seve sri padmanabham - shodhganga : a reservoir...
TRANSCRIPT
106
SEVE SRI PADMANABHAM
Jhampa talam Composition - 6
Pallavi
Seve sri padmanabhamanisam (Seve sri....)
Anupallavi
Devam varamakuta mani deepti
Neerajithajithapadam (Seve sri....)
Charanam - 1
Paramabhagavatha divakarayathindra nayanago
Chara balarupadharam sarasijekshanam
Paripoojana salagramaharanakupitha samyami
Karavarithamadrsyamadha paramakomalahasitham
(Seve sri....)
Charanam - 2
Thadanusokadarbharita dandivara gaveshitham
Mudita masya theerthanchita mohanothamangam
Sadayam shangha chakra theertha sannihita
Nijabahum vidita dharmadharmatheertha
Vinyastapadapadmam (Seve sri....)
Charanam - 3
Atimahitadrisa roopakalana bahuvis-
mitha munindra yachanayabhritakarunarasam
Yati venu dandatritaya manasankuchitam
Vriti vilasad dvaratrayapavana vim°°°°°n°°°°°stritam (Seve sri....)
Govinda Rao T.K., Compositions of Swathi Thirunal, Ganamandir Publications, Indiranagar,
Chennai - 600 020, Page No. 365, India, 2002.
107
Charanam - 4
Taras°°°°°yogikrita saparyam dharaneeramaayuta mamalam
Garudakritanuthi rasikamuragasayamisam
Paramapathakahara padmatheerthadi vritham
Sarasamiha syanandoorajanathapunyanikayam (Seve sri....)
Charanam - 5
Varavanchim°°°°°rthandavarma maheepala valamadhana
Parikalpitha lakshadeepadi paramotsavamudhitam
Charanapankajaikagathi sadhulokaposhanaya
Karunyadhritadeeksham galitaavadhik°°°°°lam (Seve sri....)
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Pallavi
1. s , ; d , ; p , ; p , g , d p g p g r s , r , r ,
se - - ve - -sree- - pa - - - d mana - - b ha - ma - ni -
g , ; ; ; r g p d
sam- - - - - - - -
2. s , r s d , s d p , d p p g , d p , g p g r s , r , r ,
se - - ve - - - sri - pa - pa - d m a - na - - b ha - ma - ni -
g , ; ; d s r g p d
sam- - - - - - - - -
3. s r , s d s , d p d , p p d r s d p g p g r s , r , r ,
se - - ve - - - sri - - - pa - pa - d mana - - b ha - ma - ni -
p g ; ; g r s r g p
sam- - - - - - - - -
4. d r s s d s d d p d p p g p d s d p g p g r s , r , r ,
se - - - ve - - - sri - pa - pa - - dm a - na - - bha-ma-ni -
g , ; ; g r s r g p
sam- - - - - - - - -
5. d s r p d s g p d r g p p d r s d p g p g r s , r , r ,
se - - ve - - - sri - pa - - pa - - - dm a na - b ha - ma - ni -
g , ; ; g r s r g p
sam- - - - - - - - -
6. d g r d r s p s d g d p d r s s d d p p g g r s r , r ,
se - - ve - - sri - - - - - pa - - dm a na - - -bha- -ma-ni -
g , ; p g r s r g p d
sam- - - - - - - - - -
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7. s r g d s r p ds g p d g r s r s d s d p g r s rs s gr r
se - ve - -sri - - - - - pa - - dm a - na - -bha - - - mani -
p g ; , s r g p d s r
sam- - - - - - - - - -
8. g r s r sd s d p d p g p d g r s s d p g r s d sr s s rg rr
se - ve - sri - - - - - padma - - na - -bha- - -ma -- ni- -
g , ; , ; s r g p d
sam- - - - - - - - -
9. s r g g r s d s r r s d p d s s d p g d p g r s r , r ,
se - - ve - - sri - - - - - pa - - dm a - na - -bha - -ma-ni-
p g ; ; d p g r ;
sam- - - - - - - -
s , ; ; ; ; ;
seve - - - - -
(Seve sri..........)
Anupallavi
1. g ; p ; p , d , s , s , s d s , s , s r ; g r , s , s ,
de -vam- va - ra - ma - ku - ta - ma - ni - di - - - pti - - - ni -
d r , s s , d p , d ;
r °°°°° - ji ta - pa - -dam-
2. p d s d p g p d , s s , s , s d s , ; s r g r s , r s
de - -vam - va ra - ma - - ku - tamani - -di p ti - ni - ra -
, d p , g p d s p d , p
- ji ta - p°°°°° - - - da m - -
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3. p d s d p g p d , s s , r , r s r , g , g p , g r , s r
de - -vam - vara-ma -ku - ta m a - ni - di - - ptini - ra -
s d p , p g r s r g p d
ji ta - - p°°°°° - - da m - - -
Chittaswaram
3. s ; r s d , s d p , d p g , p g r s d s ; r d s , d
g p , s p d , p d s r g
s r , g r s , d s , r s d , p d , s d p , g
p , d p g , r g , p g r
s ; s r g r s r ; r g p g r g ; g p d p g p ; p
d s d p p g d p d , ;
, p d s r g r s d p d ; , ; r g p d r s d p g p ;
, ; p d s r s r g p d
(Seve sri..........)
Charanam - 1
s r , g , g , ; g , g , g , g , g , r , r g , p p , ;
para - ma -bha- - ga - va - ta - di - va - - - ka ra - yatin- -
p , p g d p g p g ; r
dra - na - ya - na - go - -
g p , g r , s , s ; d r s d p d , ; s r , g g ,
chara - ba - - la - su - pa - -dha-ram- - sa ra - si je -
r , g , p , ; ; ;
- -ksha- nam- - - -
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g g , p ; p , d , s , s d s , ; s , s r , g g r g r
pa - - ri - pu -jana- sa - la - gra - - ma - ha ra - naku - pi -
s , s , d , r s d p d ,
ta -sam- - - ya - - mi - -
d d , g r , s , s , s , d r , s d p d , p d , s d p ;
ka ra - va a - rita - ma - dri - - sya - - ma - tha - para - mako- -
p , p , p g r s r g p d
ma - la - ha - si ta m - - -
(Seve sri..........)
