Krishņa Iyer is the fifth son of Rāmaswāmi Iyer of Tirukkunram in Uďayārpāļayam taluk of Tiruchirapalli. He had his training in Tamil and music under his father. Later he moved to Tanjore Serfoji Maharāja extended patronage to music and other fine arts. Fortune smiled on him and his musical education was undertaken by Pachimiriyam Ādiyappaiāh, Syāmā Sāstri, Pallavi Gōpāla Iyer and other stalwarts. Krishņa Iyer became the samasthāna vidwan of Uďaiyārpāļayam when Kalyāņaraňga Durai held the title.

Krishņa Iyer has specialized in ghanam, the most difficult of the divisions of music. At the araňgēţram of the ghanam Krishņa Iyer is said to have elaborated Punnāgavarāļi and expressed his gratitude in the sāhityam of the pallavi to all those who had helped him master the style. Besides master of ghana, he was also a great composer. His maiden composition was a song dedicated to Soundarājaperumāļ, the presiding deity of his village.

His padas try to the utmost capacities and the possibilities of the Vīņa. Equally important are his padas to the world of nřtya. Some of the familiar křtis composed by him are Pāreňgum pārtālum (Kalyāņi), Parimaļanātha (Darbār) and Summa suma sugam (Aţhāņa). The popular piece in Bhairavi Jagajjanani śukapāņi is now popular now in a different mould. He has sung 11 pieces in Aţhāņa, 9 in Bhairavi and 9 in Tōďi. Of these, only one song in Tripuţa tāļa, 5 in rūpaka and rest are in ādi tāļa. The favourite mudra of this Subramaņya bhakta is Vēlar – muthuvēlar, vadivēlar, tyāgamayivēlar, sentiruvēlar and so on.

Tanjore Ādimūrti Iyer, Tepperumanallūr Krishņa Bhāgavatar and Subbarāya Iyer were his disciples who learnt ghana mārgam and chakra tānam from him. Gōpalakrishņa Bhārati learnt Parimaļanātha, the Durbār composition from him. U. Veňkaţakrishņa Iyer, father of Swāminātha Iyer was a disciple of Krishņa Iyer for 12 years.