Ramacandrena Samraksitoham Sita

Lyrics

Notation

From Shivkumar Kalyanaraman (shivkumar.org)

Pallavi:
rAmacandrENa samrakSitOham sItA

Anupallavi:
ramA bhAratI gaurI ramaNa svarUpENa

Charanam:
kAmakOTi sundarENa kamanIya kandarENa kOmaLa ghanashyAmEna kOdaNDarAmENa
mAmaka hrdaya sthitEna mAruti gItAmrtEna mAnjI ramaNi maNDita mad guruguha mAnitEna

Meaning: (Approximate – please report errors):
P: I am protected (“samrakSitOham”) by Shriramachandra, and Sita

A: He is the supreme lord who takes the form (“svarUpENa”) of Brahma, Vishnu and Shiva Lords of
(“ramaNa”) Bharathi, Rama and Gauri.

C: (I am protected by ) The one who is equal to ten crore cupids (“kAma-kOTi”) in beauty
(“sundarENa”), the one who has a lovely (“kamanIya”) neck (“kandarENa”). The one who has the
delicate (“kOmaLa”) hue of a cloud (“ghanashyAmEna”). The one who wields the bow of Kodanda
(“kOdaNDarAmENa”). The one that resides (“sthitEna”) in my (“mAmaka”) heart (“hrdaya”). The one
who is the object of Hanuman's (“mAruti”) ambrosial music (“gIta-amrtEna”). the one who is
respected (“mAnitEna”) by my (“mad”) Guru Guha (“guruguha”) who is adorned (“maNDita”) with
anklets with many gems (“mAnjI ramaNi” – also a reference to the mAnjI raga of the composition).

Pallavi:
rAmacandrENa samrakSitOham sItA

P: I am protected (“samrakSitOham”) by Shriramachandra, and Sita

R;   R–R ;;       || gmP     M- P     ; dp    || G ; pm- gr S N    || S ;   ;;        ;;       ||
rA   ma can - -      drE--   Na sam   ---        ra- kSi- tO - -     ham    --        --

R;   R–R ;;       || gmP     M- P     ; dp    || G ; pm- gr S N    || S ;   ; rg      m-g r s ||
rA   ma can - -      drE--   Na sam   ---        ra- kSi- tO - -     ham    - sI -    - tA –

R;   R–R ;;       || gmP     M- P     dn dp    || G ; pm- dp mGr || Rgs     ; rg      m-g r s ||
rA   ma can - -      drE--   Na sam   ---         ra- kSi- tO - -   ham      - sI -    - tA –

R;   R–R ;;       || gmP     M- P     nn dp    || G ; pm- dp mGr || Rgs     ; rg      m-g r s ||
rA   ma can - -      drE--   Na sam   ---         ra- kSi- tO - -   ham      - sI -    - tA –

R;   R–R ;;       || gmP     M- P     ; dp    || G ; pm- gr S ,n   || S ;   ;;        ;;       ||
rA   ma can - -      drE--   Na sam   ---        ra- kSi- tO - -     ham    --        --

Anupallavi:
ramA bhAratI gaurI ramaNa svarUpENa

A: He is the supreme lord who takes the form (“svarUpENa”) of Brahma, Vishnu and Shiva Lords of
(“ramaNa”) Bharathi, Rama and Gauri.

SS ;S       ; S || S , n N D D P || ; ;          ;;   ;;      || ; ;    ;;       ;;        ||
ramA - bhA - ra tI - - gau- rI -    --           --   --         --     --       --

S,s ;S       ; S || S , n N D D P || sns- s ; S    ; S || S , n N D D P                    ||
ra-mA - bhA - ra tI - - gau- rI -    ra-mA - bhA - ra tI - - gau- rI -

PP    ,d – ns R-S || S , n N D D P || P P D – ns R-S || S , n N D D P ||
ra-mA - bhA - ra tI - - gau- rI - ra mA - bhA - ra tI - - gau- rI -

SN       ns P    P,d- pm || P – mg pm G g r r s ||
rama     Na -   sva- rU- - pE - - - Na Sri - -

