Jayashri was born to N N Subramaniam and Seetha, who groomed her inCarnatic music in her initial years. Her initiation into music was under herfathers guidance at the age of four. Later Jayashri learned under the tutelageof T R Balamani Ammal of Bombay. She was into concert performances in herteens. In 1989, she enrolled herself as a disciple of the legend Lalgudi GJayaraman. Since 1989, she has been under the guidance and tutelage of therenowned violin maestro. She is also a student of veena, under G N DhandapaniIyer. She along with T.M.Krishna feature in the first ever Carnatic concertmovie, titled, Margazhi Raagam. The movie has received rave reviews from allquarters.Damal Krishnaswamy Pattammal is an eminent Carnatic musician and playbacksinger for film songs in many Indian languages. Pattammal and hercontemporaries M. S. Subbulakshmi and M. L. Vasanthakumari were popularlyreferred to as the "female trinity of Carnatic Music. D.K. Pattammal has beenappreciated all over the world by Carnatic music lovers. This trio initiated theentry of women into mainstream Carnatic Music.Balasubramaniam could produce fast gamakam laden sangathis with strengthand weight and with wide imagination. But,in such a voice of his, running at sofast a speed the effects of Brighas, twists and turns would come in quicksuccession that he became an instant hit with both the lay audience as well asthose initiated to the arts and science of carnatic music. He also composedseveral krithis and was famous for his fast brikhas and gamakams. He acted infilms, including Bhama Vijayam and Sakunthala. In the latter, he appeared asDushyantha, alongside the vocalist M.S. Subbulakshmi.Kattassery Joseph Yesudas is an Indian classical musician and a leadingplayback singer. His voice lends itself well to both Indian classical, devotionaland popular songs. He has recorded more than 40,000 songs in many languagesincluding Tamil,Hindi, Malayalam,Kannada, Telugu, Bengali, Gujarati, Oriya,
Marathi, Punjabi, Sanskrit, Tulu, Russian, Arabic, Latin and English through hislong career.. He has been singing for most Indian languages except Assameseand Kashmiri. In his heyday, he was known as the Jim Reeves of South India.Fans term his voice as nothing short of "divine".Kattassery Joseph Yesudas is an Indian classical musician and a leadingplayback singer. His voice lends itself well to both Indian classical, devotionaland popular songs. He has recorded more than 40,000 songs in many languagesincluding Tamil,Hindi, Malayalam,Kannada, Telugu, Bengali, Gujarati, Oriya,Marathi, Punjabi, Sanskrit, Tulu, Russian, Arabic, Latin and English through hislong career.. He has been singing for most Indian languages except Assameseand Kashmiri. In his heyday, he was known as the Jim Reeves of South India.Fans term his voice as nothing short of "divine".Madurai Shanmukhavadivu Subbulakshmi was a renowned Carnatic vocalist.She was the first musician ever to be awarded the Bharat Ratna, Indias highestcivilian honor.Maharajapuram Santhanam was one of the great Carnatic music vocalists of the20th century. He was born in Sirunangur, a village in the state of Tamil Nadu.He followed the footsteps of his father Maharajapuram Viswanatha Iyer whowas also a Carnatic singer.Balamurali Krishna started his career when he was barely 14 years old, hecomposed Raganga-Ravali, a detailed work on the 72 Melakarta scheme. Hemastered all the 72 melakarta ragas by the age 16 and had composed kritis inall of them by then. Poet composer and musicologist, Balamurali krishna hasrestored the trinitys composition to their original whole. he represents a newera in Carnatic music. Like the galaxy of giants preceding him, he has helped inthe preservation of the musical heritage in his own way.
Dr. Nithyasree Mahadevan, also previously referred to as S. Nithyashri, is aneminent Carnatic musician and playback singer for film songs in many Indianlanguages. Her paternal grandmother is the legendary Carnatic vocalist D. K.Pattammal, while her maternal grandfather is the legendary mridangammaestro, Palghat Mani Iyer. Her granduncle is the legendary Carnatic vocalist,D. K. Jayaraman. Nithyashree has performed in all major sabhas in India andhas presented her concerts in many destinations around the world. She hasreceived multiple awards and honours, and has released more than 100commercial albums.R. Vedavalli was born in Mannargudi, Tamil Nadu, India to Shri RamaswamiIyengar and Padmasani Ammal in 1935. Her talent for music was identifiedearly on by Madurai Srirangam Iyengar, who brought the five year old aharmonium, and got her started on vocal lessons. The family moved to Madrasin a few years time, and Vedavalli came under the tutelage of MudicondanVenkatarama Iyer. From a very young age, Vedavalli won several awards inprestigious competitions including All India Radios first prize for ClassicalMusic and Light Classical Music, awarded by the President of India. In 2000, shereceived the Sangeetha Kalanidhi, which is considered the highest award inCarnatic music. She is one of the few women to have received this honor.Sudha was initially trained by her mother Choodamani since the age of nine.She continued training under Sri. B. V. Lakshmanan. Even as a student, Smt.Sudha Raghunathan received the Central Government Scholarship for YoungArtistes for advanced training in Carnatic music. Sudha came under the tutelageof the illustrious Padmabhushan Sangeetha Kalanidhi, Dr. M.L Vasantha Kumariin 1977, who encouraged Sudha to pursue music as a career. Sudha is one ofDr. M. L. Vasanthakumaris prominent successors.T.M. Krishna (born 1976) is one of the leading Carnatic music vocalists of today.Hailing from a family of music connoisseurs, he was exposed to the southIndian classical music at an early age. His first concert was at the Spirit ofYouth series organized by the Music Academy, Chennai (India). Since then, hehas travelled widely in India and abroad and won applause from his listeners.
