sangeethavaibhavam_mar13
DESCRIPTION
SangeethaVaibhavam_Mar13TRANSCRIPT
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 1 of 22
Sangeetha Vaibhavam
Salutations to all.
Generally we find that likes of people differ from one person to another. Some people like
science, others technology and yet others medicine. Even with technology itself, there are
people who like programming, networking and many other sub-fields. Even between two
programmers, the likes differ. In such a world which is based on differences, it is very tough
indeed to find something which will cater to each and every person. But we need look no
further than music in order to find that which everybody likes. Some may know the nuances
of music; some may understand it a bit; others may not know music at all but all like music
because music is that which touches everybody irrespective of all distinctions.
Though people like different kinds of music, still music is one thing which binds the entire
world as one. Ages ago, different kind of music was liked by people – today it is a different
kind of music but it can definitely be said that music is something which finds its place in
even the most evil of person (this means that music finds a place in the mind or heart of
everybody).
But what is the point of merely liking something? There is no point at all unless we are able
to convert this liking into eternal bliss. That which we like, if we are filled in and out with it
then we will find ourselves blissful. But such bliss is short-lived if the object we like is short-
lived. We can cover ourselves in soap if we like it but sometime we have to remove soap.
This goes for clothes, equipments and everything in the world.
So does this mean that music cannot lead us to eternal bliss?
Music definitely can lead us to eternal bliss provided we remember the eternal entity which
is hinted and pointed out through music. This eternal entity is the ultimate reality of Lord or
Brahman. This Lord is the very basis of the world and he pervades the entire world in and
out. All differences that appear as existing now are just illusions in Ishwara even as the
entire dream world is just an illusion in the dreamer. If we remember this ultimate reality of
Lord as the subject-matter of music then we will be directly lead to eternal bliss or the state
of moksha through music. Great masters of the past like Tyagaraja and others have shown
that we can definitely be lead to moksha through music. Of course mere music is futile
unless we have devotion in it (sangeetha jnaanamu bhakti vinaa). This devotional aspect of
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 2 of 22
music is only possible when we are able to understand the nuances of music which include
raga, tala and sahitya. It is bhaava which is the very basis of good music – bhaava is when
these three of raga, tala and sahitya are used in order to praise that Ishwara who is the
very basis of the entire world. Some people alone thus are filled with true bhaava. Though
great musicians like Yesudas are filled with bhaava, their bhaava isn’t focused on Ishwara
and hence it isn’t true bhaava (unless it is true bhaava it will not lead us to eternal bliss).
A great singer like M D Ramanathan will be able to create a change in us when we listen to
his bhaava-filled music for he is evoking Ishwara and that Ishwara is thus remembered by
us thereby leading us to eternal bliss.
It is the purpose of this magazine to bring out the different nuances of music so that
through a proper understanding of music we will be able to direct our attention on Ishwara.
The ultimate goal of life is to realize Ishwara (attain the state of moksha). This is easier said
than done as we don’t know Ishwara – therefore trusting or seeking such an Ishwara is very
tough indeed. Moreover the entire world poses an obstacle towards realization of Ishwara
(as the entire world appears very real whereas Ishwara appears unreal). Therefore it is
essential to find the passion in us which when directed towards Ishwara will lead us to the
state of moksha here itself. It is a personal belief and proven through history that if we are
able to develop passion towards music through proper learning then we will easily be able to
direct all our attention towards Ishwara. Then we will find ourselves immersed in Ishwara at
all times – even though we may be in an office or a temple or a market, we will be
remembering Ishwara through music. Though the entire world might call us mad, still the
bliss that we experience as a result of remembrance of Ishwara through music is
inexplicable. Since it is this bliss that we all are seeking each and every moment of our life
therefore all effort should be in order to attain this goal through music and remembrance of
Ishwara.
May we all strive to develop passion towards music so that through learning of music our
attention will be fully focused on Ishwara and thereby we will be able to get rid of all
sorrows and will be able to ever rejoice in bliss here and now itself.
AUM NAMAH SHIVAYA
Mar 24th
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 3 of 22
Anukramaanika
Sangeetha Vaibhavam .................................................................................................................................. 1
Sangeetha Prakaashanam ............................................................................................................................. 4
Hindustani Vivaranam ................................................................................................................................... 7
Raaga Vivaranam ........................................................................................................................................ 10
Kriti Deepam ............................................................................................................................................... 11
Acharya Arpanam ........................................................................................................................................ 15
Ishwara Smaranam ..................................................................................................................................... 18
Anukramaanika Nirdesham ........................................................................................................................ 22
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 4 of 22
Sangeetha Prakaashanam
In the previous month we saw about Melakartha raga. Let us learn about Janya raga. To
recap briefly about Melakartha raga, Melakartha ragas are sampoorna in the arohanam and
sampoornam in the avarohanam and there are 72 Melakartha ragas.
