Indian Classical Music

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taal

Joined: December 2006
Posts: 863

Indian Classical Music

Music is an integral part of Indian culture. It is the one art which is evident in all the strata of society. Indian music is one of the living systems of music in the world.

Indian music is a typical example of Modal music (music based on modes). The individuality of a mode is extablished by notes of defined frequencies in its structure. It is not the inter-relationship of each note to the basic tonic note. This tonic note may be actually heard through a rone or even in its absence, a trained ear is able to recognise the raga, bearing in mind the presumed tonic note. Memory thus plays an important part in Indian music.

India has developed forms of culture, lifeways and music that are distictive of its own.Yet because of its size and its variety of terrain, there are also great regional differences. The largest such division is between the Hindi related language groups of the North and Dravidian-speaking people of the south; the northern Hindustani style and the southern Carnatic tradition.

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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#1 20 Jul 2007 08:27

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taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

History of Carnatic Music

Carnatic Music has its roots in the distance past. The earliest extend theoritical work is the Natya Sastra by Bharatha, a treatise on theater, dance and music dating between the second century B.C to the fifth century A.D. Through centuries many more important scholarly books on music have been written, perhaps the most noteworthy of which was the medieval Sangeetha Ratnakara by Sarangadeva.

Purandaradasa (1484-1564), sometimes called the Father of Carnatic Music, composed not only many songs but the standard lessons and exercices that are still memorized by every music student today. A golden age occurred between about 1750 and 1850 when the forms and performaces style that have continued to the present day were set. Thousands of new krithis (compositions) were composed, new ragas were invented, and the conceptual form of older ragas expanded.The Sangitha trimurthis (big three) , Sama Sastry (1762-1827), Tyagaraja (1767-1847) and Muthuswamy Dikshitar (1777-1847) dominated this period.

The Sangitha Trimurthys: Sama Sastry, Tyagaraja and Muthusamy Dikshitar

A south Indian proverb compares the compositions of thrimurthys. Dikshitar is said to have written music that is like a coconut: the hard shell of his brilliantly intellectual musical structures and complex, scholarly and sometimes esoteric texts must be broken to taste the sweat nut and milk inside. By contrast, Sama Sastri's music is said to be like a banana: the fruit is not so difficult to get in, but one must still peel off the bitter skin - Sastri's complicated talas rhythms and talas of five and seven beats before enjoying its flavour. But Tyagaraja's music is said to be like fresh, ripe grapes; both poetry and melody are immediately accessible to enjoy it one needs to merely bite into it. Even the skin is soft and sweat.

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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#2 20 Jul 2007 08:49

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Swara

Indian music has seven notes or swaras as with all systems of music. Swara is defined as "that which is able to please of its own accord". These seven swaras are called Shadjamam, Rishabham, Gandharam, Madhyamam, Panchamam, Dhivatham and Nishadham. These are often represented as Sa, Re, Ga, Ma, Pa, Da and Ne, by their first syllable.

Swara and Swara Stanam

Of these seven swaras, Sa and Pa donot admit variations and are called achala (fixed) or avikratha (changeless) swaras. The other five (Re, Ga, Ma, Da and Ne) admint of two varieties each. The terms Komal and Tivra are used to distinguish these two, with komala swaram lower in note than the tivra swaram. Thus we have

Sudha (Komal) and Chathusruthi (Tivra) Rishabam,Sadharana (komal) and Antara (tivra) gandharam, Sudha (Komal) and Prati (Tivra) Madhyamam, Sudha (Komal) and Chatussruthi (Tivra) dhivatham and Kaisiki (komal) and Kakali (Tivra) Nishadham.

With this, there are 12 distictive swaras corresponding to notes in Carnatic Music.

In addition, four of the swaras, Ri, Ga, Da and Ne extend to another variety overlaping with the next swarastanam. This give rise to four more swaras totalling 16. Note however that the note (swara stana) is shared between two swaras.

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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#3 20 Jul 2007 08:51

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Swaram	Notation	Western	Stanam
Sadjamam	Sa	C	1
Suddha Rishabam (Komal)	Re1	C #	2
Chathusruthi Rishabam (Tivra)	Re2	D	3
Shatsruthi Rishabam	Re3	D #/ E b	4
Suddha Gandharam	Ga1	D	3
Sadharana Gandharam	Ga2	D # /E b	4
Anthara Gandharam	Ga3	E	5
Suddha Madhyamam	Ma1	F	6
Prati Madhyamam	Ma2	F #/G b	7
Panchamam	Pa	G	8
Suddha Dhaivatham	Da1	G #/A b	9
Chathusruthi Dhaivatham	Da2	A	10
Shatsruthi Dhaivatham	Da3	A #/ B b	11
Suddha Nishadam	Ne1	A	10
Kaisiki Nishadam	Ne2	A #/B b	11
Kakali Nishadam	Ne3	B	12

The sudha swaras, also known as Prakrithi swaras, have the prefix Sudha. This is usually the lowest pitched note for that swara. The vikratha swaras have prefixes like chatussruthi, shatshuruthi, sadharana, antara, etc. In Hindustani music, sudha swara usually refer to Sankarabharana scale (Bilval).

