CHAPTER-5

MUSICAL EXCELLENCES IN THE

KRITIS OF SRI THYAGARAJA

 CHAPTER-5

MUSICAL EXCELLENCES IN THE

KRITIS OF SRI THYAGARAJA

Samyak iti gztam sangztam

Sangita means more than entertainment, i.e., that which is pleasing

lo the hearts of listener. 16

Sri Thyagaraja Swami is the prominent among the musical trinity

who has dealt with sangita and nada in several of his kritis. According to
hlm, sangita with a background of bhakti is a moksha marga and for this
sangita jnana must be inborn or bestowed at birth by Lord Brahma. Saint
Thyagaraja has stressed the value and the divine quality of music in many
of his keerthanas and has indicated not only the transcient enjoyment that
music can bring but has also by his own personal experience shown that
music provides an easy way to Jnana, Bhakti and Ananda, i.e., knowledge,
devotion and bliss. Some examples of his kritis proving this fact are :

Sangitajnanamu Dhanyasi Aditala

Gitarthamu Surutti Aditala
Ragasudharasa Andolika Aditala
Anandasagara Garudadhvani Aditala

16
Prof. P. Sambamoorthy, South Indian Music (Book III), The Indian Music Publishing
House, Madras, 1973.
 221

Sri. Thyagaraja's compositions are remarkable not only for their

immense volume but also for variety and vividity. The highest musical
excellence is found in his compositions, mainly kritis, in which he has
captured and effectively picturised the essence of ragas. There is a wide
variety of form and type from metrical compositions and settings to pieces
where sangatis are heaped and the sahityas are moulded like pallavis.

One peculiar aspect of Thyagaraja' s kritis is the natural and

wonderful union of sound and sense, the way he has used various ragas to
portray different emotions or moods of a bhakta and how he has also ably
portrayed one mood by using different ragas. The bhava of a kriti is
brought out not only by the raga used, but also by the tala and the eduppu
and last, but not the least, the pace in which the piece is rendered or played.
As poetry each kriti is a piece of art and as sangita, it is all aesthetics.
Thyagaraja Swami's musical style is simple and charming as well as
appealing and pleasing to both the literate and the illiterate masses.

In his compositions we can notice the triple features of bhava, raga

and tala, i.e., "bharatham" and another triple elements of sangeetha bhava,
sahitya bhava and bhakti bhava. Bhava sangita appeals to the heart and the
songs of Thyagaraja has made the task of a musician very easy with their
emotion rich kirtanas. All that a musician has to do is to feel the bhava
content of the song and just render them simply.

From the kirtanas of Thyagaraja, it is possible to describe the

different aspects of music. Music was described by him as Nadavidya,
Sangitopasanavidya, Gandharvavidya, Saptaswaravidya etc. By that he has
attributed the status of vidya to sangita and he promised sangita to be a
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source for Supreme bliss. The greatness Nadopasana is described in several

hitis ofSri Thyagaraja. Some examples are

Nadatanumanisham Chittaranj ini Aditala

Nadopasana Begada Aditala
Mokshamugalada Saramati Aditala
Nadaloludai Kaiyanavasantham Rupakatala
Nadasudharasam Arabhi Rupakatala

Thyagaraja is agam a great architect of kritis with respect to

Rasabhava, i.e., expression of emotions or sentiments. Just as we accept
ilie fact that for the first time through his compositions we come to know of
some very rare ragas, we also know from his sahitya some very great
expressions, hither to unknown in Telugu literature.

"Kriti " is the unique form of composition which Sri Thyagaraja

created the frame work of various patterns of musical compositions. In fact
he has furnished extensive details to establish the science of kriti making.
According to him, kriti appears to be all compassing form which would be
helpful to have songs suitable to both namely, vocal and instrumental. In
Thyagaraja, we notice compositions which work a greater appeal even
when played on veena or violin or such instruments.

With regard to the dhatu aspect, the compositions contain a degree

of difference suiting to the standards of the students of music. We find in
ilie kriti form of Thyagaraja' s compositions, such compositions which are
suitable for the beginners, advancing students and the advanced students in
!he field of music learning. There are songs suited to the voices of various
kinds like natural voices and cultivated etc. The supreme place is given to
 223

ilievoice ofThyagaraja and he does not ignore the vina technique also. He
focussed his attention to enhance and stabilise the standards of camatic
music. The music tradition is very well maintained with regard to the
"dhatu pushti" in the compositions by Thyagaraja. The same has been
carefully preserved by his disciples and his kritis contain the description of
ilie glory of music and the principles of music too. Therefore, the study
would al so amount to the study of the aspects of music.

In addition to the individual pieces, Saint Thyagaraja composed

Utsava sampradaya kirtanas and Divyanamavalis for adoption in bhajanas
and festivals. These kirtanas are a symphony of three streams- spirituality,
sa intl iness and sangita and the harmony of these finds spontaneous self
expressions in every syllable of these songs. Sangita and sastra
predominate in the kirtanas of Sri Thyagaraja and they produce supreme
joy when rendered in the corresponding ragas and tala. The listener as well
as the singer are transported into a realm of joy where both forget their
existence. Besides that, they are couched with bhakthi towards Narayana
and therefore, they are very specialised compositions. For Sri Thyagaraja,
the supreme goal is heart speaking to the heart direct even as he spoke face
to face to Sri Rama. Therefore a majority of his kirtanas are in the
madhyamakala tempo, easy to handle, but stupendous in impact.

