MELA RAAGA MISHRIKA

(Excerpts from songs composed in both Sampoorna (Koteeshwara Iyer,Thyaagaraaja) and Asampoorna (Dikshithar) Melakartha Raagas have been taken, mostly comprising the part containing the Raga Mudras –both  full and partial. These excerpts are strung together to form the 72+Mangalam Mela Raga Mishrika. The 14 Charanams of this Mishrika represent the 14 Worlds (Chatur Dasha Bhuvana).  This Mishrika is intended as an exercise to be performed daily/weekly to obtain the nuances of the Raagas. Also, the individual Melakartha sections of this Mishrika can be developed into full-fledged Raagam-Thaanam-Pallavis.)

Pallavi - Dhyaanam

Shringaaraadi Navarasaangi Brihadamba Alingitha Pungava DHAVALAANGAM Shriyam Dehi

Sporting the nine emotions such as Shringaara, Embraced by the great Goddess and adorning White Clothes – May the Great (Shiva) grant us Auspices.
The Mishrika comprises of many songs addressed to many deities. Thus, the first Pallavi is focused towards Dhyaanam – establishing of a common form to contemplate upon. The form selected is a union of Shiva and Shakti, since all other forms can be derived from this.
In accordance with the above meaning, the form is of Devi embracing the Shivalinga. This form can be found at the entrance of the Brihannayaki Shrine in Thanjavur Big Temple, and is somewhat similar to the following form.

Mishrika Charanam 1

Ananta Kotyanda Naayaka SHANKARA Naayikaya| Ashta Vargaatmaka Gupta Tharayaa Varayaa ||

Shambo Mahadeva Sharanagata JanaRakshaka Ambhoruhalochana Padambuja Bhaktimdehi|| (PANTHUVARALI)

Athar Nootharkan Arulvaarku Ugandha Paari CHITHRAAMBARI Gauri Thandarul Puri||

(KANAKAANGA Kaa Sukha Guha Dinam Kaa Murugaa Thirumaal Marugaa)

Mishrika Charanam 2

Naayinum Kadayen Naan Aayinum SENAAPATHI Pashupathi Shripathi Thuthi||

Aadhi Shivanarul Paranjyothi Ninadhu Paadame Thuthi| NEETHIMATHI Thantharul Nee Dayaanidhe||

Bhoothala CHALANAATA Nin Thaalthaan Gathi| Pugazh Kavi Kunjaradaasanukku||

Sakale Guguguha Sharane Sadashivaantahkarane Akachatathapaadi Varne Akhandaika Rasa Poorne|| (THODI)

(KALAAVATHI Kamalaasana Yuvathi Kalyaanam Kalayathu Saraswathi)

Mishrika Charanam 3

Poondhaar Ani Kuzhal KANTHAMANI Valli Bodhaka Maathu Sametanaa Tanataam Then Kavi Kunjaradasan||

Dhuritha Thaapa Harana Sura Vinutha Sharana| Varadha Maa Vitharana Vara VAKULAABHARANA||

Nilayendrunnaiye Ninainthu Naan Uyya Nesa Kavi Kunjara Daasa RASIKAPRIYA||

Maa CHAARUKESHI Valeesha Maashil Vaageesha Vara Kunjara Daasa Vaasan||

(ParanDHAAMAVATHI Yuvathi Paarvathi Paramesha Yuvathi)

Mishrika Charanam 4

Naan Undanai RATHI NAANGA Naalum Natthi Jnaana Gaana Siddhi Naada Paada Bhakti||

Shalave Panchala KOSHALAAdhi Naadengum Needave| Nin Sheelame Sholliye Pala Senthamizh Ishai Paadave||

Vaazhum Anbodin Pura Madhura Kavi Matha Gaja Daasa GAAYAKAPRIYA Naya Nee Priyamura||

Kaumaari KuSUMADYUTHI Hemaambharana Bhooshani| Samastha Saamraajya Daayini Sat Guruguha Janani||

