CLASSICAL MUSIC Music is a group of melodious sound. It is a lively art. Music enjoys an exalted position in comparison with other fine arts in the expression of the “Navarasas,” It enlightens the mind, enthralls the hear, lightens the border of life, sorrows and sufferings fade out in real musical melody. ‘The eastem and western schools of thought and religion says that Music is an easy means of attaining spiritual enlightenment. Indian Classical Music Indian classical music is divided into two: 1. Hidustani Classical Music [North indian Music) 2, Camatic Classical Musie [South Indian Music] CARNATIC CLASSICAL MUSIC ‘The basie structure of music is “Swaras”(Musical notes) In Incian classical music, There are seven “swaras” known by different names as ‘Shadja’, “Rishabha’, ‘Gandara’, ‘Madhyama’, “Panjama’, ‘Daivadha’ and ‘Nishada’ are also said as Sa, Ri, Ga, Ma, Pa, Dh, Ni A sequential low of eight sounde starting from Shadja to the beginning of the next Shadja is called * Swaraashtaka'. They are Sa, Ri, Ga, Ma, Pa, Dha, Ni, and Sa A Raga is differentiated ftom the other, by the position of the “Swaras” ‘Among the ‘ Sapthaswaras’ (seven swarts)‘Shadja’ and “Panjama’ (Sa and Pa) remain constant in their positions. They are also called “Prakriti Swaras’. The remaining five swaras ~ (Ri, Ga, Ma, Dha, Ni) have wo different forms (.¢ two swarasthanas), “Komala’ (Sudha) and Theevra (Chathaseuthi) they are also called as “Vikithi Swaras’So in Indian classical music we use seyen Swaras and twelve Swarasthanas i.e, Sa, Pa and Ri, Ga, Ma, Dha, Ni (Two positions) 141 5*2 =12Swarathanas ‘All music that has been composed and performed so far (including Indian classical & western) is based on these 12 musical notes or tones. ‘Though these 12 notes are named differently in each variety of musi. ‘The twelve Swarathanas and their Names No | Name of Swarathanas | Swaras | Another | Western Name | Name 1. Shadja c 2. ‘Sudha Rishabha Komala__D-flat 3. ‘Chathu sruthi Theevra|— D Rishabha & Sadharana Gat | Komala | E-flat Gaandhara | 5 ‘Anthara Ga2 |Theevral Gaanthara | Sudha Madhyama | Ma-1 [Komala | F _| 7.__|_Prathi Madhyama | Ma-2_| Teevra | F-sharp | [8 ‘Panjama Pa G 9. Sudha Dhaivada | Dha-1 | Komala | A- flat 10. Chathu sruthi | Dha-2 |Theevral A : Dhaivada i. Kaisiki Nishada Komala 2. Kakali Nishada ‘TheevraSAPTHA SWARAS In carnatic music there are seven Basic swaras. They are: - 1. Shadja (Sa) 2. Rishaba (Ri) 3. Gandhara (Ga) 4. Madhyama (Ma) 5. Panjama (Pa) 6, Dhaivada (Dha) 7. Nishada(Ni) ‘These basic seven swaras are called as the “Saptha swaras” and are sung in ‘Adi Thalam’, RAGAAS Melakartha Ragaas ( Janaka Rageas) or Originator Ragas These are