TIRUVOIYR TYGAYYARS SANKRTANA RATNVALI

C. Sarada
Research Scholar
Department of Indian Music
University of Madras

Sakrtana Ratnvai is the Telugu work of Tiruvoiyr Tygayyar, published in the

year 1907. It is an example of group kti-s. In this work, he has composed a group of one
hundred and eight kti-s in praise of Lord Vugpla, his family deity (ita-daivam). They
are collectively known as Attara Kti-s. Being the son of an illustrious father Va
Kuppayyar, who was the direct disciple of Saint Tygarja, Tygayyar devoted his entire life
to the cause of music and art. He has authored another work Pallavi Svara Kalpavalli, in
which he has given the compositions of his father Va Kuppayyar in addition to some of his
own tnavara-s. This book was published prior to Sakrtana Ratnvai, in the year 1900. It
also contains exercises for singing pallavi-s in different rga-s and ta-s. He used the same
mudra Gpladsa as his father. Sakrtana Ratnvai is the sole repository of Tygayyars
kti-s. Also, it is devoted exclusively to the compositions of Tiruvoiyr Tygayyar and does
not include his fathers compositions. Pallavi Svara Kalpavalli was republished in Tamil in
1971 by Terazhandr Ranganthan, but not Sakrtana Ratnvai. Hence the compositions are
relatively obscure. The aim of this paper is to study Tiruvoiyr Tygayyars compositions
as found in Sakrtana Ratnvai.

Significance of the Number One Hundred and Eight

Even though it is not clear why Tygayyar chose to compose one hundred and eight
krtana-s specifically, it is a fact that the number has religious as well as astrological
significance in Hindu tradition. It is the common practice of Hindus to chant the string of one
hundred and eight names of the Lord. Many explanations are given for arriving at this
number. There are twelve Zodiac Constellations, and nine arc segments called Candrakala-s;
nine times twelve is one hundred and eight. Candra1 is moon, and kala-s are the divisions
within a whole. Also, there are twenty seven stars, having four pda-s each, thus resulting in
one hundred and eight.2 In astrology, there are twelve houses and nine planets which again
results in one hundred and eight. There are fifty four letters in the Sanskrit alphabet. Each has
masculine and feminine iva and akti, resulting in the same number. In creating this garland
of one hundred and eight compositions in his unique, innovative style, in lieu of the
1

JagadsaAyyar P. V., South Indian Festivities, Appendix-II, p.164

Ibid. p.166

customary nma-s, he has offered (apaam) Attara ata Krtanalu, each in a different
rga.

Meaning of SakrtanaRatnvai
For this, one needs to understand the meaning of krtanam. According to Dr. Pappu
Vugpla Rao in his lecture on Connotation of Kriti and Padam in the Journal of Music
Academy, Vol. LXXV, 2002, (pp138-139):
In the nine-fold Bhakti
the second step or variety is Kirtanam, singing the praise of the Lord. The word Kirtana is
derived from the verbal rootKreetSamsabdane, singing the auspicious qualities of the Lord
isKirtana.Kirtanammunibhihproktamharerleelaapragaayanam say the ancient texts
Having understood the termkirtana, we are confronted with another term Samkirtana. The word
is just a more specific, comprehensive and complete form of Kirtana as the very derivation
indicates...
Samyakkirtanam = samkirtanam
It also means which is good for SaamoohikaKirtanam or group singsing.

Thus, Sakrtana means the praise of God where the devotional aspect is of primary
importance. The work Sakrtana Ratnvai by Tygayyar comprises of his devotional
outpourings that shine like diamonds embedded in a necklace. In Sanskrit Ratna means
diamonds and avai row or line. Hence the nomenclature is quite apt.

