31 of 50

50 articles for 2019-2020
31 of 50 addendum
GauriManohari

When i was answering at all ends viz to admin Sheela Raman who is saying this article wasnt complete and attributed a wonderful tag called bongu , another friend Meenakshi Vidyasagar commented it lacks the usual nuisances... and yet another tweeting it is too short...an erudite member highilighted that Garuda Gamana is a Prakshipta Krithi of Saint Thiagaraja. Now that requires a separate article which will follow soon. A big thanks for the gent and if he identifies himself here a surprise prize for him... 🥳

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33 of 50

50 articles for 2019-2020 33 of 50 Structure of Krithis part 2 Annamayyas krithis dont have an Anupallavi passage and His Samkeertanas have multiple charanas. While Puradaradasa's compositions have mixed variety as in some have anupallavi passages and some dont. Thiagaraja Swami and Syama Sastry compositions have multiple charanams and its not a LH thumb rule since there are uni charana compositions too. We can conclude that due to lack of evidence of a structure for Krithis as a standard, the brilliants minds explored many formats. We must mention a Margadarshi. A pre trinity composer Sesha Ayyangar composed in Sanksrit, His kritis have triple charanams, and he experimented with the traditional pallavi-anupallavi-caraNam structure of kritis. The famous musician Shatkala Govinda Marar brought with him a collection of the songs of Margadarsi Sesha Iyengar and sang many of them before the king, Swati Tirunal. Impressed by their novelty, adopted them as models for ...
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50 Articles for 2019 Number 03 Topic: mUrcana kAraka rAgams (also covered: popularity / beauty of some rAgams) A rAgam whose swarastanas are retained while shifting the tonic note (adhara sadjam) to get other rAgams, is known as a mUrcana kAraka rAgam. For example, if we keep the relative position of notes of mOHanam and shift the shruti (sadjam) to its rishabham, we will get madhyamAvati. What do we mean by this? The distance of swaras from previous swara in mOHanam are sa->next tone (T)->ri-(T)->ga-next tone+semi-tone (T+ST)->pa-(T)->da-(T+ST)->sa'. For madhyamAvati, the series is sa->(T)->ri-(T+ST)->ma-(T)->pa-(T+ST)->ni-(T)->sa'. As we can see the sequence T - T - T+ST - T - T+ST has been rotated to get T - T+ST - T - T+ST - T (moving first tone gap interval to last). If we wish to look at it from keyboard layout point of view, with 12 swaras stanas (7 swaras or fewer are chosen from the 12 for a rAgam usually), and we start wi...
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35 of 50

50 articles for 2019-2020 Article 35 of 50 GovindarajaSwamy and Gummakambodhi Yes yes of late my aritlcles resemble some archaelogical find but i can assure my sea of readers ( less than 10) it is unintentional. When visiting the magnificient temple of Nataraja in Chidambaram i used to wonder how come there is a Govindarajaswamy temple in the Siva Complex and answered myself it could be the syncretic nature of our 3 arms of Hinduism Decade ago i was captivated by Sanjays rendition of Govindarajena rakshitoham sada by Muthuswamy Dikshtar , the raga name easily merging in the Sahitya...the final lines of the Vibhakthi being mEca bauLi rAgENa santOshitEna I have to visit what readers already know as in the beautiful Bowli raga with the following Arohana and Avarohana ārohaṇa: S R₁ G₃ P D₁ áš  avarohaṇa: áš  N₃ D₁ P G₃ R₁ S Curiosity be served with some food... Venkatamakhin enumerated without describing this raga. I will just run thru the references which speak of Mecha...
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