pallavi
rAma rAmakrSNa SRJ https://youtu.be/XX5K1_uAFBU?si=QxUdDFUKXw6nHEQX rAma rAmakrSNa yanarE rAtri pagalu mA sItA caraNam 1 itara mArga saukhyamulaku atani hrdayamE sAkSiyu caraNam 2 kAnipanula kOri kOri karagucundu mAnavulu caraNam 3 kutsitapu mATalaku udduga poralEDi janulu caraNam 4 sarva shAstramulanu jadivi Asha dAsulaina vAru caraNam 5 eduTi pacca jUDalEka hitavu mATalADu janulu caraNam 6 callani vAkkalu baliki svAnta manala mEna vAru caraNam 7 paluka nErci aDugabOtE teliviki hAniyaina vAru caraNam 8 jAti hInulaina vAru jAnalainAradE sAkSi caraNam 9 pAmupandi gaja pishaca pAtakA grEsarulE sAkSi caraNam 10 tyAgarAju telisikonna tAraka mihapara sAdhakamu
न चोरहार्यं न च राजहार्यं न भ्रातृभाज्यनम् न च भारकारि । व्यये कृते वर्धत एव नित्यम् विद्याधनं सर्वधनप्रधानं ॥ na chorahaaryaM na cha raajahaaryaMna bhraatR^ibhaajyaMna cha bhaarakaari | vyaye kR^ute vardhata eva nityam vidyaadhanaM sarvadhanapradhaanaM ||
Wednesday, 25 December 2024
eesamanOhari
Sri gananatham
shree gaNanaatam bhajarE
raagam: eesamanOhari
28 harikaambhOji janya vakra
Aa: S R2 G3 M1 P D2 N2 S kramam
Av: S N2 D2 P M1 R2 M1 G3 R2 S vakram
shadja ,chatursruthi rishabam,antara gandhara,suddha madhyamam,panchmam,chatursruti dhaivatham,kaishiki nishadham
taaLam: roopakam Composer: Muttuswaamee Dikshitar Language: Sanskrit
6 * 2= 12
pallavi
s, r g r,r g mp,
shree gaNanaatham bajarE ||
m,dpm, G,R GS
cittaparaa shaktiyutam ||twice
anupallavi
G,G M,M P , SNS
naaga yagna sOOtra dharam
N,DN P, G,RGS,
naadalayaA *nandakaram\\twice
(shree)
caraNam
r,g m, r g,sr,
aagamaadi sannutam
sss n., d s, gr,
akhila dEva poojitam
s, gr, m g m, p m,
yogashaali bhaavitam
p, g m,r g, m p,
bhogishaayi sevitam ||
madhyama kaalam
s , s , n, d ,n d pm g m p, d pdn sns
raagadweshaa dhi rahita ramaNeeya hridaya vihitam(x2)
{ g }r, m g rg s , nd p, n,d , p, mgr, g s,
shree guruguha sammuditam cinmoola kamalastitam || (shree)
Meaning:
pallavi: O Mind! Worship Shri Ganesa, who is with the supreme Goddess Mother Parashakthi!
anupallavi: Who wears a serpent as His sacred thread (Yagnopavita) and who makes Naada and Laya (sound and rhythm) enjoyable.
caraNam: Who is praised by Aagamaas, is worshipped by all Gods and contemplated by great sages. He is served by Vishnu -- the Bhogishaayi. He is realized in the faultless hearts of those devoid of passion and jealously. Who is regarded with affection by Guruguha, and is seated in the lotus of Chinmoola.
Notation:
Notation available here at Shivkumar Kalyanaraman's Krithi Archive.
[edit] Anupallavi
janaranjani
ease enjoy with headphones!
