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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 16 Jan 13

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Sangeetha Vaibhavam

Salutations to all.

The ultimate goal of life irrespective of all distinctions is complete cessation of sorrow and
ever rejoicing in bliss. It is this goal that each and every person in the world is seeking
knowingly or unknowingly. This ultimate goal is termed in the scriptures as moksha and the
scriptures that talk in depth about moksha is called Vedanta. Vedanta includes the various
Upanishads, Bhagavad Gita, Brahma Sutras and other works dealing with various aspects of
Vedanta.

Though everybody is seeking the same ultimate goal of life still very few are those who seek
this goal knowingly. One of the main reason is that people are scared of Vedanta. It is some
kind of a taboo that which shouldnt be learned by normal people, if one learns one will
become a sanyaasi, those who learn will go and lock themselves in a cave etc. These
various wrong notions are easily removed if we learn Vedanta. Vedanta doesnt change the
external world but only the inner state of the person. When the mind gets filled with
knowledge then the external world doesnt change but the mind will be rid of sorrows and
will rejoice in bliss.

Vedanta talks about the one entity of Brahman or Ishwara. This entity is the source-
substratum of the world. It is the source of the world considering the world to be existing
and it is the substratum of the world considering or knowing the world to be just an illusion
(because it is constantly changing). Knowledge of this one entity of Ishwara as pervading
the entire world of names and forms even as one dreamer pervades the entire world is
knowledge. This knowledge will instantly take us to the state of moksha the ultimate goal
of life.

But majority of people think that Vedanta is only for intellectuals and that it is dry in nature.
Again, this is a wrong notion. Bhakti or devotion towards Ishwara is the same as knowledge.
We find the Lord saying in Gita that my greatest bhakta is a jnaani one who knows that I
alone exist here and thereby sees me as pervading the entire world. Thus bhakti and jnaana
are not different but the same alone. The difference lies in the means to implement
remembrance or contemplation of Ishwara. Jnaana does it through conviction of intellect
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whereas bhakti does it through constant focus of Ishwara through activities like bhajans,
puja etc.

In this Kali Yuga it is very tough indeed to focus on Ishwara as found in the scriptures or
through the scriptures. Therefore the easiest way is through devotion and the simplest
means of devotion is music. Many people think that music is just some song being sung just
for fun sake. This is wrong Tyagaraja himself says sangeetha jnaanamu bhakti vinaa
what is the use of knowledge of music without devotion? Thus music itself means devotion
and devotion is the easiest way to constant remembrance of Ishwara if we remember
Ishwara to be all-pervasive non-dual reality behind the dual world.

When we think of music immediately we think about the trinity of music Tyagaraja,
Muthuswami Dikshitar and Shyaama Shaastri. When we look at the lives and works of these
masters we will find that their music was filled with devotion devotion of knowledge or
one-pointedness. Such devotional music will instantly elevate us to the state of moksha
here and now itself. Yes, it is essential to know the scriptures to an extent but through
devotion towards Ishwara we will easily be guided to scriptural knowledge by Ishwara
himself (at least we will know that only one entity of Ishwara exists here).

In order to spread the knowledge of music to everybody (since music is loved by majority of
people) and through this knowledge to take them to the goal of moksha, this new initiative
of a monthly magazine on music has been started from this New Year, 2013. All the credit
for this goes to my friend Rajesh for providing the entire content for this magazine. We
hope to add more good or healthy content that will help sadhakas to understand music
thereby get devotion and finally be lead to moksha here itself.

Prayers to Ishwara for this initiative. May we all strive to imbibe at least a bit of music so
that through devotion and knowledge we will be able to put an end to all sorrows and will be
able to ever rejoice in bliss here and now itself.

