Kriti
Kriti and Kirthana
It will be useful at this stage to draw the line of distinction between the two forms, kriti and kirtana. The term kriti refers to the composition whose claim to permanence lies principally in its music and not in its sahitya. But in kirtanas, the sahitya is of primary importance. Kritis are dhatu pradhana rachanas, but kirtanas are matu pradhana rachanas.
A kriti is remembered and valued for its aesthetic content and a kirtana is valued for the devotional content of its sahitya. Sangita kavitvam and sahitya madhurya are respectively the important factors in the kriti and kirtana. In a kriti, gana sasa is experienced and in a kirtana bhakti rasa is experienced. The portrayal of the raga bhava is the main thing in a kriti whereas in a kirtana this is only incidental.
Kirtanas are older than Kritis. Kriti is a development from the kirtana. The kirtana had its birth about the latter half of the fourteenth century. The kriti in its fully developed form appears about four centuries later. Tallapakam composers (1400—1500) were the first to write kirtanas with the divisions: pallavi, anupallavi and charana.
Although the term kriti in a wider sense means any musical composition , still composers and scholars during the last 500 years have felt the necessity to restrict the term kriti to those kirtana like compositions whose claim to permanence lay primarily in the musical setting. The Tallapakam composers (15th century) have used this term.
Purandara Dasa in his song Vasudevana namavaiiya in Mukhari raga, says that he has composed 4,75,000 kritis. Tyagaraja in his piece, Sogasuga mridanga talamu (Sri ranjani raga) gives the lakshana of an ideal kriti. Walajapet Venkataramana Bhagavatar in his sisa padyam E kale Kalitundu says “I pay my homage to Tyagaraja who has composed different types of kritis”. Scholars and composers like Tachchir Singaracharlu, Tiruvottiyur Tyagayyar, T. M. Venkatesa Sastri and others have uniformly used the term kriti, to denote the compositions of Tyagaraja and other great composers and have restricted the term kirtana to those compositions whose sahityas had a special spiritual value. That a kriti sounds perfect when performed on an instrument is proof of the fact that the essential factor in this form is the dhatu.
The kirtana is strictly speaking, is a sacred form. Its sahitya may be of devotional character, or may relate to a puranic theme. It may also be in praise of great devotees (bhaktas). Many kirtanas are doxologies. The music as well as the rhythm of a kirtana are simple in character. It is a composition belonging to the realm of applied music. The music is used herein only as a vehicle to sing the glories of God. In other words, the music is used simply as a means to an end. The music is subordinated to the sahitya. Words are many and the charanas are all sung to the same dhatu. Sometimes the charanas have the same music as the pallavi. The anupallavi is a dispensable anga in a kirtana. The different angas are characterised by the same eduppu. The compass of the music is short and the piece can easily be learnt by note. The motive behind the kirtana is the creation of bhakti rasa or the feeling of devotion.
In the kriti, the sahitya may be of a sacred or secular character. It may relate to an ethical or didactic theme. Its sahitya may also consist of doxologies; ex. Janaki ramana in Suddha simantini raga. Words are generally few and they serve only as a vehicle to sing the music. The music is complex and bristles with technical beauties. There may be one or more charanas. The charanas may have the same dhatu or different dhatus. Atita-anagata complexities are frequently met with in kritis. Kritis are veritable raga crystals. We derive knowledge of the many apurva ragas through them. We find the musical language in its purest form in a kriti. Such a thing as musical interpretation is possible only in this form. The compass of a kriti extends usually over one and half to two octaves. Whereas kirtanas can be sung by even persons of average skill and training, justice can be done to kritis only by those talented in music. Kirtanas are fit for congregational singing; but not kritis. Kirtanas are in common ragas; but kritis can be in common ragas and scholarly ragas. Many rare ragas live through kritis alone.
The motive behind the composition of a kriti is principally the creation of aesthetic enjoyment. In kritis occasioned by incidents, feelings like sadness, joy or wonder may be perceived. See for example, the kritis: Yeratiyyagarada (Gaulipantu), Kanugontini (Bilahari), Nanu palimpa (Mohana) and Entabhagyamo (Saranga).
There are however some compositions on the border line. They contain high-flown music and lofty spiritual thoughts. It will be difficult to say in such cases whether they are to be classified as kritis or kirtanas.
Whereas in a swarajati, the charanas can be of varying length, the charanas of an individual kriti or kirtana should be of the same length. In Tyagaraja’s Ghanaraga Pancharatnam, however, the charanas are of varying length.
A musical form may have prose or poetry for its sahitya. The kirtana according to tradition should have a metrical sahitya. But a kriti may have a metrical sahitya or a non-metrical sahitya i.e. a prose sahitya.