Charanam - 2
s r , g s r g , g , g , g , g , g , g r r g , p p , p ,
tada - nuso - - - ka - da - ra -bha- ri - ta - nan -diva - ra -
g , p , g , d p g ; r
ga - ve - - - shi -tam- -
g , p , g r , s , s , s d , r s , d p d , s r , g r , ;
mu - di - tama - - - sya - ti r - than - chita - - mo-- hano- -
g , p , d s p d , p p ,
tta -m°°°°°n- - ga - - - - - -
g g g , p , ; d , s , s d s , ; s , s r g p g r s ,
sadayam-san- - ka -cha - kra -thee- -rtha-san - - ni - hi - -
s , s , s d r s d p d ,
ta - ni - ja - ba - -hum- -
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; d d d , g , r , s d r s d , p , d , s , ; s d s d
- vi di ta -dha- r - ma - dh a r - m°°°°° - - - vin - - ya - - -
p , p g d p g p g r s r
sta - pa - da -padm a m - -
(Seve sri..........)
Charanam - 3
; s r , g g , g , g , ; g , g , g r r , g , p p , p ,
- a ti - mahi - ta - a - - dri - - - sa - r£££££ - pa - - ka - la -
p d d p g p g r r s ;
na - - - ba - hu - vi - -
g p , g r , s , s , s d , s d p d , ; ; s r , g r ,
s mi - tamu - nin - dra - y°°°°° - - chanya - - - -bhrta - karu -
g , ; p , g r , s ;
n°°°°° - - ra - sa m - - -
; g g p , ; d , s , s d s , ; s , s r g p g r s ,
- ya ti ve - - nu -nan- - - da - - tri - ta - ya - m°°°°° - na -
s , s d r s d p d , ;
san - - - ku - chi -tam- -
d d , g r , s , ; d r s d , p , p d , d , s , s , d p
vri ti - vi la -sad- -dva ra - - tra - ya - - pa - va - na - - -
p , p g , d p , g r s r
vi - m°°°°° - - n°°°°° - - sri - ta -
(Seve sri..........)
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Charanam - 4
s r g ; g ; g , g g , g g , ; g r r g p ; p p , ;
ta ra sa - yo - gi - krita - sapa - - ry adharana - rama - -
g d , p , g , p , g r s r
yu ta - ma - ma - - - la m - -
; g , p , g r , s , s , s d r s d p d , ; s r , g r , g ,
- ga - ru - dakri - ta - nu- ti - ra - si kam - - u ra - gasa - ya-
p , g , p , ; ; ;
nam- - - - - - - -
g g g , p , d , s , s , s d s , s , ; s r g p g r s ,
parama - p°°°°° - ta - ka - ha - ra - - - - - -pa d mathi r tha - -
s , s d r s d p d ;
- - - - di - vrtham -
; d d , d g , r , s d r s d , p , d , s , s , s d s d
- sara-sami - ha - s yana ndoo- ra - - - ja - na - ta - - -
p , p g d p g p g r s r
pu - ny a ni - ka - mam - -
(Seve sri..........)
Charanam - 5
s r , g ; g , g ; g ; g r r g , p p , p , g d p g
va ra -van- chi -mar-than- da - varma- mahee - - pa la - -
, r d p g p g r g r s r
- va - - la - ma - tha - na -
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...
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g p , g r , s , s , s , s d r s , d p , d , s r , g r ,
pa ri - ka l - pi - ta - la - ksha - dii - p°°°°° - - di -pa ra-mo-
g , g , g g d p g r , s ;
tsa - va - mu - di -tam- - - -
g g g , p , d , s , d , s , s , s , s , s r g p g r s ,
charan-pan- ka - jai - ka - ga - ti - sa - du - lo - - - - - - -
s , d , , s s d d p d ,
ka - p - - sha - na - ya - -
d d , d g , r , s d r s d , p , d , ; s , s , s d s d
ka ru -nya- - - - dh r ta -dee -ksh - am- -ga - li - ta - - -
p , p g g g d p g r s r
va - dh i k°°°°° - - - la m - -
(Seve sri..........)
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MUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSIS
Musical AnalysisMusical AnalysisMusical AnalysisMusical AnalysisMusical Analysis
It can be presumed that since the sahitya is of a descriptive nature
and the abundance of sahitya must have tempted the composer to choose
a longer tala and hence the tala fits in well with the piece. The angas
of the kriti are pallavi, anupallavi, chittaswara and five charanas. The
pallavi and anupallavi consists of only one p°da. The charanas have
four p°d°s each. The eduppu in the pallavi and anupallavi is samagraha.
The eduppu of the third charana is after two akshara. Other four
charanas commence in the sama graha.
PallaviPallaviPallaviPallaviPallavi
s , ; d , , , p
se - - ve - - -sree
AnupallaviAnupallaviAnupallaviAnupallaviAnupallavi
g , , p , , p ,
de - -vam- - va -
Charanam 1Charanam 1Charanam 1Charanam 1Charanam 1
s r , g , g ,
para - ma -bha-
Charanam 2Charanam 2Charanam 2Charanam 2Charanam 2
s r , g s r g
tada - nuso - -
.
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Charanam 3Charanam 3Charanam 3Charanam 3Charanam 3
; s r , g g , g , g ,
- a ti - mahi - ta - a -
Charanam 4Charanam 4Charanam 4Charanam 4Charanam 4
s r g ; g , , g , ,
ta ra sa - yo - - gi - -
Charanam 5Charanam 5Charanam 5Charanam 5Charanam 5
s r , g , , g , , g , ,
vasa -van- - chi - - - - -
The dhatu is very simple without much complicated prayogas of
the raga. The abundance of sahitya seem to restrict the flow of music
without lending much scope of musical variation. The musical range
of the piece extends from mandra dhaivata to thara gandhara. The
scope for singing kalpanaswara is there in all the sections.
