KRITIS of SANKARA VIJAYAM by Kollegal .R.Subhramanyam-A Study

KRITIS OF SANKARA VIJAYAM by Kollegal .R.Subhramanyam-A Study

Thesis submitted for the degree of M.phil in vocal music

department of music potti sriramulu telugu university.

Research scholar: D.V.L.Ramavalli

M.A. [Music]

Supervisor: Dr.S.Uma Devi

Asst.proffessor

HEAD OF THE DEPARTMENT [Music]

Department of Music, Lalithakala Peetham.

Potti Sriramula Telugu University.

Hyderabad

2016. KRITIS OF SANKARA VIJAYAM

by-Kollegal .R.Subhramanyam-A Study

Thesis submitted for the degree of M. Phil in vocal music.

Department of Music,

Potti Sreeramulu Telugu University.

Supervisor: Research scholar:

Dr.S. Uma Devi D.V.L. Rama Valli

Asst.professor M.A.[Music]

Head of the department [Music]

Department of Music, Lalithakala Peetham

Potti Sreeramulu Telugu. University

Hyderabad.

2016. Declaration

I undertake that the thesis entitled 'Kritis of Sankara Vijayam-by Kollegal. R.Subramanyam- A Study', submitted by me for the degree of M.Phil is the result of my own research.The present study submitted is not reproduced or published elsewhere.

Date:

Place: Hyderabad

D.V.L.Ramavalli

Research scholar

Department of Music

Certificate

Certified that the thesis entitled 'Krithis of Sankara Vijayam- by Kollegal R. Subramanyam - A Study' is a bonafied record of research work done by Smt. D.V.L. Ramavalli, for the degree of M. Phil. in vocal music under my supervision and guidance. I certify that no part of this work is submitted earlier.

Dr. S. UmaDevi Asst. Professor Head of the Department [Music]

Acknowledgements

I would first like to thank the present Vice-chancellor Prof. S. V. Sathyanarayana Registrar Prof. Satti Reddy Former Vice Chancellors and Registrars. Dean-School of Fine arts, Prof. T. Jaya Manohar, Head of the Department of Music Dr. S. UmaDevi for giving me an oppurtunity for Research Study.

My sincere thanks to my thesis supervisor and Head of the Department of music, Dr. S. UmaDevi for consistently steering me in the right direction when ever she thought I needed it, with valuable suggestions.

My deep gratitude to Sri Kollegal R. Subhramanyam garu, for providing me all the required material and for giving valuable interviews at this age of 86 years.

I would like to thank all the teaching and administrative staff in the university. Dr. Neeta Chandrasekhar, Dr. Radha Saranga pani and Dr. Venkata Chary.

Finally I must express my gratitude to my family for providing their unfailing support and continuous encouragement throught my years of study and through the process of researching and writing this thesis. This accomplishment would not have been possible without them.

D.V.L. Ramavalli

______Kritis of Sri Sankara Vijayam -By Kollegal.R.Subramanyam ______- A Study

Contents

Chapter Name Page No.

1. Kriti Introduction and about Sankara Vijayam

1.1. Kriti 1

1.2. About Sankara Vijayam 2 - 4

1.3. Incidents of sankaracharya’s life 5

1.4. Sankara’s important disciples 5

1.5. The Amnaya Peethams. 6

2. Life history of Sri R. Kollegal Subrahmanyam

2.1. Geneology of Kollegal R. Subrahmanyam 7

2.2. Life history 9

2.3. His training in Music and his gurus 10

2.4. His spiritual gurus 10 - 12

2.5. His contribution as a Vaggeyakara 12 - 13

2.6. Books published by Sri Kollegal Subrahmanyam 14

2.7. Music festivals conducted by him 15 -

3. Diacritical Marks 16

Kritis of Sankara Vijayam – By Kollegal R. Subramanyam – A Study

(1 to 32 Kritis) 17 - 155

4. Conclusion 156 - 157

1. KRITI INTRODUCTION AND ABOUT SANKARA VIJAYAM 1.1 KRITI

The Kriti is the most important of the melodic group of compositions. Every composer of note during the last two centuries has attempted this type of composition. Kritis from the bulk of the musical compositions at the present day. In the modern concert, more than half of the time is taken up with the rendering of kritis and rightly so. The composer enjoys ease and freedom in the expression of his musical thoughts in this form.

A Kriti is remembered and valued for its aesthetic content and gana rasa. In a kriti the raga bhava is mostly portrayed. The Kriti in its fully developed form appears about 4 centuries later than keertana which had its birth in the fourteenth century. Tallapakam composers (1400 – 1500) were the first to write kirtanas with the divisions: Pallavi, Anupallavi and Charana.

Tallapakam composers have used this term “Kriti”, Purandara dasa in his song vasudevana namavaliya in Mukhari ragam, says that he has composed 4,75,000 kritis. Thyagaraja in his piece, “Sogasuga mridanga talamu” (Sri ranjani rga) gives the lakshana of an ideal kriti. Walajapet venkataramana Bhagavatar in his sisa padyam E kale Kalitundu says “I pay my homage to Thyagaraja who has compoed different types of kritis…..” Scholaras and composers like tacchur singaracharlu, Tiruvottiyur Tyagayyar, T.M. Venkatesa sastri and others have restricted the term kirtana to those compositions whose sahityas had a special spiritual value. The most essential factor of a kriti is the dhatu.

1 Referred South Indian Music Book - III Sambamoorthy .K 1

1.2 ABOUT SHANKARAVIJAYAM SRI ADI SHANKARACHARYA

The permanent charm of the name of Sri Shankara acharya, the founder of the Four Mutts at Sringeri, Jyoshimat, Puri and Dwaraka, lies undoubtedly in the Advaita philosophy he propounded. It is based on the Upanishads and augmented by his incomparable commentaries. He wrote for every one and for all time. The principles, which he formulated, systematized, preached and wrote about, know no limitations of time and place. It cannot be denied that such relics of personal history as still survive of the great Acharya have their own value. It kindles our imagination to visualise him in flesh and blood. It establishes a certain personal rapport instead of a vague conception as an unknown figure of the past.

मदा मदा हश धभमम 嵍राननबमलनत बायत।

अभ्म配ु थानभधभम म तदा配भानं वजृ ाम्मशभ।् ।

These are the words of Sri Krishna spoken as an assurance given to humanity at times when there is a decline in adherence to Dharma, righteousness as enjoined in the scriptures. He declares that He descends to earth and ensures the sustenance of Dharma, annihilates the evil elements and protects those treading the path of morality. Such an incarnation was deemed necessary towards the end of the 8th century A.D, when a

2 Net – Wiki Pedia and from the book Acharya’s Call Madrass Discourses Part-1 (1957 -1960) 2

number of incorrect interpretations of the Vedic utterances were prevalent across the length and breadth of India.

The birth and life of Sri Adi Shankara Bhagavatpada, the beacon-light of Vedanta and reviver of the true import of Sanatana Dharma, substantiates his being regarded as an incarnation. The life of the Acharya is made known to us through the Shankara vijayam.

Vedic India in the 8th century A.D

Their logic did not feel necessity of God. But the masses among the Buddhists did not observe any of this reason or atheism. They knew Buddha and worshipped him as God. Buddhist Viharas were built in gigantic dimensions. Buddha's images made of costly metals and materials were installed and worshipped with great pomp and splendour. Swaying away from the pure Vedic injunctions but clinging on to their lower aspects, the spiritual life among the Buddhists was at a low ebb with the vigour and purity of Buddha having vanished. The masses had moved gradually towards abandoning the Vedic way of life, comprising of the various duties in accordance to the sacred tradition and the Ashrama - stages in life. There was a strong and urgent need for the revival of the Sanatana Dharma, lest it crumble to nonexistence.

In the course of practice, the sacrifices and rituals were upheld as the ultimate goal and the true Vedic dictums were forgotten. Spiritual insight was conspicuous by its absence. At such a crucial juncture, Sri Adi Shankaracharya, respectedsince across on to world as the greatest philosopher and revered as an incarnation of Lord Sadashiva, walked the earth.

He finds in the Vedic religion an infinite storehouse of thoughts and precepts suited to every possible temperament and stage of spiritual development. The great Acharya realized in all its fullness the significance of such a religion. He was able to reconcile all the warring creeds and sects. The grateful world in its turn recognized him as a world-teacher or Jagadguru. Though his special forte was the enunciation of the Nameless and Formless Absolute, he was credited at the same time with the establishment of the six common forms of Hindu religious worship. This earned for him the title of Shanmata Sthapanacharya.

He was the most acute of philosophers. He was the most devoted of devotees. He preached the doctrine of the Self to a point he practically denied God any part in the regulation of our affairs. At the same time, he enunciated the seemingly contradictory 3 The Book ‘Acharya’s Call’ Madras Discourses. Part -1 3

doctrine that all our activities and its results depended on God and God alone. His idea of renunciation was so high as to require us to throw off everything we call ours.

He is a bhakta of Shiva, as much of Vishnu and in fact, of any other deity of the Hindu religion. He was a bhakta of the One who manifests in the all.

Of the chief incidents in his life, there is not much variation among the several accounts entitled 'Shankara Vijayas'. Sri Shankara was born of Shivaguru and Aryamba at Kaladi in Kerala. He lost his father in the third year. He received Gayatri initiation in his fifth year. He made rapid strides in the acquisition of knowledge. In his eighth year he obtained with great difficulty the consent of his mother and took up sanyasa. He started out in quest of a competent teacher. And eventually found Govinda Bhagavatpada (the disciple of Gaudapada) on the banks of the Narmada. He stayed with his Guru for a while. Under his command, he went to Kashi and Badri where he composed his unrivalled and unequalled Bhashyas (commentaries) on the Prasthantraya.

He went to meet Kumarila Bhatta, the champion of Karma Mimamsa. It was too late to hold any discussion with him, as he had commenced the penance of slow death as a means of expiation. As directed by Kumarila Bhatta, Shankaracharya went to meet his foremost disciple Viswarupa, also known as Mandana Mishra. The debate with Mishra, his eventual conversion to the views of Sri Shankara and his taking up Sanyasa, as Sureshwaracharya, are all well known.

Shankara then started on a tour of religious revival throughout India. He condemned un-Sastric practices, and re-established Vedic observances. He rid the society of many evils and restored the Vedic religion in its philosophical and practical aspects to its pristine purity and glory.

To safeguard the maintenance of this purity in the future, he established four Mutts in four directions. He entrusted them to the charge of his four foremost disciples. He ascended the Sarvajna Peetham in Kashmir. Before his 32nd year, he had completed this colossal work. It is beyond one's comprehension how he found time and energy for such accomplishment. In addition, he composed the great mass of literature that stands to his credit.

4 The Book ‘Acharya’s Call’ Madras Discourses. Part -1 4

1.3 SANKARA VIJAYAM

1) From Brahmacharya to Sanyasa 2) Initiation and study under Sri Govinda Bhagavatpada 3) Sri Shankara at Varanasi 4) Sri Shankara commences His unparallel works 5) Shankara's refutations of other philosophies 6) The meeting with Bhagavan Vyasa 7) Sri Shankara and Kumarila Bhatta 8) Shankara's debate with Mandana 9) The debate with Ubhaya Bharati 10) The Kapalika's request 11) The coming of Hastamalaka 12) Sri Shankara at Sringagiri (Sringeri) 13) Shankara's boon to Aryamba 14) Padmapada's Panchapadika and his devotion 15) The four Amnaya Mutts

1.4 SHANKARAS IMPORTANT DISCIPLES

1. Sri Hastamalakacharya 2. Sri Sureshwaracharya 3. Sri Padmapadacharya 4. Sri Totakacharya

5 ‘Sri Sankara Vijayam’ book written by Sri Kollegal R. Subramanyam 5

1.5 THE AMNAYA PEETHAMS Of the large number of disciples who had the rare and inestimable privilege of serving the great Acharya Sri Shankara Bhagavatpada, four stand out prominent. Each one of them was unrivalled in his own way: Padmapada for intense devotion, Totaka for exemplary service, Hastamalaka for supreme self-realisation and Sureshwara for deep learning

It is well-known that Jagadguru Sri Adi Shankaracharya established four Maths in the four corners of India for the sustinence and propogation of Sanathana Dharma in the country. Each of these Amnaya Peethams had their divinities, tirthas, sampradaya, so on all of the details of which are given below.

The four disciples of Sri Adi Shankaracharya were later on installed as Acharyas of the four Maths by Sri Adi Shankaracharya himself as follows.

1. Sri Hastamalakacharya as the Acharya of the Govardhana Math in the East. 2. Sri Sureshwaracharya as the Acharya of Sringeri Sharada Peetham in the South. 3. Sri Padmapadacharya as the Acharya of the Dwaraka Math in the West. 4. Sri Totakacharya as the Acharya of Jyotir Math in the North

The fact that all these Maths function to this day shows the vigour of the movement started by Shankara for the propagation of Advaita Vedanta and Sanatana Dharma as a whole.

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2.1 GENEOLOGY OF KOLLEGAL. R.SUBRAHMANYAM GOTHRAM – “KAUNDINYASA”. ANCESTORS STAYED AT A PLACE CALLED “KANDRA MĀNIKYAM” NEAR BY TO TANJAVOOR DISTRICT

Venkata Subrhamanya (Grand Father)

Ramachandra VENKATESH Daughter A (Son) Sastry (Father)

Kollegal Venkata Naaga Subrahmanyam (Singer) (Son)

Bhanumathi Rajeswari Siva Subrahmanyam (Singer) (Singer) Kannan (Son) Daughter (Daughter) (Mridangam Artist)

Ramachandra Srividya Lalitha Ganapathiram Chandra n (Mridanga Janakiram Vignesh Shekar (Son) (Mridanga Vidwan) (Singer) (Singer)(Son) Vidwan) (Son)

7 Acquired throgh an Interview with Sri Kollegal R. Subrahmanyam 7

KOLLEGAL. R. SUBRAHMANYAM

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2.2 LIFE HISTORY

‘Sangeeta Mahamahopadhyaya’ Brahma Sri Kollegal R. Subramanyam is an eminent Musician, a learned musicologist and a prolific composer who has devoted more than six decades of his life in the service of music. Born in an orthodox and religious family on the 11th of September,1929 at Kollegal, Karnataka to Sri V. Ramachandra Sastry and Smt. Venkata Lakshmi. He belongs to the fifth generation in the Thyagaraja sishya parampara.

He has written more than 600 compositions on various deities, including group compositions, which are not only technically brilliant but also spiritually enlightening. He even has the credit of having composed in about 30 ragas, which are his creations. He is also respected as an expert in Jyotishya and Philosophy.

A milestone in his illustrious career is the construction of a temple for saint Thyagaraja that he was instrumental in installing the saint’s idol at a temple of Lord Rama in vidyanagar, Hyderabad which was named as “Chinna Tiruvaiyaru’ – the first of its kind in the states of Telangana and Andhra Pradesh , in India.

He has made untiring efforts with umcompromising devotion for the cause of music and his genius and contribution has been greatly appreciated. A gentle and unassuming man moves along a silent path carrying out his ideals.

9 Interview with Sri Kollegal R. Subrahmanyam 9

2.3 HIS TRAINING IN MUSIC AND HIS GURUS

His grandmother (paternal) had a good knowledge of music and two of her brothers were great music vidwans. She used to sing Deekshitaar kritis for him as lullabies. So, by the time he was 3 years old he started singing ‘Sri Subrahmanyaya namasthe’. However, since it was the time of freedom struggle movement, they had to face a lot of difficulties and so, he started his formal training in vocal music a bit late at the age of 13 – 14, under the able tutelage of Sri Balakrishna Iyer at Kollegal.

Sri Balakrishna Iyer was very closely associated with his family and taught him with great affection. He taught him all the basics, a few gitas, a swarajati and a varnam but indeed his blessings on him were more valuable. After a few years of his training, he whole heartedly blessed him to progress in life and bought a ticket for him to Bangalore and took him personally to the Gurukulam of great music scholar, Asthana sangeetha vidwan of Mysore, ‘Ganakala Bhushana’ , Brahmasri Belakavadi Varadaraja Iyengar. So from year 1947 to 1952, he under went intensive training in the Gurukula tradition at Bangalore under the scholarly guidance of this great Guru. He had also been very kind to him and blessed him to become a Vaggeyakara like his Guru Harikesanallur Dr.L.Muthiah Bhagavathar.

2.4 HIS SPIRITUAL GURUS

Though he started doing uncchavritthi from the year 1968 it was the year 1970 that he received the unchavritthi deeksha la from Guru Brahmasri pudukkottai Gopala Krishna (Parampara) and in the year 1979 he received the Sri Vidhya deeksha from Guru Brahma Sri A. Rajamani and Srimathi Lalithambal.

ACADEMIC STUDIES

As he was more ambitious about music, he completed his S.S.L.C and continued with his music training in Gurukulam under benign and divine guidance of his Guru Belakavadi Varadaraja Iyengar. He had also learnt Sanskrit, with a great passion. Though he was an Indian, he was basically Tamilian born and brought up in Karnataka settled in Andhra Pradesh. So, he was proficient in Tamil, Kannada, Telugu and also in Sanskrit, Hindi and English. He could understand Malayalam also. He got married in the year 1952 and Hyderabad was his wife’s home town. After completing intensive training at the Gurukulam he came and settled in Hyderabad in the year 1953 to take up teaching music as his profession. Ever since he imparted knowledge of karnatic music both technically and spiritually to innumerable number of students, some of whom have become torch

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bearers. There were instances when he tried to take job but some how none of those trials turned fruitful. May be he was directed by God to devote to the cause of music that he totally concentrated on performing, teaching and composing.

PERFORMING CAREER

In his long performing career, he had given performances at many prestigious sabhas, in Canada, Karnataka, Tamilnadu, Andhra Pradesh, Delhi, Lucknow, Varanasi and various other places of India and Abroad. He has also performed on A.I.R and Doordarshan of states in India, particularly South India and received appreciation from several personalities.

There are two concerts which are very memorable to him.

 In the year 1976, he had given a 5½ hours concert at his hometown – kollegal. He had sung only 12 items in the entire concert and the audience applauded his performance a lot.

 In the year 1979, he sang at his Guru’s place in Mysore during the Anjaneya utsavam. These were about 40 great vidwans among the huge gathering of audience. During the performance his Guru sat beside him and as he was singing he could see that none of them were nodding their head nor giving any expression. It was like a testing time for him but later he was appreciated very much for his rendition of ‘Atu karadani’ in Manoranjani ragam, “Oh!Ranga sayi” in kamboji and also another composition in Dwijavanti.

There is also a special incident which is very special to his heart. As he started composing Kritis. He sang a few in front of his Guru. He liked them so much that he used to sing two of his compositions “Kākarala Vamsodhbavāya” (composed on 16-03-1972) and “Gayathrim upasmahe”. Who else can be more lucky than him? He is indeed a blessed soul for the divine grace and would ever be indebted to God.

PHASE OF COMPOSING

On the morning of 1st March, 1972 he was inspired by the divine grace of ‘Goddess’ and started composing kritis. His first composition was “kannā manivannā kamalakannā” in the Ragam Rishabhapriya set to Adi Talam. A little while after he finished composing it, he composed another kriti in just 10 minutes time. It was ‘Gopalakrishnam bhajeham sadguruvaram’ in the Raga khamas wrriten in praise of his unchavrutthi deeksha Guru Brahmasri Pudukkottai Gopala Krishna Bhagavathar.

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He never intentionally sat down to write or compose a kriti. He strangely used to get a severe headache and after that he used to write immediately and there were no editings after that.

2.5 HIS CONTRIBUTION AS A VAGGEYAKĀRA

Till date, he has composed more than 600 compositions in many languages like Sanskrit, Telugu, Hindi, Tamil, Kannada, Malayalam. He has written them with swanama mudra – Subrahmanyam and also a few with Raga mudra and Kshetra-mudra. The compositional styles of all the three composers of the musical trinity are reflected in his compositions. His 72 melakarta kriti mala is full of kritis small ones with samishti charanam. He has mostly composed kritis, Ragamalikas and few Thillanas.

He has even composed ‘Sri Thyagaraja Ashtakam’ and Sahasra Namavalis and also musical Dramas, ‘Mohini Bhasmasura’, ‘Jatayu Moksham’ and ‘Goda Kalyanam’ and Dance Ballets.

Apart from the many kritis (including kshetra kritis) Group kritis include groups of 5,9,10,27 etc. To mention a few of the compositions group of 5 are Ganapathi Panchakam, Thyagaraja Stuthi Pancharatnams, Thyagaraja Upa Ghana Raga Pancharatnams, Raghavendra Swamy Panchakam, Sri Ranga Panchakam, Lakshmi Nrusimha Panchakam, Tryambika Panchakam, Mumbai Mahalakshmi panchakam, Gayatri stuti panchakam, Guruvayoor Panchakam, Vyasapuri (Basara) Panchakam. Among the group of 10 kritis are “Dharmashasar” (Ayyappa), Shiridi sai, Anjaneya and other groups include compositions on Sri Rama, Sri Krishna, Venkateshwara, Sringeri Sarada, Bhuvaneswari Navavaranam, Nava Durga Kusumam, Daba Mahavidya Devi, Nadopasanaya Sri vidya, Dwathrimsa (32) Melakarta Raga Kritis, Dwi Saptadasa (72) Melakarta kriti mala, Skandagiri Malai and many more.

Some of his Ragamalikas are – Pancha Gaula Ragamalika (Gaula, Ritigaula, kannada gaula, kedaragaula, Mayamalavagaula) Pancha Raga Tala Malika, Manipravala Devi stuti Ragaratna malika, Pancha Lasya Pancha Raga Ratna Malika (With the essence of Devi Saptashati), Nataraja Tattwa Ragamalika, Navaraga Malika (Devi Stuti), navavarna kritis.(First one in Ghana ragas) etc.

The Thillanas composed by him are – one in Raga Sivaranjani (on goddess) and the other in Raga Kapi (on Anjaneya) a Manipravāla composition.

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CREATOR OF NEW RAGAS – He has created and composed in nearly 30 ragas like Trimurthi, Kaumudi, Kuntala Sri Kanthi, Latamanjari, Suddha Kanchanavathi, Ghantanam etc, he has also composed in a very rare raga called “Pravaalasodhi”. It is seen that Vidwan Todi Seetharamaiah and composed a kriti titled ‘Parabrahma’ in this ragam. After him, only Sri Kollegal Subrahmanyam has composed in it.

