RARE AND NE W RAGAS HANDLED BY TYAGARAJA-A CRITICAL STUDY

GENERAL SURVEY OF TYAGARAJA’S COMPOSITIONS

CHAPTER II
GENERAL SURVEY OF TYAGARAJA’S COMPOSITIONS

Tyagaraja has composed innumerable songs in one and the same raga.

But the musical setting of none resembles another. His kritis are veritable

crystals in the respective ragas. Some compositions may have an enlarged and

elaborate setting, while some may be medium sized and some with chosen

limits of exposition.

It was really a difficult task to find out that what motivated him to

compose songs, whether it was his love for music or his devotional inspiration.

On a close analysis of his kritis, we can find out that his devotion towards Lord

Rama was the most important inspiring factor. His kritis were full of devotional

fragrances. He never disclosed his disciples, the ragas of kritis which he taught

to them. “Subbarama Deekshitar claims that the names of the rare ragas of

Tyagaraja were given by Singaracharyalu brothers.”4

“Prior to Tyagaraja, the number of ragas used for songs was, very

limited. Jayadeva used in his „Geetha govindam’ (12th Century) only 11

ragas like,1) Malava, 2)Gurjari, 3)Vasantha, 4)Ramakari, 5) Mayamalavagoula,

6)Karnata, 7)Desakya, 8)Desivaradi, 9)Gawdakari, 10)Bhairavi, 11)Vibhasha.”5

“The ragas used in „Ramanatakam’ a work that just preceded Tyagaraja‟s kritis

4K.T.Raveendranath, Karnataka sangeethacharithram, Trivandrum, The State Institute of Languages

Kerala, -695003,1995, p.223

5MS Ramaswami Iyyer , Tyagaraja – A great musician saint (1759-1847), New Delhi, J. Jetley. Asian
Educational services, p.130

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were Todi, Varadi, Bhairavi, Kalyani, Saveri, Asaveri, Madhyamavathi,

Sankarabharanam, Anandabhairavi, Neelambari, Surutti, Huseni, Kamboji and

others.”6

Different opinions are there regarding the total number of kritis and

ragas handled by Tyagaraja. “Sri K.T.Raveendranath says Tyagaraja has

handled more than 3600 compositions.”7

“According to tradition, Tyagaraja is said to have composed several

thousands of songs but this is, as usual an exaggeration. What we have
is less than a thousand; but actually about six hundred and seventy five
(675) are known with text and tune”8.
According to M.S. Ramaswami Iyyer in his book „Tyagaraja‟, Tyagaraja used

47 Melakartha ragas. Tyagaraja followed Venkitamaki‟s 72 mela system.

“He distributed his melas amongst his 505 kritis.

95 are in Harikamboji, 85 in Kharaharapriya, 80 in Sankarabharanam,
53 in Hanumathodi, 40 in Mayamalavagoula, 36 in Natabhairavi, 24 in
Mechakalyani, 9 in Subhapanthuvarali, 8 in Jhalavarali, 7 in
Chakravaka, 4 in Suryakantham, Kiravani and Sarasangi, 3 in
Gayakapriya, Jhankaradwani, Pavani, Gamanasrama, Vachaspathi, 2 in
each of Vanaspathi, Manavathi, Dhenuka, Kokilapriya,
Vakulabharanam, Gowrimanohari, Soolini, Vagadheeswari, Chalanatta,
Ramapriya, Neethimathi and Kanthamani and only one in each of
Ratnangi, Rupavathi, Varunapriya, Mararanjani, Charukesi,
Naganandini, Gangeyabhushani, Navanitham, Bhavapriya,

6 Ibid.,p.131

7 K.T.Raveendranath, Op.cit.,p.109

8 Dr. V. Raghavan, „Tyagaraja‟, Composers- cultural leaders of India, Publications Division, Ministry of
Information and Broad casting, Government of India, p.36

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Shadvidhamargini, Divyamani, Namanarayani, Kamavardhini,

Viswambhari, Shanmukhapriya, Simhendramadhyamam and Rishabha
priya”9
Generally, Venkitamaki‟s 72 melas divided into group A of 32

ordinary ragas and group B of 40 special ragas. The ragas of Group A are

based on the well known 12 svarasthanas used in Indian Music. The ragas of

Group B are based on the use of the 4 another svaras of the Carnatic system,

like Sudha gandhara, Shadsruti rishabha, Sudha nishada, and Shadsruti

dhaivata. It is known as Vivadi melas.