Swarakshara syllables figuring in the composition are given below.
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
s , ; d , ; p , ; p , g , d p g p g r s , r , r ,
se - - ve - -sree- - pa - - - d mana - - b ha - ma - ni -
- Suddha suchita swaraksharam
117
Charanam 2Charanam 2Charanam 2Charanam 2Charanam 2
p , p g d p g p g r s r
sta - pa - da -padm a m - -
- Suddha swarakshara
Charanam 4Charanam 4Charanam 4Charanam 4Charanam 4
; g , p , g r , s , s , s d r s d p d , ; s r , g r , g ,
- ga - ru - dakri - ta - nu- ti - ra - si kam - - u ra - gasa - ya-
- Suddha suchita swaraksharam
GamakasGamakasGamakasGamakasGamakas
Charanam 1Charanam 1Charanam 1Charanam 1Charanam 1
s r , g , g , ; g , g , g , g , g , r , r g , p p , ;
para - ma -bha- - ga - va - ta - di - va - - - ka ra - yatin- -
- Kampita gamakas
Charanam 2Charanam 2Charanam 2Charanam 2Charanam 2
g g g , p , ; d , s , s d s , ; s , s r g p g r s ,
sadayam-san- - ka -cha - kra -thee- -rtha-san - - ni - hi - -
- Tripuscha gamakas
; d d d , g , r , s d r s d , p , d , s , ; s d s d
- vi di ta -dha- r - ma - dh a r - m°°°°° - - - vin - - ya - - -
- Tripuscha gamakas
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Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
d r s s d s d d p d p p g p d s d p g p g r s , r , r ,
se - - - ve - - - sri - pa - pa - - dm a - na - - bha-ma-ni -
d g r d r s p s d g d p d r s s d d p p g g r s r , r ,
se - - ve - - sri - - - - - pa - - dm a na - - -bha- -ma-ni -
Charanam 3Charanam 3Charanam 3Charanam 3Charanam 3
; s r , g g , g , g , ; g , g , g r r , g , p p , p ,
- a ti - mahi - ta - a - - dri - - - sa - r£££££ - pa - - ka - la -
p d d p g p g r r s ;
na - - - ba - hu - vi - -
Dattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogas
In anupallaviIn anupallaviIn anupallaviIn anupallaviIn anupallavi
d r , s s , d p , d ;
r °°°°° - ji ta - pa - -dam-
Charanam 3Charanam 3Charanam 3Charanam 3Charanam 3
d d , g r , s , ; d r s d , p , p d , d , s , s , d p
vri ti - vi la -sad- -dva ra - - tra - ya - - pa - va - na - - -
Charanam 4Charanam 4Charanam 4Charanam 4Charanam 4
; d d , d g , r , s d r s d , p , d , s , s , s d s d
- sara-sami - ha - s yana ndoo- ra - - - ja - na - ta - - -
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...
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Raga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogas
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
s r g d s r p ds g p d g r s r s d s d p g r s rs s gr r
se - ve - -sri - - - - - pa - - dm a - na - -bha - - - mani -
Charanam 5Charanam 5Charanam 5Charanam 5Charanam 5
d d , d g , r , s d r s d , p , d , ; s , s , s d s d
ka ru -nya- - - - dh r ta -dee -ksh - am- -ga - li - ta - - -
p , p g g g d p g r s r
va - dh i k°°°°° - - - la m - -
Visesha SancharasVisesha SancharasVisesha SancharasVisesha SancharasVisesha Sancharas
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
s r g g r s d s r r s d p d s s d p g d p g r s r , r ,
se - - ve - - sri - - - - - pa - - dm a - na - -bha - -ma-ni-
In chittaswara the composer included different patterns of Mohana
raga.
s ; r s d , s d p , d p g , p g r s d s ; r d s , d
s r , g r s , d s , r s d , p d , s d p , g
p , d p g , r g , p g r
s ; s r g r s r ; r g p g r g ; g p d p g p ; p
, p d s r g r s d p d ; , ; r g p d r s d p g p ;
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Literary AnalysisLiterary AnalysisLiterary AnalysisLiterary AnalysisLiterary Analysis
Adi- Dvitiya- Anuprasa Antya- Yati Yamakom
prasa kshara prasa
prasa
Pallavi
Anupallavi
Charanam 1 Parama
Charabala
Paripooj
Karavari
Charanam 2 Tadanu gavestitam Mohanam
Mudita uthamangam
Sadayam bahum
Viditha padmam
Charanam 3 Atimahita rasam
Mithamuni chitam
Yathivedu stritam
Vrithivilasad
Charanam 4 Tarasa amalam
Garuda anisam
Parama vritam
Sarasa kayam
Charanam 5 Varava
Parika
Charana
Karunya
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Raga mudra is seen in the second charana. The second p°da of
this charana
""Mudita masya theerthanchita mohanotham°ngam''.
The word i s used to descr ibe the beauty of the Lord
Padmanabhaswamy ' s u thamangam and considered as the
Raga name.
122
DASAVATARA - RAGAMALIKA
Adi talam Composition - 7
Pallavi
Kamalajasyahruta Nigamarasi Hayagreeva
Damana meena sareera! Mamavodara!
Pallavi
1. , , g p gr , s s , , , s d r s d p
- - kama la- - ja - - - sya - hru - tha -
, d s r g , g r g , d p g p g r
- ni gama ra - si - ha - ya - gri - va -
2. s r g d pp, gr , s s , , , s d r s d p
- - ka- ma-la-- ja - - - sya - h ru - ta
, d s r g , g r g , p d,p pgd pg r
- ni gama ra - si - ha - ya - gri - va -
s r g g p , , g p d s , ,d s , s ,
- - dama na - -dee -na sa - - ree - ra -
, , s r g rs s , d p p, ,d s,,d d p pgd p
- - ma - -ma-- vo - da-- - - - ra - - -- -
g r s r g , d p d g p r g p g , r s
p g p d , g p d s s d d p p g r
. ..
.
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.
.
