Famous Carnatic kritis span various ragas, highlighting devotional depth and musical structure, with iconic examples like Thyagaraja's "Endaro Mahanubhavulu" (Raga Sri), Muthuswami Dikshitar's "Mahaganapathim" (Nattai), and Syama Sastry's Bhairavi Swarajathi "Kamakshi," showcasing ragas like Kalyani, Shankarabharanam, and Kapi, beloved for their emotional resonance and melodic beauty in South Indian classical music.
Key Composers & Their Famous Kritis:
Thyagaraja (Tyagaraja): Known for emotive and devotional depth.
"Endaro Mahanubhavulu" (Sri)."Nagumomu" (Abheri)."Brochevarevarura" (Manohari).
"Siva Siva Anaraada" (Pantuvarali). maa janaki (kamboji)
Muthuswami Dikshitar: Known for intricate compositions often focusing on deities.
"Mahaganapathim" (Nattai)."Sri Saraswathi Namosthuthe" (Aarabhi).
Syama Sastry: Celebrated for complex compositions.
Bhairavi Swarajathi "Kamakshi" (Bhairavi).
Swathi Thirunal: Known for devotional grace.
"Janani Mamava" (Bhairavi, 5th Navaratri Kriti).
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Popular Kritis by Raga (Melody):
Nattai: "Mahaganapathim" (Dikshitar).
Bhairavi: "Kamakshi" (Syama Sastry Swarajathi).
Sri: "Endaro Mahanubhavulu" (Thyagaraja).
Pantuvarali: "Siva Siva Anaraada" (Thyagaraja).
Kalyani: A popular melodic scale often featured in many kritis.
Kapi: A poignant raga with devotional appeal, different from the Hindustani Kafi.
These kritis are foundational, showcasing the essence of each raga and are essential listening for anyone exploring Carnatic music
Mahaganapathim__.. Nattai Muthuswami Dikshithar
Ganamurthe........ __ Ganamurthy__Saint Thyagaraja
Sabapathikku veru Deivam..Aabhogi..Gopalakrishna Bharathiar
Nee Dhaya radha Vasanthabhairavi.. Saint Thyagaraja
Paraathpara Parameswara Vaachaspathi.. Paapanaasam Sivan
Devi neeye thunai__.. Keeravani.. Paapanaasam Sivan
Santhana Gopalakrishnam __Khamas.. Muthuswami Dikshithar
Bhajare maanasa.... Aabheri.... Mysore Vasudevachar
Muralidhara Gopala __..Maandu.................. Periasamy Thooran
Karunai Deivame.... Sindhubhairavi.. Madurai Srinivasan
Narayanathe namo namo................Behag.................... Annamacharya
Aadathu asangaathu.... Madhyamaavathi.. Oothukkaadu Venkatasubbaier
Bhavayami Gopala Baalam................ Yamunakalyani.......... Annamacharya
Enna thavam seithanai.................... Kapi.... Paapsnaasam Sivan
Sarasamukhi sakala........................ Gowdamalhar..............Harikesanallur Muthiah Bhagsvathar
Bho Sambho Siva Sambho............ Revathi.... Swami Dayananda Saraswathi
Krishna nee begane Yamuna Kalyani Vyasa Rayar
Venkatachala Nilayam Sindhubhairavi Purandara Dasar
Kaliyuga varadan Brindavana Saranga Periyasami Thooran
Srichakraraja Simhasaneswari.......... Ragamaalika............ Sage Agasthyar
Kurai ondrumillai.... Ragamaalika............ Rajaji
Chinanchiru kiliye......Ragamaalika.... Bharathiar
Mahaganapathim — Nattai — Muthuswami Dikshithar.
Bhajare maanasa — Aabheri — Mysore Vasudevachar.
Sujana jeevana — Khamas; Sri guruguha — Sudha Saveri.
“Saraswati namostute” — Ragam: Sarasvati (or Bilahari in many schools); ..
“Nannu brovu Lalitha” — Ragam: Shuddha Saveri; ..
“Shri Raghavendra” (also taught as simple stotra-style) — Ragam: Hindolam (simple versions); ..
Easy — first kritis typically taught after basic varnams/Geethams
“Vathapi Ganapatim” — Ragam: Hamsadhwani; ..
“Bhajare Re Chitta” — Ragam: Kalyani (simplified teaching versions); ..
“Jagadananda Karaka” (short muktayi/charanam excerpts taught early) — Ragam: Nattai (short forms)
Beginner-friendly compositions by Trinity and other composers (simplified)
“Mamavatu Sri Saraswati” — Ragam: Hindolam; .. (often taught to beginners)
“Sri Ranganatha” / “Sri Ranganatha Padmanabhan” (short simple kritis) — Ragams vary; ..
“Enta nerchina” — Ragam: Mohanam; ..
Pentatonic (audible, easy to intonate) ragas and sample kritis
Mohanam: “Sogasu jiva” / “Enta Nerchina” — ideal to practise pitch accuracy and simple swara patterns.
Hindolam: “Mamavatu Sri Saraswati” — smooth melodic motion, less ornamentation for beginners.
Shuddha Saveri: “Nannu Brovu Lalitha” — straightforward ascent-descent, strong for tala practice.