Ragaas in which all the seven swaras starting from Shadja to Nishada are featured in their respective order both in the ‘Arohana (ascending order) and Avorohana (decending order): 1, Mayamalavagovla Eg: Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa (Arohana) Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa ( Avarohana} 2. Sankarabharanam Eg: Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa (Arohana) Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa (Avarohana) Melakartha Ragaas are 72 in total. A Musicologist named Venkita Makhi Devised and popularised this system of 72 Melakartha Ragaas using the 7 basic swaras and 12 swarasthanes.MELAKARTHA RAGAS Suvpis Manvatane PRATT MADITVAMAM Kanakang! 3 Salakam Ratna 38 Talimavam Ganamoorthy 59, Talwar Vanaspathy o Minavathy a. Pave Thinaroopy ghupriya Senavathy © Gatanboaha Fanomathod 44, Bhavaprya Dhenuka 5 Subapanthavars Kasra fo. Sadhnma lap arnt 48 Divyamant ®. Davalambac Mi il Y 3 iyjamalavagoula Es Cia 3 58. Gamanastama 54. Viswambari SSRUEBREBSRSRGESEE Soran nan Jhankeadhwani 5. Syamalangi Natabhaira 56. Shanmukspriva Kesrvant 3 Smead Kharaharapriya 58, Hemavathy Govrimanhaes 59, Dharmavathy Vsrunapriya Neston Miraranjent Si, Kenthamany Gharakes 2, Rishabhaprya Sarena 5. Lathang! smbojt 64, Vachagpathy 28. Dhesrasanlaribaranam —&3. Mechabalys 530. Naganandint 6: Chithramban 31. Yagapniya 7, Sucharsteam 32. Ragavardhani 6, Jothiswaroopini 35. Gangeyabhooshani 6. Dhathuvardhani Ad. Vigadeeswart 50, Naskabhooshani 35. Soalinl 11. Kesalarm 36. Chalanatai 12, RasikapriyaMayamala¥agovia Ragaa Any aspiring student of carnatic music will be introduced to this ragaa. This is the 15" Ragaa among the 72 melakartha Ragass. ‘The beginning lessons in carnatic music including varisakal and saptha thala alankaras are sung and taught in this Ragaa. Swarasthanas of Mayamalavagoula Shadja, Sudha Rishaba (Ri-1), Anthara Gandhara (Ga-2), Sudha Madhyama (Ma-1), Panjama (Pa), Sudha Dhaivada (Dha-1) and Kakali Nishada (Ni-2) are the swarasthanas of this ragea. ‘The Arohana ( Swaras sung in the ascending order) and the Avarohana ( Swaras sung in the decending order ) of the Raga ‘Mayamalavagovia are given below: Arohana: Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa Avarohana: Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa ‘Thaala ( Rhythm ) ‘Thala is a measure of time, which any music is divided. There are seven basic Thaalas in camatic music, collectively callec as the Saptha Thaalas. ‘Any beginner to the carnatic music will be introduced to the most common Thaala of all, namely the Aadi Thaala or Chachurasra jaathi thriputa thaala). ‘The Saptha swaras are sung in Adi Thala. ‘Adi Thaala features 8 Akshara kala (8 beats) in one Thaalavatta (measure).Symbols of Thaala Aadi Thala IEX,1,2,31 X,v,x, VIL IL- These two lines show the beginning arid end of the Thaala. X- Symbol of beat (Aadi) V- Symbol of Veech I- A single line shows the mid- point of the Thala. 