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Dı̄ks.ita Kı̄rtanaPrakāśikai

Notated and published by

Nāgasvara Vidvān

T. S. Nat.arājasundaram Pil.l.ai(1936)

TRANSLATION AND TYPESETTING BY

P. P. NARAYANASWAMI AND VIDYA JAYARAMAN

2009

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DĪKS. ITA KĪRTANAPRAKĀŚIKAI

T. S. NAT. ARĀJASUNDARAM PIL. L. AI

English Edition (March 2009)

śrı̄mad Muttusvāmi Dı̄ks. itar

K7777777K

5555555555

DEDICATION

The year 2008, marks the birth

centenary of DR. V. RĀGHAVAN(1908-1979), so we dedicate thishumble contribution (in English) to

his pioneering and untiring efforts

in popularizing the compositions

of Muttusvāmi D̄ıks. itar.

5555555555

K7777777K

śrı̄ḣ

Dı̄ks. ita Kı̄rtana Prakāśikai

A collection of 50 compositions ofśrı̄ Muddusvāmi Dı̄ks.itar

with svara notations

Part 1

written and published by

Nāgasvara Vidvān

T. S. Nat.arājasundaram Pil.l.ai

the disciple of Sāttanūr Pañcanada Iyer, and

the son of Tiruppāṁburam Svāminātha Pil.l.ai

1936 [price Rs. 2.

Contents

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Notations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Biographies of T. S. Nat.arājasundaram Pil.l.ai and Sāttanūr Pañcanada Iyer . . . . . . . . . . . . . 15

1 svāminātha paripālayāśu māṁ— calanāt.a— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 tyāgarāja pālayāśu māṁ— gaul.a — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 śrı̄ sarasvati namōstu tē— ārabhi — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 śrı̄ kamalāṁbikē— śrı̄— khan. d. a jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 māmava mı̄nāks. i— varāl.i — miśra jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 mahāgan. apatiṁ vandē— tōd. i — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 candraṁ bhaja mānasa— asāvēri — mat.hyam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 ēhi annapūrn. ē— punnāgavarāl.i — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 śrı̄ nāthādiguruguhō jayati— māyāmāl.avagaul.a — ādi . . . . . . . . . . . . . . . . . . . . . . . . 3310 pañcamātaṅgamukha— malahari — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3511 śrı̄ pārvatı̄paramēśvarau— baul.i — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3712 sūryamūrtē— saurās.t.ram — dhruva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3813 śrı̄ rājagōpāla— sāvēri — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4014 gaurı̄ girirājakumāri— gauri — tiśra jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4215 rāmacandraṁ bhāvayāmi– vasantam — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . 4516 kañjadal.āyatāks. i— manōhari — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4717 vı̄n. āpustaka— vēgavāhini — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4918 nı̄rajāks. i kāmāks. i— hindōl.aṁ — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5119 mānasa guruguha— ānandabhairavi — tiśra ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . 5320 tyāgarājayōgavaibhavam— ānandabhairavi — tiśra ēkam . . . . . . . . . . . . . . . . . . . . . . 5521 bālagōpāla— bhairavi— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5722 pāhimāṁ ratnācalanāyaka— mukhāri— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5923 śrı̄ varalaks. mi namastubhyaṁ— śrı̄ — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6124 māmava pat.t.ābhirāma — man. iraṅgu — miśra jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . 6325 dharmasaṁvardhani— madhyamāvati — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . 6526 tyāgarājādanyaṁ— darbār— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6727 raṅganāyakaṁ— nāyaki— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6928 ı̄śānādiśivākāramañcē— sahanā — tiśra ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7129 nı̄lakan. t.haṁ bhajehaṁ— kēdāragaul.a — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . 7330 śrı̄ guruguha tārayāśu— dēvakriya — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7531 bṙhannāyaki varadāyaki —āndhāl.i — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7632 śrı̄rāmaṁ— nārāyan. agaul.a— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7733 śrı̄subrahman. yāya namastē— kāṁbhōji — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . 7934 aṅgārakamāśrayāmi—surat.i — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8235 divākaratanūjaṁ— erukulakāṁbōdhi— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8436 bṙhaspatē— at.hān. ā —triput.a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8637 budhamāśrayāmi— nāt.akurañji — miśra jhaṁpa . . . . . . . . . . . . . . . . . . . . . . . . . . . 8838 cētaḣ śrı̄bālakṙs. n. am— jujāvanti — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9039 aks. ayaliṅgavibhō— dhı̄raśaṅkarābharan. am —miśra jāti ēkam . . . . . . . . . . . . . . . . . . . . 9340 sadāśivamupāsmahē— dhı̄raśaṅkarābharan. am— ādi . . . . . . . . . . . . . . . . . . . . . . . . . 9541 guruguhāya bhaktānugrahāya — sāma — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9742 vātāpi gan. apatiṁ —haṁsadhvani — ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

43 śrı̄ bālasubrahman. ya— bilahari— miśra jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . 10144 tyāgarājāya namastē— bēgad. a — rūpakam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10345 sarasvatı̄ manōharı̄— sarasvatı̄ manōhari— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10646 ānandanat.anaprakāśaṁ— kēdāraṁ— miśra jāti ēkam . . . . . . . . . . . . . . . . . . . . . . . . . 10847 aṁba nı̄lāyatāks. i— nı̄lāṁbari— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11048 ks. itijāraman. aṁ— dēvagāndhāri— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11249 mı̄nāks. i mē mudam dēhi— gamakakriya— ādi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11350 bhajarē rē citta— śāntakalyān. i — miśra ēkam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

5

Acknowledgements

We express our sincere and heartfelt thanks to the following persons, who havehelped in various ways, to bring out this English edition of the Tamil work, “Dı̄ks. itaKı̄rtana Prakāśikai” (1936) by Śrı̄ T. S. Nat.arājasundaram Pil.l.ai.

• Professor N. Ramanathan, for providing us with his own personal copy of theoriginal book, his generous guidance and encouragement on a regular basis,and valuable advice with regard to the notation scheme in this book and otherrelated issues.

• Dr. B. M. Sundaram, for providing the biographical information of Śrı̄ T.S.Nat.a-rājasundaram Pil.l.ai, and the genealogical details of his family.

• Shri Ravi Rajagopalan, for translating the introductory portions and the no-tation scheme, for writing the biography of Sāttanūr Pañcanada Iyer, and forproof-reading.

• Dr. B. Balasubramanian, for helping us acquire an original copy of the book,during the final stages of proofreading, and for pointing out some minor typos.

• Dr. S. Sivaramakrishnan, for carefully proof-reading some of the typed mate-rial.

• Shri Naresh Keerthi for kindly pointing out some typos and inconsistencies.

This PDF file was generated using the free software programs that belong tothe TEX and friends (LATEX2ε, AMSLATEX, pdfTeX, hyperref, PSTricks, etc). It is apleasure to acknowledge our gratitude to the authors of these versatile and usefulopen source packages. The base font used in this work is mathpazo.

P. P. Narayanaswami (swami@mun.ca)

Vidya Jayaraman (vidyajay@gmail.com)

Fp� rF1 EvjytA\

(yAgrAV̂ EvjytAm̂ ।

dFE"to EvjytA\t(k� Et, EvjytAm̂ ॥

śrı̄purı̄ vijayatāṁtyāgarāt. vijayatām |

dı̄ks. itō vijayatāṁtatkṙtirvijayatām ‖

V. Rāghavan

TRANSLATION: Victorious be Tiruvārūr; victorious be Lord Tyāgarāja;victorious be Dı̄ks.ita; and victorious be his kı̄rtanams.

ao\kArATmhopd�fkg� h -

þA>yþsAdA-pdA,

a-mE"ZgAnjFv� EtEB,

þAØAm� t(vA ih ।

nAdb}EZ EnE¤t--vcErt -

&yAHyAt td̂gOrvA,

m� � -vAEmmKFrA, kzZyAEn(y\ þsFd�t� n, ॥

ōṁkārārthamahōpadēśakaguha-prājyaprasādāspadāḣ

asmaddaks. in. agānajı̄vaśrutibhiḣprāptāmṙtatvā iha |

1Fp� ro— Dr. V. Raghavan in Fm� � -vAEmdFE"tcErtm̂ (g}�TsmpZm̂ ॥ 11॥ )

7

nādabrahman. i nis. t.hitassvacarita-vyākhyāta tadgauravāḣ

muttusvāmi makhı̄śvarāḣ karun. ayānityaṁ prası̄dantu naḣ ‖

V. Rāghavan

TRANSLATION: He who received the boundless Grace of Lord Subrahma-n. ya, the One who revealed the meaning of Pran. ava ; he who attainedimmortality by bestowing his timeless compositions, the life blood ofour karn. ātik music; he who became the soul of the very spirit of Music;he who by his sporting acts and deeds, showed us the essence of thatspirit of Music — let him, the revered Muddusvāmi Dı̄ks.itar, conferhis benign blessings on us!

nAdAn� B� EtEnv�Et -

kAmd� GA jyEt BEÄg�DAäA 2।

s\gFtopEnqt̂ F -sr-vtF dFE"t��dý AZAm̂ ॥

nādānubhūti nirvṙti-kāmadughā jayati bhaktigandhād. hyā |

saṅgı̄tōpanis. at śrı̄-sarasvatı̄ dı̄ks. itēndrān. ām ‖

V. Rāghavan

TRANSLATION: The speech of Dı̄ks. ita kings, which is Goddess saras-vati, which milks out (grants) the pleasure of nādānubhūti for the seeker,which is full of the (sweet) fragrance of bhakti, and that which is likethe upanis. ad for the music, is victorious.

2BEÄm�/BAvAäA— Dr. V. Raghavan in Fm� � -vAEmdFE"tcErtm̂ (g}�TsmpZm̂ ॥ 10॥ )

8

s½FtAZvpArdEfnm� mA -

-k�dAEv\ Ej\

m� � -vAEmmKFEt lokEvEdt\

(yAg�fp� y�vm̂ ।

rAm-vAEmmKF�dý j\ prmyA

FEvyA dFE"t\

@yAyAmo bh� d�vtAn� Etk� t\sAEh(yEs\h\ g� zm̂ ॥

saṅgı̄tārn. avapāradarśinamumā-skandāttavidyaṁ dvijaṁ

muttusvāmimakhı̄ti lōkaviditaṁtyāgēśapuryudbhavam |

rāmasvāmi makhı̄ndrajaṁ paramayāśrı̄vidyayā dı̄ks. itaṁ

dhyāyāmō bahudēvatānutikṙtaṁsāhityasiṁhaṁ gurum ‖

Brahmaśrı̄ Anantharāma Dı̄ks.itar

TRANSLATION: I mediate on my guru, the one who had transcendedthe Ocean of Divine Music, the one who was blessed with the skills andarts by the Divine Mother and Skanda, the one the world celebrates asMuddusvāmi Dı̄ks.ita, the one who incarnated in Tiruvārūr, the abodeof Lord Tyāgarāja, as Rāmasvāmi Dīks.ita’s son; the one who was or-dained with the coveted śrı̄ vidyā dı̄ks. ā, the one who sang on the entirepantheon of Gods, the one who is the King among composers!

zzzzzzzzzz

9

Author’s Preface

Preface

In the year 1775, corresponding to the Tamil calendar year of manmatha, Śrı̄ MuddusvāmiDı̄ks.itar incarnated in the very holy town of Tiruvārūr, and for about 60 years till the year1835, about 100 years from now, corresponding to the Tamil calendar year of manmatha, hereigned as the very embodiment of divine music.

Even before the age of 16, Śrı̄ Dı̄ks.itar attained proficiency in the vēda, āgama, kāvya,nāt.aka, alaṅkāra , jyōsya, and other śāstras . Under the tutelage of his father Śrı̄ RāmasvāmiDı̄ks.itar, who was a titan in the world of music, he mastered Vēṅkat.amakhi’s treatise,the ‘caturdan. dı̄ prakāśikā’. Thus, acquiring knowledge, wisdom and great piousness, Śrı̄Dı̄ks.itar was initiated to the Śrı̄vidyā mahāmantra by Śrı̄ Cidambaranātha Yōgi. He trav-eled with him to Kāśi, stayed there for five years, and by incantation of the mantra, heacquired the benign blessings of the Divine mother.

Upon his return, he reached the pilgrim town of Tiruttan. i, and in the sanctum of the pre-siding deity there, Śrı̄ Dı̄ks.itar started reciting the śrı̄ subrahman. ya pañcadaśāks. ari. LordSubrahman. ya appeared before him there, and by putting rock candy and sugar in mouth,blessed him and disappeared. Immediately, Śrı̄ Dı̄ks.itar composed “śrı̄nāthādi guruguhō”in māyāmāl.avagaul.a rāga, there. From then on, he started composing a number of mas-terpieces on Lord Subrahman. ya and other deities, each one brimming with devotion andlyrical excellence.

Subsequently, Śrı̄ Dı̄ks.itar moved to Tiruvārūr and continued to compose profusely. Hetraveled to Et.t.ayāpuram to attend the second wedding of his younger brother Śrı̄ BālasvāmiDı̄ks.itar. On the way, he saw the parched and rain-starved crops, and was moved by thesight. To seek the divine intervention of the compassionate amṙtēśvari, he immediatelycomposed “ānandāmṙtākars. in. i”in rāga amṙtavars. in. i, and even as he was teaching it to hisdisciple, the rain clouds appeared in the sky, and started raining in torrents. After attendinghis brother’s wedding at Et.t.ayāpuram, and staying there for some time, in the year 1835,corresponding to the Tamil calendar year of manmatha, month of aippaśi and kṙs. n. a paks. acaturdaśi day, he attained the feet of Lord Subrahman. ya.