The raga system of India shows all the melodic and aesthetic possibilities in the realm of music. In order to form a complete picture of a raga, one should listen to or learn at least ten compositions in it, representative of the forms : gita, varna, kriti and padam.
In this connection it may be mentioned that a person who performs an alapana of a raga with the background of a kriti in that raga in his mind, suffers from a certain limitation. A kriti is an exposition of a particular aspect of a raga. The phrases figuring in the kriti dominate his imagination and he finds it difficult to go beyond them and give an elaborate alapana. Persons wishing to attempt a detailed alapana of a raga would do well to think of the raga as a whole and start the alapana and not be obsessed by a particular composition in it .
Angas of a Kriti and their Gana krama
The pallavi, anupallavi and charana are the minimum and essential angas of a kriti. There may be one or more charanas. In many kritis, the dhatu of the latter part of the charana is found to be the same as that of the anupallavi. But in the kritis of Muthuswamy Dikshitar, the dhatu of the anupallavi does not usually repeat in the charana. A number of simple compositions of this composer have only the two sections, pallavi and anupallavi. Sri Saraswati namostu te, Arabhi. In such cases the section following the pallavi is called a samashti charana i.e. a composite anga standing for both the anupallavi and charana. Such compositions may be compared to the earlier ugabhogas.
There will be prasa agreement between the Pallavi and the samashti charanam. Where there is no such agreement, the composition will be deemed to consist of a pallavi and charana alone.
The Pallavi is first sung followed by the anupallavi. The Pallavi is repeated at the conclusion of the anupallavi. The charana is next sung.
In kritis with plural charanas, as a rule it is the mudra charana (the charana containing the signature of the composer) that is sung. A charana other than the mudra charana may be preferred, if that charana contains an apt and intricate theme for performing niraval or kalpana swaras; ex. tambira chekoni in the charana. Vekuva jamuna of Koluvamaregada,in Todi raga; and Bhaktula vagamrita padnamu in the first charana of Buddhiradu, in Sankarabharana raga. A non-mudra charana is also preferred when it contains a fine idea; ex, the first charana of the kriti, Swarardga sudharasa, Sankarabharana. If the charanas are set in different dhatus, all of them have necessarily to be sung, as in the kriti Enduku nirdaya (Harikambhoji).
Decorative Angas
The kriti composition has been enriched by the introduction of the following additional angas. These decorative angas shine like gems studded in a jewel. They considerably heighten the musical value of the kritis
These angas are :--
(1)CHITTA SWARAS
This is a set solfa passage in 2 or 4 avartas if in adi tala, and 8 or 16 avartas if in chapu, triputa or ripaka tala and is sung at the end of the anupallavi and charana. Usually it is set in madhyama kala. Chitta swaras are crystallised kalpana swaras. The kritis; Nimadi challaga (Anandabhairavi), I vasudha nivanti (Sahana), Raghuvamsa sudhambudhi (Kathanakutiihalam), Sringaralahari (Nilambari), Pahimam Sri (Janaranjani), Koniyddina népai (Kambhoji), Bagumiraganu (Sankarabharana) and Sri Raghukula niahim (Huseni) contain some of the chitta svaras.
Chitta swara -Sama kala chitta swara
-Madhyama kala chitta swara
The chitta swara may be in the same tempo as the composition (ex. Pahimam Sri Raja Rajeswari, Janaranjani raga) or in madhyamakala, (ex. Ni madi challaga ,Anandabhairavi raga). In the former case, it is usual to sing the chitta swara in its own tempo at the end of the anupallavi and in madhyama kala, at the end of the charana (ex. Sringaralahari – Nilambari raga). A chittaswara cannot be set in a tempo slower than that of the composition.
Some chitta swaras contain the beauty known as swaralankara or ‘figure.’ I such cases, the same phrase recurs at the commencement of each avarta or half-avarta or alternate avarta. The chitta swara to the kriti ‘ Inta parakelanamma’ in Begada raga of Vina Kuppayyar is an exampie. In this chitta swara, the phrase g r g M occurs at the commencement of each avarta and in a pleasing manner.
There are instances wherein appropriate chitta swaras have been added to kritis by subsequent composers. As an example, may be mentioned the.chitta swara adorning the kriti, Mamava satatam (Jaganmohini raga) of Tyagaraja. This chitta swara has been composed by his disciple, Walajapet Krishnaswamy Bhagavatar.
In the case of chitta swaras which have been composed and added to their kritis by the composers themselves, there will be found a certain unity and continuity. Where they have been composed by other composers and added, this unity and continuity may not always be noticed.