AUM NAMAH SHIVAYA
Jan 16
th


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Anukramaanika

Sangeetha Vaibhavam .................................................................................................................................. 1
Sangeetha Prakaashanam ............................................................................................................................. 4
Raaga Vivaranam .......................................................................................................................................... 7
Kriti Deepam ................................................................................................................................................. 9
Acharya Arpanam ........................................................................................................................................ 13
Ishwara Smaranam ..................................................................................................................................... 16
Anukramaanika Nirdesham ........................................................................................................................ 19


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Sangeetha Prakaashanam

Sangeetham has the source in Veda. Chanting of Veda has the musical touch in it by itself
and especially in chanting of Sama Veda the musical aspect will be more clearer. Scriptures
speak about knowledge of Brahman as the Ultimate knowledge. Mahatmas, who are the
living the knowledge of the scriptures, uses different medium to speak about the Truth they
have realized for the benefit of the people in the world. Some Mahatmas choose
sangeetham as the means to speak about the Truth. Some Mahatmas speak about the
Nirguna Brahman directly and some mahatmas speak about the SagunaIswara. Through the
songs, they also show how variously we can show the emotions towards the Lord. We show
our emotions to people around us, and they normally dont yield much benefit. But when we
direct them to Iswara that will help to purify our mind and thereby move closer towards
Iswara.

Understanding the basic theories of Carnatic music will help us to appreciate music better.
When we understand what raga the song is composed, what thala has been used in the
song we will be able to appreciate and enjoy the songs more whether we listen to the song
or we sing.We will see few basic theories of Carnatic music in this section.

Any music has two main parts, melody and rhythm. There is a famous saying
Srutimatalayam pita meaning Sruti (melody) is the mother and layam (rhythm) is the
father. The melody part of the Carnatic music is the tune that is based on raga(s). Ragas
are based on the swaras arranged in a specific pattern. Swaras are the notes. It will be easy
if we imagine the keys in harmonium or keyboard, each key represent a note which are
called swaras in Carnatic music. To summarize, a song will have music and lyrics, music will
have melody and rhythm. Melody will be based on one or many ragas which will have some
specific pattern of swaras according to the raga.

Let us understand more about swaras. It will be easier to understand swaras if we look at a
harmonium or keyboard. Each key in the harmonium or keyboard produces sound waves of
specific frequency.



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The above picture represents one octave of swaras in harmonium. The first key above
produces a sound with some frequency and with every key to the right the frequency
increases and with every key to the left the frequency decreases. The sound produced by
the 13
th
key to the right will have twice the frequency as the 1
st
key and hence the sound of
1
st
and 13
th
key will be harmonious. This denotes that the same swara repeats with higher
frequency when we move towards right and in the same way when we go left the frequency
decreases and the 13
th
key to the left will produce sound with half the frequency as the 1
st

key. From this we can understand that there are different frequency octaves and each
octave has 12 notes.

Below are the terms given to different octaves.
1. MadhyamaSthaayi Normal singing octave
2. Mandharasthaayi next lower octave to Madhyamasthaayi
3. Anumandharasthaayi next lower octave to Mandharasthaayi
4. Taarasthaayi next higher octave to Madhyamasthaayi
5. Ati-tarasthaayi next higher octave to Taarasthaayi

There are seven swaras in Carnatic music Sa, Ri, Ga, Ma, Pa, Dha, Ni. Sa is called Shadjam
and it is the first swara always. The SwarasRi,Ga, Ma, Dha and Ni each have different
frequencies, the Swaras Sa and Pa have just one frequency. Below table gives more details
about the swaras

Swara Common Notation Name
Sa Sa Shadjam
Ri
Ri
1
ShuddhaRishabham
Ri
2
ChatusrutiRishabham
Ri
3
ShatsrutiRishabham
Ga
Ga
1
ShuddhaGandharam
Ga
2
SadharanaGandharam
Ga
3
AntharaGandharam
Ma
Ma
1
ShuddhaMadhyamam
Ma
2
PratiMadhyamam
Pa Pa Panchamam
Dha
Dha
1
ShuddhaDhaivatam
Dha
2
ChatusrutiDhaivatam
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Dha
3
ShatsrutiDhaivatam
Ni
Ni
1
ShuddhaNishadham
Ni
2
KaisikaNishadham
Ni
3
kakaliNishadham


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Raaga Vivaranam

NATTAI
Nattai is the janyam of the 36
th
melakartha raga, ChalaNaatai.

