Gurjari is a sampoorna raga, it carries all the seven notes of the janaka ragam, Mayamalavagoula. Only because it is slightly vakra in the avarohanam, it does not satisfy the principles applied to Mela ragas.
Aroh: S R1 G3 M1 P D1 N3 S; Avaroh: S D1 N3 P M1 G3 R1 S
Gurjari (also known as Gujjari), is of Hindusthani origin. The present day Gurjari raga owes its origin to the Gurjars (or Gujjars). Some are of opinion that it comes from Gujarat, while some others say it is from Kashmir.
There has been some difference found in both Thyagaraja and Dikshithar schools in handling of this raga. While Thyagaraja system follows the scale:
S R1 G3 M1 P D1 N3 S // S D1 N3 D1 P M1 G3 R1 S,
Dikshithar system follows:
S R1 G3 D1 P M1 P D1 N3 S // S N3 D1 P M1 G3 R1 S
Ragapravaham shows:
S R G P D S - S D P M G R S
S R G M P D N S - S D S N D P M G G R S
S R G M P D N S - S N D P M G R S
S R G M P D N S - S D N D P M G R S (same as the Thyagaraja system)
As we can see that though there are some minor vakra prayogas, this raga should be a beautiful one and expect a prominent place as or near to that of Mayamalavagoula, it is quite surprising that from a considerably big list of compositions available, only very few see the stages.
Compositions available:
Abhimanamu-Adi-Mannargudi Rajagopala Iyer
Andaka dadane- -Annamacharya
Appude gelichitava- -Annamacharya
Appuleni samsaramaina pate chalunu-T/Eka-Annamacharya
Are kalyana rama (lng)-Triputa-Govindacharya
Artuda nenu- -Annamacharya
Ata evvarikim- -Annamacharya
Balavantudavu- -Annamacharya
Bhavincha nera- -Annamacharya
Cheppaga neragara- -Annamacharya
Cheppambote- -Annamacharya
Deva nivekala- -Annamacharya
Ekkada poyeno- -Annamacharya
Elike cheppina- -Annamacharya
Ennadu manavu- -Annamacharya
Enta ledidi- -Annamacharya
Evvaru naku dikku- -Annamacharya
Gaganajjada mandala mandiha (lakshana geetham)- Venkatamakhi
Guni janadinuta guruguhodaye gurjari ragapriye- Dikshitar
Hari hari ninnu sakalantaryami ni atmadalachute- Annamacharya
Heyamemi ledu- -Annamacharya
Ihame paramu- -Annamacharya
Inni upayamu- -Annamacharya
Intepovari vari- -Annamacharya
Itaramu linniyu nadu mantramule enchi chuchi- Annamacharya
Itaramulanniyu-Adi-Annamacharya
Itaropayamulella- -Annamacharya
Jagamata ni mayamu- -Annamacharya
Karunanidhivi gaka- -Annamacharya
Konda vanti devudu- -Annamacharya
Kududururake- -Annamacharya
Ma ma tyaja ramava mam manmanasa- C.S.Shivaramakrishna Bhagavatar
Makemi ni karuna- -Annamacharya
Nakorake gridincheno- -Annamacharya
Napali ghana- -Annamacharya
Okati kokatilankai- -Annamacharya
Papamu cheruva- -Annamacharya
Payamanta mudimanta bahurupamu ika- Annamacharya
Sarvam vishnumayam- -Annamacharya
Shri ramula divyanama smarana jeyuchuna- Bhadrachala Ramdas
Telisi bhradukaro- -Annamacharya
Upakari devudu- _ Annamacharya
Varalandu kommani nayandu vanchana seya- Tyagaraja
Vokati kokati- -Annamacharya
The name gurjari shows up at least in 3 compositions of Purandaradasa that list different ragas (most likely in vogue in his time) - tutturu tUrendu battisa rAgagaLannu, anganeyarellaru neredu and naLinajANDa taleya toogi.
Now, let us see the two compositions, ‘Varalandu kommani’ of Thyagaraja and ‘Gunijanadinutha’ of Dikshithar. Saint Thyagaraja, through his composition, appeals to Rama not to tempt him with boons to fulfill worldly desires. He gives ideal examples of Prahlada and Dhruva who were blessed with boons of eternal value. Here is Dr. S.Ramanathan’s rendition of this composition. : https://www.youtube.com/watch?v=U_7LiFp0_RQ
Muthuswami Dikshithar krithi, Gunijanadinutha, is in the eighth vibhakthi (sambodhana prathama) and on Goddess Lalitha. Here is a beautiful endition by Sri. D.K.Jayaraman.
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