There are chitta swaras with a plain conclusion and chitta swaras with a makutam or crown-like ending. The chitta swaras for Raghuvamsa sudhambudhi (Kathanakutuhala raga) and Nimadi challaga (Anandabhairavi raga) are respectively examples for those two types. In the mukthayi swara of the Viriboni varna (Bhairavi raga), the composer has skilfully prepared the makutam.
Makutas should be short, crisp and effective. They should be coined beautifully. Short chitta swaras should have short makutas and long chitta swaras may have telatively long makutas. The constituent phrases of a makutam may be of the same magnitude as in the instances of the chitta swaras to the kritis; Nimadi challaga (Anandabhairavi) and Brochevare varura (Khamas); or the component phrases may be after the pattern of a srotovaha yati—i.e. phrases progressively increasing in magnitude.
The concluding part of the muktayi swara of the Chalamela varna (Sankarabharana raga, Ata tala) is an example for the latter type:
- n| d n | p d n | m p d n | g m p d n
r g m p d n | s r g m p d n ||
This makutam may be described as an arohana makutam, since its constituent phrases are in the arohana krama.
Chitta swaras have a place only in Sangita pradhana rachanas and not in sahitya pradhana rachanas. They are out of place in compositions like the padam and javali, wherein the sahitya is of importance. Likewise chitta swaras are out of place in kritis wherein the Sahitya is a rhetorical interrogation, as in Nidhi chala sukhama (Kalyani raga). It is also out of place in kritis wherein the sahitya is of a didactic nature as in Buddhi radu (Sankarabharana) of Tyagaraja. In such cases, the chitta swara if introduced, will go counter to the bhava of the composition.
A chitta swara should present a certain aspect of the raga not covered by the piece. For this reason, a chitta swara intended for one kriti cannot be used for another kriti in the same raga, though the latter’s tala, tempo, graha swara and eduppu may admit of it. Thus the chitta swaras adorning the kritis Nimadi Challaga and Amba ni Saranamu cannot be exchanged though the tala, tempo, graha swara and eduppu of the pieces are the same.
Chitta swaras are interesting to hear. They may be compared to a bunch of flowers adorning a beautiful creeper. They give an impressive conclusion to the anupallavi and charana. In cases of doubt, they are useful in fixing the precise commencing note and the eduppu of the paliavi.
Some chitta swaras have in addition a theoretical (lakshana) and historical value; for example, the chitta swara of the kriti, Amba ni saranamu in Anandabhairavi raga of Ramaswamy Dikshitar (1735-1817) contains the phrase p p n S. This prayoga has now become obsolete.
Chitta swaras are not fit themes for developing kalpana swaras.
Viloma chitta swara. This is the case of a chitta swara which can be sung from beginning to end and again sung in the reverse order from the end to the beginning (i.e. in both the anuloma and viloma krama—forwards and backwards) without offence to raga bhava. The raga bhava will not suffer even partially in the apasavya (reverse) part. For example, the following passage in Kalyani raga might be sung both forwards and backwards as indicated and still maintain the raga bhava :--
------->
S n d p p m g g m p
Ie, when sung backwards, it will be
<-------
p m g g m p p d n S
S n d p p m g g m p
Ie, when sung backwards, it will be
<-------
p m g g m p p d n S
It is not an easy thing to compose chitta swaras of this type. Such chitta swaras can be composed only in ragas with a symmetrical arohana and avarohana, i.e., in krama sampurna, krama shadava and krama audava ragas having the same notes in both the arohana and avarohana.
The classic instance of a viloma chitta swara is met with in the 2nd Kamalamba Navavarana kriti: Kamalambam bhajare of Muthuswami Dikshitar :--
The classic instance of a viloma chitta swara is met with in the 2nd Kamalamba Navavarana kriti: Kamalambam bhajare of Muthuswami Dikshitar :--
Another example of anuloma—viloma krama chitta swara is seen in the kriti: Sadavinota sadare of
Muthuswami Dikshitar :-—
Muthuswami Dikshitar :-—
In the swarasthana padam in Tamil, Adiyarambakkalaviyile (sahitya by Kadigai Mukkuppulavar and music by Balaswamy Dikshitar), there is an interesting example of an anuloma viloma type of muktayi swara.
Viloma chitta swara has also another meaning. The string of single-avarta or half avarta chitta swaras figuring at the end of a ragamalika is also called Viloma chitta swara; since the ragas occur therein in the reverse order of the sequence.
(2)SWARA SAHITYA
When an appropriate sahitya is tacked on to the chitta swara, the technical appendage becomes a swara sahitya. The sahitya of this section is so couched that a continuity of sense is maintained when sung at the conclusion of the anupallavi and charana.
