Navarathri Krithis - Annapurna Devi

Happy to Navarathi and Dasara festival to all! On Suddha Chaviti thidi, the Devi alankarana at Kanaka Durga temple, Vijayawada is that of Sri Annapurna Devi. Annapurna Devi is the manifestation of Shakti who is associated with anna (food) and dhanya (grains) - the very nourishment and sustenance required for life. It is so amazing that our ancients have recognized this and by worshiping Annapurna Devi we are worshiping food and its life sustenance quality. It is a pity that now a days we waste so much food while so many people are starving. We, the human race, is consuming at a rate far greater than we can replenish. Very sad.

Let us pray to Annapurna Devi and pray she gives us Gyana, Vairagyam and anna bhiksham to all living beings everywhere. Also, may she grant all of us some sense to respect food and not waste it.

Annapurna alankaram for the Devi at Kanka Durga temple, Vijayawada.

Annapurna Devi is a manifestation of Parvathi Devi and is also known as Visalakshi Devi. She and her husband Vishvesvar (Shiva) lord over the ancient city of Kasi and hence she is known as Kasi Annapurna or Kasi Visalakshi. The great devi upasaka and composer Sri Muthuswami Dikshitar has composed four songs in her praise. Muthuswami Dikshitar had travelled to North India and visited Kasi. The influence of Hindustani music tradition (which had clearly become a very separate tradition from carnatic even before the time of the Carnatic Music Trinity)  can be clearly seen in his compositions. However, not all of his compositions on Annapurna are regarding the devi at Kasi. Annapurne Visalakshi set in Sama ragam is a krithi on the devi at MadhyamaKasi/Kuzhikkarai in Tamil Nadu which he had visited on pilgrimage.

The krithi Ehi Annapurne is in praise of Sri Kasi Annapurna and is set in Punnagavarali ragam and Adi talam. Punnagavarali is a janya of the 8th Melakarta Hanumatodi. It is a nishadantya ragam - meaning the ragam does not start and end on the Sa but on strarts and ends on Ni.

Ehi annapUrNE sannidhEhi.  rAgA: punnAgavarALi.  Adi tALA.

P: Ehi annapUrNE sannidhEhi sadApUrNE suvarNE
A: pAhi pancA shadvarNE mAm shriyam dEhi raktavarNE aparNE
C: kAshI kSEtra nivAsini kamalalOcana vishAlini vishvEsha manOllAsini
jagadIsha guruguha pAlinI vidrumapAshini punnAgavarALi prakAshini
SaD-trimshat tatva vikAshini suvAsini bhakta vishvAsini cidAnanda vilAsini

Please listen to DK Pattamal's wonderful rendition of this song-


The next song is Vishalakshim Visveshim in the ragam Kashiramakriya which is the Asampurna mela equivalent of the 51st melakarta Kamavardhani.

vishAlAkSIm vishvEshIm.  rAgA: kAshIrAmakriya.   cApu tALA.

P: vIshAlAkSIm vishvEshIm bhajarE rE mAnasa sadA
C: kAshI rAjnIm kapAlinIm vinOda jAlinIm vAriNIm
pAsha mOcanIm prasiddhinIm IshAnIm guruguha jananIm

Please listen to the song rendered by D K Pattammal-


The next song is Kasi Visalakshim which is in the ragam Gamakakriya which is equivalent to the 53rd melakarta ragam Gamanashrama. However, this song is generally rendered in the ragam Purvi Kalyani which is a janya of Gamanashrama.


kAshI vishAlAkSIm.  rAgA: gamakakriyA.   rUpaka tALA.

P: kAshI vishAlAkSIm bhajEham bhajE shrI
A: kAshI vishvEshvara manOllAsa kAriNIm karuNArasa laharIm guruguha vishvAsinIm
C: kAshIpura vAsinIm kAmita phaladAyinIm kali kalmaSa nAshinIm gandharva ghOSita gamakakriyA
mOdinIm pAsha mOcanIm kapAla shUlinIm pannaga vENIm dAsajana mukundavara pradAyinIm

Please listen to Maharajapuram Santanam sing this song-


The last song is Annapurne Visalkshi set in sAma ragam. Sama is a beautiful ragam which conveys shanta rasa. This ragam is a Janya of the 28th melakarta Harikambhoji which is known in the aasampurna scheme as Harikedaragowla.


annapUrNE.  rAgA: sAma.  Adi tALA.

