Sri Raja Rajeswari Ashtothram

I am a deity of Sri Raja Rajeswari. when i was searching for the raja rajeswari ashtothram i couldn't find in tamil. But i got in english, still i am not satisfied that the pronounciation was different when i tried in the english version. so i downloaded this ashtothram in mp3 and i tried to translate in tamil. if anybody finds any mistake please comment in the page so that i can correct the lyrics.

பஞ்சமம் ஸ்ரீ ராஜராஜேஸ்வரி அஷ்டோத்தரம்

1. ஓம் ஸ்ரீ ராஜராஜெச்வர்யை நமஹ:
2. ஓம் ஸ்ரீ புவனேச்வர்யை நமஹ:
3. ஓம் ராஜேஸ்வரியை நமஹ:
4. ஓம் ராஜராஜெச்வர்யை நமஹ:
5. ஓம் காமேஸ்வர்யை நமஹ:
6. ஓம் பாலாத்ரிபுரசுந்தர்யை நமஹ:
7. ஓம் சர்வைஷவர்யை நமஹ:
8. ஓம் கல்யாணைஸ்வர்யை நமஹ:
9. ஓம் சர்வ சம்ஷோபினையை நமஹ:
10. ஓம் சர்வ லோகஹா ஷரீரின்யை நமஹ:
11. ஓம் சௌ கம்திகமிலத் துவேஷ்டியை நமஹ:
12. ஓம் மந்த்ரின்யை நமஹ:
13. ஓம் மந்திரரூபிண்யை நமஹ:
14. ஓம் பிரக்ருத்யை நமஹ:
15. ஓம் விக்ருத்யை நமஹ:
16. ஓம் ஆதித்யை நமஹ:
17. ஓம் சௌபாகியவத்யை நமஹ:
18. ஓம் பத்மவத்யை நமஹ:
19. ஓம் பகவத்யை நமஹ:
20. ஓம் ஸ்ரீமத்யை நமஹ:
21. ஓம் சத்யவத்யை நமஹ:
22. ஓம் ப்ரியக்ருத்யை நமஹ:
23. ஓம் மாயாயை நமஹ:
24. ஓம் சர்வமங்களாயை நமஹ:
25. ஓம் சர்வலோகஹா மோகனாதிஷான்யை நமஹ:
26. ஓம் கிங்கரி பூத கீர்வான்யை நமஹ:
27. ஓம் பரப்ரம்ம ஸ்வரூபிண்யை நமஹ:
28. ஓம் புரணாகம ரூபிண்யை நமஹ:
29. ஓம் பஞ்சப்ரணவ ரூபிண்யை நமஹ:
30. ஓம் ஸர்வக்ரஹ ரூபிண்யை நமஹ:
31. ஓம் ரக்தகந்த கஸ்தூரி விலேபன்யை நமஹ:
32. ஓம் ஞாயை நமஹ:
33. ஓம் ஷ்ரன்யையை நமஹ:
34. ஓம் நிகில விதேச்வர்யை நமஹ:
35. ஓம் ஜநேஷ்வர்யை நமஹ:
36. ஓம் பூதேஸ்வர்யை நமஹ:
37. ஓம் சர்வ ஷாக்ஷின்யை நமஹ:
38. ஓம் ஷேமகாரின்யை நமஹ:
39. ஓம் புன்யாயை நமஹ:
40. ஓம் சர்வரக்ஷன்யை நமஹ:
41. ஓம் சகலதர்மின்யை நமஹ:
42. ஓம் விஸ்வகர்மின்யை நமஹ:
43. ஓம் சுரமுனி தேவநுதாயை நமஹ:
44. ஓம் சர்வலோகஹா ராத்த்யாயை நமஹ:
45. ஓம் பத்மசனா சீனாயை நமஹ:
