- There are 52 Muslim countries. Show one Muslim country which provides Haj subsidy.
- Show one Muslim country, where Hindus are extended the special rights, that Muslims are accorded in India,
- Show one Muslim country which has a non-muslim as its President or Prime Minister.
- Show one country, where the 82% majority, craves for the indulgence of 18% minority
- Show one Mullah or Maulvi who has declared a "fatwa" against terrorists.
- hindu majority Maharashtra, Bihar, Kerala, Pondichery, etc, have in the past elected Muslims as CMs. Can you ever imagine a Hindu becoming CM of Muslim majority J & K or christian dominated Nagaland or Mizoram.
- Today Hindus are 85%. If Hindus are intolerant, how come Masjids and madrassas are thriving? How come Muslims are offering prayers on the road? How come Muslims are proclaiming, 5 times in a day on loudespeakers, that there is no God except Allah?
- When Hindus gave to Muslims 30% Bharath for a song, why should Hindus now beg for their sacred places at Ayodhya, Kashi and Mathura?
- Why temple funds are spent for the welfare of Muslims and Christians, when they are free to spend their money in any way they like?
- When uniform is made compulsory for school children, why there is no uniform civil code for citizens?
- In what way J & K is different from Maharastra, Tamilnadu and Uttarpradesh
Tuesday, August 26, 2008
I don't subscribe, but interesting to read
You might have read a statement given by Ms. Shabna Azmi. If not click this link
Saturday, August 23, 2008
Andholika
28 harikAmbhOji janya
A: S R2 M1 P N2 S
Av: S N2 D2 M1 R2 S
I do not find more information from any site about this raagam. If any body can give me further details about this raagam I will be much obliged.
Mr. Parameswaran from Bombay has provided me more inforamation. Our thanks to him
Andolika is janya of 22 khara hara priya,but has dhaivatha in avarohana.
Raga : Andolika
Mela: Kharaharapriya - Mela 22
Other Names: Mayurdhvani
Arohana: S R2 M1 P N1 S || S Ri Ma Pa Ni S
Avarohana: S N1 D1 M1 R1 S || S Ni Dha Ma Ri S
Rasa: Vira
Time: All
Season:
Chaya Swaras: R, N
Special Considerations: Tarasthyayi prayoga and Pratyahata Gamakas add beauty
Sancharas: R_MP RMPNNDM_ RMR-S nSRMRMP_ MPNNS SNNDDMMR_ RMPNND MPNNS_N_SR_ N_SRM_R_S RSSNNDM RMP_NDMR R_MR_S
compositions 1n Raga Andolika
1. http://www.mediafire.com/?vwdfncnmu1r Nee dhaya raadha - M. L. Vasanthakumari
2. http://www.mediafire.com/?2nmz4mnd0bm Varnam - Nee dhaya - Sudha Ragunathan
3. http://www.mediafire.com/?zuo4fgg349x Raaga sudha rasa - Sudha Raghunathan
4. http://www.mediafire.com/?nzyzjvdno1y Raaga sudha rasa - M. L. Vasanthakumari
5. http://www.mediafire.com/?ww3jqxdwtwz Raaga sudha rasa - Balamuralikrishna
6. http://www.mediafire.com/?i1ziw3zqwtm Raaga sudha rasa - P. Unnikrishnan
7. http://www.mediafire.com/?m09comncncw Sevikka vendum - P. Unnikrishnan
8. http://www.mediafire.com/?yxbagmmdper Raaga sudha rasa - Sowmya
9. http://www.mediafire.com/?z20mzuyydw2 Raaga sudha rasa - Madurai Somasundaram
10 http://www.mediafire.com/?ty2j3mgmjjg Raaga sudha rasa - K. J. Yesudoss
11. http://www.mediafire.com/?nerdhxjogzw Sevikka vendum - Maharajapuram Santhanam
A: S R2 M1 P N2 S
Av: S N2 D2 M1 R2 S
I do not find more information from any site about this raagam. If any body can give me further details about this raagam I will be much obliged.
Mr. Parameswaran from Bombay has provided me more inforamation. Our thanks to him
Andolika is janya of 22 khara hara priya,but has dhaivatha in avarohana.
Raga : Andolika
Mela: Kharaharapriya - Mela 22
Other Names: Mayurdhvani
Arohana: S R2 M1 P N1 S || S Ri Ma Pa Ni S
Avarohana: S N1 D1 M1 R1 S || S Ni Dha Ma Ri S
Rasa: Vira
Time: All
Season:
Chaya Swaras: R, N
Special Considerations: Tarasthyayi prayoga and Pratyahata Gamakas add beauty
Sancharas: R_MP RMPNNDM_ RMR-S nSRMRMP_ MPNNS SNNDDMMR_ RMPNND MPNNS_N_SR_ N_SRM_R_S RSSNNDM RMP_NDMR R_MR_S
compositions 1n Raga Andolika
| Composition | Tala | Type | Composer |
| Aravinda Nayanam | Adi | Krithi | Ashok Madhav |
| Gajanano virajathe | Rupaka | Krithi | N S Ramachandran |
| Karanamemi kanene | Rupaka | Krithi | G N Balasubramanian |
| Ragasudha rasa | Adi | Krithi | Thyagaraja |
| Sevikka vendumayya | Adi | Krithi | Muthuthandavar |
| Tirumal maruga | Adi | Varnam | Lalgudi Jayaraman |
| Vajresi mathe | Adi | Krithi | Muthaiah Bhagavatar |
| Vyomakesam namami | Triputa | Krithi | Muthaiah Bhagavatar |
| Mahishasura | Adi | Varna | Muthaiah Bhagavatar |
1. http://www.mediafire.com/?vwdfncnmu1r Nee dhaya raadha - M. L. Vasanthakumari
2. http://www.mediafire.com/?2nmz4mnd0bm Varnam - Nee dhaya - Sudha Ragunathan
3. http://www.mediafire.com/?zuo4fgg349x Raaga sudha rasa - Sudha Raghunathan
4. http://www.mediafire.com/?nzyzjvdno1y Raaga sudha rasa - M. L. Vasanthakumari
5. http://www.mediafire.com/?ww3jqxdwtwz Raaga sudha rasa - Balamuralikrishna
6. http://www.mediafire.com/?i1ziw3zqwtm Raaga sudha rasa - P. Unnikrishnan
7. http://www.mediafire.com/?m09comncncw Sevikka vendum - P. Unnikrishnan
8. http://www.mediafire.com/?yxbagmmdper Raaga sudha rasa - Sowmya
9. http://www.mediafire.com/?z20mzuyydw2 Raaga sudha rasa - Madurai Somasundaram
10 http://www.mediafire.com/?ty2j3mgmjjg Raaga sudha rasa - K. J. Yesudoss
11. http://www.mediafire.com/?nerdhxjogzw Sevikka vendum - Maharajapuram Santhanam
Friday, August 22, 2008
Asaaveri
Asaveri is the Janya of the 8th Mela Hanumatodi.
