South Indian Classical (Carnatic) Music Archive: Classes / Lessons

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

Vinave O Manasa

Ragam: Vivardhani (28th Melakartha (Hari Kambodhi) Janyam)

https://en.wikipedia.org/wiki/List_of_Janya_ragas

ARO: S R2 M P S ||

Talam: Rupakam

Composer: Tyagaraja

Version: D.K. Pattammal (https://www.youtube.com/watch?v=cYJWUVwAXKE)

Lyrics Courtesy: www.sangeetham.com

Youtube Class:

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

Pallavi :

Charanam :

Meaning: (www.sangeetham.com)

To the entreaties ("manavini") of the good ("vara") Tyagaraja (will you not listen O mind?)

Notes: This tiny kriti is yet another in the series where Tyagaraja advises his own mind (and thereby devotees) on the right path to salvation.

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

Abhayaambikaayaa

Ragam: Kedaragowla (28th Mela Janyam)

https://en.wikipedia.org/wiki/Kedaragaula

ARO: S R2 M2 P N2 S   ||

AVA: S N2 D2 P M1 G3 R2 S   ||

Talam: Jhampa {sung as khanda ekam or khanda chapu}

Composer: Dikshitar

Version: Hyderabad Brothers

Lyrics/Meanings Courtesy: www.sangeetham.com,  http://guru-guha.blogspot.com/2007/08/dikshitar-kriti-abhayaambikaayaah-anyam.html

Youtube Class / Lesson: https://www.youtube.com/watch?v=K-nMT3QFRuc

MP3 Class / Lesson: http://www.shivkumar.org/music/abhayambikaya-kedaragowla-class.mp3

Pallavi

Abhayaambikaayahah Anyam Na Jaane Ajnaanaatmane Aparokshajnaane

Anupallavi:

Ibharaaja Gatyaahah Ishvaryaahah Jagatyaahah Nabhomanigatyaahah Naada Laya Gatyaahah

Charanam :

Baalaadi Naamadheya Prakaashinyaa Kaadi Tatvaanta Prakaashinyaahah

Moolaadi Dvaadashaanta Prakaashinyaahah Sthoolaadi Maunaanta Prakaashinyaahah

Meaning: (www.sangeetham.com)

I know (“jaane”) of none other (“na”) than Abhayambika!

She removes ignorance (“aparoksha”) and is knowledge (“jnane”) personified (“anantatmane”)!

Her gait (“gatyaahah”) is like the King (“raja”) of Elephants (“ibha”) ! She is the supreme Goddess (“ishvaryaahah”) of this Universe (“jagatyaahah”)! She causes the sun (“nabhomani”) to shine (“gatyaahah”)! She embodies (“gatyaahah”) sound (“nada”) and beat (“laya”)!

She shines (“prakaashinyaahah”) forth in various manifestations (“naamadheya”) like Bala!

She is radiant (“prakaashinyaahah”) as the Kaadi method of Tantra (“tatvaanta”) worship!

She radiates (“prakaashinyaahah”) from the twelve (“dvadasha”) nerve centres (“anta”) beginning with Mula (“moolaadi”)!

She manifests (“prakaashinyaahah”) progressively from the gross (“sthoolaadi”) to the esoteric (“maunaanta”)!

She is the creator (“svashaktyaahah”) and the energy (“moolaprakrutyaahah”) behind the three (“thrai”) worlds (“lokya”)!

She provides the four stages of liberation (“muktyaahah”) namely - Saloka, Sarupa, Samipya and Sayujya!

She is the essence of the hymns (“tantroktyaahah”) such as the Malini!

She is Shulini! She is experienced (“svaanubhava gatyaahah”) by Subrahmanya!

This is one of the Abhayamba Vibhakti kritis and is on the Goddess at Mayuram. The raga was the 28th melakarta as per the asampoorna scheme.

