Dr. S.SUBBULAKSHMI. M.A.,M.Sc.,B.Ed.,M.Phil.,Ph.

D Mob: 9380784304
DIRECTOR ,
SCHOOL OF MUSIC AND FINE ARTS,
VELS UNIVERSITY ( VISTAS )CHENNAI – 600 117
e-mail id : [email protected], [email protected] No –
0000- 0003- 3277- 0926 Vidwan No : 232757

TYĀGARĀJA – PANCHARATNAM

Abstract : Like the precious stones Ruby, Diamond, Sapphire, Emerāld, , Amethyst, this
Pancharatna Kritis of Tyāgarāja are excellent in Rāgabhāva , Sahityabhāva, and Devotion.
They feciliate Mass Singing. These Panchratna’s are constructed in 5 Gana Ragas which are
in praise of Lord Rama with divine Music and Literary excellence. Tyāgarāja stands
foremost with this marvelous contribution. His Life is an epitome of the excellence of
nobility and virtue and these Pancharatna’s conveys all fully .These Pancharatna’s are the
most wonderful representative of Tyāgarāja’s contribution as a composer. Rendering these
Pancharatna’s in large numbers enhances atmospheric peace and Tranquility among people.

Keywords : GanaRāgās, Tristhāyi, Gamakās, Yathis, Thānam, Mudrā.\

Introduction :
Pancha + Ratna = Pancharatna .Pancha is five. Ratnai’s are attractive rare and
highly valuable stones . They are Rubies, Diamonds, Sapphires, Emerālds, and Amethysts.
Like the above Stones , the pancharatna Kritis of Tyāgarāja are highly valuable , Unique
which excel in Ragabhāva, Sahityabhāva, and Bhaktibhāva.. Tyāgarāja composed thousands
of Devotional Compositions most of them in praise of Lord Rama and these pancharatna
krities are special to mention here. These Pancharatna’s are the most representative of
Tyāgarāja’s contributions as a composer. In this compositions he brilliantly summoned up
his Musical Genialness in a archetypal form. These compositions are not simple , melodic
pieces composed at random , but they are constructed with melody, rhythm, devotion, and
the words which are fitted in every aspect of Carnatic Music.

Pancharatna Kritis And Tyāgarāja : These Pancharatna’s are constructed in praise of

Lord Rama . They are all set to Adi Tala. These Kritis are Musical Gems remarkable for
their soulful music, Divine Lyrics, and complex musical structures. Each composition is
appreciable for the beauty of expression and literary excellence. Tyāgarāja stands
foremost with this marvelous contribution. His compositions are prodigious, the range of
Ragas are vast, the mode of appeal to Lord Rama is absorbing, poignant and soul stirring
with philosophical content. The Diction is Superlative yet Simple. The Delivery and flow are
easy Yet Captivating. His compositions are outpouring of Love towards Lord Rama. His
life is an epitome of the excellence of nobility and virtue. These Pancharatna’s conveys all
fully. These Pancharatna’s confirms Tyāgarāja was a scholar, well versed in Sanskrit, and
Telugu , an extraordinary Lyricist and a matchless composer. Tyāgarāja looked upon Music
only as a means and a path to become one with God.

Structure Of Pancharatnā’s : These Ganarāga Panchratna’s are not thematically united

like Panchalinga Sthala Kritis, Kōvur Pancharatna, Lalgudi Pancharatna, Kamalāmba
Navāvarna and so on. These Pancharatna’s are set to Music in 5 Gana rāgas Nāttai, Gowlai,
Aārabi,Varāli and Srirāga. They are

1) Jagadānandakārakā - Nāttai
2) Duduku gala - Gowlai
3) Sādhinchane - Aārabi
4) Kana Kana Ruchira - Varāli
5) Endarō Mahānu bhāvulu - Sri rāga. \

These five songs vary in Length. Nāttai and Gowlai Pancharatna’s has 10
charanās, while Aārabi andSrirāgapancharatna’s has 9 Charanās and the Varāli has 8
Charanās. The Nāttai piece is in Sanskrit and the rest are in Telugu. Out of five Varāli
piece is relatively unknown and infact it is omitted altogether in SubharāmaDikshitar’s
Sangita Sampradāya Pradarshini . Only in subsequent works it is mentioned. All
pancharatna’s are excellent individually, have striking differences. There are also variations
in the order of Charanās as per some lineages of Tyāgarāja’s disciples.