The kritis of Thyagaraja display a variety of forms with respect to

the structure and details. The usual structure that we meet with, is the
pallavi-anupallavi-charana type. And in these, sometimes there is one or
sometimes more than one charana with all the charanas being set to the
same dhatu or music. We come across variety within this itself, because of
ilie differences in the duration of each section.
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Kritis are composed within the melodic limits set by particular raga
scales, and in rhythmic patterns dictated by particular talas. In Kritis, the
(ala or the rhythmic cycle is the ground in which the musical phrasing as
well as the words are set and the number of syllables per tala cycle may
vary though they are ultimately set within and co-ordinated by the tala.

HISBRILLIANCE IN DEPICTING RASAS

The rasapushti of his compositions is remarkable and his pieces are

examples of ideal beauty. Sri Thyagaraja could express several moods or
emotions, sometimes using the same raga, at other times he expressed one
mood with various ragas. His pieces are not subjected to excessive
ornamentation and the rich musical content of his divinely inspired songs
capture our full attention. He composed kritis depicting navarasas, though
not primarily dominant they may be.

An outstanding feature of his compositions 1s the marvellous

manner in which he has portrayed the various kinds of rasas and this is
something quite different from the other composers. In the classical kritis
of most of the composers, we find gana rasa being brilliant!y depicted and
occassionally feelings like karuna being displayed. But in Thyagaraja's
kritis we find ganarasa, i.e., the aesthetic joy resulting from hearing
absolute music as well as the navarasas being depicted. It is not without
significance that he mentions in the kriti "Sogasuga 1midangatalamu"
(Sriranjini raga) "Navarasayuta! kritiche bhajiyinche- yukti". Music by
itself can establish a rasa but music in consonance with an appropriate
sahitya can more easily establish the intended rasa. Ganarasa is delightfully
portrayed in such kritis • of his, like Najivadhara (Bilahari) and
Koluvaiyunnade (Bhairavi).
 225

Coming to the navarasas, we find him portraying not only the main
rasas but also the shades and hues of the same feeling through appropriate
ragas and phrases in them. Vira is the main rasa of ragas like Athana,
Devagandhari and Natta and the charana of the Thyagaraja kriti
"Kshirasagara sayana" in Devagandhari raga, Aditala, may be studied in
!his connection. The Pancharatna kriti "Jagadanandakaraka" is a garland of
panegyrics on Sri Rama and the entire music is couched in a heroic style.

The kriti "Teratiyagarada" in Gaulipantu raga, Aditala, reflects the

agitated state of the composer's mind at that time and stands as an
unalloyed example of karuna rasa. Adbhuta rasa is portrayed in the kriti
"Entabhagyamo" in Saranga raga, Aditala. Santarasa is admirably
portrayed in the kriti "Santamuleka" i n Samaraga and the song has in it the
rasamudra very clearly. Tranquility can be restored in people with agitated
minds, by making them listen to this beautiful kriti of Thyagaraja Swami.
Dignified sringararasa is depicted in the kriti "Canitoditeve" in
Harikamboji raga.

Sri Thyagaraja recognised the importance of acqmnng sangita

sastrajnana. Many a raga which was a mere name before his time and
whose melodic sweetness lay unfathomed, began to dance their way
!hrough the human heart under his life giving touch. The melody of South
Indianmusic has become more rhythmical, flowing and graceful ever since
hls day.

In a number of compositions dealing with the musical art, Sri

Thyagaraja has pointed out how by using music as an instrument of the
yoga, the musician can obtain liberation or moksha. In the Kriti
"Swararagasudha" in Sankarabharanam raga, Thyagaraja Swami points out
 226

ilia! liberation comes after many births and deaths to the enquirer but the
deeply pious ones skilled in raga lives a liberated life.

Sri Thyagaraja, more, perhaps, than any other single musician, has
preserved for us our one great live art with an appeal both deep and wide.
Everyon e in South India can understand his music, can feel its rhythm, can
follow its spirit and feel at home in it. His kritis in apurva or rare ragas are
invariably simpler then those in the ghana or ordinary ragas. There are
either no sangatis, therein, or at most, one or two, for the reason that the
scope for elaboration is limited therein. Nevertheless, they catch the ear
more easily by virtue of their novelty and intensity of feeling which more
than compensate the want of extensity or development.

Saint Thyagaraja has analysed the various visages of the ragas and
presented them through a number of his compositions. In his kritis there is
no need to search for the individuality of a raga and the raga bhava of floats
on the surface of his melodies like cream.

Thyagaraja Swami's compositions can be considered as shining

crystals through which we are able to gaze at the fascinating forms of
ragas. Instead of compressing all the beauties of a raga in one and the
same kriti and there by making it very weighty, he has creatively spread
out the various features of his ragas in a number of his compositions. This
has very much enabled the music students and scholars to have a fuller and
a detailed picture of the ragas. His numerous kritis in Todi, Bhairavi,
Mohanam, Kalyani, Pantuvarali, Arabhi, Sankarabharanam etc. will bear
out this point.
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Firmly rooted in ancient tradition, Sri Thyagaraja has shown the

marga for the creation of new ragas and compositions. He himself created
a number of ragas namely "Vinta Ragalu", which shine and exist mainly
through his compositions in these ragas. As examples of such ragas as may
be mentioned Devamritavarshini, Garudadhvani, Chenchukamboji,
Gambhiravani, Bahudari, Saramati, Phalamanjari and Umabharanam.

From the point of view of sangita kavitva or musical creation, Sri

Thyagaraja ranks as the most prolific and versatile composer that India has
ever produ ced. It is believed that traditionally he has composed 24,000
songs equivalent to 24,000 verses of the great epic Ramayana. But the
number ofhis available compositions at present is just a thousand only.

Thyagaraja is a gana yogi and shines like the eternal Polestar. He

followed a particular Kataka, possibly the Vyasa Kataka for his raga
nomenclature and sang kritis extempore. The ragas of the kritis were
determined later on only.

