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RAgam, ThAnam, Pallavi - fascinating facts!

Raji Madam

I am also not talking about making a life out of it meaning teaching etc etc. I am not saying that 10 years of practise will reach God.

What I am saying that 10 years of practise MUST lead somewhere a long distance towards GOD which I see is missing

I feel that the spiritual bhakthi background is not inculcated to the carnatic students. They are though the theory and the practicals but
the spiritual base is missing. This is like a beautiful Building with a weak base thus leading to disasters such as singing for money, praise, media exposure etc etc

I totally agree that reaching God is NOT EASY.
But do we atleast go in that direction?
Do we know that this art's main objective is go towards God?
Is this awareness spread to all Carnatic students?
Is there anyone teaching the basics of spirituality to all Carntic Students?

I am afraid that if the music community goes this way, the base will be totally forgotten. My intention definitely is not to hurt but to point again that during
my meditation career of 17 years, I can tell you atleast 4-5 points I see/learn differently every time I meditate even after an year of begining meditation which I
dont see in Carntic Students.

My point here is that the carntic students must be made aware of the spiritual base and thereby after an year of carnatic practise, they must know
How to travel in spirtual base?
How far they have travelled in spirituality?

With this spiritual base, if you sing a Narayana theerthar keerthana, I am sure he will come to the place where you sing and give his blessings to you WHICH IS
REAL ESSENCE/TASTE WHY THIS ART IS CREATED IN THE FIRST PLACE.
 
Here is yet another Dr. Balamurali Krishna's rendition of Swathi Thirunal's kriti kAraNam vina kAryam ( it was set to kAmbodhi - but BMK renders in Hamsavinodhini)

(I adore this kriti - expanding on the law of causality!- my personal bias)
I have posted this forum earlier here http://www.tamilbrahmins.com/music-dance/6883-thullatha-manamum-thullum-128.html#post165262

Karanam Vina. Part One. (Dr.M.Balamuralikrishna) - YouTube (Alapana)

Karanam Vina. Part Two. (Dr.M.Balamuralikrishna) - YouTube (kriti)

Karanam Vina. Part Three. (Dr.M.Balamuralikrishna) - YouTube

Here are the lyrics




(P)कारणम् विना कार्यम् नोत्पद्यते ।

किमपि कञ्जनाभ नियतम् ॥


(A) नीरद नील मनोहरतरमूर्ते ।
दारिताश्रित जनदारुणविविधार्ते ॥


(C1)जनन कारणम् कर्म ज्ञानकारणम् विद्या
धनमाटोपकारणम् तरुणी मोहकारणम् ।
अनयो हानिकारणम् आधि रोगकारणम्
धनसमृद्धिकारणम् ननु धर्मो जगदीश ॥


(C2)तरु कारणम् बीजम् धैर्यम् जयकारणम्
परम दैन्य कारणम् भवति हीनयाचना ।
करुणा कारणम् साधुचरितशालिता लोके
तरलता निखिलापदामिह कारणम् ॥


(C3)शमदमादिकारणम् साधु शास्त्रनिषेवा
समसस्याप्ति कारणम् सारपुष्टि रेवाहो ।
तिमिराभावकारणम् दिनमणी रमाकान्त
ममशर्मैककारणम् कमलाक्ष तव पादौ ॥




 
Raji Madam

As it is related to Ragam, Thanam, Pallavi as the students are taught, i posted it here.

Many such Dance Teaching centers are in an around Chennai, thought that as you also teach Music, you might be knowing about this Rithwa House of Arts.


 

Dear P J Sir,

The students are dancing to keerthanais (songs) and NOT to rAgam thAnam pallavi (RTP). The definition of RTP from Wiki:

"Ragam Tanam Pallavi is a form of singing in Carnatic music which allows the musicians to improvise to a great extent.

It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth

of knowledge of the musician. It incorporates rAga alApanA, thAnam, niraval, and kalpanAswarA. In more elaborate ragam

tanam pallavis, a tani avartanam may follow."

P.S: Mistakes do not escape my eyes and ears!! The compere announces 'Sriman NArAyaNa' and the dance that follows

is for 'Sri chakrarAja'!! Here: Go Skool - Rithwa House Of Arts - Chennai - YouTube
 

16. KamalAmanOhari:

A melodious rAgam derived from SarasAngi - the 27th rAgam in mELa chakram.

ArO..: S G3 M1 P N3 S'

avrO: S' N3 D1 P M1 G3 S

This rAgam has no rishabham and so could be said to be janya rAgam of MAyAmALavagowLa too.

But since gAndharam has similar gamakam as in SarasAngi, it is defined as janya rAgam of SarasAngi.

Enjoy this melodious song by M S S:

M S SUBBULAKSHMI : kanjadalayatakshi kamakshi
 
Raji Ram said:

Dear P J Sir,

The students are dancing to keerthanais (songs) and NOT to rAgam thAnam pallavi (RTP). The definition of RTP from Wiki:

"Ragam Tanam Pallavi is a form of singing in Carnatic music which allows the musicians to improvise to a great extent.

It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth

of knowledge of the musician. It incorporates rAga alApanA, thAnam, niraval, and kalpanAswarA. In more elaborate ragam

tanam pallavis, a tani avartanam may follow."