P: annapUrNE vishAlAkSi akhilabhuvana sAkSi kaTAkSi rakSi
A: unnata garta tIra vihAriNi OmkAriNi duritAdi nivAriNi
pannagAbharaNa rAjnI purANi paramEshvara vishvEshvara bhAsvari
C: pAyasAnna pUrita mANikya pAtra hEmadarvI vidhtakarE
kAyajAdi rakaSaNa nipuNatarE kAncanamaya bhUSaNambaradharE
tOyajAsanAdi sEvitaparE tumburu nArsdAdi nutavarE
trayAtIta mOkSaprada caturE tripada shObhita guruguha sAdarE

Please listen to Radha and Jayalakshmi sing this song-


See you soon with more songs!

Navarathri krithis - Sri Mahalakshmi Devi

Happy Navarathri and Dasara pandaga/habba (festival) to all! On Sudda Thadiya thidi, the Devi at Kanaka Durga temple, Vijayawada is dressed (alankarana) as Si Mahalakshmi. Maha Lakshmi is the atma of Sriman Narayana and a manifestation of the Maha Devi Shakti. Maha Laksmi stands for wealth, wisdom, prosperity, beauty, success and many such positive attributes. Let us pray to her that she grant all of us sadbuddhi, prosperity, wisdom and happiness in our lives.

Maha Lakshmi alankarana at Kanaka Durga Temple, Vijayawada

Sri Muthuswami Dikshitar is one of the Trinities of Carnatic music and a great Devi upasaka. He has composed krithis on many deities and has composed many krithis on Varalakshmi. Actually, some of the Varalakshmi krithis were composed by him to be sung during the popular Varalakshmi vratam performed by women in South India.These krithis are also popularly known as Sri Lakshmi krithis series of Muthuswami Dikshitar. These krithis are -

1. Hari Yuvatheem Haimavatheem in Raga Hemavathi

The first song is Hari Yuvathim Haimavatheem in the Ragam Haimavatheem/ Hemavathi which is the 58th ragam in the sampurna melakartha scheme. It is set in rupaka talam. It is in fact the prati-madhayama equivalent of the famous and ancient Kharaharapriya ragam. Hemavathi ragam is known as Deshi Simharavam in the Asampurna melakarta scheme which was followed by Sri Muthuswami Dikshitar. However, Dikshitar has incorporated Haimavatheem as the name of the raga into the krithi. The raga structure for Hemavathi is -
Aro: S, R2, G2, M2, P, D2, N2, S
Ava: S, N2, D2, P, M2, G2, R2, S
Note the large gap of a whole step between the sadharana gandharam and pratimadhyamam. The raga Deshi Simharavam too maintains the same arohana-avarohana scheme as Hemavathi.

Lyrics:
hariyuvatIm haimavatIm.  rAgA: dEshIsimhAravam.   rUpaka tALA.

P: hariyuvatIm haimavatIm ArAdhyAmi satatam akhila lOkajananIm
C: narahari hrdaya nivAsini nAma rUpa prakAshini guruguha mAnasa ranjani guNijananutE niranjani

Please listen to Daamal K Pattammal sing this song-


2. Hiranmayeem Lakshmim sada bhajaami in Raga Lalitha

Sri Dikshitar has composed two back-to-back songs on Maha Lakshmi and there is a legend regarding this. Once, his second wife was obsessed by gold and this seems to have depressed him. So he praised Sri Lakshmi as 'Hiranmayeem Lakshmim' or the Lashmi devi made of gold and promised not seek help (ashrayam) from the rich and corrupt/greedy (heena maanava) in the popular song song 'Hiranmayeem Lakshmim' set in Lalitha ragam. Lalitha ragam is a very pleasing ragam derived from the 15th melakarta Mayamalavagowla. It is a hexatonic scale (shadava-shadava) in both arohana and avarohana. It is obtained from Mayamalavagowla by dropping the Panchamam (Pa). The ragaswaroopa is:
Ar: S, R1, G3, M1, D1, N3, S
Av: S, N3, D1, M1, G3, R1, S
The large step between M1 and D1 gives Lalitha quite a floavor. It is a serene and devotional ragam. The Hindustani raag Lalith is not related to Laitha ragam although Lalith was also known previously as Lalitha raag. The Lalith raag too eschews the Panchama (Pa) but it features both the suddha and prati-madhayama like in Bihag although the usage of both Ma1 and Ma2 is different in Lalith.