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g p d s , s p d r s g r g s r g
r g r s , r d s p d g p d r s ,
d s r g r s p d s r s d p g p d
s r g r , s p d s d , p s d , p
g r s r (Kamalajasya......)
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MUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSIS
Musical AnalysisMusical AnalysisMusical AnalysisMusical AnalysisMusical Analysis
This pallavi starts with gandhara as the graha swara after two
aksharakala duration. The first sangathi is set in the most raga beautiful
raga ranjaka, combination of the raga Mohana. This is also a phrase
used for commencing ragalapana of the raga Mohana.
, , g p gr , s s , , , s d r s d p
- - kama la- - ja - - - sya - hru - tha -
, d s r g , g r g , d p g p g r
- ni gama ra - si - ha - ya - gri - va -
The Pallavi consists of two sangathis. These two sangathis filled
with all prayogas of the raga Mohana.
GamakasGamakasGamakasGamakasGamakas
, , g p gr , s s , , , s d r s d p
- - kama la- - ja - - - sya - hru - tha -
- Kampita gamaka
Swarakshara prayogasSwarakshara prayogasSwarakshara prayogasSwarakshara prayogasSwarakshara prayogas
In the first p°da
, , g p gr , s s , , , s d r s d p
- - kama la- - ja - - - sya - hru - tha -
- Suchita swaraksharam
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.
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. ..
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Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
s r g g p , , g p d s , ,d s , s ,
- - dama na - -dee -na sa - - ree - ra -
, , s r g rs s , d p p, ,d s,,d d p pgd p
- - ma - -ma-- vo - da-- - - - ra - - -- -
Arohana and avarohana gamakas enhance the beauty of the makuta
swara.
d s r g r s p d s r s d p g p d
s r g r , s p d s d , p s d , p
The pallavi has only two p°d°s. These two lines denotes the first
avathara (matsy°vat°ra) of Lord Mahavishnu.
.
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b. Pallavi Gopalayyar (1790 A.D.)b. Pallavi Gopalayyar (1790 A.D.)b. Pallavi Gopalayyar (1790 A.D.)b. Pallavi Gopalayyar (1790 A.D.)b. Pallavi Gopalayyar (1790 A.D.)
In the history of Carnaticmusic there were only a few composers
who were honoured with the tittle Pallavi. Among them "Pallavi
Gopalayyar', occupies a high place and he honoured this title at first.
He was one of the disciples of Pachchimiriam Adiappayya and the
asthana vidwan in the court of Raja Surabhoji. A renowned pallavi
performer and occuped an eminent place in music world. He was the
author of many compositions in Telugu and Sanskrit. He is one of
among the few eminent varna composers adroned in South Indian
Music. Pallavi Gopalayyar is the author of famous three ata tala varnas
- Vanajakshi in Kalyani, Kanakanji nee chelimi in Todi, Inta chalamu
in Kamboji. All these three varnas are very helpful to the students of
Carnatic music to make them very good vocalists. He was the first
composer of Tana varnas to do away with the concluding part "The
Anubandha'. He has presented a new style in his kritis that every note
is rendered with kampita gamaka. He adopted "Venkata' as the
vaggeyakaramudra. Sree Rama Ramani in Aditala and Sreepuranivasini
in Aditala are the two compositions set in the raga Mohana. In these
two kritis the notes are used in kampita gamaka.
127
SREE RAMA RAMANI MANOHARA
Adi talam Composition - 1
Pallavi
Sree ram°°°°°ramani manohara
Srithajana mandara
Anupallavi
Ghorad°°°°°nava mathavitharana
Muchukunda varada nabha gopakumara
Charanam - 1
Athulithadivya guna bharana
Sanakadi munivarya m°°°°°nasa sadana
Nathajanarthi harana
Manjubhashana navaneela
Subh°°°°°mgadya tarat°°°°°mga (Sreerama....)
Charanam - 2
Sanakasananthanadi vinutha
Sarva veda veda swarupa dinakara
Kulapathi gambheera divya
Nam°°°°°nga nishkalanka (Sreerama....)
Charanam - 3
Mandara giridhara paratpara
Thamala pallava satrusha bhasamana
Sundara purandaradivanditha
Suprasanna varada venkata ramana. (Sreerama....)
128
Pallavi
1. s , ; ; r , g , ; g r g ,
sree- - - ra - m° - - ra - ma -
p , ; ; d , p g d p g r s d
ni - - - ma - no - - - ha - ra -
2. s , ; r , g r s d s r g ,
sree- - ra - m° - - - ra - ma -
r g p , g p d , s d p; g g r s d
nee - - - - - ma - no - - - - ha - ra -
3. s , r, gr s , r , r, gr s; d s ; r g ,
sree- - -- - - - ra -ma-- - - - ra - ma - -
g p d,sd p , d , s d p; g g r s d
nee - - -- - - - ma - no - - - - ha - ra -
4. s , r g r sr ;g , p , d s d p d ,
sree- - - --ra-- - ma - - - ra - ma -
s , rg r, s; d r s d p p,d p g r s d
nee - - -- - - - - ma no - - -- -ha - ra -
s , r , g , g r g p d s d , ;
sri - ta - ja - na - ma - - -nda- -
p g d p r , ; r s d p g r s d
ra - - - - - - - - - - - - - -
Anupallavi
1. d , ; p , d p g , g r g , p ,
gho- - ra - da - - - na - va - ma -
d , p , d p g p g p d , s , s ,
ta - vi - ta - - - rana - - mu - - -
. .
.
.
.
. .
.
.
.
. ..
. . .
. .
.
.
.
129
s r g , r , s , r; gr s s d , r s r
ku - - -nda- va - ra-- da- - - na - -
d , s , rs s; d d p g , p ,d p g r s d
nada- go- - -- - pa - ku - ma- - - - ra -
(Sreerama............)