In Arohanam, Ga and Ni are omitted. In Avarohanam, all the seven swaras are included. Hence, its Jati is Audava-Sampoorna.
It is an early morning raga. It is very pleasant to hear. It is an ancient raga and finds place in Sangitha Ratnakara. This raga portrays Karuna rasa.
Arohanam: Sa, Ri1, Ma1, Pa, Dha1, SA*Avarohanam: SA*, Ni2, SA*, Pa, Dha1, Ma1, Pa, Ri1, Ga2, Ri1, Sa
Swaras taken are Shudha Ri, Sadharna Ga, Shudha Dha and Kaisiki Ni.
There are popular compositions like Ra Rama Inti by Tyagaraja. Dikshitar had composed Chandram Bhajamanasa. Kshetragna had composed a padam Yenduku Paga Seehenu in Asaveri.
1. http://www.mediafire.com/?dp7uxvqyjjh Charan charanam - Nithyashree
2. http://www.mediafire.com/?2m3xlzglczt Paalaya maadhava - Kundrakudi Balamuralikrishna
3. http://www.mediafire.com/?j9ymtm9o1p1 Raa raama inti dhaaka - T. N. Seshagopalan
4. http://www.mediafire.com/?f5zyy17wpcm Sri Kanchi naayike - Maharajapuram Santhanam
5. http://www.mediafire.com/?nmopjmlttim Charanam - Bombay Jayashri
6. http://www.mediafire.com/?t4t4mwbkemz Raa raama inti - S. Janaki
7. http://www.mediafire.com/?ln0kdusnulw Raa raama inti - Sudha Raghunathan
8. http://www.mediafire.com/?mbbyojdujuj Raa raama inti - P. Unnikrishnan
9. http://www.mediafire.com/?yuwdn9vngtm Raamachandrulu - Balamuralikrishna
10. http://www.mediafire.com/?4imjo9nl1tb Lekana ninnu - Bombay Jayashri
11. http://www.mediafire.com/?yjc04zjcbob Thiruppugazh - Ranjani and Gayathri
12.http://www.mediafire.com/?p41h59jbuex Ayyane - Sikkil Gurucharan
In Arohanam, Ga and Ni are omitted. In Avarohanam, all the seven swaras are included. Hence, its Jati is Audava-Sampoorna.
It is an early morning raga. It is very pleasant to hear. It is an ancient raga and finds place in Sangitha Ratnakara. This raga portrays Karuna rasa.
Arohanam: Sa, Ri1, Ma1, Pa, Dha1, SA*Avarohanam: SA*, Ni2, SA*, Pa, Dha1, Ma1, Pa, Ri1, Ga2, Ri1, Sa
Swaras taken are Shudha Ri, Sadharna Ga, Shudha Dha and Kaisiki Ni.
There are popular compositions like Ra Rama Inti by Tyagaraja. Dikshitar had composed Chandram Bhajamanasa. Kshetragna had composed a padam Yenduku Paga Seehenu in Asaveri.
1. http://www.mediafire.com/?dp7uxvqyjjh Charan charanam - Nithyashree
2. http://www.mediafire.com/?2m3xlzglczt Paalaya maadhava - Kundrakudi Balamuralikrishna
3. http://www.mediafire.com/?j9ymtm9o1p1 Raa raama inti dhaaka - T. N. Seshagopalan
4. http://www.mediafire.com/?f5zyy17wpcm Sri Kanchi naayike - Maharajapuram Santhanam
5. http://www.mediafire.com/?nmopjmlttim Charanam - Bombay Jayashri
6. http://www.mediafire.com/?t4t4mwbkemz Raa raama inti - S. Janaki
7. http://www.mediafire.com/?ln0kdusnulw Raa raama inti - Sudha Raghunathan
8. http://www.mediafire.com/?mbbyojdujuj Raa raama inti - P. Unnikrishnan
9. http://www.mediafire.com/?yuwdn9vngtm Raamachandrulu - Balamuralikrishna
10. http://www.mediafire.com/?4imjo9nl1tb Lekana ninnu - Bombay Jayashri
11. http://www.mediafire.com/?yjc04zjcbob Thiruppugazh - Ranjani and Gayathri
12.http://www.mediafire.com/?p41h59jbuex Ayyane - Sikkil Gurucharan
Saturday, August 16, 2008
Amrithavarshini
Literally, the meaning is 'one who showers amrit, the elixir of immortality.' It is a combination of two words: amrit and varshini.
Different schools of music place the origin of this raga under different melas. One school places
have any resemblance to the 39th mela. There are no compositions in this type of Amritavarshini.
The present day Amritavarshini could be placed as the janya of the 65th mela Mechakalyani. Or the 66th mela Chitrambari. It can be fitted to either of these melas as the raga does not have a Dhaivata. As the note Dhaivata is the only difference between Mechakalyani and Chitrambari, in the absence of that note, it could belong to either of these melas.
But the practice is to choose the earlier of the two ragas in case of such a dilemma.
Amritavarshini as it is sung today has the following Aarohana and Avarohana:
S G3 M2 P N3 SS N3 P M2 G3 S
The swaras used are Antara Gandharam, Prati Madhyamam and Kakali Nishadam.
It is an Audava raga and is very melodious. It does not give scope for treatment as a major raga in a concert. One reason could be the absence of major compositions in the raga.
The very popular and frequently heard ones are Muthuswamy Dikshitar's 'Anandamritakarshini' in Adi Tala and Muthiaha Bhagavatar's 'Sudhamayee' in Rupaka Tala.
The prayogas such as P M2 G3 M2 ¸G3, Saa Gaa; G M P N M aa, P N S' G'aa etc enhance the beauty of the raga.
The notes G and N with elongated karvais sound beautiful and help to bring out the raga bhava.
This raga makes an impact if sung briefly. Any overstretched aalapana makes this raga lose its charm and effectiveness.
The raga is a hot favorite for ragamalika swara singing in ragam-taanam-pallavi.
There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to bring rain and alleviate the plight of the drought-hit people.