It is no wonder that every single composition of this great and blessed soul brims withdevotion, meaning, and melody, and is musically embellished with gamakas and adorn-ments so much and it shines bright in all the prescribed rhythmic gaits, including vil.aṁba(slow), madhya (medium) and druta (fast).

It has been my very firm belief that if every vidvān and student played or performedthese compositions after fully absorbing and appreciating the nuances of rāga bhāva (rich-ness of melody), gamaka (embellishments and adornments) and kālapramān. a (rhythmicgait) which lie buried in these great treasures, I am sure that the listeners would then beable to savor and enjoy the ambrosia of Śrı̄ Dı̄ks.itar’s music.

10

It is indeed very unfortunate that these lyrically and musically rich compositions havenot been available to the public, now. One reason has been that the vidvāns (artistes) be-longing to śis. ya paraṁpara (lineage of disciples) of Śrı̄ Dı̄ks.itar have passed away. Thesecond reason for this has been that there has been no written Tamil publication duly no-tated for both lyric and music, that could be easily understood by people in Tamil Nadu.

For the aforesaid reasons, and to enable easy learning of Śrı̄ Dı̄ks.itar’s compositions,which had been my burning desire, I have now ventured to publish them. I have hadthe good fortune of learning the compositions of Śrı̄ Dı̄ks.itar from the revered SāttanūrPañcanada Iyer, who in turn had meticulously learnt them from the respected Tiruvārūr Śrı̄Tambiyappan Pil.l.ai, the direct disciple of Śrı̄ Dı̄ks.itar. Under Śrı̄ Pañcanada Iyer’s tutelage,I had learnt about 200 compositions of Śrı̄ Dı̄ks.itar, and thoroughly notated them for rāga(melody), tāl.a (rhythm), and gamaka (adornments), under his supervision, which I havenow endeavored to publish. I seek to publish them all in 4 parts, each with 50 compositionseach and the present publication is the first part.

The compositions herein have been published in Tamil duly notated for lyric, melody,rhythm and musical adornments, so that they may be easily learnt directly from there, byvidvāns on their own, and by students of music, with the assistance of able teachers.

When I had collated all these compositions and was not sure as to how to publish them,the respected, Śrı̄ T. L. Veṅkat.arāma Iyer, Advocate in Madras, came forward to assist me.His passion and commitment to popularize Dı̄ks.itar’s compositions is very well known. Itis indeed extremely appropriate therefore that this book is published under his very com-petent guidance and supervision.

Again, in publishing this book, I am greatly indebted for the unforgettable contributionof Dr. V. Rāghavan, who took the responsibility as his very own, and personally undertookseveral tasks including arranging for printing and other activities, till the very end.

Ever since I initiated the publication of this book, my younger son Cirañjı̄vi Śivasubrah-man. ian had been extremely helpful, committed and co-operative in assisting me in this en-deavor of mine. I pray to invoke the Grace of Lord Śivas.an. mukhanātha to bestow knowl-edge, wealth and long life to him.

Tiruvı̄zhimizhalai T. S. Nat.arājasundaram Pil.l.ai14–2–1936 Tiruppāmburam

z z z z z z z z

11

Notations

Detailed Notes

The gamakas printed as small and large fonts∗, the way in which they have to beintoned, and the kālapramān. a associated with the tāl.a as notated in the composi-tions as found in this book, are detailed below.

Details of Gamakas

Notation Excerpt:∼∼S ◦ S R S R S R

S. ad. ja has to be intoned at its svarasthāna and also oscillated to show a trace ofṙs. abha. In general, this notation means that the svara needs to be intoned by alsoshowing the neighboring svarasthāna by way of oscillation.

Notation Excerpt: s n n s

Nis. āda has to be intoned with a trace of s. ad. ja and s. ad. ja to be intoned with a traceof nis. āda, respectively via sod. ukkal. That is, the notation implies that the svaraneeds to be intoned with a trace of the next/adjacent svarasthāna as marked witha postscript or a subscript, and then descend back to the svara via sod. ukkal, andvice versa.

Notation Excerpt: S /G \R /MEvery higher svara needs to be ascended to, from a lower svara by gliding up,marked by “/” and every lower svara needs to be descended to, from a highersvara by gliding down, marked by “\”.

Notation Excerpt: p. d. n. s r g m p d n ṡ ṙ ġ ṁ

Svaras of the mandra sthāyi are notated with a dot below them, and those of thetāra sthāyi are notated with a dot above them. Those in the madhya sthāyi do nothave such adornment. For every composition, the ārōhan. a and the avarōhan. a ofthe rāga has been given. The svara notation in normal font, signify śuddha ṙs. abha,sādhāran. a gāndhāra, śuddha madhyama, śuddha dhaivata, and kaiśiki nis. āda, asapplicable. Similarly, svaras notated in bold font denote catuśruti ṙs. abha, antaragāndhāra, prati madhyama, cathuśruti dhaivatha, and kākali nis. āda, as applicable.In the lyrics, those in smaller fonts need to be rendered in the 4th degree of speed.For some svaras in regular/normal font size (main svara), you may find svarasnotated in smaller font size (pod. i svara) preceding them. While intoning the mainsvara, the trace of the preceding podisvara/gracenote needs to be shown/intoned.The pod. i svaras notes by themselves do not have any tāl.a or sthāna therein, in thecomposition.

∗In this English Edition, we employ small italics (for small), upright roman/bold (for large) fonts, respectively.

Tāl.a and kālapramān. a for svaranotated in larger fonts/upper case

s ◦◦◦ signifies 1 aks. ara, 4 kal.ai— first kālam ;

s ◦◦ signifies 34 th of an aks. ara. 3 kal.ai ;

s ◦ signifies 12 of an aks. ara, 2 kal.ai— 2nd kālam ;

s signifies 14 th of an aks. ara, 1 kal.ai— 3rd kālam ;

s signifies 18 th of an aks. ara and12 kal.ai— 4th kālam.

Tāl.a and Kālapramān. a for svarasnotated in smaller fonts/lower case

s · · · · · · · signifies 1 aks. ara, 4 kal.ai— 1st kālam ;

s · · · · · signifies 34 th of an aks. ara, 3 kal.ai ;

s · · · ignifies 12 of an aks. ara, 2 kal.ai — 2nd kālam ;

s · signifies 14 th of an aks. ara, 1 kal.ai — 3rd kālam ;

s signifies 18 th of an aks. ara and12 kal.ai — 4th kālam.

z z z z z z z z

13

Tamil to English Transliteration Table

A a L ka T pa

B ā L2 kha T2 pha

C i L3 ga T3 ba

D ı̄ L4 gha T4 bha

E u M ṅa U ma

F ū N ca V ya

⁄ ṙ N2 cha W ra

G e _ ja X la

H ē _2 jha Y va

I ai O ña N śa

J o P t.a ` s. a

K ō P2 t.ha ^ sa

J¸ au P3 d. a a ha

m ṁ P4 d. ha [ l.a

@/◦◦ ḣ Q n. a Z zha

R ta \ Ra

R2 tha b ks.a

R3 da c śrı̄

R4 dha

S/] na

Biographies

Nat.arājasundaram Pil.l.aiŚēs.apil.l.ai migrated from Kalyān. acōl.apuram near Māyavaram to Tiruppāṁburam. He was well-versed in the āgamas, and was a vain. ika. His son, Kuzhandaivēl Pil.l.ai played the Sarinda. Kuzhandai-vēl Pil.l.ai’s wife was Vēlamuttammāl.. Their sons, Subbarāyan and Svāmināthan, initially learnt vı̄n. aand music from their father, and then took advanced lessons from Kūrainād. u Rāmasvāmi, the stu-dent of Muttusvāmi Dı̄ks.itar. Svāminātha Pil.l.ai began to learn Nāgasvaram after hearing the musicof the likes of Tirumaṅgal.akkud. i Muttuvı̄rusvāmi Pil.l.ai. His brother, Subbarāya Pil.l.ai, learnt theTavil. Tiruvādutturai ādhı̄nakartā, Mēlagaram Subrahman. ya Dēśikar, pleased by his music, built hima house in Tiruvı̄zhimizhalai, and moved them from Tiruppāmburam to Tiruvı̄zhimizhalai. He alsointroduced Tiriśirapuram Mahāvidvān Mı̄nāks.i Sundaram Pil.l.ai to him.

Svāminātha Pil.l.ai had two wives, the elder one was Paripūrn. attammāl. of Karcangud. i. They hadfour sons: Nat.arājasundaram, Sivasubrahman. yam, Ayyan and Muttvēlappan. Nat.arājasundaramwas born on 15th December, 1869. He, and his brother Sivasubrahman. yam, were interested in musicfrom their early years, and were put under the tutelage of Iñjikkud. i Kumārappil.l.ai. After learning theinstrument, their father wanted them to increase their kı̄rtana repertoire, and located Umayāl.puramDurasvāmi Iyer and Sāttanūr Pañcanada Iyer — who were the repositories of Tyāgarāja and Dı̄ks.itar’scompositions, respectively, and expressed his desire. Svāminātha Pil.l.ai brought these two musiciansto his town, and made his sons learn under them.

Nat.arājasundaram Pil.l.ai and Sivasubrahman. ya Pil.l.ai started the tradition of nāgasvaram render-ing as a duet. It was said that Rāmanāthapuram Śrīnivāsa Iyeṅḡar and Śarabha Śāstri were fond oftheir music. Rāmanāthapuram Śrı̄nivāsa Iyeṅgār insisted on their music wherever his concert wasarranged. Śarabha Śāstry is also said to have shown his harikathā nirūpan. ams to Nat.arājasundaramPil.l.ai to seek his opinions on them. The tavil vidvāns who accompanied them include: Śrı̄ VāñchiyamGōvinda Pil.l.ai, Mannārgud. i Palluppakkiri Pil.l.ai, Ammāppet.t.ai Pakkiri Pil.l.ai, and Vazhuvūr Mut-tuvı̄ru Pil.l.ai.

Among nāgasvara vidwans, it was the more popular approach to learn musical compositions assvaras and ignore the role of sāhitya, as it was not applicable to an instrument. However the compo-sition will shine only if the sāhitya elements are incorporated with the necessary blowing techniquessuch as a–kāram and tuttukāram at the appropriate places. Nat.arājasundaram and his brother weresaid to have achieved fame in playing compositions on the nāgasvaram keeping in mind the sāhityabhāva as well.

Nat.arājasundaram Pil.l.ai constructed a Vināyaka Temple near the house he resided in Tiruvı̄zhi-mizhalai and performed the Kuṁbhābhis. ēkam in the year 1929. During the one week festivities,some of the musical events that took place include performances by Kāraikkud. i Subbarāmayyar andSāṁbaśiva Iyer, Nayinā Pil.l.ai, Ariyakkud. i , Br.ndā and Muktā , the harikathā kālaks. ēpam of C. Saras-vati Bāi, the nāgasvaram concerts of Perambalūr Aṅgappa Pil.l.ai, Madurai Ponnusv̄ami Pil.l.ai andTiruvid. aimarudūr Vı̄rusvāmi Pil.l.ai .

Nat.arājasundaram married Śivakāmi ammāl., the daughter of Dı̄pambalpuram Nallatambi Pil.l.ai.They had three sons and five daughters. Among them are:— the famous flautist Svāminātha Pil.l.ai,Sōmasundaram Pil.l.ai who served as the principal of the Pazhani temple Nāgasvaram school, andŚivasubrahman. ya Pil.l.ai, a lecturer in An. n. āmalai University.

Tirupāmburam Nat.arājasundaram Pil.l.ai, the famed repository of Dı̄ks.itar compositions, and knownfor his traditional Nāgasvaram playing techniques, passed away on November 16, 1938.

Sāttanūr Pañcanada Iyer

Introduction

Sāttanūr Pañcanada Iyer belonged to the śis. ya paraṁpara of Muddusvāmi Dı̄ks.itar, and is the guruof the some of the greatest musicians of yesteryears, including Vı̄n. a Dhanammāl., TiruppāmburamNat.arājasundaram Pil.l.ai, and Tirukkōd. ikāval Kṙs.n. a Iyer. He played a major role in teaching andpropagating the kṙtis of Dı̄ks.itar in the Tañjāvūr district, and later at Madras.

His Life and Times

Sāttanūr is a small sleepy village in the Cauvery delta in Tañjāvūr District, about 10 miles from Kum-bakōn. am. Pañcanada Iyer hailed from this place. Nothing is known as to his antecedents, except thathe hailed from a smārta Brāhmin family. Based on historical evidence, his life time can be mappedapproximately as 1830–1902. Dr. V. Raghavan and Justice T L Venkatarama Iyer, in their accounts,state that Pañcanada Iyer was one of the youngest disciples of Muddusvāmi Dı̄ks.itar himself; how-ever, based on the preface of the “Dı̄ks. ita Kīrtana Prakāśikai”, it is clear that Pañcanada Iyer was theśis. ya of Tiruvārūr Śuddhamaddal.am Tambiyappan Pil.l.ai (1785 – 1849), and not of Dı̄ks.itar himself.After his tutelage under Tambiappan Pil.l.ai, Pañju Iyer is said to have returned back to Sāttanūr. Thiswas probably when he taught Tirukkōd. ikāval Kṙs.n. a Iyer (maternal uncle of Semmangud. i ŚrīnivāsaIyer) and Tiruppāmburam Nat.arājasundaram Pil.l.ai. Pañju Iyer shared the same catholic outlook asthat of his parama guru, Śrı̄ Dı̄ks.itar. He taught the two brothers about 200 kṙtis of Śrı̄ Dı̄ks.itar. Notonly did he teach them, but also made them write it down with the svara/gamaka notation, which hepersonally checked and verified.

