Kalyani Ragam Swarapallavi Notes Poor Assessment Practices University Enrollment Junko Yagami Bay City Rar Beautiful Sinhala Font Free 2017 Zip File Banks 55262 Automatic Endgame Tabbles Chess Zee News Live Forex Sniper Pro Free Download Pof 3.47 Apk Vst Plugins Cool Edit Pro 2.1 Cai Scan Biz 266. Jan 04, 2019 A Swara Pallavi (also known as Jathi Swaram) is a kind of composition which has only the Dhatu part (swara) with no sahitya. They are learnt after learning geethas and before varnams. These are scholarly compositions and their Dhatu has the Raga bhavam. Usually Swara Pallavis are set to Madyama kalam (medium tempo) and set to. Ragam: Kalyani (65th melakartha) Talam: Misra Chapu (Triputa Talam) Arohanam: S R 2 G 3 M2 P D 2 N3 S Avarohanam: S N3 D 2 P M2 G 3 R 2 S. Sahityam: Kamalajadala Vimala Su-nayana Kari Varada Karunaambudhe. Karuna Sharadhe Kamalaa Kaanthaa. The next video is starting stop.

Carnatic Music (Vocal, Violin, Veena & Flute)

Syllabus
1st Year (LEVEL 1) – Theory

Technical Terms:

1. Sangeetamu 2. Shruthi 3. Swaram 4. Sapthaswaras 5. Swaragathasthanas 6. Arohana 7. Avarohana 8. Sthayi 9. Avarthamu 10. Dhatuvu 11. Mathuvu 12. First, second, Third speeds 13. Talas, Talangas 14. Aksharakala 15. Sapthatalas 16. Panchajathis 17. Touryatrikam 18. nadam and technical terms of other topics in the syllabus.
2. Characteristics of Geetha and Swarapallavi
3. Life Histories of Paidala Gurumurthy Sastri and Purandaradasu.
4. Scheme of 35 talas
5. Writing music composition in notation.

PRACTICAL

Saraliswaras – 8 ( Mayamalavagaula )

1. SA RI GA MA – PA DA NI SA – SA NI DA PA – MA GA RI SA
2. SA RI GA MA – SA RI GA MA – SA RI GA MA – PA DA NI SA
3. SA RI GA MA – SA RI SARI – SA RI GA MA – PA DA NI SA
4. SA RI GA MA – PA MA GA RI – SA RI GA MA – PA DA NI SA
5. SA RI GA MA – SA MA GA RI – SA RI GA MA – PA DA NI SA
6. SA RI GA MA – PAMA DA PA – SA RI GA MA – PA DA NI SA
7. SA RI GA MA – PAA; – SA RI GA MA – PA DA NI SA
8. SA RI GA MA – PAA GA MA – PAA; – PAA;
   GA MA PA DA – NI DA PA MA – GA MA PA GA – MA GA RI SA

Janta Swaras- 6 ( Mayamalavagaula / Sankarabharanam)

1. SA SA RI RI – GA GA MA MA – PA PA DA DA – NI NI SA SA
2. SA SA RI RI – GA GA MA MA – RI RI GA GA – MA MA PA PA
3. SA SA RI RI – GA GA RI RI – SA SA RI RI – GA GA MA MA
4. SA SA MA MA – GA GA RI RI – SA SA RI RI – GA GA MA MA
5. SA SA RI RI – SA SA GA GA – SA SA MA MA – GA GA RI RI
   SA SA RI RI – GA SA RI GA – SA SA RI RI – GA GA MA MA
6. SSS-RRR-GG | SS RR | GG MM || RRR-GGG-MM | RR GG | MM PP || GGG-MMM-PP | GG MM | PP DD || MMM-PPP-DD | MM PP | DD NN ||

Datu Swaras – 2

1. Sa ma ga ri – sa ri ga ma – ri pa ma ga – ri ga ma pa
2. sa ma ga ma – ri ga sa ri – sa ga ri ga – sa ri ga ma

Alankaras (Sapta Tala Alankaras)
(All the above sections should be sung in 3 speeds either in Mayamalavagaula or Sankarabharanam only)

Geetas – 6

1. Sri gananadha – Malahari – Roopaka
2. Varaveena – Mohana – Roopaka
3. Sri Govinda – Sanakarabharanam – Mathya
4. Kamlajadala – Kalyani – Triputa
5. Analekara – Suddha saveri – Triputa
6. Arere Jaya Jaya – (Sreeranjani – Triputa or any equivalent Lakshana Geetham in other Ragas)

(Geethams should be sung/played in 3 speeds)

