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INTRODUCTION
Introduction 1
INTRODUCTION
The early music of Kerala is hidden among myths, rituals, and folklores. Ritual
music, attributed to Sage Parasurama, is preserved in Bhagavati temples, Sarpakkaavu
and Saastha madams. Innumerable folk songs have emerged through the ages along
with socio-rituals and festivals.
Tha tauryartika concept applied to Kerala music in fields of Drama, Dance, are
featured in Kathakali, and other forms of presentations. These have evolved from the
stages of Koothambalams, to royal courts of Patrons in Kerala, to the Sabhas in India
and abroad. We find a wide range of songs composed by poets, musicians known and
unknown between the early and later period. The later ones after 1920‟s, have evolved
into the realm of what is considered Classical Carnatic music with the elements of
raga, style of rendering and rhythmic ideas required for presenting them before the
discerning audience and connoisseurs of classical music in a Carnatic Cutcheri-
concert.
Music of Kerala at once brings to our mind Maharaja Swati Tirunal- his rich
output and variety in theme, language and form. There have been many other
composers Royal and otherwise, who deserve attention. A short survey into the pre-
classical forms reveal songs accompanying koothu, koodiyaattam, krishnanattam,
ramanattam, kathakali and mohini attam. Thyaanees and Sopana sangeetam was more
of prabhanda type with concentration on literary ideas and having more devotional
appeal, hence had fewer notes, lower octaves, selected tala structure and simple
melody phrases.
Gradually, a branch of music developed independent of the function of ritual,
festival or accompanying drama or dance. This development resulted in the emergence
of many composers in Kerala, influenced by the musicians and composers of the
neighbouring provinces of Peninsular India
The contribution of these Kerala composers , comprise of all types of
compositional forms such as prabhandha, kirtana, kriti, varna, pada, swarajati,
jatiswara, tillana, ragamalika; those which should form the repertoire of a performimg
musician. The musical forms rendered in current day music concerts do include most
of them.
Introduction 2
It is a matter of intrigue that but for a few compositions of Swathi Tirunal, a few
of Irayimman tampi, the stock of the musical wealth of many other composers are yet
to come to the lime light and knowledge of performing musicians in and out of Kerala.
Being a student of music and that too, a performing musician,
I found to my dismay that there are many compositions by the knowledgeable
composers of Kerala, which are still in the manuscript stage- some are published,
some preserved in the Royal families, by the descendants, by the disciples of these
composers who were themselves musicians of great prowess..
While preserving ancient ragas, new ragas are evolved and illustrated through the
compositions. The rarely sung compositions display rare melodies to which they were
originally set, but due to the lack of a good preserving agency, the melodies are
changed to the convenience of the performer and popular appeal. Some innovations in
the form and content are also attempted. These results in the loss of the tradional
setting which generations to come will never have access to.
The linguistic medium used in music of Kerala is very wide and the regional
tongue is neither ignored nor made the sole vehicle of expression. There exist songs in
all the four Dravidian languages, Malayalam, Tamil, Telugu, and Kannada, apart from
Sanskrit, Hindi, and Braj bhasha
The prime objective of my research study hence was to unearth ,investigate such
compositions which are well worthy to be included as concert pieces and performed
in the regular sampradaya cucheri pattern, while taking into consideration the lyrical
aptness , musical aesthetics and devotional appeal. After all music is a fine art, when
performed the singer as well as the listener derive gratification at the same time.
I took upon myself the task of delve into the works of such composers and with
that purpose undertook trips to Kerala to which I belong by birth- my parents are
natives of Kerala .
This field work was an eye-opener .With the kind help and generous attitude of
my guide, Dr.K.Omanakutty; I unearthed hundreds of compositions from the
manuscripts, Journals, articles, magazines, renderings, and recordings.
Among these compositions, that caught my attention were the taana varnas of
Palakkad Parameswara Bhagavatar (1815-1892 A.D.), which I have analysed and
Introduction 3
successfully submitted as my Dissertation for the degree of Master of Philosophy

under the able and compassionate guideship of Dr.S.A.K.Durga.
Subsequently as a teacher, I found these Varnas best suited for upcoming students
and performers as abhaysa gaana, for voice culture, linguistic understanding, and
taana rendering practise. As a musician, I too have personally gained from this merits.
For the Krtis analysed therein, the notations or original rendering were not available.
As a student, my study continued to focus on the Sanskrit kritis of yet another
composer whose compositions were published by Kerala Sangeeta Natak Academy.,
Trichur.
Thus in “Venkataramaneeyam”, I found the musical notations for the kritis of
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.who belonged to Palghat, Among his
compositions the spotlight of my study is the 108 Krtis on Lord Krishna based on the
108 names of the Lord„Sri Krshnāshtottara Sata nāmāvali‟. These 108 Krtis in 108
different rāgās, in scholarly Sanskrit caught my attention and with the kind guidance
of my guide, DR.K.Omanakutty, I decided to study them.
The revelation further goaded me to learn eight unknown ragas used by
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .For this I knew there was none other than my
guru Prof. S.R Janakiraman, who passionately educated me on the aesthetic analysis
of these unheard melodies.
A chance encounter at the Madras University, with Dr. E. Saraswathy, who
happens to be the granddaughter of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar, helped me
to know more about him as a musician, composer, and teacher; and more as a person.
The notations of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar‘ s krtis in manuscript form
scripted by his brother and son who themselves were his disciples and performers,
revealed three kritis in complex talas unknown and unheard in the current concert
paddhati.
I decided to include the hitherto unknown ragas and Talas in the kritis of
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar as part of my study and analysis for my
research.
Introduction 4
This thesis is a critical study of the contribution of E³³app¡¿a¯Ä VenÅki¿ar¡ma
Bh¡gavatar (1880-1961) to Carnatic music as gleaned from the assay of lesser known
composers of K£ra©a.
Kerala has shared the general musical culture of peninsular India from the
earliest times. South Indian music is generally known as Carnatic music because of its
common features. E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar, a musician, Harikatha
exponent and composer, belongs to the class of lesser known composers of Carnatic
music, of Kerala.
Rationale for Selecting the Topic

The objective of this study is to bring to light the compositions of E³³app¡¿a¯Ä
VenÅki¿ar¡ma Bh¡gavatar by analysing their musical and textual aspects and comparing
them to the compositions in the relevant genres of well –known and hitherto less known
composers.
Inclination for This Project
Factors that motivated the investigator to embark on the study of music in

K£ra©a are:
 compositional varieties considering their suitability and popularity in the

current concert platform
 source of patronage in India, during the pre-independence ,post-independence
and the present times.
 deficiency in proper representation in music concerts
 lacunae in documentation of the works, manuscripts, performances
 efforts towards publication of yester-year composers -v¡kg£yak¡ra s
Introduction 5
THE STUDY PROCESS UNDERTAKEN
An overview of the characteristics of Carnatic music concert-format tradition-

paddhati, its evolution, purpose, a purview of the composers whose compositions are
represented in the music concert at present
 Use of language in a musical composition as a medium of expression
 Music presented by yesteryear musicians and the present scenario.
 Varying degrees of enjoyment experienced by the performers, a musically
inclined listener and a devout listener of Carnatic music.
Factors that helped the investigator in the study are
 lak½a³a - lak½ya jÅn¡na - practical and theoretical knowledge of music,
 Availability of apt supervision in the experts‟ guidance at all stages.

 Linguistic aptitude- fluency in the International Library language- English
 Knowledge of Sanskrit, Malayalam, Hindi, Tamil, and working knowledge of
Marathi and Telugu
 Co-operation of resource persons, students and scholars
 Access to authentic and adequate source material
Limitations Encountered During The Study Were The time factor,
Geographical aspect ,generation gap among the disciples in maintaining the
presentation style of the composer, effectiveness of data preservation method,
Documental deficiency, unwillingness to share the resource.
In spite of these, this dissertation is an humble attempt made by the
investigator to analyse, present and document the Contribution of E³³app¡¿a¯Ä
VenÅki¿ar¡ma Bh¡gavatar
The title of the thesis is – “Contribution of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar
(1880-1961) to Carnatic music-A Critical study”

Introduction 6
Scope of the Study

The study focuses on the textual and musical aspects of the kritis composed by
E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar - and scripted to musical notation by his brother
and disciple E³³app¡¿a¯Ä Viswanatha Bh¡gavatar and E.V Ramachandran, his son and
disciple. Objective of this study is to assess the relative significance of these
compositions in the present context with a view to present them in music concerts and
make known to the music world the work of this musician composer E³³app¡¿a¯Ä
VenÅki¿ar¡ma Bh¡gavatar.
Methodology Adopted For the Research

The core of the work has been approached with the aid of analytical
methodology. Analysis of the kºti s of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar forms
the basis for this research work since the thesis is a Critical study of the contribution
of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar- through his kºiti s in popular and rare
melodies - r¡ga s, and in popularly prevalent and new rhythmic cycles-t¡©a s.

Historical methodology is applied in the study of the unique usages of r¡ga
scales and rare settings adopted in the popular modes
Historical methodology is applied also in the analysis of the new t¡©a patterns and
scrutiny of the differences in setting to the existing rhythmic patterns.
Data Collection
The data for this work has been obtained from through various sources during
the process of this research. Composers represented in the concerts, the compositional
variety presented by the musician s have been assimilated.
Field work conducted to meet the musicians, research scholars in Kerala and
Chennai Field trips made to collect the manuscripts, recordings available with the
descend and students. Attempts made to collect the archival recordings in Kerala and
Chennai Visits undertaken to the libraries in Kerala like University Library at
Introduction 7
Karyavattom Swati tirunal college library, Libraries Of research scholars and

musicians like Sangeeta Bharati ,Trivandrum, in Kerala. at Chennai, The Music
academy library ,The Madras University Library, the British council library, Sanskrit
college library and the books and journals from the personal collection of scholars and
musicians in Chennai.
Referred Books, periodicals, journals, magazines, Dailies, Audio recordings,

personal and telephonic interviews, attended lecture demonstrations, workshops,
national and international seminars- and made a record of my observations.
CHAPTERISATION FOR THIS THESIS IS AS FOLLOWS
THESIS IS DIVIDED INTO FIVE CHAPTERS.

CHAPTER 1-HISTORY OF MUSIC OF KERALA
CHAPTER 2- BIOGRAPHICAL SKETCH OF E³³app¡¿a¯Ä VenÅki¿ar¡ma
Bh¡gavatar.
CHAPTER 3 ANALYSIS OF THE MUSICAL ASPECTS OF KRTIS OF
E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar.
CHAPTER 4 ANALYSIS OF THE LYRICAL ASPECTS OF KRTIS OF
E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar.
CHAPTER 5 CONCLUSION
BIBLIOGRAPHY
APPENDICES
8
HISTORY OF MUSIC OF K£ra©a
CHAPTER 1
In this chapter, keeping in mind the historical perspective of music in K£ra©a
from pre-historic times, the evolution of Carnatic music from secular music in K£ra©a
over a period of time to its present day concert form has been enumerated and studied
in detail. The patronage offered to musicians in K£ra©a is studied too.
1.1 K£ra©a as a seat of music
The early music in K£ra©a was a blend of the Vedic chants, the songs of the
bhakti cult movement, and folk music. Early music comprised of devotional lyrics,
songs in ritualistic music and songs of the common folk. Its essential features were
born out of a happy blending of the Vedic chants, the folk and tribal music of the
region.
TEMPLE MUSIC
The music of K£ra©a temples, dominated by the Dravidian tradition of religious
music, dance and instrumental playing flourished till the 7th century A.D. The music
system had rejuvenation when Gita Govidam was introduced to Kerala in the local
musical mould during the 14th-15th centuries A.D. It was a revival of the Paattu
school of music, Paattu, the word means song or music in Malayalam1-which was
preserved in the devotional ty¡n§ s.
ty¡n§
The word ty¡n§ could be derived from the Sanskrit term dhyānam. ty¡n§ is
also known as Taaivaani and Dhyaani.ty¡n§ s are sung as a part of koṭṭipāṭi
sēva2.ty¡n§ s are short songs sung standing on the Sopana –steps, leading to the
1
The language Malayalam belongs to the south Indian language group - Dravidian,and is based on
proto-Tamil, with a significant influence of saṁ t
2
koṭṭipāṭi sēva – in Malayalam, sēva means an offering and koṭṭipāṭi means singing with koṭṭu -tap
and tempo
9
Sreekoil-Sanctum Sanctorum. ty¡n§ s are rendered to the accompaniment of
iṭaykka3.
The idayka is considered to be a Devavadyam -a divine instrument unlike a

Sabha vadyam-concert instrument. It is customarily played as a solo instrument in the
form of an offering during the worship. At temples standalone performance of this
instrument as a custom, by the Ambalavasi community Marar or Poduval is seen even
today. Idakka is a kottu vadyam (band-based) as well as a geeta vadyam (music-
based). It acts as kottu vadyam in case of Panchavadyam or Idakka Thayambaka, and
as as a geeta vadyam during Mohiniyattam or fusion sessions
Ty¡n§ s are mainly in Malayalam4. Ty¡n§ s have been adapted from the dhyāna
Slokas –implying verses meant for medidating-which were in Sanskrit The dhyāna
Slokas in Sanskrit were used in accordance to the Tantric rituals. The Ty¡n§ is sung
in the temple as an offering to the accompaniment of ritualistic
accompaniments.There are many dhyāna Slokas in Sanskrit . The songs composed
in the style of these dhyāna Slokas in Malayalam came to be called as Ty¡n§ s.
Ty¡n§ s are sung along with Ashtapadis. Ty¡n§ s usually don't employ language
other than Malayalam. Hence this unique form of pr a ye r f ul o f f e ri n g i n t h e
t em pl e m usi c ge n r e of K e r al a is called kottipadiseva.
3
The (Malayalam: ഇടയ്ക്ക), iTaykka)also spelt edaykka, is an hourglass-shaped drum from Kerala
in south India. This handy percussion instrument is very similar to the pan-Indian damaru. While the
damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick. Like
the damaru, the idakka's pitch may be bent by squeezing the lacing in the middle.
The idakka is slung over the left shoulder and the right side of the instrument is beaten with a stick. The
left hand is used for tightening and loosening the tape wound round the middle. Varying the tension of
the tape produces variations in tones. Simple melodies extending over one octave can be played in this
instrument.
4
The language Malayalam belongs to the south Indian language group- Dravidian,and is based on
proto-Tamil, with a significant influence of Sanskrit
10
Th e ty¡n§ is a versified form having eight lines or four couplets.i They do not
have the sections like Pallavi, Anupallavi and Charana as in Carnatic compositions.
There are ty¡n§ s in praise of each and every important deity worshipped in the
temples of Kerala. From the lyrics of ty¡n§ s one can make out to which place d o e s
t h e t em pl e b e l o n g . Also t h e r e are ty¡n§ s for d i f f e r e n t forms of same diety
viz, Vishnu, Padmanabha, and Krishna eventhough they are one. There are ty¡n§ s
based on the origin of the kshetra, the devata , the rituals, the power of prayer to
the diety and also about the special significance of the presiding deity of the
temple.These are sung in specific ragas and talas according to the particular time
when the offering is made to the diety. The performer selects raga suited for that time.
Such ragas known as ‗samaya ragas‘ because the time of conducting the ritual is the
deciding factor in using the raga for singing
The musician is inspired by the particular time associated to different dieties
and various shrines. Such ragas known as ‗samaya ragas because, time of the ritual
is the deciding factor in using the raga for singing The singing of ty¡n§ s takes its
roots from the music of the earliest singers of the land as mentioned in the text
Silappatikaram.
Some of the rare melodies specially conceived for embellishment of certain
emotions are Pati, Indisa, Puranir, and Kanakuranji. Certain ragas like Srikandi,
Desakshi, Nalantha and Samanta Malahari are used in old devotional songs. iiThese
melodies have remarkable fascinating lilt and a tinge of folkish character. The
accompanying instruments include iṭaikka, maddaḷam, and ceṇḍa
In Kerala, several forms of music have grown associated with festivals and
ceremonies of temples.
Panchari melam and Pandi melam are two major ensemble performances
using chenda and accompanied by ilathalam (cymbals), kuzhal and Kombu.
Thayambaka is a form in which one or a few chenda players perform

improvised solos with a few more chenda and ilathalam players.
11
Along with these there are Kshetra vadyam and Sopanam which are music
accompanying rituals.
There is also Panchavadyam, an orchestra of five instruments -

Maddalam, Thimila, Kombu, Ilathalam and idaikka.
sµp¡na sa¯g§tam
sµp¡na sa¯g§ta¯, appears to have acquired its name from the 'Sopanam' which
means ‗Steps leading to the Sanctum Sanctorum' of the temple. Dravidian music can
be considered as the cluster of Tauryatrika which formed the foundation for Sopana
Sangeetham. Tauryatrika - union of three art forms - is a combination of the three
major art forms namely sangeetham, nrittham and vadhyam iii. Sopanam is a form
of Indian music developed in the temples of Kerala in the wake of the increasing
popularity of the Jayadeva's 'Gita Govinda' or 'Ashtapathi'. Sopanasangitham is sung
standing on the steps -Sopanam of Sreekoil, with the accompaniment of the drum
called ' idakka.'. The sopana sangitam in its traditional form is seen at its best among
the Marars and Poduvals, who were hereditary Ambalavasi Ardha Brahmanas iv -Semi
Brahmins engaged to do the same.
The characteristic features of this music are, simple structure, devotional

flavour and peculiar forms of expression.The structure of the Sopanam music is
believed to reflect the experience of the devotee in ascending the heights of devotion.
Being bhava pradhana – giving importance to emotional expressions and with bhakti
or devotion being the ultimate purpose, the selection of ragas and talas for the music
are set by the traditional style called as Sopana Sailee. This Sopana Sailee is
charecterised by Octave selection, Modulation of swaras, Tempo variations.Another
major distinction is the peculiar usage of two or more swaras in addition to the
accepted 12 n o t e s in Karnatic music. These two swaras are referred to as Kairali
Gandhara and Kairali Nishada5 which can be found in folk music of Kerala.
5
Contribution of Travancore to Karnatik Music, by Dr.S.Bhagyalekshmi
12
Sopanam music developed and became popular through the practice of singing
invocatory songs in front of the 'Kalam' or Kali (floor drawing of Kali) and later on at
the sanctum of the temple. There are a few powerful schools connected with the
temples like Pazhoor, Thirumandhamkunnu, Guruvayoor, and Ramamangalam. In
these temples, this music had been hereditarily practiced by temple singers. Neralattu
Rama Poduval of Thirumandhamkunnu bani, Janardhanan Nedungadi of Guruvayoor,
Damodara Marar belonging to the Mudiyettu bani of Pazhoor are some of the experts.
Sopanam music as it is practiced in different schools, maintains its rustic
nuances with the feeling of devotion as its basic quality. From the temple sanctum this
music has taken many diversions and grown as dance music in Ashtapadiyattam; the
mould of which was later adopted by Krishnanattam, devotional music in Kalam pattu
and dramatic music in Mudiyettu and Kathakali.
On the steps of the sanctum sanctorum the performer is a devotee offering
propitiation to the Deity it is addressed to; whereas a Kathakali or any stage artist
unfolds the deified form through the story line in the form of the music sung behind.
The audience or rasikas experience spiritual upliftment. It is an audio visual treat for
him
In spite of its ramified developments, it is different from concert music but the
Sopana Sangitam maintains and should maintain its purity in the temple tradition –
kshetra Sangitam
FOLK AND RITUAL MUSIC
Any language will have folk songs that breathe the local rustic characteristics
like the lifestyle, language, dialect, customs etc. They are inextricably blended with all
the facts of life. They are generally handed down orally with no written form. They
pass through verbal tradition and from generation to generation. Consequently, they
are subjected to vast changes as also to social, textual and attitudinal variability. Folk
songs are the true mirror of social life.
Malayalam too is rich with folk songs. Folk songs are imbued with the inner
glow of folk life and folk culture. Most of the folk songs of Malayalam have racial or
ethnical and or communal tradition. Besides songs, music and art reflect the ancestral
13
family vocation of many communities like the traditional songs of the Pana, Pulluva,
Mannan, Pulaya, Vela, Kaniyan, Ganaka, Malaya, Vannan, Paniya, Paraya, Kuruma,
Mappila, Vettuva, Thiyya, etc. The lyrics and the rustic melody announce the
communal traditions of folksongs of these people. This tradition is reflected in the
style of presentation of songs too. Similarly, the same song when sung by different
folks or castes has different styles.
The nadanpattu (nadan-native, pattu-songs) of Kerala - folk songs narrate
unrecorded tales of the land and people. These lyrical songs are evoked from the
emotions and simple wisdom of common folk, associated with the rural or rustic life.
Almost every aspect of life and occasions such as childbirth marriage, festivals, the
glee of the harvest season, weddings, war, the union of man and woman, mythology
and religion and death finds a place in Kerala folksongs. Mappilapattukal,
Pallipattukal, Onapattukal, Mappilapattu, Vilppattu and Vanchipattukal, are some of
these native songs of different castes and communities of Kerala.
Besides these, there are Anushtanapattu -Ritualistic song, Vinodapattu (Song
for games and entertainment) and Panipattu (Labour song).
Some of the rituals where the Folk Music & Dances of Kerala are predominant:
Theyyamv -Theyyam are also called Thirayattam, because every thira or village
performed this ritualistic art at the village temple. This vibrant ritual performing folk
art form enacted in courtyards of "Kaavukal"-sacred groves and village shrine.
Musical accomaniments are chenda and veekuchenda (drums), elathalam and Kuzhal
(horn). This art form is mostly performed in Bhagavathy temples. Performances are on
between the month of October and May. Thira is the main subdivision of Theyyam
Kalampattu (kalamezhuthu pattu) is another folk art form that belongs to the
northern regions of Kerala. This art form which is over 600years old is performed by a
group of five to fifteen people in Bhadrakali and Ayyappa temples. The ritual is
performed around the kolam -an elaborate picture, usually of Bhadrakali, drawn on the
floor, using five colours. The singers are neatly dressed with women wearing their hair
on the side of the head. A series of songs (kalampattu) are sung to the accompaniment
of nanthuni and elathalam.
14
Kavadiyattam is a ritual dance offering in Subramanya temples. The group of

devotees wearing bright yellow or saffron costumes with ash smeared all over the
body, dance in a frenzy carrying Kavadis on their shoulders. Kavadis are colourful
bow shaped wooden structures rising six to ten feet high. The ambalakavadi is
structured and decorated like a temple. The Pookavadi has clusters of colourful paper,
cloth or plastic flowers arranged on them. The resounding beats of percussion
instruments like udukku and chenda and the nadaswaram are characteristic of the
Kavadi procession.
Cherumarkali is a harvest dance in which the dancers, both men and women move in
a swift rhythm, linked in a back lock or holding arms. The costumes are in striking red
and white.
Kaalavela is a spectacular procession of huge gaudily decorated motifs of bulls -kaala

Kummattikali is the famous colorful mask-dance of South Malabar, performed
during the festival of Onam. It is a temple folk art and an awe inspiring mask dance.
Kettukazhcha is a spectacular pageant of colourfully decorated effigies of gods and
goddesses, and images of animals like the horse, bull etc.
Kolkali is a group dance form of the farming community in Kerala. Twelve to twenty
four dancers move rhythmically in a circle around the ceremonial lamp, tapping the
two feet long wooden sticks held in their hands.
Kumbhamkali / kumbhamthullal (pot dance) is a folk ritual dance of devotees

carrying pots on the head.
Kuthiottam is a ritual art exclusive to the Devi temples of south Kerala. A team of
artistes perform this song and dance ritual. The songs include those in praise of Durga
and other deities, Padapattu (war songs) and Kalaripattu (martial art songs).
Instrumental accompaniments are mainly percussions, ganjira, bells and chaplankatta.
15
Faces are painted and red curtains are used as partitions on the stage.
Pooram is the great elephant pageant of certain temples in Kerala. The pageant is
accompanied by the panchavadyam which gradually works up to a crescendo.
Mayilnritham/Mayilattom is a ritual art performed by artistes in peacock costume. It
is performed in Subramanya Temples in South Kerala.
Padayani (literally, a column of army) is a colourful ritual art which is symbolic of
vi
the victory march of goddess Kali after she defeated the demon Daruka. The
elaborate costume of this art form bears slight resemblance to Theyyam of North
Kerala. The percussion instruments used in Padayani are Padayani tape, chenda, Para
and kumbham.--
Poothamkali (pootham) is a folk art more commonly performed in the Bhagavathy

temples of Malappuram. Pootham is the character who accompanied Durga in her
combat with Darika asura. The performers, usually three in number, undergo a week
of austerity before the presentation. Colourful and intricately designed masks carved
out of the pala and murukku trees are the highlights of the attire. The fifteen minute
performance starts slowly and works up to frenzy towards the end. The thudi provides
rhythm to the dance which is usually rendered at night.
Pulikali also known as kaduvakali is a common sight in Kerala during festive seasons.
Performers painted like tigers in bright yellow, red and black, dance to the loud beats
of percussion instruments like the udukku and thakil.
Pulluvan Pattu -Sarpa pattu (sarpam thullal) or snake dance is a ritual art performed
in shrines and temples devoted to Nagaraja the king of serpents.
Pulluvan Pattu is also known by other terms such as Sarpa Pattu, Sarpam Thullal,
Nagam Pattu,Sarpolsavam, Pambum Thullal or Pambum Kalam.Most art forms of the
Pulluvar community are ritualistic in nature, though songs are based on the Puranas
and agriculture.Pulluvan Pattu is accompanied by different musical instruments made
by the community - the one stringed violin known as the Pulluvan veena, the Pulluvan
kudam, an earthen pot with a string fastened to it, Pulluvan mizhavu and
kaimanicymbals. Out of these, the Pulluvan veena plays a major part during the
16
rituals.The veena is made out of a hollow bamboo stick, teak, coconut shell or wood
and is played with a bow made out of a piece of sharpened bamboo. This one-stringed
instrument, that resembles the violin, is also known as the veenakkunju. The string is
made from the Nagachitamrada plant and is known as the Theru. The string is
stretched over the round shaped resonator with a calf‘s skin and passes through a
small bridge. The other end is connected to the wooden stem having the peg. At the
end of the bow, a couple of metal jingles are attached at times and wooden rods are
fastened to these metal jingles.The pulluvan and his team will play the veena, kudam
and sometimes the cymbals, during a performance. Valluvanad in Kerala is still
popular for Pulluvan pattu. Normally this form of song is accompanied by the veena
on occasions where there is a Nagaraja pradistai being done at a temple and where the
inmates of the house offer the Pullavan food and clothes.Some musical phrases are
played on the Pulluvan veena before a song begins and also during interludes. For
Sarpam pattu, the veena is used as a sruti and tala accompaniment. It is held like the
violin and sometimes tucked to the ankle of the right foot.During rituals, the songs of
the Pulluva community praise ‗holy serpents‘ such as Ananthan, Manimudgaran,
Adiseshan and Mahapadman.For snake worship, usually a snake is drawn on the
ground after a purification ritual and necessary pujas.This ritual is known as Pambin
Kalam where snakes are invoked by the Pulluva community; it is generally an
elaborate one. The pullavars fast for 41 days to perform a Sarpam Pattu ritual.It is
performed by women too who belong to the Pulluvar caste, in a specially decorated
pandal, before the sarpakalam (snake designs on the floor). The women dance in a
frenzy to the rhythm of the sarpa pattu, until they fall down
exhausted. Thattumelkoothu is a devotional folk art.The dance is performed on a
special platform which is carried around the temple by devotees even as the
performance goes on.
Thidampu Nritham which is over 700 years old is a ritualistic art form of North
Kerala. The dancer moves to the rhythmic beats of the chenda carrying the thidampu
(the idol of the deity) on his head. Seven artists accompany him on percussion
instruments while two others hold aloft the ritualistic lamps. The artiste wears much
jewellery and a decorated turban.
17
Thiruvathirakali- kaikottikkali is a dance form which is a pointer to the old customs

followed in Nair tharawads (joint families) where the women of the house dance
elegantly around the ceremonial lamp or floral decoration on festive occasions to the
accompaniment of the Thiruvathira Pattu (song).
Thiruvathirappattu beginning ―Gopala balakanae gopikakanda..." is an ancient song
with a devotional tone and describes the romantic tales of Lord Krishna.
Thiyyattu is a devotional offering to Bhadrakali and Sree Ayyappa. This ritual art is
performed in a specially decorated pandal, before the Kalam (five colour design on the
floor), the traditional lamp (nilavilaku), and peetam (stool). The performance usually
starts at dusk. The artists sing and dance to the rhythmic music of the chenda,
elathalam and chengila. The costumes bear resemblances to Ottanthullal and
Kathakali; the distinctive features are huge jingling anklets and face makeup with tiny
white dots.
Tholpavakoothu which is said to have originated in the 18th century is also known as
pavakoothu (puppet play) or nizhalattam (shadow play). This entertainment art is
performed on a special stage called koothumadam in the temple courtyard. Puppets
(pavakal), usually representing four characters from the Ramayana, are arranged
behind a long white screen, in front of bright wick lamps. The puppets made of deer
skin are made to dance to songs from the Kamba Ramayana (the Tamil version of the
epic). The performance starts late at night and continues up to daybreak.
Vadithallu is almost similar to Kolkali and is a folk dance in which artistes tap the
short sticks held in both hands.
Velakali is one of the most elaborate and spectacular martial folk arts of Kerala. This
ritual art form is usually presented within the temple premises and is called
Thirumumbil vela when performed before the deity and Kulathivela when performed
near the temple pond. Fifty or more performers in the traditional attire of soldiers,
bearing colourful shields and swords or long canes, dance with war like steps in
perfect orchestration with the resounding rhythm of the thakil, suddha maddlam,
elathalam, kuzhal and trumpets. A few fighting techniques of Kalaripayattu are also
18
displayed in the course of the performance. There are various performance genres
having the themes of Islam- or Christianity.
Oppana, this is widely popular among Keralite Muslims and is native to

Malabar. Oppana incorporates group dance accompanied by the beat of rhythmic hand
clapping and ishal vocalization. Oppana is a Muslim bridal group dance.
Christian songs, Margam Kali is one of the ancient round group dances of Kerala
practiced by Saint Thomas Christians. Apart from this are Raamban Paattu, kalyana
pattukkal, vattakkali paatu, Antham char thu pattu, Penpattukkal and Mayilaanchi
paattukal.
Among all folk arts and ritualistic arts of Kerala, Music has been used as a
medium of expression of devotion, joy, ecstacy, strife, sorrow, and other human
emotions. It might be with or without the accompaniment of vocal music.
Any expression is complete with vocalisation. When it is done to the
accompaniment of a naturally occurring melody, it becomes music. In the music of the
folk or common people, we get to see folk lore, stories from Purana‘s, scriptures,
handed over by hearsay-not technically written down. To add to the rhythm and
reduce the boredom, to lighten the strain of work, or to enhance the meter some
meaningless words called vaitharees are also used.
Vaitharees or chol kettus, like aelelum, ayylaesaa, thathadha, thaiyyam Thom,
dhimithom used in folk lyrics
―Kshetra paartha thava paadham agamae thonuvaan, dhika thatham Thai thai.
Cheerthulla tholla rogam akhilam, theertharulaenam swami‖
Music plays a very important role in the daily lives of Malayali folk. Children
are put to sleep and also awakened with songs. These ritualistic and non-ritualistic folk
arts Devotional arts to propitiate a particular God or Goddess, Magical folk arts to win
general prosperity for a community or exorcise evil spirits or to beget children like
pambinthullal, pooppadathullal, kolamthullal, and malayankettu have an element of
music.
19
Refrain or tongal – extensions of certain lines -is another special feature of folk
music. Most folk songs are set in ragas that have given life and vigour to Karnatic
music.For instance, thottam songs carry elements
of kedararaga and thumbithullal songs have elements of saveri raga. Some folk songs
are so composed as to create the right atmosphere required for a ritual.
An array of musical instruments is used in the folk tradition.
The peculiarities of folk music are that it employs simple literature and easily
understandable rhythms, its range is limited to one or two notes at three or four points
in its rendition; most songs have a uniform pattern and they are more idea-oriented
than music-oriented.6
Nothing much can be said about the folk style in the music of Kerala. Sopana-
sangeetham is the only form of music that is cited as unique to Kerala. But it stands
midway between folk music and Karnatic music. It can be said that a kind of primitive
music gave birth to folk music which subsequently brought forth classical music and
later modern music. Folk music may be a more refined form than its predecessor but it
does not have the scientifically organized form of classical music. Its authorship is
unknown.It could have been the powers of folk music to reach out to the common
people and inspire them profoundly that made Kunchan Nambiar adopt its tune and
rhythm for his thullal, although he has been exposed to such classical art forms
as koothu and koodiyattom.
Music in various spheres of art and culture of K£ra©a,
The Kerala music culture adopted the tauryartika concept of geetam, vadyam,nrittam,
music in dance and theatre
Cākyār kūtt- Oottanthullal , Koodiyattam cākyār kūtt and Oottanthullal- these
miming acts, are the branch of performing art from Kerala.They are primarily a type
of highly refined monologue where the performer narrates episodes from Hindu epics
and stories from the Puranas, story is recited in a quasi-dramatic style with satire to the
rhythmic accompaniment of Mizhavu.
6
A. K.Ravidranath- Dakshinendyan sangeetham (Study).
20
The name Koodiyattam, meaning playing or performing together, is thought to refer to

the presence or more actors on stage who act in consonance with the beats of the
mizhavu drummers. It refers to a common practice in Sanskrit drama where a single
actor who has performed solo for several nights is joined by another.Koodiyattam and
chakyar koothu were among the dramatized dance worship. The Chaakkyars, who are
attached to the temples, are the main actors. The Nambiyaars are the drummers and
help with the make-up, while the Nangyaars also take part in the acting and
accompany the performance by marking rhythm and singing.
Traditionally, Koodiyattam- strictly a temple art has been performed
by Chakyars7 and by Nangyaramma8.
Koodiyaattom performances are closely allied to the temple rituals. At the rear of the
stage, two huge copper pots called ‗mizhaavus‘ are kept in wooden frames. These are
the main drums of the Koodiyattom orchestra and the Nambiyaars take their place
behind them. A white cloth, spread on the right hand side of the stage, provides the
seat for two Nangyaars who direct the rhythm with small cymbals and sing the
invocatory songs.
Kudiattam is the forerunner of all the classical performing arts of Kerala.
Here, hymns rendered in melodies like Veladhuli, Varali, Paurali, Tondi, Srikanthi,
Tarakan, Kaisiki, Indalam, for abhinaya, each considered suitable for evoking a
specific mood. Only four notes udhatam, anudhatam, swaritam and prachayam9 are
utilised in the rendition of hymns. The music, which is more like recitation with tonal
variety, is referred to as swarikkal and not as carnatic classical ragas .Also, rhythmical
setting is different.
Much before codified music was known to mankind, Vedic recitations or chanting
otthuchollal 10-were the only music found in the Indian subcontinent. This unique
style of Vedic chanting called 'Swarikkal' is the prototype of 'raga' and 'tala'. The
7
a subcaste of Kerala Hindus
8
women of the Ambalavasi Nambiar caste.
9
Svaramanjari- Transliterated by : Avinash Sathaye http://sanskritdocuments.org
10
Routledge Handbook of Asian Theatre-edited by Siyuan Liu
21
Vedic chanting or Swarikkal had the characteristics of a typical raga as well as

prose reading..
In Kerala, Swarikkal-swaratthil cholluka-11 used in Kootiyattam is the forerunner of
Sopana Sangeetham, supposed to be the most ancient music of Kerala.
Music-modes in Kudiyattam
Kudiyattam employs various modes to sing the verses. Each emotion-Rasa has
a specific swarikkal associated with it. Given below are a few examples.
Indalam : for noble characters
Cetipancamam : for lower characters
Virapancamam : for extremely heroic occasions
Bhinnapancamam : for highly elated occasions
Muralindalam : for Sri Rama‘s love
Antari : the Raga used by the storyteller
and not used by the character.
Swalpantari : for Varunan –Rain God
Veladhuli : for fear, anxiety and calling from a distance.

Sri Kamaram : for a sudden spurt of emotion
Artan : for srngara and rati
Paurali : for Srirama‘s love-lorn state
11
Routledge Handbook of Asian Theatre-edited by Siyuan LiuRoutledge, 05-Feb-2016 - Performing
Arts - 602 pages https://books.google.co.in/books?isbn=1317278860
Siyuan Liu - 2016 -
22
Mudden : Rakshasa‘a love Demon‘s love
Kaisiki : for Hasya and Bibhatsa
Tarkan : for Krodha and Raudra
Viratarkan : for Vira rasa
Duhkhagandhari : for Soka and Karuna
Charrantari : for Bharatavaakya and for conveying
The death of a cruel character
Danam : Adbhuta (wonder), Bhayanaka (fearsome)
Tondu : Bhakthi (devotion), Santa (calm)
Puraniru : for description of rain, morning….
Srikanti : used at the end of a drama
The Ragas and their styles or rendition have no classical backing. Ragas are not sung.
Tambura and harmonium that keep up the sruti are not employed. The ragas may be
rendered differently by the different actors. Kutiyottam places a low premium for the
learning of classical music in its training routines.12
‗Their rhythmic patterns as well as the means they use to remember the rhythmic
struct res are often more complex than the Carnatic genre‘13 .
12
L.S Rajagopalan[1995] Music in Kutiyattam-sangeeta natak Academy pg 111-14 113-22
13
Music In Traditional Asian Theatre-Arya Madhavan-India-pg 132-133-
Routledge Handbook of Asian Theatre-edited by Siyuan Liu
Nambiar-Narayanan-(1995)Rhythm and Music:104
Siyuan Liu - 2016 -
23
‗The importance of tala in Kutiyattom is equated with the Hindu God Siva and his
wife Parvathi….Rhythm in Koodiyattam is inherently connected to the emotional
mode of ascene or character.14
it can be said that the swarikkal or melodies in Kutiyattam place an emphasis on the
emotive effect rather than the mode of recital.
Koothambalam is the Special hall and Koothumadam Stage -in the temple premises
for ritual and classical art performances.
KRISHNANATTAM
Krishnanattam is based on krṣṇa gīti (1654 AD) written by Manaveda, Zamorin of
Calicut. It is believed that the Zamorin had a vision of Krishna who gave the king
a peacock feather, which became the living symbol of this dance-drama.
Krishnanattam players wore a peacock feather commemorating this.
This is the first and original contribution of Manaveda to the art of dance - drama of
Kerala15.Opening sloka of Krishnanattam is-
जगति सुकृतिऱॊकैर्नन्दििाऽऽर्न्दििाशा कऱतिरन्िििंशी भासमार्ाऽसमार्ा।
पशुपयुितिभॊग्या िॆ ििािॆ ििासा सजऱजऱिपाऱीमॆचका मॆ चकास्िु॥१॥
jagati sukrtilokairnanditā nanditā ā kalaviraṇitavaṁ ī bhāsamānā samānā|

Pa upayuvatibhogyā devatādevatāsā sajalajaladapālīmecakā me cakāstu||1||16
Apart from such slokas it is also adorned by many padyageethams like that of Gita
Govinda of Jayadeva.Krishnagiti is a masterpiece work in Sanskrit. While the music in
both Koodiyattam and krishnagiti are in Sanskrit, there is a difference in performance.
In Koodiyattam, the actors themselves recite slokas, while the slokas in Krishnattam
14
Nambiar-Narayanan-(1995)Rhythm and Music:Sangeet Natak,111-14,101-12-
Routledge, 05-Feb-2016 - Performing Arts – https://books.google.co.in/books?isbn=1317278860
15
Origin and Technique of Krishnanattam-V. Subramonia Iyer
16
Mānaveda, Sudha Gopalakrishnan- Motilal Banarsidass Publ., 1997 - Krishna (Hindu deity) -
24
are recited by expert musicians in the background. While there are Ragas and Thalas
in krishnagiti, there is no such thing in Koodiyattam. While the percussion instrument
in Koodiyattam is Mizhavu, there are two Maddalams in Krishnattam as background
percussion instruments. One is called Sudha Maddalam and the other Thoppi
Maddalam. While certain types of dances have been adopted in krishnattam from
Koodiyattam, the Zamorin had invented several other beautiful types of dances in
Krishnattam. In fact, in Krishnattam, much more importance is paid to the dances than
to the background music.17
ṣṇa gīti, as the name suggests is g§ti - song on Krishna-is a musical
composition which deserves special attention due to several reasons. There is no

information about the existence of musical compositions in Kerala prior to this,
in which the writer himself specified the raga -tune and tala -rhythm to the text.
Krishnagiti was composed in A.D. 1654. This is before the period of Trinity of
Karnatic music. This is the time of Venkitamakhi, the creator of Melakartha
scheme. Hence Krishnagiti has a prominent place in Indian m usi c
It is certain that the ragas and talas found in Krishnagiti were prevalent
in Kerala before t h r e e c e n t u r i e s .The ragas of the songs found in the palm
leaf manuscript are: Ahari, Indalam, Indisha, Kankkurunji, Kambodhi
(Kambodari, Gambodhi etc), Kedaragaudam, Kedarappanthu, Kurunji,
Ghandaram, Ghan- daramalavam, Dhanasi, Natta, Nadaramagri, Pantayi(ri)
(Panthu+Ahiri), Panthuvarali, Paati, Bhuplalam, Bhairavi, Malahari,
Madhyamavati, Malavagaudam, Mechilbauli, Mukhari, Ramagri, Varali,
Sankarabharanam, Samantamalahari, Saveri and Sourashtram.
Other than these, the ragas sung now are Dvijavanti,
Nattakkurunji, Anantabhairavi, Navarasam, Kalyani, Yadukulakamboji,
Bilahari, Todi, Devagandhari, Neelambari, Sarangam and Puranir.18
17
P.K.S. Raja - Zamorin of Calicut- September 2004 -On Krishnattam-
18
Interview by the candidate with L.S.Rajagopalan at his residence Feb2006
25
The tal as s p e c i f i e d are only Ekam, C h e m p a , Panchari, Adantha,

