rare ragas handled by tyagaraja
TRANSCRIPT
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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
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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
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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
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“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
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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
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n , , , d , m , p , , d m , , ,
sree- - ra- ma - 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
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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
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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- - - - -- - - -ra- sa- - -
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.
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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 „
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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 .
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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
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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‟
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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
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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
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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
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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
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s , p , m , , , g , m , , m , , m , n , d , , , n , p , , m g r s ,
va- ra-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
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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
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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
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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
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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
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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
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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
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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
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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
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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
Arohana - s r g m p d n s
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
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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-ra- ma- - - pa-ra-
30 Ibid., p.33
.
. .
. . . . .
. . . . . . . . . . . . . . . . . . .. . . . .
. . . . . . . . .
. .
.
Garudadwani,
Tyagaraja yearns for the grace of Sri Rama in realizing that Sri Rama is the final
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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
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, - 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
Avarohana - s n p m g r 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.
.
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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
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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
Avarohana - s n d m g r 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.
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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
Arohana - s r g m p d s
.
.
.
. . . . . . . . . . . .. . .
. . . . . . . . . . . . . . . . . . . . . .
. . .
. . . .
.
of angathis
Jayamanohari
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Avarohana - s n d p m g r s
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
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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
. .
. . .
.
. .
. .
. . . . .
. . . . .
.
.
.
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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
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22. Jingla
Arohana - s r g m p s
Avarohana - s n d p m g 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 . .. . .. .
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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.
.
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24. Kaikavasi
Arohana - s r g m p d n s
Avarohana - s n p m g r s
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
Arohana - s r m p d n s
Avarohana - s n d p m r s
.
.
.. .
.
.
. .
.. . .
. . . . . . . . . . . . . . . .. . . . .
. . . . . . .
.
.
Kaikavasi
Ramarelates two incidents to illustrate the greatness of Sri . Tyagaraja
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“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
Avarohana - s n d p m g r 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
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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‟
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27. Kalyana vasantha
Arohana - s g m d n s
Avarohana - s n d p m g r 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
. . . . .
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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
Arohana - s r m p d n s
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
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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
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29. Karnataka bihag
Arohana - s r g m p d n s
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
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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
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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
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„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
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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
Avarohana - s n d p m g r 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
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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.
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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
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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
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„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
Avarohana - s n p m g r 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.
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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
Avarohana - s n d p m g r 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
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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
Arohana - s r g m p d s
Avarohana - s d p m g r s
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‟
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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
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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
Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,
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.
.
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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
Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,
Panchama and Chatusruti dhaivata and Kaisiki nishada. A minor raga with
. .
. . .
. . . . . . . .
. . .. . .
. . . . . . . . . . . .. . . . .
. . . . ..
. . . . .
.
.
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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
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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
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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 - - vi- na--la kim- - - - - cha- ra- - - - - 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
Avarohana - s n d m g r 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
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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
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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
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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
Avarohana - s n d p m g r 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
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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
Avarohana - s d p m g r 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
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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
Avarohana - s d p m g r 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
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47. Purnashadja
Arohana - s r g m n n s
Avarohana - s n p m g r 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
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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
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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
Arohana - s r g m d s
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
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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
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50. Rasali
Arohana - s r m p d n s
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
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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
Avarohana - s n d m g r 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„ –
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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
Arohana - s r g m p d n s
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
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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
Arohana - s r m p d s
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,
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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
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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
Arohana - s g m p d n s
Avarohana - s n d p m g r s
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
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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
Avarohana - s n d p m g r 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
.
. . . .. .
.
.
. .
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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
.
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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
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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
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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.
Arohana - s r m p d s
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
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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
Arohana - s r g m p d s
Avarohana - s d p m g r s
“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
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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 .
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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
Arohana - s r m p d n s
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
-
. . . . . . . .
. .
.
.
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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
Arohana - s g m p d n s
Avarohana - s n p m g m r s
It belongs to the 22nd melakartha Kharaharapriya. Svaras used are
Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,
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
.. . .. .
. . . . . . . . . .
. . . . . . . . .. . . . . . .
. .. .
.
.
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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
Avarohana - s n d m g r s
It belongs to the 28th mela Harikamboji. Svaras used are Shadja,
Chatusruti rishabha, Antara gandhara, Sudha madhyama, Panchama,
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
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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
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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
Arohana - s r g m p d n s
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 rishabha, Antara gandhara, Sudha madhyama, Panchama,
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
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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
Arohana - s g m p d n s
Avarohana - s n d p m g s
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
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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 . . . . . . . . . .
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70. Vijayasri
Arohana - s r g m p n s
Avarohana - s n p m g r s
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
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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
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72. Vivardhini
Arohana - s r m p s
Avarohana - s n d p m g r 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
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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
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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.
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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
Avarohana - s n d p m g r 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 „
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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
Arohana - s r g m p d n s
Avarohana - s d p m g r s
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
Avarohana - s d p m g r 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
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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
Arohana - s r m p n s
Avarohana - s n d p m g r s
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
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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
Avarohana - s n d p m g r 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
Arohana - s r m p n s
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 (
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Tirunal(Mamavanantha-chapu (Kuvalayakshiro-Triputa)have
handled this raga.
9. Gouri
Arohana - s r m p n s
Avarohana - s n d p m g r s
It is derived from the 15th mela Mayamalavagoula. The svaras are
Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama, Panchama,
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
Arohana - s r m p n s
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
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Gundakriya. has also composed kriti in Guntakriya
(Rajarajendra chola-Triputa).
11. Gurjari
Arohana - s r g m p d n s
Avarohana - s d n p m g r s
It is derived from the 15th mela Mayamalavagoula. Svaras are
Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama, Panchama,
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
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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.
Arohana - s r m p d s.
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
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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
Arohana - s r g m p n s
Avarohana - s n d p m g s
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
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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.
Avarohana - s n d p m g 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
Arohana - s r m p d s
Avarohana - s n d p m g r s
“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.”
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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.
Arohana - s r g m p d n s
Avarohana - s n d p m g s.
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.
Arohana - s r m p d s.
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
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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
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Tyagaraja. Deekshitar (Sada vinatha-Rupaka), Annamacharya, and Swati have
also composed songs for it.
24. Salagabhairavi.
Arohana - s r m p d s.
Avarohana - s n d p m g r s
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
Arohana - s r g m d s
Avarohana - s d n p m g r s
It belongs to 28th mela Harikamboji. Svaras used are Shadja,
Chatusruti rishabha, Antara gandhara, Sudha madhyama, Panchama,
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 „ ‟ .
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26. Sudhadesi.
Arohana - s r m p d n s.
Avarohana - s n d p m g r 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
Shadja, Sudha rishabha, Antara gandhara, Sudha madhyama, Panchama,
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
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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.
Avarohana - s n d p m g r s.
It belongs to the 24th mela . Svaras are
Shadja, Chatusruti rishabha, Sadharana gandhara, Sudha madhyama,
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.
Avarohana - s n d p m g r 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.
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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
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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