This composition highlights the origin and importance of the 7 seven notes
saptaswara sahita
shabdAlankAra shareera
trpta guNa tilaka
gupta nAda swaroopa
sa – mayoorOdbhava shaDja
ri – gOpati janita riShabha
ga – mEShOdbhava gAndhAra
ma – krauncha janita madhyama
pa – kOkilOdbhava panchama
dha – ashwa janita dhaivata
ni – dwiradOdbhava niShAda
sAnidhyam dEhimE ravi shashi priya
S , R , – S R G – S , R , G , M , – S | R G MP – S , R , G , M , P , D , ||
ka ri – varada – ra ti pa ti – sa | rasijaja – ja na ka shubhada ||
S R G M P D N – S , R , G , M , P | , D , N , S , – S | R G M P D N S R ||
G , , , , , – GRSND – N , , , , | , – GRGRSND RSRSNDP – D ||
, , , , , – GRSN GRSND RS | NDRSNDP SNDPMGRSR ||
(The swara part has to be sung at the end of Anupallavi and the sahitya of the first two lines from karivarada has to be rendered at the end of the Charanam)