es 20 TAMIL CHRISTIAN Lyrics SET To \ Use IN CHURCH WoRSHIP HARMONIZED BY A.CHARLES THANJAVUR pyre se Swara-Sahitya is provided ALL RIGHTS RESERVED BOOK.I, -RS.2. * Sy Ae) a 99 Z7 OC 27_OF 77 96 27 0% SS YL_W SO WW A BO_W 80_ WS seraremexnsel use of this music or any modification thereof ‘for benefit performances, gramophone i: tecordings, films, broadcasting, etc, without permission is strictly prohibited. a Tata Ti “4 | Q- S :A Tune Book oF Carnatic Sacrep Music, Ancient & Mopern FOR A SELECTION OF TWENTY TAMIL CuRistiAN Lyrics A. CHARLES — THANJAVUR.PREFACE Mr. A, Charles is “well-known in the music-citcles of Tanjore and Trichy—in Tanjore asa popular music master and a former organist of St. Petet’s Church and at Trichy as one of the judges at the music competitions held under the auspices of the Christian Endeavour Society. He is well- versed both in the Western and Karnatic Schools of Music. During the past two decades he has been successfully training students in piano and violin for the examinations conducted by the Trinity College of Music, London. His pupils are found all over the State and some of them are organists in theit Churches. He was a member of the St. Peter’s Musical Association, Tanjore and can teach and play several standard instruments. He has devoted his whole life to music at all levels from mending musical instruments to composing original pieces in Karnatic Music, He has a great concern for puri fying the Indian melodies used in our worship and so he studied Kamatic Music under late Sti T, S. Venkatachalan Pillai, A, I. R. Artiste, Trichy, for three years. Some of his _ works have been successfully rendered in Churches and on concert platforms with orchestral accompaniment, ‘ T heartily welcome his venture in bringing out his first 20 lyrics, in the tradition of late Dr, A. J. Pandian who pioneered the idea of harmonizing pure Karnatic melodies. We hope that Me, A Charles.will bring out many more volumes of this type and that at a future date, the Church of South India may edit a lycic music book, with each lyric having several alter. native tunes contributed by different composers, (Sd.) Gift Siromoney, M. A., Lecturer in Mathematics, Madcas Christian College. TAMBARAM, 24—5—1963. }The Church of South India remains committed to the Indianization of Church worship in theory on the ground of its being « directive principle of the ‘Basis of Union.” It is now generally accepted that the Tamil Church utilizing all that is of spiritual value in the culiural heritage of the South should Indianize the form of worship and that asa first step towards realizing this objective Christians must lear to sing their faith to true Carnatic music. So far the Church, probably because of its selfcomplacent attitude, has not given any definite lead or practical guidance as to how our Eastern culture can be best dedicated to our Lord and ‘Christ of the Indian Road’, In the absence of such guidance attempts by individuals all along have proved to be anything but satisfactory, If music were to be an aid to worship it must be of the most exalted order. If it should be of spiritual benefit, it must be devotional and deeply inspiring enough to elevate the soul of man instead of providing a superficial appeal to our senses, Nowadays the incbriating influence of cheap music popularized via the mike and the tadio has gone so far as to emphasize a falee sense of values in music. Tn consequence secular tunes or for thar matter even fills hits, masquerading under the cloak of sacted music, have already begun to invade the sacred precinets of our Chuech to the spiritual demorali. zation and distraction of devout worshippers, This is deplo- rable indeed. Obviously there is much to be desited to OO AUTHOR'S FOREWORD. raise the standard of Iyric musie and to reorientate the singing as well, I feel that the need for a music book, satisfying the tequirements of the present day, is now greater than ever before. It