Pañju Iyer seems to have moved to Madras where he was patronized by the city’s music lovers. Anumber of contemporaries of Pañju Iyer, especially those of the Dı̄ks.itar paraṁpara, such as KēkkaraiMuthu Iyer, for long a resident of Tiruvārūr, migrated to Madras. Vı̄n. a Dhanammāl. started learningunder Pañju Iyer during this period. A great many of Dı̄ks.itar compositions such as “vı̄n. āpustakadhārin. ı̄m”, in vēgavāhini, were taught to Dhanammāl., who went on to make them their very own.Dhanammāl. also seems to have learnt Dı̄ks.itar compositions from Kēkkarai Muthu Iyer as well, es-pecially the Śaṅkarābharan. am composition “aks. ayaliṅga vibhō”. Apart from her, another musicianof merit, Saidāpet Tirumalācār also learnt from Pañju Iyer at Madras.

While being famous for his authentic renderings of Dı̄ks.itar’s compositions, Pañju Iyer seems tohave been a vāggēyakāra in his own right as well. We do not have any record of these compositionshe had composed except, for the account of Raṅgarāmānuja Iyeṅgār.

Pañju Iyer’s Music

The Preface by Tiruppāmburam Nat.arājasundaram Pil.l.ai, dated 10th February, 1936, is apparentlythe earliest written publication referring to Pañcanada Iyer. This apart, we have accounts of PañjuIyer from Śūlamaṅgalam Vaidyanātha Bhāgavatar (1866–1943), the famous harikathā exponent, Vı̄n. aDhanammāl., and the Tamizh tāttā, U Ve. Svāminātha Iyer (1855-1942).

16

Sāttanūr Pañcanada Iyer was also called as Sāttanūr Pañju Iyer. He was one of the greatest expo-nents of Dı̄ks.itar kṙtis during the latter part of the 19th century, who took great pains to popularizeDı̄ks.itar’s compositions. Pañju Iyer possessed a powerful voice, an unnerving svara jñāna and theability to correctly and impressively articulate sāhitya. And above all, Pañju Iyer was a great expo-nent of tānam, and he was referred with awe as “madhyamakāla Pañju Iyer”.

Tit.t.ē Kṙs.n. a Iyeṅgār, in his 1964 Music Academy lecture, alludes to the six primary and eight sec-ondary types of tānam, and credits Pañju Iyer as the foremost vocalist in this field in rendering all ofthem. Apart from tāna, and madhyama kāla rendition. Pañju Iyer was famous for his neraval exper-tise. Saṅgı̄ta Kalānidhi Mud. ikon. d. ān Vēṅkat.arāma Iyer, in his 1956 Music Academy lecture demon-stration on neraval, mentions that Pañju Iyer was the foremost in neraval in all the three speeds.

Pañju Iyer’s Musical Legacy

By far, the single biggest legacy that Pañju Iyer left behind has been the corpus of about 200 Dı̄ks.itarcompositions that he taught chiefly to Tiruppāmburam Brothers and Dhanammāl.. And this numberrepresents the largest non-Subbarāma Dı̄ks.itar—Ambi Dı̄ks.itar lineage repertoire of Dı̄ks.itar kṙtis.The repertoire of Pañju Iyer’s śis. ya paraṁpara, and as validated by the notation of the 50 kṙtisin this book, shows that only one kṙti, “mahāgan. apathiṁ vande”, in tōd. i rendered by this schooland notated in this book is not found in Subbarāma Dı̄ks.itar’s magnum opus, “Saṁgı̄ta saṁpradāyapradarśini”. It is worth noting here that Tiruppāmburam Nat.arājasundaram Pil.l.ai, and later, SaṅgitaKalānidhi Svāminātha Pil.l.ai had been instrumental in popularizing Dı̄ks.itar’s “caturdaśa rāgamālika”composition, śrı̄ viśvanātham”, composed on the deity at Kuzhikkarai near Tiruvārūr.

Almost all the compositions of Sri Dı̄ks.itar, rendered by Dhanammāl.’s family can be ascribeddirectly to Pañcanada Iyer. A total of about 20 to 25 kṙtis of Muddusvāmi Dı̄ks.itar, including theseven vāra kṙtis find place in the repertoire of Dhanammāl. family. This is what Dr. V. Raghavansays of Dhanammāl.’s tutelage under Pañcanada Iyer, in his 1975 work on Dı̄ks.itar, published by theNational Centre for the Performing Arts.

“It was from Pañcanada Iyer that the great Vı̄n. ai Dhanammāl. inherited her Dı̄ks.itar reper-toire which then came to her daughters and granddaughters. Dhanammāl. always men-tioned Pañju lyer as Eṅga Ayyā” (Our Revered Master). The Dı̄ks.itar songs and their render-ings of this line have the authentic vain. ika quality and the correct aesthetics of the Dı̄ks.itarstyle of composition. I have not listened outside of Dhanammāl. family to “vı̄i.nāpustakadhārin. ı̄m” in the rare Vēgavāhini, or to as sublime a rendering such as they gave to “māmavapat.t.ābhirama” in man. iraṅgu.”

The Friday music soirees at Dhanammāl.’s house naturally featured a number of Dı̄ks. itar compo-sitions. On one such Friday evening, Justice T. L. Vēṅkat.arāma Iyer, an acknowledged authority onDı̄ks.itar’s compositions himself took Ambi Dı̄ks.itar to hear Dhanammāl. play. Here is the summaryof his speech in the 1966 Music Academy Experts Committee deliberations, recording for posterity,on that visit:

17

“Saṅgı̄ta Kalānidhi Śrı̄ T. L. Vēṅkat.arāma Iyer recalled how his own awakening into thebeauties of Dı̄ks.itar’s music was due to his first listening to Dhanam’s rendering on herVı̄n. a of Dı̄ks.itar’s “tyāgarājāya namaste” in bēgad. a, and how he had occasion to take hisown guru, Ambi Dı̄ks.itar, son of Subbarāma Dı̄ks.itar, to Dhanammāl.. One of Dhanammāl.’sgurus was Sāttanūr Pañju Iyer, · · · .”

The musical lineage of Pañju Iyer continues even today, through those who learnt from variousmembers of Dhanammāl. family, and from Saṅgı̄ta Kalānidhi Flute Tiruppāmburam Svāminātha Pil.l.ai.

Pañcanada Iyer passed away in 1902, the same year and within a few months of Pat.nam Subra-man. ya Iyer’s passing away. Pañcanada Iyer’s only son Mahādēvan was also his disciple and a violin-ist in his own right. Śrı̄ Mahādēvan also passed away sometime during the 1950’s, in Sāttanūr village,leaving the family in dire straits. No further information is available about the surviving descendants.

z z z z z z z z

18

Family Tree

Kalyān. a Cōzhapuram Śēs.appil.l.ai

Sarinda Kuzhandaivēlu Pil.l.ai

Vēlumuttammāl.

Nāgasvaram Svāminātha Pil.l.ai — (1817-1880)

Kaccangud. i Ponnammāl. & Nāgammāl.

Tavil Subbarāya Pil.l.ai

Nat.arājasundaram Pil.l.ai

(15-12-1869— 16-11-1938)

Śivakāmi ammāl.

Śivasubrahman. ya

Pil.l.aiAyyan Muttu

vēlappan

Vēlammāl.(wife of)

Kumbhakōn. am

Śivakozhundu

Flute

Svāminātha Pil.l.ai

12-9-1899— 1961

Source: “Maṅgal.a Iśai Mannargal.”, Tañjāvūr B.M.Sundaram,

Meyyappan Tamizhāyvagam, 2001.

ōṁ

may Lord gan. apati protect us

Dı̄ks. ita Kı̄rtana Prakāśikai

nādānubhūti nirvṙti kāmadughā jayati bhaktigandhād. hyā† |saṅgı̄tōpanis. at śrı̄ sarasvatı̄ dı̄ks. itēndrān. ām ‖

†bhaktimantrabhāvād. hya — Dr. V. Raghavan in “śrı̄muttusvāmidı̄ks. itacaritam” (granthasamarapan. am ‖ 10 ‖ )

1 svāminātha paripālayāśu māṁ

kı̄rtanam 1. ārōhan. am avarōhan. amrāgam — calanāt.a s r g m p d n s s n p m m R s mēl.am 36 ādi tāl.am

I O O

pallavi

s ◦ ◦ ◦svā

∼∼r ◦ g ◦

mi nā◦ ◦ ∼∼m ◦

thap ◦ n ◦

pa ri

∼∼p ◦ ◦ ◦

pām ◦ m ◦la yā

◦ ◦ r ◦śu

s ◦ ∼∼n. ◦mā ṁ

s ◦ ◦ ◦sva

∼∼p ◦ ∼∼r ◦

pra kā◦ ◦ s ◦

śam ◦ m ◦va

p ◦ ◦ pllı̄ śa

∼∼d n ṡ n

gu ru gu hap ◦ p mdē va sē

◦ m r snē śa

s ◦ ◦ ◦svā

∼∼r ◦ g ◦

mi nā◦ ◦ m ◦

thap ◦ n ◦

pa ri

∼∼p ◦ ◦ ◦

pām ◦ m ◦la yā

◦ ◦ r ◦śu

\s ◦ ◦ ◦mā ṁ

anupallavi

p ◦ ◦ ◦kā

∼∼m ◦ p ◦ma ja

m ◦ ∼∼r ◦na ka

\s ◦ ◦ ◦bhā

n. ◦ \p. ◦ra tı̄

◦ ◦ m ◦śa

\∼∼r ◦ ◦ ◦sē

r ◦ s ◦vi ta

s ◦ ◦ ◦kā

r ◦ s ◦rti kē

◦ ◦ m ◦ya

∼∼r ◦ ◦ ◦

nās ◦ ∼∼p ◦ra dā

◦ ◦ ∼∼m ◦di

/ n ◦ ◦ ◦bhā

\∼∼m ◦ p ◦vi ta

g ◦ ◦ ◦vā

m ◦ m ◦ma dē

◦ ◦ p ◦va

p ◦ ◦ ◦pā

p ◦ ṡ ◦rva tı̄

◦ ◦ p ◦su

ṙ ◦ ṡ ◦ku mā

◦ ◦ n ◦ra

∼∼ṡ ◦ ◦ ◦

vāṙ ◦ ṡ ◦ri jā

◦ ◦ ∼∼n ◦s tra

ṡ ◦ ◦ ◦saṁ

∼∼n ◦ ◦ ◦

mō\∼∼m ◦ p ◦

hi tā◦ ◦ m ◦

kār ◦ s ◦

ra

n. ◦ p. m.kā mi tā

◦ p.∼∼d. n.

r tha vi tas r

∼∼n. s

ra n. a ni pu

∼∼r g m p

n. a ca ra n. as ◦ s p

kā vya nā◦ p ṡ ◦

t.a kā

∼∼n ◦

∼∼ṙ ◦

laṅ kāṡ ṡ n pra bha ra n. a

p ◦ n pbhū mi ja

/ ṙ ◦ ṙ ṡlā g ni vā

◦ n p / ṡyu ga ga

ṡ / ṁ ṁ ṙna ki ra n. a

ṙ ◦ ∼∼n ṡbō dha rū

∼∼◦ p n ◦pa ni

p ◦ m mtyā na n

r s s n.da ka ra n. a

s ◦ ◦ ◦svā

∼∼r ◦ g ◦

mi nā◦ ◦ m ◦

thap ◦ n ◦

pa ri

∼∼p ◦ ◦ ◦

pām ◦ m ◦la yā

◦ ◦ r ◦śu

\s ◦ ◦ ◦mā ṁ

z z z z z z z z

21

2 tyāgarāja pālayāśu māṁ

kı̄rtanam 2. ārōhan. am avarōhan. amrāgam — gaul.a s r m p n s s n p m r g m r s mēl.am 15 ādi tāl.am

I O O

pallavi

r ◦ ◦ ◦tyā

/ g ◦ / m ◦ga rā

◦ ◦ r ◦ja

m p ◦ ◦ ◦pā

n ◦ ∼∼p ∼∼◦la yā

◦ ◦ m ◦śu

g ◦ / m ◦mā ṁ

r ◦ s ◦śrı̄

r ◦ ◦ ◦tyā

/ g ◦ / m ◦ga rā

◦ ◦ r ◦ja

m p ◦ ◦ ◦pā

n ◦ ∼∼p ∼∼◦la yā

◦ ◦ m ◦śu

g ◦ / m ◦mā ṁ

r ◦ s ◦ṁ ṁ

r ◦ ◦ ◦tyā

/ g ◦ / m ◦ga rā

◦ ◦ r ◦ja

m p ◦ ◦ ◦pā

n ◦ ∼∼p ∼∼◦la yā

◦ ◦ m ◦śu

g ◦ / m ◦mā ṁ

r ◦ s ◦ni

s ◦ ◦ ◦tyā

\n. ◦ p. ◦na n

n. ◦ s ◦da ka

∼∼r

∼∼◦ s ◦n da

r ◦ ◦ msō mā

◦ p ∼∼n ṡs ka n da

n p m rvı̄ thı̄

∼∼g m r svi t.a ṅ ka

(tyā)

anupallavi∼∼r ◦ ◦ ◦

nāp ◦ m ◦ga rā

◦ ◦ r ◦ja

/ g ◦ m ◦ma n. i

∼∼r ◦ ◦ ◦

bhūs ◦ ◦ ◦s.ā

n. ◦ s ◦la ṅ

r ◦ m ◦kṙ ta

∼∼r ◦ g ◦

na ga/ m ◦ ◦ ◦rā

r ◦ n ◦ja su

p ◦ ◦ ◦tā

m ◦ ◦ ◦r dhā ṅ

r ◦ p ◦ga gau

∼∼m ◦ p ◦

l.ā ṅ◦ ◦ p ◦

ga

∼∼n ◦ ◦ ◦

bhōṡ ◦ ◦ ◦

gā/ ṙ ◦ ◦ ◦di

\∼∼n ◦ ṡ ◦pra da

∼∼ṙ ◦ ◦ ◦

śrı̄

∼∼ġ ◦ ṁ ◦

na ga

∼∼ṙ ◦ ◦ ◦ra

ṙ ◦ ṡ ◦s thi ta

∼∼ṙ ◦ ◦ ◦

bhūṡ ◦ ṡ ◦

su rā◦ ◦ n ◦

dip ◦ m ◦

nu tar ◦ ◦ ◦

va/

∼∼g ◦ ◦ ◦

lmı̄g m ◦ ∼∼r ◦

ka liṅ◦ ◦ s ◦

ga

r ◦ r sśrı̄ gu ru

n. p. / n. ◦gu ha pū

s r∼∼n. s

ji ta vṙ s.ar / g ◦ m

tu ra ṅ ga/ r m r pśri ta ja na

/∼∼m ◦ n p

ra k s.a n. an ṡ ṙ ◦

ni pu n. ā n

∼∼n ṙ ◦ ṡta ra ṅ ga

n ◦ ∼∼p mbhō gi yu

p∼∼n ṡ ṙ

ta ca ra n. a

∼∼g ṁ ṙ ṡ

ka ra dhṙ tan p

∼∼m p

ku ra ṅ gaṙ ◦ ṙ ṡ

yō gi vin / ṡ ◦ n

dhi tā jap ◦ m r

pā na t.ag m r s

na ra ṅ ga(tyā)

z z z z z z z z

22

3 śrı̄ sarasvati namōstu tē

kı̄rtanam 3. ārōhan. am avarōhan. amrāgam — ārabhi s r m p d s s n d p m g r s mēl.am 29 rūpaka tāl.am