He addressed the Devi as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
This incident has given rise to the practice of musicians gathering together to sing this composition when there rains fail.
One hears of similar anecdotes in North India about ragas Meghamalhar and Megh.
Amritavarshini resembles the Hindustani raga Malashree. There is no raga called Amritavarshini in Hindustani music.
© Seetha Narayanan., all rights reserved.Literally, the meaning is 'one who showers amrit, the elixir of immortality.' It is a combination of two words: amrit and varshini.
Different schools of music place the origin of this raga under different melas. One school places this raga as the janya of the 39th mela Jhalavarali. But the present day Amritavarshini does not have any resemblance to the 39th mela. There are no compositions in this type of Amritavarshini.
The present day Amritavarshini could be placed as the janya of the 65th mela Mechakalyani. Or the 66th mela Chitrambari. It can be fitted to either of these melas as the raga does not have a Dhaivata. As the note Dhaivata is the only difference between Mechakalyani and Chitrambari, in the absence of that note, it could belong to either of these melas.
But the practice is to choose the earlier of the two ragas in case of such a dilemma.
Amritavarshini as it is sung today has the following Aarohana and Avarohana:
S G3 M2 P N3 SS N3 P M2 G3 S
The swaras used are Antara Gandharam, Prati Madhyamam and Kakali Nishadam.
It is an Audava raga and is very melodious. It does not give scope for treatment as a major raga in a concert. One reason could be the absence of major compositions in the raga.
The very popular and frequently heard ones are Muthuswamy Dikshitar's 'Anandamritakarshini' in Adi Tala and Muthiaha Bhagavatar's 'Sudhamayee' in Rupaka Tala.
The prayogas such as P M2 G3 M2 ¸G3, Saa Gaa; G M P N M aa, P N S' G'aa etc enhance the beauty of the raga.
The notes G and N with elongated karvais sound beautiful and help to bring out the raga bhava.
This raga makes an impact if sung briefly. Any overstretched aalapana makes this raga lose its charm and effectiveness.
The raga is a hot favorite for ragamalika swara singing in ragam-taanam-pallavi.
There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to bring rain and alleviate the plight of the drought-hit people.
He addressed the Devi as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
This incident has given rise to the practice of musicians gathering together to sing this composition when there rains fail.
One hears of similar anecdotes in North India about ragas Meghamalhar and Megh.
Amritavarshini resembles the Hindustani raga Malashree. There is no raga called Amritavarshini in Hindustani music.
© Seetha Narayanan., all rights reserved.
Courtesy: seetha-Narayanan.sulekha.com
Different schools of music place the origin of this raga under different melas. One school places
have any resemblance to the 39th mela. There are no compositions in this type of Amritavarshini.
The present day Amritavarshini could be placed as the janya of the 65th mela Mechakalyani. Or the 66th mela Chitrambari. It can be fitted to either of these melas as the raga does not have a Dhaivata. As the note Dhaivata is the only difference between Mechakalyani and Chitrambari, in the absence of that note, it could belong to either of these melas.
But the practice is to choose the earlier of the two ragas in case of such a dilemma.
Amritavarshini as it is sung today has the following Aarohana and Avarohana:
S G3 M2 P N3 SS N3 P M2 G3 S
The swaras used are Antara Gandharam, Prati Madhyamam and Kakali Nishadam.
It is an Audava raga and is very melodious. It does not give scope for treatment as a major raga in a concert. One reason could be the absence of major compositions in the raga.
The very popular and frequently heard ones are Muthuswamy Dikshitar's 'Anandamritakarshini' in Adi Tala and Muthiaha Bhagavatar's 'Sudhamayee' in Rupaka Tala.
The prayogas such as P M2 G3 M2 ¸G3, Saa Gaa; G M P N M aa, P N S' G'aa etc enhance the beauty of the raga.
The notes G and N with elongated karvais sound beautiful and help to bring out the raga bhava.
This raga makes an impact if sung briefly. Any overstretched aalapana makes this raga lose its charm and effectiveness.
The raga is a hot favorite for ragamalika swara singing in ragam-taanam-pallavi.
There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to bring rain and alleviate the plight of the drought-hit people.
He addressed the Devi as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
This incident has given rise to the practice of musicians gathering together to sing this composition when there rains fail.
One hears of similar anecdotes in North India about ragas Meghamalhar and Megh.
Amritavarshini resembles the Hindustani raga Malashree. There is no raga called Amritavarshini in Hindustani music.
© Seetha Narayanan., all rights reserved.Literally, the meaning is 'one who showers amrit, the elixir of immortality.' It is a combination of two words: amrit and varshini.
Different schools of music place the origin of this raga under different melas. One school places this raga as the janya of the 39th mela Jhalavarali. But the present day Amritavarshini does not have any resemblance to the 39th mela. There are no compositions in this type of Amritavarshini.
The present day Amritavarshini could be placed as the janya of the 65th mela Mechakalyani. Or the 66th mela Chitrambari. It can be fitted to either of these melas as the raga does not have a Dhaivata. As the note Dhaivata is the only difference between Mechakalyani and Chitrambari, in the absence of that note, it could belong to either of these melas.
But the practice is to choose the earlier of the two ragas in case of such a dilemma.
Amritavarshini as it is sung today has the following Aarohana and Avarohana:
S G3 M2 P N3 SS N3 P M2 G3 S
The swaras used are Antara Gandharam, Prati Madhyamam and Kakali Nishadam.
It is an Audava raga and is very melodious. It does not give scope for treatment as a major raga in a concert. One reason could be the absence of major compositions in the raga.
The very popular and frequently heard ones are Muthuswamy Dikshitar's 'Anandamritakarshini' in Adi Tala and Muthiaha Bhagavatar's 'Sudhamayee' in Rupaka Tala.
The prayogas such as P M2 G3 M2 ¸G3, Saa Gaa; G M P N M aa, P N S' G'aa etc enhance the beauty of the raga.
The notes G and N with elongated karvais sound beautiful and help to bring out the raga bhava.
This raga makes an impact if sung briefly. Any overstretched aalapana makes this raga lose its charm and effectiveness.
The raga is a hot favorite for ragamalika swara singing in ragam-taanam-pallavi.
There is a popular anecdote about this raga. It is said that while visiting Ettayapuram, a small village in Tamil Nadu, the great composer Muthuswamy Dikshitar was anguished to see the drought-hit arid land and people facing severe water shortage. Moved by their plight, Dikshitar looked up to the sky and burst forth in praise of the goddess in this raga. He beseeched Devi to bring rain and alleviate the plight of the drought-hit people.
