7 Talas with symbols and it's combination with 5 Jaatis giving 35 akshara combinations.

There are 12 Mudras called Dwdasha Mudras: 

Mudra is a unique signature of a Carnatic Music composer, which is woven into some or all of their respective compositions Not all composers have mudras, and they do not necessarily relate to the composer's name only. Some mudras signify the name of the raga used in the composition, some represent the tala, some describe the place in which the composition was composed. 

i. Vaggeyakaramudra – SwaNama or Pen name 

ii. Raga mudra 

iii. Tala Mudra 

iv. Acharya Mudra 

v. Raja Mudra 

vi. Vamsha Mudra 

vii. Prabandha Mudra 

viii. Nayaka Mudra 

ix. Sthala Mudra 

x. Birudu Mudra 

xi. Lakshana Grantha Mudra 

xii. Samvatsara Mudra

A DAY SPENT WITHOUT LISTENING TO HIS MUSIC IS A DAY WASTED

My heart fills with gratitude as I pen this small note about my manasika guru the Inexplicable Genius Sangeetha Ratna Dr M Balamuralikrishna sir.

Alphabets, Kagunitas, Words, Sentences, Poems, Prose will all fail to construe his music and personality. Music cannot be explained or exclaimed; one has to really listen to Balamuralikrishna sir, to experience the experience of experience. You cannot allocate or formalize his music to any grammar or musicology, for he is an artist who can exemplify a new grammar, a new thought process, a new pattern capable of procreation of new ideas and impressions for students who want to quench their thirst with a drink called Knowledge.

As a student of music I have had the opportunity to study his compositions in cue and adore the beauty of it like a small child. I always relive the Poem we used to sing during our school days...
”Twinkle Twinkle little star 
how I wonder what you are. “
After pondering over trivial details of his compositions I have wondered not once but many hundred times “Oh music star, I really wonder what you really are??”

A day spent without listening to his music is a day wasted.
Like we all know that Krishna though was an avatar he had so many facets. Krishna born to Vasudeva Devaki, Krishna who would steal butter, Krishna who would loiter with gopika’s, Krishna who could destroy Khamsa and Pootani, The conversation between the Black and White ( Bhagavatgeetha) .Here is the same with Balamuralikrishna. There is a Singer Balamuralikrishna, Composer Balamuralikrishna, Music Director Balamuralikrishna, Actor Balamuralikrishna, Instrumentalist Balamuralikrishna and the child like Balamuralikrishna.

Balamuralikrishna sir is an asset to the country and to Bharatiya Sangeetha for his exceedingly luminous contribution to the Gnana Sattra.

“ Nee Paatalu naa Jeevamu Sudha madhuramu ”

Kindly join hands in extending the birthday greetings to the giant.

The Different Shades of Lalgudi Jayaraman sir’s Music:

What a delightful concert it was!!! A concept woven very intelligently with brilliant aesthetics making it a real tribute to, The One and Only `Lalgudi G Jayaraman sir`.

Every composition of his was covered in a duration of 120 minutes, including the once he had popularized, such as The Lalgudi pancharatna. It surely kept the crowd on their feet and I could make out many maamis and paatis sitting in our row, very curious of the next move.

With highly eminent vocalists like Bombay Jayashree ma’am and Abhishek Raghuram sir every bhava and subtleties were brought out in grandeur. Vittal sir and Kannan sir were at their best, they were not bowing the strings of their violin for they were playing the strings of the listener’s heart.

The swaras which were delicately picked from the Charukeshi Varna of Sri Lalgudi Jayaraman sir were encompassed to the kriti “ Mata laadamodi Galada “ to bring in the concept of Poruttam popularized by the Legend himself. The Grahabedha jatiswara got into every thillana composed by the master after the grabedha swara and portrayed some deep and intricate thinking put into composing the piece.

Sarvam Brahmamayam, in the end just melted the heart of the listeners. It left many, broken hearted for the program was over and many, with tears for having experienced such an intellectually, intuitional act.