1. Swara Pallavi (Hindola – Adi or any other equivalent) or any Jathiswaram or any Swarajathi)
   (Swara Pallavi Section should be sung / played in two speeds)

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Carnatic Music (Vocal, Violin, Veena & Flute)

2nd YEAR – Level 2

Theory

1. Explanation for technical words for all topics of the syllabus

1. 16 Sudha, Vikruthi swara gatha sthanas
2. Explaining Raga Trayodasa lakshanas

1. Ragalakshanas : 1. Mayamalavagaula 2.Malahari 3.Mohana 4.Kalyani 5.Sankarabharanam 6.Kambhoji 7.Hamsadhwani 8.Vasantha 9. (Sudha Saveri) Hindola 11. Abhogi 12. Jaganmohini
2. Lakshnas of Varna

1. Life histories: Veena Kupair 2.Tiruvottiyoor Thyagayyar 3.Patnam Subramanayayyar
2. Writing musical compositions in notation

2nd YEAR – Level 2 – PRACTICAL

1. Akara Singing in Fundamentals/Geethams/Swarapallavi-Swarajathi (from Level 1 Syllabus)
2. Tana Varnas (6) – Adi Tala Varnas
   Sankarabharanam (Adi Tala) 2. Kalyani (Adi Tala) 3. Mohana (Adi Tala 4. Vasanta (Adi Tala) 5. Abhogi (Adi Tala) 6. Hamsadhwani (Adi Tala)

All the above varnas should be sung/play in two speeds

1. Kritis: Two out of Three
2. Samajavaragamana 2. Kalaharana 3. Sobhillu Saptaswara
3. Keerthana: One out of Three
4. Annamacharya Sankeerthana 2. Ramadasu Keerthana 3. Purandaradasu Devaranaamam

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Carnatic Music (Vocal, Violin, Veena & Flute)

Kalyani Ragam Swarapallavi Notes Pdf

Syllabus – 3rd Year – Level 3

THEORY

1. Raga Classification, Janaka, Janya ragas; Audava, Shadava, Sampoorna ragas, Upanga, Bhashanga ragas, scheme of 72 melakartas, vivadi melas.
2. Desadi, Madhyadi, Chaputalas; Taladasa pranas.
3. Ragalakshanas: 1. Thodi, 2. Sri Ragam 3. Darbar, 4. Natakuranji, 5. Sriranjani 6. Purvi Kalyani, 7. Bilahari, 8. Kedaram, 9. Nata 10. Sahana 11. Nadanamakriya 12. Saveri
4. Characteristics (Lakshnams) of kruthi and keerthana.
5. Life Histories: 1. Thyagaraja 2. Muttuswamy deekshitar Syamsastry 4. Bhadrachala Ramadasu 5. Annamacharya
6. Complete description about the Musical instruments
7. Tamboora 2. Veena 3. Violin 4. Mridangam
8. Writing music compositions in notation

PRACTICAL

1. Varnams: Four out of Five (Padavarnams Compulsory)

1.Sarasuda – Saveri (Adi Tala) 2. Era Naa Pai – Todi (Adi Tala ) 3. Saami Ninne – Sree (Adi Tala) 4. Chalamela – Darbar (Adi Tala) 5. Chalamela – Natakuranji (Pada Varnam)

(Above Varnas should be sung / play in two speeds & Varnas to be sung in (Aditalam – rendukalalu) or Adi chouka taalam)

1. Kritis: Six out of the Eight
2. Evarura – Mohana – Misrachapu – Tyagaraja
   2. Mahaganapatim – Nata – Adi – Dikshitar
   3. Brochevarevare – Sriranjani – Adi – Tyagaraja
   4. Paridana – Bilahari – Khandachapu – Patnam Subramanya Iyer
   5. Himadrisute – Kalyani – Rupaka – Syamasastri
   6. Gnanamosagarada – Poorvikalyani – Rupaka – Tyagaraja
   7. Karunajaladhe – Nadanamakriya – Adi – Tyagaraja (Divyanama kriti)
   8. Any Papanasam Sivan or Oothukkadu Venkata Kavi composition

(Students can also sing equivalent Kriti in the same Raaga)

1. Swara Kalpana: Kalyani and Mohana
   

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Carnatic Music (Vocal, Violin, Veena & Flute)

Syllabus – 4th Year – Level 4

THEORY

1. Explanation for technical terms
2. Vadi 2. Samvadi 3. Vivadi 4. Anuvadi 5. Mukthayi Calculation and other technical terms in the other topics of the syllabus
3. Panchadasa gamakas, lakshana of Kampitha gamakas – usage
4. Manodharma Sangeetham
5. Raga Lakshanas: 1. Bhairavi 2. Kharaharapriya 3. Begada 4. Dhanyasi 5. Arabhi 6. Pharaj 7. Khamas 8. Kuranji 9. Husseni 10. Pantuvarali
6. Composition Lakshanas:
   1. Ashtapadi 2. Tillana 3. Tarangam 4. Javali 5. Padam 6. Daruvu
   2. Life Histories: 1. Kshetrayya 2. Pachimiriyam adi appayya 3. Narayana Teertha 4. Jayadeva 5. Sadasiva brahmendra Swamy
   3. Complete description about Flute, Gotu instruments
   4. Writing notation for the compositions.

