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Selective Carnatic Songs

Discussion in 'Music and Dance' started by sunkan, Feb 29, 2008.

  1. sunkan

    sunkan Gold IL'ite

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    bAla gOpAla - rAgaM bhairavi - tALaM Adi

    English

    pallavi
    bAla gOpAla pAlayASu mAM
    bhakta vatsala kRpA jaladhE harE


    anupallavi
    nIla nIrada SarIra dhIra-tara
    nIraja kara nirupamAnanda-kara
    (madhyama kAla sAhityam)
    lIlayA gOpa vEsha dhara muraLI dhara
    SrI dhara dAmOdara vara


    caraNam
    cANUra malla haraNa nipuNa-tara
    caraNa nihata SakaTAsura mura hara
    mANikya makuTa hAra valaya dhara
    mattEbha kumbha bhEdana paTu-tara
    vANISArcita pItAmbara dhara
    vaijayantI vana mAlA dhara
    ANavAdi vijaya mAnasAkara
    apahata kaMsAsura nata bhU-sura
    (madhyama kAla sAhityam)
    drONa karNa duryOdhanAdi hara
    draupadI mAna saMrakshaNa-kara
    vaiNika gAyaka guru guha nuta
    pura vairi vihita gOpikA manOhara


    variations -
    pallavi - harE - hari
    anupallavi - muraLI - muralI
    caraNam -
    pura vairi vihita - pura vairi vinuta
    mAnasAkara - mAnasAgara



    Devanagari

    बाल गोपाल - रागं भैरवि - ताळं आदि

    पल्लवि
    बाल गोपाल पालयाशु मां
    भक्त वत्सल कृपा जलधे हरे


    अनुपल्लवि
    नील नीरद शरीर धीर-तर
    नीरज कर निरुपमानन्द-कर
    (मध्यम काल साहित्यम्)
    लीलया गोप वेष धर मुरळी धर
    श्री धर दामोदर वर


    चरणम्
    चाणूर मल्ल हरण निपुण-तर
    चरण निहत शकटासुर मुर हर
    माणिक्य मकुट हार वलय धर
    मत्तेभ कुम्भ भेदन पटु-तर
    वाणीशार्चित पीताम्बर धर
    वैजयन्ती वन माला धर
    आणवादि विजय मानसाकर
    अपहत कंसासुर नत भू-सुर
    (मध्यम काल साहित्यम्)
    द्रोण कर्ण दुर्योधनादि हर
    द्रौपदी मान संरक्षण-कर
    वैणिक गायक गुरु गुह नुत
    पुर वैरि विहित गोपिका मनोहर


    variations -
    पल्लवि - हरे - हरि
    अनुपल्लवि - मुरळी - मुरली
    चरणम् -
    पुर वैरि विहित - पुर वैरि विनुत
    मानसाकर - मानसागर



    Tamil

    பா3ல கோ3பால - ராகம் பைரவி - தாளம் ஆதி

    பல்லவி
    பா3ல கோ3பால பாலயாஸு1 மாம்
    ப4க்த வத்ஸல க்ரு2பா ஜலதே4 ஹரே

    அனுபல்லவி
    நீல நீரத3 ஸ1ரீர தீ4ர-தர
    நீரஜ கர நிருபமானந்த3-கர
    (மத்4யம கால ஸாஹித்யம்)
    லீலயா கோ3ப வேஷ த4ர முரளீ த4ர
    ஸ்ரீ த4ர தா3மோத3ர வர

    சரணம்
    சாணூர மல்ல ஹரண நிபுண-தர
    சரண நிஹத ஸ1கடாஸுர முர ஹர
    மாணிக்ய மகுட ஹார வலய த4ர
    மத்தேப4 கும்ப4 பே4த3ன படு-தர
    வாணீஸா1ர்சித பீதாம்ப3ர த4ர
    வைஜயந்தீ வன மாலா த4ர
    ஆணவாதி3 விஜய மானஸாகர
    அபஹத கம்ஸாஸுர நத பூ3-ஸுர
    (மத்3யம கால ஸாஹித்யம்)
    த்2ரோண கர்ண து2ர்யோத3னாதி2 ஹர
    த்2ரௌபதீ2 மான ஸம்ரக்ஷண-கர
    வைணிக கா2யக கு2ரு கு2ஹ நுத
    புர வைரி விஹித கோ2பிகா மனோஹர

    variations -
    பல்லவி - ஹரே - ஹரி
    அனுபல்லவி - முரளீ - முரலீ
    சரணம் -
    புர வைரி விஹித - புர வைரி வினுத
    மானஸாகர - மானஸாக2ர