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

Ada Modi

Ragam: Charukesi (26th Melakartha)

ARO: S R2 G3 M1 P D1 N2 S  ||

AVA: S N2 D1 P M1 G3 R2 S  ||

Talam: Adi

Composer: Tyagaraja

Version: Semmangudi Srinivasa Iyer

Details: http://thyagaraja-vaibhavam.blogspot.in/2007/11/thyagaraja-kriti-aada-modi-galadaa-raga.html

Youtube Class / Lesson: https://www.youtube.com/watch?v=AMppvfCS6vE

MP3 Class / Lesson: http://www.shivkumar.org/music/adamodi-detailed.mp3

Pallavi:

Adamodi Galade Ramayya Maata

Anupallavi:

Thodunida Nive Yanuchu Bhaktito

Gudina  Nee Paadamu Battina Naato Maata

Charanam:

Chaduvulanni Delisi Shankaraantshu Dai

Sadayu Daasuga Sambhavudu Mrokka

Kadalu Tammuni Balka Jesitivi Gaakanu

Tyaagaraaje Paati Maata

Meaning:

O Ramayya! You seem to feel (“galade”) too proud (“Aada”), too uppish (“modi”), even to talk (“matalaada”) to me. I have sought you (“(y)anuchu”) as my sole (“nive”) support and shelter (“thodunida”) and stuck to you steadfastly and devotedly (“bhaktito”) but you seem to feel .. Do you remember that when kindly Anjaneya, an offshoot of Shiva Himself, at his very first meeting with you desired to be informed of your antecedents, you did not respond directly, but commanded (“jesitivi”) Lakshmana (“tammuni”) to speak to him? When such was the lot of Anjaneya himself (“gaakanu”), who can expect you to talk to this frail Tyagaraja?

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

Pallavi:

alai pAyudE kaNNA en manam migha alai pAyudE un Ananda mOhana vEnugAnamadil

Anupallavi:

nilai peyarAdu shilai pOlavE ninra nEramAvadariyAmalE migha vinOdamAna muralIdharA en manam

caraNam

teLinda nilavu paTTappaghal pOl eriyudE un dikkai nOkki enniru puruvam neriyudE

kaninda un vENugAnam kATril varugudE kaNgaL shorugi oru vidham varugudE

madhyama kaalam

kaditta manattil urutti padattai enakku aLittu magizhtta vA

oru tanitta vanattil aNaittu enakku uNarcci koDuTTu mugizhtta vA

kalai kaDal alaiyinil kadiravan oLiyena iNaiyiru kazhal-enakkaLittavA

kadari manamuruga nAn azhaikkavO idara mAdaruDan nI kaLikkavO

idu taghumO idu muraiyO idu dharumam tAnO

kuzhal UdiDum pozhudAdiDum kuzhaigaL pOlavE manadu vEdanai mighavODu (alai)

Meaning:

My mind (“en manam”) is all aflutter (“alai pAyudE”), Oh Krishna (“kaNNA”), listening to the joyous (“Ananda”), enchanting (“mOhana”) music (“gAna”) of your (“un”) flute (“vEnu”), My mind is all aflutter!

Transfixed, I stood (“ninra”) there like (“pOlavE”) a statue (“shilai”), oblivious (“ariyAmalE”) of even the passage of time (“nEramAvada”), hey, mysterious (“migha vinOdamAna”) flautist (“muralIdharA”)!

In this clear (“teLinda”) moonlight (“nilavu”) that makes a day (“paTTappaghal pOl eriyudE”) of the night, I strain my two (“enniru”) eyebrows (“puruvam”) hard (“neriyudE”) and look (“nOkki”) in your (“un”) direction (“dikkai”), the mellow tunes of your flute (“kaninda un vENugAnam”) come floating in the breeze (“kATril varugudE”)... my eyes (“kaNgaL”) feel drowsy (“shorugi”) and a new feeling sweeps my being (“oru vidham varugudE”).