Lyrics:
hiraNmayIm lakSmIm.  rAgA: lalita   rUpaka tALA.

P: hiraNmayIm lakSmIm sadA bhajAmi hIna mAnavAshrayam tyajAmi
A: ciratara sampatpradAm kSIrAmbudhi tanayAm hari vakSasthalAlayAm harinIm caraNa kisalayAm kara kamaladhrta kuvalayAm marakata maNi valayAm
C: shvEta dvIpa vAsinIm shrI kamalAmbikAm parAm bhUta bhavya vilAsinIm bhUsura pUjitAm varAm
mAtaram abja mAlinIm mANikyAbharaNa dharAm gIta vAdya vinOdinIm girijAm tAmindirAm sIta
kiraNani bhavadanAm shrita cintAmaNi sadanAm pItavasanAm guruguha mAtula kAntAm lalitAm

Listen to MS Amma sing this song:



3. Mangala Devataya tvyaa in Raga Dhanyaasi

After Sri Dikshitar composed and sang Hiranmayeem Lakshmim,  it seems to have satisfied Sri Maha Laksmi and she lifted the veil of illusion from his wife's eyes. Happy about this, the second day he composed the song Mangala Devataya tvaya in the Ragam Dhanyaasi and rupaka talam.Dikshitar seems to have chosen the best ragam for this song given the situation. Dhanyaasi or Dhanashri is a very mangala (auspicious) ragam which conveys bhakti rasa among others. Dhanyaasi is thought to be derived from the 8th melakarta ragam Hanumatodi although the Sangitha Sampradaya Pradarshini (SSP) of Subbaraya Shastri puts it under the 20th mela Natabhairavi/Nariritigowla. However, in modern times, it is comnsidered to be under the 8th mela Hanumatodi. It is an asymmetric raga with a pentatonic (Audava) arohana and heptatonic (sampoorna) descent. The raga structure is like:
Ar: S, G2, M1, P, N2, S
Av: S, N2, D1, P, M1, G2, R1, S
Since SSP puts Dhanyaasi under 20th Mela instead of 8th mela, the D1 (suddha daivatham) has to be changed to D2 (chatusruthi daivatham) to fit into the 20th mela.

Lyrics:
mangaLa dEvatayA tvayA.  rAgA: dhanyAsi.  rUpaka tALA.

P: mangaLa dEvatayA tvayA bahu mAnitOham shrI
A: pungava kamalAlayayA bhOga bhOgyAlayayA jangama sthAvara lOkajanana sthitilayayA jayA
C: haridrA kumkuma vastrAlankrta vigrahayA daridra duhkhAdi mUrddhanyAshiva
nigrahayA varada rAjagOpAla hrdaya sarasija grhayA varalakSmyA harihara guruguha
bhaktAnugrahayA surArcita padAmbujayA sudhA sAgarAtmajayA sura vinuta shivAnujayA
mAyAbIjayA vijaya

Listen to Mangala Devataya:


4. Varalakshmim bhajare re manasa in Raga Saurashtram

This krithi is set in the Raga Saurasthram and  Adi talam. In this krithi Diskhitar says to worship Sri Varalakshmi as she bestows us what we pray for (vanchita phala pradam). the lyrics are -

varalakSmIm bhajarE.  rAgA: saurASTra   Adi tALA.

P: varalakSmIm bhajarE rE mAnasa vAnchitArtha phalapradAm varadAm vanaja padAm
C: carAcarAtmaka prapanca jananIm saurASTra dEsha patinuta dhaninIm nirAmaya
mahAviSNu mAninIm niranjanIm nikhilAgha bhanjanIm surArcita padAmbuja vikAsinIm
nirAlamba mAnasOllAsinIm murAri vakSasthala nivAsinIm purAri guruguha cidvilAsinIm

Saurashtram is among the carnatic (and even hindustani) ragas which have been named after regions of our country. It might be that the folk tunes or classical tunes of those regions might have been incorporated into our classical music traditions and hence their names have been associated with those regions.In fact, in this krithi Dikshitar says that Sri Lakshmi is worshiped by the King of Saurashtram thereby inserting the raga mudra into the krithi. Thyagaraja has used this ragam twice in his famous opera Prahalada Bhakti Vijayam. He used it in the beginning in the opening song "Sri Ganapathi ni" and finally in the mangalam "Pavamana sutudu". In doing so, Thyagaraja has given this raga a special status as this raga would get song in almost every concert as the mangalam in Saurashtram is sung in almost every concert. The raga Suarashtram is derived from the 17th melakartha ragam Suryakantham. The raga swaroopam is -
Ar: S, R1, G3, M1, P, M1, D2, N3, S
Av: S, N3, D2, N2, D2, P, M1, G3, R1, S
The raga is varka in both arohana and avarohana with the usage of both N3 and N2 in the avarohana. This vakra sancharas makes the raga very pleasant to listen to and the raga has plenty of scope for gamakas. It is a very mangala (auspicious) ragam.

