Jayashri was born to N N Subramaniam and Seetha, who groomed her in Carnatic music in her initial years. Her initiation into music was under her father's guidance at the age of four. Later Jayashri learned under the tutelage of T R Balamani Ammal of Bombay. She was into concert performances in her teens. In 1989, she enrolled herself as a disciple of the legend Lalgudi G Jayaraman. Since 1989, she has been under the guidance and tutelage of the renowned violin maestro. She is also a student of veena, under G N Dhandapani Iyer. She along with T.M.Krishna feature in the first ever Carnatic concert movie, titled, Margazhi Raagam. The movie has received rave reviews from all quarters.

Damal Krishnaswamy Pattammal is an eminent Carnatic musician and playback singer for film songs in many Indian languages. Pattammal and her contemporaries M. S. Subbulakshmi and M. L. Vasanthakumari were popularly referred to as the "female trinity of Carnatic Music. D.K. Pattammal has been appreciated all over the world by Carnatic music lovers. This trio initiated the entry of women into mainstream Carnatic Music.

Balasubramaniam could produce fast gamakam laden sangathis with strength and weight and with wide imagination. But,in such a voice of his, running at so fast a speed the effects of Brighas, twists and turns would come in quick succession that he became an instant hit with both the lay audience as well as those initiated to the arts and science of carnatic music. He also composed several krithis and was famous for his fast brikhas and gamakams. He acted in films, including Bhama Vijayam and Sakunthala. In the latter, he appeared as Dushyantha, alongside the vocalist M.S. Subbulakshmi.

Kattassery Joseph Yesudas is an Indian classical musician and a leading playback singer. His voice lends itself well to both Indian classical, devotional and popular songs. He has recorded more than 40,000 songs in many languages including Tamil,Hindi, Malayalam,Kannada, Telugu, Bengali, Gujarati, Oriya, Marathi, Punjabi, Sanskrit, Tulu, Russian, Arabic, Latin and

English through his long career.. He has been singing for most Indian languages except Assamese and Kashmiri. In his heyday, he was known as the Jim Reeves of South India. Fans term his voice as nothing short of "divine".

Kattassery Joseph Yesudas is an Indian classical musician and a leading playback singer. His voice lends itself well to both Indian classical, devotional and popular songs. He has recorded more than 40,000 songs in many languages including Tamil,Hindi, Malayalam,Kannada, Telugu, Bengali, Gujarati, Oriya, Marathi, Punjabi, Sanskrit, Tulu, Russian, Arabic, Latin and English through his long career.. He has been singing for most Indian languages except Assamese and Kashmiri. In his heyday, he was known as the Jim Reeves of South India. Fans term his voice as nothing short of "divine".

Madurai Shanmukhavadivu Subbulakshmi was a renowned Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor.

Maharajapuram Santhanam was one of the great Carnatic music vocalists of the 20th century. He was born in Sirunangur, a village in the state of Tamil Nadu. He followed the footsteps of his father Maharajapuram Viswanatha Iyer who was also a Carnatic singer.

Balamurali Krishna started his career when he was barely 14 years old, he composed Raganga-Ravali, a detailed work on the 72 Melakarta scheme. He mastered all the 72 melakarta ragas by the age 16 and had composed kritis in all of them by then. Poet composer and musicologist, Balamurali krishna has restored the trinity's composition to their original whole. he represents a new era in Carnatic music. Like the galaxy of giants preceding him, he has helped in the preservation of the musical heritage in his own way.

Dr. Nithyasree Mahadevan, also previously referred to as S. Nithyashri, is an eminent Carnatic musician and playback singer for film songs in many Indian languages. Her paternal grandmother is the legendary Carnatic vocalist D. K. Pattammal, while her maternal grandfather is the legendary mridangam maestro, Palghat Mani Iyer. Her granduncle is the legendary Carnatic vocalist, D. K. Jayaraman. Nithyashree has performed in all major sabhas in India and has presented her concerts in many destinations around the world. She has received multiple awards and honours, and has released more than 100 commercial albums.

R. Vedavalli was born in Mannargudi, Tamil Nadu, India to Shri Ramaswami Iyengar and Padmasani Ammal in 1935. Her talent for music was identified early on by Madurai Srirangam Iyengar, who brought the five year old a harmonium, and got her started on vocal lessons. The family moved to Madras in a few years time, and Vedavalli came under the tutelage of Mudicondan Venkatarama Iyer. From a very young age, Vedavalli won several awards in prestigious competitions including All India Radio's first prize for Classical Music and Light Classical Music, awarded by the President of India. In 2000, she received the Sangeetha Kalanidhi, which is considered the highest award in Carnatic music. She is one of the few women to have received this honor.

Sudha was initially trained by her mother Choodamani since the age of nine. She continued training under Sri. B. V. Lakshmanan. Even as a student, Smt. Sudha Raghunathan received the Central Government Scholarship for Young Artistes for advanced training in Carnatic music. Sudha came under the tutelage of the illustrious Padmabhushan Sangeetha Kalanidhi, Dr. M.L Vasantha Kumari in 1977, who encouraged Sudha to pursue music as a career. Sudha is one of Dr. M. L. Vasanthakumari's prominent successors.

T.M. Krishna (born 1976) is one of the leading Carnatic music vocalists of today. Hailing from a family of music connoisseurs, he was exposed to the south Indian classical music at an early age. His first concert was at the Spirit of Youth series organized by the Music Academy, Chennai (India). Since then, he has travelled widely in India and abroad and won applause from his listeners. He has received numerous awards and titles from many leading organizations, notable amongst which are the Young Achievers Award by India Today and the Bismillah Khan Yuva Puraskar Award by the Central Sangeet

Natak Akademi. He has released many music albums from leading audio companies like Magna sound, HMV, Inreco, Amudham (USA) and Charsur.

Tiger Varadachariar hailed from a musical family of unique distinction. His father Ramanujachariar was a musical discourser, brother K.V. Srinivasa Ayyangar was a renowned musicologist while another brother K.V.Krishnamachariar was a veena player. In fact, Tiger used to say that he learnt much from the singing of his sister. Varadachariar was born on August 1, 1876 at Kolathur. Varadachariar's receptive ears and musical instincts drew inspiration and knowledge from street dramas, bhajans and even from occasional contacts such as with Fiddle Ramachandrayyar. He was big, burly and unprepossessing. This exterior housed a genial and lovable man, a brilliant musicologist, a musical artiste and an acknowledged teacher of renown. Unnikrishnan was born to K.Radhakrishnan and Dr.Harini Radhakrishnan, in Kerala. He went to Asan Memorial Senior Secondary School, Chennai, in 1983. He graduated from Vivekananda College, Chennai, and received his B.Com degree from the Madras University. He earned a General Law and Post Graduate Diploma in Personnel Management and Industrial Relations. He worked as an executive in Parrys Confectionery Ltd. from 1991-94 and left to become a professional singer.

Unnikrishnan was born to K.Radhakrishnan and Dr.Harini Radhakrishnan, in Kerala. He went to Asan Memorial Senior Secondary School, Chennai, in 1983. He graduated from Vivekananda College, Chennai, and received his B.Com degree from the Madras University. He earned a General Law and Post Graduate Diploma in Personnel Management and Industrial Relations. He worked as an executive in Parrys Confectionery Ltd. from 1991-94 and left to become a professional singer.

Born into a family of renowned musicians on the 10th of September, Shashikiran soon made his mark in the family. His grandfather, Gottuvadyam Narayana Iyengar was a legend in his times, not to mention his father 'Chitravina' Narasimhan, a musician with a vision and mission and brother 'Chitravina' Ravikiran, and an internationally acclaimed genius. His father discovered Shashikirans's talents when he was a mere toddler and nurtured it with great

care. Thus, at two, he stormed the music world as a child prodigy who could identify Ragas (melodies), demonstrate complicated Talas (rhythms) and answer other technical questions pertaining to Carnatic music. He has also had the privilege of honing his musical skills under stalwarts like T Brinda, T Vishwanathan and K S Krishnamurthy.