HIS WORK ON VIVAADI RAGAS His very first composition came out in a Vivadi Raga – Rishabhapriya. In his opinion the saptaswaras – S, R, G, M, P, D, N are not plain letters. The essence of Gayatri Mantra is fused in them. One can know the complete details about this by reading “Nadopasana Brahma Vidya Sarada Syamala”. Rig Veda also mentions about Music. The 72 Melakarta scheme has been derived by Venkatamakhi by utilizing 7 swaras in the 12 swara places with their 16 swaras variations arrived at by using the Vivadi swaras. Venkatamakhi was aware of Srividhya and explained the relationship of Sri Vidhya and music. So, the 72 Melakarta ragas are purposeful as they show their effect on the 72 nerves of the body.

There is nothing called a Vivadi Dosha, Vadi and Vivadi co exist and a good judgement can be made in the presence of both. When one can sing ragas like Nata, Ganamoorthi, Vagadheeshwari etc.which are very popular, then why not other ragas with Vivadi swaras? These ragas are also very melodious. As we know 22 sruthis are present in the saptaswaras. When we sing Vivadi swaras the sruthis and Variations between two swaras is very close. So, it becomes a bit difficult to sing them correctly. He feels this is the reason why Vivadi ragas are assigned doshas but it is not correct to say so.

According to Sri. Kollegal.R.Subrahmanyam if one practices well and sings them in the right way, he is sure Vivadi ragas will steal everyone’s heart and will have a very positive effect on both the performers and listeners. Infact, many Vaggeyakars like maha Vaidyanatha Iyer, Koteshwara Iyer, Dokka Sri Rama Murthy, Mangalampalli Balamurali Krishna etc. have composed in 72 Melakartas and Vivadi ragas. Even Sri Thyagaraja composed in all the 72 Melakarta ragas, But some of them are not traceable to us.

In his experience, the 6th Melakarta raga “Tanaroopi” has had a positive effect of blessing the issue less with children. When the composition “Tanaroopi ragatoshini Santana Phalapradaa Sakaleshtadaa------“ 9 out of 13 have conceived, when sung in the right way, there will definitely be positive results.

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2.6 BOOKS PUBLISHED BY -Sri.Kollegal.subrahmanyam

Some of his contributions have been published as books. To mention a few of them:

1. A collection of my compositions in the form of a booklet – “Stuti Mala”

2. ‘Sri Lalitha Navāvarana Kriti Mala’ – in Telugu and Tamil Scripts.

3. ‘Sri Purandara Dasa Nakshatra Kriti Mani Mala’ in Telugu.

4. ‘Sata Ragaratna Malika’ of Thyagaraja – Volume I and II

5. ‘Siva Kritis’ of Thyagaraja

6. “Nadopasanaya Sri Vidya (Shodasi Nitya, Navavarna, shad darsana – shadadhara and Dasa mahavidya Devi Kritis) – Sanskrit, Telugu and Tamil.

7. “Upa Ghana Raga Thyagaraja Stuthi Pancharatna Kriti Mani Mala” – Telugu.

8. “Sri Sankara Vijayam” – Kritis in 32 Melakarta Ragas – Sanskrit.

9. “Tirumala Sri venkateshwara Swami, Chilukuru (Sukapuri) Balaji Stuti Mala” – Sanskrit and Telugu.

Some of the CD’s released with his renditions and also renditions by his disciples are :-

 Sankara Vijayam

 Nadopasanaya Sri Vidya

 Bhuvaneswari Navavaranam

 72 Melakarta Kritis

 Sri ranga Pancharatnam

 Mahalakshmi Panchakam

 Skandagiri Malai (Tamil)

 Sringeri Sarada Panchakam

Apart from teaching music and composing, he acted as an examiner for B.A and M.A. (Music) examinations conducted by Akhila Bharatiya Gandharva Maha Vidyalaya Mandal, Miraj and also acted as a guide to research scholars.

14 Library in his house 14

2.7 MUSIC FESTIVALS CONDUCTED BY HIM

He has been conducting Thyagaraja Aradhana celebrations following the systems of Tiruvaiyyaar for quite a long time. With the divine and transcendental blessings of ‘Pujya Paramacharya of Kanchi, from the year 1967 till date, he relentlessly and successfully conducts not only Sri Thyagaraja Aradhana but also Purandharadasa Vardhanti, Sri Dikshitar day and Sri Shyama Sastry day celebrations.

A GOOD CONCERT AND A GOOD PRACTISE

A good concert should be melodious. Raga and Laya aspects should be perfect and “Bhāvam” should be the most essential element. A melody develops only when there is continuity in rendition. A good practice as per his Guru’s was 8 hours of practice everyday. 8 hours of practice was compulsory for them. He and his friends in his music class used to get up early in the morning at 4.30 am and practice sarali, Janta, Datu, Alankaras with “akāra” and in 3 speeds and 3 sthayis. While singing the first speed, they were supposed to hold each swara for about 20 – 30 seconds and then gradually increase the speed.

This was the schedule till he joined the Gurukulam. Even at the Gurukulam students got up at 4.30 am had coffee along with Guru at 5.00 am and then listened to his singing for 1 hour. Later they used to work and practice with right effort.

A Guru is only a “Margadarsi”. We have to practice with devotion and sincerity to achieve our ambition. The Guru who is concerned about the Sishya will definitely bless him for the best in his life, if the ‘Sishya’ really puts in hard work.

Among the famous vocalists in his time Sri. Kollegal.R.Subrahmanyam liked Maharaja puram viswanatha Iyer and Madurai Mani Iyer. Among Mridangam artists he likes palghat mani Iyer, Muthu Iyer, Thiruvarur bhakta vatsalam. Among violinists he admired peri sri Rama Murthy.

HIS MESSAGE

In order to promote the growth of classical music and continue the good traditions there is a call for encouragement from people in many ways. In fact, the senior musicians must also take responsibility of encouraging the rising talent and should support and contribute for the improvement of the present music scenario of the states.

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3.1 DIACRITICAL MARKS

Devanagari Roman Devanagari Roman अ a ड d s = one akshara आ A ढ dh S = Two aksharas इ i ण ṇ S, = Three aksharas ई I त t SS = Four Aksharas उ u थ th ऊ ū द d ऋ ṛ ध dh ए E न n कृ – kr ऐ ai ऩ p गृ - gr ओ O प ph चृ – cr औ au फ b जृ – jr अं ṃ ब Bh तृ – tr अः H भ m 饃 – dr क K म y नृ – nr ख G य r ऩृ – pr ग Gh र l फृ – br घ ṅ ल v भृ – mr ङ ṅ ळ S रृ – lr च C ऴ sh लृ – vr छ ch व s वृ - sr ज J श h झ jh ऱ ḷ ञ ῆ ट ṭ ष ksa ठ ṭh स jna

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KRITIS OF SANKARAVIJAYAM

-by Kollegal R Subrahmanyam — A Study 1. Birth of Sri Sankara – Holy thread ceremony

Rāgam: Māyamālavagowla Tālam: Ādi

Agni Chakram 15thMelakarta Rāgam

Suddha Rishabham, Antara gāndhāram, Suddha Madhyamam, Suddha Dhaivatham, Kākali Nishādham

PALLAVI

1. S S R , g M P, , P | D , , N D | , N , Ṡ , , Guru Sankara de . si | ka . . yana |. mas .te. .

Ṡ, Ṡ , N , ,D , , d n | Ṡ , n D P | M , p m g rs Su brahmaṇya . . di . | Bhaktajana | Van di ta .ya

1st Kriti of Sri Sankara Vijayam MUSICAL ASPECTS Māyamālavagowla rāgam is the rāga in which this Kriti has been composed. Māyamālavagowla is the third rāga in the third chakra, Agni,

Ārohana – S R1 G₂ M1 P D1 N₃ Ṡ

Avarohana – Ṡ N₃ D1 P M1 G₂ R1 S It is a sampūrna rāgam and a Suddhamadhyamam equivalent to 51st Prati madhyama melakarta rāga Kāmavardhini.

17 Book “Sri Sankara Vijayam” written by Sri Kollegal. R. Subrahmanyam 17

The gamakas in the rāga are unique. This auspicious rāga evokes sāntha rasa and creates a soothing effect.

Māyamālavagowla is a rāga of Carnatic music It is classified as 15th Melakartarāga under Venkatamakhi‟s Melakarta system. Originally known as Malavagowla, „Māya‟ was prefixed to it after the advent of the scheme of 72 Melas. This is a morning rāgam.

Māyamalavagowla is the third rāga in the 3rd chakra, Agni. It‟s mnemonic name is Agni – Go. As it is a melakartarāgam, by definition it is a sampūrnarāgam.

The gamakas in the rāga are unique in that conversely to the „G‟-„M‟ relationship in Sankhara bharanam, „G‟ is sung in the oscillation (M, G M , G M, G) while “m: is held constant. These is no bold M-P gamaka as in Sankhara bharanam as well. „R‟ and „D‟ are also usually sung in oscillation with „S‟ and „P‟ respectively, making the only constant notes „S‟, „M‟ and „P‟.

It is commonly used for beginners‟ lessons such as Sarali Swaras. Since it eschews Samvādi Swaras has a uniform distance between swarastānās and has symmetry.

Sri Kolleigal R. Subrahmanyam selected this rāga to start his book „Sankara Vijayam‟. Māyamalava Gowla is taught to beginners in music in the same way he believed that the birth of Sri Sankaracharya was the beginning of an era of Advaita and philosophy of Bhakti and so selected this raga for his first kriti.

Muthuswāmi Dīkhshitar composed a kriti his first composition on Guruguha. This same style can be seen in kollegal R. SubraManyam‟s Kriti with the pallavis first line in the arohana kramam and 2nd line in the avarohana kramam.

S ; R ; G ; M ; P D N Ṡ

Sri – nā – dhā – di – guruguha N d p m g r s n Ja ya ti ja ya ti - - 18 18

It is a Sampūrnarāgam and a Sarva Swara gamaka Varika rakti raga. This rāgam corresponds to „Bhairav‟ in Hindustani music. On grahabedam this rāgam yields Simhendramadhyamam and Rasikapriya respectively on its madhyamam and rishabham

Māyamālava Gowla has quite a few janyaragams associated with it, of which Bowli, Jaganmohini, Gowla, Gowlipantu, Lalitha, Nādanāmakriya, Revagupti, Sāveri and Malahari are quite well known.

Important compositions in Māyamālavagowlarāgam are: a) Varnam – Srī Rājarājeswari b) Tulasi Daḷamulache Santoshamuga – Thyagarāja c) Meru SamānaVīra – Thyāgarāja d) Deva Deva Kalayāmithe – Swāti Thirunāl e) Vidhulaku Mrokkeda – Thyāgarāja f) Māyātīta Swarūpini – PonnaiyyaPillai

The Pallavi begins with the graha swara „Shadjamam‟ and ends with the antya swaram „Rishabham‟. In the Pallavi we see arohana krama swaras and an avarohana kramam of swaras in the first and second lines. This attempt gives a very clear idea of the rāgam MāyamālavaGowlarāgam.

The very next two lines depict the Janta Swara prayogas in the ārohana and avarohanakramam. The Pallavi goes uptoTārasthayi gāndhāram.

In this kriti, Muthuswāmi Dīkshitar showed all three speeds of ārohanakramam in one Avrutham, the style of Muthuswāmi Dīkshitar can be seen in Kollegal Subrahmanyam‟s first kriti in Māyamālava Gowla.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara who is our preceptor and who is revered by devotees like Subrahmanya.

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MUSICAL ASPECTS

The Anupallavi starts with the graha swara tārasthayi shadjamam and ends at Madhya sthayi shadjamam. In Anupallavi the phrase “D N Ṡ” has been used several times and in Charanam “Ġ Ṙ Ṡ” prayogam has been used very often. Anupallavi is notated with more of Tārasthayi swaras upto tārasthayi madhyamam. We can observe that the Anupallavi is notated with all tāra sthayi swaras upto tāra sthayi madhyamam with many sangathis.

LYRICAL ASPECTS

||AP|| To the one who lived in the sacred place Kalady in Kerala, and was the blessed son of Sivaguru and Aryamba.

CHARANAM

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MUSICAL ASPECTS

The charanam starts at Madhya sthayi panchamam and ends with Tārasthayi shadjamam. In the charanam we see some Swarāksharās like 1) S ; S , P P M „Pa‟ is the Swarāksharā Cau – lo panaya 2) Ṡ , ; Ṡ ; Ṙ Ṙ , Ṡ „Sa‟ is the swarāksharā Vi--- pra- gruhe sa 3) S ; R ; „Ri‟ is the swarāksharā Da --ri --

All his kritis start with the same Pallavi “Guru Sankara desikāya namasthe” using it like a powerful mantra and showing his guru bhakti towards Sankara.

LYRICAL ASPECTS

||C|| To him, who having gone through the sacred thread ceremony, was in constant penance and chanting of the Gayatri mantra;

To him, who have composed the Kanakadhara stotram, sought the blessing of the Goddess Lakshmi, who showered the poor brahmin‟s house that was poverty-stricken, with gold coins.

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2. Taking up ascetic life

Ragam - Dharmavathi Talam - Ādi

10 Disi Chakram 59th Melakartha ragam.

Chatusruthi rishabham, Sadharana gāndharam, Prathi madhyamam, Chatusruthi dhaivatham, Kakali nishādham, swaras occur in this kriti. PALLAVI

, , p M P, p M g, R |sr gr S rg | , g M P , , Guru San kara Desi |Ka .. ya na |. Mas. te.. , , P , d N Ṡ ṙṡ nd P. |, , Ṡ n d P | p mg R G r . . Subrah. maṇya . . di |. . bhaktaja na | van. . di taya gm . . 2nd Kriti of Sri Sankara Vijayam MUSICAL ASPECTS Dharmavathi is a ragam in Carnatic music. It is the 59th Melakartha ragam in the 72 Melakarta ragam system of Carnatic music. It is called “Dāmavati” in Muthuswami Dikshitar school of Carnatic music Madhuvanthi is the nearest Hindustani music scale to Dharmavathi. It is the 5th ragam in the 10 chakra Disi. The Mnemonic name is Disi-Ma. The arohana and avarohana structure is as follows;

Ārohana - SR2 G2 M2 PD2 N3 S.

Avarohana - SN3 D2 P M2 G2 R2 S.

It is the Prathi madhyamam equivalent of Gouri manohari, which is the 23rd Melakarta.

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Dharmavathi has a few Janya rāgams associated with it, of which Madhuvanthi, ranjani and Vijayanagari are popular in concerts. A few common compositions sung in concerts set to Dharmavathi are:

1. Parandāmavati Jayathi by Muthuswami Dikshitār.

2. Ododi Vandhen Kannan by Ambujam Krishna.

3. Bhajana Seyaraadha – Patnam Subramanya Iyyer.

Dharmavathi‟s notes when shifted using Graha bedham, yields 2 other Melakarta rāgams, namely, Chakravakam and Sarasangi.

Graha bedham is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the ragam.

Dharmavathi is the 59th Melakarta ragam in the 72 Melakarta ragam system of Carnatic music. It is the 5th ragam in the 10th Chakra Disi.

Ārohana - SR2 G1 M2 PD2 N2 S.

Avarohana - SN2 D2 P M2 G1 R2 S.

It is a Sampoorna ragam and is the Prati madhyamam equivalent of Gouri manohari which is the 23rd Melakarta.

This Kriti also starts with the Pallavi “Guru Sankara desikāya namasthe…” It is a mantra which Sri Kolleigal R. Subrahmanyam uses to show his guru bhakti. To propagate dharma, Sankaracharya took to Sanyasam. So, Kolleigal Subrahmanyam has taken Dharmavathi ragam for this Kriti.

The combination of Sadharana gāndharam with Prathi madhyamam brings the real beauty in this kriti bringing out the real essence of Dharmavathi ragam.

In pallavi his Guru bhakti is highlighted and in anupallavi Shankaracharya‟s happiness in meeting great saint like “Jābāli” is explained. When we come to the Charana his acceptance of Sanyasam is explained.

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LYRICAL ASPECTS

||P|| Our salutations to the great Sankara who is our preceptor and who is revered by devotees like Subrahmanya. ANUPALLAVI , , ṡ N Ṡ, ṡn dd nd P | , , p D n D | nd ns dn Ṡ . . Vara Ja . bal ya . . di |. . Munijana |dar. Sane.na

1. , , ṡ Ṙ ġ Ṙ ṙṡ ṡn nṡ Ṙ |, , n Ṙ N d | ṡ n nd pd N . . Har. Shita ma na. sa. ya | Para brahma |Ru . . pa. ya

MUSICAL ASPECTS The Anupallavi starts with a gap of 2 aksharas at “Tara Sthayi Shadjamam” and ends with the “Antya Swaram Madhyamam”. Full Anupallavi has “Tara Sthayi Sancharam” all over and goes upto “Tara Sthayi Panchamam” in the 3rd Sangathi especially when the lyrics “Harshita Manasaaya Parabrahma Rupaya” are sung.

Some Janta Swara Prayogams can be seen in the anupallavi.

1. , , ṡ n Ṡ , ṡn dd nd P 2. , , ṡ Ṙ ġ Ṙ Ṡn nd N Ṡ 3. ṡ n nd pd N 4. , , ṡ Ṙ ġ Ṙ ṗṁ ġṙ ġṙ Ṡ | ṡ ṙ ġ ġ ṙ ṙ Ṡ |ġṙṡ ndp pm Swarakshara prayogam can be seen in the first line of the anupallavi. „Sa‟ is the Swarakshara.

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n d n s Ṡ d n Ṡ | Dar. Sa ne . na |

LYRICAL ASPECTS

||AP|| To him who was elated by the vision of the sages like Jabali, who is the symbol of the supreme Being.

MUSICAL ASPECTS

The charanam starts with a gap of two aksharas at “Madhya Sthayi Panchamam” and reaches the “tara sthayi” when the lyrics say “Narmada Tirtha Sthita Govinda Bhagvat pa-da” upto “Tara Sthayi Madhyamam”. Janta Swara prayogams at the “Tara Sthayi” are the ranjaka prayogams in this kriti.

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, , n Ṙ n Ṡ Ṙ Ṙ Ġ Ṙ |, , ṡ Ṙ Ġ ṙ | ġ ṙ ṙ ṡ n ṡ Ṙ , , ṡ Ṙ ġ Ṙ ġṙ ṙṡ nṡ Ṙ |, , ġ ġ ṁ Ġ ṙ | ġ ṙ ṙ ṡ n ṡ Ṙ

LYRICAL ASPECTS

||C|| To the one who was caught by a crocodile in his 8th year, who took up sanyasa with his mother‟s permission, to him who was eager for the eventual meeting with his Guru, the great ascetic Govinda Bhagavadpada, who lived in the banks of the Narmada river.

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3. Meeting with Sri Govinda Bhagavad Pada

Ragam - Mānavathi Talam - Ādi

Induchakram 5th Melakarta ragam

3rd Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Mānavathi is the 5th melakarta ragam in the 72 Melakarta ragam system of Carnatic music. In Muthu Swami Deekshitār School of music the 5th Melakarta is Manoranjani.

Ārohana - S R G1 M1 P D2 N2 Ś.

Avarohana - Ś N2 D2 P M2 G1 R2 S.

It is the Shuddha madhyamam equivalent of Pāvani, which is a Prathi madhyamam ragam and is the 41st Melakartha.

Manavathi‟s notes when shifted using Graha bedham, yields Kantamani ragam.

The kriti starts with panchamam as its graham swaram in Pallavi, Anupallavi, Charanam and antya swaram in Pallavi, Anupallavi and charanam is the madhyamam.

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In this Pallavi Kollegal R. Subrahmanyam pays respect to his guru Sankara.

Pallavi is notated mostly in Madhya sthai and anupallavi glides up to Tārasthai Madhyamam. The charanam starts in panchamam and its sancharam is totally in the tāra sthayi up to tāra sthai panchamam.

There are four Sangathis to the pharase in the charanam “Sruthva guru vachanam mudhitha mānasena” for charanam musical aspects.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara who is our preceptor and who is revered by devotees like Subrahmanya. ANUPALLAVI

The Anupallavi starts with a gap of two aksharas at panchamam and ends with the antya swaram „madhyamam‟. The second line of the anupallavi travels in the tara sthayi upto tara sthayi madhyamam in the lines “Kamandulu nagrasitha baalayatheeswaraya”. There are no sangathis in the anupallavi. Some janta swara prayogas can be seen in the anupallavi.

||A.P|| To him, who pulled the gushing stream of Narmada river into his kamandulu, to that young ascetic.

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CHARANAM

MUSICAL ASPECTS

The charanam starts with the graha swaram „ Panchamam‟ with a gap of 2 aksharas. The antya swaram to the charanam is madhyamam. There are groups of Janta swaras used in the charanam several times.

, , P , p P m M m m g R | Ġ ṁ Ṁ ṁ ṁ ġ | , g Ṙ Ṙ Ṡ LYRICAL ASPECTS ||C|| To that guru, who having been asked by the pleased Govinda Bhagavadpada, about who he was, bowed down with due respect and devotion, delighted on just listening to his Guru's voice.

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4. Induction into ascetic life

Ragam – Simhendra Madhyamam Talam - Ādi 11th Disi chakram 57th Melakarta ragam. Chatusruthi Rishabham, Sadharana gāndharam, Prathi madhyamam, Suddha daivatham, Kakali nishādham, Swaras are used in this kriti. PALLAVI , , p M P , p M G , R | s r g r S rg |, M , P , , Guru San ka ra. de . si. | ka . . ya.na. |. mas. te. . , , P D N, ṡ n d p N S | N , r N D | P , m p m gr . . Su. b rahmaṇya .. di | bha. ktaja. na. | Vandi ta . ya. gm

. . 4th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Simhendra madhyamam is the 57th Melakarta ragam in the 72 Melakarta ragam system of Carnatic music. It is called Sumadyuti in Muthuswamy Deekshitar‟s school of music. It is the 3rd raga in the 10th chakra Disi

Ārohana - S R2 G1 M2 P D1 N3 Ś.

Avarohana - Ś N3 D1 P M2 G1 R2 S.

It is the Prathi Madhyamam equivalent of Suddha madhyamam ragam Keeravani which is the 21st Melakarta. Important compositions in this ragam are;

1. Needu Charanamule – by Sri Thyagaraj 2. Pamarajana Pālini – by Muthu Swami Dikshitār 3. Rama Rama guru seema – by Swathi Thirunal 4. Panna gendra Sayana – by Sri Thyagaraju.