He has received numerous awards and titles from many leading organizations,notable amongst which are the Young Achievers Award by India Today and theBismillah Khan Yuva Puraskar Award by the Central Sangeet Natak Akademi. Hehas released many music albums from leading audio companies like Magnasound, HMV, Inreco, Amudham (USA) and Charsur.Tiger Varadachariar hailed from a musical family of unique distinction. Hisfather Ramanujachariar was a musical discourser, brother K.V. SrinivasaAyyangar was a renowned musicologist while another brotherK.V.Krishnamachariar was a veena player. In fact, Tiger used to say that helearnt much from the singing of his sister. Varadachariar was born on August 1,1876 at Kolathur. Varadachariars receptive ears and musical instincts drewinspiration and knowledge from street dramas, bhajans and even fromoccasional contacts such as with Fiddle Ramachandrayyar. He was big, burlyand unprepossessing. This exterior housed a genial and lovable man, a brilliantmusicologist, a musical artiste and an acknowledged teacher of renown.Unnikrishnan was born to K.Radhakrishnan and Dr.Harini Radhakrishnan, inKerala. He went to Asan Memorial Senior Secondary School, Chennai, in 1983.He graduated from Vivekananda College, Chennai, and received his B.Comdegree from the Madras University. He earned a General Law and Post GraduateDiploma in Personnel Management and Industrial Relations. He worked as anexecutive in Parrys Confectionery Ltd. from 1991-94 and left to become aprofessional singer.Unnikrishnan was born to K.Radhakrishnan and Dr.Harini Radhakrishnan, inKerala. He went to Asan Memorial Senior Secondary School, Chennai, in 1983.He graduated from Vivekananda College, Chennai, and received his B.Comdegree from the Madras University. He earned a General Law and Post GraduateDiploma in Personnel Management and Industrial Relations. He worked as anexecutive in Parrys Confectionery Ltd. from 1991-94 and left to become aprofessional singer.Born into a family of renowned musicians on the 10th of September, Shashikiransoon made his mark in the family. His grandfather, Gottuvadyam Narayana
Iyengar was a legend in his times, not to mention his father ChitravinaNarasimhan, a musician with a vision and mission and brother ChitravinaRavikiran, and an internationally acclaimed genius. His father discoveredShashikiranss talents when he was a mere toddler and nurtured it with greatcare. Thus, at two, he stormed the music world as a child prodigy who couldidentify Ragas (melodies), demonstrate complicated Talas (rhythms) andanswer other technical questions pertaining to Carnatic music. He has also hadthe privilege of honing his musical skills under stalwarts like T Brinda, TVishwanathan and K S Krishnamurthy.S. Sowmya is a Carnatic music singer. She learnt under her father, and laterunder S. Ramanathan and T. Muktha. Sowmya, along with K. N. Shashikiran,founded Carnatica - an online institution dedicated to classical music & danceinstruction, archival, talent search and other related activities to Carnaticmusic.She also co-authored the first comprehensive reference CD-ROM onCarnatic music.Thanjavur Muktha also spelt Mukta (1914-2007) was one of the foremostrepresentatives of the Veena Dhanammal school of Carnatic Music. She alongwith her elder sister T. Brinda formed one of the first women duo singers.Muktha had much of her initial training from her mother Kamakshi. This trainingwas in the Veena Dhanammal style, a style of Carnatic Music known for itsunhurried, alluring movements, as also for its use of intricategamakas (graces)in the handling of ragas (modes). Additionally, Muktha (along with Brinda)trained for a substantial length of time underKanchipuram Naina Pillai, whosestyle of music was marked by agility and robustness in laya (rhythm). After hertraining under Naina Pillai, Muktha learnt from her aunt Lakshmiratnam. Thelegendary Veena Dhanammal, who was Mukthas grandmother, herself taughther some compositions. She gave her first performance at the age of eight. Shewas the last disciple of Veena Dhanammal and her last concert was in Clevelandin 2003. Muktha was a recipient of the Sangeet Natak Akademi Award in 1973Neyveli Santhana Gopalan is an acclaimed Carnatic vocalist, whose music issteeped in classicism while maintaining popular appeal. He has distinguished
himself with numerous successful concerts worldwide, and is the recipient ofmany awards from music associations in India and overseas. He is known forhis excellent styles of rendering the swaras.Chembai Vaidyanatha Bhagavatar was an Indian Carnatic music singer from thestate of Kerala. Usually known by his village name Chembai, or simply asBhagavatar, he was born to Anantha Bhagavatar and Parvati Ammal in 1895.Chembai was noted for his powerful voice and majestic style of singing.Carnati historyCarnatic MusicCarnatic music or Carnatic sangeet is the south Indian classical music. Carnatic music has a richhistory and tradition and is one of the gems of world music. Carnatic Sangeet has developed inthe south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka. These states areknown for their strong presentation of Dravidian culture. Purandardas is considered to be thefather of Carnatic music.It was in the 18th century that Carnatic music acquired its present form. This was the periodthat saw the "trinity" of Carnatic music; Thyagaraja, Shamashastri and Muthuswami Dikshitarcompile their famous compositions.In Carnatic music there is a very highly developed theoretical system. It is based upon a complexsystem of Ragam (Raga) and Thalam (Tala). Raga is basically the scale and the seven notes of this
scale are Sa Re Ga Ma Pa Dha and Ni. Though unlike a simple scale there are definite melodicrestrictions and compulsions. The Ragams are classified into various modes. These modes arereferred to as mela, which are 72 in number. The Tala (thalam) is the rhythmic foundation ofthe Carnatic music.There are a number of sections to the Carnatic performance. Varanam is a composition usuallyplayed at the beginning of a recital. It literally means a description. Varanam is made of twoparts- the Purvanga or the first half and the Uttaranga or the second half. The kritis are fixedcompositions in the rag. They have well identified composers and do not allow much scope forvariation. The "Alapana" offers a way to unfold the Ragam to the audience and at the same timeallows the artist substantial scope for creativeness. Ragam is a free melodic improvisation playedwithout mridangam accompaniment. Tanam is yet another style of melodic improvisation in freerhythm. Pallavi is short pre- composed melodic theme with words and set to one cycle of tala.Carnatic FundamentalsCarnatic music tends to be significantly more structured than Hindustani music; examples of thisare the logical classification of ragas into melakarthas, and the use of fixed compositions similarto Western classical music. Carnatic raga elaborations are generally much faster in tempo andshorter than their equivalents in Hindustani music. The opening piece is called a varnam, and is awarm-up for the musicians. A devotion and a request for a blessing follows, then a series ofinterchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalentto the jor). This is intermixed with hymns called krithis. This is followed by the pallavi or themefrom the raga. Carnatic pieces can also have notated, lyrical poems that are reproduced as such,possibly with embellishments and treatments as per the performers ideology; these basic piecesare called compositions and are popular among those who appreciate Carnatic (especially vocal)music. Compositions usually have amble flexibility in them so as to foster creativity: it iscommonplace to have same composition sung in different ways by different performers.
Tyagaraja (1759-1847) Muthuswami Dikshitar (1776-1827) Syama Sastri (1762-1827)Carnatic music is similar to Hindustani music in that it is improvised . Primary themes includeworship, descriptions of temples, philosophy, nayaka-nayaki themes and patriotic songs.Tyagaraja (1759-1847), Muthuswami Dikshitar (1776-1827) and Syama Sastri (1762-1827) areknown as the Trinity of Carnatic music, while Purandara Dasa (1480-1564) is often called thefather of Carnatic music.
Purandara Dasa (1480-1564)What is Indian music…?What is Indian Music ?The music of India is said to be one of the oldest unbroken musical traditions in the world. It is said thatthe origins of this system go back to the Vedas (ancient scripts of the Hindus). Many different legendshave grown up concerning the origins and development of Indian classical music. Such legends go a longway in showing the importance that music has in defining Indian culture.However the advent of modern historical and cultural research has also given us a good perspective on thefield. This has shown that Indian music has developed within a very complex interaction between differentpeoples of different races and cultures. It appears that the ethnic diversity of present day India has beenthere from the earliest of times.The basis for Indian music is "sangeet". Sangeet is a combination of three artforms: vocal music,instrumental music and dance. Although these three artforms were originally derived from the single fieldof stagecraft. Today these three forms have differentiated into complex and highly refined individualartforms.Its understanding easily consumes an entire lifetime.
