Shanmukhipriya Raga

 Shanmukhipriya Raga

Shanmukhapriya is a raga in Carnatic music, the classical music system of South India. It is the 56th melakarta raga in the 72 melakarta raga system. This raga is known for its distinctive and rich tonal qualities, and it is often used in compositions that evoke devotional and bhakti rasa (mood).

Structure of Shanmukhapriya

• Arohana (ascending scale): S R2 G2 M2 P D1 N3 S
• Avarohana (descending scale): S N3 D1 P M2 G2 R2 S

Here, S stands for Shadja, R2 for Chatusruti Rishabha, G2 for Sadharana Gandhara, M2 for Prati Madhyama, P for Panchama, D1 for Shuddha Dhaivata, and N3 for Kakali Nishada.

Key Features

1. Janya Ragas: Shanmukhapriya gives rise to several janya ragas (derived ragas).
2. Mood: It is capable of evoking a variety of emotions, but it is predominantly used to express devotion and tranquility.
3. Compositions: There are many well-known compositions in Shanmukhapriya by various composers. Some popular kritis (compositions) include "Siddhi Vinayakam" by Muthuswami Dikshitar and "Parvathi Nayakane" by Papanasam Sivan.

Characteristics

• Shanmukhapriya's unique appeal comes from its use of both lower and higher tones, providing a broad range for musical expression.
• It is often used in concerts for both alapana (improvisation) and kritis (compositions).
• The raga is versatile and can be adapted to various tempos and styles within Carnatic music.

Related Ragas

Shanmukhapriya is closely related to other melakarta ragas like Simhendramadhyamam (57th melakarta) due to their similar scales, with slight variations in specific notes.

Compositions in Shanmukhapriya

Here are some notable compositions in Shanmukhapriya by various composers:

1. "Siddhi Vinayakam" - Muthuswami Dikshitar

   • This composition is in praise of Lord Ganesha and is known for its rich lyrical content and intricate musical structure.

2. "Parvathi Nayakane" - Papanasam Sivan

   • A devotional song dedicated to Lord Shiva, highlighting the grandeur and beauty of the raga.

3. "Saravana Bhava" - Papanasam Sivan

   • This song praises Lord Murugan (also known as Shanmukha), showcasing the raga's ability to convey devotion and majesty.

4. "Sri Valli Devasenapathe" - Papanasam Sivan

   • Another popular composition on Lord Murugan, known for its rhythmic beauty and melodic richness.

5. "Enneramum Undhan" - Gopalakrishna Bharathi

   • A soulful composition that beautifully captures the emotional depth of the raga.

Prominent Artists

Several eminent Carnatic musicians have rendered Shanmukhapriya with great skill and creativity:

1. M.S. Subbulakshmi - Known for her divine voice and mastery over ragas, her renditions of Shanmukhapriya are considered classic.
2. K.J. Yesudas - His performances in Shanmukhapriya are known for their emotional depth and technical brilliance.
3. N. Ramani - The renowned flautist has given many memorable renditions of this raga.
4. Lalgudi Jayaraman - A violin virtuoso, his interpretations of Shanmukhapriya are highly regarded.
5. T.M. Krishna - A contemporary vocalist, known for his innovative and expressive renditions of traditional ragas, including Shanmukhapriya.

Characteristics of Shanmukhapriya in Performance

• Alapana: The alapana (improvisation) in Shanmukhapriya is often expansive, exploring the raga's full range and emotional depth.
• Tanam: In a Ragam Tanam Pallavi performance, the tanam (rhythmic improvisation) section in Shanmukhapriya can be particularly dynamic and engaging.
• Neraval and Swarakalpana: These improvisational techniques are used to explore the raga further, with neraval focusing on lyrical improvisation and swarakalpana on solfege syllables.

Related Ragas

• Simhendramadhyamam: This is the 57th melakarta raga and shares similarities with Shanmukhapriya but has a different niṣāda (N2 instead of N3).
• Hemavati: The 58th melakarta, also known as Deshi Simharavam, has a similar structure but differs in specific swaras.

Detailed Composition: "Siddhi Vinayakam" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Siddhi Vinayakam Anisham Chintayeham
Siddhi Vinayakam
I always meditate upon Lord Vinayaka, the giver of success and accomplishments.

Anupallavi:
Siddhi Vinayakam Bhajeham
Siddhi Vinayakam
I worship Lord Vinayaka, the bestower of success and accomplishments.

Charanam:
Siddhi Vinayakam Sadayeham
Siddhi Vinayakam
I bow down to Lord Vinayaka, the compassionate one who grants success and accomplishments.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi (refrain) establishes the raga’s key phrases, inviting the listener into the tranquil and devotional atmosphere.
• The Anupallavi (second section) explores mid-octave phrases, adding depth and variety.
• The Charanam (verse) often contains intricate rhythmic and melodic patterns, showcasing the raga's full potential.

Notable Artist: M.S. Subbulakshmi

Rendition Highlights:

• Voice Quality: M.S. Subbulakshmi's voice brings a divine quality to Shanmukhapriya, with her impeccable control and emotive expression.
• Alapana: In her renditions, the alapana of Shanmukhapriya is often elaborate, slowly unfolding the raga’s nuances and evoking a meditative state.
• Bhakti Rasa: Her interpretation deeply imbues the raga with devotional fervor, making her renditions particularly moving and spiritually uplifting.
• Clarity and Precision: Her pronunciation and enunciation of the lyrics in compositions like "Siddhi Vinayakam" are clear, enhancing the listener's understanding and appreciation.

Nuances of Performing Shanmukhapriya

Alapana:

• Phrases: Alapana in Shanmukhapriya often begins with the lower octave (mandra sthayi) to establish a serene mood, gradually moving to the higher octaves (tara sthayi).
• Gamakas: The use of gamakas (oscillations) on R2, G2, M2, D1, and N3 is crucial, adding to the raga's rich texture.
• Pace: The alapana is typically unhurried, allowing each note and phrase to resonate fully.

Tanam:

• Rhythmic Patterns: In tanam, the artist explores rhythmic patterns within the raga, creating a lively and engaging improvisation.
• Dynamic Play: The interplay between different registers and the use of syncopation and other rhythmic techniques make the tanam section captivating.

Neraval and Swarakalpana:

• Neraval: During neraval, artists select a line from the composition and improvise on it, highlighting different aspects of the raga and tala (rhythmic cycle). In Shanmukhapriya, this often involves exploring the emotional depth of the raga.
• Swarakalpana: This involves singing sequences of solfege syllables (sa, ri, ga, ma, pa, da, ni) within the framework of the raga and tala. Artists use this section to demonstrate their technical prowess and creativity.