The direct appeal of his compositions is due to the fact that they all
sprang from his heart and not from his intellect. In teaching the highest
philosophic truths through the medium of simple words clothed in soul
stirring music, Sri Thyagaraja has achieved signal success. Every song of
his is a product of either an aesthetic or religious experience and he was a
good vainika too.

Music devoid of bhakti is insignificant. This truth is revealed in the

kriti "Sa ngitajnanamu" in Dhanyasi raga. In the Begada kriti "Bhaktuni
charitramu" the picture of an ideal or true bhakta is portrayec He has
 228

composed several kritis based on Prema bhakti or Sringara bhakti.

Examples for this are :

Anuragamule Saraswati Rupakatala

Ni bhaktibhagyasudha Jayamanohari Rupakatala

Thyagaraja's songs evoke ideal moods of bhakti which demonstrate

moments of his situation within the multifaceted bhakta-bhagavan
(devotee- Lord) relationship, from instant longing through graceful
satisfaction.

Saint Thyagaraja has portrayed Lord Rama in his various moods and
forms in his kritis. In his kriti "Ma Janaki" in Kamboji raga, he has
described Sri Rama's consort, Sitadevi as his shakti or strength. In the
compositi on "Ramabhakti Samrajya" in Suddhabangala raga, he reveals the .
greatness ofRamabhakti.

By the constant repetition of Naradamantra, he received the Divine

darshan and blessings of Narada Muni and the rare grantha "Swaramavam"
was presented to him by the Sage. This grantha was of immense guidance
to Sri Thyagaraja in learning the scientific principles and intricacies of
sangeetha.

Thyagaraja Swami has depicted the Navavidha bhakti or nine forms

of devotion through his kritis. These nine forms of bhakti with their
respective examples are given below.
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SI.No. Navavidhabhakti Kritis Raga Tala

forms
I. Sravanam Ramakathasudha Madhyamavati Adi
(Audition) Sudhamadhurya Sindhuramakriya Adi
2. Keerthanam Mamavaraghurama Saranga Rupaka
(Recapitulation) Pahiramaramana Varali Adi
l Smaranam Smaranesukhamu Janaranjini Adi
(Remembrance) Sripathe ni pada Nagaswaravali Adi
4. Padasevanam Sriramapadama Amritavahini Adi
(Service at the feet of Ni padapankaja Begada Adi
the Lord)
5. Archanam Tulasibilva Kedaragaula Adi
(Worship or puja) Ennagamanasuku Nilambari Adi
6. Vandanam Vandanamu Sahana Adi
(Salutations with Dandamu Balahamsa Adi
praise)
7. Dasyam Tavadasoham Punnagavarali Adi
(Service or Seva) Upacharamu Bhairavi Rupaka
8. Sakhyam Ammaravarnma Kalyani K.chapu
(Friendliness) Dayarani Mohanam K.chapu
9. Atmanivedanam S<}ramegani Pantuvarali Adi
(Surrendering oneself) Ninnuvidachi Ritigoula M.chapu

Several kritis have been composed by him based on Madhurabhakti.

Examples for this are "Etijanmamiti" in Varali, "Nayeda Vanchana" in
Nabhomani and "Vaddayunde" in Pantuvarali raga. In the kriti "Nayeda
Vanchana" in Nabhomani, there is a suggestion of Vatsalyabhava. In the
Pancharatna kriti "Endaro Mahanubhavulu" m Sriraga, he refers to
Keerthanam, Smaranam and Padasevanam. There is reference to japa,
smarana and padapuja in his composition "Narasimha Nanubrovave" in
Bilahari raga. The lullaby and jojo songs of him are.,,suggestive of
Dasavatsalya bhakti.
 230

Thyagaraja was a great river into which the noblest traditions of

music, bhakti and renunciation flowed. His songs re-enact various bhavas
or moods, ranging from exaltation to despondency.

Sri Thyagaraja's uniqueness is that he wrote more than a dozen

songs about the greatness of spiritual music. These songs sum up, in a
general way, his musical mysticism. In some songs, Lord Rama is spoken
of as the ultimate rasika, the "divine connoisseur of most excellent taste
who enjoys music." He considered Sri Ramamantra as his ancestral
treasure and this fact is mentioned in his several compositions like
"Samanamevaru" m Kharaharapriya raga and "Palukavemina" in
Pumachandrika raga.

Sri Thyagaraja praises music as the source of many benefits.

According to him musical knowledge when coupled with devotion
provides a means to the ultimate goal of life- 'moksha', final release or
liberation. He followed the musicologist Venkitamakhi's seventy two
melakartha system of classification and this is the one used in Kamataka
sangita today. This system and other theoretical structures outlining
possible raga varieties provided a potentially creative influence for the
discovery ofnew ragas. His songs directly stimulate the primary emotions
in a flow ofrasa.

Each Thyagaraja kriti celebrates the occasion of a bhakti mood and

the variety of moods he was able to elicit even within the same raga was
extra ordinary. By limiting the length, a more profound examination of
possibilities in rare ragas becomes possible for every note and syllable
counts, and the artist is challenged to the utmost. He has also composed
many kritis stressing on the importance of Guru or teacher. "Guruleka
yituvanti" in Gaurimanohari raga set to khanda chapu tala can be citied as
an exampl e for this.
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ARCHITECT OF SANGATI

The introduction of sangatis as a regular integral part of a kriti is the

most outstanding feature of Sri Thyagaraja's music. Sangatis are
variations on a musical theme and he used them for emphasizing the latent
meanings in the sahitya or for bringing out the raga bhava in bold relief.
Sangatis can be defined as a beautiful elongation of sahitya in a highly
musical way without spoiling the bhava of the kriti. Sri Thyagaraja shines
out as the pioneer architect of sangatis. His kritis are studded with gems or
sangatis and are developed step by step. These sangatis have contributed
in an immense measure to the high excellence and entertainment value of
hls kritis. "Sangati" is a decorative anga in a musical piece and we owe it
to Sri Thyagaraja for introducing it to make the compositions sparkle with
a natural brilliance. It sets off the raga bhava and to achieve it the musician
has to channelise his creative ability and technical skill into a mechanical
regularity. Thyagaraja built these variations into the kriti as a integral part
of it, as he also wished to portray different emotions. Sangatis can be as
simple or complex as one wishes to make them.

