Sampada

Jāti Prana

- "jati" means the classification of something. The number of counting fingers (Vikshipta) is based on jāti. (Ex: Trisra Jati Laghu is an open palm followed by two beats). Only laghus have jāti. -The five main jātis are: Chaturasra=4 beats Trisra= 3 beats Misra= 7 beats Khanda= 5 beats Sankirna= 9 beats Along with the 5 main laghus, there are 5 special laghus: -Divya Sankirna Laghu=6 beats Misra Sankirna Laghu= 8 beats Desya Sankirna Laghu= 10 beats Misra Desya Sankirna Laghu= 12 beats Desya Suddha Sankirna Laghu= 16 beats So, the ten laghu names are manushya, swarga, hamsa, deshya, chitra, Divya, simha, varna, vaidya, and karnata. In order they have, 4,3,7,5,6,8,10,12,and 16 laghus

Narada's Classification

Purusha Ragams- masculine and robust in nature Sthree Ragams- soft and feminine in nature Napumsaka Ragams- neutral ragams (THIS CLASSIFICATION IS NOW NOT USED)

SangithaRatnakara's Ragas

Purvaprasiddha Ragas- ragas popular before his time Adhunika Ragas- ragas popular after his time

Putra- Mitra- Kalatra Ragas

Putra Ragas- janya ragas Mitra (think of friend) Ragas- twin ragas (Ritigoula-Anandabhairavi) Kalatra Ragas- feminine ragas (Raagini- NOT USED TODAY)

Ri-Ga-Da-Ni Classification

Ra Ri Ru- (Suddha, Chatusruthi, Shatsruthi) Ga Gi Gu- (Suddha, Sadharna, Antara) Da Di Du- (Suddha, Chatusruti, Shatsruthi) Na Ni Nu- (Suddha, Kaisiki, Kakali)

Prastara Prana

"Prastara" is the elaboration of a pattern, and refers to permutation (order matters). Prastara of talas splits up the angas off tala into constituent angas and presents them in all possible ways. Finite and Infinite permutations are Prastara Yati. Ex: Chaturasra laghu expanded can give eight possible Prastaras. 1. One laghu- 4 2. Druta Sakharov and Anudruta- 3+1 3. 2 drutas- 2+2 4. Druta and two Anudrutas- 2+1+1 5. Anudruta and Druta Sekhara- 1+3 6. Anudruta, Druta, Anudruta- 1+2+1 7. 2 Anudrutas and one druta- 1+1+2 8. 4 Anudrutas-1+1+1+1 14 varieties of Prastara are: Nasta, Uddista, Patala, Mahapatala, Anudruta Meru, Druta Meru, Druta Sekhara Meru, Laghu Meru, Guru Meru, Pluta Meru, Kakapada Meru, Samyoga Meru, Khanda Prastara, and Yati Prastara.

Kala Prana

- "Kala" is a methodology adapted while repeating the beats of a talam twice, thrice, and four times. More specifically it is known as ekakala, dwikala, trikala, and chatushkala. Ekakala- every beat of tala is put once (8 beats) Dwikala- every beat of tala is put twice (16 beats) Trikala- every beat of tala is put thrice (24 beats) Catushkala- every beat is put four times. (32 beats) For dwikala, trikala, and catushkala, the talam is repeated two, three, and four times. The slower the tempo of the kriti, the larger the number of kala. "Rendu Kalai Chowkam" (dwikala) in kritis, and catushkala is used in RTP. Chowkam affects the mood and styles of singing.

Yati Prana

- "Yati" is a concept that signifies either swara or rhythm patterns that create shapes. This concept is in lyrics, swara and rhythm patterns, and dance jātis. The six varieties of yati are: - Sama Yati - Srotovaha Yati - Gopuccha Yati - Damaru Yati - Mridanga Yati - Visama Yati Sama Yati- melodious patterns that are all in uniform Srotovaha Yati- "Srothovaha" means stream, and streams are first narrow and then wide. Thus, Srotovaha Yati patterns are narrow at first and then get wider at the end. Gopuccha Yati- exact opposite of Srotovaha Yati. Damaru Yati- "Damarukam" is a sacred drum. Thus, in Damaru Yati, patterns are wider at the bases and narrow near the center (like a tree trunk) Mridanga Yati- These patterns are shaped like mridangams. The patterns become wider near the center and narrower near the ends. In this yati, phrases may repeat to signify the end of Srotovaha and the beginning of Gopuccha. Visama Yati- The patterns in this yati are irregular and have no uniformity. (Opposition of Sama Yati)

Anga Prana

- "anga" means limb or part of a talam. The Shadangas of a talam (6 parts) are: - Anudruta -Druta -Laghu -Guru -Pluta -Kakapadam Anudrutam- a single beat from the palm (Druvaka). This is "Sashabda kriya" (sound). The symbol is a half moon Druta- a beat of the palm followed by an open palm (Druvaka and Visarjita). The symbol is a full moon Laghu- denoted by a beat from the palm followed by counting fingers (Druvaka nd Vikshipta). This symbol is a vertical line Guru- denoted by a beat from the palm (Druvaka) followed by counting fingers (Vikshipta) and waving the right hand downwards (patita). The guru anga is 2x the laghu anga, and the symbol is a reverse S Pluta- 3x the span of a laghu, making it a 12 beat anga. It is made up of Druvaka, Vikshipta, Sarpini, and patita. The symbol is a vertical line over a reverse S. Kakapadam- 4x the laghu. This is a Nishabda Talam because it is made up of silent beats (obsolete). Kakapadam I'd made up of Sarpini, Krishya, Pataka, and Patita. The symbol is a plus sign.