1 - (One) if it comes on top of a Swara, count one with the small finger. (Two) if it comes on top of @ Swara, count two with the second finger. 3 (Three) if it comes on top of a Swara, count three with the mid-finger. Eg: X 1 2 3 ee Hosa Ri Ga Ma I Pa DhaNi sa ILESSON- 1 Sapthaswarangal ‘Thaalam-Aadi Ragam-Mayamalavagaula [IS*MELAKARTHARAGAM] gy vy ‘Arohanam : SRGMPDNS “Avarohanam:SNDPNGRS AROHANA AVAROHANANGAL ‘First speed {for one beat one swaral ‘Second speed [for one beat two swaras] iSareca.maba-pialrsapanebHa-patna-ca Xe sall ‘Third speed [for one beat four swaras] x 1 2 3 {fia Ri Ga Ma PaDhaniSa SaNiDhaPa MaGaRiso| $a Ri Ga Ma PaDhaniSa SaNiDhaPa MaGaRiSal Fourth speed [for one beat eight swaras} x 4 || $2 RiGa Ma PaDhaNisa,SaNiDhaPa MaGaRise $.ni Ga Ma PaDhaniSa SaNiDhaPa MaGaRisol %a Ri Ga Ma PaDhaniSa SaNiDhaPa MaGaRiSe Sa RiGa Ma PaDhaniSa SaNiDhaPa MaGaRiSal|Sa Ga oma Pa oma Ge Sa Ga oma Pa da Nia Sa da = Pama Pa da Sa d2 Pa oma Gari St 1 2 3 Ze ri Ge oma mada Pa Gama da Ni Sa da Pa Pa Gama niet oe Ga a oe mK a B38 x vox ov Sa ri Gama ri Gama Pa Saori Ga soma Pa da Ni St Sa Ni da Pa | Ni da Pasa Sa Ni da Pama Gari St LESSON. 2. SARALI VARISHAKAL(2”° SPEED) ee ee WSRSRSRGM | SROMPDNS || SI] SROMPDSR | SROMPDNS | RaCkGnes cece: 143, xy Ry I) SNSNSNDP| SNDPMGRS |] | |] SNDPMOSN | SNDPMGRS I Rt23 rv ny | ot eo ey ne I| SRGSRGSR| SRGMPDNS ||| 6.|| SRGMPON- [SRGMPONS || eaves eee ri2a feyr¥ || Supswosw | SuDPmcRs || || SNDPMGR- fSNDPMGRS | Race aa i rita dow xy SREMSRGM | SREMPDNS | >I PMSA (SRGME DNS | hiaa, ny ay riez 3 ie wen + || SNDPSNDP| SNDPMGRS || || SNOPMPON (SNDPMGRS |] rtla3 ee ey eceuCre lave | SROMP-SR| SROMPDNS || &.J) SRGMPMDP [SRGMPDNS jl ria3 wy ny eee Re yereCa I] SNDPM-SN | SNDeMGRS |]! || SNDPMPGM fsNDPMGRS | thHE” seeeo 3.|| SRGMRGMPFSRGMPONS || omoo0e* wevEwE Eve UDEV" e122 3° Rk ¥oR || SNOPNOPM JSNDPMGRS |] kot 2°53. 2k wo] SGRMGPMG| S'R |) SNOPOMPD| SN || MGRSPMGR]| SR || PONSMPDN]| SN zw, GRSMGRPM| SR J) oNSPONMP| SN es x il] RSGA.MGPM| SA || NSON PO MP| SN jp SRSGAGMG| SR || SNSD ND PD] SN is| SRGMSN DP|' POD || SRomM sN DP] PD Now we are studying about 3rd VARISA called "MADHYA STHAYI" 1x 4 2 3 x [Sari Gama Pay Gama | Pay [Gama Pada Nida Pama [ 2x 4 2 3 x [Sa, Nida Nay daPa | day [Gama Pada Nida Pama | Gama Sie aa [[SaSa_ Nida daPa | dada Gama Pada Nida Pama | Gama 4x ee os [Sari Gari Gay, Gama Pama jmaPa daNi daa | maPa 12 3 