Outline of the Work

The work begins with five tna vara-s in di ta. The actual Attara ata group
of kti-s is preceded by three benedictory kti-s; the first Kpdu Gaantha in Danyi, set to
Jhumpe ta on Lord Gana, then Sarasvati Nannepudu in Kalyi on Sarasvati in Rpaka
ta and finally, the Guru stuti, Tygarja Svmi Guruni in Kharaharapriya set to di ta.
The epilogue for the work comprises of three kti-s; the first in Punngavari, Katamulanu
Drci Nanu. In this Tygayyar dedicates the garland of one hundred and eight compositions to
his favourite deity Vugpla with the words Attara ata Krtanamarpaa Jyucu. This is
followed by Lakmi Sttra krtana in Aha, for which the dhtu is also given. It begins with
the words Krasgara kanyaka. Finally the magaam is given with notation in
Madhyamvati starting with the words Sri Vugplunaku ubhamagaam. The
compositions are not very heavy pieces. Since they are devotional in theme, more importance
is given to the lyrics. In the last page of the work, Tygayyar has given a gadya or prose verse
which mentions the fact that the author is the son of Va Kuppayyar born in the family
having Bhradvja gtra.

Analysis of the Tnavara-s

In Sakrtana Ratnvai, Tygayyar has composed vara-s in the rga-s Kalyi,
Vari, Vasanta, Kdra and Surati. All the vara-s are in di ta and in praise of Lord
Vugpla. These are not to be found in Pallavi Svara Kalpavalli, which was published
earlier. In Pallavi Svara Kalpavalli, the di ta vara-s composed are in rakti rga-s like
Kdragaua, Sahna, Durbr, Madhyamvati and Knada. Besides these, a few Aa ta
vara-s have been given. In the vara-s of Tygayyar, generally there are six varta-s in the
prvga, having two varta-s each for pallavi and anupallavi and two varta-s for the
muktyi svara. All the aga-s have sama eduppu. But in the vara-s in the rga-s Kalyi
and Vari that are given in Sakrtana Ratnvai, there are four varta-s for the muktyi
svara. The remaining three vara-s in Vasanta, Kdra and Surai have two varta-s each for
the pallavi, anupallavi as well as the muktyi svara, according to this work. But, in Tana
Varna Tarangini Vol-4 compiled by B. M. Sundaram, there are four varta-s for the muktyi
svara, in theVasanta vara, Cirutapryamu. The composer also is given as Va Kuppayyar
in Tana Varna Tarangini. The other two varta-s as given by him are:

d m , g r s n d , m g m n , d | n n n d | d m g m d m g , |
m g m d , d d m d n , n , | n , n d m , m g | r s , m g m d n |
Structurally, the uttarga of all five vara-s found in Sakrtana Ratnvai are the
same. Each has a total of five ettugada svara-s. The number of varta-s in uttarga is
eleven; the ettugada pallavi has one varta followed by the first two ettugaa svara-s of one
varta each. The third and fourth ettugaa svara-s have two varta-s each. The last ettugaa
svara has four varta-s. In Pallavi Svara Kalpavalli, each vara has only four ettugaa svaras. The Kdragaua vara of Tygayyar has one varta each for the ettugaa pallavi and the
first ettugada svara. Tha second and third ettugada svara-s have two varta-s each. The last
one has four varta-s.

The remaining vara-s in Pallavi Svara Kalpavalli have one varta each for the
ettugada pallavi as well as the first and second ettugada svara-s. The third one has two
varta-s in all vara-s. The last ettugaa svara has four varta-s. The first svara has all
drghkara-s. The second ettugaa svara is a mix of hsva and drgha svara-s. The final

ettugadasvara-s are dominated by hsva svara-s. They progressively increase in their length
and complexity.

The vara-s in Sakrtana Ratnvai present some interesting features.

In Kalyi vara in the muktyi svara, the rhaa karma of srgm-pdnd is observed.
The svara-s in the phrase rsnd-grsnd-mgrsnd are progressively increasing in
magnitude (rtvaha Yati).

In the uttarga section, the first ettugaa svara has been composed in such a way
that there is no use of aja in the entire svara.
d

, p , m , g , , , m ,

n , d , ,

, n , | r ,

p ,

n ,

d ,

d ,

m , ||

The Vari vara begins on the note madhyama, which is the rga chya svara. In
the muktyi svara it is observed that gndhra is employed as nysa svara.

In the uttarnga section, the final ettugaa svara begins on a drgha note and in the
first two varta-s exactly in the middle at half-varta,the svara group grgmpd occurs.
The resting note pacama is utilised at the end of the second varta.

