BRIEF INTRODUCTION

SARALI SWARAS, TAGGU STHAI SWARAS, HECHU STHAI SWARAS

Purandara Das has started certain kinds of exercises for the elementary level of music learners
in the field of Carnatic music which is essential for vocal students as well as learners of
instruments such as the veena, violin, flute, etc. These exercises are followed by teachers even
today without any change, which shows their importance in the field of learning.
These exercises are normally practiced in the raga mayamalava gowla as propounded by
Purandara Das himself since the similarity in the swaras of Arohanam and avarohanam makes
the beginner comfortable in learning. The raga Maya Malava Gowla is the best for singing the
basic exercises as generally students are advised to sing the Morning and the raga is apt for
singing in the morning.

CONCEPT OF SWARA STHANAS:-

Swarasthanas are different varieties for musical notes which are used in Carnatic music. They
are Shuddha Rishabham, chatusruthi rishabham, antar gandharam, sadharana gandharam,
shuddha madhyamam, prati madhyamam, suddha dhaivatham, chatusruthi dhaivatam, kaisiki
nishadam, kakali nishadam apart from achala swaras like shadjamam, panchamam. Students
should understand the concepts of frequency in note placement while singing as well as
listening. The difference between higher and lower pitches can be understood by taking songs
as examples.

CONCEPT OF “MOORCHANA”

Aarohanam and avarohanam are said to be ascending and descending orders of the
swarasthanas which are used for understanding the raagam having different swarasthanas.
As there are different (dwadasa and shodasa) swarasthanas, the flavours of ragam depends
upon the swarasthanas used in the ragam. For understanding the ragas and skills for
identification of ragam the aarohanam and avarohanam are designed for every single ragam.
Aarohanam and avarohanam together are called MOORCHANA.

CONCEPT OF JANTA AND DAATU SWARAS

Janta Swara varisai is a kind of exercise in which the same swaras come one after the other
and the second swara is played or sung in prominence with a special stroke. There are 10
exercises of Jhanta swaras being practiced
at four speeds. Usually, this comes after the practice of sarali Swaras and other simple
exercises.
Dhattu Swaras is an exercise in which the swaras are presented in a zig-zag jumbled manner
with periodical progression. Though there are several dhatu Swara varisas in vogue, we have
selected only two prominent varisas for the practice. It is otherwise known as vakra Swaras in
Sanskrit.

CONCEPT OF ALANKARAS
Alankaras literally means ornamentation, whereas in music it is the decorative Swara passage
sung along with the sapta talas such as Dhruva,Matya etc. These are popularly known as Sapta
Tala Alankaras. Learners have to concentrate very much to maintain the tala at different speeds
along with the purity of swarasthana and the type of passages.
Alankaras are aesthetically composed groups of Swara phrases that have been set to each of
the Suladi Sapta Talas.
There are 35 Alankaras in total – 5 alankaras for each of the tala families – Eka, Rupaka,
Triputa, Jhampa, Matya, Dhruva and Ata.
The practice of alankaras gives learners a grip on swarasthanas and tala at the same tune.
Singing alankaras with gamaka at different speeds also helps in raga understanding.

GEETHAS:-

Geethas are simple compositions a beginner comes across with a lyrical part for the first time in
learning Carnatic music. Through these compositions, learners will get a clear idea about the
raga, its sancharam(the way of progression of the swarathanas), and a variety of notes(note
variations or swarasthanas), etc. Words do not have much importance in these types of
compositions. Generally these are in praise of gods or goddesses. And those geethas which are
praising Lord Ganesha are popularly known as pillari geethas and the rest of them are known as
sanchari geethas.

Geethas are usually practiced at three different speeds, without much effort as there are less
gamakas and sangathis used. Here is the first geetham in the raga Malahari and two Sanchari
Geethas in the raaga Sudha Saveri and Mohanam.

GEETHAM -1 (PILLARI GEETHAM)

SRI GANANATHA

Ragam - Malahari ragam

Talam - Chaturasra Jathi Rupaka talam(6)
Janya of 15th melakartha ragam (parent ragam - mayamalava gowla)

Arohanam - S R1 M1 P D1 S
Avaroham - S D1 P M1 G2 R1 S

It is said to be as Audava Shadava ragam i.e, takes only 5 notes S R M P D in arohanam and 6
notes S D P M G R in the avarohanam.

SWARAM
MPDSSRRSDPMP
RMPDMPDPMGRS
SRM.GRSRGRS.
RMPDMPDPMGRS

MPDSSRRSDPMP
RMPDMPDPMGRS
SRM.GRSRGRS.
RMPDMPDPMGRS

MPDSSRRSDPMP
RMPDMPDPMGRS
SRM.GRSRGRS.
RMPDMPDPMGRS

All the three paragraphs are sung in the same pattern as the swaras and swarasthanas are the
same for all the three. The geetham is designed in such a simple way for the learners of
beginner level to understand the sahityam part that is connected to the swaram part.

GEETHAM

Sri . Gananadha Sin . dhooravarna

Karunasagara Karivada . na
Lam . bo . dara lakumikara .
Am . ba . sutha amaravinutha (lambodara)

Siddha cha . rana gana se . vitha

Siddhi vinayaka the . namo namo
Lam . bo . dara lakumikara .
Am . ba . sutha amaravinutha (lambodara)

Sakala vidhya . aadi poo . jitha

Sa . rvotthama the . namo namo
Lam . bo . dara lakumikara .
Am . ba . sutha amaravinutha (lambodara)

GEETHAM -2
KUNDAGOURA

Ragam - Malahari ragam

Talam - Chaturasra Jathi Rupaka talam(6)
Janya of 15th melakartha ragam (parent ragam - mayamalava gowla)
Arohanam - S R1 M1 P D1 S
Avaroham - S D1 P M1 G2 R1 S

It is said to be as Audava Shadava ragam i.e, takes only 5 notes S R M P D in arohanam and 6
notes S D P M G R in the avarohanam.

GEETHAM

D P M G R S R M P D M P
D R R S D P D P M G R S
S . R . R . D P M G R S
S R P M G R S R G R S .

D P M G R S R M P D M P
D R R S D P D P M G R S
S . R . R . D P M G R S
S R P M G R S R G R S .

D P M G R S R M P D M P
D R R S D P D P M G R S
S . R . R . D P M G R S
S R P M G R S R G R S .

Kunda gow . . ra gow . ri . vara

Mandi ra . . ya ma . namakuta
Man . da . ra . kusuma . kara
Makaran . damu Va . sithuva . (mandara kusumakara)

Hema koo . . ta Man . da . kini

Mandi ra . . ya ma . namakuta
Man . da . ra . kusuma . kara
Makaran . damu Va . sithuva . (mandara kusumakara)

Chandama . . ma sim . ha . sana

Viru pa . . ksha Karuna . kara
Man . da . ra . kusuma . kara
Makaran . damu Va . sithuva . (mandara kusumakara)
 GEETHAM - 3
PADUMANABHA

Ragam - Malahari ragam

Talam - Trisrajathi triputa talam (7)
Janya of 15th melakartha ragam (parent ragam - mayamalava gowla)

Arohanam - S R1 M1 P D1 S
Avaroham - S D1 P M1 G2 R1 S

It is said to be as Audava Shadava ragam i.e, takes only 5 notes S R M P D in arohanam and 6
notes S D P M G R in the avarohanam.

GEETHAM

R S D S . S . M G R M M P .
S D . D P M P D D P M G R S
R S D S . S . M G R M M P .
S D . D P M P D D P M G R S

P M P D S D S R S D D S D P
D D P P . P M R M M P . P .
D D P P . P . R . M M G R S
S . S D D D P P . P M G R S

D S . D P M P D D P M G R S
R S . D P M P D D P M G R S
P M P D S D S R S D D S D P
D D P P . P M R M M P . P .
D D P P . P . R . M M G R S
S . S D D D P P . P M G R S

Paduma na . bha . parama purusha .

Param . jyo. . thi swa ro . pa . . .
Vidura Van . dhya . Vimala charitha .
Vihan . ga . . dhi Ro . ha na . . .

Udhathi Ni va . sa Uraga saya . na

Unnatho . nnatha ma hi . ma .
Yadukulo . thama ya . gnya ra . kshaka
Ya . gnya si . kshaka ra . ma na . . ma

Vi bhi . shana pa . laka . namo namo

Ibho . vara da . yaka . namo namo
Shubha . prada sumano . rada . yasu
Re . ndra mano ran . jana
Abhi . na . vapurandhara . .
Vithalla bhallare ra . ma na . . ma

GEETHAM - 4
VARAVEENA

Ragam - Mohana ragam

Talam - Chaturasra Jathi Rupaka talam(6)
Janya of 28th melakartha ragam (parent ragam - Hari Kambhoji)

Arohanam - S R2 G2 P D2 S
Avaroham - S D2 P G2 R2 S

It is said to be as Audava Audava ragam i.e, takes only 5 notes S R G P D in arohanam and 5
notes S D P G R in the avarohanam.

GEETHAM

G G P . P . D P S . S .
R S D D P . D P G G R .
G P D S D . D P G G R .
G G D P G . P G G R S .
G G G G R G P G P . P .
G G D P D . D P S . S .
D G R R S S D S D D D P
G P D S D P D P G G R S
S R G . G . G R P G R .
S R S G R S R R S D S .

Vara ve . na . mrudu pa . ni .
Vanaruhalo . chalu ra . ni .
Suruchira bam . bara ve . ni .
Suranutha kal . ya . . . ni .

Nirupama shubhaguna lo . la .
Niratha jaya . prada she . la .
Varada . priya ranga na . ya ki
Va . nchitha phala da . . . ya ki

Sara see . ja . sa nu janani .

Jaya jaya jaya jaya va . ni .

GEETHAM - 5
KAMALA JAADALA

Ragam - Kalyani ragam

Talam - Trisra Jathi Triputa Talam
Janya of 65th melakartha ragam

Arohanam - S R2 G2 M2 P D2 N2 S
Avaroham - S N2 D2 P M2 G2 R2 S

It is said to be as sampoorna ragam i.e, takes only all 7 notes S R G M P D N in arohanam and
7 notes S N D P M G R in the avarohanam.

GEETHAM

S S S N D N S
N D P D P M P
G M P P D D N
D P M P G R S
D D D G G G .
M P . M G R S
R . . S . S .
G M PM P D P
N D P D P M P
G M P P D D N
D P M P G R S
D D D G G G .
M P . M G R S
R . . S . S .
Kamalajadala vimala sunayana
karivarada karunam budhe…
Karuna sharade . kamala . . . ka . . ntha
Keshinarakasuravibhedana
Varada vela surapurotthama
Karuna saradhe .
Kamala . . kaantha

GEETHAM - 6
KERAYA NEERANU

Ragam - Malahari ragam

Talam - Trisrajathi triputa talam (7)
Janya of 15th melakartha ragam (parent ragam - mayamalava gowla)

Arohanam - S R1 M1 P D1 S
Avaroham - S D1 P M1 G2 R1 S

It is said to be as Audava Shadava ragam i.e, takes only 5 notes S R M P D in arohanam and 6
notes S D P M G R in the avarohanam.

GEETHAM

D S S D P M P D D P M M P .
D D S D P M P D D P M G R S
S R R S R S R D D P M G R S
D P D S . D P D D P M G R S

D S S D P M P D D P M M P .
D D S D P M P D D P M G R S
S R R S R S R D D P M G R S
D P D S . D P D D P M G R S

Keraya ne . ranu keriga cha . lli .

Varava padedava ran . thi kaa . niro
Hariya karunada la . da bha . gyavo
Harisama . rpana maa . di brathukero

Sri . puran . dhara vithala ra . ya .

Cherana kamalava no . di brathukero
Hariya karunada la . da bha . gyavo
Harisama . rpana maa . di brathukero

GEETHAM - 7
AANALEKARA UNNIBOLATHI

Ragam - suddha saveri ragam

Talam - trisrajathi triputa talam
Janya of 28th melakartha ragam(parent ragam - dheera sankarabharanam)

Aarohanam :- S R2 M1 P D2 S
Avarohanam :- S D2 P M1 R2 S

It is said to be as Audava Audava ragam i.e, takes only 5 notes S R M P D in arohanam and 5
notes S D P M R in the avarohanam.

GEETHAM
R M R R S D S S . S D P M P
D D S D . D P P M R D D D P
P . P D D D P P . P M P D P
P M R S R S R P M P S R S R
P P D P P M R R S R M . M .
D P D S . S . R R S D P M P
D D S D . D P P M R D D D P
P . P D D D P P . P M P D P
P M R S R S R P M P S R S R
P P D P P M R R S R M . M .
D P D S . S .

Aa . na le . kara un . ni bo . lathi
Sakala shasthra pura . na
Dhe . na tha . la dhe . nam . tha . la
Parigathure . . . Aa . . . . Aa . . .
Aa . . . . . Se . thu vaa . ha .
Pariga tham . nam . jata . joo . ta
Sakala sa . stra pu ra . . na
Dhe . na tha . la dhe . nam . tha . la
Parigathure . . . Aa . . . . Aa . . .
Aa . . . . . Se . thu vaa . ha .
Pariga tham . nam .

GEETHAM - 8
SRI GOVINDA

Ragam :- Sankarabharanam
Talam :- chathurasra Jathi Mathya Talam
Janaka ragam 28th melakartha

Arohanam :- S R2 G3 M1 P D2 N3 S
Avarohanam :- S N3 D2 P M1 G3 R2 S

It is said to be as sampoorna ragam i.e, takes only all 7 notes S R G M P D N in arohanam and
7 notes S N D P M G R in the avarohanam.

GEETHAM

s n S d n s n d p ||
m g m p d p m g r s ||
s s P m g m r G ||
s s S n s d N s ||
R` s n d p m g r s ||
S S S S n d p ||
m g m p - p m g r s ||
r` r` n s s d n n p d ||
d m p p g m m r G ||
s r g m P d n S ||
r` r` s n d p m g r s||

Sri . go . vin . dha . . .

Hare . . Madhusoo . dha na
Vana ma . . . . la
Garuda . dhwa ja mukunda
Sri . dhara sri . ragu pathe
sam . . ka . rshana
Sundara . nga jaya haya
Sri . . ra . ma see . . tha .
Bhi ra . . . . . ma ma . m
Pa . . . hi pa . tta . bhi ra . . ma

JATHI SWARAS OR SWARA JATHIS

This musical form belongs to both abhyasa gana and Sabha gana. Though the
swarajatis which appear in abhyasa gana are very simple for beginners, the advanced
swarajatis of composers like Syamasastri and Ponniah Pillai are very difficult for even a
seasoned musician. This musical form has sections like Pallavi, Anupallavi and
Charana. Several swarajatis are composed with multiple charanas in which the sahitya
will be followed by its swaras. While the swarajatis in Bilahari and Khamas give an idea
of the raga to a beginner, the swarajatis of Syamasastri in Bhairavi, Yadukula kamboji
and Todi are the epitome of those ragas.
Jatiswaram is a musical form which belongs to abhyasa ganam. This is taught after
geetas. As the name suggests, jatiswaram has only swaras and no sahitya (lyrics). The
composition has pallavi and a number of charanas. Since it has only swaras, it is also
known as swarapallavi. Jatiswaram is mainly performed in Bharatanatyam dance
concerts. The dancer begins the item with a jati passage and then moves on to the
composition.

SWARA PALLAVI

The concept of swarapallavi(Jathi swaram) is based on complete swaras. The swaram

part is called DHATHUVU where there will be no MATHUVU (lyrics).
The swarapallavi is composed and learned by the student after geethas concept and
before Varnas. This helps students understand the Raagam in depth so that the student
can do the swara kalpana by themselves in the future.
In some charanas of swarapallavi, there will be mridangam jathi’s which hence called
Jathi swaram. Swarapallavi is basically set in madhyama kalam. (nuetral speed).
This consists of pallavi, anupallavi and charanas. In a few cases pallavi, and charanas.

Going on with sessions, students will be learning two swarapallavis going further.
 1. Vasantha ragam :-
This swarapallavi is composed in the ragam Vasantha and Chaapu talam.Vasantha
ragam is deeply explained while getting into learning.

2. Hindola Ragam :-
This swarapallavi is composed in the ragam Hindolam and aadi talam. Hindola ragam is
focusing on the devotional rasa of composition.

SWARAPALLAVI
VASANTHA RAGAM - CHAAPU TALAM

Ragam :- Vasantha ragam

Talam :- Trisra jathi triputa talam
Janyam of 17th melakartha ragam (parent ragam :- Sooryakantham)

Aarohanam :- S M1 G3 M1 D2 N3 S
Avarohanam :- S N3 D2 M1 G3 R1 S

This ragam is said to be as shadhava Vakra ragam. There are 6 notes S M G M D N in

aarohanam and 6 notes S N D M G R in avarohanam. As you can see, the swaram in
aarohanam shows the slide from S to M and the previous note of the swaram which
comes next shows the out way called Vakram, so called vakra ragam.

Swara sthanas:- Shadjam, antar gandharam, suddha madhyamam, chatusruthi

daivatam, kakali nishadam, suddha rishabham.
Talam :- 1 trisra jathi triputa and 2 dhruthas

pallavi:

sa . . . ni . || da . . . ma . || ga . . . re . || sa . . . sa ni || da ni sa ga ma da ni ||

Charanam:

1. sa . . . ni . || da . . . ni . || ma . . . da . || ga . . . ma . || sa . . . ni . || sa . . . ga .||
ma . . . da ni || (sa …)
2. sa . ni da ma da ni || da . ma ga ma da ma || ga . ma ri sa ni || da . ni da ma da ni
|| sa . ni sa ga ma da || ma . ni da ma da ni || (sa…)
3. sa ni sa da ni sa ma|| da ni sa ga ma da ni|| sa ni sa ga ma da ni|| sa ni da ma
da . ni|| (sa…)
 4. sa ga ma ga re sa ni || da ni sa ni da ma ga || ma da ni sa ni da ma || ga ma da
ma ga re sa || ni sa ni da ni sa ga || ma da ma ga ma da ni || sa ga ma ga re sa ni
ri sa || ni da ma da ni || (sa . . )

SWARAPALLAVI - 2
HINDOLA RAGAM - AADI TALAM

Ragam:- Hindola ragam

Talam :- aadi talam
Janyam of 20th melakartha ragam (parent ragam :- Nata bhairavi)

Aarohanam :- S G2 M1 D1 N2 S
Avarohanam :- S N2 D1 M1 G2 S

This ragam is said to be Audhava ragam. In aarohanam it has 5 notes S G M D N and

also has 5 notes S G M D N in avarohanam.

Swarasthanas:- shadjam, sadharana gandharam, suddha madhyamam, shuddha

daivatham, kaisiki Nishadam.

Talam :- 1 laghuvu (4 beats), 2 dhruthas (2 beats each)

Pallavi :-
Sa . . . ni . . da . . | ni . . da . . ma da . . .||
Ni . . da . . ma ga . . . | ma . ga . . ma . da . ni || (sa . . . )

Charanam :

1. Sa . ma ga ga sa . ga sa ni da ni | sa . ni . sa ni ni da . ni da da ma ma || da . ma
da ma ma ga, ma ga ga sa ,| ga sa sa ni ni, sa sa ga ga ma ma da da ni || (sa …)
2. Sa . sa ni ni sa da ni sa ni ni sa | ni ni da da ni . ni sa ni ni da da ni ni da ma ||
da . ma da ma ma ga ma ma ga sa | ma ga ma da . da da ni da da . ma ga
ma da ni || (sa
…)
3. Ma . . . ga ga ma ma ga ga sa ga sa ni | da . . . ni sa ga sa ma ga . ma || da da
ma . da da . ni da ma da ni . sa | sa ni ni da da ni da da ma ga ma ga ga sa ma
ga ma da ni || (sa … )
4. Ni da ni sa ni da ma da ni . da ni sa . ni da ni sa . ga sa ni da ni . sa ni sa da ni da
. . . . . . ki na jham . . . kinatajham tha ritha . . . takundari
ma da ma ga ma ga sa sa ni sa ma ga ma ni da ni sa ni sa ga sa ni sa ni da ni da
Ta ki ta dhanatha tharitha jhanutha
ma ga ma da da ni
thadhiginatha
SWARAJATHI - 1
RA RA VENU GOPABALA

Ragam :- Bilahari ragam

Talam:- Aadi talam
Janyam of 29th melakartha ragam (parent ragam : dheera sankarabharanam)

Aarohanam :- S R2 G3 P D2 S
Avarohanam:- S N3 D2 P M1 G3 R2 S

It is said to be as Audhava sampoorna ragam. In aarohanam it has 5 notes S R

G P D and in avarohanam it has all 7 notes S N D P M G R which is
sampoornam, the arohanam of bilahari is Mohanam arohana and avarohana is
sankarabharanam which is easy way of memrizing the raga lakshanam or raga
signature.

Pallavi :-

s , , r g , p , d , S , n , d , |

raa. . raavE . Nu . gO . pa . baa. la . |

p , d p m g r s | r s n. d. s , , , ||

raa. ji ta sad gu Na | ja ya shee la . . . ||

Anupallavi

s , , r g , p , m , , g p , d , |
 saa. . ra saa. ksha nE . . ra mE . mi . |

R , , S n , , d | p , , m g , , r ||

maa. . ru baa. . ri | kOr. . va lE . . raa||

charanam 1

s , , r g , g , g , , , g , r g |

nan. . da gO . paa. laa. . . . . nE . |

p , , p p , p , | p , , , p , d p ||

nen. . du pO . jaa. | laa. . . . . nee. ||

S , , S S , S , G R S n n d p , |

vin. . du raa. raa. sa da ma la ma di lO . |

p d p m g g r , | g p m g r s r g ||

mu da ma la ra ga naa. | ke du ru ga ga di ya ra || (raaravENu)

charanam 2

p p p , r r r , g p m g g , , , |

pa lu maa. ru nu gaa. ra va mu na nin. . . |

g p m g m g r s | r g r s s , , , ||

pi la ci na pa lu ka vu | na lu ga ku raa. . . ||

r s n. d. s , , , m g r g p , , , |

ka ri va ra da . . . ma ri ma ri na . . . |
 d p d R S , , , | R S n d p m g r ||

a dhara mu grO. . . | la ra ka ni ka ra mu ga || (raaravENu)

charanam 3

p , , , m g r g d , , , m g r g |

raa. . . na ga da ra raa. . . mu ra ha ra |

p , , , m g r g p , p , p , , , ||

raa. . . bhava ha ra raa. vE . raa. . . ||

G , , , R S n d R , , , R S n d |

ee . . . ma gu va nu ee . . . la la la nu |

S , , , R S n d S , S , S , , , ||

ee . . . so ga si ni cE . kO . raa. . . ||

G , R S R , R , R , , , R , S n |

kO . ri ka lim. pon. da . . . Den. da.mu |

d , d , d , , , p , m g g , g , ||

nee. yan...da . . . ce . re nu nee. cen- ||

g , , , s r g d p , , , R S R G |

ta . . . ma ru va ku raa. . . ka ra mu la |

S , , , G R S N d p m g r s r g ||

cE . . . ma ri ma ri ni nu shara Na ne Da ra || (raaravENu)
 SWARAJATHI - 2
SAMBASIVAYANAVE

Ragam :- Khamas ragam

Talam:- Aadi talam
Janyam of 28th melakartha ragam (parent ragam : hari kambhoji)

Aarohanam :- S M1 G3 M1 P D2 N2 S
Avarohanam :- S N2 D2 P M1 G3 R2 S

It is said to be sampoorna vakra ragam. In arohanam it has 7 notes S M G M P D

N and 7 notes in avarohanam S N D P M G R which is sampoornam. As you can
see, the swaram in aarohanam shows the slide from S to M and the previous
note of the swaram which comes next shows the out way called Vakram, so
called vakra ragam.

Pallavi:-

S,,,S,N,D,P,,MG,M,,,,,G,M,P,D,N,
Sa - - - - - mba- si - va - - ya na - ve - - - - - ra - ji - tha - gi - ri -

S,,RN,,SD,,NP,,DM,,PM,,GM,,PD,,N
Sa - - mbha vi - - ma no - - ha ra - - pa ra - - thpa ra - -kru pa - - ka ra - - shree

Charanam 1

S , R , S N - N , S , N D D , N , D P- P , D , M G S M , - G M P D N
Nee - ve- guru dai - vam - ba ni ye - ve - la nu se - vim -pu su sa da -ma di ni si
va (Samba..)

Charanam 2

SRSNS,,,NSNDN,,,DNDPD,,,PDPMP,,,
Pa ra ma da ya - - - ni dhi va nu su - - - ma ru va ka na - - - hru da ya mu na - - -

SSSSMMMMPPPPDDDDNSNSN,DPDPMGMPDN
Maha de va mahaprabho sun - da ra na - ya ka su ra va ra da - ya ka bhavabha
ya ha ra si va (Samba..)

Charanam 3

DSNDPMGMP,,,PDNDPMGGM,,,PNDNDPDN
Sthirama du ra pu ra mu na - - - va ra mu lo sa gu ha ru ni - - - ni ra tha mu nu da
la chi (Samba..)

Charanam 4

S , , , , , - S N N D D P P M G G M , , , , ,- P D N D M - G M P D N
Shree - - - - su bha ka ra sa si ma ku tadha ra - - - - - ja ya vi ja ya thri pu ra ha ra

SMGSS,S,SRSSN,N,NSNDD,D,PDPMP,P,
Sritha ja na lo - la - thbhuthaguna see - la - kruthanu tha ba - la - pa thi thu ni lo -
la -

SM,MGP,PMD,DPN,NDR,RNS,SNSNDP,,,
Mudam - ba la ran - ga pada - bja mulan -du Padam - bu lu jer - chu pa su pa thi
ni - -

M,PMP,DPD,NDN,SNS,RSR,SNSRS,NDPM
Gna - na mu dhia na mu sna - namu pa - na mu da - na mu ma - na mu a bhi ma
- na manu su

G M P D N S N R S , , , S R N S D N P D M , , , D P M -G M P D N
ka ni ka ra munacha ra nam - - - bu lu ka nu ko nu sru thu lan - - - nutnula cha ra
na nu su (Samba..)
Charanam 5 (KHANDA JATI)

S,RS,N,DN,S,ND,P,,,,P,DN,D,PM,P,MG,M,,,,
Sa - rasa - re - ku ni - na - ma man tharam ko - ri na - nu - nipa - da - bjaman -
thram

M,GM,P,MP,D,PD,N,DN,S,RS,N,DN,S,ND,M,PD,
da -su dow chi -nnkris- - shnu - ni ki dhik-ku ni ve -ya ni- sok -ka na - du ni nam-
mu -ko ni- ( Samba..)

Swarajathis is a form of composition in which unequal rhythmic swaras and

lyrical melody are used. This is purely based on the mathematical patterns that
are phrased as swarajathi and swarapallavi which is meant for showing footwork
of dance recitals. Being mostly based on dance, the lyrical part of swarajathi is
expressive for showing abhinayas.

VARNAS

Varnam is another musical form that is categorized in both “Abhyasa Ganam”

and ‘Sabha Ganam’ i.e. Basic exercise and performance-oriented music.
Varnam is usually sung at the commencement of a Music Concert. It consists of
fewer lyrics and more vowel extensions composed in the model of “Tanam ''.
Varnam composed for a music concert is known as Tana Varnam. It has got two
parts. While the first part consists of sections, like Pallavi, Anupallavi, and
Mukthayi swara which is known as “Poorvanga''; the Second part Consisting of
Charana and Charana Swaras is known as “Uttaranga”.

After learning swaras of basics, to geethas, students finish the swarajathi part
and enter the concept of varnas. Varnas are the most important concept in music
learning. Learning varnas can help students understand the raga sancharam in a
deep way. As students once get comfortable in singing varnas, they will be able
to progress in any composition. For composing Varnas, one must be a master- of
music. For composing varnas, the respective raga signature must be deeply
understood by the composer.
 Compared to krithis, there are few varnas that are learned in Carnatic music.
There are fewer master composers in varnas. They are said to be swara pradhan
compositions which give more importance to the phrasing of swaras. The two
types of Varnas are:-
1. Tana varnam
2. Pada varnam

Tana varnam, as explained above, are divided into small varnas and lengthy varnas.

The compositions of varnas in Aadi, rupaka, jhampe, triputa taalas which have less
number of swaras are called small varnas.

The varnas with higher numbers of taalas with swaras like khandajathi ata talam, are
called big varnas. For example viriboni (bhairavi ragam).

Pada varnas are dhatu - mathu( swara - sahitya) preferred varnas. Pallavi, anupallavi,
mukthayi swaras are called poorvanga, part of varnam. Charanas of varnam including
chitta swaras are said to be uttaranga part of varnam. Pada varnam has a lot of lyrics
based on the swaram. These varnas are sung in ‘ CHOUKA AADI TALAM( every
double beat of aadi talam) “. Every part of varnam is either composed in devotional
pattern or pattern that defines romance.
Pada varnas with mixing of jathi, are used in most of the dance abhinayas too.

The lyrical part of varnas is composed in an expressive way which has a lot of scope for
showing abhinayas in dance.
Varnas are prioritized for showing female abhinayam in dance where it gives much
more value for jathi included in varnam.

Raga Malika varnas are that category where each part of varnam is composed in
different ragas. Example:- nava raga malika varnam, dina raga malika varnam.

VARNAM 1
NINNU KORI - MOHANA - AADI

Ragam - Mohana ragam

Talam - Chaturasra Jathi Rupaka talam(6)
Janya of 28th melakartha ragam (parent raga - Hari Kambhoji)
Arohanam - S R2 G2 P D2 S
Avaroham - S D2 P G2 R2 S

It is said to be as Audava Audava raga i.e, takes only 5 notes S R G P D in arohanam and 5
notes S D P G R in the avarohanam.