Date: 01-07-2016
Venue: Music Academy, Chennai

‪#‎raorsharath‬, ‪#‎abhsihekraghuram‬, ‪#‎bombayjayashree‬, ‪#‎vittalramamurthy‬,‪#‎musicacadmy‬, ‪#‎chennai‬, ‪#‎lalgudijayaraman‬, ‪#‎charukeshi‬, ‪#‎thodi‬,‪#‎poruttham‬, ‪#‎varna‬, ‪#‎thillana‬, ‪#‎jatiswara‬

THE INFLUENCE OF BHADRACHALA RAMADAS ON SRI THYAGARAJA

The life of Bhaktha Ramadas has been the subject-matter for Harikathas and Devotional Dramas. They are the mainstay when we hear songs of Bhadrachala Ramadas. His songs find a place in Bhajans too, “Jaya Janaki Ramana” in the raga Naata is invariably sung in Bhajans as a “Thodaya Mangalam”. Studies two decades ago produced an authoritative edition of   “Ramadasu Keerthanalu”, compiled by the great Vainika Manchala Jagannatha Rao.

CONTEMPORARIES

Historical evidences available show that Vaggeyakaras Tallapaka Annamacharya [1424-1502 AD] and Purandaradas[1484-1564 AD] were contemporaries. Then came Kshetrayya[1600-1660] who poured eternal life into “ Pada Sahitya” and Bhadachala Ramadas [1620-1687], a great devotee of Sri Rama and a Vaggeyakara were contemporaries. Ramadasa was the only son of Kancharla Linganna, Mantri of Kondapalli Village, and Kamamba. He was christened Gopanna. But his devotion to Rama from childhood earned him the   "Ramadasa”. It is said that Bhaktha Kabirdas preached him the “Ramataraka mantra” and he wrote” Dasarathi Sathakam”, in which each poem ends with the words,“Dasarathi Karunapayonodhi”.

When Ramadasa was an official in the Tehsil of Bhadrachalam, Ramadasa utilized the contents of the Khajana for the construction of a mantapa and gopura for the temple of Sri Rama in Bhadrachalam, and for making ornaments for the deities. In his Keerthana in Kamboji “ Ikshvaku kula thilaka” he says ―

“Chuttu prakaramulu sompuga eheyisthi

gopura mantapatukuduruga kattisthi”

He made Ornaments, emerald padakam for Bharatha, Pearl padakam for Lakshamana, Gold padakam for Seeta. For uing the sarkar( government) money he was sentenced to imprisonment and after 12 years of his incarceration, it is stated that Rama-Lakshamana came in the guise of ordinary mortals, paid the amount due to the government and got Ramadasa released. It was on this occasion Ramadasa sang the beautiful composition: 

“ Emayya Rama Brahmendradulaku

naina nee maya deliya vasamaa”

It is said that Ramadasa composed most of his soul stirring songs when he was in Jail. After learning that Lord Rama himself had come to clear the debt of Ramadasa, Thanisha begged for forgiveness from Ramadasa. 

PLACE AS A VAGGEYAKARA

Although songs of Ramadas do not figure much in musical performances as those of Thyagaraja, Dikshitar or Shyama Shastri, Ramadas has a significant place among the composers of the pre Thyagaraja era. His compositions not only found an important place in bhajans, as those of Narayana Theertha, Mahakavi Venkatasubbier, Meera and Kabirdas, but also inspired future composers. 

There is no doubt that compositions of Ramadasa exerted considerable influene of Thyagaraja. In the opera, Prahallada Bhaktha Vijayamu Thyagaraja pays obeisance to Ramadasa in the Kanda padyam.

Kaliyugamuna vara Bhadra

Chalamuna nelakonna Rama-

Chandruni pada bhakutla

Kella varudanandagi velasina

Sree Rama Dasu vinuthintu madin

The reference to “Ramadasu” in the Thyagaraja krithi “Kavigiyuntekada” in Keeravani might be to Anjaneya or Bhadrachala Ramadas. But it appears that Thyagaraja’s mother sang to him in his childhood the songs of Bhadrachala Ramdas, and their influence accounted for the Saint’s devotion to Rama (Rama Bhakti), his dislike of mundane pleasures, as well as the nectar-like flow of Bhakti Bhava in his krithis.Ramdas influence on Thyagaraja could broadly be dealt with under the following four headings.