Listen to Vijay Siva sing Varalaksmim Bhajare -


5. Sri Varalakshmi Namastubhyam in Sri ragam

 Shree or Sri ragam is a very ancient ragam with a lot of compositions set to it. It is a highly pleasing and mangala (auspicious) ragam. The modern day Shree ragam is considered to be a janya of the 22nd melakarta Kharaharapriya as per the sampurna mela formulation. In the asampurna mela series, the 22nd mela itself was called as Shree ragam and it is this origin that Dikshitar used.The raga swaroopa is-
Ar: S, R2, M1, P, N2, S
Av: S, N2, P, D2, N2, P, M1, R2, G2, R2, S
It has a prominent vakra sanchara in its avarohana and is pentatonic (audava) in its arohana. More on Shree ragam in a later blog. The lyrics of the krithi -

shrI varalakSmI.  rAgA:  shrI.  rUpaka tALA.

P:  shrI varalakSmI namastubhyam vasupradE shrI sArasapadE rasapadE sapadE padE padE
A  bhAvaja janaka prANa vallabhE suvarNAbhE bhAnu kOTi samAna prabhE bhakta sulabhE
sEvaka janapAlinyai shrta pankaja mAlinyai kEvala guNa shAlinyai kEshava hrt-khElinyai
C:  shrAvaNa paurNamI pUrvastha shukravArE cArumatI prabhrtibhih-pUjitAkArE
dEvAdi guruguha samarpita maNimaya hArE dInajana samrakSaNa nipuNa kanakadhArE
bhAvanA bhEda caturE bhAratI sannutavarE kaivalya vitaraNaparE kAnkSita phalapradakarE


Please listen to MS Amma sing this song:


6. Mahalakshmi Karuna rasa lahari in Raga MadhavaManohari

This meaning of this raga itself is: One who makes Madhava happy/pleased and that is Mahalakshmi. This ragam is the janya of the 22nd melakarta Kharaharapriya. This ragam can also be called a janyam of other melakarthas but I will not get into that.As per Sangitha Sampradaya Pradarshini, this ragam is the janya of the 22nd melakarta of the Asampurna scheme - Sri ragam and the raga lakshana is-
Ar:  S, R2, G2, M1, P, N2, D2, N2, S
Av: S, N2, D2, M1, G2, R2, S
This ragam features a vakra sancharam in the arohana. In the avarohana the Panchama (pa) is missing.

The lyrics of this song:

mahAlakSmi.   rAgA:  mAdhavamanOharI.  Adi tALA.

P:  mahAlakSmi karuNArasa lahari mAmava mAdhavamanOhari shrI
A:  mahAviSNu vakSasthala vAsini mahAdEva guruguha vishvAsini
(madhyamakAla)
mahA pApa prashamani manOnmaNi mArajanani mangaLa pradAyini
C:  kSIra sAgara sutE vEdanutE kSitIshAdi mahitE shiva sahitE
bhAratIc ratI shaci pUjitE bhakti yukta mAnasa virAjitE
(madhyamakAla)
vArijAsanAdyamara vanditE nAradAdi muni brnda nanditE
nIrajAsanasthE sumanasthE sArasa hastE sadA namastE

Please listen to D K Pattammal sing this song:


7. Sri Bhargavi bhadram in Raga MangalaKaishiki

This song is part of the Srirangam pancharatna krithi of Muthuswami Dikshitar and is set in the rare and ancient raga Mangala Kaishiki and Triputa talam. The ragam Mangala Kaishiki is a janyam of the 15th melakarta Mayamalavagowla in both the sampurna and asampurna formulations. The raga swaroopa is -
Ar: S, R1, M1, G3, D1, P, S
Av: S, N3, D1, P, M1, G3, R1, S
This ragam has multiple vakra sancharas in the arohanam. However, M1 and G3 are close to each other as does D1 and P. So the arohana has a two peak (as in mountain peak) type vakra sanchara. This type of movements are very common in western classical music where in typically we are relatively free to choose the notes (Except in some cases, we can make vakra sancharas pretty much when ever we want). The lyrics of the song  -


