Ajith Namboothiri reaching another Star.

Cordially inviting you to attend the Audio CD release of the first Suprabhatham in the history of Lord  Sreepadmanabha Temple, lyrics by Dr.S.Vasudeva Iyer, Music composed by Ajith Namboothiri and sung by Ajith Namboothiri & Madhu Balakrishnan on 22nd April at 5pm in Rangavilasam hall, Kottaykkakam, Thiruvananthapuram.
Occasion :- Release of  Audio, Suprabhaatham to Lord Padmanaabha, first in history.


Venue :- Thiruvananthapuram Rangavilasam Hall, Kottayakkam.

Date :- 22 April 2017

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https://www.facebook.com/ajithraga

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Event:-https://www.facebook.com/events/1408164912587745/?ti=cl

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Shri Ajith Namboothiri

Professor Shri Vishu Namboothiri(Late)

http://carnaticguruonline.blogspot.com/p/listen-to-music-of-ajit-namboothiri.html

http://carnaticguruonline.blogspot.com/p/listen-to-music-of-ajit-namboothiri.html

RUDRAPATNAMB ROTHERS_
RAMAL ALITAKALA MANDIRA_ NMKRV
01 – SAmi_ninnE_kOriyunnAnu – VARNAM

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This audio can be got by the permission of http://www.sangeethamshare.org/sv/025_2009_02_12_RudrapatnamBrothers_RamaLalitaKalaMandira_NMKRV/?p=sv/025_2009_02_12_RudrapatnamBrothers_RamaLalitaKalaMandira_NMKRV
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Carnatic Music – A rich Legacy


http://bellurramki18.wordpress.com/2007/01/page/3/http://bellurramki18.wordpress.com/2007/01/page/3/

2. http://www.torontobrothers.com/primer.php

3. http://www.sruti.org/sruti/srutiArticleDetails.asp?ArticleId=4

4. http://www.brahmintoday.org/magazine/2011_issues/bt94-1207_swami.php

Muthuswamy Deekshitar


Carnatic music has been endowed with thousands of compositions by a galaxy of composers, many of whom are today revered as saints. Among the most prolific are

Purandara Dasa (1480-1564);
Annamacarya (1408-1503);
Tyagaraja (1759-1847);
Muddusvami Dikshitar (1776-1827);
Syama Shastri (1762-1827).
The last three are known as the Trinity of Carnatic Music for the profound and indelible impression that their works have had on the modern understanding of Carnatic Music.
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Compositions in Carnatic music possess multiple dimensions:

Trinity of Carnatic Music


The aesthetic dimension refers to the melodic value profferred by the raga and its concerted usage with the lyrical dimension;
The lyrical dimension encapsulates the meaning intended by the composer and the religious value of the lyrics, or sahitya
The prosodical dimension describes the technical value associated with the poetic metre;
The rhythmic dimension captures the organization of the sahitya and prosody according to the composition’s tala.
Some compositional forms in Carnatic music include the varnam, the kriti, the tillana, the javali, and the padam, some of which were derived through the intimate relationship between Indian music and Indian classical dance.
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Each of the innumerable ragas of Carnatic music is defined by rules of usage of its notes including the permissible and forbidden manners of ascent and descent, the aesthetics of transitioning between notes (gamakas) and their relative prominence.

Time is measured according to beats or beat cycles known as talas.
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tyagarajaswamy

Classical Ragas
Athana
Amritavarshini
Alahaiya Bilawal Asaveri
Ananda Bhairavi
Abheri
Abhogi
Arabhi
Andolika

Ishamanohari
Udayaravichandrika (see Shuddha Dhanyasi)

Kadanakutuhala Kanakangi Kannada Karnataka Devagandhari
Kalyana Vasanta Kalyani Kalavati Kalingada
Kambavati Kanada Kafi Kafi Kanada
Kamavardhani Kantamani Kambhoji Kiravani
Kuranji Kuntalavarali Kedara Kedaragowla
Khamas Kharaharapriya

Gamakakriya (see Purvi Kalyani) Gamanashrama (see Marwa) Gunakriya
Gowdasaranga Gowrimanohari Gowla Ghurjari

Chakravakam Chandrakauns Chamaram Charukeshi
Chittaranjani Chenchurutti (see Jhenjhuti)

Jaijaivanti (see Dwijavanti) Jayantasri Zila Zila Mand
Jog Jaunpuri Jhenjhuti

Tilak Kamod Tilang Todi

Darbari Kanada Darbaru Dani Dwijavanti
Durga (see Shuddha Saveri) Devagandhari Desh Deshkari
Deshi Sarang Dhanyasi Dharmavati (also see Madhuvanti)

Nata Bihag Nata Bhairavi Naata Naata Kuranji
Naata Narayani Nadanamakriya Narayani Nilambari

Patadeep Pata Bihag Parameshwari Prati Madyamavati
Pahadi (see Yadukula Kambhoji) Pantuvarali Pilu (see Kafi)
Punnaga Varali Purnachandrika Purvi Kalyani Farazu

Basant Bahar Bahudari Bilahari
Bageshri (also see Naata Kuranji) Bihag Bindimalini
Brinavani Saranga Begada Bowli Bhimpalas (see under Abheri)
Bhupala Bhairavi

Madhyamavati Madhukauns Madhuvanti (also see Dharmavati)
Malayamarutam Malahari (Mallari) Malhar Mangalakaushika
Mayamalava Gowla Marga Hindola Marwa Maru Bihag
Malgunji Malkauns (see Hindola) Mand Mukhari
Megha Megharanjani Mohana Mohana Kalyani

Yedukula Kambhoji (incl. Pahadi) Yamuna Kalyani

Rasavali Ranjani Rageshri (Rageshwari) Reetigowla
Revati

Lalita

Vakulabharanam Varali Valaji Vasanta
Vasanta Bhairavi Vachaspati Vijayananda Chandrika

Shahana Shankara Shankarabharanam Sharada
Shivaranjani Shri Shriranjani Shuddha Kalyani
Shuddha Dhanyasi (Udayaravichandrika) Shuddha Saranga Shuddha Saveri (Durga)
Shubha Pantuvarali Shubhali Shanmukhapriya Saraswati
Sarasangi Sama Saramati Saranga
Saveri Sindhubhairavi Simhendrumadhyama Sunadavinodini
Surati Saurashtra

Hamir Hamir Kalyani Hari Kambhoji Hamsadhwani
Hamsanadam Hamsanandi Hindola Huseni
Hemavati (Hymavati)

Vishnubhatla Sisters

http://www.hindu.com/fr/2005/10/28/stories/2005102802410400.htm
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Vishnubhatla Sisters (Saraswathi and Krishnaveni)hail from Hydrabad , Vijayawada fill up the gap to some extent.
The most striking feature in their singing is their unruffled approach qualified with relaxation and scholarship. There is no hurry anywhere and each aspect of classicism as well as melody is treated with due respect.
Perfect alignment with sruti, choice selection, equal and meritorious contribution in every featuremade the concert pleasing.

Their singing is adorned by Traditional design Each item falling in its place and in right sequence.