Raaganga, Upaanga, and Bhashanga Ragas

Raaganga Ragas- Melakarta Ragas (Panthuvarali) Upaanga Ragas- janya ragas with no anyaswara (Mohanam) Bhashanga Ragas- janya ragas with anyaswara (Bhairavi)

Kriya Prana

- "kriya" in Sanskrit means action, so the Kriya Marga May be defined as all the beats in a talam. - Kriya are split into MARGA KRIYAS & DESI KRIYAS MARGA KRIYAS are split into- "Marga sashabda kriyas" and "Marga Nishabda Kriyas" "Marga sashabda kriyas"- beats with sound (Dhruva, Samya, Talam, and Sannipata) Dhruva- producing sound with thumb and middle finger Samya- a beat in right palm wit the left Tala- reverse of Samya Sannipata- keeping both forearms vertical and beating palms together (like Namaskaram) "Marga Nishabda Kriyas"- (Avapa, Nishkrama, Vikshepa, and Pravesa) Avapa- closing finger of raised arm Nishkrama- unfolding fingers folded in Avapa and to bring down the same Vikshepa- waving the arm to the right with opened fingers Pravesa- folding fingers and bringing palm to front (ALL METHODS OBSOLETE) DESI KRIYAS (8) Druvaka- beat in left palm with right palm making sound Sarpini- waving right palm towards right side Kriyasha- waving right hand towards left side Padmini- extending right palm down Visarjitha- waving right, open palm Vikshipta- counting fingers (depends on jathi) Pataka- raising right palm up Patita- bringing pataka position downwards *DRUVAKA IS SHABDA AND REMAINING ARE NISHABDA

Laya Prana

- "laya" is the equal time interval of two successive beats. The three degrees of laya are: - Vilambita (slow tempo) - Madyama Laya (medium tempo) - Durita Laya (fast speed) *1:2:4 ratio

Marga Prana

- "marga" in Sanskrit means method, so Marga Prana illustrates the concept or method of time duration of each beat in a talam - the six "Sanmargas" are: 1. Dakshina Marga= 8 matra talam 2. Vattikuti Marga = 4 matra talam 3. Chitra Marga= 2 matra talam 4. Chitratara Marga= 1 matra kalam 5. Chitratama Marga= 1 matra kalam 6. Atichitratama Marga= 1 matra kalam *BASED ON THE CHATURASRA JATHI, EACH MATRA HAS 4 AKSHARAS, SO THE 6 SANMARGAS HAVE.... 32, 16, 8, 4, 2, and 1 aksharas (SAME ORDER OF SANMARGAS- Largest to smallest) -the first three Sanmargas are useful in RTP, and the last three Sanmargas are used in kritis and other musical forms

To be a Janaka Raga...

- must have all seven swaras (Sampurnatva) - the 8th note must be Sa (Ashtaka) - seven notes must be in the same order (Sa Ri Ga Ma Pa Da Ni) (Kramatva) - must have the same swarasthanas

Graha Prana

- the commencement or take off point of kriti is Graha Prana. It is classified into SAMA GRAHA & VISHAMA GRAHA. SAMA GRAHA- the song and talam start at the same time (Ex: Samajavargamana) VISHAMA GRAHA- the song and talam do not start along with the talam. (ATITA AND ANAGATA GRAHA ARE TWO TYPES OF VISHAMA GRAHA) Aitita Graha- song starts before talam (Ex: Nannu Brovu Lalitha) Anagata Graha- song starts after talam (Ex: Paratpara Parameshwara)

Tisra chapu

-1+2=3 (3 akshara kalam) very uncommon

Misra Capu

-3+4=7 -wave and then beat (takita-takadimi) -Syama Sastry also reversed the order (4+3) (known as viloma chapu instead of krama chapu) -MOST POPULAR CAPU TALAM

Vivadi Ragas

-40 out of 72 ragas are vivadi -ALL ragas in 1st, 6th, 7th, and 12th chakras are vivadi (24) - 1st and 6th ragas are vivadi in EVERY OTHER CHAKRA (other than above four- 16) 24+16=40

Teen Tal structure

-Clap-Clap-Wave-Clap (in other talas wave starts first) -Each beat has 4 aksharas-16 in total

Katapayadi Formula Rules

-Used to determine the melakarta number -To determine, Telugu syllables are used -The first two syllables are used to determine number (Ex: Me-cha in Kalyani) -Reverse the numbers to get the mela number *some ragas have prefixes to make them occupy certain spots (Ex: Dhira+Shankarabharnam)

Ri and Ga

-change from chakra to chakra order of variations- Ra-Ga, Ra-Gi, Ra-Gu, Ri- Gi, Ri-Gu, Ru-Gu

Da and Ni

-change from one mela to another mela order of variations- Da-Na, Da-Ni, Da-Nu Di-Ni, Di-Nu, Du-Nu

Khanda Capu

-has five akshara kalam (2+3) -three beats (taka- takita) two khanda capus=one ten akshara jhampa talam (arajhampha) -for convenience, jhampa tala is referred to as khandha chapu. In this every avrata of the jhampa talam will have arajhampa -EX: munna ravana-Todi

Desadi Talam (Slow tempo)

-has one wave, and three beats (4 beats in total) - each beat has four aksharas, making it have 16 aksharas in total -Desadi Talam has 3/4 matra kalam (also can be interpreted as 3 aksharas) EX: sitapate namanasuna-Khamas-Tyagaraja

Capu Talam

-indigenous talam -syncopated time measure and is counted with two beats (first beat shorter than second beat) -many padas are composed in this talam -for convenience, capu talam is also recognized through a wave and two beats

Kala Prana

-signifies the time duration of adangas in absolute time -divided into 2 sections: "Sukshma Kala" (micro measure of time) and "Sthula Kala" (macro minutes of time) 8 kshanams (minutest time measure) make 1 lava 8 lavas make 1 kashta 8 kasthas make 1 nimisha 8 nimishas make 1 kala 2 kalas make 1 chaturbaga 2 chaturbagas make 1 anudruta 2 anudrutas make 1 druta 2 drutas make 1 laghu 2 laghus make 1 guru 3 laghus make 1 pluta 4 laghus make 1 kakapadam *FIRST 6 ARE SUKSHMA KALAM *LAST 4 ARE STHULA KALAM

