Notations -> http://www.shivkumar.org/music/#s

Ragam: Isha Manohari (28 mela janyam)     

ARO:  S R2 G3 M1 P D2 N2 S                        ||  

AVA:  S N2 D2 P M1 G3 M1 R2 S                 ||

Talam: Rupakam

Composer: Muthuswamy Dikshitar

Version: Peri Sriramamurthy

Meaning: Courtesy Guru Guha Vaibhavam: http://guru-guha.blogspot.com/2008/07/dikshitar-kriti-sri-gana-natham-raga.html

Youtube Class: https://www.youtube.com/watch?v=mijoaVrjvdY

MP3 Class: http://www.shivkumar.org/music/shreegananatham-class.mp3

Pallavi:

Shree Gananatham Bhajare Chita Paraashakthiyutham

Anupallavi:

Naaga Yagnya Suthradharam Nada Layaanandakaram

Charanam

Aagamaadi Sannutham Akhila Deva Pujitham

Yogishaali Bhaavitham Bogishaali Sevitham

Madhyamakala Sahityam:

Raagadweshaadi Rahita Ramaneeya Hrudaya Viditham

Sri Guru Guha Sannutham Chinmoola Kamalaasthitham

Meaning: Courtesy Guru Guha Vaibhavam: http://guru-guha.blogspot.com/2008/07/dikshitar-kriti-sri-gana-natham-raga.html

P: SrI gaNa nAthaM –  Ganesha, the lord of the Ganas,

parA Sakti yutam – the one accompanied by the great goddess,

rE citta -         O Mind!

bhaja -            Worship

anupallavi

nAga yajna sUtra dharaM– the one wearing a snake as his sacred thread,

nAda laya-Ananda-karam  – the one pleased by music and rhythm,

caraNam

Agama-Adi sannutaM –      the one praised by all Vedas etc.,

akhila dEva pUjitaM –     the one worshipped by all gods,

yOga-SAli bhAvitaM –      the one meditated upon by those who have attained Yoga (i.e. Yogis),

bhOgi SAyi sEvitam –      the one served by Vishnu (who reclines on a snake),

rAga dvEsha-Adi rahita ramaNIya hRdaya viditaM –the one who can only be understood in the heart that is beautiful due to the absence of passion and hatred,

SrI guru guha sammuditaM –the one  delighted with Guruguha,

cinmUla kamala sthitam –  the resident of the Muladhara lotus( the source of life-energy)!

Comments: This Kriti is in the second Vibhakti (accusative, object form)

Notations -> http://www.shivkumar.org/music/#s

Ragam: Khamas (28th Mela janyam)

Aro: S M1 G3 M1 N2 D2 N2 P D2 N2 S  ||

Talam: Deshaadi

Composer: Tyagaraja

Version: Peri Sriramamurthy

Pallavi:

Seethaapathe ! Naa Manasuna!

Siddhaantamani Yunnaanuraa!

Anupallavi:

Vaataatmajaadula Chentane Varninchina Nee Paluku Lella

Charanam:

Premajuchi Naapai Pedda Manasu Jesi

Nee Mahimalella Nindaaru Jupi

Ee Mahini Bhayametikanna Maata

Raamachandra ! Tyaagaraaja Vinuta!

Meaning: (From T.K. Govinda Rao’s Book and www.karnatik.com):

The other day in the presence (“chentane”) of Anjaneya (“vaataatmaju”) and your other cherished devotees (“aadula”), you revealed (“jupi”) yourself to me (“varninchina”) in all your glory (“mahimalella nindaaru”) casting a benevolent (“premajuchi” or “pedda manasu jesi”) look at me (“naapai”), and assured me (“nee paluku”) that I have nothing to fear (“bhayametinanna maata”)  in this (“ee”) world (“mahini”).

How wonderful and comforting! I have nothing to fear. I cherish those pregnant words like a treasure!