Triputa and C hem pat a . There a r e no significant changes in this. Only some
minor practical conveniences such as ekam is sometimes used as Chempata19
Origin of r¡man¡¿¿a¯,-
Krishnattam became famous after it was staged by the then Zamorin Raja of Calicut
in 1657 AD. The story is King of Kottarakkara requested the Zamorin to send a troupe
of Krishnanattam to Kottarakkara to perform Krishnanattam there. But, the Zamorin
not only refused to send the Krishnanaattam troupe there but also replied that there are
no knowledgeable people in the South (Kottarakkara is South of Calicut) who can
appreciate the art form of Krishnanaattam which was in Sanskrit.
Slighted by this, Veera Kerala Varma (AD 1653-1694) alias Kottarakkara
Thampuran, wrote eight stories known as Ramanattam based on the story of Rama.
The story was penned by Kottarakkara Thampuran in Manipravalam style which is a
form of poetic composition in which words of Malayalam and Sanskrit are blended
indistinguishably. It is divided into eight poetic sections so that each of them can be
acted in one day.
The eight sections are: puthrakameshti, seetha swayamvaram, vicchinnabhishekam,
kharavadham, balivadham, thoranayudham, sethubandhanam and yudham (war).
It is believed that Kathakali originated from Ramanattam
Similarities between Ramanattam and Kathakali
Kottayathu Thampuran, Raja of Kottayam refined Ramanattam into Kathakali. He
belonged to the first part of eighteenth century. He was a poet and a teacher of
dramatics who gave a scientific basis to Attakkatha as well as Kathakali literature.
The most important contribution of the King to Ramanattam was that he systematised
the scientific basis of its literature, music and acting.
19
Songs in Krishnattam L. S. Rajagopalan-Translated from Malayalam to English by A.
Purushothaman
26
In Ramanattam and Kathakali, importance is given to hand gestures and facial

expressions. Except make ups, both of these dances have similarities in costumes and
music etc. With time, these dances have been reformed and improved.
Kathaka©i
kathaka©i is considered to be a combination of five forms of fine art: Literature
(Sahithyam), Music (Sangeetham), Painting-makeup (Chutti), Acting (Natyam),
Dance (Nritham} . Kathaka©i is more of a dramatic art than a dance art. Histrionics or
Abhinaya predominates. It is not realistic art but belongs to the imaginative type
spoken of in Bharatha's Natya shastra20
21
Attakatha consist of third-person metrical verses (sloka) and dandakam: narrative
passages, usually composed in the thirdperson, which serve the same function as the
sloka but are set in different metrical pattern
They are often composed completely in Sanskrit.They narrate what happens in the
subsequent dialogue portions of the text-and songs (padam) composed specifically as
dance music for interpretation by the actors in performance. Since padams are the
dialogue and soliloquy portions of the texts, they are usually written in the first person.
They are a mixture of Sanskrit and Malayalam (Manipravalam).
A padam usually has three parts: the pallavi (refrain), anupallavi (subrefrain), and
caranam (literally "foot"). While the anupallavi may be omitted from a padam, there
are usually several caranams. Both sloka and padam are set to specific musical modes
–ragas-appropriate to the mood and dramatic context. The padam also utilizes specific
rhythmic patterns (tala) and tempos (kala). Composers of attakatha indicate in their
texts the raga and tala appropriate for the performance of each scene, although these
have been subject to change over the years
20
L S Rajagopalan - interview by candidate.February 2006 at Trichur
21
Translation of Kalyanasaugandhikam (The Flower ofGood Fortune): A Kathakali Drama
byKottayam Tampuran-Introduced by Phillip B. Zarrilli,Translated, with notes, by V R.
Prabodhachandran Nayar,
M. P Sankaran Namboodiri, and Phillip B. Zarrilli
27
Kathaka©I Sangeetham
Kathakali music has developed into a distinctive type of singing known as the sopana
style which is very slow tempo. There is neither raga alapana as such nor are there
elaborations like niraval and swaral singing. Avoiding elaboration of the ragas and
adhering meticulously to the talas the musicians sing the songs in such a manner as to
give the actors full scope for abhinaya.vii There are two vocal musicians in Kathakali
of whom the main one is known as ponnani and the minor partner as sinkidi. The
Kathakali songs couched in rich poetic diction are among the gems of Malayalam
literature.
The mudras (hand gestures) used as a substitute for spoken language. The stories for
¡¿¿akatha s (the verse text for a kathaka©i p iece) are selected from epics and
mythologies and are written in a highly Sanskritisied verse form in Malayalam. The
actor does not speak, but expresses himself through highly complicated and
scientifically ordained mudras and steps, closely following the text being sung from
the background of the stage.
Music is an important and essential element in Kathakali. The orchestra in it is
composed of two vocal musicians, one keeping time with a resounding gong called
chegala and the other with a pair of clanking cymbals called elethalam, a chenda
player and maddalam player. The chenda is a cylindrical drum with a loud but sweet
sound while the maddalam has the appearance of a big mridangam.
Kathakali's slow-spun music is also reffered to as Sopanam
Mµhini y¡¿¿a¯,
Mohini the temptress, is a recurring character in Hindhu mythology, Attam means
dance. It is seductive dance performed by women, sensuous in its appeal. In technique
Mohiniyattom lies somewhere between Kathakali and Bharathanatyam. The
symmetrical patterns of emotion flow in balanced nuances with smooth footwork,
somewhat quickened body movements and special music.
Parallel to the Barathanatyam of Tamil Nadu., solo Mohiniyattom dance is performed
only by women. The music is classical carnatic. Its origin is a matter of speculation,
28
but it retains a fusion of the corresponding streams of dance in the eastern and western
regions of South India. This form combines the formal grace and sophistication of
Bharathanatyam, with the earthy vigour and vitality of Kathakali. In the rendering of
this style there is enchantment, grace delicacy and passion.
The technical structure of Mohiniyattom is fairly similar to that of Bharathanatyam.
There are no abrupt jerks or leaps in Mohiniyattom nor is their any inordinately hard
stamping of the foot. The gesture language of Mohiniyattom is largely similar to that
of Bharathanatyam but it also incorporates elements from Kathakali tradition. And
again, like Bharathanatyam, Mohiniyattom too has items of nritta, pure dance, as well
as nritya, expressional dance.
mµhini y¡¿¿a¯ viii
is mainly the Lasya dance performed strictly according to scriptures
of Natya Shastra. The repertory of Mohiniyattom as it is presented now consists of
Cholkettu, Varnam, Padam, Thillana, Kaikottikkali, Kummi and Swaram. the
Kaikottikkali and Kummi are later additions. Because of the special type of
instructions associated with it, the dance presence striking bodily poses and attitudes
and exquisitely graceful foot - work. In its gestures and also with regard to the
expression of the eye, mµhiniy¡¿¿a¯ is indebted to Kathakali.If in Bharathanatyam the
predominant moods are ¾¡nta¯ and v§ra¯, in mµhiniy¡¿¿a¯ it is ¾ring¡ra¯.
Talas of Kerala
Talas or rhythmic accompaniment used in the performing arts of Kathakali
etc of Kerala are not akin to the Talas we come across in Carnatic
concerts22.Though certain Kerala talas are same as that of the talas used in
Carnatic music t h e y vary in Angas o r s e c t i o n s and k r i y a o r
execution.ix Kerala talas are c o m p r i s e d o f Shadangas viz. Anudruta,
Druta, Laghu, Guru, Pluta and Kakapada. The duration of these Angas are
same as that of Carnatic music. A Matra has 4 aksharkalas.
Anudruta {Virama} has a value of 1/4of a Matra ie 1aksharakala;
22
Dr. S. Venkitasubramania I y e r , Some rare talas in Kerala music.
Sangeetha Natak - pp7,8
29
Laghu has 1Matra ;(4 aksharas)

Guru is of 2 Matras (8 aksharas);
Pluta has 3 Matras (12 aksharas) and
Kakapada consists of 4 Matras (16 aksharas).
The value of Laghu is fixed in the Kerala system and do not have Jaati
bhedas as like Tisra, Chaturasra, Khanda, Misra and Sankirna as in
Carnatic music.
In Kerala Tala system importance is mainly given to Gatis which is
called Kooru. Three such Koorus which is commonly used in the percussion
ensembles of Kerala are:
Panchari Kooru-Tisrāgati,
Atanta kooru-misra gati and
chempa kooru- khanda gati.
Kerala talas also are reckoned with Sashabda Kriyas and Nishabda Kriyas as
in Carnatic music.
Anudrutam which is reckoned by a beat in Carnatic music is reckoned as
Virama or silence in Kerala system.
Kakapada also does not have any beats.
There is a principal beat for every Anga of a tala and there are many
other sounds to denote the basic pace between two Matras or Angas of
chosen tala. In all ensembles there are many instruments for denoting the
basic pace and the process is called Matra Kaatal.-displaying the count –
basic unit- matra.
Shatkalam or playing in 6 speeds is a common feature followed in Kerala
ensembles. The starting tempo of a Melom will be Pati Kalam-Ati Ati
Vilamba Kalam having duration of 32 Akshara Kalas. There are artists
who can easily play all the 6 Kalas. While performing a Tayampaka or
Chenta Melom, unlike the Carnatic system, the exact doubling of the tempo
is not followed. It is not Geometric progression. Here gradual progression
of the tempo is followed. The speed variations are done to show the skill of
the players and to overcome the slow paced singing and monotony.The
30
famous musician Govinda Marar was an exponent in singing Shatkalam

that earned him the title Shatkala Govinda Marar.
In the present days, these theatre art forms continue in various temples in
Kerala ,they earlier flourished under Royal patronage- the rulers of Kerala have
contibuted to the heritage of Arts in a great manner.
Royal patronage,
(1705 – 7 July 1758) Marthanda Varma (Anizham Thirunal Marthanda Varma) Raja
Martanda Varma I is judged as one of the greatest and most able rulers of the state.,
Extremely devout, he surrendered the realm to Sri Padmanabha , thereafter ruling as a
deputy or representative of the deity on earth .
Marthanda Varma, is credited with the title maker of the Kingdom of modern
Travancore
Karthika Thirunal Rama Varma- Dharma Rajah-(1733-1798) (ME 899-973)
his nephew and successor, encouraged poets and musicians and patronised the arts to
the end of his long, forty-year reign (1758–98). He succeeded his uncle. It was during
his time ,in 1795 the capital was shifted from Padmanabhapuram to
Thiruvananthapuram. He attained proficiency in Sanskrit, Persian, Tamil, Portuguese
and Hindustani at an early age. He issued orders that high officials in his court must
learn Dutch language also. He also patronized eminent poets and artists by appointing
them as scholars in his court. Kunjan Nambiar,x Unnayi Warrier,Kilimanoor
Thampuran, Puthiyikkal Thampan, Ittirarisa Menon, Sadasiva Dikshitar, Kalyana
Subramoniakavi, Idavathikkaatu Nambuthiri and Neelakanta Dikshitar were some of
the prominent figures in the court of Karthika Thirunal Ramavarma. He wrote
Balarama Bharatham, a commentary on Natyasastra and AbhinayaDarpana. This
work reveals his proficiency in the art of dancing and music.23
MullamÀ¿u Traditions: Traditions in music are many. Here we have the famous
mullamÀ¿u tradition which is n 175 years old. Only, a handful of mullamÀ¿u musicians
23
Dr.V.S.Sharma, 'Balarama Bharatam' with commentary.
31
remain today.24Their ancestors, played a great role in popularizing the compositions of

Maharaja Swati Tirunal, and now they still maintain the rich age old traditionxi.These
musicians pay their musical offerings at the scheduled time on the days of
ulsavam(temple festival) and Navarathri at the Padmanabhaswamy Temple and
Navarathri Mandapam respectively.
The origin of mullamÀ¿u tradition is credited to Maharaja Swati Tirunal who once
happened to listen Palakakad Parameswara Bhagavathar at the Padmanabhaswamy
Temple. Enthralled, he made enquiries on the spot and appointed him as the court
musician. He provided him a house at mullamÀ¿u near the Palace. Parameswara
Bhagavatar was the first musician to represent this great tradition. He later served the
courts of Ayilyam Tirunal, Visakhom Tirunal and Sree Mulam Tirunal.
Coimbatore Raghava Iyer, was his primary disciple. Aashramam Annaswami, Attingal
Sankaranarayanan, Elathur Hariharan, Karamana Venkiteswaran, Kalkulam
Subramanian, Parakkai Narayanan, Tanjavore Kathir Kama Dasan, Kadayam Kasi,
and Neelakanta Iyer were the few others to name. They assembled at the rustling
thickets intertwined with jasmine shrubs and rendered the Maharaja Swathi‘s
compositions and hence the name Mullamudu Bhagavathar was assigned to them.This
was a land mark in the cultural arena of Kerala.Many Musicians, composers adorned
the courts of Swati and the later royal patrons.
Bhakti cult
Music has been a medium for expression of the various moods of the humans.
पशुर्वॆत्ति शशशर्व
ु ॆत्ति र्वॆत्ति गान रसं फण िः
The bhakthi marga which has been in the blood line of ancient India, has found
expression through music.
The music of the saints of North and South India, who sang their devotion to Almighty
wandering in search of fulfillment influence the common folks as well as the
learned.Whatever the religion, caste, region, They sang to their favourite diety –used
24
The Hindu – S Umamaheswari- Evening ragas –April 8 -2007
32
music filled with words of the bhajans, of Surdas-,Kabir,Mirabai, sankeertanams of

Annamacharya, Bhadrachala Ramadas,Narayanateertha Tarangini and various others
The Hindus adapted from Puranas, epics, the Christains from the Bible, the Muslims
from the Khuran.The dialect, grammar, was not important to them. They used simple
music to convey, to pour out their joy anguish and other emotions to realise the
Ultimate without expecting any kind of monetary gain, patronage or encouragement.
Kerala had also inherited its musicial heritage from the Arya Brahmins and
Vaidikas who dominated the peninsular region.
The foreign invasions and the resultant political unrests, to escape which there was
migrations among the various Provinces resulted in the developemnt of Bhakti cult
and its spread in and around the Southern part of India. This was due to the wandering
minstrels, musicians and poets whose devotion took them on a voyage to various
shrines and temples across the country.
Story telling has been an integral part of ancient Indian socio-religious
gatherings. Religious festivals or social occasions such as weddings etc. were
considered simply incomplete without a story telling session. As each region
developed its unique style of story narration, South Indians developed the art to suit
their society and interest. Kathakalakshepa is the famous art form in South India in
which one single performer entertains an audience with tales and anecdotes from the
religious texts putting his musical, acting and story rendering skills to best use. The
themes were borrowed from the ever popular religious epics, the Puranas and Hindu
religious mythology. Musical accompanists supported the performer in dramatizing
the performance and keeping the interest of the audience piqued up. In Kerala, story
telling developed into three different art forms – Patanam, Harikatha and
Kathaprasangam. By the end of the nineteenth century, ‗Harikatha‘ became very
popular and all music vidwāns used this medium to communicate to the masses. -----
While on the one hand we had Kerala Rulers patronising the fine Arts, the Bakthi
movement also resulted in the development of bhajan tradition, keertanans which
enhanced the music of Kerala.The themes for the theatre arts were more than
entertaiment, in that the story lines were drawn from the ancient Puranas Epics.
33
Parallel to the theatre arts like Kathakali there grew up a tradition of story telling
through music – Harikatha.
The songs of the saint composers reached the masses through musicians who included
these songs, in different forms, slokas, vruttams, dandakam, other folk poetic metre, in
their story line.
By that time Malayalam as a medium to translate the stories in Sanskrit had
become popular,enabling the common devout people to seek solace in listening to the
stories of Mahabharatha , Ramayana, and other Puranas through these Bhagavatas who
included simple songs, story poems along with interesting narrations of the highly
sophisticated Sanskrit in their local dialect. So what could not be understood from the
enactment and the slow prosodaic rendering of the singer in earlier dramatic
exhibitions, Kathakali, or the dance movements – lasya bhava of Mohiniattam, was
made very interesting in the people‘s language- by the Bhagavatas in Tamizh,
Malayalam, Telugu, Kanarese in the south and by the keertankaars in Braj bhasha,
Maratha in the Northern region of India
CARNATIC MUSIC IN KERALA
That was the time when Carnatic Trinity - Tyagaraja, Muthuswami
Dikshita,and Syama Sastri were enriching with their contribution in Tanjavur, as well
as Muthutandavar, ArunachlaKavirayar,Gopalakrishnabharathi,Marimutha Pillai and
many others at Seerkazhi,
The migration of many among these to various Royal courts of South India influenced
the cultural perspective of South India, especially Kerala.
The Catholicity of outlook among the Royal Kings, Princes of Travancore encouraged
the court muicians and other artists which enriched the classical music arena of
Kerala.
Hence till the advent of His Highness Swathi Thirunal Maharaja, what prevailed i n
Tr av a nc o re sa m a st ha na m o f K e ra l a wa s m u si c practised mainly in
temples and music used in theatrical Arts-Kathakali, Koodiyattom, Koothu
etc. Music was used occasionally in stage performances of Drama and in
Harikathas.
34
It was from the time of Swathi Thirunal Maharaja that Travancore began to have a
systematic style of Karnatic music, and t h e c o n c e r t p a d d h a t i s t e m m e d
and g a i n e d popularity. The temples which hitherto had organised Kathakali,
Mohiniyattom etc in the Koothambalams with the princely patronage presented
many musicians in festival and temple concerts and cultural interactions among the
poets and musicians.
So from the pastoral, folkish tongue to the steps of the temples, music in Kerala
travelled to the realm of classical music and found encouragement and enrinchment in
the royal courts.
1.2 Trendsetters of Music In Kerala

Before looking into the contributions of musicians and composers in Kerala of
the 19th century, a study of the works of the predecessors of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar, is made.
This section is a brief study of the poetical, musical and literary works of the
various poets whose contribution is not well known outside Kerala. Among them are
listed the Royal composers also whose works in the field of music and poetry as also
their patronage to contemporary poets and musicians, contributed to the development
of music in the sphere of pure music, dance and drama, till the influence of the
classical music paddhati during the 17th -18th century. Their works are an admixture
of Sanskrit, Malayalam and Tamizh.
(767-834 AD) – kula¾£khara ¡©v¡r devotional hymns and songs -including
mukunda m¡la -stotra. This poet wrote a set of ten exquisite poems in Tamil, and the
work is called "perum¡©Ä tirumoªi‖xii
(1645-1696AD)-kµ¿¿aya¯Ä k£ra©a varÅma-wrote Valmiki Ramayana in

Malayalam
And k§rÅttana and r¡gam¡lika. Ragamalika comprising of about 32 ragas is a d£VI
p¡rvati stuti kalay£ g¡mÅbµdi rasan¡lay£-in ragas like Kambodi-ahiri-mukhari-

35
devagandhara-though the original tune is lost It is commonly sung in the ragas tuned
by the musician Shertala Gopalan Nair
Dhy¡y£mani¾a¯Ä ¾r§ padÅman¡bha¯Ä -ga¯Äbh§ran¡¿¿a –
Padastuti -vair¡gya candrµdaya¯Ä
(1682 -1759) u³³¡yi v¡riyar
a great Sanskrit scholar and writer who wrote ¡¿¿akatha s-story of dance performance
the generic name for the literary works specially written for kathakali performance
na©acarita¯, ¾r§ r¡ma panÅca ¾adi ,Girijakalyanam
(1703 -1753) r¡mapurattu v¡riyar is credited with
Ä vanÅcipp¡¿¿uka©Ä kuc£la vrutta¯Ä along the lines of the famous Boat songs, usually
sung by people during the boat races
amarakµ¾a¯Ä , airavanÄ vadha¯Ä tu©©alÄprabh¡ta k§rÅttana¯Ä
(1705-1770)-Ku²Åjan na¯Äbiy¡r- a Malayalam poet- known as father of ottanÄ
tu©©alÄ rāmapāṇi vādan- who lived in the last part of 17th Century is believed to be the
same poet who wrote ivagīti.
The works of ku²Åjan na¯Äbiy¡r: is said to include 35 krÅti s and a ma~ga©a¯ in one of
the rare ragas ―gumma k¡mÅbµji ".In kirāṭan tuḷḷal he is said to have introduced a song
in praise of Lord Siva- rīkaṇḍa rīkaṇḍa in seven sections –each using a different tala-
like lakṣmi, kumbha, marma, kontanāci, campa, pancāri, aḍanta. While campa,pancāri,
aḍanta are similar to jhampa,rūpaka, aṭa tāḷā s, of current
practise,lakṣmi,kumbha,marma,kontanāci are found only in Music treatises.
{1724-1798} mahārāja kārttika tirunāḷ- balarāma varma
The 17th Century saw one of best treatises ―balarāma bhārataṃ- in music and dance by
Maharaja Karthika Tirunal Balarama Varma. He has composed nearly 150 musical
compositions.-for attakathas and also composed seven ¡¿¿akathas
rājasūyaṃ- subhadrāharaṇaṃ- bakavādaṃ- gandarva vijayaṃ- pān–cāli svayaṃ-

varaṃ- ,kalyāṇa saugakaṃ-,narakāsura vadhaṃ-
36
{1756-1794) a¾vati tirun¡© r¡ma va»ma,
k¡»ttika tirun¡©Ä’ s nephew a¾vati tirun¡© r¡ma Va»ma is known as-i©aya tamÅpur¡nÄ
completed his uncle‘s work
Attakathas-narak¡sura vadha¯ÄII -rukmi³i svaya¯Ävara¯Ä, pÀtana mµk½a¯Ä, a¯Äbar§½a
carita¯Ä, paunÅ¢ar§ka vadha¯Ä vanÅc§¾a stava¯Ä, k¡rÅtta v§rya vijaya¯Ä, sant¡na
gµp¡la¯Ä prabhanda rukmi³i pari³aya¯Ä
(1782-1856) irayimmanÄta¯Äpi,- was in the Palace service to Bala Rama Varma,

Rani Lakshmi Bai and also enjoyed the patornage of Maharaja Swathi and Uttram
Tirunal.
Kerala vilasam press has published his songs before his death in 1856. But sadly no
copy of it available- 25
Kerala Sangeeta Natak Academy has published irayimmanÄ ta¯Äpi’s compositions- xiii
21 keerthanas, five Malayalam Keerthanas, five Varnas, and 22 Padams and one
lullaby.
He has also created musical works in Sanskrit and Manipravalam. Though he excelled
in Bhakthi and Sringara he has proved his eminence in all Bhavas through his various
works. He has composed Pada varnas in Aarabhi, Sankaraabharanam, Neelambari,
Bhairavi and Punnagavaraali ragas.
The language used is mixture of Sanskrit and Malayalam- Mani pravalam
The varnas are in praise of a diety is known as stava varnas, unlike the shringara pada
varnas of the composers in Telugu or Tamil.
His works include single verses, Keerthanas, Malayalam Padams, Varnas,
Murajapappana, Irayamman Thampi also enjoyed an esteemed position among the
Kathakali musicians of Kerala.
25
SIMAA vol iii Pg 55 Contribution Of Kerala Composers To Karnatik Music-Leela
Omchery And Anand Varma K.
37
Subhadraharanam, Thiruvathirappattu, Navarathri Prabhandham, Attakkadhas like

Utharaswayamvaram, Keechakavadham, Dakshayaagam, and Kilipattu like
xiv
Rasakreeda and Vasishtam.
‗Omanathinkal Kidavo‘ the lullaby composed by Thampi is a lyric hummed by
mothers all over Kerala for generations.
Sanskrit Keerthanas in rare ragas, like Indisa, Manchi and Kakubha deserve special
mention.
(1798-1841)-½a¢k¡la gµvinda m¡r¡r- One of the luminaries of Swati's court
was an exceptionally brilliant singer. Marar was the only one who could sing in six
tempos .Thrikkampuram Krishnankutty Marar (b.1936) who is believed to belong to
Shadkala Govinda Marar‘s family who performs Panchavadyam, Sopanam,
Kottipadiseva, Kalamezhuthupattu and an exponent of Kudukkaveena, claims
Govinda Marar was uncle to his great grandmother. Krishnan Marar lists five
compositions of Govinda Marar
 Ksheerasagara vasa ramadhava – Kedaragoula - Muriyadantha

 Palayamam Parvatheesa – Aanandabhairavi - Aadihalam
 Thunga pinga jada kalapavum – Bhoopalam – Thriputa
 Balachandra vibhushanam – Aarabhi – Aadi
 Lokapalane – Mohanam – Aadi
(1809-1837). Ayilyam Thirunal rukmi³i b¡yi tampur¡¿¿i -eldest sister of His

Highness Swathi.
The Mukhari kirthana "Sri Kantesha Pahi"in praise of Sreekantesa of
Travancore is a gem with a pallavi, Anupallavi and five charanams. Sahitya
beautifully blends with the Bhakti rasa of the raga.
Her composition Sarasijanayane in raga Puraniru is unique for the Sahitya each part of
which begins with each of the Saptaswaras.
Here each line begins with the saptaswara
Symbols like Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, for each word. Hence
it is being referred as sapthaswara sankeertanam –
38
Sarasija, Rithika, Galatala, Manachude, Parichil, Dhaatriyal, Nidhi.

This kriti in praise of Bhagavathi is also decorated with swarakshara beauty.
Here she makes a request to the Goddess to protect all those who sing this song
Sanskrit and Malayalam are used.26
Vasudeva mukunda-bilahari -in praise of Krishna
Also a ragamalika -Pallavi +16 charanas beginning with Malayalam alphabets
“antaka bhīti- āśritanmār–kku-endiṭā nāyaka- īrēḷu lōka uttama puruśa ūhan–

gal- yennuṭ yēthoru-aiyyō bhagavan- oṭṭoḻiyatuḷḷa- ōrōrō aau vaḻ am–
bujalōcana
Swati Tiurunal Tamburatti – hailed from vadakkan kottayam royal family –
proficient in poetry, drama and kirtanas27 Kokila sandesa was composed by uddhanda
kavi, the poet belongs to Tamil Nadu became an honored poet in the court of the
zamorin of Calicut in early 15th ad.-Praised as Sangita paradevate, Sahitya rasa
marmmajne28.
(1812-1845) ki©i m¡nÀr r¡ja r¡ja varma kµyittampur¡n Kilimanoor Raja Raja
Varma Koithampuran-Vidwan Koithampuran is known to have authored two kirthanas
Kiratha Vimsathi (Sanskrit StothRa),, Ravana Vijayam (Attakatha)
and Santhana Gopalam, Sheethangan Tullal .
(1813 -1847)-Swathi Thirunal Rama Varma –with him dawned the golden age
of Carnatic music in Kerala.
He wrote eight works, six of them in Sanskrit and two in Malayalam. They are mostly
hymns and commentaries. His greatest contribution was in music.
His musical compositions are supposed to number over five hundred.
26
Princess Rukmani Bai Woman Composer Of The Royal House Of Travancore- B.Pushpa- The
Journal Of Music Academy-Vol LXIVPg 79- 82
27
referred by Uddanta sastrigal in his kavya kokila sandesam-- SIMMA- LEELA pg 59
28
Simma- Leela ----pg 59
39
Swati Tirunal's output encompasses all the important musical forms such as
Varnam, Kriti, Padam, Ragamalika, Swarajati, Tillana and Bhajans. Tirunal was a
multi-lingual composer who wrote his songs in Sanskrit, Malayalam, Manipravaalam,
Telugu, Kannada and Hindustani. Bhajan, Keerthanam Varnam Khayal Dhrupad
Padam Slokam Swarajathi Tappa Thillana Upaakhyanam Utsavaprabhandam
Syaanandoora prabhabhandam,Muhanapraasantha Praasa Vyavastha.His ambition was
to assimilate the best in all traditions- reutilize the native heritage.
(1815-1892)-Palghat Parameswara Bhagavathar29First Among the mullamoodu

bhagavatar tradition, under Swatis patronage-, one among the Tamizh brhamin
musicians in Swathi Tirunal‘s court.xvVARNAMS AND KRTIS LIST appended.His varnas
are only found mostly in Sanskrit .They are stava varnas-,in ghana ragas .They are
suitable to render in concert and for tanam practise . Only lyrics for kritis were
available and obtained from NP Ramaswamy- his descendant and a popular musician.
– This candidate has set them to tune for presentation and propogation.
VARNAMS OF PALGHAT PARAMESWARA BHAGAVATAR
SNO. VARNAMS RAGA TALA

1 PADASARASA YADUKULA KAMBOJI ADI
2. SREE PADMANABHA BEGADA ADI
3. PANNAGENDRA GOWLA ADI
4. SADUJANA ARABHI ADI
5. SAMININNE KALYANI ADI
6. SAMBHO MAHADEVA KHAMAS ADI
7. SAM NEE TODI TODI ADI
8. ANADAVALLI BHAIRAVI ADI
9. STHANOONAATHAM SANKARABHARANAM ADI
10. SARASIJANABHA NATA ADI
29
A detailed study was done by this candidate.
― An analysis of the varnas and kritis of Palakkad Parameswara Bhagavatar‖ my
dissertation in M.Phil. Dept.Of Music ,Mother Teresa Womens‘University .July 2007
40
KRTIS OF PALGHAT PARAMESWARA BHAGAVATAR
S.NO KRITI RAGA TALA

1. SREE MAHAGANAPATIM NATA ADI
2. SARSWATIM ASRAYAMI KHAMAS ADI
3. SUBRAMANYAM ARABHI ADI
4. BHAVAYE VISWESWARAM SANKARABHARANAM ADI
5. HARA SIVA SAMBHO KAPI ADI
6. MAMAVA SIVA SAMBHO BEGADA ADI
{1820-1904}Kutti Kunju Thankachi-

Like her father, Irayimmam Tampi, she too excelled in music & literature. Her father
was her most influential guru and her bhakti towards him is revealed through a
number of her works. Her deep knowledge in Sanskrit and Malayalam is also seen in
her works. Her excellence in music and vastness of knowledge are revealed in the
works.
Literary-
Sivarathri Mahathmyam, Sithaswayamvaram, Narathamohanam
(Thiruvathirapattukal), Kiratham, Nalacharitham (Kurathipattukal)
Thiruvananthapuram, Sthalapuranam (Killippattukal), Parvathiswayamvaram,
Srimathiswayamvara , Mitherasahamoksham (Aattakathas), Gangasnanam Tullal and
the drama Anjnathavasom. - had created works of Sringara and Bhakti in pure Sanskrit
and Manipravalam.
Kritgal -compositions include
Karthyayani maam palaya sathatham (Kambhoji),
Samaja (Kalyaani),
Suryakodi samaprabhamakudei (Naatta),
Pahi Mohanakrithei (Khamas),
Sripavanapuresha (Surutty).
41
The reign of sv¡ti tirun¡© r¡ma v¡rma(1813 -1847) and thereafter saw
the development of music in the classical tradition with multitude of composers like
p¡lakk¡¿ param£svara bh¡gavatar, ku¿¿i kunju tankacci, kaly¡³i ku¿¿i ammacci,
(1838-1909) Kalyanikutti Ammachi –
Another woman composer of Kerala She was known as Nagercoil Ammachi
and was the author of Rasa Krida, Satya Panchakam, Pativrataya Panchakam, and
Ambarishacharitram.Her 33 songs are found in Gana rasa.
(1839-1900) n§laka³¿ha ¾ivan,
Sree Neelakanta Sivan composed more than 2,000 kirthana in Tamil. The majority of
his compositions are in praise of Lord Siva.
k£ra©a varma valiya kµyittampuran, m¡navikrama £¿¿an tampur¡n, vatsala ¾¡striy¡r
,r¡³i lak½mi b¡yi ,ko¿¿¡rattil ¾ankku³³i , ko¿ungalÀr kunjiku¿¿an tampur¡n and ki©im¡nÀr
m¡dhava v¡riyer , some of them who have musical as well as literary works to their
credit and others who composed in the Carnatic tradition alone.
(1845–1914), Kerala Varma Valiakoil Tampuran who spent a major part of his
life in Thiruvananthapuram, translated Kalidasa‘s Abhijñāna ākuntalam into
Malayalam which won him the title of Kerala Kalidasa.Meghasandesam.Visakha
Vijayam and his lullaby are significant.
(1845- 1915)Manavikrama ettan Tampuran of Kozhikkode - Krishna ashtapadi
and kiraata ashtapadi and other works in Malayalam and Sanskrit
(1847 – 1916)-Valsala shastriar Composer of Carnatic Music on Jesus Christ
compositions presented in ―Gita Manjari- the garland of songs. Some of them have
―Chitta Swaras‖ attached to them;Like those in the compositions of Deekshithar and
Swathi Thirunal.Some seem to be composed for dance performances. ‖Kaithukki
Parane‖ in Saveri-Rupakam, ―Ananda Kirtaname‖ in Dhanyasi-Rupakam and
―Paadam Santhatham‖ in Shankarabharam –Rupakam
(1848-1901)Bharani Tirunal Rani Lekshmi Bai another eminent composer of
Royal family – expert veena player and has composed kritis -jaya jagan mayee-
42
suvarnaangi.-Mahishasuramardhni stotram, Parvathy stotram, Gopika geeta, Virahini

prlApam in the model of maran pattu, VAthiltirapaattu,
(1855—1937)Kottarathil Sankunni.- is a well known author of Malayalam
literature, was born on 23 March,1855 . He made huge contributions in both poetry
and prose. His contributions in both prose and poetry, including Kathakali literature
and Tullal, earned him a place in Malayalam literature. Famous works include:Ithihya
Mala, a collection of legendary stories including those about Kadamuttathu Kathanar,
Kayamkulam Kochunni, etc ,Aassannamarana chintasathakam ,Sreerama
pattabhishekam (Kathakali) Adhyathmaramayanam (Translation)
(1860-1908)Kodungaloor Kunju kuttan Tampuran) also known as Kerala
Vyasa has composed a few kritis. His Sanskrit Mangalamekaneme –
Anandhabhairavi-Adi and Jagadambe-saraswathi-Rupaka30 find a place in concerts.
(1874-1934)Kilimanoor Madhava Warrier - a great musicologist and musician has left
a work- Tala Prakasam which still stands one of the unique works.
In the above section the literary and musical works of Royal and others are
listed.Though kathakali is a theatre art and mohiniattam a dance form, the music
which accompanies it forms an important part of the story line depicted by the artists.
Therefore the composers of attakathas as above have composed songs for those
attakathas and those are set in ancient ragas and rhythm cycles unique to Kerala music.
These ragas and talas live even today only in these art presentations.xvi Study of these
ragas and talas has shown a lot of resemblance in melody and technique to those of the
ragas and talas used in classical Karnatik compositional forms which evolved later.
1.3 Contemporaries of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. (1880-1961)
Classical music composers who composed in the Karnatik tradition and
belonged to or lived in K£ra©a during the lifetime of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar, include T. lak½ma³a pi©©ai , K.C. k£¾ava pi©©ai , muttaiyya bh¡gavatar
,mah¡kavi ku¿¿amattu ka³³iyÀr kunji kr ½³a kurup, p¡pan¡¾a¯ ¾ivan , pudukkµ¿ kr ½³a
mÀrtti,M.D. r¡man¡than, la©ita d¡sar.
30
KCKPILLAI –THESIS
43
(1864-1950)T. lak½ma³a pi©©ai

A Tamil poet, scholar, Lakshmana Pillai composed many kritis in Tamil with ethical,
devotional and philosophic themes. He is the author of literary works on various
subjects. He works are published and have been part of this research too.31
(1868-1913)-K.C. Kesava Pillai.32
In addition to the songs in Sadarama, Sri. K. C. Kesava Pillai composed about 200
Keerthanas in both Sanskrit and Manipravalam. In addition to kIrthanas of Hindu
deities, as per suggestion of Kamahi Varghese Mappila, he composed Iswara Stotras
which could be sung by people from various religions, since it refers to only an
abstract concept of god. He also published a book ―Sangitha Maalika‖ in 1903. His
compostions have been published as ―Sthava Ratnavali ― and ―Sangitha Manjari‖. His
composition in kaapi, ―Maaya Gopa Baala‖ popular in concerts in Kerala.
1876-1964 –krishna pisharadi,
Attur Krishna Pisharadi – author of masterly ‗Sangeeta chandrika‘ was an eminent
musician and composer besides being a musicologist..his noteworthy composition in
Gitaprakasa-has Gitamalika strung to more than 400 ragas each section forming a
Gita- illustrating one raga and the sahityas therein connecting the account of episodes
in Ramayana
Khandathil VargeseME 1033- 1079xvii
Vargese Mappila – the well known journalist ‗Malayala Manorama fame‘ has
composed about 51 prayers apart from attakatha vrittas and keertana maalas
Muthaiah Bhagavatar{1871-1945} –renowned performer of Harikatha-
musicologist- composer- of Varna,kritis,kirtana and ragamalika in Telugu ,
kannada,Sanskrit, Tamil- At Mysore samsthana he composed in rare ragas 108 kritis
in praise of Sri Chamundeswari and 108 on siva ashtottarasata kritis which are
31
appendix-The candidate has presented his musical works kritis and poetic works in international
seminars ref appendix for Published articles
References:1.Lakshmana Pillai – A biography-M.S. Ramaswami Aiyar, Printed At The Sri Vilas Press
,Trivandrum, 1942.2.Tamil Poetical Works Of T.Lakshmana Pillai.B.A., Printed At The S.T.Reddiar
And Sons, V.V. Press,Branch Trivandrum,1943.3.Published Notations Of Tamil Musical Compositions
From Kerala University Library.,Trivandrum .
4. Notations in Other Manuscripts.
32
-Dr.G.Sreelatha Ref thesis Kckpilla theses
44
discussed in this theses in chapter 4 along with 108 sree krishna ashtottara sata nama
krts of evrb–He was samsthana Vidwan in Travancore-.Doctorate from Travancore
University
(1880-1942)Mahakavi Kuttamath Kanniyoor Kunjikrishna Kurup)
Born in Cheruvathoor, in Kasargode District of Kerala in 1880, Mahakavi
Kuttamath‘s father was Vandatt Udaya Varman Unnithiri and mother was Kuttamath
Devakiyamma. He composed many musical dramas: Devayani Charitham (1911)
Vidya Sankha Dhwani (1920) Baala Gopala (1923) Atbudha Paarana (1924),
Harichandran (1924) Dhroova Madhavam (1926) Nachikethas (1927) Draupadi
Keechakam, Rugmini Swayamvaram (1927). Mahakavi-in sangeetha cutcheri some
popular kritis-bhajanam seyvin-Bagesri, Pavanadharma chari-Dharmavati,
Kaliyamardhana-Hindola, pAlolumbhashini-Amrithavarshini,paramapavan-
HAmsanadam,Bhaktitanne –Mayamalavagaula
(1890 - 1973)Papanasam Sivan. – Musician -composer -who spent some years
in Trivandrum and came under the influence of Sri Neelakanta Sivan –(1899 and
1910, )Sivan‘s early years were spent in the Travancore area of Kerala where the kings
partronised fine arts. Sivan‘s real name was Ramiya. Because of his devotion to
God Shiva, he is better known by the name Papanasam Sivan.
Papanasam Sivan reminisces he ―had the fortune of attending Nilakanta Sivan's
bhajans .during the years 1902 and 1903. Rama Navami was celebrated with much
enthusiasm in Trivandrum. In the mutt at Pazhavangadi Street, ...had listened to
Harikatha by ManamElkudi Venkatacala Bhagavatar a scholar but not with musical
proficiency. Such was his vidwat that Harikesanallur Muthiah Bhagavatar and
Ennapadam Venkatarama Bhagavatar stood behind him- {ManamElkudi Venkatacala
Bhagavatar} during the Harikatha and offered vocal support for the entire duration of
10 days. 33A prolific composer, Papanasam Sivan has composed around 2,500 songs in
a variety of ragas. He composed for and performed in theatrical productions, both as
33
Papanasam Sivan – Inspirations And Expressionsby V. N. Muthukumar and M. V. Ramana
First published on SAWF on October 29, 2001.M. V. Ramana is currently at the Program on Science
and Global Security, Princeton University.
45
singer and actor. He has composed devotional songs with social themes. He also
composed songs on National Leaders.
[1923-1985} Pudukode Krishnamurthy-born at Pudukode in 1923 son of
Krishna Sastrigal And Parvati Ammal had initial training in vocal music under Sesha
BhagavatarAnd Krishna Bhagavatar had advanced training under palghat rama
bhagavatar foreight years, learnt the fundamentals of Hindustani music from the
Gandharya Mahavidyalaya new Delhi, received the Kerala Sangeeta Nataka
Academy award in 1974; served as professor of music at Chembai
memorial government music college, Palghat and at the Swathi tirunal
college of music, Trivandrum and served as professor of music at
Kalakshetra a veteran vocalist with strict adherence to sampradhaya.Musician- teacher
and composer of Varna, kriti, ragamalika, tillana, hindustani bhajans.
(1923-1984)- M.D.Ramanathan- musician and composer of kritis-.He was well
versed in Tamil, Malayalam, Telugu, Sanskrit and English. Apart from composing
more than 300 kritis-tillanas in Carnatic music, he also composed operas like "Varada
Bhaktha Vijayam", 'Sundara Ramayanam", and music for a Kalakshetra feature
presentation "Buddha Avataram".
(1945-)- Rao Saheb.T.G.Krishna Iyer-adopted the name Lalita Dasar non
musician, only lyrics-. He had penned some 155 kritis in Telugu, Tamil and Sanskrit
under the mudra 'Lalita dasar' and requested Chembai Vaidhyanatha Bhagavatar to set
them to music and popularize them.
Sangitanataka -Musical Drama-is a specific genre of Malayalam theatre. This is also
the first for which original scripts began to be written in Malayalam. Earlier in drama,
mostly was translated from Sanskrit texts, generally meant for reading. Sangitanataka
was composed specifically for staging, inspired by the success of similar Tamil
Sangita Natakam, presented throughout Kerala by commercial troupes coming from
the East. It started after Kathakali. Music was its most essential component. Leading
actors were expected to sing classical music on specified occasions in the course of
performance. Their main qualification was their ability to sing. The necessary
accompanists sat on stage. Even though such passages meant a serious deviation from
the theme and structure of the play, they happened to be the most popular aspects of
46
Sangitanataka. Apart from music, introduction of jesters at regular intervals and

exaggerated expression of emotions became the common feature.
The first Sangitanataka can be mentioned as T. C. Achyuta Menon's Sangita
Naishadham i.e. "Musical on Naishadha" in 1892. This depicted the story of Nala and
Damayanti. It was followed by K. C. Kesava Pillai's Sadarama in 1903. This dealt
with the story of a Tamil drama bearing the same name. Both proved extremely
successful, and popularity prompted other poets to write and produce similar plays.xviii
Thus the first theatre movement started in Kerala led by professional troupes
organized on commercial lines. Earlier, Sanskrit drama was adapted and later, plays
with social themes also were written and presented as Sangitanataka. But in course of
time, the formula‐based structure became a subject of severe criticism and, gradually,
Sangitanataka disappeared from the scene. Yet the songs and humorous episodes had
become so popular that those practices came to stay in the professional Malayalam
theatre.
HARI KATHA
The late 19th century and early 20th century saw the spectacular popularity of
Kathaprasangam. In Kathaprasangam, the performer or artist uses Malayalam literary
texts and pieces, high in satire and criticism to entertain the audience with the tales
and also to drive home a lesson or two in social reformationxix. A few among them like
Palakkad Anantharama Bhagavathar, Harikesanallur Mutthaiah bhagavatar,were
performing musicians of the Carnatic style who were adept in Harikatha too . They
were contemporaries of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
―The Karnatic classical music as is heard and understood today made its
presence known in Kerala, a little before Swati Tirunal, and had its efflorescence during
the time of Swathi when bulk of musicians from all over south India, started flowing
into the main stream of state musicians, at the court of the versatile royal musician
and composer. Further, the age saw innumerable compositions being composed,
practised and popularised all over Kerala and also outside the state. The deterioration
started during the post Swati period when all musicians fled and all traditions,
perished. When a remarkable revival of this music was started after the first quarter of
47
the present century by eminent musicians, scholars and patrons, what one sadly finds is
the loss of the original music of the Kerala composers which made their compositions
distinct from one another. In the absence of original tunes new tunes were conceived
for most of them by eminent gurus. But they have not been well received by
musicians in general and masters in particular, because of the fact, that they do not
speak the spirit of the composers and their moods. This fact has often affected the
popularity and proper recognition of the songs and created many controversies. To re-
discover the original tunes of these remarkable compositions an attempt could still be
thought of, by calling together, all those lingering parmparas like the Mullamoodu
Raghavayya, Kuttikunju Tankachi etc., and gather from them the original music of
these great composers who were gifted vaggeyakaras in the strict sense of the term. If
a series of such attempts could get the original music of the songs, may it be crude,
vague and elementary; they are good enough, because improving a genuine piece of
music is much better than foreign products however marvellous the latter may be. The
great task of restoring the original musical excellences of the compositions of Swati
Tirunal, Tampi, Thankachi, and many others and safeguarding and passing on the
tradition that was solely Keralite, now rests upon patrons, musicians, music lovers
and organized bodies and institutions.‖xx
Carnatic Music in Palakkad
The tradition of Kerala in the field of music has continued unsullied in modern times.
To the galaxy of modern Kerala musicians belong such stalwarts as Vina
Kalyanakrishna Bhagavatar, Kathakalashepam Anantarama Bhagavatar, Palghat Mani
and Chembai Vaidyanatha Bhagavatar who have substantially enriched Karnatic music
by their valuable contributions.xxiIn addition to the musicians mentioned above who
came to Swati's court from outside Kerala, several gifted local musicians also enjoyed
his patronage, the most celebrated among them being Shadkala Govinda Marar. Marar
was a rare musical prodigy. He devised a Tamburu with seven strings instead of the
usual four. He also achieved the unique distinction of being able to sing pallavis into
six degrees of time and this won for him the title Shadkala. At Swati Tirunal's
instance, Marar went on a futile mission to Tiruvayyur to fetch Tyagaraja to the royal
48
court. Tyagaraja was so much impressed by an inspired musical performance of

