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.

A COMPARATIVE ANALYSIS OF THE KRITI FORM AS HANDLED BY SHYAMA SHASTRI, TYAGARAJA AND MUDDUSWAMI DIKSHITAR

It is well known that the kriti is the most important musical form in South Indian  music. The Musical trinity Shyama Shastri (1762-1827), Tyagaraja (1767-1847), and Muddusvami Dikshitar (1776-1835) were great composers of the kriti form and raised it to an unprecedented levels of musical excellence. Trinity’s kriti’s have immense richness of music and high flexibility. Here, the anga’s Pallavi, Anupallavi and Charana were not mere sections, but important stages of musical expressions and development. Kriti’s of the trinity offer maximum scope for musical freedom on account of their dynamism. It is only in the kriti form that these great composers have evolved their distinctive compositional styles.

Kriti’s of Tyagaraja have an endless variety in music and rhythm like the Kshetragna’s padam’s. The music of the Anupallavi is usually repeated in the Charana in Tyagaraja’s kriti’s. It is also said that he was the first one to have introduced sangati’s or melodic variations to unfold the  raga stages. In the kriti’s of Shyama Shastri there is a two dimensional treatment of music and rhythm. His specialty was svara - saithya with its natural, yet highly aesthetic musical flow. Mudduswami Dikshitar is known for his grand style in the treatment of raga. In Dikshitar’s kriti’s there is no such musical repetition as in Tyagaraja’s  kriti’s. Yet another feature of Dikshitar is the madhyamakala sahithya which, very effectively portrays the entire raga structure in a nutshell. The longer Anupallavi in the place of Charana is also typical of Dikshitar’s compositional style. Such an Anupallavi is in the modern times referred to as Samashatri Charana.

THE KRITI STYLES OF THE TRINITY- A GENERAL STUDY

Tyagaraja’s style is simple, spontaneous and captivating. It requires caliber of a very high order to present a simple style. Scholars usually compare Tyagaraja’s style to Srimad Bhagavadgita. The Bhagavadgita is in very simple Samskrita and yet it contains the essence of Indian philosophy. Tyagaraja’s kriti’s appeal to the classes as well as the masses. They are compared to grapes (Draksha rasa), which taste sweet at once. They can be sung with ease and confidence. A majority of Tyagaraja kritis are in Telugu language.

Kriti’s like Evarimaata (Kamboji) Kshirasgara sayana (Devagandhari) Koluvaiyunnade (Bhairavi) are typical examples of Tyagaragaja’s style. Tyagaraja’s Ghanaraga pancharatna are a class by themselves. His other group kriti viz the Kovur Pancharatnam and the Tiruvorriyur panchartnam are also widely sung. 

Muddusvami Dikshitar’s music style in his kriti’s is that of a Vainika. It is compared with the great epic poems on account of its solidarity of art. Dikshitar’s kriti’s are compared to the coconut (Narikela rasa) on account of the initial hardship involved in understanding and enjoying their intrinsic merit. In order to taste the coconut one has to remove the fiber and break the shell. The kriti’s Balagopala (Bhairavi ) Sri Rajagopala (Saveri) Dakshina Murthy (Shankarabharana) are classic examples of Dikshitar’s style. Dikshitar has sung in praise of many gods and goddesses, whose shrines he had visited. The Navagraha kriti’s shodasaganapati kriti’s, panchalingasthala kriti’s are some of the well known kriti’s of Dikshitar. His kriti’s are in chaste Samskrita.

Shyama Shastri’s kriti’s style is peculiar as it is neither simple as Tyagaraja’s nor laborious as Dikshitar’s. He has composed mostly in Telugu and occasionally in Samskrita and Tamil. In all kriti texts we find the attitude of a child to its mother. They are in the form of fervent appeal to goddess mother. From the point of view of rasa Shyama Shastri’s kriti’s are compared to the plantain fruit (Kadali rasa) where one has to only peel off the rind to eat the fruit. The kriti’s “O Jagadamaba” (Ananadabhairavi), “Ninne namminanu (Todi), Ninnu Vinaga mari (Puravakalyani) are examples of Shyama Shastri’s musical style. His three Svarajati’s in the raga’s Todi, Bhairavi and Yadukula Kambhoji and his Navartna malika kriti’s are outstanding compositions.