Detailed Composition: "Parvathi Nayakane" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Parvathi Nayakane Paahi Maam
Paahi Maam, Parvathi Nayakane
Oh Lord, consort of Parvathi, protect me. Protect me, Oh Lord!

Anupallavi:
Parama Shiva Shankara Pahi Maam
Paahi Maam, Parama Shiva Shankara
Oh Supreme Lord Shiva, protect me. Protect me, Oh Supreme Lord Shiva!

Charanam:
Parama Karunakara Pahi Maam
Paahi Maam, Parama Karunakara
Oh Lord of infinite compassion, protect me. Protect me, Oh Lord of infinite compassion!

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary theme and the raga’s essential swaras (notes).
• The Anupallavi often explores the middle octave, adding depth and variation to the raga’s portrayal.
• The Charanam usually features complex melodic and rhythmic patterns, showcasing the composer’s and performer’s skill.

Notable Artist: K.J. Yesudas

Rendition Highlights:

• Voice Texture: K.J. Yesudas's voice has a rich, deep timbre that suits the devotional and emotional essence of Shanmukhapriya.
• Emotional Expression: His renditions of Shanmukhapriya are known for their emotional depth and expressive quality, often moving the audience profoundly.
• Alapana: In his performances, the alapana is expansive and detailed, exploring every nuance of the raga with precision and feeling.
• Bhava: Yesudas's interpretations bring out the bhava (emotion) of the raga, making his renditions particularly touching and spiritually resonant.

Performing Shanmukhapriya: Focus on Neraval and Swarakalpana

Neraval:

• Lyric Selection: Typically, a line from the Charanam is chosen for neraval, allowing the artist to focus on the lyrical and melodic beauty of that particular phrase.
• Improvisation: The artist improvises within the framework of the chosen line, exploring different aspects of the raga and tala. In Shanmukhapriya, this often involves subtle variations and intricate gamakas (oscillations) on key swaras (notes).
• Emotional Depth: Neraval in Shanmukhapriya should highlight the raga’s ability to convey deep emotion, often leading to a highly expressive and meditative performance.

Swarakalpana:

• Rhythmic Complexity: Swarakalpana involves singing sequences of solfege syllables in various rhythmic patterns. In Shanmukhapriya, artists often use complex rhythmic structures to showcase their technical skill.
• Creativity: This section allows the artist to demonstrate creativity and innovation, often weaving intricate patterns and exploring different facets of the raga.
• Interaction with Tala: The artist must maintain a strong sense of the tala (rhythmic cycle) while exploring melodic improvisations, creating a dynamic interplay between rhythm and melody.

Detailed Composition: "Sri Valli Devasenapathe" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Sri Valli Devasenapathe
Shrineepathe namo namaste
Oh Lord of Sri Valli and Devasena, 
Oh husband of Sri (Parvati), salutations to you.

Anupallavi:
Sri Vidhyadhara Devaadi Deva
Sikhi Vaahana Sannuta Pada
Oh Lord worshipped by gods, 
Oh God of divine knowledge,
Oh Lord with the peacock as your vehicle, I bow to you.

Charanam:
Saravana Bhava Shanmukhane
Saadhu Jana Hridaya Sannivaasane
Paramananda Roopa Shaashvata Gnana
Bhava Paharee Parama Kripaakaaree
Oh Lord born of Saravana (reeds), 
Oh Shanmukha (six-faced god),
Oh resident in the hearts of the righteous, 
Oh form of supreme bliss, eternal knowledge,
Oh destroyer of worldly existence, source of supreme compassion.

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi establishes the raga with its characteristic phrases.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns.

Notable Artist: T.M. Krishna

Rendition Highlights:

• Innovative Approach: T.M. Krishna is known for his innovative and often unconventional approach to traditional ragas, including Shanmukhapriya.
• Expressive Alapana: His alapana often involves extensive improvisation, exploring uncharted territories of the raga with great depth and creativity.
• Dynamic Performance: His performances are highly dynamic, bringing out both the meditative and energetic aspects of Shanmukhapriya.
• Artistic Freedom: Krishna's interpretations emphasize artistic freedom and individuality, making each rendition unique and thought-provoking.

Performing Shanmukhapriya: Focus on Tanam and Pallavi

Tanam:

• Rhythmic Improvisation: Tanam involves rhythmic improvisation without a specific tala, allowing the artist to explore the raga’s rhythmic potential freely.
• Dynamic Range: In Shanmukhapriya, tanam can be particularly dynamic, with the artist moving fluidly between different octaves and rhythmic patterns.
• Emphasis on Gamakas: The use of gamakas (oscillations) and rapid-fire phrases enhances the raga's vibrant and energetic character.

Pallavi:

• Structure: The Pallavi section in a Ragam Tanam Pallavi (RTP) performance involves a composed line that serves as a thematic anchor for improvisation.
• Neraval and Kalpana Swaras: The artist performs neraval (lyrical improvisation) and kalpana swaras (solfege improvisation) around the Pallavi line, showcasing both the raga and tala.
• Crescendo: The Pallavi typically builds to a crescendo, with the artist weaving intricate patterns and pushing the boundaries of the raga.

Composition: "Enneramum Undhan" by Gopalakrishna Bharathi

Lyrics and Meaning:

kotlin
Pallavi:
Enneramum Undhan Sannidhiyil
Iravum Pagalumidhuve - Enrum
Always, in your presence,
Day and night, this is all I ask.

Charanam:
Mannavanum Mannulagamum
Kannanum Nee Thanthu Vanda
Thanthiramidhuve - Enrum
The king, the world, and Lord Krishna,
You gave me all, and this is the magic - always.

Musical Features:

• The composition is set in Misra Chapu tala (7-beat cycle).
• The Pallavi introduces the raga’s key phrases in a gentle, lyrical manner.
• The Charanam provides a deeper exploration, often with more intricate melodic patterns.

Performance Nuances:

• Emotional Delivery: The emotional depth of "Enneramum Undhan" makes it a favorite for expressing devotion and longing.
• Intricate Phrasing: The Charanam often involves complex melodic phrases, requiring precise control and expressive delivery.

Detailed Composition: "Saravana Bhava" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Saravana Bhava Guhane
Shanmukhane Velane

Oh Saravana Bhava, Oh Guha (Muruga), 
Oh Shanmukha, Oh Vel (Spear)-wielding Lord.

Anupallavi:
Parvathi Kumara Pahi Mam
Bhakta Jana Nivasa Pahi Mam

Oh Son of Parvathi, protect me. 
Oh resident in the hearts of devotees, protect me.

