Nadha vindhu kalaadhi

 நாத விந்து கலாதீ நமோநம பாடல் வரிகள் | Nadha vindhu lyrics in tamil

பழனி திருப்புகழ் – திருவாவினன்குடி

நாத விந்துக லாதீ நமோநம
வேத மந்த்ரசொ ரூபா நமோநம

ஞான பண்டித ஸாமீ நமோநம …… வெகுகோடி

170 - நாத விந்து (பழநி)

https://www.sivaya.org/thiruppugazh_santham.php?lang=tamil
3 4 4 5
தான தந்தன தானா தனாதன

3 4 4 5
     தான தந்தன தானா தனாதன

3 4 4 5 5
          தான தந்தன தானா தனாதன  தனதான

S D S GR GG G M , G M G , M G,

Nadha vindhu ka laadhi na mo namo G RG M P P P PM NP M G MG GR GRS Vedha manthra swa roo pa na mo namo SG R R , RR R P , M G MG GR GRS Njaana pan ditha swaamy na mo namo S GR S RG GMDP [G]RS Ve ghu ko di

Nadha vindhu kalaadhi

Mahaganapathim Natta

 Composition: Composer: Muthuswami DikshitarMuthuswami Dikshitar (Mudduswamy Dikshitar)^[1] (IAST: muttusvāmi dīkṣitar, 24 March 1776 – 21 October 1835),

https://en.wikipedia.org/wiki/Muthuswami_Dikshitar

By India Post, Government of India - [1] [2], GODL-India, https://commons.wikimedia.org/w/index.php?curid=75028085

Raga: Natta     JANYA OF        Mela: 36, Chalanatta
Tala: Adi                                  Type: Krithi

Arohana:   S R3,[G2] G3 M1 P {D3]N2 N3 S || S Ru, Gu Ma Pa Du Nu S
Avarohana: S N3 P M1 G3 M1 R3,[G2] S || S Nu  Pa Ma Gu Ma Ru, S

Arohanam:   S R3 G3 M1 P D3 N3 S

Avarohanam:   S N3 P M1 G3 M1 R3 S

Even though we say Jog is the hindustani equivalent of Nattai, unlike other Karnatik Hindustani equivalencies , both ragams have unique bhavam.

Nattai

The shatsruthi rishabam (or the 6 position of Rishabam) coincides with the second sruthi of Gandharam in the 22 sruthi space. This theevra rishabam gives the beauty to the ragam. The ragam gives a auspicious and a brisk mood to a concert even with the vivadhi nature of sruthis.

There are usually two versions of Nattai scale as we see from raga evolution. Nattai is a ubaya vakra sampoorna ragam as per Deekshitar paddathi. His krithis use D3 as well. We call that ragam as Chala Nattai in Govindacharya system now. Citing the other scale -

S R3 G3 M1 P N3 S and S N3 P M1 G3 M1 R3 S

Joghttps://raag-hindustani.com/Jog.html

The gandharam is the beauty of the ragam. The gandharam shows shades of the shatsruthi rishabam in Nattai but the way we handle the note in Jog is different. Gamakam is diminutive for gandharam in Jog.The ragam gives a more karunai oriented flavor. It evokes tranquility and bhakthi.

S G3 M1 P N3 S and S N2 P M1 G3 M1 G3 S G2 S

Hear a Nattai and a Jog and get the difference. Nattai is more madhyamakala and duritha kala ragam, while Jog shines in chowka kalam.

In Hindustani music, the Carnatic raga Nattai is most closely approximated by the raga Jog, though they are distinct ragas with unique characteristics. Nattai is known for its powerful, auspicious, and brisk mood and is characterized by the use of the shatshruti rishabha (a higher-pitched second note). Jog, while sharing similar notes, has its own unique emotional qualities and is often played at a slower tempo (chowka kalam) compared to the faster Nattai. 

Key Characteristics of Carnatic Nattai: 

• Auspicious Mood: Nattai is often used to begin a concert and creates a joyful and auspicious atmosphere.
Melodic Structure: It is known for its emphasis on the Nattai rishabha (a high-pitched rishabha).
Scale: It contains all seven notes (sampoorna raga).

Key Characteristics of Hindustani Jog:

Emotional Quality: Jog has a distinct emotional flavor that differs from Nattai. 
Tempo: It is well-suited for slower tempos (chowka kalam). 
Notes and Structure: Jog's structure shares similarities with Nattai but treats the shatshruti rishabha differently. 

Why They Are Considered Equivalents (but not identical):

Mutual Counterparts: Nattai and Jog are considered mutual counterparts in their respective musical systems. 
Shared Notes: They share many of the same notes, making them similar in structure. 
Unique Character: The key difference is that while they share notes, the way these notes are handled and their specific "bhavam" (emotional essence) are unique to each raga. 

