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Dear Members :

On behalf of you all, I want to thank Sriman Govindan
for a comprehensive and scholarly commentary on not only
the individual krithis of Saint Thyagaraja  but  on the background
information on the allied theoretical aspects of Carnatic Music .

His essays are most welcome and as authors , we always benefit
from feedback .Please send in your comments as Musicians ,
Music lovers etc .

V.Sadagopan
Moderator , Rama Bhakthi Group


----- Original Message ----- 
From: "vgvindan" <vgvindan@xxxxxxxxxxx>
To: <RaamaBhakthi@xxxxxxxxxxxxxxx>
Sent: Friday, February 10, 2006 3:26 PM
Subject: [RaamaBhakthi] Thyagaraja Kriti - Nada Sudha Rasambilanu - Raga 
Arabhi


Transliteration-Telugu
_______________________________________________________
Transliteration as per Harvard-Kyoto (HK) Convention
(including Telugu letters - Short e, Short o) -

a   A     i    I     u   U
R  RR  lR  lRR
e  E   ai  o  O   au  M (H or :)

(e - short | E - Long |  o - short | O - Long)

k    kh   g   gh   G
c    ch   j   jh   J             (jn - as in jnAna)
T    Th   D   Dh   N
t    th   d   dh   n
p    ph   b   bh   m
y    r    l   L    v
z    S    s   h

Embodiment of nAdaM - nAda sudhA rasam

In the kRti `nAda sudhA rasambilanu' - rAga Arabhi, zrI
tyAgarAja ecstatically sings that zrI rAma is the embodiment of the
nectarine juice of nAda. (Please refer to notes for meanings of
musical terminologies along with their sources.)

P nAda sudhA rasamb(i)lanu nar(A)kRti(y)AyE manasA

A vEda purAN(A)gama zAstr(A)dulak(A)dhAramau (nAda)

C svaramul(A)runn(o)kaTi ghaNTalu vara rAgamu kOdaNDamu
    dura naya dEzyamu tri guNamu nirata gati zaramurA
    sarasa saGgati sandarbhamu gala giramulurA
    dhara bhajana bhAgyamurA tyAgarAju sEviJcu (nAda)

P O My Mind! The nectarine juice of eternal sound (nAda) has
assumed a human form here.

A O My Mind! The nectarine juice of eternal sound (nAda) which
is the prop of vEda, epics, Agama and zAstras etc, has assumed a
human form here.

C The seven svaras as the bells (of the bow kOdaNDa); the
sacred rAga as the bow kOdaNDa; dura naya and dEzya as the three
(strands of) the bow string; the steady pace (tempo) are the arrows;
the sweet thematic variations as the words (spoken by the
Lord) appropriate to the occasion; and therefore, the performance of
chanting (of Lord's names) is a fortune;
O My Mind ! The nectarine juice of eternal sound (nAda)
worshipped by this tyAgarAja, has assumed a human form here.

Word-by-Word Meaning

P O My Mind (manasA)! The nectarine (sudhA) juice (rasambu) of
eternal sound (nAda) has assumed (AyE) (literally become) a human
(nara) form (AkRti) (narAkRtiAyE) here (ilanu) (literally Earth).

A O My Mind! The nectarine juice of eternal sound (nAda) which
is the prop (AdhAramau) of vEda, epics (purANa), Agama and zAstras
etc (Adulaku) (zastrAdulakAdhAramau), has assumed a human form here.

C The seven (ArunnokaTi) (literally six plus one) svaras
(svaramulu) (svaramulArunnokaTi) as the bells (of the bow kOdaNDa);
the sacred rAga (rAgamu) as the bow kOdaNDa;
dura naya and dEzya (dEzyamu) as the three (tri) (strands of)
the bow string (guNamu);
the steady (nirata) pace (tempo) (gati) are the arrows
(zaramu) (zaramurA);
the sweet (sarasa) thematic variations (saGgati) as the words
(girumulu) (spoken by the Lord) (giramulurA) appropriate to the
occasion (sandarbhamu gala); and therefore,
the performance (dhara) of chanting (bhajana) (of Lord's
names) is a fortune (bhAgyamurA);
O My Mind ! The nectarine juice of eternal sound (nAda)
worshipped (sEviJcu) by this tyAgarAja (tyAgarAju), has assumed a
human form here.

Notes -
P - narAkRti - Though zrI tyAgarAja describes the physical
person of zrI rAma in the kRti, it is worth mentioning that zrI
tyAgarAja beheld the Lord in his heart as his inner-self. He makes
mention of the `sAyujyaM' in many kRtis. Therefore, the mystic
relevance of this kRti needs to be understood in order to derive
appropriate meanings to the words used in the kRti.
C - rAgamu kOdaNDamu - An interesting mention in zrImad
vAlmIki rAmAyaNa about rAvaNa's musical talents that he can `play
upon the lute of his terrific bow with the sticks of his arrows' is
found in the website mentioned below.  However, where this statement
occurs in zrImad vAlmIki rAmAyaNa, is not known -
http://www.atributetohinduism.com/Hindu_Music.htm
In the kRti `kOTi nadulu dhanuSkOTi' zrI tyAgarAja makes
mention of kuNDalini yOga. According to kuNDalini yOga, the
verterbral column is called mErudaNDa. Please also refer to kRti of
zrI tyAgarAja `Iza pAhi mAM' where Lord ziva is described as holding
bow of mEru - mErudaNDa - vertebral column (hEmAcala cApa). Source -
http://www.himalayanacademy.com/resources/books/mws/mws_ch-38.html
C - ghaNTalu - Please refer to zrI tyAgarAj's kRti `svara
rAga sudhA rasa' zrI tyAgarAja mentions of `mUlAdhAra' as the cakra
from where `nAda'  emanates. He also mentions therein about `sapta
svara gRhamulu' - It is not clear whether the seven chakras are meant
to represent the sapta svaras; if that be so the correspondence would
be - mUlAdhAra - sa; svAdhiSThAna - ri; maNipUra - ga; anAhata -
ma;vizuddhi - pa; AjnA - da; sahasrAra - ni.
In regard to sapta svaras and their relation to the seven
charkras, there is an interesting article in the website -
http://www.newtalavana.org/ebooks/saptasvarah.pdf#search='saptasvara'
In the book `Karnataka Sageetha Sastra' by Shri AS
Panchapakesa Iyer, it is mentioned that shadjam (sa) and panchamam
(pa) are considered as Sakti and Siva.
C - tri-guNamu - the word `guNa'
means `string', `strand', `bow string' and also `qualities - sattva,
rajas and tamas'. The three guNas - sattva, rajas and tamas are
indeed the three strands of the prakRti. The following verse from
zrImad bhagavat gIta, Chapter 14 is relevant -