In Vasantha vara, there are changes in the last phrase used in the second varta of
the muktyi svara. In Sakrtana Ratnvai, it is given as g, m d n while s, m g m is
seen in Tana Varna Tarangini.

There is a repetition of the phrase srss many times in the muktyi svara. There is
makutam like ending at the end of the second varta.

The vara in the rga Kdra has rga chya svara pattern grs snnp,. In the
anupallavi the rga rajaka prayga smgm occurs twice. The muktyi svara begins
with the phrases p, mgrs- m, grs- g, rsn and ends with the phrase mgrs, being used in
two octaves.

It is interesting to note the resemblance in the manner in which the last ettugaa
svara-s of both the rga-s Kdra and Surai have been composed. Both employ the
samvdi pair of pacama and aja in the beginning. While the resting notes used in
Kdra vara are adja, pacama and abha, at the end of the first, second and third
varta-s; those employed in Surai vara are abha and pacama at the end of the
first and second varta-s.

Analysis of the Krtana-s

The one hundred and eight compositions of Tygayyar have the pallavi, anupallavi
and caraa format. Most of them are in di ta. His compositions abound in technical
beauties. The compositions have pallavi and anupallavi of two varta-s each while the
caraa has four varta-s. An exception to this format is Vgam brva rr in
Ndanmakriya having pallavi and anupallavi with one varta each, ciasvara in two
varta-s and caraa in four varta-s. Some have ciasvara, while others do not. The first
half in the group of krtana-s have ciasvara-s, including the initial ten compositions in the
Prathama and Dvitya Ghana Pacakam

The ciasvara-s serve to adorn his compositions cittasvara-s may be in the same
tempo or in madhyamakla.3 A majority of the ciasvara-s of Tygayyar are in the same
tempo as the composition. There are a few which are set in a higher tempo. For example, the
Suddha Svri kti Nrammi has beautiful ciasvara-s in madhyamakla at the end of the
anupallavi for the whole varta.

sddppmrpm rrs,ssr m,rp,mdd pmpdpd, |pmpddd | ,ddpp,pmrsmrs, ||

ddpm || N||

In the rirga kti Krivaccitinaiyya also, the entire varta of ciasvara is in the
madhyamakla. This is a very interesting feature, besides adding to the beauty of the
compositions. The krtana-s in the rga-s Pharaju and Jaganmhana have ciasvara-s after
the caraa, which is rare.

In Tygayyars compositions, some ciasvara-s have a makuam or crown-like

ending. The krtana-s set in rga-s like rabhi Nsari, Bhairavi Jalajka and Nryaagaua
Manasuna have simple ciasvara-s with plain endings. Short ciasvara-s usually have short
makua-s that are crisp and effective.4 Examples of this type of krtana-s are in Rtigaua with
the starting words Kanikaramulda and also in Yadukulakmbhji beginning with the words
Vrevarunnrur.

Sambamurthy P., SouthIndian Music,Book-III, Thirteenth Edition, p.140.

Ibid,p.140.

We find that the phrases in some ciasvara-s are after the pattern of a rtvaha Yati,
meaning they are progressively increasing in magnitude. A good example for this is in
Kayi Marivre Evarunnruand also in the Saurtrakrtana Manasra. In the former,
nd,nd,, nd occurs, and in the latter, we find the phrase n d- n d- n d- n
d in a pattern. The ciasvara-s of di ta compositions are set in two varta-s while those in
Rpaka ta are in eight varta-s.

Though Tygayyar has used one hundred and eight different rga-s for each of the
kti-s, he has employed only few ta-s for the same. Most of the kti-s are in di (one
hundred and two), only five are in Rpaka and just one in Tripua ta. The kti-s for which
he has used Rpaka ta are Srasadaanayana in Bilahari, Parkla in Gaurimanhari,
Palukavadla in Balahamsa, Kribhajiciti in Pakalyi and Palumru in Vcaspati. The
solitary composition in Triputa ta is in the rga Dvagndhri, beginning with the words
Puruttamaninu.

