Playing Veena was a passion for Venkatanatha. He together with his brother Gururaja were trained by his father Veena Maestro Thimanna Bhatta. The father Thimanna was described having acquired proficiency as a boy in many sastras disputation in the Royal Court and in consequence to have receive a honorific Day Torch (Hagalu-Divatage). Music was a tradition followed by each generation His father Kanakchalla Bhatta and grandfather Krishna Bhatta were also Veena pandits in the court of Sri Krishnadevaraya. Krishna Bhatta carries  the pride of teaching the King Krishnadevaraya  and receiving the honour of a garland of pearls and prestigious insigmas of honour (Birudali). Scholars Opine, these pandits had the knowledge of composing music by the influence of Sri Vyasyaraja, Sri Purandaradasa and the like.

Goddess Saraswathi, the ultimate veenavadhini  appeared in the dream blessed and gave a mantroupadesha to Venkatanatha which is sure to have bestowed him with such expectational veena playing skills. He continued playing the Veena even after pontification. It is said he played Veena for the Lord Sri Moola Rama, Udupi Sri Krishna- Indu Yenega Govinda, Pandrapura Panduranga and Tirumala Sri Venkateshwara. Veena always remained as his companion.

Music has always played an important role in the realm of Madhava devotional Practices found obviously in four generations of Venkatanatha. The sears and pontiffs are considered vital for emergence of Carnatic music. Sri Raghavendra Teertharu’s was one of the icons befittingly praised ‘Veena Panditha Raghavendra Gaana Visharada Raghavendra’.