A COMPARATIVE ANALYSIS OF THE KRITI FORMS OF THE TRINITY WITH RESPECT TO MELODIC RHYTHMIC AND OTHER TECHNICAL ASPECTS

The available compositions of Tyagaraja with music number a little less than seven hundred. In Tyagaraja’s kriti’s the following categories are seen.

a. Simple kriti’s like Sri Jananki manodhara(Isamanohari), Tolinenujeyu (Kokiladhvani) , Sitpate (Khamas) Nee Bhakti Bhagya Sudha (Jayamaonhari).

b. Kriti’s which are in the medium category. Tulasi bilva (Kedaragaula), Etavunan ercitivo (Yadukulakambhoji), Gitarthamu (Suruti raga), Lekana (Asaveri).

c. Advanced types of kriti’s with many sangati’s of different complexities. Cakkani Raja (Kharaharapriya), Epapamu (Athana), Najivadhara (Bilahari), Darini telusu(Suddha saveri). About two hundred and fifty compositions of Dikshitar are available; it is interesting that only about twenty five to thirty Dikshitar kriti’s were known to musicians in the older days. It was only after the publication of the Sangeetha Sampradaya Pradarsini many other kriti’s were brought to limelight. 

In Dikshitar’s kriti’s classification into simple, medium and advanced types (as in Tyagaraja kriti’s) is not possible because whether long or short all Dikshitar kriti’s have more or less the same melodic complexity. Recently a number of very simple kriti’s have been popularized. Some of them seem to the spurious.

In the kriti’s of Shama Shastri not only the musical flow but also the length of the composition has also been maintained more or less uniform. About seventy compositions of Shyama Shastri are available to us.

RAGA TREATMENT IN THE KRITI FORMS OF THE TRINITY

Tyagaraja has handled about two hundred Raga’s in his kriti’s he has composed in about forty melakarta raga’s in all the popular janya raga’s and in many rare raga’s. About seventy new raga’s have been handled by Tyagaraja for the first time.

E.g: Umabharanam, Nalinakanti,Malayamarutam, Siddesena, Jayanarayani and Abhogi. In many kriti’s in the rare raga’s the musical structure in the Pallavi in just a sketch explaining the raga.

Nijamaramulanu in the raga Umabharana one kalai Adi tala.

Thus it is clear that the Arohana and Avarohana of the raga Umabharanam is

Sa RI Ga Ma Pa Dha Ni SA,  

Sa Ni Pa Ma RI Ga Ma RI SA.

Such simple picturisation of raga with scalar treatment is characteristic of Tyagaraja kriti’s.

The total number of raga’s found in Dikishtar’s kriti’s number about one hundred and sixty. Special care has been taken to work beautifully into the text of the songs, the names of the ragas. The line “Samsaarabhityapahe” in the kriti Sri Sarasvati Namostute in Arabhi raga is a classic example. The raga name Arabhi is very dexterously woven into the text of the song. Thus there are no doubts or disputes regarding the ragas of the kriti’s of Dikshitar. Rare raga’s like Mangalakaisiki, Kannadabangala, Ardraesi, Jayasuddhamalvai and Maahuri have been immortalized in the kriti’s of Dikishitar. Some of these ragas had existed even before the trinity’s period; Dikshitar has brought out the archaic form of these raga’s very effectively.

The raga treatment of Dikishtar in different from that of Tyagaraja. The musical structure consists of specific raga phrases which are very effectively put together to present a sound majestic musical statement.

Consider the kriti Tyagaraja yoga vaihavam in Anandabhairavi raga- tisra eka tala.

The above is just the first time of the Pallavi of the kriti, see how the phrases.

When joined together establish the raga Anandabhairavi with all its grandeur. Shyama Shastri has handled about thirty three ragas in his composition. The rare raga’s seen in his kriti’s are Karnataka kapi, Chintamani and Kalgada.Like Tyagaraja and Dikshitar, Shyama Shastri has not composed in the seventy  two melakarta raga’s, raga’s handled by Shyama Shastri are Todi,Bhairavi,Kkambhoji, Sankarabbarana and Kalyani. His treatment of Anandabhairavi is unique he has composed five kriti’s in this raga.

Shyama Shastri has his own style of presenting the raga in the kriti. There is a certain whirling movement of the raga phrases in the musical structure of Shyama Shastri.

Durusuga krupajiuci saveri raga, Adi tala

TALA’S IN THE KRITI’S OF THE TRINITY

Tyagaraja has handled all the important tala’s in his kriti’s. A bulk of the kriti’s are in Adi tala. All possible prastara’s of Adi tala are found in one or other of his kriti’s, while he was the first composer to have composed in Desadi and Madhyadi which were popular in Marathi devotional songs.