Pallavi:

G , G , R , , , S S R R G
G R R|

Nin – nu – ko – – – ri – – – – –
– –

S R G R S R S D | S R G P G
R S R ||

Yu – – – nna – – – nu – – – ra – – –

G P G G R S R G R R S D S R
G R|

Ni – – – – – ki – – – – – la –
– –

G P G P D P D S | D . P G D P G R ||

lo – – ka – – na – –– – ya – – ka –

Anupallavi:

G , G , P , , , G G P P D
D P , |

Nan – nu – pa – – – li – – – – im pa –
D S D D P G D P | D G D P G R S
R ||

Sa – ma – – – ya – – mu – – ra – – –

G G P P D P D S D S R S G R , S

Na – – – – – mee – – da – – kru – – pa

D S R S , D P D | S D , P G R
S R ||

– – – ju – – – da – ra – – – – – –

Mukthayi Swaram:

G , R G R S R , S R S G
R G S R |

S D S R G R G P | G P D ,
P , , , ||

G P D P D S R G R , G S , R D

S P , D S R G S | , D P , G
R S R ||

Charanam:

G , G , G ; R G P G P – P , , ,

San – nu – tham ga – – – Sree – – – –

G G D D P ,- G G | D P G P G R
S R ||
ni – – – – – va – – – sa – –
– – –

Chittai Swaras:

(1) G , , , R , S , R , ,
, D , , , |

R , D , S , , , | R , ,
, G , R , || (san)

2. G , G R G R S R G , G P D
D S R |

G , G G D P G R | G , G S
D P G R || (San)

3. P , D D P , G R S , R
G R , S D |

S , R G P , D , | S S , D
P , G R || (San)

4. S , R G R S R S D S D P G
R S R |

S , ;; S S | R R G G P P D D ||

S R G R G R D S R S R S P D S D |

S D G P D P D P | R S D P G R
S R || (San)

VARNAM 2
SANKARABHARANAM - SAMI NINNE - AADI

Ragam :- sankarabharanam
Talam :- aadi (chouka aadi)
Janaka ragam 29th melakartha ragam ( Dheera Sankarabharanam )

Aarohanam :- S R2 G3 M1 P D2 N3 S
Avarohanam :- S N3 D2 P M1 G3 R2 S

It is said to be Sampoorna ragam as it consists of 7 notes in aarohanam i.e, S R G M P

D N and 7 notes in avarohanam S N D P M G R

Pallavi

S , , , N S D N P, mP G m , P, D N P , D N S R S N D P D N

s . . . .. . . . āmi nin nē kō ri

S , S D P mP , P M G R S R G S N P D N S , P m G R G mP,DN

cha la ma ru lu ko na dhi ra

Anupallavi

S ,D D P m D P , m P m G , m R G m P D D P m P D N S N S ,R G

Tā ma sa mu sē ya ka

M G R S S R S N D P D N S R S , S D P P,m G R S m G M P , D N

Dha ya jū ḍa rā rā ja ku mā rā

Muktayi svaram

S R N S D N S P D N S D P m P D m P G m P R G M S R G m P D

N S RG m G RG R S N P D N S,P,S N D P, m G R S R,G m PDN

Charaṇam
P , D N S S N D P m G R G, m , P, m D, P S N D P m G m R G m

Nī ra jā kshi nī pai

Chittasvarams

1. P , , m , , P , , D , m , R , G S , , R , , N , , S , R , G , m

2. P D , m G m P,m G m RG,R S N D N, P D N S R, N S R G m

3. M , D P m G m , P G m R G S , N S m G R S N D N S R G m P , G m P D N P D

NSRSGR,SNDNS,RNDP,DmG RS,RGm

4. P , m P G m R G S , m G R S N P D , N S R S N , S R G m P , D P S , N R , S m

GRGS,NPDNS,S,NDP,mGRS,RGm

VARNAM 3
HAMSADHWANI - JALAJAKSHI - AADI TALAM

Ragam: Hamsadhwani ragam

Talam - aadi talam
Janya ragam of 29th melakartha ragam(Parent ragam - Dheera Sankarabharanam)

Aarohanam :- S R2 G3 P N3 S
Avarohanam :- S N3 P G3 R2 S
This is said to be as Audhava - audhava ragam as there are 5 notes S R G P N in
aarohanam and 5 notes S N P G R in avarohanam.

Pallavi

G , R , S , , , N S R G R R S N S R S S N P N S R P , N , S , R

Ja la jā kśa nin ne ḍa pā si

G R S N S R P N S R G P G N P , S N S R , S N P P G , R , S , R

Chā lā ma ru lu koṉ ṉa di rā

Anupallavi

P G R S N S R , G , R R S S N P N S R G , S G R G P , N S , , ,

Che li ya nē la rā va dē mi rā

R S N P N S R G S R G P G R S N R R,S N P N G , R S N P N S R

Che lu ḍai ṉa śrī venk ka ṭē śā

Muktayisvaram

G , R G R S R , N S R G R R S N R , N G R N S R P N S R G , , P
G R S R , G P N R G P N S R G P P N S R , G P N R G P N S , , R
R S N P , N G R S N , P N S R G P , N S , R G R P N S R G R N R
G P G R S N S R S N P G R G P N G R , S N D R S , N P G , R S R

Charanam
N , , , , , S , R , S N P P G R G , , G R S R , R S N S R G , P

Nī sā ṭi to ra nē kā ṉa

Chittasvaram

1.N , , P , , G , , , R , S , N , P , , R , , N , , S , R , G , P

2.N , P G R S R , G R S N P , R N , G R N P N S R , R G N S R G P
3. N P G R , G R N P N P S N R S G R P G N P S N R N G R N R N
P G P N S R G G P N S R R G P N S N G R G N P R S N P G R N S
R G P

4. S , , , , , N R S N P G R S R G P , , , , , S N P G R S R G P N S
R , N R N P G P R , G P G R S R N , G R P G N R G P N S , , , N P
G P , , R G P N , G P N S R P N S R , G N S N G R R N , P N G R ,
N S R P G , R S N P N S R S , , P , , N P G R S N S R G P

VARNAM - 4
KALYANI - VANAJAKSHI - AADI

Ragam :- Kalyani Ragam

Talam :- Aadi talam
Janaka ragam 65th melakartha (Mecha Kalyani ragam)

Aarohanam :- S R2 G3 M2 P D2 N3 S
Avarohanam :- S N3 D2 P M2 G3 R2 S

It is said to be sampoorna ragam as it has 7 notes S R G M P D N in aarohanam and

also 7 notes S N D P M G R in avarohanam.

Pallavi
S S,S N D R S N N D D P M G M P D N D , R S N D P M G M P D N

Vana jā kśhi rōī ee vi ra ha mō rva nē

S R G R S N S R S N R S N D N D N , , , , , S N D P M G M P D N

Vā su dē vu ṉi tō ḍi dē vē

Anupallavi

P , M G N D , G D P , M G R S N S R G M , , G M P G , M N D N P

Vī ṉa vē nā ga pu ra mu ṉa

D N S R,S R G S R G R S N D N D G R S N D P N D P M G M P D N

Ve layu saun dda ra rā ju ṉi

Muktayisvaram

S R , N S N D N , S N D P M G R S R S P , M D , P N D R S N D N

D S R N , R N , S D , N P D N S G R S , N D P , M G R G M P D N

Charanam

N , , , , , S D S N D P M G M , P , , , , , M P D N P D N D R S

Ni lu pa rā ṉi mō ha mā yē

Chittasvaram

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

2. P , D P , M G M P , M G , R S N S , R N , S D N S , R G , M P D
 3. N , , , , , S R N S N D N D P M P , , D N D P D P m P m G m
P D N S N G R G S N S , R S R N S D N , S N D P M G M P
D , N G R

4. R , , , , , D G R S N P D N S R S , , , , , S N D P M G , M P D
M , P D N P , D N S R , S N D N S N , D P M G M P D P N
D , , , D N S R R G G M G R S N S R S N D S N D P N D P M
G , M , P , D

KRITHI

These musical forms come under ‘SABHA GANAM’, which is meant for stage
performances only. There are three basic parts in Kriti such as pallavi, Anupallavi, and
Charana. Some Compositions of Sri Muttu Swami Deekshitar have Pallavi and
Charanas alone which are called Samashti Charanam. Musical form - Kriti has
decorative Angas like Chittaswara, Swara Sahitya, Madhyama Kala Sahityam, solkattu
swaras etc. Later composers further enhanced the popularity of this musical form by
composing more kritis, which further paved the way for the modern concert pattern.
Today, Kriti is the most popular musical form performed in concerts. The simple
compositions of Annamacharya, Bhadrachala Ramdas, and others are named Kirtanas,
which do not have much sangati and other decorative angas.
Krithis are the written patterns that proficiently describe divine, or Kings, kingdoms, or
elements based on life, nature, or life cycles. These carry a lot of essences that are
filled in ragam lyrically. Krithis are based on one’s mastery in music learning and a great
performing beauty that includes gamakas, sangathis, and other musical elements. The
duration of krithis is shorter, but there is a lot of emphasis on the dynamics and
ornamentation filled in krithis. They are called Pure musical forms.
Krithis are mainly based on lyrics, where swaras for lyrics do not hold much importance
in them. Krithis are claimed to have a special phase in carnatic music.Thyagaraja
swamy is specialised in composing krithis. The lyrics in krithis are quite meaningful and
demonstrates his opinions as a believer. In the pallvi he writes about his opinion and
beliefs. In anu pallavi, he talks about what led him to think like that, followed by
charanam, he talks about several reasons about his conceptional opinion.

Charanas can be one or more than 1. There are few partially important parts involved
in. they are:-

1. Chitta swaras
2. Sol kattu swaras
 3. Swara sahityam
4. Swaraksharam
5. Madhyama kala sahityam
6. Mani pravala sahityam

1. Chitta swaras:- these are generally sung in madhyama kalam. These are sung
after the anupallavi in krithi and also after the charanam. Ex:- raghuvamsha
sudha - S . R M G . R S

2. Sol kattu swaras :- this is similar to chitta swaras, but there will be few jathis
included in singing instead of swaras. When these jathis are sung, with the
swaras and the jathis together while singing. Example :- Mangambudhi
hanumantha - P . P M G THAM THAKITA G . GRS jham takita thom.

3. Swara Sahityam - chitta swaras with sahityam comes under this category.
Generally after anupallavi chitta swaram is sung, followed by charanam with
chitta swara sahityam that is composed.
Ex:- mari vere gathi yevvaramma

4. Swaraksharam :- the lyrics that are written just like swaram but give meaningful
sentences are called swaraksharam. For composing swaraksharam, one has to
be a master in music and literature.

KRITI - 1
SAMAJAVARAGAMANA - HINDOLAM - AADI

Ragam:- Hindola ragam

Talam :- aadi talam
Janyam of 20th melakartha ragam (parent ragam :- Nata bhairavi)

Aarohanam :- S G2 M1 D1 N2 S
Avarohanam :- S N2 D1 M1 G2 S

This ragam is said to be Audhava ragam. In aarohanam it has 5 notes S G M D N and

also has 5 notes S G M D N in avarohanam.

Swarasthanas:- shadjam, sadharana gandharam, suddha madhyamam, shuddha

daivatham, kaisiki Nishadam.
Talam :- 1 laghuvu (4 beats), 2 dhruthas (2 beats each)

Pallavi:

Saamaja Vara Gamana ||4||

Saadhu Hrut Saarasaabja Paala Kaalaateeta Vikhyaata ||4||

Anupallavi:

Saama Nigamaja Sudhaa ||4||

maya Gaana Vichakshana Gunasheela Dayaalavaala Maam Paalaya ||2||

Charanam:

Veda Shiromaatruja Saptasvara

Naadaachala Deepa Sveekruta ||2||
Yaadavakula Murali (same as anupallavi variations) ||4||
Vaadana Vinoda Mohanakara Tyaagaraaja Vandaneeya ||2||

||samaja varagamana||

KRITI - 2
KALAHARANAMELARA - SUDDHA SAVERI - RUPAKA

Ragam :- Suddha saveri Ragam

Talam :- Rupaka talam
Janyam of 29th melakartha ragam (parent raga - Dheera sankarabharanam)

Aarohanam :- S R2 M1 P D2 S
Avarohanam :- S D2 P M1 R2 S

This ragam is called Audhava - audhava ragam as 5 notes S R M P D in aarohanam,

and 5 notes in avarohanam that are S D P M R.

Pallavi
kalaharana melara hare sitarama

anupallavi

kalaharana mela suguna jala karunalavala

||kalaharanamelara||

charanam 1

chutti chutti paksulella chettu vedaku riti bhuvini puttuleka ne padamula battu konna
nannu brova

||kalaharanamelara||

charanam 2

podavuna entadukonna bhumini tyagambu rIti kadu velpula nivugaka evaru nannu
brova

||kalaharanamelara||

charanam 3

dina dinamu tirigi tirigi dikkuleka sharanu jocchi tanuvu dhanamu nideyanti tyagaraja
vinuta rama

||kalaharanamelara||

charanam 4

ishta daivama manobhista miyaleka inka kastama tyagaraju kamitartha phala mosanga

||kalaharanamelara||
 KRITI - 3
SREE GANANATHAM BHAJARE - EESHWARA MANOHARI - RUPAKA

Ragam :- Eesha manohari ragam

Talam :- Rupaka talam
Janyam of 28th melakartha ragam (Parent ragam - Hari Kambhoji ragam)

Aarohanam :- S R2 G3 M1 P D2 N2 S
Avarohanam :- S N2 D2 P M1 R2 M1 G3 R2 S

This ragam is said to be as Sampoorna Vakra ragam. There are 6 notes S R G M P D N

in aarohanam and 6 notes S N D P M R M G R in avarohanam. As you can see, the
swaram in aarohanam shows the slide from S to M and the previous note of the swaram
which comes next shows the out way called Vakram, so called vakra ragam.

Pallavi:

Shree Gananatham Bhajare Chita Paraashakthiyutham

Anupallavi:

Naaga Yagnya Soothradharam

Nada Layaanandakaram

Charanam

Aagamaadi Sannutham Akhila Deva Pujitham

Yogishaali Bhaavitham Bogishaali Sevitham

Madhyamakala Sahityam:

Raagadweshaadi Rahita
Ramaneeya Hrudaya Viditham
Sri Guru Guha Sannutham
Chinmoola Kamalaasthitham

KRITI - 4
BROCHEVAREVARE - SRI RANJANI - AADI

Ragam :- Sri ranjani ragam

Talam :- aadi talam
Janyam of 22nd melakartha ragam (parent ragam - Kharaharapriya ragam)

Aarohanam :- S R2 G2 M D2 N2 S
Avarohanam :- S N2 D2 M G2 R2 S

This is called Shadhava - shadava ragam as aarohanam has 6 notes S R G M D N and

avarohanam has 6 notes S N D M G R.

Pallavi:

Brochevarevare Raghupathe! Ninnuvina!

Sri Rama Nenaruna
Sakala Loka Nayaka! Naravara Neesari!

Charanams:

1. Devendraadulu Mecchutaku
Lanka Dayato Daana Mosangi Sadaa!

2. Muni Savambu Juda Venta

Janikala Maarichaadula Hatambu Jesi

3. Vaali Nokka Kolanesi Ravi

Baaluni Raajuniga Vinchi Juchi!

4. Bhavaabdi Taruno Paayamu

Lerani Tyaagaraajuni Karambidi!
Madhyamakala sahityam :- This kind of composition is sung either after anupallavi or
after charanam. This has both dhatu and mathu in madhyamakalam. In few krithis, the
whole charanam is sung in madhyamakalam. Muttu swami Deekshithar composed
krithis can be the best example for madhyamakala krithis.

Mani pravana sahityam:- the composition is of a specific language and it also includes 2
or 3 words from other languages which form meaningful sentences.
Most of the krithis are composed in the language of Telugu.

KEERTHANA

Keerthana is a form of music that is purely based on devotion and spirituality. It is a very
old form of music, which emphasises strongly on lyrics. Keerthanas have pallavi,
anupallavi and chanranam. The majority of keerthanas are composed of Pallavi and
Charanams. It usually has one charanam, and the charanam has lyrics that are
completing 4 or 8 or 12 cycles of avartham.
There are a few types keerthana:-
1. Eka dhatu keerthana
2. Dwi - dhatu keerthana

1. Eka dhatu keerthana - the complete keerthana which has the same
composed tune for all the charanas.
Ex:- ye teeruga nanu - nadanamakriya - adi talam

2. Dwi- dhatu keerthana - the pallavi, anupallavi, and charanam consist of

different tunes.
Ex:- Vandanamu raghunandana - sahana - aadi talam

There are two different types for keerthana that are related to spirituality.
1. Adhyatmika keerthana
2. Shringara keerthana

1. Adhyatmika keerthana is based on a devotional way of composition.

 2. Shringara keerthana is a typical composition that includes devotional music, but
projected in a romantic composition.

There are few more types of keerthanas:-

1. Ninda Sthuthi keerthana :- these look like blaming on a particular thing but have
a very deep meaning of respect towards the presence of god. Sri Tyagaraja
swamy has many compositions in this category.

2. Divya naama sankeerthanam :- this composition consists of pallavi, charanas

which have the same tune. Few compositions have pallavi, and charanas with
the same tune. Sri Tyagaraja swamy has composed many compositions this
way.

3. Utsava sampradaya keerthana : - the compositions sung during festivals, and

occasionally based as called utsava sampradaya keerthanalu.Sri Tyagaraja
swamy has composed these occasional compositions. Ex :- uyyala loogavayya
sri rama - neelambari ragam - jhampa talam - thyagaraja composition.

4. Vasanthotsava keerthana :- compositions that are sung during the occasion of

vasanthotsavam. Tyagaraja also composed these kinds of keerthanas.

There are many more types of keerthanas like sankshepa ramayanam keerthanas,
manasa pooja keerthanas, adhyatma ramayana keerthanalu, bhakti rasa keerthanas.
There is no compulsion that the kritis have to be composed in a complete carnatic
music style.

The well renowned keerthana composers are sri Ramadasu, Sri muttu swani
deekshitar, Sri Tyagaraja swamy, Sri veena kuppayyar etc.

VARNAM - 5
NINNU KORI - VASANTHA - AADI

Ragam :- Vasantha ragam

Talam :- Aadi talam
Janyam of 17th melakartha ragam (parent ragam :- Suryakantham)
Aarohanam :- S M1 G3 M1 D2 N3 S
Avarohanam :- S N3 D2 M1 G3 R1 S

This ragam is said to be as shadhava Vakra ragam. There are 6 notes S M G M D N in

aarohanam and 6 notes S N D M G R in avarohanam. As you can see, the swaram in
aarohanam shows the slide from S to M and the previous note of the swaram which
comes next shows the out way called Vakram, so called vakra ragam.

Swara sthanas:- Shadjam, antar gandharam, suddha madhyamam, chatusruthi

daivatam, kakali nishadam, shuddha rishabham.

Pallavi

G , m , D , , , N N D N S , , , D N S N , D D N D D m G m G r S

Niṉ nē kō ri yu ṉṉa ra

S N D , N S r S N S G m D D N S G r S N D S N D m G D m G r S

Ne ṉa run chi naṉ nē lu kō ra

Anupallavi

D , , D m D N N D D m G m G r S m G m S , r S m G m D N S , , ,

Paṉ ṉa ga śa ya ṉu ḍau śrī

S G m G r S N S G r S N D m D N S r N S , N D m N D , G m G r S

Pā rtha sā ra tī dē va

Muktayisvaram

r S N D N S m D N S r N S G G m S r S m G m D m G N D S N D m
G m G r S , D m G r N D m G S N r S , N D m N D , m G D m , G r
S
Charanam

S , , r S N D N D D m G m G G r S , , , , , S N D D m G m D D N

Su ṉa sa ru ṉi bā ri kō rva lē

ra

Chittaswaram

1. S , , N , , D , m , , G , , r , S , , N , , D , N S , G m D D N

2. S , N D m G D , m G r S , N D N S r S G , m D , m G N D , m
D N

3. D , n , s d n s d n d m g m n d , , m , g m d m g m g r r s n -
D , , N , S D N S r S N S G G mD , , m , G N D m S N D m D
D N

4. S , , , , , N SR N , D m G , r S , , , , , G rS N , D m D , N S
N , D m G, m D m , G r S , N D N , S r N , S m G , m D , , , S
r S m G m D m G N D G m D D N m G m D , m G m D D N N D
m G r m G r S G m D m G m D N S G m G r S , N D N D D m G
r S G m D N

VARNAM - 6
SAMI NINNE - SHREE - AADI

Ragam :- Shree ragam

Talam :- Aadi talam
Janya of 22nd melakartha ragam (parent ragam - Kharahara priya)

Aaarohanam - S R2 M1 P N2 S
Avarohanam - S N2 P D2 N2 P M1 R2 G2 R2 S
It is called Audhava sampoorna Vakra ragam as it has 5 notes S R M P N in arohanam
and 7 notes S N P D N P M R G R in avarohanam. As you can see, the swaram in
aarohanam shows the slide from S to M and the previous note of the swaram which
comes next shows the out way called Vakram, so called vakra ragam.

Pallavi

P , , P m R g R S n , P n S R n S , , , , , n S R g R S R m P n

Sā mi niṉ ṉē kō ri yu ṉṉā nu

P m , n P n m P R g , R n S R g R S , n P n S R g R , S R m P n

Cha la mu sē ya mē ra kā du rā

Anupallavi

N , , , , , S n P m , R g R S R S , , , , , m R P m n P S n m P

Bhū mi ve la yu śrī garbbha bhu rin

S R g , R S R n S , n P n S R S n , P D n P m R g R S R m P n

Ni vā sā pa śu pa tī śa

Muktayi svaram

P , P m R R g R R S S n n P n n S , S n n P n S R g R S R m P n P
m n P S n R S g R S n P n S R g R , S n P , m R g R S R m P n

Charanam

S , , , , , S n P m , R g R S R S, , , S , n S R g R S R m P n

Kā ma kō ṭi sun da ra naṉ ṉē lu kō ra

Chittaswaram

1. S , , , , , R , n , P , m , , R g , R , S , S , R , m , P , n ,

2. n , , , , , S n P m R g R S n , , , S n P m P n S R n S R m P n

3. m , , , , , P n m P R g R R g R S , , , , , n S R g R S R m P n P
n S R g R R g R R S n P nS , R , n , P m R g R S n S R m P n

4. n , P m R g R S n , P m P n S R n , S R g R R S n , S r m R g R
n , S R P m R S n , S R m P n P n , S R n S n P n , P m R m P n

5. S , , , , , S R n S P n m P R g R R g R S , n S R g R S R m P n
S n , P D n P m R g , R S R S , S n , P n n S R S R m R R m P n S
R g n S R P n S m P n R m P S R m n S R m P n S R g R R S S n R
n , S P n m P n m , P R g R S R n , S P n S R n S R S R m P n

VARNAM - 7
SARASUDA - SAVERI - AADI

Ragam :- Saveri ragam

Talam :- Aadi talam
Janyam of 15th melakartha ragam (Parent ragam - mayamalava gowla)

Aarohanam :- S R1 M1 P D1 S
Avarohanam:- S N3 D1 P M1 G3 R1 S

It is called audhava - sampoorna ragam as it has 5 notes S R M P D in aarohanam and

7 notes in S N D P M G R in avarohanam.

Pallavi

S , R , G , R G R , , , R G R R
Sa – ra – su – – – da – – – Ni – –
–

S , S R S N D , G R R G R S N D

– – nne – – – – – Ko – – – ri – –

S R P M G R S –D D M G R S -D S R

Cha – – – la – – ma – – ru – – lu –

M P D R S , M P D N D M G R S D

– – – – Ko – nna – – – – – di – ra

Anupallavi:

D D P M P D –R M P D M , G R S R

Gi – – ri – – ni – – – Ve – la – yu

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

Sree – – Ven – – ka – te – – – shaa – –

P D S R G R R , G R R G R S N D

Ka – – – ru – – – nin – – – ncha – –

R S , N D P –D M ,– G R S S , N D

- de – – – – Sa – – ma – – ya – mu

Mukthayi Swaram:

S , R G R S R , S G R S N D P D

R , S G R G S R D S R M P , ,– D
D P M R , M P D S R S –P M D P N

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

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

P , M D , P N D P D S R G R R ,

D G R S N D – D S N D P M G R , S

G R ,- S N D – R S N D P M G R S

Charanam:

D , , M P D S , N D P M G R S D

Daa – – ni – – pai – – – – – Ne – na

R , ,- R S R- M P , D P N D P M P

ru – – na – – Ee – – Ve – – la – –

Chittai Swaras:

1. D , ,- P , ,- D , P , M , G , R ,

M , ,- P , ,- D , ,- N , D ,- P , M
(Daa)

2. D , N P D P M P D N D- M G R S D

S , R M P D- S R M P ,– M N D P M
(Daa)

3. D N D M G R N D M G R S D M G R

S G R S N D R S N D P D S R M P
D M P D S N D R S N D P D S R G

D S R P D S M P D G R S N D P M (Daa)

4. S , , , , ,- R S N D P M G R S D

S , , , , ,- P M D P N D P M P D

S N D P , D N D P M ,- P D M G R

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

M G R S , ,- D S R M ,- P R M P D

P M P D S- M P D S- R G R , S N D

R S ,- N D P- D P , M G R M P D S

R G R S N D P , M G R S , – R M
(Daa)

VARNAM - 8
ERANAPAI - TODI - AADI

Ragam :- Todi ragam

Talam :- Aadi talam
Janaka ragam and 8th melakartha (Hanumatodi ragam)

Aarohanam :- S R1 G2 M1 P D1 N2 S
Avarohanam :- S N2 D1 P M1 G2 R1 S

It is called sampoorna ragam as it has all 7 notes S R G M P D N in aarohanam and all

7 notes in avarohanam S N D P M G R.
Pallavi
S , , S n d P d n n d P m G m n n d P m g r S r g m P g m P d n

Ēe rā nā pai in ta chau ka sē ya

S r g n S r d n d g r S n d P m d , , , , , S n d P m g m P d n

Mē ra kā du rā nā sā mi

Anupallavi

N d d n d d n g m n d P m g r S m g m P d n S n d P d n S , d P

Mā ru ṉi kaṉ ṉa śrī venk ka ṭē śā suku

D n S r g r g m g r n g r S n d n S r d n d g r S n d P m P d n

Mā rā naṉ ṉē lu kō rā sa ra sū ḍa

Muktayisvaram

S r S n d n S , n r n d d m g m P d n d n S n d n S n r S , , , d n d

g r r m g r S n g r S n d n g r n r n d n d g r n d m d n

Charanam

D , , n r S S n n d P m g r S r g , , m , , P d n S , S n d P m

Dā ni mā ṭa lu vi ṉi in ta sā ha sa mē la rā

Chittaswaram

1.g , , m , , g , , , r , n , r , S , , d , , n , , S , r , g , m

2.d , n d d m g m d , m g , r S n S , r g , m d n S , n d , m g m

3.m d n S , n d n S n , d r S n d d , m g , m n d m d n S d , , n d m
g r S d m g r S r g m d n S r g r , n d n d m g r n S r g m
4.d n d m g m n d m g r S d m g r S g r n d n r n d n S r g m d m d n
S r n d n S n g r n d n d m g r S g r n d m g r S n S r g m

5.S , , n d n S , , n d n n , , d m d n d , r S n d , m g , m d n r n d m
g r n d m g r d m g r S n S r g m d S r g m d m d n S r S r g r , n d
n g r , n d n r n , d m d n S , n d m , g m d d n S r g n S r d n S m
d n g m d n S r g m g r n d m g r n S r g m

VARNAM - 9
CHALAMELA - NATAKURANJI - AADI

Ragam :- Natakuranji Ragam

Talam :- Aadi talam
Janya ragam of 28th melakartha ragam (Parent ragam - Harikambhoji)

Aarohanam :- S R2 G3 M1 N2 D2 N2 P D2 N2 S
Avarohanam :- S N2 D2 M1 G3 M1 P G3 R2 S

It is called sampoorna vakra ragam as it has 7 notes in aarohanam and 7 in

avarohanam which are repeated. As you can see, the swaram in aarohanam shows the
slide from S to M and the previous note of the swaram which comes next shows the out
way called Vakram, so called vakra ragam.

Pallavi

M . g . s . , n d n n p d . n . s ; ; n d n s n d n s r g

cha la me la je se va yya

M g s r g m n d m g m nd p d n S n d p d nd m g s n d n s r g

cha kka ni ma ran ga yya

Anupallavi

S . n d d n p d n S n d m p g r s m g m p g m n d n p d n S . ;
ka la ka la mu nee pa da mu le

N S R G M G S R S n S n d p d n S . n d m m . g s n . d n s r g
Ga thi ya ni na mmi yun da ga

Mukthayi swaram

M m g s n d n s r r s n d p d n s n d m n d n p d n s r n s r g

ri mo ra li da vi ni du ra mu na ve da li ma ka ri ni du ni mi ka ri va ra du da ni bi ru du

m m g s r g m n d m g m d n d n S R G M S ; S n d m . m g s r g

dhara nu vela si su ra lu po gadaka li gi napathi tha pa vanudana manavigonu

Charanam:-

N . d . n i . ; S n d n p d n . S . ; ; n R S n d S n d m .

Na nnu bro va nee ku bha ra ma

1. D . ; ; n . ; d . ; m . g . ; ; s . ; r . s . n .

I de ba ga ni yu ra ka nu

D . ; ; m . ; n . d . n . s . ; ; n . s . r . g . m .

