The intention of this blog is only to share the collections. Inadvertently if any file is under copyright, please intimate me so that it can be removed forthwith.

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
  • 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

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


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

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

  1. http://www.mediafire.com/?9z0d2bnx0mo Aanandhaamrutha - Radha Jayalakshmi
  2. http://www.mediafire.com/?zvja21tmhiz Gajamukha - Nithyashree
  3. http://www.mediafire.com/?rcxyjiulgjj RTP - Madurai Somu
  4. http://www.mediafire.com/?cicd5oznys1 Sudhamayee - Chithra
  5. http://www.mediafire.com/?mudvj5f0xst Aananadhaamrutha - Bombay Jayashri
  6. http://www.mediafire.com/?wt4itzejgte Aanandaamrutha - M. L. Vasanthakumari
  7. http://www.mediafire.com/?ohczmzyndn4 Dhyaaname - P. Unnikrishnan
  8. http://www.mediafire.com/?tew0gtebmjg Sri raama paadhamaa - Balamuralikrishna
  9. http://www.mediafire.com/?xbgnozwawo4 Aanandaamrutha - Sowmya
  10. http://www.mediafire.com/?u0j11jhfmgm Aanandaamrutha - Nithyashree
  11. http://www.mediafire.com/?gpn25xmmnkp Aanandaamrutha - Aruna Sairam
  12. http://www.mediafire.com/?ypo3muytgdj Aanadaamrutha - Balamuralikrishna
  13. http://www.mediafire.com/?hj0qkydm3pn Agaramumaagi - P. Unnikrishnan
  14. http://www.mediafire.com/?mtzf9z3vdctAanandaamrutha - Sudha Raghunathan
  15. http://www.mediafire.com/?oodx2tgxhh9 Enai nee maravaadhe - Sowmya
  16. http://www.mediafire.com/?zj1u5apmzxt Mere tho giridhar - O. S. Arun
  17. http://www.mediafire.com/?rl4y30jyjjc Enai nee maravaadhe - Nithyashree
  18. http://www.mediafire.com/?wxtkwxkm2wd Varnam - Aabaala gopaala - Balamuralikrishna
  19. http://www.mediafire.com/?utjxzk30h7o Sudhaamayee - Bombay Jayashri
  20. http://www.mediafire.com/?1vumg2yz77g Sudhamayee - Radha Jayalakshmi
  21. 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
  1. http://www.mediafire.com/?y2wmfmty1m5 Thoomani Maadaththu - Ranjani Gayathri
  2. http://www.mediafire.com/?jnmjymjyzw4 Thoomani maadaththu - Aruna Sairam
  3. http://www.mediafire.com/?y2pqjmncba0 Naameeda dhaya - Balamuralikrishna
  4. http://www.mediafire.com/?menjwnzhbdg Hari smarana - M.L. Vasanthakumari
  5. (Ms. Meera has pointed out the error that this is Yamuna kalyaani. I will shift this when I post Yamuna kalyaani. Until then ..........)
  6. 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)
  7. http://www.mediafire.com/?nmyx3xlofkj Naadha murali - Aruna Sairam
  8. http://www.mediafire.com/?vm7vdy0zumz Purahara - Maharajapuram Santhanam
  9. http://www.mediafire.com/?114mdwp9byo Thiruppugazh - Ingaranai - Bombay Jayashri
  10. http://www.mediafire.com/?zom4vuejkjx Purahara nandhana - T. N. Seshagopalan
  11. http://www.mediafire.com/?lduxypwuzyi Thillaana - T. N. Seshagopalan
  12. http://www.mediafire.com/?dw2tdpxmyeo Sivakantha shambo - T. M. Krishna
  13. http://www.mediafire.com/?zriit2utzzz Bhuvaneswari - Sowmya
  14. http://www.mediafire.com/?uzwhd9knm1g Thoomani maadaththu - M. L. Vasanthakumari
  15. http://www.mediafire.com/?yfd4mtmnw26 Yaaraamitha - Bombay Jayashri
  16. http://www.mediafire.com/?xhzuydgane1 Naadha murali - T. N. Seshagopalan
  17. http://www.mediafire.com/?wjrzqogy2zh Manamuletha - T. N. Seshagopalan
  18. http://www.mediafire.com/?hwscrtzd9gn Purahara nandhana - Maharajpuram
    s. Ramachandran
Blogger Sriram said...
Dear Mr.Vaithinathan Your posts on carnatic music (with all the painstakingly compiled links) are a treat. Thank you.
May 30, 2009 7:54 PM
Delete
Blogger 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.
October 16, 2009 4:01 AM
Delete
Blogger 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
October 22, 2009 4:37 PM
Delete
Blogger hvaidya said...
Thank you Ms. Lalitha for pointing out. I am correcting it on your suggestion,
October 22, 2009 5:09 PM
Delete
Blogger hvaidya said...
Sorry for typing your name as Lalitha. Extremely sorry.
October 22, 2009 5:19 PM
Delete
Blogger 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
July 5, 2010 10:22 AM
Delete
Blogger hvaidya said...
You are right Ms. Meera. I will shift this when I post Yamuna kalyaani
July 5, 2010 11:36 AM
Delete
Blogger Vijith Krishnan V said...
Thank you very much Sir..
July 17, 2010 10:47 AM
Delete
Blogger Keerthi said...
Thanks for the wonderful post sir.
August 27, 2010 10:57 AM

    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"


    1. 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
    2. 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

    3. Anonymous 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.
      November 21, 2011 2:22 PM
      Delete

      Anonymous 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
      November 21, 2011 2:27 PM
      Delete

    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 Sankaran gmail.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

    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! ........
    .... ....

    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.


    1. Raadha kalyaanam - 01
    2. Raadha kalyaanam - 02
    3. Raadha kalyaanam - 03
    4. Raadha kalyaanam - 04
    5. Raadha kalyaanam - 05
    6. Raadha kalyaanam - 06
    7. Raadha kalyaanam - 07
    8. Raadha kalyaanam - 08
    9. Raadha kalyaanam - 09
    10. Raadha kalyaanam - 10
    11. Raadha kalyaanam - 11
    12. Raadha kalyaanam - 12
    13. Raadha kalyaanam - 13
    14. Raadha kalyaanam - 14
    15. 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,

    1. Aaragimpave
    2. Godhoodi
    3. hecharika raa raa
    4. Inba kanaa ondru
    5. Jaya govindhaa
    6. laali laaliyani
    7. Moola chalaadane
    8. Saranam bu kari raaja
    9. Vedhamirandu irandu
    10. Vidamo
    11. Vigna raaja upaasmahe
    12. Andhkoyaam
    13. Dhurnadhame
    14. Hethi hethi
    15. Hiraithamardhithe
    16. Indhu
    17. Janakaathi
    18. Kaaveri dheera
    19. Kousalya supraja
    20. Kunkuma chandana
    21. Manjudhara
    22. Phoola baagu
    23. Pooray mama
    24. Lelavadhara jo jo
    25. 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