He addressed the Devi as 'Anandamritakarshini, Amritavarshini'. When he sang 'Salilam Varshaya Varshaya', meaning 'let the rain pour', it is said the sky opened up. There was such a torrential rain that the place got flooded. He had then to plead 'Sthambhaya Sthambhaya', meaning 'stop, stop'.
This incident has given rise to the practice of musicians gathering together to sing this composition when there rains fail.
One hears of similar anecdotes in North India about ragas Meghamalhar and Megh.
Amritavarshini resembles the Hindustani raga Malashree. There is no raga called Amritavarshini in Hindustani music.
© Seetha Narayanan., all rights reserved.
Courtesy: seetha-Narayanan.sulekha.com
- http://www.mediafire.com/?9z0d2bnx0mo Aanandhaamrutha - Radha Jayalakshmi
- http://www.mediafire.com/?zvja21tmhiz Gajamukha - Nithyashree
- http://www.mediafire.com/?rcxyjiulgjj RTP - Madurai Somu
- http://www.mediafire.com/?cicd5oznys1 Sudhamayee - Chithra
- http://www.mediafire.com/?mudvj5f0xst Aananadhaamrutha - Bombay Jayashri
- http://www.mediafire.com/?wt4itzejgte Aanandaamrutha - M. L. Vasanthakumari
- http://www.mediafire.com/?ohczmzyndn4 Dhyaaname - P. Unnikrishnan
- http://www.mediafire.com/?tew0gtebmjg Sri raama paadhamaa - Balamuralikrishna
- http://www.mediafire.com/?xbgnozwawo4 Aanandaamrutha - Sowmya
- http://www.mediafire.com/?u0j11jhfmgm Aanandaamrutha - Nithyashree
- http://www.mediafire.com/?gpn25xmmnkp Aanandaamrutha - Aruna Sairam
- http://www.mediafire.com/?ypo3muytgdj Aanadaamrutha - Balamuralikrishna
- http://www.mediafire.com/?hj0qkydm3pn Agaramumaagi - P. Unnikrishnan
- http://www.mediafire.com/?mtzf9z3vdctAanandaamrutha - Sudha Raghunathan
- http://www.mediafire.com/?oodx2tgxhh9 Enai nee maravaadhe - Sowmya
- http://www.mediafire.com/?zj1u5apmzxt Mere tho giridhar - O. S. Arun
- http://www.mediafire.com/?rl4y30jyjjc Enai nee maravaadhe - Nithyashree
- http://www.mediafire.com/?wxtkwxkm2wd Varnam - Aabaala gopaala - Balamuralikrishna
- http://www.mediafire.com/?utjxzk30h7o Sudhaamayee - Bombay Jayashri
- http://www.mediafire.com/?1vumg2yz77g Sudhamayee - Radha Jayalakshmi
- http://www.mediafire.com/?zsxq3duak4u Thaamarai malar - K. J. Yesudoss
Thursday, August 14, 2008
Hamir kalyani
Carnatic raga Hamir Kalyani is a janya of Kalyani,65th melakarta. It is a bhashanga raga as M1 (Shudha Madhyama) is also used. Arohanam:S P M2 P D2 N3 S Avarohanam: S N3 D2 P M2 G3 M1 G3 R2 S
- http://www.mediafire.com/?y2wmfmty1m5 Thoomani Maadaththu - Ranjani Gayathri
- http://www.mediafire.com/?jnmjymjyzw4 Thoomani maadaththu - Aruna Sairam
- http://www.mediafire.com/?y2pqjmncba0 Naameeda dhaya - Balamuralikrishna
- http://www.mediafire.com/?menjwnzhbdg Hari smarana - M.L. Vasanthakumari (Ms. Meera has pointed out the error that this is Yamuna kalyaani. I will shift this when I post Yamuna kalyaani. Until then ..........)
- http://www.mediafire.com/?klm0bx6fxlm Yaaraamitha - P. Unnikrishnan (Ms. Latha says this is not Hamirkalyaani and PATdeep. She is right and since I have only this song in that raaga I continue to keep this song here with the note. Thanks Latha once again)
- http://www.mediafire.com/?nmyx3xlofkj Naadha murali - Aruna Sairam
- http://www.mediafire.com/?vm7vdy0zumz Purahara - Maharajapuram Santhanam
- http://www.mediafire.com/?114mdwp9byo Thiruppugazh - Ingaranai - Bombay Jayashri
- http://www.mediafire.com/?zom4vuejkjx Purahara nandhana - T. N. Seshagopalan
- http://www.mediafire.com/?lduxypwuzyi Thillaana - T. N. Seshagopalan
- http://www.mediafire.com/?dw2tdpxmyeo Sivakantha shambo - T. M. Krishna
- http://www.mediafire.com/?zriit2utzzz Bhuvaneswari - Sowmya
- http://www.mediafire.com/?uzwhd9knm1g Thoomani maadaththu - M. L. Vasanthakumari
- http://www.mediafire.com/?yfd4mtmnw26 Yaaraamitha - Bombay Jayashri
- http://www.mediafire.com/?xhzuydgane1 Naadha murali - T. N. Seshagopalan
- http://www.mediafire.com/?wjrzqogy2zh Manamuletha - T. N. Seshagopalan
- http://www.mediafire.com/?hwscrtzd9gn Purahara nandhana - Maharajpuram
s. Ramachandran
Sriram said...- Dear Mr.Vaithinathan
Your posts on carnatic music (with all the painstakingly compiled links) are a treat. Thank you.
Kiron nandakumar said...- Dear Vaithinathan sir,
I have been searching for the song "gaangeya vasanadhara" composed by Maharaja Swathi Tirunal in hameer kalyani raga. I would be greatful to u if you could share that one to us.
I heartily appreciate ur great work.
Love and Regards,
kiron.
- Latha said...
- Hi Mama,
I think the song Yaaramita by P.unnikrishnan is not in the Raga Hamirkalyani, it is in a raga called PAtdeep. It is sung in Hamir kaly too but I guess P.unnikrishnan has sung it in Patdeep, whereas Bombay Jayashree has sung it in Hamirkalyani.
Regards,
Latha
hvaidya said...- Thank you Ms. Lalitha for pointing out. I am correcting it on your suggestion,
- hvaidya said...
- Sorry for typing your name as Lalitha. Extremely sorry.
Meera said...- Hi sir,
This is a wonderful collection! Thanks for all your effort.