Nee vu nna ni nnu ne vi da che da na

2. N . d p d n d . m g . m p g r s n.d n s r s .r g m n d m g m

Ne du sma ra na ga ka ve re eru ga nu ne ra ja na ya na da nu ja ma da ha ra na

3. N . , s . , n r s n d n s d n p d., m ; r g m g s n r s n d

An dan da mu la ku na dhi pa thi va ni nin da mo ra li da ga vi ni vi na ka

N . , s . , r g m g m n d n p d n . ,s ; r g m g s n r s n d

Yun da sa ri ya gu na ma da na ja na kun da va ra mo sa gu ma nu di na mu
4. S. ; ; r g m g s n r s n d n . ; ; p d n s n d m p g r
 Aa drou pa di ki va lu va sa bha lo ta ra ga ka nu yo sa gi na ma

S . ; ; n d n s n d n s r g m . ; ; r g m p m g m n d n

Ha da ya ga la ni nu po ga da nu na ta ra ma gu na si ri ve la yu

S . r s nd n .s d n p d . p m g .m p g m n. d m n d n p d n

Ran ga pu ri ni ye li na pa thi na ga la ran ga ni ko ma run da te li si te li ya ka

S r g m g s n r s n d n d p d n s d p g m p g r sn d

Na da chi na pa lu na da ta la nu ma dhi tha lu pa va la du va la du sa ra nu sara

n s r g m

nu mu ra ha ri

KRITHI - 10
VATHAPI GANAPATHIM- HAMSADWANI- AADI

Ragam - Hansadhwani Ragam

Talam - Aadi talam
Janyam of 29th melakartha ragam (parent ragam - dheera sankarabharanam)

Aarohanam :- S R2 G3 P N3 S
Avarohanam :- S N3 P G3 R2 S

This ragam is said to be Audhava Audhava ragam ad it has 5 notes S R G P N in

aarohanam and 5 notes in avarohanam that is S N P G R.

Pallavi

Vathapi Ganapathim Bhajeham,

Vaaranaasyam vara pradham sri

Anupallavi
Bhooothadhi samsevitha Charanam
Bhootha boudhika prapancha bharanam,

Madhyama Kala Sahithyam

Veeta raaginam , vinatha yoginam,

Viswa Karanam , Vigna vaaranam.

Charanam
Pura Kumbha sambhava munivara prapoojitham,
Trikona Madhya gatham,
Murari pramukath upasitham,
Mooladhara Kshethra sthitham,
Paradhi Chtahvari Vakathmgam,
Pranava Swaroopa Vakra Thundam,
Nirantharam nidala chandra kandam,
Nija Vaamakara Vidrutekshu Dandam.

Madhyama Kala Sahithyam

Karambhuja pasa bheeja pooram,

Kaloosha vidhuram bhoothaharam,
Haradhi Guru Guha thoshitha Bimbam,
Hamsadwani bhooshitha Herambham

KRITHI - 12
RAAMA NEEPAI - KEDARAM - AADI

Ragam :- Kedaram ragam

Taalam :- Aadi talam
Janyam of 29th melakartha ragam (dheera sankarabharanam)

Aarohanam :- S M1 G3 M1 P N3 S
Avarohanam:- S N3 P M1 G3 R2 S

It is called Audhava vakra ragam in aarohanam it has 5 notes S M G M P N and

Avarohanam S N P M G R in avarohanam. it is called vakra ragam, As you can see, the
swaram in aarohanam shows the slide from S to M and the previous note of the swaram
which comes next shows the out way called Vakram, so called vakra ragam.

Pallavi:

Raamaa Nipai Tanaku

Prema Podu Seethaa

Anupallavi:

Taamarasadala Nayana, Ni Demo Maaya Gaani

Charanam

Bhogaala Anubhavamulandu
Baguga Buddhi Niyandu
Tygarajuni Hrudayamandu
Vagishaa Anandamandu

KRITHI - 14
NIDHICHALA SUKHAMA - KALYANI - TRIPUTA

Ragam - Kalyani ragam

Talam - Trisra Jathi Triputa Talam
Janya of 65th melakartha ragam

Arohanam - S R2 G2 M2 P D2 N2 S
Avaroham - S N2 D2 P M2 G2 R2 S

It is said to be as Sampoorna ragam i.e, takes only all 7 notes S R G M P D N in

arohanam and 7 notes S N D P M G R in the avarohanam.

Pallavi:

Nidhi chaala sukhama ramuni sannidhi

seva sukhama nijamuga palku manasa

Anupallavi

Dadhi navanita kshiramulu ruchiyo dasarathi

dhyana bhajana sudha rasamu ruchiyo (nidhi)

Charanam:-

dama Samamnu ganga snanamu sukhama kardama

dur-vishaya kupa snanamu sukhama
mamata bandhana yuta nara stuti sukhama
sumati tyAgarAja nutuni kIrtana sukhamA (nidhi)

VARNAM
CHALAMELA - DARBARU - AADI

Ragam :- Darbaru ragam

Taalam :- Aadi talam
Janyam of 22nd melakartha ragam (parent ragam - Kharahara priya)

Aarohanam :- S R2 M1 P D2 N2 S
Avarohanam :- S N2 D2 P M1 R2 G2 G2 R2 S

This is audhava sampoorna ragam.

Pallavi

P m R , g , g , R S R , n R S n D P D n S R S R P , m R g R S R

Cha la mē la jē sē vu rā

P m R g R S R m P m , P D n S R n , , S , P D n P m R g g R S R

Chā la na mmi ṉa nā pai

Anupallavi

D n P D m P R m R P m R g g R S m m R P P mD DP m P D n n S ,

Va la chi yu ṉṉa nā tō

P D P D n S R S R g g R S n S R S , , P , , S D P m R g g R S R

Vā dē la vē ṇu gō pā la dē va

Muktayisvaram

P m R g R S n R S R n S D P D n S R S m R P m D P D m P D n S

, D P D n S , R S R g g R S R n , D P S S , P P , D P m R g R S R

Charanam

P , P , , , D P m P D P D , D R n , n , D , P , m R g g R S R m

Pa lu ku mu nā tō

Chittasvaram

1. P , , , , , D , , , P , m , P , g , , R , , S , , , R , , , m ,

2. P , g P m P , P m R g g R , S R n R S n , S D , , n , S , R , m

3. D P D m P R m P S R m P m R g R S R n S D n P g P D n S R
m P D S R m P D m P D n S P D n S R n g R S R n R S n S d
P D m P R m

4. D n S P , P D P m R g g R S R n S , , D D P D n S n , S R , m
P D, n S R S n , , S D P m D P m R g g R S n S , R m P m
P , , , D P m R g R S , R m P R , m P D m , P D n S P , D n S
R n , S R g , g , R S n ,n , D P D n S R n , S P , D m , P R , m
S , R m
ADVANCED

RAGA LAKSHANA OF BHAIRAVI

Bhairavi is a janya ragam of Nata bhairavi ragam. Though it is sampoorna ragam as it

has all the 7 notes, it is denoted as Bhashanga ragam because it has 2 different
Dhaivatas in its scale. Hence it is not a melakartha ragam (parent ragam - janaka
ragam).

Bhairavi ragam is also part of Hindustani music, but the notations of this ragam differs
from carnatic style.

Arohanam :- S R2 G2 M1 P D2 N2 S
Avarohanam:- S N2 D1 P M1 G2 R2 S

Swarasthanas:- shadjam, chatursruthi rishabham, sadharana gandharam, sudha

madhyamam, panchamam, chatusruthi dhaivatam, kaishiki nishadam, sudha dhaivatam
in avarohanam.

This ragam is composed with slow phrases style of singing which renders appeal in the
song. Bhairavi ragam is one of those ragas in which ragam-thanam-pallavi when
rendered is blissful to hear.

Bhairavi Ata tala varnam

Pallavi

S , , R n , D , n , S , R , , g S , R ,

Ā vi ribhō

G R g g R , , , g g R g m P d m P g R S

Ṇi niṉ
N S m g R S n S R g S R n n D n

Ṉē kō

S g R n S n d P P D P D n n d P D n S R

Ri ma ru lu

P D n S R g m P m g R g m n d P m g R n

Ko ṉṉa di

S R g m g R g g R , , , S n d P

rā

Anupallavi

M g R S , R n D S n d P m G R g m n d P

Sa ra su dau

M g R P m g R S P D n S R g n S R g m P

Da kśhi ṇa

N n d P , d m P g R g m P D n , S

Dvā ra Kā

P d n S R G M G R G R S R n G R S n d n S

Sa mi sri

G R R S S n n d d p m n d p m g r g r s n s r g m p d n S n d d m p

Ra ja go pa la de va
Muktayisvaram

G g R S R S n n D n S R m m P P D D n n P P P D D D n n n S S R
P D n S R g m P d P m d P , n n d d d P P m n D n P D n m P D n S
R n D m g R S R n S R R g , m P D m P , D n S n R , S n D S , , n
d P P , , m g R S , , R n D

Charanam

, , , , , , , , m , m , d P d m P g m ,

Chi ru nav

P , , , P , , , m P n n d P m g m n d P

Vu mō Mu

M g R g m P d m P m d , P , m P

ṉa

Chittasvarams

1. g , , R , S n , , d , P m , , P D , n S

N R , n S R g m g m , n n D D n n d d m mP m m , g R g n n D D ,
m m , g R S n S , R g

Chirunav

2. N n D D , n d d m , , n d P m , , d P m g R , g , m P D m P , D P
D n D n S R S n g R n , d P d m P , m g R S R n D , n S g R g

Chirunav

3. S , R g S R g , R , , , n , S R n S R , S , , R n n D g , , R , S n , ,
D , n P , , D , n S R P D n S R , , , d P g R , R n D R S , S m g , R
P m , g R g , m P d P m n n D D , n d d P P , m g R , g , m P d m P
g m P , , , n S n g R m g P m D P n D n P D m P g R g m P m P D
n S n S n g R g n S n R S R n R S n d P d m P D n n S , n n S S R
R g g m g g R m g R S n g R S n R S n d P D n S R m m P P D D n
n D g R n , D R S n , D n D D n d d m m , g R S n S , R g

Chirunav

UPACHARAMU CHESEVAREVARUNNARANI

Ragam :- Bhairavi ragam

Talam :- Aadi talam

Pallavi:-

; r m | , G , R S R G g r R ||

U pa cha ra mu che se - va- -

; r g | , M , p d P || m g M | d p p m r g g ||

run- nA- ra ni ma- ra va- ku- rA - - -

R s r m , g , r . s r . s r g . g r r . r g m p d n s r s n

. . upa cha ra mu che se va ru nna

d p m g p m d p p m r g . g

Ni ma ru va ku ra

R s r m , g , r . s r . s r g . g r r . r g m p d n s r s n

. . upa cha ra mu che se va ru nna

d p S n d p m g p m r g . g

Ni ma ru va ku ra
R s r R S n d p m g r s rgrgm.gmp.mpdpmgr r g m p d n S R G

Upa cha ra mu che se va ru nna ra

M G R S n d p m g p m d p m g

Ni ma ru va ku ra

Anupallavi

D n S , S , S n n R S n d p d n S . R S n n R

Kri pa ka va le na ni ne ni kri pa ka va le na ni ne

S n . d p

ni

D n S R S R M G R S n R S G R n d p d n R S n d p .

Kri pa ka va le na ni ne ni kee rthi ni ba

m g p m d p m g r s

Lku chu nun da ga

D n S R S R M G R S n R S G R n d p d n R G M G R S n

Kri pa ka va le na ni ne ni kee rthi ni ba

d p m g p m d p p m r g . g

Lku chu nun da ga

Charanam:-

, P d n d p , p p d p p d m , p d n . n n p d n R S n . d p
 Va ki ta ne pa di la mu ga va ta tma ju du nna da ni

,mp d n d p , p p d p d p p m m p d n , n n p d n R

Va ki ta ne pa di la mu ga va tat ma ju du nna

S n d p

da ni

D n S S , S S n R S n . d p , d n S R S n d p m g m d p m g r s

Sri. ka ru la gu nee ta mmu lu je ri yun na ra ni

n d n . n n p d n . p d n d n n d n S R S . ; S n R S n d p

E kan tha mu na nu ja na ki ye rpa di yu nna ra ni

m n d n n n p d n . p d n d n n d n S . R M G R S . ; S n R S n .

E kan tha mu na nu ja na ki ye rpa di yu nna

d p

ra ni

D n S R . S R M G R S n R . R R S n d p d n S R S . R S n d p m g

Sri ka ntha pa ru le la ni sri tya ga ra

p m d p m g r s

ja nu tha
D n S R . S R M G R S n R S G R S n d p d n S R G M G R S n d

Sri ka ntha pa ru le la ni sri tya ga

P m g p m d p p m r g . g

ra ja nu tha ||upacharamu||

MARAKATHA VALLIM KEERTHANA

Ragam :- Kambhoji
Talam :- Aadi talam

Aarohanam :- S R2 G3 M1 P D2 S
Avarohanam :- S N2 D2 P M1 G3 R2 S

Pallavi :-

m . m g g . p . d . S n P . d S . ; p d S . R G R S . , ; n . R S N D D

Ma ra ka tha va llim ma na sa sma ra

P P D N D .

Mi

M . m g g . p . d . p d S R G M G R s . ; p d S R G M G R . M G R S

Ma ra ka tha va llim ma na sa
d S R . R S n d d p p . d p m .

sma ra mi

p S d d . p p d p m g . g r g . m . p g g . m . p g g . m r . s r s n p .

Ma da na ja na ka di de

d . s , r g . m g r s r . ; m g p d S . , S n d p d
va pa li nim

S . n n d p d S . S R R S . R G M R G ; S R R P M G M G R G r S,

Ha ri hru da ya va si ni m mo hi nim

; S n d p

D . d M G R S R S n d . m p d S , p . d S d p . d p m g . g . m r r s

Ha ri ha ra pu tra ja na nim

s r g m p d R S n d ||d p||

na li nim

D n d p . p d n d m . m p . d n d . p . m . r g m . g m p d n d p d

Kru ra dai tya di bri nda ma rdhi nim gu ru gu ha di nu tha

R S n . d . p . m p d n d . P d

va hni va si nim ||marakatha||

MANASUSWADHINAM

;MG |M; |P; || P ; ; | MP | DN ||

Mana su svA - -- dhI - - na

S; ; | sn D |P; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN ||

Mana su svA - -- dhI - - na

S ; ,r | sn D |P; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN ||

Mana su svA - -- dhI - - na

srgmgr | sn D |P; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M , d | pm G || rGmgr | S ; | S; ||
ma ri man- tra - - tan- - - tra- mu-

snrsnd | N; |sRs || S ; ; | ; ; | M ; ||
l(E)- - - - la - - - -- - - Aa –

psn- d P | dpmg | gmpm ||

gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN ||
Mana su svA - -- dhI - - na

srgmgr | sn D | P ; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M , d | pm G || rGmgr | S ; | S; ||
ma ri man- tra - - tan- - - tra- mu-
snrsnd | N; |sRs || S ; ; | ; , n | srgm ||
l(E)- - - - la - - - -- - Aa – - - -

pdns rg | mgrs | ndpm ||

gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN || S ;
Mana su svA - -- dhI - - na mai

;S S | snD | P; || S n- d P | G mp | G mr ||
Ta nu vu - tA- nu- kA- d(a)- - - - -

G, M,|P; | D N || S , d N | S ; | S; ||
ni(y)en cu - - vA- - - ni - ki-

;S S | snD | P; || gm p D p | ppmg | gm pm ||
Ta nu vu - tA- nu- kA- d(a)- - - - -

gRgM |P; | D N || S , d N | S ; | sndp ||

ni(y)en cu - - vA- - - ni - ki-

;SN | Srg | RS || snr – snd | d N p | dn S ||

Ta pa su-- - cE - - yan- n(E)-- - - la

dn S , r | sn D | P; || g m pD p | ppmg | g pmM r ||
da- Sa- - ra- - tha- bA- - - - la - - - - - - -

;SN | srgm | gr S || snr – S d | N P | D N ||

Ta pa su-- - cE - - yan- n(E)-- - - la

dn S , r | sn D | P; || g m pdns | grsn | dp pm ||
da- Sa- - ra- - tha- bA- - - - la - - - - - - -

gr- M G | M ; |P; || P ; ; | MP | DN ||
Mana su svA - -- dhI - - na

srgmgr | sn D | P ; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M , d | pm G || rGmgr | S ; | S; ||
 ma ri man- tra - - tan- - - tra- mu-

snrsnd | N; |sRs || S ; ; | ; , n | srgm ||

l(E)- - - - la - - - -- - Aa – - - -

pdns rg | mgrs | ndpm ||

gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN || S ;
Mana su svA - -- dhI - - na mai

;GM | P; | P; || D , P , | dp m g | pm gr ||
A - jan - - ma mu - - - - dur - -

G,gM| P; | M; || P sn D | P ; | P; ||
Vi sha- ya- ra - hitu- - ni - ki –

; M ; | M , d | pm G || gmp mgr | G ; | M ; ||
Ga - t(A)- - - ga ta - - - -- m(i) ka

P , pmg | M; | P; || pmpDp | P ; | P ; ||
(y)E - - la - - - --- -- - - - -

; ; S | S; | S; || S ; ; | S; |S; ||
rA ja rA- j(E)-- Sa ni

S rg R | S ; | S; || snr snd | N ; | S ; ||
Ran - - ja na ni ru - pa - ma

; ; S | S; | S; || S ; ; | S; |S; ||
rA ja rA- j(E)-- Sa ni

sr gmgr | gmgr | S S || snr snd | N ; | s R s ||

Ran - - - - - ja na ni ru - pa - ma

; M P | D N | S; || snr snd | d N p | d n S ||
rA - ja - va- da—na-- tyA-- - - ga

dn S , r | sn D | P; || gm pd ns | gr sn | dp pm ||
rA - - - ja - - vi- nu- - - - - ta - - - -- --

gr- M G | M ; |P; || P ; ; | MP | DN ||
Mana su svA - -- dhI - - na

srgmgr | sn D | P ; || S n - d P | ppmg | gmpm ||

m(ai) - na - - (y)A gha- nu- ni- - - ki - - -

gr- M G | M , d | pm G || rGmgr | S ; | S; ||
ma ri man- tra - - tan- - - tra- mu-

snrsnd | N; |sRs || S ; ; | ; , n | srgm ||

l(E)- - - - la - - - -- - Aa – - - -

pdns rg | mgrs | ndpm ||

gha- nu- ni- - - ki - - -

gr- M G | M ; |P; || P ; ; | MP | DN || S ;
Mana su svA - -- dhI - - na mai

APARAMA BHAKTHI

1. ; P M gm G R || S ; N- sr gr G ||
Ap pa Raa - ma Bha kthi Yen- - tho

;G M P ;; || ; ; ;; pmgr ||
Go ppa raa! -- -- -- Maa--

2. gm- P M gm pm gr || S ; N- sr gr G ||

- - Ap pa Raa - - ma Bha kthi Yen- - tho

;G M P ; D || dp P ; md pmgr ||

Go ppa raa! -- -- - Maa-- - - - -

3. gm- P M gm pm gr || srgr N- sr gr G ||

- - Ap pa Raa - - ma Bha kthi Yen- - tho

gmP P- mp dp D || dn S ,r nd pmgr

Go-- ppa raa! -- -- -- -- Maa-- - - - -

4. gm- G sn dpM GR || srgr N- sr gr G ||

- - Ap pa Raa - - ma Bha kthi Yen- - tho

gmP mpD pd N || dn sr sn dn ,dpm gr

Go-- ppa-- raa! - - -- -- -- Maa-- -

;M D S S S || sn D pm - dn SS

Tri pa ta lanu Deer- chi- Kan - ti

;S S sn gr S || sn D dm - dn SS

Tri pa ta lanu Deer- chi- Kan - ti

;S S sn gr S || sn D D - ns rs R

Tri pa ta lanu Deer- chi- Kan - ti

;S R gm pm gr || sn D P - dn S S

Tri pa ta lanu Deer- chi- Kan - ti

snsr s r - sn DP || pm n d pm - gm gr s r || gm
-
Re-- ppa-va- lenu Ga- - - chu- naa- - - - - - --

; pd ,P, P P || P ; P mp dp D
Kapi -Vaa ridhi Dha tu na? -- -

; dm ,D, SS || S ; N ds nd pm

Kali gi Rota Ga ttu na? ----

gr- gm ,P, D P || P ; P mp dn dp

- - Kapi -Vaa ridhi Dha tu na? -- -

M dm ,D, SS || S ; N dn Srs nd

- Kali gi Rota Ga ttu na? ----

pm gn , dpP , D P || P ; P mp dn dp

- - Kapi -Vaa ridhi Dha tu na? -- -

M dm ,D, SS || S ; N rs np D ||
- Kali gi Rota Ga ttu na? ----

;S S sn grS || sn D P - dn SS

A pa raa- - - dhi Tya-- ga ra- - ju

S; sn D PM || pm n d pm - gm gr s r || g m
Aa nan-- damu He- - - cchu-naa! - - - - --

MAYATHEETHA

S; R ; G ; || M ; P- pp mg M || P ; ;; P D || P ; ,m-
gm g-rs n ||
Ma yaa Athee tha Swaroo- - - pi ni - -- Nannu bro -- va-
- ve—

S rs R gr G mg|| M pm -dp- pp mg- M || P ; ;; P D || P ; ,m-

gm g-rs n ||
Ma yaa Athee tha - Swa roo- - - pi ni - -- Nannu bro -- va-
- ve—

S rs R gr G mg|| M pm -dp- pp mg- M || P ; ;; gm pd || nsn-d pm-gm

g-rs n ||
Ma yaa Athee tha - Swa roo- - - pi ni - -- Nan-nu bro
-- va- - ve—

sr ss rg rr gm gg|| mpmm -dp- pp mg- M || P ; ;; gm pd || nsn-d pm-gm

g-rs n ||
Ma yaa Athee tha - Swa roo- - - pi ni - -- Nan-nu bro
-- va- - ve—

sr ss rg rr gm gg|| mpmm -dp- pp mg- M || P ; ;; gm pd || SrsS-d pm-

Mpm G -rs n ||
Ma yaa Athee tha - Swa roo- - - pi ni - -- Nan-nu bro
-- va- - ve—

S sn D – dn dd P || gmdd pm- gm gr – pm || R ; ; sr gm -pd || nsn-d pm-

gm g-rsn ||
Maha - Thri- pu-ra Sun-- - - - - - - da- ri - - San- - - - - - - - ka - - ri -
- --

Sgr rs Rmg gr Gpm mg|| Mdp pm -dp- pp mg- M || P ; ; ; gm pd || SrsS-d pm-

Mpm G -rs n ||
Ma yaa Athee -- tha - - Swa roo- - - pi ni - - - Nan- nu bro -- - va-
- ve—

S sn D – pn dd P || gmdd pm- gm gr – pm || R ; ; sr gm -pd || nsn-d pm-

gm g-rsn ||
Maha - Thri- pu-ra Sun-- - - - - - - da- ri - - San- - - - - - - - ka - - ri -
- --

S; ;R ; G || ; M ,d- pp mg M || pdpd dm ; P; ||
Ma yaa Athee tha Swaroo- - - pi ni - -- --

;D ,P, mP,; n || dP, M gMg rg-rs || S – sr , g- M P ; || ; ; ; ; pmg-r ||

Ma ya ma - - la-- va gow- - - la- - de- - sha mu na Am—ba
gm- P , dm P mP,; n || dP, M gMg R- S || ; – sr , g- M P ; || ; ; ; pm gr- sr
||
Ma ya ma - - la-- va gow- - - la- - de- - sha mu na Am— - -

gm- P , dm P mP,; n || dP, M gMg rg-rs ||rn – sr , g- M P ; || ; ; ; pm gr- sr

||
ba Ma ya ma - - la-- va gow- - - la- - de- - sha mu na Am— - -

gm- P , dm P mP,; n || dP, M gMg rg-rs ||rn – sr , g- M P ; ||

ba Ma ya ma - - la-- va gow- - - la- - de- - sha mu na

; ps , s N pdpd || pd ns d p pm G ; || gm dd pm-gm gr- pm || gr ; ; R

S ; ||
Mahi maga la - - do-ra- lar- - - chin- chu-mu- - - ni- -- swa- ri - - - - -
-

M g r s- P m g R s || s r g m p m – g m , p D || N S ; ; ; ; ||
Kayaju ni vairi ki prana kaan-thaa- Braha dhee- swa- ri - - - - -

M g r s- P m g R s || s r g m p m – g m p d n s || S n - d n d -P
g m p d ||
Kayaju ni vairi ki prana kaan-thaa- Braha dhee- swari Kripa seya va lenu maa
Guru guha

S n d p m – g m g – g r s ||
swamiki ne - da - su dai-thi

S; R; G ; || M ; P- pp mg M || P ; ;; ;; ||
Ma yaa Athee tha Swaroo- - - pi ni - -- --

M g r s- P m g R s || s r g m p m – g m p d n s || S n - d n d -P
g m p d ||
Kayaju ni vairi ki prana kaan-thaa- Braha dhee- swari Kripa seya va lenu maa
Guru guha

S n d p m – g m g – g r s ||
swamiki ne - da - su dai-thi

sr ss rg rr gm gg|| mpmm -dp- pp mg- M || P ; ;; gm pd || SrsS-d pm-

Mpm G -rs n ||
Ma yaa Athee tha - Swa roo- - - pi ni - -- Nan-nu bro
-- va- - ve—

S sn D – pn dd P || gmdd pm- gm gr – pm || R ; ; sr gm -pd || nsn-d pm-

gm g-rsn ||
Maha - Thri- pu-ra Sun-- - - - - - - da- ri - - San- - - - - - - - ka - - ri -
- --

S; ;R ; G || ; M ,d- pp mg M || ndpd dm ; P; ||
Ma yaa Athee tha Swaroo- - - pi ni - -- --

1. ENDARO MAHANUBHAVULU - SRI RAGAM - AADI TALAM-

TYAGARAJA SWAMY

Aarohanam :- S R2 M1 P N2 S
Avarohanam :- S N2 P D2 N2 P M1 R2 G2 R2 S

1. ; ; S r . r . g r s . ; ; s n n . p . n . ; s . ;

En da ro ma ha nu bha vu

2. N s . n s . r . r . g r s . n s r . g r s . s n r s n p n . ; s g r s

Le nda ro ma ha nu bha vu

3. N s . n s . s . r m . r r m p . ; m . , p m . r . r . g . g r r s

Lan da ri ki van da na mu

4. N s . n s . s . r m . r r m p . p m p n p n p m m p m r r g r s

Lan da ri ki van da na mu

5. N s . n s . s . r m . r r m p . m p n . p n s . s n p m r g r s
 Lan da ri ki van da na mu

6. N s . n s . s . r m . r r m p m p n p n s n s r s.rs n.sn p.np m.pm

Lan da ri ki van da na mu

R . g r s n s . r . r . g r s . ; ; s n n .p . n . ; ; s n

Len da ro ma ha nu bha vu |enda|

Anupallavi

; ; p . m . p . r . m . r . r m p . p m m . p . ; ; ;

Chan du ru varnu ni

N n p m p . m . p . r . m . r . r m p . p m m . p . ; p . s .

Chan du ru va rnu ni

S n p m p . m . p . r . m . r . r m p . p m m . r . g . g r r s

Chan du ru var nu ni yan da

N s r m p m p m r g r s s n s . r m . r r m p m p . ; p . ;

Cha n da mu nu hri da ya ra

; ; R . r . r . g r s . n s r . g r s . s n r s n p n . ; s . ;

Vin da mu na joo chi bra hma

P . p . r . r . r . g r s . n s r . g r s . s n r s n p n . ; s . ;

A ra vin da mu na joo chi bra hma

; ; r . s . s . r s n . n . s n p . p . n p m . m . p m r . n n p m r g r s
 Nan da ma nu bha vun chu va

|enda|

Charanams:-

1. S . ; s . ; s . s . s n n s n n s n n s n n p . ; ; p . m p n s

Sa ma ga na lo la ma na si ja

R . ; r . ; r . ; g r r g r r g r r g r r s . ; ; g r r s n

La va nyadha nya mu rda nyu

|enda|

2. R . g r r g r r s n s . s .r s s r s s n p g . , g r s r

Ma na sa va na cha ra va ra san cha ra mu ni li pi mu rthi ba gu ga po da

g r . r s n

ga ne va |enda|

3. P p m r r .p p m r p . , m r r n p.n p mm p,m r r g

Sa ra gu na pa da mu la ku swan tha ma gu sa ro ja mu nu sa ma rpa na mu se

. , r r s s n
yu va |enda|
4. S s n p. R s n p. G r. S n p m p. P n s r. G r s r m p

Pa ti ta pa va nu da ne pa ra tpa ru ni gu rin chi pa ra ma rda ma gu ni ja ma

P n s. P p. M r m p n p. S n p. R s n p g r. S np m r g rsn

Rga mu to nu pa du chu nu sa lla pa mu to swa ra la ya di ra ga mu lu te li yu va

|enda|
 .5. p m m p r r g r n s r g r r s n pns r. R r. R g r s r m p.

