Title Raga Tala Duration

1 Kamalajadala Kalyani Tisra Jati Triputa 02.16

2 Janaka sutha Saveri Chathurasra Jati Rupaka 02.25
3 Mandara Dharare Kamboji Chathurasra Jati Triputa 02.35
4 Raravenu Bilahari Adi 05.17
5 Sambashivayanave Khamas Adi 05.40
6 Raveme Anandabhairavi Adi 05.23
7 Jatisvaram Kalyani Adi 04.27
8 Jatisvaram Saveri Ekam 03.33
9 Sami ninne Sankarabharanam Adi 09.22
10 Ninnu kori Mohanam Adi 06.36
Gitam
This musical composition learnt by student after a course in the preliminary
svara exercises and Alankaras. The music of the Gita is a simple melodic
delineation of its raga and in uniform tempo. The theme of the sahitya is in
praise of God. Gitas are compositions in medium tempo and are sung with
no repetition from beginning to end. There are two kinds of Gitas 1.Sanchari
Gita 2.Lakshana Gita. The following are sanchari gitas.
Kamalajadala in Raga Kalyani Tala-Thisra Jathi Triputa
ARO - S R2 G2 M2 P D2 N2 S AVA - SN2 D2 P M2 G2 R2 S
This is the 65th Melakarta. This is a highly popular prati madhyama
(sharpened 4th) raga comprising of a large number of janya ragas. The notes
are Sa, Chatusruti Ri, Antara Ga, Prati Ma,Pa, Chatusruti Dha, and Kakali Ni.
Kalyani is the corresponding Prati Ma mela of Sankarabharana. Kalyani is
the same as the Yaman Thaat in Hindustani Music and uses the notes
equivalent to the Lydian mode in Western music. This raga is a
murchanakaraka mela.
The meaning
Oh Lord!
Your eyes are like the petals of the lotus, you blessed Gajendra with the
Mercy like an ocean. Oh Lord of Lakshmi, you destroyed Kesi and
Narakasura. Oh Grantor of boons, you have blessed all with your kind
presence.
The meaning
Holding mandara hill, you are the kurma avatar. You grant moksha. You are
the enemy of Mura asura. You are like Yama for the asuras. You have a pure
body, and have the most auspicious lines in your pada (feet). You wear
peacock feathers on your makuta.
Svarajati
Svarajatis are pleasing melodies. They are learnt after the gitas. They form
the stepping-stone to the next important compositions, the varna. In point of
musical structure and speed of execution, they resemble the varnas.
A svarajati consists of a pallavi, anupallavi and charanas-anupallavi is
dispensed with. The theme of the sahitya may be devotional, heroic, or
amorous. It may be an invocation to some favourite Deity or may relate to
the glorious and valient deeds of some hero.
Raravenu in Raga Bilahari Tala Adi
ARO - S R2 G2 P D2 S AVA - S N2 D2 P M1 G2 R2 S.
This is an audava sampoorna raga derived from the 29th mela
Dhirasankarabharanam. Kaishiki Ni is a bhashanga note in this raga.
The appropriate time for singing this raga is in the morning. Saint.Tyagaraja
is believed to have brought to life a dead man by singing na jeevadhara in
this raga.
Janaka sutha in Raga Saveri
Tala Chathurasra Jathi Rupaka
ARO S R1 M1 P D1 S AVA S N2 D1 P M1 G2 R1
A very prominent Janya raga derived from the 15th mela Mayamalavagaula.
The notes are Sa, Suddha Ri, Antara Ga, Suddha Ma, Panchamam, Suddha
Dha and Kakali Ni. An audava sampoorna raga of upanga type. This is a
morning raga which evokes karuna rasa.
The meaning
Oh Rama! decorated by the kumkum that is Sita, the daughter of Janaka. You
are the one who killed emperor Bali. You have Garuda as your vahana. You
granted boons to Gajendra. You are the Lord of the auspicious Lakshmi. You
reside in Karigiri.
Mandara Dharare in Raga Kamboji
Tala - Chathurasra Jathi Triputa
ARO - S R2 G2 M1 P D2 S AVA - S N1 D2 P M1 G2 R2
This is a Janya raga classified under the 28th mela Harikamboji and
corresponds to the scale of G in western music. It is a Shadava Sampurna
Raga and a bhashanga raga. The foreign note is N2. It is a major raga which
allows scope for a elaborate alapana. The pan Takkesi resembles this raga.
