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tyAgarAja and vicitRa rAgas

We come to know of as many as 83 new/rare ragas for the first time through the compositions of tyAgarAja. A few examples are supradIpam, jujhAhuli, vijayavasantam, tIvravAhini, etc.


The varieties of Tamil music

The popular kAvaDi cindu genre is one form of the nine varieties of Tamil songs mentioned in the pancamarabu by arivanAr - cindu, kiripadai, cavalai, samapadem, centurai venturai, tEvapani, vannam, nondicindu and vazhinadaicindu. kAvaDi cindu was sung by devotees of Lord Murugan on their trek bearing the kAvaDi, to shrines like Tiruchendur and Tiruttani. aNNAmalai reDDiyAr, composed his famed kAvaDi cindus when his patron, the zamIndAr of uTrumalai undertook a pilgrimage to Kalugumalai.


tyAgarAja on musical ignoramuses

In his k.Rti in  cencukAmbhOji, tyAgarAja castigates unscrupulous men totally ignorant about svarAs, rAga lakSaNas and rhythmic patterns posing as vidvAns (masters of music) and imposing themselves upon gullible folks for the sake of self-aggrandisement.

vara rAgalayAgnulu dAmanucu vadarErayya shRi rAma
svara jati mUrccana bhEdamul svAntamandu deliyakayuNDina...


kIrttana and k.Rti - The distinction

The k.Rti is a highly refined musical form that evolved from the kIrttana. kIrttanas were born as early as the 14th century AD when the tAlapakkam composers created this musical form with the divisions: pallavi, anupallavi and caraNam. In kIrttanas, the sAhitya is of primary importance, with the music being merely a vehicle to sing the devotional lyrics. In k.Rtis it is the other way round, with the music being of prime importance - the delineation of the rAga in various shades is the composer's primary concern.


The four deities common to the Trinity

dEvi kAmAkSi (kAncIpuram), shRi varadarAja (kAncIpuram), dEvi dharmasamvarddhani (tiruvayyArU) and dEvi nIlAyatAkSi (nAgapaTTaNam) are the four deities in whose praise there are k.Rtis by tyAgarAja, muttusvAmi dIkSitar and shyAma shAstri!


The disciples of paTTaNam subrahmaNya ayyaR

rAmanAthapuram (pUcci) shRInivAsa ayyangAr, M. S. rAmasvAmi ayyaR, maisUR vAsudEvAcArya, Tiger varadAcAri, paramEshvarayya and others are among the galaxy of stalwart disciples of the legendary musician-composer paTTaNam subrahmaNya ayyar.


Classifying rAgas by the number of notes

A rAga containing all seven notes is called sampUrNaM, as is well known. A melody with six notes  is called a ShADava rAga, one with five notes is called auDava and one with only four notes is known as svarAntara!


The sAma vEda

The sAma vEda is based on the kharaharapriya scale (mELa 22).


yAzhmuRi paNN - The story

The paNN mEgharAgakurinji (equivalent of rAga nIlAmbari) is popularly called yAzhmuRi paNN. Legend has it that when tirugnAna sambandhar sang this paNN, nIlakaNtha yAzhpANar was unable to accompany him on the yAzh as the instrument did not give him enough scope to play this paNN. In his anger the yAzhpANar broke his instrument, hence the paNN has been christened yAzhmuRi!


The first svarajati

melattUr vIrabhadrayya is credited with composing the first svarajati in Carnatic Music. It was set in rAga husEni.


purandaradAsa and vaRNams

Interestingly, Sangita Pitamaha Saint Purandaradasa who composed thousands of songs, gItams and abhyAsa gAnams (musical exercises) has NOT composed a single vaRNam! Probably, the vaRNam was not in vogue as a distinct musical entity in his time.


Hungarian music

rAga simhEndramadhyamam in our Carnatic system is considered the closest equivalent to the basic melody in Hungarian folk music.


tyAgarAja on Tanjavur

In his composition muripEmu galige, tyAgarAja has described the Tanjavur region as "cOLa sIma" ("I mahilo sogasaina cOLa sImayandu...")


Classifications in the paNN system

Melodies were broadly classified into five groups in the ancient paNN system, based on the type of landscape of their origin: mullai (forest), neidal (coastal areas), marudam (plains/fields), pAlai (desert) and kurinji (hills).


tALams for temple rituals

The set of tALams most commonly associated with temple rituals is known as navasandhi tAlams.


shyAma shAstri's guru

pAccimiRiyam Adiyappa, well known as the compsoer of the famous aTa tALa vaRNam viribONi (bhairavi) was shyAma shAstri's guru!


mErattUr vIrabhadrayya's mudra

mErattur vIrabhadrayya, the noted composer of pada vaRNams used the mudras acyuta and unnatapurIsha.