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In ragam simhendra Madhyamam notes when shifted using Graha bhedam, yields two other ragas namely Mayamalavagoula and Rasika priya

The pallavi depicts the composer‟s gurubhakti and coming to anupallavi Shankaracharya explains that a teacher, mother earth, and all life forms are the images of Brahma. Everything in this world is Brahma. In the charana Shankara learns the four Vedas, Upanishads from Govinda Bhagavat Pāda and becomes an expert in all the subjects and stays with his teacher for 3 years in his hermitage.

The pallavi starts with the graha swaram panchamam and the antya swaram of the kriti is madhyamam. The pharase Ṡ, Ṡ ND, is used very often in anupallavi and charanam.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya. ANUPALLAVI

. .

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MUSICAL ASPECTS

The Anupallavi starts with the tara sthayi shadjamam and ends at Madhya sthayi Madhyamam.

„Ṡ Ṙ Ġ Ṙ N Ṡ Ṙ Ṡ Ṡ N N D‟ set of swaras are used as visesha prayogas.

“Brahmai vaahamithi sambhodhita” these lyrics are sung in the tara sthayi going upto tara sthayi madhyamam. Janta swara prayogams can be seen in the anupallavi,

1. Ṡ Ṙ Ġ Ṙ Ṙ | Ṙ Ṡ Ṡ N Ṙ , , | 2. , , Ṡ Ṡ Ṙ Ṡ N D N, R Ġ Ṙ | ,, R G R R Ġ | LYRICAL ASPECTS

||A.P||To him who answered that this universe is Brahma and I too am Brahma. CHARANAM

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MUSICAL ASPECTS

The charanam starts with the graha swaram „panchamam‟ and ends with the antya swaram „madhyamam‟ Tara sthayi swara prayogam is more in the anupallavi when compared with the charanam.

„ ṘṠ ṠND PM GM‟ is a prayoga showing the avarohana kramam seen in the charanam ending. In the third sangathi of the charanam the swaras used in the ragam simhendra madhyamam evenly correspond to the bhāvam of the kriti saying “vidhinaa sanyasa dheeksha parigrahena”.

LYRICAL ASPECTS

||C|| To him, who prostrated in front of his Guru Govinda Bhagavadpada, who was elated with the answer of the young ascetic and initiated him into the ascetic order formally.

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5. Appearance of Lord Siva as a Chandala

Ragam - Hanumath Thodi Talam – Ādi

2nd Netra chakram 8th Melakarta Ragam. Suddha rishabham, Sādharana gāndharam, Suddha Madhyamam, Suddha Dhaivatham, Kaisika Nishādham Swaras.

PALLAVI

Hanumath thodi is the 8th Melakarta ragam in the 72 Melakarta ragam system of Carnatic music. It is called Janatodi in Muthuswamy Deekshitar‟s school of music.

It is the 2nd raga in the 2nd chakra Netra. The mnemonic name is Netra-Sri

Ārohana - S R1 G2 M1 P D1 N2 Ś.

Avarohana - Ś N2 D1 P M1 G2 R1 S.

Hanumatodi has a quite few Janya ragams like Asaveri, Bhupalam, Dhanyasi, Punnaga varali and Suddha Seemandhini.

Todi notes when shifted using Graha-bedam, yields 5 other major Melakarta ragams namely, Kalyani, Shankarabharanam, Natabhairavi, Kharaharapriya and Harikamboji, Important Compositions:

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1. Thāye Yashoda – Oottukadu Venkata Kavi

2. Kaddanu Vāriki, Dātsu Kovalena, Proddupoyenu, Dasarāthi nee runamu, Āragimpave, Raju Vedale, Endu daginado, Koluvamaregada – by Sri Thyagaraju.

3. Rāve Himagiri, Karunanidhi Ilalo – by Syamasastri

4. Koti Nadulu, Sri Krishnam Bhaja Manasa – Muthu swami Deekshitaar.

The pallavi depicts the gurubhakti of Sri Kolleigal R. Subrahmanyam. In anupallavi as per guru‟s orders Sankara visits Varanasi in good spirits. In charanam “Visweswara roopena chandāla darsanam” and recitation of “Manisha Parchakam is explained in detail.

Pallavi starts with Madhya sthayi Shadjamam, and ends with shadjamam. Thodi ragam is brought out very well in the combinations of nishādham like;

1. N N D D M G, G R S 2. N N N ; N; D Ṡ N D, 3. N Ġ Ŕ N Ŕ N D N D M D N Ś,

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya. ANUPALLAVI

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2. , , n ġ ṙ n ṙ d n dm dn Ṡ | ṡ ṙ ġ ġ ṙ ṡ d n | ṡ ṡ n d n d mg . . Va.. ra.. na. si . . ksetra | san. dar sa . | .not. suka. ya. rs MUSICAL ASPECTS

The anupallavi starts with the graha swaram with Madhya sthayi “nishadam” and ends with shadjamam.

Janta swara prayogams can be seen in the 2nd sangathi corresponding to the sahitya “Varanasi kshetra samdarasanotsukaaya”.

1. N Ṙ Ṙ Ṡ N D N , | 2. Ṡ Ṙ Ġ Ġ Ṙ Ṡ D N | Ṡ Ṡ N D N D M G || Special raga pradhāna prayogams can be seen in phrases like NĠ Ṙ NṘN DN DM DNṠ, | ṠṘ ĠĠṘṠ DN | ṠṠ ND N D N Ġ LYRICAL ASPECTS

||A.P|| To him, who having been directed by his Guru, was eager to go to the holy place of Varanasi.

CHARANAM

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2. S n Ġ ṙ Ṡ ṡ ṙ ṡ n d n Ṡ | , , ṡ ṙ ṡ n dn | d n ṡ n d p m g .. Varamanisha.pan.caka | . . pra. ni.. | ta . . . ya . . . rs . . MUSICAL ASPECTS

The Charanams graha swara is Madhya sthayi dhaivatham and antya swaram is Madhya sthayi shadjamam. In the charanam 1st sangathi swarakshara‟s can be seen,

1. NN , N ; N ; D S N D, „Da‟ is the swarakshara.

Pa ra ma rdha pra ..da ..

2. M G M D ; ‟Da‟ is the swarakshara In the charanam 2nd sangathi.

Sa .. cchi da a) N Ġ Ṙ N Ṙ N D N D M D N Ṡ b) Ṡ Ṙ Ġ Ġ Ṙ Ṡ D N Ṡ Ṡ N D reveal thodi ragam in Janta swara prayogas and dhatu swara prayogas. Tarasthayi swaras occur more in the anupallavi very often going upto tarasthayi “gaandharam”.

LYRICAL ASPECTS

||C|| To him, who composed the Manisha panchakam that bestows upon those four who learn it, the ultimate knowledge and bliss, after having had the vision of Lord Visvesvara in the disguise of a chandala.

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6. Greatness of chanting the Lord’s name

Ragam - Latangi Talam - Ādi

11th Rudra Chakram 63rd Melakarta Ragam. Chatusruthi Rishabham, Antara gāndharam, Prathi Madhyamam, Suddha Dhaivatham, Kaklia Nishādham. PALLAVI , , p M P , p M G , R | g r g r S S |, R , G , , . . Guru. Sankara de. Si | ka . . yana | . mas. te . . , , g M P , d P d P D |, , N ṡ n D | p d n ṡ n d n d . . Su.. brahmaṇ ya . . di | . . Bhaktaja na | se. vi. ta. ya. 6th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Latangi is the 63rd Melakarta ragam in the 72 Melakarta ragam scheme of Carnatic music. It is called Geeta priya in Muthuswami Deekshitar‟s school of music. It is the 3rd ragam in the 11th chakra Rudra.

Ārohana - S R2 G2 M2 P D1 N3 Ś.

Avarohana - Ś N3 D1 P M2 G2 R1 S.

It is the Prathi madhyamam equivalent of Sarasangi which is a suddha madhyamam raga and is the 27th melakarta.

Latangi has a few minor Janya ragas. Some of the compositions of Latangi are:

1. Diname sudhinamu - by Saint Sri Thyagaraju 2. Aparadhamula - by Patnam Subrahmanya Iyer 3. Marivere dikku - by Patnam Subrahmanya Iyer

Latangi‟s notes when shifted using graha bedham yields two other melakarta ragams namely, Sooryakāntham and Senavathi.

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The pallavi depicts the guru bhakti like in all Kritis of Sankara Vijayam. But in anupallavi Sri Kollegal R. Subrahmanyam describes about how Sri Sankarachary enlightens a student to know the actual essence of education.

In the Charanam, Sankaracharya for the upliftment of mankind counsels us about the power of the lord‟s name by chanting “Bhaja Govindham, Govindam Bhaja Moodamathe”.

The graha swaram of the pallavi is Panchamam and antya swaram used is madhyamam. Anupallavi starts at tara sthayi shadjamam and sancharam takes place mostly in the tara sthayi raising upto tāra sthayi panchamam and then glides back to Madhya sthayi dhaivatham.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI

MUSICAL ASPECTS

The Anupallavi starts with the tāra shadjam and a gap of 2 aksharas. The anupallavi ends with the antya swaram madhyamam. There are many sangathis in

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the anupallavi. All tāra sthayi swara Prayogams can be seen in the anupallavi with the tāra sthayi swarás going upto „tāra sthayi panchamam‟ and then glides back to Madhya sthayi madhyamam.

LYRICAL ASPECTS

||A.P||To him, who wished to dispel the ignorance of a student of Sanskrit grammar

CHARANAM

MUSICAL ASPECTS

The charanam starts with the graham swaram panchamam and ends with the antya swara madhyamam. The sahityam “Bhaja govindam bhaja govindam: is sung in the charanam. The tara sthayi prayogam in all sangatis are very well composed in the ragam Latangi in the lines.

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“Bhaja govindam bhaja govindam

Govindam bhaja moodamathe

Paramārdha prada bhukti mukti prada

Govinda naama sankeertana prabhodakāya”.

“N Ṡ N D” prayoga can be observed very often in pallavi, anupallavi and charanam.

LYRICAL ASPECTS

||C|| To him, who preached the significance of the Govindanama Sankritana to obtain the ultimate knowledge and devotion and salvation “O delated one! Chant the holy name of govinda!”

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7. Commentaries on the Upanisads and the Brahma Sutras

Ragam – Chakravakam Talam – Ādi

3rd Agni Chakram 16th Melakarta Ragam. Chatusruthi Rishabham, Antara gāndharam, Suddha Madhyamam, Chatusruthi Dhaivatham, Kaisika Nishādham. PALLAVI , , p P p M p d n ṡ ṡ n n d | n d p m g r S |, R , G , , Guru San. ka. ra. de.. si | ka . . . ya. na |. mas te. . , , m P d N P , d N Ṡ | , , N ṡ n D | p d n s n d n d . . Su. brah. maṇ ya .. di. | . . Bhaktajana | se. vi. ta. ya. pm . . 7th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Chakravakam is the rāgam in Carnatic Music. It is the 16th Melakarta rāgam in the 72 Melakarta rāgam system. According to the Muthuswami Dikshitar School, this rāgam is called Tōyavēgavāhini, Chakravakam is close to Rag Ahir bhairav in Hindusthani Music.

Chakravākam is a raga that is known to incite feelings of devotion, sympathy and compassion in the listeners.

It is the 4th Melakarta in the 3rd Chakra Agni. The Mnemonic name is Agni - Bhu

Ārohana - S R1 G3 M1 P D2 N2 S.

Avarohana - S N2 D2 P M1 G3 R1 S.

It is a sampoorna rāgam – rāgam having all 7 swarams. It is the suddha madhyamam equivalent of Ramapriya, which is the 52nd Melakarta.

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Chakravakam has quite a few Janya rāgams associated with it, of which Bindumalini, Malayamarutham and Valaji are popular:

1. Etula Brotuvo teliya, Sugunamula – Sri Thyagaraju

2. Gajananayutham is a popular composition of Sri Muthuswami Dikshitar

3. Pibare Rāmarasam by Sadasiva Brahmendra.

Chakravākam‟s notes when shifted using Graha bedham yields 2 other major rāgams, namely, Sarasangi and Dharmavathi.

In pallavi as usual he expresses his guru bhakti and as we come into the anupallavi the meeting Vatu Narasimha and accepting him as his first disciple and renaming him as Sanandanacharya after giving him Sanyāsa deeksha. In the charanam of the kriti Sankaracharya‟s visit to Badari and writing down the Upanishad Brahma Sootra bashya with full involvement can be understood. He stays on the banks of Jahnavi river for 12 years and gets the darshan of Vyāsa muni.

The kriti starts with the graha swaram “Panchamam” and ends with the anthya swaram “Madhyamam”.

“NDPMGRS” this prayoga clearly depicts the raga chakravakam in the pallavi itself with kaisiki nishadam, chatusruthi Dhaivatham and antara gāndharam combination.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI

The anupallavi starts with tāra sthayi shadjamam and ends with the antya swaram madhyamam. In anupallavi more of Jantaswara prayogas like DD, ṘṘ , ĠĠ, ṠṠ and sancharam mostly in tāra sthayi can be ovserved. The prayoga S N, D, can be seen in various places all over the anupallavi, charanam and pallavi.

The swarakshara prayogas in this kriti are;

M P D N S San ...... nni dow (Anupallavi)

Ṡ Ṙ Ġ Ġ Sa .. nya sa (Anupallavi)

Ṡ , Ṙ Ġ Ġ Ṙ Ṙ Ṡ , Sa ...... nan .. da na (Anupallavi)

Ṡ , Ṡ , N D , P Na ..ma .. bhi da ya (Anupallavi)

LYRICAL ASPECTS

||A.P|| To him, who having initiated Narasimha Sarman into the asceticism in the sancturm of Lord Visveswara, named him as Sanandana.

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CHARANAM

Graha swara is panchamam and antya swaram is madhyamam. In the charanam tāra sthayi swara sanchāram can be seen where in the sancharam goes upto tāra sthayi panchamam in the phrase

Ġ Ŕ, Ġ Ġ Ṁ Ṗ Ṁ Ġ Ŕ Ś

LYRICAL ASPECTS

||C|| To him, who wrote the Bhashyas on the Upanishads and Brahma sootras at Badari, to him who was elated at the appearance the Sage Vyasa at the end of his 16 years on the bank of the Ganga.

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8. Blessing of Sage Vyasa increasing his life by 16 years

Ragam – Vachaspathi Talam – Ādi

Rudhra Chakram 64th Melakarta Ragam. Chatusruthi Rishabham, Antara gāndharam, Prathi Madhyamam, Chatusruthi Dhaivatham, Kaisika Nishādham.

pm 8th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

“Vachaspathi” meaning Lord of speech is a ragam of the south Indian classical music. It is the 64th Melakarta rāga in the 72 Melakarta rāgam system of carnatic music. It is called “Bhooshavathi” in the Muthuswami Deekshitār School of music.

It was borrowed into Hindusthani music like many other Carnatic ragams..

It is the 4th ragam in the 11th Chakra Rudra. The Mnemonic name is Rudra - Bhu

Ārohana - S R2 G3 M2 P D2 N2 S.

Avarohana - S N2 D2 P M2 G3 R2 S.

The scale uses the notes Chatusruthi Rishabham, Antara gāndharam, Prathi Madhyamam, Chatusruthi Dhaivatham and Kaisika Nishādham. It is a Sampoorna ragam. It is the Prathi Madhyama equivalent raga of Hari Kamboji which is the 28th Melakarta raga which is a Suddha madhyama raga.

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It has many Janya ragas of which Bhooshavali and Saraswathi are popular.

Vachaspathi is very much similar to Kalyani.

Examples:

“Pahi jagajanani”

“Kanta Choodumi”

“Parat para”

The kriti starts with panchamam as its graha swaram and ends with madhyamam as its anthya swaram

In the anupallavi Sage Vyasa says Sankara is capable of doing the spiritual work of protecting and spreading the traditional and vedic religion. In the charana his life age which was 8 years is prolonged to 16 years and further to 32 years. His victory march to Varanasi is also explained in the Charanam.

The Swarakshara occurring in the kriti is as follows:

In Pallavi:

, M, P, ; | “Ma” is the swarakshara Ma sthe . | LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI

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MUSICAL ASPECTS

Graha swaram of the anupallavi is panchamam and madhyamam is used as the antya swaram. Bhakti rasa pradhaana raga is selected for composing this kriti by sri kollegal. R. subrahmanyam which is vachaspathi. In the anupallavi swaraksharas can be observed,

1. , , P D, N Ṡ, Ś ; N ; D, | . . pan .. cha da sa . . di . . na .|

2. Ṡ Ṙ Ġ , Ġ Ṙ Ṡ | Bha . shya . nvya . sa |

3. Ṡ Ṙ Ġ , Ġ Ġ Ṙ Ṡ | Bha. ..shyann.. vya ...... sa |

The beauty of Vachaspati is brought out fully in the kriti in the phrases of Pallavi, Anupallavi and charanam. Janta swara prayogas can be seen in phrases like,

1. S N Ṙ Ṡ Ṡ N N D 2. Ṡ Ṙ Ġ Ġ Ġ Ṙ Ṡ N N D, P D N D P M,

The anupallavi is notated in tāra sthayi which goes upto tara sthayi panchamam. Every line in the anupallavi has 2 sangathis each.

LYRICAL ASPECTS

||A.P|| To him, who learnt the Upanishads and Brahmasutras from the Sage Vyasa.

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CHARANAM

MUSICAL ASPECTS

The charanam starts with the graha swaram panchamam and ends with madhyamam. Janta swara prayogas can be seen in phrases of the charanam like,

1. Ġ Ṙ Ṙ Ṡ Ṡ Ṙ Ġ , | 2. Ṡ N Ṙ Ṡ Ṡ N N D | 3. Ṡ Ṙ Ġ Ġ Ṙ Ṡ N S |

LYRICAL ASPECTS

||C|| To him, whose life was doubled for another sixteen years by the blessings of the divine Sage Vyasa. To him who was directed by Vyasa to undertake a journey all over bharatakhanda to uphold Dharma.

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9. Meeting with Kumarila Bhattu

Ragam – Charukesi Talam – Ādi

Bana Chakram 26th Melakarta Ragam.

Chatusruthi Rishabham, Antara gāndharam, Suddha Madhyamam, suddha dhaivatham Kaisika Nishādham.

Charukesi is a raga in Carnatic music, musical scale of south Indian classical music. It is the 26th Melakarta rāga in the 72 Melakarta rāgam scheme. It is called “Tarangini” in the Muthuswami Deekshitār School of music. Charukesi is known to incite feelings of Pathos and devotion in the listeners.

It is the 2nd rāgam in the 5th Chakra Bāna. The Mnemonic name is Bana - Sri

Ārohana - S R2 G3 M1 P D1 N2 S.

Avarohana - S N2 D1 P M1 G3 R2 S.

It is sampoorna ragam. It is the Shuddha Madhyama equivalent of Rishabhapriya, which is the 62nd Melakarta.

Important compositions of this raga are:

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1. Adamodi Galada – by Sri Thyagaraja 2. Karunai Varumo – by Papanasa Sivan 3. Kripayā pālaya – by Swati Thirunal 4. Palayamam parameswari – by Sri Muthuswami Dikshitār

Charukesi notes when shifted using graha bedam, yields 3 major melakarta ragams, namely Vachaspati, natakapriya and Gourimanohari.

The kriti starts with graha swaram panchamam and ends with the antya swaram madhyamam.

The pallavi explains the mantra which Sri Kollegal R. Subrahmanyam uses to express his guru bhakti. In the anupallavi Shankaracharya abolishes tiny religious factions like Charvak, Pasupat, kapāli, Shāktoy and Vamachar. In the charanam Shankaracharya‟s meeting with Kumarila Bhattu is explained and the difficulties Kumarila Bhattu faced to prove Buddism as a un-vedic religion and acceptance of vedic religion as the only true religion.

The janta swara prayogas seen in pallavi –

1. Ṡ N N D N D D P | 2. Ġ Ṙ Ṙ Ṡ Ṡ N D D |

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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. . Du . skarmayu. ta. mata. |. . Khanda na | ca . tu. ra . . ya pmṙ Ġ Ṁ ġ ṁ ġ ġ ṙ n ṡṘ | ṁ ġ ġ ṙ ṙ ṡṡ n | ġ ṙ ṙ ṡ ṡ n d d . . Du . skarmayu. ta. mata. |kha.... nda na | ca . tu. ra . ya dm . . MUSICAL ASPECTS The anupallavi starts with the graha swara tāra sthayi shadjamam and ends with the Madhya sthayi madhyamam. The anupallavi is notated in tara sthayi with swaras going upto tara sthayi madhyamam.

The combination of suddha dhaivatham, suddha madhyamam and kaisika nishadam brings out the essence of charukesi ragam in the anupallavi.

1. Ṁ Ġ Ġ Ṙ Ṙ Ṡ Ṡ N | Ġ Ṙ Ṙ Ṡ Ṡ N D D | D M (Guru Sankara)

2. Ṙ Ġ , Ṁ, Ġ Ṁ Ġ Ṙ Ṡ N Ṡ Ṙ, | ,, N R , S D, | Ġ Ṙ Ṙ Ṡ Ṡ N D D P M|

Swaraksharás occurring in the anupallavi of this kriti are :-

1. Ṡ Ṙ Ġ Ṁ , Ġ Ṙ Ṡ | “Ma” is the swarakshara.

Va - - ma – cha – ra |

Janta swara prayogam –

1. Ġ Ṙ Ṙ Ṡ Ṡ N D D |

LYRICAL ASPECTS

||A.P|| To him, who learnt was capable of refuting the stand of the Charvaka, Kapalikas, Pasupat and other such communities practicing evil deeds..

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Graha swara of the charanam is madhyasthayi panchamam and antya swaram is madhyamam. Janta swarams are used in the charanam like-

1. Ġ Ṁ Ġ Ġ Ṙ N Ṡ Ṙ, | Ṁ Ġ Ġ Ṙ Ṙ Ṡ Ṡ N| Ġ Ṙ Ṙ Ṡ Ṡ N D D D M ||

2. Ṁ Ṁ Ġ Ṙ Ġ Ṙ Ṡ, | Ṡ Ṙ Ġ, Ṁ Ṁ Ġ Ġ | R Ġ Ṙ Ṡ, Ṁ Ġ Ġ Ṙ | Ṙ Ṡ Ṡ N Ġ Ṙ ṘṠ S N N D | PM

LYRICAL ASPECTS

||C|| To him, who gave peace to Kumarila Bhatta who had entered the fire, To him, who with his smiling face appeared like the dazzling sun.