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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#4 20 Jul 2007 08:51

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Raga

Raga is the Pivotal concept of Carnatic music. This concept is India's proud contribution to world music. The ideal of absolute music is reached in the concept of Raga. Raga is much more than a scale. It is defied as that which colors the mind in ancient text. (Raga (Sanskrith): coloriing, dyeing, tingering). A raga is in some ways a kind of mystical expression with a musical personality of its own. The whole structure of Indian music is built around the concept of raga. Indian melodies of the classical type are based on ragas. As for folk melodies a good number of them will be found to be in some recognisable raga. Some folk meledies are in mixed ragas. The same goes with popular film music tunes.

Raga can be loosely defined as melody type or expressive mode. It consists of series of upto seven notes, which bear a definite relationship to adhara shadja and which occur in a particular sequence. They derive their personality through notes of defined pitch entering into their formation. It is the arrangement of particular swaras, in conformity to recognised aesthetic laws that establish the rupa (form) of raga.

Raga alapana is the presentation of pharases admissible in the raga in such a manner as to bring out its distictive characteristics. The arohana and avarohana constitute the briefest description of a raga. It gives the concsise form of the outline or framework of the raga.

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Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#5 20 Jul 2007 08:52

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Raga classification

Melam and Janyam Ragas are classifed into Janaka ragas and Janya ragas. Janaka ragas, also known as Melakartha or Sampurna raga has all seven notes (saptha swara) in their arohana and avarohana. There are 72 such janaka ragas arranged in a definete, serial order. A Janya raga is said to be derived from a janaka raga. It takes the same swaras as in its melakartha raga, but may take fewer swaras.

Example: Kanakangi (1st Melakartha) and its Janyams

Ragam	Melam	No	Aarohanam	Avarohanam
Kanakangi	Kanakaangi	1	Sa Re1 Ga1 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga1 Re1 Sa
Kadagapriya	Kanakaangi	1	sa ga re ga ma pa da pa ne sa	sa da pa da ma ga re sa
Kanakambari	Kanakaangi	1	sa ga re ga ma pa da ne da sa	sa ne da pa ma ga re sa
Mukthambari	Kanakaangi	1	sa re ga ma pa ne sa	sa ne da ma ga re sa
Peragasindhamani	Kanakaangi	1	sa re pa ma pa da ne sa	sa da pa ma ga re sa
Vaageswari	Kanakaangi	1	sa re ga ma pa da sa	sa da pa ma ga re sa

Sudha Madhyama and Prathhi Madhyama Raga: There are seventy two such melakartha ragas each with its own set ot janya ragas. As mentioned before ragas can take variations only in Re (Re1, Re2, Re3), Ga (Ga1, Ga2, Ga3), Ma (Ma1, Ma2), Dha (Dha1, Dha2, Dha3) and Ne (Ne1, Ne2, Ne3). The first 36 of 72 melams use Sudha Madhyamam (Ma1) and are called Sudha Madhyama ragas. The later 36 use Prathi Madhyaman (Ma2) and are called Parathi Madhyama ragas. So within each category they can differ only in Re, Ga, Dha and Ne. These are systematically divided into six chakras, with six melams per chakra.

____________
Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#6 20 Jul 2007 08:53

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Sudha Madhyama Ragas

Indu	Netra	Agni	Vedha	Baana	Ruthu
Kanakaangi	Seanavathi	Gaayaga Priya	Jangharadhwani	Maara Rajnani	Yaagha Priya
Ratnaangi	Hanumat Thodi	Vagulaa Baranam	Nata Bhiravi	Chaarukesi	Raaga Vardhani
Ganamurthi	Dheanuka	Maaya Malava Gaula	Keeravani	Sarasaangi	Kaangheya Bhushani
Vanaspathi	Naataka Priya	Chakra Vaagham	Karagara Priya	Hari Kaamboji	Vaagha Dheeswari
Maalavathi	Kokila Priya	Suurya Kantham	Gauri Manogari	Dheera Shankara Bharanam	Seelini
Dhaana Roopini	Roopavathi	Haatakambhari	Varuna Priya	Naaga Nandhini	Chala Naata