An example for a very simple sangati is given below:

This is the first sangati in the kriti "Anuragamule" in Saraswati raga set to
rupaka tala.
'
lip, d, s,,, n, d , I p ,,,,,,, n d p m II
.. �
a nu ra ga mu le . . . . .... ni .....
Another example for a very complex sangati is also mentioned.
This is a complex sangati figuring in the kriti "Sive Pahimam" in Kalyani
raga set to Aditala.
s
lls'.nirs n n� s n d p n d pm I g m pan, n d pm g 1, r L..,_g r s s II
,,
p
SI, Ver - - a ...• - hi.. mam _. • am... ............••.••••.......... bi - ke
 232

..
,

I ,,,,,, s n d , g r g m p d I n s r g r s n d II
...

I
(;""' r
pmgm,pdn
sri' ta .phala - da . ··············· - - - ya .. ki ..

Sangatis have been composed for different voice textures and they
also help in developing voice culture and modulation and enables good
training in musical development. The simple language and natural rhythm
of Thyagaraja's kritis lend themselves beautifully to sangatis. His
variations not only glide into one another in a natural manner but there is
also a certain appropriateness, regularity and beauty in their sequence. The
charm and lustrous character of Thyagaraja's sangatis came to be
recognised. Composers like Vina Kuppier, Pattanam Subrahmanya Iyer
and Pallavi Seshayyar have endeavoured to introduce sangatis in their kritis
and have succeeded to some extent. Thyagaraja's sangatis may be studied
under the heads of:
Ragabhava sangatis
Sahityabhava sangatis

Ragabhava sangatis serve to bring out the varied and colourful

aspects of the n adatma forms of ragas and the ragabhava is portrayed in its
fullest colour. The raga bhava sangatis adoring the compositions of
Thyagaraja are first rate examples of absolute music. These sangatis are
introduced in such a way that the literary beauties of the kritis are not at all
affected. Ksheerasagara in Devagandhari raga, Dinamanivamsa in
Harikamboji raga and Koluvamaregada in Todi raga contain full fledged
ragabhava sangatis.

In the sahitya bhava sangatis there is the prime idea expressed by

fue fundamental theme. Other delicate and finer shades in the meaning
implied in the sahitya are powerfully portrayed by the sangatis grafted on
the fundamental theme. They add to the literary beauty of the composition.
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"Jayajaya Padmanabha" in Manirangu raga, "Marubalga" in Sriranjani raga

can be citied as examples where in the sangatis form part and parcel of the
pieces.

The earlier sangatis in kritis are samakala sangatis, i.e., in the same
tempo as the fundamental theme. Madhyamakala sangatis and drutakala
sangatis, i.e.,the varied portion of the theme being in medium tempo and
fast tempo came in later on.

An example for a madhyamakala sangati or sangati in medium

tempo is given below. This is the composition "Sasivadana" in
Chandrajyoti raga set to Aditala.
1 ,,d s , d d , d p p ,,,,m , I d , p , p m g , I ,, r , r s s , II
sa si va da rni ... . bhak ta ja na - - va na -
II,, s s , d. s , d. s r s r s r , I , , g m p , d , I p d s' r's ·d p m II p d
san kara ne... �· - - ta - - la - ga_ la_ na - - - ....

An example for a drutakala sangati or one in fast tempo is the kriti

"Paraloka Sadhaname" in Purvikalyani raga,Aditala.
11,,,,,,,,, nd pm gm gr sd I s r gm ds ds • 1 ig. �s nd gm II n d p m g r
pa ra lo ........ka ... sa - _ dha - na me _ ma� na_ .Sa- -

Sangatis may be classified and studied under the heads of :

I. Those developed from the initial part of the theme. Examples are :
Pallavis of 'Mariyadagadura' in Sankarabharanam, 'Ramabhakti
samrajya' in Suddha Bangala and 'Nagumomu' in Abheri raga.
2. Those developed around the central part of the theme. Pallavis of
'Cetulara Sringaramu' in Bhairavi raga and 'Yochanakamala' in
Darbar raga are good examples.
 234

l Those developed from the terminal part of the theme. Pallavi

sections of compositions, 'Kannatandrinapai" in Devagandhari,
'Nenendu' in Kamataka Behag and 'Koluvamaregada' in Todi raga
are examples for this.

The triple aspects of bhava, raga and tala received great attention at
iliehands of the Musical Trinity. Thyagaraja took up the bhava aspect by
introduc ing both ragabhava and sahityabhava sangatis in his kritis. It is
quite apparent and most appropriate that his Divyanamavalis and Utsava
Sampradaya kirtanas do not have the embroidery work of sangatis. We
have also kritis of Thyagaraja with sangatis for every individual line or
lines of sahitya in the different sections of the song.
Example.