R;     R–R ;;       || gmP      M- P     nn dp    || G ; pm- dp mGr || Rgs       ; ;       ;;       ||
rA     ma can - -      drE--    Na sam   ---         ra- kSi- tO - -   ham        --       --

SS ;S       ; S || S , n N D D P || P P   ,d – ns R-S || S , n N D D P ||
ramA - bhA - ra tI - - gau- rI -    ra-mA - bhA - ra tI - - gau- rI -

SN       ns P    P,d- pm || P – mg pm G g r r s ||
rama     Na -   sva- rU- - pE - - - Na Sri - -

R;     R–R ;;       || gmP      M- P     nn dp    || G ; pm- dp mGr || Rgs       ; rg      m-g r s ||
rA     ma can - -      drE--    Na sam   ---         ra- kSi- tO - -   ham        - sI -    - tA –

R;     R–R ;;       || gmP      M- P     ; dp    || G ; pm- gr S ,n     || S ;   ;;        ;;       ||
rA     ma can - -      drE--    Na sam   ---        ra- kSi- tO - -       ham    --        --

Charanam:
kAmakOTi sundarENa kamanIya kandarENa kOmaLa ghanashyAmEna kOdaNDarAmENa
mAmaka hrdaya sthitEna mAruti gItAmrtEna mAnjI ramaNi maNDita mad guruguha mAnitEna

(I am protected by ) The one who is equal to ten crore cupids (“kAma-kOTi”) in beauty (“sundarENa”),

G ; M – P ; M || G ;           pm – G R S || ; ;      ;;   ; ; || ; ;   ;;       ;;        ||
kA ma kO - Ti    sun           da- rE - Na   --       --   --      --   --       --

… the one who has a lovely (“kamanIya”) neck (“kandarENa”).

G ; M – P ; M || G ;           pm – G R S || , n S R ;       ; G || M ,g P M ; M           ||
kA ma kO - Ti    sun           da- rE - Na    kama nI -      - ya kan- darE - Na

G ; M – P ; pm || gmpd pm – G R S || r n S R ;               ; G || M ,g P , m ; M ||
kA ma kO - Ti     sun da- rE - Na    ka-ma nI -             - ya kan- da - rE - Na

G ; M – P ; pm || gmpd pm – G R S || r n S R ;               ; G || M ,g P pm ; M ||
kA ma kO - Ti     sun da- rE - Na    ka-ma nI -             - ya kan- da rE - Na

(note: there is a gamaka slide from P to M in latter part of the sangati)

G ; M – P ; pm || G pm mg rm g – g S || , n S R ;                    ; G || M ,g P pm ; M             ||
kA ma kO - Ti     sun da- rE - Na- kama nI -                        - ya kan- darE - Na

G ; M – P ; pm || G pm G rm g – g S || r n S                 R;     ; G || M ,g P pm ; M              ||
kA ma kO - Ti     sun da- rE - Na- kama                      nI -   - ya kan- darE - Na

The one who has the delicate (“kOmaLa”) hue of a cloud (“ghanashyAmEna”).

P ; D N S R || S , n N D D P                || ; ;      ;;     ;;    || ; ;   ;;       ;;             ||
kO maLa ghana shyA- mE- na -                   --       --     --        --   --       --

… The one who wields the bow of Kodanda (“kOdaNDarAmENa”).

P ; D N S R || S , n N D D P                || P ; D N S R || S , n N D P M                      ||
kO maLa ghana shyA- mE- na -                   kO maLa ghana shyA- mE- - na

S N S – P D P || mg ;           pm- G R S ||
kO - - da - Nda rA -            - - mE - Na

P ; D N S R || S , n N D P M                || S N S – P D P || mg ;           pm- G R S ||
kO maLa ghana shyA- mE- - na                   kO - - da - Nda rA -            - - mE - Na

The one that resides (“sthitEna”) in my (“mAmaka”) heart (“hrdaya”).
The one who is the object of Hanuman's (“mAruti”) ambrosial music (“gIta-amrtEna”).