Ha ri gu na ma ni ma ya sa ra mu lu ga la mu na so bhi llu ba kta ko tu li la to

P n s r. R m p n. M p n s. R g r r. G r r s. Snp p m rg rs.n

Te li vi to che li mi to ka ru na ga lgi ja ga me lla nu su da dru sti che bro

chuva
|enda|

6. P n s p. N m p n r. M p n p m r r. G r s n., g r s n p n s

Ho ya lu me ra na da lu ga lgu sa ra su ni sa da ka nu la ju chu chu nu pu la ka sa

R . ,m r mp., n m p n s. R g r. S nps n p m r p m p r grsn

Ree ru la ya na nda pa yo dhi ni ma gnu lai mu dam bu na nu ya sa mu ga la va

|enda|

7. R m p n. M p n r. M p n p m r r. G r s n pm pn n s.;

Pa ra ma bha ga va ta mou ni va ra sa si vi bha ka ra sa na ka sa nan da na

P p. N s r r., g r s r m p n p n m p rg r s r m p m p.;

Di gee sa su ra kim pu ru sha ka na ka ka si pu su ta na ra da tum bu ru

N p n m. p r. M p. N m p n s. R r. G r s np m p n n s.;

Pa va na su nu ba la chan dra dha ra su ka sa ro ja bha va bhu su ra va ru lu

R g r r. G r s n s r s. S n pm p r m r p m n p s. N p

Pa ra ma pa va nu lu ga nu lu sa swa tu lu ka ma la ba va su ka mu sa da nu ba
 M r g rs.n

vu lu ga ka |enda|

8. P.;; rm p r. M r m p. M p. R g r r.,g rs n p n s

Ni me nu na ma vai bha vam bu la nu ne pa ra kra ma dhai .

P n s p. P r. G r s p. P m r m p n r. M p n s r m p n. P n

Rya mu la san ta ma na sa mu ni vu lu nu va cha na sa tya mu nu ra ga va ra ni ya da

S n s. N s r r. R g r r. G r r g r r. R s r s s. N p n s r

Sa dba kti yu ja nin cha ka nu du rma ta mu la nu ga lga je si na tti ni ma di

G r. R s. S n. N p m r m p s s. N p . , m r . , g r s n s r s .n

Ne rin gi san ta sam bu na nu gu na bha ja na nan da ki rta na mu se yu va

|enda|

9. R . ; ; p n s r. Nsr g r r., s.s n p mp n s r. P n

Bha ga va ta ra ma ya na gee ta di sru thi sa stra pu ra na pu

P. r s r. G r. S n s r m p n p. P m r. P p m r r. N p p.

Ma rma mulan si va di san ma ta mu la gu da mu lan mu . ppa di mu kko

S n p. R r. S n p p. P. g r r g r r. R r. G r r g r r. r

Ti su ran ta ran ga mu la bha vam bu la ne ri gi bha va ra ga la ya di sou kya

S s. p p.r r. g r sn p n s r s. s s. P. p p. R .r r . grsn

Muche chi ra yuvul ga li gi ni ra va di su kat mu lai tya ga ra ja ptu lai na va

|enda|
10. ; ; p . M . p . ; r m p . m p n p p m r . r . g . g r s .

Pre ma mu ppi ri go nna ve la

N s r m p m p m r g r s s n s . r m . r r m p m p . ; p . ;

Na ma mu da la che va ru

; ; R . r . r . g r s . n s r . g r s . s n r s n p n . ; s . ;

Ra ma bha ktu dai na tya ga

; ; r . s . s.r s n . n.sn p . p.np m . m.pm r . n p p m r g r s n s . n

Ra ja nu thu ni ni ja da su lai na va

|enda|

2. SADHINCHENE OO MANASA - AARABHI RAGAM - AADI TALAM

Pallavi

P; pp mg rrS ND | S ; ; - sd R – mg rs r m ||

Sa ---- din- - - cha ne O- - Mana sa -- -

P,r r pmM g r r S ND | S ; ; - sd rr – mg rs r m ||

Sa ---- din- - - cha ne O- - Mana sa -- -

P; mpdp mg r r S ND | S ; ; - dd P– m p d s dsR ||

Sa -- ---- din- - - cha ne O- - Mana sa -- -

sS–s d p – mg r r s s ND | S ; ; - dd P– m p d s dsR ||

Sa -- ---- din- - - cha ne O- - Mana sa -- -

sS–s d p – mg r r s s ND | sr srM rm rmP mpdp mg r s r m ||

Sa -- ---- din- - - cha ne O- - Ma- - na- sa -- -

P; r pmM g r r S ND | S R ; ; S; ;; ||

Sa ---- din- - - cha ne -- -- --

Anupallavi

dd P pp mg RR S ; | mg R dd-P mp D ,s S ||

Bo-- din- - - china San Ma - - rga- va cha- na mula

dd P pp mg RR Srs S | mg R dd-P mp D ,s S ||

Bo-- din- - - china San Ma - - rga- va cha- na mula

ddpm Pds dp mg R Srs S | mg R dd-P mp D ,s S ||

Bo-- din- - - china San Ma - - rga- va cha- na mula

ndpm Pds dp mg R Srs S | mg R dd-P mp D ,s R ||

Bo-- din- - - china San Ma - - rga- va cha- na mula

R –mg R – Srs S - sn Dnd P | Pdp mg R R mp D mp d r ||

Bon - - gu je- - - si- tha - - ba - - - - ttina pa- - ttu - - -

Charanams:-

1. P P P; PP M Pdp | M P ; P pp mg rs rm ||

Sa ma ya niki thagu ma ta la de ne

PM P; PP M Pdp | M P ; dp pmM , g rs rm ||

Sa ma ya niki thagu - ma ta la - - de-ne-

P ds P dp PP M Pdp | M P ; P pp mg rs rm ||

Sa ma ya niki thagu ma ta la de ne

p d rsS P dp PP rm mp | pd – ds dd - P mpdp- mg rs rm ||

Sa ma ya niki thagu - ma ta la - - de-ne-

P ds P dp PP mp ds | sr – s n P pmM , g rs rm ||

Sa ma ya niki thagu - ma ta la - - de-ne-

2. P ; ;P mgrr - mgrr | s S s - nd P ; - ds , s r m ||

De va ki -- Va-su- de- - vula ne -gin chi na tu

3. P P m g R - R mg - r r s s | D D ,s -S ,rR , s r m ||

Range shudu sath Gan ga- jana kudu Sangee tha Sam prada ya ku du

4. D D - pd - p p , dp m - Mp–m |grR Rmm PP Srm

Gopee Jana Mano rathamo Sanga le - kane geli yu jese Va- du

5. dp mp d S- d dp P m g r- r | , r – S S–dd P– m g r r S ||

Vanithala sada So - kka je yu chunu mro - kka je se Para math muda diyuga

S–sd ,p–m p d S s d R r|sr-D s- Pd M p–m gr - rm

ka Yaso tha thana yudanchu Mudambu Nanu Mudhu petta Navvu chun-du Hari

6 r m p- d , p – m p d d p – m p d P | P – mg R–D D p–m g rR

Parama bha ktha va - thsaludu su guna pa ra va- run da jan ma ma nagudee

ddP sn D r S s m g R |r S s d d p–p , p – m g r – s r m ||

kaliba dhalathee rchu vada nu chune hrudambu jamuna ju chu chun daga

7. s P – m , p - mg R mg rRr |s r s–s , s–P p mgr ddP ||

Hare Ra ma chan- dra Raghu kulesa mrudusu bha sha se sha sayana paranaa

dd P dSs dRr srm–m |gr–P mgr– d P–sd , rrs

ree- so da raja viraja thuraga ra ja raa janutha ni ra maya paghana

mg R sr ss ,s–d d p Pp |mg r r ,r- S ; P ,dpm

sarasee ruhadala ksha yanu chu vedu kon- na na nu tha bro vakanu

9. P dd p–Pp mgr r ,r–pm | P–r s R–sd S,-s s – d R ||

Sree Ven- ka tesa su- prakaa sa sa - rvo nnatha saj jana maa na sa ni ke

r r–srM gr mp dp , pss | D–rr sS–m g rR srss ||

thana kana kaambara dhara lasan makuta kun dala vira ji tha hare yanuchune

, ddp P–mg r–R r S s d | Sd–r ,s– mg r–P p m g rm

pogada ga Thya- ga raaja keeyu lu maana vee ndru dai- na Rama chan-drudu

8. d d P p p m g R R srss | D–R S R | rpmg R ; ||

Sa - - thbha- - kthula na-ta- tha li - -- tla- ne- ne

; rm ,pD Dnp P mp mpD | P - Pdp mg R S rg rsS ||

Ama rika ga - - na - - - - - pu- - - - ja kone- ne - -

; sn D–R S R rp mg | R; ;; | S rg rs S ||

Alu ga va - - dda- ne - ne - - -- ---

dd P mg R mpmg R – mg |R–sr mg – R S rg rs S ||

Vi-mu ku- la tho- - - nu che- ra po- - - gu mane- ne - -

;nd ,rS R R - mg r s | R – mg rs rm P M P; ||

vetha gal - gi na tha- - - llu kom- - - - - ma ne ne

ddpp m g – rm P P rmP | mpD - mp D sn D rsR ||

Da-ma- sa- ma- - di su- ka da - - ga – ku da-ku sree -

Rmg R – Srs S S ddP | P – Pdp mg R mp D mp dr ||

Thia- - ga ra- - - ja nu- thu du chen-- -- tha ra - - ga- ne-

KARUNAJALADHE - NADANAMAKRIYA - AADI TALAM

Pallavi :-

S r. G r. M m m . , m , m d . p p m g g .

Ka ru na ja la dhi da sa ra dhi

G m p . , p., d d p d m , g m . p m . m g r . p m g r s n

Ka ma nee ya na na su gu na ni dhi ||karuna Jaladhi||

Charanams
1. , M d p m g m p d p d m p . , , p , p p d p d m p ,

Nee ma ya me ga nee yi la nu

, m., m. g m.d p d p d m , g m . p m . m g r . p m gr s n

Ye ma ni ne doo ru du nu

2. Nija dasula yanu bhavamokati

Ninu teliyani jana mathamokati

3. Tamalo melaguchu nundure

Taraka roopuni kandure

4. Bhagavataprahladita rama
Bhavuka tyagarajanutha

3. JAGADANANDAKARAKA - NAATAI RAGAM - AADI TALAM

Aarohanam :- S R3 G3 M1 P D3 N3 S
Avarohanam :- S N3 P M1 R2 S
P. p s n s . n p m p . ; p . s . n . s . ; s s . n p m g m

Ja ga da nan da ka ra ka

P. p s n s . n p m n p p . p . s . n . p n s . p n s n p m g m

Ja ga da nan da ka ra ka

P. p s n s . n p s . n s . r . ; s n p m r . ; g m p n p m

Ja ga da nan da ka ra ka

P. p s n s . n p s . n s . r . r s s n n p p m m r r s g m p m
Ja ga da nan da ka ra ka

P. p s n p m r r s . s n p . ; s n s . s. g m p n p m g m

Ja ya ja na ki pra na na ya ka

P.p.s n p s n p m r s m r s n p s n s . s . g m p n p m g m

Ja ya ja na ki pra na na ya ka

P.p .n p.mpm.g g m m p p n n p p m m r s.r.s.p m r. ; s . ;

Ja ga da nan da ka ra ka

Anupallavi

S n . s . , ; n p . s . , p . n . s . ; s . ; s n n .

Ga ga na dhi pa sa tku la ja

N n n . s n n . p . p n s . ; p . n . s . ; p n s n p n s n p . ;

Ga ga na dhi pa sa tku la ja

S n s.r s n . r s s . n p . s . , n p n s . n p n s n p m g m p n

Ga ga na dhi pa sa tku la ja ra ja ra je swa ra

Np s n s .r s n . r s s .n p . s . , n p n s . n p n s n p m r . ;

Ga ga na dhi pa sa tku la ja ra ja ra je swa ra

M g p mn p s n s m. r s n p m r s s r. s s . ; n p . m g m

Su gu na ka ra su ra se vya bha vya da ya ka sa da sa ka la

M g p mn p s n s m. r s n p m r s s r. s s . ; s s . m g m
Su gu na ka ra su ra se vya bha vya da ya ka sa da sa ka la

|jagada|

1. S s n p . , m p s s r s s m m r s m m . p . ; ; p m m p m m

A ma ra ta ra ka ni ja ya ku mu da hi ta pa ri pu rna na ga su ra su ra

R. s m r s s. N p. P m m p. S. s n n s n n s n p. R s n p

Bhu ja la dhi pa yo ni va sa ha ra na su nda ra ta ra va da na su da na ya va cho

, s n p m . n p m r . p m r s . p p . s s . n p m r s . , r g m

Bri nda go vin da sa nan da ma va ra ja ra pta su bha ka ra ne ka

|jagada|

2. S n p m. n p. M r s n. R s. S n p s. S r. S r s p. M n p

Ni ga ma ni ra ja mru ta ja po sha ka ni mi sha vai ri va ri da sa mee ra na

S n p r. R s. P s n p. M g m p p s s. N p. M r s s. R g m

Ka ga thu ran ga sat ka vi hri da la ya

ga ni ta va na ra di pa na tam gri yu ga
|jagada|
3. P. n p. N p m m. p m. p m g g . g g . M r s n . s g . m p.

In dra ni la ma ni sa nni bha va gha na cha ndra su rya na ya na pra me ya va

P. n p s n r s m. r s n p m. g m p s n p p n p mrssrgm

Gi ndra ja na ka sa ka le sa su bra na gen dra sa ya na sa ma na vai ri sa nnu ta

|jagada|

4. P . n p m p n . p m . n p m p n p . m m p m . g m p n p.p

Pa da vi ji ta mau ni sa pa sa ma pa ri pa la va ra man tra gra ha na lo la

 N s r s . s p p m r s n . p m p s . n p n s r r .s., n p m

Pa ra ma san ta chi tta ja na ka ja di pa sa ro ja ba va va ra da a khi la

|jagada|

5. S . p.m. r. s p m r s p m g. m p n p g.m p. m r. P m

Sru sti sti tyam ta ka ra ka mi tha ka mi ta pha la da sa ma na ga tra sa

R. n p m r. s n p m r. r s. P s. M p. R g m p . s. N p m

Chi pa ti nu tha bdi ma da ha ra nu ra ga ra ga ra ji ta ka tha sa ra hi ta

|jagada|

6. S . n p r . s m r s p p . m r s m m p m. p n p p. N s r s . s

Sa jja na ma na sa bdi su dha ka ra ku su ra vi ma na su ra sa ri pu ka ra bja

P. m r s n p. S n p. R s n p, m r s n p. S s. P p. M g m

La li ta cha ra na va gu na su ra ga na ma da ha ra na sa na ta na ja nu ta

|jagada|

7. S . , s. S s. R s n . , s s n p p s s. N p n s n p m r . n p

Om ka ra pan ja ra ki ra pu ra ha ra sa ro ja bha va ke sa va di ru

, m r. S n p m r s s. P s n p , m r s s . p p , p n s . r g m

, pa va sa va ri pu ja na na ta ka ka la dha ra ka la dha ra pta gri na ka ra

R g. M p n p s. S n p s s m m r s. R n. S p n m p. M g m

Ra na ga tha ja na pa la na su ma no ra ma na ni rvi ka ra ni ga ma sa ra ta ra

|jagada|
 8. P m r s n p s .s . , m r s s., p m r s.n p,p m r s.p m

Ka ra dru tha sa ra ja la su ra ma da pa ha ra na va ni su ra su ra va na

P n. N p n s r. r m p n p .p s n p m r. N p m r s., r g m

Ka vi na bi la ja mou ni kri ta cha ri tra sa nnu tha sri tya ga ra ja nu tha

|jagada|

9. P p . n p m n p m m. p m g m r s r. s m g p m n p . m g m p n

Pura napu ru shanruva ra tma ja sri tha pa ra dhi na ka ra vi ra da ra va na

P s. S r s m r s r . s s n p m g g. M p s n p m r . s s r g m

Vi ra va na ana gha pa ra sa ra ma no ha ra vi kri ta tya ga ra ja sa nnu tha

|jagada|

10. P p n p p n p p m p. n p.,np p mm.,pm,n p m. s n p

A ga ni ta gu na ka na ka che la sa la vi da la na ru na ba sa ma na cha ra

M . p. M g m p. M r s p mr s np m r s s n p m r s p mp s r

Na pa ra ma hi ma dbu tha sa ka vi ja na hri tsa dana su ra mu ni ga na vihitakala

S p. N s r s. M r s p. M r s n p. P s n p. R s. S. n p m

Sa ni ra ni dhi ja ra ma na pa pa ga ja nri sim ha va ra tya ga ra ja di nu tha

|jagada|

4. KANAKANARUCHIRA - VARALI RAGAM - AADI TALAM

Aarohanam :- S G1 R1 G1 M2 P D1 N3 S
Avarohanam :- S N3 D1 P M2 G1 R1 S
39th mela janyam jhaalavarali

Pallavi

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

Ka na ka na ru - - ch i ra - - -

; ; S S N – N R S | N ; G ; ; ; ; ; ||

Ka na - ka va -sa - na

2. ; ; P , p ; P , M , | p m G G ; G R R S ||

Ka na ka na ru - - chi ra - - -

; ; S S N – N R S | N ; G ; G ; m p d p ||

Ka na - ka va - sa - na ni nnu - -

3. M ; P , p ; P d n d p P , | p m G G ; G R R S ||

Ka na ka na ru - - chi ra - - -

; ; S S N – N R S | N ; G ; G ; m p d p ||

Ka na - ka va - sa - na ni nnu - -

4. M P m - P , p ; D s n d p P , | p m G G ; G R R S ||

Ka na ka na ru - - chi ra - - -

; ; S S N – N R S | N ; G ; G ; m p d p ||

Ka na - ka va - sa - na ni nnu - -

5 . m P m - P , p ; D s n d p m g , | G ; G ; G R R S ||
 Ka na ka na ru - - chi ra - - -

; ; S S N – N R S | N ; G ; G ; m p d p ||

Ka na - ka va - sa - na ni nnu - -

6. M P m - P , p ; P d n d p P , | p m G m p d n d p m g G R ||

Ka na ka na ru - - chi ra -

R S S G r s S ; N ; G | G ; G ; G ; m p d p ||

Ka na - ka va - sa - na ni nnu - -

7. M P m P , p ; P , M , | p m G G ; G R ; ; ||

Ka na ka na ru - - chi ra - - -

; ; S ; S ; ; ; | ; ; ; ; ; ; ; ; ||

- - - - - - - - - - - - -

Anupallavi

1. ; ; S , n ; d n , d p p | p m G M ; P ; ; ; ||

Di na di - na - - mu - - - nu

2. ; ; S , r s n – P d n - d p p | p m G M ; P ; ; ; ||

Di na di - na- - - - mu - - - nu
3. ; ; S , n ; d s n - d p p | p m G m p d p D ; S , n ||

Di na di - na- -mu- - nu - - - - ma na

; N G ; ; R S ;|n s r s n s r s S N D P ||

su na Cha nu vu - - na - - n i - nnu
 4. P M – S S r n - d s n- d p p | p m G m p d p D ; S , n ||

Di na di - na- - mu- - nu - - - - ma na

; N G ; ; R S ; | n s r s n s r s S N D P ||

Su na Cha nu vu- - na - - ni- nnu

Charanams:-

1. P ; ; ; ; ; P ; | ; ; P ; P ; - M P ||

Pa -- lu ga

D P - M P D P - P M | G ; ; ; - G R ; S ||

- ru mo - - mu na - Sree - ya - - -

S ; ; - S S ; G R | ; S - N ; S ; - N ; ||

Pa - - - - - - ra Ma hi ma

S ; - G ; R ; - P ; | ; ; P ; ; - M D D || M ;

Da na ru - - - - ni nnu - - - -

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

Ta la ta la ma nu mu kha ga la ga li gi na See

R N S – D N – P D N | S ; N D P – D P M || G M
Tha ku lu ku chu O - ra kan nu la nu Ju - che ninnu

3. P ; M ; P D P M | G ; G ; R G M P ||

Ba lar kka- bhi su che la ma ni ma ya

D ; M ; G ; R R | S R G R R ; - S R ||
 Ma la lan krutha kan - - dha ra Sara

G R ; S - M P D P | ; M - P M P D N S ||

Si ja ksha Va ra ka po la suru chira ki ree

; R - N D P D N D | ; P M P M P D N || M ;

ta Dha ra san- thatham bu ma - na - sa ra ka

4. S ; ; P ; M P D | P M ; P M G G ; ||

Sa pa thni ma- tha yau su ru chi che

R G M P ; D - S R | G R ; S - M ; G R ||

Kar - na su la mai - na ma ta vee nu la

D P ; M - S N ; D | G ; R ; - R G R S ||

Su ru kka na tha la ka sree ha ri ni Dhya

; R G ; R – S R G | R S - S ; N D ; P || M ; -

Nim chi su khim - pa ga le da - ya tu

5. R G M P - D N ; - D | P M - G R ; S - N D ||

Mru ga ma da la laa ma Subha na taa - la Va ra

N - S ; R G ; R - R | S - M P D P ; ; - M ||

Ja taa yu Mo ksha Pha la da Pa va maa na

 R G M P ; D - P D | N - S ; R - G ; G G ||

Su thu du nee du mahi ma Del pa See tha De

R S - N S R - S ; - N | D ; D ; - P ; D P || ; M -

vi Va la chi So kka Le da Ree thi ni nnu

6. S N ; - D P M - G R | ; - S N D - N S R - R ||

Su kha spa da Vi mu kaa mbu dha ra Pa va na Vi

G ; R R ; - M P D | M ; G ; R ; - S R ||

De ha Maa na sa Vi haa raa ptha Su ra

G ; - R R ; - N D M | G ; R – S N ; D N ||

Pu ja Maa ni tha Gu naa nga Chi thaa nan

- D – G R R - G ; R ; | S R G - R ; S - N S ||

Da Kha ga thu ran - ga Dhru tha ra than ga Para

S R – N ; D P - D D | M ; - P D M G R ; ||

ma Da yaa ka ra Ka ru naa ra sa Va ru naa -

S R - G R ; R S ; | S ; - S ; ; N D P || M ;

La ya Bhayaa pa Haa raa Sree ra ghu pa the -

7. P ; ; P ; M - M ; | P - D ; P - D D P M ||

Kaa min chi pre ma mee ra Ka ra mu la

G ; R - G ; R - S R | G R ; - G ; R - S N ||

Nee du Paa da Ka ma la mul- ba ttu ko nu

 D ; N - D ; N - S ; | G R ; G - G M P D ||

Vaa du Sa kshi Ra ma naa ma Ra si ku du

M ; ; G ; R - G M | P D - M D P ; ; ; ||

Kai laa sa Sa da nu du sa - kshi

S R G - R ; ; - P M | G R ; ; - D P M G ||

Mari yu Naa - - ra da Pa raa - - sha ra Su ka

R ; N D P M ; - S | N D – G R ; – R G R - ||

Sou na ka Pu ran da ra Na ka jaa Dha ra ja

R G R R - S ; R G | ; R - S R G R ; S ||

Mu - kyu lu Saa kshi Ka da Sun- da re sha

N S R R S ; - P D | N D P ; M P D N || M ;

Su kha ka la sam bu dhi va - sa Sri - thu la ke

8. ; ; P , p ; P , P m | G ; ; ; G ; m p d n ||

Sa tha tha mu - pre - - ma pu - - -

D p m g P , m ; D n – d p p | G ; G ; G R R S ||

- - - - - ri thu da - ku -- Thia ga raa- ja - ; ;

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

nu tha mu kha ji tha - Jaa mu

S , n N – G ; N S ; | n s r s n s r s N ; D P || P M
Da - na tha Va ra da - - - - - ni nnu - - -

5. DUDUKUGALA NANNE - GOWLA - AADI TALAM

Aarohanam :- S R1 M1 P N3 S
Avarohanam:- S N3 P M1 R1 G3 M1 R1 S

15th melakarta janyam Mayamalavagowla ragam

Pallavi:-

R R pm P ;P M; |R; pm gm ; R S; ||
Du du ku ga la Nan ne Do ra

RM rm P ; mp np pm | M; ;; R; rs S ||
Kodu ku Bro - - - chu raa Yen tho

R R pm np ; P M; |R; pm gm ; R S; ||
Du du ku ga la Nan ne Do ra

RM rm P ; mp np pm | M; ;; R; rs S ||
Ko du ku Bro - - chu raa Yen tho

R R pm np sn P M; |R; pm gm ; R S; ||
Dudu ku- - - - ga la Nan ne Do ra

RM rm P ; mp np pm | M; ;; R; rs S ||
Kodu ku Bro - - - chu raa Yen tho

R R pm np sn P mg M |R; pm gm ; R S; ||
Du du ku - - ga la - - Na nne - - Do ra

RM rm P pnsn P-N | S; ;sn pm – r g m – r sn ||

Ko du ku Bro - chu raa -- - - Yen - tho
R R pm np sn P M; |R; pm gm ; R S; ||
Dudu ku - - - - ga la Na nne - - Do ra

rmrm pm pn pnsn P-N | S; , - r s n pm – r g m – r sn ||

Ko-du- ku- -- Bro- - - chu raa - - - -- Yen - tho

Anupallavi:

; rs ,r; rs R sr M | ; sr MR sn P NS ||
Kadu dur Vi sha ya - - Kru - shtu dai - -

; rs ,r; rs R sr mr | M- sr MR sn P NS ||
Kadu dur Visha ya - - - Kru - shtu dai - - -

rm rs rrsn ss n p n n pm | rm pn S, n pm – gm , rsn ||
Ga-di- yaa- - Ga-di- yaa- - ru - - - Nin- - - daa- ru- -

Charanams:

1. R; ;; ;; ns R | S; ;S ; sn P; ||

Shree Va-ni thaa Hruth Kumu daa

M; ;; M; rmp n |P; ;; ; mp ,nS ||

bja Vaang Ma—na sa Go- cha ra

2. r rss ;r s r Mm srM | ns r g M – sr G , m r r s s ||

Sakala Bhu thamu la Yandu Neevai Yun—da ga Mathi le ka po- yina

3. r r p -m , m r r sSs r pM | rs ns rSs pMm r rss ||

Chirutha Praaya mu la naadeBhajana mrutha rasa viheena Kudarku dai- - na

4. p p m m rr s s r pmm rs–rp | m–rpm nsr - m ,m–rr s Ss ||

Para dhana mula kora ku norula madi kara ka baliki kadupu nim pa thirigi natti

5. n p mp n – r m p N – m p N - p n | S – rm p -nS npmm r r s n ||

Thana madhi ni bhuvini sou kyapu jee vana me Yanu chu sada dinamulu kadipe-

6. r r p p rrmm Srr pnsr | ppm– r ,s–np m Pn pns r ||

Theliyani Nadavida Sudrulu Vanithalu svavasa mou da kuba de Simchi san-tha sil

,-mrs nS– r mRr sn– rs | , - sn p sN–p m r – n p , m r s ||

li swara layam bu lerunga kanu silaa thmulai subha thu laku samaa na manu

7. S r s S S rs rg M–rp | M–rn PM sn pm , rrs ||

Drushtiki Saaram bhagu lala naa sada naar bhaka sena mithadhanaa dulanu

S–ps nP–r sn P snp m | ,-np m R s- s s S n pmrs ||

de vaa- dide va nera nam mithini gaa kanu pa daabja bhajanambu marachina

8. P p m r s - r m Pm r s–rR |M sr M–ns rGm R; ||

Chakkani mukha kama lambuna nu sadaa naa madi lo smara na leka nee

nsr s ,s–pm r Ss– npP | p- s n p , - p m r mpn-p ,snp ||

dur-ma dan tha janu la ko ri paritha pa mulache thagili nogili –dur vishaya

rR–m r m – sr mRs npns |r–S n pm–rm p N–p m r r s ||

duraa sa lanu ro- ya leka sathathama paraadhinai- chapa la chi tthu dai--na

9. S r s ns R rs – rs r Mm | sr M rms–r ,s -S S ; ||

Maanava thanu dur labha manuchu nemchi paramaa nanda monda le ka

pp M rs–rm p – R m R pm | r P m rm – sr mRs SS ||

mada math sara kaa- ma lo bha mohula kuDaasu dai- mo-sa bothi gaaka
pnp– p n p – mp m- r pm rm pn | p n s – r ,mpn , pm r SS ||

mothati ku laju daku chu bhuvini kshu-drula panulu sal puchunu - dini gaaka

sSs srm– s rm–sr m -Rs |np n s r–Sn pm – n p m–Rs ||

naraadha mulanu ko - ri saa- ra heena madamula nu saadhim-pa thaa- ru maaru

10. P P M; rrss rmrm | P–pm g m–rg M–R S; ||

Sathu la kai- - - Kon- - - naa- -- lla - - sthi kai

R pm gm rs sn P ns rm |P,n P; ;P ,M, ||

su thu- - - la- kai - - ko- - - nna - llu dha na

;rs ,R, R ; sr M | srM sn P N; S ; ||

thadu la kai thi-ri gi- - thi-- nai ya

rmrs r r sn ssnp nnpm | rm p n rrsn pm – gm , r s n ||

thia- - ga- - - raa- - - jaa- - - ptha- - I- tu- van- - - ti - -

SIDDIVINAYAKAM - SHANMUKHAPRIYA - RUPAKA TALAM

Ragam :- Shanmukha priya

Aarohanam :- S R2 G2 M2 P D1 N2 S
Avarohanam :- S N2 D1 P M2 G2 R2 S

56th melakartha ragam

Pallavi :- Siddi vinyakam anisham chintayamyaham

Prasiddhagananayakam visishtartha dayakam varam

1. P ; M–G R; || R S ;; D N ||
Si ddhi Vi na yakam A ni

S; ;R ;G || gr R ; gr srgm ||

sam Chin ta yaam- ya- ham ---

2. pmnd pm – gp pm G || R S ; gr s -d N ||

Si ddhi Vi na yakam -- - A ni

S; ;R ;G || gr R ; gr srgm ||

sam Chin ta yaam- ya- ham ---

3. pmnd pm – gp pm G || R S ; gr s -d N ||

Si ddhi Vi na yakam -- - A ni

S; ; rg MG || gr R ; gr srg - r ||

sam Chin - ta yaam- ya- ham --- Pra

N d- p m – G r S - r s || , G r dn d p , dp m ||

siddha Ga na naaya kam Vishi shtaa rtha Daa- yakam Varam –

4. rsn- d pm – gp pm G || R S ; gr s -d N ||

Si – ddhi--- Vi- na yakam -- - A ni

S; ; rg MG || gr R ; gr srg - r ||
sam Chin - ta yaam- ya- ham --- Pra

N d- p m–G r S - r s || , G r dn d p , dp m ||

siddha Ga na naaya kam Vishi shtaa rtha Daa- yakam Varam –

Anupallavi

Siddhayaksha kinneradi sevitham - prasiddha yaksha kinneradi sevitham

Akhila jagaprasiddha moola pankaa madhyastham modaka hastham

1. S ; S– S ;S || R ; G – gr RS ||
 Si ddha Ya ksha Kin na raa- - di

D; N–S ;; || ; ; ;; ;; ||

Se vi tam

2. S ; S– S ;S || R ; G – gr RS ||

Si ddha Ya ksha Kin na raa- - di

rs D ;N–S–N || S N RS ; gr ||

Se vi tam a- khila jagat Pra

3. nd pd N – S ;S || R ; G – gr RS ||

Si ddha Ya ksha Kin na raa- - di

grsd ;N–S–N || S N RS ; gr ||

Se vi tam a- khila jagat Pra-

R; G– M ;M || G ; R–S S; ||

Si ddha Mu la Pan ka ja ma

SR NS RG || R S snrs n – d pm ||

Dhya- stham- Mo- daka Ha-- - stam--

Charanam :-

Bhadrapada maasa chaturthyam brahmanadi poojitham

Pasankusa dharam chatra chamara pariveshtitham
Roura bhava rajitham - daasa jana hridaya virajitham
Rouhiney yaanu jaarjitham eesana paarjitham
Atri raaja suthatmajam - anantha guru guhagrajam
Bhadrapada padhambhujam - bhaasa mana chaturbhujam