Mudrā: The Composer’s name that is the Svayanāma Mudrā of Tyāgarāja appears three
times in Nāttai - Jagadānandakāraka seen in 4thCharanā, 7thCharanā and in the last
10thCharanā. In Sri rāga the mudrā appears two times that is in Endaro Mahānubhāvulu
9th and 10thCharanā has Mudrās as Tyāgarāja. In the other Three Gowlai, Aarabi, and
varāli Mudrās appears once in the last Charanā.

Order Of Kritis :

1)Jagadānandakāraka- This Nāttai piece follows the Thodaya mangalam pattern in which
the first song starts with Jaya and wholly in Sanskrit. Instead of Jānaki Ramana this has
Jānaki Prāna nāyakā . The opening line stresses the upanishadic truth that Lord is the source
of all Joy(Aananda) and the rest of the Kriti is a beautiful nāmāvali , if when counted it
shows 108 nāmāvali of Lord Rama.
2)Duduku gala : In this Gowlai piece Tyāgarāja passes into a mood of introspection and self
reproach. This kriti proceeds to catalog signs of commissions and omissions.
3)Sādhinchane : This Aārabi piece is a bold NindeStuti . It is composed in playful tone rich
with metaphor and Simile without a surfeit of adjectives.
4) Kanakana Ruchira : This Varāli piece is considered to be the most lingering and
beautiful. Tyāgarāja proceeds with the divine beauty of Lord which grows more and
more as one look at Him.
5) Endarō Mahānubhāvulu : This Srirāga piece is a salutation to a galaxy of receptors . It
praises all the Saints andMusicians down the ages. Tyāgarāja nclearly delineates and lists.
Gana Rāgas And Tyāgarāja:

The Five Kritis are set in Gana Rāgas Nāttai ,Gowlai, Aārabi, Varāli, and Sri.
As these Kritis are set in Ganarāgas all the CharanaSwarās in Five Kritis shows the pattern
of Thānam . Each Charanaswarā phrases are within 4 to 5 swarās which will create an effect
of Thānam These rāgas are known for Thānam and also have subtle sruti and prayogās of
Carnatic Music. The Rāga Nāttai contain shatsruti Rishabam and Shatsruti Daivatham and
the Rāga Gowlai has Ekasruti Rishabam which are unique srutis. The Rāga Aārabi contain
alpaprayoga of Gandharam and Nishādam, the Rāga Varāli has a particular sharp
pratimadyamam known as Varāli madyamam and lastly the Rāga Sri is considered to be an
auspicious Rāga. Tyāgarāja has avoided the distinctive Shatsruti Daivatham note
completely in first Nāttai pancharatna kriti without losing its swarūpa or Character of the
rāga. Similarly Gāndhāram is an accidental note of beauty in Gowla but Tyāgarāja avoids
this too except in one instance without losing its Character. Finally he avoids the accidental
Daivatham in Sri rāga a note that is present in some of Characteristic phrases of this Raga.

Music Analysation:
Analyzation through Sāhitya of Pancharatna

In Jagadānadakāraka Tyāgarāja speaks about “ Sathkavi “ a noble poet , in second

charanā. In seventh Charanā he praises Ohmkāra manthrā. In the Gowlai piece he
speaks about Music, Layam, in the 6 thcharanā. In the Aārabi Kriti he explains “Sangita
Sampradhaya kudu “ ( one who completely devoted to Music ) and the World as a Stage of
Performance . In the Srirāga Kriti he praises Lord as “ Sāma gāna lōlā “. He Salutes the
Musicians who know the oneness of Swarā, Rāga and Layā in 4 thcharanā by saying
“Swara – Layādi – rāgamulu teliyuvā “. In the 7 thCharanā he salutes great Musicians like
Nārada and Thumburu . In the 8th Charanā he salutes musicians of “ Guna bhajana “
( Nāma sankirthanam ) and ” ānanda kirttanamu sēyuva “ ( joyfully sings kirthanas with
true bhakti ) In the 9th Charanā he salutes those who sings “ Bhāgavata Rāmāyana
Geetādi “ and “ Sruti shāstra purāna “ with “ bhāva rāga layādi saukhya “.

