MDR's marga in music was entirely different from even those of his contemporaries. The superiority of sampradaya, tracing inspiration to Patnam Subramania Iyer through Tiger Varadachariar stood out as the polestar of MDR's objective. His music moved in massive chords when he lingered lovingly on both the sahitya and sangita of great vaggeyakaras. In his deep-toned exposition there was an irresistible combination of tenderness and melody. In the purity of tone, admirable vilamba kala pacing and spacing. In his interpretation of songs like ``Giripai'' (Sahana), ``Akshaya Linga Vibho'' (Sankarabharanam), ``Ninnu Vina Gamari'' (Poorvikalyani) or ``Janani Ninnu Vina'' (Ritigowla) there was musical nobility very rare to come across these days. His recognition of the bhakti in music marked his contemplativesangita. To present an image of sublimity, transcendental in experience and preserved as heritage, was the summit of MDR's aspiration.