Arohanam: S R
3
G
3
M
1
P N
3
S
Avarohanam: S N
3
P M
1
G
3
R
3
S

This raga uses shatsrutirishabham, antharagandharam, shuddhamadhyamam and
kakalinishadam. Shatsrutidaivatam is also used in arohanam in some of the compositions.
This is vivadiragam with the usage of ShatsrutiRishabham and ShatsrutiDaivatam. Vivadi
ragas are believed to cause inauspiciousness when sang but this raga is considered as one
of the auspicious raga and hence are considered sung at the beginning of the concert
usually. Songs on Vinayaka which are usually sung at the beginning are mostly composed in
this raga.

Rishabam is very strong in this raga that strong gamaka is used for Rishabam. This raga is
also considered as the first of the Ghana Ragas and Tyagaraja Swami has composed the
first song of the PancharatnakritisJagadananda Karaka is composed in raga Naatai. The
song MahaGanapatim of MuthuswamiDiksitar is always the first song to come to our mind
when we speak about Naatai.

Every raga exhibits a specific rasa or emotion and this raga shows Veeryam. With the usage
of the strong Rishabham with the gamaka makes this a pleasant morning raga.

The patternsM G M R S, S N S R S, P N S R G M R S, P N S N R S are some of the most
commonly used sancharas.

Some of the most famous kritis are
1. Jagadananda Karaka of Tyagaraja Swami
2. MahaGanapatimmanasaasmaraai of MuthuswamiDikshitar
3. ParameshwaraJagadeeshwara of MuthuswamiDikshitar
4. Saraseeruhaaasanapriye of PuliyoorDoraiswamiIyer

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The Hindustani raga that comes closer to Nattai is the Raga Jog. Raga Jog does not use
Rishabha but it uses both sadharanagandharam and antharagandaram. It takes
andharagandharam in arohanam and in avarohama it goes like G M g S. The arrow from g
to S shows that it is like a glide from gandharam to Shadjam. This usage of G M P M G M
g S is one of the common usage of the raga.

Raga Jog has a different usage in which both Nishadams are used like Raga Tilang. The
usage has Kakalinishadam in arohanam and kaisikanishadam in avarohanam. In this form of
Jog, there are common patterns between Jog and Tilang but the pattern G M g S is the
distinguishing pattern that makes it Jog.

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Kriti Deepam

ManasaGuruguharoopambhajare was written in sanskrit and composed by
MuthuswamiDikshitar in the raga AnandaBhairavi set in Roopakatalam. In this kriti,
MuthuswamiDikshitar speaks about Guru and what Guru stands for. As per the scriptures,
Brahman alone is the Ultimate Reality and realizing this truth proclaimed by the scriptures is
the goal to be achieved in life. This truth can be realized only by the knowledge of the
Brahman and knowledge can be obtained by learning scriptures. Scriptures are really hard
nut to crack and hence Guru is inevitable to provide the knowledge of the scriptures.

For a seeker Guru, not only provides us the scriptural knowledge, stands for the knowledge.
Guru is the living example of the words of scriptures for the student. Scriptures says that
Brahma vid brahmaivabhavati The knower of Brahman verily be Brahman and thus,
Guru, who is the knower of Brahman, is Brahman alone. And therefore, meditating on the
Guru with the understanding that Guru stands for Brahman is contemplation on Brahman.

Pallavi:
Manasaguruguharoopambhajaremaayamayahrtaapamtyajare!
O mind! Meditate on the form of Guru, give up the sorrow caused by Maya

Scriptures say that mind is the cause of bondage and moksha. When the mind is
extroverted towards the world, it is in bondage and wherever there is bondage, there is
sorrow also. When Brahman is kept in mind, it can only give Anandam. Guru stands for
Brahman and hence meditating on Guru is same as meditating on Brahman. That is why the
song mentions about guruguharoopam which is the secretive form. Meditating on Guru as
Brahman is secretive because it is not easy to conceive in mind. Thinking about the external
form of Guru may not be difficult, but thinking about Guru as Nirguna Brahman is not easy
at all and hence it is mentioned it as very secretive. Thus, in this first line the song tells the
mind turn away from the external world which is cause of sorrow and focuses it on Brahman
in the form of Guru.