S. Sowmya is a Carnatic music singer. She learnt under her father, and later under S. Ramanathan and T. Muktha. Sowmya, along with K. N. Shashikiran, founded Carnatica - an online institution dedicated to classical music & dance instruction, archival, talent search and other related activities to Carnatic music.She also co-authored the first comprehensive reference CD-ROM on Carnatic music.

Thanjavur Muktha also spelt Mukta (1914-2007) was one of the foremost representatives of the Veena Dhanammal school of Carnatic Music. She along with her elder sister T. Brinda formed one of the first women duo singers.

Muktha had much of her initial training from her mother Kamakshi. This training was in the Veena Dhanammal style, a style of Carnatic Music known for its unhurried, alluring movements, as also for its use of intricategamakas (graces) in the handling of ragas (modes). Additionally, Muktha (along with Brinda) trained for a substantial length of time underKanchipuram Naina Pillai, whose style of music was marked by agility and robustness in laya (rhythm). After her training under Naina Pillai, Muktha learnt from her aunt Lakshmiratnam. The legendary Veena Dhanammal, who was Muktha's grandmother, herself taught her some compositions. She gave her first performance at the age of eight. She was the last disciple of Veena Dhanammal and her last concert was in Cleveland in 2003. Muktha was a recipient of the Sangeet Natak Akademi Award in 1973

Neyveli Santhana Gopalan is an acclaimed Carnatic vocalist, whose music is steeped in classicism while maintaining popular appeal. He has distinguished himself with numerous successful concerts worldwide, and is the recipient of many awards from music associations in India and overseas. He is known for his excellent styles of rendering the swaras.

Chembai Vaidyanatha Bhagavatar was an Indian Carnatic music singer from the state of Kerala. Usually known by his village name Chembai, or simply as Bhagavatar, he was born to Anantha Bhagavatar and Parvati Ammal in 1895. Chembai was noted for his powerful voice and majestic style of singing.

Carnati history

Carnatic MusicCarnatic music or Carnatic sangeet is the south Indian classical music. Carnatic music has a rich history and tradition and is one of the gems of world music. Carnatic Sangeet has developed in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. These states are known for their strong presentation of Dravidian culture. Purandardas is considered to be the father of Carnatic music.

It was in the 18th century that Carnatic music acquired its present form. This was the period that saw the "trinity" of Carnatic music; Thyagaraja, Shamashastri and Muthuswami Dikshitar compile their famous compositions. 

In Carnatic music there is a very highly developed theoretical system. It is based upon a complex system of Ragam (Raga) and Thalam (Tala). Raga is basically the scale and the seven notes of this scale are Sa Re Ga Ma Pa Dha and Ni. Though unlike a simple scale there are definite melodic restrictions and compulsions. The Ragams are classified into various modes. These modes are referred to as mela, which are 72 in number. The Tala (thalam) is the rhythmic foundation of the Carnatic music. 

There are a number of sections to the Carnatic performance. Varanam is a composition usually played at the beginning of a recital. It literally means a description. Varanam is made of two parts- the Purvanga or the first half and the Uttaranga or the second half.

The kritis are fixed compositions in the rag. They have well identified composers and do not allow much scope for variation. The "Alapana" offers a way to unfold the Ragam to the audience and at the same time allows the artist substantial scope for creativeness. Ragam is a free melodic improvisation played without mridangam accompaniment. Tanam is yet another style of melodic improvisation in free rhythm. Pallavi is short pre- composed melodic theme with words and set to one cycle of tala. 

Carnatic FundamentalsCarnatic music tends to be significantly more structured than Hindustani music; examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed with hymns called krithis. This is followed by the pallavi or theme from the raga. Carnatic pieces can also have notated, lyrical poems that are reproduced as such, possibly with embellishments and treatments as per the performer's ideology; these basic pieces are called compositions and are popular among those who appreciate Carnatic (especially vocal) music. Compositions usually have amble flexibility in them so as to foster creativity: it is commonplace to have same composition sung in different ways by different performers.

 

Tyagaraja (1759-1847)

Muthuswami Dikshitar (1776-1827)

Syama Sastri (1762-1827)

Carnatic music is similar to Hindustani music in that it is improvised . Primary themes include worship, descriptions of temples, philosophy, nayaka-nayaki themes and patriotic songs. Tyagaraja (1759-1847), Muthuswami Dikshitar (1776-1827) and Syama Sastri (1762-1827) are known as the Trinity of Carnatic music, while Purandara Dasa (1480-1564) is often called the father of Carnatic music.

Purandara Dasa (1480-1564)

What is Indian music…?

What is Indian Music ?

The music of India is said to be one of the oldest unbroken musical traditions in the world. It is said that the origins of this system go back to the Vedas (ancient scripts of the Hindus). Many different legends have grown up concerning the origins and development of Indian classical music. Such legends go a long way in showing the importance that music has in defining Indian culture.

However the advent of modern historical and cultural research has also given us a good perspective on the field. This has shown that Indian music has developed within a very complex interaction between different peoples of different races and cultures. It appears that the ethnic diversity of present day India has been there from the earliest of times.

The basis for Indian music is "sangeet". Sangeet is a combination of three artforms: vocal music, instrumental music and dance. Although these three artforms were originally derived from the single field of stagecraft. Today these three forms have differentiated into complex and highly refined individual artforms.Its understanding easily consumes an entire lifetime. 

The Raag and Taal

 

Raag may be roughly equated with the Western term mode or scale. There is a system of seven notes which are arranged in a means not unlike Western scales. However when we look closely we see that it is quite different what we are familiar with.

The taal (rhythmic forms) are also very complex. Many common rhythmic patterns exist. They revolve around repeating patterns of beats. 

The interpretation of the raag and the taal is not the same all over India. Today there are two major traditions of classical music. There is the north Indian and the south Indian tradition. The North Indian tradition is known as Hindustani sangeet and the south Indian is called Carnatic sangeet. Both systems are fundamentally similar but differ in nomenclature and performance practice. 

Fundamentals of Raaga

The rag is the most important concept that any student of Indian music should understand. The Hindi/Urdu word "rag" is derived from the Sanskrit "raga" which means "colour, or passion" (Apte 1987). It is linked to the Sanskrit word "ranj" which means "to colour" (Apte 1987). Therefore rag may be thought of as an acoustic method of colouring the mind of the listener with an emotion. This is fine as a general concept but what is it musically? It is not a tune, melody, scale, mode, or any concept for which an English word exists. It is instead a combination of different characteristics. It is these characteristics which define the rag. Here are the characteristics.

There must be the notes of the rag. They are called the swar. This concept is similar to the Western solfege.

There must also be a modal structure. This is called that in North Indian music and mela in carnatic music.

There is also the jati. Jati is the number of notes used in the rag.

There must also be the ascending and descending structure. This is called arohana /avarohana.

Another characteristic is that the various notes do not have the same level of significance. Some are important and others less so. The important notes are called vadi and samavadi

There are often characteristic movements to the rag. This is called either pakad or swarup.

In addition to the main characteristics of rag, there are some other less important ones. For instance rags have traditionally been attributed to particular times of the day. They have also been anthropomorphize into families of male and female rags (raga, ragini, putra raga, etc.). There is a tendency to downgrade the importance of these aspects due to their irrational and unscientific nature

Instrumentalists

Sundaram Balachander was a prominent Indian veena player with a unique style, remarkable as a classical musician in that he was self-taught. He is also known for his work in cinema, his writing and his polemics. Balachander was a true larger-

than-life personality, yet always managed to combine his eccentricity with a musicianship that commanded respect from all quarters.