   1.  Ramabhakthi (devotion to Sree Rama)

   2. Krithi rachana (manner of composition)

   3.  Usage of similar words

   4.  Portrayal of similar bhava.

DEVOTION TO SRI RAMA

Bhakti marga, the path of devotion as enunciated in the Bhagavadgita, is the main theme of the compositions of Ramadas as well as Thyagaraja.  Although Thyagaraja composed kritis on deities like Vishnu,Siva,Amba, the majority of them were in praise of Rama, his Ishta Devata.It is interesting to note that, in “Prahlada Bhakta Vijayam”, Sreemannarayana gives darshan to Prahlada as Sree Seetha Rama.

It is a well-known fact that the “Keerthana” form was in vogue much earlier than the “Krithi”composition. And it was perhaps Thyagaraja who gave a definite shape to the “Krithi” form as finely enunciated in his “Sogasuga Mrigdanga Talamu” in Raga Sriranjini.Ramadas compositions were mainly “Keethana”; still he could be deemed as the forerunner of “Krithi” form as illustrated by the following compositions.

1.  Tharaka mantramu korina Dorikenu-Dhanyasai-Adi

2.  Rama Na manavini seyakura-Asaveri-Chapu

3.  Rama needaya raduga-Sahana-Triputa

4.  Emayya Rama-Kambhoji Jhampa

5.  Innikalgi Meerooramunna Nenevarivada noudu Rama-Kalyani-Adi

The above mentioned beautiful compositions give ample scope for Sangathis and also neraval. In his Ustava Sampradaya Keerthanas and Divya Nama Samkeerthanas, Thyagaraja followed the footsteps of his forerunners, Ramadas and Purandaradasa.

SIMILARITY IN USE OF WORDS

Both Ramadas and Thyagaraja chose mainly Vyavahrika Telgu in their compositions to make them appealing and easily understandable, although, in some of the compositions of Thyagaraja, we notice a more subtle and refined way of expression of ideas. There is however a striking similarity in the words and expressions used in the compositions by both. Some examples are cited below:

Ramdas-Devagandhari-Adi

Pallavi: 

Rama Rama Seetha Rama Rama Rama Rama Sita||

Charanam

Ch 1. Thappunencha boku nee goppatanamu chelladu ne neppudu nine nammiti thappaka nanu raksh||nchumu || Rama ||

Ch 2. Nammiti gaka na chettemounu nee kripa leka mimmu ne vededendaka mee sommainanu paraka ||

             

Thagaraja – Sankarabharanam –Adi

Pallavi 

                             Rama Seetha Rama Rama-Rama Seetha Rama Rama ||                                                                                            Rama ||

   Ch.1. Thappu lenna bothe maaku

            goppathanamu raadu, maa

          yappa dayajesi kandla

          gapppukoni paalimpave 

Ch.2. Daapuleka Nenu needu-

         Prapu korukonti gaani

          Repu maapanuchu dova-

         Joopaga radayya brova||

                                         Rama || 

 Ramadas – Poorvikalyani  -Triputa

 Pallavi

 Ananda mananda mayenu sree janaki

 Rama smaranamu cheyaga needu ||

                                                             Ananda ||

 Ch.1. Parama Sraddha kaligenu durita

          Jalamu lella tholagenu ||

                                                               Ananda ||

 Ch.4. Poorvakrithamu kanabadenu parama

          Pavanamaina sree hari seva galige nedu ||

                                                               

                                                                Ananda ||

 Ch.7.Ramabhaktula chera kalgitimi itara

         Kamamu lellanu veeda galgitimi ||

                                                                  

