raagarasika

In this concluding episode of the sub-series on the composition "Shankari Samkuru" by Shyama Shastri we continue our discussion on how Shyama Shastri has masterfully employed the concept of dual tala. Using examples from various parts of the song, Vidya goes into greater detail and lays out how the tala construct and specific syllables in the lyric connect up in the two talas - Rupaka tala and Adi tala in tisra gati.

In this episode we continue our discussions on "Shankari Shankuru", a composition by Shyama Shastri. Vidya introduces the audience to the core tala construct used in this composition. Shyama Shastri has masterfully composed this song such that the rhythm can be kept in either of two talas, the Rupaka tala or the Adi tala in tisra gati. Vidya sings snippets from the Pallavi to demonstrate this interesting aspect of the composition.

We continue our analysis of the Shyama Shastri composition: Sankari Sankuru in the raaga Saveri. Using several phrases and snippets from the Anupallavi and Charanam portions of this composition, Vidya illustrates how the composer has skillfully weaved in some of the subtle nuances of this wonderful raaga.

In this episode we feature a Shyama Shastri composition: Sankari Sankuru, in the raaga Saveri set to Adi tala in Tisra gati. Vidya covers the high-level meaning of the song as well as showcases some of the salient Saveri phrases that Shyama Shastri has skillfully used in the Pallavi of this song.

In this episode we feature the renowned composer: Shyama Shastri. Shyama Shastri is the oldest of the relatively contemporary trinity of Carnatic music (the other two being Tyagaraja and Muthuswami Dikshitar). Vidya discusses his compositional format, style, and contributions to the field of Carnatic music. We conclude the episode with a snippet from a rendering of a Shyama Shastri composition by the stalwart musician, Sri. Semmangudi Srinivasa Iyer.

In this episode we feature the raaga Punnagavarali. Vidya shares with us the probable origins of this traditional raaga in the music of snake charmers as well as its scale and structure. We discuss how this raaga offers limited improvisational scope, and yet has been used by all three of the trinity composers. Vidya also elaborates on the concept of Madhayama Sruti, which involves a shifting up the fundamental note to the original Ma (4th note from the fundamental).

In this concluding episode of our sub-series featuring compositions on the temple town of Kanchipuram, we feature a Shyama Shastri composition: Kanakashaila Viharini in the raaga Punnagavarali. Vidya shares with us the meaning of this song, and uses the three segments of this composition, i.e. Pallavi, Anupallavi and Charanam to show us a glimpse of the form and flow of this raaga.

Continuing our discussion from Episode 72, we take a minor detour from our series on compositions dedicated to Kanchipuram and feature the raaga Bilahari. Vidya shares with us the basic contours of this raaga, and discusses why it is typically considered a lively one to perform on the concert platform. We also list some well known compositions in this raaga and finish with an short alapana that features the key Bilahari phrases we heard in the Pallavi of the composition Kamakshi Varalakshmi.

Raaga Rasika wishes you all a happy new year! In this episode we feature a composition by Muthuswami Dikshitar: Kamakshi Varalakshmi in the raaga Bilahari. This is a continuation of our discussion featuring compositions by each of the Carnatic music trinity on the temple town of Kanchipuram. Vidya sings snippets from this composition and explains the meaning across the pallavi, anupallavi, and charanam of this song.

We continue our discussion on the temple town of Kanchipuram by featuring compositions by each of the Carnatic music trinity on this location. In this episode, we highlight the Tyagaraja composition "Vinayakuni", in the raaga Madhyamavathi. Vidya sings snippets from this composition and explains the meaning, the salient aspects of the raaga Madhyamavathi and provides some illustrations on how Trinity compositions often provide the foundation for creative aspects in Carnatic music.

We turn our attention to yet another noteworthy temple town in South India which has tremendous significance to the world of Carnatic music: Kanchipuram. In this episode, we talk about this town and its amazing temples. We also discuss the influence this town has had on the art form as well as prominent composers who have composed on this location. Vidya shares several snippets of popular compositions that are based on the various temple deities in this town.

In this concluding episode on Sri. GNB, we analyze a Raagam-Thanam-Pallavi (RTP) rendered by him in the intricate and rich raaga: Bhairavi. We showcase Sri GNB's incredible talent as he brings out various details of this raaga in a step-by-step fashion with tremendous creative energy. Vidya takes up snippets from each of the three segments of the RTP and discusses them in some detail.