Notations -> http://www.shivkumar.org/music/#s

Ragam: Andolika {22nd Melakartha (Kharaharapriya) Janyam}

ARO:    S R2 M1 P N2 S    ||

AVA   S N2 D2 M1 R2 S  ||

Talam: Adi

Composer: Muthu Thandavar

Version: Ram Kaushik

http://www.sangeethabhyas.com/SongInfo.php?SongId=549

Pallavi:

sEvikka vENDumayyA cidambaram sEvikka vENDumayyA

Anupallavi:

sEvikka vENDum cidambara mUrtiyAm dEvAdi dEvan tiru sannidhi kaNDu

Charanam:

kArAnai mAmukhat-taindu karattAnai karpaka rAyanai mukkuriyANai

shIrAr puliyUrp-pati ellai vAshal vAzh dEvar shirai mITkum sEvark-koDiyAnai

singAramAna shiva gangaiyil mUzhgi shivakAmi sannidhi munbAghavE vandu

pAngAghavE pradakSiNam sheidu bhaktargaL siddhargaL paNiviDaiyOr tozha

ciTTar paravum tirumUlattAnai shiTrambalamennum pErambalattAnai

aSTa dikkum pugazhambala vANanai ANDavanait-tillait-tANDava rAyanai

nalla tiruvizhA vAnittirudErum nADengum E pugazh narg-gOpura nAngum

tillai mUvAyiravar vaLar vIdiyum tirumanjanamum mArgazhi darishanamum

Meanings Courtesy:

http://www.sangeethabhyas.com/SongInfo.php?SongId=549

P: I want (vENDum) to offer my services/worship (sEvikka) at cidambaram, my master (ayyA)!

A: I want to (vENDum) behold (kaNDu) and worship (sEvikka) at the sanctum sanctorum (sannidhi) of the god (dEvan) of gods (dEvAdi), the divine (tiru) idol (mUrtiyAm) that I have heard is enshrined in cidambaram.

C: (I want to behold and worship) the Lord of black bull (kArAnai) along with the elephant (mA)-faced (mukhattu) one with five (aindu) arms (karattAnai), the lord (rAyanai) who grants us our wishes (karpaka), the lord with the three (mu) emblems (kuRiyAnai); as well as the one with a flag/banner (koDiyAnai) with a rooster (SEval) on it who liberated (mITkum) the gods (dEvar) from their imprisonment (Sirai) who resides (vAzh) outside the limits (ellai vASal) of the great and prosperous (SirAr) city (pati) of puliyUr.

After a bath (mUzhgi) in the beautiful (SingAramAna) temple tank (Siva gangaiyil), walking (vandu) in front (munbAgavE) of the sanctum (sannidhi) of pArvati (SivakAmi), and appropriately (pAngAgavE) perambulating (pradakshiNamum Seidu) around the shrines, (I want to behold and worship the lord of cidambaram) as other devotees (bhaktargaL), learned mystics (siddhargaL) and those involved in temple services (paNiviDaiyOr) offer worship (tozha)

(I want to behold and worship) the divine (tiru) main deity (mUlattAnai) who is praised (paravum) by learned and wise men (ciTTar), the mighty (pEr) lord of the open space (ambalattAnai) called (ennum) 'consciousness' (ciTRambalam), the resident (vANanai) of the skies (ambala) praised (pugazh) in all eight (ashTa) directions (dikkum), THE God (ANDavanai), the lord (rAyanai), the master of tANDava in cidambaram (tillai)!

I want to experience the vision (dariSanamum) of the joyous (nalla) festivities (tiruvizhA), the temple chariot (tErum) that is so tall, it looks as if it is beholding the skies (vAnittiru), the four (nAngum) beautiful (nar) gate/entrance towers (gOpuram) that are famous (pugazh) all over (engumE) this land (nADu), the paths/roads (vIdiyum) trod (vaLar) by the original three thousand (muvvAyiravar) dIkshitars of cidambaram (tillai), the holy water (tirumanjanamum) [7] in the month of mArgazhi [8] (and worship the Lord in cidambaram).

Notation -> http://www.shivkumar.org/music/#s

Ragam: Devagandhari {29th melakartha (Dheera Shankarabharanam) janyam)

AROHANA:   S R2 M1 P D2 S     ||

AVAROHANA:   S N3 D2 P M1 G3 R2 S  ||

Talam: Adi (2 kalai)

Composer:  Papanasam Sivan

Version: M.N. Subramanyam

Lyrics: Lakshman Ragde

Pallavi:

shAradE vINA vAdana vishAradE vandE tavapadE

Anupallavi:

nArada jananI catur vadana nAyaki bhukti mukti dAyaki naLina daLa lOcani bhava mOcani hamsavAhini hamsagAmini

Charanam:

indrAdi sakala bhrndAraka gaNa vandita padAra vindE

indu viTambana manda smitayuta sundara mukhAra vindE

vandAru sujana mandAra dayA sadanE mrdu gatanE

vANi nitya kalyANi varadE rAmadAsa hrdayAlayE shrI  (saaradhE)

Meaning:

(Courtesy: Sravan Kumar,

http://ramachilaka.blogspot.in/2012/10/sarade-veena-vadana-papanasan-sivam.html )

P: shAradE = O Sharade  ; vINA vAdana vishAradE = who is well versed in playing Veena

vandE = I bow down ; tavapadE = at your feet.