PRACTICAL

A. Swarajathi : Kaamakshi – Bhairavai – Chapu – Syamasastry

B. Varnam: Viriboni – Bhairavi – Ata (two speeds)

C. Kritis: Eight out of Twelve (Kharaharapriya, Pantuvarali, Sankarabharanam, Kambhoji, Thodi compulsory)

1. Upacharamu – Bhairavi – Roopaka – Thyagaraju
2. Evarura – Mohana – Chapu – Thyagaraju
3. Anudinamunu – Rupakam – Poochi Srinivasa Iyengar
4. Ennaganu ramabhajana – Pantuvarali – Rupaka – Bhadrachala Ramadasu
5. Ammaravamma – Kalyani – Khanda chapu – kalyani
6. Prakkalanilabadi – Kharaharapriya – Chapu – Thyagaraju
7. Aragimpave – Todi – Roopka – Thyagaraju
8. Sangitajñamu – Dhanyasi – Adi – Thyagaraju
9. Endaro mahanu bhavulu – Sree – Adi – Thyagaraju
10. Naadasudharasambilanu – Arabhi – Roopka – Thyagaraju
11. Seethamma mayamma – Vasantha – Roopka – Thyagaraju
12. Marakathavalli – kambhoji- Adi – Muthuswamy Deekshitar
13. Vatapiganapathim bhaje-Hamsadhwani-Adi-Muthuswamy Deekshitar
14. Sarojadalanetri – Sankarabharanam – Adi – Syamasastry
15. Enthanerchina – Saveri – Adi – Patnam Subramanyayyar
16. Mayatheetha swarupini – Mayamalavagaula -Roopaka – Ponnayyapillai
17. Swathi Tirunal Composition

D. Other Compositions:Any two

1. Tillana (Any) 2. Tarangam (Any) 3. Javali (Any) 4. Ashtapadi (Any) 5. Padam (Any)

   E. Manodharma Sangeetham: Ragalapana and Swarakalpana: Four out of Five

2. Bhairavi 2. Kambhoji 3. Mohana 4. Shankarabharanam 5. Kalyani

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mEcakalyANi

KALYANI mELam is the flagship of the prati madhyama segment of the mELakartA scheme (mELams 37 to 72), just like the position enjoyed by sha”nkarAbharaNam among the shuddha madhyama group (mELams 1 to 36). These two form a set of complementary mELams like Shakti and Shiva. If sha”nkarAbharaNam is shiva’s favourite, then, Goddess is very much pleased with kalyANi, which also bears her name! In the mELakartA chart, kalyANI occupies No. 65, and is called mEcakalyANi, to conform to the kaTapAyAdi saMkhyA counting, to yield the number 65 (ma = 5, ca = 6, reversing 56 yields 65). This is the 5th rAgam in the 11th rudra cakram. Hence the mnemonic name is “rudra mA (ri gu mi pa dhi nu)”. The dIkSitar school uses the nomenclature shAnta kalyANi, in their asampUrNa mELa paddhati (which also yields 65 in the kaTapayAdi notation (sha = 5, ta = 6).

ArOhaNam: S Ri Gu Mi Pa dhi Nu S (S R2 G3 M2 P D2 N3 S’)

avarOhaNam: S Nu Dhi Pa Mi Gu Ri S (S’ N3 D2 P M2 G3 R2 S)

The notes taken by kalyANI are: shaDjam, catushruti rSabham (R2), antara gAndhAram (G3), prati madhyamam (M2), catushruti dhaivatam (D2), and kAkali niSAdam (N3). As the prati madhyama counterpart of mELam 29 (sha”nkarAbharaNam), it differs from sha”nkarAbharaANam in just one note, namely the madhyamam.

