Another important aspect characteristic of Dikishitar’s style is the presentation of glides or Jaru’s Hiranmayim in the raga Lalita - tisra eka tala Shyama Shastri’s kriti style has more emphasis on unfolding the potentialities of the tala, while rendering the kriti. In Adi tala he followed the same compositional style of some of the composers like Pallavi Gopalayyar, Ghanam Krishnayyar and Kavi Matrbbutayya. Palinchu kamakshi in Madhyamavati can be considered as a good example.The musical structure is made of uniform phrases in Samakala. There is usually a continuous flow of music without much pauses in between, there are more words in the Sahitya with a vowel extensions. Anupallavi of the kriti Palichu Kamakshi In present day music we find that the compositional styles of the trinity have been integrated. While it became a musical fashion long ago, to sing Dikshitar kriti’s like Tyagaraja kriti’s presently even kriti’s of Shyama Shastri are sung like a Tyagaraja kriti. Such integrations of the great styles of the trinity has resulted in the loss of the grand individuality of the composer and kriti’s of Dikshitar and Shyama Shastri become a mere nomenclature. It is Tyagaraja’s compositional style in his kriti forms that continues to be popular.
Another important aspect characteristic of Dikishitar’s style is the presentation of glides or Jaru’s Hiranmayim in the raga Lalita - tisra eka tala Shyama Shastri’s kriti style has more emphasis on unfolding the potentialities of the tala, while rendering the kriti. In Adi tala he followed the same compositional style of some of the composers like Pallavi Gopalayyar, Ghanam Krishnayyar and Kavi Matrbbutayya. Palinchu kamakshi in Madhyamavati can be considered as a good example.The musical structure is made of uniform phrases in Samakala. There is usually a continuous flow of music without much pauses in between, there are more words in the Sahitya with a vowel extensions. Anupallavi of the kriti Palichu Kamakshi In present day music we find that the compositional styles of the trinity have been integrated. While it became a musical fashion long ago, to sing Dikshitar kriti’s like Tyagaraja kriti’s presently even kriti’s of Shyama Shastri are sung like a Tyagaraja kriti. Such integrations of the great styles of the trinity has resulted in the loss of the grand individuality of the composer and kriti’s of Dikshitar and Shyama Shastri become a mere nomenclature. It is Tyagaraja’s compositional style in his kriti forms that continues to be popular.
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