    Telugu

    బాల గోపాల - రాగం భైరవి - తాళం ఆది

    పల్లవి
    బాల గోపాల పాలయాశు మాం
    భక్త వత్సల కృపా జలధే హరే


    అనుపల్లవి
    నీల నీరద శరీర ధీర-తర
    నీరజ కర నిరుపమానంద-కర
    (మధ్యమ కాల సాహిత్యమ్)
    లీలయా గోప వేష ధర మురళీ ధర
    శ్రీ ధర దామోదర వర


    చరణమ్
    చాణూర మల్ల హరణ నిపుణ-తర
    చరణ నిహత శకటాసుర ముర హర
    మాణిక్య మకుట హార వలయ ధర
    మత్తేభ కుంభ భేదన పటు-తర
    వాణీశార్చిత పీతాంబర ధర
    వైజయంతీ వన మాలా ధర
    ఆణవాది విజయ మానసాకర
    అపహత కంసాసుర నత భూ-సుర
    (మధ్యమ కాల సాహిత్యమ్)
    ద్రోణ కర్ణ దుర్యోధనాది హర
    ద్రౌపదీ మాన సంరక్షణ-కర
    వైణిక గాయక గురు గుహ నుత
    పుర వైరి విహిత గోపికా మనోహర


    variations -
    పల్లవి - హరే - హరి
    అనుపల్లవి - మురళీ - మురలీ
    చరణమ్ -
    పుర వైరి విహిత - పుర వైరి వినుత
    మానసాకర - మానసాగర



    Kannada

    ಬಾಲ ಗೋಪಾಲ - ರಾಗಂ ಭೈರವಿ - ತಾಳಂ ಆದಿ

    ಪಲ್ಲವಿ
    ಬಾಲ ಗೋಪಾಲ ಪಾಲಯಾಶು ಮಾಂ
    ಭಕ್ತ ವತ್ಸಲ ಕೃಪಾ ಜಲಧೇ ಹರೇ


    ಅನುಪಲ್ಲವಿ
    ನೀಲ ನೀರದ ಶರೀರ ಧೀರ-ತರ
    ನೀರಜ ಕರ ನಿರುಪಮಾನಂದ-ಕರ
    (ಮಧ್ಯಮ ಕಾಲ ಸಾಹಿತ್ಯಮ್)
    ಲೀಲಯಾ ಗೋಪ ವೇಷ ಧರ ಮುರಳೀ ಧರ
    ಶ್ರೀ ಧರ ದಾಮೋದರ ವರ


    ಚರಣಮ್
    ಚಾಣೂರ ಮಲ್ಲ ಹರಣ ನಿಪುಣ-ತರ
    ಚರಣ ನಿಹತ ಶಕಟಾಸುರ ಮುರ ಹರ
    ಮಾಣಿಕ್ಯ ಮಕುಟ ಹಾರ ವಲಯ ಧರ
    ಮತ್ತೇಭ ಕುಂಭ ಭೇದನ ಪಟು-ತರ
    ವಾಣೀಶಾರ್ಚಿತ ಪೀತಾಂಬರ ಧರ
    ವೈಜಯಂತೀ ವನ ಮಾಲಾ ಧರ
    ಆಣವಾದಿ ವಿಜಯ ಮಾನಸಾಕರ
    ಅಪಹತ ಕಂಸಾಸುರ ನತ ಭೂ-ಸುರ
    (ಮಧ್ಯಮ ಕಾಲ ಸಾಹಿತ್ಯಮ್)
    ದ್ರೋಣ ಕರ್ಣ ದುರ್ಯೋಧನಾದಿ ಹರ
    ದ್ರೌಪದೀ ಮಾನ ಸಂರಕ್ಷಣ-ಕರ
    ವೈಣಿಕ ಗಾಯಕ ಗುರು ಗುಹ ನುತ
    ಪುರ ವೈರಿ ವಿಹಿತ ಗೋಪಿಕಾ ಮನೋಹರ


    variations -
    ಪಲ್ಲವಿ - ಹರೇ - ಹರಿ
    ಅನುಪಲ್ಲವಿ - ಮುರಳೀ - ಮುರಲೀ
    ಚರಣಮ್ -
    ಪುರ ವೈರಿ ವಿಹಿತ - ಪುರ ವೈರಿ ವಿನುತ
    ಮಾನಸಾಕರ - ಮಾನಸಾಗರ



    Malayalam

    ബാല ഗോപാല - രാഗം ഭൈരവി - താളം ആദി

    പല്ലവി
    ബാല ഗോപാല പാലയാശു മാം
    ഭക്ത വത്സല കൃപാ ജലധേ ഹരേ


    അനുപല്ലവി
    നീല നീരദ ശരീര ധീര-തര
    നീരജ കര നിരുപമാനന്ദ-കര
    (മധ്യമ കാല സാഹിത്യമ്)
    ലീലയാ ഗോപ വേഷ ധര മുരളീ ധര
    ശ്രീ ധര ദാമോദര വര


