Special Carnatic Music concert Homage to Padma Bhushan Mysore Vasudevacharya 20th July 2024, 8:00 PM IST (10:30 AM EDT) Kum. Sangeetha Narayanan (vocal + multi instrumental) - Pondicherry
Dear Sangeetha, You are having extraordinary talent and skills. My namaskaramu to your parents and Gurus. Wish you excell in music arena and serve music in long big way. May Goddess Saraswathi bless you abundantly. With best wishes,
Namaste to all. Yesterday I was held up in some other program. That's why can't listen this. Now I listen it fully. Excellent play for all instruments. She has bright future ahead. Congrats Sangeetha Narayanan. 💐💐💐
I always meditate upon Sri Rama the spouse of Janaki. He fulfills desires. Anjaneya the son of wind-god worships him. His radiance humbles the effulgence of Sun. He is full of compassion
Hare paripahimam.ragam kedaram 29th Mela Janya Adi .Mysore Vasudevacharyar Krithi This is Keerthana Composed by Mysore Vasudevachar in Sanskrit Language for the Deity Narayan
Kum Sangeetha Narayanan (Vocal + Multi Instrumental) from Pondicherry, “Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert” on Today the July 20th Saturday at 8.00 PM IST 10.30 AM EST
SUPOSHINI - JANYA OF MELA (28) RAGAM HARIKAMBHOJI Mela ragas Kharaharapriya and Harikambhoji share the top position in the number of janya ragas - One of the rarest janyas of Harikambhoji, known as Suposhini. This is one of the rarest and very interesting raga; only the Thyagaraja krithi has been heard sung; it still holds the title of Eka-krithi raga, though there are very few krithis of other composers of later times, not heard in concerts at all. Suposhini is a vakra-shadava vakra-oudava, Gandhara-varjya raga, the structure of which can be represented as: S R2 S M1 P N2 D2 S // S D2 P M1 R2 M1 S Ragapravaham by D.Pattammal places it under two mela ragas, (16) Chakravakam and (28) Harikambhoji. Under Chakravakam mela: S D N S R G M P - M G R S N D N S And under Harikambhoji mela: S R S M P N D S - S D N P M R M S S R S M P D N D S - S D N P M S The story behind Muthuswami Dikshitar’s nottuswara sahityams is well known. The way the composer took western music tunes and set Sanskrit lyrics for them is a fascinating study. Two stalwarts of the Diskhitar lineage - Vadivelu and Baluswami Dikshitar - are accredited with transforming the violin into a Carnatic instrument and it is likely that the nottuswaras must have helped. But what of Thyagaraja? It is extremely unlikely that he could have been oblivious to the instruments used in western music or to tunes of that genre. By the time the composer was in his thirties, this was an art form to which patronage was being extended from the highest quarter. According to Dr. S Seetha’s Tanjore as a Seat of Music, as early as 1775, when Thyagaraja was just seven, notebooks containing western stuff notation and theory of music were being filled in for the benefit of ‘His Majesty the Raja of Tanjore.’ That was when Tulaja II was the ruler. Under his son Sarabhoji, this was to rise to greater heights. He set up the Tanjore Palace Band and to quote from Dr.Seetha again, “collected western musical instruments like violin, clarionet, dulcimer, piano, German flute, tambourine and harpsichord.” The king composed music for the band and also entered into extensive correspondence with foreigners on theory as well as practical aspects. Thyagaraja, of course, had little to do with the court. But considering that the ruler and his entourage spent much of the summer months in Tiruvaiyaru, it is quite likely that the composer had the opportunity to listen to some of the new music that was performed. And he could not have remained uninfluenced. At least three pieces of Thyagaraja demonstrate the impact of Western Music. The first and the most popular is ‘Vara Lila Gana Lola,’ set to Sankarabharanam rather on the lines of Dikshitar’s nottuswarams. This being the same as the C Major scale in western music, it is perhaps not surprising that the composer took to this raga when he wanted to set a piece in the new idiom. It still remains a popular song, especially for students of the keyboard. The second, ‘Sarasa Netra’ is also in Sankarabharanam. The third, ‘Raminchuvarevarura’ is in Suposhini, a raga in which Thyagaraja was the first to compose. It is a janya of Harikambhoji, which too is in a way a creation of the composer, for while it did have an existence in Tamil panns, it acquired its present structure and form entirely due to Thyagaraja’s songs in it. The song has a martial gait, conjuring up visions of an army on the move. The chittaiswarams, which add much to the beauty of this small song, are however probably not Thyagaraja’s. All three songs have flat notes dominating, with minimum of gamakas or graces, a strong characteristic of orchestral western music.
