pallavi
SrI raghuvar(A)pramEya mAm-ava
anupallavi
SrI raghu kula jala nidhi sOma
SrI rAma pAlaya (SrI)
caraNam
caraNam 1
sArasa hita kul(A)bja bhRnga
sangIta lOla (SrI)
pallavi
SrI raghuvara-apramEya mAm-ava
O Lord SrI raghuvara, the Unfathomable Lord (apramEya) (raghuvarApramEya)! Please protect (ava) me (mAM) (mAmava).
anupallavi
SrI raghu kula jala nidhi sOma
SrI rAma pAlaya (SrI)
O Lord SrI rAma – the Moon (sOma) born in the Ocean (jala nidhi) of the blessed (SrI) raghu dynasty (kula)! Please nourish (pAlaya) me;
O Lord SrI raghuvara, the Unfathomable Lord! Please protect me.
caraNam
caraNam 1
sArasa hita kula-abja bhRnga
sangIta lOla (SrI)
O Bee (bhRnga) hovering over the Lotus (abja) of the Solar – friend (hita) of Lotus (sArasa) – dynasty (kula) (kulAbja)! O Enjoyer (lOla) of music (sangIta)!
O Lord SrI raghuvara, the Unfathomable Lord! Please protect me.
Notes
Variations - (Pathanthara)
References
1 - mUrchana – definition of the term -
"a gamaka that involves using the proper shaking required in the raaga that is being performed"
The dictionary meaning is 'cadence', ‘modulation’, 'melody’, ‘the regulated rise or fall of sounds through the grAma of the musical scales’. According to ‘karnAtaka sangIta Sastra’ by SrI AS Panchapakesa Iyer - there are three types of grAma (svara clusters) – shadjasvara, madhyamasvara, gAndhArasvara – the last being used only for chanting sAma vEda.
“The scales that emerge when each successive note of the scale is made the tonic note and a new set of notes defined from that point. The word is deriving from the root moorcha, meaning unconsciousness. The change of the shhadja in emphasising a note gives the mind an opportunity to take another pathway, which changes the feel of the first Raga that was being performed. This new pathway ends in a new Raga, with redefined relationships among the notes. When Ragas are derived from Moorchanas, the technique is called Moorchana Paddhati .”
‘Theory of Murchanas and Murchana Computation’
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