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Musings of a music student

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raga series

Brindavana Saranga

So this post is B for Brindavana Saranga. A raga with an appeal to any kind of audience and at any time, in my opinion.

It is the janya of the giant family of Karaharapriya with a scale as:

Aarohanam: S R2 M1 P N3 S

Avarohanam: S N2 P M1 R2 G2 R2 S / S N2 P M1 R2 S

There are heavy classical songs, however, it is best suited for post-main part of the concert. Some famous songs in Brindavana Saranga include:

  • Rangapura Vihara, Sowndara Rajam, Swaminathena by Dikshitar
  • Kamalaptha Kula by Thyagaraja
  • Enta Matramuna (part of the song) by Annamacharya
  • Kaliyuga Varadhan by Periyasami Thooran

Have sung Aasai Mugam Marandhu Poche, a Bharathiyar song, a version that is set in BS, tuned by my dad (and I did not know that till now :(), in the below link.

Owing to its pleasing and emotional effect, just like Desh, it has been used / influence used in a lot of movie songs by a lot of music composers.

Pon Ondru Kanden from Padithal Mattum Podhuma – Vishwanathan / Ramamurthy

Singaara Kanne Un from Veerapandiya Kattabomman – G Ramanathan

Maadathile from Veera – Ilayaraja

Konjum Mainakkale from Kandukonden – A R Rahman

Radhai Manadhil from Snehithiye – Vidhyasagar

Ye Samba Ye Samba from Pandavar Bhoomi – Bharadwaj

Nenjankootil from Dishoom – Vijay Antony

Urugudhey from Veyil – G V Prakash

Saavan Aaye Ya Naa – Dil Diya Dard Liya (hindustani touch) sung by Mohamad Rafi and Asha Bhosle.

Howver, there is this never ending debate that the raga Brindavani and Brindavana Saranga are one and the same or not. Let me not delve into that topic in this post, hence knowledgeable people might find some of the songs mixed and repesented under the same raga title. #disclaimer

  • Until next,

Vid πŸ™‚

13. Vasantha

This post is about the raga Vasantha. One of the oldest raga in vogue for more than a thousand years, it is said; suitable to be sung in the evening.

It is derived from the 17th melakartha (parent raga) Suryakantham. The scale is S M1 G3 M1 D2 N3 S / S N3 D2 M1 G3 R1 S. As you can notice, it is a PA varjya (sans) raga.

Kritis in Vasantha include:

Ramachandram Bhavayami by Dikshitar
Seethamma Maayamma by Thyagaraja
Kodu Bega Divyamathi by Purandara Dasar
Natanam Aadinaar by Gopalakrishna Bharathi

This sound cloud link has a song by Dasar sung in Vasantha. Do listen and give feedback…

Movie songs that have used Vasantha include Andhi Mazhai Pozhigiradhu from the movie Raja Parvai … Kanden Kanden from Pirivom Sandhippom … The latter’s link below:

The previous post in the series can be found here.

– Until next,
Vid πŸ™‚

Vasantha

This post is about the raga Vasantha. One of the oldest raga in vogue for more than a thousand years, it is said; suitable to be sung in the evening.

It is derived from the 17th melakartha (parent raga) Suryakantham. The scale is S M1 G3 M1 D2 N3 S / S N3 D2 M1 G3 R1 S. As you can notice, it is a PA varjya (sans) raga.

Kritis in Vasantha include:

  • Ramachandram Bhavayami by Dikshitar
  • Seethamma Maayamma by Thyagaraja
  • Kodu Bega Divyamathi by Purandara Dasar
  • Natanam Aadinaar by Gopalakrishna Bharathi

This sound cloud link has a song by Dasar sung in Vasantha. Do listen and give feedback…

Movie songs that have used Vasantha include Andhi Mazhai Pozhigiradhu from the movie Raja Parvai … Kanden Kanden from Pirivom Sandhippom … The latter’s link below:

The previous post in the series can be found here.

