Murthy's Music Compositions
About Me
Favorite Links
Contact Me
Family Photo Album
My Pets
Vacation Photo Album
My Resume
New Page Title


Murthy's Latest Compositions
Click on any composition of your choice to listen to it FREE
Compositions in honor of my favorite friends, family, well wishers and family friends are here:


Satya Dhanyaasi

Satya Kaatyaayini


Berkeley ToDi Raaga

Berkeley Todi Fantasy


This space is waiting for a composition in your honor. Hurry Up. It is ALL FREE anyway.

SuvarNa KannaDa Compositions:
KarnaaTaka State of India is proudly celebrating its Golden Anniversary of reunification of all Kannada speaking districts as part of the state. Some of my Kannada friends suggested that I compose some music to commemorate this occasion.
Note: You may have heard of bengaluru (earlier called Bangalore), popular as the "Software Valley" of India. bengaluru is the capital of KarnaaTaka State. The language of the state is KannaDa. SuvarNa means Gold.
Here are the compositions:
Kannada Kogile (Kogile is the bird with a sweet singing voice)


Akka MahaadEvi



Purandara Priya Raaga Maalika

AnnaPoorna (horanaaDu is blessed with natural beauty. This place is famous for goddess: annapoorNa. My mother used to talk to us about its beauty)

Jogada Jalapaata (Jog Falls)

Kasturi Kannada (Kasturi is very fragrant. KannaDa language is known to be fragrant and sweet.)

SanKeerNa Vaani

Sundara Kannada  (Means beautiful KannaDa)

Golden Kannada

Mahishaasura Mardini

Mother Kannada


KannaDa Beauty (KannaDa girls are very charming and beautiful)

Sree Gandha (Sree Gandha is sandal wood. It is intrinsically frangrant. It is grown only in KarnaaTaka State)

Suvarna Shankari

KarnaaTaka Ranjini

Kaaveri (Kaveri is one of the famous rivers in KarnaaTaka State. There are many temples and monuments on the bank of river Kaveri)

Vidyaa Daayini

Kannada Dhvani (means the sound of KannaDa)

Shaantala Kalyaani

KannaDa Vaani (means KannaDa language. I have composed this in the sacred and eclectic raaga Saraswati) (Slow) (This raaga and composition is meant to be enjoyed in a meditative mood. It is very soothing)

KannaDa KaanaDa

Brahma Ranjini (Paced) (This starts slow and picks up speed fast)

Brahma Ranjini (Slow) (This raaga and composition is meant to be enjoyed in a meditative mood. It is very soothing)

Panchama Priya Maalika

Shudhdha Madhyama Priya Maalika

Sangeeta Priya Maalika

Naarada Priya Maalika

More Compositions

Ganesh Pravin


Indian Lotus Ecstasy

Nippon Fantasy Strings (Japanese Music using some of their traditional instruments)
Sino Elegance Strings (Chinese style music using some of their traditional instruments)

Chinese Moon Ecstasy

Murthy's Musical Experiments:
Scrambled and Swapped Swaras in a Raaga
I have been experimenting with Indian raagas for many years. I have posted below some of my musical compositions employing my techniques. I swap the swaras in a composition that are conforming to a chosen raaga in their aarOhaNa (ascending order) and avarOhaNa (descending order) flows. Sometimes, I also scramble the swaras thus disrupting their original flow. The resulting composition may either metamorphosize into another "raaga" or may sometimes maintain some of the curve and curve combination characteristics, while morphing partially.
NOTE: The names of the raagas shown below are the raagas BEFORE scrambling and swapping.
You may listen to these compositions by clicking on them:

Other recent compositions, which do not employ scrambling or swapping.are featured below:

Madhyama Kauns




Pradeepa VaaNi

Pradeepa Mohini

Pradeepa Bhairavi

Pradeepa Ranjini




Dhavala Durga

Pradeepa Durga






Murthy's Music Passion

Murthy is a musician, music director, musicologist, composer, researcher and inventor in music. His compositions have a wide range of music genres to include Indo Jazz, Western Jazz, Indian Classical, Indian Light, Indo-Western Classical Fusion, Chinese and New Age. He has also developed detailed ideas for revolutionary new musical instruments, incorporating novel features and paradigms.
You may listen to his music compositions in other music web sites also. Here are some of his music sites:

Murthy's other passions:

He is a poet and writer, actor and famous public speaker. He has also developed paradigm shifts in poetry, short story, theatre and fine arts. He has developed innovative team and player analysis, comparison, objective player selection procedures and statistical presentation for Cricket.

You may search in GOOGLE search engine with key words "KRS" and "Murthy" to see numerous references to his work, encompassing many areas.

He has developed numerous techniques and many paradigm shifts in Indian Classical Music. Some techniques and paradigm shifts apply to all traditions of music around the world.