Table II.1

GROUP A - Ordinary 32 ragas

No. in No in
Venkita Venkitam
Sl. Sl.
Purva melas maki‟s Utharamelas aki‟s
No. No.
mela mela
system- system
1 Thodi 8 17 Bhavapriya 44
2 Dhenuka 9 18 Subhapanthuvarali 45
3 Natakapriya 10 19 Shadvidhamargini 46
4 Kokilapriya 11 20 Suvarnangi 47
5 Vakulabharanam 14 20 Namanarayani 50
6 Mayamalavagoula 15 22 Kamavardhini 51
7 Chakravakam 16 23 Ramapriya 52
8 Suryakantham 17 24 Gamanasrama 53
9 Natabhairavi 20 25 Shanmukhapriya 56
10 Keeravani 21 26 Simhendramadhyamam 57
11 Kharaharapriya 22 27 Hemavathi 58
12 Gowrimanohari 23 28 Dharmavathi 59
13 Charukesi 26 29 Rishabhapriya 62

9 MS Ramaswami Iyyer ,Op.cit, p.132

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14 Sarasangi 27 30 Lathangi 63
15 Harikamboji 28 31 Vachaspathi 64
16 Sankarabharanam 29 32 Mechakalyani 65

Table II.2

GROUP B Vivadi ragas

No. in No in
Venkita Venkitam
Sl.
Purva melas maki‟s Sl No Utharamelas aki‟s
No.
mela mela
system- system
1 Kanakangi 1 21 Salagam 37
2 Rathnangi 2 22 Jalarnavam 38
3 Ganamurthi 3 23 Jhalavarali 39
4 Vanaspathi 4 24 Navanitam 40
5 Manavathi 5 25 Pavani 41
6 Tanarupi 6 26 Raghupriya 42
7 Senavathi 7 27 Gavambodhi 43
8 Rupavathi 12 28 Divyamani 48
9 Gayakapiya 13 29 Dhavalambari 49
10 Hatakambari 18 30 Viswambhari 54
11 Jhankaradwani 19 31 Syamalangi 55
12 Varunapriya 24 32 Nitimati 60
13 Mararanjani 25 33 Kanthamani 61
14 Naganandini 30 34 Chitrambari 66
15 Yagapriya 31 35 Sucharithra 67
16 Ragavardhani 32 36 Jyotiswaroopini 68
17 Gangeyabhooshani 33 37 Dhatuvardhani 69
18 Vagadheeswari 34 38 Nasikabhooshani 70
19 Soolini 35 39 Kosalam 71
20 Chalanatta 36 40 Rasikapriya 72

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“Out of 47 melas, Tyagaraja selected 31 melas from group A, while only

16 from group B. Out of his 505 songs, so many as 485 were placed in
group A; while only 20 were relegated Group B.”10

He had strong liking for Sudha madhyama ragas. He has composed 439

kritis in Sudha madhyama melas, while only 66 in Prati madhyama melas. On

the whole, Tyagaraja has handled in his kritis about 200 ragas.

In the book „Ragasudha’ of BRC Iyyengar, we can see that, the kritis of

Tyagaraja classified under the following manner.

Table II.3

Raga and kriti analysis11.

Total
Group
Classification Mela Janya Ragas Total kritis
1 kritis in melakarthas 26 + 137 163 588
and janyas
2 kritis in melakarthas 13 + 0 13 16
only
3 kritis in janyas and (13) 33 33 83
none in its melakarthas
Summary 39 170 209 687

10Ibid.,p.138

11BRC Iyyengar, Ragasudha - Understanding Carnatic music, Secenderabad, 54 Ishaq Colony, 56001,
2003, p.103 – 107

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He composed 687 kritis in 39 melakarthas and 170 janya ragas

of 52 melakarthas. This excludes churnika. The 20 melakarthas and its janya

ragas that are not used are, 6, 7, 10, 18, 31, 32, 37, 38, 42, 43, 47, 49, 50, 54,

55, 67, 68, 69, 71, 72.