The Raag and TaalRaag may be roughly equated with the Western term mode or scale. There is a system of seven noteswhich are arranged in a means not unlike Western scales. However when we look closely we see that it isquite different what we are familiar with.The taal (rhythmic forms) are also very complex. Many common rhythmic patterns exist. They revolvearound repeating patterns of beats.The interpretation of the raag and the taal is not the same all over India. Today there are two majortraditions of classical music. There is the north Indian and the south Indian tradition. The North Indiantradition is known as Hindustani sangeet and the south Indian is called Carnatic sangeet. Both systemsare fundamentally similar but differ in nomenclature and performance practice.Fundamentals of Raaga
The rag is the most important concept that any student of Indian music should understand. TheHindi/Urdu word "rag" is derived from the Sanskrit "raga" which means "colour, or passion" (Apte1987). It is linked to the Sanskrit word "ranj" which means "to colour" (Apte 1987). Therefore rag maybe thought of as an acoustic method of colouring the mind of the listener with an emotion. This is fine as ageneral concept but what is it musically? It is not a tune, melody, scale, mode, or any concept for which anEnglish word exists. It is instead a combination of different characteristics. It is these characteristicswhich define the rag. Here are the characteristics.There must be the notes of the rag. They are called the swar. This concept is similar to the Westernsolfege.There must also be a modal structure. This is called that in North Indian music and mela in carnaticmusic.There is also the jati. Jati is the number of notes used in the rag.There must also be the ascending and descending structure. This is called arohana /avarohana.Another characteristic is that the various notes do not have the same level of significance. Some areimportant and others less so. The important notes are called vadi and samavadiThere are often characteristic movements to the rag. This is called either pakad or swarup.In addition to the main characteristics of rag, there are some other less important ones. For instance ragshave traditionally been attributed to particular times of the day. They have also been anthropomorphizeinto families of male and female rags (raga, ragini, putra raga, etc.). There is a tendency to downgrade theimportance of these aspects due to their irrational and unscientific natureInstrumentalistsSundaram Balachander was a prominent Indian veena player with a unique style,remarkable as a classical musician in that he was self-taught. He is also known forhis work in cinema, his writing and his polemics. Balachander was a true larger-
than-life personality, yet always managed to combine his eccentricity with amusicianship that commanded respect from all quarters.Chitti Babu was born to Challapally Ranga Rao and Sundaramma of Kakinada,Andhra Pradesh. He was a child prodigy, who made his debut concert before histeens. He first learnt from Appalachariar and later was a prime disciple of EmaniSankara Sastry. He is said to have received a spontaneous gift of a pendant fromthe Maharaja of Mysore. The reason for the gift is supposed to be for his excellentconcert comparable to Veene Sheshanna. Some others say that it is for in-depthexplanation of a song of Thyagaraja. One day in the 2008 Music season of MadrasMusic Academy was dedicated to Chitti BabuVeenai Dhanammal was a highly accomplished Carnatic musician, and thetorchbearer of the school of Carnatic music that goes by her name. She was both avocalist and a performer on the veena. The prefix "Veenai" in her name is anindicator of her exceptional mastery of that instrument.Ganesh and Kumaresh are a well known duo of violin players who are a part of the South Indian music fraternity(Carnatic music). They are best known as modern contemparary artists and incorporate a lot of fusion more thanthe traditional styles of classicism in their music. They are a dynamic duo of violinists, who have carved a nichefor themselves in this era of great violinists.M.S. Gopalakrishnan (born June 10, 1931) is one of the well known violinists of the20th Century in the field of Carnatic music. He is a recipient of the prestigiousSangeetha Kalanidhi award in 1997. He is commonly grouped with LalgudiJayaraman and T.N.Krishnan to be called the violin-trinity of carnatic music.
Kadri Gopalnath is an Indian saxophonist and one of the pioneers of Carnaticmusic on the saxophone. Kadri Gopalnath was born in Dakshina Kannadadistrict, Karnataka. He acquired a taste for music from his father Thaniappa, anadhaswaram vidwan. Young Gopalnath once saw the saxophone being playedin the Mysore palace band set. Thrilled on hearing the vibrant tone of thesaxophone, Gopalnath decided to master it. It took him nearly 20 years for himto conquer the complex western wind instrument and he was eventuallycrowned as the "Saxophone Chakravarthy".Born in the lineage of an illustrious disciple of the great saint musician Thyagaraja,Sri Lalgudi Jayaraman inherited the essence of Carnatic music from his versatilefather late V R Gopala Iyer who trained him meticulously in the violin.Palghat T.S. Mani Iyer was one of the leading mridangists in the field of Carnaticmusic and the first mridangist to win the Sangeetha Kalanidhi and Padmabhushanawards. He was a legend even in his lifetime, one of the all-time greats, a genius atinnovation. His scintillating performances were an unforgettable treat to theaudience. Palghat on a poster or just a Mani was sufficient to attract the crowdsin droves. It would be no exaggeration to say that Palghat Mani Iyer raised thestatus of the mridangam and the mridangist to dizzy heights. An artiste of fewwords, he would sit on the dais all attention to the vocalist or violinist, a picture ofdignity and composure.R. Prasanna is a South Indian Carnatic musician who is one of the very few people who play the south Indianmusical art form of Carnatic music on the electric guitar. He not only plays carnatic music but is also a jazzmusician. Some also categorize Prasannas music under world fusion.