--
Vocal: Toronto Brothers Ashwin Iyer and Rohin Iyer
Composition: vanajAkShi ninnE
rAgam: janaranjani
composer: tiger varadAchAriyAr
tAlam: miSra jhampa
Pallavi
vanajAkShi ninnE kOri valaci yunnadi
PM-R,-R,-SRGMPMP-RGM-RRS-S,D.D.P. R-S,D.,-P.N.-SR-S,-RG-G,-M
varAnana vadalani mOhamuna
P-P,PMRD-PM-DPMR-P,P-RGM-RRS-S,RGM-PDD-MPMR-S,R-GM
Anupallavi
ghanuDaina SRI vikShaNya nilaya
PNS*-S*DP-PMR-DPPMR-GMRRS-S,D.D.P.-N.SRGM-PMR-DP,-R*S*-DPD
manasunci madAntamunu pOnicci brOvumu
PNS*-PDP-N,S*-R*S*-DP-NS*-R*-S*R*G*G*,-M*M*R*-S*S*DDP-M,-R,-S,R,-G,-M
muktAyisvaram:
PDPP MMRS RGMP MR,S RSRG G,MM ,PPM RSDD PP,M ,RGM
RRSM MRPP MDDP S*DDP NS*,D PNS*, R*G*M*R* S*,S*D PMRS ,RGM
caraNam:
manaviAlagimpa vEyyaiyyA
S*,,-S*,,-R*S*D,PD-PMRS-R,,S,, RSD.,P.-N.SRGMPDP-R*S*DPR*
caraNasvarAs:
1.
S*,,D ,,P, ,M,, R,,D ,,P, ,M,, R,S, ,R,G ,M,P ,DPR*
2.
S*,R*S* ,D,P MR,S ,RGM D,PP ,MR, SR,D PNS, RGMP ,DPR*
3.
S*R*S*D PMPR MRPM RGMR SD.P.N. SRGM DPNS* R*S*DP MPDP S*DPR*
R*S*R*G* M*R*S*R* G*M*R*S* DPNS* NS*R*S* DPMP S*DPM RR*S*D PMRG MDPR*
4.
S*,,S* ,,S*, DPR*S* ,DPM DP,M RSR, ,S,, D.P.N.S ,RGM PDPR*
S*,R*S* R*S*DP P,DP DPMR G,MP MPMR GMPD PN,S* DPNS* R*S*R*,
S*S*DD PPMR RRPP MRGM RSRG MPDP MRPM DPNS* S*DPR* R*,,,
R*S*R*N S*R*PN S*R*G*M* P*M*R*S* R*S*R*G* M*R*,G* M*R*S*, ,DPM R,GM PDPR*
Lakshana of Pumachandrika
https://musicacademymadras.in/catalogue/files/journals/Vol.5_1934.pdf pgI2I
t h e s ix t h d a V.
27— 12— ' 33.
The Lakshana of Pumachandrika was
taken up.
Vidvan Tiger Varadachariar: Normally
the arohana is Sa-ri-ga-ma-pa-dha-pa-sa and
the avarohana Sa-ni-pa-ma-ga-ri-ga-ma-ri-sa.
Dha-ni-sa is also a prayoga. Rarely Sa-dhapa is also used.
Vidvan Muthiah Bagavathar: Arohana
Sa-ri-ga-ma-pa-dha-pa-sa; avarohana Sa-nipa-ma-ga-ma-ri-sa.
P. Ramakrishniah Pantulu sang a Ragamalika of Manambuchavadi Venkatasubbier
which had the prayoga Dha-ni-sa-ri.
Mr. Umayalpuram Venkataramier said:
^ That according to Venkatamakhi, the raga
was sampurna in Arohana.
Mr. Mutthiah Bhagavathar pointed out
that sometimes there would be clerical mistakes. The gita of Purandara Dasa had Sani-dha-ni-sa and that was not found elsewhere.
The president: The avarohana must be
Sa-ri-ga-ma-pa-dha-pa-sa.
At this stage, Mr. Ponniah Pillai, the president placed Mr. Tiger Varadachariar in the
chair and left the conference.
Mr. Umayalpuram Venkataramier sang
‘Thelisi Rama Chintanatho' and pointed
out there was no Dha-ni-sa in that Kirtana.
After some discussion it was agreed that
*lhe normal arohana was Sa-ri-ga-ma-pa-dhapa-sa and the normal avarohana Sa-ni-pa-maga-ma-ri-sa.
Mr. M. S. Ramaswami Aiyar wanted to
know whether Dha-pa-ma-ga-ma-ri-sa was
admissible. It was agreed it was admissible.
Apurvaprayogas, according to Mr. Muthiah
Bhagavathar would be Sa-ni-dha-ni-sa-ri and
Dha-ri-sa-ri.
Mr. T. L. Venkatarama Aiyar: According
to Venkatamakhi Dha-ni-sa-ri and Dha-ri-sari were admissible only in the mandrasthayi
and Dha-ri-sa-ri was used only in the mandrasthayi in ‘Sankhachakra’ Kirtana.
