Rithvik’s web site on Indian Performing Arts http://avartana.com is getting launched at the stroke of midnight tonight. Check it out!
Archive for the 'General' Category
Just thought of providing links to a few helpful sites I found on the net for those who plan to do Avani Avittam/ Gayathri Japam by themselves and are looking for documentation on the procedure:
- http://www.trsiyengar.com/id62.shtml
- http://www.prapatti.com/
- http://www.vadhyar.com/Upakarma%20Mantram.php
PS: I am not connected with these web sites and do not vouche for the authenticity of the information furnished in them
Sriram Guruswamy, a close friend and a very good/passionate photographer, has launched his own web site just a few minutes back – http://www.sriramguruswamy.com/ . Check out when you have time and please share any feedback/ comments on the “Contact” page of his web site.
His earlier web site (photo blog) is at http://thetraces.aminus3.com/
Giving details of a recent trip to Coorg (Madikeri/Mercara) below; may prove useful for people planning a trip to the place
Coorg is a hill station in Karnataka, India.
ACCOMMODATION:
We stayed at Honey Valley Estate (http://honeyvalleyindia.in/), located 3 kms from Kabbinakkad Junction at Yavakapady at 1250 mtrs MSL. It is managed by Mr. Suresh & Mrs. Susheela Chengappa, their son Sharath Chengappa and Jack, a Canadian. It is situated in the Western Ghats. We read a lot of good things about it on the internet and hence decided to try it out ourselves.
Honey Valley, which was one of the largest honey producers in India, opened to tourists in mid 90s after a Thai Sacbrood virus attack eliminated many of the honey bees there. The hosts now cultivate coffee, cardamom and pepper. They generate electricity in house. There are no TVs, fans or air conditioners. The rooms are very basic (this is certainly no 5 star accommodation) but are very neat and clean. There is a good collection of books that the guests can access.
Honey Valley people are also opening another property for tourists (named Chingara – http://www.chingaara.com/ ) near the existing property.
Contact Information:
Honey Valley
P.O. Yavakapady
Coorg (Kodagu) District – 571 212
Karnataka.
Tel: 08272–238339, 08272 – 200325
Our verdict: Honey Valley Estate is probably the best place we have stayed in all our sojourns in South India. Surrounded by hills and lush forests, this place is ideal for people who want to spend time away from busy city life and do not want to stay in a hotel in a commercialized part of a hill station. A lot of people come here for trekking as this place has access to about 18-20 trekking trails of different lengths, including the trek to Thadiyandamol, the highest peak in Coorg.
A few things that could have been better:
- Lots of power cuts. Make sure you carry a torchlight with you when you go out from the room, especially in the late evenings/night
- No wardrobes in the rooms
- They could explore the option of providing netted windows in the rooms. It gets very stuffy in the nights sometimes if you close all the doors and windows to keep out any insects.
FOOD:
Food at Honey Valley Estate was home cooked and hygienic.
Timings:
- Breakfast – 8:30 AM to 9:00 AM
- Lunch – 1:30 PM to 2:30 PM
- Dinner – 8:00 PM to 9:30 PM
Tea/Coffee was available almost throughout the day.
The only other place we tried out for food was Hotel Mayura Valley View at Madikeri. The food there was decent and the place also looked clean and neat.
While traveling, it is better to have food in Mysore and/or Madikeri as you may not get good restaurants en route.
HOW TO REACH?
We used the following modes of transport:
- Chennai Central to Mysore Railway Station – Train
- Mysore Railway Station to Mysore KSRTC Bus Stand – Auto
- Mysore KSRTC Bus Stand to Virajpet KSRTC Bus Stand – KSRTC Bus – 95 kms – 3 hrs. Buses are available almost every 30 min from 6AM to 6PM
- Virajpet KSRTC Bus Stand to Virajpet Private Bus Stand – Auto
- Virajpet Private Bus Stand to Kabbinakad Junction – Private Bus – 23 kms – 1 hr. Kabbinakad Junction is a very small bus stop. The track uphill towards Honey Valley Estate is located right opposite the bus stop. Buses are available almost every hour. Best way is to call up Honey Valley Estate and check the bus timings so that you can also sync up the jeep pick up accordingly
- Kabbinakad Junction to Honey Valley Estate – Jeep – 3 kms uphill – 20 min (1 hour if trekked). The 3 km track is very steep at places. Cars cannot negotiate the track. Honey Valley Estate provides jeeps to transport their guests (Charges: Rs. 90 per trip uphill or downhill). Just give them a call and they will send the jeep to pick you up.