sattvaM rajastama iti guNA: prakRtisambhavA: |
  nibadhnanti mahAbAhO dEhE dEhinamavyayaM || 5 ||

"sattva, rajas and tamas - these guNas, O mighty-armed, born
of prakRti, bind fast in the body the indestructible embodied one."

C - dura - The dictionary meaning `one who opens or
unlocks', `giver', `granter' - these do not convey any meaning in the
present context. However, Shri Koteeswara Iyer, in his
kRti `ghananaya dEshika gAna rasika shikhAmaNi nIyE kandA'
mentions `ghana' in place of `dura'. Probably both mean same thing.
The following terminologies in regard to `ghana' are found -
ghanakaala - raagas meant to be sung at a particular time of
day. Each raaga is associated with at least one time of day (some are
sarvakaalika - any time). The times are early morning (4-6am),
morning after sunrise (6-9am), forenoon (9am-12pm), midday (noon-
1pm), afternoon (1-4pm), evening (4-7pm), and night (7-10pm)
ghanam - another term for taanam
ghana pancaka raagas - one type of ghana raaga (as opposed to
dwitiya pancaka raagas), which is heavy and elaborate. It has five
members: naaTTai, gowLa, aarabi, shree, and varaaLi. These 5 raagas
are often used in pancaratna kritis.
ghana raaga - a heavy and important raaga, in which the
swaroopam is brought out by taanam (ghanam) or madhyama kaalam. They
can be ghana pancaka or dwitiya pancaka raagas
Source - http://www.karnatik.com/glossg.shtml
C - naya - a raaga in which the swaroopam is brought out both
by aalaapanai and taanam, for example tODi, bhairavi, kaambhOji,
shankaraabharaNam, and kalyaaNi - Source -
http://www.karnatik.com/glossn.shtml
C - dEzyamu - Belonging to the country (desa). This term
denoted the folk music that was prevalent till the 12th century
Source -
http://www.carnatica.net/onlinedictionary/dicd.htm
dEsya (1) - a raaga whose swaroopam is brought out by just
aalaapanai, for example kaanaDaa, hameer kalyaaNi, hindustaani behaag
dEsya (2) - raagas that were brought to South India from
North India, for example paras, maanD, jhinjoTi, and shenjuruTTi
Source - http://www.karnatik.com/glossd.shtml
C - gati - Tempo of a musical piece - the speed and the gait
of a composition - source -
http://www.carnatica.net/onlinedictionary/dicd.htm
gati - the gait, or the number of subdivisions or swaras per
beat. There are 5 types: tishra, catushra, kanDa, mishra, and
sankeerna. It may also take 11, 8, etc. and is formed by taking the
beat and multiplying by the number (ex: aadi taaLa in catushra gati
is 8 times 4 = 32 beats). Not to be confused with naDai or jaati -
Source  http://www.karnatik.com/glossg.shtml
saGgati - sangati - a particular variation of a phrase in a
kriti or song with slight or large changes in tune and gamakas. Each
phrase maybe repeated with different variations or sangatis. Source -
http://www.karnatik.com/glosss.shtml
saGgati - thematic variations - introduced by zrI tyAgarAja -
Source -
http://www.geocities.com/Athens/5180/tnmusic1.html
saGgati - Tyagaraja's outstanding contribution to the
advancement of the kriti format was the introduction of the sangati
(lit. coming together) - a set of variations on a theme, gradually
unfolding the melodic potential of the musical phrase. Largely set in
the madhyamakala (middle tempo), Tyagaraja's kritis were more
appropriate for the modern concert paddhati. As vidwan G. N.
Balasubramaniam observed during his presidential address at the 32nd
conference of the Music Academy in 1958, nearly 60% of Tyagaraja's
kritis are composed in this kala and this speed "seems to be the best
for both the lay and the learned listeners." - Source
http://www.sawf.org/newedit/edit05132002/musicarts1.asp

This Kriti is available as a MS Word or (Acrobat) PDF file in
Devanagari, Tamil, Telugu, Malayalam and Kannada, Assamese, Bengali,
Gujarati, Oriya, Punjabi scripts. The meaning of the Kriti is also
available in Tamil. If anyone is interested to receive the same by e-
maill, please contact me at vgvindan@xxxxxxxx specifying the format
required - MS Word or Acrobat PDF. Fonts for viewing the document in
MS Word may be downloaded free from www.cdac.in . Those who are
having CDAc's iLeap Indian Languages software may, if they so desire,
get that iLeap version of Kritis Indian Languages also from me.
Please indicate accordingly.

Please send in Your comments and suggestions.
May Saint Thyagaraja Bless us all.
V Govindan








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