song 25 pg 38 śaṅkara bhagavat pādaguro rāga nāṭṭakuṟuñji tāḷa ādi

tankam

 song 25 pg 38 śaṅkara bhagavat pādaguro 

rāga nāṭṭakuṟuñji tāḷa ādi

pallavi

 śaṅkara bhagavat pādagurō śaraṇāgata paripālana tatpara||

anupallavi

śaṁkuru satataṁ lōkagurō bhava saṅkaṭanāśana paramadayāḷō||

caraṇaṁ

ajñānadiyaṁ akiñcanaṁ māṁ ātmānātma vivēkavihīnaṁ

vijñānamaya vēda vidāṁ vara! vidvan! pālaya vimalaguṇālaya

MEANING :PER COURTESY- DR ALAMELU AND SRI RAMAKRISHNAN

Song  25   Page 38  (Shankarabhagavadpadaguro)

Ragam:Natakurinji                            Talam: Adi

Harikambodi janyam

Arohanam: s r g m n d n p d n s

Avarohanam: s n d m g s

Pallavi

O! Preceptor Shankara Bhagavadpada! (The One) who is wedded to save those who supplicate unto You!

Anupallavi

O! Universal preceptor! May you always grant (on us) auspiciousness! O! One of infinite mercy! One who destroys the sorrows of repeated births and deaths!

Charanam

O! One who is the repository of (all auspicious) qualities! O! The realised one! O! The embodiment and unadulterated (Brahma) jnana! O! The One who is foremost among those who are steeped in (superior) knowledge! May you protect (save) me, who is of clouded intellect, having no (spiritual) knowledge and ignorant of the difference between the Real (Atma) and the non-real (the body)! (Alternatively, ignorant of the difference between the sentient and the non-sentient).

------------------

२५ शङ्कर भगवत् पादगुरो 

राग नाट्टकुऱुञ्जि ताळ आदि

पल्लवि

 शङ्कर भगवत् पादगुरॊ शरणागत परिपालन तत्पर॥

अनुपल्लवि

शंकुरु सततं लॊकगुरॊ भव सङ्कटनाशन परमदयाळॊ॥

चरणं

अज्ञानदियं अकिञ्चनं मां आत्मानात्म विवॆकविहीनं

विज्ञानमय वॆद विदां वर! विद्वन्! पालय विमलगुणालय

൨൫ ശങ്കര ഭഗവത് പാദഗുരോ 

രാഗ നാട്ടകുറുഞ്ജി താള ആദി

പല്ലവി

 ശങ്കര ഭഗവത് പാദഗുരൊ ശരണാഗത പരിപാലന തത്പര||

അനുപല്ലവി

ശംകുരു സതതം ലൊകഗുരൊ ഭവ സങ്കടനാശന പരമദയാളൊ||

ചരണം

അജ്ഞാനദിയം അകിഞ്ചനം മാം ആത്മാനാത്മ വിവെകവിഹീനം

വിജ്ഞാനമയ വെദ വിദാം വര! വിദ്വന്! പാലയ വിമലഗുണാലയ௨௫ ஶங்கர ப₄க₃வத் பாத₃கு₃ரோ 

ராக₃ நாட்டகுறுஞ்ஜி தாள ஆதி₃

பல்லவி

 ஶங்கர ப₄க₃வத் பாத₃கு₃ரொ ஶரணாக₃த பரிபாலந தத்பர||

அநுபல்லவி

ஶம்குரு ஸததம் லொககு₃ரொ ப₄வ ஸங்கடநாஶந பரமத₃யாளொ||

சரணம்

அஜ்ஞாநதி₃யம் அகிஞ்சநம் மாம் ஆத்மாநாத்ம விவெகவிஹீநம்

விஜ்ஞாநமய வெத₃ விதா₃ம் வர! வித்₃வந்! பாலய விமலகு₃ணாலய

sōng 23 pg36suprabhātaṁ hindōḷaṁ ādi National song suprabhātaṁ

 