We continue our conversation on Sri. GNB and discuss his talent, music and style. Vidya talks about the GNB Baani (or the GNB school) as well as the incredible improvisational and creative talent he brought to bear - including his contributions to techniques such as graha bedham and neraval. We conclude this episode with a snippet from a GNB composition "Samagama Lole", rendered by one of his prime students - Dr. M.L. Vasanthakumari.

In this episode, we feature the legendary musician, Sri. G. N. Balasubramaniam (1910-1965). We discuss how Carnatic music shaped and influenced his early childhood days and his debut performance in the city of Madras (now called Chennai). We finish with a snippet from a concert recording to give a glimpse of the experience enjoyed by audiences during his time.

We continue our discussions on kalpanaswarams from the last episode. Using a few snippets of Sri. GN Balasubramaniam, we showcase the spontaneity and variety in this form of improvisation in Carnatic music. Finally, Vidya concludes the episode by listing some of the common techniques used by Carnatic musicians when they perform kalpanaswarams.

In this episode, we introduce the listeners to some of the elements of kalpana swarams and compare kalpana swarams with another key form of improvisation, the alapana. Vidya gives illustrations of kalpana swaram rendition and explains certain conventions such as performance of kalpana swarams in multiple speeds and progressing from short to long cycles of kalpana swarams.

Thanks to all those of you who participated in our quiz. In this episode, we discuss the answers to the three quiz questions that we asked in Episode 63. Listen to the episode to see if you got them right! Special congratulations to those of you who answered correctly!

In this episode, we conduct a quiz largely based on material and information we have covered in previous Raaga Rasika episodes. This segment includes three sets of questions for which the answers will be shared in the next episode. We look forward to your enthusiastic response and participation.

In this episode, we conclude the analysis of the Atana raaga alapana by Sri. G. N. Balasubramanian. We discuss how Sri. GNB uses specific techniques such as "jaarus" or glides in his alapana, and highlight his mesmerizing, fast passages towards the conclusion of this highly spontaneous exercise.

In this episode, we feature an alapana of raaga Atana, rendered by the legendary musician Sri. G. N. Balasubramaniam. Vidya translates portions of this alapana, a highly spontaneous and improvisational aspect of Carnatic music into swaras (notes). She highlights the salient phrases that capture the quintessential beauty of this bright raga and the development of the alapana in distinct segments.

In this segment, we discuss the raaga Atana. Using a Papanasam Sivam composition, Vidya shares with us this raaga's high emotive appeal. She also illustrates key phrases in this raaga and describes its form and scope. We conclude the episode by covering some well known Atana compositions one can expect to hear at concerts.

We conclude our series showcasing listener submissions with a snippet from Smt. K. S. Vasanthalakshmi from New Delhi, India. Her submission is the Muthuswami Dikshitar Navagraha kriti "Brihaspate Tarapate", in the raaga Atana. Vidya elaborates on the meaning of this song and shares a high-level overview on the group of songs commonly referred to as the Navagraha kritis. We would like to thank each of our listener contributors for their enthusiastic participation in this sub-series.

Continuing our series featuring listener submissions, we showcase a rendition on the veena by Sri. Srinivas Raghavan, from Chennai, India. His submission is a tillana composed by Dr. M. Balamuralikrishna, in the raaga Brindavani. Vidya highlights some of the salient aspects of this raaga and also shares with us another tillana in the same raaga, composed by her guru Sri. Lalgudi Jayaraman.

Continuing our series on listener submissions, we feature a snippet from Smt. Uma Sankar from Massachusetts, USA. Her submission is a Muthuswami Dikshitar composition, "Sri Rama Saraswati Sevitham" in raaga Nasamani. The second featured submission is from 7 year old Ananya Rajesh of Wisconsin, USA -- "Maakelera Vicharamu", a Tyagaraja composition with a profound philosophical meaning in raaga Ravichandrika. We conclude this segment by playing a short snippet from a similarly themed composition by Annamacharya: "Nanati Baduku", rendered by the legendary singer Smt. M.S. Subbalakshmi.

In this segment, we feature a submission from 3rd grader Kum. Srinidhi Ananth of New Jersey, USA. Her submission is a Tyagaraja composition "Entha Nerchina" in the raaga Suddha Dhanyasi, also known as Udayaravichandrika. Vidya uses this submission to elaborate on Suddha Dhanyasi raaga, and shares snippets from several popular songs by other composers. We finish this episode by discussing the naming convention of this raaga in the Dikshithar and the Thyagaraja schools of music.