O I O I

pallavi

p ◦ ◦ ◦śrı̄

m p m ◦sa ra

\g ◦ r ◦s va

r ◦ ◦ ◦ti

s ◦ s \n.na mō

d. ◦ r sstu

r ◦ ◦ ◦tē

r ◦ ◦ ◦,

d. s s rva ra dē

p ◦ ◦ ◦śrı̄

∼∼m p m ◦sa ra

\g ◦ r ◦sva

r ◦ ◦ ◦ti

s ◦ s \n.na mō

d. ◦ r sstu

r ◦ ◦ ◦tē

r ◦ ◦ ◦ p ◦ p ◦pa ra

m ◦ ◦ ◦dē

\g ◦ r ◦va tē

s ◦ r ◦ s ◦ \n. d.śrı̄ pa ti

/ m g r ◦gau rı̄

/ p m g rpa ti gu ru

∼∼m p d / ṡgu ha vi nu

ṡ ◦ d ptē vi dhi

m g r/ pyu va tē

m p ◦ ◦ ◦śrı̄

∼∼m p m ◦sa ra

\g ◦ r ◦sva

r ◦ ◦ ◦ti

s ◦ s \n.na mō

d. ◦ r sstu

r ◦ ◦ ◦tē

◦ ◦ ◦ ◦ s ◦ ◦ ◦ē

anupallavi

r ◦ ◦ ◦vā

s \n. d. ◦sa nā

◦ ◦ s ◦tra

s ◦ r ◦ya vi

s ◦ ◦ ◦va

\n. ◦ d. ◦rji ta

r ◦ s ◦va ra

m ◦ \g ◦mu ni

r ◦ ◦ ◦bhā

/ p m ◦ p m ◦vi ta

p ◦ d / ṡmū

∼∼d ◦ p ◦r tē

d ◦ ◦ ◦vā

ṡ ◦ ṡ ◦sa vā

◦ ◦ ṙ ◦d ya

ṙ ◦ ṁ ġkhi la

ṙ ◦ ◦ ◦ni

ṙ ◦ ṡ ◦rja ra

d ◦ ṙ ◦va ra

ṡ ◦ ṡ ◦vi ta

d ◦ p ◦ra n. a

∼∼m ◦ p ◦ba hu

m ◦ m \gkı̄

r ◦ d. d.r tē dha ra

p. ◦ s \n.hā sa yu

d. r s ◦ta mu khā ṁ

m g r ◦bu ru hē

p m ◦ pa d bhu ta

/ d d \p ◦ca ra n. ā ṁ

d / ṡ ṡ ◦bu ru hē

23

ṙ ◦ / ṁ ◦sa ṁ sā

\ġ ṙ ◦ ṡra bhı̄ tya

\n d ṙ ◦pa hē

ṡ n d psa ka la man

◦ m ◦ \gtrā ks.a

r s r / pra gu hē

svaram

p ◦ ◦ / d

r∼∼d r s

n d. ◦ r s

ṡ ṙ ◦ d

p m g r

r ◦ ◦ / d∼∼r m \g r

/ r ◦ ṙ \r

p m g r

p m ◦ \g

◦ ∼∼m p d

◦ ◦ m p

m \g r s

r ◦ d ◦

ṡ \n d. ◦ / ṙ

d / ṙ / ṡ ṡ ◦

r d. r d.

d ◦ p m

ṡ ◦ ṙ / ṁ

◦ ◦ \n d

d. r p. d.

\g r s r

◦ \ġ ṙ ◦

p m \g r(śrī)

z z z z z z z z

24

4 śrı̄ kamalāṁbikē

kı̄rtanam 4. ārōhan. am avarōhan. am khan. d. a jātirāgam — śrı̄ s r m p n s s n p d n p m r g r s mēl.am 22 ēka tāl.am

I I I I I I I I I I

pallavi∼∼n ◦ ◦ ◦

śrı̄◦ ◦ p ◦

ka\m ◦ \r ◦ma lā ṁ

◦ ◦ / g ◦bi

r ◦ s ◦kē

\n. ◦∼∼n. ◦

śi vē◦ ◦ \p. ◦

pā◦ ◦ ∼∼n. ◦

his ◦ ◦ ◦

mā ṁ/ g r s ◦la li tē

r ◦ p mśrı̄ pa ti

∼∼r g r ◦vi nu tē

s \∼∼n. ◦ rsi tā si

s ◦ ∼∼n. stē śi va

r m p / ṡsa hi tē

\∼∼n. ◦ ◦ ◦śrı̄

◦ ◦ p ◦ka

n p m \r ◦ma lā ṁ

◦ ◦ / g ◦bi

r ◦ s ◦kē

n. ◦∼∼n. ◦

śi vē◦ ◦ \p. ◦

pā◦ ◦ ∼∼n. ◦

his ◦ ◦ ◦

mā ṁ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavir ◦ ◦ ◦rā

p m / p mkā

r ◦ / g rca n

s ◦ ∼∼n. ◦d ra mu

r ◦ ◦ ◦khi

∼∼n. ◦ ◦ ◦ra

p. ◦ / g ◦ks.i ta

r ◦ g rkō

s ◦ ∼∼n. ◦l.a mu

s ◦ ◦ ◦khi

∼∼r

∼∼◦ ∼∼m ∼∼◦ra mā

◦ ◦ p ◦vā

◦ ◦ / n ◦n. ı̄

◦ ◦ \m ◦sa

p ◦ ◦ ◦khi

\r ◦ ◦ ◦rā

◦ ◦ / n ◦ja

\p ◦ ◦ ◦yō

∼∼n

∼∼ṡ n ◦

ga suṡ ◦ ◦ ◦

khi

ṙ ◦ ṙ ◦śā ka ṁ

ġ ṙ ṡ ◦ba ri śā

ṡ ◦ ṙ ṡtō da ri

\∼∼n ◦ p ∼∼mca n dra ka

p∼∼n ṡ ṙ

lā dha riġ ṙ ṙ ġśa ṅ ka ri

ṙ ṡ ṡ ṙśa ṅ ka ra

ṡ n n ṡgu ru gu ha

ṡ n p mbha kta va

r g r sśa ṅ ka ri

r ◦ \∼∼n. ◦ē kā

s r r gks.a ri bhu va

r ◦ r snē śva ri

s ◦ ṡ ◦ı̄ śa

ṡ ṡ n ppri ya ka ri

p ◦ / d / nśrı̄ ka ri

p / n p msu kha ka ri

r g r sśrı̄ ma hā

◦ r ∼∼n. stri pu ra

r m p / ṡsu n da ri

∼∼n

∼∼ṡ n ◦ ◦

śrı̄◦ ◦ p ◦

ka\m ◦ \r ◦ma lā ṁ

◦ ◦ / g ◦bi

r ◦ s ◦kē

n. ◦∼∼n.

∼∼◦śi vē

◦ ◦ p. ◦pā

◦ ◦ ∼∼n. ◦hi

s ◦ ◦ ◦mā ṁ

◦ ◦ ◦ ◦

z z z z z z z z

25

5 māmava mı̄nāks.i

kı̄rtanam 5. ārōhan. am avarōhan. am miśra jātirāgam — varāl.i s r g m p d n s s n d p m g r s mēl.am 45 ēka tāl.am

I I I I

pallavi

m ◦ ◦mā

◦ m / n d p mma va

∼∼m p \r g

mı̄r ◦ r s s n.

nā

/ s ◦ ◦ks.i

◦ ◦ n d. ◦rā

/ g r ◦ja mā

g∼∼m p d

ta ṅ gi

\m ◦ m pmā n. i

◦ m g rkya va

g / p m ◦lla kı̄

/∼∼p ◦

∼∼d ◦

pā n. i

n d mma dhu ra

g ◦ r / gvā n. i va

r ◦ n.rā l.i

d. g r gvē n. i

/ m ◦ ◦mā

◦ m / n d p mma va

∼∼g ◦ ◦

mı̄r ◦ r s n.

nā

/ s ◦ ◦ks.i

◦ ◦ n. d.rā

g r ◦ja mā

g∼∼m p d

taṅ gi

m ◦ / pmā n. i

◦ m g rkya va

∼∼g m ◦

lla kı̄p ◦ d ◦pā n. i

n d m g · rma dhu ra vā n. i

/ g r · n. d. g r gva rā l.i vē n. i

ª(māmava) mı̄nāks.i.)

anupallavi

m / p ◦ ◦ nsō

d p m g gma su n

r s r gda rē

r ◦ s ◦ś va ra

∼∼n. s ◦su kha

n. d. ◦ / g ◦s phū r ti

g r ◦rū

s∼∼n. s ◦

pi n. i

/ r ◦ ◦ pśyā

m ◦ p ◦mē śa ṅ

d / ṡ n ◦ka ri

ṡ ◦ ṙ ◦di g vi

26

∼∼ṙ ◦ ◦ja

/ ġ ṙ ṡ ◦ya pra

/ ṙ n ◦tā

ṡ ṙ · · ṡ ◦pi n. i

∼∼d ◦ ġhē ma

ṙ ṡ ◦ nra t nā

d p mbha ra n. a

p d n ṡdhā ri n. i

/ ṙ n dı̄ śa

p m g rgu ru gu ha

s \d. g.hṙ dā gā

g r ◦ r sri n. i

\n. d. · g r · gkā mi tā r tha

∼∼m p / d m / ∼∼p · d nvi ta ra n. a dhō ra n. i

n d p m∼∼g ·

kā ru n. yā

∼∼m p d

∼∼n ṡ · / ġ ṙ

mṙ ta pa ri pū ra n. i

ṡ ṙ / ṁ · ġ ·kā ma kr ō

ṙ · ṡ ṡ \n · ṙ \ṡdhā di ni vā ra n. i

n d · m ∼∼g ·ka da ṁ ba kā

r s d. / g ·∼∼r

∼∼g ·

na na vi hā ri n. i(māmava)

z z z z z z z z

27

6 mahāgan. apatiṁ vandē

kı̄rtanam 6. ārōhan. am avarōhan. amrāgam — tōd. i s r g m p d n s s n d p m g r s mēl.am 8 rūpaka tāl.am

O I O I

pallavi

m ◦ ∼∼g ◦ma hā

◦ ◦ ∼∼g ◦ga

m ◦ p ◦n. a pa

d ◦ n ◦ti ṁ

ṡ ṙ ṡ n ◦va n

d ◦ m ◦dē

g m ◦ ◦ ◦mā

◦ ◦ d ◦dha

n ṡ n∼∼n

∼∼◦vā

∼∼d · · n d d · md ya ma

m g∼∼g r

ra b ṙ◦ ◦ ◦ / m g

n

g r ◦ ◦da ṁ

s ◦ ◦ ◦ṁ

◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavi

p / ṡ ◦ ṡ ◦a ha n

◦ ◦ / n ṡ ntā

d p m ◦ ddi

p∼∼g m ◦

ra hi/ n n p /

∼∼d ◦

ta ṁ◦ ◦ n ṡ n

śa

n ◦ d ◦k ti

p · · n d d · ·vi hi

m p ◦∼∼d

∼∼n

ta ṁn ṡ ◦ ṡ ◦a ha n

◦ ◦ / ṡ ntā

d p m ◦ ddi

p g m ◦ra hi

/ n n p /∼∼d ◦

ta ṁ◦ ◦ n ṡ n

śan ◦ d ◦

k tip · · n d d · ·vi hi

p ◦ ◦ ◦taṁ

∼∼m p ◦ ◦ā

◦ m ∼∼g mna n

/ n n p /∼∼d ◦

dap d

∼∼n ◦

da ṁṡ ◦ ṙ ġ ◦ta mē

ġ \∼∼d ◦ ◦ ◦

n ◦ n n \gka da n

◦ ◦ ◦ ◦ m p d p · · dta ṁ

m p ◦ m ∼∼g ◦ma hā

◦ ◦ ∼∼g ◦ga

m ◦ p ◦n. a pa

d ◦ n ◦ti ṁ

ṡ ṙ ṡ n ◦van

d ◦ m ◦dē

g m ◦ ◦ ◦mā

◦ ◦ d ◦dha

n ṡ n n ◦vā

∼∼d · · n d d · md ya ma

m g∼∼g r

ra b ṙ◦ ◦ ◦ / m g

ng r ◦ ◦

da ṁs ◦ ◦ ◦ṁ

◦ ◦ ◦ ◦

28

caran. am

p ◦ d ∼∼n · ·t ri pu

∼∼d

∼∼d · m m g

ra va

∼∼g / m ◦ d

dhā

∼∼m d · m m ◦r tha ṁ

m g m g∼∼g

śi vēr ◦ s ◦

na

n. d.∼∼n. ◦

t ṙ yaṁs ◦ s r

ba

∼∼g ◦ m ◦kē

∼∼g m p◦

nā◦ m / n n

r ci

∼∼d ◦ ◦ ◦

taṁ

∼∼d ◦ p du pa

/ n n d d · mni s.a

m ◦ ∼∼g ◦t pra

r ◦ s ◦ti

∼∼d. n ◦

∼∼d.