It is a sarva svara gamaka vArikA rakti rAgam --- all the notes of kalyANi are rendered as tIvra svarams, and with rich gamakams, and all are rAga chAyAsvarams. The notes “ga” and “pa” are amsha svarams; also, ri, ga, dha, ni are nyAsa svarams. Gamakams like kampitam, sphuritam, tripuccham, when added to the svara sa~ncArams add an extra dimension of beauty to kalyANi. jhaNTa prayOgams like RR GG MM DD, GG MM DD NN, MM DD NN RR, as well as dATu prayOgams like NGRN, DNRNDN, GND NGR are pleasant and suit well for this rAgam. Also, prayogams that omit the notes “sa” and “pa” (like DNRGM DNRND MGRN) lend elegance to kalyANi. Subtle srutis like tIvra antara gAndhAram (81/64) and tIvra kAkali niSAdam (243/128) show up in some places.

KalyANi is a mUrcana kAraka mELa rAgam, and by the process of modal shift of tonic, we can derive harikAmbhOji, naTabhairavi, sha”nkarAbharaNam, kharaharapriya and tODi by taking as AdhAra SaDjam: ri, ga, pa, dha, and ni, respectively. There is a vinyl LP album of the 1970s where Balamuralikrishna sings a pallavi in rAgam naTabhairavi, “sa ri ga ma pa dha ni pADeDA” where he performs grahabhEdam during the rAgamAlika svaram rendition, and sequentially derives all the above mELams.

A mELa rAgam with immense scope for detailed AlApana, kalyANI is a parent scale for a huge number of janya rAgams. Even though it can be sung at all times, kalyANi is basically an evening rAgam. It is usually sung at the beginning segment of a concert (perhaps as a varNam), since its tIvra svarams create the proper musical atmosphere. For the same reason, it is preferred for a pallavi exposition, or shows up as a rAgam in rAgamalikAs, shlOkams, viruttams, and even in tillAnAs. It is a very auspicious rAgam. Rare is any concert that goes without a rendition of a detailed k.rti, or a pallavi exposition in kalyANi, or at least as a segmental rAgam in a rAgamAlika, or a viruttam.

All sorts of compositions exist in kalyANi, and all composers have composed in kalyANi. Beginning students learn the purandaradAsa gItam, “kamalajA daLa” in tripuTa tALam, and the two famous varNams, both beginning with the phrase “vanajAkSi”, one in Adi tALam (rAmanaD shrInivAsayyangAr), and the other in aTa tALAm (pallavi gOpAla iyer).

The musical trinity has its fair share of compositions in kalyANi. muttusvAmi dIkSitar has composed 11, tyAgarAja 19, and shyAma shAstri 9. Among the dIkSitar k.rtis are candidates from the kamalAmbA navAvaraNam, and the abhayAmbA, madhurAmbA vibhakti series. He incorporates the rAga mudra “kalyANI” explicitly in six of them, and in “shivakAmEshvarIm cintayE” , he goes further and uses the complete mudra “shAntakalyAni”. The k.rti “gaNapatE mahAmatE” in kalyANi is attributed to dIkSitar, but is not found in many standard books.

Among the 19 k.rtis of tyAgarAja, we find k.rtis from the lAlguDi pa~ncaratnam (Isha pAhimAm), kOvUr pa~ncaratnam (nammi vaccina), and tiruvoTTiyUr pa~ncaratnam (sundari Ni divya), the dharmasamvarddhani group (shivE pAhi mam), divyanAma sa”nkirttanam (rAma rAma rAma), and prahlAda bhakti vijayam opera (kamala bhavuDu). Undoubtedly, the sparkling gem “nidhi cAla sukhamA”, stands out as a masterpiece. It is believed that the tanjAvUr ruler, hearing the fame of tyAgarAja, invited him to his court, and wanted him to sing in his praise. tyAgarAja who was against 'nara stuti', poured out this historic song to his representatives. The song asserts that 'rAmuni sannidhi sEva' is far superior to any material 'nidhi'.

A rare Tamil composition (parAmukham En ammA) is included in the nine compositions of shyAma shAstri in kalyANi, besides the Sanskrit k.rti “himAdri sutE pAhi mAm”.

Among the numerous compositions of svAti tirunAL, we have a rAgamAlikA shlOkam “kalyANIkhalu yad kathA trijagadAm' that incorporates the rAga mudra for each line, namely, kalyANi, mOhanam, sAra”nga, and sha”nkarAbharaNam. A rare Tamil k.rti attributed to svati tirunAL is “sAmI unnayE nAn” in Adi tALam. Some musicologists believe that the k.rti “sEvEsyAnandUrEsha' is not a composition of svAti tirunAL but of Irayimman Tampi, who also used the same rAga mudra 'padmanAbha'.

UttukkADu ve”nkaTa kavi has quite a number of Tamil songs in kalyANi. The k.rti “mAdhava h.rdu khElini” is third among the saptaratna compositions that has gained popularity very recently, and the k.rt “vA~nchasi yadi kushalam” is the “dhyAna kIrtanam” of his kAmAkSi navAvaraNam series.