P; M – pd pd – pm || G R - GR ; S ||

Bha dra pa- da- maa- - sa Cathur tthyaam

; gr sd N S; || R – gm pm – G R; ||
 Brah - ma naa di Pu- - - ji tam

P; pm G GR || N S ;N ;D ||

Paa saan -- kusha Dharam Cha tra

P; dn dpP MG || G ; NS ;; ||

Chaa ma-ra- Pari vi jitham -- -

R; G – gp ;M || pd pd pm ; P,d ||

Rau dra bhaa- va Ra-hi- tam- Daa--

rs – D D–P dn dp || p D – n ,d–N S; ||

sa- Ja na hru da- ya- Vi - raa - ji tam

a) R ; ;G gr R || S ; nr s – n D–N ||

Rau hi nee-- ya nu- - jaar- cchi

S; ;; ;; || ; ; ;; ;; ||

b) R ; ;G gr R || S ; nr s – n D–N ||
Rau hi nee-- ya nu- - jaar- cchi

S; NR SS || ; nd pd – rs n – dp m ||

tam I - hanaa Var - ji - - tam—

Gr–s , r- r p ,m P || p M p p dp–g , m P ||

Adri Raa ja Sutaa tmajam a nan ta gu rugu haa grajam

S R g r s – n d – d P || R s –d ,p– r s n – d p m ||

Bhadra pada Padaam- bu jam Bhaa sa maa na Chatur- bhujam-

THILLANA - TADHIM DHIM THA - PHARAJU - AADI TALAM

Ragam :- pharaju

Arohanam :- S G2 M1 P D1 N3 S
Avarohanam :- S N3 D1 P M1 G2 R1 S
15th melakartha raga janyam Mayamalavagowla ragam

Tadhim dhimtha nana nam

Thom tadara takita dhim tarikitataka
Ta kita kita taka takundari kitataka

Nadhirdheem naadhirdheem tadhiyana tadheemtha

Nadhira dheem nadira dheem tadhiyana tahimtha
Nadira dheem nadira dheem tadhiyana tadheemtha
Udaradaani tomdradani tiru nadhira dhira dheem

Taghanu taka dheem tha takajhanu

takadhem tha Takundari kita taka.
Tadhim talangu thom takadhittalangu thom
Takatha rikita thom |Tadhim dhimtha|

Sudathi neeku tagina chinnadi ra

surathakeli kadi bau sooti ra
Sadayudaina venkateswara ninu
Saraguna rammanera - samayamuna | Nadhirdheem | | Tadhim dhimtha |
EVARU RA NINU VINA - MOHANA - TRISRA TRIPUTA TALAM

Ragam :- Mohana ragam

Aarohanam :- S R2 G3 P D2 S
Avarohanam:- S D2 P G3 R2 S

28th Melakartha Janyam Sankarabharanam

Pallavi :-

Evaru ra Ninu vina - Gati maku

; GP |DR |S; || D , S , | D P | D ; ||

E va ru - rA- ni nu vi - nA

; GP |DR |S; || S d r S |D P |D; ||

E va ru - rA- ni nu vi - nA

;G G | DP | D; || P G D | P- G | R S ||

Ga - ti - - - mA - - - ku - -

R- G P | dsrg | rS, ; || sd s R s |D P | D ; ||

E va ru - rA- ni nu vi - nA

;G G | rgpd | srgr || sdrsdp | pgdp | dpgr ||

Ga - ti - - - mA - - ku - - -

sr- G P | dsrg | rS, ; || sd Sgr RS | D P |D; ||

E va ru - rA- ni nu vi - nA

;G G | rgpd | srgr || srs-dsd | pdp-g | dp-gr ||

Ga - ti - - - mA - - ku - - -

sr- G P | D gr | rs S || ; ; ; |; ; |; ; ||

E va ru - rA- - - - - - - --

Anupallavi

savana rakshaka nityutsava sita pati (evaru)

;SR | G; | GR || S r G , | rs S ; | S ; ||
Sava na ra- ksha-ka ni- - - ty(O)

R D;| S; | ; ; || srgr – sd | p g r s | s r g p ||

Tsa va- - - - - --- -- ---- ----

ds- S R | G ; | GR || S r G , | rs S ; | S ; ||

Sava na ra- ksha-ka ni- - - ty(O)

R D; | S; | S ; || S d R s |DP | D; ||

Tsa va- sI tA pa- - - ti - --

;-DG | G; | GR || S r G p | g r g r | S ; ||

Sava na ra- ksha-ka ni- - - ty(O)

D R ; | srgr | dsrs || pdsd -pg | dp- rs | dp gr ||

Tsa va- sI tA pa- - ti - -- -- -- --

Charanam:-

raja bigu nikelara tyaga-

rajarchita tala jalara rama
jalamu seya raja brova
sankochama sura bhujama maku (evaru)

; SR | G ; | G; || G , R , |G; | P; ||

ra - ja -- bi gu - - ni

;PG | DP | D; || P G D | P–G | RS ||

ke- la - ra - tya- - - ga- - -

D- srgp | R ; | S; || S d – rsd | S R | sr G ||
ra- - ja - - - rchi- ta-- ta- La- -

; G; | DP | G R || srgr sd | SR | srG ||

ja - - la - ra- - ra - ma - -

; G ; | P; | D; || srg – rsd | S R | sr G ||

I - ja- - - la-- mu- se - ya- -

; GR | GP | G R || S d R s | D P | D ; ||

ra - ja - - - bro- va- sam - - -

; srgr | dsrs | P ; || pgdp – sd | rs dp | G ; ||

ko-- cha-- ma- su - -- ra bhu-- ja

R- pgdp | R ; |S; || rgpd - sr | gr – rs | dp – gr ||

ma - - - - - -- ma- - -- ku - - --

KOLUVAI UNNADE - DEVAGANDHARI - AADI TALAM

Ragam :- Devagandhari ragam

Aarohanam :- S R2 M1 P D2 S
Avarohanam :- S N3 D2 P M1 G3 R2 S

28th melakartha raga janyam Sankarabharanam

pallavi

koluvaiyunnade kodandapani
anupallavi

salalita matulai sareku sheelulai valachuchu kori vachi sevimpare

charanam 1

janakaja bharatadulato manchi naivedyambulu chanuvuna veduka naraginchi

merupukotla geru kanaka patamu sommulanu dharinchi vedoktamaina sanaka
vachanamulache toshinchi yashritula poshinchi

charanam 3

uduraja mukhudu shesa sayyapaini chelanga gani pudamikumari

sugandhamu buyya nammina varalake kadakantini korina varamiyya
tyagaraju nenaruna adagadugu madapula nandiya shri ramayya

SANGEETHA GNYANAMU - DHANYASI - AADI TALAM

Ragam: Dhanyasi {8th melakartha (Thodi) janyam

Arohanam : S G2 M1 P N2 S
Avarohanam : S N2 D1 P M1 G2 R1 S

Pallavi :-

; P p p mg M-P ;N | DP ;P N N S; ||

San gee- - - tha Gnya- na mu- - Bha kti Vi naa

; P p p mg M-P ;N | DP ;P N N S - nd ||

San gee- - - tha Gnya- na mu- - Bha kti Vi naa - -

pm- P p p mg M-P ;N | nD, P ; P N N S - nd ||

- - San gee- - - tha Gnya- na mu- - - Bha kti Vi naa - -

pm- P mpnp mg M - P N rs | nD, P ; P N N S - nd ||

- - San gee- - - tha Gnya- na mu- - - Bha kti Vi naa - -

pm- P mpnp mg M - P N rs | nD, P ; P rs sn S ; ||

- - San gee- - - tha Gnya- na mu- - - Bha kti Vi naa - -

gmpn srS , n nsN , p pnP , m | d p G ; gm pn pn Srs nd ||

San-- maa- - rga- - - mu - - - Galadhe - Ma na- saa --- --

pm- P mpnp mg M - PN pnS nsrs | nD, P ; P rs sn S ; ||

- - San gee- - - tha Gnya- - - - na- - mu- - - Bha kti Vi naa - -

gmpn srsrSN nsnsNP pnpnPM | d p G ; gm pn pn Srs nd ||

San-- maa- - rga- - - mu - - - Galadhe - Ma na- sa- --- --

pm- P p p mg M-P ;N | nD, P ; P N N S-; ||

- - San gee- - - tha Gnya- na mu- - - Bha kti Vi naa - -

Anupallavi

;,g , m- P N ; S; | ;; ;; ;; ;; ||

- - Brun - gi Na te - sha- -- -- -- --

;,g , m- P N ; S S | G; RS s r sr sn S ||

- - Brun - gi Na te - sha Sa mee ra ja Gha-ta- ja- -

;,g , m- P N ; S S | S mg gr S s r sr S,-n ||
- - Brun - gi Na te - sha Sa mee ra ja Gha-ta- ja- -

dpm- g , m- pn Srs nr sn S | S pm mgrs s r sr sn S ||

- - - Brun - gi Na te - -- sha Sa mee ra ja Gha-ta- ja- -

;pn ,s S ; sn rs - D | P M, p , npm G gm pn srS n d ||

Matan -ga Naa - ra- - - dhaa du lu- - ---- paa sim- - - che - - -

pm- p n , s rs rs- N sn sn | P M Pdp mg gm pn srS n d || pm

- - Matan -ga Naa - - ra- dhaa - du lu- - - - pa- sim- - - che - - -

--

Charanam

;P ,P, P; DP | ;g m ,pM mgpm g r S ||

Nya - ya Nya ya mu - Delu -sunu Ja - ga - mu-lu

gm- P , P , psns nd P | ;g m ,pM m g Mpm g r S ||

- - Nya - ya Nya -yamu - Delu -sunu Ja - ga - mu-lu

gm- P , P , pn Srs nd P | ;g m ,pM m g Mpm g r S ||

- - Nya - ya Nya - yamu - Delu -sunu Ja - ga - mu-lu

; -M ,M, mp dp pm G | ;g m ,pM m g pm g r S ||

Ma ya ma-ya- ma-ne - De lu sunu Du- - - - rgu-na

;,g , m- P ; N ;S | ;n g ,r-S S rn S ; ||

- - Kaa - ya jaa - dhi - Sha - dripu - la Ja yin- - che

;,g , m- P ;N ;S | ;m g ,r-S S rn S ; ||

- - Kaa - ya jaa - dhi - Sha - dripu - la Ja yin- - che

;pn ,s S sn r s - DP | ; M, p , npm G gm pn srS n d || pm

Kar- ya mu De-lu- sunu - Tya- - ga- - ra- ja- nu- - - tha-

PARIDAANAMICHITHE - BILAHARI - JHAMPE TALAM

Ragam :- Bilahari ragam

Aarohanam :- S R2 G3 P D2 S
Avarohanam :-S N3 D2 P M1 G3 R2 S

P , m , m G G R S , S , , , S , S N D , , , S , R , , , G P , , ,P m m G R G

Pa ri da - na mi - cchi the - - paa lin- tu ve- mo - -

R P m m G G R S , S , , , S , S N D ,, , S , R , , , G P , ,, P m m G R G ,

Pa ri da - na mi - cchi the - - paa lin -tu ve - mo-

R P m m G G R S , S , ,, S G G R S N D , S , R, , , G P D S N D P m G R G ,

Pa ri da - na mi -cchi the - - paa lin -tu ve - mo -

R P m m G G R S , S,,, S G G R S N D , S R G , P, D ,S , , N D P m G R
G ,

Pa ri da - na mi - cchi the - -paa lin - tu ve - mo -

R P m m G G R S,S ,,, S G G R S N D , S R G , P , D , S R G R S N D P P m

Pa ri da - na mi -cchi the -- paa lin - tu ve - mo - -

GRP m G R P mG R D D P,S N D P D R S , R S N DPD SDP, D D P m G R

G ,

Pa ri da - na mi - cchi the - -paa lin - tu ve - mo --

R P m G R P m G R D D P, S N D P D G R , ,R S N D PD , G R S N DP m G R G

Pa ri da - na mi - cchi the - - paa lin -tu ve - mo - -

R P m m G G R S , S , , , S G G R S N D , , , S , R , G , P , , , P , , , , , ,

Pa ri da - na mi - cchi the - - paa lin -tu ve - mo -

R , G P G , , P R , S , S , N , D , S , , , , , , , , , , , , , , ,

O -- - - - - - - -

Anupallavi:-

, P P P,P , P,D, P , D P m G R G , R S R G ,P , D , N D D P m G P D S ,

Pa ra ma pu ru sha - shri --- pa ti naa - pai -- nee -ku

, , P P P , P , P, D , P , D P m G R G , R S R G , P , D , S N D P m G P D S ,

, - pa ra ma pu ru sha - shri -- -pa ti naa - pai - - nee - ku

S , P D S , R , G , S ,S , N D ,D,S,,NDPP,S,DP,DDPmGRG,

Ka ru na gal ga ga yun - na kaa - ra na - me - mai - yyaa

R P D S , R , G , S , S , N D , D , S , , RSNDPDSDP,DDPmGRG

Ka ru na gal ga ga yun - na kaa - ra na - me - mai - yyaa

R P DS,R,G,RGPmGRSND, S,,RSNDPDSDP,DDPmGRG

Ka ru na gal ga ga yun - na kaa - ra na - me - mai - yyaa

R P D S , R,G, M G R G P m G R S N D ,G R S N R S N D S N D P P D S N D P m G

Ka ru na gal ga ga yun - na kaa - ra na - me - mai - yyaa

RPD S , R , G ,R GPmGRSND,GRGSRNSDNPDRSNDP,DPm,

Ka ru na ga lga ga yun - na kaa - ra na - me - mai - yyaa

Charanam :-

R,G,P,,,PDDPm,mG,RSRGPmGmRS,SND,S,,,S,

Ro kka mi cchu ta ku ne mu kka nti che li kaa nu

S ,D,D,D,P,PDDPmGRGP,SRG,RGPmGRSND,S,,,S

Cha kka ni che li no sa ga ja na ka raa ju nu ga anu

P,P,P,P,D,P,DPmGRG,RSRG,P,D,NDDP mG PDS ,

, - mi kki ni - sai nya mi - vva - mar ka ten - dru du - gaa - nu

,,P,P,P,P,D,P,DPmGRG,RSRG,P,D,SNDPmGPDS,,

Mi kki ni - sai nya mi - vva -ma rka ten - dru du - gaa - nu

S , PDS,R,G,S,S,ND,D,S,,NDPP,S,DP,DDPmGRG,

Ag ga di - - ga me du ga lgu adi ven ka te shaa - nee - ku

,RPDS,R,G,S,S,ND,D,S,,RSNDPDSDP,DDPmG RG ,

Agga di - - ga me du gal gu adi ven ka te shaa - nee -ku

,RPDS,R,G,RGPmGRSND,S,,RSNDPDSDP,DDPmGRG,

Agga di - - ga me du gal gu adi ven ka te shaa - nee -ku

R P D S,R , G , m G R G P m G R S N D , G R S N R S N D S N D P P D S N D P m G
Agga di - - ga me du gal gu adi ven ka te shaa - nee -ku

R P D S , R, G , R G P m G R S N D , G R G S R N S D N P D R S N D P , D P m ,

Agga di - - ga me du gal gu adi ven ka te shaa - nee - ku

NADA TANUMANISHAM - CHITTARANJANI - AADI TALAM

raagam: citta ranjani :- 22 kharaharapriya janya

Aarohanam: S R2 G2 M1 P D2 N2

Avarohanam:- N2 D2 P M1 G2 R2 S

pallavi

nada tanumanisha shankaram namami me manasa shirasa

anupallavi

Modakara nigamottama samaveda saram varam varam

charanam

sadyojatadi pancha vaktraja sarigamapadhani vara saptasvara

vidyalolam vidaLitakalam vimala hrudaya tyagarajapalam

SAROJADALANETRI - SANKARABHARANAM - AADI TALAM

raagam: shankaraabharanam

29 dheera shankaraabharanam

Aaroham:- S R2 G3 M1 P D2 N3 S

Avaroham :- S N3 D2 P M1 G3 R2 S
pallavi

sarojadala netri himagiri putri nee

padaambhujamule

sadaanamminaanamma shubhamimma shree meenaakshamma

anupallavi

paraakuseyaka varadaayakini valedaivamulokamulo

galadaa

puraani sukhapaani madhukaraveni sadaashivuniki

raani (saroja)

charanam 3

saamagaana vinodini gunadaama shyaamakrishNanute (amba)

sukha

shyaamalaam devi neeve gatirati kaamakaamyada

kaavave nannu (saroja)

VANAJAKSHI - KALYANI - ATA TALAM

Ragam: Kalyani (65th Melakartha)

Talam: Khanda Jathi Ata Talam

Arohanam: S R2 G3 M2 P D2 N3 S

Avarohanam: S N3 D2 P M2 G3 R2 S
Pallavi:

S,NDNSRGP,M,G,,RR,,,|

A - - - - - - - Va- na - ja - - - - - - -

GMPG RSND RS S , RDGR GPMR |

Kshi--- - - - - ni- - - - - - - - -

GMPD PMND | NP , M GDMG ||

Nne - - - - - - - - ko - - - ri - -

RSND NSRG DPMR GMPD PMND |

- - - - - - - - va - - la - - - - - - - -

NPMG MPDN SNND PNPD MGDM |

- chi- - - - - - va - - - -chi - - - - yu

GRSN DGRP | MGRS NDRS ||

- - - - - - - - - - - - - na di -

Anupallavi

R , , D NSRG MPDN PMDP PMMG |

Ra - - - - - - - ma - na - - si - - - - - -

NDMG PGRS NDMG RPMG RSNR |

Ju - - - - ni - - ka - - - - nna - - - - - cha

DNSR NSRG | PMGM PDDN ||

- - - - kka - - - - - ni - - - - -

PDNS DNP , NDNS SDNS RDGR |

Sree- - - - - - - ma - - - - ka - - - - - -
MGRS NDNS GRSS NNDP GGDD |

Sthu- - - - - - - ri - - - - - - - ran - - -

NNSS , RND | DDMG NDMG ||

- - ga sa - - - - - - - - - mi - -

RSND NSRG

--------

Mukthayi Swaram

; , , , , , , , , M , , G PM , P DGMP |

NDPN D , PM DMGR , PMG RSND |

RNDG RPMG | MRGN D , SN ||

NDPM GMPD NP , D PNDS NRDG |

RMGR SNDR S , ND SNDP NDPD |

MPG , , RRS | , S , R NDMG || RSND NSRG

Charanam

,,,,,,,,SNDPMGMRGMPD|

- - - - - - - - chi - - - nav - - - - - - -

P,,GMPDPMPDDNNSSNNDP|

- - - vu - - - - mo - - - - - - - - - - -

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

- - - - - - - - - - - - na - - -

DPMGMPDNSNDP.

........do........

S,,,--------
Chi - ru - ……..do…... na - - -

Chittai Swaram

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

, G , M , G , || M , P , D , N , (Chi)

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

N D | D G R N D D N D | M G D M G R S S || , N D N , P D N (Chi)

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

M P| D D N N S D G R | S N D R N D P M || G N D G M P D N (Chi)

4. D , N D M G D M G R , M G R N D , G R M | G N D G M P D N P D M G D P M G N

D S N | S D N R N D M D | M G R N R N S D || N S R G M P D N (Chi)

ALIGITHE - HUSSIANI RAGAM - TRIPUTA TALAM

Arohanam :- S R2 G2 M1 P N2 D2 N2 S

Avarohanam:- S N2 D1 P M1 G2 R2 S

Pallavi :-

aligite bhagya maye maremi vadalagite bhagyamaye ||

Anupallavi :-
taliru boniro vani dandincha galana

Charanam :-

bala prayamu nade bhramiyinchi nannu va

delina suddu lennenno kalavu

chala nato basalu chesinade yo

balaro muvva gopalu dippudu va||dali ||

O PAVANATMAJA O GHANUDA - SRI RAGAM - AADI TALAM

Ragam :- Shree ragam

Aaarohanam - S R2 M1 P N2 S
Avarohanam - S N2 P D2 N2 P M1 R2 G2 R2 S

pallavi

O pavanatmaja O ghanuda bapu bapanaga paragitiga

charanam 1

O hanumantuda udayachala nirvahaka nija sarva prabala

dehamu mochina teguvaku nituvale sahasamituvale jatitiga |O pavanatmaja|

charanam 2

O dashamukha hara kovenkatapati pada saroruha palakuda

ee dehamuto inni lokamulu ni dehameka nilicitiga |O pavanatmaja|
BHAVAYAMI RAGHURAMAM - RAGAMALIKA - RUPAKA

Pallavi:

(SAVERI) : [ARO: S R1 M1 P D1 S ||
AVA: S N3 D2 P M1 G3 R1 S || ]

S ,r MP ;P || P P pmdp D; ||
Bha- vayaa - mi Raghu raa-- mam

m P, MD D; || P ; dPm G ,r ||
Bhav ya Su gu- na- - raa-- mam--

S ,r MP ;P || ddpm grmp D; ||
Bha- vayaa - mi Raghu raa-- mam

pmpd pdrs DD || pmpd ddpm G ,r ||

Bhav ya--- Su gu na- - raa-- mam--

S ,r MP ;P || ,d P pmdp D; ||
Bha- vayaa - mi Raghu raa-- mam

;; , pM P; || ; ; ;; ;; ||
-- --- -- -- -- --

Anupallavi

Pdn DM ,pD || S S dr S ;,p ||

Bha-- vu ka - Vitha rana pa-raa --

Pdn DM ,pD || S D dr sn dnd p ||

Bha-- vu ka - Vitha rana pa-raa --
pdrs nd pm PD || S D dr sn dnd p ||
Bha-- vu ka - Vitha rana pa-raa --

pdrs nd pm PD || S D dRs ; ; ||
Bha-- vu ka - Vitha rana pa- raa --

DR S,r snD , D , || pmpd ddpm G; ||

Paan- ga-- lee-- - la - la-si- tham-- - -

pdrs nd pm PD || S D d gr -r ss ; ||
Bha-- vu ka - Vitha rana pa- raa --

D gr S,r snD , D , || pmpd ddpm G; ||

Paan- ga-- lee-- - la - la-si- tham-- - -

Chitta Swaras:
SR GS R; || M P D P D; ||
RS ND ND || P M G R S D ||
sr M gr - mp D pm || pd S nd - nd pm -pd ||
gr s- d ; - rs D, -s || D , - g r n d- m grsd

Charanams:

NATAKURANJI (Baalakandam)

;gm G-S ;; || S N Dns Dnp ||

- Dina ka ran -- vaya Thila- kam- -

;D N-S ;S || N S RG m g s- s ||
Di vya gaa - di Sutha sava na- - - -

rg- g pm G-S ;; || S N Dns Dnp ||

- - Dina- ka ran -- vaya Thila- kam- -

;D N-S ;S || N S RG M; ||
Di vya gaa - di Sutha sava na- -

; gm N D dm - mg || R G mp mg S ; ||

Vana ra chi tha Su ba - hu- mu- khaS nr sn - D ns - nd ||

np - dn S - N S ; ||
Vada- ma- hal - - lya- - - Pa- - va nam
;ss S- S ;S || S nd D - nd M M ||
Ana ga mee - sha Shaa-- pa bhan - gam

; dn ,sN D np || pn D N ; snS ||
Jana ka su thaa- - Praa ne- - sham

;ss S- S ;S || rs nd D - pd S nd - M ||
Ana ga mee - sha Shaa-- pa bhan -- gam

; dn ,sN D np || N D N; snS ||
Jana ka su thaa- - Praa- ne- - sham

;S S-S mg - S || ss nd D,p D; ||
Gha na ku pi- tha bhri gu raa- ma-

nS- n D M M G || R G mp mg S ; ||
Gar va Ha ra mi tha Saa - ke- - - tham

;S S-S mg - S || ss nd sn ND p D; ||
Gha na ku pi- tha bhri gu raa- ma-

nS- n D M M G || R G mp mg S ; ||
Gar va Ha ra mi tha Saa - ke- - - tham

Chitta Swaras:
MG S; ND || N , -s ;R GM ||
ND M; GR || G M PG RS ||
n d n s rg -mn dn pd || ns-nd ns rg mg-sn ||
(following swaras in Saveri)
gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

DHANYASI (Ayodhyakaandam)

; pd ,P, MP || pp m g MM P; ||
Viha tha ma bhi she - - - kama dha

; mg M-P sndp || G P M,p - mg R-S ||

Vi-- pi na ga-tha- mar - rya va- - cha-

rm- pd , psn MP || pp m g MM P; ||
- - Viha tha ma bhi she - - - kama dha

; mg M-P sndp || G P M,p - mg R-S ||

Vi-- pi na ga-tha- mar - rya va- - cha-

; - ss ,m-M ;M || M P pp mmG G ; ||
Sahi tha see - tha Sau- mi - - - - thrim

; G M-P P; || P,s ns nD, P ;; ||

San tha tha ma see - - lam - - --

; P GM PP || P , p S - nDp ; P ||
Gu ha ni laya Ga tham - - Chi-- - tra

; P nS, SS || S,g rs N-S ;S ||

koo - taa gatha bha- ra- tha da - tta

; P GM PP || P , p rs - nDp ; P ||
Gu ha ni laya ga tham - - Chi-- - tra

; snnp nS, SS || S,g rs N-S , sn d ||

koo - taa gatha bha- ra- tha da - tta

pm - P GM PP || pnSrs snN nrss- nDp ; P ||

Gu ha ni laya ga tham - - Chi-- - tra

; P nS, SS || S,g rs N-S ; S ||

koo - taa gatha bha- ra- tha da - tta

; pn S - ng ,r S || sn rs ndP NS ||
Mahi tha Ra - tna ma-ya- Paa-- duka

; nr , s- sn D pm || gm pn dp - mg R S ||
Mada -na Sun- - da- raan - - - - gam- - -

; pn S,p - mg R S || sn rs ndP NS ||
Mahi tha Ra - tna ma-ya- Paa-- duka

; nr , s- sn D pm || gm pn dp - mg R S ||
Mada -na Sun- - da- raan - - - - gam- - -

NS G; MP || G M P ; NS ||
RS R-N SP || D P , pmG RS ||
Ns g mp- G mpns || P ns grsn dpns ||

(following swaras in Saveri)

gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

MOHANAM (Aaranyakaandam)

; sr ,gG ;G || G ; G; GG ||
Vitha tha dan - da kaa ran yaka

R- rg ,pP ;P || P - dp G; R-gr ||
- gata Viraa - dha da la- nam- - --

s d - sr , g - sr srG G || G ; gdpp G GG ||
-- Vithatha dan - - - da kaa ran - - yaka

R- rg ,pP ds dp || P - dp G; R; ||
- gata Viraa - - dha da la- nam- - - -

; gp ,gR S D || S d- d rs - D ;P ||
Sucha - ritha gha ta ja - da - - thaa -

;ds ,r G DP || pgdp RS ;; ||
a mi -tha Vai - shna vaa-- stram- - -

;pd , g- P P-D || S ; S-S S; ||

Pata - ga Va ra Ja taa yu nu tam

;pd S S S; || S S drs - d P-D || (sddp)

Pan- cha va tee Vi hi tha-- vaa - sam

;pd , g- P P-D || S ; S-S S; ||

Pata - ga Va ra Ja taa yu nu tam

;sr gp R S; || S S drs - d P-D ||

Pan- cha va tee Vi hi tha-- vaa - sam

;D D-G RS || SD rs sd DP ||
 A thi gho - ra soor pa- na- gha-

PD S; DP || G gp dp - gp gr S ||
Vacha naa gatha khara- - - di- ha- ram

G; ;P GR || G R S-D SR ||
G; ;P DS || D P GR SR ||
gpgg rsrg rrsd || srg-r gp-gp d-pds ||

(following swaras in Saveri)

gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

MUKHARI (Kiskindhakaandam)