Ekanya

1 Anya swaram (kambhoji)

Kritis

1. -Keertana came before Kritis -"Yat Kritam Tat Kriti"- What a kriti is -highly evolved from 16th century by the Musical Trinity 2. -"Matu pradhana rachanas"- music oriented (though text is devotional) MUSIC OVER LYRICS 3. -exploited with various raga contours and richness of various ragas -also includes a variety of talas like Vilamaba Adi, Vilamba Rupakam, seven Suladi Talas, and Tisra gati adi -kritis are composed in rare ragams (like Kalgada, Manji, Yamuna Kalyani, Rasali, and Phalamanjari) -strict attention to raga lakshanas and prayogas and aesthetic elements 4. -kritis are sung solo to express raga bhava, anuswarams, and gamkams -range of kriti is 2-2.5 octave and can onlu be sung by trained voice 5. -essential angas are: Pallavi, Anupallavi, and 1-3 charnams -if there are multiple charnams, they are written with mudra -kritis with Pallavi and one charanam are known as "Samishti Charanam) 6. -Sangatis are prime use in kritis -swaraksharams, chittaswaram, swara-sahitya, madhyamakala sahitya, and solkattu swarams are also used in kritis 7. MANODHARMAM IMPORTANT!! 8. main form of music in concerts 9. composers siing thousands of kritis, but they also sing 4-10 pieces on a particular deity (Ex: Kamakshi Navavarna Kritis, Lalgudi Pancharatnas, Navaratri kritis by Swati Tirunal) 10. -RAGA LAKSHANA/SAHITYAM 11. Important composers are: -Pallavi Gopalayyar -Syamasastry -Tyagaraja -Dikshitar -Swati Tirunal -Patnam Subramanya Iyer -Muttayya Bhagavatar -Mysore Vasudevacharya

Keertanas

1. -derived from Navavidha Bakthi Margas- Sravanam, Keertanam, Smaranam (singing to God's glory through ragam and talam) -"Keertan" is derived from Maharasthra in the "Bakthi Cult" movement in the 12th century after Muslim invasions -keertanas are composed in many languages -composed with devotional lyrics and simple music (to make everyone understand) 2. -lyrical content (Matu pradhanas)/music (like ragas) -keertanas care more about lyrics than kriti -mostly set to ekadhatu (only one musical setting), but can be dwidhatu (one setting in Pallavi and another in charnams) 3. -set to simple rakthi ragams (like Kalyani, Mohana, and Kambhoji) -set to simple talams (adi, rupakam, chapu varieties) -usually no gati variations in lyrics 4. -congregational singing set to 1.5 octave singing -Pancharatna keertanas are unique b/c they are sung everywhere in honor of Tyagaraja 5. -mainly Pallavi and many charanams (sometimes anupallavis) 6. -all literary beauties (prasa, alliterations, similes, and yatis) are included -madhyama kalam lyrics included (rarely jatis) -sahitya can be devoted to: puranic, devotees, God like people (Shankaracharya, andal, alwars) or gurus 7. NO MANODHARMAM (has to appeal to everyone) 8. -used as concluding pieces in concerts - sung bhajan-like and in namasankeertanam concerts 9. -variety of names are: -Asthapadi (songs from Geeta govinda by Jayadeva) -Devara Namas (forms in kannada language by Purandaradasa and Vijaya Vittala Dasa) -Tarangas (composed by Narayana Teertha, author of Krishna Leela Tarangini) -Bhajans, Abhangs (in Marathi language) -Tyagaraja's Divyanama sankeertanas and utsava sampradaya sankeertanas -Tallapaka composers are the first keertanakaras to compse in Telegu 10. SAHITYA OVE MUSIC 11. Keertanakaras are: -Jayadeva, Narayanateertha, Ramadasa, Annamacharya, Tyagaraja, Tumu Narasimhadas, and Munipalle Subrahmanya Kavi

The following "Tala Dasa Pranas" are...

1. Kala Prana 2. Marga Prana 3. Kriya Prana 4. Anga Prana 5. Graha Prana 6. Jathi Prana 7. Kala Prana 8. Laya Prana 9. Yathi Prana 10. Prasthara Prana *FIRST 5 PRANAS ARE MUKHYA PRANAS (primary elements) *LAST 5 PRANAS ARE UPA PRANAS (secondary elements)

Saranga Deva's Classsification

1. Six Margaragas- (Grama, Upa, Suddha, Bhaasha, Vibhaasha, and Antharbhaasha) 2. Four Desi Ragas- (Ragaanga, Upaanga, Bhaashaanga, and Kriyaanga)

Dwianya

2 Anya swaras (Behag- Ma, Ni)

Trianya

3 Anya swaras (Kapi- Ga, Da, Ni)

Sankeerna Capu

4+5=9 akshara kalam also very uncommon

Audava-Audava

5-5 note murchana (Mohanam)

Audava-Shadava

5-6 note murchana (Malahari)

Audava- Sampurna

5-7 note murchana (Bilahari)

Shadava-Audava

6-5 note murchana (Bahudari)

Shadava-Shadava

6-6 note murchana (Sriranjini)

Shadava-Sampurna

6-7 note murchana (Kambhoji)

Sampurna-Audava

7-5 note murchana (Natakuranji)

Sampurna-Shadava

7-6 note murchana (Bhairavam)

Sampurna-Sampurna

7-7 note murchana (Bhairavi)

Suddha Saveri

Brief History: -Tulajendra's Sangita Saramruta stated that Suddha Saveri is janya of Mayamalavagoula, and Devapriya as janya of Harikambhoji. Tyagaraja and Dikishitar handled the ragas in different ways. Devakriya and Suddha Saveri are slightly different. Janaka/Janya details: -janya of 28th melakarta Harikambhoji OR janya of 29th melakarta Shankarabharnam Murchana/Swarasthanas: -oudava-oudava ragas -varjya b/c G&N are absent -upanga and krama (linear) ragam - Swarasthanas: Shadja, Chatusruti Rishabam, Suddha Madhyamam, Panchama, and Chatusruti Dhaivata -Aro: SRMPDS, Ava- SDPMRS Graha, Amsa, Nyasa Swaras: -M is a kampita swara in the descent - R, M, P, and D are special nyasa swaras -janta, datu, ahata, and pratyahata are main gamakas - Suddha Dhanyasi, Mohana, Madhyamavati, and Hindolam are created when tonic is shifted Graha Swaras- R, M, D Jiva/Amsa Swaras- R, M, D, Vadi-samvadi swaras- S-M, R-P, P-S, and M-S Nyasa Swaras- R,M,D Vishesa nyasa swaras- R, M, P, and D are special nyasa swaras -enriched with rag and swara bhava -R and D have no gamaka -tri-sthayi and can be sung at all speeds Musical Compositions: Sriguruguha- Rupakam Talam- Dikshitar Kalaharana- rupakam- Tyagaraja Darini telusukonti- adi- Tyagaraja