S s s r g M g R s || ; ;          ;; ;;          ||
mAmaka hrdaya sthitEna - -        -- --

S s s r g M g R s || S s s N D g R s ||
mAmaka hrdaya sthitEna mAruti gI tA mrtEna

S s s r g pm g R s || S s s N D g R s ||
mAmaka hrdaya sthitEna mAruti gI tA mrtEna

The one who is respected (“mAnitEna”) by my (“mad”) Guru Guha (“guruguha”) who is adorned
(“maNDita”) with anklets with many gems (“mAnjI ramaNi” – also a reference to the mAnjI raga of the
composition).

S n s , r s r s n d p || M – p n d p – m g m – g r s ||
mA-njI - ramaNi maN-Dita mad guru guha mA- ni tE- na

R;    R–R ;;         || gmP     M- P      ; dp        || G ; pm- gr S ,n      || S ;   ;;             ;;       ||
rA    ma can - -        drE--   Na sam    ---            ra- kSi- tO - -        ham    --             --

S s s r g pm g R s || S s s N D g R s ||
mAmaka hrdaya sthitEna mAruti gI tA mrtEna

S n s , r s r s n d p || M – p n d p – m g m – g r s ||
mA-njI - ramaNi maN-Dita mad guru guha mA- ni tE- na

R;    R–R ;;         || gmP     M- P      nn dp        || G ; pm- dp mGr || Rgs        ; rg           m-g r s ||
rA    ma can - -        drE--   Na sam    ---             ra- kSi- tO - -   ham         - sI -         - tA –

R;    R–R ;;         || gmP     M- P      ; dp   || G ; pm- gr S ,n        || S ;   ;;       ;;        ||
rA    ma can - -        drE--   Na sam    ---       ra- kSi- tO - -          ham    --       --

================================================================
Raga Notes: (collated from the web)

Sources:
http://indiamusicinfo.com/melakartha/janya/manji.htm
A rare type of janya raga having the arohana and avarohana of a mela. Its parent raga is the 20th mela
Natabhairavi. The notes taken are Shadja, Chatusruti RI, Sadharana Ga, Sudha Ma, Sudha Dha, Chatusruti
Dha and Kaishiki Ni. An ekasvara bhashanga raga wherein the foreign notes is incorporated in the scale
itself. Even though the structure it resembles Bhairavi. It differs due to the shake of sirgha kampita gamaka
given to sadharana Ga. The bhashanga svara Chatusruti Dha, Bhairavi Janta svara, which is a main different
between the two. A and Ni are the jiva svaras. A raga that evokes bahkthi and karun rasa. Purandaradasa has
composed in a raga named Manjusha Bhairavi which closely resembles Maanji.

http://www.carnatica.net/queryinquiry.htm
What's the difference between Manji and Bhairavi? (B Sankari)

Manji seems to have been a very prominent raga earlier, with the difference between Manji and Bhairavi
being more obvious. The popular contention is that Manji originated from the folk tribes. However, there
are certain scholars who believe that Manji was just a folk version of Bhairavi. It is rather difficult to come
to a conclusion based on these beliefs.

Nevertheless, Manji today has two clear versions, as can been seen in the compositions Brovavamma of
Syama Sastri and Varugalamo of Gopalakrishna Bharati. The former is akin to Bhairavi, although scholars
believe that the scale is a straight S R2 G2 M1 P D2 N2 S - S N2 D1 P M1 G2 R2 S, where the Arohana
takes the scale of Kharaharapriya and the Avarohana takes the scale of Natabhairavi. Whereas the scale of
Bhairavi begins with a vakra prayoga (zig-zag pattern) S G R G, and retains the rest of the scale as it is. In
Brovavamma one also sees that the Dhaivata in the descent is a little more elongated than Bhairavi. The rest
of the gamakas (ornamentations) are not very distinctive though.

Varugalamo, on the other hand, is a more dramatic, emotional and folkish interpretation of Manji, probably
because it happens to be a part of the opera, Nandanar Chartitram. One cannot really fathom whether these
versions have come as a result of interpretation by musicians or whether they were in fact composed like
that. The controversy continues.

Certain scholars like Prof. S Ramanathan, Calcutta Krishnamurthy and S R Janakiraman also highlight the
scope for singing Bhairavi in different speeds. This is not found in Manji, which is predominantly used for
slow tempo (chowka kala)