A: nArada jananI = mother of nArada  ; caturvadana nAyaki = wife of brahma

bhukti mukti dAyaki= who bestows bhakthi and mukthi;  naLina daLa lOcani = lotues eyed one

bhava mOcani = who wards off bhava ( samsaara ); hamsavAhini = whose vehicle is hamsa

hamsagAmini = who rides on hamsa

C:

indrAdi sakala bhrndAraka gaNa vandita padAravindE = whose feet are worshipped

by the group of all the devatas including Indra and others

indu viTambana mandasmitayuta sundara mukhAravindE = who has a beautiful smiling

lotus-like face which even overshines that of the moon

vandAru sujana mandAra dayA sadanE = who has a dayaa( merciful ) face towards

those good peopple who take refuge ( in you )

vANi = godess of speech  ; nityakalyANi = bestower of good ( kalyAnam ) always

varadE = giver of boons  ; rAmadAsa hrdayAlayE = who resides in the heart of Ramadaasa....shrI

Notations -> http://www.shivkumar.org/music/#s

Ragam: Shanmukhapriya

Talam: Rupakam

Composer: Dikshitar

Version: Semmangudi

Pallavi:

Siddhi Vinayakam Anisam  Chintayaamyaham

Prasiddha Gananaayakam Vishishtaartha Daayakam Varam

Anupallavi:

Siddha Yaksha Kinnaraadi Sevitama-khilajagat

Prasiddham Mula Pankajamadhyastham Modaka Hastam

Charanam

Bhadrapadamaasa Cathurtthyaam Brahmanaadi Pujitam

Paasaankusha Dharam Chatra Chaamara Parivijitham

Raudrabhaava Rahitam Daasa Janahridaya Viraajitam

Rauhineeyanujaar cchitam Ihanaa Varjitam

Adri Raaja Sutaatmajam ananta guruguhaagrajam

Bhadrapada Padaambujam Bhaasamaana Chaturbhujam

Meaning: (TK Govinda Rao’s book):

I meditate always on Siddhi Vinaayaka, the Lord of the group of Siddhas. He bestows special boons, the great one. He is worshipped by Siddhas, Yakshas, Kinnaras and others and is renowned all over the world, who is the centre of Mulapankaja who has sweet Modaka in his hand.

He is worshipped by Brahmanas and others during the fourth day of the bright fortnight of the month of BhadraPada (Aug-Sept). He who adorns the noose – paasa – and goad – ankusa. He is honoured with the umbrella – chatra and fly-flap – Chamara, who is devoid of anger, who is enshrined in the hearts of humble – Dasas, revered by Krishna the younger brother of Balaraama. He is devoid of desire. He is the son of the daughter of Mount Himavan – Parvati, elder brother of Cupid-like Guruguha. His lotus-like feet bestows auspiciousness. He has four lustrous hands.

Notations -> http://www.shivkumar.org/music/#s

Ragam: Panthuvarali

Talam: Adi

Tyagaraja

Pallavi:

Siva Siva Siva Yanaraadaa ?

Bhavabhaya Baadhala Nanachukoraadaa ?

Charanam

1. Kaamaadula Dega Kosi  (para-)

Bhaamala parula Dhanamula Rosi

Paamaratvamu Nedabaasi  (ati)

Nemamuto Bilvarcchana Jesi

2. Agamamula Nutiyinchi  (bahu-)

Baguleni Bhashalu Chalinchi

Bhaagavatulato Poshinchi  (vara-)

Tyagaraaja Sannutudani Yenchi

Meaning (TK Govinda Rao’s book)

Mortals ! Why do you not rid yourselves of the trials and tribulations of life by chanting the name of SIVA repeatedly ?

Root out KAMA-lust and other vile infections on the mind, eschew the desire for women and other’s wealth, rid yourself of ignorance and worship Siva with Bilva leaves

Associate with righteous men, regard them as gods and not giving any room to any shyness, worship Siva in the lotus of your heart with abandon and chant the holy name of Siva

Chanting the VEDAs, extol the Lord.