                                                                Ananda ||

  Ch.8. Parabhamala paini branti tolagenu memu

           Parula doshamu lenna morulannu neduradumu ||

                                                                  Ananda ||

 Thyagaraja – Bhairavi – Adi

 Pallavi

 Ananda mananda mayenu Brahma – Ananda ||

                       Ch.3. papamulaku bhaya manditi hrith thapamu

                  lella jala  jesiti rama nee padamu

                 luramuna numchi Poojinchitini ||

                                                       

                                                                        Ananda ||

 Ch.4. Kaliki aasalu rosinaramu.

          ee kaliki brathuku nama saramu 

          itlu paliki paliki tholagi poye vieharamu || 

                                                                         Ananda ||

In the song, “Endu daaginado” in varali, ramadas entreats. “O Rama, where are you hiding you who heard the enreaties of Gajendra, Draupadi and Dharmaraja and nt to their resue ?” similarly Thyagaraja in “Endu daaginado” in todi, asks “O Rama where are you hiding you, who is a Bhakta poshaka and went to the succor of prahlada an sugreeva?”

Again, “Rama! Naa moralakimpavemaya”in Aarabhi, Rmadas sings in  suppliant mood;” why don’t you listen to my prayer, O Rama who earned eternal fame in this world by giving “abhaya” to a stone ? Thyagaraja sings in devagandhari belonging to the same melakarta as Aarabhi “Naa moraalakimpavemi sree rama” “O Rama, who blessed sugreeva and vibheeshana, why do you fail to listen to my supplication?”

IMPORT AND MEANING

Ramadas and Thyagaraja stand apart from most other famous vaggeyakaras in one important respect. While the other vaggeyakaras sang about the form and characteristics of god in their compostions. Ramadas and Thyagaraja have explained morals, Upanishadie truths, essence of the Gita, etc. Thyagaraja’s compositions teach us the essence of the vedas, Puranas,Upanishads and the Gita, and hence great musicians have hailed them as Thyagopanishad.

While Ramadas sings that the sweetness of Rama nama excels that of the sweetest essence of delicious fruits,butter,etc. Thyagaraja sings of the mental peace and happiness (sukham) derived from Rama nama, which is much more than that derived from water by a thirsty man, from immense treasure by persons afflicted by poverty, from panchabhakshya paramananna by a hungry person and from even nectar by those in distress. Thyagaraja goes a step further; he says that the chanting of Rama nama gives more happiness than the manasa pooja or chintaa of Sree Rama!

Ramadasa-Poorvi Kalyani-Jhampa

O Rama Neenamamemi ruchira Sree Rama 

neenamamemi ruchira || O Rama ||

Ch.1. Kadalee karjoodradi phatamula kathikamou kammani nee nama memiruchira || O Rama ||

Ch.2. Nava rasamula kanna navaneethamulakante nadhikamau nee nama memiruchira || O Rama ||

Ch.3. Vasu jamboodraksha phala rasamula kante

Adhikamau nee nama memiruchira || O Rama ||

Thyagaraja-Saurashtra-Adi

Melu Melu Rama nama sukhamee dharalo manaa I 

phala lochana valmeekadi balanilajadulu saksigha || Melu ||

Ch.1. Nindu dahamu konna manujulaku neeru dagina sukhambu kante chanda daridrya manujulakudhana bhanda mabbina sukhambu kante || Melu ||

Ch.2.Thaapamu Sairinchani janula kamrita Vapi yabbina sukhambu kante dari dapu leka bhayamandu velala dhairamy kalgu sukhambu kante || Melu ||

Ch.3. Aakali velala panchabhakshya para manna mabbina sukhambu kante sree rkarudau sree ramuni manasuna chinthinchu sukhambu kante || Melu ||

SIMILARITY OF EXPERIENCE

Thanks to the grace of Sri Seetha rama, Ramadas is freed from bondage and he goes to Bhadragiri and has darshan of the lord. In ecstasy, he pours out in mechabhouli raga “Kanti maa ramulanu kanugonti nenu” similarly Thyagaraja sang the krithi “kanugontini, sreeramuni nedu in bilahari, when he had darshan of the pooja vigrahas, after they were found in the river bed.