Muttuswamy Dikshitar

Deekshitar was born in Tirvarur, and he was the youngest of the trinity. Ramaswamy Deekshitar, his father was a descendant of Venkatamakhi, and he was a distinguished musician, poet, and veena player of the Tanjore king. Muttuswamy Deekshitar was named after Muthukumara Swami of Vaithiswaran Kovil, and he had two brothers, Chinna Swami and Bal Swami, and a sister, Balambal. Deekshitar learned Kavya, Nataka, and Alankara sastras from his mother, Subbammal, and he learned veena from his father. He also mastered astrology, medicine, mantra, yoga, and Sanskrit. Deeksitar accompanied his guru, Chidambaranatha Yogi to Benaras, and he was initiated into Srividhya Mantra and listened to Hindustani music. One day, Deekshitar was praying in the Ganga, and he received a veena. On the bowl of the veena, Sri Rama was inscribed. When Yogi was about to die, Deekshitar stayed with him until his last rites were performed. After the last rites, Deekshitar went to Tiruttani and chanted Subhramanya Panchakshari Mahamantra for 45 days, and Lord Muruga came in the form as an old brahmin and put a piece of sugar in his mouth. Suddenly, Deekshitar composed a composition on Lord Muruga called "Sree Nathadi Guruguho" in Mayamalavagoula set to Adi tala. He also sang 8 kritis in praise of Lord Muruga in Sanskrit, and his mudra became guruguha. Deekshitar then went to Kanchipuram, and he composed kritis on Goddess Kamakshi and Ekamranatha. He then traveled to Thiruvarur and composed kritis about Tyagaraja. He then lost his parents, and he moved to Madhurai and sang kritis on Meenakshi with his brothers. After he lost his brother, he traveled all over South India and created masterpieces on many deities. (POPULAR SONGS ARE IN BOOK). Deekshitar also composed Guruguha kritis, Kamalamba Navavarna kritis, Abhayamba Navavarna kritis, Shodasa Ganapati kritis, Navagraha kritis, and group kritis on Tyagaraja swamy in Sanskrit. He also composed a varnam in Todi ("Rupamu Jusi"), a ragamalika in Sanskrit ("Sree Vishwanatham Bhaje") and other kritis in different languages. He also composed Ekadhatu Note Swarams, (ex: Syamale Meenakshi). Once, in a dry land called Sattur, Deekshitar sang "Anandamritaakarshini" in Amritavarshini and there was heavy rain. When a state elephant ran amuck, Deekshitar knew he was about to die, and he asked his disciples to sing "Meenakshi me madam Dehi", and in the phrase "Meenalochani Pasamochani", he attained moksham. WRITING STYLE -wrote songs in ragas according to mood and gave full elaboration of raga, sahitya, and talam -wrote in vilamba kalam -listeners experience Gana rasa and evoke peacefulness and poise -usage of all gamakas is reflected in Vainikas style -dhatu never repeates itself and we see no variation or sangatis -beauty in sahitya (Swaraksharam, Yati, madhyamakala sahitya) -compared to Narikela paakam Deekshitar's music of 470 compsitions have sublime sahitya and majestic raga protrayal

Tala Dasa Pranas

Def- ten types of dynamics/forces found in all talas

What re the two sections that the 72 swaras are split into?

First 36- Suddha Madhyamam Last 36- Prathi Madhyamam

Ghana-Naya-Desya Ragams Classification

Ghana Ragas- well-structured laya ragas (Nata, Goula, Arabhi) Naya Ragas- soft and rakti ragas (Begada, Bilahari) Desya Ragas- belong to Hindustani music (Behag, Kapi)

Panthuvarali

History: -Kamavardhini is another name for this ragam. Kamavardhini is mentioned in "Sangrahacudamani" by Sri Govindacharya. Panthvarali and Kamavardhini are the same ragam, and Ramakriya (told by Ramamatya) can be found in Naradamuni's "Sangita Makaranda". Janka/Janya: -Panthuvarali is the 51st melakarta ragam, found as the 3rd ragam in the Brahma Chakra Murchana/Swarasthanas: -Swarasthanas: Shadja, Suddha Rishabam, Antara Gandharam, Pratimadhyamam, Panchamam, Suddha Dhaivatha, Kakali Nishadam -Aro: SRGMPDNS -Ava: SNDPMGRS Graha-Amsa-Nyasa Swaras: Graha- G and S Nyasa- G, P, N All swaras are raga chaya swaras Panthuvarali is a "sarva swara gamaka varika rakthi ragam" Can be sung at all times Prayogas: -bhakthi rasa -prayogas like pdm, srn, are used. S and P are also used -operas and other musical performances use this raga -this ragam has an affinity to Shiva worship Janyas: Bhogavasantam, Dipkam, and Kanakarasali Compositions: Shambo Mahadeva-rupakam-Tyagaraja Ennaganu Ramabhajana- rupkam- Bhadracala Ramadasu Samininne- adi- Shatkala Narasaiya

Bilahari

History: -Tarangam of Narayana Teertha, "Puraya mama kamam" proves that Bilahari was existent in the 16th century -Bilahari was referred as "Bilaahuri", and it was mentioned by Tulaja and Govinda Murchana/Swarasthanas - audava-sampurna ragam -janya of 29th melakarta Shankarabharnam -anya swara is kaisiki nishadam -bhashanga ragam -Swarasthanas: Shadja, Chatusruti Rishabam, Antara Gandharam, Suddha Madhyamam, Panchamam, Chatusruti Dhaivatham, and Kakali Nishadam Aro- SRGPDS Ava-SNDPMGRS