Several musicians handled some of the songs listed above often in their performances. EtAvuna nErcitivo was made famous by Ariyakkudi Ramanuja Iyengar. pAhi rAmacandra was a favourite of Musiri Subramania Iyer. divAkara tanujam was often sung by Semmangudi Srinivasa Iyer and Madurai Mani Iyer. Ninnu sEvincina was a frequent concert piece in the performances of the Brinda-Mukta duo and they sometimes began their concerts with the kamalAkshi varnam. The former song was also sung by DK Pattammal and DK Jayaraman. bhujagasAyinO was frequently heard in KV Narayanaswami’s concerts as was hEccarikkagA rArA. MS Subbulakshmi made kAlai tUkki an integral part of her repertoire. Chembai Vaidyanatha Bhagavatar often sang karuNai sEivAn of Iraviamman Tampi. The raga is frequently used by many musicians in their viruttams, shlOkas and rAgamAlika svarams for pallavis. The raga, like many evergreen modes in Carnatic music continues to remain a favourite among musicians and audiences alike.
Yadukula kamboji This is an ancient raga in Indian music and was known as Sevvazhi paN in the Tamil music system of yore. Today it is classified as a janya or derivative of the 28th mELa harikAmbOji. It is an auDava sampUrNa raga as it has five notes in the ascent and all seven in the descent. The notes being: Aro: sa-ri-ma-pa-dha-sa // Av : sa-ni-dha-pa-ma-ga-ri-sa The notes are shadja, catushruti riShabha, antara gAndhAra, shuddha madhyama, pancama, catushruti dhaivata and kaishiki niShAda. gAndhAra and niShAda are absent in the ArOhaNa. The kAkali niShAda is used occasionally in certain phrases and so this raga is also a bhAShAnga raga. In the Muttuswami Dikshitar school this raga is called Erukala kAmbOji. The raga is very popular in Kathakali performances and is known in Kerala as Yadukula kAmOdari. In his Sangita Sampradaya Pradarsini, Subbarama Dikshitar classifies this raga as a janya of the rAgAnga rAga harikEdAragauLa. The raga is best presented in the slow tempo or cauka kAla. Short phrases are its speciality and care is to always be taken that shades of kEdAra gauLa do not creep in. Some of its characteristic phrases include sa-pa-dha-sa, sa-ri-ma-ga-sa, sa-ri-ma-ma, ga-ma-pa-pa, sa-ri-ma-pa-dha-dha-pa, pa-dha-sa-pa-ma-ga,sa-sa-ni-sa-ri-ma-pa-dha-sa,ma-pa-ma-ga-ri-ma-ga-sa, sa-ni-pa-dha-sa. Subbarama Dikshitar adds that the phrase sa\ pa dha sa gives a special pleasing effect to this raga. Dikshitar also gives a lakshya gItam arE gajavanavAsa composed on Lord Jambukeswara of Tiruvanaikka and attributes it to Venkatamakhi. The Trinity has handled this raga exhaustively. But perhaps the best known piece in this mode is one composed earlier, namely kAlai tUkki ninrADum dEivamE on Nataraja at Chidambaram by Marimutha Pillai. The tune is probably one that was created much later. Coming back to the Trinity, Syama Sastry used this raga for composing one of his three svarajatis, the other two being in bhairavi and tODi. It is the least sung among the three. There are at least four songs by Tyagaraja - EtAvuna nErcitivO, heccarikagA rArA, pAhi rAmacandra rAghava and shrI rAma jayarAma. Muttuswami Dikshitar has given us tyAgarAjam bhaja rE which is on the presiding deity at Tiruvarur and also divAkara tanujam which is on Saniswara (Saturn) and hence is part of the vAra kriti series by the composer. In the era of the Trinity, the Anai Ayya brothers gave us ELiyEnai. Gopalakrishna Bharati has used this raga in his Nandan Charittiram and