Anai-ayyA's lament

The noted composer duo Anai-Ayya brothers, in their composition mahima teliya taramA (shankarAbharaNam) lament their fate for having to perform before unreceptive audiences!


tyAgarAja and vINa kuppayyaR - the kEdAragauLa connection

tyAgarAja composed vENugAnalOlunI in kEdAragauLa at vINa kuppayyaR's residence on the occasion of a vENugOpAla svAmi pUja.


tAna vaRNa mArgadarshi

pAccimiRiyam Adiyappa, composer of the famous viribONi vaRnam is known by the sobriquet tAna vaRNa mArgadarshi. However, the sangIta sampRadAya pradaRshini attributes the same title to another person, gOvindasAmayya of kArvetnagar (1680 - 1710)


tiruppUnturutti music festival

An music festival is held every year in the town of Tiruppunturutti in honour of the composer nArAyaNa tIrtha


kSEtrayya's first composition

shRIpati sutubAriki in Anandabhairavi, Adi tALam is kSEtrayya's first composition


m.Rdangam and the pancabhUtas

Carnatic music's trademark percussion instrument is said to be composed of the five elements: Fire (the valantalai), Water (the toppi), Earth (the shell made of wood or clay), Air (the vibrating column) and Space/Ether (the inner hollow space)


Operas in Carnatic Music

tyAgarAja's pRahLAda bhakti vijayam and gOpAlak.RSNa bhArati's nandanAR caritRam are perhaps the longest operas in our music, each taking more than 5 hours for a complete performance


kalyANak.RSNa bhAgavatar

The reputed vaiNika M. A. Kalyanakrishna Bhagavatar was born in 1913 at Manjapra in Palghat District, Kerala, the same village that produced the legendary M. D. Ramanathan. The bhAgavatar was the sixth generation artiste in a family of vINa vidvAns and an exponent of the Travancore style of vINa playing. He was AsthAna vidvAn for many years at the Travancore Palace until his death in 1979.


tyAgarAja's father

tyAgarAja makes a mention of his father rAmabrahmam in the composition, dorakuNa iTuvaNTi sEva in bilahari.


sadAshiva brahmEndra's mudra

sadAshiva brahmEndra went by the pseudonym paramahamsa in his compositions


Number of compositions

In his k.Rti vAsudEvana nAmAvalia in mukhAri, purandara dAsa says that he has composed 4,75,000 songs. kSEtrayya, another prolific composer says in his vEdukato (dEvagAndhAri) that he has written almost 4000 padams!


tyAgarAja and svarARNavam

In his composition svara rAga sudha in shankarAbharaNam, tyAgarAja mentions the musical work svarARNavam as a reference.


The seven notes in Tamil Music

In Tamil Music, the seven notes are called kuRal, tuttam, kaikkiLai, uzhai, iLi, viLari & taram


dIkSitar and the 22 shrutis

muttusvAmi dIkSitar refers to the 22 shrutis in his k.Rti vamshavati shivayuvatI in the rAga vamshavati. In the popular composition mInAkSi mEmudam dEhi, dIkSitar refers to the dashavidha gamakAs (the 10 gamakAs)


The tyAgarAja paramparAs

The three major shiSya paramparAs (traditions) of tyAgarAja instrumental in handing down and propagating his compositions are: tillaisthAnam, vAlAjAhpET and umayALpuram


pApanAsham shivan's first composition

shivan's first composition was unnai tudikka in kuntaLavarALi


rAga jayantasEna

Raghunatha Nayak (1600 - 1634), the author of sangIta sudha is credited with the discovery of jayantasEna.


The missing Kalanidhis

The Music Academy did not confer the Sangita Kalanidhi title on anyone in 1946 and 1967 since those were the Centenary and Bi-Centenary years respectively of Saint Tyagaraja's Samadhi and Jayanti. Similarly 1975 was the Bi-Centenary year of Muttuswami Dikshitar's Jayanti. The annual conferences in those years were dedicated to these great masters.


Naina Pillai's accompanists

In a performance in 1929, the legendary kAncIpuram nainA piLLai had the following accompanists: tirucci gOvindasvAmi piLLai (Violin), azhaganambi piLLai (mR.dangam), dakSiNAmUrtti piLLai (kanjIRa), umayALpuram sundaram ayyaR (ghaTam), vENu ceTTi (dhOlak), sItArAma ayyaR (mORsing) and mannARguDi pAkkiria piLLai (konnakkOl). This concert was at the vaNNiAr sangam School in Mylapore, Chennai and was five hours long: 4.25 pm to 9.30 pm!


saurAStram and prahLAda bhakti vijayam

In the opera prahLAda bhakti vijayam, tyAgarAja has employed rAga saurAStram for the first song shrI gaNapatini, the middle song entanUcu varNimpa and the last song nInAma rUpamulaku


tyAgarAja and bhadrAcalam rAmadAs

tyAgarAja has paid tributes to bhadrAcalam rAmadAs in three of his compositions, namely: kSIra sAgara shayana (dEvagAndhAri), bR.ndAvana lOla (tODi) and kaligiyuNtE (kIravANi)


dIkSitar and nAgasvaram

muttusvAmi dIkSitar has made a reference to the nAgasvara vAdyam in one of his kR.tis: tyAgarAja mahAdhvajArOha (shRi rAgam)


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