Mr. Muthiah Bhagavathar: According to
Purandara Sa-ni-dha-ni-sa was used only in
mandrasthayi.
It was finally resolved that its arohana and
avarohana were Sa-ri-ga-ma-pa-dha-pa-sa
Sa-ni-pa- ma-ga-r i-ga- ma-ri-sa.
In mandrasthayi, Dha-ni-sa and Dha-ri-sani were admissible.
file:///C:/Users/Vostro/Desktop/p00rnacandrika.pdf
TELISIRAMA MDR https://www.youtube.com/watch?v=oHHPk3hszpc
https://www.youtube.com/watch?v=Jk8l-5SunfA
TELISIRAMA MSG https://www.youtube.com/watch?v=T3HSjtF0MMY
palukavEmi nA daivamA - rAga pUrNa candrika
pallavi
palukav(E)mi nA daivamA
parulu navvEdi nyAyamA
anupallavi
aluga kAraNam(E)mirA rAma
nIv(1A)Dincin(a)Tlu(y)ADina nAtO (paluka)
caraNam
talli taNDri bhaktin(o)sagi rakshinciri
takkina vAral(e)ntO himsinciri
telisi(y)Urak(u)NDEdi(y)ennALLurA
dEv(A)di dEva tyAgarAjunitO (paluka)
Meaning - Gist
O My God! O Lord rAma! O Lord of celestials and others!
Word Division - Word-by-word meaning
O My God! O Lord rAma! O Lord of celestials and others!
- Won’t You talk to me?
- Is others laughing at me justified?
- What is the reason for You to be angry with me?
- I have danced to Your tune; yet, won’t You talk to me?
- My parents protected me by imbibing devotion.
- However, the rest harmed me a lot.
- Knowing this, how long You are going to remain unconcerned?
- Won’t You talk to this tyAgarAja?
Word Division - Word-by-word meaning
pallavi
palukavu-Emi nA daivamA
parulu navvEdi nyAyamA
Won’t You talk (palukavu Emi) (palukavEmi) to me, O My (nA) God (daivamA)? Is others (parulu) laughing (navvEdi) at me justified (nyAyamA)?
anupallavi
aluga kAraNamu-EmirA rAma
nIvu-ADincina-aTlu-ADina nAtO (paluka)
What (EmirA) is the reason (kAraNamu) (kAraNamEmirA) for You to be angry (aluga) with me, O Lord rAma?
Won’t You talk to me (nAtO) who has danced (ADina) to Your (nIvu) tune (ADincina aTlu) (ADincinaTlu) (literally the way you made me dance) (nIvADincinaTluyADina), O My God? Is others laughing at me justified?
caraNam
talli taNDri bhaktini-osagi rakshinciri
takkina vAralu-entO himsinciri
telisi-Uraka-uNDEdi-ennALLurA
dEva-Adi dEva tyAgarAjunitO (paluka)
My parents (talli taNDri) (literally father and mother) protected (rakshinciri) me by imbibing (osagi) (literally bestowing) devotion (bhaktini) (bhaktinosagi);
however, the rest (takkina vAralu) harmed (himsinciri) me a lot (entO) (vAralentO);
knowing (telisi) this, how long (ennALLurA) You are going to remain (uNDEdi) unconcerned (Uraka) (telisiyUrakuNDEdiyennALLurA)?
O Lord (dEva) of celestials (dEva) and others (Adi) (dEvAdi)! Won’t You talk to this tyAgarAja (tyAgarAjunito), O My God? Is others laughing at me justified?
Notes
Variations - (Pathanthara)
1 – ADincinaTlu – ADincinaTu.