;P PP DP || mpdp pm g r RS ||
Ka na ka mriga Ru- - pa- dha- ra -

r r M ; M ;M || P m - n d m - D P ; ||
Khalamaa - ree - cha ha - ra - - mi ha

;P PP sn dp || mpdp pm g r RS ||
Ka na ka mriga Ru- - pa- dha- ra -

r r M ; M ;M || P m - n d m - D P ; ||
Khalamaa - ree - cha ha - ra - - mi ha

P G M-P pn dp || md pm G-R S; ||
Su ja na Vi ma-tha- Da- sha- - - sya-

; S R pm grS || S , - n ;D S ; ||
Hri tha ja- na- ka Jaan ve - sha nam

;pp , d- S , S , || R ; R - sr ; R ||
A na - gha Pam paa thee ra san - gha

S; gs pm grS || s g r- s nd - D S; ||
Daan- ja- ne - - - ya Naa-- bho-- ma ni-

;sp , d- S , S , || R ; R - sr gr S ||
A na - gha Pam paa thee ra san - gha
sr gr gs pm grS || SrgR- s nd - D S; ||
Daan- ja- ne - - - ya Naa-- bho-- ma ni-

;p p , r- S ;S || N , - r s n - N D- P ||
Thanu ja San - khya ka - ram - - Va - li

; pr , MP pn dp - || mp dp pm g r G S || (end with M ; )
ta- nu da la - na- mee- - - - - - sham- sham-

Chitta swaram:
P; ;M GR || S ; ND SR ||
M; ;G RS || R M PM ND ||
S sn dp -P mgrs || n d s r mpnd mpds ||

(following swaras in Saveri)

gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

POORVIKALYANI (Sundarakaandam)

;G pm g r , S , || S D , s R G; ||
Vaa - - na- ro - thama Sahi tha-

;P ,p-P ; P || mdm - mg ; G pmR ||

Va- - yu soo - nu Ka- - rar - pi tha- -

gmpm R-S ; ; || sr sr d- s R G; ||
Vaa na ro -- thama - Sahi tha-

;P ,p-P ; P || mdm - mg ; G pmR ||

Va- - yu soo - nu Ka- - rar - pi tha- -

gm dnsn dpM rs ; ; || sr sr d- s R G; ||
Vaa - - na- - ro - - thama - Sahi tha-

;P ,p-P ; P || mdm - mg ; G pmR ||

Va- - yu soo - nu Ka- - rar - pi tha- -

; G ; M G R || S ; ; sr sr D ||
Bhaa - nu sha tha Bhaa - sva- ra --

;S ;R GR || gm P pm - P dn dpP ; ||
Bha - vya Ra - tnaa - ngu- lee -- yam
;P ; P DP || S ; S; S; ||
The - na puna ra - nee- than

; dr S S ,S, || S rg rsnd ; N - pd ||
yu na Choo - da mani- Da- - - rsha nam

, p- G M D DP || S ; S; S; ||
- - The - na puna ra - nee- than

; dr S S ,S, || S rg rsnd ; N - pd ||
yu na Choo - da mani- Da- - - rsha nam

,p-D ; R S; || D D N- D ;P ||
- - Shree- Ni dhim Muda dthi thee - ra

;G G sn dpP ; || G G pm g r ,S , || (end
with: S , r )
Sri tha Vi- bhee- shana mi- li- - tham tham-

Chitta Swaram:
G; MG RS || D S ;R GM ||
P; ;-D PS || N D PM GR ||
gmpm , p G mRg || S r g , m-pd p- S n ||

(following swaras in Saveri)

gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

MADHYAMAVATHI (Yuddhakaandam)

;R R R R rs || R ; pm - R S-S ||
Ka li tha va ra- Se thu- ban - dham

;n s ,r-S ; S || N - P N; S R ||
Khala - ni ssi - ma pi si taa sha na

;R R R R rs || rmpn pm - R S-S ||
Ka li tha va ra- Se-- thu- ban - dham

;n s ,r-S ; S || N - P N; S R ||
Khala - ni ssi - ma pi si taa sha na
; rm P; NP || M P ppmm R R S ||
Dala nam Mu ra da sha Kan-- - da vi

NS R; RS || m r pm R ; S; ||
Tha- ram A thi dhee- - ram- --

;r r ,m-P ; P || P P nn pm P; ||
Jwala - na Bhoo- tha Jana ka-su- tha-

;mm P-P NP || P ; N; S; ||
Sa hi tha ya - tha Saa ke - tham

;rr , r - pm RS || S ; N-P ;N ||
Vila - si tha Pa - tta bhi she - kam

NR rs - sn P pm || R pm RS S; ||
Vi- swa- paa - lam- Pa dma- naa- bham

;rr , r - pm RS || nsrm ; rs rsnp ; N ||

Vila - si tha Pa - tta bhi she - kam

NR S,r - sn P pm || rm pn sn pm RS ||
Vi- swa- paa - lam- Pa - - dma- naa- - bham

Chitta Swaram:
R; M-R MP || N ; PM -PN ||
S; ; R SN || P - P M-M RS ||

Madhyamavathi:
R pm rs - n s rmP ||

Poorvi Kalyani:
dp S nd - nd pm gr ||

Mukhaari:
S nd srmg ,rsr ||

Mohanam:
Gdp g r - sr gpd s ||

Dhanyaasi:
R s -d , p- dp G rs ||
Natta Kuranji:
nsmg m-ndn pdns ||

Saveri
gr s- d ; - rs D, -s || D , - g r n d- m grsd ||
(Bhaavayaami)

UPACHARAMULANU - BHAIRAVI - AADI TALAM

Arohanam :- S R2 G2 M1 P D2 N2 S
Avarohanam:- S N2 D1 P M1 G2 R2 S

Pallavi

D n s.; n.rsnndd d p.; d n s.; n. srgrsnd .p.

U pa cha ra mu la nu u pa cha ra mu la nu

D n s . ; mpdn s r grsnd . p . ; , n r s n d . p . p d d p m . p . d p d n

U pa cha ra mu la nu che ko na va yya

S.rsrmgrs.;n rsgrsnd.p. ;nrsnd.p. g.md.ppmg r.gs

U pa cha ra mu la nu che ko na va yya

;sr sr snd.n. s.rgmrgsr r .pmmgg;grr.,rgmp dmp d

U ra ga ra ja sa ya na

; s r s r s n d.n.s.r g mrg s r r.p m m g g.; g r r . , r g m p m g r s m g r g m p d m p d n s

U ra ga ra ja sa ya na

Anupallavi
P d n.; n p d p p . d p d m p . d n d n . s . , r s n d . n . s .

Cha pa la ko ti ni bhan ba ra dha ra sri

P d n.;nsr.rs.nnd.ppdndndpmp.dnd n .s,rsnd.n.s.

Cha pa la ko ti ni bhan ba ra dha ra sri

P d n . n . , r s n d p m g r s r g m p d n s s n d p m p., d n d n . s . , r s n d . n . s .

Cha pa la ko ti ni bhan ba ra dha ra sri

;,ngr s.n.rsn.ndd.p.;sn.s.,pd.mp.mdpmg.r.gmp.dp

Ja na ki pa the da ya je si na

D n s.n g r s.n.r s n.n d d.p.;s n . s . , p d . m p . m p d p m g r s m g r g m p d m p d n s

Ja nakipa the da ya je si na

Charanam :-

Pn ddp.,dpdm.pd p d ndn.dns.s.n.rsnn.dd p.,n

Ka pa ta na ta ka su tra dha ri vai

Ddpmpnddp.;pddppmm.ndpdndn.,dns.s.n.rsnn.ddp.,n

Ka pa ta na ta ka su tra dha ri vai

D d p m p n d d p.; p d n d d p p m m. s s n n d d.p d n d n . , d n s . s . n . r s n n . d d p

Ka pa ta na ta ka su tra dha ri vai

M nd p . g . m . p d p., d p m g . r r . g s ; , g r . g m m . p d n d d p p m p d p d m p .,

Kau mi ta pha la mo san ge du ra ma

P d n dpmpd. dns.,s s.; rsrmg r s s. n. r s nn.dd p.

A pa ri mi ta na va ra tna mu lu po di gi na

P d n dpmp d. dns.,s s.;r.grsr.mg r s s.n. rsgrsnd. p.

A pa ri mi ta na va ra tna mu lu po di gi na

N.gr.rgss n.rsn.ndd.p.;sn.s.,pd.mp.m dpmg.r.gmp.dp

A pa ran ji go du gu ni ke ta gu na yya

Dns . n.g r . r g s n . rsn . n d d . p . ; s n . s . , p d . m p . mpdpmgrsmgrgmpdmpdns

A pa ran ji go du gu ni ke ta gu na yya

||upacharamu||

PURANDARADASU - LIFE HISTORY (1484 - 1564)

In the History of music and spirituality, Purandaradas deserved a special place. He

created state-bound classical music after Sri Tyagaraja Swamy and passed on the
culture, tradition to the future dynasties.

He was a great composer, singer, and songwriter who formulated the basic lessons of
teaching Carnatic music by structuring the step exercises known as Svaravalis and
Alankaras for Beginners. He was called as Godfather- PITA MAHA of Carnatic music.

In the year 1484, in a village named ‘ Purandara Gada ‘, there lived a wealthy merchant
gold, silver, and other gems, Varadappa Nayak (The last name was a blessing) and
Kamalamba. They were from a typical brahmin family who had a son ‘ Srinivasa’. The
one with a well-adapted Carnatic Music culture, Who has given up on jewelry business
to become ‘Haridasa’(servant of Lord). He has done a difficult Sanskrit Tenets SRI MAD
BHAGAVATHAM, which is available to everyone in a simple melodious way. He has
also introduced Maya Malava Gowla ragam, the first scale to be learned by beginners in
the field of Carnatic Music.

According to a legend, Purandaradas ( Srinivasa) was once approached by Lord

Krishna in the phase of Brahmin, who wanted to loan an amount from him. As
Purandaradas was hesitant to lend any money, the brahmin had no option but to narrate
the incident to his wife and persuade her to lend the amount. She lent her nose ring
which was made of precious gems to the Brahmin. To teach him a lesson, the Brahmin
went to Purandaradas asking for money in return for the nose ring. At once
Purandaradas realized that the nose ring belongs to his wife. So he sent his servant to
fetch the same nose ring from his wife. As she couldn’t lie to her husband, she decided
to take her own life. She took a vessel to make poison, in which she found a similar
nose ring. She gave that to the servant and sent him away. Later, Purandaradas came
home and asked his wife about the incident, to clear his confusion. After hearing about
what happened, he realized his mistake and sent his servant to look for the brahmin. As
the Brahmin couldn’t be found, Purandaradas realized that the brahmin was an Avatar
of Lord Krishna. After accepting his mistakes, he gave up his life of pride and dedicated
himself to music. To give a tribute to Lord Krishna he composed a Kriti “mosaho denello
“ in Atana ragam.

He was named as Purandaradas by Vyasaraya swamy.

SECOND PASSAGE

Gandharvam :- Bharata was the first saint who named music as Gandharva, and
Gandharva is a combination of vowel, rhythm, and words.

2. Bharata name indicates :

Bha - bhavamu (meaning)

Ra - ragam (tune)

Tham :- talam (rythm)

Hence music is also called BHARATHAMU.

3. Moorchana:- Sapta Swaras, arranged in the form of arohanam (ascending order)

and avarohanam (descending order) is called MOORCHANA.

4. Varjya Ragam :- Varjyamu literally means ‘missing’. Any ragam that has missing
swaras either in aarohanam or avaroham, then the ragam is classified as Varjya
ragam.
 5. Ragamu :- The melody that is entertained with vocal and variations made for a
better presentation that entertains the listener's mind is called RAGAMU.

SHODASA SWARASTHANAS:-

1. Shadjamu - S
2. Sudhha rishabhamu - R1
3. Chatusruthi rishabhamu - R2
4. Shatsruthi rishabhamu - R3
5. Suddha Gandharamu - G1
6. Sadhana Gandharamu - G2
7. Antar Gandharvamu - G3
8. Suddha madhyamamu - M1
9. Prathi Madhyamamu - M2
10. Panchamamu -P
11. Suddha Daivatham - D1
12. Chatusruthi daivatham - D2
13. Shatsruthi daivatam - D3
14. Suddha Nishadamu - N1
15. Kaisiki Nishadamu - N2
16. Kakali Nishadamu - N3

RAGA THRAYODASA LAKSHANAS:-

Musical scholars have researched and worked on music. This research has resulted in
finding 13 different qualities of a ragam.

Sarjadeva was the person who has defined a way of presenting a raga for representing
a melody involved in ragam.

1. Graham:- The first swaram where the song, or the lyric, or the swara kalpana, or
the raga swara is called as ‘ graha Swaram ‘.
2. Amsa swaram :- For any ragam, there is a particular swaram that gives a
melody flavour for the ragam. This swaram that gives hearing pleasure to the
ragam is called Amsa swaram. This has several names like ‘vadi swaram’, jeeva
swaram’.
3. Mandara swaram :- the swaram that is sung below the madhyama sthai
shadjamu is Mandara swaram.
 4. Taramu or tara sthai:- the swaram that is after the madhyama sthai nishadam is
Tarasthai swaram. (tara shadjamu).
5. Nyasam :- the final swaram or the end swaram of any raga or swarakalpana is
called Nyasam.
6. Apanyasam:- Any swarakalpana that consists of the fnishing swaram(nyasam)
used in middle of the kalpana and restarting the kalpana swaram is called as
Apanyasam.
7. Alpatvam:- the swaram that is used rarely or only at particular times in any ragam
is called alpa swaram. Ex: D in Shree ragam.
8. Bahutvam :- The swaram that is used several times in a ragam called
Bhahutvam.
9. Shadavamu :- The ragam that consists of only 6 swaras in aarohanam and
avarohanam is called shadhava ragam.

Ex :- Sri Ranjani

Aarohanam - S R G M D N S Avarohanam - S N D M G R S

10. Oudavamu :- The ragam that consists of only 5 swaras in aarohanam and
avarohanam is called Oudhava ragam.

Ex :- Mohana

Aarohanam - S R G P D S Avarohanam - S D P G R S

11. Sanyasa :- any ragam that is divided into several parts, and finishing the divided
parts is called Sanyasa way of singing.
12. Vinyasa:- any ragam that is divided into different patterns and shows the quality
of the pattern using the swaram is called vinyasa.
13. Antara Margamu :- any swaram that is not related to the ragam.

RAGA LAKSHANAS:-

1. MAYAMALAVAGOWLA RAGAM

15 th melakartha ragam :-
Swarasthanas :-

shadjam - S

Suddha rishabham - R1

Antar gandharam - G3

Suddha madhyamam - M1

Panchamam - P

Suddha daivatam - D1

Kakali Nishadam - N3

Aarohanam :- S R1 G3 M1 P D2 N3 S

Avarohanam :- S N3 D2 P M1 G3 R1 S

This is a sampoorna ragam (complete ragam consisting of seven swaras) and also a
very ancient ragam. This ragam can be sung during any time of the day or night. This
raga mainly consists of peace, devotion, sympathy, seeking, etc qualities. This ragam is
learned by the beginners in Sarali swaras, Janta swaras, alankaras. A beginner later
learns many other geethas in the child ragam i.e Malahari of Maya malava gowla.

If the R1 swara sthana is changed to S, this results in rasika priya ragam and if M1
swara stahanam is changed to S, This becomes Karthasimhendra madhyamam.

This raga is named Bhairav in Hindustani Music.

Famous Compositions:-

1. Lakshana geetham - ravi koti teja - mathya talam - venkata makhi

2. Kriti - meru samana - aadi - tyagaraja
3. Kriti - vidulaku mrokkeda - aadi - tyagaraja
4. Kriti - srinatha - guru guho - aadi - muttu swami deekshitar
5. Kriti - tulasi dalamulache -rupakamu - tyagaraju

2. MALAHARI RAGAM
The Janya ragam of 15th melakartha ragam Mayamalava gowla ragam

Swara sthanas:-

Shadjam, Suddha Rishabham, antar Gandharam, Suddha Madhyamam, Suddha

daivatham.

Moorchana:-

Aarohanam :- S R1 M1 P D1 S

Avarohanam :- S D1 P M1 G3 R1 S

This is Janya ragam, Upanga Ragam, Varjya ragam, one of ancient ragas. Purundara
Das has composed few following Geethas in the raagam:-

1. Sri gananatha - rupaka talam

2. Kunda gowra - rupaka talam
3. Keraya Neeranu - Triputa talam
4. Padumanabha - Triputa talam

The ragas that sound similar to Malahari raga are Saveri. Saveri and malahari, are
Janya ragas of MayamalavaGowla ragam. Just the Nishadam differs.

Vadi graha swaras :- S, M, D

Samvadi’s :- S-P; R-D; S-M; PS.

Compositions :-

1. Pillari Geethas - Purandara das

2. Panchamathanga mukha ganapathi - Deekshithar.

3. MOHANA RAGAM
Mohana ragam is the child ragam of 28th Melkartha ragam HarI Kambhoji. But few says
this is the child raga of 29th Melakartha ragam Sankarabharanam.

Moorchana :-

Aarohanam :- S R2 G3 P D2 S

Avarohanam :- S D2 P G3 R2 S

Swarasthanas:- Shadjam, chatusruthi rishabham, antar gandharam, panchamam,

chatusruthi daivatham.

This is a Varjya Ragam. This Ragam does not consist of M (Madhyamam ) and N
(Nishadam ). A pleasant ragam. The ragam that can be explored in different ways.

During ancient times this ragam used to be called as REGUPTHI ragam. This is a very
famous ragam. Sung during devotional occasions. This Ragam is also used for acts,
stage performances, and classical dances. This is called Bhupal ragam.

Samvadam :- S-P; R-D; G-D; P-S.

All the swaras in the ragam are jeeva, graha, nyasa swaras.

Compositions:-

1. Geetham - vara veena - rupaka

2. Swarajathi - swami daya - aadi
3. Varnamu - Ninnu kori - pallavi dorai swami
4. Sarasijaksha - ata - veena kuppayyar
5. Kriti - Evarura - chapu - sri tyagaraja
6. Mohana rama - aadi - sri tyagaraja
7. Nannu palimpa - aadi - sri tyagaraja
8. Bhavanutha - aadi - sri tyagaraja
9. Rama ninne nammina - aadi - sri tyagaraja
10. Rara rajeeva lochana - aadi - mysore mahadeva
11. Tarangam - kshemamkuru - chapu narayana teerthulu
12. Kriti - nagalingam - deekshithaar.
 4. KALYANI RAGAM

Kalyani ragam is the 65th melakartha parent ragam. As per “ka ta pa” sutra kalyani is
called mecha kalyani ragam. This is one of the ancient ragas.

Swara sthanas :-

Shadjamu, chatusruthi rishabham, antar gandharam, prathi madhyamam, panchamam,

chatusruthi daivatham, kakali nishadam.

Ancient Musician Venkatamakhi has also named it “Santha Kalyani”.

Moorchana:-

Aarohanam :- S R2 G3 M2 P D2 N3 S

Avarohanam :- S N3 D2 P M2 G3 R2 S

This is sampoorna raagam which has all major notes. The complete opposite ragam for
Kalyani is TODI ragam. All swaras of todi ragam are minor notes. Very famous prathi
madhyama ragam. This raga has a lot of child ragas. This is Moorchana Karaka ragam.
In detail, each note of Kalyani ragam, when taken as graham ( starting Swara),
becomes famous for other ragas.

R2 - Hari Kambhoji

G3 - Nata bhairavi

M2 - panchama thodi

P - dheera sankarabharanam

D2 - kharahara priya

N3 - hanumatthodi

This raga can be explored much more in the concept of mano dharma. Every note of
this ragam can have a different style of gamakam. There can be a lot of experiments
made in the ragam like Daatu notation.
Compositions:-

1. Geetham - kamalajadala - triputa

2. Varnam - Vanajakshi - aadi
3. Varnam - Vanajaksha - ata - Pallavi gopalayyar
4. Kriti - Nidhi chala sukhama - sri tyagaraja
5. - sivepahimam - aadi - sri tyagaraja
6. - nammi vacchina - rupakam - sri tyagaraja
7. - sundari nee divya - aadi - sri tyagaraja
8. - Amma ravamma - ghampe - sri tyagaraja
9. - kamalamba - chapu - muttu swamy deekshitar
10. - Himadri suthe - rupakam - syama sastry
11. - birasavaralchi - rupakam - syama sastry
12. - enthati Kuluke - rupakam - pattabhi ramayya

5. SANKARABHARANAM RAGAM

Sankarabharanam is the 29th melakartha parent ragam. As per “ka ta pa” sutra
sankarabharanam is called dheera sankarabharanam ragam. This is one of the ancient
ragas.

Swara sthanas :- Shadjamu, chatusruthi rishabhamu, antar gandharam, Suddha

madhyamam, panchamam, chatusruthi daivatham, kakali nishadam.

Moorchana:-

Aarohanam :- S R2 G3 M1 P D2 N3 S

Avarohanam :- S N3 D2 P M1 G3 R2 S

This is sampoorna ragam which has R and D as major notes. Sankarabharanam is the
devotional sounding raga. This is named as Major diatonic scale in western music. This
is the most important scale. This raga can be explored much more in the concept of
mano dharma. Every note of this ragam can have a different style of gamakam. There
can be a lot of experiments made in the ragam like Daatu notation, Janta notation,
alankaras, etc.

This raga is named as BILAWAL in hindustani.

Compositions :-

1. Geetham - sri govinda - mathya talam

2. Varnam - sami ninne - aadi - veena kuppayyar
3. Kriti - chalamela - ata - swathi tirunal
4. Kriti - akshaya linga - chapu - muttu swami deekshitar
5. Kriti - eduta nilichite - aadi - sri tyagaraja swami
6. Kriti - swara raaga - aadi - sr tyagaraja
7. Kriti - saroja dalanetri - aadi - syama sastri
8. Buddhi raadu - chapu - tyagaraju
9. Manasu swadheenamai - chapu - tyagaraju
10. Ee varaku joochinadi - aadi - tyagaraju
11. Enduku peddala - aadi - tyagaraju

6. NATAKURANJI

This is the 28th Melakartha child ragam of Hari Kambhoji.

Swara sthanas :- Shadjamu, chatusruthi rishabham, antar gandharam, suddha

madhyamam, chatusruthi daivatam, Kaisiki Nishadam.

Moorchana :-

Aarohanam :- S R2 G3 M1 N2 D2 N2 P D2 N2 S

Avarohanam :- S N2 D2 M1 G3 M1 P G3 R2 S
Natakuranji is a varjya ragam, which consists of the note repetition either in aarohanam
or avarohanam. This raga can be explored much more in the concept of mano dharma.
Every note of this ragam can have a different style of gamakam.

Compositions :-

1. Varnam :- chalamela - aadi

2. Kriti - manasu Vishaya - aadi - tyagaraja
3. Kriti - Budha masrayami - jhampe - deekshitar
4. Kriti - Needu moorthini - aadi - patnam subbaiyyar
5. Parvathi Kumaram - rupakam - deekshitar
6. Parakela saraswathi - rupakam - tirupathi narayana swami

7. DARBARU

Darbaru is 22nd melakartha child ragam of Kharaharapriya.

Swara sthanas:-

Shadjamu, chatusruthi rishabham, sadharana gandharam, suddha madhyamam,

chatusruthi daivatham, kaisiki nishadam.

Moorchana:-

Aarohanam :- S R2 M1 P D2 N2 S

Avarohanam :- S N2 S D2 P M1 R2 G1 G1 R2 S

This ragam is a varjya ragam. Gandharam (G) in the ragam can be sung with several
experiments which give pleasance to the ragam. Darbaru ragam can be sung at any
point of time during the day or night. Nayaki ragam sounds similar to this ragam.

Compositions:-
 1. Varnam - chalamela - aadi - tiruvarthi yoor
2. Kriti - yochana - aadi - tyagaraju
3. Kriti - Mundu venuka - aadi - Tyagaraja
4. Kriti - Narada guru swamy - aadi - tyagaraju
5. Kriti - ramabhi rama - aadi - tyagaraja

8. KAMBHOJI

Kambhoji is the 28th melakartha Parent Ragam. As per “ka ta pa” sutra Kambhoji is
called as Hari Kambhoji ragam. This is one of the ancient ragas.

Moorchana :-

Aarohanam:- S R2 G3 M1 P D2 N2 S

Avarohanam :- S N2 D2 P M1 G3 R2 S

Swara sthanas:-

Shadjamu, Chatusruthi rishabham, antar gandharam, suddha madhyamam,

panchamam, chatusruthi daivatham, kaisiki nishadam.

It consists of Kakali nishadam (N3) as anya swaram. this is named as Major diatonic
scale in western music. This is the most important scale. This raga can be explored
much more in the concept of mano dharma. Every note of this ragam can have a
different style of gamakam. There can be a lot of experiments made in the ragam like
Daatu notation, Janta notation, alankaras, etc. Hari Kambhoji ragam can be expressed
with a lot of expressions which creates beautiful flavors for the composition. This is
mostly chosen for concerts and performances.

Compositions:-

1. Geetham :- mandara dhare - aadi

2. Tana varnam :- taruni - aadi - ponnu swami
3. Ata tala varnam :- sarasijanabha - vadivel and swathi tirunal
4. Kriti - evari mata - aadi - tyagaraja
 5. Kriti - ma janaki - aadi - tyagaraja
6. Kriti - sri raghu vara prameya - aadi tyagaraja
7. Kriti - sri subrahmanyaya - aadi - tyagaraja
8. Kriti - marakathavallim - aadi - deekshitar
9. Kriti - kailasa nadhane - aadi - deekshitar
10. Kriti - Koniyadina - aadi - veena kuppayyar
11. Kriti - neeve nannu - aadi - krishnayyar
12. Kriti - nee bhajana - aadi - Muttayya bhagavatar
13. Kriti - yemayya rama - jhampe - Bhadrachala ramadasu
14. Kriti - Mari mari ninne - aadi - tyagaraja

9. HAMSADHWANI

Hamsadhwani ragam is the 29th melakartha child ragam of Dheera sankarabharana

ragam.

Moorchana :-

Aarohanam - S R2 G3 P N3 S

Avarohanam - S N3 P G3 R2 S

Swara sthanas :-

Shadjamu, chatusruthi rishabham, Antar gandharam, panchamam, kakali nishadam.

Hamsadhwani is an Audhava ragam, aarohanam and avarohanam had Madhyama and

nishada as Varjya swaras. This has G and N Swara notes which add on flavors to the
ragam. There are many ideal compositions in Hamsadhwani ragam.

Compositions:-

1. Varnam - Jalajaksha - aadi - manambuchavadi venkata subbaiyya

 2. Kriti - Paga varu - aadi - patnam subbaiiyyar
3. Kriti - Vatapi ganapathim - aadi - deekshitar
4. Kriti - sri raghukula - aadi - tyagaraju
5. Kriti - raghunayaka - aadi - tyagaraju
6. Kriti - vinayaka - aadi - veena kuppayyar
7. Kriti - gajavadana - veena Kuppayyar
8. Kriti - Manasu karugademo - Rupakam - patnam subbaiyyar

10. VASANTHA

Vasantha ragam is the 17th melakartha child ragam of Surya kantha ragam.

Moorchana :-

Aarohanam - S G3 M1 D2 N3 S

Avarohanam - S N3 D2 M1 G3 R2 S

Swara sthanas :- Shadjamu, suddha rishabhamu, antar gandharamu, Suddha

Madhyamamu, chatusruthi daivatham, kakali nishadam.

Vasantha Ragam is Audhava - shadhava ragam. Aarohanam of the ragam doesn’t have
R and P. Avarohanam doesnt have P(Panchamam). Every note of this ragam can have
a different style of gamakam. There can be a lot of experiments made in the Vasantha
ragam.

Compositions:-

1. Varnam - ninnu kori - aadi

2. Kriti - seethamma mayamma - rupakam - tyagaraju
3. Kriti - ramachandram bhavayama - rupakam - tyagaraju
 4. Kriti - Parama Purusha - aadi - swathi tirunal
5. Kriti - Natanam - ata - Gopala krishnabharathi
6. Kriti - dhi dhim - aadi -pallavi seshayya
7. Ashtapadi - lalitha lavangara - aadi - jayadeva

11. SRI RAGAM

Sri ragam is 22nd melakartha Kharaharapriya child ragam.

Moorchana :-

Aarohanam - S R2 M1 P N2 S

Avarohanam - S N2 P M1 R2 G2 R2 S (S N2 P D2 N2 P M1 R2 G2 R2 S)

Swara Sthanas:-

Shadjam, chatusruthi rishabham, sadharana gandharam, suddha madhyamam,

panchamam, chatusruthi daivatham, kaisiki nishadam.

Sri Ragam is an Audhava vakra shadhava ragam, which has 5 swaras in aarohanam
and 6 jumbled swaras in avarohanam. This is also called Ghana ragam as one of the
Ghana raga Pancha Ratna kritis are composed in this ragam. Sri Ragam is considered
to be the best occasional ragam.

The only ragam which has letter ‘Sri’ in the name of the ragam. This ragam can be sung
in TRI STHAI. Also can be sung all any time of the day or night. The composition
‘ENDARO MAHANUBHAVULU’ has created a stamped flavor that has been composed
in Sri ragam.

Compositions:-

1. Varnam - sami ninne - aadi

2. Kriti - endaro Mahanubhavulu - sri tyagaraju
3. Kriti - Yuktamu kaadu - aadi - sri tyagaraju
 4. Kriti - Nama kusumamulache - aadi - tyagaraju
5. Kriti - sri vara lakshmi namastubhyam - rupakam - deekshitar

12. SAVERI

Saveri raga is the 15th melakartha child ragam of Mayamalava gowla ragam.

Arohanam :- S R1 M1 P D1 S

Avarohanam :- S N3 D1 P M1 G3 R1 S

Swara sthanas:- shadjamu, suddha rishabhamu, antar gandharam, suddha

madhyamam, panchamam, suddha daivatham, kakali nishadam.