Charanam:
Gajaranyeswaran Manamohana
Karunakara Subrahmanya
Vajranga Bhushana Kanaka Valli
Vallabha Varadaya Muruga

Oh enchanting son of Lord Shiva, 
Oh compassionate Subrahmanya,
Adorned with a diamond ornament, Oh consort of Valli, 
Oh bestower of boons, Oh Muruga.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary motif and establishes the devotional mood.
• The Anupallavi expands on the theme, highlighting key phrases of the raga.
• The Charanam often features elaborate melodic and rhythmic variations, showcasing the raga's full potential.

Notable Artist: N. Ramani

Rendition Highlights:

• Flautist Extraordinaire: N. Ramani was a master of the flute, known for his intricate and expressive renditions of various ragas, including Shanmukhapriya.
• Technical Brilliance: His performances are marked by technical brilliance, with precise control over pitch and rhythm.
• Alapana: Ramani’s alapana in Shanmukhapriya is often detailed and expansive, exploring the raga’s subtleties and nuances.
• Emotional Expression: His renditions are known for their emotional depth, conveying the devotional essence of the raga.

Performing Shanmukhapriya: Focus on Alapana and Tanam

Alapana:

• Development: The alapana (improvisation) in Shanmukhapriya often begins with a slow, deliberate exploration of the lower octave (mandra sthayi), gradually moving to the higher octaves (tara sthayi).
• Key Phrases: Key phrases like "R2 G2 M2," "P D1 N3," and "S N3 D1" are emphasized, establishing the raga’s identity.
• Gamakas: The use of gamakas (oscillations) on key swaras (notes) such as R2, G2, M2, D1, and N3 adds richness and depth to the raga.
• Pace: The pace of the alapana is usually unhurried, allowing each note and phrase to fully resonate and evoke the raga’s emotional character.

Tanam:

• Rhythmic Exploration: Tanam involves rhythmic exploration without a specific tala, allowing the artist to freely explore the rhythmic potential of the raga.
• Dynamic Play: In Shanmukhapriya, tanam can be particularly dynamic, with the artist moving fluidly between different octaves and rhythmic patterns.
• Emphasis on Gamakas: The use of gamakas and rapid-fire phrases enhances the raga's vibrant and energetic character.

Composition: "Sri Valli Devasenapathe" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Sri Valli Devasenapathe
Shrineepathe namo namaste
Oh Lord of Sri Valli and Devasena, 
Oh husband of Sri (Parvati), salutations to you.

Anupallavi:
Sri Vidhyadhara Devaadi Deva
Sikhi Vaahana Sannuta Pada
Oh Lord worshipped by gods, 
Oh God of divine knowledge,
Oh Lord with the peacock as your vehicle, I bow to you.

Charanam:
Saravana Bhava Shanmukhane
Saadhu Jana Hridaya Sannivaasane
Paramananda Roopa Shaashvata Gnana
Bhava Paharee Parama Kripaakaaree
Oh Lord born of Saravana (reeds), 
Oh Shanmukha (six-faced god),
Oh resident in the hearts of the righteous, 
Oh form of supreme bliss, eternal knowledge,
Oh destroyer of worldly existence, source of supreme compassion.

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi establishes the raga with its characteristic phrases.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns.

Further Aspects of Performing Shanmukhapriya

Neraval:

• Lyrical Improvisation: During neraval, artists select a line from the composition and improvise on it, focusing on different aspects of the raga and tala. In Shanmukhapriya, this often involves exploring subtle variations and intricate gamakas on key swaras.
• Emotional Depth: Neraval in Shanmukhapriya should highlight the raga’s ability to convey deep emotion, leading to a highly expressive and meditative performance.

Swarakalpana:

• Rhythmic Complexity: Swarakalpana involves singing sequences of solfege syllables in various rhythmic patterns. In Shanmukhapriya, artists often use complex rhythmic structures to showcase their technical skill.
• Creativity: This section allows the artist to demonstrate creativity and innovation, often weaving intricate patterns and exploring different facets of the raga.
• Interaction with Tala: The artist must maintain a strong sense of the tala (rhythmic cycle) while exploring melodic improvisations, creating a dynamic interplay between rhythm and melody.

Detailed Composition: "Enneramum Undhan" by Gopalakrishna Bharathi

Lyrics and Meaning:

kotlin
Pallavi:
Enneramum Undhan Sannidhiyil
Iravum Pagalumidhuve - Enrum
Always, in your presence,
Day and night, this is all I ask.

Charanam:
Mannavanum Mannulagamum
Kannanum Nee Thanthu Vanda
Thanthiramidhuve - Enrum
The king, the world, and Lord Krishna,
You gave me all, and this is the magic - always.

Musical Features:

• The composition is set in Misra Chapu tala (7-beat cycle).
• The Pallavi introduces the raga’s key phrases in a gentle, lyrical manner.
• The Charanam provides a deeper exploration, often with more intricate melodic patterns.

Notable Artist: Lalgudi Jayaraman

Rendition Highlights:

• Violin Virtuoso: Lalgudi Jayaraman was a master violinist known for his precision, expressive playing, and deep understanding of ragas.
• Innovative Techniques: His performances are characterized by innovative bowing techniques and intricate fingering, bringing out the nuances of Shanmukhapriya.
• Expressive Alapana: Jayaraman’s alapana is detailed and expressive, exploring the raga’s depth and emotional range.
• Emotional Connection: His renditions create a strong emotional connection with the audience, highlighting the devotional and serene qualities of Shanmukhapriya.

Performing Shanmukhapriya: Focus on Raga Bhava and Gamakas

Raga Bhava:

• Emotion and Expression: Raga bhava refers to the emotional essence and expressiveness of the raga. In Shanmukhapriya, this involves conveying a sense of devotion, tranquility, and depth.
• Phrasing: Artists use specific phrases and note combinations to bring out the raga bhava. Emphasizing phrases like "R2 G2 M2" and "P D1 N3 S" helps establish the raga’s identity.
• Tempo Variation: Varying the tempo and dynamics within the performance helps to highlight different emotional aspects of the raga.

Gamakas:

• Oscillations: Gamakas are the oscillations or ornamentations on notes that give a raga its distinctive character. In Shanmukhapriya, gamakas on notes like R2, G2, M2, D1, and N3 are crucial.
• Smooth Transitions: Smooth transitions between notes with subtle gamakas enhance the raga’s fluidity and expressiveness.
• Rhythmic Patterns: Using gamakas within rhythmic patterns adds complexity and richness to the performance.

Composition: "Siddhi Vinayakam" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Siddhi Vinayakam Anisham Chintayeham
Siddhi Vinayakam
I always meditate upon Lord Vinayaka, the giver of success and accomplishments.