Upon examining the one hundred and eight krtana-s from the perspective of melody,
the unique feature of this group of compositions is that the composer has not repeated any
rga twice. In other words, each song is set in a different rga. The choice of the rga-s has
some noteworthy features. The initial five songs have been composed in the Prathama Ghana
pacakam of Nta, Gaua, rabhi, Vari and ri. The next five are set in the Dvitya
Ghanapacakam of Rtigaua, Nryaagaua, Ntakuranji, Kdra and Baui. These are the
very rga-s in which Kuppayyar has composed his Navargamlika vara Intakpa with the
omission of Nakuraji in one pntara and Baui in the other. It has to be mentioned here
that Tygayyar has composed in that order. In doing so he has adhered to the tradition set by
his father.

Tygayyar has employed Ghana, Naya or Rakti and also Dya rga-s. A number of
aprva rga-s5 have also been handled.
A wide range of makarta rga-s as well as janya rga-s have been utilised by him
while composing the Attara ata group.The uddha madhyama Makarta rga-s used are
Dhnuka(Ma 9), Ntakapriya (Ma 10), Kkilapriya (Ma 11), Vakubharaa (Ma 14),
5

Vedavalli, M. B., Rgas which emerged during the post-trinity period and their lakaa, p.114, p.131, p.178,
p.305, p.321.

Cakravkam (Ma 16), Kravi (Ma 21), Karaharapriya (Ma 22) and Gowrmanhari
(Ma 23), Sarasgi (Ma 27), Harikmbhji (Ma 28), Dhra ankarbharaam (Ma 29)
and Calanta (Ma 36). The Prati madhyama Makarta rga-s employed are Bhavapriya
(Ma 44) avidhamrgini (Ma 46) Kmavardhini (Ma 51) Rmapriya (Ma 52)
amukhapriya (Ma 56) Dharmavati (Ma 59) Latgi (Ma 63) Vcaspati (Ma 64)
Mcakalyi (Ma 65).
Thus, twenty one Janakarga-s have been employed, of which twelve are uddha
madhyama variety and nine are Pratimadhyama rga-s. This is comparatively a small
number from the total of one hundred and eight compositions. Of the remaining eighty seven
janya rga-s, sixty seven are uddhamadhyama variety and twenty belong to the
Pratimadhyama group. This is illustrated in a tabular form:

MA
NO.

15

MA NAME

Hanumatdi

Mymavagaua

JANYA NAME

RHANA

AVARHANA

1. Tdi
2. Dhanysi
3. Asvri
4. hiri
1. Gaua
2. Baui
3. Svri
4. Saurtra
5. Vasanta
6. Gauipantu
7.Pharaju
8. Ndanmakriya
9. Jaganmhana
10. Gundakriya
11. rdradi
12.Kannadabag
13. Magaakaiika
1. Kuntala
2. Ghshii
1. Supradpa

S R1 G1M1P D1 N1

N1 D1 P M1 G1 R1S

S G1 M1 P N1

N1 D1 P M1 G1 R1S

S R1 M1P D1

N1 D1 P M1 G1 R1S

S R1S G1M1P D1 N1

N1 D1 P M1 G1 R1S

S R1M1 P N2

N2P M1R1G2 M1 R1S

S R1 G2 P D1

N2 D1P G2 R1S

S R1M1 PD1

N2 D1P M1 G2 R1S

S R1 G2 M1P D1N2

N2 D1P M1 G2 R1S

S R1 G2 M1D1N2

N2 D1M1 G2 R1S

S R1M1 P N2

N2 D1P M1 G2 R1S

S R1 G2 M1P D1N2

N2 D1P M1 G2 R1S

N2S R1 G2 M1P D1N2

N2 D1P M1 G2 R1S N2

S G2 M1PN2

N2P M1G2 R1S

S R1M1 P N2

N2PD1P M1 G2 R1S

S R1 G2 M1P D1N2

D1P M1 G2 R1S

S R1 M1G2 M1D1 PD1

D1P M1 G2 R1S

S M1G2 M1P M1D1N2

N2 D1P M1 G2 R1S

S R1 G2 M1P D2 N1 D2

N1D2 P M1 G2 R1S

S M1G2 M1P D2 N1 D2

N1D2 P M1 G2 M1R1S

S R1 M1 P D2 N2

N2 D2 P M1 G2 M1R1 S

16

Cakravkam

17

Sryaknta

18

Htakmbari

1.Simha

S R1 G2 M1P D3 N2

N2 D3 N2 P M1 G2 R1S

20

Naabhairavi

1. Bhairavi
2. nandabhairavi

S R2 G1 M1 P D1 N1

N1D1 P M1G1 R2 S

S G1R2 G1 M1 PD1 P N1

N1D1 P M1G1 R2 S

MA
NO.