x Game Pag Pag [dada Sa, SaNi_ daPa SaNi 12 zz000M< oovzve ZEEVED™ Pama PaGa Pama PaGa Pay daPa Pag daPa ooa0ag 99000 rae oe | maGa Sa | x OY Pap Pap | mata riSa | oY Pap Pap | maGe Se x ov data da, | maGa riSa | oaIss sa tide 88 Isa {Sa faa (iS {Ida 80 Ilsa 18 (ge Sa tds s aa sa {se [Sa fda [Sa [ids [se {laa Sa jaa iI Sa ri Ni Ni Ni Ni TARASTHAYL Sa Sa Sa Sa Sa ba da Ga Sa PEPE SES Pa z VARISAS x v a [Pa da Ni [Sa [Sa da (oo cs [Pa da 1s ae [Se Si jd Pama 1 Sa Ni da fm Gai x v x I Pa da Ni | Sa . : | Ga ti Sa | re oe [ Sa Sa ii (or as [Ba Ni da jm Ge x vox Pa da Ga ima Ga du Pama Ca ee da Pama Sa Sa ii du Pama Sa Ni da ma Gai Sa tl ol Pa || Sa | Sa | Il Sa ll Pa || Pa | sl Sa || » I nil Pal Sal] Pa |i Pa || sa v Sa ff il Hd Pal ii Pall Sal Pall Pall Sal}x 1 Sai Saw ida Ni nea [ida Ni sei jaa Ni Sai tan Ni [Sai do Ni foi MEI coca Cou cox EF eccooux coccux z2n 22 2222 zzza A ooo 6 Ga oma} Pa da ON Sih 6 4 al Gl ieee fa Nil da Pama als Coe cet Gs Ni} da Pama i Ga i Su Nil da Pama fi Se Se Nilo da Pa om ni |) Sa Ni a ape a) (eee 2"? SPEED “AY VARISHAKAL 1, 2.3,,% x Gu Pons 18 s " $A Sno 1s m 1 by Bah 612 aly bu Boks 12 ean 8h SBA 15 opMP ot SR SNoPts MoRS I t, 2nd eh VOOR Y Qu Bows 18.2. 3.2.4 Sh G@ASRISAgN DPMP I Sa S8AS 1S AEN PMP Tt $4 SNOP|SNDP. MGRE I Gu PonsSts-2- 8-7-4 Sa GUSATSRSN DPMP $a GASNISRSN DPMP oO BR 8 SAS1SASN DPMP oO Sa €voe {supe mens i es GM PONS IS-- S-5- 0 SR GmueMIGASN DPMP Oo SR GMGATSASN DPMP H SA GASNISASN DPMP I SR SERS TSASN DPMP E SR SNDPISNOP Mons I e Sal ii I Pall Sal) Pa || val sal]|ANDAVARISAK, Raggam - Mayamalavagaula ‘Tealam- Aaadi SPEED_OF NOTES IN TIME [One Note in One Beat | 1. Ist Speed = ee ee x oy Se Gee es Ne See) Nees ee may Ga i Sal 2. nd Speed = [Two Notes in One Beat] ea x vox sv | Sari Gama Pada NiSa SaNi_ daPa—maGa_HiSa | 1. Now we are studying the 2nd exeleise in" SAPTHA SWARAS" called" JANDA VARISAS [This VARISA is singing in 2nd speed | 1 2 x ov ox oy iri GaGa mama | PaPa dada NiNi Sada | NiNi dada PaPa | mama GaGa iri SaSa na 3 ey, oy riri GaGa mama | riri GaGa mama PaPa | mama’ PaPa dada [mama PaPa dada NiNi | dada NiNi San |SaSaNiNi_ dada PaPa [| dada PaPa mama [dada PaPa nama GaGall [Papa mama GaGa iri | mama GaGa siti SaSa | Ee3.x Vesee pare {Sain irNiNi {daa | Para ewes ax [ sasa [Gace | ama ip Papa ip SaSa NIN jdada Papa mama 5x [Isa [jriei GaGa [mama [[Papa UiSa8a Nini ldada lipaPa mam 1 GaGa PaPa GaGa PaPa dada NiNi dada PaPa i riSa Gari maGa Pama daPa Nisa daNi Pada maPa Gama 2 GaGa PaPa dada a PaGa dama NiPa daSa PaNi mada GaPa 2 Sari Ga Gama maPa Pada SaNi Nida daPa Pama maGa 3 PaPa dada dada PaPa GaGa x | sasa | riei | GaGa | mama [Papa | SaSa [INiNi [dada | PaPa | mama v GaGa