Tyagaraja’s Steadfast Devotion To Lord Rama
This brings us to the musical genius of Tyagaraja. It appears that although Tyagaraja took musical lessons, he did not follow the classical path of a student making a debut as a singer, then becoming a concert artist, etc. For him, music was a vehicle for communicating directly with God. However, that path opened up in a very special way. Tyagaraja’s father Ramabrahmam had been initiated into the chant of the powerful Rama Mantra. Unfortunately for Ramabrahmam, his first two sons were not up to the mark spiritually. Tyagaraja the third son seemed to be different. So the father promptly taught his son to worship Rama daily.
Like his father, Tyagaraja too was initiated into the chant of the name of Rama, and this, it appears, was done by one Ramakrishnananda Swami. Tyagaraja kept chanting the name almost non-stop, and when he crossed the ten million mark [one crore], it seems that Rama appeared momentarily and gave Darshan. An ecstatic Tyagaraja burst into song, and from then on there was no looking back.
There is another tale describing how Tyagaraja was specially chosen by the Lord to spread Bhakti through the medium of music. According to this, Tyagaraja quietly started worshipping Sage Narada in order to learn the deeper secrets of music.
As those familiar with Indian scriptures and tradition know, Sage Narada is a wandering saint, singing the glory of the Lord wherever he goes. He also described the nine ways by which humans can attain God, the famous Nava Rasa Bhakti Marga, to which Swami makes a reference ever so often. Apparently, Narada was pleased with Tyagaraja’s dedication and devotion, appeared before the devotee and gave him a Divine musical treatise containing the secret and mystery of musical notes.
Thus Tyagaraja was doubly blessed; he received the treasure of musical knowledge directly from Sage Narada and he had also been blessed by Lord Rama Himself.
Whether one believes in these folklores or not, two things cannot be questioned. Tyagaraja’s genius is literally unparalleled – he holds a position of almost unattainable eminence like Shakespeare in literature and Beethoven in Western Music. And, what is more important, Tyagaraja dedicated his music entirely to Lord Rama. Swami says that we must start the day with God, spend the day with God, and end the day with God. If we want to know how to do it, then we would do well to study the life of Saint Tyagaraja.
In the morning he would wake up Lord Rama! He would, in the course of the day, chat with Rama through his many songs. Sometime, he would praise Rama; sometimes he would make prayerful requests to Rama; sometimes he would wail to Rama about his personal difficulties and sometimes he would even complain to Rama!
In fact, if one carefully examines his life and compositions, one can, without doubt, find shades of the nine paths of devotion prescribed by Sage Narada.
Please listen to some of latest music uploads:
Thursday, February 28, 2008
Sunday, February 24, 2008
Tyagaraja life ......(contd..)
Tyagaraja Under The Tutelage of Sonti Venkataramaniah
The story is also told that as a boy, every day on his way to the temple, Tyagaraja would pass by the house of one Sonti Venkataramiah, Principal Musician in the court of Sarabhoji Maharaja, then ruler of Tanjavoor. Every time he passed the house, young Tyagraja would stop to listen to the music lessons being imparted by Sonti Vemkataramaniah to his students. One day, when Tyagaraja was listening from outside, the teacher asked his students a tough question in music. None of them could answer but young Tyagaraja who was standing outside, shouted the answer. The teacher was amazed to hear someone other than his students give the correct answer. He opened the door, came out and saw the young boy who had answered his question. One look and he knew that there stood before him the dream student. Almost immediately, Tyagaraja became a disciple of Sonti Venkataramaniah and started taking musical lessons from him.
Please wait for the next instalment.
I have uploaded new songs in my following site:
The story is also told that as a boy, every day on his way to the temple, Tyagaraja would pass by the house of one Sonti Venkataramiah, Principal Musician in the court of Sarabhoji Maharaja, then ruler of Tanjavoor. Every time he passed the house, young Tyagraja would stop to listen to the music lessons being imparted by Sonti Vemkataramaniah to his students. One day, when Tyagaraja was listening from outside, the teacher asked his students a tough question in music. None of them could answer but young Tyagaraja who was standing outside, shouted the answer. The teacher was amazed to hear someone other than his students give the correct answer. He opened the door, came out and saw the young boy who had answered his question. One look and he knew that there stood before him the dream student. Almost immediately, Tyagaraja became a disciple of Sonti Venkataramaniah and started taking musical lessons from him.