Avoid all fruitless talk and in the company of noble devotees, indulge in chanting the name of the Lord and singing His glory. Knowing that SIVA is the Lord whom this TYAGARAJA bows down to chant, the name of SIVA eternally!

Notations -> http://www.shivkumar.org/music/#s

RAGAM-Kalyani

Talam: Adi

Composer: Dikshitar

Version: M.N. Subramanyam

Pallavi:

Sivakameshwari Chintayeham Sringaara Rasa Sampurnakareem

Anupallavi:

Sivakameshwara Mana Priyakareem Chidaananda Guruguha Vashankareem

Charanam:

Shanta Kalyana Gunashaaleneem  Shantyateeta Kalaa Swaroopineem

Maadhurya Gaanaamrutha Modhineem  Madaalashaam Hamsollasineem

Madhyama kala sahitya:

Meaning: (TK Govinda Rao’s book)

I (“aham”)  reflect (“chintaye”) upon goddess Sivakaameshwari, who brings about (“kareem”) the fulfillment (“sampurna”) of the sentiment of love (“sringaara rasa”).

She fascinates (“priya kareem”) the mind (“mana”) of Sivakameshwara and charms (“vashankareem”)  Guruguha; steeped in the bliss of Sivananda (“chidaananda”).

She is serene (“shanta”) and has (“shaaleneem”) auspicious (“kalyana”)  qualities (“guna”) and is of the form (“swaroopa”) of Kala. She also transcends (“ateeta”) tranquility (“shanta”). She exults (“modhineem”) in the nectar (“amruta”) of melodious (“madhurya”) music (“gana”). She is intoxicated (“madalashaam”) with the joy and rides (“ullasineem”) on a swan (“hamsa”). She is the presiding deity (“pureeshwareem”) of Chidamdaram and is the goddess (“eshwarim”) of the universe (“sakala”) and is born (“sambhuta”)  from the sacrificial (“kunta”) fire (“agni”) of knowledge (“chit”).

Notations -> http://www.shivkumar.org/music/#s

SivE pAhi mAM

Ragam: Kalyani {65th Melakartha }

https://en.wikipedia.org/wiki/Kalyani_(raga)

ARO:   S R2 G3 M2 P D2 N3 S      ||

AVA:  S N3 D2 P M2 G3 R2 S    ||

Talam: Adi

Composer: Tyagaraja

Version: Ram Kaushik (https://www.youtube.com/watch?v=xkEo3hJFyzU )

Youtube Class: https://www.youtube.com/watch?v=_rOrNZyxhBY

MP3 Class: http://www.shivkumar.org/music/sive-pahimam-class.mp3

Pallavi:

SivE pAhi mAM ambikE

Srita phala dAyaki

Anupallavi

kavEraj(O)ttara tIra vAsini

kAtyAyani dharma saMvardhani (SivE)

caraNam 3

car(A)cara-mayI kar(A)ravindamuna

rAma cilukanu birAna pUni

parAkuga jUDa rAdu SrI raghu-

var(A)ptuDagu tyAgarAja vinutE (SivE)

Meaning: (“Courtesy:  V Govindan: Tyagaraja Vaibhavam”)

See: http://thyagaraja-vaibhavam.blogspot.com/2008/10/thyagaraja-kriti-sive-pahimam-raga.html for a complete analysis

O Mother SivA (SivE)! Please protect (pAhi) me (mAM); O ambikA (ambikE)! O Bestower (dAyaki) of boons (phala) (literally fruits) to those who seek refuge (Srita) in You!

O Mother kAtyAyani! O Mother dharma saMvardhani (name of pArvati at tiruvaiyAru kshEtra) resident (vAsini) (at tiruvaiyAru) on the Northern (uttara) bank (tIra) of river kAvEri – daughter of King kavEra (kavEraja) (kavErajOttara)!

O Mother SivA! please protect me; O ambikA! O Bestower of boons to those who seek refuge in You!

O Mother who is of the form (mayI) of animate (cara) and inanimate (acara) (carAcara-mayI)! Holding (pUni) green parrot (rAma cilukanu) in Your hand (kara) Lotus (aravindamuna) (karAravindamuna), it is not appropriate (rAdu) to look (jUDa) at me with apathy (parAkuga);

O Mother praised (vinutE) by this tyAgarAja – who is dear (AptuDagu) to Lord SrI raghuvara (raghuvarAptuDagu)! O Mother SivA! please protect me quickly (birAna); O ambikA! O Bestower of boons to those who seek refuge in You!