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10. Arrival at the city of Mahishmati

Ragam – Kāmavardhani Talam – Ādi

Bramhachakram 51st Melakarta Ragam.

Suddha rishabham, Antara gāndharam, Prathi Madhyamam, Suddha dhaivatham, Kākali Nishādham.

Kamavardhini is a ragam of Carnatic music. It is the 51st ragam of the 72 Melakarta raga scheme. It is also referred to as Pantuvarali, although purists prefer to designate it as kamavardhani this ragam is very popular with musicians.

It is called Kashi Ramapriya in Muthuswami Dikshitā‟r‟s School of music. The Hindustani equivalent raga of Kāmavardhani is the poorvi Thāt.

It is the 3rd raga in the 9th Chakra Brahma. The Mnemonic name is Bramha - Go

Ārohana - S R1 G3 M2 P D1 N3 S.

Avarohana - S N3 D1 P M2 G3 R1 S.

The swaras occurring in this scale are;

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Suddha Rishabham, Antara Gāndharam, Prathi Madhyamam, Suddha dhaivatham, Kākali Nishādham.

It is a sampoorna raga with all the seven swaras and differs from the 15th melakarta ragam. Mayamalava gowla which is a raga taught to a beginner in Carnatic music.

Kamavardhani is the Prathi madhyamam equivalent of Mayamalava gowla which is a Suddha madhyama raga.

Minor Janya ragas are associated with this raga. Important compositions are:

1. Sambo mahadeva – by Sri Thyagaraja

Sankara girijā raman - Sri Thyagaraja

2. Sarameghani – by Sri Thyagaraja

3. Aparāmabhakti – by Sri Thyagaraja

4. Sundara dhara dheham – by Sri Thyagaraja

5. Siva siva siva eneradha – by Sri Thyagaraja

6. Enna gānu rama bhajan – by Badhrachalam Ramadasu

7. Ramanatham Bhajeham – by Muthuswamy Dikshitār

8. Visalaksheem visweseem

9. “Sārasaksha Paripalaya Māmayi”

10. Pari palaya Sarasiruha –

11. Saroruhāsana – by Swathi Thriunal

When Kamardhani notes are shifted in Graha bedam it yields the raga kankangi which is the 1st Melakartha raga.

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The kriti starts with the graham swaras panchamam and ends with the antya swaram rishabham.

The pallavi depicts kollegal‟s garu bhakti and as we come to the anupallavi Shankaracharya‟s rush of meeting his belonged student mandana mishra is explained. In the charanam Shankaracharya finds out the house of Mandana mishra with the help of a pair of parrots reciting verses from the Vedas.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

MUSICAL ASPECTS

The anupallavi is notated mostly in tāra sthayi though it starts with the graha swara Madhya sthayi panchamam. Anupallavi ends with antya swaram “Rishabham”. A swarakshara prayogam can be seen in the anupallavi first line.

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“P ; M, G M ; P D, N,| ,, Ṡ N , D N, | M M , P D N Ṡ, || --ma – hi – shmathi – naga re| - priya tama- | ma ma – si – shyam - ||

The Janta swara prayogas can be seen in the ending of the anupallavi.

1. R Ġ, Ṙ Ṡ , S N N D D N Ṙ, |

2. Ġ Ṙ Ṡ Ṡ N D P M|

3. Ġ Ṙ Ṙ Ṡ Ṡ Ṙ Ġ |

4. Ṡ N N D P M M G G R |

The pallavi is composed in the Madhya sthayi and as we come to the anupallavi tāra sthayi swara prayogas can be seen.

LYRICAL ASPECTS

||A.P|| Kumarila Bhatta asks Sankaracharya to visiting his dear disciple Mandana Misra in Mahishmati town

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Sm. vantena Ve da pathanam | vis . . mayan. |gu . ru. Varah pm . . MUSICAL ASPECTS

The charanam starts with tara sthayi shadjamam and ends with Madhya sthayi “Rishabham”.

Janta swara prayogas can be seen in phrases-

1. Ġ Ṙ Ṙ Ṡ Ṡ Ṙ Ġ , |

2. Ṡ N N D P M M G G R |

3. Ġ Ṙ Ṙ Ṡ Ṡ Ṙ Ġ , |

LYRICAL ASPECTS

||C|| there the acarya leaves to Mahishmati along with his disciple. He‟s awestruck by seeing that two parrots in the portico to Mandana Misra‟s house are reciting the Vedas.

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11. Meeting with Mandana Misra

Ragam – Keeravani Talam - Ādi

Vedachakram 21st Melakarta Ragam.

Chatusruthi rishabham, Sadarana gāndharam, suddha Madhyamam, Suddha Dhaivatham, Kakali Nishādham.

11th Kriti of Sri Sankara Vijayam

MUSICAL ASPECTS

This is a ragam of South Indian Classical Carnatic music. The 21st ragam of the 72 Melakarta raga scheme of Carnatic music. “Kiranāvali” is the name of Keeravani ragam in Muthuswami Deekshitār‟s school of music. This is famous in the western classical music too. It is popularly know scale as Harmonic minor scale. It is said to be borrowed to Hindustani music from Carnatic music

The 3rd Raga in the 4th Chakra veda.

Ārohana - S R2 G2 M1 P D1 N3 S.

Avarohana - S N3 D1 P M1 G2 R2 S.

The notes in this scale are Chatusruthi Rishabham, Sādarana Gāndharam, Suddha Madhyamam, Panchama Suddha dhaivatham, Kakali Nishādham.

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As it is the Melakarta ragam with all the seven notes in ascending and descending it is a sampoorna raga. It is a shuddha madhyamam equivalent of simhendra madhyamam which is the 57th M.K.R. and which is a Prathi-Madhyama raga. Popular Janyas of this Melakarta Ragam are Kalyana vasantham, sāma priya and vasantha manohari.

Important compositions are:

1. Bala rasamurali - Uttu kādu Venkata kavi

2. Kaligiyunte - Sri Thyagaraja

3. Amba vāni nannu - Muthiah Bhagavatār

4. Devi neeye thunai - papa nasam sivan

5. Varamulosagi - Patnam Subrahmanya Iyer.

In the keeravani ragam when the swaras are shifted in grahabedam we get three other major ragams and they are Hemavathi, Vakulabharanam and Kosalam.

The kriti stars with the graham swarm panchamam and madhyamam as the antya swaram.

The combination of Sādarana Gāndharam, Suddha Madhyamam, Suddha dhaivatham and Kākali nishadam bring out the essence of Keeravani in the anupallavi and charanam

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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The anupallavi starts with the graha swara tāra sthayi shadjamam and ends with the antya swaram Madhya sthayi madhyamam.

There are swaraksharas in the anupallavi if we observe.

1. S R G M G R S |S N N D D P M |

Jai - - - mi – ni | mu – ni – varyan |

2. Ṙ Ṡ N D P M G R |

Mu – ni – var – ryan

Janta swara patterns can also be observed in the anupallavi, -

1. Ś N N D D P M ,

Ṁ Ṁ Ġ Ġ Ṙ Ṡ, LYRICAL ASPECTS

||A.P|| Mandana Misra, having summoned Vyasa, Jaimini etc by matras for his annual pitrpooja. CHARANAM , , P , d p M , , , , , M | m g r s r g M | , r G m P Tat samaye . . . . ta. | tra. . . ga. ta |. Yati va ram , , P D N ṡ Ṡ n d p M | M , g r g M | P , D n S . . Kupi ta vadane . . na. | kas. Tvam I ti. | Du. Ri kr ta

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MUSICAL ASPECTS The charanam starts with a gap of two aksharas same as we see in pallavi and anupallavi. Graha swaran being panchamam and antya swaram being madhyam. A janta swara prayoga and more of dhatu swara patterns can be seen in the charanam.

1. M M G G R R Ṡ , || - Janta swara 2. N Ṙ N D N D P M | 3. Ṙ Ġ Ṁ Ṙ P D P M | 4. Ṡ N , D N , ; Ṡ N , Ġ Ṙ |

LYRICAL ASPECTS ||C|| At the time, seeing the ascetic (Sankara) who had arrived there, asked him angrily who he was. But the Acarya calmly told him that guests are to be revered and anger was never to be shown.

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12. Beginning of Debate between Mandana Misra and Sankara

Ragam – Rishabhapriya Talam - Ādi 62nd Melakarta Ragam. Chatusruthi Rishabham, Antara Gāndharām, Prathi Madhyamam, Suddha dhaivatham, Kaisika Nishādham. PALLAVI , , ṡ Ṡ Ṡ , ṡ n d n D P | m p m g R G | , M , P , , Guru Sanka. Ra de .. si | ka . . . . ya na |. Mas. te . . , , P , D n Ṡ , n n d P | , , Ṡ n d P | ṡ n d p d p mp . . Su. brahmanya . . di | . . bhakta jana | to. Shi ta. ya. dn . . 12th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Rishabha priya is a ragam in Carnatic music which is the 62nd Melakarta ragam in the 72 melakarta scheme of music. It is the Prathimadhyamam equivalent of charukesi which is the 26th Mela Karta Ragam. It is called Rathi priya in Muthuswami Deekshitār‟s school of music. It is the 2nd ragam in 11th chakra rudra.

Arohana - S R2 G3 M2 P D1 N2 S.

Avarohana - S N2 D1 P M2 G3 R2 S.

As it is the Melakarta ragam by definition it is a sampoorna ragam Since, it has all the seven swaras in the ascending and descending scale.

Rishabha priya‟s notes when shifted using graha bedam from its panchamam „pa‟ yields one other MelaKarta ragam Kokila Priya. Graha beda is the step taken in keeping the relative note frequencies same while shifting the shadjam to the next note in the ragam. 63 63

The combination of Prathi Madhyamam, Suddha dhaivatham and Kaisika Nishadam can be observed in the phrases like, 1. M P, N D,

2. M P, D P,

3. P D, ND, ; N; D P, /,, M N, DP, / P, M G R S, //

4. S; S, S S S N N; N D P, / , , M P , N D , / P ; D N , S, //

Rishabhapriya and Kokila Priya are also the only Melakarta ragam to contain a whole tone scale. By omitting „pa‟ in Rishabha priya and „sa‟ in kokila priya yields the other scale.

Important composition of Rishabhapriya is Mahima dakkinchu by Saint Thyagaraja. Sri Kollegal Subrahmanyam‟s kriti starts with the graha swaram in the tara sthayi shadjamam and ends with the antya swaram nishadam in the pallavi. After a gap of two aksharas the kriti starts, in the anupallavi and charanam also we can see the same anāgata prayogam.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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N ġ Ṙ Ṙ ġ Ṙ ṁ Ġ ṙ Ṡ | ṡ ṙ ġ ṙ ṙ ṡ ṡ ṅ | ġ ṙ ṙ ṡ ṅ ṡ n p .. A .. mantrayanya ti va ram | Va... da. bhi | ksha . . rthe.. dn . . MUSICAL ASPECTS In the Anupalavi graha swara with a gap of 2 aksharas starts with tāra sthayi shadjamam and ends with the antya swaram nishadam. The swarakshara prayogas are seen in the anupallavi in the following phrases –

Special prayogas can be seen in the anupallavi in phrases like these with lots of Janta swara patterns.

1. Ṡ Ṙ Ġ Ṙ Ṙ Ṙ Ṡ | Ṡ N N D D P P D 2. Ṡ Ṙ Ġ Ṙ Ṙ Ṡ Ś N | Ġ Ṙ Ṙ Ś N Ś N P D D N |

LYRICAL ASPECTS ||A.P|| Bharati and Mandana Misra, having invited the ascetic for a debate.

MUSICAL ASPECTS The charanam starts with the graha swaram madhyasthayi panchamam and ends with the antya swaram tarasthayi shadjamam. The Janta swaras in the charanas are as follows:-

1. , , Ṡ Ṙ Ġ Ġ Ṙ Ṡ Ġ Ṙ Ṙ Ṡ N D P| 2. Ġ Ṙ Ṙ Ṡ Ṙ Ṙ Ġ|

In the charanam ending swara in the Janta Swara Prayogas can be seen in the tara sthayi -

1. Ṡ Ṙ Ġ Ġ Ṙ Ṙ Ṡ, | Ṡ N N D P M P D |

2. Ṡ Ṙ Ġ Ġ Ṙ Ṡ Ġ Ṙ Ṙ Ṡ N D P | Ġ Ṙ Ṙ Ṡ Ṙ Ġ |

Ġ Ṙ, Ġ, Ṙ Ġ Ṁ Ġ Ṙ Ṙ Ṡ | LYRICAL ASPECTS ||C|| Bharati said the following Both the participants should wear two flower garlands, the winner‟s garland would remain fresh till the end of the debate. Now you may please begin the debate.

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13. Defeat of Mandana Misra

Ragam – Hari Kāmboji Talam - Ādi

Bana chakram 28th Melakarta Ragam.

Chatusruthi rishabham, Antara Gāndharam, suddha Madhyamam, Chatusruthi dhaivatham, Kaisika Nishādham swaras.

13th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Hari Kamboji is the ragam in Carnatic music which is the 28th Melakarta ragam in the 72 Melakarta system of Carnatic music. One of the first scales employed by the ancient Tamils was the mulaipann of the pentatonic scale composed of notes.

S R G P D equivalent to 5 C D E G A in the western notations these fully harmonic scales constitutes the raga Mohanam in the Carnatic music style. Mulaipann further evolved into sempallai a scale based on seven notes by the addition of two more notes „ma‟ and „ni‟ to the pentatonic scale sempallai pann. It corresponds to the raga Harikamboji of the Carnatic style of music. „Kamaj‟ that is the equivalent of this raga in the Hindustani music. It is called Hari kedara gowla in the Muthuswami deekshitār school of music. In the western music Mixolydian mode is the equivalent of this raga.

It is the 4th Raga in the 5th Chakra Bana. The mnemonic name is Bana - Bhu.

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Ārohana - S R2 G3 M1 P D2 N2 S.

Avarohana - S N2 D2 P M1 G3 R2 S.

The notes used are Chatusruthi Rishabham, Antara Gāndharam, Suddha Madhyamam, Chatusruthi, dhaivatham, Kaisika Nishādham.

It is Sampoorna raga having all the seven swaras. It is a suddha madhyamam equivalent of vachaspathi which is a Prathi-Madhyama raga and is the 64th Mela Karta Ragam.

It has many Janya ragas and they are Mohana, Kharaharapriya, sahana, Yadukula Kamboji, Bahudhari, Kedara gowla, Navarasa Kannada, Senjuratti and surati.

Important compositions are:

1. Rama nanu brovara - Sri Thyagaraja

2. Enta rā nee tana - Sri Thyagaraja

3. Dina mani vamsa - Sri Thyagaraja

4. Enādu manam kavalai - papa nasam sivan.

Hari Kamboji ragam notes when shifted using grahabedam yields 5 other ragas and they are Kalyani, Sankarabharanam, Natabhairavi, Khanaharpriya, and Hanumath thodi which are also Melakarta ragams.

1. In the pallavi also Janta Swara Prayogas can be seen.

P G, M; P D N S N N D, | S N N D D P P M |

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, gives contentment to devotees like Subrahmanya.

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1. Ṁ Ġ Ġ Ġ Ġ Ṙ Ṡ - - - 2. N D D P ------

Swaraksharas can be seen in the anupallavi.

1. , , Ṡ N, D , N D , P M G R S |

- - va – da – prathiva - - da - |

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2. M Ġ Ġ Ṙ Ṙ Ṡ Ṡ N |

Ma - - nda - - na - |

3. P ; D ; N , M P D N Ṡ , | charanam

Va – da - - ntesan – karaha - |

The kriti starts with the graha swaram panchamam and ends with the antya swaram, madhyamam with a gap of two aksharas in pallavi and charanam. Janta Swara prayogas can be seen in the phrases of Anupallavi in the 4th sangathi.

1. Ṁ Ġ Ġ Ġ Ġ Ṙ Ṡ , | N D N Ṙ Ṙ Ṡ , |

N D D P P M G R | Ġ Ṙ Ṡ Ṡ N D N D | Ṡ Ṙ Ġ Ṁ Ġ Ġ Ṙ Ṡ |

LYRICAL ASPECTS ||A.P||The argument went on for 15 days between Sankara and Mandana Misra.

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2. ġ ṁġ Ṁ Ġ , ṁ ġ ġ ṙ ṡ ṙ Ġ |ṁ ṁ ġ ġ ṙ ṙ Ṡ | ṁ ġ ṙ ṡ n d n d . . Srunume. va. ca . nam bho | Va. . dam ku | ru. ma . ya. tvam pm . . MUSICAL ASPECTS Charanam starts with a gap of 2 aksharas and graha swaram in madhyasthayi panchamam and ends with Madhya sthayi madhyamam.

In the charanam also Janta Swara Prayogas can be seen in the first line 1. N D D P M G R S | 2. Ṡ Ṡ, Ṡ Ṡ N P N D, D N Ṡ, | Ṡ N N D N S R | 3. Ġ Ṙ Ṙ Ṡ Ṡ Ṙ Ġ | Ṁ Ġ Ġ Ṙ Ġ Ṙ Ṡ , | Ṡ Ṙ Ġ Ġ Ṙ Ṙ Ṡ , | S N N D D P P M | M G Ġ Ṙ Ṙ Ṡ Ṡ N | N D D P P M G R 1. , , S N, D, N D, P M G R S, | . . Va – da pra thiva - - da | 2. Ṁ Ġ Ġ Ṙ Ṙ Ṡ Ṡ N | Ma - - nda – na - | 3. - - P; D; N, M P D N Ṡ, | -- va – da - nite san -kara| The pallavi depicts the gurubhakti of Sri Kolleigal Subrahmanyam. As we come to the anupallavi the debate between Mandanamishra and sankaracharya for 15 days is described. In the charanam the defeat of Mandana Mishra and Bharathi devi getting depressed is explained.

LYRICAL ASPECTS ||C|| At the end of which Sankara stood shining with his flower garland unfaded, the defeated Manadana Misra crestfallen, when his wife Bharati told him to take up the debate with her.

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14. Bharati’s discussion on Kamasutra

Ragam – Shanmukhapriya Talam – Ādi

Disi chakram 56th Melakarta Ragam. Chatusruthi rishabham, Sādharana gāndhāram, Prathi Madhyamam, Suddha dhaivatham, Kaisika Nishādham swaras.

PALLAVI , , p D P, p M G, R | s r g r S s r | , g M P , , Guru San. kara. de. si | ka . . ya. na. |. mas. te.. , , p D N , d N N d P | , , Ṡ n d P | p d p m p m g r . . Su. brahman.ya. di | . . bhaktajana | pu . ji . ta . ya gm . . 14th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS It is the raga of Carnatic music.It is the 56th Melakarta ragam parent scale in the 72 Melakarta raga scheme of Carnatic music. It is called “Chāmaram” in the Muthuswami Deekshitār‟s School of music. It is believed that it has been borrowed to Hindustani music from Carnatic music. Many compositions are composed of Shiva and Murugan in this ragam. Structure and lakshana:- It is the 2nd Ragam in the 10th Chakram called Disi. The mnemonic name is Disi - Sree.

Ārohana - S R2 G2 M2 P D1 N2 S.

Avarohana - S N2 D1 P M2 G2 R2 S.

The notes occurring in Shanmukhapriya are:- Chatusruthi Rishabham, Sādharana Gāndharam, prathi Madhyamam, panchamam, Sudha dhaivatham, Kaisiki Nishādham.

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It is Sampoorna raga and is the prathi madhyama equivalent of Natabhairavi raga which is the 20thMelakarta raga and which is a suddha Madhyama raga.

It has many compositions by various vaggeyakāras and they are:- 1. Vaddane Vāru - Sri Thyagaraja 2. Marivere dikkevarayya - Patnam Subrahmanya Iyer 3. Parvathi nayakane - Papa nāsa sivan 4. Saravana Bhava Ennum - papa nāsa sivan. 5. Abhimanamutho nannu Brovarādha - Mysore Vasudevacharya 6. Valli nayaka neeve - Muthaiah Bhagavatar 7. Siddhi Vinayakan - Muthu Swami Deekshitār.

When the notes in Shanmukhapriya are shifted using graha bedam, we get shoolini, Dhenuka and Chitrambari which are also Melakarta ragas.

Pallavi “Guru Sankara desikaya namasthe Subrahmanyadi bhakta jana Vandithāya”.

The pallavi starts with a gap of two aksharas. It starts with the graha swaram Panchamam and ends with the antya Swaram Madhyamam.

In the pallavi Sri Kollegal Subrahmanyam guru‟s bhakti towards Sankara is mentioned and his mudra “Subrahmanya” can be seen.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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MUSICAL ASPECTS The anupallavi starts with the graha swara panchamam and janta swara prayogas are used and the anupallavi ends with madhyamam.

Example:- P D , N ; N D N N Ṙ Ṡ Ṡ N | P D , N ; N D N N Ṙ Ṙ Ṡ N |

LYRICAL ASPECTS ||A.P|| Bharati asks him to describe in detail the „Sodasakala‟ as given in the Kamasootra. CHARANAM , , N , d N , ,M , d N | n ṙ ṡ D , n d | ,N d N Ṡ Bha. ratim.. ba . dhita | Ma .na sa. ma. |. Sama va dhim , , ṙ Ġ ṙ Ṡ ṡ n ṙ ṡ n d N | Ṡ , n D P | n D n Ṡ . . Prasana vita. Ra. na. ya |de. yamiti |pr . . cchan. 1. , , n Ṙ N ṡ Ṡ Ṡ n d N | , , p D n Ṡ | Ṡ , n Ṙ Ṡ . . Nis. Kramyasisyenasaha |. . dir. gha. | lo. ca ne na 2. , , ṡ ṙ ġ N ṡ N N n ġ Ṙ | , , ṙ Ġ ṙ Ġ | ġ ṙ ṙ ṡ N , ṡ Ṙ . . Nis. Kramyasisyenasaha |. . dir. gha. | lo. ca. ne. na 3. , , ṡ ṙ ġ Ṙ ṡ Ṙ Ṙ ṡ ṙ Ġ | , , ṙ Ġ ṙ Ġ | ṁ ṁ ġ ṙ ṡ ṙ Ġ . . Nis. Kramya si syenasa ha |. . dir. gha. | lo. ca. ne. Na 1. , , ṙ Ġ ṙ Ġ ġ ṁ ġ ṙ ġ ṙ Ṡ | ṡ Ṙ N , Ṡ | ṙ ṡ n d N Ṡ . . Kim kar. ta. vya. mi ti | va. nan. ta |ra. .. .. ya 74 74

2. , , ṙ Ġ ṙ Ġ ġ ṁ ġ ṙ ġ ṙ Ṡ | ṡ ṙ ġ N, Ṡ | ġ ṙ ṙ ṡ n ṙ ṡ n . . Kimkar. ta. vya miti |va .. nan.ta |ra . . . . . ya 3. dn ṙ Ġ ṙ Ġ ṗ ṁ ṁ ġ ġ ṙ Ṡ | ṡ ṙ ġ ġ ṙ ṡ n ṡ | ṙ ṡ n d ṙ ṡ n d . . Kimkar. ta . vya. miti | va. . nan . ta. | . ra . . ya .. p m . . MUSICAL ASPECTS The charanam starts with a gap of two aksharas with its notation starting with the graha swara “nishādam” and ending with the antya swaram madhyamam.