Philosophical Aspects In Pancharatna :

In Nāttai Kriti the first Charanā says “ Amarathā rakanichaya kumudahita paripūrnā”
The moon in the constellation of the Celestials is the complete one . Like that Lord is
blemish less devoid of sin, perfect and complete one .
In the Seventh Charanā Tyāgarāja Says “ Omkārapanjara – kira“
He resides in the Heart of the persons who always chant Ohmkāra. Like a parrot residing
in the cage of ohmkāra
In the Sixth Charanā Tyāgarāja describes “ Sajjana mānasābti sudhākara”
Lord Rama is like a bright , pleasant moon which is viewed above the ocean . Here the
ocean is compared to the mind of a noble soul and the moon is the Lord.
In the second Charanā “Animisha vairivārita Samīrana” .
He praises Lord as wind which disperses the Asura Clouds. In the same meaning in
Kanakana ruchira he explains Lord as a Gale that scatters the enemies.
“Vimukhāmbudhara pavana”
In Srirāga Kriti he praises great ones who are able to control their monkey like senses .
He compared the minds of senses to monkeys which jumps all over
“Mānasa vana chara vara sanchāramu” in Second Charanā.
In the third Charanā he compares the hearts of great one like a lotus which will
flourish only by the Sun which is Lord Rama.

Melodic Analysation Through Svarās:

1)Tristhāyi : All the Panchratna’s shows Tristhāyisancharāsall over, particularly all the first
CharanaSwarās starts in Manthrasthāyi which gives a meditative effect.

2)Thānam : As all the five Pancharatna’s are in Ganarāgas , all the CharanaSwaras are in
the pattern of Thanam. They are constructed within 3 to 4 swarā combinations. These
combinations are in Sarva lagu pattern which gives additional beauty to the Kritis. Except
Kana Kana Ruchira piece and pallavi and anupallavi of Endarō mahānubhāvulu all the
other kriti’s portions are in madyamakālā which gives a perfect rhythmic effect when
singing in groups . It also makes the audience to render and appreciate with tāla.

3)Graham: The Kana Kana ruchira and Endarō Māhanubhāvulu starts in anāgata grahā and
the others starts in Sama Grahā.

4) Jantai Prayogās :

In the Nāttai - there are many PP – SS, SS – PP, Swaraprayogās from

madyastӑyi to thārashāyi or thārashāyi to madyasthāyi
In Gowla - RR SS seen in all the Charanās
In the third Charanā - RR PP MM RR SS, MM RR SS
In the Sixth Charanā - RRPP RRMM SSRR
In Aārabi - MGRR , SRSS, seen all over
In third charanā - RR MM PP
In eight charanā - DD PP MGRR SS .
In Sri -
In First Charanā - SNN SNN P, GRR GRR GRRS
In second charanā - PPMMR , PPMR
In Fifth charanā - PMMPRRGR , GRR GRR S
In ninth charanā - GRRGRRR, GRRGRRR, SS PR RR

5) Dhāttuprayogās :
In Nāttai
In second Charanā - RS , PM NP SN
In Third Charanā - NP SN RS MR
In Ninth Charanā - PM NP MG MR MG PM PS RS MR PS
In Gowlai
In sixth Charanā - RR PP RR MM PMM RSS NPP
In Aārabi
In Fourth Charanā - SR DS PD MP
In Sixth Charanā - DDP SSD RSS
In seventh Charanā - DP SD RS MG
In Eight Charanā - SDRSMG
In Varāli
In second Charanā - RN SD NP
In Fourth Charanā - SP DM DP
In Sixt Charanā - DN PD MP
In Sriraga
In seventh Charanӑ - PN MP RG RM RP MN PS MP RM

6)Gamakās : Most of the Gamakās seen are Arōhana, Avarōhana, Dhālu, Sphurita,
Kampita, Aahata, Pratyāhata, Tripuncha, and AndolaGamakā.

1)Arohana Gamakās : (Ascending Order )

In Duduku gala
1) Fifth Charanā - PNS, RMPNS
2) Eight Charanā - RM SRM NSRGM
3) Ninth Charanā - RM, SRM .
In Endarō
In Eighth Charanӑ - MPN, RMPN, SRMPN

2) Avarohana Gamakās :(Descending Order)

In Jagadānandakāraka
In the Second Charanā - SNPM, NPMR, PMRS
In Fifth Charanā - PMR NPMR , SNPMR
In Duduku gala
In Third Charana - PMRS
In Seventh Charanā - RSNP, SNPM, NPMR
In Endharo -
In Sixth Charanā - GR, SNP, SN, PMR

3) Dhalu Gamakā : It is also called Jārugamakā.

