RARE RAGAS HANDLED BY TYAGARAJA

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34

CHAPTER–III

RARE RAGAS HANDLED BY TYAGARAJA

Rare ragas

A rare raga is one that is not heard very often. Lack of

scope for elaborating a particular raga due to its structure or phrases, may be

reason that such ragas fall under the category of rare ragas. Reviews and

comments by learned artists through various forums contribute in popularizing

a raga. May be those rare ragas didn‟t get much chances for its up-gradation of

status, as compared to popular ragas.

Rare ragas or Apurva ragas are very smaller and simpler

than well known ragas. They are also more beautiful and appealing. Very few

compositions are found in these rare ragas. These rare ragas might have came

into repertoire from earlier Lakshana grandhas like Sangita Ratnakara,

Chaturdandi prakasika etc or from the compositions of earlier composers, like

Annamacharya, Purandara dasa, Kshetranja and others or it may be a pure

example of composer‟s creative imagination. Tyagaraja, Muthuswami

Deekshitar, Syamasasthri, Muthaiah Bhagavatar, G N Balasubrahmanyan and

many others have handled rare ragas very beautifully.

‟

time immemorial. Some eka raga also falls in the group of rare ragas. These

type of ragas still retain its identity and not being attempted to alter the status

We have heard of Eka raga kritis which are existing over



35

by any musician. These ragas are but the creative genius of those

vaggeyakaras that are amazing and they can be identified as the avatara

purushas for their knowledge and depth of music. The Trinity composers are

classic examples of creative genius. Some of their eka raga kritis are very

popular though remain as a rare raga. Ex:-

Kumudakriya - „Ardhanareeswaram‟ - Rupaka - Muthuswami Deekshitar

Chintamani - „Devi brova‟ - Adi - Syamasasthri

Apurva ragas of Tyagaraja

Saint Tyagaraja used a lot of new ragas like Kaikavasi,

Nadavarangini, Kalakanti, Kesari, Jujahuli, Jingla etc, which has not been

used by his predecessors like Annamacharya, Purandara dasa, Ramadas,

Kshethranja, and Narayana theertha or his contemporaries like Muthuswami

Deekshitar, Syamasasthri, Gopalakrishna Bharati or Swati Tirunal. These rare

ragas sustain through his kritis only. So we have to believe that all those ragas

are introduced by Tyagaraja himself.

“The possibility of practicing such ragas from the work „Svararnava‟

which believed to have given by Narada to the Saint Composer can‟t be

wiped out. However we are not familiar with such ragas, in the previous

or later works.”12

12Dr.T.V.Manikandan,Lakshana and lakshya of Carnatic music-a questDistributors,110002, p.107

, New Delhi, Kanishka publishers

Ganavaridhi

- Dayajuchuta - Adi - „ ‟ Tyagaraja



36

It is believed to be part of a larger work called „ ‟, which

also happens to be the name of the kriti where he mentions the treatise. One of

the verses in the „Svararnava‟ finds an echo in some of his kritis.

“ Atma madhyegathah:Prana

Prana madhyagato Dhwani

Dhwani madhyagato Nada

Nada madhye Sadasiva.” In the centre of the body is the life-

breath; in the centre of the breath is sound; in the centre of sound is

musical sound; in the centre of musical sound is Godhead.”13

But it is said that the Svararnava also gave no further details of these ragas. It

is really amazing, how with the limited details, he was able to give beautiful

tonal pictures of these ragas through his compositions.

Rare ragas are also known as Vinta ragas. These compositions

in the rare ragas are of outstanding beauty. He emphasis in the „Muchchata

Brahmadulaku‟ in Madhyamavathi (Adi) that, these extra ordinary ragas lend

scope for beautiful alapanas. Those kritis were sung by the disciples during

their afternoon practices, during the mor

Printing was not very common during the time of Tyagaraja and only the keen

the occasions mentioned above. His

recorded these compositions carefully for future references.

13 Indira Menon,Nadasudharasa-Tyagaraja on Music, New Delhi C-2/16, safdarjung Development area,110016, 2002, p.18

ning the unchavrithi bhajanas .

disciple Walajapet Venkita Ramana Bhagavatar, wrote the notations, and

vara

ragasudharasaS

listener had captured these pieces during



37

“We are greately indepted to him and his son for keeping the guru‟s tradition alive.The manuscripts inherited by them referred to as the

Walajapet manuscripts, are housed in the Sourashtra Sabha in

Madurai.”14

Tyagar ragas like

Devamritha Varshini (Evarini) and Nadavarangini (Nripalavala). It was a great

musical experience to listen to the compositions in the strange and fascinating

ragas. Here, the rare ragas of Tyagaraja have been dealt with details. It is

divided into two sections.

I Rare ragas handled only by Tyagaraja for the first time.

II Rare ragas handled by Tyagaraja, his predecessors and contemporaries.

I Rare ragas handled only by Tyagaraja for the first time

This section deals with the rare primarily used by

Tyagaraja. Musicians during his time and those who lived before him, did not

rag This

section consists of the details of the ragas, its sancharas, and analysis of the

melodic aspects of selected compositions. The study of the several aspects of

raga such as graha svara, arohana avarohana prayoga and the prayoga of raga

identifying phrase etc, in the compositions of Tyagaraja is discussed here with

notation.

14 Ibid.,p.13

ragas which were

compose any kritis in these ragas. 72 as are anaylsed in this section.

aja was really proud of his composition in these are r



38

1. Amruthavahini

Arohana - s r m p d n s

Avarohana - s n d m g r s

“The th

first mentioned in Govinda‟s Sangrahachoodamani (18th-

19thcenturies).”15Svarasthanas figuring in this raga are Shadja, Chatusruti

rishabha, Sadharana gandhara, Sudha madhyama, Panchama, Sudha

dhaivatha, and Kaisiki nishada. Tyagaraja composed only one composition in

this raga „Sri rama padama‟ set to Adi tala in Telugu.

Sancharas

p d n s n d m , - - r , m , m g r , - g r s r m p , - d n s ,

- s r , m g r , - r m , m g r , g r s - n , , d m , - d n s , s n d m - m ,

g m g r , s , - s , r , s r , m , m g r , - r m p d n , d m - m , g g r r ,

s , , ,

Analysis

kriti starts with the graha svara nishada.

15 S.R.Janakiraman, „Ragas at a glance‟, Chennai , 2002, p.8

.

.

. .

. . . . . . . . . . .. . . .

p , d m ,

In the

, Srishti‟s Carnatica Pvt Ltd

raga mela Amruthavahinibelongs to 20 . It is Natabhairavi

pallavi Sri Tyagaraja describes the glory of Sri ‟s Lotus Feet.Rama



39

n , , , d , m , p , , d m , , ,

sree- - rama - pa- -da ma- - -

From the nishada the melody descends towards

ascends upto tarasthayi shadja, and rests in madhyasthayi panchama.

Anupallavi starts with the panchama and then goes to tarasthayi madhyama

and ends with tarasthayi shadja. Charana also starts with panchama and

sancharas mostly in madhyasthayi and ends with tarasthayi he

phrases „ , „p d n s n d m‟, „m, g m g r , s‟ is a characteristic phrases

in this raga and it is frequently used throughout the kriti. In the 3rd sangathi of

allavi, arohana avarohana prayoga is present.

p d n , d , m , p d n s n d m , m , , g r , s , r , , m p , , ,

sree-- ra-ma- pa- -- da-ma- nee- - - kripa- ja- -lu ne- - -

p d n s n d m , r , m , m g r , s , , , , , , , s r m p d n s,

chi- - - tha- - - ni-ki- ra-- - ve-- - - - - - - - - - - - - -

It was made popular by Tyagaraja. It slightly resembles the raga . It

does not give scope for elaborate raga alapana. Kalpana svaras can be sung for

few minutes. Tyagaraja beautifully uses svarakshara eg: the svaras „p d m‟ is

used for the word „padama‟ in the pallavi.

2. Andolika

Arohana - s r m p n s

.

.

. .

.

. T

p d n d m‟

p

shadja

and madhyasthayi shadja

Saramathi



40

Avarohana - s n d m r s

“The raga Andolika belongs to either Kharaharapriya (22nd mela) or

Harikamboji (28th mela) in a view of gandhara being absent."16 The notes

taken by this raga are Shadja, Chatusruti rishabha, Sudha madhyama,

Panchama, and Chatusruti dhaivata and Kaisiki nishada. Dhaivata is deleted in

arohana and panchama in avarohana. It can evoke veera rasa. It is also known

as . The raga came into prominence through the

composition of Tyagaraja. Subsequently became very popular.

Tyagaraja composed only one kriti in ie. „Ragasudharasa‟ set to Adi

tala in Telugu.

Sancharas

n , d m r , - r m r m s r , s - n s r m r , - r m p s n d m , - p n s, - s , ,

, n s r m r , - s r s n s n d m r m p m r , - s r s n d , - n s r m r , r m p n s

r , - s r , r , r , m s r , s - n s r , r , - r m p m r , - s r , s n , r s s n n

, n d d , m , - m r , n d m r s r m r m r s , - r m p n s r m r m r s - s n d m

r m r , - n r , - r m s r , s ,

Analysis

In the kriti „raga sudha rasa panamu‟ –states that great musicians attain

jivan mukti. The mastery of Tyagaraja lies in the choice of the raga, it fits in

ideally to the context. The raga is characterized by the jaru gamaka of the 2

16 Ibid,p.10

.

.

. . .

. . .

.

. . .

.

.

. . . . . . . .

. . . .. . . . . . . . . . . . . . . .

. . . . . .

Mayuradwani Andolika

Andolika

Andolika



41

svaras nishada and madhyama. The kriti starts with nishada followed by a

similar character madhyama and rests to svara rishabha. Then the melody

descends towards mandra sthayi nishada and ascends upto tarasthayi

madhyama tarasthayi sancharas and ends with madhyasthayi

shadja. Anupallavi starts with the svara rishabha (tarasthayi). Sancharas are

mostly in tarasthayi and ends with tarasthayi madhyama. The link of

n s r m , , , , , rsn, n d d , m ,

- - - - - - ra- - ga- - su- . Charana starts with madhyama, and then

goes to madhyasthayi shadja. Aftter two lines, melody repeates as anupallavi.

Sancharas extends from mandra sthayi nishada to tarasthayi madhyama.

Tarasthayi svara prayogas and prathyahatha gamakas lend beauty to this kriti.

Arohana avarohana krama comes the following lines.

, , s , , , n d m , , , m , r , r , m , r , m , p , n ,

- -ra- - -ga- su- - - dha- - - - -- - - -rasa- - -

s , , , r , m , p , , n n , p , p , n ,

ran- - - ji-- - - - - - - - - - lla- - -

The phrase „ r m p r r s n d m‟ , „n , d m r „, „r m r m s r , s ,‟ stand as

characteristic phrases. Sancharas like „s r m r m r s n s n d m r m r s n

raga. The combination „s n d m r‟ is

skillfully built in this composition.

many musicians have used this raga either as main piece in music concert or

. .. . .

.

. . .

.. .

. . . . . . . .

. to this

alapana. Nowadays

s r m p n s r‟ lend more colour

, touch s some e

It gives large scope for

anupallavi pallavito is very appealing.



42

for ragam tanam pallavi. So it is a very popular raga. G.N.Balasubrahmanyan

popularized the kriti and raga. “The essence of the raga produces beneficient

results of yaga, yoga, tyaga, and bhoga; drink it and enjoy.”17

3. Bahudari

Arohana - s g m p d n s

Avarohana - s n p m g s

The raga belongs to 28th mela .

Svaras are Shadja, Antara gandhara, Sudha madhyama, Panchama,

Chathusruti dhaivata, and Kaisiki nishada. Rishabha is varjya in both arohana

and avarohana. “It is found in Sangraha choodamani.”18 A melodic raga

wherein kampaviheena prayogas are also met with. Tyagaraja handled this

raga for the first time, and gave popularity throug Brova

bharama‟ set to Adi tala, in Telugu language.

Sancharas

s g m p , - p m g m p d n s p , - m , p d p , m , g , - g , m p m g ,- s g m

p m g , s , - n s g , g , g , - g m p d n , p , - p d p m g m p d n s , , , -

n s g , ,- s g , - n s g , - d n s g , - p d n s g , g , - g p m g s , - s g p

17BRC Iyyengar, Op.cit, p.130

18S.R.Janakiraman,Op.cit., p.13

.

.

.

.

.

. . . . . . . . . .. . . . . . . . .

Bahudari Harikamboji

ih his compos tion „



43

m g s n d - n s g g s n - d n s g s n - p d n s n p - m p d n p m - g p m

g s - m g s n - d n s g , - g p m g s ,

Analysis

In the kriti „Brova bharama‟ – raga , Sri Tyagaraja asks

whether it is a burden for the Lord -the protector of the Universe – to protect

him. This kriti is an ideally suited for the earlier stages of the concert. Dina and

karuna rasas are principal emotions. The phrases „p d n s p‟ „p d n , p m‟, „g m

p m g p m g s‟ are characteristic phrases in this kriti. Its gave identity to the

raga Bahudari. Absence of dhaivata in avarohana gave beautiful effect in this

raga. He started the kriti with characteristic phrase, p d n p , m

bro-- -va-bha.

In the 2nd line of is present.

p , s , n , , , p d n s s n p m g m p m g p m g s ,

gukshini - -yum- - -chu- - - ko- - - le- - - da - . Pallavi starts with the

madhyasthayi panchama, and ends with madhyasthayi madhyama. Highest

note of the pallavi is tarasthayi gandhara, and lowest note is mandra sthayi

nishada. Anupallavi starts with madhyasthayi dhaivata and ends with

panchama.

Charana also starts with panchama and after 2 lines the melody repeats as

.. . . .

. . .

. . .

.

. . .

. . .

anupallavi,

Bahudari

avarohana krama

Anupallavi madhyasthayi shadja tarasthayi panchama touches to .



44

anupallavi. It is a beautiful raga and a beautiful kriti. Sancharas extends from

mandrasthayi panchama to tarasthayi panchama.

4. Bangala

Arohana - s r g m p m r p s

Avarohana - s n p m r g r s

The raga Bangala is considered as a of 29th mela

Sankarabharanam. Svaras are Shadja, C rishabha, Antara gandhara,

, Panchama, and Kakali nishada. It is a

raga . Dhaivatha and nishada are varjya in arohana and dhaivata

alone in the avarohana. “It can be traced to medieval literature, but the raga

form can be attributed to Tyagaraja.”19 It is a minor raga

Ganapathi Adi tala, „Sakshiledanuchu ‟ set to Adi tala, „Munupe theliyaka

Adi tala.

Sancharas

p s n p , m r , - r g m p m r , s n p , - s , s , g , g , - g m p , p , m r, - g m

p , p s , s , - p d p s , s , g , g , - s g , r g m p m r , - g m p

m r , - s n p , - p s n p m r , - n , p m r g , r - s n p s , s ,

19 S.R.Janakiraman, Op.cit., p.14

.

.

.

. .. . . .

.

. .

. . . . . . . . . . . . .

. . .

janya

hatusruti

‟

set to

praise of

suitable only

kritis kritis raga Giriraja sutha, „ ‟ in

in

its present

vakra audava

shadava

Sudha madhyama

for small . Tyagaraja had composed 3 in this



45

Analysis

In the kriti „

asks Lord to accept his devotion as true and have compassion on him. The

absence of both dhaivatha and nishada one has to be careful with the raga.

The gamaka element is minimum, all the svaras are flat. The phrases „r g m p

m r p s‟, „s n p s s g g‟ gave the identity of raga. Rishabha is an amsa svara

and jeevasvara. In that kriti all the sections are start with panchama and ends

with rishabha. Sancharas extends from mandrasthayi nishada to tarasthayi

panchama. This raga can be used for devotion and prayer. This kriti essentially

popular for its rhythmic ecstasy and its medium tempo. Tyagaraja projecting

the uncommon raga through this kriti.

5. Bindumalini

Arohana - s g r g m p n s

Avarohana - s n s d p g r s

A touching raga belongs to 16th mela Chakravakam. It is a

shadava shadava raga with vakra sancharas in both arohana and avarohana.

Svaras used are Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama,

Panchama, Chatusruti dhaivata, and Kaisiki nishada. In arohana, dhaivata is

dropped and in avarohana, madhyama is deleted. Tyagaraja introduced this

raga for the first time through his composition „Enthamuddo entha sogaso‟ set

to Adi tala in Telugu language. “His contemporaries Muthuswami Deekshitar

. . . .. .

.

.

s h raga Bangala, Sri Tyagaraja akshi ledanuc u‟



46

and Syamasasthri did not however take note of this raga.”20 The raga evokes

bhakthi and karuna rasa. It has quick magnetic-type attracting effect to any

Sancharas

g r g m , - g m p g r s , - n s g - r g m - g m p d p n s d , p , - g m p n s

, - p n s d p g r s n s g m p n s - p n s g , - g r r , - g r g m p g r s , -

n s g , - g r r , - s , - s n s d , p , - g m p n s d , p , - g m p g r , - s n

s g , - g r r , - n , s ,

Analysis

In the kriti Tyagaraja pities people who fall for lust without knowing the

beauty of the Lord. Tyagaraja skillfully broughtout the beauty of the vakra raga

through this kriti. The prayogas of the svaras „g m p‟ in the pallavi are masterly

strokes. Its vilamba kala movements convey the deena and soumya appeals.

The melody starts with the starting phrase of the arohana krama and

characteristic phrase of the raga ie. „g , r g , m‟. p n d p g , m p g r s is a

visesha prayoga. Pallavi begins with gandhara and ends with shadja.

Sancharas goes upto tarasthayi rishabha. Anupallavi and charana starts with

panchama and ends with madhyasthayi shadja. Sancharas extends from

mandrasthayi nishada and to tarasthayi gandhara. Sanchras are mostly in

20 Ibid.,p.19

.

. .

.

.

. .. . . . . . . . .. . .

. ... . . . . .

.