PaPa dada NiNi dada PaPa GaGa dada 'Papa {mama x [Sasa | cir \GaGa | mama Para | SaSa NIN | dada iPapa | mama 16 0 GaGa PaPa dada NiNi dada PaPs GaGa x GaGa PaPa dada NiNi dada PaPa GaGa v nama PaPa | dada | NiNi | ‘SaSa_ | PaPa jj mama GaGa || vii SaSa | v mama Para dada Il NiNi [| Sasa | PaPa Il mama | GaGa || rit I SaSa_ || v mamall PaPa || dada || Nini [I Sa8a | PaPa || mama{[sasa [Sasa ir ipeirt i GaGa fcnca fmama {jsiama (tara || Para Sada W{SaSa (dada dada [Papa liar {mama [mama VAKRAJANDAVARISHAKAL 1 Gama maPa Pada daNi Nisa daPa Pama maGa Gari riSa daNi dada Pada PaPa maPa Gama GaGa 2 Ga Gama maPa Pada daNi Nida daPa Pama maGa Gari Be Sari | SaSa Gama [GaGa rmaPa | mama Pada |PaPa Sani | SaSa Nida | NiNi daPa | dada Pama | PaPa maGa_ | mama v x Fri GaGa GaGa mama mama PaPa PaPa dada dada NiNi NiNi dada dada PaPa PaPa mama DHATTU_VARISAS 2 GaSa Ga PaGa Pa dame da Nipa Ni daSa sda PaNi Pa mada GaPa Ga a x Sari | Ga riSa | GaSa HiGa | maGa Gari | mari Gama | Pama maGa | PaGa mape | dsPa Pama Pada v Ga riGa Gama wPa maPa Pada v mamall Para || dada || Nini [| Sa8a | Paps {l mamall GaGa || riti Il Sasa [|SAPTA THA-LA ALANKARA. *Sapta Thaalas" are sevein in numbers RHYTHM or THAAL Rhythm is a uniform repetition of Beats. There are seven basic Rhythm in Carnatic Music. Collectively called as the SAPTHA THAAL. ‘Anga Sampjé Pinger Notes) ‘The symbol of "I" stand for LAGHU.Lt shows the numbers of Finger notes. ‘The symbol of " O "stand for DRUTHAM. It shows the duration between two beats(One - Open beat anil Other - Closed beat ). ‘The symbol of “U* stand for ANU DRUTHAM. It shows one closed beat, 7 THALAAS AND THEIR FORMS BERBYA THMAL MADYA THAAL = = ROOPAKA THAAL JHAMPA THAAL, TRIPUTA THAAL ADA THAAL EDKA THAAL S ~ocmoe eo0 I 1 ° I 1 F T NAMES OF 5 JATHIS OF LAGHU 13. stands for THISRA LAGHU -—-One beat and count upto two. 14 stands for CHADURASRA LAGHU —- One beat and count upto three. Is. stands for KHANDA LAGHU-—-One beat and count upto four. 17 stands for MISRA LAGHU—~One beat and count upto si 19 stands for SANGEERNA LAGHU ~-One beat and count upto eight. 18Isa iri Ga [ma [ea iiSa Ni jjaa yea im 2 Iisa ist iIa oa [is iS iINi ile [Pa ij 1. DHRUVA_THAAL (CHADURASRA JATHT) Finger Numbers — a ° le 14 wat badd Beats 123 x vx £2 3 Xt 23 ri Ga ma [Ga ri [Sa ori Ga ri [Sa i Ga ma Gama Pa jma Ga ri Ga ma Gali Gama Pa fl ma Pa da [Px ma (Ga ma Pa ma |Ga Ga aa |) Pa da Ni\|[da Pa jma Pa da Pa [ma Pa Ni I} eee amet cte eeea lc aeea ae: TPa da Sa || Ni da Pa [da Ni {Sa Ni da Ni[Sa Ni da Pa ji da Pa ma [Pa da jNi da Pa da (Ni da Pa mal) Pa ma Ga |ma Pa [da Pa ma Pa {da Pa ma Gall ma Ga rl [Gama | Pa ma Ga mal Pa ma Ga sill Ga vi Sari Gajma Ga ri