should be in the form of a standardized tune book both in Western and Tamil notation —similar to Hymns A and M—which may, in due course, be universally adopted. My humble effort is to make a beginning along that line As regards theuse of harmony in lysic-playing opinions differ. A majority of Churches in urban areas ate passion - ately devoted to singing lyrics to harmonic accompaniment from time immemorial and they strongly favour its retention. There is another current opinion which is diametrically opposed to the above one, According to it the Indian ragas should not be harmonized at all. Ido concur with it not without certain reservations. But considering the unfavour- able conditions obtaining in our Jamil Church today, I fear, not very many Churches, entrenched firmly as they ate in Western musical culture, would readily subscribe to the idea of doing away with harmony altogether, Nevertheless it is commendable to note that a few Churches have already dis. carded harmony and have made a good beginning by switching over to rendering lyrics in the true Carnatic style employing Indien musical instruments as accompaniments. There is yet another opinion whose protagonists would aver that the existing traditional melodies, however mutilated BS. eeor westernized they may be, are good enough for Chutch worship and so should not be altered or changed but preser- ved as they are. This conservative view is hardly tenable in these days of cultural improvements which are rapidly chang. ing the face of the South, Itis futile and meaningless to nurture hidebound Music is never static, but always dynamic traditional sentiments without facing realities. so-called traditional lyric melodies, having been handed down Because the to us through impromptu harmonization and having taken in their stride as many modifications as possible, have now lost almost all vestiges of Indian character. As such it is only meet and proper that these melodies are restored to their chaste classical form to suit the changing times. However, in preparing this music book, I have tried to work out a. compromise accommodating all the different shades of opinion to the extent possible, mainly to eschew parochiae lism and to foster emotional and spiritual integeation in the best interests of the Church. The present book contains harmonized versions of twenty lyrics covering roughly all the seasons of the Christian year, The ragas being purely Camatic in content and character, the Christian publi , brought up mainly in Western musical culture, can have the benefit of being initiated into the Indian art for their better appreciation through the medium of staff notation, So under the existing conditions harmony, asa means to an end, may be retained until the time when Carntic amusic in all its entirety takes its rightful place in the Tamil Church worship, That apart, there are eminent Indian musicians who are now coming round to be ‘convinced that while retaining the basic character and maintaining the freedom of movement of the classical ragas, one can entich the Indian art, through the vehicle of harmony.’ Since an Indian raga has been highly developed on melodie lines, ir must be free to express itself in all its subtle characteristics untrammelled by other considerations Necessarily one must strike outa new path to find new ideas of harmonization instead of falling back upon the conventional method of adopting extended or close har- mony unless it is for a specific purpose in exceptional caces. For harmony, which is much too highly spiced, is unsavoury toan Indien palate, Iam of opinion that an independent separate harmonic accompaniment is always preferable to achieve the above objective, Here again the conventional method of vamping a raga in the manner of Fox-trot or Waltz should be avoided. Either the phrases of a raga in imitation or simple rhythmic figures in melodie patterns shall be worked into the accompaniment to give it an Indian