Marimarininne Kamboji Aditala

There are kritis with sangatis in each of the sections of the song­
pallavi, anupallavi and charana, while in some, we find sangatis only in
one or the other of the sections of the song. In some cases the introduction
of sangatis enriches the musical theme. While in the following kritis the
main purpose of the composer is to highlight the meanings contained in the
sahitya of the songs. Examples are:

Marubalka Sriranjani Aditala

Endudaginado Todi Misrachaputala

In the kriti "Karuvelpulu" in Kalyani raga, we have the sangatis

worked out only in the first half of the avartha of the tala in the pallavi,
anupallavi and charana.
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SARASA SANGATI

Starting with this simple format, Thyagaraja introduced complex

variations in the pallavi and anupallavi which at once lifted it to cerebral
heights.
In a typical Thyagaraja kriti, the pallavi starts from the middle
octave and is embellished with many sangatis which get progressively
complex, reaching out to t he higher octave ( this is a generalisation - there
areexceptions). The anupallavi starts dramatically in the upper octave and
has fewer sangatis. The charana starts in the middle octave, is kept simple,
with out ornamentation (again, there are exceptions where it is very
elaborate). In the latter part of charana, the dhatu or music of anupallavi is
repeated but with different words. Sri Thyagaraja further embellished his
compositions with chittaswaras, yati patterns, swaraksharas besides
rhetorical beauties.
From the point of view of the number of sangatis present, his kritis
may be c lassified into:-
1. Kritis with few or no sangatis.
Vinave O Manansa Vivardhani Rupakatala
2. Kritis with few sangatis.
Sitapati Khamas Aditala
1 Kritis with a medium number of sangatis, i.e., not less than six in
number.
Kannatandrinapai Devagandhari Aditala
4. Kritis with many sangatis
Darini telusukonti Suddhasaveri Aditala
). Kritis with sets of sangatis, i.e., with sangatis for the basic theme as
well as sangatis for the theme with a totally altered dhatu.
Ceraravademira Ritigoula Aditala
Chakkani raja Kharaharapriya Aditala
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KALAPRAMANA

The bulk of Thyagaraja kritis are short, light and lively, pulsating
with rhythm and hence they are the most attractive and popular concert
items. The rhythmic structure of his kritis are quite distinct and different
from each other. He has composed pieces in three layas or tempos
vilamba, madhya and druta. The kritis like "Nannuvidachi" in Ritigoula
and "Etijanmamidhi" in Varali are composed in slow tempo or
vilambalaya. The kritis like "Emineramu" in Sankarabharanam and
"Evarimata" in Kamboji are a mixture of vilamba and madhya layas.

The compositions like "Yochanakamala" m Darbar,

"Niravadhisukhada" in Ravichandrika are composed in chitratama marga
or one kala chowkam. The kritis like "Makelara" in Ravichandrika and
"Vidajaladura" in Janaranjani raga are usually sung in drutalaya or fast
tempo.

Tala is the heart beat, the pulse of music and it gives music rhythm
and meaning too. Sri Thyagaraja's aim was to achieve a perfect match
between the lyric and tala and for this purpose he introduced changes in the
eduppu or starting point of Aditala, the oldest tala. All the talas of
importance from the musical point of view, have found a prominent place
in the compositions of Thyagaraja. The bulk of his kritis is in Aditala, the
most natural of time measures and he has largely used the chaturasragati or
nadai pattern of this tala.

"Tala prasthara" means the exhaustive analysis of the tala into all
the possible component patterns and some of his kritis reveal his gifts in
k1la prasthara. Even some of the dry and artificial prastaras get a musical
and charming touch in his hands. All the possible and bearable prastharas
of Aditala are found in one or other of his compositions.
 237

DESADI AND MADHYADI TALAS

In the present day practice, the desadi-madhyadi kritis of Thyagaraja

are sung in aditala. The desadi kritis are sung in orukalai adi and we
1 1
identify them as 1 /2 eduppu kritis (kritis which start after 1 /2 counts).
Madhyadi is actually madhya (laya) + adi. Madhyadi is also aditala but
hitis have an eduppu half an aksharakala from the commencement of the
tala. Compared to madhyadi tala, the desaditala is slower in tempo. The
madhyadi kritis are only about ten to fifteen, while there are about a little
less than hundred kritis in desadi. The madhyadi kritis are longer
compositions and from the point of view of sahitya, they have high thought
content. The rnadhyadi kritis are sung in randu kalai aditala, a few are
sung in orukalai aditala. Aditala is thought to be the oldest of the tales and
it is most favoured by Thyagaraja. It consists of eight beats- 4+2+2.
Chaturasrajati Rupaka is the second most used in Thyagaraja songs.
Khanda chapu and misra chapu have been favoured much by Thyagaraja.
Afewkritis ofThyagaraja popularly reckoned in chapu could conveniently
oe reckoned in Triputa tala in as much as the same admit of a treatment in a
some what slow tempo.

The desadi tala which was popularised by the kirtankars from

Maharashtra was used by Sri Thyagaraja in his compositions. He showed
the extensive possibilities of this rhythm in his kritis. In the Desadi tala,
fuere is one visarjita and three beats and the music starts in the visarjita
after the lapse of 3/4 counts. The accent or padagarbha falls on the second
oeat. The desadi kritis offer vast scope for highly cross rhythmic
accompaniment. In the harikatha and bhajana there is skilful cross rhythm
called "Usi" (or "ediradi" in Tamil) played by the chipla or jalra. With
Usi, the desadi kritis make an exciting rhythmic effect. The Usi is a
specific rhythmic pattern consisting of three strokes played on the chipla or
 238

jalra. The total value of it is four counts for the three strokes. The last
stroke is followed by silence of one count. It is to be understood that in the
oesadi kritis, the opening of the three sections-pallavi, anupallavi and
charana starts after a period of rest for three notes ( , , , ) in the first
avartha. These three notes reappear regularly at the very commencement of
all the succeeding avarthas so that all the musical phrases invariably begin
on the fourth note of the first kriya in each avartha. It is this feature which
makes a desadi kriti different from a madhyadi kriti.