Also,a small correction- 'Hari smarane maado' by MLV is set in Yamuna Kalyani, and not Hamir Kalyani.
Thanks,
Meera
- hvaidya said...
- You are right Ms. Meera. I will shift this when I post Yamuna kalyaani
Vijith Krishnan V said...- Thank you very much Sir..
- Keerthi said...
- Thanks for the wonderful post sir.
Wednesday, August 13, 2008
Cine songs - Tamil
I have posted some of the cinesongs of 70 and 80s here for those who are interested to hear for a change. They can be straight away heard by clicking since they are posted under "Imeem"
001. Neela vaana odaiyil
002. Pon maalai pozhudhu
003. Poonkadhave thaal thiravaai
004. Raaga vinodhangal
005. Kanaa kaalum kangal
006. Naadham omkaara naadham
007. Raaman kadhai kelungal - S. P Balasubramaian
008. Thakida thakida
009. Un paarvai
010. Vaa vaa en
011. Vasantha kaalangal
012. Vedham
013. Velli chalangaigal
014. Yen iniya pon nilaave
015. Vaazhve maayam
016. Hello my dear wrong number
017. Then sindhudhe
018. Thirumagal thedi vandhaal - P. Susheela- 019. Alarsa
020. Kaa kaa kaa - C. S. Jayaraman
021. Kutram purindhavan - C. S. Jayaraman
022. Nenju porukkudhillaye - C. S. Jayaraman
023. Sarasa raani kalyaani - C. S. Jayaraman
024. Vannaththamizh pennoruththi - C. S. Jayaraman
025. Vinnodum mugilodum - C. S. Jayaraman & M. L. Vasanthakumari
026. Oviyamaa - C. S. Jayaraman
027. Om namachivaaya
028. Yamunai aatrile
029. Thannai thaane nambaadhadhu - C. S Jayaraman
030. Kaaviyamaa - C. S. Jayaraman
031. Aayiram kan podhaadhu - C. S. Jayaraman
032. Anbaale thediya - C. S. Jayaraman
033. Anbinaale undaagum - C. S. Jayaraman
034. Sree vinaayakam
035. Raaja maathangi
036. Andru Oomai pennallo
037. Pazhagum thamizhe
038. Kannaa vaa vaa
039. Nilaa nilaa odi vaa
040. Kannaale naan kanda
041. Thaayirchirandha
042. Cholai vannam
043. Laali laali ( Varam thandha)
044. Mannil indha neram
045. Thanga churangam
046. Vaanila (?)
047. Kaalaiyum neeye
048. Thyilaadha pennondru
049. Sendru Vaa Magane - K. B. Sundarambaal
050. Thunbamellam - K. B. Sundarambaal
051. Andru Kollum - K. B. Sundarambaal
052. Vazhkai Ennum - K. B. Sundarambaal
053. Kettavaram - K. B. Sundarambaal
054. Gnanamum - K. B. Sundarambaal
055. Ezhumalai - K. B. Sundarambaal
056. Kaalalthal - K. B. Sundarambaal
057. Pazhani Malai - K. B. Sundarambaal
058. Kondum - K. B. Sundarambaal
059. Thappithithu - K. B. Sundarambaal
060. Ariyathu ketkin - K. B. Sundarambaal
061. Odungal Odi - K. B. Sundarambaal
062. Gnaana pazhaththai - K. B. Sundarambaal
063. Pazham neeyappa - K. B. Sundarambaal
064. Vaasi vaasi yendru - K. B. Sundarambaal
065. Vinnodum mukilodum - C. S. Jayaraman & M.L.V
066. Vaan meedhile
Anonymous said...
Sir really this is all very useful to us those who are really seeking for carnatic music. My wishes & Prayers to & Yr all family members will get Wonderful Health, Long life,Prosperity, Wisdom , Peace. Sir will you please give the Carnatic, Cine songs notations ..It is really useful to us. Those wish to improve their skills through Interest, Hardwork.
Anonymous said...
We are eagarlly waiting for another your excellent guidance to us. The carnatic Music Geethams, Kirtis, Tamil Cine songs notations in tamil if it is possible to do. It is very useful like those,Who wish to practice their own self intrest& By of Dedicated Hardwork.
Music Relatated Notations.
Thank You Sir
Sunday, August 10, 2008
Sapthaswaras in our music
This is the correspondence I had in Rasikapriya regarding the Sapthaswaras and their links to various natural aspects. Since I thought the information will be very useful to all those who are interested in our Music, I am posting this here. Please read these interesting details.
--- On Sat, 8/9/08, Sridharan Sankarangmail.com> wrote:From: Sridharan Sankaran Subject: [rasikapriya- dot-net] Carnatic music and the Sama VedaTo: rasikapriya- dot-net@yahoogro ups.com, sangeethapriya@ googlegroups. comDate: Saturday, August 9, 2008, 6:06 PM***Carnatic music and the Sama Veda*Posted by Saraspriya on Wednesday August 6 2008 18:28
Music is the harmonious blend of swara, tala and pada. Raga is the combination of musical notes that gives delight to the mind and soul. Every raga elevates mood, emotion and feeling.Carnatic music has been inspired by Sama Veda to a great extent. There are seven swaras or notes, also called the sapta swaras. They are: shadja,rishaba, gandhara, madhyama, panchama, dhaivatha and nishada. There is abelief that swaras are reputed to have followed the sounds of birds andanimals. For example: S - peacock, R - ox G - goat M - krouncha bird P - cuckoo D -horse N - elephant. Indian music is truly a spiritual aid and the vehicle for the human soul to attain the universal soul - the Paramatman. A scale is the progressive, step-wise arrangement of notes which, when invoked successively, produces melody. Shadja is the basic or adhara swara;on this note rest the other six notes. Madhyama is the middle note or it is pitch-forked. Panchama denotes the fifth place. Sama Veda was generally recited with the accompaniment of flute or veena. Pranavam is the root of sound from the naabhi emanating basic sounds which represent the five faces of Lord Shiva, which are: satyojatham, vaamanam,tatpurusham, eesanam and aghoram. It is firmly believed that Lord Shiva taught music to his consort Parvathi, his prime sishya, and later on to sages Tumburu, Narada, Nandikeswara and Saraswathi. Each deity of the Hindu religion is associated with a musical instrument: damaru of Shiva, flute of Krishna, conch of Vishnu, drum of Nandi, veena of Saraswathi and Narada; and thambura of Thumburu. Lord Buddha conveyed his teachings and messages with music on his parivadiniveena, which was made of gold having 21 strings. Sama veda is well known tobe rendered in a musical manner. More musical information will flow�http://www.newindpr/ ess.com/blogs/ News.asp? Topic=515& Title=Saraspriya &ID=IEV200808061 82749
On reading this I wrote:
While I appreciate the article for providing lot of information, I am surprised with the linking of swaras with the respective birds and animals, since all those birds and animals mentioned there in, have only "abaswarams" . Can the learned members in our group throw more light on this subject and also about the authenticity of this statement?