- Local sightseeing – Cab (We were taken for sightseeing by a guy called Rena in his cab. He was recommended by Mr. Suresh Chengappa. He was one of the best drivers I have ever travelled with and was also able to understand and speak (in parts) Tamil, Hindi and English, apart from Kannada and the local dialect. You can also hire an auto, but car would be a much more comfortable and safer option.
The distance from Mysore (KSRTC bus stand) to Honey Valley Estate (via Hunsur , Gonikoppal, Virajpet, Kabbinakad Junction) is about 120 km
PLACES TO SEE:
I have grouped the places for sightseeing below according to their locations in Coorg and have given brief descriptions. More details for each of these can be found on the internet. The places in each of these groups can be covered together in one trip. All of these places can ideally be covered over a span of 3 days. We went to 1, 2, 3, 8, 10, 11, 12, 13 and 15 in the list below and covered them in one day.
COORG – CENTRAL
1) Abbey Falls – About 10 min walk from the place where you can park your car. One has to climb down many steps to reach the falls. There is a viewing platform and a suspension bridge. We were told that water is there almost throughout the year. The flow might be less during summers.
This place can get very crowded on weekends. The best view can be got from the suspension bridge located bang opposite to the falls.
2) Raja’s Seat – The Kings of Kodagu apparently came here to spend their evenings and to get a good view of the valley. There is a musical fountain that is operational late evening. One can also view the sunset from here.
3) Gaddige (Raja’s Tomb) – Gaddige houses the tombs of Kings Virarajendra and Lingarajendra. There were three buildings here and the interiors were cool despite the high afternoon heat outside.
4) Omkareshwara Temple – This temple is dedicated to Lord Shiva. The construction is influenced by Islamic architecture.
5) Madikeri Fort – This was initially built using mud and later using stone. It houses, among other things, a small museum.
6) Mercara Palace
7) Madikeri Market
COORG – EAST
8) Dubare Elephant Camp – Located at Dubare on the banks of the river Kaveri, this place is owned by the Forest Department and captures and trains elephants. One has to cross a small water body by motor boat to reach this place. If you go early, you can watch the elephants getting bathed by their mahouts. Elephant rides are also available.
9) Harangi Dam – Best time to visit might be during the latter half of the year when there is more water in the dam.
10) Nisargadhama – This is a small island on river Cauvery and features boating, a very short elephant ride, a deer park and a bamboo groove.
11) The Golden Temple at Bylakuppe – A beautiful Buddhist temple. The complex around the temple is full of Tibetan monks (or should I say monks in the making). There is a Tibetan shopping complex just outside the temple. Cars can be parked in the space behind the complex.
COORG – WEST
12) Bhagamandala & Triveni Sangam – Shri Bhagandeswara temple is located at Bhagamandala and just opposite the temple, across the road, is the triveni sangam where three rivers are supposed to meet (one of them being invisible). This temple, like some of the other ones in this district, also seemed to be influenced by the Kerala style of temple architecture.
13) Talacauvery & Brahmagiri – Talacauvery, 8 kms uphill from Bhagamandala, is the place in Brahmagiri hills where river Kaveri originates. River Kaveri is worshipped as a Goddess here. There is a small pond in the temple complex here which is supposed to be very close to the place of origin. The river emerges from the pond as a small spring and resurfaces some distance away from the temple complex. The temple houses shrines of Lord Shiva and Ganesha. There is a flight of about 250 steps from the temple complex that leads to the Brahmagiri peak from where one can have a good view of the area all around.