flavour. (Vide Nos. 3,6, 7, 12 and 20). The various methods current in our Churches and which have been referred to above are exemplified in the pieces included in this booklet, They are meant to be studied critically by the discerning musicians, For our part the process of synthesis ot two musical cultures is still in the crucible, Perhaps future masicians, proficient in ‘, both the systems of music, may explore the possibility of weav- ing 2 new type of raga-harmony —using contrapuntal devices —which may be of vital interest to the Church, Swara-Sahityas of all che numbers together with the scales of ragas and falas ate provided for those Churches which have discarded harmony and for those who desire to do sor The ragas are in simple bhajan type suitable for con- gregational singing. Care has been taken to prepare and present Tamil notation to facilitate easy sight-reading. Those existing traditional tunes which still retain some characteristics of particular ragas, have now been restored to their original purity and pr istine form merely by correcting faulty notes and pheases here and there, The minor changes effected may be also due to the incorporation of slight variations:now in vogue in some of the Churches, These old tunes now deserve to be preser. ved for their intrinsic worth and popularity in their restored form, Where it was found necessary, appropriate ragas have been substituted for the traditional melodies bifitting the lofty impost of the songs. In certain cases the new ragas broadly resemble the melodic progression of the old ones. The old pattern of syllabification is kept intact, For evangelical pur. poses these ragas can best serve asan effective medium of singing our Gospel thessages into the hearts of non-christians, As concert oF solo pieces the new ragas lend themselves to elaboration with appropriate variations (sangatis) and with suitable fills (niravals) and frills. Ie is a pity that we still see callous indifference to music io the education of our children. It is time that Church Schools introduced the teaching of Carnatic music which in the long run will pave the way for the change-over. Theological institutions will help the cause of Church musicl by imparting elementary knowledge of Carnatic music so that the trained pastors as discerning connoisseurs shall be the Future guides and custodians of sacted music in the Church, Thus without sacrificing my chief aim, I haye endea- voured to accommodate the strong sentiments reflected in the different opinions by tempering them with catholicity of out- look and by trying to meet the contemporary needs. How far Thave succeeded in my attempt to help implement the India- nization of Church worship, only the future can hold the verdict 1 wish to acknowledge.with gratitude all the help ren= dered by musiclovers, organists and musicians, Their sug- gestions and advice have indeed been invaluable in my arduous task. My sincere thanks are due to all those who, after going through this book, have graciously given their opinions, Finally, I desire to pay my tribute to Mr, A, Paul, B,A,L.T., (Rid. Hd, Master and present Correspondent of Blake High School, Thanjavur.) himself a modest musician and an ardent but silent supporter of Indianization of Tamil Church worship} for his abiding interest evinced in my Ss ee , eeelabours to study Tamil lyric music for quite a number of years and without whose sympathy and encouregement, this music book could not have seen the light of day. If this work proves successful in its mission then I shall feel gratified to have contributed my mite to the promotion of the cause of Church music, and to the singing of the Glory of God “with heart and soul and voice’*. Thanjavur. jay ene H Charles.The Indian Church in Tamil Nad owes a great deal to Mr. A. Chatles, who bailing from Thanjavur, the home of Carnatic music, has evolved a nicely-balanced blend of Car- natie melody and Western harmony, at the same