Govinda Marar at the place that he composed and sang on the spot that famous Telugu
song "Entaro mahanubhavalu, Anstariki Vandanamu" (There are ever so many great
men in this world and I bow to all of them). Two other Kerala musicians who adorned
Swati's court were Parameswara Bhagavatar of Palghat and Maliyakkal Krishna
Mararxxii. Irayimman Tampi, a close associate of Swati Tirunal, was also a musician
and composer of high calibre who lived in the royal court and collaborated with the
Maharaja in his efforts to promote the cause of cultural development.
1. Chembai Vaidyanatha Bhagavatar who has been called the Gana

Gandharvan of Kerala. It was this great musician who gave a fillip to Singing
of Malayalam songs in concerts. He has a very large disciple following
including the famous Jesudas.
2. Palakkad Mani Iyer, understandably an emperor of percussion instrument

called Mridangam. His amazing mastery used to dumbfound connoisseurs.
3. Nurani Parameswara Bhagavathar who lived in the 19th century who was
with Swati Thirunal Maharaja of Travancore.
4.Thondikkulam Anantharama Bhagavathar who was an acknowledged

exponent of Harikatha style of music.
5.Mundai Rama Bhagavathar who was an acknowledged leader in pure

classical music.
6. Parur Sundram Iyer and his sons M.S.Gopala Krishnan, M.S.Anantharaman

and daughter M.S. Rajam. This school of violin music is considered by many
as the innovators in mixing Hindustani and Carnatic Music. They were
possibly the forerunners of the modern day Jugalbandhi.
7. Palakkad Narayanaswamy possibly the greatest musician of musicians.
8. Palakkad K.V.Gopalakrishnan known for his mastery of Mridangam and

Vocal style of music .He also delved in to Hindustani classical music.
9. M.D.Ramanathan was known for his pure rendering of the classical style of
49
Carnatic Music. He was the well-known teacher of music in Kalakshetra of

Madras.
10. Bombay sisters who used to enthrall their listeners by mellifluous

rendering of famous Kritis and Slokas.
11.Sri.M.A.Kalyanakrishna Bhagavathar who was well known for his

rendering of classical music and his son Sri.M.K.Kalyanakrishna Bhagavatar
who was known for his proficiency on Veenaxxiii
12. Gurvayur Dorai and Palakkad Raghu both well known for their proficiency
in Mridangam
13. Ayilur Krishnan, Chalakudy Narayanaswamy and Puducode

Krishnamurthy well known vocalists.
14. Sri.T.N.Krishnan who is a great player on violin
15. Trichur Ramachandran one of the present day greats in music.
.Among the ancient great contributors to the music was Ennapadam

Venkatrama Bhagavathar.
17. Sri.Thiruvarpu Krishna Bhagavathar (1860-1945) was considered as a great

authority in singing Muthuswami Iyer Kritis.
18. Sri. T.V. Gopalakrishnan (Very famous Mridangist and Vocalist) and his
brother Sri. T.V. Vasan (Ghatam vidhwan) - both belong to Tripunithura.
19. Sri. V.V. Subramaniam and his brother Sri. V.V. Ravi (famous Violin
Vidhwans), Wadakkancheri
20. Late Sri. Thiruvilamalai Vilwadri Iyer (Very famous Ghatam Vidhwan)
21. Late Sri. Chathapuram Subba Iyer (Mridanga Vidwan)- the first Guru of
Late Sri. Palghat Mani Iyer.
22. Kunisseri Sri. Mani Iyer (Mridanga Vidwan)
23. Late Sri. Thiruvilmalai Kondhai (the only Iyer to play leading role in
Chandamelam and Guru of Stalwart, Pallavoor Appu Marar)
50
These are but a few of the real top ranking musicians of Palakkad. Their
contribution to the development of Carnatic music is really great by any
standardsxxiv.
The subject of this study VenÅki¿ar¡ma Bh¡gavatar belonged to the village
E³³app¡¿a¯ in Palakkad after his ancestors had migrated and lived in Palakkad.
This following section attempts to study how this rich heritage in Kerala,the
literary works have influenced the style of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. as a
musician and composer.
END NOTE REFERENCES:

i
Keralasangeetathil Desitthanma- Kavalam Narayana Panikkar- Keli PG 8
ii
Sopana Music –Late S Natarajan- JMMA-LVIIpg 203
iii
Bhagyalekshmy S. Contribution Of Travancore To Karnatik Music,Pg 8
iv
Sojanlal Sharma Kambrathillam - Some Points About Sopanam 17th Aug 2007
http://orkut.google.com/c15808849-t3e09e5a4050ba40.html
v
Killius, Rolf (2006), Ritual Music and Hindu Rituals Of Kerala, New Delhi:
vi
K Vidyasagar-Padayani –A Perpspective KELI PG 55/60
vii
Np Vijayakrishnan -Kathakalisangeethatinte Navotdhanam- -PG 18 -Keli
viii
Leela Omchery-Music of k e r a l a
ix
P Gopa Kumar-About Talas - Kerala Sangitachoodamani- KELI PG20
x
Naadan Sangeetam-Cila Amukha Cintakal-Dr Mv Vishnu Nambutiri KELI-PG 16
xi
xii
P Gopa Kumar-Tyani Keli Pg24
xiii
Omanathingal-KSNA
xiv
Irayimman Tampiyude Attakathakalpg 8-Avtarika –Suranattu Kunjan Pilla
Commentary –Kp Narayana Pisharody
xv
T S Vasudevan-The Carnatic Music Composers-SIMAA-VOL V pgs 127-131
xvi
P Gopa Kumar-About Raga Panjaram Keli Pg20
xvii
G Sreelatha –Contribution Of KC Kesavapillai To Karnatic Music-CHAPTER 2
xviii
xix
xx
G Sreelatha –Contribution Of KC Kesavapillai To Karnatic Music-CHAPTER 2
xxi
Palakkad Iyers-Article-World Heritage encyclopedia
xxii
The legacy of Kerala-Pg 49-A Sreedhara Menon
xxiii
Stellar names in the pantheon of music-Palakkad-TheHindu-2Feb -2012
xxiv
Http://Someachievementsofkeralaiyers.blogspot.in/ By Narayanan
CHAPTER 2
BIOGRAPHICAL SKETCH OF
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar(1880-1961)
BIOGRAPHICAL SKETCH OF E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar 51
CHAPTER 2
BIOGRAPHICAL SKETCH OF
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar(1880-1961)
This chapter gives a descriptive life history of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. .
2.1 Memoirs of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar‘s musical lineage is traced down to his

progeny and disciples .
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. birth, childhood, , interests, musical
training, education and linguistic aptitude form the contents of this section.
Musical Lineage
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar was born in 1880 -February 21st.
(1055 KumbhaM according to Malayalam Era)-.
His father was Sri Padmanābhāyyar and his mother Sitālakshmi ammāl.
His ancestors belonged to family of musicians.
From childhood he evinced interest in listening to Sangeetham-as he refers to music.
Sri Padmanābhāyyar, father of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar and

grandfather were both experts in singing Ramayana Kritis of Arunācala Kavirayar,
Kritis of Muttuswami Dikshita, Kritis of Tyāgarāja, Astapathi and others. .
VenÅki¿ar¡ma had listened to them singing daily using Gattivadyam – the

accompaniment of Gethuvadyam was played by themselves.1
Even though VenÅki¿ar¡ma’s father and grandfather were not professional
musicians; they had the expertise to sing melodiously. His grandfather was an
advocate by profession. Father Padmanābha Ayyar was a Grama Munsiff-Village
Administrative Head. He also had been occupationally engaged as, a clerk-
1
Ref appendic x photo and details about this instrument.
Gettuvadyam is also known as Getchuvadyam or Gethuvadyam. It is a very rare

instrument which is played in Southern part of India. Gettuvadyam is 2-3 feet long and
is like a hammered lute. The Getchu Vadyam is like tambura which is supported at the
neck and has four strings. Sometimes, it is used as the secondary instrument
accompanying Mridangam.
The performers place it in their front and strike it with two small bamboo
mallets. The performer strikes all the four strings simultaneously with the help of two
light bamboo blades held in both hands. While the left hand of the performer strikes
the strings with regular rhythmic beats, the right hand plays complex patterns that
remind one of the mridangam, another popular musical instrument of South India.
Gettuvadyam
The jhallari, also known as gethuvadyam, is a string percussion
instrument from South India. It consists of a large resonator (kudam) carved and
hollowed out of a log (usually of jackwood), a tapering neck of 1 to 2 feet long, a
string tuning box and four metal strings attached from the kudam to the tuning box.
Jhallari strings are played with two small wooden or bamboo sticks, one on each hand,
to create rhythmic patterns or a percussive development. is also known as Getchu
vadyam or Gethu vadyam. It is a very rare instrument which is played in Southern part
of India. Gettuvadyam is 2-3 feet long and is like a hammered lute. The Getchu
Vadyam is like tambura which is supported at the neck and has four strings.
Sometimes, it is used as the upavadhya-secondary instrument accompanying
Mridangam.ipg 63 below
Childhood
Even as a toddler, E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar had the good
opportunity to listen to the great Vidwān E³³app¡¿a¯ Fiddle Krishnayyar , who was
a regular accompanist to Maha Vaidyanatha Iyer and Raghava Bhagavatar,-great
musicians of his time.
Before he was ten years of age, listening to these masters and constant influence of
the music of his grandfather and father, had instilled raga jnana and ability to sing
and understand the nuances of ragas.
During childhood E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar was taught the

languages Tamizh , Malayalam, and Grandhāksharam, both to read and to write the
scripts.
Tamizh was his mother tongue the family belonged to the Brahmin Iyer caste
which had settled in Ennappadam- Palakkad –Kerala.
Malayalam – the regional language of his time.
Grandhāksharam - The Grantha alphabet is a descendant of the Brahmi
alphabet and started to emerge during the 5th century AD....Total alphabets are about
48 in number, without the Dravidian characters like the ra and zha.
in Kerala before Ezhuthachan's time.
Granthakshara was used to transcribe samskritha works
This helped VenÅki¿ar¡ma to read and understand phonetically Amarakosam Sree
Ramodhantham Raguvamsam sarga.etc.
Initiation and Training in Music

Venkita Rāmabhāgavatar, along with his brother Ratnagiriswara Bhāgavatar
started learning music systematically under Ayyabhāgavatar who was the then āstana
vidwān of Kōttakkal Sāmūtiri Kōvilakam.
Nochūr Ayyabhāgavatar was their paternal uncle. father‘s younger brother-
While his brother Ratnagiriswara Bhāgavatar was residing with and under the
tutelege of Ayya Bhāgavatar,Venkitarāma Bhāgavatar joined him after about six
months and began learning music. VenÅki¿ar¡ma was thus initiated to music at the age
of 10 years.
According to Venkitarāma, his brother, Ratnagiriswara Bhāgavatar, who
started learning music only six months before him was quicker in learning, and he
mastered advanced lessons and became proficient in singing the rāgam tānam pallavi
within a short period.
Mastering rāgam tānam pallavi involves good amount of manodharma –
improvisational singing- understanding the intricate concepts of Raga and Tala. It
belongs to the branch of advanced laksya jnana i.e. practical knowledge.
Ratnagiriswara Bhāgavatar was elder to him by only three years in spite of

this, Venkitarāma Bhāgavatar had great respect and regard -bhakti towards his elder
brother.
He admits, It was his brother, Ratnagiriswara Bhāgavatar, who strictly made
Venkitarāma practice music and taught him subtleties of singing rāgas and the
improvisations. Ratnagiriswara -his brother and Venkitarāma learnt for four years.
Music Concert Experience
During the four years of stay -gurukula vasa with Gurunatha Ayyabhāgavatar,
Ratnagiriswara Bhāgavatar and VenkitarAma Bhagavatar sang in all the concerts,
along with Ayyabhāgavatar ,Thus accompanying their Guru in the cuthcheri enabled
them to gain experience in the techniques and nuances of presenting in concerts-
‗Kacēri dharma‘.
Susequently the brothers shifted from Kottaikkal.After1895, both the
Bhāgavatars traveled widely to places like, Cōimbatōre, Madhurai, Pazhani,
Rāmanādhapuram, Dēvakōttai, Rāmēswaram etc. both listening to the concerts of
stalwarts and also performing at the same venues as these veterans. During these
travels, Venkitarāma Bhāgavatar had the privilege of listening to great exponents of
karnātic music like ‗Venugānam Sri Sarabha Sāstrigal‘ (1872–1904) and
‗Anantarāmabhāgavatar‘ (1867 -1919)- One of the famous Carnatic musicians of the
country - Palakkad Anantharama Bhagavathar of Thondikulam Agraharam, lived at
Palaghat.ref foto pg 61 below.
Palakad Rama Bhagavathar- Contemporary Of EVRB

5th June 1888. 26th May 1957
While thus Venkitarāma Bhāgavatar continued giving concerts along with his
brother, their name and fame increased, and they performed more regularly at many
concerts. The Vidwan musicians and legends had great respect towards Ratnagiriswara
Bhāgavatar and more vatsalya- affection to the younger Venkitarāma.
The Unfortunate Incident-Demise of Ratnagiriswara Bhāgavatar

Thus when the brothers were at the peak of glory and fame, unexpectedly a
tragedy took place. Ratnagiriswara Bhāgavatar died at the young age of twenty two.
Venkitarāma Bhāgavatar became forlorn.
2.2 Special Anecdotes in the Life of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. . . . as a musician- g£yak¡ra and g¡yaka –

details of his concert experience, events with his sibling and
Anecdotes as a rasika, ¾i½ya, ¾ik½aka .
The event which turns E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. . . into a solo performer
and that which transforms him into a composer, v¡kg£yak¡ra.

The devotional appeal to his family deity with which he begets a second life as it were,
as revealed by him in Malayalam,in his ¡tmakatha.-Auto biography –publishe d in
‘Venkataramaneeyam’
Lone Bard-(1899-1915)
At that time, still in his teens; he had no courage to do concert all alone.
Popular Vidwāns-his good hearted friends and well-wishers encouraged him to the
utmost. This, Venkitarāma Bhāgavatar, considered as a blessing and the despondent
musician mustered up courage and continued singing. He acknowledges, in his
autobiography, that his style reflects that of Anantarāmabhāgavatar (1867 -1919) and
that of his respected elder brother Ratnagiriswara Bhāgavatar. Gradually he recovered
from the shock of his brother‘s sudden demise and up to the age of thirty five (1915)
and performed only Karnatic music concerts.
Venkitarāma Bhāgavatar attendedthe All India Music Conference at Baroda in

1912. The legend Veena Krishnamacharya and others were among the dignitatries
Thus Venkitarāma Bhāgavatar‘s, musical propensity had been influenced by

listening to his Grandfather, father and elder brother at home. He acquired performing
skills, by listening to great doyens, veteran Bhāgavatars of his time like Ramanatha
puram Poochi-Srinivasa Iyengar, Pattnam Subramanya Iyer. However,the styles he
imbibed from Anantarama Bhagavatar and his brother reflected in his music
presentation.
Popular Harikatha Performer
During the second decade of 20 th century katha prasangam, katha pathanam

and hari katha had gained popularity among the Bhagavatars in temples, devotional
gatherings, family functions and festivals like marriages. The contemporaries of
Venkitarāma Bhāgavatar like Harikesanallur Dr. L. Muthiah Bhagavathar (1877-
1945) used their musical prowess along with their knowledge of devotional poems
and stories from Puranas to spin up storyline mixed with music.
During this period ‗Harikatha-Kalakshepa‘ became very popular and all music
vidwāns were drawn towards to it. Venkitarāma Bhāgavatar also attempted and
immediately achieved success and gained popularity.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar was very famous as an exponent of Harikatha.2
Most of the stories Venkitarāma Bhāgavatar chose for Harikatha were from the epic
Rāmāyana. He received many gifts and honours from Kings of Travancore, Cochin,
Mysore and Baroda during this time. He travelled widely to distant places like
Bombay, Calcutta, Delhi, etc performing Harikatha also music concerts- thus gaining
reputation. Harikatha experience enriched his literary knowledge too.As a result of
these exposure places he got acquainted with the languages Telugu, Kannada, Hindi,
Marathi, Sanskrit etc in addition to Malayalam and Tamil. This linguistic aptitude
2
ref audio ksna cd and foreword-by kavalam narayana panikker -venkataramaneeyam
aided Venkitarāma Bhāgavatar to compose songs –Krtis which he used to render and
create interesting story line.
The Turning Point- Composer

When Venkitarāma Bhāgavatar was fifty one, he had a severe attack of ‗Vasoori‘ 3
The Bhakta –the devoted person that he was, Venkitarāma Bhāgavatar
composed five Krtis on his family deity Devi Parukkancheri Amman4
It is believed that the actual kula deivam is the vidya ganapathy who resides in a
dilapidated and neglected temple behind the village.
3
disease. - smallpox.
Vasoori is the name Malayalam gave to smallpox. In a not-so distant past, this disease has played out its danse
macabre over the world. In a country like India where population explosion is an occurence not just for
humanity but gods as well, there soon came to be an association for this disease with the rage of a goddess. In
Kerala, the belief was that when humanity was drowned in illness and evil, the goddess showered the seeds of
smallpox over them to cleanse the Earth again.
4
—ref above photo
He consistently continued singing them, though with difficulty in a mild tone but with
great devotion. Slowly he began recuperating and within one month he was
completely in good health without even a trace of mark of the dreaded disease on his
body.
After this miraculous recovery, as a prayer to save himself from further
distress, Venkitarāma Bhāgavatar composed 108 Krtis on Lord Krishna based on the
108 names of the Lord‗Sri Krshnāshtottara Sata nāmāvali‘. These 108 Krtis in 108
rāgās, in scholarly Sanskrit are a valid proof of Venkitarāma Bhāgavatar‘s mastery
over these 108 rāgās, the complex language Sanskrit and more of his devotion and
comprehension of ‗Srimad Bhagavata Purana‘.
Venkatarama Bhagavatar has signed almost all his kritis with his own
name ―Venkataramana‖ or ―Venkatarama‖-hence he is a Swanaama mudra kaaraka
Vakgeyakaara.
Published Kritis
1. Kerala Sangeeta Nataka Academy has published ―Venkataramaneeyam‖ a
compilation of 146 kritis of Venkataramana Bhagavatar in Malayalam script notated
with the help of Ennappadam Ramachandra Bhagavatar –his son and disciple.
Also preserved in their archives is a recording of Bhagavatar‘s concert.5
2. ―Venkataramaniyam‖ Tamil edition of 60 of these kritis .Pub.by Smt.Gita
Subramaniam Chennai -41, Jan 2005,6
5
KSNA/DAAC P109-Concert By Sri Ennappadam-Cd-Spool
6
Copy recieved from Dr.Saraswati
Ramachandra Bhagavatar
Unpublished Kritis
Apart from the songs published in ―Venkataramaneeyam‖, the authoress has
come across other kritis in rare talas from the manuscript obtained through his
descedants. The talas used are named as Nuti, Preeti, and Devaranjanam. These are
proof of his mastery in rhythm.
The Kritis in rare rāgās like Sumukhi, Prakāsini, Sridhari, Rāsa bhauli, Murali
nādam, Vrindāvana Kutūhalam, Priyadarsini, and Rasa varaali show his musical
propensity.
Disciple Lineage7
He is said to have a lineage of disciples through his son Ramachandra
Bhagavatar a popular musician of his time, granddaughter Smt. Thankam 8; and
Smt.Omana and Smt .Jayamani9. Of these devoted students, the latter still continues to
perform Harikatha in Kerala.
7
Telephonic talk with Smt.Jayamani
8
Cassete recordings of kritis of EVRB by Smt.Thankam, recorded by her sister Dr.E.Saraswati
9
Telephonic conversation with Smt .Jayamani ,based on the information from
Dr.E .Saraswati{grand daughter of EVRB}
2.3 Unique Contribution of E³³app¡¿a¯ Ven-ki¿ar¡ma Bh¡gavatar to
Carnatic Music. In this section, the specialty of the kriti s of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar. In the spheres of classical music is briefly given before analysing them in
detail in the forth coming chapters.
Kritis
Sri Venkitarāma Bhāgavatar ‘s available Krtis are150 in number. He is not
known to have written any other form of karnatik musical compositions like varnam,
padam etc. Most of his Krtis are in Sanskrit. A couple of them written in Tamil.
Sanskrit words used are most appropriate to the theme of the song and scholarly.
There are no music compositions known to have been his in Malayalam .He is said to
have composed a number of Ramayana krtis for Harikatha in Tamil and Sanskrit10.
Ennappādam was a very traditional man, devout and not clamouring for
popularity. He admits he did not compose 108 nama krtis to brag about his
knowledge.He had stuck to his traditions even in composing Krtis. He was not
influenced by modern trends of mixing nadais-even in ‗tāla vatta‘ sometimes: his
Kritis lends scope for developing niraval and kalpanaswarās to musicians present them
in concert pattern.
Most of E³³app¡¿a¯ Ven-ki¿ar¡ma Bh¡gavatar ‘s Krtis are in popular rāgās like
Tōdi, Bēgada, Sankarābharanam, Khamās, Bhairavi, Arabhi etc.
The following chapter 3 deal with analysis of his Kritis in rare rāgās.-
There are also Kritis by Ennappādam in rāgās rarely handled by composers in
general like – Sudhaseemantini, Kannadagaula, Sudha bangāla, Nāgaswarāvali,
Navarasa kanada ,KOkiladhwani,etc. These are all proof of genius as a composer and
his deep knowledge, to handle such rāgās with ease.
Talas: Ennappādam has composed his kris not only in popular tālas like Adi,
Rūpakam, Chāpu, Jhampa etc. but rare talas too.In the following Chapter 3 analysis is
done.
10
-as per Dr Saraswathy and Smt Jayamani
His Mudra: like all great composers of Kritis and kīrtanās in karnātic music,
Ennappādam Venkitarāma Bhāgavatar also used his name- mudra as a stamp of
identity in most of his Kritis. His mudra is ‗Venkata Ramanam‘, or ‗Venkita Rama‘
and other synonyms of his own name.
The recognition accorded to his musicianship and works also form a part of this
section.11
Ennappadam Venkatarama Bhagavatar (1880–1961) was a composer of Carnatic
music.One of his books, Venkata Ramaniyam, has been recommended as a text book
by Kerala University.
12
Citation by Madras Music Academy
13
geneology – pg 65 below
14
Palaghat Anantarama Bhagavatar(1867 -1919)-
11
ReferencesLinks -Ennappadam Venkatarama Bhagavatar
Ennappadam Venkatarama Bhagavatar (1880–1961) was a composer of Carnatic music. One of his
books, Venkata Ramaniyam, has been recommended as a text book by Kerala University.
http://dikkedeur.dyndns.org/index.php?option=com_ewiki&view=mediawiki&article=Ennappadam_Ve
nkatarama_Bhagavatar#cite_note-0,1,2^ "Like the singing wind from the ghat". The Hindu. 13 November
2005. http://www.hindu.com/2005/11/13/stories/2005111300880200.htm. Retrieved 10 January 2010.
^ "Music — different perspectives". The Hindu. 2 January

009. http://www.thehindu.com/fr/2009/01/02/stories/2009010251030500.htm Retrieved 10 January 2010.
^ "A great social historian". News Today. 15 June
2009. http://www.newstodaynet.com/col.php?section=20&catid=33&id=17569. Retrieved 10 January
2010.
12
Citation appendix
13
SON Ennappaadam Ramachandra Bhagavatar- foto appendix
14
Palakkad Anantharama Bhagavathar of Thondikulam Agraharam
LayaKalanidhi AvudayarKovil Sri H Subramanyam on Getthuvadyam
―The performers place it in their front and strike it with two small bamboo
mallets. The performer strikes all the four strings simultaneously with the help of two
light bamboo blades held in both hands. While the left hand of the performer strikes
the strings with regular rhythmic beats, the right hand plays complex patterns that are
remind one of the mridangam, another popular musical instrument of South India.‖
ENNAPPADAM VENKATARAMA BHAGAVATAR

GENEOLOGY
PADMANABHA IYER-SEETHALAKSHMI AMMAL
NOT KNOWN ENNAPADAM ENNAPADAM VENKATARAMA ENNAPADAM VISWANATHA NOT

ABOUT RATNAGIREESWARA BHAGAVATAR(1880-1961) BHAGAVATAR KNOWN ABT
DAUGHTER BHAGAVATAR-DIED KUNJAATTAI
and SON AT 22 YRS
CALLED atthai SON RAMACHANDRA DAUGHTER E V SUBRAMANIAM -- RATNAGIRISWAR

BAGAVATAR RAJAMMA
DR RAMABAI * THANKAM LIVE IN CHENNAI
BHUVANA KAMALA
RAJAGOPAL RAMANI
LAKSHMAN INDRA
DR.E SARASWATI-
KRISHNAN
VISWANATHAN
GEETHA
SANKARAN
DISCIPLE FOR MUSIC
*THANKAM
DIRECT DISCIPLES
FOR HARIKATHA-
JAYAMANI-0MANA
#Family details as per information given by Dr.E.Saraswathi Venkiteswaran in Chennai

CHAPTER 3
Analysis of Musical Aspects of Krti s
of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
Analysis of Musical Aspects of Krti s of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar 66
CHAPTER 3
Analysis of Musical Aspects of Krti s
of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
This chapter is a two part study of the musical compositions of E³³app¡¿a¯
i. Critical study of the melodic beauty in the compositions of

E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
And
ii. Examination of the aspects of rhythm in the settings of the
compositions of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
In Indian music, melody and rhythm are the essential musical aspects of any
composition.
Bharata exclaimed:
छन्दोहीनो न शब्दोस्ति न च्छन्दश्शब्दवस्जििम ् “नाट्य शातर”
chandµh§nµ na ¾abdµÉsti na cchanda¾¾abdavarjitam “n¡¿ya ¾¡stra”
Melody and Rhythm are inseparable. ¾bada –candas are complementary to each
other. Any melody is governed by rhythm.
नाना मार्गैऱय
ि ो यर यिीनाम ् तयाि ् कऱाननधौ
िम ् दक्षऺणम ् शशवं नौशम चिरम ् वस्ृ तिमयम ् ध्रव

ु म्
“िाऱ अध्याय -संर्गीि रतनाकर”
n¡n¡ m¡rgairlayo yatra yat§n¡m sy¡t kal¡nidhau
tam dak½i³am ¾iva¯ naumi citram v»ttimayam dhruvam
“t¡la adhy¡ya -sa¯g§ta ratn¡kara”

Laya or rhythm is embedded in all aspects in the Cosmos
याज्ञ्य वल्क्य तमनृ ि ”
वीणा वादन ितवऻ श्रनु िजानि ववषारद
िाऱश्िअप्रयासेन मोऺ मार्गिम ् स र्गच्छनि ॥
“y¡j²ya valkya sm»ti ”
v§³¡ v¡dana tatvaj²a ¾rutij¡ti vi½¡rada
t¡la¾caapray¡sena mok½a m¡rgam sa gacchati ||

Those who are adepts in Veena play, those well versed in sruti jatis and in Tala are
assured of salvation without much effort.
Melody and rhythm are the essentials of any musical composition.
South Indian Music abounds in musical compositions. They are plenty in variety.
Musical compositions may belong to, pure music, applied music, sacred or secular
music, or dance- drama- etc.
Jayadeva‘s Ashtapadi, Devarnamas of Purandara Dasa, Samkeertanams of
Tallappakka Annamacharya, Kirtanas of Bhadrachala Ramadas, Tyagaraja‘s Divya
Nama and Utsavasampradaya Kirtanas, Vina Kuppier‘s maanasika puja kirtanas,
chiefly belong to the class of applied music where sahitya is predominantly
devotional.
Performing a musically set composition, rendering a verse musically, to
express a devotional poem melodiously, to sing the praise of-all these could be termed
as kīrtana.
The musical compositions of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar which are

available in published and unpublished sources are alone the subject of this study.
The available musical compositions of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar are in
the form of krti s only.-technically speaking.
In Kerala the musical compositions other than varna, pada, tillana etc are
referred to as both kīrttanangaḷ and krtikal
Thus we find the use of both these terms in Publications and announcements of
Swathi Tirunal and others‘ compositions
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar in his autobiography also uses both terms:
‗ഞാനുും സ്വന്തമായി ചില കൃതികള് രചിച്ചിട്ടുണ്ട്.അതില്
പ്രധാനമായി പ്രീകൃഷ്ണാഷ്ടാത്തരരതനാമങ‍ള് ഓഷ്രാന്ുും
ആദ്യമായി തുടങ‍ുന്108 രാഗത്തിലുള്ള 108 കീര്ത്ത്തനങ‍ളാണ്’
‗ñānuṁ svantamāyi cila krtikaḷ racicciṭṭuṇṭ. atilpradhānamāyi
śrīkrṣṇāṣṭōttaraśatanāmaṅaḷ–ōrōnnuṁ ādyamāyi tuṭaṅunna108 rāgattiluḷḷa 108
kīrttanaṅaḷāṇ’
Ven–kitarāma Bhāgavatar mentions both kRuti,kIrttanaM in his autobiography.this
is found in ―vēnkaṭaramaṇīyam‖.-as published by Kerala Sangita Nataka Akademy-
under the current study reads-
―vēnkaṭaramaṇīyam”
śrī Eṇṇappāṭaṁ Ven–kiṭarāma Bhāgavataruṭe 146 saṁgīta krutikaḷ
Hence before proceeding with the study of the musical works of E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar , the variation in the connotation of both these terms as

applied in Karnatik music is differentiated.
Krti and kīrtana
Krti is a musical form. ‗Krti‘ is not a technical term applied in Indian or more so in
Carnatic music.
The word बन्धिष ् bandhiṣ as used by the music performers and music
composers from the Northern part of India means a composition which is set to
music.It could include any musical form like a Khayal, Dhrupad, Tumri,etc
Krti in Malyalam literature is used to denote literary works, dramatic

plays, etc.sahitya krtigal referred in literature and musical works as sangeeta krtigal.
’यद् कृतं तद् कृतत’ ’yad kRutaM tad kRuti'
means that which is created or composed is Krti .
Etymologically Krti is derived from the root ‗kº‘ which in Sanskºt means
‗to do,to perform,to accomplish‘1 This definition establishes the fact that a Krti is
primarily precomposed music – kalpita sangita. So its structure is not to be changed.
कीत ्् kīrt-to mention, to repeat,to recite,to glorify,to declare etc. is the

etymological root of the Sanskrit word कीर्तन kIrtana
which means –mentioning,repeating,reciting,saying,etc.2
In Bhajana sampradaya,“कीर्तन kīrtana is a simple sacred musical form. The
musical setting is very much at lower ebb, with the साहित्य sahitya dominating.The
music is just a vehicle to carry the sahitya, it is just a musical cloak to cover the lyrical
structure.‖3
कीर्तनम ् kIrtanam is one of the nine paths of devotion in Indian sense of the term –नव
ववि भन्तत मार््- nava vidha Bakti mArga viz.श्रवणम ् SravaNam
,-listening-an active form of ‗hearing‘ which is more a passive act-
कीत्नम ्,- kIrtanam -A devout person sings the glories of God Almighty seeking His
Blessings.
1
#Ref.Pgs.300-301,A Sanskrit English Dictionary-Sir Monier Monier Williams-16th Reprint:Delhi-
Isbn 978-81-208-3105-6.
2
Pg 285,A Sanskrit English Dictionary-Sir Monier Monier Williams-16th Reprint:Delhi-Isbn 978-81-
208-3105-6.
3
Pg.197, ESSENTIALS OF MUSICOLOGY IN SOUTH INDIAN MUSIC-PROF.S.R.JANAKIRAMAN-FIRST
EDITION MARCH 2008
Perhaps, the most important aspect of analysis should be with regard to the
emotional set-up of the musical composition. Tyagaraja has given a masterly stroke in
this regard in his
―Sogasuga Mrudangatalamu‖ –Sriranjani –rāga-where he says
―Navarasayuta-kritiche…bhajiyinchu‖
Besides the Tauryatrika concept of music of gandharva as Gita, Vadya and

Nritya, music or Sangeetha could be conceived as the triple confluence of Bhava,
Raga and Tala.
pÉÉuÉUÉaÉ iÉÉsÉrÉÑ£üqÉç xÉÇaÉÏiÉÍqÉÌiÉ sÉ¤ÉhÉqÉç
bh¡var¡ga t¡layuktam sa¯g§tamiti lak½a³am
BAva –sAhityBAva,rAga-ranjakaBAva,tAla-layaBAva
All three are indispensable in a krti.

We have, among South Indian composers, many of them who have composed
praising their इष्ट दॆ वता iShTa dEvatA – their favorite Deity to express their
prayerful renderings seeking God‘s grace. Even as a performer is singing the same, the
emotional, devotional aspect is reflected when the person is aware of the import of the
lyrics and when an attempt is made to understand the circumstances of the composer
as also the language of the lyrics.
Krti is a popular musical form that enjoys prime place in carnatic concerts. Krti
is a specific form of musical composition with distinctive features that differentiates it
from other forms like Padam,Varnam,Tillana, and kirtanam.
The musical composition of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar published
in the book വെങ്കടരമണീയും ve~gkaTaramaNIyaM and which are obtained as
manuscripts are in the Krti format of carnatic music.Apart from the melody, rhythm
gives the composition a concrete dimension.
Krti-the form of musical composition under study is an act of communication
born out of an overwhelming need to express the beauty of ragas and also an act of
communication with ones‘ personal ultimate ideal.The saint singers‘ krtis are intensly
personal and profound. The lyrics or padas are gems of Bhakti couched in melodius
mode had sprouted out of their intense inimate expression of the saint singers.
Hence in the following sections, E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ’s
compositions are analysed as conforming to the carnatic musical form Krti.
3.1 .Critical study of the melodic aspects of the Krti s
A detailed analysis of the melodic aspects of the Krti s of E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar is undertaken here.

This study pertains to the melodic setting or mode or, which in Indian musicological
terms, is called r¡ga.
Music is based on നാദ് nAda –musical sound- for which melody- രാഗ rAga is
fundamental. Melody is a result of groups of musical notes –hence the ancients used
the term Grama .
Matanga, observed in his Brihaddesi:-
rÉjÉÉ MÑüOÒûÎqoÉlÉxxÉuÉï LMüÐ pÉÔiuÉÉ uÉxÉÎliÉ:

xÉuÉï sÉÉãMãüwÉÑ xÉÉ aÉëÉqÉÉã rÉ§É ÌlÉirÉqÉç urÉuÉÎxjÉiÉÈ||
yath¡ ku¿umbinassarva £k§ bhÀtv¡ vasantihi
sarva loke½u s¡ gr¡mo yatra nityam vyavasthita¦||
"Just as the members of a joint familv live together and many such families constitute
a village so too all the swaras are brought together under one common generic name
Grama‖.
From the Gramas the ancient lakshnakaras derived what are known as
Murchanas. The fundamental difference between a grama and Murchana lay in the fact
that the former was a down-ward scale while the latter was a swara-pattern, scale of
regular ascent and descent4.
¢qÉÉ¨Éç xuÉUÉhÉqÉç xÉmiÉÉlÉÉqÉç AÉUÉãWûzÉçcÉÉuÉUÉåWûhÉqÉç qÉÔNïûlÉåirÉÑcrÉiÉã oÉÑkÉææû:
kram¡tt svar¡³am sapt¡n¡m ¡roha¾Åc¡varµha³am mÀrchan£tyucyate budhaihi
4
Prof.SRJ Miscellany of Essays
Whereas the Murchana was strictly a seven note-heptatonic scale, Jati was not
so. It was Sampurna, Shadava or Audava.
Only when the concept of Jati was understood as a progressive pattern -
prastarakrama of a heptatonic scale contained in the Murchana, the rāga concept had
attained its full growth
svara: svato ranjayati iti svara:
rAga:ranjayati iti rAga:
स्वर: स्वतॊ रधजयतत इतत स्वर:
रार्:रधजयतत इतत रार्:
സ്വര: സ്വവതാ രന്ജയതി ഇതി സ്വര:
രാഗ:രന്ജയതി ഇതി രാഗ:
ranjanam or gratification arising out of music is when the melody is soothing or

refreshing. So a musical composition has to be tuned and sung or played to a r¡ga or
mode and presented delightfully before the listener to be enjoyable; the singer or
musician also is benefitted by the ras¡nubh¡va of the r¡ga
rÉÉåÅxÉÉæ kuÉÌlÉ ÌuÉzÉåwÉxiÉÑ xuÉUuÉhÉï ÌuÉpÉÔÌwÉiÉ:|

UgÉMüÉã eÉlÉÍcÉ¨ÉÉlÉÉqÉç xÉ cÉ UÉaÉ ESÉWØûiÉ:||
yµÉsau dhvani vi¾£½astu svaravar³a vibhÀ½ita:|
ra²ako janacitt¡n¡m sa ca r¡ga ud¡h»ta:||
- Matanga's definition of the term r¡ga
The advent of the different systems of classification of rāgas, by Matanga‘s

rāgas into Suddha, Chayalaga and Sankirna,Govinda Dikshitar, who perfected the
24 fretted vina, all these enabled Venkatamakhin to give us for the first time a
classification of Melas- formulation of his 72 mela scheme--based on the unalterable
logic of the twelve notes of the gamut.5
5
Prof.SRJ Miscellany of Essays rāga chapt pg 56
The sampoorna r¡ga s of this mela or janaka system gave the possibility of
derived r¡ga s –janya ,in which we have many thousands of krtis by various
composers in South India,beginning from theTtrinity.
During the 18th-19th century,the Musical Trinity viz.Syama Sastry(1762-
1827A.D), Tyagaraja (1767-1847 A.D) and Muthuswami Dikshitar (1776-1835A.D)
composed innumerable Krti s in various r¡ga s .These Krti s by way of their structure
and melody and rhythm have been inspiring later composers to present their creative
ability in composing Krti s with embellishments like sangatis, swarasahitya,
chittaswara, madhyamakala sahitya and so on.
The kºti s composed by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar in various r¡ga
s are available and obtained .primarily these form the basis of this research. Harikatha
compositions of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar are not being discussed here.
Yet some songs which he is said to have composed and used in kathakalakshepa are
noticed and studied in brief. During the period of Trinity and after, some m£©a r¡ga s
which existed only in the musical literature, took concrete shape and many janya
r¡ga s emerged. These have come down to us through musical forms, mainly Krti s, in
which they were set for the first time.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar has composed Krti s in m£©a and janya r¡gas
These two categories are analysed for their melodic aesthetics here.
Inclued in chap 1 cncnslinDuring the period of Swati Tirunal, the patronage extended
to neighbouring musicians and poets enriched Travancore‘s musical canvas- flodded
with various musicians composing and performing in the royal courts.
With the influx of musicians like Mutthaiah bhagavatar,E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar ‘s style in using the format of krtis of Trinity and his contemporaries
have been influenced by these .
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ’s kºti s in m£©a r¡ga s

There are kºtis in 25 out of 72 m£©a-byE³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
*In Some m£©as composed more than one kºti.
1. .¾r§rajat¡cal£¾vara¯Ä v»½abhapriya* ¡di
2. v»½abh¡suraviddhva¯Äsina¯Ä v»½abhapriya ¡di-108
3. gµp¡la gaurimanµhari rÀpaka¯Ä
4. r¡macandra¯Ä tµ¢i kha³¢a Tripu¿a
5. ¾r§vidy¡ga³£¾a¯Ä tµ¢i nuti
6. ½µ¢a¾astr§ sahasr£¾a¯Ä tµ¢i c¡pu
7. r¡j¡tir¡ja¯Ä kaly¡³i ¡di
8. manas¡ bh¡vay£ m¡dhava¯Ä harik¡mÅbhµji ¡di
9. ¾r§ kru½³am¡¾ray£ , harik¡mÅbhµji , rÀpaka¯Ä
10. kamal¡n¡tha¯Ä, m¡y¡m¡©avagau©a¯Ä, ¡di
11. pÀtan¡j§vitahara saras¡¯Ägi rÀpaka¯Ä
12. ¾aka¿¡surabha²jana¯Ä ½a³mukhapriya ¡di
13. mucukundapras¡daka¯Ä bagu©¡bhara³a¯Ä ¡di
14. *¾ukav¡gamrut¡bdh§ndµ cakrav¡ka¯Ä* rÀpaka¯Ä
15. yµgin¡¯Äpati¯Ä lat¡¯Ägi ¡di
16. dh£nuk¡surabhanÅjana¯Ä dh£nuka ¡di
17. tru³§krutatru³¡vaºtta pantuvar¡©i rÀpaka¯Ä
18. i©¡pat£ jagatÅpat£ r¡mapriya rÀpaka¯Ä
19. yadÀdvaha¯Ä ¾a±kar¡bhara³a¯Ä c¡pu
20. p¡rij¡t¡pah¡raka¯Ä k§rav¡³i ¡di
21. gµvaºÅddhana¯Ä v¡caspati ¡di