.

irrespective of their level of music knowledge.listener



47

madhyasthayi. Renowned musician M.Balamuralikrishna popularized

6. Chandrajyoti

Arohana - s r g m p d s

Avarohana - s d p m g r s

is a shadava shadava janya raga belongs to 41st mela

. “It can also be classified under (40) in view of nishada

being absent.”21 Svaras used are Shadja, Sudha rishabha, Sudha gandhara,

Prati madhyama, Panchama and Chatusruti dhaivata. It is very pleasing raga.

Tyagaraja has composed two kritis in this raga, „Bagayenaiyya‟ set to Desadi

tala, „Sasivadana‟ set to Adi tala. No other contemporary composers other than

Tyagaraja had composed kritis in this raga.

Sancharas

g , r , s , r s d , - s r , g , m , - p m p d s d , p , - p m g , r , s , - s,rsd , -

s r , s r m , - p m p d s , - s , s , - d r , s - s s , g g , r, s , - d s , s , -

d g , r s r s d , s d p , - p m g m p d s p , m - p m g , r , s , - s , r s d , - d

, s ,

21 Ibid., p.20

.

.

.

.

.

.

. .

. . . . . .

. . . . . . . .. . . . .

Chandrajyothi

Navanitham Pavani

this raga

and . Nowadays, one can hear Bindumalini in most of the concerts. kriti



48

Analysis

In the kriti „Bagayenayya ‟ Tyagaraja says that the teachings of Lord

Krishna are (apparently) unintelligible and confusing that even Lord Brahma

would not be able to comprehend them. The choice of the raga is point to be

noted. Tyagaraja begins this kriti by using jeeva svara sudha gandhara. It is

also ragachaya svara. Dhaivata and shadja are resting svaras. Avarohana

krama kriti. It is a characteristic

phrase also. Phrases like „p m p d s d , p‟ , „p m d , p m g , r , s‟ etc lend more

colour to this raga. Sancharas extends from mandrasthayi dhaivata to

tarasthayi rishabha. The resting svara in the pallavi is chatusruti dhaivata.

Anupallavi starts and ends with dhaivata. Sancharas are mostly in .

Charana starts with panchama and ends with madhyasthayi dhaivata. The

use of sudha gandhara projects the deena qualities in the lyric.

r‟ is a ragachaya phrase.

7. Chenjukamboji

Arohana - s p m g m d n s

Avarohana - s n d n p m g r s

In some quarters, the arohana avarohana is taken as

Arohana - s m g r p m d n s

Avarohana - s n p n m g r s

.

.„p d s d, p m

phrase „p m g , r , s‟ is frequently used in the

g ,

.

.

.

.

tarasthayi



49

Chenjukamboji belongs to the 28th melakartha .

Svaras used are Shadja, , Antara gandhara, Sudha

madhyama, Panchama, Chatusruti dhaivata and Kaisiki nishada. “It is believed

.”22

Tyagaraja is the first composer to have composed a kriti in this raga ie.

„Vararaga layanjulu‟ set to Desadi tala in Telugu language.

Sancharas

s p m g m , - g m d n p m - g m d n s , - r s n d n p m g r - s , s n d , n , s ,

- p , m , - g m d n s , s , , - d n s , m d n s , g m d n s , - s p p m g m d n

s - s , s , - d n s p m g r s , - s p , m g r p m g r s , - s n d n s r s n - d n

p m g r - s p , m g r s, - s n d n , s ,

Analysis

In the kriti „Vara raga layajnulu damanucu‟ –Tyagaraja deprecates

those who pride themselves to be maestros of sangita. Tyagaraja indirectly

proves himself as a scholar in the science of music through this kriti. The kriti

has intense vakra sanchara throughout, it shines well in quick tempo. The

phrase „p m g m r‟ also seems to occur frequently. Tyagaraja commences the

kriti with arohana avarohana krama

22 Ibid., p.21

. . .

. . . . .

. . .

. . .

. . . . . . . .. . . .. . . . . .. .

. . .

Harikamboji

that this has a folk origin, having come from the people of tribe raga Chenju

Chatusruti rishabha



50

s , p , m , , , g , m , , m , , m , n , d , , , n , p , , m g r s ,

vara-ra - - - ga- la - -ya - -nju- lu –da – ma- nu- -chu- --ǁ

Arohana avarohana krama seen in the following lines.

s , s p , m g m d n s r s n d n p m g r s n (2nd

s , s p , m g m d n s (3rd )

„p m g r s n‟ is a characteristic phrase. It is frequently used the kriti. The usage

of the phrase „s p m‟ gives a pleasant effect to the kriti. Anupallavi and charana

starts with panchama, and all sections are ends with shadja. Sancharas ranges

from mandrasthayi nishada to tarasthayi panchama. “G.N.Balasubrahmanyan

has created a beautiful and thrilling chittasvara to this kriti.”23 It speaks of

volumes for GNB‟s creative genius, his incomparable raga jnana and mastery

over svaras. This kriti is sung in concerts before the main piece.

8. Chitharanjani

Arohana - s r g m p d n

Avarohana - n d p m g r s

Chitharanjani is a nishadanthya raga belongs to the 22nd melakartha

. The notes taken are Shadja, Chatusruti rishabha, Sadharana

gandhara, Sudha madhyama , Panchama, Chatusruti dhaivata and Kaisiki

23CD by sruti foundation, „The music of GNB as a vocalist and composer‟, Chennai, December 1992.

.

.

.

. . .

Kharaharapriya

sangathi

of ) pallavi

sangathi of pallavi



51

nishada. These days it is virtually rendered as without

touching the tara shadja. Tyagaraja introduced this raga to Carnatic music

through his composition „Nadathanumanisam‟ set to Adi tala. It is in Sanskrit.

Sancharas

r g m p , - p m g r s , - s r g m g , r - r , r g , m p , - p m p d , p - p m g r

- r g m p d n , p , - p m g r - r g , g m , m p , - p m p d , - d , n d p, - m g

p m r, - g m p d n , - p d n , d p m p m g r , - s r g m g r , - r g s ,

Analysis

In the kriti „nadatanumanisam‟ –Tyagaraja states that Siva is the

embodiment of . "The svaras of Chitharanjani raga is similar to that of

Sudha sapthaka. „sa ri ga ma pa dha ni varasapthasvara‟ in the charana is a

clear evidence to prove this. The line which begins as sadyojathadi in the

charana resembles svara thrayangal of Vedic chant ie. Udatha, Svaritha, and

Anudatha.

p p, m, p, d

Sa dyo ja ta di -

d- Udatha, p- Svaritha, m- Anudatha.”24 The choice of the raga is significant.

The kriti outshines with the wisdom of Tyagaraja. Nishada is ragachaya svara.

24

A.K.Raveendranath, Dakshinenthyan sangeetham ,vol-3, Trivandrum, Cultural Publications

Department, March 2003, p.289

Kharaharapriya

nada



52

Kriti starts with rishabha. All phrases

are in mad . Raga ranges from to

Arohana krama can be seen in the following line.

n d d p m , m r g , g r r s (4th line of charana)

, s r , g m , p , d , p d n d n , (2nd line of charana). Pallavi ends

with shadja. Anupallavi and charana start with panchama and ends with

shadja.

9. Deepakam

Arohana - s g m p d p s

Avaroahana - s n d n p m g r s

“Deepakam is an old raga belonging to 51st mela Kamavardhini.

It is mentioned in Ramamathya‟s „Svaramelakalanidhi‟ as a janya of

.”25 “It also mentioned in Ragatarangini of Lochanakavi as a janya of

66th mela.”26 Svaras used are Shadja, Sudha rishabha , Antara

gandhara, Prati madhyama, Panchama, Sudha dhaivatha, and Kakali nishada.

It is an audava sampoorna raga. Rishabha and nishada are varjya in the

arohana. Sancharas of the raga extends from mandra sthayi nishada to

tarasthayi panchama. Tyagaraja was the first to compose in this raga; kriti is

„Kalalanerchina‟ set to Desadi tala. This is the only kriti in this raga.

25 S.R.Janakiraman,Op.cit, p.29

26CD by Madras Music Academy, „Ekaika kriti ragas of Tyagaraja‟ , S.R.Janakiraman, Chennai, 17th

decembder 2008

nishadamadhyasthayi hyamandra nishada

p , d n d n , is a characteristic phrase.

.

.

.

Ramakriya

Chithrambari



53

Sancharas

s g m p , - p m g m g , - g r g , p m g r , - p m g m g r s , - s n d n p ,

- p d p s , s - s g m p , m g , - g m p d p s , s , - s n d n p , - p d p

s, - d p s g r , - s g r g , g r , - p m g r s, - s , s n d n p , - p m g m

p d p m g r - p m g r s , - s n d n p , - d p s ,

Analysis

In the kriti „ –Tyagaraja states that man‟s efforts do not

always pay in the face of destiny, the ways of which is inscrutable. Antara

gandhara is an important note in this raga. The kriti has a special import both

in the structure and meaning. The is completely built in this kriti.

G.N.Balasubrahmanyan made this song famous. Sri Tyagaraja adorned his kriti

with adyakshara prasa. Tyagaraja begins his kriti with the arohana krama „s g

, m p‟. The phrases „p m g r‟, „p m g m g r s‟, are frequently used the kriti.

Panthuvarali. Pallavi ends with mandrasthayi nishada. Anupallavi and charana

start with panchama and ends with madhyasthayi shadja. Sancharas extends

from mandrasthayi dhaivata to tarasthayi panchama. „s n d n p‟ is a visesha

prayoga.

10. Devamruthavarshini

Arohana - s r g m n d n s

Avarohana - s n d p m g r s

.. .

. . .

. . .. . . . . . . . . . . . . .

. . . .

. . . .. .

.

.

.

ragabhava

These are the identifying phrases. It slightly resembles the raga janaka raga

Kalala nerchina



54

It belongs to 22nd melakartha . Svaras used

are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,

Panchama, Chatusruti dhaivata and Kaisiki nishada. “It is not found in

.”27

It is an upanga raga and arohana alone is vakra. Tyagaraja has composed only

one kriti in Devamruthavarshini, „Evarani‟ set to Adi tala in Telugu language.

Sancharas

n d n s , - s n n d d p p m - m g g r r - s r g m g r , s - s n d , - n s r ,

- s r g m , - r g m n d ,d - g m n d ,d , - m n d n s - s , , , , - n d n

s, - n s r g r ,s n d , - d n s n n d d p - m n d n s r g m g r - r g m g -

g r r s - m g r s n d , - n , m n d n s n d p m g r , - s r g m g r s - s n d p

m n d n s

Analysis

In „Evarani nirnayimchirira‟ – raga Tyagaraja

describes the meaning of the name „Rama‟. It does not give scope for elaborate

alapana. Sancharas are very limitted, so he composed only one kriti, and he

has included all the raga sancharas of in that kriti. This is

a tough kriti. Its music and sahithya possess high standard. Tyagaraja begins

the kriti by using the characteristic phrase „n d n s‟ and also special attention

27

S.R.Janakiraman,Op.cit, p.26

. .

. . .. .

. .. . . . .

.

. . . . . . . .. .

. . . . . .. .

. . .

. . . .

.

Kharaharapriya

Devamruthavarshini

Devamruthavarshini

Sangraha choodamani. In some books it is mentioned as Nadachinthamani



55

was made not to use the phrase „p d n s‟ throughout the kriti. Kriti begins with

madhyasthayi nishada and ends with madhyasthayi madhyama. Sancharas in

this kriti ranges from mandrasthayi nishada to tarasthayi madhyama.

11. Dileepakam

Arohana - s r m p d n d p m n d n s

Avarohana - s n d p m r g r s

It belongs to the 22nd mela Kharaharapriya. It is a shadava

sampoorna and ubhaya vakra raga. Gandhara is varjya in arohana .

are Shadja, Chatusruti rishabha , Sadharana gandhara, Sudha

madhyama , Panchama, Chatusruti dhaivata and Kaisiki nishada. Gandhara is

rendered as deergha svara. Tyagaraja gave popularity to this raga. Only one

kriti is seen in this raga, „Rama neeyada‟ set to Adi tala composed by

Tyagaraja. But now it is sung in Kharaharapriya.

Sancharas

n s r , - r s r m , - g r s n s r s - n r s n d p - p d n s r , - s r m r

, s - s r m p , m r , - r m p , m - p d n , - m p d n s, - s r m g r s n

d , - n s r ,s - n s r m , g r s n d - g r s n d p , m g r - r m p m g r s

- s r m g r s - n d n , - d n p d n s ,

.

.

.

. .

. . . . . . .

.

.

. . . . . . . .

. .. . . . .

. . . . . . .

. . .

Svarasthanas



56

Analysis

In the kriti „Rama niyeda‟ Tyagaraja states that those who do not

have love towards the Lord, would not know the taste of Lord‟s names. The kriti

conveys tributes to the Lord and His greatness. The Svaras „n d p m g r s‟ in

the raga cover the major spectrum.

12. Dundubhi

Arohana - s r g m p d n s

Avarohana - s n p m g r s

It belongs to 48th melakartha . Svaras are Shadja, Sudha

rishabha, Sadharana gandhara, Prati madhyama, Panchama, Shadsruti

dhaivata and Kakali nishada. It is a sampoorna shadava raga with limited

scope for alapana. Shadsruti dhaivatha is an important note in this raga. There

is only one kriti ie. „Lilaganujuche‟ set to Adi tala by Tyagaraja. “This kriti is

erroneously classified under Divyamani when it should be sung in its janya

Dundubhi or Dundubhipriya as referred to in some works.”28 In the kriti

„Lilaganu juche‟ Tyagaraja says, please protect me by associating with me those

with virtuous disposition who behold as Your Sport – the Humans, Kinnara,

Kimpurusha, Demons, Indra, Lord Siva and Vishnu and others, trees,

mountains and the multitude of Universes.

28 Ibid., p.30

.

.

Divyamani



57

Sancharas

p m g , r s r , - g r s r g m , - p d p m g , r - s r g m p d , n , s , - s n p

m g m p d n s - s n r , s s n p , - s n r , s r g m g r - s n p d , n , s , - s

n r s n p m - g m p m g r - s n s r g m - p m g , r , s

13. Gambheeravani

Arohana -s g , p m , p d , n s

Avarohana -s d , p m g r s

It belongs to the 30th melakartha Naganandini. Svaras used

are Shadja, Chatusruti rishabha, Antara gandhara, Sudha madhyama,

Panchama, Shadsruti dhaivata and Kakali nishada. Rishabha varjya in the

arohana and nishada in the avarohana. It is a shadava vakra raga. The raga

Gambheeravani came into prominence through the composition of Tyagaraja

„ alatu‟

Sancharas

s g , p m , - m g g , r - g r s , - s g p m p d n , - s , , , s, , , - s g

, g , p , m , -s g , r g , - g , m r s - s d p m g , r s - s g , p m , - m g g , r s

. .

.

.

. . . . . . . . . . . .. . . .

.

.

. . . . .. . . .. . .

. . . .

Adi tala.

set to for the first time. Tyagaraja composed the kriti Sada madini t



58

Analysis

In the kriti „sada madini talatu‟ – raga ,

Tyagaraja sings praises of Lord Siva. This is a simple kriti raga has

enough scope for elaboration. Tyagaraja had used the svarakshara „sa‟ in the

commencement of pallavi. In this kriti the sancharas extends from

madhyasthayi shadja to tarasthayi panchama.

14. Ganavaridhi

Arohana - s m r g m p d n s

Avarohana - s d n p m r s

The raga Ganavaridhi belongs to the 35th mela Sulini. Svaras used

are Shadja, Shadsruti rishabha, Antara gandhara, Sudha madhyma,

Panchama, Chatusruti dhaivata and Kakali nishada. It is a vivadi raga. “It is

mentioned in Sangrahachoodamani.”29 “Dayajuchutakidivela” set to Adi tala is

the first composition in this raga by Tyagaraja.

Sancharas

p m r , s , - g m p d n , p , - p m p m r , s , - m r g m p , - g m p d n s ,

- d n s , - n s , s , - n s - m - -

, - -

29Ibid., p .32

.

.

.

.. . . .

m , r g m r , s . . . . . . . .. . . . . .

s m , r s d n , p m r s .

p d n s

Gambheeravani

r s d n , s d n p

s , s , s d n p m r , s

. This



59

Analysis

In the kriti Tyagaraja pleads with Lord have compassion

on him. This is the only kriti in this raga. The phrase „s d n‟ and „m r g m‟ are

essential prayogas. „s d n‟ also a characteristic phrase. Avarohana krama can

be seen in the 2nd line of anupallavi.

r , s , , , s , d , n , p , m , r , s , , , s , , , s , d , n ,

bha-va- - -rthi- ha-ra- man-- ju-la- - - - -ka- - -ra- na-nu

. The phrase „p d n , p‟ lend more colour to this

raga. Pallavi begins with panchama and ends with shadja. Anupallavi starts

with tarasthayi shadja ends with madhyasthayi nishada. Charana also starts

with panchama and ends with madhyasthayi nishada. Sancharas ranges from

shadja to tarasthayi madhyama. Tyagaraja is mainly responsible for bringing

this raga to light.

15. Garudadhwani


Avarohana - s d p g r s

It belongs to the 29th melakartha Dheera Sankarabharanam. It is

a sampoorna audava raga and the reverse of the arohana avarohana krama of

. . . . .

.

.

Rishabha is a resting svara



60

Bilahari. “It is found in Sangrahachoodamani.”30 Svaras used are Shadja,

Chatusruti rishabha, Antara gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata, and Kakali nishada. Tyagaraja introduced this raga

through his two striking kritis „Ananda sagara‟(Adi tala) and

„Tatwameruga‟(Rupaka tala).

Sancharas

g m p d n , s d p , - s d p g r , - g m p g r , - s r g m r , - s , r s d , - s

r g m p , - g m p d n s d p , - d n s , - d n s d - d n s d p , - d n s , -

s , s , r , r , - r g m g r , - s r g m p g r s - g r s r s d s d p d p g p g r

g r - s r g m p d n s r , - s r g , r s d , - g m p d n s d p g , - m p g r s , -

s , r s d , p , s ,

Analysis

In the kriti „Tatwameruga tarama‟ raga

reality meant in the Mahavakyam – „tat-tvam-asi‟. It is a wonderful

philosophical composition of Saint Tyagaraja. Tyagaraja gave full picture of the

raga in the first line ie., arohana avarohana krama.

s , d , p , g , r , s , r , g , m , , , p d n , tha- - thwa-me- ru-ga- tha-rama- - - pa-ra-

30 Ibid., p.33

.