time, not departing entirely from but giving the much-needed shaping to the traditional Church Kirtans. Nurtured in the great ttaditions of Thanjavur sacred music of the last three ot four decades and backed by deep knowledge of Western and Carnatic systems of music, Mr. Charles has preserved in the 20 selected pieces of his Booklet the lyrical character of Care natic music, with slight modifications here and there to suit congregational singing, taking particular care not to hutt the As accompaniment to the melodies he He has “ Traditionalists”. has provided a parallel setting of harmonized music also taken great cate to see that in the process of harmoniza- tion the elements of the rhythmic aligament of Catnatic music is preserved. Furthermore, alongside of the harmonized version he has given the melodies in Tamil musical notation for the benefit of such Tamil musicians as do not take kindly to harmonization. 6 FOREWORD Little do we realize thatwe are called to ‘‘witness through worship.'* If native songs are banned or made light of, wha- impact do we hope to make on the average non christian “lays man”? For this reason, we pastors and Church-leaders would do well to popularize such Christian lyrics among our congre- gations by teaching and making more use of these in Church worship; and people in charge of institutions, which have to be real nurseries of religion, can very well put into young minds a love of such songs Christian Bhakthi in Tamil Nad will be sicher by far, thanks to the labours of musi enthusiasts like Mr. Charles. Music is the Lingua Franca of the Soul, which lifts man up- ward in his quest for God and gets him attuned to the heavenlies, where native songs of every age and clime blend into Heaven's harmony for His Greater Glory. Rev. S. Christadoss, B.A.,L-T-, Principal, St. Paul’s High School, Vepery, & Chaplain, St. George’s School, Kilpauk. MADRAS-7, 8—7— 1963. }Payms. Matpsoré QatSyord0 um mbyperu Byledus acrwkraous ob. 85-1 FGSi spond UstomkeL Cain an qiad Qoepatwr Qorvyisr usH use sgawoorw BHsArs5n5 IO pHO6AGise uot. pb Zsarey Qu sigsaller asrors proms, Bovsorcdcir Qe orensr seis rege scr om giaaller apo orciour py Apiurs HPS 5UCur pHs Li A porw uso aiGsAeyi TaN Hrd uraGKe oy AGard. gstaren ship prc hd seme stsns. Cusoruah srovMhuri, wryyr Cagerush IarBr, AHO pee (uelorwmGertn) Agen Gort wsBu whgyb uv usgsrasr LF jx 200 ar Quads M@s@prani_cpGysrorciscr. gaGer BOG sHuUTi 48% Hpmaoler Qmsou poo wry WD Uden 1 Denyier Hi ur Oso a 655%6 olmuwrs Sd sour Hse Fiat swrsqypHGsow. ULLerdealed e.cror semuurt pb sri pre Os SOs Qos gfob sriirg, sip ur_wdster QaDH Sem FUCuTH essMir1e gujid, ux Gers guy grein Le Bouriad CoQ ugspluyGzICpsir. Os Osu Gmpsbr aut Mwy. Y. gard usiry st Murase “sw enHi s eras” cern ojflw Gene green YUb POSS een FHUGED GES. Giogyd Beoridoer Qee Qvsser grub ueiry st suiacr sud g 20 81G YMSEGIUSHsrs ewiflmes «oi send glu AN KO GME RG EG cer Hib smwiuciy@qs@yiarr. 8s Hgv~EMDG SS QopupiurdOs ehh wb wary SG. a. eriosy gatas: «Os gSOarery Geo Quphmw grer ups AyLsr up GapAS mer. Qartscr Gn@Os sik 558g, sto st oS rehab o Ss CaisAymL_uot welt. pos Gros Li 5 p2areafe AoapHpG e5a sie se rrawster crow perused JOOS YM AUSHSS Coy’ Q Qwor ar wetorars Ho ass 58 OurgGsSOGtuy Curans sop ag). prer maser urimmIi Fo o om uur te sredCoorwBd Csi ig sito ad eis Yopiuy pi Si 55 %retar QirAorGurG uriém yw srs Qs lng, Gumi ge sH85 YODYO Co@lLaGe 5d 5G Qwemu ADs H@sucrar DSi 75 THT WIGEGD. oa Qyeir aig Surcigyrar ciors Aoironusers, ADs QugLéscr WAG Lor Yoss Qiper gro vid Qos Psars opi Ast pod guitar Berend craw eros Lif 2x 45 QaCurcry Qorsrmoss agar greta Brew - Lusreotu Borst Beir Gm sir. Qne ROT shor LH. 9. sriasd qautsmHsq TeAAwyerpsvan chor padre HGaf Over Cug1d PAI Giumious Qeiw AGeu Oeiursrs. AIR > ‘om Sp Woyema? See? orton Gg. Ge. wfluremisib, Peo, aie. wo—b— "63, (PPou ofl Souwesr.8 OPINIONS, It is a matter for appreciation that Me. A. Chatles of Thanjavur, a musician of versatile