Contribution of Trinity-E-Book 29072020

Contribution of Music Trinity
(Proceedings of the National Seminar - 2018)
Editor
Dr. V Premalatha
Central University of Tamil Nadu

Thiruvarur
2020
ISBN: 978-93-5407-985-6

(Proceedings of the National Seminar -2018)
(A Collection of Peer reviewed papers presented at the

National Seminar on Karnataka Music, in February 2018,
organised by the Department of Music, Central University
of Tamil Nadu, Thiruvarur).
Edited by
Dr. V Premalatha
Head, Department of Music
Dean, School of Performing Arts and Fine Arts
Central University of Tamil Nadu, Thiruvarur.
Published by
Central University of Tamil Nadu, Thiruvarur.
Editorial Board (Peer - Reviewers)

1. Dr. V Premalatha
2. Prof Ritha Rajan
3. Prof Mandapaka Sarada
4. Dr. R S Jayalakshmi
5. Dr. Arati N Rao
First Edition - 2020
© Central University of Tamil Nadu

Thiruvarur
(Proceedings of the National Seminar -2018)
Edited by
Dr. V Premalatha

Central University of Tamil Nadu, Thiruvarur
Published by
Central University of Tamil Nadu, Thiruvarur
2020
Dr. V Premalatha
Central University of Tamil Nadu
Thiruvarur - 610005
Editorial Note
Thiruvarur is known to be a holy land of Music and is the birth place of the Trinity of South
Indian Classical Music. The Department of Music was established at the Central University of Tamil
Nadu, Thiruvarur in the year 2016-17, which happened to be the 250th birth anniversary of Sri Tyagaraja,
one of the Trinity of Music. A National seminar on the “Contribution of Trinity to Karnataka music” was
organised in February 2018. The event attracted several scholars, musicians, dancers and music lovers
from many parts of India with Research presentations and Music performance. The whole process of
the conduct of seminar was executed online. With pride and humility, I feel delighted to place before
you, the first publication from the Department of Music, Central University of Tamil Nadu.
Research papers were presented at the Seminar and the abstracts of papers were released
online, which is available at https://cutn.ac.in/ctkm2018/. This book is a compilation of 43 full length
papers by several young and aspiring scholars of music and dance who enthusiastically participated in
the seminar. Most of the papers are in English, while two are in Telugu and one in Tamil. The papers
were sent for peer review to duly constituted team of experts and their suggestions were incorporated.
Many papers were highly commendable and reflected a serious research writing and a few were maiden
attempts by students and scholars that required more expertise. In order to encourage young and
upcoming scholars, it has been decided to include all the papers, in this volume.
I owe my sincere gratitude to the Honourable Vice Chancellor of CUTN, Prof. A P Dash,
Registrar, Dr. S Bhuvaneswari and all statutory officers, for the encouragement and appreciation
throughout and making this publication possible. I take this opportunity to express my gratitude to the
Expert members of the Editorial Board Prof. Ritha Rajan, Chennai, Prof. Mandapaka Sarada,
Vishakapatnam, Dr. R.S.Jayalakshmi, Chennai and Dr. Arati N Rao, Bengaluru, who scrupulously
reviewed the articles of the scholars and gave valuable suggestions. I sincerely thank Mr. P. Nirmal
Harish and Miss M. Bhairavi, the Research Scholars of the Department of Music, CUTN and Miss P.
Suganya, Office Assistant, for their sincere and dedicated service for the successful completion of this
work.
Place: Thiruvarur V Premalatha

Date: 29th July 2020
Contents
Melodic and Rhythmic organization in the compositions of Trinity 1
Anjana P Rao, Research Scholar, Bengaluru
Influence of Tyāgarāja on the composers of post - trinity period 7
Anuradha A, Prof, Andhra University, Vishakapatnam
Rare rāga-s handled by Saint Tyāgarāja 12
Aparna M, Chembai Memorial Government Music College, Palakkad
Guṇḍakriyā rāga as seen in Dīkṣita and Tyāgarāja compositions 17
Arati N Rao, Dr, Jain University, Bengaluru
Kṛti-s of Śri Tyāgarāja with different Rāgalakṣaṇa – few examples from Vālājāpēt notations 24
Aravindhan T R, Dr., Researcher, Chennai
Sampoorna rasa in Trinity compositions for dance 30
Chamundeeswari Kuppuswamy, London & Balakrishnan Raghavan, India
An Insight into the Dancing Musical Elements of Sri Tyāgarāja Compositions 43
Chudamani D, Dancer & Research Scholar, Hyderabad
Rakti rāga-s handled by Śyāmā Sāstri 51
Deepashree S M, Research Scholar, Bengaluru
The influence of the musical styles of the Trinity in the musical compositions of Eṇṇappāṭaṃ 57
Vēnkaṭarāma Bhāgavatar (1880-1961)

Ganga Ramachandran, Dr, Tirunelveli
Impact of Sri Muttusvāmi Dīkṣita on the compositions of the Tanjore Quartet 68
Gowthami K, Dr, Dancer, Hyderabad
Portrayal of Vivādi Rāga-s in the Compositions of Trinity 72
HamsiniNagendra, Prof, Bangalore University, Bengaluru
Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi tāḷa and their Adaptation to 81
Āditāḷa
Harish Narayan K, Dr, Guest Faculty, CUTN
Bangalore Nagarathnama: the symbol of social transformation Behind the 97
TyāgarājaAradhana
Hemalatha Bhatt, Dr, National Law School, Tiruchirapalli
Musical Forms composed by Trinity 104
Jayakrishna A, Research Scholar, Sri Venkateswara University, Tirupati
Influence of Tyāgarāja compositions on Nāgasvara Music and rituals 107
Kamaraj K, Research Scholar, Thanjavur
The concept of Graha (in the context of tāla) in select compositions of Tyāgarāja 112
Kameshwari M, Research Scholar, Sri Venkateswara University, Tirupati
Mīnākṣi Navaratṇamālikā 119
Lalitha R, PG Student, Bangalore University, Bengaluru
The dimensions of rāga application in the compositions of Trinity 124
Madhu M, Research Scholar, University of Kerala, Trivandrum
Group Compositions of Śri Muttusvāmi Dīkṣita with Special Reference to Guruguha 128
Vibhakti Kṛti-s
Manjula Surendra, Musician, Bengaluru
A probe into the Śiva Kṛti-s of Saint Tyāgarāja and Muttusvāmī Dīkṣita 135
Meenakshi S, Lecturer, RLMATM College, Madurai
Auḍava Sampūrṇa Rāgas – An analysis through the compositions of Trinity 142
Nagaranjani, Senior Research Fellow, Bangalore University, Bengaluru
Melodic Aspects of Kamalāmbā Navāvaraṇa Kṛti-s of Śrī Muttusvāmi Dīkṣita 146
Niranjana Srinivasan, Dr, Tamil Nadu Music and Fine Arts University, Chennai
Trinity Compositions as presented by the Legend Smt D K Pattammal 151
Poorna Vaidhyanathan, Dr, Sri Venkateswara College of Music and Dance, Tirupati
“A Day with Tyāgarāja” - A tribute to Saint Tyāgarāja by Dr. S Ramanathan 159
Prasanth V Kaimal, Research Scholar, University of Kerala, Trivandrum
Comparative analysis of the Compositions of Trinity 163
Radha A, Research Scholar, Sri Padmavathi Mahila Visvavidyalayam, TIrupati

Kāmbhōji rāga kṛti-s of Muttusvāmi Dīkṣita 168
Radhika K P, Research Scholar, Sri Venkateswara University, Tirupati
Śrī Muttuswāmy Dīkshitar’s Compositions on unsung deities 181
Ragini.A.R, Research Scholar, Jain University, Bengaluru
Elaboration of Rāga Ālāpana with Śōdaṣa Gaṇapati Kṛṭi-s Of Muttusvāmi Dīkṣita 190
Ramani R, Dr, Chennai
Melodic magnificence of Rāga Śaṅkarābharaṇa in select Viḷambakāla Kṛti-s of Trinity 197
Sankar Ganesh J, Dr, Sri Venkateswara University, Tirupati
Vinta Raga-s of Tyāgarāja with special reference to the Janya raga-s of Kharaharapriya 202
Sharanyaa Sriram, Research Scholar, Bengaluru
Unique features of Sri Muttusvāmi Dīkṣita’s compositions 207
Shilpa Shashidhar, Musician, Bengaluru
An Analytical Study on “Neelotpalaamba Vibhakthi Krithis of Muthuswamy Dikshita” 213
Shubhamangala.G.K, Research Scholar, Banglore University, Bengaluru
Tyāgarāja kṛti-s revealing the secrets of Nadayoga 219
Shyla R K, Dr, Madurai
Madhyama kāla sāhitya found in the Compositions of Muttusvāmi Ḍīkṣita 225

முத்துஸ்வாமி தீக்ஷிதர் அருளிய கிருதிகளில் காணப் படும் மத்திமகால
சாஹித்யங் களின்சிறப் புகள்
Sivagowri S, Dr, Guest Faculty, CUTN
Yadukula Kambhoji - Insights from the Trinity 228
Srilatha. K, Research Scholar, Bengaluru
Depiction of Nāyikābhāva in Saint Tyāgarāja’s opera, Naukācaritam 233
Sriranjitha C, Research Scholar, Bengaluru
A study of “Ninnuvināgamari” of Śyāmā śāstri 239
Syam Kumar R,Research Scholar, Sri Venkateswara University, Tirupati

Influence of Western Music on Tyāgarāja and Muttusvāmi Dīkṣita 243
Uma Kumar, Research Scholar, Banglore University, Bengaluru
Saint Tyāgarāja and Harikambhoji 249
Varanasi Jyothsna Lakshmi, Musician, Researcher, Hyderabad
Portrayal of rāga-s by Saint Tyagaraja and Sri Muttuswāmi Dikshita 254
Veena K Murthy, Research Scholar, Banglore University, Bengaluru
Muttusvāmi Dīkṣita’s compositions on Lord Tyāgarāja of Tiruvarur 259
Vijayalakshmi R, Research Scholar, Madurai
Rāmabhakti portrayed in select Kṛti-s of Tyāgarāja 263
రామభక్తి తతవరుడు త్యాగరాజు

Jagadeeswara Rao T, PG Student, Tirupati
Thyagaraja - the unique composer 270
విశిష్ట వాగ్గేయక్ారుడు - త్యాగరాజు

Subramanyam K, PG Student, Tirupati
Contribution of Trinity to Karnataka Music
Melodic and Rhythmic organization in the compositions of Trinity

Anjana P Rao, <[email protected]>
Introduction
The tradition of associating a particular song with a specific rāga and tāla became more evident
and strengthened during a period close to that of the Trinity. The lyric became the binding agent between
melody and rhythm making them an inseparable pair. This music structure paved a clear path to follow
in the future. Masterpieces were created with great spontaneity and at times with conscious deliberation,
which were carried over as the tradition by a few fortunate disciples of the Trinity. The portrayal of rāga
in all its opulence and colour was the sole aim of the Musical Trinity in their own characteristic and
individualistic musical expressions in different channels.
The musical excellence of Tyāgarāja

It is a well known fact that Tyāgarāja learnt hundreds of Puraṇdaradāsa’s compositions from his
own mother. The influence is obvious in the text and melody of many of his compositions such as
Divyanāma saṅkīrtana-s, uṭṣava saṁpradāya kīrtana-s and several other independent songs.
Melodic excellence
Saint Tyāgarāja-s compositions stand out as unique combination of lyrical and musical beauty
soaked in the elixir of bhakti.
 His spiralling saṅgati-s and flow has an instantaneous appeal
 The introduction of this ingenious device- saṅgati-s revolutionised the entire system of
karnātaka classical music providing a great impetus to manōdharma saṅgīta.
The following are the select compositions which are taken up for analysis:
Illustration- Teliyalerurāma bhakti mārgamunu- Rāga Dhēnuka- Ādi tāla.

Observations
 Employment of rāga Dhēnuka which has touch of pathos perfectly matches the mood of the
sāhitya.
 Judicious incorporation of various saṅgati-s has provided an unmatched scope for the rāga to
bloom in with all its glory.
 Then there are kīrtana-s covering a wide range of sthāyi-s peps up the imagination of creative
musicians.
 Practising his composition is a rewarding experience for a vocalist as it provides tremendous
scope for exploring the subtle nuances of the rāga and sāhithya bhāva with appropriate
articulation of the voice (known as Kāku).
 His popularity sees no bounds as his compositions easily transcend the barriers of linguistic
region.
1
Proceedings of the National Seminar, 2018
 He composed a large number of songs in raga-s that were familiar during his time. In nearly 42
mēḷa-s employed by Tyāgarāja, particular mention must be made of Kharaharapriya and
Harikāmbhōji.
Laya siddhi
Tyāgaraja-s compositions are mostly set to simple tāla-s such as Ādi, Rūpaka, Khaṇda and
Miśra cāpu. Both in treatment of the laya and distribution of the words in the tāla aṅga-s in suggestive
kālapramāna-s are observed in his compositions.
Illustration: Dārini telusukoṇti in rāga śuddha sāveri set to Ādi tāla

Observation
 Kālapramāna of music and sāhitya both perfectly match.
 They commence in sama akṣara
 ·The composition is not usually rendered in a slow tempo.
 The choice of the rāga śuddha sāveri which is audava upāṅga also contributes to the fast tempo.
‘Chakkani rāja’ is just another brilliant example for yet another dimension to his conceptualization of
laya.
Illustration:
 Gathineevani- Tōdi – Viḷamba ādi
 Kōtinadulu -Tōdi- ādi
Observation:
 The difference in the tempo of the above compositions cannot go unnoticed.
 To quote another example, Kṣīra sāgara shayana and Koluvaiyuṇnāde in rāga Dēvagāṇdhari.
The rāga generally suited for slow tempo with its extending daivata and niṣhāda prayōga-s.
Thus the selection of this rāga for Kṣīra sāgara shayana appears be applicable. But when we
here the same rāga treated in fast tempo in Koluvai Koluvaiyuṇnāde the experience is no doubt
different but the expertise with which it is handled with the repetitive phrases in the carana
makes it a most pleasurable deviation. At such instances no preconceived notions of attaching
a particular rāga to a particular speed or mood does not appropriate.
The musical excellence of Muttusvāmi Dīkṣita

“In the compositions of Tyāgarāja both in their musical and textual content, we notice the full
potential of a philosopher, in the kṛti-s and music of Dikṣita we notice a detached metaphysician, and in
the compositions of Syāma śāstri we notice an atmosphere of hopefulness and tenderness 1.”
1 1. K.N.Sreenivasan,The contribution of the Trimoorthi to music, Tamilnadu, Manipadukanidhi, Jan

2006, p.3
2
The above quote succinctly epitomises the essence of the musical vision of the Trinity. In
justification of this one can realize the spiritual elevation experienced through the compositions of
Dīkṣita. This is a result of his being an authority in both śāstra and prayōga of different genres of music
combined with his authentic knowledge in the philosophy of advaita. His rāga forms are the finest
specimens of pure and absolute music.
Chiselled melody moulds

Muttusvāmi Dīkṣita carved a huge range of the rāga structure in his kṛti-s. Never does the
musical content repeats itself in any section of the song. One can envision the transition of phrases of
a rāga in his compositions.
Illustration
Caraṇa of Mahāganapathim in rāga Tōdi
Observation: Dhatu of the composition moves on unusual and unpredictable line. Dīkṣita leaves us in
wonder, more so by his eclectic, which also could be termed as cosmopolitan taste in music. His 35
Nōṭṭusvara-s for which he chose tunes of a number of other English songs, touches of Hindusthāni
music in quite a number of his kṛti-s stand testimony to his expertise and command over other musical
genre.
Illustration- Nīrajakshi kāmākṣhi which set in slow tempo in Dhrupad style but well fitted as a composition
of Karnātaka classical music. His other composition in the same rāga Saraswathi vidhiyuvati stands no
chance for comparison. Dīkṣita has amply justified his choice of composing in Sanskrit language. His
compositions are not easy to learn as they are replete with hymn like phrases and improper
pronunciation of such maṇtra-s considered as blasphemy.
The Navagraha kṛti-s, the śōdasa Ganapathi kṛti-s, the pañcaliṅga kṛti-s and the Guru para
vibhakti kṛti-s, Abhayāmba Navāvarana, Kamalāmba Navāvarana kṛti-s illuminate his knowledge base
in śāṣtra-s and music, Sanskrit language and as well showcase his expertise in combining all of this to
produce an outstanding musical extravaganza.
Laya Siddhi:
The slow gait of his compositions is often balanced with an ornamentation of madhyama-kāla
sāhitya or chitta svara-s.
Illustration
 Ānandēṣhwarena samrakṣhitōham- Ānandabhairavi- chāpu tāla
 Soundara rājamashraye- Brindāvanasaranga- Rūpaka
3
We do not find any compositions in any chāpu tāla, they are all in Sūlādi tāla-s. This is the principal
reason in demanding his compositions to be rendered in a specific laya.
Illustration:
 Bālāmbike- Manōrañjani
 Śri kamalāmbike-sahāna
Observation: Any alteration in speed and tāla of Dīkṣita-s composition is unwarranted and cannot claim
authenticity. Any such change can at best be considered as an adaptation to suit ones convenience.
Along with the slow gait he gives viṣrānti at the end of every āvarta especially in caraṇa-s of his
compositions. This style of composing allows the performer and audience to digest what is presented
and prepares to receive what follows.
The musical excellence of Syāma Śāstri

Eldest among the Trinity had an in-depth knowledge of languages Saṁskṛta, Telugu and Tamil
in particular coupled with an extraordinary sense of every aspect of classical music so as to mould them
into perfect melodic structures. Syāma Śāstri was a scholarly composer. His style is neither as
spontaneous as Tyāgarāja-s nor as pre-meditated as Dīkṣita’s. His compositions give ample
opportunities for creativity.
Richness in raga
Syāma Śāstri chooses rakti ragas to emote his devotion to goddess Kāmākshi. It is not in his
agenda to showcase his dexterity in composing or musical excellence or śāstra. The sole aim is to
appeal to the goddess he worshiped 2. He has employed a few mēlakarta-s, Tōdi, Saṅkarābarana,
Kalyāni and so on. Kalyāni has the largest number of kṛtis available. Ānandhabhairavi was his other
favourite rāga giving it a modern shape.
Illustration: Ō Jagadamba, Marivērēgathi are splendid compositions in this rāga and reflect the varied
and colourful aspects of Ānandhabhairavi.
Illustration: Sariyavvaramma in Bhairavi rāga Khaṇda jhampa tāla
Observation:
 Themaximum adaptation of viṣranthi is by Shyāma Śāsatri.
 Also, repetition of words in different musical phrases is specialty of his composing style which
emphasizes on which one can observe in many of his kṛti-s. Carana of Marivēre gathi is a best
suited example for this.
2
Sri RR was first published by Yogavedanta Forest Academy, Rishikesh, 1958
4
 ·Anupallavi of Sariyavvaramma can be one of the best examples as to how Shyama śāstri
utilizes viṣranthi to enhance beauty of a composition where there is scope for creativity.
Sāmagāṇa vinodini in Sarōjadalanētri again demonstrates his brilliant style of composing providing
beautiful place for niraval.
Depth in laya
His immense potential to exploit the Viḷamba laya (slow tempo) and the employment of the same
in his exquisite kṛti-s in Miśra chapu tāla is left with no parallel even to this day. He experimented just
with 7 akṣara-s of chāpu by structuring them in different combinations. His command over the laya is
conspicuous in his compositions in which he employs different akṣara or graha-s (eduppu).
Illustration :
 Marivere gathi yavvaramma in Ānandhabhairavi
 Nannu brōvu laḷitha set vilōma chāpu.
 Himādri suthe pāhimam-Kalyāni –Rūpaka
 Birāna varāḷichchi- Kalyāni- Ādi tāla tiśra nadai
One has to study his compositions to understand his structuring of spaces within the frame of tāla
simultaneously with rāga bhāva. The speciality of his style is that even without analyzing; his music is
āpātha-madhura.The compositions give a paramount perspective to his pious devotion to goddess
Baṅgāru Kāmakṣhi.
Conclusion:
“The classical music of the present day is very much the fruit of the efforts of the three Indian
master composers, Syāma śāstri, Tyāgarāja, and Muthusvāmi Dīkṣita3.” Eldest of the Trinity Śri Syama
śāstri-s style of composing is compared to Kadali phala, Tyāgarāja svāmi-s is compared to dhrākṣha
rasa owing to the instant sweetness one can cherish through his compositions, whereas of Muttusvāmy
Dīkṣita’s to Nari Keḷa, substantiating the toughness in learning his compositions.
They were pioneers who transformed the course of the history of our music by their vision and
ingenuity .Their compositions lead to the golden era of Karnataka classical music. The trinity will ever
be enŚrined in the hearts of all true lovers of art and culture.
Bibliography
1. S.K Ramachandra Rao,Namma sangeetha mattuvaaggeyakaararu, First edition-2018, Surama
Publications, Bangalore
3
S.R.Janakiraman, Miscellany of essays on South Indian Music and Musicology, Chennai,
Sri Parthasarathy swami sabha, 2012, p.100
5
2. Śri Tyāgarāja yoga vaibhavam, Volume 1 -9, Bharata-Bharati Sangeetha Seva Pratishtana,
Bangalore, 2001
3. Subbarama Diksita,Sangita Sampradaya Pradarsini,Volume 1-4 ,English edition,2008
4. Vasanthamadhavi,Theory of Music, Prism BookPublications,2005
Web Source
 YouTube: Music Excellence in the Compositions of Sri Shyama Shastry by Karnataka Kalashree
Dr T S Sathyavath
 YouTube: Carnatic Music | Lalgudi G Jayaraman Lecture Demonstration | Laya in Trinity's
Compositions
 YouTube: Music Excellence in the Compositions of Muthuswamy Dīkṣita by Karnātaka Kala śri
Dr T S Sathyavathi
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
6
Influence of Tyāgarāja on the composers of post- trinity period

Anuradha A, <[email protected]>
Introduction
In the history of Indian Music, until the period of 17th Century is known as Bhakti yuga (भक्तियुग)
and the later period marked as Dhāthukalpaṇayuga (धातुकल्पनायुग). Many pure musical (लक्ष्यप्रधान) forms
were composed in this era.
The period of the Music Trinity was a glorious one in the history of South Indian Music and it is
considered as a golden era. The Trinity played a key role in the development of the Karnātaka classical
Music. Many branches of music flourished during this period. Among them, the most important one is
the development of ‘Kṛti’ form. It occupied a significant position in concerts, in the later period. Kṛti is a
pure musical form which was developed by the musical Trinity in their own individual styles. Many
Vāggēyakāra-s composed thousands of compositions during this period. Majority of them was the
contribution of Trinity. Among these three composers, Tyāgarāja deserves the credit of composing
thousands of compositions. Tyāgarāja also had many disciples and followers compared to the other
two in the trio.
Tyāgarāja enunciated the difference between a Kṛti and a Kīrtana through his compositions. He
has given a complete shape to the Kṛti form with gradually increasing series of Saṅgati-s. In T.S.
Parthasarathy’s words, “The supreme Architect of Kṛti form was Tyāgarāja. Writers on Western music
say that the Sonata form was awaiting the coming of Beethoven. We may echo the same sentiment in
respect of the Kṛti and Tyāgarāja”.
Tyāgarāja’s contribution to Karnātaka classical music is extensive and is of high spiritual order.
His compositions demonstrate his profound knowledge over the subject and command over composing
the Kṛti-s. All his compositions filled with pithiness of expression, mellifluous flow of language, depth of
feelings & emotions.
Methodology
i). this paper is only confined to few aspects such as Dhātu and other structural aspects.
ii). Only a few names of the Siṣhya - Prasiṣhya-s of Tyāgarāja were mentioned in this paper, according
to the context.
Basing on the depth of Dhātu levels of the compositions, Tyāgarāja’s Kṛti-s are classified into
3 categories.
1. Compositions with Simple Dhātu;
These compositions contain simple notation (Dhātu) for easy rendition. They can be easily sung even
by the beginners in music. Such types of compositions are also composed by his disciples.
Eg: Divyanāmakīrthanālu
7
i). śrirāmaśrirāma -Sahāna rāga

ii). Gatamohāśritapāla - śaṅkaraābharaṇam
His direct disciples Walajapet Vēṅkatarāmana Bhāgavatar and Vīna Kuppayyar also composed few
Kṛti-s in a similar ways.
Eg: i). Hari hari śri narahari -in Punnāgavarāḷi rāga - disciples Walajapet Vēṅkatarāmana Bhāgavatar
ii).Māpatināmamumaruvakēmanasā in Kāpi, jiṅgla rāga- Kuppiyer
iii).Kanikaramulekapoyena in ānandabhairavi rāga-Kuppiyer
2. Medium type compositions:
These type of Kṛti-scan be easily understood by Intermediate learners.
Eg: i). Sītāmmamāyamma in Vasanta rāga.
ii). Sītāpatenāmaṇasuṇa in Khamās rāga
Similar Kṛti-s are composed by many of his Sishya-Prasiṣhya-s and other composers. Few examples
of their compositions are:
Eg: i).Radhaa RāmanaRakshamāmanisam in Mohana rāga- Walajapet Vēṇkataramaṇa Bhāgavatar
ii). Anudinamunugāvumayya in Bēgada rāga of Patnam Subrahmaṇiya Iyer.
iii). Paripāhimāmparavāsudēva in Jaganmōhini rāga of Mysore Vāsudēvāchāri.
3. Complex compositions/Major Kṛti-s:-
These Kṛti-sare very difficult for beginners or intermediate learners.
Eg: i). Ō RaṅgaSāyi in Kāmbhōji rāga
ii) Chakkaṇi rāja mārgamu in Kharaharapriya rāga.
Similar ones are rarely found in the compositions of Vāggēyakāra-s of the later period.
Eg: i). Koniyādiṇaapai in Kāmbhōji rāga of Vīna kuppaiyer.
ii). Nivedikkaninenemto inDarbar rāga of Kuppiyer .
II. Based on the Dhātu content, Tyāgarāja's compositions can be categorized into 4 types.
1 Eka-Dhātu type compositions:-
Few Vāggēyakāra-s also tread the path of yāgarāja in composing Divyanāma Kīrtana type
compositions.
Eg: i). Paripālaya Paripālaya in Rītigauḷa rāga
ii). Rāma kodanda Rāma in Bhairavi rāga
iii).Kshīrasāgaravihāra in ānandabhairavi rāga.
This type of Kīrtana-s are also seen in Kuppiyer’s compositions.
Eg: i). śri karambuga in Kāmbhōji rāga.
ii). Neramemira in Nādanāmakriya rāga
2. Dwi-Dhātu type compositions: - The Pallavi is in one notation and the remaining part of the
composition is in another notation. Tyāgarāja’s Divyanaama and Uṭṣava Sampradāya Kīrtana-s belong
to this category.
Eg: i). Sītakalyanavaibhigame in Saṅkarābharaṇa rāga
ii). Śri Rāmajaya Rāma in Yadukulakambhoji rāga.
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Few composers like Vīna Kuppiyer followed the footsteps of Tyāgarāja in composing such dwidhātu
type compositions.
Eg: i). Kuppiyer’s Mānasika pūja Kīrtana is a best example for this type. Paramātmuni mānasamuna in
Khamas rāga.
ii). Kori kōrininnugolichinanāmadi in BEgada rāga.
iii). Hari Hari Śri narahari in Punnāgavarāḷi rāga -
3. Tri Dhātu type compositions: - In these Kṛti-s the Pallavi, Anupallavi and Caraṇa are in 3 different
notations. Most of Tyāgarāja's Kṛti-s belong to this category.
Eg: i). Girirājasuthatanaya in Baṅgala rāga.
ii). Vundedirāmudokadu in Harikāmbhōji rāga
In addition to Tyāgarāja's disciples and followers, few others also composed such type of kṛti-s.
Eg: i). Śri Valli dēvasēnāpathe in Naṭabhairavi rāga of Pāpanāsam śivan
ii).Dēvādi dēva śri vāsudēva inSunādavinōdini rāga of Mysore Vāsudēvāchāri.
iii). Dāmōdaraninnepudu in Sāraṅa rāga of TiruvottiyurTyāgarāja.
4. Bāhu Dhātu type compositions: - In these compositions, each part of the Kṛti is in a different notation.
Tyāgarāja composed few Kṛti-s of this type.
Eg: i). Ghaṇa rāga Pañcharatna Kṛti-s of Tyāgarāja
ii). Brōchēvārevareraghupate in Śri rañjani rāga.
iii). Śri raghuvarāpramēya in Kāmbhōji rāga
Vāggēyakāra-s of Post –Tyāgarāja period composed such type of Kṛti-s.
Eg: i). Vanajākṣinine in Gambhīranāṭa rāga – Mysore Sadāśiva rao
ii). Śri Mahāgaṇapathim Bhajēham in Atāna rāga-HH Jayachamarāja Wodeyar.
III. Observations made in the structure of K ṛti:

a). Saṅgati patterns in Kṛti-s: Saṅgati-s are very important for a Kṛti. Saṅgati-s expand gradually like
Sopana (staircase) thus enhancing the Rāga Bhāva and Sāhitya Bhāva.
Tyāgarāja ‘s Kṛti-s :Eg: i). Nannuvidachikadalakura in Rītigouḷa rāga
2). Rāma nisamānamevaru in Kharaharapriya rāga
Many of later composers have follow Tyāgarāja’s style and composed Kṛti-s with Saṅgati-s.
1) Elāgunabrōvayemhitivo in Mōhana rāga TiruvottiyurTyāgarāja
2) Nijadāsavarada in Kalyani – Patnam Subrahmanya Iyer
b). Kṛti-s with Caraṇa anupallavi: If the notation of the ending part of Caraṇa is like that of Anupallavi,
such portions are known as Caraṇaanupallavi. Among the Trinity, Tyāgarāja is the first one to introduce
Kṛti-s with Caraṇaanupallavi-s.
Eg: i). Sāmajavarāgamaṇa in Hindōla rāga
ii). Sujanajīvana in Khamās rāga.
iii). Mōhanarāma in Mōhana rāga
Many of his later composers also followed this style.
9
Eg: i) Nīdumahimapogadanātarāma in Hamsānaṇdi rāga – Muttaih Bhāgavatar

ii). Paridānamichitepālimtuvēmo in Bilahari rāga – Patnam Subrahmaṇya Iyer
iii). Palukadēmira rāma in Dēvamanōhari rāga – Mysore Vāsudēvāchāri
iv). Śri vallidēvasēnāpate in Naṭabhairavi rāga. – Pāpanāsam śivan
c).Kṛti-s without Caraṇānupallavi: These Kṛti-s do not follow the Caraṇānupallavi pattern and their
Caraṇa-s are rendered in Madhyama kala.
Tyāgarāja’s Kṛti-s :
Eg:i) .Rāmāninnunamminavāramu in Mōhana rāga
ii). Bhakti biccamīyave in śaṅkarābharaṇa rāga.
iii). Yuktamugādunaṇurakshimpka in śri rāga
IV. Kṛti Rachana Alaṅkāra-s:-Additional decorative parts viz., Chittasvara, Madhyamakāla sāhitya,
Svarasāhitya etc. add beauty to the kṛti. Such beauties are frequently seen in Tyāgarāja’s Kṛti-s. Many
of HH Jayachamarāja Wodeyar’s Kṛti-sare composed with interesting Kṛti Rachana Alaṅkāra-s.
a).Chittasvara-s: This is the Dhātu portion rendered after the Anupallavi and Caraṇa.
Eg: i). Telisirāmachiṇtanatonāmamuseyavein PūrnaChaṇdrika rāga.
ii). Girirājasuthataṇaya in Baṅgala rāga.
iii). Eevasudhanivamtidaivamu in Sahāna rāga.
*It is believed that Tyāgarāja has not included any Chittasvara-s to his compositions.His disciples or the
later composers might have added them to his Kṛti-s. Few others also included Chittasvara-s in their
compositions.
Eg: i). Raghuvamsa sudhāmbudhi in Kadanakutuhalam rāga- Patnam Subrahmanya Iyer
ii). Ni sari vēlpulanēnemdugānara- ārabhi rāga –TiruvottiurTyāgarāja
b). Madhyama kāla Sāhitya : TyāgarājaKṛti-s
Eg: i) Dāriṇitelusukoṇti in śuddha sāvēri rāga
ii). Dorakunayituvamtiseva in Bilahari rāga
Tyāgarāja’s disciple Subbaraya sastry and other composers also followed Tyāgarāja in composing such
Kṛti-s with Madhyamakāla Sāhitya.
Eg: i). śaṅkariniveyanininu in Bēgada rāga.
ii). Gam Gaṇapate in Nāgasvarāvaḷi rāga -HH Jayachamarāja Wodeyar
c). Swara sāhitya: Tyāgarāja Ghana rāga Pañcharatna Kṛti-s are the best examples for Swara sāhitya-
s . His Siṣhya Subbarāya śāstri and Prasiṣya Mysore Sadāṣiva rao adopted this style and composed
such kṛtis.
Eg: i). Saṇkariniveyanininu in Bēgada rāga - Subbarāya śāstri
ii). Janani ninu vina dikkevaramma inReetigoula- Subbarāya śāstri
iii). Inkevarunnāru in Sahāna rāga – Mysore Sadāṣiva rāo
10
V. Group Kṛti-s : ‘Samudāyaka Kṛti-s’ is another aspect that is developed during the Trinity period.
Among the Trio, Tyāgarāja composed the highest number of Pañcharatṇa Kṛti-s (Kīrtana-s) in Telugu
and Sanskrit. His Group Kṛti-s are as follows:
a). Ghana rāga Pañcharatna-s b). Kōvur Pañcharatna-s c). Tiruvottiur Pañcharatna-s
d). śriraṅga Pañcharatna-s. e) . Lālgudi Pañcharatna-s
a). Influence of Ghanarāga Pañcharatna Kīrtana-s:- Tyāgarāja‘s Ghanarāga Pañcharatna Kīrtanas are
the precious gems in all aspects of Karnātaka classical music. Few composers of Post - Trinity period
have chosen Tyāgarāja as their inspiration and composed Pañcharatna Kṛti-s.
i). His disciple Vīna Kuppiyer composed 7Gīta-s in the 1st and 2nd Ghana rāga-s and 5 Ata tāla Varṇa-
s in the Ghana rāgas viz., Nāṭa, Gouḷa, Bowli, Rītigouḷa and Nārāyana gouḷa from the first and second
Ghana rāga groups. His son, Tiruvottriur Tyāgiyyer composed Kṛti-s in 1stGhanarāga Pañcakam in his
book ” SaṅKīrtanaratnavali” .
ii).Inspired by Tyāgarāja‘s Ghanarāga Pañcharatna Kṛti-s, his contemporary and a Vāggēyakāra
Gōpala Kṛṣna Bharati composed 5 Kṛti-s in Ghaṇarāga Pañcharatna-s.
iii).One recent Vāggēyakāra of Andhra Pradesh, N.Ch. Kṛṣnamācharya composed Kṛti in Naṭa bhairavi
rāga, in the format of Tyāgarāja’s ārabhi rāga Pañcharatna Kṛti. The specialty of this Kṛti-s is that, all
the Svarasāhitya-s begin with S RG M P D N S and the lyrical part of the composition is a description
of Tyāgarāja’s life history.
b). Pañcharatna Kṛti-s on Pilgrims: Vīna Kuppiyer composed two sets of Pañcharatna Kṛti-s during his
pilgrimage. They are, Śri Kālahastīsvara Pañcharatna-s and Śri Vēṅkatēṣwara Pañcharatna-s on the
presiding deities, viz, śrikālahasti and Tirupati respectively.
Conclusion
Tyāgarāja is not only a Vāggēyakāra but also the one who stood as an inspiration to many composers.
There are many followers, disciples and grand disciples for Tyāgarāja and he thus carried the tradition
of Music to several generations. He immensely contributed to the preservation of Karnātaka classical
Music over many centuries.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
11
Rare rāga-s handled by Saint Tyāgarāja

Aparna M <[email protected]>
“Rañjayati iti rāgaḥ” is the etymological definition. It means rāga-s is that which pleases the
mind and the heart through inner ear. All rāga-s have its own beauty, structure and identity. Some rāga-
s are used often but some are not. These rāga-s which are not heard or used often fall under the
category of rare rāga-s. Lack of scope for elaborating due to its structure and phrases may be reason
why they were classified as apūrva rāga-s. But one can definitely say that, these rāga-s are beautiful
and appealing. They are also smaller and simpler compared to well known rāga-s.
These rāga-s might have came from earlier lakṣaṇagranta-s or from earlier composers or it can
be a creation of some vāggēyakara-s. Many composers have handled rare rāga-s excellently. Our great
trinity have created and composed beautiful musical forms in rare rāga-s. We have heard about the ēka
rāga kṛti-s. It means that only a single kṛti is there in that particular rāga. Ēka rāga kṛti of our trinity are
the following:
S No Rāga Name of the composition Tāl̥a Name of the composer
1. Gānavāridhi Dayajūcuṭa Ādi Tyāgarāja

2. Kumudakriya Ardhanārīśvaraṁ Rūpaka Muttusvāmī Dīkṣita
3. Cintāmani Dēvi Brōva Ādi Śyāmā śāstri
Tyāgarāja has also used many apūrva rāga-s like Dīpakaṁ, Cittarañjani, Kaikavasi, Kēsari,
jujāhulḷi, jiṅgaḷa, Kalānidhi, Kalāvati etc., which are not used by his predecessors. These rāga-s are also
called Viṇta rāga-s. This rāga-s sustain through his kṛti-s only. Some of these rāga-s are said to be the
creation of the great Tyāgarāja himself.
The compositions in these rare rāga-s are elegant. Nowadays some of these rāga-s are
commonly sung during the concerts due to its energy, soothing effect, the pleasure it passes to the
listeners. When compared to Muttusvāmi Dīkṣita and Śyāmā śāstri, Tyāgarāja composed maximum
number of kṛti-s in uncommon or rare rāga-s. It is not possible to discuss all the rare rāga-s handled by
Tyāgarāja within a short span of time. So let us have a look into some of the rare rāga-s which are
handled by Tyāgarāja for the first time.
1. Āndōḷikā
It is the janya of 28th mēḷa Hari Kāmbhoji. It is also said to be the janya of Kharaharapriya.
Āndōlika means to swing. The name is very apt for this rāga as it has many swinging phrases like ‘ r m
r’ ‘ d ṡ n d m r’ ….
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These swinging phrases give a relaxing effect to this rāga.

Ārōhaṇa : srmpnṡ
Avarōhaṇa : ṡndmrs
This is an upāṅga rāga and is said to be the creation of Tyāgarāja. It evokes a vīra rasa and has another
name Mayūradvani. There is only one composition in this – ‘rāga sudhā rasa’. He is conveying a great
message through this composition: the succulence of ambrosia of rāga enables one to enjoy the
beneficent results of yāga yōga tyāga and bhōga and the one who have acquired the real understanding
on the significance of nāda, ōṁkāra and svara are emancipated souls who are nothing but Sadāśiva
himself.
He might have chosen such a beautiful and rare rāga to convey this great message. When we
look upon the musical part of this rāga, the kṛti starts with niṣāda followed by madhyama and rests to
svara ṛṣabha .Then the melody descends towards maṇdra sthāyi niṣāda and ascends upto tārasthāyi
madhyama and then some tārasthāyi sañcara-s and ends with madhyasthāyi ṣaḍja. Anupallavi starts
with the tārasthāyi ṛṣabha. sañcara-s are mostly in tārasthāyi and ends with tārasthāyi madhyama. The
connection from anupallavi to pallavi and from Caraṇa to pallavi are appealing.
The following phrases stand as key phrases:

“r m p r r s n d m”
“n , d m r”
“r m r m s r , s”
The below sañcara-s lend more colour to this rāga
“s r m r m r s n s n d m r m r s n”
The avarōhaṇa sañcāra “ṡndmr” is beautifully used in this composition.
2. Bahudāri
It is the janya of 28th mēḷa harikāmbhōji.
Ārōhaṇa : sgmpdnṡ
Avarōhaṇa : ṡnpmgs
This rāga attain popularity through the composition “Brōva bhārama” by Tyāgarāja. In this kṛti, the
composer asks the lord Raghurāma that, is it too heavy for him to give protection to him. This is a small
and a simple Kṛti which is apt for a concert. It is usually sung in fast tempo. The following phrases „p d
n ṡ p‟ „p d n , p m‟, „g mp m g p m g s are characteristic phrases in this Kṛti. It gives identity to the rāga.
13
Absence of dhaivata in Avarōhaṇa gave beautiful effect in this rāga. He started the Kṛti with characteristic
p d n p , m, g
Brō va bha ra mā
phrase, In the 2nd line is present the avarōhaṇa karma
p,s,n,,,pdnssnpmgmpmgpmg
gukṣini - -yum- - -cu- - - kō- - - lē- - - da-
Pallavi starts with the madhyasthāyi pañcama, and ends with madhyasthāyi madhyama. Highest note
of the pallavi is tārasthāyi gāndhāra, and lowest note is maṇdra sthāyi niṣāda. Anupallavi starts with
madhyasthāyi dhaivata and ends with pañcama.
3.Bindumālini
It is a derivative of 16th mēḷa cakravākaṁ.
Ārōhaṇa : sgrgmpnṡ
Avarōhaṇa : ṡnṡdpgrs
It is a small, tricky an a rare rāga. It evokes karuṇā and bhakthi rasa. The famous composition in this
rāga is ‘enta muddō enta sogasō ’.
The melody starts with the starting phrase of the Ārōhaṇa krama and characteristic phrase of the rāga
ie. „g , r g , m‟.
p n d p g , m p g r s is a viśeṣa prayōga. Sañcāra-s are mostly in madhyasthāyi.
4. Chandrajōti
It is the janya of 41st mēḷa Pāvani
Ārōhaṇa : srgmpdṡ
Avarōhaṇa : ṡdpmgrs
This is a Ṣāḍava, Upānga and a apūrva rāga . It has gained popularity because of the beautiful
composition of Tyāgarāja ‘Bāgāyanayya nī māya lento’. This rāga is said to be a creation of Tyāgarāja.
Another composition is Saṣivadana set to Ādi Tāl̥a.
In the Kṛti “Bāgāyanayya‟ Tyāgarāja says that the teachings of Lord Kṛṣṇa are (apparently)
unintelligible and confusing that even Lord Braḥma would not be able to comprehend them. Tyāgarāja
begins this Kṛti by using svara śuddha gāndhara. It is also rāgacāya svara. Dhaivata and ṣadja are
resting svara-s. Avarōhaṇa krama phrase p, m,g, r, is used frequently in this kṛti .
14
pmpdsd,p
pmd,pmg,r,s
These phrases lend more colours to this rāga. Sañcāra-s extends from maṇdrasthāyi dhaivata to
tārasthāyi ṛṣabha. The resting svara in the pallavi is catuśruti dhaivata. Anupallavi starts and ends with
dhaivata. Caraṇa starts with pañcama and ends with madhyasthāyi dhaivata.
5. Dīpakam
It is a derivative of 51st mēḷa kāmavardhini.
Ārōhaṇa : sgmpdpṡ
Avarōhaṇa : ṡndnpmgrs
It is mentioned in Rāmamāṭya’s Svaramēlakalānidhi‟.
In the kṛti “kaḷala nērcina” „ – Tyāgarāja states that man’s efforts do not always pay in the face of destiny,
the ways of which is inscrutable. Antara gāndhāra is an important note in this rāga. The Kṛti has a special
importance both in the structure and meaning. The rāgabhāva is completely built in this Kṛti.
Tyāgarāja begins his Kṛti with the Ārōhaṇa karma “s g, m p‟. The phrases “p m g r‟, “p m g m g
r s‟, are frequently used the Kṛti. Pallavi ends with maṇdrasthāyi niṣāda. Anupallavi and Caraṇa start
with pañcama and ends with madhyasthāyi ṣaḍja. Sañcāra-s extends from maṇdrasthāyi dhaivata to
tārasthāyi panchama “ṡ n d n p‟ is a viśeṣa prayōga. These are the rāga identifying phrases. It slightly
resembles the janaka rāga Pantuvarāl̥i.
6. Garuḍadhvani
It is the janya of 29th mēḷa Dhīraśankarābharaṇam
Ārōhaṇa : srgmpdnṡ
Avarōhaṇa : ṡdpgrs
This rāga is exactly opposite to Bilahari. This rāga is found in Saṅgraha chūḍāmaṇi. Tyāgarāja has
composed two kṛti-s in this rāga. One is Tatvameruga tarama and another one is Anāndasāgaram. Both
of these compositions are philosophical compositions. In the composition Tatvameruga taramā, the first
line itself give the full picture of the rāga.
sd p g r s r gm pdn
Ta tva me ru ga ta ra mā pa ra
Sañcara-s extend from Madhya sthāyi ṣadja to tarasthāyi Madhyama.
rsdpgrsrgmpdns
rsdsdpdpgpgrgrsrgmpdns
15
Though, this rāga gives limited scope for ālāpana, it gives elaborate scope for svaraprastāra. These are
some of the rare rāga-s used by Tyāgarāja . As mentioned earlier it is not possible to mention all the
rare rāga-s used by Tyāgarāja within this limited time. Not only these janya rāga-s there are some mēḷa
rāga-s which is said to be used by Tyāgarāja for the first time. when we analyze these mēḷa rāga-s we
can find that, those compositions composed by Tyāgarāja are the icon compositions of these rāga-s.
For eg: Teliyalēru rāma – Dhēnuka
Kaligiyuṇṭe kadā- Kīravāṇi
Cakkani rāja- Kharaharapriya
Gurulēka- Gaurimanōhari
Aḍamōḍi galadē- Cārukēsi
manasā Śrī rāmacandruni - Mārarañjini
Manasa Śrirāmuni- Mārarañjini
Enduku nirdaya- Harikāmbhōji
Paramātmuḍu- Vāgadīśvari
Srikantha nīyeḍa- Bhavapriya etc
Though, Tyāgarāja has composed in many rare rāga-s, some composers who came after Tyāgarāja has
also composed in these rāga-s. But there are some rāga-s in which there is no another composition.
Such rāga-s are ēka kṛti rāga-s. They are:
1. Dīpakaṁ
2. Dundubhi
3. Gānavāridhi
4. Kaikavasi
5. Supradīpam
6. Vardhani
7. Vijayavasanta
It is said that Tyāgarāja got these rāga-s from Nārada. Whatever the myth be one can definitely say that
Tyāgarāja is unique. A high degree of musical talent is required to sing his kṛti-s. one can notice that he
chose these rare rāga-s to convey many philosophical ideas because when it is said through uncommon
rāga, people will surely notice those krti-s and the meaning and ideas that conveys. Tyāgarāja plays
major role in giving life and beauty to these rare rāga-s and made them popular. These rāga-s are gems
of Karnātaka classical music. It is because of his musical excellence and creative genius that these
rāga-s still exists today and can be heard in many concerts. Rare rāga-s of Tyāgarāja are the role models
and it has become lakṣaṇa and lakṣya to our music.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
16
Guṇḍakriyā rāga as seen in Dīkṣita and Tyāgarāja compositions

Arati N Rao <[email protected]>
1. Introduction
This paper is a study of the rāga features of the rāga Guṇḍakriyā as seen in the Tyāgaraja
composition – ‘intanucu varṇimpa’ and the Dīkṣita composition – ‘rājarājēndra cōla’. The objective of the
paper is to compare the rāga features between the two and also compare them with musicological
descriptions. The paper also attempts a comparison of these songs with some Guṇḍakriyā manuscript
notations from the TMSSM Library, Tanjavūr and a few 20th century Guṇḍakriyā compositions.The
comparisons are only limited to svara phrases, since melodic embellishments such as gamaka-s used
cannot be deciphered from the manuscript notations.
1. Guṇḍakriyā – a brief lakṣaṇa history

All the musicological treatises examined in this section place the rāga Guṇḍakriyā under the 15th Mēla.
1.1. Pre-trinity period

Below is an overview of musicological descriptions of Guṇḍakriyā in the pre-trinity period:
The musicological texts of the late 16th and early 17th century - Svaramēlakalānidhi (SMK) and
Rāgatālacintāmaṇi (RTC) describe Guṅḍakriyā mostly lacking in dhaivata but including it occasionally.
In the same period, Sadrāgacandrōdaya (SRC) and Rāgavibōdha (RV) describe Guṇḍakriyā without
dhaivata, while Rāgamāla (RMala) mentions the lack of ‘ri’ and ‘dha’. Early 17th century texts
Saṅgītasudhā (SSudha) and Caturdaṇḍīprakāśikā (CDP) describe the rāga as ‘sampūrṇa’. The texts of
the late 17th century/18th century - Rāgalakṣaṇamu of Śahaji (RL-S) and Saṅgītasārāmṛta of Tulaja
(SSA) describe the rāga as ‘sampūrṇa’, but give illustrations of svara passages from ālāpa and ṭhāya
compositions indicating sparse usage of dhaivata.
‘da da da pa’
In these illustrations, we find that
i) gāndhāra occurs in ascent, descent and in devious phrases such as :
‘ga ma ga ri sa ni’
No ascending phrases skipping gāndhāra are seen.
ii) dhaivata occurs only in descent, in one example:
‘da da da pa’
No examples of dhaivata in ascent or in devious phrases are seen.
The early 18th century text Rāgalakṣaṇa of Mudduveṅkaṭamakhi too labels the rāga as ‘sampūrṇa’.
17
1.2. Trinity and post-trinity period

In the trinity period and the period just after the trinity (18th-19th century, early 20th century), there
seem to be two distinct streams of lakṣaṇa descriptions:
a) Māhābharatacūḍāmaṇi (MBC) and Rāgalakṣaṇam (RL) describe the rāga without ‘ga’ and ‘dha’ in
ascent. RL also describes the rāga dropping ‘pa’ in descent.
b) In Saṅgītasampradāyapradarśinī the rāga has all seven svara-s in ascent, and includes ‘dha’ in a
devious manner in descent – with the ārōha-avrōha being:
‘srgmpdns - snpmgmdpmgrs’
3. Guṇḍakriyā phrases in ‘intanucu varṇimpa’ and ‘rājarājēndra cōla’

3.1. Phrases in ‘intanucu varṇimpa’
The two sources referred to for this kṛti are the notations from an Umaiyāḷapuram manuscript
and a Vālājapeṭ manuscript4. The former does not specify a ārōha-avrōha for the rāga, but the latter
mentions the ārōha-avrōha:. The two notations have a lot of similarity with minor variations in some
instances.
The following features are seen in these notations:

 Dhaivata is skipped in ascent and is present only in the phrase ‘p d p’, for example, in the
sañcāra-s
‘p d p m p m g r’
 In descent, the phrase ‘s n p d p m’ is seen in profusion.
‘s r m p n s – s n p d p m g r s’
The following sañcāra-s ‘s are also seen once each:
 Gāndhāra is not seen in ascent - the prayōga-s ‘r g m’ and ‘g m p’are not seen, but only ‘r m’ is
seen.
 The melodic range traversed in the song is between tāra sthāyi ‘ma’ and mandra sthāyi ‘ni’ (as per
the Umaiyāḷapuram manuscript).
Some audio records of this song were also referred to in this study. Even in these, though the melody
is different from the manuscripts, the features of the svara phrases are as seen in the manuscripts. The
pallavi of ‘intanucu’ and the caraṇa start with a deliberate dwelling on madhyama as per one of the
versions. See bibliography for details of the audio records.
‘n p m - p d p m’
‘s n p m – p N S’
4Please see bibliography for details of the manuscripts.

18
3.2. Phrases in ‘rājarājēndra cōla’

The notation for this composition has been sourced from Saṅsampradāyapradarśini (SSP) of
Subbarāma Dīkṣita. In this work, the ārōha-avrōha given for Guṇḍakriyā is:
’S r g m p d n s - S n p m g m d p m g r s’
The following features are seen in the notation:
 Gāndhāra is either present in ascent (e.g. in‘s r g m’, ‘R G m’ ) or skipped in ascent (e.g. in ‘S R
m’).
 The phrase ‘r g m d p ’ occurs in a few places.
 The phrase ‘p d s n’ occurs in a few places. The phrases‘d P d n s’ and‘d s r m’ also are seen once
each. Thus, ‘ni’ is mostly skipped in ascent, but is present in ascent in one case.
 In a couple of instances, we see the phrase ‘r s d’.
 The melodic range traversed is between mandra ‘dha’ and tāra ‘sa’.
 There are halts on madhyama in the caraṇa-s in the first and fourth lines at the end. The
muktāyīsvara also starts with an emphasis on madhyama.
There does not seem to be an extant practical tradition for this song, and only the notation of the song
as given in SSP was taken up for this study.
3.3. Comparison of phrases of the two songs with lakṣaṇa

From the above sections, the phrases in ‘intanucu’ seem closer to the lakṣaṇa descriptions in
the 18th-19th century texts MBC and RL, as the omission of ‘ga’ and ‘dha’ in ascent is not seen in the
other texts. Also, the svara phrases in ‘rājarājēndra cōla’ seem close to those in the late 16th/early 17th
century texts RL-S and SSA, with inclusion of ‘ga’ in ascent. However, the usage of ‘dha’ seems to be
more profuse in this song as compared to the descriptions in RL-S and SSA, with ‘dha’ occurring in
ascent and in devious phrases in the song. This usage of ‘dha’ as well as ‘ga’ in ascent is documented
in the rāga lakṣaṇa in SSP, which closely follows RL-MV. In both the songs ‘intanucu’ and ‘rājarājēndra
cōla’, ‘ga’ occurs in descent. Both the songs also indicate some focus on the madhyama, as we see that
‘ma’ is prominent in the caraṇa and ciṭṭasvara of ‘rājarājēndra’ and also the ending note of the pallavi of
‘intanucu’ in one of the versions.
4. Guṇḍakriyā phrases in other songs

4.1. Phrases in TMSSML manuscripts:
Guṇḍakriyā song notations found in some paper manuscript copies(No.s B11586 and B11575)
and microfilm copies (sourced from IGNCA-RCB, Bengaluru) of palm leaf manuscripts from TMSSM
Library, Thanjavur were examined. It was found that in all the songs, gāndhāra always occurs in descent
and also occurs in devious phrases in many instances. The other features of the svara phrases seen in
the these manuscripts can be summarized as below:
19
Sl Paper page/folio Composition Examples Examples Examples Examples

No. Manuscript of ‘ga’ of ‘dha’ of ‘dha’ of ‘dha’
(MS)/microfilm seen in seen in seen in seen in
(M/f) No. ascent ascent descent cyclic
phrases
1 MS B11586 160-162 Ālāpa ‘p n s r g N/A ‘d d P m’, ‘ ‘p d d p’,

m’, ‘s r s r g n s d P m’ ‘m d d p’,
m P’, ‘ g m ‘m d m g M
pnS–rg m’
s n’
2 MS B11586 162 ṭhāya ‘g m p p s s N/A ‘d P pp m P ‘g m d p G

s ‘, ‘ g m P’, pp’ ‘d d d p r s’
‘g m p n S’ P m r’
3 MS B11575 285-286 ālāpa ‘g m p’ ‘ g ‘m p d s s’. N/A ‘d d p m p’,

m p n s’ ‘d d s sS s’ ‘ m m d p’, ‘
m d d p’, ‘m
d p m’
4 MS B11575 286 gītā N/A ‘d d s S s n N/A ‘pmmdp

p’ m’ , ‘ d d p
m p p d s’ ,
‘mgrmd
p m g r s’
5 M/f Roll No. 352 gītā N/A N/A ‘d d d p m g ‘ d d d p g

414, Record No. r’ m P’, ‘p m
4850 d p g r S’
6 M/f Roll No. 075 ālāpa ‘g m p’, ‘g N/A ‘s s d d p ‘d p pp m m

416, Record No. m p n n p p’, ‘d d d P’ P pp’
4859 m’
7 M/f Roll No. 017 ṭhāya ‘s r g m’ N/A ‘s d d p p ‘p m g m -

416, Record No. m’, ‘d p pp d p g r s’
4860 mm‘
20
Sl Paper page/folio Composition Examples Examples Examples Examples

No. Manuscript of ‘ga’ of ‘dha’ of ‘dha’ of ‘dha’
(MS)/microfilm seen in seen in seen in seen in
(M/f) No. ascent ascent descent cyclic
phrases
8 M/f Roll No. 151 -152 ālāpa ‘g m p n S’, N/A N/A ‘m d d d p’,
419, Record No. ‘srsnSr ‘d m g M
4879 G M’ m’, ‘ P d d
p’
Though the time period of the manuscripts is not known, it seems likely that they belong to the pre-trinity
period or to the trinity period itself since the manuscripts only have ālāpa, ṭhāya, prabandha and suḷādi
notations.
In most of the svara phrases seen above, ‘ga’ is present in ascent. Also dhaivata is seen in
devious phrases not only in the formation of ‘p d p’ but also ‘m d p’, ‘ g m d p g r s’ etc. In a couple of
instances, we also have ‘dha’ in ascent. These features seem to be closer to those of the svara phrases
in ‘rājarājēndra cōla’ rather than those in ‘intanucu’.
4.2. Phrases in some 20th Century compositions:

Svara phrases of the following 20th compositions in Guṇḍakriyā have been examined in this section:
 ‘Taruṇamide’ by Tiruvattūr Tyāgarāja5
 ‘Dēvāya haviṣe’ by Muthaiah Bhagavathar 6
 ‘Pāhimām śrī varalakṣmī’ by Jayachamarajendra Wodeyar 7
The following features are observed:

i) The ārōhaṇa-avarōhaṇa is given as ‘s r m p n s – s n p d p m g r s’ for ‘Dēvāya haviṣe’ and
‘Taruṅamide’. No ārōhaṇa-avarōhaṇa is given for ‘Pāhimām śrī varalakṣmī’.
ii) ‘ga’ does not occur in ascent and is seen only in descent. In ‘Taruṇamide’, we see the phrase ‘r
g r s’ but this does not occur in the other two compositions.
iii) ‘dha’ does not occur in ascent or descent and is seen only in the cyclic phrase ‘p d p’.
iv) The melodic range traversed is from mandra ‘ni’ to tāra ‘ma’ in ‘Dēvāya haviṣe’ and ‘Taruṇamide’
and from mandra ‘pa’ to tāra ‘pa’ in ‘Pāhimām śrī varalakṣmī’.
5 This notation for this composition has been referred to from the publication ‘Saṅkīrtanaratnāvaḷi’’.
6 This notation for this composition has been referred to from the publication Muttaiah Bhāgavatara
śivāṣṭōttara mattunavagraha kṛtigaḷu.
7 The notation for this composition has been referred to from the publication ‘Śrīvidyā gānavāridhi’,
21
The svara phrases seen in the above composition are similar to those in ‘intanucu varṅimpa’ and not to
‘rājarājēndra cōla’. The ārōhaṇa-avarōhaṇa mentioned in the notations for ‘Dēvāya haviṣe’ and
‘Taruṅamide’ also is identical to that in the Vālājapeṭ manuscript.
5. Summary and conclusion

The comparisons of svara phrases of ‘intanucu varṇimpa’ and rājarājēndra cola with each other,
with lakṣaṇa descriptions, with TMSSML manuscript notations and 20th century compositions leads to
the following inferences:
i) ‘Rājarājēndra cōla’ seems to have phrases closer to lakṣaṇa descriptions in RL-S and SSA than
the later works MBC and RL.
ii) There seem to be some similarities between the phrases of the TMSSML manuscripts and
‘rājarājēndra cōla’ as given in the notation in SSP.
iii) ‘Intanucu varṅimpa’ seems to have phrases closer to lakṣaṇa descriptions in MBC and RL than
the works of the earlier period or SSP, both in the notations and in the recordings. It is also to
be noted that there are different versions of this kīrtana, but all the versions follow the same
ārōhaṇa-avarōhana and rāga phrases as in the manuscripts.
iv) The phrases of ‘intanucu varṅimpa’ and the Guṇḍakriyā ārōhaṇa-avarōhaṇa given for one of its
notations seems to exactly match those of the three 20 th century compositions examined.
v) It appears that in both the versions of Guṇḍakriyā as seen in the kṛti-s ‘rājarājēndra’ and
‘intanucu’ , madhyama has some importance.
From the above discussion, it seems likely that the svarūpa of Guṇḍakriyā as seen in svara
phrases of ‘rājarājēndra cōla’ is similar to the older version of the rāga. The svarūpa of Guṇḍakriyā as
seen in svara phrases of ‘intanucu’ seems comparatively more modern and appears to be a ‘trend-
setter’ – being copied by composers of the 20th century. It is note-worthy that among the two kirtana-s,
only ’intanucu’ has an extant practical tradition. ‘Rajarajendra’ has not had a practical tradition in recent
times and exists only in notation as given in SSP. This could possibly be the reason for the different
versions of the kṛti ‘Intanucu’ in existence and also the phrases of ‘intanucu’ being closer to the modern
version of the rāga.
6. Bibliography
Books
1. Subbarāma Dīkṣitar. Saṅgītasampradāyapradarśini. Vidyavilasini Press, 1904.
2. Hema Ramanathan. Rāgalakṣaṇasaṅgraha. N. Ramanathan, 2004.
3. Tiruvttūr Tyāgarāja. Saṅkīrtanaratnāvaḷi. Tiruvttūr Tyāgarāja, 1907.
4. Harikeshanallur M. Vaidyalingam, ed. Muttaiah Bhāgavatara śivāṣṭōttara mattunavagraha
kṛtigaḷu. Prism Books Private Ltd, 2009.
5. S. Krishnamurthy, ed. Śrīvidyā gānavāridhi. R. Rajachandra, 2010.
22
Manuscripts and unpublished sources:

1. ‘Gītādi’ MS No. B11575 and B11577 (copied volume no. 975), Thanjavur Maharaja Serfoji’s
Saraswathi Mahal Library, Thanjavur.
Microfilms from the archive at Indira Gandhi National Centre for the Arts, Regional Centre Bengaluru:
1. Roll no. 414, Record no. 4850
2. Roll no. 416, Record no.s 4859& 4860
3. Roll no. 419, Record no. 4879
web source
1. MssTe-vAlAjApETTai-Notn-F1-GOML-0031a.pdf, PDF page 20,
www.musicresearchlibrary.net(copy of‘tyāgarāja kīrtanālu’ MS No. R1583 from
Government Oriental Manuscripts Library, Chennai)
2. MssTm-BKrishnamurti-Tyagaraja-kirtanas-Umaiyalpuram-0034a.pdf, PDF page 12,
www.musicresearchlibrary.net(copy of manuscript from Tamilnadu Iyal Isai Nataka
Mandram)
Audio records of the song ‘intanucu varṇimpa’:
1. By Vivek Sadasivam recorded specifically for this study by the author.
2. By Sandhyavandam Sreenivasa Rao:https://www.youtube.com/watch?v=dzOV0CjxCkU
3. By K.B. Sundarambal:https://www.youtube.com/watch?v=ppEFozSoO1s
4. ‘Nada Inbam’ conducted by KV Ramanujan:
https://www.sangeethamshare.org/svasu/UPLOADS-0601-
0800/0631_NaadhaInbam_ConductedBy_Sri.K.V.Ramanujam/?p=svasu/UPLOADS-0601-
0800/0631_NaadhaInbam_ConductedBy_Sri.K.V.Ramanujam
5. By Sundarapalli Suryanarayana Murthy (Clarinet):
https://www.sangeethamshare.org/vijayagopal/UPLOADS-201-400/320-
Sundarapalli_Suryanarayana_Murthy-Clarinet/
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
23
Kṛti-s of Śri Tyāgarāja with different Rāga lakṣaṇa – few examples from
Vālājāpēt notations
Aravindhan T R <[email protected]>
Introduction
Though our music is mainly relied on oral tradition, textual tradition was too given an equal
importance in the past. One such textual version which speaks about the kṛti-s of Śri Tyāgarāja Svāmy
was by Śri Vālājāpēt Vēṅkaṭaramaṇa Bhāgavatar. Śri Vēṅkaṭaramaṇa Bhāgavatar, a devout disciple of
Saint Tyāgarāja hailed from Ayyampēṭṭai, learnt from the latter approximately for a period of 26 years.
Not only a disciple, he was also an ardent bhakta of his Guru. Vēṅkaṭaramaṇa Bhāgavatar and his son,
Śri Kṛṣṇasvāmy Bhāgavatar, who has also learnt from Śri Tyāgarāja has left us a legacy, handwritten
manuscripts preserved at Madurai Sauraṣtra Sabha. The transcripts of these manuscripts are preserved
at the Government Oriental Manuscripts Library, Chennai and these transcripts are the source for this
paper.
These notations are a treasure trove, as Prof Sambamurti1 had said even Tyāgarāja might have
seen those manuscripts as they were written during his lifetime. This corpus, though not a complete one
in terms of songs, gives us valuable information on the rāga lakṣaṇa and the versions that they have
learnt from their Guru. This paper addresses two of those rāgas to show how the rāga lakṣaṇa portrayed
in these notations adhere very much with the earlier treatises and differ from the presently available
versions.
1. Balahamsa
Balahamsa is considered as a rāga with catuśruti ṛṣabha (pañcaśruti) ṛṣabha, antara gāndhāra,
śuddha madhyama, catuśruti (pañcaśruti) dhaivata and kaiśiki niṣādha. Hence, it is said to be a janyā
of Harikāmbhōji or Harikēdaragaula or Kāmbhōji. It is an audava-sampūrṇa, upānga rāga. Presently,
SRMPDS SNDPMRMGS is the accepted scale for this rāga. Vālājāpēt manuscripts has three
compositions of Tyagarajar (ST) in this rāga: “Ninnu bāsi eṭla”, “Daṇdamu beṭṭanura” and “Talli tanḍrulu”.
The rāga lakṣaṇa essayed in these compositions are similar and “ninnu bāsi eṭla” is taken for discussion
here.
“Ninnu bāsi etla: is a small, but not a popular kṛti of the Saint. This kṛti is in a usual format of pallavi,
anupallavi and a single caraṇa set to ādi tāla. Vālājāpēt version is described first followed by analysis.
Pallavi of this kṛti starts with dhaivata, in the mandara sthāyi, anupallavi starts from madhyama in the
madhya sthāyi and the caraṇa from pañcama in the madhya sthāyi.
Pallavi
ḍs rm gr srgr sr s, s, ṇḍḍp.
ninnu bā si ye……. tla en tu ro….
24
ḍs rm gr mpdp mr srgr ṇs ṇḍḍp.
ninnu bā si ye……. tla en tu ro….
ḍ, sr m, gr srg, rs r, rss,
nir malā. th mu lōja nula lō …..
Anupallavi
mp dp p, pmr, sr gr m,p, d,p,
ana gasu pu… ṇya. ama rava rē………… ṇyā
mp dp mpdp pmr, sr gr m,p, d,p,
ana gasu pu… ṇya. ama rava rē………… ṇyā
ṡṡ ṡṡ ṡnd, n,p, dp ,pmr r,s, ṇḍḍp.
sana kaśa raṇ… yā sat kā… ruṇ…. yā……
Caraṇa
pp mr srgm pmr, sr gr ss ṇḍḍp.
Kanu laku chalu vachē vula kā mṛuta mu
ḍs rm gr rr sr mp dp p,
vinu rasa naka ruci mana suku sukha mu
Tanuvukānandamu galga jesi I Tyāgarājanuta pūrna kāma I
It can be seen here, that the sañcārās extend from mandhra sthāyi dhaivata to tāra sthāyi ṣaḍja
in this composition. The commonly seen phrases include NDDP, pmr, srgmpmr, sndnp, srgr, srs.
Strikingly, rmgs, the characteristic phrase of Balahamsa is not seen !! In other words, is the notated kṛti
can be called as a kṛti set in Balahamsa?
History of Balahamsa
1. Balahamsa quoted in Saṅgīta Pārijātam, Hṛudaya Kaustuka and Hṛudaya Pārijāta is a totally
different entity form the Balahamsa under discussion and hence will not be elaborated. 2
2. Balahamsa, as a janya of Kāmbhōji was first described by Śahaji in his Rāga Lakṣaṇau. Few
phrases described by him were DSRMGR, SRSNDP, RMGRSR, SRSNDP, SRGR, MGRS, and
PMR. Of these phrases, the highlighted ones are used in this kṛti unchanged.2
25
3. Tulajā considers this rāga as a janya of Kāmbhōji and he gives some phrases like RGR and
GMPMR which are worth mentioning as they find its presence in this Kṛti.2 Nowhere, RMGS is
mentioned in these two treatises is a point to be noted.
4. Saṅgraha Cūdāmaṇi (SC) by Gōvinda treats this as an upānga janya of Harikāmbhōji. The
lakṣaṇa gītam notated there does not have gāndhāra in ārōhaṇa phrases and RMGS is found
aplenty. Phrases like SRGMPMR, PDNDP are not seen, Glide towards ṣaḍja in avarōhaṇa
phrases is always RMGS, excluding a single place wherein MGRS is seen. 3
5. Subbarāma Dīkśitar, in his treatise Saṅgīta Saṃpradāya Pradarśini mentions this as an upānga
janyam of Harikēdaragāula.4 He gives in notation a gītam authored by Vēṅkaṭamakhin, a
kīrtanam of Śri Muttusvāmī Dīkśitar and a tāna varṇam and a sañcāri of his authorship.
Balahamsa also features in a few rāgamālikās notated in an appendix to Saṅgīta Saṃpradāya
Pradarśini. Phrases like SNDNP, SRS are seen in this gītam. Dīkśitar Kṛti that has only this raga
lakṣaṇa, devoid of the phrase rmgs. Subbarāma Dīkśitar mentions the phrase SRGMPMR in
the raga lakṣaṇa section; strangely this phrase, as a whole is not seen in any of the compositions
notated. But, this phrase is seen in this kṛti by Tyāgarāja !!
It is much clear from the above evidence that Tyāgarāja had followed older treatises and NOT
Saṅgraha Cūdāmaṇi as it is believed now. This can be proved for other old rāgas too. Hence, Vālājāpēt
notations serve as a vital source to disprove the existence of two schools - that of Tyāgarāja and Dīkśitar.
The remnants of this version can also be seen in a book published by Vēṅkaṭēśa Sāstri in the
year 1892 5 and a hand written manuscript in the year 1917 by PV Ponnammāl, which this author
possess.
Version of TM Vēṅkateśa Śāstri 5

Pallavi starts with dhaivata, anupallavi from madhyama and caraṇa from pañcama as we have
seen with the Vālājāpēt version. Pallavi reads as “sndp” for “nddp” (tharo). There is a second saṅgati
which reads as rmpdpmr. Pallavi ends as “sds” instead of “rss” in Vālājāpēt version. Anupallavi has a
new phrase, pdndp which is not seen in Vālājāpēt version for the word ‘rēnya’ in varēṇya. The first line
of the anupallavi also has a sangati with caturaśra pattern. Caraṇa does not have the phrase srgmpmr
for the word “caluva” in this version by Vēṅkateśa Śāstri. Instead it reads “srmppmr”. Hence, use of the
phrase “srgmpmr” was out of practice even as early as 1892.
Also, the conspicuous absence of the phrase “rmgs” is to be noted here. It can be safely concluded that
though minor differences are seen between these two versions, rāga lakṣaṇa of Balahamsa essayed by
Vēṅkateśa Śāstri is much in accordance with the Vālājāpēt manuscripts.
Version in Kṛti maṇi mālai

Kṛti maṇi mālai 6 gives the kṛti in notation with the modern lakṣaṇa, replete with the phrase rmgs.
Pallavi here starts with mandara niṣāda. Niṣāda not being a graha svara for Balahamsa is to be noted.
26
There is no “pmr” or use of gāndhāra in ārohana phrases, though phrases like “rgs”, “srs” can be seen.
So, the structure of Balahamsa has changed considerably even in the beginning of 20 CE. This shows
the value of Vālājāpēt versions, which keeps the archaic phrases intact and the need to consult these
notations to know the old raga lakṣaṇa seen in the kṛti-s of Tyāgarāja.
2. Handling of Takka rāga

Takka is mentioned even in treatises like Sadraga Candrōdaya and Rāga Māla which treat this
rāga as the one with all śuddha svaram, excluding gāndāram and niṣādha, which are of antara and
kākali variety respectively. This corresponds well to the Takka described in Śahaji’s Rāga Lakṣaṇau,
Tulajā’s Saṅgīta Sārāmṛtam, Rāga Lakṣaṇa Anubandam, Saṅgīta Sarvārta Sāram of Akalaṅka and
Saṅgīta Sampradāya Pradarśini by Subbarāma Dīkśitar. These treatises place Takka as a janya of
Māyāmālavagaula. Saṅgraha Cūdāmaṇi places this under the mela 9, Dhenuka. Unanimously, this is
considered as an upānga rāga.7 Though a rāga of great antiquity, compositions are very sparse in this
rāga. We have only two compositions, Rākāśaśivadana of Tyāgarāja and Sundaramūrthim of Dīkśitar.
Rākāśaśivadana - is a small, reasonably popular kṛti with the standard format of pallavi, anupallavi and
Caraṇa set to ādi tālam. This kṛti has three Caraṇas and dātu of all the Caraṇa is similar. In this version,
pallavi starts with mandra dhaivata, anupallavi with madhya dhaivata and Caraṇa with madhya
madhyamam. As with Balahamsa, Vālājāpēt version is provided followed by a discussion.
Pallavi
ḍ, s, gm d nd d, mg gg mgs,
rā….. Kā.. śaśi vadana i.. nkapa rā kā
Anupallavi
d, dn ,d dm gm d, md dn
nī gā …. gu ṇamu gā Rā.. dhava
n, ṡ, n, dm gm dn dm rmgs
nī kān ….. ..ta karu ṇa.. svā ..ntha
Caraṇa
m, m, rg s, gm d, n, dm
27
na mmi yu nna nija dā su laku
d, d, dn d, nd md dn n,
na mmi kala nō sagi ma.. ra dura
ṡ, ṡ, ġṡ ġṡ dd n, d, m,
ta mmi kanu lako kapā ri na nnu
gm dn dm dn ṡ, dm rm gs
daya jū ..da rā da mari yā da
Observations
i) The first observation that we make is the absence of pañcama. Both, Śahaji and Tulajā mention
about the presence of alpa pañcama. Dīkśitar’s kṛti in Saṅgīta Sampradāya Pradarśini has an
occasional use of pañcama.8 Tyāgarāja had opted for not using this alpa svaram, pañcama.
This is supported by a gītam provided by Subbarāma Dīkśitar in his treatise. 8
ii) The prayōgam seen in this kṛti are “dsgm”, “rmgs”, “mrgs”, “dnd”, “dnn”, “ndmd” and “sgsgs”.
The avarōhaṇa phrases can never be “mgrs”; it can only be vakra phrases like “mrgs”, “rmgs”
to cite a few. Also the phrase “srgm” can never be seen in this rāga.
iii) The rāga lakṣaṇa prescribed in the earlier treatises is completely seen in this version. Many
phrases employed in this kṛti can also be seen in ‘Sundaramūrthim’ of Dīkśitar and in the gītam
given by Subbarāma Dīkśitar.8 The argument that Tyāgarāja followed Saṅgraha Cūdāmaṇi and
this composition which was sung in the Takka of Saṅgraha Cūdāmaṇi, as a janya of mēḷam 9
has been changed to janya of mēḷa 15 is baseless, as Takka of Saṅgraha Cūdāmaṇi has lot of
pañcama prayōga-s and the melodic structure in the lakṣaṇa gītam provided there is different.9
iv) Second prominent observation that can be made is that the pallavi runs only for a single
āvartanam, contrasting the present version which runs for two āvartanam.
v) In the version given in Kṛti Maṇi Mālai,10 pallavi starts with ṣaḍja, anupallavi from madhyama
and Caraṇa from pañcama. Caraṇa, starting from an alpa svaram is definitely an aberration.
Though phrases like MRGS can be seen, Takka defining phrases like “sgsgs”, “dsgm” are not
seen.
To conclude, Takka portrayed in the Vālājāpēt version is much simple and more closely follows
the lakṣaṇa of gītam and Dīkśitar kṛti given in Saṅgīta Sampradāya Pradarśini than the version given in
Kṛti Maṇi Mālai. Fortunately, only one version of this kṛti can be heard now and that version does not
highlight the striking phrases of Takka and sounds more like Māyāmālavagaula.
28
Conclusion
Analysis of Vālājāpēt notations yields us many valuable finding on the rāga lakṣaṇa seen in
Tyāgarājar kṛti-s. A study of these kṛti-s show that the rāga lakṣaṇa handled by Tyāgarājar and Dīkśitar
are to be same with respect to these two old rāgas. Further analysis of other kṛti-s will be done.
References
1. Sāmbamūrti P (1947): The Vālājāpēt manuscripts. The Journal of Music Academy, 114-129.
2. Hēma Rāmanāthan (2004). Rāga Lakṣaṇa Saṅgraham. p 174-78.
3. Subraḥmaṇya Śāstri (1934): Sangraha Chudamani of Govinda. p 143.
4. Subbarāma Dīkśitar (1904): Saṅgīta Sampradāya Pradarśini (Tamizh edition) p.637-39.
5. Vēṅkateśa Śāstri TM (1892) : Saṅgīta Svayam Bodhini. p 88-90.
6. Raṅga Rāmānuja Ayyaṅgār (1964): Kṛti Maṇi Mālai, part 1 – p 327.
7. Hēma Rāmanāthan (2004). Rāga Lakṣaṇa Saṅgraham. p 1446-52.
8. Subbarāma Dīkśitar (1904): Saṅgīta Sampradāya Pradarśini (Tamizh edition) p.146-49.
9. Subraḥmaṇya Śāstri (1934): Saṅgraha Cūdāmaṇi of Gōvinda. p 29.
10. Raṅga Rāmānuja Ayyaṅgār (1965): Kṛti Maṇi Mālai, part 2 – p 208.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
29
Sampoorna rasa in Trinity compositions for dance

Chamundeeswari Kuppuswamy and Balakrishnan Raghavan <[email protected]>
Objective and Scope

In this paper, we suggest new ways of looking at the adaptability of the compositions of Tyagaraja and
Muthuswamy Dikshita by exploring various rasa-s that could be portrayed in these compositions through
dance. By tracing how dancers have used Sri Tyagaraja and Sri Dikshita’s compositions, musical
beauties (including lyrics, prosody, melody, rhythm etc.) are explored for adapting to dance. The second
part of the paper identifies two exquisite kritis of Sri Dikshita, which are eminently amenable for
expression in sattvikha abinaya, but are not commonly performed. The paper concludes with
establishing the suitability of the kritis of Tyagaraja and Muthuswamy Dikshita for dance, amply
illustrated by the already existing choreography of some of these compositions that create the
experience of various rasa-s, and that there are possibilities of more of their compositions being
explored in a similar manner to add to the repertoire of compositions that are ‘danceable’.
In musing about music for/and dance, two questions surfaced. Could dance be the stimulant for music
or is it always the other way around? Put another way, what is the contribution of dance and dancers
to the formation of music or on musicians? And a corollary to this would be, did the music come first or
did the dance? Some of these thoughts find space when focussing on Dikshita’s particular innovative
contributions to Carnatic music, and their affinity to dance.
Introduction
A number of compositions of Sri Tyagaraja and Sri Muthuswamy Dikshita feature in the Bharatanatyam
repertoire. The unique contribution of dancers engaging with trinity compositions is that they are able
to see the rainbow of rasas in their compositions and bring them out in their performances, thereby
enhancing rasanubhava. Dancers and choreographers such as Gurus Kalanidhi Narayanan, Adyar
Lakshmanan, C V Chandrashekar, Ananda Shankar Jayant and Lakshmi Viswanathan and others have
explored Trinity compositions such as Ragamalika ‘Simhasana-sthite’, a Daru Ni sati,
Kanchadalayadakshi, and Ardhanareeshwaram of Muttuswami Dikshita, Ksherasagara, Saadinchane,
Nannu vidachi, Iti janmam, Maa janaki of Tyagaraja, and ballets Tyagaraja Ramayanam and Nauka
Charitam. Part one of this paper looks at the multiple interpretations of Tyagaraja compositions that
dancers have brought to the fore8.
For dancers, music and musicality is an inherent part of the ideal training that is imparted, and therefore
coproduction of music and dance is inevitable, but for musicians, it may not be seen to be so. Not so,
8 Reference is made to dance performances of these krithis which are available for viewing online, at the time of
writing this essay. References to the online links are provided alongside, with minimal elaboration of the context,
so the reader is recommended to first watch the pieces before embarking on the reading of the commentary.
30
in the case of Muthuswamy Dikshita. His deep, layered and sated masterpieces bear signs of the
influence of dance, as one among the many influences embedded in them. The second part of this
paper will explore this influence and the bhavas in Dikshita’s multifaceted compositions through
compositions such as Roopamujoochi and Minakshi me mudham. The use of ragamalika, play with
yatis, the exquisite illustrative nature of his poetics, his subtle nayaka-nayika delineations, his
rootedness in Hinduism, makes Dikshita a classical dancer’s inspiration. The last section of this paper
will identify Dikshita’s compositions that have as yet not been danced, but have enormous scope.
Sri Tyagaraja Compositions in Bharathanatyam