Come (“vA”)! Place your feet and mould (“urutti padattai”) my heavy heart (“kaditta manattil”), make it full (“enakku aLittu”) and fill me with joy (“magizhtta”)! Come! take me to a (“oru”) lonely (“tanitta”) grove (“vanattil”) and fill me (“koDuTTu mugizhtta vA”) with the emotions of ecstatic union (“aNaittu enakku uNarcci”)! You are the one who danced and made merry (“iNaiyiru kazhal-enakkaLittavA”) on the sun-bathed (“kadiravan oLiyena”) waves (“alaiyinil”) of the ocean (“kalai kaDal”)! Am I to go on pleading (“kadari … nAn azhaikkavO”) for you with melting (“uruga”) heart (“manam”), while you are enjoying (“kaLikkavO”) yourself (“nI”) with other (“idara”) women (“mAdaruDan”)? Is it right (“idu taghumO”)? Is it proper (“idu muraiyO”)? Is it what dharma is? (“idu dharumam tAnO”).

My heart (“pozhudu”) dances (“AdiDum”) even like (“pOlavE”) your eardrops (“kuzhaigaL”) do when you blissfully play (“UdiDum”) the flute (“kuzhal”)! With (“mighavODu”) a sad (“vEdanai”) mind (“manadu”), my heart is all aflutter)

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

Alakalalladaga

Ragam: Madhyamavathi {22nd melakartha (Kharaharapriya) janyam}

AROHANA:         S R2 M1 P N2 S                   ||

AVAROHANA:   S N2 P M1 R2 S                   ||

Talam: Rupakam

Composer: Tyagaraja

Version: Peri Sriramamurthy

Lyrics Courtesy: Lakshman Ragde

Pallavi:

alakalalla lADaga gani A rANmuni yeTu pongenO

Anupallavi:

celuvu mIraganu mArIcuni mada manacuvEla

Charanam:

muni kanu saiga delisi shivadhanuvunu viricE

samayamuna tyAgarAja vinutuni mOmuna ranjillu

Meaning: (Courtesy: Thyagaraja Vaibhavam website:

http://thyagaraja-vaibhavam.blogspot.in/2009/03/tyagaraja-kritis-alphabetical-list.html )

Gist

I wonder how viSvAmitra – that royal sage – exulted beholding the curls shining in the face of SrI rAma – the Lord praised by this tyAgarAja - being tossed about with exceeding beauty, -

(a) when subduing the arrogance of mArIca, and

(b) when, understanding the eye signal of the sage, He broke the bow of Lord Siva!

P: I wonder how (eTu) viSvAmitra – that (A) royal (rATTu) sage (muni) (rAN-muniyeTu) – exulted (pongenO) beholding (kani) the (Lord’s) curls (alakalu) being tossed about (allalADaga) (alakalallalADaga)!

A: I wonder how viSvAmitra – that royal sage – exulted beholding the Lord’s curls being tossed about with exceeding (mIraganu) beauty (celuvu),

at the time (vELa) of subduing (aNacE) the arrogance (madamu) (madamaNacE) of mArIca (mArIcuni)!

C: I wonder how viSvAmitra – that royal sage – exulted beholding the curls, shining (ranjillu) in the face (mOmuna) of SrI rAma – the Lord praised (vinuta) (vinutuni) by this tyAgarAja, being tossed about,

at that time (samayamuna) when, He, understanding (telisi) the eye (kanu) signal (saiga) of the sage (muni), broke (viricE) the bow (dhanuvunu) of Lord Siva!

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

Amba Neelayatakshi

Ragam: Neelambari (29th mela janyam)

ARO: S R G M P N D N S   || AVA:  S N P D N P M G R G S   ||

Talam: Adi (2 kalai)

Composer: Dikshitar

Version: Semmangudi Srinivasa Iyer

Pallavi:

Ambaa Neelamyatakshi Karunaakataakshi

Akhilaloka Sakshi Katakshi

Anupallavi:

Bimbaadhari Chitpratibimbaadhari

Bindunaada Vashankari Shankari

Ambujaaramana Shodhari Aadhari

Ambari Kaadambari Neelambari

Charanam:

Sivaraajadhaani Kshetravaasini

Sritajana Visvasini

Siva Kaayaa Rohanee Sollasini

Chitrupa Vilaasini

Navayogini chakra Vikaasini Navarasa Darahaasini

Suvarnamaya Vigraha Prakaashini

Suvarnamaya Haasini

Bhuvanoodaya Sthithilaya Vinodhini

Bhuvaneshwari Kshipra Prasaadini

Navamaanikya Vallaki Vaadini

Bhava Guruguha Vedini Sammodhini

Meaning: (From TK Govinda Rao’s book)

Her lips (“aadhari”) are red in colour like the BIMBA fruit.