COORG – SOUTH
14) Nalknad Aramane (Palace)- This palace was built by a local ruler called Doddaveerarajendra. It is not very far from Kabbinakad Junction.
15) Padi Igguthappa Temple – Igguthappa, according to the temple priest, is the God who provides food to the people of Kodagu (iggu = food, thappa = provider). The main diety in this temple is Lord Subramanya (as Lord Igguthappa). The priest told us that this temple is very special to the people of Kodagu. People offer tulabhaarams here. Please check the temple timings before visiting. It opens at about 6:30 PM in the evening. This place is about 10-15 min drive from Kabbinakad Junction.
16) Iruppu Falls – These falls are located further down from Madikeri towards the South and one has to trek quite some distance to reach the falls.
17) Nagarhole National Park – One of the famous wildlife sanctuaries in South India.
18) Chelavara Waterfalls – Located about 10 kms from Honey Valley
Semmangudi Srinivasa Iyer – Life & Music (EastWest, Westland Limited), as it’s title explicitly suggests is a book on Semmangudi’s life and his music. V. Sriram has written the “Life” part while V. Subrahmaniam, one of Semmangudi’s disciples, has written the “Music” part. Sriram writes admirably, as he always does, and cleverly sidesteps controversial issues. Subramaniam writes about the specialties of Semmangudi’s music – what gave him superstardom despite having a voice that was not problem free. This part, in my opinion, adds special value to the book. The text in the book is interspersed with a lot of photographs, many of which seem to be rare. Semmangudi’s life and music have taught and influenced me a lot and this book gives me another chance to look at the same from the eyes of the authors.
A central character that grabbed the audience’s attention so easily. Promos that generated enough interest among many. A simple plot. Some very good one liners and moments. Very good performances from the cast. Despite all this, the movie just turned out to be a dud.
There is absolutely no meat in the script. Many of the jokes are crappy. The movie has been stretched like crazy – even the 90 minute duration was so tortuous!
Don’t set any expectations at all from this movie, I say. A waste of time and money is all it is. Mind it!
Here are a few helpful sites I found on the net for those who plan to do Avani Avittam/ Gayathri Japam by themselves and are looking for pointers to the procedure for the same:
- http://www.trsiyengar.com/id62.shtml
- http://www.vadhyar.com/Upakarma%20Mantram.php
- http://www.prapatti.com/
PS: I am not connected with these web sites and do not vouche for the authenticity of the information furnished in them
ARR makes us all proud by winning both his Oscar nominations! Jai Ho!
Wishing all readers of this blog a Happy New Year and great times ahead!
Ushered in new year hearing Sri Umayalpuram Sivaraman perform live and heard him give a breathtaking performance again on the morning of the 1st. Couldn’t have asked for a better end to 2008 and a better start to 2009.
Schedules for the following sabhas/festivals have been updated in the “Concerts in Chennai” page of this blog (http://ramsabode.wordpress.com/concerts-in-chennai/). I will be doing a sanity check, correcting any errors and adding any missed concert listings in the next few days:
- Aanmajothi
- Bharat Kalachar
- Bharatiya Vidya Bhavan
- Brahma Gana Sabha
- Carnatica
- Hamsadhwani
- Indian Fine Arts Society
- Kala Pradarshini
- Kalachaara Marumalarchi Trust
- Kalakshetra
- Kalarasana
- Kartik Fine Arts
- Margazhi Maha Utsavam – Jaya TV
- Maris Music Mela
- Mudhra
- Mylapore Fine Arts
- Naada Inbam
- Naadhabrahmam
- Nadha Sudha
- Narada Gana Sabha
- Namasankeertaam 2008
- Nungambakkam Cultural Academy
- Prabhata Sangeetham 2008-09
- Raagalaya Foundation
- Shanthi Arts Foundation and Endowments (SAFE)
- Shi-bha Sangeetha Sabha
- Shri Ganapathi Sachchidananda Ashram
- Smt. Mangalam Ganapathy Music Trust
- Sri Bhairavi Gana Sabha
- Sri Kapali Fine Arts
- Sri Krishna Gana Sabha
- Sri Parthasarathy Swami sabha
- Sri Rama Bhaktha Jana Sabha
- Sri Thyaga Brahma Gana Sabha
- Sri Vidhyatheertha Foundation
- Srinidhi
- Sriranjani
- Tamil Isai Sangam
- The Music Academy
- The Mylapore Fine Arts Club
- Valayapatti Kaashyap Naadhalaya Festival
Part 1 of this post can be found here [link]
This is Part 2 of the summary of the lec dem by Smt. Vidya Shankar on 22 shrutis:
GANDHARAM
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sadharana gAndharam is an oscillated catushruti rishabham in varALi. gAndhAram shouldn’t go above this level for this rAgam
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A slightly higher level but still an oscillation of catushruti rishabham is seen in tODi. There are so many approaches to playing gAndhAram in tODi. We can approach gAndhAram from rishabham or from madhyamam and there are a variety of gamakams that can be employed.