Hariharan
This was the reply from Mr. Navneet Venkatesan
""Dear Sri Hariharan,
The comparison of the Saptaswaras with sounds of animals & birds is obviously not a literal one. It is a symbolic metaphor, wherein the frequency of the respective animal or bird cry is likened to that of a particular note of the octave. It is more of an esoteric and poetic exercise, though it was "more than a mere flight of fancy". According to Sri Rangaramanuja Aiyangar, "... Later treatises like the Narada Siksha and Sangeeta Makaranda identified the notes with the cries of the peacock, bull, goat, heron, cuckoo, horse and elephant.... Birds and animals never cultivated a language (atleast not in the human sense of the word). The sounds they utter are natural and not acquired. Generally, the sounds of birds are softer than that of animals. Shadja, Madhyama & Panchama were assigned (respectively) to the peacock, the heron and the cuckoo. The three notes have a high degree of consonance. Also, they are relatively more important than the other four. The heron is smaller than the peacock, and the cuckoo is smaller than the heron. This is reflected in the rising frequency and decreasing ratio of the three notes. In like manner, the Rishabha and Dhaivata bear the same relationship to each other as the Gandhara and the Nishada. The sound of the goat is shriller than thebull's. Correspondin gly, the Gandhara is higher than the Rishabha. Lastly, the horse and the elephant represent a higher order in Nature's family. Their sounds are relatively higher and more intense in pitch than the other sounds (thus representing the Dhaivata and the Nishada). This is the significance of attributing the sounds of birds and animals to the notes of the scale. It does not mean that the birds and animals ranged in order may be seen to emit sounds presenting an octave. It was only a poetic attempt to seek harmony in the sounds of nature. Kohala, regarded as one of Bharata's hundred sons, ascribed the notes to the peacock, chataka (bird) , goat, heron, cuckoo, frog and elephant."However, we see a very different classification for the Saptaswaras in the Brihaddeshi of Matanga Muni. Sri Aiyangar goes onto say, "The seven notes of the music scale stand apart from all other sounds. It is but natural that their importance caught the imagination of our ancients. Firstly, the notes were descended from the gods. The major tone, minor tone, semitone and the rest were assigned to the four varnas. Again Shadja, Gandhara and Madhyama came of the stock of the Devas. Panchama came from the Manes (?). Rishabha and Dhaivata were of the clan of the Rishis. Curiously enough, the Nishada alone had a demoniac origin. Shadja had the colour of a lotus petal, Rishabha that of a parrot, Gandhara of gold and Madhyama of white jasmine, Panchama was dark, Dhaivata yellow and Nishada multi-coloured. The patron deities of the notes were Brahma, Agni, Bharati Devi, Shiva, Indra, Ganesha and Surya respectively. The notes were the favoured of thegods too - Shadja of Agni, Rishabha of Brahma, Gandhara of Soma, Madhyama of Vishnu, Panchama of Narada, Dhaivata and Nishada of Tumburu. Shadja and Rishabha evoked sentiments of Veera and Raudra, Gandhara and Nishada of Karuna, Madhyama and Panchama of Haasya and Shringara & Dhaivata of Bhayaanaka & Vibhatsa.... .."The apparent naivette of all this fancy may be viewed from the background of a living faith in unseen forces. After all, the achievements of this all-conquering faith are a measure of its soundness and vitality.
Sincerely
Navaneet Venkatesan
Hats off Mr. Navneet Venkatesan
--- On Sat, 8/9/08, Sridharan Sankaran
Music is the harmonious blend of swara, tala and pada. Raga is the combination of musical notes that gives delight to the mind and soul. Every raga elevates mood, emotion and feeling.Carnatic music has been inspired by Sama Veda to a great extent. There are seven swaras or notes, also called the sapta swaras. They are: shadja,rishaba, gandhara, madhyama, panchama, dhaivatha and nishada. There is abelief that swaras are reputed to have followed the sounds of birds andanimals. For example: S - peacock, R - ox G - goat M - krouncha bird P - cuckoo D -horse N - elephant. Indian music is truly a spiritual aid and the vehicle for the human soul to attain the universal soul - the Paramatman. A scale is the progressive, step-wise arrangement of notes which, when invoked successively, produces melody. Shadja is the basic or adhara swara;on this note rest the other six notes. Madhyama is the middle note or it is pitch-forked. Panchama denotes the fifth place. Sama Veda was generally recited with the accompaniment of flute or veena. Pranavam is the root of sound from the naabhi emanating basic sounds which represent the five faces of Lord Shiva, which are: satyojatham, vaamanam,tatpurusham, eesanam and aghoram. It is firmly believed that Lord Shiva taught music to his consort Parvathi, his prime sishya, and later on to sages Tumburu, Narada, Nandikeswara and Saraswathi. Each deity of the Hindu religion is associated with a musical instrument: damaru of Shiva, flute of Krishna, conch of Vishnu, drum of Nandi, veena of Saraswathi and Narada; and thambura of Thumburu. Lord Buddha conveyed his teachings and messages with music on his parivadiniveena, which was made of gold having 21 strings. Sama veda is well known tobe rendered in a musical manner. More musical information will flow�http://www.newindpr/ ess.com/blogs/ News.asp? Topic=515& Title=Saraspriya &ID=IEV200808061 82749
On reading this I wrote:
While I appreciate the article for providing lot of information, I am surprised with the linking of swaras with the respective birds and animals, since all those birds and animals mentioned there in, have only "abaswarams" . Can the learned members in our group throw more light on this subject and also about the authenticity of this statement?