A number of Tyagaraja compositions are popular among Bharathanatyam dancers. Ksheera sagara
shayana (Ragam Devagandhari, Talam Adi) is a lilting piece on Lord Vishnu, who resides in the ocean
of milk. Tyagaraja cries out to him to relieve his suffering. Citing examples where Lord Vishnu has
rushed to the help of others, he asks why he, Tyagaraja, is not the recipient. Yatin Agarwal’s
performance to Guru C V Chandrashekar’s choreography (Agarwal 00:00:20) for this is an elaboration
of the vakyartha (phrase meaning) using sanchari bhava (transient expression). The charanam
captures the emotion of the famous Mahabaratha episode wherein the cousins enter into a game of
dice and come to the humiliating point of pawning the ‘maana’ (honour) of their wife. And Lord Vishnu,
as Krishna, comes to her help.
Naarimaniki Jiralicchinadi Nade Ne Vinnaanura
I have heard of how you protected the honour of Draupadi by making her saree unlimited!
In an episode that passes by quickly in the song, the rasanubhava is deepened when explored through
sattvikha abinaya in Bharathanatyam. Cunning, guile, chiding, challenge, hope, hopelessness, sorrow,
defeat, anguish, pride, joy, are all expressed in a short span of 4 minutes, resulting in heightened
rasanubhava (Agarwal 00:06:10). To take one through this gamut of emotions via exploring this single
line of lyrics is only possible through dance! While the sahitya refers to the incident in a pithy way, the
repetitions of the lines in music, the ragabhava and the elaboration of the artha bhava through the body
and emotion of the dancer fully place the audience within an emotional space that the dancer
commands, this leads to rasanubhava in the audience. The use of mudras is a special feature of
Bharatanatyam, the variety and dynamism with which such prayoga happens contributes a lot to the
sancharis.
In this above exposition, the vyabhichari or sanchari bhava plays a role in creating the rasa. As Bharatha
says in the Natyashastra
Vibhava Anubhava Vyabhichari samyogat rasa nispattih (Rangacharya 55)
(Rasa is produced by a combination of vibhava, anubhava and vyabhichari bhava).
In contrast to this above dramatic account of sahitya in ksheera sagara, the abinaya expression in Tera
teeyaga radha, ragam GowLipantu, Adi thalam by Srelakshmy Govardhanan (00:00:19). is strong, yet
the little anghikha (body) abinaya and a lot of sthayi bhava (which is sokha or sorrow in this piece) make
the rasa (karuna) reach a higher level of anubhava. This sattvikha abinaya rendering uses mudras in
31
an esoteric way (Govardhanan 00:00:56). Mudras themselves are abstracted symbols, and in sattvikha
abinaya, they are even more abstracted. Any mudra would do, and yet the emotion is conveyed. In Tera
teeyaga radha, Sri Tyagaraja is at his beseeching best to the most auspicious of Lords, the Tirupathi
Venkatesa. The mumukshathava (a yearning desperation) of a devotee is well captured by Sri
Tyagaraja in his pithy opening line, very well embodied by the dancer in her deep sthayi bhava of
shokha (Govardhanan 00:01:06).
Tyagaraja Ramayanam is a solo dance drama stringing together
various Tyagaraja krithis, envisioned in a book 'Thyagaraja Kriti
Ramayanam' by Sri D Seshadri and embodied in dance by Dr.
Ananda Shankar Jayant Tyagaraja Ramayanam (Jayant 00:07:58)
and others such as Dr. Annapoorna Kuppuswamy (Kuppuswamy 1,
00:03:03), presenting it at newly burgeoning Tyagaraja festivals such
as Salethil Thiruvaiyaru, Chennaiyil Thiruvaiyaru and the most
established, Cleveland Aradhana festivals. Such elaborate
Tyagaraja festivals are the perfect venues for both musical and
dance explorations of this master and doyen of the Bhakti movement.
Sogasuchooda tharama expressing vismaya bhava (Jayant
00:13:01) (Kuppuswamy2, 00:08:39), Uyyala looga vaiyya in Figure 1: Tyagaraja Ramayanam Dr.
Annapoorna Kuppuswamy at Salethil
vatsalya bhava (Jayant 00:17:08) the charanam muni kanu saiga Thiruvaiyaru PC: P.Gowtham
delisi shivadhanuvunu viricE in Alakalalladaga in utsaha bhava

(Jayant 00:29:34), Sita kalyana vaibhogam (Kuppuswamy 3, 00:00:01) (Jayant 00:31:42) and, the
charanam Bangaru medi panbupai bhama mani janaki in Ramabhi rama manasu ranjilla in rati bhava
(Jayant 00:33:54) (Kuppuswamy 3, 00:02:02), Sandehamu theerpavaiya (Jayant 00:36:26)
(Kuppuswamy 4, 00:00:28) and Oka mata oka bana in mati bhava (Jayant 00:42:51) (Kuppuswamy 5,
00:00:07), Entha nenne varaninthunu sabari in vismaya bhava (Jayant 00:44:53) (Kuppuswamy 5,
00:03:26), Marukela ra in shoka bhava (Jayant 00:48:38) (Kuppuswamy 6, 00:01:08), Aparama bhakti
in harsha bhava (Jayant 00:53:21) (Kuppuswamy 6, 00:04:47), Sarasa sama dhana in utsaha bhava
(Jayant 00:56:35) have been brought together in the mixed natya style. The emphasis on dramatic
abinaya is clear in the ekaharya presentation of Dr. Jayant, which is more muted and subtle, in Dr.
Kuppuswamy’s interpretations. The bhavas mentioned here are known as Vyabichari or sanchari
bhavas and are neatly summarised by Dr. Rao in his commentary on padams. (Rao xvii)
Tyagaraja and Sringara rasa

In this section, we take up the claim by critic, archivist and abinaya student Shri V A K Ranga Rao that
some songs of Tyagaraja are javalis (The ARTery Live! 00:15:19). Javalis are quicker in tempo, are
sung in attractive ragas, their language is direct, and unambiguously sensual or erotic. A rather beautiful
explanation of the word Javali is as follows, jya-aavali, meaning the continuity (aavali) from a bowstring
(jya), possibly of Manmatha.
Entha muddo, enta sogaso in Bindumalini
32
Endu kowgalinthu ra in Suddha desi (Shri Rao is in possession of a record sung by a Devadasi
in 1927)
Chinna nADe naa in Kalanidhi
These songs above mentioned resemble javalis in their prosody and their content, according to Shri.
Rao.
In Entha mudhu, Sri Tyagaraja says
How charming and how elegant is He! Whoever is capable of describing! No matter how great
people are, they became besieged by thoughts of lust. Being slaves to lust, they fear their
mothers-in-law; yet, they pretend as true devotees of the Lord. Much like jug knowing the taste
of milk! How charming and how elegant is He - praised by this tyAgarAja – who bears burden
of the Universe! Whoever is capable of describing!
In Chinna Natane, he says
Have you not taken me, clasping my hand from my childhood and accepted with grace
numerous services from me? You had assured me of your care and protection to the last. Now
it looks as if you are in two minds, unable to decide if you should accept me or abandon me to
my fate. Please help me to uphold my self-respect at least as a devotee of yours. Oh Ocean of
virtues! Transcendent Lord!
In javalis, often the nayaka and nayika are described, their beauty and its effect, and their relationships
are discussed. Tyagaraja refers to both the beauty and its impact in Entha mudhu. In Chinna natane
the relationship between individuals is referred to. Both songs are based on the Nayika-nayaka bedha.
However, if one doesn’t read carefully, Entha mudhu could be read completely didactically. Entha
mudhu however, puts sensuality in a didactic context. Whereas Chinna natane is a direct appeal
between the nayika and nayaka, alluding to a relationship between them.
The didactic language in Entha mudhu is perhaps what obscures its javali nature. Otherwise there are
lyrics in there which could belong in a javali.
Writing about such content, according to Guru Kalanidhi Narayanan,

‘there is a tendency to think that these pieces deal with mundane passions and are hence unsuitable
for exposition from the dias by serious minded persons. A careful examination of these pieces
establishes one thing beyond doubt. They have observed life in the raw and transmuted base passions,
base experiences into the gold of art, by the sheer strength of their artistic vision’ (Narayanan 78).
To Guru Kalanidhi, all javalis are both sensual as well as didactic, as she also says ‘Dance is considered
a way of devotion. Abinaya especially takes you very close to the Almighty’ (Narayanan 20).
From such a standpoint, the difference between, say Yera ra ra or Samayamidhe ra ra javalis and
Tyagaraja’s abovementioned compositions is that of overt and covert didacticism. While javalis are
covertly didactic, Enta muddhu or china natane are overtly didactic.
Unfortunately, this short paper does not allow for further exploration into this analysis.
33
Sri Muthuswamy Dikshita and dance

Muthuswamy Dikshita, the most exciting of the Trinity, from a dancer’s point of view, has coproduced
music and dance. For dancers, music and musicality is an inherent part of the ideal training that should
be imparted, and under such circumstances, coproduction of music and dance is natural, but for
musicians, it may not be seen to be so. Not so, in the case of Muthuswamy Dikshita. His deep, layered
and sated masterpieces bear signs of the influence of dance, as one among the many influences
embedded in them. It has yielded rich results, evident in his compositions.
Given Dikshita and his family’s association with dancers of the time, it can be said that that Dikshita’s
music has been influenced by the environment he lived and worked in, and that included dancers. These
were dancers, who engaged with music, who learnt and internalised it for their choreographies and who
were active listeners to musicians and vaggeyakaras. Some of them were musicians themselves.
Through Dikshita, we can trace how Bharathanatyam contributed to Carnatic music, during a certain
period in time. And vice versa too, however this is out of scope of this paper. Culturally, dance, dancers
and custodians of dance have contributed immensely to Carnatic music. In Thiruvaiyaru, not far from
Tiruvarur, Bangalore Nagarathnamma, the danseuse-musician, supported and reestablished the
Tyagaraja Aradhanai (Sriram 98), many years after the time of the Trinity.
Sri. Muthuswamy Dikshita was a music teacher at a dance school in Tanjavur, the Tanjavur Nrityalaya.
Being a teacher at Tanjavur Nrityalaya would have helped him think illustratively. He had a number of
illustrious dance disciples like Sivanandam, Ponnayya, Chinnayya, Vadivelu (the famous Tanjore
Quartet) and Thambiappan. More than Sri Dikshita, his father Sri. Ramaswami Dikshita was immersed
in dance through the temple in Tiruvarur. And growing up, Sri. Dikshita learnt to hold dance in high
regard, rubbing off from his dad. Muthuswamy Dikshita records his high regard for the devadasis who
dance for the daily worship of Tyagaraja by his use of the word vimala – spotless in the passage ‘vimala-
rudra-ganika-nartana-vinoda-bheda-modakarasya’ which means Tyagarajeswara is delighted by the
varieties of dance forms presented by the pure rudra-ganikas (Keerthi).
Perhaps the most telling in terms of his pandithyam (scholarliness) on dance is the apparent praise
from the senior Quarter figure Sri Ponnaiyya. In a song composed by Sri Ponnaiyya that refers to
Dikshita-Guruguha, in Purvikalyani, he says ‘‘Satileni guruguhamurtini ne Anatiyunna namminanu…
AdalO bahu-dhirudE’- ‘I have reposed my faith in the peerless Guruguhamurti, ever since the day (I
saw him)… He who is very talented in dance’. For Ponnayya, the most illustrious dance master of his
times to refer to Dikshita as dalo bahu-dhirude, very accomplished in dance is not to be taken lightly.
Therefore Sri Dikshita, true to the environment he grew up in, composed in and was interested in, should
have attained a level of proficiency in the art of Bharathanatyam and its integrally allied fields of
nattuvangam, abinaya, history etc. Dikshita was a traveller, captured not just music, but history and the
inner most secrets of a civilisation.
34
Complex diversity
Dikshita’s tendency to bring variety through complexity is much to a dancer’s delight. Two such pieces
are Roopamu joochi (Ragam Thodi, Talam Adi) and Minakshi me mudham (Ragam Poorvikalyani
Talam Adi), are particularly popular among dancers.
Roopamu joochi has been choreographed by the famous Guru Rukmini Devi Arundale of Kalakshetra
and is danced often and perhaps needs no further elaboration. An elaborate analysis of all aspects of
this choreography forms the subject matter of an M Phil thesis (Rao) but this excludes the abinaya
aspects of the varnam. The exacting nature of rasanubhava through bhava delineations of the nayaka
and nayika is seldom discussed, so that is the subject of a very brief statement herein on nayika and
bhava delineations. The nayika is a Virahothkanditha nayika, potentially Mughdha, expressing transitory
or sanchari bhavas cinta (sorrow), harsa (joy), dhrti (courage) visada (despair), mati (knowledge), out
of Bharatha’s listing of 33 sanchari bhavas. This analysis is based on the artha –abinaya as provided
in Kunjamma.
Minakshi me mudham exemplifies Muthuswamy Dikshita’s ability to paint a picture. Starting with her
eyes (Meenakshi, meenalochani), then her face (vadane vidambana vidhu), her arms (mani valaye),
her radiant skin (marakata chaaye), and her waist (shaath udari), which all captivate (vashankari)
Dikshita interweaves a picture of her beauty with the qualities of nobleness through describing her
knowledge, as the knower (“maana”), the knowledge (“maatru”), the known (“meye”) and also the
means of knowledge (“maaye”), an adept in music ( dasha kriye), is compassionate (“hrudaye”).
removes (“mochani”) all bondages (“pasha”) of the world. She is the eternal one (“maanini”), who
resides (“vaasini”) in the forest (“vana”) of Kadamba, She is the victorious one (“vijaye”) and she is the
beloved (“priye”) of Mahadeva-Sundaresha. A dancer automatically gravitates towards this piece,
because of the descriptive quality of the lyrics. Using analogies liberally, he brings forth the Goddess
vividly. Those features that are tangible such as her physical beauty are juxtaposed alongside her
qualities and exploits. Sringara rasa is created in this piece through the bhavas of rati as sthayi, and
moha, harsha, jadata, mati, vitarka as sanchari bhavas.
Yatis
A musical aspect of Dikshita’s composition, which is uncommon to most musical compositions but very
common to dance is the use of yatis by Dikshita. Every dancer learns yatis and uses it constantly. Sama
yati, mridanga yati, damaru yati, gopuchayati, shrothovahayati are common yatis in dance jathis and
they are translated as sollus - tt ktt tktt tdktt or GT TGT ThTGT ThDTGT .
tharikita thom
kitathaka tharikita thom
thak kitathaka tharikita thom
thaka dhiku kitathaka tharikita thom
or
Gina Thom
Thadin Gina Thom
35
Thaka Thadin Gina Thom

Thaka Dhiku Thadin Gina Thom
There are at least twenty-two odd songs that feature Sri Dikshita referring to dance either directly or as
the deity of the song being proficient in dance or as enjoying the performance of dance in their august
presence (Keerthi). On the one hand it is true that Sri Dikshita does not display any technical aspects
of dance in these songs of his,
In Abhayamba jagadamba (Kalyani), bhavaraga-tala-visvasini; in Ananda-natana-prakasam (Kedara),
divya-patanjali-vyaghrapada-darsita-kuncitabja-caranam & sangita-vadya-vinoda-tandava-jata-bahu-
tara-bheda-codyam, in Nilotpalambikaya (Kannadagaula), hallisa-lasya-santustaya
However there are other instances through which this opinion might come to be toned down.
Nattuvangam as a discipline is something a dancer learns after arangetram, and that too only if she or
he has perceptive mentors. The different types of yatis are part of the training in Nattuvangam (Kamala
Rani 5), the fact that he has used more than one type of yati in his krithis signifies that he has sat
through or became familiar with these utterances as special cadences that are used in jathis, something
only advanced bharathanatyam artists learn about. This presents his dance knowledge and involvement
in a different light to the earlier statement.
Yatis Dikshita has used in his krithis are as follows:
gOpucha yati In shrI varalakSmI namastubhyam (shrI):
shrI sArasapadE
rasapadE
sapadE
padE
Damaru yati in tyAgarAja yOga vaibhavam (Anandabhairavi):

tyAgarAja yOga vaibhavam
agarAja yOga vaibhavam
rAja yOga vaibhavam
yOga vaibhavam
vaibhavam
bhavam
vam
srOtOvAha yati:
svarUpa prakAsham
tatvasvarUpa prakAsham
sakalatatva svarUpa prakAsham
shivashaktyAdi sakala tatva svarUpa prakAsham
36
Illustrative quality of lyrics

Dikshita’s krithi on the adorable child Krishna, Chetah Sri Bala Krishnam (Ragam Jujaavanthi, Thalam
Rupakam) is a lesson in envisioning a character. One might even say, a form of meditation.
O mind, worship the child Krishna, the one whose lotus-feet give all desired objects, the giver
of liberation.
The one whose body resembles a fresh cloud, the child of Nandagopa, the one wearing yellow
garments, the one whose neck is shapely like a conch, the upholder of the Govardhana
mountain, the one who slayed Putana and other evil-doers, the incarnation of Purushottama
(Vishnu), the one whose pleasure-ground is the hearts of sages which are cool (ie. passion-
free), the spouse of Rukmini.
The one whose mouth bears the smell of fresh butter, the soft-spoken one, the one whose eyes
are like lotus-petal, the one reclining on a Banyan leaf, the one whose nose is shapely like a
Champa flower, the one who is radiant like the flax flower, the one bowed to by Indra and the
other seven protectors of the eight directions of the world, the one wearing a deer musk Tilaka
on his forehead, the one wearing fresh Tulasi and Vanamala garlands, the one encircled by
Rishis like Narada, the guardian of the worlds, the cowherd extolled by Guruguha.
If this is not an illustrated life history in sound, what is?
In the ragamalika composition Simhasthnasithithe, Sri Dikshita brings majesty and magnificence with
grace when he proclaims Simha sthanasthithe Sundara GuruGuha nuta Lalite
O one seated on a throne, O one praised by the handsome Guruguha, O Goddess Lalita, the
graceful One.
Sri Dikshita’s compositions are rife with references from the Lalitha Sahasranamam, and here he
addresses Lalitha herself. This composition has been dance choreographed by Guru Adyar
Lakshmanan (Jaya U 00:00:42). Sri Dikshita personally professes his devotion to her, I, Chid- Ananda-
natha (The Diksha name for Sri Dikshita) salute you repeatedly. And he stresses her speciality by
repeating ‘Mangala’ her auspiciousness. If in text, there is a need for repetition to make his point,
through dance this becomes infinitely easier to depict bhava and elicit rasa, bypassing the need for
repetition of words.
O one whose two feet are worshipped by all Gods, led by Brahma, adored by the supreme
devotee Parashurama, O Goddess Bagala!
O auspicious one - praised by Vishnu (Lord of Lakshmi), O auspicious one saluted by poets
and enlightened people, O auspicious one to the group of Shaktis like Mantrini and Dandini.
O one worshipped by Hayagriva and Agastya (born from a pitcher), O ever auspicious one, O
unsurpassed beneficent auspicious one, embodiment of new and manifold kinds of
auspiciousness.
And finally, Sri. Dikshita composed a daru (Govindan) in Telugu for the arangetram of his student
Kamalam. It embraces nayaka-nayaki bhava. Ni sati Deivamendu in ragam Sriranjani shows the nayika
yearning for her Lord, Sri Tyagesa of Tiruvarur.
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There is none equal to you. Thus thinking, I have given my love to you. I am yours, accept me.
On you, having placed much love and longing, thought and praise, I have really come here with
a mind fully enamoured by you, I have come seeking your love.
Dikshita’s Rasa Theory

In fact, we venture here to postulate a theory on rasa based on Sri. Dikshita’s krithi Sringara
Rasamanjari. There are number of theories of rasa discussed in literature, poetics, and in the
Naytashastra. One that is of particular interest here is the notion that ‘the life of all flavour (rasa) is
wonder’ hence the only rasa to be acknowledged is ‘the Marvellous’ (Ballantyne and Mitra, 41).
The krithi Sringara Rasamanjari is in raga Rasamanjari in the Venkathamukhi tradition, and raga
Rasikapriya outside of it).
We ask the question, what does sringara rasa mean in terms of sound? Dikshita provides an answer to
this, a starting point of exploration into the sringara purely through sound. He says in the krithi Sringara
rasa manjarim that Goddess Kamakshi is
‘a cluster of blossoms of love’
As in she personifies the rasa, and he has articulated his experiential visualisation of this in this phrase
through this krithi. And in such a state she is pleased by the seventy two raranga ragas.
‘‘dvisaptati-raganga-raga-modini m matanga-bharata-vedinim’
Thereby denoting that this most complex of flavours, Shringara-rasa is attained through the 72 ragas.
And as if to endorse these through the highest of authorities, he states that this form of the Goddess in
Shringara is understood by the peerless dance guru of yore, Bharatha, and by himself who he proclaims
as rasika pungava – the foremost among rasikas!
On the one hand, the status of a rasika is most privileged, on the other it feigns his vast natya
knowledge, which we are sure permeates through his krithis. A deeper and most extensive enquiry is
warranted into this feature of elucidation of a ‘nadarasa theory for dance’, something which we again
have to put off for a later paper.
Two Dikshita compositions suited for dance

In this section, we illustrate two krithis, namely Kadambari Priyayai and Arunacha natham, and explain
why they are eminently dance-able, and why dancers who pick them up for choreography might find
them to be exciting material.
A krithi that is beautifully suited for an exploration as a padam in a Bharathanatyam recital is Kadambari
Priyayai (Kumar 00:00:03). It brings nature and Shringara rasa together beautifully. Dikshita krithi kala
pramana is particularly suited to adapting them for abinaya. D. K. Jayaraman, in a lecture on Dikshita
krithi, even likens the pace of Kadambari Priyayai to that of Kshetrayya’s haunting krithi Ninnu Joochi
in Punnagavarali (Rajasekharan 00:00:24:58). ‘Salutations to you, O, the One who is fond of the mead
of Kadamba flowers, the one who is in the Kadamba forest. The expert in the granting of the gift of
sweet speech and poetry, the causer of enchantment to Shiva’ says Dikshita in Kadambari Priyayai.
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The lyrics are ripe for the picking to execute hastaabinaya and mukha abinaya, with a liberal sprinkling
of anghika abinaya. Dance pieces on Saraswathi are rare and this one would rack up the numbers for
this deity.
Even superior to this krithi in terms of its value for sattvikha abinaya exploration is the pancha bhuta
krithi Arunachala natham. It is superior in terms of scope for choreography because it incorporates
sringara beautifully. One can clearly delineate a sthayi bhava and vyabhichari bhavas. The nayika is a
swadheenapathikaa/bhartrikha, a sviya, in Sambhogha. The vibhavas or determinants are the nayaka
Arunachaleswara and his nayika/consort Apeethakuchamba, meaning, the one whose breasts are
unsuckled, denoting they had only each other to satisfy. An even closer union is purported through the
Maharishi Sri Ramana’s story of the Goddess Apeethakuchambha. He says, the Goddess Parvati
performed austerities around the Annamalai hill and finally merged into Shiva as half of his body and
came to be known as Apeethakuchambha. This story narrated by Ramana Maharishi is an exquisite
and unique sanchari bhava for the dancer. It is especially when combined with this beautiful image of
tender sringara that the author Bhanudatta paints in his epic work Rasamanjari, where he invokes Lord
Shiva as Ardhanareeswara, saying the Lord is ever so careful in not discomforting his Devi who is with
him on his left (vamabhaga), placing his right foot first on the uneven surface where he has spread his
tiger skin so that she can follow on trodden ground, which is softer and more palatable, he plucks flowers
for her with his right hand, and when he lies, he carefully turns to the right and lies on the right side so
as not to burden her with his weight (Bhanudatta 4).
Before going into the anubhava or factors that support in the creation of rasa, a narrative for sanchari
elaboration is provided here. ApItakucAmba samEtam – in the company of the Goddess whose teats
are yet to be suckled. The Arunachala Mahatmyam has it that after the slaying of Mahisasura, Durga
observed penance in Arunachala and pleased with her, the Lord appeared as a fiery linga and united
with her. She is apItakucAmba as she is newly married and has not yet had children. The Lord here is
said to be ardhanArIsvara, one whose half is feminine and so he is ever in the company of the Goddess.
Bhringi was a devotee of Shiva who did not recognise Parvati and so ignored her while
circumambulating the Lord. Parvati came and stod very close to Shiva whereupon Bhringi turned into
an insect and circled Shiva alone. Finally Shiva gave Parvati one half of his body and also granted
salvation to Bhringi. The special status given to Bhringi annoys Parvati who quarrels with the Lord. This
is celebrated in the Oodal utsavam in the month of Thai (Jan/Feb) at Tiruvannamalai. In her Letters
from Ramanasramam, Suri Nagamma has Bhagavan Ramana give another reason for the quarrel.
Parvati and Shiva played a game of dice in which Shiva lost whereupon Parvati and her companions
needled him. Tempers flared and the divine couple separated and came together later (Sriram).
Anubhava or factors that support in the creation of rasa are in this case, the agni or fire. The nayaka
and nayika Arunachaleswara and Apeetha kuchambha are together amidst effulgence and are aglow.
This site of Tiruvannamalai is known as the agni kshetram. Rakaaram (the sound ra used in this krithi
is ra-kaaram) not only denotes agni, but also sringaaram. The fire of desire is therefore visible in His
self and everything around, thus in the charanam, the phrase aprameyam aparnabja bringham denotes
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sringara. In this line, Apeethakuchamba is referred to as Aparna – Aparna denotes a leaf, a reference
to the time when the Goddess went on penance for her Lord without partaking anything, not even a
leaf. In turn, the Lord is devoted to her, Aparna, who if she were a lotus, He would be the bee. He is
around her just as a bee, mesmerised, goes around in circles around a lotus flower (Aparna-abja-
bringham). This is a clear illustration of the rati bhava of the nayaka and nayika. The rakaarams used
in the song provides the musical anubhavas. Vijay Siva, in his lecture on the pancha bhuta krithis (Siva
01:08:25) counts 32 rakaarams in this krithi! This is the genius of the great vaggeyakara that Sri Dikshita
is, in that the words/lyrics and the tune are all set in harmony with the bhava, he is a dancer’s musician
indeed!
Of the pancha bhuta krithis of Sri Dikshita, Ananda Natana Prakasam (Raga Kedaram, Thalam Misra
chapu) has been danced, Guru Leela Samson’s composition is one to watch (Pizza 00:00:19). While
this krithi is steeped in bhakti bhava, sringara rasa is evident in the agni linga pancha bhuta krithi.
AruNAchala nAtham smarAmi aniSamapeeta kuchAmba samEtam is the only one of the pancha bhutha
krithis that is based on sringara. Sringara is considered the raja rasa, the king of all rasas, this krithi is
eminently suited to sattvika abinaya exploration. Dikshita brings out the nayaka-nayika bedha in its
fullest expression. Dikshita’s brilliance unfolds as we go deeper into this krithi. The sheer beauty of this
piece lies in the fact the nayaka-nayika bedha is ensconced within a larger bhava of madura bhakti,
wherein the Jeevatma and Paramatma are in union. This is a theme often found in the abinaya of the
late queen mother of abinaya Smt. Kalanidhi Narayanan’s choreographies. In Bhagvan Ramana’s
words, this ethos is expressed when he sums up the female force as the sum total of all creative forces
(agni, vayu, aakasha, prithvi and jala) ‘In Arunachala, Lord Siva remains ever motionless (achala), and
hence Sakti automatically and effortlessly merges in him through great love. Therefore, Arunachala
shines as the foremost and most powerful kshetra, because here Sakti, who has seemingly created all
this manifold appearance, herself merges into the Lord. So for those mature aspirants who seek to put
an end to the false appearance of duality, the most powerful help is to be found only in Arunachala-
kshetra.' (James 75-84). This later became the first verse of Sri Arunachala Navamanimalai of Bhagvan
Ramana. In this verse he says:
Though he is truly motionless by nature, in the court [of Chidambaram] Lord Siva dances before
Sakti, thereby making her motionless. But know that [in Tiruvannamalai] Lord Arunachala
shines triumphant, that Sakti having merged in his motionless form.
When this song is sung in a kutcheri or a recording, no doubt the bhakti bhava evokes rasa. But while
it is danced, and while the song lines are repeated a number of times to allow for sanchari bhava and
the sringara layer is uncovered through vivid yet subtle portrayal of sambogham (togetherness) and
merger (sharanagathi) as demonstrated above, the culmination is a total immersive experience of the
krithi through sattvika abinaya. This is the value of exploring Dikshita’s kritis through dance.
Arunachaleswara nenaithal mukthi - Even if one calls to mind Arunachaleswara, there is mukthi. The
words used are smaraNAt aruNAcalam and Dikshita uses the same term (smarAmi) (Sriram). Such is
the greatness of this Lord and this Dikshita krithi simply blows everything out of the water.
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Conclusion
Sri. Tyagaraja and Sri Dikshita have given us Sampoorna rasanubhava through their paripoorna
compositions, which highlight the beauty of dance alliterations in music of the Trinity. The ample scope
provided by the kritis of Tyagaraja and Dikshita to portray different rasas, is seen in the examples of
well-known dance choreographies of some of their songs, and also in the examples of other songs not
yet explored, but dance-worthy. For a dancer to pick up trinity krithis to dance, it requires extraordinary
imagination, and stretching their powers of choreography, textual and philosophical understanding.
Alongside Annamacharya, Kshetrayya, Subburama Iyer, and Jayadeva, to name a few composers,
Tyagaraja and Dikshita should also become more commonplace in a dancer’s repertoire because great
minds such as Dikshita and Tyagaraja are revealed through their songs and krithis. So, for a classical
Bharathanatyam dancer to fully understand their art, its inner core, exploration of Trinity krithis is a
gateway to many secrets and delights. And when the dancer gets it, a treat is in waiting for their
audience!
Works-Cited List
Agarwal, Yatin. “Ksheera Sagara.” You Tube, uploaded by Yatin Agarwal, 31 May 2014,
https://www.youtube.com/watch?v=hl0j6tGoiuA.
Bhanudatta, Bouquet of Rasa & River of Rasa. Edited and Translated by Sheldon I. Pollock (General
Editor) and Isabelle Onians (Editor), New York University Press, 2009.
Govardhanan, Sreelakshmy. “Thyagaraja krithi and Mangalam.” You Tube, uploaded by Sreelakshmy
Govardhanan, 29 February 2016, https://www.youtube.com/watch?v=9ap5GxX5b2Y.
James, Michael. “The Power of Arunachala.” The Mountain Path, 1982, pp. 75-84.
Jaya, U., “Simhasana Stithe by Adyar Lakshmanan.” You Tube, uploaded by Jaya U, 11 November
2014, https://youtu.be/65bxPDG_GZY.
Jayant, Ananda Shankar. “Bharatanatyam | Thyagaraja Ramayanam | Dr Ananda Shankar Jayant.”
You Tube, uploaded by SanskritiSeries 7 March 2017, https://youtu.be/YDwKHb4F4tk.
Kamala Rani, Essence of Nattuvangam. 1st ed, Centre for the Promotion of Traditional Arts, 1997.
http://guru-guha.blogspot.co.uk/2008/01/Dikshita-telugu-kriti-nee-saati.html
Keerthi, Naresh. “Muthuswamy Dikshita and dance.” Nadasurabhi Annual Souvenir, 2013:
http://nadasurabhi.org/articles/45-Muttuswami-Dikshita-and-dance.
Kumar, Narayan. “kAdambarIpriyAyai - Mohanam - Muthuswamy Dikshithar - Vijay Siva.” You Tube,
uploaded by Narayan Kumar, 11 July 2017, https://youtu.be/zircv_TvGw0.
Kunjamma, “meaning-rUpamujUci.” 10 May 2007 Narthaki Online:
http://www.narthaki.com/barchives/messages7/1259.html.
Kuppuswamy, Annapoorna. “Thyagaraja on Rama 1.wmv.” You Tube, uploaded by Chamu
Kuppuswamy, 17 Feb 2012,
https://www.youtube.com/watch?v=QBhKFNhD8W8&list=PL49C5A8AC6857DCBD.
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Kuppuswamy2, Annapoorna. “Thyagaraja on Rama 1.wmv.” You Tube, uploaded by Chamu

Kuppuswamy, 17 Feb 2012, https://youtu.be/QBhKFNhD8W8.
Kuppuswamy3, Annapoorna. “Thyagaraja on Rama 4.” You Tube, uploaded by Chamu Kuppuswamy,
17 Feb 2012, https://youtu.be/w6m8wcR-83A.
17 Feb 2012, https://youtu.be/nON7SUtTtDg.
Kuppuswamy5, Annapoorna. “Thyagaraja on Rama 6.wmv.” You Tube, uploaded by Chamu
Kuppuswamy, 17 Feb 2012, https://youtu.be/odeqz4x51Q4.
17 Feb 2012, https://youtu.be/rDxwclRWnJ8.
Narayanan, Kalanidhi. Aspects of Abinaya. The Alliance Company, Chennai, 1994.
Pizza, Alessandra. “Kriti Ananda Natana Prakasam - Studio – Bharatanatyam.” You Tube, uploaded by
Alessandra Pizza, 14 June 2015, https://youtu.be/jlT0orsmlNI.
Rajasekharan, Shankar. “DK Jayaraman- Lecture Demonstration- Dikshita Kritis- Part-1.” You Tube,
uploaded by Narayan Kumar, 25 December 2015, https://youtu.be/A-OgDEzhOFA.
Rangacharya, Adya. “Verse 31, Chapter VI”. The Natyashatra: English translations with critical notes ,
Munshiram Manoharlal Publishers, 1999, pp.55
Rao, Priyashri V., An analysis of a bharatanatyam composition - Relation between music, drumming
and Dance movements. 1998. University of Madras M Phil dissertation.
Rao, Venugopala P., Fragrance of Padams: 100 padams with English Transliteration, translation,
nayika classification and commentary. Pappus Academic & Cultural trust (PACT), 2015.
Sriram V., The Devadasi and the Saint: The life and times of Bangalore Nagarathnamma . East West,
2007.
Sriram V., “arunNAcalanAtham of Muttuswami Dikshita.” Madras Heritage and Carnatic Music, 29
November 2012: https://sriramv.wordpress.com/2012/11/29/arunacalanatham-of-muttuswami-
Dikshita/.
Siva, Vijay. “Lec demo by N Vijay Siva on Sri Muthuswami Dikshita’s Pancha bootha linga kshetra
kritis.” You Tube, uploaded by Vijay Siva, 25 March 2017, https://youtu.be/K83dNbItH0k.
The ARTery Live! “Padams and Javalis - Lecture Demonstration.” You Tube, live streamed by The
ARTery Live, 10 September 2014, https://youtu.be/lHqc3cOM0Qg.
Visvanatha. The Sahitya Darpana: Mirror of Composition. 2nd reprint, Translated by J. R. Ballantyne
and Pramada Dasa Mitra, Motilal Banarasidass Publishers, 2016.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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An Insight into the Dancing Musical Elements of Sri Tyāgarāja Compositions

Chudamani D <[email protected]>
Relation between music and dance

According to the Indian literature the word Saṅgīta means the combination of music, musical
instruments and dance.
Gĩtam VãdyamTathā NṛṭyamTrayam Saṅgītam Uchyate
Many treatises mentioned the details of both arts and their relation between them. Nātyaśāstra by
Bharathamuni is the first text which mentioned both the art forms in it.
“It is not possible to learn the laws of dance without learning the art of dance; in order to dance, one
must know the principles of instrumental music, without a thorough study of vocal music, it is difficult to
learn instrumental music, because music is the source of all arts”- Nātyaśāstra. The following are the
treatises of music and dance which provides guidelines to both the art forms and explains their
correlation.
 ‘Nātyaśāstra’(2 century A.D) consists of 36 chapters, out of which 1 to 27 deals about origin of
nātya, construction of theatre, raṅgapūja, varieties of dance, Rasa, Bhāva, different poses of
dance, different aspects of abhinaya, costumes. 28 to 34 deals about music and musical
instruments and last two about different characters and costumes.
 ‘Saṅgithasamayasāra’ by the author pārṣhvadēva is a lakṣaṇa grantha on music and dance
which has 9 Ādi karana-s
 Saṅgītaratnākara (13 century) by śāraṅgadēva
 Saṅgītachūdāmani
 Sangĩthasaramitra- king Tulaja, brother of Śāhaji and Serfōji 1
Tyāgarāja
Saint Tyāgarāja, a pioneer musician among his contemporaries, filled his compositions with all
the elements which are allied to the dance art form. His creative and innovative contributions through
Rāga, Tāla/Rhythm, Svara, Saṅgati, opera are indirectly an asset to the dance world. Tyāgarāja, a
sahaja vāgēyakāra has composed Kṛti-s, Uṭṣavasapradāya Kīrtana-s, Divyanāma kīrtana-s, Group Kṛti-
s and Operas. All his works are made out of his devotion towards the deities he prayed. His contribution
to the world of karnataka music is a self illuminated star which spreads its rays of beam to the dance
fraternity. All his compositions are adhering to the guidelines from the literature source mentioned above,
for example Rāga – Mood mapping, characteristics of Rāga /musical play etc.
Following musical elements of Śri Tyāgarāja compositions have played a lead role to transform them
as dance numbers
RĀGA
Śri Tyāgarāja has used around 200 rāga-s more than 700 compositions. Melody is the queen
of all his compositions. Each rāga he used in his kṛti-s is mesmerizing and capable of transforming the
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status of the listener’s mind to the world of the composer. Scientifically it’s a psychic impulsion on a
human mind. Rāga plays vital role in communicating the mood of the kṛti to the audience effectively.
Mataṅga, the author of ‘Brihadēśi’ defines Rāga as group of illuminators notes with power to stir the
mind and evoke sentiments
For example:
 “śara śaraṣamarai”-Kuṇtalavaraḷi, this rāga on the selected kālapramānam capture the mood of
arrows flying from Lord Rāma-s bow
 “Chedēbuddhimanura” –Atāna, opening phrase in tãra sthāyi ṛṣhabha is very suited to the words
and emotion conveyed there. Similarly, in ‘Ō Raṅgasāyi’ the letter ‘Ō’ itself stretches for almost
half the āvarta and is an perfect choice to convey an impression of Lord Ragṅganātha laying
down on his bed in a grand manner
Rãgabhava
It is the important aspect which is well handled by Śri Tyāgarāja in all his Kṛti-s. He embedded
the core of rasa, which is mapped to the sāhitya, into the rāga of all kṛti-s. The mutual coordination
between rāga and rasa is one of the features which allow a dancer to adopt Śri Tyāgarāja compositions
into their dance movements. The Caraṇa in every work of Tyāgarāja brings the quintessence of the rāga
in both the pūrvāṅga and uttarāṅga sections. There is a special intend of his own in the structure of the
Caraṇa in every song. The joining of the sāhitya in a kṛti with the corresponding rāga is a unique skill of
Tyāgarāja. Following kṛti-s load sympathies in listener’s heart.
Epapāmu - Atāna rāga,
Karuna samudra - Dēvagāndāri
TholineJēsina - śuddha baṅgāla
Nayeda vanchana - Nabhōmani rāga
Nādupai – Madhyamāvathi
Here is the small note of Tyāgarāja’s vast and varied usage of rāga-s.
Ēka Rāga Kṛti: Gānavāridhi Dayajuchuta - Ādi - Tyāgarāja

Major rāgas:
 śaṅkarābarana - 30+ compositions
 Tōdi- 30+ compositions
 Ārabhi- 13
 Dēvagāndhāri-12
 Sāvēri- 20
 Sauraṣhtram-18
 Varāḷi-14
 Paṇtuvarāli-13
 Madhyamāvathi-15
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Rare Rāga-s/Viṇta Rāga-s/Apūrva Rāga-s: Rare rāga-s are more beautiful and attractive rāga-s which
are not heard regularly. These are very smaller and simpler than well known rāga-s.
 Śuddha Sēmaṇtini
 Simhavāhini
 śuddha baṅgāla
 Jiṅgala
 Āndōlika
 Kōkiladvani
 Nādavaraṅgini
 Chitharañjani
 Dīpakam
 Saraswathimanōhari etc.
 Devāmritha Varshini (Evarini) and Nādavaraṅgini
 New rāgas like Kaikavaṣi, Nādavaraṅgini, Kalakanti, Kesari, Jujahuli, Jiṅgla etc,
Hindustani rāgas:
Haridāsulu (Yamunakalyāni)
Kamalāptakula (Brindāvana Sāraṅga)
Mānamulēda (Hamīrkalyāni)
Western style
śara śara samarai
Chiṇtana sada
Kalinarulakai in Kuṇtalavarāli and ‘Raminchuvarēvarura in Supōṣhini
RHYTHM
TÃLA: Rhythm is important element to both music and dance. Tyāgarāja kṛti-s are in madhayama kāla
and durita kāla which is very much adoptable to the dance. Besides using elongated tāla-s like Miśra
Jhampa, TiśraTripuṭa and Khaṇḍa Chāpu, tala-s mostly used by Tyāgarāja are dēśĀdi (half of his
compositions), Rūpakam (100 songs) and Miśra Chāpu which are often used in dance choreographies
too. This common element is another factor to easily adopt Tyāgarāja compositions as the dance songs.
Variations of kālapramāna are very much appreciable element for music and dance art forms. In ‘śara
śarasamarai’ - kuṇtalavarāli, rapid racy rhythm absolutely matches the theme of Rāma-s mastery over
archery and imitating the resonance of the arrows shooting in its very first line.
Rhythm occupies every space of Tyāgarāja compositions, Saṅgati-s are one among them.
Saṅgati-s has a rhythm and gait corresponding the context of sāhitya.
Example : “Chakkani Rāja Mārgamu” – Kharaharapriya rāgam
In this Kṛti, pallavi consists of saṅgati-s which suggests the structure of Rājamārga.
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Example 2: "Yendaromahaanubhaavulu" – Śrirāgam

Pallavi:
nSn SS Rmr r m p - m | pn – pn s- nsrSrsNsnPnpMpm|| Rgrsn
lu - - An da ri - - ki - - - - - Van - - - da-- na - -- mu - - lu --
The above notation which is in bold letters gives clear vision of

Na-- Dhi Dhi tai Dhi Dhi tai
Mu-- Dhi Dhi tai Dhi Dhi tai
Lu-- Dhi Dhi tai Dhi Dhi tai
Example 3: ""Yendaro mahaanubhaavulu" – Śri rāgam
Caraṇa 1:
. S; ;; ;S sn n – s | n n – sn P ; ;P mpns ||
Sa ma ga - - - - - - na lo la manasija
R; ;; ;; g r r – g | r r – gr r- g r r S ; ;gr || r S n
La van- - - - ya Dhan- - - - ya Murdhan - - nyul-
Grr- Thaki ta
Grr- Thaki ta
Grr- Thaki ta
Grr- Thki ta
S:: Front jump in aRāmandalam
Gr rsn Thai ThaiDhiDhi Tai
Tyāgarāja used Dēśādi and Madhyādi tāla-s in his compositions which shows its potentials. In
Dēśādi tāla-s, music begins after the descend of ¾ akṣharakāla-s, but in Madhyādi, music begins after
the descend of ½ akṣhara kāla (Anagatha).
Examples of Dēśādi tāla:

 Sītapate - Kamās,
 Banturīti -Hamsanādam
Example of Madhyādi tāla
 Merusamāna - Mayāmālavagouḷa.
Saṅgati-s
Systematic improvisation of saṅgati-s is another attractive element of Śri Tyāgarāja
compositions towards dance choreographies. Saṅgati-s ascend to the high level beautiful harmonies
representation of the rāga, starting from the basic identity of it. Progressively complicated Saṅgati-s,
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built step by step in “Ō Raṅgasāyi” – Kāmbōji, “DhāriniTelusukoṇti” - śuddha Sāvēri, “Chakkani

Rājamārgamu” – Karaharapriya are few examples. This format is very much in line with the format of
the dance song to perform repetitions of the same line in different foot patterns and abhinaya. It shows
case the capabilities of dancer and choreographer.
Padārthābhinaya or Vākyārthabhinaya can be performed for a particular text. Saṅgati structure

of Tyāgarāja kṛti-s gives space to both padārtha abhinaya and vākyārtha abhinaya which drenches the
rasika-s in the context and mood of the kṛti.
For example
DRĀMA- THEME: From Govinda Dīkshita, Śri Tyāgarāja has learnt kāvya, alaṅkāra, and nātaka for four
years which results in three plays “PRAHLĀDA BHAKTI VIJAYAM” 5 Acts with 45 kṛti-s in 28 rāga-s and
132 verses. “NAUKA CHARITHAM” 21 songs with flowing and simple rhythm. “Sīta Rāma Vijayam” is
another musical play by saint Tyāgarāja. Tyāgarāja had composed invocatory songs, inclusive of
different themes.
For Example: Navavidha Bhakthi theme
 Sravanam: Rāma kathāsudha’- Madhyamāvathi - Ādi
 Kīrtanam: ‘Intasoukhyamani - Kāpi - Ādi .
 Smaranam: ‘SmaraneSukhamu’- Janarañjani – Ādi
 Pādasēvanam: ‘Raghunayaka’- Hamsadwani - deṣādi tala
 Arcanam: ‘Tulasibilva’- Kedaragoula - Rupaka.
 Vandanam: ‘Vandanamu’- Sahana - Ādi
 Dāsyam:‘Tava dāsōham’- Punnāgavaraḷi – Ādi .
 Sakhyam:‘Vēnugāna’- Kēdaragouḷa – Rūpaka.
 Atma nivēdanam:‘Kalaharana’ – Śuddha Sāvēri - Rūpaka
Few compositions are contextual
 Example: uṭṣava sampradāya 26 – Pallavi and many caraṇa-s, sung to the same dhatu
 heccharikapāṭa
 gaurikalyāṇamu
 nalugupāṭa
 nalugumaṅgaḷamu
 śōbhanahāratu
 śōbhānē
 pavvalimpupāṭa
 lālipāṭa
 mēlukolupupāṭa
 maṅgaḷam
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Few are simple kīrtanas.

Example: Divyanāmāvali – 84
Ex:-Tavadāsōham-Punnagavarāḷi-Ādi
Theme
Most of the Compositions of Tyāgarāja are in Kṛti format with wide range of subjects like spiritual,
nādōpāsana, philosophy etc. All his life experiences, emotions and devotion are the subject of his
compositions. This makes his compositions more reachable to the people. These vast varied subjects
make his compositions adoptable by both musicians and dancers for distinct event celebrations.
Example:
Pañcharatna-s
 Ghana rāga pañcharathna
 Kōvur pañcharathna – Lord Suṇdarēṣa (śiva)
 Thiruvoṭṭriyūr pañcharathna – Goddess Tripura Sundari
 Lālgudi pañcharathna – Lord Lālgudi Rāmayya
 Śriranga pañcharathna– Lord Raṅganātha
 Nārada pañcharathna – Saint Nārada
SCOPE FOR CREATIVE CHOREOGRAPHY:

Tyāgarāja compositions gives rise to three kinds of dance choreographies.
Following are the kṛti-s formats of Śri Tyāgarāja compositions
 Pallavi, Anupallavi and One Caraṇa
 Pallavi and One Caraṇa
 Pallavi, Anupallavi and Multiple Caraṇa
 Pallavi and Multiple Caraṇa
Kṛti structure, as mentioned above in 1 and 2, Pallavi consists of main line of the theme, further
deep elaboration is in anupallavi, and Caraṇa consists of final declaration. Choreography for this type
of kṛti may consist of an interlude from mythology or epics which perfectly synchs with the context of the
kṛti. This interlude may be completely out of the composer’s intention or thought process, however it
becomes the main source of rasōthpatthi and communicates the emotion of that kṛti to the audience.
EX: nagumōmugalavānināmanōharuni- Madhyamāvati- Ādi
Emotion/Rasa:
Apart from the technicalities of classical music, emotional relation of Śri Tyāgarāja’s devotion
towards his deity of worship is the first element to adopt his compositions to the dance choreographies.
Tyāgarāja composed songs spontaneously on the happening of diverse incidents on different
annoyance and this has led to a large number of kṛti-s in a wide variety of moods. Appropriate Rāga
selection for the mood of the kṛti is in accordance with the literature source mentioned in the beginning
of this paper.
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For example here are the kṛti-s of karuna rasa:
karuṇāsamudrananukāvavēśrīrāmabhadra Dēvagāndhāri Ādi
koluvaiyunnāḍēkōdaṇḍapāṇi Dēvagāndhāri
kṣīrasāgaraśayananannucintalapeṭṭavalenārāma Dēvagāndhāri Ādi
evarumanakusamānamilalō-nintulāranēḍu Dēvagāndhāri Ādi
maravakarānavamanmatharūpuni Dēvagāndhāri Ādi
pālayaśrīraghuvīrasukṛpālayarājakumāramāṃ Dēvagāndhāri Ādi
nāmorālakimpavēmiśrīrāma Dēvagāndhāri Rūpaka
sītāvarasaṅgītajnanamudhātavrāyavalerā Dēvagāndhāri Ādi
śrītuḷasammamāyiṇṭanelakonavamma - ī Dēvagāndhāri Dēśaādi

mahininīsamānamevarammabaṅgārubomma (śrī)
EXPRESSION/BHAAVA
All his compositions focused on expressions rather than on the technicalities of classical music.
In some kṛti-s the grandeur of rāga is portrait in a slow and descriptive manner. Here both padārtha
abhinaya and vākyārtha abhinaya are possible with Tyāgarāja compositions
 Evarimata - Kāmboji,
 Kāru bārusēyu - Mukhāri,
 Manasuswādīna - Saṇkarabharana and others.
The tāna like progression of melody is to be found in Koluvaiyyunnade - Bhairavi, the gradual
development of thought and melody as found in Chakkanirãjamargamu – Kharaharapriya, Koluvamare
- Tōdi, and many others, reflect the musical mind's eye of the saint. Tyāgarāja has expressed the
essence of Upanishad and Bhagavad gīta through a simple language in interesting style.
 In the song Tatvamerugatarāma’ in Garudadvani, Tyāgarāja boom the content of the upaniśad.
Philosophic truth is found in the word “Rāma‟ itself. “
 Mōkṣamugalada- Sārāmati - Ādi tāla, is another song of philosophical contents.
 The concept of mind in some of his kṛti-s. ex: Mānsusvādīna- Śaṅkarābharana-Ādi
SCOPE FOR CREATIVE CHOREOGRAPHY:

Tyāgarāja compositions are forever contemporary. Many prestigious stages in India and abroad
have featured the compositions of Tyāgarāja by both music and dance artists. A good choreographer
can design beautiful plays by collating relevant songs of same theme, incorporating mythological
episodes into choreographies etc. Few works done by dancers on Tyāgarāja compositions.
 Ananda Shankar Jayant- “Ekahaarya” on Tyāgarājavaibhavam
 J.Suryanarayana Murthy’s Dhrishya Bharatam
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 TyāgarājaVaibhavam by Dhanajanan& Shanta (of kalakshetra) –

 Śri ganapatimsēvimparāre, nēnenduvetakudura (Karnātaka behag),
nidhichālasukhama(kalyāni)
 Śri Tyāgarāja Rāmāyanamu – jōjōRāma(rīthī gouḷa), Śri Rāmapadama (Amritavāhini),
sarasarasāmaraika (kuṇtalavaraḷi), sītakalyānam (kurañji)
 Naukācharitam is famous among Bharatanātyam dancers
 Prahlada Bhakta vijayam is famous among kuchipudi and Bharatanātyam
 Māyāmālavagouḷa kṛti, vidulakumrokīda in a beautiful group performance
 Many other solos śriganapathini, tulasidalamula, nagumōmu, venugānalōlunigana etc.
 Tyāgabrahmāñjali by guru kalyanasundaram of Śri Raja Rajeshwari Bharatanātya kalāmandir
CONCLUSION:
As Mataṅga, author of Brihadēśi stated “Without sound there is no song, without sound there is no
melody, without sound there is no dance and hence the universe is prevaded with sound”. Saint
Tyāgarāja has created sound with rhythm, melody, emotion, subject which are adorable. These are
highly appreciable by both music and dance fraternity. Dance choreography to the compositions of Śri
Tyāgarāja can be many ways.
 Taking the long kṛti and depicting the kṛti as it is with the foot patterns and expressions.
 Taking the short kṛti and adding mythological episodes as interludes to make it more effective
communication with the audience
 Taking the kṛti-s which can be connected through the context and subject of the kṛti-s to form a
thematic story presentation as a dance Drama or ballet.
 Taking the kṛti, adding jati-s to it as regular dance number.
BIBLIOGRAPHY
1. GovindaRao.T.K, Compositions of Tyāgarāja, Chennai, Ganamandir Publications, 1995.
2. Indira Menon, Nadasudharasa-Tyāgarāja on music, New Delhi, C2/16, Safdarjung
Development area, 2002.
3. Krishnamoorthy.S.V, Know your Tyāgarājavol 1-4, Chennai, T.R.Publications, 1997.
4. Kuppuswami.T.V, Lyrics of Tyāgarāja (Cult of devotion and social realism) New Delhi, Adroit
publishers, 2004.
5. Rāmanujachari.C. and Raghavan. V. Dr, The spiritual heritage of Tyāgarāja, Mylapore, Śri.
Rāmakrishna Math, 1958
6. RāmaswamiAiyyer.M.S, Tyāgarāja – a great musician, saint 1759- 1847 (with sargam notation),
New Delhi, J. Jetley. Asian Educational Services, 1927
7. Music and Bharatanātyam – S.Bhagyalekshmy
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Rakti Rāga-s handled by Śyāma Śāstri - A Review

Deepashree.S.M <[email protected]>
Introduction
The celebrated musical Trinity of Karnātaka classical music, Syāma śāstri, Tyāgarāja and
Muttusvāmi Dīkṣita exhibit distinct styles in their compositions. While Tyāgarāja compositions are more
lucid and simple, Dīkṣita-s compositions are majestic and scholarly. Syāma śāṣtri-s compositions on the
other hand showcase rhythmic excellence- at the same time filled with excellent rāga-rasa bhāva. His
compositions mainly exhibit vāṭsalya bhāva wherein he considers himself a child in front of mother,
goddess Kāmākṣi. The simple addresses like ‘Janani’, ‘taḷḷi’, ‘Amma’, ‘Amba’ etc. and sometimes the
repetition of words like ‘nammiti nammiti’, ‘salupu nannu’ twice or even thrice in the compositions
showcase his impeccable love.
The term ‘Rakti’ means the evocation of certain rasa-s. Hence rakthi rāga-s are the gamaka
pradhāna rāga-s which are mainly dependent on the rāga svarūpa and not merely on the scales. Rakthi
rāga-s can be either janya or janaka. Rāga-s like Sāvēri, Kāmbōji, Śaṅkarābharana, Bēgada, Tōdi,
Ānandabhairavi, etc. come under this category. Each rāga elicits certain rasa-s; which upon the
application of right gamaka-s exhibit certain bhāvas.
Syāma śāṣtri-s compositions

Syāma śāṣtri has to his credit around 300 compositions of which only around 70-71
compositions are known to posterity. These include gīta-s, Svarajathi, Varṇa-s and Kṛti s. He is said to
be the architect of modern concert type Svarajathi-s. His Svarajathi-s in the rāga-s Tōdi, Bhairavi and
Yadukulakāmbōji are invaluable contributions towards the lakṣya of Karnātaka classical music. The
rāga-s in which he composed show his essential pre-occupation with music, for rakthi rāga-s enjoy the
major share in his compositions. Amongst the compositions available today, twenty one rāga-s out of
the thirty three are rakthi rāga-s. His compositions contain the beautiful ornamentations like svarākṣra
patterns, prāsa-s and cittasvara-sāhitya-s. Syāma śāṣtri-s compositions are neither simple nor tough.
Due to the inherent creativity they stand apart the contemporaries and are equalized to the kadali pāka.
Following table lists out Syāma śāṣtri-s compositions in rakthi rāga-s:
Kṛti Rāga Tāḷa
Emani Migula Tōdi Ādi
Karunanidhi ilalo Tōdi Ādi(tiśra)
Ninne namminānu Tōdi Chāpu
Rāve himagiri. kumāri. Tōdi Ādi
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Māyamma yani āhiri Ādi
Mīnalōchana brōva Dhanyāsi Chāpu
Brōva Samayamide Puṇnāgavaraḷi Ādi
Eṇēramum un pāda Puṇnāgavaraḷi Tripuṭa
Kaṇakaṣhaila vihārini Puṇnāgavaraḷi Ādi
Nannu brōvarāda Gauḷipaṇtu Chāpu
Puraharājāye Gauḷipaṇtu Chāpu
Tarunamidamma Gauḷipaṇtu Ādi
Kāmākṣi karunākatakṣhi Pharaju Tripuṭa
Nīlayatākṣhi Pharaju Tripuṭa
Trilōkamāta Pharaju Chāpu/Ādi
Saṇtatam enai Pharaju Ādi
Durusuga kripajūchi Sāveri Ādi
Janani natajana… Sāveri Ādi
śaṅkari śaṅkuru Sāveri Ādi(Trishra)
Sārasākṣi sada Sāveri Tripuṭa
śripati mukha Sāveri Ādi
Na maṇavi… Sauraṣhtra Chaṭuṣra Ata
Ādinamuṇinchi ānandha bhairavi Tripuṭa
Himāchala tanaya Ānandha bhairavi Ādi
ō Jagadamba Ānandha bhairavi Ādi
Mahilo amba nīdu Ānanda bhairavi Ādi
Marivere gati.. Ānandha bhairavi Chāpu
Pahi śri girirājasute Ānandha bhairavi Rūpaka
Sāmini rammanave Ānandha bhairavi Ata
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Kāmākṣi anudinamu Bhairavi Chāpu
Pārvathi janani Bhairavi Khaṇda Maṭhya
Sari yevvaramma Bhairavi Khaṇda Jhampe
Brōvavamma Manji Chāpu
Pāḷimpavamma Mukhāri Ādi
Brihannāyaki naṇṇu Madhyamāvati Trishra Mattya
Kāmākṣi lokasakshi Madhyamāvati Tripuṭa
Palinchu Kamkshi Madhyamāvati Ādi
Dēvi nee pada Kāmbōjii Ādi
Māyamma nannu brōva Nāṭakurañji Ādi
Kāmākṣi nī YadukulaKāmbōji Chāpu
Dēvi meena netri Śaṅkarābharana Ādi
Sarōjadaḷa nētri śaṅkarābharana Ādi
Dayanidhe māmava Bēgada Ādi
Kāmākṣi nato Bēgada Ādi
Sāmi ninne nammiti Bēgada Ādi
Brōvavamma baṅgāru Nīlāmbari Chāpu
Ennēramum un nāmam Pūrvikalyāni Chāpu
Ninnuvina gamari Pūrvikalyāni Chāpu
Birānavaralichhi kalyāṇi Rūpaka
Dēvi nannu brova kalyāṇi Jhampe
Himādrisute pāhimam kalyāṇi Rūpaka
Nīve gatiyaṇi Kalyāṇi Trishra Mattya
Pārāmukhamēnamma kalyāṇi Tripuṭa
Rāve parvatharājakumāri kalyāṇi Jhampe
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śaṅkari saṅkari kalyāṇi Ata
śri Kāmākṣi kavave kalyāṇi Ādi
Taḷḷi ninnu nēra kalyāṇi Chāpu
Rakthi rāga-compositions: Analysis

This paper focuses on two of the rakthi rāga-s handled by the composer. The rāga-s Ānandha
bhairavi and Sāveri being the major ones are taken for the analysis.
Ānandha bhairavi
A bhāṣāṅga janya of 20th mēḷakarta Natabhairavi with Aṇtra gāṇdhāra(G3), Chatuṣruthi
daivatha(D2) and Kākaḷi niṣhada(N3) being the aṇya svara-s. This is an ancient rakthi rāga that evokes
karuna, śriṅgāra and bhakti rasa-s. The gamaka-s ‘jāru’, ‘tiripa’, ‘rava’, ‘Kaṇdippu’ blend well with this
rāga. It has its origin in the folk traditions. The rāga effect is fully brought out when it is sung in viḷamba
kāla.
Syāma śāṣtri is said to have shaped this rāga in the presently used form. It seems to be his
favourite rāga, for he has composed the maximum number of compositions with different flavors in this
rāga. Seven compositions of the composer are available in this rāga. The vibrant svara patterns
employed by him in the compositions are well enough to get the essence of the rāga to the core. His
intelligent setting of different gamaka-s aptly matches the mood of the rāga and sāhitya bhāva. Instances
of the same have been listed out below with the help of his compositions:
i) The Kṛti “Marivēre gati…” is a perfect example for his genius. This Kṛti is sufficient to know
‘Ānandha bhairavi’ in depth. The Kṛti is set to Chāpu tāḷa with a viḷambha laya. The usage of the
phrase ‘nammiti’ twice shows the depth of trust he has in the mother goddess. Coming to the
dhātu part of it, the kṛti has many instances of jāru like ‘’SS/Ṡ,’’ and ‘’Ṡ/Ṁ,’’ for the sāhitya
‘charanāgatha’ and ‘Rakṣhaki’ respectively. The svarakṣhara pattern ‘’P,DPM’’ for ‘Pādayuga’
in the chittasvara sāhitya in a slow pace gives much required intensity. A slow jaṇta phrase “ṆṆ-
SS-GG-MM” for ‘Niratamu ninnu’ in the chittasvara is another feature highlighting the mood of
Ānandha bhairavi. In the phrase ‘’PMG3G3M,’’ the aṇya sara G3 is efficiently demonstrated. The
gentle gamaka usage in the phrase “M,,M̅G̅P̅M̅ G,R,’’ for ‘śyāmaḷa’ is yet another instance to
prove that Syāma śāstri-s compositions witness a perfect blend of svara and sāhitya. The
phrase ‘’Ṙ,Ṡ,NDP-D,P,MGR-G,,M’’ in the chittasvara, itself gives the complete flavor of the
rāga.
ii) The kṛti “ō Jagadamba” in Ādi tāḷa is another masterpiece by the composer in Ānandha bhairavi.
In this Kṛti he calls out the goddess Jagadamba to come and protect him. His intense feel is
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exhibited in the elongated phrase ‘ō…’. The jāru in the anupallavi and chittasvara again add to
the feel of the Kṛti. The phrase ‘’PDDP MP PMG,’’ for the term ‘Rājamukhi’ justifies the well
deserving majesty. The very essence of Ānandha bhairavi is showcased in the carana phrase
‘’G,M,P,P̅D̅P̅, M̅P̅M̅, G,R,S,,,’’ for ‘Brōchutaku’ with the gamaka-s ‘vaḷi’ and ‘rava’ perfectly
demonstrated.
iii) The Kṛti s “Mahilo amba” and “Pāhi śri girirājasute” also exhibit the different embellishments
provided by the rāga Ānandha bhairavi and so is the Kṛti “ā dinamuṇiṇchi”. The Kṛti “Himāchala
tanaya ” is a mirror to his genius. The svara patterns set to the describing phrases like ‘Uma-
hamsa_gāma-tāmasama’ showcase the prāsa with a perfect blend of the rāga. The usage ‘’S-
P-Ṡ’’ for ‘pāhiśri’ in the Kṛti “Pāhi śri girirajasute’ is a perfect example for the composer’s reativity.
iv) The Ata tāḷa Varṇa in this rāga,”Sāmini Rammanave” is also remarkable.
Sāveri
An ancient rakthi rāga which is a janya of 15th Mēḷakarta Māyamālavagouḷa. Once a bhāśāṅga
rāga (according to Vēṅkatamakhi) with the aṇya svara-s triśruthi gāṇdhāra and niṣhāda, is a upāṅga
rāga today. This rāga evokes karuna, dīna, śāṇta and bhakti rasa-s. As the name suggests, the ri almost
lies in the sa or in other words it is the lowest frequency of ri that we can have. The ‘ jāru ‘ from a higher
note on Ri and Da ; ‘līna’ on Ri; ‘vali’ on the note Ma and Kuruḷa are the gamaka-s that gel with this
rāga. It is also one of the rāga-s confined to the realms of Karnātaka classical music.
Syāma śāṣtri had a great liking towards this rāga. Five compositions in this rāga are available
today. This list containing his compositions includes a gīta and four Kṛti-s. Following is the analysis of
the same:
A. The Kṛti “Durusuga” in Ādi tāḷa is a classic composition. Pallavi starts with a svarākṣara pattern
‘’D,Ṙ,Ṡ’’. In one of the saṅgati-s , while returning back to pallavi, there is a phrase ‘’DDPM’’ in a
higher speed indicating the urge (durusu). There is a repetition of the word ‘salupu nanu’
indicating the intensity of his emotions and the dhātu for this features the classic svara patterns
of Sāveri like ‘’SRGSR,’’. Similar repetition is found in carana for the describing word
’dharahasitha’ which is characterized by beautiful gamaka-s . Also with the usage of certain
inherent phrases of Sāveri like, ‘’ṠṘṖṀĠ,’’, ‘’MPD-DPMG,’’ etc. this Kṛti gives the full essence
of Sāveri
B. Another classic Kṛti “śaṅkari śaṅkuru ” is an example for his proficiency in both rāga and laya.
This Kṛti can be sung both in Rūpaka and Ādi(Trishra gati) tāḷas. The popular phrase of Sāveri
‘’DMGRS’’ featuring the ‘jāru’, is used here to show the grace. Also the prāsa ‘sāmagānalōle-
pāle-sadārthibhaṇjana shīle’ adds to the lyrical beauty.
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C. The Kṛti “Janaṇi nathajana.” has various instances of ‘upward jāru’ like ‘’DPD,/ĠṘṠ ,’’,
‘’SSṠ/NDP’’ and the signature phrase ‘’DMGRS’’ . The phrase ‘’D,D,D,D-Ṙ,Ṙ,Ṙ,Ṙ’’ adds to the
mood of the Kṛti . The word ‘Bhāvani’ is repeated twice in the pallavi , as seen in many of his
Kṛti s.
D. The Kṛti “Śripathi mukha…” begins on the elongated tara sthayi note ‘’Ṙ’’ for ‘Śri’. The geetha
“Sārasakṣi sada” set to Tripuṭa tāḷa is rich in svarākṣarā-s and prāsa-s adding to the lyrical
grace.
Conclusion
Syāma śāstri quality of work is incomparable. His unparalleled contribution to the laya and rāga
aspects makes him one of the finest composers of Karnātaka classical music. The application of
gamaka-s to emphasize the meaning of sāhitya is a distinct feature found in his compositions. Hence it
is obvious that his compositions are mainly in rakthi rāga-s which are replete with gamaka-s. He gave
new dimensions to these rāga-s. Thus he contributed to the present form of rakti rāga-s. The field of
Karnātaka classical music is enriched by this great composer.
Bibliography
 Compositions of Syāma Śāstri, Subbaraya Śāstri and Annasvami Śāstri, T.K..Govinda Rao,
Ganamandir Publications, 1997
 Rāga Lakshana mattu Rāga Kosha, Prof. R.R Keshavamurthy, Gana Visharadha, Bidaram
Krishnappa Smaraka Sangeetha Vidyalaya publication
 Article – ‘Rakthi in Rāga and Laya’, R Vedavalli,Sruti Magazine, June 2011
 Thesis titled “Concept of laya and gamaka in Syāma śāṣtri s compositions”, Manju Gopal,
University of Kerala, 17/06/2003 (Courtesy: http://shodhganga.inflibnet.ac.in)
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The influence of the musical styles of the Trinity in the musical compositions of Eṇṇappāṭaṃ
Vēnkaṭarāma Bhāgavatar (1880-1961)
Ganga Ramachandran <[email protected]>
Introduction
The comprehensive analysis of the kr̥ti-s of Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar has been
the subject of the author’s Doctoral thesis. The analysis of musical, lyrical and structural aspects of kṛti-
s of the composer have revealed a lot of similarities in their melodic beauty, rhythmic structure, and
format of the kṛti-s of Trinity. This article intends to highlight the influence of musical styles of Trinity in
the musical compositions of Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar.
Scope of this comparative musical analysis is limited to depict the influence and similarities of
the rāga s and tāla-s handled by Trinity and the style and structure of their kṛti-s on those with
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar. The Trinity lived about half a century before the composer 1880-
1961.
About the composer

Born on 21-2-1880 at Eṇṇappāṭaṃ village in, Pālakādu, to Padmanabha Iyer and Sitāḷakshmi
Ammāl, of a family devoted to music and Samskṛta learning; Vēnkaṭarāma started learning music when
he was around eleven under Nūraṇi Ayya Bhāgavatar. He was performing concerts along with elder
brother Ratnagirīṣvara Bhāgavatar; after his brother’s demise continued to perform concerts and
Harikatha-s also to his own nirūpaṇa-s. This musician and Harikatha exponent has been honored at the
courts of the former States of Kolleṅgode, Cochin, Travancore and Mysore and music assemblies at
Baroda and Madras Music Academy.
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar has composed kṛti-s on different deities and kṛti-s based
on śrīmad bhāgavatam for 108 śrī kr̥ṣṇa aṣṭṭōttara śata nāma in 108 rāga-s; Samskr̥ta kṛti-s in eight new
rāga s and three new tāla-s, being his unique contribution to karnātaka music world.
The composer being a full -fledged performing Karnātaka musician of his time had listened to
many Vidvān-s performing popular kṛti-s of musical Trinity assimilating a lot from them. Hence we find
the semblance in parts of the structure and music; usage of the melody and rhythm, in his renderings
and musical compositions which could be conventionally accepted.
The period prior to the time of tyāgarāja and his two illustrious contemporarys’ Muttusvāmi
dīkṣita and śyāma śāstri proved in every way to be a ‘prelude to a great action’. Much had been in the
making and a well set background had been kept ready for Tyāgarāja to launch his colossal project. The
sāhitya oriented and soul stirring compositions of divine content, such as those of Annamāchārya,
Purandaradāsa, Rāmadāsa had been ushered in profusion.
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During 18th-19th century, the Musical Trinity viz. Śyāma śāstri, Tyāgarāja, and Muttusvāmi
dīkṣita composed innumerable kr̥ti-s in various rāga-s. These kr̥ti-s by way of their structure, melody and
rhythm have been inspiring later composers to present their creative ability in composing kṛti-s with
embellishments like saṅgati, svara, sāhitya, ciṭṭasvara, madhyamakāla sāhitya and so on.
DOXOLOGICAL COMPARISON
Trinity Vēnkaṭarāma Bhāgavatar

Tyāgarāja-Telugu and Samskr̥ta Samskr̥ta ,Tamizh
iṣṭa dēvatā-Lord Rāma, iṣṭa dēvatā- Lord Viṣṇu
Divya nāma kīrtanam, śrī kr̥ṣṇa aṣṭṭōttaraṣatanāma kīrttana
kṛti-s on Uṭsava sapradāya and Dēvi kṛti-s ,
Itara dēvata-s Rāmāyana kīrtana-s for Harikatha
Muttusvāmi dīkṣita- kṛti-s on Itara dēvatā s
kṣētra kṛti-s;group kṛti-s Kr̥ti-s on Nature
Śyāma śāstri
Kāmākshi kṛti-s
A stylistic analysis of the composers kṛti-s in mēḷa and janya rāga-s reveal resemblance to
melodic, structure and style with that of Trinity. During the period of Trinity and after, some mēḷa rāga-s
which existed only in the musical literature, took concrete shape and many janya rāga-s emerged. These
have come down to us through musical forms, mainly kṛti-s, in which they were set for the first time.
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar has composed kṛti-s in such mēḷa-s and janya rāga-s.
A few mēḷa-s and janya rāga-s were brought to notice through the compositions of Tyāgarāja
for the first time and most of these janya rāga-s are surviving only through the kṛti-s of Tyāgarāja. Among
nearly thirty five mēḷa-s employed by Tyāgarāja, particular mention must be made of kharaharapriya
and Harikāmbōji. Origin of these could be traced to Grāma period, brought to light markedly by Tyāgarāja
kṛti-s. In the following kṛti-s of Vēnkaṭarāma Bhāgavatar, their musical setting is in the traditional practice
of usage of graha, amṣa, nyāsa svara-s of the rāga but have individual characteristics:
Example
vēṇunādaviṣāradaṁ -kharaharapriya - ādi
manasā bhāvayē mādhavaṁ -harikāṁbōji -ādi
Śṟī kr̥ṣṇaṁāṣrayē - harikāmbōji -rūpaka
Janya rāga-s introduced by Tyāgarāja and used by Vēnkaṭarāma Bhāgavatar

śuddha baṅgāḷa: 22nd mēḷa Janya, we have kṛti-s of Tyāgarāja “Rāmabhakti”, “Tolinējēsina” and
“Tappakane”.Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar-bhīshmamukthi pradāyakam- ādi
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śuddhasīmantini: 8th mēḷa Janya

“Jānakīramana” popular kr̥ti of Tyāgarāja .
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar–ajamāsr̥tavatsalam- śuddhasīmantini -ādi
Navarasa Kaṇṇada: 28th mēḷa Janya

Ninnuvinā and Paluku - of Tyāgarāja.
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar-Hari Mīdē-ādi
Jayamanōhari: 22nd mēḷa Janya

Yagnādulu, Nī Bhakthi and Sriramya- Tyāgarāja
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar-samsāravairiṇam-ādi
Kōkiladhvani: 28th mēḷa Janya

Brought to light through-koniyāḍeḍu, tolinenujesina -Tyāgarāja
Also we have giri dhanvinaṃ-by mutthaiah Bhāgavatar, his contemporary
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar-vr̥ndāvanānta sancāriṇaṁ-ādi
Khamās: upāṅga bhāṣāṅga-known during the period of Vēnkaṭarāma Bhāgavatar, and the variance in
his kr̥ti s. kr̥ti -rādhāramaṇam- ādi
From notation seems upānga-harikāmbōji janya
Ārōhaṇa-samagamapadhaniSa
Avarōhaṇa-Sanidhapamagasa
Balahari-name as seen in Kathakali music instead of Bilahari

Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar- kr̥ti -līlāmānuṣa and pālayamāṃ śrī-śaṅkarābharaṇa janya,
Balahari - Kaisikhi nishāda could be avoided- as upānga-
E.g.: Aṭa tāḷa varṇa nenarunchi-Sonṭi Venkaṭa Subbaiyya
Balahari used in Kathakali Aṭṭakatha:- Bheema to Pānchāli in Keechaka Vadham "Mathi, Mathi, Mathi
Mukhi",. Daksha yāgam "Kanyakamār Mauli mane",
Chedi Rāni to Damayanthi "Kim Devi Kimu Kinnari Sundari"
Bhairavi- Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar kr̥ti Śrī rāja gōpala- 20th mēḷa janya- given as a
heptatonic scale. krama rāga.
ārohaṇa-sa ri ga ma pa dha ni Sa-
avarōhaṇa- Sa ni dha pa ma ga ri sa
At first a janaka rāga- nāriritigaula- of later kanakāmbari nomenclature then 20th mēḷa Bhairavi-of earlier
kanakāmbari nomenclature.
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Mōhana- Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar mentions as–kalyāṇi rāga janya- kr̥ti muraḷīdhara. It
could be accommodated under kalyāni- since ma, ni varja- nevertheless, aesthetically Mohana has its
own flavor.
hindōḷaṃ – naṭhabhairavi janya-kr̥ti Tribangi- Vēnkaṭarāma Bhāgavatar

ārōhaṇa- samagamadhāniSa
avarōhaṇa-Sanidhamagamagasa but sanchāra-s are sa ga ma only
udayaravicandrika –tōḍi janya-

Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar uses this scale throughout the kr̥ti – does not bring in dhaivata-
vārijadaḷa ;Vasudevātmajam-
ārōhaṇa-sgmpnS- avarōhaṇa Snpmgs
rītigauḷa- kharaharapriya janya

yaṣōdāvatsalaṁ-rūpaka
ārōhaṇa-sagarigamapamanidhaniSa-
avarōhaṇa -Sanidhamagamapamagarisa
usēni- naṭhabhairavi -janya-

nandavraja janāndinaṁ-rūpakaṁ
ārohaṇa-sagarimapanidhaniSa-
avarōhaṇa-Sanidhapamagarisa
This rāga currently considered as a bhāṣāṅga janya of 22nd Mēḷa -could be reckoned as an amalgam
of kharaharapriya and Bhairavi-may be known on its own.
Anya svara usages - śuddha dhaivata in phrases padhapama, sanidhama.
nāṭṭakkurinji- – three kṛti-s of Vēnkaṭarāma Bhāgavatar

ārōhaṇa-sarigamanidhanipadhaniSa-
avarōhaṇa-Sanidhamagasa
prayōga -rigamapagarisa avoided in his kr̥ti s
śaṅkara bhagavat pāda gurō-ādi
jaivātr̥kanibha vadana-ādi
rāmālōkābhirāmā- dēvara~njanaṁ- a new tāḷa
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar has composed in Mēḷa-s revealed by Tyāgarāja

Dhēnukā -9th mēḷa-Brought to Karnātaka arena by Tyāgarāja and popular through TeliyalēruRāma.
dēnukāsurabhañjanaṁ -dēnukā-ādi -Vēnkaṭarāma Bhāgavatar uses cleverly the rāga mudra in the
opening phrase, also in dhēnukārāgānandinaṁ- epithet of kr̥sṇa
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Opens palllavi with the rāga chaya phrase with ‘pdnd pmgrs, rs srrg,’ and travels upto the tāra sthāyi
panchama in ‘pdn,S, S, R,G, M,PM G,R,S,,’
The mood in which this rāga is used by him here is more exciting than the sober usage of Tyāgarāja-in
Teliyalēru Rāma the latter’s theme itself being restrained.
cakravākaṃ-16th mēḷa -Introduced by Tyāgarāja in the Kanakāṅgi list with Vegavāhini in the earlier.
Etulabrōtuvo,Miśra chāpu,and suguṇamule- rūpaka of Tyāgarāja.
Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar- has wisely used sukavāka-soochita rāga mudra for
cakṟavāka –and ‘suddha rāga mudra’ “cakṟavāka”also in the compounded pada sāhitya-.‘cakravāka
baka sikhi hamsādi vividha vihaga rājita’ for describing picturesquely rāsa kreeda at Vṛṇdāvana.
kīravāṇi- pārijātāpahārakaṁ by Vēnkaṭarāma Bhāgavatar . Tyāgarāja was the first and only one among
the Trinity to compose in this mēḷa, -Kaligiyunte and eṭi yōcanalu cēsēvura
Gaurīmanohari– Tyāgarāja introduced this with guruleka etuvanti- cāpu- extolling significance of a
preceptor.Tyāgarāja’s style revealed in kr̥ti māyinaṁ-gaurī manōhari- rūpaka- Vēnkaṭarāma
Bhāgavatar.
Cārukeśi-featured first time in Kanakāṅgi mēḷa popularised by Tyāgarāja through the only kr̥ti -Adamōdi
galadē. kancalōcanaṁ by Vēnkaṭarāma Bhāgavatar
Rāmapriya-52nd in kanakāngi list replacing Ramāmanōhari in earlier and later kanakāmbari list. Both
have been employed by Tyāgarāja, -sandēhamu- ādi and sitamanōhara- ādi respectively.
iḷāpatē jagatpatē- rāmapṟiya-Vēnkaṭarāma Bhāgavatar ,iḷāpatē stands forKr̥ṣṇa -Lord of Lakshmi,
indicates subtly the rāga mudra, ramā manōhari,like Muttusvāmi Dīkṣita in -mātangi Sri rājarājeswari
uses rāga mudra - ramā manōhari
baguḷābharaṇaṁ - mucukunda pṟacōdaka - Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar uses ba and not

va in the rāga name,but katapayādi sankhya is not altered as both syllables are the 4th in pa varja and
ya varga respectively.
Vakulābharaṇam is the 14th kanakāngi list , but vasantha bhairavi - earlier ,
vāti vasantha bhairavi - later kanakāmbari list

Tyāgarāja -Vakulābharaṇam –Erāmuni,- Miśra cāpu- Vasantha bhairavi-Needayarada- rūpaka-
ramā ramaṇa-ādi - Muttusvāmi dīkṣita in Prasanna Venkatesvaram-uses Vāti Vasanta Bhairavi Tisra
Triputa.
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r̥ṣabhapṟiya
r̥ṣabhapṟiya -Ratipriya-Ratnabhānu- are 62nd mēḷa names listed in kanakāngi- later kanakāmbari- earlier
kanakāmbari lists-respectively,of which only r̥ṣabhapṟiya is krama sampurna.
śṟīrajatācalēśvaraṁ- and vr̥ṣabhāsura viddhvaṁsinaṁ -two by -Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar
wherein he follows Tyāgarāja.
Mahima dakkinchu - r̥ṣabhapṟiya- Tyāgarāja,
Māra ratipriyam – ratipriya-Muttusvāmi dīkṣita
ṣaṭvidhamāṟgiṇi
baṟhi baṟhāvataṁsakaṁ by -Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar
Tīvravāhini -stavarāja-ṣaṭvidhamāṟgiṇiearlier later kanakāmbari,and kanakāṅgi list respectively
jnānamosagarādha (popular in purvikalyani) though some books mention ṣaṭvidhamāṟgiṇi -Tyāgarāja

pāhi rāmaduta-Tyāgarāja composed in ṣaṭvidhamāṟgiṇi but its rāga is vasanta varāli as per
Tillaisthānam version.
stavarājādi – stavarāja-tisra triputa-by Muttusvāmi dīkṣita
Similarities in the structure of kṛti s of Vēnkaṭarāma Bhāgavatar to those of Tyāgarāja