Anupallavi:
Siddhi Vinayakam Bhajeham
Siddhi Vinayakam
I worship Lord Vinayaka, the bestower of success and accomplishments.

Charanam:
Siddhi Vinayakam Sadayeham
Siddhi Vinayakam
I bow down to Lord Vinayaka, the compassionate one who grants success and accomplishments.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi establishes the raga’s key phrases, inviting the listener into the tranquil and devotional atmosphere.
• The Anupallavi explores mid-octave phrases, adding depth and variety.
• The Charanam often contains intricate rhythmic and melodic patterns, showcasing the raga's full potential.

Further Aspects of Performing Shanmukhapriya

Tanam:

• Free Rhythm: Tanam is characterized by its free rhythm, allowing the artist to explore the raga without the constraints of a tala. This gives room for creative rhythmic patterns and dynamic expression.
• Gamakas and Phrases: Emphasizing key phrases and gamakas in Tanam brings out the raga's unique character and mood.
• Climax: Tanam often builds to a climax, setting the stage for the Pallavi section.

Pallavi:

• Thematic Development: The Pallavi line serves as a thematic anchor for improvisation. It is composed to highlight the raga’s key phrases and emotional depth.
• Neraval and Kalpana Swaras: In the Pallavi, artists perform neraval (lyrical improvisation) and kalpana swaras (solfege improvisation), exploring both the raga and tala.
• Complexity and Skill: The Pallavi section allows artists to demonstrate their technical skill and creativity, often weaving intricate patterns and pushing the boundaries of the raga.

Detailed Composition: "Parvati Nayakane" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Parvathi Nayakane Paahi Maam
Paahi Maam, Parvathi Nayakane
Oh Lord, consort of Parvathi, protect me. Protect me, Oh Lord!

Anupallavi:
Parama Shiva Shankara Pahi Maam
Paahi Maam, Parama Shiva Shankara
Oh Supreme Lord Shiva, protect me. Protect me, Oh Supreme Lord Shiva!

Charanam:
Parama Karunakara Pahi Maam
Paahi Maam, Parama Karunakara
Oh Lord of infinite compassion, protect me. Protect me, Oh Lord of infinite compassion!

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary theme and establishes the devotional mood.
• The Anupallavi often explores the middle octave, adding depth and variation to the raga’s portrayal.
• The Charanam usually features complex melodic and rhythmic patterns, showcasing the composer’s and performer’s skill.

Notable Artist: M. Balamuralikrishna

Rendition Highlights:

• Versatile Vocalist: M. Balamuralikrishna was known for his versatile voice, capable of handling a wide range of pitches and intricate phrases with ease.
• Innovative Style: His style is marked by innovation and creativity, often incorporating novel elements into traditional ragas.
• Expressive Alapana: Balamuralikrishna’s alapana is rich and expressive, delving deeply into the emotional and technical aspects of Shanmukhapriya.
• Rhythmic Precision: His renditions are known for their rhythmic precision and dynamic interplay between melody and rhythm.

Performing Shanmukhapriya: Focus on Raga and Tala Interaction

Raga and Tala Interaction:

• Synergy: The interaction between raga (melody) and tala (rhythm) is crucial in Carnatic music. In Shanmukhapriya, this interaction enhances the raga’s expressive potential.
• Structured Improvisation: Structured improvisation within the framework of the tala helps maintain a cohesive performance while allowing for creative exploration.
• Rhythmic Variations: Exploring rhythmic variations within the tala cycle adds complexity and interest to the performance, showcasing the artist’s skill and creativity.

Composition: "Sri Valli Devasenapathe" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Sri Valli Devasenapathe
Shrineepathe namo namaste
Oh Lord of Sri Valli and Devasena, 
Oh husband of Sri (Parvati), salutations to you.

Anupallavi:
Sri Vidhyadhara Devaadi Deva
Sikhi Vaahana Sannuta Pada
Oh Lord worshipped by gods, 
Oh God of divine knowledge,
Oh Lord with the peacock as your vehicle, I bow to you.

Charanam:
Saravana Bhava Shanmukhane
Saadhu Jana Hridaya Sannivaasane
Paramananda Roopa Shaashvata Gnana
Bhava Paharee Parama Kripaakaaree
Oh Lord born of Saravana (reeds), 
Oh Shanmukha (six-faced god),
Oh resident in the hearts of the righteous, 
Oh form of supreme bliss, eternal knowledge,
Oh destroyer of worldly existence, source of supreme compassion.

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi establishes the raga with its characteristic phrases.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns.

Further Aspects of Performing Shanmukhapriya

Ragam Tanam Pallavi (RTP):

• Ragam: The raga section in RTP involves an elaborate exploration of Shanmukhapriya, starting with a slow, meditative alapana and gradually building up in intensity.
• Tanam: The tanam section is a rhythmic improvisation without a specific tala, allowing the artist to explore various rhythmic patterns and phrases within the raga.
• Pallavi: The Pallavi section involves a composed line that serves as a thematic anchor for improvisation. Artists perform neraval (lyrical improvisation) and kalpana swaras (solfege improvisation), showcasing both the raga and tala.

Neraval:

• Lyrical Focus: Selecting a line from the composition and improvising on it, focusing on different aspects of the raga and tala.
• Emotional Expression: Neraval in Shanmukhapriya should highlight the raga’s ability to convey deep emotion, leading to a highly expressive and meditative performance.
• Rhythmic Interaction: Maintaining the rhythmic integrity while exploring melodic variations enhances the neraval’s impact.

Swarakalpana:

• Solfege Improvisation: Singing sequences of solfege syllables in various rhythmic patterns. In Shanmukhapriya, artists often use complex rhythmic structures to showcase their technical skill.
• Creative Exploration: This section allows the artist to demonstrate creativity and innovation, often weaving intricate patterns and exploring different facets of the raga.
• Maintaining Tala: The artist must maintain a strong sense of the tala (rhythmic cycle) while exploring melodic improvisations, creating a dynamic interplay between rhythm and melody.

Detailed Composition: "Vallabhai Nayakasya" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Vallabhai Nayakasya Vakratundasya Dheemahi
We meditate on the Lord with a curved trunk, the leader of the army.

Anupallavi:
Durlabhaam Trinayanaam Vandeham Swa-Maataram
I bow to the mother with three eyes, who is difficult to attain.