She is of the form of knowledge (“chit”) and its reflection (“pratibimba”).

She is captivated (“vashankari”) by the Naada and Bindu. She is SHANKARI...

The sister (“sodhari”) of Mahavishnu (“Ambujaramana”). She pervades as the vast ether-space, and is fond of the Kadamba flowers (“kadambari”) and adorned with blue (“neela”) silk (“ambari”).

She resides (“vaasini”) in SIVARAAJADHANI - nagapattinam- and protects those (“sritajana”) who take refuge (“viswaasini”)  in her.

She delights in sharing half the form (“kaaya”) with Lord Shiva and shines (“rohane”) as supreme consciousness. (“sollasini”).

She is established (“vikaasini”) in the Sri Chakra (“chakra”) with nine Yoginis (“nava yogini”).

Her smile (“haasini”) reveals all the nine (“nava”) Rasas (“rasa”).

Her form (“vigraha”) is gloriously resplendent (“prakaashini”) like the gold (“Suvarnamaya”) and She sports a beatific smile (“Haasini”).

She is the suzerain of the universe (“bhuvaneshwari”), sports  (“vinodhini”) in creating (“udaya”), sustaining (“sthithilaya”) and dissolving the world. She is pleased very easily (“KshipraPrasaadini”). She plays on VALLIKAVINE, bedecked with nine (“nava”) gems (“maanikya”). She is understood well (“vedini”)  by Shiva (“bhava”) and Guruguha and always established in happiness (“samodhini”).

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

ambA vANi

Ragam: kIravANi {21st Melakartha Ragam }

ARO:   S R2 G2 M1 P D1 N3 S  ||

AVA:  S N2 D1 P M1 G3 R1 S    ||

Talam: Adi

Composer: Harikesavanallur Mutthaiah Bhagavatar

Version: Ram Kaushik

Pallavi:

ambA vANi nannAdarincavE

Anupallavi:

shambarAri vairi sahOdari kambu gaLEsita kamalEshavri

Charanam:

paradEvi ninnu bhajiyincE bhaktulanu brOcE pankajAsani

vara vINApANi vAgvilAsini harikEshapura alankAri rANi

Meaning: (Courtesy: P.R.Ramachander

http://translationsofsomesongsofcarnticmusic.blogspot.com.au/2012/03/amba-vani.html)

Oh Mother (“vAni”) Saraswathi (“Vani”), please support me (“AdarincavE”)

Sister (“sahOdari”) of enemy (“vairi”) of Sambara,

Oh Goddess of lotus (“kamal-Eshavri”) who has a conch (“kambu”) like neck (“gaLEsita”)

Oh divine Goddess (“paradEvi”) if you (“ninnu”) are sung about (“bhajiyincE”),

oh Goddess who sits on a lotus (“pankaj-Asani”) ,

You protect (“brOcE”) your devotees (“bhaktulanu”),

Oh goddess who has the divine Veena in her hand (“vara vINA-pANi”),

Oh Goddess with pretty speech(“vAg-vilAsini”), Oh queen (“rANi”) who decorates (“alankAri”) Harikesapura (“harikEshapura”)

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

Anandatanaprakasam

{Pancha Bhoota Sthala Linga Krithi on Nataraja, Chidambaram, Akasha Linga}

Ragam: Kedaram  (29th melakartha Janyam)