Eg: śaṅkarābharaṇaṃ -yadūdhvahaṃ- - cāypu {cāpu} kr̥ti of Vēnkaṭarāma Bhāgavatar
Pallavi and most parts have similar saṁgati progression as in yatuṭanilicite-in the same rāga- tyāgarāja
kr̥ti
The deft handling of the rāga in detail in miśra cāypu gives immense scope for rendering with neraval
and svarakalpana. Structure is pallavi +anupallavi+ single caraṇa pattern, Saṁgati progression is similar
in style to Tyāgarāja-s, Development of saṅgati enhances the melodic aspect of rāga.
In many kr̥ti s, the dātu of anupallavi repeats in second part of caraṇa again resembling Tyāgarāja’s
style.
Pallavi having three pādam-s with three different endings to uttarānga of āvarta.
Eg: jagadguro- kamāsu rāga-of Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar,
Mentioned by the composer as kṛti on ādi Sankarāchārya considered as his preceptor.
jagadguro-jaya jaya śankara-
jagadguro-jaya jaya pālaya-
jagadguro-jaya natasurataro
The above resembles Tyāgarāja kr̥ti-śrīrañjani rāga-brōcevārevare raghupate.
This is a case of anēka dāthu prabhanda- musical setting of pādam-s differ. In these type of multiple
settings, there is a good scope for saṁgati development and heightens the musical worth of the kr̥ti.
Linguistic style of Muttusvāmi dīkṣita and Sanskr̥t usage in Vēnkaṭarāma Bhāgavatar’s kṛti-s
Eg:yamunātīravihāri -mukhāri rāga khaṇḍajāti tripuṭa tāḷa
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pallavi
Yamunā tī|ra vi|hārī||
jayatu māmavatu|mangaḷaṃ sa|ntatam ātanotu||
anupallavi -
kamanīyatara| muraḷī| vādana||
gāna mukharita| madhu|ratara||
kāntasvara makaranda vinirbhara śrīkara vṛndāvana mo|hana sancārī||
murārī priya purārī: | pītāṃbara vana mālādhārī||
caraṇaṃ
-rājīvāyata vi|loca|nābhī||
rākācandra sa|nnibha vada|nābhī||
rājatcampaka|mallikā madhu| mālatī suma||
rāśīsuvāsitakeśavarābhīrabhi|rāmābhīrvaja|bhāmābīsah|
rāsavilāsa|lola venkaṭa| ramaṇa suśīla||
Description of kr̥shna’s rāsaleela on the banks of River Yamuna, anupallavi and caraṇam are
musically set as single long pādam continuously , without splitting each āvarta, compounded phrases
need to be sung to link with pallavi sāhitya. Prosodic patterns are also followed in spite of long phrases
in unusual khaṇḍa jāti of laghu in this triputa tāḷa.
This could be considered as one of the masterly compositions of Eṇṇappāṭaṃ Vēnkaṭarāma

Bhāgavatar influenced by Muttusvāmi dīkṣita.
eg.2. bhairavi -śrī rāja gopālaṃ- khaṇḍa cāypu- Vēnkaṭarāma Bhāgavatar
Grandeur in musical setting is similar to that of mutddusvāmi dīkṣita in –bālagopāla- bhairavi.
eg 3.begaṭa-rāga-śrī rāma raghurāma -namaste namaste- khaṇḍa cāypu
Setting resembles fourth Vibhakti kr̥ti of Muttusvāmi dīkṣita on Lord Tyāgarāja -Tyāgarājāya namaste
namaste- bēgaṭa
Rhythmic comparison of kṛti-s set in other than ādi, rūpaka, cāpu

khaṇḍa jāti tripuṭa tāḷā and caturasra jāti aṭa tāḷā
 rāmacandrambhaja tōḍi khaṇḍa jāti tripuṭa
 yamunātīra vihāri mukhāri khaṇḍa jāti tripuṭa
similar tō srīdundurgē,sriranjani-rāga-muttuswami dīkshita- khaṇḍa jāti éka tāḷa Sarsijākshi- Nāyaki
varnam. Tāḷam: khaṇḍa jāti tripuṭa tāḷa . -Rudrapatnam Venkataramanayya. gōpagōpēśvaram nīlāmbari
- caturasra jāti aṭa. Sri sukra bhagavantam Rāga parasu- caturasra jāti aṭa tāḷa of-muttu swamidhikshita
among his vaara or navagrahakṛti-s
madhyādi tāḷa kr̥ti
vāsudevaṃ|,,bhāva|yami -ārabhi-ādi
anāgata eṭuppu of the sāhitya in the pallavi and other sections
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chitra tara marga-,here every tāḷaakshara (8) takes 4 subunits each totaling
32=16laghu+8drutham+8drutham- ādi 1 kalai
Could be rendered in Madhyādi tāḷa like tyāgarāja kr̥ti ‘mokshamu-saramati , rāga-sudharasa ,
Gitārthamu - Surati ,Nāma Kusumamula - Srirāga
deśāditāḷa kr̥ti
cintayāmyahaṃ-dEvādi devam. kr̥ti in ādi- eduppu-after 6 aksharas
;;;cintayāmya|haṁ,, ,dē |vādhi || dēvaṁ(with chittasawaram)
, , , , , ,p d ś d p m d p m r |s , , , , , d̬ s| r m r m p d m p ||
d ŕś d p m p d śŕ̀m̂̂ŕ̀ŕ̀ś d ŕ̀| ŕ̀d śś p d d m| p p r m m s r r ||
m p d d p m* d,s,d, d,p,m,|p, ,, ,, m, |,,pmr,s,||rmpdpm
; ; ; *cin---ta------yāmya haṁ,, ,dē |vādhi || dēvaṁ
One tāla āvatra or āvarta has 16+8+8=32 ,1 kala-
deśādi tāla –chitra tama marga
Samples of deśādi tāḷa kr̥ti’s of Tyāgarāja :
Enta vedukandu - Sarasvati manohari,
Brova Barama - Bahudari
rūpaka- executing an avartaa of six units as anga tāḷa

1 dhruta +1 chaturasra laghu and
not as rūpaka cāpu with two taps- ghaatha and one turn- visarjita
Eg:Tulasi|dala mula che san|| Toshamu|ga poojinthu||-Tyāgarāja

Eg:mātan|ga mukham sadā ||mahāga|napatim bhajamana|| Rāga sumukhi -Vēnkaṭarāma
Bhāgavatar
Influence of Śyāma śāstri

Rhythmic-Tāḷa setting -viloma cāpu
cāpu version of Tisra triputa-tāḷa counts
123 -45-67 {takita-taka-dimi}
Praasam adapts to Miśra Eka also.-traditionally like
śrī mahaganapati ravatumaam -gaula-muttuswami dīkshita
Tāḷa setting -viloma cāpu- Miśra-

Eg.Peetavasasam -Rāga -Asaveri chaypu-
Pallavi eduppu beginning at 4
4 5| 6 7| 1 2 3||4 5 | 6 7| 1 2 3||
Pee| ta |vaa || sa |sam|- priya||
kr̥ | tti | vaa || sa|sam|--||
|pee |yu |sha ||sO |-da |ra--||
pree|-ni | ta-|| va| ksa | sam||
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Anupallavi eduppu at 3
12 3 | 45 | 67 ||
,,Na |da s |wa ||ru | pi | nam||,,nan|da| nan||danam |-ve|nu||
,,Naa |daa | mru ||ta var |sha |na || ,,na |va gha|| naa |gha |nam ||,,,peeta
Carana eduppu at 3
12 3 | 45 | 67 ||
,,Daa | va | a ||nala | tap | ta ||
,, go | paa| la || rak |sha |nam ||
,,Dā|mO |da || ram| ghO |ra ||
,, daa |na |va || bhee |sha | nam ||
,,Śrī | vat |sa || lak | sha |nam ||
,, siki | pin |ca || bhoo | sha |nam||
,,cin |ma |yam || Ven |ka | ta ||
,, ra |ma | nam vi || bhaa |va |ye ||
Nannubrovu - Lalitha,- and ninnu vinaga mari Purvikalyani , of Śyāma śāstri
Deva sri tapasteertapuri-Madhyamavati- Buddhi radhu- śaṅkarābharanam of Tyāgarāja can also be
quoted and noted as inspirations for this composer.
ānanda bhairavi- kīṟttaya rasane - cāypu

of Eṇṇappāṭaṃ Vēnkaṭarāma Bhāgavatar has a similar setting like that of the oldest among Trinity-
śyāma śāstri The usage of the melodic phrases of ānanda bhairavi and svara sāhityas setting show
the inspiration.
ānanda bhairavi mentioned as a janya of 22nd kharaharapriya and not 20th Natabhairavi.
A sample of svara sāhitya caraṇa given below:
sa,ga,ri,sa, ,,ri,ņi,|| sa,pa,ma,ga,ri,ga,ma,||
āṟtta pā lana|| mā di kā- - - raṇaṁ||
pa, ,, pa, ni, ni, pa, ma,|| ga ri ga, ma,,, ,,,,||

āśr̥tā---------bhaya || dā yi naṁ||
ni,pa,ma, pa,–śa,ni,||śa,ĝa,ŕi, ĝa, ŕi, śa, śa,||

pāṟttha mōha vi ||nā-śa kara śubha
pa, ŕi, śa, ni, dha, pa, pa, || ma,pa,ma,ga,ri,sa,sa,||

mū-r–tti ma- pyu taṁ-||vē n–ka ṭa ra ma ṇaṁ-||kīṟttaya
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Eg:parāśakti-kēdāragauḷa-ādi,here mudra of the composer is used as veṅkaṭarāma natānghriyugaḷāṃ

.Throughout the kr̥ti, the style is similar to-
parākela nanu paripālimpa-kedārāgauḷa- śyāmāśastri
Sambhava kr̥ti –mood matches the mode in kṛti-s

sambhava kṛti-s were occasioned by incidents in the life of Tyāgarāja like
teratīyagarādā –gowlipantu—and vēṅkaṭēśa ninnu sēvimpa-madhyamavati
Similarly as mentioned in his autobiography, real life incident of affliction, the disease vasūri led
Vēnkaṭarāma Bhāgavatar to compose kṛti-s on Parukkancheri Dēvi of Eṇṇappāṭaṃ.
māṁ kiṁ upēkṣyasē mātā,,mātaṅki karuṇāṃ kurumayi- is bhava laden sāhitya meaning“why do you
forsake me? Oh Mother-aptly using rāga malahari. Choice of rāga malahari is significant as the name
“malahari” suggests removal of pain or disease-like Dīkshita’s kalimalaharana karanena –
pancamaatanga mukha.
After being cured, eṇṇappāṭaṁ Vēnkaṭarāma Bhāgavatar composed kṛti-s like nīraja daḷa nayanē-
vasanta-rūpaka-lilting tempo with chiṭṭasvaras.
There are three kṛti-s of the composer with chittasvara-s. While signing off his kṛti-s with swanama
mudra-Vēṅkataramanam, Vēṅkataramanam sōdari, he resembles Tyāgarāja and veṅkaṭaramaṇa
sahōdari-mudra is similar to syāmā sāstri-śyāma krṣṇa sōdari.
CONCLUSION
It was during the 18th and the first half of 19th that the Trinity lived and bequeathed a rich legacy
of musical heritage in the form of kṛti-s. Inspired by the compositions of Musical Trinity, creatively
talented composers of post –Trinity period have composed kṛti-s in rāga-s and Tāla-s; both handled and
not handled by Trinity.
Similarly, while Vēnkaṭarāma Bhāgavatar has been immensely inspired by Trinity, he has
contributed to Karnātaka music through new melodies and rhythms. Rāga-s viz.sumukhi, śṟīdhari,
pṟiyadarśini, rasavarāḷi, pṟakāśini, muraḷīnādaṁ, rāsabauḷi,vr̥ndāvanakutūhalaṁ - Tāla-s viz.Nuti,Priti
and Devaranjanam. A musical composition in a particular rāga,set to a particular tāḷa,with its lyrics or
sāhitya conforming to the linguistic, prosodic, metrical aesthetics; manifests the melodic and rhythmic
personality of the rāga and tāḷa.
It is based on the features of the rāga and the components of the tāḷa as revealed in the
compositions that all aspects of manōdharma or improvised music are developed. The analysis of the
kṛti-s of Eṇṇappāṭaṁ Vēnkaṭarāma Bhāgavatar provide an example of how the contribution of Trinity
has inspired and influenced him as a musician and composer.
Themes chosen for Harikatha viz. Ramayana, Mahābharatha, Dēvi kṛti-s and kṛti-s on Ganēsa,
Śiva, Muruga reveal the devout personality, scholarship, of this vāggēyakara- a sincere follower of the
66
trends set by Trinity. In his autobiography, Eṇṇappāṭaṁ Vēnkaṭarāma Bhāgavatar admits, in spite of
turmoil in life, devotion to the Art and almighty has helped him live a full life.
BIBLIOGRAPHY
 ENNAPPADAM VENKITARAMA BHAGAVATAR -VENKITARAMANEEYAM- Kerala
Sangeetha Naataka Akademi,-Trichur-1964; and Manuscripts of notation.
 PROF SR JANAKIRAMAN- RAGAS AT A GLANCE - Ed Asstd.by Ganga Ramachandran(
Published: Shapre Karnātakaa- -2002
 PROF SR JANAKIRAMAN -ESSENTIALS OF MUSICOLOGYEd Asstd.by Ganga
Ramachandran-- The Indian Music Publishing House, Chennai-60001-2008
 PROF SR JANAKIRAMAN-SANGITA SAMPRADAYA PRADARSINI English Translation,
Pub by Dr. P.P Narayanaswami and Vidya Jayaraman Some sections 2010
 PROF SR JANAKIRAMAN -SANGITA SASTRA SARAMU — A Musicology Text In Telugu
 PROF SR JANAKIRAMAN –TAMIZH -RAGA LAKSHANAS — Pub. The Music Academy
Madras
 PROF SR JANAKIRAMAN -RAGAS OF SARAMRTA - Pub. The Music Academy Madras
 A.SUNDARAM IYER Muthuswami Dikshitar Keertanaigal-Music Book Publishers-1989
 P. SUBBA RAO -RAGANIDHI PUB. by THE MUSIC ACADEMY OF MADRAS-1964
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Impact of Sri Muttuswami Dīkṣita on the compositions of the Tanjore Quartet

Gowthami K <[email protected]>
Introduction
India has been the home of rich cultural heritage and performing arts particularly music, poetry
and dance. There have been several styles of music and Karnātaka classical music has been prominent
among them. It has its origin and development in South India. In Indian culture, classical music is
believed to be a divine art form. Music is considered to be nāda brahma. The rich cultural heritage of
music in India can be seen from the fact that Sāma Vēda is believed to have laid the foundation for
Indian classical music. Sāma vēda consists of hymns from the Rigvēda, set to musical tunes and would
be rendered using three to seven musical notes during Vedic yajña-s. Indian classical music emanated
as a genre of South Asian music and by sixteenth century evolved into two distinct forms – Hindustāni
music and Karnātaka classical music. The roots of Indian performing arts, both music and dance, can
be found in the ancient treatise, Nātya Śāṣtra, the authorship of which is attributed to Bharatha Muni.
Indian music traditions including Karnātaka classical music are largely based on the 13th century
Samṣkṛta text Saṅgita-Ratnākara of Sāraṅgadēva.
This paper delves on the impact of Muttusvāmi Dīkṣita on the Tanjore Quartet, with reference
to their composition, Navarathna Māḷika. The work is based on study of palm leaves, library sources and
interviews with experts in the field.
Tradition and Indian aesthetics

Indian performing arts, including music and dance, have flourished mainly based on tradition.
Tradition is something that has been “used by people in a particular group, family, etc for a period of
time” and includes “beliefs, behavior etc passed down within a group or society with symbolic meaning
or special significance with origins in the past”. Indian scenario was characterized by oral tradition of
learning and teaching and existence of teacher-disciple system (Guru-Siṣya parampara). In Indian
tradition artistic creation was primarily a mean of realizing Universal Being. A creation was a spiritual
exercise. The artists had intuitively known the truth and transmitted it to the audience through their art.
Aesthetic experience was considered secondary to this experience of absolute bliss. Aesthetics and
religion came under the realm of spirituality. Reverence to the guru was an essential ingredient in the
Indian tradition. Tanjore Quartet carried forward the tradition they got from their guru and also
established innovation and improvisation.
Muttusvāmi Dīkṣita (March 1775 – October 1835)

Muttusvāmi Dīkṣita, a poet and composer, composed about 500 compositions. His compositions
are mostly in Sanskrit and some kṛti-s are in a combination of Sanskrit, Tamil and Telugu. His
compositions contain elaborate and poetic descriptions of Hindu gods and temples. The essence of the
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rāga is formed through the vainika (vīna) style that emphasises on gamaka-s. These are in a chowka
kāla, slow speed. He is popular by his signature name Guruguha.
Muttusvāmi Dīkṣita was born in Tiruvārur, (Today’s Tiruvārur district) to a Tamil Brahmana
couple, Rāmasvāmi Dīkṣita and Subbrāmma. Muttusvāmi learned Samṣkṛta , Vēda-s, and other
important religious texts and got basic education in music from his father. In his teens he was sent on a
pilgrimage with a wandering monk named Chidambaranātha Yōgi to gain musical and philosophical
knowledge. He visited many places in North India and developed a broad outlook. His guru while in
Varanasi presented him with a unique Vīna and later died. It is believed that Muttusvāmi had a vision of
Lord Muruga during visit to Tiruttani and burst out his first composition. Later he visited several temples
and made several compositions on deities. His compositions are unique for richness in melody and rāga
bhāva. He is known for composing in all the seventy two mēḷa kartas with Sāmaṣti carana-s. Muttusvāmi
Dīkṣita is considered as one of the trinity of Karnātaka classical music, the other two being Tyāgarāja
and Śyāma śāṣtri.
Tanjore Quartet
Chinnayya, Ponniyya Vadivēlu and Śivānaṇdam were dance masters and brothers from
Tanjore. They learnt music from other gurus and sought to learn music from Muttusvāmi Dīkṣita. These
four disciples are known as the Tanjore Quartet. They have the distinction of being revered as the prime
composers of music for Bharatanātyam. Ponniyya (Ponniyya Naṭṭuvanār) and Chinnayya (Chinnayya
Naṭṭuvanār) also served as court artists of Tiruvananthapuram (Trivandram – Kerala). Vadivēlu is
credited with introducing the concept of Mōhiniāttam.
Tanjore Quartet and Muttusvāmi

The Tanjore Quartet composed their Navrathnamālika Kṛti and offered to Śri Muttusvāmi as
Guru Dakṣina. This is evident from the mudra-s, Guruguha Dāsa, Guruguha Mūrti and Guruguha
Bhakta. This was referring to their Guru. Their guru, Muttusvāmi, has signature of the mudra Guruguha.
The first of the Navaratnas, Māyātīta Svarūpini was composed in the Māyāmālava Gouḷa rāga
similar manner as their guru Śri Muttusvāmi, whose first composition was Śri Nāthadiguruguho Jayati
which was also set in Māyāmālava Gouḷa. There was use of Sāmaṣti carana-s in their kṛti-s as in the
case of kṛti-s of Muttusvāmi. Several of Ponniyya-s works reflect his devotion to Lord Brihadīṣvara and
śri Muttusvāmi. Ponniyya-s dwāDāṣa rāgamālika written in Telugu used only three rāga-s when he first
composed it later nine more rāga-s were added on the instructions of his Guru which can be inferred
by observing that Śri rāga, which is normally used as a mangala rāga for conclusion is the third rāga.
Muttusvāmi ranked the pada varna Danikētagujāna set in Tōdi rāga, Rūpaka tāla by Śivānaṇdam, higher
than his varna Rupamujūci set to the same rāga.
69
Chinnayya, the eldest of the Quartette was born in the year 1802, Ponniyya in 1804,
Śivānaṇdam in 1808 and Vadivēlu in 1810. At a very young age, the brothers had received sound
training in the sphere of Lakṣaṇa and Lakṣya of the art of dancing, from Gangaimuttu and Subbarayan.
These brothers enhanced their musical knowledge under the able guidance of Muttusvāmi Dīkṣita, the
great composer, Court musician and one of the Trinity of South Indian music. Their 7-1/2 years of
Gurukulavāsa made them the rich beneficiaries of learning the intricacies. This is evident from their
compositions marked for their dhātu-mātu Sāmaṇvaya (perfect Symbiosis of music (dhatu) and Sāhitya
(matu)). Muttusvāmi Dīkṣita, finding the extraordinary musical worth in these disciples, conferred on
them the title "Bharata Srēṣta". There could be no greater encomium and appellation than the one given
by a guru of such artistic eminence. Raja Serfōji-II is said to have presented a cash award of Rs.5000
to Muttusvāmi for training the pupils in such a manner. These disciples, in turn, composed and offered
the Navarathnamālika Kṛti.
The kṛti-s have the signature Guruguha Dāsa, Guruguha Mūrti and Guruguha Bhakta.
Muttusvāmi Dīkṣita was an ardent devotee of Lord Subrahmaṇya (Guruguha) and mother Goddess. The
Quartet used this as they considered their guru to be the incarnation of the Divine (Guruguha) and hence
addressed themselves as the servants of their master (GuruguhaDāsa). The NavaratnaMālika kṛti-s
which sound like Guru stuti seem to be the most befitting tribute that could be best offered to a guru of
such erudite scholarship and high degree of spirituality. There can be two possible reasons behind the
Tanjore Quartet opting for the Māyāmālava Gouḷa rāga for their maiden composition. Firstly the
auspicious nature of the rāga which has been hitherto used for the beginners in vocal music in learning
the preliminary exercises and secondly, the fact that this rāga was adopted by their guru in his first
composition 'Śri Nāthādiguruguho jayati', and had attained unparalleled eminence in the domain of
music. Though the composition "Māyātita Svarūpini" is in praise of their personal Goddess Bṛhadīṣwari,
the brother's humbleness and reverential attitude towards their Guru is evident from the verse "ma
Guruguha sāmiki nē Dasudaiti" which clearly states that they considered themselves servants to their
unmatched guru who is none other than the incarnation of Lord Guruguha. Similar note is found in the
Pallavi and Anupallavi sections of another Kṛti in Dhēnuka rāga which conveys that it is because of their
sincere prayers offered at the feet of Lord Bṛhadīṣwara that they were fortunate enough to have been
blessed by the God with a Guru whom they considered as the embodiment of Lord Subrahmanya.
Pallavi
Sri Guruguhamūrtikine siṣyudai yunnanura
Anupallavi
Baguganu śri Bṛhadisvara pādambulanu nijambuganu bajincinanducetane
Ponniyya wrote many Tāna varnas and Couka varnas. His compositions are marked for simplicity in
style, sweetness of melody and the lyrical content mostly reflecting devotion to Lord Brhadīṣvara and
his guru Śri Muttusvāmi Dīkṣita . There are compositions of Ponniyya written both in Telugu and Tamil.
He had composed many rāgamalikas like his guru Śri Muttusvāmi Dīkṣita. Ponniyya-s rāgamalika
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compositions have the rāga mudra or the names of the rāga-s embedded in the Sāhitya, in such a way
that they connote a definite meaning to the lyrical portion. His catur-rāga slōkamālika in rūpaka tāla, is
a composition in Telugu set to four rāga-s namely, Bilahari, Varāli, Pūrvi Kalyāni and Dhanyāsi. A similar
catur-rāgamalika using the same varna meṭṭu has been composed by Mahāraja Svāti Tirunal in Sanskrit
beginning with the line "Bilahari pada padma". For the dvāDāṣa rāgamalika in Telugu, he had employed
12 rāga-s , which are as follows:- (1) Tōdi (2) Mōhanam (3) Śri rāgam (4) Gowri (5) Varāli (6) Sourāshtra
(7) Kalyāni (8) Sahana (9) kaṇṇada(10) Nāṭa (11) Surati (12) Hussāni Initially Ponniyya had composed
only in three rāga-s , but on the instruction of his Guru, he is said to have added string of 9 more melodies
to it. This is evident from the third rāga " Śri " which is usually utilised as Maṅgala rāga for conclusion
and we also find the mudra in the Sāhitya "Bhumi velayu Śri Tañja Bṛhadīsa.
Śivānaṇdam had many compositions to his credit. The famous pada varna "Danikētagujāna" in
Tōdi Rāga, Rūpaka tāla is one such master-piece. Muttusvāmi Dīkṣita , is stated to have lauded the
achievement of his disciples.
The brothers learnt Dhātu (music) Mātu (Sāhityam) Sāmanvaya. Muttusvāmi Dīkṣita himself
had appreciated the honorific, Yeka chanda or SantagrahiSangeeta Sāhitya Bharata Sreshtargal
conferred on the Quartet. Thus they were experts in music, composing lyrics and the art of
Bharatanatyam.
Conclusion
From the above analysis it becomes evident that the influence and impact of Muttusvāmi Dīkṣita
’s compositions are found in the compositions of Tanjore quartet. The Tanjore Quartet carried forward
the tradition and at the same time made very innovative changes. The knowledge gained by the Quartet
helped them in maintaining a high standard in their compositions. The fact that their compositions are
in Tamil and Telugu with lyrics in simple language show that their music and Bharatanātyam was
attractive to scholars and also to common people.
Bibliography
1. S.R.Raghunathan, Tanjore Quartets Contributions, The Hindu, 02-03-2006.
2. T.K. Venkatasubramanian, Music as History in Tamilnadu, Primus books Publications, Delhi,
2010.
3. K.P.Kittappa and K.P.Sivanadam, lectured by-Dr V.Raghavan, “Dance Music and the
contribution of Nattyacharyas to Karnātaka classical music, Journal of Madras Music Academy, 1977.
4. Sangeetha Kalanidhi K.Ponniyya Pillai, ThanjaiPeruvudayan Perisai, Published by Haripriya
Rambadram, Chennai, 1964.
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PORTRAYAL OF VIVADI RAGAS IN THE COMPOSITIONS OF TRINITY
71
Hamsini Nagendra <[email protected]>
INTRODUCTION:
Indian Music, especially the Karnatak Music has a plethora of Ragas, which are its backbone
and they are several Centuries old. The history of Ragas is actually amazing and interesting one, to
understand the several twists and turns on the path of their evolution in which, some of them have
continued to be in the realm since ages, some have become obsolete and some have been added on
or modified their form in the recent times. In Karnatak Music, there are innumerable Ragas, which have
been variously classified and categorised on the basis of different themes and purpose. Some of them
are Pracheena Ragas, Apoorva Ragas, Ghana, Naya, Deshi Ragas, Pratimadhyama Ragas, Raganga
Ragas etc. and Vivadi Ragas are one such category, which is the focus of this study, which is also to
highlight the melodic worth of such Ragas, especially in the compositions of the Trinity, based on facts.
MEANING AND DEFINITION:

The term Vivadi is from the Sanskrit origin, meaning of which is to be contradictory or
controversial. In the context of Music, it is referred to as inharmonical note. Vadi, Samvadi, Vivadi and
Anuvadi are the different types of Swaras, which have different effect on the minds of the listeners. The
Vadi and Samvadi are those Mitra Swaras, which are separated by an interval of 8 or 12 Shruthis. They
have a harmonical relationship with each other like the Shadja and Panchama or Shadja and
Shuddhamadhyama. In Western Music, they are known as Consonants. Whereas, Vivadi is defined as
that, which is unmelodic in nature and is differentiated by an interval of two Shruthis. Example, Shuddha
Rishabha and Shuddha Gandhara or Shatshruthi Dhaivata and Kakali Nishada. It is known as
DISSONANTS. It was also considered as inauspicious and enemy or ‘Shatru Swara’ in the past and
was considered as detrimental to the Ragabhava or melodic aspect. Naturally, the Ragas, which consist
of these Vivadi swaras are known as the Vivadi Ragas, which did not have their legitimate place on the
Concert platforms until the recent times. The swaras other than these are known as the Anuvadi swaras.
EVOLUTION:
It is a known fact that, the Indian Music, especially the Karnatak Music had its beginning in the
Vedas, which is five thousand years old, with just one note namely the ‘ ARCHIKA’. Swara is the basis
for all the Scales and Ragas of every Musical system of the world. Our Lakshanakaras have defined
the term Swara as “SWAKEEYO RANJAYATI ITHI SWARAHA”. It means, Swara is that, which can
please the listeners on its own. The Árchika gradually progressed into 7 notes, which is ‘ SAMA
SAPTAKA’, initially with Vedic names such as the Archika, Gathika, Samika, Mandara, Atiswarya and
Krushta. Later on, they were replaced by the 7 Loukika names such as Shadja, Rishabha, Gandhara,
Madhyama, Panchama, Dhaivatha and Nishada. The notes of this PRIMORDIAL SCALE were known
as the ‘SHUDDHA SWARAS’. It was this Primordial Scale, which paved the way for the later evolved
Moorchanas or Melas and Jathis or Ragas.
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As the days advanced with inventions and innovations, few more notes were realised in an
octave, which were called ‘VIKRUTA SWARAS’. The subsequent Lakshanakaras had different views,
regarding the actual number of Shuddha and Vikruta swaras of an octave. By the time of
SHRANGADEVA, the number of Shuddha and Vikruta swaras were fixed to 7 and 5 respectively. When
the three Gramas became obsolete and the Madhyasthayi shadja was considered to be the Adhara
shadja or the tonic note, the lowest pitch of a Swara was accepted as the Shuddha swara and others
as Vikruta swaras. The Shadja and Panchama, which had no modifications and which had definite
shruthi pramana were named as Prakruti Swaras. In this process of evolution of Swaras, an idea of
understanding and analysing a Swara in relation to its tonic note and neighbouring Swaras was
conceived. Thus paved the way for different types of Swaras such as the Vadi, Samvadi, Vivadi and
Anuvadi, which are discussed in both Natyashastra an SANGEETHA RATNAKARA of 2nd and 12th
Century A.D respectively.
When the various Melaprastaras of different Lakshanakaras practically failed, it was the
scheme of 72 Melakartas, which is most scientific in nature, formulated by Venkatamakhi in the 17 th
Century A.D., based on 16 Swaras and 12 Swarasthanas, including all the prakruti and vikruti swaras
was accepted and adopted by one and all. Thanks to Venkatamakhi for his rational and scientific
outlook. Today’s Karnatak Music is certainly based on this 72 Melakarta paddhathi. Among these 72
Moorchanakaraka Melas, 40 of them are Vivadi Melas. Each such Mela has given rise to innumerable
Vivadi Janyaragas, some of which are immortalised in the form of Compositions by the great
Composers and most of them are yet to be explored. These Vivadi Ragas, represent both Asampoorna
as well as Kramasampoorna melapaddhathis of Muddu Venkatamakhi and Govindacharya respectively.
Some of them are Saalaga, Jalaarnava, Jhaalavaraali, Navaneetha, Bhavani, Tanaroopi,
Jaganmohana, Nabhomani, Chathurangini, Dhotha-panchama, Naasamani, Kusumaavali, Rasa-
manjari etc.
CONTRIBUTIONS OF TRINITY:
Though, there were several Vaggeyakaras prior to the Trinity of Karnatak Music (Sri
Shyamashastry, Sri Thyagaraja and Sri Mutthuswami Deekshitar), whose period is rightfully marked as
THE GOLDEN ERA OF KARNATAK MUSIC. It was they, who brought the revolutionary changes into
the system. They have not only introduced novelties in terms of the structure, varieties, themes of
Compositions, Sahithya and Sangeethaalankaaras etc. but, also made a revolution in the realm of most
technical aspects such as, the Ragas, Thalas, Sancharas, Sangathis etc. They have not only composed
their Compositions in the traditional Ragas and Thalas but, also have given the MELODIC FORM to a
number of ‘GRANTHASTHA’ or textual Ragas, introduced many newer or APOORVA Ragas, Deshi
Ragas, brought in Deshadi and Madhyadi Thalas, Chapu and Viloma chapu Thalas etc. Similarly, they
were bold enough to brake the social stigma or the myth attached with these Vivadi Ragas, by
composing ever green valuable compositions in such Ragas. It proves beyond doubt that, they had very
much valued the tradition and at the same time, were highly experimental, innovative and creative in
73
composing. It was such rational efforts or thinking of the Trinity, which inspired the later Composers to
compose some of the wonderful Compositions in the Vivadi Ragas as well.
Among the Trinity, the youngest Sri Mutthuswami Deekshitar has contributed maximum to the
bastion of Vivadi Ragas (40 Vivadiragas). He has always been a trend setter for most of the Musical
aspects. Next comes Sri Thyagaraja, who has more number of compositions than Deekshitar (51) and
Sri Shyamashastry has the least number of Compositions in these Ragas (4).
VIVADIRAGA COMPOSITIONS OF SHYAMA SHASTRY:

Sri Shyama Shastry (1763-1827 A.D), the eldest of the Trinity, is known for composing mostly
in the traditional Rakti Ragas. He has not identified himself with any of the Mela system. His
Compositions are a perfect blend of both Ragabhava and Vatsalya Bhava of a child and a Mother. He
is said to have composed around 100 Compositions but, the available publications have about 70
Compositions in the list. Among them, there are only 4 Compositions in 3 Vivadi Ragas, which are only
Janyaragas and they are:
The Composition Raga Thala
Parvathi ninu Kalgada Trishra nade, adi.
Pahimam sri rajarajeshwari Nata Chaturashra roopaka.
Karuna judavamma Varali Mishra chapu
Kamakshi bangaru Varali Mishra chapu.
1. ‘Parvathi Ninu’ is a melodious Composition, in which the Ragabhava of Kalgada, a rare

Vivadiraga is delicately portrayed. The Vivadi Sancharas such as, PDNDP and
SSSPDN,DP etc., both in Pallavi and Charanas and The glide from sa to pa in Pallavi
are heart touching ones.
2. ‘Pahimam Sri Rajarajeshwari’ in Nata, looks special for its unique structure with multiple
BAHUDHATU Charanas in Madhyamakaala and vibrant Ragasancharas. In the
Anupallavi, the lyric ‘simhAsanArUDhE’, which starts from the Vivadiswara ‘Shatshruti
Rishabha’ that is, ||R,Rs|nsrsR|| makes the listeners to feel the Sahithya bhava without
their knowledge.
3. Both the compositions in Nata and Kalgada begin from ‘SWARAKSHARA’ that is
Pahimam and Parvathi ninu on the note Panchama.
4. Both ‘karuna judavamma’ and ‘kamakshi bangaru’ in Varali, commence actually with
the Vivadi swara sancharas such as, ||,,,sani,|garisa,|| and ||ga,ma|ga,gari|| ||sa,,|,,,,||
with Shuddha Gandhara respectively. They completely highlight his devotion to the
Goddess Kamakshi and also makes us feel fully drenched in such Bhaktibhava.
5. Out of these 3 Vivadiragas, 2 are GHANARAGAS as well.
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VIVADI RAGA COMPOSITIONS OF SRI THYAGARAJA:

Sri Thyagaraja (1767-1847 A.D) is the most popular composer, is said to have composed
thousands of Compositions belonging to the Kramasampoorna paddhati but, only about 700 of them
are available today. Out of them, there are about 51 Compositions in 33 Vivadiragas and they are:
Composition Name of the raga Name of the thala
Gananatham Kanakaangi Adi
bhajamyaham
Kalashavardhijam Ratnaangi
Emandune Shreemani Roopaka
Ganamurthe Gaanamoorthi Adi
Pariyachakama Vanaspati Roopaka
Evarito Maanavathi Adi
Atukaradani Manoranjani Deshaadi
Ne morabettithe Roopavathi Mishra chapu
Samayamu emarake Kalgada
Sri janakatanaye Kalakantee Adi
Paraku jesina Jujahuli
Panipathishayi Jhenkaaradhwani Adi
Emani pogadudura Veeravasantha Adi
Manasa sri rama Maara ranjini
Sattaleni dinamu Nagaanandini Adi
Evvare ramaiah Gangeya bhooshini Adi
Paramatmudu Vaagadheeshwari Adi (vilamba)
Idi samayamura Chaayaanaata Adi
Prananatha birana Shoolini Deshaadi
Dayajuchutakidivela Gaana vaaridhi Adi
Jagadanandakaraka Naata Adi
Ninne bhajana Naata Adi (vilamba)
Namami sri rama Varali Adi
Bhavasannuta Varali Adi (vilamba)
Dharanu ni sari Varali Adi
Emenu galiginanduku Varali Adi
Ennalu shubhatantu Varali Mishra chapu
Eti janmamidi Varali Mishra chapu
Endukemi Varali Mishra chapu
Kanakana ruchira Varali Adi
Karuna elagante Varali Adi
Marakathamanivarna Varali Adi (vilamba)
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Ne pogadakunte Varali Khanda chapu

Noremi sri rama Varali Adi (vilamba)
Pahi ramaramana Varaali Adi
Srirama srirama Varali Adi
Srirama jayarama Varali Mishra chapu
Vaddayunde Varali Mishra chapu
Lemidelpa Navaneeta Adi
Nayada vanchana Nabhomani Adi
Bagayanaiah Chandrajyothi Adi
Shashivadana Chandrajyothi Adi
Varanarada Vijayashree Adi
Lilaganu juche Dundhubhi or divya- Adi
mani
Pahi ramaduta Vasantavarali Roopaka
Ni chittamu bhagyamu Jeevantini Adi
Dayaniki teluvu Hamsanaada Adi
Banturiti koluvu Hamsanaada Adi
Vachamagocharame Kaikavashi Adi
Palintuvo Kanthaamani Deshadi
Maravairi ramani Nasikabhooshini Roopaka
1. Whether it is Ragabhava or lyrical beauty or his devotion to lard Rama, his Vivadiraga
compositions do not lag behind in any aspect, compared to his other compositions.
Example, ‘Kanakana ruchira’, ‘Jagadanandakaraka’ etc.
2. He has about 51 compositions in 33 Vivadiragas to his credit, which include wide range
of compositions such as Kshetra kruthis, Divyanamas, Utsavasampradayas, different
Pancharatnas, compositions belonging to Operas, compositions in both Pracheena
and Apoorva Ragas, Ghanaragas, compositions in different thalas and tempos etc.
3. ‘paramAtmuDu velige’, ‘ETijanmamidi’, ‘jagadAnandakAraka’, ‘gAnamUrtE’ in
Vagadheeshwari, Varali, Nata, Ganamoorti Ragas respectively are some of the
CLASIC COMPOSITIONS, which are highly scholarly, more soothing and all-time
favourites of Music connoisseurs as well, inspite of being composed in Vivadiragas.
4. The composition in Kaikavashi beautifully portrays the Ramayana incident whereas,
Paramatmudu in Vagadheeshwari highlights the Omnipotent as well as the Omni
presence of the almighty.
5. Just as his other compositions, his Vivadiraga compositions as well give the complete
scale of the Raga in the very first Sangathi itself. Example, Varanarada, Idi
samayamura, Palintuvo etc. in Vijayashree, Chayanata, Kantamani respectively.
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6. Rare Vivadiragas such as Srimani, Kalakanti, Jujahuli, Dundubhi, Vasantavarali,

Ganavaridhi etc. have been given melodic structure and they are the SOLITARY
COMPOSITIONS in those Ragas even today.
7. It is said that, Sri Thyagaraja had composed his Hamsanada compositions in its original
form itself, as described in ‘Sangraha Choodamani’ of Govindacharya, with sa ni da ni
pa sanchara only, with Shatshruthi Dhaivata, and not as it is rendered today.
VIVADIRAGA COMPOSITIONS OF MUTTUSWAMI DEEKSHITAR:

Sri Muttuswami Deekshitar (1775-1835), is the most scholarly composer, who has enriched the
field of Karnatak Music with his extraordinarily wonderful and marvellous compositions. As his
compositions belong to the Asampoorna paddhathi, even its Janaka Ragas look like Janyaragas for
today’s students. He has about 44 compositions in 40 Vivadiragas and they are:
Name of the Raga Aroha and Avaroha Composition
Kanakambari Srmpds-sndpmGrrs kanakAmbarI kAruNyAmrita
laharI
Phenadyuti srmpddpns-snddpmggrs SrI dakshiNAmUrti
Ganasamavarali Srmpdns-sndpmgrs BruhadIshwarO
Bhanumathi srmpdns-sndpmGrs bruhadambA madambA
jayathi
Bhanumathi srmpdns-sndpmGrs GuruguhaswAmini
Manoranjani srmpdns-sndpmmpmrgrs bAlAmbikE pAhi Badram
Tanukeerthi srmpns-sndnpmgrs Chidambara
naTarAjamUrthim
Senaghrani srggrmgmpnds- JnAnAmbikE pAlaya
sNdpmgMggrs
Roopavathi Srmpps-sndnpmggs SrIkrushNam BajarE
Geya Hejjujji srmgpdpds-sNdpmgrs rAmachandra Baktam
Jayashuddhamalavi srgmpns-sndnpmgrs naraharimAshrayAmi
satatam
Jhankarabhramari srgmpdndpds-sndpmgRGRRs himAchalakumArIm BajarE
Veeravasantha srmmpndns-snpmmrgs vIravasanta tyAgarAja
Sharavathi smgmpdnds-sNdpmgrs sharAvatI taTavAsinI
Nagabharana sRgmpndns-snpmgmrs nAgABaraNam
nagajABaraNam
Kalavathi SrgmpdndpdS-SNdpmrgmrs kalAvatI kamalAsanayuvatI
Ragachoodamani SmrgmdpN,,s-Sndpmmrs shwEta gaNapatim
Ganga Tarangini sRgMpdnS-snpdMmgmrS varadarAja AvAva
Bhogachayanata Srgrgmpnns-sndnpsNpmmrs BOgaChAyAnATakapriyE
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Shaila Deshakshi smgpds-sndSnpmrs SrI shUlinIm sritapAlinIm

Chalanata Srgmpdns-snpmmRS SwAminAtha paripAlayAshu
mAm
Chalanata Srgmpdns-snpmmRS pavanAtmajAgaccha
Chalanata Srgmpdns-snpmmRS mahAgaNapathim
Sougandhini srmpds;sndpmgrs kAmakOTi pITavAsinI
Jaganmohana sgmpddns;sndpmgrs SrIvidyA rAjagOpAlam
Dhaali-varaali sgrgmpdns;sndpmGrs mAmava mInAkshI
Dhaali-varaali sgrgmpdns;sndpmGrs shEshAchala nAyakam
Nabhomani sgrmpdpns;sndpmgrs nabhOmaNi
chandrAgninayanam
Kumbhini sg rmpndns;snpmgrs SacchidAnandamaya
Ravi-kriya sgrgmpndns;snppmGrrs himagirikumArI eshwari
Geervani srgmpdndpds;sndpmGrs namO namasthE gIrvANi
Jeevanthika srgmpdns;snpmgrs brihadIsha kaTAkshENa
Dhavalaangi srgmpds;sndpmgrs shrungArAdi NavarasAngI
Vamshavathi srgmpdns;snpmgrs vamshavathI shivayuvathI
Shamala Srgmpds;sNdpmgrs shyAmalAngI mAthangI
Nishadha srgmpdns;snpmgrs nishAdAdi dEshAdipati nuta
Kuntala srgmpds;sndpmgrs SrI sugandhI kuntalAmbikE
Chaturangini srgmpdns;snpmgrs guruguha BavAntarangiNI
Santhaana Manjari srgmpds;sndpmrs santAnamanjarIm shankarIm
Jyothi srgmpdns;sndpmgs paranjyOtishmatI
Dhoutha panchama srgmpdns;sndpmrGs mAtangI marakatAngI
Nasaamani srgmpdns;sndpmrgs SrI ramA saraswathI sEvitAm
Kusumaakara srgmpdns;sndpmrgs kusumAkara shOBita
Rasamanjari srgpmpndns;sndnpmprgs shrungAra rasamanjarI
These Vivadiraga compositions of Deekshitar are also equally good in all respects.
1. All the above mentioned Ragas are RAGANGAS or Melakartas only. Very few
janyaragas are derived from these Vivadi Ragangas but, they do not have the
Vivadi swara sancharas. Example, Shuddhasaveri under Kanakambari and
Manohari under Gangatarangini. Hence, they are not listed above.
2. The most important one is that, Sri Muttuswami Deekshitar has come out with some
remedies for the so called VIVADI DOSHA, such as VARJYA, VAKRA,
DEERGHATWA, ALPATHWA, JANTI ETC. PRAYOGAS to get rid of such Doshas,
which are evident in his compositions. Such prayogas could also be observed in
the scales given in the table above.
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3. The Musical rhetorics such as different types of Prasa, Swarakshara, different

types of Mudras, Madhyamakala Sahithya etc. are beautifully incorporated in these
Vivadiraga compositions as well. Sheshachalanayakam in Varali is a good
example for the Dwitiyaksharaprasa. Mamava meenakshi in the same Raga starts
with Swarakshara, which is nothing but, the VARALI MADHYAMA. Compositions
like Sri sugandhi kuntalambike, Santanamanjareem etc. have Ragamudras,
cleverly woven into the sahithya, which will avoid controversies regarding the name
of the Raga.
4. Many SAMASHTICHARANA Kruthis are also found in the above list.
5. There are compositions belonging to different GROUP KRUTHIS such as
ShodashaGanapati kruthis, Gurupara kruthis, Balambika kruthis etc. as well as
the Kshetra kruthis in Vivadiragas.
CONCLUSION:
1. There are hundreds of compositions in these Vivadiragas by various
composers. The Trinity alone have around hundred compositions in such
unique Ragas to their credit, which are very precious ones indeed. Karnatak
Music cannot afford to lose those precious compositions just because they
are in Vivadiragas.
2. What ever may be the stigma attached with these Ragas, they have their own
flavour of rasa or emotions. Actually, these are such exclusive Ragas, which
do not have parallels in other systems of Music as well.
3. Of course, they may not be compatible with all the Gamakas but, can be
produced with limited ones.
4. Sri Muttuswami Deekshitar’s remedies to these Vivadiragas are already been
discussed, which are a good move in solving controversies but, Sri
Thyagaraja and Sri Shyamashastry do not seem to be bothered for such
issues. They have strait or Ruju swara sancharas in these Ragas.
5. Superstitions have no place in these days. ‘ranjayati ithi rAgaha’. Ragas,
which are pleasing to the ears are accepted. Even though, they do not give
much scope for elaboration, their rendition in between a concert adds
pleasure. Hence, it is our bounded duty to preserve these valuable Ragas to
the coming generations.
BIBLIOGRAPHY
NAME OF THE BOOK NAME OF THE AUTHOR
SRI THYAGARAJARA PANCHARATNA Edited by Matthur R. Sankaramurthy
KEERTHANEGALU
MUTTU SWAMY DEEKSHITARA SAAHITYA M.R.Shankara murthy
MANJARI PART 1&2
79
SRI Shyama shastrigala saahitya manjari M.R.Shankara murthy

GURUGUHA VANDANA Published by Vidhwan R. K. Padmanabha
SRI THYAGARAJA DARSHANA Sri T. N. Padmanabhan
SHAMASHASTRIS COMPOSITIONS Vidya Shankar
THYAGARAJA KEERTHANALU, VOL- 1 TO6 Manchaala Jagannatha Shastry
SANGEETHA LAKSHYA VIGNYANA R.R.Keshava murthy
VAAGGEYAKARA KRITIGALU PART 1 TO 3 R.R.Keshava murthy
SANGEETHA SARVARTHA SAARA Published by Sri Vidyananda Mudraakshara
SANGRAHAMU shala
LAKSHYA LAKSHANA PADDHATI R.S.Keshava murthy
PLANET PRAYERS MUTHU SWAMY Translation & Annotation By Manoj.G
DEEKSHITAR’S NAVAGRAHA KRITIS
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
80
Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi tāḷa

And their Adaptation to Ādi tāḷa.
Harish Narayan K <[email protected]>
Tyāgarāja, one among the Musical Trinity of Karṇāṭak music was the pioneer in popularizing
the trend of composing compositions set to Dēśādi and Madhyādi tāḷa-s. His style of composing Kīrtana-
s in these tāḷa-s has inspired many of his disciples and other composers who belong to his lineage. The
structure of compositions in this tāḷa-s is a signature bāṇi of Tyāgarāja Śiṣya parampara. Dēśādi and
Madhyādi are names of 'two' tāla-s in which some kīrtana-s of Tyāgarāja, Jāvaḷi-s and Tillānā were set.
However in the 20th century these songs have been generally sung adapted to Ādi tāḷa. This paper
questions whether Dēśādi and Madhyādi are really two tāla-s or one tāla with differences in point of
commencement, the point of melodic accent and in the number of sāhitya syllables accommodated in
a time unit. The paper also examines the manner in which the songs set in these tāla-s have been
adapted to Ādi.
1 Dēśādi-tāla and Madhyādi tāḷa:

A M Cinnasvāmi Mudaliyār (1893:41) regards Dēśādi and Madhyādi as variations of Āditāla.
According to him, "What is usually termed the ĀDI TĀḶA which corresoponds to the common or even
time in European Music, is really the TRIPUṬA genus of the CHATURAṢRa species; but as the
TRIPUṬA has been appropriated in common usage to denote the seven-unit-measure of the TRIṢRA
species, the term ĀDI has been borrowed from the long list of 108 TĀḶAS reckoned by MĀTRĀS. There
are a few varieties in the ĀDI TĀḶA which might be mentioned here; viz. (a) MADHYĀDI in which the
musical phrase generally terminates with the first half of the ĀVARTA, a fresh phrase or a variation of
the first one being taken up at the second half of it. (b) DĒṢĀDI, in which the first three AKSHARAS of
a melody fall on rests, but re-appear regularly at the commencement of each succeeding ĀVARTA, so
that every musical phrase invariably begins on the 4th note of the first bar in each ĀVARTA; another
peculiarity in the rhythm of this measure is that the first and fourth notes in each bar are short and the
central one generally long: (vide melodies in the first issue.)"
In the above statements of Mudaliyār some inconsistencies are met with.
a) Ādi-tāla corresponding to Common time would be similar to 4-4, four crochets or quarter note
syllables to a bar.
b) But Caturaśra-tripuṭa tāla would have 8 beats or 8 kriyā-s.
b) The term Ādi 'borrowed from 108 Tāla-s' would denote a tāla with one Laghu time-unit or one mātrā.
At best that could be enlarged as four units with one saśabda-kriya followed by three niḥśabda
kriyā-s.
In other words Mudaliyār does not clearly specify the form of or the mode of rendering the
Dēśadi or the Madhyādi tāla. What one can infer is that the mode of rendering the two seems to similar.
From the notation of a song set in Dēśādi we gather that there are four bars or aṅga-s in the tāla.
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For instance, the song, 'nannu brōva' in the rāga Ābhōgi and in Dēśādi tāla has been notated by
Cinnasvāmi Mudaliyār (106) thus.
na | nnu brō . va | nī . . kin | ta tā . ma ||

| | | ||
sa mā . | | | ||
In the course of giving tāla details, although he describes Dēśādi as having a '4+2+2' or a '4+4' or
simply as Dēśādi, from the four bara structure to an āvarta, we can infer that he is having a four kriyātime
structure in mind.
There are three kīrtana-s set in Madhyādi tāla that Mudaliyār has notated, namely, 'vidulaku
mrokkeda' (1893:59) 'kalinarulaku' (Kuntalavarāḷi) (99) and 'ennaḍu jūtunō' (Kalāvati) (118).
Madhyādi -
. . vi du . . la ku . | mrō . . . . ke dā . ||
. . vi du . . la ku .
.. ka li . na ru . | la . ku . . ma hi . |
. . ma lu . de li . | pē . .. .. mi . ||
.. en . . na ḍu . | jū . . . . tu nō . |
.. i na . ku la . | ti . la . ka . . . ||
In the notation of the pallavi of these three songs in Madhyādi given above, the placement of two
vertical lines also is confusing. One would expect them to mark the end of the āvarta. But Mudaliyar
and even Subbarāma Dīkṣitar place them to mark the end of the Pāda ending or the sāhitya division
within a Pallavi, Anupallavi and Caraṇa and not necessarily āvarta.
For instance, if we take the single vertical line, normally denoting the end of an aṅga, then the
commencement point of the syllables, 'vidu', 'kali' and 'en' would be after ¼ mātrā and not ½ mātrā. So
the actual proper organisation of the song should be as follows.
Madhyādi -
V | T | T | T || V | T | T | T ||
. . - vi du | . la ku . | mrō . . . | . ke da . || . . - vidu | . la ku . | mrō . . . | . ke da . ||
..- | | | || | | | ||
. . - ka li | . na ru | la . ku . | . ma hi . || . .- malu | . de li . | pē . . . | . . mi . ||
..- | | | || | | | ||
. . - en . | . na ḍu . | jū . . . | . tu nō . || . . - i na | . ku la . | ti . la . | ka . . . ||
..- | | | || | | | ||
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In short both Dēśādi and Madhyādi based kīrtana structures suggest a single tāla with four
kriyā-s, one of which must obviously be a niḥśabda-kriyā. If all the four kriyā-s were to be one kind of
saśabda kriyā, namely, a ghātam, then it would be difficult to make out the structure of the tāla.
The Āditāla to which T V Subba Rao (1962:97-99), in his article 'Deśādi and Madhyādi Tālas',
traces the two tāla-s is not very clear. "Ādi tāla is the oldest of tālas. It is for that reason called ādi or
the first tāla. It consists of eight units." Again as pointed out above, the ancient Ādi had one mātra, or
say, four units and not eight.
But Subba Rao later makes a very important statement, "Thus the practice of rendering the ādi tāla
in madhyamakāla by a beat, a wave and two beats became somewhat popular towards the middle of
eighteenth century. As this mode of rendering in the continued sequence resembled the trital of North
Indian music which consists of three beats and a wave, it came to be known as deśya ādi or deśādi
tāla." However he tries to equate this four beat tāla to the modern ādi when he continues, "To describe
the deśādi tāla as consisting of only four units for the simple reason that the eye sees only four
movements of the hand, would be incorrect."
Notwithstanding Subba Rao's attempts to relate the four kriyā Dēśadi to the eight kriyā-s of Ādi,
what is of importance is the connection he makes between Dēśādi and the Tritāla or Tīnatāla of
Hinudstāni Music, both being manifested by four kriyā-s. The Tritāla in Hindustāni,as the name signifies,
has three <tri, tīna) Tāli kriyā-s (saśabda - taṭtu / ghātam-s) and the fourth being a Khāli (niḥśabda -
vīccu / visarjitam). Reṅganāthayyar (1922:6) in his Saṅgītarājaraṅgam, refers to this format of tāla as
Hindustani Ādi-tāla, with the kriyā sequence being taṭtu-viccu-taṭtu-taṭṭu.
However in Hindustāni Tritāla the sequence of kriyā-s is two taṭtu-s, one vīccu and one taṭṭu, as
shown below.
1a Tri-tāla: Duration - 16 mātrā-s.

Mātrā 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Kriyā X X O X
Bōla dhā dhin dhin dhā dhā dhin dhi dhā dhā tin tin tā tā dhi dhi dh
n n n ā
It is perhaps with a view to keep away the confusion of 4 unit ādi and 8 unit ādi associated with
Dēśādi, that Subbarāma Dīkṣitar assigns the name 'Caturaśra-ēka' in Saṅgīta-sampradāya-pradarśini
and simply 'Ēka' while notating kīrtana-s set in Dēśadi. For instance, in Prathamābhyāsa-pustakamu
the kīrtana, 'nannubrōva' (Āhōgi) is notated in the manner shown below.
. . . r | g gr r r | s , , ḍ | s r g mg ||
gr r , | | | ||
sa mā . | | | ||
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The trouble with such a representation is that the tāla would have one taṭṭu and three vīccu-s as
against the three taṭṭu and one vīccu structure and also the commencement of the song would be on
the fourth quarter of the taṭṭu.
Sāmbamurti (1964:105-106) is quite categorical when he states "The Desādi and Madhyādi tālas
consist of 4 counts each, for an āvarta and are reckoned with a visarjita (wave of the hand) and three
beats.
Thus it is clear that the two names 'Dēśādi' and 'Madhyādi' denote the differing formats of
composition set-up in the same tāla structure. We have two contrasting instances relating to the tāla
Miśra-cāpu.
a) If we take the example of Miśra-cāpu we find that it has sections with 3+4 or 3+2+2 as the normal
proportional time durations. Citing the example kīrtana-s of Śyāma Śāstri,Sāmbamūrti (1964:104)
refers to a version Miśra-cāpu with the sequence 4+3 as 'Vilōma-Cāpu'. However we do not seem
to come across any old books using this tāla name.
b) Another instance is that, in Miśra-cāpu we find kīrtana-s 'mari vēre gati' (Ānandabhairavi, Śyāma
Śāstri) having a sama-graha and kīrtana-s like 'pakkala nilabaḍi' (Kharaharapriya) and ''manasu
svādhīna' (Śaṅkarābharaṇa) having a recurring anāgata-graha of 2/7, yet the tāla carries only one
name and not two.
However if would be appropriate if the miśra-cāpu versions in the two cases could have some
distinguishing prefixes. In the case of Dēśādi and Madhyādi too, better distinguishing nomenclature
could have been conceived.
Subba Rao (1962:99) also takes Dēśādi to be the name of the tāla and Madhyādi name denoting
only a variation in the song-setting format when he says, "The reason for giving the separate name of
madhyādi to a tāla of the same kriyā s as deśādi is to indicate the difference of the unusual eḍuppuof
the anupallavi and the charaṇa." (The latter point will be discussed below.)
Now we shall take up the organisation of songs in the two formats, Dēśādi and Madhyādi.
2 Structure of Music: in Dēśādi format

With regard to the organisation of songs in the Dēśādi format, Cinnasvāmi Mudaliyār had two
points to make
a) ". . . the first three AKSHARAS of a melody fall on rests, but re-appear regularly at the commencement
of each succeeding ĀVARTA, so that every musical phrase invariably begins on the 4th note of the first
bar in each ĀVARTA;
This is clear in the example given below, where there is rest for a duration of three-quarters of
the first mātrā commencing on a Vīccu. (cf. RithaRajan 1999:56-57)
| | | ||
sa mā .- nā | pai nē . ra | mē . . mi | . bal . ku ||
| | | ||
mā | | | ||
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This is clearly seen in the following example:

en | ta vē . ḍu | kon . . du | . rā . gha ||
| | | ||
vā . .- pan | ta mē . la | rā . . ō | . rā . gha ||
| | | ||
vā | | | ||
In the above examples we also observe that there is a three-quarter rest at the commencement of
the third kriyā too.
The structure of the popular Masītakhāni Gata of Hindustani Instrumental Music, mainly Sitāra, set
to Tri-tāla or Tīna-tāla9. The Gata is also said to commence on the 12th mātrā.
X | X | O | X ||
sk | sk | nk | sk ||
di ra | dā di ra dā rā ||
dā dā rā - di ra | dā di ra dā rā | dā dā rā - | ||
We observe two identical halves of 8 mātrā-s in the gata, the first half commencing on the 12 th
mātrā and the second one on the 4th. This is the format that is visible in the kīrtana-s set to Dēśādi-
format as mentioned above.
Some of the Khyāla compositions set in Tritāla, in medium tempo, too seem to be set in the above
format, as seen in the example in rāga Kāmōda, (OmkarnāthThākur 1958:56).
X | X | O | X ||
jā | nē na dūṅ . ||
gī . .- rī | mā . yī . | mā . yī - | ||
b) Regarding the compositions set in Dēśādi tāla Mudaliyār adds one more point."Another
peculiarity in the rhythm of this measure is that the first and fourth notes in each bar are short and the
central one generally long."The following examples bear this out. But we also see that, the first and
fourth syllables being short and the second one being long pertains, more to the second and fourth bārs
or mātrā-s and not to all.
| I S I | | I S I ||
sa mā . | | | ||
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http://www.nadsadhna.com/pages/indianmusic/IndianInstruments.asp?About=Sarod
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| | | ||
. . . en | ta vē . ḍu | kon . du | . rā . gha ||
vā . . | | | ||
| | | ||
ra | ghu nā . ya | ka . . nī | . pā . da ||
yu ga . | | | ||
Ritha Rajan (1999:57-59) has discussed this greater detail and also pointed out cases where the
feature is not incorporated.
The metre or the chandam of the sāhitya syllables also suggests that instead of viewing it as 'ta-
dīm-ta' (I-S-I) within a bar or mātrā, it should be seen as recurring metre of 'ta-ta-dīm' (I-I-S) from the
point of commencement of music with the accent of the music and the accent of the tāla not coinciding
as illustrated belo.
I I S - I I S - I I S - I
ta | ta dīm . ta | ta dīm . ta | ta dīm . ta ||
I S - | | | ||
ta dīm . | | | ||
3 Structure of Music in Madhyādi format:

Regarding musical setting in Madhyādi, Chinnasvami Mudaliyār says, ". . . the musical phrase
generally terminates with the first half of the ĀVARTA, a fresh phrase or a variation of the first one being
taken up at the second half of it."
The modified notation of the pallavi-s of the three kīrtana-s can be seen below.
Madhyādi -
V | T | T | T || V | T | T | T ||
. . - vi du | . la ku . | mrō . . . | . kke da . || . . - vidu | . la ku . | mrō . . . | . ke da . ||
..- | | | || | | | ||
. . - ka li | . na ru . | la . ku . | . ma hi . || . .- malu | . de li . | pē . . . | . . mi . ||
..- | | | || | | | ||
. . - en . | . na ḍu . | jū . . . | . tu nō . || . . - i na . ku la . ti . la . ka . . . ||
..- | | | || | | | ||
In the above notation we do not see the musical phrase terminating in the first half of the tāla āvarta
but at the end of it. It is only when one attempts placing the structure in the normal Ādi-tāla format that
the musical phrase is seen to terminate in the first half of the āvarta as shown below.
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Ādi -
|4 | O |O ||
T 1 2 3 | T V |T V ||
. . - vi du . la ku . mrō . . . . kke da . | . . - vidu . la ku . | mrō . . . . ke da . ||
..- | | ||
. . - ka li . na ru . la . ku . . ma hi . | . .- malu . de li . | pē . . . . . mi . ||
..- | | ||
. . - en . . na ḍu . jū . . . . tu nō . | . . - i na . ku la . | ti . la . ka . . . ||
..- | | ||
It is in the above case of the kīrtana-s being notated in a normal Ādi-tāla time span, that "a fresh
phrase or a variation of the first one being taken up at the second half of it", as mentioned by Mudaliyār
is seen to materialise.
4 Musical Accent / Padagarbham:Dēśādi format

Sāmbamūrti (1964:105) points out another feature, "In the Desādi tāla, the second beat is
accented or stressed. In other words, the padagarbham falls on the second beat. In the Madhyādi tāla,
this is not the case."Normally in Karṇāṭaka music tāla-s, 'Padagarbham' is rarely seen to be associated
with the form of a tāla but only with a musical form, and that too with the Pallavi form. The notation of
the pallavi of 3 kīrtana-s discussed above is being reproduced below.
V | T | T | T ||
mā . . | | | ||
. . . en | ta vē . ḍu | kon . du | . rā . gha ||
vā . .- pan | ta mē . la | rā . . ō | . rā . gha ||
vā . . | | | ||
ra | ghu nā . ya | ka . . nī | . pā . da ||
yu ga . rā | . jī . va | mula nē . vi | ḍa jā . la ||
śrī . . | | | ||
Since Sāmbamūrti describes the Dēśādi as manifested by a "Visarjita (wave of the hand) and
three beats", we gather that the Padagarbham was on the the second saśabda kriyā or the second
Taṭṭu. In the above examples, if we take the pallavi-s commencing ¾-mātrā after the execution of the
Vīccu, then we observe the padagarabham or the musical accent on second Taṭṭu. However we also
observe a padagarbham on the Vīccu relating to the next āvarta. e.g., on 'nī', 'sa', 'mē' and 'mā' in the
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pallavi of the kīrtana 'nannu brōva' and on 'kon', vā', 'rā' and 'vā' in 'enta vēḍukondu'. Thus the
padagarbham seems to be inseparably connected with the ¾ mātrā rest or elongation that is seen on
the second Taṭtu and then on the first Vīccu of the next āvarta.
This feature of accent or padagarbham also seems to draw from the musical organisation in the
Masītakhāni-gata compositions of Sitāra, set to Tritāla in Hindustāni music.
Ritha Rajan (1999:63) mentions a few Jāvalī-s set in Dēśādi format, namely, 'muṭṭavaddurā'
(Sāvēri), which also display the feature of padagarbham (BrindaT 1981:82).
5 Musical Accent / Padagarbham:Madhyādi format

Sāmbamūrti, as quoted above, speaks of the absence of padagarbham in the Madhyādi format.
However we do find a padagarbham in the songs set in the Madhyādi format.
Madhyādi -
V | T | T | T || V | T | T | T ||
. . - vi du | . la ku . | mrō . . . | . kkeda . || . . - vidu | . la ku . | mrō . . . | . ke da . ||
..- | | | || | | | ||
..- | | | || | | | ||
. . - en . | . na ḍu . | jū . . . | . tu nō . || . . - i na . ku la . ti . la . ka . . . ||
..- | | | || | | | ||
In the above pallavi-s of the three kīrtana-s, the padagarbham is felt on the third kriyā or the
second Taṭṭu, for instance, on the sāhitya syllables, mrō, la, pē, jū and ti, shown as bold. The sense of
padagarbham is strong because, as we observe, it is only in the second Taṭṭu that a sāhitya syllable
coincides with a tāla kiryā. In all other bars /aṅga-s the commencing syllable is ½ or ¼ mātrā moved
away from the kriyā.
In the case of Jāvaḷi, however, the padagarbham is generally seen to be on the fourth kriyā or
the third Taṭṭu as seen in the example from 'apadūru' (Kamāsa rāga) given below (BrindaT 1981:1-3).
Madhyādi -
V | T | T | T || V |T |T |T ||
. . – a pa | dū. ru ku | lō . nai ti | nē . . . || . . – ca pa | la ci . tta | mu cē . da | nē . . . ||
. .- na pa | | | || | | | ||
The Tillānā composition in Jinjhōṭi rāga composed by Maisuru Vīṇā Śēṣaṇṇa appears to be set in the
Madhyādi format and displays a padagarbham similar to that seen in the above Jāvaḷi.
Madhyādi -
V | T | T | T || V |T |T |T ||
. .–dhi ra | nā . . ta | na dīm.ta | dhira na. || . .–dhi ra | nā . . ta | na dīm.ta | dhira na. ||
. .–dhi ra | | | || | | | ||
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The reason why Sāmbamūrti felt there was no padagarbham in the Madhyādi format might
have been because, in the Ādi tāla setting, the accent would come on the second finger count. Now,
normally the padagarbham or arudi is associated with a Taṭṭu or the Taṭṭu of the Druta. And in the case
of the Ādi-tāla format as shown below, there is no sāhitya syllable coinciding with the Taṭtu kriyā of the
first Druta. But as pointed earlier, since Madhyādi format is also set in 3 Taṭṭu-s and Vīccu, the accent
on second Taṭṭu has to be recognised as a Padagarbham.
Ādi -
|4 O O
T 1 2 3 T V T V
..- | | ||
. . - ka li . na ru la . ku . . ma hi . | . .- malu . de li . | pē . . . . . mi . ||
..- | | ||
. . - en . . na ḍu . jū . . . . tu nō . | . . - i na . ku la . | ti . la . ka . . . ||
..- | | ||
6 Sāhitya syllables:Distribution in Dēśādi and Madhyādi formats

Sāmbamūrti also adds "Compositions in Dēsādi and Madhyādi talas are in chitra tama marga." His
definition of the Tāla-prāṇa Mārga (1963:170-172) is not very clear. In the course of the description he
again states, "Kritis in Desādi tala and Madhyadi tala are in chitrarama marga" (172). The understanding
seems to be that there is average distribution of two hrasva or one dīrgha syllable in a time unit. An
examination of this reveals something slightly different.
6.1 Dēśādi:
Dēśādi -
V | T | T | T ||
mā . . | | | ||
In the Dēśādi format, there seem to be an average of 4 short /hrasva syllables in one bar / aṅga.
But when the kīrtana is set in the Ādi-tāla format then we see 2 hrasva syllables per mātrā or time-unit
that would equate it to Citratama-mārga of Sambamūrti.
|4 | O | O ||
T 1 2 3 | T V | T V ||
. . . na nnu brō . va | nī . . ki | nta tā . ma . ||
sa . . ma . . | | ||
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6.2 Madhyādi:
In the Madhyādi format we observe a distribution of two hrasva syllables per time unit, as per the
example below.
Madhyādi -
V | T | T | T || V | T | T | T ||
. . - vi du | . la ku . | mrō . . . | . kke da . || . . - vidu | . la ku . | mrō . . . | . ke da . ||
..- | | | || | | | ||
..- | | | || | | | ||
And even when set in the Ādi-tāla format the distribution of syllables is retained, since one āvarta
of Ādi accommodates two āvarta-s of the Madhyādi format.
Ādi -
|4 O O
T 1 2 3 T V T V
..- | | ||
. . - ka li . na ru la . ku . . ma hi . | . .- malu . de li . | pē . . . . . mi . ||
..- | | ||
However Jāvali-s set in Madhyādi format have an average of 4 hrasva akṣara-s (4 syllabic units),
per time unit as seen in the earlier example cited again below.
Madhyādi -
V | T | T | T || V |T |T |T ||
. . – a pa | dū. ru ku | lō . nai ti | nē . . . || . . – ca pa | la ci . tta | mu cē. da | nē . . . ||
. .- na pa | | | || | | | ||
7 Dēśādi tāḷa: Mode of Rendering

7.1 Views of Scholars:
From the book of Cinnasvāmi Mudaliyār, except for getting the valuable information about the
organisation of kīrtana-s, we are not able to get an idea about the mode of rendering the tāla, namely,
regarding the saśabda and niḥśabda kriyā-s and the sequence of rendering them. Subba Rao and
Sāmbamūrti have differing description.
According to Subba Rao (1962:98),"The more important characteristic is the kriyā of three beats and a
wave. The madhyādi tāla is identical with deśādi tāla in kriyā and aṅga; that is, it has also three beats
and a wave."
90
And Sāmbamurti's (1964:105) states, "The Desādi and Madhyādi tālas . . . are reckoned with
a visarjita (wave of the hand) and three beats" the mode of rendering is clear.
7.2 From Āditāḷa adapted format:
One of the ways to deduce the mode, is to study the way Dēśādi and Madhyādi formats have
been adapted to the Ādi-tāla time span. For instance, K V Śrīnivāsa Ayyaṅgār (1922a:324-330)
mentions Ādi-tāla for the kīrtana 'nannu brōva' (Ābhōgi) and notates it as presented below.
Ādi-tāḷa
|4 | O | O ||
T 1 2 3 | T V | T V ||
sk nk nk sk | sk nk | sk nk ||
. . . na nnu brō . va | nī . . ki | nta tā . ma . ||
sa . . ma . . | | ||
The sequence of the eight kriyā-s of Ādi-tāḷa is - T – finger1 – f2 – f3 – T – V – T – V. If in the

Ādi-tāḷa,we hide the niḥśabda kriyā-s which function as temporal extensions for the 8-kriyā time span
and reduce the tāla to a four kriyā tāla, then the kriyā sequence would be – sk nk sk sk.
sk | nk | sk | sk ||
| | | ||
sa mā . | | | ||
And it is the above sequence of kriyā-s, – sk nk sk sk, that we would arrive at for Dēśādi tāla,
namely, T-V-T-T. It is perhaps for this reason that Subba Rao, as quoted above, said, "Thus the practice
of rendering the ādi tāla in madhyamakāla by a beat, a wave and two beats became somewhat popular
twoards the middle of eighteenth century. As this mode of rendering in the continued sequence
resembled the trital of North Indian music which consists of three beats and a wave, it came to be known
as deśya ādi or deśādi tāla."
But we do not appear get any evidence of Ādi-tāla with T-V-T-T sequence of kriyā-s having been in
vogue in the 18th century.
7.3 From the practice in Hindustani Music:

Another possible way of arriving at the mode of rendering Dēśādi is to see the kriyā-s and their
sequence as already discussed earlier.
The Masītakhāni Gata of Hindustani Instrumental Music, mainly Sitāra, has the following format,
set in Tri-tāla.
X | X | O | X ||
di ra | dā di ra dā rā ||
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dā dā rā - di ra | dā di ra dā rā | dā dā rā - | ||
The Khyāla composition set in Tritāla, in medium tempo, too seem to be set in the above format.
X | X | O | X ||
jā | nē na dūṅ . ||
gī . .- rī | mā . yī . | mā . yī - | ||
However the Hindustāni Tritāla the sequence of kriyā-s is two taṭtu-s, one vīccu and one taṭṭu, as
shown below.
1a Tri-tāla: Duration - 16 mātrā-s.
Mātrā 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Kriyā X X O X
Bōla dh dhi dhi dh dh dhi dhi dh dh tin tin tā tā dhi dhi dh
ā n n ā ā n n ā ā n n ā
And hence the Masītakhāni and the Khyāla compositions are said to commence on the 12th mātrā.
Since in Dēśādi-tāḷa the compositions are said to commence on the first aṅga after a lapse of ¾-mātrā
in the case of Dēśādi format and ½-mātrā in the case of Madhyādi format, taking Hindustani format as
the model, we can deduce that the first aṅga was manifested by the Vīccu. Consequently the mode of
rendering of Dēśādi tāḷa would be V-T-T-T, similar to what Sāmbamūrti mentioned.
8 Madhyādi : Interpretation of the name

Subba Rao (1962:98-99) writes in detail on the significance of the term 'Madhyādi'. "the
madhyāditāla is identical with deśādi tāla in kriyā and aṅga ;that is it has also take three beats and a
wave. The liberty frequently taken in the case of deśādi tāla of rendering it as plain ādi tāla in
madhyamakāla is seldom exercised in the case of madhyādi tāla. The eḍuppu of the pallavi in madhyādi
tāla is ordinarily anāgata after one unit, midway between the beat and the wave, corresponding to the
tap of the first finger count in the laghu of the plain ādi tāla in madhyamakāla. This eḍuppu though
typical is not invariable. It is not this particular eḍuppu that serves to distinguish it from deśādi ; for in
ādi tāla the anāgata eḍuppu may be anywhere in the laghu but not after it. The point of distinction of
the madhyādi from deśādi lies in the fact that the anupallavi and the charaṇa of a piece in madhyādi
take their start not in the laghu part corresponding to the beat and the wave but on or just before the
second of the three beats corresponding to the second druta of the ādi tāla. This eḍuppu of five-and-a-
half or six units is uncommon in the usual ādi tāla. It must be remembered that this eḍuppu does not
occur in pallavi but only in anupallavi and charaṇa. The reason for giving the separate name of
madhyādi to a tāla of the same kriyā s as deśādi is to indicate the difference of the unusual eḍuppuof
the anupallavi and the charaṇa. The name itself is indicative of the unusual eḍuppu occurring in the
92
middle beat or madhyama ghata of the saśabda kriyā of three beats. The madhyādi tāla is not employed
in kīrtanas. It is used fairly extensively in jāvalis."
Subba Rao's description of Madhyādi seems to be based on Jāvaḷi compositions as he does not
relate this format to Kīrtana-s. In the example of the composition 'apadūru', discussed earlier, we find
that the anupallavi commences, to use his words, "on or just before the second of the three beats
corresponding to the second druta of the ādi tāla".
Madhyādi -
V |T | T | T || V |T |T |T ||
. . – a pa | dū. ru ku | lō . nai ti | nē . . . || . . – ca pa | la ci . tta | mu cē . da | nē . . . ||
. .- na pa | | | || | | | ||
anupallavi | | || | | | ||
| | | ē . pā . || pi . . . | nā pai dū | re nō kā | ēpāpamu ||
lēka–apa | | | || | | | ||
It is strange that Subba Rao does not recognise the mention of Madhyādi based kīrtana-s by
Cinnasvāmi Mudaliyār.
Sāmbamūrti (1964:106), on the other hand, explains, "Madhyādi is actually Madhya (laya) + Adi.
Compared to Madhyadi, Desadi is slower tempo.". His explanation is not very clear. He attributes
medium tempo to kīrtana-s in Madhyādi format whereas the the examples of kīrtana-s he lists in this
format, namely, 'nāmakusumamula' (śrīrāga), 'mēru samāna' (Mālvagauḷa) seem to display a tempo
slower than that of 'enta vēḍukondu' (Sarasvatīmanōhari), 'Raghunāyakā' (Hamsadhvani) listed under
Dēśadi format.
On the point of tempo or Kālapramāṇa, when Subba Rao (1962:98) says, "It must be borne in mind,
however, that deśādi tāla always implies ādi tāla in madhyamakāla, the most common eḍuppu being
anāgata after one-and-a-half units from the start.", it is not clear if he is talking about the kālapramāṇa
of the tāla or of the song.
9 Dēśādi format: Kālapramāṇa peculiarity at the point of Commencement

In many of the kīrtana-s set in Dēśādi tāla we also observe that in the graha position or the
commencing position, there are two short or hrasva akṣara-s or a long or dīrgha akṣara-s. However the
syallabic time allotted for the two hrasva-s or one dīrgha is only one. In other words the commencing
syllables have to be rendered at the double the kālapramāṇa. This is seen to happen not only at the
point of commencement but after the padagarbham also; and also in the subequent āvarta-s and in the
anupallavi and caraṇa sections too.

sa mā . | | | ||
93
| | | ||
en | ta vē . ḍu | kon . . du | . rā . gha ||
vā . . | | | ||
| | | ||
brō | va bhā . ra | mā . . ra | ghu rā . . ||
. ma . | | | ||
| | | ||
. . . sa ra | sa sā . ma | dā . na bhē | da . . ṇḍa ||
ca tu ra | | | ||
| | | ||
. . . te li | ya lē . du | rā . ma bha | kti mā . rga ||
mu na . | | | ||
| | | ||
. . . bhu vi | ni dā . su | ḍa nē . pē | . rā . sa ||
cē . . | | | ||
In the above examples, we see

a) 'na' in 'nannu' is dīrgha as it precedes a conjunct consonant; similarly 'e' in 'enta', 'bha' in 'bhakti'are
dīrgha; so is 'brō'.
b) 'sa-ra', 'te-li', 'bhu-vi' are two hrasva syllables.
The musical metre in Dēśādi format, has an average of four hrasva akṣara-s per mātrā or aṅga.
But at the point of commencement and often in the second half of the āvarta, we find two hrasva akṣara-
s or a dīrgha akṣara being rendered in ¼-mātra of time.
There are however, many exceptions.
The point to be investigated here is what prompted such a style. It is possible that the Hindustāni
music Gata metre which had two hrasva strokes in the ¼-mātra time influenced this.
10 Conclusion:
In this paper titled ‘Musical Compositions of Tyāgarāja in Dēśādi tāḷā and Madhyādi tāḷa and their
Adaptation to Ādi tāḷa’ an attempt has been made to analyse the nature of Dēśādi tāḷa and Madhyādi
tāḷa. Further the adaptation of compositions in these tāḷa-s to Ādi tāḷa have also been discussed. A few
observations are:
1 On the mode of reckoning and on the nature of the Dēśādi tāḷa and the Madhyādi tāḷa, we can say
that, Dēśādi and Madhyādi are not two different tāḷa-s, but two compositional formats based on the
same tāḷa structure with different points of eduppu.
2 T V Subba Rao had expressed that the arrival of this Dēśādi tāḷa in Karnataka music could be
traced to the Tritāla of the Hindustāni Music. This paper examined this and has based the analysis
with reference to that theory of T V Subba Rao. While for the Dēśādi format parallels in Hinduāni
music could be easily had, for Madhyādi further study is required.
94
3 Regarding the Kriyā-s and the sequence of rendering them, a Wave followed by three Beats, has
been found to acceptable.
4 In the Madhyādi format, two āvartā-s of the tāḷa equals to one āvartā of Ādi tāḷa. In the case of
Dēśādi format, one āvarta of this tāḷa equals one āvarta of Ādi tāḷa.
5 The aspect Padagarbham is a prominent feature and in the Kīrtana-s, the musical emphasis is
primarily on the second Beat, in both Dēśādi and the Madhyādi formats. However in the Dēśādi
format, in addition to the first one on the second Beat, as the music proceeds, there is usually
another Padagarbham on the first kriya which is the Wave. In the case of Jāvaḷi and Tillānā
compositions in Madhyādi tāḷa, the padagarbham is found to be on the fourth kriyā or the third Beat.
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Sāmbamūrti (1964), Sambamurti P, South Indian Music IV, The Indian Music Publishing House,
Madras. 1963.
Śrīnivāsa Ayyaṅgār, K.V, Śrī Tyāgarājasvāmi Kīrtanaikaḷ, M.Adi& Co, Chennai, 19??.
Śrīnivāsa Ayyaṅgār, K.V., Śrī Tyāgarāja Hṛdayamu (Telugu), M.Adi & Com. Chennai-1, vol.1-
1922, vol.2-1922, vol.3-1922.
Śrīnivāsa Ayyaṅgār, K.V., Śrī Tyāgarāja Hṛdayam (Tamil), M.Adi & Com. Chennai-1, vo..1-1924,
vol.23-1924, vol.3-1924.
Subbarāma Dīkṣitar, (SubbaramaD 1904), Saṅgīta Sampradāya Pradarśini Part I and II, Vidyā
Vilāsini Press, Ettayapuram Samasthānam, Eṭṭayapuram. 1904.
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Subbarāma Dīkṣitar, SubbaramaD 1905, Prathamābhyāsa pustakamu, Vidya Vilasini Press,

Ettayapuram, 1905. http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-Tel/BkTe-
SubbaramaDikshitulu-prathamAbhyAsa-pustakamu-0075.pdf
SubbaRaoTV1962, Subba Rao T.V., Studies in Indian Music, Asia Publishing House, Madras,
1962.
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Bangalore Nagarathnama: the symbol of social transformation