Table II.4

GROUP 1

Break up of 163 ragas and 588 kritis No. of kritis

A 6 melakartha ragas exclusively account for 103
B 108 janya ragas of the above 6 melakarthas 414
contribute to
C 20 other melakarthas make up for 21
D 29 janya ragas of the above 20 melakarthas 50
163 ragas are used to compose kritis totaling 588

Table II.5

GROUP 1 A, 1B
Break up of 6 melakarthas and janyas
No. of kritis
No. of kritis in
Melakartha raga in Janya
janyas
melakartha
1 Kharaharapriya (22) 11 35 114
2 Harikamboji (28) 10 33 109
3 Sankarabharanam (29) 30 15 92
4 Thodi (8) 29 8 45
5 Mayamalavagoula (15) 4 14 40
6 Kalyani (65) 19 3 14
Total 103 108 414

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Table II.6
GROUP 1C, 1D
Distribution of 20 melakarthas and its 29 janyas

Melakartha raga (N) No. of kritis Janyas No. of kritis

1 Chakravakam (16) 2 4 5

2 Suryakantham (17) 1 3 20

3 Sarasangi (27) 1 3 3

4 Keeravani (21) 1 2 4

5 Manavathi (5) 1 2 2

6 Vakulabharanam(14) 1 1 1

7 Dhenuka (9), 1 1 1

8 Divyamani (48) 1 1 1

9 Hemavathi (58), 1 1 1

10 Jhankaradwani (19) 1 1 1

13 Mararanjani (25) 1 1 1

14 Naganandini (30) 1 1 1

15 Ramapriya (52) 1 1 1

16 Ratnangi (2) 1 1 1

17 Sulini(35) 1 1 1

18 Vanaspathi (4) 1 1 1

19 Vagadheeswari (34) 1 1 1

20 Navaneetham(40) 1 1 1

Total 21 29 50

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Table II.7
GROUP 2
Distribution of 16 kritis only in melakartha and none its janya
Melakartha raga No. of kritis
1 Bhavapriya (44) 1

2 Charukesi (26) 1

3 Ganamurthi (3) 1

4 Gangeyabhushani (33) 1

5 Kanakangi (1) 1

6 Nasikabhushani (70) 1
7 Rishabhapriya (62) 1
8 Rupavathi (12) 1
9 Shanmukhapriya (56) 1
10 Subhapanthuvarali (45) 1
11 Gaurimanohari (23) 2

12 Lathangi (63) 2

13 Simhendramadhyamam (57) 2

Table II.8
GROUP 3
Distribution of kritis only in janya and none in its melakartha
Melakartha Janya Kriti in janyas
1 Chithrambari
2 Dharmavathi (59)
4 (1 each) 4 (1 each)
3 Shadvidha margini (45)
4 Varuna priya (24)
5 Chalanatta (36) 1 2
6 Gamanasrama (53) 1 3
7 Jhala varali (39) 1 14

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8 Neethimati (60), 4 (2 each)

2 (1 each)
9 Vachaspathi (64)
10 Pavani (41) 2 3
11 Gayaka priya (13) 3 3
12 Kamavardhini (51) 3 15
13 Natabhairavi (20) 14 35
Total 33 83

Table II.9
GROUP 3

Distribution of 15 kritis in 3 janyas of 12th raga Kamavardhini (51) of group 3

1 Panthuvarali (51) 13
2 Deepakam (51). 1
3 Mandari(51) 1

Table II.10
GROUP 3
Distribution of 35 kritis in 14 janyas of 13th raga Natabhairavi (20) of group 3
1. Bhairavi 18
2. Anandabhairavi 3
3. Hindolam
4 Sudhadesi 4 (2 each)
5 Hindolavasantha
6 Jayanthasri
7 Amruthavahini
8 Jingla
9 Kokilavarali 10 ( 1 each)
10 Margahindolam
11 Nagagandhari
12 Saramati
13 Udayaravichandrika
14 Vasanthavarali

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Table II.11
GROUP 3

All the 14 kritis are in raga Varali a janya of 7th raga Jhala varali of group 3

Table II.12
Classification of ragas and kritis in Sudha madhyama and
Pratimadhyama ragas.