Begada

History: Begada is popular through "Sangeeta Sampradaya Pradarsini" written by Subbarama Dikshitar and Sangraha Chudamani. Janaka/Janya: Begada is janya of 29th melakarta Sankarabharnam. Murchana/Swarasthanas -anya swaram is kaisiki nishadam -bhashanga ragam -Aro: SGRGMPDPS -Ava: SNDPM,GRS Gamakas: -proverb "Begada mee gada" shows that the "texture" of the ragam is like th cream of milk because of the M and N gamakas. -Begada Madhyamam is unique, and ranges from P to G (P, G, P, G, PDP,). -nishadam is kaisiki in long notes -kakali nishadam is a connecting note *Patnam Subramanya Iyer is also known as Begada Subramanya Iyer because he rendered Begada for 8 hours in two sessions. Special Phrases: Nyasa Swara- G Raga Chaya Swaras- M, D, and N Important Phrases- PDRSNSDP-DPRSNSDP GMPDRSNSDPMPGRS M,G,P,M,D,P Evokes Karuna, Bhakthi, and Shanta rasas Popular Compositions: Nadopasana-Adi-Tygaraja Abimanamu-Adi-Patnam Subranmanyam Iyer Anudinamunu-Rupakam-Patnam Subramanyam iyer

Jaganmohini

History: Jaganmohini was first found in the "Sangraha cudamani" of Govindacharya as the janya of the 15th melakarta ragam. Tyagaraja and Syamasastry composed songs in this ragam Janaka/Janya: janya of 15th melakarta Mayamalvagoula Murchana/Swarsthanas: -audava-shadava ragam -D is varjya -Swarasthanas: Suddha Rishabam, Antara Gandharam, Suddha Madhyamam, Kakali Nishadam -Aro: SGMPNS -Ava: SNPMGRS Special Features: Graha Swaras: G, P, and N Nyasa and Amsa: R, G, P, N Janta phrases: GG, MM, PP, NN Datu phrases: SGR, SMG, SM-GP, MN-PS, SP-NM-PG Ahata and Pratyahata Swaras- SG-GM-MP-PN, SN-NP-PM-MG Ranges from Mandra P to Tara P Evokes bhakti and gana rasa Sung in medium tempo Suitable for brief alapana and brisk swara Kalpana Compositions: Sobillu-rupakam-Tyagaraja Mamava satatam-rupakam-tyagaraja Sree Subha Devi- rupakam-Muttiah Bhagavatar

Nandanamakriya

History: Nanadanamakriya is first mentioned in "Sangita Sara Sangraha" and the "Mahabharata Chudamani". it is an ancient raga according to Tamil scholars and os known as Sikmaran Pan. It is also mentioned in Devaram. Janaka/Janya: it is the janya of 15th melakarta Mayamalavagoula Murchana/Swarasthanas: -sampurna-sampurna raga -upanga raga -Aro: SRGMPDN -Ava: NDPMGRSN Graha-Amsa-Nyasa-etc: -Graha: Nishadam -Karuna Rasa -Raga Chaya Swarams- R, M, D -Dirgha Prayogas: R,G,D, and N (N creates sorrow effect) -limited alapana slope -vilamba (slow) ragam -sang in madhyama sruti because of limited sancharas -sang best at noon times Uses in modern music: -light music -operas -folk songs -kathakali music Popular Compositions: Karuna Jaladhe-adi-Tyagaraja Jayamangalam-adi-Tyagaraja Devadeva Kalpayami-rupakam-Swati Tirunal

Nata

History: Nata is mentioned in Sarangdeva's "Sangita Ratnakara", Narada's "Sangita Makaranda", and Parsvadeva's "Sangita Samaya Sara". It is an ancient raga. "Svaramela Kalanidhi" first mentioned shatsruthi R and D. Janaka/Janya: Nata is janya of 36th melakarta Chala Nata. Murchana/Swarasthanas -Sampurna-Oudava Raga -D and G are varjya in avaro ha am -Upanga Raga -Swarasthanas: Shadja, Shatsrthi Rishabam, Antara Gandharam, Suddha Madhyamam, Panchamam, Shatsruthi Dhaivatham, and Kakali Nishadam -Aro: SRGMPDNS -Ava: SNPMRS Special Phrases/Gamakas -janta, datu, and pratyahata gamakas are used -Raga Chaya Swaras- R,G,M,N -dirgha gandhra proyoga is crucial -Graha Swaras: S,P -Jiva/Amsa Swaras: R, M, N Vadi-samvadi swaras- S-M, S-P, N-M Nyasa Swaras: S,P -Madhyama kalam raga -wide range for ragam and tanam -"Adi nata antya surati"- importance of commencing concerts with raga -tri-sthayi ragam Musical Compositions: Tana varna-Sami ninne-Adi Mahaganapatim-eka-Dikshitar Jagadananda Kaaraka-adi-Tyagaraja

Sahana

History: Sahana is not mentioned in any ancient works. Govindacharya mentione dit in "Sangraha Chudamani". Murchana/Swarasthanas: -ubhaya vakra upanga raga (raga with irregular order of notes in both aro and ava with no anya swara) -Swarasthanas: Shadja, Chatusruthi Rishabam, Antara Gandharam, Suddha Madhyamam, Panchamam, Chatusruthi Daivatham, and Kaisiki Nishadam -Aro: SRGMPMDNS -Ava: SNDPMGMRGRS Special Phrases: -Glide from M to R give soothing affect - Phrases MD and MR enhance plain enunciation -Pratyahata Phrases: ND-DP-PM-MG-GMR MDRN,DPM RGMPDN,DPMGMR, -MD phrase gives ranjaka to ragam Gamakas: - the note R (especially in phrases R,R, RRRG,MPP,) has an oscillation of GR GR. - D is a good NYASA swara. D is balanced except in phrase NSD,D (comes as glide gamaka). -N is always taken from D OR sounds like SN SN in the phrase RSN,,NSD, (with kampitha gamakam) - Karuna and Shanta rasas are suitable for Sahana *Ragam Malavi is very close to Sahana -Aro: SRMPNMDNS -Ava: SNDNPMGMRS Popular Compositions: Karunimpa-Adi-Thiruvottiyer Tyagayyer Sri Kamalambikayam-rupakam-Dikshitar Rama ika nannu-rupakam-Ramnad Srinivasan Iyengar

