Why Mayamalavagowla Was Choosen For The Basics Of Our Music - Hemadri Chandrakant

Carnatic music is traditionally taught according to the system formulated by Purandara Dasa

        So Why It is Fixed To mayamalavaGowla And not to other Raaga because

 The notes in this raga are shuddha rishabham, antara gandharam, shuddha madhyamam, shuddha dhaivatam and kakali nishadam....

                 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. 

                    So When We Sings The Suddha Rishabham and also suddha daivatha It gives good vibration to our body(positive vibration and test ur self)... And also it come from our stomach(Nabhi nundi).... It Is Very easy Raaga to learn at starting stage..... So At starting Stage Students are not sung Gamakas in  proficient manner..... This Raaga Will Give A Good Picture About All The raagas(i.e.All Melakartas)...It has a uniform distance between svara sthanas (relative position of notes) and has symmetry, they are easier to learn....

    This auspicious raga evokes santa(peace) rasa and pathos. It creates a soothing effect.... The main policy of our culutre is to promote Peace.....

   So All TheBasics LikeSaraliswarams,Jantaswarams,Alankarams,Etc..should taught in This Raaga only.. 

     No other raaga Should Not Contain This Type of features....  For example Sankarabharanam,kharaharapriya,kalyani, etc The distances are not equal from one swara to other swara... It is the Major advantage to this Raaga    

Sa re (same distance) Ga ma (same distance) like Pa da And ne sa.........

               Finally Conclude that No doubt  raaga Mayamalava Gowla is apt for Basic Training Raaga for Music (not only in Carnatic But also in all types od music)......... 

HEMADRI CHANDRAKANTH

Ragam Sri - by Sri. Hemadri Chandrakant

Shree ragam is an ancient ragam in the Carnatic tradition. It is also written as Sri or Shri. This scale is a janya rāgam (derived scale), as it does not have all the seven swaras (musical notes) in the ascending scale. 

Shree is a janya rāgam of Kharaharapriya, the 22nd Melakarta rāgam. 

It is the last of the 5 Ghana rāgams of Carnatic music. 

It is a pleasing and popular rāgam. It is considered to be highly auspicious.

    Our trinity used this raga in different styles without disturbing the original scales. 

The original scale of this raaga is (Sa re ma pa ne sa sa ne pa da ne pa ma re ga re sa)... 

so we all know about arohana and Avarohana....
 

In trinity, sadguru Sri Tyagayya used this raagam very widely. We all know endaromahanubhavulu the wonderful composition and also last pancharatna. 

In that composition tyagayya did not use the PA DA NE prayogam in the whole compostion.. And another composition NAMAKUSUMAMULA in that also same... 

pa da ne is a aporva proyogam in shree raaga but Tyagaraja never use that proyogam and attains raaga bhava..
           

Another famous composer second in trinity Sri muttuswamy deekshitar... 

He is king in to use raaga bhava.. SRI VARALAKSHMI is a beautiful composition by deekshitar in same shree raga.. But he uses the raaga with pa da ne proyogam very well... In charanam we get that pa da ne prayogam Sravana pournami. And also in navavarana kruthi Sree kamalambike.... 

           When we observed compositions of Shri Shyamasastry last in trinity he also uses the pa da ne proyogam very rarely. In the composition karunajudu last sangati of pallavi we get that prayogam. ...

              

So we have different styles simply said BANI in same raaga with out disturbing the scales.. when we listened to other compositions by different composers like papanasanam sivan, karurdevuduiyer (swami ninne kori varnam).......
      
            So I observed that tyagayya has a unique style to establish this shree raaga.....

      

Hemadri Chandrakanth.

Music is the Universal Language

"Music" - who is not aware of this word? Right from a mother's lullaby to  a music maestro's  hum... Right from the sounds of rhythmic wind to the sounds of sprinkling rainy water....Any sound which is pleasing and rhythmic to hear is music!!

"Language" - In simple terms it is a mode of expression of emotions, views, thoughts of all the living beings on the earth. It need not be only a verbal (spoken or  written) form but can also be a non verbal (sign language) form of expression. 

"Universal Language" - One of the dictionary meanings of this term is: Any kind of expression that is used and understood everywhere.

Every thing in the world expresses in its own way. It depends on ourselves to keenly observe, understand and perceive. Not only visual signs speak but also audio/sound signs speak. The horn of a vehicle, a school bell, the tic tock of a clock ...what not, everything speaks. Human mind can create wonders, no doubt!!

All the nava rasAs can be expressed through musical sounds. If we keenly observe the background music in any film or any visual program, the viewer first understands the situation in tune with the music... Might be for romance, comedy, fear or happiness.. Best example is the background score of news channels' breaking news item :-p Not necessary to know the meanings of the dialogues!

Emotions can easily be expressed through music. Need not be a lyrical composition, just the play of musical notes express emotions. In fact it's a strongest way to express. Thus music is set to tune with the lyrical expression and sometimes perfect lyrics set in the expression of tuned music. 

I feel lyrics helps in understanding and perceiving the true expression or emotion of a composer whereas in a non lyrical composition,  to some extent the true emotion can be perceived and on the other hand it entirely depends on the emotional status, perception and imagination of the listener.

Thus I opine - Yes, Music is the Universal Language !!! The language of the World !!! The language of God !!!

- Lakshmi Surya Teja (Sudarshini)

Introduction

gurur brahmA - gurur vishnu - gurur dEvO - mahESwarah

guru ssAkShaat parabrahma - tasmai Sree guravE namaha...

My parama guru and vaayuleena guru - Sri Ivaturi Vijayeswara Rao garu

My Guru and mother - Smt. Manda Sudharani

As per Tradition, 

I start this feature with noble pranams to my gurus.

Carnatic Music is the system of music which is mostly commonly associated with the Southern part of India, conclusive of the states Andhra Pradesh, Tamil Nadu, Kerala & Karnataka. 

There are several composers who composed geethams, swara pallavis, swara jathis, varNaMs, kirtanAs, kRitis, taraMgams, javalis, tillAnas, padams, etc.

But, there are 3 main composers who are known as the Trinity of Carnatic Music. They are not only composers but they were great upaasakAs of God, through music.

   Deekshitar                 Tyagaraja                  Syama Sastry

    Deekshitar                        Tyagaraja                        Syama Sastri

Carnatic music is not for entertainment, but it means Salvation, Solution and Surrender.

It is the best way to feel God and make others feel the same. 

My heart full gratitude to my gurus, who taught me the 'saMskaara' to understand this.

My salute to the tradition, the rich heritage and the great composers.

Welcome!

Dear All,

as we had been discussing widely about a collective blog, I have started this "Yuva Kala Trishna".

As of Now, we shall start with Music. As we progress, we will include as many arts as possible.

It will contain Labels for Vocal, Violin and percussion (Mridangam, Ghatam, etc), composers, compositions, Raaga discussions, Taala discussions, articles on artists, December season - separate labels, so that we can categorize articles into the respective categories.

I am looking forward to your active participation.

Regards,
Sruthi Ravali