Group Raga Sudha madhyama Prati madhyama

Mela Janya Me Kri Jan Kri Me Kri Jan Kri

1 26 137 20 100 129 445 6 24 8 19
2 13 0 6 7 0 0 7 9 0 0
3 (13) 33 (4) 0 19 41 (9) 0 14 42
Total 209 ragas 593 kritis in 174 ragas 94 kritis in 35 ragas.

Table II.13
Classification of other group kritis

Divyanama keerthanas 84 Thiruvottriyoor 5

Prahlada bhakthi vijayam 44 Kovur 5

Utsavasampradaya keerthanas 26 Sreerangam 5

Nowka charithram 21 Kanchipuram 3

Thiruvaiyyar 12 Thirupati 2

Lalgudi, Tapastipuram 5 Nagapattanam 2

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Table II.14
Descending order of number of kritis in each raga
and ragas used

Raga (Melakartha No. ) Kriti

1 Sankarabharanam (29) 30
2 Thodi (8) 29
3 Kalyani(65), Saveri (15) 19
4 Bhairavi (20), Sourashtra (17) 18
5 Madhyamavathi (22) 15
6 Arabhi (29), Atana (29), Varali (39) 14
7 Kapi (22), Kedaragoula (28), Panthuvarali (51) 13
8 Devagandhari (29) 12
9 Kharaharapriya (22), Mohana (28),Punnagavarali (8) 11
10 Begada (29), Bilahari (29), Darbar (22), Harikamboji (28), 10
Mukhari (22), Ritigoula (22), Sahana (28), Yadukula
Kamboji (28)
11 Asaveri (8), Surutti (28) 9
12 Balahamsa (28), Dhanyasi (8), Ghanta (8) 8
13 Huseni (22),Kamboji,(28), Saranga(65) 7
14 Neelambari(29) 6
15 Goulipanthu (15), Sriranjani (22), Sudhasaveri (29), 5
Yamunakalyani (65)
16 Ahiri (8), Kannada (29), Mayamalavagoula (15), 4
Narayanagoula (28)
17 Anandabhairavi (20), Bangala (29), Desya todi (8), 3
Devamanohari (22), Jayamanohari (29), Janaranjani
(29), Kedaram (29), Kunthalavarali (28), Nayaki (22),
Purvikalyani (53), Purnachandrika (29), Sudha bangala
(22), Sri (22)
18 There are 35 other ragas with 2 kritis in each of them 2 (70)
19 There are 119 other ragas with one kriti in each of them 1 (119)

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In major ragas like Todi and Sankarabharanam, Tyagaraja has

composed as many as 30 kritis depicting the different facets of the raga without

repeating the music. Even in ragas like Saveri, Sourashtram and Kalyani there

are more than 18 song, Bhairavi and Madhyamavathi up to 15. Around

hundred kritis are in uncommon and unfamiliar ragas. And there is only one

kriti each in 119 ragas.

Talas

In his kritis, Tyagaraja handled different tala varieties. Tyagaraja

is the first composer to compose kritis in Desadi and Madhyadi talas and show

its potentials. In Desadi talas, music commences after the lapse of ¾

aksharakalas, but in Madhyadi, music commences after the lapse of ½

aksharakala. „Sitapate‟ in Kamas, „Banturiti‟ in Hamsanadam are examples of

Deasdi tala. „Meru samana‟ in Mayamalavagoula is an example of Madhyadi

tala. All most half of his kritis are set to Adi tala only. There are nearly a

hundred each belonging to Rupaka and Chapu talas.

Tala analysis

Distribution of tala in his kritis in the following manner. With the

exception of few, all kritis fall in to 5 tala groups.

