Theory and FAQs [Frequently Asked Questions] - Carnatic Music

What is a tala? ताला, ತಾಳ ಅಂದರೇನು?

What is a raga? ರಾಗ ಅಂದರೇನು?

What are sapta swaras? ಸಪ್ತ ಸ್ವರಗಳು ಅಂದರೇನು?

Sa Ri Ga Ma Pa Da Ni# ಸ ರೀ ಗ ಮ ಪ ಧಾ ನಿ

sapta swaras are the primary building blocks of indian/carnatic music. these comprise of 5 vikriti and 2 prakriti swaras or notes

Sa - Shadja -  ಸ - ಷಡ್ಜ Prakriti note [swara] 

Ri - Rishabha, ರೀ - ರಿಷಭ 

Ga - Gaandhara, ಗ - ಗಾಂಧಾರ  

Ma - Madhyama, ಮ - ಮಧ್ಯಮ 

Pa - Panchama - Prakriti note [swara], ಪ ಪಂಚಮ, ಪ್ರಕೃತಿ ಸ್ವರ 

Da - Daivata, ದ - ಧೈವತ 

Ni - Nishada, ನಿ - ನಿಷಾದ, 

 Basic lessons are taught in Raga Mayamalava Gowla - which is the 15th of the 72 Grand or full scale raga

What is Tana? ತಾನ ಅಂದರೇನು?

What is Basic Structure of a Carnatic concert? ಕರ್ನಾಟಕ  ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತದ

Wht is Kalpana Swaras? ಕಲ್ಪನಾ ಸ್ವರಗಳು ಅಂದರೇನು? 

What is Alapana? ಆಲಾಪನೆ ಅಂದರೇನು?

What  is the structure of a Carnatic song? ಕರ್ನಾಟಕ ಕೃತಿಯ structure

What are the types of compositions? ರಚನೆಗಳ
What is the difference between: Swarajati and Jathiswara? swarajathi ಮತ್ತು ಜಥಿಸ್ವಾರಗಳಿಗೆ ವೆತ್ಯಾಸ ಏನು?

This is the question that usually gets asked frequently. Jatisvaras do not have a sahitya. Svarajatis have sAhitya, but many a times the sAhitya is not taught to students thus making the difference disappear.

Except for the three "heavy-weight" svarajatis by Shama Shastri galu [gal], Shama Shatrigal's swarajathis get sung in concerts more frequently [how frequently is another point] than its other cousins like Khamas or Kalyani.

What is the organisation of the full scale ragas or melakarta raga ಮೇಳಕರ್ತ ರಾಗ or parent ragas?

Popular

MELAKARTA CHART - based on learned Venkatamukhi's Ka-Ta-Pa-Ya-adi formula/sheme

CHAKRA 1 - INDU

MELA NUMBER

MELA NAME

AROHANA ಆರೋಹಣ 

AVAROHANA ಅವರೋಹಣ 

1

Kanakangi, ಕನಕಾಂಗಿ 

S R1 G1 M1 P D1 N1 S'

S N1 D1 P M1 G1 R1 S'

2

Ratnangi, ರತ್ನಾಂಗಿ,

S R1 G1 M1 P D1 N2 S'

S N2 D1 P M1 G1 R1 S'

3

Ganamoorti, ಗಾನಮೂರ್ತಿ,

S R1 G1 M1 P D1 N3 S'

S N3 D1 P M1 G1 R1 S'

4

Vanaspati, ವನಸ್ಪತಿ,

S R1 G1 M1 P D2 N2 S'

S N2 D2 P M1 G1 R1 S'

5

Manavati, ಮಾನವತಿ,

S R1 G1 M1 P D2 N3 S'

S N3 D2 P M1 G1 R1 S'

6

Tanaroopi, ತಾನರೂಪಿ,

S R1 G1 M1 P D3 N3 S'

S N3 D3 P M1 G1 R1 S'

CHAKRA 2 - NETRA, ನೇತ್ರ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

7

Senavati, ಸೇನಾವತಿ,

S R1 G2 M1 P D1 N1 S

S N1 D1 P M1 G2 R1 S'

8

Hanumatodi, ಹನುಮತೋಡಿ,

S R1 G2 M1 P D1 N2 S

S N2 D1 P M1 G2 R1 S

9

Dhenuka, ಧೇನುಕ,

S R1 G2 M1 P D1 N3 S'