The notation of the charanam too has a lot of Janta Swara Prayogas. 1. Ġ Ṙ Ṙ Ṡ N , Ṡ Ṙ, | in the second sangathi of charanam. 2. Ṁ Ṁ G R Ṡ Ṙ Ġ, | in the third sangathi of the charanam. 3. Ṙ Ġ , Ṙ Ġ , Ġ Ṁ Ġ Ṙ Ġ Ṙ Ṡ 4. D N R G , R G, P M M G G R S , | S R G G R S N S |

Charanam starts with the madhya sthayi nishadam and goes upto tara sthayi panchamam at the end of the charanam.

In the charanam Shankaracharya sits along and begins to think regarding the question put by bharathy devi. After sometime he takes a decision in his mind and leaves to mahishmati city, along with his students and comes upon a forest. Assuming the cave to be safe he orders his students to set camp there.

LYRICAL ASPECTS

||C|| Ignorant in these matters, Sankara requests for a month‟s time to answer her question. He leaves the place to go else where after having thought a long time, along with his disciples.

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15. Entry of Sankara’s soul into other’s body

Ragam – Vāgadeeshwari Talam - Ādi

Ruthu chakra 34th Melakarta Ragam.

15th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

It is the 34th ragam in the 72 Melakarta raga scheme of Carnatic music. It is called “Bhoga Chaāyā Nāta” in the Muthuswamy Deekshitār School of music.

It is the 4th raga of the 6th Chakra Ruthu.

Ārohana - S R3 G3 M1 P D2 N2 S.

Avarohana - S N2 D2 P M1 G3 R3 S.

The notes occurring in this Melakarta raga are shadjam, Shatsruthi Rishabha, Antara Gāndhara, Suddha Madhyama, panchama, Chatusruthi dhaivatha, Kaisika Nishādha.

It is the suddha madhyamam equivalent of „Nāsika Bhooshani‟ which is the 70th melakarta raga and which is a Prathi Madhyama raga. The janya ragas associated with it are magadhee, and mohanangi are occasionally heard.

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Few common compositions sung in concerts:-

Paramatmudu - Sri Thyagaraja

Bhoga Chāye natakapriye – Sri Muthu Swami Deekshitās.

Pranamamyaham – Dr. Bala Murali Krishana

Vāgadeeshwari‟s notes when shifted using graha bedam, yields to, other minor Melakarta ragas and they are „Nāganandini‟ and „Bhavapriya‟.

The pallavi starts with the graha swara, Rishabham, and antya swaram Gandharam.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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MUSICAL ASPECTS The Anupallavi starts with a gap of 2 aksharas with the graham swara panchamam and antya swaram gandharam. Swarakshara‟s can be observed in the 1st 2nd and 3rd sangatis of the anupallavi.

Janta swara prayogas can be seen through out the anupallavi and sancharam going upto tāra sthayi madhyamam.

1. Ṡ N N D N D P, | (1st sangathi of Anupallavi) 2. Ṡ Ṙ , Ṙ , Ṡ Ṡ , N D N Ṡ, (1st sangathi of Anupallavi) 3. Ṡ N N D N D D P | show janta swara prayogas. In the 1st sangathi of Anupallavi) LYRICAL ASPECTS ||A.P|| Having entered the dead body of the king Amaruka using his knowledge of entering other entities;

CHARANAM

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The charanam too starts with a gap of 2 aksharas graha swaram being panchamam and antyaswaram being gandharam. Jantaswara patterns can be observed in the charanam especially in the phrases “upacharya rajan saityaopacharena”.

In the charanam phrases show Janta swara prayogams.

1. , , ;P , M M , P , M ; ; | , , M ; M ; M | M M G G R, S , | (in the first line of the charanam)

, , Ṡ Ṡ , Ṙ , Ṙ Ṙ , Ṙ Ġ Ṁ Ṗ , |

2. , , Ġ Ġ , Ġ ; | Ṙ ; Ṙ , ; Ṡ , ; | (2nd sangathi of the charanam)

, , N Ṡ , Ṡ Ṙ , Ṙ ; Ṙ ; Ṙ , | (1st sangathi)

, , Ṡ N N D N D D P , M G | (3rd sangathi in the last line of the charanam) LYRICAL ASPECTS ||C|| The queen, ministers and courtiers, who noticed the movement in the king‟s body, were delighted and took great care of him, serving him with utmost respect.

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16. Scecret discussion by the Members of the Royalty

Ragam – Hemavathy Talam - Ādi

Disi chakram 58th Melakarta Ragam. Chatusruthi rishabham, Sadharana gāndhāram, Prathi Madhyamam, Chatusruthi dhaivatham, Kaisika Nishādham. PALLAVI , , ṡ Ṡ , ṡ Ṙ N , D | P , P , M , | , G , R , , Guru Sanka ra De. si | ka . ya . na . |. Mas. te . . S s R G, M, P d N | , , N ṡ n D | n ṡ n d n d d p . . Su. brah. man ya . di. | . . Bhakta ja na | pu. Ji. ta . ya . dn . . 16th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS Hemavathy is a ragam in Carnatic South Indian Classical Music. It is the 58th ragam of the 72 Melakarta raga system of Carnatic music. Simhāravam or Desi simharavaragam in the muthuswamy Deekshitār School of music. It is a beloved raga of the Nadaswaram Vidwans. It has been borrowed into the Hindustani music from Carnatic music especially by the instrumentalists.

It is the 4th raga of the 10th Chakram Disi.

Ārohana - S R2 G2 M2 P D2 N2 S.

Avarohana - S N2 D2 P M2 G2 R2 S.

The notes occurring in this raga, Chatusruthi Rishabham, Sadharana Gāndharam, Prathi Madhyamam, panchamam, Chatusruthi dhaivatham, Kaisiki Nishādham.

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It is a sampoorna ragam and is the Prathi madhyamam equivalent of kharaharapriya which is the 22nd Melakarta raga an.

Kritis like Sri Kanthimathim, Hariyuvatheeem Hymavathim and madhu rambikāyam were composed by Muthuswami Deekshitār.

Mantrini mātanga - Muthaiah bhāgavatār

Ika tālanenurā -

Nee sari sāti - by Sri Thyagaraja

Keeravani, vakula bharanam and kosalam are the raga‟s yielded by doing graha bedam with the notes of Hemavathi.

Janta swara prayogas can be seen in the laghu and dhrutham of pallavi.

1. Ṡ Ṡ , Ṡ ; Ṡ Ṙ ; N ; D , | P ; P ; M , |

2. N Ṡ N D N D D P |

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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2. ṡ N Ġ , Ṙ ṙ , ġ ṁ Ġ , Ṙ | ṡ ṙ ġ ġ ṙn Ṡ | ġ ṙ n ṡ ṡ n d p Sukha shanti sau. Bhag . yam | sad. Bha. vam | pra. ja. Yam.. . dn . . MUSICAL ASPECTS The Anupallavi in the 16th krithi of sri sankara vijayam starts at the sama graham which is a different aspect seen in his kritis of sri sankara vijayam. Graha swaram is tara sthayi shadjaman and antya swaram is nishadam. Anupallavi has the following janta swara prayogas:-

1. N ; R , R R , |

2. Ġ Ṙ Ṙ Ṡ Ṡ N D D N |

3. Ṡ Ṙ Ġ Ġ Ṙ N Ṡ , |

4. Ṡ Ṙ Ġ Ġ Ṙ Ṡ N , Ṡ , N Ṡ Ṙ Ġ Ṙ, | Ṙ ; Ġ , Ṙ G , |

Swaraksharas can be observed in the anupallavi:-

1. Ṡ N N Ṡ, Ṡ R , | Ṡ ; Ṡ N Ṡ Ṙ , | (2nd sangathi)

Tha - - da sa chi - | va – da yana - - |

2. Ṡ Ṙ , N ; Ṡ , | (in the 4th sangathi)

Sa – dbha – vam |

3. Ṡ Ṙ Ġ Ġ Ṙ N Ṡ , |

Sa - - dbha - - vam - |

LYRICAL ASPECTS ||A.P|| The queen and ministers, having observed well-being, peace and prosperity amongst the public. CHARANAM P , P m P p P p M g r | S , s r g R | s R G m P A.lo ca yan rahasyaman di re | Ra.ja ma hi shi | sachivada yah

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2. ṙ ġ ṁ ṁ ġ Ṙ ṡ ṡ n Ṡ ṙ ġ Ṁ | ġ ṁ ṗ ṁ ġ Ṙ ṡ | ġ ṙ ṙ ṡ ṡ n d p Dahanasamskaram karani yamiti | dahanasamskaram | kartavyamiti dn . . MUSICAL ASPECTS The charanam starts with the sama graha with its graham swaram Madhya sthayi panchamam and antya swaram Madhya sthayi nishadam. The charanam as seen in other kritis has tāra sthayi sancharam from the second line and goes, upto tara sthayi panchamam. The Janta swaras can be seen in the phrases. In the charanam Janta swara can be seen in the phrases. 1. Ṡ N , N , Ṡ N D | N N D , N , Ṡ , | 2. Ṙ Ġ Ṁ Ġ Ṙ Ṡ Ġ Ṙ Ṡ N D N Ṡ | 3. Ṙ Ġ Ṁ Ṁ Ġ Ṙ , Ṡ Ṡ N Ṡ , Ṙ Ġ Ṁ , | 4. Ġ Ṙ Ṙ Ṡ Ṡ N D P N | Swaraksharas can also be seen in the charanam first line. P ; P , M P , P P , P M , G R | S R , G , M P , P | A – lo – chayannrahasya mandire | Sa chi va daya ha

LYRICAL ASPECTS ||C|| Came to the conclusion that it was the king‟s body by the soul of a saint after a private discussion, and then ordered the soldiers to find and cremate the bodies of every dead saint.

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17. Re-entry into his body-Laksmi Nrsimha Karavalamba stotram

Ragam – Gouri Manohari Talam - Ādi

Veda chakram 23rd Melakarta. Chatusruthi rishabham, Sadarana gāndhāram, Sudha Madhyamam, Chatusruthi dhaivatham, Kākali Nishadham swaras.

17th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS Gouri manohari is a ragam in Carnatic music. It is the 23rd melakarta ragam in the 72 melakarta ragam system of Carnatic music. The 23rd Melakarta rāgam as per Muthuswami Dikshitār school of music is gourivelāvali.

Hindustani music does not have an equivalent to this ragam. Where the purvanga (first half of the scale) is like kafi thāt, while the uttaranga (second half) is like bilaval thāt.

It is the 5th ragam in the 4th chakra veda. The mnemonic name is veda-ma.

Ārohana - S R2 G2 M1 P D2 N3 S.

Avarohana - S N3 D2 P M1 G2 R2 S.

The following are a few popular compositions in this ragam.

1. Guruleka etuvanti by Thyagaraja

2. Varalakshmi namosthuthe by mysore vasudevacharya

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3. Sarasa sama mridu pada by swati tirunal.

Gouri manohari‟s notes when shifted using graham bedam, yields 3 major melakarta rāgams namely vachaspati, natakapriya and charukesi.

17. Structural analysis

This kriti starts with the graha swaram shadjamam and ends with the antya swaram Nishdam both in the pallavi and anupallavi.

The janta swara proyoga‟s can be seen in the starting of the pallavi in the phrases-

1. S S , N ; D , P, P ; M |

2. N ; D ; P ; M M G , R | , , S , R G M , | P ; P , P D |

Pallavi depicts the guru bhakti of sri kolleigal and as we come to the anupallavi sankaracharya leaves the body of the king. After examining the body of the king the guards realize and declare the king dead.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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, , Ṙ ġ ṁ ġ ṁ ġ ṙ Ġ Ṙ Ṡ | ġ ġ ṙ ṙ Ṡ ṡ n | d p r ṡ ṡ n d p . . A sanadavasara dutthaya | dharan yamnipa | tah ksha ne. na. dn . . MUSICAL ASPECTS The anupallavi starts with the graha swaram tāra sthayi shadjamam and ends with the antya swaram nishaadam with a gap of 2 aksharas. In the anupallavi Janta swara prayogas can be seen in the phrases of the 4th sangathi.

In the anupallavi Janta swara prayogas can be seen in the phrases of the 4th sangathi.

1. , , R , G M G M G R G , R , S, | G R R S S , S N | D P R S S N D P|

Swaraksharas can be ovserved in the first sangathi of the anupallavi in the

1. , , Ṡ ; Ṡ , N Ṡ , D , N , Ṡ , | - - Ma – sa – nta re nru – paha - |

The anupallavi goes to the tara sthayi madhyamam from tara sthayi shadjamam and finally glides down to Madhya sthayi nishadam.

LYRICAL ASPECTS ||A.P|| After a month‟s time , he king suddenly collapsed on his throne on hearing the phrase, “tattvamasi” CHARANAM , , p P p P M m m G R | r R g R s | R , G , M Vanantare Ra ja Bhata h | san. kara ssa | n . ra . ya , , p P D n P N n d P | , , m G r G | M P d n Ṡ . . A ti vege no dyukta . h | . . da ha na sam| skara na.ya 1. , , ṡ Ṡ n D N D N Ṡ | , , n Ṡ ṙ Ṡ | Ṡ , d N Ṡ . . Pravesayansva Sari re | . . tvaritaya | San. ka ra h

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MUSICAL ASPECTS

The charana starts with a gap of 2 aksharas and graha swara being panchamam and antya swaram also panchamam.

Janta swara prayogas in the charanam

1. P P , P P , M , M M G , R , | R R , G R , S , R ; G ; M , |

In the charanam second sangathi.

1. , , R , R , R G , G G M , G , R | S R G R G R |

2. ,, R, R, R G M G G M ; M | G G , M M, M G | R G M P ; |

The swaraksharas are there in the first line in the dhrutham 1. R R , G R , S , | R ; G ; M ,| San – ka ras sa | ri – ra - - ya - |

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2. , , R , R , R G , R G M , G R | (Third sangathi of the charanam) - - La – kshmi nru – sim ha ma ma de – hi |

There are many sangathis to this charanam which she was we can sing this charanam in detail to show the beauty and importance of the sahitya which say‟s,

“ vanantare Rajabhatah sankarassaritaya

Ativegena udyuktah dahana samskaranaya

Pravesyan swasarire kshanena sankarah

Lakshmi nrusimha mamadehi karavalambini”

Prarthhayan

LYRICAL ASPECTS

||C|| At another place, just as the soldiers were about to cremate Sankara‟s body, his soul entered it and then Sankara prayed to Lord Lakshminrsimha to shower his blessings upon him.

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18. Sorrow of Bharati

Ragam – Ramapriya Talam – Ādi

Brahma chakram 52 Melakarta ragam. Suddha rishabham, Antara gāndhāram, Suddha Madhyamam, Chatusruthi dhaivatham, Kākali Nishādham. PALLAVI , , p M P , d N D , P | p m g r S S | , R , G , , Guru San. kara de. si | ka . . . yana | . mas. te . . , , p M P , p m m g g r S | , , S r g M | p d n ṡ ṡ n n d . . Su . brahman ya . . . di | . . Bhaktajana. | van. Di . ta . ya . p m . . 18th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Ramapriya is a ragam in Carnatic music (musical scale of south Indian classical music). It is the 52nd Melakarta Ragam in the 72 Melakarta scale system of Carnatic music. It is called Ramāmanōhari in Muthuswami Dikshitar school of Carnatic music.

It is the 4th ragam in the 9th chakra brahma. The mnemonic name is brahma - Bhu.

Arohana - S R1 G3 M2 P D2 N2 S

Avarohana - S N2 D2 P M2 G3 R1 S

The notes are shuddha rishabham, Antara gandharam, Prathi madhyamam, Chatusruthi dhaivatham, kaisiki nishadam which are used in this scale.

It is the Prathi madhyama equivalent of chakravakam which is the 16th melakarta scale and which is a suddha madhyama raga.

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Important compositions are :-

1. Sāmodam paripālaya by Swathi Tirunal RamaVerma.

2. Mahadevamanisham by Balamurali Krishna.

3. Smaraamyaham sada rahum by Muthu Swami Deekshitas

4. Kirina varamisagu by Patnam Subramaia Iyer

Ramapriya‟s notes when shifted using Graha - bedam,yields no other melakarta raga, as such a step taken on any of the 6 swarams (Ri to Ni) comes up with scales that do not conform to the melakarta rules.

The kriti starts with the graha swaram panchama and antya swara madhyama.

The pallavi depicts the bhakti of sri kolleigal. R.subrahmanyam. in the anupallavi shankarachary after staying for one month in king Amaruk‟s body he returns back to his bodywith the grace of lord Narasimha unscatched from the pyre lit by the soldiers. In the charana Udhaya Bharathi Devi feels ashamed of herself and asks Shankaracharya to forgive her. Shankaracharya consoles Udhaya Bharathi Devi and initiates her husband as a sanyasin.

Janta swara prayogas in this kriti are:-

1) In the pallavi in the phrases. (a) , , P M , P ; P M M G G R S , |

(b) P D N S S N N D |

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, prayed by devotees like Subrahmanya.

ANUPALLAVI

1. , , ṡ Ṡ , Ṡ ṡ n n d N S | , , ṙ ṡ ṙ ṡ Ṙ | ṡ n n d N Ṡ . . Nrsimhanu. gra. hena |. . ni. mi. sha | ma . . . tre na

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2. , , ṡ Ṙ , Ṡ ṡ n n d n ṡ Ṙ | , , ṙ Ṙ ṡ Ṙ | , , ṡ ṙ ġ ṙ Ṡ . . Nrsimhanu. gra. he . na |. . ni mi sha ma |. . tre . . . na 3. , , ṡ Ṙ , Ṡ ṡ n n d n ṡ Ṙ | , , n Ṡ ṙ Ġ | , , ġ ṁ ġ ṙ Ṡ . . Nr sim.hanu. gra. he . na |. . ni mi sha ma |. . tre . . . na , , Ṡ , Ṙ ġ ṁ Ġ Ṙ , Ṡ | , , ṡ ṙ ġ ṙ Ṡ | ṡ n n d d p p m . . Dagdha gnipra.. ma. dat | . . Pa . . rayan | gu . ru. Va. rah gm . . MUSICAL ASPECTS The Anupallavi starts with a gap of 2 aksharas with the graha swaram tāra sthayi shadjama. It ends with the antya swara madhyamam. The swarakshara prayogas in the anupallavi observed are in the 3rd sangathi.

1. , , N Ṡ Ṙ Ġ , | , , Ġ Ṁ Ġ Ṙ Ṡ , | - - ni mi – sha maa - | - - tre - - na - - |

The Janta swara patterns seen in the anupallavi are,

1. , , Ṡ Ṡ ; Ṡ , Ṡ N N D N , Ṡ , | 2. , , Ṡ Ṙ ; Ṡ , Ṡ NNDN Ṡ Ṙ , | Ṡ NNDDPPM|

LYRICAL ASPECTS ||A.P|| By the grace of Lord Nrsimha, the Acarya escaped unhurt from the cremation pyre. CHARANAM , , P, M g R , S r G | , , P M G | p m m g g r S A . lo . kya. Bharati | . . vyathita | Ma . na . se. na , , s R G g m P D n n D | P, d N | , , p D n Ṡ . . Ksanta vyamaparadhamiti | Prar. Tha yan | . . guru varam 1. , , Ṡ , Ṡ n D n d d n Ṡ | , , ṙ Ġ ṙ Ṡ | ṡ n n d N Ṡ . . Bho Sankara de. si. ka | . . pari gra ha | ma. ma. pa tim

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LYRICAL ASPECTS ||C|| Bharati, having been defeated, asked Sankara to forgive, who requested to return home, her husband who was initiated into sannyasa Dharma.

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19. Mandana Misra takes up Ascetism and leaves with Bharati to the South

Ragam – Sarasāngi Talam - Ādi

Bana chakram 27th Melakarta ragam. Chatusruthi rishabham, Antatra gāndhāram, Shudha Madhyamam, suddha dhaivatham, Kakali Nishādham. PALLAVI , , g M G , r G m g g r s | s r g m G R | , P , M , , Guru San. kara de . . . si | ka . . . yana | . mas . te . . , , g M P , D , N , D |, , N ṡ n D | ṡ n n d d p p m . . Su. brah.manya. di | . . Bhaktaja na | vandi. ta. ya. gr . . 19th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Sarasangi is a ragam in Carnatic music. It is the 27th Melakarta Ragam (parent scale) in the 72 Melakarta rāgam system of Carnatic music. It is called „sourasena‟ in Muthuswami Dikshitar school of music.

It is the 3rd rāgam in the 5th chakra Bana. The mnemonic name is Bana - Go.

Arohana - S R2 G3 M1 P D1 N3 S

Avarohana - S N3 D1 P M1 G3 R2 S

This rāgam uses the swaras Chatusruthi rishabham, Antara gandharam, Shudha madhyamam, Shudha dhaivatham, kakali nishadam.

By definition, Sarasangi a melakarta ragam is a sampoorna rāgam.It is the shudha madhyama equivalent of Latangi,which is the 63rd melakarta scale. Sarsangi 93 93

has a few minor janya rāgams of which „kamala manohari‟ and „nalinakanti‟ are popular.

Important compositions are :-

1. Jaya Jaya Padmanabha by Swathi Tirunal. 2. Sourasenesham Vallisenam by Muthu Swami Deekshitar

Sarsangi‟s notes when shifted using Graha bedam, yields two other major Melakarta rāgams, namely Dharmavathi and chakravakam.

The pallavi starts with the graham swara Gāndharam and ends with the antya swaram rishabham. A gap of two aksharas can be seen in the pallavi , Anupallavi and charanam.