in other compositions. Some instances are bhaktiyE, innamum oru daram, Ezhai pArpan aDi, nIcanE and varuvAro Turning to Subbarama Dikshitar once again, we find from his book that he has listed a song by Kumara Ettappa Maharaja in this raga - karuNArasalaharI kaTAkshEna which is very much in the Muttuswami Dikshitar style. In keeping with Kumara Ettapa’s style, the song ends with a cittasvara passage. Subbarama Dikshitar has three compositions of his own in the raga the first of which is a kriti pArthasArathinI in praise of the deity in Triplicane. This has an interesting wordplay with the same words being used in different contexts right through the song. Some of the repetitive words include pArthiva, kari, dAra, parama and guru. The song ends with a passage of sollukaTTus (solfa syllables). The other two compositions are varnams, one a tAna varnam and the other a daru. The former is in aTa tALam. Yet another varnam in the raga is kamalAkshi by Tiruvottiyur Tyagier also in aTa tALam. A third varnam is padarEdi, in aTa tALam, composed by Patnam Subramania Iyer. The first caraNam in the nava rAgamAlika varnam, valaci is in this raga. Subbaraya Sastry, the son of Syama Sastry has given us ninnu sEvincina, a song on Parthasarathi of Triplicane. Another song on Parthasarathi, once again in the same raga, is pArthasArathi by Cheyyur Chengalvaraya Sastry. Vedanayakam Pillai’s innum parAmukham and karuNAkaTAksham are sung in yadukula kAmbOji. Several songs of earlier composers are set to this raga. These include Ittanai kOpam by Arunachala Kavi, manadinil by Muttu Tandavar, pAhimAm of Bhadrachala Ramadas, dEva dEvOttama of Annamacharya and several padams of Kshetrayya and Sarangapani. Some of the latter day vAggeyakAras who have used this raga include Papanasam Sivan in kumaran tAL, Mysore Vasudevachar in sAradE pAhimAm and GN Balasubramaniam in paramakrpA sAgari. Songs of lyricists such as Ambujam Krishna (arivAnO kaNNan, sindanai seyyaDi) and Periyasami Thooran (AruyirgaTkEllAm) are set in this raga. Swati Tirunal songs are aplenty in this raga, especially in the padam genre. The most famous piece of his in this raga is bhujagashAyinO, often sung as benediction at the end of concerts. His contemporary was Iraviamman Tampi whose karuNai sEivAn is sung in this raga.
Hamsadhwani :- Aro: S R2 G3 P N3 S Av: S N3 P G3 R2 S It is a Janya rāga of 29th Mela Sharnakarabharanam but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). The Hamsadhwani scale has the same notes as a major scale, except that the 4th and 6th notes in the major scale are not used when playing Hamsadhwani. A raga that is bright and auspicious, one that is most suited for commencing a Carnatic concert. That probably explains why kritis in Lord Ganesha abound in this raga. This raga is well-loved and easily identified due to its distinctive charm that gets better when sung in Madhyamakala (medium-fast tempo). Hamsadhwani is a pentatonic scale ( audava raga) and the notes it houses include Sadja, Chatusruti Rishabha, Antara Gandhara, Pancama and Kakali Nishada. Hamsadhwani has its roots in the Carnatic form, and is said to have been created by Ramaswamy Dikshitar, father of Muthuswamy Dikshitar. The credit in taking this raga into the Hindustani system of music goes to Ustad Aman Ali Khan of the Bhendibazaar gharana. In its Hindustani form, the Kaisiki Nishada also appears sometimes lending texture and finer hues to the solid fabric of the raga.