Prathi Madhyama Ragas

Rishi	Vasu	Brahma	Dishi	Rudra	Aditya
Jaalakam	Kavaambhodi	Thavalaambari	Syamalaanghi	Kandhaamani	Su Charithra
Jaalarnavam	Bhava Priya	Naama Naarayani	Shanmughapriya	Rishabha Priya	Swodhis Ruupini
Jaala Varaali	Subha Bhandhu Varali	Kaama Vardhani	Simmhendhra Madhyamam	Lathaangi	Thadhu Vardhani
Navaneetham	Shatvidha Maarghani	Raama Priya	Heamavathi	Vaachaspathi	Naasigha Bhushani
Bhaavani	Swarnaanghi	Gamana Priya	Dharmavathi	Measha Kalyani	Koochalam
Raghupriya	Dhivyamani	Viswambhari	Neethimathi	Chitraambhari	Raghasya Priya

Katapayadhi Sankya: The name and number of Melakartha raga is systematically defined by Katapayadhi Sankya method. The letters Ka, Ta, Pa, Ya, etc are assiged numeric numbers. From the first two characters of each melam, and mapping it to the number corresponding to the character, the mela raga's number is identified. For example, the raga "Dheera Shankarabaranam" has Dhe and Ra as its first characters, tha map to 9 and 2. By juxtaposing the 2^nd character's number with the 1^st one we get 29, which is the mela kartha number of the raga. Ragas like Chakravagham are represented with Cha and Ka (6 and 1, thereby 16) instead of 'k'.

____________
Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#7 20 Jul 2007 08:55

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Vajra Raga: Janya ragas is called Vajra raga if upto three swaras are deleted in the arohaana, avarohana or both., Vajra ragas are furher classified into shadava (only six swaras present in aarohanam / avarohanam of raga; or one vajra) and audava (only five swaras present; two being vajra). As mentioned before, a raga with all seven notes is called sampurna raga. Note that a raga with only four notes in aarohana or avarohana is not considered since atleast five swaras are required to give an individuality to the raga. Also janayas can have different number of swaras in arohanam and avarohanam giving rise to eight types of varja ragas.

Eight kinds of Varja ragas with example

Ragam	Melam	No	Aarohanam	Avarohanam	Varja Type
Kamboji	Hari Kamboji	28	sa re ga ma pa da sa	sa ne da pa ma ga re sa	Shadava (6)- Sampurja (7)
Bilahari	Dheera Shankarabharanam	29	Sa re ga pa da sa	Sa ne da pa ma ga re sa	Audava (5) - Sampurna (7)
Bhairavam	Suryakantham	17	Sa re ga ma pa da ne sa	Sa da pa ma ga re sa	Sampurna (7) - shadava (6)
Saramathi	Natabhiravi	20	Sa re ga ma pa da ne sa	Sa ne da ma ga sa	Sampurna (7) - Audava (5)
Sriranjani	Karagapriya	22	Sa re ga ma da ne sa	Sa ne da ma ga re sa	Shadava (6) - Shadava (6)
Natakurunji	Hari Kamboji	28	Sa re ga ma da ne sa	Sa ne da ma ga sa	Shadava (6) - Audava (5)
Malahari	Mayamalavagaula	15	Sa re ma pa da sa	Sa da pa ma ga re sa	Audava (5) - Shadava (6)
Mohanam	Hari Kamboji	29	Sa re ga pa da sa	Sa da pa ga re sa	Audava (5)- Audava (5)

____________
Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#8 20 Jul 2007 08:55

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Upanga and Bashanga Raga: Another type of raga classification classifies them as Upanga raga if janya takes only the swaras of the melakartha (as they usually do), Bashanga raga if they take a foreign swara in either arohanam, avarohanam or both (from somether melakartha) and vakra raga if arohana or avarohana or both take zig-zag course or twist. Vakra ragas are further classifed into Sampurna vakra if arohana and avarohana are sampurna (with all seven notes present) or Vakra varja if they have less than seven notes. Vakra ragas also are classified into Ekaswara vakra, Dviswara vakra, Triswara vakra or Chatusswara vakra based on number of vakra swaras in the raga (one, two, three and four respectively). Four is the maximum number of vakra swara that a raga can accomadate. In Bashanga raga, the foreign note is known as annya swara. The number of Bhashanga ragas used in Carnatic music is 26.