Many musicians have chiseled out exquisite compositions in kalyANi in the last hundred years or so. Some of the stalwarts who have adorned kalyANi with their music are:

• ariyakkuDi rAmAnuja ayyangAr (nidhi cAla sukhamA)

• G. N. bAlasubramaNyan (vAsudEvayani)

• shemmanguDi shRInivAsayyar (EtAvunarA)

• mahArAjapuram vishvanAthayyar (sundari nI divya rUpamu)

• madurai maNi ayyar (kamalAmbAm bhaja rE).

The rAgam tAnam pallavi line “un darishanam kiDaikkumO naTarAjA dayanidhE'' has been immortalized by musicians like GNB and Madurai Mani Iyer. AriyakkuDi popularized the “catur rAgamAlikA pallavi” in four majestic rAgams, with lyrics 'sha”nkarAbharaNanai azhait-tODi vADi kalyANi darbArukku'.

shAnta kalyANi (asampUrNa scheme)

According to the asaMpUrNa mEla paddhati, rAgA”nga rAgam 65 is called shAnta kalyANi.

In the 19 “pUrvaprasiddha” mELams, kalyANi is the last one. In the “mElaprakaraNam” chapter of the work “caturdaNDi prakAshika”, the author ve”nkaTamakhi states the following about this kalyANi mELam:

SaDjasvarasca riSabaH pa~ncashruti samanvitaH ||

Otome r18 english. gAndhArOntarasamj~nasca varAlImadhyamastathA |

shuddashca pa~ncamaH pa~ncashrutikO dhaivatastathA ||

kAkalyAkhya niSAdasca kalyANI mELakE svarAH |

shAntakalyANI ragashca sarvakAlE pragIyatE |

subbarAma dIkSitar asserts that shAntakalyANI is a rAgA”nga rAgam, SaDja graham and suitable for singing at all times. He further adds that the gAndhAram and .rSabha svarams act as both jIva and nyAsa svarams and add much beauty. Further, the dATu prayOgams like GN; GD; RG; DR, DG , NG, NRS, as well as orikai prayOgams like gm/dmgR, NdmgR, d/grndmgR, dRS all add to the ra~njakatvam.

In his book “sa”ngIta sampradAya pradarshini”, he gives a lakSya gItam by ve”nkaTamakhi, four kIrtanams ( bhajarE rE citta, kamalAmbAM bhajarE, shrI ma”ngaLAmbikE by muttusvAmi dIkSitar, and kAntimatI by subbarAma dIkSitar), a tAna varNam (vanajAkSi) by pallavi gOpAla iyer, a svarasthAna padam (tani prAyamu) by sAra”ngapANi, another svarasthAna padam (pArikkani) whose mAtu is by nArAyanasvAmi ayya, and dAtu by subbarAma dIkSitar, and concludes with a sa~ncAri by himself.

kalyAN thAT (Hindustani system)

Hindustani rAgam yaman (kalyAn thAT) is the same as karnATIk mELam kalyANi. It is also known as jaimini kalyAN, Iman, or Eman. It is sung during the first parhara of night. Vadi is Ga and samvadi is Sa. Yaman kalyAN, and candrakAnt are allied HindustAni rAgams. The rAgam yamuna kalyANi (janyam of kalyaNi) is not to be confused with yaman kalyAN. There are numerous Jugalbandhis featuring the fusion of the pair kalyANi - yaman by karnATik - hindustAni musicians. (Balamurali - Bhimsen Joshi; Seshagopalan - Ajoy Chakrabarti; Ramani - Rajam; Ramani - Pandit Jog; Balamurali - Hariprasad Chaurasia, and so on).

Miscellaneous

kalyANi is supposed to be the earliest prati madhyama rAgam that was known in musical history.

The Tamil paNN equivalent of kalyANi is arumpAlai.

kalyANi is featured in operas, bharata nATyam, and various forms of dance-dramas. The “rAma nATakam” of aruNAcala kavi employs kalyANi for the song “enakkunnirupadam” which narrates the story of rAmAyaNam.

Traces of kalyANi are also found in Hungarian Music.