In compositions containing swara sahityas, the dhatu (swara) part is sung at the end of the anupallavi and the matu (sahitya) part at the end of the charana. Syama Sastri was the first to introduce swara sahityas in kritis.
(There are the charanas with swara sahitya in the Ghana raga Pancharatnam of his brilliant contemporary Tyagaraja. Khandikas with swara sahitya are also seen in the latter part of the swarajati, E mandayanara in Huseni raga, Rupaka tala composed by his senior contemporary Merattur Venkatarama Sastri).
The kritis: O Jagadamba (Anandabhairavi) Janani ninu Vina (Ritigaula,) Ninu sevinchina (Yadukula kambhoji)
Sri Parthasarathe (Bhairavi), Saketanagara natha (Harikambhoji) and Vachima gocharundani (Athana), contain fine examples of swara sahityas. The kritis of Syama Sastri, Subbaraya Sastri and Mysore Sadasiva Rao contain some of the most beautiful swara sahityas.
There are also instances when beautiful and fitting swara sahityas have been added to kritis by subsequent composers. For example the swara sahitya for Syama Sastri’s Palinchu Kamakshi Pavani (Madhyamavati raga) was the addition of his grandson, Annaswami Sastri.
Swara sahityas do not admit of sangatis.
People who are competent to add a chitta swara or swara sahitya to a composition are :--
(a) a disciple of the composer of the composition.
Walajapet Krishnaswamy Bhagavatar has added beautiful chitta swaras to the kritis of his Guru, Tyagaraja in Jaganmohini raga: Mamava satatam and Sobhillu sapta swara.
(b) a co-disciple, (i.e. sahapati ) or a contemporary of the composer of the composition.
The chitta swara to Raghuvamsa sudhambudhi of Patnam Subrahmanya lyer in Kathanakutuhala raga was added by his contemporary, Tiruvaiyar Subrahmanya Iyer.
(c) another later composer who has thoroughly imbibed the style of the composer of the piece.
The chitta swara to Ragaratnamalikache of Tyagaraja in Ritigaula raga, was added by Vina Kalahasti Venkatasami Raja who lived in this century.
Since the swara sahitya is intended to be sung after the anupallavi and after the charana, its prasakshara has to be independent of that of the anupallavi and charana. Sometimes it may be found to agree with the prasa latter of the anupallavi or charana.
VILOMA SWARA SAHITYA
This is a viloma chitta swara with a viloma sjhitya added to it. It involves intellectual gifts of a very high order to successfully attempt this kind of technical beauty. In a daru in Gangatarangini raga (33rd mela), Tisra jati Eka tala, Ramaswamy Dikshitar has given us an excellent example. In each avarta, the swara as well as the sahitya admits of the anuloma-viloma rendering. In other words, the passage is. so coined that in each avarta, the viloma rendering of the swara sahitya will be found
to be the same as the rendering in the krama or normal order. The Pallavi is reproduced here :
(2)SWARA SAHITYA
When an appropriate sahitya is tacked on to the chitta swara, the technical appendage becomes a swara sahitya. The sahitya of this section is so couched that a continuity of sense is maintained when sung at the conclusion of the anupallavi and charana.
In compositions containing swara sahityas, the dhatu (swara) part is sung at the end of the anupallavi and the matu (sahitya) part at the end of the charana. Syama Sastri was the first to introduce swara sahityas in kritis.
(There are the charanas with swara sahitya in the Ghana raga Pancharatnam of his brilliant contemporary Tyagaraja. Khandikas with swara sahitya are also seen in the latter part of the swarajati, E mandayanara in Huseni raga, Rupaka tala composed by his senior contemporary Merattur Venkatarama Sastri).
The kritis: O Jagadamba (Anandabhairavi) Janani ninu Vina (Ritigaula,) Ninu sevinchina (Yadukula kambhoji)
Sri Parthasarathe (Bhairavi), Saketanagara natha (Harikambhoji) and Vachima gocharundani (Athana), contain fine examples of swara sahityas. The kritis of Syama Sastri, Subbaraya Sastri and Mysore Sadasiva Rao contain some of the most beautiful swara sahityas.
There are also instances when beautiful and fitting swara sahityas have been added to kritis by subsequent composers. For example the swara sahitya for Syama Sastri’s Palinchu Kamakshi Pavani (Madhyamavati raga) was the addition of his grandson, Annaswami Sastri.
Swara sahityas do not admit of sangatis.
People who are competent to add a chitta swara or swara sahitya to a composition are :--
(a) a disciple of the composer of the composition.
Walajapet Krishnaswamy Bhagavatar has added beautiful chitta swaras to the kritis of his Guru, Tyagaraja in Jaganmohini raga: Mamava satatam and Sobhillu sapta swara.