Charanam:
Shumbha Nishumbha Madanari Sura Vimardani Sree
She who defeated Shumbha and Nishumbha, the pride of gods.
Sundara Taaraka Vadanaravinda Kuvalaya Nayanaam
She who has beautiful lotus-like eyes and a charming face.
Kumbhaja Sisyam Ganapatim Dasa Mukha Kumbhakarna Matam
The disciple of Agastya, the mother of Ganapati and the mother who defeated Ravana and Kumbhakarna.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary theme and establishes the meditative and reverential mood of the raga.
• The Anupallavi extends the exploration, often focusing on the middle octave.
• The Charanam typically features more complex melodic and rhythmic patterns, showcasing the raga's full potential.

Notable Artist: T.R. Mahalingam (Mali)

Rendition Highlights:

• Flute Maestro: T.R. Mahalingam, popularly known as Mali, was a pioneering flautist known for his innovative techniques and deep understanding of ragas.
• Expressive Alapana: His alapana in Shanmukhapriya is noted for its lyrical quality and expressive depth, exploring the raga’s emotional and technical aspects.
• Rhythmic Intricacy: Mali’s renditions are marked by rhythmic intricacy, with complex patterns and precise timing.
• Innovative Approach: His approach to playing the flute brought a new dimension to Carnatic music, emphasizing subtle nuances and dynamic expression.

Performing Shanmukhapriya: Focus on Swarakalpana and Manodharma

Swarakalpana:

• Solfege Syllables: Swarakalpana involves singing sequences of solfege syllables (sa, ri, ga, ma, pa, dha, ni) in various rhythmic patterns. In Shanmukhapriya, artists often use intricate rhythmic structures to showcase their technical prowess.
• Creativity: This section allows the artist to demonstrate creativity and innovation, weaving complex patterns and exploring different facets of the raga.
• Tala Integrity: Maintaining a strong sense of the tala (rhythmic cycle) while exploring melodic improvisations creates a dynamic interplay between rhythm and melody.

Manodharma (Creative Imagination):

• Improvisation: Manodharma refers to the improvisational aspect of Carnatic music, where the artist’s creativity and imagination come to the fore. In Shanmukhapriya, this involves exploring the raga’s nuances and emotive aspects.
• Alapana: The alapana is a free-form exploration of the raga, starting with a slow, meditative introduction and gradually building up in intensity. It showcases the artist’s mastery of the raga’s structure and mood.
• Tanam: Tanam is a rhythmic improvisation without a specific tala, allowing the artist to explore various rhythmic patterns and phrases within the raga.
• Neraval: Neraval involves selecting a line from the composition and improvising on it, focusing on different aspects of the raga and tala. This showcases the artist’s ability to blend melody and rhythm seamlessly.

Composition: "Sri Valli Devasenapathe" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Sri Valli Devasenapathe
Shrineepathe namo namaste
Oh Lord of Sri Valli and Devasena, 
Oh husband of Sri (Parvati), salutations to you.

Anupallavi:
Sri Vidhyadhara Devaadi Deva
Sikhi Vaahana Sannuta Pada
Oh Lord worshipped by gods, 
Oh God of divine knowledge,
Oh Lord with the peacock as your vehicle, I bow to you.

Charanam:
Saravana Bhava Shanmukhane
Saadhu Jana Hridaya Sannivaasane
Paramananda Roopa Shaashvata Gnana
Bhava Paharee Parama Kripaakaaree
Oh Lord born of Saravana (reeds), 
Oh Shanmukha (six-faced god),
Oh resident in the hearts of the righteous, 
Oh form of supreme bliss, eternal knowledge,
Oh destroyer of worldly existence, source of supreme compassion.

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi establishes the raga with its characteristic phrases.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns.

Further Aspects of Performing Shanmukhapriya

Integration of Melody and Rhythm:

• Synergy: The integration of melody (raga) and rhythm (tala) is crucial in Carnatic music. In Shanmukhapriya, this synergy enhances the raga’s expressive potential.
• Structured Improvisation: Structured improvisation within the framework of the tala helps maintain a cohesive performance while allowing for creative exploration.
• Rhythmic Variations: Exploring rhythmic variations within the tala cycle adds complexity and interest to the performance, showcasing the artist’s skill and creativity.

Use of Microtones:

• Subtlety: Shanmukhapriya involves the use of microtones, adding subtlety and depth to the raga. These microtones are often used in gamakas (oscillations) on key swaras (notes).
• Precision: Precise use of microtones enhances the raga’s fluidity and expressiveness, allowing for a more nuanced performance.

Pacing and Dynamics:

• Tempo Variation: Varying the tempo within a performance helps highlight different emotional aspects of the raga. Slow, meditative phrases can create a sense of serenity, while faster phrases add excitement and energy.
• Dynamic Contrast: Using dynamic contrast, such as varying the volume and intensity, adds interest and depth to the performance, bringing out the raga’s full range of emotions.

Detailed Composition: "Gajavadana Sammodita" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Gajavadana Sammoditaam Anisham
Gajavadana Sammoditaam
I constantly meditate on the one who is delighted by the elephant-faced Lord (Ganesha).

Anupallavi:
Pajavadana Sammoditaam
Pajavadana Sammoditaam
I bow to the one who is worshipped by the celestial beings.

Charanam:
Girijaa Kumaaram Vara Guruguha Viharineem
Bhakta Jana Vimala Hridaya Vihara Sundari
She is the beautiful one who resides in the pure hearts of devotees,
the daughter of Girija, and the playful one of Guruguha (Muruga).

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi introduces the primary theme and establishes a serene and meditative mood.
• The Anupallavi often explores the middle octave, adding depth and variety to the raga’s portrayal.
• The Charanam typically features complex melodic and rhythmic patterns, showcasing the raga's full potential and the composer's intricate creativity.

Notable Artist: G.N. Balasubramaniam (GNB)

Rendition Highlights:

• Vocal Innovator: G.N. Balasubramaniam, known as GNB, was a pioneer in vocal music, introducing new styles and techniques that have influenced generations of musicians.
• Expressive Alapana: GNB’s alapana in Shanmukhapriya is noted for its lyrical quality, emotional depth, and technical brilliance, exploring the raga’s emotional and technical aspects extensively.
• Rhythmic Intricacy: His renditions are marked by rhythmic intricacy, with complex patterns and precise timing.
• Dynamic Expression: GNB’s approach to singing brought a new dimension to Carnatic music, emphasizing subtle nuances and dynamic expression, making his performances engaging and profound.

Performing Shanmukhapriya: Focus on Raga Development and Improvisation Techniques

Raga Development:

• Gradual Unfolding: The development of Shanmukhapriya often begins with a slow, deliberate exploration of the lower octave (mandra sthayi), gradually moving to the higher octaves (tara sthayi).
• Key Phrases: Emphasizing key phrases like "R2 G2 M2," "P D1 N3," and "S N3 D1" helps establish the raga’s identity and evokes its characteristic mood.
• Gamakas: The use of gamakas (oscillations) on key swaras (notes) such as R2, G2, M2, D1, and N3 adds richness and depth to the raga, enhancing its emotional expression.