Please wait for the next instalment.
I have uploaded new songs in my following site:
Thursday, February 21, 2008
Tyagaraja - a brief
Birth and Family of Tyagaraja
Tyagaraja was born in a small town called Tiruvarur on 4th May, 1747 in a Telugu Brahmin family, descended from immigrants from Andhra who went South towards the end of the 16 th century. Till that time, the Vijayanagaram Empire dominated Andhra, besides controlling the feudal kings of the South. In 1565, the Muslims destroyed the Vijayanagaram Empire, following which many Telugu speaking people, especially Brahmins, migrated to the South, seeking patronage of kings there.
Thus it was that Tyagaraja’s ancestors who lived in Karkala village in what is now Kurnool District of the State of Andhra Pradesh, moved to Tanjore [now Tanjavoor] seeking the patronage of a Maratha ruler there.
Tyagaraja was the third son of Ramabrahmam and Sitamma. Ramabrahmam was patronized by the then King of Tanjavoor, and engaged himself in spiritual activities in the royal court. When Tyagaraja was born, Ramabrahmam was living in the temple town Tiruvaroor where Siva is the presiding deity and is known as Tyagrajaswami, the King of Sacrifice. The little baby was named after the local deity.
Soon after Tyagaraja was born, Ramabrahmam shifted to Tiruvaiyaru village on the banks of the sacred Kaveri river where the King gave him a house to live in and also some land.
At the age of eighteen, Tyagaraja was married to a girl named Parvati who died issueless. Thereupon Tyagaraja remarried, taking as his second wife, Kanakamba the younger sister of Parvathi.
They had a daughter Sitamma, who was given in marriage to one Kuppuswami. To this couple was born a boy but this boy, Tyagaraja’s grandson, died without any children. Thus the lineage of Tyagaraja came to an end.
If one goes through the story of Tyagaraja’s life, one cannot escape the impression that he was born for music; not just to create music that enthrals but to show without a trace of doubt that music is unquestionably one of the best ways of attaining God, if not the best.
As Swami often tells us, God is Ganapriyudu, a Lover of Music; not merely that; Swami also reminds us that one of the names of God is NADABRAHMAM – that is to say, [good devotional] music IS God. It is said that as a small baby, Tyagaraja would stop drinking milk, when he heard music.
Several instalments will follow on this topic.
Please listen to some of my Tyagaraja Kritis.
Tyagaraja was born in a small town called Tiruvarur on 4th May, 1747 in a Telugu Brahmin family, descended from immigrants from Andhra who went South towards the end of the 16 th century. Till that time, the Vijayanagaram Empire dominated Andhra, besides controlling the feudal kings of the South. In 1565, the Muslims destroyed the Vijayanagaram Empire, following which many Telugu speaking people, especially Brahmins, migrated to the South, seeking patronage of kings there.
Thus it was that Tyagaraja’s ancestors who lived in Karkala village in what is now Kurnool District of the State of Andhra Pradesh, moved to Tanjore [now Tanjavoor] seeking the patronage of a Maratha ruler there.
Tyagaraja was the third son of Ramabrahmam and Sitamma. Ramabrahmam was patronized by the then King of Tanjavoor, and engaged himself in spiritual activities in the royal court. When Tyagaraja was born, Ramabrahmam was living in the temple town Tiruvaroor where Siva is the presiding deity and is known as Tyagrajaswami, the King of Sacrifice. The little baby was named after the local deity.
Soon after Tyagaraja was born, Ramabrahmam shifted to Tiruvaiyaru village on the banks of the sacred Kaveri river where the King gave him a house to live in and also some land.
At the age of eighteen, Tyagaraja was married to a girl named Parvati who died issueless. Thereupon Tyagaraja remarried, taking as his second wife, Kanakamba the younger sister of Parvathi.
They had a daughter Sitamma, who was given in marriage to one Kuppuswami. To this couple was born a boy but this boy, Tyagaraja’s grandson, died without any children. Thus the lineage of Tyagaraja came to an end.