Examples of Bhasanga and Vakra Janya ragas

Ragam

Melam

Aarohanam

Avarohanam

Type

Kathana kuthuhalam

Deera Sankarabharanam

Sa re ma da ne ga pa sa

Sa ne da pa ma ga re sa

Sampurna vakra

Karnataka Byag

Hari Kamboji

Sa re ga ma pa da ne sa

Sa ne da ne pa da ma ga re ga sa

Sahana

Hari Kamboji

Sa ra ga ma pa ma da ne sa

Sa ne da pa ma ga ma re ga re sa

Nalinakanthi

Sarasangi

Sa ga re ma pa ne sa

Sa ne pa ma ga re sa

Vakra varja

Devamanohari

Karagarapriya

Sa re ma pa da ne sa

Sa ne da ne pa ma re sa

Bangala

Sa re ga ma pa ma re pa sa

Sa ne pa ma re ga re sa

Nilambari

Deera Sankarabharanam

Sa re ga ma pa da pa ne sa

Sa ne pa ma ga re ga sa

Ekasvara

Suposhini

Sa re sa ma pa ne da sa

Sa da ne pa ma re ma sa

Dviswara

Bhairavi	Natabhiravi	20	Sa ga re ga ma pa da ne sa	Sa ne da pa ma ga re sa
	Chathusruthi dhivatham (annya swaram) in aarohanam, Sudha dhivatham in avarohanam

