Simhendramadhyamam the 57th melakarta ragam is known as Sumadyuti in Muthuswami Dikshitar Padhathi is the prati - madhyamam equivalent of Kiravani, 21st melakarta., Chiselled with utmost beauty, every facet of this raga brims with passionate appeal. The notes taken up by this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Prati Madhyama, Panchama, Sudhha Dhaivata, and Kakali Nishada. Its notes lend themselves to gamakas, symmetric patterns and clever permutations while singing alapanas , niraval and kalpanaswaram . This ragam is supposedly borrowed into Hindustani from Carnatic Music. Let me say here that this is prevalent in Hungarian folk music and the music of the Spanish gypsies! Such ragas that are loved around the world are a testimony to the universal appeal of music, and the fact that such scales have been explored with great attention to detail in classical music certainly shows that Indian music is one of the most enlightening forms of art upon this earth. “Kamakshi Kamakoti,” “Pamarajana” and “Neelachala Natham” are Dikshitar's brilliant creations in this scale. Other popular kritis include “Needu Charanamule” attributed to Thyagaraja, “Nata Jana Paripalaka,” “Unnaiyallal vere gati” of Koteeswara Iyer, “Ikaparam ennum” of Papanasam Sivan, “Ninne Nammiti” of Mysore Vasudevachar, “Rama Rama” of Swati Tirunal &. Marakata Simhasana by M. Balamuralikrishna..(.even.... “Kanneduthagilum ; by Suddhananda Bhaarati, popularised by Late. NC Vasanthakokilam with her mellifluous voice rendering wonderful Gamakas!) Here, Sudha Ragunathan presented an excellent Ragaalapana! ..Very melodious rendition of the keerthanam with superb sahitya vinyasam and Kalpanaswarom .
Simhendramadhyama Raga sounds so close to Shanmukhapriya raga. I suppose they may be neighbouring ragas in the Raga Chakra. This performance is immensely pleasing, especially the Kalpanaswaras.
Yes, they are adjacent melakarta ragas in the DIDI chakra at No.56 for Shanmukhapriya and No.57 for Simhendramadhyamam and the difference is the Nishadam
Fabulous mam nice thanq mam very very use full ..👍👍
🙏🙏👌👌attractive madhyamakala sahithyam 👏👏
Simhendramadhyamam the 57th melakarta ragam is known as
Sumadyuti in Muthuswami Dikshitar Padhathi is the prati -
madhyamam equivalent of Kiravani, 21st melakarta., Chiselled with utmost beauty, every facet of this raga brims with passionate appeal. The notes taken up by this raga are Sadja, Chatusruti Rishabha, Sadharana Gandhara, Prati Madhyama, Panchama, Sudhha Dhaivata, and Kakali Nishada. Its notes lend themselves to gamakas, symmetric patterns and clever permutations while singing alapanas , niraval and kalpanaswaram .
This ragam is supposedly borrowed into Hindustani from Carnatic Music. Let me say here that this is prevalent in Hungarian folk music and the music of the Spanish gypsies! Such ragas that are loved around the world are a testimony to the universal appeal of music, and the fact that such scales have been explored with great attention to detail in classical music certainly shows that Indian music is one of the most enlightening forms of art upon this earth. “Kamakshi Kamakoti,” “Pamarajana” and “Neelachala Natham” are Dikshitar's brilliant creations in this scale. Other popular kritis include “Needu Charanamule” attributed to Thyagaraja, “Nata Jana Paripalaka,” “Unnaiyallal vere gati” of Koteeswara Iyer, “Ikaparam ennum” of Papanasam Sivan, “Ninne Nammiti” of Mysore Vasudevachar, “Rama Rama” of Swati Tirunal &. Marakata Simhasana by M. Balamuralikrishna..(.even.... “Kanneduthagilum ; by Suddhananda Bhaarati, popularised by Late. NC Vasanthakokilam with her mellifluous voice rendering wonderful Gamakas!)
Here, Sudha Ragunathan presented an excellent Ragaalapana! ..Very melodious rendition of the keerthanam with superb sahitya vinyasam and Kalpanaswarom .
Kalpana swaras out of the world!!!!fantabulous
Beautiful.. 🌹🙏
Asainthadum Mayil
8:55
Asaindhaadum mayilonru kandaal
Nam azhagan vandhaan enru solvadhu pol thonrum (Asaindhaadum)
Isaiy padum kuzhal kondu vandhaan Intha ezhaezhu piravikkum inba nilai thandhaan
Thisai thorum niraivaaga ninraan
Enrum thigattaadha vaenu gaanam raadhaiyidam eendhaan
Engaagilum emadhiraivaa iraivaa ena
Mana nirai adiyavaridam thangu manaththudaiyaan
Arul pongum mugaththudaiyaan
Oru padham vaiththu maru padham thookki ninraada
Mayilin iragaada magara kuzhaiyaada madhivadhanamaada Mayakkum vizhiyaada malaranigalaada malar magalum paada
Idhu kanavoa nanavoa ena mananirai munivarum
Magizhndhu kondaada
(Asaindhaadum)
Asai poadum aavinangal kandu
Indha adhisayaththil silai poala ninru
Nijamaana sugam enru onru - irundhaal
Aezhulagil idhaiyanri vaeredhuvum anru
Thisai aarum goapaalan inru migavum
Ezhil ponga nadamaada edhir ninru raadhai paada (Engaagilum)
(Asaindhaadum)
Excellent rendition by Sudha ma
Awesome!
Excellent
Lilting Simmendramadhyamam
Simhendramadhyama Raga sounds so close to Shanmukhapriya raga. I suppose they may be neighbouring ragas in the Raga Chakra. This performance is immensely pleasing, especially the Kalpanaswaras.
Yes, they are adjacent melakarta ragas in the DIDI chakra at No.56 for Shanmukhapriya and No.57 for Simhendramadhyamam and the difference is the Nishadam