Vittal Ramamurthy is a leading and popular violinist in the Carnatic music traditionof South India. He is an outstanding soloist as well as an excellent accompanist. Heis a Grade A artiste of All India Radio and has performed extensively in NationalRadio and Television, in addition to live concerts.Padmashri Nadesan Ramani also known as Flute Ramani is a renowned IndianCarnatic flautist from Tiruvarur, Tamil Nadu. He is a disciple of the legendary T. R.Mahalingam, known more commonly as "Mali," who first popularised the Carnaticflute in Indian music. The birthplace of Ramani is symbolic in that Carnaticmusicians consider Tiruvarur the sacred sanctuary of Carnatic music, being thebirthplace of the "trinity" of Carnatic composers, Saint Tyagaraja, MuthuswamiDikshitar and Syama Shastri who laid the foundation for the tradition.Chitravina N. Ravikiran is a composer of Indian Carnatic music. He has been calledthe "Indian Mozart". He is probably most famous for his concept of "melharmony",which is harmony which stays within the melodic rules of an Indian raga (musicalmode). Considered a virtuoso chitravina player, he has been described as "probablythe greatest slide instrumentalist in the world today" by Radio Australia. Ravikiranhas also played the slide Hawaiian guitar, and is an accomplished vocalist. Heinvented a variant of the chitravina called the navachitravina, which is smaller andhas a clearer tone in the higher frequencies. He currently resides in Chennai, TamilNadu, India
Dr.Lakshminarayana Subramaniam is an acclaimed Indian violinist, composer and conductor, trained in theclassical Carnatic music tradition and Western classical music, and renowned for his virtuoso playing techniquesand compositions in orchestral fusion.Ghatam Giridhar Udupa is a leading percussionist from India.He plays the ghatam, which is a percussioninstrument used in Carnatic music (South Indian classical music) . He is the son of acclaimed MridangistVidwan Ullur Nagendra Udupa. He has been critically acclaimed by the press, and has been compared withGhatam legend Vikku Vinayakram.Udupa currently resides in Bangalore.The prodigious training he had from young age under his unsparing guru-his father, reflected in abundance in histuneful, melodious and technique perfect concerts. His graceful playing on the veena in strictly traditional styleevoked a reverential listening. Emani gave concerts throughout the length and breadth of India. His participationin east-west music festival, Tansen festival, Vishnu Digambar festival, sur singars Haridas sangeet sammelanand other prestigious music conferences won him distinction in the field of music. He established a distinctivestyle of his own and to him goes the credit of bringing veena to its place of pride.Trichy Sankaran is a South Indian percussionist, composer, scholar, and educator.He is acknowledged as one of the foremost virtuosos of the mridangam, a barreldrum used in Carnatic music, and also plays the kanjira on occasion. Since the early1970s, he has performed and recorded in a number of cross-cultural projects.Sankaran has lived in Toronto, Ontario, Canada since 1971 and is a Canadiancitizen. He is the founder of the Tyagaraja Festival in Toronto and is a professor ofmusic at York University. He has regularly performed at all leading organizations inChennai, India every December Music Season and continues to accompany a widearray of top ranked musicians. Trichy Sankaran is a South Indian percussionist,composer, scholar, and educator. He is acknowledged as one of the foremostvirtuosos of the mridangam, a barrel drum used in Carnatic music, and also plays
the kanjira on occasion. Since the early 1970s, he has performed and recorded in anumber of cross-cultural projects. Sankaran has lived in Toronto, Ontario, Canadasince 1971 and is a Canadian citizen. He is the founder of the Tyagaraja Festival inToronto and is a professor of music at York University. He has regularly performedat all leading organizations in Chennai, India every December Music Season andcontinues to accompany a wide array of top ranked musicians.Upalappu Srinivas also known as Mandolin U. Srinivas and U. Shrinivas, (bornFebruary 28, 1969) is a musician in the Carnatic musical tradition of southern India.He came to prominence not only for his playing but for his choice of instrument: anelectric mandolin (the acoustic instrument is incapable of sustaining notes orproducing the "slides" between notes necessary for Indian music). In recent yearshe has toured with John McLaughlin as part of the group Remember Shakti. Hisbrother U. Rajesh is also an accomplished mandolin player.Links
BibliographyA dictionary of South Indian music and musicians by P. SambamoorthyMadras, Indian Publishing HouseHistory of Indian music by P. SambamoorthyMadras, Indian Music Publishing HouseGreat composers by P. SambamoorthyMadras, Indian Music Publishing HouseMusical Instruments by B.C. DevaNew Delhi, National Book TrustAppreciating Carnatic Music by Chitravina N. RavikiranMadras, Ganesh & Co.Splendour of South Indian Music by Dr. P.Chelladurai Dindigul, Vaigarai Websiteswww.wikipedia.comwww.carnatica.com
BlossomHumour-UsSupershot Full Name Sudha Raghunathan Also known as M.L.V. varisu Profession Vocalist(carnatic music) Date of birth April 30. Birth place Bangalore Father Venkatraman Mother Choodamani Brother Prasad Venkatraman Husband Raghunathan(got married in 1982) Son: Kaushik Children Daughter:Malavika 8/1c , Baskarapuram, East Abhiramapuram, Chennai - 600 004. Contact address Phone : 91 44 499 6600, Fax : 91 44 499 6800 Email : firstname.lastname@example.org Education College -Ethiraj college M.A.( Economics) Mother, Mr.B.V.Lakshman and M. L. Vasanthakumari(started singing with her from Gurus 1979) "She had not taught us any songs. She would sing, mostly in performances from which Tutelage with MLV I had to learn. By following her in all her performances, I came to learn the songs. " Career started At the age of 19 Best performance Lincoln Centre in New York. playback singing Has rendered three songs in the film Ivan Singing style Spontaneous Music she likes to Soothing, sometimes something adventurous music hear her voice: talk in lower volume, and sometimes even complete silence. Secrets to her success: absolute dedication Singer- MLV Accompaniments: violin, mridangam, morsing, gadam Western: electric guitar Dish:-vendhiya kozhumbu and of course the all fav aalu (potato). Favourites Song: baro krishnayya Ragas:subapantuvarali, kalyani, hameer, kapi Composers: Tyagaraja and Purandaradasa and Sivan, among others.
Top Ranking artiste of the All India Radio, Chennai and performs regularly on AIR and Doordharshan unique privelge of being the Astana Vidushi of The Sri Sringeri Sharada Facts Peetam, Sringeri, The andavan ashramam, Srirangam the Ahobila Mutt. she exceled in debates, quiz, drama and essay writing during her student years Subbudu(critic):"If I were left deserted on a lonely island, and if I were granted permission to hold three products that I liked very much, I would list the following in order of my preference: Opinions A. An audio-visual cassette of singer Sudha Ragunathan; B. Betel leaves and tobacco to chew on while I listen to the music C. Poet Kannadasans works. Hobbies Reading fictional and inspirational books "SAMUDHAAYA FOUNDATION" was founded for social welfare activities on July 1999. The trust has donated money to Charity KARGIL DEFENCE PERSONNEL RELIEF FUND.-1999 cyclone stricken victims of Orissa in December 1999. Gujarat Earthquake Relief Fund 2001 Advice to To be loyal to guru, and be focused in practice. aspiring youngsters a school which will represent her style of music taking carnatic music from thousands to millions of people. Future goals to do research on what music can do in the field of medicine. AWARDS Woman of Golden Substance Award 1998-99 MLV Memorial Award, 1998 Bharat Jyoti, Bharathiya Vidhya Bhavan, New York, 1998 Sangeetha Choodamani, Sri Krishna Gaana Sabha, Madras 1997 Senior Musician Award, the Yogam Nagaswamy award at the Sadas of the Music Academy 1997 Bharatha Sangeetha Bhushan ---1997 Sangeetha Bhushini 1996 Kalaimamani award from the govt of tamilnadu-1993 Sangeetha Saraswathi from The Mahasannidhanam of Sringeri, 1993 Junior Fellowship for two years ( 1993 to 1995), from the Ministry of Human Awards and Resource Development, Government of India, given to outstanding Artistes in Honors the field of Performing Arts. Sri T. S. Rajam award for ‘Talented Outstanding Musician’ -1992 Received Most Outstanding Student for three years in succession while studying in the Ethiraj College . HONOURS Honour of performing at the Theatre de la Ville, Paris, France - 2000. She sang the Vande Mataram at the Central Hall of Parliament, New-Delhi on 27th January, 2000 to a full house in the presence of the President, the Prime Minister and other dignitaries to honour the completion of 50 years of the Indian Republic. Honour of performing at the Alice Tully Hall, Lincoln Centre, New York Broadway in 1998 for Bharatiya Vidya Bhavan, New York to commemorate 50
