Among the compositions of the Trinity, those of Tyagaraja are arguably the most accessible in terms of ease in learning. In his lec-dem ‘Design Structures and Devices in Tyagaraja’s Compositions,’ violinist/vocalist Sriram Parasuram shared a wealth of findings based on his study of over 400 kritis of the saint-composer.
Some excerpts: The anupallavi is often a re-cap of the idea expressed in the pallavi. In examples such as ‘Marugelara’ (Jayantasri), ‘Mohanarama’ (Mohanam) and ‘Dorakuna’ (Bilahari), the pallavi-anupallavi continuum is established by the repetition of the first word. His exceptional brilliance manifests when anupallavi sahitya mirrors that of pallavi eg: ‘Pakkala’ and ‘Chukkala’ in ‘Pakkala Nilabadi’ (Kharaharapriya). Early sahitya publications included as pallavi, that which later books began listing as anupallavi. Viewing the melodic structure of the charanam, its first two lines display a variation in tuning, while lines 3 and 4 recapitulate the anupallavi’s dhatu, as seen in ‘Adamodi’ (Charukesi).
Some charanams are melismatic (a single sahitya syllable sung through successive notes) whereas some are syllabic, with every swara supporting a corresponding akshara of the lyric. Instances of swarakshara abound, as seen in ‘Maakelara’ (Ravichandrika) ‘Samajavaragamana’ (Hindolam) and ‘Nee Daya Radha’ (Vasantha Bhairavi).
Where multiple charanams occur, as in ‘Brochevarevare’ (Sriranjani), they are closely packed with free –flowing sahitya, with the pallavi and anupallavi serving as melodic catchment areas set up by far-spaced sahitya. An empirical study reveals that about 75 per cent of the kritis for which niraval is taken up, are those of Tyagaraja. As evidenced in ‘Rama Ninnu Nammina’ (Mohanam), the wide melodic sweep of multiple charanams encompasses the raga’s gamut, plus a description of the Lord’s attributes.
The raga form is critical for Tyagaraja compositions. Having composed over 20 kritis in Thodi, over 29 in Sankarabharanam and several in ghana ragas, the vaggeyakara has created comprehensive, brilliant raga portraits, providing raga moorchanas which have enabled musicians to visualise the alapana as we know it today. His skill in capturing raga bhava in a nutshell is such that it amounts to one-line raga summations, as in ‘Dasaratha Nandana’ (Asaveri). The rakti of Darbar is encapsulated in ‘Yochana’, ‘Mundu Venuga’ and ‘Ramabhi Rama’, which may use the same morchanas, but are masterfully designed to sound different in each instance. Tyagaraja revelled in ‘vivadhi’ twam, pioneering what amount to treatises in a plethora of such ragas, in many of which no preceding compositions are known have existed.
In kritis such as the Pancharatna and in ‘Orajoopu’ (Kannadagowla), the rhythmic drive appears to take precedence over sahitya placement. This aspect corresponds to the ‘sam’ of Hindustani khyal, wherein the landing point of the first samam counts most, as in the ‘Na’ of ‘Entha Nerchina’ (Suddha Dhanyasi).
Sangathi is one of the most important devices that Tyagaraja has highlighted. Through sangathis, a single line can be stretched to cover an expansive vista of raga bhava, as seen in ‘Dharini Telusukonti’ (Suddha Saveri). Sangathis can serve as a vehicle to convey an artist’s creativity and signature style.
Possibly the most significant addendum Tyagaraja has bequeathed is the word ‘Rama’ and its manifold variations. It summed up his life’s quest .