Some popular kritis m Desaditala include "Banturiti" m

Hamsanadam, "Raghunayaka" m Hamsadhvani and "Brovabarama" m
Bahudari. Compositions figuring in Madhyaditala are "Ramakathasudha"
inMadhyamavati", Sivasivasivayenarada" in Pantuvarali and "Ethavunara"
inKalyani.

When the music and the tala starts simultaneously, it is called

"Sama" eduppu. There are songs in "Anagata graha". Here the music starts
after the commencement of the tala. The commencement after � count is
noticed in Thyagaraja's kriti "Kaddanuvariki" in Todiraga, Yi eduppu is
observed in the piece "Swararagasudharasa" in Sankarabharanam and %
eduppu is illustrated by the composition "Koluvamaregada" in Todiraga.

The Atita eduppu is necessitated by prosodical exigencies. The

anupallavi of kritis "Kshinamai tiruga" in Mukhari and "Venuganaloluni"
inKedaragaula are illustrations.

There are examples for homogeneous eduppu in all the three angas.
Thekriti "Entaranitana" in Harikamboji starts after a half count in pallavi,
anupallavi and cha,ana. There are kritis with heterogeneous eduppu as
well. In "Mariyadagadura" in Sankarabharanam, the pallavi starts on Sama
eduppu and the anupallavi and charana start after half a count. In the piece
 239

"Buddhiradu" in Sankarabharanam, Thyagaraja Swami has shown the

melodic beauty of starting on the longer section of the chapu tala, i.e., after
tlrree counts.

There are also examples of songs starting one full unit (on the little
finger) and one and a half units (between the little finger and fourth finger)
from the beginning of the cycle. This has replaced the original Desadi tala
which was his favourite tala. Thyagaraja introduced many changes in the
rupaka, the other most popular tala and misra chapu as well. They opened
up exciting possibilities for "laya vinyasa" or rhythmic variations for the
drummer.

Thyagaraja gave a new lease of life to ancient scales like

Harikamboji and composed several kritis in the popular rakti ragas to bring
out their different facets. The raga Kalyani became popular through his
famous compositions like E·tavunara, Nidhichalasukhama, Sundari ni
divya, Vasudevayani etc. Musicians believe that one can get a complete
picture of the raga swaroopa by just memorising all the kritis of Thyagaraja
in a particular raga. Thyagaraja' s handling of vivadi melas which are forty
in number, shows his expertise in lakshya as well as lakshana. The vivadi
melas figure in the first, sixth, seventh and twelfth chakras. When ever he
composed kritis in vivadi melas, he avoided the vivadidosha (one sruti
interval difference) through the usage of dirghaswara prayogas in these
kritis. Examples are kritis in vivadi melas like Kantamani, Divyamani,
Navanitam, Nasikabhushani etc.

As for the derivative ragas, there appears to be no limit to his

inventive genius. While many of them are time-honoured ancient models,
older than Venkatamakhi's classification, there are some that were clearly
Thyagaraja's creations. Some of his most popular compositions are in rare
 240

ragas and, often, the only ones extent as nobody dared compose in them
after him. Some of the kritis that have brought rare or new ragas to life are
Kalalanerchina in Dipakam, Vachamagocharame in Kaikavasi, Banturiti in
Hamsanadam, Varanarada in Vijayasri etc. The more one delves into
Thyagaraja's music, the more nuances one discovers be it in the raga,
swara manipulations, sahitya or tala. His extraordinary grasp over the
classical idiom is manifest in his kritis where he refers to the finer points of
ilie art. All the music that he heard around him, even English band tunes,
was assimilated by him into his classical system. For example, the kriti
"Girirajasutatanaya" in the Bangala raga is very much similar to an English
band tune. This raga is the janya of the 29th mela Sankarabharanam.

Thyagaraja had a keen ear for voice texture and could compose
music for different types of voices those that were suited to vilamba or
madhyamakala and those tha t could or could not execute gamakas. Sri
Thyagaraja is often referred to as the "tone poet of Tiruvaiyyaru."
Thyagaraja kritis represent, in energy of fonn and musical refinement, the
hlghest peak to which our music has attained. The fusion of lyrics and
melody, the fusion of bhakti and sangita form the very essence of his
songs. The melody and sahityas are outwardly distinct, the depth of
spirituality is embedded in them.

Sri Thyagaraja also experimented with different aspects of literature.

Normally we have either two or four lines in any charana. Thyagaraja
composed charanas of various lengths from one line to ten, charanas with
one line in kritis such as "Mamava raghu rama" in Saranga raga. Many
such compositions can be noticed in the Divyanamavali group. For kritis
having two line charanas, there are many examples such as "Apparama
bhakti" in Pantuvarali. For kritis with charanas having three lines, can be
mentioned piece s like Garavimparada" in Ghantaraga and so on.
 241

From the point of view of musical construction, Thyagaraja

Swami's kritis may be classified into
I. Very simple
Vinave O manasa Vivardhani Rupakatala
2. Simple
Sujana Jivana Khamas Rupakatala
l Medium
Evarani Devamritavarshini Aditala
4. Difficult
Najivadhara Bilahari Aditala
). Complicated
Darinitelusukonti Suddhasaveri Aditala

The dhatu of the kriti "Koluvaiyunnade" in Bhairavi raga, Aditala,

is couched in the tana style and that of "O Rangasayi'" in Kamboji raga,
Aditala in the alapana style.