Gajma Ga ei Sal & MADTYA. ‘THAAL (CHADURASRA JATHI) Numbers = T4014 Beat = 442 + 4-10 Rees x ov 1203 ooGa rk SR ri Gama ff Ga oma Ga [ri Ga Ga ma Pa fl ma Pa ma | Ga ma ma Pa da | Pa da Pa | ma Pe ome Pa de Mit Ni) fan Pe rere da Sa Ni du Ni Sa Sa Ni da Pa da Pas da |Ni dasNi- da Pa Pa oma Pa fda Pas da Pama Ga aa em ccs cme Phe ae Gert Ga i Ga [ma Gama Gari i 193 ROOPAKA_THAAL (CHADURASRA JATHT) Numbers =O 14 Beats = 244 x ov To sari i Gaal {ri Ga Ga ma Pa | 1 Ga ma ma Pa da || {ma Pa Pa dai I th da da Ni Se Ni mo al j Nida da Pama ida Pa Pama Ga I ye om m Ge al Il ma, Ga Ga ri sa ll 4 JHAMBA THAAL (MISRA JATHI) Numbers =17 UO Beal 74 142-10 192 3 4 5 6 XK X ri Ga Sari Sari | Ga [ma Ga oma ri Gari Gama [Pa ma Pa Ga ma Ga — mal Pa | da Pa da oma Pa oma Pal da [Ni da Ni Pa da Pa dal Ni | Sa Ni dz Sa Ni Sa Rij da | Pa da Pa Ni da Ni dal Pa [ma Pa oma da Pa da Paj_ ma [Ga ma Ga Pa oma Pa mal Ga [ri Gari ma Gama Gay ri Sa 20TRIPUTA_THAAL (THISRA JATHI) Numbers Beats X 12 KX Vox yv [Sa ri Ge [Sa ci !Ga maf Pri Ga oma [ri Ga fom Pa 1Ga oma Pa {Ga ma (Pa da pma Pa da [ma Pa | da Ni | PPa da Nii | Pa da | Ni Sa | pSa Ni da Ss Ni yds Pa | Me Geer Geran Fda Pa ma [da Pa | ma Ga | [Pa ma Ga [Pa ma ;Ga ri | fim Ga pm Gat Sa G. ___ADA THAAL (KHANDA JATHD) Numbers=15 150 0 Beats ‘= S+54242=14 KX 1234 X12 3 4 8X ¥ Isa ri, Ga ydia 4 ri Gay [may Ga, may [rt » Gama » [Pa Cnet) Cr ans! @ [cn eee oe eon eae ee cae Ni Pa da, Nig [Pay da Nin [Say Ske ese Noe Ni da, Pay [Ni de Poy ima laa Pa oma [da Pa ma [Gay [Pa oma, Ga [Pay oma Ga tri fim Ga yma Garin [Say 7 EAKA THAAL (CHADURASRA JATHD Numbers Beats x 1 2 3 x 1 2 San ri Gamal Sa Na Wiles eas aa Gama Pa dal if'da Pata fim Pa da Nil IPs = ma Ga Pa da Ni Do fma Gai Pa da Sa Pa Sa a vl wll wll mil wl ol ol pa | ma | Ga jl Sa {Ky | ma Pa See Jiri ma om [seni a Vo , ma Pal I Sid ha “prima GEETHAM Srigananada.. ‘Vigneswara Geetham - Purantharadasar RAG : Malahari ‘THAL: Roopak. et da Sa Sa ii Ga Na Na dha Pa da ma Pa Na Sa Ga ra Ga ri Bo — da ea Pa da ma Pa da Sa $a i cha — ra Na Pa da ma Pa vi na Ya Ka da Sa Sa ti La vidya — Pa da ma Pa Vo — tha ma Sari, ma, Sa da Pa ou XV X123 xv _ sin du jaa Pa Ka Js i La Kw Jarre A oma seed la Ke [iv be Ga os faa Pa The Ji & 2 Gi da Pa The - Pa da, Sa ma, Ga, ri, Sa x | aa Im [Ga | ma | Ga | aa Poo Ga Pa Ga Raagem - Malahar 5th Meljanyam (Mayamalavagaula) 23 ma Pal isa sa = | _ Sa - | = ell eed | ee sellx laa Ku flea Jaa cha aa Rag ~ malahas ‘Thal — Roopak vyox1i23 Pa |ma Ga ri Sa nda Gi Pa [ma Ga ri Sa ma |Koo da — i [Sa da Pa fu Pa = = Kaha Pa [ma Ga ri Sa nda ma ~~ ma ti [fi Ss ae Pa ndi'ra ~~ Ya GEETHAM las Ie, ! I vox i aa Ga Ga au ma [Pa da ~ ke = ra [ms Ga ma [Pada = | nda