S N3 D1 P M1 G2 R1 S

10

Natakapriya,  ನಾಟಕಪ್ರಿಯ,

S R1 G2 M1 P D2 N2 S

S N2 D2 P M1 G2 R1 S

11

Kokilapriya, ಕೋಕಿಲಪ್ರಿಯ,

S R1 G2 M1 P D2 N3 S

S N3 D2 P M1 G2 R1 S

12

Roopavati, ರೂಪವತಿ,

S R1 G2 M1 P D3 N3 S

S N3 D3 P M1 G2 R1 S

CHAKRA 3 - ಅಗ್ನಿ, ಅಗ್ನಿ 

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

13

Gayakapriya, ಗಾಯಕಪ್ರಿಯ,

S R1 G3 M1 P D1 N1 S

S N1 D1 P M1 G3 R1 S

14

Vakulabharanam, ವಕುಳಭಾರಣಂ,

S R1 G3 M1 P D1 N2 S

S N2 D1 P M1 G3 R1 S

15

Mayamalavagowla, ಮಾಯಾಮಾಳವಗೌಳ,

S R1 G3 M1 P D1 N3 S

S N3 D1 P M1 G3 R1 S

16

Chakravakam, ಚಕ್ರವಕಂ,

S R1 G3 M1 P D2 N2 S

S N2 D2 P M1 G3 R1 S

17

Suryakantam, ಸುರ್ಯಕಂತಂ.