Janya raga are derived from Melakartha ragas. From each of the melakartha raga, when
drop some swaras in the arohana and/or avarohana, the resultant will form what is called
Janya Raga. For example, if we leave Ma and Ni in the arohana of Shankarabharanam and
all swaras in Avarohana, the resultant raga is called Bilahari. The number of swaras that
could be dropped in arohana or avarohana would be 2. There are very few raga that miss
more than 2 raga because it will not be create a distinct raga swaroopam with the remaining
swaras.
If all swaras are used in arohana or avarohana it is called Sampoorna. If one swara is
missed, it is called Shadava and if 2 swaras are missed it is called Audava. Melakartha raga
as we saw are sampoorna in the arohana and avarohana. Following are the possible
combinations of raga in arohana and avarohana
1. Sampoorna – Sampoorna
2. Sampoorna – Shadava
3. Sampoorna – Audava
4. Shadava – Sampoorna
5. Shadava – Shadava
6. Shadava – Audava
7. Audava – Sampoorna
8. Audava – Shadava
9. Audava – Audava
If we go with just mathematical calculations, let us take just one combination above, say
Sampoorna-Shadava – there are 72 sampoorna arohana and 6 shadava avarohana for each,
leading to 432 janya raga for just this group. And same count for Shadava-Sampoorna as
well. Likewise if we try to calculate for each of the combination, we might end up getting
around thirty thousand janya raga. It may look quite easy when we do some mathematics
around it, but raga is not just maths. Every raga is known by their raga lakshana and most
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 5 of 22
of janya raga of the thirty thousand are not in use because of not having a differentiating
raga lakshanam.
The type of janya raga that we saw until this point, which skips swara in the arohana or
avarohana, is called upanga janya raga. There are some janya raga, that has twisted
arohana and/or avarohana. For example, there is a janya raga of Dheerashankarabharana
that goes like Sa Ri Ma Dha Ni Ga Pa Sa in the arohana. This is the arohanam of Raga
Kathana kuthuhalam. The avarohanam is straight sampoorna avarohanam of
Dheerashankarabharanam. These type of janya raga are called Vakra Raga.
There are is also another type of janya raga that has swaras that do not belong to the
Melakartha raga. For example, Raga Bhairavi is a janyam of 20th Melakartha raga
Natabhairavi. The arohanam and avarohanam of Bhairavi is Sa Ri2 Ga2 Ma1 Pa Dha2 Ni2 Sa –
Sa Ni2 Dha1 Pa Ma1 Ga2 Ri2 Sa. The arohanam of the raga has Chathusruti dhaivatam which
do not belong to the Natabhairavi scheme and in the avarohanam it uses the shuddha
dhaivatam which belong to Nata Bhairavi scheme. The type of raga are termed as
Bhashanga raga.
A janya raga can either be upanga raga or bhashanga raga, it cannot be both. But Vakra
raga can fall under upanga raga or Bhashanga raga. Thus, if we see there can be many raga
possible out of melakartha raga, it may be a upanga raga or bhashanga raga or Vakra raga,
but the most important factor of any raga is the raga lakshana that uniquely belong to raga.
So whenever we have to analyze a raga, we have to first see which melakartha scheme it
belong to, what type of janya raga it is whether it is Upanga or Bhashanga or Vakra. If it is
Bhashanga raga, which swara is making it a bhashanga what its usage.
Another common term used is ‘Varja’ to speak about any missing swara. For example, the
arohanam and avarohanam of Raga Sriranjani is Sa Ri2 Ga2 Ma1 Dha2 Ni2 Sa – Sa Ni2 Dha2
Ma1 Ga2 Ri2 Sa. Raga Sriranjani is janyam of Raga Kharaharapriya. It also has the same
swaroopa as Raga Kharaharapriya, but Sriranjani do not have Panchamam and it is normally
said as Panchamam varja raga. Raga Malayamarutham which is considered as the janya
raga of Chakravaham is a Madhyama varja raga. The arohanam and avarohanam of
Malayamarutham is Sa Ri1 Ga3 Pa Dha2 Ni2 Sa – Sa Ni2 Dha2 Pa Ga3 Ri1 Sa. There is another
melakartha raga by name Ramapriya which is a prathimadhyama raga. Chakravaham and
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 6 of 22
Ramapriya differ only in Madhyamam and there could be a confusion for Malayamarutham
to which melakartha scheme it belongs to.
We can find many such raga upanga ragas that could lead confusion to which melakartha
scheme they might belong to. Mohanam is yet another most popular example. The
arohanam and avarohanam of Mohanam is Sa Ri2 Ga3 Pa Dha2 Sa – Sa Dha2 Pa Ga3 Ri2 Sa.
