6chapter 3 Analysis of Musical Aspects

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¯

VenÅki¿ar¡ma Bh¡gavatar.
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 च्छन्दश्शब्दवर्जितम् “नाट्य शास्त्र”
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 मार्गैर्लयो यत्र यतीनाम् स्यात् कलानिधौ
तम् दक्षिणम् शिवं नौमि चित्रम् वृत्तिमयम् ध्रुवम्
“ताल अध्याय -संगीत रत्नाकर”
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 स्मृति ”

वीणा वादन तत्वज्ञ श्रुतिजाति विषारद
तालश्चअप्रयासेन मोक्ष मार्गम् स गच्छति ॥
“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available in published and unpublished sources are alone the subject of this study.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:
‘ഞാനും സ്വന്തമായി ചില കൃതിക‍

ള്‍ രചിച്ചിട്ടുണ്ട്.അതില്‍
പ്രധാനമായി ശ്രീകൃഷ്ണാഷ്ടോത്തരശതനാമങ‍
ള്‍ ഓരോന്നും
ആദ്യമായി തുടങുന്ന 108 രാഗത്തിലുള്ള 108 കീര്ത്തനങളാണ്’
‘ñānuṁ svantamāyi cila kr̥ tikaḷ racicciṭṭuṇṭ. atilpradhānamāyi

śrīkr̥ ṣṇāṣṭōttaraśatanāmaṅaḷ–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 बन्धिष् 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 कृ तं तद् कृ ति’ ’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.
1
#Ref.Pgs.300-301,A Sanskrit English Dictionary-Sir Monier Monier Williams-16th Reprint:Delhi-
Isbn 978-81-208-3105-6.
कीर्त् 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
कीर्तनम् kIrtanam is one of the nine paths of devotion in Indian sense of the term –नव
विध भक्ति मार्ग- nava vidha Bakti mArga viz.श्रवणम् SravaNam
,-listening-an active form of ‘hearing’ which is more a passive act-कीर्तनम्,- kIrtanam

-A devout person sings the glories of God Almighty seeking His Blessings.
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.
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
We have, among South Indian composers, many of them who have composed
praising their इष्ट दॆवता 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 വെങ്കടരമണീയം 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 നാദ 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
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 रन्जयति इति स्वर:
राग:रन्जयति इति राग:
സ്വര: സ്വതൊ 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
4
Prof.SRJ Miscellany of Essays
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
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
5
Prof.SRJ Miscellany of Essays rāga chapt pg 56
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 contemporarieshave
been influenced by these to chk chap 1 print
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¯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 cāypu
The setting has a lot of resemblance to the fourth Vibhakti krti of Muthuswami
Dhikshita on Lord Tyagaraja -Tyāgarājāya nāmaste namaste- bēgaṭa-rāga8
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
 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||
7
Pg 12/Num 8-Venkataramaneeyam- Audio KSNA Cd
8
Pg 21num13 Venkataramaneeyam & Audio Cassette Released Syamala Venkateswaran
9
pg202 Venkataramaneeyam
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.
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
10
Appendix - Audiography Syamala
11
Pg 85.Ragas At a Glance Prof SRJ
12
Prof SRJ-CHAP 15 MOESSAYS
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).’
3.1.1 . A 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.
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
13
ref-rāgas at aglance Prof SRJ
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.
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
14
ibid Ragas Gifted To Music World For The First Time By Tyagaraja , Rāgas At A Glance
---------------------
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)
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 .
 ---------------------------------------------
15
Prof SRJ-Articles- Diversified Themes And Ragas In Saint Tyagaraja’s Compositions- A Brief
Coverage
 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 26 th
- 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 chk 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 62nd mela names liste in

kanakangi- 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
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-sanidhapamagasa
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
19 20
krti-līlāmānuṣa and pālayamāṃ śrī- śaṅkarābharaṇa janya
16
rāgas at a glance Prof srj
17
pg 26Pg 22 num 14, no.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
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.
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 ata 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
21
pg 60
22
Pg 18 rāgas ata glance learnt from PROF SRJ
Pg 59-60 VENKATARAMANEEYAM
23
24
pg12/num 8-pg 48-num32
25
Rg srj pg 15’
26
Pg 17 num11
vasudevatmajam-num-37
aro-SgmpnS ava- Snpmgs evrb uses this scale through out the krti and does not
bring in dhaivata
srj rg asserts it should be clear audava audava under dhenuka 9th melapg 124
rglance1.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 ¡di 28
ref ksna cd
 r¡m¡ lµk¡bhir¡ma sing n¡¿¿akkuºi²²i 29 d£varanÅjana¯Ä appndix
pg 18 Pg 38 song 25
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,
conclusion
3.1.2. R¡ga s derived by E³³app¡¿a¯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¡.
27
Ref SRJ RG.pg 125
28
29
30
ref appendix notation, grlecdem vidoe –audio-PPt ,srj gr discussion-audio tankam
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
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 karnatic 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 through 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¯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
laksya jnana 31
2. r¡sabau©i- r¡ga lakshana given by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar:
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.:
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
Historical Study
Ragas having same or similar arohana - avarohana :
1.kāḷindi
The following texts on rāgas are looked into
31
ç*pg 155 ref notation appendix--ref Appendix
audio-ksna/Tankam/syamala/grsrjref appendix for text,notation,lec dem
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 tara 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( वाग्गेयकार) 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
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
 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 sa̍ avarōhaṇam sa̍ 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´´um par¡mukam£´µ umakkitu muºt¡´o £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 to chk notation type
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 ri¹ ma² pa dha² ni² saÇ -saÇ ni² dha² pa ma² ri¹ 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 stavraaja.
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 ga³ ma¹ pa dha³ sa̍ - sa̍ dha³ pa ma¹ ga³ ri¹ sa
rāga priyadarsini of EVRB seems similar to rāgacandrika but for the vakra pattern in
arohanam
ārohaṇa sa ri¹ ma¹ ga³ ma¹ pa dha³ sa̍ -vakra ṣāḍava ārohaṇa
avarohaṇa sa̍ dha³ pa ma¹ ga³ 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 , grs
, || 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 asavar¡©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¯ 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¯ 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¯ 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¯ 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 karnatic 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 tāla rūpaka
mātan|ga mukham sadā ||mahāga|napatim bhajamana||
anupallavi
ādi dē|vam dēvēśam||ādyan|ta rahitamīśam||
carana
śankarā|tmajam vandāru ||sankata|harāgananāyakam||
pankajā|sanādīsura ||vēnka|,ta ramana vinutam||
Raga SumukhiRupaka Tala *Pg 155 Pallavi.
Dhuryo|Dhana Kulaantakam||
Draupadi| Maana Rakshakam||
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 Sri
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|| to chk font
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 vnkrmnym 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 chk with teacher
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 abovejanya
5. v£dajanan§¯Ä yadukulak¡¯Äbhµji- c¡pupg204
tala prastara Same as above
6. ma¯Äga©am¡tanµtu maddhyam¡vati- c¡pu pg206
tala prastara Same as above
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- chap 3
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 peaople 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 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
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 one 2
avartas.Anupallavi having 2 avartas and single charanam having 4 avartas.
Structuaral 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 –to explain ?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