22. k¡majanaka¯Ä n¡¿akapriya* ¡di
23. ka²jalµcana¯Ä c¡ruk£¾i ¡di
24. mathur¡n¡tha¯Ä si¯Äh£ndramaddhyama¯Ä rÀpaka¯Ä
25. *m¡yina¯Ä gaurimanµhari rÀpaka¯Ä
26. paramapuru½a¯Ä kaly¡³i c¡pu
27. kamÅs¡r£ m¡mava h£mavati ¡di
28. satya sanÅkalpa¯Äsatata¯Ä saur¡½¿ra¯Ä ¡di
29. v£³un¡davi¾¡rada¯Ä kharaharapriya ¡di
30. baºÅh§baºÅh¡vata¯Äsaka¯Ä ½a¢vidham¡ºÅggi³i ¡di
31. jalakr§¢¡sam¡sakta gamana¾rama rÀpaka¯Ä
32. saṟrvatīṟtthātmakaṁ dhaºÅmmavati ¡di
Similarity between selected kºtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
and that of Trinity and Post Trinity composers
A stylistic analysis-of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ‘s kºtiin mēḷa and janya
r¡ga s is attempted in this section.
śaṅkarābharaṇaṃ -yadūdhvahaṃ- -chapu 6–
is among the the108 krtis with the 44th nama .
This resembles tyāgarāja krti-yatuṭanilicite-in the same rāga-śaṅkarābharaṇaṃ
musically.
In the pallavi and in most of the parts has similar sangati progression.
6
APPENDIX -Audiography Thankam KRTI NUM 76 IN VENKATARAMANEEYAM
The deft handling of the rāga in detail by VenÅki¿ar¡ma Bh¡gavatar in Misra chapu
gives immense scope for rendering it as a main piece in a carnatic concert with neraval
and swarakalpana.
The structure of the whole kriti show the musical expertise of Bh¡gavatar
bhairavi rāga-śrī rāja gopālaṃ- khaṇḍa cāypu-
There is a grandeur in the musical setting similar to the style of muttusvāmi
dīkṣita in the bhairavi rāga krti-śrī rājagopāla-7
Another krti on Mahalakshmi is composed in the same rāga but among the
unpublished ones. This is set differently .
‗Alokayamam-chapu‘is analysed later in this chapter for melodic analysis
begaṭa-rāga-śrīrāma raghurāma -namaste namaste- kha³¢a cāypu8
The setting has a lot of resemblance to the fourth Vibhakti krti of Muthuswami
Dhikshita on Lord Tyagaraja -Tyāgarājāya nāmaste namaste- bēgaṭa-rāga
Another krti among the 108 nama group,

y¡dav£ndra¯Ä bhaj£-b£ga¢a-¡di has a different setting with appropriate usage
of the vakra passages to bring about the flavour of rāga chaya.
This shows complete understanding of the rāga by E³³app¡¿a¯ VenÅki¿ar¡ma

Bh¡gavatar .
 style of syama sastri in krti of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
 k§ºÅttaya rasan£ ¡nandabhairavi c¡pu
7
Pg 12/Num 8-Venkataramaneeyam- Audio KSNA Cd
8
Pg 21num13 Venkataramaneeyam & Audio Cassette -Syamala Venkateswaran
 There is one kriti of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar which has a similar setting
like that of Syama Sastri.the usage of the melodic phrases of ¡nandabhairavi, shows
the inspiration that the latter has had on the former.
k§ºÅttaya rasan£-¡nandabhairavi 9 mentioned as a janya of 22nd kharaharapriya ,not
20th mela Natabhairavi.
sa,ga,ri,sa, ,,ri,niÖ,|| sa,pa,ma,ga,ri,ga,ma,||
¡-rÅtta p¡-lana || m¡-di k¡-ra³a¯Ä||
pa, ,, pa, ni, ni, pa, ma,|| ga ri ga, ma,,, ,,,,||
¡-- ¾ri t¡- bha ya|| d¡- yi-na¯Ä
ni,pa,ma, pa,sa×,sa×,ni,||sa×,ga×,ri×,ga×,ri×,sa×, sa×,||
p¡-rÅttha mµ-ha vi||n¡-¾a ka ra ¾u bha
pa,ri×,sa×, ni, dha, pa, pa, || ma,pa,ma,ga,ri,sa,sa,||
mÀ-rÅtti ma- pyu ta¯Ä|| v£ nÅka ¿a ra ma ³a¯Ä|| k§ºÅttaya rasan£
The style of mutthaiyah bhāgavatar seen in
hariṁ īḍē-navarasa kānaḍa-¡di10
has in most parts musical setting similar to duṟgā dēvī-¡di- mutthaiyah bhāgavatar
in the same rāga.
This rāga navarasa kannada- swarantara – shadava rāga -mentioned in Govinda‘s
sangraha Chudamani-made known to us by Tyagaraja-ninnu vina namadendu-rupaka-

became more popular in the hands of post trinity composers.11
Being a raga with limited scope, the veneer of a popular krti like that of mutthaiyah
bhāgavatar used by this composer is acceptable.
9
pg202 Venkataramaneeyam
10
Appendix - Audiography
11
Pg 85.Ragas At a Glance Prof SRJ
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar was a full fledged performing musician

of his time in the carnatic music field. He had listened to many Vidwans performing
popular kritis in these ragas.and assimilated a lot from them. Hence the semblence in
parts of the structure and usage of these ragas could be conventionally accepted
PROF SRJanakiraman observes12 ‗In India music has been looked upon as
one of the margas or paths of holy pursuit. Music which is nothing short of
Nadopasana is for self-emancipation or self-realisation thereby elevating the
individual soul to the eternal bliss (for the perfect communion of the individual soul
with universal soul). It is thus the sacred music lore comprises the bulk of musical
compositions characterized by the domination of Sahitya (the libretto) enshrining lofty
ideas and thoughts propitiating Godhood. They have been the soul-stirring
spontaneous output of the ever flowing streams of devotion on the part of our
composers. Consequently the music of their songs or the Dhatu is rather subdued to
textual structure. The rāga structures are at the lowest ebb. This is why and how we
find in the earlier Centuries plural Sahitya sung to singular well established, familiar
and simple music tones (Dhatu structures).‘
3.1.1A study of those r¡gas that were brought to light to the music world by
Trinity and post Trinity composers by their compositions and also handled by
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
A few melas and janyarāgas were brought to notice through the compositions of
Tyagaraja for the first time and most of these janya rāgas are surviving only through
the krtis of Tyagaraja13.
Among nearly thirty five Melas employed by Tyagaraja, particular mention must be
made of Kharaharapriya and Harikambhoji. These two could no doubt, be traced to the
ancient Grama period as full-fledged entities with their full melodic worth, these two
were brought to light markedly by Tyagaraja. Some of his masterpieces have been
treasured in these two heptagonal scales.
12
Prof SRJ-CHAP 15 MOESSAYS
13
ref-rāgas at aglance Prof SRJ
In the krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,we find the following krtis in

these melas.
1) v£³un¡davi¾¡rada¯Ä kharaharapriya ¡di
2) manas¡ bh¡vay£ m¡dhava¯Ä harik¡mÅbhµji ¡di
3) ¾r§ kru½³am¡¾ray£ , harik¡mÅbhµji rÀpaka¯Ä
Their musical setting is in the traditional practise of usage of graha ,amsa

nyasa swaras of the rāga but have individual characteristics. They are in the pallavi
+anupallavi+ single charana pattern, the sangatis progression is similar in style to
Tyagaraja‘s – the development of the sangatis enhance the melodicity of the rāga.In
many krtis,the daatu of the anupallavi repeats in the second part of the charana
resembling the style of Tyagaraja.
Some Krtis in Mela by VenÅki¿ar¡ma Bh¡gavatar are in those ragas revealed
to us byTyagaraja after the advent of the 72 mela scheme. Some post trinitycomposer
have also dealt with them14
dh£nuka -9th mela
Brought to carnatic arena by Tyagaraja and popular through TeliyaleruRama
dh£nuk¡surabhanÅjana¯Ädh£nuka- ¡di of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar uses
cleverly the raga mudra in the opening phrase and also in the phrase-
dh£nuk¡ rāgānandinaṁ-as an epithet of Krsna
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar opens the palllavi with the raga chayaphrase
with ‗pdnd pmgrs, rs srrg,‘ and travels upto the taara sthayi panchama in ‗pdn,S, S,
R,G, M,PM G,R,S,,‘
The mood in which this raga is used by VenÅki¿ar¡ma Bh¡gavatar here is more exciting
than the sober usage of Tyagaraja- the latter‘s theme itself being restrained.
14
ibid Ragas Gifted To Music World For The First Time By Tyagaraja , Rāgas At A Glance
cakravākaṃ-16th mela
Introduced by Tyagaraja in the Kanakangi list with Vegavahini in the earlier.
Etulabrotuvo,Misra chapu and sugunamule-Rupaka of Tyagaraja.
Patnam Subramaniayyar has given a totally melodic entity through
Inkadayaraleda-adi
*¾ukav¡gamrut¡bdh§ndµ cakrav¡ka¯Ä* rÀpaka¯Ä
*¾ukav¡ga -soochita raga mudra – E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar intelligently
uses ‗suddha raga mudra‘ also in the compounde d pada‗chakravaka baka sikhi
hamsadi vividha vihaga rajita‘ for the description of Vrndavana
---------------------
kīravāṇi- 21st mela
p¡rij¡t¡pah¡raka¯Ä k§rav¡³i -¡di of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,is among

the 108 nama krtis praising Lord Krsna,with the full facet of the raga expressed
therein.
Tyagaraja was the first and only one among the Trinity to compose in this mela, with
the emergence of the 72 melaPaddhati.
Kaligiyunte by Tyagaraja (Telugu) -Self Retribution 15
Post trinity-many composers have composed songs in Keeravani.
A few of them are listed here.
eTi yOcanalu cEsEvurA by Tyagaraja (Telugu)
Ambavani nannu by Muthiah Bhagavatar (Telugu)
Bhavaye Saarasanabham by Swathi Thirunal Rama Varma (Sanskrit)
Varamulosagi by Patnam Subramania Iyer (Telugu)
Devi neeye thunai by Papanasam Sivan (Tamil)
15
Prof SRJ-Articles- Diversified Themes And Ragas In Saint Tyagaraja‘s Compositions- A Brief
Coverage
Karunakarane Shivashankarane by Papanasam Sivan (Tamil)

Balasarasa Murali by Oottukkadu Venkata Kavi (Tamil)
Podado seyta sodanai-T Lakshmana Pillai (Tamil)
nA puNyamu gAdA IshA by Muthiah Bhagavatar (Telugu)
nijamuga rAma nI pAdamula Poochi Srinivasa Iyengar (Telugu)
 varamulosagi brOcuTa nI karudA by Patnam Subramaniam Iyer (Telugu)

 Innamum Sandeha Padalamo by Gopalakrishna Bharathi (Tamil)
 vinayagane vinaitheerpavane by [ulundhoorpettai shanmugam] (Tamil)
 nI caraNAmbujamunu neranammiti i by G.N.Baalasubramaniam (Telugu)
 It is noteworthy that before E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,only
Maharaja Swati Tirunal has composed a krti in raga keeravani in Sanskrit .
 ---------------------------------------------
 Gaurimanohari the 23rd mela –
 Tyagaraja introduced this raga to the Carnatic field with the krti
 ‗ guruleka etuvanti-chapu- extolling the significance of a Guru-a preceptor
 This raga has been later popularised by
 Brovasamaya- adi- karur devudu iyer
 Gaurimanohara- adi- papanasam sivan
 The krti-*m¡yina¯Ä -gaurimanµhari -rÀpaka¯Äby E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar is among the 108 nama group.
 Cārukeśi-
 featured first time in Kanakangi mela as the 26th- popularised by Tyagaraja by

his only krti Adamodi galade- adi
 ka²jalµcana¯Ä c¡ruk£¾i ¡di E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
 the musical setting travels through the madhya and mandra sthayi in the pallavi
–ns,ndn, srgm and higher octave in the anupallavi charana

 Rāmapriya-
 the 52 nd in kanakangi list replacing Ramamanohari in the earlier and later
kanakambari list. Both have enjoyed the patronage of Tyagaraja,-sandehamu-
adi and sitamanohara-adi respectively.
 i©¡pat£ jagatÅpat£ -r¡mapriya - rÀpaka¯Ä num 73 pg 108E³³app¡¿a¯
 i©¡pat£ stands for Krsna-the Lord Of Lakshmi- so indicates subtly the raga
mudra RamA manohari- ramA =Lakshmi
 ---------------------------------------------------------------------------------------------------------
bhagu©¡bhara³a¯Ämucukundapras¡daka¯Äcµdaka-¡di of E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar -
bhagu©¡bhara³a¯ÄE³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar uses bha and not va
but katapayadi sankhya is not altered as both the syllables are the 4th in pa varga and
ya varga respectively
Vakulabharanam,-14th mela in kanakangi list , but vasantha bhairavi in earlier and
vati vasantha bhairavi in later kanakambari list
Vakulabharanam -Eraamuni,-Misra chapu- -Tyagaraja
Vasantha bhairavi-Needayarada-rupaka-Tyagaraja
ramA ramana-Adi-Tyagaraja
Prasanna Venkateswaram-Tisra Triputa- Dikshitar
ri½abhapriya - E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar

1. ¾r§rajat¡cal£¾vara¯Ä* »½abhapriya ¡di
2. *v»½abh¡suraviddhva¯Äsina¯Ä *v»½abhapriya ¡di
ri½abhapriya -Ratipriya-Ratnabhanu- are the 62 mela names in kanakangi-
nd
later kanakambari- earlier kanakambari lists- of which only the first

ri½abhapriya is krama sampurna.
A few compositions which are set to Rishabhapriya are:
Mahima dakkinchu by Tyagaraja

Maara ratipriyam by Muthuswami Dikshitar
Mahatmule by Mysore Vasudevachar

Ghana naya desika by Koteeswara Iyer(January 1870-October 21, 1936)
Inta sodhanamulaku by Veene Sheshanna
Nandisam vande by Dr. M. Balamuralikrishna
½a¢vidham¡ºÅggi³i-
baºÅh§baºÅh¡vata¯Äsaka¯Ä¡di -evrb
½a¢vidham¡ºÅggi³i –stavaraja-Tivravahini in the kanakangi – later kanakambari and

kanakangi list repectively.-
jnanamosagaradha(popular in purvikalyani)-Tyagaraja{ in some books}-
pahi ramaduta-Tyagaraja sung in ½a¢vidham¡ºÅggi³i but the raga is vasanta varali

as per Tillaisthanam version.
stavarajaadi – stavaraja-tisra triputa-Muthuswami dikshita
½a¢vidham¡ºÅggi³i lives through the portion in Mahavaidyanatha iyer‘s mela

ragamalika and Antaranga Bhakti Tandu Enai Alayyaa- Deshadi -Koteeshwara Iyer
selected Janya ragas handled by evrb and other composers‘kºtis

Anamolies in the r¡ga nomenclature , m£©a paddhati used in the musical
representation of his kºtis16,
the prayµga or usage of r¡ga s (eg.
kµkiladdhvani
vrund¡van¡nta sa²c¡ri³a¯Ä ¡di -28 harikAmbhOji janya
Aa: S R2 G3 M1 D2 N2 D2 S
Av: S N2 D2 P M1 G3 R2 S
brought to light to us through
koniyāḍeḍu-tyāgarāja
tolinenujesina-tyāgarāja
16
rāgas at a glance Prof srj
giri dhanvinaṃ-by mutthaiah bhagavatar contemporary of E³³app¡¿a¯

kham¡s
kham¡s- up¡nga and bh¡ ½¡ nga known during the period of E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar ,and the variance in his kºtis.
. kham¡s- rādhāramaṇaṃ17
khamas-kriti radharamanam- seems upanga
Khamāś-harikāmboji janyaṃ āro-samagamapadhanisa ava-sanidhapamagarisa
rādhāramaṇaṃ-ādi
In avarohaṇaṃ different by the scribe
anupallavi-nisanisa nidhadhapa sanidhapa
nidhapama mapadhama magapa,ma,,,
-manidhani sadhanipa,dha,ni,sa, ni gamagarisa,,,
dhanisani dhadhanipa,,dhanisa,mamagari sarisanisa,,,
samagamarigasa,sanirisani,ni,|nisanidhanidhapa,gamapadha nisasapa||(ni,dha,pa,ma,
mapadhama magapa,|ma, ,, ,,)
caraṇaṃ -sa,ni rini sa,|nisanisagamagarisa,sa, |
sa,sa,sari ni,, ni ,,ni,, ninidhapa nidhapa,|
dhasa,ni,sa,-sa,ma,ga,-ma, ga,ri,ri,-ga.sa,,,ni,sa,|
sa,ni,ri,sa, sa,dha,ni,ni,|dha,dha,ni,dha,ga,ma,pa,dha,||
balahari-18
krti-līlāmānuṣa 19 and pālayamāṃ śrī-20 śaṅkarābharaṇa janya
Balahari is mentioned as janya of sankarabharanam- śaṅkarābharaṇa 21
Kaisikhi nishaada could be avoided- as upanga-22,
Pdns ,dnsnd rgmgr in varnam- nenarunchi-
- Sonti Venkata Subbaiyya – nenarunchi –Bilahari
23
Srgrg, Pdn,d,p,-p,d,n,d,dpmgr-srgr sndp ndp,p,pdndp.
17
pg 26Pg 22 num 14, &no 114
18
Name Balahari-50 Kathakali Ragas With Comments-#Ref Agamprofiles@Kathakalinews.Com
Used In Kathakali- Indebted To 'Kathakali Vijnana Kosham' By Prof. Aimanam Krishna Kaimal
19
Pg 59 num 39
20
Pg 26 num 16
21
pg 60
22
Pg 18 rāgas ata glance learnt from PROF SRJ
23
Pg 59-60 VENKATARAMANEEYAM
Raga BALAHARI
Arohana Sa Ri Ga Pa Dha Sa
Avarohana Sa Ni Dha Pa Ma Ga Ri Sa
Other Names Nil
Janya of Dheera Sankarabharana.
Applicable to All Bhavas, Veera bhava is main
Examples- Bheema to Panchali in Keechaka Vadham "Mathi, Mathi, Mathi
Mukhi"Daksha yagam "Kanyakamar Mauli mane", Chedi Rani to Damayanthi "Kim
Devi KImu Kinnari Sundari"
Bhairavi
Given as 20th mela kartha rāgam-24
ārohaṇaṃ-sa ri ga ma pa da ni sa- avarohaṇaṃ sa ri ga ma pa da ni sa
given as a heptatonic scale.sampurna krama raga.
25
it was first a janaka raga- nariritigaula- of later kanakambari nomenclature and then
became the 20 th mela Bhairavi-of the earlier kanakambari nomenclature. An ancient
raga –equal to kausika pann of Dravidian music tevaram hymns-
mohana
given as –kalyāṇi rāga janya 26 In mohana -muraḷīdhara-evrb
rāgas at a glance srj could be accomodated under kalyani- this since ma ni varja-
aesthetically Mohana has its own flavour
hindoḷaṃ – naṭhabhairavi rāga janya Pg 36 song 23

āro samagamadhānisa ava-sanidhamagamagasa – may be an aerror since the
sancharas are sgm only
udayaravicandrika – toḍi rāga janya-
v¡rijada©a *udayaravicandrika c¡pu Pg 33 num21
vasudevatmajam-num-37
aro-SgmpnS ava- Snpmgs evrb uses this scale through out the krti and does not
bring in dhaivata
24
pg12/num 8-pg 48-num32
25
Rg srj pg 15’
26
Pg 17 num11
SRJ asserts it should be clear audava audava under dhenuka 9th melapg 124
rglance-.udhayravi chandrika-
rītigauḷa- ya¾µd¡vatÅsala¯Ä r§tigau©a rÀpaka¯Änum 41 pg 62 vkrmnym
given as kharaharapriya janya
aro- -sagarigamapamanidhanisa
ava –sanidhamagamapamagarisa
the notation gives unusual phrases in the above krti-
“nnp,d,n,s-rsnpns-rsns np pnS,mgm, n,n,p, p, n s,n s,, g,g,r, rgm,pm gr –
rrgrs,-sn r, s, nd npd, ddndm,, pmgrgm”
u¾£ni –naṭhabhairavi rāga-janya-rūpakaṃ\27
nandavrajajan¡nandina¯Ä u¾£ni rÀpaka¯Ä Pg 75 song 51
ārohaṇa-sagarimapanidhanisa
avarohaṇa-sanidhapamagarisa
This rāga is currently considered as a Bhashanga janya of 22nd Mela Kharaharapriya.
Ref SRJ states “this rāga could be reckoned as an amalgam of
Kharaharapriya and Bhairavi-may be known on its own.
Anya swara - śuddha dhaivata in the phrases padhapama, sanidhama.
the notation of this krti brings out the raga flavor
sasapa,,, panidha,ma, pa, sa sa sa sa ni
nāṭṭakkurinji- rāga – three krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
 ¾a¯Äkarabhagavat n¡¿¿akkuºinÅji ¡di

 jaiv¡trukanibha* n¡¿¿akkuºinÅji ¡di28
 r¡m¡ lµk¡bhir¡ma sing n¡¿¿akkuºi²²i 29 d£varanÅjana¯Ä
 āro-sarigamanidhanipadhanisa-ava-sanidhamagasa
the prayoga -rigamapagarisa is avoided
n¡ttakkurunji-nÖdÖ nÖ s nÖ s, s,-grg,mpmgmgr,s-mgrs rsnÖdÖ nÖ,s,s,-
dmdn r×s×nd ndm,-mpmg srgm -rgm, gmr,- rgs, nÖsrg g,m, mgr,grs,
27
Ref SRJ RG.pg 125
28
ref ksna cd
29
pg 18 Pg 38 song 25
3.1.2. R¡ga s derived by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .

sumukhi, ¾r§dhari, rasavar¡©i, priyadar¾ini , prak¡¾ini, mura©§n¡dam,
r¡sabau©i,v»nd¡vana kutÀhalam. 30
Study of these ragas is attempted by surveying the following texts:
r¡ga prav¡ham --r¡. prav¡.
History of South Indian Music rangar¡m¡nuja aiy£ng¡r
Gana Bhaskaram,
Sangraha Choodamani,
Prof.Sambamoorthy, Bk 3 South Indian Music-
The eight Janya r¡ga s in which we find kºti s of E³³app¡¿a¯E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar employed for the first time are listed below.
xÉÑqÉÑÎZÉsumukhi-2 kºti s
UÉxÉoÉÉæÍVû r¡sabau©i -1 kºti
qÉÑUVûÏlÉÉSqÉç mura©§n¡dam-1 kºti
uÉ×lSÉuÉlÉ MÑüiÉÔWûsÉqÉç v»nd¡vana kutÀhalam-1 kºti
´ÉÏkÉËU ¾r§dhari-2 kºti s
mÉëMüÉÍzÉÌlÉ prak¡¾ini-2 kºti s
UxÉuÉUÉÍVû rasavar¡©i-1 kºti
ÌmÉërÉSÍzÉïÌlÉ priyadar¾ini-1 kºti
Of these,sumukhi , prak¡¾ini and ¾r§dhari are employed in general kºti s
1.m¡ta¯Ägamukha¯Ä *sumukhi rÀpaka¯Ä
ref appendix notation, grlecdem vidoe –audio-PPt ,srj gr discussion-audio

2.guha¯Ä¡¾rÅy¡mi *prak¡¾ini ¡di
3.innu¯Ä par¡mukha¯Ä *¾r§dhari ¡di
as well as in the ¾r§ kº½³a a½¿¿µttara ¾atan¡ma kºtis.
1. yamun¡v£gasamÅh¡ri³a¯Ä r¡sabau©i ¡di
2. vatsav¡¢acara ¾r§dhari ¡di
3. yama©¡rÅjunabhanÅjana¯Ä mura©in¡da¯Ä ¡di
4. an¡dibrahmac¡ri³a¯Ä vrund¡vanakutÀhala¯Ä*
5. duryµdhanakul¡ntaka¯Ä sumukhi*
6. vidhur¡krÀravarada¯Ä prak¡¾ini
7. v£dav£dya¯Ä priyadaºÅ¾ini*
8. saºvagraharÀpi³a¯Ä rasavar¡©i*
The Methodology of Study of the Eight Unknown Ragas
Historical survey is done of these eight r¡ga s in different texts in scale pattern The
availability of these scales in the melody of any of the carnatic compositions is checked
the prevelant practise of rendering the ancient melodies is studied and how evrb‘s
understanding and handling them makes a difference.
The melodic entity of the raga by usage of graha, am¾a ,ny¡sa, j§va svara s of each
r¡ga , in the krtis of evrb to exhibit the melody of the r¡ga is also studied.
Analysis of the notations- swaralipi-given in venkataramaneeyam and the manuscripts,
is attempted to project the swara sancharas in the r¡ga s,
Studied the development of sangatis in the pallavi , anupallavi and charana which
enhance the aesthetic suitability of the krits in these rag¡s for concert presentation
and improvisation in the form of r¡ga ¡l¡pana, niraval, kalpana svar¡, and t¡na¯
rendering.
1. sumukhi- r¡ga lakshana given byE³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .:
janya of the 57TH me©a simhendramadhyama ½¡¢ava sa¯pÀr³a r¡ga

¡roha³a sa ri² ga² ma² pa ni³ saÇ
avaroha³a saÇ ni³ dha¹ pa ma² ga² ri² sa
svara names: ½a¢ja, catu¾ruti ri½abha, s¡dh¡ra³a g¡ndh¡ra, prati madhyama,
pancama ¾uddha dhaivata, k¡kali ni½¡dha
Historical Study
List given by r¡ga prav¡ham r¡. prav¡. and rangar¡m¡nuja aiy£ng¡r mention under
the same varga
r¡ga name Àrmika Under the same 57thmela with
¡roha³a -sa ri² ga² ma² pa ni³ saÇ- avaroha³a -saÇ ni³ pa ma² ga² ri² sa
½¡¢ava- ½¡¢ava -dhaivata -varjya in both

This Raga known fairly -popularly sung
r¡ga name bramaraha¯si- mentioned Under the same 57thmela the above texts
¡roha³a -sa ri² ga² ma² pa ni³ saÇ- avaroha³a- saÇ ni³ dha¹ pa ma² ga² sa er
½¡¢ava- ½¡¢ava ; dha –varjya ¡roha³a ; ri–varjya avaroha³a
r¡ga name ¾uddha r¡ga -Another janya is given under 57th mela in three different
texts Gana Bhaskaram, Sangraha Choodamani, Prof.Sambamoorthy, Bk 3 South Indian
Music-
They give the same name but different .¡roha³a- avaroha³a-
1.¡roha³a -sa ri² ga² ma² pa ni³ saÇ- avaroha³a-saÇ ni³ pa ma² ga² sa -
In Gana Bhaskaram
2.¡roha³a -sa ri² ga² ma² pa ni³ saÇ- avaroha³a-saÇ ni³ pa ma² ga² sa ri² sa
In Sangraha Choodamani
3.¡roha³a -sa ri² ga² ma² pa ni³ saÇ- avaroha³a-saÇ ni³ pa ma² ga² ri² sa
In Prof.Sambamoorthy Bk 3 South Indian Music

r¡ga name sumukha¯-In p¡laiy¡ªi ,Sri.B.M.Sundaram Lists gives sumukha¯
a four note scale -A r¡ga svar¡ntara janya of 57th
¡roha³a- sa ri² ma² ni³ saÇ-avaroha³a – saÇ ni³ ma² ri² sa
Dr.M.Balamuralikrshna has composed in r¡ga Ç sumukha¯-one of his creations -With
a four note scale - r¡ga svar¡ntara ¡roha³a- avaroha³a
r¡ga name sumukha¯ -r¡. prav¡. Mentions - but under a different mela 69th
dhātuvarddhani
r¡ga sumukhi as coined by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .
is neither found in Sangraha cÀ¢¡ma³i nor G¡nabh¡skara¯
Two kritis by venki¿ar¡ma bh¡gavatar- r¡ga sumukhi
Rāga sumukhi tāla rūpaka mātanga mukham- kruti ,-on mah¡ ga³apati ,pg 1 vnktrmym
Rāga sumukhi-tāla rūpaka - duryodana kul¡ntaka¯- a½¿¿ottara¾ata n¡m
Observation
r¡ga sumukhi is a shadava sampoorna scale. ½a¢ja, catu¾ruti ri½abha, s¡dh¡ra³a
g¡ndh¡ra, prati madhyama, pancama ¾uddha dhaivata, k¡kali ni½¡dha
The melodicity is experienced in the full of the avarohana. In the arohana,the pancama
- , k¡kali ni½¡dha interval is an aesthetic combination. Inspite of the varjya note the
ascending pattern with the ettra jaaru gamaka pn,,,s-and the prayogas upto the taara
pancama raises the aesthetic appeal.
p , n, s× s× n, |d, p, pmpndp pmg, r,|| grs, r ,rs|snÖ s, g , r, g , m, p , n,||
du ryo | dana ku l¡n taka¯|| draupa di| m¡ na ra k½a kam||
the opening sanchara in the pallavi highlights the varjya prayoga
s×nd p d, mp|ns××r×, r× g×m× , r×, g×, r× , s× ,|| sr×g× r×s× n d, |p, m, mp nndp pmp,n,||
¾au rya mat§ta kam s¡ suram || ¾au na ka |¾ukamuni vinuta¯||

The anupallavi dhatu is different from charana
mp n , ,, s× n |d , p, mp n, s× , r×, r× ,g×, || m,× g× , r× , s× n |d , p , pmpndppm pn s× ,||
om k¡ ra rÀ pa m§¾vara¯ || u ra ga ¾a yana¯ venka¿a rama³am||
the graha swara‘ prati madhyama in the first paadam and second paadam in madhya
and taara stayi as highlighted shows the range and raga chaya
s×nd p d, mp|ns××r×, r× g×m× , r×, g×, r× , s× ,-s×r×g×r×s× n dm |pns×, s× nnddp pmp,n,-pmpndppm- pn s× ,
, g,| r , s , g , r, g, m , p , p,||
dattu , janta , jaaru phrases and the nyasa notes on k¡kali ni½¡dha enable harmonius
singing of this raga.The sangatis and sancharas progress upto the higher madhyama
gradually from pallavi to charana. Gives scope forAlapana, neraval and swarakalpana
and also taanam-
the prosody requiuirements are met along with swarakharas- and sabda alankaras.
Both the krtis have different setting- shows evrb‘s skill in lakshana adapted from
31
laksya jnana
2. r¡sabau©i- r¡ga lakshana given by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar:
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.gives
Janya of 15th me©a m¡y¡m¡©avagau©a
¡roha³a-sa ri¹ ga³ pa dha¹ ni³ saÇ- avaroha³a saÇ ni³ dha¹ pa ga³ ri¹ sa.
sa ri¹ ga³ pa dha¹ ni³ saÇ saÇ ni³ dha¹ pa ga³ ri¹ sa
svara names :½a¢ja, ¾uddha ri½abha.antara g¡ndh¡ra,pancama,
¾uddha dhaivata, k¡kali ni½¡dha
31
ç*pg 155 ref notation appendix--ref Appendix audio-
ksna/Tankam/syamala/grsrjref appendix for text,notation,lec dem
Historical Study
Ragas having same or similar arohana - avarohana :
1.kāḷindi
The following texts on rāgas are looked into
r¡. prav¡. ;H.OF SI.MUS.- rangar¡m¡nuja aiy£ng¡r, r¡ga ko¾a,–
r¡ga ko¾a--(pg 20) a compilation by R.R.KESAVA MURTHY, mention a rāga kāḷindi
with same ¡roha³a- avaroha³a under the same 15th mela.
Sangita Swara Prastara Sagaramu-Nadamuni Panditar (pg421), and
Pudhiya raagangal (pg 121)also mention kāḷindi under 15 mela with
M.B.VEDAVALLI-(PG -44)-in Ragas Which Emerged During The Post-Trinity
Period And Their Lakshanas-says-pālai yāḻi (pg 14) gives many references:
1.kālindi ¡roha³a-sa ri¹ ga³ pa dha¹ ni³ saÇ avaroha³a saÇ ni³ dha¹ pa ga³ ri¹ sa.
under 15th mela quoting from T.A.Sambamurthy Achari .

2.ushaapriya (15 mela) : S r G P d N S - S N d P G r S
Sources: There is a kriti " deva deva sannuthe " in adi talam composed by Vina
Venkatagiriyappagaaru having the same arohana and avarohana under the same mela .
3. satyavathi (15 mela) : S G r G P d S - S N d N Pd P G r S
Sources : sangita swara prastara sagaramu (page 424), with same swara as raasa
bowli in vakra manner.
sangraha cÀ¢¡ma³i lists the following:
1 kalgaḍa –(13th gāyakapriya) - under different mela - same shadava shadava
upanga pattern but under aÉÉrÉMüÌmÉërÉ-
S r G p d n S -S n d PG r s with different nishadha.
Since madhyama svara varjya , kalgaḍa also could be reckoned under

49th janaka rāga dhavaḷāmbari
2..mēcabauḷi - SrGPdS-SNdpmgrs under the 15th mela
3.rēgupti S r GP d S S d PG r S also under 15th mela
bhāvini/pāvini is given in Karnataka Sangeetha Lower Grade-
list of audava shadava ragas under 15th Mela Same Aro Ava
but the text is in Tamizh script .hence cannot be sure if it is bhāvini/pāvini
mitra rāgas or rāga names with similar name ending:

but no melodic similarity.
bauli -15 mela janya -S r G P d S - S N d P G R S
gāndhāra bauli-15 mela janya-S m G P d N S - S N d G r S.
divya bauli - 15 mela janya : S r G P N S - S d P m G r G S.
cāyā bauli-8 mela janya : S r g m S P m d n S - S n P d m g r S.
sāranga bauli- 10 mela janya : S m g m P D n D S - S n D P m g r S.
pūjā bauli - 13 mela janya : S G m P d D(n) S - S D(n) d P m G r S.
Observation
Fixing the janaka rāga for r¡sabau©i
kruti - yamun¡vegasamh¡ri³a¯ ref audio srj gr audio
This scale being devoid of the note ― ma‖ ,is madhyama swara varjya rāga.
Hence ½¡¢ava-½¡¢ava r¡ga having six notes in both arohana and avarohana.
The swaras occur in a regular order. Hence it is a karma ascending and descending
scale and not vakra or zigzag in scale.
There are no anya swaras or foreign notes-i.e it takes only one variety of each of the
swaras-ri , ga ,dha, ni .
Hence it is a upanga janya rāga and not bhashanga.
This janya rāga could be considered under

15th me©a Mayamalavagaula or under 51st me©a k¡mavardhani
The swaras other than madhyama , shadja and panchama,viz.
¾uddha ri½abha , antara g¡ndh¡ra, ¾uddha dhaivata,k¡kali ni½¡dha being common to
both these melas.

But by the order of first precedence and the absence of prati madhyama anuswara
pidippu and erakka jaaru from pa to ga makes it more relevant janya of
Mayamalavagowla
Melodic application of this raga by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar in his
krti yamun¡vegasamh¡ri³a¯
Unlike Bowli and Mechabowli, there is no sanchara below the mandra shadjam
It has symmetrical arohana - avarohana and exhibits ardha kampitha gamakam
The sruthi interval of semi-tone between sa and ri; pa and dha; ni and sa makes it easy
to sing just like the Mayamalagowla.
There are symmetrical tetra chords ( chatthusruthi) interval ga and ni giving scope for
melodic beauty.
The features which enhance the aesthetics of raasabauli as employed by

VenÅki¿ar¡maBh¡gavatar..
 Jeeva swara : ga, ni
 Amsa swara : ga , pa
 Graha swara : sa, ga, pa, dha
 Nyaasa swara : sa, ga
 Janta prayogas like gg, dd and a few Dhaattu prayogas add beauty to
the rāga.
 The rāgam gives wide scope for rāga elaboration and kalpana swara
singing.
 sanchaaras : pa ga pa ; - sa ri ga ri pa ; - da pa pa ga- ni da pa ga pa ; -
pa da pa- pa da ni sa ; -
 ni da da pa ga ga ; pa - ga ri ga ga ri sa ; - ga ga da pa ga ri - pa ga - da
pa ; - ga ri sa
Graha swara :
Panchama as in .p, g , g , ,, p , ,, p
ya mu n¡
nishadha as in n , d , d , p , ggdp grs ,||

va ra gu ³am
dhaivata as in d, p , p , g , g, p , p, ,,
ya mu n¡
Nyaasa -swara : Shadja as in

p, g, p , d , n , ,, n , ,, s× , ,, ,, ,, -in the first sangati
ka ma n§ ya
s×, r×, s×, ,, s×, ,, ,, ,, s× , ,, s× , s×, r×, s×, ,,| tara shadja in the second sangati ,
ka na k¡ mba ra
s× r× g× , r× , s× ,| s× , r×, g× , r×, g× , ,,tara stayi gandhara
ka na k¡ mba ra
s×, | s× , n , s× , ,, n , d, d, p ,|| panchama
na ta va nam
Taara stayi panchama prayoga highlighted in

g× , ,, | g× , g× , p× , g× , g× , r×, r× , s×,|
dh¡ ri ³am
Mandra sthayi sanchaaras are not found in this entire kriti of Venki¿Ar¡Ma
Bh¡Gavatar..
Many Janta prayogas unlike in Bowli

s×, n , s× , n , n, d, d, p ,||
dh¡ ri ³am
p, d, n , n , s× , ,, s× , ,, n , s× , n , d , p , d , d , p , ,,
n¡ ra ya ³a¯
Many janta prayogas in combination with dhaatu prayogas like

p, g , g, ,, d , p , d, p, | g , g, d , p , g , r , r, s,
sa nni bha¡ na na¯
Rare prayogams : sa ri ga pa ,could be avoided to bring a contrast from allied

rāgas.
ārōhaṇa avarōhaṇa usage differentiates this rāga from allied rāgas like
bowli
p , d, n , s× , n , d, p , d , | p , ,, ,, ,, p , ,, p , ,,||
vi lo cana¯ kru½Å³¯
p , d, n , s× , n , d , d, p ,| g , g, d , p , ggdp grs
ven ka ¿a ra ma ³am
This usage of aro-avarohana karma in the setting for the mudra sahitya of the
composer, establishes the scale of the rāga as different from Bowli .
More vakra prayogams like- s r grg, pgpdp , and briga phrase s× r× n, dn d, p, ,,s,rs-r,gr-
nsr,gr- dns,rs establish the identity of rasabowli found in the kriti
swarakshara prayoga also in pgdp -pradaayinum
the setting of this krti is in madhyama kaala or medium tempo
The setting of this krti is in madhyama kaala or medium tempo shows this rāga is
having the scope for taana rendering, swarakalpana, and aalapana
Conclusion about the suitability of this rāga for pure music like alapana
as also the daatu maatu setting
Textual analysis of krti in this rāga reveals:
p , d, dp g , p , g , p , d , n , n , s× , ,, s× , r× , r× , s× ,| s× , r× , g× , ,, g× , r× , r× ,
n¡ ga ri pri ya ga ma na¯
s×, | s× , n , s× , ,, n , d, d, p ,||
na ta va nam
textual usage-contrast in Madhya stayi pa to taara ga and then to pa in 2 aavartas in
caranam
naagaari priya (friend of garuda – the enemy of the snake)in the high octave sanchara
indicates the highflighted garuda as vehicle of Vishnu,and Nataavanam—downward
trend
naagaari priya itself has a contrasting connotation –foe and ally
‗yamun¡v£gasamh¡ri³a¯‘give reference to the mythological instance of river yamuna
whose flowing speed was curtailed by Vishnu
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. has composed in bowli also
śiśupālaśiraśccēttāraṁ-rūpakaṁ#ref ven rmnym pg 154
Though for oÉÉæÍVû ,Aro and ava is given as srG p d S- S dpG rs in vnkrmnym –could be
a typographical error-
nishadha is occurring in madhya stayi and mandra stayi phrases in the avarohana
krama-dndp/ s× ,nd,/p,dndp,/pd s× ndp/s nÖ dÖ , p Ö
This differentiates clearly raasabowli from bowli.
the rāga name is given by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.,is r¡sabau©i
kāḷindi also has the same scale-as per the texts.
But there is no known musical composition in either kāḷindi or
r¡sabau©I
hence this rāga is introduced to carnatic music through the only kriti
yamun¡vegasamh¡ri³a¯ ref-venk rmnym- PG 70
hence the ingeniousness of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar is in the melodic
application of this scale in his krti.
Ref- lyrics of the composition as follows with the vaggeyakara( वाग्र्ेयकार) mudra "
venkataramana "ref appendix for , lyrics and notation

Gr lec dem
3. mura©§n¡dam rāga lakṣaṇa given by evrb *PG 99 vnmk rmnym
Ref appeix for text,notn and lec dem gr
krti-yamaḷārjunabhanjanaṁ
¡roha³a sa ri² ga³ pa dha¹ ni³ saÇ

avaroha³a saÇ ni³ dha¹ pa ga³ ri² sa
janya of 63rd lat¡ngi me©a with svaras ½a¢ja,catu¾ruti ri½abha,antara
g¡ndh¡ra,pancama,¾uddha dhaivata,k¡kali ni½¡da,
½¡¢ava-½¡¢ava r¡ga
swara short forms used here-Sha,cha.ri,ant.ga,Pan,su dha, kaa.ni
Historical Survey
taraḷaṃ : Karnataka Sangeetam lower Grade Theory Book-, Ragapravaham, Pudiya
Ragangal,Rr Iyengar, Sspsagaramu-
All the above texts give the name of a rāga taraḷaṃ
¡roha³a sa ri² ga³ pa dha¹ ni³ saÇ
avaroha³a saÇ ni³ dha¹ pa ga³ ri² sa
same aro ava but under the 27th mela saras¡ngi which is the ¾uddha madhyama
counter part of 63rd lat¡ngi.
Neither mura©§n¡dam nor rāga taraḷaṃ is found in
Sangraha Choodamani and Gaana Bhaskaram.
No other raga found with the same scale pattern.