Improvisation Techniques:

• Alapana: The alapana is a free-form exploration of the raga, starting with a slow, meditative introduction and gradually building up in intensity. It showcases the artist’s mastery of the raga’s structure and mood.
• Tanam: Tanam is a rhythmic improvisation without a specific tala, allowing the artist to explore various rhythmic patterns and phrases within the raga.
• Neraval: Neraval involves selecting a line from the composition and improvising on it, focusing on different aspects of the raga and tala. This showcases the artist’s ability to blend melody and rhythm seamlessly.
• Swarakalpana: Singing sequences of solfege syllables in various rhythmic patterns. In Shanmukhapriya, artists often use complex rhythmic structures to showcase their technical skill and creativity.

Composition: "Swaminatha Paripalaya" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Swaminatha Paripalaya Mam
Swaminatha Paripalaya Mam
Oh Swaminatha, protect me!

Anupallavi:
Kaminijamita Kara Pujita
Kanja Nayano Dhari
The consort of Kamini, worshipped by all, 
The one with lotus eyes, the supreme protector.

Charanam:
Shiva Guru Guha Sanjeevini
Sharanam Pranata Jana Vihara
The life-force of Shiva and Guru Guha,
The refuge and joy of those who seek protection.

Musical Features:

• The composition is set in Khandachapu tala (5-beat cycle).
• The Pallavi establishes the raga with its characteristic phrases and sets a devotional tone.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns, highlighting the raga's beauty and the composer's creativity.

Advanced Aspects of Performing Shanmukhapriya

Integration of Advanced Gamakas:

• Subtle Oscillations: Advanced gamakas involve subtle oscillations and microtonal variations that enhance the raga’s expressiveness. Mastering these gamakas requires precise control and a deep understanding of the raga’s nuances.
• Dynamic Phrasing: Using dynamic phrasing with gamakas, varying the intensity and speed, adds interest and depth to the performance.

Complex Rhythmic Patterns:

• Korvais and Tisram: Incorporating complex rhythmic patterns such as korvais (structured rhythmic sequences) and tisram (three-beat cycles) within the tala cycle adds sophistication and challenge to the performance.
• Rhythmic Variations: Exploring different rhythmic variations and syncopations within the tala enhances the interaction between melody and rhythm, showcasing the artist’s technical prowess.

Pacing and Emotional Depth:

• Tempo Variation: Varying the tempo within a performance helps highlight different emotional aspects of the raga. Slow, meditative phrases can create a sense of serenity, while faster phrases add excitement and energy.
• Emotional Expression: Bringing out the emotional depth of Shanmukhapriya involves emphasizing its devotional and serene qualities, using a range of dynamics, phrasings, and expressions.

Detailed Composition: "Sadashiva Mahim Bhajami" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Sadashiva Mahim Bhajami
I worship the greatness of Lord Sadashiva.

Anupallavi:
Sadguna Sadanam Siddhidayakam
Sada Janaranjaka Manoharam
He is the abode of good virtues, the bestower of success,
Always charming and pleasing to the people.

Charanam:
Shambhavi Patim Shiva Yuvateesham
Sharva Visesham Guru Guha Vanditam
He is the consort of Shambhavi, the Lord of young women,
The most special one, venerated by Guru Guha.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the main theme, capturing the essence of Shanmukhapriya.
• The Anupallavi often elaborates on the raga’s characteristic phrases, focusing on the middle octave.
• The Charanam typically features intricate melodic and rhythmic patterns, showcasing the raga’s full potential and the composer’s creativity.

Notable Artist: M.S. Subbulakshmi

Rendition Highlights:

• Vocal Icon: M.S. Subbulakshmi, often referred to as MS, was one of the most revered vocalists in Carnatic music, known for her divine voice and expressive singing.
• Emotive Alapana: Her alapana in Shanmukhapriya is marked by a deep emotive quality, bringing out the devotional and serene aspects of the raga.
• Bhava and Bhakti: MS’s renditions are characterized by an intense sense of bhava (emotion) and bhakti (devotion), creating a profound spiritual experience for the listener.
• Technical Brilliance: Despite her focus on emotive expression, MS’s performances are also technically flawless, with precise gamakas and intricate rhythmic patterns.

Performing Shanmukhapriya: Focus on Nuances and Stylistic Elements

Nuances in Gamakas:

• Microtonal Precision: Shanmukhapriya involves the use of microtones, particularly in the gamakas on key swaras like R2, G2, M2, D1, and N3. Precise control of these microtones adds subtlety and depth to the raga.
• Fluid Oscillations: Smooth and fluid oscillations on the notes enhance the raga’s expressiveness, allowing for a more nuanced and dynamic performance.

Advanced Rhythmic Techniques:

• Korvais and Muktayis: Incorporating korvais (structured rhythmic sequences) and muktayis (concluding rhythmic phrases) within the tala cycle adds complexity and sophistication to the performance.
• Rhythmic Modulation: Experimenting with rhythmic modulation, such as shifting from the main tala to a different sub-tala (like switching from Adi tala to Tisra nadai) adds an extra layer of rhythmic intrigue.

Composition: "Sharavana Bhava Guhane" by Papanasam Sivan

Lyrics and Meaning:

vbnet
Pallavi:
Sharavana Bhava Guhane Shanmukhane
Oh Sharavana Bhava (born in the reeds), Oh Guha (Muruga), Oh six-faced Lord.

Anupallavi:
Parvana Veda Nayakane
Oh Lord who is the chief of the celestial army.

Charanam:
Kandha Kumara Velayudhamurthy
Saindha Panimuditha Pranava Swaroopa
Oh young Lord Kandha, wielder of the spear,
Rejoicing with his consort Valli, the embodiment of the sacred syllable Om.

Musical Features:

• The composition is set in Khanda Chapu tala (5-beat cycle).
• The Pallavi establishes the raga’s key phrases and sets a devotional tone.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores the higher octaves and more complex melodic patterns, highlighting the raga’s beauty and the composer’s creativity.

Advanced Aspects of Performing Shanmukhapriya

Integration of Subtle Nuances:

• Kampita Gamakas: Utilizing kampita gamakas (oscillations) with subtle microtonal variations enhances the raga’s expressiveness. These are often employed on the key swaras to bring out the raga’s unique character.
• Jaru Gamakas: Smooth slides between notes (jaru gamakas) add fluidity to the raga, creating a seamless transition between swaras and enhancing the overall melodic contour.

