I regret that Dikshithar is not here to listen this wonderful rendition, God Bless you MM.

fallen in love with your voice meera manohar, i thought bombay jayasri sang it the best but you were outstanding

K.Classical


Ever since I heard this brilliant piece of music, its been on non-stop replay in my mind.The combination of lead vocals and instruments are brilliant. Top class talent that resulted in a remarkable work of spellbinding creative fusion. 

Youtube Link: http://youtu.be/RKYYv_3WNB0

Swaminatha Paripalaya is a Sanskrit Carnatic Classical 'Kriti' originally composed by Muthuswamy Dikshitar in raga Nattai (Adi Tala).  In this alternative version, the band has applied a funky guitar patch throughout with western drums while combining Indian elements such as the mridangam and flute. Check it out...a must listen for Carnatic fusion lovers.

Vocals: Haricharan, Lead guitars & music arrangements - Bennet Roland, Keyboards - Roy George, Flute, sax - Nikhil Ram, Eastern percussions - Sumod, Western percussions - Thanuj, Drums - Tao Issaro, Bass guitars - Josy John, Direction - Sumesh Lal, Production - Sujith Unnithan, DOP - Vipin Chandran, Camera - Viju, Ranjith, Mahesh SR, Vishnu, Sarath, Editor - Jobin Sebastian, Coordination - Harikrishnan, Sound: Tennyson, Recording - Prasanth Valsaji, Sound engineer - Summy Samuel, Lights - Cameo, 

I do not own this content. All Copyrights reserved for Kappa TV production.

Swaminatha Paripalaya - Carnatic Fusion - Haricharan with Bennet & the Band (Unplugged)

India's classical music is deeply bound to the country's ancient mystical traditions. This unique Rough Guide brings together the greatest names in Indian Classical music, performing some of the most beautiful ragas of India’s classical legacy. Enjoy the musical artistry of legendary performers such as Shivkumar Sharma, Hari Prasad Chaurasia, Zakir Hussain and Ravi Shankar.

For more information, visit www.worldmusic.net/indianclassical

THE ROUGH GUIDE TO INDIAN CLASSICAL MUSIC

India's classical music is deeply bound to the country's mystical ancient traditions. Stretching back  through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's ‘Raga Chhaya Nat’ is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music’s greatest figures Syama Sastri (1762-1827). 

Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on ‘Ahir Bhairav’. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar’s radiant sitar shines bright on the fast-paced track ‘Devgiri Bilawal Dhun’. Shankar’s name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a ‘scientific, precise, subtle and aesthetic melodic form’. Another sitar scholar, Vilayat Khan is heard on ‘Dhun Punjabi Ang’. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire.

Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track ‘Ek Taal’. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as ‘a spirit who was created to work for music by God’. Carnatic vocalist Dr M. Balamuralikrishna’s marvellously melodic instrument sparkles on ‘Sadhathava Pada’. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music – when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes ‘Annapoorne’, a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace.

Uncover the mystery and beauty of India’s verdant classical tradition on this excellent introduction to one of the world’s most valuable musical repertoires. 

Jyotsna Srikanth: Annapoorne (taken from The Rough Guide To Indian Classical Music)

‘Moham’, an instrumental interpretation of the song, Moham Kondujaan’, a song originally composed by music director Johnson Master, one of Baiju Dharmajan’s biggest musical inspirations.

Download

Moham

Sri Kandha Guru Kavasam

Indian classical raga (Kosh Pal Ji on raag Puria dhanashree)

One rough version track from our upcoming album.

Seetha Kalyana

This is one of the most popular invocations on Swami Ganesha set in the raagam Naattai, a very pleasing and chirpy raagam, almost considered a standard in many if not all classical concerts.

The one by Bombay Jayashree in the movie is a little short… so I rearranged the track a little, and added my own stuff to it. And, for the first time- have done harmonies in a totally classical composition and introduced a mild western influence here and there.


Krithi: Mahaaganapathim
Raagam: Naattai
Thaalam: Adi 
Original composer: Sri Muthuswami Dikshithar
Movie: Morning Raaga
Lead, Backing vocals, Harmonies and Mix by: Meera Manohar

There’s also a short explanation of the lyrics that I found somewhere. Makes an interesting read:

Pallavi:
Mahaganapathim Manasa Smaraami
Vashista Vaamadevaadhi Vandhitha

Anupallavi/Charanam:
Mahadevasutham Guruguhanutham
Maarakoti Prakaasham Shaantham
Madhyamakala Sahithyam:
Mahakaavya Naatakadhi priyam
Mooshika vaahana modhaka priyam

Swaram:
P P M G M R S 
R S N S P M G M
P , D N *S *R *G *M 
*M *R *S N *S N P M
*S N P M G M 
N P M R G M R R S 
*R , *S *S , N P , M G , M N S G M

Pallavi:
Dikshithar starts off with a very small pallavi singing “I medidate and recite(‘Smaraami’) with my whole heart(‘Manasa’) on the supreme Lord Ganapathy, he who is worshipped by(‘Vandhitha’) sage Vashista, Vaamadeva and others(‘aadhi’)”. Very simple but extremely open-ended for improvisation and I have heard so many different versions of the pallavi alone which once again is because of the flexibility characteristic of all dikshithar krithis. The entire scale and important phrases of the raga are brilliantly captured in the opening lines itself. Moving on to the samaashti charanam now