Chitti Babu was born to Challapally Ranga Rao and Sundaramma of Kakinada, Andhra Pradesh. He was a child prodigy, who made his debut concert before his teens. He first learnt from Appalachariar and later was a prime disciple of Emani Sankara Sastry. He is said to have received a spontaneous gift of a pendant from the Maharaja of Mysore. The reason for the gift is supposed to be for his excellent concert comparable to Veene Sheshanna. Some others say that it is for in-depth explanation of a song of Thyagaraja. One day in the 2008 Music season of Madras Music Academy was dedicated to Chitti Babu

Veenai Dhanammal was a highly accomplished Carnatic musician, and the torchbearer of the school of Carnatic music that goes by her name. She was both a vocalist and a performer on the veena. The prefix "Veenai" in her name is an indicator of her exceptional mastery of that instrument.

Ganesh and Kumaresh are a well known duo of violin players who are a part of the South Indian music fraternity (Carnatic music). They are best known as modern contemparary artists and incorporate a lot of fusion more than the traditional styles of classicism in their music. They are a dynamic duo of violinists, who have carved a niche for themselves in this era of great violinists.

 

M.S. Gopalakrishnan (born June 10, 1931) is one of the well known violinists of the 20th Century in the field of Carnatic music. He is a recipient of the prestigious Sangeetha Kalanidhi award in 1997. He is commonly grouped with Lalgudi Jayaraman and T.N.Krishnan to be called the violin-trinity of carnatic music.

Kadri Gopalnath is an Indian saxophonist and one of the pioneers of Carnatic music on the saxophone. Kadri Gopalnath was born in Dakshina Kannada district, Karnataka. He acquired a taste for music from his father Thaniappa, a nadhaswaram vidwan. Young Gopalnath once saw the saxophone being played in the Mysore palace band set. Thrilled on hearing the vibrant tone of the saxophone, Gopalnath decided to master it. It took him nearly 20 years for him to conquer the complex western wind instrument and he was eventually crowned as the "Saxophone Chakravarthy".

 

Born in the lineage of an illustrious disciple of the great saint musician Thyagaraja, Sri Lalgudi Jayaraman inherited the essence of Carnatic music from his versatile father late V R Gopala Iyer who trained him meticulously in the violin.

Palghat T.S. Mani Iyer was one of the leading mridangists in the field of Carnatic music and the first mridangist to win the Sangeetha Kalanidhi and Padmabhushan awards. He was a legend even in his lifetime, one of the all-time greats, a genius at innovation. His scintillating performances were an unforgettable treat to the audience. 'Palghat' on a poster or just a 'Mani' was sufficient to attract the crowds in droves. It would be no exaggeration to say that Palghat Mani Iyer raised the status of the mridangam and the mridangist to dizzy heights. An artiste of few words, he would sit on the dais all attention to the vocalist or violinist, a picture of dignity and composure.

R. Prasanna is a South Indian Carnatic musician who is one of the very few people who play the south Indian musical art form of Carnatic music on the electric guitar. He not only plays carnatic music but is also a jazz musician. Some also categorize Prasanna's music under world fusion.

 

Vittal Ramamurthy is a leading and popular violinist in the Carnatic music tradition of South India. He is an outstanding soloist as well as an excellent accompanist. He is a Grade 'A' artiste of All India Radio and has performed extensively in National Radio and Television, in addition to live concerts.

Padmashri Nadesan Ramani also known as 'Flute Ramani' is a renowned Indian Carnatic flautist from Tiruvarur, Tamil Nadu. He is a disciple of the legendary T. R. Mahalingam, known more commonly as "Mali," who first popularised the Carnatic flute in Indian music. The birthplace of Ramani is symbolic in that Carnatic musicians consider Tiruvarur the sacred sanctuary of Carnatic music, being the birthplace of the "trinity" of Carnatic composers, Saint Tyagaraja, Muthuswami Dikshitar and Syama Shastri who laid the foundation for the tradition.

Chitravina N. Ravikiran is a composer of Indian Carnatic music. He has been called the "Indian Mozart". He is probably most famous for his concept of "melharmony", which is harmony which stays within the melodic rules of an Indian raga (musical mode). Considered a virtuoso chitravina player, he has been described as "probably the greatest slide instrumentalist in the world today" by Radio Australia. Ravikiran has also played the slide Hawaiian guitar, and is an accomplished vocalist. He invented a variant of the chitravina called the navachitravina, which is smaller and has a clearer tone in the higher frequencies. He currently resides in Chennai, Tamil Nadu, India

Dr.Lakshminarayana Subramaniam is an acclaimed Indian violinist, composer and conductor, trained in the classical Carnatic music tradition and Western classical music, and renowned for his virtuoso playing techniques and compositions in orchestral fusion.

 

Ghatam Giridhar Udupa is a leading percussionist from India.He plays the ghatam, which is a percussion instrument used in Carnatic music (South Indian classical music) . He is the son of acclaimed Mridangist Vidwan Ullur Nagendra Udupa. He has been critically acclaimed by the press, and has been compared with Ghatam legend Vikku Vinayakram.Udupa currently resides in Bangalore.

 

The prodigious training he had from young age under his unsparing guru-his father, reflected in abundance in his tuneful, melodious and technique perfect concerts. His graceful playing on the veena in strictly traditional style evoked a reverential listening. Emani gave concerts throughout the length and breadth of India. His participation in east-west music festival, Tansen festival, Vishnu Digambar festival, sur singars Haridas sangeet sammelan and other prestigious music conferences won him distinction in the field of music. He established a distinctive style of his own and to him goes the credit of bringing veena to its place of pride.

 

Trichy Sankaran is a South Indian percussionist, composer, scholar, and educator. He is acknowledged as one of the foremost virtuosos of the mridangam, a barrel drum used in Carnatic music, and also plays the kanjira on occasion. Since the early 1970s, he has performed and recorded in a number of cross-cultural projects. Sankaran has lived in Toronto, Ontario, Canada since 1971 and is a Canadian citizen. He is the founder of the Tyagaraja Festival in Toronto and is a professor of music at York University. He has regularly performed at all leading organizations in Chennai, India every December Music Season and continues to accompany a wide array of top ranked musicians. Trichy Sankaran is a South Indian percussionist, composer, scholar, and educator. He is acknowledged as one of the foremost virtuosos of the mridangam, a barrel drum used in Carnatic music, and also plays

the kanjira on occasion. Since the early 1970s, he has performed and recorded in a number of cross-cultural projects. Sankaran has lived in Toronto, Ontario, Canada since 1971 and is a Canadian citizen. He is the founder of the Tyagaraja Festival in Toronto and is a professor of music at York University. He has regularly performed at all leading organizations in Chennai, India every December Music Season and continues to accompany a wide array of top ranked musicians.

Upalappu Srinivas also known as Mandolin U. Srinivas and U. Shrinivas, (born February 28, 1969) is a musician in the Carnatic musical tradition of southern India. He came to prominence not only for his playing but for his choice of instrument: an electric mandolin (the acoustic instrument is incapable of sustaining notes or producing the "slides" between notes necessary for Indian music). In recent years he has toured with John McLaughlin as part of the group Remember Shakti. His brother U. Rajesh is also an accomplished mandolin player.

Links

Bibliography

 

A dictionary of South Indian music and musicians  by P. SambamoorthyMadras, Indian Publishing House

 

History of Indian music by P. Sambamoorthy Madras, Indian Music Publishing House

 

Great composers by P. Sambamoorthy Madras, Indian Music Publishing House

 

Musical Instruments by B.C. DevaNew Delhi, National Book Trust

 

Appreciating Carnatic Music by Chitravina N. RavikiranMadras, Ganesh & Co.