. .

. . . . .

. . . . . . . . . . . . . . . . . . .. . . . .

. . . . . . . . .

. .

.

Garudadwani,

Tyagaraja yearns for the grace of Sri Rama in realizing that Sri Rama is the final



61

prayogas like „r s d p g r s r g m p d n s‟ , „r s d s d p d p g p g r g r s r g

m p d n s‟ , „d p d p g , p g p g r‟ , gives an identity to this raga. Madhyama is

resting note. It gives limited scope for alapana. Kalpana svaras can be sung for

a long time. Pallavi begins with tarasthayi shadja and rests in madhyasthayi

madhyama. Anupallavi starts with tarasthayi shadja and ends to tarasthayi

Sancharas extends from madhyasthayi shadja to .

16. Hamsanadam

Arohana -s r m p d n s

Avarohana -s n d n p m r s

Hamsanadam belongs to the 60th melakartha . Svaras

used are Shadja, Chatusruti rishabha , Sadharana gandhara, Prati madhyama,

Shadsruti dhaivata and Kakali nishada. Gandhara is varjya in both arohana

and avarohana. “It is mentioned in Sangrahachoodamani.”31 It is brought to

light by Tyagaraja. Tyagaraja composed the kriti „Banturiti kolu‟ set to Adi tala.

Sancharas

p m r , s , - n r , , - s n d n s , n p , - p d , n s r , - n s r m , - r m p , -

m p d , n , s , - n s r m r r s - n s r r s n - r s n d n s , n p , - m p d , n , s

31 Ibid.,p.40

. . . . .

.

.

.

. .

.

. . . . . . . .

. . . . . . . . . . . . . .

rishabha Charana panchama tarasthayirishabha. also start with and ends with .

pallavi.krama kritiThese continued throughout especially The beautiful the

sthayitara madhyama

Neethimathi



62

, - s n d n s n d , p , - m p d , p , - m p , m r , - p m r , - r m p m r , - s

, , n d n s n p , - m p d , n , s ,

Analysis

In the kriti „Bantu riti koluviyyavayya‟ Tyagaraja yearns for the

privilege of being a

resting svara. Madhyama is a jeeva svara. Phrases „p m d , p m‟ ,

„p n p n p m r‟ stands as pillers of this raga. „p , r s n‟ is a special prayoga

and adds charm to the raga. It is very pleasing raga. Hamsanadam popularly

used in almost every concert. Kriti begins with panchama and also rests to

panchama. Anupallavi starts with tarasthayi shadja and ends with

madhyasthayi nishada. Charana begins with madhyasthayi rishabha and ends

with madhyasthayi nishada. Sancharas ranges from madhyasthayi shadja

upto tarasthayi panchama. “Musicians of late, has been singing Hamsanadam,

which originally belongs to the 60th melakartha Shadsruti

dhaivata without the use of Chatusruti dhaivata. Scholars point out that this

32 Many later

composers have handled this raga

17. Jaganmohini

Arohana - s g m p n s


32 Ibid.,p.40

. .

. . . . . . . . .

. .

.

.

is a

version of Hamsanadam is a different called „Varada‟.”

Neethimathi with

Rishabha

raga

servant (armed guard) in the assembly of Sri Rama

very beautifully.

.


RRAARREE

RRAAGGAASS

HHAANNDDLLEEDD

BBYY

TTYYAAGGAARRAAJJAA

63

The raga belongs to the 15th mela Mayamalavagoula.

Svaras used are Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama,

Panchama and Kakali nishada. It is an audava shadava raga in which

dhaivatha is omitted both in arohana and avarohana. Tyagaraja is mainly

They are „Mamava sathatham‟ set to Adi tala, and „Sobhillu saptha svara‟ set to

Rupaka tala.

Sancharas

g m p n s n p , - m p n s n p m - p m g r s , - s g , g m , m p , - g m p n s

n p m - s g m p g m p n m p n s - s g m g s n p n s , - s , s , - s g m g ,

r s n - - s g m

g , r s n -

Analysis

In the kriti „Sobhillu saptasvara ‟ – raga Jaganmohini Sri

Tyagaraja describes the greatness of music. Gandhara and nishada are

ragachaya svaras. The antara gandhara in the arohana and sudha rishabha in

the avarohana contribute a unique melody. The svara prayogas of charana,

brings out the essence of the raga. Tyagaraja begins his kriti „Sobhillu‟ by using

. . .

.

.p n s s ,

p m g r m g r s g r s n r s n p s n p m n p m g p m g r

g . .

. . . . . . . . . . .. . . . .

. . . . . . . . . . . .

responsible in bringing out this to light. He composed 2 in this . raga kritis raga

Jaganmohini



64

the jeevasvara gandhara. „s g m g r s‟, „s n p , m g , p m g r s‟ , are ragachaya

phrases. In the 3rd sangathi of pallavi, arohana krama is present.

g m p n s n p m g r s , s , , , g , , , m , m ,

so- - - - -bhi- - - -llu sa- - - ptha--- sva-ra-

In the charana , the svara madhyama is beautifully used for svarakshara. All

sections are ends with nishada. Anupallavi and charana starts with panchama.

This raga ranges from shadja to tarasthayi panchama.“G.N.Balasubrahmanyan

was creative enough to embellish this kriti with his beautiful chittasvara.”33

Arohana - s r g m d s


It belongs to 22nd mela . Svaras used are Shadja,

Chatusruti rishabha, Sadharana gandhara, Sudha madhyama, Chatusruti

dhaivata and Kaisiki nishada. It is an audava shadava upanga raga.Nishada

varjya only in the arohana and panchama varjya throughout. It has slight

resemblance with Abhogi and Sreeranjani. Brought to light by Tyagaraja

through his three compositions „Yajnadulu‟ set to Adi tala, „Ni bhakthi‟ set to

Rupaka tala and „Sri remyachithalankara‟ set to Adi tala.

33 CD by sruti foundation, “The music of GNB as a vocalist and composer”, Chennai, December 1992

.

.

.

.

Kharaharapriya

Jayamanohari18.



65

Sancharas

n d m g r , g m d s n , - n d d , m , - m g r g m , - m g r g m g r s - d s r g

m , - m , m , n d m , - g m d s , - s , s , - d s r , r , - s r g s , r g , - g m g

r s n d - m d s r g r , r g m , g r s - d s r s , s , - m g r s , s , - d s n d m

, - g m n d m g r , - s r g m g r s , - d r s n d m , d , s ,

Analysis

In the kriti „Ni bhakti bhagya sudha‟ – raga

defines the purpose of life. The svara nishada and madhyama are jeeva svaras

and these are also resting svaras. Rendering of dirgha nishada and rishabha

lend beauty to this kriti . Tyagaraja begins with jeevasvara nishada 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 3rd pallavi, arohana prayoga is present.

r g m , d n s , r g m ,

de- - jan- - ma- mu-

19. Jayanarayani


.

.

.

. . . . . . . . . . . .. . .

. . . . . . . . . . . . . . . . . . . . . .

. . .

. . . .

.

of angathis

Jayamanohari



66


Shadava sampoorna raga derived from the 22nd mela

Kharaharapriya. Svaras taken by this are Shadja, Chatusruti rishabha

Sadharana gandhara, Sudha madhyama, Panchama, Chatusruti dhaivatha and

Kaisiki nishada. Nishada arohana. The kriti „Manavini vinuma‟

set to Adi tala composed by Tyagaraja. In the kriti „Manavini vinuma‟, Tyagaraja

pleads with Lord to listen to his appeal. Tyagaraja has rightly chosen the raga

to convey intense feeling of devotion.

Sancharas

m g r g m p , - r g m p d p - m d p p m g r - m g r g m g r s - d s d r g

m g - g r r , - d s r g m p , - - p d p d s , - p d s r , r,

- s r g r g , s r g r , - m g m g r , - m g r s , - g r r s s n n d d p -

m p d s n n d d p - m d d p p m m g g r r , - d s r , - s d r s

20. Jayantasena

Arohana - s g m p d s

Avarohana - s n d p m g s

It is derived from the 22nd melakartha Kharaharapriya. Svaras

used are Shadja, Sadharana gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata and Kaisiki nishada. It is an audava shadava raga,

rishabha and nishada varjya in arohana and rishabha only in avarohana. Eka

.

. .

.p d p m p d s d p

.

. .

. . . .

. . . . . . . . . . . . . . . . . . .. . . .

.

.

is in the

.

varjya



67

kriti raga, there is only one composition ie. „Vinatha sutha vahana‟ set to Adi

tala composed by Tyagaraja.

Sancharas

m g s g m , - p , m g , - g m p d p m g m g s , - s g m p d s , n d , - s n

n d d p p m g m p d s , - p d s , - s n n d d p - p d s g s n d , - s g s

m g s - n d , - p d s - s n n d p m p d s n d p m g s- s g m g s n d ,

- p d s ,

Analysis

In the kriti „Vinata suta vahana‟ Tyagaraja decribes those who

harp on differences in religions and sects. This kriti have an element of

humour. The song is more in tune with the rhythm than any sense of melody.

“Tyagaraja must have had some experience of sorts if he should

comment, What is the use of indulging in fruitless arguments with

confirmed atheists? Their company should be avoided scrupulously only

association with the pious and righteous can lead to happiness.”34

21. Jayanthasri

Arohana - s g m d n s

Avarohana - s n d m p m g s

The raga Jayanthasri belongs to the 20th melakartha Natabhairavi.

Svaras used is Shadja, Sadharana gandhara, Sudha madhyama, Panchama,

34BRC.Iyengar,Op.cit., p.158

. .

. . .

.

. .

. .

. . . . .

. . . . .

.

.

.



68

Sudha dhaivata and Kaisiki nishada. It is an avarohana vakra shadava raga. It

evokes bhakthi rasa. It is brought to light by Tyagaraja, through his kriti

„Marugelara‟ set to Desadi tala in Telugu language.

Sancharas

d , m p m g , - p m g s , - n s m g m , d m - n d m , - s n d m p m g s n

s m g m d n s - d n s g s - d n s g m g s n d - m g m g s n - s g m g p m

g s - s g m g s n - d n s n d m - g m p m g s - - d n s , -p m

g s.

Analysis

In the kriti „Marugelara o raghava‟ Tyagaraja pours out his heart.

is a rare raga with special impact; this is due to the use of the

svara panchama in the avarohana. The use of the combination „m p m g‟ and

the complete absence of the svara in the arohana generates a feeling of

empathy. Dirgha gandhara and panchama are special svara features for this

raga. The desadi tala also adds beauty to this kriti. It can be sung at any stage

of the concert. “In paying tributes to the Lord, Tyagaraja philosophies that

mind is stronger than impulse; even more rewarding is wiser than

wisdom.”35G.N.Balasubrahmanyan popularized the raga .

„Marugelara‟ was one of his favourite kriti for his concerts.

35 Ibid., p.119

.

.

.

.

.

.s g m g s n

. . . . . . . . . . . . . . . . .. .

. . . .. . .

. . . .

Jayanthasri

Jayanthasri



69

22. Jingla

Arohana - s r g m p s


Jingla is considered as a of 20th melakartha It is

vakra sampoorna raga. Svaras used are Shadja, Chatusruti rishabha,

Sadharana gandhara, Sudha madhyama, Panchama, Sudha dhaivata and

Kaisiki nishada. Brought to light by the composition of Tyagaraja „Anathudanu‟

set to Adi tala.

Sancharas

s r g m s n d p s , - s r g m - p d n d p s - p s -

s r g r g m , - r s s n n d p - p n d m p , p m g s - s r g m - p m g s -

s n d p s

Analysis

In the kriti „Anathudanu,‟ Tyagaraja asserts that the Lord is there to

protect him and therefore, he is not a destitute. The very first line brings out

the essence of raga. Kriti begins with panchama and ends with madhyasthayi

madhyama. Sancharas extends from mandrasthayi panchama to tarasthayi

madhyama.

.

.

. . . . . . .

. . . .

. .

. . .

janya Natabhairavi .

p s - s n d p m g - g m p s . .. . .. .



70

23. Jujahuli

Arohana - s m g m p d n s

Avarohana - s d n d p m g s

It is derived from the 13th mela Gayakapriya. It is a shadava raga

deletes rishabha. Svaras used are Shadja, Antara gandhara, Sudha madhyama

Panchama, Sudha dhaivata and Sudha nishada. A minor raga that came into

prominence through the composition of Tyagaraja ie. „Parakujesina‟ set to Adi

tala.

Sancharas

m g m p d n , - g m p d n s , - s d n d p , - n d p m g m p d n , - m p d n

s - s , s d n , n d p d n s - s m g m g s - m g s - d n s m g s - p d n s m

g s - m p d n s m g s - g m p d n s m g s - m g m p d n s - s d n d p m g

- g m p m g s -

Analysis

In the kriti „Paraku jesina nikemi,‟ Tyagaraja pleads with the Lord not

.

.

. .

. . . . . . . . . .. .

. . . . . . . . . . . . . .. . . . .

. .

d n s m g m g s

Kriti madhyasthayi dhaivata electrifying effect. begins with and ends with

tarasthayi panchama

rishabha arohana The deletion of in the produces an

tarasthayi shadja Sancharas madhyasthayi shadja. ranges from to

to ignore him.

.



71

24. Kaikavasi



The raga Kaikavasi derived from the 60th melakartha

Neethimathi. It is a sampoorna shadava raga; dhaivata varjya in the

avarohana. Svaras used are Shadja, Chatusruti rishabha, Sadharana

gandhara, Prati madhyama, Panchama, Shadsruti dhaivata and Kakali

nishada. Tyagaraja composed only one kriti in this raga „Vachamagocharame‟

set to Adi tala. In the kriti „Vachamagocharame‟ – raga , Tyagaraja

introduced the raga for the first time. It is very tough kriti.

Sancharas

r , g , g r r , - s r , n s r , s r g , - s r g m p , - m g r s r g m p, - p

d n s n p , - d n s n d n p , p m - p m r g , r - s n s r g m p , - g m p d

n s - p d n s r , d n s r , n s r, - s r g , - r , g r s r , s r g , r g m , g

r r , - g r r s s n n p p m - g r s r g m p m g r s , - n s r ,s - n r s

n p , - d n s ,

25. Kalakanthi


Avarohana - s n d p m r s

.

.

.. .

.

.

. .

.. . .

. . . . . . . . . . . . . . . .. . . . .

. . . . . . .

.

.

Kaikavasi

Ramarelates two incidents to illustrate the greatness of Sri . Tyagaraja



72

“The raga under 3 melas namely

(1st mela), (7th mela), and (13th mela)

because of the absence of gandhara. Sangraha choodamani however puts

it under Gayakapriya. Kalakanthi is traceable for the first time only in

Sangraha choodamani or its predecessor in Telugu, Sangeetha sara

sangrahamu of Tiruvenkata kavi who was also known as Akalanka.”36

Svaras used are Shadja, Sudha rishabha, Sudha madhyama, Panchama, Sudha

dhaivata and Sudha nishada. It is an eka kriti raga living through Tyagaraja‟s

„Sri janakatanaye‟ set to Adi tala. In the kriti „Sri janakatanaye‟ – raga

Kalakanthi, Sri Tyagaraja sings praises of Mother Sita. It is the only kriti in this

raga.

26. Kalanidhi

- s r g m s p m d n s


It belongs to 22nd melakartha Kharaharapriya. Svaras

taken by this raga are Shadja, Chatusruti rishabha, Sadharana gandhara,

36 S.R.Janakiraman,Op.cit., p.51

Sancharas

.

.

Kalakanthican be located

Kanakangi Senavathi Gayakapriya

r m p d , - m p d n s , - s r m p m d p m - p d n s - d n s r s , m , r s -

s r m r s n d - d n s r m , r s - m r s n d - s n d p m r - n d p m r , - p

m r , - m r s , - s n d p d n s ,

.

. . . . . . . . .. . .. .

. . . . . . .

. . . . .

Arohana



73

Sancharas

r , g m s , - p , m , g , - g , r s n s - s r g m s , - p m d n s , - d n s r g m s

- s p m g , r s n - d n s n s , - r g m s , - s n d n p , - p m d n s , - s r g

m , m s , p m g , r - s n d p m d n s , - n d p m g , r - s r g m s

Analysis

In the kriti „ – raga Tyagaraja

describes his agony caused in the absence of grace of the Lord. This is a simple

but yet riveting composition. The sahithya bhava is immense and it is conveyed

with great emotion. The phrase „r g m s‟ is pleasing and fascinating visesha

prayoga. The starting phrase of the composition proceeded like the arohana

krama s , r, g, ,, m , s , , , , , p, , ,

chi-nnana- de- na- - - - - chey.

„s g r d n‟ is a beautiful phrase used in the anupallavi of the kriti. Janta

svara prayogas like „g r r s s n n d d p p m m g‟ used in the raga. Nishada is

resting svara and jeeva svara. Pallavi ends with mandrasthayi nishada.

Anupallavi starts with dhaivata and ends with mandrasthayi nishada. Charana

begins with panchama and ends with mandrasthayi nishada. Raga ranges from

mandrasthayi nishada to tarasthayi madhyama.

Sudha madhyama, Panchama, Chatusruti dhaivata and kaisiki nishada. It is an

arohana vakra raga. Tyagaraja had composed a kriti in Kalanidhi,

„Chinnanadena‟ set to Adi tala.

..

. . . . . .

. . . . . . . . . . . . . . . .

. . . . . . . . .

.. .

. . . . .

KalanidhiChinna nade na ceyi battitive‟



74

27. Kalyana vasantha

Arohana - s g m d n s


The raga derived from the 21st melakartha

Keeravani. Svaras used are Shadja, Chatusruti rishabha, Sadharana

gandhara, Sudha madhyama, Panchama, Sudha dhaivatha and Kakali

nishada. It is an audava sampoorna raga, rishabha and panchama varjya in

the arohana. Prathyahatha gamakas lend beauty to this raga. It is brought to

prominence through the compositions of Tyagaraja. He composed 2 kritis in it.