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In Anandabhairavi, when we play “G-M-P”, G reaches almost the rishabham levels as the gamakam is played on the rishabham fret. In rItigauLa, G is sharper and often comes with a janta prayOgam. The second of the two Gs in a janta prayOgam is always a bit higher than the first one.
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A still higher G is found in hindOLam. This G is played close to M1.
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The purest G is the antara gAndhAra. Summation of tones of a tambura is antara gAndhAram. It is a perfect note – a svayambhu swaram. You cannot shake this G in shankarAbharaNam. This G is the mahimA of shankarAbharaNam. The moment you oscillate this G, it becomes kalyANi. Similar usage of plain antara gAndhAram is seen in the kriti eLiyEnai in yadukula kAmbOji.
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A higher level of G is seen in mErusamAna (mAyAmALavagauLa). mEru goes high and so does the G there.
MADHYAMAM
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madhyamam is sung in a sudha manner without oscillations in kuntalavarALi (kritis kalinarulaku & shara shara samarai)
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Some ragas get a beautiful color with the use of a lower M. Ex. nIlAmbari (kriti ambA nIlAmbari)
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begaDa’s madhyamam is generally said to be higher than sudha madhyamam. But there are many kinds of madhyamams that are played in bEgaDa. M can be approached from P and played higher or played as sudha madhyamam also. A lower M occurs in the kriti nAdOpAsana
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varALi has prati madhyamam – very close to pancamam. But kalyANi’s M is not played as high as varALi M. M in any prati madhyama ragam comes from pancamam. It is played/sung very close to the pancamam
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Children must be taught gamakams while they are being taught alankArams. We can see all kinds of shakes with the madhyamam in the shankarAbharaNam alankAram
DHAIVATAM
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suddha dhaivatam is played as oscillation on pancamam
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Sri Thyagaraja has created about 30 kritis in tODi and has shown different ways of handling the dhaivatam in these kritis . In Emi jEsitE – D is played very close to P. The kriti starts with P. In enduku dayarAdurA we stand at D and shake it.
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There are so many types of D that are played in tODi. Every D is played differently. The number of shrutis that get covered are innumerable.
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sAvEri also uses sudha dhaivatam
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A flatter version of chatushruti dhaivatam occurs in kAmbhOji. If we shake this, we get the D in kannaDA
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A still more shaken D occurs in vasantA. Absence of P in this ragam implies that the D is played higher up.
NISHADAM
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Kaisiki nishadam is an important note called the septimal seventh. suruTTi uses it.
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bhairavi has a lower N. We approach it from D. In fact bhairavi has many Ns. In sari evarammA, Sri Shyama Sastri lifts the N to show the higher status of ambAL. When saying nI daya jUDavamma in the next phrase, he brings N slightly down. This is just one example of how the Trinity have used swarams with lot of care in their compositions. There is a lot of emotional appeal for the swarams as is evident from their compositions
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kAkali nishadam – In the muktAyi swaram of the Adi tALam kalyANi varnam vanajAkshi, N is held higher. In shankarAbharaNam and kurinji, N almost touches S.