  • Until next,
    Vid πŸ™‚

12. Charukesi

My last post in the series was Lalitha, and now it is C for Charukesi.

This raga, I feel, has an emotional appeal in both Hindustani and Carnatic Classical. This is the 26th melakartha ragam in the scale chart, thus has all 7 swaras.

Aarohanam: S R2 G3 M1 P D1 N2 S

Avarohanam: S N2 D1 P M1 G3 R2 S

Charukesi is called Tarangini as well, and a raga that can emote both devotion and pathos to the listener easily.

Kritis in this raga are few, listed below are fewer still…

  • Aadamodigalathe by Thyagaraja
  • Kripaya Palaya by Maharaja Swati Tirunaal
  • Varnam by Lalgudi Jayaraman

The link below contains a swara piece that I had learnt to perform in an event called Nadabrahmam, composed by Chandrakanthji. I ended up not participating in the main event, still the song lingers…

Now to the only part that most of you read – movie songs in the raga Charukesi. There are some really popular ones, very versatile handling of the raga.

  • Vasantha Mullai from Sarangadara
  • Manmada Leelayai Vendraar Undo from Haridas
  • Aadal Kalaye from Sri Ragavendra
  • Thoodhu Selvadhaaradi from Singaravelan

And…. Udhaya Udhaya, a brilliant ARR composition from the movie with the same name… happy listening!

Next up is – V for… Until then,

Vid πŸ™‚

Charukesi

My last post in the series was Lalitha, and now it is C for Charukesi.

This raga, I feel, has an emotional appeal in both Hindustani and Carnatic Classical. This is the 26th melakartha ragam in the scale chart, thus has all 7 swaras.

Aarohanam: S R2 G3 M1 P D1 N2 S

Avarohanam: S N2 D1 P M1 G3 R2 S

Charukesi is called Tarangini as well, and a raga that can emote both devotion and pathos to the listener easily.

Kritis in this raga are few, listed below are fewer still…

  • Aadamodigalathe by Thyagaraja
  • Kripaya Palaya by Maharaja Swati Tirunaal
  • Varnam by Lalgudi Jayaraman

The link below contains a swara piece that I had learnt to perform in an event called Nadabrahmam, composed by Chandrakanthji. I ended up not participating in the main event, still the song lingers…

Now to the only part that most of you read – movie songs in the raga Charukesi. There are some really popular ones, very versatile handling of the raga.

  • Vasantha Mullai from Sarangadara
  • Manmada Leelayai Vendraar Undo from Haridas
  • Aadal Kalaye from Sri Ragavendra
  • Thoodhu Selvadhaaradi from Singaravelan

And…. Udhaya Udhaya, a brilliant ARR composition from the movie with the same name… happy listening!

Next up is – V for… Until then,

Vid πŸ™‚

11. Lalitha

Any Tamil movie fan will be familiar with Lalitha Kamalam of Unnal Mudiyum Thambi. Did you know that there was a song in the movie on the same raga, Lalitha?

Idhazhil Kadhai Ezhudhum Neramidhu … which exudes the genius of Ilayaraja in every phrase πŸ™‚

Lalitha belongs to the the Mayamalava Gowla janya (15) with the scale as –

Aarohanam: S R G M D N S
Avarohanam: S N D M G R S

There is just one song that I am aware of in this ragam – Hiranmayeem Lakshmeem by Muthuswamy Dikshitar.

Another song I chanced upon, Nannu Brova by Syama Sastri. Find below a video clip by TN Seshagopalan.

My previous post in the series was Karaharapriya. Next up, C for …

– Until then,
Vid πŸ™‚

Lalitha

Any Tamil movie fan will be familiar with Lalitha Kamalam of Unnal Mudiyum Thambi. Did you know that there was a song in the movie on the same raga, Lalitha?