In this segment, we feature a submission on the violin from nine year old Sri. Hari Santhanam of Pennsylvania, USA. His submission is a varnam "Ninnu Kori" in the raaga Mohanam. Vidya uses this submission to elaborate on how varnams are used by students of Carnatic music to obtain rhythmic and melodic mastery. Vidya illustrates how varnams can be used for advanced rhythmic techniques by singing a segment of the Mohanam varnam in Tisra gati wherein each beat is divided into three sub-units as compared to the original of four sub-units. We finish the segment with a tanam on veena by Smt. Vasumathi Narayanan of Arizona in the same raaga, Mohanam.

Continuing on with the listener submitted renditions, we feature two submissions: the first one is by Smt. Seethalakshmi Parameshwaran from Ohio, USA who submitted a bhajan (devotional piece) on Lord Ganesha in the raaga Tilang; the second submission is a Vasantha raaga alapana by 10 year old Kum. Shreya Ashok from Texas, USA. Vidya provides additional information on each of these raagas and also sings snippets from other popular compositions these raagas.

In this episode, we feature Smt. Gayathri Satya from San Francisco Bay Area, California. Smt. Gayathri has sung a Thyagaraja composition "Vinayakuni" in the raaga Madhyamavathy and set to Adi tala. Unlike most Thyagaraja compositions which are in praise of Lord Rama, this composition is fairly unique in that it is a Devi (Goddess) kriti. Vidya provides examples of other compositions by the Trinity in this majestic raga.

In this episode, we feature a submission by our listener Sri. Aren Skalman, from San Diego, California. Aren submitted a swarajati: Raara Venu in raaga Bilahari and Adi tala. Vidya elaborates on swarajatis. She also shares with us an example from a complex and involved Swarajati by Sri. Shyama Shastri in the raaga Yadukulakambhoji. We wrap up the episode with a rendition of Thyagaraja's Raaka Sashivadana in raaga Takka and Adi tala by Smt. Padma Govardhan, from Auckland, New Zealand.

Continuing on with the listener submitted renditions, we feature a submission by Sri. Shashank Shridar, a 3rd grader from Pennsylvania, USA. Shashank submitted a Papanasam Sivan composition: Maaramanan Umaramanan, in Hindolam raaga and Roopaka tala. Vidya sings snippets from other popular compositions in raaga Hindolam. We wrap up the episode with a discussion on the mood created by the notes in this raaga.

Happy Deepavali! We have received an excellent response to our call for listener submissions. We really appreciate your involvement and enjoyed listening to each submission. Given the response, we will be spreading the submissions as well as our discussion on each selected entry across the next few episodes. In Part I, we feature submissions by: Kum. Ashraya Ananthanarayan who sent in a Tyagaraja composition in Bangala raaga, Adi tala and Smt. Durga Krishnan who submitted a thanam on veena in two raagas -- Hamsanandi and Kalyani.

We wrap up our introductory series on Arohanam and Avarohanam with a discussion on whether or not raagas are entirely and solely defined by their corresponding ascending and descending scales. Using examples of raagas such as Reetigowlai, Madhyamavati, and Hamsaroopini, Vidya highlights the varying degrees in which textbook definitions of Arohanam and Avarohanam may (or may not) help understand the form of individual raagas.

We continue our discussion regarding arohanam and avarohanam, and define several terms commonly used in Carnatic music to describe raagas. With several examples and illustrations, Vidya elaborates on terms such as Audava, Shadava, Sampoorna, Krama, Vakra, Varja, Melakarta and Bhashanga, and describes how a raaga can frequently represent a combination of these attributes.

In this episode, we discuss two very familiar terms in Carnatic music: Arohanam refers to the ascending scale and avarohanam refers to the descending scale. Vidya shares some examples of raagas to discuss kinds of arohanam and avarohanam in terms of number of swarams and the impact of this on the phrases that are permitted. Finally, we discuss how the importance of the arohanam and avarohanam varies from one raaga to another as raagas continue to evolve over time.

We conclude our introductory series on talams, with a discussion on two chapu talams: misra chapu talam and kanda chapu talam. Vidya illustrates these talams using snippets from concert recordings of master musicians Smt. Brinda and Smt. Mukta; and Smt. D. K. Pattammal.

We continue our discussions of talas from the previous episode and name the seven basic talas in Carnatic music. Vidya highlights two very common talas: Rupaka tala and the Adi tala. She then explains the angas that make up these talas, and illustrates these with snippets from concert recordings of master musicians Sri G. N. Balasubramaniam and Smt. M. S. Subbulakshmi.

In this episode, we introduce the fundamentals of rhythm. Vidya explains how rhythm manifests itself in Carnatic music and discusses terms such as laya, kala, and tala. We finish this episode by defining the basic constituents of tala, called "angas".