Behind the Tyāgarāja Aradhana
Hemalatha Bhatt <[email protected]>
Dēvadāsi: Patrons of Art, Music and Temple traditions of the South India
The evolution of Dēvadāsi practice with its religious and ritual meaning has been the object of
several studies in Social sciences. In fact, the study of Social history of music and dance forms of
especially Tamil Nādu in south India would be incomplete without the analysis of the Dēvadāsi system.
The multiple approaches to study the Dēvadāsi system is not only concerned with the artistic repertoire
of performing arts, but includes the socio-cultural and historical journey that this system has undertaken
in development of various Art forms, promotion of music and dance, and most significantly the
preservation of memory, history and temple traditions.
A strict historical method of analyzing the dēvadāsi system would lead us to some of the
material evidences of the Indus valley civilization, and the references in vēdic literature. But these are
too vague to identify the Dēvadāsi within them and hence the texts of Caṅkam Age of the Tamil country
constituting the most authentic and indigenous information about the Tamil society, assumes immense
importance. It presents a corpus of cultural milieu recited by various professional bards and a variety of
performing artists employed at the courts of local kings and chief tens. The patronage of male and
female bards mentioned in the Caṅkam works of Cilappatikāram and Eṭṭuttokai (eight anthologies) such
as, Viraḷi-s Paṭṭaṉi, Ganika, perhaps refer to the early establishments of the dēvadāsi system. The
Caṅkam bards have praised and idealized qualities of velour, generosity, fame, sacrifices and activities
of the local kings and his ancestors, and have accompanied in the activities of Agam (private) and Puram
(public) life of the kings. The post- Caṅkam period witnessed the ascendency of the Pallava-s and the
Pāndya-s from 550 A.D until 850 A.D in Tamil Nādu with the continuation of the bardic tradition but with
more emphasis on the Bhakti element. The entire bardic tradition of the Caṅkam period slowly
consolidated and established itself as the Dēvadāsi systems attached to temples and preservation of
rituals during the reign of Pallavās and Pandyas. The development of Bhakti movement of this period is
one of the defining features of the Tamil culture even today and is well preserved in two canons: namely
the Caiva Tirumuṟai and the Vaiṇava Nālāyira Divyaprabandam. One of the earliest poetic descriptions
of this period about dancing girls in temples with clear indications of participation in rituals is by the
Caiva Saint Māṇikkavācakar of 9th century A.D in his work Tiruppoṟcuṇṇam (sacred dust of gold).
The Rule of Cōlās from 850 A.D until 1279 A.D indicates that the Dēvadāsi system became
more evident and concrete in terms of social structure, entitlements of temple rituals, patronage of art
forms, and participation in public works. The inscription during the reign of Rāja rāja Cōlā (983 A.D –
1013 A.D) referred as Srī rājarājēśvaram of the Bṛhadīśvara temple of Tañcāvūr, mentions about 400
dancing girls appointed for various temple services. Another inscription in Tiruvārūr temple during the
reign of Rājēndra Cōlā - I (1012 A.D - 1044 A.D) mentions about a temple dancer Aṇukkiyār paravāy
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naṅkaiyār, whose donations to the Tiruvārūr temple and construction of the temple Vimānam with gold
is celebrated. Addressed as Annuki (one who is intimate) by Rājēndra Cōlā – I, a village called
Paravaipuram was named after her near Tiruvārūr. Some of the Cōlā inscriptions mention the rigid
hierarchy among the Dēvadāsi women in performing duties in temple varying from washing vessels to
preparing sandal paste, dancing before deity, singing, participation in rituals etc., The grandeur of the
Cōlā expressed in terms of the court and the imperial temples laid a decisive foundations for the
Dēvadāsi system to establish as an occupational group or guild rather than a mere caste group. The
development of extensive terminologies for female temple dancers such as Tevaradiyār, Pāṭiyilar, Ruṟṭṟa
kaṇikka, Māṇikkam during the Cōlā and the later Cōlā period suggests the institutionalization of rituals
tasks, offices and performances within the social fabric of the Temples. This extensive division of labor
among Dēvadāsi system continued during the successive rule of Vijayanagara Empire from 1335 A.D
to1565 A.D. This period witnessed the development of karnātaka classical music and various dance
forms. The exclusive ritual rights, royal entitlements and the conjugal rights of the Dēvadāsi women
became socially well established, and the royal patronage continued to grow as a matter of cultural right
for Dēvadāsi during the Vijayanagara period.
The subsequent period of Nayakas and Marathas in Tamil Nādu and especially at Tañcāvūr
from 16th century until the annexation of the Tañcāvūr court to the British in 1855 ensured the continuity
of royal patronage and land rights to the Dēvadāsi women. The three classical composers of karnātaka
classical music namely Saint Tyāgarāja, Muttusvāmi Dīkṣita and Śyāmā śāstri, and the Tañcāvūr quartet
namely Chinnaiya, Ponnaiyah, Civānantam and Vadivel who systematized the dance forms, led the
development of music and dance to its zenith. The British colonial administration from the 18 th century
in general and particularly from 1855 steadily marked decline of the dēvadāsi system not only due to
the loss of royal or feudal patronage, but also due to changed social perception about the dēvadāsi
women.
The British administration from its Semitic roots viewed the non-conjugal and non-
monogamous relationships of dēvadāsi as mere prostitution and potential source for spread of sexual
diseases among the British military officers and soldiers, leading to the enactment of The Contagious
Disease Act enacted between 1864 and 1869 and The Cantonment Act of 1864. These laws suggested
that any women suspected of venereal infections could be forced to intern in the Lock hospitals for three
months to one year, and outlawed any licensing or approval of Prostitution within the British
Cantonments. Many European chroniclers and missionaries in their travel accounts misrepresented the
crumbling system of dēvadāsi and the rituals of dedication of young girls to temples as the most
oppressive religious practice prevalent in India. The noted French missionary traveler Abbe Dubois in
his work Hindu Manners, Customs and Ceremonies published in early 19th century refers to the dēvadāsi
women as disgraceful. By the end of nineteenth century the public perception about dēvadāsi gradually
changed from the most influential women of the royal court to sex workers alluring the wealthy men and
officials for entertainment and living. The call for abolition of the dēvadāsi system gained momentum
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from 1830, as social activists such as Kantukuri Vīracaliṅkam from Brahmo Samaj were involved in
active campaign against the non-monogamous relationships of the dēvadāsi women and the problems
of social hygiene. The discourse on social purity and temperance in the first National Social conference
of 1887 held in Madras led to the of Anti- Nautch campaign all over the country (Nautch is an anglicized
term for Nautchh in Hindi referring to dance/dancing girl in a derogatory sense). The final blow to the
dēvadāsi system was in 1927 as Dr. Muthulakshmi Reddy pressed for a legislature at the Madras
assembly to stop the practice of dedication of girls to temples. From 1927 to 1947, many legislative
reforms in the Madras Presidency such as banning the dance performances by dēvadāsi during temple
festivals, and de-recognizing the gift of temple lands to dēvadāsi, were introduced. The Tamil Nādu
Devadasi (Prevention of Dedication) Act, 1947 completely put an end to the dēvadāsi tradition in Tamil
Nādu and eventually provided the impetus for similar legislative measures in other states of Independent
India.
Scholarly Accounts on the Dēvadāsi tradition:

The scholarly works of various social scientists on Dēvadāsi tradition provides us with us in
detail the origin, practice and decline of the dēvadāsi system in south India through a socio-historical
and cultural kaleidoscope. Amrit Srinivasan (1985) presents the dēvadāsi system in in the context of
complex Anti- Nautchh, Anti-Brahmin and Dravidian movements of 20th century. Saskia Kersenboom
(1987) traces the indispensible presence of dēvadāsi women in various temple traditions (rituals, rights,
distinctions) from Caṅkam age until the Maratha regime of Tañcāvūr in Tamil Nādu and her work is
extensive in terms of social history of dance, music and the system. Davesh Soneji (2004 and 2012)
traces the dēvadāsi of Tamil and Telugu speaking south India presents a detailed cultural history of the
community. Lakshmi Subramanium (2006 and 2009) presents the journey of Carnatic music from
Tanjore courts (as a classical art form) to of Music academy (urban and secular art form) and the role
of prominent dēvadāsi and others in secularizing the Art forms. TJS George (2007) and V. Sriram (2007)
and G. Chandhrika (2009) have undertaken the biographical sketch of prominent dēvadāsi-s namely M.
S Subalakshmi, Bangalore Nāgarathnamma and Mūvalūr Rāmamariṭam'mal respectively, and
presented socio-political history of the tradition through their individual life experiences. Rubin
Kermorgant (2014) has explored the dēvadāsi traditions of Yellamma in Karnataka through a detailed
ethnographic account. All these many other works on dēvadāsi traditions portrays the dēvadāsi-s as
custodians of Art and Culture and their role as patrons is extensively stressed and portrayed
systematically. But the number of public work, charity and philanthropy undertaken by the dēvadāsi-s
has been rarely stressed as a subject of systematic study. A historical study of contributions of dēvadāsi-
s especially in securing water rights for local communities through building and renovation of temple
tanks, maintaining chatrams and choultries and propagation various Art forms by establishing learning
centers has been largely neglected. Clement Eswar (2006) explores the public tanks rehabilitation
project undertaken by four dēvadāsi sisters namely Āyi, ōci, ciṅkāri and Baṅgāri during the Vijayanagara
period in 16th century, which is a living testimony of dēvadāsi-s as epitomes of charity. The best known
yearly Music festival of the world, the Tyāgarāja Ārādhana at Tiruvaiyāru of Tamil Nādu , is a living
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example of Bangalore Nāgarathnamma’s philanthropic efforts to propagate karnātaka classical music

and secure the Art form from gradual decline. Her life as a dēvadāsi not only characterizes the struggles
to preserve the dēvadāsi tradition and secure the multiple Art forms, but also gain social recognition as
a woman who fought against masculinity and patterns of patriarchy questioning her scholarship and
hindering her philanthropy, in 20th century.
Bangalore Nāgarathnamma and her fight for dēvadāsi-s’ space in the socio-political landscape of 20th
century south India:
Born on 3rd November 1878 in a dēvadāsi family in Heggaḍe Dēvaṇṇa Kōtha to Puṭṭa
Lakṣmiyammal vaiṣṇavi attached to Nan̄jaṅguḍ temple of Karnataka, Nāgarathnamma was trained by
her mother in various Art forms from childhood. Her family moved to Mysore and the patron of the family
Gribhaṭṭa Timmayya was a renowned Sanskrit scholar, musician and instructor of Mysore Maharaja’s
court who trained Nāgarathnamma in Sanskrit literature, poetry and grammar and by the age of 15, she
mastered 3 sections of Amarakōśā – the Sanskrit thesaurus and emerged as a proficient scholar. But
with the relationship beginning to soar with Timmayya, Nāgarathnamma and her mother moved to
Bangalore for methodical training in all departments of Arts. In spite of loss of patronage and wealth,
Puṭṭa lakṣmiyammal vowed to train her daughter in dance, drama, violin, music and languages (including
Telugu, Kannada and English) and mould her as an artist of high repute to be invited at the Mysore
Royal court for performance. Nāgarathnamma’s training under the tutelage of her mother in dance and
uncle in music molded her as one of the fine artists, that she was finally invited to perform a dance
concert in the Amba Vilas Palace of Mysore in 1893. But by 1898, the temple authorities of Mysore and
Royal court stopped the patronage of dēvadāsi-s for dance offerings and this compelled
Nāgarathnamma to teach and give music concerts and gained the patronage of Justice Rao. With the
demise of Justice Rao in 1902, when Nāgarathnamma was barely 25 years old, shifted her residence
to Madras, where her patrons were the Kōmati ceṭṭis of George Town, Madras, who were ardent lovers
of music. Nāgarathnamma initially found it difficult to create a space for herself in Madras, but eventually
developed friendship with other prominent dēvadāsi-s of the city like Vīṉai Taṉam, Cēlam Kāmāṭci and
others, and continued giving musical performances everywhere. As a linguist, Nāgarathnamma
encountered the prominent dēvadāsi Muddupalani’s work Rādhika santvanamu during the Maratha king
Pratapsimha in early 18th century. Nāgarathnamma thoroughly read Rādhika santvanamu and pointed
out the various errors of ancestry, and derogatory interpretations offered by Kandukūri Vīraśaliṅgaṁ- a
social activist of the 19th century regarding Muddupalani and decided to re-write the forward for the book
and publish it. Nāgarathnamma noted that social activist Kandukūri Vīraśaliṅgaṁ denounced
Muddupalani’s work as mere glorification of erotic movements by a dēvadāsi, but he had edited works
written by men with far more graphic descriptions of erotic movements and formed the portions of
Madras University syllabus. Nāgarathnamma questioned the patriarchal hegemony in constructing
contours of morality, chastity, shame and conjugal relations of women and passing it off as social
reforms and temperance. Nāgarathnamma openly criticized the insensitivity of men and women around
in branding the non-conjugal relations of dēvadāsi-s as unchaste, immoral and prostitution.
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Nāgarathnamma completed the forward for Muddupalani’s Rādhika santvanamu through a dēvadāsi-s
perspective and published on 30th March1910. In 1911, this work of Nāgarathnamma caught the
attention of Telegu translator Gōṭēṭi Kaṅkarāju Paṇṭulu of the Madras Government who was a staunch
follower of social reformist Kandukūri Vīraśaliṅgaṁ. He wrote to the Secretary of Government of Madras
stating that descriptions in the verses of the Rādhika santvanamu were vulgar in nature, written by a
prostitute and corrected by another prostitute. He viewed that the circulation of Rādhika santvanamu
with Nāgarathnamma’s forward would corrupt the young minds with sexually insatiable thoughts. He
also added that provision of 292 of Indian Penal Code be applied against the publishers - Vāvillā śāstri
and Sons for publishing a piece of work that is injurious to public morals. The Government of Madras
soon swung in action and sized all the copies of the book and by September 1911, issued a
memorandum to the commissioner of police to destroy all copies of the book as objectionable passages
were found almost in every page of the book. But the undeterred Nāgarathnamma continued with her
concerts and performances in Tamil Nādu and Sri Lanka and gained immense respect among the
scholarly circles of Musicians and Performing Artits.
In October of 1921, Nāgarathnamma was inspired by a vision of saint Tyāgarāja of Tiruvārūr

and was determined to renovate the dilapidated Camāti of the saint in Tiruvaiyāru near Tañcāvūr. Saint
Tyāgarāja attained Camāti in Tiruvaiyāru in 1847 and since then his decedents and disciples observed
an annual festival or Ārādhana at his ancestral home near the Camāti, as a gratitude to the great saint
who composed and structured the karnātaka classical music. Concerts and Harikatha performances
dominated only by male artists dotted the Ārādhana, but women were not allowed to offer musical
homage to the saint. Only dēvadāsi-s were allowed to offer music and the other women were disallowed
to participate due to purity and pollution reasons. Seclusion of other women from dēvadāsi-s was strictly
followed as dēvadāsi-s were considered as immoral at that time.
From 1910’s the Thilaisthanam brothers namely Naracimma Pakavatar and Pañcu Pakavatar
who took the responsibility of conducting the Ārādhana every year from Umalaypuram brothers namely,
Kiruṣṇa Pakavatar and Cuntara Pākavatar formed two rival factions amongst each other as Periyā kacci
(Big group) and Ciṉṉā kacci (small group) and the event was filled with politics and faction fights and
each faction conducting its own Ārādhana. The Nādasvaram artists were another group of musicians
who were disallowed to participate in the Ārādhana.
Nāgarathnamma who arrived at Tiruvaiyāru at the age of 43 in 1921 was well aware of these
feuds and vowed to renovate the dilapidated Camāti of Tyāgarāja and construction of a temple for him
as her life fulfilling mission. The patriarchal orthodoxy did not spare Nāgarathnamma’s noble efforts to
revive the Camāti and ridiculed at her status as dēvadāsi. Unfettered, Nāgarathnamma started the
Peṅkal kacci (Women’s group) by 1927 making women as integral part of the Ārādhana. The lack of
unity among musicians, the non-cooperation from orthodox Brahmins and factional wars among the
Periyā and Ciṉṉā kacci and other groups did disappoint Nāgarathnamma. Her continuous effort to strike
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negotiations with various groups of musicians for unification and having one Ārādhana was not easy.
The Ciṉṉā kacci led by Vatihināta Pakavatar was quite adamant with the orthodox view that women
could not perform near the Camāti of saint. By 1939, Nāgarathnamma sold her belongings in Madras
and made Tiruvaiyāru as her permanent residence looking after the work at the Camāti.
Nāgarathnamma’s perseverance paid her off as the multiple factions united by 1940 and marking the
Ārādhana a grand event. The year 1941 became even more special as funds for Tyāgarāja Ārādhana
poured in from the eminent advocates and legislators from Madras and also the performance of M S
Subalakshmi for the fund-raising series for the Ārādhana.
By 1943, the Ārādhana Committee was formed to look after the celebration every year under
the guidance of Nāgarathnamma and each year’s Ārādhana exceeded the grandeur of the previous
year. By 1949 it was decided by the Ārādhana committee that musicians ought to sing in unity and as a
gratitude to the saint and five songs of saint Tyāgarāja called as Pañcaratnam structured by
Nāgarathnamma were rendered for the first time by all musician in unison. Nagarathanamma’s infinite
patience and courage not only revived a lost tradition of Saint Tyāgarāja at Tiruvaiyāru, but has
preserved it for the future generation of musicians and artists.
Conclusion
Nāgarathnamma completed the installation of a granite idol of the saint Tyāgarāja by 1925,
and conducted the consecration ceremony all at her personal expense. All the belongings that
Nāgarathnamma sold by 1939, was poured into the celebration of the Ārādhana and maintenance of
the Camāti of Tyāgarāja. Nāgarathnamma had sold all her jewellery for almost Indian Rupees 30,000/-
by 1940s and had donated everything for the Camāti with bare minimum for her survival. The
Tyāgabrahma Mahōtsava Sabha formed out of the unification of factions of musicians in 1949,
organising and raising funds for the Ārādhana. Nāgarathnamma made her testament and will in the
same year and created a trust named as Vidyasundari Bangalore Nāgarathnamma with one of the
trustees as C V Rajagopalachari. The trust declared Nāgarathnamma to ensure the site of Camāti to be
made available to Thyagabrahma Mahotsava Sabha and her will clearly spelt that lady artist including
dēvadāsi-s should not to debar from the Ārādhana and samādi site. Nāgarathnamma listed out various
charities, annual pooja, Unchavarthi tradition to be performed which would be administered even after
her death. Nāgarathnamma passed away in 1952 leaving behind a tradition of charity and philanthropy
for the sake of promotion and preservation Arts and Artists.
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References
 V Sriram’, “The Devadasi and the Saint: The life and times of Bangalore Nāgarathnamma”,
EastWest Books (Madras) Pvt Ltd, Chennai, 2007
 ‘Lakshmi Subramanian’, “From the Tanjore Court to the Madras Music Academy: A Social
History of Music in South India”, OUP, India, 2008
 ‘TJS George’, “MS A life in Music”, HarperCollins, India, 2004
 ‘Çatherine Rubin Kermorgant’, “Servants of the goddess – the modern-day dēvadāsi-s”,
Random House, India, 2014
 ‘Saskia C. Kersenboom’, “Nithyasumangali: Devadasi Tradition in South India”, Motilal
Banarsidas, Delhi, 1987
 ‘Amrit Srinivasan’, “Reform and Revival: the Devadasi and her dance”, Economic and Political
Weekly, vol. 20, no.44, 1985:1869-76
 ‘Davesh Soneji’, “Unfinished Gestures: Devadasi, Memory and Modernity in South India”,
University of Chicago Press, Chicago, 2012
 ‘Tracy Pinchman’, “Women’s lives. Women’s rituals in the Hindu Tradition”, OUP, London, 2007
 ‘Bonnie S.McElhinny’ (Edited), “Word, Worlds and Material Girls: Language Gender and
Globalization”, Walter de Gruyter GmbH & Co. KG, Berlin, 2007
 ‘Kiḷameṇṭ Īsvar’,“Public works done by the devdasis of Puducherry”, Lily Publication,
Puducherry, 2006
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Musical Forms composed by Trinity

Jayakrishna A <[email protected]>
Introduction
Indian Music is very ancient and has a great tradition. Through the ages, there lived many
composers of different kinds, who spread philosophy, bhakti and culture through music. Classical music
of India is characterized by aspects like rāga-s, tāḷa-s and forms. Each musical form possesses a definite
structure and content and portrays the melodic and textual content in its own way. From the olden days
to the present, there are so many music legends who ruled the music world through the platform of
musical forms. Among them, three people who lived in the 18thcentury are still regarded as the masters
for karnātaka Classical Music. They are called the Trinity of Music – Śrī Tyāgarāja, Śrī Muttusvāmī
Dīkṣita and Śrī Śyāmā śāstri. This article would focus on the different musical forms composed by these
great masters.
Brief life history of Trinity

Tyāgarāja
Tyāgarāja was born in Tiruvārūr near Tañjāvūr district, Tamil Nadu on 04th May 1767. His
parents were Rāmabrahmam & Sītamma. He was a great devotee of Lord Rāma and composed mainly
in Telugu and some compositions in Sanskrit. His compositions are compared to "Drāksha Rasa". He
composed more than 700 compositions. He had many disciples including Vīṇa Kuppaiar,
Vēṅkataramana Bhāgavatar, and Sundara Bhāgavatar . His compositions carry the muḍra ‘Tyāgarāja’.
He died on 06th January 1847.
Śyāmā śāstri
Śyāmā śāstri was born in Tiruvārūr, in Tañjāvūr district, TamilNādu on 02nd April 1762. His
parents were Viṣvanāthayar & Vēṅkatalakṣmi. It is said that he has composed around hundred
compositions. His compositions are addressed to the Goddess Kāmākṣī. His main disciples were
Subbarāya Śāstri and Annāsāmi Śastri. He composed with the mudra ‘Syama Kṇṣṇa’. He died in 1827.
Muttusvāmī Dīkṣita
Dīkṣita was born in Tiruvārūr, in Tañjāvūr district, Tamil Nādu. His parents are Rāmaswamy
Dīkṣita & Subbalakṣmi. He lived between 1775 and 1835. He has composed more than 500
compositions. He had a lot of disciples including Vīna Vēṅkatarāmaiah, Ponnaiah, Vaḍivelu and Śuddha
Maddalam Thambiyappa. He composed many compositions with the muḍra ‘Guru Guha’.
MUSICAL FORMS OF TRINITY

The three composers are regarded as “Trinity" because they have been the precursor to many
musical forms of Karnātaka classical Music. Though Kṛṭi-s were the main productions of these three
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composers, they had designed the form in their own way. Thus every composition is unique. The
musical forms popularized by these three composers are Kṛṭi, Varṇa, Svarajati, and Rāgamalika.
Svarajati
Of these, Śyāmā śāstri gave a new dimension to the Svarajati form. Svarajati-s are usually of
two types – one belonging to the abhyāsagāna variety and the other more popular as a dance form. The
various sections of the Svarajati (of Abhyāsagāna) are Pallavi, anupallavi and caraṇa. The theme is
either devotional, heroic or erotic in nature. The Svarajati-s of dance repertoire are filled with sṇngāra
and have jati-s. But Śyāmā śāstri has composed three svarajati-s, for which the grammar has been
devised by himself. The svarajati-s of Śyāmā śāstri are:
1. Rāvē himagiri - Todi – Adi
2. Kāmākṣī - Bhairavi – Miśra cāpu.
3. Kāmākṣī - Yadukulakāmhboji – Miśra cāpu.
There are some special features in the Svarajati-s of Śyāmā śāstri. They are:
i) Svarajati-s don’t have jati-s
ii) Can be learnt only after gaining proper musical training
iii) Made of rich melodic content (gamaka-s)
iv) Filled with rāga rañjaka prayōga-s
v) Sophisticated rhythmic construction
Kṇṭi
The Kṛṭi is one of the important forms rendered in Concerts. The rāga bhāva is brought out in
all the rich and varied colors in this form. Kṛṭis-s are made up of Pallavi, Anupallavi and Caraṇa. Besides,
there are also many decorative aṇga-s for Kṛṭi-s. Kṛṭi-s are the only forms of Kalpita Saṅgīta section,
which gives scope for Improvisation. Kṛṭi-s exists in most of the popular and rare rāga-s and all prime
tāla-s.
Trinity are the main composers who have given a full form and depth to the musical form, Kṛṭi.
Each of them has a specific element of their own, towards the development of Kṛṭi form. For example,
Tyāgarāja’s Kṛṭi-s are filled with Sangati-s, while Śyāmā śāstri compositions are shining with
Svarasāhitya.
Saṅgati: Cakkani rāja mārgamulu – Kharaharapriya- Tyāgarāja

dāriniteḷisikoṇti– Śuddhasāvēri- Tyāgarāja
Ciṭṭasvara: RaghuvamsaSudha - Kadanakutūhalam - Ādi–Tyāgarāja
SvaraSāhityam: O Jagadamba - ĀnandaBhairavi - Ādi - Śyāmā śāstri.

Sari evvaramma - Bhairavi – Khanḍa Jhampa - Śyāmā śāstri.
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Sālivāṭīśvaram - Dēvagāndhari - Ādi - Muttusvāmī

NīMahima - Vācaspati - Tyāgarāja.
Solkaṭṭusvara-s : Śrī Mahāgaṇapatiṁ - Gauḷa – Miśra ēka – Muttusvāmī Dīkṣita
Varṇam
This is a very important musical form in Karnātaka classical music. All varṇa-s consist of lyrics
as well as svara passages, including a pallavi, anupallavi, muktāyi svara-s, caraṇa ṁand ciṭṭasvara-s.
There are two types of varṇa-s known as Tānavarṇam and Padavarṇam. Varṇam is traditionally
performed as an opening item by musicians in concerts. As a foundation to Karnātaka classical music,
varṇam-s are also practiced as vocal exercises by performers of Karnātaka classical music.
Rāgamāḷika
Rāgamāḷika, literally “a garland of rāga-s” is a very popular form of composition in Karnātaka
classical music. Usually a rāgamālika contains multiple caraṇa-s and each caraṇa is set to a distinctly
different rāga but with the same tāla. Usually after rendering each caraṇa, it returns to the paḷḷavi which
is also in a different rāgam. Rāgamāḷika appears not only in Kṛṭis format but also in other formats like
varṇam-s, svarajti-s, jatisvara, sloka-s, tillāna etc.
Example : Śrī viśvanāthaṁ- 14 rāgas - Ādi - Muttusvāmī
Beside all the above musical forms, our trinity composed so many forms such as: pañcaratna-s, uṭṣava
sampradāya kīrtana-s, divyanāma sankīrtanas,kṣētra Kṛṭis, navagraha Kṛṭis and navāvaraṇa Kṛṭis.
Conclusion
Thus it is clear that Trinity had given a complete shape to the Kṛṭi form of Karnātaka classical
music and also had made other forms like varṇam, svarajati and rāgamāḷika that are perfect concert
pieces. The Kṛṭis in particular are structured in varied structures, thus making it a grand classical music
form fit to be performed in the concerts
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Influence of Tyagaraja compositions on Nāgasvara Music and rituals

Kamaraj K <[email protected]>
Introduction
Music is considered the crowning glory of Tamil Tradition and Culture and rightly so. In
particular, the rich legacy of karnātaka classical Music has been passed on from generation to
generation, with its classical purity intact, with dedication and sincerity. Chennai, the capital of
Tamilnādu, is indeed recognized the world over as the Mecca of Classical Music; the December season
there and the Sadguru Tyāgarāja Ārādhana in Tiruvaiyāru draw more number of people from various
spots across the globe.
Without the immense contribution of our Musical Forefathers, we would not have got this
recognition and admiration from all over the world; nor would we have inherited such a rich musical
heritage and tradition. The musical bounty that we have today has been bequeathed to us by an awe-
inspiring galaxy of great musical souls starting from Śrī Puraṇdaradāsa, The Trinity, The Tamil Trinity
and hundred others; every single one of them is worthy of veneration and emulation. Their numerous
compositions are a fine blend of elevating music and ennobling messages for humanity.
The Renaissance Phase of Karnātaka classical Music

The period of Musical Trinity., namely, Muttusvāmī Dīkṣita, Tyāgarājar and Śyāma Śastri can
be well-described as the Renaissance phase. Just as our history divides the human annals, marking
time as B.C. and A.D., one can venture to say that we could divide the Musical Period as before and
after Trinity. The reason for this is their immense contribution in terms of compositions and also the new
approaches they introduced and pioneered, thus propelling Karnātaka classical Music to move forward
with greater vigor.
The Nādasvaram Musical tradition here refers to the unique way of playing rāga-s and
presenting compositions as part of Temple Festivities and Customs; this tradition is respectfully and
admiringly referred to as “Nādasvara bāni/marabu” by fans and musicologists. Auspicious occasions
here would refer to a range of functions/rituals that form part of Temple Festivities and Customs; it would
also refer to occasions in households such as marriage, betrothal, arrival of newborn etc. In particular,
the compositions of Saint Tyāgarāja have been a source of great inspiration and guidepost for
musicians, connoisseurs and even lay people who have just a lesser acquaintance with music. That his
compositions continue to dominate the musical world even today is an irrefutable fact agreed upon by
one and all. It is also to be noted that his compositions have a wider appeal, cutting across the lines of
caste, creed, language and other barriers; it would not be an exaggeration to say that the Nādasvaram
Vidwān-s have played, from the last couple of centuries till date, a significant and commendable part in
popularizing Saint Tyāgarāja’s compositions. The rich Nādasvaram Musical Tradition has been a worthy
torch-bearer of Saint Tyāgarāja’s musical genius and heritage.
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Nādasvara Music as the Popular Traditional Music

Karnātaka classical Music expresses itself in two major ways: vocal and instrumental modes. In
the days of yore, when microphones were non-existent, only those endowed with high-pitched and
strong voices could be heard and appreciated in huge gatherings in temples and elsewhere. That is why
in those days, male and female singers/actors, had to sing in unnatural and straining voices in pitches
(kaṭṭai in Tamizh) ranging from 4 to 5 and 1 to 2 respectively. However, Nādasvaram, owing to its
extraordinary tonal quality, blending melody and majesty, could be heard even in far off places with ease
and grace; in sum, Nādasvaram was and is, literally the carrier of traditional music, taking it to all nooks
and corners of the villages, towns and cities.
The Nādasvaram Musical Tradition, thus, runs deep in the Culture of South India, often invoking
nostalgia and awe-inspiring spiritual currents. So much so that Nādasvara Music is commonly referred
to as “Maṅgaḷa Isai” meaning “Auspicious Music”; no other musical instrument enjoys such a glorious
adulation and appellation. Thus, any auspicious event, private or public or related to Temple Festivities
came to regarded as inseparable from Nādasvaram Music.
Influence of Saint Tyāgarājas’ Compositions on Nādasvaram Musical tradition

The credit of creation and introduction of ‘Concert Format’ goes to Ariyakudi Ramānuja Iyeṅgār.
He was the one who established the tradition of presenting a varnam first in the concert to be
immediately followed up by a kṛti on Vinayāka; then other compositions with rāga ālāpana and kalpana
svara-s would follow; after the main piece and Rāgam-Tānam-Pallavi, short and popular compositions
known as “tukkaḍa-s”, would be rendered; Thriuppugazh, Thēvaram, Divya Prabhanda, Bhajan-s etc.,
would also be presented one after the other; the concert will be rounded off with a composition in
Madyamāvati. Thus the ‘Concert Format’ introduced and very successfully employed by Ariyakudi
Rāmanuja Iyengār gave the music fans a rich contentment and a sense of spiritual elevation. This format
gradually got established as ‘The Concert Tradition’. Prior to this, through old recordings, we can infer
that during temple festivities, public programs and marriages, Saint Tyāgarāja’s compositions were
sung, almost forming the entire repertoire.
For instance, in the Nādasvaram concerts during marriage or similar auspicious events,
compositions like Raghu Nāyaka (Hamsadvani), Vāsudēvayani (Kalyāṇi) used to be presented first,
followed up by Saint Tyāgarājar’s other compositions in ragas like Pūrvi Kalyāṇi, Vasanta etc., During
the procession of bride and bridegroom, Sāmaja Varagamana (Hindōlam) with a brisk ālapana would
be rendered. Even today the practice of rendering ‘Marugēlara’(Jayantha Śrī) in place of Hindōlam
during marriage festivities is in vogue. Following this, ragas such as Kīravaṇi, Simhēndra Madhyamam,
Karaharapriya would be rendered with elaborate alapana-s; then Saint Tyāgarāja’s compositions in
these ragas would be presented with much flourish and fanfare. The renditions would usually feature
108
niraval, kalpana svaram-s followed by Tani Āvarthanam (Laya Vinyāsam) by Thavil vidvan-s. This has
been the tradition down the ages.
During the marriage concerts, Nādasvara Vidwān-s, begin the early morning recitals with Saint
Tyāgarāja’s compositions in ragas such as Malayamārutham, Saurāṣṭram (Uṭṣava Sampradaya Kṛti –
Meluko dayanidhi), Bilahari (Kanukoṇtini). For the main event of ‘Tying the knots’ compositions of Saint
Tyāgarāja in Kalyāna Vasantha and other ragas are rendered. Following this main event, “Pavanajā
Stuti Pātra” (Seetha Kalyana Vaibhōgamē) is rendered. A bit later, when the bride and bridegroom play
games like ‘Nalangu’ etc., ragas like Nāṭṭaikuruñji are rendered. For the “ūnjal” and other events too the
Uṭṣava Sampradaya Kṛti-s of Saint Tyāgarāja are rendered usually by the Nādasvara Vidwān-s. The
entire marriage concert ends on an auspicious note with Mangalam.
From the days of yore till today, stalwarts starting from T.N.Rajarathnam Pillai to illustrious
vidwān-s like Thiruvēṅkādu SubaRāmania Pillai, Thiruvīzhimizhalai Brothers, Thiruvidaimarudūr
Vīrsamy Pillai, Thirumeigñānam Natarāja Suṇdaram Pillai, Vēdaraṇyam Vēdamurthy have handled only
Saint Tyāgarāja’s compositions mainly. The sweetness, elegance, layers of saṅgati-s and robustness
of musical content of these compositions, no doubt, have ruled the minds and hearts of Nādasvara
vidwān-s and heavily influenced their musical perceptions and ways of playing Nādasvara. Such was
their prowess as a result of this influence that their renditions of Tyāgarāja’s compositions held sway
over even those who did not have any formal training; indeed, the learned and the lay were together
charmed and won over by the sheer melodic and majestic appeal of their music.
It must also be pointed out that this was because of the rich entertaining and elevating aspect
of music inherent in Saint Tyāgarāja’s compositions. When these were played with tonal purity, classical
charm and dedication, people were awe-struck and they responded with enthusiasm and admiration. It
is no exaggeration to say that the Nādasvara vidwān-s had popularized raga-s such as Kalyāṇi,
Kharaharapriya, Hindōlam and several other rāga-s, solely through the rendition of Saint Tyāgarāja’s
compositions; all the nooks and corners of the Tamil land got soaked with their soulful renditions of rāga-
s and compositions. These ragas and famous compositions became an inseparable element of Tamil
customs and festivities.
In particular, the Uṭṣava Sampradāya compositions of Saint Tyāgarāja, with their rich melodic
appeal and lyrical purport, became an integral part of all auspicious events and festivities. These songs
naturally blended with events such as Ōnjal, Lāli, Nalangu etc., Renditions of Hecharigaga (Yadukula
Kambhoji) and Nagumomu Galavani (Madyamāvati) became the verily idioms of such auspicious
festivities.
109
It is an irrefutable fact that the Nādasvara Vidwān-s drew much from these immortal
compositions and one must also hasten to add that they also enriched further these compositions with
their imagination, playing style and a certain grandeur that cannot be described through words.
Conclusion
Even today, in the Tyāgarāja Āradhana conducted in Tiruvaiyāru annually; the commencement
of the entire musical homage begins only with traditional Nādasvaram Music, aptly termed as “Maṅgaḷa
Isai”. Nādasvara Vidwān-s and Thavil Vidwan-s render the songs first and this is telecast nationally all
over. Saint Tyāgarāja’s compositions and Nādasvaram Music, thus, merging as one inseparable entity,
continue to shower ineffable bliss to the countless music lovers, reining the musical world as it were in
a majestic fashion.
Annexure
List of Tyagaraja’s Utsava sampradāya kīrtana-s rendered in Nādasvara tradition
Sl No Sāhityam Rāgam Tāḷam
1 Hechharikka Yadukulakāmbhōji Jambai
2 Pavanajā stuthi pāthra Kuriñji Jampai

3 Nagumōmu Madhyamāvati Ādi
4 Nāpāli Śrīrāma Navroj Ādi
5 Jayamangalam Nāda Nāmakriya Ādi
6 Pathiki hārathirē Suruṭṭi Ādi
7 Patiki mangaḷa Ārabhi Ādi
8 Shobāne Pantuvarāḷi Rūpakam
9 Lāli Lāliyani Harikāmbhoji Ādi
10 Rāma Rāma Rāmalaali Sahāna Cāpu
11 Laali lalayya laali Kēdara goula Jhampa
12 Uyyala loogavayya Nīlāmpari Rūpaka
13 Lāliyūkave Nīlambari Rūpaka
14 Rāma sriRāma lāli Śankarābharaṇam Ādi
15 Kṣīra sāgara vihāra Ānandhabhairavi Kanḍalaghu
16 Badaḷika dhīra Rītigauḷa Ādi
17 Śrī rāma Nīlāmbari Jhampa
18 Pūla pānpu mīda bāga Āhiri Ādi(Tiśra naḍai)
19 Jōjō Rāma Rīti gauḷa Ādi
20 Mēlukovaiyya Bauḷi Jhampa
21 Mēlukothayanidhi Sowrashtram Rūpakam
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22 Karunarasakṣhya Kanda Jhampa

23 Ma rāmachandruniki Kedarakowla Ādi
24 Janaki nayaka Dhanyasi Ādi
25 Koluvaiunnāḍē Devagāndhāri Ādi
26 SriRāma Rāma Kopika vasantham Ādi
27 Nāpāli Saṅkarābharaṇam Ādi
28 Lāli lāliyani Veda koṣapriya Ādi
29 Jayadhu Ārabhi
jayadhu(Sudhyam
sūrnikai)
30 Maṅgalāṣṭakam Yadukulakāmboji
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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The concept of Graha (in the context of tāla) in select compositions of Tyāgarāja
Kameshwari M <[email protected]>
Introduction
Sri Tyāgarāja is one of the prominent composers of Karnātaka classical music of the 18th – 19th
centuries. His compositions are mainly the Kṛti-s and Kīrtana-s. He has been a pioneer in introducing
various innovative aspects in classical music compositions. His compositions are of different types, in
their structure and complexity. Some are very simple to the realm of devotional music. Some
compositions are suitable for being rendered in concerts as main items.
Tyāgaraja has used different varieties of Tāḷa-s in his compositions. Ādi tāla in caturaśragati
(also called as caturaśrajāti tripuṭa tāla) is the most commonly used tāla. Besides these, he has
composed in rūpaka tāla, cāpu tāla, dēśādi and madhyādi tāla-s. The compositions are both in
madhyamakāla and vilambakāla. Thus the compositions in medium and fast tempos are rendered with
the respective kriya-s executed once and twice (conventionally called as one kalai and two kalai).
Though most of his compositions are in caturaśragati, some are in tiśragati and in some, he has
skillfully introduced a change in tempo, at the end of the composition. For example, “Sāmajavaragamana
” - Hindōla - Ādi in caturaśragati, “Ramincuvārevarura” -Supōshini rāga – Ādi tāḷa is in tiśra gati. Songs
like “Koluvaiyunnāḍe” in Dēvagāndhari and “Yōcanākamalalōcana”, exhibit a madhyamakāla in Pallavi
and in the caraṇa due to the profusion of syllables, appears to be in duritakāla, which is often described
as Apparent Madhyamakāla by modern scholars. With regard to tāla, there is another important factor
associated with a composition. It is “Graha”, which denotes the point of commencement of a
composition. Graha is one of the ten important elements of tāla and brings out the relation between the
text, melody and the tāla of a composition. Graha can be of three varieties. They are sama graha, atīta
graha and anāgata graha. In sama graha, the song commences at the beginning of a tāla āvarta. In atīta
graha the song commences at the end of a tāla āvarta, which can also be interpreted as the
commencement of a song in the previous āvarta or the commencement of tāla before the song. In
anāgata graha the song starts just after the commencement of tāla. Further in the case of some
compositions, it is observed that graha varies with the different sections of a kṛti and sometimes within
the variation is seen a section. This paper discusses the various patterns of Graha-s seen in the
compositions of Tyāgarāja.
SamaGraha:-
Pallavi, Anupallavi and Caraṇa starts on the commencement of the tāla. Ex:-
1. Viḍajāladu -Janarañjani-Ādi
2. Anurāgamulēni - Sarasvati - Rūpaka
3. Anāduḍanugānu - Jiṅgla - Ādi
4. OkamātaOkabāṇamu - Harikambhōji - Rūpaka
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5. Śivēpāhimām - Kaḷyani - Ādi

Śivēpāhimām - Kaḷyani - Ādi
Pallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara S s n n d P ; P p m G ; g m P M p mG mpdn
Sahityam Śi vē. . . pā . hi Mām.. ; am. . bi Kē. . . . . .
Anupallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara S s n nd P pm G M P D P D N S s n d pdn
Sahityam Kāve. . . ra Jō. . Ttara Tī . Ra vā . si . Ni . . .
Carana:
Kriya-s 1 2 3 4 5 6 7 8
Swara P P ; P pmgm P P P d n D P pdpm gr G
Sahityam Carā ; Ca Raa. . . Ma yi Karā. ; ra Vin.. . Da. Mu
Sama and Anāgatagraha:-

Pallavi starts at Samagraha, whereas Anupallavi and Caraṇa start with Anāgatagraha.
Ex:- 1. Tatvameruga - Garuḍadvani - Rūpaka
2. Intakannanandamemi - Bilahari- Rūpaka
3. Śobillusaptaswara - Jaganmōhini - Rūpaka
4. Sītammamāyamma - Vasanta–Rūpaka
Sītammamāyamma– Vasanta- Rūpaka
Pallavi:
Kriyas 1 2 3 1 2 3
Swara S ; ; M ; M gmDnd dmdn sr S
Sāhityam Sī . . ta . mma Mā.. . . . . ya. . . mma
Swara ; S S ; S sn d n D M gm g rsn
Sāhityam ; Śrī Rā; Muḍu. Mā .. Ku tan. . dri. .
Anupallavi:
Kriya-s 1 2 3 1 2 3
Swara ;d n n D m m g M D N snR S ;
Sāhityam ; vā. Tā. . Tma. ja Sau . mi. . Tri ;
Swara ;d n S S ; S D N ssnd M M
Sāhityam ; vai . Na tē ; ya Ripu Ma.. . Rdhana
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Caraṇa:
Kriya-s 1 2 3 1 2 3
Swara ; ss , M , M M M ; M md d mG
Sāhityam ; para . mē. Sa va śi; ṣṭapa. Rā . .
Swara ; g m ,d n s S N d n D M g m g r g r
Sāhityam ; śara . nā . . Ra da Sau. . Na ka . Su. ka.
In this Vasanta rāga kṛti, Pallavi has two types of graha. Pallavi contains two āvarta-s, first āvarta starts
from samagraha and third āvarta starts with anāgatagraha.
Pallavi and Anupallavi will starts from Samagraha, whereas Caraṇa starts with Anāgatagraha
Ex:- 1. Āḍamōḍigaladā - Cārukēśi - Ādi
Pallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara P ; D P ; M G R G , gr S R G, m P M
Sahityam Ā; ḍa mō ; ḍi Ga la Dē, rā . ma Ya. mā . ṭa
Anupallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara P ,d N D D ,n S ; ; rg ,m G rmgr S;
Sāhityam To . ḍu Ni ḍa Ni . . Ve; ;ya nu . cu bha Kti. . . To ;
Caraṇa:
Kriyas 1 2 3 4 5 6 7 8
Swara ;p p D P ; M gpmm G R M G g rsr G M
Sāhityam ;cadu Vu la ; nni De. li . Si shan ; ka Ran. . . Thudai
Swara ;s s , s s n D N S ; ; sr ,g M P ; M P
Sāhityam ; sada . yudā. . su Ga; ; sam. .ba vu ḍu . Mrokka
Pallavi and Caraṇa will starts from Samagraha, where as Anupallavi starts with Anāgatagraha.
Ex:- 1. ŚriRāmaPādama - Amritavāhini – Ādi tāla
2. Alakalella - Madhyamāvati - Rūpaka
Alakalalla - Madhyamāvati - Rūpaka
Pallavi:
Kriya-s 1 2 3 1 2 3
Svara P p m R S ; np n s R R m m r s R
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Sāhityam A la . Ka la . lla. Lā. . ḍa ga . Ga. ni
Anupallavi:
Kriya-s 1 2 3 1 2 3
Swara ; P p n S R R s r p m r R s S ;
Sāhityam ; ce lu . vu Mīra ga. nu . mā rī ;
Swara sn s r s r r s n ssn pnSrs nr sn pm rm
Sāhityam Cu.ni . Ma. da. ma .na. Cē.... .. vē. .. la.
Caraṇa:
Kriya-s 1 2 3 1 2 3
Swara P M P R M R P M pnp m R S
Sāhitya Mu ni Kanu Sai . Gate Li .si . Śi va
Examples for AtītaGraha:-

1. Vinanāsakoni - Pratāpavarāḷi - Ādi
Caraṇa:- Sitāramaninito - ōma||
naguntalāḍi - gelchuta||
Cētaokarinokarujūchi - sā||
ketādhipanijamagu - Premato||
balkukonnamuchata||
vātātmajaBharatulu - Vinnatu||
laTyāgarājasannuta||
2. Śaraśarasamaraika - Kuntālavarāḷi - Ādi

Caraṇa:- Tolinejēsinapāpavanakurāra - mā||
kalanainanuseyagaleni||
Baluvilunuvirachivelasina - Śriraghu||
kulavarabrovumuTyāgarājavinuta||
3. Mahitapravṛdha Śrimati - Kambōji – Misra cāpu tāla

Caraṇa:- Rajaśhekharātmabhuvirājarājasanute! - sa
rojadalanibhakti! Tyāgarājabhagadāyaki !
4. Sāmajavaragamana - Hindōla – Ādi tāla

The peculiar beauty of this kṛti is that in the sāhitya of the pallavi itself, the word 'Atīta' is incorporated
denoting the Atīta graha.
"Sārasābjapālakālātītavikhyāta"||
115
In the Anupallavi and caraṇa of this composition, the word Vi– cakṣana and Vi- nōda begins from the
previous āvarta+ without affecting the meaning of the word as shown below:
Anupallavi
Sāmanigamajasudhāmayagāna - Vi||
cakshanagunasailadayālavālamāmpālaya||
Caraṇa
Yādavakulamuraḷīvādana - Vi||
nōdamohanakaraTyāgarājavandaniya||
Samajavaragamana - Hindola - Āditāla

Anupallavi:
Kriya 1 2 3 4 5 6 7 8
Swara S ; M N D N S N S , g S N D N S G
Sāhityam Sā; mani gama Jasu Dā.ma Yagā Gā. Na vi
Swara M ; mg S snD dnsg gsnd mdns sndm gmdn
Sāhityam Cha ; Kṣa.na Gu.na Shī.lada Yā.la. Mām... Pā.. . La .ya.
Caraṇa:
Kriya-s 1 2 3 4 5 6 7 8
Swara S ; M N D N S N S ; ; N D N S G
Sāhityam Yā; Da va Ku la mura Li ; ; vā ; da Na vi
Swara M ; G S , n D dn sg S, n D , n sndm g md n
Sāhityam Noo; Da mo . ha na Ka. ra . Tya .ga Raa. ja Van..da Ni. . ya
Example for AnāgataGraha:-

1. Raghunāyaka - Hamsadhwani - Ādi
pallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara ;; ;G P G ;R S ; ; sn P ns R S
Sāhityam ;; ;ra Gunā ;ya Kā; ; nī ; pā ; da
R, r ;
Yu , ga ;
2. Dēva RāmaRāma - Souraṣtram - Rupakam

3. Manaviyālakimcara - Naḷinakānthi - Ādi
4. ŚrīNarasimha - Phalaranjani - Ādi
5. Gṅanamosagarāda - Pūrvikaḷyāṇi - Rūpaka
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6. Entamuddoentasogaso - Bindumaalini- Adi

In these kṛti-s every Avarta starts with Anāgatagraha.
Anāgatagraha and Samagraha:-

For example:- 1. Endaromahānubhavulu - Śrirāga - Ādi
In the pallavi and anupallavi of the fifth of the pancaratnakṛti-s, "Endaromahanubhāvulu" in Śrirāga. the
music commences after the first akṣara on the little finger. But the caraṇa-s have samagraha.
Pallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara ;; S R Rgr S ; ; sn sn P P sn S;
Sāhityam ;; enda Ro Ma ; ; hā .. nu Bha.. Vu;
nS n
Lu. .
Anupallavi:
Kriya-s 1 2 3 4 5 6 7 8
Swara ;; P M P R M, r r m P M ; P ; ; ;
Sāhityam ;; chandu Ru ; Var , . nu. . Ni ; ; ; ; ;
Nnpm
.. . .
Caraṇa: 2
Kriya-s 1 2 3 4 5 6 7 8
Swara R g r r g r r s nS S r s srss npG ,g rs r g R
Sāhityam maanasa vanacara varasan caramu nilipimu .rtiba .gugapo dagane
,r sn
, vaa..
2. Kanakanarucira - Varāḷi - Ādi

In the pallavi and anubaṇdam of the fourth of the Pañcaratna kṛti-s "Kanakanarucira" in Varāḷi, the music
commences in anāgatagraha. But caraṇa-s starts in samagraha.
Significance of the graha aspect in Compositions

In this article, it has been discussed that the graha or the commencement of compositions are
handled in different ways by Tyāgaraja. There are variations in different sections or āvarta-s in one
composition itself. Such variations have been introduced in order to enhance the musical and rhythmical
structuring of the song. The coincidence of the melody, text and the tāla is very aptly brought out in
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many songs, because of such graha-s, as observed above. Thus it can be summarized that Tyāgaraja
’s compositions gain a high standard with such technical beauties.
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Mīnākṣi Navaratṇamālika
Lalitha <[email protected]>
||Udyad-Bhānu-Sahasra-Kōtti-Sadruṣhām Kēyūra-Hārōjjvalām||
||Vimbāṣṭhīm Smita-Daṇta-Paṅgkti-Ruchīrām Pīta-Ambara-Alaṅgkrutām||
||Viṣnu-Brahma-Surēndra-Sēvita-Padām Tattva-Svarūpām śīvām||
||Mīnākṣīm Prannato-smi Saṇtatam-Aham Kāruṇya-Vārām-Nidhim||
There goes a saying “God will come in search of people who are upAsakas of music”. In Sri
Śyāma śāṣtri ’s case, both music and God came to Him. Vidvān-s and Guru-s used to address śyāma
śāṣtri as “kāmakṣi”. In general, people around him never felt Goddess kāmakṣi and Sri Śyāma śāṣtri
were different. This can be compared to the story of kavi kāidasa and Goddess kāi.
On studying Sri Śyāma śāṣtri ’s compositions, one can clearly feel the sentiments with which
he has composed. His compositions convey a feeling that he has had a vision or experienced Goddess
Kāmakṣi visually. His composition portrays Bhakti and a pronounced rhythm. Kṛtis and other
compositions have an abundant use of Svara-sāhitya, Chittasvara-s with Sāhitya-s and Vilōma chāpu
tāla. Sri Śyāma śāṣtri has proved that Laya pradhāna kṛti-s can be Bhāva pradhāna.
Śyāma śāṣtri ’s Upāsana Kṛama:

Śyāma śāṣtri shows through his compositions that, if one engrosses himself in music and
bhakti, he can have a dīrgha darṣhana of Devi and also make a Laya Pradhāna composition into one
discharge with Bhāva.
As a child, Śyāma śāṣtri has always prayed to Amba and considered Amba as his mother. He
takes all liberty in asking his Mother questions like “Devi, why are you neglecting me?”, “Who will protect
me, O Devi?”, “Who is with me?”, “What are you thinking, O Devi?”. These conversations clearly prove
the bond he shared and the Bhakti he had for Goddess Kāmakṣi.
Śyāma śāṣtri Bhakti:

There are two types of Bhakti – Markata Nyāya Bhakti and Marjala Nyāya Bhakti.
Markata Nyāya Bhakti can be compared to the baby monkey which holds on to the mother monkey, in
order to avoid falling. In this case, the mother monkey has no responsibility.
Marjala Nyāya Bhakti can be compared to the cat wherein the mother cat holds the kitten with its mouth
for any movement, until the kitten is capable of handling itself. The monkey theory can be one approach
where human effort is essential in obtaining salvation; just as a young monkey has to exert itself and
cling to its mother while being carried to its destination.
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The second view is that one needn’t make any positive effort, complete surrender to God can
lead you to salvation; just like how the kitten surrenders itself to the cat and relaxes.
The cat theory, which emphasises on prapaṭṭi or complete resignation to God is the most effective
means of salvation. In Śyāma śāṣtri compositions, the Mārjala Nyāya Bhakti is clearly visible. He shows
complete surrender to Goddess Kāmakṣi.
Śyāma śāṣtri group Compositions:

He has composed three Svara-jati-s(Ratna Trayas) and nine kṛtis as part of the Mīnākṣi
Navaratṇamāika kṛti-s (out of which only 8 are available)
Story behind Mīnākṣi Navaratṇamāika kṛtis:

Once, Sri Śyāma śāṣtri visited Pudukottai along with his students. Since he usually composed
kṛtis on Goddess Kāmakṣi, one of the bhakta-s requested Śyāma śāṣtri to compose on Goddess
Mīnākṣi as well. Śyāma śāṣtri obliged to compose on Mīnākṣi but subsequently forgot.
Later, his Guru Sangita Swami appeared in Śyāma śāṣtri dream instructing him to visit Madurai
and compose kṛtis in praise of Goddess Mīnākṣi, seeking her blessings. Śyāma śāṣtri decided to fulfil
his Guru’s wishes and thus the Navaratnamālika kṛti-s (or garland of 9 gems on Goddess Mīnākṣi of
Madurai) were composed.
The Navaratnamālika kṛtis are:

1. mīnalōcana brōva – dhanyāsi – miśra cāpu
2. sarōjadaḷanētrI – śhankarābharaṇa – ādi
3. dēvi mīnanētrI – shankarAbharaNa – Adi
4. marivēre – ānandabhairavi – miśra cāpu
5. dēvi nīdu pādasarasamule – kāmbhōji – ādi
6. māyammA –āhiri – ādi
7. nanubrōva lalitA – lalitA – miśra cāpu
8. rāvE parvatarAja kumAri - kalyāni- ādi
Observations
 In the kṛti mīna lōchana in Rāga Dhanyāsi, the usage of miśra chāpu tāla starting in
vishamagraha(5 akṣara-s eduppu for the Pallavi section) is seen. The tāla beautifies the
sāhitya.
 In the kṛti Sarōjadaḷanētri in Rāga śaṅkarābharana,

 The pallavi begins with a svarakṣara sāhitya
 Simhaprāsa is portrayed in the sahitya “Sarojadalanetri)
 The anupallavi potrays gajaprāsa (Dīrgha svara in the beginning of the sahitya) in the
phrase “ parāku sēyaka” i.e sS-s S-ss
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 In the same “ parāku sēyaka” phrase, jāru gamaka is also portrayed

 The caraṇa “sāmagāna vinōdini” has a great scope for niraval.
 In the caraṇa, Sri Śyāma śāṣtri shows the shadja-pañchama bhava without using the
śadja svara. The svara for the phrase “sāmagāna vinōdini” is “P-p P-pp P sndP” but
the sāhitya is “Sāma” for the first two svara-s “P-p”. It gives a beautiful feeling and is
an apt sanchara for the rāga śaṅkarābharaṇa.
 In the kṛti dēvi mīnanētri in Rāga śaṅkarābharaṇa
 Chittasvara is a very attractive feature
 The pallavi portion of this kṛti is well suited to be adapted to an RTP. The kṛti itself has
features like arudhi and eduppu.
 Prayōga-s like “snP” and “sdP” can be seen in this kṛti (though śaṅkarābharaṇa is a
mēḷa)
 We can also see usage of suitable rhyming words or prAsa: bAla-chAla-mēḷa-kAla-
sheela-leela. This shows Sri Śyāma śāṣtri proficiency in sāhitya and language.
 In the kṛti marivēre in Rāga ānandabhairavi

 Usage of simhaprāsa(First syllable svarakṣara) in the pallavi i.e in Marivere, Mahilo etc
 There is repetitive usage of the word “Nammiti” in the anupallavi. The bhāva portrayed
by this repetitive usage and apt placement is alluring.
 The svara sāhitya (p,,,dpmg-paadayugamu) is beautiful and straight forward. The tone
depicts bhakti and karuna rasa and seems like a beautiful ornament to Dēvi
 Sri Śyāma śāṣtri can be given credit to have popularised the rāga ānandabhairavi with
his beautiful sañchāra-s. The rāga has been completely explored and every delicate
nuance is shown in his compositions
 In the kṛti dēvI nīdu pādasarasamḷe in rāga kāmbhōji

 Sri Śyāma śāṣtri asks Devi “dikku vere gati” meaning “Devi, Who will give me
direction?” The svara-s used for this phrase bring out the pleading tone in which he
means to converse with Devi.
 It can be noted that the svara-s in the beginning of this kṛti are the same as in the kṛti
dēvI mInanētrI in Rāga śaṅkarābharaṇa. There is a striking resemblance between the
starting phrases “dēvi” in both kṛtis
 In the kṛti māyammA in rāga Ahiri
 GajaprAasa(rhyming consonant is succeeded by a long vowel) can be seen in the
phrases “māyamma” and “māṭlāḍaga”
 The phrase “māṭāḍaga” in the pallavi has the bhāva which clearly expresses his
sadness because he feels Devi is not conversing with him.
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 In the caraṇa, the phrase “sthiramaṇi nammiti nammiti nammitinI” has a lot to analyse.
It starts in dhruta kāla and conveys a tone like that of an angry child communicating
with his mother.
 There is a usage of Ghana mārga and Naya mārga (one the tala dasa prānas) in the
caraṇa. The phrase “sthiramaNi” is composed in Ghana mārga (with firmness) and the
phrases “nammiti” in Naya mArga (with belief).
 There is a incident mentioned in some books that after Sri Śyāma śāṣtri composed
and rendered this kṛti, he was gifted with a silk shawl worn by the Goddess and a vyaLi
faced tambura
 Similar to the navaratna mālika in rāga ānandabhairavi, this kṛti also has a lilting effect.
 In the kṛti nanubrōva laḷita in rāga laḷita
 Rāga muḍra is present. This is the only kṛti among the nine which has a rāga muḍra(
laḷita)
 Usage of śaraba prāsa(conjunct consonance) is seen in the phrase “nannu brovu,
ninnu vina” in the pallavi
 In the phrase “ativēgamE vacchi” though it means, come fast- he does not hurry in the
svara-s. The svara-s corresponding to “ativēgamE vacchi” are set to madhyama kāla
and not dhruta kāla. He gives importance to sāhitya bhāva
 Vilōma chāpu(4+3) can be seen in the pallavi, where the kṛti starts in viṣhama graha
 In the second caraṇa, he addresses devi with usage of prāsa or rhyming words like
“purāni vāni indrāni rāni”.
 Kṛti - rāvE parvatarāja kumāri in rāga kalyāṇi
 Though this kṛti has the aṅkita of śri Śyāma śāṣtri , some experts believe that it was
not composed by him.
 All kṛtis in this group of Navarataṇa mālika kṛtis usually have three caraṇas. The only exceptions
are “rāve parvatarāja kumāri” in kalyāṇi having two caraṇa-s and “nanubrōva laḷita” having 4
caraṇa-s.
 The number of āvarta-s in pallavi, anupallavi and caraṇa can be generalised as 4,4 and 8 in ādi
tala and 8,8 and 16 in Miśra chāpu tāla respectively.
 The tāla-s handled by Sri Śyāma śāṣtri in Navarataṇa mālika compositions are ādi and Chāpu
tāla-s.
 Every composition in these 9 gems either has a reference to the deity or a reference to the
place (ṣthala) of dēvi.
Conclusion
In Śyāma śāṣtri compositions, we can visualize his Bhakti being transformed to his śakti (power) which
finally leads him towards Mukti (salvation). There is always an abundant scope for neraval in his kṛtis,
due to the tempo in which he has composed rāga and sāhitya usage with tāla vaividya. Often, the artist
is confused as to which part is best suited for neraval. Śyāma śāṣtri is a composer who has had a deep
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knowledge about tala, laya, sāhitya, bhāva and bhakti. He has combined complicated tāla structures
with beautiful sāhitya and composed it so beautifully that a listener will not feel the difficulty in actually
comprehending such complicated phrases.
References
 Guru Vidushi Neela Ramgopal
 Śyāma śāṣtri, his disciples and descendents blog by Sharadambal
 Lecture Demonstration on Śyāma śāṣtri ’s kṛtis by Vidwan.TN Sheshagopalan
 Lecture Demonstration on Śyāma śāṣtri ’s kṛtis by Vidushi .TS Satyavathi
 Www.carnatica.net
 Shabdakosha by sri sampathkumaracharya
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The dimensions of rāga application in the compositions of Trinity

Madhu M <[email protected]>
The musical Trinity has enriched the ocean of Karnātaka classical music through their vast
number of great compositions in numerous Rāga-s. It was through the compositions of the Trinity, that
the Karnātaka classical music world started to recognize the complete depth and contour of the Rāga-
s. It is through their compositions that the music world came to know the pure melody and serenity of
Rāga-s. Inspired from their eternal compositions, Musicians started to explore vast dimensions in
Manōdharma saṅgīta which they started to present in the concerts and thus uplifted the music concerts
to a higher plane.
Each of the Trinity has composed Kriti-s in their own unique way in portraying the essence of
Rāga bhāva. Each had their own mode of incorporating the Rāga aesthetics into their compositions.
The diverse approaches and styles of implementation of the Rāga by the Trinity has been discussed in
brief in this paper.
Through this paper, a glimpse of the Rāga dimensions and the approach of Rāga usage done
by the Trinity is established. The methodology adopted here is Qualitative. This paper thus provides a
scope for exploring the vivid and varied aesthetics of same Rāga by referencing the various kriti-s of
the Trinity.
MuttuswamiDikṣita
Dikṣita is such a versatile musical genius and a great scholar who has composed kriti-s in most
of the 72 Mēlakartha rāga scheme. His kriti-s were filled with the complete essence of the Rāga.
Through his kriti-s, he has utilized the Rāga bhāva-s to its fullest level. Such is the cream of Rāga
instilled in his compositions that, any musician who learns and practices them would not only learn the
composition, but also would become well versed in that Rāga.
Kriti-s of Dikṣita are compared to a masked coconut where we can feel the underlying
sweetness of music only as we go on penetrating deeper and deeper. A deep musical insight is required
to grasp the Rāga content in his kriti-s. It involves time and persistent dedication for a music student to
realize the magnificence and ecstasy which resides in his compositions.
The wisdom of Rāga-s embedded in Dikṣita kriti-s plays a key role in shaping up a music
student to the level of singing Manōdharma saṅgīta. Another noteworthy element in his kriti-s are the
application of Gamaka-s in its most efficient and effective way. In each and every composition of Dikṣita,
the Gamaka which the Rāga demands is incorporated to its fullest possibility. Even the simplest kriti-s
of Dikṣita are the embodiments of Rāga crystals. With an undemonstrative bhakthi bhāva, the musical
element stands most powerful in his compositions.
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Among his many kriti-s, the Kamalāmba Navāvarana-s are certainly the exceptional ones where
his complete authority on Rāga-s is exposed. These are the powerful set of 9 kriti-s in praise of Goddess
Kamalāmba which also consists of a Navāvarana stuti composed in Tōdi and a Mangala kriti in Sri Rāga
making it to a total of eleven. The minutest nuances and very multifarious sançāras of Rāga are revealed
so brilliantly in the Navāvarana compositions. There needs a certain level of caliber for any music
student or musician to understand and learn these scholarly gems. The usage of subtle Gamaka-s and
intricate Rāga phrases takes us to the reality that Dikṣita has consciously imbibed the core Rāga
elements in them.
Dikṣita has expanded his contributions into Hindusthani Rāga-s also by composing great kriti-
s like “Äkhilāndeswari” in “Dvijāvanti”, “Raṅga pura vihāra” in “Brindavana saraṅga” etc. there by
incorporating the Hindustani Rāga-s into Karnātaka classical music. Other than that, it is also very
important to mention that Dikṣita has composed kriti-s in many rare Rāga-s like Pādi, Guṇdakriya,
ārdradēśi, Salaṅganāṭa etc.The musical essence is so deeply dwelled in the Kriti-s of Dikṣita that only
a matured musical mind can travel through his kriti-s in the way it need to be.
Tyāgarāja
Saint Tyāgarāja was an ardent devotee of Lord śri Rāma. Majority of the kriti-s of Tyāgarāja
svāmy are in worship of Lord Rāma. In Tyāgarāja compositions, the Rāga-s are embroidered in such a
way as to convey or communicate the love or feelings to the Lord. The Rāga bhāva unifies so well with
the lyrical meaning and bhakthi in Tyāgarāja kriti-s. It takes us through all levels of devotion such as
madhura bhakti, philosophical thoughts, deeply surrendered devotion etc. The Kriti-s of Saint Tyāgarāja
are compared to Grapes as the sweetness is spontaneously felt while learning, singing or listening to
them. The level or the depth of Rāga-s used in his compositions range from very simple Rāga bhāva-s
to highly intricate levels of Rāga saṅcāra.
In kīrthana-s like Divya Nāma Saṇkīrthana-s, Saint Tyāgarāja has used the Rāga in its most
simplified form. The Divyanāma kīrthana-s has many carana-s employing the same tune for each of the
carana-s. These beautiful keerthanas are so well suited to sing in a group and can be performed like a
Bhajana saṁpradaya. The music in these compositions are so simple and beautiful that the music
students find it easy to learn and sing them. Just to name a few of his melodious Divyanāma kīrthana-
s are “Meluko vayya” in Rāga “Bauli”, “Vaṇdanamu Raghu naṇdana” in Sahāna, “Paripālaya
paripālaya”in “Rītigauḷa”, “Jōjo Rāma” in Rītigauḷa etc. In all these melodious kīrtana-s, the Rāga bhāva
is applied in its most simplified manner yet filled with so much of melody and deep devotion which
eventually takes the listeners and musicians to a blissful flight. The Rāga is very well blended with the
sāhitya that, it easily touches the soul of the rasikas.
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To analyze a little more, let us take the Divya nāma Saṇkīrthana-s “Vaṇdanamu Raghu
naṇdana” in Sahāna. Sahāna Rāga goes well with the sāhitya. A humble submissive bhakthi rasa flows
throughout this composition. The deep prayer of a devotee to Lord Sri Rāma is felt in each moment of
this composition. Without using any complex Rāga phrases, the lightest Rāga melody dipped in
devotion is applied here thus to make us feel the beauty of this composition so well. Similarly other
Divya nāma Saṇkīrthana-s also possess such simplified melody in its Rāga sançāra.
At the same time, there are a lot of major kriti-s of Tyāgarāja that explore the deepest and
complex Rāga passages and Gamakas. Major Kriti-s like “Darini” in “Suddha sāveri”, “Parāmathmudu”
in “Vāgadhīswari”, “Chakkani rāja” in “Kharaharapriya” etc. proves the usage of Rāgabhāva to its
highest level. For example, if we take the kriti “Darini” in “Suddha sāveri”, this powerful composition is
embellished with the complete essence of the Rāga “Suddha sāveri”. There are many saṅgati-s used
in the Pallavi wherein each saṅgati-s possess a separate identity by its own. A totality of Suddha sāveri
Rāga is felt in this composition. One can easily switch to the manōdharma sançāras of Suddha sāveri
through this magnificent composition. Same as in the kriti-s like Paramāthmudu, Chakkani rāja and
many others where the Rāga svarūpa deeply influences the musician and the listeners.
Needless to say, the Ghana Rāga Pañcaratna kriti-s are yet another set of greatest
compositions which reflect the scholarly approach of Tyāgarāja on the usage of Rāga-s. Each of the
Pañcaratna kriti is filled with the complete soul of that Rāga. It is to be noted that, in the kriti
“Sādhimchane”, even without using Niṣada in the avarōhana phrases of the carana svara-s, Tyāgarāja
was able to bring out the Ārabhi bhāva in the carana svaras.
By introducing the concept of “Sańgati-s”, Tyāgarāja opened up the channel for exploring more
Rāga ideas through his compositions which in turn reflected in the kriti-s of other vāggēyakāra-s also.
By composing different Rāga phrases for the same theme or same line of a song, he has expanded
and explored the possibilities of filling Rāga bhāva to the maximum in a composition.
Tyāgarāja has composed songs in many rare Rāga-s. ‘Girirāja sutha thanaya’ in Rāga Baṅgāla,
‘Enthamuddo’ in Rāga Bindu mālini, Nannu kanna talli in Rāga Siṇdhu kannaḍa etc. are some of the
examples.Thus a wide range of Rāga application can be seen in Tyāgarāja kriti-s which varies from the
simplest level to the advanced level.But in kriti-s of Dikṣita, there is rarely any composition which uses
a lighter version of Rāga. Almost all the kriti-s of Dikṣita are deeply immersed in the core escence of
the Rāga.
SyāmaŚāṣtri
The highlight of Syāma Śāṣtri kriti-s is their highly demonstrative bhakthi bhāva. His kriti-s are
mainly in worship of Goddess Kāmākṣhi. The profound love that a son has for his mother is so well
portrayed in his kriti-s. In his compositions, the Rāga-s act as vehicles to convey and express his
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emotions to Goddess Kāmākṣhi. The Rāga sançāras are a perfect blend to the sāhitya bhāva in his
kriti-s. The Rāga bhāva is intensely implemented in each of his compositions that we could feel the soul
of his kriti-s so deeply.
Rare Rāga-s like “Cintāmani”has been used by Syāma Śāṣtri, Ānanda Bhairavi Rāga seems to
be his specialty and favorite, as most number of his compositions were set to this Rāga. But through
the melodious compositions like “Ō Jagadamba”, “Marivēre gati”, “Himāchala tanaya”, “Adinamunihnci
pogadi”, “Mahilo Amba”, etc. the Rāga itself has transformed into a much elevated position as he
explored the highest possibilities of Ānanda Bhairavi through these outstanding compositions.
The kriti-s of Syāma Śāṣtri are compared to kadhaḷi pākam where the sweetness is felt soon
as we understand their divine ecstasy which is conveyed through the most suitable Rāga-s. The Rāga
bhāva-s implemented in his kriti-s are not as difficult as that of Dikṣita and not so simple like many kriti-
s of Tyāgarāja.
The Svara sāhitya prayōga-s which were a main specialty of Syāma Śāṣtri compositions
showcases a melodious synchronization between the svara and sāhitya. The Rāga is so well executed
through the svara and sāhitya that it establishes a wonderful harmony between the two. In the famous
Madhyamāvati Kriti “Pālimsu Kāmākṣhi”, the Svara sāhitya is knit so well which makes the Rāga
Madhyamāvati the apt choice for this splendid composition.
The 3 svarajati-s of Syāma Śāṣtri ( which is known as “Ratna Trayam”) in the Rāga-s Bhairavi,
Tōdi and Yadukula Kāmbōji, are his wonderful and inimitable contribution where he has inculcated the
Rāga-s so devotedly and mellifluously. Each carana is so adorable and fills the Rāga to its extreme
splendor. The svarajati-s showcases the versatility and scholarly approach of Syāma Śāṣtri on the
Rāga-s. The kriti-s of Syāma Śāṣtri excel in its Rāga svarūpa through which the deep feel of devotion
and a self-surrendering to the Goddess Kāmākṣhi is brought out to its peak.
Conclusion:
Karnātaka classical music underwent a great revolution through the contributions of Trinity.
They unwrapped the vast scope of Rāga-s through their innumerable compositions. Each of the Trinity
had their own versatility and unique identity in the usage of Rāga-s. Their compositions took the art
form of Karnātaka classical music to greater heights and made the glory of Karnātaka classical music
spread across the world.
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Group Compositions of Śrī Muttusvāmi Dīkṣita with Special Reference to

Guruguha Vibhakti Kṛti-s
Manjula Surendra <[email protected]>
Introduction
The period of 1750 AD to 1850 AD was the golden era when the musical trinity enriched the
Karnātaka classical music with their immortal pieces of musical expressions in the form of
compositions which even to this day are performed with reverence. The aim of this paper attempts to
study the group compositions of one of the Trinity, Śrī Muttusvāmi Dīkṣitar (1775-1835). Dikshitar
sāhitya in essence is a hymn of praise, an invocation to one or the other deity; consolidation of ancient
wisdom with technical references to the yōga, taṇtra and maṇtra. His songs incorporated details of
local customs, traditions of the shrine, and descriptions of the expression in the local deity.
After his return from Vāranāsi, Dīkṣitar first visited Tiruttani and while in meditation saw the
God Kumāra come in the form of an elderly person and vanish into the sanctum sanctorum which
led to the first Kṛti-s of Śrī Muttusvāmi Dīkṣitar, set of 8 Kṛti-s on the God kumāra, who had blessed
Gōviṇda Dīkṣitar (rāmaswamy) with a genius like Muttusvāmi Dīkṣitar.The group Kṛti-s of Dīkṣitar
are compositions dedicated to Tyāgarāja, Kamalāmba, and other deities within the Tyāgarāja’s big
temple and those in different parts of the town of Tirurvārur. The author proposes to make a study
from the musical perspective highlighting the uniqueness and the richness of the content in terms of
melody, rhythm, significance and other relevant findings.
Muttusvāmi Dīkṣitar has composed several group compositions. Each of them demands a
great deal of research in order to understand the composer’s perspective in terms of Sāhitya, rāga
or tāḷa. With a brief introduction to all the group compositions, the author will take up the study of
one group, the Guruguha Vibhakti Kṛti-s for study, in detail.
Introduction to the various group compositions of Muthuswami Dīkṣitar

Of the eight groups, five are Vibhakti (declination) Kṛti-s and the rest of them are Bhakti
(devotion) Kṛti-s.
1. Guruguha Vibhakti Kṛti-s was first of his group compositions. These were in praise of Lord
Subramanya of Tiruttani. These are in the raga Māyamāḷavagauḷa, Ānandabhairavi, Pāḍi,
Balahamsa, Pūrvi, Bhanumati ( Vanaspati), and Udayaravicaṇdrika set to Ādi, Rūpaka,
Jampa,Miśra cāpu and khanḍa cāpu taḷa.
2. Tyāgarāja Vibhakti Kṛti-s that follow the pattern of Bhakti ( devotion) and Vibhakti ( cases for
the declination of a noun) was composed at Tiruvārur in praise of the presiding deity Lord
Tyāgarāja ( Shiva) of Tiruvārūr temple. These are 8 Kṛti-s composed in the raga Aṭhāṇa,
Yadukulakāmbodhi, Sālagabhairavi, Begaḍa, Darbār, Rudrapriya, Sāranga, and Vīravasantam set
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to Ādi, Rūpaka, Miśra cāpu and Jhampa tāḷa.
3. Abhayāmba Vibhakti Kṛti-s are composed in praise of Godddess Abhayāmbika , a consort of

Mayūranatha, presiding deity of the famous Śiva temple of Māyavaram . The Kṛti-s are in the raga
Cāmaram, Kalyāṇi, Bhairavi, Śaṅkarābharaṇa, Yadukulakāmbōdhi, kedaragauḷa, Kēdāra, Sahāna,
Tōḍi, and Śrīraga. They are set to tāḷas like Caturaśra tripuṭa, Rūpaka, Khaṇḍa aṭa and Khaṇḍa
Jhampa.
4. Nilōtpalāmba Vibhakti Kṛti-s are composed on Godddess Nilōtpalāmba. These are a set of nine
compositions uniquely composed in the raga-s whose names end with the word gauḷa.They are
Narayaṇagauḷa, Nārirītigauḷa. (two Kṛti-s), Kannaḍagauḷa, Kēdāragauḷa, Māyāmālavagauḷa, gauḷa,
Pūrvagauḷa, Cāyagauḷa. As the name suggests these are composed in the eight vibahkti-s
(declination) of the noun Nilōtpalāmba.
5. Kamalāmba Navāvaraṇa Kṛti-s, are a set of 11 songs on the nine ornamental enclosures of the
Godddess, in praise of Godddess Kamalāmba of Tiruvārur temple. These songs are considered
very sacred and auspicious as they describe the abstract forms of the Godddess in highly
philosophical phrases. The first among them is the dhyāna Kṛti (invocative), the following eight are
the eight vibhakti-s for the declination of the noun Kamalāmba, the ninth contains phrases in all
eight vibhakti-s and the last is the concluding mangaḷacaraṇa Kṛti. These are in rāga Tōḍi,
Ānandabhairavi, Kāmbhōji, Bhairavi, Punnāgavarāḷi, Sahāna, Ghaṇṭa, Āhiri, Śrī set to in the Sūlādi
sapta tāḷa-s including Ādi tāḷa.
6. Navagraha Kṛti-s are another group of nine compositions composed on the nine planets. There
is small story that goes behind the creation of these compositions.
It is believed that Thambiappan, a disciple of Muttusvāmi Dīkṣitar was suffering from stomach
ailment and had not been cured in spite of taking several medicines. Dīkṣitar being a scholar studied
his horoscope and inferred that the planet Jupiter was in an un-favourable position and was the cause
for his ill health. Hence he suggested that the Lord Bṛhaspati , adhipati of planet Jupiter be propitiated.
Keeping the layman in mind, who cannot follow complex rituals, Dīkṣitar composed a Kṛti as a prayer
to Lord Bṛhaspati in the rāga aṭhāṇa. He then instructed his disciple to sing the same for a week and
as ordained the ailment was cured. This incident motivated Śrī Muttusvāmi Dīkṣitar to compose on
the presiding deity of the other eight planets. There is a belief that the last two compositions on Rāhu
and Kētu were composed by his followers though they carry the mudra of Dīkṣitar (Guruguha).
The nine songs are composed in raga Saurāṣtra, Asāvēri, Suruṭṭi, Nāṭakurañji, aṭhāṇa,
Pharaz, Yadukula kāmbōdhi, Ramāmanōhari and Cāmaram. These are set to the seven Sūlādi
tāḷa-s. These compositions are composed as a prayer to the nine planets (Navagraha-s) - Sūrya,
Chandra, Budha, Bṛhaspati,Śukra, Śani , Rāhu and Kētu.
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7. Pañcabhūta liṅga Kṛti-s is another group of composition that is dedicated to the five elements of
creation, i.e., Ether, Fire, Water, Air and Earth. The first is a salutation to
Ether (Ākaśa), that is in the form of a liṅga in the Cidambaram temple. The composition,
Ānandanaṭana, is in the rāga Kēdara.
The second is a prayer to the Lord of Fire (agni) which resides in the temple of Tiruvaṇṇāmalai. The
Kṛti Arunācalanātham is in the raga Sāraṅga.
The third is dedicated to the mother Earth (pṛthvi) that resides in the temple of Kanchipuram. The
Kṛti Cintayamā kanda is in the rāga Bhairavi.
The fourth is dedicated to the Water (appu), residing in the form of liṇga in the temple of
Tiruvānaikāval. The Kṛti Jambupatē is in the raga Yamunākaḷyāṇi.
The fifth composition is in praise of Air (Vāyu) that resides in the form of liṇga in the temple of
Kālahasti. The Kṛti Śrī Kālahastiśa, is in the rāga Husēni.
8. Pañcaliṅga Kṛti-s are another set of five compositions that are composed at five Shiva temples in
Tiruvārūr. The presiding deity in these compositions is Lord Śiva. The Kṛti-s are in Ānandabhairavi,
Bilahari, Bhūpālam, Nīlāmbari and Kāmbōdhi.
There are a total of 63 compositions from 8 different groups. Of them, 26 rāga-s have single
composition, 14 rāga-s have two compositions each, while 3 rāga-s have 3 compositions
each.
Interestingly Muttusvāmi Dīkṣitar has used only 3 prati madhyama rāga-s among the 43 rāga-s that
appear in the group compositions put together. They are Kalyāṇi, Sāraṇga and YamunaKalyāṇi. The
rest are Śuddha madhyama raga-s.
Observation of the Guruguha Vibhakti Kṛti-s

The author has referred to notations given in the Subbarāma Dīkṣitar’s Saṅgīta
Sampradāya Pradarśinī (henceforth called as SSP) and T.K. Goviṇda Rao’s Compositions of
Muttusvāmi Dīkṣitar (henceforth called as TKG) for the study.
The compositions in this group are:
1. ‘Śrīnathādi Guruguhō Jayati Jayati…’ in the raga Māyamāḷavagauḷa set to Ādi Tāḷa.
2. ‘Mānasa Guruguha rūpam Bhaja rē rē’ in the raga Ānandabhairavi set to Tiśra jāti Ēka tāḷa
(SSP) or Rūpaka tāḷa (TKG)
3. ‘Śrī Guruṇa Pālitōsmi’ in the raga Pāḍi set to Rūpaka tāḷa.
4. ‘Guruguhāya Bhaktānugrahāya’ in rāga Sāma set to Ādi tāḷa
5. ‘Guruguhādanyam najanēham’ in the raga Balahamsa set to Jhampa tāḷa
6. ‘Śrī Guruguhasya dāsōham’ in the raga Pūrvi set to Miśra jāti Ēka tāḷa.
7. ‘Guruguhasvāmini bhaktim karōmi’ in the raga Bhanumati set to Khaṇḍa jāti Tripuṭa tāḷa.
8. ‘Śrī Guruguha mūrthe’ in the raga Udayaravicaṇdrika set to Rūpaka tāḷa.
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An overview of the Kṛti-s