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 the suladhi sapta talas ,khanda jati a¿a t¡©a is taught among the 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 anagas
of the tala is kriya prana- which makes the physical representation of a tala
recognizable.
Pg 248 eof mscology in si music-PROF.SRJ
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 as 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- विसर्जित
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¯
Some kritis are wrongly notated and sung as chapu tala which 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

śrī śukra bhagavantaṃ cintayāmi santataṃ sakala tattvajñam
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¯ 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¯

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
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
2nd anga One randu(2) kala cowka catuśra laghu + one tiśra cāpu =16+3=19 aksaras
|4 x 4 + takita
3rd anga one randu (2) kala cowka catuśra laghu =16 aksaras
|4
32
Table X111 THE ASHTOTTARA SATA TALA 108 CHART .PROF SBMRTY SI
MUSIC BK 1V
4th anga one randu (2) kala cowka catuśra laghu =16 aksara
s
|4
72 aksara s
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|vārana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 vārana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
2nd 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 place 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

6chapter 3 Analysis of Musical Aspects

Uploaded by

Copyright:

6chapter 3 Analysis of Musical Aspects

Uploaded by

Document Information

Original Title

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

6chapter 3 Analysis of Musical Aspects

Uploaded by

Copyright:

CHAPTER 3

Analysis of Musical Aspects of Krti s

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¯

छन्दोहीनो न शब्दोस्ति न च्छन्दश्शब्दवर्जितम् “नाट्य शास्त्र”

chandµh§nµ na ¾abdµÉsti na cchanda¾¾abdavarjitam“n¡¿ya ¾¡stra”

नाना मार्गैर्लयो यत्र यतीनाम् स्यात् कलानिधौ

तम् दक्षिणम् शिवं नौमि चित्रम् वृत्तिमयम् ध्रुवम्

“ताल अध्याय -संगीत रत्नाकर”

n¡n¡ m¡rgairlayo yatra yat§n¡m sy¡t kal¡nidhau

Laya or rhythm is embedded in all aspects in the Cosmos

याज्ञ्य वल्क्य स्मृति ”

वीणा वादन तत्वज्ञ श्रुतिजाति विषारद

तालश्चअप्रयासेन मोक्ष मार्गम् स गच्छति ॥

“y¡j²ya valkya sm»ti ”

‘ഞാനും സ്വന്തമായി ചില കൃതിക‍

ആദ്യമായി തുടങുന്ന 108 രാഗത്തിലുള്ള 108 കീര്ത്തനങളാണ്’

‘ñānuṁ svantamāyi cila kr̥ tikaḷ racicciṭṭuṇṭ. atilpradhānamāyi

’यद् कृ तं तद् कृ ति’ ’yad kRutaM tad kRuti'

means that which is created or composed is Krti .

In Bhajana sampradaya,“कीर्तन kīrtana is a simple sacred musical form. The

विध भक्ति मार्ग- nava vidha Bakti mArga viz.श्रवणम् SravaNam

,-listening-an active form of ‘hearing’ which is more a passive act-कीर्तनम्,- kIrtanam

Besides the Tauryatrika concept of music of gandharva as Gita, Vadya and

All three are indispensable in a krti.

A detailed analysis of the melodic aspects of the Krti s of E³³app¡¿a¯

xÉuÉï sÉÉãMãüwÉÑ xÉÉ aÉëÉqÉÉã rÉ§É ÌlÉirÉqÉç urÉuÉÎxjÉiÉÈ||

¢qÉÉ¨Éç xuÉUÉhÉqÉç xÉmiÉÉlÉÉqÉç

स्वर: स्वतॊ रन्जयति इति स्वर:

राग:रन्जयति इति राग:

സ്വര: സ്വതൊ രന്ജയതി ഇതി സ്വര:

രാഗ:രന്ജയതി ഇതി രാഗ:

ranjanam or gratification arising out of music is when the melody is soothing or

rÉÉåÅxÉÉæ kuÉÌlÉ ÌuÉzÉåwÉxiÉÑ xuÉUuÉhÉï ÌuÉpÉÔÌwÉiÉ:|

The advent of the different systems of classification of rāgas, by Matanga’s

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

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

14. ¾ukav¡gamrut¡bdh§ndµ cakrav¡ka¯Ä rÀpaka¯Ä