pā

∼∼n. ◦ s ◦di taṁ

s ◦ m ◦u mā

◦ ◦ ∼∼g ◦ma

m ◦ ◦ d / mhē

d m m gśva ra

g r r gsu

g r r sta ṁ

∼∼g ◦ m ◦

ka pin ◦ n · dla va

/ ṙ ṡ / ṙ nsi

∼∼n ṡ ◦ ns. t. t.hā

n d∼∼d ◦

di na/ s s n n ◦ ◦ta ṁ

ṡ ◦ ◦ ◦kañ

ṙ ◦ \d ◦ja jā

◦ ◦ ∼∼n ◦di

ṡ ◦ n ṡ ṙ ṡbhi rı̄

◦ ṙ ṡ ◦d. i

n ṡ n ◦ dta ṁ

d ◦ n ◦ka pi

ṡ ◦ ◦ ◦laṁ

ġ ◦ ◦ ◦kṙ

ṁ ◦ / ḋ ḋ ġs. n. a pū

◦ ◦ ṙ ◦ji

ṡ ◦ ◦ ◦taṁ

/ ġ ◦ ṙ ◦ka ri

/ ġ ◦ ṡ ◦va da

/ ṙ ṙ∼∼n ◦

nēn d d p ◦

na śōm p p m g r ◦ s ◦

bhi taṁ

n d ◦ psu pa r n. a

g ◦ r svā ha sē

r∼∼g m ◦vi ta ṁ

m g m g m d msu ra gu ru

d n s n d dgu ha bhā

◦ n ṡ ◦vi ta ṁ

ṡ ṙ ◦ ġka pi tthā

ṙ n ġ ṙṁ ra pa na

ṡ ◦ \n dsa ja ṁ

∼∼d ◦ d n ṡ

bū ka dan d d d ġ · ġ ṙlı̄ pha la bha

ṙ ṡ ṡ n dks.i ta ṁ

(mahā)

z z z z z z z z

29

7 candraṁ bhaja mānasa

kı̄rtanam 7. ārōhan. am avarōhan. amrāgam — asāvēri s r m p d s s n d p m G r s mēl.am 8 mat.hya tāl.am

I O I I O I

pallavi

r ◦ g r m ◦ p nca n d raṁ

d ◦ p ◦bha ja

m p · m ∼∼g ◦ r ◦ s ◦mā na sa

s ◦ \p. ◦∼∼d. ◦ s ◦

sā dhu hṙ da

r ◦ / p mda ya

m / p g∼∼g ◦ r ◦ s ◦

sa d ṙ śa ṁ

r ◦ g r m ◦ p ◦ca n d ra ṁ

d ◦ p ◦bha ja

m p · m ∼∼g ◦ r ◦ s ◦rē rē

r ◦ g s r ◦ s n.mā na sa

r ◦ ◦ ◦ s ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavis ◦ ◦ ◦ / d ◦ p ◦i n d rā

d ◦ ∼∼m pdi lō

\m ◦ / d ◦ m p ◦ ◦ ◦ka pā

p ◦ / d p d / ṙ ṡ ◦lē d. i ta

ṙ ◦ ġ ṙtā

ṙ ṡ ṡ∼∼n ṡ ◦ ◦ ◦

rē śa ṁ

ṡ ṙ ġ ṙ ṙ ṡ n ṙi n du ṁ s.ō d. a śa

ṡ ṡ n dka lā dha

p∼∼m p d ◦ ṡ ṡ ◦

ra ṁ ni śā ka ra ṁ/ ġ ṙ ◦ ṡ n d ◦ p m g ◦in di rā sa hō

r s ◦∼∼d.

da ra ṁ nis ◦ r / p m p g r sśā ka ra ma ni śa m

(candraṁ)

caran. am

ṡ ◦ ◦ ◦ ∼∼n ◦ ṡ ◦śa ṅ ka ra

p ◦ ◦ dma u

p ◦ d ◦ ∼∼m p m ◦l.i vi bhū

p ◦ / d n d p ◦ p ∼∼ms.a n. a ṁ śı̄

p d · · p ◦ta

m ◦ \∼∼g ◦ r ◦ s ◦ki ra n. a ṁ

s ◦ n d. ◦ ◦ ◦ / g ◦ca tu r bhu

r ◦ s ◦ja ṁ

n. ◦ s n d. ◦ ◦ ◦ma da na

s ◦ r s r ◦ m ◦c cha t ra ṁ

d ◦ p ◦ks.a pā

∼∼m ◦ d ◦ m / p ◦ ◦ ◦

ka ra ṁ

\d p p m p ◦ d ◦vē ṅ k t.ē

p ◦ d ◦śa

ṡ ◦ ṡ ◦ ṡ ◦ ◦ ◦na ya na ṁ

∼∼d ◦ ṡ ◦ ◦ ◦ ṙ ◦vi rā n. ma

/ ġ ṙ ◦ ṡnō

n ◦ ṡ ◦ n d ◦ ◦ ◦ja na na ṁ

p ◦ d ◦ ◦ ◦ / ṙ ◦vi dhu ṁ ku

ṡ ◦ ṙ ◦mu da

ṙ ṡ ṡ n ṡ ◦ ◦ ◦mi t ra ṁ

\m ◦ m ◦ p ◦ /∼∼d / n

vi dhi gu rud ◦ p ◦

gu ha

∼∼m p · m g ◦ r ◦ s rva k t ra ṁ śa

r /∼∼g

∼∼◦ r r / ∼∼g ◦ r sśā ṅ ka ṁ gı̄ s. pa ti

r ◦ \n. ◦śā pā

s ◦ ṙ n. d. p. d. s ◦nu gr ra ha pā t ra ṁ

s r ◦ m ◦ m p ◦śa ra c ca n d ri kā

d p /∼∼d ◦

dha va l.ap \m ◦ / d p ∼∼m p ◦

pra kā śa gā t ra ṁ

p ◦ d ṡ ṡ ◦ ṡ ◦ka ṅ ka n. a kē yū

ṙ /∼∼g ◦ ṙ

ra hā raṡ ṡ \∼∼n ◦ / r n ṡ ◦

ma ku t.ā di dha ra ṁ/ ṡ ◦ ṙ ṡ ṙ \n ◦ ṡpa ṅ ka ja ri pu ṁ rō

p d \m ◦hi n. ı̄

p∼∼d n d p d \g g r r s

pri ya ka ra ca tu ra ṁ(candraṁ)

z z z z z z z z

30

8 ēhi annapūrn. ē

kı̄rtanam 8. ārōhan. am avarōhan. amrāgam — punnāgavarāl.i n. s r g m p d d p m g r s n. mēl.am 8 ādi tāl.am

I O O

pallavi

g ◦ ◦ ◦ē

r ◦ / p m ghi a n

◦ ◦ r ◦na

s ◦ ◦ ◦pū

r ∼∼g m∼∼g ◦

r n. ē◦ ◦ ◦ ◦ g r ◦ s s ◦ / r s

sa n ni

\∼∼n. ◦ ◦ ◦dhē

∼∼n. ◦ s phi sa

p m∼∼g ◦ ◦

dāg r ◦ ∼∼n.

pūs ◦ ◦ ◦

rn. ē◦ ◦ s ◦

su

∼∼m ◦ ◦ gva

/ g g r∼∼n.

rn. ē

g ◦ ◦ ◦ē

g ◦ / p m ∼∼ghi a n

◦ ◦ r ◦na

s ◦ ◦ ◦pū

r g m∼∼g ◦

rn. ē◦ ◦ ◦ ◦ g r ◦ s s ◦ r s

sa nni

\∼∼n. ◦ ◦ ◦dhē

∼∼n. ◦ s phi sa

p m∼∼g ◦ ◦

dāg r ◦ ∼∼n.

pūs ◦ ◦ ◦r n. ē

◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavi∼∼g ◦ ◦ ◦

pā◦ ◦ g ◦

hi

∼∼m ◦ ◦ ◦

pañp m

∼∼g m

cāp ◦ ◦ ◦śa

m p d p / dd va

p m r g ◦r n. ē

r s r gmā ṁ

∼∼m p / d p / p m m gpā

∼∼g ◦ ∼∼g ◦

hi

∼∼m ◦ ◦ ◦pa ñ

p m∼∼g m

cāp ◦ ◦ ◦śa

m p d p dd va

p m g ◦ ◦r n. ē

r ◦ \∼∼n. ◦ś ri ya ṁ

s r∼∼g m

dēp d d ∼∼n dhi ra

◦ ◦ p ◦k ta

m g ◦ r ◦va

g ◦ / p mr n. ē

p d ◦ ∼∼m / da

p m∼∼g ◦ ◦ r

par s / r

∼∼n.

r n. ē(ēhi)

caran. am

m g / p mkā

∼∼m p g ◦ rśı̄

s · · r ∼∼g ◦ks.ē

r ◦ s ∼∼n.t ra ni

∼∼s ◦ ◦ ◦

vā◦ ◦ r ◦

si

∼∼g

∼∼m g ◦ ◦

ni◦ ◦ ◦ ◦

s n. ◦ s n. ◦ka ma

∼∼n. ◦ s ◦la lō

◦ ◦ ◦ p m g ◦ r ◦ca na

\n. ◦ s ◦vi śā

/ g r s r ◦li

s ◦ ◦ ◦ni

◦ ◦ s ◦vi

∼∼n s ◦ ◦ ◦

ś vēs ◦ / d ◦

śa map

∼∼d

∼∼n

∼∼d ◦

nō◦ ◦ p ◦ ∼∼m ◦ p ◦

l lā\∼∼m ◦ d ◦

sim p ◦ ◦ ◦ni

◦ ◦ \s ◦vi

s ◦ ◦ ◦ś vē

s ◦ / d ◦śa ma

p∼∼d

∼∼n

∼∼d ◦

nō◦ ◦ p ◦ ∼∼m ◦ p ◦

l lā\∼∼m ◦ d ◦

sip

∼∼m

∼∼p ◦

ni◦ ◦ p m

ja ga

31

\∼∼g ◦ ◦ ◦dı̄

∼∼g

∼∼r ◦ g ◦

śa

∼∼m ◦ p ◦gu ru

d ◦ n ◦gu ha

\∼∼g ◦ ◦ ◦pā

◦ ◦ / d pli

p m g r ◦ni

s ◦ p mja ga

\∼∼g ◦ ◦ ◦dı̄

∼∼g

∼∼r ◦ g ◦

śa

∼∼m ◦ p ◦gu ru

d ◦ n ◦gu ha

\∼∼g ◦ ◦ ◦pā

◦ ◦ / d pli

p m g rni

s r ◦ ∼∼n.vi d ru ma

s ◦ r / ∼∼gpā śi ni

◦ m p ◦pu n nā

◦∼∼d

∼∼n d p

ga va rā◦ m g ◦ ṙ

l.ı̄ pra

∼∼g ◦ m ∼∼pkā śi ni

◦ ◦ m ∼∼g ps.a

m / d p dt. tri ṁ śa

∼∼m / p m gtta tva vi

r ◦ s ∼∼n.kā si ni

◦ s r ◦su vā

∼∼g m ◦ ssi ni bha

n d ◦ p ◦k ta vi

m g ◦ r g mś vā si ni

p d p ◦ci dā

m∼∼g ◦ / d p

na n da vip m g r

∼∼n.

lā si ni(ēhi)

z z z z z z z z

32

9 śrı̄ nāthādiguruguhō jayati

kı̄rtanam 9. ārōhan. am avarōhan. amrāgam — māyāmāl.avagaul.a s r g m p d n s s n d p m g r s mēl.am 15 ādi tāl.am

I O O

pallavi

s ◦ ◦ ◦śrı̄

◦ ◦ r ◦nā

◦ ◦ / g ◦thā

◦ ◦ m ◦di

p ◦ d ◦gu ru

n ◦ / ṡ ◦gu hō

◦ ◦ n dja ya

p m g rti ja ya ti

s ◦ ◦ ◦śrı̄

s ◦ / n ◦ci dā

◦ ◦ n ◦na n

◦ d d ◦da nā

◦ p ◦ pthō ha

m m g ◦mi ti sa n

g r ◦ rta ta ṁ hṙ

s s n. n.di ni bha ja

s ◦ ◦ ◦śrı̄

◦ ◦ n. ◦nā

◦ ◦∼∼d. ◦

thā◦ ◦ p. ◦

did. ◦ n. ◦

gu rus ◦ / ∼∼r ◦

gu hō◦ ◦ s ∼∼n.

ja ya/ s ◦ ◦ ◦

ti

anupallavi

s ◦ ◦ ◦nā

◦ ◦ ∼∼r ◦nā

◦ ◦ g. ◦pra

m ◦ ◦ ◦pa ñ

p ◦ ṡ ◦ca vi

n ◦ ◦ ◦ci

d. ◦ p ◦tra

∼∼m ◦ ◦ ◦ka rō

r ◦ ◦ ◦na

g ◦ m ◦ma rū

◦ ◦ p ◦pa

∼∼d ◦ ◦ ◦pa ñ

n ◦∼∼d ◦

ca bhū◦ ◦ p ◦

tā◦ ◦ m ◦

kag ◦ ◦ m

rō a

g ◦ ◦ ◦jñā

∼∼m ◦ ◦ ◦na

p ◦ ◦ ◦dh vā n

∼∼d ◦ ◦ ◦ta

n ◦∼∼d ◦

pra ca n.