Anupallavi:
Maanavajanmanisampraapte sati paramaatmaninirathashayasukhamvrajare
Having attained this human birth, revel in highest sukham of Brahman
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Attaining human life itself requires lot of punya and hence after attaining this human life,
life is not to be wasted. The highest goal to be attained by every human being is the
liberation from this cycle of birth and death. The only way to attain this is by realizing
Brahman alone is everything. When the mind is focused on Brahman, there will be nothing
but Anandam. Here, the song mentions about that Anandam as the highest. It is the highest
Anandam because it will never vanish at any point in time. All happiness from the world will
vanish for sure at some point because nothing is stays forever, but Brahman is the only
Real entity that will never cease to exist and hence Anandam obtained from Brahman will
never exist. Therefore, having attained this precious human birth the mind should revel on
Brahman and which will give never ending Sukham.

Charanam:
Satvagunopaadhisahitasadaasivam
Svaavidyasametajeevotbhavam
Tattvamtaamasayuthavishwavaibhavam
Taarakeshvaramanandabhairavam
Sadasiva who is with PuresattvaGuna, (that Truth) with ignorance created Jiva
from Him. From the Tamasic quality of Brahman came the entire universe. He is
the Lord and He is AnandaBhairava.

Here, the song talks about the entire creation. Scriptures say that Brahman reflected in
pure sattvaguna of Maya is called Isvara and song says that is Sadasiva and Brahman
reflected in avidhya is Jiva. From the Tamas quality of Maya, by the order of Isvara the
entire universe is created. Jiva because of ignorance of his own nature of Brahman, sees the
world and enjoys the world. The world which is under the control of Maya is very tough to
overcome. Lord Krishna says in 7
th
chapter Maya is very tough to conquer and only way out
of this is by surrendering to Isvara who is the controller of Maya. Thus, the song says Isvara
is the Lord to be sorted and he is of the nature of Anandam.

Natvasree guru charanam
Krutvanamasmaranam
Jitvamohaavaranam
Matvatadekasharanam
Prostrate at the feet of Guru
Do Namasmaranam (of Guru)
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Conquer the veil of delusion
Meditate on Guru (as Brahman) considering as the only refuge

Having attained this precious human birth we have to understand that ultimate goal of this
birth is to attain moksha and surrender at the feet of Guru. Guru will then dispel the
ignorance which is the obstacle obstructing us from the goal of moksha. Here the song says
prostrate at the feet of the Guru. Prostration is not just physical prostration, but complete
surrender at the feet of Guru. Once surrendered at the feet of the Guru, the seeker has to
follow the instructions of the Guru with the faith in the words of the Guru. The only thing
that seeker who has surrendered would do is think about the Guru and the teaching of the
Guru. Namasmaram is not just chanting the name of the Guru, but it can be extended much
more to keep the Guru and teaching in the mind. Chanting the name will give purity of mind
and focus, and but keeping Brahman in mind through Gurus teaching and doing Brahma
bhajanam will help conquer the delusion caused by Maya. There will be clarity in the
intellect that Brahman alone is real and nothing else. When we realize this truth that
Brahman is real and everything else is unreal, meditation on Brahman will be as natural as
breathing and that is the real surrender to the Truth.

In this one kriti, MuthuswamiDikshitar explained the whole Vedanta with what the goal of
every human is and how this world is created and finally what needs to be done to attain
the goal. Scriptural essence has been presented in the form of song and that too in the raga
AnandaBhairavi, the name itself has anandam. Most of compositions of
MuthuswamiDikshitar have slow temp that every subtle aspect of the raga can be brought
out. In this kriti as well, the song is composed in slower tempo on Anandabhairavi bringing
out all distinguishing characteristics of the raga.