AROHANA:     S M1 G3 M1 P N3 S   ||

AVAROHANA:   S  N3 P  M1 G3 R2 S   ||

Talam: Misra Chapu

Composer: Muthuswami Dikshitar

Version: D.K. Jayaraman

AnandanaTana prakAsham citsabhEsham AshrayAmi shivakAma vallIsham

Anupallavi:

bhAnukOTi kOTi sankAsham bhukti muktiprada daharAkAsham dInajana

samrakSaNa caNam divya patannjali vyAghrapAda darshita kunjitAbja caraNam

Charanam:

shItAmshu gangAdharam nIla kandharam shrI kEdArAdi kSEtrAdhAram

bhUtEsham shArddUla carmAmbaram cidambaram bhUsura tri-sahasra munIshvaram

vishvEshvaram navanIta hrdayama sadaya guruguha mAdyam vEdavEdyam vItarAgiNam

apramEyAdvaita pratipAdyam sangIta vAdya vinOda tANDavajAta bahutara bhEda cOdyam

Meaning: (From T.K. Govinda Rao’s book)

Also see: http://en.wikipedia.org/wiki/Muthuswami_Dikshitar#Pancha_bhoota_sthala_linga_kritis

Pallavi: I take refuge (“Asrayami”) in the Lord (“Eesham”) of SIVAKAMAVALLI, the cosmic dancer of CITSABHA, who dances (“natana”) with ecstacy (“Natana prakaasham”).

Anupallavi: His effulgent form (“sankaasham”) is like that of crores (“koti”) of suns (“Bhanu”).

He, the one who is of the form of subtle ethers DAHARAKASA.

He is skilful in bestowing (“prada”) both the ephemeral (“bhukti”) and eternal (“mukti”) happiness.

He is adept (“chana”) in protecting (“samrakshana”) the afflicted (“dina”) ones (“jana”).

He has the glory of bestowing the great (“divya”) vision (“darshita”) of His lifted (“Kunjitha”) lotus-like (“abja”) PADA (“pada charanam”) for His devotees PADANJALI and VYAGHRAPADA.

Charanam: He wears (“dharma”) the crescent moon (“shItAmshu”) & GANGA on his head, and has a blue (“nIla”) neck (“kandharam”).

He is established (“Adhaaram”) in KEDARA and other (“aadi”) temples (“kshetra”).

He, the master (“eesham”) of BHUTAs. He is clad (“ambaram”) in tiger (“shArddUla”)  skin (“charma”).

He, the Lord of the universe-VISVESVARA. He has a heart (“hrudayam”) that melts like freshly made butter (“Navaneetha”).

He is the lord (“Ishwaram”) of the three (“thri”) thousand (“sahasra”) sages (“muni”).

He is the progenitor (“mAdyam”) of GURUGUHA, who is full of compassion (“sadaya”).

He is understood (“vEdyam”) though the VEDAs.

He, the desireless one (“apramEyA”), the infinite (“vItarAgiNam”).

He is expounded (“pratipAdyam”) by the philosophy of monism-ADVAITA-non-duality.

He sportively performs (“vinOda”) various forms of dances (“tANDavajAta”) to the accompaniment of music (“sangIta”) and musical instruments (“vAdya”). He imparts knowledge to His devotees (“bahutara”)-becomes the answers (“cOdyam”) to the questions (“bhEda”) of his devotees.

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

AndavanE Unai Nambinen

Ragam: Shanmukhapriya (56th Melakartha)

ARO: S R2 G2 M2 P D1 N2 S  ||

AVA: S N2 D1 P M2 G2 R2 S  ||

Talam: Rupakam

Composer: Papanasam Sivan

Version: Ram Kaushik (Youtube Link)

Pallavi:

ANDavanE unai nambinEn aDimaik-kadimaiyAn aruL puriyoru pughalilan

Anupallavi:

tANDavam Adum kuncita caraNa malarai yErip-pOTri

Charanam:

kaDalinum mighu bhayankara bhavak-kaDal naDucchuzhal iDaippaDu

Meaning: (approx.)

Oh Lord (“Andavane”)! I have believed in you (“unai nambinEn”). I am the lowest of the lowest person (“aDimaik-kadimaiyAn”). You are the one famous (“pughalilan”) for showering your grace (“aruL puriyoru”).