23 sōng  36hindōḷaṁ ādi

pallavi

suprabhātaṁ sumanōhara bhārata bhāgyada

anu pallavi

suprabhātaṁ jagat suprabōdhaṁ

sukha tara vātaṁ śuka pika nādaṁ

sulaḷita bhāvaṁ gata dina nāthaṁ

caraṇaṁ 

1 vikasati naḷinī vicarati hariṇī

viramati rajanī  virājati dharaṇī

2 nānāvida mr̥ga  vihagārāvaṁ

nānāvidha parimaḷa suma śōbhaṁ

nānā mata natajana hr̥ta pāpaṁ

nādātmaka nārāyaṇa rūpaṁ

meaning

Song No: 23  (Suprabhatam)

Ragam: Hindolam                Tala: Adi

Natabhairavi raga janyam

Arohanam: s m g m d n s

Avarohanam: s n d m g m g s

MEANING :PER COURTESY-  DR ALAMELU AND SRI RAMAKRISHNAN

Pallavi

Good Morning unto You! O! The exquisitely beautiful One who bestows good fortune on (the people of) the land Bharata! 

Anupallavi

Good Morning to the One who wakes up the universe! To the One who provides comfortable breeze! To the One having the sound of the parrot and the cuckoo! To the One of pleasant attitude! To the master of the days gone by ! 

Charanam 1

(when the dawn breaks), the lotus blossoms, the doe moves about, the night withdraws and the earth glows (suprabhatam)

Charanam 2

Sounds of different animals and birds, shining with the sweet fragrance of a variety of flowers! Remover of the mental distress of different people following different faiths, who supplicate to You! One who is of the form of Narayana and who is the very soul of sound loaded with devotion! (suprabhatam)

 

sōng 16 26pg pālayamāṁ balahari ādi

 sōng 16 26pg

pālayamāṁ balahari ādi

pallavi

pālayamām śrībāla gōpāla paramakalyāṇa guṇa śila

anupallavi

nīlāṁbaradhara vara sōdara nīrada nibha nīlakaḷēbhara

caraṇaṁ

dēvādidēva dēvakī nandana dīnāvana jagad ādi kāraṇa

dēvēndrārccita caraṇāmbhuja yuga 

dēva mahīruha kr̥tāpahāraka

sēvaka maṅkaḷa dāyaka yaduvara

śrīvara veṅkaṭaramaṇa viśvātmaka

sōng 14 22pg rādhāramaṇaṁ rāgam khamās tāḷam ādi

 

sōng 14 22pg

rādhāramaṇaṁ rāgam khamās tāḷam ādi

 pallavi

rādhāramaṇaṁ bhajamana rājīvanayanaṁ sanātanaṁ

anupallavi

pītāṁbaradhāriṇaṁ śikhi piñcara vibhūṣaṇaṁvanamālinaṁ

caraṇam

indirā  hrudayēśvaraṁ yadu | 

nandanaṁ girijāsahōdaraṁ

nandagōpasutaṁ varaṁ smara 

sundaraṁ veṅkaṭaramaṇaṁ hariṁ

3.1.1 . A study of those r¡gas that were brought to light to the music world by Trinity and post Trinity composers by their compositions and also handled by  E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.

kham¡s- up¡nga and bh¡ ½¡ nga  known during the period of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ,and the variance in his kºtis.

. kham¡s- rādhāramaṇaṃ 

khamas-kriti radharamanam- seems upanga

Khamāś-harikāmboji janyaṃ āro-samagamapadhanisa ava-sanidhapamagasa

rādhāramaṇaṃ-ādi

In avarohaṇaṃ different by the scribe

anupallavi-nisanisa nidhadhapa sanidhapa

nidhapama mapadhama magapa,ma,,,

-manidhani sadhanipa,dha,ni,sa, ni gamagarisa,,,

dhanisani dhadhanipa,,dhanisa,mamagari sarisanisa,,,

samagamarigasa,sanirisani,ni,|nisanidhanidhapa,gamapadha nisasapa||(ni,dha,pa,ma, mapadhama magapa,|ma, ,, ,,)