„Nadaloludai‟ and „Kanulutagini‟ both set to Rupaka tala.

Sancharas

g m d n s , - s n d p m g m g , - s g m d , - s g m g m d m d n d n s - s

n d n r , s , - s n s g m , - g r s n - s g m p m g , r s n - g r r s s n n d

d p p m m g g r r s - d n s n d p - p m g r s , - n s r , s n - d n s n r , s ,

Analysis

In the kriti „Nada loludai brahmananda‟ – raga Kalyanavasanta,

Sri Tyagaraja states that one can experience brahmanandam through

sangitam. The svaras nishada and gandhara are rendered with gamaka. The

prayoga of „s g m‟ , „d p m g‟ , „n d p m g‟ is fictional. The raga is built with full

of janta prayogas and vakra prayogas. ex-„s g m g m d m d n d n s‟ , „s s g g m

.

.

. . . .

. . .

.

. . . . . . . . . . . . . . . . . . .

.

Kalyanavasantha

. . . . .



75

m d d n n s s‟ , „s n n d d p p m m g g r s‟. These phrases add more charm to

the raga. In the 3rd sangathi of pallavi, avarohana krama is present.

s n d p m g p m g r s n s , s, n d p m g r s , nan- -- nda- man- - - da- ve- - - ma – na - sa - - -

The omission of panchama in arohana gives a pleasent effect. It is a

pleasing raga. Grahasvara is shadja. Madhyama is jeevasvara. In the charana,

madhyama is repeatedly used. Pallavi begins with shadja, and all sections are

Anupallavi

with madhyasthayi gandhara. Raga ranges from mandrasthayi dhaivata to

tarasthayi madhyama.“

derivatives of ragas by the manipulation of the 7 svaras. It is through this that

the Trinities, Indra, Ganesha and Subrahmanya had done nadopasana.”37

28. Kapinarayani


Avarohana - s n d p m g r g r s

Kapinarayani is derived from 28th melakartha

Harikamboji. Svaras used are Shadja, Chatusruti rishabha, Antara gandhara,

Sudha madhyama , Panchama, Chatusruti dhaivata and Kaisiki nishada. It is a

shadava sampoorna raga.

Sarasa samadana‟ set to Adi tala.

37BRC.Iyengar.Op.cit., p.134

. . .

.

.

.

ends with shadja.

.

.

tarasthayi shadja charana

Tyagaraja‟s composition „

raga

sahithya In the he indeed speaks about it, the

begins with and starts

This came in to prominence through



76

Sancharas

r , m p , p , - p , m g r g , r - s n d , n , - s , s , - s r m , - r m p , - m

p d n , p d n s , - s n n d d p p m m g r g , r - s r m p d n s r , - n ,

s r s - n s n n d d p m g r , - s r m p m g r - r g , r - s n d n , s ,

Analysis

In the kriti „Sarasa sama dana‟ – raga

extols the Lord about the way He dealt with Ravana.

he charecteristics of the raga strikingly. In the 3rd

sangati of pallavi, arohana krama is present.

s , , r m p d n s n n d d p.

va- -re- - - - -bro - -va ve- - - - - . Kriti begins with madhyasthayi shadja

ends with madhyasthayi panchama. Anupallavi and charana starts with

madhyasthayi nishada and ends with madhyasthayi madhyama. The raga in

this kriti is symbolic. All svaras of this kriti are minimal and the melody moves

at a fast pace with little or no configuration of gamaka. “Tyagaraja extols the

margas of preservation, temptation,

separation, and subjugation, and finally annihilation. He supports this fact

from an illustration from the Epic Ramayana.” 38

38Ibid., p.135

. ... . . .

. . . .

. . .

The phrase like „m g r g r

and „r m p d ‟ bring out t

n , , n d

n

.

Kapinarayani , Tyagaraja

skill of the Lord in the four utilizing



77

29. Karnataka bihag


Avarohana - s n d n p d m g r g s

The raga Karnataka bihag belongs to the 28th melakartha

Harikamboji. “

need not totally be discarded in .”39

. “In Dhanammaal sampradaya this raga is same

as . But scholars like G.N.Balasubrahmanyan sang this raga in the

above said arohana avarohana.”40 This raga became very popular through the

kutura‟ set to Adi tala.

Sancharas

r g m , m g r g s , - s r g m p d , - m g r g s r g m , - r g m p d n , p , - s n

d n p , - p d m , - g r g m p d n s , - n d n s , - p d n , d , - d n s , n s , -

s n d n s r g r g s , - s n d n s r g r g m , g r g s , - m g r g s n d n - n d n p d

m , - g r g s , - s n d n s ,

39 S.R.Janakiraman,Op.cit., p.60

40 A.K.Raveendranath, Op.cit, p.299

.

.

.

. . . .

.. . . . . . . . . . . . . . . . . . . . . .

. . .

Harikamboji

vakra prayoga avarohana

Antara gandhara, Sudha madhyama, Panchama,

nishada Chatusruti rishabha, Antara gandhara,

nishada

Chatusruti

dhaivata and Kaisiki

Sudha madhyama, Panchama,

Harikamboji

Nenenthu vedu

Svaras Shadja, used are

compos tion of Tyagaraja ie. „i

The in the is no doubt wholesome, but it



78

Analysis

In the kriti „Nenendu vetukudura‟ – raga ,

Tyagaraja curses his own faults for the Lord not manifesting. This kriti calls for

some introspection. Madhyama is a ragachaya svara and jeeva svara. He

begins with the kriti with this svara. He depict all the facets of raga in that first

line „m , , , m g r g , r g , s , r , g , m , , ,‟.

ne--- nen- - -du vetu kuthu ra- - -

„s n d n p d m , g r‟ „p d m , g r g s‟ adds beauty to the raga. „s g r d n‟ is a

visesha prayogas. Pallavi ends with madhyama. Anupallavi starts with

panchama, ends with dhaivata, charana starts with nishada and ends with

dhaivata. Sancharas extends from mandra sthayi dhaivata to tarasthayi

madhyama. He chose Hari in place of Rama in this kriti. The context is the loss

of the image stolen from his prayer room. There is profound grief. He could not

have chosen a more effective raga to put forth his sorrow. He has virtually lost

somebody to retreive the image and the one who comes to the mind is Hari.

30. Kokiladwani

Arohana - s r g m n d s

Avarohana - s n d n p m g r s

.. . .

.

.

Karnataka bihag

Rama although in the form of an image and therefore he has to appeal to



79

It belongs to the 28th mela . The Svaras taken by

this raga are Shadja, Chatusruti rishabha, Antara gandhara, Sudha

madhyama, Panchama, Chatusruti dhaivata, and Kaisiki nishada. It is an

upanga raga; gandhara and nishada are ragachaya svaras. Tyagaraja brought

to light this raga with two of his compositions, namely „Tolinenujesina‟ and

„koniyade‟ both set to Adi tala.

Sancharas

r g m n d d , - m n d , s , - s n d n -p m m g g r - s n d , s , r g m , m

- m , n , n d d , s , - d s r g m , - s r g , r g m , m g g r s , s , - m g

r s - s n d , - s n d n p , p , m g r g m , - m g r , - s n d , s ,

Analysis

In the kriti „Koniyade nayeda‟ raga , Tyagaraja rebukes

the Lord for not having grace on him. It is a very simple kriti. Tyagaraja is

mainly responsible for bringing out this raga to light. He beautifully started

his kriti by using the main identifying phrase of the raga ie.,

m , n , n d d , s , , , s n d , n , p ,.

ko-ni- ya- - de- - - na- - ye-da

2nd line of anupallavi avarohana krama is present.

. ..

.

. .

. . .

. . . . . . . . . . .. . . . . . .

. .

. .

Harikamboji

Kokiladwani



80

„s , , n d , p , m , g , g , r g m g r , s , r g m g m, , ,‟

an- tharanga- mu-na-thi- pre-- ma-tho- ni- - - -nnu

The sections pallavi, anupallavi starts and ends with madhyama. Charana

begins with panchama and ends with madhyama.

31. Kokilavarali

Arohana - s r g r m p d n d s

Avarohana - s d n d p m r g r s

Vakra arohana avarohana raga derived from the 20th mela

. Svaras used by this raga are Shadja, Chatusruti rishabha,

Sadharana gandhara, Sudha madhyama, Panchama, Sudha dhaivata, and

Kaisiki nishada. It is a minor raga having limited scope for alapana. Tyagaraja

had composed only one kriti in this raga „Samukhana nilva‟ set to Adi tala.

Sancharas

s r g r m , - g r m , - p d n , d , p , - p m r g , r - p d n d s , s r g r ,

- s r g r m , r g r - m , r g r g r s , - s d n , d p - m p d n d s , - s d n d

p m r , - p m r g r s - s d n d p , - p d n , d , s ,

Analysis

In the kriti „Samukhana nilva‟ – raga , Tyagaraja

extols the

.

.

.

..

. . . . .. . .

. . . . . . . . . . . . . . . .

. . . . .

Kokilavarali

Natabhairavi

greatness of Sri . Both the lyric and the music are lucid, Rama



81

eloquent, and vivid. The kriti begins with the starting phrase of the arohana s r

Madhyama is jeevasvara, madhyama and dhaivata are ragachaya

svaras. Pallavi commences with madhyasthayi shadja and ends with

madhyasthayi panchama. Anupallavi and charana begins with panchama and

ends with shadja. Raga ranges from mandrasthayi dhaivata to tarasthayi

rishabha. The kriti is filled with vakra pattern phrases like „s r g r‟ „m r g r‟

„s g r g‟ „p d p s‟ „m n d n‟ „s d n d‟ etc . “While giving a lecture

demonstration on „eka kriti ragas‟, Prof.S.R.Janakiraman said that in the case

of rare ragas, the vehicle of music is run through arohana avarohana. It is a

scale track. Anything out of order the track will be derailment.”41

32. Kolahalam

Arohana - s p m g m p d n s


The raga Kolahalam is a vakra shadava sampoorna raga belongs to the

28th melakartha . Svaras used are Shadja, Chatusruti

rishabha, Antara gandhara, Sudha madhyama, Panchama, and Chatusruti

dhaivata and Kakali nishada. “But in some quarters the nishada used is

kaisiki.”42 Rishabha is deleted in the arohana. Tyagaraja is mainly responsible

for bringing this raga to light. Kriti is „Madilona yochana‟ set to Adi tala. In that

41CD by Madras Music Academy, „Ekaika kriti ragas of Tyagaraja‟ ,S.R.Janakiraman, Chennai, 17th

december 2008

42S.R.Janakiraman.Op.cit., p.64

.g r m ,

. .

.

.

DheeraSankarabharanam



82

kriti Tyagaraja asks the Lord whether any thought of protecting him has

occurred to Him. It is not a very popular kriti. Sancharas extends from

mandrasthayi panchama to tarasthayi gandhara.

Sancharas

s p p m g m , - g m p d n , - s n d p - m g r g m g - p m g m p , , - p m m

g - r s n d n s , - p m g m - p d n s , - s n d p - m p d n s , - p , d , d

n s , - s n d n s , s , - g r s r s n d , - s p m g r s n d p - m p d n - s

n n d d p - p m m g g r s , - s n d p d n s ,

33. Malavi

Arohana - s r g m p n m d n s

Avarohana - s n d n p m g m r s

The raga belongs to the 28th

Svaras taken by this raga are Shadja, Chatusruti rishabha, Antara gandhara,

Sudha madhyama, Panchama, Chatusruti dhaivata and Kaisiki nishada. A raga

that shines well when sung in madhyamakala tempo. This raga came to

prominence through the composition of Tyagaraja. He composed the kriti

„Nenarunchinanu‟ set to Adi tala.

Sancharas

r g m p , - g m p n m d , - n s n d n p m g m r , - s n d n s r g m , - r g

m p n m d n s , - n d n s , - s n d n p m - n d n p m r g m p n m d , d , -

.

. .. . .

. . .

. . . . . . . . . . . . . .

. . . . .

.

.

.

.. . .

. .

Malavi melakartha Harikamboji.



83

s n d , d , m d n s , - p n m d n r g m d n s r g m p n m d n s - r g m g

m r s n d , - n , s r s - r g m g m , - m r s n d , - s n d n p m g m r , - r

g m p m g m r , s - s n d n , - s r g m r , s

Analysis

that he has total faith in Him. Rishabha is resting svara. „r g m r‟ , is a special

, like „s n d n p m‟ , „n

d n s‟ , „p n m d n s‟ „r g m g m‟. These prayogas stands as pillers to construct

„s n d n p‟, „d n s d n s s n d n p‟, „d n s r s n d r s n d n p‟.

“G.N.Balasubrahmanayan popularized the kriti

beautiful chittasvara in it.”43 This kriti is well suited to warm up in the middle

of a concert. It is set to madhyamakala tempo. Tyagaraja is a master musician

and musicologist is evident in the design of the kriti. Pallavi starts with

madhyasthayi dhaivata ends with madhyasthayi rishabha. Anupallavi and

charana begins with madhyasthayi madhyama and ends with tarasthayi

shadja.

34. Malayamarutham

Arohana - s r g p d n s

Avarohana - s n d p g r s

43

CD by sruti foundation, „The music of GNB as a vocalist and composer‟, Chennai, December 1992.

. .

. . . . . . . . .. . . . . .

. . .

. . . . .

.

. . . . . ..

.

.

. . . . . . . .

this beautiful . Tyagaraja developed the with the phrases like raga ragasvaroopa

„ –

prayoga Raga vakra prayogas. Malavi is built with full of

‟ Malavi Tyagaraja states In the kriti Nenarunchinanu raga ,

Malavi and he also added



84

It is a shadava shadava raga belongs to the 16th melakartha

. The notes used by this raga are Shadja, Sudha rishabha,

Antara gandhara, Panchama, Chatusruti dhaivata and Kaisiki nishada. It is a

madhyama varjya raga. Morning time is the most suited for the raga,

in to prominence through the compositions of Tyagaraja. He has composed

„Manasa etulorthune‟ set to Rupaka tala.

Sancharas

g p d , - n d n p d g p , - g p d n , d p - g p g r s - s n d n , - s r g , r -

g p d , d , - d p , p d n , d n , s , - s n d n - s r , s , - s n d n p , - n d

n p d n g p d n r g p d n s r g p d n - p d n s - d n s r , - s r g r g , -

- g r p g r s , - s n d p d n - g r r s s n n d d p g p d n , d p g

- n d n p d g d p - g r s n d , n , s r , s

Analysis

Manasa etulortune‟

exhorts his mind to chant names of Lord. The raga Malayamarutham can

convey intense bhakthi. Gandhara and nishada are the ragachaya svaras. The

deletion of the madhyama has an emotive and sublime effect in the overall

melody. Dhaivata is an important note and ragachaya svara. Tyagaraja begins

.

g r s g p .

. . .. . . . .

. . . . . .. .

. . . . . . . . . . . . .. . .

. . .

Chakravakam

kriti arohana avarohanathe by using the full picture of the .

In the Malayamarutham, Tyagaraja kriti raga„ –

it is came



85

„g , p, d n s , , , n d p , , , , , g p g r s,‟ .

ma-na sa- - - - - yetu lor- - - - -thu ne- - - . The phrases like „p d n s n

d‟, „n s n d p‟, „g p g r s‟ are ragachaya phrases. If rishabha

, it is converted into . At the same time nishada

is omitted, it is converted to the . Pallavi and anupallavi starts

with madhyasthayi gandhara and ends with madhyasthayi shadja. Charana

begins with madhyasthayi nishada and ends with madhyasthayi shadja. The

raga provides easy and appealing combinations in svara kalpana, both in

terms of melody and rhythm. Tyagaraja rightly chose the raga to convey

intense feeling of devotion. It can fit in well in the early stages of a concert.

35. Mandari

Arohana - s r g m p n s


The raga Mandari belongs to the 51st melakartha

Svaras used are Shadja, Sudha rishabha, Antara gandhara, ,

Panchama and Kakali nishada. It is a shadava shadava raga. This raga

appe

composed the kriti „Paralokabhaya‟ set to Adi tala. In the kriti „Para loka

– raga

possessions as the end and do not have any worry about the life after death. In

.

.

.

raga

raga

.

.

bhaya

Malayamarutham Valachi

Revagupthi

is omitted from

ars to have become popular in the period.Post Trinity Tyagaraja had

Mandari , Tyagaraja pities those who consider enjoyments and

Prati madhyama

Kamavardhini.



86

this kriti the beauty lies in the exposition of the raga. The kriti starts with the

svara panchama.

Sancharas

g m p n p , - p m g m g , g r - s n s r g m p , - p m g m p n s , - p n s n p

m g m p m g r - p m g r s n - s r g m p n p m - g m p n s r s , - s , s , -

n s r , r , - s r g r s n - s r g m p m g r s n - r s , s , - p r s n p m

- g r g r s , - s r s n p n s.

36. Manjari

Arohana - s g r g m p n d n s


The raga Manjari is derived from the 22nd melakartha

Kharaharapriya. Svaras used are Shadja, Chatusruti rishabha, Sadharana

gandhara, Sudha madhyama, Panchama, Chatusruti dhaivata and Kaisiki

nishada. Sangrahachoodamani. To a layman this raga

would sound like , since certain vakra prayogas are not totally

raga.”44 raga

Tyagaraja „Pattividuvaradu‟ set to tala.

44 S.R.Janakiraman.Op.cit., p.73

.

. .

.. .

. . . . .

. . . . . . . . . . . . . . . . . .. .

. . .

sampoorna

Adi. Kriti

“It is found in Govinda‟s

is

Kharaharapriya

disallowed in a handled beautifully by A simple



87

Sancharas

g r g m , - r g , r s n s - s g r g m , - p 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 s , - s n

d , n , s - s g r g m , - r g m , - m g r g , r - g r r s , - s n n d - d

p p m - r g , r - m g r s n - p n d n s , - s n d p - m g r g , r -

s n s - d n s g r g g m , - g r s ,

Analysis

In the kriti „Patti viduv – raga Sri Tyagaraja asks

Lord not to leave his hand. He started the kriti with the ragachaya phrase „s , g

, r , g , m ,‟. The starting of the arohana resembles the raga .