Darbar

History: This is not an ancient raga. it found reference in books only recently. Janaka/Janya: janya of 22nd melakarta Karaharapriya Murchana/Swarasthanas: -upanga ragam -rakthi raga -shadava-vakra sampurna raga Swarasthanas: Chatusruthi Rishabam, Sadharna Gandharam, Suddha Madhyamam, Chatusruthi Dhaivatham, Kaisiki Nishadam Aro: SRMPDNS Ava: SNDPMRGGRS Graha-Amsa-Nyasa Swaras: Graha: R, P Amsa: G,N Nyasa: R,P,&D Prayogas: -NNDPGGRS are prayogas of Darbar b/c it isn't in any other raga -they are raga chaya nd ranjaka -Darbar Gandharam and Darbar Nishadam are specific names for specific use of gamakam -dirgha kampitha swaras and janta swaras in arohanam alone -avarohanam is vakra -this is a gamaka varika rakthi ragam and tristhayi ragam -limited but attractive alapana -ranjaka raga -purusha (masculine) raga -evokes vira (heoic) rasa Uses in music today: -operas -dance dramas *DARBAR AND NAYAKI ARE SIMILAR RAGAS, BUT RENDERING IS DIFFERENT -Darbar is purusha (aggressive and musculine) -Nayaki is sthri (soft and feminine) -Nayaki evokes shringhara (romantic feeling) Popular Compositions: Calamela-Adi-Thiruvottiyur Tyagayyar Yocana kamala locana-Adi-Tyagaraja Minanayana-rupaka-Subbaraya Sastry

Todi

History: Todi is mentioned in Sarangadeva's "Sangita Ratnakara". Other varieties of Todi are Turuska Todi, Cayatodi, and Gurjari Todi. Parsvadera told Todi as a Raganga Ragam in his book "Sangita Samayasara", and Sonmatha gave Todi a place amongst 23 melas in his book "Ragavibhoda". Tulajendra also metioned Todi in "Sangita Saramita", and Ramamatya also wrote about it in his book "Swaramela Kalanithi". Janaka/Janya: Todi (also known as Hanumatodi) is the 8th melakarta ragam. It is the second ragam in Netra Chakram Murchana/Swarasthanas: Swarasthanas: Shadja, Suddha Rishabam, Sadharna Gandharam, Suddha Madhyamam, Panchamam, Suddha Dhaivatham, Kaisiki Nishadam -Aro: SRGMPDNS -Ava: SNDPMGRS Graha, Amsa, Nyasa, and Prayogas in Todi: Graha: S, P, M, D Raga Chaya: G, M, D Amsa Swaras: G, M, P -janta combinations like gg mm dd, mm, dd, nn, and dd nn ss give raga chaya -datu swara combos like mgrnd,rndmg, and ndmgr give raga chaya -S and P varja prayogas -tristhayi and sarva swara gamaka varika rakthi raga - one of the main 5 ragas- Todi, Bhairavai, Shankarabharnam, Kalyani, and Kambhoji Uses in modern music: -elaborate raga alapanas, nirvals, and swarakalpanas can be sung -pallavis can also be complicated -slokas and padyas can be sung -operas and nritya natakas are also popular in Todi *Sitaramayya sang Todi for eight days, so he is known as Todi Sitaramayya Janyas: Asaveri, Dhanyasi, Ahiri, and Bhupulam Compositions: Era Napai-Adi-Patnam Subramanyayyar Kanakangi-aid-Pallavi Gopalayyar Ninne Namminanu-capu-SyamaSastry *Bhairavi of Hindutsani music and Todi are the same, but they are rendered differently

Kedaram

History: -Sarangadeva refers to Prathama kedara, Dvitiya Kedaram -Tulaja places Kedaram under 29th melakarta Shankarabharnam in his book Sangeeta Saramita Janaka/Janya: janya of 29th melakarta Shankarabharnam Murchana/Swarasthanas: - vakra oudava -shadava ragam -D is varjya Aro- SMGMPNS Ava- SNPMGRS Special Features: -one among the ghana ragams: Kedaram, Bouli, Reetigoula, Narayanagoula, and Saranganta -shines well in madhyama kalam -MG GRS-GMPNP & MGRS R,S,- SRG,S -M and N are raga chaya swaras -good to commence concert with, used in dance and operas, also popular among Nadaswaram -"Ananda natana" by Deekshitar (one of the Panchabhuta kritis) is in Kedaram Popular Compositions: Rama Neepai-adi-Tyagaraja Ananda natana-Misra chapu- Deekshitar Thillana-rupakam-Veena Seshanna

Madhyamavati

History: Madhyamavtai was origionally named Madhyamadi. Sharangadeva in "Sangitaratnakara", Parsvadeva in his "Sangeeta Samyasara", and Tulaja in "Sangeeta Saramita" all stated that Madhyamavati is a Ranganga ragam. Janaka/Janya: Madhyamavati is janya of 22nd melakarta Karaharapriya Murchan/Swarasthanas: Swararthanas: Shadja, Chatusruthi Rishabam, Suddha Madyamam, Panchamam, and Kaisiki Nishadam -Aro: SRMPNS -Ava: SNPMRS -G and D are varjya swaras Special Features: -R is a raga chaya swaram -rendered as dirgha -all notes are graha, nyasa, and amsa -has a lot of melody because of concordant pairs (SM-SP-RP-MN-PS-NR-PN) -janta phrases like PP NN- MM PP- RR MM and RR-MM-NN-RR are suitable -datu phrases like SMR-RPM-MNP-PSN add beauty -in the phrase P,,N,, N i sung softly -when shifting tonics, four other audava phrases arise: S- Madhyamavati R- Hindolam M- Suddha Saveri P- Suddha Dhanyasi N- Mohanam -evokes Karuna, Bakthi, and Shanta Rasas. Negative effects from apaswarsa will be remove by singing this ragam at the end of concerts Popular Compositions: -Alakalalla-rupakam-Tyagaraja -Rama kathta-Adi-Tyagaraja -Karpakame-Adi-Papanasam Sivan

Natakuranji

History: Natakuranji is first recognized in Tulaji's "Sangeeta Saramrita". He assigned it under Kamboji Mela, It was established in the pre-trinity period. Govindacharya, the author of "Sangraha Chudamani" gives a shadava audava structure to it as the janya of Harikambhoji. Janaka/Janya: it is the janya of 28th melakarta Harikambhoji. Murchana/Swarasthanas Swarasthanans: Chatusruthi Rishabam, Antara Gandharam, Suddha Madhyamam, Chatusruthi Dhaivatham, and Kaisiki Nishadam *This ragam admits TWO murchanas: 1. shadava-audava murchana Aro: SRGMDNS Ava: SNDMGS 2. ubhaya vakra (irregular phrases in aro and ava) Aro: SRGMNDNPDNS Ava: SNDMGMPGRS Special Phrases and Gamakas: - P in the phrases GMNDNPDNS & GMPGRS came into use by Dikshitar -NDM,-MGS, allows glide gamakams, and SN-ND-DM-MG-GS as Pratyahata gamaka is suitable -M is a NYASA swaram. In the ascent, it is a mridu gamakam with a subtle kampitha sound (GMG,GMG,GMG,). In the descent, it is a glissade note -evokes compassion and peace *RAVICHANDRIKA RAGAM IS SIMILAR TO NATAKURANJI: Aro: SRGMDNDS Ava: SNDMGRS Popular Compositions: Chalamela-adi-Kuppuswamy Iyer Parvathi kumaran-rupakam-Dikshitar Mayamma-jhampa-Syamasastry

What are the chakra names?