Jagadānandakāraka - First, Second, Third, Fifth Seventh , and Tenth Charanās has
madyasthāyipanchamam to Tārastāyisatja phrases - S/P P/S PP/SS

In Seventh Charanā - S/S

In Sri rӑga kriti also this type is seen

Fourth Charanā - P/S
Ninth Charanā - SS/PP/RR Descending Jāru.
Sixth Charanā - SS \ P
In Duduku gala
the Eight Charanā - this type is seen

4) Sphurita Gamakās : (Double Notes )

In Nāttai Kriti
First Charanā - SSRS MMRS MM; PMM PMM ,
In tenth Charanā - PPNP PNPP , PP MM .
In Dudu kugala
In Third Charanā - RR PPMM RR SS
In Sixth Charanā - RRPP, RRMM, SSRR.
In Aārabi Kriti-
In Second Charanā - PP MGRR MGRR
,In Eight Charanā - SSDD, RRSS, MGRR, SRS, S PDPP, P In
SriRaga Kriti
In Ninth Charanā - SS PP RR,
First and Fourth Charanās - SNN P, P GRR - SS.
5) Kampita Gamakās ;(Manipulation Of the Note )
In Kanakana ruchira - the Gandharam and Madyamam are in Kampita Gamakam.
In Aārabi - the Rishabham shows Kampita Gamakam.

6) Ahata Gamakās :
In Nāttai Kriti
Seventh Charanā - SRNS PN MP
In Gowlai Kriti
Sixth Charanā - RR PP RR M SS RR
In Aārabi Kriti
First Charanā - DS ,SR
Second Charana - DS SR RM
Fourth Charana - SRD, SP , DM, P
In Varāli Kriti
In Sixth Charanā - DN PD MP
In SriRaga Kriti
Seventh Charanā - PN MP RG, M,P, R,M, P,N

7) Pratyāgata Gamakās :
In Nāttai Kriti
InSecond Charana - RS PM NP SN
In Third Charana - NP SNRS MR
In Tenth Charana - NP PM M
In Gowlai Kriti
In Sixth Charanӑ - PMM RSS NPP
In Aārabi Kriti
In First Charanӑ - SDDP
In Sixth Charanӑ - DDP, SSD, RSS, GRR,
In Seventh Charanӑ - DP SD, RS MG ,
In Eight Charanӑ - SSD RRSS , GR, SDRSMG
In Varāli Kriti
In Second Charanӑ - PM DP ND SN RS
In SriRaga Kriti
In Eight Charanӑ - GRRS, SNNP
In Fourth Charanӑ - GRRSN
8) Tripuncha Gamakās ;( Triple )
In Nāttai Kriti -
In Seventh Charanā - SSS
In Gowlai – Anupallavi - RRR
In Seventh Charanā - SSS, SSS
In Ninth Charanā - SSS SSSSSS
In Tenth Charanā - PPP
In Aārabi Kriti –
In fourth Charanā - SSS – SSS
In Second Charanā - RRR
In Sixth Charanā - SSS PPP
In Eight Charanā - PPP RRR SSS RRR
In SriRaga Kriti
In Fifth Charanā - RRR
In Eight Charanā - RRRRRR
9) Andola Gamakā : ( A Swinging Movement )
InVarāli Kriti
In Third Charanā - NSR S, S, MPD P, P
In SriRāga Kriti
In First and Fourth Charanās - SNN P, P GRR S, S
In ninth Charanā - SNP RR SNP P, P

Yathis In Pancharatnās : As yathis are the decorative aspects of a Kriti. Pancharatna

Kritis are rich in Yathi patterns.
Srothovaha Yathi :
In Nāttai Kriti
In First Charanā - SNP RSNP
In Fifth Charanā - PMR ,NPMR, SNPMR
In Sixth Charanā - RS ,MRS,PMRS, NP,SNP, RSNP, MRSNP
In Eight Charanā - MRS, PMRS, NPMRS
In Tenth Charanā - M, PM, NPM, SNPM
In Gowlai Kriti
In Sixth Charanā - NPM, SNPM
In Seventh Charanā - SNP, RSNP,
In Eight Charanā - RM,SRM, NSRGM
In Aārabi Kriti
In Second Charanā - P, MGRR, MGRR
In Third Charanā - D, PD,PPD
In Seventh Charanā - MGR, PMGR
In Varāli Kriti
In First Charanā - P, PMP, DPMP
Second Charanā - DN, PDN
In Seventh Charanā - PM, GDPM, GNDPM
In SriRaga Kriti –
In Fourth Charanā - SNP, RSNP, GRSNP, NP, SNP,RSNP, GRSNP
In Eight Charanā - MPN, RMPN, SRMPN
In Ninth Charanā - P, RSR, PNP, RSR

