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Raga-Tala-Malika
The questions are connected with the previous questions, with each question alternating between a r
ā
ga and a t
ā
la.
By R. Aaditya Rangan
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The composition of Śrī Muttusvāmi Dīkṣitar on the lord of Dakṣina Kāśi is in this rāga.
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A majority of Śrī Muttusvāmi Dīkṣitar's compositions in the above rāga is in this tāla.
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The famous composition in the above tāla on the lord of Southern Dwāraka is in this raga.
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A unique tāla used by the famous disciple of the composer of the song in the previous question (one among the trinity).
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The rāga of the famous song on the Goddess of Kanchipuram in the above tāla by the above 'disciple-composer'.
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A famous song of Poochi Srinivasa Iyengar in this rāga is in which specific variation (eduppu) of a very popular tala?
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Two popular compositions of Tyagaraja - one praising the experts in Sangita and one praising Sri Rama's beauty and comparing him to the Mount Meru, are in the same tāla as above. Which rāga has been used for both the compositions?
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A composition of Mysore Jayachamarajendra Wodeyar on all the three forms of the goddess as the form of Srividya, in the above rāga is set to a tāla which we learn in our alankāra but rarely used in compositions. Which tāla is it?
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This Gīta in the above rāga, composed by Paidala Gurumurty Sastri starts with the praise of the goddesses from two famous Kṣetras in Tamil Nadu. What rāga is it in? (Clue: It is one of the Ghana Rāga-s).
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The above rāga has been used to tune a famous Annamayya composition on the Lord of Tirupati, describing him as Vāsudeva, with the Niraval frequently explored in a line about his lotus like eyes and his divine discus. Which tāla is it in?
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The tāla used in the above composition has been used in a famous "Nindā Stuti". Often wrongly attributed to Śrī Gōpālakriṣna Bhārati, this composition is on the multiple ways in which the lord could have led to his left leg becoming "lame". What rāga is this composition in?
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