    ചരണമ്
    ചാണൂര മല്ല ഹരണ നിപുണ-തര
    ചരണ നിഹത ശകടാസുര മുര ഹര
    മാണിക്യ മകുട ഹാര വലയ ധര
    മത്തേഭ കുമ്ഭ ഭേദന പടു-തര
    വാണീശാര്ചിത പീതാമ്ബര ധര
    വൈജയന്തീ വന മാലാ ധര
    ആണവാദി വിജയ മാനസാകര
    അപഹത കംസാസുര നത ഭൂ-സുര
    (മധ്യമ കാല സാഹിത്യമ്)
    ദ്രോണ കര്ണ ദുര്യോധനാദി ഹര
    ദ്രൌപദീ മാന സംരക്ഷണ-കര
    വൈണിക ഗായക ഗുരു ഗുഹ നുത
    പുര വൈരി വിഹിത ഗോപികാ മനോഹര


    variations -
    പല്ലവി - ഹരേ - ഹരി
    അനുപല്ലവി - മുരളീ - മുരലീ
    ചരണമ് -
    പുര വൈരി വിഹിത - പുര വൈരി വിനുത
    മാനസാകര - മാനസാഗര



    kshEtra - mannArguDi - rAjagOpAla svAmi
     
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  2. sunkan

    sunkan Gold IL'ite

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    bAla kRshNaM bhAvayAmi - rAgaM gOpikA vasantam - tALaM Adi

    English

    pallavi
    bAla kRshNaM bhAvayAmi
    bala rAmAnujaM vasudEvajam


    anupallavi
    nIla mEgha gAtraM stuti pAtraM
    nityAnanda kandaM mukundam


    caraNam
    kamala lOcanaM karma mOcanaM
    kapaTa gOpikA vasantaM
    amarArcita caraNaM bhava taraNaM
    arjuna sArathiM karuNA nidhim
    (madhyama kAla sAhityam)
    mamatA rahitaM guru guha vihitaM
    mAdhavaM satya bhAmA dhavaM
    kamalESaM gOkula pravESaM
    kaMsa bhanjanaM bhakta ranjanam


    variations -
    anupallavi -
    nityAnanda kandaM mukundam -
    nityAnanda kanda mukundam



    Devanagari

    बाल कृष्णं भावयामि - रागं गोपिका वसन्तम् - ताळं आदि

    पल्लवि
    बाल कृष्णं भावयामि
    बल रामानुजं वसुदेवजम्


    अनुपल्लवि
    नील मेघ गात्रं स्तुति पात्रं
    नित्यानन्द कन्दं मुकुन्दम्


    चरणम्
    कमल लोचनं कर्म मोचनं
    कपट गोपिका वसन्तं
    अमरार्चित चरणं भव तरणं
    अर्जुन सारथिं करुणा निधिम्
    (मध्यम काल साहित्यम्)
    ममता रहितं गुरु गुह विहितं
    माधवं सत्य भामा धवं
    कमलेशं गोकुल प्रवेशं
    कंस भञ्जनं भक्त रञ्जनम्


    variations -
    अनुपल्लवि -
    नित्यानन्द कन्दं मुकुन्दम् -
    नित्यानन्द कन्द मुकुन्दम्



    Tamil

    பா3ல க்ரு2ஷ்ணம் பா4வயாமி - ராகம் கோபிகா வஸந்தம் - தாளம் ஆதி

    பல்லவி
    பா3ல க்ரு2ஷ்ணம் பா4வயாமி
    ப3ல ராமானுஜம் வஸுதே3வஜம்

    அனுபல்லவி
    நீல மேக4 கா3த்ரம் ஸ்துதி பாத்ரம்
    நித்யானந்த3 கந்த3ம் முகுந்த3ம்

    சரணம்
    கமல லோசனம் கர்ம மோசனம்
    கபட கோ3பிகா வஸந்தம்
    அமரார்சித சரணம் ப4வ தரணம்
    அர்ஜுன ஸாரதி2ம் கருணா நிதி4ம்
    (மத்4யம கால ஸாஹித்யம்)
    மமதா ரஹிதம் கு3ரு கு3ஹ விஹிதம்
    மாத4வம் ஸத்ய பா4மா த4வம்
    கமலேஸ1ம் கோ3குல ப்ரவேஸ1ம்
    கம்ஸ ப4ஞ்ஜனம் ப4க்த ரஞ்ஜனம்

    variations -
    அனுபல்லவி -
    நித்யானந்த3 கந்த3ம் முகுந்த3ம் -
    நித்யானந்த3 கந்த3 முகுந்த3ம்