This can be considered as belonging to Harikamboji or Mechakalyani or
Dheerashankarabharana. Mohanam is considered as the janyam of Harikambhoji because
Harikambhoji comes first in the Melakartha list (Harikambhoji is 28,
Dheerashankarabharana is 29 and Mechakalyani is 65). So, those raga that could seem to
belong to many melakartha scheme, the lowest number wins. In the case of
Malayamarutham , chakravaham is 16 and Ramapriya is 52 and thus Malayamarutham is
considered to be Janyam of Chakravaham.
We will see about Tala in the next article.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 7 of 22
Hindustani Vivaranam
Thaats
As we saw previously, thaats were introduced by Pandit Vishnu Narayan Bhatkhande in
order to formalize the grouping of ragas (similar to the sampoorna and asampoorna
melakartha paddhatis in carnatic music).
Though this system of categorization of ragas doesn’t work well in Hindustani music due to
ragas being grouped as per their usage, phrases etc., still such a classification would help
learners to find out the swaras that are primarily used in a particular thaat. Thus each thaat
has a main raga based on it and a set of swaras that are primarily used in it. There are ten
thaats in total.
1. Bilawal – S R G M P D N (capital letters denote the higher notes except for madhyama –
m stands for teevra mandhyama and M for shuddha madhyama – or in other words, all
capital stands for shuddha svaras and lower case denotes komal or teevra)
Equivalent to the Sankarabharana scale, Bilawal thaat uses all shuddha svaras. There are
lot of ragas in this particular thaat and the set of bilawal ragas starting with alhaiya bilawal
form a part of this thaat. Characteristic phrases of this thaat include P D M, P D G etc.
2. Khamaj – S R G M P D n
Khamaj thaat is well represented by the Khamaj raga. Here except Ni which is komal, all
other svaras are shuddha. The famous song of vaishnava janato is set in Khamaj raga. The
equivalent carnatic scale is harikamboji.
3. Kafi – S R g M P D n
Kafi thaat has gandhar and nishad komal; rest of the svaras are shuddha svaras. This is
equivalent of the kharaharapriya scale of carnatic music.
4. Asavari – S R g M P d n
In asavari thaat, except rishabha and madhyama, all other svaras are komal. Shuddha
rishabh asavari and komal rishabh asavari are couple of famous ragas that can be grouped
into this thaat.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 8 of 22
5. Bhairavi – S r g M P d n
Bhairavi thaat has all komal svaras except the madhyama which is shuddha. The folk but
very wide raga bhairavi is the famous raga in this particular thaat.
6. Bhairav – S r G M P d N
Bhairav thaat has gandhar, nishad and madhyama as shuddha; rest svaras are komal.
Bhairav is the popular raga in this thaat. The thaat evokes a strong majestic behavior or
emotion (though this might differ from raga to raga based on the usage of svaras).
7. Kalyan – S R G m P D N
Kalyan thaat has all shuddha svaras except the madhyama which is teevra. There are many
ragas in this thaat including the vast set of kalyan ragas including yaman kalyan, shuddha
kalyan, shyam kalyan etc.
8. Marwa – S r G m P D N
Marwa thaat has all shuddha svaras except madhyama and rishabh. The famous marwa
raga which s tough to master is the prime raga of this thaat. Other ragas including pooriya
and sohani. These three ragas have same phrases yet are entirely different based on the
intonation or usage of svaras.
9. Purvi – S r G m P d N
Purvi thaat has gandhar and nishad alone as shuddha svaras. Purvi raga is the prime raga
of this thaat. Other ragas include puriya dhanasree.
10. Todi – S r g m P d N
Todi thaat has just nishadh as shuddha. There are a lot of ragas in this thaat which evoke a
very different feeling from other ragas.
Svaras and ragas
Carnatic ragas emphasize on phrases rather than mere svaras and their intonation.
Hindustani ragas emphasize on svaras and the way in which svaras are used. Also ragas, as
has been explained before, are grouped therefore two ragas having same svaras but in two
groups will be used differently (and the emotions evoked by the two ragas will be entirely
different).
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 9 of 22
Taking simple examples, there are three ragas in hindustani with the notes of S R M P n;
the three ragas are madhmad sarang, megh and megh malhar. The same scale in carnatic
music is the raga of madhyamavati. Madhmad sarang is part of the sarang group of ragas
where svaras are used plainly, without any meend. Thus this is a very smooth moving raga
with no emphasis at all on meend. Since svaras are plain therefore movement swiftly from
one note to another at the higher level is used a lot. Compared with this raga of the sarang
group, megh is filled with lot of meends. Svaras are used only with meend (never plain) –
thus the raga evokes the emotion that is majestic in nature. We can compare madhmad
sarang to a child playing whereas megh as a elderly person well poised. Megh and megh
malhar are almost the same except that megh malhar is part of the malhar group of ragas –
therefore malhar phrases are used in megh malhar (which are absent in megh).