Anupallavi/Charanam:
Dikshithar continues describing Lord Ganesha as “He is the son(‘sutham’) of Lord Mahadeva, adored(‘nutham’) by Guruguha. He shines(‘Prakaasham’) like crores(‘koti’) of cupids(‘maara’) put together. He is the peaceful one(‘Shaantham’) and loves(‘priyam’) literary epics(‘Mahakaavya’) and other arts like Drama(‘Naataka’). He uses a mouse(‘mooshika’) as his vehicle(‘vaahana’) and loves modhakam(a popular sweet).” Not much to explain in the charanam except for the beautiful inclusion of the raga mudhra ingeniously incorporated in the word ‘Naataka’ referring to drama. On the whole, a simple composition.(With all due respect to Lord Ganesha), maybe Dikshithar composed this while he was asleep or something :). The characteristic ‘Sa Ri3’ phrase embellishes this composition.

Mahaa Ganapathim (cover)- Morning Raaga

Shankarabharanamu HQ [ www.facebook.com/caatikz ]

Original Composer : Tyaagaraaja
TaaLam: Jhampa
Language: Sanskrit

This rendition was arranged and produced by Tenma 
Singer- Sinduri Vishal 
Guitars - Sahib Singh
Violin - Jithin Roshan

Seetha Kalyana Vaibhogame

Tribute to Indian Classical Music

Karthick Iyer Live’s 1st album "IndoSoul - Looking Within To Look Beyond" is now available on
OK Listen: https://www.oklisten.com/album/indosoul
iTunes: http://hyperurl.co/IndoSoul
Amazon: http://hyperurl.co/IndosoulAmazon

A Contemporary violin adaptation of Brovabarama(Thyagaraja krithi)

I have played different styles of music from traditional carnatic to film-pop. However something that I've always leaned towards is to explore the idea of propping up our beautiful classical music against various genres like pop, rock, jazz etc. So here is a song from my outfit Karthick Iyer Live. We have played Thyagaraja's krithi Brovabarama in the raga Bahudari

Do share! :) 

Covers music got a lively twist with the entrance of Karthick Iyer Live. Karthick Iyer who has played with bands and in festivals spanning almost all the continents in the world, has contemporized the existing format to suit the ever changing needs of the audiences. His concerts are known to touch every single person in the crowd, from old to new and from the laymen to the learned. He spices up his concerts with medleys of English, Tamil and Carnatic songs rolled into one. Dressed in a dazzling Moghul costume, holding a blue electric violin and armed with a compelling selection of Tamil, Hindi, English and Carnatic songs, Karthick is ready to cast a spell!

For wedding, corporate and other gig bookings please email karthickiyer.music@gmail.com

Musician Credits
Electric Violin, vocals - Karthick Iyer
Piano - Leon James
Mridangam - Sumesh Narayanan
Kanjira - Kishor
Live Sound - Mahesh


Check his youtube channel at http://www.youtube.com/user/Thekarthickiyer

For Concert Bookings:
Email:  karthickiyer.music@gmail.com
Mobile Number: +91 77009 08966

Brovabarama - Release the burdens - Free Download

At a royal durbar in ancient India, present are all the dignitaries from the king, ministers to the priests. Kalyani, the official court dancer tries to seduce the young royal prince while everyone watches on in interest. A sonic interpretation from Karthick Iyer Live.

Genre - Carnatic Lounge, Meditation

Produced, composed, arranged by Karthick Iyer
Violin, vocals -Karthick Iyer
Veda Chant - B. Srinivasan(My dad :) 

Buy our 1st Music Album "IndoSoul - Looking Within To Look Beyond" on https://itunes.apple.com/in/album/indosoul-ep/id1008655738

For Concert Bookings:
Email:  karthickiyer.music@gmail.com
Mobile Number: +91 77009 08966
YouTube Channel - www.youtube.com/user/Thekarthickiyer
Official website - www.karthickiyer.com
Facebook - www.facebook.com/karthickiyerlive
Twitter - https://www.twitter.com/karthickiyer

Maiden - Carnatic Lounge

Alaipayuthe by Mandolin Prakash Live!

12 Muthai Tharu -Srinivas & Nithyashree

Jagadodharana - Bombay Jayashree

01-1.Amme Narayana Devi Narayana

Retired Official, interested in Music of all types

Meera iyer enjoys music, cooking, workouts & a clean sink! This avid realtor by day, is a classically trained recording artist, actor and founder of the party band “The Iyerwaltz”. 

Some of her high moments include her being awarded the "Pro Voice of the year" by Shankar Mahadevan (2011), being recognized by A.R.Rahman for her cover single of Nenjukullae from the movie Kadal (2013), her original from “Naseman” being selected for the Cambodian International Film Festival (2014), debuting as a playback singer in the Telugu film “Aavu Puli Madhyaalo Prabhaas Pelli” (2016) & playing the lead actor role in the short film, “Vibatthu” (2017). Her first Hindi single, for the movie “Anya”, was awarded the “the best motion picture” at the Albysvyn Film Festival, Sweden

Mahaa Ganapathim (cover)- Morning Raaga

Meera Iyer Feat, TheIyerwaltzOfficiall

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