1. ‘Śrīnathādi Guruguhō Jayati Jayati’ in the raga Māyamāḷavagauḷa set to Ādi Tāḷa.
 This Kṛti is in the Prathama Vibhakti or the Nominative case where in the Lord
Śrīnatha is the noun. The composer has beautifully brought the flavour of the rāga in
the very first line. He has covered the whole of Ārōhaṇa and Avarōhaṇa within one
avarta.
S , , R , G , M ‫ ׀‬P D N Ṡ ‫ ׀‬, NDP MGR ǁ S , S N , N,, DD, ‫ ׀‬,P, PMMG, ‫ ׀‬G R, R S S Ṇ Ṇ
Śrī nā tha di gu ru gu hō jayati jayati Śrī cidā nandana tho hamitisan tatam hrdinibhaja
 The ṛṣabha is a śuddha svara in the avarōhaṇa except in two phrases of the
caraṇa where it shows kampita. (SSP)
 In the body of the anupallavi there are only two instances of second speed phrase and
only one akṣara in second speed in the caraṇa.
 There is madhayamakāla sāhitya at the end of anupallavi as well as caraṇa.
 Plenty of Svarākṣara-s, sañcāra-s range from maṇdra pañcama to tāra madhyama.
 The composer has adopted all the prayōgas like janti, dātu ,tri sthāyi and alaṅkāra-s.
2. Mānasa Guruguha Rūpam Bhajare’ in Ānandabhairavi raga set to Tiśra Ēka tāḷa ( SSP) and
rūpaka (TKG).
 This Kṛti is in th Dvitīya Vibhakti or the Accusative case wherein mind is the noun.
 The very scale of the rāga differs to a large extent. According to SSP the scale
is Ārōhaṇa: S G2 G2 M1 P D1 P S N2 Ṡ
 Avarōhaṇa: Ṡ , N2 D2 P M1 M1 M1 , G2 G2 R2 S
 Here SSP mentions D1 in the Ārōhaṇa and D2 in the
avarōhaṇa TKG gives the scale as:
Ārōhaṇa : S G2 R2 G2 M1 P D2 P Ṡ Avarōhaṇa: Ṡ N2 D2 P M1 G2 R2 S
 Therefore one can infer that Ānandabhairavi being a Bhashanga rāga takes both dhaivatas
D1 and D2. By observing the tradition we may infer that D1 is the anya svara as it is sparingly
used when compared to D2 .
 The composition when sung in akāra brings out a beautiful ālāpana of the rāga which
establishes the fact that our music heavily leans on the compositional forms for
improvisation. For e.g., the anupallavi
S, P P Ṡ, ‫ ׀׀‬Ṡ Ṁ Ġ Ṙ Ṡ, ‫ ׀׀‬ṘṠ,N N Ṡ P P ‫ ׀׀‬Ṡ, N D P D ‫ ׀׀‬N P DN D P DP ‫ ׀׀‬M, PM G R GRGM
 When one sings the above line in akāra it gives a complete pic of Ānandabhairavi. This is
of course true in all of his compositions.
 S, G G M, … D N S…. are some of the unique prayōga-s in Dīkṣitar’s
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Ānandabhairavi. Apart from this there is a Kamalāmba Navavaraṇa Kṛti and a

Pañcaliṅga Kṛti.
3. Śrī Guruṇa pālitosmi in the raga Pāḍi, a janya of Māyamālavagauḷa.
 The composition ‘Śrī Guruṇa pālitosmi sacchidananda nāthena’ is in the tritīya vibhakti i.e.
instrumental case wherein the composer assumes the form of Guruguha who reside in the
earts of yogis who practice Mānana, Dhyana, Samādhi and Niṣṭā.
 Ārōhaṇa: R1 M1 P D1 P N3 ṠAvarōhaṇa: Ṡ N3 P D1 , P P M R, S (SSP)
 TKG has called the raga as Pādi. the scale is
 Ārōhaṇa: S R1 M1 P D1 P N3 Ṡ Avarōhaṇa: Ṡ N3 P D1 , P P M R, S (TKG)
 This is a very rare raga with hardly any Kṛti-s of other
composers!!
 Here the svara-s are very flat with minimal gamaka-s. SSP has indicated only one
Ullāsita (ārōhaṇa jāru) and only once kampita in Riṣabha. Apart from that there are
Sphurita and nokku.
Pallavi :
D, P M R , ‫ ׀׀‬S N P Ṇ ‫ ׀׀‬S,,, R M ‫ ׀׀‬P D, D P N ‫ ׀׀‬/Ṡ,, Ṡ N P
Caraṇa apart from sphurita and pratyāhata and one kampita rest is absolutely flat and straight note.
4.Guruguhāya Bhaktānugrahāya is in rāga Sāma which is a janya in Dhīra Śaṅkarābharaṇa.
 The composition ‘Guruguhāya Bhaktānugrahāya’ is in the Chaturthi vibhakti , i.e. Dative
case wherein the Lord Kumāra is the noun in the Chaturti vibhakti.
 Ārōhaṇa: S R M P D Ṡ Avarōhaṇa: Ṡ D P M G R S (TKG)
Ārōhaṇa: S, R G S R PM D D, Ṡ Avarōhaṇa: Ṡ D P M G R S
 The scales differ between TKG and SSP.The very first avarta establishes the raga with a
slide from P to M and stress on the madhyama. Dhaivata in the descend slides from shadja
and in the ascend slides from rishaba, like in the following line in the anupallavi.
 S s ḍ, s, r, r r d, p m ( subscript note indicates the place of origin of the following note)
 Jāru, āhata, pratyāhata gamakas are in abundance.
 There is a ciṭṭasvara in SSP.
5. ‘Guruguhādanyam na janēham’ in the raga Balahamsa set to miśra jhampa tāḷa.
 This composition is in the pañcami vibhakti i.e. Ablative case wherein the place of
manifestation of the Lord Guruguha, Jahad and Jahal Lakshanas, is the noun.
 Balahamsa is a janya of 28th rāganga raga HariKēdaragauḷa . Its equivalent in the mēla
paddhati is Harikāmbōji.
 Ārōhaṇa: S R2 G3 M1 P D2 Ṡ Avarōhaṇa: Ṡ N2 D2 P M1 G3 R2 S (SSP) janya in
Harikēdāragouḷa
 Ārōhaṇa: S R2 M1 P D2 Ṡ Avarōhaṇa: Ṡ N2 D2 P M1 R2 M1 G3 S (TKG) Janya in Harikāmbōji
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 An Upanga raga, there are simple flat svara-s bringing out the essence of the raga. For eg,
the pallavi :
|| S R M P,, M G R,, S ̩P, ‫ ׀‬Ḍ, ‫ ׀‬S,,, ‫ ׀׀‬S, P, Ḍ S, R PM R S R ‫ ׀‬, R ‫ ׀‬S,,,
 There is a ciṭṭa svara as well to this composition.
6. ‘Śrī Guruguhasya dāsōham’ in the raga Pūrvi set to Miśra jāti Ēka tāḷa.
 It is in the Ṣaṣṭī vibhakti i.e. Genitive case wherein the composer is the humble servant of
the Lord Guruguha.
 It is a bhashanga raga , janya in Māyamālavagauḷa.
 Ārōhaṇa: S R1 G3 M1 P D1N3 Ṡ Avarōhaṇa: Ṡ N3 D1 P M1 G3 R1 S
 Both TKG and SSP give the same scale to this raga. SSP indicates majorly jaru gamakas
,sliding from one note to other like for eg. In anupallavi N ,/ Ṙ\ N ,/ Ṡ ,\ M M , G\ R , S
7. ‘Guruguha swamini bhaktim karomi’ in the raga Bhanumathi set to
Khaṇḍa jāti Tripuṭa tāḷa.
 This Kṛti is in the Saptami vibhakti or the Locative case wherein the Lord (noun) is
transcending in all elements of like earth etc.
 The raga is the 4th mēla in the ragānga rāga system . Its equivalent in Mēḷa paddhati is
called Vanaspati .
 Ārōhaṇa: S R1 M1 P D2 N2 Ṡ Avarōhaṇa: Ṡ N2 D2 P M1 G1 R1 S (TKG)
Ārōhaṇa: S R1 M1 P D2 N2 Ṡ , Avarōhaṇa: Ṡ N2 D2 P M1 G1 , R1 S (SSP)
 If we notice the svaras are spaced asymmetrically. SRG are consecutive, MPD are half note
apart.
 In the pallavi, the first āvarta ending is not so comfortable singing svara but the sāhitya
makes it easy. Like you group last six svaras as RGS RGS
Ṡ N D P, ,, ,, P, ,, D M ‫ ׀‬P M R G ‫ ׀‬S R G S...
gu ru gu ha swa mi ni bhak tim katromi
8. Śrī Guruguha mūrthē’ in the raga Udayaravicaṇdrika set to Rūpaka tāḷa

 It is the saptami vibhakti Kṛti i.e. in Vocative case wherein the Lord in is summoned with
reverence as Oh Lord! Oh Paramātma! Oh Satchidānaṇda!
 This is a janya in the 9th rāganga raga called Bhiṇṇa ṣaḍja. The scale is
 Ārōhaṇa: S G2 M1 P N3 Ṡ Avarōhaṇa: Ṡ N3 P M1 G2 S
 Same scale exists in both TKG and SSP
 In the present day, udayaravichaṇdrike is sung with kaiṣiki nishāda and not kākali.
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Conclusion
Dīkṣitar’s compositions are rich in content, be it raga, rhythm or sahitya. They are so
profound that the more time we spend analyzing or understanding each aspect, it gets deeper
and deeper. Some of the rāga-s are rare and unique.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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A probe into the Śiva Kṛti-s of Saint Tyāgarāja and Muttusvāmī Dīkṣita
Meenakshi S <[email protected]>
Śri Śyāmā Śastri (1762–1827) A.D. Śri Tyāgarāja (1767- 1847) A.D. and Śri Muttusvāmī
Dīkṣita (1776 – 1835) A.D. are popularly referred as the “Music Trinity” and they were contemporary
musicians. Śyāma Śāstri, Tyāgarāja, Dīkṣita have composed innumerable compositions in the
common music form called “Kṛti”, but there is difference in the format.The objective of this paper is to
analyze the individuality of Kṛti-s on Lord Śiva exclusively, of the compositions of Śri Tyāgarāja and Śri
Muttusvāmī Dīkṣita.
Structure of Kṛti
 Kṛti is a popular musical form in the South Indian Classical music and they have been
demonstrated as the best of the Music Trinity.
 The prominent music structure of a Kṛti is Pallavi, AnuPallavi and Caranam. Some Kṛti-s
have more than one Carṇa. Seldom, the number of Carṇa-s exceeds three. Invariably, the
Carṇa-s are sung to one and the same dhātu.
 Sometimes, the Carṇa may get distributed; in which case, a Kṛti doesn’t contain the
AnuPallavi and then the Carṇa-s known as Samas̩ti Carn̩a. Many of the Kṛti-s of
Muttusvāmī Dīkṣita contain Samas̩ti Carn̩a-s.
 Kṛti emphasizes on musical aspects.
 Kṛti has the ornamental elements like Svarasāhityam, Saṅgati, Svarāks̩aram,
Man̩ipravalaSāhitya, Yatiprāsam, Cittasvara, SolkattuSvara and MadyamakālaSāhitya.
 Thus there is scope for Manōdharma Saṅgītam - the structural nuances of Karnātaka
classical Music.
 In Muttusvāmī Dīkṣita’s Kṛti-s , the Dhātu of Carṇa will not follow the Dhātu of AnuPallavi.
It has its own unique structure.
 The Stāyi Sañcāras of Kṛti-s are usually between 1 ½ and 2.
 Kṛti-s are large in numbers than any of the other varieties of compositions.
 Usually, in Kṛti-s, there may be Carṇa-s that follow a particular Dhātu; in which case, all
the Carṇa-s need not be rendered. In this case, a performer may deliver a Mudracarn̩a.
Occasionally, yet another Carṇa may be appropriate for Niraval and KalpanaSvara
rendition than MuḍraCarn̩a, thus providing scope for a rendition of the Carṇa that suits
best. On the contrary, there may be Carn̩a -s, that follow different dhātu-s, at which time a
performer is expected to give out all the Carn̩a -s.
Rāga and Tāla aspects of Śiva Kṛti-s of Tyāgarāja and Dīkṣita

Tyāgarāja
Tyāgarāja mentioned thus about the laks̩aṇa-s of Kṛti in his compositon, “Sogasuga Mrdaṅga
Tālamu”: “Yati viśrama sad bhakthi virati
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 It is believed that Tyāgarāja Svamigal, has many thousands of Kṛti-s to his credit.
 MālavaŚri, Sindhurāmakriya, Karaharapriya, Madhyamāvati, Gambiravāni, Sahāna, Nārayana
Gouḷai, Saṅkara̅bharana, Atān̩a, Āndōlika, Pantuvarāḷi, Kalyān̩i, Sāraṅga, Chittaranjani1 – all
the above Kṛti-s except Madhyamavati and Sāraṅga are in ĀdiTāla.
 There are in total eighteen Śiva Kṛti-s in the aforesaid fifteen rāga-s.“Devi Śri tapa sruta pura
nivasa” is in Madhyamāvati in Triputa Tāla and “Ēhi tri jagādisa” is in Sāraṅga in Cāpu Tāla.
 Saint Tyāgarāja was a polyglot of five languages. But all his Kṛti-s and Kīrtana-s are in chaste
Telugu with the ease of singing.
 The following number of Kṛti-s has been composed on Śiva of Tiruvaiyāru, Kōvur Pañcaratna,
Lālgudi Pañcaratna, Tiruvotriyur Pañcaratna. A few other diverse numbers include Nāda
Tanumaniśam, Śiva Śiva Ena Rāda, Sadamādini, Evarunnāru, etc…
 When he visited Kōvur he composed the following Pañcaratna in the name of the deity
Sundarēṣwara and Goddess Soundarayanāyaki:
a) Sambho Mahādeva Pantuvaraḻḻi Rūpakam

b) Ī vasudha Sahāna Ādi
c) Kōri Sevimparāre Karaharapriya Ādi
d) Nammi Vaccina Kalyāni Rūpakam
e) Sundaresvaruni Saṅkarābharana Ādi
 In Lālgudi, the following compositions were made:

a) Gati nīvani Tōdi Ādi
b) Lalitē śrī pravṛddhē Bhairavi Ādi
c) Dēva śrī Madhyamāvati Triputa
d) Mahita pravṛddha Kāmbhōji Miśra cāpu
e) Īśa pāhi māṃ Kalyāṇi Rūpaka
 Tyāgarāja followed Gōvindācharyar’s scheme of Sampūrn̩a Mēḷa-s and his nomenclature of

Janya rāga-s with some exceptions.
 In adopting apūrva rāga-s, Tyāgarāja-s test appears to have the symmetry of the rāga and its
aesthetic appeal.
 It may sound surprising that even familiar rāga-s like Karaharapriya, Harikāmbhoji and Dēva
Gāndhari are his gifts. His magic touch would translate into a rāga.
 Another remarkable contribution of Tyāgarāja is improvisation known as Saṅgati-s. He
adopted the method of varying the melodies with the same sāhitya. It is the richness of rāga
bhāva that gives him a place among the greatest of the composers of art music.
1 Nāda Tanumanisham Raagam: Chittaranjani (22nd mela janyam) Tāla: Adi Composer: Tyagaraja
Reference Ragas in Carnatic Music, Bhagyalekshmi, Dr. S., CBH Publications, 7th Edition, 2006
136
 The compositions of Tyāgarāja on Śiva are given in the following Table:
Kṛti Rāga Tāla
evarunnāru maḻḻavashree Ādi
dēvādi dēva sadāśiva sindhurāmakriya Ādi
kōri sēvimparārē kharaharapriyaa Ādi
muccat̩a brahmādhulaku madyamāvati Ādi
dēva shri tapastirthapura TripuTa

madyamāvati
nivāsa
sadā mādin gambhīravān̩i Ādi
ī vasuda sahānā Ādi
dharśanamu sēya nārāyan̩agowḻḻa Ādi
śaṇkarābharanam śaṇkarābharanam Ādi
shambho śiva shankara śaṇkarābharanam Ādi
ilalo pranatharthihara atāna Ādi
rāga sudarasa madyamāvati Ādi
śiva śiva śiva enaradha kāmavardhani Ādi
shambho mahadeva kāmavardhani Ādi
nammi vachchina kalyāni Ādi
isha pahimam kalyāni Ādi
ehi thrijagadhīsha saranga Ādi
nāda tanumanisham cittarañjani Ādi
Dīkṣita
 Dīkṣita followed Vēṅkatamakhi-s traditions, that is Vēṅkatamakhi-s scheme of rāga-s.
 Dīkṣita-s compositions are eternal architecture of rāga forms.
 Dīkṣita has kept in his full view giving abundant scope for covering full panorama of each
rāga from the lower to the upper octaves.
 Dīkṣita-s expertise of composing music is thus: while a rāga is being hummed without the
Sāhitya-s, one would be able to perceive the complete essence of that particular rāga.
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Therein lays the artistry and conceptual magnificence and the master of the great
composer.
 Dīkṣita-s Kṛti-s on Śiva are approximately on fifty five rāgās, which may be classified as
rare rāga-s and popular rāga-s.
The following is the list of Rare Rāga-s:

1. Sālaga Bhairavi 1. Sindurāmakriya
2. Rudra Priya 2. Bhūpāla
3. Vīra Vasantam 3. Kāsirāmakriya
4. Dēvakriya 4. Kuntakriya
5. Bhairavam 5. Śiva Pantuvaraḷi
6. Takka 6. Būs̩āvali
7. Sāmanta 7. Pūrva varaḷi
8. Natābharan̩am 8. Kiranāvali
9. Gamagakriya 9. Niṣhādha
10. Satvarañjani 10. Mālavaṣri
11. Suddha Vasanta 11. Paraju
12. Bēnadyuti 12. Kusumākaram
13. Nārayana Desāks̩i 13. Nāgabharan̩am
14. Sumadyuti 14. Vēga Vāhini
15. Souvīram 15. Kanakāmbari
Popular Rāga-s
1. Kalyāṇi 15. Sourās̩tram
2. Saṅkarābharan̩a 16. Ābheri
3. Sourās̩tram 17. ānandha bhairavi
4. Ābheri 18. Nīlambari
5. Ārabhi 19. Husēni
6. Bhairavi 20. Atāna
7. Sāraṅga 21. Nāṭṭa Kurinji
8. Hamsadvani 22. Dēvagāndhari
9. Mōhanam 23. Gowḻai
10. Nādanāmakriya 24. Yaman Kalyān̩i
11. Śri Ranjani 25. Bēgada
12. Kannāda 26. Kēdāra
13. Tōdi
14. Dhanyasi
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The following nine Tālas have been employed in the above rāga-s of the 116 Śiva Kṛti-s (Kṛti-s from
my knowledge):
Ādi 49
Rūpakam 24
Miśra Cāpu 10
Jampa Tāla 4
Kant̩a Jāti At̩a Tāla 1
Ēka Tāla – Tiśra Ēkam 2
Catuśra Ēkam 1
Kant̩a Ēkam 2
Miśra Ēkam 1
i) Most of Dīkṣitar’s Kṛti-s are in Sanskrit; exceptionally a few are in Manipravālam.

ii) There are five pañca bhūta-sthala Kṛti-s of Dīkṣitar2:
- In Kānchipuram, at the Pṛtvi sthāla he has composed Cintayama in rāgā-Bhairavi with
Rūpaka as Tāla
- In Tiruvanaikka, at the Appu sthāla, the composition, Jambūpate with Tiśra Ēka Tāla in
Yamuna Kalyāni Rāgā
- In Tiruvannamalai, at the Agni sthala, he composed, Arunācalanādham smarāmi in
Sāraṅga Rāgā with TiśraĒka as Tāla
- In Kālahasti, at the Vāyu STāla, the composition begins with the name of the place – Śri
Kalahastīsa in Rāgā Husēni with JhampaTāla
- In Chidambaram, at the Ākāṣa Sthala, the composition is Ānandanataṇaprakāṣam with
ĒkaTāla in Kēdara Rāga.
iii) Dīkṣitar travelled far and wide within his country. Wherever he went, he visited many temples
and worshipped the deities and sung in praise of the chief deities as well as the Parivāra
Mūrti-s. It is worthy of note to mention a few Kṛti-s of Dīkṣitar on Lord Śiva when he visited
Kāñchipuram, he composed the following:
- Ekāmbaresa Nāyike in Carnataka Suddha Saveri and
- Ekāmbara Nādam Bajēham in Gamaka Kriya
2 Traditionally, in Tamil Nadu, all the five elements are worshipped in the form of Śiva lingas in
Kanchipuram, Tiruvanaikka, Tiruvannamalai, Kalahasti and in Chidambaram according to Siva Agama
Sastra. Dīkṣitar visited all these Sthlas (places) and has sung in praise of the murtis and described the
sthalas.
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- KailāsaNādam in Vēgavāhini
iv) When he travelled from Chidambaram to Tiruvārur, en route he visited Vaidhīswaran Kōvil and
Māyavaram. In Vaidhīsvaran Kōvil, he composed the song Vaidhyanātham in Atān̩a; in
Māyavaram, Māyuranātham in Rāga Dhanyāsi respectively.
v) Dīkṣitar has composed Vibhakti Kṛti-s employing the grammatical cases or declension of
Sanskrit grammar on Tiruvārur Tyāgarāja and Pañcaliṅga sthāla Kṛti-s composed on Gods,
“Anandēśwarar, Siddhēśwarar, Acalēśwarar, Hātakēśwarar, and Valmikēśwarar”. The Kṛti-s
are : Ānandēśwara in Ānanda Bhairavi, Siddhēśwara in Nīlāmbari, Acalēśwarar in Bhūpaḷam,
Hātakēśwara in Bilahari and Vālmikēśwara in Kāmbhojii. All the above five are in praise of
śiva of Tiruvarur, but in thought of the pañcabhūta sthala deities.
vi) Muttusvāmi Dīkṣitar visited almost all the popular ks̩hetra-s on the banks of kāvēri and has
composed music in praise of the deities.
Identical Rāga Compositions of Tyāgarāja and Dīkṣitar
As an example the following rāga-s have been taken up for comparison:
Tyāgarāja and Dīkṣitar both have made compositions on the rāga Dēvakriya. But, Saint
Tyāgarāja-s ‘Nātimata’ Kṛti in the rāga Dēvakriya, has vakrasampūrn̩a arōhana and
avarōhan̩a. Dīkṣitar composed the Kṛti-s “Śri Guruguha, Lalitāmbika and Kālarūpini”. Here, he
has used the notes in the relationship of Jaru Gamaka. Swamigal, in his Kṛti,
“Dārinitelusukon̩ti tripurasundari” in Suddha Sāveri, has made use of the Kampita Gamaka in
the dhaivata Svara with a movement. While Tyāgarāja has made use of the identical Svaras in
Suddha Saveri, Dīkṣitar has used the same Svaras but with an inclination towards the
Hindustani rāga Durga. In comparison of both the composer’s rāga-s, the Dhaivata of the
former is with a mild movement in the notes whereas the latter has used it as Jāru Dhaivata.
While talking about the rhythm structure of Tyāgarāja, it is a most rewarding experience
considering the creative activity which leads to the phenomenal growth of its dimensions –
Pallavi, Svaraprastāra, etc.
Dīkṣitar always excelled in the art of rhythm. He has always been consistently composing Kṛti-
s with Samas̩ti Carn̩a. As an example, viewing and comparing the compositions Viswanātam
in Natābharanarāga, Ādi Tāla and Tyāgarāja in Nīlambari rāga, RupakaTāla, with varying
dimensions of Ādi and Rūpaka Tāla-s, it is apparent that the laya structure is not a
constraintfor Dīkṣitar to make compositions with samas̩ti Carn̩a. In all his compositions, the
variety of tāla-s used by him proves this fact.
Sāhitya-s of Tyāgarāja and Dīkṣitar

All the compositions of the Saint Tyāgarāja contain the aspect of Moks̩ha – Salvation through
Bhakthi and Nadōpāsana. According to Swamigal both Bhakthi and Nadōpāsana are the apple of the
eyes. To quote as an example, ‘Vidulaku’ in Māyamālavagouḷa, he honors the celestial sages and
seers who have taken on board the secrets and the essence of the saptasvara-s. The meaning of the
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sāhitya of this composition is, “realization of the inner graces of Nāda with bhakti elevates one to
svarga and confers salvation and provides one with brahmānanda – eternal bliss”.
The composition, Rāgāsudhārasa, in rāgā Āndōḷika depicts the idea that a beneficiary who sings or
listens the nectar of rāga-s attain the benefit of doing a yāga, yoga, tyāga and finally attains mōkṣha.
In Nāda tanumanicam in Rāga Cittarañjani, he says the sapta Svara-s are by itself the embodiment of
Lord Śiva.
Those who listen to the Kṛti-s of Tyāgarāja for their Bhakthi content came to acquire
knowledge of rāga-s. Likewise, musicians doing thus, gradually acquired Bhakthi.
Dīkṣitar has proved that, a human can perform miracles and attain what is required for him or
community through music. In this aspect, he has performed many miracles for the community.
To cite an example:
(i) Singing Amritavarṣini using the term varshaya, varshaya he made a downpour and also
using the term stambhayastambhaya, he made the rain cease.
The following ŚivaKṛti-s of Dīkṣitar relates the experiences Dīkṣitar enjoyed employing the rāgās.
i. Tyāgarājam Bajare in the rāga Yadukula KambhojiKṛti, Dīkṣitar raised funds for his
disciple.
ii. In the temple of Kivālur, near Tiruvārur, he sang the song Akṣhayaliṅga Vibho in the rāga
Sankarabharanam and made the closed doors throw open and had the darshan of the
deity.
Dīkṣitar-s uniqueness is bringing in architectural and iconographic aspects of a particular place in his
ks̩hetraKṛti-s .
Conclusion
Considering the fact that Tyāgarājar-s Kṛti-s inspires both musically and spiritually, he is an
outstanding composer and elevated himself to Sainthood. His compositions always respire the
ultimate spiritual truths and the vital element of ‘art music’.Śri Tyāgabrahmam was a Bhāgavata
Sikhāman̩i born to propogate Bhakti Sampradāya, a nādayōgi, ātmagñani, dīrgadariṣi, and an
aesthetic vāgēyakāra who can condense in a Kṛti or even in a carana the essence of an upaniṣad.
Hence his songs have earned the name "Tyāgōpanis̩ad".
Through Dīkṣitar-s Kṛti-s, it is possible to view a great personality, a classist, a scholar,

rigorous imposer of system who eventually, regimentally meditated between intellectual and spiritual
pursuits. In addition to this, Dīkṣitar-s services to the cause of the music, culture and religion are
unforgettable. He had a deep reverence for classical tradition. His compositions are master creations
of the noblest art; carefully conceived, elaborately developed and consummately finished.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Auḍava Sampūrṇa Rāgas – An analysis through the compositions of Trinity

Nagaranjani <[email protected]>
The vast realm of Indian Classical Music is enriched with a plethora of rāgas of varied characteristics.
Out of the many kinds, Auḍava Sampūrṇa rāgas fall into the Varjya Sampūrṇa category. In general,
Varjya Sampūrṇa means that the ascending order of notes, or Ārohaṇa, will not have one or more
notes as compared to the parent; the descending order of notes, or Avārohaṇa, will be the same as
the parent rāga. Auḍava Sampūrṇa means that the Ārohaṇa will have two notes less compared to the
parent rāga; the Avārohaṇa will be the same as the parent rāga. These rāgas have an innate quality
of completeness like the parent rāga as well as an individuality of their own because of the Varjya.
This paper tries to discuss the various aesthetic aspects of Auḍava Sampūrṇa rāgas which include
Ābherī, Bilahari, Kedāragauḷa etc. It also tries to identify the special prayogas of these rāgas in
general and also critically analyses how the various compositions of the trinity have utilised these
rāgas. It would also, in a way, be a study of the evolution of these rāgas under the trinity. Any room
for improvisations would also be highlighted.
Rāga Bilahari
Scale S R2 G3 P D2 S
S N3 D2 P M1 G3 R2 S
Taxonomy and Analysis
Bilahari is one powerful and effective rāga exclusive to Karnāṭak music. It is a famous rāga which in
turn is synthesised from two other famous rāgas - the Ārohaṇam is borrowed from Mohanam and the
Avarohaṇam from Śankarābharaṇam. The rāga is enriched with added charm and beauty due to the
generous appearance of the Bhāṣāṅga note N2. The heart of this rāga is commanded by the handling
of N2 and N3. In fact, strategic occurrences of these two notes in the order { N 3 N2 } provide
extraordinary melody. Saint Tyāgarāja’s betterment of the Kṛti format through saṅgatis or progressive
recurrences of the lyrical setting threw a bright light on the melodic expanse of a rāga. The rich
embellishment provided in the Pallavi of the Kṛti ‘Nā jīvādhāra’ is a concrete testimony to it. The 5
lettered opening ‘Nā’ ‘Jī’ ‘Vā’ ‘Dhā’ and ‘Ra’ word has been flooded with saṅgatis as to completely
ooze Rāga Bhāva in the Pallavi itself. One can very well realise the fact that the Kṛti’s Anupallavi and
Caraṇa is not at all a match to the Pallavi with respect to musical grandeur. Kṛti ‘Dorakuna Iṭuvanṭi’
has a slow gait in exposition showcasing the Viḻamba essence of the rāga. Certain Vādi-Samvādi
notes like ‘D’ and ‘R’ have been portrayed well in the Pallavi. Higher saṅgatis look like disjoint pieces
of sañcāras welded together at different sthāyis and tempo. The monotony of Viḻamba kāla is
compensated with Madhyama kāla Sāhitya at the end of the Kṛti. However it can be aesthetically
analysed that ornamentation of Bilahari happens better in Druta-Madhyama Laya. This is rightly
established by Madhyama kāla Kṛtis of Tyāgarāja. The musical prowess of Saint Tyāgarāja in his
premium composition ‘Kanugoṇṭini’ has delivered admirably the aspects of flow, āroha and avaroha
sañcāras (sway), pin-pointed rāga bhāva with nil occurrence of N2. ‘Intakannaṇandamemi’ Kṛti set to
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Rūpaka tāḻa is brief and simple. It can thus be inferred that Saint Tyāgarāja has accomplished little or
nil N2 prayoga and still has successfully brought about the Rasa in the rāga. The tāra sañcāras
involving G3 note bring about the innate quality of Vīra Rasa in this rāga. However the Kṛtis of Saint
Tyāgarāja do not have occurrences of sustained emphasis of tāra Ġ̇3. But he has definitely proved
that this rāga can be effectively constructed not only in Madhyama and Druta kāla but also in Viḻamba
kāla. But, the best aesthetic experience is begot only when the rāga flows in Madhya Gati. So setting
the laya (though Viḻamba) to these Kṛtis becomes one important aspect of aesthetic treatment. One
however must resort to Āroha and Avaroha gamakas to create good experience. The Kṛti of Śrī
Muttusvāmi Dīkṣitar ‘Śrī Bālasubrahmaṇya’ is profusely verbose with plenty of saṃyuktākṣaras which
tends to hamper the expression of the rāga itself. This being set to Miśra Cāpu has also
accommodated Madhyama Kāla Sāhitya in it. Ekadantam is again set to Miśra Cāpu and Solkattu
svaras have been accommodated to bring jumps and leaps in the composition. However in Dīkṣitar
compositions of Kāmākṣī and Śrī Bālasubrahmaṇya, N2 is found in the notations of Saṅgīta-
sampradāya-pradarśiṇi. Śrī Śyāma Śāstri has not contributed any Kṛti in this rāga. Later composers
like Mysore Vasudevacharya, have improvised this rāga with judicious sprinkling of Anya Svara like
N2.
Rāga Kedāragauḷa
Scale S R2 M P N2 S
This rāga is yet again a powerful one which can wield authority, valour and extreme war like emotions
when handled in upper octave sañcāras. Owing its exclusivity to Karnāṭak Music, this rāga is
synthesised by two other famous rāgas, Madhyamavati in Ārohaṇam and Harikambhoji in
Avarohaṇam and hence a Janya of Harikambhoji itself. However Harikedārāgauḷa is a rāgāṇga rāga
– the 28th mela in the Dīkṣitar tradition and not a janya rāga. Though this rāga is a combination of two
established rāgas, it has established its own distinct identity unlike other Auḍava Sampūrṇa rāgas like
Mohana Kalyāṇī. The intensity of this rāga is majorly attributed to the presence of a bold R 2 . { M1 G3
R2 } , { R2 P M1 G3 R2 } , {R2 N2 D2 P M1 G3 R2 } , { R2 Ṡ N2 D2 P M1 G3 R2 } - In all these Samvādi
Sañcāras, one can see the presence of R2 with an anusvara from G3. It is never used in its plain form.
So, one can notice that except R2 none of the svaras take Gamaka. G3 gets sandwiched between M1
and R2. It does not have an independent status, nevertheless has an appealing contribution to the
rāga. S and P give leverage for elaborative pauses and sañcāras of the rāga. N2 has two variations in
Gamaka. While proceeding to Ṡ, we give an Anusvara (of Ṡ) + Kampana. Eg: { P Niiii2 Ṡaaaaa }. But
during brisk sañcāras in Ārohaṇam, there would be no Gamaka adhered to it. D exists in this rāga
without much scope and prominence. But the combination of D 2 and N2 has always proved to be a
pleasing one. The phrase { N2 D2 P } reflect innate vitality and character of this rāga. Coming forth to
the compositions of Saint Tyāgarāja in this rāga, the list begins with ‘O Jagannātha Eni Pilicite’. This
Kṛti is crisp and deals more in the tāra sañcāras like { M1 P N2 Ṡ Ṙiii2 } which bring out the bhāva of
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the rāga. ‘Tuḻasi bilva’ Kṛti gives a contrast to ‘O Jagannātha’ by enforcing more melody in Mandra -
Madhya Sthāyi. ‘Veṇugānaloluni’ Kṛti has a takeoff in Madhya sthāyi but the later part goes upto the Ṗ
and also gives good sequences of svaras in the saṅgatis like { RiGR SaRS NDP , DaND PaDP MGRi
}. Śrī Muttusvāmi Dīkṣitar’s ‘Nīlakaṇṭha Bhajeham’ has a svarākṣara beginning. Usage of N2 as graha
note is interesting. However as is the style of Dīkṣitar the brightness of the rāga comes in bits and
pieces scattered all around the Kṛti. Verbosity is high all along the Kṛti and Madhyama kāla sāhitya at
the end brings a change to the monotony of laya. Śrī Śyāma Śāstri’s ‘Parākela Nannu Paripālimpa’ is
a master piece in terms of laya, bhāva, effective usage of Vādi and Samvādi prayogas. Here the
Mātu-Dhātu Samanvaya is also clearly portrayed with respect to the effective highlights of the rāga.
However the Anupallavi of this Kṛti sounds similar to Anupallavi of ‘O Jagannātha’. But one should
realise that use of tāra sthāyi brings about more Saukhya, beauty and flavour to this rāga.
Rāga Ābherī
Scale S R2 M P N2 S
Ābherī is a Janya of rāga Kharaharapriya. It takes the rāgas Shudha Dhanyasi or Udayaravichandrike
and Kharaharapriya in its Ārohaṇam and Avarohaṇam respectively. It is a fact that only in the 20th
century, this rāga acquired the second dhaivata (catuśśruti dhaivata) and was originally a janya of
20th meḻa in both the Tyāgarāja and Dīkṣitar traditions. (According to the ‘Rāga-lakṣaṇa-saṅgraha’ by
Hema Ramanathan; Adi Sangita Ratnavali by KV Srinivasa Ayyangar). In Saṅgīta-sampradāya-
pradarśini (SSP), the rāga has only śuddha dhaivata and is labelled an ‘upāṅga rāga’. The magnum
opus composition of Ābherī ‘Nagumomu Ganaleni’ by Saint Tyāgarāja will stand immortal forever.
Every note in Ārohaṇam can be held and elaborated melodiously, this perhaps being the reason for
the beauty of this rāga. The presence of svaras G2 and N2 give the soft and subtle emotions for the
rāga making the rāga more Bhakti Pūrvaka. In Avarohaṇam the D2 and N2 are neither Graha svaras
nor Nyasa Svaras. Whereas in contrast, study of Kharaharapriya shows that the vital svaras are D2
and R2. In Ābherī these two notes are absent in Ārohaṇam and have least importance in Avarohaṇam.
When this rāga is subjected to Grahabhedam i.e from G2 we get Mohana Kalyāṇī, from M1 we arrive
at Kedāragauḻa and from N2 we beget Ārabhi. The underlying shades of these Grahabheda rāgas give
more possibility of enrichment to these Auḍava Sampūrṇa Rāgas. In Dīkṣitar’s composition ‘Vīṇābherī’
we see the occurrence of D1, which is an Anyasvara. Hence Ābherī also gets the status of Bhāṣāṅga
rāga. {P D1 P M G R} is the most striking Anyasvara prayoga that is witnessed during the handling of
this rāga. Beginners can learn the flow of the rāga Bhāva through the saṅgatis of the Kṛti
‘Nagumomu’. To learn the dāṭu prayogas one can resort to Dīkṣitar’s composition. However another
composition ‘Pañcaṣaṭpīṭharūpiṇī’ named as ‘Karnāṭaka Devagāndhārī’ also strikes close
resemblance to this rāga. The rāga named Devagāndhārī in SSP (commonly known as ‘Karnāṭaka
Devagāndhārī’) has the same notes as the present-day Ābherī but the ārohaṇa-avarohaṇa are
different : s r s g g m p d p n n s – S n d P m M g g r s.
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Conclusion
With the benefit of the above discussions, it can safely be inferred that among the trinity, Saint
Tyāgarāja has given the best representation of these rāgas. Strongly keeping classical genre in mind,
these rāgas and its articulation has remained almost unchanged from the definitions he provided.
Each of the above three rāgas have the possibility of yielding other rāgas through Grahabheda. This
intensifies the capacity of these rāgas to portray more underlying shades and flavours of it.
Appendix
For the sake of uniformity the notes (Svara Prabhedas) in the rāga would be handled with these
abbreviations.
Catuśśruti riśabha R2
Sādhāraṇa gāndhāra G2
Antara gāndhāra G3
Śuddha madhyama M1
Śuddha dhaivata D1
Catuśśruti dhaivata D2
Kaiśikī niṣāda N2
Kākalī niṣāda N3
Ṣaḍja S
Pañcama P
References
1) Shatavadhani Dr.R.Ganesh , Kala Koutuka , Vasanta Publishers ,2006
2) P Sambamoorthy , History of South Indian Music, 1950
3) T Sachidevi , T Sharadha ,Karnataka Sangeeta Darpana, , Srinivasa Prakashana ,Rajajinagar,
2017
4) Dr.V.Raghavan , Collected writings on Indian Music, Dr.Raghavan Centre for Performing Arts in
association with Sangeet Natak Academi, New Delhi, 2007 .
5) M.Hiriyanna, Art Experience – IGNCA, Delhi,1997.
6) Dr. S. Bhagyalekshmy, Rāgas in Carnatic Music, CBB Publications Trivandrum.
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Melodic Aspects of Kamalāmbā Navāvaraṇa Kṛti-s of Śrī Muttusvāmi Dīkṣita

Niranjana Srinivasan <[email protected]>
The festival of Navarātri is dedicated to the three Goddess of Hindu Mythology namely Durga,
Lakṣmi and Sarasvati. In this context, Muttusvāmi Dīkṣita has composed Navāvaraṇa Kṛti-s on
Goddess Kamalāmbā which contains the essence of mantra, tantra and yantra śāstra-s alongside
with multifaceted musical intricacies which would be the topic I have chosen to present, emphasising
on its melodic aspects and technical details.
Kamalāmbā Navāvaraṇa Kṛti-s are about Śrī Cakra, its geometric structure, the enclosures or
Āvaraṇa-s in the Cakra and the spiritual significance embedded in the Śrī Vidyā form of worship.
These Navāvaraṇa Kṛti-s are to be sung on each day of Navarātri starting with the Dhyāna Kṛti in
Mahālaya Aṃmāvāsa and ending with the Maṅgala Kṛti on Vijayadaśami. Singing these Kṛtis with
devotion, dedication and understanding would be an easy way to Śrī Vidyā Upāsana. Kamalāmbā
Kṛti-s are indeed a soul stirring composition filled with all nuances depicting classical music as an Art
and Science. While no Mantrōpadēśam or Dīkśa is required for singing these songs, the Kṛti-s have to
be learnt directly from the Guru. Syllables when uttered with the correct pronunciation and emotion
create vibrations. Singing the Navāvaraṇa Kṛti-s correctly has the power to create vibrations, in other
words these songs have Mantra Śakti.
Melodic aspects and technical details of Kamalāmbā Navāvaraṇa Kṛti-s

 The literary structure, musical excellence, selection of rāga-s and tāḷa-s each and every
aspect of these Navāvaraṇa Kṛti-s are unique and unparalleled.
The rāga-s used in the compositions of Kamalāmbā Navāvaraṇa-s are Toḍī, Kalyāṇi, Kāmbōji,
Śaṅkarābaraṇam, Sahānā, Ānandabhairavi, Bhairavi, Ghaṇṭā, Āhirī, Puṇnāgavarāḷi and Śrī Rāgam.
The presentation and expansion of the rāga-s pertaining to all the Kṛti-s of this set are portrayed in a
scientific manner. Dīkṣita being a Vainika and his scholarship as Vainika has reflected in his
compositions through the Gamaka-s, Viḷaṃbakāla and Madhyamakāla sāhitya-s. His treatment of
rāga-s and usage of rare phrases at times bring in an unusual melody and effulgence to these
compositions. When a composer is under a spell of emotion, he naturally selects the rāga-s
appropriate to emotion and further uses only those sañcāra-s of the rāga that are suitable to the feel
and philosophical content of the composition. The Kamalāmbā Kṛti-s ranges from Maṇdra to Tāra
Stāyi and vice versa giving a complete picture of the range and scope of the rāga thereby overpouring
the lakṣaṇa and grandeur of the rāga. If the composition is rendered in akāram omitting the sāhitya it
can be easily mistaken for Rāga ālāpana in an epitome. Rāga-s just does not survive with the
Ārōhaṇa and Avarōhaṇa. It is true, indeed a universal fact that Rāgas survive through Kṛti-s. The Kṛti-
s pours out the essence and multiple nuances of the rare rāga-s used in Kamalāmbā set such as
Ghaṇtā, Āhirī and Puṇnāgavarāḷi. In this regard, these Navāvaraṇa-s facilitates scope and triggers the
146
artist to explore the rāga beyond the Kṛti. The rāga Ghaṇtā is taken up for detailed analysis. The
raga’s structure has been holistically handled by Dīkṣita in the Navāvaraṇa Kṛti. The kṛti has been
developed with all possible prayōga-s pertaining to the Ghaṇtā rāga. Only when this Navāvaraṇa Kṛti
is learnt, internalized and mastered the raga can be admired which inturn leads to the understanding
of Ghaṇtā, inspite of the shades of various other ragas such as bairavi, dhanyāsi, tōḍi, āhiri and
puṇnāgavarāḷi. The lakṣana of the rāga has been provided by Subbarāma Dīkṣita in the Saṅgīta
Sampradāya Pradarṣini. The rāga can be theoretically categorised as a janya of Tōḍi (mēla 9) or
under Naṭabhairavi (mēla 20) which again may be only for the sake of classification, as these
rāgāṅgās or mēlakartā-s do not contribute to Ghaṇtā’s melodic individuality in any way. This Kṛti has
the complete extract of the rāga which I would sing and demonstrate the various shades and
combination of the rāga s above mentioned. The ārōhana & avarōhana of Ghaṇtā as stated by
Subbarāma Dīkṣita in the Saṅgīta Sampradāya Pradarṣini are S G R G M P D P N D N S (or) S G R
G M P D P N S and S N D P M G R S. The raga has “S G R1 S”, “S R1 S”, “S G R2 G M P”, “P D1
P”, “N D2 N S”, “P N S S N D1 P”, “M G R2 S“ phrases as well. The Kṛti has the repeated usage of “S
G R2 G M” and “P N D2 N S”. The phrase “D1 N D1 P” has been frequently used as well. The usage
of R1 and D2 has been clearly highlighted in the Kṛti. It is the existence of these Kṛti-s and
contribution of Uttama Vāggēyyakāra-s that has enhanced and nurtured the survival of the art of
karnatik music.
 Moving on to the tāḷa-s, Dīkṣita has employed the Sūlādi Sapta tāḷa-s excepting Druva and
Maṭya tāḷa-s.
The tāḷa-s used includes Rūpakam(3 beats), Tiśra Tripuṭa(7 beats), Aṭa tāḷa(14 beats) and Miśra
Jhaṃpa(10 beats). The tāḷa-s chosen by Dīkṣita has been judiciously set in these Kamalāmbā
Navāvaraṇa-s according to the sequential order of the Āvaraṇa or in accordance to any one of the
geometric attributes pertaining to the physical structure of the Cakra. The Kalyāni Āvaraṇa is an
enclosure of 16 lotus petals (2 times of Adi tāḷa). The third Āvaraṇa in Śaṅkarābaraṇam is in
Rūpakam consisting of 6 Kriyā -s (2 times of Rupaka). The fourth Āvaraṇa in Kāmbōji is in Aṭa tāḷa
having 14 Kriyā -s represents the nature of 14 angles of this Cakra. The fifth Āvaraṇa in Bairavi is set
to Jhaṃpa tāḷa having 10 Kriyā -s denoting the ten angled Cakra. The sixth Āvaraṇa in
Puṇnagavarāḷi is set in Rūpakam has 6 Kriyā -s according to its order of Āvaraṇa . The seventh
Āvaraṇa in rāga sahānā is set in Tiśra jāti Tripuṭa tāḷa being the seventh one in order. The eighth
Āvaraṇa is in Ādi tāḷa referring to 8 Kriyā -s. The ninth Āvaraṇa in Āhirī is in Tiśra jāti Ēka tāḷa has 3
Kriyā -s now being sung in Rūpaka with 6 Kriyā -s highlighting the triplets involved in the Bindu Cakra.
The tāḷa-s deliberately chosen is indeed a masterly stroke of the composer. An aspect related to tāḷa
is worth mentioning here.The āvaraṇa in Ānanda bairavi is sung in Miśra Cāpu as well because it has
the same number of tāḷa measure but the Kriyā -s are different. The Saṅgīta Sampradāya Pradarṣinī
of Subbarāma Dīkṣita has stated this āvaraṇa to be sung in Miśra jāti ēka tāḷa which again has the
same time measure of 7 mātra-s. To sum up, this āvaraṇa can be rendered in three ways- tiśra
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tripuṭa, miśra ēka and miśra cāpu. There will not be any difference in the rendition when sung in tiśra
tripuṭa or miśra ēka but the rendition in miśra cāpu will have effect on the number of akṣara-s because
one avartanam of tiśra tripuṭa(7 akṣara-s) will equal two avartanams of miśra cāpu (3 and a half *2= 7
akṣara-s) resulting in a slight change of kālapramānam.
 The Kamalāmbā Kṛti-s are enriched with rhetorical beauties or the decorative anga-s.
Vyākaraṇa Niyama dominate the Sanksrit language from the fact that the beginners are
taught the Śabdha-s employing eight cases for the declension of a noun.
With reference to the context the Navāvaraṇa-s are composed in the eight declensions of proper
noun “Kamalāmbā / Kamalāmbikā”.- Nominative case (Prathama Vibhakti- Kamalāmbā
/Kamalāmbikā), Accusative case (Dvitya Vibhakti- Kamalāmbām/Kamalāmbikām), Instrumental case
(Tritiya Vibhakti- Kamalāmbāya/Kamalāmbikāya) and so on. This is the Vibhakti technique referring to
the Goddess Kamalāmbā in eight different ways unlike the Navāvaraṇa Kṛti-s composed by Uttukadu
VenkataKavi. The first Dhyāna Kṛti and the last Maṅgaḷa Kṛti are in Sambōdhana (Vocative case)
Vibhakti. The central nine Āvaraṇa-s are in the eight declensions and the ninth one in all declensions.
 Dīkṣita’s Mudrā- Guruguha with several meanings has been incorporated in most of the Kṛti-s.
The Dhyāna Kṛti does not feature a rāga Mudrā and the Kṛti-s in Ānanda bairavi (1stĀvaraṇa )
and Śankarābaraṇam (3rdĀvaraṇa ) have partial rāga Mudrā. The Āvaraṇa -s in Kāmbōji,
Sahānā and Āhirī have disguised rāga Mudrā. All others have proper rāga Mudrā
 In each Navāvaraṇa Kṛti, Dīkṣita carefully brings out name of the Cakra, its geometry, salient
features specific to the Cakra-s and Devata-s associated with it. A tabulation of the Āvaraṇa-s
with the Cakra and its name, the vibhakti case would help in easy understanding
Āvaraṇa and Rāga Cakra Name of the Cakra Vibhakti case
Dhyāna Kṛti Sambodhana/

Vocative
1st Āvaraṇa/Ānandabairavi Bhūpura Trailokya Mohana Prathamā/
Cakra Nominative
2nd Āvaraṇa/Kalyāṇi Ṣoḍaśa Dala SarvāśaParipūraka Dvitīya/Accusative
Cakra
3rd Āvaraṇa/Śaṅkarābaraṇam Aṣṭa Dala Sarvasamkṣobhaṇa Tṛitīya/Instrumental
Cakra
4th Āvaraṇa/Kāmbhoji Caturdaśa SarvaSaubhāgyadāy Caturtī/Dative
aka Cakra
5th Āvaraṇa/Bhairavi Bahirdaśara Sarva Sādhaka Pañcamī/Ablative
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Cakra
6th Āvaraṇa/Punnāgavarāḷi Antaradaśara Sarva Rakṣākara Ṣaṣthī/Genitive

Cakra
7th Āvaraṇa/Sahānā Aṣṭakoṇa Sarva Rogahara Saptamī/Locative
Cakra
8th Āvaraṇa/Ghaṇṭā Trikoṇa Sarva Siddhiprada Sambodhana/
Cakra Vocative
9th Āvaraṇa/Āhirī Bindu Sarvānandamaya All vibhakti-s
cakra
 The Kamalāmbā Kṛti-s are embellished with beautiful svarākṣara-s where the blend of svara
and sāhitya is so natural and even goes unnoticed when not listened carefully.
The other aspects observed in the Navāvaraṇa set of Kṛti-s are summarised as follows.
 Todi is a rāga which generally reflects compassion and Dīkṣita in the invocatory composition
begins the song with Madhya stāyī niṣāda in accordance with the invocative nature of the
song. Another significant description in the composition is Her sitting posture as “Vinoda
Caraṇe” which means enchanting feet. We don’t find the Mother Goddess sitting in this
posture in any other temple. Dīkṣita addresses Her as one who enjoys music and one who
bestows best poetic qualities on those who sing in praise of her “SaṅgĪta rasikē sukavitva
pradāyike” suggesting both his music and poetry are due to Her blessings cannot be without
mentioned and highlighted. Dīkṣita describes Her in different adjectives in the caraṇam such
as “Tripurādicakrēswarī”, “Animādisiddiśwarī”, “Kṣhitipura Trailokya Mohana Cakra Vartinī”,
”Prakaṭa Yoginī”.
 The kalyāni āvarna has the word “Kamalā” in the anupallavi has different meanings with
reference to the subsequent word. Kamalā in “Kamalā vāni” refers to Lakṣmi and vāni is
Saravathi, Kamalā in “Kamalāpurasadhanā” refers to Tiruvārūr and the Kamalā in “Kamala
vadhanam” refers to lotus. The decorative aṅga –Yamaka has been beautifully used.
Yamaka-s are a customary aṅga in the Kṛti-s of Dīkṣita. It shows the composer’s mastery and
dominance of indepth knowledge over the language.
 Kamalāmbā is an ornament to Saṅkara and hence the rāga Saṅkarābaraṇam. This is a
universal rāga known as major diatonic scale in the west. Sārṅgadev in his Saṅgītaratnākara
mentions Saṅkarābaraṇam rāga as Purva Prasiddha rāga.
 Kāmbōji is an ancient rāga which has a history from the time of pan-s. Ata tāḷa has 14 Kriyā -s
which represents the nature 14 angles of this Āvaraṇa. Dīkṣita has employed Kāmbōji after
Saṅkarābaraṇam atleast twice in his group Kṛti-s.
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 The fifth Āvaraṇa is in Jhampa tāḷa set in bhairavi raga. Bhairavi is one of Her names and is
used in the rāga mudra in Anupallavi. Jhampa tāḷa has 10 Kriyā-s and the composer
consciously employs this tāḷa for the ten angled enclosure. Dīkṣita has described the ten
different sounds and also the 10 different cakra-s of the body. The ten Nāda-s Daśavidha
Nāda-s that emanate from the muladhara and the top of the scalp are described.
 Dīkṣita has used the rāga Mudrā Punnāgavarāḷi to describe Her hair as that which conquers
the lovely back bees swarming around Punnāga trees. “Ramaṇīya-Punnāgavarāḷi-Vijita-
Veṇyāh”.
 The seventh Āvaraṇa is in rāga Sahāna set to Tiśra Tripuṭa tāḷa. the raga mudra in carana is
in a linguistic process “hari-śānahari-haya”. This tāḷa may be employed because it has 7
Kriyā-s representing the seventh enclosure.
 The ninth Āvaraṇa is represented by a dot Bindu. This is here the Mother Goddess resides.
She being the empress of the entire empire of Śrī Cakra, the Cakra is named
Sarvānandamaya Cakra wherein the Mahā Tripura sundarī lives with Kāmēsvarī. It has all
Vibhakti-s and the lengths of pallavi, anupallavi and caraṇam represent the three natural
equal parts of the Bindu- Moon, Sun and Fire.
 The Maṅgalam Kṛti is befittingly composed in the Rāgam Śrī set to Khanḍa Eka tāḷa. This
composition has exquisite descriptions and reflects the indomitable devotion of Dīkṣita and his
adherence to Śrī Vidyā. The composition has Samaṣti Caraṇam unusual from the normal
structure.
Muttusvāmi Dīkṣita, A Nadopasaka- whose soul found bliss in the abstract beauty of
the rāga. Dīkṣita’s gymnastics with lyrics, his adherence to the Sanskrit prosody and poetics
are all scholarly excercises, which can be understood and experienced only after years and
years of training, learning and practicing the art of carnatic music on the whole. These Kṛtis of
Dīkṣita are related superlative for their grand structure of rāga bhāva and overpouring bhakti
enriched by sahitya bhāva with perfect synchronization of the laya bhāva.
Bibliography
1. Subbarama Diksitar, Sangita Sampradaya pradarshini
2. P.Sambamoorthy, Great Composers Book-1
3. Dr.S.Seetha, Tanjore as a Seat of Music
4. Compositions of Sri Mudduswami Diksitar by Sri.TK Govinda Rao.
5. Dr. S .Bhagyakakshmey, Muthuswamy Dikshitar Compositions
6. R.Sridharan, Guruguha, Muthuswami Dishitar keerthanaigal
7. Articles from www.guruguha.org and www.musicresearch.in
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150
Trinity Compositions as presented by the Legend Smt D K Pattammal

Poorna Vaidhyanathan <[email protected]>
Style in any art form including music is the distinctive stamp or signature attributed to an
individual’s expression. Apart from various other elements, the presentation of a composition, of which
most important are those of the Trinity, also becomes an important aspect of one’s style. Though
there are several pāṭhāntara-s that have been evolved since the time of the Trinity, a few of them
stand out, till date, as authentic versions. ‘Padma Vibhushan’ Smt D K Pattammal was known for her
rendition of Kṛti-s with the aspects of Sāhitya Suddham (Pronounciation or Diction) being a highlight.
In my presentation on ‘Contribution of Trinity to Karnataka Music’, with the help of available

recordings, I would like to bring out the distinctness in various compositons of the Trinity as passed
down to us by Smt D K Pattammal which she had learnt from very authentic sources.
From various sources, it is a known fact that Smt D K Pattammal never had any formal
training in the basic exercises in music, but she had great stalwarts as her teachers. Her rich
repertoire of kṛti-s were due to her learning from great guru-s like N S Krishnasvami Iyenāgar,
Vaidyanathan, Kanchipuram P.B. Srinivasan and Chinnamma. She has also learnt from Kamakshi
Ammal and Rajalakshmi Ammal. Her other guru-s were Ambi Dikhsitar, Justice T L Venkatarama Iyer,
Periyasami Thooran, Papanasam Sivan, Koteeswara Iyer, Vidyala Narasimhulu Naidu, Tinniyam
Venkatarama Iyer, Appadurai Achari and Sambandamoorthi Achari.
N S Krishnasvami Iyengar was a disciple of Naina Pillai. Naina Pillai’s mother and aunt were
disciples of Kachi Sastri, who was in turn a great grandson of Syama Sastri. Vaidyanathan was a
disciple of Ariyakudi Ramanuja Iyengar. Kamakshi Ammal was Naina Pillai’s mother and Rajalakshmi
Ammal was the daughter of Veena Dhanammal. Though Smt D K Pattammal learnt very briefly from
Ambi Dikshitar before he passed away, Ambi Dikshitar was the son of Subbarama Dikshitar.
Observing the guru lineage of Smt D K Pattammal, there is reason good enough to depend on the
authenticity of the kṛti-s that she learnt and rendered. The available recordings substantiate the same,
as each time she has rendered the kṛti-s – even after a duration of several years, the sangati-s, the
order in which they are sung, the diction or pronunciation and the tempo are maintained the same.
Moreover, she was the first to render in concerts, among several other kṛti-s, the Trinity kṛti-s like
‘Devi Brōva’ and ‘Śrīnāthādi’ also.
I propose to highlight the following aspects of D K Pattammal’s rendition of the Trinity

compositions with the help of a few recordings and tables that contain the concert details of Smt D K
Pattammal:
1) The Trinity compositions handled in a concert by Smt D K Pattammal i.e., selection of
Kṛti-s, how often were they rendered, the proportion to other compositions, etc.
151
2) Some unique features differentiating D K Pattammal’s rendition from the way other
musicians render the same kṛti-s.
3) The scope of Manōdharma aspects challenged in the Trinity compositions.
Concert tables :
I
S Manodharma
Composition Ragam Talam Composer
NO details
Tiruvotriyur
01 Sami Daya (V) Kedaragaula Ādi -
Tyagayya
02 Entara Harikambhoji Ādi Tyagaraja KS
Muttuswamy Alapana (4:00)
03 Ramanatham Pantuvarali Rupaka
Dikshita N KS
04 Kaligiyunte Keeravani Ādi Tyagaraja Alapana (4:20)
Tisra Alapana (3:30)
05 Sankari Sankuru Saveri Syama Sastri
Adi N KS
Innum
06 Begada Rupaka Doraisami Iyer -
Paramukam
07 RTP Todi Ādi Alapana (11:50)
Naam Japan
08 Behag Ādi Khalas -
(Bhajan)
II
S Manodharma
NO details
Patnam
01 Sami ninne (V) Pantuvarali Ādi -
Subramania Iyer
02 Gajavadana Kedaram Ādi Purandaradasa KS
Dasarata
03 Asaveri Ādi Tyāgarāja -
Nandana
Misra Alapana (3:40)
04 Talli Kalyani Syama Sastri
Chapu KS
Khanda Alapana (4:20)
05 Trahimam Dhanyasi V V Srivatsa
Chapu N KS
06 Parakela Kedaragoula Ādi Syama Sastri Alapana (3:00)
Ramaswami
07 Ekkalatilum Natakurinji Rupaka -
Sivan
Muttuswamy
08 Guruguhaya Sama Ādi -
Dikshita
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09 Dinamani Harikambhoji Ādi Tyāgarāja Alapana (5:00)
III
S Manodharma
NO details
Muttuswamy
01 Sri Guruguha Devakriya Rupaka KS
Dikshita
02 Nannu Kanna Kesari Adi Tyagaraja -
Khanda Narayana Alapana (3:20)
03 Govinda Gataya Bhairavi
Chapu Tirtha N KS
Tisra Alapana (5:20)
04 Sandehamu Kalyani Tyagaraja
Adi N KS
Alapana (4:00)
05 Arumarundu Kambhoji Rupaka Muthutandavar
N KS
06 Devi Brova Chintamani Adi Syama Sastri -
Prabandam – Vedanta
07 Ragamalika -
Viruttam Desika
08 Vayyagam Mayamalavagaula Tisram *
Tisra Subramania
09 Tondru Bhairavi
Adi Bharati
10 Itarani (T) Asaveri Ādi Arunagirinatar
IV
S Manodharma
NO details
Patnam
01 Eranapai (V) Tōdi Ādi Subramania -
Iyer
Jayachamaraja
02 Sri Mahagana Atana Adi KS
Wodeyar
03 Ennado Sourashtra Adi Tyagaraja -
Alapana (2:20) /
04 Sanitodi Harikambhoji Adi Tyagaraja
KS
Khanda Alapana (2:30) /
05 Aparadamula Darbar Tyagaraja
Chapu KS
Alapana (6:10)/
06 Sandehamu Kalyāni Tisra Ādi Tyagaraja
N KS
07 Soundararajam Brindavana Rupaka Muttuswamy -
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Saranga Dikshita
Papanasam Alapana (6:10)/
08 Paramukam Karaharapriya Adi
Sivan KS
09 Ninnuvina Ritigoula Tisra Ādi Syama Sastri -
10 Tulasamma Devagandari Adi Tyagaraja -
Sri Muttuswamy
11 Poornachandrika Adi -
Ranganatam Dikshita
Alapana and
12 RTP Tōdi K.T.Triputa -
tanam (16:00)
Sayankale – Narayana
13 Ragamalika - -
Sloka Tirtha
14 Itarani (T) Asaveri Adi Arunagirinatar -
15 Pavamana Sourashtra Adi Tyagaraja -
V
S Manodharma
NO details
Pachimiriyam
01 Viribhoni (V) Bhairavi Ata -
Adiappa
02 Varana Mukha Hamsadhvani Rupaka Kotisvara Iyer KS
Alapana (4:30)
03 Dinamani Harikambhoji Ādi Tyagaraja
KS
Misra Muttuswamy
04 Visalakshim Pantuvarali KS
Chapu Dikshita
05 Ekkalatilum Natakurinji Rūpaka Ramaswami Sivan -
Alapana (4:25)
06 Ranidhi Radu Maṇirangu Adi Tyagaraja
KS
Muttuswamy
07 Santanagopala Kamas Rupaka -
Dikshita
Tyagaraja Muttuswamy
08 Ananda Bhairavi Rupaka Alapana (4:30)
Yoga Dikshita
Misra
09 Brovavamma Manji Syama Sastri -
Chapu
10 Rama Rama Vasanta Tisra Ādi Purandaradasa
Mysore
11 Bhajare re Ābhēri Adi
Vasudevacharya
12 Kanaka saila Punnagavarali Adi Syama Sastri -
13 RTP Vachaspati K.T.Triputa Alapana and
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Tanam (13:33)
14 Vayyagam Mayamalavagaula Tisram
Petra taai - Ramalinga
15 Ragamalika -
Viruttam Adigalar
Khanda Subramania
16 Teerada Ragamalika -
Adi Bharati
Kallidaikkurichi
17 Valli kanavan Chenjurutti Ādi Subbaraya
Swamigal
Naamakkal
18 Aadu raatte Ragamalika Ādi
Ramlingam Pillai
19 Tillana Bilahari Ādi Ariyakudi
20 Yadava nee Ābhēri Ādi Purandaradasa
1) On analysing the above lists as per the recordings of live concerts rendered by of Smt D K
Pattammal, it is found that she has given high importance to the compositions of the Musical
Trinity. The Trinity compositions have been mandatorily found in all her regular concerts and a
representation of each of them was found depending on the length of the concert. They are more
often rendered than the other composers. The placement of Trinity kṛti-s in her concerts was just
anywhere during the entire time span of the concert. It was rendered as the opening composition
and successively represented within the next few compositions also. She did not seem to bind her
concert to rendering the Trinity compositions only before the ‘Tani Āvartanam’ but it was
sometimes sung even as a concluding kṛti. Within these, she would make sure there was a variety
of rāga-s and tāla-s represented.
For example, the first concert chosen as sample is a 90 minute concert and we find that she has
rendered two Tyāgarāja kṛti-s and one each of Muttuswamy Dikshita and Syama Sastri. Out of a
total of eight compositions, there are four compositions of the Trinity.
The second concert is also roughly 90 minutes in duration in which Smt D K Pattammal has
rendered a total of nine compositions out of which two each of Tyāgarāja and Syama Sastri and
one of Muttuswamy Dikshita have been rendered.
The third concert is again a 90 minute concert in which Smt D K Pattammal has sung two
Tyāgarāja kṛti-s, one Muttuswami Dikshita kṛti and one Syama Sastri kṛti out of a total of ten
compositions rendered.
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The next sample concert, the fourth one, is an almost three hour concert wherein she has
rendered about`15 compositions. There are four Tyāgarāja kṛti-s rendered consecutively, with yet
another as a concluding one, two Muttuswamy Dikshita kṛti-s and one Syama Sastri kṛti.
The last sample concert, the fifth concert, is again a three hour concert. Out of a total of 20
compositions, Smt D K Pattammal has rendered two each of Tyāgarāja and Syama Sastri kṛti-s
and three of Muttuswamy Dikshita kṛti-s.
A representation of each of the Trinity kṛti-s is seen in almost all her concerts. It could be
either the opening composition or concluding composition. The rendition of the Trinity Compositions
were not restricted to the first half of the concert alone. Absence of some regular kṛti-s of other
common composers like Swati Tirunal, Patnam Subramania Iyer, Koteeswara Iyer, Purandara Dasa,
Mysore Vaasudevacharya et al, may be there but not that of the Trinity.
2) Some of the unique features of Smt D K Pattammal’s rendition of the Trinity kṛti-s are i) her
adherence to pāṭhāntara, ii) Maintaining uniform tempo throughout the given composition, iii)
Rendering each sangati twice as a rule and iv) her pronunciation or diction.
Smt D K Pattammal adheres to pāṭhāntara-s strictly and does not improvise in the sangati-s. In all
compositions, Smt D K Pattammal maintained the same sangati-s in the same order, that she
rendered several years ago. This is a strong aspect of Smt D K Pattammal’s rendition.
She has never changed the tempo of the kṛti-s from mid-way. That is, some of the musicians sing the
charanam intentionally in a slightly faster tempo compared to the tempo in which they commenced the
kṛti. This is mostly noticed in remdition of Varṇam-s and some musicians occasionally sing kṛti-s also
in this format.
She has insisted on rendering each sangati twice. This is irrespective of the length of the kṛti or
concert etc., she has never compromised on this aspect.
The perfection of pronunciation is an aspect unique to D K Pattammal herself and from this quality,
she still continues to be a source of reference for many students and scholars.
When listening to certain kṛti-s, Smt D K Pattammal, in comparison to other musicians of her
generation, some differences are seen in the tempo of the kṛti, the rāga, the Eḍuppu (the beginning of
the kriti) or the sāhithyam. By tempo, it is the pace of the entire kṛti and not intentionally changing of
the speed from the charanam portion as mentioned earlier. For example, the Muttuswami Dikshita kṛti
‘Kanjadaḷāyatākṣi ‘ in the rāga Kamalāmanōhari, has been sung in viḷamba kāla by Smt D K
Pattammal, the way in which she had learnt from her teachers. This Pāṭhāntara is seldom followed by
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the present day musicians. She never found the need to change the tempo considering the changing
times.
The kṛti ‘Morabettite’ by Tyāgarāja is normally sung in the rāga Rūpavati while Smt D K Pattammal
has rendered it in the rāga Tōdi. Yet another kṛti of Saint Tyāgarāja ‘Sani Tōdi Deve’ in Harikāmbhoji
has a different Eḍuppu by Smt D K Pattammal from Alathur Brothers, including the tāla being single
kaḷai by Alathur Brothers, while D K Pattammal has rendered in two kaḷai. This is observed in the
treatment of ‘Rakshabettare’ in Bhairavi where Smt D K Pattammal sings in two kaḷai. Another distinct
difference is that the Tyāgarāja kṛti ‘Śrī Raghuvaraprameya’ in Kāmbhoji, Smt D K Pattammal would
sing the charanam similar to a swarajati setting – that is, svara followed by Sāhityafor each charanam
which are again rendered in second speed as well. While the others generally render the same kṛti
sans the svara rendition and second speed.
In comparing a Syama Sastri kṛti like “Thalli Ninnu neranamminnu” in Kalyāni rendered by her disciple
and brother Śrī D K Jayaraman, it is found that regularly D K Jayaraman sings an additional sangati
in the pallavi as a concluding sangati which was never rendered by Smt D K Pattammal. Again this
kṛti can be compared with Smt M S Subbulakshmi’s version which is different in the Eḍuppu. The
same is the case with ‘Vidhulaku mrokkeda’ in Mayamalagowla (Ādi Tāla) by Saint Tyāgarāja. The
beginning phrase of the word Vidhulaku by M S Subbukalshmi starts with the svarā-s “m g, r s, “ while
D K Pattammal’s starts with “s r, g m,” .
Now for the Sāhitya aspect, in the Tyāgarāja kṛti ‘Thulasamma’

D K Pattammal’s version :‘Thulasamma maa intaraavamma’ in the Pallavi and addition
of ‘Śrī’ in the concluding line ‘Varada ninnu Pooja jesi Śrī ‘
Others :‘Thulasamma maa inta’ in the Pallavi and the concluding line
is ‘Varada ninnu Pooja jesi ‘
3) On observing the Manōdharma aspects of Smt D K Pattammal’s concert with specific reference to
the Trinity Compositions, we find that
Smt D K Pattammal never opened the concert with an ālāpana rendition but in most of the
concerts, the presence of kalpana svarā-s seem to occur either in the first or in the second
composition of the concert and a Rāga Ālāpana seems to occur in the third composition. Thus
the rendering of manōdharma is spread throughout the concert and sometimes even in the
last but one composition. She did not seem to connect ālāpana rendition to the other aspects
of manōdharma - that is, if she sings ālāpana, it was not necessary that she would have sung
niraval or Kalpana Svara-s for the kṛti. Even if the ālāpana duration was 21/2 minutes, she
would have sung niraval and kalpana svara or sometimes for a kṛti that follows a four minute
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ālāpana, will not have niraval or kalpana svara. A variety of Rāga-s and Tāla-s has also been
given in each concert.
Smt D K Pattammal believed strongly that rhythm or calculations should not overshadow
melodic aspects in music. Her calculations and ‘korvais’ were metered to take care of this
aspect. Her niraval and kalpana svarā-s were crisp and not too elaborate. Where ever the
Trinity compositions were rendered, invariable it is one of the Trinity compositions that would
be chosen to be the main composition with ālāpana, niraval and kalpana svarā-s including the
Tani Āvartanam. There were instances where she has rendered only ālāpana for the
Tyāgarāja kṛti ‘Kaligiyunte’ whereas, a comparatively smaller kṛti in Darbār would have the
ālāpana, niraval and kalpana svarā-s. Similarly a smaller kṛti like Muttuswamy Dikshita’s ‘Śrī
Pārthsaārathy’ in Śuddha Dhanyāsi would be given the main status with Tani Āvartanam also
provided for.
On a concluding note, Smt D K Pattammal’s concert presentation was a composition oriented

one and she stood out distinctly in presenting the compositions of the Music Trinity Tyāgarāja, Syama
Sastri and Muttuswamy Dikshita. Her renditions are highly authentic and dignified. She seemed to
have placed the compositions of all the three equally and above every other composer.
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“A Day with Tyāgarāja” - A tribute to Saint Tyāgarāja by Dr. S Ramanathan

Prasanth V Kaimal <[email protected]>
Dr S Rāmanathan the legendary musician from Madurai was a great devotee of Saint
Tyāgarāja the prolific composer in karnataka music. He was also a sparkling gem in the early 19th
century. He was born at Thirukōyilōr on April 13th1917 as the son of Subrahmania śāstri and
Paṭṭammal. More than a singer, he was an author, composer, orator, vainika, and a western guitarist
also. He showed great attitude and aptitude towards music from his childhood days onwards. He had
the great ambition to convey the divine philosophy of Saint Tyāgarāja to the new generation musicians
and music lovers. It was this passion of Dr S Rāmanathan that contributed to the birth of the lecture
demonstration “A Day with Tyāgarāja”.
His aim was to portray the life history, routine and the deep devotion of Saint Tyāgarāja to
Lord Rāma. Dr S Rāmanathan was inspiring all the music lovers to imagine a full day of Saint
Tyāgarāja. The main objective was to explain “Uñchavṛtti” by Saint Tyāgarāja and disciples.
While speaking about Saint Tyāgarāja Dr S Rāmanathan used to start with the period of
Vijayanagar Empire that is from 1336 onwards. He explains that the vast area which widened from
Guṇtūr district in Andhra to Kanyākumāri district in Tamilnadu was popularly known as Karnātaka
places during this period. So the musical style which prevailed here also came to be known as
Karnātaka music. Famous musicologist Vidyaranya lived during this period. When the Vijayanagar
kingdom was invaded by Islamic countries later in the 17 th century many Telugu Brahmin families
including the family of Girirājabrahmam left the place and settled at Tiruvārur in Tamilnadu.
Girirājabrahmam who was popularly known as Girirājakavi was the grandfather of Tyāgarāja.
Tyāgarāja-s father Rāmabrahmam was a vēdic scholar and mother was Sītālakṣhmi who hailed from a
great musical tradition.
Tyāgarāja was the third son of Rāmabrahmam. It was the span of Tulaja Mahārāja the great
Marātha king in Tañjāvur when the family of Rāmabrahmam settled there in Tiruvārur. Rāmabrahmam
was a great scholar in Rāmāyana who was able to that contributed to the birth of the lecture
demonstration “A Day with Tyāgarāja”.
Tyāgarāja was the third son of Rāmabrahmam. It was the span of Tulaja Mahārāja the great
Marātha king in Tañjāvur when the family of Rāmabrahmam settled there in Tiruvārur. Rāmabrahmam
was a great scholar in Rāmāyana who was able to demonstrate Rāmayana for the devotees. Lord
Siva at Thiruvarur temple was popularly known as ‘Tyāgēsamūrthy’. It was the belief of
Rāmabrahmam and family that Tyāgarāja was the gift of Lord Tyāgēsa , that is why he was named
Tyāgarāja whose full name was’ Kahakarla Thyāgabrahmam’. The famous Sapthasṣthana uṭṣavam in
Pañchanadīsvara temple in Tiruvayaru was always accompanied by the Rāmayana Kadhakhyanam of
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Rāmabrahmam. Rāmabrahmam was fond of with the spiritual atmosphere in Tiruvayār and he wished
to settle there to give good education to his children. He conveyed his ambition to the king who was a
well wisher of Rāmabrahmam. The Mahārāja was happy to present him property and shelter near the
great temple. At present this is considered as the traditional home of Tyāgarāja in tiruvayār.
Tyāgarāja was only four years old during this time. His mother Sītālakṣhmi was the daughter
of Vīna Kālahasthayya who was a well known Vīna player of that period. We can enjoy his affection for
his mother in his famous composition “Sītamma Māyamma “ in Vasantha and at the same time we can
feel his deep devotion to Lord Rāma and his counterpart Sīta. Rāmabrahmam was the follower of
Maruthanallūr Ācharya a famous saint. He practiced the Pañchayathana pūja on a regular basis with
the support of Tyāgarāja as per the instruction from Maruthanallūr Ācharya. Pañchayathana pūja was
dedicated to five deities respectively ‘śiva’, ‘Sun’,’Viṣhnu’,’Ganapathi’,and’Dēvi’. Maruthanallūr
Ācharya gifted them an idol of Lord Rāma and a few ‘Tēvāram-s’ also. Tyāgarāja learned kṛṭi-s of
Puraṇdaradāsa and Bhadrāchalam Rāmdas at this time from his mother Sītalakṣmi which he used to
sing while the ‘Pañchayathana pūja’ was going on. Once after finishing almost all the compositions
taught by his mother Tyāgarāja became confused which one he can render next during the time of the
pūja. For the first time in his life he composed the composition “Namo namo rāghavāya aniṣam” in
‘Deṣiya Tōdi’ and rendered it in that very moment.
Dr Rāmanathan has explained the Deṣiya Tōdi rāga which has the ascending and descending
order ‘Sa Ga Ma Dha Ni Sa’-‘Sa Dha Pa Ga Ri Sa’. Rāmabrahmam had no words to explain his
immense joy and he even forgot the worship in the midst of the ‘Pañchayathana pūja’. It was the birth
of a great ‘Vāggēyakāra’ who changed the face of Indian classical music. Soon after this incident he
was sent to the home of ‘Sonti Vēṅkata Rāma ayya who was considered as the best Karnātaka
musician of that period. Earlier Tyāgarāja used to observe the classes of Sonti while he was sent to
collect flowers for the Pañchayathana pūja. So it was easy for the 8 year old boy to learn the lessons
from the legend within no time. Sonti Vēṅkata Rāma ayya was a celebrated musician who was the first
one to sing in the Tañjāvur Palace at the beginning of the Tamil year where a music festival of 365
days was organized by the royal family. He was considered as the star attraction among many
Āsthana vidvān-s in the Tañjāvur palace. Tyāgarāja’s extra ordinary caliber enabled him to learn many
rāga-s and compositions within one year and even the teacher was wondered with the explicit talent of
the little boy.
Sonti Vēṅkatarāma aiyya had immense pleasure to introduce Tyāgarāja in front of many
reputed mass and royal platforms. It was at the age of 14 that Tyāgarāja wrote the famous
composition in ‘Bilahari’ rāga “Dorakuna ituvanti sēva”, when all the students of Sonti was asked to
present a composition of their own. After he sung the kṛti there was great applause among the
students and other listeners. Soṇti with great pride and joy changed the sāhithya to “Dorakuna ituvaṇti
siṣhyudu” and with this he was giving his gratitude to the ultimate for being lucky to teach a disciple
like Tyāgarāja.
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Rāmabrahmam had great faith in Tyāgarāja and he handed over the Pañchayathana pūja to
Tyāgarāja and insisted his son that he should continue the worship even after the death of
Rāmabrahmam. His elder son Pañchāpakesa was reluctant to such divine worship and daily routines
and he was only bothered about money and other earnings. After the death of Rāmabrahmam,
Tyāgarāja was unlucky to face a lot of family problems and he got only two rooms in his home when it
was partitioned. He was happy to continue the worship of Lord Rāma and other Tēvāram-s which was
followed by his father. But within a short span of time he was pressured to quit the home for his
livelihood. Then he wandered here and there with his disciples collecting grains from others homes
and he composed many Śri Rāma kṛti-s while doing this practice. It came to be known as ‘Uñchavṛtti’
later and the compositions became popular as “Divyanāma kṛṭi-s”.
People in his street were disappointed with the fate faced by Tyāgarāja and they were
sympathetic to him and disciples .Naturally the street became fond of with the kṛti-s sung by Tyāgarāja
and from the role of an ardent devotee he became a great saint and a prolific composer. He became
the most respectable person in the village and his name and fame flourished all over south India. He
was welcomed by the village people with immense respect when he came there for the “Uñchavṛtti’,
his foots were washed by the village men and they found great pleasure in receiving him with flowers.
The particular character of “Uñchavṛtti’” was that once grains were collected Tyāgarāja and disciples
will go for the next one only after finishing the existing quantity. He composed many wonderful
compositions like “Vaṇdanamu” in Sahāna while going for the “Uñchavṛtṭi”. The street which he used
to walk for the “Uñchavṛtti” was the “Tirumañcana vī dhi”. The street got this name because it was the
path for Lord Siva during the sapthasthana festival. Once he finished the “Uñchavṛtti’ the people in
TIruvayar were anxious to listen his songs on ŚriRāma and were impatient for the next “Uñchavṛtti’”.
He was accompanied by a Tampūra in his right hand and a ‘Chiplāmkaṭṭa’ in his right hand.
Once the king ‘Sarabhōji’ asked Tyāgarāja to write a kṛṭi about the king and he would offerer
great wealth, countless gold coins, and 50 acres of land for the saint. This paved way for the great
composition “Nidhisāla sukhama” in Kalyāni. He wrote a letter back to the king in which he included
this kṛṭi. In this composition he explains that whether it is good to create a kṛṭi on an ordinary human
being like the king or to write a kṛti about the great sannidhi of the ultimate, which one is the real
‘Nidhi’. The king became very disappointed and he asked his soldiers to catch Tyāgarāja and bring
him to the Palace. He was unable to control the anger which he felt from the attitude of the Saint. But
his soldiers were unable to walk a single step and were caught with severe stomach pain. King called
the astrologer of the royal family and he informed the king about the greatness of Tyāgarāja swami
and his deep devotion to Lord Rāma. Identifying his mistake Mahārāja became a follower of the saint.
His elder brother Pañchapakēsan was thoroughly disappointed with this attitude of Tyāgarāja
and he threw the idol of Lord Rāma to river Kāvēri. But once in a dream he got the divine instruction
from the Lord that the idol is in a particular location in river Kāvēri. Suddenly he ran to river Kāvēri and
while walking across the river he found that there is something hit his legs and for his boundless joy it
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was the idol of Lord Rāma . He picked the idol and brought back to the home which was a great relief
to him and disciples. It was during this time that he met Rāma kṛṣnayathi , a saint at the river side of
Kāvēri. Tyāgarāja once requested him to give him ‘Saṇyāsa’ and the saint replied him that he will get
‘Saṇyāsa’’ naturally when the time comes. He advised Tyāgarāja to render ‘Rāma maṇtra’
countinuously through which someone like Tyāgarāja can find the ultimate.
Till then he started rendering the ‘Rāma maṇtra’ countinuously to attain ‘Sanyāsa’. He also
started the ‘Ēkadaṣi Bhajana’ in his home and composed many ‘Divyanāma kṛṭi-s’ and other
compositions for the ‘Saṁpradāya Bhajana’ in connection with Ēkadaṣi. It is believed that there are
almost 80 Divyanāma Saṁpradāya kṛti-s which are all published by Dr S Ramanathan in Tamil. The
Ēkadaṣi pūja was started with awaking Lord Rāma from sleep with the kṛṭi “Mēlukōvayya” in rāga
Bauḷi.”Āragimpave pāl Āragimpave” in Tōdi was also sung to offer milk to the almighty. ‘Śhodasa
Upachāra’ was practiced in connection with the’ Ēkadaṣi pūja’ in which there were 16 upachāra-s
which starts with ‘Āvahana’ and ends with ‘Dīpāradhana’. When the ‘Saṁpradāya bhajana is going on
there will be ‘Dīpapradakshinam’ and dancing steps by the devotees which we can seen in Udayalūr
KalyanaRama’s Saṁpradāya bhajan nowadays. “Upachāramulanu chēkona” in Bhairavi was the main
kṛti which he himself and disciples used to sung during the Ēkadaṣi pūja.
“Tulasi bilva maḷḷikādi” in Kēdārāgauḷa was another beautiful composition which he sung
during this occasion in which devotees were supposed to present their offerings in the form of flowers.
When the Ēkadaṣi pūja ends Lord Śri Rāma was told to sleep through the beautiful kṛṭi-s like
“Uyyalalūgavayya” in ‘Nīlambari’ and ”Pūlapānmbu mītha” yet another beautiful composition in Āhari in
which he explains that “Madhu chakkara veṇapālu” everything were offered by him and disciples.
Enthaninne in Mukhāri was another excellent creation by Tyāgarāja . He himself portrays his jealousy
to śabari who is considered as the complete devotee of Lord Rāma who has served him without any
demands.” “Koluvayyuṇnāde kōdaṇdapāni” in Dēvagāndhari was the composition which he used to
welcome the devotees to come there and worship.
Conclusion
Dr S Rāmanathan was the disciple of Tiger Varadāchari who started his early learning under
Tirukkōyilōr Rāmudu Bhāgavathar. He received doctorate from Wesleyan University in America for his
study on the topic ‘Music in cilapatikāram’. It was his thirst for innovation and creativity that lead him to
the creation of this particular lecture demonstration “A Day with Tyāgarāja”. It was a completely
different attempt by a totally different musician towards the revolution in Indian classical music.
Bibliography
Lecture demonstration of śri Kōttayam Veeramani on “Rāma bhakthi Samrajyam”
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Comparative analysis of the Compositions of Trinity