Saveri is an Audhava - sampoorna ragam which has 5 swara notes in aarohanam and 7
complete notes in avarohanam. It is a varjya ragam that has a jumbled sequence of
swaram. It has a very similar notation of flavors of Raagam malahari, it just consists of
Nishadam (N3).

Compositions:-

1. Varnam - Sarasuda - aadi

2. Kriti - rama bana trana - aadi - tyagaraja
3. Kriti - sankari sankuru - trisra gathi aadi - tagaraja
4. Kriti - aapadbandhavudu - aadi - syama sastry
5. Kriti - karikalabhamukham - jhampe - deekshitar
6. Padam - bagayenivagalella - chaapu - kshetrayya

13. SRI RANJANI

Sri ranjani is a 22nd melakartha child ragam of Kharaharapriya ragam.

Moorchana :-

Aarohana :- S R2 G2 M1 D2 N2 S

Avarohanam :- S N2 D2 M1 G2 R2 S

Swara sthanas:-

Shadjamu, chatusruthi rishabham, sadharanam gandharam, suddha madhyamam,

chatusruthi daivatham, kaisiki nishadam. It is a shadhava - shadhava ragam which has
6 notes in aarohanam and 6 Swara notes in avarohanam. This is one of the most
pleasant raagas that sounds peace. This ragam is named BHAGESRI in Hindustani
music. Every note of this ragam can have a different style of gamakam. There can be a
lot of experiments made in the ragam.

Sri Ranjani can be sung from Mandara sthai madhyama to tara sthayi madhyama. This
raga can be explored much more in the concept of mano dharma.

Compositions:-

1. Kriti - maru balka - aadi- tyagaraja

2. Kriti - sogasuga - aadi - tyagaraja
3. Kriti - bhuvini dasudane - aadi - tyagaraja
4. Kriti - brochevarevare - aadi - tyagaraja
5. Kriti - sari evvare - aadi - tyagaraja
6. Kriti - sri dundgure - khanda eka - deekshitar

14. HINDOLA RAGAM

Hindola ragam is 8th melakartha child ragam of Hanumathodi ragam.

Moorchana :-
Aarohanam :- S G2 M1 D1 N2 S

Avarohanam :- S N2 D1 M1 G2 S

Swara sthanas:-

Shadjamu, sadharana Gandhara, suddha madhyamam, sudha daivatham, kaisiki

nishadam.

It is an Audhava - Audhava ragam which has 5 notes in aarohanam and 5 Swara notes
in avarohanam. This is one of the most pleasant raagas that sounds peaceful. Hindola
raga can be expressed in several expressions that give a soothing and pure bliss while
singing and listening.

This is one of the ancient ragas and a famous too. Rishabha (R) and Panchamam(P)
are the missing notes of the raagam. This raga can be explored much more in the
concept of mano dharma.

Hindola raga is called MALKOSE in Hindustani music.

Compositions:-

1. Kriti - samajavaragamana - aadi - tyagaraja

2. Kriti - manasuloni - aadi - tyagaraja
3. Kriti - neerajakshi kamakshi - rupakam - deekshitar
4. Kriti - Bhajare gopalam - aadi - sadasiva brahmendra

15. SUDDHA SAVERI

Suddha Saveri is the child ragam (janya raga) of 29th melakartha

dheerasankarabharanam.

Moorchana :-

Aarohanam - S R2 M1 P D2 S

Avarohanam :- S D2 P M1 R2 S
The raga has no Gandharam, and Nishadam, both in aarohanam and avarohanam. One
of the joyous raagas. The variation of gamakas can give more pleasure while we hear.
This is audhava raga. The daatu swara and janta swara experiment gives beauty to the
composition.

Compositions:-

1. Geetham - aanalekara - Triputa

2. Kriti - Daarini - Aadi - Tyagaraju
3. Kriti - Kaalaharanamelara - Rupaka - tyagaraja
4. Sri guruguha - rupaka - muttu swami deekshitar
5. Ekamresanayike - aadi - muttu swami deekshitar
6. Sri raghu kulabdi - triputa - Pallavi seshayya
7. Samaja Varada - rupaka - ramnad srinivasarayya
8. Janani Paahi - chaapu - swathi tirunal

16. BILAHARI

Bilahari is the child ragam (janya raga) of 29th melakartha dheerasankarabharanam.

Moorchana :-

Aarohanam :- S R2 G3 P D2 S

Avarohanam :- S N3 D2 P M1 G3 R2 S

Madhayamam and Nishadam are absent in arohanam. THis is called as Audhava

sampoorna ragam since it has 5 swaras in aarohanam and 7 swaras in avarohanam.
The ragam that can be sung on any occasion. The daatu swara and janta swara
experiment gives beauty to the composition.

Compositions:-

1. Rara Venu gopabala - aadi -

2. Intha Chouka - aadi - Veena Kuppaiyyar
3. Dorakuna Ituvanti - Aadi - sri Tyagaraja
4. Kanugontini - Aadi - Sri tyagaraja swami
5. Na jeevadhara - aadi - tyagaraja
6. Toli janmamuna - Jhampe - tyagaraja
 7. INtha kannananda - rupaka - tyagaraja
8. Narasimha - chaapu - tyagaraja
9. Sri balasubrahmanyaya - chaapu -muttu swamy deekshitaar
10. Tarangam - Purayamamakamam - chapu- narayana teertha

17- KEDARAM

Kedaram is the child ragam (janya raga) of 29th melakarta dheera sankarabharanam.

Moorchana :-

Aarohanam - S M1 G3 M1 P N3 S

Avarohanam - S N3 P M1 G3 R2 S

This is Vakra - audhava- shadhava ragam. The ragam that can be sung on any
occasion that gives a pleasure in hearing. Rishabham, daivatham, are missing in
aarohanam and dhaivatha swara note is missing in avarohanam. Kedara ragam is
preferred to sing in the mornings while it gives peace and meditate while listening.

Compositions

1. Kriti - rama neepai - aadi - tyagaraja

2. Kriti - aananda natana - misra eka - Muttu swami deekshitaar
3. Kriti - bhajana seyave - misra eka - anayya
4. Kriti - neevena jeevamani - misra eka - pallavi seshayya
5. Kriti - marachevaadane - aadi - tyagaraja
6. Kriti - Durusuga - rupakam - garbhapuri

18. PANTUVARALI

Pantuvarali ragam is a very famous prati madhyama raga. This is 51 melakartha ragam.

Moorchana :-

Aarohanam - S R1 G3 M2 P D1 N3 S

Avarohanam - S N3 D1 P M2 G3 R1 S
This is Sampoorna raga. This can be sung on any occasion. The raga that holds
pleasure by adding gamaka to every swaram of the raagam - sarva swara gamaka
vareeka rakhti raagam. Pantuvaraali ragam can be sung on any occasion. Mainly
sounds very beautiful devotionally. Sri tyagaraja has composed KOVVUR
PANCHARATNAM in pantuvarali ragam ‘ sambho mahadeva’.

Compositions:-

1. Sami ninne - aadi - shadkala Narasayya

2. Kriti - SambhoMahadeva - Rupakam - Sri Tyagaraja
3. Kriti - Ninne neranamminanura - Rupakam - Sri tyagaraja
4. Aparama Bhakti - Rupakam - Tyagaraja
5. Vadeda Daivatham - aadi - Tyagaraja
6. Raghuvarananu - aadi - tyagaraja
7. Siva siva anarada - aadi - tyagaraja
8. Sarasaksha - aadi - swati tirunal
9. Daruvu - Narada muni - chapu - tyagaraja
10. Keerthana - ennaganu rama bhajana - rupakam - ramadasu
11. Padam - vaddantey - rupakam - Kshetrayya

19. JAGANMOHINI

Jaganmohini raga is the child ragam of 15th melakarta Maya Malava Gowla ragam.

Moorchana :-

Aarohanam - S G3 M1 P N3 S

Avarohanam :- S N3 P M1 G3 R1 S

Jaganmohini is audhava - Shadhava ragam. This is a very pleasant ragam, and

experiments give beauty to the ragam while hearing. The ragam sounds very peaceful
in devotional composition.

Compositions :-

Sobhillu sapta swara - Jaganmohana - Rupakam - tyagaraja

 20. BEGADA

Begada is the child ragam (janya raga) of 29th melakarta dheera sankarabharanam.

Moorchana :-

Aarohana - S G R G M P D P S

Avarohanam - S N D P M G R S

Begada is the sarva swara gamaka vareeka rakthi raga. It can be sung on any
occasion. It has kaisiki NIshadam as the anya swara which gives a very special sound
while singing. Experimental raga for manodharma concept.

Compositions:-

1. Varnam - Intha chaala - Aadi - veenakupayya

2. Kriti - nadopasana - aadi - sri tyagaraja
3. Kriti - tanavari tanamu - aadi - tyagaraja
4. Kriti - sundari - rupakam - tyagaraja
5. Kriti - Neevera kuladhanamu - chaapu - tyagaraja
6. Kriti - Tyagarajaya namastey- chaapu - tyagaraja
7. Kriti - Anudinamunu - chaapu - ramnadsrinivasayyamgaar
8. Kriti - Intha parakela -chaapu- veena kuppayya
9. Kriti - Abhimanamennadu - chaapu - patnam subbaiyyar
10. Kriti - Vallabhanayakasya - chaapu - muttuswami deekshitar
11. Kriti - Dayanidhe - aadi - syama sastry
12. Padam - Iddari valane - triputa - kshetrayya
13. Javali - Idi neeku - chaapu - patnam subbayyar

21. NAATA

Naata raagam is the child ragam (janya ragam) of 36th melakartha ragam chalanaata
(parent ragam).

Moorchana :-

Aarohanam - S R3 G3 M1 P D3 N2 S

Avarohanam - S N2 P M1 R3 S
Naata ragam is the sampoorna audhava ragam since it has all the seven swaras in
aarohanam and 5 swaras in avarohanam. This is Vivadi ragam since it has shatsruthi
rishbham and shatsruthi daivatham. Presentable raaga in concerts.

Compositions:-

1. Geetham - Amari - eka

2. Geetham - Aare aanaka - dhruva rupakam
3. Geetham - Hara hara - aadi
4. Varnam - Sumukhamu - Ata - vadivelu pille
5. Kriti - Jagadananda - aadi - thyagaraja
6. Kriti - ninne bhajana - adi - muttu swami
7. Kriti - swamy nadha - Muthuswami
8. Kriti - Pavanatmaja - jhampe - muthuswami
9. Kriti - sarasiruhasana - adi - muthu swami
10. Kriti - Karimukha varada - aadi

22. TODI

Todi is the 8th melakartha ragam. As per KA-TA-PA-YADI sutras, this ragam is named
as Hanumatodi.

Moorchana :-

Aarohanam - S R1 G2 M1 P D1 N2 S

Avarohanam :- S N2 D1 P M1 G2 R1 S

This is Sampoorna raga since it has all the 7 swaras in the ragam. All the swaras of the
raagam can be used as graha swaras, since every note of the swaram can be one more
mela raagam. Sarva swara gamaka vareeka rakhti ragam. The suitable raga for
manodharma concept. The raga that can be sung on any occasion. Todi raga can be
sung in all the kala pramanas. Todi is considered to be an auspicious presented raga.
Janta swara and daatu swara experiments give excitement while listening to the raga.

Compositions:-

1. Swara Jathi - ravehimagiri - aadi - syama sastry

2. Varnam - eranapai - aadi - patnam subbaiyyar
3. Varnam - Kanakangi - ata - pallavi gopalayya
4. Kriti - Koluvamaregade - aadi - tyagraja swami
 5. Kriti - endukudaya - triputa - tyagaraja swami
6. Kriti - Aaaragimpave - rupakam - tyagraja swami

And many more.

22. SAHANA

Sahana is the child ragam (janya ragam) of 28th melakarta Hari kambhoji ragam.

Moorchana -

Aarohanam - S R2 G3 M1 P M1 D2 N2

Avarohanam - S N2 D2 P M1 G3 M1 R2 G3 R2 S

This raga is Ubhaya vakra raagam as the swara pattern holds jumbles and shows the
descending order. Sahana is sarva swara gamaka vareeka rakthi ragam. Sympathetic
raga.

Sahana can be sung on any occasion. The raga consists of life adding swaras like
Nishada, Gandhara, Rishaba. When experiments like janta or datu including gamakas
give life to the raga. This raga is called SAANA in some places.

Compositions:-

1. Lakshana geetham - Kamsasura - matya - paidala gurumurthy

2. Swara Jathi - vari jakshi - ata- subbarama deekshithar
3. Varnam - Karunincha - aadi - tiruvattiyur
4. Kriti - giri pai - aadi - sri tyagaraja
5. Kriti - Sri raghupathe - rupakam - sri tyagaraja
6. Padam - mera gaadu - rupakam - patnam subbaiyyar

23. MADHYAMAVATHI

Madhyamavathi is the child ragam of 22nd melakarta Kharaharapriya.

Moorchana :-

Aarohana - S R2 M1 P N2 S
Avarohana - S N2 P M1 R2 S

Madhyamavathi is varjya ragam. It does not consist of Gandharam and daivatam in

neither aarohanam nor avarohanam. It is audhava - audhava ragam since it has 5
swaras in aarohanam and 5 swaras in avarohanam. The raaga is moorchana karaka
melam, Explained like,

Madhyamavathi swara sthanam :-

R2 - Becomes S - Hindola ragam

M1 - Becomes S - Suddha saveri ragam

P - Becomes S - Udaya ravi chandrika ragam

N2 - Becomes S - Mohana Ragam

Every swara sthanas of Madhyamavathi gives different raaga. The raaga that suits the
manodharma concept. Madhyamavathi is suitable for any kind of composition. Well
suitable ragam for Concert performance. This is one of the powerful ragas used for
Music therapy. The raga is considered to be one of the best ragas while sung, creating
an auspicious environment filled with spirituality.

Compositions:-

1. Kriti - alakalalla laadaga - rupakam - tyagaraja

2. Kriti - dharmasamvardhini - rupakam - muttuswami deekshitar
3. Kriti - Rama Katha sudha - aadi - tyagaraja
4. Kriti - Vinayakuni vale - adi - tyagaraja
5. Kriti - venkatesaninu - adi - tyagaraja

24. NADANAMA KRIYA

This is the child ragam of 15th melakarta Mayamalavagowla ragam.

Moorchana :

Aarohana - S R G M P D N

Avarohana - N D P M G R S N S

All swaras of the raga, The raga that has a lot of devotion filled in the ragam. It is
considered to be one of the biggest ragas, for manodharma concept of manodharma.
They mostly used raga for composing devotional genres. The madhyama scale of the
ragam songs is extremely pleasant.

Compositions:-

1. Keerthana - Ye teeruga nanu - Ramadasu

2. Padam - Payyeda - triputa - kshetrayya

THIRD PASSAGE

This Passage is about the following topics -

1. Raga Division
2. Janaka Raga (parent ragam)
3. Janya raga (Child ragam)
4. Audhava ragam
5. Shadhava ragam
6. Sampoorna Ragam
7. Upanga Ragam
8. Bhashanga Ragam
9. 72 Melakartha scheme
10. Vivadi melas

Mainly Ragas are of 2 types.

a) Janaka ragas b) Janya ragas

Janaka ragamulu:-

In Aarohanam (ascending order) and avarohanam (descending order), the sapta swaras
are arranged in the proper regular format and consist of a singular Vocal Position
(Swara sthana) in the ragam.

If the Vocal position Antara Gandhara (G3) is used in Aarohanam (ascending order), the
Avarohanam (Descending order) of the ragam also consist of the same Anthara
gandharam (G3) where the vocal position of the tone does not differ.
This is named as Raganga ragam, Melakartha ragam or Mela Ragam.

Ex:- Dheera Sankarabharanam, Maya Malava Gowla Ragam, etc

Janya Ragam:- The ragas derived from the Janaka raga vocal positions are called
janya ragas. This is also called Upanga ragam.

Ex:- Mohana, sri Ranjani, etc

Types of Janya ragas:-

1. Audhava ragam
2. Shadava Ragam
3. Sampoorna Ragam
4. Combinations of any of the above

There are other types like Bhashanga ragam, vakra ragam, nishadanthya ragam (the
ragam that ends with swaram N), daivathanta ragam (The ragam that end with swaram
D), panchamantya ragam (The ragam that ends with P).

Audhava ragam

Aarohana, avarohana of the ragam consisting of 5 swara sthanas (vocal positions) is

called audhava ragam.

There are 3 types of Audhava ragam :-

1. Audhava - Sampoorna ragam - The ragam that consists of 5 swara sthanas in

aarohanam and 7 swara sthanas in avarohanam is called as Audhava -
sampoorna ragam.

Ex :- Bilahari

Aa :- S R2 G3 P D2 S

Ava :- S N3 D2 P M1 G3 R2 S

2. Audhava - shadhava ragam - The ragam that consists of 5 swara sthanas in

aarohanam and 6 swara sthanas in avarohanam is called as Audhava -
shadhava ragam.

Ex :- Malahari

Aa :- S R1 M1 P D1 S
 Ava :- S D1 P M1 G3 R1 S

3. Audhava - Audhava Ragam - The ragam that consists of 5 swaras in Aarohanam

and avarohanam is called as Audhava - audhava ragam.

Shadhava Ragam :-

Aarohana, avarohana of the ragam consisting of 6 swara sthanas (vocal positions) is

called Shadhava ragam.

The 3 types of shadhava ragam :-

1. Shadhava - Sampoorna ragam - The ragam that consists of 6 swara sthanas in

aarohanam and 7 swara sthanas in avarohanam is called as shadhava -
sampoorna ragam.

Ex:- Kambhoji

Aa - S R2 G3 M1 P D2 S

Ava :- S N2 D2 P M1 G3 R2 S

2. Shadhava - audhava ragam - The ragam that consists of 6 swara sthanas in

aarohanam and 5 swara sthanas in avarohanam is called as Shadhava -
audhava ragam.

Ex:- Bahudari Ragam

Aa - S G M P D N S

Ava - S N P M G S

3. Shadhava - Shadhava Ragam - The ragam that consists of 6 swaras in

Aarohanam and avarohanam is called as Audhava - audhava ragam.

Ex:- Malayamarutham

Aa - S R G P D N S

Ava - S N D P G R S
Sampoorna ragam :- There are Janya ragas which have sampoorna swaras. That
meant the ragam consisted of all the 7 notes, but the arrangement might be jumbled
(Vakra ) or bhashanga ragas( anya swaras or other ragas). These show differences
between the parent ragas and child ragas (sampoorna).

Ex:- Begada

Aa - S G R M P D N D P S

Ava - S N D P M G R S

Bhashanga ragam :- Child ragas of the parent ragas consisting of Anya swaras of the
other melakarta ragas for adding many more flavors for the ragam are called
Bhashanga ragas.

Ex - Bhairavi

Aa :- S R2 G2 M1 P D2 N2 S
Ava:- S N2 D1 P M1 G2 R2 S ( Avarohanam consists of Suddha daivatam)

72 MELAKARTHA SCHEME

In carnatic music Janaka ragas (Sampoorna ragas - parent ragas) are 72 in number.
These are called melakartha ragas. These are arranged and named as per the 16 vocal
positions that were explained before. This was made by music legend Venkatamakhi
who explained the concept of 72 melakarta scheme.

These Melakartha ragas(Janaka ragas) are divided into 2 different parts.

36 + 36 = 72
The first 35 melas (1 to 36) consist of the Suddha Madhyamam, so-called Suddha
madhyama melakarthas, the next 36(37 to 72) are named as Prathi madhyama
melakarthas. These are also called Poorva melakarta ragas and Uttara melakarta ragas
respectively.

72 melakarta are divided into 12 chakras. Every chakra consists of 6 melakarta

(6 X12=72)

1. Indu Chakram - represents the moon which is the only one in the universe
2. Netra Chakram - eyes - 2
3. Agni Chakra - Agnis - 3
4. Veda Chakram - Vedas - 4
5. Bana Chakram - Panchabanas - 5
6. Ruthu Chakram - seasons - 6
7. Rushi Chakram - Saptha - 7
8. Vasu Chakram - Ashta vasu - 8
9. Brahma Chakram - Nava Brahma - 9
10. Disi Chakra - Dasa disis - 10
11. Rudra chakram - ekadasa rudras - 11
12. Aditya Chakram - dwadasaditya - 12

Learners have to learn all the chakras and their names. There are several reasons for
naming the chakras which are explained above. These are all arranged by Legend
Venkata Makhi.

Among the sapta Swaras (7 vocal positions), shadjamu and panchamamu are the
natural tones. There will be no change in any of these. They are called ACHALA swaras
or prakruthi swaras(natural tones). The rest are 5 vocal positions in which Madhyamam
is divided into Suddha madhyama ragas (1 to 35) and Prathi Madhyama raga (36 to 72).
The 4 swaras R, G, D, N (rishabham, gandharam, daivatam, nishadam) are divided into
different vocal positions which are several ragas based on these positions.

Rishabhamulu - 3 Jathulu (R in 3 Categories)

1. Suddha Rishabham - R1
2. ChatuSruthi Rishabham - R2
3. Shatsruthi Rishabham - R3

Gandharamulu - 3 jathulu (G in categories)

1. Suddha Gaandharam
 2. Sadharana gandharam
3. Antar gandharam

Daivathamulu - 3 jathulu ( D in Categories)

1. Suddha Daivatam
2. Sadharana Gandharam
3. Antar Gandharam

Nishadalu - 3 jathulu (N in categories)

1. Suddha Nishadam
2. Kaisiki Nishadam
3. Kakali Nishadam

CHAKRA RISHABHAM GANDHARAM DAIVATHAM NISHADAM

1ST Chakram Suddha Suddha Suddha Suddha

rishabham gandharam daivatham nishadam

2nd Chakram Suddha Sadharana Suddha Kaisiki

Rishabham Gandharam daivatham Nishadam

3rd chakram Suddha Antar Suddha Kakali

rishabham gandharam daivatham nishadam

4th chakram Chatusruthi Sadharana Chatusruthi Kaisiki

rishabham gandharam daivatham nishadam

5th chakram Chatusruthi Antar Chatusruthi Kakali

rishabham gandharam daivatham nishadam

6th chakram Shatsruthi Antar Shatsruthi Kakali

rishabham gandharam daivatam nishadam
VIVADI MELAMULU

The following are the vivaldi swaras :-

1. Shatsruthi rishabham
2. Suddha Gandharam
3. Shatsruthi dhaivatham
4. Suddha Nishadam
The melakartha ragas that consists of any one or 2 vivaldi swaras mentioned above, as
called vivaldi melakartha ragas. There are 40 vivaldi melakartha ragas. Details are as
follows:-

Suddha Gandharam - 1st chakra and 7th chakra - 6 + 6 = 12

Shatsruthi rishabham - 6th chakra and 12th chakra - 6 + 6 = 12

Suddha nishadam - each one in 8 chakras - = 8

Shatsruthi Daivatham - each one in 8 chakras - = 8

Total = 40

KA-TA-PA YA - DI SUTRAS - Principles of KA - TA - PA - YA

For understanding the melakartha sankhya of the Parent ragam in different chakras, the
principle of KATAPAYA has been introduced.

The scheme of KA - TA - PA - YA

1. Kadi navakam - 10 in number

2. Tadi navakam - 10 in number
3. Padi panchakam - 5 in number
4. Yadyashtakam - 8 in number

1 2 3 4 5 6 7 8 9 10

Kadi navakam Ka Kha Ga Gha gnya cha chha Ja jha ana

Tadi navakam ta thha Da dhha na Tha tdhha da Dha Na

Padi pa pha ba bha ma

panchakam

yadyashtakam ya ra la va sei sha sa ha

How do we recognize the Melakartha raga number?

Looking at the table above we can explain this with an example :-

Let us take an example raga, Dheera Sankarabharanam

The first letter of The ragam is ‘DHA’ which falls in Tadi navakam - 9 and second letter
‘RA’ falls in yadyashtakam - 2.

Now place the first number in one place and second number in tens place i.e., 29.

So, The 29th melakartha ragam is Dheera sankarabharanam.

Let's try one more now.

Ragam :- Mayamalava goula

The first letter of the ragam is ‘MA’ which falls in padi panchamam - 5 and second letter
‘YA’ falls in yadhyashtakam - 1 .

Now place the first number in one place and the second number in tens place, i.e., 15

so , the 15th melakartha ragam is Mayamalavagowla.

For the ragas in ones and tens place, for example - Nata Bhairavi ragam.

The first letter is ‘NA’ which falls in Tadi navakam - 10 and the second letter ‘TA’ which
falls under Tadi Navakam - 2. Now rearranging 02 as 20, The 20th melakartha ragam is
NATABHAIRAVI.

There are only 67 melakartha ragas that follow KA-TA-PA-YADI scheme. The remaining
5 ragas had to be memorized by their numbers which don’t follow the scheme.

Name if the Ragam As per the scheme Actual melakarta

1. Chakravakam 26th 16th

2. Divya mani 18th 48th

3. Viswambari 44th 54th

4. Chitrambari 26th 66th

5. Rushabhapriya 60th 62nd

Mela sangnya :- Venkata Makhi has named 6 sangnyas(nouns) for 6 melakartha ragas
in chakras like (1) PA, (2) SRI, (3) GO, (4) Boohoo, (5) MA, (6) SHA.

MOORCHANA KARAKA MELAS:-

As we all know, 72 melakarta ragas are sampoorna ragas which have all the seven
swaras in the raga. The Melas are able to produce or generate moorchana by the shift
of tonic process are called moorchana karaka melas. There are 56 moorchana melas
out of 72 melakartaa ragas.
Amoorchana Karaka melakarta :-
Moorchana karaka melakartas are 56 in total out of 72. The remaining 16 swaras of the
melakartha ragas are Amoorchana karaka melakartas.

DESADI, MADHYADI, CHAPU TALAS

Other than the scheme of 35 talas, the other patterns and names are desadi, madyadi
talas.

1. Desadi talam :- this consists of one back and 3 beats. The lyric starts when 3/4th
of the back beat is done, and runs in 3 letters.

Ex:-

1. Bhuvini dasudane - sri ranjani - sri tyagaraja

2. Sari evvare - sri ranjani - sri tyagaraja
3. Entha vedukondu o raghava - saraswathi manohari - sri tyagaraja

Desadi talas generally go slow(time period of the rhythm)

2. Madhyadi talas:- This talam is not too slow (time period of the rhythm) like Desadi
talas. The lyric starts when ½ beat tala goes, and runs in 2 letters.

Ex:-

1. Enduko nirdaya - hari kambhoji - tyagaraja

2. Rama ni yeda - kharaharapriya - tyagaraja
3. Meru samana - maya malava goula - Tyagaraja

CHAPU TALAM

35 talas have their own names. But there are few talas which have been used since
olden days. They are called folk songs or village songs. These are called Chapu talas.

There are mainly 4 types of chapu talas :-

1. Trisra chapu - 3 letters

2. Khanda chapu - 5 letters
3. Misra chapu - 7 letters
4. Sankeerna chapu - 9 letters
1. Trisra chapu - this has 3 letters in which 1 beats 1 letter and the 2nd beat consists of
2 letters, i.e., 1+2=3. Ex: Rama chandra nannu brova - Khamas ragam.

2. Khanda chapu - This has 5 letters. 2 beats. 1 beat consists of 2 letters and 2nd beat
consists of 3 letters. i.e., 2+3=5. Ex:- Paridanamichithe - Bilahari ragam.

3. Misra chapu - This has 7 letters. The 1st beat consists of 3 letters and the 2nd beat is
4 letters. i.e., 3+4=7. Ex:- Nidhi chala sukhama - Kalyani Ragam.

4. Sankeerna chapu - this has 9 letters. The first beat consists of 4 letters and the
second consists of 5 letters.

TALA DASA PRANAS :-

Talam is the time period for the compositions. Like everything else, even talam has
some life components. They are 10 in number. These are called TALA DASA PRANAS.

1. Kalamu - Time
2. Margamu - Way
3. Kriya - verb
4. Angamu - Organ
5. Grahamu - Planet
6. Jathi - race
7. Kala - Art
8. Laya - rhythm
9. Yathi - divinity
10. Prastharam - Content

The first five components are called Maha pranas and the next 5 are called Upa
Pranas.

Let us now understand each of the above-

1. Kalapranamu
 The time period of music is KALAM. This is the first one of Taladasa pranas and
well mahapranas. Each of the talam has its own time period. As tala has different
angas, we could say that the value of angas has been defined and valued by
Kalam.

8 KSHANAMULU - 1 LAVAMU

8 LAVAMULU - 1 KASHTAMU

8 KASHTAMULU - 1 NIMISHAM

8 NIMISHAMULU - 1 KALA

2 KALALU - 1 CHATURBHAGAM

2 CHATURBHAGAS(4 KALAS) - 1 ANUDHRUTHAM

2 ANUDHRUTHASS - 1 DHRUTHAMU

2 DHRUTHAMULU - 1 LAGHUVU

2 LAGHUVULU - 1 GURUVU

3 LAGHUVULU - 1 PLUTHAM

4 LAGHUVULU - 1 KAKAPADAM

We can say that anudhrutham, dhrutham, laghuvu, guruvu, plutham, kakapadam

are only used in Carnatic music as of now.

2. Margamu

Singing at the double speed of each kalapramanam is defined as “ Margam”.This is the

second one of Mahapranas and kaladasa pranas. There are 6 different variations in
Margam.