The pallavi depicts the guru bhakti of sri Kollegal. R.subrahmanyam. As we come to the anupallavi Shankaracharya stops ubhaya Bharathy from taking leave and orders her to take care of the devotees. In the charanam Shankaracharya initiates Mandanamishra as a sanyasin as per the rites prescribed in the vedas. Shankaracharya along with his disciples Mandanamishra and ubhaya bharathi set journey to south of mahishmathi.

W e can see janta swara prayogas in the pallavi :-

1)„ S N N D D P P M G R |

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

In the 2nd and 3rd sangathis of the anupallavi we observe tāra sthayi swara‟s going upto tarasthayi panchamam. Janta swara prayogas can be observed in the anupallavi –

1. P M G R G R Ṡ | 2. Ṡ N N D D P P M |

Anupallavi endings glide down in a peculiar way ṠNNDDPPM| ṠNNDDPPM| in all the 3 sangathis in the sahitya which says “ Dehi Abhayambhakta Janapari palanaya”.

Swarakshara prayoga in the first line of the anupallavi can be seen :-

1. ,, Ṡ Ṡ , N D , | N , ; Ṡ , ; | (Swarakshara is „ni‟-) - - kah – ga ma - | ni - - - yam - - -|

In the anupallavi all the sangathis have the same janta swara prayogam.

1) „ S N N D D P P M

LYRICAL ASPECTS ||A.P|| Both Mandana Misra and Bharati requested Sankara to give refuge to them, as they surrendered everything that was theirs.

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The charanam starts with nishadam as its graham swaram and ends with the anthya swaram rishabham. The charanam starts with a gap of 2 aksharas.

In the charanam the first line shows janta swaras

1) , , N ; N N , N S S N D , P , |

2) G R R M G R S , | „ S N N D D P P M |

Janta swara can be seen in the 1st sangathi of the charanam. LYRICAL ASPECTS

||C|| On taking up asceticism, Mandana Misra was named as Suresvara, and Sankara left Mahishmati for the south , with both of them.

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20. Arrival at Srnga Giri

Ragam – Shubhapantuvarali Talam - Ādi 45th Melakarta ragam. Suddha rishabha, Sādharana gāndhāra, prathi Madhyama, suddha dhaivatha, Kākali Nishadha swaras.

PALLAVI , , p M P , p M D , D | d p p m G r s | , s R G , , Guru San. kara de. si | ka . . . . ya na. | . mas.te . . , , d P D , D , N, Ṡ | , , Ṡ ṡ n D | ṡ n d p n d p m . . Su. brahmanya.di | . . Bhaktajana | van . di. ta. ya gm . . 20th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS The pallavi starts with the graham swaram panchamam the sahityam in the pallavi is used as a mantra in all the kritis which shows the importance of shankaracharya who was the Adi Guru. The pallavi gives us a rough idea of ragam shubhapantuvarāli in the first line itself.

Shubhapantuvarali (pronounced shubhapantuvarali meaning the auspicious moon) is a ragam in Carnatic music. It is the 45th Melakarta Ragam in the 72 Melakarta rāgam system of Carnatic music. It is called Shivapantuvarali in Muthuswami Dikshitar school of Carnatic music. Todi (Thāt) is the equilvalent in Hindustani music.

It is the 3rd rāgam in the 8th chakra Vasu. The mnemonic name is Vasu - Go.

Arohana - S R1 G2 M2 P D1 N3 S

Avarohana - S N3 D1 P M2 G2 R1 S

It is the Prathi madhyamam equivalent of Dhenuka,which is the 9th scale. 97 97

Important compositions sung in concerts are :-

1. Ennallu orake by Sri Thyagaraja 2. Sri Satyanarayanam and pasupatheeswaram by Muthuswami Dikshitār.

Shubhapatuvarali‟s notes when shifted using Graha bedam, yields a Melakarta rāgam, namely Chalanata.

The pallavi starts with the grahaswara panchamam and ends with the madhyamam in the pallavi.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI 1. , , ṡ Ṡ N d D p D n Ṡ | , , Ṡ n Ṡ | Ṙ , N , Ṡ . . A . lo kya Dakshina pa the | . . Sr nga gi | ṅ . kse. tram

In the Anupallavi the graha swaram is tara sthyai Shadjamam and ends with the antya swaram Madhyamam.

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In the pallavi Kollegal. R. Subrahmanyam‟s guru bhakti is depicted. In the anupallavi Shankaracharya along with his disciples see a heart touching scene in the southern hills. In the charanam a frog having labour pains and being scarched by the sun is protected by its mortal enemy snake. A sun protects a frog from the scorching sun with its hood.

The swaraksharas in this kriti are:-

In the anupallavi in the 1st sangathi:

, , ṡ Ṡ N d D p D n Ṡ | , , Ṡ n Ṡ | Ṙ , N , Ṡ . . A . lo kya Dakshina pa the | . . Sr nga gi | ṅ . kse. tram

In the charanam 1st line

The janta swara prayogas can be seen in the anupallavi.

1) , , S N S R , R N , N N , S R , | , , , N , N N , | 2) , , S R G G R S S ,S R , R G , | , , , R , R R , |

LYRICAL ASPECTS ||A.P|| On seeing a most astonishing the scene at the Srngagiri in the south

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4. , , ṁ Ṁ ṁ ṁ ġ Ġ , , ġ Ṙ ṡ | ṡ ṙ ġ ġ ṙ ṙ Ṡ | d n ṡ P ṡ n d . . Prasavamdrs.tva.. manasi | vi . . cin. tayan | gu. Ru. Va. rah pm . . MUSICAL ASPECTS The charanam starts with the graha swara. Madhya slthayi panchamam and ends with the antya swara madhyamam.

The swaraksharas in this kriti are:-

1) - - P M , D ; D , M M , N , N |

In the charanam 2nd sangathi we can see swarāksharas.

2) , , Ġ ṙ Ġ ṙ ġ ṙ Ṡ ṡ n ṡ ṙ | . . Baddhavairi phani na cchadita |

Prayogas of janta swaras can be seen in the charanam also:-

1) , , Ġ Ġ , Ġ Ġ Ṁ Ġ Ṙ Ṁ Ġ Ġ Ṙ Ṡ , | , , Ṙ Ġ , Ṙ Ṡ Ṡ , | Ṡ N N D N , Ṡ , |

2) , , Ṁ Ṁ Ṁ , Ṁ Ġ Ġ , ; Ġ Ṙ , Ṡ | , , Ṙ Ṙ , Ṡ Ṡ , | Ṡ N N D D N Ṡ Ṡ , | LYRICAL ASPECTS

||C|| Where a frog, undergoing the labour pain in the scorching heat of the afternoon sun, was provided shade by a snake with its hood, on seeing which the Acarya thought it over.

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21. Establishment of Srnga Giri Sarada Peetham

Ragam – Varunapriya Talam - Ādi

Veda chakram 24th Melakarta Ragam. Chatusruthi rishabha, Sadharana gāndhara, Suddha Madhyama, Shatsruthi dhaivatha, Kakali Nishādha swaras.

Varuna Priya is a ragam of Carnatic music. It is the 24th melakarta ragam in the 72 melakarta raga system of Carnatic music. It is called Vira Vasantham in Muthuswami Dikshitār school of Carnatic music.

It is the 6th ragam in the 4th Chakra veda. The mnemonic name is Veda - Sha

Ārohana - S R2 G2 M1 P D3 N3 S.

Avarohana - S N3 D3 P M1 G2 R2 S.

The notes Chathusruthi rishabha, Sadharana gāndhara, Shuddha madhyama, Shatsruthi dhaivatha and Kakali Nishadha are used in this scale. It is the Shuddha madhyama equivalent of Neetimati, which is the 60th melakarta scale.

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A few compositions set to Varunapriya are:

1. Yemani pogadudu - by Sri Thyagaraju

2. Veeravasanta Thyagaraju – by Muthuswami Dikshitar is se to viravasantam

Varunapriya‟s swara when shifted using Graha bedam, yields a minor melakarta ragam, namely, Ragavardhini.

The pallavi starts with the graha swara panchamam and ends with the antya swaram madhyamam. The pallavi starts with a gap of two aksharas. Janta swara prayoga can be seen in the pallavi.

In the pallavi Sri kolleigal subrahmanayam‟s gurubhakti towards Sankara is mentioned and his mudra “Subrahmanya” can be seen

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI , , p M p M P , , D D | , , N , n N | D , N , Ṡ Vara tun. Ga . . ta ta | . . Sr. Nga gi | ri . kse. Tram

1. , , ṡ Ṙ ġ Ṙ ġ Ṙ ġ Ṙ ṙ | Ṡ , Ṡ ṡ N | D , d N Ṡ . . U . ttamamiti nirdhara | yan.sara da | Man diraya

2. , , ṡ Ṙ ġ Ṙ ġ Ṁ ġ ṁ Ġ ṙ | Ṡ , Ṡ ṡ N | D, d N Ṡ . . U . ttamamiti nir. dhara | yan.sa ra da | Man.di ra ya

3. , , ṡ Ṙ ġ Ṙ ṙ ġ ṁ ṁ ġ Ṙ ġ | Ṁ , ṁ ġ ġ ṙ ṡ | ṡ n n d n d d p . . U . ttamami.ti nir. dhara | yan. sa ra da | mandi. Ra. ya.

MUSICAL ASPECTS

The anupallavi starts with the graha swaram panchamam and ends with the antya swaram madhyamam. In the notation of the anupallavi we can see a lot of 102 102

janta swara prayogas. In the anupallavi wondering about building a pilgrimage on the banks of river Tungabhadra where nature would adorn it, seamless peace and warmth. The anupallavi notation goes upto tara sthayi madhyamam.

The phrase of “Ṙ , Ġ Ṙ , Ġ” used very often.

LYRICAL ASPECTS ||A.P|| Having decided that Srngagiri on the banks of the Tunga river was ideal for a temple for Sarada CHARANAM , , p P p P , , m p p m g r | r G M , r g | M g M g R Guruvarah . . Sa . . . stra | vidhina . pra | ti. Stha. Payan

The charanam starts with a gap of two akshara‟s with the graha swaram panchama and ends with the antya swaram madhyama. Notation of the charanam too has a lot of Janta swara prayogas.

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Swara akshara prayogam in the charanam can be seen in the first sangathi:

“ N Ṡ , Ṡ , N | D; D N; S |

--Sri-Sa – ra | da – pee – tam |

Charanam starts with the Madhya sthayi panchamam and in the first and second sangathis tāra sthayi sanchamam of swaras can be seen upto tāra sthayi madhyamam.

N Ṡ , Ṡ N, D N , are simple dhatu swaras used in the charanam first line.

Ṙ Ġ Ṁ Ġ Ġ Ṙ Ṡ , Ṁ Ġ Ġ Ṙ Ṙ Ṡ Ṡ N

Ṡ N N D D P M P are simple dhatu swaras used in the second line.

LYRICAL ASPECTS ||C|| He established the Dakshinamnaya Sri Sarada peetam at Srngeri as per the rules of the Sastras and placed the Goddess Sarada in the sacred Vanadurga mantra for the welfare of all devotees.

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22. Hastamalaka becomes his disciple

Ragam – Nasikabhooshani Talam - Ādi

Aditya Chakram 70th Melakarta Ragam. Shatsruthi rishabha, Antara gāndhara, Prathi madhyama, Chatusruthi dhaivatha, Kaisiki Nishādha swaras occur in this kriti. PALLAVI , , p D n D P M P , , | m G , R G | , M , P , , Guru San. ka ra de. . | si ka . yana | . mas. te . .

, , d P D , p D d N Ṡ | , , N ṡ N d | ṡ n n d N , d . . Su. brahman. ya . di | . . Bhaktajana | Se . vi . ta. ya pm . . 22nd Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Nasikabhooshani. It is the 70th Melakarta rāgam. It is called Nāsāmani in Muthuswami Dikshitar school.

Nasikabhushani is the 4th ragam in the 12th chakra Aditya. The mnemonic name is Aditya-Bhu.

Ārohana - S R3 G3 M2 P D2 N2 S.

Avarohana - S N2 D2 P M2 G3 R3 S.

The notes used in the scale are Shatsruthi rishabha, antara gāndhara, prati madhyama, chathusruthi dhaivatha and Kasiki nishadha. It is a melakarta rāgam and hence by definition it is a sampoorna rāgam. It is the Prathi madhyamam equivalent of vagadheeshwari, which is the 34th melakarta ragam which is a suddha madhyamama ragam.

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A few compositions set to nāsikabhushani are:

1. Maravairiramani - by Sri Thyagaraju

2. Thandarul ayya – by Koteswara Iyer

3. Sri rama saraswathi – by Muthuswami Dikshitar

Nasikabhushani‟s notes when shifted using Graha bedam from the dhaivatham

(D2), yields another minor melakarta rāgam Shadvidāmargini.

The pallavi starts with the graha swaram panchamam and ends with the antya swara madhyamam. The pallavi starts with a gap of two aksharās. In the pallavi Sri Subrahmanyam‟s Guru bhakti on Shankaracharya is mentioned. Dhatu swaras like P D N D , Ṡ N N D are used in the pallavi.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

ANUPALLAVI , , Ṡ ,n D n ṡ n d n d P | , , d M P d | D N Ṡ , , Pasyanmukamvatum | . sanchara | samaye

, , ṡ N Ṙ , ṙ ṡ n d n d P | , , d N P d | d n Ṡ R , , , , Pas. Yan. Mukam va. tum | . . san. chara | sa. maye. .

, , G , M , ṁ ġ ṗ ṁ ġ ṁ Ṙ | , , Ṙ , ṙ Ṡ | Ṡ, n n d d p . . Preechan.mu. kamva.tum | . . Ko. . pi | tvamiti . . . . pm . .

MUSICAL ASPECTS

In the anupallavi Shankaracharya comes upon a dumb boy while preaching the Hindu religion. The dumb boy‟s parents request him to set him right.

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The anupallavi starts with the graha swaram shadjama and ends with Madhyama. In the notation we can observe some Janta swara Prayoga‟s but most of the swara‟s have a tara-sthayi sanchāram, upto tara sthayi panchamam. In the phrase

, , Ġ , Ṁ , ṁ ġ ṗ ṁ ġ ṁ Ṙ | , , Ṙ , ṙ Ṡ | Ṡ, n n d d p | p m

LYRICAL ASPECTS ||A.P|| Coming across a quiet youth, one day while he was wandering; he asked him who he was CHARANAM

MUSICAL ASPECTS

The charanam starts with a gap of two aksharas. Janta swara prayogam can be seen in the charanam too. There are three sangathis for the charanam.

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Swara akshara‟s can be observed in the 1st Sangathi of the charanam.

In the charanam Shankaracharya realizes that the kid was not an ordinary one, he appears to possess supreme knowledge. Shankaracharya taking the permission of the parents of the kid initiates him as a Sanyasin and gives the boy a name Hastamalakacharya.

LYRICAL ASPECTS

||C|| Pleased upon the boy‟s answer that he was Brahma, Sankaracharya initiated him into the ascetic mode and named him as Hastamalaka.

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23. Arrival at Kanchi

Ragam – Kokila priya Talam - Ādi

Netra chakram 11th Melakarta Ragam. Suddha rishabha, Sadharana gāndhara, Suddha Madhyama, Chatusruthi dhaivatha, Kākali Nishādha are the swaras occuring in this kriti. PALLAVI , , s S R , G M P , d | P , D , p d | , N , Ṡ , , Guru San. ka rade. Si | ka. ya. na. | . mas. te . .

, , Ṡ , Ṡ , N , d N D | , , Ṡ n d P | M , m G , r . . Su. brahman ya. di. | . . Bhaktajana | Se . vi ta . ya rs. .. 23rd Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Kokila (the one dear to the Koel) is a ragam in Carnatic music. It is the 11th melakart ragam in the 72 Melakarta rāgam scheme of Carnatic music. The 11th ragam in Muthuswami Dikshitar school of Carnatic music is called „Kokilarāvam‟.

It is the 5th raga in the 2nd Chakra Netra. The Mnemonic name is Netra - Ma

Ārohana - S R1 G2 M1 P D2 N3 S.

Avarohana - S N3 D2 P M1 G2 R1 S.

It is the Suddha madhyamam equivalent of Suvarnangi, which is the 47th melakarta.

Common compositions sung in concerts set to Kokilapriya are:

1. Dasaratha Dayāsaradhe – by Sri Thyagaraja

2. Neeke abhimanamu – by Mysore Vasudevachary

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3. Kodandarāmam anisam in Kokilarāvam – by Muthuswami Dikshitar

Kokilapriya‟s notes when shifted using Graha bhedam, yields Rishabhapriya melakarta rāga.

Kollegal R. Subrahmanyam‟s salutations to Lord Shankara in the pallavi is used as a mantra in all his kritis in his work “Sri Sankara Vijayam”. The Graha swara of the pallavi is shadjama and the anthya swara is shadjama. The pallavi starts with a gap of two swaras

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

3. Ṡ ṡ ṡ ṙ Ġ ṁ ṗ Ṁ ġ Ṙ ṡ | ṡ ṙ ġ ṁ ṁ ġ ṙ ṡ | ṡ n d p p m m g . . A . . Vapya Guru varah | san. . dhya. Sa. | ma. . . . ye . . . rs MUSICAL ASPECTS

The anupallavi starts with a gap of two aksharas. The graha swara of the anupallavi is Tara sthayi shadjama and the antya swaram is Madhya sthayi shadjama. On one dusk, in Southern India Shankaracharya went alone to pray to Kamakshi Devi situated in Kanchipuram. As he arrived in the city, the atmosphere was calm and 110 110

silent. Shankara found the city silent and people running here and there. The anupallavi gives the above details.

We can observe Janta swara prayogas in the anupallavi in Three sangathi‟s.

1. Ṡ Ṙ Ġ Ġ Ṙ Ṙ Ṡ |

2. Ṡ , Ṡ Ṙ Ġ Ġ, Ṙ Ġ Ṙ Ṁ Ġ Ṙ Ṡ |

3. Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ | Ṡ N D P P M G |

Swara akshara prayogam can be seen in the 2nd sangathi of anupallavi 1. Ṡ Ṙ Ġ Ġ Ṙ Ṡ | na. . ga . . ram |

2. ṡ ṙ ġ ṁ ṁ ġ ṙ ṡ | ṡ n d p p m m g San . . dhya. Sa. | ma. . . . ye . . .

3. Ṡ Ṙ Ġ Ṁ Ṁ Ġ Ġ Ṡ |

San . . dhya...... Sa. | LYRICAL ASPECTS

||A.P|| By dusk, the acarya reached the sacred town of Kanchi in the Dravida region. CHARANAM , , P , P , ṡ N N d P | M , M , M | G G R S Drstva Ba. Dhe.na | Nir . ma. nu | sha na garam

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3. , , ṡ Ṡ N d ṡ n d p d n Ṡ | Ṡ , ṙ Ġ ṙ | Ġ , ṙ ṙ ġ Ṁ . .Nara mamsa bha.ksha nar the |de . vi sancha |ran.ti ra. trau

MUSICAL ASPECTS

In the charanam Shankara comes to know about the goddess kamakshi devi‟s virulent form through an old man. The charanam starts with a gap of two aksharas and some Janta swara prayogas are used in the charanam. Swarakshara prayogam can be observed in the first line of the charanam.

1. M , M , M | G G R S | Nir – ma – mu | sha na ga ram | The Janta swara prayogas seen are,

1) Ṡ Ṡ , N, D Ṡ N D P D N Ṡ |

2) , , Ṁ Ġ Ṙ Ġ Ṁ Ṁ Ġ Ṙ Ṡ

3) Ṡ Ṙ Ṡ Ṡ N D

LYRICAL ASPECTS ||C|| On seeing the town fully deserted with wonder, he asked an elderly man who left hurriedly after telling that the Goddess sets out to eat human flesh by night.

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24. Appearance of the Goddess in a fierce form

Ragam –Gamanasrama Talam - Ādi

Brahma Chakram 53rd Melakarta ragam. Suddha rishabha, Anatara gāndhāra, prathi Madhyama, Chatusruthi dhaivatha, Kākali Nishādha. PALLAVI , , g M P m G p pm G | g m g r s r g r | , g M , P , Guru Sankarade . . si | ka . . . ya. na. |. Mas . . te. , , p M p D N n ṡ n d P | , , N ṙ n D | ṡ n n d p m g r . . Su. brahmanya.. di | . . Bhaktajana | se. vi. ta. ya. sr . . 24th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Gamanasrama is a rāgam in Carnatic music. It is the 53rd Melakarta Rāgam in the 72 Melakarta scheme of Carnatic music. This is the Carnatic equilvalent of marva in Hindustani classical music.

It is called Gamakakriya in Muthuswami dikshitar school of music.

It is the 5th rāgam in the 9th chakra brahma. The mnemonic name is Brahma - Ma.

Arohana - S R1 G3 M2 P D2 N3 S

Avarohana - S N3 D2 P M2 G3 R1 S

The notes used in this scale are shadjan, Suddha rishabha, antara gandhara, prathi madhyama, panchama, chatusruthi dhaivatha, kākali nishadam.It is the Prathi madhyama equivalent of suryakantam,which is the 17th melakarta.

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Important compositions of Gamanashrama are :-

1. Sri chakrapura vasini by Muthiah Bhagavatar.

2. Idi neeku nyayama by Mysore Vasudivachary

3. Meenakshi memudamdehi by Muthuswami dikshitar.

Gamanasrama‟s notes when shifted using Graha bedam, yields two other minor melakarta rāgams, namely, Jhankāradhwani and Ratnangi. Grahabedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam.

The pallavi starts with the graha swaram Gāndhara and ends with the antya swaram madhyama. The pallavi starts with a gap of two aksharas. Janta swara prayogas can be seen in the pallavi. Dhatu swara prayogam can be observed in the pallavi.

1) G M G R , S R G R 2) N Ṡ N D 3) Ṡ N , N D , P M , G R , S R |

In the pallavi Sri Kollegal Subrahmanyams guru bhakti towards Sankara is mentioned and his mudra “subrahmanya” can be also seen.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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The anupallavi starts with the graha swaram nishādam and ends with the antya swaram rishabham. In the anupallavi shankaracharya hears about the reason why the city was silent, and he immediately reaches the Kamakshi temple and prays to Kamakshi devi and sleeps on the threshold of the temple itself.