Radha A <[email protected]>
The glorious period of kanātaka classical music was during the eighteenth century when the
Trinity-Tyāgarāja, Muttusvāmi Dīkṣitar and Śyāma Śāstri, ushered in an era of aggrandizement of
music. They brought a spiritual outlook in people and ensured people experience the higher degrees
of ethereality. Kanātaka classical music started being symbolized as a tool for devotion. Kanātaka
classical music not just became an intrinsic part of religion but also a path to attain mōkṣa. The
melody, rhythm and lyrics of this period were outstanding.
The present paper attempts to make a comparative analysis of the compositions of the Trinity.
The scope of the subject is a comparison of their music styles, genres, mudra-s used, musical forms,
rhetorical beauties, the lyrics and their forte. The methodology of analysis is comparative and the data
is conceptual.
Insignia of the Trio

The Trinity simplified the intricacies of gamaka-s and the employing of complicated tāḷa-s. Tyāgarāja-s
emphasis is on bhāva, Muttusvāmi Dīkṣita-s is on rāga and Śyāmā Śāstri-s forte is tāḷa. Hence the
Trinity was the personification of Bhāva, Rāga,Tāḷa. Tyāgarāja-s devotional compositions are
composed mostly in Telugu in kṛti form and are tributes to Lord Rāma. Most of Muttusvāmi Dīkṣitar-s
compositions were also in kṛti form but in Sanskrit. He composed on various deities and composed
varṇa-s, rāgamālika-s and group kṛti-s. His compositions are tributes to various deities. Śyāma Śāstri
composed in Telugu and Sanskrit mostly on his favorite Goddess Kāmākṣi. The musical forms were
kṛti, varṇa and svarajati.
There are two schools of Mēḷa systems, one introduced by Vēṇkaṭamakhi and the other by
Gōvindāc̣ārya. The nomenclature adopted by Vēṇkaṭamakhi is called the Kanakāmbari- Phēnadyuti
nomenclature and the one adopted by Gōvindāc̣ārya is called the Kanakāṅgi- Ratnāṅgi nomenclature.
Muttusvāmi Dīkṣitar followed the first, whereas Tyāgarāja and Śyāmā Śāstri followed the second.
Tyāgarāja-s mudra is svānāma, for instance, Tyāgarāja nuta, Tyāgarāja Hṛdbhūṣaṇa, Tyāgarāja
kulavibhūṣa, Tyāgarājārcita, Tyāgarāja vinuta, Tyāgarāja pūjita, Tyāgarāja paripāla, Tyāgarāja
sannuta and many more. Muttusvāmi Dīkṣita-s mudra is Guruguha. He has also used rāgamudra-s for
some of his compositions. Śyāma Śāstri-s mudra is Śyāma Kṛṣṇa. Apart from this he has used sthala
mudra-s like Madhura and Kāñci. He has also used Rāga mudra-s like Laḷita, Kalyāṇi, Bhairavi and
Kīravāṇi.
The composing styles of the Trinity have been summed up as Drākṣāpāka, Nārikēḷapāka and
Kadaḷīpāka. The three approaches of the Trinity are supposed to represent three Rasa-s: Drākṣa
(Grapes), Nārikēḷa (Coconut) and Kadaḷi (Banana). Among the Trinity, Tyāgarāja's composing style
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was simple and Muttusvāmi Dīkṣita-s complicated. Śyāma Śāstri struck a balance between the two.
Tyāgarāja's compositions provided instantaneous gratification the moment they were heard just like a
grape. Muttusvāmi Dīkṣita-s compositions are more complicated and his style is appropriately
compared with coconut which takes more effort where the shell has to be broken for the creamy layer
of the fruit to be relished. Śyāmā Śāstri's compositions are aptly compared to the taste of a banana
which only requires peeling to savour the fruit.
The first composition ofTyāgarāja was Namo Namo Rāghāvāya in Dēśya Tōḍi set to tune with Tiśra
Ēka Tāḷa, the first composition of Muttusvāmi Dīkṣitar was ŚrīnāthādiGuruguhō Jayati set to tune in
Māyāmāḷavagauḷa and Ādi Tāḷa, while Śyāma Śāstri first composed Jananī Natajana paripālini in
Sāvēri set to ĀdiTāḷa.
Tyāgarāja's Ghana Rāga Panc̣aratna Kṛti-s
S.No Kīrtana Rāga Tāḷa
1 Jagadānandakāraka Nāṭa Ādi
2 Duḍukugala Gauḷa Ādi
3 Sādhinc̣enē Ārabhi Ādi
4 Kanakanaruc̣irā Varālị Ādi
5 Endarō mahānubhāvulu Śrī Ādi
Jagadānandakāraka set in Nāṭa expresses the state of elation and how one can attain mōkṣa through
the five kōśa-s: annāmaya, prāṇamaya, manōmaya, vijñānamaya and ānandamaya. The state of
mind in this kṛtiis eulogy to the Lord. Duḍukugala set in Gauḷa deals with annamaya kōśa, and the
need to cleanse the materialistic world. The intrinsic mood is confession in this kṛti. Sādhinc̣enē in
Ārabhi deals with the prāṇa of a devotee and how it faces tests. The state of mind is compliance in
this kṛti. Kanakanaruc̣irā set in Varāḷi talks about how a pure heart can find the beauty of God. There
is composure in the kṛti. Endarō mahānubhāvulu set in Śrī symbolizes the knowledge attained through
association with great souls.There is complete surrender in this kṛti.
Navagraha kṛti-s of Muttusvāmi Dīkṣitar are a set of nine kṛti-s as eulogies to the nine planets. Each
song of this group is composed in each of the Sūḷādi Saptatāḷa-s. The selection of rāga-s for each
eulogy is very apt. The musical structure and lyrical allure of these kṛti-s are outstanding. They are:
No Composition Rāga Tāḷa

1. Sūryamūrte Saurāṣṭra Dhruva
2. C̣andrambhaja Asāvēri Maṭhya
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3. Angārakam Suruṭi Rūpakam

4. Budhamāśrayāmi Nāṭakuranji Jhampe
5. Bṛhaspatē Aṭhāṇa Tripuṭa
6. ŚrīŚukra Paras Aṭa
7. Divākaratanūjam Yadukulakāmbhōji Ēka
8. Smarāmyaham Rāmapriya Rūpakam
9. Mahāsuramkētu C̣āmaram Rūpakam
Śyāma Śāstri`s svarajati-rare set in Bhairavi, Yadukulakāmbhōji and Tōdi. They became famous as
Ratnatrayam. The three svarajati-s are exemplary and a great tribute to Goddess Kāmākṣi of Kanc̣i
which eulogize the beauty and virtues of the Goddess. The three svarajati-s are:
S.No Composition Rāga Tāḷa
i) Rāvēhimagirikumāri Tōḍi Ādi
ii) Kāmākṣianudinamu Bhairavi C̣āpu
iii) Kāmākṣinīpādayugamu Yadukula Kāmbhōji Chāpu
They are composed in Telugu and consist of Pallavi and multiple caraṇa-s which are sung with svara-
s and sāhitya. Rāvē himagiri kumāri consists of pallavi and six caraṇa-s. The rāgac̣hāya, svara-s are
gāndhāra and dhaivata. The panc̣amavarja prayōga-s enhances the composition. Kāmākṣi
anudinamu is the most popular and the most preferred choice of musicians in concerts. It consists of a
pallavi and eight caraṇa-s. The sthāyi-s transcend from maṇdrasthāyi madhyama to tārasthāyi
madhyama. Kāmākṣi nīpādayugamu consists of a pallavi and ten carana-s.
Rhetorical Aestheticism
Whatever may be the form, every musical composition is set to a particular rhythm. The appeal of the
music is emotional and spiritual. The linguistic embellishments add allure to the compositions.
Tyāgarāja strictly adhered to the rules of prosody while incorporating rhetorical beauties like
alliteration, prāsa, śabdālankāra, yamaka, ślēṣa. These have added radiance and elevated his
compositions to a higher level. Metaphor is used in the Panc̣aratna kṛti Jagadānandakāraka in
Amaratāraka nic̣aya kumudahita where he says ‘You are the moon to the water lily’. In
Sāmajavaragamanā, nādāc̣aladīpathe use of metaphor ‘You are the lamp on the mountain of nāda’.
There is the use of Atiśayōkti alankāra in Vēṅkaṭēśa ninusēvimpa in Madhyamāvati rāga where he
says ‘O! Vēṅkaṭēśa, to see you, ten thousand eyes are required’. There is the use of upamā
alankāra(simile) in Mērusamānadhīra in Māyāmāḷavagauḷa where he says ‘You are equal to mēru
parvata in courage’.
Tyāgarāja's opera Prahlāda Bhakti Vijayam is replete with as many as 132 poetic devices and
adheres to various metres.
165
Kanda padyam : 80
Sīsapadyam : 17
Dvipada : 19
Utpalamāla : 10
C̣ampakamāla : 3
C̣ūrṇika : 1
Danḍaka : 1
Tēṭagīti : 1
Muttusvāmi Dīkṣita-skṛti-s are embellished with śabdālankāra-s. He has used Yamakam, that is the
use of same word with different meanings and combinations. In the kṛti Kamalāmbike in Tōḍirāga
which is one of the Navāvaraṇakṛti-s, he has used the word Kamala in different meanings and
combinations, Kamalāsana (Brahma), Kamalālayam (Tīrtham), Kamalāmbika (Goddess). The
anupallavi of the kṛti Akṣayalingavibho is a good example of Anuprāsa.
Dakṣaśikṣaṇa Dakṣatarasura lakṣaṇa vidhivilakṣaṇa lakṣyalakṣaṇa bahu vic̣akṣaṇa sudhā
bhakṣaṇa guru kaṭākṣa vīkṣaṇa
Śyāmā Śāstri has introduced linguistic beauties like prāsa and svarākṣara-s. He is recognized for his
contribution of the tāḷa aspect and rhythmic brilliance of his kṛti-s. Svarākṣara means dhātu-mātu
samyukta alaṅkāra, which in other words means a combination of literal and musical beauty. Some
examples of the poetic devices employed by Śyāmā Śāstri are:
Dvityākṣaraprāsa: Sāmajagamana nīvu tāmasamusēyaka – this is from the caraṇa of Mīnalōc̣ana set
in Dhanyāsirāga.
Antyaprāsa: Sāmagānalōlēsu-śōbhēviśālahṛdayamūrtēśubhē -from the composition Sārasākṣi in rāga
Sāvēri.
Anu Prāsa: C̣anḍamunḍa khanḍana panḍitēkṣu- from Kanakaśaila in Punnāgavarāḷi.
In many songs Tyāgarāja emphasized music as an aid to bhakti. Tyāgarāja conceived Rāma as the
very embodiment of the ambrosial essence of Nāda. A special quality of Dīkṣitār music is its close
affinity to the vīṇa and its style, graces. The slow tempo and the rich gamaka-s of his songs are
qualities derived from that instrument par excellence. In his bhairavi song Bāla Gōpāla, Dīkṣitār takes
pride in describing himself as a vaiṇika-gāyaka, a vīṇa-vocal expert. Dīkṣitār’s creations are master
pieces representing full-blooded incarnations of the numberless rāga-s of Carnatic music. Muttusvāmi
Dīkṣitar’s father was Rāmasvāmi Dīkṣitār,a famous composer who is credited with having invented the
rāga Hamsadhvani.
Muttusvāmi Dīkṣitar has composed in all the basic tāḷa-s of Carnatic music. Śyāma Śāstri seemed to
have a preference for ĀnandaBhairavi Rāga and C̣āpu Tāḷa. He is credited with many musical forms
like Varṇa, Kīrtana, Svarajati and Gīta. He is known for his extraordinary treatment of Miśrac̣āpu Tāḷa.
166
Śyāma Śāstri has composed about 17 songs in Miśrac̣āpu Tāḷa. A perfect example is Tallī ninnu
neranammi.
Tyāgarāja equated music to mukti itself. In his song Svararāgasudhā rasa, Tyāgarāja says that bhakti
combined with ambrosial rasa of svara and rāga is itself heaven and salvation. Muttusvāmi Dīkṣita-
scompositions are unconventional in the sense that his kṛti-s have caraṇa with an entirely different
dhātu as against other composers who compose with a pallavi, anupallavi with one or more caraṇa-s
whose later part is sung to the same dhātu as that of the anupallavi. In his kṛti-s Vātāpi Gaṇapatim in
Hamsadhvani and Subrahmaṇyāya Namastē in Kāmbhōji there are about ten saṅgati-s in the pallavi.
The literature in Śyāmā Śāstri's compositions is symbolized by the fondness and affinity a child has
towards his mother. He addresses the Goddess as Māyamma, Jagadamba, Talli, Amba, Trilōkamāta.
The devotion in his compositions represents total acquiescence. The artha bhāva in his kṛti-s is
commensurate with rāga bhāva.
Three creative geniuses with inimitable styles, to whom goes the credit for developing and perfecting
the many musical forms and the development in rhythm. They were responsible to popularize
Kanātaka classical music compositions. They composed in uncommon and unusual rāga-s and some
lesser used Mēḷakarta-s. Their compositions are a beautiful blend of music, literature and philosophy.
The Kanātaka classical music tradition is enriched because of contribution of the Trinity. Nobody
could have understood the subtleties and nuances of rāga-s more than them.
References
a) Kanātaka classical music Composers by T S Vasudevan, Published by T V Sundaravalli,
Chennai, with the financial assistance of Sangit Natak Academy, Delhi at Śrī Senthil Murugan
Offset Printers, Chennai
b) Śyāma Śāstri And other Famous Figures of South Indian Music by Prof P Sambamurthy, printed
at Śrī Mahendra Gaphics, Chennai 1999
c) The Spiritual Heritage of Tyāgarāja by Dr V Raghavan
d) Andhra Vaggeyakara Caritra by Balntrapu Rajani Kanta Rao
e) Great Composers by Dr P Sambamoorthy published by India Music House
f) Tyāgarāja- Life and Lyrics by William Jackson, Chapter I, The making of a Legend:Tyāgarāja as
Exemplar.
g) GhanaRāga Pancaratna of Tyāgarāja by Dr PappuVenugapala Rao – Sangita Gnanamu- Sruti
Magazine, July 2009.
h) Mutthusvami Dikshithar by T L Venkatarama Iyer, 1968 published by National Book Trust, New
Delhi
i) Mutthusvami Dikshithar Compositions by Dr S Bhagya Lakshmy and Dr M N Moorthy
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
167
Kāmbhōji rāga kṛti-s of Muttusvāmi Dīkṣita

Radhika K P <[email protected] >
Muttusvāmi Dīkṣita was the icon of of Karnātaka classical music and youngest among the
‘Musical trinity’. Muttusvāmi Dīkṣita compositions richly deserve special treatment. His songs are
moulded in classical style, displaying deep scholarship and they are beautifully worded, roundly
phrased, well dictioned and grammatical. They produce sumptuousness and richness of fare.and he
was proficient in the language of Dīkṣitar Sanskrit and it was being established himself in the
knowledge of vēda-s, maṇtra taṇra śāṣtra-s and it all improves the sacred literature and creates a
musical era.
This paper takes up the analysis of the compositions of Śri Muttusvāmi Dīkṣita in kāmbhōji
rāga found in the work Saṅgītha sampradāya pradarṣini. SSP authored by Subbarāma Dīkṣita
mentiones four kṛti-s of Muttusvāmi Dīkṣita in the rāga Kāmbhōji. Out of which three are in aṭa tāla
and one in rūpaka tāla. The analysis are done based on the structure, melody and text. The kṛtis-s
taken up for analysis is listed below:
1. Kamalāmbikāyai – Aṭatāla
2. Śri Valmīkaliṅgam – Aṭatāla
3. Kāṣiviṣvēṣvara – Aṭatāla
4. Śri Subrahmanyaya – Rūpakatāla
Structure of Kāmbhōji rāga kṛti-s:

1. Kamalāmbikāyai – pallavi, anupallavi madhyama kāla sāhitya, caraṇa madhyama kāla
sāhitya
2. Śri valmīka liṅgam – pallavi, anupalllavi, caraṇa madhyama kāla sāhitya
3. Kāṣiviṣvēṣvara – pallavi, anupallavi madhyama kāla sāhitya, caraṇa madhyama kāla
sāhitya
4. Śri subrahmaṇya – Pallavi, madhyama kāla sāhitya, anupallavi, caraṇa madhyama kāla
sāhitya.
The sections of the first and third kṛti the structure of kṛti-s are same. The second and fourth
kṛti-s has some difference in structure the second kṛti only in the caraṇa has madhyama kala sāhitya.
But in fourth kṛti the madhyama kala sāhitya is composed in the pallavi. It is a rare application only
such great composers like Muttusvāmi Dīkṣita composed this type of compositions.
Number of āvarta-s in each section of all songs:

kamalāmbikāyai śri valmīka kāṣiviṣvēṣvara Śri subhramaṇyāya
liṅgam
Pallavi – 4 āvarta-s Pallavi – 2 Pallavi – 4 āvarta-s Pallavi + MKS – 4 +4 =
āvarta-s 8 āvarta-s
168
Anupallavi + MKS - Anupallavi – 4 Anupallavi + MKS – Anupallavi – 16 āvarta-s

4+2 = 6 āvarta-s āvarta-s 4+2 = 6
Caraṇa + MKS – Caraṇa + MKS – Caraṇa + MKS – Caraṇa + MKS – 18 + 2
12+2 = 14 āvarta-s 8+2 = 10 āvarta-s 12+2 = 14 āvarta-s = 20 āvarta-s
Eḍuppu of each line of all songs:

 In the first kṛti of kamalāmbikāyai the eḍuppu is starts with the first two lines of pallavi and
anupallavi in anāhaṭa graha whereas in caraṇa the first line only in anāhaṭa graham remaining
all the āvarta-s are starts with samam.
 In the kṛti śri valmīka liṅgam the eḍuppu in sama graham.
 In the kṛti kāṣiviṣvēṣvara, the pallavi starts with anāhaṭa graham, in caraṇa the seventh and
eleventh āvarta-s are in anāhaṭa graham the remaining all parts of the āvarta-s are set in
sama graham.
 In the kṛti of śri subhramaṇyāya also set totally in sama graham only in sixth āvarta of pallavi
is in anahata graham.
Splitting of text in tāla:

[1] Kamalāmbikāyai – Aṭatāla
In this section i mentioned about the Dīkṣita composed kṛti-s with druta madhyama vilamba
prayōgas are majorly found in his kṛti-s. i will given the counts of tāla to sāhitya
Pallavi
Āvarta Laghu (5) Laghu (5) Druta (2) Druta (2)
1st 1112 113 2 2
Ka ma lam . bi ka yai ….
2nd 122 12 2 11 11
Ka na kam Su. Ka.yai …. .. ..
3rd 23 1211 2 11
Kar pu ra vee ti ka yai .. na
4th 221 131 2 2
ma ste Na ma ste ….. …..
Anupallavi
1st 1112 14 2 2
, ka ma la Kan ta nu ja yai
2nd 122 221 11 2
, kame Swa ryai aa ja yai
3rd- 1112 212 2 2
169
. Hi ma gi . ri..tha nu. Jaa Yai

4th 32 113 2 2
Hrim ka ra poo Jya Yai
Madhyama kāla sāhitya

5th 10 10 4 4
Kamala nagara Rnyai
Sam haa Rin yai
viha khalasamooha
6th 10 10 4 4
Kamaniya rathna
rnyai kalikalmasha Pariha Rinyai
h
Caraṇa
1st 1112 113 2 2
. sa ka laa Sou.. bha gya da
2nd 122 1112 2 2
Ya kambho Jachara Na Yai
3rd 32 23 11 11
Sam ksho bhi nya di sa Kthi
4th 1112 212 2 2
Yu tha cha tu Rdha va ra na Yai
5th 1112 113 2 2
Pra ka ta Cha thu rda Sa
6th 122 221 2 2
Bhu va na Bha ra na Yai
7th 1112 221 2 2
Pra ba la Gu ru gu Ha Sam
8th 122 221 2 2
Pra daa yam thah ka ra naa Yai
9th 1121 212 2 2
A ka lam ka roo pa va rna Yai
10th 122 221 2 2
A pa rnaa yai su pa . rna Yai
11th 11111 23 2 2
Sukaradhrutha Cha.pabaa Na Yai

12th 2111 1112 2 2
170
Sho bhana ka rama nu ko na yai
Madhyama kāla sāhitya

13th 10 10 4 4
Sakum kumadi
Nayai chara chara di kalpa nayai
lepa
14th 10 10 4 4
Chikura vijitha nila
nayai chi dananda Purna gha nayai
gha
[2] Śri Valmīka liṅgam – Aṭatāla

Pallavi 1st 2111 32 2 2
Śri val Lmi ka lim gam
2nd 122 212 2 2
Chin tha Ye si va rdham Gam
Anupallavi1st 32 23 2 2
Śri va ra daa ya Gam
2nd 32 23 2 2
Śri pu ra na ya Kam
3rd 41 32 11 11
Deva Tha aa di vi nu tha
4th 221 32 11 11
Di vya vi dhi vi tam Kam
Caraṇa
1st 122 1112 2 2
Kurukshe travirm Chi ya
2nd 32 22 2 2
gnodbha va ka Rmu ka
3rd 122 212 2 2
Dharamu ra rpu Ha tha
4th 122 41 2 2
Har ha Ya dya Khi la
5th 122 32 2 2
171
Sura bha Yo pa Dra va

6th 122 122 2 2
Ha ra na chana tha Ram sam
7th 122 1112 2 2
Karamso makulam . bi
8th 32 11111 2 2
Kambho Ja madhuka ram .
9th 10 10 4 4
Guruguha janakam natha Janakam kubera m cha rmam sukam
sakha
10th 10 10 4 4
Suruchira sirodruta sa Sam kam svayam Sakam tha ra kam
prakā
[3] Kāṣiviṣvēṣvara ehi mam - - Aṭatāla

Pallavi：
1st ,22 23 2 2
Ka si Vi swe Sva Ra
2nd 32 32 2 2
Ye hi Mam pa hi -
3rd 122 113 2 2
Ka ru na Ni de Sam Ni
4th 32 5 2 2
De hi Mu dam De Hi
Anupallavi :
1st 32 32 2 2
Ka si Kshe tra Sa dru
2nd 5 222 2 2
Sa dhika pha la da
3rd 32 32 2 2
ga rtha Thira Va -
4th 32 32 2 2
Sa bhaktha vi swa Sa
M.K : 10 10 4 4
5th Desika Darshita rva bhau Ma ma haa
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kaṭakshena devatha sa
6th 10 10 4 4
Deva deva deva Da kshi na
vanuta deva raja Pujitha
de
Caraṇa:
1st 122 1112 2 2
Bha varo Gahara cha tu Ra
2nd 32 32 2 2
Pye dya Limga Vi Bho
3rd 32 32 2 2
Bhadra Daaya kaa M
4th 5 221 2 2
Bho Ja ka ra Vi Bho
5th 122 41 2 2
Kuvala Yaadi Pam .
6th 41 22 2 2
chavada na svayam Bho .
7th 122 41 2 2
Kushta ro ga pa Ha
8th 212 1121 2 2
Gartha thi rdha sam Bho .
9th 11111 112 2 2
Ravisasivam nhi netra sucha R
10th 113 221 2 2
Tra vi sa lakshi ka La Tra
11th 1112 221 2 2
Kavi jana Disamnu thipa Tra
12th 1121 212 2 2
Kamaniya gatra chi nma Tra
Madhyamakāla sāhitya:
13th 10 10 4 4
Bhuvana bharana
napate bhava haranatha nidhi sr Pate
bhuta ga
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14th 10 10 4 4
Siva guruguha janaka
Supate navamani vila Lasitha chi Tsabhapate
pa
[4] Śri Subrahmaṇyāya – Rūpaka tāla:
Pallavi:
āvarta Drutam Laghu (4) Druta (2) Laghu (4) Druta Laghu (4) Druta Laghu
(2) (2) (2) (4)
1st - 4 2 22 2 121 2 31 2 22
Śri subra hma Nya ya Ma Ste na ma Stemana
na
5th - 8 11 211 11 22 2 121 11 112
Si ja Koti ko ti La van ya yadeena sara nyaya
Anupallavi:
Āvarta Drutam Laghu Druta Laghu (4) Druta Laghu Druta Laghu
(2) (4) (2) (2) (4) (2) (4)
1st - 4th 2 121 11 1111 2 121 11 31
bhu Su raa sama .stha Poo.. Ji tha bja Va ra Na ya
di jana
5th - 8th 2 112 11 112 2 121 11 31
va sukitha kshakaa ..di sa rpa svaroopa dhara Na..ya
9th - 12th 2 121 11 1 21 2 121 11 121
vaa Sa vaadi Sa ka La de va Vam Di tha ya va re Nya ya
13th- 16th 2 112 2 211 2 112 11 121
daa Saja naa bhi Shta da Kshatha gam ..nya ya
prada raa gam
Caraṇa:
āvarta Drutam Laghu (4) Druta Laghu Druta Laghu Druta Laghu
(2) (2) (4) (2) (4) (2) (4)
1st - 4th 2 112 11 121 2 211 2 22
tha Raka sim Hma mu Kshasura pa dmasura sam harthre
5th - 8th 2 121 11 1111 2 211 11 22
Tha pathraya hara nanipuna tha thvopade sa karthre
9th -12th 2 1111 11 22 2 22 11 22
vee ranuthagu rugu haayaa jna nadhvam thasa vitre
13th - 11 22 2 22 2 211 2 4
16th
174
vija Ya va li Bha rthre sa kthya dha rthre

yudha
Madhyama kāla sāhitya:

āvarta Drutam (2) Laghu (4) Druta (2) Laghu (4)
2 āvarta-s 11 211 11 1111
dheera Yanatha vidhatre devara .jajaamathre
2 āvarta-s 11 211 11 1111
bhoora Dibhuvana bhoktre Bhoga mo .ksha pradaatre
Melodic movement:
The graha svara-s of four kṛti-s are s,g,m,p respectively and even dhaivata also seen as a graha
svara in kṛti śri subrahmaṇyāya. All the ranges and the movement of sañcāra-s in tri sthāyi in all three
sections are illustrated below:
 In the Kamalāmbikāyai the graha svara in pallavi starts with Madhya sthāyi gāndhāra ‘g’ and
the range is between maṇdra pañcama ‘p’ to tāra shadjam ‘s’.
E.g for Maṇdra sthāyi pañcama in Pallavi :
- In the third āvarta

e.g for tāra sthāyi shadjama in pallavi :
- In the first āvarta
In anupallavi the graha svara is on Madhya sthāyi ‘p’. In this section, the middle and the
higher octaves are found. But the Range of Tāra sthāyi occurs upto Tāra Madyama ‘m’ in two places
- In the third āvartaand

In Madhyamakāla sāhitya as
- In the last sixth āvarta

In the caraṇa the graha svara is‘s’. The range is between Maṇdra Pañcama ‘p’ to Tāra
Madyama ‘m’.
E.g. for Maṇdra Pañcama ‘p’ :
- in the nineth line

E.g. for Tāra Madyama ‘m’:
- in the seventh āvarta.

 In the kṛti śri valmīka liṅgam the pallavi starts with the range in between Maṇdra Pañcama ‘p’
to Tāra sthāyi ṛṣhaba ‘r’.
175
E.g: for Maṇdra pañcama:
- In the third āvarta and the

E.g: for Tāra sthāyi ṛṣhaba :
- In the first āvarta.

In anupallavi the graha svara is Madhya sthāyi pañcama ‘m’. In this section the middle
and the higher octaves are found, but occurance of lower octave notes are not found. The range of
tāra sthāyi is upto tāra sthāyi gāndhāra ‘g’.
Example for Tāra sthāyi Gāndhāra :
- In the third āvarta.

In the caraṇa the Graha svara is madhyama ‘m’. The range is between Maṇdra Pañcama ‘P’
to Tāra sthāyiGāndhāra ‘g’.
E. g: for Maṇdra Pañcama ‘P’:
- In the eighth āvarta

E.g: for Tāra sthāyi gāndhāra ‘G’:
- In the seventh āvarta

 In the kṛti of kāṣiviṣvēṣvara the Grahasvara in pallavi is Pañcama ‘p’. The range is between
maṇdra pañcama ‘P’ to tāra sthāyi ṛṣhaba ‘R’.
E.g., for the maṇdra pañcama:

E.g., for the tāra sthāyi ṛṣhaba :
- In the fourth āvarta.

In anupallavi the Graha svara is ‘m’. In this section, the middle and the higher octaves and
no lower octaves are found.But the ‘Tāra sthāyi Madyama’prayōga is reached upto ‘M’.
E.g., for Tāra sthāyi Madyama 'm':
is in the third āvarta.

In the caraṇa the graha svara is ‘m’. In this section, the middle and the higher octaves are
there and no lower octaves are found. But the ‘tāra sthāyi madyama prayōga is reached upto ‘M’.
E.g., for tāra sthāyi madyama 'm':
is in the third āvarta.

 In the kṛti of śri subrahmanyaya namasthe the graha svara in pallavi is maṇdra dhaivata ‘d’.
The range is k inaṇdra pañcama ‘p’.
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e.g., for maṇdra pañcama 'p' :
- in the second and third āvarta.

In this section middle and the lower octaves are found but not have higher octaves.
In the section of anupallavi the graha svara is madyama ‘m’. The range is between
maṇdra Pañcama ‘p’ to Tāra sthāyigāndhāra ‘g’.
E.g., for Maṇdra Pañcama ‘p’:
- In the sixteenth āvarta

E.g., for Tāra sthāyiGāndhāra ‘g’:
- In the tenth āvarta.

In caraṇa the graha svara is‘s’. The Range is between maṇdra sthāyipañcama ‘p’ to tāra
sthāyi ṛṣhaba ‘R’.
E.g., for maṇdra pañcama‘p’
- In the first āvarta

E.g: for tāra sthāyi ṛṣhaba ‘r’:
- In the eleven and twelve and thirteenth āvarta etc phrases.

Here we observe Dīkṣita’s briliance in the formation of rāga structure.
Melodic phrases / Prayōgas
1. In Kamalāmbikāyai the melodic phrase 'dmmgmr gr' prayōga occurs many times in this kṛti in
Pallavi:
- In the second āvarta

In anupallavi the phrase 'dmmgmr grgs' prayōga is used in Anupallavi as below
- in the fourth āvarta.

The phrase 'dm mgmr' is used in three places in this section
- In the fourth āvarta
- In the eighth āvarta
- In the twelveth āvarta.

In this kṛti another similar phrases also there like ‘snnd’ used in three times ‘nndd’ used in
two times ‘ndd’ in one time, ‘nnd’ six times and ‘sndd’ one time.
177
While analysing the first kṛti on the ground of the rāga the kṛti starts in madya sthāyi
arohana krama sañcāra to tāra sthāyi.
E.g.
In this kṛti, Dīkṣita has handled rañjaka datu svara prayōga-s in three places in pallavi:
1. ;
2. ;
3. ;
The unique prayōga-s are found in anupallavi of this kṛti like 'mgs', 'rpmg', 'rmgs'.
e.g. .
'Pdmg', 'snp', are visesha sañcāra-s of Kāmbhōji rāga few sañcāra-s are found in this kṛti.
In caraṇa
1. ;
2. ;
3.
Where as 'pdmg’are frequently found.
In this rāgaKāmbhōji there is a 'Anya svara of Kākali Niṣhāda'. It is a rare application
occurs in (SN \ PdS); (N \ pdS); (snpdS); (sNpdsrg / mr /gs / gr \S)3In this kirtana it occurs in last
āvarta of pallavi and it is a one of the Visesha sañcāra. e.g :
- In the fourth āvarta

In second āvarta the tāra sthāyi 'ṛṣhaba ' sañcāra movement is concentrated on the higher
octave with the more frequent of ‘r’.
e.g.
The Madhyamakāla sāhitya of the Caraṇa moves in all the three octaves.
The phrase 'dm mgmr grgs' related phrases, rpmg, pdmg, mgmr, etc., such phrases are many times
repeated in this total Kirtana. The movement of these phrases are enriches the melody and beauty of
the Kirtana. Melodic phrases are around the notes (r, g, m, d, n).
2. In second kṛti śri valmīka liṅgam the visesha sañcāra of ‘pdmg’ phrase used in Caraṇa:
1. ;
2. ;
3.
The Anya svara of Kākali Niṣhāda’ prayōga is seen in three places in this Kṛti.
E.g:
1. - in the Pallavi
2. - in the Anupallavi
3
Subbarama Dikshitar,(1904),p.p.761
178
3. - in the Caraṇa
3. In third kṛti of kāṣiviṣvēṣvara ehi mam Janta prayōgas are mostly used in this section. Datu
prayōga of 'ndnpdn'is used Dīkṣita in Madyama kala sāhitya is a different usage.
- In the last fourteenth āvarta.

E.g., for 'dm mgmr grgs'prayōga is similarly repeated in three places
:
- In the second āvarta,
The Ranjaka prayōga of ‘mgpds is shown in two places in caraṇa this unique sañcāra
occurs only in this kṛti
1. mgpdsd nd npdm in twelveth āvarta and in Madhyamakāla sāhitya.
2. 'ndpmgpd snnpdr' in the fourteenth āvarta.
The third kṛti starts in arohana to avarohana madyasthāyi to Tāra sthāyi sañcāra.E.g:
The Rañjaka sañcāra-s 'dm mg mr gr gs ' 'snp' mgmr' 'mgpds' prayōgas are more
attractive and pleasing in this kṛti.
The Aṇya svara of ‘Kākali Niṣhāda prayōga is found more than in this kṛti with different
sañcāra-s as ‘snpd’, sNP, sNp, SsnnpdS, snpDS, snp, sNnpdR, and ‘snn' in this kṛti. e.g.for Anya
svara of Kākali Niṣhāda’ :

4. In the kṛti of śri subramaṇyāya the phrase 'pdmg' used in pallavi and caraṇa:
1. - in pallavi
2. - in caraṇa
The Anya svara of Kākali Niṣhāda is found ‘snnp’ prayōga is used in pallavi and
anupallavi. ‘snp’ prayōga is used in anupallavi and caraṇa.
E.g: - In the eleventh āvarta

In Sri Subramaṇyāya the melodic phrase 'nddnp' is found only in this kṛti and repeated in
three places.E.g.,
1. - in the fourth āvarta
2. - in the seventh āvarta
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‘mgpds’ is a wonderful viṣeṣa sañcāra of Kāmbhōji it occurs only in caraṇa

- in the fifteenth āvarta
Presently, the usage of ‘mgpds’ is very common. Even without the usage of ‘mgpds’, Kāmbhōji
kīrtana-s of Dīkṣita are more splendid. At the same time he has not totally avoided the usage of this
phrase, as he has used the same in ‘Śri Subramaṇyāya’. In first three kṛti-s the phrase 'mgmr' is
found. In first and third kṛti the melodic phrase 'dm mgmr grgs' is found. In first and last kṛti the phrase
'mgrs' is found. In third and fourth kṛti the phrase 'mgpds' is found. The phrase 'pdmg' is found in all
the four kṛti-s. The similar phrases such as 'snnd', 'nndd', 'ndd', 'nnd', 'sndd', are found in all the kṛti-s.
The major findings in his kṛti-s are the application of madhya kāla sāhitya found in the first three kṛti-s,
were we find the tāla has 14 letters at the middle of the tāla along with the prasa.
In the kṛti of Śri valmīka liṅgam, we find tri sthāyi sañcāra-s in madhyama kala sāhitya and the rest all
the kṛti-s of madhyama kala sāhitya we find only two sthāyi-s.
Conclusion
This paper was an attempt to understand the construction of the kṛti-s by Dīkṣita in the rāga
Kāmbhōji. Being one of the major rāga-s, it is noteworthy that three of the compositions that Dīkṣita
composed are set to aṭa tāla, which is comparatively a tāla with longer duration and having four kriyā-
s. It has been tried to analyse the structure and organization of the compositions with reard to
melodic, text and tāla. From the study it is understood that there has been no repetitions and each
composition has an individual and uniqueness, bringing out the rāga svarūpa.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Śrī Muttuswāmy Dīkshitar’s Compositions on unsung deities

Ragini.A.R <[email protected]>
Śrī Muttusvāmi Dīkṣita (1775-1835) and Kṣētra Kṛti-s

Muttusvāmi Dīkṣita, was the youngest composer of the Karnātaka classical music trinities
Tyāgarāja and Syāma śāstri who were contemporaries in the 18th century. The trinity composed many
kṛti-s brimming with philosophy and creativity, in their own effervescent styles enriching the Karnātaka
classical music base. Dīkṣita, has composed over thousand [2, 3 ] kṛti-s on the deities of most of the
temples he visited with sāhitya mostly in Sanskrit. These are called as Kṣētra kṛti-s. These
compositions are a comprehensive guide to the place and gives full details of the place. Some of them
stand as exclusive references available. Although, Dīkṣita worshipped Lord Subramaṇya as the main
deity and was a Śri Vidyā upāsaka, his Kṣētra kṛti-s present the deity of the place completely, with
high spirituality taken from ancient scriptures through music, making the compositions as dhyāna kṛti-
s. Associations to philosophy are clearly mentioned without many deliberations. The compositions
highlight the rich prosody having alliterations, declensions and personifications. Some of them have
samaṣti charaṇa4and graha svara passages explaining older practices and traditions thus, playing a
major part in harnessing the past and anchoring them to the present.
COMPOSITIONS
1. Saṇdhyā dēvīm Sāvitrīm -Rāga Dēvakriya, Ādi Tāla
Sandhyā Dēvi is perceived as collectively meditating upon the upon the three forms of the supreme
mother, as Gāyatri - the goddess of Vēda-s, as Sāvitri - dispelling the darkness of ignorance and as
Sarasvati- the deity of learning, wisdom and arts .The goddesses are worshipped during the transition
of the Sun as dawn, noon and the dusk . This prayer is called Sandhyā Vandanam which brings in
purity in thought, word and deed bestowing Trikarana Suddhi to the worshipper.
This kṛti is a sole composition on Sandhyā dēvī and also one of the rare kṛti-s on Sarasvati
dēvi. Also, brings about the fact that Gāyatri, Sāvitrī and Sandhyā are manifestations of Sarasvati.
Gāyatri maṇtra is the universal prayer enshrined in the Vēdās and Sarasvati is the goddess of Vēdas.
The phrases saptasvara māthruka rūpinīm and sakāra rūpinīm in the kṛti bring out that since sapta
svara-s are the essence of the Vēdas and the Gāyatri maṇtra, one who recites Gāyatri maṇtra
internalizes a journey in Nādōpāsana. The Sarasvati Rahaṣya Upaniṣad extols Saraswathi as self-
luminous, as one who hails from most auspicious abode, one who removes our spiritual ignorance and
causes realization, one who shines our intelligence by her arousal, one who is the cause of our
speech, one who shows her essence only in the contemplative inner world, one who is understood
only by divine experiences and one who cannot be recognized (without contemplation) although she is
4 Just one Charana following the Pallavi, there are no anupallavi-s in the kṛiti
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near us. For all the above reasons, she is called ambītamē (great mother), nadītamē (Great River) and
dēvitamē (great creative divinity).
Dīkṣita, references to all these above attributes with the phrases -rupiṇām, tatpada lakṣyārtha
rūpinam, vindhyāchala nivasita5, tamōpahārinīm, Guruguha6sannuta varadāyinīm.
The aspect of Lakśmi Dēvi as the goddess of wealth through dhaninīm and as Māya is shown in the
phrase gōvinda jananīm* , Śrī Vidya schools following Kulāchāra and Samāyachāra tantras refer her
as hidden (gupta) and traditional, which is mentioned in the phrases Gupta tara mārgakula yōgini and
samayāchāra pravartinīm.
Rāga Dēvakriya
Ā: S R2 M1 P D2 S ; Av: S D2 P M1 R2 S
Also known as Śuddha Sāveri in Gōvindāchārya-s mēla paḍhati is named as Dēvakriya in
Vēṅkaṭamakhi paḍhati. This rāga is an upāṅga rāga of 28th rāgāṅga rāga, Harikēdāra gauḷa.
The kṛti starts emphasizes the concept of sakāra rūpinīm by starting on the sthyāyi svara ‘Sa’ .
The usage of ṛṣabha on Gāyathrim highlights the word. The Madhyama kāla sāhithya is bright and
śhadja is used to start the phrase Saptasvara.
Prosodic forms in the kṛti :

Some prosodic forms of Pratyaya7, Yamakālankāra8, Yati9, Prāsa10, Mudra11, Swarākśāras12 as found
in the kṛti [4] are :
5 Sarasvatī temple in Vindhyāchala, *also seen in the Kamalāmba kriti- śri Kamalāmbikāyām Bhaktim
Karomi- Sahāna, Seventh Avarana-Ashtara , **as the one who gives pleasure to senses, as Lord
Krishna’s sister who helps him vanquish Kansa and resides in the mount Vindhyās,4 which has been
cited in Lalitāsahasranāma from Brahmāndapurana along with the (thousand names of Goddess
Lalitā Maha Tripurasundari) as Sarasvati, Brahmāni, Gāyatri, Sandhya and Sāvitri.
6 Guru Gīta,Skāṇda Purāna of Sage Vyāsa ; the meaning of Gu is darkness and Ru the one, that
dispels it and brings in light. In Sri Subrahmanyaya Namasthe, Rāga Kāmbhoji, Dīkśita praises Lord
Subrahmanya (Guruguha) with the syllables of the Gāyatrī mantra, thereby also suggesting that
Gāyatrī has bestowed upon him the boon of safeguarding the Vēdas. Referred also in Taittarīya
Āranyakā.
7 Declension in Sanskrit grammar [7]
8 Word occurring once or more in a section with different meaning [7]
9 Division of a word in a composition by a syllable which might be same or different [7]
10 Alliterations and rhyming words [7]
11 Indicates signature of the composer, place and rāga [7]
12Matching syllables in swara and sahithya [7]
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Prosodic forms Illustrations
Vibhakti Pratyaya Dwitīya vibhakti
Yamakālankāra saptasvara mātṝkā rūpṇīm

tatpada lakśyārtha rūpṇīm
gōvinda janani
Yati samsāra duhkha śhamanīm dhaninīm | samayāćāra

pravarttinīm
Prāsa- Adyākṣara (alliteration in the first letter) Vindhyāćala nivāsita vishālinīm vidhi guruguha sannuta
varadāyinīm
Antya and Anu (alliteration and rhyme of last
letter) viṣālinīm, varadāyinīm, yōginīm, naḷinīm,
tamōpahāriṇīm.
Vṛṣabha - sampradāyinīm. rūpiṇīm, dhaninīm, pravarttinīm
sandhyā dēvīm sāvitrīmvara Gāyatrim Sarasvatim
Śarabha- bhajēham
Vindhyāćala nivāsita vishālinīm vidhi guruguha sannuta
varadāyinīm
guptatara mārga kula yōginīm guṇinīm gōvinda jananīm
naḷinīm
saptasvara mātṝkā rūpiṇīmsamsāra duhkha shamanīm
dhaninīm
Mudra Vāggeya mudrā - Guruguha

sthḷa mudrā - Vindhyāchala Nivāsini
Swārākṣara Ś D D,DS PD,P |D P PM P,D | S ||

combination of * Śuddha - Same sound and Sa*ndhyā dē** vim |sa vi |thrim ||
**Súćita -different sound S R DPM R MRM |P D S R MRS |
sa*pta sva r mā*trk |sam sā*ra dukha |
Table 1 : Prosodic forms and illustrations – Saṇdhyā Dēvi [4]
2. Bhūśāpatim - Rāga Bhūṣāvati, Rūpaka Tāḷa

Although, many of the composers have compositions on the Tṛimūrti-s together, it is only
Dīkṣita who has composed this kṛti in praise of Lord Brahma exclusively. This kṛti is said to be
attributed to the deity in the rare 1300 year old shrine in Virinchipuram with “Viriṅchi” as the other
name of Brahma. According to the Advaitha philosophy, Brahma is the source and creator of all beings
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on this earth, along with Viṣṇu and Mahēshwara responsible for sustenance and destruction, the trio
form the Tṛimūrti-s of the Hindu religion.
In this kṛti, Dīkṣita presents the theory of Brahma as the creator of the entire universe through
Advaitha philosophy as Bhūshāpatim, one who takes care of Bhūmi and Ākāsha tatvas . Paramādvaita
vichāram, Vishva Śrishtikarttāram, Virātswarūpakam, dharādi bhūtādhāram also refer the same
concept. References to the deity as per the Purāṇās, as the consort of Goddess Sarasvati, called
upon by Lord Viṣṇu and worshipped by other Gods have been made through Maṇju Bhāśāpathim,
Sēśānga śayanānutam, Parāśarādyupachāram, Sēśadēva Sannutam. Iconographical elements of the
lord as the one with brilliant appearance, holding a rosary and seated on the lotus seat have been
captured through Dhīram, Virājamāna sharīram, Dhātaram manihāram, Sarōjāsanam. Also, the
concept of him being the eternal preceptor, as a teacher to Lord Indra, and the one who bestows
boons to Guruguha, is referenced through Vēda- Vēdanta Sāram, Purandarādyadhikāram,
Sadguruguha Prachāram.
Ā : S R2 G3 M2 P D2 N2 S ; Av: S N2 D2 P M2 G3 R2 S
This Rāga is 64th Rāgāṅga Rāga. It is said to be highly vibrant and filled with spiritual energy,
can be sung at all times and in all the octaves. It has a distinctive melodic entity, which is very pleasing
to the ears and promotes a meditative effect. Named as Vāchaspati in Gōvindāchārya’s mēḷa paḍathi,
the dhaivatha is plain and Niṣādha has a softer gamaka.
Dīkṣita must have chosen to compose the composition in this Rāga, as it has been generally
associated with Bṝhaspathi, or Lord of speech (Bhāṣāpathim) .The Kṛti begins at the amśa svara of the
rāga-panćama , the usage of the plain dhaivata with no oscillation to denote Bhāṣāpathim makes it
sound very majestic (D D N P D - Bhāṣāpathim). In the carana, Usage of Vādi-Samvādi svara-s as :
R-D highlights the sāhithya Virāja
G-D highlights the sāhithyaPurāna and Phala Dātaram,
M-N highlights the sāhithyamani.
Vibhakti Pratyaya Dvitīya vibhakti
Yati Bhūshāpatim Manju Bhāshapatim bhajēham

Sēshānga shayananutam asēsha dēva sannutam
Yati Sēshānga shayananutam a | sēsha dēva sannutam (splits the Tāḷa in

atīta) Purandarādyadhikāram
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Prāsa- Adyaakshara (alliteration Bhūshāpatim Manju | Bhāshapatim bhajēham

in the first letter) Sēshānga shayananutam a | sēsha dēva sannutam
virātsvarūpākāram | vishva srshitikāram
dhārādi bhūtādhāram | dhātāram manihāram
Purandarādyadhikāram | pūrnaphaladātāram
Sarōjāsanam Dhīram | sadguruguha Prachāram
Bhūshāpatim, Bhāshapatim, virātswarūpākāram, vishva srshitikāram,

Upachāram, Vichāram, bhutādharam,manihāram, adhikāram,
phaladātāram
Aṇtya and Anu (alliteration and
rhyme of last letter)
Mudra Vāggēya mudrā – Guruguha

Rāga mudra - Bhūśāpatim in the Pallavi indicates the rāgaBhūśāvati.
Swārākśara Pallavi :
combination of * Śuddha - Same PGR |R S N S PM GR |D D N P D |P PM GRG ||
sound and **Súćita -different Bhūshāpa |tim man ju |bhāshāpatim |bhaje ham ||
sound Anupallavi :
Ś S ND N | S ND N DM | P D NS R |S N D ||
Se** sh*ān ga| sa*yanutama |sē sha deva|sa*nnutam ||
Ćarana
SR SG |P G R | P M G RRSN DPDN |S R G ||
virat swa**ru |pā*ka ram**|vi sva sr ** shti |karttaram ||
DN DPM DP GR |S D, GRG D, DMP ||
Purandarā dyadhi kāram|pūr naphala dā taram ||
S RG PMGRS ND PM |S, ND NP, MGRG ||
sa*rō jā sanam dhīram |sa*d guruguha prāchāram||
Table 2 : Prosodic forms and illustrations - Bhūśāpatim [4]
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3. Renukādēvi Samrakśtōham - Rāga Kannada Bangāḷa, Miśra Jhampe

This kṛti is composed on the deity Rēnukādēvi, mother of Paraṣurāma and wife of sage
Jamadagni of Vijayapuram located at the outskirts of Tiruvārur. It is a sole and extant kṛti on both the
deity and the Rāga.
As per mythology, she is known for her devotion to her husband. She is revered as the custodian
goddess in the rural belts of Karnātaka, Andhra Pradesh, Tamilnādu - states of South India as
Māriyamman, Yellamma and other female deities. Also, in śri Vidya Upāsaṇa, she is hailed as
Chandamāsta, or Prachaṇda chaṇdika[6], the sixth level deity of the Daṣamaha Vidya, adorned with
musical virtues representing Indrāṇi Śakthi, residing in the middle of the Śri ćakra and is responsible
for creation.
Phrases -Paraśurāma Jānani, vēṇu vādyādi yuta, Kōṇatraya Vāsini bring out the above details. The
name of the Rāga is brought out musically through the phrase Kannaḍa Bangāḷe gāndharva bhañjani
as the one who excels the Gāndharva-s in singing Kannaḍa Bangāḷa.
Dīkṣita-s kṛti in Kannaḍa Bangāḷa is a testament to the fact of him as an upholder of tradition and that
his compositions have revived ancient rāga-s and concepts - as this is the only composition which
explains the Rāga post 1750 AD13 . Secondly, this is one out of the four compositions of Dīkṣita which
have explained the concept of Graha Svara14. Graha Svara refers to the tonic note. In today’s practice
‘Sa (Śadja)’ is the tonic svara for most of the rāga-s, there were many rāga-s which could have other
svaras as the Graha Svara. Kannaḍa Bangāḷa has ‘Ga (Gāndhāra)’ as the tonic svara and is a
gāndhāra graha rāga.
As seen in the table below, the graha note for a rāga has to be sung in the position of śhadja.
Subsequent svara-s have to be shifted accordingly as per the scale of the rāga. So, here Gāndhāra as
a graha svara takes the position of Śadja. In the case of Kannaḍa bangāḷa barring Niṣādha all other
svara-s occur. So if Ga takes on Sa as the tonic, Ni appears in the scale of the intoned due to this
alignment as a valid svara .This concept has been explained by Dīkṣita through a Graha Svara
Chittasvara passage which is unique to his kṛti-s. The intoned svara needs to be presented as a
sāhithya format in the Chittasvara.
13 Ravi Rājagōpalan’s summary of TM Krishna’s lecture demonstration in

http://guruguha.org/wp/?p=1971
14 Graha Swara is different from Graha Bheda as there is no alteration of frequency done to derive a
new rāga. It is only normalization of the swarās.Sangīta SaṂpradāya Pradarshini mentions 192 ragas
out of which 23 feature a non śadja note as a graha swara. Out of these 23 ragas, Muddusvāmi
Dīkshita has composed graha svara passage for the following ragas/kritis.-Gēyahejjuji – rāmacandra
Bhaktam, Revagupti – sadāvinata sādarē, Kannadabaṅgāla – rēnukā dēvi, Gurjjari – Gunijanādinuta.
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Graha Svara Innotation
Svara as per scale S R G M P D
Intoned svara G M P D N S
Graha Svara D M P m d d m p g R DdS RmMg GrSrMmgmmp ggrsdSddPmg

as per scale g | r s | d S || | g r | m g M || d |Ś | ś r m g || r | r s | s r m m ||
Intoned svara S D N d s s d n p p M SsG MdDp PmGmDdpddn ppmgsGssNd

| m g | s G || | p m |d p D || s |G | g m d p || p m | m g | g m d d ||
Table 3 : Graha Svara Chittēsvara passage[5]: -Rēnukādēvi
Here, since the graha note is being sung instead of the Shadja, occurrence of Niṣhāda is seen
in the rāga. The Caraṇa points out to the Svara and Graha is indicated in the phrases highlighting the
vāggēya and rāga mudra-s. (d s r m - guruguha), (D R S R M G M - Kannada bangāla.
Also, this kṛti has a Samaṣti caraṇa in place. The composition is in Miṣra Jhampe, but the popular
rendition of the kṛti currently, is in Khanda ćapu. This seems to alter the pace of the composition and
depletes the jāru gamaka-s present and sounds it more like a composition in Malahari.
Rāga : Kannada Baṅgāla

Ā : S R1 M1 P D1 S ; Av: S D1 M1P M1G3 R1 S
This Rāga is an ancient, Upāṅga-śādava, niśāda varjya, gāndhāra graha rāga, janya of 15th
Rāgāṅga Rāga Māḷavagouḷa. It is to be sung early in the mornings.
Jāru gamaka-s are the highlight of this rāga. It sounds more like Malahari if their melodic phrases are
not addressed right. Below table accounts some of the phrases part of both the Rāga-s.
Rāga Prayōga in Prayōga in Prayōga Not to use Notes

ĀrōhaNa AvarōhaNa
Kannada bangāḷa d/mp, srmgmdp, pgrs, sdmpgrds rmpds, srgm Dhaivatha has a
rmgmds long note
Malahari srm, srmpds, pmgrs Jhanti Dhaivatha is

grsrgs used.
Table 4 : Rāga differences[5]
The kṛti starts with the stoic Dhaivata and stands well with long notes of both Dhaivata and
Madhyama making it sound very peaceful.
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Vibhakti Pratyaya SambōdhanaVibhakti
Prāsa- Adyaakshara (alliteration Rēnukā Vēnu

in the first letter)
Mudra Rāga : Kannada BangāLa

Vāggeyakāra: Guruguha
Sthaḷa : Vijayanagara
Swārākśara Pallavi :
MgmdS |M D M P G R S|
mā*nikyabhu | mā*dhu ra rasa bhū|
Table 5 : Prosodic forms and illustrations - Rēnuka Dēvi [4]
CONCLUSION
As Rājaji opined "Every Kṛti is a beautiful temple in which the great composer has installed the
God of his heart for worship by those who sing and those who hear.”Most of Dīkṣita’s Kṣētra kṛti-s are
sole and extant compositions of the deities who were unsung previously and are worshipped today,
through his compositions. His intuitiveness to compose on all the deities he visited, seamlessly
integrating the richness of the rāga-s and concepts from the past with the usage of Sanskrit as a
language to exhibit concepts of Maṇtra, Taṇtra ,traditions, ṣthala Purāṇa-s give the listener a visual
perception of the divinity behind the Kṣētra, making them dhyāna kṛti-s for those who sing and hear.
References
Books
1. Sambamoorthy.P South Indian music Chennai, The Indian Music Publishing house. Book I-
2013, Book II-2010, Book III-2011, Book IV -2010, Book VI-2003.
2. Bangalore S.Mukund (1989). Sangeeta Lalithya Lahari, Bangalore
3. Ramakrishna, Lalita (2006). Krti Samskrti Kalpataru Research Academy, Bangalore
4. Rao, Govinda T K (2003). Compositions of Muttusvāmi Dīkṣita, Gyanamandir Publications
5. Dikshitar, Subbarama (2008). Sangeeta Sampradāya Pradarshini Cakras 1 to 4
6. Durgadas (Rodney) Lingham, Secrets of the Mahat: The Cosmic Intelligence
7. Shachidēvi. T, Shārada T (2006). Karnataka Sangeeta Darpana-5, Śrinivāsa Prakāshana
8. R Hemalatha (2002) A study of the Rāgāngarāga-s in the Sangita-Sampradaya-Pradarshini
188
Journals
 J Shivashankari, Dr Meera Rajaram Pranesh. (2015), Śrī Muttusvāmi Dīkṣitar’s compositions
on Goddess Saraswatī IOSR-JHSS Sep PP28-32
Web references
 http://www.naadhabrahmam.com/GayathriMaṇtra.aspx
 http://Śrigurugita.org/category/guru-gita/
 http://guruguha.org/wp/?p=1971-
 https://sreenivasaraos.com/tag/muthuswami-dikshitar/
 http://ibiblio.org/guruguha/ssp_cakram1-4.pdf
 https://www.google.co.in/amp/www.thehindu.com/features/friday-review/margabandhisar-
temple-in-virinchipuram/article6639736.ece/amp/
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Elaboration Of Rāga Ālāpana With Śōdaṣa Gaṇapati Kṛṭi-S Of Muttusvāmi Dīkṣita

Ramani R <[email protected]>
Introduction
Rāga elaboration is rendering of a Rāga in full detail using all Saṅgati-s and svara-s constituting the
Rāga Svarūpam. This paper discusses the Rāga elaborations in Muttusvāmi Dīkṣita’s śōdasa
Gaṇapati Kṛṭi-s . Muttusvāmi Dīkṣita Kṛṭi are famous for Rāga elaborations and are usually set in
Chouka kāla. The Śōdasa Gaṇapati Kṛṭi are an exception to this are mostly set in Durita Kāla with
only the śri Rāga and Navarōj Kṛṭi in Chouka kāla. He used a variety of Tālas to set the rhythm for
these Kṛṭi, with seven of them in Ādi Tāla, four of them in Rūpaka Tāla, two in Khaṇda Chāpu Tāla,
one in Tripuṭa Tāla, two in Ēka Tāla and two in Miśra Chāpu Tāla. The nineteen Kṛṭi-s are odes to the
sixteen forms of Gaṇapati installed in Tiruvārūr Tyāgarāja Svāmi temple most of them containing the
name of the Rāga in which they are set in. He used all the Ghaṇa Rāga-s in these compositions
which include: Nāṭa, Varāḷi, Ārabhi, Gauḷa, Śri Rāgam. They are:
No. Name of the Kṛṭi Gaṇapati Form Rāga TĀLA
1 Vātapi Gaṇapatim Vātapi Gaṇapati Hamsadhvani Ādi
2 Pañcha Mātaṅga Mukha Pañcha Mātaṅga Mukha Malahari Rūpaka
3 Śri Mūlādhāra Mūlādhāra Gaṇapati Śri Rāgam Ādi
4 Maha Gaṇapate Maha Gaṇapati Naṭa Nārāyani Ādi
5 Maha Gaṇapatim Manasa Maha Gaṇapati Nāṭa Ēka
6 Śri Maha Gaṇapati Maha Gaṇapati Gauḷa Miśra

Chāpu
7 Maha Gaṇapatim Maha Gaṇapati Tōdi Ādi
8 śakti Sahita Gaṇapatim Sakti Gaṇapati Śaṅkarābharana Ēka
9 Uchiṣta Ganapatau Uchiṣta Gaṇapati Kaṣirāmakriya Ādi
10 Gaṇanāyakam bhaje Gaṇa nāyakaya Rudrapriya Ādi
11 Śvēta Gaṇapatim Śvēta Gaṇapati Rāga Chūdāmani Tripuṭa
12 Rakta Gaṇapatim Bhaje Rakta Gaṇapati Mōhana Ādi
13 Ganarājena Rakṣitāham Ganarāja Ārabhi MiśraCh

āpu
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14 Siddhi Vināyakam Siddhi Vināyaka Chāmaram Rūpaka

(Shaṇmukha Priya)
15 Gajāṇanayutam Gajaṇana Tōyavēgavāhini Ēka

(Chakravākam)
16 Vallabhanāyaksya Vallabha Gaṇapati m Bēgada Rūpaka
17 Lambōdarāya Lambōdara Varāḷi Khaṇda

Chāpu
18 Śri Gaṇanādham Gaṇanādha īśa Manōhari Rūpaka
19 Hastivadanāya Hastivadaṇa Navarōj Miśra

Chāpu
Śri Gaṇēṣatparam in Ārdradesi Rāga, Jhampa Tāla, Gaṇēṣa Kumāra in Jhenjūti Rāga, Ādi Tāla and
Karikālabhamukham, Sāveri, Ādi Tāla are considered to be a part of the Śōdasa Gaṇapati Kṛṭi set,
instead of, śakti Sahita Gaṇapatim, Śaṅkarābharana Rāga, Tisra Ēka Tāla, Rakta Gaṇapatim
Bhajēham, Mōhana Rāga, Ādi Tāla and Lambōdarya, Varāḷi Rāga, Khaṇda Chāpu Tāla according to
some authors.15
Description Of Kṛṭi
1. Vātāpi Gaṇapatim- Hamsadhvani Rāga-Ādi Tāla
This Gaṇapati form has a historical and geographical significance. After winning the battle over
the Chālukya in 7th century A.D., the Pallava Monarch Narasimha Varman is reported to have
brought this idol from Vātāpi, the capital of the Chālukya kingdom. The Rāga of this Kṛṭi,
Hamsadhvani which is a derivative of Śaṅkarābharana Rāga, was created by Śri Rāmasvami
Dīkṣita, father of Śri Muttusvāmi Dīkṣita. The Mūrchaṇa of the Rāga is: SRGPNS/SNPGRS. This
is an Upāṅga Rāga, Audava Rāga and is Madhyama, Daivata Varjya.
This Kṛṭi is a fine example of Rāga elaboration, as it follows the classic way of rendering a Rāga,
where, in the Pallavi one renders the Ākshiptika, followed by each Saṅgathi incrementally adding
to the Rāga Swarūpam. This is an elaborate Kṛṭi set in Madhyama kāla and is one of the highly
sung Kṛṭi of Muttusvāmi Dīkṣita because of the construct of the Rāga and the meticulousness of
the composer in creating the notes of this Kṛṭi. This Kṛṭi has a beautiful Chiṭṭasvara which is
rendered by many musicians; however there have been renditions of this Kṛṭi without the
ChiṭṭaSvara also. Gāndhāra and Niṣhāda are Jīva svara-s for Hamsadhvani, and this Kṛṭi follows
the above structure beautifully, where it starts with Gāndhāra and ends with ṛṣabha. The Rāga’s
15
(Seetha, 1981)
191
essence has been beautifully captured in the Anupallavi and Caraṇa so much so that one can
learn Rāga elaboration of Hamsadhvani by just learning to render this Kṛṭi.
2. Pañcha Mātaṅga Mukha- Malahari Rāga-Rūpaka Tāla

This Kṛṭi is an ode to the five faced Lord Gaṇapati and is set in Malahari Rāga which is a
derivative of Māyāmālavagouḷa Rāga. The Mūrchaṇa of this Rāga is SRMPDS/SDPMGRS. This
is an Upāṅga Rāga
This Kṛṭi also has Anu Pallavi, Caraṇa with Madhyama kāla sahityam. The Jīva Svara-s of
Malahari Rāga are Pañchamam, Daivatam and ṛṣabha. This Kṛṭi eloquently depicts the travel of
Malahari Rāga from Pañchamam to Śhadjamam along its course from Pallavi to Caraṇa.
3. Śri Mūlādhāra- Śri Rāga- Ādi Tāla

This Kṛṭi describes the Mūlādhāra Vināyaka who resides in the Mūlādhāra Chakra, which is the
first Chakra of the Shad chakras in our body. It is significant that, the idol of this Gaṇapati form is
situated in the Sanctorum of Tiruvārur Tyāgarāja temple enclosed in the idol of serpent. The Kṛṭi
is perfectly tuned to Śri Rāga. This Rāga which was considered as a Mēḷa Rāga according to the
Asampūrna Mēḷa Padhati of MuttusvāmiDīkṣita, is currently being considered as a derivative of
the Kharaharapriya Rāga. The mūrchaṇa of the Rāga is: SRMNS\ SNPDNPMRGRS. The is a
Rāgāṅga, Ghaṇa Rāga and has Śaḍja Graha. There are two rare Rāga Ranjaka Prayogās in this
Rāga: PDNP and RGRS. The mūrchaṇa is Gāndhara Varjya in Ārohana and Gāndhara Vakra in
the Avarōha.
This Kṛṭi is set in Chauka kāla, a significant style of Muttusvāmi Dīkṣita’s Kṛṭi. The Jīva Svara-s
of this Rāga are ṛṣhabha and Niṣhāda. This Kṛṭi starts with ṛṣabha, and the entire Rāga
Swarūpam is illustrated in this briefly.
4. Maha Gaṇapate-Naṭa Nārāyani Rāga-Ādi Tāla

This Kṛṭi describes the Maha Gaṇapati form in Naṭa Nārāyani Rāga which is a rare Rāga and a
derivative of Hari Kedāra Gauḷa Rāga. This Kṛṭi, unlike the other Kṛṭi consists only of Pallavi and
Samiṣhti Caraṇa without Anu Pallavi. ṛṣhabha is the Jīva and Nyāsa (ending note). Madhyama,
when sung as Mṛudu Madhyama would resemble Sama Rāga, hence it is rendered only as Graha
Svara. Natanārāyani’s mūrchaṇa is SRGSRMPDS/SDPMGRS. It is a Shādava Rāga and
Niṣhāda is varja. Gāndhāra is vakra in the arōha. Jumps in the Rāga’s movements such as:
RdSR\pdSR- Madhya ṛṣhabha to Mandra Daivata and Pañchama; Spdpmgr and SSmpdpmgr –
Tāra śaḍja to Madhya Pañchama or Madhyama- make the Rāga beautiful. The ChiṭṭaSvara of this
Kṛṭi has been sung by some musicians while some of the musicians render the Kṛṭi without it. This
Rāga can not be elaborated in detail because of its scalar structure and requires great expertise
to be rendered, as it is very similar in structure to Sāma Rāga.
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Apart from this Kṛṭi, the Maha Gaṇapati form is also described in two other Kṛṭi Maha Gaṇapatim
Manasa in Nāṭa Rāga, Śri Maha Gaṇapati in Gauḷa Rāga, both of which are Ghaṇa Rāga-s.
There is a fourth Kṛṭi describing the Maha Gaṇapati form in Tōdi Rāga.
5. Sakti Sahita Gaṇapatim -Śaṅkarābharana Rāga-Tisra Ēka Tāla

This Kṛṭi describes the śakti Gaṇapati form composed with NottuSvara, which is an exclusive
Muttusvāmi Dīkṣita set in Śaṅkarābharana Rāga. This is a very simple Kṛṭi devoid of Rāgamuḍra
and can easily be sung by novice musicians. This is set to Tisra Ēka Tāla. It has an uncanny
resemble to western music. This is a Rāgāṅga Rāga, and the 29th Mēḷa with a Mūrchaṇa
SRGMPDNS\SNDPMGRS.
6. Uchchiṣta Gaṇapatai- Kāṣi Rāmakriya- Ādi Tāla

This Kṛṭi describes the form of Uchchishta Gaṇapati which is found in Nagēṣvara Swamy temple
in Kumbhakōnam. He described the Gaṇapati in Vāmāchara form associated with Śri Vidya
Upāsana which has profound tantric significance. In this Kṛṭi he mentioned about the instruments
Vīna, Vēnu, Bhēri all of which can be played by Uchchiṣta Gaṇapati . The Mūrchaṇa of this Rāga
is SGRGMPDS / SNDPMGRS. This is a Sampūrna Rāga was considered as Mēḷa Rāga before
18th century, after which it has lost its name. This Rāga is very similar to Kama Vardhini (51 Mēḷa
Karta) and its derivative Paṇtu Varāḷi, as the Svara sthana-s, ārōha-s and avarōha-s are same in
these three Rāga-s, with difference in their Prayōga. This Kṛṭi with aadhara Śaḍja with frequent
use of Datus SMSGSP,DG and the Caraṇa starts with GRMG. It has Anu Pallavi and Caraṇa and
ends with Madhyama kāla Sahitya.
7. Gaṇanāyakam Bhaje-Rudra Priya Rāga-Ādi Tāla

This Kṛṭi describes the Gaṇa nāyaka form in Rudra Priya Rāga, however the Rāgamuḍra is
absent from it. This melodious Rāga is very similar to Pūrna Śhadjama though, it is derived from
Śri Rāga and is a Bhāśāṅga Rāga, Sampūrna Rāga according to the Asampūrna Mēḷa Padhati of
Muttusvāmi Dīkṣita, while Pūrna śhadjama is derived from Nata bhairavi Rāga. The difference lies
only in the arōha as in Rudra Priya Rāga the Mūrchaṇa is SrgmpdnnS/SNpmGRS, where the
Diavata is absent from the Avarōha and Niṣhāda is used twice in the Ārohana, while in Pūrna
Śhadjama it is SRGMNS/SNPMGRS. The Jīva svara-s of this Rāga are ṛṣhabha and Niṣhāda.
ṛṣhabha is also the graha Svara of this Kṛṭi. This Rāga has little scope for Svara prasthana and
hence is limited to Durita Kāla Svara kalpna and not Rāga elaboration.
8. Śvēta Gaṇapatim -Rāga Chūdāmani-Tripuṭa Tāla

This Kṛṭi describes the Śvēta Gaṇapati form which is said to be installed in Tiruvalañjulai near
Svāmi malai installed by Indra and made from sea foam. This Kṛṭi consists of Pallavi and Samiṣhti
Caraṇa. The Rāga Chūdāmani Rāga is the 32nd Rāga Mēḷa and is a Rāgāṅga Rāga, VivĀdi
193
Rāga. The mūrchaṇa of this Rāga is SmrgmppnNS/Sndpmmrs. The Jīva svara-s of this Rāga
are Niṣhāda and Madhyama, while Gāndhāra and ṛṣhabha are vakra svara-s . The use of MGRS,
PDNS are omitted in this Rāga and can be replaced by GMRS, PMRS and SNDP. This is an Ēka-
Kṛṭi Rāga and contains the svara-s Śaḍja, Shatśruti ṛṣabha, Antara Gāndhāra, Suddha
Madhyama, Pañchama, Suddha Daivatha and Kaiṣiki Niṣhāda.
9. Rakta Gaṇapatim Bhajeham-Mōhana Rāga-Ādi Tāla

This Kṛṭi describes the Rakta Gaṇapati form popularly worshipped in Parasurāma kṣētra which
denotes Kērala. According to the Asampūrṇa Mēḷa Paddhati, Mōhana Rāga is a derivative of the
65th Mēḷa, Sānta Kalyani, with a Mūrchaṇa: srgpds/sdpgrs, however, now a days it is considered
to be a derivative of the 28th Mēḷa Hari Kāmbhōji. Both the versions of this Rāga are applicable as
there is no Madhyama in it. This an Audava, Bhāśāṅga Rāga, with Madhyama, Niṣhāda as Varjya
Svara-s. Gāndhāra, ṛṣhabha and Dāivata are the Jīva and Nyāsa Svara-s of this Rāga. Akin to
Vātapi Gaṇaptim, this Kṛṭi has been elaborately constructed with each Saṅgathi starting from the
śhadjama Svara. This Kṛṭi also has a Chiṭṭa Svara with beautiful Muktāyi Svara. Rāga elaboration
of Mōhana can be learnt seamlessly by learning this Kṛṭi alone.
10. Ganarajēna Rakṣhitōham-Ārabhi Rāga-Miśra Chāpu Tāla

This Kṛṭi describes the Gana raja form in Ārabhi Rāga. This Kṛṭi consists of Pallavi and Samaṣhti
Caraṇa and does not have the Rāga muḍra. According to the Asampūrna Mēḷa Paddhati, this
Rāga is a derivative of the 29th Mēḷa, Dhīra Śaṅkarābharana and is a famous Ghaṇa Rāga. The
Mūrchaṇa of the Rāga is: srmpds/sndpmgrs. The Rāga is an Upāṅga, Sampūrna Rāga, with
ṛṣhabha as the Jīva and Nyāsa Svara.
11. Siddhi Vināyakam-Chāmaram Rāga-Rūpaka Tāla

This Kṛṭi describes Siddhi Vināyaka form, worshipped on the Vināyaka Chaturthi festival. This Kṛṭi
set in Chāmaram Rāga clearly describes the significance of Vināyak Chaturthi in detail. There are
two forms of Mūrchaṇa-s prevalent for this Rāga, SGRGMPNS/ SNDPMGRS and SRGMPDNS
/SNDPMGRS. This Rāga is currently being sung as the 56th Mēḷa ShaṇmukhaPriya Rāga. This
Kṛṭi, clearly constructs the Rāga Svarūpa even though it has little Saṅgati-s starting from
Pañchama Svara.
12. Gajananayutam-Tōyavēgavāhini Rāga-Ēka Tāla

This Kṛṭi describes the Gajanana and is devoid of Rāgamuḍra. The Mūrchaṇa of Tōyavēgavāhini
is same as the 16th Mēḷa Chakravākam which is SRGMPDN/SNDPMGRS. However,
Tōyavēgavāhini is considered to be a derivative of Chakravākam now-a-days, as opposed to it
being the 16th Mēḷa according to the Asampūrna Mēḷa Paddhati. The Kṛṭi is rendered mostly in
Chakravākam Rāga. It is a small Kṛṭi with Pallavi and Samiṣhti Caraṇa.
194
13. Vallabhanāyakasya- Bēgada Rāga- Rūpaka Tāla

This Kṛṭi describes the Vallabha Gaṇapati form and does not have the Rāgamuḍra. It is a small
Kṛṭi with Pallavi and Samiṣhti Caraṇa hence, only Svara Kalpanas can be done. This is a
derivative of Śaṅkarābharana Rāga and has two Mūrchaṇa-s SGRGMPDPS/SNDPMGRS;
SGRGRGMPDNDPS/SNDPMGRS. The Bēgada Madhyama is famous as there is an emphasis
on Madhyama in this Rāga. Madhyama and Niṣhāda in this Rāga are very special as they waver
from their sthānas, before transitioning to the next Svara. The Madhyama starts in Gāndhāra and
wavers till Pañcama and comes back to Madhyama without neither being śuddha Madhyama nor
Prati Madhyama. The Niṣhāda rises to Śhadjama and lowers to Niṣhāda without being neither
Kāiṣiki Niṣhāda or Kākali Niṣhāda.
14. Lambodarya-Varāḷi Rāga-Khaṇda Chāpu Tāla

This Kṛṭi describes the Lambōdara Gaṇapati form in Varāḷi Rāga and does not have Rāgamuḍra.
Varāḷi Rāga is a Ghaṇa Rāga and VivĀdi Mēḷa with Mūrchaṇa: SGRGMPDNS/ SNDPMGRS. It is
a small Kṛṭi with Pallavi and Samiṣhti Caraṇa.
15. Śri Gaṇanandha -Īśa Manōhari Rāga-Rūpaka Tāla

This Kṛṭi describes the Gaṇanandha form in Isa Manōhari Rāga and does not have Rāgamuḍra.
This Rāga is a derivative of 28th Mēḷa Hari Kedāragāula Rāga with four forms of Mūrchaṇa-s:
SRGMPDNS/SNDPMRMGRS; SRGMPMPDNS/ SNPMGMRS; SRGMPNDNS/
SNDPMRMGRSR; SRGMPDN/ SSNDPMGRS. This is a vakra Rāga and requires expertise for
Rāga elaboration. However, the Rāga sañchāra is very precisely captured in this Kṛṭi.
16. Hastivadanaya- Navarōj Rāga-Miśra Chāpu Tāla

This is an elaborate Kṛṭi describing Hastivadana form of Gaṇapati in Navarōj Rāga. This is set in
Chouka kāla. It is a Pañchamantya Rāga with similarities to śaṅkarābharana Rāga. The
mūrchaṇa is PDNSRGMP/PMGRSNDP. This Rāga is usually sung at the closing of concerts. This
Kṛṭi shows all the Rāga Prayōga-s, however, because of the truncated notes in this Rāga it cannot
be elaborated.
Conclusion:
Through the above-mentioned Rāga elaborations, one can clearly learn to render a variety of Rāga-s
including 5 Ghaṇa Rāga-s, 3 Prati Madhyama Rāga-s apart from the famous and rare Rāga-s. Each
Kṛṭi has been written with such simplicity that the Rāga Svarūpa and Rāga Sañchāra is very clear to
the musician. Rāga-s like Isa Manōhari and Rudrapriya have been made eternal because of these
Kṛṭi. These compositions are a testimonial to the eloquence of Muttusvāmi Dīkṣita. One needs to
delve into the depths of the compositions by the Saṅgīta Trimūrti-s, to get a complete sense of the
ocean of music.
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References:
 Dīkṣita, S. (1905). Saṅgīta Sampradaya Pradarshini (Vol. I to IV). Hyderabad: A.P. Sangeeta
Nataka AkĀdi mi.
 Seetha, D. S. (1981). Tanjore as a seat of Music (During the 17th, 18th and 19th Century).
Chennai: University of Madras.
 Dr. M. N. DHANDAPANI, D. D. (2007). RAGA PRAVAGAM (INDEX TO CARNATIC RAGAS).
Chennai: THE TRINITY MUSIC BOOK PUBLISHERS.
 Ramani, D. R. (1989). Śōdasa Gaṇapati Kirtanas of Muttuswami Dikshtar (Dissertation). Tirupati
(A.P.): SPMVV.
 V, S. (2008, 31 December). Raga Lakshana Discussions at Music Academy on 31st December
2008. Retrieved from www.wordpress.com: https://śriramv.wordpress.com/2008/12/31/raga-
lakshana-discussions-at-music-academy-on-31st-december-2008/
 Rajagopalan, R. (2016, November 25). Natanārāyani – A melody lost in the forest of time.
Retrieved from Guruguha.org: http://guruguha.org/wp/?p=1388
 Saikrishnan, N. (2013, May 28). Indian Classical Music. Retrieved from blogspot:
http://saidvk.blogspot.in/2013/05/selected-ragam-poorna-śaḍjam.html
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Melodic magnificence of Rāga Sankarabharana in select Vilambakala Kṛtis of Trinity