Observation
The features which enhance the aesthetics of rāga mura©§n¡dam as employed by
 Jeeva swara : ga, ri
 Amsa swara : ga , pa,dha

 Graha swara : ga, pa, dha ,ni
 Nyaasa swara : sa,ri, ga

 Janta prayogas like rr,gg,pp, dd
Raga Sanchaara- r, gr g , p , p , ,, /gdpd pgrs /s nÖ dÖ , p dÖ nÖ ,| s , ,, ,| nÖ, sr s,r ,|

srgp pg g,|| g g p d n s× ,/ g× r× s× , s× ndp/ pgrs s nÖ dÖ , | nÖ s r , s , ,,
Graha swara :
Gandhara as in g, r, s, ,, s nÖ dÖ , p dÖ nÖ ,| s ,
yama©¡ rju na
g g p d n s× nd pgrs
yama©¡ rju na
g× r× s× , s× ndp| dp dp gr sr
va tsa l¡ncana¯
Panchama as in-p, d, dp g, g, r, r, g,
kama l¡ pta ¾ata
Shadja as in s× r× g× r× g× r× s×,
kama l¡ v¡ sa
Nyaasa swara : Shadja as in
srgr rg p , p, d, n, s×, ||
ko ¿i te jasa¯
rishabha-as in
g, r,| srg, r, r,||
bha v¡m budi
panchama as in
| pdns× ndp ,||
te jasa¯
Taara stayi and Mandra sthayi sanchaaras

p, g , p , d, n , ,, s× , ,, | g× r× s× , s× ndp| dp dp gr sr||----
§ ¢e ¾r§ va tsa l¡ncana¯
gp dn dp gr gr sr snÖdÖ, | nÖ , ,, s, s , | srgp pg g,||-----
yama©¡ rju na bhan jana¯
Highlight the range of this rāga.
Many Janta prayogas, ddpg ppgr grrs| pd ns× | s× s×× g×× r× s×|
p, d, dp g, g, r, r, g, | p , ,, p , p , | p , ,, p , p,||
Dattu prayogas like gdpd pgrs |snÖ rs dd pg | ggdp dp g, | gpgr r

Chaturasra prastara pattern flows with the sahitya

p, d, ddpg ppgr grrs| srgr rg p , p, d, n, s×, ||
kama l¡ pta ¾ata ko ¿i te jasa¯
Full octave sancharas show the compass of the rāga

g×× r× s× ndp| gpdp grnÖ r||
vi ¾¡ la va k½a sa¯
Fixing the janaka rāga for mura©§n¡dam
This scale being devoid of the note ―ma‖ ,is madhyama swara varjya rāga.
Hence ½¡¢ava-½¡¢ava r¡ga having six notes in both arohana and avarohana.
The swaras occur in a regular order. Hence it is a karma ascending and descending
scale and not vakra or zigzag in scale.
There are no anya swaras or foreign notes-i.e it takes only one variety of each of the
swaras- ri, ga ,dha, ni .
Hence it is a upanga janya rāga and not bhashanga.
The swaras other than madhyama , shadja and panchama,viz.
catu¾ruti ri½abha,antara g¡ndh¡ra,¾uddha dhaivata,k¡kali ni½¡da
are common to both these melas.
The scale being madhyama swara varjya may be designated as derived from either
mela technically.
Both latangi and sarasangi are the result of –and -after the advent of 72 mela paddhati.
From the above study of muralinadam, allows for tristaayi sancharas,janta,dattu
prayogas, and briga and gamaka prayogas, similar to latangi ,and during the time of
evrb latangi was popular in more number of compositions-evrb has rightly handled it
as a janya of latangi.
 mura©§n¡dam gives scope for alapana ,neraval and kalpana swara singing.
 -yµgin¡¯Äpati¯Ä lat¡¯Ägi ¡di
 pÀtan¡j§vitahara saras¡¯Ägi rÀpaka
Full lyrics of the composition with the (vākgēyakāramudra " venkataramana "ref
appendix
4. v»nd¡vana kutÀhalam- rāga lakṣaṇa given by evrb

Kruti- an¡di brahma c¡ri³a¯ anudina¯ PG152 evrb vkrmnym
Janya Of 21st kīravāṇi meḷa- da –nu mela
ārōhaṇa sa ri² ga² ma¹ pa dha¹ sa avarōhaṇam sa dha¹ pa ma¹ ga ² ri² sa
½¡¢ava-½¡¢ava r¡ga
Swaras-½a¢ja ,catu¾ruti ri½abha, sādhāraṇa g¡ndh¡ra , ¾uddha madhyama ,pancama,
¾uddha dhaivata
Historical Study
With The Same Aro Ava pattern the following texts give different rāga named under
different melas
Since ni varjya could be reckoned also under 19th ,20, 21st mela
jhankāradhvani,and naṭabhairavi,keeravani-resply
jhankāri -Rriyengar –Under 19th Mela - jhankāradhvani,-da-na group
With The Same Aro Ava pattern
nutabhāṣitam Kslgrade Pg 260 –Under 20th Mela Natabhairavi-da-ni group with The
Same Aro Ava pattern
nutabhāṣitam -Ragapravaham- pg 110 Under 20th Natabhairavi –da-ni group
With The Same Aro Ava pattern-quotes pālai yāḻi-
Śrīnavarasacandrika- Ragapravaham 20th Mela Natabhairavi-da-ni group
With The Same Aro Ava pattern-pg 115-quotes - Sangeetha Raga Kadal
Sspsagaramu-gives jhankāri, Under 19th Mela Same Aro Ava pattern

Gaana Bhaskaram gives jhankāri, Under 19th Mela Same Aro Ava pattern
SANGRAHA CHOODAMANI gives jankārabhramari- Under 19th Mela
but with different Aro- Ava pattern in vakra s S R g m P d n d S- S n d P m g R S
RAGAS ATA GLANCE-SRJ-pg 49-analyses
jankārabhramari/ jhankāradhvani are the products of the 72 mela scheme
In jhankāradhvani –krama sampoorna-we have Tyagaraja ,s Phanipati Sayee-Adi
In jankārabhramari-Dikshitar ,s –Himachala kumarim –rupaka- as per the earlier and
later Kanakambari list- the post trinity composers have taken more note of
jhankāradhvani
ANALYSIS OF THE MELODY DEALT BY EVRB
PALLAVI
rgm,pm g,r,,, g r g , m , p , d, s×, dp dpm,| ,, mg |mgpm g,rs||
a n¡ di brah ma c¡ ri ³a¯ a nu di na¯
r, ,, g , m , p , ,, p, d p m , ,, ,, mgrg m,pm| grs,| rg m,pm grs,||
¡ ¾ra y¡ myaha¯ anu pa ma gu ³a¯
ANUPALLAVI
pds×, d ,p ,dpm , ,, dp m , ,, ,, m, pm g,| r, g,| m, p, d, s×,||
san¡ tana¯ candra bim ba samavadana¯
r×, r×, g×, r×, s×, d , d, p , pmpd s× , p, d, p ,|mmdp| m , g , r, s,||
a n¡ tha ra k½aka¯ a gha mo ca na¯
CHARANAM-LATER PART
p, d, p, m ,dpm, g,r , r, g, m, g, m , ,, |,, mg|m , p, d, s×,||
an gaja ¾ata sama mo ha na¯ varagadana¯
s×r× g× , r ,s×, s×, p , d, p , pm pd s×, d, pdp , | mpdp |m , g, r, s,||

v£n ka¿a rama ³a¯ ve da sva rÀ pi³a¯
ri .pa,sa- the graha notes
×, s×, p , d, p ,/pm pd s×, d, pdp – ni- varjya prayoga at crucial sahitya padas .
he has not used mandra stayii prayoga for da.
Swati tirunal’s- bhavaye saarasa naabham-in keeravani has mandra prayoga of snd,n,s
more-To highlight keeravani rāga
Evrb has carefully avoided s-d /d-s prayoga in lower octave.
Evrb has given to us a composition in this rāga which can be rendered in concerts.
This rāga has enough rakthi andis worthy of being renedered as alapana like other
shadava shadva rāgas eg ,Sriranjani,malayamarutam etc .
Evrb kruti an¡di brahma c¡ri³a¯ anudina¯ PG152 evrb vkrmnym
ref appendix notation, lecdem,srj gr discussion-audio tankam
5. ¾r§dhari - rāga lakṣaṇa given by evrb
Janya of 22nd mela kharaharapriya*PG 47
¡rµha³a sa ri² ga² ma¹ dha² ni² saÇ
avarµha³a
a. saÇ ni² dha² ma¹ ga² ri² pa ma¹ ga² ri² sa
b. saÇ ni² dha² ma¹ ga² ma¹ pa ma¹ ga² ri² sa
Swararanjani : R R Iyengar Lists Swararanjani Under 22nd Mela
Arohana Same sa ri² ga² ma¹ dha² ni² saÇ
Avarohana Different saÇ ni² pa ma¹ ga² ri² sa
Not found in sang chud or gaana bhaskaram
Observation
Melody- seems to be sandwiched between Kharaharapriya and Sriranjani
Avarohan has dha² ma¹ ga² ri² pa ma¹ ga² ri² sa-
To delebarately avoid dpmgr prayoga
n ,d ,gmpm g, r , | mg p, m , ,,| m, ,- m g m , d, d, n, d,
s× n d m pm g r|-mndn npdn|- s× n r× s× n, d, m, m, g, r, | p , m , m, m,
Observation-
different avarohana patterns both vakra
The vakra pattern limits avarohana prayogas. To be carefully manouvered
with ndmp,,,mgr gmd,, nn,S,ndm pp, mgr, rp, mgr, gmd,n,s
Limited scope though with occasional use of pa-,sreeranjani effect needs to be
eschewed.
¾r§dhari -r¡m¡ya³a kriti ādi for use in Harikatha.
i´úm par¡mukam£´µ umakkitu muºt¡ó £ªaiye´ m§til
and ref ksna cd audio
vatsav¡¢¡cara ¾r§kara v¡c¡magocara vara-ref-tankam cassette
6. PRAKASINI rāga lakṣaṇa given by evrb
Given as ½a¢vidha m¡rgi³i 46TH me©a janya
¡roha³a -sa ri¹ ma², pa dha² ni² saÇ-avaroha³a saÇ ni² dha² pa ma² ga², ri¹ sa
ṣādava-sampūrṇa rāga by evrb in two krtis
guha¯ ¡¾ray¡ mi ku m¡ra¯ -only krti on Lord Muruga
vidhur¡ akrÀra varada¯-108 nama group notation ref
HISTORICAL STUDY
pratihari –given in rāga pravāham and R R IYENGAR-under the ½a¢vidha
m¡rgi³i 46TH me©a janya but ṣādava- ṣādava
With six note Aro- Ava in krama pattern

sa ri ma pa dha ni saÇ -saÇ ni dha pa ma ri sa
in pg 204-quotes sang swara pra sagaramu-
SRJ RAGAS ATA GLANCE-PG 114
½a¢vidha m¡rgi³i -AS 46TH MELA REPLACES stavraja of later kanakambari list and
tIvravahini of earlier kanakambari list.
SSP GIVES DIKSHITAR‘S stavaraajadi- tisra triputa- in stavaraaja.
In some texts,Tyagaraja‘s jnanamosgaradha-given as ½a¢vidha m¡rgi³i but popularised
in Purvilayani.PahiRamaduuta{rupaka}-though ought to be in rAga Vasanta varali-
wrongly sung in ½a¢vidha m¡rgi³i
Observation
ANALYSIS OF THE RAGA AS DEALT BY EVRB:
EVRB HAS given two krtis in sanskrit with long compounded terms set in prakasini,as a
janya of ½a¢vidha m¡rgi³i , while, ½a¢vidha m¡rgi³i itself lives only through the 72 mela
rāgamalika of maha vaidyanatha sivan and 72 mela rāga kritis of koteeswara iyer and
later composers of 20th century,not yet popularly sung.
To be carefully attempted for pure music.
Evrb uses raga chaya phrases
s , , , s , r , m , , , p , , ,d, , , d , n , n d d , p, , ,|m, , , p r m, g , r , r , s , | s, , , s nÖ dÖ, nÖ,

s, s, ,,|| gu ha¯ ¡ ¾ra y¡ mi ku m¡ ra¯ bha va
haram
d, n, s×,r×, g×, r×, s×, ,, s×r×s×, n, d, ddpm p, ,,|mpdn s×r× s×r× s× s×nd ndp,|pmpd ndp, ndpm ggrs||
m¡ y¡ ra hi ta m¡ na sa sa da na¯
PALLAVI
s, r, m, ,, p , d, n, d, |p, ,, ,, ,, |m r g, r, s,||
vi dhur¡ a krÀ ra va ra da¯
sr m, p mg , rsn , d, n ,| s, ,, ,, pm| ndpm ggrs||
vi ma la gu ³¡ ka ra¯ vi bh¡ vaye
ndpm p, p, d, n, s ,r , | s r m , g ,r , | s nd, n, s , ||
ja la ja ka r¡ rama ³a¯ vi v¡ hanam

d, n, s , s , n,d , p, m , |pdnd p, m, |pmr, grs, ||
ja la dhi¾ayana¯ ¾r§ ven ka¿a rama³a¯
prayoga-in the notaion given in vnkrmnym
pmr, grs, -/ ndpm ggrs-/|p, ,, ,, ,, |m r g, r, s,| m, , , p r m, g , r , r , s
creats doubts regarding the sancharas in avarohana-since the aro-avarohana given is
different.
Ref appdix for notation,gr lecdem, srj discussion audio guham tankm/gr
7. Priyadar¾inirāga lakṣaṇa given by evrb
cakravāga 16th meḷa janya with swaras-½a¢ja, ¾uddha ri½abha , antara
g¡ndh¡ra, ¾uddha madhyama, pancama,catu¾ruti dhaivata
¡roha³a sa ri¹ ma¹ ga³ ma¹ pa dha³ saÇ-vakra ½¡¢ava ¡roha³a
avaroha³a saÇ dha³ pa ma¹ ga³ ri¹ sa -krama ½¡¢ava avaroha³a
HISTORICAL STUDY
Priyadarsini -Sangeeta Swaraprastara Sagaramu Shows Under Sarasangi Mela

27thas An Audava Rāga-Gandhara And Panchama Varjya
ARO –S R m d N S AVA-S N d m R S
The case of same raga name with a different scale
Priyadarsini - RAGA PRAV- PG 142 also quotes sspsagar mu Telugu under Mela
27th
rāgacandrika -RR IYENGAR mentions rāgacandrika under 17th mela
sūryakāntaṁ-Ṣāḍava- Ṣāḍava-
Shadj-Suri-ant ga-su ma-pa-chat da-s r G m P D S- S D P m G r s
sa ri¹ ga ma¹ pa dha sa- sa dha pa ma¹ ga ri¹ sa
rāga priyadarsini of EVRB seems similar to rāgacandrika but for the vakra pattern in
arohanam
ārohaṇa sa ri¹ ma¹ ga ma¹ pa dha sa-vakra ṣāḍava ārohaṇa
avarohaṇa sa dha pa ma¹ ga ri¹ sa -krama ṣāḍava avarohaṇa
analysis of how evrb has used this melody
m , , , m , , , g, m, g , r , | s , , , , , dÖ , | s , dÖ , s , r , ||
ve da ve dhya¯ v bh¡ va ye
the opening of the pallavi gives the vakra pattern to establish the rāga
m pds× dp m , mgp m g r r, | r,s, rs dÖ , | s rm , g , m , ||
ve da ve dhya¯ vi bh¡ va ye
anupallavi ends with the vakra pattern which differentiates the raga
s× ,r×, r×s×d , p d s× d pdpm |pds× , r× s× d , | s× r ×m× g×× r××, s ×, ||
m¡ dha va¯ ma h¡ nu bh¡ va¯
d , s× , d,,, p,d, dpm, |m p d s× d p m ,|g ,m g r, s , ||
m¡ tan ga vara da¯ ¾ubha d¡ yaka¯
charana covers full range of the scale
dpm , m , , , p,m, g, m, |pds×d s× , d , |p m m , g r s , ||
an ga j¡ ri ja la ja bhava san nuta
s , dÖ , s , r, r, m , mg m,| p ,d , s× , d , | p , m ,m , p , ||
pan ka j¡ ru ³a mrudu ca ra ³a¯
OBSERVATION
The range of the raga from lower dhaivata upto the taara madhyama enhances
the rakthi bhava –aesthetic feeling.

The swarakshara filled sahitya highlights the dhaivata prayoga the krama avarohana
gives.scope for free flow of imagination in manodharma singing while the vakratva
adds a different flavour-
srj r at a gl-Chakravaka as the generic scale was introduced by
Tyagaraja –etulabrotuvo, and sugunamule quite popular and later by
patnam Subramaniayyar inkadayaraleda- adi ,less sung krti but aesthetic treatment of
the mela.
Mutthuswami Dikshita use the asampurna mela pattern in Vegavahini .srsmgmpdnS

Sndpmgmrs. In Veenapustaka dhaarini- a grand treatment of the vakra pattern.
Tyagaraja, though follows the scale format as in sangraha chudamani for chakravaka,
has composed in vegavahini too -challaga naato -adi.
Ramaswami dikshita has too noticed this asampurna mela vegavahini– inka
dayaraakunanu-Adi.
No known composition is popular in the carnatic concert arena in this raga-
Priyadarsini.
Hence Priyadarsini with its aesthetic appeal in vakra arohana of evrb, as given in his
kriti –vedavedyam vibhavaye could be considered as a significant contribution
8.rasavar¡©i - rāga lakṣaṇa given by evrb
States as var¡©I raga janya and gives
¡roha³a sa ri¹ ga¹ ma² pa dha¹ saÇ
avarµha³a saÇ dha¹ pa ma² ri¹ ga¹ ri¹ sa
½a¢ja ,¾uddha ri½abha, ¾uddha g¡ndh¡ra ,prati madhyama ,pancama, ¾uddha dhaivata
½¡¢ava-½¡¢ava r¡ga-
krama ¡rµha³a vakra avaroha³a
Historical Study
39th m£©a is jh¡lavara©§ under the kanak¡ngi list
dh¡livar¡li under the later kanak¡mbari list
var¡©i under the earllier kanak¡mbari list
jalasugandhi - closest to rasavar¡©i- R R IYENGAR lists jalasugandhi - under 39th
me©a jh¡lavarali with ARO -S r g M P d S AVA SdPMgrS
jalasugandhi -RagaPravaham pg 190 also gives jalasugandhi-srgMpdS-SdpMgrs-

quotes sspsagarmu
Somaprabhavani- RagaPravaham pg 188gives-SomaprabhAvani-
with two scales-but under 37 th mela Salagam
a.Aro -srgMpdS-Ava-SdpMgrs - Closest to Rasavar¡©i-
b.Aro -srgpdS- Ava -SdpMgrs—again quotes sspsagaramu
Since scale is niṣādha varjya ,technically can be also under either 37th
Sālakaṁ or 38th jalārṇavam
The arohana is same , avarohana is krama in (a)here while evrb gives vakra
We find a case of a raga with the same name but totally different melody
rasavar¡©i- strangely-in rāga pravaham ,Pg 59 gives a r¡ga by the same name
rasavar¡©I but is shown under 5th mela me©a-m¡navati- with
¾uddha madhyama, catu¾ruti dhaivata, k¡kali ni½¡dha- the scale being
¡rµha³a sa ri ga ma pa dha ni dha saÇ vakra sampÀr³a
avaroha³a saÇ ni dha pa ma ga ri sa krama sampÀr³a

rāga pravaham -quotes –rāga kosa –in kannada- r r kesavamoorthy
Though Rasavarali Is shown Under 5th Mela Manavati – same raga name but different
scale
No known composition in this scale is found.
Observation
Evrb States rasavar¡©i -as var¡©I raga janya and gives
¡roha³a sa ri¹ ga¹ ma² pa dha¹ saÇ
avarµha³a saÇ dha¹ pa ma² ri¹ ga¹ ri¹ sa
EVRB has not composed in var¡©i as done by Tyagaraja .
var¡©I had been reckoned as asampurna mela in earlier kanakambari paddhati- list
and treated by Muthuswami dikshitar- maamava minakshi.as mentioned in all the major
ancient treatises ref srjpg 129 ragas at a glance
Tyagraja –yeti janma and Syama Sastri –kamakshi follow jhalavarali of kanakangi list
So evrb seems to have adopted Muthuswami dikshita‘s usage when he mentions
rasavar¡©i -as var¡©I raga janya and uses the vakra prayoga in avarohana with nishada
varjya.
krti in rasavar¡©i -sarvagraharÀpi³a¯ s¡majavarada¯ sam¡¾raye- ADI TALAM *
PG 198 ref notation audio Srj gr

s , , , p , m , p , d, s× , d , | p , , , p , , ,| p m g , r, g, ||
sar va gra ha rÀ pi ³a¯
m,m, p,,, m , r, g , r, | s , , , p , p , | p m r , g r s , ||
s¡ ma ja va ra da¯ sa m¡ ¾raye
p, p , |m , , , p m r , | g, r, r, s, ||
s×, d , g× , r× , p× m× r×, g× ,r×, | r×, s×, , , s× , |s×s× d, s×, s×, ||
A study of Evrb‘s dealing this rāga shows that rasavar¡©I is differentiated from
Tyagaraja‘s and Syama Sastri‘s usage of Varali.-
nisha da prayoga eliminated from Dikshita‘s usage.
Yet evrb has given an aesthetically appealing krti.in a new melody and that has scope
for manodharma in as much as only nishadha has to be eliminated from the popularly
sung varali
The above has been a study as to the possible evolution of the new scales coined by –
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,.which gives an idea of what made him to and
how he arrives at a creation of a melody and fits it into sahitya.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,. has not applied the modal shift of the tonic
note to arrive at these new melodies nor reallocation of ¾ruti s or sharpening and
flattening of pitch of the swaras in the generic scale to create Bhashanga ragas.
In the new ragas of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,.
there is a fusion of transilient scales with varjya notes and vakra patterns
eg.like in sumukhi , sreeedhari.Priyadarsini, prakasini
E³³app¡¿a¯ E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,. arrives at a different possibility
in the sequence of the notes of a known ¡rµha³a-avarµha³a krama , using salient
features of the vakratva –eg.Sreedhari,Priyadarsini

E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,.finds a diverse possibility by omission of
swaras -varjyatva in the new melody which establishes its aesthetic appeal eg
vrindhavanakuthuhalam,muralinadam,raasabowli,rasavarali,.
3.2.Examination of the rhythm settings.

3.2 Analysis of the Rhythm settings kºti s of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar.
sa¯g§ta ratn¡kara opens up the t¡©a adhy¡ya with
n¡n¡ m¡rgairlayo yatra yat§n¡m sy¡t kal¡nidhau
tam dak½i³am ¾iva¯ naumi citram v»ttimayam druvam ||

Sarangadeva declared that Nada the sweet ambrosial sound pervades the entire universe
and is the very cause of its existence. There is no iota of space in the universe devoid
of sound.
Srj article -Role of Tala in South Indian Music.
Rhythm is the backbone of Indian music. It is personified in the most
elaborate system of Tala.
Bharata exclaimed: NûÉlSÉåWûÏlÉÉå lÉ zÉoSÉåÅÎxiÉ lÉ NûlSzzÉoSuÉÎeÉïiÉqÉç- “lÉÉš zÉÉx§É”
chandµh§nµ na ¾abdµÉsti na cchanda¾¾abdavarjitam “n¡¿ya ¾¡stra”

Sound and metre are inseparable. Every sound is accompanied by rather subject to
some metre or other. Similarly even metre or Chandas comes into existence only
because of sound. Srj mof essay pg 15
Moe Srj-pg153- Tala is derived from the Dhatu Ta -la and is the time measurement
governing Geeta, Vadya and Nruta - the tauryatrika concept of music.
bh¡va¾ca r¡gat¡lauca ¾rutilaya samanvit¡
sabh¡ sakh¡ tad¡tm¡caÉvadheyam hya½¿aka¯ sm»tam || “p¡³ini”
tak¡ra¦ ¾a¯kara prµktµ lak¡ra ¾aktiryucyat£
¾iva¾akti samyµg£na t¡layityabhidh§yate || “g¡na bh¡skaram

‗Ta‘ is the bheejakshara of Sankara and la‘ of Parvati. The promulgation of the cosmic
dances of Siva and Parvati brings Tala into being. The promulgators of all rhythm and
Tala are thus the Supreme Siva and His consort Parvati.
Further, the word Tala could be derived from Tandava and Lasya. Tandava
denotes masculine dances of Siva and Lasya denotes the graceful feminine dances of
his consort Parvati and they are the first two dancers of the Universe. Thus the initial
syllables ‗ta‘ and ‗la‘ give rise to Tala.
tāḷa in kruti performs a crucial role since it enables sahitya or lyrics to
be accesible and singable in the future.
3.2.1. A study of selected kºti s of evrb ,set in the commonly used rhythmic cycles
like ¡di ,rÀpaka ,c¡pu, jampa - t¡©¡s .
¡di ,rÀpaka ,c¡pu, jampa - t¡©¡s have been mostly used by Trinity and later
composers in carnatic music.we find majority of evrb kritis in these talas. Selcted krits
of evrb in easch of these talas and how their setting is similar to that of the popular
compositions is the basis of this chapter
It is done with respect to the tala dasa pranas.
k¡lµ m¡rga¦ kriy¡±g¡ni grahµ j¡ti¦ ka©¡ laya¦|
yati¦ prast¡raka¯ ceti t¡©a pr¡³a da¾a sm¼ta¦||

m of essay srj pg157-
There are talas like Adi, Rupaka ,Chapu, Triputa, Desadi and Madhyadi Talas which
have greater aesthetics in them and have hence appealed to the three ―I‖s of music;
Instinct, Initiative and Intelligence.
The advent of Suladis brought with it the laghu jati bheda.
moessay srj pg 154-The Suladi Sapta Talas evidently make their appearance only in
the 15th and 16th centuries A.D. with the advent of the Composers of the Karnataka
Desa flooding the field of music with their Suladis of different varieties in Kannada
Language.
The Suladi Sapta Talas have been dealt with by Venkatamakhin in his
Chaturdandi Prakasika. He has given illustration of the alankaras thereof.
Ahobala too mentions the Sapta Tala Alankaras giving names like Indraneela,
Mahavajra, Nirdosha, Seera, Kokila, Aavarta and Sadananda.-being novel names
given to the traditionally known Suladi Sapta tala alankaras.
Venkatamakhin added Jhompata Tala (the present Adi Tala) (Chaturasra Triputa) to
the Suladi Sapta Talas . Pg 156 moe srj
Suladi Sapta Talas have been conveniently used by the Carnatic music composers for
kritis.The selection of talas have been with the laghu present in all the talas and also
the laghu with its varieties of Trisra, Chaturasra, Khanda. and , Misra,-the sankeerna
variety of nine counts is used very sparingly.the seven talas with their laghu jaati
expansions bring 35 talas.
Among these the Chaturasra variety of the triputa tala- the ancient Adi Tala- has the
fixed time value or duration of 8 units but the same Adi could be reckoned in Eka
KaLa, Dvi KaLa and Chatus KaLa where each kriya is executed 1,2 , 0r 4 times
SELECTED KRTIS OF EVRB IN ADI TALA
1.r¡ga¯Ä ¾uddhas§mantini t¡©am ¡di 1 kaLa
pallavi:
ajam ¡¾rita vatsalam | ¡¾ray£ham amita gu³a ¾§lam ||
1. d , p , m , , , m , g ,r , s , | , , s , dÖ , dÖ , | s , , , s , , , ||
ajam ¡¾ rita vatsalam |
aja m ri ta vat sa lam
2. p , d, p m , p m g , r , s , , , | , , r s dÖ , dÖ ,| s , , , s , , , ||
3. pd p m g m p , p d p m g r s , | , , s, dÖ , dÖ ,| s , , , s , , , ||
4. p d p m m g p m d p p m g r r s| s , s r d d p m | g , , , g , m , ||
aja m ¡¾ rita vat sa lam
, , g , m g m , p , , , d , p , | m g p m d , p , | m g m g r , s , ||
¡¾ray£ham amita gu³a ¾§lam ||
Tala is on Sama graha starting for the purvanga

paadam- eduppu- graham on the first beat-sahitya falls on
the first akshara unit of the tala.
While the uttaranga- sahitya and the second paadam are set
after 2 units of the kriya of the first druta- i.e anāgata eṭuppu.
marga is chitra tara- here every talaakshara (8) takes 4 subunits each
The method of rhytmical construction of any musical composition in a
particular tala marks ‘marga’
2. ,,vāsudevaṃ|,,bhāva|yami|| -ārabhi-ādi
anāgata eṭuppu of the sahitya in the pallavi and other sections
chitra tara marga- -here every talaakshara (8) takes 4 subunits each totalling
32=16laghu+8drutham+8drutham-adi 1 kalai
Could be rendered in Madhyadi tala like tyagaraja krti ‗mokshamu-saramati or
ragasudharasa-srj pg 242 moe
3. r¡sabau©I PG *70 2kaḷa ādi–chowka kaala-sama graha /eduppu
1.p, g , g , ,, p , ,, p , ,, d , p , p , g, p , d, n , n , |s×,,, s×,,, ,, ,, s,,×,| n, d, n, s×, n, d, p,,,||

ya mu n¡ ve ga | sam h¡ ri ³am
3. d, p , p , g , g, p , p, ,, n, d, p , g , p, d, n , n, | s×,,, s×,,,,,s× r× s× n |d n s× ,r×s× n, s×, ns× n, d, p ,||
ya mu n¡ ve ga sam h¡ ri ³am
Set in 2kaḷa ādi–chowka kaala{16+8+8=32}* 2 kalai =64aksharas marga-
chitra tara
A krit in adi- eduppu-after 6 aksharas(with chittasawaram)
;;; cintayāmyahaṃ-pg 50 tamil vnkrm
One tala vatta or avarta has 16+8+8=32 ,1 kalai- deśādi tāla –chitra
tama marga
, , , , , , p d s× d p m d p m r | s , , , , , dÖ s | r m r m p d m p ||
d r× s× d p m p d s× r× m× r× r× s× d r× | r× d s× s× p d d |×m p p r m m s r r ||
m p d d p m* d,s×,d, d,p,m,|p, ,, ,, m, |,,pmr,s,||rmpdpm *cinta y¡ mya
|ha¯,,,,,,d£|v¡di||d£----va¯*
could be executed in deśādi tāla –like tyagaraja’s kalalanerchina –
Deepakam,giriraja suta- Bangala
deśādi tāla adaptation of Adi tala reckoning as kriya vidhana tala and not anga tala ref
srj eom pg 240
Study of evrb’s Kritis in rÀpaka taala

xÉËU xÉËUaÉqÉÉuÉåÌiÉ YëqÉ LuÉ rÉjÉÉpÉuÉåiÉç
ÌlÉkÉÉãïwÉxrÉ AsÉlMüÉUÉã ÃmÉMãülÉ xÉÑ zÉÉãÍpÉiÉÈ ||
sari sarigam¡v£ti krma £va yath¡bhav£t
nirdho½asya alank¡ro rÀpakena su ¾obhita¦ ||
moessay srj pg 155

Rupaka tala - Technical reckoning- Popular reckoning:
1. Kriyavidhaana roopaka:
Here the rupaka tala is reckoned with two gathas and one visarjita. There is no anga at
all. In this mode of reckoning it looks as though the kriti s have been set in chitra tama
marga:
TAKA TAKA TAKA
Mana sa a ye tu
This is technically speaking not very correct. Mutthaiah bhagavatar has said that this is
rupaka chapu.
EVRB ALSO MENTIONS RUPAKA CHAPU IN HIS NEW TALA REF
ANALYSIS LATER
2. Anga Vidhana Roopaka: Here the roopaka tala is reckoned with one dhruta and
followed by a chaturasra laghu. Thus, making a total of six aksharakaalaas. This is
anga vidhana roopaka and absolutely scientific
This anga vidhana roopaka alone finds its place in the traditional suladi sapta talas.-
dhruvµma¿yµ rupaka¾ca jhampa¾tripu¿a evaca
a¿at¡©aikat¡©au ca sapta t¡la¦ prak§rtita¦

In this mode of reckoning the kritis set, somewhat in a medium tempo is to be
reckoned as having been set in Ati chitra tama marga
Mana| sa a yetu||
g p |dns, n d ||
One provision:
In order to give a little more aesthetic weight to the compositions set to rupaka tala,
to be reckoned as anga vidhana if the Marga is changed to Chitra tama, kriti will
have its added merit.
Now the Paada of the different sections would have two avartas satisfying at the
same time the prosodic requirements, will be sung as
Mana sa |yetulortune naa||

Mana vi |che konave o ||
Tulasi|dala mula che san||
Toshamu|ga poojinthu||
Singing the above kritis in kriya vidhana rupaka, the Paada would be found to run
to four avartas, thus making the Marga- Ati chitra tama.
The following is an attempt to study how evrb ‗s krtis in Rupaka tala conform to this.
Selected krtis of evrb set in Rupaka tala

Each avartaa of six units –1 dhruta +1 chaturasra laghu
making each paadam- with second letter rhyming
rupaka to be reckoned as anga taala and not the prevelenat practice of rupaka chapu –
kriya vidhana-which is done with two beats and one wave of the hand-quote srj-evrb
also gives the tāla lakṣaṇaṃ for rūpaka cāpu in rare talas
devaranjanam-ref analysis of that tala in rare tala list
example 1-sama graha -rūpaka tala
*PG 1vnkrmnym Rāga sumukhi pallavi tā ūpaka
mā ā ||mahāga|napatim bhajamana||
anupallavi
ādi dē|vam dēvēśam||ādyan|ta rahitamīśam||
śankarā|tmajam vandā āga āyakam||

pankajā|sanādīsura ||vēnka|,ta ramana vinutam||
Raga Sumukhi Rupaka Tala *Pg 155 Pallavi.
Dhuryo|Dhana Kulaantakam||
Draupadi| Maana Rakshakam||
Song num pg num
10 Gopaala Pranatha paala Gowri manohari Roopakam 16 Vishnu
22 Neeraja nayanae Vasantha roopakam 34 Devi
29 Sri Janaki Ramanam Madhyamaavathi Roopakam 44 Rama
33 sri krishnam maasrayae Hari Kamboji Roopakam 50 Krishna
nīraja| nayanerāja||rāje|śvari māmava||
vārija|bhavapuraharādi||vāridā|bha nuta carite
vāgadhī|śa nāradādi||vandita |pada paṅkajayuge
śyāmaḷā|bhra samaśobhita||komaḷāṃ|gisumanohari||
kāmarā|jahrudayābuja||lola ma|dhukarī,,||
somaśa|kaladharaśrīkari||sundare|śi bhuvaneśvari
hemaśi|kharanagavihāriṇi||īśvarive|nkaṭaramaṇa śaṃkari||
sa, , ma ga ma dha dha ni ni dha dha |ma dha ni sa ×ri ×ni dha ni dha ma ga ri|
sa ma ga ma dha ma ga ma dha ni sa ×ri|× sa ×ri ×ga ×sa ×ri ×sa ×ni sa ×ni dha dha ni|
sa ×ri ×sa ×sa,× ni dha ni dha dha, ma |ga ma ga ga, ri sa ma ga ma dha ni|
sa,× , ni dha ni dha, , ma ga ma | ga, , ri sa ni Ösa ×ni dha ma ga ri||

the makuta arrangement and the prastara progression conform to the anga vidhana
execution of rupaka tala,without destroying the prosody requirements.
the metrical balance also maintained.the accents on the first beat of druta and the first
beat of the laghu in th 2+4 rupaka tala
The prosodic requirement of yati and antya praasa are met with
pg 56 song 36
san¡tan¡ har£ k»½³a|| ¾a¯kuru satata¯ mama||
an¡tha rak½aka jaga||d¡nandakara sudh¡kara||
sa²cit¡ghad¡v¡nala||tapta¯m¡¯ d§nam¡nasa¯||
ka²jan¡bha dayay¡ nara||pa²c¡nana p¡hip¡hi||
pa²cabh¡³a ¾atamµhana|| p¡vana venka¿a rama³a
ka²jar¡ºtti bha²jana||ku²jaravara gamana||

pg 56 song 36
sanātanā hare kṛṣ-ṇa|| śaṃkuru satataṃ mama||
The prosodic requirement of yati and antya praasa are met with
rupaka tala-
egs of other composers-Ref misclny of essays srj
The beautiful varna "Sumasayaka"-in Kapi rāga, Rupaka Tala, has in its last
"Etthuguda" swara, a Ragamalika with two avartas each in Kalyani, Khamas,
Vasanta and Mohanam, the latter part of the last avarta being in Kapi.
There is a very similar varna in the same Rupaka tala in Bhairavi beginning with
"Neerajakshudu" in praise of Kulasekhara Bhoopala i.e. Swati Tirunal by Vadivelu. In
its last "Etthugada" Swara we find a Ragamalika passage in Kalyani. Kambhoji, Kapi
and Mohana. This varna has sahitya for the Chittaswara but not for "Etthugada"
swara. In the Ragamalika after Mohana, there is a part of an avarta in Bhairavi.
Pg125 srj m of e
The Desi Suladi of Annamacharya, reproduced below is in fact a Sapta-rāga-tala-
malika song and a unique one of its kind.
3.var¡©i ---rÀpaka t¡la:
v£gga©a|muga s¡r£ku ve||g£mul¡|¢agaj¡lanu ||
¾iggari |tanamuna gµsa||r£da ¾e|½¡calapatini ||

When these are rendered in rupaka chapu ,upsets the yati prasa antar yukti alankaras
and also the marga changes to Ati chitratama marga but the actual setting of these are
in chitra tama marga
Ref prof sambmuty-si music pg 172 bk IV
Selected Evrb krtis in chapu tala
In vankrmynm-and from the manuscript obtained, among the krtis notated ,the
following are mentioned as in chapu.khanda chapu,Misra chapu
1.marakat¡nÅgi s¡v£ri mi¾rac¡pu
`pg30 venkrmnym notn
3+2+2=7 –takita taka dhimi|
each having 2aksharas=14aksharas each unit ending is marked by ‗|‘
Each avarta ending is marked by ||
like that there are 7 units in each avarta in pallavi setting

like that there are 8 units in each avarta in anupallavi
like that there are 8 units in each avarta in charana
last paada Pahi janani in the 7th unit in first sangati alone since second sangati it is on
the 8th unit- could be a typo error or mistake in notating .
in pallavi ,anupallavi and charana-The song starts after 2 counts of the first beat-
anagata eduppu
2.¾r§k¡nta¯Ä sah¡na c¡pu pg39 tala prastara Same as above
3. *nalam£ ki¿aiykÅku¯Ä bhairavi mi¾rac¡pu pg48

Tala prastara- Same as above 1
in pallavi ,anupallavi and charana-The song starts after 2 counts of the first beat-
anagata eduppu
c¡pu tAla
1.v¡rijada©a *udayaravicandrika c¡pu pg 33
c¡pu -3+2+2=7 –takita taka dhimi| each unit
each having 2aksharas=14aksharas each unit-each having 2aksharas=14aksharas
each unit ending is marked by ‗|‘
Each avarta ending is marked by ||
like that there are 4units in each avartai n pallavi

like that there are 4 units in each avarta in anupallavi
like that there are 4 units in each avarta in charana
in pallavi ,anupallavi and charana-The song starts on the first beat-sama eduppu
4. k§ºÅttaya rasan£ ¡nandabhairavi c¡pu pg202
tala prastara Same as above
5. v£dajanan§¯Ä yadukulak¡¯Äbhµji- c¡pupg204
6. ma¯Äga©am¡tanµtu maddhyam¡vati- c¡pu pg206
there are 4units in each avarta in pallavi+2charanas-no anupallavi

6.¡lµkayam¡¯Ä ¾r§mah¡lak½Åmi bhairavi c¡pu-unpublished- song copied from
manuscript
r¡ga¯ bhairavi t¡©a c¡pu

pallavi
¡lokayam¡¯ ¾r§ mah¡lak½mi
akhil¡³¢e¾vari janani devi
anupallavi
n§l¡©akave³i nira²jani
nikhilama±ga©ad¡nakalpaka ni½ka©a±ka ka¿¡k½a v§k½a³aihi{º}
¡lokayam¡¯
cara³a¯
kamale! ka²jada©¡yatek½a³i
kanak¡¯bari! ka¿ak¡dibhÀ½a³i
kaman§yataraka©a mrdubh¡½i³i
khagar¡j¡di r¡jagamana v£±ka¿arama³av¡mini
in this kriti on Mahalakshmi , alokaya mam mahalakshmi-
beseeches to Goddess to shower him with bliss and blessing ni½ka©a±ka ka¿¡k½a
v§k½a³aihi-
the anupallavi completes the theme begun in the pallavi and charana compliments the
descriptive Glory of the Goddess with Her Consort.
the pallavi has two paadams each having four avartas.Anupallavi has
pallavi has the cessation at the tara stayi shadja on the first beat of the 3rd avarta
r nÖ s , , , | s, g ,r , g , || p m p , , , | m, p , d , n , || s× , , , , , | s× , n , d ,×d , || m , p , m , | p m g , r , s , ||
¡ lo ka ya m¡¯ ¾r§ ma h¡ la k½m§
Anupallavi also has the same sustainance but at the samvadhi note madhya stayi pancahma
p , d, p , |d, n , nd p , | d , p , , , | d , p , d, m , || p , , , , , | p , , , p , , , || d , p , ,,| d, p , d , m , ||
n§ l¡ ©a ka ve ³i
anupallavi second paadam

1.s× n s× , r× , | r× , , , g× , r× , || r× , s× , r× , | r× s× s× n s× , s× , || p , , , r × , | s× r× n , d , p , || s× n d ,p ,| p
m g , r ,s , ||
ni khila ma± ga©a d¡ na kal paka ni½ ka ©a± ga ka ¿¡ k½a v§k
½a ³aihi{º}
charana last paadam
g× g× r× s× nd | ns× r× g× r× , , , || m× , g× , r× , | r× s× s× n r× , s× , || m× , g× , r× , | s× , n , d , p , || p p d m p ,|
m n d p m g r s ||
kha ga r¡ j¡ di r¡ ja gamana v£± ka ¿a ra ma ³a v¡ mini
In the last two padams of anupallavi and charana,the marga changes to ati chitra tama
marga from chitra tama marga setting. –seeming to give a kind of speedy rendering
effect. This shows the skill of the composer. This is not dhurita kaala. Ref append –
notation .
The last part of the charana-Swarakshara
m× , g× , r× , | s× , n , d , p , || p p d m p ,| m n d p m g r s ||
v£± a ¿a ra ma ³a v¡ mini
‗ka‘ with swara gandhara and ‗mini‘ with swara-madhyama and nishadha.
The usage of the phrase touching the higher taara stayi g,-gandhara and taara stayi m,-
madhyama for the sahitya pada-- kha ga r¡ j¡ dir¡ ja gamana -flight of garuda –the
king among birds- the vehicle of Vishnu takes us to superior ecstacy heights of
imagery of the lofty ideas displayed by
r¡ jagamana v£± a ¿a ra ma ³a- evrb.
The above study shows that the term
‗misra chapu‘ is used for krtis with anaagata eduppu where the sahiya
song begins after the 2 counts of the first beat
the term ‗chapu‘ is used where the song sahitya starts on the first beat
ie sama
kha³¢a c¡pu
1.¾r§r¡jagµp¡la bhairavi kha³¢a c¡pu
pg 12 vnkrmym-notn- CD ksna –audio
2+3 matras each having 2 aksharakala=10 aksharakala each
avarta
2.¾r§r¡ma b£ga¿a kha³¢a c¡pu Pg 21
vnkrmym-notn- Cassette syamala –audio
2+3 matras each having 2 aksharakala=
10aksharakala each avarta
3.¾r§vatsakaustubhadhara malayam¡ruta¯Ä kha³¢a c¡pu CD ksna
¾r§vatsa||kaustubhadha||ra haRe|| krshna ||
Sama graha on sri-and arudhi on ra
4.navan§tanav¡h¡ra¯Ä k¡pi kha³¢a c¡pu
5.gµvindagµp¡la s¡v£ri kha³¢a c¡pu
6.utt¡lat¡labh£tt¡ra¯Ä bih¡g kha³¢a c¡pu
7.dv¡rak¡n¡yaka¯Ä vasanta kha³¢a c¡pu
Among the general krtis