Idhazhil Kadhai Ezhudhum Neramidhu … which exudes the genius of Ilayaraja in every phrase πŸ™‚

Lalitha belongs to the the Mayamalava Gowla janya (15) with the scale as –

Aarohanam: S R G M D N S
Avarohanam: S N D M G R S

There is just one song that I am aware of in this ragam – Hiranmayeem Lakshmeem by Muthuswamy Dikshitar.

Another song I chanced upon, Nannu Brova by Syama Sastri. Find below a video clip by TN Seshagopalan.

My previous post in the series was Karaharapriya. Next up, C for …

  • Until then,
    Vid πŸ™‚

Karaharapriya

After a long time, getting back to the raga series. After Hindolam, the ragam I chose to write about is Karaharapriya, the first melakartha (parent) raga in my list as of now. Something that stuck me as a surprise is the fact that this raga has not been used by both Muthuswamy Dikshitar or Syama Sasthri, two of the Trinity of Carnatic Music. Only Thyagaraja has dealt with it in a lot of compositions.

Some of his and other songs in Karaharapriya are:

  • Chakkani Raja (Thyagaraja)
  • Rama Nee Samana Mevaru (Thyagaraja)
  • Pakkala Nilapadi (Thyagaraja)
  • Paramukhan Enayya (Papanasam Sivan)
  • Okkapari (Annamayya)

A rightly sung Karaharapriya is supposed to bring out the karuna rasa. It is the 22nd melakartha raga. The name Karaharapriya means “loved by Siva who slayed Khara the demon”. This raga is in use in various country Music such as Greece, Arabian, and in Paalai lands of Tamizh, says Prof. Janakiraman, musicologist.

Movie songs in this raga are a miscellaneous list…

  • Madhavi Ponmayilaal in Iru Malargal
  • Maharajan Ulagai Aalalaam in Karnan (not featured inΒ  the movie)
  • Sangeetha Swarangal in Azhagan
  • Maapillaiku Maaman Manasu in Netri Kan
  • Poo Malarndhida in Tic Tic Tic

This really crazy song in Karaharapriya for you … Believe me, crazy is the word … the song features a loose ponnu and an ara loose doctor :P… plus the magic of (late) TMS!!

  • Until next,
    Vid πŸ™‚

10. Karaharapriya

After a long time, getting back to the raga series. After Hindolam, the ragam I chose to write about is Karaharapriya, the first melakartha (parent) raga in my list as of now. Something that stuck me as a surprise is the fact that this raga has not been used by both Muthuswamy Dikshitar or Syama Sasthri, two of the Trinity of Carnatic Music. Only Thyagaraja has dealt with it in a lot of compositions.

Some of his and other songs in Karaharapriya are:

  • Chakkani Raja (Thyagaraja)
  • Rama Nee Samana Mevaru (Thyagaraja)
  • Pakkala Nilapadi (Thyagaraja)
  • Paramukhan Enayya (Papanasam Sivan)
  • Okkapari (Annamayya)

A rightly sung Karaharapriya is supposed to bring out the karuna rasa. It is the 22nd melakartha raga. The name Karaharapriya means “loved by Siva who slayed Khara the demon”. This raga is in use in various country Music such as Greece, Arabian, and in Paalai lands of Tamizh, says Prof. Janakiraman, musicologist.

Movie songs in this raga are a miscellaneous list…

  • Madhavi Ponmayilaal in Iru Malargal
  • Maharajan Ulagai Aalalaam in Karnan (not featured inΒ  the movie)
  • Sangeetha Swarangal in Azhagan
  • Maapillaiku Maaman Manasu in Netri Kan
  • Poo Malarndhida in Tic Tic Tic

This really crazy song in Karaharapriya for you … Believe me, crazy is the word … the song features a loose ponnu and an ara loose doctor :P… plus the magic of (late) TMS!!