Another difference in these three ragas with same svaras is the main and secondary note in
the raga. The main or primary note which is the basis of the raga itself is called vaadi svara
and secondary note is called samvaadi svara. Vaadi svara is used for pausing, stopping and
it will be more used compared to other svaras. All ragas have vaadi and samvaadi.
Madhmad sarang has vaadi as R and samvaadi as P (in tune with all sarang ragas) whereas
megh and malhar have M as vaadi and S as samvaadi.
An aspiring performer as well as fans of Hindustani music would do good to learn the
different intonations of ragas in order to ensure that the right raga is evoked with the right
emotions. Only then will the raga be sung be fully justified and thereby the singing itself will
be enjoyed by oneself and others as well.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 10 of 22
Raaga Vivaranam
Hamsadhvani
Hamsadhvani is the janyam of 29thMelakartha raga Dheerashankarabharana
Arohanam: Sa Ri2Ga3 Pa Ni3 Sa
Avarohanam: Sa Ni3 Pa Ga3 Ri2 Sa
Hamsadhvani is aUpanga raga with no Madhyamam and Dhaivatam in arohanam and
avarohanam. Hamsadhvani is discovered by MuthuswamyDikshitar’s father
RamaswamyDikshitar. This raga is a very strong raga that is normally sung at the beginning
of the concert and there are lot of songs on Lord Vinayaka in Hamsadhvani.
The Jeevaswaras of Hamsadhavani are Ri, Ga and Ni and amsaswara is Pa. All swaras are
nyasaswaras. This raga is generally fast paced raga and most times stays at the higher
notes. Some of the most commonly used patters are Ga Pa Ni Pa Ga, GaRi Sa Ni Pa, Ni RiGa
Pa GaRi Sa and so on. Since all the swaras used in this raga are nyasaswaras, there can be
lot many patterns that can be used.
Some of the most popular compositions
1. VatapiGanapathim – MuthuswamyDikshitar
2. Raghunayaka – Thyagaraja Swami
3. Gajavada mam pahi – M D Ramanathan
4. Jalajaksha (Varnam) – Venkatasubbayyar
5.
This raga is also been used in Hindustani music as well with almost the same swaroopa as
the Carnatic music.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 11 of 22
Kriti Deepam
VatapiGanapathimBhaje is one of the most popular Kriti of MuthuswamyDikshitar written in
Sanskrit and composed in Raga Hamsadvani. This Kriti was written on Lord Ganapathy,
explains about the glory of Lord Ganapathy. Lord Ganapathy, who is known as the lord of all
obstacles, removes all the obstacles of the devotees and also grants all boons to the
devotees. We will learn and understand the meaning of this most popular kriti.
Pallavi:
Vatapiganapathimbhajehamvaaranaasyamvarapradhamshree
I remember Lord Ganapathy of Vatapi who has a face of an elephant and confers
boons on His devotees.
Scriptures speak about two types of Bhakti – Para and Apara. Para Bhakti is when a person
has the realization of the Ultimate Knowledge that Brahman alone exists here. Apara Bhakti
is that in which person do not yet have this ultimate knowledge but remembers Brahman as
the Lord of the world. The Lord of the world is the creator and protector of the world. When
the devotee remembers the Lord constantly, he will be able to get the mental capability to
assimilate the Ultimate Knowledge. But until then, the most important thing required is the
constant remembrance of the Lord in some way. Often, it is difficult to remember Lord as
the formless and all-pervading, therefore most devotees try to remember the Lord in a
particular form, the form that they can easily remember.
Lord Ganapathy has a form of an elephant, and a big body. Such a form is not a usual form
and naturally the mind will stick to something that is not normal. Thus, it is not difficult to
remember the form of Lord Ganapathy. Here in the pallavi, Dikshitar starts the kriti by
saying let us do the Bhajanam of Lord Vinayaka. Bhajanam means remembrance of the Lord
and here it means that I remember Lord Ganapathy who has an elephant face and who
grants boon to the devotees. Vatapi was a former name of a place in Karnataka called
Badami.
Anupallavi:
Bhootadisamsevatacharanam
Bhootabhautikaprapanchabharanam
Veetharaaginamvinithayoginamvishwakaaranamvignavaaranam
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 12 of 22
His feet is worshipped by Bhutasetc, He is the supporter of living and non-living
things in this world, devoid of desires (likes), prostrated by Yogis, the cause of the
world, remover of all obstacles.
The world came from the Lord and the world is controlled and protected by the Lord. The
creation is composed of so many things. The creation can be broadly considered as
containing living and non-living things in all 14 worlds. Such a powerful Lord is giving a form
and name for the sake of remembrance as Lord Ganapathy, who stands for that Brahman.
The Lord created not only created the world and living beings, Lord also created devatasto
rule different aspects of the world as well. Here Dikshitar says that everyone in all 14 worlds
worship the feet of the Lord. Lord protects and controls everyone without any partiality.