Charanam
; s d , p g p g r s d s r g ,
- a thu - li th a di - - -vya - gu -
p g p , , , d s d p d; r s; g r ,
na - - - - -bha- ra - na- - sa- - na -
s , r, gr s; g r s d , s , rs d p d ,
ka - - - -di- - va - - -rya-- mu - ni -
p d d , r s s r s , s; d d; s d p d ,
ma - - - - - - nasa - sa - - - - na - - -
s , r , g p g r g r s , rs s r g ,
na - ta - ja - na - - - r-thi- - ha ra -
r s g r s d s , d p p d p g p ,
na - ma - - - nju - bha- - - - shana -
d , d; r s , gr r;s d, p g p d s ,
na - va -nee-- - -- la- - - su -bha-
g , p d s d p , p g d p g r s d
anga- dhya - ta ra - tha - - - - mga -
(Sreerama............)
. . . .. .. .. .
. . .
.
.
.
. . .
. .
.
. . . .. .. .
. .
. . . . . . .
..
. .. . . . . . . .
. . . .
.
.
. . . .. . .
. . .
.
. ..
.
130
MUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSIS
Musical AnalysisMusical AnalysisMusical AnalysisMusical AnalysisMusical Analysis
This composition consists of pallavi, anupallavi and three
charanas. In this kriti, the eduppu swara for pallavi (Graha swaram)
madhya stayi shadjam.
ie, s , ; ; r , g ,
sree- - - ra - ma -
For anupallavi it is madhya stayi dhaivatam.
ie, d , , , p , d p
gho- - - ra - da -
and for charana it is tharastayi shadjam
ie, , , s d , p g p
- - a thu - li th a
Pallavi has four sangathis, anupallavi and charana have one
sangathi each. All the sangathis are raga bhava sangathis. The kriti
commences with full raga bhava.
The range of the composition extends from mantrastayi dhaivata
to tarastayi gandhara. The vaggeyakara mudra ""Venkata'' coming only
in the third charana ""Suprasanna varada Venkata ramana''. Though
the kriti has three charanas, the first charana is commonly used for
singing. The music of the second and third charana as same as the first
charana.
131
Swarakshara syllables found in the composition are given below.
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
s , ; ; r , g , ; g r g ,
sree- - - ra - m° - - ra - ma - - Suchita swaraksharam
AnupallaviAnupallaviAnupallaviAnupallaviAnupallavi
d , ; p , d p g , g r g , p ,
gho- - ra - da - - - na - va - ma - - Suddha swaraksharam
d , p , d p g p
ta - vi - ta - - - - Suchita swaraksharam
GamakasGamakasGamakasGamakasGamakas
s , ; ; r , g , ; g r g ,
sree- - - ra - m° - - ra - ma - - Kampita gamakas
Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
p d d , r s s r s , s; d d; s d p d ,
ma - - - - - - nasa - sa - - - - na - - -
Raga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogasRaga Ranjaka prayogas
; s d , p g p g r s d s r g ,
- a thu - li th a di - - -vya - gu -
. . . . . . .
.
.
132
Literary AnalysisLiterary AnalysisLiterary AnalysisLiterary AnalysisLiterary Analysis
Adiprasa Dvitiya- Anuprasa Antya- Yati Yama-
kshara prasa kom
prasa
Pallavi Sreerama sreerama ramani Manohara
Sritajana Manohara Mandara
sritajana
mandara
Charanam 1 bharana
sadana
harana
Charanam 3 Mandara
giridhara
paratpara
133
SREEPURA NIVASINI
Roopaka talam Composition - 2
Pallavi
Sreepuranivasini Aasrita palini
Anupallavi
Ee putamini neevale daivamu nenthu
Kananiputu neepadamula neranammithi namma
sreekamalamba
Charanam - 1
Nigama vinutha vinuthe bahu nirathisaya guna kalithe
Himagiri r°°°°°javarasuthe marakathamaninibhe lalithe
(Sreepura....)
Charanam - 2
Aadi shakti gawri akhilandajanani sundari
Aadyanta rahita sukha kari °°°°°divenkata sodari (Sreepura....)
134
Pallavi
1. s , ; ; d , p , p g p , ; g , r , s ; d
sree - - pu - ra - ni - va - - si - ni - aa - -
s , r , g , p , g , r , g , ; ; g , p , d ,
sri - tha - pa - - - - - li - ni - - - - - - - - -
2. s , p d s , d s d p d g g p d s g p g r s ; r s d
sree - - - - pu - ra - ni - va - - - si - ni - aa - - -
s r g r g p , g p d , p g , ; ; s , d s r ; g
sri - tha - pa - - - li - - - ni - - - - - - - - - -
3. r s g r s d p d s d p d g p d s d p g r s; r s d
sree - - - - pu - ra - ni - va - - - si - ni - aa - - -
s r g ; d p , d r s d d p g , ; r s g r r s s ,
sri - tha - pa - - - - - li - ni - - - - - - - - -
Anupallavi
1. d , ; p; g g ,d p p gr g , d p g r g , p , d , ;
Ee - - pu - da - mi -- ni - ne e - - va - le - dai - -
; d p d , s , ; s , r g r s d r s d p d ,
- va - mu - ne - -nthu- ka - - na - ni - pu - du -
2. p , d sd , p g g,d p p gr g , p ,sd s , rg r , s; g r s d ,
Ee - - - -pu - da - - - - - - ne e - - va - le - dai - - -
s d r s g r s d r , s , r, gr s , rs d , s , rs d p d ,
va - mu -nen- - - thu - - - ka - - - na - ni - pu - du -
d; g r g , r s , r; g rssd d; r s , r s d , rs s p d ,
nee- - - - pada - mu - la-- - ne - ra - ra m- - - - mithi -
.
. .
.
. .
.
. . . . .
.
.
. .
. .
. .
. . . . . ..
. . . . . . ..
. .. . . . . .. .. .. .. ..
. . . .. . . . .. ... .
.
. .
.
.
135
p d g r s; r d s d p g , r g p , g p d , s , rg r; g
na m - - ma - sre e - - - - ka - ma - la - m - pa- -- - -
(Sreepura..........)
