1 1 2020 Sanjay NY cuch !

2 of 3 or how much ever I can stretch !

There is a way the womenfolk address their menfolk depending on the relationship in the great Chozha naadu and parts of so so Pandya nadu region. It is a word which exists neither in form nor in any dictionary and is being brought here for the benefit of the readers..its Nnnnnaaa…addressed to the husband and as soon as it enters the ears of the husband he relinquishes his rights to anything fair as in any argument and freezes for the next statement…..eagerly competing with the same pronounce but different spelling is Annaaaaaaa….. The moment this Annnaaa falls on the open ear drums of the recipient he must admit all requests of his sister and execute it on instant basis. Be it present for Broadcasts or write reviews. Just saying Now you see the fine thread menfolk have to negotiate when hearing starkingly similar sounding words….


Sanjay gave out GAanamrutha Paanam and by virtue of having listened to it a few times I could fix it as Jyotiswaroopini…a melakarta…. I ventured to share my information to Mr Subbu Subramanian Seshadri to my right side and he was a bit unsure if it really was Jyoti (MD school) or Nasikabushani (or so I felt from his facial express ).. So its time to fill the gap with little CnP and make the article look little erudite
· ārohaṇa: S R₃ G₃ M₂ P D₁ N₂ Ṡ
· avarohaṇa: Ṡ N₂ D₁ P M₂ G₃ R₃ S Jyoti


· ārohaṇa: S R₃ G₃ M₂ P D₂ N₂ Ṡ Nasikabooshani
· avarohaṇa: Ṡ N₂ D₂ P M₂ G₃ R₃ S


Now for the bolded letters differentiate the entire melody and movement of both Melkarta Ragas. Careless handling will not establish the raga authoritatively as much as the way Nnnaaaaaaaa or Annnaa is pronounced carelessly. and sends the listener into a tailspin


Subbu Sir to whom I shared the raga details was a bit unsure but he thought its better to agree than to listen an explanation from me in the precincts of the hall… Thank you Subbu sir.. he he

Next came an aurally pleasing Brindavana Saranga….that a minor raga can tranquilize you with peace is amazing. That it held me in trance is an understatement. Read with me a little bit of the Raga….

Ri, Ma and Ni figure both as jiva svara and nyasa svara. Ga is only used sparingly in this rAgam and some books differentiate between brindAvana sArangA and brindAvanI based on the usage of Ga.

T.M.Krishna in a lecture demonstration says Brindavanasaranaga has only Kaishiki nishada and NO kakali . Brindavani as we understand it TODAY has both nishadas. there was a time when brindavasaranga and brindavani referred to the same raga which had only kaishiki nishada and no kakali nishada.

While I also get sometimes irked at the hair splitting that happens between seemingly same melodic movements.. probably this kind of micro research is what differentiates our music system and the beauty that opens up as you peel the petals…

the song SoundararAjam was composed at the soundararAja PerumAl Swamy temple at NAgapattinam in the praise of Lord SoundararAja by Muthuswamy Dikshatar and he made this raga Carnatics own treasure…

This raga has been handled beautifully in film songs and giving below some samples…
Pennondru kandaen Pennanguillai…sung by Shivaji Ganesan with Balaji in the movie Padithaal Mattum Podhuma

Konjum Mainakkale – Movie…Kandukonden Kandukonden

Maadathile Kanni Maadathile – movie - Veera

And came a beautiful Shankarabarana. I must concede I wasn’t able to place it initially for no apparent reason but confirmation with a rasika established it well. That my recollecting ability could fail anytime and with seemingly known ragas is something that am amazed and for no apparent reason. Lets read a little bit of Anai Ayya the tamizh composer who has created this beautiful krithi Maanam Vaitharul…


These are really two brothers named Anai Aiyar and Ayyavaiyer. They were patronized by the Tanjavur Marattha king Serfoji III (1800-1832). Well versed in music and scholars in the southern languages, they hail from a small village near Tanjavur called Vaiyacheri.

The melodic progression of the song possibly is not what I am used for a Shankarabarana but one must give it to Sanjay that he brings variety to the concert circuit.

Did i just write Sanjay ? Indeed i did. A dear friend cum rasika cum erudite member (all rolled into one) connected privately and opined that Sanjays Sahana was not upto mark .... So as a card carrying member of his group i shall defend the opposite sometime soon.

I swear I could have seen Semmangudi mama clapping his hands somewhere in the hall when he heard the beautiful rendition Appan Avatharitha in Kharaharapriya by Sanjay…. Some krithis of Papanasan Sivan I am blank as to the exact meaning or use of the tamizh words .
kadAm ruDham in this krithi is an example and whoever helps me, gets a free copy of Sivans compositions to help me further…

much to the chagrin of my readers..this is going to be continued for one last artikill....…

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