Indu (one moon) Netra (two eyes) Agni (three fires) Veda (four vedas) Bana (5 of Manmatha's arrows) Rutu (six seasons) *First half- six melakarta ragas in each chakra Rishi (seven rishis) Vasu (eight vasus) Brahma (nine brahmas) Disi (ten directions) Rudra (eleven rudras Aditya (twelve adityas) *Second half- six melakarta ragas in each chakra

Laya and Talam

Laya- rhythm talam-beat

Marga and Desya Ragams

Margaragms- pure, parental, and sumpurna in nature Desyaragams- ragams that belong to a particular place and style

Narada's Second Classification

Muktangakampithaswaras- all notes have gamakas Ardhakampitha Ragas- only certain swarams have gamakams Kampaviheena Ragas- all notes are plain and flat

All Ragas above may take zig-zag form and can be in...

Murchana (Sampurna, shadava, and audava) and ekaswara, dviswara, and triswaravakra ragas

Murchana and Prayoga Ragas

Murchana Ragas- ragas established by merely singing murchana (Todi, Kalyani) Prayoga Ragas- prayogas (or melodic structure) determine ragas (Athana)

Examples are...

Natakuranji- Arohanavakra, ekaswara vakra, and Sampurna- Audava Raga Sri- Avarohanavakra, dwiswara vakra, and Audava- Sampurna Raga

Melakarta- Vivadi Ragas

Out of 72 Melakarta ragas, 40 of them are Vivadi ragams

Ancient Tamil Music Classification

PagalPaNare- ragas sung in the day IruvapPaN- ragas sung at night PoduPaN- ragas sung at all times

Swaraantya Classification

Panchamantya Ragas- ragas with murchana upto Pa (Navaroj) Dhaivathantya Ragas- murchanan upto Da (Kuranji) Nishadantya Ragas- ragas with murchana upto nishadam (Nadanamakriya)

Varjya Classification

Part A. Sampurna, Shadava, Audava

Classification Through Time Periods

Pre-Matanga, Post-Matanga, and Ancient Tamil Music (MATANGA WAS A SAGE)

Bhadrachala Ramadasu (Kancharla Gopanna)

Ramadasu was born in 1620 A.D. to Lingana Mantri and Kamamba in the village Nelakonda Palli. Ramadasu lived during the reign of Abdul Tanasha and Abul Hasan Tanisha of Golkonda Fort. Ramadasu was a disciple of Saint Kabirdas and was a contemporary of Narayana Tirtha Siddhendra Yogi and Kshetrayya. Kabirdas preached him "Ramanama mantra" and after his Upadesa, Ramadasa sang "Taraka mantramu korina dorakenu" in Dhanyasi. Bhadrachala was named after Bhadra, a devotee of Lord Vishnu and Lord Rama. Worships on Lord Rama were discontinued after foreign invasions, and Tammala Dammakka asked Ramdasu to renovate it> Ramadasu was Tahasildar and collected revenue from that zone. With the revenue, he collected a money and began the construction of the temple with intimation of King Tanisha. The king became angry and wasn't satisfied with Ramadasu's explanations, and he was imprisoned and tortured for 12 years in Golkonda. While there, Ramadasu prayed to Lord Rama and sang songs about Him and his anguish, pain, and grief (SONGS IN BOOK). Lord Rama visited he king and cleared up the confusion about Ramadasu, and He also manisfested in front of Ramadasu and allowd him to attain Sadgati. Later, Ramadasu's son was killed when he fell into a rice starch during a samaradhana (poor feeding) function. After the function, Ramadasu and his wife were distressed and prayed to Lord Rama in the song 'Rama karya tatparunnayi yunna". Lord Rama was merciful and allowed the boy to regain life. Ramadasu composed lyrics in Sanskrit and Telegu, and his style was so simple and devotional. His songs are popular in the bhajana tradition of Andhra Pradesh and Telengana. People were able to learn to put faith in God. (POPULAR SONGS IN BOOK)

Tyagaraja

Saint Tyagaraja was born on May 4th, 1767 (also known as Vaisakha suddha sasti, and some say he was born in 1759) in Tiruvarur to Ramabrahmam and Sitamma. In his Vasanta raga kriti, he refers to his parents through the lyrics "Sitamma mayamma Sri ramudu maka tandri". Hi wife's name was Parvati and his daughter's name was Sitarama Laksmamma. Tyagaraja was given his name after Shiva, who was the presiding deity in Tiruvarur. Tyagaraja learned how to play vina from his maternal grandfather, Kalahasthayya, and him and his paternal grandfather, Giriraja Kavi were both prominent in music. Tyagaraja's family first moved from Kakarla to Tiruvarur (before his birth), and then from Tirvarur to Tiruvayyar to invest in his education. Tyagaraja learned Sanskrit, spiritual knowledge, and music knowledge (from Vidwan Sonti Venkata Ramanayya). Tyagaraja's favorite god was Sri Rama, and he would read Bhagavatham, and listen to songs of Bhadrachala Ramadasu. Through these songs, he obtained "Ramabakthi Samarajyam", and Narada also presented Swaranavam to him. Tyagaraja's main foucese in his life were music and bakthi, and he expressed truths about the Upanishada and Gita through his beautiful poetry and raga lakshanas (songs). In one song, he wrote "Nidhi calasukhama ramunisannidhi seva sukhama" (is wealth or god the source of happiness?). Music was equal to God for Tyagaraja, and he expressed this through his Arabhi kriti: "pranava nada sudharasam bilanu narakrutayera". Tyagaraja mainted his disciples and family through mendicancy, and he produced 24000 kritis of various categories (Divya nama sankirtanalu, utsava sampradaya kirtanalu, gucca krutulu, and operas). Other than his ghana raga panchratnas, Tyagaraja produced other panchrratnas like Tiruvottiyur Panchartanas, Kovur Pancharatnas, Narada Pancharatnas, and Sriranga Pancharatnas. His student, Vinakuppayer did the same. Tyagaraja took sanyasa and attained union with God on Pusyabahula Pancami (or Jan. 6th 1847). He is one of the few people to get Rama and Lakshmana's darshan after chanting 96 crore times. Bangalore Nagaratnamma built a temple for him, and on Pusyabahula Pancami day, Tyagaraja Aradhana is held, and proficient muscians sing the ghana raga pancharatnas.