Dakshina marga - The gap of 8 letters between each letter - 8 X 4 = 32

Vartheeka Marga - The gap of 4 letters between each letter

Chitra Marga - The gap of 2 letters between each letter - 2 X 4 = 8

Chitra Tara Marga - The gap of 1 letter between each letter - 1 X 4 = 4

Chitra Tama Marga - The gap of ½ a letter - 1 X 2 = 2

Ati Chitra Tama Marga - The gap of ¼ a letter - 1 X 1 = 1

As per modern Learning techniques only 3 out of above are in use,

1. Athi chitra tama marga - ramayika ; manasu karuga - rupakamu

2. Chitra Tama - Rghunayaka

3. Chitra Tara - saroja dala netri etc

3. Kriya Pranamu

This is the Third one of Tala Dasa Pranas. Each and every work we do is described as
‘KRIYA’. It includes Talas, Talangas, Dhrutham, Anudhrutham, etc.

These are divided into 2 types

a) Marga Kriya
b) Desa Kriya

a) Marga Kriya - This is divided into 2 different types

1) Sasabdha Kriya - The right hand hit on left hand that creates sound is
called Sasabdha Kriya, The sub - divisions are

i) Dhruvam - The clicks that creates sounds

ii) Samyamu - The beat on right hand by left hand

iii) Talam - The beat on left hand by right palm

iv) Sannipatham - A clap occurred while the two palm of left and
right facing each other.
 2) Nisabda Kriya - The Kriya that doesn’t create any sound like, counting
fingers, moving hands in air, gestures made etc are nisabda Kriya

i) Avapamu - Folding the index finger and four fingers of the

hand raised upwards.

ii) Nishtramam - The folded fingers opened with a definite time

interval are called nishtramam.

iii) Vikshepamu - Flicking the hand right outwards.

iv) Pravesham - Leaning the hand counterclockwise

b) Desa Kriya - sub-divided into 8 types

i) Dhrutham - The right hand stroke pole with sound (sabda kriya)

ii) Sarpini - The forearm is bent to the left

iii) padmini - looking down at the palm of the hand downwards

iv) Visarjitha - Throwing the hand backwards

v) Vikshipta - Folding the fingers of the hand

vi) Pathakamu - Raising the hand holding the hand straight

vii) Pathitha - Lower the hand arm

viii) Krishna - The forearm is bent to the right.

4.) Anga Pranam

The 4th one of the tala dasa pranas is anga pranam. The count for every single type of
talam is called Anga pranam. There are 6 and 16 anga pranas.

6 anga pranas - shadhanga pranas

16 anga pranas - shodasanga pranas

Shadhanga Pranas -
SHADHANGAS DENOTED SYMBOL- number denotion

Anudhrutham U-1

Dhrutham O-2

Laghuvu I-4

Guruvu 12

Pluthamu 12

kakapadam 16

Shodasangas - 16 angas

Shodasanga Names SYMBOL INDICATION NO OF LETTERS

Anu-dhrutham U 1

Dhrutham O 2

Dhrutha viramam UO 3

Laghuvu I 4

Laghu viramam UI 5

Laghu dhrutham OI 6

Laghu dhrutha viramam UOI 7

Guruvu 8 8

Guru viramam U8 9

Guru dhrutham O8 10

Guru Dhrutha viramam UO8 11

Plutham 8’ 12

Plutha Viramam U8’ 13

Plutha Dhrutham O8’ 14

 Plutha Dhrutha Viramam UO8’ 15

Kaka padamu + 16

5. GRAHA PRANAM

This is the fifth one of tala dasa pranas. The time interval of every beat in a tala where
the first beat of an avartha (a complete cycle of tala) starts is called graha pranam.

Sama Graham - The kriti or keerthana that starts along with the first beat of the Tala is
called sama graham.

Ex - kaala haranamelara - rupakam - tyagaraja

Vishama Graham - The kriti or keerthana that started after the beat or before the beat is
called Vishama Graham.

Atheetha Graham - The beat of the talam starts after the Kriti or keerthana starts.

Anagatha Graham - The kriti starts after the talam.

6) Jathi Pranam

This is the sixth one of tala dasa pranas. Jathi is only applicable for LAGHUVU -
Talangamu.

1. Tristra Jathi - 3 letters

2. Chaturasra Jathi - 4 letters
3. Khanda Jathi - 5 Letters
4. Misra Jathi - 7 letters
5. Sankeerna Jathi - 9 or 11 letters

7. Kala Pranam

This is the 7th one of Tala dasa pranas. This is described as the number of letters for a
beat.
8. Laya Pranam

The 8th one of the Tala Dasa pranas is Kala Pranam. It is described as the Time period
of the kriti or keerthana.

1. Vilamba Laya - the very slow or the 1st speed is called Vilamba Laya.
2. Madhya Laya - the 2nd speed or the compared to vilamba laya.
3. Dhrutha Laya - the 3rd speed or compared to madhya laya.

9. Yathi Pranam

Yeti is said to be the distinct inclusion of a rhythmic organ. There are three types of
yathis told by ‘Sarjadeva’.

1. Samayathi
2. Gopucchayathi
3. Srotho vahaayathi

But, in the modern way of music learning we have differentiated these yathis and made
6 in total.

1. Samayathi - The rhythm of a song where every beat of the song consists of same
number of letters while we sing is called ‘Samayathi’.

2. Gopucchayathi - This is meant as ‘cow’s tail’. This is described in such a way

that, while we observe the tail of a cow, initially it is thick and as time goes on
becomes thinner. The same way, it starts with more letters and ends with 1 letter.

Ex - Tyagarajayoga Vaibhavam

Rajayoga Vaibhavam

yoga Vaibhavam

(8421) Vaibhavam

vam
 3. Srotho Vahayathi - Initially it starts with lower no of letters and going forward the
number of letters increased.

Ex - R S

G R S

M G R S

P M G R S

D P M G R S

N D P M G R S

S N D P M G R S

4. Damura Yathi - The starting and ending of the kalpana will be with more letters
and in between the no of letters will be less. Just like the shape of ‘DAMARUKA’
 5. Mrudanga Yathi - The laya of the letters will be in the shape of a mrudangam like
the 8 sides with different numbers of letters.

6. Vishama Yathi - There is no particular description of the letters in this Laya. as it

has a comfortable number of Letters.

10. Prasthara Pranamu - Adding and subtracting vowels, as well as adding and
subtracting limbs and font values. Like how the vocal cords are unlimited, they are vital.

They are sub-divided into 14 different types.

1. Nashtam
2. Uddishtamu
3. Patalamu
4. Maha patalamu
5. Anu-dhruthamu
6. Dhrutha meruvu
7. Drutha sekhara meruvu
8. Laghu meruvu
9. Guru meruvu
10. Plutha meruvu
 11. Kaka pada meruvu
12. Samyoga meruvu
13. Khanda prastharam
14. Yathi prastharam

The above mentioned are not in use.

4. FOURTH PASSAGE

Music Linguistic Terms:-

1. Vaadi
2. Samvadi
3. Vivadi
4. Anuvadi
5. Mukthayi

Vaadi swaras - The most important swaras. The swaras used in raga for ragalapana
and swarakalpana, which sounds very pleasant in use. This is the king of music.

Samvaadi swaras - The swaras that are considered to be most important after vaadi
swaras. If there are 8 or 12 chords between 2 tones in any one tune, then those 2 tones
will be mutually exclusive.

a) Suddha swaras samvadi - S-M, S-P

b) Vikrutha swaras samvadi - G-N

Vivadi swaras - If there is a melody between 2 vowels then the two vowels will conflict
with each other. Which is called satruvu(enemy).

Suddha swara vivadi - R1-G1, D1-N1

Vikrutha swara Vivadi - G2-R3, G3-N2

Anuvadi swaras - The swaras that are not vaadi, vivaadi, samvadi swaras, are called
anuvadi swaras.

Mukhtayi swaras - Means 3 synonyms. This is one of the highlights of Musical

Psychology. It's mainly about rhythm. Castes are used in music in the form of vowels,
on the melody with form. Musicians make these conclusions, especially in composition,
to showcase their talents.

Ex :- THA-DHI-GI-NA-THA - 5 letters

5 x 3 =15 LETTERS,

G-R-S-N-D, G-R-S-N-D, G-R-S-N-D = 3 times - 15 letters.

PANCHADASA GAMAKALU

(DIFFERENT TYPES OF GAMAKAS)

Gamakam - This is one of the most important concepts of south indian carnatic music.
This is considered to be a life component of Music. In simple terms, the spinal cord or
back bone of music.

It is that you can get any tone, not only its natural sound, but also the adjacent tone of
the swara is called Gamakam.

Music without Gamakam :- Musical Legends compare music without Gamakas with
Moonless night, waterless waterbody, odorless flower, etc, Which lifeless body.

The most 15 important gamakas:-

1. Kampitham - Vibration means to stir. When one syllable's tone is disturbed,

another tone of voice that is not used to prevent shadowing is called Kampitham.

2. Leenamu - One tone (swara) vibrated in 2 letter space, where the nearest tone
swara is projected is called leenamu.

3. Andolithamu - One tone (swara) vibrated in 4 letter space, where the nearest
tone swara is projected is called andolithamu.
 4. Plavitham - One tone (swara) vibrated in 12 letter space, where the nearest tone
swara is projected is called plavitham. Leenamu, andolitham,plavitham are the
three subdivisions of Kampitham.

5. a) Spurithamu - The swaras of arohana pattern, SS, RR etc in Janta swaras, Try
singing second S with a vibration that sounds like SNS is called spuritham.

b) Pratyaghathamu - The avarohana pattern that consists of SS, NN etc in Janta

swaras, Try singing second S with a vibration that sounds like SRS is called
Pratyaghathamu.

6. Tirupamu - Twisting one swara tone is called tirupamu.

7. Aahathamu - Aahathamu means beating. This is two types

a) Rava - The pattern of avarohanam with the upper swara shadowing at a
faster pace is called rava.
b) Khandimpu - The daatu pattern of the swara vibration is called
Khandimpu.

8. Vali - Any one tone of the swara vibrated with the shadows of 2 or 3 swaras are
called Vali.

9. Ullasithamu - This is called a slide (JAARU). This is two types,

EKKU JAARU - The ascending order of the swara pattern is called Ekku Jaaru.

DIGU JAARU - The descending order of the swara pattern is called Digu Jaaru.

10. Humpitham - Any one tone of the swara vibrated with the shadows of 4, 5, 7 swaras
are called Humpitham. This can either be in ascending order from lower note to higher
note or descending from higher note to lower note.

11. Kurulamu - There are 2 types.

 a) Odigimpu - The swara tone that consists of the same note or the upper note
shadow on the primary swara tone is called Odigimpu.
b) Orayika - The Vibration pattern of the swara tones while coming out in
descending order with the shadows of upper sthai swara is called ORAYIKA.

12. Tribhinnamu - The most used vibration in veena instruments is called tribhinnam.
Holding 1,2,3 strings of veena and trying to play all the three at a time is called
tribhinnam.

13. Mudrithamu - The humming vibration pattern is called Mudrithamu.

14. Namithamu - The original note's vibration effect is reduced, called as Namitham.

15. Misrithamu - The above explained 14 gamakas where in 2 or 3 types are mixed
together in one type of vibration called Misritham.

Most of the vibrations (Gamakas) are used in Bhairavi Ata tala Varnam - Viriboni.

CONCEPT OF MANODHARMA

Manodharma concept plays a special role in South Indian Carnatic music. It is mainly of
2 types.

1. Kalpitha Sangeetham
2. Manodharma Sangeetham

Kalpitha Sangeetham - The song or the Kriti that is already composed and doesn't have
to give much effort while singing is called Kalpitha sangeetham.

Manodharma sangeetham - As mentioned earlier, manodharma has a special place in

Carnatic music. This is a completely concert based concept. This is mostly presented
for showing the deep structure of the ragam and literacy of a musician. This resembles
the purity of classical music. The acquired knowledge of the music presented in the
form of this concept by a musician gives beauty and more value to music. The pleasure
in the raga and flavors produced while doing experiments in the raga. Music therapy is
based on this concept. In ancient times, legendary musicians who have presented a
single raaga for several days, have added the raaga names as their surnames or
recognitions.

1. TODI SEETHARAMAYYA
2. SANKARABHARANAM NARASAYYA
3. NARAYANA GOWLA KUPPAYYA
4. BEGADA SUBRAHMANYAYYAR

And many more.

Manodharma concept is mainly divided into 5 types.

1. Raagalapana
2. Tanam
3. Pallavi
4. Niraval
5. swarakalpana

1. Raagalapana - This doesn't have any rhythm while you sing. This has no limits.
The most important one. For singing raagalapana, a person should understand
the swara sthanas, nyasa swaras, mostly used swaras, Experiments made that
are successful and applicable etc.
a) Aakshipthika - This is the introduction to raaga. This is started with
madhya sthai and while exploring in three different stasis of the raaga.
After mandara, taara sthai, again comes to madhyama sthai and stops.
The short raagalap is called aakshipthika. Simply, it projects the swara
sthanas of the raaga.
b) RaagaVardhini - the second part of raagalap.

i) prathama raga vardhini - the aalap that starts at madhya sthai, travels in
madara stahi and comes back to madhyama is called prathama raga
vardhini.

ii) dwitheeya raga vardhini - The exploration of raaga at madhyama sthai

for quite some time is dwitiya raga vardhini.
 iii) triteeya raga vardhini - The exploration of raaga at taara sthai is called
triteeya raga vardhini.

iv) chaturdha raga vardhini - The raag alaap that included moorchana of
the raaga with several vibrations included all the three stages is called
chaturdha raga vardhini.

c) 3 - Sthayi sancharam - ANy swara tone of the raaga, that is made

shadja(graham) , the exploration goes to all the stages and stops at the
same graha swara tone is called sanchara swara.

i) aarohana sthayi - The swaras in aarohana order that explored in

different states and stops at any aarohana next swara tone, in the same
ascending order is called aarohana sthayi

ii) avarohana sthayi - The swaras in avarohana order that explore in

different states and stops at any avarohana next swara tone, in the same
ascending order is called avarohana sthayi.

Makarini - The ending point of the raagalap is called makarini.

Thayamu - The vaadi - samvadi swaras, converted to graha swara and a short
exploration of the swaras that gives an idea of the ragam is called Thayamu.

2. Tanam-

Tanam is the second part of a Raagam Taanam Pallavi, and comes immediately after
the raga is sung but before the pallavi is about to begin. Among these three modes,
tanam is rarely sung very elaborately when compared to raga and pallavi, the reason
usually cited for this being that tanam singing requires a lot of physical stamina, sound
knowledge of the fundamentals of classical music, good practice and experience.

3. Pallavi -

A pallavi is the thematic line of a song in carnatic music. It is usually one cycle long and
repeated twice in order to give the percussionist the idea of the chosen taalam.
Sometimes it is repeated a few more times using different phrases of the Rāgam to
which the song is set.
The life of the song, the word pallavi consists of a wide range of items that are
considered as a single item:
● pa is derived from padam which means phrase;
● lla comes from layam which means tempo;
● vi is from vinyasam which means variation.
In carnatic music, pallavi also forms a part of a special type of rendition called Ragam
Thanam Pallavi. Ragam in this context is the initial alapana of chosen ragam
(elaboration and exploration of its scale). Thanam is an elaboration of the ragam using
percussion syllables. Pallavi, a single line of one talam cycle duration, is chosen for
further elaboration of the ragam in different speeds, octaves, ragam phrases, etc.
The Pallavi is mainly presented as the pièce de resistance of the concert. In the
Mysore-Bani style of concert presentation, the Raga-Tana-Pallavi is usually presented
in the same raga as of the varnam with which the concert is started.

4 Niraval

In Carnatic music, Neraval also known as Niraval or Sahitya Vinyasa is the elaboration
and improvisation of melody for a particular line. Usually, just one or two lines of text
from the song (from the charanam part of the kriti) are sung repeatedly, but with
improvised elaborations.This elaboration remains within the framework of the original
pattern of duration (talam), and each word in the lines of text stay set within their original
place (idam) in the tala cycle.The lines are then also played at different levels of speed
which can include double speed, triple speed, quadruple speed and even sextuple
speed. The neraval is one of the features in the extempore improvisation aspect
(Manodharma Sangita) of Carnatic music, and is intended to highlight the Raga bhava
effectively. It is usually performed by the more advanced performers.

Swara Kalpana

The kalpanaswaram may start at any place in the tala, but invariably the artist must end
their improvisation at the first note of the first phrase of the composition, at the place in
the rhythm cycle, where that note is. To arrive at that note, one has to approach it from
the closest note below. There are, however, instances when kalpana swaras are
rendered at various starting points of the composition which may not coincide with the
start of the Tala cycle. In such cases, the kalpana swaras should always end at the
same position irrespective of where they start. For example: 2 or 4 counts after the start
of the Tala Cycle.
Kalpanaswaram improvisations increase in intensity with the tala cycles used. One
complete tala cycle is called an avartanam. While improvising, the musician must abide
by the rules of the raga and ensure that swaras used in the imaginative phrases are all-
inclusive in the basic Arohana (ascent) and Avarohana (descent) structure of the raga.
Some ragas omit notes and others have zigzagging ascents or descents. The great
musicians develop a vocabulary of phrases in kalpanaswaram as in an alapana,
especially when doing kalpanaswaram at low speeds, which allow for more gamaka.
The place where the first note of the first phrase of the composition exists in the rhythm
cycle is called the eduppu.
Kalpanaswaram is performed in a Carnatic Concert for the main song, the singer
chooses to perform the Raga Alapana. However, in concerts, artists often choose a
difficult raga in which to perform Kalpanaswaram. Although there are no set rules, the
artist may decide to expound the expressions of a particular raga in Kalpanaswaram as
opposed to Alapana.
Take the Raga Sahana (janya of 28th Melakarta raga Harikambhoji):
● Arohanam : S R G M P M D N S
● Avarohanam : S N D P M G M R G R S
In this raga, when the artist improvises, when ascending in pitch after the Pa
(Panchamam), the Ma (Madhyamam) needs to be sung, or the raga will be wrong. So
with a raga like Sahana or Anandabhairavi, Purvi Kalyani, etc., which have Dhattu
(jumping) swaras in their arohanam and/or avarohanam the Kalpanaswaram is harder
to master and perform.

ASHTAPADI

Ashtapadis or Ashtapadi refers to the Sanskrit hymns of the Gita Govinda, composed by
Jayadeva in the 12th Century. The ashtapadis, which describe the beauty of Lord
Krishna and the love between Krishna and the gopis, are considered a masterpiece in
esoteric spirituality and the theme of 'Divine romance'. The literal meaning of ashtapathi,
'eight-steps', refers to the fact that each hymn is made of eight couplets (eight sets of
two lines). At the end of every ashtapadi, the story ends with a sloka.

TILLANA
Tillana is a faster pace of any song that is composed with Jathis. This has pallavi,
anupallavi, and charanam. This has Jathis and words mixed that gives beauty while
listening to it. This is mostly used in dance programs, as it has different expressions of
music.

This can be composed in different genres of music.

The following are few compositions :-

1. Udari nadim - kaapi-rupaka- pallavi seshayya

2. Tanomtanana- pharaj - desadi-ramnad srinivasayyangar
3. Nadir tathim - kadanakuthuhalam - aadi
4. Udana - Athana - aadi - ponnayya pille
5. Dhim tara - bilahari - aadi - arayyakudi.

TARANGAM

Sri Krishna Leela Tarangini composed by Narayana Teerthar is a combination of

narrative, dramatic poetry with dialogue, action, dance and music. It presents the story
of Lord Krishna as related in the Dashama Skanda of Srimad Bhagavatham starting
with the birth of Sri Krishna till his wedding with Rukmini. The work is divided into 12
Tarangams consisting of Darus, Gadyas, Padas, Shlokas and Geethams (keertanas)
Taranga means waves and Sri Krishna Leela Tarangini simply means “ The river of Sri
Krishna’s sports.” The work consists of 156 songs (geethams). The Tarangas are
blended with all the important ingredients like bhava, raga and tala. Narayana Teerthar
has used the popular ragas of his period and also used some apoorva ragas like
Desakshi, Gowri and Mangala Kapi. The talas used by him are Dhruva, Roopakam,
Jhampa, Mathya, Ata etc.

JAVALI
Javali is a musical composition often sung towards the end of a Carnatic classical
concert. It is pronounced both as “Javali” and Javadi in Kannada. The Marathi word
“Jhawali” means a gesture of eyes in the language of 'love'.

Javali is a kriti format. The content and the theme of sahitya of javali is shringara love of
mundane and worldly spirit in nature. Rakti ragas like Pharaz, Jhanjhuti, Khamas, Kafi,
Behag, etc., are best suited for composing javalis. Javalis are in aadi, and rupaka, and
misra chapu talas, The music in javalis.

Compositions:-

1. Marulu konnadira - khamas - aadi - ramnad srinivasayya

2. Apudu manasu - khamas- rupakam-patnam subrahmanyyar
3. Yemandunu - mukhari - aadi - patnam subrahmanyyar
4. Kommaro - khamas - rupakam - ramnad srinivasayya
5. Nirupamana - behag - rup[akam - ramnad srinivasayya

Sarali Swaras
Ragam - Maya Malava Gowla

Talam - Aadi Talam

1.
S r g m | p d | n S ||
S n d p | m g | r s ||

2
S r – s r – | s r | g m ||
S r g m | p d | n S ||
S n – S n – | S n | d p ||
S n d p | m g | r s ||

3.
S r g – s | r g – | s r ||
S r g m | p d | n S ||
S n d – s | n d – | s n ||
S n d p | m g | r s ||

4.
S r g m – | s r | g m – ||
S r g m | p d | n s ||
S n d p – | S n | d p – ||
S n d p | m g | r s ||
5.
S r g m | p , – | s r ||
S r g m | p d | n S ||
S n d p | m , – | S n ||
S n d p | m g | r s ||

6.
S r g m | p d – | s r ||
S r g m | p d | n S ||
S n d p | m g – | S n ||
S n d p | m g | r s ||

7.
S r g m | p d | n , ||
S r g m | p d | n S ||
S n d p | m g | r , ||
S n d p | m g | r s ||

8.
S r g m | p m | g r ||
S r g m | p d | n S ||
S n d p | m p | d n ||
S n d p | m g | r s ||

9.
S r g m | p m | d p ||
S r g m | p d | n S ||
S n d p | m p | g m ||
S n d p | m g | r s ||

10.
S r g m | p , | g m ||
p , , , | p , | , , ||
g m p d | n d | p m ||
g m p – g | m g | r s ||

11.
S , n d | n , | d p ||
d , p m | p , | p , ||
g m p d | n d | p m ||
g m p – g | m g | r s ||

12.
S S n d | n n | d p ||
d d p m | p , | p , ||
g m p d | n d | p m ||
g m p – g | m g | r s ||

13.
S r g r | g ,– | g m ||
p m p ,– | d p | d , ||
m p d p | d n | d p ||
m p d p | m g | r s ||
14.
S r g m | p , | p , ||
d d p , | m m | p , ||
d n S , | S n | d p ||
S n d p | m g | r s ||

Janta swaras

Ragam - Maya Malava Gowla

Talam - Aadi Talam

1.

s s r r | g g | m m ||

p p d d | n n | S S ||

2.

s s r r | g g | m m ||

r r g g | m m| p p ||

g g m m | p p | d d ||

m m p p | d d | n n ||

p p d d | n n | S S ||

S S n n | d d | p p ||

n n d d | p p | m m ||

d d p p | m m| g g ||
p p m m | g g | r r ||

m m g g | r r | s s ||

3.

s s r r | g g | r r ||

s s r r | g g | m m ||

r r g g | m m| g g ||

r r g g | m m| p p ||

g g m m | p p | m m ||

g g m m | p p | d d ||

m m p p | d d | p p ||

m m p p | d d | n n ||

p p d d | n n | d d ||

p p d d | n n | S S ||

S S n n | d d | n n ||

S S n n | d d | p p ||

n n d d | p p | d d ||

n n d d | p p | m m ||

d d p p | m m| p p ||

d d p p | m m| g g ||

p p m m | g g | m m ||

p p m m | g g | r r ||

m m g g | r r | g g ||

m m g g | r r | s s ||
4

s s r–s | s r | s r ||

s s r r | g g | m m ||

r r g–r | r g | r g ||

r r g g | m m | p p ||

g g m–g | g m | g m ||

g g m m | p p | d d ||

m m p–m | m p | m p ||

m m p p | d d | n n ||

p p d–p | p d | p d ||

p p d d | n n | S S ||

S S n–S | S n | S n ||

S S n n | d d | p p ||

n n d–n | n d | n d ||

n n d d | p p | m m ||

d d p–d | d p | d p ||

d d p p | m m | g g ||

p p m–p | p m | p m ||

p p m m | g g | r r ||

m m g–m | m g | m g ||

m m g g | r r | s s ||

5.
s s r r | g–s | r g ||

s s r r | g g | m m ||

r r g g | m–r | g m ||

r r g g | m m | p p ||

g g m m | p–g | m p ||

g g m m | p p | d d ||

m m p p | d–m | p d ||

m m p p | d d | n n ||

p p d d | n–p | d n ||

p p d d | n n | S S ||

S S n n | d–S | n d ||

S S n n | d d | p p ||

n n d d | p–n | d p ||

n n d d | p p | m m ||

d d p p | m–d | p m ||

d d p p | m m | g g ||

p p m m | g–p | m g ||

p p m m | g g | r r ||

m m g g | r–m | g r ||

m m g g | r r | s s ||

6.

s s , r | r , | g g ||
s s r r | g g | m m ||

r r , g | g , | m m ||

r r g g | m m | p p ||

g g , m | m , | p p ||

g g m m | p p | d d ||

m m , p | p , | d d ||

m m p p | d d | n n ||

p p , d | d , | n n ||

p p d d | n n | S S ||

S S , n | n , | d d ||

S S n n | d d | p p ||

n n , d | d , | p p ||

n n d d | p p | m m ||

d d , p | p , | m m ||

d d p p | m m | g g ||

p p , m | m , | g g ||

p p m m | g g | r r ||

m m , g | g , | r r ||

m m g g | r r | s s ||

7.

s , s r | , r | g g ||

s s r r | g g | m m ||

r , r g | , g | m m ||
r r g g | m m | p p ||

g , g m | , m | p p ||

g g m m | p p | d d ||

m , m p | , p | d d ||

m m p p | d d | n n ||

p , p d | , d | n n ||

p p d d | n n | S S ||

S , S n | , n | d d ||

S S n n | d d | p p ||

n , n d | , d | p p ||

n n d d | p p | m m ||

d , d p | , p | m m ||

d d p p | m m | g g ||

p , p m | , m | g g ||

p p m m | g g | r r ||

m , m g | , g | r r ||

m m g g | r r | s s ||

8.

s s s r | r r | g g ||

s s r r | g g | m m ||

r r r g | g g | m m ||

r r g g | m m | p p ||

g g g m | m m | p p ||
g g m m | p p | d d ||

m m m p | p p | d d ||

m m p p | d d | n n ||

p p p d | d d | n n ||

p p d d | n n | S S ||

S S S n | n n | d d ||

S S n n | d d | p p ||

n n n d | d d | p p ||

n n d d | p p | m m ||

d d d p | p p | m m ||

d d p p | m m | g g ||

p p p m | m m | g g ||

p p m m | g g | r r ||

m m m g | g g | r r ||

m m g g | r r | s s ||

9.

s , r g | , – s | r g ||

s s r r | g g | m m ||

r , g m | , – r | g m ||

r r g g | m m | p p ||

g , m p | , – g | m p ||

g g m m | p p | d d ||

m , p d | , – m | p d ||
m m p p | d d | n n ||

p , d n | , – p | d n ||

p p d d | n n | S S ||

S , n d | , – S | n d ||

S S n n | d d | p p ||

n , d p | , – n | d p ||

n n d d | p p | m m ||

d , p m | , – d | p m ||

d d p p | m m | g g ||

p , m g | , – p | m g ||

p p m m | g g | r r ||

m , g r | , – m | g r ||

m m g g | r r | s s ||

10.

s r , g | , – s | r g ||

s s r r | g g | m m ||

r g , m | , – r | g m ||

r r g g | m m | p p ||

g m , p | , – g | m p ||

g g m m | p p | d d ||

m p , d | , – m | p d ||

m m p p | d d | n n ||

p d , n | , – p | d n ||
p p d d | n n | S S ||

S n , d | , – S | n d ||

S S n n | d d | p p ||

n d , p | , – n | d p ||

n n d d | p p | m m ||

d p , m | , – d | p m ||

d d p p | m m | g g ||

p m , g | , – p | m g ||

p p m m | g g | r r ||

m g , r | , – m | g r ||

m m g g | r r | s s ||

11.

s , r , | g – s | r g ||

s s r r | g g | m m ||

r , g , | m – r | g m ||

r r g g | m m | p p ||

g , m , | p – g | m p ||

g g m m | p p | d d ||

m , p , | d – m | p d ||

m m p p | d d | n n ||

p , d , | n – p | d n ||

p p d d | n n | S S ||

S , n , | d – S | n d ||
S S n n | d d | p p ||

n , d , | p – n | d p ||

n n d d | p p | m m ||

d , p , | m – d | p m ||

d d p p | m m | g g ||

p , m , | g – p | m g ||

p p m m | g g | r r ||

m , g , | r – m | g r ||

m m g g | r r | s s ||

12.

s s m m | g g | r r ||

s s r r | g g | m m ||

r r p p | m m | g g ||

r r g g | m m | p p ||

g g d d | p p | m m ||

g g m m | p p | d d ||

m m n n | d d | p p ||

m m p p | d d | n n ||

p p S S | n n | d d ||

p p d d | n n | S S ||

S S p p | d d | n n ||

S S n n | d d | p p ||

n n m m | p p | d d ||
n n d d | p p | m m ||

d d g g | m m | p p ||

d d p p | m m | g g ||

p p r r | g g | m m ||

p p m m | g g | r r ||

m m s s | r r | g g ||

m m g g | r r | s s ||