Lord is like the mother. A mother do not show partiality towards any of her children, she
showers the same love and affection to all her children and takes care of all her children in
the same way. Likewise Lord takes care of everyone in the same way. But in order to
understand that Lord’s grace is there with everyone all the time, we have to surrender unto
the Lord. In the pallavi, Dikshitar mentioned that Lord grants all the boons of His devotees.
Everything we get from this world is the grace of Lord but in order to be able to appreciate
this, we have to surrender to the feet of the Lord. But people who understands that Lord is
the protector and controller of the entire world, they naturally would be able to prostrate at
the feet of the Lord.
Scriptures say that the Lord is the creator of the world and everything came from the Lord.
Lord is both intelligent and material cause of the world. Lord also is essence of everything in
the world. The whole world comes to life only because of the Lord who is intimately present
in each and everything in this world. Even though Lord is present in each and everything,
Lord is not affected by whatever happen to the thing. Lord is present in everything as a
witness of everything. Lord just being a witness, do not have likes-dislikes. Yogis, who are
ever focused on the Lord, naturally surrenders to the Lord. Dikshitar here says let us
remember such a great Lord Ganapathy who is created the world and also entered the world
and protects the world and is been worshipped by yogis, etc.
Charanam:
Purakumbhasambhavamunivaraprapoojitamtrikonamadhyagatam
Muraaripramukhaadyupaasitammoolaadhaarakshetrastitam
Paraadichatvaarivaagatmakampranavaswaroopavakrathundam
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 13 of 22
NirantaramnitilaChandrakhanDamNijavaamakaravidhrutekshudandam
Karambuja pasha beejapooramkalushavidoorambhutaakaram
Haraadiguruguhatoshitabhimbamhamsadvanibhooshitaherambam
He is worshipped by Superior Saint (Agastiya) who was born out of a pot once
upon a time, who resides in the middle of the (tantric) triangle, who is worshipped
by Lord Murari and other important ones, who is situated in the Mooladhara, who
is the essence of 4 levels of speec, who has twisted trunk in the form of OM, who
is permanent, who bears a crescent moon on the forehead, who holds a stack of
sugarcane in his left hand, who holds noose (pasha) and a pomegranate fruit on
his lotus-like hand, who has a gigantic body, whose round form is pleasing to Lord
Shiva, Lord Murugaetc, who is the protector of the meek, and is adorned by Raga
Hamsadvani.
Among the sages, Sage Agastiya was considered as the greatest of the sages for his
devotion and knowledge. He is known to be born out of pot of water through the join of
seeds of Sun Lord and Rain Lord. Once there were two asurasVatapi and Ilvala, and they
had the great MritaSanjeevani Mantra. They were misusing this mantra in such a way that,
Ilvala would invite a Brahmana for a feast and Vatapi would change his form into a fruit
which the Brahmana would eat. When the Brahmana finishes the fruit, Ilvala would call
Vatapi and Vatapi would come out killing the Brahmana. This was happening for very long
time and Sage Agastiya by the grace of Lord Vinayaka had put an end to this. Agastiya got
invited for the feast and when Agastiya ate the fruit, Vatapi got didn’t come out as he got
digested. It is not just Sage Agasthiya, Lord Ganapathy is worshipped by all great
mahatmas.
In any formal worship of a devata, there are 3 important things which are Mantra, Yantra
and Tantra. Yantra stand for the deity and in the Yantra for Lord Ganapathy there is a
triangle. Lord is the center of the Yantra which means that Lord is the essence of any
worship itself. In our body, there are seven chakras starting from Mooladharam till
sahasraram. Each chakra is presided over by one devata and for Mooladhara chakra, Lord
Ganapathy is the presiding deity. Also, Lord Vinayaka’s idol in Tiruvarur is enclosed in a
triangle and the Tiruvarur is considered as the MooladharaKshetram.
There are about 4 types of shabdham which are Para, Pashyanti, Madhyama and Vaikhari.
Vaikhari is the manifested word that can be heard, Madhyama are the words in the mind
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 14 of 22
just before getting manifested, Pashyanti is the idea before coming up as words in the mind,
and Para is the unmanifested causal form of the word. For all these 4 forms of speech to
function, the most important requirement is Consciousness and that Consciousness which
illuminates everything is the Lord. He has a twisted trunk which is in the form of OM. It can
also be understood as Lord Vinayaka whose real nature is OM and has a twisted trunk. With
this Dikshitar means that Lord Vinayaka, to whom was given a specific form of elephant
with twisted trunk, stands for Brahman. If Lord is Nirguna, how can he have a form? Lord
always can, because the world was created by him. The Lord Himself became every form in
the world and hence it is certainly possible for the Lord to assume any specific form. But
whatever form it may be, the form the Lord assumes stand for that Ultimate Reality of
Brahman.