– Until next,
Vid πŸ™‚

9. Hindolam

I used to hate this ragam one upon a time. Reason is I never get it right πŸ˜› It is not that it is complex, but is tricky, being a Pa sans raga. It is Hindolam, a Natabhairavi janya, with the below scale…

Aarohanam: S G2 M1 D1 N2 S

Avarohanam: S N2 D1 M1 G2 S

Hindolam is an equivalent of Hindustani’s Malkauns. It has a characteristics of being a serene, gentle, soulful, meditative, enchanting and pleasing. A raga which has both the “viraga dhabamum charana gathi nenjum” (it is capable of invoking romantic feel at an instance, devotion to God in another!). The name Hindolam, it seems, means swing. No wonder, huh πŸ˜‰

The below song is Nambikkettavar Everayya, a song on Sivan by (Papanasam) Sivan…

Songs in Hindolam include:

  • Samajavaragamana by Thyagaraja
  • Govardhana Gireesham by Muthuswamy Dikshitar
  • Maa Ramanan by Papanasam Sivan
  • Mamavathu Sri by Mysore Vasudevacharyar
  • Ramanukku Mannan Mudi by Arunachala Kavirayar
  • Karunanidhiye by Mayuram Vedanayagam Pillai (he was a Christian by birth, and the song is not on any specific God)
  • Naanilam Potrum Nagoora tuned by Nagoor Hanifa

Hindolam seems to have been music composers’ favourite. Melodies in movies are abound from then to now…

  • Maname Muruganin – Kuzhandayum Deivamum
  • Azhaikkadhe – Manalane Mangayin Bagyam
  • Rajasekara – Anarkali
  • Om Namashivaya – Salangai Oli
  • Darisanam Kidaikkadha – Alaigal Oivadhillai
  • Pothi Vecha – Manvasanai
  • Maalai Pozhudhin Mayakkathile – Bhagyalakshmi
  • Mazhai Kodukkum (part of the song) – Karnan (the King Karnan’s intro till 1.25 min in the below video)

For the previous raga in the list – Gambira Nattai

– Until next,

Vid πŸ™‚

Hindolam

I used to hate this ragam one upon a time. Reason is I never get it right πŸ˜› It is not that it is complex, but is tricky, being a Pa sans raga. It is Hindolam, a Natabhairavi janya, with the below scale…

Aarohanam: S G2 M1 D1 N2 S

Avarohanam: S N2 D1 M1 G2 S

Hindolam is an equivalent of Hindustani’s Malkauns. It has a characteristics of being a serene, gentle, soulful, meditative, enchanting and pleasing. A raga which has both the “viraga dhabamum charana gathi nenjum” (it is capable of invoking romantic feel at an instance, devotion to God in another!). The name Hindolam, it seems, means swing. No wonder, huh πŸ˜‰

The below song is Nambikkettavar Everayya, a song on Sivan by (Papanasam) Sivan…

Songs in Hindolam include:

  • Samajavaragamana by Thyagaraja
  • Govardhana Gireesham by Muthuswamy Dikshitar
  • Maa Ramanan by Papanasam Sivan
  • Mamavathu Sri by Mysore Vasudevacharyar
  • Ramanukku Mannan Mudi by Arunachala Kavirayar
  • Karunanidhiye by Mayuram Vedanayagam Pillai (the song is not on any specific God)
  • Naanilam Potrum Nagoora tuned by Nagoor Hanifa

Hindolam seems to have been music composers’ favourite. Melodies in movies are abound from then to now…

  • Maname Muruganin – Kuzhandayum Deivamum
  • Azhaikkadhe – Manalane Mangayin Bagyam
  • Rajasekara – Anarkali
  • Om Namashivaya – Salangai Oli
  • Darisanam Kidaikkadha – Alaigal Oivadhillai
  • Pothi Vecha – Manvasanai
  • Maalai Pozhudhin Mayakkathile – Bhagyalakshmi
  • Mazhai Kodukkum (part of the song) – Karnan (Karnan’s intro till 1:50 min in the below video)

For the previous raga in the list – Gambira Nattai

  • Until next,

Vid πŸ™‚

8. Gambira Nattai

Did you know that Narumugaye from the movie Iruvar (A R Rahman) was on a raga that was as “gambeeram” as Gambhira Nattai? I think it is!