P.S: Mistakes do not escape my eyes and ears!! The compere announces 'Sriman NArAyaNa' and the dance that follows

is for 'Sri chakrarAja'!! Here:Go Skool - Rithwa House Of Arts - Chennai - YouTube
Click to expand...


Raji Maam

Thanks for Educating me on this vast subject.

P J
 

Dear Sandhya,

There is no sruthi bEdham here. Both BehAg and YamunAkalyANi are derived from KalyANi

which is a Janaka rAgam with all 'periya' swarams - S R2 G3 M2 P D2 N3 S'

But the ArOhaNam and avarOhaNam of BehAg and YamunAkalyANi are different.

Both the rAgams have M1 as anya swaram.

BehAg: S G3 M1 P N3 D2 N3 S' ........ S' N3 D2 P M2 G3 M1 G3 R2 S

YamunAkalyANi: S R2 G3 M2 P D2 N3 S' ........ S' N3 D2 P M2 G3 R2 S with G3 M1 G3 R2 S as special prayOgam.

The "G3 M1 G3 R2 S" in both rAgams make them sound similar!

It is regular in BehAg but at times in YamunAkalyANi. Hope you got it!

Beginners could easily go from one to the other if they are NOT careful with ArOhaNa swarams! :D

These are for you:

Thillana Behag followed by other songs

LGJ Thillana - Yamuna Kalyani (This is played in Madhyama sruthi - note the fingering since you learn violin!)
 
Nicely organized answer mam. would like to patch up some of my lacunae in some ragas(adult education LOL), hope u have a violinst in your school mam. my home is about 50km from KK....(for i know online learning is only a supplement to personal learning if that makes sense)
 
veena is no good for me, violin and only violin. the other option is to use your keyboard if you have one ( or i might get one from my friend ) and do some touch up with a well organised tutorial of say 15 min introduction, 15 min of getting used to your equipments, 15-20 minutes of just behag yamuna kalyani tutorial, 15 min of revising in the end. (JUST A DREAM to be made realistic)

Last time my mom paid 500 rupees to a violin master for a similar EVENT.
 
Srimadhan said:
.......... I totally agree that reaching God is NOT EASY.
But do we atleast go in that direction?
Do we know that this art's main objective is go towards God?
Is this awareness spread to all Carnatic students?
Is there anyone teaching the basics of spirituality to all Carntic Students?.........
Click to expand...
Dear Sir,

Carnatic students know that this form of music has 'bhakthi' as its foundation and the songs should be sung with dedication.

But when it comes to the advanced learning, I fear it is not totally based on Bhakthi. RAgam, thAnam, pallavi, the calculation

while singing kalpanA swarams etc are only to display the caliber of the musician and it takes us nowhere near God! But these

ARE necessary for Carnatic music! The songs, if rendered with bhakthi, will take us in the path to reach God for sure, imho.
 

17. NirOshta

'Niroshta' literally means without the lips. If the lips do not touch, then the notes Ma and Pa cannot be uttered.

These notes are not present in this rAgam and hence it gets this name! (poor orphan with our mA and pA!!)

This is a janya rAgam of SankarAbharaNam.

ArO ...: S R2 G3 D2 N3 S

avarO: S N3 D2 G3 R2 S

Here is a lovely keerthanai composed by Harikesanallur Muthaiyya Bhagavathar.

Priya Sisters - rAja rAja rAdhithe nAda rAga - Niroshta
 

One more note on NirOshta. Lips do not touch even when we say the name of the rAgam. :cool:

Once I told my Guru that musicians should NOT sing this song in open auditoriums because some insect

might get into the mouth, which does not close while singing the whole song and kalpanA swarams! :D


 
Raji Ram said:

18. AndhOLikA.

This is a janya rAgam of KaraharapriyA and has the same ArohaNam as MadhyamAvathi!

The color of the rAgam changes because in avarOhaNam Pa is replaced by Dha.

ArO...: S R2 M1 P N2 S'

avarO: S' N2 D2 M1 R2 S

Two popular songs in this rAgam are 'RagasudhArasa' and 'SEvikka vENdumaiyyA'.

Enjoy the songs:

 R Surya prakash sEvikka vEndumayya andOlika

RAGASUDHARASA - Sanjay Subrahmanyan
Click to expand...

Madam, I like 'Sevikka Vendum ayya' by MMI and ' Raga sudarasa ' by MLV/SGK. I am glad to rejoin this thread after a long time.
 
Raji Ram said:
Dear Sir,

Carnatic students know that this form of music has 'bhakthi' as its foundation and the songs should be sung with dedication.

But when it comes to the advanced learning, I fear it is not totally based on Bhakthi. RAgam, thAnam, pallavi, the calculation

while singing kalpanA swarams etc are only to display the caliber of the musician and it takes us nowhere near God! But these

ARE necessary for Carnatic music! The songs, if rendered with bhakthi, will take us in the path to reach God for sure, imho.
Click to expand...

Once MMI said ' kanakku vazhakku ellam enakku theriyathu. Therinchava paadattum.' His is more of manobhava. Just listen to his 'Sabapathikku veru deivam samanamaaguma' in abhogi. Full of bakthi.
 

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