nAda sudhA

Sahityam

Pallavi

Anupallavi

Charanam

Variation

• ⁰ manasA - praNava – Both versions are extant and correct.

Commentary

• ¹ vEda purANa Agama zAstrAdulaku AdhAramau nAda – cf. A [http://www.bhagavadgitausa.com.cnchost.com/SOUND.htm detailed discussion] of zabda .
• ² ‘‘‘ghaNTalu ’’’ – In the kriti ‘’[[Swara raga sudha]]’’, Thyagaraja mentions mUlAdhAra as the chakra from where Nada emanates. He also mentions therein about ‘sapta swara gRhamulu ’.
• ³ ‘‘‘rAgamu kOdaNDamu ’’’ – An interesting mention in the Valmiki Ramayana about Ravana’s musical talents that he can ‘play upon the lute of his terrific bow with the sticks of his arrows’ is found in the website mentioned below. However, where this statement occurs in Srimad Valmiki Ramayana, is not known. [[http://www.atributetohinduism.com/Hindu_Music.htm Ravana and Music]]
  • In the Kriti ‘kOTi nadulu dhanuSkOTi ’, Thyagaraja makes mention of Kundalini Yoga. According to Kundalini Yoga, the verterbral column is called Meru Danda. Please also refer to Kriti of Sri Thyagaraja ‘Iza pAhi mAM ’ where Lord Siva is described as holding bow of Meru – Meru Danda – vertebral column (hEmAcala cApa ). [[http://www.himalayanacademy.com/resources/books/mws/mws_ch-38.html Meru Danda]]
• ⁴ ‘‘‘dura ’’’ – As per Monier’s Sanskrit Dictionary, it means ‘one who opens or unlocks’, ‘giver’, ‘granter’; the Telugu word ‘duramu’ means ‘battle’, ‘war’. These are not appropriate in the present context. However, Sri Koteeswara Iyer, in his kriti ‘ghana naya dEzika gAna rasika zikhAmaNi nIyE kandA ’ mentions ‘ghana’ in place of ‘dura’. Probably both mean same thing. The following terminologies in regard to ‘ghana’ are found:
  • Ghanakala - Ragas meant to be sung at a particular time of day. Each Raga is associated with at least one time of day (some are Sarvakaalika - any time). The times are early morning (4-6am), morning after sunrise (6-9am), forenoon (9am-12pm), midday (noon-1pm), afternoon (1-4pm), evening (4-7pm), and night (7-10pm)
  • Ghanam - another term for Taanam
  • Ghana Panchaka Ragas - one type of Ghana Raga (as opposed to Dwitiya Panchaka Ragas), which is heavy and elaborate. It has five members: Nata, Gaula, Arabhi, Sri, and Varali.
  • Ghana Raga - a heavy and important Raga whose swarUpa is brought out by Taanam (Ghanam) or Madhyama Kaalam. (cf. [http://www.karnatik.com/glossg.shtml Ghana Ragas])
• ⁵ ‘‘‘naya ’’’ - A Raga whose swarupa is brought out both by alapana and tanam. For example Thodi, Bhairavi, Kambhoji, Sankarabharanam, and Kalyani. (cf. [http://www.karnatik.com/glossn.shtml Naya])
• ⁶ ‘‘‘dEzyamu ’’’ - Belonging to the country (Desa). This term denoted the folk music that was prevalent till the 12th century. (cf. [[http://www.carnatica.net/onlinedictionary/dicd.htm Desya])
  • dEsya (1) - A Raga whose swarupa is brought out by just alapana. For example, Kanada, Hameer Kalyani, Hindustani Behag.
  • dEzya (2) - Ragas that were brought to South India from North India, for example Paras, Maand, Jhinjoti, and Senjurutti. (cf [http://www.karnatik.com/glossd.shtml Desya])
• ⁷ ‘‘‘triguNamu ’’’: The word ‘guNa ’ means ‘string’, ‘strand’, ‘bow string’ and also denotes the qualities, sattva, rajas, tamas .’ The three Gunas are indeed the three strands of the Prakriti. In the Bhagavad Gita, Chapter 14:

Renditions

• [http://www.sangeethapriya.org/~murthy/071%20%20Srirangam%20Gopalaratnam-All%20India%20Radio/2%20%20NadasudaRasabilanu-Arabhi-Rupaka-Tyagaraja.mp3 Srirangam Gopalaratnam]