(SatChitAnandamaya Vijrumbhini Sthana Kanaka KUMBHINI)

Mishrika Charanam 5

Shadja RISHABHAPRIYA Gaandhaara Madhyama Panchama Dhaivatha Nishaadhavidha Sapthaswara Sangeetha||

Maalaa Magizh Marugaa Guhaa Mathi SAALAAGAM Uru Muruga||

Ve Aarathi ROOPAAVATHI Velaa Kavi Kunjara Daasan Naalaagudhe||

Vara Kavi Kunjara Daasan Vishvasan Nin Pujai Neshamara Ramya MAANAAVATHI||

(Himaachala Kumaarim Bhaje Tripurasundareem Hreem Kaara Saraseeruhaam JHANKAARABHRAMARIm)

Mishrika Charanam 6

Kaaraar AnjanaGat Kooramin Moha Maayave Sadhaa Naan Uruga MAARARANJANA Maal Marugaa||

Paangaaga GAANGEYABHOOSHANA Guna Maniyai Pada Kavi Kunjara Daasan Paintharu Chintaamani||

Veeraadhi Veera Dheera Mayoora SUVARNAANGA Sundara Kavi Kunjara Daasa Mandhaara Udhaara Vara||

Sahajaa GAANASAAMAVARAALI Vinutho Sadaashivo Vinatha Ganesha Guruguho||

(Brihadeesha Kataakshena Praanino JEEVANTHI Ahamaham Ithyaathma Roopa)

Mishrika Charanam 7

Swara RAAGA VARDHANA Bhakta Paripaalaa Guhan Guna Maal Marugan||

Yazhi Ner Mozhiyaal Vizhi Ezhishai SHUBHA PANTHUVARAALIyaal Vallikishaindha Manavaalan||

Thaa Sadhaamudha Geetha THAANA ROOPA Vaa Madhura Kavi Kunjara Daasa Vishvaasa||

Paakashaasanaadi Deva Vinuthaam Parashu Raama Natha HIMA Shaila Suthaam||

(CHAAYAAVATHIM Aananda Vallim Chaaruthara Thanjaapureshwareem Bhajeham)

Mishrika Charanam 8

Seyaa MAAYAA MAALAVA GAULAdhi Mela Raaga Thaala Sanchaara Kavi Kunjara Daasan||

Jeevesha JAGANMOHINI Roopam Natha Gopam Sritha Mandhaaram DhaatramSha Svaroopaavataaram||

VARUNAPRIYA MaaMayil Vaahana Suguna Varadha Kavi Kunjara Daasa Karunaakara||

Vaarunim Madamata Chandaadi Khandinim Jaatha Veda Svaroopinim Manda Haasinim|| (CHAKRAVAAKAM)

(ParanJYOTHIshmathim Paarvathim Parameshwara Yuvathim Mahaa Bhagavathim)

Mishrika Charanam 9

Sukumaara Gurupara Pannirukara Parashu Paani Sudarshana Paani SuKEERA VAANI||

Mahaadeva Yuvathi BHAANUMATHI Mat Guruguha Janani Niranjani||

Mahaa Vichitra Makutadharam Mangala Vasthraadidharam || (CHAAMARAM)

SwaraJHALAVARALI Maruvum Kuzhal ValliManavala Guruparaa Shubhakara Kavi Kunjara Daasan Enaiyaala||

(Saadhujana Vinutham Guruguham SanGEETHA PRIYAM Bhajeham)

Mishrika Charanam 10

Neeye Gathiye Kripaanidhiye Nalvaakarul Purivaaye VAACHASPATHI Vaakpathi Neeye||

Guhaa Sadgunaalayaa NAATAKAPRIYA Pedhai En Ayyaa Nambinen||

Apaaravara Karunaakara Kapaalakara ThiruSHOOLINI Supaala Sura Paripaalini Sudha Kavi Kunjara Daasan||