(b) a co-disciple, (i.e. sahapati ) or a contemporary of the composer of the composition.
The chitta swara to Raghuvamsa sudhambudhi of Patnam Subrahmanya lyer in Kathanakutuhala raga was added by his contemporary, Tiruvaiyar Subrahmanya Iyer.
(c) another later composer who has thoroughly imbibed the style of the composer of the piece.
The chitta swara to Ragaratnamalikache of Tyagaraja in Ritigaula raga, was added by Vina Kalahasti Venkatasami Raja who lived in this century.
Since the swara sahitya is intended to be sung after the anupallavi and after the charana, its prasakshara has to be independent of that of the anupallavi and charana. Sometimes it may be found to agree with the prasa latter of the anupallavi or charana.
VILOMA SWARA SAHITYA
This is a viloma chitta swara with a viloma sjhitya added to it. It involves intellectual gifts of a very high order to successfully attempt this kind of technical beauty. In a daru in Gangatarangini raga (33rd mela), Tisra jati Eka tala, Ramaswamy Dikshitar has given us an excellent example. In each avarta, the swara as well as the sahitya admits of the anuloma-viloma rendering. In other words, the passage is. so coined that in each avarta, the viloma rendering of the swara sahitya will be found
to be the same as the rendering in the krama or normal order. The Pallavi is reproduced here :
The term swara sahitya in a general sense means also notation. A passage given in swara sahitya means a passage given in notation i.e., with the swara (music) and sahitya (words).
(3) MADHYAMAKALA SAHITYA
This is an integral part of a kriti. This passage may occur at the end of the anupallavi or charana or both and is set in the madhyamakala (quicker tempo) i.e. in the second degree of speed. Rarely madhyamakala sahityas are also found in the pallavi as in the piece, Sri Sarasvati namostute (Arabhi raga). The madhyamakala sahityas add a certain majesty to those compositions. Excellent examples of this technical beauty are found in the compositions of Muthuswamy Dikshitar and Chengalvaraya Sastri.
Madhyamakala Sahityas - Apparent and Real
The Madhyamakala sahitya is on a parallel with Madhyamakala Sangati. But it is a separate anga and is an integral part of a Kriti. In a Kriti in Adi tala, in the Chitra tara marga consisting of 4 notes for each of the 8 counts of an avarta, a count may consist of any of the following patterns of swaras and corresponding patterns in the Sahitya.
(a) s s s s (b) s s S (c) s S s (d) S s s
If each phrase is doubled and sung within the same duration of time, it becomes a case of Madhyamakala sahitya. Let us take the Kriti, Sri Saraswati namostute in Arabhi Raga, Rupaka Tala, for example. Herein for the first four avartas, there are six notes for each avarta.
The Sahitya Sripati Gouripati Guru guha vinute Vidhiyuvate is sung at double the speed and within the duration of two avartas. This is the case of a real Madhyamakala sahitya. Likewise in the Kriti, Vatapiganapatim bhajeham (Hamsadhvani raga, Adi tala) the words Vitaraginam vinatayoginam visvakaranam vighnavaranam and the words karambhuja pada bijapuram in the charana are Madhyamakala sahityas. of the real type. But in the Kriti, Akshayalinga vibho (Sankarabharana raga) the words, Sadasrita kalpa, is only an apparant. Madhyamakala Sahitya, since there are only seven sahitya syllables for each avarta and not fourteen syllables or swaras.
The charana of the Kriti, Saragunapalimpa (Kedaragaula raga, adi tala) furnishes another example of an apparent madhyamakala Sahitya.
The length of the Madhyamakala sahitya bears a fractional relationship to the length of the charana. Thus in the Kriti Vatapi ganapatim, the length of the Madhyamakala sahitya in the anupallavi is equal to half the length of the rest of the anupallavi and in the charana, it is equal to a quarter of the length of the rest of the charana.
Madhyamakala sahityas are not appropriate themes for developing niraval, but they may be fit themes for developing kalpana swaras. As an example may be mentioned the madhyamakala sahitya adorning the kriti, Koniydadina napai (Kambhoji) of Vina Kuppayyar.
(4) SOLKETTU SWARA
This is the case of a regular chitta swara, where, in some portions, instead or the solfa syllables, appropriate jatis (tala mnemonics) are introduced and sung. The jatis are sung to the music of the displaced swaras. As the section is sung, one will heat the swaras and jatis alternately. This swara passage, interspersed with jatis forms a pleasant variety in the midst of a kriti and heightens the beauty of the composition. The ktitis : Sri Maha Ganapati (Gaula), Ananda natana prakasam (Kedara) and Parthasaradhini sevimpa (Yadukula kambhoji) contain splendid examples of solkattu swaras. As in the case of chitta swara, the solkattu swara may be in the sama kala or madhyama kala of the composition.
