These four swaras are called as Vivadi swaras and their use is now generally accepted. The occurrence of combinations of swaras gives rise to melodies which can then be classified on the basis of the swaras that are used. This leads to the scheme of ragas which is our next topic of discussion.

==================================== ## ## ## ## ## ## ## ## ## ## Ra Ru Mi Da Du ## Gi ## ## Ni __ __ __ __ __ Sa Ri Gu Ma Pa Di Nu Ga Na ____________________________Swaras for one kattai reference pitch
========================================================= ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## ## Ri ## ## Di ## ## ## Sa Ga Gu Pa Na ## __ __ __ __ __ __ __ __ Ru Du Ra Gi Ma Mi Da Ni Nu ____________________________________________Swaras for four and half kattai reference pitch

Raganubhava: Melodic Aspects

Raganubhava

Indian music evolved on melodic lines and has reached points of tremendous sophistication, which are unsurpassed in the world even today. Melodic aspects are the main anchor points of Indian music but it is balanced with the rhythmic aspects in an admirable manner. Carnatic music believes in the maxim "Srutir mata, layah pita" (Melody is Mother, Rhythm is Father). The implication is that music is created only out of the union of the two. All the aspects of raga, melody and aesthetics have been dealt with here.

Carnatic music is a melody-based system. The stress is on successive combination of notes unlike some systems, where one comes across the concept of harmony. Harmony involves rendering more than one note at a time. The melodic aspects of Carnatic music are very easy to understand as they are very systematic in their development from the simple to sophisticated. Melody in the context of Carnatic music may be explained as, "The production of any musical tone or succession of such tones or semitones, with definite frequencies, within certain parameters, whether rendered independently or in conjunction with rhythm and / or lyrics".

Nada

In Carnatic music the term Nada has found a special place. It refers to sounds that are pleasing to the ears, as opposed to noise. Nada, according to ancient Vedic texts, Upanishad and Purana, is the easiest path to elevate oneself and attain salvation. This in turn, is the core of Hindu philosophy. Tyagaraja and such other great composers echo the same sentiments in many of their compositions like Nadasudharasam, Nadatanumanisam etc., besides prescribing the scientific production of musical sound (e.g., Sobhillu Saptaswara).
There is another school of thought that believes that music itself is divine and that the perfect synchronisation of the performer with the musical sound, Nada (the practice of which is called Nadopasana), is the real divine bliss.

Pitch

For sound to fall in the category of the musical, the vibrations have to be regular. Thus, evenly spaced vibrations whose frequency determines the 'highness' or 'lowness' of the sounds create musical tones. This factor is called Pitch. We come across people talking about 'high-pitched screams' or 'low-moaning sounds'. Similarly they can distinguish between high and low frequency notes when they hear music.
In Carnatic music, Pitch is of central concern. Every individual has a natural pitch, a level or range at which he can produce notes of best quality with ease. Generally, male voices are lower in pitch than female voices. The marked difference in voice quality among men, women and children is due to the size of the vocal chords, the kind of breathing and the physical make-up of the resonant cavities. Talking of tonal comfort, at the natural pitch level of an individual the vocal chords are in a relaxed and almost flaccid condition. In the case of instruments, the fundamental pitch is fixed based on the length, construction and timbre of the instrument.
The fundamental key to pitch selection is the basic tonic note, Sa, called the Adhara Shadja. Every other note is in relation to this note, unlike the Western classical system. This becomes the fixed pitch and is called the Sruti. Maintaining this fundamental pitch throughout is of utmost importance. This has been beautifully encapsulated in the Sanskrit maxim, "Srutir mata" which accords pitch the status of Mother.
When the frequency of any note is exactly doubled, a . In Carnatic music, a range of three octaves is generally used. They are called the Mandra, Madhya and Tara Sthayi, referring to the lower, middle and higher octaves respectively.
Many music systems have divided an octave into twelve parts or notes. The melodic interval between two successive notes is called a semitone and that between alternate notes is referred to as tone. One can imagine a semitone to be half a step and tone to be one whole step.