Jatisvaram in Raga Kalyani Tala Adi
ARO - S R2 G2 M2 P D2 N2 S AVA - S N2 D2 P M2 G2 R2 S
This is the 65th Melakarta. This is a highly popular prati madhyama raga
comprising of a large number of janya ragas. The notes are Sa, Chatusruti
Ri, Antara Ga, Prati Ma, Chatusruti Dha, and Kakali Ni. Kalyani is the
corresponding Prati Ma mela of Sankarabharanam. Kalyani is the same as
the Yaman Thaat in Hindusthani Music. This raga is a murchanakaraka mela
and uses the notes of the Lydian mode.
Jatisvaram in Raga Saveri Tala Ekam
ARO - S R1 M1 P D1 S AVA - S N2 D1 P M1 G2 R1 S
A very prominent Janya raga derived from the 15th mela Mayamalavagaula.
The notes are Sa, Suddha Ri, Antara Ga, Sudha Ma, Pa, Suddha Dha and
Kakali Ni. As an audava sampoorna raga of upanga type, this is a morning
raga which evokes karuna rasa.
Varnam
This is one of the most important musical forms. Often it is the first item in
the concerts. Varnams are scholarly compositions. They are elaborate
melodies complete with raga bhava. A varna contains within it not only the
raga ranjaka compositions, but also the special sancharas and the several
apurva prayogas and Datu prayogas that the raga consists of. Amongst the
Sambashivayanave in Raga Khamas Tala Adi
ARO - S M1G2 M1 P D2 N1 S AVA - S N1 D2 P M1 G2 R2 S
Janyam of the 28th mela Harikambhoji. In Western music this is dereived
from the mixolydians mode. It is a Vakra Shadava- Sampoorna ragam and a
Bhashanga raga. The jiva svaram are Ma, Dha, and Ni. The Nyasa svarams
are Ma and Pa and the Graha svarams are Sa Ma Pa. The raga expresses the
feelings of bhakti and love.
Raveme in Ragam Anandabhairavi Tala Adi
ARO - S G1 R2 G1 M1 P D2 P S AVA - S N1 D2 P M1 G1 R2 S
Janyam of the 20th mela Natabhairavi. Derived from the Aeolian mode. It is
a Vakra shadava- Sampoorna ragam. It is also a Bhashanga ragam. In the
Arohanam Ni is varjam. The Jiva svaras are Ga Ma Ni. Nyasa svaras are Ga
Ma Pa and Ni and the Graha svaras are Sa Ga Pa. This is an ancient raga. It
can be sung at all time. This raga expresses the feelings of tenderness and
love. Lullabies and cradle songs are composed in this raga.
Jatisvaram
Jatisvaram is a composition very much like the svarajati in point of musical
structure, but has no sahitya and the piece is sung with the solfa syllables.
It is a composition belonging to the realm of dance music. It is also known
by the word svara-pallavi. Due to the number of Jatis in Svara Pallavi, it is
known as Jatisvaram.
compositions of the technical group, the varnam takes the first rank in point
of importance. Varnas are learnt and practiced with great care and assiduity
by both vocalists and instruments. Varnam are two kinds, tana varna and
pada varna.
Sami ninne In Raga Sankarabharanam Tala Adi
ARO - S R2 G2 M1 P D2 N2 S AVA - S N2 D2 P M1 G2 R2 S.
One major popular mela which is found in all systems of world music. It is
the 29th mela that belongs to the 5th chakra Bana. The notes are Shadja,
Chatusruti Ri, Antara Ga, Suddha Ma, Pa, Chatusruti Dha, and Kakali Ni.
A major raga with large number of janya ragas. A sarvakalaika raga even
though evening is the time most suitable for the raga.All types of musical
forms such as Gitams, Svarajathis, Varnams, Kritis, Padas, Ragamalikas etc
figure in this raga.
The meaning
This is composed by Veena Kuppaiyar in raga Sankarabharanam. The text
portrays sringara rasa (love) in which a maiden expresses the agony of her
companion who is pining for her beloved and pleads with him to be
sympathetic to her.
Ninnu kori in Raga Mohanam Tala Adi
Aro S R2 G2 P D2 S Ava S D2 P G2 R2 S
A very popular pleasing janya raga that is audava in nature. It is derived from
28th mela Harikambhoji. The notes are Shadja, Chatusruti Ri, Antara Ga, Pa,
and Chatusruti Dha. Sarvasvara gamakavarika rakthi raga. It evokes vira rasa
and used for expressing anger, challenge etc. Lord Krishna is associated with
this raga. Mohana raga is one of the oldest raga found in many countries. In
Hindusthani Music it is known as Bhoop or Bhoopali.
The meaning
This is a composition of Ramanath Srinivasa yenger. The text portrays a
maiden who pleads with Lord Srinivasa Iyenger, O Lord of the universe! I
am desirous of You; please be compassionate and come to me.