Kanada :- This raga is a Janya Raga, derived from Kharaharapriya 22nd on the Melakarta scale. Aro: S R2 G2 M1 D N2 S’ (alternate : S R2 P G2 M1 D N2 S’) Av : S’ N2 P M1 G2 M1 R2 S This raga sets a sad mood. In Hindustani music, Kanada refers not to one raga but a family of ragas. Kanada is a very popular raga, often used in Ragamalikas or RTPs. This raga stresses heavily on gamakas or ornamentations and minute nuances. Well known kritis in this raga are Alai Payude by Oothukadu Venkata Subbaiyer, Sukhi Evvaro by Tyagaraja, Nera Nammiti varnam by Poochi Srinivasa Iyengar, Enna Solli Azhaithal by Ambujam Krishna and Mamava Sada Janani by Swati Thirunal. . The Hindustani equivalent is variedly given as Bageshri Kanada or Bahar. Majority of the sites quote Bahar as the eqivalent.
Kedaram is the janya raga of the 29th Melakarta Raga Dheera Shankarabharanam Aro: S M₁ G₃ M₁ P N₃ S // Av: S N₃ P M₁ G₃ R₂ S A regal raga that is auspicious, commanding and exuding veera ira (heroic) rasa, is Kedaram. This raga is suited for singing in the mornings. In yesteryears, dramas and religious discourses often opened with a sprightly piece in Kedaram. Kedaram brings forth joy, being mood enhancing and uplifting. Nat Behag of Hindustani music closely resembles Kedaram. The Aarohana-Avarohana of this raga is SMGMPNS / SNPMGRS. The Gandhara is absent in ascent, and the Dhaivata is absent in both ascent and descent. It is a vakra raga owing to zig-zag patterns in Aarohana. The notes featuring in Kedaram are Sadja, Antara Gandhara, Suddha Madhyama, Pancama, and Kakali Nishada.
Mayamalavagowla - 15th Melakarta rāgam It is classified as 15thmelakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga. Venkatamakhin defines its lakshana thus: पूऱ्णो माळवगोळाख्यह् स ग्रहो गीयते सदा pūrṇo māḻavagouḻākhyah sa graho gīyate sadā Mayamalavagowla is the 3rd raga in the 3rd chakra, Agni. Its mnemonic name is Agni-Go. Its mnemonic phrase is sa ra gu ma pa dha nu.[1] Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms): ārohaṇa: S R1 G3 M1 P D1 N3 S avarohaṇa: S N3 D1 P M1 G3 R1 S The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatham and kakali nishadham. As it is a melakartarāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the shuddha madhyamam equivalent of Kamavardhini (also known as pantuvarali), which is the 51st melakarta scale. The gamakas in the raga are unique in that conversely to the G-M relationship in Sankarabharanam, G is sung in oscillation (M,G M,G M,G) while M is held constant. There is no bold M-P gamaka as in Sankarabharanam as well. R and D are also usually sung in oscillation with S and P respectively, making the only constant notes S, M, and P. Of course, these rules are occasionally broken for effect (ie holding N flat before ascending to S). This auspicious raga evokes shāntha(peace) rasa and pathos. It creates a soothing effect. Suitable to sing at all times, particularly, the firstyAMam (dawn). It is commonly used for beginners lessons such as Sarali Varisais, etc. Since it eschews vivadi swaras (relatively discordant notes), has a uniform distance between swara sthānas (relative position of notes) and has symmetry, they are easier to learn. It is an ancient rāgam and has been around for a long time. It is a Sampoorna raga. Also, it is a sarva swara gamaka varika rakthi rāga. It has a large number of janya ragas (derived scales) assigned to it. This rāgam corresponds to Bhairav in Hindustani music. It is also defined as a mūrcana kāraka méLa since it can be used for Graha bhedam on madhyamam and rishabham to result in Simhendramadhyamam and Rasikapriya respectively. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the Sruti (or drone) to another note in the rāgam. For further details and an illustration refer Graha bhedam on Māyamālavagowla. A raga that is symmetric and very easy to teach and learn is Mayamalavagowla. This is the reason beginners' lessons in Carnatic music are based in Mayamalavagowla and its derivative ragas. The notes that feature in Mayamalavagowla are sadja, suddha rishaba, antara gandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness
intha prabhuva kaneno Mohanam Ragam Adi Vijaya Vittala Dasa This was the Last Krithi Mysore Vasudevacharya requested his Grandson to sing before attaining Mukthi at Kalakshtra Chnennai
His creative endeavour started by accident. The year 1900 was cursed as plague broke out in the Mysore State. His friend Gopala Arasu, on a casual talk requested Vasudevachar to make a mark in this world before the time ends, as he was not sure how many will survive the epidemic. Vasudevac Chintayeham Janaki Kantha Mayamalavagowla Mysore Vasudevacharya Krithi The First Krithi composed by him. Not regularly heard in public convcerts. har was reluctant initially, but later agreed to compose one krithi. The krithi chintayEham jAnakI kAntha in mAyAmALavagauLa was the first to be composed.
In this Krithi he extols the true significance of the name of the Lord. He who did not behold SrI rAma and whom SrI rAma did not notice was indeed despised in the eyes of all men; even his own self would reproach him
Tribute to Muthuswami Dikshitar by Mysire Vasudevacharya A Rare heard Krithi in Public Concerts AsIdvipravaraha kascit shrI - rAgamAlika - Adi Talan Mysore vAsudevAcAr - on Muthuswami Dikshitar
Bho Shambo Composer: Ragam: Revati 2 ratnaangi janya talam: adi Dayananda Saraswati The Bho Shambho Mantra is an intense chant dedicated to the Supreme Protector of the Universe, Lord Shiva.
MANDARI - JANYA OF MELA (50) RAGAM NAMANARAYANI? Can we include Ragam Mandari in Rare ragas? This was a doubt, since, with so many compositions in this raga, which prevents it to be called so, only a handful of krithis are heard - even among them only a couple heard in concerts. Still, it is not that much popular also, mostly the krithis are sung as fillers in gaps. The next question is that different books quote this raga as from different origins. Let us see the various definitions. Mandari is said to be a Dhaivatha-varja janya of mela (50) ragam Namanarayani, with following specification in many books: S R1 G3 M2 P N2 S // S N2 P M2 G3 R1 S Invariably, it should contain Kaishiki Nishadam (N2). But many of the musicologists and books prefer it to be called a Dhaivatha-varja janya of mela (51) ragam Kamavardhani (Panthuvarali); so that it contains Kakali Nishadam (N3) in place of N2. S R1 G3 M2 P N3 S // S N3 P M2 G3 R1 S Hence for all the uses, this specification is chosen by many. Out of the Trinities, only Saint Thyagaraja has composed in this raga; but this was used earlier by composers like Oothukad Venkatakavi. There is no reference found in SSP, but Ragapravaham by D.Pattammal places it under three mela ragas, Under mela (50) Namanarayani : S R G M P N S // S N P M G R S S R G M P N S // S N P M R G R S Under mela (51) Kamavardhani as: S R G M P N S // S N D P M G R S And under mela (52) Ramapriya as: S R G M P N S // S N P M G R S It can be seen that the difference between the currently followed specification of Mandari is quite close to ragam Amritavarshini, a janya of mela (66) Chitrambari; only short of Suddha Rishabham (R1), the notes being S G3 M2 P N3 S // S N3 P M2 G3 S. The well-known musician and musicologist, Prof. S.R.Janakiraman is of opinion that “Amritavarshini can be considered Janya of any of these melas: 51,53,54,63,65,66,69,71,72 -can be fitted into as a Janya of 9 melakarthas. However, as per convention the earliest number is to be accorded ie.,51-Kamavardhani”. In any case, the difference between Amritavarshini and Mandari is the presence of R1 in the latter.