S R1 G3 M1 P D2 N3 S

S N2 D2 P M1 G3 R1 S

18

Hatakambari,  ಹತಕಂಬರಿ,

S R1 G3 M1 P D3 N3 S

S N3 D3 P M1 G3 R1 S

CHAKRA 4 - VEDA, ವೇದ, 

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

19

Jhankaradhwani, ಝಂಕಾರಧ್ವನಿ,

S R2 G2 M1 P D1 N1 S

S N1 D1 P M1 G2 R2 S

20

Natabhairavi, ಕೀರವಾಣಿ,

S R2 G2 M1 P D1 N2 S

S N2 D1 P M1 G2 R2 S

21

Keeravani, ಕೀರವಾಣಿ,

S R2 G2 M1 P D1 N3 S

S N3 D1 P M1 G2 R2 S

22

Kharaharapriya, ಖರಹರಪ್ರಿಯ,

S R2 G2 M1 P D2 N2 S

S N2 D2 P M1 G2 R2 S

23

Gowrimanohari,  ಗೌರಿಮನೋಹರಿ, 

S R2 G2 M1 P D2 N3 S

S N3 D2 P M1 G2 R2 S

24

Varunapriya, ವರುಣಪ್ರಿಯ,

S R2 G2 M1 P D3 N3 S

S N3 D3 P M1 G2 R2 S

CHAKRA 5 - BANA, ಬಾಣ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

25

Mararanjani, ಮಾರರಂಜನಿ, 

S R2 G3 M1 P D1 N1 S

S N1 D1 P M1 G3 R2 S

26

Charukesi, ಚರುಕೆಸಿ,

S R2 G3 M1 P D1 N2 S

S N2 D1 P M1 G3 R2 S

27

Sarasangi, ಸರಸಾಂಗಿ, 

S R2 G3 M1 P D1 N3 S

S N3 D1 P M1 G3 R2 S

28

Harikambhoji, ಹರಿಕಾಂಭೋಜಿ,

S R2 G3 M1 P D2 N2 S

S N2 D2 P M1 G3 R2 S

29

Dheera shankarabharana, ಧೀರ ಶಂಕರಾಭರಣ,

S R2 G3 M1 P D2 N3 S

S N3 D2 P M1 G3 R2 S

30

Naganandini, ನಾಗಾನಂದಿನಿ,

S R2 G3 M1 P D3 N3 S

S N3 D3 P M1 G3 R2 S

CHAKRA 6 - RUTU, ಋತು,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

31

Yagapriya, ಯಾಗಪ್ರಿಯ,

S R3 G3 M1 P D1 N1 S

S N1 D1 P M1 G3 R3 S

32

Ragavardhini, ರಾಗವರ್ಧಿನಿ,

S R3 G3 M1 P D1 N2 S

S N2 D1 P M1 G3 R3 S

33

Gangeyabhooshani, ಗಂಗೆಯಭೂಸ್ಹನಿ,

S R3 G3 M1 P D1 N3 S

S N3 D1 P M1 G3 R3 S

34

Vagadheeswari, ವಗಧೀಸ್ವರಿ,

S R3 G3 M1 P D2 N2 S

S N2 D2 P M1 G3 R3 S

35

Soolini, ಶೂಲಿನಿ,

S R3 G3 M1 P D2 N3 S

S N3 D2 P M1 G3 R3 S

36

Chalanata, ಚಲನಾಟ,

S R3 G3 M1 P D3 N3 S

S N3 D3 P M1 G3 R3 S

CHAKRA 7 - RISHI, ರಿಷಿ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

37

Salagam, ಸಲಗಂ,

S R1 G1 M2 P D1 N1 S

S N1 D1 P M2 G1 R1 S

38

Jalarnavam, ಜಲರ್ನವಂ,

S R1 G1 M2 P D1 N2 S

S N2 D1 P M2 G1 R1 S

39

Jhalavarali, ಝಾಲವರಾಳಿ,

S R1 G1 M2 P D1 N3 S

S N3 D1 P M2 G1 R1 S

40

Navaneetam, ನವನೀತಂ,

S R1 G1 M2 P D2 N2 S

S N2 D2 P M2 G1 R1 S

41

Pavani, ಪಾವನಿ,

S R1 G1 M2 P D2 N3 S

S N3 D2 P M2 G1 R1 S

42

Raghupriya, ರಘುಪ್ರಿಯ,

S R1 G1 M2 P D3 N3 S

S N3 D3 P M2 G1 R1 S

CHAKRA 8 - VASU, ವಸು,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

43

Gavambodhi/ ಗವಾಂಬೋಧಿ,

S R1 G2 M2 P D1 N1 S

S N1 D1 P M2 G2 R1 S

44

Bhavapriya, ಭವಪ್ರಿಯ,

S R1 G2 M2 P D1 N2 S

S N2 D1 P M2 G2 R1 S

45

Subhapantuvarali, ಸುಭಾಪಂತುವರಲಿ,