The anupallavi starts with the graha swaram nishādam and ends with the antya swaram rishabham. In the anupallavi we can observe some janta swara prayogas like,

1) Ṡ Ṙ Ġ Ġ Ṙ Ṙ Ṡ , | Ṡ N N D N D M P |

2) D N Ṡ Ṙ , Ġ , Ġ Ġ Ṁ Ṗ Ṁ Ġ Ṙ Ṡ | Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ |

Ṡ N N D N D P M | G R |

There is a swara akshara prayogas in the very first line of the anupallavi;

1) , , N S , N D , D N N D P , M G | , , M P D N S , | , ,S , N , D N S,|

. . Sa - twa- de - - - -vi – ka - | . . Ma - - ksheem | . .bha - - kshya | LYRICAL ASPECTS ||A.P|| Having prayed to the Goddess kamakshi with devotion, he rested at the gateway to the temple. CHARANAM 1. , , p M P , g m p m g r G | g M p m g R | m p p m g r S Ni shi dhe.de ...... vi | Ka . ma... kshi | sa . khi. bhi. h

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2. , , p M P , m p p m g r G | g R g M P | P , p d n Ṡ . .Ni shi dhe.de ...... vi | Ka . ma... kshi | sa . khi. bhi. H

, , N ṙ N ṡ n Ṡ n ṡ n d p | , , d N d P | p D N , Ṡ . . Rakta vamanayane. . . na. | . . lam. Bita | ra sa.ne.na

MUSICAL ASPECTS

The charanam starts with a gap of two aksharas with the graha swara, panchama, and antya swaram rishabha. Notation of the charanam has many janta swara prayogas. Charanam starts with the Madhya sthayi panchama and goes upto tara sthayi panchama. Later part of the charanam is fully having tara sthayi sancharam in the line “Kupitattahasena Nirgamya sanchararthe Mahadvare pasyan sankaram Kopāvesena”

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Usage of swarakshara can be observed in the 2nd sangathi of the charanam.

1) , , S R , G , G . . Nir – ga mya

In the charanam, „ga‟ is the swarakshara.

As midnight approaches, Kamakshi devi arrives along with her „Sakhis‟ at the door, her eyes blood shot.she gets enraged seeing a man sleeping peacefully right at the door step. Shankaracharya meeting the virulent Kamakshi devi is explained in the charanam.

LYRICAL ASPECTS ||C|| At night, the Goddess kamakshi along with her companions, came out of the temple, her eyes bloodshot, tongue drawn out, laughing loudly, when she saw Sankara at the gateway, with fury.

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25. Placing of the Sri Chakra

Ragam –Nata bhairavi Talam - Ādi

Veda Chakram 20th Melakarta ragam. Chatusruthi rishabha, Sādarana gāndhāra, Suddha Madhyama, Suddha dhaivatha, Kaisika Nishādha occur in this kriti. PALLAVI , , p P D , n ṡ ṙ ṡ ṡ n D | p m m g g r s r | , g M P , , Guru San.ka.ra.de. si | ka . . . ya . na . | . mas . te . .

, , p D N , D , N , Ṡ | , , N d p M | ṡ n n d d p p m . . Su . brahmanya . di | . . Bhaktajana | to. Shi . ta. ya . gm . . 25th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Natabhairavi is a rāgam in Carnatic music. It is the 20th Melakarta Rāgam in the 72 Melakarta rāga scheme. It corresponds to the minor scale of western music system.

Natabhairavi corresponds to the „Asavari‟ thāt of Hindustani music. In the Muthuswami dikshitar school of music this rāgam is called Nāriretigoula. Natabhairavi is known to be a rāgam that incites feelings of grandeur and devotion in the listeners.

It is the 2nd rāgam in the 4th chakra veda. The mnemonic name is veda - sri.

Arohana - S R2 G2 M1 P D1 N2 S

Avarohana - S N2 D1 P M1 G2 R2 S

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The scale uses the notes Chatusruthi rishabha, Sādarana gāndhāra, suddha Madhyama, Suddha dhaivatha, Kaisika Nishādha. It is a sampoorna rāgam. It is the suddha madhyamam equivalent of shanmukhapriya, which is the 56th melakarta.

Natabhairavi has a number of popular janya rāgas such as Bhairavi, Ananada Bhairavi, Sārāmati, Jaunpuri Hindolam and jayanthi sri.

popular compositions are :-

1) Sri valli Devasena by Papanasam Sivan.

2) Parulaseva by Poochi Srinivasa Iyengar.

3) Upacharamu Jeseva by Thyagaraja.

4) Sri Neelotpalanayike by Muthuswami dikshitar.

Natabhairavi‟s notes when shifted using Graha bedam, yields five other major melakarta rāgams, namely kalyani, sankarabharanam, hanumatodi, kharahara priya and Hari kamboji.

Even though Natabhairavi has quite evenly spaced swara sthanas (pitch positions, notes) like the other five in this group, it has not found as much important in concerts. One is likely to find kalyani, Todi, sankarabharanam and kharaharapriya as the main ragam in concerts, more often than Natabhairavi by a big count.

The pallavi starts with the graha swaram panchama and ends with the antya swaram madhyama. The pallavi starts with a gap of two aksharas. Janta swara prayogas can be seen right at the starting itself.

1) P M M G G R S R |

2) Ṡ N N D D P P M |

In the pallavi Sri Kollegal Subrahmanyams guru bhakti towards Sankara is mentioned and his mudra “subrahmanya” can be seen.

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LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

MUSICAL ASPECTS

The anupallavi starts with the graha swaram, panchama and ends with the antya swaram madhyama. Janta swaras can be seen used in the third sangathi of the anupallavi. 1) , , ṙ ġ ṁ ṙ ġ ṁ ṁ ṁ ġ ġ ṙ ṙ Ṡ | ṙ ṡ n D n Ṡ | ṙ ṡ ṡ n n d n d

In the anupallavi hearing Kamakshi devi‟s roars, shankaracharya opens his eyes slowly and seeing the goddess in front of him salutes her and calmly asks her “Amma”, why are you ordering me to move away?”.

LYRICAL ASPECTS

||A.P|| Having prayed prfusely and restraining her, she returned to her sanchum, still angry.

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MUSICAL ASPECTS

The charanam starts with a gap of two aksharas with the graha swaram being panchama, and the ending antya swaram being madhyama. There are many swara akshara prayogas in the Charanam in the first and second sangatis.

1) , , M M M P, P P N ; D ; D, | („Ma‟ is the swarakshara)

. . Taa ma sa rajasa gu naan aa

2) , , N , N N S , S S R ; G ; S R | („Sa‟ is the swarakshara)

. . Ta ma sa rajasa gu naan aa

3) , , R G , R S , S N D, N , S , | („Da‟ is the swarakshara)

. . Niyojayanshra ddha bhakti|

4) , , R , G M R R,G , M G R S , | („Ga‟ and „ma‟ are the swarakshara)

. . aa gamasa – tvi ka bha – kti |

If we observe the janta swara prayoga‟s in the charanam we can find them in the first and second sangatis.

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1) Ṡ N N D N Ṡ , |

2) , , P P , P P , P M M G G R S , | , , M , M M P , P P N ; D ; D , |

3) Ṙ Ġ Ṁ ; Ġ Ṙ Ṡ | Ġ Ṁ Ṁ Ġ Ṙ Ṡ

4) , , Ṙ , Ġ Ṁ Ṙ Ṙ , Ġ, Ṁ Ġ Ṙ Ṡ , | Ṡ Ṙ Ṡ N N Ṡ N D | D N D P N D P M |

Charanam starts with the Madhya sthayi panchama and goes upto the tara sthayi madhyama. Shankaracharya in the charanam pleads goddess Kamakshi devi to look after the citizens of kanchi. He requests her to let go off her anger and return to her position. Hearing Shankaracharya‟s prayer‟s the divine mother returns to the sanctum sanctorum. Sankara impresses her with his prayers, songs and hymns. Sankaracharya consecrates the “Sri-chakra” in front of the divine seat of the goddess.

He appoints scholars of āgama shastras and veda shastras to perform the prayers and other rituals according to the prescribed traditions.

LYRICAL ASPECTS ||C|| Then Sankara, having removed the tamasa and rajasa gunas from her, installed her in the Sri Chakra and instated the best of brahmanas to carry on the worship of the Goddess as per the Agamas and with satvika bhakti, pure devotion.

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26. Accepting the Kapalika’s wish

Ragam – Neetimati Talam - Ādi

Disi Chakram 60th Melakarta ragam.

26th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

The pallavi starts with the graha swara panchama and ends with the antya swara madhyama. The pallavi starts with a gap of two aksharas. In the pallavi Sri Subrahmanyam‟s Guru bahkti on Shankara is mentioned.

LYRICAL ASPECTS

||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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The anupallavi starts with a gap of two aksharas. Its graha swaram is tara sthayi shadjama and antya swaram is Madhya sthayi madhyama. We can observe some Janta swara prayogas.

1) Ġ Ṙ Ṡ Ṙ Ṡ N , , |

2) , , Ṡ Ṙ , Ġ , Ṙ Ṁ Ġ Ġ Ṙ N Ṡ Ṙ , | Ġ Ṙ Ṙ Ṡ Ṙ Ṡ N | Ṡ N N D N D D P |

In the anupallavi a kapalika ugrabhairava exceeds the expectations of other students in serving the Guru and wins Shankaracharya‟s confidence. One day getting a lonely moment with the teacher the kapalika asks shankaracharya to sacrifice his pure body.

LYRICAL ASPECTS

||A.P|| Once when the acharya was all alone, a kapalika came to him, asking for a favour. CHARANAM P P P , M p m m g R g r | S s R g R | g R g M P Tavabhi.shtasi. ddhya.rthe de. | yamyati svara | si ram bali. na P m P , P m P D d N s | n Ṡ n ṡ N d | n ṡ n d N Ṡ I . tya.jna pi to ham Si vena | tavasahaka.ra | ma.vas. yambho

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MUSICAL ASPECTS

The charanam starts at sama graham at Madhya sthayi panchamam, and the ends with the antya swaram madhyama.we can observe swara aksharas in this kriti in the pallavi and anupallavi.

1) S R G R S , G , | , M ; P , , |

Ka . . . ya na | ma - stha

2) , , S R , G , R S ; S N , , |

. . vara me kampru - cchann

The Charanam starts with the Madhya sthayi panchamam and in the first and second sangathis tara sthayi sancharam of swaras can be seen upto tāra sthayi madhyamam.

LYRICAL ASPECTS

||C|| Telling him- “For the fructification of your desires, you need to sacrifice the ascetic‟s head”, thus was he (the kapalika) ordered by Lord Siva, Sankara agreed to help him out by coming for the sacrifice at night, with a benevolent smile.

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27. Kapalika is sent to the Abode of Yama

Ragam – Surya Kāntham Talam - Ādi

Agni chakram 17th Melakarta Ragam.

Suddha rishabha, Suddha madhyama, Antara gāndhara, Chatusruthi dhaivatha, Kākali Nishādha, swaras are used in this kriti.

Suryakantham is a raga in Carnatic music. It is the 17th melakart ragam in the 72 Melakarta rāga scheme of Carnatic music. It is called Chāyāvati in Muthuswami Dikshitar school of Carnatic music.

It is the 5th raga in the 3rd Chakra Agni. The Mnemonic name is Agni - Ma

Ārohana - S R1 G3 M1 P D2 N3 S.

Avarohana - S N3 D2 P M1 G3 R1 S.

The scale uses the swaras, Suddha rishabha, antara gāndhara, Suddha madhyama, Chatusrūthi dhaivatha, kakali nishadha. It is the Sudda madhyamam equivalent of Gamanasrama, which is the 53rd melakarta scale and which is a prathi madhyamam ragam.

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Suryakantham has many janya rāgams associated with it, of which vasanta, saurashtram and Bhairavam are popular in concerts.

Important compositions are:

1. Muddumomu elagu – by Sri Thyagaraja

2. Sri Sambasivaiyya by – by Muthaiah Bhagavatar

Suryakantham‟s notes when shifted using Graha bhedam, yields 2 melakarta rāgams, namely Senavati and Latangi

The pallavi starts with the graha swaram Panchamam and ends with the antya swaram Madhyamam. The pallavi starts with a gap of two aksharas. Janta swara proyogas can be seen in the pallavi

1. ‟‟ PP, P; P M M GG RR, | R G R S, R,|

2. ‟‟ P, P P M, | M G, RRG, M|

As seen in other kritis in this kriti also sri kollegal Subrahmanyam shows his guru bhakti in the pallavi.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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, , Ġ Ġ ṁ ṁ ġ Ṁ Ġ , Ṙ | , , ġ Ṁ ġ Ṙ | ġ ġ ṙ ṡ ṡ n n d . . Udyuktah. Ksa. Ne. na | . . Balipraka | ra. na. ya . . . pm . . MUSICAL ASPECTS

The anupallavi starts with the graha swaram tāra sthayi shadjama and ends with the antya swaram Madhya sthayi madhyama. In the notation of the anupallavi we can observe that the whole sanchāra is in the tāra sthayi going upto tāra sthayi madhyama, janta swara prayoga can be seen in the anupallavi third sangathi.

, , Ġ Ġ ṁ ṁ ġ Ṁ Ġ ; Ṙ | , , ġ Ṁ , ġ Ṙ | ġ ġ ṙ ṙ ṡ ṡ n n d | PM |

In the anupallavi, as per the traditions laid down the kapalika decides to sacrifice Shankaracharya on the night of a new moon day.

LYRICAL ASPECTS ||A.P|| The moment when the kapalika was about to serve the acarya‟s head at night; CHARANAM , , n Ṡ , Ṡ ṡ n d p m g g r | r s s r g r G | M, p d n Ṡ Nrsimhave. . . . .si. ta . | . . pa . . . dma | Pa . dah . . .

The charanam starts with a gap of one akshara. The graha swara of the charanam is Madhya sthayi nishādam and the antya swaram is Madhya sthayi madhyamam. Notation of the charanam too has some Janta swara prayogas. Swara akshara prayoga can be seen in the anupallavi.

, , ṡ n Ṡ ṡ n d n P p d n | . . Ra.tryagam.ya.Kapalikah |

Charanam starts with the Madhya sthayi nishadam and takes all the tāra sthayi swara sanchara till the end of the charana, going upto tara sthayi madhyama.

In the charana padmapāda dreams that a kapalika is about to murder his teachr. The kapalika prepares to behead Shankaracharya with a sword. Padma pāda be heads kapalika. The roaring of padma pāda disturbs Shankaracharya‟s Samadhi state. This incident deepen‟s everyone‟s respect towards padma Pāda.

LYRICAL ASPECTS

||C|| Padmapada, overcome with the power of Lord Nrsimha, sent the kapalika to the abode of Yama (death); Sankara was overwhelmed by the vision of Nrsimha in his disciple Padmapada.

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28. Totakacharya

Ragam – Navaneetam Talam - Ādi

Rushichakram 40th Melakarta Ragam.

Suddha rishabha, Suddha gāndhara, Prathi madhyamam, Chatusruthi dhaivatha, Kaisika nishādha occur in this kriti. PALLAVI , , p M P, m P P , M | G , R , G | , M , P , , Guru San.ka rade. si | ka. ya. na | . mas.te. . , , p D n D n D n D P | , , P d n D | P , m G , r . . Su. brah.man ya. di | . . Bhaktaja na | To. shita . ya gm . . 28th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS The pallavi starts with the graha swaram panchama and ends with the antya swaram madhyama. The pallavi starts with a gap of two aksharas. Panchama is repeated in the pallavi several times.

In the pallavi Sri Kollegal subrahmanyam‟s guru bhaki towards sankara is mentioned and his mudra “subrahmanyam” can be seen.

Navaneetam is a raga in Carnatic music. It is the 40th Melakarta ragam (parent scale) in the 72 Melakarta rāga scheme of Carnatic music. It is called Nabhōmani in Muthuswami Dikshitar school of Carnatic music.

It is the 4th rāgam in the 7th Chakra Rishi. The Mnemonic name is Rishi-Bhu

Ārohana - S R1 G1 M2 P D2 N2 S.

Avarohana - S N2 D2 P M2 G1 R1 S.

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The scale uses the Suddha rishabha, Suddha gāndhara, Prathi madhyama, Chatusruthi dhaivatha, kaisika nishadha. As it is aMelakarta rāgam, by definition it is a sampūrna rāgam. It is the Prathi madhyamam equivalent of Vanaspati, which is the 4th melakarta ragam and is a Suddha madhyama ragam.

Important compositions are:

1. Umāpati pāhi – by Dr. M. Balamurali Krishna in Telugu

2. Lēmidelpa peddavāru – by Sri Thyagaraja in Telugu

3. Himātmajē santatam Pahimam – by Dr. M. Balamurali Krishna in Sanskrit

Navaneetam‟s notes when shifted using Graha bhedam, yields no other melakarta rāgam, like all 6 rāgams in the Rishi chakra (Salagam, jalarnavam, Jhalavarali, Pavani and Raghupriya being the other 5)

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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MUSICAL ASPECTS The anupallavi starts with the graha swaram panchamam and ends with the antya swaram madhyamam. Janta swara prayogas can be seen.

1. ,, Ṡ; Ṙ; Ṡ, Ṡ N N D N , | ,, Ṙ, Ṙ, N Ṡ , |

2. ,, Ġ Ġ, Ġ Ġ, | Ġ, Ṙ; Ṙ Ṡ, | Ġ Ṁ, Ṁ Ġ, |

In the anupallavi a Brahmin named Giri, becomes shankaracharya‟s disciple. He used to arrange everything for the morning Prayers, he would be behind his guru like a shadow but could not pay special attention to the study of the scriptures.

LYRICAL ASPECTS

||A.P|| During the study of the Brahmasootras, the acarya kept waiting for his student „Giri‟ to come. CHARANAM , , P , P , P , p P M | p M G , R | R R S , , A. las.ye. na kala | ya. pa . nam | ki mi ti . . , , r S R , S R G M | , , p D n D | n Ṡ n D P . . Prcchan.guru varam | . . pa. dmapa | da. dayah 1. , , Ṡ , Ṡ n D , , d n S | , , Ṡ , ṡ ṡ n | D D N Ṡ . . A . gaminam . . gi . rim |. . Vik. syaman |da ha se na 2. , , Ṡ , Ṡ n D , , d n Ṡ | , , Ṡ , ṙ Ṡ | Ṡ Ṡ Ṙ Ṙ . . A . gaminam . . gi . rim |. . Vik. syaman |da ha se na 3. , , Ṡ , Ṡ n D , , d n Ṡ | , , Ṡ , ṙ Ṡ | Ṡ Ṡ Ṙ Ġ . . A . gaminam . . gi . rim |. . Vik. syaman |da ha se na , , ġ Ṙ ġ Ṁ ṁ Ṁ ġ Ṙ , ṙ | Ṡ ṡ Ṡ n D | ṡ n d n ṡ n n d . . Turi ya sramam prasa.da | yan To. ta ka | car . . ye .ti pm . .

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MUSICAL ASPECTS

The charanam starts with a gap of two aksharas. The graha swaram of the charanam is panchama and the antya swaram is madhyamam. Notation of the charanam has a few Janta swara prayogas. There are some swara aksharas in the anupallavi and the charanam.

1. ,, Ṡ ;Ṙ ; Ṡ, Ṡ N N D N, | ,, Ṙ, Ṙ N Ṡ, N |Ṙ, Ṙ ; Ṙ Ṡ, |

- - Gi ri aa gamanā – ya | - - ksha nam ksha nam | ni – ree – ksha yann|

2. , , P D , N D, | N Ṡ, N D , P, |

- - pa – dma pa - | da – da yaha - -|

3. , , Ṡ , Ṡ Ṡ N | D , D, N, Ṡ, |

- - vee kshya man - | da – haa se na|

4. , , Ġ Ṙ , Ġ Ṁ, Ṁ Ṁ, Ġ Ṙ ; Ṙ |

- - tu ree yaa – sra mam pra sa – da|

In the charanam Shankaracharya‟s student Giri would not study and practice scriptures but would serve Shankaracharya with great dedication and concentration. All the other students presume Giri to be a fool. But Shankaracharya grants him supreme knowledge. After this Giri is initiated into sanyasam and is there after called Thotakacharya.

LYRICAL ASPECTS

||C|| When his disciples like padmapada asked why he was delaying the class, just for the sake of „Giri‟ ; who was dull in the studies and knows only to serve his Guru. Then Sankara blessed Giri with all knowledge and named him as Totakacarya.

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29. Mother passes away – Journey throughout India Thrice

Ragam – Sankarabharanam Talam - Ādi

Bāna Chakram 29th Melakarta ragam.

Chatusruthi rishabha, Antara gāndhāra, suddha Madhyama, Shuddha dhaivatha, Kākali Nishādha occur in this kriti. PALLAVI , , s R r p m G m g g r S | s r g r S D | , N , Ṡ , , Guru Sanka rade . . . si | ka . . . yena | . mas. te. . , , m g g r S g m p p d n Ṡ | Ṡ , ṙ ṡ n d p | G , M P m . . Su . . . brahman. . ya..di | Bhaktaja. na. | Pu.ji ta ya gr 29th Kriti of Sri Sankara Vijayam MUSICAL ASPECTS

Dheera Sankarabharanam commonly known as sankarabharanam. Is the 29th Melakarta Rāga in the 72 Melakarta rāga scheme of music. Since this raga has many gamakās (ornamentations) it is glorified as “Sarva Gamaka Varika Rakti Rāgam in Telugu.

It is known as Bilawal in the Hindustani Music system. The western equivalent is the Carnatic major scale, Ionian mode. Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles. It‟s nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation.

It is the 5th rāga in the 5th chakra Bāna. The mnemonic name is Bāna -Ma.

Arohana - S R2 G3 M1 P D2 N3 S

Avarohana - S N3 D2 P M1 G3 R2 S

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The notes in this scale are shadjam, Chatusruthi rishabham, Antara gāndhāram, suddha Madhyamam, Chatusruthi dhaivatham, Kakali Nishādham. It is the suddha madhyamam equivalent of 65th melakarta rāga „Kalyani‟ due to the even spacing of swaras, many janya raga‟s are derived from sankarābharanam. It is one of the melakarta rāgas that has high number of janya ragas associated with it. Some are Arabhi, Atana, Bilahari, Devagandhari, Hamsadhvani, Kadanakutuhalam, Niroshta, Suddhasaveri, Purnachandrika, janaranjani, kedaram, kurinji, navroj, nagadhvani, etc...

Important compositions are :-

1) Swararāgasudha, Manasu Svādhīnamaina, Enduku Peddalavale by Sri Thyagaraja.

2) Sarōjadala netri, Devi meenanetri by shyama Sastri in Telugu.