Solkattu swaras can figure only in compositions wherein the theme of the sahitya relates to a Deity associated with dance, like Nataraja, Krishna or Ganapati.
There are instances of apt solkattu swaras being added to kritis by subsequent composers. The solkattu swara to the Gaula kriti, Sri Maha Ganapathi is the contribution of Radhakrishna Bhagavatar, the son of Pallavi Somu Iyer of Talanayar.
Like the chitta swara, the solkattu swara also hasa lakshana value. The solkattu swara to the kriti, Ananda natana prakasam proves that in the Kedara raga, the dhaivata swara has no place.
SOLKATTU SWARA SAHITYA
This is a Passage of solkattu with a sprinkling of a few Avartas of swaras in the middle. In addition, there is sahitya for the whole passage. The solkattu part with the interspersed swaras is first sung and this is followed by the singing of the sahitya. The classic instance of this technical appendage is found in the dance piece, E mayaladira na sami in Huseni raga—Rupaka tala, This passage of 16 avartas’ figures at the end of the anupallavi of the composition :--
(3) MADHYAMAKALA SAHITYA
This is an integral part of a kriti. This passage may occur at the end of the anupallavi or charana or both and is set in the madhyamakala (quicker tempo) i.e. in the second degree of speed. Rarely madhyamakala sahityas are also found in the pallavi as in the piece, Sri Sarasvati namostute (Arabhi raga). The madhyamakala sahityas add a certain majesty to those compositions. Excellent examples of this technical beauty are found in the compositions of Muthuswamy Dikshitar and Chengalvaraya Sastri.
Madhyamakala Sahityas - Apparent and Real
The Madhyamakala sahitya is on a parallel with Madhyamakala Sangati. But it is a separate anga and is an integral part of a Kriti. In a Kriti in Adi tala, in the Chitra tara marga consisting of 4 notes for each of the 8 counts of an avarta, a count may consist of any of the following patterns of swaras and corresponding patterns in the Sahitya.
(a) s s s s (b) s s S (c) s S s (d) S s s
If each phrase is doubled and sung within the same duration of time, it becomes a case of Madhyamakala sahitya. Let us take the Kriti, Sri Saraswati namostute in Arabhi Raga, Rupaka Tala, for example. Herein for the first four avartas, there are six notes for each avarta.
The Sahitya Sripati Gouripati Guru guha vinute Vidhiyuvate is sung at double the speed and within the duration of two avartas. This is the case of a real Madhyamakala sahitya. Likewise in the Kriti, Vatapiganapatim bhajeham (Hamsadhvani raga, Adi tala) the words Vitaraginam vinatayoginam visvakaranam vighnavaranam and the words karambhuja pada bijapuram in the charana are Madhyamakala sahityas. of the real type. But in the Kriti, Akshayalinga vibho (Sankarabharana raga) the words, Sadasrita kalpa, is only an apparant. Madhyamakala Sahitya, since there are only seven sahitya syllables for each avarta and not fourteen syllables or swaras.
The charana of the Kriti, Saragunapalimpa (Kedaragaula raga, adi tala) furnishes another example of an apparent madhyamakala Sahitya.
The length of the Madhyamakala sahitya bears a fractional relationship to the length of the charana. Thus in the Kriti Vatapi ganapatim, the length of the Madhyamakala sahitya in the anupallavi is equal to half the length of the rest of the anupallavi and in the charana, it is equal to a quarter of the length of the rest of the charana.
Madhyamakala sahityas are not appropriate themes for developing niraval, but they may be fit themes for developing kalpana swaras. As an example may be mentioned the madhyamakala sahitya adorning the kriti, Koniydadina napai (Kambhoji) of Vina Kuppayyar.
(4) SOLKETTU SWARA
This is the case of a regular chitta swara, where, in some portions, instead or the solfa syllables, appropriate jatis (tala mnemonics) are introduced and sung. The jatis are sung to the music of the displaced swaras. As the section is sung, one will heat the swaras and jatis alternately. This swara passage, interspersed with jatis forms a pleasant variety in the midst of a kriti and heightens the beauty of the composition. The ktitis : Sri Maha Ganapati (Gaula), Ananda natana prakasam (Kedara) and Parthasaradhini sevimpa (Yadukula kambhoji) contain splendid examples of solkattu swaras. As in the case of chitta swara, the solkattu swara may be in the sama kala or madhyama kala of the composition.
Solkattu swaras can figure only in compositions wherein the theme of the sahitya relates to a Deity associated with dance, like Nataraja, Krishna or Ganapati.