Also, it is important to know that the form of the Lord is not the real Lord, it only stand for
the Lord. We may have our ancestor’s picture in our house. The picture is not our ancestor,
but the picture stands for our ancestor. Name and form are not real, but the Lord is the only
Real entity. Thus, Dikshitar calls Lord as Nirantharam. But as mentioned earlier, in order to
for the mind to remember the Lord, the easiest way is to focus on the form of the Lord.
Thus, in the final few lines, Dikshitar speaks describes the form of the Lord.
Lord Vinayakahas a twisted trunk, bears a crescent moon in His forehead, have sugarcane
stack in one hand, have noose and pomegranate fruit in his other hands, who has a huge
body yet who has no imperfections, whose form is enjoyed by Siva and everyone else, who
is present in the inside of heart cave, who protects the meek and who is praised in the raga
called Hamsadvani.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 15 of 22
Acharya Arpanam
In the previous month, we saw the life of Muthuswamy Dikshitar, one of the trinities of
Carnatic music. In this month, we will see the life of another Mahatma who is one of the
trinities, Thyagaraja Swami.
At the end of 16th century, the Vijayanaraga Kingdom, which had a glorious past, fell and
the Northern invasion started influencing most part of the southern India. Many Hindu
families in the region of Andhra migrated down south towards Tamil Nadu so as to live a
peaceful life. Among those migrants were the parents of Thyagaraja Swami, Kakarla
Ramabrahmam and Seetamma. They all moved to Thiruvarur, in the Tanjore District.
Ramabrahmam and Seetamma did not have any child for many years. They were very
devoted to Lord Thyagaraja and Lord Rama. In the biography written by Sri T S Sundresha
Sarma, Lord Rama on seeing the devotion of Ramabrahmam, decides to grant him the boon
of child and also wants to uplift the world towards the remembrance of the Lord. So, he
instructs Valmiki Muni to go down south of India towards Kaveri and act as per the
instructions of Mother Kaveri. Valmiki Muni goes down south to Kaveri where Kaveri
instructs Valmiki Muni to be born as a son of Ramabrahmam and Seethamma.
Ramabrahmam and Seethamma did lot of austerities in order to beget a child.
Ramabrahamam out of frustration and anger shouted at the Lord to grant him the boon of a
child. He was then blessed with a boy, but the boy was fickle minded, short tempered
person. He was named Japyesa. Ramabrahmam having understood his mistake, prayed
again and pleaded for a good child. Valmiki Muni waited for this occasion and thus entered
the womb of Seethamma and thus was born a boy on 4th May 1767 and the parents named
him Thyagaraja, after the Lord Thyagaraja.
Ramabrahmam educated Thyagaraja in music, veda, Sanskrit and astrology in the very
early age. He was also initiated into Rama Taraka Mantra at the age of eight and young
Thyagaraja was so devoted to Lord Rama from his very early childhood. Unlike every other
child at his age, Thyagaraja was always interested in repeating the name of the Lord in
seclusion all the time and thus made him have the vision of Lord even at a very young age.
At the age of thirteen he composed his first song on Lord Rama and thus started the
musical stream that never stopped.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 16 of 22
Many people today see Thyagaraja Swami as a musician and composer but truly he was a
Mahatma, a great Bhakta and Jnaani, for whom music was just used as a medium to
express that supreme devotion. Every Mahatma expresses that devotion in various different
ways. Some may write Sanskrit works, some may teach, some may write songs. All the
songs of Thyagaraja Swami are full with devotion, along with apt composition and words.
Scriptures say that all emotions should be directed towards the Lord and when they are
directed towards Lord, that will help purify our mind and thereby it would take us close
towards the Lord.
Ramabrahmam, after the birth of Thyagaja, moved to Thiruvayaaru leaving Thiruvarur. The
king of Tanjore gave him a house in Thiruvayaaru and that’s where Thyagaraja Swami spent
rest of his life. Thyagaraja was then married to Parvati at the age of eighteen. When he was
23, Parvati died unexpectedly. Soon after Thyagaraja married Parvati’s sister Kanakamba.
They both had a daughter by name Seethalakshmi. Seethalakshmi was then married to
Kuppuswamy and to them born a boy by name Thyagaraja who did not have any children.
With that, Thyagaraja Swami’s direct lineage ended. But Thyagaraja Swami had a long
tradition of disciples.
Thyagaraja Swami had spent all his time remembering Lord Rama and singing about the
Lord. He used to walk in the streets singing and get bhiksha for food every day. Thyagaraja
Swami never sang for money or name or fame. On hearing about Thyagaraja Swami, the
king of Tanjore wanted to invite him to his palace and award him with lot of money along
with the post as a minister in the court. The king invited Thyagarajar to the palace and
asked him to sing in praise of the king. The King told him that if he sings in praise of the
king, he would be granted lot of wealth and a position as a minister in the court. In the
palace, Thyagaraja Swami, not distracted by any of wealth and position, he sang in the
palace, “Can wealth give more happiness or the name of the Lord”. Thus, singing he walked
out of the palace and was back to the regular routine of getting bhiksha for food every day.