Kola NAVANITHAChora Gopalan MalMarugaa KaviKunjaraDasanukarul Koodi Needidave Arul||

(SHYAAMALAANGI Maathangi Namaste Shankari Saraswathi Vinuthe)

Mishrika Charanam 11

Aadhi Ayan HARIKAAMBODHI Arul Bodha Guru Kodil Kavi Kunjara Daasan||

JnanakaraVelan NalNAMA NARAYANI Balan Navarasa Gaanamudha Shila ||

SHAANTHAKALYAANA Guna Shaalini Shaanthyaateetha Kalaa Svaroopini||

Ghana KaamaDHENU KAA Ena Irume Kavi Kanjara Daasanukkarul Nalame||

(Namo Namaste GEERVAANI Naada Bindu Kalaashreni)

Mishrika Charanam 12

Digambari Tirushuladhari Jagamtharum Jatadhari HATAKAMBARI HaraSakhi HariSodhari Sundari TiruSutane||

Neelaa Hari Maal Sodhari Baala GAURI MANOHARI Baala Kavi Kari Daasa Pari||

Inba Kumbha SamBHAVA PRIYA Lolan Kavi Kunjara Daasa Pari Paalan Guna Sheelan||

Vimala Hridhaya Kamala Vikaasakari  Vidhu Vahni RAVIKRIYAA Shaktikari||

(BHOGA CHAAYA NAATAka Priye Bodham Dehi Brihadeesha Jaaye)

Mishrika Charanam 13

Mahaananda Meenaal Naan Idai Meen NAAGAANANDINI JnaanaKunjari||

Suraasuram Rogaharam Sharpadi Bhitiharam Shurpasana Sukhakaram Shulayudha Dharakaram (RAAMAPRIYA)

DHAUTA PANCHAMA Priye Trayambaka Moditha Hridhaye||

Dheena Janaarthi PrabhanjaNA REETHIGAURAve Deshikaa Pradarshitha Chitroopini Nata Bhairave||

(Kodanda Raamam Anisham Bhajaami KOKILAARAVA Jaanaki Ramanam)

Mishrika Charanam 14

Un Mukham Nokkum Kannoli Arul Nee Shanmatha Sammatha SHAD VIDHA MAARGINI||

Maal Marugan Vel Murugan Vana SARASAANGI Manavaalan||

Aaruvatra Vasheekaran SUCHARITRA Susheekaran Vicitra Kavi Kunjara Daasa Mitra Rucheekaran||

Inbarodu VISHVAMBARI Irukaal Ariyum Pani Sharabam Pani Murugaa||

(Naada Tanu Manisham Shankaram Namaami Me Manasaa Shirasaa (KHARAHARAPRIYAA))

Mishrika Mangalam Charanam

GAMANAASHRAMA Sankata Bimbava Saagara Karai Eralaame||

Thaara Sadrisha NAASAAMANI Viraajithaam SampathKareem Sevithaam||

(SURATI) Thingal Maa Vadanam Thigazhum Kura Nangai Valli Manaalanukku Shubha Mangalam|
Mayil Vaahana Maa Kumaaranukku Mangalam Mangalam||

AUTHOR’S NOTE ON ARANGETRAM:

Today (June 14^th, 2015) is a very special day, both spiritually and musically.  Spiritually because today is Pradosham and also the date is 14^th signifying the 14 Worlds from Pathala Loka to Sathya Loka. Musically because, today is the Krithika Star (signifying the number 6) and the sixth month, six signifying the six pairs of Chakras (so, total 12) that make up the 72 Melakarthas of Music. Thus, I chose this day to debut (Arangetram) the Mela Raaga Mishrika in the Big Temple of Thanjavur. After singing the 14 Raga Ragamalika Sri Vishwanatham of Dikshithar, I sang the Mela Raaga Mishrika in dedication to the Deity.