Pa | ma Ga 24 23 ma Pal oS ku a i Sal Keo sa =f ma Pe Sena Keon -Mandara- ro oo ri Sa pl eMe. ge Mt oRrse | a [ie omioremyo Ris. s.t ee Loot uci Poa | 1 qs Ri soup gs RLM AGRE ee ee oe | re | : (re oe | _ ~=—Sseseseme fe nimuer. ip ri promt Ke ele eo al eee fee ee ee Pe mn | d&- wma | | bem es ff x 2 Jo pjereworR ti M@i| ars Ke onl gi ion - J ov er | 261 Sa Ma, Da D: Pa Pa GEETHAM -5 Rag: Kalyani Sa Ri Ga Ma Pa Da Ni Sa Sa Ni Da Pa Ma Ga Ri Sa ‘Thal :Tripuda X12 XV XV 2 x 8a [Ni ia Je Pa | Pa ml ral a [Ga na Sa ~ [Sa mda a [Da vi bhe Ma[Pa pul ro = [Ma = le Thala x Ni da Da Ka Ga dhe (Sth Melakartharagam vox 12K ¥ x Vv Sa [Ni pa ra [Da Pa Mia Pa fa Vi ma ta Suna Yana Ni [Da Pa MalPa Ga Ri Sa |] fu aam bu dhe E 283 GEETHAM - 6 Rag : Malahari ‘Thal :Tripuda x 12 * V *Y Rye -| erik Sg ale f tle te 2! oe" [Pe = Pama fim -f RA Pa [fe = Pa mala - fRo gt goal: 29Aros RM PD:S JR mM RIR Jas Jo > “saa Ir, fire - row fe: Ip Ta for Pre a GEETHAM— 7 { 29er Mele ¥ Janyam “Thisee danni Tripura Thala AV BOP MRS Si sis so we | ka fun = i | po De oe te weep sha + | shape fk - ona | a pDID Pur. PIM di [nam = [the = te | pa 4 Ss RIS RIP M Pi | Ia la P PIM RERS RIM aocls spe - tw [a $ .18 ,1R R 81D tham- fonam = [ja | ja dD .|D Pip M RID sha =f sthapu [rk = aa | di Debeo mies ei | nam - fama - ta | po Sees eye wer les ast eda ba PRIM RER S RIM ee 8418 uo ham = | nam = ff a 30 Pi e| I ral ad MPI b dif Dra nam | D Pi a tng ata - ll Mod fa | M Pd a] D Pa mam = Dp Pt euw | s Ri od Md te iiA Biographi yf the f Carnatic Composers and Musicians. “Thyagaraja Swamikal, Muthuswamy Deekshithar and Syara Sastikal form the i= tumvirate in Carnatic music 1, Thyagaraja Swamikal (1767 - 1847) ‘This great musician was born in Thanjavoor in 1767 to Sr Rama Brahma and Smt Sithamma, Thyagatsja was born in family of musicians and hence had a innate taste for that. He ‘vas tained by Veena Venkita Ramana Das, who was greatly impressed by his disciple’s perfor ‘mance and later Thyagaraja become an expert in susie and composing, “Thyagaraja was well versed in Sanskrit and Thelugu and Astrology and Mathemat- ies, He was well acquainted with all the authentic works in music of these days and he has 2000, musical compositions to his eredit in addition to dramas and poetry. These compositions have ‘stood the test of time and are well appreciated even today for their ideslogieal depth, musical melody and poetic beauty. Thyagaraja was a devote of Sri Rain and so many of his works are in pase of Lord Sri Ram, His accepted Mudra was Thyagaraja “Thyagaraja passed away atthe age of 80 in 1847 and Sincehe had accepted the vow of Sanyast” the ttle “Swamkal’, Thyagaraja’s contribution w music