talents, following in the footsteps of my illustrious father, late Dr. A, Jothipandian A.R.P.S — a pioneer in successfully experimenting on his original idea of adopting Western harmony to provide a tich background to Carnatic classical melodies — should come out to publish selections ftom Tami! Christian lyrics in harmonized versions, the ragas of which are in true Camatic form, for use in Tamil Church worship. Me, A, Charles was closely associated with my late father during the early days when the idea of hatmonization of classical Carnatic music was first conceived, He has assisted my late father in his efforts in the field of music, If there is fone person now in Thanjavur talented and experienced enough to carry on this work from where my father left, it is only Mr. A. Charles. T wish God’s abundant blessings on this work of a life. time. ‘fetie Uae’, i Dr. J. A. Muthiah, «82,5, 1.0, ‘Thanjavur, é Government Ophthalmic Hospital and July, 1963. It is good that Mr. A. Charles has set to music both in Western and Carnatic notation, a few Tamil Christian lyrics and has also harmonized them. The harmony is pleasing, differing from the conventional chordal hymn style and is in free extended form, The accompaniment is light and appeal- ing, The rhythmic interest in it provides a far more appro- priate background for a correct rendition of the ragas. The reiteration of melodic figures in anon style in the different parts is interesting. ' In the early years of this century, my gtandfather late Mr, A. G. Pichaimuthu, BA. iT, Headmaster of St Peter’s High School, Tanjote who was organist at St Peter’s Church, Tanjore and who was an eminent musician, was among the first of those who attempted to harmonize tradi tional Christian lyrics. Several lyrics that were set to music by him are still sung in our Churches. Unfortunately very few of his manuscripts have been preserved, And now Mr. A Charles also of Thanjavur has come-forward with his first book of harmonized lyrics. This leads one to believe that Thanjavur is a potential producer of talented musicians. The author is to be commended for using his talents and time in producing this very interesting and useful book for the benefit of the Church of South India thereby glorifying God’s Name in ‘singing and making melody.’ Puthur, Trichy, Pusbus THdy. } Mire. J. Noble, 1.7.0.0 30 8 6.7.OPINION. Tenjoyed going through the ‘20 Tamil Chtistian Lyrics”, set and arranged by Mr, A Charles of Tanjore, Mr. Charles has harmonized these lyrics for use in church services, He has not, therefore, used any elaborate or con- ventional methods of harmonization; nor has he used the modern technique, The ragas chosen need light, simple treat- ment, aad Mr, Charles has kept them, as far as possible, in their pure, simple original form, providing varied light and interest. ing accompaniments. No, 3 has been provided with a delight- ful accompaniment, imitating the simple strokes of the mruthangam, Itwas Mr, Charles, who taught me the rudiments of music at Tanjore some 30 years ago. He also taught me to play the violin, the viola and the mandolin. Mr Charles has devoted all his time and energy for the cause of music these many years, despite his ill-health. He has now rightly turned his attention to Church Music. He needs our support and encouragement; and above all our prayers. George Harris, B.A., Music Director, ‘The Minstrels’ Madras. Madras—12. 38, Cooks Road, roth July, 1963. { i 2 3. 