AnandaBhairavi is the janyam of 20
th
melakartharagam, NataBhairavi. The arohanam of
AnandaBhairavi is SA GA RI GA MA PA DHA PA SA and avarohanam is SA NI DA PA MA
GA RI SA with chatusrutirishabham, sadharanagandharam, shuddhamadhyamam,
chatusruthidaivatam and kaisikanishadham. Though being the janyam of NataBhairavi, this
raga predominantly uses chatusrutidaivatam and uses shuddhadaivatam as anyaswaram.
Especially in this Kriti, the anyaswaram of Shuddhadaivatam was used so beautifully that it
adds beauty to the song. In the first line, while singing Roopambhajare it slightly touches
shuddhadhaivatam adding beauty to it.
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Another beautiful aspect of AnandaBhairavi is the elevation to higher Shadjam from
madhyamaShadjam, which is one of the highlighting aspect of MuthuswamiDikshitars
composition in AnandaBhairaviragam. This elevation from MadhyamaShadjam to Higher
Shadjam is used in 3 places in this kriti itself. The anupallavi starts from madhyamashadjam
to higher shadjam while singing ManavaJanmani and then in charanam while singing
tattvamtaamasayutha and finally while singing Natvasree Guru charanam.

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Acharya Arpanam

Purandaradasa is one of the great composers lived before the period of the Carnatic Music
trinity (Tyagaraja Swami, MuthuswamyDikshitar and ShyamaShastri) and is one of the most
important person in the history of Carnatic Music. He is also called as the Pithamaha of
Carnatic music. He was one of the great Krishna bhakti and composed many geethams,
krithis, varnams etc.

Purandaradasa was born in 1484 to VaradappaNayakar and Kamalaambalin Pandarpur, near
Purandargarh which is near Pune. VaradappaNayakar and Kamalaambal did not have child
for very long time and after lot of penance Purandaradasa was born. He was named
SrinivasaNayakar and was affectionately called by his parents as CheenappaNayakar.
Cheenappanayakar learned music at a very young age while he was doing his studies. He
used to sing very well that everyone liked his singing with the bhava that he was looked at
as an avatara of Narada Muni. He married SaraswathiBai at the age of 16. Four years after
his marriage he lost both his parents.

Cheenappanayakar was a very miserly person. He was running his family business of money
lending and was making very good money from this business. The more money he used to
get the more miserly he used to be that he counts every penny and would never give
anything for free. Lord always has his own way of making people good, that Lord created an
incident in the life of Cheenappanayakar that changed his perspective from being a miserly
selfish person to a saint.

Once Lord in the form of a poor Brahmin came to CheenappaNayakars shop asking for
some money to perform sacred thread ceremony for his son. CheenappaNayakar asked him
to get away and the Brahmin used to come the next day again asking for money, again
would be sent back by CheenappaNayakar. This was happening every day for six months.
One day CheenappaNayakar gave Brahmin some useless coins telling him to use it as he
may like to perform his sons sacred thread ceremony. Brahmin, though being sad of what
happened, went to see SaraswathiBai at her home knowing that she is a kind woman and
might help. He told her what had happened and felt very sad that her husband gave him
some useless coins. He asked her to help him that he can use to perform his sons
ceremony. Though SaraswathiBai wanted to help him was not able to give anything because
of the fear of her husbands scolding. She told she cannot give anything to the Brahmin
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without the permission from his husband. The Brahmin asked if there were any jewel from
her mothers side given during her wedding, she said she was given a diamond earring.
Brahmin asked that she can give that to him as Cheenappar will not know about it and it will
be very useful for the Brahmin to do what he had to. SaraswathiBai gave the earring that
her parents gave her. The Brahmin took the earring and went to CheenappaNayakars shop.
On seeing the Brahmin, CheenappaNayakar was very angry as he had told him to get away
and not to come back. This time the Brahmin said he has not come to beg but to get some
money for an ornament. Cheenappar not believing what Brahmin said asked him to show
the ornament. When the Brahmin showed the ornament he at once recognized that the
ornament was his wifes earring. He asked the Brahmin from where he got this, and the
Brahmin replied that one kind person had gifted him. Being very skeptical he told the
Brahmin to come and get money the next day and locked the ornament in his shop. He at
once went home to check with his wife. On seeing the earrings missing in his wifes ears, he
was very angry and asked her where her earrings are. He was very angry that she gave
away a very precious ornament to a beggar. SaraswathiBai thought that her husband would
punish her if she had told the truth and hence had decided to commit suicide by drinking
the poison. When she was going to take the cup, something fell onto the floor and to her
surprise it was her earrings. She was so happy and was filled with gratitude towards the
Lord that the Lord had helped her exactly at the right time. She was so happy and took the
earrings and showed it to her husband.