Film music has taken advantage of the beautiful melody of kalyANi. From the early talkie days with pApanAsham shivan, till as recently as the modern movie Sindhubhairavi, there are numerous film songs in kalyANi.

janyams

There are more than 120 janya rAgams for kalyANi, but the most popular ones are:

sAra”nga, mOhana kalyANi, yamunA kalyANi, hamIr kalyANi, sunadavinOdini, sAra”nga tara”ngiNi, am.rta bEhAg, and bhUp kalyANi. Some of the not so popular janya rAgams are: candrakAntam, maitrabhavAni, kuntaLakusumAvali, kaumOdam, shuddharatnabhAnu, kuntala shrIkanthi, andari, shila”ngi, shuddha kOsalam, and pramOdini. D. Pattammal and M. Dandapani mention 122 janya rAgams of kalyANi in their book: rAgapravAham. Walter Kaufmann’s 'Ragas of South India” discusses 45 of these rare janyams. mOhana kalyANi is a pleasing rAgam obtained by fusing together mOhanam and kalyANi, and is often heard in concerts these days.

Online print shop. Some unusual Compositions in kalyANi

A classical, but difficult example of a pallavi in kalyANi, set to the unusual simhanandana tALam (128 akSara kAlams) is the one composed by mahA vaidyanAtha Iyer, and the sAhityam reads:

“gaurInAyaka kanakasabhA nAyaka

hAlahalAdhara ga”ngAdhara hara

smarahara purahara shivakAmEshvara

cidambarEshvara naTarAja mamava.'

Later, mahA vaidyanAtha Iyer recast this pallavi into a tillAnA, “thIm tara tiranA tana tillana” in kalyANi, in the same simhanandana tALam.

There are two strikingly beautiful kalyANi compositions that are given in SubbarAma dIkSitar’s sa”ngIta sampradAya pradarshini. Both are examples of “svara sthAna padam”, where most of the sAhityam employs only the seven svaras (of kalyANi). The first, “parikkaNNi” in tishra Ekam, is in Tamil, where the mAtu (words) was set by one Narayanaswami Ayya, a noted Tamil Scholar of Ettayapuram, and the dAtu (music) was set by subbarAma dIkSitar. The other one “taniprAyamu”, is attributed to Sarangapani.

Balamuralikrishna composed (and renders) a tillAnA “tanOm nOm tara tillAnA' in rAgam kalyANi, in the style called “ThAyam' singing, where even though the rAgam rendered is kalyANi, it sounds like a different rAgam in each line. The lyric contains the phrases “rAga ThAya mAlika”.

A modern composer, svarNa ve”nkatEsha dIkSitar of cidambaram has a composition in kalyANi: “svarNa kAla bhairavam” in the unusual tALa structure of 13 matras (9+2+2), sa”nkIrNa tripuTa (K. V. Narayanaswami popularized his compositions).

In 1935, when the Tamil daily newspaper, sudEshamitran, celebrated the golden jubilee, ariyakkuDi rAmAnuja iyengar composed the song: “sundaramAna svadEshamitran”, in kalyANi, and sang it (and a disc too was released) on this occasion.

There are more than 700 compositions in all sorts of formats, available in kalyANi. Here is a partial list:

List of Selected Compositions

LAKSHYA GITAM

rE rE trishUlini (tishra tripuTa) – ve”nkaTamakhi

GITAM

kamalajA daLa (tripuTa) - purandaradAsa

shrIdhara suravara (tripuTa) – muttayya bhAgavatar

SVARA JATI

sa ni dha pa (rUpakam) - svAti tirunAL

VARNAM

kamalAmba ninnukOri (Adi) – rAmasvAmi dIkSitar

vanajAkSi rO (Adi) – ramanad shrInivasa iyengAr

vanajAkSi (aTa) - pallavi gOpala Iyer

sAmi nIvEyani (Adi) – vaDivelu

nIvE gatiyani neranamminAnu (tishra maThyam) – shyAma shAstri

sudati ninnukOri (aTa) - ponnayyA piLLai

SVARA STHANA PADAM

pArikkanni sa dha mapa (tishra Ekam) - subbarAma dIkSitar/narAyaNasvAmi ayyA

taniprAyamu (Adi) – sAra”ngapANi

PADA VARNAM

sAtura kAmini (Adi) - svAti tirunAL

K.RTIS

bhajarE rE citta bAlAmbikAm (mishra cApu) - muttusvAmi dIkSitar

kamalAmbAm bhajarE (Adi) - muttusvAmi dIkSitar

kumbhEshvarENa samrakSitOham (Adi) - muttusvAmi dIkSitar

kumbhEshvarAya namastE (mishra cApu) - muttusvAmi dIkSitar

brahmavidyambikE (Adi) - muttusvAmi dIkSitar

j~nAnaprasUnambikE (rUpakam) – muttusvAmi dIkSitar

shrI ma”ngaLAmbikE (tripuTa) - muttusvAmi dIkSitar

shrI madhurAmbikE (khanDa cApu) - muttusvAmi dIkSitar

shivakAmEshvarIm cintayEham (Adi) - muttusvAmi dIkSitar

abhayAmba jagadamba( Adi) - muttusvAmi dIkSitar

kAmAkshIm kalyANIm (rUpakam) - muttusvAmi dIkSitar

ganapatE mahAmatE (rUpakam) - muttusvAmi dIkSitar (???)