Charanam - 1
; g g , p d; s d p d , p g p,ds d p d p g , r ,
- ni ga - mavi - nu - ta - vi - nu- -the- - - ba - hu -
; g d ; p g p,d p g r s r g , p; s d p d ; s
- ni ra - ti saya- -gu - na - ka - li- - the - - - hi
d , p , d p g , p; d s , r g r s s d dr s , d , ;
ma- gi - ri - - - ra- - - - ja - va - ra - su-- -the- -
s r g p g r s , sg r, r d r s d p g p d , s , r g r ; g
ma- ra - ka - ta - ma- -ni - ni -bhe- - la li -the- - - - - -
(Sreepura..........)
(Same music for the next charana)
. . . . .. . . . .
. .
. .
. . . . . . . .
... . . . . . . .. . . . .. . .
136
MUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSIS
Musical AnalysisMusical AnalysisMusical AnalysisMusical AnalysisMusical Analysis
This kriti consists of pallavi, anupallavi and two charanas. In this
kriti the eduppu swara for pallavi is tarastayi shadjam.
ie, s , ; ; d , p ,
sree- - - pu - ra -
For anupallavi it is madhyastayi dhaivatam
ie, d , ; ; p , , g
Ee - - - pu - - -
For charana it is madhyastayi gandharam
ie, , , g g , p
- - ni ga - ma
Pallavi has three sangathis, anupallavi has two and charana has
one sangathi. All the sangathis are ragabhava sangathis.
As the kriti starts in a tarastayi note, it is very effective to the
listeners.
The range of the composition extends from mantrastayi dhaivata
to tarastayi panchama. The vaggeyakara mudra "venkata' applied in
the last charana.
""Aadyanta rahita sukhe kari °divenkata sodari''
.
137
GamakasGamakasGamakasGamakasGamakas
s , ; ; d , p , p g p , ; g , r , s ; d
sree - - pu - ra - ni - va - - si - ni - aa - -
- Avarohana gamakas
s , r , g , p , g , r , g , ; ; g , p , d ,
sri - tha - pa - - - - - li - ni - - - - - - - - -
- Kampita gamakas
Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
r g r s s d dr s , d , ;
ja - va - ra - su-- -the- -
Dattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogas
d; g r g , r s , r; g rssd d; r s , r s d , rs s p d ,
nee- - - - pada - mu - la-- - ne - ra - ra m- - - - mithi -
Ranjaka prayogasRanjaka prayogasRanjaka prayogasRanjaka prayogasRanjaka prayogas
s r g p g r s , sg r, r d r s d p g p d , s , r g r ; g
ma- ra - ka - ta - ma- -ni - ni -bhe- - la li -the- - - - - -
.
.
. . . . . . .
. . . .. . . . .. ... .. .
... . . . . . . .. . . . .. . .
138
Literary AnalysisLiterary AnalysisLiterary AnalysisLiterary AnalysisLiterary Analysis
Adiprasa Dvitiya- Anuprasa Antya- Yati Yama-
kshara prasa kom
prasa
Pallavi vasini
Palini
Charanam 1 Vinuthe
Kalithe
Suthe
Lalithe
Charanam 2 Aadi Aadishakti sundari
Aadya Aadyantha sodari
139
c. Pallavi Duraiswamy Iyyar (1782 - 1816)c. Pallavi Duraiswamy Iyyar (1782 - 1816)c. Pallavi Duraiswamy Iyyar (1782 - 1816)c. Pallavi Duraiswamy Iyyar (1782 - 1816)c. Pallavi Duraiswamy Iyyar (1782 - 1816)
Pallavi Duraiswamy Iyyar was born in 1782 A.D. at Thiruvayyar
as the elder son of Suryanarayana and Venkataseshi. He was a
contemporary of Thyagaraja. The compositions of Pallavi Duraiswamy
Iyyar are all in Telugu and highly remarkable for their poetic
expression. He composed in various popular ragas Todi, Bhairavi,
Pantuvarali, Sankarabharanam, Mohana etc. Although his kritis are in
praise of Siva, he adopted the mudra "Subramanya'. His compositions
are not widely sung these days in concerts, some of them popularised
and published a few in notation by Sangita Kalanidhi Musiri
Subramania Iyyar and C.S. Iyyar. He composed an aditala varna
""Ninnekorinadira'' and the kriti ""Atti samaya muna'' in the raga
Mohana. He was one of the eminent pallavi singer. It is said that
Pallavi Duraiswamy Iyyar won over Bobbilli Kesavayya in a contest
of pallavi singing. In that occassion, he sang a pallavi in the raga
Pantuvarali, Misrachaputala. The pallavi starting with the words
""Chelunatara modi''.
140
ATTI SAMAYAMUNA
Adi talam Composition - 1
Pallavi
Atti samayamuna nathu chey
Patti yeloko vaiya
Anupallavi
Pattu pattu kattu kottanimoralu
Patti yamapadulu judukonne (atti.......)
Charanam
Aadavari koppa kinji thi mithanu
Vandayukanu kaneipu
Dadavari koppa kinji thimi thanu
Vantha yanijee vatmudu vedale (atti.......)
141
Pallavi
, , g , p , d , s , s , d , p ,
- - a - tti - sa - ma - ya - mu - na -
d , p , g p d , d p p , g , r ,
na - - - - - thu -che - y - - - - -
, , s , s d s r g , g , g , r ,
- - pa - ttiye - - lu - - - ko - - -
r g p , p g d p g r , , s , , ,
vai - - - - - - - ya - - - - - - -
Anupallavi
, , g , p , p , , , p , d p p g
- - pa - ttu - pa - - - ttu - ka - - ttu
p , d , p , d , s , , d s , r ,
ko - tta - - - ni - mo - - ra - - lu -
g p g , r , s r s s d , p , d ,
pa - tti - - - ya - ma - pa - du - lu -
p d p g p d r s s p p d p g r r
ju - - du - - - - - ko - -nne- - - (atti.....)
Charanam
, , g , g , g , , , g , g , r ,
- - aa - da - va - - - ri - ko -ppa-
g , p , , , d s d p p , g , r ,
kin - ji - - - - - thi - mi - tha - nu -
.
. . . .
. .
. . .
. .. .. .. .