Bhasanga

____________
Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#9 20 Jul 2007 08:56

taal

Joined: December 2006
Posts: 863

Re: Indian Classical Music

Melakarta Chakra

Raga	No	Aarohanam	Avarohanam
Indu
Kanakaangi	1	Sa Re1 Ga1 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga1 Re1 Sa
Ratnaangi	2	Sa Re1 Ga1 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga1 Re1 Sa
Ganamurthi	3	Sa Re1 Ga1 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga1 Re1 Sa
Vanaspathi	4	Sa Re1 Ga1 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga1 Re1 Sa
Maalavathi	5	Sa Re1 Ga1 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga1 Re1 Sa
Dhaana Roopini	6	Sa Re1 Ga1 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga1 Re1 Sa
Nethra
Seanavathi	7	Sa Re1 Ga2 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga2 Re1 Sa
Hanumat Thodi	8	Sa Re1 Ga2 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga2 Re1 Sa
Dheanuka	9	Sa Re1 Ga2 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga2 Re1 Sa
Naataka Priya	10	Sa Re1 Ga2 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga2 Re1 Sa
Kokila Priya	11	Sa Re1 Ga2 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga2 Re1 Sa
Roopavathi	12	Sa Re1 Ga2 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga2 Re1 Sa
Agni
Gaayaga Priya	13	Sa Re1 Ga3 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga3 Re1 Sa
Vagulaa Baranam	14	Sa Re1 Ga3 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga3 Re1 Sa
Maaya Malava Gaula	15	Sa Re1 Ga3 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga3 Re1 Sa
Chakra Vaagham	16	Sa Re1 Ga3 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga3 Re1 Sa
Suurya Kantham	17	Sa Re1 Ga3 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga3 Re1 Sa
Haatakambhari	18	Sa Re1 Ga3 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga3 Re1 Sa
Vedha
Jangharadhwani	19	Sa Re2 Ga2 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga2 Re2 Sa
Nata Bhiravi	20	Sa Re2 Ga2 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga2 Re2 Sa
Keeravani	21	Sa Re2 Ga2 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga2 Re2 Sa
Karagara Priya	22	Sa Re2 Ga2 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga2 Re2 Sa
Gauri Manogari	23	Sa Re2 Ga2 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga2 Re2 Sa
Varuna Priya	24	Sa Re2 Ga2 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga2 Re2 Sa
Bhana
Maara Rajnani	25	Sa Re2 Ga3 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga3 Re2 Sa
Chaarukesi	26	Sa Re2 Ga3 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga3 Re2 Sa
Sarasaangi	27	Sa Re2 Ga3 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga3 Re2 Sa
Hari Kaamboji	28	Sa Re2 Ga3 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga3 Re2 Sa
Dheera Shankara Bharanam	29	Sa Re2 Ga3 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga3 Re2 Sa
Naaga Nandhini	30	Sa Re2 Ga3 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga3 Re2 Sa
Ruthu
Yaagha Priya	31	Sa Re3 Ga3 Ma1 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma1 Ga3 Re3 Sa
Raaga Vardhani	32	Sa Re3 Ga3 Ma1 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma1 Ga3 Re3 Sa
Kaangheya Bhushani	33	Sa Re3 Ga3 Ma1 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma1 Ga3 Re3 Sa
Vaagha Dheeswari	34	Sa Re3 Ga3 Ma1 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma1 Ga3 Re3 Sa
Seelini	35	Sa Re3 Ga3 Ma1 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma1 Ga3 Re3 Sa
Chala Naata	36	Sa Re3 Ga3 Ma1 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma1 Ga3 Re3 Sa
Rishi
Jaalakam	37	Sa Re1 Ga1 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga1 Re1 Sa
Jaalarnavam	38	Sa Re1 Ga1 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga1 Re1 Sa
Jaala Varaali	39	Sa Re1 Ga1 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga1 Re1 Sa
Navaneetham	40	Sa Re1 Ga1 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga1 Re1 Sa
Bhaavani	41	Sa Re1 Ga1 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga1 Re1 Sa
Raghupriya	42	Sa Re1 Ga1 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga1 Re1 Sa
Vasu
Kavaambhodi	43	Sa Re1 Ga2 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga2 Re1 Sa
Bhava Priya	44	Sa Re1 Ga2 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga2 Re1 Sa
Subha Bhandhu Varali	45	Sa Re1 Ga2 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga2 Re1 Sa
Shatvidha Maarghani	46	Sa Re1 Ga2 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga2 Re1 Sa
Swarnaanghi	47	Sa Re1 Ga2 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga2 Re1 Sa
Dhivyamani	48	Sa Re1 Ga2 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga2 Re1 Sa
Brahma
Thavalaambari	49	Sa Re1 Ga3 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga3 Re1 Sa
Naama Naarayani	50	Sa Re1 Ga3 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga3 Re1 Sa
Kaama Vardhani	51	Sa Re1 Ga3 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga3 Re1 Sa
Raama Priya	52	Sa Re1 Ga3 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga3 Re1 Sa
Gamana Priya	53	Sa Re1 Ga3 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga3 Re1 Sa
Viswambhari	54	Sa Re1 Ga3 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga3 Re1 Sa
Dishi
Syamalaanghi	55	Sa Re2 Ga2 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga2 Re2 Sa
Shanmughapriya	56	Sa Re2 Ga2 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga2 Re2 Sa
Simmhendhra Madhyamam	57	Sa Re2 Ga2 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga2 Re2 Sa
Heamavathi	58	Sa Re2 Ga2 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga2 Re2 Sa
Dharmavathi	59	Sa Re2 Ga2 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga2 Re2 Sa
Neethimathi	60	Sa Re2 Ga2 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga2 Re2 Sa
Rudhra
Kandhaamani	61	Sa Re2 Ga3 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga3 Re2 Sa
Rishabha Priya	62	Sa Re2 Ga3 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga3 Re2 Sa
Lathaangi	63	Sa Re2 Ga3 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga3 Re2 Sa
Vaachaspathi	64	Sa Re2 Ga3 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga3 Re2 Sa
Measha Kalyani	65	Sa Re2 Ga3 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga3 Re2 Sa
Chitraambhari	66	Sa Re2 Ga3 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga3 Re2 Sa
Aditya
Su Charithra	67	Sa Re3 Ga3 Ma2 Pa Da1 Ne1 Sa	Sa Ne1 Da1 Pa Ma2 Ga3 Re3 Sa
Swodhis Ruupini	68	Sa Re3 Ga3 Ma2 Pa Da1 Ne2 Sa	Sa Ne2 Da1 Pa Ma2 Ga3 Re3 Sa
Thadhu Vardhani	69	Sa Re3 Ga3 Ma2 Pa Da1 Ne3 Sa	Sa Ne3 Da1 Pa Ma2 Ga3 Re3 Sa
Naasigha Bhushani	70	Sa Re3 Ga3 Ma2 Pa Da2 Ne2 Sa	Sa Ne2 Da2 Pa Ma2 Ga3 Re3 Sa
Koochalam	71	Sa Re3 Ga3 Ma2 Pa Da2 Ne3 Sa	Sa Ne3 Da2 Pa Ma2 Ga3 Re3 Sa
Raghasya Priya	72	Sa Re3 Ga3 Ma2 Pa Da3 Ne3 Sa	Sa Ne3 Da3 Pa Ma2 Ga3 Re3 Sa

____________
Pay no attention to what the critics say. A statue has never been erected in honor of a critic. (Jean Sibelius)

#10 20 Jul 2007 08:56

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