caraṇaṃ -sa,ni rini sa,|nisanisagamagarisa,sa, |

sa,sa,sari ni,, ni ,,ni,, ninidhapa nidhapa,|

dhasa,ni,sa,-sa,ma,ga,-ma, ga,ri,ri,-ga.sa,,,ni,sa,|

sa,ni,ri,sa, sa,dha,ni,ni,|dha,dha,ni,dha,ga,ma,pa,dha,|| 

song12 pg19 rāmacandraṁ bhaja rāgaṁ toḍi tāḷaṁ khaṇḍajāti tripuṭa 9 mātra

 

sōng12   pg19

rāmacandraṁ bhaja

 rāgaṁ toḍi tāḷaṁ khaṇḍajāti tripuṭa 9 mātra

8th ṁeḷa karta

pallavi

rāmacandraṁ bhaja rājēndraṁ mana 

ravikula jaladhi candraṁ upendraṁ

anupallavi

tāmarasa bhava sādhu pūjitaṁ tārakacaritaṁ jānakīsamētaṁ

caraṇaṁ

dhīraṁ raṇavijita niśācara śūraṁ varaguṇabhara pārāvāraṁ

śrīraghu vīraṁ

vēṅkaṭaramaṇaṁ udāraṁ sukumāraṁ nigamādhi sāraṁ dayākaraṁ

Analysis gr phd thesis

3.2.2. A study of the kºtis set in t¡©¡ s other than Adi,Rupaka,Chapu:

kha³¢a j¡ti tripu¿a t¡©¡

r¡macandram bhaja tµ¿i  kha³¢a j¡ti tripu¿a t¡©a

 

Ref:vnkrmnym-pg 19 num12-the sahitya is in praise of Lord Rama,

 laghu 5 units of 4ak¾aras each + druta¯ 2 units of 4 ak¾aras each+ druta¯ 2 units o 4 ak¾aras eac||

all units are executed twice-known as ren¢u ka©ai

so each avarta has 20+8+8=36*2=72ak¾aras in one tala cycle

laghu5 druta¯2 druta¯2

r¡macandra¯-bha|ja      r¡|  j£ndra¯ mana||

ravikulajaladhi can|dra¯ u|p£ndra¯  ||

t¡marasabhava bhava| s¡dhu| pujita¯-||

t¡rakacarita¯ j¡|nak§  sa |m£ta¯ ||

dh§ra¯ ra³avijitani|¾¡cara |¾Àra¯||

varagu³abhara p¡r¡|v¡ra¯ |¾r§raghu||

v§ra¯ ve±ka¿arama| ³amud¡|ra¯ suku||

m¡ra¯  nigam¡di| s¡ra¯ da|y¡kara¯||

yati prasa, anu prasa alankara .are highlighted

antaryukti is found in suku||-m¡ra¯  and    raghu||v§ra¯ where the pada is split to bring in yati prasa alankara without diminishing the musical quality.

RamacandraM Baja rAjEndraM mana ravikula is a kriti with the pallavi having one 2 avartas.Anupallavi having 2 avartas and single charanam having 4 avartas.

Structuaral balance between pallavi, anupallavi and charana maintained.

song4 guham āśrayāmi kumāram rare rāga prakāśiṉi tāḷā ādi2 kaḷā covkam

https://youtu.be/FjoZ4S_XQtI

pallavi

guham āśrayāmi kumāram bhavaharam 

guṇa sāgaram śakti dharam

aṉupallavi

mahaṉīya śikhivāham ṣaḍāṉaṉam

māyārahita māṉasa sadaṉam

caraṇam

gāmgēyam vaḷḷīkāṉtam umāsutam

 kār̆ttikēyam* skaṉdam ṣāṇmāturam||

rākēṉdu ṉibhavadaṉam veṉkaṭa

ramaṇapriyam varakamalābhacaraṇam

ṉāgāṉaṉasodaram dhaṉujaharam 

ṉatajaṉapāpāṉalaśamajaladharam

pākārimukhāmaraseṉeśvaram

 bhaktārttiharam paramadayākaram

MEANING :PER COURTESY-  DR ALAMELU AND SRI RAMAKRISHNAN

Song 4:  Guhamāsrayami

(I seek the support of Guha)

Raga  Prakāsini                                       Tala  Adi (2 kalai chaukkam)

Shadvidamārgini mela janyam

Arohanam: s r m p d n s

Avarohanam: s n d p m g r s

Pallavi

I seek the support of Guha who is the son (of Lord Siva and Parvati), One who destroys the ocean of births and deaths, One who is the repository of all auspicious qualities and the One who wields the weapon ‘Sakti’. 