MA NAME

JANYA NAME
1.

ri

Kharaharapriya

N1PD2N1PM1R2 G1R2 S

S G1 M1 N1 D2 M1 N1

N1D2 N1D2 M1G1 M1D2 P

M1 G1R2 S N1P N1S

S R2 M1 P D2 N1

N1D2 P M1G1 R2 S

S R2 G1 M1 P N1 D2 N1

N1D2 P M1G1 R2 S

S R2 G1 M1 P M1 D2 N1

N1 D2 P M1G1M1 R2 S

S R2 M1 P D2

N1D2 P M1G1 R2 S

S R2 M1 P D2 P

N1D2 P M1R2 G1 R2 S

S R2 M1 P N1

N1P M1R2 S

S R2 M1 P N1

N1P M1G1 R2 S

S R2 M1 P D2

N1D2 P M1G1 R2 S

S G1 M1 P D2

N1D2 P M1G1 S

S G1 M1 P D2

N1D2 P M1G1 R2 S

S G1R2 G1 M1 P N1D2 N1

N1D2 P M1G1 R2 S

S G1 R2 G1 M1 P D2

D2 P M1G1 R2 S

S R2 M1 P N1 D2 N1

N1D2 P M1G2R2G2R2S

SR2G2M1N1D2N1PD2 N1

N1D2 M1G2 S

S R2 G2 M1 P D2

N1D2 P M1G2 R2 S

S R2 G2 M1 P M1 D2 N1

N1D2 P M1G2 R2 S

5. Mhana

S R2 G2 P D2

D2 P G2R2 S

6.

Kdragoua

S R2 M1 P N1

N1D2 P M1G2 R2 S

7.

Surati

S R2 M1 P N1

N1D2PM1G2M1PM1R2S

8.

Yadukulakmbhji

S R2 M1 P D2

N1D2 P M1G2 R2 S

9.

Nlmbari

SG2M1R2G2 M1PD2PN1

N1PN1D2N1PM1
G2M1R2G2S

S R2 M1 P M1 D2

D2 P M1G2 R2 S

S R2 M1 P D2

N1D2 P M1R2 G2 S

S R2 M1 P D2 N1

N1D2 P M1G2 R2 S

S R2 M1 P N1

N1P M1R2 G2 M1R2 S

14. amanhari

S R2 G2 M1 P D2 N1

N1DP M1 R2 M1G2R2S

15. Chytaragii

S R2 M1 G2 M1 P N1

N1D2 P M1G2 R2 S

16. Kkiladhvani

S R2 G2 M1 D2 N1 D2

N1D2N1P M1G2 R2 S

3. Durbr
4. Husni
5. Knada
6. Mukhri
7. Nyaki
8. Madhyamvati
9. Mairagu
10.Sagabhairavi
11 Jayantasna
12. Mrudhanysi
13. Majari
14. Manhari
1. Nrayagoua
2. Ntakuranji
3. Kmbhji
4. Sahna

28

Harikmbhji

AVARHANA

S R2 M1 P N1

2. Rtigaua

22

RHANA

10. Sma
11. Balahamsa
12. Kpinryai
13. ndhi

MA
NO.