Rama Nama was always on the lips of Thyagaraja Swami at all points in time. He had an
idol in his house which he never missed to worship any day. His brother Japyesa, who was
fool and short tempered, couldn’t withstand the popularity Thyagaraja was getting and
hence decided to get separated from his brother. He split his ancestor property and in anger
he even threw the idol of Lord Rama into the river Kaveri. Thyagaraja Swami’s became
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 17 of 22
extremely sorrowful in knowing this and sang many songs to express that sadness of losing
the idol which he very dearly been worshipping for many years.
Thyagaraja Swami went on an extensive pilgrimage to all temples in South India and sang
many songs in praise of the Lord in the temples he visited. He took formal sanyasa towards
his end and was spending the rest of the life focusing only on the Lord. Before he attained
Mahasamadhi, Thyagaraja Swami had completed chanting of the Rama Nama more than
Crore and thus was completely absorbed in the thought of Lord Rama. Thyagarja Swami
attained Mahasamadhi on 6th January 1847.
The Kritis written by Thyagaraja Swami not only have the musical greatness but they also
have poetic and also based on the scriptures. Being from a Telugu family, Thyagaraja
Swami’s songs were predominantly in Telugu. Thyagaraja swami being well versed in
Sanskrit, also wrote many songs in Sanskrit. Though all the songs of Thyagaraja Swami are
famous, his Pancharatna Kritis stand out as the most popular group of Kritis. Even in this
period, during every year Thyagaraja Aradhana, great musicians sit together and sing the
Pancharatna Kritis as a tribute for the great composition and the devotion expressed
through them.
Pancha ratna Kritis
1. Jagadananda Karaka – Raga Naatai
2. Duduku gala – Raga Gowla
3. Sadhinchane – Raga Aarabhi
4. Kanakana Ruchira – Raga Varali
5. Endaro Mahanubhavulu – Raga Sri
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 18 of 22
Ishwara Smaranam
Guruvadivaanavale amritanandamayi
Tiruvadi panindhen varamondru tharuvaai
Amritapureshwari ananda vadive
Arulodu enaiyum padamalar serpai
O Mother Amritanandamayi! Who is in the form of Guru
I have surrendered unto your feet please grant me a boon
O Amritapureshwari! Who is the embodiment of bliss
Unite me unto your feet by your grace.
This song speaks about Amma in the form of Guru. As Lord Krishna mentioned in Bhagavad
Gita, Lord will come in front of the devotee in which ever form the devotee thinks about the
Lord. Arjuna looked up to Lord Krishna as Guru in the battle field and thus Lord Krishna took
the Guru bhava to teach Arjuna the highest knowledge of Brahman. Mahatmas alone can be
Guru to teach this Ultimate Knowledge of Brahman because they are the living embodiment
of the knowledge mentioned in the scriptures. For many people, scriptures are very tough
nut to crack and thus the requirement of Guru is inevitable. Guru do not just teach the
knowledge and then just let go of the student, the Guru also shows how to use the
knowledge by living the knowledge.
Having attained such a Mahatma, only thing we can do is to surrender at their feet. Lord
Krishna in Bhagavad Gita 4th chapter mentions how to approach a Guru. The Lord says that
a student having attained the Guru should surrender unto the Guru, do service to the Guru
and has questions about Brahman. Thus, the song starts by saying that I am surrendering
at the feet of the Guru who is of the nature of Bliss, please grant me the boon to realize
everything is Lord alone. This can be achieved only through the grace of the Lord. The grace
of the Lord is ever available at all point in time, but only when there is surrender of ego, the
grace can be realized and that grace will help the seeker to realize that there is nothing here
apart from Brahman. This knowledge that everything is pervaded in and out by the Lord is
the highest surrender of a devotee, highest knowledge of a spiritual seeker.
Dayai vadivaanavale sivashakti parvati
Tanayan azhaitten ezhundarulvaaye
Dinam unnai naadi varum bhaktargal kootam
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 19 of 22
Manam tannil thondrume devi nin roopam
O Mother! Who is the embodiment of compassion! Who is the unmanifested power
of Siva, Parvati!
Your son is calling please come
Crowd of devotees rushes daily to have your darshan
Your form will be revealed in our mind
Guru is also like a mother who takes care of her children. A newly born baby cannot do
anything on its own and has 100% surrender towards the mother. When the child grows up
into a kid, the surrender kind of reduces as the kid would start thinking and seeing many
things. But as baby, there is 100% surrender unto the mother. It makes easy for the
Mother to take care of the child. It is not just that things become easy for the mother, the
child gets proper care at appropriate time which helps the child to grow well .The song calls
Guru as the mother and requests mother to come to help the child grow towards the goal of
Moksha. Guru is the embodiment of compassion. There cannot be any equivalent to the
compassion of a Mahatma. They don’t have any desire in the world, they don’t have any
duty to do in this world, yet only for the sake of people in the world, Mahatmas try to help
people and take people towards the goal of Moksha which Mahatmas are enjoying every
moment.