Hariharan
This was the reply from Mr. Navneet Venkatesan
""Dear Sri Hariharan,
The comparison of the Saptaswaras with sounds of animals & birds is obviously not a literal one. It is a symbolic metaphor, wherein the frequency of the respective animal or bird cry is likened to that of a particular note of the octave. It is more of an esoteric and poetic exercise, though it was "more than a mere flight of fancy". According to Sri Rangaramanuja Aiyangar, "... Later treatises like the Narada Siksha and Sangeeta Makaranda identified the notes with the cries of the peacock, bull, goat, heron, cuckoo, horse and elephant.... Birds and animals never cultivated a language (atleast not in the human sense of the word). The sounds they utter are natural and not acquired. Generally, the sounds of birds are softer than that of animals. Shadja, Madhyama & Panchama were assigned (respectively) to the peacock, the heron and the cuckoo. The three notes have a high degree of consonance. Also, they are relatively more important than the other four. The heron is smaller than the peacock, and the cuckoo is smaller than the heron. This is reflected in the rising frequency and decreasing ratio of the three notes. In like manner, the Rishabha and Dhaivata bear the same relationship to each other as the Gandhara and the Nishada. The sound of the goat is shriller than thebull's. Correspondin gly, the Gandhara is higher than the Rishabha. Lastly, the horse and the elephant represent a higher order in Nature's family. Their sounds are relatively higher and more intense in pitch than the other sounds (thus representing the Dhaivata and the Nishada). This is the significance of attributing the sounds of birds and animals to the notes of the scale. It does not mean that the birds and animals ranged in order may be seen to emit sounds presenting an octave. It was only a poetic attempt to seek harmony in the sounds of nature. Kohala, regarded as one of Bharata's hundred sons, ascribed the notes to the peacock, chataka (bird) , goat, heron, cuckoo, frog and elephant."However, we see a very different classification for the Saptaswaras in the Brihaddeshi of Matanga Muni. Sri Aiyangar goes onto say, "The seven notes of the music scale stand apart from all other sounds. It is but natural that their importance caught the imagination of our ancients. Firstly, the notes were descended from the gods. The major tone, minor tone, semitone and the rest were assigned to the four varnas. Again Shadja, Gandhara and Madhyama came of the stock of the Devas. Panchama came from the Manes (?). Rishabha and Dhaivata were of the clan of the Rishis. Curiously enough, the Nishada alone had a demoniac origin. Shadja had the colour of a lotus petal, Rishabha that of a parrot, Gandhara of gold and Madhyama of white jasmine, Panchama was dark, Dhaivata yellow and Nishada multi-coloured. The patron deities of the notes were Brahma, Agni, Bharati Devi, Shiva, Indra, Ganesha and Surya respectively. The notes were the favoured of thegods too - Shadja of Agni, Rishabha of Brahma, Gandhara of Soma, Madhyama of Vishnu, Panchama of Narada, Dhaivata and Nishada of Tumburu. Shadja and Rishabha evoked sentiments of Veera and Raudra, Gandhara and Nishada of Karuna, Madhyama and Panchama of Haasya and Shringara & Dhaivata of Bhayaanaka & Vibhatsa.... .."The apparent naivette of all this fancy may be viewed from the background of a living faith in unseen forces. After all, the achievements of this all-conquering faith are a measure of its soundness and vitality.
Sincerely
Navaneet Venkatesan
Hats off Mr. Navneet Venkatesan
Five philosophies in life
"DON'T LET SOMEONE BECOME A PRIORITY IN YOUR LIFE...
WHEN YOU ARE JUST AN OPTION FOR THEM....."
"NEVER CRY FOR ANY RELATION IN LIFE
BECAUSE FOR THE ONE WHOM YOU CRY
DOES NOT DESERVE YOUR TEARS
AND THE ONE WHO DESERVES
WILL NEVER LET YOU CRY......... ........ "
TREAT EVERYONE WITH POLITENESS
EVEN THOSE WHO ARE RUDE TO YOU,
NOT BECAUSE THEY ARE NOT NICE
BUT BECAUSE YOU ARE NICE......... ......... ......
NEVER SEARCH YOUR HAPPINESS
IN OTHERS
WHICH WILL MAKE YOU FEEL ALONE,
RATHER SEARCH IT IN YOURSELF
YOU WILL FEEL HAPPY
EVEN IF YOU ARE LEFT ALONE....... .......... .......
HAPPINESS ALWAYS LOOKS SMALL
WHEN WE HOLD IT IN OUR HANDS.
BUT WHEN WE LEARN TO
SHARE IT,
WE REALIZE HOW BIG AND PRECIOUS IT IS! ............ ....
WHEN YOU ARE JUST AN OPTION FOR THEM....."
"NEVER CRY FOR ANY RELATION IN LIFE
BECAUSE FOR THE ONE WHOM YOU CRY
DOES NOT DESERVE YOUR TEARS
AND THE ONE WHO DESERVES
WILL NEVER LET YOU CRY......... ........ "
TREAT EVERYONE WITH POLITENESS
EVEN THOSE WHO ARE RUDE TO YOU,
NOT BECAUSE THEY ARE NOT NICE
BUT BECAUSE YOU ARE NICE......... ......... ......
NEVER SEARCH YOUR HAPPINESS
IN OTHERS
WHICH WILL MAKE YOU FEEL ALONE,
RATHER SEARCH IT IN YOURSELF
YOU WILL FEEL HAPPY
EVEN IF YOU ARE LEFT ALONE....... .......... .......
HAPPINESS ALWAYS LOOKS SMALL
WHEN WE HOLD IT IN OUR HANDS.
BUT WHEN WE LEARN TO
SHARE IT,
WE REALIZE HOW BIG AND PRECIOUS IT IS! ............ ....
Friday, August 8, 2008
Raadha Kalyanam
Swami Haridoss's Radha kalyanam is posted here. They are posted under imeem. Hence there is no need to download, and they can be heard straight away by clicking. Please let me know if you face any difficulty in hearing them continuously ( it is depending upon your band width), I will post them under mediafire so that you can download and enjoy.
This is a programme which runs for three hours, so I split them into 15 portions. Please give me your feed back to enable me to improve any further.
This is a programme which runs for three hours, so I split them into 15 portions. Please give me your feed back to enable me to improve any further.
