Select Compositions
| Composition | Raga | Remarks | |
|---|---|---|---|
| Adi Vinayakam | Reetigowla | Varnam - Part of Vinayaka Vaibhavam | |
| Sami ninne | Sahana | Varnam | |
| Sarigamadana | Vasantabhairavi | Varnam | |
| Punnagai azhahil | Surati | Pada Varnam for music & dance | |
| Kuzhaloodi konjidum | Mohanam | Pada Varnam for music & dance | |
| Sada sharanam | Gowrimanohari | Krti on Vinayaka | |
| Sakaleshwara | Hamsadhvani | Krti on Vinayaka | |
| Sada nin paadame | Chakravakam | Krti with only descending note-phrases | |
| Sharavanabhava | Bilahari | Krti on Shanmukha | |
| Rasikapriya | Rasikapriya | Krti on Devi | |
| 72 Mela Ragamalika Geetam | Ragamalika | Class & Concert level - 73 ragas in 7 mts | |
| Bhasha malika krti | Ragamalika | In 5 languages - Tamil, Telugu, Sanskrit, Kannada & Hindi - Opera Ramayana | |
| Saadaramutonu | Shankarabharanam | Thematic Swarakshara krti (Every line begins with S,D - R,D - G,D - M,D etc) | |
| Sadaa dayato | Hindolam | Thematic Swarakshara krti using SD,- GD,- MD, etc and SM,- GM,- DM, etc) | |
| Sari samana | Keshavapriya | Krti - raga discovered by Ravikiran | |
| Aashai niraiveridave | Ragamalika | Folksy critique on human nature | |
| Aaraadhanai sheivaradi | Ragamalika | Feisty critique on posthumous reverence | |
| Unmai unarndor | Ragamalika | Philosophical rumination | |
| Vidhiyin vindai | Bhoopalam | On destiny | |
| Unnai naadi | Saveri | Padam for music & dance | |
| Varuvai muraha | Begada | Javali for music & dance | |
| Moha mataladi | Vasanta | Javali for music & dance | |
| Pancha raga-tala-jati tillana | Ragamalika | Pallavi, Anupallavi & 3 charanams & reversing raga-tala sequence | |
| Tarikita | Khamach | Tillana in Chaturashra Tishra style - Opera Ramayana | |
| Takajham tajham | Athana | Dwigati Tillana (Tishram & Chaturashram) in every line | |
| Tattom tattom | Kalyanavasantam | Tillana - charanam lyrics alliterate on 'va' to beat |
Read more about this topic: N. Ravikiran
Famous quotes containing the word select:
“The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.”
—Orson Welles (19151984)