P dEvi ramE mAmavAbdhi tanayE dEva dEva vAsudEva jAyE !! Oh goddess Lakshmi the daughter of ocean, the consort of Vasudeva, please protect me. AP pAvana kanakAdri vara nilayE dEvAdi vinuta mahimAti shriyE !! Your abode is golden Meru mountain. All gods adore your extra-ordinary prowess. C rAkAdIsha sannibha vadanE rAjIva lOchanE gaja gamanE lOkAnanda vidhAyinE lOkavidhita kIrtishAlinE akArAdi varna svarUpinE tava karunApUrna bhaktAnAm anupama saubhAgya dAyinE amudAnanda sandOha dAyinE !! Your face is beautiful like the moon. Your eyes are beautiful like lotus flower. Your walk is majestic like elephant-walk. You bestow happiness to all. Everyone knows of your glory. You are the embodiment of every letter. You bestow unparalled wealth and happiness to devotees very compassionately. You are the cause of endless bliss.
A: pannagendra shayana pannagari vahana pannagachala bhavya sadana pranatarti harana nipuna You (Vishnu) recline on the king of serpents, Adisesha. Your vehicle is eagle the foe of serpents. Seshadri is your prosperous abode. You are adept in ameliorating the afflictions of those who seek refuge. C1: parama krupasagara para tatvadhara varamulosagi brovavayya vasudeva || You are ocean of compassion. You are the basis of spirituality. Oh Vasudeva, protect me bestowing boons. C2 neeraja netra neeraja nibha gatra giriraja suta vara Sankara sannuti patra satcharitra || You are lotus-eyed and your body is bright like lotus. You deserve worship by Sankara the consort of Parvati, the daughter mountain-king. You are known for excellent character.
P raminchu vArevarurA raghOttama ninu vinA || Oh Srirama the supreme among Raghu dynasty, who else is capable of bestowing supreme bliss? AP SamAdi sadguNa gAna sakala bhuvana janulalO || Who else can delight people of all lokas, blessing them with the six philosophic attributes Sama,Dama etc.(internal and external control of sensory organs). C "rum" yanE sumarmamu "rAma" yanE Sarmamu lasa damara varula kabbenO tyAgarAja sannuta || Root "Rum" means delightful. It is profound truth. The word Rama means the bestower of supreme bliss. The word Rama and the spiritual nature of Rama are capable of conferring over-whelming bliss on fortunate Devatas, Yogis and others.
AP sOma bimba manOhara sumukhi sEvakAkhila kAma dAna nirata kaTAkSa vilAsini (amba) Your moon-like face captivates our hearts. You pleasantly fulfill the desires of your devotees, just by your compassionate glances. C1 pura vimata vadana pankEruha madhupE nArada mukha maunI nikara gEya caritE SarasIruhAsanAdi sura samudaya maNi cAru mauLi virAjita caraNAmbuja yugaLE You are like honey bee humming and hovering around lotus like Siva's face. Narada sings of your glory. Brahma and other gods bow to you spreading the light of their gem-studded crowns on your feet. C2 kanaka bhAsura divya kalApa rAjita gAtri vanaruha daLATErapa vibhanjana ruci nEtri munigaNa sammOhana mAnanIya mrduhAsE vinata jana kalpakavallari giri sutE Your body radiates divine effulgence. Your beauty humbles the beauty of lotus petals. Your gentle smile mesmerises even the sages. You are the daughter of the Himalayas. You fulfill the wishes of devotees like the divine Parijata tree. C3 kurumE kushalam sadA kamalanAbhAnujE niravadhi bhava khEda nivAraNa niradE cArunUtana ghana sadrusharAjita vENi dAruNa danujALi dAraNa paTucaritE You are Sri Maha Vishnu's dear sister. Please bless me with perpetual happiness. You are the dispeller of worldly afflictions. Your beautiful hair resembles dark clouds. Your glory in annihilating the treacherous demons is incomparable.