142
r , g p g , r , s , s d s , g r
Van- - - - -thya- yu - ka - nu - ka -
g , , , , , , , d p p , g , r ,
ne - - - - - - - - - - - i - pu -
p g g , p , d , s , d , s ; , ;
da - - - da - va - - - ri - ko - - -
r , g p g , r , s , s , d , p ,
ppa- ki - nji - thi - mi - - - tha - nu -
p , d , s ; s d d , p , p , , ,
va - n - tha - - - ya - ni - jee - - -
d p p g p d r s s p p d p g r r
va - -tmu- - du - - ve - da - le - - (atti.....)
. .
. .. . . ..
. .
. . .
.
143
MUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSISMUSICAL AND LITERARY ANALYSIS
Musical AnalysisMusical AnalysisMusical AnalysisMusical AnalysisMusical Analysis
The angas of this kriti are pallavi, anupallavi and charana. The
graha swara of pallavi, anupallavi and charana are madhyastayi
gandhara and the eduppu is only after two aksharakala duration.
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
, , g , p , d ,
- - a - tti - sa -
AnupallaviAnupallaviAnupallaviAnupallaviAnupallavi
, , g , p , p ,
- - pa - ttu - pa -
CharanaCharanaCharanaCharanaCharana
, , g , g , g ,
- - aa - da - va -
Extra sangathis are not seen in this composition. It is a simple
composition filled with ragabhava of Mohana. It giving a soothing
effect to the listener. No druthakala prayogas are seen in this
composition. The raga sancharas extend from mantrastayi dhaivatas
to tara stayi panchama.
Ragalapana prayoga in this compositionRagalapana prayoga in this compositionRagalapana prayoga in this compositionRagalapana prayoga in this compositionRagalapana prayoga in this composition
, , g , p , d , s , s , d , p ,
- - a - tti - sa - ma - ya - mu - na -
. .
144
GamakasGamakasGamakasGamakasGamakas
, , g , p , p , , , p , d p p g
- - pa - ttu - pa - - - ttu - ka - - ttu
p , d , p , d , s , , d s , r ,
ko - tta - - - ni - mo - - ra - - lu -
- Kampita gamakas
, , g , g , g , , , g , g , r ,
- - aa - da - va - - - ri - ko -ppa-
- Tripuscha gamakas
Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
p , d , s ; s d d , p , p , , ,
va - n - tha - - - ya - ni - jee - - -
d p p g p d r s s p p d p g r r
va - -tmu- - du - - ve - da - le - -
. . . .
. .
. . .
Literary AnalysisLiterary AnalysisLiterary AnalysisLiterary AnalysisLiterary Analysis
Adiprasa Dvitiya- Anuprasa Antya- Yati Yama-
kshara prasa kom
prasa
Pallavi Atti
Patti
Anupallavi Pattu pattu pattu pattu
Patti patti kattu
kottanimoralu
Charanam Aadavari
Vandayukanu
145
d. Vina Kuppayyar (1798 - 1860)d. Vina Kuppayyar (1798 - 1860)d. Vina Kuppayyar (1798 - 1860)d. Vina Kuppayyar (1798 - 1860)d. Vina Kuppayyar (1798 - 1860)
Vina Kuppayyar an illustrious composer of varna and kritis is the
son of Sambamurthi Sastri a scholar in Sanskrit and Telugu. He was
also genius in composing Bhajanas, Divyanama kirtanas and Tillanas.
He had his training under his father and became a versatile vidwan of
both vocal and veena. He held the varna in the vertical posture and
played. He was also called "Narayanagaula Kuppayyar'. Narayana
Gaula, the raga which is affording very limited scope for alapana,
Kuppayyar took special delight in handling this raga. He was a
distinguished disciple of Thyagaraja. Veena Kuppayyar spent with
Thyagaraja for a long period and learnt the art of musical composition
from his in a manner. This made him extra ordinary from other
disciples. Being a devotee of his family deity Gopalaswamy, he
adopted the mudra "Gopala dasa'. He composed a varna in the raga
Mohana - Sarasijakshi ninne set in Atatala.
146
SARASIJAKSHI
(T°°°°°navarnam)
Ata talam
Pallavi
Sarasijakshi ninne kori
Chaala marulu konneera
Anupallavi
Maarunijanakudainama
Venugopalaswami
Charanam
Panthamelaje sevura
147
Pallavi
s , , d s r g g d , p , g , , r r , , ,
- - - - - - - - sa - ra - si - - - - - - -
r r g g p g g r p g g r s g r s s d p
ja - - - - - - -kshi- - - - ni - - - n -
d s , - d r , d g , r g p g d p g
ni - - - - - - - - - - - - - ko - -
r s r d s r g g - d p d - g p r g r g g p p
- - - ri - - - - -cha - - - - - la - - ma - - -
d - p g p p d d s , p d p s d p g d p g r
- - ru - - - - - lu - - - - ko - n na - - - -
s d , s r g d p g , , r r , d p
- di - - - - - - ra - - - - - - -
Anupallavi
g r s d s r g g d d p p d d p g p r g d
- - - - - - - - ma - - - - ru - - - - - -
p p g g r r s s r r r g g g p p g d d p
- - - - ni - - - - - - ja - - - - - na - -
p , p g g r g p d s d s p d g g
- - - ku - - dai - - - - - - - - -
p p d d s , , , d d r r s g r g p g r r
- - - - na - - - ma - - - - ve - - - - - -
s s r g r s d p d s d p g r g g p p d d
- - nu - - - - - ko - - - - - pa - - - - -
s d r s , s d d p , , p g r r s
la - - sa - - - - - - - mi - - - -
.
.
.
.
.
. .
..
. .
. ..
. . . . . . .
. . . . . . .. . . .
.
148
r , d s s r r g
- - - - - - - -
Chittaswaram
, , , , , , , , d p g g r p g g r r s
r d s s r r g g s s s r r r g g g p g d
p p , g g r r s s r r g g p , , d
d p g g r g g p p d p g p d s r r
g r r s d d p d r r d s s p d d g p p r
g p d g r s , d p g d p , g r s
r d , s r r g g (sarsi....)