4, a GENERAL DIRECTIONS. The most important fact to be borne in mind is that the ragas whether given in staff or Tamil notation, should bbe rendered in true Carnatic style with all the essen. tial characteristics, If necessary the organist or the Choir Conductor shall get the services of a competent musician to demonstrate as to how the ragas should be properly sung, Otherwise the uninitiated organist will commit the same old mistake of picking the tune from the staff notation and teaching it in the Western bys style, ‘The instrumental introduction to the lyric shall be the whole music in the case of a short one or Pallavi alone in a lengthy one. Four or eight bars as the case may be in Anu-pallavé and similarly in Saranam shall be played as interludes before the voices join in, Keep the organ soft and well subdued against the voices except where instrumental passages occur when it can be played in contrasting forte. To familiarize the new ragas or the changes in the old ones the congregation shall have the opportunity of hearing quite often, a lytic or two rendered by awell- trained choir as special songs or the music played as instrumental in lieu of voluntaries,3. Since the notes of an Indian raga cannot be adequately represented for cortect rendition on a key-board ins- trument tuned to equal temperament it is only fitting that an Indian violin, veena ot flute takes the raga accompanied by piano (an ideal percussion instrument) or organ together with mruthangam and of course the indispensable Bhajan cymbals Whether there is accompaniment ot not the use of Ehajan cymbals should be always encouraged. The tempo is governed by the navute of the theme in a But it is always better to fix it around mode Asis the custom a little too heavy lyrics rately fast time, use of more than one set of cymbals is recommended to maintain steady beats. The Choir must be carefully trained to sing those lyrics which begin on an off beat to avoid drag on the tempo. The signs (,) of (;) are not rest signs but they indicate that the voice is to be sustained for the duration of the signs, The same applies to the rest signs used in the staff notation. An acciaceatiira or ctushed note is essentially a short glide while the symbol /ot \ indicates a (porta- mento) broad upward or downward glide respectively. 10 to, The vole of mruthangam shall be simple and un- ostentatious, Some of the harmonic accompaniments being pianistic, the shythm suggested by them must be the basis for the simple mru¢hangam strokes. rr, It is needless to point out that the harmonized versions are not meant for pact-singing x2, One must not rest content with things as they are. There is great scope for improvement if the Church Choizs are eeorganized and regular practices are conducted to ensure that the lyrics are rendered in sucha way as net todo tiolence to the subtle nuances of the Carnatic ragas. (Gee also footnotes.) * x Te ail AIL ondavor. Singstaran ae | ere Pees Seria Music | Swara No. io, | page | page wjsru Sr prent 251 sure | Ber erty 9 30 at <9] sjbup 2 buT 35 » (Gp@ub) | aA srord --4 15 42 43 gpanmedr yap Gorse 3 Or aoe a ee 8 18 19 . ayiow wengGure yim aay “a16 psi scourenh Der eniny «| 18 48 49 adster Decr over ure mr see porurdl co] pO gram | 10 32 38 qariftut aWCrry msmsiee 208 | Oo. dure # rr a7 | 46 47 gia, pror Qa 340 Saat wl re 8 28 29 rea Goran fur pwososreb 5 emerrur omnis a et % i) 28 aT | 83 Par ay v| 20 52 53 | Fi capt saes Ouemisore poor’ waysir ar Al a) 294 | eousad gush af a | 16 17 preaGo vA sradsgicer 2 bBuw . ! 309 Curse wl Ber erty | 1 40 aL Afapse AgursenGar, eromm i 2 emer rucenb sl gD pron ...] 19 50. 51 BP sudu usw oir | st | eete wl @use 6 | 2 | 25 Gor pArb QeiiGauGer, pester 35 | ured aif as 20 aL Per urgia gto good | 190 | srbGurs wf Bap em tny _5 | 22 23 urgs 5A wer So te a8 - 8 prom 1 | 14 15 un gacir croir sfitor Si, gue va) 154 gon pour A a iW 84 a5 ura GuraGie Fars fou wo) 185 Qeerore gusb | 1g | 38 39 gerghash iss peri 388 obs sO eros wa] Qe promis «| 16 AA 45 Aare sore 5 horer Sem pesuin sir... 226 usec 12 a6 37 ee eeeoe ‘Singing to yourselves in psalms “singing and making melody in. Eph. 5.: penne ¥ : a. _ Al Selection of Twenty Tamil Christian Lyrics Set to Carnatic Ragas Ancient & Modern. DEDICATED Ta THE REVERED mieMORY OF Late, Dr. A. Jothi Pandian, a.x?.s., KARUNANITHI MEDICAL HALL, THANJAVUR.14 1 uma } 515) worGio (18) eriGurg Qs gratin Cudwal) un - os aoe wa-Co us ce ee « Ba re A= Hi - a-8ns Conde -G nr ~ o - 9eye 15 1 umes gig warGw (18) arnGurs Bue c eB suse a8 tsb } weur sr — cor, Bu ge dir i 3 us - Urns 3 — BD .. war Sepa st tls 7 up ur er—ad ar 3 ina leur 3 3 5 urns — 8B Ber | ew Isms oad 308 sr un ur wr un ge sor 5 eur ave toe 6 —ar. o w gro. a ou 3 4) coe our — fav Bs ur or | oO gr un Go. Ge —u .. #§ we |. ar AE w ayomip 8 (or on — on wor oe wor Lue ur eis wf 6 s we |osran . © > oT gr gr — sr su 8 oe [ur eo wn on Gudea Gra. use | ge. se . ane a .tor& Qarein . gu ar | or | eosin ton er ao ur wr wisous Os (aig Bub ) ur ga ur @) pe 3; oun ue os Ba (21945 Orang afar 9. u, Guré urcad. ) Be | I org.; * 16 2 SHomb #16 HT (294) aus af hUGId (Ugg Zor grant) + dtu, Sdr-y-. aga & - Bo Pou- UOMO. . 5-Gomd Ras: Bdrm +2 shes w H- GSI ® is rareed? PoP FP ie = + Op agin U8 = we adr - ah - 50, Ou: - Usp ed + or - gal Bo Grom mas giant +4 en @ o-CHe-w-> B Fine.| Interlude beta nh Verses. * Substitute the small-note chord for the first beat on repeating pallavi.17 2 SGorb rgicr srl sre (294) enya Busia (uentar pron) hax 43 eyeaseuee Y 144 wesuwceil a ude pr @ — oor ava ge un Jus ur — ur wo oo abe —? «ur srl 5 G&G — ond F ge jar —A e . oly. gr —a# @ . B) ur; — 3 un ue ior for or — ue & 3 ge [ur 3 —3 flawugu Gu _ Ba ow € & —w b ® | Cu =. (argBub) || sqenrd eyonrib Bei Fes eee E 2 mee —2 ¢ ¢ 5 Boe —P wd srur lu wur — gr é 3 ge G tory. o w us pe. u le. = & «er. of 2 some ee — 3 Ue os 5 ue ur — gr it 3 ge lure 3 — 3 wugddri on — . Goi. u. gp —wee. o lor. — . (anpBud) ois — dor wi se ur 0s or —ur unser flo @ we — PF so ur ge 6.G-—-obr. . ga ler, 2 —A of . ola .ger—a@m. . B ur 3 — 3 ur ur wr eran ur #3 selur; — sass Gu. =. Bo w Sen!) 9 | Gu 5 i) ae | 2 = : 1 24 (eréGua—!wugd dvi dest coe [8 pu —wad—awu—wug )| eye 2,18 3 Qpauomssoir Hyp Gost (3) Lge BUN om Yoh Cor-gry aes) 6 Bm --+- = __——" In| sau. HOHRA Bach line can be taken by a solo voice and repeated in chorus excepting the last, Goes well with simple sttokes of atrutiangam,19 3 Bswwmser ya Cugm (3) ) Ose x Gt Bhd sronid sovila wus (a) 345 122 149 2 guvat we sug ou I our pe oe ft <3 ae ar scler , oe , oe [or 3 wr se | ig 6 wi. eer yy splGe. sr, » | Gur, » Cur | er fo se wr 3 ar ur urlor , o , f |* we t oor | . ar. © g@—. 6 6 @ lor . gr. w Cur 2. Gur or sat f —3 ft ¢ Jur , oe , ae [awe ff oe wo: wes =. gtr Get lus. ae. ome eae 3 oo i? con eee [oe 3 9; 4 ae | wo. =e... fur . . IC enéfua ) (Ge weir y alate pal sOsroet uryudeér urist Carey P@wUL wer opid. prersrog afew Doturs: rdGar Gb Geis) uri oj.) (Pr EA RESO... BGur? Gw1G.4 muy Gusto (ugg2er srer) tude, Cah - 93 Op -cu = Car He 6 Fw le Cor PH Oe Ca - Con Pitts uk D4 whee Gb uth -3b w - wh ones ee D- 4 - te ye Card-B- 6 - ade gd re Do. | al j A corrected version of old tune Other suitable lytics—(Thanjavur Lyric Bk. 178) C, L, S. Lyric Bk. 242 & 263 The alternative suggestion in small notes may be preferred.21 4 CsrsSrb GsisiGaGor, meat (85) soupel ehURD aos GUY 2-019 Sisscou p snows, Lede 0 ae —or ulus —#@ gel ur — 3 wr fer it ar Garé —B 1d | Gat —Co Gr = . otf se == ars 7 —se or lum —er f lor — 3 3 | oe ie ove Garg—B sh | Ges —Ga. | Gar — ( argBund ) Amuro tom con un Alencar Filia =e linen erste era » urs —9 9 lors —« go |urg —7o « | Gtr —wogs (er) wr ur we | & A Save ove Garg —8 7 | tr . —om pdb Cs ieee far. Wb 5 0 —i sor unite —B wu eso =U + gt U. Tbp Gog Fi Ss%rscri— ‘@iGb qu wgGrw’ (seme Li 52. 178) ‘gp! Qa sreowdGon’ 242; ‘Quradog Cot sHOmacir’ 263, Carrug, srrrue' G0@ )22 Bor urd gies —ssveva60 (190) Bes erty A _ Sond, Cu: - 0G, Gan- stm Bd tw ~ Me - w ve eae ' ] PE bess UT eke cig un ai Cups, -!a)- uy 7 ar i + = = 4 zi Toul I eenfor final close on coere cprttemad Sealer HE YT (he5 lor umsid gir severe (190) aritGure Fara G SLY fog Fi sstovdh arene, Lidsad usr —sile oo vl dor —8 & us uU gr— ov DB gU mar —ur gh. | gtor —9 dard || Ga .—OG. a . our ,—f our of — up's Alou ,— 3 5 os .