S R1 G2 M2 P D1 N3 S

S N3 D1 P M2 G2 R1 S

46

Shadvidhamargini, ಶದ್ವಿಧಮರ್ಗಿನಿ,

S R1 G2 M2 P D2 N2 S

S N2 D2 P M2 G2 R1 S

47

Suvarnangi, ಸುವರ್ನಂಗಿ,

S R1 G2 M2 P D2 N3 S

S N3 D2 P M2 G2 R1 S

48

Divyamani, ದಿವ್ಯಾಮಣಿ,

S R1 G2 M2 P D3 N3 S

S N3 D3 P M2 G2 R1 S

CHAKRA 9 - BRAHMA, ಬ್ರಹ್ಮ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

49

Dhavalambari, ಧವಲಂಬರಿ,

S R1 G3 M2 P D1 N1 S

S N1 D1 P M2 G3 R1 S

50

Namanarayani, ನಮನರಯನಿ,

S R1 G3 M2 P D1 N2 S

S N2 D1 P M2 G3 R1 S

51

Kamavardhini, ಕಾಮವರ್ಧಿನಿ,

S R1 G3 M2 P D1 N3 S

S N3 D1 P M2 G3 R1 S

52

Ramapriya, ರಾಮಪ್ರಿಯ,

S R1 G3 M2 P D2 N2 S

S N2 D2 P M2 G3 R1 S

53

Gamanasrama, ಗಮನಸ್ರಮ,

S R1 G3 M2 P D2 N3 S

S N3 D2 P M2 G3 R1 S

54

Viswambari, ವಿಸ್ವಂಬರಿ,

S R1 G3 M2 P D3 N3 S

S N3 D3 P M2 G3 R1 S

CHAKRA 10 - DISHI, ದಿಶಿ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

55

Syamalangi, ಸ್ಯಮಲಂಗಿ,

S R2 G2 M2 P D1 N1 S

S N1 D1 P M2 G2 R2 S

56

Shanmukhapriya, ಷಣ್ಮುಖಪ್ರಿಯ,

S R2 G2 M2 P D1 N2 S

S N2 D1 P M2 G2 R2 S

57

Simhendramadhyamam, ಸಿಮ್ಹೆಂದ್ರಮಧ್ಯಮಂ,

S R2 G2 M2 P D1 N3 S

S N3 D1 P M2 G2 R2 S

58

Hemavati, ಹೇಮಾವತಿ,

S R2 G2 M2 P D2 N2 S

S N2 D2 P M2 G2 R2 S

59

Dharmavati, ಧರ್ಮವತಿ,

S R2 G2 M2 P D2 N3 S

S N3 D2 P M2 G2 R2 S

60

Neetimati, ನೀತಿಮತಿ,

S R2 G2 M2 P D3 N3 S

S N3 D3 P M2 G2 R2 S

CHAKRA 11 - RUDRA, ರುದ್ರ,

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

61

Kantamani, ಕಾಂತಾಮಣಿ,

S R2 G3 M2 P D1 N1 S

S N1 D1 P M2 G3 R2 S

62

Rishabhapriya, ರಿಷಭಪ್ರಿಯ,

S R2 G3 M2 P D1 N2 S

S N2 D1 P M2 G3 R2 S

63

Latangi, ಲತಾಂಗಿ, 

S R2 G3 M2 P D1 N3 S

S N3 D1 P M2 G3 R2 S

64

Vachaspati, ವಾಚಸ್ಪತಿ 

S R2 G3 M2 P D2 N2 S

S N2 D2 P M2 G3 R2 S

65

Mechakalyani, ಮೇಚಕಲ್ಯಾಣಿ 

S R2 G3 M2 P D2 N3 S

S N3 D2 P M2 G3 R2 S

66

Chitrambari, ಚಿತ್ರಾಂಬರಿ 

S R2 G3 M2 P D3 N3 S

S N3 D3 P M2 G3 R2 S

CHAKRA 12 - ADITYA, ಆದಿತ್ಯ 

MELA NUMBER

MELA NAME

AROHANA

AVAROHANA

67

Sucharitra, ಸುಚರಿತ್ರ 

S R3 G3 M2 P D1 N1 S

S N1 D1 P M2 G3 R3 S

68

Jyotiswaroopini, ಜ್ಯೋತಿಸ್ವರೂಪಿಣಿ 

S R3 G3 M2 P D1 N2 S

S N2 D1 P M2 G3 R3 S

69

Dhatuvardhini, ಧಾತುವರ್ಧಿನಿ 

S R3 G3 M2 P D1 N3 S

S N3 D1 P M2 G3 R3 S

70

Nasikabhooshani, ನಾಸಿಕಾಭೂಷಿಣಿ 

S R3 G3 M2 P D2 N2 S

S N2 D2 P M2 G3 R3 S

71

Kosalam, ಕೊಸಲಂ 

S R3 G3 M2 P D2 N3 S

S N3 D2 P M2 G3 R3 S

72

Rasikapriya, ರಸಿಕಪ್ರಿಯ 

S R3 G3 M2 P D3 N3 S

S N3 D3 P M2 G3 R3 S

Who are the cheif composers in the South Indian or Carnatic music? ಮುಖ್ಯ ವಾಗ್ಗೆಯ್ಯಕರರು ಯಾರು