There are instances of apt solkattu swaras being added to kritis by subsequent composers. The solkattu swara to the Gaula kriti, Sri Maha Ganapathi is the contribution of Radhakrishna Bhagavatar, the son of Pallavi Somu Iyer of Talanayar.
Like the chitta swara, the solkattu swara also hasa lakshana value. The solkattu swara to the kriti, Ananda natana prakasam proves that in the Kedara raga, the dhaivata swara has no place.
SOLKATTU SWARA SAHITYA
This is a Passage of solkattu with a sprinkling of a few Avartas of swaras in the middle. In addition, there is sahitya for the whole passage. The solkattu part with the interspersed swaras is first sung and this is followed by the singing of the sahitya. The classic instance of this technical appendage is found in the dance piece, E mayaladira na sami in Huseni raga—Rupaka tala, This passage of 16 avartas’ figures at the end of the anupallavi of the composition :--
Ganakrama: Sing the solkattu for first eight Avartas; then sing the swaras for the next four avartas and then conclude by singing the solkattu for the remaining four avartas. After this, sing the sahitya of the whole passage of sixteen avartas and sign the Pallavi
SOLKATTU SAHITYA
This is a technical beauty wherein a solkattu or a Jati: is introduced with a meaning. The charanas of the song Adiya pada (Sankarabharana - raga — Adi-tala) of Gopalakrishna Bharati furnish a very good examples :--
SOLKATTU SAHITYA
This is a technical beauty wherein a solkattu or a Jati: is introduced with a meaning. The charanas of the song Adiya pada (Sankarabharana - raga — Adi-tala) of Gopalakrishna Bharati furnish a very good examples :--
5. SANGATI
Kritis have also been enriched by the introduction of Sangatis. Sangatis are variations on a musical theme, developed step by step. Each sangati is an evolution from the preceding one and marks an improvement upon it. Sangatis are also an integral and indispensable part of the composition. They might be compared to the stones of an arch and the deletion of even one of them or the change in their sequence will destroy the beauty and the composite character of the piece.
Sangatis have been introduced either for emphasising certain delicate and latent shades in the meaning of the sahitya, or for bringing out the colourful and varied aspects of the raga bhava. Thus. sangatis may be classified into raga bhava sangatis and sahitya bhava sangatis. The sangatis for the phrase, Lalitaku Sitaku in the kriti, Koluvamaregada (Todi raga) will be a good example for the former and the sangatis for the pallavi of Marubalkakunna vemira (Sritanjani) will be a good example for the latter. Some kritis like Chera rava demira (Ritigaula) have sets of sangatis.
The credit of introducing sangatis in kritis with a definite musical purpose goes to Tyagaraja. The introduction of sangatis has the advantage of ensuring the musical construction of the kriti for all times. It will be impossible for any future musician or composer either to change the tune or tamper with the musical setting of such kritis. Sangatis are highly enchanting and serve to tone up the entertainment value of a musical composition.
Sangatis are good voice-training exercises. They are aids in developing the memory powers.
Sangatis may be developed from the terminal part or initial part of a musical theme. The sangatis for the pallavi of Koluvamaregada (Todi) may be cited as an instance of the former type and the sangatis for the pallavi of Sri Raguvaraprameya (Kambhoji), as an instance of the latter type. Rarely sangatis progress from the central part of a theme as in the phrase: sringaramu of the pallavi of Chetulara (Bhairavi). The illustrations A, B and C given below visually represent the progression of sangatis in the pallavi in these three cases. The wavy lines show the varied portions of the theme :--
Kritis have also been enriched by the introduction of Sangatis. Sangatis are variations on a musical theme, developed step by step. Each sangati is an evolution from the preceding one and marks an improvement upon it. Sangatis are also an integral and indispensable part of the composition. They might be compared to the stones of an arch and the deletion of even one of them or the change in their sequence will destroy the beauty and the composite character of the piece.
Sangatis have been introduced either for emphasising certain delicate and latent shades in the meaning of the sahitya, or for bringing out the colourful and varied aspects of the raga bhava. Thus. sangatis may be classified into raga bhava sangatis and sahitya bhava sangatis. The sangatis for the phrase, Lalitaku Sitaku in the kriti, Koluvamaregada (Todi raga) will be a good example for the former and the sangatis for the pallavi of Marubalkakunna vemira (Sritanjani) will be a good example for the latter. Some kritis like Chera rava demira (Ritigaula) have sets of sangatis.