—-w wu yw —Gur aC ae ABQiudoa wer un gr | cour — if an |=" — 4a ir oa —ur ab |Gurs—@ Gu Taq amu y uv ge — 7? oor & ge — er un u gee BU ag, —son |o . —er o a 2 be el war gitosr flaw On Au ag és erin sift — Qa —ugws Ber snug oer —udgu 48 — suse — mand = wu pr — 3F or Bar24 6 SID SuGu yy osri_sv (81) Mruthangam shall imitate the simple shythm in the accomp, as well as the ‘mhora’ at the end, Alternative lyric, 128,25 ey onrip gor —8 pels pr—puse| gp cor— & sly ur —ur uF 1 3+ —8 wiel gp —Gésr| Gg .— 8 wu yg —» @} sesir— 2 gt. —B8 si llavega—ot uw | s @4 —Osdr pl se — ergy! eoso— a Ga. —s6 wlyge —8.mp| Cop — fe «lore —D Ba | Caps— bu —grus |e on—ar wr ur , — 3 5s ugu —s8su 1 ws ow —prs ford —F pol ee, — . ~. YC omsGud )} gra— a2 6+ —-G.: Ae —@ ps| BF ,—-- ” Gaigto nun pn er eeameeneL | dor, — 5 5 ap—Osup 3 Gas —B. ~ Vg yo —@.ps] ge .—.- |( orsoua ) (ab pb Qren@ afetr 9. u. Gurp ured. ) * pLUry. Qerdgyfriwe’ Guim sepstw si 6 SA smiAw usw (81) wot. Sus wars GS -ag Bi setup anes. ; bide ; 6 ae [Ae oor 38 ¢ur|; 00-8 arurur| it orm ur 5s 3 5 eG—ss. @u ur wer... |. sd—Ge. ew |e. — uw. . 5 wu £3 cur it | oor coe oof 6 or ur | 3 wio— ue 3 urug|usuuo— ft 3 sui. « o |S G mee Up wl]. x e—Ger.uer. | Cm... . . icine vo deel eRe ers or, | —(ersBub. . ) (Gsarri: G65 QueurGar— QuiO) chp Gag Sipstr—‘Aaanhdier ar 80 ur! 128,y 2% 7 Fo Caran Sur Biwoewsagu (5) FRIST LIF Tw . QP sronib ANTRO Ving 2B Flute an Fa mf ‘Celle ise with Id Va.or Veena ot : es SS ppripe en lpnce BOF, B16, 2-Wiand, ss 6-a-gd U-ms-§ BS 80,S-10, e- Wham, F>8-O-gd U-ms-s "Dstt Fine Then DSt $ > Take the variations in small notes on repeating first two lines: Variation in the 3rd line optional, Introduction from D. S. (I) shall be played as Interlude between verses, a | *at 7 eGo Corangur mosvams (5) emayruyenr tb Qbh proris sare GBiY 19-% Rebate 0 arene, acixeniscr. qpararenh air Busts ov ho don hod —ofsinur 5 wn suwef «it vein died —suougs bd ow gru5 5 meh oe 5 swvUbEeT we un; uwgsu | 1 or ou oo 6 our an of of ou er wr un ge |r ¢ @ © Boner . @ uF tov ae » (eins Bub) | (er of) Kou pr our we mur ur ar our or; wad * 6 @ 96% —9 . « Gor ed ae a . (arsBurr)| 2 oe 2 or Fool » mp PF 7 wr oun opr furs | *# @ 1 Gorse . . Bur |e we a . | re. (ars Gud) toerur our ur —gr @ cur 3 oor of our & [gr of our 2 vwoswur ur ge sui our 5 cot 28 cor & luk sh on ; peor 6 1 —2 Wh ame . 1. 8-2 Obhiu.mss . | (arf) or pe ue we ur oun on & |= pet 3 [ow 3 3 of suru gp —Wee , Ga . m wu ar . [od . 5 « It 8-ag afd 2-wg sas Sou sli sgbur_ord. | Qixarsos sivafsmsdiorGu argSunra arhéacrh. 355 1OUIG uyse reeeawridGrer-28 8 Pilon] Breit Bas (340) Crap Qb8 srarib UGWAI. TF gur- gy -w1dr DH *D wew-Co Ce ~ x oftin 2 a ous dium - 2g Qed ow se Ci, 9 = = ——— Bracketed bars in A Ps may be omitted if found too high to be sung, S = P+4A.P. Alternative lyrics : 186 & 317. May be converted into %, time by leaving out the initial quaver in each bar, Note the broad similarity in melodic progression to that of the old one,29 giley eret Big (340) ir ued (8) idee’ ur 3 gt — ur or wr ar| , f wr or pi. o —orer , @ g | . » w Co , fo f wo —ur tf wo or | 5 & & & 2 or ous —Bur ag Qe | . « wo or AsmudsaA if 3 cor =P 3 cur 5 PR ube ae .Go. uw = ge. ms wi Ge. wie é 3 dor 5 Bieta... Oh Bhs B6-U cdiinan.-« en eee ae oy Fam ee. | f — DS. 7 7 Alternative lytic — Thanjavur Lytic Bk, 76,31 9 ginGu Apsrerb (251) siren Bee sry ee av Ogu was si ow (a) ude or, Sor oue be Bier die. = 5 4 teh Loge s 1. wer. —Gu G5 —pn ab. — 2% tee) —2 tr. > | | aie i : ae) Gog oar | eyomrib x ¢ =gn oe \~ @ —cor “|? ge = oii |; gn —ur re & 7. art ug —w wb | - & —eg , oo iw ar ow | ate as ue | ° up —w sos. —me . oo ior es oe ae ac |* a ig

ov er flew ur .@ ¢ oh —6s 89 $Genmy [ur . 3 5 (até Bub ) Jurgsadr- M1 09% unr , uurun ug um ee dor | cur , co anf | oor @ cor our 8 . sap 9 —Go A pe gf | Coo. 2 wo 5 lol mod. O 2 un, ue es — 6 gr 6 wip or, wun trier ff sr uF Bs sos GH —4e Gok gs. ye. ofw Carla « C5 wr || ursecr— spot =u. + gy, u. sor oms Der enti sro sD e105 51 Ure Gag Li pptmad—(GpaGer preir 2 wailed 198. ‘pa9Carcr 2 orsqenu’ 200. ADA THUGS Uyss 9 fs reyrsvriesgs.