How many songs did Thyagaraja write? One comes across various numbers: Some claim that he wrote 22,400 songs, equal in number to the slokas in Valmiki’s Ramayana. Others maintain that the number is around 1000. Still others say that only some 800 songs are available. So, I got rather curious and began to list all the songs systematically. I consulted the following well known books on Thyagaraja: [1] C. Ramanujachari, The Spiritual Heritage of Thyagaraja, Sri Ramakrishna Math, Madras, 1981. [2] T.K. Govinda Rao, Compositions of Thyagaraja, Ganamandir Publications, India, 1995. [3] Bhavaraju Narasimharao, T.S. Parthasarathy, "Sangita Jagadguru Sri Thyagaraja Kirtanalu" (in Telugu), Triveni Publishers, Machilipatnam, 1988. Part-1,2,3 [4]Kalluri Veerabhadra Shastri, "Thyagaraja Keertanulu," published by Swadharma Swaarajya Sanghamu, 10 Padma Rao Nagar, Secunderabad, AP & 95 Broadway, Chennai 1, 1975. [5] N.C. Parthasarathy, Dwaraka Parthasarathy, "Thyagaraja Kirthanalu", Part I & II, (in Telugu), Tagore Publishing House, Hyderabad, 1994. I came up with a total of 710 songs. I must mention that there are some factors that may render this number inaccurate. The first obvious factor is that my search may not be comprehensive. Secondly, there are several songs that are believed to have been composed by others – with Thyagaraja mudra! Why did they do this - to immortalize themselves in a wrong way? Who were these people - clearly they must have been very capable musicians that lived after Thyagaraja’s death (1847) and we know most of them by name! The books referenced above claim a total of 23 songs whose authenticity is doubtful. They are: Abhimanamu ledemi (Andali), Diname Sudinamu (Latangi), Elara Sri Krishna (Kambhoji), Endu Bayara Daya Inakulathilaka Daya (Dhanyasi), Evarunnaru (Malavasri), Ganamurthe (Ganamurthy), Garudagamana (Gowri Manohari), Maaravairi (Nasikabhushani), Nata Jana (Simhendramadhyamam), Ni Balama Nama Balama (Anandabhairavi), Paraamukhamelara (Surati), Paripurna Kama (Hamsabhramari), Parulanu Vedanu (Balahamsa), Raghunayaka (Hamsadhwani), Rama Namamu (Atana), Ranganaayaka (Sankarabharanam), Sarasa Netra (Sankarabharanam), Sarasiruha Nayane (Amritavarshini), Tarama Ni Mahima (Kalyani), Vanaja Nayanudani (Kedara Gowla), Vedalenu (Todi), Vinatasuta (Harikambhoji) and Nidu Charana (Simhendramadhyamam). In any case, the songs available fall into some natural categories. In no specific order, we begin with the set of five matchless, monumental, demanding Carnatic music compositions, namely the Ghana Raga Pancharatna Kritis. Whether these were treated as such a set at the time of Thyagaraja is a valid question. The answer that I often come across is “No. They were first so treated by Maharajapuram Viswanatha Iyer in early 20th century”. Two musical operas written by Thyagaraja are available, namely Nauka Charitram and Prahlada Bhakti Vijayam. (He is said to have written a third opera “Sita Rama Vijayam” which is not available today). They contain 20 & 42 songs respectively. Nauka Charitram is a light-hearted account of how Krishna goes out on a boat ride with several Gopikas, when the boat gets caught in a storm. I do find this to be a very unique theme among all of Thyagaraja’s works, in that it is rather secular in spirit and not heavy with devotion or vairagya. In fact, we even see traces of romance in some of the songs, which I found nowhere else in his compositions. Nice to know that Thyagaraja was also human! Then we have the popular, relatively easier set of compositions called Utsava/Bhajana Sampradaya Kirtanas. How many songs form this set? My search came up with 29 songs in this category: They are – in sequence-: Hechcharikaga Rara (Yadukulakambhoji), Koluvaiyunnade (Devagandhari), Sita Kalyana (Sankarabharanam), Napali Sri Rama (Sankarabharanam), Nagumomu Galavani (Madhyamavati), Jaya Mangalam Nitya Subha Mangalam (Ghanta), Jaya Mangalam Nitya Subha Mangalam (Nadanamakriya), Patiki Haratiire (Surati), Sobhane (Pantuvarali), Aragimpave (Todi), Pula Panpu (Ahiri), Badalika Dira (Ritigowla), Uyyala Lugavayya (Nilambari), Lali Lali Yani Yuchare (Harikambhoji), Lali Lalayya Lali (Kedara Gowla), Rama Sri Rama Lali (Sankarabharanam), Lali Yugave (Nilambari), Sri Rama Rama Sri Maanasaabdhi Soma (Nilambari), Rama Rama Rama Lali Sri Rama Rama Rama Laavanya Lali (Sahana), Jo Jo Jo Rama (Ritigowla), Melukovayya (Bhouli), Meluko Dayanidhi (Sowrashtra), Raksha Bettare (Bhairavi), Janakinayakunaku Jaya Mangalam (Dhanyasi), Ma Ramachandruniki Jaya Mangalam (Kedaragowla), Patiki Mangala Haarathire Bhamalaara (Arabhi), Lali Gunasali (Kedaragowla) and Makulamunakihapara Mosagina Niku Mangalam Subha Mangalam (Surati). Please note that 3 of the above are also counted in Nauka Charitram or Prahlada Bhakti Vijayam operas. Next, there is a set of songs referred to as Divya Nama Kirtanas, which number a total of 75 according to Kalluri Veerabhadra Sastry. Most of them are about Sri Rama, with a couple being about Tulasi etc. In terms of musical sophistication and complexity, I would think they rank between Utsava/Bhajana