P: shrI bhArgavI bhadram mE dishatu shrIrangadAmEshvari
A: saubhAgya lakSmI satatam mAmavatu sakala lOkajananI viSNu mOhinI
C: madana guru mAninI mama manasi tiSThatu madhukara vijaya mangaLa kaishikA nivasatu sadana
madhyE mahAlakSmI sadA viharatu sAmaja hEma kumbha snApitA vijayatu pada nayanAnana karanaLinI
parama puruSa hari praNayinI vadana kamala guruguha dharaNIvaranuta ranganAtha ramaNI

Please listen to T M Krishna sing this song -


These songs are considered part of the Muthuswami Dikshitar Varalakshmi series. But he has also composed Kamakshi Sri Varalakshmim but it is considered as part of his Kamakshi series. All the songs uploaded and linked on this blog are for educational and devotional purposes only and not intended to break any copyright. Meet you soon with more music!

Navarathri Krithis - Sri Gayathri Devi

Happy Dasara festival to all! Today is the second day (Sudda Vidhiya) of the Navarathri festival. On this day we worship the Goddess of Learning and the Veda Mata, Shri Gayathri Devi.The Devi at Kanaka Durga temple, Vijayawada is decorated (alankarana) as Sri Gayathri Devi. Gayathri Devi is shown with five heads and ten hands. The Gayathri Mantram is taught to children by their father during their Brahmopadesam or Thread ceremony. May Sri Gayathri enlighten our intellects and guide us to becoming better persons.

Sri Gayathri Devi alankarana at Kanaka Durga Temple, Vijayawada

Presented below are three compostions on Sri Gayathri Devi.

The first composition is by Sri Origala Veera Raghava Sharma (http://www.ogiralaveeraraghavasarma.com). He was a famous Devi upasaka and a composer of the modern era who has composed 86 songs on Sri Gayathri Devi in 4 volumes of his book "Srimad Devigaana Sudha". More information regarding the compositions can be found at http://www.ogiralaveeraraghavasarma.com/songs.html
His son and daughter have taken up the responsibility of spreading Sri Raghava Sharma's message. Some of his compositions have been sung by his daughter and more information & song download links can be found at http://rasikas.org/forum_flux/topic668-ogirala-veeraraghavasharma-gayathri-devi-upasaka.html

The song presented today is Sri Gayathri Devi SanAtani in Valaji Ragam and Aadi talam. This song was performed by Sri M Balamuralikrishna during a 1983 concert at Bangalore. The lyrics for this song can be found at http://www.karnatik.com/c1207.shtml in English and at http://www.ogiralaveeraraghavasarma.com/songs.html for Telugu and Tamil.The song is set in Valaji Ragam (http://en.wikipedia.org/wiki/Valaji) which is a symmetric pentatonic scale (audava-audava ragam). This ragam is considered to be derived from the 16th melakarta ragam Chakravakam. Chakravakam is also know as Ahir Bhairav in Hindustani music tradition. Valaji ragam is known as Kalavathi in the Hindustani music tradition. The arohana and avarohana structure for Valaji is-
Arohana: S, G3, P D2, N2, S
Avarohana: S, N2, D2, P, G3, S
The famous and ancient raga Malayamarutham is a hexatonic scale (shadava-shadava) is also derived from Chakravakam and can be obtained by just adding a Suddha Rishabham (R1) to Valaji ragam.

Listen to M Balamuralikrishna sing Sri Gayathri Devi SanAtani -




The next composition is Sri Gayathri Devi Vedamatrusvarupini in the raga Gamanashrama and Chatusra Jaathi Druva Talam. Please refer to http://www.rainer-pusch.com/scores-pdf/tala-and-raga-system.pdf for a dangerously brief introduction to the tala and raga system in Carnatic music. The composer for this song is Sri Jayachamaraja Wodeyar (http://en.wikipedia.org/wiki/Jayachamaraja_Wodeyar) who was a great patron of arts and a brilliant composer himself. He was a Devi Upasaka (Shri Vidya Upasaka) and composed many krithis on her. A detailed list of compositions and their compositions can be found at http://carnatica.net/test/?p=123 . His mudra for this song is also Shri Vidya.