    Telugu

    బాల కృష్ణం భావయామి - రాగం గోపికా వసంతమ్ - తాళం ఆది

    పల్లవి
    బాల కృష్ణం భావయామి
    బల రామానుజం వసుదేవజమ్


    అనుపల్లవి
    నీల మేఘ గాత్రం స్తుతి పాత్రం
    నిత్యానంద కందం ముకుందమ్


    చరణమ్
    కమల లోచనం కర్మ మోచనం
    కపట గోపికా వసంతం
    అమరార్చిత చరణం భవ తరణం
    అర్జున సారథిం కరుణా నిధిమ్
    (మధ్యమ కాల సాహిత్యమ్)
    మమతా రహితం గురు గుహ విహితం
    మాధవం సత్య భామా ధవం
    కమలేశం గోకుల ప్రవేశం
    కంస భంజనం భక్త రంజనమ్


    variations -
    అనుపల్లవి -
    నిత్యానంద కందం ముకుందమ్ -
    నిత్యానంద కంద ముకుందమ్



    Kannada

    ಬಾಲ ಕೃಷ್ಣಂ ಭಾವಯಾಮಿ - ರಾಗಂ ಗೋಪಿಕಾ ವಸಂತಮ್ - ತಾಳಂ ಆದಿ

    ಪಲ್ಲವಿ
    ಬಾಲ ಕೃಷ್ಣಂ ಭಾವಯಾಮಿ
    ಬಲ ರಾಮಾನುಜಂ ವಸುದೇವಜಮ್


    ಅನುಪಲ್ಲವಿ
    ನೀಲ ಮೇಘ ಗಾತ್ರಂ ಸ್ತುತಿ ಪಾತ್ರಂ
    ನಿತ್ಯಾನಂದ ಕಂದಂ ಮುಕುಂದಮ್


    ಚರಣಮ್
    ಕಮಲ ಲೋಚನಂ ಕರ್ಮ ಮೋಚನಂ
    ಕಪಟ ಗೋಪಿಕಾ ವಸಂತಂ
    ಅಮರಾರ್ಚಿತ ಚರಣಂ ಭವ ತರಣಂ
    ಅರ್ಜುನ ಸಾರಥಿಂ ಕರುಣಾ ನಿಧಿಮ್
    (ಮಧ್ಯಮ ಕಾಲ ಸಾಹಿತ್ಯಮ್)
    ಮಮತಾ ರಹಿತಂ ಗುರು ಗುಹ ವಿಹಿತಂ
    ಮಾಧವಂ ಸತ್ಯ ಭಾಮಾ ಧವಂ
    ಕಮಲೇಶಂ ಗೋಕುಲ ಪ್ರವೇಶಂ
    ಕಂಸ ಭಂಜನಂ ಭಕ್ತ ರಂಜನಮ್


    variations -
    ಅನುಪಲ್ಲವಿ -
    ನಿತ್ಯಾನಂದ ಕಂದಂ ಮುಕುಂದಮ್ -
    ನಿತ್ಯಾನಂದ ಕಂದ ಮುಕುಂದಮ್



    Malayalam

    ബാല കൃഷ്ണം ഭാവയാമി - രാഗം ഗോപികാ വസന്തമ് - താളം ആദി

    പല്ലവി
    ബാല കൃഷ്ണം ഭാവയാമി
    ബല രാമാനുജം വസുദേവജമ്


    അനുപല്ലവി
    നീല മേഘ ഗാത്രം സ്തുതി പാത്രം
    നിത്യാനന്ദ കന്ദം മുകുന്ദമ്


    ചരണമ്
    കമല ലോചനം കര്മ മോചനം
    കപട ഗോപികാ വസന്തം
    അമരാര്ചിത ചരണം ഭവ തരണം
    അര്ജുന സാരഥിം കരുണാ നിധിമ്
    (മധ്യമ കാല സാഹിത്യമ്)
    മമതാ രഹിതം ഗുരു ഗുഹ വിഹിതം
    മാധവം സത്യ ഭാമാ ധവം
    കമലേശം ഗോകുല പ്രവേശം
    കംസ ഭഞ്ജനം ഭക്ത രഞ്ജനമ്


    variations -
    അനുപല്ലവി -
    നിത്യാനന്ദ കന്ദം മുകുന്ദമ് -
    നിത്യാനന്ദ കന്ദ മുകുന്ദമ്

    hai friends this is by my friend thyagarajadasa, felt all would love it so brought them over here..sunkan
     