◦ ◦ p ◦d. a

m ◦ ◦ gbhā ska

\r ◦ ◦ ◦rō

∼∼m ◦ ◦ ◦jñā

p ◦ ◦ ◦na

d ◦ / ∼∼n ◦pra dā

◦ ◦ ṡ ◦ya

p ◦ ◦ ◦kō

m ◦ ∼∼g ◦ma hē

◦ ◦ r ◦ś va

s ◦ ◦ ◦rō

p ◦ m ◦dı̄ nā

g r r ◦va nō d yu

s n. d. p.kta di

d.∼∼n. s ◦

vya ta rō/ d d p pdi v yau

m ◦ g mghā di sa

g r s ◦ka la dē

n d p ◦ha dha rō

ṡ∼∼n ṙ ṡ

mā na sā◦ \∼∼n ◦ / ġ

na n daṙ ṡ / ṙ n

ka ra ca tud

∼∼n ṡ ◦

ra ta rōr ṡ ◦ n

ma d gu rud p ◦ mva rō ma ṅ

◦ g r ◦ga l.a m

s r ◦ ∼∼n.ka rō tu

(śrı̄)

caran. am∼∼m ◦ ◦ ◦mā

∼∼p ◦ ◦ ◦yā

∼∼m ◦ d ◦ma ya

∼∼p ◦ ◦ ◦vi

g m ◦ ◦ ◦ś vā

∼∼g ◦ ◦ ◦

dhi

∼∼r ◦ ◦ ◦s. t.ā

s ◦ ◦ ◦nō

∼∼n. ◦ ◦ ◦

mād. ◦ n. ◦

tma kas ◦ ◦ ◦

kār ◦ ∼∼s ◦

di ma

∼∼g ◦ ◦ ◦tā

\∼∼r ◦ ◦ ◦nu

/∼∼g ◦ ◦ ◦

s.t.ā

∼∼m ◦ ◦ ◦nō

33

g ◦ ◦ ◦ma

r s n. ◦li nı̄

◦ ◦ s ◦ma

r ◦ s ◦n. d. a

∼∼m ◦ ◦ ◦lā n

g ◦ ∼∼r ◦ta vi

s ◦ r ◦dhā

∼∼g ◦ ◦ ◦

nō

r s ◦ ◦ ◦ma n

r ◦ ◦ ◦t rā

∼∼g ◦ m ◦d ya ja

p ◦ ◦ ◦pā

s ◦ ◦ ◦ha ṁ

◦ ◦ s ◦sa

d ◦ ◦ ◦dh yā

◦ ◦ p ◦nō

∼∼m ◦ ◦ ◦mā

◦ ◦ g ◦yā

◦ ◦ m ◦kā

◦ ◦ p ◦rya

/ d ◦ p ◦ka la

m ◦ ◦ ◦nā

g ◦ ◦ ◦hı̄

m ◦ ◦ ◦nō

p ◦ ◦ ◦mā

m ◦ g ◦ma ka

d ◦ p ◦sa ha

◦ ◦ m ◦sra

p ◦ d pka ma

m ◦ g ◦lā

∼∼m ◦ ◦ ◦sı̄

p ◦ ◦ ◦nō

∼∼d ◦ ◦ ◦

mā◦ ◦ n ◦

dhu◦ ◦ ṡ ◦

r yan ◦ ◦ ◦gā

ṡ ◦ ◦ ◦nā

n ◦ ṡ ◦m ṙ ta

n ◦ ◦ ◦pā

∼∼d ◦ ◦ ◦

nō

n ◦ ◦ ◦ma

ṡ ◦ ∼∼r ◦dha vā

◦ ◦ ġ ◦dya

ṡ ◦ ṙ ◦bha ya

ṡ ◦ ġ ◦va ra

◦ ◦ ṙ ◦pra

n ṡ ◦ ◦ ◦dā

n ◦ ◦ ◦nō

ṡ ◦ ◦ ◦mā

/∼∼ṙ ◦ ◦ ◦

yāṡ ◦ n ◦

śa bad ◦ p ◦l.i ta

◦ ◦ d ◦bra

/ n ◦ ṡ ◦h ma

∼∼r ◦ ◦ ◦

rūṡ ◦ ◦ ◦

pō

∼∼n ◦ ◦ ◦

māṡ ◦ ∼∼n ◦ra kō

◦ ◦ d ◦t.i

p ◦ ∼∼m ◦su n

p ◦∼∼d ◦

da ra◦ ◦ n ◦

svaṡ ◦ ◦ ◦

rū

∼∼n ◦ ◦ ◦

pō

d ◦ n ◦ma ti

d ◦ p ◦ma tā m

◦ ◦ m ◦hṙ

g ◦ m ◦da ya

g∼∼◦ m ◦

gōp ◦ d ◦

pu ran ◦ ◦ ◦dı̄

d ◦ ◦ ◦pō

p ◦ ◦ ◦ma

m ◦ ∼∼g ◦tta śū

◦ ◦ \r ◦rā

◦ ◦ s ◦di

∼∼r ◦ g ◦ja ya

m ◦ p ◦pra

∼∼d ◦ ◦ ◦tā

p ◦ ◦ ◦pō

m ◦ \g ◦mā yā

m ◦ / d dmā l.a va

p p m ◦gau l.ā

g \r ◦ sdi dē śa

r s ◦ n.ma hı̄ pa

∼∼d. n. ◦ sti pū ji

m g d pta pa da

/ n d ◦ ppra dē śa

m ◦ g pmā dha vā

◦ ∼∼m d pdya ma ra

ṡ ◦ n ◦bṙ n da

/ ġ ṙ ◦ ṡpra kā śa

ṁ ġ ◦ ṙma hē śa

◦ ṡ ṡ ns ya ma hā

◦ d ◦ prt thō pa

m g r∼∼n.

dē śa(śrı̄)

z z z z z z z z

34

10 pañcamātaṅgamukha

kı̄rtanam 10. ārōhan. am avarōhan. amrāgam — malahari s r m p d s s d p m g r s mēl.am 15 rūpaka tāl.am

O I O I

pallavi

p ◦ ◦ ◦pañ

d ◦ m ◦ca mā

◦ ◦ p ◦ta

d ◦ p ◦ñ ga

m ◦ g ◦mu kha

r ◦ s ◦ga n. a

p. ◦ d. ◦pa ti

s ◦ ◦ ◦nā

r ◦ m ◦pa ri

p ◦ ◦ ◦pā

◦ ◦ m ◦li

g ◦ r ◦tō

s ◦ ◦ ◦ha ṁ

p. r s ◦su mu kē

d. s r mna śrı̄

p ◦ ◦ ◦pa ñ

d ◦ m ◦ca mā

◦ ◦ p ◦ta

d ◦ p ◦ñ ga

m ◦ g ◦mu kha

r ◦ s ◦ga n. a

p. ◦ d. ◦pa ti

s ◦ ◦ ◦nā

r ◦ m ◦pa ri

p ◦ ◦ ◦pā

◦ ◦ m ◦li

g ◦ r ◦tō

s ◦ ◦ ◦ha ṁ

◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavi

m ◦ ◦ ◦pa ñ

d ◦ p ◦ca bhū

◦ ◦ ◦ ◦ p m ◦ ◦ ◦tā

p ◦ d ◦tma ka

ṡ ◦ ṡ ◦pra

ṙ ◦ ◦ ◦pañ

ṡ ◦ ◦ ◦cō

d ◦ p ◦da yā

◦ ◦ d ◦di

p ◦ ∼∼m ◦ka ra

p ◦ d ◦n. a vi

ṡ ◦ ṙ ġri ñ ci ha

ṙ ṡ ṙ ◦ri ru d ra

ṡ d ◦ dnu tē na

p ◦ d ppa ñ ca va

◦ m r sktra śi va

r m ◦ msu tē na

(pañca)

caran. am

r ◦ m ◦va ra

p ◦ ◦ ◦dā

d ◦ ∼∼m ◦bha ya

p ◦ ◦ ◦pā

m ◦ g ◦śa śṙ

r ◦ s ◦n. i ka

r ◦ ◦ ◦pā

s ◦ d. ◦la dan

◦ ◦ p. ◦ta

d. ◦ ◦ ◦mō

s ◦ r ◦da ka

m ◦ ◦ ◦mu

35

g ◦ r ◦dga rā

◦ ◦ m ◦ks.a

m ◦ ◦ ◦mā

p ◦ ◦ ◦lā

d ◦ p ◦ka rē

◦ ◦ m ◦n. a

p ◦ d ◦ka ma

/ ṙ ◦ ◦ ◦lā

ṡ ◦ r ◦pu ra

∼∼d ◦ ṡ ◦vi hā

◦ ◦ d ◦rē

◦ ◦ p ◦n. a

p ◦ d ◦pu ru

p ◦ ◦ ◦hū

m ◦ ◦ ◦tā

p ◦ m ◦dya khi

g ◦ r ◦la dē

◦ ◦ s ◦va

s ◦ ◦ ◦pū

r ◦ m ◦ji ta

g ◦ r ◦vi

r ◦ s ◦gh nē

∼∼d. ◦ r ◦

śva rē◦ ◦ s ◦

n. a

∼∼m p d pva ra gu ru

m g r ◦gu ha sō

/ d d ◦ pda rē n. a

d ṙ ṡ ṙsu ru ci ra

d ṡ∼∼d ◦

la ṁ bōġ ṙ ◦ ṡ

da rē n. a

ṙ ṡ d ◦ka ru n. ā rd

p p ◦ mra gau ra

g r ◦ sta rē n. a

d. s r mka li ma la

g r s sha ra n. a ca

d p ◦ ∼∼mtu rē n. a

(pañca)

z z z z z z z z

36

11 śrı̄ pārvatı̄paramēśvarau

kı̄rtanam 11. ārōhan. am avarōhan. amrāgam — baul.i s r g p d s s n d p g r s mēl.am 15 ādi tāl.am

I O O

pallavi∼∼d ◦ ◦ ◦śrı̄

p ◦ ◦ ◦pā

p ◦ ∼∼g ◦rva tı̄

◦ ◦ p dpa

∼∼g ◦ \r ◦ra mē

◦ ◦ s ◦śva

s n.∼∼d. ◦

raup. ◦ d. ◦

van

s ◦ ◦ ◦dē

◦ ◦ r ◦ci

∼∼g ◦ p ◦

dbi ṁ baud ◦ ṡ ◦lı̄ lā

n ◦ d pvi gra hau

◦ d g ◦ma mā

g ◦ ∼∼r gbhı̄ śt.a si

◦ r ∼∼g pd dha yē

d p d ◦śrı̄

p ◦ ◦ ◦pā

p ◦ ∼∼g ◦rva tı̄

◦ ◦ p dpa

∼∼g ◦ \r ◦ra mē

◦ ◦ s ◦śva

s n.∼∼d. ◦

raup. ◦ d. ◦

va n

s ◦ ◦ ◦dē

◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavi

g ◦ ◦ ◦ā

∼∼p ◦ ◦ ◦

pāg ◦ / d ◦

da ma◦ ◦ p ◦

sta

∼∼g ◦ ◦ ◦kā

\r ◦ ◦ ◦laṅ

s ◦ r ◦kā

∼∼g ◦ ◦ ◦

rau

r ◦ ◦ ◦ā

g ◦ \r ◦di ma

◦ ◦ r ◦dhyā

s ◦ n. ◦n ta

s ◦ r ◦ra hi

∼∼g ◦ ◦ ◦tā

/ p ◦ ◦ ◦kā

p ◦ ◦ ◦rau

s ◦ ◦ ◦sō

∼∼d. ◦ ◦ ◦pā

g ◦ \r ◦na mā

◦ ◦ g ◦rga

s / r ◦ ◦ ◦mu

s ◦ ◦ ◦khyā

/ d ◦ ◦ ◦dhā

d◦ ◦ ◦rau

p ◦∼∼d ◦

su kha◦ ◦ n ◦

pra

∼∼d ◦ ◦ ◦

daup ◦ ◦ ◦

gan/ d ◦ p ◦dha ra

∼∼g ◦ ◦ ◦sā

\r ◦ ◦ ◦dhā

s ◦ ◦ ◦rau

d. ◦ p. ◦lō pā

d. r ◦ rmu d rē śā

s ◦ r ∼∼grci ta

p∼∼g p ◦

ca ra n. aud ◦ p / dlō bha mō

◦ \g ◦ phā di

d ◦ / ṙ ṙvā ra n. a

ṡ∼∼ṅ ṡ ◦

ka ra n. au

p ◦ p ◦pā pā

p d p ◦pa ha pa n.