Cheenappar was so surprised to see the earrings as it was the same he had locked in his
shop. He then took those earrings and ran back to his shop. When he opened his locker he
found that the earrings he had locked in his shop were not there. He was so taken aback
with surprise came back home. At this time, SaraswathiBai told her everything that
happened right from the time Brahmin came asking for something till her attempt to
commit suicide and finding the earrings. CheenappaNayakar at once realized that this must
be the play of the Lord and felt very bad for sending the Lord out thinking that ornament
was more precious than anything else. He realized how compassionate Lord is come to him
every single day and how unfortunate that he had to send him out. He understood that Lord
may come in any form and from then on he gave up his miserliness and started giving away
whatever he could for needy people who came to him for help. This not only changed his
behavior, it also made him devoted to the Lord. From then on, he started living a new life
with his life and 4 sons (Varadappa, Gururaya, Abhinavappaand Gurmadhvapati).
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He was then called Purandaradasa for his devotion towards Vittala. He started singing the
glory of Lord and composed many songs. He used to do Nagarsankeertanam every morning.
He used to wear dancers anklet (salangai in Tamil)and a tempura in his hand and go
around the street singing the name of the Lord like Narada Muni. Everyone woke up early in
the morning listening to the sweet singing of Purandaradasa and everyone loved his singing.
Purandaradasa lived by getting alms from house. Some of the parents characteristics does
pass on to children and keeping this statement true, his sons were also very devoted and
composed lot of songs like his father. In 1525, Purandaradasa became a disciple of
Vyasaraaya and became a formal saint. Vyasaraaya on seeing the devotion of his disciple
Purandaradasa on Lord Vittala, he named him PurandaraVittala. Purandaradasa used this as
his mudra in all his songs.

Purandaradasa was considered as the Pitamaha of Carnatic music because he formulated
the lessons for the beginners of Carnatic music. He formulated the Saralivarisai,
Jantavarisai, Dhatuvarisai and Alankaram in the Raga Mayamalavagowla. In
Mayamalavagowla, Sa and Ri are closer, Ga and Ma are closer, Pa and Dha are closer and Ni
and Sa are closer, also the gaps between these pairs are also uniform. Because of this
uniform pattern within the notes itself, it will make the beginner easier to learn the basics.

Purandaradasa is said to have composed about 475,000 songs. He has composed geethams,
varnams, padavarnam, kritis, Keerthanas, naatyavarnam and many more types of music.
He has composed most of them in Kannada and Sanskrit speaking about the Lord.

Some of most famous songs of purandaradasa are
Bhagyada Lakshmi baaramma Madhyamavati
Jagadodhaarana Kapi
Tamboorimeetidava Sindubhairavi
Venkatachalanilayam Sindubhairavi

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Ishwara Smaranam

Ammaavai parka pogalaam
Andhaanandajyotiyaikaanalaam
Ellorumserndhupadalaam
Naamendrumeanandamthedalaam

Let us go to see Amma
Who is the Light of Joy
Let us all sing together
And get the joy everywhere

This song of Amma speaks about Amma and joy that will be experienced by everyone who
come to see Amma. In Bhagavad Gita Lord Krishna speaks about the characteristics of
Mahatmas in various chapters. The most clear characteristic of a Mahatma is peace or
Anandam that can be seen or experienced. We would always feel good to be with people
who are happy and what to talk about being in the presence of someone who is ever happy
at all points in time. Such Mahatmas stand for truth mentioned in the scriptures that there
is only Anandam. The song says let us go and see AMMA who is the light of joy. AMMA is the
light of joy because AMMA stand for joy. Being in the presence of Mahatma, our mind can
only think about Isvara one way or the other. Thus the song says that let us all sing
together, and experience the joy of having Isvaras thought in the mind, not only in the
presence of AMMA but everywhere. The thought of Isvara will always give nothing but
Anandam.