Gist :- Oh Mother! The destroyer of MAHISHASURA, always protect me. Your face is lovely like the disc of the moon. Your glances shower boons on those who serve you. You are the honey bee hovering the lotus face of SIVA. Your story is sung by host of RSHI like NARADA. You are worshipped by BRAHMA and the host of celestials. Your locks shine with the crescent moon and your pair of feet are like lotuses. Your body is shining like gold. Your eyes put to shame the pride of lotus petals. Your soft smile bewitch the hearts of RSHIs. You are the KALPAKA tree to those who worship you. Oh the daughter of mountains! Oh Sister of PADMANABHA! Give me happiness. You are engaged in removing the sorrows of SAMSARA. Your hair is lovely like fresh cloud. You have the glory as an expert, in destroying the wicked demons.
C1 samarandinil sooranai taarakanODum sankaaram sey veera singaara sankara (kumaran) In the war he killed Soora and Taraka, And exulted in a loud tone, bow before,) C2 tunbam tavirttup pErinbam tara vERu ivan pOl unDO nee uLLanbODu muttuk (kumaran) eesan vaLLi deyvayaanai nEsan bakta hrudaya daasan shaNmugan raamadaasan kuladeyvak (kumaran) He is God, lover of Valli and Devayanai , He lives in the heart of his devotees, He is six headed one and so bow before, Kumaran who is the clan deity of Rama Dasa.
P kumaran taaL paNindE tudi adikOra samsaarattil yaarE gati (kumaran) Bow before and pray the feet of Subrahmanya, For who else is your support in this ghastly birth death cycle.
pallavi (rAgA: gamanAshrama) anupallavi AsIdvipravaraha kascit shrI . rAgamAlikA. Adi tALA. 1: AsIdvipravaraha kashcit shrI muttusvAmi dIkSitaha vINAvAdana sangIta vEda shAstra vishAradaha caraNam 2 (rAgA: Arabhi) Aa:S R2 M1 P D2 S Av: S N3 D2 P M1 G3 R2 S sa tu vArANasIm gatvA shrI cidambara dIkSitaihi mantrOpadEshamAsAdhya mantra siddhimavApya ca caraNam 3 (rAgA: sAranga) Aa:S R2 G3 M2 P D2 N3 S Av: S N3 D2 P M2 R2 G3 M1 R2 S pratyAgamana vElAyAm Ekasmin dEva mandirE shrI guham nararUpam tam dadarshamita tEjasam caraNam 4 (rAgA: nAgasvarAvaLi) Aa:S G3 M1 P D2 S Av: S D2 P M1 G3 S taddarshana samutpanna bhakti bhAva samanvitaha sadyO guru guhAnkAni kIrtanAnya karOnmudA caraNam 5 (rAgA: kEdAragauLa) Aa:S R2 M1 P N2 S Av: S N2 D2 P M1 G3 R2 S supadanyAsa gUDhArtha bhava rAgayutAni ca tAnyadyApi samabhyasya mOdantE vibudhAdayaha caraNam 6 (rAgA: madhyamAvati) Aa:S R2 M1 P N2 S Av: S N2 P M1 R2 S shrI dIkSitArya caritam sadA sarva jana priyam vAsudEvasya krpayA vAsudEvEna varNitam