This particular krithis is his only composition on Devi Gayathri. The lyrics for this song are reproduced from http://www.carnatica.net/lyrics/odeyar_eng.pdf

This song was performed by R K Srikantan for AIR Bangalore's Wodeyar series. Gamanashrama is the 53rd melakarta ragam and is known as Gamakakriya in Muthuswami Dikshitar School. The arohana and avarohana structure for this ragam is-
Arohana: S, R1, G3, M2, P , D2, N3, S
Avarohana: S, N3, D2, P, M2, G3, R1, S
Hamsanandi, which is a very popular janya of Gamanashrama is obtained by dropping the Pa (Panchama). Purvi Kalyani is another popular janya of Gamanashrama which drops Ni (Nishada) in the arohana.

Listen to R K Srikantan sing Sri Gayatri Devi -




The last composition on Gayathri Devi presented today is Sri Gayathrim in the ragam Jyothi Swarupini and Rupaka talam. The krithis has been composed by Sri Mangalampalli Balamuralikrishna as part of his Raganga Ravali series. This song belongs to the Raganga Ravali Volume 9 (http://www.sangeethamusic.com/index.php?m=ud&action=viewcapgm&id=&sid=&pid=413) 
A brief biography of Dr. M Balamuralikrishna can be found here: http://www.culturalindia.net/indian-music/classical-singers/balamurli-krishnan.html. I have heard Balamurali speak in a recent concert recording that he has been performing for about 75 years and close to 24,000 concerts.

The lyrics for this song are below:
Sri Gayathrim Bhakta Durita Latha Lavithrim
Yaga Phala Daathrim Uparthe Anisam

Yogi Hrtjanananaam Satvija Bhagadeyam
Chatur Vim-Dyakshara Roopam
(Sri Gayathrim..)

Pancha Varna Shobita VadaNam Jyothir Swaroopinim
Varada Abhayamkusha Kashadi Dharinim Trinetra
Varenyam Murali Gaana Vinodinim Abalam
(Sri Gayathrim..)

Jyothi swaroopini is the 68th melakartha raga (http://en.wikipedia.org/wiki/Jyoti_swarupini) and it Arohana-Avarohana structure is -
Arohana: S, R3, G3, M2, P D1, N2, S
Avarohana: S, N2, D1, P, M2, G3, R3, S
This raga uses shatsruthi rishabam, antara gandharam, prati madhyamam, suddha daivatham and kaisiki nishadham.

Listen to M Balamuralikrishna's own composition-



See you soon with more fantastic music!

Navarathri krithis - Sri Bala Tripura Sundari - Tiruvettriyur Pancharatnams

Happy Dasara festival to all! May the divine mother shower her blessings on one and all and give all of us sadbuddhi. Hope the world gets to be a more cleaner, safer, peaceful and greener place to live in. Today being the first day of Navarathri (Suddha Padyami), the Devi is dressed (alankarana) as Sri Bala Tripura Sundari.

Sri Bala Tripura Sundari at Kanaka Durga Temple, Vijayawada -

The great Rama bhakta Sri Thyagaraja visited Bala Tripura Sundari at Tiruvettriyur at his disciple Veena Kuppayyar's behest and composed five songs in her praise (http://www.karnatik.com/article006.shtml). The Tiruvettriyur pancharatnas are (click on link for lyrics)-

1. Kanna Talli Neevu in Saaveri Ragam (http://www.karnatik.com/c2388.shtml)

This song is set in the beautiful Saveri Ragam which is a janya of the 15th melakarta raga Mayamalavagowla. This ragam is rich in bhava and can be sung at both sunrise and sunset and brings out karuna and bhakti rasas. The arohana and avarohana structure of this ragam goes like:

Arohana: S, R1, M1, P, D1, S

Avarohana: S, N3, D1, P, M1, G3, R1, S

It can be observed that the R1 and D1 very close to Sa and Pa (the two fixed notes of the melakarta formulation) respectively and hence are important notes for this ragam. The M1 is given special treatment in this ragam. This is a very popular ragam and has been used by most composers. This particular krithi of Thyagaraja is a very rare krithi and is not sung very often in concerts.
Listen to the late Mysore Doraiswamy Iyengar sing this krithi -

2. Sundari Ninnu Varnimpa in Aarabhi Ragam (http://www.karnatik.com/c2883.shtml)

This krithi too is another rare song of Thyagaraja and is not sung often in concerts. This song is set in the ancient and melodious Aarabhi ragam which is one among the Ghana ragams. This is an auspicious ragam  sung at the beginning of concerts and is associated with vira rasa. This ragam shares the same skeletal arohana and avarohana structure as Saveri, but is derived from a different melakarta - Dheerashankarabharanam which is the 29th melakarta. 