 

Splendour of South Indian Music by Dr. P. Chelladurai                                                                 Dindigul, Vaigarai

Websites

www.wikipedia.com

 

www.carnatica.com

 

www.chandrakantha.com/articles/indian_music

 

www.indian-instruments.com

 

www.webindia123.com/music/musician.htm

 

www.culturopedia.com/Music/musicintro.html

 

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SUDHA RAGHUNATHAN (Vocalist)

 Full Name Sudha Raghunathan

Also known as  M.L.V. 'varisu'

Profession  Vocalist(carnatic music)

Date of birth April 30.

Birth place Bangalore

Father Venkatraman

Mother Choodamani

Brother Prasad Venkatraman

Husband Raghunathan(got married in 1982)

Children

Son: Kaushik  Daughter:Malavika 

Contact address

8/1c , Baskarapuram, East Abhiramapuram, Chennai - 600 004. Phone : 91 44 499 6600, Fax : 91 44 499 6800 Email : sudaragu@vsnl.com 

Education   College -Ethiraj college M.A.( Economics)

 Gurus   Mother, Mr.B.V.Lakshman and M. L. Vasanthakumari(started singing    with her from 1979)

Tutelage with MLV "She had not taught us any songs. She would sing, mostly in performances from which I had to learn. By following her in all her performances, I came to learn the songs. "

Career started    At the age of 19

Best performance Lincoln Centre in New York.

playback singing  Has rendered three songs in the film 'Ivan'Singing style  SpontaneousMusic she likes to hear

 Soothing, sometimes something adventurous music

Secrets to 

her voice: talk in lower volume, and sometimes even complete silence. her success: absolute dedication

Favourites

Singer- MLV Accompaniments: violin, mridangam, morsing, gadam Western: electric guitar Dish:-vendhiya kozhumbu and of course the all fav aalu (potato). Song: baro krishnayya Ragas:subapantuvarali, kalyani, hameer, kapi Composers: Tyagaraja and Purandaradasa and Sivan, among others.

Facts

Top Ranking artiste of the All India Radio, Chennai and performs regularly on AIR and Doordharshan

unique privelge of being the 'Astana Vidushi' of The Sri Sringeri Sharada Peetam, Sringeri, The andavan ashramam, Srirangam the Ahobila Mutt.

she exceled in debates, quiz, drama and essay writing during her student years

Opinions

 Subbudu(critic):"If I were left deserted on a lonely island, and if I  were granted permission to hold three products that I liked very much, I would list the following in order of my preference: A. An audio-visual cassette of singer Sudha Ragunathan;B. Betel leaves and tobacco to chew on while I listen to the musicC. Poet Kannadasan's works.

Hobbies  Reading fictional and inspirational books

Charity

 "SAMUDHAAYA FOUNDATION" was founded for social welfare activities on July 1999. The trust has donated money to 

KARGIL DEFENCE PERSONNEL RELIEF FUND.-1999 cyclone stricken victims of Orissa in December 1999. Gujarat Earthquake Relief Fund 2001

Advice to aspiring  youngsters

 To be loyal to guru, and be focused in practice.

Future goals

a school which will represent her style of music taking carnatic music from thousands to millions of people. to do research on what music can do in the field of medicine

Awards and      Honors

        AWARDS

Woman of Golden Substance Award 1998-99 MLV Memorial Award, 1998  Bharat Jyoti, Bharathiya Vidhya Bhavan, New York, 1998  Sangeetha Choodamani, Sri Krishna Gaana Sabha, Madras 1997 Senior Musician Award, the 'Yogam Nagaswamy' award at the Sadas of the

Music Academy 1997  Bharatha Sangeetha Bhushan ---1997 Sangeetha Bhushini 1996  'Kalaimamani' award from the govt of tamilnadu-1993  Sangeetha Saraswathi from The Mahasannidhanam of Sringeri, 1993 Junior Fellowship for two years ( 1993 to 1995), from the Ministry of Human

Resource Development, Government of India, given to outstanding Artistes in the field of Performing Arts. 

Sri T. S. Rajam award for ‘Talented Outstanding Musician’ -1992 Received 'Most Outstanding Student' for three years in succession while

studying in the Ethiraj College .

       HONOURS

Honour of performing  at the Theatre de la Ville, Paris, France - 2000. She sang the 'Vande Mataram' at the Central Hall of Parliament, New-Delhi on

27th January, 2000 to a full house in the presence of the President, the Prime Minister and other dignitaries to honour the completion of 50 years of the Indian Republic.

Honour of performing at the Alice Tully Hall, Lincoln Centre, New York Broadway in 1998 for Bharatiya Vidya Bhavan, New York to commemorate 50

years of its inception. The only Asian to perform at the 'International Festival - ECHTERNACH' at

Luxembourg - 1995

Sang in the 8th World Tamil Conference held in Thanjavur in January 1995  Honour of participating in the 22nd I.T.C. Sangeeth Sammelan organised by

the S. R. A. Calcutta held at Siri Fort, New Delhi in -1993.

 Compiled by: Poongodi SivagurunathanCourtesy: Net Resources

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VOCALISTS: "I am thrilled that such a large festival is being dedicated in the name of my guru, GNB. He always advised me to develop an enquiring mind in music and that's what I would like to see in the emerging talents. The atmosphere here is wonderful with artistes and members of the audience having many opportunities for interaction." - Trichur V. Ramachandran. (Top to bottom) S. Sowmya, Kunnakudi Balamuralikrishna, Sudha Raghunathan, Sriram Gangadharan, Sangeetha Sivakumar, Palghat Sreeram, Trichur V. Ramachandran, Pantula Rama, Charumathi Ramachandran and T.N. Seshagopalan.

 

   His Music  • GNB the Man

  • His Grand new Bani

  • His accompanists

  • GNB and vidwans of his era

Composition : Jayathi jayathiKhamas

Mayuram

His Music

G.N.Balasubramaniam (Jan. 6th, 1910 - May 1st, 1965)

GNB THE MAN

It is now pertinent to write about GNB as a man, as little about his personal life is known.

In the first instance, one has to wonder at his strong will and determination when we consider the endless obstacles he had to surmount and the powerful currents of opposition he had to wade against in the music field, particularly as he was not tempera mentally suited for wheeling and dealing. This field is infested by jealous and petty minded vidwans and their fans who seldom can stomach anyone with genuine worth coming up in life. GNB from the very beginning had the added disaavantage that he was the only educated person in a field where education was at a discount and also scorned at.

' The upstart Theory '

Added to that, there was the rage aginst the ' upstart ' who had made good without going through the rigours of a traditional Gurukulavasa. As S.Y.K. put it, " there were many who shook their heads at the smrt of his concert eareer and prophesied that it was a flash in the pan - an exhibition of vocal dexterity which could not overcome the defect of the lack of discipleship! They ate their words later when GNB established himself on orthodox lines, his originality being a distinction and not a deviation. "

Mean men admire meanly

One was reminded of the famous words of the great Mozart addressed to an ungeneous critic of Haydn: " Sir, if you and I were both melted down together, we should not furnish

materials for one Haydn ",

Even at a later date, when he had established his position and was reigning supreme, there were many envious persons who started a campaign of veiled vilification which naturally affected the sensitive GNB. Right through his life, GNB had to counter the forces of opposition which were surfacing now and then in different forms. Though in the early stages he was able to counter opposition by his indomitable will and his innate musical reserves, he was to some extent affected physically and mentally by such uncharitable criticism at the later stages. As B.V.K.Sastri rightly remarks, GNB created an impression of "evergreen youthfulness", so much so his admirers would not ta.ke him to be on the other side of 50. Like Endymion on Latmos, he was ever handsome. This combination of factors worked against him in later years.