===Lyrics in English===mahA gaNa patim manasA - rAgaM nATa - tALaM - catuSra Ekam

pallavi

mahA gaNa patiM manasA smarAmi
(madhyama kAla sAhityam)
vasishTha vAma dEvAdi vandita

samashTi caraNam
mahA dEva sutaM guru guha nutaM
mAra kOTi prakASaM SAntaM
(madhyama kAla sAhityam)
mahA kAvya nATakAdi priyaM
mUshika vAhana mOdaka priyam

variations -
rAgaM - nATa - cala nATa
pallavi - vandita - vanditaM

https://youtu.be/0AgFsaU3WO4

https://www.eviolinguru.com/uploads/7/3/5/7/735729/mahaganapathim.pdf

western notation

https://www.ibiblio.org/guruguha/ssp.htm

https://www.ibiblio.org/guruguha/ssp_cakram5-6.pdf

===Lyrics in Devanagari===
महा गण पतिम् मनसा - रागं नाट - ताळं - चतुश्र एकम्

पल्लवि
महा गण पतिं मनसा स्मरामि
(मध्यम काल साहित्यम्)
वसिष्ठ वाम देवादि वन्दित

समष्टि चरणम्
महा देव सुतं गुरु गुह नुतं
मार कोटि प्रकाशं शान्तं
(मध्यम काल साहित्यम्)
महा काव्य नाटकादि प्रियं
मूषिक वाहन मोदक प्रियम्

variations -
रागं - नाट - चल नाट
पल्लवि - वन्दित - वन्दितं

===Meaning===
Pallavi :
I think of Mahaganapati in my mind, the one worshipped by the sages like Vashishta and Vamadeva.

Samashti Charanam :
The son of Mahadeva; the one praised by guruguha,the one who shines forth like crores of manmathas, the placid one, the one who is fond of great literary works and plays, the one who has a rat for a vehicle, and one who is fond of modakas

kshEtra - tiruvArUr
Word by word meaning
Maha - Great
Ganapati - The Lord of the Ganas
manasA - in my mind
smarAmi - think of
Vasishta, VamadevAdi - (By) sages like Vasishta and Vamadeva
vandita - venerated
mahAdeva - Shiva
sutam - son
guruguha - the signature of the composer / By subrahmanya
nutam - praised by
mArakOti prakAsam - resplendent like crores of manmathas
SAntam - placid/calm

NOTTU SWARAS :

 https://sapthaswaras.blogspot.com/2009/05/nottu-swaras-by-muthuswamy-dikshitar.html

NOTTU SWARAS :

'NOTTU SWARAS' are group of krithis with a unified theme composed by Muthuswamy Dikshitar which follow the styles of both Indian and western and at the same time it is neither completely Indian nor completely western.
It is unique and special. This genre of music represents a unique dimension of creativity and is also a pointer to the relatively unknown aspect of the cultural interaction between the East and the West in the 1800s.

Muthuswami Dikshitar (1775-1834 A.D.) is regarded as one of the greatest composers of the South Indian classical (Carnatic) music system. The nottuswara sahityas are thus a body of compositions based on western original melodies (largely of Irish/Scottish origin) and Sanskrit text.

Dikshitar lived during the rule of the British East India Company. Along with the British, various forms of music from the European music repertoire arrived in India. Amongst these were the British National Anthem and other marches, waltzes, Celtic jigs and reels, polkas and more.
When Muthusvami Dikshitar lived in Manali near Chennai, he came in contact with the bands of the British East India company and the music played by them.

Dikshitar wrote lyrics in Sanskrit to many of the Western melodies that he came in contact with. Thus was born a new genre of music, known as nottuswara sahitya. This new genre of music is both Indian and western and at the same time it is neither completely Indian nor completely western. It is unique and special. This genre of music represents a unique dimension of creativity and is also a pointer to the relatively unknown aspect of the cultural interaction between the East and the West in the 1800s.

The nottuswara sahityas are thus a body of compositions based on western original melodies (largely of Irish/Scottish origin) and Sanskrit text. These compositions are totally Indian from the standpoint of the stotra literature-based lyrics that constitute their body although the melody is devoid of characteristic Indian ornamentation.

Birth of Nottu Swara Sahityam (Western Melody)

Dikshitar had occasion to listen to Western Music when he came in contact with officials of the East India Company and their English Musical band. His younger brother, Baluswami Dikshitar, who was initiated to learn European violin by the patron Manali Chinnaswami Mudaliar, introduced the violin into Carnatic music.
With this influence, Dikshitar composed many kriti-s under the classification of Nottu Svara Sahitya-s, all in the raga sankarabharanam in different tala structures. All of these are extremely melodious, and some of them resemble Western tunes.
For example, the kriti "santatam pahi mam sangita shyamale" is a Marching Song, which can be sung in a chorus, to the tune of "God save the King"!
The following is a complete list of kriti-s in this group (note that since all of these songs are in raaga sankarabharanam, I have provided the tala-s in this list):

Anjaneyam (tishra eka), chintayeham (chaturashra eka), dasharate (tishra eka), dhinabandho (tishra eka), guruguha sarasija (chaturashra ekam), guruguha pada pankaja (tishra ekam), gurumurte (rupakam), he maye (tishra eka), jagadisha (chaturashra ekam), kamalasana (chaturashra eka), kanchisa (tishra eka), maye chitkale (tishra eka), muchukundavara (tishra eka), pahi durge (chaturashra eka), pahimam (tishra eka), pankajamukha (tishra eka), paradevata (tishram), paradevate (rupakam), parvatipate (chaturashra eka), pitavarnam (tishra eka), rajivalochanam (tishra eka), ramachandram (chaturashra eka), rama janardana (tishra eka), sadashiva (chaturashra eka), sakalasuravinuta (chaturashra eka), shaktisahita (tishra eka), samaganapriye (chaturashra eka), shankaravara (rupakam), santanasaubhagya (tishra eka), santatam govinda (tishra eka), santatam pahi mam (tishra eka), somaskhandam (tishra eka), sri shankara (tishram), shyamale meenakshi (chaturashra eka), vagdevi (chaturashra eka), vande meenakshi (chaturashra eka), varadaraja pahi (tishra eka), varashivabalam (chaturashra eka).

The "western note" compositions are nice tunes that are attractive to the lay listener as well as the beginner. In my opinion a few of them can be taught as an intermediate between gita and varna, both for vocal and instrumental students.