Samples of Desadi tala kriti’s of Tyagaraja

• Enta vedukandu - Sarasvati manohari 
• Brova Barama - Bahudari 

Samples of Madhyadi kriti’s of Tyagaraja

• Gitarthamu - Surati 
• Nama Kusumamula - Sriraga

Quite a number of Tyagaraja kriti’s are set in Rupaka tala.

• Manasa etulortune -  Malayamarutam.
• Sujanajivana- Khamas raga.

He has also composed kriti’s in Misra chapu tala, Nidhi chala sukhama in Kalyani stands out. There are also kriti’s in Tisra triputa tala with specific accents on the first, fourth and sixth counts.

• Enduku Daya radu – Thodi
• Guruleka – Gowrimanohari
• Toli Janma – Bilahari

Many kriti’s of Dikshitar are set in tisra eka vilamaba kala and misra eka tala’s. Navargarha kriti’s are in the suladi sapta tala’s. Dikshitar has composed in rare time measures like Khanda eka, Sri Dumdurge in Sriranjini is a good example.

Shyama Shastri kriti’s are set in Adi, Rupaka,Misra chapu and Triputa tala’s. Rare tala’s like Tisra mathya and Caturasra ata are also handled occasionally. The kriti structure in adi tala is in such a manner that it can be sung in both one kalai and two kalai. In the Rupaka tala, Shyama Shastri for the first time introduced the peculiar commencement of the kriti’s after one akshara kala e.g. Himadri sute in Kalyani. He also gave new dimensions to the Chapu tala. He not only reversed the tala as 4 + 3 but also treated the tala in yet another way as 2+3+2 in the same reversed pattern Ninuvinga in Purvakalyani 4+3 and Nannu brouvu in Lalita 2+3+2 are standing examples.

IDENTIFICATION OF COMPOSITIONAL STYLES OF THE TRINITY

After studying a number of different types of kriti’s of the trinity we are able to identify the authorship of any kriti of the trinity and also define the compositional style of each composer with reasonable certainty, even when we hear the songs played on the instruments.

In Tyagaraja kriti’s there are musical phrases of various patterns and sizes in madhyama kala being inherent in the musical structure itself. These madhyama kala phrases are interspersed with sama kala phrases.

Along with the madhyama kala musical phrases trikala phrases are also sometimes found inherent in the basic musical structure of the kriti.

The above is the beginning of the kriti “Koluvaiyunnade” in the raga Devagandhari set to Adi tala.Another characteristic feature of Tyagaraja is the presentation of Sangati’s. Even in simple kriti’s there are at least a few sangati’s. In kriti’s like Chakkani margamu in kharaharapriya, we find a special technique of presenting the basic theme itself with a different musical structure thus affording scope for developing fresh Sangati’s from thereof.

Muddusvami Dikshitar’s compositional style is basically a vainika style. This style is characterized by a number of specific phrases with a certain flow of musical evenness.

Kamalambam Bhajare in the raga Kalyani - Adi tala

In the above example we see many specific phrases which have a uniform flow, along with the sahitya (text). The tempo of the kriti is also slow with more Gamaka’s and few Sangati’s.

Another important aspect characteristic of Dikishitar’s style is the presentation of glides or Jaru’s

Hiranmayim in the raga Lalita - tisra eka tala

Shyama Shastri’s kriti style has more emphasis on unfolding the potentialities of the tala, while rendering the kriti. In Adi tala he followed the same compositional style of some of the composers like Pallavi Gopalayyar, Ghanam Krishnayyar and Kavi Matrbbutayya.

Palinchu kamakshi in Madhyamavati can be considered as a good example.The musical structure is made of uniform phrases in Samakala. There is usually a continuous flow of music without much pauses in between, there are more words in the Sahitya with a vowel extensions.

Anupallavi of the kriti Palichu Kamakshi

In present day music we find that the compositional styles of the trinity have been integrated. While it became a musical fashion long ago, to sing Dikshitar kriti’s like Tyagaraja kriti’s presently even kriti’s of Shyama Shastri are sung like a Tyagaraja kriti. Such integrations of the great styles of the trinity has resulted in the loss of the grand individuality of the composer and kriti’s of Dikshitar and Shyama Shastri become a mere nomenclature. It is Tyagaraja’s compositional style in his kriti forms that continues to be popular.