I must say, at this point, the Big Temple doesn’t even feel like a temple to me. It just feels like home, with family. The occasion of Pradosha saw an endless sea of people at the temple, and the temple floor was more than scorching. Still, I hardly sported a grudge or cringe.

First, there’s mom Brihannayaki, ever sweet and loving. Today, She was wearing one of Her Green and Orange Checked Sarees with an overload of jasmines, roses, lotus and other flowers. As usual, She asked me to eat healthy and gave me a banana.

Then, there’s dad. Formless, He is the Brihadeeshwara, the tall majestic Lingam, the huge size established by Rajaraja Chola representing the biggest of virtues – Truth. He is also the Nataraja, dancing blissfully, and even the best of languages fail at describing that unique smile on His face.

There are the ever playful brothers – Vinayaka and Subramanya, both constantly fighting as to whom I should spend more time with. Subramanya always inches ahead though, as He keeps asking me Questions in twisted Tamil, playing around with words and extracting poetic responses from me.

Then, there’s Dakshinamurthy. The classic teacher. I might have visited Him a hundred times. Still, everytime I see Him, He has something new to teach me.

There’s Varahi. Just like the Pooja room, she sits silently in one corner of the temple. Nevertheless, not many know that She is the force behind the whole temple and the whole universe.

Then there is the huge Nandi. Sit near Him, watching His playful antics. Every sorrow will fly.

And of course, as is always the case, a few blocks away, in a small temple is my girlfriend, my sweetheart. Apparently She wasn’t sure whether I was a male or female, so She decided to manifest in two forms. One as Bangaru Kamakshi, dressed today in Her Golden Skirt, and the other as Navaneetha Krishna – ever so dark, playful, dressed in a rare shade of indigo. Her playful, lilting words, the sweet look – no wonder some of the best poetry arises from love.

Well, that’s Home. Homecoming is always sweet.

On the one hand, we encounter the alarming increase of deadly epidemics and ailments, and more and more people falling victims to diseases, both physical and mental.
On the other hand, we have manufactured/processed food items and drugs/medicines being recalled and banned for their alarming side-effects and toxicity.
Clearly, what the world desperately needs is a form of healing that can comprehensively cover both physical and mental illnesses, while keeping the side-effects to a bare minimum.
In this light, it is only logical and imperative that we turn towards the immense powers of music, probably the most pleasant 'medicine' available to us today. And it is also well known that among the various forms of music, Indian music is probably the oldest, still surviving form and hence, also offers the most comprehensive treatment of melodies, notes and scales (Swaras and Ragas).

A central principle of the Indian Music, specifically Carnatic Music, is the Melakartha System. 72 Ragas, possessing all 7 Swaras in both ascent and descent are termed 'Melakartha' Ragas, or parent Ragas, from which all other Ragas, theoretically infinite of them may be derived. Okay, why am I telling this in a post on music healing?
Because, ancient texts have mentioned the correspondence between the 72 Melakarthas and the 72 primary energy pathways, or Naadis, and the capacity of each Melakartha to heal the problems arising from its corresponding Naadi. So, I made an attempt at mappig the Melakarthas with their Naadis.
But, as is always the case, this beautiful concept of Naadis, originated in India, is hardly discussed in detail in Indian texts, especially those available online. But, as is always the case again, the Chinese have adopted this concept, calling the Naadis 'Meridians' and have preserved it extremely well today. This Meridian/Naadi concept is the basis for many systems such as Acupuncture, Acupressure, Kalaripayattu, MarmaKalai etc.
So, I have taken these Chinese texts, and understanding the basic correspondence between Chinese and Indian terminologies (like, Yin and Yang correspond to Rajasic and Tamasic Gunas etc.) and have mapped the Ragas and Meridians.
Thus is this table - mapping the 72 Melakarthas to the 72 Naadis, their location in the body and the pathologies arising due to imbalances therein.
The first step towards scientific holistic music healing - backed by the oldest medicine systems - Indian and Chinese.