He currently has for over 2000 compositions to his credit, all original employing his paradigms and techniques. The compositions range from 5 minutes to 50 minutes, with most of them in 10 to 15 minutes range.

The compositions are in the following Yahoo music groups:

1. RhythmicDiversity

2. DivineMusic

3. Natana

4. Naarada

5. Alaapana

6. Exoticrhythms

7. Sweet_Music

8. Naarada

9. ChineseMelody

10. GeneticMusic

11. RaagaTechno
12. 1raagafestivals
13. karnaaTakaMusic

You need to sign up and be a group member (FREE) of any one or all of the above music groups to listen to music in this group. You may send me an email so that I could sign you up.

You will be able to listen to my music compositions by choosing any one or more music group and going to 'Files'

There are many folders containing music. You need to have any one of the following media players, downloadable FREE from many websites like

1. Windows Media Player - Even though this is one of the better players, it is better for you to save the MIDI file for a particular composition on my website onto your computer and then play.

2. WinAmp

3. Apple QuickTime Player - This player seems to launch readily and quickly.

Please make sure to choose one of these player as the DEFAULT player in the selection options on your computer.

Rhythmic Diversity Paradigm in music

All of us desire and so hold discussions on the theme of diversity of religions, cultures, and schools of thoughts with colleagues and friends. I wanted to contribute a composition named Unity in Diversity to promote peace. Let us hope that some unity evolves out of diversity.

Introduction to Rhythmic Diversity:

Rhythmic Diversity is a new paradigm in music, applicable to vocal and instrumental music, and to music of all genres of the world.

Multiple rhythms coexist, complementing each other, yet maintaining their own rhythmic personalities. In other words, music with multiple rhythms are weaved together adeptly so that the different rhythmic music are expounded to 'come in and play' and 'fade out or abruptly exit' at different times. The different rhythmic musical pieces interplay with each other. In instrumental music, different instruments are used in different rhythms, where as in vocal music, different singers may sing. The music could be a mix multiple genres. They could also be classical / traditional, folk or new age genres.

The rhythms do not need to have coincident start and stop punctuations. They do not need to have any beat multiplier commonality, like the lowest common multiple (LCM) as used in some musical genre.

Dance could also be choreographed to the music of rhythmic diversity, with multiple dancers or dance groups dance synchronizing to the different interplaying musical pieces. The dance genres may be classical, folk or new age.

This Yahoo group features instrumental music composed by KRS Murthy using the paradigm of 'Rhythmic Diversity' invented and developed by him.

You may also go to my music composition website to listen to my compositions FREE. It is at:

Murthy's Business Profile

Murthy is a seasoned corporate governance expert, scientist, technologist, serial entrepreneur and serial C Level executive in Fortune 50 and many companies rated as the fastest growing in USA and the World.


Extensive Mergers and Acquisitions Expertise and Track Record: Led the M&A of few multibillion and many multimillion dollar acquisitions and deal negotiations. It includes:
Acquisition of divested business during and after the merger of Bell Atlantic and GTE to form Verizon
Acquisition of the Power Systems Business of Lucent
Business segments / units of Winstar
Value added reseller and system integration business of H-Power fuel cell company
A telecom system integration company focused on government business
An ASP (Application Service Provider) in the ISO 9000 and Quality Assurance Documentation Server company
A company specialized in Wireless Local Loop business
An independent CLEC-ILEC
Due diligence of a 125 bed hospital in Atlanta

M&A and Due Diligence

With a long track record of M&A deals and due diligence, Murthy has developed extensive methodologies and corporate evaluation techniques with a proprietary suite of valuation metrics used in due diligence. Murthy has also developed proprietary techniques for M&A sprees applicable to many industry and market segments.


Jeeva swara: raagas are characterized and distinguished from other raagas by their uniqueness while they are expounded. One of the important uniqueness is its jeeva swara. Jeeva swara is given that name, the word “jeeva” meaning “life”, because that swara defines the “soul” of the raaga. While expounding the raaga, the jeeva swara is played or sung more than all other swaras, except the aadhaara shruti shaDja or sa. In fact, the aadhaara shruti shaDja defines the frame of reference for the raaga or the complete music concert. For the shaDja to be the frame of reference, it is continuous played in the background using a drone musical instrument like the tamboora. Thus shaDja is the swara played / sung most of the time, with the jeeva swara being the only the second most dominant swara in the musical presentation. There are many ways to maintain the jeeva swara in a musical presentation. Here are some examples:


      Musical curves and curve-lets could begin or end with the jeeva swara. Example of panchama or pa as a jeeva swara: pa dha ni Sa, pa ma ga ri sa, ni dha pa, ga ma pa, ga ma pa – pa ni Sa

      Musical curves and curve-lets could be centered around the jeeva swara by to and forth. Example: ga ma pa dha pa ma pa ma ga pa dha ni – ni dha pa.

