Svarajatis are pleasing melodies. They are learnt after the gitas. They form the stepping stone to the next important compositions, the varna. In point of musical structure and speed of execution, they resemble the varnas. A svarajati consists of a pallavi, anupallavi, and charanas - the charanas being set in different dhatus. Sometimes the anupallavi is dispensed with. The theme of the sahitya may be either devotional, heroic or amorous. It may be an invocation to some favourite Deity or may relate to the glorious and valorous deeds of some hero.

The svarajati originated as a dance from with ia is Emayaladi in Huseni raga is a good example. The anupallavi herein is concluded with svara sahitya-jati ie., with a solfa passage and an appriate sahitya and jati (Muktayi jatisvara sahitya).

Syama Sastri deleted the element of jati in it and moulded the svarajati into a musical form. His svarajatis in Bhairavi, Yadukula Kambhoji and Todi are brilliant compositions and are fine concert peices.

Syama Sastri, Adiyappiah, Swati Tirunal, Sobhanadri, Merattur Venkatarama Sastri, Walajapet Krishnaswamy Bhagavatar have composed beautiful svarajatis.

Chitta tanas
Sabda Pallavi

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