Advanced Phrasing Techniques:

• Moorchana: Exploring different moorchana (modal shifts) within the raga can add variety and interest to the alapana and other improvisational sections. This involves shifting the tonal center while maintaining the raga’s identity.
• Sphurita and Pratyahata: Incorporating sphurita (quick repetitions of a note) and pratyahata (quick successive movements between notes) adds rhythmic dynamism and complexity to the performance.

Emotional Depth and Expression:

• Emotive Alapana: The alapana in Shanmukhapriya should focus on conveying deep emotion, using a combination of slow, meditative phrases and more dynamic passages to create a sense of ebb and flow.
• Bhava and Bhakti: Emphasizing bhava (emotion) and bhakti (devotion) in the rendition, especially in compositions like those of Papanasam Sivan and Muthuswami Dikshitar, enhances the spiritual impact of the performance.

Detailed Composition: "Manasa Etulo" by Tyagaraja

Lyrics and Meaning:

makefile
Pallavi:
Manasa Etulo Shakthi Leela
Oh mind, how can one comprehend the divine play of Shakti (Parvati)?

Anupallavi:
Ganapati Jagadekadhipati
Ganapati, the supreme lord of the universe.

Charanam:
Dhanasa Jana Ranajana Viharini
Jina Ranjani Manasa Ranjani
She who sports among the devotees,
She who delights the mind and heart.

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary theme and sets a contemplative and devotional tone.
• The Anupallavi elaborates on the raga’s characteristic phrases, focusing on the middle octave.
• The Charanam typically features more intricate melodic and rhythmic patterns, showcasing the raga’s full potential.

Notable Artist: T.N. Seshagopalan

Rendition Highlights:

• Master of Bhava: T.N. Seshagopalan is known for his mastery of bhava (emotional expression) and his ability to bring out the subtle nuances of ragas.
• Expressive Alapana: His alapana in Shanmukhapriya is noted for its lyrical quality and deep emotional content, exploring the raga’s emotive and technical aspects extensively.
• Rhythmic Precision: Seshagopalan’s renditions are marked by rhythmic precision, with complex patterns and accurate timing.
• Innovative Approach: His innovative approach to singing and his command over complex gamakas and swarakalpana make his performances engaging and profound.

Performing Shanmukhapriya: Focus on Advanced Improvisational Techniques

Alapana:

• Gradual Build-Up: The alapana should start with a slow, meditative exploration of the lower octave (mandra sthayi), gradually moving to the higher octaves (tara sthayi).
• Key Phrases: Emphasizing key phrases such as "R2 G2 M2," "P D1 N3," and "S N3 D1" helps establish the raga’s identity and evoke its characteristic mood.
• Gamakas: The use of complex gamakas (oscillations) on key swaras (notes) such as R2, G2, M2, D1, and N3 adds richness and depth to the raga, enhancing its emotional expression.

Tanam:

• Rhythmic Exploration: Tanam is a rhythmic improvisation without a specific tala, allowing the artist to explore various rhythmic patterns and phrases within the raga.
• Dynamic Variation: Varying the intensity and speed of the tanam adds interest and depth to the performance, creating a dynamic interplay between rhythm and melody.

Composition: "Sri Subramanyaya Namaste" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Sri Subramanyaya Namaste Namaste
Salutations to Lord Subramanya.

Anupallavi:
Sri Shanmukha Kumara Guru Guha
Saravanabhava Te Namaste Namaste
Salutations to the six-faced Lord, son of Lord Shiva and Guru Guha.

Charanam:
Vasavaadi Sakala Deva Vandita
Vaara Balavana Raja Roopaya
Jaya Pramukha Devataya
Vasavaadi Sakala Deva Vandita
He is worshipped by all gods including Indra,
He has a majestic form and is the chief among the gods.

Musical Features:

• The composition is set in Misra Chapu tala (7-beat cycle).
• The Pallavi introduces the raga’s key phrases and sets a devotional tone.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores higher octaves and more complex melodic patterns, highlighting the raga’s beauty and the composer’s creativity.

Advanced Aspects of Performing Shanmukhapriya

Advanced Gamakas:

• Microtonal Control: Advanced gamakas in Shanmukhapriya involve precise control of microtones, particularly on key swaras such as R2, G2, M2, D1, and N3. This adds subtlety and depth to the raga.
• Dynamic Oscillations: Using dynamic oscillations and fluid transitions between notes enhances the raga’s expressiveness, creating a more nuanced performance.

Rhythmic Complexity:

• Korvais and Nadais: Incorporating complex rhythmic patterns such as korvais (structured rhythmic sequences) and exploring different nadais (subdivisions of the beat) within the tala cycle adds sophistication to the performance.
• Syncopation: Utilizing syncopation and rhythmic modulation within the tala framework creates an engaging interplay between rhythm and melody.

Pacing and Emotional Expression:

• Tempo Variation: Varying the tempo within a performance helps highlight different emotional aspects of the raga. Slow, meditative phrases can create a sense of serenity, while faster phrases add excitement and energy.
• Expressive Dynamics: Using dynamic contrast, such as varying the volume and intensity, adds interest and depth to the performance, bringing out the raga’s full range of emotions.

Detailed Composition: "Kamalamba Samrakshatu Maam" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Kamalamba Samrakshatu Maam
Let Kamalamba protect me.

Anupallavi:
Kamalakucha Choodaaam Shri Vidyaam
The one who wears a garland of lotuses, the embodiment of Sri Vidya.

Charanam:
Madhura Vani Mudita Maanikya Valayata Kara Kamalaam
The one with a sweet voice, adorned with ruby bracelets on her lotus-like hands.

Musical Features:

• The composition is set in Rupaka tala (6-beat cycle).
• The Pallavi establishes the primary theme and captures the serene and devotional mood of Shanmukhapriya.
• The Anupallavi often elaborates on the raga’s characteristic phrases, focusing on the middle octave.
• The Charanam typically features intricate melodic and rhythmic patterns, showcasing the raga’s full potential and the composer’s creativity.

Notable Artist: Lalgudi Jayaraman

Rendition Highlights:

• Violin Virtuoso: Lalgudi Jayaraman is renowned for his mastery of the violin, his innovative techniques, and his deep understanding of Carnatic ragas.
• Expressive Alapana: His alapana in Shanmukhapriya is noted for its lyrical quality, technical brilliance, and emotional depth.
• Rhythmic Precision: Lalgudi’s renditions are marked by rhythmic precision, with complex patterns and accurate timing.
• Innovative Approach: His approach to playing the violin brought a new dimension to Carnatic music, emphasizing subtle nuances and dynamic expression.