2) Gopucha Yathi :
In Gowlai Kriti
In Third Charanā - RR PP MM RR SS R P M R S
In Ninth Charanā - SRMM , SRM, RM
In Tenth Charanā - R,S, R, S, R, SR
In Aārabi Kriti
In Second Charanā - P, MGRR, MGRR
In Seventh Charanā - PMGRR , MGRR
In Varāli Kriti
In Second Charanā - NDP, DP
In Fourth Charanā - DN, PDN
In Seventh Charanā - GRS, RS
In SriRaga Kriti
In Third Charanā - PPMRR, PPPP, PMR
3) Damaruga Yathi :
In Varāli Kriti
In fourth Charanā - MGRS GRS MGRS
In Gowlai Kriti
In Second Charanā - RSRMM SRM RSRMM
In Fourth Charanā - RSRMP RMP RSRMP

4 ) Mridanga Yathi :
In Gowlai Kriti
In Fifth Charanā - MPN RMPN MPN
In Aārabi Kriti
In Sixth Charanā - MPD;P MPDDP MPDP
In SriRaga Kriti
In Seventh Charanā - RMPN MPN RMPN

5) Sama Yathi :
In Nāttai Kriti :
In fourth Charanā - P,NP,NPM M,PM,P MG G,MG,M RS N,S G,MP ,

Conclution:
The Pancharatnas of Tyāgarāja are the most wonderful Representative of
Tyāgarāja’s contribution as a composer. They facilitate Mass singing.. Continuous rendering
of PanchaRatna in chorus ushers to an atmosphere of Peace, Tranquility and devotional
rapture. They show the Depth of Indian Culture to the World at Large. They also convey
the messages to the Society regarding Dos and Don’ts. They are popular throughout the
World regardless of Barriers Of Caste , Creed ,Language, Religion and Race.

Refernce Books :
1)Lyrics of Tyāgarāja – T.V. Kuppuswami – 2004 .Adharsh Book Publisher
2) Tyāgarāja – Saint and Singer – SucheendramYegnanarayanKrishnaswamy – Orient
Longman publishers – 1968.
3) TyāgarājaKeerthanulu – KalluriVeerabhadraSastri – Tirumala TirupathiDevasthanam
Publication – 2015. 4) Sri TyagaraajaSwamiKirthanas– T.S. Parthasarathi . The Karnatic
Music Book Centre – 2018 5) TyāgarājaPancharatnaKritis – Lyrics with swaras . Sri Siva
Vishnu Temple – T.Nagar - 2022 6) Sri TyāgarājaPancharatnaKeerthanas (Tamil )
GiriTrading Agencies Private Ltd., 2017
7) PancharatnaKeerthanas – Sri Ramakrishna Mutt – Chennai – 2007 ( Tamil )
8) PancharatnaKritis of Saint Tyāgarāja - (English ) GiriTrading Agencies Private Ltd.,
2012 9) The Spiritual Heritage ofTyāgarāja – C. Ramanujachari - Giri Trading Agencies
Private Ltd., 2000.
10) Tyāgarāja – A Great Musician, Saint– M.S. RamaswamiAiyar -Gyan Publishing House –
2020.
11)The Spiritual Heritage ofTyāgarāja –S.Radha Krishnan and Ramaujachari – Sri
Ramakrishna Mutt – 2001 .
12)Tyӑgarӑja and the Renewal of Tradition- Jackson Willam.J.- Motilal Banarasidӑss,
Newdelhi - 1994.
13) Karnataka Sangitamӑlika - D.C. Books –Kottayam -2007.
14) Pancharatna Krithigal.- Guruvayuru Devasthanam Publications -1993.
`15) South Indian Music Vol -1 to 111- Sambamoorthy.P. The Indian Publishing Press.
Madras 1973.