Yet another song from the movie Singaravelan, Innum Ennai Enna Seyya (Ilayaraja) should also be the same raga.

Gambira nattai is derived from Chala Nattai. It differs from the raga Nattai on a Ri. The scale is –

Aarohanam: S G3 M1 P N3 S

Avarohanam: S N3 P M1 G3 S

Listen to the classical rendition of Sri Vighna Rajam Bhaje is a Oothukkadu Venkata Subbayyar composition in Gambhira Nattai, fast-paced and set in Thisra nadai.

For the previous post in the series, click here.

– Until next,

Vid πŸ™‚

Gambira Nattai

Did you know that Narumugaye from the movie Iruvar (A R Rahman) was on a raga that was as “gambeeram” as Gambhira Nattai? I think it is!

Yet another song from the movie Singaravelan, Innum Ennai Enna Seyya (Ilayaraja) should also be the same raga.

Gambira nattai is derived from Chala Nattai. It differs from the raga Nattai on a Ri. The scale is –

Aarohanam: S G3 M1 P N3 S

Avarohanam: S N3 P M1 G3 S

Listen to the classical rendition of Sri Vighna Rajam Bhaje is a Oothukkadu Venkata Subbayyar composition in Gambhira Nattai, fast-paced and set in Thisra nadai.

For the previous post in the series, click here.

  • Until next,

Vid πŸ™‚

7. Desh

After Sahana, we move from soothing and relaxing to a little more fun-loving, happy but melodious, Audava-Sampoorna raga – Desh. It is suitable to be sung in the first quarter of the night, it seems πŸ˜‰ Also, this raga is associated with qualities such asΒ Diplomacy, Collectivity, Respect for others.

Audava and Sampoorna as the name implies gives it a scale, S R2 M1 P N3 S / S N2 D2 P M1 G3 R2 S and is derived from the parent Harikamboji.

This raga is essentially from the Hindustani genre and hence we did not have any of the Trinity composing in Desh. However, a striking song that comes to memory is Vande Mataram – what more fitting example than the National Song of India! The recording below is a medley of a few songs in Desh, all by post-Trinity composers:

Paayumoli Neeyenakku (Bharathiyar) –> Eliruva Thandhe (Purandara Dasar) –> Thum Hi Shankar (Mangalam Ganapathy) –> Maadu Meikkum (Oothukadu Venkata Subbaiyar) –> Desh Thillana (Lalgudi Jayaraman)

Moving on to cinema, there are many songs inspired by Desh, not completely. But some stick on to the essence. Just like… Thunbam Nergayil from Oor Iravu, Androru Naal Idhe Nilavil from Nadodi, Kanave Kalaiyadhe from Kannedhire Thondrinaal.

– Until next,

Vid πŸ™‚

Desh

After Sahana, we move from soothing and relaxing to a little more fun-loving, happy but melodious, Audava-Sampoorna raga – Desh. It is suitable to be sung in the first quarter of the night, it seems πŸ˜‰ Also, this raga is associated with qualities such asΒ Diplomacy, Collectivity, Respect for others.

Audava and Sampoorna as the name implies gives it a scale, S R2 M1 P N3 S / S N2 D2 P M1 G3 R2 S and is derived from the parent Harikamboji.