29

MA NAME

Dhraankarbharaam

JANYA NAME

RHANA

AVARHANA

1. rabhi

S R2 M1 P D2

N2 D2 P M1G2 R2 S

2. Kdra

S G2 M1P N2 P

N2 P M1G2 R2 S

3. Bgada

S G2 R2 G2 M1 P D2 P

N2 D2 P M1G2 R2 S

4. Aha

S R2 M1 P N2

N2 D2 P M1G2 R2 S

5. uddhasvri

S R2 M1 P D2

D2 P M1R2 S

6. Dvagndhri

S R2 M1 P M1 D2

N2D2PM1G2R2G2 M1R2 S

7. Bilahari

S R2 G2 P D2

N2 D2 P M1G2 R2 S

8. Pracadrika

S R2 G2 M1P N2 P

N2P D2P M1G2M1 R2 S

9. Hamsadhvani

S R2 G2 P N2

N2 PG2 R2 S

10. Kannaa

S R2 G2 M1 P M1D2 N2

N2D2 PM1PG2M1 R2 S

11. Goudamallru

S R2 M1 P D2

N2 D2 M1G2 R2 S

33

Ggyabhai

1. Gangtaragii

S R3 G2 M1 P

N2 D1P M1G2 M1 R3 S

34

Vgadhvari

1. aradbharaam

S M1 G2 M1 P D2 N1

N1D2 M1 P M1 R3 S

35

lini

1.Gnavridhi

S M1 R3 G2 M1 P D2 N2

D2 N2 P M1 R3 S

The maximum number of janya-s from a single ma employed by Sri Tygayyar for
composing the Attara group is sixteen. The janya-s of the 28th ma Harikmbhji have
been used. Next is the 22nd ma Kharaharapriya with fourteen janya-s followed by thirteen
janya-s of the 15th ma Mymavagaua and eleven janya-s of the 29th ma
Dhraankarbharaam.

Tygayyar has judiciously chosen the rga-s while composing the group of Attara
krtana-s. The above table enlists all the uddhamadhyama janya-s chosen. There is no
artificial or laboured construction in his compositions. The choice of rga-s is balanced in
such a way where most of the cakra-s are covered. Especially in the Pratimadhyama janya
rga-s, we find the last ten or eleven rga-s have been selected at the rate of one janya for
each makarta. This is clear from the table given in the following page. The rhana and
avarhana of all the janya rga-s are listed exactly as given in the work Sakrtana Ratnvai.