/ ġ r ṡ nd. i ta ta ra

d∼∼p d ṡ

gu ru gu han d p ◦ka ra n. au

/ d p g rbha ya ha ra

s ◦ d. sn. au bha va

r g / d pta ra n. au

(śrı̄)

z z z z z z z z

37

12 sūryamūrtē

kı̄rtanam 12. ārōhan. am avarōhan. amrāgam — saurās. t.ram s r g m p d n s s n d p m g r s mēl.am 15 dhruva tāl.am

I I I I

pallavi

p m / d p p m∼∼g m

sū rya mūg r / g r ∼∼r ◦ s ◦ s ◦ s ∼∼n.

rtē na mōr s n. ◦ s ◦ d2. n p.

stu tē

d2. ◦ s n. ◦ n s ◦ r ssu n da ra

∼∼r ◦ ◦ ◦ ∼∼g ◦ ◦ ◦ g ◦ ∼∼m p · m

chā yāg \r ∼∼r ◦ s / r / g m

dhi pa tē

p m / d p p m∼∼g m

sū rya mūg r / g r ∼∼r ◦ s ◦ s ◦ s ∼∼n.

rtē na mōr s n. ◦ s ◦ d2. n p.

stu tē

d. ◦ / n. ◦ / s n. / r ssu n da ra

∼∼r ◦ ◦ ◦ ∼∼g ◦ ◦ ◦ g ◦ ∼∼m p · m

chā yāg \r / g r r r s ◦

dhi pa tē

anupallavi

m ◦ ◦ ◦ m ◦ ∼∼g mkā rya kā

g r s rra

/ m∼∼g m ◦ p ◦ p m ◦

n. ā tma kap ◦ p ◦ ◦ ◦ p ◦ja ga tpra

m ◦ ∼∼g ◦ m ◦ ∼∼p mkā śa śi m

◦ ◦ m ◦ha

d ◦ ◦ ◦ n p ◦ ◦ ◦rā śya

p m g \r ∼∼r ◦ ◦ ◦dhi pa tē

s n. d.∼∼n. s r

∼∼g m

ā rya vi nu ta tēp m / d2 ◦ja sphū

n d p ◦ ṡ ◦ ṡ ◦ \p ◦rtē ā rō gyā

∼∼m / d p m g r

∼∼g m

di pha la da kı̄ rtē(sūrya)

caran. am

ṡ ◦ ◦ ◦ n ◦ ṡ ◦sā ra sa

d ◦ n d2mi

p ◦ p ∼∼m / d p p mtra mi tra

g ◦ r ◦ ∼∼g m p∼∼d

bhā nō

ṡ ◦ ◦ ◦ n ◦ ṡ ◦sā ra sa

d ◦ n d2mi

p ◦ p ∼∼m / d p p mtra mi tra

g ◦ r ◦ ∼∼r ◦ ◦ ◦bhā nō

s n d2 ◦ ◦ ◦ n. ◦sa ha sra

s ◦ r ◦ki ra

∼∼g m g ◦ \r ◦ s r

n. a ka rn. a

∼∼g ◦ m ◦ m p ◦ ◦ ◦sū nō

∼∼g ◦ ◦ ◦ m ◦ p ◦

krū ra pā◦ ◦ p ◦

pam ◦ g ◦ ◦ ◦ g ◦ha ra kṙ

\r ◦ ◦ ◦ ◦ ◦ ◦ ◦śā nō

38

s ◦ r ◦ g ◦ m ◦gu ru gu ha

p ◦ ◦ d2mō

n d p ◦ ◦ p mdi ta sva

g ◦ r ◦ ∼∼g m p ◦bhā nō

p m / d p p m g rsū ri ja

∼∼r ◦ ◦ ◦

nēg ◦ m ◦ p ◦ d2 ◦d. i ta su di

∼∼n ṡ n d /

∼∼p ◦ ◦ ◦

na ma n. ē

∼∼g ◦ ◦ ◦ m ◦ ◦ ◦sō mā

g ◦ r ◦di

∼∼g ◦ m ◦ p ◦ d2 ◦

gra ha śi khā◦ ◦ / r ◦ ṡ ◦ ◦ ◦

ma n. ē

∼∼ṙ ◦ ◦ ◦ ṡ ◦ ◦ ◦

dhı̄ rāṙ ◦ ṡ ◦

rci tan d2 ◦ ◦ ◦ / r ◦ ṡ ◦

ka rma sā◦ ◦ n d p ◦ ◦ ◦

ks.i n. ē

p m / d p p m g rdi vya ta

∼∼r ◦ s ◦ra sa

◦ ◦ n d. ◦ ◦ ◦ n. ◦ptā śva

s r ∼∼g m / p m g ◦ ∼∼r ◦ra thi nē

s ◦ n d2 ◦ n. ◦ / s ssau rā s.t.rā rn. a ma

r g m gn trā t ma

r ◦ ∼∼g m/ p m g rnē sau va rn. a

∼∼g m ◦ p ◦ n d \p ◦

sva rū pā tma nē

d ◦ / ∼∼n ṡ ◦ ṙ ṡ ṙbhā ra tı̄ śa ha ri

/ ġ r ◦ ṡha rā tma

n d ◦ d2 ◦∼∼n ṡ d2 n p

nē bha kti mu kti

∼∼m p / d m g r

∼∼g m

vi ta ra n. ā tma nē

svaram

p ◦ m ∼∼g r ∼∼g m

m g r s ◦ s / n d∼∼n ṡ ◦ ṙ ṡ ṙ ġ ġ ṁ

d d p p ◦ m ∼∼g m

g r g r

p m ◦ g

◦ ġ ṙ ◦

g r ◦ s

◦ r s / r s n. d.∼∼n.

r g ◦ m p d ◦ ∼∼n

/ ṁ ġ / ṙ ◦ / ġ∼∼ṙ ṡ \n

ṡ ◦ n n d2 ◦ p p ◦

s r∼∼g m p / d p ◦

ṡ ṙ ◦ ṡ n d ∼∼n ṡ

◦ / r ṡ n \d ◦ ∼∼n ṡ

m \g ◦ r s r ∼∼g m(sūrya)

z z z z z z z z

39

13 śrı̄ rājagōpāla

kı̄rtanam 13. ārōhan. am avarōhan. amrāgam — sāvēri s r m p d s s n d p m g r s mēl.am 15 ādi tāl.am

I O O

pallavi

ṡ ◦ ◦ ◦śrı̄

◦ ∼∼◦ ∼∼n ṡ ·· nrā

d ◦ p ◦ja

◦ ◦ d ·· ṡgō

∼∼n ṡ ·· n /

∼∼d ◦

pā◦ ◦ p / n

la/ n d p \∼∼m

bāp ◦

∼∼d ◦la

∼∼d n \d ◦ ◦śṙṅ

∼∼d n d p ◦gā

∼∼p d \m ∼∼g ◦ra lı̄

r ◦ s ◦la

/ r g s rśri ta

/ p m ◦ p dja na

n d p∼∼m

pāp ◦ d ◦

la

ṡ ṡ / ṙ ṡ∼∼ṙ ◦

śrı̄◦ ◦

∼∼ṅ s ·· nrā

∼∼d ◦ p ◦

ja◦ ◦ p m

gōp d n d p mpā

g \∼∼r ◦ ◦la

s d d p m g r ◦ s ◦

anupallavi

/∼∼d ◦ ◦ ◦

dhı̄◦ ◦ p ◦

rā/ d \m m ◦

gra

∼∼g ◦ r / g

gan.

r ◦ s rya dı̄

/ p m ◦ m ◦na

p ◦ p mśa ra n.

p d ·· d p p mya

/∼∼d ◦ ◦ ◦

dhı̄◦ ◦ p ◦

rā/ d \m m ◦

gra

∼∼g ◦ r / g

gaṅr ◦ s r

ya dı̄/ p m ◦ m ◦

nap ◦ p m

śa ra n.p d · · p m

ya

m∼∼p ◦ ◦ ◦

cā\m ◦ ∼∼m p d pru ca ṁ

◦ ◦ d ◦pa

p ··∼∼d ṡ ◦

kān d / n \dra n.

∼∼d ◦ p ◦ya da

d n ·· d · / nks.i

d p d mn. a

m p ◦ ◦ ddvā ra

ṡ ◦ ṙ ṡkā pu ri

d d ġ ṙ ṡni la ya vi

n d ◦ p ◦śi s. t.ā

d / n∼∼n ◦

d vai tāp d / n

∼∼d ◦

d vai tāp

∼∼d d p p m

la ya mā ṁp ◦ d dpā la ya

(śrı̄)

caran. am

◦ ◦ s ◦smē

r ◦ m ◦rā

p ◦∼∼d n ··

na nad p /

∼∼d ◦

sē◦ p m

∼∼d ◦

va ka◦ d p m

ca tu

∼∼m ◦ p ◦rā

m ◦ ∼∼p m ◦na na

◦ ◦ / d pnā

/∼∼d ◦ ◦ ◦

rā/n d d pya n. a

m p ∼∼m p dtā

d p m g rra ka

s r ∼∼p m ◦di

m ◦ p mvya nā

p d ·· p ◦ma

◦ ◦ p dpā

∼∼ṡ ◦ ◦ ◦rā

∼∼r ġ ṙ ṡ ◦

ya n. an d ◦ p ◦k ṙ ta

∼∼m p \m ◦nā

/∼∼n ◦ d p

ra dāp d \∼∼m ◦

dip ◦ d ◦

nu ta

40

∼∼ṡ ◦ ◦ ◦sā

/ ṙ n∼∼n d

ra sap d d p mpā

p ◦ d ◦da

ṡ ◦ n d ◦sa dā

◦ ◦ ∼∼m p d p d n d p mmō

∼∼g

∼∼r ◦ ◦ ◦

da

◦ ◦ s ◦nā

r ◦ m ◦rı̄

∼∼p ◦ ◦ ◦vē

d ◦ d ◦s.a dha

n ◦ d pra vā

p d \m ◦ma

p ◦ ◦ ◦bhā

d ◦ d ◦ga mu

∼∼ṡ ◦ ◦ ◦rā

ṡ ◦ ◦ ◦rē

◦ ◦ d ◦śrı̄

ṡ ◦ ◦ ◦vi

∼∼r ġ ṙ ◦

dyāṡ ◦ ṙ ġ ṙrā

◦ ṡ ∼∼n ṡja ha

n∼∼d ◦ ◦

rē

/∼∼r ◦ ◦ ◦

śrı̄◦ ◦ ṙ ◦

ru◦ ◦ ġ ◦

k mi\ṙ ◦ ◦ ◦n. ı̄

ṡ ◦∼∼ṙ

∼∼ġ ṙ

sa◦ ◦ ṡ ◦

t ya

∼∼n ṡ ∼∼n ṡ ṙ ṡ

bhān

∼∼d ◦ ◦ ◦

mā

◦ ◦ / ṙ ṡśri ta

n d ◦ ◦ ◦pā

p ◦ \m ◦rśva yu

p ◦ d ◦ga l.a

p d / n nka ṁ

d d \m ◦bu ja

p d n d p mya ga

∼∼g

∼∼r ◦ ◦ ◦

l.a

/ n n d pnı̄ ra sa

m g \r sṁ pū r n. a

s∼∼r ◦ / p

ha ri d rā

∼∼m / d p ◦

na dı̄\m ◦ m mtı̄ ra ma

p ◦ p dhō tsa va

/ n n∼∼p d

vai bha vaṡ ◦ ṡ ṡ

mā dha va

mp ◦ d ṡmā ra ja

ṡ ṡ ṙ / ġna ka na ta

ṙ ṡ ṙ n dśu ka sa na

p∼∼d / ṙ ṡ

ka ja na kaṡ ◦ n

∼∼d

vı̄ ra gu/ n d m gru gu ha ma

r s r / p mhi ta ra mā

◦ / d p∼∼d

sa hi ta

svaram

ṙ ṡ ◦ ṙ n

ṡ n d / r

d p d / n

◦ ṡ ṙ / ṁ

d p ◦ m

◦ ġ ṙ ṡ

g∼∼r s r

n d p d

/ g r s ◦

ġ ṙ ṡ \n

n. d. s r

◦ d p \m

∼∼m p

∼∼d / n

◦ g r s

\d ◦ ◦ ◦

r∼∼m p d

(śrı̄)

z z z z z z z z

41

14 gaurı̄ girirājakumāri

kı̄rtanam 14. ārōhan. am avarōhan. am tiśra jātirāgam — gaurı̄ s r m p d n s s n d p m p m g r s mēl.am 15 ēka tāl.am

O I O I

pallavi

s ◦ r ◦gau

∼∼ṁ p ◦ ◦ri

\r ◦ ◦ ◦ s ◦ r ◦gi ri

∼∼r g r ◦rā

s ◦ n. ◦ja ku

n. ◦ n. ◦mā

n. ◦ ◦ ◦ri

/ s ◦ ◦ ◦ ∼∼r ◦ ◦ ◦gā

m ◦ m ◦na va

p ◦ p ◦na ma

n ◦ ◦ ◦yū

n ◦ ◦ ◦ri

/ ṡ ◦ ◦ ◦ ◦ ◦ m ◦gaṁ

m g m / dbhı̄

p d p mra

g ◦ \r ◦kau

r ◦ / g rmā

r s s∼∼n.

ris ◦ r ◦

gau

∼∼m p ◦ ◦ri

\r ◦ ◦ ◦

s ◦ r ◦gi ri

r g r ◦rā

s ◦ n. ◦ja ku

n. ◦ n. ◦mā

n. ◦ ◦ ◦ri

/ s ◦ ◦ ◦

anupallavi∼∼r ◦ ◦ ◦

dū/ pm ◦ ◦ ◦

rı̄p ◦ d ◦kṙ ta

m ◦ ∼∼p ddu ri

p ◦ ◦ ◦tē

/ d ◦ p ◦a ti

g ◦ ∼∼m pla li

∼∼m ◦ ◦ ◦tē

∼∼d p ◦ m g ◦ \r ◦

du r gā/ g ◦ s ◦ / ∼∼r ◦ ◦ ◦

la

s ◦ r ◦ks.mı̄

s ◦ \n. ◦sa ra

◦ ◦ n. ◦sva

s ◦ n. ◦tı̄

s ◦ r ssa hi

/∼∼r ◦ ◦ ◦

tē

∼∼r ◦ ◦ ◦

śau/ p m ◦ ◦ ◦

rı̄p ◦ n ◦śa vi

n ◦ ◦ ◦riñ

ṡ ◦ ◦ ◦cā

/ ġ ṙ∼∼ṙ ◦

di

ṡ ◦ n ◦ma hi

d. r s ◦tē

∼∼n ṡ ◦ ◦ ṡ ◦ ◦ ◦

śā ṁṡ ◦ ∼∼n ṡ

bha vi\m ◦ ◦ m

na

m ◦ ◦ ◦ma

m∼∼g m d

s tēp / d p mpa ra

g ◦ \r ◦dē

r ◦ g rva tē

◦ r s ∼∼n.