Notations -> http://www.shivkumar.org/music/#s

RAGAM-Kanada (22nd Melakartha Janyam)

ARO: S R₂ G₂ M₁ D₂ N₂ Ṡ    ||

AVA: Ṡ N₂ P M₁ G₂ M₁ R₂ S  ||

Talam: Rupakam

Composer: Tyagaraja

Version: T Rukmini

Pallavi:

Shree Narada ! Nadasaraseeruha Brunga ! Shubhanga!

Anupallavi:

Dina Maanarakshaka! Jagadeesha! Bhesha Sankaasha

Charanam:

Vedajanitha Vara Veena Vaadana Tatvajna!

Khedahara Trithaaparahita Kheshara Vinutha!

Yadava Kulajaptha Sadaa Modahrudaya! Munivarya!

Srida ! Tyagaraja Vinutha! Srikara ! Maam Paalaya

Meaning:

Sri Naarada! Like a bee humming (“brunga”) around the lotus (“saraseeruha”), you gyrate round sacred “Nada” dispensing divine music. (Alt: The honey-bee drinking from the lotus of Nada). One with an auspicious (“shubha”) form (“anga”).

Protector (“rakshaka”)  of the honor (“maana”) of the forsaken and helpless (“deena”) devotees! Lord (“eesha”) of the World (“jaga”)! One with a face (“bhesha”) as radiant as the moon (“sankaasha”) !

One who knows well (“tatvajna”) the technique of playing (“Vaadana”) on the veena, which has its origin (“janitha”) in the Vedas. (alt: You are adept in eliciting out of the veena, its genuine and unique musical sounds characteristic of the Veda.)  One who is free from (“rathita”) the three (“tri”) kinds of torments (“thaapa”) that cause distress (“khedahara”). (alt: O dispeller of all the three kinds of ills which plague mortals!) Worshipped (“vinutha”) by devas (“kheshara”) ! Formost (“varya”) among sages (“muni”)  and dear to Sri Krishna (“Yadava Kulajaptha”) born in the Yadava race, you enjoy perpetual bliss (“moda hrudaya”) as you are immersed in devotion. O giver or wealth and prosperity (“srida” or “srikara”) ! Worshipped (“vinutha”)  by Tyagaraja who need and craves for your care and protection (“paalaya”).

Notations -> http://www.shivkumar.org/music/#s

Ragam: Sri Ranjani (22th Mela janyam)

ARO:  S R2 G2 M1 D2 N2 S    ||

AVA:  S N2 D2 M1 G2 R2 S     ||

Talam: Rupakam

Composer: Tyagaraja

Version: M.S. Subbalakshmi

Lyrics courtesy: www.sangeetham.com

Pallavi:

Sogasugaa Mridanga Taalamu Jata Gurcchi Ninnu Sokkajeyu Dheerudevvado

Meaning: (from sangeetham.com)

Who is the valiant one ("dheerudu") enchanting you by singing the notes ("swara") with clarity ("shuddhamuto"), using for words ("vaakkulato") the absolute truth ("nija ") enshrined ("galgina") in the Vedas ("nigama")?

Is it possible ("taramaa") for Tyagaraja to do all this and create ("che") and sing ("bhajiyinche") songs ("krithi") that follow the rules in prosody ("yati"), pausing at the right places ("visrama"), possessing the sweetness of grape ("draaksha") juice ("rasa"), comprising the nine ('nava") emotions ("rasa"), standing firm on the bedrock of faith ("virati")?

Who is the valiant one enchanting you by harmonising so pleasurably the drum and the beat?

Notes: The kriti, sets out the essential characteristics of composing and rendering kritis. In a question format (to quote Prof William Jackson), Tyagaraja sets out all requisites for a good composer and a singer. A good kriti's words are likened to OmkAra, the praNava mantra as per the kriti. This is the essence of nAdOpAsana. Some of the other terms used are explained below:

yati: a rule of prosody, particularly used in Telugu and Sanskrit, where the opening letter of a line, repeats at measured intervals.

vishrama: Also known as virAma. This denotes a pause.

virati: Complete detachment to worldly issues and unswerving concentration on the almighty. drAkshArasa: Compositions are qualified as drAkshArasa, madhu, kshIra, kadalI and nArikEla depending on their simplicity of meaning and the ease with which they are understood and appreciated by listeners. drAkshArasa is the simplest among them.