This raga is essentially from the Hindustani genre and hence we did not have any of the Trinity composing in Desh. However, a striking song that comes to memory is Vande Mataram – what more fitting example than the National Song of India! The recording below is a medley of a few songs in Desh, all by post-Trinity composers:

Paayumoli Neeyenakku (Bharathiyar) –> Eliruva Thandhe (Purandara Dasar) –> Thum Hi Shankar (Mangalam Ganapathy) –> Maadu Meikkum (Oothukadu Venkata Subbaiyar) –> Desh Thillana (Lalgudi Jayaraman)

Moving on to cinema, there are many songs inspired by Desh, not completely. But some stick on to the essence. Just like… Thunbam Nergayil from Oor Iravu, Androru Naal Idhe Nilavil from Nadodi, Kanave Kalaiyadhe from Kannedhire Thondrinaal.

  • Until next,

Vid πŸ™‚

Sahana

After Aarabhi, it is Sahana. After an energetic outburst, you need a soothing effect. That is Sahana to you – a breeze, a raga that you can enjoy with the effect of sitting on an easy-chair, one leg folded over another, hands folded over your head, eyes half closed and nodding… πŸ˜›

I don’t know if I can bring about all that effect here, but this is a try – Karunimpa Varnam in Sahana, below.

Sahana is a vakra (scale goes zig-zag) raga, though it contains all the 7 notes available, it cannot be declared a Parent raga for this reason. It is a child of the 28th melakartha, Harikamboji.

Aarohanam: S R2 G3 M1 P M1 D2 N2 S

Avarohanam: S N2 S D2 N2 D2 P M1 G3 M1 R2 G3 R2 S

Some popular kritis in Sahana, that makes me wonder, is this all of the same raga! –

  • Srirama Srirama, Vandanamu Raghunandana and Raghupathey by Thyagaraja
  • Sri Kamalambikayam, one of the Nava Varnam by Muthuswamy Dikshitar
  • Rama Ika Nannu by Patnam Subramaniya Iyer
  • Sri Vatapi Ganapathiye by Papanasam Sivan
  • Manamuka Valanu by Harikesanallur Muthiah Bagavathar

It is said that there are 9 ways of serving God, and in that Sahana denotes the Daasya bhakthi bhava. However, some movie songs prove otherwise. Parthen Sirithen from Veera Abhimanyu, Engo Pirandavaram from Bommai for starters. And also Rukku Rukku from Avvai Shanmugi πŸ™‚

  • Until next,

Vid πŸ™‚

6. Sahana

After Aarabhi, it is Sahana. After an energetic outburst, you need a soothing effect. That is Sahana to you – a breeze, a raga that you can enjoy with the effect of sitting on an easy-chair, one leg folded over another, hands folded over your head, eyes half closed and nodding… πŸ˜›

I don’t know if I can bring about all that effect here, but this is a try – Karunimpa Varnam in Sahana, below.

Sahana is a vakra (scale goes zig-zag) raga, though it contains all the 7 notes available, it cannot be declared a Parent raga for this reason. It is a child of the 28th melakartha, Harikamboji.

Aarohanam: S R2 G3 M1 P M1 D2 N2 S

Avarohanam: S N2 S D2 N2 D2 P M1 G3 M1 R2 G3 R2 S

Some popular kritis in Sahana, that makes me wonder, is this all of the same raga! –

  • Srirama Srirama, Vandanamu Raghunandana and Raghupathey by Thyagaraja
  • Sri Kamalambikayam, one of the Nava Varnam by Muthuswamy Dikshitar
  • Rama Ika Nannu by Patnam Subramaniya Iyer
  • Sri Vatapi Ganapathiye by Papanasam Sivan
  • Manamuka Valanu by Harikesanallur Muthiah Bagavathar

It is said that there are 9 ways of serving God, and in that Sahana denotes the Daasya bhakthi bhava. However, some movie songs prove otherwise. Parthen Sirithen from Veera Abhimanyu, Engo Pirandavaram from Bommai for starters. And also Rukku Rukku from Avvai Shanmugi πŸ™‚

– Until next,

Vid πŸ™‚

Aarabhi

The first thing that Aarabhi generally gets related to, is the Gana Raga Pancharathnam – Sadhinchane O Manasa by Saint Thyagaraja. This raga is in vogue for more than 700 years it seems. And it is mostly associated with religious beginnings and hence sung in house-warming / wedding functions adhering to traditions.