But being the compassionate master and blissful, there will be attraction which will make
more and more people to approach such a master. Ramakrishna Paramahamsa says that
flower need not advertise that it has honey to the honey bee. The moment the flower
blossoms, honey bees would come in to taste and enjoy the nectar. Likewise, more and
more people would come to enjoy the bliss of being near such a Mahatmas. And when there
is bliss of the Self, that bliss always overflows and such a blissful face is the most attractive
face. Whenever we see a happy person, the mind would remember the person for
sometime. If it is about a normal person, Mahatmas ever have the happy face and thus
such a blissful appearance easily gets into the mind and is always easy to remember as
well.
Arulvadivaanavale adi parashakti
Anputan tutiten aadaripaaye
Vedattin sarattai tarum nin upadesham
Paapatai pokidum taaye un darshanam
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 20 of 22
O Mother! Who is embodiment of grace! The Primordial Power!
I salute you with love
Your teachings give the essence of the scriptures
Your vision will remove all sins!
Ramana Maharishi says that the presence of a Mahatma is enough to uplift the entire world.
This is because they always see their own Self everywhere and hence can uplift everyone to
the Self. That is the real grace of Mahatma. Their very presence can transform everyone in
the world. But only those who surrender to such Mahatmas would be able to understand
this. The goal of Moksha is something incomprehensible, which cannot be understood until it
is realized. But we can get a glimpse of what it is by looking at the Mahatma. Mahatmas,
being compassionate, wants only the goodness of everyone and that goodness being the
eternal happiness which the Mahatma is experiencing every moment. To such a compassion
we can only fall at their feet again and again with reverence.
Mahatmas have nothing else to speak but about truth mentioned in the scriptures. Their
words are nothing but the essence of the scriptures. When the knowledge of Brahman
dawns in us, that will remove all the sorrow and that can only give Bliss. Sins are
synonymous sorrow. When we realize that Lord alone exist and nothing else, that will put an
end to all sorrows and suffering thereby making us enjoy the happiness of the Self.
Tinkalai choodukindra sivanin tiru naamam
Enkalai kaattitave anu dinam koorukiraay
Kavitayil ezhudhidave enakkum iyalavillai
Purviyalum un perumai ezhuttinil atanka villa
You chant the divine name of Lord Shiva
Who wears the crescent moon as an ornament on his head
I am unable to write your greatnes in poems
O ruler of the earth, your glory cant be written or expressed in words.
The most important sadhana that is required to be done by everyone is the constant
remembrance of the Lord. As Arjuna mentions in Bhagavad Gita, the mind is always
turbulent and hence it is not possible to remember Lord at all times. If there is a role model
for every good action, it will be easy for us to follow. Thus, Mahatmas along with the
sadhakas perform all sadhana just like an ordinary person only for the sake of the
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 21 of 22
sadhakas. Mahatmas have achieved what is to be achieved, and hence all actions they do
are only for the welfare of the world and there cannot be any other motive. To even
describe such a Mahatma, it is impossible because we don’t have the knowledge to exactly
know about them. All we can know is what they exhibit to us in the form of their actions and
words, but it is important to know they are one with Brahman appearing in the form of
Mahatma to guide everyone else. As the Lalitha Sahasranama goes Lord is “Manovacham
agochara – where mind and words cannot reach”. That is the state of Brahman beyond all
limitations. Such a Brahman can only be hinted and can never be described completely in
words or any other form. The only to know is to realize that Brahman as ones own nature of
Self.
This song of Amma was set in the Raga Hamsadhwani.
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 24 Mar 13
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 22 of 22
Anukramaanika Nirdesham
1. Editorial – a general message
2. Sangeetha Prakaashanam – music and concepts of music explained in simple terms.
3. Hindustani Vivaranam – concepts of Hindustani music explained in a comparative
study with carnatic music.
4. Raaga Vivaranam – analysis/explanation of a raaga.
5. Kriti Deepam – a kriti of music explained.
6. Acharya Arpanam – remembrance of an acharya of music.
7. Ishwara Smaranam – remembrance of Ishwara through a devotional song.
1. Comments
2. Suggestions
3. Corrections (word, sloka, content etc.)
4. Would like to see specific content
5. Would like to contribute (through research from websites, don’t need to write up the
content yourself)
Mail [email protected].
Feel free to forward this to anyone who might be interested.
Online download of the magazine can be found at
http://vedantatattva.org/vedantagroup/SangeethaVaibhavam/
Subscribing and unsubscribing can be done by mailing [email protected].