Thus we can see that there is infinite number of shrutis for each note itself.
Some other points made in the lec dem and in the Q&A session post that:
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Music and mathematics go together. There is no art without science and vice versa. It is said that the researchers aim at an aesthetic perfection in their research. Art and science go hand in hand
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While responding to handling of notes and ragams in Hindustani and Carnatic music …… Intonation of notes itself causes differences in the two systems of music. RE and RI are different in terms of shruti. Hindustani musicians would stand at G at the same shruti for a long time in kAnaDA. We will keep shaking the G in our kAnaDA. Their approach is very different because of playing notes flatter for longer duration
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While responding to whether a keyboard is suitable for Carnatic music …… People told the same thing about the Clarinet 50 years back what they tell today about the keyboard. The Music Academy had lot of skepticism about the use of Clarinet years back. This year’s Sangeetha Kalanidhi is a Clarinet player. (Pitch bender and fingering) techniques have helped people try to play Carnatic music on keyboard, but not with perfection. The perfection of gamakams on a veena is almost impossible to achieve in a keyboard (today). We should appreciate the effort of keyboard players if they play well. But we should also know what people would able to play on keyboard and what they wouldn’t.
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Just as a color has many shades, a swaram has many shades/shrutis. It is a matter of experience, rather than analysis, to realize the intricacies of the shrutis. The veena is a very good instrument that helps us in this experience.
86 year old Hindustani Classical music exponent Pandit Bhimsen Joshi will receive Bharat Ratna, the country’s highest civilian award. Congratulations to the maestro!
Smt. Vidya Shankar – veteran vainika and a storehouse of knowledge – gave a lecture demonstration on 22 shrutis titled “Shrutiranantam” at Raga Sudha Hall, Mylapore in July 2008. This was a part of the series of lec dems which the “Music Forum” has been organizing in the last few months. Sadly, the turnout for this lec dem was very low but that didn’t deter Smt. Vidya Shankar from sharing her knowledge with the few rasikas present. Music Forum must be commended for organizing lec dems by such senior vidwans for the benefit of artists and rasikas.
I had been procrastinating writing about lec dems for a long time now but finally decided to decipher whatever I had scribbled about this lec dem in my notes and start posting about it today. I have taken the liberty to organize this under my own set of headings. Corrections, if any, are most welcome. I will post the remaining portion of the lec dem in the coming days.
INTRODUCTION
- shru means “to hear”. “shrUyatE iti shrutihi”. That which is heard or perceived by the ear is shruti.
- Shruti means vEdAs. The sacred knowledge of the vEdAs was not written down. shru means ”to hear”, sru means “to remember”. Lip-ear method of teaching was prevalent (vEda adhyayanam) in the earlier days. Notation as a guide to memory started appearing much later.
- Shruti in music basically refers to pitch.
SHRUTIS IN CARNATIC MUSIC
- All music in this world is made out of the seven swaras – shaDjam, rishabham, gAndhAram, madhyamam, pancamam, dhaivatam and nishAdam. These may be known by different names in different systems of music. Of these, shaDjam (sA) and pancamam (pA) are “prakriti” swarams or “acala” swarams. There is no shaking in these swarams. The rest five swarams have different varieties. Ex. rishabham (R ) has R1 and R2, gAndhAram (G) has G1, G2 etc. Thus there are 12 swara sthAnams (2 acala swarams along with 2 types each of the remaining 5 swarams).
- Raga is the soul of Carnatic music. Ragas are created with the permutation/combination of these swara sthanams. But, every raga has a swarUpam. Our ancestors have handled each raga in many ways. They have shown how the same swaram can be reached in different ways. They created 2 additional types for each of the 5 swarams to get 4 types for each, thus giving 22 swarams (2 prakriti swarams and 5 x4 = 20 other swarams).