- Raadha kalyaanam - 01
- Raadha kalyaanam - 02
- Raadha kalyaanam - 03
- Raadha kalyaanam - 04
- Raadha kalyaanam - 05
- Raadha kalyaanam - 06
- Raadha kalyaanam - 07
- Raadha kalyaanam - 08
- Raadha kalyaanam - 09
- Raadha kalyaanam - 10
- Raadha kalyaanam - 11
- Raadha kalyaanam - 12
- Raadha kalyaanam - 13
- Raadha kalyaanam - 14
- Raadha kalyaanam - 15
Thursday, August 7, 2008
Dholotsavam
Here are the bhajans from Swami Haridoss. They can be straightaway heard by clicking. No need to download,
- Aaragimpave
- Godhoodi
- hecharika raa raa
- Inba kanaa ondru
- Jaya govindhaa
- laali laaliyani
- Moola chalaadane
- Saranam bu kari raaja
- Vedhamirandu irandu
- Vidamo
- Vigna raaja upaasmahe
- Andhkoyaam
- Dhurnadhame
- Hethi hethi
- Hiraithamardhithe
- Indhu
- Janakaathi
- Kaaveri dheera
- Kousalya supraja
- Kunkuma chandana
- Manjudhara
- Phoola baagu
- Pooray mama
- Lelavadhara jo jo
- Shobaname
Mangalam
Aabhogi
Abhogi is a raga that is popular in Carnatic music as well as Hindustani music. Its root is in the 22nd basic scale (Kharaharapriya raga) of the 72 melakartha of Carnatic music. It is nevertheless a fairly recent raga.
Arohana (order of ascending notes in the scale): S R G M D s
Avarohana (order of descending notes in the scale): s D M G R S
G._N._Balasubramaniam (Carnatic vocalist) is known for commencing many of his concerts with the Aboghi varnam, Evari bodhana.
Jeeva Swaras
G and D
Sancharas
GMDS SDRSDMD_ D_SRGRS D_RSDM GMMDDSDRSD_M GMD_MGGRR_ GRSd Rd_S
Organization & Relationships
Pa and Ni are omitted. Also Re os often omitted in ascent. Flat Ga is often approached from Ma in ascend and has a slight oscillation to show the typical Kanada. In descend often the typical Kanada phrase gMRS is used.Related ragas: Bageshree. However, Bageshri also includes flat Ni and a limited use of Pa, which gives a different flavour.[1]Thaat: Kafi.
Samay (Time)
Night, approximately 9PM-12AM.
Effect
Certain Indian ragas are believed to produce effects on the human body or on the environment. Aboghi is said to increase appetite.
Download Varnam - Aabhogi - Evari bodha.mp3
Download Thangaradham vandhadhu.mp3
Download Sabaapathikku - Aabhogi.mp3
Download Sabaapathikku.MP3
Download Nekkurugi.mp3
Download Guruvarulum.m4a
Download nannu_brova.m4a
Download Sri_mahaganapathe.m4a
Download Sree_Mahaganapathe.m4a
Download Sabapthikku-Aabhogi.m4a
Download Sabapathikku_Veru.mp3
Download Ninaittadettanai_–_Ragam_Abhogi.m4a
Download Lalithambike.m4a
Download Vegame_Gaava_(Abhogi_Adi_Balamura.m4a
Download Sabapatiku_Verudeivam_-_Abhogi_-.m4a
Download Sabapathikku_-_Ahogi_-_Rupakam_-.m4a
Download Sabaapathikku_-_Abogi.m4a
Download Nekkurugi.m4a
Download Harihara_sudhane.m4a
Download Nekkurugi.m4a
Download Vegame_Gaava.m4a
Download Vegamay_-_Raga_Abhogi_-_Tala_Adi.m4a
Download Sabaapathikku.m4a
Download Nannu_Brova.mp3
Download Manujudai_Putti.m4a
Download Manasu_nilpa.m4a
Download Evarbodana-A.mp3
Download Varnam_-_Aabhogi_-_Evvaribodha.m4a
Download Everi_bodha-Abhogi.mp3
Download Sabaapathikku.m4a
Download Manasu_nilpa.m4a
Download Vedhattin_Ulle_-_Aboge_-_Adi.m4a
Download Varnam_-_Aabhogi_-_Evvari_Bodha.m4a
Download Nekkurugi-Abhogi-Adi.m4a
Arohana (order of ascending notes in the scale): S R G M D s
Avarohana (order of descending notes in the scale): s D M G R S
G._N._Balasubramaniam (Carnatic vocalist) is known for commencing many of his concerts with the Aboghi varnam, Evari bodhana.
Jeeva Swaras
G and D
Sancharas
GMDS SDRSDMD_ D_SRGRS D_RSDM GMMDDSDRSD_M GMD_MGGRR_ GRSd Rd_S
Organization & Relationships
Pa and Ni are omitted. Also Re os often omitted in ascent. Flat Ga is often approached from Ma in ascend and has a slight oscillation to show the typical Kanada. In descend often the typical Kanada phrase gMRS is used.Related ragas: Bageshree. However, Bageshri also includes flat Ni and a limited use of Pa, which gives a different flavour.[1]Thaat: Kafi.
Samay (Time)
Night, approximately 9PM-12AM.
Effect
Certain Indian ragas are believed to produce effects on the human body or on the environment. Aboghi is said to increase appetite.
Download Varnam - Aabhogi - Evari bodha.mp3
Download Thangaradham vandhadhu.mp3
Download Sabaapathikku - Aabhogi.mp3
Download Sabaapathikku.MP3
Download Nekkurugi.mp3
Download Guruvarulum.m4a
Download nannu_brova.m4a
Download Sri_mahaganapathe.m4a
Download Sree_Mahaganapathe.m4a
Download Sabapthikku-Aabhogi.m4a
Download Sabapathikku_Veru.mp3
Download Ninaittadettanai_–_Ragam_Abhogi.m4a
Download Lalithambike.m4a
Download Vegame_Gaava_(Abhogi_Adi_Balamura.m4a
Download Sabapatiku_Verudeivam_-_Abhogi_-.m4a
Download Sabapathikku_-_Ahogi_-_Rupakam_-.m4a
Download Sabaapathikku_-_Abogi.m4a
Download Nekkurugi.m4a
Download Harihara_sudhane.m4a
Download Nekkurugi.m4a
Download Vegame_Gaava.m4a
Download Vegamay_-_Raga_Abhogi_-_Tala_Adi.m4a
Download Sabaapathikku.m4a
Download Nannu_Brova.mp3
Download Manujudai_Putti.m4a
Download Manasu_nilpa.m4a
Download Evarbodana-A.mp3
Download Varnam_-_Aabhogi_-_Evvaribodha.m4a
Download Everi_bodha-Abhogi.mp3
Download Sabaapathikku.m4a
Download Manasu_nilpa.m4a
Download Vedhattin_Ulle_-_Aboge_-_Adi.m4a
Download Varnam_-_Aabhogi_-_Evvari_Bodha.m4a
Download Nekkurugi-Abhogi-Adi.m4a
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