If one goes through the story of Tyagaraja’s life, one cannot escape the impression that he was born for music; not just to create music that enthrals but to show without a trace of doubt that music is unquestionably one of the best ways of attaining God, if not the best.
As Swami often tells us, God is Ganapriyudu, a Lover of Music; not merely that; Swami also reminds us that one of the names of God is NADABRAHMAM – that is to say, [good devotional] music IS God. It is said that as a small baby, Tyagaraja would stop drinking milk, when he heard music.
Several instalments will follow on this topic.
Please listen to some of my Tyagaraja Kritis.
Monday, February 18, 2008
Musical instruments......(contd...)
Morsing
A morsing (also mourching or morching) is a percussion instrument, mainly used in the Carnatic music of South India. It can be categorized under lamellophones, which is in the category of plucked idiophones. It consists of a metal ring in the shape of a horseshoe with two parallel forks which form the frame, and a metal tongue in the middle, between the forks, fixed to the ring at one end and free to vibrate at the other. The metal tongue is bent at the free end in a plane perpendicular to the circular ring so that it can be struck and is made to vibrate. This bent part is called the trigger.
The morsing is an Indian version of the Jew's harp. Its origin in India is not very clear though many myths and stories prevail. In India it is found mainly in South India, Rajasthan and also in some parts of Assam. In South India, where it is called morsing, mourching or morching, it features in Carnatic concerts and percussion ensembles. In Rajasthan it is called a morchang and is used as percussion instrument in folk music.
Playing technique
The morsing is placed between the teeth and held firmly in the hand and is struck using the other hand to produce sound. Movement of the player's tongue, variations of the throat and blowing and sucking of air through the instrument produces different sounds or overtones.
The morsing is firmly held in the hand, the frame or the ring between the palm and the fingers usually in the left hand. Care should be taken to see that the middle part or the metal tongue is not being touched when held idle. Then the two parallel forks are gently pressed against the front upper teeth. The trigger is plucked with the tip of the index finger. Sound is produced due to the vibration of the metal tongue of the morsing in the mouth and the throat cavity. Movement of the player's tongue with constant plucking can produce very fast patterns of sound. By constricting the space in the mouth and throat many variations of sound can be produced.
Please listen to my latest music loads at:
A morsing (also mourching or morching) is a percussion instrument, mainly used in the Carnatic music of South India. It can be categorized under lamellophones, which is in the category of plucked idiophones. It consists of a metal ring in the shape of a horseshoe with two parallel forks which form the frame, and a metal tongue in the middle, between the forks, fixed to the ring at one end and free to vibrate at the other. The metal tongue is bent at the free end in a plane perpendicular to the circular ring so that it can be struck and is made to vibrate. This bent part is called the trigger.
The morsing is an Indian version of the Jew's harp. Its origin in India is not very clear though many myths and stories prevail. In India it is found mainly in South India, Rajasthan and also in some parts of Assam. In South India, where it is called morsing, mourching or morching, it features in Carnatic concerts and percussion ensembles. In Rajasthan it is called a morchang and is used as percussion instrument in folk music.
Playing technique
The morsing is placed between the teeth and held firmly in the hand and is struck using the other hand to produce sound. Movement of the player's tongue, variations of the throat and blowing and sucking of air through the instrument produces different sounds or overtones.
The morsing is firmly held in the hand, the frame or the ring between the palm and the fingers usually in the left hand. Care should be taken to see that the middle part or the metal tongue is not being touched when held idle. Then the two parallel forks are gently pressed against the front upper teeth. The trigger is plucked with the tip of the index finger. Sound is produced due to the vibration of the metal tongue of the morsing in the mouth and the throat cavity. Movement of the player's tongue with constant plucking can produce very fast patterns of sound. By constricting the space in the mouth and throat many variations of sound can be produced.
Please listen to my latest music loads at:
Saturday, February 16, 2008
Musical Instruments ....contd....
FLUTE
The venu is a bamboo transverse flute used in the Carnatic music of South India. Although it is often called Carnatic flute or simply flute in English, venu (properly transliterated with a dot under the "n") is the instrument's ancient Sanskrit name. It is also called by various other names in the languages of South India, including pullanguzhal (in both Tamil and Malayalam). It is known as venu in Telugu (Andhra Pradesh).