(gauri)

42

caran. am

p ◦ \m ◦na va

g ◦ \r ◦ca

r ◦ ◦ ◦kra

g ◦ \r ◦sva rū

◦ ◦ s ◦pā

◦ ◦ \n. ◦va

n. s r stā

/∼∼r ◦ ◦ ◦

rē◦ ◦ ◦ ◦ / m ◦ ◦ ◦

nā◦ ◦ m ◦

da◦ ◦ m ◦

bra m

◦ ◦ d ◦ha

p ◦ d ◦vā

d p m ◦ca ka

g ◦ \r ◦tā

s ◦ ∼∼r ◦rē

r ◦ / p m

p d n d p mna va

g ◦ \r ◦ca

r ◦ ◦ ◦kra

g ◦ \r ◦sva rū

◦ ◦ s ◦pā

◦ ◦ \n. ◦va

g ◦ \r ◦tā

∼∼r ◦ ◦ ◦rē

◦ ◦ ◦ ◦ s ◦ r ◦śi va

g ◦ \r ◦pa ra

∼∼r ◦ ◦ ◦

mā

∼∼r ◦ ◦ ◦

nans ◦ r / g

dār ◦ \n. ◦

m ṙ tas ◦ r / m

dhā/ p ◦ ◦ ◦rē

◦ ◦ ◦ ◦

ṡ ◦ ◦ ◦śṙṅ

∼∼n ṡ \

∼∼d ◦

gā◦ ◦ ◦ ◦ p d m ◦

rām ◦ p / ddi na

p m g rva ra

/ g r ◦ ssā

∼∼n. s r s

dhā/ r ◦ ◦ ◦rē

r ◦ r ◦bha va

m ◦ m ◦gu ru

p ◦ p ◦gu ha

n ◦ n ◦ga n. a

ṡ ◦ / ṙ ◦pa ti

ṡ ◦ n ◦sa ṁ

n ◦ ◦ ◦sā

ṡ ◦ ◦ ◦rē

◦ ◦ ◦ ◦

◦ ◦ p ◦bha

∼∼ṙ ◦ ◦ ◦

ktiṙ ◦

∼∼ṙ ◦

pra daṡ ◦ ṙ ◦

vē/ ġ ◦ ṙ ◦dā

ṡ ◦ n ◦ga ma

∼∼n ṡ ṙ ġsā

/∼∼ṙ ◦ ◦ ◦

rē◦ ◦ ◦ ◦ m ◦ m ◦

pa vam ◦ / d ◦na dhā

◦ ◦ ◦ ◦

p ◦ \m ◦ra n. a

g ◦ r gyō

r ◦ s n.ga vi

s ◦ r / pcā

p∼∼m / p ◦

rē◦ ◦ ◦ ◦

p ◦ ◦ ◦pā

n ◦ n ◦li ta

/ ṡ ◦ ◦ ◦bha

◦ ◦ ṡ ◦kta

d ◦ p ◦ja na

\m ◦ ◦ ◦man

g ◦ \r ◦dā

∼∼r ◦ ◦ ◦rē

s ◦ ◦ ◦ r r m mta va ca ra

m p ◦ pn. a pa ṅ ka

n ◦ ṡ ṙjō d bha va

43

ṡ ṙ ◦ / ġta t va sa

ṙ ◦ ṡ nma s.t. yā

n ◦ ṡ ◦gā rē

p / ṙ ◦ ṙsu var n. a

ṙ ṙ / ġ \ṙma n. i ma yā

◦ ṙ ṡ ◦di pañ

/ ġ ṙ ◦ ṡca vi ṁ śa

n ◦ ∼∼n ṡti prā

ṙ ṡ∼∼ṙ ◦

kā rēṡ ṡ ◦ \m

su dhā si n◦ g m ◦

dhu ma

∼∼d ◦ ◦ ◦

dh yē

p d p mci n tā

m g ◦ rma n. yā

/ g r s ◦gā rē

p. / r ◦ rśi vā kā

◦ s r / mra ma ñ

mp ◦ r scē pa ra

r m p dśi va pa

p m g rrya ṅ ka vi

/ g r s∼∼n.

hā rēs ◦ r ◦

gau

∼∼m p ◦ ◦ri

\r ◦ ◦ ◦

s ◦ r ◦gi ri

∼∼r g r ◦rā

s ◦ n. ◦ja ku

n. ◦ n. ◦mā

n. ◦ ◦ ◦ri

/ s ◦ ◦ ◦

z z z z z z z z

44

15 rāmacandraṁ bhāvayāmi

kı̄rtanam 15. ārōhan. am avarōhan. amrāgam — vasantam r s g m d n s s n d n d m g m p m g r s mēl.am 15 rūpaka tāl.am

O I O I

pallavi

s ◦ ◦ ◦rā

◦ ◦ s ◦ma

g ◦ ◦ ◦can

g ◦ m ◦dra m

/ p m g ◦bhā

m ◦ g ◦va

m ◦ d ◦yā

/ n n∼∼d

∼∼n

miṡ ◦ ◦ ◦ n ◦ ṡ ◦

ra ghun ◦ d ◦

ku lan ◦ d / nti la

d m ◦ g ◦ka mu

m ◦ d ◦pēn

n ◦ ṡ ◦d ra ṁ

n ṡ ṡ∼∼n ṡ ṙ

ra ghuṡ n d ◦

ku la/ n n d / nti la

d m g ◦ka mu

m p m m ◦pēn

g r s∼∼n.

d ra ṁ/ s ◦ ◦ ◦rā

◦ ◦ s ◦ma

∼∼g ◦ ◦ ◦

can

g ◦ m ◦dra ṁ

/ p m g ◦bhā

m ◦ g ◦va

m ◦ d ◦yā

/ n n∼∼d

∼∼n

miṡ ◦ ◦ ◦

anupallavi

m ◦ ◦ ◦bhū

∼∼m ◦ m gmi jā

m d ◦ ◦ / n n∼∼d ◦

nān ◦ n ṡ ◦ya ka ṁ

◦ ◦ ◦ ◦

ṡ ◦ ◦ ◦bhu

ṡ ◦ ◦ ṡkti mu

◦ ◦ ṡ ◦kti

ṡ n ṡ ṙ · ·dā

ṡ n d mya ka ṁ

∼∼d n · · ◦ ◦

ġ ◦ ◦ ◦nā

ġ ṁ g r ◦ma kı̄

◦ ◦ ṡ ◦rta

n ◦ \∼∼d ◦

na tā◦ ◦ n ◦

raġ

∼∼ṙ ◦ ◦

ka ṁ

ṡ n d ◦na ra

/ ṡ n∼∼d ◦

va ram ◦ g ◦ṁ ga

/ p m \g ◦ta mā

◦ ◦ r / gyi

r r s∼∼n.

kaṁ(rāma)

caran. am

s ◦ ◦ ◦sā

◦ ◦ m ◦kē

m ◦ m ◦ta

\m ◦ m ◦na ga

g mp m prē

m ◦ g ◦ni va

45

m ◦ d ◦sa n

/ n n d∼∼n

ta ṁṡ ◦ ◦ ◦ ṡ ◦ ◦ ◦

sāṡ n d m

mrād n · · ◦ ◦

dm ◦ ◦ ◦jya

g ◦ / p mpra da

g ◦ r / gha nu

∼∼r ◦ ◦ ◦

mans ◦ ◦ ◦ta ṁ

◦ ◦ ◦ ◦

s ◦ ◦ ◦rā

◦ ◦ ṡ ◦kēn

◦ ◦ ṡ ◦du

ṡ ◦ ṡ ◦va da

n ṡ ṙ ṡ · · ṙnaṁ

ṡ n d mbha ga

d ◦ / n ◦va n

/ ṡ ◦ ◦ ◦taṁ

◦ ◦ ◦ ◦ ṡ ◦ n ◦ra ma

ṡ ◦ / ġ ṙn. ı̄

ṡ ◦ n ◦ya

∼∼d ◦ ◦ ◦ka

d m d n · ·lyā

◦ ◦ d m ◦n. a

g ◦ ◦ p mgu n. a

g ◦ \r ◦va

s ◦ ◦ ◦taṁ

s ◦ s ◦kā ku

s ◦ ṡ ◦ts thaṁ dhı̄

ṡ ṡ ṡ ◦ma n ta ṁ

ṡ n ṡ / ṙka ma lā

ṡ n d mks.aṁ śrı̄

d∼∼n ṡ ◦

ma n ta ṁ

ṡ n / ġ ṙnā gē

ṡ n d mśa nu ta ma

d∼∼n ṡ ṙ

na n da ṁṡ n d / n

na ra gu rud m g m

gu ha vi hag r s

∼∼n.

ra n ta ṁ(rāma)

z z z z z z z z

46

16 kañjadal.āyatāks.i

kı̄rtanam 16. ārōhan. am avarōhan. amrāgam — manōhari s g m p n s s n d p m g s mēl.am 33 ādi tāl.am

I O O

pallavi

n ṡ ◦ ◦ ◦kañ

◦ n d ◦ja da

p ◦ ◦ ◦l.ā

m ◦ g ◦ya tā

p m g m g ◦ks.i

s ◦ s ∼∼n.kā

s ◦ g ∼∼mmā

p ◦ n ◦ks.i

/ n d p ◦ka ma

/ d p / d mlā

g ◦ m p mma nō

g ◦ m ◦ha

g ◦ s dri tri

p d m ppu ra

/∼∼g m p n

su n◦ ṡ ġ ◦

da ri

ṡ ◦ ◦ ◦kañ

◦ n d ◦ja da

p ◦ ◦ ◦l.ā

m ◦ g ◦ya tā

p m g m g ◦ks.i

s ◦ s ∼∼n.kā

s ◦ g ∼∼mmā

p ◦ n ◦ks.i

n d p ◦ka ma

/ d p / d mlā

g ◦ m p mma nō

g ◦ m ◦ha

∼∼g ◦ ◦ ◦ri

\s ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦

anupallavi

/∼∼n. ◦ s g

kuñ ja ras / g g ◦

ga ma nēm ◦ ∼∼g m

ma n. ip ◦ d p

ma n. d. i tap ◦ d p

mañ ju l.an n ṡ ◦ca ra n. ē

◦ ◦ n d p m g s

/ n. ◦ s gkuñ ja ra

s / g g ◦ga ma nē

m ◦ ∼∼g mma n. i

p ◦ d pma n. d. i ta

p ◦ d pmañ ju l.a

n n / ṡ ◦ca ra n. ē

◦ ◦ \∼∼n ◦mā

ṡ ġ ṡ ġma va śi va

◦ ṁ ġpañ ja ra

ṡ n ṡ ◦śu ki paṅ

n d p mka ja mu khi

∼∼g m p n

gu ru gu hanṡ ◦ n d

rañ ja nip / n d p

du ri ta bhañd p m m

ja ni ni

∼∼g m p n /ra ñ ja ni

(kañja)

caran. am∼∼p ◦ ◦ ◦rā

/ d p d mkā

m ◦ g mśa śi

g m p m ◦va da

∼∼g ◦ ◦ ◦

nē\s ◦ n. ◦

sus ◦ g ◦ra da

g ◦ g mnē

◦ ◦ g mra

◦ g s ◦ks.i ta

n. ◦ d. p.ma da

∼∼n. ◦ ◦ ◦nē

◦ ◦ s ◦ra

◦ ◦ g ◦tna

s ◦ g ◦sa da

g m ∼∼g ∼∼m pnē

◦ ◦ g ◦śrı̄

∼∼m ◦ ◦ ◦

kāñp ◦ n ◦ca na

n d d ◦va sa

∼∼p ◦ ◦ ◦nē

◦ ◦ g ◦su

m ◦ p ◦ra sa

∼∼n ◦ ◦ ◦nē

47

s ◦ ◦ ◦śṙṅ

◦ ◦ ∼∼g ◦gā

◦ ◦ ṡ ◦rā

◦ ◦ n dśra

p ◦ / d pya man

/ d m∼∼m ◦da

g ◦ p m mha sa

g ◦ s ◦nē

n. ◦ s ◦ē kā

n. d. p. ◦nē kā

n. n. s sk s.a ri bhu va

g ◦ m pnē śva ri

p d p mē kā

∼∼m p \m ◦na n dā

∼∼g m g s

ṁṙ ta jha ri

∼∼g m p p

bhā sva ri

p d p ◦ē kā

n n ṡ ◦gra ma nō

ġ ġ ṡ ġla ya ka ri

ṡ ◦ ṡ nśrı̄ ka ri

ṡ ◦ n dē kā ṁ

p d p mrē śa g ṙ

∼∼g m g s

hē śva ri

∼∼g m p nśa ṅ ka ri

(kañja)

z z z z z z z z

48

17 vı̄n. āpustaka

kı̄rtanam 17. ārōhan. am avarōhan. am khan. d. a jātirāgam — vēgavāhini s r g m p d n s s n d p m g r s mēl.am 16 ēka tāl.am

I I I I I

pallavi

s ◦ ◦ ◦vı̄

◦ ◦ m ◦n. ā

◦ ◦ ◦ ◦ p m m gpu

m ◦ p ◦sta ka

d ◦ ◦ ◦dhā

n d p ◦ri n. ı̄

/ d p m gmā

p m m g ◦śra

\r ◦ s ◦yē

s ◦ ◦ ◦vē