Happy Music Day 2016

Shrotha  -  A shrotha is one who listens to shruthi. Only when there is shruthi, a shrotha can listen to it. First of all shruthi has to be there, only then a shrotha and waktha can be there. 

What is Shruthi? 
Shruthi in a common term is known as vani. Shruthi is an information, shruthi is a vibration, shruthi is a bifurcation of knowledge, shruthi is one, shruthi is knowledge. In most of the classes and spiritual discourses, the shruthi will start vibrating only at a certain frequency. Whoever comes in that frequency can only hear that shruthi.

Wondering as to why I am doing such a detail description of the music.  Today we do not have a Shrotha, the fact is he does not understand Shruthi.  what is happening to the audience the lover of music what is happening to the longivity of music .  

I have been observing that in the recent times a lot of music is travelling around, musicians are experimenting, trying something different in the name of fusion. The question is fusion does not mean non shruthi composition it has to be in sync to the modern times yet not to loose its roots.

The pathos cannot come in a happy raga for example Mohana or Bilahari. there is a raga for every emotion we emote

Happy (Hasyam) or Sandosham (Vakrams and Spurithams)
Kedaram, Bilahari, Mohanam, Janaranjani, Kapi Narayani, Kamboji, Darbar, Amrithavarshini, Hamsanadam, Reethigowlai, Sama, Nattai, Abheri, Begada, Vachaspathi, Saranga, Navarasa Kaanada, 

Fast or Lively: Sarva Lagu Swarams
Sriranjani,  Kathana Kuthuhalam, Kannada, Kunthalavarali, Arabhi, Bahudari, Khamas, Hamsadhwani, Poornachandrika, Manjari, 

Auspicious  (Sa Ri Ma Pa varieties)
Sri ragam, Madhyamavathi, Surutti, Anandabhairavi, Brindavana Saranga, Saraswathi

Pleading (Karunam) - Pa D1 N2 combinations and M2 adds beauty
Kharaharapriya, Shanmugapriya, Saramathi, Amrithavahini, Kalyana Vasantham, Simhendra Madhyamam, Kaanada, Kapi, Gowri Manohari, Charukesi, Keeravani, Nagagandhari, Dwijawanthi, Kamala Manohari

Soothing (Shantham) - You will surely sleep :) Pa Ma Ri Ga Ma Ga Sa
Devagandhari, Kedaragowlai, Sahana, Neelamabari, Kurunji, Yedukula Kamboji, Nattai Kurunji, 

Romantic (Shringaram) and yeah individual tastes ;)
Sahana, Maand, Kedaram, Surutti
Sahana is lovely romantic
Kedaram is playful romantic
Maand is best to describe the longing or desire
Surutti - truly enticing

Dance or Abhinaya Oriented
Devamanohari, Surutti, Kedaram, 

Strength or Energy Gambheeram / Veeram  - D2 , G3 and N3 prominence 
Atana, Vasantha, Gambheera Nattai, 

Anger (Roudram) Teevra Madhyamam or Rishabam
Revathi, Ranjani, Varali, 

Sad (Shokam) - Individual Taste varies 
Subha Panthuvarali, Poorvi Kalyani, Panthuvarali , Shiva Ranjani

Fearing (Bhayanakam)  or divinity
Ahiri, Nadanamakriya, Dhanyasi

Apt for morning or dawn (common feature - Suddha Rishabam)
Mayamalawa gowla, Malayamarutham, Bowli, Bhupalam, Revagupthi, Sourashtram 

Bhajan or Folkish (common feature Sa Ga Ma usage)
Behag, Desh, Kalyani, Darbari Kaanada, Yamuna Kalyani, Sindhubhairavi, Maanji, Huseni, Brindavani, Jonpuri, Jog, Chenchurutti, Hameer Kalyani, 

Beauty of Vivadhi Swara D3
Chala Nattai, Varunapriya, Rasikapriya 

All type mood - Changes with fast and slow songs
Suddha Dhanyasi, Hindolam, Abhogi, 

When the music composers have this knowledge and when they are aware of significance of each Raga and link them to the Lyrics is when you have your Shrotha understanding your music.  I urge all the composers to ensure that what ever you compose be it western notes in Indian tunes or Indian tune is western classic we have taken care of the platform on which the particular song is being narrated to  the Shrotha.

On this World music day I urge each and every musician to take note of this and relate to the emotion or the feeling and accordingly integrate the raga which will immediate connect with the Shrotha. He will remain with you and the lyric for a long time to come.

Vinjamuri Shivaram