  3. sunkan

    sunkan Gold IL'ite

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    CLASSIFICATION OF TALAS

    In olden days, Talas were classified as Marga and Desi. Ancient texts mention 5 Marga and 120 Desi talas. There are references to other classifications like the 108 Talas, (which incidentally includes the longest tala, Simhanandana of 128 Aksharas or counts mentioned earlier), 72 Talas (based on the 72-melakartas) and Navasandhi (Nine) Talas. These classifications are however almost obsolete today and are mainly confined to demonstrations.
    However, the Suladi Sapta (Seven) talas (referred to as just Sapta tala for the sake of convenience) are the principal talas in vogue today. They represent a convenient and workable selection from out of the numerous mentioned in various texts.

    The Sapta Talas
    [​IMG]1. Dhruva tala: Comprises a laghu, a drutam followed by two more laghus. It is represented by the symbol - l O l l
    2. Mathya tala: Consists of a laghu, a drutam followed by another laghu. Symbol - l O l
    3. Roopaka tala: Consists of a drutam followed by a laghu. Symbol - O l
    4. Jhampa tala: Comprises a laghu followed by an anudrutam and a drutam. Symbol - l U O
    5. Triputa tala: Consists of a laghu followed by two drutams. Symbol - l O O
    6. Ata tala: Consists of two laghus followed by two drutams. Symbol - l l O O
    7. Eka tala: Consists of just a laghu. Symbol - l

    The 35-talas concept

    Basically the 35-talas are an extension of the Sapta talas. The only element that changes is the Laghu. We already came across the fact that a laghu has five Jaatis (Chaturasra, Tisra, Misra, Khanda and Sankeerna). By incorporating that, we get a total of 35 varieties (7 Talas * 5 Jaatis). For instance, consider Dhruva tala with a Chaturasra laghu. A Chaturasra jaati dhruva tala would have a Chaturasra laghu followed by a dhrutam and two more Chaturasra laghus (It would be represented as I 4 0 I 4 I 4, the 4 near the laghu indicating a Chaturasra laghu). So we get an external count of 14 beats in all (4+2+4+4). Now the same Dhruva tala could have a Tisra laghu, in which case, we render a Tisra laghu instead of a Chaturasra laghu and thereby get a total external count of 11 beats (3+2+3+3) (This would be represented as I 3 0 I 3 I 3, the 3 representing the Tisra laghu). This is applied to all the other talas in a similar fashion. The important thing to be remembered is that it is always advisable to specify the Jaati (type) of the laghu to avoid confusion. (Refer 35-tala Chart)

    The 175-talas concept

    Before we go into the 175-talas, it is imperative that we introduce another new concept called "Gati". Gati refers to a specific but fixed time-interval between any two beats within a tala. It can again be of five types: Chaturasra, Tisra, Misra, Khanda and Sankeerna.
    The important thing to remember here is that the common names for the types of Jaati and Gati are only indicators of the values 4, 3, 7, 5 and 9. Whereas Jaati refers to the external finger-counting, Gati refers to the internal count between beats in the tala-cycle. Jaati gives a structure to the tala and Gati determines the gait of the tala.
    Coming to the 175 talas, it's once again a simple extension of the 7 and 35-tala concepts. Let's use the same example given above, Dhruva tala. Now we already know that it can be of five different jatis. Suppose we specify the Jaati as Chaturasra, let's see how the gati can affect it.
    We know that the Chaturasra Jaati Dhruva tala has an external count of 14. However, while rendering the tala, how are we to ensure that the time-interval between each beat is uniform? This is where we introduce Gati. Now, we could have a fixed interval of 4, 3, 7, 5 or 9 counts between each beat. Let's take the example of Chaturasra Jaati dhruva tala with an interval of 4 units per beat, i.e. Chaturasra gati. The external count of 14 is multiplied by 4 (gati units) and we get a total of 56 internal counts for the tala. The same would change to 42 in Tisra Gati (14*3). In other words, each of the 35 talas can be rendered in any of the 5 different gatis. Thus the 35-talas become 175 (35*5).

    Chanda tala

    These are a special set of talas used in a special variety of compositions called Tiruppugazh. The uniqueness of this tala lies in the fact that it varies according to the stress and rhyme-patterns (called Chanda) in the Tiruppugazh.

    POPULAR TALAS

    In a Carnatic concert we commonly find four talas - Adi, Roopaka, Misra Chapu and Khanda Chapu. The ratios in which the numbers of compositions are set to these talas are also in the same order. However in a concert all these talas have to be used to give a rhythmic variety to the concert. The other means of bringing out a rhythmic variety would be to use songs composed in different tempos or speeds. In other words, Adi tala has several compositions, each in a different tempo and gait. These could be effectively used to bring out contrast within the concert. Variety can also be brought out by singing compositions with different starting points. For example, a composition can start at the very first beat of the tala. Or it can start at the next beat or after a few counts within the beats. The starting point is known as eduppu or graha.