The raga contains prayogas like „s n n d d p p m m g g r r‟, „g r r s n d d p r g ,

r‟. „p , n , d , n , s‟ , is a visesha prayoga. Pallavi starts with shadja and ends

with mandrasthayi nishada. and charana begins with panchama

and ends with mandrasthayi nishada.

37. Manohari



The raga Manohari is a shadava shadava janya raga derived from

the 22nd mela Kharaharapriya. It is an upanga raga, nishada being varjya

throughout and it shines more in madhyama kala sancharas. Svaras used are

.. .

. .. . . . . . .

. . .

. . . . . .

. . . . .

.

.

.

Anandabhairavi

Anupallavi

. . . . . . .. . .

Manjaria radu‟



88

Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,

Panchama and Chatusruti dhaivata. raga

„Paritapamu‟ set to Rupaka tala.

Sancharas

g m p d s d p - p m g , r - s r g m g r - g r s d - - p d

, d p m - r g g r s - d s r g m p , d s , - p d s , - m p d s -

s , - p d s r , - s r g r , s - p d s d s r s r g r , - r g m g g r - m g r

s d r s d p - m p d s d p m g r g g r r s - d s r s d r s d p - m p d s

d , s ,

Analysis

In the kriti „Paritapamu‟ – raga Manohari, Tyagaraja reminds Lord

about his promise. “Towards the end of Tyagaraja‟s life he composed this

kriti.”45 Nishada varjya of Kharaharapriya. Manohari has to be handled with

some care, with the prayoga of nishada varjya. So Tyagaraja begins the kriti

with the phrase p , d s p d , p p , p ,.

pa-ri- tha- - pa- mu

„s , dpmr g , r‟ is a special prayoga. It is frequently used in the kriti.

Avarohana krama is seen in the last line of anupallavi,

45 CD by Madras Music Academy, Ekaika kriti ragas of Tyagaraja , S.R.Janakiraman, Chennai, 17th

december 2008

A

.

. .s r s d s r m p ,

r g m p d s ,

g

.

. . . .

. .

.

.

. . . . . . . . . . . . . . . . .. . . . .

. . .

. . . . . . .

.

.

brought to light by Tyagaraja simple



89

s , , , s d p m g , r , s r g m.

ma--- dhyam- bu-na- na- - -

The shake of gandhara is the special prayoga or main identity of this raga.

panchama and ends with madhyasthayi madhyama. Charana begins with

madhyasthayi dhaivata and ends with madhyasthayi madhyama. Sancharas

extends from mandra sthayi dhaivata ascends upto tarasthayi madhyama.

Ramnad Krishnan made this song famous. The some flights of this raga

slightly resemble the raga

38. Maruvadhanasi

Arohana - s r m p d s

Avarohana - s n d m p d m g r s

It is derived from the 22nd mela Kharaharapriya. The svaras used are


Panchama, Chatusruti dhaivata and Kaisiki nishada. Rishabha is deleted in

arohana. It came to prominence through the composition of Tyagaraja. It is

also known as Maruvadhanyasi. He had composed „mridu bhashana‟ set to

Desadi tala.

. .

.

.

Pallavi panchama Anupallavi madhyasthayi begins and ends with starts with

Kharaharapriya.

.



90

Sancharas

s r , m p , - p n , d m , - p d m g r - s , s r s n d , - n s r m , - s r m p

d s n d m , - m p d s r , - s n d m p d m g r , - m p d s r , - r m g r s -

s r m g r s - s r m p m g r , - g , r s n d , p , - p d s g r s n d p , - n d m

p d m g r , - s n , n d d , p , - m p d s

Analysis

In the kriti „mridu bhashana‟ – raga Maruvadhanasi, Tyagaraja pleads

with Lord to save him. „p d s n d m‟ , „p d s g r s n d m‟ , are ragachaya

phrases. He proceeds the kriti like arohana

„s , s , r , , m , p ,‟ .

Mri-du bha- sha- na. Kriti starts with madhyasthayi shadja, ascends upto

tarasthayi gandhara and descends towards madhyasthayi shadja. Pallavi ends

with panchama, anupallavi and charana begins with panchama and ends with

madhyasthayi rishabha.

39. Nadavarangini

Arohana - s p m n d n s

Avarohana - s p n d p m g r g s

It is derived from the 22nd mela Kharaharapriya. Svaras are


Panchama and Chatusruti dhaivata and Kaisiki nishada. A minor raga with

. .

. . .

. . . . . . . .

. . .. . .

. . . . . . . . . . . .. . . . .

. . . . ..

. . . . .

.

.



91

nripalavala” set to Adi tala by Tyagaraja. In the kriti

„nripalavala‟, Tyagaraja pities those who are deceived by the siddhis.

Sancharas

s p , m r m r m p , m - n d n s - p n d p m g r g r g s , - p n d p n d p m

- n d n s - s , s , - s p n d n s - s p g r g , - m g m , - s p , m g r g

s , - s p n d p m - m n d n - s n d p m g r g s - s p n d p m - m n d

n s , , ,

40. Nagasvaravali

Arohana - s g m p d s

Avarohana - s d p m g s

The raga Nagasvaravali belongs to the 28th melakartha Harikamboji.

The notes taken by this raga are Shadja, Antara gandhara, Sudha madhyama,

Panchama and Chatusruti dhaivata. It is an audava raga, rishabha and

nishada b raga. The panchama of Hamsadwani

raga suitable for different types of musical compositions.

raga to an extent, through his composition „Sripate nipada‟ set to Adi tala.

Sripate ni pada‟

livelihood is remembrance of Lord‟s feet.

.

. . .

.

.

. . . . . . . . . . . . . .. . .. .

. . . . .. .

.

.

one composition ie “

eing deleted the throughout

that his

In the Nagasvaravali Tyagaraja states „ –

Tyagaraja popularized

the

taken as will give rise to Nagasvaravali. It is an appealing grahasvara rekthi

kriti raga



92

Sancharas

m p d s d p , - p m m g s - d s g s g m - g m p m p d s d , - p d s d , p

, - m p d s , - d s g s - d s m g s - s g m g - s g m g s , - m g s g s d s

d p d p m p m g m g s - s g m g s d , s ,

41. Nalinakanthi

Arohana - s g r m p n s

Avarohana - s n p m g , r s

“It is derived from the 27th melakartha Sarasangi. Some

put it under Dheera too as dha is absent.”46 Svaras used are

Shadja, Chatusruti rishabha, Antara gandhara, Sudha madhyama, Panchama

and Kakali nishada. Tyagaraja introduced this to the world with his kriti

„Manavinalakimcha‟ set to Desadi tala.

Sancharas

s g r m , - m g g , r - s n p , - p n s g r m , - r m p n p , - p m m g g ,

r - g r m p n , - p n s n p m g r - p m g r s n - s g r m , g r - p m g , r

- - n p m g r - s g r m , p n s n p , - p s n p , m g r , - r m p n p , -

p n s g r , - s n p , - n s g r m , g , r s n - g r m g r p m g r s n - s n n

p p m m g g r s n - p n s g r m , g r s n p , - p n s ,

46 S.R.Janakiraman.Op.cit., p.80

.

.

. .

. . .

.

. . . . . . . . . . .. . . . . . . . .

.

.

.

.. .

. . . .

. . . . . . . . . . . . . . . . . . .. . .

. . .. . . .

Sankarabharanam



93

Analysis

In the kriti „ ‟ raga , Tyagaraja exhorts his

mind to understand the secrets of the Lord. This is the only song of Tyagaraja

in this raga. The raga being vakra shadava in arohana produces scintillating

effects. The relationship of the svaras gandhara and nishada being very

animated, svarakalpana gives a glorious glitter. Tyagaraja defines the raga in

the very first phrase,

m m , , m g g r s , g , , , , , s , g , , , , , s , g , , ,

ma na - - vina--la kim- - - - - chara- - - - - da-te - -.

Phrases such as “s g-r m- r p- m p n p m g” etc add colour to the

raga. Such phrases occur frequently in svara prasthara. It followed by a raga

like the format would be pleasing. The attractiveness of this minor

raga has even persuaded modern music composers to adept it for film music.

42. Navarasakannada

Arohana - s g m p s


It belongs to the 28th melakartha Harikamboji. The notes taken by

this raga are Shadja, Chatusruti rishabha, Antara gandhara, Sudha

madhyama, Panchama, Chatusruti dhaivata, and Kaisiki nishada. It is a

svaranthara shadava raga. The svaras rishabha, dhaivata and nishada are

.

.

NalinakanthiManavinalakimcha

Dhanyasi



94

absent in the arohana while panchama is varjya in the avarohana. Tyagaraja

brought it to the forefront with his kriti „ ‟

Sancharas

s g m p , - g m p s n d m , - g r m g , r s - s n d m p s , - g r m g , -

g m p s n d m , - p s n d m p s , - p s , g r m g , - s g , g r g m g , r s n d

m , - p s n d m g , r - s n d m p s

Analysis

In the kriti „ di‟ – raga Tyagaraja sings

his ecstasy of finding Lord everywhere. Tyagaraja was the first to introduce

ragas that use just 4 notes. Now it is a very popular raga.

is depicted with full of ragabhava phrases. Vakra prayogas

and madhyamakala sancharas

used many beautiful phrases like „g m p r s s n d m‟ , „g , m g r , g r s , r s‟,

„g , m g g , m g r , g r r , g r s , r s s , r s‟. The jump to the tarasthayi

shadja rom the panchama and the skipping of the panchama in the avarohana

impart tonal colour to this raga. „p p s n s‟ is a ragachaya phrase. Kriti begins

with mandrasthayi nishada and ends with madhyasthayi rishabha. Sancharas

extends from madhyasthayi shadja to tarasthayi madhyama. Tyagaraja

exploits the medium of the kriti to shape the raga. It is very popular with

instrumentalists,

.

. . .

.

.

. . . .. . . . . . . . . .. . . .

. . .

Navarasakannada,

.

especially flutists.

f

. .

are the main feature of the . Tyagaraja agar

The raga

. . . . . . . . . . . .

. . . . . . . . . . . . . . . . .

set to Ninnu vina namadi Rupaka

tala kriti raga. This is the most popular in this .

Ninnu vina na ma

Navarasakannada



95

43. Phalamanjari

Arohana - s g m p m d s

Avarohana - s n d p m g m r s

The raga Phalamanjari derived from the 22nd melakartha

. Svaras used are Shadja, Chatusruthi rishabha, Sadharana

gandhara, Sudha madhyama, Panchama, Chatusruthi dhaivata and Kaisiki

nishada. It is an audava sampurna and nishada are varjya

„ ‟

Sancharas

g , m p , - m d p g , m r - s n s g , m - p m g m r s - s g , m p m d , -

m d , p m d , - g , m p m m d , - m d s , - s , , s , , - d s , - n d p m -

m d s , - s r , s - m g , m g , s , n d - s n d p m g m r , - s g , m p m

g r - s , , m d s

Analysis

Sanatana parama‟

pleads with Lord show compassion on him. The deletion of the svaras in the

arohana rishabha and nishada produces an electrifying effect. He elaborate the

first line as in the arohana krama,

.

.

Kharaharapriya

.

. . . . . . . . . .

. . . .

. .

Rishabha

kriti Sanatana parama pavana Desadi talathe set to .

in the . Tyagaraja brought this to light. He had composed arohana raga

; raga

kriti raga„ –In the Phalamanjari Sri Tyagaraja



96

s , g , , , , , m , p, , , , , m d p .

sa –na---- tha-na- - - parama.Gandhara is an important note,and it is

slightly shaken. It sung like Dhanyasi gandhara. „p m g m r s‟ is ragachaya

resembles the raga Kanada. Kriti begins and ends with madhyasthayi shadja.

Sancharas are extended from mandrasthayi nishada to tarasthayi madhyama.

44. Phalaranjani

Arohana - s g m d s


It belongs to the 28th melakartha, Harikamboji. Svaras are Shadja,

Chatusruthi rishabha , Antaragandhara, Sudha madhayama, Panchama, and

Chatusruthi dhaivata and Kaisiki nishada. It is a svaranthara sampoorna raga.

Rishabha, panchama, and nishada are varjya in the arohana. “It is also known

as phulamanjari in some quarters.”47 The raga Phalaranjani was brought to

light by Tyagaraja through his kriti „Sri narasimha‟ set to Desadi tala.

Sancharas

g m d , - n d m g m g m r , - s g m m d , - d p p m g , - g , s , g m r , s ,

- r s d , s g m d , - g m d s , - s , , , - s g , g m r , - r s s , - s p m g m r

s - m r s n d , - s n n , - n d m p m g m r , - r , s ,

47 Ibid., p.90

.

.

.

.

. .

. . . . . . . . . . . . .. .

. . .

phrase and it is used throughout the

. The phrase „m d p g , m r‟ slightly kriti



97

Analysis

In the kriti „Sri narasimha‟ – raga Tyagaraja sings

the

incarnation of Vishnu. Tyagaraja was introduced the raga Phalaranjani by

using 4 notes in the arohana, „s g m d‟. Madhyama is an important note and

resting note. „g , m , r, r , s‟ is a visesha prayoga and ragachaya prayoga. „d n

s g g‟ is a beautiful prayoga used in the raga. Kriti begins with madhyasthayi

gandhara and ends with madhyasthayi madhyama. Sancharas extends from

mandrasthayi dhaivata to tarasthayi madhyama. It is a very simple song.

Tyagaraja developed this kriti within the framework of raga.

45. Pratapavarali

Arohana - s r m p d p s


The raga Pratapavarali is a minor raga prevalent in Carnatic music. It is

a vakra audava shadava raga belongs to the 28th mela Harikamboji. “Although

the avarohana has s d p, it seems like a rare usage. Rather the common usages

seem to be s p m , rendered with Dhaivata as the anusvara (s d p m) and d p s

p m m g g r r s.” 48 It was brought to light by Tyagaraja. He had composed the

„Vinanasakoni‟ set to Adi in this raga. In the kriti „Vinanasakoni‟ – raga

, Tyagaraja asks Lord to let him also hear the sweet words spoken

48Ibid., p.91

. . .

.

.

Phalaranjani

Pratapavarali

praises of the Lord . The song is in praise of Narasimha,Narasimha



98

by Him to Sita. In this short kriti, Tyagaraja has expounded the complete image

of the raga in all its colours.

Sancharas

r m p d p , - m p d p p m m g g r , - r m p d p , - m p d p s , - s , d, p ,

- d p s , - s , s, - s r m g r s d , - s r m , m g g r - m g r s s , s , - d r s d

p m g r , - r m p d p m g r , - r p m g r - m g r s r s d , - s d p s ,

46. Purna Lalitha

Arohana - s g r m p s


It belongs to the 19th mela Jhankaradwani. Svaras used are

Shadja, Chatusruti rishabha, Sudha gandhara, Sudha madhyama, Panchama,

Sudha dhaivata and Sudha nishada. It is a minor raga with one composition ie.

„Kaluguna pada‟ set to Adi tala. In the kriti „Kaluguna pada niraja seva‟ – raga

and yearns for similar privilege. Tyagaraja has projected a fresh face of the

raga. Sancharas extends from mandrasthayi nishada to tarasthayi madhyama.

Sancharas

s g r m p , - m m g r r, - s g r m p s - g r m p s g , - g r m g r -m g r

g s d p , - p , p , p , - d p m g r , - m g r s d , p , s ,

. .

. . . . . . . . . . . . . .. . . . . . . . . .

. . .

.

.

. .

. . . . . . . . . . .

. .

PurnalalithaTyagaraja praises Anjaneya for his blessedness of ser

ving Sri Rama



99

47. Purnashadja

Arohana - s r g m n n s


The raga Purnashadja belongs to the 22nd melakartha, .

Svaras used are Shadja,

madhyama , Panchama, Chatusruti dhaivata and Kaisiki nishada. It is an

audava shadava raga, panchama and dhaivata varjya in the arohana and

dhaivata in the avarohana. “

in this raga raga is sometimes identified with

, which does not seem agreeable.”49 Purnashadja is used for

depicting Varnana. The rendering of Dirgha nishada and gandhara brings at

melodic individuality of the raga. Tyagaraja had composed two kritis in this

raga, „Lavanya rama‟- Rupaka tala, „Sri manini‟ – Adi tala.

Sancharas

r g m n n - s n p m g r g , - g r r s , - r s n s r g m , - m n n s , - s n p m

g r , - g r r s - n n s r g m , - g m n n s , - s n s r , - r , n s r s - s r g r g ,

- s r g r s , - s r g r g g r r s - s r s n p m - n n s s s n p m - r g m m g r s

- s n p m n n , s

49 Ibid., p.93

.

.

.

.

. .

.

. . . . .

. . . . . . . . . . . . . .. . .. .

. ..

. . . . . . . . . . . .

Kharaharapriya

,

kritis

Deekshitar. But in school, this

Both Tyagaraja and Deekshitar composed

Chatusruti Sadharana gandhara Sudha , rishabha

Rudrapriya



100

Analysis

In the kriti „Lavanya rama‟ – raga Purnashadjam,

Tyagaraja praises the qualities of Sri rama. Wonderful usage of Lavanya rama,

divya lavanya rama, ati lavanya rama by the great saint. The beauty of the

raga lies in the omission of the svara panchama in the arohana and its

inclusion in the avarohana. mandrasthayi nishada

tarasthayi gandhara. Kriti begins with tarasthayi shadja and ends with

madhyasthayi nishada

frequently used this kriti. A beautiful jump from madhyama to

arohana and the total omission of dhaivata, further contributes a welcome

vaccum.

48. Ragapanjaram

Arohana - s r m p d n d s

Avarohana - s n d m r s

It is derived from the 28th melakartha Harikamboji. The notes taken by

this raga are Shadja, Chatusruti rishabha, Sudha madhyama, Panchama, and

Chatusruti dhaivata and Kaisiki nishada. It is a vakra shadava audava raga.