The two commonly used chapu talas –viz misra chapu and khanda chapu . they are
two independent kriyavidhana talas and not jhampa or ara jhampa.
Ref srj essn of musclgy pg240
Evrb kriti in jhampa tala- anaadhi= ref
So this ancient people had the laya concept registered in their minds and hence the
practise of chapu measures with beats of the palm –gaatha or occasionaly using the
wave visarjita for convenience developed later.
3.2.2. A study of the kºtis set in t¡©¡ s other than Adi,Rupaka,Chapu:
kha³¢a j¡ti tripu¿a t¡©¡ and caturasra j¡ti a¿a t¡©¡ and jhampa t¡©¡
kºti r¡ga t¡©a
r¡macandram bhaja tµ¿i kha³¢a j¡ti tripu¿a t¡©a
yamun¡t§ra vih¡ri mukh¡ri kha³¢a j¡ti tripu¿a t¡©a
gµpagµp£¾varam n§l¡mbari caturasra j¡ti a¿a t¡©a

anādibrahmacariṇṃ- vṛndāvana kutūhalam jhampa
Ref:vnkrmnym-pg 19 num12-the sahitya is in praise of Lord Rama,
laghu 5 units of 4ak¾aras each + druta¯ 2 units of 4 ak¾aras each+ druta¯ 2 units of 4
ak¾aras each||
all units are executed twice-known as ren¢u ka©ai
so each avarta has 20+8+8=36*2=72ak¾aras in one tala cycle
laghu5 druta¯2 druta¯2
r¡macandra¯-bha|ja r¡| j£ndra¯ mana||
ravikulajaladhi can|dra¯ u|p£ndra¯ ||
t¡marasabhava bhava| s¡dhu| pujita¯-||
t¡rakacarita¯ j¡|nak§ sa |m£ta¯ ||
dh§ra¯ ra³avijitani|¾¡cara |¾Àra¯||
varagu³abhara p¡r¡|v¡ra¯ |¾r§raghu||
v§ra¯ ve±ka¿arama| ³amud¡|ra¯ suku||
m¡ra¯ nigam¡di| s¡ra¯ da|y¡kara¯||
yati prasa, anu prasa alankara .are highlighted
antaryukti is found in suku||-m¡ra¯ and raghu||v§ra¯ where the pada is split to bring
in yati prasa alankara without diminishing the musical quality.
RamacandraM Baja rAjEndraM mana ravikula is a kriti with the pallavi having 2
avartas.Anupallavi having 2 avartas and single charanam having 4 avartas.
Structural balance between pallavi, anupallavi and charana maintained.
kriti-15.pg.24
yamun¡t§ra vih¡ri mukh¡ri kha³¢a j¡ti tripu¿a t¡©a
is analysed in chapt 4 for lyrical analysis of the sahitya
kruti-yamun¡t§ravih¡r§-mukh¡ri kha³¢a tripu¿a-

laghu 5 units of 4ak¾aras each + druta¯ 2 units of 4 ak¾aras each+ druta¯ 2 units o 4
ak¾aras eac||
all units are executed twice-known as ren¢u ka©ai
so each avarta has 20+8+8=36*2=72ak¾aras in one tala cycle
pallavi has 2 avartas
laghu(5)|druta¯(2)|druta¯(2)||
yamun¡ t§|ra vi| h¡r§||
jayatum¡mavatu|manga©a¯sa|ntatam¡|Å¡tanµtu||
anupallavi has 4 avartas
kaman§yatara|mura©§|v¡dana||
g¡namukharita|¾rutima|dhuratara||
k¡ntasvaramakarandavinirbhara¾r§kara|v»nd¡vanamµ|hanasanc¡r§||
mur¡r§ priya pur¡r§:|p§t¡¯bara vana|m¡l¡dh¡r§||
cara³a¯ has 5 avrtas –ref pg 299 prof sambmrty- si music
r¡j§v¡yatavi|lµca|n¡bh§||
r¡k¡candra sa|nnibhavada|n¡bh§||
r¡jatcampaka|mallik¡madhu| m¡lat§suma||
r¡¾§suv¡sita-k£¾avar¡bh§r-abhi|r¡m¡bh§r-vraja|bh¡m¡b§-ssaha||
r¡savil¡sa|lµla,,, venka¿a|rama³asu¾§la|| (yamun¡t§ravih¡r§)
cara³a¯ has 5 avrtas

to explain ?ref pg 299 prof sambmrty- si music
This is a case when the tala avrta has odd number of akshrakaala
Khanda triputa has 9 aksharas – 5+2+2
Also the sahitya is a compounded long phrase describing the company of krshna in the
Vrindavana.
After r¡savil¡sa|lµla,,, there may be a cessation and sustain till end of avarta and sing
pallavi -yamun¡t§ravih¡r§--
with the lotus like eyes, with the face dazzling like the full moon, with hair swirling with
the sweet scented flowers, enthralled in raasa kreeda -dancing with the vraja women
folk on the banks of river Yamuna– r¡savil¡sa|lµla Oh ! Yamunateeravihari- May You
be Victorious!
-similar to sridundurge{sriranjani-rāga-} dikshita
Mysore Vasudevacharya kalayE mama hrdayE- Lyrics provided by Lakshman Ragde.
Kriti- pg 103 vnkrmn gµpagµp£¾varam n§l¡mbari caturasra
j¡ti a¿a t¡©a

Ata Tala 1-Laghu,2-Dhrutas,1-Laghu
As per 108 tala,list, laghu is always of 4 counts, hence the ata tala is 4+2+2+4 ,where
the two drutams occur between the two laghus.
In Suladhi sapta talas ,khanda jati a¿a t¡©a is taught among abhyasa gana excercises.
Many tana varnams and even pada varnas are set to khanda jati ata tala . this variety
of ata tala has four angas –viz.laghu+laghu+drutam+drutam.
since in these variety of laghu -khanda jati-5 units -1 beat and 4 finger counts beginning
from the little finger towards the thumb are counted followed by 2 drutams of 2 units
each- the tala avarta count is 5+5+2+2=14
When the laghu jaati is changed we get other 4 different varieties of a¿a t¡©a like tisra-
(for laghu of 3 units) caturasra (for laghu of 4 units),misra(for laghu of 7 units)and
sankeerna(for laghu of 9 counts). the mode of reckoning of different angas of the tala
is kriya prana- which makes the physical representation of a tala recognizable.
Pg 248 eof mscology in si music-PROF.SRJ

gµpagµp£¾varam n§l¡mbari caturasra j¡ti a¿a t¡©a
laghu{4}|laghu{4}|druta¯{2} | druta¯{2}=12 aksharas
-this kriti is among the 108 .nama
pallavi
laghu{4}|laghu{4}|druta¯{2} | druta¯{2}=12 aksharas
gµpa gµp§ | ¾vara¯ § | ¢£ gµ| p¡la¯ ||
kuvalaya dala | n§la¯ | su¾§ | la¯ || {gµpagµp§¾vara¯}
anupallavi
t¡patraya |hara³anipu³a |cara³a¯|sugu³a¯||
t¡marasa |vilµcana¯ |s¡dhuja |n¡vana¯ ||{gµpagµp§¾vara¯}
cara³a¯
a¯gaja ¾atasama|sundar¡¯ga¯|ana¯ga| janaka¯||
a¯ghrijanitavara |ga¯ga¯ ¡¾rit|ah»t¡ |ta¯ka¯ ||
¾a±kar¡Åºccita¯|saday¡p¡¯ga¯|¾r§vat|s¡±ka¯||
ve±ka¿arama³a¯|vihagatura¯ga¯|vraja¾a|¾¡±ka¯||{gµpagµp§¾vara¯}
―nIlambari ―is a rāga suitable for chowka kala rendering.aptly used.
―n§la¯‖ in pallavi second paada part of the rāga name used to indicate rāgamudra
End rhyming syllable-antya prasa alankara of ―la¯,in pallavi ; ³a¯||
in anupallavi and ka¯ in all the paadams of the caranam‖
first letter rhyming –muhanA is profusely used like in all krits.
¾a±kar¡- ¾r§vat|sa; a¯gaja-a¯ghri and other highlighted sabdas
Each anga of the tala also have the appropriate rhyming syllables.
Kriti an¡di brahma c¡ri³a¯ |anu|dina¯||v»nd¡vana kutÀhalam r¡ga t¡©a jhampa Pg 152
pallavi
an¡di brahma c¡ri³a¯ |anu|dina¯||
¡¾ray¡¡myaha¯ anupa|ma|gu³a¯
anupallavi
san¡tana¯ candrabimba|sama|vadana¯ ||
an¡tharak½aka¯ agh|a|mocana¯||
cara³a¯
manga©ad¡yaka¯ madhuhara¯ |m¡ |rama³am|| pankajabhavasannuta¯ vihaga
|v¡|hana¯||
angaja¾atasama mohana¯ |vara|gadana¯||
v£nka¿arama³a¯ vedas|va|rÀpi³a¯||
v»nd¡vana kutÀhalam r¡ga t¡©a jampa{misra jati}
r, r, ,, r, ,, r, g , m , p , ,, ,, dp m , ,, |,, gr | g, m g grs ,||
a n¡ di brah ma c¡ ri ³a¯ a nu di na¯
misra jati jampa-belongs to the suladi sapta talas with the sections
laghu+anudruta+druta-the symbol denoted for this tala is | 7+ñ+0
Misra jaati Laghu-| 7 laghu has 7 counts –1beat of the palm and six finger counts
hence shown as one upright line with subscript 7 in current notation scripts-
Anudruta – ñ -one of the shadangas-has one aksharakala-count
The symbol used is a crescent shape.executed as one beat of the palm
druta -0- one of the shadangas-has one aksharakala-count
The symbol used is a small round shape.executed as one beat of the palm ghatha and
wave- ववसन्ज्त
Totally this tala avarta has 7+1+2=10 with each unit or kriya or action taking 4 aksharas
–since in chitra tara marga
r, ,, g , m , p , ,, p, d p m , ,, ,, mgrg m,pm| grs,| rg m,pm grs,||
¡ ¾ra y¡ myaha¯ anu pa ma gu ³a¯
If kritis are wrongly notated and sung as chapu tala it distorts the metrical arrangement
and prosody requirement
The skill of the composer is in that he has introduced muhna- prasa anuprasa and
antarukti- to split the padas without compromising on the sabda alankara and rāga
bhava.
A list of some compositions in these t¡©¡s by other composers.
*We have in rāga parasu- caturasra j¡ti a¿a t¡©a
-muttu swami dhikshita among his vaara or navagrahakritis

*Sarsijakshi- Nayaki varnam. Talam: Khandajathi triputa talam.
Composer:Rudrapatnam Venkataramanayya.REF #learnt from SRJ SIR
Saraseejaakshi nin|n|e kOri|| maarulukon|nad|ira||
Satyadharmapu|ri va|asaa||-dheera sri manju|naa|dheesa||
*Ref #sri muthaiah bhagavatar avargalin apoorva rāga keertangal toguti 5-second
editionCompiled by sangeeta vidvan Late M VAIDHIYALINGAM
PG 232 SONG NUM 91. purandhara vinutErAgam: pUrvikalyANi (53)
tALam: khaNDa jAti tripuTa
purandhara vinutE puNDrEkSukANDa kOdaNDE
*pg 46 song 14.rAgam: shuddhalalita (17) tALam: khaNDa jAti jhampe.
sahasrashIrSa samyuktE sahajAnandashaktE
*Jayachamaraendra Wodeyar created a new raga called ‗Jayasamvardhani‖ and
composed the kriti, ―Pahimam Sri. Rajarajeswari‖ in Khanda jati Triputa Tala.
3.2.3. A study of the new t¡©¡s viz. nuti , pr§ti, devara²cana¯ employed in his kºti s
by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar which include tracing the identity of t¡©¡s
in the t¡©¡ treatises, examining the lak½a³as of the t¡©¡s, their a¯gas or sections ,
their kriya s or execution, as explained by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar, in
the manuscript of the notation of his kºti s.
Analysis of the format of the kºti s, and its suitability to the rhythm of t¡©¡ s
with respect to candas -metre , r¡gabh¡va -melody , prosody and rhyming pattern.
The krtis of evrb in the talas used in carnatic music are published in
Venkataramaneeyam. They conform to the Suladi sapta talas and chapu talas. Other
than these three talas unknown and unsung at the concert platform for kritis and also
not found or heard in the rendering of Pallavi exposition are found in the manuscript
with Dr.Saraswathy.
TAlakriya-The technical definition of Tala goes as follows:
WûxiÉ²rÉxrÉ xÉÇrÉÉãaÉå ÌuÉrÉÉãaÉåcÉÉÌmÉ uÉiÉïiÉå|
urÉÉÎmiÉqÉÉlÉç rÉÉå SzÉmÉëÉhÉæÈ xÉ MüÉsÉxiÉÉsÉ xÉÇ¥ÉMüÈ
hastadvayasya sa¯yog£ viyog£c¡pi vartat£|
vy¡ptim¡n yµ da¾apr¡³ai¦ sa k¡last¡la sa¯j²aka¦

The process of union and separation of both the hands in perfect conformity to the ten
elements of musical time constitutes Tala.
The 108 talas
The first five talas are called Margi Talas or Pancha Talas - means the laghu has
5 aksharaas instead of four.
In the traditional 108 talas the Adi tala has one laghu.32
32
Table X111 THE ASHTOTTARA SATA TALA 108 CHART .PROF SBMRTY SI
MUSIC BK 1V
kºti r¡ga t¡©a

¾r§ vidy¡ ga³£¾am tµ¢i nuti
v¡sud£va m¡m balahari pr§ti
r¡malµk¡bhir¡ma n¡¿¿akkurinji d£varanjanam
Each of these talas are described by the composer in malayalam script . the lakshnas -
featres, angas or sections ,the units and subunits of time measure are given clearly.
That the sahitya composed by him to grand major rāgas of carnatic music is creditable.
The padas again conform to the prosody, metre arrangement . the pratstar of the tala
gives scope for sangatis or improvisations in the passages and swara are placed to
admit of gamaka relevant to the rāga in which they are set.
So evrb has not compromised music for the sake of adapting a new time measure,
unheard in carnatic music platforms and among earlier other composers.
Each tala is analysed be

1.¾r§ vidy¡ ga³£¾am tµ¢i nuti
Tāla lakshana for Nuti tāla
The composer evrb gives four angās- sections for each avarta of this tala
1st anga is One randu(2) kala cowka catuśra laghu+ one jhampa cāpu=16+5= 21aksharas
|4 x 4 + taka takita
nd
2 anga One randu(2) kala cowka catuśra laghu + one tiśra cāpu =16+3=19 aksaras
|4 x 4 + takita
rd
3 anga one randu (2) kala cowka catuś =16 aksaras
|4
th
4 anga one randu (2) kala cowka catuś =16 aksara s
|4
72
dh§®;;;- dh§®;;;- dh§®;;;-t¡®-t¡®-t¡®-taki¿a

dh§®;;;- dh§®;;;- dh§®;;;-t¡®-t¡®-taki¿a
dh§®;;;- dh§®;;;- dh§®;;;-t¡®-t¡®
dh§®;;;- dh§®;;;- dh§®;;;-t¡®-t¡®
ts§ya®-ts§ya®-ts§ya®-¢hi³a/pa¿a-pa¿a-pa¿a-¢hi³a³a
ts§ya®-ts§ya®-ts§ya®-¢hi³a/pa¿a-pa¿a-¢hi³a³a
ts§ya®-ts§ya®-ts§ya®-¢hi³a/pa¿a
ts§ya®-ts§ya®-¢hi³a/pa¿a-pa¿a-pa¿a
r¡ga – TODI t¡©a --NUTI-
Pallavi
śrī vidyā ganēśam |śrita pārijātam|cintayē satatam|gunātītam ||
Anupallavi
śrī vēnkataramana śrīśa|śiva vārijāsana|dēva varārcita|caranam śaranāgata jana
pālanam ||
jīva śuka nāradādi|cētōdhyāna vihārinam|dēvādi dēvam|jagatām
sthitilayasambhavakāranam ll
Caranam
kalyāna gunōpētam|kalyāna dāyakam|kalyānamayam|kamanīyaruna kalēbaram ll
kātyāyanī mānasa|kanjadivākaram|kanakāmbaradharam|kārunyāmrta pūrna
payōdharam|| vallīśa guruguha|varada pūrvajam|vār ānana|varamāditya śatādhika
bhāsuram|| mallikāmandāra|vara campakasūna|mālā sōbhitam|mahadanubhūtam
pranavākāram||
This tala does not conform to the scheme of 35 or 175 tala in as much as it has only
one of the 3 angas viz, laghu that too chaturasra jaati-and is interspersed with the
syncopated rhythm- chapu of 2 varieties-
Each subunit of the laghu and chapu beats take 2 aksaras Hence chowka
It is a mixed time measure –similar to the kathakali tala
The tala prastara looks like a gopuccha yati- pattern of a cow‘s tail –broader or longer
at the top and narrower towards the bottom.
The last angas of all avarta in anupallavi and charana are set to ati chitratama marga
while the rest are in chitra tama marga-gives an apparent speedy rendering-not to be
mistaken with madhyamakaala the structural balance between the pallavi anupallavi
and charana is well maintained.
The sahitya is laden with muhana –prasa anuprasa and antarukthi as indicated in bold
type The yati or muhna or monai as is called in Tamil splits the angas and the
composer has cleverly used the padaas to merge with the pattern and split the angas of
talas and the respective avarta. Between pallavi and anupallavi and within the avartas
of the charana,the use of dwiteeyakshara prasa adds to his credit
Antarukthi –is effortlessly used in vār ānana|varam
Yamakam- usage of kalyana
kalyāna gunōpētam| epithet of Ganesha as auspicious vituous
kalyāna dāyakam|-bestows well being among the devoted
kalyānamayam|form of auspiciousness
krti 2
r¡ga balahari t¡©a pr§ti
the composer evrb gives t¡©a lak½a³a for t¡©a pr§ti
each avarta of this t¡©a has with five angā s
states for executing the tala-aDi = beat or tap in malayalam as the first kriya for taka janu
beat beat
1st anga -taka ja³u taka ja³u taka taka taki¿a 15 ak½ara
nd
2 anga taka ja³u taka ja³u taka taki¿a 13 ak½ara
3rd anga taka ja³u taka ja³u taki¿a 11 ak½ara
4th anga taka ja³u taka ja³u 8 ak½ara
5th anga taka ja³u taka ja³u 8 ak½ara
55 ak½aras
Execution of the tala-appendix by the candidate
taka ja³u {4}taka ja³u{4} taka{2}taka{2}taki¿a {3}
single tap +single tap+viloma chapu{misra variety-mirror image}
taka ja³u {4}taka ja³u{4} taka{2}taki¿a {3}
single tap +single tap+ chapu{ khanda variety}
taka ja³u {4}taka ja³u{4} taki¿a {3}
single tap +single tap+ chapu{ tisra variety}
taka ja³u {4}taka ja³u{4}
single tap +single tap
taka ja³u {4}taka ja³u{4}
single tap +single tap
The unit taka{2}taka{2}taki¿a {3} in the first anga is a lateral inversion of the misra
chapu of the carnatic music.Syama sastri among the Trinity has adopted this measure
Eg purvikalyani- ninnuvinagamari dikkeveru unnaaru;lalita-nannu brovu lalitha
Pallavi
taka ja³u {4}taka ja³u{4} taka{2}taka{2} taki¿a {3}
v¡sudev¡va|m¡mih¡¾u|varadav¡mana|v¡nci|t¡khila phalada||
anupallavi
k¡¾yapagautam¡tri|kala¾odbhavaka³va|¾ukan¡rad¡di|munijanak§rtita|¾ubha
carit¡mruta||
¡¾rit¡kha³¢ha |¾¡¾vat¡nanda|sukhad¡yaka|suma¾ara sundara|tara-karu³¡kara||
cara³a¯
b¡l£ndu ¾ekhara|p¡rvat§d¡ra|parip¡lita|b¡³¡surabahu|b¡hu vicchedana||
l§l¡m¡nu½a|n§l¡¯bud¡bha |yadu b¡la v£½a| yamijana m¡nasa| vara sadan¡||
n§l¡mbara v§ra| t¡l¡nga s§ra |dara ram¡nuja| taru³¡ru³anibha| ma³i cara³a||

b¡la vijaya go|p¡la sura loka| taru p¡rij¡ta|hara³¡ v£nka¿a|rama³a san¡tana||

the range of the rāga covered is from mandra dhaivata to taara panchama
the tristayee sancharas of relevant phrases of the rāga is the highlight.
Eg-
nÖ, dÖ , s , ,, s , ,, s , , , - mgr, s,|
va ra da v¡ ma na
s× , s× , s× , , , s× r× g× , g× r× s× , |
ta ru ³¡ ru³a nibha
s× , n , d , , , d , g× , r× , , , r× p× m× , g× , r× , g× r× s×, s× ,|
b¡ la vi ja ya gµ
s× , n , d , , , d , g× , r× , s× , r× , s× , s× n d d s× , |
p¡ la su ra lµ ka
the use of janta phrases
n , d, d, p , d, p , p , ,| r× r× s× , s× n d , s× , , , s× , , ,|
A good voice which can traverse through the prayogas can render these
effectively with full bhava, the sahitya is placed at appropriate places to merge with
the the swara or the nearest swarasthana.suddha and suchita and misra swarakshara
prayogas are seen.
n , d, d, p , d, p , p , , , p , d , n , d , d p m , g , |
n§ l¡¯ ba ra v§ ra
d , g× r× s× , , , s× , , , n, s× , s× n d , d , |
ta ru p¡ ri j¡ ta
the marga changes at pallavi last anga to atichitra tama
g, p, d, p , m, g, r, s,||
t¡ khila phalada-- but also gives scope for madhyamakaala sangati
dd s× s× pp dd s× n dp m g r s×||
t¡ khi la pha la da
n, d , s× ,s×, s× , , , s× , s× , |
mu ni ja na k§ºtti ta
s× , s× , n, d, s× , , , s× , s× ,||
¾u bha cari t¡ mruta
r, g , p , , , p , d , n d p , |
b¡ ³¡ su ra ba hu
g , p , d , p , d p m g r , g ,||
b¡ hu vi chc£ da na
p m g , p , d , s× , n , d , d , |
ya mi ja na m¡ nasa
d p m g r , g , p , , , p , d ,||
va ra hrudaya sa da na
krti 3 r¡m¡! lµk¡bhir¡m¡!
r¡ga¯ -n¡¿¿akkuºu²ci t¡©a¯ - d£vara²cana¯
Tāla lakshana for d£vara²cana¯ tāla
The composer evrb gives six angās- sections for each avarta of the tala
d£vara²cana¯
{1}Rupaka chapu+{1}jhampa chapu+{1}1tap+{1}jhampa chapu+{1}2taps+{1}jhampa
chapu+{1}3taps and wave{DESADI/MADHYADI}
The vaytaari or jati syllables given are as follows:
6 + 5+ 7 + 9
taka jaṇu taka{6} + taka takiṭa{5} + taka taka takiṭa{7} +taka taka taka takiṭa{9}
+taka jaṇu taka jaṇu8+ taka jaṇu taka jaṇu8 = 43 akṣara.

Each syllable takes 2 counts eg ta-2 ka 2, ja-2 nu -2. So totally each avarta takes 43
aksharas and is set in chowka kaala
tāḷa lakṣaṇam for rendering
1 rūpaka cāpu + 1 jampa cāpu + 1 aḍi , jampa cāpu + 2 aḍi , jampa cāpu+
caturasra laghu +caturasra laghu = 43 akṣara
1 rūpaka cāpu = 6 akṣara - rūpaka cāpu
1 jampa cāpu = 5 akṣara-khanda chapu
1 tap aḍi , jampa cāpu = 7 akṣara-misra chapu
2 tap aḍi , jampa cāpu = 9 akṣara-sankeerna chapu
1 caturasra laghu = 8 akṣara-chaturasra laghu
1 caturasra laghu = 8 akṣara- two drutams
43 akṣara
The kriya mentioned in the third column by the candidate is for understanding
and executing in carnatic terms.
In actual kathakali tala procedure the kriya mainly time keeping by the
percussion-instrumentalists will be as evrb has stated. Only beat/tap and wave
and not finger counts-
taka jaṇu taka + taka takiṭa + taka taka takiṭa + taka taka taka takiṭa +
taka jaṇu taka jaṇu + taka jaṇu taka jaṇu = 43 akṣara

pallavi
r¡m¡! lµk¡bhir¡m¡!r¡m¡! ravikulasµm¡! jaya
anupallavi
bh¡m¡¾rita s§t¡bh¡ma
bh¡m¡ma³is§t¡v¡m¡ pr£mak¡m¡ k¡mitak¡madakalpaka
dh¡m¡! s¡m¡div£d¡ntas§m¡t§ta mahim¡¾rita m¡ruti m¡nasa gruha

cara³a¯
bh¡rat§¾a p¡º vvat§¾¡di bh¡vit¡ru³ama³icara³a!
v¡rij¡stra mµhanal¡va³ya!vandit¡maramunisujana!
v¡ra³£ndrāga¯bh§rāgamana! bh§map¡r¡¯nidhimathana! sugadana!
n§raj¡k½a! t¡rak£¾avadana! t¡pa¾amana! ve±ka¿arama³a varagu³a!
3-r¡malµk¡bhir¡ma n¡¿¿akkurinji d£varanjanam33
s r g , m g r , s , , ,| nÖ , s , m g r , s , | dÖ , nÖ , s , nÖ , dÖ , nÖ , s , | s , dÖ , nÖ , s , s , , , s , , , s , |
r¡ m¡ lµ k¡ bhi r¡ m¡ r¡ m¡
3taps and wave {DESADI/MADHYADI}This reckoning could represent the ancient
DESADI/MADHYADI Talas
33
Appendix rare talas intro and audio by candidate
CHAPTER 4
ANALYSIS OF THE STRUCTURE AND LYRICAL ASPECTS OF

Krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
Analysis of the Structure And Lyrical Aspects of Krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar 139
CHAPTER 4
ANALYSIS OF THE STRUCTURE AND LYRICAL ASPECTS
OF
Krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
4.1 Methodology employed in the study of the structure and text of the krti s of
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar’s krtis are for most part similar to the
style of Tyagaraja and Shyama Sastri in structure composed of Pallavi, Anupallavi and
charanas.
As to the use of language in krtis, E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar has
employed saṁskrt in all but two of them. Hence the study is based on the linguistic
analysis of the compounded saṁskrt lyrics with the sahitya in Muttuswami Dikshita’s
compositions.
VenÅki¿ar¡ma Bh¡gavatar’s most important work is the group of 108 krtis ¾r§
kº½³a a½¿¿µttara ¾atan¡ma krtis. The structural and textual analysis of these is applied
on the 108 group krtis on Goddess Chamundeswari and Lord Siva-by Harikēśanallūr
Muttaiyya Bhāgavatar .
In the two krtis in Tamizh, the study is made as to their relevance to Harikatha
presentation and concert format since VenÅki¿ar¡ma Bh¡gavatar is well known to have
been a Harikatha performer.

Therefore in this chapter comparative study of the krtis of VenÅki¿ar¡ma
Bh¡gavatar is done with with the krtis of other composers.
4.1.1 A study of the structure of the krti as adopted by E³³app¡¿a¯ VenÅki¿ar¡ma

Bh¡gavatar, keeping in view the similarities and dissimilarities in the sections or
aṅga s of the krti s by other composers.
aṅgas in a krti
The minimum required sections in a krti is pallavi, anupallavi,charana. In many
krtis of Tyagaraja and later composers there are multiple charanas. Sometimes the
caraṇa is avoided .In that case the second section after pallavi is called samashti
charana.This feature is found predominantly in some krtis of Mutthswami Dikshita.
Subbarama Dikshita does not refer to this term.1He calls such sections as only
Anupallavi.
ci¿¿asvara:
Many composers have created innumerable compositions in Carnatic
music. Adding ci¿¿asvara to a music composition or a krti embellishes it. Having
ci¿¿asvara for a krti was not in vogue in early periods. Only in the past 150 years
or so, adding a ci¿¿asvara to a krti and singing it has become popular.The
ci¿¿asvara in krtis are mostly additional elements of beauty, to enhance the
attractiveness of the composition.
The sabhā gāna is performance in front of audience which comprise of
rasikas, connoisseurs of classical carnatic music. The team of performers includes
1
Sangeeta Sampradaya Pradarsini-notataion.
vocalists and the accompanying artists like violinists, rhythm accompaniments etc. kr tis
form the bulk of the concert.
The improvisations to a krti by the main artist include ragaalapana, neraval,
kalpana swara etc.This practise in singing kalapana swara is singing extempore swara
passages in different arrangements and combinations. The practise of manodharma-
improvisations seems to have developed during and after the Trinity period.In Kerala
Swathi Tirunals court was adorned by many musicians who could improvise on a krti
with raga alapana, neraval , swarakalpana etc.Musicians like Maha Vaidyanatha Sivan
are reported to have sung kalpanaswaras extensively for the krtis of the Trinity. One
can say that ci¿¿asvaram is a probable evolution from the kalpanaswaras, as it is
more structured and pr epar ed compared to kalpanaswaras.
krtis with ci¿¿asvaram:
Some krtis of Tyagaraja have chittaswarams added to them by other, later
composers, and or musicians. Eg
Nenarunchinanu-Malavi-Tyagaraja – Chittaswara by Tirukkodikkaval
Krishnayyar.vararagalaya-Chenchukamboji-Tyagaraja-Chittaswara by
G.N.Balasubramanim
Some krtis of Syama sastri, Subbaraya Sastri, Mysore Sadasiva Rao have chittaswara
sahitya.2
mahārāja svāti tirunāḷ krti s among the Navaratri group like
2
Prof.S.R.JANAKIRAMAN-ESSENTIALS OF MUSICOLOGY Pg 206
janani māmava- rāga bhairavi ; janani pāhi rāga- raga śuddha savēri have chitta
swarams appended to them. The former has corresponding jati syllable to the
chittaswara which are not regualrly heard in concerts.- tāṁ,,, tajjaṇu …..taka dhīm
dhīm...
Muthuswami Dikshita ‘s Anandanatanaprakasam-Kedara has solkattuswara passage
Among the popular 20th century carnatic music composers, Papanasam Sivan
Maadayai - Vasanta raga has chitta swara sahityam 3 filled with swaraksharas.
m,,d,,n,,d,m,g,rs,,
Maa daa ni tanthay neeyendru.
Harikesanallur Mutthaiah Bagavatar has appended many krtis with chittaswaras.
Three krtisof E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar have ci¿¿asvarams as follows:
cintay¡myaham r¡ga ¾uddha s¡veri ¡di t¡©a
, , , , , , p d s× d p m d p m r | s , , , , , dÖ s | r m r m p d m p ||
d r× s× d p m p d s× r× m× r× r× s× d r× | r× d s× s× p d d |×m p p r m m s r r ||
m p d d p m*
The highlight of this chittaswara:
This begins after six units in the tala similar to the setting of the graha or eduppu of
the pallavi. Hence the Arudhi falls on the first beat of the druta, then the next
chaturasra prastara in groups of four - Arohana prastara- dÖ s | r m - r m p d- m p d r-
continues to form a return pattern s× d p m- p d s× r× -m× r× r× s× only to reach the higher
octave madhyama –the jiva swara of this raga and continues in tisra pattern
Avarohana prastara- d r× | r× -d s× s× -p d d -m p p- r m m s r r -m p d -d p m*
3
LEARNT FROM K.V.NARAYANASWAMI RENDITION
vanaja nayana r¡ga darb¡r ¡di t¡©a
s×,,r× s× r× n,n, d pm p d n | p,, m g ,g ,|r s r ,m p d n ||
s× r× n,n,d p d n p m g g r s| s r nÖ s, r,s |r m p d p,,d||
d p m rg g r sr m p,d p m-d | n s× r× s× n n d p | m p d n s× , , r× ||
s×r× g×,g×, r×s× n s× d pm p,d|n s× r× s×,,p d| n p, m p d n s× ||

The raga chaya phrases employed like –
n , n , d p m p d n | p , , m g , g , | r s r , m p d n and
d n p m g g r s, and -s×r× g×,g×, r×s× n s× d pm p
n n n n o
d n s× r× s×,, p d| n p, m p d n s× is a makuta- crowning ending prayoga for the ci¿¿asvaram
n§raja nayana r¡ga vasanta rÀpaka t¡©a
s , , m g m d d n n d d m d n s× r× n d n d m g r ||
s m g m d m g m d n s× r× s× r× g× s× r× s× n s× n d d n ||
s× r× s× s× , n d n d d, m g m g g , r s m g m d n ||
s× , , n d n d , , m g m g , , r s nÖ s× n d m g r||
The tisra pattern -s× r× g×- s× r× s×- n s× n -d d n -adds to the rhythmic beauty
The daattu -s m g m d m g m d n s and janta - d d n n d d -prastaraas bring out the

melodic beauty of raga vasanta
The octave shift in the last phrase s× , , n d n d , , m g m g , , r - -s nÖ s× n d m g r -
is like a makuta –crown formation
Analysis of krti s of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar with respect to the aṅgas-

pallavi, anupallavi caraṇa
krti s of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar have different features:

 Some have single caraṇa s .some have multiple caraṇa s.
 some krti s among them are with £ka dhatu and some with an£ka dhatu.
 The musical setting of anupallavi and caraṇa lines of some are same or similar
 Bh¡gavatar himself mentions in the notation that out of the four
“the last two charana lines to be sung like the two lines of anupallavi”
 The anupallavi has two paadams but charana has four or more.
 The musical setting in the charana is similar in parts.
 According to the sahityas, the notation in caraṇa is slightly altered to suit the
swaraakshara and elongation or shortening of the consonants.
 Some have multiple caraṇa viz.three; of which the last caraṇa is to be sung as
the first. The second caraṇa is totally differently set.
Krti s of Bh¡gavatar having pallavi, anupallavi and Single caraṇa
krti Puṇyamīḍe –yadukulakāṃbhoji-ādi4
This krti has a long caraṇa describing krṣṇa.
Herein the musical setting of the caraṇa is different from that of anupallavi.
The first two pādaṃs- bālam-----venṅkaṭaramaṇaṃ resemble the dātu of pallavi,
but the latter pādaṃ- –phālavirājita-----karārcita pruthukaṃ has different dātu.
krti śrī rāma –begaḍa- khaṇṭa cāpu5
krti has pallavi, anupallavi and single caraṇa
The anupallavi setting for dhīra adhi dhīra raṇa dhīra--------------jitamāra sukumāra
Is different from dātu of the caraṇa last pādaṃ
Varajānakī ramaṇa vanditākhila bhuvana---------------------varadaveṅkaṭaramaṇa.
4
38 Pg57 Venkataramaneeyam
5
varadaveṅkaṭaramaṇa-is the mudra.
The sahitya in this krti is in praise of Lord Rama, in all the pādaṃs, the
musical setting brings out the grandeur of the raga begaḍa. VenÅki¿ar¡ma
Bh¡gavatar‖s style is reminiescent of Muttuswami Dikshitar.
krti- śrī rajatācaleśvaraṃ - riṣabhapriya- ādi6
This krti has single long caraṇa.
deva mahīruhamūle maṇīmaya|| divyāsane devyāsaha saṃsthitaṃ|| 1st pādaṃ.
deva varaṃ riṣabhapriya gamanaṃ||śrīvara veṅkaṭaramaṇārccitaṃ|| 2ndpādaṃ.
The second pādaṃ has similar dātu like that of anupallavi
māraharaṃ puraharaṃ paraṃ||mauḷivirājita sudhākaraṃ||
Rhyming of first letter deva mahīruha- deva varaṃ -deva is maintained in the caraṇa ,
while the prāsa –haraṃ-varaṃ is maintained between the lines with same dātu.
The composer‖s mudra is veṅkaṭaramaṇārccitaṃ.
mārajanakaṃsukumāraṃ māramaṇaṃ nīrajānanaṃ śrīveṅkaṭa ramaṇaṃ
Other krti s with similar dātu in the later half of the caraṇa
krti mātaṁgamukhaṁ rāgaṁ sumukhi tāḷaṁ rūpakaṁ
krti -śakaṭāsura
krti īḍē girijātanūjaṁ rāgaṁ sāvēri tāḷaṁ pg75
lāvaṇyāmruta sahāna ādi
vanajanayana darbār ādi
baṟhi baṟhāvadamsakaṁ-ṣaḍvidamāṟgiṇi- ādi-
ṣōḍaśastrī sahasrēśaṁ-tōḍi pg 86 87
6
kriti`3pg 4
Analysis of krti s where in the dhatu of anupallavi and caraṇa is different
krtis with pallavi, anupallavi and multiple charana
mōhana muraḷīdhara mōhana ādi

Pallavi only one pādaṁ , anupallavi two, each charana with two pādaṁ
Three caraṇa s 1st and 3rd same datu but the 2nd caraṇa different dathu
.Pallavi has three pādaṁ s with three different endings to the uttaranga of the avarta
jagadguro- kamāsu rāga7-belongs to the general kriti category
ntion th ompos r as krti on i ankara har a whom h onsi r as
preceptor.
This krti has pallavi +anupallavi +single charanam.
vākg a kāra mu ra is not found.
jagadguro-ja a ja a śankara-
jagadguro-ja a ja a pāla a-
jagadguro-jaya natasurataro
-ś ī n n ā -
ro vār var raghupat
ro vār var śrīrāman n runa
ro vār var naravara nīsari
This is a case of aneka daathu prabhanda.where the musical setting of pādaṁ s differ .
In these type of multiple settings of music, there is a good scope for sangati
development and heightens the musical worth of the krti.
krti-yamun¡t§ra vih¡ri - mukh¡ri -kha³¢a j¡ti tripu¿a t¡©a8
The pallavi has 2 avartas
Yamunā tī|ravi|hārī||
jayatu māmavatu|mangaḷaṃ sa|ntatam ātanotu||
7
kriti 24Pg37
8
song15.pg.24
anupallavi has 4 avartas
kamanīyatara|muraḷī|vādana||
gāna mukharita|madhu|ratara||
kāntasvara makaranda vinirbhara śrīkaravṛndāvana mo|hana sancārī||
murārī priya purārī: | pītāṃbara vanamālādhārī||
caraṇaṃ has 5 avartas –

rājīvāyatavi|loca|nābhī||
rākācandra sa|nnibhavada|nābhī||
rājatcampaka|mallikāmadhu| mālatīsuma||
rāśīsuvāsitakeśavarābhīrabhi|rāmābhīrvaja|bhāmābīssaha||
rāsavilāsa|lola venkaṭa|ramaṇasuśīla|| (yamunātīravihārī)
charana sahitya is a detailed description of the rāsavilāsa - rAsa kreeDa.
This may be rendered continuously as
r¡j§v¡yatavi|loca|n¡bh§-------- venkaṭa|ramaṇasuśīla|| yamunātīravihārī…
sustain and return to repeat the caraṇa or
r¡j§v¡yatavi|loca|n¡bh§ r¡k¡candra sa|nnibhavada|n¡bh§||
r¡jatcampaka|mallik¡madhu|
m¡lat§suma||r¡¾§suv¡sitake¾avar¡bh§rabhi|r¡m¡bh§rvaja|bh¡m¡b§ssaha||
r¡savil¡sa|lola -----------------------
with a cessation before repeating the whole caraṇa and proceed to the pallavi
The sahitya words in anupallavi and charanam at the end, lead to the pallavi first word.
in it is a s ription of krishna’s raasal la on th anks of Riv r Yamuna,
anupallavi and charanam are musically set as single long paadam continuously ,
without splitting each avarta, the compounded phrases need to be sung to link with
pallavi sahitya and then repeated. Only then the full import of the sahitya could be
relished without padaccheda-corrupting the words.
The prosodical patterns are also followed in spite of the long phrases in the unusual
khanda jaati of laghu in this triputa tala.
This could be considered as one of the masterly compositions of
krti- k§ºÅttaya rasan£- ¡nandabhairavi –chapu9
Structure is pallavi, anupallavi and one charana
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar suggests that after singing anupallavi, the
charana swara and sahitya may be sung individually.
This shows the melodic setting similar to the swara sahitya kr ti s of Syama Sastri.,
Subbaraya Sastri.This may be rendered as chittaswara and sahitya. Rendering in the
faster or madhyama kaala also enhances the melodic beauty of this krti.
Caraṇa Swara Sahitya
sa,ga,ri,sa, ,,ri,niÖ,|| sa,pa,ma,ga,ri,ga,ma,||
¡-rÅtta p¡-lana || m¡-di k¡-ra³a¯Ä||
pa, ,, pa, ni, ni, pa, ma,|| ga ri ga, ma,,, ,,,,||
¡--¾ri t¡- bha ya|| d¡- yi-na¯Ä
ni,pa,ma, pa,sa×,sa×,ni,||sa×,ga×,ri×,ga×,ri×,sa×, sa×,||
p¡-rÅttha mµ-ha vi||n¡-¾a ka ra ¾u bha
pa,ri×,sa×, ni dha, pa, pa, || ma,pa,ma,ga,ri,sa,sa,||
mÀ-rÅtti ma-pyu ta¯Ä|| v£ nÅka ¿a ra ma ³a¯Ä|| k§ºÅttaya rasan£
This is another differently set krti in the grand raga ¡nandabhairavi
This shows the expert musician in the composer.
9
krti144 pg 202
dvidātu krti
Wherever the musical setting for pallavi and the following sections - samashti
charanam or other multiple charanams- is different, krti is said to have two diverse
music settings- dvi datu.
In that case all charanas are to be sung to the same datu and linked to pallavi-
Similar to divyanama sankeertanams of Tyagaraja, Annamayya sankeertanams.
In maṅgaḷamātanotu-rāga madhyamāvati –tāḷa- cāpu10
pallavi+caraṇaṃ+caraṇaṃ-benedictory sahitya
maṅkaḷamātanotu-----kruṣṇo nirantaraṃ
caraṇaṃ 1-tuṅka vihaga rata-------- pāṟvatī sodaro
caraṇaṃ 2-mangaḷā hrudayābjalola-----veṇugopālassadā
dātu in the charanams are identical while that in the pallavi is
Differently set in the Madhya stayi and mantra stayi.- the middle and lower octave.
puṇyaślokaṃ –rāga paras-tāḷa miśracāpu11
this is among the 108 group kriti
pallavi+anupallavi +2 caraṇa
puṇyaślokaṃ purātanaṃ īḍe bhuvana pālanaṃ
in pallavi alone the setting is different from the following section, anupallavi .
vanyakusuma----krupāghanaṃ
next two charanams
1.kamalāsana—natāvanaṃ
2.kamalāśrita-----nandanandanaṃ
10
146 –pg 206
11
136 pg 193
Since there is a mention by the composer that the charanas may be sung like
anupallavi, it may be construed to be having 3 charanams of similar musical setting. So
this is a dvi datu composition.The theme of the pallavi is a prayer to protect.
Since the sahitya of the krti describe the virtues or beauty of krsna and are in
accusative or objective case, they link to the pallavi wherein the Devata is addressed.
This setting is similar to the setting in compositions of

Jayadeva-aṣṭapati
purandaradāsa,- Devarnama
annamayya -sankeertanam
sadāśiva brhamendra-keertanam
nārāyaṇa tīrttar,- krsna leela tarangini
bhadrācala ramadas-keertanam
Tyagaraja‖s-divyanāma kīrtanaṃ-
svāti tirunāḷ-keertanams
The krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar which are not published
¡ lo ka ya m¡¯ ¾r§ ma h¡ lak½m§ - bhairavi c¡pu

Pallavi ,anupallavi ,single charana
the composer pleads to Goddess MahAlakShmi
“please let your auspicious vision behold me!”
And the vAkgeyakAra mudra also devatA mudra highlights the raga- rasa bhava,the
element of musical emotion and melody ,mixed with the sahitya ,lyrical –pada rasa
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar krtis set to rare tAlas .-A study of their
structure.
krti - 1.
śrī vidyā ēśam Rāga tōdI Tāla nuti
dhīṃ;;;- dhīṃ;;;- dhīṃ;;;-tāṃ-tāṃ-tāṃ-takiṭa

dhīṃ;;;- dhīṃ;;;- dhīṃ;;;-tāṃ-tāṃ-takiṭa
dhīṃ;;;- dhīṃ;;;- dhīṃ;;;-tāṃ-tāṃ
dhīṃ;;;- dhīṃ;;;- dhīṃ;;;-tāṃ-tāṃ =72
The pallavi has one avarta +anupallavi has two and single charana has 4avartas each
of 72 aksharas
The last two avartas have the same setting as that of anupallavi
Mudra in the anupallavi as first pada to rhyme with ―srI-is notable.
krti 2
v¡su dev¡va m¡mih¡¾u varada ! v¡mana ! v¡ncit¡khila phalaprada!

r¡ga balahari t¡©a pr§ti
1.taka ja³u taka ja³u taka taka taki¿a 15 ak½ara
2. taka ja³u taka ja³u taka taki¿a 13 ak½ara
3. taka ja³u taka ja³u taki¿a 11 ak½ara
4. taka ja³u taka ja³u 8 ak½ara
5. taka ja³u taka ja³u 8 ak½ara
55 ak½ara
The pallavi has one avarta +anupallavi has two and single charana has 4avartas each
of 55 units
The last two avartas have the same setting as that of anupallavi
krti 3 rāmā! lokābhirāmā!