Sankar Ganesh J <[email protected]>
Introduction
Dhīra Śaṅkarābharaņa is the 29th mēļa of 72 mēļa scheme. It is a mēļakartha rāga and it is the
29th mēļa of both asampūrņa and sampūrņa mēļa pathathi. It is the 5th rāga of the 5th chakra, Bāņa –
Mā. According to Samskṛta tradition, Niśhāda mūrchaṇa (rajani) of Śadja Grama 16 is śaṅkarābharana
and this is seen in Bharatha’s Nātyaśāstra. Technically it is mentioned in the name Dhīra
Śaṅkarābharana.
Kṛṭi is an important musical form of Karnātaka classical music. “kṛṭi stands an example for
absolute Music.”17 The beauty and various aspect of the rāga are unfolded with the decorative aṅga
saṅgati. The aṅgas like pallavi, anupallavi and caraņa are not only mere segments, the various stages
and important aspects of a rāga are unfolded through these aṅgas. Trinity of Karnātaka classical
musicwere great in composing this Kṛṭi form and they have boosted this form to new heights.
Observing the melody of rāga Śaṅkarābharaņam in Kṛṭis, most of the popular kṛṭis are
composed in chowka kāla and madhyakāla. Especially in chowka kāla kṛṭi-s the soul of this rāga is
established with full vicinity of gamaka-s. This paper is intended to highlight the musical expressions
and development of melody of rāgaŚaṅkarābharaņa which are interwoven with the melodic structure
of the following select compositions of trinity, “Svara rāga sudha” of Tyāgarāja,“Sarōjadaļa nētri” of
Śyāma Śāstri and “Akṣayaliṅgavibho” of Dīkṣita.
This paper is to portray the musical eminence of trinity in handling this rāga and unfurl its
beauty through different aṅgas of viḷambakāla kṛṭis in rāga Śaṅkarābharaņa.
Svararāga sudha18 –Ādi – Tyāgarāja
1. This is a chowka kāla kṛṭi composed in Ādi tāla (2 kalai). This is one of the masterpieces of
Tyāgarāja. In this kṛṭi Tyāgarāja exercised the melodic versatility of this rāga especially in
anupallavi.
2. Pallavi commences after two pulses of the total 32 pulses in one āvarta with madhyasthāyi
śadja as graham Svara followed by elongated antara gāṇdhāra. It is followed by the phrase ‘g
r m ,, g’ which manifests the beauty of melody in the beginning of pallavi.
16M.Music Degree course book (I-year) Theory -2 paper-6 History of Music –Samskrta Tradition
(2001-02) Madras University Publication.
17 P. Sambamurthy (2005), Book III,13th edn, P.No .133.
18 R.Rangaramanuja Iyengar (1976), Sri Kritimanimāla, Vol.II.,3rd edn ,R.Rangaramanuja Iyengar
Publication, Chennai ,1976. P.no. 309-311.
197
3. The immediate gap of six pulses in the drutha of the second line after padagarbha (in the lyric
bavargamura the letter ‘ra’comesas padagarbha) gives more beauty to the pallavi of this kṛṭi. It
is followed by the text ‘oh manasa’ gives scope for the enhancement of saṅgati in the ending
part of pallavi. Last saṅgati of the pallavi is with speed Svara passages and which unfolds the
beauty of the rāga.
X 1 2 3
g r s nnsr,g r s n s rg , m g r s rg m,pmg r g m p, d p p g r s n
- - - - swar— - - gā - - - - - ba - - - - - - va r - - - - ga–mu-
i) It is noteworthy to mention the presence of niṣāda in every Svara passages which descends
from tārasthāyi śadja of this pallavi. It is clearly illustrating the version of rāga Śaṅkarābharaņa
handled by Saint Tyāgarāja.
ii) The melodic set up of sāhitya in the anupallavi the lyric and the melody part beautifully go
with. Sāhitya is started after two pulses in the tāla and seen for three Svara-s and there is no
sāhityam for five Svara-s and followed by three Svara-s which are having sāhītya and then
last three Svara-s split into 2+1 has each one sāhitya leading to the padagarbam. The second
part of the anupallavi after padagarbam there is a gap of five notes found and it is followed by
beautiful pratyagada gamaka phrases.
Melody of Anupallavi is very much similar to the melodic set up of ‘Rāgam – Tanam- Pallavi’ (RTP). It
can be explained in tāla pulses like following.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
- - Parama - - - - - Na n - - da - ma
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
Ne - - - - - Ka - ma - la - mu - pai -
‘s n nd dp pm g, mp// g,mr’
Ka – ma- la mu---- pai
a) There are four caraņa-s found in this Kṛṭi. All the caraņa-s have the same melody. If two or
more caraņa-s are found in a kṛṭi, generally muḍra caraņa is performed. But in this kṛṭi the first
caraņa is popularly performed in the concerts due to the scope for niraval in it .
b) From the fourth Caraņa sāhitya, we come to know that Tyāgarāja is well versed with a lakṣaņa
grandha named swarārnavamu which was handed over to Tyāgarāja by Śri Nāradha. The
intrinsic beauty of Śaṅkarābharaņa and its suitability of various lyrical and rhythmic structures
are experimented in this Kṛṭi.
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Akṣaya ḷiṅga Vibho19 – Miśra jāthi ēka tāla – MuttusvāmiDīkṣita

 This is a popular and scholarly composition in rāga Śaṅkarābharaņa and is one of the master
pieces of Dīkṣita. The specialty of Dikshithar kṛṭi-s is the gamaka-s which clearly navigates the
melody. The core of the rāga is well established through the melody of this Kṛṭi.
 The melody is set to Miśra jāthi ēka tala as mentioned in Sangīta sampradāya pradarṣini but it
is now rendered in Miśra cāpu tāla in concerts.
 The first line of pallavi has two saṅgati-s. Pallavi ranges from maṇdra stāyi niṣāda to
tārasthāyi śadjam.
 The very first phrase of pallavi is “ p, m g m” but the melody intrinsic with the anusvara “p”. It
is a perfect example for the madhyama gamaka of this rāga which is with the anuSvara
‘pmpm’. Navigation to melody through gamaka-s and anusvara-s are manifested from the
beginning of this composition. This way of utilizing anusvara-s in the melody is clearly
illustrating the proficiency of the composer in playing vina and it is the emblematic sign of
vainika style.
Anupallavi
 Anupallavi commences with madhyasthāyi pañcama after one pulse of total 7 pulses in one
āvarta. Anupallavi ranges up to tarasthāyi gāndhāra.
Kampitha gamaka of madhyama from pañcama “pmpm”. In the phrase the melody glides from
madhyasthāyi dhaivatha to tārasthāyi śadja and skips nishāda in ascent. Further it glides with the
viśhēsha prayōga ‘S N P’ of Śaṅkarābharaņa from madhyasthāyi nishāda to madhyasthāyi pancama
and skips dhaivatha in the descent.
Caraņa
 It is well known about the treatment of rāga in the caraņa-s of MuttusvāmiDīkṣita’s
composition which is popular for its unique silhouette. The core and profundity of the rāga is
experienced in the melody of caraņa-s in Dīkṣita’s compositions. In this Kṛṭi the nucleus
beauty and cavernous scope of the rāga is embellished in the melody of the caraņa.
 The melody skip nishāda in the descent shows the version of Śaṅkarābharaņa handled by
Dīkṣita
• ⋎ • ⋎
s\ d p p m/d p p , ,/s d d p
ka - la na - - - he - - ma –gi -
In the above Svara passages melody glides to tārasthāyi śadja from madhyasthāyi pañcama
with “ētra jāru” gamaka skips dhaivatha and niśhāda in the ascent. This is similar to the melodic
movement perceptible in Tēvaram hymns in Pazhampancuram.
19 SubbaramaDikhshitar, (1904), ‘Sangitasampradya pradarshini’, Tr B.RajamIyer& S.Ramanathan

(1977) Vol IV, P.no 809.
199
x Ç
s / n d , p m g ,
sa da srutha kal -
i) In the above Svara passage melody glides towards madhyasthāyi dhaivatha with niśāda as
anuSvara in the ascent from madhyasthāyi śadja. Dhaivatha is rendered with “vali” gamaka.
This is a rare prayōga of Śaṅkarābharaņa.
ii) The phrases like ‘s , , m , gm’ p , , n d n , ‘ are interesting to observe.
iii) Rāga chāya prayōga-s add more beauty to the caraņa. This kṛṭi is a scholarly kṛṭi amongst the
other compositions found in rāga Śaṅkarābharaņa. Though this kṛṭi is composed in misra ēka
tāla it is considered as a chouka kāla kṛṭi in this rāga, because of the unique melodic structure
it possesses. The melody in this kṛṭi is with scholarly approach towards rāgaand this kṛṭi
stands as a perfect example for the comparison of Dīkṣita’s compositions into ‘Narikēla
bāgam’.
Śarōjadaļanētri20 – Ādi –ŚyāmaSāstri
i) Pallavi of this kṛṭi commences in Samagraha and melody commences with tārasthāyiśadja is
captive and provides a melodious start to the kṛṭi. Melody ranges up to tārasthāyigāndhāra.
Pallavi embraces two saṅgatis.
ii) The interesting gliding of notes seen in Anupallavi
1. • • • • • • • •
s s , s /s , s s n ns , r g r s n ,
pa ra - gu sē - yaga vara da - -- - yaginī -
- In the first Svara passage, the melody glides to tārasthāyiśadja from madhyasthāyiśadja with
“ētrajāru” gamaka and descends to madhyasthāyinishāda. The samvāditva feature of rāga
Śaṅkarābharaņa excels in the melody of anupallavi. The glide from madhyasthāyipancama to
madhyasthāyiśadja with “irakkajāru” gamaka denotes the immense freedom of melodic
movement. Further the melody glides to madhyasthāyipancama from madhyasthāyiśadja with
“ētrajāru” gamaka which is similar to the melodic movement figuring in Tēvaram. The melody
with ōrikkai gamaka and skips nishāda in the descent beautifully blended with text and results
as swarākshara.
- Caraņa of this melody commences with madhyasthāyipañcama. The melody for the lyric
“Korkalosage’ illustrates the immense beauty of rāga Śaṅkarābharaņa. The melody ends with
madhyastayinishada and suits for pallavi which begins with Tārasthāyiśadja. The elongated
notes show the depth and beauty of Śaṅkarābharaņa.
20Vidhyashankar (1989), ‘ŚyāmaŚāstry’s Compositions’, IIIedn., Parampara, Madras.1989. p.p. 328-

330.
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Conclusion
Trinity handled different versions of Śaṅkarābharaņa in their compositions (eg: Sdp and Sndp
in the descending). Viḷambakālakṛṭi-s stand as perfect examples for emphasizing the soul and melodic
beauty of this raga.
Tyagaraja tested the versatility of this rāga through a variety of melodic applications and
rhythmic patterns in his compositions. Dīkṣita stressed the magnanimity and complexity of this rāga in
his viḷambakāla compositions through the gamaka-s in Śaṅkarābharaņa. Gamaka-s played a vital role
in constructing the melody for lyrics in Dīkṣita compositions and that prominence is clearly perceptible
in ‘Akṣayaḷiṅga Vibho’.
Dīkṣita and Tyāgarāja both have also illustrated simplicity and easy affability of this rāga
through Noṭṭu Svara-s and Divyanāma kīrtana-s. Syāma śāstri used the melody with his own rhythmic
patterns in his compositions. Glides in the melody figuring in the compositions of śāstri emphasizes
the liberated movement of melody in the composition and resembles the melodic movements figuring
in Tēvāram-s tuned in pan Pazhampancuram The simplicity in complexities, scholarliness as well as
its cleanness, user-friendliness and forbearance qualities are exemplified beautifully in the
compositions of the Trinity.
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201
Vinta Raga-s of Tyagaraja with special reference to the Janya raga-s of Kharaharapriya
Sharanyaa Sriram <[email protected]>
Introduction
Tyāgarāja belongs to a galaxy of saints who have made India great. India’s spiritual glory and
trĀdition have been kept alive by him. He has echoed the eternal wisdom of sages through his
compositions. According to trĀdition, Tyāgarāja was presented with Svarārnava, a treatise, by sage
Nārada. There is also internal evidence in his kṛti-s to show that Tyāgarāja mastered the science of
music through the music lexicon –Svarārnava. The story goes like this.
One morning a sage came to Tyāgarāja’s house seeking shelter. He left behind his bundle in
Tyāgarāja’s house and promised to return for lunch after a dip in the river Cāuvery. Tyāgarāja awaited
his return fasting the entire day, but the sage did not turn up. In the night, the sage appeared in
Tyāgarāja-s dream and revealed that he was Narada and he had come to pass on some musical
works from which he could draw some inspiration and fresh perspectives. Svarārnava and NārĀdiyam
were some of the works contained in the bundle.
Tyāgarāja was an inspired composer. Most of his compositions were all product of inspiration.
The notations of these compositions were recorded by his disciples as it flowed eternally. A study of
the available compositions of Tyāgarāja leaves us with twenty two compositions in seventeen rare or
viṇta rāga-s which are janya rāga-s of Kharaharapriya, which had neither existed before his times nor
employed by his contemporaries. They are provided in the table below
Table 1.1
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2. Analysis
Tyāgarāja seamlessly invented many vakra rāga-s which are highly filed with bhāva. His
musical acumen comes to the limelight through the usage of vakra sampūrna rāga-s having entirely
different characters, though born out of the same janaka rāga. Of the 16 Kharaharapriyā janya viṇta
rāga-s, we have 10 vakra rāga-s, 1 niṣāda ntya rāga, 1 each of audava, śāḍava , audava sampūrna
and śāḍava sampūrna rāga-s. Let us consider the analysis of few of these rāga-s as handled by
Tyāgarāja in his kṛti-s .
Āndōḷika
In the kṛti -rāga sudha rasa pānama, Tyāgarāja states that great musicians attain jīvan mukti. The
mastery of Tyāgarāja lies in the choice of the rāga, it fits ideallyinto the context. The rāga is
characterized by the jāru gamaka of the 2 svara-s niṣāda and madhyama. The kṛti starts with niṣāda
followed by madhyama and rests to rishabha. Then the melody descends towards maṇdra sthāyi
niṣāda and ascends upto tārasthāyi madhyama tārasthāyi Sancārās and ends with madhyasthāyi
Śaḍja. Anupallavi starts with the ṛṣhabha ( tārasthāyi ).Sañcārāsare mostly in tārasthāyi and ends
with tārasthāyi madhyama. Caraṇa starts with madhyama, and then goes to madhyasthāyi Śaḍja.
After two lines, melody repeats as anupallavi.Sañcārāsextends from maṇdra sthāyi niṣāda to
tārasthāyi madhyama. tārasthāyi svara phrases and prathyahatha gamaka-s lend beauty to the rāga.
The phrase - r m p ṙ ṙ ṡ n d m , - n , d m r -r m r m s r , s -stand as characteristic phrases.
Sañcāra-s
ṡṙṁṙ ṁṙṡn ṡndm rmrs nsrm rmpn lend more colour to this rāga. The phrase r m p ṙ ṙ ṡn d m ,
„n , d m r „, „r m r m s r , s , stand as characteristic phrases. The combination ṡ n d m r is skilfully built
in this composition. Nowadays many musicians perform pallavi-s in this attractive rāga.
Mañjari
It is a vakra sampūrna rāga. The rāga finds mention in Gōvinda-s Saṅgrahachūdāmani . In the
kṛti Pattividuva radhu,Tyāgarāja asks Lord not to leave his hand. He has begun the kṛti with the rāga
chaya phrase s , g , r , g , m.
The rāga contains phrases like -ṡ n n d d p p m m g g r r- ġŕŕś n d d p r g , r. “p , n , d , n, ś ” ,
is a characteristic phrase of the rāga. Pallavi starts with Śaḍja and ends with maṇdrasthāyi niṣāda
and Caraṇa begins with panchama and ends with maṇdrasthāyi niṣāda . To a layman this rāga would
sound like Kharaharapriyā , since certain vakra phrases are not totally disallowed in a sampūrna rāga.
A simple rāga handled beautifully by Tyāgarāja employs the following Sançārās:
g r g m , - r g , r s ṇ s - s g r g m , - pn d n , - n d d p p m - r g ,g r r , - n d p m g r , s - g r g m p
d n , - m p d n , - p n d n ṡ, - ṡnd , n , ṡ - ṡġṙġṁ , - r g m , - ṁġṙġ,ṙ- ġṙṙṡ, - ṡ n n d d p p m - r g , r -
ṁġṙṡn - p n d n ṡ , - ṡn d p - m g r g , r -s ṇ s - d n s g r g g m , - g r s ,
Jayanārāyani
It is a Śāḍava sampūrna rāga derived from the 22nd Mēḷa Kharaharapriyā. Niṣāda is vaŗja in
203
the arohana. The kṛti “Manavini vinuma” set to Āditāla is composed by Tyāgarāja in this rāga. In this
kṛti Tyāgarāja pleads with Lord to listen to his appeal. Tyāgarāja has rightly chosen the rāga to convey
intense feeling of devotion.
Sañcāra-s
mgrgmp,-rgmpdp-mdppmgr-mgrgmgrs-dsdrgmg-grr,-dsrgmp,
-p d p m p d ṡ d p - p d p d ṡ , - p d ṡṙ , ṙ, - ṡṙġṙġ, ṡṙġṙ, -ṁġṁġṙ, - ṁġṙṡ, - ġ ṙ ṙ ṡ ṡ n n d d p - m p d ṡ n n
ddp-mddppmmggrr,-ḍsr,-sḍrs
JayaManōhari
It is an audava śāḍava upāṅga rāga, Niṣāda vaŗja only in the arohana and panchama vaŗja
throughout. It has slight resemblance with Abhogi and Śriranjani. The rāga was brought to light by
Tyāgarāja through his three compositions “Yajnadulu” set to Ādi tāla, “Ni bhakthi” set to Rūpaka tāla
and śri ramyachithālaṅkāra set to Āditāla.
Sañcāra-s
ndmgr,gmdṡn,-ndd,m,-mgrgm,-mgrgmgrs-ḍsrgm,-m,m,ndm,-
g m d ṡ , - ṡ , ṡ, - d ṡṙ,ṙ, - ṡ ṙ ġ ṡ, ṙ ġ, - ġ ṁ ġ ṙ ṡ n d - m d ṡṙġṙġ, ġṙṡ- dṡṙṡ,ṡ, - ṁġṙṡ,ṡ - d ṡ n d m , - g m
n d m g r , - s r g m g r s , - d r sṇḍṃ, ḍ , s ,
In the kṛti “Ni bhakti bhagya sudha‟ – Tyāgarāja defines the purpose of life. Niṣāda and madhyama
are jīva svara-s and these are also nyasa svaras. Rendering of dīrgha niṣāda and rishabha lend
beauty to this kṛti. Tyāgarāja begins the pallavi with jīva svara niṣāda which also comes as
svarakshara. n , , , , , n d m , m g m , , , m g r g m , , , ni-- - - -bha- - - - kthi bha- - gya- su- dha- - - In
the third line of the pallavi, arohana prayōga is present. r g m , d n ṡ, ṙ ġ ṁ, de- - jan- - ma- mu-
Manōhari
The rāga Manōhari is a śāḍava janya rāga derived from Kharaharapriyā. It is an upāṅga rāga,
niṣāda being vaŗja throughout and it shines more in madhyama kala Sançārās. Svara-s used are
Śaḍja, catuhśruti rishabha, Sādhārana gāndhāra, Sudha madhyama,Panchama and Çatuhśruti
dhaivata.
Sañcāra-s
g m p d ś d p - p m g , r - s r g m g r - g r s ḑ - srsḑ srgmp- p d , d p m - r g g r s - ḑ s r g m p ,
d ś , - p d ś , - m p d ś - ś , - p d ś ŕ , - ś ŕ ġ ŕ, ś - p d ś d ś ŕ ś ŕ ġ ŕ , - ŕ ġ ṁġġ ŕ - ṁġṙ ṡ d ṙṡ d p
In the kṛti Paritapamu‟ – rāga Manōhari, Tyāgarāja reminds the Lord about his promise. Tyāgarāja
composed this kṛṭi in his last days along with one other composition “Paramātmudu” in vagadīswari.
Niṣāda vaŗja of Kharaharapriyā. Manōhari has to be handled with some care, with the prayōga of
niṣāda vaŗja. Tyāgarāja begins the kṛti with the phrase
p , d ś p d , p p , p ,. pa-ritha- - pamu ś , dpmr g , r is a special prayōga. It is frequently used in the
kṛti.
204
ś, , , ś d p m g , r , s r g m. ma--- dhyam- bu-nana- - -

The oscilation of gāndhāra is the special prayōga or main identity of this rāga. Pallavi begins and ends
with panchama. Anupallavi starts with madhyasthāyi panchama and ends with madhyasthāyi
madhyama. Caraṇa begins with madhyasthāyi dhaivata and ends with madhyasthāyi
madhyama.Sañcārāsextends from maṇdra sthāyi dhaivata ascends upto tārasthāyi madhyama.
Musician Rāmnād Krishnan made this song famous. Some flights of this rāga slightly resemble the
rāga kharaharapriyā.
Conclusion
Many kṛti-s in viṇta rāga-s have retained its old form while some have undergone changes.
For instance the popular kṛti “Nādatanumanisham” in Chitharanjani rāga is rendered as a niṣādāntya
version of Kharaharapriyā and treated as a janya of Kharaharapriyā. But the rāga has been mentioned
in ancient texts as a janya of Jhaṅkārdwani(19th Mēḷa). We can find a more recent reference to this in
the Rāganidhi by B.SubbaRao. Senior Musician Dr.Vedavalli has presented this kṛti by treating
chitharanjani as a janya of Jhaṅgāradwani in her audio CD-“Pramanam”. Similarly the kṛti “Rama
nīyada” in Dilīpakam is popularly rendered in Kharaharapriyā. An authentic rendition of the kṛti could
be found in the CD – “Pramāṇam” The rāga Āndōḷika is considered to be a janya of both
Kharaharapriyā and Harikāmboji. The rāga also has another name “Mayuradhwani” in older texts. But
there is nothing contrĀdictory about them. The names of the rāga-s that have come to stay have been
in accordance with what has been found in vālājāpet manuscripts and in the note books of his
disciples as these are approved by Tyāgarāja himself.
Any scale can be termed a rāga only with introduction of the lakṣaṇa-s or characteristics required for a
rāga. Few of the viṇta rāga-s have very subtle or minute differences from its parent rāga or bear
resemblance to a more popular janya of the same parent rāga. In such cases, there is enormous
responsibility on the musician to render the rāga with utmost care. A well trained voice can bring out
the characteristic phrases with precision. In Prof. Sāmbamūrthy’s words, Saint Tyāgarāja had a silvery
voice capable of sweeping flights in all three octaves. His voice was rich in harmonics and tone color
bands which is why we have his compositions in such unique rāga-s. The kṛti-s in these viṇta rāga-s
serve as a gateway to the characteristics of these rāga-s which would have otherwise been lost in
oblivion. Therefore musicians must excise great care while rendering these compositions to preserve it
for posterity.
Bibliography
1. Rāganidhi- vol I to IV by B.Subba Rao
2. Great Composers- Book II- Tyāgarāja by P.Sambamoorthy
3. The Spiritual Heritage of Tyāgarāja- by C.Ramanujachari and Dr.V.Raghavan
4. RāgaPravaham- by M.N.Dhandapani and D.K.Pattammal
Web references
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[1] http://www.ibiblio.org/guruguha/MusicResearchLibrary
[2] http://shodhganga.inflibnet.ac.in
[3] http://www.thehindu.com/entertainment/music/A-liking-for-rare- rāga-
s/article17136522.ece
Audio references
[1] Ekaika kṛti rāga-s of Tyāgarāja by S.R.Janakiraman
[2] Pramanam- by Dr.R.Vedavalli
[3]Renditions by great Masters on www.mio.com and www.sangeethapriya.org
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Unique features of Sri Muttuswami Dīkṣita’s compositions

Shilpa Shashidhar <[email protected]>
1. Introduction
Among the trinity, Muttuswamy Dīkṣita’s compositions stand out with several unique features which is
worth an analysis and study. An understanding of his style helps us appreciate the different
dimensions and perspectives behind his every composition.
2. Unique Features
The distinct characteristics in Dīkṣita’s compositions can be examined under the following 5 headings:
3.1 Rāga
1. Followed the asampūrṇa meḻa paddhati.
It is well known that the credit of coming up with scheme of 72 meḻa rāgas goes to
Venkatamakhi who authored the “chaturdanḍi prakaśika” during 1650 AD. But only 19 meḻas were
prevalent in his times and these he could assign within the scheme. The remaining 53 rāgas were
theoretical possibilities. His grandson Muddu Venkatamakhi in his work “RāgaLakshanam” gave the
nomenclature for all the 72 meḻa rāgas which is Kanakambari, Phenadyuti, etc. The names conformed
to katapayadi sutra. This is called the asampūrṇa Meḻa paddhati; in which, the meḻa rāga can have all
7 notes either in Aroha or Avaroha and can also occur in zigzag (vakra) manner. Later,
Govindacharya, author of Sangraha Chudamani, redefined Meḻa rāgas and came up with the
Sampoorna Meḻa Paddhati where the meḻa rāgas must have all 7 notes in aroha and avaroha in linear
order. He gave new names to the meḻa rāgas. This is the Kanakangi-Ratnangi system, which is
currently in practise.
Sri Ramaswamy Dīkṣita, who is Muttuswmy Dīkṣita’s father learnt the Meḻa system from
Ventaka Vaidyanatha Dikshitulu who was the maternal grandson of Venkatamakhi. As such, Sri
Muttuswamy Dīkṣita followed the asampūrṇa Meḻa system, though Sampoorna Meḻa system already
existed. Dīkṣita has composed in all 72 meḻa rāgas and breathed life into the rāgas.
Illustrations:
 The 16th meḻa which is Chakravakam according to sampoorna meḻa system is called “toya
vegavahini” in asampūrṇa system and in his Kriti “vīna pustaka dhāriṇē” he uses the raaga
mudra vegavahini.
 The 51st meḻa known as kamavardhini in the sampoorna meḻa system is called
“kāśiramakriya” in asampūrṇa system and in his Kriti “uchiśtaganapatōu” he uses the
raagamudra “rāmakriya”
2. Usage of different gamakas and techniques to bring out the beauty of rāga.
Sri Muttuswamy Dīkṣita has a unique way of bringing out the essence of the rāga. This can be
observed in his compositions.
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(i) The use of Shuddha swaras and straight notes are very prominent and used to its full
potential.
Illustrations:
 ‘sadācalēśvaram’ in rāga Bhupala, brings out the shuddha swaras in a magical way.
Especially in charaṇa, ‘cāyā rahita - garbhagriha madhya rangam’ the use of
sadharana gāndhāra on the word ‘garbhagriha’ is a haunting melody)
 ‘śri guruṇā pālitōsmi’ in rāga Padi is another example for the effective use of shuddha
swaras. Especially in the charaṇa portion, ‘sādhākhya kalā karēṇa …’
(ii) svarākṣaras are a characteristic feature of his compositions. He brings them in so

appropriately in a way that brings out the beauty of the rāga and the sahithya.
Illustrations:
 In the kriti ‘pancamātanga mukha gaṇapatina’, the pallavi is set to the swaras ‘P d M
p d p m g r s p d S’
 In the Kriti ‘sadācalēśvaram’ , the pallavi takes the swaras ‘s D s P’
(Note : svarākśaras are boldened)
(iii) Usage of gamakas: A striking feature of his compositions are the jaaru gamakas; both digu
jaarua and ettaru jaaru.
Illustrations:
 ‘hiraṇmayīm lakshmim’ in raga Lalitha
 ‘aruṇācalanātham’ in rāga sāranga
 ‘ānandanaṭanaprakāśam’ in rāga kēdāra
 ‘karikalabhamukham’ in rāga sāvēri
In all the above examples we can observe the abundant use of jaaru gamakas.
(iv) Handling Vivadi rāgas
40 of these meḻas are vivadi rāgas and he uses several techniques to overcome the jarring
effect of vivadithva.
a. Janti prayōga : Using the swara in pairs reduces the vivadi effect.
b. Alpatva : Minimum usage of the vivadi swaras .
c. Dheergha prayōga : Elongating one of the vivadi swaras smoothens the effect.
d. Langhana or Datu prayōga : Using crisscross swara pattern to reduce vivadi effect.
Illustrations:
 The chittaswaram of ‘Bālāmbikē’ in Manoranjani . This rāga has shuddha rishabha
and shuddha gāndhāra which bring in the vakratva. The chitteswara has patterns like
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‘r g s r n s d s’, ‘s s r r g r g g r r s’. It is a display of the expertise with which Dīkṣita

handled vivadi rāgas.
 The chitta swara of the kriti ‘kalāvathi kamalāsana yuvati’ in rāga kalāvati can be
studied for the above factors. This rāga has shatshruti rishabha and antara gāndhāra
as one of the pairs of vivadi swaras. Shudha daivata and shuddha nishada form the
other pair of vivadi swaras.
3. Handling of rāgas from the North Indian style.

Sri Dīkṣita went with Sri Chidambaranatha Yogi to Varanasi for several years and thus had a deep
knowledge of the music there. He has very well adopted a few of the north Indian rāgas and
composed in rāgas such as Dvijawanti, Hamir Kalyani, YamunaKalyani, BrindavanaSaranga.
Illustration:
 ‘Jambupathe’ in rāga Yamuna Kalyani
 ‘SoundaraRajam’ in rāga Brindavanasaranga
 ‘Chetashri’ in rāga Dvijavanti
In all the above three examples we can observe the ease and expertise with which the Hindustani
raga has been adopted by Dīkṣita.
3.2 Tala
Dīkṣita has employed only suladi talas in his compositions to the exclusion of Chapu and other talas
prevalent. [The reason for this omission cannot be exactly pointed out. We know that he was
influenced by Venkatamakhi’s chaturdanḍi prakaśika and unfortunately, the tala chapter of this
treatise is missing.] Each of the navagraha kritis are composed in a different suladi tāḻa: Suryamurthe
in Chaturashra Dhruva, Chandram bhajamanasa in Chaturashra Matya, Angarakamashrayamyaham
in Roopaka, Budhamashrayami in Mishra Jhampa, Brihaspathe in Tishra Triputa, Sri Shukra
Bhagavantam in Khanda Atta, Smaramyaham sada rahum and Mahasuram Ketumaham in Rupaka.
Illustrations:
 Tishra Triputa tala is employed for the navavarana kriti in rāga śahana – “sri
kamalāmbikayām”
 Mishra Jhampa is used for the Kriti ‘Sri gaṇēśāthparam’ in rāga Ardhradeshi
3.3 Laya or kālapramāṇa

Dīkṣita was a great saint who went into meditative trance or the samādhi state on several occasions.
His compositions are the fruits of this dhyāna Sthiti. His compositions have an optimum Madhya laya
for rendition. Neither too slow nor too fast. Knowledge of this is of utmost importance. When we sing
his Mishra eka /trishratriputa kriti in MishraChapu, we are not abiding by the kālapramaṇam that the
kriti is set to.
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Illustrations:
 The kriti ‘māmava Meenakshi’ in rāga varāḻi is set to Mishra Eka tāla. But if it is sung in Mishra
chapu, the intended kālapramāṇa is altered.
 The kriti ‘balāmbikē’ in rāga manōranjani is in chaurashra Matya tāla. But many times singers
sing it in khanda Chapu with is inappropriate.
3.4 Sahithya
1. Dīkṣita’s compositions reflect his in-depth knowledge in astrology, astronomy and Vedanta
philosophy. He composed the Navagraha kritis to cure one of his disciples who had fallen ill. It
proves the mantra Shakti in his compositions. His Navavarna kritis are a boon to common people
who wish to know Srividya Upasana . His panchalinga kshetra kritis are a storehouse of the
historical details of the place and always bestow upon us the knowledge and awareness of the 5
elements that make up the entire universe. Thus he has composed several group kritis like
Guruguha Vibhakti kritis, nīlōtpalāmba, abhayāmba vibhakti kritis.
As a vaggēyakāra, he was extremely methodical and scholarly who had imposed an orderly
restriction on himself. His compositions, reflected the details of the place or deity, were devoid of
any personal emotions or information, and rich in prosody. The way he beautifully brings in the
Rāga mudra is noteworthy.
Illustrations:
 In the kriti –‘pancamātanga’ in rāga Malahari, the rāga mudra is woven in the phrase
‘kalimalaharaṇa caturēṇa’
 In the kriti ‘Sri pārvati paramēśvaraō’ in rāga Bhouli the rāga mudra is embedded in the
phrase ‘chithbimbōulīlā vigrahau’
2. Prosody and lyrical beauty in his compositions.

Dīkṣita’s kritis are rich in prosody such as yati and prāsa.
Sama Yati , gōpuccha Yati, and srotovāha yati :
Illustrations:
 In the kriti ‘Sri guruguha pālayāśumam’ the phrases ‘Surapati Sripati Ratipati vakpati…’ is an
example for Sama yati.
 In the kriti ‘Sri varalakshmim’ the phrases ‘ṣri sārasapadē rasapadē sapadē ….’ is an example
for gōpuccha yati
 In the kriti, ‘Thyagaraja yōga vaibhavam’ the phrases ‘śam, prakāśam, svarūpa prakāśam,
tatva svarūpa prakāśam,…..’ is an example for ‘srōtōvāha yati’
dvitiyākśara, ādi, Anthya prāsa: In all his kritis we can find abundant usage of theses prāsas.
Illustrations:
 ‘kśitijāramaṇam’ in Devagandhari uses dvitiyākśara prāsa in charana : Sakalasura ….Vikasita
- śukasanaka - prakaṭita
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 ‘srināthādi Guruguho’ in māyāmāḻava gōuḻa employs ādi prāsa in charana :

māyāmayaviśvādiśtanō, māmakakādimatānuśtānō, mālinīmanḍalāntavidhanō, mantrādyajapā
hamsadhyānō
 ‘Sri guruṇā’ in Padi uses Anthya prāsa : āgamādi sannutēna akhilaviśvavanditēna, thyāgarāja
vibhātēna, tāpatrayātītēna
3.5 Structure/form
Sri Dīkṣita, was very innovative with the compositional structure.
1. He gave us the samaśti charaṇa where the Pallavi is followed by a Charaṇa (skipping the
Anupallavi) and concluded usually with a madhyama kāla sahithya and Chitteswara.
Illustration:
 ānandāmritāvarśiṇi – amruthavarśiṇi
2. His compositions have lengthy charaṇas of around 8 to 12 avartana with a Madhyama kāla
sahithya.
Illustration:
 Sri Varalakshmim – Sri
 srināthādi guruguhōu - māyāmāḻava gōuḻa
3. Compositions such as chaturdaśamālika – “Sri viśvanātham bhajēham” have a special

compositional structure.
a. The pallavi has two rāgas, Sri Rāga and Arabhi. Each Rāga is encapsulated in two
Avartas , the second being in Madhyama kāla.
b. The Anu-pallavi is set to four rāgas Gauri, Nata, Gaula and Mohanam; but at the end,
after Mohanam, the sahithya takes us through the same four rāgas of the Anu-pallavi
and the two of the pallavi in reverse order (Viloma karma), back to Sri.
c. The Charaṇam follows the same pattern with eight Rāgas Sama, Lalita, Bhairavam,
Saranga, Sankarabharanam, Kambhoji, Devakriya and Bhupala; and, these are again
taken in Viloma krama in a Madhyama-kāla sahitya, back to the pallavi in Sri.
d. Dīkṣita has followed a pattern not only in the order of the occurrence of the Rāgas,
but also in terms of the lengths of the Avartas for each rāga. The fifth and sixth rāgas
– Gaula and Mohanam have been allotted 1 ½ Avartas, all in Madhyama-kāla, while
the preceding Rāgas have been given 2 full Avartas – one each in Sama kāla and
Madhyama kāla.
e. Another striking feature of the sahitya in this composition is that the last part of the
swara sahitya set to each rāga is composed of the same words as of the last part of
the preceding line of sahitya.
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Illustration:
 Sri viśvanātham bhajēham
4. Comparative Analysis
A detailed observation based on the above factors can be done by comparing a Kriti of Dīkṣita in
Lalitha Rāga (hiranmayīm lakśmīm) and ShyamaShastri’s kriti in the same rāga (NannuBrovuLalitha).
Dīkṣita’s kriti ‘UchistaGanapathou’ in Kashiramakriya can be compared with Thyagaraja’s
‘ShivaShivaShiva Enarada’ in Kamavardhini.
Illustrations:
 uchiśṭa ganapatōu – kāśirāmakriya
 hiranmayīm lakśmīm – lalitha
5. Conclusion
Muttuswami Dīkṣita was a great Yogi blessed with many Siddhis. It is believed that he could cure
illness, bring rain to a drought area, could get his wish of having a veena on the banks of river Ganga,
ultimately he precisely knew when his soul would leave his body. His compositions are replete with
power and knowledge. The wholesome understanding of his composition is as challenging as it is
rewarding. He gives many insights into the handling of a vivadi, vakra, meḻa, bhaśyānga or janya
rāga. An investigation of his composition brings one a few steps closer to his vision and gives one the
confidence and grasp for its effective rendition. His compositions are a reference and guide in
to the art of classical music.
6. References
1. Sangeeta Sampradaya Pradarshini – Subbarama Dīkṣita
2. Karnataka Sangeeta Lakshya-Lakshana by Prof V. Ramaratnam
3. Murali Vani – Comprehensive writings by Sri B.V.K. Shastry
4. Facets of Music by Prof R.Visweswaran
5. Lecdem by Dr T.S.Sathyavathi on Muttuswamy Dīkṣita https://youtu.be/roHNLlykjZQ
6. Lecdem by R.K.SriramKumar on Nov 18 2008
7. Article on Muttuswamy Dīkṣita’s compositions by Prof. S.R.Janakiraman
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An Analytical Study on “Neelotpalaamba Vibhakthi Krithis of Muthuswamy Dikshithar”

Shubhamangala <[email protected]>
Sri Muthuswamy Dikshithar is considered to be a part of the trinity contemporaneous composers

along with Thyagaraja and Shyamashastri (18th Century), his compositions were predominantly in
Sanskrit unlike the telugu compositions of the others. He composed around 500 krithis mostly in
Sanskrit, spanning wide range of temples and deities that he visited for richness of raga bhaava,
sublimity of their philosophic contents and for the grandeur of the sahitya, the krithis of Dikshithar
stand unsurpassed.
Among the group of compositions of Dikshithar, Sri Neelotpalaamba Vibhakthi Krithis which are
composed on Neelotpalaamba the consort of Thyagarajaswamy of Thiruvaarur enshrined at
Thiruvaarur is outstanding.
Seven temples in thiruvarur are designated as saptavitanka keshetrams of Thyagaraja (somaskanda)

and the foremost among them is the vithivitanka thyagaraja of the majestic thirvarur temple. The
thyagaraja shrine is located to the south of the valmikanatha (prthvilingam) shrine within the same
prakaram. The neelotpalaamba shrine is located in the second prakaram on the right side. The unique
feature is that here neelotpalaamba is depicted as blessing her second son skanda (subrahmanya)
with her hand on his forehead. It is to observe that Dikshithar never associated Kamalamba with
thyagaraja and considered only neelotpalaamba as the consort of the deity. This set of compositions
covers the adhyaatma (spiritual) part, the grammar, and the musical richness etc.
The Neelotpalaamba Vibhakthi krithis which has been mentioned above covers the richness of music
in the compositions, the usage of the goulaantya raagas like Narayanagoula, Chayagoula,
Nareereetigoula, Kannadagoula, Kedaragoula, Goula, Maayamaalavagoula and Poorvagoula are very
interesting. Dikshithar as a musician himself uses these rare raagas and out of which some are now
not in use. But through learning these compostions we come to know about some of the orthodox
Carnatic music raagas. According to some musicologists the goulaantya raagas are brilliantly applied
for the compositions on Devi could be related to gouladesham which is now called West Bengal
where devi is worshipped as the main deity. We can see the raga mudra in all the seven krithis except
one krithi, which covers the aesthetic part.
All the raagas belong to shuddha madhyama melams. The mudras for Narayanagoula, Purvagoula
and Chayagoula are direct, where the composer praises nilotpalaamba who is pleased with
modinyam, prakashinyam. Raga mudra for gaula and ritigoula are used in a slightly altered form as
“Kaula” “Ritikaulinim” and “Ritigaurave.” For the remaining two, the raga mudra comes as the
name of geographical locations mayamalavagouladesha, kashikannadagouladesha.
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The Aarohana and Avarohana of the gowlaanta raagas used in these krithis are as follows: -
Chayaagoula:- it is a Janyaraaga in Mayamaalvagoula, 15th Melakarta

Aarohana: - S R1 M1 G3 M1 P N3 S
Avarohana: - S N3 D1 P M1 G3 R1 S
Narireethigoula: - it is Melakartha according to Asampurna mela system

Aarohana: - S G2 R2 G2 M1 N2 D1 M1 N2 N2 S
Avarohana: - S N2 D1 M1 G2 M1 P M1 G2 R2 S
Goula: - it is janya in Mayamaalvagoula, 15th Melakarta

Aarohana: - S R1 M1 P N3 S
Avarohana: - S N3 P M1 R1 G3 M1 R1 S
Kannadagoula: -it is the janya in Kharaharapriya, 22nd Melakarta

Aarohana: - S R2 G2 M1 P N2 S
Avarohana: - S N2 D2 P M1 G2 S
Poorvagoula:- it is the janya in Dheerashankaraabharana, 29th Melakarta

Aarohan: - S G3 R2 G3 S R2 M1 P D2 N3 S
Kedaragoula: - it is the janya in harikambodhi, 28th Melakarta

Aarohana: - S R2 M1 P N2 S
Naryanagoula: it is the janya in harikambodhi, 28th Melakartha

Aarohana: - S R2 M1 P N2 D2 N2 S
Avarohana: - S N2 D2 P M1 G3 R2 G3 S
Mayamalavagoula: - it is the 15th Melakartha Raaga

Aarohana: - S R1 G3 M1 P D1 N3 S
GRAMMAR POINT OF VIEW

There are 8 krithis which covers the eight vibhakthis with rich vocabulary namely: -
 Neelotpalaamba Jayathi in Prathama vibhakthi except the second half of the charanam which
is in sapthamivibhakthi.
 Neelotpalambike Nitya Shuddhathmike in the sambodhana prathamma vibhakthi.
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 Neelotpalambaam Bhajare in the dvitiya vibhakthi.

 Neelotpalambaambikayaa Nirvaana in the tritiyaa vibhakthi.
 Neelotpalambikaayai Namaste in the Chaturthi vibhakthi.
 Neelotpalaambikaayah Param is in pachami vibhakthi
 Neelotpalaambikaayaastava in the shasti vibhakthi
 Neelotpalaambikaayaam bhakthim in sapthami vibhakthi.
According to paanini’s grammar to which “Visheshya” the vibhakthi, vachana and linga are to be
bound, the same vibhakthi, vachana and linga should be bounded to the “Visheshana”. Here
“Neelotpalaamba” is the “Vishesha” and we can see all the “Visheshanas” linked with Neelotpalaamba
which show cases the grammatical angle of the krithis.
SPIRITUAL POINT OF VIEW

Dikshithar as a follower of Sri Adishankaraacharya’s advaitha philosophy, he throws light on the
srividyatantra, soundaryalahari and Sri Chakra Varnana in his Navaavarana krithis. Some of the terms
used in the Neelotpalaamba Vibhakthi Krithis like “Nithya Shuddha, Moolaajnaanahara,
Shivakaameshawari, Shankari, Satchidaananda Roopini, Mulakutatrayakalebara, Mulamantratmika,
Yogini, Neelakanthaardhashareerini, Vidyaavidyaa Swaroopini” are found in lalitha Sahasranaamam.
Utpala is the lotus flower which blooms during night in the moon’s light which will be blue in colour.
The tantra shaastra say the moon has “Shodasha Kalaa” (16) even sri chakra has shodasha kalaa,
paramaatma is also called as shodasha kalaa purusha, Neelotpalaamba is always a shodashi( 16
year old). Neelotpalaamba who is fond of such Neelotpala (Blue lotus flower) is also called as laya
kaarini who holds “Paasha” and “Ankusha” the two weapons for the destruction of demons. Dikshithar
calls Kamalaamba as the yoga shakthi and Neelotpalaamba as the bhoga shakthi.
The nine chakraas in srichakra and navaavarana can be described as follows:-

 Prathamaavarana:- Chaturasrabhoopura which is trilokyamohanachakra.
 Dwiteeyavarana: Shodashadalapadma which is sarvaashnaparipoorakachakra.
 Triteeyaavarana:- Ashtadalapadma which is sarvasankshobhanachakra
 Chaturthaavarana:- chaturdashaara which is sarvasowbhagyadaayakachakra
 Panchamaavarana: Bahirdashara which is sarvaarthasaadhakachakra
 Shashtyaavarana: Antaradashaara which is sarvarakshaakarachakra
 Saptamaavarana – Ashtakona which is sarvarogaharachakra
 Ashta maavarana – Trikona which is sarvasiddhipradachakra
 Navamaavarana : - Bindu which is sarvaanandamayachakra
This is the sreechakara varnana in shloka form in Sanskrit
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“Bindu Trikona Vasukona Dashaarayugma Manvasranaagadala Samyutha Shodashaaram Vrittha

Trayam Cha Dharanee Sadana Tryancha Srichakra Methadudhitham Paradevathayaaha”
Sri Adi Shankaraacharya followed the samayaachaara system which is one of the types of
tantraagama. He says that our body can be imagined as srichakra and go on activating the shat
chakraas of our body through dhyaana dhaarana samaadhi maarga starting with the activation of
kundalinee shakthi and reach the sahasraara chakra which gives us the final happiness that is
sarvaanandamaya chakra (BINDU) in srichakra. This can be attained only through deep concentration
and feeling the trans effect in our body.
As per dikshithar’s opinion music was the best path to achieve the sarvaananda maya chakra and
hence he composed the navaavarna krithis where he completely followed shankaraacharya’s
samanyaachaara system which helped the further generations to understand the hidden secrets of
Srichakra through music.
Coming to Neelotpalaamba Vibhakthi Krithis the terms used to praise Devi are extraordinary, when
the krithis are analysed, we get a vast information of spiritual approach. Here are few examples: -
Phaalalochani: - The goddess who has her eye on the forehead. The third eye will be always termed
as the eye with high knowledge where the aagnaa chakra is placed. So she is also called as
moolaagnaanahara which means Devi destroys the agnaanana and spreads gnaana through her 3 rd
eye.
Puraani: - “Puraa api nava yeva ithi puraani” is a Sanskrit ukthi according to which whoever looks new
even though she is old is called puraani.
Shivakaameshwari:- “Thasya Kaameshwaraakhyasya Kaameshvaraadhascha Paarvathi Kalaakhyaa

Satilaasaa Cha Khyaathaa Kaama Kalethi saa” (Tripura siddhanta) which means shiva who is
mangala swaroopa and devi is parashivaa’s ichhaa shakthi swaroopini, the god who destroyed kaama
(manmatha) i.e. shiva is attracted by kaameshwari (devi) and she herself is called kaameshwara
kaameshwari which also means Devi who gives whatever we pray. Devi is also called as
“Kaamaangadaayini, Kaamaanganaashini” (Kaalikaa Purana).
Shrungaara Rasakaree: - “Raso Vy Saha” as said in thairithareeya Upanishad, paramaatma is the

rasa swaroopa and it is the rasa which will be enjoyed by all the human beings through paramaatma
and the moola or origin of this shringara rasa is through Devi.
Kamalaanagaravaasini:- Kamalaanagara means thousand petalled lotus (Sahasradala Padma) which

is on our head, “Sahasraare Padme Saha Rahasipathyaa Viharase” (soundarya lahari) where Devi
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stays or “Angusta Maatraha Purusho Antaraatmaa Sadaa Janaanaam Hridaye Sannivishtaa”

according to Shruti vaakya (veda) heart is compared to the lotus and Devi stays in the middle of our
hrudaya kamala in the shape of thumb (Angushtaakaara)
Kaadi Haadyaadi Manu Vishwaasineem:- The beejaakshara mantra which starts from “Ka” and ends
with “Ha” is the root mantra i.e. pancha dashaakshari or shodashaakshari mantra which is considered
as deviswaroopa and devi is most fond of these mantras. This is also called rahasya bejaakshara
mantra.
Halleesalaasyasanthushtaya: - this is a Kolata form, “Naareenaam Mandalee Nrutyam Budhaa

Halleesakam Vidhuhu” as said in “Haaraavalee Kosha”, devi is fond of the kolaatam which is
performed by the girls in different thaalas holding colourful sticks. “Halleesa Laasya Santushtaa
Hamsa Mantraartha Roopini” (lalitha trishathee naamaavali)
Vaasavaadi vanditha vaageesa vaasudevaaraadhyaadhithayaa: -

 “Brahmopendra Mahendraadi Deva Samstutha Vaibhavaa” (lalithaa sahasra naamam)
 “Ambikaanaathinidhanaa Hari Brahmendra Sevitha” (lalithaa sahasra naamam)
Vishnu stays in the 17th and 18th praakaara of srichakra, Brahma in the middle of 16th and 17th
prakaara and Indra, Shiva, Varuna, Vasus, Adityas, Rudras etc. stay in different prakaaras of
srichakra to render seva to Devi.
Mooladhaara Kshetrasthithayaa: -“Moolaadhaaraikanilayaa Brahmagranthi Vibhedini” - (lalithaa

sahasra naamam). Moolaadhaara is a chaturdala Padma (4 petalled lotus), in the middle of this lotus
there is a Bindu named kulakunda where kundalineeshakthi is in the suptha form and the root for
sushumnaanaadi. Hence it is called moolaadhaara chakra where Devi is staying.
Moola Mantraatmikaayai: - The pancha dashaaksharee mantra is called as the moola mantra.
“Mananaath Traayathe Ithi Mantraha” (thaithareeya Upanishad). The mantra through which, the ego
gets lost and that is the root mantra which is also called moola mantra and Devi is fond of this.
On the whole the Neelotpalaamba Vibhakthi Krithis of Dikthithar are very unique in all the aspects and
this is a great contribution to the music field.
BIBLIOGRAPHY
Sri Shankara Bhagavathpada Virachita Seshaachala Sharma
Soundarya Lahari
Eeshaadi Nouupanishath Shankara Bhashyaartha

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(Geetha Press)
Vedantha Saaraha Sadananda

Translation by
Lambodara Mishra
Sri Lalitha Sahasranaama Acharya Vatukanatha

Sthothra Shastri
Bhaskararaya Pranitha
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Tyāgarājakṛti-s revealing the secrets of Nadayoga

Shyla R K <[email protected]>
This paper is intended to focus into the secrets of Nādayōgam expressed in the Kṛti-sof
Tyᾱgarᾱja which can help us to get a clearer outlook about the scope of practicing music as a means
to attain ultimate yōga. The meaning of the Kṛti-sand its various interpretations were examined to bring
out a precise view on the subject of yōga through music.
Music, in addition to being a source of enjoyment, has the power of transcending the ‘self’
back to its natural state of Ultimate silence,i.e., the egoless and mindless state of the soul.This is what
we call the attainment of Ultimate bliss or ‘Yōgam’and when expressed in terms of music it is called
Nādayōgam.
The sole message of Tyᾱgarᾱja Kṛti-s and his life is only to emphasise the grandeur of this
‘Ultimate bliss’ of Lord Śrī Rᾱma. To our great fortune there are a good number of compositions by
Tyᾱgarᾱja which reveal vividly, music as a ‘blissful means’ as well as ‘end’. With the wisdom he
collected, diving deep into the ocean of spirituality and music, Tyᾱgarᾱja has shared with us the pearls
of secrets of Nᾱdayōga.Through these compositions Tyᾱgarᾱja highlights the message that, as far as
music and musicians are concerned, the study and practice of Nᾱdayōga is most relevant.
In the composition opening with “Vararᾱgalayajñalu” in cemnjukᾱmbōji, he sang that those
who pretend as scholars, without having any knowledge about Swara, Jᾱti and mūrchana within
themselves are deceiving the people around. He points out that, atleast one should have the thirst for
knowledge of the source of music or nᾱda, emanating from one’s own body. Great Masters have said
the same point that for the spiritual wisdom the minimum requisite is love and intense thirst for
attaining it, i.e. “Mumukṣhutvam”; an inquisitive mind for salvation. And Tyāgarāja lays stress on this
element here.
Similarly in kṛti Nādalōludai, Tyāgarāja says, the mind, by becoming a lover of nāda, attains
the Eternal bliss. A total involvement in that music, through countless rᾱgᾱ-s which result by the
blossoming of the seven notes of music, is sure to fulfil the righteous desires, he says. In this
composition, the rᾱga kalyᾱṇavasaṇtam is handled in all its grandeur and majesty which is capable of
imbibing a feeling of a deep meditative experience.
“Nᾱdalōludai Brahmᾱnandamandave manasa
Svᾱduphalaprada saptaswararᾱganicayasahita”
In kṛti Rᾱgasudhᾱrasa-Āndōlika the concept of music itself as a goal is dealt with. In this
Tyᾱgarᾱja encourages us, to rejoice by drinking the ever-tasteful essence of rᾱga, for it gives the fruits
of divine ritual, mediation, sacrifice, and enjoyment; all together! “Yᾱgayōgatyᾱgabhōga
phalamosamge”
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In this kṛti he says, as realised by him, the Jīvanmuktᾱs are those who enjoy the blissful
melody that is the glorious form of Sadᾱśiva in the form of Ōmkᾱra itself.
In the kṛti“Srīpapriya - Atᾱna” again the same concept is illustrated.Tyᾱgarᾱja implores the mind to
invoke and devote to music; he terms music as the favorite of Mahᾱvishṇu; he says that this music is
the treasure which shines in the focus of minds of great saints and the same is the thread connecting
the seven svara-s to bring out bliss, which is capable of relieving human mind of “Tᾱpatraya” i.e. the
three kinds of grief.
In kṛti Ānandasᾱgara in Garuḍadhwani Thyāgarāja says, those who cannot swim in the ocean
of indescribable bliss of Brahman called Sangītaϳñᾱnam emanating from Vēda-s, are a mere burden to
the earth.
In all the above Kṛti-s the main aspect he is trying to convey is that, only music blended with
devotion is fruitful. In another kṛti he conveys the fact that it is not a right path to follow music without
devotion.The raga Dhanyᾱsi is deftly handled in this to bring out the pathetic condition of music world
if it follows the knowledge of music without any devotion.These lines are depicted in thePallaviitself to
project its significance. We can comprehend from the selection of rᾱga and the way he handled it that
Tyᾱgarᾱja feels really sorry for such people.
“Saṅgīta Jñᾱnamu Bhaktivinᾱ sanmᾱrgamugalade manasa”
Being a saint, musician Tyᾱgarᾱja had a great conviction about the fact that Music evolves
directly from God. In ancient musical treatises, it is said that Lord Śiva created the seven notes, from
His five faces namely, Sadyōjᾱta, Aghōra, Tatpurusha, Ēśᾱna and Vᾱmadēva as given in the table
below. And it is specifically revealed in the caraṇa of the krithi Nᾱda Thanumaniśam in Cittaranjini
“Sadyōjᾱtᾱdipancavaktraja sarigamapadanivarasaptasvara”
Name of the face Svara-s evolved
Sadyōjᾱtam Gᾱndhᾱram,
Vᾱmadēvam Dhaivata,
Aghōram Shadja and Rishabha
Tat Puruṣham Pañcama,
Ēśᾱnam Niṣhᾱdam and Madhyama.
And in its pallavi he bows mentally and physically to Śaṅkara the Embodiment of Nᾱda, forever.
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Again, another possibility of practising Nᾱdayōga is revealed through his kṛti

“Swararᾱgasudhᾱrasayutabhakti”- Śaṅkarᾱbharanam. He states devotion associated with the
ambrosia of swara and rᾱga is verily heavenly salvation. He says understanding the Nᾱda emanating
from the subtle primal source “Mūlᾱdhᾱra” in the body, is itself Liberation; and to be aware of the
subtle and mystic sources, or the resonating points of seven svara-s in one’s own body is verily a
yōga.
“Mūlᾱdhᾱraja nᾱdameruguda mudamakumōkshamurᾱ
Kōlᾱhalasaptaswaragrihamula”.
In the succeeding carana-s Tyᾱgarᾱja says that he has been blessed with the ‘Svarᾱrṇava’of
Saint Nᾱrada, a musical treatise expounded by Lord Śiva to Pᾱrvati, and is acquainted with the
intricacies of music at the highest level. Tyᾱgarᾱja also says if any one, devoted to the Lord is also
naturally equipped with the knowledge of rᾱga, will attain salvation easily without entering into the
endless cycles of births and deaths.
In the Musical treatise-Saṅgītaratnᾱkara of Śᾱrṅgadēva the process of manifestation of Nᾱda

in human body is illustrated so -Desirous of speech the Ātma (individuated being) impels the mind and
the mind activates the ‘Vahni’ or the fire existing in the body, which in its turn stimulates the vital force
(Prᾱṇa). The Prᾱṇa stationed around the root of navel rising upwards gradually manifests Nᾱda- in the
navel, the heart, the throat, the cerebrum and the cavity of the mouth, as it passes through them. This
is referred to in “Śōbhillusaptaswara” - Jaganmōhini,
“Nᾱbhīhritkanṭharasananᾱsᾱdulayanto”
Tyᾱgarᾱja praises the divine forms of the seven musical notes, which glow in the navel, heart,
neck, tongue and mouth cavity of the human body; he says these seven notes are the same which
shine in the four Vēdᾱs, in the essence of sublime Gᾱyatri Mantra; in the hearts-of the celestials, the
worthy Bhūsurᾱs, and of Tyᾱgarᾱja.
In Saṅgītarantnᾱkara it is also said that the syllable ‘Na’ of Nᾱda represents ‘Prᾱṇa’ and ‘da’
represents Agni; thus, being produced by the interaction of the Prᾱṇa and Agni it is called Nᾱda. This
is referred to by Tyᾱgarᾱja in the caraṇa of his composition Mōkṣhamugalada- Sᾱramati. He reveals
that it is by the fusion of Prᾱṇa (vital force) and ‘Anala’ (fire energy), that Praṇava-Nᾱda manifests and
spreads as seven svara-s ;
“Prᾱṇᾱnalasamyōgamuvallapraṇavanᾱdamusaptaswaramulaibaraga”
In this kṛti Tyᾱgarᾱja exclaims, whether emancipation is attainable for those, who are bereft of
the knowledge of blissful music.Elaborating the same concept, the kṛti Saṅgītaśᾱstra in Mukhᾱri-
explains the pleasure of sᾱrūpya – i.e. seeing Lord to the exclusion of everything else, is possible
through the right way of knowing the Saṅgītaśᾱstra, that is, when we know what we sing. [Sᾱrūpya is
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said to be one of the four ways to dēhamukti or salvation, four ways are -Sᾱmīpya, Sᾱlōkya, Sᾱrūpya,
and Sᾱyūjya]
“Saṅgītaśᾱstrajñᾱnamu sᾱrūpyasoukyadame manasa”
In another instance, Tyᾱgarᾱja has portrayed the majestic form of Lord Śrīrᾱma as Ōmkᾱra in
the kṛti Nᾱdasudhᾱ Rasambilanu and Rᾱmᾱ’s physical aspects as various technicalities of music. This
is to drive home the concept that music and God are not separate and they are one and the same. He
says the rᾱga-s are the awe-inspiring kōdanḍa bow; the seven svara-s constitute its sweet jingles; the
three styles dura, naya and dēśya of rᾱga singing constitute the three strings of the bow; the myriad
rhythmic gaits have become the numerous arrows; the apt saṅgati-s are compared to Rᾱmᾱ’s sweet
and soft speech appropriate to the occasion. As this kṛti is an auspicious depiction of Śrī Rᾱma,
Tyᾱgarᾱja with all love and pleasure has opted for the rᾱga Ārabhi. We can see that the progression of
description and setting of saṅgati-s are mutually complementary for this beautiful comparison.
In the kṛti Sītᾱvarasangītajñᾱnamu in Dēvagᾱndhᾱri, he says that the ‘Space’ (Ākᾱśa) is the
body of Brahman. Realising this Brahman with in oneself, if one gets immersed in the music, He is one
with God, says Tyᾱgarᾱja.Here we can see that, Tyᾱgarᾱja hints about a great phenomenon. In
ancient science of creation of the Universe called pañcakaraṇa the whole universe is said to be
created with the five elements (pañcabhūtas). It is explained that all the other four elements are
inherent in subtle form in their parental element space (Ākᾱṣa) which is termed, as the body of
Brahman, in this kṛti. That means, the whole cosmos which is made up of these elements, is inherent
in the space in its subtle form. Here Tyᾱgarᾱja also mentions the same concept that all worlds shine in
the space (Ākᾱṣa) in subtle divine luminous (cinmaya) state.
“Ākᾱṣaṣarīramubrahmane ᾱtmᾱrᾱmunitᾱsarijucucu
lōkᾱdulucinmayamane suswara-lōludou Tyᾱgarajasannuta”
Here is a key to the great truth that can be used to great advantage in our quest to explore the
mysteries of the spiritual power of music. ‘Space’ is the only element present in all other four elements,
in its gross form itself. Hence sound, the property of space has the power to decipher the matrix of the
whole cosmos which is a combination of these five elements. This is how one can realize the essence
of cosmos through music, and this realization can be termed Nᾱdayōga.
To proclaim and emphasize the possibility of Spiritual salvation through music Tyᾱgarᾱja has
highlighted in many of his kṛti-s that even Gods like Trinity, other Deities and Saints have music as
their vehicle to stay in their Supreme state. We can observe such descriptions in krithis - “Nᾱdalōluḍai,
Ānandasᾱgara, Saṅgītajñᾱnamu, Nᾱdōpᾱsana”- Bēgada, Vidulaku-Mᾱyᾱmᾱlavagaula and so on.
In the kṛti Vidulaku, Tyᾱgarᾱja is extending his deep respect to Lakṣmi, Pᾱrvati, Saraswati,
Brahmᾱ, Vishṇu, Śiva, Nᾱrada, Indra, Bharata, kaśyapa, Caṇdikēśwara, Ānjanēya, Subrahmaṇya,
Vighnēśwara, Mᾱrkaṇḍēya, Agaṣtya, Tumburu, Sōmēṣvara, Śᾱrṅgadēva, Nandi and other
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promulgators of music. More over in this Kṛti Tyᾱgarᾱja has placed on par with Gods, the names of
great souls who worship music.
“Vidulaku mrokkēda saṅgīta kōvidulaku”,
All these kṛti-s remind us that talent in music is the rarest of divine gifts which is to be most
diligently used as a path for spiritual realization as its prime aim. Even after being blessed to have
such a wonderful treasure of Tyᾱgarᾱja kṛti-s which emphasizes the importance of devotion in music,
we should not miss the value imparted to us through them.Tyᾱgarᾱja, a great saint musician who lived
as a Nᾱdayōgi was lamenting through his kṛti-s over the pitiful state of the people who miss the
wonderful opportunity of making use of music as a path to liberation. His compositions call upon
people to follow this path, so that, they also will be blessed with the same bliss he enjoyed through
Nᾱdayōga.
Summary
1. The prime aim of our music should be salvation and there is no meaning in practicing music
devoid of devotion.
2. One should have a strong thirst for this wisdom of musical bliss to move towards it.
3. One should focus solely on music and always ignore any inclination towards the six inward
enemies- mada (pride), matsara (jealousy), kᾱma (lust), lōbha (greed), mōha (delusory
emotional attachment or temptation) and Krōdha (anger), as mentioned in his kṛti-s,
saṅgītajñᾱnamu, duḍukūgala-goula etc. which are the vices hindering us in the journey to this
most beautiful emancipation.
4. The musical notes have its subtler origin from our body itself and the realization of the same
can lead one to salvation.
5. One should have confidence in this path and goal because, even the Gods we worship glorify
music as the most blissful way to the most blissful state.
Reference
Books
i) Iyer S Venkita Subramonya- Sangῑtakalpadrumam by Dr. L. Muthiah Bhagavatar Malayalam
translation, First Edition 1977 Published by The State Institute of languages Kerala
Trivandrum (Kerala Bhasha Institute)
ii) Menon KPS Tyᾱgarᾱjasudha- Second Volume First Edition 1984 Published by Author KPS
Menon
iii) Rᾱmᾱnujᾱchᾱri C-The Spiritual Heritage of Tyᾱgarᾱja , An introductory Thesis by Dr. V
Raghavan, First Edition 1958 Published by the President Sri Ramakrishna Math Mylapore,
Chennai -4
iv) Rᾱo T.K Gōvinda- Compositions of Tyᾱgarᾱja Published by Ganamandir Publications Madras-
2
223
v) Sᾱmbamūrthy P- South Indian Music 6 Volumes Published by The Indian Music Publishing
House- Royal Petta Chennai 14, Book-1 7th Edition 1950
vi) Shringy R.K - Sangīta Ratnᾱkara of Śᾱrngadēva – Vol -1 English Translation First Edition
Varanasi 1978 Publisher: Musnshiram Manoharlal Pub Pvt Ltd: Bilingual Edition Dec 30 2007
vii) Varadan Padma- Kṛtimanimᾱlai – Sri TyᾱgarᾱjaSvᾱmi’s Compositions- Volume 1 English
Adaptation- Based on R.Rangarᾱmᾱnuja Ayyangᾱr’s Tamil
Magnum Opus -By his Daughter and Disciple Padma Varadan First Edition 2005 Published
by Vipanci Charitable Trust Mumbai -400020
viii) Varma Latha, Giriprakash TS-Srī Sathguru Tyᾱgarᾱjaswami Kīrtanangal, Translation to
Malayᾱlam First Edition 2001 Published by Prakash Publications SS Colony Madurai
Souvenir
Mani G.S. Madurai Article “Silence and Sound” Diamond Jubilee Souvenir 2012 of Srī
Sathguru Sangītha Samᾱjam Madurai Published by same.
Web Reference
Lecture demonstration of Dr.T.S. Satyavathi from You Tube
www.karnatik.com
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Madhyama kāla sāhitya found in the Compositions of Muttusvāmi Ḍīkṣita

முத்துஸ்வாமி தீக் ஷிதர் அருளிய கிருதிகளில் காணப் படும்
மத்திமகால சாஹித்யங் களின் சிறப் புகள்
Sivagowri S <[email protected]>
முன்னுரர :
கர்நாடக சங் கீத மும் மூர்த்திகளுள் ஒருவராக விளங் கும் முத்துஸ்வாமி தீக்ஷிதர்
திருவாரூர் திருத்தலத்திலல பிறந்தவராவார். இவரது தந்ததயார் சுப் பராம தீக்ஷ்தர் சிறந்த
இதசக்கதலஞர் ஆவார். முத்துஸ்வாமி தீக்ஷிதர் அவர்கள் திருத்தணியிலல முருகன்
அருள் பபற் று “குருகுஹ” என்ற முத்திதரயுடன் ஏராளமான கிருதிகதள இயற் றியுள் ளார்.
திருவாரூர் தலத்து இதறவி பபயரில் கமலாம் பா நவாவர்ணம் , அபயாம் பா நவாவர்ணம் ,
பஞ் சபூத ஸ்தலங் கள் லமல் இயற் றிய பஞ் ச பூத ஸ்தலக்கிருதிகள் , நவக்கிரஹ கிருதிகள் ,
லபான்ற கிருதிகதள இயற் றி உள் ளார். இவரது பாடல் கள் சமஸ் கிருத பமாழியில்
அதமந்துள் ளது. முத்துஸ்வாமி தீக்ஷிதர் இயற் றிய கிருதிகளில் காணப் படும் மத்திமகால
ஸாகித்யங் களின் சிறப் புகதள ஆராய் வலத இக்கட்டுதரயின் லநாக்கமாகும் .
மத்தியம கால ஸாகித்யம்

முத்துஸ்வாமி தீக்ஷிதரின் பாடல் களில் காணப் படும் தனிச்சிறப் புகள் யாபதனில்
மத்திம கால ஸாகித்யங் கள் இடம் பபறுவது. இதசயதமப் பில் முதலாம் கால
சுரஸாகித்யங் களுடன் இரண்டாம் கால சுரஸாகித்ய பசாற் கட்டுகள் ஆங் காங் கு இதணந்து
மிக அழகாக இதசயதமக்கப் பட்டுள் ளது.
பாடல் எழுத்துக்களின் இதடயிதடலய கால இதடபவளி விட்டு அதமக்கப் பட்டு

சங் கதிகள் பதளிவாக அதமயும் வண்ணம் இதசயதமத்துள் ளார். பாடல் களில் மத்திமகால
ஸாஹித்யம் என அதழக்கப் படும் இரண்டாம் காலத்தில் அதமந்துள் ள ஸாகித்யம் மிக
விலஷஷ மானதவ. தீக்ஷிதரின் கிருதிகளில் பபரும் பாலும் இந்த மத்திமகால ஸாகித்யங் கள்
அதமந்துள் ளன. கிருதி அதமந்துள் ள நதடயிலிருந்து இரண்டாம் காலத்தில் இந்த
மத்திமகால ஸாகித்யம் இடம் பபற் றிருக்கும் . இதில் இடம் பபற் றுள் ள பாடல் பசாற் கள்
மிகவும் இனிதமயாக இருக்கும் . இராக பாவத்தத காட்டுவதாகவும் , தாளக்கட்டுதமகதள
நிதல நாட்டுவனவாகவும் , விளங் குகின்றன.
தீக்ஷிதரின் கிருதிகள் பபரும் பாலும் சரணத்தின் இறுதிப் பகுதியிலலலய

இடம் பபற் றுள் ளது. சில கிருதிகளில் பல் லவி அனுபல் லவியிலும் காணப் படுகிறது.
பல் லவியில் மத்யம கால ஸாகித்யம் இடம் பபறும் கிருதிகளின் சில உதாரணங் கள் .
1.வல் லப நாயஹஸ்ய - லபஹட --
வல் லப நாயகஸ்ய பக்லதா பவாமி
வாஞ் சிதார்த்த தாயஹஸ்ய வர மூஷிக வாஹனஸ்ய
2. ஸ்ரீ குருகுஹ தாரயாசுமாம் - சுத்தசாலவரி

ஸ்ரீகுருகுஹ தாரயாசுமாம் -சரவணபவ
ஸுரபதி ஸ்ரீபதி ரதிபதி வாக்பதி ஸ்திதிபதி பசுபதி லசவித”
3. லகாவர்தன கிரீஷம் - ஹிந்லதாளம்

லகாவர்தன கிரீஷம் ஸ்மராமி -அனிஸம்
லகாபிகாதி மலனாஹரம் கர்விதகம் ஸாத்விகரம் ”
4. ஸ்ரீ சரஸ்வதி - ஆரபி
225
ஸ்ரீ சரஸ்வதி நலமாஸ்துலத வரலத பரலதவலத ஸ்ரீபதி

பகௌரிபதி குருகுஹ வினுலத வித்யுவலத
இவற் றுள் ’ஸ்ரீ குருகுஹ’ என பதாடங் கும் ரூபக தாளத்தில் அதமந்த சுத்த சாலவரி ராக
கிருதியில் இரண்டாவது ஆவர்த்தனத்தில் ’சரவணபவ’ என்ற பதம் மத்யம காலத்தில்
அதமந்துள் ளதம பவகு சிறப் பாக உள் ளது. அடுத்தவரியில் “சுரபதி ஸ்ரீபதி ரதிபதி
வாக்பதி ஸிதி பதி பசுபதி லஸவித” என்ற வரிகள் மத்யமகால ஸாகித்யமாக
அதமந்துள் ளதம இராகத்தின் லபாக்கில் லமலும் விறுவிறுப் தப ஏற் படுத்தி கிருதிக்கு அழகு
லசர்க்கிறது.
அனுபல் லவியில் மத்திமகால ஸாகித்யம் காணப் படும் கிருதிகளின் சில உதாரணங் கள்
தீக்ஷிதர் கிருதிகளில் மத்தியமகால சாஹித்யங் கள் இடம் பபறும் கிருதிகள்
பபரும் பாலும் இரட்தடக்கதள கிருதிகளிலலலய அதமந்துள் ளன இவற் றிற் கான
.உதாரணங் கள் ..
1.மீனாக்ஷி லமமுதம் - பூர்வி கல் யாணி
‘மீன லலாசனி பாச லமாசனி மாலினி கதம் பவன வாஸினி”
2. குமார ஸ்வாமினம் குருகுஹம் - அஸாலவரி

ப் ரமாத்மக விஸ்வகரம் ப் ராந்தி ஹர சதுரதரம் ஸுப கரம் ”
சில கிருதிகளில் அனுபல் லவி முழுவதுலம மத்யமகால ஸாகித்யமாக விளங் குகிறது.
உதாரணம் -
’கஞ் சதளாயதாக்ஷி காமாக்ஷி’ என்ற கமலா மனனாஹரி ராகத்தில் அதமந்த கிருதின்
அனுபல் லவியானது முழுதுலம மத்யம கால ஸாகித்யமாக அதமந்துள் ளது.
“குஞ் சர கமலன மணி மண்டித
மஞ் சுள சரலண மாமலஹிவ
பஞ் சர ஸுகி பங் கஜ முகி குருகுஹ
ரஞ் சனி துரித பஞ் ஜனி நிரஞ் ஜனி”
இப் பதங் கள் ராக தாளத்தின் சிறப் தப தனித்துவமாக பவளிப் பத்துகிறது.
சரணங் களில் காணப் படும் மத்திமகால ஸாகித்யங் கள்

தீக்ஷிதரின் கிருதிகளில் பபரும் பாலும் சரணங் களிலலலய மத்திம கால
ஸாஹித்யங் கள் இடம் பபறுகின்றன. இதவ இருவதகயாக அதமந்துள் ளன
1. பல் லவி, அனுபல் லவி, சரணம் , எனும் அங் கங் களுதடய ஒற் தறக்கதள மற் றும்
இரட்தடக்கதள கிருதிகளில் சரணங் களில் இறுதியில் இடம் பபறும் மத்தியமகால
சாகித்யம்
உதாரணம் .-
விநாயக விக்ன நாசக -லவகவாகினி(சக்ரவாகம் )
பாலகிருஷ்ணம் பாவயாமி-லகாபிகா வசந்தம்
2. பல் லவி, சமஷ்டி சரணம் என்னும் அங் கங் கதளக்பகாண்ட கிருதியில் சமஷ்டி சரணத்திற் கு
பிறகு இடம் பபறும் மத்யம கால சாகித்யம்
உதாரணம் - த்ரிபுர சுந்தரி சங் கரி - சாமா
பரலதவலத பக்த பூஜிலத- ஹுலசனி
என்பதவயாகும்
226
மத்யமகால ஸாகித்யங் களில் பபரும் பாலும் ”குருகுஹ’என்ற முத்துஸ்வாமி

தீக்ஷிதரின் முத்திதரயும் , ராக முத்திதரயும் இடம் பபறும் .
உதாரணம் .
1. நீ லலாத்பலாம் பிகா- மாளவபகௌதள க்ருதியின் அனுபல் லவியில்
“மாதுர்ய அம் ருத தாரா மஹாலதவ குருகுஹ பாசின்யா” என்னும் மத்யமகால
ஸாகித்யத்தில் தீக்ஷிதரின் முத்திதரயான ”குருகுஹ”என்னும் பதம் காணப் படுகிறது.
2. ஹிரண்மயீம் லஷ்மீம் - லலிதா இராகத்தில் அதமந்த க்ருதியின் சரணத்தில் “ பீத

வஸனாம் குருகுஹ மாதுல காந்தாம் லலிதாம் ” என்ற மதியம கால ஸாகித்யத்தில்
“லலிதா” என்ற ராக முத்திதர காணப் படுகிறது.
தீஷிதர் க்ருதிகளின் சிறப் பம் சமான மத்யம கால சாகித்யம் பிற் கால
வாக் னகயக் காரர்கள் தமது பாடல் களில் மத்யம கால சாஹித்யம் அதமப் பதற் கு சிறந்த
முன்லனாடியாக திகழ் கிறது.. எனலாம் .
உதாரணம் -
1. நீ லகண்ட சிவன் - ஆனந்த நடமாடுவார்.,பூர்விகல் யாணி ராக கீர்த்ததனயின்
அனுபல் லவியில் மத்யமகால ஸாகித்யம் இடம் பபறுகிறது.
” தஜ் ஜம் தகஜம் திமிதக தளாங் கு தக ததிங் கிணபதாம்
தளாங் கு தக ததிங் கிணாபதாம்
தக திமி தக ததிங் கிண பதாம் ”
2. அம் புஜம் க் ருஷ்ணா - ஓம் நலமா நாராயணா - கருணரஞ் சனி ராக கீர்த்ததனயில்
சரணத்தில் மத்யம கால ஸகித்யம் இடம் பபறுகிறது.
கிண்கிணி கிதடயார்வ வதள சிலம் பு கலகலக்க
மண் இதண தவகுந்த அப் பன் தரு காட்சி ததன
கண்ட பதாரு களிப் லபாடு பண்பாடிக்பகாண்டாட
கரம் குவித்து பமய் யுருகி எண் திதசயும் எதிபராலித்து
3. பாபநாசம் சிவன் - ஈசலன இந்த ஏதழக்கிரங் க - சக்கரவாக இராகத்தில் அதமந்த

கீர்த்ததனயின் சரணத்தில் மத்யமகால ஸாகித்யம் இடம் பபறுகிறது.
” காமதன எரித்த விழிலயா
காலதன உததத்த கழலலா
லசாமதன அணிந்த முடிலயா
சுந்தர நடமிடும் குஞ் சித பதலமா”
முடிவுரர
முத்துஸ்வாமி தீக்ஷிதரின் மத்யம கால சாஹித்யங் கள் ராகபாவத்ததயும் , தாள
நதடயில் விறு விறுப் பான லபாக்தகயும் ஏற் படுத்தி க்ருதியின் இதசயதமப் தப லமலும்
பமருகூட்டி இனிதமதய ஏற் படுத்துகிறது தீக்ஷிதர் க்ருதிகளின் சிறப் பம் சமான மத்யம
கால சாகித்யம் பிற் கால வாக்லகயக்காரர்கள் தமது பாடல் களில் மத்யம கால சாஹித்யம்
அதமப் பதற் கு சிறந்த முன்லனாடியாக திகழ் கிறது எனலாம் .
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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Yadukula Kambhoji - Insights from the Trinity

Srilatha K <[email protected]>
Purpose
The aim of the paper is to understand the approach of the Trinity to the rāga Yadukula
Kāmbhōji, for a few aspects where theory and practice seem to differ. We have done this by studying
the notations (found in Walajapet and Umayalpuram manuscripts and Saṅgīta Sampradāya
Pradarśini) and recordings of some of their compositions in this rāga as well as the rāgalakṣaṇa
defined in relevant musicological treatises.
Scope
1. Composers other than the Trinity (exceptions may be made to address a point)
2. Study of complete rāgalakṣaṇa, or details of all sañcāra-s
Introduction
YadukulaKāmbhōji (also known as YerukalaKambhōji) existed before the 72-Mēḷa rāga
scheme was defined by musicologists. Closely related to Kāmbhōji, phrase-oriented, stylized, confined
mostly to the middle octave, this is an excellent example of a compact rakti rāga. The pada-s
Upamugānējēyu (Karveṭnagar śāraṅgapāni21/Kṣhetrayya22,17th cent. C.E) and Ēmāṫalāḍina
(Muvvānallur Sabhapatayya23) are good markers of the expression of the rāga in the pre-Trinity era.
SyāmaŚāṣtri’s svarajati - Kāmākśi, Muttusvāmi Dikṣita-s Divākaratanujam, Tyāgarājam bhajaré

and Tyāgaraja’s Nīdayacé, Heccarikagarāra, Étavunanērcitivo, and many Divya-nāma-sankīrtana-s
expand upon the rāga. An analysis of these compositions is taken up in this paper to try and reconcile
a few points where theory and practice seem to differ. Saṅgīta Sampradāya Pradarṣini (henceforth
referred to as SSP) deals very elaborately with this rāga and shall be the primary source for
rāgalakṣaṇa and notations.
i) Differences in theory and practice

Range of the rāga
Traditionally musicians confine the rāgālāpana for this rāga to lower and middle octaves and
do not dwell on the upper octave. This may be due to the popularity of the traditional melody
(dhātu/varṇameṭṭ̣u) for YadukulaKāmbhōji which can be seen in Tyāgarāja’s Heccarikagarāra.
(Upamugā, Mārimutta Pillai’s kālaitūkki, Swati Tirunal’s Mōhanamāyitava are other examples of songs
that follow this template.) This approach may also avoid repetition and distinguish it clearly from
Kāmbhōji.
21 S.R. Janakiraman, Ragalaksanangal, Pg 126

22 Traditionally attributed to Kshetrayya – Review comments
23 Emataladina is composed by Sabhapatayya (S.Seetha, Tanjore as a seat of Music. pp 239).
228
But when we consider the following examples from Muttusvāmi Dikshita (MD henceforth) and
Syāma Śāṣtri (SS henceforth), we can see that the reach of the rāga can be higher:
a) Divākaratanujam goes up to tāra madhyama with ṙṁġṙṙṡ (bhavānīsakatākśa) and
ṙ,ṁġ,ṙ(kālacakra).
b) The last caraṇa of SS’s Kāmākṣi(syāmakṛsṇasōdari) reaches the tāramadhyama with
ṁġṙṡndpmgrsndpgr.
Most Post-Trinity composers have observed this and composed pieces that reach up to the
tāra-madhyama. JMA 1936 records the conclusion that, based on the evidence of Tiruvottriyur
Tyāgayyar’s varṇa, there is no reason to restrict the upper reach to the tāraṡadja.24
1.2.Usage of kākalī niṣāda