One of the oldest musical instruments of India, the instrument is a keyless transverse flute made of bamboo. The fingers of both hands are used to close and open the holes. It has a blowing hole near one end, and eight closely placed finger holes. The instrument comes in various sizes.
The venu is associated with the Hindu god Krishna, who is often depicted playing it. This kind of flute is mainly used in South India, and also goes by the name Venu.
The venu is capable of producing two and half octaves with the help of blowing - overblowing and cross fingering. The flute is like the human voice in that it is monophonous and also has the two and half octaves sound reproduction. Sliding the fingers on and off the holes allows for a great degree of ornamentation, important in the performance of raga-based music.
The venu's north Indian counterpart is called bansuri.
Please listen to my latest music uploads:
The venu is a bamboo transverse flute used in the Carnatic music of South India. Although it is often called Carnatic flute or simply flute in English, venu (properly transliterated with a dot under the "n") is the instrument's ancient Sanskrit name. It is also called by various other names in the languages of South India, including pullanguzhal (in both Tamil and Malayalam). It is known as venu in Telugu (Andhra Pradesh).
One of the oldest musical instruments of India, the instrument is a keyless transverse flute made of bamboo. The fingers of both hands are used to close and open the holes. It has a blowing hole near one end, and eight closely placed finger holes. The instrument comes in various sizes.
The venu is associated with the Hindu god Krishna, who is often depicted playing it. This kind of flute is mainly used in South India, and also goes by the name Venu.
The venu is capable of producing two and half octaves with the help of blowing - overblowing and cross fingering. The flute is like the human voice in that it is monophonous and also has the two and half octaves sound reproduction. Sliding the fingers on and off the holes allows for a great degree of ornamentation, important in the performance of raga-based music.
The venu's north Indian counterpart is called bansuri.
Please listen to my latest music uploads:
Tuesday, February 12, 2008
MUSICAL INSTRUMENTS .....(contd....)
VIOLIN
Falls under string family. It is made up of wood with steel strings. Size is variable but the length is approx 14”. Pitch range is 3 octave. Origin of the violin is “ evolved from the Rebec and the Lira da braccio”. The earliest true four stringed violins were probably in use in Europe by the early part of the century. This instrument produces its sounds from the vibration of strings. This is very widely used in Carnatic music.
Please listen to my music audio.
Falls under string family. It is made up of wood with steel strings. Size is variable but the length is approx 14”. Pitch range is 3 octave. Origin of the violin is “ evolved from the Rebec and the Lira da braccio”. The earliest true four stringed violins were probably in use in Europe by the early part of the century. This instrument produces its sounds from the vibration of strings. This is very widely used in Carnatic music.
Please listen to my music audio.
Thursday, February 7, 2008
Musical instruments for Carnatic (contd...)
I now cover all typs of drums that are used:
Chenda
is a drum from the South Indian state of Kerala and parts of Karnataka. It is an indispensable accompaniment for the Kathakali dance form. The Karnataka version, known as chende, is also used in the dance drama known as Yaksha Gana. It has heads on both ends but only one side is played.
Dholki
also called nal, is an drum with a barrel shaped shell. The left side resembles the bayan (large metal drum of the tabla) except that it uses dholak masala (oil based application) on the inner surface instead of a syahi (permanent black spot). The right head is unique in its construction. Goat-skin is stitched onto an iron ring. In the centre of this skin is a syahi, similar to tabla except much thinner. The traditional nals were laced with rope and had sticks to function as turnbuckles. Today, metal turnbuckles have replaced the rope lacing in most models. The nal is very popular in the tamasha (street performance) of Maharashtra. It has been absorbed into the Hindi film industry and today the nal is very popular for filmi music. There is often some confusion concerning the term "dholki" because, this term literally means, "a small dholak"; as such, the term is often used for smaller dhalaks that structurally are disimilar to the nal
Idakka and udaku
are hour-glass drums from south India. They are very similar to the damaru which is found throughout India. Where the damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick and the udaku is played with the hand. The udaku is structurally different in that it has a small snare made of hair, fishing line or similar material stretched over one side. Like the damaru both the udaku and the idakka's pitch may be bent by squeezing the lacing in the middle
Kanjira
The kanjira is a small tambourine. It is made by stretching lizard skin over a wooden frame. The frame is about seven inches in diameter with one metal jingle mounted in it. The kanjira is very popular in South Indian classical performances. It is related to the daf of folk music
Mridamgam
Mridangam is a South Indian version of the pakhawaj. It bears a strong superficial resemblance to pakhawaj but there are major differences in construction and technique. The tone of the instrument is quite different.