    Some of the prominent talas include:


    [​IMG]Adi Tala: It has eight counts per cycle. It is rendered with a beat and three finger counts followed by two identical sets of a beat and a wave. (In technical terms, this is nothing but Chaturasra jati Triputa tala, i.e., Chaturasra laghu and 2 drutams)
    Roopaka Tala: Six counts but only 3 units are rendered externally. (An anudrutam and a drutam)
    Misra Chapu: Seven units. (Three beats in the ratio of 3:2:2)
    Khanda Chapu: Five units. (Three beats in the ratio of 2:1:2)
     
  4. sunkan

    sunkan Gold IL'ite

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    bAlAmbikAyAH tava - rAgaM kEdAra gauLa - tALaM rUpakam

    English

    pallavi
    bAlAmbikAyAH tava bhaktO(a)haM
    bhaga mAlinI nakulinI pUjitAyAH SrI


    samashTi caraNam
    vElAyudha dhara vallISa guru guha jananyAH
    kAla kAla hara vaidya pati mOhinyAH
    lIlA vigraha dhAriNyAH



    Devanagari

    बालाम्बिकायाः तव - रागं केदार गौळ - ताळं रूपकम्

    पल्लवि
    बालाम्बिकायाः तव भक्तोऽहं
    भग मालिनी नकुलिनी पूजितायाः श्री


    समष्टि चरणम्
    वेलायुध धर वल्लीश गुरु गुह जनन्याः
    काल काल हर वैद्य पति मोहिन्याः
    लीला विग्रह धारिण्याः



    Tamil

    பா3லாம்பி3காயா: தவ - ராகம் கேதார கௌள - தாளம் ரூபகம்

    பல்லவி
    பா3லாம்பி3காயா: தவ ப4க்தோऽஹம்
    ப4க3 மாலினீ நகுலினீ பூஜிதாயா: ஸ்ரீ

    ஸமஷ்டி சரணம்
    வேலாயுத4 த4ர வல்லீஸ1 கு3ரு கு3ஹ ஜனன்யா:
    கால கால ஹர வைத்3ய பதி மோஹின்யா:
    லீலா விக்3ரஹ தா4ரிண்யா:


    Telugu

    బాలాంబికాయాః తవ - రాగం కేదార గౌళ - తాళం రూపకమ్

    పల్లవి
    బాలాంబికాయాః తవ భక్తోऽహం
    భగ మాలినీ నకులినీ పూజితాయాః శ్రీ


    సమష్టి చరణమ్
    వేలాయుధ ధర వల్లీశ గురు గుహ జనన్యాః
    కాల కాల హర వైద్య పతి మోహిన్యాః
    లీలా విగ్రహ ధారిణ్యాః



    Kannada

    ಬಾಲಾಂಬಿಕಾಯಾಃ ತವ - ರಾಗಂ ಕೇದಾರ ಗೌಳ - ತಾಳಂ ರೂಪಕಮ್

    ಪಲ್ಲವಿ
    ಬಾಲಾಂಬಿಕಾಯಾಃ ತವ ಭಕ್ತೋऽಹಂ
    ಭಗ ಮಾಲಿನೀ ನಕುಲಿನೀ ಪೂಜಿತಾಯಾಃ ಶ್ರೀ


    ಸಮಷ್ಟಿ ಚರಣಮ್
    ವೇಲಾಯುಧ ಧರ ವಲ್ಲೀಶ ಗುರು ಗುಹ ಜನನ್ಯಾಃ
    ಕಾಲ ಕಾಲ ಹರ ವೈದ್ಯ ಪತಿ ಮೋಹಿನ್ಯಾಃ
    ಲೀಲಾ ವಿಗ್ರಹ ಧಾರಿಣ್ಯಾಃ



    Malayalam

    ബാലാമ്ബികായാഃ തവ - രാഗം കേദാര ഗൌള - താളം രൂപകമ്

    പല്ലവി
    ബാലാമ്ബികായാഃ തവ ഭക്തോऽഹം
    ഭഗ മാലിനീ നകുലിനീ പൂജിതായാഃ ശ്രീ


    സമഷ്ടി ചരണമ്
    വേലായുധ ധര വല്ലീശ ഗുരു ഗുഹ ജനന്യാഃ
    കാല കാല ഹര വൈദ്യ പതി മോഹിന്യാഃ
    ലീലാ വിഗ്രഹ ധാരിണ്യാഃ



    kshEtra - Vaiddheesvaran Koil
     
  5. Shanvy

    Shanvy IL Hall of Fame

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    Sunkan,

    It is a nice effort by you. and i was searching for the recordings and cassettes for the songs so that i can upload them and add more beauty to the effort by linking the l yrics here...