Ezhaigalkumselvarukum ore oruAmma
SirayavarkumperiyavarkumsondhamindhaAmma
Methaikalukumpedhaikalukumbhedhamillaijagadamba
Evaraiyumkaapaathathunaiyiruppaljagadamba

Amma is the same for rich and poor
Amma belongs to both young and aged
Amma differentiate between scholar and illiterate
Amma is the Jagadamba who protects and takes care of everyone
AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 16 Jan 13
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Different types of people come to see Amma. People from different walks of life also come
to Amma seeking different things from Amma. Ammadoesnt differentiate between any of
them. A Mother would love all her children equally, all her children are important for her.
Her children may be of different nature, one may be of quite nature other may be a very
naughty one. But the mother would love both in the same way and would do whatever it
takes to take care of both children. Amma, who is the mother of the universe, takes care
and protect all her children in the same way.

Thaangaadhashokhathaalthalarum than makkalai
TholilanaithuthazhuviduvaalAmma
Oyaathukanneeraithudaithiduvaaljagadamba
OrunimidamaavadhusalithidaamalinthaAmma

Amma consoles Her children who come to her with unbearable sorrow
By embracing them and taking them upon her shoulder
Amma, who is the Jagadamba, wipes the tears of her children without rest
Without any aversion even for a moment

People with unbearable sorrow and pain would badly want to get rid of it. When people have
unbearable sorrow, they wanted some wayto find solution for their problems. Many such
people come to Amma seeking solutions to their problems. Amma embraces all of them and
provides her shoulder for her children to cry upon. Just like a mother would console her
child who got hurt while playing, Amma consoles everyone hearing their problems
attentively and wiping their tears. Amma also provides solutions to their problems and after
the darshan such people would feel happy and relieved that Amma is there to take care.
Amma, who does not differentiate anyone, consoles everyone without any rest. Amma
consoles the last person in the same way Amma consoled the first person. There will not be
any change in the way Amma interact. Amma says that where there is love there is no
effort and hence Amma never gets tired to meet people and console people. Mahtmas
always have vision of oneness that they only see themselves in everyone and everything.

Jathiendrummathamendrumooredhumbhedhamillai
Kadavulillaporulaiendrumkaanavemudiyavillai
Karunaiendranilamaiendrumvaravendumenamma
Kadalkadandhupadivaruvalulakamenkumparanthusendru
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There is no differentiation for Amma with regards to caste, creed, religion, place
etc.
Since there is nothing to see apart from God
Amma, crosses ocean and goes various places singing and spreading compassion,
so that
There is sense of compassion everywhere

Externally in the world we see lot of differentiation in terms of caste, creed, religion, place
etc. In every place, there is one or the other differentiation happen. But Amma does not
differentiate between any of these. Scriptures say that everything in the world is filled in
and out with Lord and Mahatmas are the torch bearers of this scriptural truth. If we have to
know how to live by the truth of the scriptures, Amma is an example. There are always
people who need help and there are always people who can offer help. When we see
ourselves in the shoes of the needy people, we would be able to show compassion to them
and thus would be able to offer help to them. Amma crosses ocean and goes to many places
to see people, console them and help them and thus setting an example for us that we
should try to do whatever with compassion toward the needy by seeing ourselves in their
shoes. This song of Amma is set in the raga Charukesi.







AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 16 Jan 13
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Anukramaanika Nirdesham

1. Editorial a general message
2. Sangeetha Prakaashanam music and concepts of music explained in simple terms.
3. Raaga Vivaranam analysis/explanation of a raaga.
4. Kriti Deepam a kriti of music explained.
5. Acharya Arpanam remembrance of an acharya of music.
6. Ishwara Smaranam remembrance of Ishwara through a devotional song.

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