Top
Monday, 16 December 2024
EdEdO eNNi alaindEn tUnedby DrGr rAgam: mOhanam tALam: Adi poet: PeriyasAmi tUran
EdEdO eNNi alaindEn--- ஏதேதோ எண்ணி அலைந்தேன்
rAgam: mOhanam tALam: Adi
Composer: PeriyasAmi tUran
பல்லவி
ஏதேதோ எண்ணி அலைந்தேன் முருகா
உன்றன் பாதாரவிந்தம் மறந்தேன்
அனுபல்லவி
வேதாகமம் சொல்லும் மேலான பரம் பொருள்
நீதான் என்றறியாமல் வாதாடி வீணில் நான்
சரணம்
யாதும் அருள்பவனும் யாண்டும்** நிறைந்தவனும்
ஓதும் பல தெய்வமும் உனையன்றி வேறுண்டோ
மாதாவை நினைந்துமே மகிழ்வுடன் திரும்பிடும்
மைந்தன் எனவே வந்தேன் வாவென்றணைப்பாயே
**variation(எங்கும்) பல்லவி
ஏதேதோ எண்ணி அலைந்தேன் முருகா உன்றன்
பாதாரவிந்தம் மறந்தேன்
அனுபல்லவி
வேதாகமம் சொல்லும் மேலான பரம் பொருள்
நீதான் என்றறியாமல் வாதாடி வீணில் நான்
சரணம்
யாதும் அருள்பவனும் யாண்டும்** நிறைந்தவனும்
ஓதும் பல தெய்வமும் உனையன்றி வேறுண்டோ
மாதாவை நினைந்துமே மகிழ்வுடன் திரும்பிடும்
மைந்தன் எனவே வந்தேன் வாவென்றணைப்பாயே
**variation(எங்கும்) யாண்டும் : adv. யாண்டு¹ +. 1.Always, under all circumstances; எப்பொழுதும்.யாண்டு மிடும்பை யில (குறள், 4). 2. In allplaces; everywhere; எவ்விடத்தும். யாண்டுச்சென்றியாண்டு முளராகார் (குறள், 895).
Lyrics in Roman script
Meaning:
Pallavi: Without any coherent and deep thoughts I have been wandering around, lord MurugA!
Anupallavi: I did not realize that you are the ultimate being as the scriptures ordain. I have been sporting arguments without any sense.
CaraNam: There is no other deity (except you) who offers immense grace and who pervades everywhere. I am a child who wandered away but thinking about the mother am returning to you happily. Please welcome me into your fold.
pallavi EdEdO eNNi alaindEn murugA unRan
pAdAravindam maRandEn
anupallavi vEdAgamam sollum mElAna param poruL
nItAn enRaRiyAmal vAdADi vINil nAn
caraNam yAdum aruLbavanum yANDum niraindavanum
Odum pala dEyvamum unaiyanRi vERuNDO
mAtAvai ninaindumE magizhvuDan tirumbiDum
maindan enavE vandEn vAvenRaNaippAyE
Meaning:
Pallavi: Without any coherent and deep thoughts I have been wandering around, lord MurugA!
Anupallavi: I did not realize that you are the ultimate being as the scriptures ordain. I have been sporting arguments without any sense.
CaraNam: There is no other deity (except you) who offers immense grace and who pervades everywhere. I am a child who wandered away but thinking about the mother am returning to you happily. Please welcome me into your fold.
Sunday, 15 December 2024
Friday, 13 December 2024
Thursday, 12 December 2024
Friday, 6 December 2024
Jatiswaram Ragam: Chakravakam Talam: Roopakam Composer: Padmashri Dandayudapani Pillai
https://www.youtube.com/watch?v=PsWVoVufl-Y
https://youtu.be/7_JCeXTeURM
Jatiswaram Ragam: Chakravakam Talam: Roopakam Composer: Padmashri Dandayudapani Pillai
Saturday, 23 November 2024
taaLam: Adi Composer: R.Parthasarathy Iyengar. Language: pallavi siddhi vinAyakA aruL
Song: siddhi vinAyakA aruL
Naatai-The Raga with an Intoxicating Melody
A derivative of Chalanata (Mela 36) belonging to the 6th Music Chakra, Nattai is considered to be a very auspicious raga and chosen as the first raga for any concerts.In Mind, Body and Soul Chakra – Chakra 6 is the heart Chakra: This chakra is the feeling and emotion center of the body. It recognizes both the physical as well as the spiritual needs for human experience.
The essence of the raga is in how its sung- generally fast paced and hence, acts like a wake up call for the listeners — and this is why Nattai is generally used to begin a concert to set the tone for the rest of the kutcheri to follow. Nattai evokes the Veera Rasa. Veera Rasa is created by using fast tempos while composing music. Bravery, heroism, and manliness are some of the attributes of this Rasa. Other than Veera Rasa, Naatai also evokes the emotions of Bhakthi and Valsalya.