Tyagaraja introduced this raga through two of his kritis namely „Sarvabhauma‟

„ ‟

„ ‟ in raga Tyagaraja pleads with Lord to

.

.

.

rangeRaga

Ragapanjaram

„ ‟ ragachayaThe phrase g m n n is phrase and it is

s from to

the nishada in

saketabhauma Sarva

set to and set to . In the Adi tala Varada navanitasa pahi Misra chapu kriti



101

have compassion on him. Tyagaraja elaborate the first line as in the

arohanakrama.

||r , m , p , n , d , |s , , , , ,

Sarva-bhau- ma sa- - -

Sancharas

r m p d n d m r , - d n d s , - s n d m - r , m p d n d m r , s , - s n d s , -

s r m r m , - p s n d m , - m p d n d s , - s , r , r m r , s , - r , m , m r m r

s - s n d m , - p d n d m r , - r m r r s s n d - n d s ,

49. Ranjani


Avarohana - s n d m g s (s n d m g s r g s)

Belongs to 59th melakartha Dharmavathi. Svaras used are Shadja,

Chatusruti rishabha, Sadharana gandhara, Prati madhyama, Chatusruti

dhaivata and Kakali nishada. It is an upanga audava audava raga. The notes

panchama and nishada are omitted in the arohana and notes panchama and

rishabha are omitted in the avarohana. It is a very pleasing raga, and preferred

in the ragamalika compositions, ragamalika svara segment of a pallavi exercise

composed in Ranjani. The kriti is „Durmarga‟ set to Rupaka tala.

.

.

.

. .

. .. . . . . . . . . . .. .

. .

. . .

.

. .

or as a light popular song. Among the Musical Trinity only Tyagaraja has



102

Sancharas

r , g s n d , - s r g , - s r g m g s s r g s n d , - m d s , n d , s r g , - s r g m

, m - g m d m g s r g s - s , r g s n d , - s r g m d , - m d , - g m d , - r

g m d , - s n d , m d , - m d , s , - s , , s r g s n d , - s r g m g s r g s n d

, - d s r g , - s r g m , g s n d , - m d s , , , , n d m g s r g s n d , - m d

s ,

Analysis

In the kriti „Durmarga chara‟ – raga , Tyagaraja criticizes

handled with some care, with full understanding of pratimadhyama and

chathusruti dhaivatha. Many prayogas are centered around madhyama, like„s r

g s‟, „s r g m g s‟ , „s r g m d m g s‟. The vakra prayoga the jump from gandhara

to madhyama and the absence of the panchama makes it a difficult raga to

handle. The omission of the panchama can make for some difficulty in singing

but it does add to the raga‟s appeal. Kriti begins and ends with madhyasthayi

shadja.Madhyama is an important note. Dhaivata is a resting note. Madurai

Mani Iyer was responsible for the popularity that this raga enjoys in concert

platforms. He was capable of fully bringing out the beauties of this raga.

However Ranjani lives up to its name and is very beautiful raga.

. . . .

.

. .

. . . .

. . . . . . . . . . . . . . .. .

. . . . . .. .

. . . .

Ranjani

those who sing praises of humans for the sake of wealth. Ranjani has to be



103

50. Rasali


Avarohana - s d p m r s

It is a janya raga derived from the 4th melakartha Vanaspathi.

Svaras taken by this raga are Shadja, Sudha rishabha, Sudha madhyama,

Panchama, Chatusruti dhaivata and Kaisiki nishada. It is a shadava audava

raga. “It is also known as Vanavali or Rasavali. Belongs to either Vanaspathi(4),

Natakapriya(10)or Chakravaka (16)varga because of the absence of Ga.”50 The

rishabha is an amsa svara and nyasa svara. It is a morning raga. We owe to

Tyagaraja for this raga. He has composed „Aparadhamula norva‟ set to Adi tala.

Sancharas

r m p , m - p d n , d n s , - s d , p m - r m p , m - r , s , - n s r s s r s

r m , - r m p m p d n , - d n s , n s , , - s , s, - s r , m , - s r m , - r

m s r , - s , r r s , - r s d p m r , - s d p m r m p m r , - r m p d n s d , p

m r , - s r s d , p , m , , - p d n , d n s ,

Analysis

In the kriti „Aparadhamulanorva‟ – raga

to forgive him for his transgressions and protect him as He has done for others.

It is the very last kriti of Satharagarathnamalika composed by Tyagaraja. The

50 Ibid .,p. 98

.

.

. .

.

. . . . . . . . .. .

. . . . .. . . . . .

. . . . . . . .

Rasali, Tyagaraja prays to Lord



104

deletion of raga. The phrase „p m r‟ „s r m r‟ add

Some phrases without nishada slightly resembles the raga Gaula.

51. Ravichandrika

Arohana - s r g m n d s


The raga belongs to the 28th melakartha

. It is a shadava shadava raga. Svaras used are Shadja, Chatusruti

rishabha, Antara gandhara, Sudha madhyama, Chatusruti dhaivata and Kaisiki

nishada. It is a panchama varjya raga. Madhyama and nishada are ragachaya

svaras. It is brought to light by Tyagaraja through his two compositions, „Ma

kelara‟ and „Niravadhi sukhada‟ both set to Adi tala.

Sancharas

m g m g , r s , - n s r g m g , - g m d m g m g r s , - s r s n d , - n s r g m

g , - m , d m g r , g m d s , - s n d m g r , - m d s r , - s r g m r , s n d ,

- n d s r g , - r g m , g m g r s n d , - m g g r s n d , - r s s n d m , - s n

n d m g - m g , r s n d , - n , s r s

Analysis

Niravadhi sukhada‟

praises of the Lord. There are only a few compositions in the raga. The note

.

.

. . . .

.

.

. . . . . . . . .

. . .

gandhara colour to this add

Ravichandrika

Harikamboji

kriti. the

beauty to this . Tyagaraja highlighted the throughout kriti svara rishabha

. . . . . . . . . . . . . . . . . . .

In the Ravichandrika Tyagaraja sings kriti raga„ –



105

panchama is deleted in preceding svara madhyama gains importance and it

plays a major role .ex:-m n d-m d n d s. The note nishada has no extended

vowel. Madhyam ragachaya svara. Janta

prayogas and dhattu prayogas adds beauty to the raga. 2nd line of anupallavi

avarohana prayoga is present. Kriti begins and ends with madhyasthayi

shadja. Sancharas ranges from mandrasthayi dhaivata to tarasthayi

madhyama. Later the beautiful

52. Saramathi


Avarohana - s n d m g s

It is derived from the 20th melakartha . Svaras

used are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha

madhyama, Panchama, Sudha dhaivata and Kaisiki nishada. It is a sampoorna

audava raga. The phrase „p , d n , d m‟ , „s r g s‟ , are visesha prayogas.

„Mokshamugalada‟ set to Adi tala in .

Sancharas

r g s - s r g m , - p d n s , n d m g , - s r g m m g s , - s n d , - d n s

r g , - s r g m , - p d n , - d n , s , - s r g m g , s , - s n d m g , - m p

d m g s r g m , - p d n s r g , - s r , n s r , d n s r , p d n s r , - s r g

.

a is an important note. It is also a

.

.

.

. . . ..

. .

. . . . . . .

. . . . . . . . . . . .

accommodated in the early stages of the concert.

Tyagaraja has composed

chittasvara kriti ragaadded in the . The can be

Natabhairavi

Saramathi



106

m g , s , - m g s , - s n d m p m g s , - s r g m , m g s , - s n d m , p d

n s ,

Analysis

In the kriti „Mokshamu galada‟ – raga

whether moksha, without knowledge of sangita with bhakti, is attainable by

any one. The immediate power and pleasure of music and that of Vina, is

conveyed in this kriti. Tyagaraja believes that the music is the most powerful

means of attaining moksha. The phrase „ s r g ,- s r g m p‟ is repeatedly used. It

is the characteristic phrase of the raga. Nishada and gandhara are important.

„s r g s‟ is a special prayoga. „ m p d m g ‟ , „ r g m g s ‟ add colour to the

raga. Kriti begins with rishabha and ends with shadja. Sancharas ranges from

madhyasthayi shadja to tarasthayi madhyama.

53. Saraswathi


Avarohana - s n d p m r s

The raga Saraswathi belongs to the 64th melakartha raga

Vachaspathi. Svaras used are Shadja, Chatusruti rishabha, P

Panchama, Chatusruti dhaivata and Kaisiki nishada. It is an audava shadava

raga. One of the many ragas introduced by Tyagaraja that later became very

popular. Tyagaraja had composed the kriti „Anuragamuleni‟ set to Rupaka tala.

.

. . . . .

.

.

. . . . . . .

Saramathi, Tyagaraja doubts

rati madhyama,



107

Sancharas

r m p , - d p m p d , - p d s , r s n d p , - p , m r s r s r m p , - p m r , s ,

d s - d s r m p , - d p m p d s , - n d p d s - d s r , s r m , r s - m m r r s

n - r r s s n d - s s n n d p - d r s n d p m r , - r m p d s , - p d r s n d p

m - p d p m r , - s , r s n d p d s

Analysis

In the kriti „Anuragamu leni manasuna‟ – raga Saraswati Tyagaraja

states that the bliss of saguna dhyanam can be understood by a jnani. The

ragabhava is overflowing in the entire kriti with captivating gamakas. The

distinctive phrases „n d p d s, „p d r s n d p m‟ are cleaverly woven in this

kriti. It is an excellent kriti in this raga.

54. Sidhasena

Arohana - s g r g m p d s

Avarohana - s n d m p m r g r s

The raga Sidhasena derived from the 22nd melakartha

Kharaharapriya. It is a bhava pradhana raga. The notes taken by this are

Shadja, Chatusruti , Sadharana gandhara, Sudha madhyama,

Panchama, Chatusruti dhaivata and Kaisiki nishada. It is introduced by

Tyagaraja through his composition, „Evaraina lera‟ set to Adi tala. In the kriti

„Evaraina lera‟ – raga

. .. . .

. . . .

. . .

. . . . . . . . . . . .

. . . . . . . .

. . .

.

.

raga

rishabha

Sidhasena, Tyagaraja asks whether there are no



108

competent persons to tell Lord about the miserable state in the kaliyuga; are

there no elders in this World to protect the humble? In this kriti the beauty lies

in the exposition of the raga.

Sancharas

s g r g , m , - m p m r g r , - s g r g r s - s n d m p m d s - s g r g m p , m -

p m d s , - d s g r g m g r - g r s n n d d m - - s n d m p m d

s

55. Simhavahini



It belongs to the 27th melakartha raga Sarasangi. It is a shadava

sampoorna raga. Svaras used are Shadja, Chatusruti rishabha, Antara

gandhara, Sudha madhyama, Panchama, Sudha dhaivata and Kakali nishada.

It is brought to light by Tyagaraja with just one composition „Nenarunchara‟ set

to Adi tala.

Sancharas

s g m p , - p m g m p d n s , - n d p m g , r - s g m g m p - m p d p d n

d n s , - s n d p d n s , - s , s , - s g g r , r , - g r s , s , - s n d p d n s , s

n s , s - s g , r p m g r s , s , - s n d , d , n , n , - s n d p p , p m d p m ,

- d n s g m m g r s n d p m g r s , - s n d p , - p d n s ,

. . .. . . .

. . . . . .. . . . .. . . . . .

.

.

.

. .

.

. . . . . . . . . . . .. . .

. . . . . . . . . . .

. . . . . .

. . . . . . .

p p p m g r s n



109

Analysis

In the kriti „Nenarunchara napaini‟ raga Simhavahini, Tyagaraja

pleads with the Lord to show him way out. Tyagaraja‟s abounding and wealthy

knowledge of music is widely spread in many of his compositions. The kriti

starts with the stamp of the raga with

„p , m , m g g , r , r , s , , , s n s , g , , , m , p , , d p m‟.

Ne-na- rum- - -che ra - - - - - - na- pai ni cha- la- - -

The phrases like „g r s n r s n d s n d p n d p m‟ are add beauty to the

raga. Gandhara is an important note. Kriti begins with the svara panchama

and ends with madhyasthayi madhyama. Sancharas extends from

mandrasthayi nishada to tarasthayi madhyama.

56. Sindhukannada

Arohana - s m g m p s


It belongs to the 28th mela Harikamboji. Svaras used are

Shadja, Chatusruti rishabha, Antara gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata and Kaisiki nishada. Rishabha, dhaivata, and nishada are

varjya in the arohana. “It is also known as Kesari in some quarters. Sangraha

choodamani however gives the scale of Kesari as s m g m g r g m p d s, s d n d

.

. . . .. .

.

.

. .



110

p m g r s, and lists it as a janya of the 25th mela Mararanjani.”51 Tyagaraja

raga with only one composition „Nannukannatalli‟ set to Adi

tala.

Sancharas

m g m , - g r g m , - s m g m p , - m g r s m , - m g r s - s n n , d ,

p , - n s m g m , - g m p , - p , p s , s , - s s g r g , g , - s m g m m

g g , r - m g r g , r - s , s n n , n d d , p , - s n d p m g r g r s - s n n

, d d p , - p s

Analysis

In the kriti „nannu kanna talli‟ – raga Sindhukannada, Tyagaraja sings

praises of mother at Tiruvaiyaru. Panchama is resting note. „d p s‟ is

characteristic phrase. Kriti begins with madhyasthayi shadja and ends with

madhyasthayi rishabha. Sancharas extends from mandrasthayi panchama to

tarasthayi madhyama.

57. Sindhuramakriya

Aroahana - s g m p d n s

Avarohana - s n p d p m g s

Sindhuramakriya is derived from the 15th melakartha raga

Mayamalavagoula. Rishabha is varjya throughout. It has a little resemblence to

51 Ibid., p.112

. ..

.

. . . . . .. . . . . . .. . .

. . . . . . . . . .

. .

. . .

.

.

this popularized

.



111

Kamalamanohari. Svaras taken by this raga are Shadja, Antara gandhara,

Sudha madhyama, Panchama, and Sudha dhaivata and Kakali nishada.

Tyagaraja had composed two kritis in this raga, „Sudha madhurya‟ and „Devadi

deva‟ both set to Desadi tala.

Sancharas

s g , m p , - p d p , m g , - g m p d n , - d p m - g , p m g s - s n

p d , n , s , - s g , m p , m - g m p d n s , - s n p d p m - g m p d p m

- g m p d n s - d n , s , - s n s s , s , m g , , - m , g , s n p m - g m

p d p m - s n p d p m - p d p m g s - s g m g s n - p d , n , s

Analysis

In the kriti „Devadi deva sadasiva‟ – raga Sindhuramakriya,

Tyagaraja sings praises of Lord Siva. It is a bhakthi filled composition.

Tyagaraja is pleading with Mahadeva. „p d p m g s‟ is a .

Sindhuramakriya has to be handled with some care. Kriti begins with

madhyasthayi shadja and with madhyasthayi gandhara. Raga ranges

from

58.

Arohana - s r g p d s

Avarohana - s n d p g r s

.. .

.

. . .. . . . . . . . . . .

. . ..

mandrasthayi

visesha prayoga

and panchama tarasthayi madhyama.

.

.

Sreemani

ends



112

It belongs to the 2nd melakartha Rathnangi. Svaras used are Shadja,

nishada. Tyagaraja has composed the kriti „Emandune‟ set to Desadi tala. In

the kriti „Emandune vichitramunu‟ – raga Sreemani, Tyagaraja criticizes those

who use Lord‟s mantra without knowing their potency.

Sancharas

s r g p d , - r g p d s - s n d p g r - g r g p d s - s r g p d n d - p d s n d,

- p d s - s r g r s - g r s n d p - n d p g r - p g r s s n d - p d s.

59. Srutiranjani

Arohana - s r g m p d n

Avarohana - n d p m g s r s

It is considered as a janya of 61st mela Kanthamani. It is a

nishadanthya raga. It is an obscure raga. Svaras are Shadja, Chatusruti

rishabha, Antara gandhara, Prati madhyama, Panchama, Sudha dhaivata, and

Sudha nishada. It is rarely sung in concerts. „Edari sancharinthura‟ of

Tyagaraja set to Desadi tala is the only kriti in this raga. Different opinions are

existing regarding its parent raga and arohana avarohana. In the kriti „Edari

sancharintura‟ – raga Srutiranjani Tyagaraja asks the Lord which path he

should follow dvaita or advaita.

. . . .

.. . . . . . . .

. . . .

Sudha rishabha Sudha gandhara Panchama udha dhaivata Kaisiki , , , S and



113

Sancharas

p d n , d p , - p m g , s r g m p , - p m p d n - g m p d n - p d n d p m g

s r s - n d n d p m g s r s - s r g m p m g - n d p m g s r g m , - p m g s

r s ,

60.


Avarohana - s d p m r g r s

It belongs to the 22nd melakartha Kharaharapriya. Svaras used

are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,

Panchama and Chatusruti dhaivata. It is an audava vakra shadava raga,

gandhara and nishada varjya in the arohana and nishada alone in the

avarohana. Tyagaraja introduced this raga to Carnatic music through his 3

kritis ie.1) Ramabhakthi-Adi, 2) Toline jesina-Adi, 3) Tappagane-Rupaka.

Sancharas

s , r s d , s r , r , - s r m , r - r m p , m - r , g , g r r s - r s d , p , - m p

d s r s d , - s r , - r m r , - r m p d p m r , - r , g r s - d s r , - r m p

, r m p d p m r , - r , g r s d s r , - r m p m p d - p d s - s d p m r , -

p m p d s , -s , s , - d s r , r , - s r m r , s d , - s r m , r s - d r s d , p ,

- m p d s d p m d p m r , - r , g , g r s , - d s r , s , - d r s d p , - m

p d s ,

.

.

. . .

. . .

.

. . .

.

. .

. .

. .

. . . . . . .. . . . . . . .

. . . . .