46. ஓம் யோகீஸ்வர மனோதேய்யாயை நமஹ:
47. ஓம் சதுர்புஜாயை நமஹ:
48. ஓம் சர்வார்த்த சாதனா திஸாயை நமஹ:
49. ஓம் பூர்வாயை நமஹ:
50. ஓம் நித்யாயை நமஹ:
51. ஓம் பரமானந்தாயை நமஹ:
52. ஓம் கலாயை நமஹ:
53. ஓம் அனகாயை நமஹ:
54. ஓம் வசுந்த்ராயை நமஹ:
55. ஓம் ஷுபப்ரதாயை நமஹ:
56. ஓம் த்ரிகாலக் ஞான சம்பன்னாயை நமஹ:
57. ஓம் பீதாம்பர தராயை நமஹ:
58. ஓம் ஆனந்த்தாயை நமஹ:
59. ஓம் பக்தவத்சலாயை நமஹ:
60. ஓம் பாதபத்மாயை நமஹ:
61. ஓம் ஜகத்காரின்யை நமஹ:
62. ஓம் அவ்வியயாயை நமஹ:
63. ஓம் லீலா மானுஷ விக்ராஹாயை நமஹ:
64. ஓம் சர்வமாயாயை நமஹ:
65. ஓம் மிருத்யு ஜெயாயை நமஹ:
66. ஓம் கோடி சுர்யசமப்ரபாயை நமஹ:
67. ஓம் பவித்ராயை நமஹ:
68. ஓம் பிராணதாயை நமஹ:
69. ஓம் விமலாயை நமஹ:
70. ஓம் மஹாபுஷாயை நமஹ:
71. ஓம் சர்வ பூத ஹித ப்ரதாயை நமஹ:
72. ஓம் பத்மலயாயை நமஹ:
73. ஓம் சுதாயை நமஹ:
74. ஓம் ஸ்வன்காயை நமஹ:
75. ஓம் பத்மராக கிரிடின்யை நமஹ:
76. ஓம் சர்வபாவவிநாசின்யை நமஹ:
77. ஓம் சகல சம்பத் ப்ரதாயின்யை நமஹ:
78. ஓம் பத்மகந்தின்யை நமஹ:
79. ஓம் சர்வவிக்ன கேச துவும்சின்யை நமஹ:
80. ஓம் ஹேமமாலின்யை நமஹ:
81. ஓம் விஸ்வமூர்த்த்யை நமஹ:
82. ஓம் அக்னிகல்பாயை நமஹ:
83. ஓம் புண்டரிகக்ஷின்யை நமஹ:
84. ஓம் மகாசக்தியை நமஹ:
85. ஓம் புத்தாயை நமஹ:
86. ஓம் பூதேச்வர்யை நமஹ:
87. ஓம் அதுர்ஷாயை நமஹ:
88. ஓம் சுபேக்ஷனாயை நமஹ:
89. ஓம் சர்வதர்ஷின்யை நமஹ:
90. ஓம் ப்ராநாயை நமஹ:
91. ஓம் ஸ்ரேஷ்டாயை நமஹ:
92. ஓம் ஷாந்தாயை நமஹ:
93. ஓம் தத் த்வாயை நமஹ:
94. ஓம் சர்வஜனன்யை நமஹ:
95. ஓம் சர்வலோகஹா வாசின்யை நமஹ:
96. ஓம் கைவல்ய ரேகாவல்யை நமஹ:
97. ஓம் பக்தபோஷன வினோதின்யை நமஹ:
98. ஓம் தரித்ரிய நாசின்யை நமஹ:
99. ஓம் சர்வோ பத்ரோவவாரின்யை நமஹ:
100. ஓம் சம்விதா நந்த லஹர்யை நமஹ:
101. ஓம் சதுர் தசாந்த கொனஸ்தாயை நமஹ:
102. ஓம் சர்வாத்மாயை நமஹ:
103. ஓம் சத்யவக்ரியை நமஹ:
104. ஓம் நியாயாயை நமஹ:
105. ஓம் தனதானிய நித்யை நமஹ:
106. ஓம் காயக்ருத்யை நமஹ:
107. ஓம் ஆனந்தஜித்யை நமஹ:
108. ஓம் ஸ்திராயை நமஹ:

இதி ஸ்ரீ ராஜா ராஜேஸ்வரி அஷ்டோத்தரம் சம்புர்ணம்.

This is the link from where you can download to hear the ashtothram and also if you find any mistakes while hearing please give me the comments so that I can correct the spelling.

http://www.mediafire.com/?nw0hmyz2vdi

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Limpid Voice

The children absorbed music from the air around them. Vadiva would play the veena while Kunja sang, and Sakti drummed along. "He was very good on the mridangam," M.S. would say with pride. After his death her voice trembled, "Now I have none to call my own." Bedridden at 87, her mind slipping into unconsciousness, "Anna!" was the name she called out in yearning, along with Amma and Appa. She had returned to her childhood world. The family just about managed to survive. Kunjamma knew only coriander coffee and country jaggery, and grew up always checking to see if others had enough before helping herself to anything. But the home was rich in music. The nadaswaram players on temple processions would stop by Shanmukhavadivu's home and play their best. Mother made music, while musician visitors sang and played instruments from gottuvadyam to jalatarangam. They invariably asked Kunjamma to sing, and blessed her. Being asked to sign another piece or a cryptic "You must come up well," meant high praise. Some of them even taught her a song or two. Devotion to god, respect for elders, self-effacement and humility were part of her home culture. Her fawnlike timidity was her own. She was never to lose it. Did the child know she was gifted? Beautiful? "Mother was a woman of few words. I remember how irksome she found it when she spread my thick, curly hair over the washing stone and cleaned it with shikai and water. We didn't talk about talent. We were simply told to practise." Singing came to little Kunja as leaves to trees, bees to flowers. Her concentration was phenomenal, it gave her perfect sruti alignment, and raga fidelity. There was nothing else to think about except music. She heard the temple nadaswaram, a few concerts, the neighbour's radio (they didn't have one), and folk song from street beggars. Singing was as inevitable and essential as breathing. Listening to the tambura was rapture. Schooling was given up after a beating by a teacher, which aggravated her whooping cough. To the family's amusement, an old mendicant pilgrim took upon himself the task of teaching Kunjamma the grantha script, as also Sanskrit shlokas. Formal music lesson began with Srinivasa Iyengar, whose sudden death was a shock to the child. (Years later, she was to be similarly disheartened by the demise of doyen Mazhavarayanendal Subbarama Bhagavatar, who had started training her in pallavi singing). By this time Kunjamma had already begun to sing with her mother's veena on the stage. This happened as a matter of course, without fuss and fanfare. the impossibly high-pitched Khamboji in "Marakatavadivu" released her voice on the gramophone `plate'. In course of time, concert notices announced "Miss Shanmugavadivoo" as accompanist to "Miss Subbalakshmi of Madura." However, Kunjamma began to draw people's attention with her limpid voice, winsome expression, and childlike demeanour. What warmed her heart, and boosted her confidence — never high — was encouragement from senior musicians. The irascible laya maestro Dakshinamurthy Pillai not only asked her to sing for a family wedding, but praised her pure voice and emotive approach in public, before a galaxy of musician guests. Veenai Dhanammal was another to express cryptic approval when Shanmukhavadivu took her daughter to see the redoubtable old lady in `pattinam' (Madras).

Life of Magical Voice

The seven basic swaras occupy various swara sthanas and produce a total of sixteen swaras that form the basis of the raga scheme. It should be emphasized that the swara sthanas are nominal and in actual usage, depending on the raga, the swara is not fixed at any one sthana but appears at various locations around a nominal swara sthana in different swara phrases. The Shadja and Panchama swaras are like the foundations upon which the rest of the melody is constructed. So, these occupy fixed sthanas. The names of the swaras and the swara sthanas are as follows:


Name Pronunciation

1. Shadjam sa
2. Suddha Rishabam small ri
3. Chatusruti Rishabam big ri
4. Suddha Gandharam ga
5. Shatsruti Rishabam ra
6. Sadharana Gandharam small ga
7. Andhara Gandharam big ga
8. Suddha Madhyamam small ma
9. Prathi Madhyamam big ma
10. Panchamam pa
11. Suddha Dhaivatham small da
12. Chatusruti Dhaivatham big da
13. Shatsruti Dhaivatham da
14. Suddha Nishadam na
15. Kaisika Nishadam small ni
16. Kakali Nishadam big ni

Some more theories in the upcoming posts. Let us see some of the legend musicians .Now a days there are lots of Musicians whose performance are marvellous. But even though we cant forget the legend singers. In those Legend singers we should always remember M.S. amma. She did some wonderful jobs using her magical voice. Her pronunciation of words in carnatic music is wonderful. Her sincerity towards music was highly appreciable. !" Over seven decades, three generations of listeners have known the same exaltation in Madurai Shanmukhavadivu Subbulakshmi's vocal magic. They see M.S. as a saint, even goddess incarnate. M.S. was born in Madurai on September 16, 1916. Her auspicious Bharani star `presaged' the conquest of the world. Mother Shanmukhavadivu was a respected but impoverished veena player, supporting a family of three children, uncles, brothers, and their wives, all crammed into the airless rooms of a small house on Hanumantarayan Street. Now the house is marked by a small metal image of the veena nailed above the threshold. Kunjamma (as she was called at home) was to know the perplexities of seeing her lawyer father living with his own family in an adjacent street. But Subramania Iyer was exceedingly fond of his "Rajathippa" (princess). He singled her out to ride with him on the open carriage bearing the portrait of Lord Rama through the streets on the days he offered bhajanai to the deity. It is he who gave Kunja her serene features, and "made me see that bhakti was everything." Her father had shown her the ardour of devotional singing, much before husband Sadasivam put bhajans on a par with classical compositions. Her magical voice’s composition will be coming soon.

Here’s the magical voice:

http://www.mediafire.com/?iqzkxnhzuky
http://www.mediafire.com/?olvmgmyoyy1

Introduction To Theory of Music

Introduction

Getting started with a single topic is difficult. Lets first talk about music in my first topic. The tradition of Indian music practiced and developed is nearly three thousand years old. Indigenous musical styles and schools evolved and developed in different regions of the country by blending purely ritualistic music and folk music. The basic elements remain the same. The semantic divide between the two styles started from the time of the 'Sangeetaratnakara' of Sharangadeva (1210-1247 AD). This was later enhanced by the Muslim influence and this musical bifurcation was described for the first time as Hindustani and Carnatic music by Haripaladeva in his text the 'Sangeetsudhakara' (1309-1312 AD).

What is music?

Music can be defined as organised sound, with ragam and thaalam. A ragam is melody and the thaalam is the beats. The most general definition of music is any set of organised sounds which has been planned so that the sound produced is largely consistent. Every music comprises of seven basic notes called SapthaSwaram. Sapthaswaram comprises of sa,re,ga,ma,pa,dha and ni.

Ragam

Each Ragam has its own scale consisting of minimum five and maximum seven notes (swaram). A raga has specific ascending (Aarohanam) and descending (Avarohanam) movements, specific dominating notes and specific notes complementing the Vadi notes. The characteristic phrases of a raga establish its identity and mood. In ragam there are 72 melakartha ragams.

Indian classical music has two distinct styles-Hindustani classical music and Carnatic music. Hindustani music is prevalent all over India except in the Southern States, where Carnatic music is practiced.

Similarities and differences between Hindustani and Classical Music
In both the music the styles are monophonic, follow a melodic line and employ a drone with the help of one or two notes against the melody. Both the styles use definite scales to define a raga but the Carnatic Style employs Shrutis or semitones to create a Ragam and thus have many more Ragams than the Hindustani style. Carnatic ragams differ from Hindustani ragams. The names of ragas are also different. However, there are some ragas which have the same scale as Hindustani ragas but have different names; such as Hindolam and Malkauns, Shankarabharanam and Bilawal. There is a third category of ragas like Hamsadhwani, Charukeshi, Kalavati etc. which are essentially Carnatic Ragas. They share the same name, the same scale (same set of notes) but can be rendered in the two distinctively different Carnatic and Hindustani styles. Unlike Hindustani music, Carnatic music does not adhere to Time concepts. Carnatic music follows the Melakarta concept

called the Sam and ending with a release point called the Khali. It is this (sam & khali) that brings life to a Talam.

Performances

Vocal music forms the basis of South Indian music. Although there is a rich instrumental tradition that revolve around instrumental renditions of vocal forms.

There are a number of sections to the Carnatic performance. Varanam is a form used to begin many south Indian performances. The word varanam literal means a description and this section is used to unfold the various important features of the ragam. The kritis are a fixed compositions in the ragam. They have well identified composers and do not allow much scope for variation. However such compositions are often preceded by alapana. The alapana offers a way to unfold the ragam to the audience, and at the same time, allow the artist considerable scope for improvisation. The niruval and the kalpana swara also provide opportunities to improvise. Another common structure is the ragam, thanam, and, pallavi.

South Indian performances are based upon three major sections. These are the pallavi anupallavi and charanam. These roughly correspond to the sthai, antara and the abhog in Hindustani Music.

Conclusion

The high performance and the theoretically knowledge put it on par with anything that world has seen, whether it’s a carnatic music or western music.



Here is the link for hearing Yesudas’s lovely voice
http://www.mediafire.com/?mobjyene3wy