years of its inception. The only Asian to perform at the International Festival - ECHTERNACH at Luxembourg - 1995 Sang in the 8th World Tamil Conference held in Thanjavur in January 1995 Honour of participating in the 22nd I.T.C. Sangeeth Sammelan organised by the S. R. A. Calcutta held at Siri Fort, New Delhi in -1993.Compiled by: Poongodi SivagurunathanCourtesy: Net Resources
. About Us Partners Site Map Feedback .VOCALISTS: "I am thrilled that such a large festival is being dedicated in the name of my guru, GNB. He always advised me to develop an enquiring mindin music and thats what I would like to see in the emerging talents. The atmosphere here is wonderful with artistes and members of the audience havingmany opportunities for interaction." - Trichur V. Ramachandran. (Top to bottom) S. Sowmya, Kunnakudi Balamuralikrishna, Sudha Raghunathan, SriramGangadharan, Sangeetha Sivakumar, Palghat Sreeram, Trichur V. Ramachandran, Pantula Rama, Charumathi Ramachandran and T.N. Seshagopalan. Composition : Jayathi jayathi Raga : Khamas Composer : Mayuram His Music G.N.Balasubramaniam (Jan. 6th, 1910 - May 1st, 1965) G.N.Balasubramaniam The Prince Of Carnatic Music! The Man & his music His Music • GNB the Man • His Grand new Bani • His accompanists • GNB and vidwans of his era
GNB THE MANIt is now pertinent to write about GNB as a man, as little about his personal life is known.In the first instance, one has to wonder at his strong will and determination when weconsider the endless obstacles he had to surmount and the powerful currents of oppositionhe had to wade against in the music field, particularly as he was not tempera mentallysuited for wheeling and dealing. This field is infested by jealous and petty mindedvidwans and their fans who seldom can stomach anyone with genuine worth coming up inlife. GNB from the very beginning had the added disaavantage that he was the onlyeducated person in a field where education was at a discount and also scorned at. The upstart Theory Added to that, there was the rage aginst the upstart who had made good without goingthrough the rigours of a traditional Gurukulavasa. As S.Y.K. put it, " there were many whoshook their heads at the smrt of his concert eareer and prophesied that it was a flash in thepan - an exhibition of vocal dexterity which could not overcome the defect of the lack ofdiscipleship! They ate their words later when GNB established himself on orthodox lines,his originality being a distinction and not a deviation. "Mean men admire meanlyOne was reminded of the famous words of the great Mozart addressed to an ungeneouscritic of Haydn: " Sir, if you and I were both melted down together, we should not furnishmaterials for one Haydn ",
Even at a later date, when he had established his position and was reigning supreme, therewere many envious persons who started a campaign of veiled vilification which naturallyaffected the sensitive GNB. Right through his life, GNB had to counter the forces ofopposition which were surfacing now and then in different forms. Though in the earlystages he was able to counter opposition by his indomitable will and his innate musicalreserves, he was to some extent affected physically and mentally by such uncharitablecriticism at the later stages. As B.V.K.Sastri rightly remarks, GNB created an impressionof "evergreen youthfulness", so much so his admirers would not ta.ke him to be on theother side of 50. Like Endymion on Latmos, he was ever handsome. This combination offactors worked against him in later years.The utter lack of ego in GNB has been referred to earlier. He did not keep any mudra inhis compositions nor did he try to propagate them. Though he had discovered two ragasand had composed good kritis in those ragas, never did he pride himself about this. What acontrast to the spectacle we are witnessing today of Vidwans trying to sing their owncompositions on every possible occasion and talking loudly about the ragas they had created .A HedonistGNB liked the good things of life. He dressed immaculately for the concerts. He useddifferent perfumes for different occasions. So thorough was he about the perfumes andtheir combinations that he stunned a reputed perfumer of Thanjavur by correctly tellinghim the various "athars" that were mixed in a perfume that he gave to GNB.The voracious reader that he was, GNB always used to read foreign and local magazinesto enrich his knowledge. A glance at his writing and musings would reveal the breadth ofhis erudition and extent of his scholarship. The Presidential address he delivered at theMusic Adcademy in 1958 reproduced herein itself is a proofPrincipled ArtistThough GNB was the person most responsible for increasing the fees of musicians, he wasthe least commercial minded. He never exploited any situation to jack up his rate. Even onoccasions when he could have legitimately asked for more, GNB was content with hisusual fee. Many individuals and organisations admired this quality in him and willinglygave more than what was fixed. At the same time, there were others who exploited hisgood nature and did not give him his dues. As Palghat Mani Iyer, who knew GNB moreintimately than others, said at a public function, GNB never worried about money nor didhe respect a person because he was rich.Not very worldly-wisePerhaps from a pragmatic point of view, GNB was not worldly wise. He did not run afterpersons high or low for any favour. He did not respect people for their position alone,while for Art he would go out of the way and do anything. The few friends he had were
ever loyal to him because he was totally free from malice and rancour.GNBs capacity to stem the tides of unfair opposition and resist the ravages of illnessprobably stemmed from his involvement in Sri Vidya Upasana and his total surrender tohis Ishta Devata Sri Rajarajeswari. He was initiated in this by the great savant ThethiyurSubramania Sastrigal for whom GNB had the greatest respect and admiration. In the lateryears, GNB used to spend most of his time in Devi Upasana and it is the inspiration hederived therefrom that sprouted into fine compositions.The extent of his intellectual involvement in Sri Vidya Upasana may be gleaned from theepisode mentioned by C.Seshachalam in the Academys Journal. " On the eve of one ofmy visits to Kashmir, GNB expressed his yearning to secure a copy of that very raremanusript Srividyarnava of which only two copies are known to exist. Unluckily, theKashmir Government research authorities at Srinagar did not make the manuscriptavailable. This is an instance of his pursuit of deep study of Sri Vidya through whichdiscipline his nature mellowed,leaving the years of travail behind him.Devoid of any trace of jealousy, GNB remained a student all his life, quite willing to learnfrom anyone at any time. The way he attended the performances of other musicians andgenerously appreciated whatever was good in them is fit to be emulated by others.A Gifted AuthorA gifted speaker and reputed writer, GNB has given expression to his ideas on music,Katcheri dharma, etc, as well as his views on musicians of repute like Ariyakudi,Rajaratnam Pillai and others in articles and speeches many of which lie buried insouvenirs and such obscure publications. A serious attempt needs to be made to edit theseand bring them together in a book form for the ben efit of musicians and musicenthusiasts.Regarding Katcheri Dharma , GNB was forceful in his view that Madhyamakala piecesshall form the major share in a concert. The extract from one of his essays on the subject isrelevant:" In my opinion it is the Madhyamakala and this is an important aspect of CarnaticMusic which gives endless scope for improvisation and manodharma to the performer The Madhyamakala tempo of so many of our compositions and the style of most of our well-known musicians bear testimony to this fact. This by no means places chowka kala at adiscount. Beyond doubt, the chowka kala songs and padams reflect the soul of our ragas.But experience has shown that chowka kala is best enjoyed by audiences of cultivatedtaste. Its place is thus the chamber music where the audience is limited. My view is thattrue Carnatic bani should adequately provide for the three degrees of speed, Madhyamakala getting the lions share and the chowka kala just the minimum thatwould not tire. "