The utter lack of ego in GNB has been referred to earlier. He did not keep any ' mudra'  in his compositions nor did he try to propagate them. Though he had discovered two ragas and had composed good kritis in those ragas, never did he pride himself about this. What a contrast to the spectacle we are witnessing today of Vidwans trying to sing their own compositions on every possible occasion and talking loudly about the ragas they had ' created '.

A Hedonist

GNB liked the good things of life. He dressed immaculately for the concerts. He used different perfumes for different occasions. So thorough was he about the perfumes and their combinations that he stunned a reputed perfumer of Thanjavur by correctly telling him the various "athars" that were mixed in a perfume that he gave to GNB.

The voracious reader that he was, GNB always used to read foreign and local magazines to enrich his knowledge. A glance at his writing and musings would reveal the breadth of his erudition and extent of his scholarship. The Presidential address he delivered at the Music Adcademy in 1958 reproduced herein itself is a proof 

Principled Artist

Though GNB was the person most responsible for increasing the fees of musicians, he was the least commercial minded. He never exploited any situation to jack up his rate. Even on occasions when he could have legitimately asked for more, GNB was content with his usual fee. Many individuals and organisations admired this quality in him and willingly gave more than what was fixed. At the same time, there were others who exploited his good nature and did not give him his dues. As Palghat Mani Iyer, who knew GNB more intimately than others, said at a public function, GNB never worried about money nor did he respect a person because he was rich.

Not very worldly-wise

Perhaps from a pragmatic point of view, GNB was not worldly wise. He did not run after persons high or low for any favour. He did not respect people for their position alone, while for Art he would go out of the way and do anything. The few friends he had were ever loyal to him because he was totally free from malice and rancour.

GNB's capacity to stem the tides of unfair opposition and resist the ravages of illness probably stemmed from his involvement in Sri Vidya Upasana and his total surrender to his ' Ishta Devata ' Sri Rajarajeswari. He was initiated in this by the great savant Thethiyur Subramania Sastrigal for whom GNB had the greatest respect and admiration. In the later years, GNB used to spend most of his time in Devi Upasana and it is the inspiration he derived therefrom that sprouted into fine compositions.

The extent of his intellectual involvement in Sri Vidya Upasana may be gleaned from the episode mentioned by C.Seshachalam in the Academy's Journal. " On the eve of one of my visits to Kashmir, GNB expressed his yearning to secure a copy of that very rare manusript ' Srividyarnava ' of which only two copies are known to exist. Unluckily, the Kashmir Government research authorities at Srinagar did not make the manuscript available. This is an instance of his pursuit of deep study of Sri Vidya through which discipline his nature mellowed,leaving the years of travail behind him.

Devoid of any trace of jealousy, GNB remained a student all his life, quite willing to learn from anyone at any time. The way he attended the performances of other musicians and generously

appreciated whatever was good in them is fit to be emulated by others.

A Gifted Author

A gifted speaker and reputed writer, GNB has given expression to his ideas on music, Katcheri dharma, etc, as well as his views on musicians of repute like Ariyakudi, Rajaratnam Pillai and others in articles and speeches many of which lie buried in souvenirs and such obscure publications. A serious attempt needs to be made to edit these and bring them together in a book form for the ben efit of musicians and music enthusiasts.

Regarding ' Katcheri Dharma ', GNB was forceful in his view that ' Madhyamakala' pieces shall form the major share in a concert. The extract from one of his essays on the subject is relevant:

" In my opinion it is the ' Madhyamakala' and this is an important aspect of Carnatic Music which gives endless scope for improvisation and manodharma to the performer The ' Madhyamakala ' tempo of so many of our compositions and the style of most of our well-known musicians bear testimony to this fact. This by no means places ' chowka kala' at a discount. Beyond doubt, the chowka kala songs and padams reflect the soul of our ragas. But experience has shown that ' chowka kala ' is best enjoyed by audiences of cultivated taste. Its place is thus the chamber music where the audience is limited. My view is that true Carnatic ' bani ' should adequately provide for the three degrees of speed, ' Madhyamakala ' getting the lion's share and the ' chowka kala '  just the minimum that would not tire. "

A Gentleman

A gentleman in every respect, GNB would never talk disparagingly of any musician old or young. He did not hesitate to come down heavily on his own admirers, if they indulged in any such talk about others. Once when some one mentioned, that there was nothing new or revealing in Ariyakudi's music, GNB got annoyed, sang a few items as Ariyakudi would and demonstrated " how difficult it was for any musician to establish a quick rapport with his audiences as Ariyakudi did. "

Financial Rectitude

Though he got large sums of money for his concerts, GNB saw to it that his accomapnists were also equally rewarded. Whenever he used to get a lump sum for a concert, he used to tell his accompanists how much actually he was getting and that he was proposing to give them. " A rare quality indeed not to be seen nowadays " said T. K. Murthy in one of his tributes to GNB. He further added an instance where GNB shared with his accompanists even the additional fee he got for some of his concerts. His largeheartedness and lack of ego were conceded by all his accompanists.

Generosity

Few people know that GNB was very charitably disposed towards indigent people, especially musicians. He was generous to a fault. He helped the family of Chinnaswamy, a piper attached to his family, for two generations. Whenever a needy musician came to him for help, he would gladly part with hundreds of rupees. It appears he has even given performances to help out poor families. His disciples often had the control of his purse and they were never asked to render accounts. He believed utterly in their bonafides. As Palghat Mani Iyer had noted, GNB earned hugely and spent hugely and the meagre savings he had left for his wife and children bore no relation to the lakhs of rupees he had earned from the film and music worlds. Financial prudence never claimed him for her own.

An Understanding Teacher

The largeheartedness of GNB was also reflected in the way he taught his disciples. Quite sure of himself and his extraordinary capacity, GNB did not mind teaching his disciples all the intricacies of the art in the most open manner. His innate capacity to bring out the best in a young artist can be understood from the following episode. In the year when Mudikondan became Sangeetha Kalanidhi, Palghat Mani lyer and GNB were the judges for the pallavi competition held in the P.S.High School Hall. Young Sirkazhi Govindarajan was one of the competitors. He rendered a complicated pallavi. The judges wanted to test him and GNB took up the task. He sang the pallavi ' Mahima Teliya Tharama ' in Sankarabaranam and asked Sirkazhi to elaborate it and sing a few avarthans of swaras. Sikazhi tried but did not succeed. Finally, GNB asked Sirkazhi to sing with him a few rounds. Govindarajan at once got its outline, put up a good show

and won a tambura as prize. GNB's gift for bliinging out the latent talents of youngsters was unique.

Votary of Nadabrahmam

GNB as Prof. T.V.Ramanujam says, was a ' conscious Votary ' and worshipper of ' Nadhabrahmam '. He realised that , grammar and acrobatics should be be subordinated to ' poetry ' and  'aesthetics '. That is why his raga alapanas, the sangathis in his kritis and swaraprasthara were all marked by real beauty and consummate artistry rather than by rhythmic jugglery. The great philosophers described the '  Good Life ' as dependent on Truth, Beauty and Goodness. There can be no greater tribute to GNB's music than that he was constantly striving to and did succeed in making his music rest on these three pillars Truth, Goodness and Beauty. In his heyday, he was ,truly  " the monarch of the musical kingdom " words applied by Beethoven to Handel.