- Just like the seven colors of the rainbow, these shrutis come in different shades and also merge into each other. Infinite shades of shrutis are possible and hence the topic of the lec dem “Shrutiranantam”
- About 2000 years back, Bharata in his Natya Shastra has ascertained these 22 shrutis by doing experiments using chala veena, dhruva veena etc. He has also ascertained 81/80 as the pramANa shruti.
EXAMPLE OF CALCULATION OF SHRUTIS
The calculations of frequencies are done with the values of svayambhu svaras (harmonics?). These are heard when we play the shadja string of the veena and damp it at the positions corresponding to 1/2, 1/3, 1/4 and 1/5 th of its length to give shaDjam, pancamam, sudha madhyamam and antara gAndhAram.
The brief calculations are as follows:
- 1/2 position: The vibrating length is half. Therefore, the frequency of this note relative to the shaDjam is 1 divided by 1/2 i.e, 2 (tArA sthAyi shaDjam)
- 1/3 position: The vibrating length is (1 – 1/3) i.e, 2/3. Therefore the frequency of this note relative to shaDjam is 1 divided by 2/3 i.e, 3/2 (pancamam – P)
- 1/4 position: The vibrating length is (1 – 1/4) i.e, 3/4. Therefore the frequency of this note relative to shaDjam is 1 divided by 3/4 i.e, 4/3 (sudha madhyamam – M1)
- 1/5 position: The vibrating length is (1 – 1/5) i.e, 4/5. Therefore the frequency of this note relative to shaDjam is 1 divided by 4/5 i.e, 5/4 (antara gAndhAram – G2)
When we play M1 followed by P, we are playing 4/3 followed by 3/2. This is similar to playing S and then catushruti rishabham (R4). Since shaDja is 1, a similar ratio would give R4 as 3/2 divided by 4/3 which is 9/8. This is the value for catushruti rishabham (R4)
When we play catushruti rishabham followed by antara gAndhAram, we are playing 9/8 followed by 5/4. This is similar to playing shaDja followed by trishruti rishabham (R3). Since shaDja is 1, a similar ratio would give R3 as 5/4 divided by 9/8 which is 10/9. This is the value for trishruti rishabham (R3)
RISHABHAM
- R1 (Ekashruti rishabham) is very close to shaDjam (S). So we approach it from S. sAvEri means “sA vE rI than” – sA itself is rI. We have to keep our fingers at S and touch R1 as closely to S as possible. (She played the sAvEri varnam as an example where all Rs in the start are played close to S). There are many varieties of the R in sAvEri itself. At the start the kriti rAma bANa of Sri Thyagaraja, we play R at much higher frequency than usual. The approach to R is from G through a jAru. But the fact that even this R comes from S is shown in the opening verse of Sri Muthuswami Dikshitar’s kari kaLAbhamukham
- A slightly higher R is found in gauLa. Example – srI mahAgaNapatiravatumAm of Sri Muthuswami Dikshitar. This R is a different shruti. In pADi rAgam kriti srIgurunA pAlitOham, we play the R a bit higher.
- R3 and R4 are trishruti and catushruti rishabhams respectively. Trishruti is lesser and catushruti is a bit higher. Bhairavi raga has a lot of trishruti rishabha prayogams. When Sri Sabesa Iyer was teaching the bhairavi aTa tALa varnam viribONi to my father, he asked my father not to play the S and P strings simultaneously while playing the R as the finger playing R will unconsciously rise up to touch catushruti level which merges very well with P, but destroys the rAga bhAvam of bhairavi. trishruti rishabham does not go along with pancamam.
- kharaharapriyA involves a lot of catushruti rishabha prayOgams and an example is the Thyagaraja kriti cakkani rAjamArgamu. This rishabham can be played along with pancamam.
- Just like R4 has a good relationship with P, R3 has a good relationship with M1. Example of this is the starting verse of Sri Thyagaraja’s upacAramu in bhairavi. Whenever rishabham comes with this madhyamam, the rishabham will be trishruti. This is why this madhyamam has been given a high place in bhairavi and figures in a lot of places in kritis in this raga. Such an importance to this madhyamam is not given in any other raga as its presence is essential for R3 to come in bhairavi. Other kriti examples where we can see this association are mArubalka and brOcEvArevarE (shrIranjani).
