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A song book for music enthusiasts


Athishaya Vara Prasadini, by Maragatham Ramaswamy, comprises lyrics and notations of fifty uncommon Carnatic songs by 24 composers

Athishaya Vara Prasadini, by Maragatham Ramaswamy, comprises lyrics and notations of fifty uncommon Carnatic songs by 24 composers

Maragatham Ramaswamy, a musician and a long-time trainer, has compiled choose songs by 24 completely different composers, exactly notating each.

Having learnt vocal music from a bunch of veteran musicians comparable to Musiri Subramania Iyer, Ramnad Krishnan, T.M. Thyagarajan, Okay.V. Narayanaswamy and B. Rajam Iyer, and individually coaching with Thanjavur S. Kalyanaraman, it’s only pure for Maragatham Ramaswamy to have an enormous repertoire of compositions rendered within the genuine type .

Maragatham, a performing musician who moved to the U.S., established Ragamalika Music School in 1987, and have become a sought-after trainer. She has acquired the Best Teacher Award on the Cleveland Thyagaraja Festival and Sivan Arts Academy, and the Sangeetha Acharya Ratnam from Kanchi Kamakoti peetam.

In the book Athishaya Vara Prasadini, launched not too long ago by Ramapriya Arts Foundation, Maragatham Ramaswamy has chosen 50 compositions by numerous composers — from Purandaradasa and the Trinity to up to date composers comparable to Thanjavur Shankara Iyer, ‘Spencer’ R. Venugopal and N.S. Ramachandran — and has introduced the lyrics together with meticulous notations. The book additionally features a pronunciation and notation information to help customers in studying the songs transliterated into English. Keeping it easy, she has utilised decrease and higher instances to precise quick and lengthy vowels, respectively, in Tamil, Telugu, and Sanskrit.

The kritis talked about on this book, although created by well-known composers, are not often heard on live performance platforms.

The notations of one of many kritis given within the book.

Using correct symbols

The writer’s violin coaching , beneath many eminent musicians together with Trivandrum V. Harihara Iyer, M.S. Anantharaman, T.N. Krishnan and Lalgudi Jayaraman, could have served as a basis for notating the gamakas (oscillations) and anuswarams (the slide from the previous observe) utilizing correct symbols. The swaras for tukkadas are additionally supplied with notations within the book. For instance, in Muthuswami Dikshitar’s composition ‘Chandrasekaram sada bhajeham’ (Margahindolam), the phrase within the first line of the madhyamakala section ‘Asta siddhi dayakam mukundam’, adopted by a set of swaras in avarohanam (descending) sample highlights the raga lakshana.

The anuswarams distinctly notated in Harikesanallur Muthiah Bhagavatar’s Mandari raga composition, ‘Athishaya vara prasadini’, after which the book is titled, and in Mysore Vasudevachar’s ‘Hare paripahimam’ in Kedaram present the instrumentalists a flawless picture of Ni and Ga in these ragas. There can be an indication that means meaningfully dividing the sahitya.

The song and chittaswaram for Pallavi Seshaiyer’s uncommon composition ‘Entani vinnavintura’ in Urmika raga are so skilfully notated that even when one is studying the composition for the primary time, she or he could decide up the subtleties of the raga effectively.

Maragatham Ramaswamy’s altruistic work, with a ardour for sharing her data, is mirrored within the compendious presentation of every of the compositions. The book can be a helpful asset to any Carnatic music practitioner and pupil. The book (₹ 750) is accessible at Srutilaya and The Karnatic Music Book Centre, Chennai.

The author specialises in Carnatic music.



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