    I like the bhairavi one more...

    And I am a kelvignanam so learning more from all these posts...
     
  6. Anandchitra

    Anandchitra IL Hall of Fame

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    All these that you are doing here are a great and commendable effort on your part Sundari Thanks.
     
  7. sunkan

    sunkan Gold IL'ite

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    the beauty of this person who is bringing in these has posted 1000 songs i dont know how to select, and no comment for any or encouragement.. i made me feel how much i anticipate comments and here is one man who is doing continuously all the songs and so many languages, so trying to post all one by one, dont know what would be the encouragement here, so stalled now will post, atleast people will copy and enjoy...sunkan
     
  8. sunkan

    sunkan Gold IL'ite

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    thanku chitra,
    it is pretty encouraging for a topic i am also having only kelvi gyanam was afraid to venture further, but yes like how one says leave it to rama to show himself to others through music or slokam or bhakthi, he knows the way and may be he is guiding me to do this here...sunkan
     
  9. sunkan

    sunkan Gold IL'ite

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    bRhadISvaraM bhaja - rAgaM nAga dhvani - tALaM Adi

    English

    pallavi
    bRhadISvaraM bhajarE rE citta
    brahmEndrAdi pUjitaM SrI


    anupallavi
    bRhannAyakI manaHpriyakaraM
    bhakta janAvana bhaya hara nipuNam


    caraNam
    yOgi rAjAdyarcita caraNaM
    yugapadbhOgAdi prada nipuNaM
    nAga rAja vinutaM nAga dhvani -
    nAda bindu kalAspadaM vara nipuNam
    (madhyama kAla sAhityam)
    SrI guru guhOpacAriNaM
    vicitra nAma rUpa prapanca dhAriNaM
    viSva sRshTyAdi kAraNaM
    viSuddhi cakra sthitaM vinOda kAriNam


    variations -
    caraNam - viSuddhi - viSuddha



    Devanagari

    बृहदीश्वरं भज - रागं नाग ध्वनि - ताळं आदि

    पल्लवि
    बृहदीश्वरं भजरे रे चित्त
    ब्रह्मेन्द्रादि पूजितं श्री


    अनुपल्लवि
    बृहन्नायकी मनःप्रियकरं
    भक्त जनावन भय हर निपुणम्


    चरणम्
    योगि राजाद्यर्चित चरणं
    युगपद्भोगादि प्रद निपुणं
    नाग राज विनुतं नाग ध्वनि -
    नाद बिन्दु कलास्पदं वर निपुणम्
    (मध्यम काल साहित्यम्)
    श्री गुरु गुहोपचारिणं
    विचित्र नाम रूप प्रपञ्च धारिणं
    विश्व सृष्ट्यादि कारणं
    विशुद्धि चक्र स्थितं विनोद कारिणम्


    variations -
    चरणम् - विशुद्धि - विशुद्ध



    Tamil

    ப்3ரு2ஹதீ3ஸ்1வரம் ப4ஜ - ராகம் நாக த்வனி - தாளம் ஆதி

    பல்லவி
    ப்3ரு2ஹதீ3ஸ்1வரம் ப4ஜரே ரே சித்த
    ப்3ரஹ்மேந்த்3ராதி3 பூஜிதம் ஸ்ரீ

    அனுபல்லவி
    ப்3ரு2ஹன்னாயகீ மன:ப்ரியகரம்
    ப4க்த ஜனாவன ப4ய ஹர நிபுணம்

    சரணம்
    யோகி3 ராஜாத்3யர்சித சரணம்
    யுக3பத்3-போ4கா3தி3 ப்ரத3 நிபுணம்
    நாக3 ராஜ வினுதம் நாக3 த்4வனி -
    நாத3 பிந்து3 கலாஸ்பதம் வர நிபுணம்
    (மத்4யம கால ஸாஹித்யம்)
    ஸ்ரீ கு3ரு கு3ஹோபசாரிணம்
    விசித்ர நாம ரூப ப்ரபஞ்ச தா4ரிணம்
    விஸ்1வ ஸ்ரு2ஷ்ட்யாதி3 காரணம்
    விஸு1த்3தி4 சக்ர ஸ்தி2தம் வினோத3 காரிணம்