SAHITYANUBHAVA: Prosodic Beauty

SAHITYANUBHAVA

In Carnatic music, the other important and unique feature is the prosody (lyrics), known as Sahitya. This is the very reason why there are so many composers and compositions in Carnatic music. The sahitya has always been the effective means to communicate man's moods. The greatness of Carnatic music is further heightened through masterly compositions by great composers covering a whole range of subjects from philosophy to romance in various languages.
This section aims to highlight the aspects pertaining to the literary beauty that perfectly blends with melody and rhythm.

PROSODY

A musical composition presents a concrete picture of not only the raga but the emotions envisaged by the composer as well. If the composer also happens to be a good poet, there is a beautiful combination of music and high flown poetry. The claim of a musical composition to permanence lies primarily in its musical setting. This is the reason why compositions in diverse languages appeal to listeners. In every composition, the syllables of the sahitya should blend beautifully with the musical setting.
In Carnatic music, a composition has manifold roles:
It acts as a vehicle along the path of devotion since the theme of most compositions is devotional. It not only reflects the sentiments of the composer, but when rendered with involvement, reflects the emotions of the performer too.
They sometimes serve as the models for the structure of a raga. For instance, there are hundreds of compositions in major ragas such as Todi, Bhairavi, Kalyani and Kambhoji, each one highlighting a different facet of the raga. Knowledge of these compositions contributes to a better grasp of the structure of ragas and their unlimited artistic possibilities. In rare ragas like Malavi, Kalanidhi and Manjari even solitary works of great masters like Tyagaraja have brought out the nerve-centre of the raga.
The physical structure of different compositions present a very interesting study of literary beauties. In Carnatic music some of the factors that contribute to literary beauty are:
1. Rhyming patterns - Prasa
2. Rhetorical patterns - Yamakam: Identical words or syllables with different meanings)
3. Fast-paced lyrics - Madhyamakala Sahitya
4. Svarakshara patterns, where the syllables of the solfa-notes and the lyrics coincide beautifully to form a meaningful word(s).
They suit different occasions. There are special compositions which are used exclusively in dance, like certain Padams, Javalis or Tillanas. There are also compositions for drama, like Daru, Churnika, etc.
Thus, the role of sahitya in Carnatic music cannot be over-emphasised. This explains why composers are held in such high esteem. In fact, the birth and death anniversaries of various composers are also commemorated.

TYPES OF COMPOSITIONS

Carnatic music is rich in compositions. There are thousands and thousands of compositions in different ragas, talas, languages and styles composed by great saints, philosophers, poets and historians of different periods. Thus, the lyrical content in Carnatic music has a wide range, from the religious to the romantic. Most of the composers being great musicians as well as lyricists, were Vaggeyakaras, i.e., they composed the tune and the lyrics simultaneously. The variety and complexity found in Carnatic compositions is awe-inspiring. Some songs are so easy that a child would be able to repeat it after hearing it just once, while it may take ages to master some.
Musicians try to re-create and interpret these compositions relying largely on their own aesthetic sense besides what they have absorbed from their gurus. They memorise the entire piece and endeavour to render them methodically and soulfully. An average professional's repertoire would be anywhere between 300 and 500 compositions but there are artistes who have memorised over 1000 pieces.
A typical composition in Carnatic music contains three major sections:
1. Pallavi2. Anupallavi3. Charanam

Classification of compositions

Compositions can basically be classified into two types:
Abhyasa Gana: Those that have been designed for practice purposes to improve one’s technical skills and virtuosity.
Sabha Gana: Those that have been designed for the purpose of performing in front of an audience.
We shall now go into the details of each of these.

ABHYASA GANA

Gita

Gita, literally meaning a song, is the first composition that one learns with lyrics. The lyrics are normally in praise of Gods and Goddesses.
Structure: It is a very simple composition in terms of raga and tala, that a beginner would be able to learn with utmost ease. It sometimes has all the sections of a composition, namely, Pallavi, Anupallavi and Charanam. Or it may just have a Pallavi and Charanam(s).
Types: There are two kinds of Gitas:
(a) Samanya Gita: Ordinary Gita(b) Lakshana Gita: These are special Gitas that describe the characteristics (lakshana) of the raga in which they are composed.
Languages used: Sanskrit, Kannada or Bhandira.
Popular Composers: Purandaradasa, Paidala Gurumurti Sastri, Ramamatya, Venkatamakhi
Examples: Sri Gananatha - Malahari - PurandaradasaKereye neeranu - Malahari - PurandaradasaSriramachandra - Gowla - Paidala Gurumurti Sastri

Purpose: This simple composition enables an aspirant to understand the perfect synchronisation of melody, rhythm and prosody. While Gitas, in general, provide a link to higher musical forms, the lakshana gitas give an insight into the raga and its characteristics.