Syama Sastry

Sastry, the eldest of the trinity, was born in Tirvarur. His ancestors and father lived in Kanchipuram and served Goddess Kamakshi, Sastry was originally named Venkata Subrahmanyam by his father, Viswanathan Iyer, and his mother called him Syama Krishna. He was taught the Vedas, Sanskrit, and music. Sangeetaswamy, a musician, taught him the essential of music, and Pachchimirium Adi Apaayya, a court musician of Tanjore, called him Kamakshi. Sastry was a devotee of Goddess Kamakshi, and he would cry tears of joy while singing or praying to her. His music was filled with beautiful sahityam, rhythmic patterns, and raga bhava. Sastry also initiated Deekshitar into the Srividhya Upasana. CONTRIBUTION -Vatsalya Rasa, a way of devotion, dominated dhis songs on Kamakshi. Sastry's words were communicated like a child towards its' mother. "Natajanapalini neevani vedamulu moralidaga" in the kriti "Durusaga" shows him using Vatsalya Rasa -1 vaarnam, 3 swarajathis, and 70 kritis are available, and Sastry's mudra was "Syamakrishna sodari". His 3 swarajathis are in Bhairavi, Todi, and Yadukulakambhoji -ragas are mostly in rakthi ragams of intricate ragas like Kalgada -"Meenakshi Navaratna Malika" is a group of 9 kritis WRITING STYLE -misra chapu mastery -strange gait of gati -unusual sahitya places without distortion of meaning swaraksharam use -charming chittaswarams with dhatu-matu (Marivergati) -Anandabhairavi was favorite ragam -vilamba kalam to show child's yearning for mother -laya was admired by Tanjore king Tulaja Sastry's pure form of kritis and artistry are highly scholarly, and can be described as a "Kadalipaka". Sastry last days were believed to be when his son chanted God's name in his ear ME- FOR POPULAR SONGS GO BACK TO BOOK

Grama Classification

Shadjagrama and Madhymagrama murchanas evolved in jathis which evolved in ragas

Pa-Shri-Go-Bhu-Maa-Shaa

Signifies the 1,2,3,4,5, and 6 meals in one chakra Ex: Netra-Go- signifies the third mela in the Netra Chakra

Matanga Classifications

Suddha Ragams- pure in nature Chayalaga Ragams- ragas with parts/shades from other ragas Sankeerna Ragams- ragas with many individual parts/shades

Narada's Third Classification

Suryaamsa Ragas- day ragas Chandraamsa Ragas- night ragas

Annamacharya

Tallapaka poets encourage others in the concept of Saranagati (surrendering) and sand devotional praises to Lord Venkatheswara of Seven Hills. Sri Annamacharya is the first of these poets, and his compositions are filled with deep m eaning that can enlighten listeners. He was born in 1408 in the Kadapa District, and his parents were Narayana Suri and Lakkamamba. Annamayya started composing at the age of 8, and he wrote 2 satakas in praise of Padmavati Amba. The deity of Ahobila Sri Narasimhaswamy gave darshan and initiated Narasimhamantra to him. Annamayya studied Vedanta from Sattagopa Yatindra. Annamacharya's sankirtana's are classified as Adyatma, Sringara, and Vairagya with the mudra Venkatheswara. He was appointed as Asthana Vidvan of Salva King. Once, the king wanted Annamacharya to write songs about him after hearing his compositions, but he refused. As punishment, the king put him in iron shakles, but the shakles mysteriously disappeared when he sang a sankirtana. The Salva King repented his behavior, and Annamacharya went to Tirumala where he composed 32000 songs on Lord Venkatheswara. Some titiles that he earned are: "Padakavitapitamaha", "Padakavitamargadasi", "Dravida agama sarvabhouma" , and "Sankirtanacarya". Some obsolete ragas he composed in are Hejjijji, Desalam, and Ghurjari. He wrote "Sankirtana Lakshanam" in Sanskrit, and "Desi Suladi Prabhandam" in Telegu. Its charanas are set in different ragas and talas, and his siongs only have Pallavi and charanam. AFTERMATH -work was found in copper plates in Venkatheswara temple in Tirumala -discovered by Sri Veturi Prabhakara Sastry, Sri Rallapali Ananta Krisna Sarma and others -many musicians (FOUND IN BOOK) popularized his works -Annamacharya Project was created to appreaciate and popularaize his songs -notations, meanings, and commentaries are published -project is held in Tallapaka and other places in south india in connection with his birth and death day -Annamacharya attained moksha prapti in 1503 at age 95

What is the 72 melakarta scheme based upon?

The 12 natural semitones are arranged as 16 Prakriti-Vikritswaras (the four Vivadi notes are Vikriti)

Today...

These talas are sang in adi talam, with six aksharas silence and two aksharas jaga

Raamamatya Classification

Uttama Ragas- vast ragas Madhyama Ragas- ragas with limited scope Adhama Ragas- ragas that only exist as murchanas

Ragam

different combinations and sounds that please the mind through the inner ear

Madhyadi Talam (Medium tempo)

has one wave, and three beats (4 beats in total) - each beat has four aksharas, making it have 16 aksharas in total -talam starts after 2 aksharas or 1/2 matra kalam EX: enduku nirdya- Harikambhoji-Tyagaraja