Sudha bangala



114

Analysis

In the kriti „Rama bhakti samrajyam‟ – raga –

Tyagaraja describes the ecstasy he experienced. The deletion of gandhara in

the arohana and its prayoga in the avarohana resembles the raga Sri,

generates the feeling of devotion. Tyagaraja begins his kriti with the svara

mandrasthayi dhaivata. 5th sangathi of pallavi avarohana krama is present. „

d , , s , r , , , s r m p d s r m r s r s d s d p m r g , g r r s .

ra--ma bha--- kthi---- - - sa- - - - - mra- - - - - jya- -

„s r m , r‟, „r m p , m‟ are beautiful Madhyamakala sancharas are

more attractive. Kriti begins with mandrasthayi dhaivata and ends with

madhyasthayi shadja. Sancharas from mandrasthayi dhaivata to

tarasthayi panchama. This kriti is well suited to initiate a concert and infuse

adds blessed are those who have attained it.

61. Sudhaseemanthini



“It is derived from the 8th mela , but

technically speaking this can also be located under Dhenuka the 9th

mela. A simple shadava raga deleting nishada. Has a close affinity to

especially in the higher octave. Highlighting „m‟ as in the case of

.

. . . . . . . .

.

.

Sudha bangala

straightaway.bhakthi

Hanumathodi

Asaveri

Tyagaraja considers as a kingdom by itself and bhakthi

prayogas .

ranges



115

the opening line of the charanam of Tyagaraja‟s kriti „Janaki ramana‟ set

to Adi tala, in Sanskrit language ”52

Svaras used are Shadja, Sudha rishabha, Sadharana gandhara,

Sudha madhyama, Panchama and Sudha dhaivata. In the kriti „Janaki ramana‟

raga , Tyagaraja sings praises of the Lord. It is a beautiful

dedication of Saint Tyagaraja. In this kriti he deals with the beautiful

description of qualities of Lord Rama, and his personification.

Sancharas

r g , r r s , - p d s , r g m , g m p d s , - s , s d p d p p m g - g r s r g m -

p d s - p d p p m g , - p p m m g g r r s - s r g m p d s - p d s , , - d s , , s

r g r r s - p d m p d s - r g , r s r g r - d g , g r s - s p d p - m pm g , - g

m d m g r - s r g r r s -

62. Suposhini

Arohana - s r s m p n d s

Avarohana - s d n p m r m s

“The raga Suposhini belongs to the 22nd mela Kharaharapriya or

Harikamboji (28th). This is in view of the fact that svara gandhara is varjya

throughout.”53 Svaras used are Shadja, Chatusruti rishabha, Sudha

madhyama, Panchama, and Chatusruti dhaivata and Kaisiki nishada. It is a

52 Ibid., p.117

53 Ibid., p.119

.

. . .

. . ..

.

. .

. . . . . . . . . . . . . .

d r s p d s . .. .

.

.

Sudha seemanthini

seems a little individualized .



116

vakra shadava raga. It is brought to light by Tyagaraja; the kriti is

„Raminchuvarevarura‟ set to Adi tisra gati.

Sancharas

s r s m , p d , - p d n p , - m m r m , - p d n d s - s d n p , m r , - m n

d s - m m s r s d n p - p p d n d s - s d n p m r m r m r s

Analysis

In the kriti „Raminchuvarevarura‟ raga Suposhini, Tyagaraja extols

the true significance of the name of the Lord. It is madhyamakala kriti.

Sancharas extends from madhyasthayi shadja to tarasthayi madhyama. A

simple kriti, pallavi proceeds like arohana avarohana

s r , s m , p d n p , , s d , n p , m m r m , ,

raminchuva re va ru ra- - ra ghu tha ma ni nu vi na.

63. Supradeepam


Avarohana - s n d p m g m r s

It is derived from the 17th melakartha raga Suryakantha. It is a

shadava sampoorna raga, gandhara is deleted in arohana. Svaras used are

Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata and Kakali nishada. Eka kriti raga brought to light by

-

. . . . . . . .

. .

.

.



117

Tyagaraja, „Varasikhi vahana‟ set to Adi tala in Sanskrit. In the kriti „Varasikhi

vahana‟ – raga Supradeepam, Tyagaraja sings praises of Lord Subrahmanya. It

is the only kriti in praise of Lord Subrahamanya by Tyagaraja. The phrase „g m

r‟ lends life to this raga. The song commences with the symbolic phrase of the

raga

s r , m p , , d , , , d p ,

vara -sikhi- va- - - ha na.

Sancharas

s r m p d , - d p m g m r , - s r s n d , - d , n s n r s r , s r m m , - p d d p ,

- m p d n s n d p m , - m g m p d ns , - s , , , s , r s n d , - d n s r s r , - s

r m , - m g m s r , , , - s r m g , r s r s - s r s n n d , d p - m g m s r s -

s r s n d ,- d n s r s

64. Svarabhooshani


Avarohana - s n p m g m r s

It belongs to the 22nd melakartha Kharaharapriya. Svaras used are


Panchama, Chatusruti dhaivata and Kaisiki nishada. “Nadamuni Pandithar has

given the above scale format in his Sangeetha svara prasthara sagaramu.”54 It

54 Ibid., p.121

.. . .. .

. . . . . . . . . .

. . . . . . . . .. . . . . . .

. .. .

.

.



118

raga introduced by Tyagaraja through his kriti „Varadaraja‟ set to

Adi tala. In the kriti „Varada raja ninnu‟ – raga Svarabhooshani, Tyagaraja

praises the Lord Varada Raja of Kanchipuram. Tyagaraja brings the phrase „s

n d p , m‟ even at the beginning.

Sancharas

s g m p , m - m p d n s , - m - s n p d , n s , -

g m p m - d n s , - p d n s r s g m r s -

65. Svaravali

Arohana - s m g m p n d n s


It belongs to the 28th mela Harikamboji. Svaras used are Shadja,


Chatusruti dhaivata and Kaisiki nishada. It is a shadava sampoorna vakra

raga. Rishabha is varjya in the arohana. It is introduced

single composition, „Prarabdhamittundaka‟ set to Khandachapu.

Sancharas

s , s m g m , - g , m p , n d d , n , - p , n d n , - s n n d m , - m g r g

, r - s n d , n , - s , m g m p , - g m p n d n s - s n n d m , - p n d

.

. . . . . . . .

. . . . . .

s , s n p m - p m p d p m r , s - s . .

s n n p , r s s n pd , n s , -

r s n p d , n , s ,

.

.

.

.

. . .

. .

. . . .

with a by Tyagaraja

is a beautiful



119

n s n r s - m g g r s , - m g , r s n d n - m d n r s n d m g , r s - m g m g

, r s n d , - n , s ,

Analysis

In the kriti „Prarabdhamittundaga‟ – raga Svaravali laments

that when his earnest attempts fail to yield results, it should be only due to

prarabdha karma. Tyagaraja used full arohana in first line

s , , , m g g , m , p , , , n d d , n , s ,.

pra- --rab- dha-mi - - ttun- da-ka-

Gandhara is jeevasvara. It is an important note. „m , n d m p , d m‟ is a visesha

prayoga. Kriti begins with madhyasthayi shadja and ends with madhyasthayi

rishabha. Sancharas extends from mandrasthayi dhaivata to tarasthayi

madhyama. The song is known for its lyrical excellence, Anuprasam. In the

Tyagaraja says, bala guna sila jana pala varada kripalavala kalatita

sula dhara vinuta na.

66. Tivravahini

Arohana - s r g m p d p n s

Avarohana - s n d p m g r g m r s

Tivravahini belongs to 46th mela Shadvidhamargini. It is rarely

used in concerts. This raga became popular through the composition of

. . . . . .. . . . . . ..

. . .

.

.

.

Tyagaraja

anupallavi



120

Tyagaraja. „Sarijesi veduka‟ of Tyagaraja set to Desadi tala was the only kriti

developed in this raga. The svaras used are Shadja, Sudha rishabha,

Sadharana gandhara, Prati madhyama, Chatusruti dhaivata, and Kaisiki

nishada. In the kriti „Sarijesi veduka‟ – raga Tivravahini, Tyagaraja asks Lord

why He is silent while the imposters flourish, the true devotees are undergoing

ridicule.

Sancharas

s r s n s r g m , - p m g r g m r , - g m p d n d p - p , n d p m - p , p , -

p d n d p m p n s , - s r g m p m g m r , s , s , - s n d p m g r , - p m g r g

m r s

67. Umabharanam


Avarohana - s n p m g m r s

The raga Umabharanam is a sampoorna shadava raga derived from the

28th melakartha . The notes taken by this raga are Shadja,


Chatusruti dhaivata and Kaisiki nishada. Sancharas extends

sthayi panchama to tarasthayi madhyama. This is another raga

introduced by and surviving through the composition of Tyagaraja,

“Nijamarmamulanu”

... . . . . . . . . . . .

.

.

Harikamboji

from mandra

set to . In this Tyagaraja begs with Lord not to Adi tala kriti,

rare



121

ignore him. The illusion in the wheel of time relating to various celestial, Gods,

devotees and all.

Sancharas

s r g m p , m - g m p d n d n , - s n p m , g m r , - s r s n p , - n s r s - s

r g m p , - g m p m g m r s - r g m p , p , - m p d n s , - s n s , - r g m

p m g m r s - s r s n p , - s n p m r g m p - r g m p m g m r s - s r r s n

p , - n s r , s ,

68. Vardhani



It belongs to the 11th melakartha raga Kokilapriya. “In view of

svara rishabha being varjya, could also be assigned to the 23rd mela

.”55 Svaras used are Shadja, Sadharana gandhara, Sudha

madhyama, Panchama, and Chatusruti dhaivata and Kakali nishada. Tyagaraja

has composed one kriti in this raga „Manasa manasamarthyamemi‟ set to Adi

tala. In this kriti Tyagaraja says that without God‟s grace, man‟s ability alone

does not matter. This is an excellent kriti in this raga.

55 Ibid., p.129

.

.

. .

.

. . . .

. . . .. . . . . .

. .

. .

.

.

Vardhani

Gourimanohari



122

Sancharas

s g m p , - p m g s - p m p d n s , - s n d p - d n s s g g s n d p - n d

p m g s - g m p d - s n d p m g , - g m g s g m - d n s ,

69. Vasanthavarali

Arohana -

Avarohana -

It is a nishadanthya raga derived from Natabhairavi 20th

melakartha raga. Svaras used are Shadja, Chatusruti rishabha, Sadharana

gandhara, Sudha madhyama, Panchama, Sudha dhaivata and Kaisiki nishada.

It is a minor popular raga with limited scope for alapana and svara prasthara.

The only of Tyagaraja, „Pahi ramadootha‟ set to Rupaka tala is sung in

various ways. “In some books the raga for this kriti is given as Navanitham,

while some sing it in Shadvidhamargini. Of course the difference between

Navaneetham and Shadvidhamargini is not very striking.”56

Sancharas

n - - p p m g r s - -

- s , s , - s r g r g , - -

56 Ibid., p-131

. .

.

. .

d p g r s p d p d n d p

s r m p d n

n d p m g r s n

m d d ,

r

r m

p m g

p p d d n n

kriti

. . . . .

n ,s n r s n s n n n s , r , s . . . . . . . . . .



123

70. Vijayasri



It belongs to the 47th melakartha Suvarnangi. It is a

shadava shadava raga and dhaivata varjya throughout. Svaras are Shadja,

Sudha rishabha, Sadharana gandhara, Pratimadhyama, Panchama and Kakali

nishada. It came to prominence through the composition of Tyagaraja, „Vara

narada‟ set to Adi tala.

Sancharas

g r g m p , m - p n p n p m r , g , r , s g , r r , s , - s n r , s - s n p ,

- p n s g , r g m p , - p , r s n p m , - p n s r s n p m - s g r g m p , -

p n s r , - n s r , s , - s , n s g , r , - s , s , r g , r r , s , - s n s n s ,

- r g , r s s - s g , r g , m , g , r , r , s , - s n p , p m - s n p m g , r s -

s n r , s n p , - p n s ,

Analysis

In the kriti „Vara narada narayana smarana‟ – raga

prays to Sage narada whom he describes as the guru for all the worlds. It

resembles slightly as the raga Rishabha is jeevasvara. The phrases „m p

n p p n s n n s r s s r g r g r s n‟, „n n s , r , r , g , r s s, add charm to the

Kriti starts and ends with the madhyasthayi panchama. Sancharas

.

.

.

.

. .

.

. . . .. . .

. .. . . . . . . . . . . . . .. . . .

. . . . . . . . . . . . .

. . .

. . . . . . . . . . . . . . . . . .

Vijayasri

Varali

.

.

raga

Tyagaraja



124

extends from mandrasthayi panchama to tarasthayi panchama. It is in praise

of Narada.

71. Vijayavasantha

Arohana - s m p d n s

Avarohana - s n d n p m g s

Vijayavasantha is classified as a of the 54thmela

Viswambhari. It may also be considered as a janya of Chithrambari 66th mela

or Rasikapriya 72nd mela. Eka kriti raga with just one composition „Nee

chithamu na bhagyamayya‟ set to Adi tala composed by Tyagaraja. The

nishada is a very important note in this raga. “It is not found in either in

Sangraha choodamani or in the Sangeetha sarvartha sara sangrahamu.Some

composers mentioned this raga as Jivanthika or Jivanthini.”57 In the kriti „Ni

chithamu‟ – raga Vijayavasanta, Tyagaraja states that whatever the Lord‟s will

be, he shall consider it to be his fortune.

Sancharas

- m p d n s , - - - g , s n s , -

m p m p d - - s n s - - s n , s -

-

57 Ibid., p.133.

.

.

s m p d p d ,

s

n s n d n p m s

n s m g ,

p m m g m ,

m , d n

n s m g s n , s

n s n d n p m p m g m

. .

.

..

. . . . . . .. . .

janya



125

72. Vivardhini

Arohana - s r m p s


Vivardhini is a svaranthara sampoorna raga belongs to the 28th mela

Harikamboji. “In some version, it is treated as a janya of

d rendered with kakali nishada instead of Kaisiki

nishada.”58 The svaras gandhara, dhaivata and nishada are varjya in the

arohana. Tyagaraja had composed only one kriti „Vinave o manasa‟ set to

Rupaka tala. The notes taken by this raga are Shadja, Chatusruti rishabha,

Antara gandhara, Sudha madhyama, Panchama, Chatusruti dhaivata, and

Kaisiki nishada.

Sancharas

g r m , m - p , m g r s , - r p m m , - p , p m m g - g r s n - s r g r

m , p , - s n d p p m m g g r s , - p p s , s, - r , r , g r , s - p p s s r r

m m g g r r s s - g r s n d p - d p m g r s - s n d p , s , , ,

Analysis

In the kriti „Vinave O manasa‟ – raga Tyagaraja asks his

mind to desist from following wrong path and involve in chanting Lord‟s

name.Tyagaraja used just 4 notes in the arohana. This raga slightly resembles

58Ibid., p.134

.

.

.. . . . . . . . . . . .

. . . . . . . . . . .

. . .

anankarabharanam DheeraS

Vivardh nii



126

p p m m g g r r‟ , is very

appealing. Kriti begins with madhyasthayi rishabha and ends with

madhyasthayi shadja. Sancharas ranges from shadja to tarasthayi madhyama.

ragas above listed are all janya ragas. There are melakartha

ragas also which have been used first by Tyagaraja. Tyagaraja composed

brilliant kritis for the first time showed their melodic

possibilities.

Melakartha ragas available for the first time, handled only by Tyagaraja.

1. Dhenuka(9th mela) -Teliya leru -Adi

2. Chakravakam(16th mela) -Etulabrotuvo -Misrachapu

3. Suryakantham(17th mela) -Muddumomu -Adi

4. Keeravani(21st mela) -Kaligiyunde -Adi

5. Kharaharapriya(22nd mela) -Chakkani raja -Adi

6. Gowrimanohari(23rd mela) -Guruleka -Khanda

chapu

7. (25th mela) -Manasa sriramuni -Adi

8. Charukesi(26th mela) -Adamodi -Adi

9. Harikamboji(28th mela) -Enduku nirdaya -Adi

10. Vagadheeswari(34th mela) -Paramathmudu -Adi

.Balahamsa.The „s n d p m g r m g s‟ , „n d d sancharas

rare The

melaragas in these and

Mararanjani



127

11.

12.

Though Tyagaraja had composed kritis in all the above mentioned

ragas for the first time, the other composers who came after him composed

kritis in almost all ragas. Later composers have tried their hands on many of

. It is a great information to that some of the

1. Deepakam

2. Dundubhi

3. Ganavaridhi

4. Kaikavasi

5. Supradeepam

6. Vardhani

7. Vijayavasantha.

Eka kriti ragas

the introduced by Tyagarajaragas

are only those which survive today only through Tyagaraja‟s composition. ragas

There is no other second composition of any composer in such . They are:ragas

Bhavapriya(44th mela) -Srikantha niyeda -Adi

Ramapriya(52nd mela) -Sandehamu -Adi

It has been said that Tyagaraja also composed only one kriti (Emi delpa)

in Pavani raga.



128

II Rare ragas handled by Tyagaraja, his predecessors and

contemporaries

Rare ragas used by Tyagaraja and his contemporaries have been vividly

described in this section. Most of the ragas came in vogue and it was used by

his predecessors.

and the compositions only described here.

1. Abheri

Arohana - s g m p n s


It belongs to the 22nd melakartha Kharaharapriya. Svaras

used are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha

madhyama, Chatusruti dhaivata and Kaisiki nishada. “The details of the raga

can be seen in Ramamathya‟s Svaramelakalanidhi (1550 AD).”59Tyagaraja set

Nagumomu‟ in Abheri raga which takes Whereas

Muthuswami Deekshitar‟s Abheri („Veenabheri‟- Adi tala) belongs to 20th

melakartha Natabhairavi.

2. Balahamsa

Arohana - s r m p d s.

Avarohana - s n d p m g r m g s.

59 Ibid., p.7.

.

.

.

.