Performing Shanmukhapriya: Focus on Advanced Improvisational Techniques

Neraval:

• Line Selection: Choose a line from the composition that has a balance of rhythmic and melodic elements. In "Kamalamba Samrakshatu Maam," an effective line might be "Kamalakucha Choodaaam."
• Rhythmic Play: Explore different rhythmic patterns and variations while maintaining the melodic integrity of the chosen line.
• Melodic Elaboration: Elaborate on the melodic aspects of the line, emphasizing key phrases and swaras that bring out the raga’s essence.

Swarakalpana:

• Complex Patterns: Incorporate complex patterns and korvais in the swarakalpana. This can include tisram (three-beat cycle) and khandam (five-beat cycle) variations.
• Seamless Transitions: Ensure smooth transitions between different rhythmic patterns and tala cycles, maintaining a coherent and engaging improvisation.
• Raga Bhava: Emphasize the raga bhava (emotional essence) in the swarakalpana, using gamakas and microtonal variations to enhance the expressive quality of the improvisation.

Composition: "Parvati Nayaka" by Muthuswami Dikshitar

Lyrics and Meaning:

vbnet
Pallavi:
Parvati Nayaka Palayamam
Oh Lord of Parvati, protect me.

Anupallavi:
Sarva Vighna Harana
The remover of all obstacles.

Charanam:
Kamita Phalada Manonmana
The one who grants desired fruits and is the consort of Manonmani (Parvati).

Musical Features:

• The composition is set in Adi tala (8-beat cycle).
• The Pallavi introduces the primary theme and sets a devotional tone.
• The Anupallavi extends the exploration of the raga, often focusing on the middle octave.
• The Charanam typically explores higher octaves and more complex melodic patterns, highlighting the raga’s beauty and the composer’s creativity.

Advanced Aspects of Performing Shanmukhapriya

Integration of Microtones:

• Subtle Oscillations: Use subtle oscillations and microtonal variations on key swaras like R2, G2, M2, D1, and N3 to enhance the raga’s expressiveness.
• Precision and Control: Maintain precise control over these microtones, ensuring that each note resonates with the raga’s characteristic mood.

Complex Rhythmic Techniques:

• Korvais and Muktayis: Incorporate korvais (structured rhythmic sequences) and muktayis (concluding rhythmic phrases) within the tala cycle to add sophistication to the performance.
• Rhythmic Modulation: Experiment with rhythmic modulation, such as shifting from the main tala to a different sub-tala, to create an engaging interplay between rhythm and melody.

Emotional Depth and Expression:

• Bhava and Bhakti: Emphasize bhava (emotion) and bhakti (devotion) in the rendition, especially in compositions like those of Muthuswami Dikshitar, to enhance the spiritual impact of the performance.
• Dynamic Expression: Use dynamic contrast, such as varying the volume and intensity, to add interest and depth to the performance, bringing out the raga’s full range of emotions.

In the context of Shanmukhapriya, understanding the swarasthanas (positions of the notes) is crucial to mastering the raga. Let’s delve into the swarasthanas used in Shanmukhapriya and explore their importance in the raga’s structure.

Swarasthanas of Shanmukhapriya

Shanmukhapriya is the 56th Melakarta raga in the Carnatic music system. It belongs to the 10th chakra, Disi. Here are the swarasthanas used in Shanmukhapriya:

• Shadjam (S)
• Chatusruti Rishabham (R2)
• Sadharana Gandharam (G2)
• Prati Madhyamam (M2)
• Panchamam (P)
• Suddha Dhaivatam (D1)
• Kakali Nishadham (N3)

Arohana and Avarohana

The arohana (ascending scale) and avarohana (descending scale) of Shanmukhapriya are as follows:

• Arohana: S R2 G2 M2 P D1 N3 S
• Avarohana: S N3 D1 P M2 G2 R2 S

Swarasthanas and Their Roles

1. Shadjam (S):

   • Role: Serves as the tonic note and the anchor for the raga. It provides a sense of stability and reference.
   • Usage: Frequently used as a starting and ending point in phrases.

2. Chatusruti Rishabham (R2):

   • Role: Provides the second note in the scale, contributing to the raga’s identity and structure.
   • Usage: Often used in conjunction with G2 to create characteristic phrases.

3. Sadharana Gandharam (G2):

   • Role: Adds a unique flavor to the raga with its distinctive position and relationship with R2 and M2.
   • Usage: Frequently oscillates with R2 and is used prominently in key phrases.

4. Prati Madhyamam (M2):

   • Role: Enhances the raga’s mood and provides a contrast to the lower and upper tetrachords.
   • Usage: Creates a bridge between the lower and upper tetrachords, often used in gamakas.

5. Panchamam (P):

   • Role: Acts as a perfect fifth and a point of resolution in many phrases.
   • Usage: Provides stability and is often used as a resting note.

6. Suddha Dhaivatam (D1):

   • Role: Adds a unique character to the raga with its position as the sixth note.
   • Usage: Often used in ascending and descending phrases, creating tension and resolution.

7. Kakali Nishadham (N3):

   • Role: Provides the leading tone to the upper Shadjam, contributing to the raga’s tension and resolution.
   • Usage: Frequently used in conjunction with D1, especially in ascending phrases.

Characteristic Phrases (Prayogas)

Understanding the characteristic phrases (prayogas) of Shanmukhapriya is essential for capturing the raga’s essence. Here are some important phrases:

• S R2 G2 M2: Establishes the raga’s identity early in the alapana.
• M2 P D1 N3 S: Ascending phrase that highlights the upper tetrachord.
• S N3 D1 P: Descending phrase that resolves the tension created by N3 and D1.
• P M2 G2 R2 S: Common descending phrase that brings out the raga’s flavor.
• R2 G2 M2 P: Used to establish the raga’s middle octave.

Gamakas in Shanmukhapriya

Gamakas (ornamentations) play a vital role in bringing out the beauty of Shanmukhapriya. Here are some common gamakas used:

• Kampita (Oscillation): Especially on R2, G2, M2, D1, and N3, adding depth and expressiveness.
• Jaru (Slide): Smooth transitions between notes, particularly between S and R2, and M2 and P.
• Sphurita (Rapid Repetition): Quick repetitions of a note, adding rhythmic complexity.
• Pratyahata (Jerk): Quick successive movements between notes, enhancing rhythmic dynamism.

Practical Applications

When performing Shanmukhapriya, it is important to:

1. Emphasize Key Swaras: Focus on key swaras like R2, G2, M2, D1, and N3 to bring out the raga’s identity.
2. Use Characteristic Phrases: Incorporate characteristic phrases in alapana, neraval, and swarakalpana to stay true to the raga’s essence.
3. Employ Gamakas: Use appropriate gamakas to enhance the raga’s expressiveness and emotional depth.