In the section on prayōga-s and sañcāra-s for YerukalaKāmbhōji, SSP shines a light on three
phrases using the anyasvara of kākalī niṣāda (n3) - sn3p̣, sn3s and sn3,s.It is observed that
 The sn3p usage is well known, where the n3 is just touched upon and does not sound
pronounced. Scholars even contend that this sounds like ssp, 25. This is supported by lakṣya,
lakṣaṇa and notations 26. Though the pallavi of Kāmāksṣi is notated in SSP only with a
downward glide from ṣaḍja to maṇdra pañcama, it is often interpreted as sn3p̣
 The sn3,s (with a dhīrganiṣāda) prayōga is absent from SSP and from our reference sources
of Trinity’s compositions.
 The sn3s prayōga27, on the other hand, is seen in notations but not sung in practice. Following
are examples from SSP: In Divākaratanujam, the Pallavi has grgs-sn3s (dhīra), anupallavi has
m,p,-dṡn3-sṙ,ṙ (bhavāniṣakatākṣa) and caraṇa has ṡn 3ṡṙ,ṙ,(kāmadhénum). Tyāgarājambhajaré
has p̣,ḍ,sṇ3srgsr, (tāpatrayam). SubbaramaDikshita also reiterates the phrase in his own
compositions (the kṛti pārthasārathini and varṇa ṡrirājivākṣādi).
On the strength of above examples, it could be suggested that the sns (without explicit n3) notated
at the beginning of Nīdayacéin Umayalpuram manuscript also implies n3. Similar inference can be
drawn for the rsṇsr, phrase found in the second sangati of Nīdayacéin vālājapet manuscripts. In
practice, musicians have replaced sn3s with s,s or rss. We also find non-Trinity examples where the
24It is interesting to note that Venkatamakhi’s gita given in SSP even reaches tārasaḍja! The validity of
this notation is beyond the scope of this discussion, since the atitāraṣaḍja often makes an
appearance in many of these gīta-s.
25 S. R. Janakiraman, Raga lakṣanaṅgaḷPg 126
26In caraṇa of Divākaratanujam, we find ṡn3pd,s, (citrabhānum), in the upper octave
27It is probably like sn3p, in that the expression of n3 is not pronounced.
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notations of sns may be implying a kākalī niṣāda usage28. The above citations are convincing
evidences of a forgotten prayōga.
1.3.Usage of dns,
The phrases ‘d,nṡ,nd,’, ‘dnṡ,ṙṡ-ns,nd’, ‘nṡṙsnd’ are often seen as markers for Yadukula Kāmbhōji
in practice. It is interesting that these phrases
 do not conform to the arōhaṇa definition(srmpds)
 are absent in the lakṣaṇa and sañcāri found in SSP
 are absent from notations of compositions of SS and MD.
This phrase is found in Tyāgarāja’s compositions and those of Post-Trinity composers29 and in
manōdharma: Examples:
 In Umayalpuram manuscripts for Entanucusairuntu sītakānta, nṡṙṡnd is found in the second
sangati of pallavi, and ṡnṡ,ṙṡnd in second sangati of anupallavi.
 Dr. S. Rāmanāthan’s Celiminijalajākṣu (d,nṡ,nd, and dnṡ,ṙṡ-nṡ,nd phrases through successive
saṅgati-s30). Note that our source manuscripts do not carry these saṅgati-s.
i) Vīna S. Balachander, in a ragālāpana, demonstrates the transformation of the phrase dṡ,,nd to
other phrases like dnṡ,nd and dnṡ,ṙṡ-nṡ,nd, ṡnṡ,rṡ-nṡ,nd.31
Furthermore, The Journal of Music Academy (JMA henceforth) 1936 records scholars’ discussion
and conclusion that the prayōga d, ns, nd, is acceptable and must be considered an extension of
dṡ,,nd.
1.4.Ārōhaṇa-Avarōhaṇa
The rāgalakṣaṇa texts from the time of Sāhāji’s Rāgalakṣaṇamu (1684-1711 C.E) consistently
declare the ārōhaṇa-avarōhaṇa as sr2m1pd2s, sn2d2pm1g3r2s, a janya of Kāmbhōji. SSP, for the first
time, quotes Muddu Vēṅkaṭamakhi (Rāgalakṣaṇa, first quarter of 18th cent C.E). Although Muddu
Vēṅkaṭamakhi simply says ‘ārōhéganivarjya’, Subbarāma Dīkṣita includes a niṣāda in the ascent, and
defines it as sr2m1pd2n2d2pd2s-sn2d2pm1g3r2s, a bhāṣāṇgajanya of Harikēdaragauḷa (28) with
anyasvara of kākalī niṣāda.
28Tanjore Vadivelu’s caukavarṇa Sāmininné has rmggrssṇ s,,, in the very first line of the Pallavi.
Patnam Subrahmanya Iyer’s varna Padarédi starts with p,d,-s,,ṇ-srrs. Notations of a
Aḷagarkuravañjiangulīyam and a kāvadicindu, sīrvalar both have the sṇs phrase before resting at
ṣaḍja.
29In TanjoreVadivelu’scaukavarna ‘Sāmininne’, the anupallavi uses dnṡ,nd, (kamala)
30https://www.sangeethamshare.org/tvg/UPLOADS-1801---2000/1900-S_Ramanathan/#
31https://www.sangeethamshare.org/manjunath/Carnatic/Audio/UPLOADS-301-600/564-
S_bAlachandhar-vINa-mysUru-1986/
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Govindacharya makes no mention of kākalī niṣāda usage and uses a simple sr2mpd2s,
sn2d2pm1g3r2s, and makes it a(upaṇga) janya of Harikāmbhōji.
The progression srm,m-gmp,p-mpd,d etched in Syāma Śāṣtri’s svarajati and the consonant pair of
phrases gmp, mg and dn2ṡ, nd32, could have prompted the discussion on the ārōhaṇa-avarōhaṇa
recorded in JMA, 1931, which concluded with a recommendation to modify it to sr2m-g3m1pd2s,
sn2d2pm1g3r2s.
The Umayalpuram manuscript also shows a struggle in defining the avarōha33, choosing to
define it as sn2d2pm1g3r2g3s. Considering such repeated and unsatisfactory attempts by many scholars
to define the ārōhaṇa-avarōhaṇa of Yadukula Kāmbhōji, we can only conclude that the scale is no
indicator of the boundaries of the raga.
iii) Conclusion
The following conclusions about Yadukula Kāmbhōji can be drawn from the above discussion
i) There seems to be no limit on the raga’s reach in the tārasthāyi, for MD and SS. For possibly
aesthetic reasons, Tyāgarāja’s compositions stay within tāraṡaḍja.
ii) The sn3,s prayōga, though well-documented and notated in SSP in compositions of MD,
seems to have gone out of favour and is hardly heard in expositions of the rāga.
iii) The dn2ṡ, nd phrase, while prevalent in lakṣya, is completely absent from the compositions of
MD and SS as well as from rāgalakśaṇa, sañcāra-s and compositions in SSP.
iv) Most importantly, the contours of this rāga lie outside the traditional rāgalakśaṇa definition.
Though not taken up for discussion, there are many intricacies that make it a lakṣya pradhāna
raga - ‘Concluding’ phrases like ‘rmRs’ are never notated but are an implicit part of the raga in
lakṣya. In Vina Dhanammal’s version of divakara tanujam34, a svarākṣara coinciding with the
conspicuous halt at the ‘mā’ of mālini vinutam is seen - a unique usage not found in SSP and
popular renderings.
Though differences seem to exist in the Trinity’s versions of the rāga, it would be incorrect to
conclude that they each understood the rāga differently. Instead, it would be appropriate to say that
they used their discretion to expose some aspects of the rāga and suppress others, while keeping the
rāgabhāva intact.
From a broader perspective, this case study points out the drawbacks of trying to understand a
rāga exclusively through lakṣya or lakṣaṇa. A study of compositions in a rāga, its exposition by
32 The phrases in fact sound like gpmp, mg and dṡn2ṡ, n2d

33http://musicresearchlibrary.net/omeka/files/original/3ec8c341377e4b2a90335f517d495cb7.pdf, Pg 9
34 Ritha Rajan’s AIR recording from Sangeethapriya.org
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scholarly musicians, its grammar and historical context - all these (and more) are required to get a
clear picture of the rāga.
Bibliography
(i) Dikshitaru, Subbarama, SangītaSampradāyaPradarśini,Vol IV- Ananya Publication, 2007
(ii) Umayalpuram Manuscripts at
http://musicresearchlibrary.net/omeka/files/original/3ec8c341377e4b2a90335f517d495cb7.pdf
and
http://musicresearchlibrary.net/omeka/files/original/3ec8c341377e4b2a90335f517d495cb7.pdf
(iii) Walajapet Manuscripts at
http://musicresearchlibrary.net/omeka/files/original/2bb312472529fec921844bfadee2c2ca.pdf
and
http://musicresearchlibrary.net/omeka/files/original/bdae739ecfdd8774f1c0bb23c74c6a9b.pdf
(iv) Janakiraman S.R, Rāgalakṣaṇaṅgaḷ̇, Vol 1, 125-127, Music Academy, 2009
(v) Journal of Music Academy (JMA), 1931,175
(vi) JMA 1935-37, Madras Music Conference 9th session 1936, Official Report,179
(vii) Iyengar, K.V.Srinivasa - Cillarai kōvai, 2005, 171, 282
(viii) Sivandandam, K.P, Tañjai Nālvar Maṇimālai, 2002, 104
(ix) Pinakapani, Sripada, Saṅgīta Saurabhamu,TirumalaTirupati Devasthanam, 2001, 28
(x) Ramanathan, Hema, Rāgalakṣaṇasangraha, N. Ramanthan, 2004
(xi) https://www.sangeethapriya.org/homepage.php for audio samples
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Depiction of Nāyikā bhāva in Saint Tyāgarāja’s opera, Naukā caritam

Sriranjitha C <[email protected]>
Introduction
“Gītam vādyām tathā nṛttam trayam saṅgītamucyate”
In ancient treatise Nātya Śāstra, Bharatha said that music, dance and drama together
constitute Nātya. The ancient Indian drama is unique in its technique as it is connected to dance and
music and throws light on other art forms known as the Gandharva arts or Gandharvakale. Gradually,
dance, music and drama grew in a separate tangent with each discipline undergoing transformative
changes contributing to our rich cultural heritage. From the time of Bharatha to this day, literary
scholars, art patrons have contributed immensely in each field providing great inspiration to all artists.
Innovative changes were happening both in the field of music as well as dance. The musical
compositions were adopted to dance and sometimes were composed exclusively for dance. A great
number of Haridāsa-s, śivacaraṇa-s and composers such as Tālapākka Annamāchārya, Jayadēva,
Svati thirunāl, the karnātic music trinity Śyāma śāstri, Muttusvāmi Dīkṣita and Tyāgarāja and many
others have contributed immensely to the field of music irrespective of beliefs and regions. Indeed it is
a great co-incidence that all the three hailed from Tiruvārur, Thanjavur district.
Bhakthi is the predominant rasa in almost all the compositions of the trinity. By hearing,
singing these one can find Bhakthi rasa, reaching high domain. A deep understanding of composers
view is essential to do any kind of justice to these exquisite compositions.
Saint Tyāgarāja, one of the trinities of Karnātaka classical Music, is known for his simple
compositions which appealed to the lay man and also for creating unique rāga-s . Tyāgarāja swami’s
compositions such as the pañcarathna kṛti-s, nādathanumanisham, many more are choreographed
and presented by several well-known Bharatanātyam dancers.
The origins of the Indian opera can be traced back to the 12 th century Gita Govindam written
by Jayadēva. According to the celebrated musicologist, Prof. P. Sambamoorthy, Saint Tyāgarāja may
be regarded as the ‘geyanātakamargadarshi’ as he is the first composer of a regular geyanātakam or
what is known as an opera. His three operas, Prahlāda Bhakthi Vijayam, Nauka Charitam and Sīta
Rāma Vijayam composed in telugu are among the finest examples. Prior to Tyāgarāja, there were
some nṛṭya natakas or dance drama, prominent among them being Arunāchala Kavirāyar’s
Rāmanātakam.
Naukacaritam
Tyāgarāja swami has composed an opera, Naukacharitam depicting the story of Kṛṣna and
Gōpika-s , showcasing śriṅgāra rasa. It is a gēyanātakam, a musical drama consisting of 21 kṛiti-s,
set in 13 different rāga-s The great Saint has thrown light on śriṅgāra bhāva, a type of bhakthiśriṅgāra
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or love towards Lord Kṛṣna. Śriṅgāra is not merely a union between two lovers. According to
Nātyaśāṣtra, śriṅgāra arises out of pure, unconditional love. This article explores the elements of
śriṅgāra as envisaged by the Saint composer. Unlike other dramas, NaukaCharitham does not have
any introductory verses. Here, the story deals with Lord Kṛṣna and Gōpika-s who travel together in a
boat and start making merry with Kṛṣna start teasing him even cursing him. Wanting to teach a
lesson to the proud Gōpi-s , Kṛṣna summons a storm, that develops a wreck and starts filling with
water. Gōpi-s get worried and turn to Kṛṣna to save them. Kṛṣna advises them to seal the hole with
their clothes. The gōpi-s do it unwillingly only to see their clothes wash away. Then, the Gōpi-s
realize that only Lord Kṛṣna, can help them. As soon as they lose their pride Kṛṣna saves them. The
whole story explains śriṅgāra , about how Gōpi-s dressed themselves, how they decorated Kṛṣna, the
beauty of river Yamuna as well as the nature’s beauty too; Gōpi-s feel very proud of themselves and
play chasing each other, at last surrendering whole heartedly to Kṛṣna.
Many classical dancers adapted these songs as per their understanding and presented as
kīrtana-s, dance drama-s etc. Prominent among them being Vidushi Radha for
Doordarshanprasarbharathi, Kala Darshanam team and, Smt. B.K. Vasantalakshmi from kalakshetra
has choreographed and presented this opera in various prestigious stages.
This paper aims to show case the depiction of nayikabhāva and to explore śriṅgāra nāyika by
selecting few songs in saint Tyāgarāja’s Nauka Charitham. In all his compositions Saint Tyāgarāja
has shown Bhakthi rasa towards Lord Rāma. He deals with śriṅgāra rasa. This opera is valuable
gem among his well-known compositions.
 Shringārinchukonivedaliri Sri Krishnunithōnu.......

Puvvulumudugusunokathe.....
Ravvajeyusunokathevētkaka....
In these verse, Sri Tyāgarāja describes the colorful scene of śriṅgāra . The way the gōpi-s
dress themselves up by wearing flowers and behavior with Kṛṣna. One of them is offering exotic
flowers to Kṛṣna, while another is offering him tambūla. Some others are combing his hair, teasing
him and making fun of him. While some are looking coyly at Kṛṣna, someone suddenly hugs him
overcome with love, some put tilaka on his forehead, laughing and enjoying, calling him to sit beside
them. All these lines in the song explain the essence of śriṅgāra of the vāsakasajjanāyika.
The dressing up of the gōpika-s before going to boat can be vāsakasajja, they are ready to
meet Kṛṣna, their muse. Gōpi-s may be categorized as anyanāyikas, leaving their family they are all
going to enjoy with Kṛṣna.
 Chūdarechelulārā Yamuna devi....

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Yerranipangeruhamuleandhu....
In this krithi, Sri Tyāgarāja very beautifully describes the unparalleled beauty of river Yamuna.
The ladies beseech each other to see the beauty of Yamuna. The steps on the river bank seem like
diamonds touched by small waves which sounds like lilting music, the red lotuses with bees buzzing
around them, and the swans enriching the beauty of river Yamuna. The gōpi-s feel that the beauty of
Yamuna and the cool mountain breeze is indicating a union with Kṛṣna.
This explanation of nature can be interpreted as vibhāvas for śriṅgāra according to rasa theory of
Bharatha’sNātyaśāstra.
 Yemanineranammukondhumu Kṛṣna...
Mudhithalarammanithilakamulitipantamovinokkaledhā...
Kāminchiyagnapathnuluvedagavènugānamonarppaledhā....
Here, Tyāgarāja has narrated śriṅgāra using nindāsthuthi. Gōpika-s ask Kṛṣna how to believe him,
mentioning instances such as Kṛṣna hiding their clothes while they were having bath, calling them
with the pretext of putting thilaka etc. Here, śriṅgāra is explained in teasing gestures.
 Yememōtheliyakabalikedharuchelulārā....
Karirājumakarichegāsichendaganenu, Garunajūdaledhā......
In this song Kṛṣna is trying to convince gōpi-s that he is not a person to deny anything when his
bhaktha seeks his help. Kṛṣna justifies himself giving examples. He says, “oh ladies, without
understanding you were blaming me, when king of elephants was caught by crocodile did i not show
mercy for him? I took tortoise incarnation to save the world did I not?”
 Ōdanujaripemuchadaganarevanithalāranedū.....
ĀdavaruYamunakadaKrishnunikūdiYadusupadusunandarujūdaga......
This composition describing the boat scene is one of the most wonderful creations of Tyāgarāja. Here,
the poet has explained how beautifully dressed gōpi-s and Kṛṣna sailed on the boat in river Yamuna.
We can imagine Kṛṣna and Gōpi-s moving in the boat enjoying the moment and dancing where
someone singing songs on Hari, with some of them dancing and kissing, some of them requesting
Yamuna, as cool breeze is making them stagger, with some others having golden silk apparels flying
in the breeze, flowers decorating their hair falling down.
 Thanayandheprēmayenasuviribonulu
Talatheliyakanādedharu...
Kondaribaṅgārukoṅgulubata, kondaribathamulubagugaṇetta, kondarisogasunukanulārajooda,
kondarimanasudelisimātalāda........
Each of those ladies thinking that Kṛṣna was only love with them, lost their head and danced, whereas
Kṛṣna played with them all. In this kṛti, Tyāgarāja describes how Kṛṣna played with each one of them.
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He pulled the golden dresses of some, he pushed the feet of some by his feet, he stared and enjoyed
the beauty of some, and he understood the mind of some of them.
This explains that though there were many gōpi-s , all of them imagine that Kṛṣna is always with them
and loves them more than other. This thought is consistent withswādīnapathikanāyika. The anupallavi
says that:
AnayamumōhamumīragaKṛuṣnuduantharikannirūpamuluyēthiyadaka,
That means Kṛṣna took many forms and played love games with all of them. All gōpi-s expressed
their love towards Kṛṣna and say that since they have passion of love for Kṛṣna, they came along with
him.
 Yenomunochithimochelula may dhanamosagithimo...

In this song gōpika-s are feeling proud as they think of themselves as a gem among women and their
wealth of youth is better than goddess Lakshmi. They feel proud of the fact that they are with Kṛṣna
admiring his moon like face and drink from his lips to their hearts content. They are savoring each
moment as most precious and indescribable. They further express that their wish is fulfilled. This
shows the proudhanāyikalakshana.Another Krithi showcasing proudhanāyika is:
 Evarumanakusamānamilalonindhulāranedu
All gōpika-s are saying that there is no one equal to themas even Brahma, Shiva and Narayana were
deceived due to desire for women. Similarly, in this Gōkula, Kṛṣna has fallen into their net.
 Chāluchāluneeyaukhalunaduvadhu...
The gōpi-s admonish Kṛṣna to please stop His tricks. They say that they fell in love with Him hearing
His sweet words and came there.
 Unnathavunanundaniyyadhu
The Lord Kṛṣna observing this wanted to teach a lesson to gōpika-s , so he creates a storm and
torrential rain. The boat develops a leak. The gōpi-s feel helpless and wonder as to who will save
them. Then they start praying to river Yamuna as described in the following krithi.
 AllakallolamāyenammaYamunādevi, mā,
Yarthuthellādhīrpumayamma......
They pray to Yamuna Devi requesting her to save Kṛṣna as it was their fault to bring Him on the boat
forcibly to fulfill their desires, but this storm is now threatening to end everything. In the next song
Gōpi-s realize that Kṛṣna can save them.
 Kṛṣna mākemidhovabaluku
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Gōpi-s request Kṛṣna asking Him to save them as he is the only one who can save them. They have
lost their zari blouses and are unable to bear the cold and have lost self-respect among equals. They
address Kṛṣna as the golden boy and ask Him to please do some tricks and save their lives.
Kṛṣna wants to test their bhakthi tells them to seal the hole with their clothes. Feeling ashamed to
remove their clothes, the gōpi-s reject this idea. At last, having no other go,they obeyed Kṛṣna and
said
 Vēdavakhyamaniyendhiri......
Taking Kṛṣna’s words as Vēda-s, they removed all their saris with great shyness, and tried to seal the
leak. The gōpi-s surrendered themselves to Kṛṣna with tears in their eyes. Kṛṣna became happy as
the pride of ladies was destroyed. The gōpi-s then realize Hari is God and worship him:
 Gandhamupuyyarugāpannīruga…
thilakamudithdarugākasthūri...
They worshipped the Lord by offering Him with all their mind, sandal wood paste, musk tilaka,
golden clothes, jaji, davana and other scented items. Then the gōpi-s go back to their places. In the
next song, the poet has described how the gōpi-s went to see lord Kṛṣna. It reminds us of the first
song shrungārinchukoni.
Conclusion:
Nauka Charitham totally deals with śriṅgāra rasa and Bhakthi śriṅgāra. All the gōpika-s are
anyanayika-s depicting prouḍa and swādhinapathika nāyikābhāva. As this opera is in sambhōga
śriṅgāra, Kṛṣna is present along with the nāyikas. Out of twenty one songs, very few songs were
chosen for description.
Nauka charitham gives the picture of sambhōgaśriṅgāra having vibhāva as nature’s beauty, dressing
of Kṛṣna and gōpi-s andanubhāva as teasing each other feeling proud of one self, passion of love
towards nāyaka.
References
1. Natyasastra; Edited and Translated by ManomohanGhosh; Vol 1, Ed 1, Chowkamba Sanskrit
Series Office, Chowkamba Press Varanasi; 2012.
2. Uma RāmaKṛṣnan; Trinity of Karnātaka classical Music ; July 5, 2015.
http://www.amrithavarshini.net/trinity-of-music/ ; Accessed: 27th December, 2017.
3. P. R. Rāmachander; NaukaCharithram of Saint Tyāgarāja; April 26, 2015.
http://translationsofsomesongsofcarnticmusic.blogspot.in/2015/04/nauka-charithram-of-
saint-Tyāgarāja.html ; Accessed: 27th December, 2017.
4. Understanding the elimental Hindu works by GeetaKasturi, Kasturi N.V
237
5. Brief Life Sketch And Contributions Of Saint Tyāgarāja; Chapter 2

https://shodhganga.inflibnet.ac.in/bitstream/10603/173584/9/09_chapter%202.pdf ; Accessed:
18th August, 2019.
6. History of south Indian Music, author Prof P. Sambamoorthy,
Chapter 7, Pages from 83 to 89.
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A study of “Ninnu vinaga mari” of Śyāmā Sāstri

Syam Kumar <[email protected]>
Śyāmā Sāstri is one among the Trinity of Carnatic Music. He has composed many Kṛti-s and
three Svarajati-s. His compositions are mainly in Telugu and some of them are in Sanskrit and Tamiz.
His compositions are said to be comparatively tough in both melody and rhythm. They are found in
prominent South Indian rāga-s and many are rakti raga-s, thus filled with rāga bhāva. He has composed
the kṛti-s in different tāla-s like ādi tāla, rūpaka tāla, miśra cāpu, khaṇḍa jhampa tāla, miśra jhampa tāla,
maṭhya tāla etc., Among these, miśra cāpu needs a special mention when his compositions are
discussed.
Śyāmā Sāstri is identified with Miśra cāpu tāla for all the gems like “Nannubrovu Lalitā”, “talli
ninnu”, and so on. He has composed a variety of ‘eḍuppu’ or the commencing point of the same tāla –
a combination of the 4 + 3 pattern, in his compositions. He has also composed in vilōma cāpu tāla,
which is unique. This paper would bring out the special features in the kṛti, “ninnu vināga mari”
composed in the raga, pūrvi kalyāṇi and set to vilōma cāpu tāla.
In general, the miśra cāpu tāla has the setting of ta- ki - ṭa - taka - dhi - mi, in which the first
three akṣara-s are expressed as a single tāla kriyā (a beat or a wave) and the other four akṣara-s are
expressed as two kriya-s (a beat). The commencement of the songs in miśra cāpu tāla-s could be wither
sama or after a lapse of 1 or 2 akṣara-s. But in the case of Śyāmā sāstri’s compositions, the
commencement is shifted to the fourth akṣara, which appears as an inverse to the original setting. That
is, instead of [ta- ki - ṭa ] - [taka ]- [dhi - mi], the pattern becomes, [taka ] - [dhi - mi] - [ta- ki - ṭa ].
Such a kind of rendering is termed as vilōma cāpu tāla.
Structure of the composition:

The pallavi of this composition is:
ninnu vinā gamari dikkevarunnāru
nikhila lōka jananī nannu brōcuṭaku
1 2 3 4 5 6 7
ta ka dhi mi ta ki ṭa
ni - nu - vi na -
- - ga - ma ri -
di - kke - va ru -
- - nna - - - ru
ni - khi - la lo -
- - ka - ja na -
ni - na - nu - -
bro - chu - ta - ku
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From the above table, it is learnt that the first and the second line spread to 4 āvarata-s each.
They both commence at the same point on the tāla. Further there is a uniform absence of sāhitya
syllables on the second and the fourth unit of the tāla. Also the seventh unit is filled with a sāhitya
syllable only on the final line, i.e., the fourth and the eigth āvarta.
Anupallavi
The anupallavi of the composition is
“pannaga bhūṣanuḍaina kañci ēkāmbra
pati manōhāriṇi Śrī kāmākṣi
1 2 3 4 5 6 7
pa - nna - ga bhu -
sha - nu - dai na -
- - ka - - chi -
e - kam - - - bra
pa - ti - - ma -
no - ha - ri ni -
- - sri - - - -
ka - - - ma - kshi
The rhythmic setting of the anupallavi also resembles the pallavi. The graha is at the sama of
the vilōma cāpu pattern of the tāla. The first and the second lines are spread to 4 āvarta-s each and
like pallavi, there is no sāhitya syllable occurring on the 2nd and the 4th units of the tāla.
Caraṇa:
There are three caraṇa-s, of which the third contain the mudra, “śyāma kṛṣṇa” in the fourth
line. The caraṇa of the composition is as follows:
tāmasambiṭula sēyarādikanu
talli nā mora vinarādā dayalēdā
kāmitārtha phala dāyaki lalita
śyāma kṛṣṇa sōdari kaumāri
1 2 3 4 5 6 7
ta - ma sam -
- - bi - tu la -
- - se - ya ra -
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- - di - ka - -
nu - ta - lli na -
mo - ra - vi na -
- - ra - da - -
da - ya - le - -
da - ka - mi ta -
- - rdha - - - pa
la - da - ya ki -
ni - ve - - ga -
da - sya - ma kri -
- - shna - - - sa
ho - da - - ri -
bro - chu - ta - ku
The graha or the commencement of the caraṇa is different from that of the pallavi and
anupallavi. While they begin on the sama as per the vilōma pattern (i.e., the 4th unit of the normal miśra
cāpu), the caraṇa begins after the lapse of two akṣara-s. In other words, after a lapse of five akṣara-s
of the normal miśra cāpu tāla pattern. There are four lines of sāhitya fitting into four āvarta-s each, thus
making the caraṇa to 16 āvarta-s. All the four lines begin at the same point of the tāla. However the
ending of the song is on the third unit of the tāla, thus enabling to connect to the pallavi, which
commences on the 4th akṣara.
Melodic aspects:
This kṛti is set to Pūrvikalyāṇi rāga. It is the janya of the 53 rd mēlakarta, Gamanaśrama of the
72 mēla system. The range of this kṛti is from mandra sthāyi dhaivata to tāra sthāyi pañcama. Pallavi
starts with the madhya sthāyi ṣaḍja. He has expressed rāga bhāva svara combinations extensively. He
has composed this kṛti in vilamba kāla, which helps in bringing out the essence of the rāga.
Conclusion
This is one of the significant composition of Śyāmā Sāstri, in which he has given equal credence
to the melody, sāhitya and tāla. There is a overall sense of symmetry and logic in the setting of this
composition. Thus the greatness of the composer is understood through the coincidence of all the three
elements of a music composition. This kṛti is a characteristic example of a unique combination of rāga
and tāla structures.
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Influence of Western Music on Tyagaraja and Muttuswamy Dikshita

Uma Kumar <[email protected]>
Introduction
During the later part of 18th century, the impact of Western music on karnātaka classical music
became prominently visible in the course of its evolution. The main reason being Europe’s expansion,
the age of colonization and of course the Imperialism. According to the studies undertaken by Bruno
Nettl, an ethnomusicologist from Czechoslovakia, the role of catalyst in introducing Western Music to all
the Non-western countries was played by Christian missionaries, soldiers, chaplains and diplomats.
Though, it seems like western music started flourishing in India, only during the later part of 18 th century,
its inception has been traced back to 52 AD when Apostle Thomas from Israel arrived at Kodungallūr of
Kerala.
The origin of Indian Classical music has been attributed to the Vēdic period. The musical notes
have been derived from the sāma vēdic hymns. However, the form of South Indian classical that is
widely familiar in the Karnātaka region today is popularized by the Saṅgīta Pitāmaha śri Puraṇdaradāsa
who formulated the Karnātaka classical music lessons practiced till date.
After the fall of Vijayanagara Empire in 1565 AD, it became inevitable for all the scholars,
musicologists and musicians to move to the Southern region towards Tañjāvur, in order to seek
patronage from the Royal family. It was during this period that the East India Company had started its
expansion in this region.
“Tañjāvur as a seat of Music” authored by Dr. S Seetha mentions that as early as 1775, during
Saint Tyāgarāja-s childhood days, notebooks containing the Western Staff notation and other
theoretical aspects of the English music were being published on the orders of King Tulaja II, the
Marātha ruler of the Tañjāvur province. The Maratha rulers were great patrons of arts and encouraged
music and dance during their regime. Sarabhōji II, the adopted son of Tujaja II
saw to it that music of both East and West rose to
greater heights during his period. He collected many
western musical instruments like violin, clarinet,
dulcimer, piano, German flute, tambourine and
harpsichord. Sarabhōji II was a great musician par
excellence of his times. He was well versed in both
Indian and western music. It was during the period
of Tulaja II who had lost all his children that Doctrine
of Lapse was imposed by the Christian Fredrich Schwartz British Government. Tulaja II immediately
rushed to Satāra and adopted a Bhōsle boy who was none other than Sarabhōji/ Serfōji II. He underwent
rigorous training in Western music under Rev.Fredrich Schwarz in St. George School, Madras. Rev.
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Fredrich Schwarz was a native of the present Poland. After the demise of Schwartz, another missionary,
a scholar called Christian Wilhelm Gericke also tutored Sarabhōji II. Many scholars are of the opinion
that Sarabhōji-s deep appreciation for western music was mainly nurtured by Wilhelm Gericke.
VarahaPayyar was yet another courtier of Sarabhōji II who equipped the Chamber Music Orchestra of
the Tañjāvur court with many western instruments. Sarabhōji invited many musicians and dancers to
perform at his Court and Saṅgītmahal. All their names are found in the Modi documents (Marathi
administrative office documents) maintained at the saraswati Mahal,Tañjāvur. Sarabhōji archived many
notebooks that contained the songs in Western staff notation and theory explained by Thomas
Chapman. Some of the western composers whose compositions found in his library are Charles Dibdin,
William Reeve, Joseph Haydn, Luigi Gianella, John Abraham. This implies that the trinities were some
way or the other exposed to the music of the west through various sources.
Development of Western music during Tyāgarāja and Dikṣhitar period

During the British East India Company’s early settlement in India, the intellectuals of Britain
slowly started moving towards the south curious about the Hindu religion, Dravidian language, customs
and culture. The British Government deputed many troops of army from Welsh regions, Scotland and
Ireland in the South Indian provinces to maintain law and order of that region to their liking. Along with
these troops, came the army band to provide entertainment and accompaniment. During the off working
hours, they performed at Fort St. George.
The introduction of Western music into south India has been through the Irish fiddlers rather
than what we think of as Western Classical music. The word fiddle is used by the Scottish performers
which refers to the string instrument like violin, viola and even cello. The tuning and playing techniques
of these violins are quite different from that of Indian music. The Irish fiddlers played country and folk
music known as Celtic Music.
Celtic music mainly means the music of the people who consider themselves as Celts. The word
Celt is derived from Ceolas (music knowledge). Celtic nations are basically the territories in Western
Europe.
They are :
1. Britainy (a part of France),
2. Cornwall (south west england)
3. Wales (an island of UK)
4. Scotland
5. Ireland
However, in general Celtic music is often referred to the music of Ireland and Scotland as both these
regions have produced distinctive styles of music. The features of Celtic music are often instruments,
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melody, scales, grace notes and Rhythm which holds true to almost all music around the world with
different approaches.
Tyāgarāja and Muttusvāmi Dīkṣita, who lived during this period were contemporaries. They were
exposed to western music in their own way. While Dīkṣita had the opportunity to either visit the British
headquarters office or the court of Sarabhōji, and listen to the Western Band music, Tyāgarāja heard
the western music band group(42 members) of Tulajaji II, ruler of tañjāvur and his entourage who spent
their summer months in Tiruvayyār. .
There are a number of intrepretations on how the western tunes influenced Muttusvāmi Dīkṣita
and Tyāgarāja and entered the South Indian Music scenario.
Muttusvāmi Dīkṣita and Western Music

 One of them being that Bālusvāmi Dīkṣita, the younger brother of Muttusvāmi Dīkṣita expressing
his desire to learn European music after being attracted by the western tunes played by the Irish
Fiddlers at Fort St. George, Madras. This passion led him to be trained under a European
violinist. Later, he returned to Tañjāvūr and performed extensively. The Mahārajah of
Eṭṭayapuram was so taken by his violin playing skills that he appointed him as his court violinist.
Muttusvāmi Dīkṣhita heard these tunes from his brother and composed saṁskṛita lyrics to these
enchanting melodies.
 The second version being that the four musician brothers referred as Tanjore Quartets –
Chinnaiah, Ponniah, Śivanandam and Vadivēlu, were employed as court musicians in the
Tañjāvur royal palace under the king Sarabhōji II. As mentioned earlier, just like Sarabhōji II,
the disciple of Christian Fredrich Schwartz, Vadivēlu also nurtured his musical skills under the
same mentor, Rev.Schwartz. He was a prime disciple of Muttusvāmi Dīkṣita in Carnatic music
as well. Vadivēlu often played these tunes before his Guru Muttusvāmi Dīkṣita while could have
probably inspired Dīkṣita to set up lyrics.
 The third version gives yet another account of the first encounter of western tunes for the Indian
audience. Varāhappayar, the superintendent of court musicians at the court of Sarabhōji at
Tañjāvur was a well read man with excellent English speaking skills. He was also an adept in
playing the violin. His multifaceted personality often made him the chosen ambassador between
the British and Tañjāvur court administration formalities. His fiddling skills were so enchanting
that the western musicians presented him their violins and also enriched his playing skills by
tutoring him with few western playing techniques. He later taught these dynamics to his disciple
Vadivēlu, who was a court musician at Svāti Tirunāl-s court in his later years.
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 One more interpretation to this is that - Muddukṛṣna Mudaliyar a land lord of manali(a village
near Madras))during the period of Muttusvāmi Dīkṣita was a learned man and also a translator
who was well connected with the British East India Company. He was, for a long time a
connoisseur of Dīkṣita-s father Rāmasvāmi Dikṣhita-s music and with his support he had
convinced Rāmasvāmi Dīkṣita to move to Manali. After him, his son Vēṇkatakṛṣna Mudaliar
patronized Muttusvāmi and his brother in their musical journey. He would often take both of
them to the Fort St. George where the Irish men regularly had rehearsals. The Band played
simple tunes, marching tunes, lilting melodies, drums, bagpipes and flutes.
 It is also believed that Muttusvāmi Dīkṣita composed text for the popular European airs when
he was requested by Mr. Brown a British officer stationed in Madras.
Muttusvāmi Dīkṣita composed 40 songs in C major scale (śaṅkarābharana) of course with few
accidentals (anya svara-s). In these compositions, Dīkṣita has incorporated rhythmic units
equivalent to 3/4( triṣra nadai) or 4/4 (cha eka) time signatures.
Some of the compositions of Muttusvāmi Dīkṣita which are the replica of the Celtic tunes are :
1. Saṇtatam Pahimam - God save the queen (Britain National Anthem)
The Notation of Santatam Pāhimam in comparison with the British Anthem.
|| S S R || N , s R || G G M || G r S ||
Santa tam pāhimāmsaṅgīta śhyāmale
|| R S N || S , p d n || S , r g m ||
Sarvadha rē janani rē janani
|| PPP || P , m G || M MM || M , g R ||
Chinti ta rthapradechidrupiNi shiv e
|| G m r g s || G m P || d p M G || R S S ||
Sri guruguha se vita sivamohakare
Actual version of the British Anthem
|| S S R || N , s R || G G M || G r S ||
God save our gracious Queen Long live our noble queen
|| R S N || S, …..
God save our queen
|| PPP || P , m G || M MM || M , g R ||
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Send hervic tortious happy and glorious

|| G m r g s || G , m P || d p M G || R S S ||
Long to reign over us God save our queen
2. Vandēmīnākṣhi– Rakes of Mellow (Traditional Irish song and polka. This is a Traditional Irish
song about the rakes from the town of Mallow, a town in County Cork, It was first written down
in Scotland during the 1780s, The song is a fight song for Notre Dame Fighting Irish fans.)
3. Vara śivabālam - Castilian maid by Thomas Moore
4. Pētavarnāmbhaje – Persian verse made into English jingle
5. Jagadīsha guru guha – Lord macdonald’s reel
6. Subrahmanyam – British Grenadiere
7. Rāmachandram – Let us lead a life of pleasure
8. Śhourividhinute – Oh whistle and i will come to you
9. Śhymalemīnākṣhi- French tune - Ah! Vousdirai-je – twinke twinke little star (Mozart)
Śri Tyāgarāja and Western Music

It is believed that Tyāgarāja used to sing to the accompaniment of Vadivēlu and sometimes
even ask him to play the violin just to enjoy the resonance of the instrument! Some of the tunes passed
on by Varāhappayar to Vadivēlu must have inspired Saint Tyāgarāja to compose using the harmonic
notes in Śaṅkarābharana. Several compositions of Tyāgarāja indicate strains of Scottish reels and
waltzes composed in unique ragas with suggestive names like Jiṅgla. In the recent years, many
experiments have been undertaken using many of the Tyāgarāja Kṛtis by Internationally repute artists.
For eg: ChitraVeena Ravi Kiran has included the concept of Mel harmony for the kṛti Anātu
Danugānu in Raga Jingala.
With this background, three of his compositions in Raga Śaṅkarābharana (C major) are on the
lines of Dīkṣita’s Nōtuswara-s. All these compositions have flat notes, with less grace (gamaka-s) which
resembles the orchestral Western Music.
The three important kṛtis of Tyāgarāja that resemble the western notes are –
1. Varalīlaganalōla - Śaṅkarābharana – C Major scale
2. SārasaNētra - Śaṅkarābharana – C Major scale
3. Raminchuvarevarura - Supōṣhini – a combination of C Major scale but with B flat.
Conclusion
Many of Tyāgarāja-s and Dīkṣita-s disciples had undergone training on western instruments
mainly the Violin. Most of the compositions of Tyāgarāja and Dīkṣita became experimental pieces for
the budding violin artists like Walājapet Kṛṣna Bhagavatar, Vadivēlu and Bālusvāmi Dīkṣita (brother of
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Muttusvāmi Dīkṣita), Valadi RadhāKṛṣna Iyer, A M Chinnasvāmi Mudaliar. It should be noted that the
compositions of Tyāgarāja were the first to have introduced the saṅgati format of singing. Each saṅgati
shows the raga being developed progressively to reach the climax of the emotional content of a
particular Raga or tune. The compositions were so meticulously framed, to give ample scope for saṅgati-
s. This is the principle reason why Instrumentalists love to play Tyāgarāja kṛti-s. Tyāgarāja and Dīkṣita
also had an opportunity to hear many of the Celtic tunes learnt by these disciples. These experiments
became the stepping stone towards the present western instrumental orchestration and also influence
of western music on South Indian music.
Bibliography
Article from Newspapers
 Tyāgarāja and Western Music – V.Sriram
 Violin in Carnatic music – an article by Satish Kamath.
Articles from Internet sources

 Tañjāvur and its Carnatic Music legacy – Maddy Rambling
 Christian music in India –Takako Inoue, Daito Bunka University
 Theorizing the Local – Music practice and experience South Asia and Beyond,- Richard Wolf.
 Musical Mixes of Classical India and the West : Exploring Novel Styles – Mounikaparimi ,
University of Redlands.
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Saint Tyagaraja and Hari kambhoji

Varanasi Jyothsna Lakshmi <[email protected]>
Introduction:
One among the Trinity, master of krithi structure, versatility in his compositions Saint Tyagaraja is
pioneer as a composer. His bhakti driven and raga enriched krithi’s makes learner and scholar to enjoy
and enhance their musical experience according to the requirement of the end user (both from listeners
perspective and for musical appreciation and knowledge).Tyagaraja krithi’s have an embarking and
they speak his style of composing. When we dwell about the analyzation of his composing dexterity we
notice few interesting findings. Some of them are like Pallavi, Anupallavi and Charanam followed by
another mudra statement which is typically rendered in the same fashion of Anupallavi. The very first
sangathi itself speaks the emotion, tempo, sthayi and many other facets of not only the raga but also
the krithi. Tyagaraja composed Madhymakala, vilambakala, duritha kala krithi’s in Raga Hari kambhoji.
The following are the compositions in Raga Hari kambhoji
1. Undedi Ramudu okkadu - Rupakam
2. Entha Raani – Adi Thalam - Chowkam
3. Enduku nirdaya – Adi Thalam – Chowkam
4. Oka maata oka baanamu – Rupakam
5. Chani thodi – Adi thalam - chowkam
6. Dinamani vamsa – Adi thalam – Chowkam
7. Rama nannu brovara – Rupakam
8. Raa raa phani shayana - Rupakam
9. Laali Laali ani – Adi thalam
10. Vinatha sutha vaahanudai – Adi thalam
11. Avataramenduku – khanda chapu
Tyagaraja composed four vilamba krithi’s, two Adi thala krithi’s, four rupaka thala krithis and
one krithi in khanda chapu in the raga Hari kambhoji. Coming to raga Hari kambhoji, it is given place as
one among the majors like Thodi, Kalyani, Shankarabharanam, Kharaharapriya. Tyagaraja composed
many compositions in the above said ragas including Hari kambhoji. Though its janya raga kambhoji is
depicted with grandeur Hari kambhoji occupies a special place in the major ragas.
Hari kambhoji is the 28th mela raga in the 72 mela kartha scheme. The word ‘Hari’ is added to
kambhoji to suit the formula of Ka, Ta, Pa. Yaa to indicate the number 28 in the mela scheme. Samvaadi
svaras in this raga are sa-ma, sa- pa, ri- da , ri – pa, ga-da, mani, ma-Sa, pa – Sa. Jeeva swara is “
ri”. ‘ni da- ni pa’ is the catchy phrase of Hari kambhoji. Hari kambhoji doesn’t allow flat notes like kalyani
. Also like some of the major ragas like Kalyani and thodi, Hari kambhoji doesn’t accept panchama and
Shadjama Varja prayogas Hari kambhoji is a moorchana kaaraka mela raga. If is ‘Ri’ is taken as Sa –
20th Melakartha Natabhairavi is formed.
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If ‘Ma’ is taken as Sa – 29th Melakartha Shankarabharanam is formed

If ‘ Pa’ is taken as Sa – 22nd Melakartha Kharaharapriya is formed
If ‘ Dha’ is taken as Sa – 8th Melakartha Hanumathodi is formed
If ‘ Ni’ is taken as Sa – 65th Melakartha Mechakalyani is formed
Lyrical and Technical beauty of the krithis

Undedi Ramudu okkadu – Rupakam
Pallavi: Undedi ramudokkadu vurakey chedipoku manasa
Anupallavi: Chandamarthanda madhya mandalamunanu chalanguchu
Charnam : Taamasadi gunarahithudu Dharmathmudu sarva samudu
Kshemkarudu Tyagaraja chittahithudu jagamu nindi
This is a Rupaka thala krithi with four letters per beat. Kriti starts with two akshara jaaga. Pallavi,
Anupallavi and charanam are uniformly started with two akshara jaaga( space count). All the portions
of krithi start from panchamam. Mandara sthayi prasthara are not seen. Till taara sthayi madhyamam
proyogas are used. We observe antyaprasa akshara in charanam like guna rahithudu, dharmaathmudu,
sarvasamudu, kshemakrudu, chittha hithudu. This krithi expresses Tyagaraja’s single minded devotion
towards Rama.
Entha Raani – Adi Thalam – Chowkam

Pallavi: Entha raani thana kentha poni neee- chintha viduva jaala shree rama
Anupallavi: Anthakaari nee chentha cheri hanumanthudai koluvaleda
Charanams:
1. Sheshudu shivuniki bhushudu lakshmana veshiyai koluva leda
2. Shishtudu mouni varishtudu goppa vasishtudu hithudu kaleda
3. Naravara neekai suraganamulu vaanarulai koluvaleda
4. Aagamokthamulagu nee gunamulanu Tyagaraja paadaleda
Chowka kala krithi with four akshara kaala per beat. Kriti starts with six akshara jaaga. Pallavi,
Anupallavi and charanam are uniformly started with six akshara jaaga( space count). All the portions of
krithi start from nishadam and Shadjam. Mandara sthayi prasthara are not seen. Till taara sthayi
madhyamam proyogas are used. Krithi is oriented in upper octave swaras.We observe antyaprasa
akshara in charanam like Seshudu – bhushudu, Shishtudu – Vasishtudu, neekai- Vanarulai, koluvaleda-
kaaleda-koluvaled - paadaleda.
Enduku nirdaya – Adi Thalam – Chowkam

Pallavi : Enduku nirdaya Evarunnaru ra
Anupallavi: Indu nibhanana inakula chandana
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Charanams:
1. Paramapaavana parimalaapaghana
2. Ney para deshi baapavey gaasi
3. Udutha bhaktigani yuppa tillaga leda
4. Shatrula mitrula samamuga juchenee
5. Dharaloneevai tyagaraju pai
Chowka kala krithi with four akshara kaala per beat. Kriti starts with six akshara jaaga. Pallavi,
Anupallavi and charanam are uniformly started with six akshara jaaga( space count). All the portions of
krithi start from madhyamam and Panchamam . Mandara sthayi prasthara are not seen. Till taara sthayi
madhyamam proyogas are used. Krithi is oriented in upper octave swaras. We observe antyaprasa
akshara in charanam like paavana – apaghana, deshi- gaasi, neevai – Tyagaraju pai.
Oka maata oka baanamu – Rupakam

Pallavi: Oka maata oka baanamu oka pathni vrathudey manasa
Anupallavi: Okachitthamu galavadey okanaadunu maruvakavey
Charanam :
Chiranjeevithvamu nirjara – vara sowkhyamosanguney
Dhara bharagey devudey- Tyagaraja nuthudey
This is Rupaka thaala krithi specifying the one and only one qualities of one and only one Rama. Kriti
starts with samam. Pallavi, Anupallavi and charanam are uniformly started with samam. All the portions
of krithi start from Daivatham and Panchamam . Mandara sthayi prasthara are not seen. Till taara sthayi
madhyamam proyogas are used. All the sanchara prayogas in anupallavi are shown. Declarative,
pleading, affirming statements are seen in the rendition of the sangathis of Anupallavi.
Chani thodi – Adi thalam – chowkam

Pallavi: Chani thodi thevey O’ manasa
Anupallavi: knikaramutho nanu kanikara midichira
Kaalamu sukhamanubhavimpa veygamey
Charanam: pathithula brochey pattadhi kaarini
Paramaardhamatha vasishtanusaarini
Dyuthi vinirjitha shatha shambha raarini
Dhureena tyagaraja hrucharini
Chowka kala krithi with four akshara kaala per beat. Kriti starts with samam. Anupallavi and charanam
are started with six akshara jaaga (space count). All the portions of krithi start from madhyamam and
Panchamam. Mandara sthayi prasthara are not seen. Till taara sthayi madhyamam proyogas are used.
Krithi is oriented in upper octave swaras. We observe antyaprasa akshara in charanam like
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pattadhikaarini – Vasishtaanusaarini- shatha shambharaarini- hyuccharini. The beauty of the krithi is

the entire sangathis focus on the uttarangam part.
Dinamani vamsa – Adi thalam – Chowkam

Pallavi: Dinamani vamsa thilak lavanya deenasaranya
Anupallavi: Manavini baguga madini dalchuchu
Chanapuna nelu chaaluga chaalu
Charanam: Sharva vinuthananu samrakshimchanu
Garvamu leka kachuvaaevare
Nirvikaaraguna nirmala kara dhrutha
Parvatha tyagaraja sarvasvamou
Chowka kala krithi with four akshara kaala per beat. Kriti starts with four akshara jaaga. Pallavi and
charanam are started with four akshara jaaga (space count). Anupallavi starts after six count. Krithi
starts ‘nida dapa maga ri…’ where the harikambhoji flavor is shown in the first avarthanam itself with
the avarohana prayoga . Mandara sthayi prasthara are not seen. Till taara sthayi madhyamam proyogas
are used. Krithi is oriented in upper octave swaras. We observe antyaprasa akshara in charanam like
paavana – apaghana, deshi- gaasi, neevai – Tyagaraju pai.
Rama nannu brovara – Rupakam

Pallavi: Raama nannu brovara ! veemeko lokabhi
Anupallavi: Cheemalo Bhramalo shiva kesavaadulalo
Prema mee melaguchundey birudu vhinchina setha
Charanam: Meppulakai kannathaavu nappubadaka viraveegi
Tappu panulu leka yundey Tyagraaja vinutha raama!
This is roopaka thala krithi which is popularly rendered. Kriti starts with two akshara jaaga. Pallavi,
Anupallavi and charanam are uniformly started with two akshara jaaga( space count). Pallavi starts
from gandharam ‘GPM,G…’ giving priority to purvanga . Mandara sthayi prasthara are not seen. Till
taara sthayi madhyamam proyogas are used. Prasa like cheemalo- Brahmalo – keshavadulalo are
seen.
Raa raa phani shayana – Rupakam
Pallavi: Raara phani shayana ravi jaladhija nayana-
raaka shashivadana ramaneeyaapaghana
Charanam:
1. Raara bhavatharana raara mithasuguna – raa ra bhu ramana rarabjasu charana
2. Raara sukumara rara samashoora – Raar raghuveera raara yudhi dheera
3. Raara jaanakitho raara shajulatho – raara pavanajutho raara bhakthulatho
4. Naagavana netha raagaguna virahitha – saagara thanaya Tyagaraja vinutha
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This is a utsava sampradaya krithi.
Valla gaadanaka – Rupakam

Pallavi: Valla gaadanaka seeta vallabha brovumunaa
Anupallavi: Allanaati bhaktha charith mella vraayanela ra
Charanam: Sthambamunanu tharumaruguna dimbhudai yashodayodini
Dambhudaina muchikunduni dasi maruguchu
Sambhavinchi yugayugamuna saarasa Tyagaraja vinutha
Kumbhaka rechaka vidhulanu koori brochinavu - naa
Laali Laali ani – Adi thalam (Lullaby krithi)

Laali laaliyani yuchera vana
Mali maalimitho joochera
Charanams:
1. Deva Deva yani pilichera mahanu
Bhaava bhaavamuna dalachera
2. Raama Raama yani palikera nee
Shkaama kaamaripu nutha raa ra
3. kori kori ninu golichera maaya
Dhari dari sadbhajanera
4.Raja raja yani pogadera Tyaga
Raja Raja yani mrokkera
This is a lullaby krithi. To suit the mood the raga sancharas are made from mandra nishadam to
madhya nishadam. This is also a utsava sampradaaya krithi.
Vinatha sutha vaahanudai – Adi thalam

Pallavi; Vinathasutha Vaahanudai Vedalenu kanchivaradudu
Anupallavi: Vanajasanaadi surulu sanakaadi munulu koluva
Charanam: Nera vaishaakotsavamuna shatha dina karu ludayinchiro yana pashchima go
Pura dwaramuna characharamulaku vara tyagarajuku vaga delupa
This is a madhyama kala krithi on Lord Varadarajaswamigal of Kancheepurm. Kriti starts from samam
with daithavam as the kick start. Pallavi and charanam are uniformly started from samam (on the beat).
Anupallavi starts with two akshara gp. All the sancharas of Hari kambhoji are seen in this krithi.Lower,
madhya and upper sthayi prastharas are seen. We see the flavor of Hari kambhoji in a flash and
Tyagaraja’s gait in this particular krithi.
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Portrayal of rāga-s by Saint Tyagaraja and Sri Muttuswāmi Dikshita

Veena K Murthy <[email protected]>
Introduction
The 18th century is aptly called the ‘Golden Age’ of Karnātak Classical Music; when the musical
Trinity namely Saint Tyāgarāja, Muttusvāmi Dīkṣita and syāma Śāstri flourished and enriched Karnātak
Classical Music by their prolific compositions. Their Kṛti-s of sublime devotional and spiritual music lyrics
replete of rāgabhāva and tāla intricacies are a reflection of their innovative genius.
A very interesting point to be observed when we talk about the portrayal of a rāga in a
composition is the approach adopted by the great Saint Tyāgarāja and his contemporary Śri Dīkṣhita.
In fact, any analysis of composers would be incomplete without looking at their work from the lens of the
rāga-s in which they have composed.
As the great sage Mataṅga has quoted,
Meaning: “That which is a special dhvani (tune), is bedecked with svara and varna and is colorful or
delightful to the minds of the people, is said to be rāga" - Mataṅga in the Bṛhadēṣi. That which delights
the minds of listeners is a rāga and this is the very basis of Karnātak Classical Music. On the portrayal
of rāga-s by Muttusvāmi Dīkṣita and Saint Tyāgarāja, the primary difference commences with both of
them following two different systems altogether.
The 72 Mēḷakarta scheme was in vogue in the era of the Trinity. However Dīkṣhita followed the
rāgāṅga rāga scheme wherein a rāga in order to be a mēla needed to have all the seven notes but not
essentially in a seven up seven down scale. The rāga could contain a zigzag order of svara-s, omit a
few svara-s and most essentially the identity of the rāga was defined by phrases.
However, Tyāgarāja seems to have followed the ‘Mēḷakarta’ or parent scale concept. It must be
noted that all these terms are very vague nomenclature and the actual understanding of the concept of
rāga portrayal by these geniuses can be understood when we study in depth their compositions.Most of
the rāga-s followed by the Dīkṣhita School were treated as janya rāga-s of the Mēḷakarta rāga-s of
Tyāgarāja School. This is where we can start appreciating the differences in the approach of the two
vāgēyakāra-s in handling rāga-s. ŚRI Muttusvāmi Dīkṣita belongs to lineage to the Vēṇkatamakhi
School through his father whereas, Śri Tyāgarājasvāmi followed the SaṅgrahaChūdāmanigraṇta very
diligently.
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Although the handling of rāga is very distinct and different in the two schools, there are
commonalities too. A close examination of the kṛti-s of these two great composers in the same rāga side
by side will bear ample testimony to the fact that they vie with each other in point of purity and richness
of rāga bhāva forming a class by them.
Portrayal of rāga-s with same svara-sthānā-s

Tyāgarāja svāmi-s expression was very spontaneous making him pour forth rāga-s depicting
different moods and phases of rasa-s. He himself has quoted "Navarasayuta Kṛti "- the master of 'Rāga
and Rasa. His compositions furnish abridged as well as enlarged editions of rāga-s .
Dīkṣhita-s rāga forms are the finest specimens of pure or absolute music. His rāga forms are
large scale products, massive in structure and closely knit in texture. The commencing phrases of his
kṛti-s establish firmly the entire essence of the rāga beyond any ambiguity. ‘Bālagōpala’ in Bhairavi,
‘Akṣhayaliṅgavibho’ in Śaṅkarābharana are eternal musical monuments that act as reference points
for rāga delineation.
Rāga-s like Kalyāni, Śaṅkarābharana , Tōdi have common phrases or sañchāra-s. However,
here the overall portrayal of the rāga-s is very different in a subtle manner.Let us consider the rāga
Śaṅkarābharana. one should not consider a rāga only as a structure comprising of ārōhana and
avārōhana. In fact it is the predominant phrases used that define a rāga than the scale itself. Saint
Tyāgarāja-s ‘Svararāga’, ‘Yēdutanilachite’ etc. describe the beautiful depiction of Śaṅkarābharana. In
Dīkṣhita-s compositions e.g. ‘Dakṣināmūrte’ we can clearly observer jāru phrases like s-m grs ( charana
of kṛti ). In ‘Śriri kamalāmba’Śri Dīkṣhita portrays very predominant jāru and Dātu phrases. Similar
parallel instances can be drawn for majestic rāga-s like Kmbodhi. Dīkṣhita-s \ Subramanyāya Namaste’
is a magnum opus depicting every shade of Kāmbōdhi to the fullest extent. As against this if we compare
Tyāgarājasvāmi-s ‘ Śri raghuvara’, ‘Ma janaki’ or ‘Evvarimata’ we can clearly observe that each of these
kṛti-s has a particular bhāva depicting dominantly a particular flavour of the rāga.
Same rāga names with different colors

Now let us consider rāga-s which have the same name but are completely different in terms of
the svara-sthāna-s that they take. Rītigauḷa is beautiful eg. In the Tyāgarājasvāmi School the rāga does
not employ the śudda daivata. Popular kṛti-s like ‘Chērarāvademira rāmayya’, ‘Nannuvidachikadalakūra’
are a clear reflection of this fact. Phrases like ‘gmnnsndm’ are very common.
In the Dīkṣhita-s School this rāga is a rāgāṅga rāga assigned the status of a mēḷa ( the
20thrāgaṅga rāga). Here it is very interesting to note that the rāga has only śuddha daivata and not
chatuṣrutidaivata. Although the rāga here is referred to as nariRītigauḷa(the prefix ‘nari’added only to
allot the number 20 to the rāgāṅga rāga), the rāga is still ‘Rītigauḷa’. Sggm, gmndm ,gmpdmgrs,
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gmndmgrs (with a śudda daivatha) are important phrases. It must be noted that the feel and the color
of the rāga changes substantially. A classic e.g. is ‘Shree nīlotpalanāyike’.
Rendition of Sourāṣhtra rāga in both the schools is also worth studying. In the Dīkṣhita-s School
of rendition, this rāga is considered as the janya of the 15thrāgaṅga rāgamalavagowla. The śuddha
daivata prayōga can be seen in the famous vara kṛti composition ‘Surya murte’ (as established in the
SSP). However, in the TyāgarājaSchool, this rāga is considered as the janya of Suryakāṇtarāga.
Śuddha daivata does not figure in Saint Tyāgarāja’skṛti-s .
Sarasvatimanōharirāga is yet another e.g. It is considered a janya of Harikāmbodhi in the

Tyāgarāja School; popular e.g. being ‘Entavēdukonduraghava’. In the DīkṣhitaSchoolit is a janya of
Śaṅkarābharana Classic e.g. is ‘Saraswatimanohari’ kṛti which demonstrates the use of kākaliniṣhāda.
There is no scope for kaiṣhikinishada.
Other peculiarities in handling rāga-s :

Let us consider the popular rāga Hindola. The very familiar scale is s g (sādharanagāndhara)
m (śuddha ) d(śuddha ) n (kaishiki) ṡ (tārasthayishadja). In the Dīkṣhita School we find smgmndnṡ as
the scale. In ‘Nīrajakshikaamakshi’ of Dīkṣhita,we find the link from m to n very clearly established in the
pallavi itself. It also showcases s-g phrases which are not seen in Tyāgarāja’skṛti-s .
Rāga-s like ‘Shree’ in the Tyāgarāja School does not carry a pdnpmrgrs phrase .We can observe it in
the famous ‘Endarōmahānubhāvulu’. In the Dīkṣhita School, it is assigned arāgāṅga rāga status and
has pdnpmrgrs phrase, which has to be rendered only once. ‘śri varalakṣhmi’, ‘Shree kamalāmbike’ are
classic e.gs.
Sāraṅga is another e.g. ‘Nēvedanegana’ kṛti reflects the flavor of the Tyāgarāja Svami School of
rendition of the rāga. In the Dīkṣhita School, we find the phrasing pm2 r2 s is very important. This can be
seen in the ‘Pañchabhutalinga kṛti ’ arunāchalanātham (tarunadityakotisankaashachidaanandam) in
praise of Lord śhiva in the form of agni liṅgam.
Handling of vivādi rāga-s

The approach adopted by Saint Tyāgarāja and Dīkṣhita in handling vivādi rāga-s is very
interesting. In the TyāgarājaSchool let us consider the rāgagāngeyabhōshani.In the kṛti
‘Evvarērāmayya’ the shatśrutiṛṣhabha is elongated. Also the gāndhāra is eschewed as ga ma ri (not ga
ma ga ra)in the avārōhana. The same concept can be observed in the Vāgadīṣwarirāga kṛti
‘Paramātmudu’. (mrr prayōga). In the Dīkṣhita School, the shatśrutiṛṣhabhadaivata and shatśrutiṛṣhabha
is always sung with a nokku(a push).Vīravasanta isan example.
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Creating New rāga-s and reinforcing Ancient rāga-s :

A good number of rāga-s are accredited to SaintTyāgarāja as having been created for the first
time through his kṛti-s . Some of them are Nalinakāṇti, Rañjani, Mēgharañjani, Āndōḷika, Jayantasēna,
Chenchukāmbhōji, Vijaya Śri, Garudadhvani, Mālavi, Śuddhasīmantini, Bindumālini, Mañjari .
Dīkṣhita has composed in several archaic rāga-s .There are many old rāga-s such as
Maṅgalakaiṣiki, NārayanaGouḷa, GōpikaVasaṇta etc. for which we need to fall back on Muttusvāmi
Dīkṣita-s compositions to understand the lakṣaṇa aspects. There are again rāga-s like ChāyaGouḷa,
Māhuri and Kumudakriya which have been handled only by Dīkṣhita.
Hindustāni Rāga-s
Dīkṣhita, given his long stay in Vāranāsi, has expressed himself extensively in Hindustāni raga-
s also following the Hindustāni dhrupad style for e.g. ‘ParimalaRaṅganātha’ (Hamīrkalyāni),
‘Raṅgapuravihāra’ (BrindāvanaSaraṅga), ‘Jambupate’ (Yamunākalyāni), ‘Akhilāndēṣhwari’ (Dvijāvanti)
etc. Saint Tyāgarāja has also composed in Hindustāni rāga-s and some of his compositions include
‘Haridāsulu’ (Yamunākalyāni), ‘Kamalāptakula’ (BrindāvanaSāraṅga) and ‘Mānamulēda’
(Hamīrkalyāni). However, the style he has followed is different from that of Dīkṣhita. For instance, if one
compares Tyāgarāja’s ‘Mānamuleda’ with Dīkṣhita-s‘ParimalaRaṅganātham’, there is a marked
difference in the approach to the rāga. Generous usage of the pratimadhyama with a direct hold of the
note gives a classic touch of Hindustāni music. For example, if we consider the 7 thāvarta of the
anupallavi we have: ‘naraharīm ( d p m2 p)’ (in the 7thāvarta of the anupallavi) which gives a typical
flavour of Hindustani music. The m2 here is heard distinctly without a thrust from the panchama.
As against this approach, in Saint Tyāgarāja’s composition Mānamulēda, we find that the
approach to prati madhyama is always through the panchama (this can be clearly seen in the 1st āvarta
of the anupallavi – kānamurā of the composition ‘Mānamuleda.
Similarly the difference between ‘Kamalāptakula’ of Tyāgarāja and ‘Soundararājam’ is drastic;

while one is fast, racy and catchy, the other is slow, grand and majestic. Dīkṣhita-s song has more of
the Hindustāni style of slow elaborate development of the rāga with emphasis on the purity and pause
on notes.
Western Notes
Dīkṣhita has composed nōṭṭusvara-sāhitya,short simple songs in the Western style on various
deities in the rāgaśaṅkarābharanam, which is the same as the C major scale in Western Classical music,
when the shadja is set to the note C. Saint Tyāgarāja also has compositions in the Western style to his
credit. These include ‘Sara sarasamarai’, ‘Chentanasada’ and ‘Kalinarulakai’ in Kuntalavarāḷi and
‘Rāminchuvarevarura’ in Supōshini.
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Conclusion
The supreme position occupied by Muttusvāmi Dīkṣita and Saint Tyāgarāja in Karnātak
Classical music can be attributed to the fact that their ideology of rāga depiction portrays the epitome of
creativity. While Saint Tyāgarāja-s compositions are described as drakṣhapakam (grape fruit), signifying
the ease with which one can learn and understand the beauty of his compositions, Dīkṣhita-s are aptly
described as narēkelapakam(coconut), indicating the effort required to break through the layers to reach
the hidden treasures embedded in his compositions. This concept is also applicable to their approach
to handling of rāga-s. The reflection of rāga-s in Saint Tyāgarāja’s kṛti-s depict his various moods or
bhava. However, the musical mould that Dīkṣhita employs is complete, all inclusive, almost
transcendental. His kṛti-s are eternal musical monuments that act as reference points for rāga
delineation. His rāga forms are large scale products, massive in structure and closely knit in texture. In
Tyāgarāja, we have abridged editions as well as enlarged portrayal of rāga-s .
Hence, Muttusvāmi Dīkṣita and Saint Tyāgarāja-s portrayal of rāga-s establish the fullest and
most integral manifestation of creativity specific to Karnātak Classical music. Beyond an iota of doubt
their kṛti-s are a condensed epitome of the spiritual wealth of India.
References
1. The Spiritual Heritage of Tyāgarāja,1981, ŚRI Ramakrishna Math, Mylapore, Madras.
2. South Indian Music , Padma Bhushan Prof. P. Sambamoorthy, The Indian Music Publishing
House, Chennai, 2006
3. Dīkṣhita,Subbarama, 1961,Saṅgītha SampradāyaPradarṣhiṇi ,Tamil script by B. RajamIyer and
S. Ramanathan, Published by Music Academy.
4. GovindaRao,T.K, 1997, Compositions of MuttusvāmiDīkṣhita,Ganamandir Publications,
Chennai.
5. V. Raghavan, 2008, ŚRI MuthuswamyDikshitacariram :Mahakavyam,Punarvasu.
6. Prof. P. Sambamoorthy, 2004,Great Composers book1, The Karnatic Music Book Centre,
Chennai.
7. Prof. P. Sambamoorthy ,History of Indian Music, The Karnatic Music Book Centre, Chennai.
8. Dr.R Asha, 2013,Concepts, Contexts & Conflations in the Kṛti-s of ŚRI MuttusvāmiDiksita,
TheKarnatic Music Book Centre, Chennai.
9. T.S. Parthasarathi, 1976,The Musical Heritage of ŚRI MuthusvamiDīkṣhita, Indian
Musicological Society.
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Muttusvāmi Dīkṣita’s compositions on Lord Tyāgarāja of Tiruvārūr

Vijayalakshmi R <[email protected]>
Introduction
Tiruvārūr is a serene place surrounded by nature’s beauty and is the birth place of the music Trinity -
Śri Tyāgarāja, Śri Muttusvāmi Dīkṣita and Śri Śyāmā Śāstri. They are considered the forerunners of the
present day Karnātaka classical music. Hence, they are also referred to as the Tiruvārūr Trinity.
Muttusvāmi Dīkṣita travelled to all the temples and sang devotional songs in praise of the presiding
deities. This paper aims in understanding the sāhitya of the kṛṭi-s of Muttusvāmi Dīkṣita on Lord
Tyāgarājasvāmi, the presiding deity of the kṣetra Tiruvārur. The Lord is being addressed in this paper
as Lord Tyāgeśa.
Dīkṣita’s Bhakti towards Lord Tyāgeśa

Dīkṣita was an ardent devotee who worshipped Lord Tyāgeśa, everyday with his father, Rāmasvāmi
Dīkṣita. Returning to Tiruvārūr after worshipping at various holy places, Dīkṣita stayed intermittently at
Tiruvārūr for some time and worshipped all the deities of the temple and composed a kṛṭi-s in praise of
Kamalāmba, Nīlothpalāmba, Pañcaliṅga, Ganapathy and Lord Tyāgeśa. Śri Dīkṣita had composed kṛṭi-
s on Tyāgarājasvāmi, and have also composed Vibhakti krti-s.
Besides, he had also composed group kṛṭi-s like Kamalāmba Navāvarna, Nīlotpālāmba vibhakti krti-s,
and other group kṛti-s apart from the Tiruvārur kṣetra. Dīkṣita has composed some compositions that
are exclusively in praise of the deities of Tiruvārūr temple. Some are as follows.
a. Nāgaliṅgam - Mohana - ādi - Valmīkanātha
b. Tyāgarāja mahādhvajāroha- śri- ādi- Tyāgeśa
c. Tyāgarāja yōgavaibhavam- ānandha bhairavi- rūpakam- Tyāgeśa
d. Renukādevi samrakṣitōham- kannada baṅgāla - khaṇḍa cāpu- Renukādevi (the guardian deity
of the Tyāgarājasvāmi temple of Thiruvarur)
e. Sundaramūrtimāśrayāmi- Ṭakka- rūpaka- Sundaramūrti nāyanar
Whenever Dīkṣita suffered, he worshipped Lord Tyāgeśa and was relieved off from them with His
blessings. For example, when Dīkṣita composed Vibhakthi Kīrtanas on Lord Tyāgeśa, he was suffering
from destitution. He had to sell his lands as he was not able to pay tax for them. He was in such a
position that he was not able to procure offering (Naivedya) for the daily prayers. Despite such condition,
he denied accepting Jewels donated by his disciple Kamalāmbal (Dance Master). After realizing his
inability, he sang “Tyāgarājam bhajare” in praise of the Lord, second Vibakthi Kīrtana in Yadukula
Kāmbhodi rāga and by Tyāgeśa’s grace; he received a cartful of provision sent by the temple
authorities, which was sufficient for two years. This incident has been recorded in the history of
Muttusvāmi Dīkṣita as authenticated information.
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Vibhakti Kīrtanas:
These are the set of compositions on a same deity that are composed in the eight declensions of
Sanskrit grammar. The whole composition would be styled in a particular vibhakti. This kind of
compositions shows a high order of scholarship of the composer. Dīkṣita being well versed in Samskṛta
has composed many other compositions of this kind. For example, they are vibhakti kīrtana-s on
Kamalāmba, Nīlotpalāmba and so on.
The vibhakti kīrtana-s on Lord Tyāgeśa:

The following are the compositions on Lord Tyāgeśa of Tiruvārūr, composed by Dīkṣita
Dhyāna Tyāgarājapalaya Gaula ādi
Prathamā Tyāgarājovirājathe Athāṇā rūpaka
Dvitīya Tyāgarājam Bhajare Yadhukula Kambodhi miśracāpu
Tritīya Tyāgarājena samrakṣitōham Sālagabhairavi ādi
Caturtha Tyāgarājāya Namaste Begada rūpaka
Pancama Tyāgarāja dhanyam Darbār ādi
ṣaṣṭi Śri Tyāgarājasya Rudrapriyā miśracāpu
saptami Tyāgarajakṛuta Sāraṅga jhampa
Sambhodhana Vīravasantha Tyāgarāja Vīravasanta ādi
Literary beauties in the Compositions

The compositions of Dīkṣita in general, endowed with high class literary prosody. The following are
some examples of yati alankāra-s.
a. Gōpucha yati-– starts big and narrows down
Such example is seen in the Kṛṭi, Tyāgarāja yōgavaibhavam in ānandhabhairavi rāga, rūpaka tāla
Tyāga rāja yōga vaibhavam
Aga rāja yōga vaibhavam
rāja yōga vaibhavam
yōga vaibhavam
vaibhavam
bhavam
vam
b. śrōtōvāha yati: the different phrases occur in increasing magnitude it is called 'Srotovahayati
svarūpa prakāṣam
taṭvasvarūpa prakāṣam
sakalataṭva svarūpa prakāṣam
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śivashaktyādi sakala taṭva svarūpa prakāṣam
Apart from the yati alaṅkara-s, other prosodic aspects such as antya prasam, dvitiakṣara prasam and
anuprasa are observed and are as follows.
a. Antya prāsam
In the composition, “tyāgarājo virājate”, in athana rāga one can observe the antya prasam in
the anu pallavi and entire part of carana as follows:
Nāgarāja vāgartha māya bhuvana rājo
Hari vānchitārtha prada rājo
b. Muhana prāsam
Rhyming in the first letter of line is called muhana. One can observe it in the entire caraṇa of
the kṛṭi “tyāgarajāya namaste” in Begada rāgam, rūpaka tāla, as follows
Mukundādi pūjita sōmaskanda mūrtaye
Muchukundādi bhakta jana manōratha pūrtaye
Mukurabhmba pratibimbitha mukha spurthaye
Munipakṣi mṛga kītādi mukti pradakīrtaye
c. Dvitiyākṣhara Prāsam
Rhyming found in the second letter of each line is called Dvitiyākṣhara prasa. One can observe
it in the caraṇa of the kṛṭi, “tyāgarājam bhajare” in the rāga yadukula kāmbhōdi, rūpaka tāla, as
follows:
paulōmīṣādi dikpālapūjita gātram
nīlōtpalāmbānukūla tara kalatram
triiōkya guru guha tātam trinetram
sailōkādi kaivalya prada caritram
d. Antya Prāsam
Rhyming words at the end of the lines is called as Antya Prāsam. One can observe it in the
carana of the kṛṭi “tyāgarājo virājate”, aṭhaṇā rāga, rūpaka tāla
Vāgartha mayabhuvana rājo
Hari vānchitārtha prada rājo
Hara śri guru gua ganeṣa rājo
Samsevita rājādirājo
Thus in all the eight Kīrtanas he has used such decorative and full of meaning words contributing to the
decorative structure.
Rāga mudra
It is seen in all the compositions on Tyāgeśa composed by Dīkṣita. The following are the samples
of the observation on such case.
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 Tygāgaraja pālayāṣumām- gauḷa rāga is depicted as ‘suthārtāṅga gaulāṅga’

 Tyāgarāja yōgavaibhavam- ānandha bhairavi is depicted as ‘sacchitānandhabhiravīṣam’
 Vīravasanta Tyāgarāja- vīravasanta rāga is depicted in the beginning as ‘vīravasanta
tyāgarājamām’
Sāhitaya- Important feature

Apart from the references to the rāga, the other information on the ritualistic aspects of the temple
and other details found in the sāhitaya in the compositions are listed below.
1. In the kīrtana “Tyāgaraja palayasumam” set to Gauḷa Rāga, where Dīkṣita had praised the Lord as
Vanmīga liṅgam in the form of “Putṛu” (dwell of serpants), Vīdhi Vidaṅgan.
2. A note that Tyāgarājasvāmi is with his consort Nīlotphalāmba, referred to as “śri Nīlōthpalāmba
Sametha” is found in the Kīrtana Tyāgarajam Bhajare: “Nīlothpalamba anukūladhara kalathram”.
The face is like “Kuvaḷai” a variety of Flower. He metaphorically refers to this as “Mukha
kuvalayam”.
3. Information such as that the Lord is as Somaskandha murti (Shiva-uma-skanda) and that He was
worshiped by Muchukuṇda are mentioned in the kṛti.
4. From the kṛti Tyāgarāja samrakṣitōham it is understood that, he is in Hātakeṣvaram as seen in
Hataka kṣetra kīrtana.
5. The information regarding the sword-shield of Tyageśa is known to us from “Vīra katga ketaki
tarane.”
6. In the Kṛṭi Tyāgarāja Namasthe by mentioning as Vitaṅga rūpa śaktaye - He is referred to as the
powerful God in maragathalinga rūpa - Vitaṅga Mūrti.
7. In śri rāga kṛṭi, Tyāgaraja Mahdvajārohana about the commencement of the festival by hoisting the
Flag and records the function of “dvajārōhana”. The Anu pallavi, when mentioning nagaswaram
and maḍḍala vathyam, he specifies that a special offering done to the lord with the accompaniment
nāgasvaram and maḍḍalam.
8. The phrase “Sruṣti swaroopa vasantha vaibhavam” glorifies the vasanta uṭṣavan, a grand festival
for Tyāgeśa done every year.
Structural Organisation of the compositions

Generally, the musical form kṛti has the structure, pallavi, anupallavi and caraṇa. But in the
case of the compositions of Muttusvāmi Dīkṣita the structural organization plays a vital role. The
compositions are seen with pallavi, anupallavi and caraṇa with madhyamakāla section.
Madhyama kāla sāhitya

The madhyama kāla sāhitya is the prominent feature of Dīkṣita kriti-s and is seen in all the kṛṭi-
s. It serves as a decorative aṅga of the composition. The madhyamakāla sāhitya is seen mostly after
the carana. In some kṛṭi-s, the madhyamakāla section is also seen in anu pallavi and in some cases it
261
is seen in both anu pallavi and carana and rarely is also seen in pallavi or in all the sections. The tempo
of the madhyamakāla is double the tempo of the actual vilamba kāla.
The following are observations are seen in the sections of the vibhakthi kṛṭi-s:
Kṛti Rāga Tāla Madhyama kāla section
Tyāgarājapalaya Gaula ādi after caraṇa
Tyāgarājovirajathe Athāṇā rūpaka anu pallavi and caraṇa
Tyāgarājam Bhajare YathukulaKambodi miśracāpu anu pallavi and caraṇa
Tyāgarājena Sālagabhairavi ādi anu pallavi and caraṇa
samrakṣitoham
Tyāgarājāya Namaste Begada rūpaka anu pallavi and caraṇa
Tyāgarāja dhanyam Darbār ādi anu pallavi and caraṇa
śri Tyāgarājasya Rudrapriyā miśracāpu anu pallavi and caraṇa
Tyāgarajakṛuta Sāranga jhampa caraṇa
Vīravasantha Tyāgarāja Vīravasanta ādi caraṇa
Apart from the vibakthi group, the kṛṭī Tyāgarāja mahādwajārōhanam in śri rāga has the madhyamakāla
passages in sections, pallavi, anupallavi and carana, which is the salient feature of this particular
composition.
Samaṣti caraṇa
Some compositions of Dīkṣita are seen with pallavi and caraṇa which is another important characteristic
feature. Certain publications and some scholars term this section after the pallavi as samaṣti carana
and some mention only as anupallavi. This feature is observed in the kṛti of Tyāgarāja vibhakti group,
Tyāgarājapālaya in gauḷa rāga set to ādi tāla and is also seen in ānandha bhairavi kṛṭi
Tyāgarājayōgavaibhavam.
Conclusion:-
Having born in Tiruvārūr , worshipping and singing on the presiding deity, Lord Tyāgeśa, Dīkṣita has
placed Tiruvārūr in the history of Tamil Nadu and India through his valuable composition of Karnātaka
classical music. The lilting beauty of the sāhityā and the philosophical depth of the sāhitya on the kṛṭi-s
on Tyāgeśa composed by Dīkṣita enrich one’s own spiritual journey.
❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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రామభక్తి తతవరుడు త్యాగరాజు

Rāmabhakti portrayed in select Kṛti-s of Tyāgarāja
Jagadeeswara Rao T <[email protected]>
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విశిష్ట వాగ్గేయక్ారుడు - త్యాగరాజు

Thyagaraja - the unique composer
Subramanyam K <[email protected]>
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❇❇❇❇❇❇❇❇❇❇❇❇❇❇
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❇❇❇❇❇❇❇

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Contribution of Music Trinity

(Proceedings of the National Seminar - 2018)

Central University of Tamil Nadu

Contribution of Music Trinity

(A Collection of Peer reviewed papers presented at the

Editorial Board (Peer - Reviewers)

First Edition - 2020

© Central University of Tamil Nadu

(Proceedings of the National Seminar -2018)

Head, Department of Music

Central University of Tamil Nadu, Thiruvarur

Place: Thiruvarur V Premalatha

Melodic and Rhythmic organization in the compositions of Trinity 1

Anjana P Rao, Research Scholar, Bengaluru

Influence of Tyāgarāja on the composers of post - trinity period 7

Anuradha A, Prof, Andhra University, Vishakapatnam

Rare rāga-s handled by Saint Tyāgarāja 12

Aparna M, Chembai Memorial Government Music College, Palakkad

Guṇḍakriyā rāga as seen in Dīkṣita and Tyāgarāja compositions 17

Arati N Rao, Dr, Jain University, Bengaluru

Aravindhan T R, Dr., Researcher, Chennai

Sampoorna rasa in Trinity compositions for dance 30

Chamundeeswari Kuppuswamy, London & Balakrishnan Raghavan, India

An Insight into the Dancing Musical Elements of Sri Tyāgarāja Compositions 43

Chudamani D, Dancer & Research Scholar, Hyderabad

Rakti rāga-s handled by Śyāmā Sāstri 51

Deepashree S M, Research Scholar, Bengaluru

Vēnkaṭarāma Bhāgavatar (1880-1961)

Impact of Sri Muttusvāmi Dīkṣita on the compositions of the Tanjore Quartet 68

Gowthami K, Dr, Dancer, Hyderabad

Portrayal of Vivādi Rāga-s in the Compositions of Trinity 72

HamsiniNagendra, Prof, Bangalore University, Bengaluru

Musical Forms composed by Trinity 104

Jayakrishna A, Research Scholar, Sri Venkateswara University, Tirupati

Influence of Tyāgarāja compositions on Nāgasvara Music and rituals 107

Kamaraj K, Research Scholar, Thanjavur

Kameshwari M, Research Scholar, Sri Venkateswara University, Tirupati

Mīnākṣi Navaratṇamālikā 119

Lalitha R, PG Student, Bangalore University, Bengaluru

The dimensions of rāga application in the compositions of Trinity 124

Madhu M, Research Scholar, University of Kerala, Trivandrum

Meenakshi S, Lecturer, RLMATM College, Madurai

Auḍava Sampūrṇa Rāgas – An analysis through the compositions of Trinity 142

Nagaranjani, Senior Research Fellow, Bangalore University, Bengaluru

Melodic Aspects of Kamalāmbā Navāvaraṇa Kṛti-s of Śrī Muttusvāmi Dīkṣita 146

Trinity Compositions as presented by the Legend Smt D K Pattammal 151

“A Day with Tyāgarāja” - A tribute to Saint Tyāgarāja by Dr. S Ramanathan 159

Prasanth V Kaimal, Research Scholar, University of Kerala, Trivandrum

Comparative analysis of the Compositions of Trinity 163

Radha A, Research Scholar, Sri Padmavathi Mahila Visvavidyalayam, TIrupati

Radhika K P, Research Scholar, Sri Venkateswara University, Tirupati

Śrī Muttuswāmy Dīkshitar’s Compositions on unsung deities 181

Ragini.A.R, Research Scholar, Jain University, Bengaluru

Ramani R, Dr, Chennai

Melodic magnificence of Rāga Śaṅkarābharaṇa in select Viḷambakāla Kṛti-s of Trinity 197

Sankar Ganesh J, Dr, Sri Venkateswara University, Tirupati

Sharanyaa Sriram, Research Scholar, Bengaluru

Unique features of Sri Muttusvāmi Dīkṣita’s compositions 207

Shilpa Shashidhar, Musician, Bengaluru