From the point of view of the duration required to render his kritis,
fuey may be classified into
I. Very short
Ramincuva revarura Suposhini Aditala
2. Short
Brovabarama Bahudari Aditala
l Medium
Evarimata Kamboji Aditala
4. Long
Najivadhara Bilahari Aditala
), Very long •
Darini telusukonti Suddhasaveri Aditala
 242

KRITIS WITH CHARANAS OF DIFFERENT DHATUS

Sri Thyagaraja has composed the following kritis whose charanas

are set in different dhatus or music in addition to the classical Ghanaraga
Pancharatnam.

Ninnuvina Sukhamugana Todi Rupakatala

Sri Raghuvarasugunalaya Bhairavi Aditala
Brochevarevare Sriranjini Aditala
Endukunirdaya Harikamboji Aditala
Sri Raghuvaraprameya Kamboji Aditala
Namoralanuvini Arabhi Aditala
Nipadapankajamula Begada Aditala
Maravakaranava Devagandhari Aditala

The distinctive personalities of ragas are revealed in each of these

compositions.

KRITIS COMPOSED DURING DIFFERENT PERIODS ii

His compositions may be grouped into those composed during his

1. Early

Early period compositions comprise of those composed till his 301h

year. They are mostly Divyanama kirtanas and kritis with single charana
and are very simple in musical constuction. They are in Sanskrit and
Telugu and the sahityas in many cases consist of doxologies. These kritis
are mostly in praise of his Dhyanamurti, Sri Rama and are in familiar ragas
loo. Examples are : •

* fvl�f\OY\• k. f'; .s, rr f/.... M°;jCL S'�t-.4//

IV��,� V\P.. I i o o £s W 11 kt1 1:-l� a_ r-1 1 Ji 8 � ,.

<cJ°cJ
 243

Pahiramachandra Sankarabharanam Aditala

Brindavanalola Todi Rupakatala
Sujanajivana Khamas Rupakatala

1. Middle

Middle period compositions are those composed between his 30th

and 601h year. Kritis rich in musical content and rare ragas are seen during
!Iris period. Beautiful sangatis, literary beauties and poetic ideas can be
noticed in them. The Ghanaraga Pancharatnam and the following kritis are
examples:
Janaki ramana Suddha seemantini Aditala
Manasusvadhina Sankarabharanam Misrachaputala
Nayedavanchana Nabhomani Aditala

3. Later

Later period compositions are characterised by mature music and

mature ideas in the matu or sahitya. These kritis are highly polished and are
delicately chiselled ones. Examples are:

Evarimata Kamboji Aditala

ORangasayi Kamboji Aditala
Najivadhara Bilahari Aditala

RELATIVE WEIGHTAGE ACCORDED TO DHATU AND MATU

According to the weightage given to music or dhatu, his

compositions maybe classified into:-
 244

I. Wherein greater weightage is given to music. Examples are:

Najivadhara Bilahari Aditala

Koluvaiyunnade Bhairavi Aditala

2. Wherein equal weightage is given to music and sahitya. Examples

are:
�itapate Khamas Aditala
Entaninne Mukhari Rupakatala

l Wherein greater weightage is accorded to sahitya or matu. Examples

are Divyanama kirtanas like Sri Ramajayarama in Varali raga,
misrachaputala and Utsava Sampradaya kirtanas like Hechcharikagerara in
Yadukulakamboji raga, jharnpatala.

Besides using prassidha melas and ragas, the composer had also
created new ragas, which he himself refers to as "Vinta Ragalu". He was
the st aunchest adherent of ancient tradition or sampradaya and yet the
author of or fore runner of revolutionary progress. He created laws for
others to follow, at the sarnetirne confirming to fundamentals of music. All
the possible sancharas in prassidha ragas were covered by him in his
compositions. He was the first to use in classical works some folk rhythms
current in Tanjavur and he innovated greatly in the rhythmic dimension of
kritis.

Sri Thyagaraja's Divyanamavalis and Utsava sampradaya kritis, rich

in poe tical an d musical excellence, are worthy of musical grandeur. The
popular Utsava sampradaya kriti "Nagumomu" in Madhyamavati has close
similarity with the Telugu lullaby "Eduvaku Eduvaku Verina". The
influence of Unjalpattu can be clearly noticed in the kriti "Laliyugave" in
 245

Nilambari raga. His mastery on simple and soothing tunes is evident in his
kriti "Vandanamu" in Sahana raga.

The popular marnage song of Sri Thyagaraja, "Sitakalyana

vaibhogame" in Kurinji raga, is very much similar to the famous
Unjalpattu, "Gourikalyana Vaibhogame" in its musical structure. He
borrowed folk ragas from the Veethi Bhagavatha dramas and stressed the
Omniscience of Brahma chaitanya in the entire universe in his
compositions. The kriti "Paramatmudu" in Vagadeeshwari raga is an apt
example for this.

In his Bilahari kriti "Dorakuna Ituvanti", Thyagaraja has beautifully

portrayed the main deity of the Thyagaraja Swami temple in Tiruvarur. In
ilie kriti "Sarivedalina" in Saveri raga, he has described the unsurpassing
beauty of the Kaveri river. In the kriti "Sogasuga" in Sriranjani raga, Sri
Thyagaraja has aptly explained about the swaroopa or structure of a kriti.
In the charana portion he says,
"Yati visrama sadbhakti vi
rati draksha rasanavarasa
yuta krtice bhajiyince
yukti tyagarajuni tarama? Rama"

In this composition he throws light on the indispensable factors

essential for a kriti. A perfect kriti should be decorated with literary
beauties like alankara, yati, vritta and should be rich in bhakti rasa.