3) Chalamela (Ata tala varnam) Devi Jagath Janani by Swathi Thirunal Maharaja.

4) Alarulu kuriya Ādinadē by annamacharya in Telugu.

Muthuswami Dikshitār also has a list of 22 “Nottu swara” compositions, based on western major scale notes to his credit.

Sankarabharanam notes when shifted using Grahabedam yields 5 major ragas namely, Kalyani, Hanumatodi, Natabhairavi, Kharahara priya and Hari Kamboji.

The pallavi starts with the graha swaram Madhya sthayi shadjama and ends with the antya swaram gāndhāra. The pallavi starts with a gap of two aksharas. Janta swara prayogas can be seen in the pallavi.

1) , , S R , R P M G , M G G R S , |

2) , , M G G R S , G M P P D N Ṡ , |

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In the pallavi Sri Kollegal Subrahmanyam‟s guru bhakti on Sankara is well depicted.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

The anupallavi starts with the graha swara, panchama and ends with the antya swara rishabha. In the notation of the anupallavi we can observe some Janta swara prayogas.

1) , , N Ṙ , Ġ, Ġ | N N Ṙ Ṙ Ġ Ġ M , |

2) N D N Ṙ Ṡ N D P | Ġ R Ṡ Ṡ N D P M |

In the anupallavi, back in kāladi, Aryamba, Shankaras mother recalls him in her last moments. When Shankara feels the taste of mother‟s. Milk in his mouth he

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understands her call and travels through the skies and serves her in her last moments as per his mother‟s wish. He prays lord Vishnu to grant a place in vaikunta the abode of lord Vishnu.

LYRICAL ASPECTS ||A.P|| Coming to know about his mother‟s death, Sankara arrived at Kalady to send his mother‟s soul to Vaikuntha as per her wish.

1. M m m D d d N n n Ṡ ,, | ṡ Ṙ Ġ Ṙ ṡ | ṡ ṙ ṡ D N ṡ Bhara tam Paryatan Sankarah | trayi parya yam | Pa. dayatrena

2. M g m D m d N d n Ṙ | ġ Ṁ Ġ Ṙ ṡ | ṡ ṙ ṡ D N ṙ Bhara tam Paryatan Sankarah | trayi parya yam | Pa. dayatrena

The charanam starts at the sama graha with the graha swara, rishabha and ends with the antya swara, rishabha. Beautiful patterns of swaras can be seen in the arohana kramam in the first sangathi of the charanam.

1) M , M M D , D D N , N N Ṡ , ; |

2) M , G M D , M D N , D N Ṙ , ;|

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3) M , D M D , N D N , Ṡ Ṙ Ġ , ; |

Some janta swara‟s can be seen in the very first line of the charanam.

1) R , R R G , G G M , M , M M D D |

2) Ṡ Ṙ , Ġ Ṁ Ġ Ṁ Ṁ Ġ Ṙ Ġ Ṙ Ṡ , |

Swara akshara can be observed in the anupallavi -

1) , , P D N S N D M , M D N , R , |

. . gna . tva . . ma tru vi yogam |

In the charanam the fire god reduces his mother‟s mortal body to ashes. Shankaracharya preaches everybody to uphold dharma and serve humanity. He tours entire India thrice on his bare-feet. He sets out another victory march to defeat Neelakanta Maharaja of Gokarna. At Dwaraka he corrects the un-vedic vaishnavite tradition to vedic vaishnavite tradition. Kapalika tradition in Karnataka is condemned by him. He condemns Jainism, in kamakhya he condemns tantric practices etc.

LYRICAL ASPECTS ||C|| He set forth on a journey by foot covering Kerala, Dravida, Karnataka, Maharashtra, Anga, Vanga, Kalinga, Kamakhya, Malava, Saurashtra, thus he travelled over the entire Indian subcontinent thrice for the propogation of the Vedas, through devotion and Advaita philosophy.

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30. Blessing of Aswini Devata – Establishment of the four Peethams

Ragam-kosalam Talam - Ādi

Kosalam is the 71st Melakarta and it is the Prathi madhyama equivalent of Shoolini, which is the 35th Melakartha. It is called Kusumākaram in Muthuswami Dikshitar school of Carnatic music.

Kosalam is the 5th rāgam in the 12th chakra Aditya. The mnemonic name is Aditya -Ma.

Arohana - S R3 G3 M2 P D2 N3 S

Avarohana - S N3 D2 P M2 G3 R3 S

The notes are shatsruthi rishabha, Antara gāndhāra, Prathi Madhyama, Chatusruthi dhaivatha and Kakali Nishādha.

Important compositions are :-

1. Sri Chakrapura vasini by Muthiah Bhagavatar

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2. Idi Neeku nyayama by Mysore Vasudevachary.

3. O Manasā muktinee gonumu – by Dr. M. Balamurali Krishna

Kosalam‟s notes when shifted using Graha bedam, yields 3 other melakarta rāgams, namely Keeravani, Hemavati and Vakulabharanam.

The pallavi starts with the graha swaram Panchama and ends with the antya swara madhyama. The pallavi starts with a gap of two aksharas. In the pallavi Sri kollegal Subrahmanyam‟s guru bhakti towards Sankara is clearly mentioned and the word “ Subrahmanyadi” is used like a mantra in all his kritis.

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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MUSICAL ASPECTS

Anupallavi starts at tara sthayi Shadjama and ends at Madhya sthayi madhyam. Several Janta prayogas can be seen

1. , , , Ṡ, ṡ Ṡ , ṡ n n d n d P, | , , Ṡ, N Ṙ, S N N D N D P ,|

2. , , , ṡ N , ṡ Ṙ , Ġ ; ṁ Ṁ , Ġ | Ṡ N N D N D N D

Tha anupallavi starts with a gap of three aksharas which is different from the other two kritis. In the anupallavi Shankaracharya reaches Kāmakhya (modern day Assam), he participates in a philosophical debate with a Vamachara tantric leader Abhinava Gupta and defeats him. The tantric induces a deadly disease called “Bhagandara” in to Shankaracharya‟s body which is later cured by Ashwinis the celestial twins.

LYRICAL ASPECTS

||A.P|| The‟ carya regained his life, after blessed witha divine medicine from the Asvini devata CHARANAM , , P M P , p m m G g r | R , r R S | s R r G M . . Dakshinamna. . ya Sm | ge . . . ri |Pi . . . tham , , p M P , p m m g R S | r S R , R | r g M P , , . . Pur. Vamna. Ya. Puri | Jaganna. tha | Pi . . . tham . . , , p D n Ṡ ṡ n n d n d P | , , p D n D | ṡ n d n Ṡ , . . Pa. scimamna. . .. ya | . .Dva. raka | Pi.. . . tham , , ṡ n n Ṡ Ṙ ṙ ġ ṙ ṙ Ṙ Ġ | Ṁ, ṁ Ġ , Ġ | Ṙ ṙ ṡ ṡ ṡ n d . . U. Ttaramnaya badarijyothi | Pi. thamstha.pa | yanguruvarah.. pm ..

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MUSICAL ASPECTS In the charanam after the incident of Ashwinis healing Shankaracharya‟s disease he established 4 powerful monasteries and appoints each of his four chief pupils to lead one monastery each. Sringeri Peetham in the South, Poori Jagannath Peetam in the East, dwaraka Peetam in the West and Badari jyothi Peetham in the North.

The charanam starts with a gap of three aksharas. The starting not of the charanam is panchama and ends with the anthya swara madhyama. There are many Janta swara prayogas.

1. , , P , P P , P P M M G , G R | R ; R R , S, |

2. , , P D , N Ṡ , Ṡ N N D N D P | , , Ṡ N N Ṡ , Ṡ Ṙ Ṙ Ġ Ṙ Ṙ Ṙ Ġ, |

3. Ṙ , Ṙ Ṡ Ṡ Ṡ N D ||

Swara akshara prayogam can be seen in the charnama

1. , , Ṡ N N Ṡ , Ṙ , Ṙ Ġ R R R , G, |

. . U. tta ramna ya ba dari jyo thi |

The charanam has tara sthai sancharam which goes upto tarasthayi Madhyamam.

1. M , M M D , D D N , N N S , ; | 2. M , G M D , M D N , D N R , ;| 3. M , D M D , N D N , S R G , ; |

Some janta‟s can be seen in the very first line of the charanam.

1. R , R R G , G G M , M , M M D D |

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2. S R , G M , G , M M G R G R S , |

Swara akshra can be observed in the anupallavi -

, , P D N S N D M , M D N , R , |

In the charanam the fire god reduces his mother‟s mortal body to ashes. Shankaracharya preaches everybody to uphold dharma and serve humanity. He tours entire India thrice on his bare-feet. He sets out another victory march to defeat Neelakanta Maharaja of Gokarna, Dwaraka he corrects the un-vedic vaishnavite tradition to vedic vaishnavite tradition. Kapalika tradition in Karnataka is condemned by him. He condemns Jainism, in kamakhya he condemns tantric practices etc.

LYRICAL ASPECTS ||C|| He established the Srngeri pitham in the south, Puri Jagannatha pitham in the east, Dvaraka pitham in the west and the Badari Jyoti shmat pitham in the north.

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31. Ascendance to the Sarvajna Peetham

Ragam-Kharaharapriya Talam - Ādi

Kharaharapriya is the 22nd Melakarta raga. It is possible that the name of the ragam was originally Harapriya but it was changed to confirm to the katapayadi formula. Kharaharapriya has distinct melody and brings out the karuna rasam. The kafi Thāt of Hindusthani music is the equivalent of Kharaharapriya.

There are many theories behind the etymology of the name Kharaharapriya. The most popular interpretation of the name is “Loved” by the slayer of demon “Khara”.

It is the 4th raga in the 4th chakram veda. The mnemonic name is Veda-bhu

Arohana - S R2 G2 M1 P D2 N2 S

Avarohana - S N2 D2 P M1 G2 R2 S

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The notes are chatusruthi rishabha, sadharana gandhara, suddha madhyama, chatusruthi dhaivatha and kaisiki Nishādha. It is the suddha madhyamam equivalent of Hemavathi which is the 58th melakarta scale.

Tha Janya ragas of kharaharapriya are Abheri, Abhogi, Andolika, Bhimplās, brindavana Saranga, Kapi, madhyamavathi, Mukhari, Reetigourla, Shree, Dhanasri, Udayaravi chandrika, Siva ranjani and Sri ranjani.

Important compositions are:

1. Chakkani Rājamārgamu by Sri Thyagaru

Pakkala Nilabadi “

Rāmā nee samāna - by Sri Thyagaraju

2. Srinivasa Tava Charanam – by Papanasan Sivan

Kharaharapriya‟s notes when shifted using Graha bedam, yields 5 major melakartha ragams namely, Kalyani, Hanumātodi, natabhairavi, Shankarabharanam and Hari Kamboji.

The pallavi starts with a gap of two akshara‟s with the starting swara rishabha as its graham swaram and shadjamam as it antya swaram. Janta swara prayogams can be observed in the pallavi.

1. , , R R , G G , M M , P ; D, | N N D P D , P D |

2. S N N D D P M G |

In the pallavi Sri Kollgal Subrahmanayam‟s guru bhakti towards Sankara is mentioned and “Subrahmanya” is used as a mantra in all his kritis.

Dhatu swara‟s are used

1. Ṡ N N D D P M G

2. N ; R ; N ; D N , Ṡ, |

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LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

The anupallavi starts with a gap of two aksharas with its graha swaram dhaivatham and antya swaram shadjamam. Anupallavi is full of tāra sthayi Sanchāram ranging from madhyasthayi shadjama to tāra sthayi panchama. Janta swara patterns can be seen in the anupallavi 1. , , d N Ṙ ṡ Ṡ n D N D |

2. , , N , Ṙ , ṙ ṙ ṡ n d n Ṡ |

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3. Ṗ , ṁ ġ ṙ ṙ ṡ |

Dhatu swara patterns can be observed like,

1. N D P M P M G R S

2. N D N Ṙ Ṡ Ṡ, |

3. M P M G R G R S |

In the anupallavi the Saradapeetam which is known as the monastery of omni science had scholars coming from north, east and west but not from the south. Along with his students he prepares to open the southern door. The temple priest opposes him and invites him to a debate, as always Shankaracharya defeats all of them and opens the southern door.

LYRICAL ASPECTS ||A.P|| At the end of 32 years of age, he visited KaSmira and defeated the greatest scholars of his times, to ascend the throne of sarvajna pitham.

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The charanam starts with the graha swaram panchama and ends with the antya swaram shadjama. Janta swara prayogams can be seen in the charanam. 1. ,, P ; P , D N D D P M ; | , , P M P , D , N D N N D P M , |

2. R G G R S, ; |

The charanam concludes at the end in tara sthayi when the lines are sung as, “Vedadharma bhakti margan Raksharaksha samraksh” going upto tara sthayi panchamam. Dhatu swara patterns here and there in the charanam can be observed.

5th Sangathi - Ṡ Ṙ N Ṡ D N Ṡ N D P M G |

4th Sangathi – Ġ Ṁ Ṙ Ġ Ṡ Ṙ D N Ṡ |

3rd Sangathi - Ṙ Ġ Ṡ Ṙ Ṡ Ṙ Ġ |

2nd Sangathi – N Ṙ N Ṡ N Ṡ Ṙ |

1st Sangathi – D , N Ṡ , Ṡ D N Ṡ |

Shankaracharya counselled 5 principles to his disciples.

1. It is compulsory to read the Vedas every day. 2. It is the first and foremost duty to uphold the Vedic principles and duties. 3. Importance to selfless conduct of duty 148 148

4. Control over one‟s tongue and diet 5. Meditating in solitude.

Apart from these five principles one has to work relentlessly to protect the vedic religion.

LYRICAL ASPECTS

||C|| From KaSmira he went to Kedara and had darSan of Lord Kedaresvara, and then the acarya advised the disciple whom he had instated in the various pithams, to protect the vedic tradition along with dharma and bhakti.

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32. Sri Sankara leaves for KailaSa with Dattatreya

Ragam-Kalyani Talam – Ādi

Rudra charam 65th melakartha ragam

Chatursruhi rishabha, Antara Gāndhara, Prathi madhyama, chatusruthi dhaivatha, Kākali Nishāda swaras occur in this kriti.

Kalyani is the 65th melakarta ragam in Carnatic music and also an important ragam in Hindusthani music tradition. It‟s Western equivalent is the Lydian mode.

It is the 65th melakarta rāga under the Katapayadi Sankhya. It is also called mechakalyāni

Arohana - S R2 G3 M2 P D2 N3 S

Avarohana - S N3 D2 P M2 G3 R2 S

The notes occurring in this ragam are chatusruthi rishabha, antara gandhara, prathi madhyama, chatusruthi dhaivatha and kakali Nishādham. It is the prathi madhyamam equivalent of Dheerasankarabharanam which is the 29th melakarta scale.

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Kalyani has many janya rāgams associated with it, of which Hamir kalyāni, Mohanakalyani, Saranga, Sunadavinodini and Yamuna Kalyāni are very popular.

Important compositions are:

1. Vanajakshi ata tala varnam by Pallavi Gopala Iyer

2. Nidhi chāla sukhamā, Etavunnārā, sundari ni Divya, Amma Rāvamma and Vāsudēvayani – by Thyagaraju in Telugu

3. Kamalambā bhajare – by Muthuswami Dikshitar in Sanskrit

The pallavi in this kriti starts with the graha swaram tāra sthayi Shadjama and ends with Madhya sthayi nishada. The pallavi starts with a gap of two aksharas. In the pallavi, Sri kolleigal Subrahmanyam expresses his guru bhakti towards sankara and his mudra “Subrahmanya” can be seen. Kalyani ragam is very well heard in the very first line of the pallavi in the phrases.

N Ṙ Ṡ N D N Ṡ N N D P M G R | Ṡ Ṇ Ṡ Ṙ Ġ Ṁ | P M P D N P | D N

LYRICAL ASPECTS ||P|| Our salutations to the great Sankara, who is our preceptor, and who is revered by devotees like Subrahmanya.

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The anupallavi starts with the graha swaram, Tāra sthayi shadjama and ends with the antya swara nishada. In the anupallavi we can see Janta swara patterns.

1. , , Ṡ ; Ṡ Ṡ , Ṡ , Ṡ N N D P , | , , Ṡ S , Ṙ Ṡ , Ṡ ; D N , Ṡ , |

2. N Ṙ Ġ Ṁ Ṁ , Ġ , |

In the anupallavi the time to end Shankaracharya‟s incarnation, is explained.

LYRICAL ASPECTS ||A.P|| Having had the vision of Dattatreya at Kedara, the acarya conveyed to his disciples about his going to Kailasa.

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In the charanam we oserve a gap of two aksharas. Janta swara patterns can be observed

1. , , Ṡ ; N, D M ; D ; N , |

2. , , , Ṙ , Ṙ Ṙ , N ; N Ṙ , Ṙ , |

3. Ġ ; Ṁ Ṙ ; Ġ Ṙ Ġ , Ṙ Ṙ , Ṡ , |

The Graha swaram of the charanam is tāra sthayi shadjama and the ending antya swaram is tara sthayi Rishabham. In this kriti the starting two lines of the charanam start with a gap of 2 akshara‟s but in sangathis a gap of 3 aksharas is observed. Swara akshara‟s can be seen in the charanam.

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In the charanam Shankaracharya reaches Kailasagiri and beholds lord shiva, all the gods and ascetics blesses him with a rain of flowers seeing Lord Shiva Shankaracharya joins his hands above his head and prostrates before the divine Lord Shiva and Goddess Parvāthi.

LYRICAL ASPECTS

||C|| On reaching kailasa, he had a vision of Dattatreya with Siva and Sakti, which moved to tears; At that moment, he (Sankara) became one with Sankara (Siva) and the sages, ascetics and demigods showered them with flowers with devotion.

DESCRIPTION OF THE FOUR PEETAS Aadipeeta – Southern monastery : Sringeri sarada peetam. Head of the monastery (Peetadi pati) – Suresvaracharya Ratna garbha Ganapati Chandra – Mouli swara presiding. Deity : Malahani kareswara Varaahamurthi Shakti : Sarada Piligrimage : Tunga Yajurveda : Tradition : Pusvala principle – Aham Brahmasmi (Iam Divine). Initiation : Bharati, Town, Forest, Piligrimage.

Western Monastry : Dwaraka Kaalika Peetam. Head of the monastery (Peetadipati) : Sanandanacharya (padmapada) Chandramouliswara. Presiding Deity : Siddeswara Shakti Badrakaali Piligrimade : Gomati Veda Saamaveda Tradition

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Kidvala Principle : Tat Twamasi (That you are) Initiation : Hermitage, Piligrimade.

Northern Monastry : Badrikashmat Jyotirmat Head of the monastery : (Peetadipati). Thotakacharya, chandramouliswara. Presiding deity : Narayana Shakti : Purnagiri Piligrimade : Alakananda Veda : Atharvana veda Tradition : Nandalala principle : Ayam Atma Brahma (This is divine). Self Initiation : Hill, mountain, Ocean. Eastern Monastry : Puri Jagannath Govardhana Peetam. Head of the monastery : (Peetadi pati) Hastamalakacharya chandramouliswara. Presiding deity : Jagannatha purushottama Shakti : Vatsala Piligrimage : Mahodadhi Veda : Rigveda Tradition : Bhogavala principle Pragnanam Brahma Knowledge is initiation - Forest divine woodlands

In this way shankaracharya established the four Vedas and the four powerful monasteries in the four corners of the country. He handed over the responsibility of each of the monastery to one of his disciples and made the special arrangement for protecting the vedic religion, the path of devotion, Traditional virtues and other values.

||Shubham||

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Conclusion

Sangeetha Mahamahopadyaya Sri Kollegal R. Subrahmanyam who belonged to the fifth generation in the Thyagaraja Sishya parampara has always attracted the music world due to his simplicity and untiring efforts for the cause of music.

This study has dealt in detail with life and achievements of Sri Kollegal R. Subrahmanyam as a musician. Sri Kollegal is a multi faceted personality, whose contribution to music has earned him a permanent place of honour in the hearts of many musicians.

In all his kritis the importance of Raga bhava has been brought up and are very simple and easy to understand and learn. All his kritis can be included in concerts since there is a lot of scope for manodharma. Any kriti can be taken and a raga alapana can be clubbed with swara kalpana. The Sahitya of all the kritis in the book “Sri Sankara Vijayam” are simple and easy to understand by everyone since it has been composed in sanskrit. All his kritis have high lyrical values.

Taking up the 32 kritis to explain each and every event in Sri Sankaracharya’s life is a very innovative ‘Prayoga’ done by Sri Kollegal. R. Subrahmanyam. All the kritis of Sri Sankara Vijayam have been composed in Melakarta Ragas which shows he has composed all the kritis of Sankara Vijayam in the parent ragas without using any janya ragas. The swaraksharas and Dhatu swara prayogas with the Janta Swara patterns are swara ranjaka prayogas in the kritis of ‘Sri Sankara Vijayam’. The usage of his swaraksharas prove his command on his languages.

He desired to sing the praise of the lord in his own words, his compositions have proven popular in the concert halls and all the holy places. He has a sishya parampara also to learn and propogate his compositions. His deep study of musicals and academicals of Thyagaraja’s life and contributions are well written in his books.

He gave special interviews on “Music Therapy” a special programme on the healing properties of music hosted by his disciple Smt. Rajam Shankar which has been conducted by TV-7 Health Channel and was telecasted in 2015. His research in music therapy still continues.

His other books also have great lyrical and musical values. There is a lot of scope for research on those books also. His kritis can be learnt and practised and can be performed by the coming generations. A living legend of the Thyagaraja parampara is a matter of pride to all the music lovers.

APPENDIX Hand Written Kritis list

His latest contribution on Guru Poornima 18-7-2016

Some of his Students

BIBLIOGRAPHY

1. Ramakrishna Aiyer. V. the book ‘Acharya’s Call’ B. G. Paul & Co. 1998

2. Madhava – Vidyaranya, ‘Sankara – Dig – Vijayam’ published by Sri Ramakrishna Mutt Printing press

3. Janaki Raman S. R. ‘Sangeeta Sastra Saram’ Second Edition, Secon Print.

4. ‘Swami Madhavananda’ ‘Viveka Cudamani’ of Sri Sankaracharya’ Swami Munukshananda Calcutta.

5. Internet Wikipedia

6. Interviews with Sri Kollegal Subrahmanyam. R

7. Interviews with his students

8. C.D’s

9. Dictionary, Oxford