A GentlemanA gentleman in every respect, GNB would never talk disparagingly of any musician old oryoung. He did not hesitate to come down heavily on his own admirers, if they indulged inany such talk about others. Once when some one mentioned, that there was nothing new orrevealing in Ariyakudis music, GNB got annoyed, sang a few items as Ariyakudi wouldand demonstrated " how difficult it was for any musician to establish a quick rapport withhis audiences as Ariyakudi did. "Financial RectitudeThough he got large sums of money for his concerts, GNB saw to it that his accomapnistswere also equally rewarded. Whenever he used to get a lump sum for a concert, he used totell his accompanists how much actually he was getting and that he was proposing to givethem. " A rare quality indeed not to be seen nowadays " said T. K. Murthy in one of histributes to GNB. He further added an instance where GNB shared with his accompanistseven the additional fee he got for some of his concerts. His largeheartedness and lack ofego were conceded by all his accompanists.GenerosityFew people know that GNB was very charitably disposed towards indigent people,especially musicians. He was generous to a fault. He helped the family of Chinnaswamy, apiper attached to his family, for two generations. Whenever a needy musician came to himfor help, he would gladly part with hundreds of rupees. It appears he has even givenperformances to help out poor families. His disciples often had the control of his purse andthey were never asked to render accounts. He believed utterly in their bonafides. AsPalghat Mani Iyer had noted, GNB earned hugely and spent hugely and the meagresavings he had left for his wife and children bore no relation to the lakhs of rupees he hadearned from the film and music worlds. Financial prudence never claimed him for herown.An Understanding TeacherThe largeheartedness of GNB was also reflected in the way he taught his disciples. Quitesure of himself and his extraordinary capacity, GNB did not mind teaching his disciples allthe intricacies of the art in the most open manner. His innate capacity to bring out the bestin a young artist can be understood from the following episode. In the year whenMudikondan became Sangeetha Kalanidhi, Palghat Mani lyer and GNB were the judgesfor the pallavi competition held in the P.S.High School Hall. Young SirkazhiGovindarajan was one of the competitors. He rendered a complicated pallavi. The judgeswanted to test him and GNB took up the task. He sang the pallavi Mahima TeliyaTharama in Sankarabaranam and asked Sirkazhi to elaborate it and sing a few avarthansof swaras. Sikazhi tried but did not succeed. Finally, GNB asked Sirkazhi to sing with hima few rounds. Govindarajan at once got its outline, put up a good show and won a tambura
as prize. GNBs gift for bliinging out the latent talents of youngsters was unique.Votary of NadabrahmamGNB as Prof. T.V.Ramanujam says, was a conscious Votary and worshipper of Nadhabrahmam . He realised that , grammar and acrobatics should be be subordinated to poetry and aesthetics . That is why his raga alapanas, the sangathis in his kritis andswaraprasthara were all marked by real beauty and consummate artistry rather than byrhythmic jugglery. The great philosophers described the Good Life as dependent onTruth, Beauty and Goodness. There can be no greater tribute to GNBs music than that hewas constantly striving to and did succeed in making his music rest on these three pillarsTruth, Goodness and Beauty. In his heyday, he was ,truly " the monarch of the musicalkingdom " words applied by Beethoven to Handel.Loyalty to AcademyLastly, we should mention about GNBs loyalty to institutions like the Academy whichclaimed him as " Academys own musician ". He had the rare distinction of being a boyprize winner first, then presiding over the Expert Committee on getting the prestigioustitle of Sangeetha Kalanidhi . GNBs devotion to the Academy was such that he wouldnot take any payment for his concerts; when he did, he gave it back as his donation to theinstitution. This generous attitude of his was highly commended by the lateK.V.Krishnaswamy Iyer, the illustrious President of the Academy, in one of hisconcluding remarks at one of the sessions. It was GNB who also had the record of singingin the Academy continuously (except for 1959 when he was down with major illness) for27 years.It is difficult to imagine, as the eminent vainika S.Balachander has said, whether oneperson could combine in himself all the best qualities and attributes of a musician, acomposer, a musicologist, a teacher of music, a pressman and quite simply a man. If anydid, it was surely G.N.Balasubramaniam. He probably had the motto of Abraham Lincolnin his mind always: " I am not bound to winBut I am bound to be trueI am not bound to succeedBut I am bound to live up to the light I have " GNB the Man His Grand new Bani His accompanists GNB and vidwans of his era Biography | His Music | His Works | Teacher | Articles | Photo | Audio | Video | Tributes
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1. Valachi Vachchi - Navaragamalika Varnam - Adi - Patnam Subramanya Iyer (MP3, Lyrics) 2. Tarunam Idamma - Gowli Panthu - Adi - Shyama Shastri (MP3, Lyrics) 3. Sabapathikku Veru Devam Samanamaguma - Rupaka - Abhogi - Gopalakrishna Bharathi (MP3, Lyrics) 4. Bagayanayya Nee Maya Lentho - Adi - Chandrajyothi - Tyagaraja (MP3, Lyrics) 5. Nee Kela Dayaradu - Khanda Chapu - Sarasangi - Ramaswamy Sivan (MP3) 6. Ennadu Joothuno - Adi - Kalavathi - Tyagaraja (MP3, Lyrics) 7. Parandhamavathi Jayati - Rupaka - Dharmavathi - Muthuswami Dikshitar (MP3) Neraval & Swaras at "Paramjyothi Vikasini Paramatma Prakashini" 8. Ninne Nammi Nanu - Misra Chapu - Thodi - Shyama Shastri (MP3) Neraval & Swaras at "Kamakshi Kanjadalayatakshi" Thaniavartanam 9. Ethanai Sonnalum - Adi - Saveri - Vaidkeeswaram Koil Subbarayar (MP3) 10. Muttavaddu Ra Nannipudu (Javali) - Adi - Saveri - Chinniah (Tanjavur Quartette)* (MP3) 11. Ennatavam Seydanai Yasoda - Adi - Kapi - Papanasam Sivan (MP3, Lyrics) 12. Krishna Nee Begane Baaro - Chapu - Yamuna Kalyani - Vyasaraya (MP3, Lyrics) Bhavamana (Mangalam) - Adi - Sourashtra – Tyagaraja 13.Mambalam Sisters showed that they possess a rich and varied repertoire and were shrewd enough to makespecial announcements whenever they sang chosen numbers. The raga alapanas for Shubapantuvarli (‘VelaneVere Gathi’- Koteeswara Iyer) and Kharaharapriya (‘Chakkani Raja Maargamu’ - Tyagaraja) reflected innatestrength and the swara handshakes were pacy — a quality that has come to stay in duets. B.V. Raman (theirguru) was respectfully rememb ered and an ashtapadi of Jayadeva (‘Mamiyam Chalita’ - Bagyashree) tunedby him was sung. The sisters also rendered a song tuned by Swami Haridas Giri that meshed well with theconcert hall. The other songs were ‘Sri Mathru Bhootham’ (Kannada - Dikshitar) and ‘Mohana Krishna’ (GNB-Kathana Kuthoohalam). The sisters experienced noticeable difficulty, as they reached and exploited theirvoices at the upper registers and consequently sruti alignment became a miss-and-try exercise on occasions.Hemalatha (violin), though probably of the same mould accompanied with her individualistic style.The layam complement of Kudandhai Saravanan (mridangam), Sri Rangachari (kanjira) andChidambaram Rajendran (morsing) tended to be noise-prone and the thani as they combinedtogether went beyond listenable levels.Printer friendly pageMUSICAL BONHOMIE (from left)Melakkaveri Balaji, AkkaraiSubhalakshmi, Savita Narasimhan, Gayathri Venkatraghavan,Gayathri Girish, Sangeetha Sivakumar, Sikkil Gurucharan Photo:V. GANESAN
Vaadya - A timeless Celebration of Carnatic Classical Music by MUSIC TODAY group. It is a 8 CDCollection . The artists areV.Doreswamy Iyengar - VeenaTN Krishnan - Violin,N.Ravikiran - Chitraveena,Mambalam MKS Siva - Nadaswaram,Kadrigopalnath - Saxophone,U.Srinivas- Mandolin,Prasanna - Guitar,Dr.N.Ramani- Flute.