shrI mInAkSi pAhi mAm amba (Adi) - ambi dIkSitar

parikkanni (tishra Ekam) - subbarAma dIkSitar

kAntimati karuNamIra (rUpakam) - subbarama dIkSitar

nidhi cAla sUkhamA (mishra cApu)- tyAgarAja

EtAvunarA (Adi) – tyAgarAja

shivE pAhi mam ambikE (Adi) – tyAgarAja

nammi vaccina (rUpakam) – tyAgarAja

bhajana sEyavE manasA (rUpakam) – tyAgarAja

E varamaDugudurA (rUpakam) – tyAgarAja

sundari ni divyarUpamunu (Adi) – tyAgarAja

amma rAvamma (khaNDa cApu) – tyAgarAja

vAsudEvayani (Adi) – tyAgarAja

Kalyani Ragam Swara Pallavi Notes Pdf

bhajarE raghuvIram (Adi) – tyAgarAja

endukO nI manasu (Adi) – tyAgarAja

Isha pAhimAm (rUpakam) – tyAgarAja

kamalabhavuDu veDalE( mishra cAapu) – tyAgarAja

sandEhamu yElarA (rUpakam) – tyAgarAja

rAma nI vADu konavO (Adi) – tyAgarAja

rAma rAma rAma nApai (mishra cApu) – tyAgarAja

ninnana valasina dEmi (mishra cApu) – tyAgarAja

vaccunu hari ninnujUDA (Adi) – tyAgarAja

kAru velpulu nIku (Adi) – tyAgarAja

talli ninnu nEra (mishra cApu) - shyAma shAstri

birAna varAlicci (rUpakam) - shyAma shAstri

himAdri sutE pahi mAM (rUpakam) - shyAma shAstri

dEvI nannu brOvavammA (jhampa) – shyAma shAstri

parAmukhamenammA (tripuTa) – shyAma shAstri

rAvE parvatarAjakumAri (jhampa) – shyAma shAstri

sha”nkari sha”nkari (ata) – shyAma shAstri

shrI kAmAkSi kAvavE (Adi) – shyAma shAstri

paripAhi mAmayi paramapuruSa (mishra cApu)- svAti tirunAL

pa”nkaja lOcana pAhi (mishra cApu) - svAti tirunAL

pAhi mam shrI vAgIshvari (Adi) - svAti tirunAL

yOjaya padamanilane (Triputa) - svAti tirunAL

sArasalOcana mamava (rUpakam) - svAti tirunAL

sArasa suvadana (Adi) - svati tirunAL

sEvE syAnandUrEshvara (Adi) - svAti tirunAL(Irayimman Thampi??)