      Gamaka around the jeeva swara. Example: musical micro-tonic vibrations around the jeeva swara.

      aandOLita musical curves around jeeva swara. Example: Pendulum type vibrations around the jeeva swara.

      Ensuring that the jeeva swara is used more than other swaras statistically. If one were to literally count the number of all swaras played or sung over a given duration, the jeeva swara is the dominant or the anchor swara compared to all other swaras of the raaga, except for the aadhaara swara shaDja.


Discussion and Demonstration of mELakarta


Note: You may directly go to the list of demonstration compositions if you already know the concepts or mELakarta and jeeva swara. However, I strongly urge you to review this material to understand, clarify or reinforce your understanding of these concepts.


mELakarta raagas were defined by the famous musicologist / musician venkaTamakhi. He defined, categorized and named the 72 mELakarta raagas. You can read about it in many music text and reference books and internet.


By definition, mELakarta raagas allow all possible permutations and combinations of the different swaras, without regard to any one swara being the jeeva or anchor swara, as long as the 7 defined swaras for the mELakarta raaga only are used in singing or playing the raaga. In other words all swaras of the raaga are equally important. While expounding the raaga, one could use any one or more of the swaras ri, ga, ma, pa, dha and ni repeated more than the other swaras of the mELakarta raaga, as long as one does not eliminate any one or more of the swaras of the mELakarta for too long or completely.  In principle, one could expound the mELakarta raaga with one jeeva swara or two jeeva swaras or up to all six swaras or no jeeva swara at all. All these possible expansions are part and parcel of the mELakarta raaga. In addition, any and all possible vakra combinations are all part of the mELakarta raaga. Any janya (derivative) raaga with seven, six or five swaras taken at a time derived from the mELakarta could be using one or few jeeva swaras and / or specific some characteristic saraLa and vakra swara combinations distinguish it from other raagas specializing in other saraLa or vakra combinations chosen from the parent (janya) mELakarta raaga. Thus, a mELakarta is the parent for all the auDava, shaaDava and smapoorNa raagas derived from it with their own distinguishing musical characteristics.


Demonstration of mELakarta and jeeva swara through music compositions:


I have expounded the different mELakarta raagas in the following compositions. You may click at any composition of your choice to listgen to it.


You may note that I have used different musical timbres (pronounced as if it is “taamber”) to distinguish and separate the different parts of the composition. Here are the descriptions of the different parts of the demonstration:


  1. In the beginning part, I have demonstrated the ascending (aarOhaNa) and descending (avarOhaNa) orders of the mELakarta. I have repeated the aarOhaNa and avarOhaNa in octave 4, 5 and 6. Octave 5 is the middle octave. In Indian music, the octave is called “sthaayee”.  I have started with a very slow pace and stepped up to a faster pace. The remaining parts are shown in this faster pace.

You may note that the order is: Starts at Octave 5 ShaDja; Octave 5 Up; Octave 5 Down; Octave 4 Down; Octave 4 Up; Octave 5 Up, Octave 6 Up; Octave 6 Down – ending up back at the shaDja of Octave 5. Here Up refers to aarOhaNa and Down refers to avarOhaNa.

  1. In the second part, I have chosen panchama or pa as the jeeva swara. You may note that the musical curves and curve-lets either start or end in panchama or pa in this part. Some musical curves are centered around pa.
  2. In the third part, I have chosen madhyama or ma as the jeeva swara. You may note that the musical curves and curve-lets either start or end in madhyama or ma in this part. Some musical curves are centered around ma.
  3. In the fourth part, I have chosen gaandhaara or ga as the jeeva swara. You may note that the musical curves and curve-lets either start or end in gaandhaara or ga in this part. Some musical curves are centered around ga.
  4. In the fifth part, I have chosen rishabha or ri as the jeeva swara. You may note that the musical curves and curve-lets either start or end in rishabha or ri in this part. Some musical curves are centered around ri.
  5. In the sixth part, I have chosen dhaivata or dha as the jeeva swara. You may note that the musical curves and curve-lets either start or end in dhaivata or dha in this part. Some musical curves are centered around dha.
  6. In the seventh part, I have chosen nishaadha or ni as the jeeva swara. You may note that the musical curves and curve-lets either start or end in nishaadha or ni in this part. Some musical curves are centered around ni.
  7. In parts eight through twelve, I have repeated parts 2 through 7 in a higher taaLa or pace.
  8. Finally, I have repeated the aarOhaNa and avarOhaNa sequences starting with the fastest pace, reducing it to the lower and the lowest paces.









keera vaaNi


simhEndra madhyamam






rasika priya

People shouting at the world over megaphones; Size=240 pixels wide

Please get in touch with any comments or reactions to my site.

Dr. KRS Murthy - Read about me in the links below
Board of Directors
Silicon Valley Engineering Council - SVEC
Santa Clara, California