Indian Dance formsKathakaliThe word Kathakali means enacting a story as a detailed dance. Often the story is relating the victory oftruth over falsehood.A most important characteristic of Kathakali is the use of its typical make-up and colorful costumes. Thisis to emphasize that the characters are not humans but super natural beings from the heavens andtheir make-up is easily recognizable to the trained eye as satvik or godlike, rajasik or heroic, and tamasik ordemonic. The performing art Kathakali is now attracting tourists from all over the world and is a mainattraction for tourists who visit Kerala from European and other western nations. Lot of reswarch is alsobeing done relating the topic. Foreigners who tour Asia and who plan trips to India tend to concentrateon various cultural and traditional aspects of the country like dance and music. click here for details>>Mohini attamThe theme of Mohini attam dance is adored dedication to god. In most cases Vishnu or Krishna is thehero. The audience can feel His invisible attendance when the heroine or details the story throughcircular movements, subtle expressions and delicate footsteps. Through leisurely and medium tempos,the dancer incorporates various improvisations and suggestive bhavas and rasas or emotions.The Mohini attam dancer maintains sensible make-up and adorns a simple dressing style, whencompared to costumes of other Indian dances forms. The dancer often wears a beautiful white withgold jerry border Kasavu saree of Kerala, with the distinctive white sweet smelling jasmine flowersaround the knot of hair on her head.Bharata NatyamBharata Natyam the traditional dance form of Tamil Nadu has been handed down through the past fewcenturies by dance teachers (or gurus ) called nattuwanars and the temple dancers, called devadasis . In the sacredenvironment of the South Indian temple these families developed and propagated their heritage ofdance and music. The training traditionally took around seven years under the direction of thenattuwanar who were scholars and persons of great learning. The four maestro nattuwanars of Tanjore,Tamil Nadu were adorned as the Tanjore Quartet and were brothers named Chinnaiah, Ponnaiah,Shivanandam and Vadivelu. The Bharata Natyam dance as we know it today was constructed by thisgifted Tanjore Quartet. Bharata natyam is also having a lot of serious audience from all over the world.Foreigners who tour Asia and who plan trips to India tend to concentrate on various cultural andtraditional aspects of the country like dance and music.KathakThis traditional north Indian dance form is intimately bound with classical north indian Hindustanimusic, and the musical quickness of the feet is accompanied by the table or pakhawaj. The storiesenacted in this dance form are that of Radha and Krishna, in the Natwari style (as it was then called) butthe Moghul invasion of North India had a somber impact on the dance. The dance was taken to Muslimcourts and thus it became more entertaining and less religious in content. More emphasis was laidon nritta , the pure dance aspect and less on abhinaya (expression and emotion).
Mahaa Deeva sutam Guru guhanutam.gmpn npp, S,n, S,S, / ,,RR S,RR S,Sn R,,,Deeva sutam Guru guhanutam.G,,, M,R, ,S,, ,Sn, / p,,, p,m, mgpm r,,,Maarakooti prakaasham Shaantham.Madhyama Kaalammp,m ,pS, rg,m ,pm, / p,mp nnpn MRS, S,npMha kavya naatakaa di priyam mooshika vaahana modaka priyamchakkani rAja mArgamuraagam: kharaharapriyaataaLam: aadipallavichakkani rAja mArgamu lunDaga sandula dUranela O manasAanupallavichikkani pAlu mIgada unDaga chIyanu gangA sAgara mElEcharaNamkanTiki sundaramagu rUpamE mukkaNTi nOTa celagE nAmamE tyAgarAjintanEnelakonnadi daivamE iTuvaNTi shrI sAkEta rAmunimuni bhaktiyanEMeaning:O mind! When the spacious royal path to salvation is available, why should you take to by-lanes? When nutritious creamy milk is available, will anyone think of detestable toddy Ð Gangasagaram?When you can feast your eyes on the ravishingly beautiful form of SRI RAMA, when LORD SHIVA is eternally chanting the name of SRI RAMA, who has condescended to grace the abode ofTyagaraja, why should you resort to devious and labyrinthine paths instead of the royal path to salvation?