In this segment, we look at the some more of the highlights of this short yet marvelous composition. Vidya uses this composition to showcase some of the salient phrases of this raaga and also illustrates the concept of improvisation known as “Neraval” in Carnatic music.

In this episode, we feature a popular composition "Maamava Meenakshi", by Sri. Muthusamy Dikshithar in the Raaga Varali. We begin this episode by talking about the history of the temple town of Madurai in South India -- known for the Madurai Meenakshi Amman temple. Vidya walks us through the structure and meaning of this brilliant piece.

We finish our analysis of Smt. Veena Dhanammal's Raagamalika thanam, by covering the remaining ghana raaga, Varali. Vidya explains how Smt. Dhanammal uses the two common notes between Sri (the previous raaga in the thanam) and Varali to transition from one to the other. Vidya also sings an improvisational segment to illustrate such a transition in sharp detail. Finally, Vidya highlights some of the salient aspects of Varali including the unique gandharam.

We continue our analysis of Smt. Veena Dhanammal's Raagamalika thanam. We discuss Sri raagam in this episode and Vidya points out some of the salient aspects of this raaga. Specifically, Vidya elaborates on the unique relationship between the rishabham and gandharam notes in Sri Ragam. She also highlights the key difference between the Thyagaraja and Dikshitar schools in handling this raaga.

We continue our analysis of Smt. Veena Dhanammal's Raagamalika thanam. The third and fourth raaga she plays are Arabhi and Sri, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to highlight Arabhi raagam. Vidya also touches upon a couple of key differences between Arabhi and its closely allied raaga, Sama. Finally, we finish this segment by reviewing the transition from Arabhi to Sri.

In this episode, we continue our exploration of the Raagamalika thanam rendition by Smt. Veena Dhanammal. The second and third raaga she plays are Gowlai and Arabhi, respectively. Vidya points out the specific phrases Smt. Veena Dhanammal uses to transition from Nattai to Gowlai, and also elaborates on several important Gowlai phrases that Smt. Veena Dhanammal uses. Finally, we finish this segment by reviewing the transition from Gowlai to Arabhi.

In this episode, we delve deeper into the Raagamalika thanam rendition by Smt. Veena Dhanammal. The first raaga she plays is the Raaga Nattai. Vidya elaborates on several important phrases and detailed nuances that Smt. Veena Dhanammal masterfully packed into a one minute snippet.

In the last segment, we heard a veena rendition by Smt. Veena Dhanammal. In this episode, we discuss her life, times, and contributions to the world of Carnatic music. Vidya shares with us additional details regarding the snippet we heard in the last episode - a raagamalika thanam in the five ghana raagas. We also discuss the term “ghana raagas”.

We conclude our two-part series on the Veena in this segment. We discuss the physical structure of the veena, how and where it is made, as well as how it is played. Finally, we share with you a snippet of a thaanam rendition by a very renowned vainika (veena player), Smt. Veena Dhanammal.

In this segment, we feature the Veena, a plucked string instrument unique to Carnatic music. We discuss the revered status given to this instrument in the Hindu tradition. The veena is mentioned in several Carnatic music compositions. Vidya renders a few snippets of compositions that have references to the veena.

In this episode, we would like to share some of the feedback we have been getting so far and answer some of your questions. We also give the answer to the Raaga Quiz: Mukhari vs. Bhairavi featured in Episode 28 and recognize listeners who submitted correct entries. Thanks a lot for all your comments and enthusiastic support. We really appreciate it!

In this episode, we shift the focus to the multiple final segments (Charanams) of the composition. By singing several snippets of this composition, Vidya illustrates its distinct aspects in a detailed fashion. We discuss the rhythmic and melodic structure of this gem. We also define the rhythmic term, “eduppu” and describe the different kinds of “eduppu”.

In this episode we feature a composition by Sri. Oothukaadu Venkatakavi. The composition "Alaavadennaalo", in Raaga Paras, is one of his Saptaratna kritis.  We introduce the ragam Paras and mention some well known compositions in this ragam. This is a masterful piece that brings together a deep sense of devotion and humility, superb lyrics, and incredible compositional structure. We discuss in detail the first two segments of this composition (i.e., the Pallavi and the Anupallavi).

We continue our conversation from the last episode, and discuss Sri. Oothukadu's musical mastery, highlighting his rhythmic prowess as well as poetic genius. Vidya illustrates salient aspects of his compositional style using examples drawn from his compositions, including the universally popular Alaipayudhe Kanna.