Compositions of

Chitravina N Ravikiran
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Sapta swara sahita

Keeravāṇi

Ādi

This composition highlights the origin and importance of the 7 seven notes

P

saptaswara sahita
shabdAlankAra shareera

A




C

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

Swara & Sahitya

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  ||

himagiri sadana -sura   r  Shi mu| . ni  ga Na – nu | ta raghukula shikhara ||

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)