Ghatam
Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.
Please listen to my carnatic songs:
Chenda
is a drum from the South Indian state of Kerala and parts of Karnataka. It is an indispensable accompaniment for the Kathakali dance form. The Karnataka version, known as chende, is also used in the dance drama known as Yaksha Gana. It has heads on both ends but only one side is played.
Dholki
also called nal, is an drum with a barrel shaped shell. The left side resembles the bayan (large metal drum of the tabla) except that it uses dholak masala (oil based application) on the inner surface instead of a syahi (permanent black spot). The right head is unique in its construction. Goat-skin is stitched onto an iron ring. In the centre of this skin is a syahi, similar to tabla except much thinner. The traditional nals were laced with rope and had sticks to function as turnbuckles. Today, metal turnbuckles have replaced the rope lacing in most models. The nal is very popular in the tamasha (street performance) of Maharashtra. It has been absorbed into the Hindi film industry and today the nal is very popular for filmi music. There is often some confusion concerning the term "dholki" because, this term literally means, "a small dholak"; as such, the term is often used for smaller dhalaks that structurally are disimilar to the nal
Idakka and udaku
are hour-glass drums from south India. They are very similar to the damaru which is found throughout India. Where the damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick and the udaku is played with the hand. The udaku is structurally different in that it has a small snare made of hair, fishing line or similar material stretched over one side. Like the damaru both the udaku and the idakka's pitch may be bent by squeezing the lacing in the middle
Kanjira
The kanjira is a small tambourine. It is made by stretching lizard skin over a wooden frame. The frame is about seven inches in diameter with one metal jingle mounted in it. The kanjira is very popular in South Indian classical performances. It is related to the daf of folk music
Mridamgam
Mridangam is a South Indian version of the pakhawaj. It bears a strong superficial resemblance to pakhawaj but there are major differences in construction and technique. The tone of the instrument is quite different.
Ghatam
Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.
Please listen to my carnatic songs:
Tuesday, February 5, 2008
ASHTAPADHI - LIGHT SIDE OF CARNATIC
Those who are interested in Gitagovindham by Saint Jayadev, please listen to Ashtapadhi 9, 15, 16, & 21 in the following link:
Sunday, February 3, 2008
Musical Instruments used in Carnatic music and bhajans
There are several instruments used as follows including others.
Stuthi
Veena
Mrindamgam
Kenchara
Ghatam
flute
Violin
Kinnaram
I give herein a brief of stuthi/Veena:
The harmonium is also known as peti or baja. This instrument is not a native Indian instrument. It is a European instrument which was imported in the 19th century. It is a reed organ with hand pumped bellows. Although it is a relatively recent introduction, it has spread throughout the subcontinent. Today, it is used in virtually every musical genre including South Indian Bhajans. This is also used in place of stuthi box.
The surpeti, also called swar pethi, swar peti, swarpeti, surpeti, sur peti, sruti box, or shruti box, is an Indian drone instrument. It is a small box whose only function is to provide the drone. There are two, basic forms, one is manual and the other is electronic.
Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.
The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.
Stuthi
Veena
Mrindamgam
Kenchara
Ghatam
flute
Violin
Kinnaram
I give herein a brief of stuthi/Veena:
The harmonium is also known as peti or baja. This instrument is not a native Indian instrument. It is a European instrument which was imported in the 19th century. It is a reed organ with hand pumped bellows. Although it is a relatively recent introduction, it has spread throughout the subcontinent. Today, it is used in virtually every musical genre including South Indian Bhajans. This is also used in place of stuthi box.
The surpeti, also called swar pethi, swar peti, swarpeti, surpeti, sur peti, sruti box, or shruti box, is an Indian drone instrument. It is a small box whose only function is to provide the drone. There are two, basic forms, one is manual and the other is electronic.
Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.
The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.
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