PRATI MADHYAMA JANYA RGA-s

MA
NO

MA NAME

JANYA NAME

RHANA

AVARHANA

39

Jhavari

1. Vari

S R1 G1 M2 P D1 N2

N2 D1 P M2 G1 R1 S

47

Suvarngi

1.Vijayar

S G1 R1 G1 M2 P N2

N2 P M2 G1 R1 S

51

Kmavardhini

1. Hamsanryai

S R1 G2 M2 P

N2 P M2 G2 R1 S

1.Rmamanhari

S R1 G2 M2 P D2 N1 D2

N1D2 P M2 G2 R1 S

2. Lkarajani

S G2 M2 P M2 D2 N1

N1D2 N1P M2 G2 R1 S

1.Prikayi

S R1 G2 M2 P D2 P

N2 D2 P M2 G2 R1 S

2. Mcakgi

S R1 G2 M2 P D2 P N2

52

Rmapriya

53

Gamanrama

N2 P D2 P M2 G2 R1 S

54

Vivambhari

1. Pakalyi

S R1 G2 M2 P D3 N2

N2 P M2 G2 R1 S

57

Simhndramadhyamam

1. Sandam

S R2 G1 M2 P D1

N2 D1P M2 G1 R2 S

58

Hmavati

1.Simhrava

S R2 M2 P N1

N1 P M2 R2 G1 R2 S

59

Dharmavati

1.Vijayangari

S R2 G1 M2 P D2

D2 P M2 G1 R2 S

60

Ntimati

1. Dyagnavridhi

S R2 G1 M2 P D3 N2 P

N2 P M2 G1 R2 S

61

Kntmai

1.Kanakakusumvai

S R2 G2 M2 P D1

D1 P M2 G2 R2 S

62

Riabhapriya

1. Ratnabhnu

S R2 M2 G2 R2

63

Latgi

1. Ratnaknti

S R2 G2 M2 P N2

N2 P M2 G2 R2 S

64

Vcaspati

1. Sarasvati

S R2 M2 P D2

N1D2 P M2 R2 S

M2P N1 D1 N1

1. Sraga
65

Mcakalyi

S R2 G2 M2 P D2 N2

2. Hamrukalyi

N1D1 P M2 G2 R2 S

N2D2PM2 R2 G2 M1
R2 S

S P M2 P D2 N2

N2 D2 P G2 M1R2 S

66

Citrambari

1. Crikvindini

S R2 G2 M2 P D3 N2

N2 D3 N2 P M2 G2 R2 S

72

Rasikapriya

1. Hamsagiri

S R3 G2 M2 P D3 N2

N2 P D3 N2 P M2 G2 S

Nearly one-third of the total rga-s (thirty five in number) used for the Attara
group are rare (aprva) rga-s. Among these, fifteen are very obscure rga-s not handled by
any other composer, before or after Tygayyars time, including the Trinity. They are
Ghshii, Simha, radbharaa, Hamsanryai, Lkaranjani, Mcakgi, Pakalyi,
shanda, Simhravam, Dyagnavridhi, Kanakakusumvai, Ratnabhnu, Ratnaknti,
Crikvindini and Hamsagiri. Only the first three of these are uddhamadhyama janya-s,
the other twelve are Pratimadhyama janya-s. As mentioned in the article Tiruvoiyr
Tygayyar by Gowri Kuppuswami and Hariharan in the Journal of the Music Academy

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(Vol.LVIII,1987,p.139), two other rga-s Goudamallru and Vijayangari have not been
handled by any other composer, including the Trinity, but with the single exception of
Muttayya Bhgavatar. But, it is a fact that Tygayyar was a senior contemporary of Muttayya
Bhgavatar and the latter could have derived inspiration from him in introducing these raga-s
to Karntik music, which have since attained some popularity.

Certain rga-s like rdradi, Kannadabag, Magaakaiiki, Gangtaragii,

Kuntalamare ones in which other than Tygayyar, Dkitar alone has composed kti-s. Both
Dkitar and Saint Tygarja have composed in rga-s like Gundakriya, ndhi,
Chytaragii and Manhari. In these compositions, he has faithfully followed the tradition
that was established by his parama Guru and adhered to Tygarjas tradition rather than
Dkitars. There are certain rga-s where Saint Tygarja only has composed kti-s in
addition to Tygayyar but not Dkitar. Examples are Supradpam, Majari, Jayantasna,
Kpinryai, Rmamanhari, Vijayar, Gnavridhi.

It is observed that in the writing of notation, the tga-s are marked with a dot on
top of the svara which occurs on the beat. The practice of striking the ta strings (while
playing the va) on the note which occurs on the beat could be the reason for this, as
Tygayyar was a vaiika. This fact has also influenced his style of composing. However,
sthyi indications have not been incorporated in this work. Only by singing the dhtu a
number of times and by understanding the context can one render the krtana-s. Also, it is
observed that in the notation, wherever janta svara-s are used, stress is given for the second
svara in the pair.

Tygayyar is well versed in the pura-s and itihsa-s. There are a number of
references to them in his compositions. However, the Gajndra Mka episode is often
referred to. It is considered very auspicious and beneficial from a spiritual point of view to
read this particular incident from the Bhgavata. Tygayyar has strived to bring out the
essence of each rga while stressing the meaning of the lyrics. He has succeeded in this
endeavour and thus contributed substantially towards the propagation and preservation of
classical values of Karnik music.

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References:
Books:
1. Ayyar, Jagadsa P. V. South Indian Festivities. New Delhi: Rupa& Co., 1998.
2. Iyengar, B. R. C. Rga Sudha Understanding Carntic Music. 2nd ed. Hyderabad:
Self-published, 2003.
3. Krishnamachari, N. C. Tygarja Gyrtha Kuncika. Visakhapatnam: Ramakrishna
Printers Pvt. Ltd., 2001.
4. Rao, T. K.Govinda. Compositions of Tygarja in national and international scripts,
Dvangari & Roman with meaning and SRGM notations in English. 2nd ed. Chennai:
Ganamandir Publications, 1999.
5. Sambamurthy, P. South Indian Music Book III. 13th ed. Chennai: Indian Music
Publishing House, 2005.
6. Sundaram, B. M. Tana Varna Tarangini Vol-4 Coimbatore: Rajalakshmi Trust, Print.
7. Tygayyar, Tiruvoiyr. Sakrtana Ratnvai. Chennai: Doud Mudrka la, 1907.
8. Vedavalli, Dr. M. B. Rgas which emerged during the post-trinity period and their
lakaa. 1st ed. Chennai: Self-published, 2008.

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