rāgaṃ -nāṭṭakkuṟuñci tāḷaṃ - devarañcanaṃ
taka jaṇu taka + taka takiṭa + taka taka takiṭa + taka taka taka takiṭa + taka jaṇu
taka jaṇu + taka jaṇu taka jaṇu = 43 akṣara
pallavi has one ,anupallavi has two avartas and the single charana has four avartas of
43 units ea
the datu in the last two avartas is similar to the datu of the anupallavi.
Thus the varieties in the structure of the krtis of evrb, exhibit the potential they give for
presentation and also the skill of the composer
4.1.2 The linguistic analysis of the krti s include the lyrical analysis of the general krti
s as well as ¾r§ kº½³a a½¿¿µttara ¾atan¡ma krti s, giving anecdotes from epics like
¾r§mad bh¡gavata¯, and r¡m¡ya³a.
Among the compositions of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar we find krtis
on other deities -General krti-
krti on Lord Ganesha
mātaṅka mukhaṃ-sumukhi
īḍe girijā tanūjaṃ - sāveri
cintayāmyahaṃ-suddhasāveri
śrī vidyā ganēśam Rāga tōdI Tāla nuti

krti on Lord Muruga-only one krti
guha¯ ¡¾ray¡mi kum¡ra¯-prak¡¾ini

prak¡¾ini
pallavi
guha¯ ¡¾ray¡mi kum¡ra¯ bhavaharam gu³a s¡garam ¾akti dhara¯
anupallavi
mahan§ya sikhiv¡hana¯ ½a¢¡nana¯ m¡y¡ rahita m¡nasa sadana¯
cara³a¯
g¡ngeya¯ va©©i k¡ntamum¡suta¯ k¡rtikeya¯ skanda¯ ½¡nm¡tura¯
r¡k£ndunibhavadana¯ venka¿arama³apriya¯ varakamal¡bhacara³a¯
n¡g¡nanasodara¯ dhanujahara¯ natajanap¡lana samajaladhara¯
p¡k¡rimukh¡marasene¾vara¯ bhakt¡rttihara paramaday¡kara¯
the sahitya has muhana, prasa,anuprasa alankaras throughout
krti on Lord Siva- srirajatachaleswaram

PARUKANCHERY AMMAN
krtis on Goddess Devi –
sambhava krti12 –krtis occasioned by incidents in the life of Tyagaraja like

teratīyagarādā -gowlipantu—
venkaṭēśa ninnu sēvimpa-madhyamavati
Similarly as in his autobiography, real life incident of affliction, pox disease ‘vasūri –led
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar to compose krtis on Parukkancheri Devi and
after his recovery on 108 namas of krishna
Addresses his kula devata –Parukkancheri amman- Ref ers to Goddess Parvati
12
Prof Sambamurty mentions – in pg 459-s I music bk 3
Kriti 1-m¡¯Äki¯Ä up£kÅ½yas£ māṃ kim upekṣase malahari - ¡di
vara veṅkaṭaramaṇa sahodari-mudra similar to the usage of syāmā sāstri-śyāma
krṣṇa sodari
The sections in this krti māṃ kim upekṣase -are pallavi 2 paadam+ anupallavi
2paadam+ charana 4 paadam.This has a simple setting in raga malahari.choice of raga
malahari is significant in as much as the name “malahari” suggests removal of pain or
disease.this perhaps was the first song among the five VenÅki¿ar¡ma Bh¡gavatar
composed as prayer to rid him off the pox disease.
māṃ kim upekṣase mātaḥ karuṇāṃ kurumayi- is bhava laden sahitya meaning“why
do you forsake me? Oh Mother, mAthangi.
This reminds of Muthuswami Dikshitar who has used in the Malahari raga krti-;in the
madhyamakAla sahitya as rAgamudra-kali “malahara”ṇakareṇa- pancamātangamukha
gaṇapatinā paripālitohaṃ.
krti-2-m¡ta¯Äga tanay£ punn¡gavar¡©i ¡di
This is also addressed to Mathangi –Goddess Parvati –as evident in the Devata
mudra mādhava sahodari.
vākgeya kāra mudra ‘veṅkaṭarāmanuta paṅkaja caraṇe’
Confirms this is a prayer by the composer to the diety to rid him off the distress.
The choice of raga punnāga varāḷi depicts the melancholy mood of the composer.
The sancharas prevail within the Madhya stayi and mandra stayi.Though the setting
pallavi one pAdam anupallavi two pAdams and charanam four pAdams is simple the
sahitya bhAva and the raga bhava combine to evoke the karuna rasa when rendered.
krti-3-marakat¡nÅgi s¡v£ri mi¾rac¡pu
vara mrudulatara mukarita vallakīonādavyāmohita gātrī-
Refers to Goddess as prevailing in nada -the sound of music –
Mudra of vākgeyakāra, devata in the sahitya in caraṇa -veṅkaṭaramaṇa sahodari
again reminds us of the usage of SyAma krishna sodari by śyāmā śāstri
The musical setting beginning from the t Ara shadja in the pallavi, is similar to the krti -
durusuga ------in saveri raga
In the single charana, the last two lines which form the two paadams
sārasayauvana---------- veṅkaṭaramaṇa sahodari- are set to similar daathu as of the
anupallavi-vara vara mruduḷtara mukarita vallakīo nādav yāmohita gātrī-
krti 4--par¡¾akÅti¯Ä k£d¡ragau©a ¡di
The epithets of the diety describe Parvati-śukadharāṃ, karivarada
murārisahajāṃ,sadānanda surasudhāṃśu śekharanutāṃ
The mudra of the composer is used as veṅkaṭarāma natānghriyugaḷāṃ
Throughout the krti, the style is similar to-parākela nanu paripālimpa-kedāragauḷa-
śyāmā śastri
The pallavi starts in the higher shadja--the raga usage reflects that the prayogas evoke
the bhakti rasa.

krti 5-v¡rijada©a udayaravicandrika c¡pu
This krti is also addressd to Goddess Parvati as reflected in the
vāme veṅkaṭaramaṇa sannuta nāma vaibhava toṣite

krti 6-n§rajanayan£ vasanta rÀpaka¯
this krti on Goddess Rajarajeswari has a lilting chittaswara,enhances the mood.
The mudra of the composer is veṅkaṭaramaṇa śaṁkari
krti 7 ¡dipar¡¾akti¯Ä k¡mÅbµdi ¡di
The Goddess Adiparasakthi is described as ––madhurabhāṣiṇīṃ mātaraṃ
aṃgajāri vāmānga nilayāṃ, agarājatanayāṃ-and the composer seeks Her refuge.
krti 8- pāhimāṃ bhuvaneśvari- rāga vasanta-ādi-
There are just acouple of krtis with - pāhi mām-Unlike many krtis in saṁskrt of Swathi
tirunal, Muttahaih bhagavatar, Trinity composers-who use - pāhi mām-
krti 9 vedajananīṃ- yadukulakāṃ-bhoji
pallavi
veda jananīṃ vimalāṃ śāradāṃ bhaje|
vīṇāvādanalolupāṃ viśvamangaḷāṃ
anupallavi
śvetavasanāṃ śubhadāṃ haṃsavāhanāṃ
bodhakavastuviveka nādātmikāṃ
caraṇaṃ
vāṇīṃ sarasvatīṃ vagadhīśvarīṃ parāṃ

vārijasambhavavallabhāṃ manoharāṃ
māṇikyamaṇimayahāra vibhūṣaṇāṃ
maṇgaḷānanāṃ nuta veṅkaṭa ramaṇāṃ
The setting has pallavi and anupallavi with two paadams and the charanam with four
paadams.
This is the only krti on Goddess Saraswati as worshipped by veṅkaṭa ramaṇāṃ -nuta
veṅkaṭa ramaṇāṃ’ Also विष्णु विह्िा- is an epithet for Devi Saraswati.Perhaps after
this prayerful he composed the 108 group krtis
Kriti 10-¡lµkayam¡¯ ¾r§mah¡lak½Åmi - bhairavi -mi¾rac¡pu
The anupallavi sahitya leads to the pallavi - the composer prays,’Please Behold me ,
with your benedictory eyes!’
v§k½a³aihi-+-¡lµkayam¡¯Ä ¾r§mah¡lak½Åmi becomes
v§k½a³air---¡lµkayam¡¯Ä ¾r§mah¡lak½Åmi includes the sandhi--conjunction-‘³air---¡’
anupallavi-nikhilama±ga©ad¡na kalpaka ni½ka©a±ka ka¿¡k½a v§k½a³aiº -
¡lµkayam¡¯
cara³a¯ lines are doxological evocative of the glorious Goddess
kamale! ka²jada©¡yatek½a³i
kanak¡¯bari! ka¿ak¡dibhÀ½a³i
kaman§yataraka©a mrdubh¡½i³i
khagar¡j¡dir¡jagamana v£±ka¿arama³av¡mini
There is a prevalent style of rendering some krti s beginning from anupallavi and
complete the pallavi, if the sahityas in anupallavi is, grammatically apt and literally
predominant.
This kriti may be rendered from anupallavi sahityas to pallavi like
Yela ni dayaraadu--- balakanakamaya chela –attana –of Tyagarja.
This is the only composition on Goddess Lakshmi obtained thusfar.

kritis on Rama
Sreerama -raga begada similar to tyAgarajAya Namaste namaste
rAmachandram bhaja-Todi
Musical analysis done in Chapter 3
- up b ā m um no b ā b ā y ṃ-13
In the composition in Hindola the sahityas portray Nature, as Narayana roopa.
The Vishu Purāṇa states that Lord Vishu is of the form of ambrosial sound which
forms the entire basis for the evolution of different arts and literature.-
kāvyālāpāṃśca kecit gītāni sakalāni ca|
śabdamūrtidharasyete viṣṇoraṃśā mahātmanaḥ|| 14
काव्याऱाऩाांश्च कॆचित् गीताचन सकऱाचन ि।

शब्दमूर्तिधरस्येते र्िष्णॊरां शा महात्मनः॥
pallavi
up b ā ṃ um no b ā b ā y ṃ-
up b ā ṃ-jagat suprabodhaṃ
anupallavi
u vā ṃ śu p nā ṃ
13
Pg36 Venkataramaneeyam
14
- Pg 3- References To Music In Non-Sangitha Literature
T.Seetha Ramalakshmi-Vedasruthi Publication 1993
sulaḷ b āv ṃ n nā ṃ
caraṇaṃ
vikasati naḷ nī v ṇī
v m j nī v āj ṇī
nānāv mu v ā āv ṃ
nānāv p m ḷ um śob ṃ
nānām n j n u pāp ṃ
nā ā m nā āy ṇ ūp ṃ
– composed on Adi Sankaracharya are in stuti format, eulogising the

preceptor.
jagadguro- mā u- ā
ś n b v pā u o--nāṭṭakuṟunji.
N v ompo ’ mu
Lyrical analysis of ¾r§ kº½³a a½¿¿µttara ¾atan¡ma kriti s,of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar, gives anecdotes from epics like ¾r§mad bh¡gavata¯, and r¡m¡ya³a.
The krtis of the 108 nama group, begin with the each of the names of krṣṇa
the sahitya describe the episodes in śrīmad bhāgavata purāṇa
Selected names and sahityas are analysed in the following section.

krti- Rāga sumukhi -tāla rūpaka duryodana kulāntakaṁ15
duryodana kulāntakaṁ -is the name of the Lord. E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar links the story to how Draupadi‖s vow was appeased by the Lord.draupadi
māna rakṣaṇam-
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar uses another pada-g¡ngeya mukti prada¯-One
who gave mukti to bhīṣma
g¡ngeya-refers to bhīṣma- sōn ōf ṁ & s n nu of u u v mś -
bhīṣma mukti –16
krti-yamun¡v£gasamh¡ri³a¯ -r¡sabau©I 17
yamunāvega samhāriṇaṃ
maghoni varshaty asakrid yamânujâ gambhîra-toyaugha-javormi-phenilâ
bhayânakâvarta-s'atâkulâ nadî mârgam dadau sindhur iva s'riyah pateh-18
Because of constant rain sent by the demigod Indra, the River Yamuna was filled with
deep water, foaming about with fiercely whirling waves. But as the great Indian Ocean
had formerly given way to Lord Ramacandra by allowing Him to construct a bridge, the
River Yamuna gave way to Vasudeva and allowed him to cross over with Baby Krsna.
River Yamunâ, who is considered the younger sister of Yamarâja;
gambhîra-toya-ogha: of the very deep water; java: by the force; ûrmi: by the waves;
15
Num 108 Pg155 Venkataramaneeyam
16
srimad bhag- SB1.9.33P
17
Num -47pg 70 Venkataramaneeyam
18
TEXT 50 –Translation from S.B Śrīma Bhāgavatam
phenilâ: full of foam; bhayânaka: fierce; âvarta-s'ata: by the whirling waves;
âkulâ: agitated; nadî: the river; mârgam: way; dadau: gave
nat¡vanam=nata –obeisance +avanam=protecting or gratifying those devotees who
suplicate.19
nat¡vana kutūhalā– E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ‘s application of this term
reminds us of the word used in the swara sahitya of marivere gati- ananda bhairavi-by
Syama Sastri to refer to Goddess.
krti anādi brahma cāriṇaṃ
anādi brahma cāriṇaṁ means endlessly striving for excellence in all domains of
activity and relationship and pursuing virtue.20
krti -śrīvatsa kaustubhadhara-malayamārutaṃ-khaṇḍacāpu21
Śrī-vatsa — the unique curl of hair on the Lord's chest; śrīvatsa-vaksasam bhrājat- śrī-
vatsa — the emblem of the goddess of fortune; vaksasam — upon His chest; bhrājat
— effulgent; Kaustubham gala-śobhi-kaustubham — on His neck was the Kaustubha
gem, which is particularly available in Vaikunthaloka.
krti utt¡lat¡labh£tt¡ra¯Ä22bih¡ga kha³¢a c¡pu Hindustani style
rāga mentioned as behāg-khaṇḍa cāpu
In the charana sahitya by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar is significant
19
Skt Dic
20
Skt Dic
21
Bhaktivedanta VedaBase: Śrīma Bhāgavatam 11.14.36-42 SB 10.3.6
22
Num 68 pg100 venkataramaneeyam
asvapnamuniśāpahatavara nidhipālātmaja
maṇikaṇḍha naḷakūbarāvanaṃ
With this compounded epithet reference is made by E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar to the following episode about Kubera‖s sons
purā nārada-śāpena vṛkṣatāṁ prāpitau madāt
nalakūvara-maṇigrīvāviti khyātau śriyānvitau23

In th ir form r irth, th s two sons, known as Nalakūvara an aṇigrīva, w r
extremely opulent and fortunate. But because of pride and false prestige, they did not
ar a out an on , an thus Nāra a uni urs th m to become trees
24
śrī-śuka uvāca-
evam uktvā sa devarṣirgato nārāyaṇāśramam
nalakūvara-maṇigrīvāvāsatur yamalārjunau
TRANSLATION:
Śukadeva Gosvāmī continued: Having thus spoken, the great saint Devarṣi Nārada
returned to his āśrama, known as Nārāyaṇa-āśrama, and Nalakūvara and Maṇigrīva
became twin arjuna trees.
25tad gacchataṁ mat-p m un l ūv ā n m
ñjā o mayi b āvo vāmīp ḥ paramo ’b v ḥ
TRANSLATION:
O Nalakūvara and Maigrīva, now you may both return home. Since you desire to be
always absorbed in My devotional service, your desire to develop love and affection for
Me will be fulfilled, and now you will never fall from that platform.
23
Srimad Bhagavatam-text and translation-SB 10.9.23
24
Ibid SB 10.10.23-
25
SB 10.10.42
krti-vanamālinaṃ devagāndhāri-ādi26
vana-mālinam — wearing a flower garland
krti caturbhujāttacakrāsigadāśṃkhādyudāyudha-rāga-bhūrikalyāṇi-rūpaka27 Also

index in Venkataramaneeyam gives raga name pūrvakalyāṇi by E³³app¡¿a¯
Viswaroopa -Describing the effulgent form of Vishnu with

yudāyudha=various weapons śańkha — with His conchshell; cakra — disc; gadā —
club; ambujaih — and lotus flower;catuh-bhujam — having four arms;
tam adbhutam bâlakam ambujekshanam
catur-bhujam s'ankha-gadâdy-udâyudham
s'rîvatsa-lakshmam gala-s'obhi-kaustubham
pîtâmbaram sândra-payoda-saubhagam28
The sahitya in some kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar have

references to terms used in musicology while describing the acts or leelas of Krsna or
the ambiance of Vrindavana
jaivātrukanibhavadana- rāga-nāṭṭakurinji
This is one of n l on nu by E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar
In the krti jaivātrukanibhavadana , there are references to the sapta swaras – the
seven notes -in the gamut of South Indian music connoting the Puranic names figuring
in Srimad Bhagavata.
26
Num77 pg114; SB 11.27.38-41
27
Num43 pg 64
28
Canto 10 chap 3 SB 10.3.9-10
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar‖s musical and literary prowess is exhibited in
the apt use of the swara and akshara
pallavi
jaiv¡t»kanibhavadana d§na¾ara³ya
¾r§ rugmi³i rama³a m¡mava k»½³a
anupallavi
j§v¡disakala surasannuta d£vak§nandan¡¾ritajan¡vana
¾r§vanaj¡k½a jagatraya vandita ¾r§kara kaustubha vanam¡l¡dhara
cara³a¯
s¡m¡di nigama s¡ra vicak½a³a ½a¢ja svarakara ¾ikhi pi²Ächadhara
v¡m¡¯galasatgirij¡yuta v»½abhaddhvajapÀjita vinat¡sutaratha
r¡m¡nuja mura©§dhara murahara r¡d£yasuyµdhanag¡ndh¡rahara
k¡m¡di rahita madhyama p¡³¢avakaunt£ya ratha vibhÀ½a³a venka¿a
r¡m¡cyuta pikapancamakÀjita v»nd¡vanadhaivata m¡ni½¡da
½a¢ja»½abha g¡ndh¡ra madhyama pa²cama saptasvara n¡d¡tmaka
jaiva=relating to Jupiter-jaiv¡t»ka=moon
jaiv¡t»kanibhavadana-refers to the resplendent face of Krshna similar to the shining
moon.
j§v¡di sakala jeevadaayaka=life giver of all29.
charana:
½a¢ja svarakara ¾ikhi pi²Ächadhara
¾ikhi pi²Ächa= feather of the peacock
¾ikhi pi²Ächadhara – one who wears feather of the peacock.-Here Krishna.
½a¢ja-Name of the first among the seven notes--sapta swaras-,
29
pg 423 skt dic
primary notes –so called because it is supposed to be produced by the six
organs,viz.tongue,teeth, palate,nose,,throat,and chest.30.
The other six notes are »½abha, g¡ndh¡ra madhyama pa²cama,Dhaivata, ni½¡da,
that the Sama veda was sung to the music of the sapta swaras was found in
unmistakable terms in this Sikhsa31
s¡m¡di nigama s¡ra vicak½a³a ½a¢ja svarakara is a significant term
“Yagnavalkya siksha justifies the names of the sapta swaras- for shadja-shat-ja-born of
the six angas at actions.the swara came to be called as shadja.
ऴण्णां स्लयण्णां जनक:ऴड्भबलणाजस्मतॆ स्लयै ्।
ऴड््य़ो लण जणमतेऽङ्गॆ्म: ऴड्ज इत्मभबधीमते॥
ṣaṇṇāṁ svarāṇāṁ janaka:ṣaḍbhirvājasyate svaraiḥ|
ṣaḍbhẏō vā jāyatē:'ṅgebhya: ṣaḍja ityabhidhīyatē||”32
In the veda recitation, intonations of
ni½¡da, g¡ndh¡ra are referred to the udhatta accent
»½abha, Daivata-Are referred to anudhatta accent
½a¢ja-madhyama, pa²cama-The three are referred to the svarita accent.
½a¢ja svarakara ¾ikhi –
¾ikhi -means the bird peacock

The sound of this note is said to resemble the sound of the peacock
v»½abhaddhvajapÀjita –flag with the symbol of v»½abha
v»nd¡vanadhaivata- Krsna-
30
pg 1109 skt dic
31
Pg 19 REFERENCES TO MUSIC IN NON SANGITA LITERATURE-T.SEETHA
RAMALASKHMI-VEDASRUTHI PUBLICATION.1993
32
Pg 19. REFERENCES TO MUSIC IN NON SANGITA LITERATURE-T.SEETHA
dhaivata means relating to God, diety, Deva-daivata in the sense as celebrated or
worshipped in v»nd¡vana
m¡ni½¡da-
m¡33=refers to the bleating of goats, cow etc
ni½¡da 34–afflicted,distressed
ni½¡da35 -also dwelling, residing
Since it is a desciption of vrindavana given by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar,
m¡ni½¡da could represent the dwelling of the cows,goats cattle etc.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar’s use of m¡ni½¡da = m¡- donot ni½¡da
=despair;hence could mean remover of distress of the inhabitants of vrndavana- an
epithet for Krsna.
venka¿a r¡m¡cyuta pikapancamakÀjita
pikapancamakÀjita
kÀjita =means sound made by

pancama is the fifth note of the gamut of saptaswara in music supposed to be produced
by the air drawn from 5 parts of the body.
The sound of this note is said to resemble the sound made through its throat by the
Indian cuckoo or koyal or koil or kuyil -pika-36
―Th Nara a iksha – a manual on the Samaveda swaras dealing with the
origin,nature and development .
The corresponding cries of the birds and animals for the seven swaras are also
mentioned .
33
pg 804 skt dic
34
Pg 561 skt dic
35
pg 561 skt dic
36
pg577 pg 578 skt dic.
SA- MAYURA,RI –CHATAKA,-GA-GOAT,MA-CRANE,

PA-CUCKOO,DA-FROG,NI-ELEPHANT
भमूयचणतक क्रौञ्च कॊककर ददा क

द ण्।
गजश्च वप्त ऩङ्जणदद न क्रभणदद दश्द चणयमन्तत्मपऩ॥
mayūracātaka krauñca kokila dardukāḥ|

gajaśca sapta paṅjādi na kramādi duścārayantyapi||”37
References to Mahabharata epic story is interestingly brought about in this charana-

The historical characters like karna, dhuryodhana,and his kaurava clan are refred to in
the pada
r¡d£yasuyµdhanag¡ndh¡rahara
r¡d£ya suyµdhana g¡ndh¡ra hara- madhyama p¡³¢ava
Among the p¡³¢ava brothers Arjuna is the third .hence Arjuna is referred as in the
midst of p¡³¢avas – madhyama p¡³¢ava
kaunt£ya-– the son of Kunti is Arjuna

Krishna as the charioteer of Arjuna during the act of the Mahabharata war-yuddha is
depicted as- kaunt£ya ratha vibhÀ½a³a is krsna One who adorned the ratha – chariot
of Arjuna.
While Arjuna – the son of Kunti is referred as kaunt£ya-,
r¡d£ya is Karna also as per the epic is biologically though is the son of Kunti, yet he is
referred to as Radheya, - aus Ra ha was Karna’s fost r moth r,
Radha was the wife of Adhiratha- the soota or charioteer of King Sura
37
Pg 17-18-REFERENCES TO MUSIC IN NON SANGITA LITERATURE-T.SEETHA
Karna had grown up under the care of his foster parents after being desserted by
Kunti,who had given birth to him before her formal marriage.
suyµdhana-su+yajna-derivation=the word means fighting well.here used as
euphemistically in the noun form to mean Duryodhana-the eldest of the kaurava clan .
g¡ndh¡ra –use of this swara name is significant.
g¡ndh¡reya meaning the sons of g¡ndh¡ri- wife of dhritarashtra-hence the reference to
the whole clan of kauravas.
venka¿ar¡m¡cyuta pikapancama----cyuta.
pancama----cyuta is relevant .Because panchama note is used sparingly in Nattakkurinji
-rgm{p}grs .in the notation too ndn{p}dns is avoided.
Hence the composer’s musical, linguistic dexterity and the knowledge of the scriptures
is exemplified by this one krti.
The musical analysis is done in the Chapter 3.
Ramayana –episodes – in the krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
Many a number of kritis of Tyagaraja narrate episodes from the Ramayana. In some of
the kritis of Tyagaraja, we find certain episodes to which we do not get any clue in any
of the other Ramayanas written by others.
Kalala Nerchinaa in Deepaka Raga and
Vachaama aghocharame in Raga Kaikavasi are good examples.38
innum parāmukameno umakkitu muṟai tāno39-raga sreedhari
Valmikis epic i Ramayana’s 24000 verses is divided into 7 kanda s
38
PROF SRJ.Miscelleny of essays
39
num31 pg 47
The 7 Kandas of epic Ramayana are

1) Bala Kanda Rama’s boyhood life in Ayodhya
2) Ayodhya Kanda until his banishment
3) Aranya Kanda Rama’s life in forest and sita’s abduction by Ravana
4) Kishkindha Kanda Rama’s stay in Khishkinta-capital of his monkey ally Sugreeva
5) Sundara Kanda Ramas passage to Lanka with the help of Hanuman
6) Yuddha Kanda Rama’s battle with Ravana,recovery of Sita, return to ayodhya
7) Uttara Kanda Raama Rajya- coronation and rule
Both charanams to be sung before linking to the pallavi.the complete Ramayana story
used for harikatha rendering.
munnamvanattiloru muni vanveḷviyai kāttāy-Sage Viswamtra’s Sacrifice
Bala Kanda
pinnavan–uṭanśenṭru peṇṇavaḷśāpam tīrttāy-Ahalya rescued
mannan janakan manam makiḻave vilvaḷayttāy-King Janaka’sbow
Ayodhya Kanda
annai sītaikai piṭittāy aruḷpuriya-Suyamvara of Sita
.tantaiśolmiku mantramtaraṇiyil illaiyenṭru –King Dasaratha Ordrer
Aranya Kanda
taṇṭakāraṇyam śenṭru tapasikaḷkkaruḷtantāy-Danda karanya forest
Kishkindha Kanda
Sundara Kanda
antarattormakiḻa arakkar kaḷaiyeṭuttāy-anhillation of Ravana and others

Yuddha Kanda
ayotinakaril utittāy araśum peṭṭrāy..-Pattabhisheka-Coronation
atAyodhya
Uttara Kanda
For Ramayana Harikatha discourses bhagavatar’s songs do not have mudras.40
The kritis – composed on Adi Sankaracharya are in stuti format, eulogising the
preceptor.
jagadguro- kamāsu- rāga
śankarabhagavat pāda guro--nāṭṭakuṟunji.
4.1.3 Prosodic analysis of Krti s –a study of the rhyming patterns like yati, pr¡sa¯,
yamaka¯ egs
Antarukti & Muhana ,Prasa Antyaprasa Vyavastha
Muhana Prasa Antyaprasa Vyavastha
Antarukti
Antarukti is the usage of one or more syllables between two words, which are in
muhana or prasa for the sake of tala.
Muhana Prasa Antyaprasa Vyavastha

Sabdalankaras (decorations) like Muhana and Prasa can be found in the book ―Muhana
prasanyta prasa Vyavasta’’
pr¡sa¯,
First letter rhyming –
kamalāsana –kamalāśrita--caraṇaṃ
yama©¡rjuna bhanjana¯ §¢e ¾r§vatsa l¡ncana¯
40
Telephonic Interview with Smt.Jayamani -
yamakaṃ-
kamalāsana –kamalāśrita--caraṇaṃ
kamalāsana –brahma
kamalāśrita—caraṇaṃ-lakṣmi
kamal¡pta¾atako¿i tejasa¯ -kamal¡v¡sa vi¾¡lavak½asa¯
First letter rhyming – m lā n –kamalāś --caraṇaṃ
yamakaṃ-
kamalāsana –brahma
kamalāśrita—caraṇaṃ-lakṣmi
kamalāptaśatakoṭi – kamalāvāsa= yamaḷārjjuna bhanjanaṃ

phālavirājita mrugamata tilakaṃ
phālanayananutaṃ
In the first case, phāla is used to describe the forehead of kruṣṇa decorated with the
tilaka
in the second phāla is used to denote the forehead of Siva who sports another eye
nayana ,and worships kruṣṇa.
pr¡sa¯,
mruducara³am,
karu³a¯
venka¿arama³a ¾ara³ya¯ inയമളാര്ജ്ജുന ഭന്ജനം
anu pr¡sa¯ pg 61
taru³¡ru³a-¾ara³¡gata
vararāsalola vimala sajalajala dhara nīlakomaḷa śrī veṇu gopāla

Pg mohana muraḷīdharakruṣṇa
rohiṇīśa vadana bhavaroga haraṇa bhuvanapālanacatura padayugaḷa
rohiṇīśa vadana in this krti there are three charanams. but the notation of
the second charanam differs from that of the first and second charana ,
and Ennapp¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar himself states that the musical
setting is different in the second.
hara duritaṃ mama-śivamaniśaṃ kuru-

Prayerful sahitya for getting rid of his distress
doxological- only reciting the names and synonyms of the diety.
Rohini is said to be the most favourite wife of the Moon –
hence another metaphor for the shining face of krshna.
pankaja nayana bhanjana yavana
bhanjana yavana
Rhyming pada sahitya.with rare sanksrit words usage.
yavana barley straw pg 847 skt dic
Refers to story of krshna breaking or shattering blade of grass.
4.2 Comparative analysis of the ¾r§ kº½³a a½¿¿µttara ¾atan¡m s 108
s in praise of Lord kº½³a of evrb with similar group of 108
compositions on Shiva and Devi of Harike¾anallÀr Muttaiyya
Bh¡gavatar
Title: Significance of 108~~~ ~~~

Post by: Jyoti Ravi Verma
The Indian Subcontinent rosary or set of mantra counting has 108 beads. 108 has been
a sacred number in the Indian Subcontinent for a very long time. This number is
explained in many different ways.
The ancient Indians were excellent mathematicians and 108 may be the product of a
precise mathematical operation (e.g. 1 power 1 x 2 power 2 x 3 power 3 = 108) which
was thought to have special numerological significance.
Powers of 1, 2, and 3 in math: 1 to 1st power=1; 2 to 2nd power=4 (2x2); 3 to 3rd

power=27 (3x3x3). 1x4x27=108
Sanskrit alphabet: There are 54 letters in the Sanskrit alphabet. Each has masculine
and feminine, shiva and shakti. 54 times 2 is 108.
Sri Yantra: On the Sri Yantra there are marmas where three lines intersect, and there
are 54 such intersections. Each intersections has masculine and feminine, shiva and
shakti qualities. 54 x 2 equals 108. Thus, there are 108 points that define the Sri Yantra
as well as the human body.
9 times 12: Both of these numbers have been said to have spiritual significance in
many traditions. 9 times 12 is 108. Also, 1 plus 8 equals 9. That 9 times 12 equals 108.
Heart Chakra: The chakras are the intersections of energy lines, and there are said to
be a total of 108 energy lines converging to form the heart chakra. One of them,
sushumna leads to the crown chakra, and is said to be the path to Self-realization.
Marmas: Marmas or marmastanas are like energy intersections called chakras, except
have fewer energy lines converging to form them. There are said to be 108 marmas in
the subtle body.
Time: Some say there are 108 feelings, with 36 related to the past, 36 related to the
present, and 36 related to the future.
Astrology: There are 12 constellations, and 9 arc segments called namshas or

chandrakalas. 9 times 12 equals 108. Chandra is moon, and kalas are the divisions
within a whole.
Planets and Houses: In astrology, there are 12 houses and 9 planets. 12 times 9 equals
108.
Gopis of Krishna: In the Krishna tradition, there were said to be 108 gopis or maid
servants of Krishna.
1, 0, and 8: 1 stands for God or higher Truth, 0 stands for emptiness or completeness in
spiritual practice, and 8 stands for infinity or eternity.
Sun and Earth: The diameter of the sun is 108 times the diameter of the Earth.
Numerical scale: The 1 of 108, and the 8 of 108, when added together equals 9, which
is the number of the numerical scale, i.e. 1, 2, 3 ... 10, etc., where 0 is not a number.
Smaller divisions: The number 108 is divided, such as in half, third, quarter, or twelfth,
so that some malas have 54, 36, 27, or 9 beads.
Islam: The number 108 is used in Islam to refer to God.
Jain: In the Jain religion, 108 are the combined virtues of five categories of holy ones,
including 12, 8, 36, 25, and 27 virtues respectively.
Sikh: The Sikh tradition has a mala of 108 knots tied in a string of wool, rather than
beads.
Chinese: The Chinese Buddhists and Taoists use a 108 bead mala, which is called su-
chu, and has three dividing beads, so the mala is divided into three parts of 36 each.
Stages of the soul: Said that Atman, the human soul or center goes through 108 stages
on the journey.
Meru: This is a larger bead, not part of the 108. It is not tied in the sequence of the
other beads. It is the quiding bead, the one that marks the beginning and end of the
mala.
Dance: There are 108 forms of dance in the Indian traditions.
Pythagorean: The nine is the limit of all numbers, all others existing and coming from
the same. ie: 0 to 9 is all one needs to make up an infinite amount of numbers.
We have listed below 108 Upanishads as per the list contained in the Muktikopanishad .
We have arranged them in four categories according to the particular Veda to which
each of them belong.
Rigveda(10): Aitareya , Atmabodha, Kaushitaki, Mudgala, Nirvana, Nadabindu,

Akshamaya, Tripura, Bahvruka, Saubhagyalakshmi.
Yajurveda(50): Katha, Taittiriya , Isavasya , Brihadaranyaka, Akshi, Ekakshara, Garbha,
Prnagnihotra, Svetasvatara, Sariraka, Sukarahasya, Skanda, Sarvasara, Adhyatma,
Niralamba, Paingala, Mantrika, Muktika, Subala, Avadhuta, Katharudra, Brahma,
Jabala, Turiyatita, Paramahamsa, Bhikshuka, Yajnavalkya, Satyayani, Amrtanada,
Amrtabindu, Kshurika, Tejobindu, Dhyanabindu, Brahmavidya, YogakundalinI,
Yogatattva, Yogasikha, Varaha, Advayataraka, Trisikhibrahmana, mandalabrahmana,
Hamsa, Kalisantaraaa, Narayana, Tarasara, Kalagnirudra, Dakshinamurti,
Pancabrahma, Rudrahrdaya, SarasvatIrahasya.

SamaVeda(16): Kena, Chandogya, Mahat, Maitrayani, Vajrasuci, Savitri, Aruneya,
Kundika, Maitreyi, Samnyasa, Jabaladarsana, Yogacudaman, Avyakta, Vasudevai,
Jabali, Rudrakshajabala.
Atharvaveda(32): Prasna , Mandukya, Mundaka, Atma, Surya, Narada-Parivrajakas,

Parabrahma, Paramahamsa-Parivrajakas, Pasupatha-Brahma, Mahavakya, Sandilya,
Krishna, Garuda, Gopalatapani, Tripadavibhuti-mahnarayana, Dattatreya, Kaivalya,
NrsimhatapanI, Ramatapani, Ramarahasya, HayagrIva, Atharvasikha, Atharvasira,
Ganapati, Brhajjabala, Bhasmajabala, Sarabha, Annapurna, TripuratapanI, Devi,
Bhavana, SIta.
Comparison 108 Names in Srikrishna ashtootara sata naama with

The lyrics in varnam
Shrl Krsnaha Kamalan Atho (Pada varnam) . rAgA: rItigauLa. Adi tALA. Composer:
Bangalore T.Shrinivas. (adapted from Shri Krishna ashtakam)
P: ShrkrSnaha l Kamalan Atho vAsudEvaha sanAtanaha

vAsudEvAtmajAha puNyO lIlA mAnuSa vigrahaha
1. shrI krSnaha 1
2. kamalanAthO 2
3. vAsudEvaha 3
4. sanAtanaha 4(pallavi 1st paaadam)
5. vAsudEvAtmajAha 5
6. puNyO 6
7. lIlA mAnuSa vigrahaha 7 (pallavi 2nd paaadam end){ 8.9 ,10.11}
A: dEvaki nandanaha shrIshO nandagOpa priyAtmajaha

pUtanA jIvita haraha shakaTAsura bhanjanaha
8. dEvaki nandanaha 12
9. shrIshO 13
10. nandagOpa priyAtmajaha 14 (anupalalvi 1st paadam){ 15,16}
11. pUtanA jIvita haraha 17
12. shakaTAsura bhanjanaha18(anupallavi 2nd paadam)
19.20.21.22.23.24.25}
(mukthayi swara sahitya)

(muktAyisvara sAhitya)
shODasha strI sahasrEsha stribhangi madhurAkrtihi
shukavAkaha amrtAbdhIndur gOvindO yOginAm patihi
13. shODasha strI sahasrEsha 26

14. tribhangi madhurAkrtihi 27
15. shukavAkaha amrtAbdhIndur 28
16. gOvindO 29
17. yOginAm patihi 30
{31.32.33.34.35}
(charana sahitya)
C: gOpa gOpIshvarO yOgI kOTi sUrya samaprabhaha
18. gOpa gOpIshvarO 38

19. yOgI 39
20. kOTi sUrya samaprabhaha 40
(1st carana swara sahitya)
1.uttAla tAla bheEktA ca tamAla shyAmalA krtihi
21. uttAla tAla bheEktA ca 36{order change}

22. tamAla shyAmalA kritihi 37
(2nd charan swara sahitya)
.ILApatihi paramjyotir yAdavEndrO yadUdvadaha
23. ILApatihi 41
24. paramjyotir 42
25. yAdavEndrO 43
26. yadUdvadaha 44
(3rd charana sahitya)
.vanamAli pItavAsAha pArijAtApahArakaha
gOvardhanaca lOddhartA gOpAlaha sarvapAlakaha
27. vanamAli 45
28. pItavAsAha 46
29. pArijAtApahArakaha 47
30. gOvardhanaca lOddhartA 48
31. gOpAlaha 49
32. sarvapAlakaha 50
(4th charan sahitya) {51----to------90}
kALIya phana mANikya ranjita shripadAmbujaha

pArthasArathiravyaktO gItAamrta mahOdadhihi
jalakrIDA samAsakthA gOpI vastrApahArakaha
puNyashlokO tIrthapAdO vEdavEdyO dayAnidhihi
33. kALIya phana mANikya ranjita shrI padAmbujaha 94.(order change)

34. pArthasArathir91
35. avyaktO 92
36. gItAamrta mahOdadhihi 93 (95,96,97,98,99,100)
37. jalakrIDA samAsakthA gOpI vastrApahArakaha 101
38. puNyashlokO 102
39. tIrthapAdO 103
40. vEdavEdyO 104
41. dayAnidhihi 105 {106,107,108}
THOSE NAMAS IN BRACKETS ARE NOT IN VARNA
shrI krSNaha kamalanAthO (pv). rAgA: rItigauLa. Adi tALA. Composer: Bangalore
T.Shrinivas. (adapted from shri krishna ashtakam)
P: shrI krSnaha kamalanAthO vAsudEvaha sanAtanaha
vAsudEvAtmajAha puNyO lIlA mAnuSa vigrahaha
A: dEvaki nandanaha shrIshO nandagOpa priyAtmajaha
pUtanA jIvita haraha shakaTAsura bhanjanaha
(muktAyisvara sAhitya)
shODasha strI sahasrEsha stribhangi madhurAkrtihi
shukavAkaha amrtAbdhIndur gOvindO yOginAm patihi

C: gOpa gOpIshvarO yOgI kOTi sUrya samaprabhaha
1.uttAla tAla bheEktA ca tamAla shyAmalA krtihi
2.ILApatihi paramjyotir yAdavEndrO yadUdvadaha
3.vanamAli pItavAsAha pArijAtApahArakaha
gOvardhanaca lOddhartA gOpAlaha sarvapAlakaha
4.kALIya phana mANikya ranjita shrI padAmbujaha
pArthasArathiravyaktO gItAamrta mahOdadhihi
jalakrIDA samAsakthA gOpI vastrApahArakaha
puNyashlokO tIrthapAdO vEdavEdyO dayAnidhihi
108 compositions on Shiva and Devi of Harike¾anallÀr Muttaiyya Bh¡gavata41
Muthiah Bhagavatar first came to the notice of the royal family of Mysore
when during the Dussehra durbar of 1926, Madurai Ponnusami Pillai played his kriti
Valli Nayaka Ni (Shanmukhapriya) on the nagaswaram. The Maharajah,
Krishnarajendra Wodeyar IV desired to meet the composer of the kriti and through the
fforts of Ponnusami Pillai an Bhagavatar’s goo fri n sor Vau va har who
was a palace artiste, an invitation was sent for the Dussehra celebrations of 1927. He
became a palace artiste and shifted to Mysore. In 1928, Bhagavatar was conferred the
title of Gayaka Shikhamani by the Mysore Court and given the task of composing 108
kritis on Chamundamba, the tutelary deity of the royal family.
41
Ref #sri muthaiah bhagavatar avargalin apoorva raga keertangal toguti 5-second editionCompiled by
sangeeta vidvan Late M VAIDHIYALINGAM
And toguti 4 –sivaashtottara keertanaigal mattrum navagraha keertannangal
second editionCompiled by sangeeta vidvan Late M VAIDHIYALINGAM
Bhagavatar was initially diffident as the songs were to be in Kannada but

Krishnarajendra Wodeyar, who had by then become a friend, solved it by getting
palace scholar Devottama Jois to assist in the matter of lyrics. Bhagavatar began work
and by way of prayer, initially composed six kritis, one each on Ganapati (Buddhi
Devi in Malahari), Saraswati (Sri Mangalavani in Asaveri), Siva-Mahabaleswara who
is the consort of Chamundamba (Mahabaleswara Vibho in Saranga), Narayana who is
enshrined on the same hill as Chamundamba (Narayana in Kiravani), Guru (Gurunatha
in Pushpalata) and Anjaneya (Sri Anjaneya in Chenjurutti). All these songs request the
respective deity to give the composer the talent and skill to compose the 108 kritis on
Devi.
The basis for the 108 songs is the Chamundamba Ashottaram, which as the name
suggests is a list of 108 names of the Goddess and which are recited everyday at the
temple by way of worship even now. Bhagavatar followed the same order, from Sri
Chamundambayai Namaha (his first song is Sampatprade Sri Chamundeswari in
Kalyani) to Srimat Tripurasundaryai Namaha (the last song is Srimat Tripurasundari in
Madhyamavati). The songs are all in the usual pallavi, anupallavi, charanam format
with every tenth song and the 108th song having two charanams instead of one. Each
tenth song (as also the 108th) incorporates, in its second charanam, the name of the
ruler, Krishnarajendra Wodeyar.
Bhagavatar, always a man for unusual and rare ragas uses them in plenty in this suite
of krtis. Thus we have ragas such as Vinadhari (Girijadeviya), Harinarayani (Devi
Sri), Shuddha Lalitha Sahasrashirsha, Chakrapradipa Chakreshi), Vijayanagari
(Vijayambike), Urmika (Kalaratrisvarupini), Guharanjani (Navavarana) and
Navaratnavilasa (Navaksharamanu). While most of the songs are in conventional talas,
one or two are set in talas such as kanda jati jhampa and chatusra jhampa. As the
songs progressed, their notation was taken down by Belakavadi Srinivasa Iyengar. To
assist Bhagavatar in his composing work and to enhance the pleasure of listening to
him sing the songs, the Maharajah ordered two tamburas, each six feet tall and
decorated with copious amounts of ivory. These were gifted to Bhagavatar who
immediately christened them Rama and Lakshmana.
The set of 108 kritis was completed in 1932 with the last two songs being set in the
characteristic mangala ragas Saurashtram and Madhyamavati. In addition, there is a
mangalam in Vasantha. On the work being completed, Bhagavatar was gifted Rs
10,000 and a pearl necklace that had a ruby studded pendant bearing the image of
Goddess Chamundamba.
While on vi is mostl in anar s or kanna a languag , his on shiva whi h

follw ar in mostl sa skrt
We find interesting talas and many rare new ragas therein.