Loyalty to Academy

Lastly, we should mention about GNB's loyalty to institutions like the Academy which claimed him as " Academy's own musician ". He had the rare distinction of being a boy prize winner first, then presiding over the Expert Committee on getting the prestigious title of ' Sangeetha Kalanidhi '. GNB's devotion to the Academy was such that he would not take any payment for his concerts; when he did, he gave it back as his donation to the institution. This generous attitude of his was highly commended by the late K.V.Krishnaswamy Iyer, the illustrious President of the Academy, in one of his concluding remarks at one of the sessions. It was GNB who also had the record of singing in the Academy continuously (except for 1959 when he was down with major illness) for 27 years.

It is difficult to imagine, as the eminent vainika S.Balachander has said, whether one person could combine in himself all the best qualities and attributes of a musician, a composer, a musicologist, a teacher of music, a pressman and quite simply a man. If any did, it was surely G.N.Balasubramaniam. He probably had the motto of Abraham Lincoln in his mind always:

 " I am not bound to winBut I am bound to be true I am not bound to succeed But I am bound to live up             to the light I have "

GNB the Man   His Grand new Bani   His accompanists   GNB and vidwans of his era

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VVS Murari4, Vasanta Press RoadAdyarChennai 600 020. Tel:+91-(0)-44-24912876

Vittal Ramamurthy23, Bhakthavalsalam Street West MambalamChennai 600 033. violinvittal.com

Radha Narayanan83, T.T.K.ROADFlat 5, 4th floor Saptagiri ApartmentsAlwarpet Chennai-600 018.Tel:+91-(0)-44-24995144

SwapnasundariMadhavi MudgalBombay JayashriSaroja VaidyanathanJayarama-VanashreeMalavika SarukkaiRanjana GauharShovana Narayan

Nellai. N.Ravindran8-3/9, Plot 3Gangai Nathi StreetMahatma Gandhi NagarMadurai - 625 014. Tel:+91-9994223374

K.V.S.VinayC2B/54B, Janak PuriNew Delhi 110 058vinay@isid1.isid.ac.in

Akkarai SistersA/8, Sree Durga ApartmentsShop #185, R K Mutt RoadMandaveli, R.A. Puram Chennai-600 028.

VSK ChakrapaniHouse No.133, Pocket –VPhase –IMayur ViharNew Delhi 110 091.Tel:+91-9818934969

Ganesh - KumareshTripti MukherjeeSarathi ChatterjeeKamala Shankar

Priyadarshini GovindRama VaidyanathanBijoyini Satpathy

Gayatrisankaran A/G4 Mahaveer Apts 4, East Coast Road Chennai-600 041gayatrisankaran.com

Melakaveri K. ThiagarajanFlat. 'C' Sri Subramanya34/16 B llnd main RoadNanganallurChennai 600 061Tel:+91-(0)-44-22670747

Kalyani Shankar F2, Thilak TowersNo.3, Second Link StreetC.I.T. Colony, MylaporeChennai- 600 004violinkalyanishankar.com

G. K. ShankarC2/360, JanakpuriNew DelhiTel:+91-9313906589

Neena PrasadShanta Rati MisraKalapini KomkaliRekha Tandon

Rajeev JanardanSunil Kant GuptaUma Muralikrishna Koviladi Srinivasamurthi

2/7 Dasan Street, Radha NagarChromepet Chennai 600044Tel:+91-9500059972

Kovai B DakshinamurthyFlat:14, Old No:87, New No:6Gandhi Nagar II Main RoadAdyar, Chennai 600020Tel:+91-(0)-44-24404778

S. Adithya302,10th Main, 3rd BlockJayanagarBangalore- 560 011.Tel:+91-9448013068

Aathira37/5, S1,2nd FloorKing's Enclave ,Raja StreetMandaveli,Chennai-600028www.athira.in

Anjana RajanAparna RamaswamyVasanthi SridharMala PasupathiParul Padhya Dhar

Sunanda NairMethil Devika

Mysore B Sanjeev KumarNo.76, "Sri SeshachalaJattipalya Road, MagadiMain Road, ChennanahalliSouth Taluk,Bangalore - 562130

Srilashmi VenkataramaniOld No:44 New No:7 Balaji ApartmentsBaroda Second StreetSecond lane, West MambalamChennai 600 035

Sandeep N. Bharadwaj825 Bellflower LNBolingbrook. IL 60440. USAsandeepbharadwaj.com

Jyotsna Srikanth#591, Newbury CourtLey Street Ilford EssexIG27RD, LONDONwww.indianviolin.eu

Mythili PrakashJayaprabha MenonAvaneendra SheolikarLeena MohantyKavalam SreekumarShagun Butani

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A memorable concert by Hyderabad brothersThe familiar voices of Sri D. Raghavachary and D. Seshachary filled me with a feeling of sanctity and holiness as I was listening to them at Ravindra Bharathi. The carnatic concert by the duo popularly known as Hyderabad Brothers was organized by SICA on 2nd January 2009 as part of their Golden Jubilee celebrations. While their concert included popular krithis like 'Tarunam Idamma' (Gowli Panthu), 'Bagayennayya' (Chandrajyothi), 'Ennadu Joothuno' (Kalavathi), they also presented rare numbers like 'Neekela Dayaradu' (Sarasangi) and 'Ethanai Sonnalum' (Saveri). The main piece of the evening was in Thodi with Shyama Sastry's 'Ninne Namminanu'. The rendition of the raga was elaborate with a perfect neraval and swaram. Another noteworthy presentation was Dikshitar's 'Parandhamavathi Jayati' in 'Dharmavathi'. The neraval 'Paramjyothi Vikasini Paramatma Prakashini' was executed excellently. The concert ended with Papanasam Sivan's 'Ennatavam Seydanai Yasoda' in 'Kapi' and 'Krishna Nee Begane Baaro' in 'Yamuna Kalyani'. The violin support by Surya Deepthi was melodious and his response to the vocals was commendable. Kaliprasad on mridangam and Shyamkumar on kanjira provided perfect percussion support that got reflected especially in the Taniavarthanam. Sri Seshachary was very active and enthusiastic throughout the concert cheering the accompanists with an occasional encouraging remark.

You can listen to the recording of the concert by following the links below. The entire concert can also be downloaded

fromfile1 and file2.

If there are any copyright issues for putting the MP3s for free download, please let me know. I will remove

the access to files in that case. I am hoping that the MP3s downloaded from here are ONLY for personal use

and will NOT be used for commercial purposes.

1. Valachi Vachchi - Navaragamalika Varnam - Adi - Patnam Subramanya Iyer (MP3, Lyrics)2. Tarunam Idamma - Gowli Panthu - Adi - Shyama Shastri (MP3, Lyrics)3. Sabapathikku Veru Devam Samanamaguma - Rupaka - Abhogi - Gopalakrishna Bharathi (MP3, Lyrics)4. Bagayanayya Nee Maya Lentho - Adi - Chandrajyothi - Tyagaraja (MP3, Lyrics)5. Nee Kela Dayaradu - Khanda Chapu - Sarasangi - Ramaswamy Sivan (MP3)6. Ennadu Joothuno - Adi - Kalavathi - Tyagaraja (MP3, Lyrics)7. Parandhamavathi Jayati - Rupaka - Dharmavathi - Muthuswami Dikshitar (MP3)

Neraval & Swaras at "Paramjyothi Vikasini Paramatma Prakashini"

8. Ninne Nammi Nanu - Misra Chapu - Thodi - Shyama Shastri (MP3)Neraval & Swaras at "Kamakshi Kanjadalayatakshi"Thaniavartanam

9. Ethanai Sonnalum - Adi - Saveri - Vaidkeeswaram Koil Subbarayar (MP3)10. Muttavaddu Ra Nannipudu (Javali) - Adi - Saveri - Chinniah (Tanjavur Quartette)* (MP3)11. Ennatavam Seydanai Yasoda - Adi - Kapi - Papanasam Sivan (MP3, Lyrics)12. Krishna Nee Begane Baaro - Chapu - Yamuna Kalyani - Vyasaraya (MP3, Lyrics)

Bhavamana (Mangalam) - Adi - Sourashtra – Tyagaraja13.