If Raga is the soul of Carnatic music, rasa or bhava is its emotional quality.It is said that Music without emotions is lifeless. Emotions can be compared to the nectar in a flower.When experienced with a music by a performer who touches the inner soul of the audience, it can be said that the audience is completly elevated to a state of Rasanubhava enabling them to feel the total bliss or pure enlightenment.
The arOhanam avarOhanam of the rAgam is given below:
Arohana: S R3 G3 M1 P N3 S OR sa ri ga ma pa dha ni sa
Avarohana: S N3 P M1 G3 M1 R3 S OR sa ni pa ma ri sa
( Shadsruti RI, Antara GA, Suddha MA,Shatsruti DHA and Kakali NI).
Definition (Venkatamakhin):
NAttA shadja grahOpEtA – AvaroohE ga dha varjitA
There are disputes over the Arohana and the Avarohana — some use Daivatha while ascending (arohana). There’s also the case where Rishabha is not used in the Arohana.
Jiva Swara : R, M, N
Kampita Swaras /Dirgha Swaras: R
Special Considerations:
Viavadi raga (Notes R G M are placed at very close intervals). This Vivadi character creates the intoxicating effect in Chalanata and Nattai ragas.
To a large extent it’s the Rishabha that gives this raga its unique identity more than the Gandhara or the Madhyama. The unparalled swaying effect of Rishabha while oscillating gives a majestic touch to the raga adding to its beauty and appeal.This is a Tri StAyI RAgam, and RI is rendered as dirgha kampita svaram. It is a mangala raga, and most compositions in this raga are on Lord Vinayaka, the remover of all obstacles. It is a Ghana raga, and the first of Thyagaraja’s Pancharatnas is in this raga.The Hindustani raga Jog closely resembles Nattai. This Ragam shines well in Madhyama KAla AlApana and TAnam. TAnam played in veena creates a very pleasing effect.
Saint Thyagaraja has chosen this very particular raga as the first in the series while composing the Ghana Raga Pancharatnas. Jagadanandakara is the first composition and is written in Raga Nattai .Is the majesticity of the raga compelled him to choose it? It should be noted that this particular composition is composed in Sanskrit while the other Pancharatna Kritis are in Telugu.
Prayogas/Sancharas : S SNSR..S- SNPMPNS-G,MP PNSNPMGMR_ GMPNNP PN_S, SNR_SNPM G,MR.. GMPNSNPMG,MG..,M R..S..
Nattai requires strong lung power at the lower notes — lower Nishadha and Rishabha are quite common in its prayogas. While closely observing Veena Dhanammal’s Naatai, it can be seen that special sanchara NSGMP GMP….PPP is frequently used. She was avoiding the vivadi swaram RGM in the ascending phrases. She uses janta prayogas too or phrases with multiple notes. She has also used the beautiful phrases to bring out the beauty of this raga. P.P PNM..PN P S. S M R SS N in higher octaves.
Immortal Compositions
Undoubtedly the grand composition Mahaganapatim – monumental peice of Mutthusvami Dikshitar- is a very popular krithi with a crowning chittaswaram. Another master piece krithi is Jagananda Karaka by Saint Thyagaraja – The first and most well-known Ghana Raga Pancharatnam (literally strong and heavy).
Muthuswamy Dikshitar kritis has no demarcation between nAttai and chala nAttai. According to him Nattai means, Chala nattai and he has defined Chala nattai to be a part of asampUrna (or incomplete) melakarthA. These ragas have all swaras, but not in proper order.