- When we give a shake to trishruti rishabham to take it slightly higher, we get madhyamAvati. Examples are the kritis alakalella ADagagani and dharmasammardhani. When we render this rishabham heavily and with oscillation, we get madhyamAvati. In the kriti alakalella ADagagani, the dangling of Sri Rama’s locks on his forehead (ADagagani) has been beautifully captured by the shaking of this rishabham by Sri Thyagaraja.
- A different oscillation to R3 is given in kalyAni (example is the kriti himAdrisutE). This cannot be seen in shankarAbharaNam where rishabham is played with a stress.
- A yet different oscillation is seen in dEvagAndhAri.
- R4 without any shake is seen in kAmbhOji in the varnam sarasijanAbha
- Thus we can see that a swaram (example rishabham), when played differently as different shrutis gives us unique prayOgams of different rAgAs.
Part 2 of this post can be found here [link]
Concert for Shri Krishna Gana Sabha – Gokulashtami Series 2008
Published October 23, 2008 General Leave a CommentPlayed mrudangam for the vocal concert of Chaithra Sairam at Shri Krishna Gana Sabha, T. Nagar on 18th Oct 2008. The concert was organized by Shri Krishna Gana Sabha.
Artists:
Vocal: Chaithra Sairam
Violin: C.R. Srinivasamurthy
Mrudangam: R. Ramkumar
Morsing: Nerkunam Manikandan
List of songs:
1) inta cAlamu (varnam) – bEgaDa – Adi – vINa kuppaiyer (O)
2) shrI mUlAdhAra cakra vinAyaka – shrI – Adi – muthuswAmi dIkSitar (AS)
3) mAravairi ramaNi – nAsikAbhUshani – rUpakam – thyAgarAja (ANS)
4) teliyalEru rAma – dhEnukA – Adi – thyAgarAja
5) nI pAdamE gati – naLinakAnti – rUpakam – g.n.bAlasubramaNiam (A)
6) nannu viDaci – rItigauLa – misra cApu – thyAgarAja
7) shrI raghuvara – kAmbOdhi – Adi – thyAgarAja (ANST)
8 ) hE gOvind hE gOpAl – bAgEsrI – Adi (tisra gati) – sUrdAs (O)
9) tillAnA – madhuvanti – Adi – lAlguDi g. jayarAman
10) nI nAma rUpamulaku (mangaLam) – saurAshTram – Adi – thyAgarAja
(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)
Played mrudangam for the vocal concert of Iyer Sisters at Raga Sudha Hall, Mylapore on 17th Oct 2008. The concert was organized by Naada Inbam.
Artists:
Vocal: Iyer Sisters – Srividhya R.S. Iyer & Sudha R.S. Iyer
Violin: K.P. Nandini
Mrudangam: R. Ramkumar
List of songs:
1) viribOni (varnam) – bhairavi – kanda ata – pachimiriyam adiyappA
2) anupama guNAmbudhi – aTANA – kanDa cApu – thyAgarAja (S)
3) cEtashrI bAlakrishnam – dvijAvanti – rUpakam – muthuswAmi dIkSitar
4) vara nArada – vijayashrI – Adi – thyAgarAja
5) gana naya dEsika – rishabhapriyA – Adi – kOTIswara iyer (ANS)
6) uNDEdi rAmuDu – harikAmbOji – rUpakam – thyAgarAja
7) ninnu jeppa – mandAri – Adi – paTNam subramaNya iyer (S)
8 ) aDigi sukhamu – madhyamAvati – misra cApu – thyAgarAja (ANST)
9) shrI jagadIshwari – Ahirbhairav – Adi – lAlguDi g. jayarAman
10) poi dAnA sutha poi dAnA – durgA – Adi – ??
11) dhIm dhIm ta udana (tillAnA) – tilang – Adi – lAlguDi g. jayarAman
12) nI nAma rUpamulaku (mangaLam) – saurAshTram – Adi – thyAgaraja
(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)