Mambalam Sisters showed that they possess a rich and varied repertoire and were shrewd enough to make special announcements whenever they sang chosen numbers. The raga alapanas for Shubapantuvarli (‘Velane Vere Gathi’- Koteeswara Iyer) and Kharaharapriya (‘Chakkani Raja Maargamu’ - Tyagaraja) reflected innate strength and the swara handshakes were pacy — a quality that has come to stay in duets. B.V. Raman (their guru) was respectfully rememb ered and an ashtapadi of Jayadeva (‘Mamiyam Chalita’ - Bagyashree) tuned by him was sung. The sisters also rendered a song tuned by Swami Haridas Giri that meshed well with the concert hall. The other songs were ‘Sri Mathru Bhootham’ (Kannada - Dikshitar) and ‘Mohana Krishna’ (GNB- Kathana Kuthoohalam). The sisters experienced noticeable difficulty, as they reached and exploited their voices at the upper registers and consequently sruti alignment became a miss-and-try exercise on occasions. Hemalatha (violin), though probably of the same mould accompanied with her individualistic style.

The layam complement of Kudandhai Saravanan (mridangam), Sri Rangachari (kanjira) and Chidambaram Rajendran (morsing) tended to be noise-prone and the thani as they combined together went beyond listenable levels.

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MUSICAL BONHOMIE (from left)Melakkaveri Balaji, Akkarai Subhalakshmi, Savita Narasimhan, Gayathri Venkatraghavan, Gayathri Girish, Sangeetha Sivakumar, Sikkil Gurucharan Photo: V. GANESAN

Vaadya - A timeless Celebration of Carnatic Classical Music by MUSIC TODAY group. It is a 8 CD Collection . The artists areV.Doreswamy Iyengar - VeenaTN Krishnan - Violin,N.Ravikiran - Chitraveena,Mambalam MKS Siva - Nadaswaram,Kadrigopalnath - Saxophone,U.Srinivas- Mandolin,Prasanna - Guitar,

Dr.N.Ramani- Flute.

Indian Dance forms

Kathakali

The word Kathakali means enacting a story as a detailed dance. Often the story is relating the victory of

truth over falsehood.

A most important characteristic of Kathakali is the use of its typical make-up and colorful costumes. This is to emphasize that the characters are not humans but super natural beings from the heavens and their make-up is easily recognizable to the trained eye as satvik or godlike, rajasik or heroic, and tamasik or demonic. The performing art Kathakali is now attracting tourists from all over the world and is a main attraction for tourists who visit Kerala from European and other western nations. Lot of reswarch is also being done relating the topic. Foreigners who tour Asia and who plan trips to India tend to concentrate on various cultural and traditional aspects of the country like dance and music. click here for details>>Mohini attam

The theme of Mohini attam dance is adored dedication to god. In most cases Vishnu or Krishna is the hero. The audience can feel His invisible attendance when the heroine or details the story through circular movements, subtle expressions and delicate footsteps. Through leisurely and medium tempos, the dancer incorporates various improvisations and suggestive bhavas and rasas or emotions.

The Mohini attam dancer maintains sensible make-up and adorns a simple dressing style, when compared to costumes of other Indian dances forms. The dancer often wears a beautiful white with gold jerry border Kasavu saree of Kerala, with the distinctive white sweet smelling jasmine flowers around the knot of hair on her head.Bharata Natyam

Bharata Natyam the traditional dance form of Tamil Nadu has been handed down through the past few centuries by dance teachers (or gurus ) called nattuwanars and the temple dancers, called devadasis . In the sacred environment of the South Indian temple these families developed and propagated their heritage of dance and music. The training traditionally took around seven years under the direction of the nattuwanar who were scholars and persons of great learning. The four maestro nattuwanars of Tanjore, Tamil Nadu were adorned as the Tanjore Quartet and were brothers named Chinnaiah, Ponnaiah, Shivanandam and Vadivelu. The Bharata Natyam dance as we know it today was constructed by this gifted Tanjore Quartet. Bharata natyam is also having a lot of serious audience from all over the world. Foreigners who tour Asia and who plan trips to India tend to concentrate on various cultural and traditional aspects of the country like dance and music.Kathak

This traditional north Indian dance form is intimately bound with classical north indian Hindustani music, and the musical quickness of the feet is accompanied by the table or pakhawaj. The stories enacted in this dance form are that of Radha and Krishna, in the Natwari style (as it was then called) but the Moghul invasion of North India had a somber impact on the dance. The dance was taken to Muslim courts and thus it became more entertaining and less religious in content. More emphasis was laid on nritta , the pure dance aspect and less on abhinaya (expression and emotion).

Mahaganapathim Manasa smaraami.

Raga: Natta (Janya in 36th mela)

Taala: Aadi  

Arohana : sa ri3 ga2 ma1 pa dha3 ni3 sa  

Avarohana : sa ni3 pa ma1 ri3 sa

Pallavi

m,p, , ,m, mg pm r,,, / s,n, s,,, s,sr g,m,

Maha Gana patim Manasa smaraami

 

m,p, ,npm mgpm r,,, / s,n, s,,, sppm rsrg

Maha Gana patim Manasa smaraami

 

gmpn Snpm mgpm r,,, / s,n, s,,, sppm rsrg

Maha Gana patim Manasa smaraami

 

pnSn pmpm mgpm r,,, / s,n, s,,, s,sr g,m,

Maha Gana patim Manasa smaraami

 

pS,n p,pm rmrs srgm

Vasishta Vaama devati vantita / Maha.

 

Anupallavi

p,sn p,p, n,n, S,S, / S,,, ,,,, SnRS Snn,

Mahaa Deeva sutam

p,sn p,p, n,n, S,S, / ,,RR S,RR S,Sn n,,,

Mahaa Deeva sutam Guru guhanutam.

 

gmpn npp, S,n, S,S, / ,,RR S,RR S,Sn R,,,

Deeva sutam Guru guhanutam.

 

G,,, M,R, ,S,, ,Sn, / p,,, p,m, mgpm r,,,

Maarakooti prakaasham Shaantham.

 

Madhyama Kaalam

mp,m ,pS, rg,m ,pm, / p,mp nnpn MRS, S,np

Mha kavya naatakaa di priyam mooshika vaahana modaka priyam

chakkani rAja mArgamu

raagam: kharaharapriyaa 

taaLam: aadi 

pallavi 

chakkani rAja mArgamu lunDaga sandula dUranela O manasA 

anupallavi 

chikkani pAlu mIgada unDaga chIyanu gangA sAgara mElE 

charaNam 

kanTiki sundaramagu rUpamE mukkaNTi nOTa celagE nAmamE tyAgarAjintanE nelakonnadi daivamE iTuvaNTi shrI sAkEta rAmunimuni bhaktiyanE 

Meaning: O mind! When the spacious royal path to salvation is available, why should you take to by-lanes? When nutritious creamy milk is available, will anyone think of detestable toddy Ð Gangasagaram? When you can feast your eyes on the ravishingly beautiful form of SRI RAMA, when LORD SHIVA is eternally chanting the name of SRI RAMA, who has condescended to grace the abode of Tyagaraja, why should you resort to devious and labyrinthine paths instead of the royal path to salvation?

Download Melakartha Raga Notes

The Melakarta Ragams are the 72 basic Janaka (Root) ragams for all of the infinite others in Carnatic Music.  All of these ragams are saptaswaras, that is that they have all seven notes - Sa, Re, Ga, Ma, Pa, Da, Ne, and Sa.  The system is divided into two sets of 36 ragams - one set with the first Ma and the second Ma.   This is very similar to the Western

concept of scales and the circle of flats. Sapta Talas 

Click on the name of the raga to listen to the notes of the corresponding ragas. Enjoy FREE Carnatic Music Melakartha raga download.