Major Krithis in Nattai
Sri Rajadhiraja (TAna Varnam) (in Ata Taalam)
Sarasijanabha – TAna Varnam – Adi Tala
SwAminAtha paripAlayAsumAm – Muthuswamy Dikshithar
NinnaE bhajana – TyAgarAjA
JagadAnanta kArakA (pancharathnam) (Thyagaraja)
ArE Ruppa Giri VAsA (Jhampa thaala) Lakshana Geetha
PavanAthmajAgachcha (Jhampa tALam)(on God HanUmAn) Prabandham
Iha Para SAdhaka ( Kumara Ettappa Maharaja)
MahAgaNapatim (Adi) Dikshitar
Parameswara (Adi) Dikshitar)
Varasiddhi VinAyakam (Rupakam) Ambi Dikshitar
SarasIruhAsana PriyE (Desakshi) Puliyur Doraiswami Iyer
Siddhi Arul (Rupakam) Nilakantha Sivan
Sri MahAgaNapate (Adi) Sivasakti
VArana Mukha Vaa (Adi) Ambujam Krishna
Karimukha VaradA (Adi) G. N. Balasubrahmanyam
SrI MInalOchani (Adi) Kavi Kunjara Bharathi
Tanthi Maa mukhaa (Adi) Kotiswara Iyer
Gananathanai (Adi) Lakshmanan Pilai
LalAtAksha NamostuthE (Adi) Muthiah Bhagavathar
Veda mAthE Veda vinuthE(Adi) Muthiah Bhagavathar
VandIsuvuidu (Purandaradasa)
Sri GaNanAtha (Adi) Pallavi Sesha Iyer
UmayOr PaganE (Rupakam) Papanasam SIvan
PraNathOsmi DEvam (Adi) Thulaseevanam
Sri GajAnanA (Adi) Thulaseevanam
Sri PadmanAbham (Misra Capu) Thulaseevanam
Re Re Maanasa (Adi) Thulaseevana,
Gananayaka Ninnu (Adi) Vina Varadayya
Jaya jaya swamin jaya jaya (Adi) Narayana theerthar
Jaya Jaya, Khanda Chapu,Purandaradasa
Favourite Filmy Raga
Naattai has been a favourite raaga in the film music arena. Illayaraja has used the krithi Mahaganapathim in the film Sindhubhairavi in concert format. The majestic rendition by K. J. Yesudas is a delightful experience to all music lovers. A.R.Rehman’s contribution ‘Narumugaye’ in the movie ‘Iruvar’ sung by Unni Krishnan and Bombay Jayasree has brought out the romantic or sringara bhava hidden in the raaga. Another hitmaker Harris Jayaraj has composed ‘Iyengar veetu azhage’ in the tamil movie ‘anniyan’, sung by Hariharan and Harini, a beautiful song which starts with the Thyagaraja Pancharatna Krithi and continues in the same raaga throughout. Cine songs like chennai senthamizh from M.Kumaran S/O Mahalakshmi, peygala nambadhe from Mahanadi, First para of the song vendriduvEn in the film Agathiyan are all set to natarAgam.
Other filmy songs include Pani Vizhum (Chalanata) – Ninaivellam Nithya – a classic portrayal of Chalanata by Ilayaraja Spiderman (Jog Rag) – “New” – Hindustani raga similar to Nattai, Jog is intoxicating. Sadhana Sargam has sung brilliantly in AR Rahman’s music Thom Thom- “Alli Thanda Vaanam” -Vidyasagar’s music with brilliant sangatis. Hariharan and Chitra have lent sheen to this piece.
Featured Composition with Meaning
Raga: Nattai (36 mela janyam)
ARO: S R G M P D N S || AVA: S N P M R S ||
Tala: Adi
Composer: Dikshitar
Version: GN Balasubramaniam
Pallavi:
Swaaminaatha paripaalayaasumaam swaprakaasa valleesa guruguha devasenesa
Samashti charanam:
Kaamajanaka bharatheesa sevitha kaarthikeya naaradaadi bhaavita
vaamadeva paarvati sukumaara vaarijaastra sammohitaakaara
Kaamitaartha vitharana nipuna charana
kaavya naatakaalankaara bharana
bhumijalaagni vaayugaganakirana
bhodharupa nithyaananda karana
Chitta Swaram:
S , – r gm pn ppmm rr sn | S , m g pm- n pmgm rr sn ||
srgm , p- gm p S n pmrr | S , r s n p-s n pm-n pm rr ||
srgm , p- sn s R s n pmr | S , r s s n – n p m -gm r r sn ||
sr sm gp – mn ps – nr s m R | , sn p r S n pm – gm r S n ||
Meaning: (From Todd McComb, D. Sivakumar, TK Govinda Rao)
(Swaaminaatha – Lord Shanmukha is named thus for teaching the secret meaning of Om to Lord Siva) O Swaaminaatha, please protect (“paripalaya”) me (“maam”) without any delay. You, the self-effulgent (“swa-prakaasha”), Lord (“eesha”) of Valli and Devasena. ( Construction of Valleesa Guruguha Devasenesa sentence reflects the sanctum-santoram of Thirupparankundram) He, Karthikeya the one adored (“sevitha”) by Lord Vishnu, father (“janaka”) of Kaama and Lord Brahma (the husband of Bharati (Saraswati)—“Bharatheesha”). Fostered by Kritikaa ladies (“karthikeya”). Adored (“bhaavitha”) by Sages including Sage Narada.