Anupallavi

The one whose vehicle is the great peacock, the One who has six faces, the One who is the resident of those whose minds are not affected by illusion (universe) (I seek)

Charanam

One who emerged from Ganga, the beloved of Valli and the son of Uma, O! Kartikeya! Skanda! Embedding six beings in one body! (reference may be made to Skanda purana and hence the name of Lord Subrahmanya as “Shan mukha” or “Kartikeya”), The One whose face has the lustre of the full moon, One who is loved by Venkataramana and having feet that has the resplendence of lotus, the One who is the brother of the One with an elephantine face (Lord Ganesha), the One who destroys the sons of Danu, Dānavas (i.e. evil ones), the rain-bearing cloud that quenches the fiery sins of those who supplicate unto Him, the One who is the commander-in-chief of the army of gods, led by the enemy of the demon Paka (Indra), the One who destroys all the difficulties of those who supplicate unto Him, the One who is most merciful (I seek)

Note: According to the Skanda Purana, six divine sparks emerged from Shiva, forming six separate baby boys. These boys were raised by handmaidens known as the Krittikas. Later, Parvati fused them into one, creating the six-headed Kartikeya.[7] Kartikeya means "of the Krittikas" in Sanskrit.[                                                          

                                                                    ***********

āṉalysis o the śtructure āṉd ḷyrical āspects of krtis 

refer   āṉalysis o the śtructure āṉd ḷyrical āspects o krtis o ē33appa ? eṉkiarma bhhgavatar 201

rare

rāga prakāśiṉi  tāḷā ādi2 kaḷā covkam

The only kriti on Lord Muruga

The composer prays to kumara to rid him off the bhava- sins.

The six faced One who rides on the peacock, and removes the greed of the Devoted.

the padas are full of alliteration while describing the various epithets .

Song no: 126 avyaktam ( avyaktāya nama: ) rāgaṁ maṇiraṅgu tāḷaṁ ādi

 

Song no: 126   avyaktam

( avyaktāya nama: )

rāgaṁ maṇiraṅgu                        tāḷaṁ   ādi

ārōhaṇaṁ  -  sa ri ma pa ni sa

avarōhaṇaṁ  -  sa ni pa ma ri ga ri s

pallavi

avyaktaṁ ahaṁ anudinaṁ āśrayē hariṁ abjalōcanam|

anupallavi

suvyaktamanujāvatāraṁ sūrya sudhākaraśōbhākaraṁ|| (avyaktaṁ)

caraṇaṁ

bhūkamalānalānilanabha bhūtakāraṇaṁ bhuvanapālanam|

ēkaṁ anēkaṁ akṣaraṁ jagadīśvaraṁ śrī vēṁkaṭaramaṇam (avyaktaṁ)

    ----------------

Song no: 126   अव्यक्तम्

( अव्यक्ताय नम: )

रागं मणिरङ्गु                        ताळं   आदि

आरोहणं  -  स रि म प नि स

अवरोहणं  -  स नि प म रि ग रि स्

पल्लवि

अव्यक्तं अहं अनुदिनं आश्रये हरिं अब्जलोचनम्।

अनुपल्लवि

सुव्यक्तमनुजावतारं सूर्य सुधाकरशोभाकरं॥ (अव्यक्तं)

चरणं

भूकमलानलानिलनभ भूतकारणं भुवनपालनम्।

एकं अनेकं अक्षरं जगदीश्वरं श्री वेंकटरमणम् (अव्यक्तं)

    ----------------

Song no: 76 Page 112 Yadudvaham

 

duplicate

MEANING :PER COURTESY- DR ALAMELU AND SRI RAMAKRISHNAN

Song no: 76    Page 112

Yadudvaham

Raga:                 Tala:  

Pallavi

The uplifter of the Yadu clan! The One who stopped the force of the current of river Yamuna, The One who has garuda as His mount, I always supplicate (to Him).