Thirty are included in this category. ragas

ragas of these are

agalakshanas R

Chatusruti dhaivata. k ritihis „



129

The raga Balahamsa belongs to the 28th mela

Harikamboji. Svaras taken by this raga are Shadja, Chatusruti rishabha, Antara

gandhara, Sudha madhyama, Panchama, Chatusruti dhaivata and Kaisiki

nishada. It is a minor raga, first popularized by Tyagaraja and later by Mysore

Sadasivarao. Tyagaraja had composed many kritis in Balahamsa. Examples are

„ ‟ set to Adi tala, „Rama eva daivatam‟ set to Rupaka tala.

Deekshitar has also composed kritis in Balahamsa (Guruguha dhanyam-Jampa).

3. Bhairavam



It belongs to the 17th mela Suryakantham. Svaras are Shadja,

Sudha rishabha , Antara gandhara, Sudha madhyama , Panchama, Chatusruti

dhaivata and Kakali nishada. Tyagaraja had composed „Mariyadaga dayya‟ set

to Adi tala. Deekshitar has also composed kriti in Bhairavam.(Kalabhairavam –

Adi tala)

4. Bhinnashadja

Arohana - s r g r p m p n s


The raga Bhinnashadja belongs to the 9th mela Dhenuka.

Svaras used are Shadja, Sudha rishabha, Sadharana gandhara, Sudha

madhyama, Panchama, Sudha dhaivata and Kakali nishada. It is a vakra

.

.

.

.

Dandamu bettenura



130

shadava raga. Tyagaraja had composed one kriti „Sarivarilona‟ set to Adi tala.

There is difference in the treatment of this raga between Tyagaraja and

Deekshitar. However both have reckoned it as belonging to the mela-

Dhunubhinnashadja, as was known to Deekshitar, and Dhenuka to Tyagaraja.

Muthuswami Deekshitar has also composed kriti in this raga

(„Chidambareswaram‟-Adi).

5. Chayanatta

Arohana - s r g m p s

Avarohana - s n d n p m r s

Chayanatta is a janya of 34th mela Vagadheeswari. Svaras are

Shadja, Shadsruti rishabha, Antara gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata and Kaisiki nishada. Tyagaraja had composed one kriti i.e.

„Idisamayamura‟ set to Adi tala. has also composed

kriti in Chayanatta („Bhogachaya natakapriya‟-Adi).

6. Chayatarangini



It is derived from the 28th mela Harikamboji. Svaras taken by

madhyama, Panchama, C Kaisiki nishada. “It is

mentioned in King Tulaja‟s Sangita Saramritha. (1735 AD). In practice we also

find phrases „m p s‟ and „d s p‟( s r m g m p g m p d n s) are used in the

.

.

.

.

hatusruti dhaivata and

this are , , Sraga Shadja Chatusruti rishabha Antara gandhara, udha

Muthuswami Deekshitar



131

chittasvara of Deekshitar‟s kriti, „Saraswathi Chayatarangini-Adi.”60Tyagaraja

has composed 2 kritis ie. „Kripajuchutaku‟ (Adi), „Itaradaivamula‟ (Rupaka).

7. Ghanta

Arohana - s g r g m p d p n d n s


The raga Ghanta belongs to the 20th mela Natabhairavi. Svaras

used are Shadja, C rishabha, Sadharana gandhara, Sudha

madhyama, Panchama, Sudha dhaivata, Kaisiki nishada and Sudha rishabha.

Tyagaraja had composed kritis in it. Ex:-„Inkayochana‟-Adi-Tyagaraja. Swati

Tirunal (Kamalanayana-Adi) and Deekshitar (Sri kamalambika-Adi) also have

composed in Ghanta.

8. Goulipanthu


Avarohana - s n d m p d m g r s

It belongs to the 15th mela Mayamalavagoula. Svaras taken are

Panchama, Sudha dhaivata and Kakali nishada. The raga evokes karunarasa.

Tyagaraja has composed three kritis viz. Teratiyagarada in Adi, Kasichede-

in this raga and also used the raga in his Prahlada

Triputa) (Chandramubuja Bhakthim-Misra chapu), Swathi

60Ibid., p.22

.

.

.

.

‘ ‘

‘

’

’

’

a sasthri Syam

hatusruti

Shadja Sudha rishabha Antara gandhara Sudha madhyama , , , ,

Adi, Mosaboku vinaveand

bhakthi vijayam Divyanama kritis Krishananda mukunda- and . Deekshitar (



132

Tirunal(Mamavanantha-chapu (Kuvalayakshiro-Triputa)have

handled this raga.

9. Gouri



It is derived from the 15th mela Mayamalavagoula. The svaras are


Sudha dhaivata and Kakali nishada. „p d p s‟ is a vishesha prayoga. Tyagaraja

had composed only one kriti in the raga „Jaya jaya raghurama‟ set to Adi tala.

(„Gouri giriraja kumari‟-Rupaka) and Swathi Tirunal

(Sarasa dala-Matya) have also used this raga.

10. Gundakriya


Avarohana - s n p d p m g r s

It belongs to the 15th mela Mayamalavagoula. The svaras taken by

this raga are Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama,

Panchama, Sudha dhaivata and Kakali nishada. “It can be traced to the

medieval period of musical history. There is a puranic allusion to it too.”61 It is

believed that, inorder to reduce the pride and boastful nature of narada,

Hanuman sang Gundakriya and a stone melt thus reducing Narada‟s pride.

raga a little

differently. Tyagaraja had composed „Intanuchu varnimpa‟ set to Adi tala in

61 Ibid., p.38

.

.

.

Kshetrajna,

.

.

Deekshitar

Tyagaraja and Muthuswami Deekshitar have handled this

) and Kshetranja



133

Gundakriya. has also composed kriti in Guntakriya

(Rajarajendra chola-Triputa).

11. Gurjari


Avarohana - s d n p m g r s

It is derived from the 15th mela Mayamalavagoula. Svaras are


Sudha dhaivata and Kakali nishada. This raga has been treated a little

differently by Tyagaraja and Deekshitar. Tyagaraja had composed the kriti,

„Varalendu kommani‟ set to Adi tala. has also

composed kriti in Gurjari (Gunijanadhi nutha-Adi).

12. Isamanohari.

Arohana - s r g m p d n s.

Avarohana - s n d n p m r , m g r s

It belongs to the 28th mela Harikamboji. Svaras taken by this raga

are shadja, Chatusruti rishabha, Antara gandhara, Sudha madhyama,

“It can be traced in Sangeetha saramritha, and Sangraha

choodamani. Tyagaraja and Deekshitar have treated this raga differently,

th

Tyagaraja had composed the kriti „Manasasri ramachandruni set to Adi

.

.

.

.

uPanchama, Chatusr ti dhaivata and Kaisiki nishada.

but both have taken it as a of the 28janya Harikamboji. mela

Deekshitar

Muthuswami Deekshitar



134

tala. He included the rare prayoga „p m g m r‟ in this kriti. Deekshitar

has additionally used kakali nishada in this raga.”62

13. Kalavathi.


Avarohana - s d p m g s r s.

“To Tyagaraja could belong to either

Chakravaka (16) or Suryakantha (17)varga, in view of ni being

absent.”63Svaras are Shadja, Sudha rishabha, Sudha madhyama, Panchama,

Chatusruti dhaivata, and Antara gandhara. As per Tyagaraja‟s version which is

fairly popular, it is in audava shadava vakra raga. To Deekshitar, raga

Kalavathi is different. It is the 31st raganga as incorporated in the later

Kanakambari list. Tyagaraja's „Ennadu jutuno‟ and „Okapari judaga‟ (both set to

Adi tala) are two shining examples of this raga. Deekshitar has composed one

Kalavathi kamalasana yuvathi-Adi).

14. Kalgada.

Arohana - s r g p d s

Avarohana - s n d p g r s.

It is derived from the 13th mela Gayakapriya.

Svaras taken by this raga are Shadja, Sudha

rishabha, Antara gandhara, Panchama, Sudha dhaivata, and Sudha

62 Ibid., p.45

63 Ibid., p.52

.

.

.

.

Kalavathi

in Kalavathi (kriti



135

nishada. Tyagaraja (Samayamu e marake-Adi) and Syamasasthri (Parvathi

ninnu-Rupaka) have composed in this raga.

15. Kamalamanohari.

Arohana - s g m p n s.

Avarohana - s n d p m g s.

It belongs to the 15th mela Mayamalavagoula.

Svaras are Shadja, A , S , Panchama, Sudha

dhaivata, Kakali nishada. It is an audava shadava raga. Tyagaraja („Ni

muddumomu‟-Adi) and Deekshitar („Kanjadalayathakshi‟-Adi) were the earliest

to compose in this raga.

16. Kannadagoula



It belongs to the 22nd Kharaharapriya. Svaras are Shadja,

Chatusruti rishabha, Sadharana gandhara, Sudha madhyama, Chatusruti

dhaivata, and Kakali nishada. Tyagaraja and Deekshitar were among the

kritis in this raga, viz-

Rupaka, „Orajupuchu‟ set to Adi. Deekshitar has also composed

„Nilotpalambikayah‟ set to Adi tala in this raga.

17. Kiranavali.

Arohana - s r g m p d n s.

.

.

.

.

.

ntara gandhara udha madhyama

mela

earliest to have composed in this . Tyagaraja has 2 raga

Sogasu

„ ‟ set to



136

Avarohana - s p m g r s.

It is derived from the 21st Keeravani. Svaras are Shadja,

Chatusruti rishabha, Sadharana gandhara, Sudhamadhyama, Panchama,

Sudha dhaivata and Kakali nishada. Deekshitar seems to have handled this

raga differently. Tyagaraja has 2 kritis „

yochanulu‟, „Parakunikelara‟ both set to Adi tala. Deekshitar‟s kriti

is „Panchabhootha kiranavali‟-Khanda eka.

18. Malavasri.

Arohana - s g m p n d n p d n s.


It belongs to the 22nd mela Kharaharapriya. Svaras are

Shadja, Sadharana gandhara, Sudha madhyama, Panchama, Chathusruti

dhaivata, and Kaisiki nishada. Tyagaraja had composed 2 kritis ie.'

„Evarunnaru brova‟ (Adi) and „Ennallu tirigedi‟ (Adi). Deekshitar has also

composed 2 kritis, 1)Kanaka sabhapathim-Adi, 2)Mangalambayai- Khanta eka.

19. Manoranjani



“Manoranjani was the 5th

Kanakambari lists. In the Kanakangi lists, the 5th mela is Manavathi, and

Manoranjani is only a janya 64 Svaras taken by this raga are

64 Ibid., p.74

.

.

.

.

.

in this raga

mela

raga viz. Yeti in this

in both the earlier and later mela

there under.”



137

Shadja, Sudha rishabha, Sudha gandhara, Sudha madhyama, Panchama,

Chatusruti dhaivata, and Kakali nishada. Tyagaraja has composed both in

Manavathi and Maoranjani. „Atukaradani‟ is a composition of Tyagaraja in this

raga set to Adi tala, and „Balambike‟ in Chaturasra matya tala of Deekshitar.

20. Margahindolam.



The raga Margahindolam derived from the

20th mela Natabhairavi. Svaras are Shadja, Chatusruti rishabha, Sadharana

gandhara, Sudha madhyama, Panchama, Sudha dhaivata and

Kaisiki nishada. Tyagaraja had composed a kriti in this raga ie

„Chalamelara‟ Set to Adi tala. Deekshitar („Chandra sekharam‟-Adi) and Swati

tirunal composed in Margahindolam.

21. Narayani.


Avarohana - s n d p m r s.

It belongs to the 28th mela Harikamboji. Notes

taken by this raga are Shadja, Chatusruti rishabha, S ,

Panchama, Chatusruti dhaivata, and Kaisiki nishada. Tyagaraja has handled

two compositions in it, ie, „Bhajana seyu‟, „Rama neeve gani‟ both set to Adi

.

.

.

.

udha madhyama

also have



138

tala. There are two versions of Narayani-One as handled by Tyagaraja and the

other by Deekshitar. Deekshitar‟s Narayani is a janya of Sankarabharanam.

Tyagaraja treated it as a janya of Harikamboji. Deekshitar‟s kriti (Mahishasura

mardinim-Misra chapu) is not very popular.

22. Paras.

Arohana - s g m p d n s,

Avarohana - s n d p m g r s.

It belongs to the 15th melakartha raga Mayamalavagoula. It is an

raga .Svaras are Shadja, Sudha rishabha, Antara gandhara,

Sudha madhyama, Panchama, Sudha dhaivata and Kakali nishada. Tyagaraja‟s

„Varamaina‟ set to Chapu tala. Muthuswami Deekshitar („Sri sukra‟-Ata)

and Syamasasthri („Nilayathakshi-Tisra triputa‟) have also composed kritis in

Paras. -Chelinenetlu-Adi,

Smarasundaranguni-Adi(Pattanam Subrahmanya iyyer).

23. Revagupthi.

Arohana - s r g p d s.

Avarohana - s d p g r s

It belongs to the 15th mela Mayamalavagoula. Svaras are

Shadja, Sudha rishabha, Antara gandhara, Panchama, and Sudha dhaivata. It

is an old raga. The kriti „Grahabalamemi‟ set to Adi tala composed by

.

.

.

.

Many are composed in Paras.eg:Javalis

upanga rekthi

is kriti



139

Tyagaraja. Deekshitar (Sada vinatha-Rupaka), Annamacharya, and Swati have

also composed songs for it.

24. Salagabhairavi.



It is derived from the 22nd mela Kharaharapriya. Notes taken

by this raga are Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha

madhyama, Panchama, Chatusruti dhaivata, and Kaisiki nishada. Both

Tyagaraja and Deekshitar have composed in Salagabhairavi. The kriti

„Padavini‟-Adi of Tyagaraja is a popular composition. Deekshitar‟s composition

is „Tyagarajena‟ set to Adi tala.

25. Saraswathi manohari


Avarohana - s d n p m g r s

It belongs to 28th mela Harikamboji. Svaras used are Shadja,


Chatusruti dhaivata, and Kaisiki nishada. Handled differently by Tyagaraja and

Deekshitar. Deekshitar treated it as a janya of 29th mela Sankarabharanam.

„Entha vedu Tyagaraja‟s composition in this raga.

„Saraswathi manohari‟ in Adi tala is a composition of Deekshitar in this raga.

.

.

.

.

is kondu‟ in Adi tala

Swati Tirunal also have composed a in thiskriti Mamava jagadeeswara raga „ ‟ .



140

26. Sudhadesi.

Arohana - s r m p d n s.


The raga Sudhadesi derived from the 20th mela

Natabhairavi. Svaras used are Shadja, Chatusruti rishabha, Sadharana

gandhara, S Panchama, Sudha dhaivata, and Kaisiki nishada.

Tyagaraja has composed two kritis viz „Endu kougalintura‟-Adi and

„Raghunandana raja‟-Adi. Deekshitar has composed „Kamakshi mam‟ set to

Rupaka tala in Sudhadesi.

27. Takka

Arohana - s g m p d n s.

Avarohana - s n d n p m g r g s

It belongs to the 15th mela Mayamalavagoula. Svaras used are


Sudha dhaivata and Kakali nishada. It is an ancient raga. The kriti „

in Adi tala is composed by Tyagaraja. Deekshitar has also

composed one kriti in it(„Sundara moorthim‟-Adi).

28. Vasanthabhairavi

Arohana - s r g m d n s.

Avarohana - s n d m p m g r s.

.

.

.

.

.

.

udha madhyama,

‟ sasivadana

Raka



141

It is derived from the 14th mela Vakulabharanam. It can

be traced to the medieval period of musical hístory. The notes taken by

this raga are Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama,

Panchama, Sudha dhaivata and Kaisiki nishada. Tyagaraja, Deekshitar and

Kshetrajna have composed in this raga. The compositions „Ni dayarada‟

(Rupaka), „Rama ramana‟ (Adi) are composed by Tyagaraja. „Prasanna

venkateswaram‟ in Triputa tala

29. Veeravasantha

Arohana - s g r m p d n s.


It belongs to the 24th mela . Svaras are


Panchama, Shadsruti dhaivata and Kakali nishada. Both Tyagaraja and

Deekshitar have composed in Veeravasantha. „Emani pogadutara‟ set to Adi

30. Vegavahini

Arohana - s r g m p d n d s.


“Vegavahini is mentioned as the 16th mela or raganga in the raga

compendium of Mudduvenkitamakhin.”65 Vegavahini is now only a janya of the

65 Ibid., p.132

.

.

.

.

Varunapriya

is Deekshitar‟s k riti in this .raga

Veeravasantha

tala kriti Adi tala is a of Tyagaraja,and set to of Deekshitar‟s.



142

16th mela, Chakravakam. Ramaswami deekshitar has noticed the raga and

also composed the kriti Inka dayarakunanu-Adi. Tyagaraja and Deekshitar

have composed kritis in Vegavahini. Challaganato‟ in Adi tala by Tyagaraja, and

Veenapusthaka dharinim Jampa tala of Deekshitar‟s.

When kritis in these ragas emanated, the disciples did not

know even the names of the raga. They merely committed to memorise the

pieces and later analyzed the arohana and avarohana and melakartha to which

they belonged. Some times we can see that, the same raga was known by 2

different names in 2 different grandhas. The kriti „Nannu kannatalli‟ is found in

the name Kesari in one Lakshana grandha and Sindhukannada in another

grandha. Like wise for the kriti „Ragasudha rasa‟, 2 raga names Andolika and

Mayuradwani are found. But there is nothing contradictory about them. We

have to adhere to the raga

the note books of his disciples, since these name have been approved by

Tyagaraja.

As a composer of melodious kritis par excellence, as a

teacher of the humanity, as an author of group kritis and as a composer of the

operas and above all as a true Ramabhaktha,

degree of musical talent is necessary to render his kritis. These rare ragas

prove that he was a great lakshyanja of Carnatic music ever had. Tyagaraja

played a major role in giving life and beauty to these rare ragas of carnatic

music and made them more popular. It is because of his indepth creative

‘

‘

‘

’

’ ni

Walajapet

names found in the manuscripts and in

Sri is unique. A high Tyagaraja



143

power that these ragas still exist with all its lakshanas . Rare

ragas of Tyagaraja, plays as models of the melodic music, have become the very

lakshana and lakshya of our music.

through his kritis

Documents

RARE RAGAS HANDLED BY TYAGARAJA