To listen to a song of a composer sung by the composer himself is a great privilege. In fact, it is a benediction, a Kirtana Pratikshyam, seeing the song itself. Tyagaraja was creating songs constantly. He was singing them all the time. His disciples were many and lucky too. It was their enormous fortune to enjoy this experience of Kirtana Pratikshyam all the time. It should have been a divine experience. They should have really traveled with him. The world owes much to Tyagaraja's disciples for their excellent work.

Tyagaraja had a soft heart towards his disciples. He visited the house of Vina Kuppa Ayyar at distant Tiruvotriyur and, at his request, the house of the latter's patron, Kovur Sundara Mudaliar in Bundar Street, where he sang 'Devagandhari' raga for six days to satisfy his disciple.

One of the main reasons for the swift and widespread awareness and adoption of his songs during his own time was that he had a cluster of eminent disciples like Sundara Bhagavathar and Krishna Bhagavatar of Umayalpuram, the nest of musicians, Rama Ayyangar of Tillaistanam, Venkataramana Bhagavathar of Wallajahpet and others. The compositions were taken to the far-flung corners of South India by them. For instance, disciple Kannayya Bhagavathar went to Trivandrum and Swati Tirunal Maharajah was so much impressed with the eminence of Tyagaraja that he sent his own compositions through the great musician, Shatkala Govindamaarar . On reading them Tyagaraja was delighted with the all-round scholarship of the royal composer and he wrote a letter to him. This letter signed by him was reported to be available at the Royal Archives, Trivandrum. (Srimat Tyagaraja Vijaya Kavya by L.Muthiah Bhagavathar - 1941). The second reason is that the Saint happened to be at Tiruvaiyaru close to the seat of royal power at Tanjore. Visitors from far and near came to see, hear and pay their respects to him like Toomu Narasimha Dasa (Guntur), Gopinath Battacharya (Benares) and Govindamaarar (Trivandrum). A third reason is his regular bhajans which were attended by devotees, admirers and scholars. It was during one of such bhajans in 1843, at the interval between the purva and the uttara bhagas, Govindamaarar sang. The song 'Endaro Mahanubbavalu' (Sri raga) was sung in praise of him and the galaxy of all great men - an obeisance - by the disciples under instructions of the Saint. These apart, his songs were true gold with fragrance as stated by Dr.V.Raghavan. At the helm of all these, Tyagaraja was a master of perfection and would allow no error or interpolation to creep in. So, he called, on his return from Kancheepuram, all his disciples and checked up the songs by actually hearing them daily. In effect, it was a refresher course and a valedictory function combined. That was the pinnacle of the Saint's acts to ensure that the Holy River Cauvery does carry eternally nothing but the most rejuvenating and unpolluted sacred waters in the shape of his chaste, authenticated renderings. After Purandara Dasa, it is Tyagaraja who cared most for 'methods' to ensure purity and propagation. 'He excluded zealously pupils with the tendency to improvise variations, etc., to guard the purity of his authentic creations.' - (A.M.C.Mudaliar). Imprimatur was important to him. To borrow modern phraseology, Tyagaraja had the best of a secretariat, public contact and publicity wing which was devoted, loyal, effective and efficient.