fons a part of the treasury of world literature and art. They ae being appreciated through generatiogs for ther philosophical approach and musical excellence. He will continue fo live in the minds of the lovers of music through ages 2, Muthuswamy Deekshithar. (1776 - 1825) Deekshithar was born in Thanjavoor in 1776 to the great mucial scholar Ramaswamy. Muthuswany Deekshithar was a great scholar not only in musi but in Sanskrit, science and grammar aswell, His works on Nava Varna and Navagriha Keertana are very famous. THOugh he has to his eredit more than 500 Keertans only a few are popular now. Host of his works Sanksrit and they excel in their iterary beauty, He was well established ia Hindustani music also He has compositions in Vrindavana Saaranga and Yamuna Kalyani ragas. His prominent Mudra ‘was Venkitakrishna. The musial giant passed away in 1835 withthe devotional song.* Meenakshi ‘Memucom’ on his lips. $$3. Syama Sastri. Syama Sasti is also the seme nativity of Deekshithar, Thanjavoor. He was called Subrehmanyan and his pet name was Syamakrishna. His training was under grest scholars like Adiyappa Iyer and Sangeetha swami, He was a scholar in Temi, Sankrit and ‘Telugu in addition to astrology, Syama Sasti has "Navaratnamalika’ writen in praise ofthe icky Madurai Meenakshi is very Famous. The prominent Muda of his ereations is Syama Krishna, The great musician passed away in 1827 Swathi TI nal (1813 - 1847) ‘Swathi Thirunal the real prodigy in muse, the great patron and composer .vas born asthe son of Raja Varma Valiyakoi Thampuran. He was destinec tobe the heir to the throne even before birth and hence war called ‘Garbha Sreeman’ even before he was thieteen, He was well acquainted with Sanskrit, Malayalam, Telugu, Engl sh, Marathi, and Hindustani and Camatie music. Sine childhood, he was greatly interesed in music and poetry and he grew upto great poet, composer and musician, He was crowned the king at the age of sixteen. Swathy Thirunal was well - versed both in Hindistini and Carnatic music, His compositions are in Malayalam, Tamil, Hindi, Sanskrit ané Telugu. Swathi ‘Thirunal’ contributions to Carnatic musie include Swarajathikal, Thanavarsas, Padhavarnas, Kritis, Ragamalikas, Javalikes, Dh include Drupad, Vayal dapha, Bhajans. The “mudras’ used by Swathi Thiran Padmanahi, Jalajanshba, Kanchanabha, Abjanabha and Saraseejanabha. The most famous of his works are Navarathri Keerthas and Navaratnamalike Keestans. Though he passed away atthe pretty young age of 34, he stands out as 8 colossus in the Feld of Indian music head and shoulders above any of his contemporaries. lanas slong with his Hindustant“compositions which include a