1. Kanakangi  S R1 G1 M1 P D1 N1 S * S N1 D1 P M1 G1 R1 S2. Ratnangi  S R1 G1 M1 P D1 N2 S * S N2 D1 P M1 G1 R1 S3. Ganamurthi  S R1 G1 M1 P D1 N3 S * S N3 D1 P M1 G1 R1 S4. Vanaspati  S R1 G1 M1 P D2 N2 S * S N2 D2 P M1 G1 R1 S5. Manavati  S R1 G1 M1 P D2 N3 S * S N3 D2 P M1 G1 R1 S6. Tanarupi  S R1 G1 M1 P D3 N3 S * S N3 D3 P M1 G1 R1 S7. Senavati  S R1 G2 M1 P D1 N2 S * S N1 D1 P M1 G2 R1 S8. Hanumadtodi   S R1 G2 M1 P D1 N3 S * S N2 D1 P M1 G2 R1 S9. Dhenuka  S R1 G2 M1 P D1 N3 S * S N3 D1 P M1 G2 R1 S10. Natakapriya  S R1 G2 M1 P D2 N2 S * S N2 D2 P M1 G2 R1 S11. Kokilapriya  S R1 G2 M1 P D2 N3 S * S N3 D2 P M1 G2 R1 S12. Rupavati  S R1 G2 M1 P D3 N3 S * S N3 D3 P M1 G2 R1 S13. Gayakapriya  S R1 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R1 S14. Vakulabharanam   S R1 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R1 S15. Mayamalavagaula   S R1 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R1 S16. Chakravakam  S R1 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R1 S17. Suryakantham  S R1 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R1 S18. Hatakambari  S R1 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R1 S19. Jhankaradhvani S R2 G2 M1 P D1 N1 S * S N1 D1 P M1 G2 R2 S20. Nathabhairavi  S R2 G2 M1 P D1 N2 S * S N2 D1 P M1 G2 R2 S21. Kiravani  S R2 G2 M1 P D1 N3 S * S N3 D1 P M1 G2 R2 S22. Kharaharapriya  S R2 G2 M1 P D2 N2 S * S N2 D2 P M1 G2 R2 S23. Gaurimanohari  S R2 G2 M1 P D2 N3 S * S N3 D2 P M1 G2 R2 S24. Varunapriya  S R2 G2 M1 P D3 N3 S * S N3 D3 P M1 G2 R2 S25. Mararanjani  S R2 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R2 S26. Charukeshi  S R2 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R2 S27. Sarasangi  S R2 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R2 S28. Harikamboji  S R2 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R2 S29. Dhirasankaraabharanam  S R2 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R2 S30. Naganandini  S R2 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R2 S31. Yagapriya  S R3 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R3 S32. Ragavardhini  S R3 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R3 S33. Gangeyabhushani  S R3 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R3 S34. Vagadhishwary   S R3 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R3 S35. Sulini  S R3 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R3 S36. Chalanatta   S R3 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R3 S37. Salagam  S R1 G1 M2 P D1 N1 S * S N1 D1 P M2 G1 R1 S38. Jalarnavam  S R1 G1 M2 P D1 N2 S * S N2 D1 P M2 G1 R1 S39. jhalavarali  S R1 G1 M2 P D1 N3 S * S N3 D1 P M2 G1 R1 S40. Navaneetham  S R1 G1 M2 P D2 N2 S * S N2 D2 P M2 G1 R1 S41. Pavani S R1 G1 M2 P D2 N3 S * S N3 D2 P M2 G1 R1 S42. Raghupriya S R1 G1 M2 P D3 N3 S * S N3 D3 P M2 G1 R1 S43. Gavambhodhi S R1 G2 M2 P D1 N1 S * S N1 D1 P M2 G2 R1 S44. Bhavapriya S R1 G2 M2 P D1 N2 S * S N2 D1 P M2 G2 R1 S45. Subhapanthuvarali  S R1 G2 M2 P D1 N3 S * S N3 D1 P M2 G2 R1 S46. Shadvidha Margini  S R1 G2 M2 P D2 N2 S * S N2 D2 P M2 G2 R1 S47. Suvarnangi  S R1 G2 M2 P D2 N3 S * S N3 D2 P M2 G2 R1 S48. Divyamani  S R1 G2 M2 P D3 N3 S * S N3 D3 P M2 G2 R1 S49. Dhavalambari  S R1 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R1 S50. Namanarayani  S R1 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R1 S51. Kamavardhini  S R1 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R1 S52. Ramapriya  S R1 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R1 S53. Gamanasrama  S R1 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R1 S54. Viswambhari  S R1 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R1 S55. Syaamalangi  S R2 G2 M2 P D1 N1 S * S N1 D1 P M2 G2 R2 S56. Shanmughapriya  S R2 G2 M2 P D1 N2 S * S N2 D1 P M2 G2 R2 S57. Simhendra madhyamam   S R2 G2 M2 P D1 N3 S * S N3 D1 P M2 G2 R2 S58. Hemavati  S R2 G2 M2 P D2 N2 S * S N2 D2 P M2 G2 R2 S59. Dharmavati  S R2 G2 M2 P D2 N3 S * S N3 D2 P M2 G2 R2 S60. Nitimati  S R2 G2 M2 P D3 N3 S * S N3 D3 P M2 G2 R2 S61. Kantammani  S R2 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R2 S62. Rishabhapriya  S R2 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R2 S63. Lahangi  S R2 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R2 S64. Vaachaspathi  S R2 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R2 S65. Mechakalyani  S R2 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R2 S66. Chitraambari  S R2 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R2 S67. Sucharitra  S R3 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R3 S68. Jyothiswaroopini  S R3 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R3 S69. Dhaatuvardhini  S R3 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R3 S70. Nasikaabhooshani  S R3 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R3 S71. Kosalam  S R3 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R3 S72. Rasikapriya  S R3 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R3 S73.

http://sushantskoltey.wordpress.com/category/sushant-koltey/page/11/

These are very few classical musical instruments traditionally used in INDIA.

Baja (HaThese are very few classical musical instruments traditionally used in INDIA.

Baja (Harmonium)

Bansuri (Flute)

Bul Bul Tarang

Chimta (Tong)

Dhol (Bhangara Drum)

Dholak (folk Drum)

Dilruba (Bowed)

Esraj (Bowed)

Ghungaru (Dance Bells)

Harmonium

Khanjeera, Khanjira

Khartal, Kartal

Manjeera, Manjira

Mridangam

Naal

Nadaswaram

Nagaswaram

Pakhavaj

Santoor, Santur

Sarod, Sarode

Shankha

Shehnai, Shahnai

Shruti Box

Sitar

Surbahar

Swarpeti, Surpeti

Tabla

Tanpura (Tambura, Tamboora)

Tar Shehnai

Vichitra (Vichiter) Veena

rmonium)

Bansuri (Flute)

Bul Bul Tarang

Chimta (Tong)

Dhol (Bhangara Drum)

Dholak (folk Drum)

Dilruba (Bowed)

Esraj (Bowed)

Ghungaru (Dance Bells)

Harmonium

Khanjeera, Khanjira

Khartal, Kartal

Manjeera, Manjira

Mridangam

Naal

Nadaswaram

Nagaswaram

Pakhavaj

Santoor, Santur

Sarod, Sarode

Shankha

Shehnai, Shahnai

Shruti Box

Sitar

Surbahar

Swarpeti, Surpeti

Tabla

Tanpura (Tambura, Tamboora)

Tar Shehnai

Vichitra (Vichiter) Veena