Son (“sukumaara”) of Lord Siva ( Addressed as “Vaamadeva”, musical face of Lord Siva) and Goddess Paarvati. Hands arebeautiful like bloomed lotus flower (“vaarijaasthra”). Create temptation (“sammohita”) for betterment.
His feet (“charana”) are capable (“nipuna”) of bestowing the gift (“vitharana”) wealth (“artha”) & boons as wished (“kaamitha”) . He nurtures (“bharana”) poetry (“kavya”), literature (“alankaara”), drama (“naataka”). Bliss (“bodha”) form (“rupa”) made out (“kirana”) of five basic elements earth (“bhumi”), water (“Jala”), fire(“agni”), air (“vayu”) and sky (“gagana”). He is the form of knowledge (“bodha rupa”) and the donor of eternal (“nitya”) joy (“ananda karana”) on his devotees.
Enjoy the Intoxicating Melody of Nattai 
Naattai – Carnatic Vocal – 3 Volumes
Naattai – Instrumental
Naattai – Devotionals
Naattai – Malayalam Film Songs
Naattai – Tamil Film Songs
https://anuradhamahesh.wordpress.com/carnatic-raga-appreciation/14-naatai-the-raga-with-an-intoxicating-melody/
raagam: nATa
Aa:S R3 G3 M1 P D3 N3 S
Av: S N3 P M1 R3 S
taaLam: Adi
Composer: R.Parthasarathy Iyengar.
Language:
pallavi
siddhi vinAyakA aruLvAi prasiddha gaNanAyakA gajAnana
anupallavi
cittam irangAyO shiva kumArA nittamum unnai ninaindu magizhndiDa
caraNam
nAraNan marugA nalam aruLvAi jagat kAraNanE paripUraNanE
vAraNa mukhanE vandaruLvAi pArthasArathi pOTriDum kanda nin sOdara
(madhyamakAla)
praNava svarUpa vinAyakanE citparanE bhakta jana priya pArvati bAlanE
Nattai is an auspicious raga, suited for the commencement of a concert. Nattai is the janya (derived from) the 36th melakarta scale Chalanata. An intoxicating group of ragas, Nattai, Chalanata and Gambhiranattai are closely allied, with a few important differences. Chalanata houses all seven notes, namely sadja, shatsruti rishabha, antara gandhara, suddha madhyama, pancama, shatsruti dhaivata and kakali nishada symmetrically in ascent and descent. Nattai in Thyagaraja’s school of music accommodates all the notes in Chalanata excepting the dhaivata, while Dikshitar’s Nattai features the dhaivata in ascent.
The oscillation and importance given to the Nattai rishabha forms the very core of its melodic structure. Gambhiranattai is a pentatonic scale (it excludes the rishabha and dhaivata from the Chalanata scale) and temple ‘mallaris’ are played in this raga. A jazzy twist to Carnatic music is often achieved by experimenting with the Nattai scale. The Tamizh pann Nattapadai is the equivalent of Gambhiranattai and the Tevaram ‘Todudaiya seviyan’ is well known. The Hindustani raga Jog is close to the Nattai scale.
Nattai is an auspicious raga, suited for the commencement of a concert. Nattai is the janya (derived from) the 36th melakarta scale Chalanata. An intoxicating group of ragas, Nattai, Chalanata and Gambhiranattai are closely allied, with a few important differences. Chalanata houses all seven notes, namely sadja, shatsruti rishabha, antara gandhara, suddha madhyama, pancama, shatsruti dhaivata and kakali nishada symmetrically in ascent and descent. Nattai in Thyagaraja’s school of music accommodates all the notes in Chalanata excepting the dhaivata, while Dikshitar’s Nattai features the dhaivata in ascent.
The oscillation and importance given to the Nattai rishabha forms the very core of its melodic structure. Gambhiranattai is a pentatonic scale (it excludes the rishabha and dhaivata from the Chalanata scale) and temple ‘mallaris’ are played in this raga. A jazzy twist to Carnatic music is often achieved by experimenting with the Nattai scale. The Tamizh pann Nattapadai is the equivalent of Gambhiranattai and the Tevaram ‘Todudaiya seviyan’ is well known. The Hindustani raga Jog is close to the Nattai scale.
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