Anupallavi

One with a face as lovely as the moon, One who protects the pure-hearted people, One who supports (rules over) the universe, One who is praised by Brahma and One who is eternal.

Caranam

The Lord of Mathura, bestower of auspiciousness, the father of Cupid, One whose gait is like that of a lordly elephant in rut, One who grants all the wishes of those who supplicate unto Him, One who sports the ‘srivatsa’ mark, One who is replete with (ātma) jnāna, Sri Venkataramana! (I pray to You)

                                                                       ***********

notated by kumari tarangini
sōng 76 112 pgtarangini vīna aga: śankarabharanam ṭala: ṁisra chapu tha ki ta tha ka dhi mi tha ki ta tha ka dhi mi tha ki ta tha ka dhi mi tha ki ta tha ka dhi mi , , pa , , , pa ma ga , ma , , , pa , , , , , dha , ni , sa , , , , , sa , sa , sa ni dha , pa , , , ga , ma , pa , ma , ga , ga , ri , , , ya dū - - dva ham hru - ta - ya mu nā - - - vē - - gam - - - ri , ga , ma , pa dha , pa pa ma ga , ga , ri , sa , ni , dha , ni , , , sa , , , , , sa , , , pa , , , sa ni pa , , , pa ma ga , ga , ma , - ī ḍhe - - - - - - ham sa - - ta tam - ga ru - ḍa vā - - ham - stōpping sangathi ri , ga , ma , pa , dha , pa , , , ma ga ga ri sa , sa , dha , ni , sa , sa , , , , , sa , , , ma pa dha ni sa ri sa ni dha pa sa ni dha pa pa ma ga ri - ī ḍhe - - - - - - ham - - - sa - - ta - tam - ga ru - ḍa - vā - - - ham - - - ānupallavi , , sa , , , sa ni dha , pa , , , ga ma pa , , , pa , ma , ga , ma , ri , ga , ma , pa , dha , pa , , , ni , sa , dha , ni , sa , sa , , , - vī dhu - - ni bhā - - na - nam - - vi ma la - ja nā - - va - nam ri , ni , sa , ri ga ma ga ga ri sa , sa ri sa ni sa dha ni , , , sa , , , sa ni ri , , , sa ni dha , pa , , , ma pa dha ni sa ri sa ni dha pa pa dha pa ma - viśvam - - - - - - bha ram - - vi - - nu ta vi - rin cim - - sa nā - - - - - ta - - - nam - - - charanam , , ga , ma , pa , , , pa , , , pa , , , , , pa dha dha pa ma , , , pa , pa , sa ni dha , pa , , , ga ma pa , , , pa , ma , ga , ma , - ma thu ra - nā ya - kam - - - man ga - - la dā - - ya - kam - ri , ga , ma , pa , , , pa ma ga , ga , ga , ri , ri ga ri , sa , , , , , sa , sa , pa ma ga ma , ri , , ma , ga , ma , pa , , , pa , , , - ma da na ja - - na - kam ma - tta - mā - tan - - - ga gā - - mi nam , , pa , pa , pa ma ga , ma , , , pa dha ni , dha , ni , , , sa , , , , , ni , sa , ri , ni , sa , , , ni sa dha , , , ni , , , sa , , , - śri ta kā - - ma dā - - - yi nam - śri - vat - sa lā - - nca nam , , ma , pa , dha , ni , sa , , , sa , sa ni dha , pa , , , dha , ni , sa , ni , sa , sa ni dha , pa , , , ma pa dha ni sa ri sa ni dha pa dha pa ma ga  

- cin - ma - ya ghha nā - - ghha nam - śri - - ēn - - - ka - - - ṭa - ra - - - ma - ṇam (ẏadūdvaham) 