In the song, “Sree Ramula divya nama smarana,” in saveri, Ramadas deplores the futility of a bath in the ganga or japa, thapa etc., whereas what is required is Rama dhyana, whitout “ahamkara”. The same ideas is echoed in the Thyagaraja krithi, “Manasu swaadheenamaina ya ghanuniki mari mantra tantramu lela” in sankarabharanam. The same bhava is expounded in another krithi of Thyagaraja in dhanyasi “Dhyaname varamaina ganga snaname manasa rama” in which Thyagaraja asks; how, could one wash off one’s sins of deceivng others by bathing again and again in the ganga?

In “Narayana yana raada,” in nadanamakriya ramadasa observes that even living the life of a samasari (family life)

one can attain salvation. It is madness to wander away in forests for this purpose. Thyagaraja brings out the samne idea in the krithi in saveri “Samsarulaithe nemayya, sikhipincha vathamsu deduta nundaga”.

By reason of their implicit faith in god, both were free from fear of navagrahas.

Ramadas – Yadukulakambhoji

“ Graha gathulaku Veruva bonnu maaku galadu

  Daivanugraha balamu”.

Thyagaraja – Revagupti

“ Grahabala memi Sree Ramanugraha Balame Balamu ”

Their views on attaining moksha too were similar. If man believes in man and not god, how ca he free himself from the mortal coils? So goes their kritis: 

Ramadas – Janjooti

Pallavi

Narahari nammaka narulanu nammite

Narajanma meederuna, O, Manasa | ( Narahari)

Ch.1. Kallundaga mokallatho nadichite

Kaisiki Povachchuna,O,Manasa!

Neellundaga nummi neellanu mringithe

Nindu dahanamu teeramu

O,Manasa ! Narahari ||

Ch.2. Komma yundaga koyya bommanu kalasithe

Korika konasaguna O, Manasa

amma yundaga Peddamma nadigithe

Arthamu Chekooruna O, Manasa!( Narahari)

Ch.3. Annamundaga gulla sunnamu thinte

Aakali vetha teeruna O, Manasa !
Kannelundaga  chitra kannela galasina

Kamapu Vyatha teeruna O, Manasa ( Narahari)

Thyagaraja – Madhyamavathi – Chapu

Pallavi

Nalina lochana neevugaka nanyula namma

narajanma meederuna ||

Ch.1. Konga vanti dhyanamu chesthe thana

Korika konasaguna donga magani

Bhakthi meera nammite manchi

Dova joopa nerchina

Ganga loni odanu nammi bhava

Sagaramu daala vachchuna

Nanganachula sarananuta

Chetaya nangudu

Jnanopadesamu cheyuna ||

Ch.2. Parama vandhyaku palu perugu bosithe chanti

Palu kaluga nerchuna nera dhanamula dayadula

Kichchite nenarumala kaluguna eruvu vesi oosara bhoomi

Vilite emaina phaliyinchuna varamaina peru kalugu hangaraviki

Vandana monarinchite brovanerchuna || Nalina ||

In these two songs both Ramadasa and Thyagaraja emphasize their point of citing vivid examples:-

Ramadas

(1) When you have legs, can you reach kasi by walking with your knees?

(2) When Lakshmi is there, can you obtain riches by praying in Peddamma i.e. Jyesthadevi ?

(3) Will your desire be fulfilled by union with a picture of a lady or a doll made up of wood?

Thyagaraja

        (1) Can you obtain your wish by doing false japa like a crane?

        (2) Can you find the right path by placing your faith in a thief?

        (3) Can a barren woman secrete milk even if fed with milk and curds?

        (4)If you surrender to women, will kama give you wisdom or gnanopadesam?

CONCLUSION

A careful comparison between the compositions of Bhadrachala Ramadas and Thyagaraja may reveal several more instances of similarities in the use of words and ideas. With my limited knowledge, i have only detailed some instances just to prove the influence of Ramadas on Thyagaraja.