The link has a Thiruppavai, Oongi Ulagalandha, a song which is usually sung in Aarabhi.

More kritis include Sri Saraswathi by Muthuswamy Dikshitar,Β Maragatha ManimayaΒ by Oothukkadu Venkatasubayyar and Velava Vaa Adiye by Koteeswara Iyer. The raga is also used in many ragamalikas.

Okay now to the technical details. Aarabhi is a child raga of Sankarabaranam, the 29th melakartha. The scale goes thus:

Aarohanam: S R2 M1 P D2 S

Avarohanam: S N3 D2 P M G3 R2 S

This classic pure Aarabhi song Aerikkarayin Mele from the movie Mudhalali is one of the forerunners. The irony is this song has colloquial tamizh lyrics and still there is a seamleass blend.

Other movie songs include

  • Aadiyile Perukkeduthu – Radha
  • Brindavanamum – Missiyamma
  • Mannavane Mannavane – Thandhuvitten Ennai
  • Oh Sukumari – Anniyan (its apparent that it follows Sadhinchane, the Pancharathna keerthanai mentioned above, in the movie sequence)
  • Until next,

Vid πŸ™‚

5. Aarabhi

The first thing that Aarabhi generally gets related to, is the Gana Raga Pancharathnam – Sadhinchane O Manasa by Saint Thyagaraja. This raga is in vogue for more than 700 years it seems. And it is mostly associated with religious beginnings and hence sung in house-warming / wedding functions adhering to traditions.

The link has a Thiruppavai, Oongi Ulagalandha, a song which is usually sung in Aarabhi.

More kritis include Sri Saraswathi by Muthuswamy Dikshitar,Β Maragatha ManimayaΒ by Oothukkadu Venkatasubayyar and Velava Vaa Adiye by Koteeswara Iyer. The raga is also used in many ragamalikas.

Okay now to the technical details. Aarabhi is a child raga of Sankarabaranam, the 29th melakartha. The scale goes thus:

Aarohanam: S R2 M1 P D2 S

Avarohanam: S N3 D2 P M G3 R2 S

This classic pure Aarabhi song Aerikkarayin Mele from the movie Mudhalali is one of the forerunners. The irony is this song has colloquial tamizh lyrics and still there is a seamleass blend.

Other movie songs include

  • Aadiyile Perukkeduthu – Radha
  • Brindavanamum – Missiyamma
  • Mannavane Mannavane – Thandhuvitten Ennai
  • Oh Sukumari – Anniyan (its apparent that it follows Sadhinchane, the Pancharathnam mentioned above, in the movie sequence)

– Until next,

Vid πŸ™‚

Purvi Kalyani

A ragam very close to my heart. A ragam that is bhava-rich and full of gamakas that it was called by Muthuswamy Dikshitar as “Dasa GamakaKriya” in his last composition Meenakshi Memudham Dehi. The ragam is Purvi Kalyani. More on the song and the way it was composed, here.

PurviKalyani is a descendant ragam of Gamanashrama. The scale goes –Β S R1 G3 M2 P D2 P S / S N3 D2 P M2 G3 R1 S, where the usage of phrases like PDPS or GMDS is the standard that marks the raga. Below is a song of Neelakanta Sivan, Aanandha Natamaaduvaar .

Few other kritis in this raga, viz., Gnana Mosaga Raadha and Paraloka Sadhaname by Thyagaraja; Marukkulaviya, a Thiruppugazh is widely sung in PurviKalyani.

Movie songs are not very frequent, the reason I guess might be because this raga is difficult to handle. But a couple of beautiful interpretations (both composed by Ilayaraja) are:

Amudhe Tamizhe – Kovil Pura

Ethilum Ingu – Bharathi

  • Until next,

Vid πŸ™‚

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