125 pārtthasāratiṁ rāga-kāmbōji

         

pārtthasāratiṁ 

 

https://youtu.be/yLg1p2xr9Bk

rāga-kāmbōji                                          harikāmbōji janya tāḷa rūpaka                                        pallavi pārtthasāratiṁ satataṁ bhajē karuṇānidhiṁ yadupatiṁ  parama kalyāṇa guṇajaladhiṁ

anupallavi ārttārtihara nijavrata pūrttiṁ amaranuta kīrttiṁ akhilajagatādhāra śaktiṁ  atasīsumābha śyāmaḷa mūrttiṁ

caraṇa gōpikā manahkumuda candra kōmaḷatara smitavadanaṁ gōvindaṁ      vanamālinaṁ hariṁ kuṅkumāruṇa caraṇaṁ gōpālaṁ muraḷīdhāriṇaṁ kuvalayadaḷa lōcanaṁ tāpāditrayaharaṇaṁ bhuvanaśaraṇyaṁ veṅkaṭa ramaṇaṁ varēṇyaṁ||        

  पार्त्थसारतिं

राग-काम्बोजि                                          हरिकाम्बोजि जन्य ताळ रूपक                                        पल्लवि पार्त्थसारतिं सततं भजे करुणानिधिं यदुपतिं  परम कल्याण गुणजलधिं

अनुपल्लवि आर्त्तार्तिहर निजव्रत पूर्त्तिं अमरनुत कीर्त्तिं अखिलजगताधार शक्तिं  अतसीसुमाभ श्यामळ मूर्त्तिं

चरण गोपिका मनह्कुमुद चन्द्र कोमळतर स्मितवदनं गोविन्दं      वनमालिनं हरिं कुङ्कुमारुण चरणं गोपालं मुरळीधारिणं कुवलयदळ लोचनं तापादित्रयहरणं भुवनशरण्यं वॆङ्कट रमणं वरेण्यं||        

song 42.63. t23. harimIDhE rAgaM ~navarasakannaTa

 https://youtu.be/r0MvDmDMWdY

 ४२.६३. त्२३. हरिमीढॆ

रागं ~नवरसकन्नट                        हरिकाम्भॊजि जन्यं

ताळं आदि                                आ: सगमपस    अ: सनिधमगरिस

पल्लवि

हरिमीढॆ अहमनुदिनं

अनुपल्लवि

   नरहरिं नरकासुर हरं

नारदादिमुनि नुत पादपङ्कजवरं 

चरणं

रमणीयाननं  तरुणं  कमला  भूकान्तं  वरॆण्यं        

       कमनीय कनकांबरधारिणं काकॊदरशयनं वेङ्कटरमणं

song 13 .21pg śrīrāma raghurāma

 13.21pg śrīrāma raghurāma

rāgaṁ begaḍa tāla khaṇḍa  cāypu

pallavi

śrīrāma raghurāma jitabhr̥gu rāma cinmaya ghana śyāma namastē namastē

anupallavi

dhīrādhidhīra raṇaḍhīra vara gaṁbhīra

devaripugaṇamāra jitamāra sukumāra

caraṇaṁ

śarṇāgata trāṇa karuṇābjanayana

śaracāpadhara suguṇa sāketa sadana

varajānakīramaṇa vanditākhilabhuvana

vanajabhavanutacaraṇa varada vēṅkaṭaramaṇa

१३.२१प्ग् श्रीराम रघुराम

रागं बॆगड ताल खण्ड  चाय्पु

पल्लवि

श्रीराम रघुराम जितभृगु राम चिन्मय घन श्याम नमस्ते नमस्ते

अनुपल्लवि

धीराधिधीर रणढीर वर गंभीर

दॆवरिपुगणमार जितमार सुकुमार

चरणं

शर्णागत त्राण करुणाब्जनयन

शरचापधर सुगुण साकॆत सदन

वरजानकीरमण वन्दिताखिलभुवन

वनजभवनुतचरण वरद वेङ्कटरमण

A stylistic analysis-

Similarity between selected kºtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar   

and that of Trinity and Post Trinity composers

begaṭa-rāga-śrīrāma raghurāma -namaste namaste- kha³¢a cāypu

The setting has a lot of resemblance to the fourth Vibhakti krti of Muthuswami Dhikshita  on Lord Tyagaraja -Tyāgarājāya nāmaste namaste- bēgaṭa-rāga

Another krti among the 108 nama group,

y¡dav£ndra¯Ä bhaj£-b£ga¢a-¡di has a different setting with appropriate usage of the vakra passages to bring about the flavour of rāga chaya.

This shows  complete understanding of the rāga by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .