However, in telugu, the word specifically denotes thirst (for water etc). OM or praNava comes in ‘vaikhari’ stage and is known as ‘ahata nAda’ sapta svara are derivations or undulations of the ahata nAda – OM – please see kRti ‘mOkshamu galadA’ – quoted below.ħ – dAhambu – The saMskRta word ‘dAha’ means ‘fire’, ‘heat’ etc. kabIr sings ‘anahat ki Sabd bhajE nirantar’ (anAhata Sabdha is sounding ceaselessly). (Translation by Swami Tapasyananda)įor a discourse of Kanchi Paramacharya Chandrasekharendra Saraswati () on ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikhari – please visit website –Īccording the above discourse, ‘madhyamA’ stage is also called ‘anAhata nAda’. “parA – The transcendent Word - above the other lower stages of speech known as paSyanti (speech in the inaudible stage), madhyamA (speech in the middle stage of its expression) and vaikharI (uttered audible speech)”. The definitions and meanings of jargons used in the kRti have been quoted from various sources.ĥ –dEhOdbhavambagu nAdamul – ‘nAda emanating from the body’ - In lalitA sahasra nAma, mother is called ‘parA’, ‘paSyanti’, ‘madhyamA’, ‘vaikharI rUpA’. Therefore, readers may please excuse me if there are errors.
As I am not proficient in music, I may not be able to explain certain terms or I may even be wrong in assuming certain things. General - The subject matter of this kRti is ‘Music’. Nada, thus is not taken as a mere ‘material’ sound object, but regarded as the emanation of one's own consciousness. “The etymological meaning of ‘nada’ is ‘flow of consciousness’ rather than ‘sound’ as being crudely rendered into English. When Ragas are derived from Moorchanas, the technique is called Moorchana Paddhati.” Source - mUrchanaĦ – nAda – The normal rendering of the word as ‘sound’ is not very apt. This new pathway ends in a new Raga, with redefined relationships among the notes. The change of the Shadja 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. The word is deriving from the root moorcha, meaning unconsciousness. “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. According to ‘karnAtaka sangIta Sastra’ by SrI AS Panchapakesa Iyer - there are three types of grAma (svara clusters) – Sadjasvara, madhyamasvara, gAndhArasvara – the last being used only for chanting sAma vEda. The dictionary meaning is 'cadence', ‘modulation’, 'melody’, ‘the regulated rise or fall of sounds through the grAma of the musical scales’. "a gamaka that involves using the proper shaking required in the raaga that is being performed" These varieties of laghu make the sapta taaLas into 35"ģ – mUrchana – The definition of the term. It can be tishra (3), catusra (4), khaNDa (5), mishra (7), or sankeerna (9). "refers to the number of beats in the laghu (a division of the laghu). Those (mAnavul) who do not know (erugani) that all nAda (nAdamul) emanating (udbhavambagu) from the body (dEha) (dEhOdbhavambagu) are the forms (AkAra) of energy (or thirst) (dAhambu) (literally heat) (dAhamberugani) called (anE) the divine (divyamau) OMkAra (praNava) (praNavAkAramanE),Īre indeed deceiving (EcEru) (literally tormenting) (nutayEcEru) that they are masters of rAga and laya.Ģ – svara jAti – It is not clear whether these words should be taken together or separately. O Lord SrI rAma! they go about prattling that they are masters of rAga and laya.Ĭ O Lord rAma praised (nuta) by this tyAgarAja!
P O Lord (ayya)! People go about prattling (vadarEru) (vadarErayya) that (anucu) they (tAmu) (tAmanucu) are masters (jnulu) of sacred (vara) rAga and laya (layajnulu).Ī Even though people might not have experienced (teliyaka uNDina) (literally know) (teliyakayuNDina) the differentiations (bhEdamul) of svara, jAti and mUrchana within (andu) themselves (svAntamu) (svAntamandu), Those who do not know that all nAda emanating from the body are the forms of energy (or thirst) called the divine OMkAra, are indeed deceiving that they are masters of rAga and laya. People go about prattling that they are masters of sacred rAga and laya.Įven though people might not have experienced the differentiations of svara, jAti and mUrchana within themselves, they go about prattling that they are masters of rAga and laya. O Lord SrI rAma praised by this tyAgarAja! In the kRti ‘vara rAga layajnulu tAmanucu’ – rAga cencu kAmbhOji SrI tyAgarAja deprecates those who pride themselves to be maestros of sangIta. (including Telugu letters – Short e, Short o).
Transliteration as per Modified Harvard-Kyoto (HK) Convention
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