sAmi unnaye nAn (Adi) - svAti tirunAL

adrisutAvara kalyANashaila (rUpakam) - svAti tirunAL

ArUDam onRu sollaDi (Adi) - UttukkADu ve”nkaTakavi

EkAnta bhakti tarum (tishram) - UttukkADu ve”nkaTakavi

gati nIrE gurudEva (mishra cApu) - UttukkADu ve”nkaTakavi

ittanaiyum poy urakkam (rUpakam) - UttukkADu ve”nkaTakavi

mAdhava h.rdi khElini (Adi) – (third saptaratnam) - UttukkADu ve”nkaTakavi

Sarasijabhava jAyE (Adi) – UttukkADu ve”nkaTakavi

Va~nchasi yadi kushalam (Adi) – (kAmAkSi navAvaraNam) UttukkADu ve”nkaTakavi

Villai vaLaittanE (rUpakam) - UttukkADu ve”nkaTakavi

ninnu vinA gati (Adi) - subbaraya Sastri

nijadAsa varada (Adi) - paTNam subrahmanya iyer

cidambaram en manam (Adi)-pApanAsham shivan

kamala malaridal (mishra cApu)- pApanAsham shivan

kamEshvara k.ripAkara (Adi)- pApanAsham shivan

padam nambinEn (Adi)- pApanAsham shivan

rAma idu dharumamA (Adi) – pApanAsham shivan

shrIdhara ve”nkatEsham (Adi)- pApanAsham shivan

sundarEshvarENa (Adi)- pApanAsham shivan

tEril ERinan (rUpakam)- pApanAsham shivan

sArasAkSi Ni (aTa)- muttayyA bhAgavatar

lambOdara sOdara (Ekam) - muttayyA bhAgavatar

muruganukku oru shIDan (Adi) - muttayyA bhAgavatar

pa”nkajanAbham (Adi) - muttayyA bhAgavatar

pashupathi pAda sEvanamE (Adi) - muttayyA bhAgavatar

sampat pradE (Adi) - muttayyA bhAgavatar

shiva shiva shambhO (Adi) - muttayyA bhAgavatar

ambikE aruL shei (mishra cApu) – nIlakanTha shivan

Aru mugan (rUpakam) – nIlakanTha shivan

nIyE manam (Adi) - rAmasvAmi shivan

sarasvati nanne (rUpakam ) - tiruvoTriyUr tyAgarAjan

pAre”ngum pARttAlum (Adi) - ghanam k.rSNa iyer

jEsina pApamulu (mishra cApu) - pallavi shESa iyer

mahiSasura marddani (rUpakam) - pallavi gOpAla iyer

nIdu caraNa pa”nkajamulE (Adi) - pallavi gOpAla iyer

kailAsapatE (Adi) - Mysore vAsudEvAcAr

kanikaramulO (Adi) - Mysore vAsudEvAcAr

namOstu tE sarasvatI (Adi) - Mysore vAsudEvAcAr

nIvE gatiyani (Adi) - - Mysore vAsudEvAcAr

enrAn idam (khaNDa cApu) – periyasAmi tUran

shrI ve”nkaTEshvara (rUpakam) - periyasAmi tUran

sadAnandamE (Adi) – kOTIshvara iyer

shambhO sha”nkara (Adi) – kOTIshvara iyer

Kalyani Ragam Swarapallavi Notes Online

ninnu bhAi nimiSamu (tripuTa) - ponnayya piLLAi

nI sari sATi (Adi) - ponnayya piLLai

sAmiyai azaittu vADi (Adi) - ponnayya piLLai

birAna brOvayidE (Adi) - tara”ngambADi pa~ncanada iyer

praNatArttihara (Adi) - garbhapuri cinna dEvuDu

kacci ra”ngan krpai - ghanam k.rSNa iyer

AravamudaraippOlE (Adi) - ghanam k.rSNa iyer

PADAM

endu mama sadanattil (Adi) svAti tirunAL

kindu ceyvu j~naninnahO (rUpakam) - svAti tirunAL

teliya vaccenurA (mishra cApu)- kSEtraj~na

rAra ayyalu (Adi) – kSEtraj~na

nI pOmudu seyaka (mishra cApu)- kSEetraj~na

entu mama (Adi) – kSEtraj~na

niluvina niliveDu (mishra capu) – kSEtraj~na

tani prAyamu ( laya tara”ngiNi) – kSEtraj~na

TILLANA

nAdiru diru (tripuTa) - svAti tirunAL

tIm tara tiranA (simhanandana tALam) - mahA vaidyanAtha iyer

tim tara tani (Adi) - mysore vAsudEvachAr

Kalyani Ragam Swara Pallavi Notes Download

JAVALI

entAti kuluke (rUpakam) - paTTAbhirAmayya

RAGAMALIKAS featuring KALYANI

valaci vAcci (navaragamalikA varNam) (kottavAsal ve”nkaTarAma iyer)

nitya kalyANi (sItarAmayya)

jaya jaya gOkula bAla (nArAyaNa tIrtha)

amba ninnu nera nammiti (garbhapuri)

I kanakAmbari (subbarAma dIkSitar)

Karpagavalli nin (?)

All the 72 mELa rAgamAlika compositions must obviously feature kalyANi on the 65th line in the caranam. MahA vaidyanAtha iyer's mammoth mELa rAgamAlika has the line

'mEca kalyANIm vAcam dishasE, mOcakadAyini ramasE'

The 72 rAgA”nga rAgamAlika by subbarAma dIkSitar (mAtu by one k.rSNa kavi) has the text

'mati kalyANiyosagu rAgA”nga rAgamAlikAm goniprEmamIraga'.

RAGAMALIKA SLOKA LINES

The rAagamAlika shlOkam “kalyaNI khalu yad kathA trijagadam' composed by MaharAja svAti tirunAL features the rAga mudra for each line, namely, kalyANi, mOhanam, sAra”nga and sha”nkarAbharaNam.

FAMOUS PALLAVI LINES

Kalyani Ragam Swara Pallavi Notes Class

• The famous catur rAgamAlika pallavi: “sha”nkarAbharaNanai azhait-tODi vADi kalyANi darbArukku' (popularized by ariyakkuDi)

• “un darishanam kiDaikkumO naTarAja dayAnidhE' (GNB, madurai maNi Iyer, M. L. vasantakumAri, et al).