Charanam
, , , , , , , , p , g , p , , , p , , ,
- - - - - - - -pan- - - tha - - - - - - -
g p d s d p d g d p , p g r p g , g r s
me - - - - - - - la - - - - - je - - - - -
s r g r g d p g r r g g p , , d
se - - - - - - - - - vu - ra - - -
d p g r g s r g (pantha........)
.
.
. . . . . . ..
.
.
. .
149
1. d , , , , , p , , , d , p , g , , , d ,
p , g , g , r , , , p , g , r , r , s ,
, , g , r , s , d , s , , , p ,
d , s , r , g , (pantha........)
2. p , d d p g p , g p g r g , p g r s r ,
s r s d r s g r p g r s , d d p g r , g
p d s d r s , d p g d p , g r s
r s , d s , r g (pantha........)
3. r g d p d g p r p g g r s r d s s r d
r d s s r r g g p g d p g r g p d s r g
p d s d r d r s d p d g d p g r
g s r d s r r g (pantha........)
.
.
.
.
..
. .
.
.
.
. .. .
150
4. d d p g r g d p d g d p g r p g r s r d
g r s d p d s d r r s g g r p p g d d p
g p g g , r r s r r g g p , , r
g d p g g r s r g p d r g p d s p d s r
g p g g r r s d g r g s r d p d g
d p , g g r r s , g r s d p g r
s d , r d s r g (pantha........)
. .
. .
. .
. . ..
.
. . . .
.
.
.. . . . . . .
151
ANALYTICAL STUDYANALYTICAL STUDYANALYTICAL STUDYANALYTICAL STUDYANALYTICAL STUDY
As it is an abhyasa ganam the musical facts are more important
than lierary aspects. This varnam consists of pallavi, anupallavi,
chittaswaram, charanam and charana swaras. The dhatu of the pallavi
starts in the sama graha, the sahitya part starts only after eight
aksharakala duration. ie,
s , , d s r g g d , p ,
- - - - - - - - sa - ra -
In anupallavi gandhara is the grahaswara, ie,
g r s d s r g g d d p p
- - - - - - - - ma - - -
In charana madhyastayi panchama is the grahaswara, ie,
; ; ; ; p , g , p ,
- - - -pan- - - tha -
As a thristayiraga the ragasanchara extend from mantra panchama
to tharapanchamam.
Swarakshara syllables found in the composition are given below.
In PallaviIn PallaviIn PallaviIn PallaviIn Pallavi
s d , s r g d p
- di - - - - - - - Suchita swaraksharam
.
.
152
CharanamCharanamCharanamCharanamCharanam
, , , , , , , , p , g , p , , , p , , ,
- - - - - - - -pan- - - tha - - - - - - -
- Suddha swaraksharam
GamakasGamakasGamakasGamakasGamakas
s , , d s r g g d , p , g , , r r , , ,
- - - - - - - - sa - ra - si - - - - - - -
- Kampita gamakas
p p g g r r s s r r r g g g p p g d d p
- - - - ni - - - - - - ja - - - - - na - -
- Tripuscha gamakas
r d s s r r g g s s s r r r g g g p g d
- Tripuscha gamakas
d , , , , , p , , , d , p , g , , , d ,
p , g , g , r , , , p , g , r , r , s ,
, , g , r , s , d , s , , , p ,
- Kampita gamakas
Jantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogasJantaswara prayogas
g r s d s r g g d d p p d d p g p r g d
- - - - - - - - ma - - - - ru - - - - - -
s s r g r s d p d s d p g r g g p p d d
- - nu - - - - - ko - - - - - pa - - - - -
.
.
.
.
. . . . . . .
153
p p , g g r r s s r r g g p , , d
Dattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogasDattuswara prayogas
d s , - d r , d g , r g p g d p g
ni - - - - - - - - - - - - - ko - -
d - p g p p d d s , p d p s d p g d p g r
- - ru - - - - - lu - - - - ko - n na - - - -
d d p g r g d p d g d p g r p g r s r d
Visesha prayogasVisesha prayogasVisesha prayogasVisesha prayogasVisesha prayogas
g r r s d d p d r r d s s p d d g p p r
g r s d p d s d r r s g g r p p g d d p
This varna composition filled with all types of prayogas and
sancharas of the raga Mohana. The vaggeyakara mudra "Venugopala'
occuring in the anupallavi of this varna.
""Maarunijanakudainama
Venugopalaswami''
. .
..
.
. . ..
. . . . . . ..
154
e. Gopalakrishnabharati (1811 - 1881)e. Gopalakrishnabharati (1811 - 1881)e. Gopalakrishnabharati (1811 - 1881)e. Gopalakrishnabharati (1811 - 1881)e. Gopalakrishnabharati (1811 - 1881)
As in the case of Thyagaraja, Gopalakrishabharati was also a
composer with speciality that the Sangita kavitvam and Sahitya
kavitvam. Gopalakrishnabharati 's compositions have made an
ideliable impression on the musical life of Tamilnadu. Bharati's style
adopted simple spoken Tamil and where appropriate the slang and
idiom of the character whose sentiments the songs expressed. As the
songs of Bharati are written in simple, colloquial Tamil. They contain
numerous context of the song as well as the music. His famous work
"Nandanar charitram' he has composed all types of musical forms.
Among his compositions in the raga Mohana "Darisanam kandarku' in
Rupakatala is a very good example for his poetical expression. In that
kriti he portrays the emotional feeling when he got the Chidambara
Darisanam. As Muthuswamy Deekshitar Bharati decorated with
madhyamakala sahitya in his kritis. Bharati composed different types
of compositions. Different forms also included like kanni, kummi,
Anandakalippu, kadukka, vachanam, Dandakam, Namavali etc. His
famous work "Nandanar charitam' is a collection of the different types
of composition which are mentioned above. There are six songs set in
the raga Mohana. Among these Parayyanee, Nanda and Tadakam onru
in Aditala and Gananadha saranam, Aadada Nandanane set in
Misrachaputalam, Darisanam kandarku in Rupakatalam.