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Table II.15
Tala analysis
Tala groups Kritis Percentage
1 Adi (1 kala + 2 kala) 344 50.07
2 Rupaka 113 16.45
3 Misra Chapu 108 15.72
4 Desadi 90 13.10
5 Khanda Chapu 28 04.08
6 Eka, Misra, Jampa, Tisra, Triputa etc 4 00.58

Table II.16
Distribution of talas in ragas with 5 and more than 5 kritis

Raga Adi Desadi Chapu Rupaka Total

1 2 khanda Misra
Arabhi 6 0 0 0 5 3 14
Asaveri 4 2 0 0 1 2 9
Atana 8 2 0 1 1 2 14
Balahamsa 5 2 0 0 0 1 8
Begada # 3 1 1 0 2 2 10
Bhairavi 12 3 0 0 2 1 18
Bilahari * 1 2 1 1 3 1 10
Devagandhari 6 4 1 0 0 1 12
Dhanyasi 1 2 1 0 2 2 8
Darbar 3 2 0 1 4 0 10
Goulipanthu 4 0 0 0 1 0 5
Ghanta 2 0 0 2 3 1 8
Harikamboji 3 4 0 0 0 3 10
Huseni 3 0 0 0 0 4 7
Kalyani 5 4 0 1 4 5 19
Kamboji % 1 3 1 0 0 1 7
Kapi 4 1 0 1 5 2 13
Kedaragoula 7 1 0 2 1 2 13

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Kharaharapriya 4 4 0 0 2 1 11
Madhyamavathi 8 2 0 1 3 1 15
Mohana 3 2 0 2 4 0 11
Mukhari 2 4 2 0 1 1 10
Neelambari 1 1 0 2 1 1 6
Panthuvarali 3 1 0 0 4 5 13
Punnaga varali 4 0 0 0 6 1 11
Ritigoula 4 1 1 0 2 2 10
Sahana 4 1 1 0 2 2 10
Saranga 2 0 2 1 1 1 7
Saveri 6 2 1 2 6 2 19
Sankarabharanam 10 6 1 1 5 7 30
Sourashtram 5 1 1 1 7 3 18
Sriranjani 2 0 2 0 0 1 5
Sudha saveri 3 1 2 0 1 2 5
Surutti 3 1 2 0 1 2 9
Thodi  5 6 1 0 5 10 29
Varali 7 4 0 0 3 0 14
Yadukulakamboji 2 4 0 2 1 1 10
Yamunakalyani 3 0 0 0 0 2 5

Total 159 74 19 21 88 77

Note: 1 each of „*‟ „Eka, “%” Triputa and “ # ” Adi (Tisragati) “ ” 2 of Misra

Jampa.

VARIOUS INBORN ASPECTS IN TYAGARAJA KRITIS

The kritis of Tyagaraja depicted several aspects like devotion,

nadopasana, philosophy etc. The Saint Tyagaraja a spiritual teacher and also

a philosopher is a great bhaktha of Sri Rama.

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Devotional aspects

One of the most important factor of his kritis is that they are in praise of

Sri Rama or the devotion towards Rama. In the song „Rama kothanda rama’ in

Bhairavi, he says the song in praise of Rama are only the right path that leads

to Him. In the song in Kharaharapriya, „Rama ni Samanamevaru’, he says,

Rama, who is there equal to you. Some other examples are:-

Ramabhakthi samrajya - Sudha bangla - Adi

Rara maintidaka - Asaveri - Adi

Rama nivegani nannu - Narayani - Adi

Navavidha bhakthi

The 9 forms of conventional devotion is called Navavidha bhakthi.

Tyagaraja composed songs depicting all the nine types of bhakthi.

(1) Sravanam

The listening to the glory of the excellence of Lord. Ex:- ‘Rama

katha sudha’- Madhyamavathi - Adi

(2) Keerthanam

This refers to the praising of Lord. Ex :- ‘Intasoukhyamani - Kapi - Adi.

(3) Smaranam

It is the remembering of the name and glory of the Lord. Ex:- „Smarane

Sukhamu’- Janaranjani – Adi

(4) Padasevanam

It refers to the worship of the feets of the Lord in a devotional mode.

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Ex:- „Raghunayaka’- Hamsadwani - desadi tala

(5) Archanam

It refers to the puja performed with the puja dravyas like flowers, leaves,

water etc. Ex:- ‘Tulasi bilva’- Kedaragoula - Rupaka.

(6) Vandanam

It includes the respect shown towards the Lord. In other words it is a

Salutation or Namaskara. Ex:- „Vandanamu’- Sahana - Adi

(7) Dasyam

This kind of bhakthi implies “service to God”. Ex:-„Tava dasoham’-

Punnagavarali – Adi.

(8) Sakhyam

This bhakthi implies love of a friend with God. Ex:- „Venugana’-

Kedaragoula – Rupaka.