Arohana: S, R2, M1, P, D2, S

Avarohana: S, N3, D2, P, M1, G3, R2, S

Not many gamakas are used in this ragam but it supports a lot of bhrigas. In contrast, the ragam Devagandhari, also derived from Dheerashankarabharanam and having the same arohana-avarohana structure as Aarabhi supports gamakas especially vilamba kala prayogams and differentiating it from Aarabhi.
Listen to Vijaya Murthy sing this krithi -

3. Sundari Nannandharilo Juci in Begada Ragam (http://www.karnatik.com/c2881.shtml)

This rare krithi is set in the unique Begada ragam. Begada is associated with shringara and adbhuta rasas. Although it can be sung at any time of the day, people tend to sing it during late afternoon and evening. This raga is derived form the 29th melakartha Dheerashankarabharanam. The arohana and avarohana structure of this raga is:
Arohana: S, G3, R2, G3, M1, P, D2, P, S
Avarohana: S, N3, D2, P, M1, G3, R2, S
The raga is a vakra ragam in the arohana alone.  However, in the avarohana, the raga accepts either kaisiki or kakali nishadam depending on the situation.
Listen to Jaya Krishnan sing this krithi -

4. Sundari Nee Divya Rupamunu in Kalyani Ragam (http://www.karnatik.com/c2882.shtml)

Kalyani ragam is an important and auspicious ragam and is very popular in Indian music. In the Hindustani music tradition, this ragam is known as Yaman or Kalyan. This scale is aslo present in Western Classical music as the Lydian mode (http://en.wikipedia.org/wiki/Lydian_mode) and in Persian music. It is interesting to note that just like Kalyani, Lydian mode too has been around for some time now. In the melakarta scheme it is the 65th melakarta and is known as Mechakalyani. It is the prati-madhyama equivalent of Dheerashankarabharanam. The arohana and avarohana structure for this ragam is-
Arohana: S, R2, G3, M2, P, D2, N3, S
Avarohana:  S, N3, D2, P, M2, G3, R2, S

The ragam is very pleasing to the ear and can be used to convey shanta rasa. It is considered to be one of the major ragams in carnatic music and lends itself to extensive elaboration.

Listen to Mangalampalli 'Bala'muralikrishna sing this krithis with an extensive alapana, kalpanaswarams and thani avarthanam. This song was part of a concert given in 1963 at The Shanmukhananda Hall in Mumbai. He was accompanied by Sri Lalgudi G Jayaraman on the violin and Umayalpuram K Shivaraman on the Mridangam.
Alapana:


Krithi:


Thani:

5. Dharini Telusukonti in Suddha Saaveri Ragam (http://www.karnatik.com/c1448.shtml)

Sudda Saaveri is a popular and pleasing symmetric pentatonic (audava-audava) ragam. Again, it shares the same arohana structure (sa, re, ma, pa, da, Sa) as Saaveri, Aarabhi and Devagandhari among others. The notes of the arohana are exactly same as Aarabhi. This ragam is derived from the 29th melakarta Dheerashankarabharanam. If we drop the Nishadam and Gandharam from Aarabhi we will get Suddha Saaveri. The arohana-avarohana structure is-

Arohana: S, R2, M1, P, D2, S

Avarohana: S,  D2, P, M1, R2, S
Dharini Telusukonti is among the most popular Suddha Saaveri compositions. Infact, it seems to be the most popular among the Tiruvettriyur Pancharatnams. It is also known as Devakriya in the Muthuswami Dikshitar School and  Durga in the Hindustani Music tradition.
Listen to Madurai Mani Iyer sing this krithi with alapna, swarams and thani -


This concludes the musical exploration of songs by Thyagaraja praising Bala Tripura Sundari. I hope to keep adding more songs and raga discussions in the future. I acknowledge and thank the efforts of the wonderful members of Sangeethapriya and Rasikas who have enriched our lives with their contributions.