I have prayed (“yErip-pOTri”) to your dancing form (“tANDavam Adum”), where you raise your lovely feet (“kuncita caraNa malarai”).

The ocean of life (“bhavak-kaDal”) is more fearsome (“mighu bhayankara”) than the might ocean (“kaDalinum”) itself. I need guidance and company to cross this ocean of life (“kaDal naDucchuzhal iDaippaDu”). I bow to you, please see your devotee, Ramadasan who bows to you respectfully (“shirupaDaganaiya aDimai kaNDAi rAmadASan pAmAl koNDa”).

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

Angaraka Aashrayamyaham

Ragam: Surutti  (28th Mela Janyam)

ARO: S R2 M1 P N2 D2 N2 S  ||

AVA: S N2 D2 P M1 P M1 R2 S   ||

Talam: Rupakam

Composer: Mutthuswami Dikshitar

Version: M.S. Subbulakshmi

Pallavi:

Angaarakam Aashrayamyaham

Vinathaa Sritha Jana Mandaaram

Mangalavaaram Bhoomi Kumaaram Vaaram Vaaram

Anupallavi:

Sringaraaraka Mesha Vruschika Raasya-adi Pathim

Raktha-angam Raktha-ambaraadi Dharam Shakthi Soola Dharam

Mangalam Kambu Galam Manjulatara Padha Yugalam

Mangala-Daayaka Mesha Thurangam Makarotthungam

Charanam:

Daanava Sura Sevitha Manda-smitha Vilasitha Vakthram

Dharani Pradam Bhraathrur-Kaarakam Raktha Neethram

Dheena Rakshakam Poojitha Vaidhyanaatha Ksheethram

Divyoughaadi Guru Guha Kataaksha-Anugraha Paathram

Bhanu Chandra Guru Mitram Bhaasamaana Sukalathram

Jaanustha Hastha Chithram Chaturbhuja Mathi Vichitram

Meanings (From T.K. Govinda Rao's Book)

I ("aham") take refuge ("ashraya" or "vaaram") in Angaaraka, the divine Mandaara tree to the humble dependent devotees ("srita jana") who pray ("vinata") to him. He is the presiding deity of Mangalavaara - tuesday. He is the son ("kumaaram") of the Earth ("bhoomi").

He is the Lord ("pathim") of the cherished ("sringaaraka") Aries ("mesha") and Scorpio ("vruschika") zodiac signs. He shines with a reddish ("raktha") form ("angam"). He wears ("dharam") a red ("raktha") dress ("ambara"). He carries a sword ("shakti") and a trident ("soola").

He is the auspicious one ("mangalam"). He wears a necklace ("kambu") on his beautiful neck ("galam"). He has lovely ("manjula-tara") feet ("pada-yugalam") and is the bestower ("daayaka") of auspiciousness ("mangala"). He rides ("thurangam") on a goat ("mesha") and whose highest apogee ("utthungam") is Capricorn ("makara raasi").

He is worshipped ("sevitha") by gods ("sura") and demons ("daanava"). His face ("vakthram") is always beaming ("vilasitha") and smiling ("smitha"). He is the bestower ("pradam") of wealth of lands ("dharani") and brotherhood ("braathrur-kaarakam"). He has red ("raktha") eyes ("netram"). He is the protector ("rakshakam") of the afflicted ("dheena"). He is worshipped ("poojitha") in the Vaidyanaatha Kshetra. He is favored ("kataaksha-anugraha patram") by three groups of divine teachers such as Divayugha, Siddhaugha and Maanavauga in the Sri-Chakra worship. He is favored ("anugraha patram") by Guruguha. He is the friend ("mitram") of the sun ("Surya" or "bhaanu"), the moon ("chandra") and Jupiter ("brihaspati" or "guru"). He shines ("bhaasamaana") with his good wife, with his hand ("hastha") on his knees ("jaanustha"), having four ("chatur") arms ("bhuja") and he is quite ("mathi") extraordinary ("vichitram").