Sampradaya kirtanas and the ‘formal kritis’ (heavy weights!). They range from simple songs like Dasaratha Nandana (Asaveri) to stately ones such as Re Maanasa Chintaya, Sri Ramaam (Todi). Among the remaining ‘formal kritis’, one can identify a number of groups of kritis. For instance, there are the Sthala Compositions written when Thyagaraja was visiting various places (generally around temples). Among them are the well known Pancharatnas (sets of 5 kritis): Srirangam Pancharatnas in praise of Lord Rangaraju/Ranganatha; Lalgudi Pancharatnas in praise of Goddess Sri Lalitha (the Sanskrit name for Lalgudi is Tapas Tirtha, which appears in the kriti lyrics); Thiruvottiyur Pancharatnas in praise of Tripura Sundari (when Thyagaraja visited Vina Kuppayyar at Thiruvottiyur, 6 miles north of Chennai); Kovur Pancharatnas in praise of Lord Siva/Sundareswara (when Thyagaraja visited Sundara Mudaliar at Kovur, 15 miles south of Chennai). At a few other places, Thyagaraja composed songs in praise of the local deity, although not in sets of 5. For instance, he composed 3 songs in Kanchi, 2 songs in Tirupati and 1 song at the Parthasarathy temple at Thiruvalikkeni in Chennai. There is another interesting Pancharatna termed as Narada Pancharatna. They consist of the following 5 songs related to Divine Sage Narada: Narada Ganalola (Atana), Naradaguruswami (Darbar), Sri Narada Muni (Bhairavi), Sri Narada Nada Sarasiruha (Kaanada), Vara Narada (Vijaya Sri). Of course, one can go on driven by one’s own fancy and come up with various other classes of songs such as Songs about Rama, Songs about other Gods/Goddesses, Songs about People, Songs about his own Life, Songs of Longing and Pleading, etc etc. I shall not bore you with such excercises. But one class does seem to have some merit, namelySongs about Music & Musicians. Thyagaraja composed a number of beautiful songs about nature of music – swaras, tala, laya-, about musicians that he revered, about how music should be sung, about how it originates in the human body as well as the concepts of primordial form of sound and music, namely Nada. The ones that I could identify are: Nada loludai (Kalyana Vasantham), Nadopasanache (Begada), Nada Tanum (Chittaranjani), Nada Sudha Rasam (Arabhi), Swara Raga Sudha (Sankarabharanam), Vidulaku Mrokkeda (Mayalawagowla), Raga sudha rasa (Andolika), Samaja Varagamana (Hindolam), Mokshamu Galada (Saramati) and Vararagalaya (Chenchukambhoji). Having spent this much time on getting an idea of the totality of songs that Thyagaraja wrote, let us now look at the Ragas that he composed in. According to my count, he composed in 215 ragas. I constructed the following graph to show some of the ragas in which he composed 10 or more songs.  It is interesting to see that Sankarabharanam tops the list, followed by Todi. Were these Thyagarja’s favorite Ragas? In a conversation with Sanjay Subramaniam, he cautioned me about such conclusions: One must keep in mind that these numbers include simpler kirtanas (of which there are quite a few in Sankarabharanam) as well as heavy kritis. If one looks at the weightier compositions, Todi would be first. Of the remaining, there are: 9 kritis each in Asaveri, Ghanta and Surati; 8 kritis each in Balahamsa and Dhanyasi;  7 kritis each in Huseni, Kambhoji and Saranga;  6 kritis in Nilambari;  5 kritis each in Desya Todi, Gowlipantu, Sri Ranjani, Suddhasaveri and Yamuna Kalyani ; 4 kritis each in Ahiri, Anandabhairavi, Kannada, Mayamalava Gowla and Narayana Gowla;  3 kritis each in Bangala, Devamanohari, Janaranjani, Jayamanohari, Kuntalavarali, Nayaki, Purnachandrika, Purvikalyani, Sri and Suddha Bangala;  2 kritis each in Abhogi, Amir Kalyani, Chakravakam, Chandrajyoti, Chayatarangini, Garudadhvani, Gowri Manohari, Hamsadhwani, Hindolam, Isamanohari, Jaganmohani, Kaanada, Kalavati, Kalyana Vasantam, Kannadagowla, Kantamani, Kedara, Khamas, Kiranavali, Kokiladhwani, Latangi, Malavasri, Nadanamakriya, Narayani, Nata, Natakuranji, Navarasa Kannada, Phalamanjari, Ragapanjaram, Ravichandrika, Salaga Bhairavi, Sama, Simhendramadhyamam, Sindhuramakriya, Suddha Desi and Vasanta Bhairavi;  and just 1 kriti in each of these ragas: Abheri, Amritavahini, Amritavarshini, Andali, Andolika, Bahudari, Bhavapriya, Bhinna Shadja, Bhouli, Bhupalam, Bhushavali, Bindumalini, Brindavanasaranga, Cenciruti, Charukesi, Chaya Nata, Chenchukambhoji, Chittaranjini, Churnika, Devakriya, Devamritavarshini, Dhenuka, Dipaka, Divyamani, Gambhiravani, Ganamurthy, Ganavaridhi, Gangeyabhushani, Ghurjari, Gopikavasantam, Gowla, Gowri, Gundakriya, Hamsabhramari, Hamsanadam, Hemavathi, Hindola Vasantam, Jaya Narayani, Jayantasena, Jayantasri, Jhankaradhwani, Jingla, Jujahuli, Kaikavasi, Kalakanti, Kalanidhi, Kalgada, Kamala Manohari, Kapinarayani, Kedaram, Kesari, Kiravani, Kokilapriya, Kokilavarali, Kolahalam, Kunjari, Lalita, Maaruva Dhanyasi, Malavi, Malaya Marutam, Manavati, Mandari, Mangalakaisiki, Manirangu, Manjari, Manohari, Manoranjani, Mararanjani, Margahindolam, Naadavaraangini, Nabhomani, Nadavarangini, Naga