Download Melakartha Raga NotesThe Melakarta Ragams are the 72 basic Janaka (Root) ragams for all of the infinite others in Carnatic Music. All of these ragams are saptaswaras, that is that they have all sevennotes - Sa, Re, Ga, Ma, Pa, Da, Ne, and Sa. The system is divided into two sets of 36 ragams - one set with the first Ma and the second Ma. This is very similar to the Westernconcept of scales and the circle of flats. Sapta TalasClick on the name of the raga to listen to the notes of the corresponding ragas. Enjoy FREE Carnatic Music Melakartha raga download. 1. Kanakangi S R1 G1 M1 P D1 N1 S * S N1 D1 P M1 G1 R1 S 2. Ratnangi S R1 G1 M1 P D1 N2 S * S N2 D1 P M1 G1 R1 S 3. Ganamurthi S R1 G1 M1 P D1 N3 S * S N3 D1 P M1 G1 R1 S 4. Vanaspati S R1 G1 M1 P D2 N2 S * S N2 D2 P M1 G1 R1 S 5. Manavati S R1 G1 M1 P D2 N3 S * S N3 D2 P M1 G1 R1 S 6. Tanarupi S R1 G1 M1 P D3 N3 S * S N3 D3 P M1 G1 R1 S 7. Senavati S R1 G2 M1 P D1 N2 S * S N1 D1 P M1 G2 R1 S 8. Hanumadtodi S R1 G2 M1 P D1 N3 S * S N2 D1 P M1 G2 R1 S 9. Dhenuka S R1 G2 M1 P D1 N3 S * S N3 D1 P M1 G2 R1 S 10. Natakapriya S R1 G2 M1 P D2 N2 S * S N2 D2 P M1 G2 R1 S 11. Kokilapriya S R1 G2 M1 P D2 N3 S * S N3 D2 P M1 G2 R1 S 12. Rupavati S R1 G2 M1 P D3 N3 S * S N3 D3 P M1 G2 R1 S 13. Gayakapriya S R1 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R1 S 14. Vakulabharanam S R1 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R1 S 15. Mayamalavagaula S R1 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R1 S 16. Chakravakam S R1 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R1 S 17. Suryakantham S R1 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R1 S 18. Hatakambari S R1 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R1 S 19. JhankaradhvaniS R2 G2 M1 P D1 N1 S * S N1 D1 P M1 G2 R2 S 20. Nathabhairavi S R2 G2 M1 P D1 N2 S * S N2 D1 P M1 G2 R2 S 21. Kiravani S R2 G2 M1 P D1 N3 S * S N3 D1 P M1 G2 R2 S 22. Kharaharapriya S R2 G2 M1 P D2 N2 S * S N2 D2 P M1 G2 R2 S 23. Gaurimanohari S R2 G2 M1 P D2 N3 S * S N3 D2 P M1 G2 R2 S 24. Varunapriya S R2 G2 M1 P D3 N3 S * S N3 D3 P M1 G2 R2 S 25. Mararanjani S R2 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R2 S 26. Charukeshi S R2 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R2 S 27. Sarasangi S R2 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R2 S 28. Harikamboji S R2 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R2 S 29. Dhirasankaraabharanam S R2 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R2 S 30. Naganandini S R2 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R2 S 31. Yagapriya S R3 G3 M1 P D1 N1 S * S N1 D1 P M1 G3 R3 S 32. Ragavardhini S R3 G3 M1 P D1 N2 S * S N2 D1 P M1 G3 R3 S 33. Gangeyabhushani S R3 G3 M1 P D1 N3 S * S N3 D1 P M1 G3 R3 S 34. Vagadhishwary S R3 G3 M1 P D2 N2 S * S N2 D2 P M1 G3 R3 S 35. Sulini S R3 G3 M1 P D2 N3 S * S N3 D2 P M1 G3 R3 S 36. Chalanatta S R3 G3 M1 P D3 N3 S * S N3 D3 P M1 G3 R3 S 37. Salagam S R1 G1 M2 P D1 N1 S * S N1 D1 P M2 G1 R1 S 38. Jalarnavam S R1 G1 M2 P D1 N2 S * S N2 D1 P M2 G1 R1 S 39. jhalavarali S R1 G1 M2 P D1 N3 S * S N3 D1 P M2 G1 R1 S 40. Navaneetham S R1 G1 M2 P D2 N2 S * S N2 D2 P M2 G1 R1 S 41. PavaniS R1 G1 M2 P D2 N3 S * S N3 D2 P M2 G1 R1 S 42. RaghupriyaS R1 G1 M2 P D3 N3 S * S N3 D3 P M2 G1 R1 S 43. GavambhodhiS R1 G2 M2 P D1 N1 S * S N1 D1 P M2 G2 R1 S 44. BhavapriyaS R1 G2 M2 P D1 N2 S * S N2 D1 P M2 G2 R1 S 45. Subhapanthuvarali S R1 G2 M2 P D1 N3 S * S N3 D1 P M2 G2 R1 S 46. Shadvidha Margini S R1 G2 M2 P D2 N2 S * S N2 D2 P M2 G2 R1 S 47. Suvarnangi S R1 G2 M2 P D2 N3 S * S N3 D2 P M2 G2 R1 S 48. Divyamani S R1 G2 M2 P D3 N3 S * S N3 D3 P M2 G2 R1 S 49. Dhavalambari S R1 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R1 S 50. Namanarayani S R1 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R1 S 51. Kamavardhini S R1 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R1 S 52. Ramapriya S R1 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R1 S 53. Gamanasrama S R1 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R1 S 54. Viswambhari S R1 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R1 S 55. Syaamalangi S R2 G2 M2 P D1 N1 S * S N1 D1 P M2 G2 R2 S 56. Shanmughapriya S R2 G2 M2 P D1 N2 S * S N2 D1 P M2 G2 R2 S 57. Simhendra madhyamam S R2 G2 M2 P D1 N3 S * S N3 D1 P M2 G2 R2 S 58. Hemavati S R2 G2 M2 P D2 N2 S * S N2 D2 P M2 G2 R2 S 59. Dharmavati S R2 G2 M2 P D2 N3 S * S N3 D2 P M2 G2 R2 S 60. Nitimati S R2 G2 M2 P D3 N3 S * S N3 D3 P M2 G2 R2 S 61. Kantammani S R2 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R2 S 62. Rishabhapriya S R2 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R2 S 63. Lahangi S R2 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R2 S 64. Vaachaspathi S R2 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R2 S 65. Mechakalyani S R2 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R2 S 66. Chitraambari S R2 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R2 S 67. Sucharitra S R3 G3 M2 P D1 N1 S * S N1 D1 P M2 G3 R3 S 68. Jyothiswaroopini S R3 G3 M2 P D1 N2 S * S N2 D1 P M2 G3 R3 S 69. Dhaatuvardhini S R3 G3 M2 P D1 N3 S * S N3 D1 P M2 G3 R3 S 70. Nasikaabhooshani S R3 G3 M2 P D2 N2 S * S N2 D2 P M2 G3 R3 S 71. Kosalam S R3 G3 M2 P D2 N3 S * S N3 D2 P M2 G3 R3 S
72. Rasikapriya S R3 G3 M2 P D3 N3 S * S N3 D3 P M2 G3 R3 S 73.http://sushantskoltey.wordpress.com/category/sushant-koltey/page/11/These are very few classical musical instruments traditionally used in INDIA.Baja (HaThese are very few classical musical instruments traditionally used in INDIA.Baja (Harmonium)Bansuri (Flute)Bul Bul TarangChimta (Tong)Dhol (Bhangara Drum)Dholak (folk Drum)Dilruba (Bowed)Esraj (Bowed)Ghungaru (Dance Bells)HarmoniumKhanjeera, KhanjiraKhartal, KartalManjeera, ManjiraMridangamNaalNadaswaramNagaswaramPakhavajSantoor, SanturSarod, SarodeShankhaShehnai, ShahnaiShruti BoxSitarSurbaharSwarpeti, SurpetiTablaTanpura (Tambura, Tamboora)