(9) Atmanivedanam

This form of bhakthi refers that the devotee surrenders all his

belongings to feet of Lord. Ex:- „Kalaharana’ – Sudhasaveri - Rupaka.

He has also composed some kritis in praise of Narasimha, Lakshmana,

Sita, Hanuman, Siva, Ganapathi and Subrahmanya. Some examples are :-

‘Sri Ganapathi’ -Sourashtram -Adi in praise of Lord Ganapathi.

‘Varasikhi vahana’ -Supradeepam -Adi in praise of Lord Subrahmanya.

‘Narasimha nannu’ -Bilahari -Misra Chapu in praise of Narasimha

‘Siva siva’ -Panthuvarali -Adi in praise of Lord Siva.

‘Sri janaka tanaye’ -Kalakanti -Adi in praise of Sita.

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Nadopasana

Tyagaraja is remarkable for a good number of songs in which he has

explained „Nadopasana’. He holds up the high spiritual ideas, through his

some compositions. In „Sangitajnanamu’- Dhanyasi - Adi, he says that music

with out devotion will not lead to salvation. In „Nada tanum anisam’-

Chitharanjani- Adi, he describes Siva as the embodiment of Nada. Few other

examples are „Gitarthamu’ – Surutti - Adi, „Nadopasanache’- Begada - Adi,

„Nadaloludai’- Kalyana Vasantham - Rupaka, „Mokshamugalada’- Saramati –

Adi, „Svara raga Sudha rasa’- Sankarabharanam - Adi.

Philosophy

In the song „Tatwameruga tarama’ in Garudadwani, Tyagaraja echoes the

content of the upanishad. Philosophic truth is not to be found elsewhere but in

the word „Rama‟ itself. Also in the song „Mokshamugalada‟-Saramati - Adi tala,

we can find the philosophical contents. In some of his kitis we have seen the

concept of mind. ex:- „Manasu swadheena‟-Sankarabharanam -Adi.

Sanskrit compositions.

Apart from his Telugu kritis, Tyagaraja has also composed some kritis in

Sanskrit.

eg:- „Nada tanum anisam’ - Chitharanjani - Adi

‘Samaja varagamana’ - Hindolam - Adi

‘Jagadananda karaka’ - Natta - Adi

‘ Niravadhi sukhada’ - Ravichandrika - Adi

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‘ Sambho mahadeva’ - Panthuvarali - Rupaka

ASPECTS OF MUSIC IN THE COMPOSITIONS OF TYAGARAJA

His compositions provide a good record for the vast

knowledge of music. His kritis also contain the description of the glory of

music and the principals of music. From the keerthanas of Tyagaraja, it is

possible to describe the different aspects of music. He called music as nada

vidya, sangitopasana vidya, gandharva vidya, saptha svara vidya etc. He

promised sangita to be a source for supreme bliss.

In some kritis the glory of raga is pictured in a slow and

descriptive manner as in „Evari mata‟ in Kamboji, „Kara baru seyu’ in Mukhari,

„Manasu swadheena‟ in Sankarabharanam and others. The tana like

progression of melody is to be found in his „Koluvaiyyunnade‟ in Bhairavi, the

gradual development of thought and melody as found in „Chakkani raja

margamu’ in Kharaharapriya , „Koluvamare‟ in Todi, and many others, reflect

the musical imagination of the saint. The charana in every composition of

Tyagaraja brings the essence of the raga in both the purvanga and utharanga

sections. There is a special design of his own in the structure of the charana in

every song. The joining of the sahithya in a kriti with the corresponding raga is

a unique skill of Tyagaraja.

The modern concert format consists of several compositional

varieties like varnams, kritis, pallavis, padams, javalis, tiruppugazhs and so on.

However, in addition to these largely preset parts of the concert, there are also

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 RARE AND NE W RAGAS HANDLED BY TYAGARAJA-A CRITICAL STUDY
GENERAL SURVEY OF TYAGARAJA’S COMPOSITIONS

creative and improvisational forms, namely raga alapana, neraval and

svarakalpana. Both of these components of modern Carnatic music owe much

to Tyagaraja, undoubtedly the most influential vaggeyakara or composer in the

annals of Carnatic music.

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