Swarajati

As the very name suggests, musical composition containing Swara and Jati (rhythmic solfas). The lyrics are normally devotional in nature, though at times, they contain descriptions of heroic deeds.
Structure: A Swarajati has all the three sections - Pallavi, Anupallavi and Charanams. The Charanams have different tunes and are first sung as swaras (solfa passages) and then repeated with lyrics. Each Charanam is sung in this manner before going on to the next Charanam. Originally, this was a dance form containing Jatis, which were later excluded by Syama Sastri, who refined and perfected this form. The normal Swarajati is similar to a Pada Varnam in the structure and speed of execution. However, Syama Sastri's Swarajatis have become very popular as concert pieces.
Language used: Predominantly Telugu.
Popular composers: Syama Sastri, Pachimiriam Adiyappayya, etc.
Examples: Sambasiva - KhamasKamakshi - Bhairavi - Syama Sastri
Purpose: They are pleasing melodies which form the stepping stone to the next important composition, Varnam.

Jatiswaram

A musical form which has both Swaras and Jatis woven together. This form belongs to the dance repertoire.
Structure: The structure is very similar to the Swarajati. It has the usual three sections, the Pallavi, Anupallavi and Charanams. Though the Charanams were originally intended to be sung with jatis, the present day Jatiswarams have no jatis or lyrics but only swaras. The emphasis here is on the rhythmic patterns.
Popular composers: Swati Tirunal, Ponnaiyya, Sivanandam, Vadivelu and Vina Krishnamachari.
Purpose: Jatiswaram is a dance item that helps in developing rhythmic stability.

Varnam

This is not only an advanced study piece but a fine concert opener too. Classical Varnams have been composed in weighty or evocative ragas, usually expressing romantic or devotional sentiments. The lyrics of the varnam are usually in praise of a God or a patron.
Structure: The varnam consists of two halves:
a) Purvanga - the first half consisting of three sections, namely, the pallavi, the anupallavi and the muktayi / chitta swaras.
b) Uttaranga - the second half consisting of the Charanam and the Charanaswaras.
The pallavi and anupallavi, usually consisting of two lines each, are sung consecutively, followed by the Chittaswara. One then goes back to the pallavi to render the whole Purvanga in multiple speeds before going on to the Uttaranga. The charanam has only one line with lyrics followed by four or more charana swaras. The Uttaranga can also be rendered in multiple speeds.
Types:
a) Tana Varnam - Normally performed in music concerts, the Tana varnam has plenty of vowel extensions in the lyrics and the words are generally in praise of God or a guru (teacher) or patron (usually Kings). It has lyrics only in the pallavi, anupallavi and the charanam.
b) Pada Varnam - This generally is considered more a part of the dance repertoire, although some Pada Varnams are used frequently in music concerts. These are normally sung in a very slow tempo in order to express the emotions. The theme here is generally love. In the Pada varnam, other than the pallavi, anupallavi and charanam, each charanaswara and the chittaswara have lyrics.
Languages used: Telugu, Tamil and Sanskrit.
Popular composers: Pacchimiriam Adiyappa, Pallavi Gopala Iyer, Vina Kuppayyar, Tiruvottriyur Tyagayyar, Patnam Subramanya Iyer, Ramnad Srinivasa Iyengar and many more.
Examples:
Tana Varnams - Eranapai (Todi ), Vanajakshi (Kalyani), Ninnukori (Mohanam)
Pada Varnams - Sarasalanu (Kapi), Chalamela (Natakurinji)
Purpose: The varnam is the last type of Abhyasa Gana that is learnt before going on to kriti. As the Varnams contain several important, unique, unusual and appealing phrases of a raga, it requires dexterity, knowledge, technique and good musicianship to compose and sing a varnam.
The study and practice of Varnams are of utmost importance both to the vocalist for voice training and the instrumentalists for developing good fingering techniques. The swara passages are a good basis for the performer to learn the technique of kalpanaswaras. Also practising Varnams in multiple speeds gives one a good, steady sense of rhythm.