Gandhari, Naganandini, Nagaswaravali, Nalinakanthi, Nasikabhushani, Navanitham, Pharaju, Pratapavarali, Purna Lalita, Purnashadjam, Rama Manohari, Ramapriya, Ranjani, Rasali, Ratnangi, Revagupti, Rishabhapriya, Rudrapriya, Rupavati, Saramati, Sarasangi, Saraswati, Saraswati Manohari, Shadvidhamargini, Shanmukhapriya, Siddhasena, Simhavahini, Srimani, Sruti Ranjani, Subha Pantuvarali, Suddha Dhanyasi, Suddhasimantini, Sulini, Suposhini, Supradipa, Suryakantam, Swarabhushani, Swaravali, Takka, Tivravahini, Umabharanam, Vagadhiswari, Vakulabharanam, Vanaspati, Vanavali, Vardhani, Vasanta, Vasanta Varali, Vegavahini, Vijaya Sri, Vijayavasantam, Viravasantam and Vivardhani. All the above analysis is based on the available number of kritis, which is 710. What if really Thyagaraja wrote 22,400 kritis? Our results might very well be turned upside down! So, we should be cautious in translating these results to Thyagaraja’s personality and preferences.  Even if one would dispute the 22,400 number, there are 2 very specific issues that I want to bring to your attention. Thyagaraja himself in his own songs refers to (1) Sata Raga Ratna Malika and (2) Kirtana Susatakam. The first comes from the song “Raga Ratna Malika che” in Ritigowla raga. It refers to a garland of 100 kritis in 100 ragas. Do we know what songs and ragas these are? The second phrase comes from the song “Aparaadhamula noorva” in Vanali raga. In it, he pleads that he, who composed a set of 100 good songs, should be saved. Again, which are these songs? Is it possible that Thyagaraja is using these phrases in a loose way, saying 100 for ‘many’?  Elsewhere I read that Thyagaraja composed in all 72 melakarta ragas. I have to recheck carefully, but I don’t think my collection has them all. Are the others simply lost? And then there is the question of the dates of various compositions. When did Thyagaraja write which song – date/month/year? At least do we know the sequence in which the songs were written? Which were during his early years, which during his middle age and which when he was a ripe old man? Other than a very few examples, my readings did not reveal much in this direction. Given that Thyagaraja had several students that faithfully copied down the lyrics and swaras of each end every song in a very systematic way, could they not have noted down the date of compositions in some corner? Or did they? I’d only love to know!  As is often the case, when one begins to ask hard questions about the great man that lived but only 150 years ago – when even photography was available in its early days! – I find myself with more questions than answers.  Disheartening at first. But then… sometimes, is it not better to think about some questions rather than be fed with lots of answers? May be. Finally, I must remind myself that real purpose of music is not to be written about, not to be thought about – it is to be heard. It is to be affected in one’s body and mind and soul (if there is one). It is to be carried to higher heights of purity, excellence and inspiration. It is to feel the gratitude to Thyagaraja – the creator and to the Musician – for rendering it today; for Providence – for willing us to listen.  So, I started to make my own collection of renderings of Thyagaraja’s songs – as many as I could lay my hands on, but all in vocal style, as I like to listen to the words as well. I did not want to be limited to only my favorite singer(s) – for, all trained musicians interpret and celebrate Thyagaraja in their own unique, scholarly and human ways.  So, I chose as many singers as possible. I ended up with 53 artists – some beginners and others veterans. They are: M.L. Vasantakumari, M.Balamuralikrishna, Hyderabad Brothers, Bombay Sisters, Maharajapuram Santanam, M.S. Subbulakshmi, Nagavalli Nagaraj, Indu Vasudevan, Jesudas, Sitalakshmi Madhavan, Sudha Raghunathan, Voleti Venkateswarlu, Srirangam Gopalaratnam, Nedunuri Krishnamurthy,Sanjay Subramaniam, T.M. Krishna, G.N. Balasubramaniam, D.K. Pattammal, Hyderabad Sisters, D.K. Jayaraman, Chembai Vaidyanatha Bhagavathar, K.V. Narayanaswamy, Musiri Subramania Iyer, Madurai Somasundaram, Sangeeta Sivakumar, Shankaran Naboodri, Madurai Mani Iyer, Nityashree, Balaji Shankar, T.N. Seshagopalan, Araikudi Ramanuja Iyengar, N.V. Parthasarathy, Raji Gopalakrishnan, Radha Jayalakshmi, Ashok Ramani, Savitri Ramanand, Rudrapatnam Brothers, Trichur Ramachandran, O.S. Thyagarajan, S. Gayatri, Sheela Ramaswamy, T.V. Shankaranarayan, Maharajapuram Viswanatha Iyer, Priya Sisters, Sugandha Kalamegham, Sowmya, Sriram Gangadharan, Semmangudi Srinivasa Iyer, Neyveli Santanagopalan, M.S. Sheela, Unnikrishnan, Sandhyavandanam Srinivasarao and Jon Higgins.  I have been able to record a total of 348 songs on some 25 tapes. If you like to copy them, please do get in touch with me. I will be happy to share them with you – all admirers of Thyagaraja are friends, by my definition! The sound quality is mostly OK, although sometimes poor. But then, it is Thyagaraja’s music and rendered by some the best musicians of our times. Diamonds keep their value even in dirty mines, don’t they?