    variations -
    சரணம் - விஸு1த்3தி4 - விஸு1த்3த4


    Telugu

    బృహదీశ్వరం భజ - రాగం నాగ ధ్వని - తాళం ఆది

    పల్లవి
    బృహదీశ్వరం భజరే రే చిత్త
    బ్రహ్మేంద్రాది పూజితం శ్రీ


    అనుపల్లవి
    బృహన్నాయకీ మనఃప్రియకరం
    భక్త జనావన భయ హర నిపుణమ్


    చరణమ్
    యోగి రాజాద్యర్చిత చరణం
    యుగపద్భోగాది ప్రద నిపుణం
    నాగ రాజ వినుతం నాగ ధ్వని -
    నాద బిందు కలాస్పదం వర నిపుణమ్
    (మధ్యమ కాల సాహిత్యమ్)
    శ్రీ గురు గుహోపచారిణం
    విచిత్ర నామ రూప ప్రపంచ ధారిణం
    విశ్వ సృష్ట్యాది కారణం
    విశుద్ధి చక్ర స్థితం వినోద కారిణమ్


    variations -
    చరణమ్ - విశుద్ధి - విశుద్ధ



    Kannada

    ಬೃಹದೀಶ್ವರಂ ಭಜ - ರಾಗಂ ನಾಗ ಧ್ವನಿ - ತಾಳಂ ಆದಿ

    ಪಲ್ಲವಿ
    ಬೃಹದೀಶ್ವರಂ ಭಜರೇ ರೇ ಚಿತ್ತ
    ಬ್ರಹ್ಮೇಂದ್ರಾದಿ ಪೂಜಿತಂ ಶ್ರೀ


    ಅನುಪಲ್ಲವಿ
    ಬೃಹನ್ನಾಯಕೀ ಮನಃಪ್ರಿಯಕರಂ
    ಭಕ್ತ ಜನಾವನ ಭಯ ಹರ ನಿಪುಣಮ್


    ಚರಣಮ್
    ಯೋಗಿ ರಾಜಾದ್ಯರ್ಚಿತ ಚರಣಂ
    ಯುಗಪದ್ಭೋಗಾದಿ ಪ್ರದ ನಿಪುಣಂ
    ನಾಗ ರಾಜ ವಿನುತಂ ನಾಗ ಧ್ವನಿ -
    ನಾದ ಬಿಂದು ಕಲಾಸ್ಪದಂ ವರ ನಿಪುಣಮ್
    (ಮಧ್ಯಮ ಕಾಲ ಸಾಹಿತ್ಯಮ್)
    ಶ್ರೀ ಗುರು ಗುಹೋಪಚಾರಿಣಂ
    ವಿಚಿತ್ರ ನಾಮ ರೂಪ ಪ್ರಪಂಚ ಧಾರಿಣಂ
    ವಿಶ್ವ ಸೃಷ್ಟ್ಯಾದಿ ಕಾರಣಂ
    ವಿಶುದ್ಧಿ ಚಕ್ರ ಸ್ಥಿತಂ ವಿನೋದ ಕಾರಿಣಮ್


    variations -
    ಚರಣಮ್ - ವಿಶುದ್ಧಿ - ವಿಶುದ್ಧ



    Malayalam

    ബൃഹദീശ്വരം ഭജ - രാഗം നാഗ ധ്വനി - താളം ആദി

    പല്ലവി
    ബൃഹദീശ്വരം ഭജരേ രേ ചിത്ത
    ബ്രഹ്മേന്ദ്രാദി പൂജിതം ശ്രീ


    അനുപല്ലവി
    ബൃഹന്നായകീ മനഃപ്രിയകരം
    ഭക്ത ജനാവന ഭയ ഹര നിപുണമ്


    ചരണമ്
    യോഗി രാജാദ്യര്ചിത ചരണം
    യുഗപദ്ഭോഗാദി പ്രദ നിപുണം
    നാഗ രാജ വിനുതം നാഗ ധ്വനി -
    നാദ ബിന്ദു കലാസ്പദം വര നിപുണമ്
    (മധ്യമ കാല സാഹിത്യമ്)
    ശ്രീ ഗുരു ഗുഹോപചാരിണം
    വിചിത്ര നാമ രൂപ പ്രപഞ്ച ധാരിണം
    വിശ്വ സൃഷ്ട്യാദി കാരണം
    വിശുദ്ധി ചക്ര സ്ഥിതം വിനോദ കാരിണമ്


    variations -
    ചരണമ് - വിശുദ്ധി - വിശുദ്ധ


    kshEtra - tanjAvUr
     
  10. kalakshetra

    kalakshetra Senior IL'ite

    Messages:
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    Dear Sunkan

    It is a very good effort on your part to post these selective songs. Naga Dhwani and Gopika Vasantham are very raagas. Keep posting...........thank you.......
     

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