Some compositions of Thyagaraja have close similarity with other

musical forms also. Kritis like "Girirajasuta" in Bangala, "Sujanajivana" in
Khamas and "Sarasarasamarai" in Kuntalavarali are very simple and are
 246

similar to the musical fonn 'Gitam' in their musical structure. Gamaka

prayogas are rarely seen in these kritis. "Sri Raghuvara" in Kamboji raga is
similar to the form "Swarajati" in its structure. From the point of view of
musical and literary excellences, the Pancharatna kritis of Thyagaraja can
be very well compared to the musical form "Vamas" in their structure. The
compositions like "Intatamasamaite" in Saveri, Callaganato in Vegavahini,
Canitodi in Harikamboji are set in chowkakala and has resemblance to the
musical fonn "Padam". In these kritis great importance is given to Sringara
bhakti and the nayaka-nayaki bhava.

Thyagaraja focussed m his novel kritis, all, the rays of music

previously found scattered among vrittas, kirthanas and vamas. The
development of sangatis was the special feature of vrittas, the control of
tala, ofkirtanas and the swara vinyasas, of vamas. He happily blended all
these three features in his kritis and presented to the world an entirely new
and fascinating species of composition. The balanced presentation of pure
graced notes is an outstanding feature of his compositions.

We see yet more interesting features in the kritis of Thyagaraja that

they contain a significant arrangement of the grahaswaras employed for the
pieces. Further he has indicated that all the musical composition should
begin with the jiva swaras of the corresponding ragas. If, in a bhashanga
raga the foreign note (anya swara) being a jiva swara, Thyagaraja used that
also as a graha swara for those compositions set in those ragas. The same
is true even for the graha swaras employed within the constituent angas of
!he composition. Being a great singer and a Vainika, Sri Thyagaraja has
emphasised the importance of singing to the drone accompaniment of the
tambura and the importance of acquiring proficiency in veena play. The
individuality of a raga is revealed only on the back ground of the adhara
The Image of Lord Rama worshipped by Sri Thyagaraja
 247

shadja and hence the importance of the continuous sounding of the

!ambura, during a concert of art music or sacred music.

His compositions are an important source of knowledge relating to

ilie sacred lore and may be said to be an epitome of the Epics-Ramayana
and Mahabharata and important puranas like Bhagavatam. The several
allusions in them reveal his wide scholarship too. A bulk of his
compositions pertains to the story of the epic Ramayana. Examples of his
Ramayana kirtanas are

Ramabana Saveri Aditala

Entaninne Mukhari Rupakatala
Alakalalla Madhyamavati Rupakatala
Srikantani Bhavapriya Aditala

SANKSHEPARAMAYANA KIRTANAS

I. Sri Raghukula Hamsadhvani Aditala

2. Sri Rama Jayarama Yadukulakamboji Khandachaputala
(Treats of episodes from Sri Rama's childhood down to his marriage
with Sitadevi)
1 Vinayamunanu Saurashtra Misrachaputala
(Treats of the remaining episodes in Ramayana)

Draupadi maanasamrakshanam figuring in the Bhagavatam is

referred to in the charana his composition "Kshirasagara" in Devagandhari
raga. Gajendra moksha is referred to in the kritis "Ramalobhamele" ( I st
charana) in Darbar raga and "Marimarininne" in Kamboji raga. There is
reference of Kurmavatara in the first charana of the kritis "Anyayamu" in
 248

Kapiraga and "Siggumali" in Kedaragaula raga. In the second charana of

ilie kriti "Munnuravana" in Todi raga, there is reference of
Narasimhavatara. Krishna tulabharam is referred to in the song "Devi Sri
Tulasamma" in Mayamalavagoula raga. In the fourth charana of the Varali
Pancharatna, "Kanakanaruchira", the great Bhakta-"Dhruva" is referred to.
The lifting of Govardhana giri is referred to in the kriti "Brovabarama" in
Bahudari raga. The Divine child, Krishna, being tied to a mortar is referred
!oin the last charana of the kriti "Appa Rama bhakti" in Pantuvarali raga.

Music was the medium for him through which he revealed his
evolved " bhakti maarga" and "bhaagavataanubhava" Instances of raga
bhava enchancing artha bhava in Thyagaraja's compositions are
innumerable. Like the other members of the trinity, he performed unique
services. Thyagaraja explored ragas in which no other composer, before or
since has been able to compose and reinforced the place of Telugu as a
linguistic musical medium in South India. It is the greatness of his music
ilia! it exalts the consciousness of the musician and the listener. Saint
Thyagaraja is the one and only Vaggeyakara who has spoken extensively
of the greatness of music as a moksha sadhana.

His sishyas were mainly responsible for propagating majority of his

kritis with the detailed notations and corrected sahitya. But with the
passage of time, several changes have arisen in the musical structure and
presentation of these kritis.

Thyagaraja stands without doubt on a par with the greatest of those

who have nurtured and illuminated the world. The power and variety of
hls music, the sweetness of diction in his poetry, the presentation of the
essence of philosophy in his lyrics, and the promotion of "pure music by
 249

itself as bliss and knowledge divine"- all have earned Sri Thyagaraja a
unique status in the world of South Indian music.

Musical excellences figuring in the pratimadhyama melas and its

janyaragas of Shri Thyagaraja has been dealt in detail in the corresponding
chapters 3 and 4. The next chapter deals with the literary and rhetorical
beauties figuring in the kritis of Sri Thyagaraja in general.

-1l<Hj�l�-Hfklt11 I

"1� lctiffi<:U� i=t-1-HI I I

Niidasudhiirasam bilanu
Nariikritiyiiye manasii

Thyagaraja Swami says, "Oh! mind, do drink the nectar of Nada! Sri Rama
is the incarnation in human form of the eternal OMKARA NADA". 17

The above pallavi portion is taken from a famous kriti of Thyagaraja Swamikal in
Arabhi raga set to rupaka tala.