What is an RTP? ರಾಗ ತಾನ ಪಲ್ಲವಿ ಅಂದರೇನು?

What is the difference between Indian and Western music? ಭಾರತ ಮತ್ತು ಪಾಶ್ಚಿಮಾ ಸಂಗೀತ

What is a Janya Raga? ಜನ್ಯ ರಾಗ ಅಂದರೇನು?

What is a Janaka Raga? ಜನಕ ರಾಗ ಅಂದರೇನು?

What is a Vakra ರಾಗ? ವಕ್ರ ರಾಗ ಅಂದರೇನು?

What is Tani Avartana? ಆವರ್ತನ ಅಂದರೇನು?

What is KavaDicindu? ಕಾವಡಿ ಚಿಂದು ಅಂದರೇನು?

KavaDicindu is a generic name for a variety of tamil folk song composed and popularized by Annamalai Reddiar. The songs have stanzas but no pallavi, anupallavi and caraNa divisions. Some are set to common ragas like cenjuruTi and Anandabhairavi but most others are based on harikAmbhOji notes. The songs are menat to be sung by people who carry the kAvaDias an offering. Most are in praise of Subramanya and are steeped in bhakti. In the concerts kAvaDicindu finds a place at the tail end among the tukkaDAs.

What is Tiruppugazh? ತಿರುಪ್ಪುಗಲ್ ಅಂದರೇನು?

Tiruppugazh songs are devotional verses composed by Arunagirinathar who is reputed to have lived from 1480 to 1600. All are set in ragas that are currently in vogue (probaly tuned by contemporary artists). Many are set in complicated talas. The language is old style tamil and is difficult to follow sometimes. There are hundreds of Tiruppugazh songs all of them in praise of the supreme being. Bhajan groups get together on a regular basis and sing tiruppugazh songs. These also find a place in a modern concert among the tukkaDAs.


What is Thevaram? ಥೆವರಂ ಅಂದರೇನು
From Wikipedia Tevaram (Tamil: தேவாரம் Teva means "God", aram means "garland"[1] ) denotes the first seven volumes of the Tirumurai, the twelve-volume collection of Tamil Saivite devotional poetry. All seven volumes are dedicated to the works of the three most prominent Tamil poets (known as Nayanars) - Campantar (or Sambanthar etc.), Appar and Cuntarar (also Sundarar etc.). The first two of these are believed to have lived around the 7th century AD, the last in the 9th century AD. During the Pallava period these three travelled extensively around Tamil Nadu offering discourses and songs characterised by an emotional devotion to Shiva and objections to Vaishnavism, Jainism and Buddhism.[2]. In the tenth Century AD, during the reign of Rajaraja Chola I, a collection of these songs was found abandoned in the Chidambaram temple, along with other religious literary works, and collated by Nambiyandar Nambi. All the songs in the Tevaram (called pathikam in Tamil) are believed to be in sets of ten. The hymns were set to music denoted by Panns and are part of the canon of the Tamil music. They continue to be part of temple liturgy ಟುಡೇ.