Superb ! Shyamalambike Pahimam Ragam mayamalagowla Adi Talam Balamurali Krishna Krithi The composition is addressed to Goddess Parvati as ShyamalAmbike. Shri Shyamalaambike, protect me! The one praised by Shuka and Shaunaka, and worshiped in shruti. One resembling a golden creeper, pure, served by the gods, dwells on the peak of a mountain, resplendent, O Parvati. One with a face that sports a beatific smile, a personification of gentle movement, whose speech is joyous, bestower of everything auspicious, the slayer of the asura Mahishaasura, one who delights in the music of Murali, O mother Shymalaambike P shyAmaLAmbikE pAhimAm suka saunakAdi vinutE shrutinutE shrI. Oh Mother Syamalamba, please protect me. Suka,Saunaka and other sages worship you. Vedas extol your supremacy. AP surasEvitE hEmakUTa vAsini suhAsini kAmakOTi sundari krshOdari kaumAri OmkAri gauri shrI Your abode is Hemakoota mountain. You are unblemished. Devatas worship you. You are slim like gold creeper. You have pleasant smile. You are very beautiful with slender waist. Oh Kaumari, Oh Gauri, you are embodiment of "Omkara". C manda hasita vadanE manda gamanE Ananda vANi mangaLa pradAyini madura muraLIgAna vinOdini mahiSAsura mada bhanjani janani Your smile is gentle. Your gait is majestic. Your talk is cheerful. You cause auspiciousness. You are delighted by Murali's melodious music.You dispelled arrogance of demon Maishasura. Mayamalavagowla - 15th Melakarta rāgam Mayamalavagowla (pronounced māyāmāḻavagouḻa, is a raga of Carnatic Music (musical scale of South Indian classical music). 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, antaragandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness.The well-known “Sri Gananatha” geetham is based on Malahari raga, a janya of Mayamalavagowla. “Tulasi dala,” “Vidulaku Mrokeda,” “Rakshimpave” and “Merusamana” are well-known Thyagaraja kritis in this raga. “Srinathadi Guruguho Jayati,” the very first composition of Muthuswamy Dikshitar, was in this raga too.
Through a brilliant and brisk aalapana BMK captures the essence of the raga and goes on beautifully to the neraval and swaraprastaram in such a pleasing and educative manner, a complete lesson in under eight minutes!! Thank you sir, for a lovely treat.
Loved how he started the alapanai - established Mayamalavagowla right away! Never heard this song before, and enjoyed it thoroughly. Thanks for the translation and notes. Who are the accompanying artistes?
Excellent.
Guruji shows a crisp dimension of a concert in a krithi...Only he can do it...First time I heard this krithi so pleasing...
Superb ! Shyamalambike Pahimam Ragam mayamalagowla Adi Talam Balamurali Krishna Krithi
The composition is addressed to Goddess Parvati as ShyamalAmbike.
Shri Shyamalaambike, protect me! The one praised by Shuka and
Shaunaka, and worshiped in shruti. One resembling a golden creeper, pure,
served by the gods, dwells on the peak of a mountain, resplendent, O Parvati.
One with a face that sports a beatific smile, a personification of gentle
movement, whose speech is joyous, bestower of everything auspicious, the slayer
of the asura Mahishaasura, one who delights in the music of Murali, O mother
Shymalaambike
P shyAmaLAmbikE
pAhimAm suka saunakAdi vinutE shrutinutE shrI.
Oh Mother Syamalamba, please protect me.
Suka,Saunaka and other sages worship you. Vedas extol your supremacy.
AP surasEvitE hEmakUTa
vAsini suhAsini
kAmakOTi sundari krshOdari kaumAri OmkAri gauri shrI
Your abode is Hemakoota mountain. You are
unblemished. Devatas worship you. You are slim like gold creeper. You have
pleasant smile. You are very beautiful with slender waist. Oh Kaumari, Oh
Gauri, you are embodiment of "Omkara".
C manda hasita vadanE
manda gamanE Ananda vANi mangaLa pradAyini
madura muraLIgAna vinOdini mahiSAsura mada bhanjani janani
Your smile is gentle. Your gait is majestic.
Your talk is cheerful. You cause auspiciousness. You are delighted by Murali's
melodious music.You dispelled arrogance of demon Maishasura.
Mayamalavagowla - 15th Melakarta rāgam
Mayamalavagowla (pronounced māyāmāḻavagouḻa,
is a raga of Carnatic Music (musical scale of South Indian classical music).
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, antaragandhara, suddha madhyama, pancama, suddha dhaivata and kakali nishada. It is a morning raga that evokes peace, harmony and sometimes a hint of sadness.The well-known “Sri Gananatha” geetham is based on Malahari raga, a janya of Mayamalavagowla.
“Tulasi dala,”
“Vidulaku Mrokeda,” “Rakshimpave” and “Merusamana” are well-known
Thyagaraja kritis in
this raga. “Srinathadi
Guruguho Jayati,” the very first composition of Muthuswamy Dikshitar, was in
this raga too.
Through a brilliant and brisk aalapana BMK captures the essence of the raga and goes on beautifully to the neraval and swaraprastaram in such a pleasing and educative manner, a complete lesson in under eight minutes!! Thank you sir, for a lovely treat.
Guruji always brings out all the features of a raga in brief alapana.............that is his specialty.................
I am posting the keerthana in Telugu
రాగం: మాయామాళవ గౌళ, తాళం త్రిపుట
స్వరరచన: శ్రీ మంగళంపల్లి బాలమురళీకృష్ణ
ఆరోహణ. : స రి1 గ3 మ1 ప ద1 ని3 స
అవరోహణ : స ని3 ద1 ప మ1 గ3 రి1 స
పల్లవి: శ్యామలాంబికే, పాహిమాం శుక I
సౌనకాది వినుతే, శ్రుతినుతే శ్రీII IIశ్యామలాంబికేII
అనుపల్లవి:
హేమలతే, విమలే , సురసేవితేI
హేమకూట వాసిని, సుహాసినిII
కామకోటి సుందరి, కృశోదరిI
కౌమారి, ఓంకార, గౌరి, శ్రీ II. IIశ్యామలాంబికేII
చరణం:
మందహసిత, వదనే, మందగమనే , ఆI
నందవాణి, మంగళప్రదాయినిII
మధుర మురళి గానవినోదిని I
మహిసాసుర మదభఞ్జని , జననిII IIశ్యామలాంబికేII
Loved how he started the alapanai - established Mayamalavagowla right away! Never heard this song before, and enjoyed it thoroughly. Thanks for the translation and notes. Who are the accompanying artistes?
Thanks for sharing your reflections.
The violinist is : Sri. Neti Srirama Sharma and we need to identify the Mridangam player.
Thank you!
Dear @srinivas Murthy Garu, can we get Guruvugari compositions Books? With lesson notations?
Which book are you referring to here?
Is it the 72 melakarta raga compositions?
Yes@@SreenivasaMurthy Garu
@@DrPadmavathiBhamidipati If you can provide your email address, I can send.