Th inspiration to ompos an sing skasn krtis by evrb is mentioned in his
biography. It was a divine task he undertook on his own and completed to his
satisfaction as an offering to his Ishta Devata.
4.3 Linguistic Proficiency of the Composer – saṁskrt terminology used by
This section is a study of the compounded terms in saṁ u by v b n his
krtis, adapted from ancient works like vi½³u sahasran¡ma, ¾r§mad bh¡gavata¯,vi½³u
pur¡³a¯, kº½³a l§l¡ tarangi³i, a½¿¿apadi.
Long compounded terms in saṁskrt used by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar in
the sahitya of his krtis are selected.
ajagarabhīkaramukha kabaḷīkṛta vrajabandhūjana pālanaṃ

In the kruti- sarasāngi rāga-pūtanā jīvita hara----
The charana uses the benedictory vord
nityakalyāṇaguṇa śrī veṅkaṭa ramaṇa as if to counter the evil effects of the deed of
the slaying of pūtanā
kuvalayāpīḍakumbhabhedana in the same song
refers to the act of ക്രുഷ്ണ the killing of the elephant kuvalayapida.42
asamānayatu –=unequalised –vasudevAtmajaM pg 67
mukunda — the Personality of Godhead, who awards liberation;43
acyutāva māṃ= yu āv māṃ-protect me=ava =protect
v m lāmbu p m =D p on o v Y mun -with clear vater and
svans
v ś un ṃ 44
v = n o on ol lv ś un = u o -dharaṃ=wearing
Yam u n m=y m n pēR ōn w ō ē n m ēl ō ub uē
ēn ē
tribhangi (thrice deflected posture) tribhanga ('thrice-bent') poses,
nipuṇa vajrānkucadhvaja nipuṇa vajra=
Refers to the act of kṛṣṇa-lifting the mountainvajra as a flag post
42
Narayaneeyam Dasakam: 75-- Kamsavadam ( Slaying Of Kamsa) Story
43
SB 3.13.4
44
SB 8.4.17-24
indīvarāṅkita caraṇa=Whose feet –tainted or branded as blue lotus-indīvarā
āśritāghatamō vibhākaraṁ
Onē vhō dispēls thē darknēss vibhākara ōf sōrrōvagha ōf thōsē vhō surrēndēr tō
Him
yamijana= those who can restrain themselves
ēṇalāncana=having eyes like that of a deer
naktancara = nocturnal- asuras
nara||pañcānana =-narasimha
tāpinca=shining
kruttivāsaṁ
pīyūṣa sōdarāprīṇita vakṣasaṁ
navaghanāghanaṁ
sincana maṇi
SarvarIsa vadanaṁ
āślēṣa
uā l
ō l v n u
prudukaṁ
sajalajaladhara
Bhanjanayavana-
rōhiṇīśa
vrṣṇī kulōtbhavaṁ and scores of other namas given shows his literary excellence
Reference to dasa-avataras of Vishnu- ten incarnations
Pg 39 song 26 In the second charana,
matsya kūrma varāha narahari rūpeti vāmana bhārggavarāma śrīraghurāma-
mukhya haladhara rāmeti mohanarūpa dhara
venkaṭaramaṇeti||śrīkāntamanucintaya mānasa..
Like Tyagaraja evrb addresses the Mind.
Pg 123 song 83 in the charana of ajaṃāsrutavatsalaṃ
matsya kūrma varāha narahari vāmana bhārggavarāma raghurāma
mukhyahaladhara rāmakruṣṇādi mūrttirūpadharaṃvenkaṭaramaṇaṃ||
ajaṃāsrutavatsalaṃ
Pg 63
vēdapālanārtthamādau vidruta mīna mūrttiṁ
vj y ā ī v śruta viṣṭ p y ī ṁ
num n m w n n p ll v
ub ā pūṟvv j ! śub ṃ āmānuj
We find the use of contrasting terms in pūṟvvaja which means born earlier or
elder to and anuja which means born later or younger to.
So Krsna is older to Subadhra and younger to Balarama.
Refers to Music terms- concepts-in parts in some krtis

Pg 57 song 37 charana sahitya in
vasudevtmajaṃ-udayaravicandrika-ā
v ā l y mū nā n b nā mu ḷī v
v ā l y mū nā n b nā mu ḷī v
pg 63 num 41
nā v mu ḷīnā ī v pū ṃ
swara reference in full canaram
Choice of language by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar for composing in
different themes.
His krti s in Tamizh :
krti r¡ga t¡©a
1.i´úm par¡mukam £´µ ¾r§dhari ¡di Ramayana
episodes
2.nalam£ ki¿aikkum bhairavi mi¾ra c¡pu
pallavi
nalame kiṭaiykkum śrīmannāraṇan nāmaṃ e-
nnāḷuṃ nī pāṭuvāy maname.
nān mukhan tān entan nāthanenṭruraittiṭuṃ
nāgaśayanan rāja rājanaruḷāl enṭruṃ
caraṇaṃ
enguṃ niṟaintavan eṇṇutarkka:iyavan
śankara brahmādi deva rūpan-
omkārarūpan-umāramāvāṇiyāy ulakamellāṃ niṟayntavan--
śrīmannāraṇan nāmaṃ ennāḷuṃ nī pāṭuvāy maname
The sahitya refers to Omnipresence, Omnipotent, Omniscient Narayana as a
personification of Tri-Sakthi swarupa- umāramāvāṇiyāy- and
the PraNava NAda Rupa.
The pallavi has a benedictory note –

Oh Mind, All will be well-Sing the praise of Sriman Narayana
4.4 Adoption of signature in his kriti s
r¡ga mudra , stala mudra, v¡kgeyak¡ra mudra,devata mudra
a.sūcita- *śukavāgamrugā cakravākaṁ-*
1gānamukharita fōr mukhārirāga

in pg16 num 10 kruti gōpāla
anupallavi śrī lakśmīsahōdara-fōr raga gōvrI manōhari
But rhymēs vith śrīdhara
sarasāṁgi-nīrajāṁganāramaṇab.śoochita for sarasa and neeraja =lotus
ShoDasa – forTOdi raga kriti soochita raga mudra rhyming pattern
mōhana- in mōhana muraḷīdhara-
rṣabha priya gamanaṁ- rṣabha priya-
venkaṭaramaṇaṁ
venkaṭarāma nuta
venkaṭaramaṇa sahōdari
venkaṭarāma natāṁghri yugaḷāṁ
venkaṭaramaṇa viśvātmaka
venkaṭaramaṇa sahōdari combines the usage of vākgēyakāra mudra and dēvata

mudra
KRITI WITH NO MUDRAS
suprabhatam hindolam-Adi-pg 36 song 23 vrmnym-Portraysal of bhārata bhūmi -
nādātmaka nārāyaṇa rūpa-sumanohara bhārata bhāgyada-
ādi śankarācārya stuti kīrttanangaḷ
śankara bhāgavatpādagurō- nāṭṭakkurinji-ādi-pg 38 song 25
jagadgurō-jaya jaya śankara-kamāś –ādi pg 37 –song 24
Conclusion
Structure Applied –Pallavi Anupallavi Charana
Like Tyagaraja Predominantly
Language Of Sanskrit –Compared With Dikshitar And Swathi

Tala Setting Complex In Some Like Syama Sastri
No Kshetra Krtis
Only Group 108.Like His Contemporary
Purely Devotional Sahitya –No Self Retribution-Prayerfull-Doxoligical- Diadatical-
Has Not Praised Humans- No Narastuthi- Has Not Clamoured For Fame Or Personal
Gain –No Self Professing.
SUMMARISATION OF THE MUSICAL AND TEXTUAL ANALYSIS
The features depicted in the kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar

showcase his discerning lakshya and lakshana jnana.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar’s comprehension of the Srimad

Bhagavata Purana is explicitly and overtly reflected in the 108 Sree Krishna
Ashtottara sata naama kritis and displayed through the flowing grandeur of the
Prosody, Rhythm and Melody.
The highlight of the kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar is the
melodic variations or sangatis similar to the kritis of Tyagaraja

The language used for depicting the mood of the composer and the raga used
also reflect the style of Dikshitar and SyamaSastri
Some more kritis mentioned in earlier chapters are included for establishing
the unique style of the composer -E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
r¡ga - kµkiladhvani t¡©a - ¡di

¡ro : sa ri ga ma dha sa_ ava : sa_ ni dha ni pa ma ga ri sa
pallavi :
v»nd¡van¡nta sa²c¡ri³am | vand£ham santatam varagu³am||
anupallavi:
v»nd¡rak¡di jana vanditam | nand¡tmajam n¡r¡ya³am ||
cara³am :
bhµg§ndravara ¾£½a ¾¡yinam | puru½µttamam v£±ka¿arama³am|
kµkama yÀra ¾uka bharadv¡ja kÀjita kµkiladhvani samyuta- ||
यणग - कोककरध्लनन तणऱ - आदद
आयॊ : व रय ग भ ध व_ अल : व_ नन ध नन ऩ भ ग रय व
ऩल्रपल :
लन्तृ दणलनणन्तत वञ्चणरय्भ ् । लन्तदे शभ ् वन्तततभ ् लयगद्भ ्॥
अनदऩल्रपल:
लन्तृ दणयकणदद जन लन्न्तदतभ ् । नन्तदणत्भजभ ् नणयणम्भ ् ॥
चय्भ ् :
बोगीन्तरलय ळेऴ ळणनमनभ ् । ऩदरुऴोत्तभभ ् लेङ्कटयभ्भ ्।
कोकभमूय ळदक बयद्लणज कून्जत कोककरध्लनन वम्मदत- ॥

pallavi
1s r g , , , m , d , , , s× , , , | d , n , p , , , | m , g , r g r s ||
v»nd¡ va n¡n ta san c¡ ri ³am
2s r g , , , m , d s× m d s× , , , | s× n d n p , , , | p m m g r , g , r ||
v»nd¡ va n¡n ta san c¡ ri ³am
3s r g , m , d , s× r× g× m× r× g× r× s× | s× n d n p , , , | p m m g r g , r ||
v»n d¡ va n¡n ta san c¡ ri ³am
s r g , m , g , r , , , r , , , | p , m , g , r , | r , g , r , s , , , ||
van deham san ta tam vara gu ³am||
The pallavi setting itself gives the scale of Kokiladhwani with the varjya and vakra
pattern highlighted. The style of Tyagaraja in developing the sangatis is reflected in
the pallavi
anupallavi:
s× , s× n n , d, d , s× , s× , , , , , , |r× , g× , m ×, , , m× g× r× , r× g× r× s× ||
v»nd¡ ra k¡ di ja na van di tam
s× s× n d , n , p , , , p , , , | s× n d n p , , , | m g r , r g r s ||
nand tmajam n r ya am
s× , s× n n d d , d , s× , s× , , , s× r × g × m× p × m × g× , | g× m× g× r× g× r× s× , ||
v»nd¡ ra k¡ di ja na van di tam
s× r× s× n d, n, p , , , p , , , s× n d n p , , , | p m m g r g r s ||
nand¡ tmajam n¡ r¡ ya ³am
The taara sthayi prayogas keeps the mood of the sahitya intact .
cara³am :
p , , , p , , , p , d , p , m , |m , d, d, s× | s× n d , d n p , ||
bhµ g§n dra va ra ¾£ ½a ¾¡ yinam
p , m ,g , ,, m g r , gr s , | m , d, d, s× | s× n d , n , p ,||
pu ru ½µ tta mam v£± ka¿ara ma ³am
m , n , d , d , s× , , , s×, s× , | r× g× m× , g× , r× , | g× m× g× r× s× , , , ||
kµ kamayu ra¾u ka bhara dv¡ ja
s× , , , s× , s× , s× n d n p , p , | s× n d n p , p , | m g r , r g r s||
kÀ jita kµ ki laddhvani sam yu ta
The raga mudra is in the apt phrase pervading the full arohana and avarohana.
The vadi and samvadi notes are used to create consonance.
Soochita swarakshara prayogas are also seen in bhµ g§n dra
At the same time his unique style also is evident.
r¡ga¯Ä -¾uddha ba¯Äg¡©a kharaharapriya r¡ga janya¯Ä t¡©a¯Ä _¡di
¡rµha³a¯Ä: sa ri ma pa dha sa
avarµha³a¯Ä : sa dha pa ma ri ga ri sa
pallavi
bh§½ma mukti prad¡yaka¯Ä bh§kara bhav¡bdhi t¡raka¯
anupallavi
bh§½maka nrÅpatanay¡rama³a¯ p§tavasana¯Ä bhaj£ vanam¡lina¯Ä
cara³a¯Ä
¾ara³¡gata jana p¡lanakara¯Ä karu³¡kara¯Ä ¾a¾isamavadana¯Ä
taru³a¯ n§rajada©anayana¯mura damana¯ venÅka¿arama³a¯ varagu³a¯
यणगां -ळदद्ध फांगणऱ खयशयपिम यणग जन्तमां तणऱां _आदद
आयोश्ां: व रय भ ऩ ध व अलयोश्ां : व ध ऩ भ रय ग रय व
ऩल्रपल
बीष्भ भदन्तत िदणमकां बीकय बलणन्धध तणयकां
अनदऩल्रपल
बीष्भक नऩ
ृ तनमणयभ्ां ऩीतलवनां बजे लनभणभरनां
चय्ां
ळय्णगत जन ऩणरनकयां करु्णकयां ळभळवभलदनां
तरु्ां नीयजदऱनमनां भदय दभनां लॆन ्कटयभ्ां लयग्

द ां
pallavi
1.r, , , , , , , g , r , s , , ,| s , r s dÖ , dÖ , | s , , , s , s , ||
bh§ ½ma mukti pra d¡ yaka¯
r , m , p , , , d , , , p , , , | m , p , , , m , | p m r , g r s , ||
bh§ ka ra bhav¡ bdhi t¡ raka¯
2.r , , , r , m , p m r , g r s , | s , r s s dÖ s , | r m p m r g r s ||
r , m , p , d , s× , d , p , , , | m p d s× d p m , | p m r , g g r s ||
3.m , r, r m p , p m r , g r s , | s , r s s dÖ s , | r , s, r , r ,||

r, m r rm p , d d p m p d s× ,| r× s× d , s× d p, | d p m , r g r s ||
The varjya prayoga in the scale and vakratva in the avarohana is shown in the
setting of the pallavi thereby disclosing the raga prayoga
anupallavi
1.d , , , p , m , pm r , g r s , | r , m , p , d , |s× , d , s× , , , ||
bh§ ½ma ka nrÅpa ta na y¡ ra ma ³a¯
2.r× s× d , p , p , p m r, g r s , | r m p d s×, r×s× d ,| d s× r× , g× r× s× ,||
bh§ ½ma ka nrÅpa ta na y¡ ra ma ³a¯
r×, g× , r× , s× , s× d s× , d , p , | p m r , g r s , | r , g , g r s , ||
p§ ta va sa na¯ bha j£ va na m¡ lina¯
2.r× g× r × , g× r× s× , r× s× d , s× d p , | d p m , p m r , | r, g , g r s ,||
p§ ta va sa na¯bha j£ va na m¡ lina¯e
The vadi samvadi notes as graha also highlights consonance

The higher octave sancharas here reminds us of Tyagarajas style
cara³a¯Ä
s , r , m , , , s r m r m , m , | p d s× , d , p , |p m r , g r s ,||
¾a ra ³¡ ga ta ja na p¡ la na ka ra¯
s , r , r s dÖ , s , s , s , s , | r m p , d ,p , |p m r , g r s ,||
ka ru ³¡ kara¯Ä ¾a¾i sa ma va da na¯Ä
p , d , p , m , p , d , s× , s× , | d s× , r × g× , | r× , , , g× r× s× , ||
ta ru ³a¯ n§ ra ja da©a nayana¯ mura ||
r× , g× , r× , s× , d , p , m , p , | d , p , pm r,| r , g , g r s ,||
da ma na¯ ven ka¿a rama ³a¯ vara gu³a¯
Though anupallavi datu is repeated relevant adjustments with regard to sahityas is

maintained. Hence musically the matu fits well into the datu.
r¡ga¯Ä ¾uddhas§mantini t¡©am ¡di
pallavi:
ajam ¡¾rita vatsalam | ¡¾ray£ham amita gu³a ¾§lam ||
anupallavi :
gaj£ndrap¡lanam garu¢¡rµha³am | ga¯Äg¡tmaja varadam jaya¾¡linam ||
cara³am:
matsyakÀºÅma var¡ha narahari v¡mana bh¡ºÅggavar¡ma raghur¡ma |

mukhyahaladhara r¡ma k»½³¡di mÀºÅtti rÀpadharam v£±ka¿arama³am||
यणगां ळदद्धवीभन्न्ततनन तणऱभ ् आदद

ऩल्रपल:
अजभ ् आश्रित लत्वरभ ् । आिमेशभ ् अभभत गद् ळीरभ ् ॥
अनदऩल्रपल :
गजेन्तरऩणरनभ ् गरुडणयोश्भ ् । गांगणत्भज लयदभ ् जमळणभरनभ ् ॥
चय्भ ्:
भत्स्मकूऱ्भ लयणश नयशरय लणभन बणऱ्ग्गलयणभ यघदयणभ ।
भदख्मशरधय यणभ कृष््णदद भूऱन्् त्त रूऩधयभ ् लेङ्कटयभ्भ ्॥
pallavi:
1. d , p , m , , , m , g ,r , s , | , , s , dÖ , dÖ , | s , , , s , , , ||
aja m ¡ ¾ri ta vat sa lam
2. p , d, p m , p m g , r , s , , , | , , r s dÖ , dÖ ,| s , , , s , , , ||
3. pd p m g m p , p d p m g r s , | , , s dÖ , dÖ, | s , , , s , , , ||
4. p d p m m g p m d p p m g r r s| s , s r d d p m | g , , , g , m , ||
, , g , m g m , p , , , d , p , | m g p m d , p , | m g m g r , s , ||
¡ ¾ra y£ ham a mi ta gu ³a ¾§ lam
The progressive sangatis help even an average student of music to delineate the
raga easily and effectively.
The delayed start at the second paadam at half edam or after two counts aksharas
“aasraye”shows the reflective mood of the composer,
anupallavi
1.d, p , d m p , p , d, s× , s× , | g× , r× , s× , , , | s× , d , s× , s× ,||
gaj£n dra p¡ lanam ga ru ¢¡ rµ ha ³am
2. p , d d p m p , pd pd s× , s× , | s×× r× g× r× r× , s× , | s× , d, s× , s× , ||
gaj£n dra p¡ lanam ga ru ¢¡ rµ ha ³am
1. p , d , s× , , , s× , p , d , p , | p , d p m , m , | p m g , r , s, ||
ga¯Ä g¡ tma ja va ra dam ja ya ¾¡ linam
2. g× r× r× , s× , , , s× s× p , p d p , | d p m , p , m , | m g p m g r s , ||
3. s× r× g× r× s× , , , s× d s× , p d p , | m p d s× m p d p| m g p m g r s , ||
The suddha swaraksara at Ganga and at the taara sthayi prayoga at Garuda exibhit
the expertise of the composer
caranam
m , , , , , m , m , , , g , m , | m g m , p d p ,| p m g m g r s, ||
mat syakÀºÅ ma va r¡ ha na ra hari
s , , , dÖ , dÖ , s , , , s , s , | m g m , p d p ,| p m g m g r s , ||
v¡ ma na bh¡ºÅgga va r¡ ma ra ghu r¡ ma
p , m , p , d, d, s× , s× , s× , | r× g ×m× g× r× , s× , | s× p d , s× ,s× , ||
mu khya haladhara r¡ ma k»½³¡ di
s× r× g× , g× r× s× , s× p d , d , p , | p d s× d p d p , | m m p m g r g m ||
mÀºÅ ttirÀ pa dharam v£± ka ¿a ra ma³am||
The mohna and prasa feature in all his kritisÅ

Though this raga suddha seemantini has affinity to Asaveri, E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar has avoided that in the higher octave.
The text of some kritis in Sanskrit is given to appreciate the word by

word meaning of the lyrics.
The scholastic language of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar is reflected in the

texts of all the krtis .
duryodana kul¡ntaka¯ draupadi m¡na rak½a³am
raga sumukhi *pg 155 in Venkataramaneeyam
pallavi
duryodana kul¡ntaka¯ draupadi m¡na rak½a³am
anupallavi
¾auryamat§ta kams¡suram¾aunaka¾ukamunivinuta¯
cara³a¯
g¡ngeya mukti prada¯ kalay£ karu³¡ s¡gara¯
omk¡ra rÀpam§¾vara¯uraga¾ayana¯ venka¿arama³am
ऩल्रपल
दम
द ॊदन कदरणन्ततकां रौऩदद भणन यष्भ ्
ळौमाभतीत कम्वणवयद भ ् ळौनकळक

द भनद नपलनत
द ां
चय्ां
गणन्तगॆम भदन्तत िदां करमे करु्ण वणगयां

ऒम्कणय रूऩभीश्लयां उयगळमनां लॆन्तकटयभ्भ ्
The uttama Vakgeyakara prays

Oh Lord Venkataramana! One who has vanquished the clan of Duryodhana,
Who protected the chastity of Draupadi,
Whose valour surpassed the demon,Kamsa,
Who is worshipped by the sages Suka Saunaka,
Who gave solace to the spirit of Bhisma,
Whose compassionate nature is large as the Ocean ,
Who adorns the form of the Primordial sound of Omkara,
One who reclines on the bed of the serpant-mythological Adisesha- Please protect me.
v»nd¡vana kutÀhalam r¡ga t¡©a jhampa *PG 152in Venkataramaneeyam

pallavi
an¡di brahma c¡ri³a¯ anudina¯ ¡¾ray¡¡myaha¯ anupamagu³a¯
anupallavi
san¡tana¯ candrabimbasamavadana¯ an¡tharak½aka¯ aghamocana¯
cara³a¯
manga©ad¡yaka¯ madhuhara¯ m¡rama³am pankajabhavasannuta¯ vihaga v¡hana¯
angaja¾atasama mohana¯ varagadana¯ v£nka¿arama³a¯ vedasvarÀpi³a¯
ळन्ृ दाळन कुतूहऱम ् यणग तणऱ झम्ऩ

ऩल्रपल
अनणदद ब्रह्भ चणरय्ां अनदददनां आिमणआम्मशां अनदऩभगद्ां
वनणतनां चन्तरबफम्फवभलदनां अनणथयषकां अघभोचनां
चय्ां
भन्तगऱदणमकां भधश
द यां भणयभ्भ ् ऩन्तकजबलवन्तनदतां पलशग लणशनां
अन्तगजळतवभ भोशनां लयगदनां लेन्तकटयभ्ां लेदस्लरूपऩ्ां
Oh! Lord Venkataramana who is the eternal upholder of Brahmacharya-

Whose face resembles the full moon ,
Who is the protector of the orphans and
Who removes the sorrow of the downtrodden,
Who favours with auspiciousness,
Who is sweeter than nectar,
One who is the spouse of Goddess Lakshmi,
Who is worshiped by Brahma-one who is born from Lotus-
And who has the Garuda- as a vehicle,
Who is as resplendent as hundreds of Cupid,
Who bestows the devotees with fulfilled vows,
One who is the full form of the Vedas,
I seek protection in you who are the epitome of unparalleled virtue.
.r¡sabau©I PG *70i n venkataramaneeyam
pallavi
yamun¡v£gasamh¡ri³a¯ yadhunandanam §¢£ varagu³am
anupallavi
kaman§ya kanak¡mbara dh¡ri³am k¡mita akhila phalapradh¡yina¯
cara³am
r¡k¡candra sannibha¡nana¯ r¡j§v¡yatavilocana¯ kru½Å³¯
n¡g¡ripriyagamana¯ nat¡vanam n¡r¡ya³a¯ v£nka¿arama³am
रासबौळल PG *70 in Venkataramaneeyam
ऩल्रपल
मभदनणलेगवम्शणरय्ां मधन
द न्तदनभ ् ईडे लयगद्भ ्
कभनीम कनकणम्फय धणरय्भ ् कणभभत अखखर परिधणनमनां
चय्भ ्
यणकणचन्तर वन्न्तनबआननां यणजीलणमतपलरोचनां कृऴ ्् ्ां
नणगणरयपिमगभनां नतणलनभ ् नणयणम्ां लेन्तकटयभ्भ ्
Oh Venkataramana! One who directed the trend of the flow of river Yamuna!
Who is the Darling of Yadavas,
Virtuous one,
One decorated with the beautiful garland of sweet smelling flowers,
Fulfiller of all wishes,
Whose face is as beautiful as the Full phased Moon,
Whose eyes are long like the lotus petals,
Who has the Garuda-the enemy of snake as –vehicle,
Who protects all those who prostate before you,
Oh the dark complexioned, Oh Narayana- the Son of the original Man-,
Please protect me .
raga .mura©§n¡dam *PG 99 in venkataramaneeyam

pallavi
yama©¡rjuna bhanjana¯ §¢e ¾r§vatsa l¡ncana¯
anupallavi
kamal¡pta¾atako¿i tejasa¯ kamal¡v¡sa vi¾¡lavak½asa¯
cara³a¯
taru³¡ru³a k¡ntam bhav¡mbudi tara³¡vare³ya¯ mruducara³am

¾ara³¡gata k¡makalpaka karu³a¯ venka¿arama³a ¾ara³ya¯
मुरलीनादम ् *PG 99in Venkataramaneeyam
ऩल्रपल
मभऱणजदन
ा बन्तजनां ईडे िीलत्व रणन्तचनां
अनऩ
द ल्रपल
कभरणप्तळतकोदट तेजवां कभरणलणव पलळणरलषवां
चय्ां
तरु्णरु् कणन्ततभ ् बलणम्फददद तय्णलये णमां म्रददच

द य्भ ्
ळय्णगत कणभकल्ऩक करु्ां लेन्तकटयभ् ळयणमां
Oh Lord on whose chest Srivatsa – the Symbol of Wealth is dazzling,

Who separated the twins Yamala and Arjuna trees ,
Who glows like the crores of hundreds of Sun-kamalapta- friend of lotus-
Who has the broad chest where Goddess Lakshmi resides,
Whose complexion is like the rising Sun,
Who helps the devoted in crossing over ocean of the hurdles of this birth,
Who saves and grants the boons to those who surrender at the soft petal like feet
Please give me refuge.
raga prak¡¾ini tala- ADI
VIDHURA AKROORA VARADAM *PG 156

pallavi
vidhur¡ akrÀra varada¯ vimalagu³¡kara¯ vibh¡vaye

anupallavi
mathur¡n¡yaka¯ ¡¾rita ma¯ga©a d¡yaka¯ gop¡laka¯
cara³a¯
jalaj¡ru³acara³a¯ day¡ghanam jalajada©anayana¯ ¾r§niketana¯
jalajakar¡rama³a¯ viv¡hanam jaladhi¾ayana¯ ¾r§venka¿arama³a¯
िकणभळनन TALA ADI
ऩल्रपल
पलधयद ण अक्रूय लयदां पलभरगद्णकयां पलबणलमे
भथयद णनणमकां आश्रित भांगऱ दणमकां गोऩणरकां
चय्ां
जऱजारु्चय्ां दमणघनभ ् जऱजदऱनमनां िीननकेतनां
जऱजकयणयभ्ां पललणशनभ ् जऱश्रधळमनां िीलेन्तकटयभ्ां
One who bestowed boons to Vidhura and Akroora, who is of Pure nature,
I think of you! Oh Sree Venkataramana.
Who is the King of Mathura, the caretaker of the cowherds,
Compassionate One, spouse of Sree,
who leads Lakshmi by marriage.who reclines on the Great Milky ocean.
The Vakgeyakara has used the various synonyms for jala- water and its connotations
rāga- vṛṣabhapriya tāla- ādi

pallavi
śrī rajatācaleśvaraṃ śivaṃ |cintayehaṃ cinmayaṃ
anupallavi
māraharaṃ puraharaṃ paraṃ| maulivirājita sudhākaraṃ||
caraṇa
deva mahīruhamūle maṇimaya divyāsane devyā saha samstitaṃ
devavaraṃ vṛṣabhapriyagamanaṃ śrīvara venkaṭaramaṇārcitaṃ
यणग- लऴ
ृ बपिम तणर- आदद
ऩल्रपल
िी यजतणचरॆश्लयां भळलां ।श्रचन्ततमॆशां श्रचन्तभमां
अनऩ
द ल्रपल
भणयशयां ऩदयशयां ऩयां । भौभरपलयणन्जत वदधणकयां ॥
चय्
दॆ ल भशीरुशभूरॆ भख्भम ददव्मणवनॆ दॆ व्मण वश वन्म्स्ततां
दॆ ललयां लऴ
ृ बपिमगभनां िीलय लेन्तकटयभ्णश्रचातां
This only kriti on Lord Siva gives relevant epithets of the Lord as residing in the
Himalayas, with His Consort, ornamented with the Crescent , on His vehicle Rishaba
beneath the legendary Tree. The composer prays to him as Chinmaya Murthi
raga prak¡¾ini
pallavi
guha¯ ¡¾ray¡mi kum¡ra¯ bhavaharam gu³a s¡garam ¾akti dhara¯

anupallavi
mahan§ya sikhiv¡hana¯ ½a¢¡nana¯ m¡y¡ rahita m¡nasa sadana¯
cara³a¯
g¡ngeya¯ va©©i k¡ntamum¡suta¯ k¡rtikeya¯ skanda¯ ½¡nm¡tura¯
r¡k£ndunibhavadana¯ venka¿arama³apriya¯ varakamal¡bhacara³a¯
n¡g¡nanasodara¯ dhanujahara¯ natajanap¡lana samajaladhara¯
p¡k¡rimukh¡marasene¾vara¯ bhakt¡rttihara paramaday¡kara¯
प्रकाळऴनन
ऩल्रपल
गश
द ां आिमणभभ कदभणयां बलशयभ ् ग्
द वणगयभ ् ळन्तत धयां
भशनीम भळखखलणशनां ऴडणननां भणमण यदशत भणनव वदनां
चय्ां
गणन्तगेमां लन्ळऱ कणन्ततभदभणवदतां कणनताकेमां स्कन्तदां ऴणन्तभणतदयां
यणकेन्तदनद नबलदनां ळेन्कटरमणप्रप्रयं लयकभरणबचय्ां
नणगणननवोदयां धनदजशयां नतजनऩणरन वभजरधयां
ऩणकणरयभख
द णभयवेनेश्लयां बततणन्त्ताशय ऩयभदमणकयां
The only kriti on Lord Muruga

The composer prays to Kumara to rid hi off the bhava- sins.
The six faced One who rides on the peacock, and removes the greed of the Devoted.
the padas are full of alliteration while describing the various epithets .
the vakgetakara mudra is लेन्तकटयभ्पिमां-also Devata mudra as krshna- Vishnu is the
baagineya of Umasuta Skanda-– brother in law by virtue of marriage of Parvati to Siva
लेन्तकटयभ्पिमां is also used as a friend of Muruga- sakhyabhava
raga Rasavar¡©i
pallavi
sarvagraharÀpi³a¯ s¡majavarada¯ sam¡¾raye
anupallavi
parvatek»ta pÀjanam p¡lita suramuni jana¯
cara³a¯
l§l¡m¡nu½a rÀpi³a¯ vana m¡l¡dh¡ri³a¯ ?varagu³am
t¡l¡ng¡nuja¯ ¡rthap¡lana¯ ph¡l¡k½¡rcita¯ venka¿arama³a¯
रसळराळल
ऩल्रपल
वलाग्रशरूपऩ्ां वणभजलयदां वभणिमे
ऩलातेकृत ऩूजनभ ् ऩणभरत वदयभदनन जनां
चय्ां
रीरणभणनऴ
द रूपऩ्ां लन भणरणधणरय्ां लयग्
द भ्
तणरणन्तगणनदजां आथाऩणरनां पणरणषणश्रचत

ा ां लेन्तकटयभ्ां
Oh Venkataramana!
Who gave boon-moksha- to the Elephant-Gajendra,
Who protected the sages and good souls who worshipped the Govardhana mountain,
Who adorned the various incarnations even as hil ’s playfulness,
Virtuous One ,
the younger brother of Balarama,
Who protects the devoted,
One who is worshipped by Siva-who has a third eye on his forehead- पणरणषणश्रचातां,
I seek total shelter in you

Who is the embodiment of all Grahas –Planets.
priyadar¾ini
pallavi
vedavedhya¯ vibh¡vaye
anupallavi
m¡dhava¯ mah¡nubh¡va¯ m¡tanga varada¯ ¾ubhad¡yaka¯
cara³a¯
angaj¡ri jalajabhava sannuta pankaj¡ru³a mrudu cara³a¯
manga©¡rama³a¯ sudh¡kara vadana¯ ¾r§ venka¿arama³a¯
प्रप्रयदळऴिनन
ऩल्रपल
लेदलेध्मां पलबणलमे
भणधलां भशणनदबणलां भणतन्तग लयदां ळदबदणमकां
चय्ां
अन्तगजणरय जरजबल वन्तनदत ऩन्तकजणरु् म्रदद द चय्ां
भन्तगऱणयभ्ां वदधणकय लदनां िी लेन्तकटयभ्ां
Oh Sree Venkataramana,I keep thinking of Your moon like face,

The substance of Vedas,

Who is the spouse of Ma Lakshmi,
Whose tender reddish feet is worshipped by the enemy of Cupid –अन्तगजणरय and
Brahma- जरजबल-born of lotus,
Who is the spouse of Lakshmi- Mangala

Bestower of all Auspiciousness
Summary- the efficacy of this study in bringing to light the kºti s of E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar, along with unknown r¡gas and t¡©as.- as a distinctive
contribution to Carnatic Music.
The detailed study of the ompos r’s lit rar an m lo i st l in th kritis has
been possible only because of the text and notation given in Venkataramaneeyam, in
Malayalam script. The unpublished notated kritis in Malayalam manuscript received
from his granddaughter, Dr.E Saraswathi show the care the family had taken to
preserve such a musical work of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .The Concert
recordings obtained from Kerala Sangeeta Natak Academy-of his descendants,
disciples - younger brotherVidwan Viswanatha Bhagavatar, son Vidwan Ramachandra
Bhagavatar,; and the private cassette recording of granddaughter Smt.Thankam helped
in understanding the style of musical depiction of E³³app¡¿a¯ VenÅki¿ar¡ma
Bh¡gavatar. The archives of Madras Music Academy and All India Radio, Calicut are
understood to have the concert recordings of Sri Ramachandra Bhagavatar which
include the kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar .The investigator is still
earnestly making attempts to find the same and share with the Carnatic music world.
The current inquiry in to the kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar , reveals
him to be unmistakably considered as a lak½a³a- lak½yak¡ra.
The three new talas Nuti, Preeti,Devaranjanam are the unique contribution of
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar. The kritis set in these talas are certainly proof
of his lakshya jnana . They are master pieces which should be rendered by musician of
expert tala jnana.These also give scope for manodharma –neraval and swara kalpana-
improvisations.The clear cut lakshanas given show how the inventive Kerala talas
could be adopted in Carnatic music concert platform.
The eight new raga modes are set by the composer to notation melodically and
lyrically proving the significant contribution of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.

The vAk- words- Sahitya jnana-adapted by him are insightful and intuitive,
weighty and spontaneous. The perception of the music- gEya - sangeeta jnana – of
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar, is revealed in the usage of the apt padas and
swaras for the sahityas.
The kritis have distinctly all the qualities suitable for presentation in a concert
platform with immense scope for improvisation.
Besides being a means to an end, the singing of these kritis could be an end in
itself as the investigator has experienced; just as the composer E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar , has admitted in his autobiography.

The inherent Raga ranjakatva and the intrinsic Sahitya bhava within the
pertinent Laya prastara in the kritis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar, which
are the quintessential of a musical composition, when rendered and listened to;
proclaim this devout and pious Sahitya-Sangeeta-Karta to be a Uttama v¡kg£yak¡ra,
with a profound knowledge of the language of Sangeeta and Samskrita.
CHAPTER 5
CONCLUSION
Conclusion 186
CHAPTER 5
CONCLUSION
As Mahakavi Ulloor commented,

"Kerala has a highly developed musical style as early as the people of this
land".
Music in Kerala has evolved out of the folk melodies, temple steps, the theatre
plays, religious discourses, the Royal courts to give to the world at large many
composers. At the same time preserving its intrinsic music in Sopana ragas and
Kathakali talas which are akin to the present day Carnatic ragas and talas but different
in their own features.
This unique feature of raga and tala have influenced many composers from
earlier period
The system of performing with the percussion mridangam to taanam rendering
is still found among musicans of Kerala.
Carnatic music composers from the period of Trinity have revealed many rare
ragas and unraveled the unknown melodies through their kritis. These compositions
are the record of the composers’ musical output and are the only available source and
aid in understanding their lakshana and lakhshya.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar who has spent most of his days in the
village in Palakkad has imbibed the rich tradition of Kerala Music and has adopted
this heritage to Carnatic music. Being not only a musician, as a composer, the kritis
left to us by him speak volumes of the musicianship.

Conclusion 187
The study of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar‘ s krtis reveals the following:
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar ‘s krtis arose out of his musical intuition,
learning , and listening initially. Later his devout nature prompted him to sing out his
feelings and emotions in the form of propitiation to his ishta devata. These are
revealed in his Atma Katha.
Hence the form, structure of his kritis bears a lot of semblance to that of the
Trinity and his contemporary composers.
The adoption of the lakshana and lakshya in his compositions are due to his
stupendous knowledge of the Puranas, and the complex language of Sanskrit.
The form of composition used by him is only kriti.
The padas, sahitya used in his kritis conform to prosody
The known ragas used by him though are similar to the prevalent
compositions; aesthetically they are moulded into the sahitya padas in a manner
befitting the padaartha.
The unknown scales are scored into the lyrics befitting the ranjakatva, melodicity
of the mode and sahitya bhava, the prosody mould. –thus giving us a concrete record
of the lakshana of the raga.
The new talas for which he has applied the unique feature of Kerala Tala, that too
during the last days of his life speak volumes of the ripeness in music in E³³app¡¿a¯
The Puranas E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar has depicted through his
poignant kritis, give us an insight of his literary excellence and Bakthi.

Conclusion 188
This Uttama Vakgeyakara has not composed for the sake of popularity or fame or
showing off his knowledge and musical prowess.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar sincerely lived by the faith t he had in Nada
upasana as a means to live life fully .True devotion is the basis of knowledge, and
practice of this knowledge is the route to wisdom.
It is highly appropriate that these compositions were a part of the syllabus and
Venkataramaneeyam was prescribed as a Text in Kerala University.
The onus rests on the musicians and connoisseurs of music, institutions to
propogate works of this mammoth nature.
Much needs to be done in the field of works of other composers of Kerala and also
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar‘s contribution to Harikatha, The limit of this
dissertation permits me to focus only on the contribution to Carnatic music by
With the advanced technology of the World Wide Web, the teachers, the students,
researchers, practitioners of Music have lot of scope to dwell in to the music of this
land -Kerala-God’s own Country.

i
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INTRODUCTION

successfully submitted as my Dissertation for the degree of Master of Philosophy

This thesis is a critical study of the contribution of E³³app¡¿a¯Ä VenÅki¿ar¡ma

Rationale for Selecting the Topic

Inclination for This Project

Factors that motivated the investigator to embark on the study of music in

 compositional varieties considering their suitability and popularity in the

THE STUDY PROCESS UNDERTAKEN

An overview of the characteristics of Carnatic music concert-format tradition-

 Availability of apt supervision in the experts‟ guidance at all stages.

The title of the thesis is – “Contribution of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar

(1880-1961) to Carnatic music-A Critical study”

Scope of the Study

Methodology Adopted For the Research

methodology. Analysis of the kºti s of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar forms

of E³³app¡¿a¯Ä VenÅki¿ar¡ma Bh¡gavatar- through his kºiti s in popular and rare

melodies - r¡ga s, and in popularly prevalent and new rhythmic cycles-t¡©a s.

Karyavattom Swati tirunal college library, Libraries Of research scholars and

Referred Books, periodicals, journals, magazines, Dailies, Audio recordings,

CHAPTERISATION FOR THIS THESIS IS AS FOLLOWS

THESIS IS DIVIDED INTO FIVE CHAPTERS.

In this chapter, keeping in mind the historical perspective of music in K£ra©a

1.1 K£ra©a as a seat of music

also known as Taaivaani and Dhyaani.ty¡n§ s are sung as a part of koṭṭipāṭi

Sreekoil-Sanctum Sanctorum. ty¡n§ s are rendered to the accompaniment of

The idayka is considered to be a Devavadyam -a divine instrument unlike a

t h e t em pl e b e l o n g . Also t h e r e are ty¡n§ s for d i f f e r e n t forms of same diety

accompanying instruments include iṭaikka, maddaḷam, and ceṇḍa

Thayambaka is a form in which one or a few chenda players perform

There is also Panchavadyam, an orchestra of five instruments -

The characteristic features of this music are, simple structure, devotional

Kavadiyattam is a ritual dance offering in Subramanya temples. The group of

Kaalavela is a spectacular procession of huge gaudily decorated motifs of bulls -kaala

Kumbhamkali / kumbhamthullal (pot dance) is a folk ritual dance of devotees

Poothamkali (pootham) is a folk art more commonly performed in the Bhagavathy

Thiruvathirakali- kaikottikkali is a dance form which is a pointer to the old customs

Oppana, this is widely popular among Keralite Muslims and is native to

Cākyār kūtt- Oottanthullal , Koodiyattam cākyār kūtt and Oottanthullal- these

The name Koodiyattam, meaning playing or performing together, is thought to refer to

Vedic chanting or Swarikkal had the characteristics of a typical raga as well as

Indalam : for noble characters

Cetipancamam : for lower characters

Virapancamam : for extremely heroic occasions

Bhinnapancamam : for highly elated occasions

Muralindalam : for Sri Rama‘s love

Antari : the Raga used by the storyteller

and not used by the character.

Swalpantari : for Varunan –Rain God

Veladhuli : for fear, anxiety and calling from a distance.

Artan : for srngara and rati

Paurali : for Srirama‘s love-lorn state

Mudden : Rakshasa‘a love Demon‘s love

Kaisiki : for Hasya and Bibhatsa

Tarkan : for Krodha and Raudra

Viratarkan : for Vira rasa

Duhkhagandhari : for Soka and Karuna

Charrantari : for Bharatavaakya and for conveying

The death of a cruel character

Danam : Adbhuta (wonder), Bhayanaka (fearsome)

Tondu : Bhakthi (devotion), Santa (calm)

Puraniru : for description of rain, morning….

Srikanti : used at the end of a drama

जगति सुकृतिऱॊकैर्नन्दििाऽऽर्न्दििाशा कऱतिरन्िििंशी भासमार्ाऽसमार्ा।