The credit of introducing sangatis in kritis with a definite musical purpose goes to Tyagaraja. The introduction of sangatis has the advantage of ensuring the musical construction of the kriti for all times. It will be impossible for any future musician or composer either to change the tune or tamper with the musical setting of such kritis. Sangatis are highly enchanting and serve to tone up the entertainment value of a musical composition.
Sangatis are good voice-training exercises. They are aids in developing the memory powers.
Sangatis may be developed from the terminal part or initial part of a musical theme. The sangatis for the pallavi of Koluvamaregada (Todi) may be cited as an instance of the former type and the sangatis for the pallavi of Sri Raguvaraprameya (Kambhoji), as an instance of the latter type. Rarely sangatis progress from the central part of a theme as in the phrase: sringaramu of the pallavi of Chetulara (Bhairavi). The illustrations A, B and C given below visually represent the progression of sangatis in the pallavi in these three cases. The wavy lines show the varied portions of the theme :--
In reckoning the sangatis, the fundamental theme itself is reckoned as the first sangati. The last sangati or the peak sangati wherein the climax is reached, is characterised by melodic fulness and rhythmical liveliness. In some cases, the dhatu of the last sangati is found to be entirely different from the music of the original theme. In the sangatis of the kritis, Darini telusu konti (Suddha saveri) and Najivadhara (Bilahari), some of the ancient alankaras (swara-group patterns) are aptly introduced. In order to enable the listeners to grasp and appreciate the subtle and progressive changes of the dhatu, each sangati as sung twice.
The number of sangatis in the different sections of a kriti ought to bear a just proportion. The anupallavi may have an equal number of sangatis as the pallavi, or a lesser number. The charana may or may not have sangatis. It will not be in keeping with the symmetrical construction of the piece, if the charana is loaded with a number of Sangatis, and the pallavi and anupallavi have either few or no sangatis.
Sangatis in the compositions of some minor composers are found to be artificially developed. As a rule, it is not advisable to add sangatis to compositions, wherein the composers themselves have not contemplated them. Such an introduction will interfere with the scheme of development of the dhatu followed by the composer. The compositions sound perfect without the added sangatis. But it must be said that the sangatis added by Maha Vaidyanatha Ayyar (1844-1893) to the kritis; Vatdapi Ganapatim (Hamsadhvani); Chintaya ma (Bhairavi) and Sri Subrahmanyaya namaste (Kambhoji) fit in nicely with the pieces. In rare cases, a sangati or two may be added to the pallavi of a kriti when the original sangatis happen to be introduced by the composer, only for portraying the raga bhava. For example, the 4th sangati for the part, Sri Rama in the kriti, Entaranitana (Harikambhoji raga).
Generally speaking, sangatis have no place in compositions, belonging to the realm of applied music and abhyasa gana. It is meaningless to introduce sangatis in Divyanama Kirtanas and Kshetrayya padas. The introduction of sangatis will detract the attention of the listener from the import and significance of the sahitya. Likewise in songs, wherein the theme of the sahitya happens to be a theatrical interrogation, sangatis have no place. Sangatis have no place in gitas, swarajatis and varnas. In a few tana varnas, however the ettugada pallavis have been enriched by the introduction of two or three sangatis. These sangatis however appropriately fit in with the scheme of development of the dhatu. But these will form only exceptions to the rule.
In sangatis, the variations of the theme may be in the sama kala (same tempo) or in madhyamakala or drutakala. The second sangati of the pallavi of the kriti O Jagadamba (Anandabhairavi raga) is in the same tempo. In the third and fourth sangatis of the same piece, phrases in madhyamakala and trikala occur.
Thus sangatis may be classified into :--
6. GAMAKA
Like the sangati, gamaka is a beauty pertaining to the dhatu of the composition. Every composition has a minimum amount of grace in it. But the gamaka becomes a conspicuous beauty when the dhatu is flooded with it. The kritis, Nidu charana pankajamule (Kalyani), Amba nadu vinnapamu vini (Todi), Aviralamagu bhaktini (Kalyani) and the Tamil padas: Velavare (Bhairavi) and Parengum parttalum (Kalyani) furnish typical examples of tunes with the gamakas woven into the complete texture of the songs,
From the point of view of their musical construction compositions may be classified into :--
(1) Those wherein the gamakas are an integral part of the dhatu i.e-, where the graces have been woven, into the texture of the music as in Nidu charana pankajamule (Kalyani raga)
(2) Those wherein the gamakas may be introduced with profit as in the compositions in Kathanakutuhala and Hamsadhvani ragas.
7. SWARAKSHARA
In addition to the decorative angas mentioned above, we also come across literary and prosodical beauties in the sahityas of kritis.
Swarakshara is one such. It has been successfully attempted by some composers. This is a dhatu-matu alankara. It is a sabdalankara. It requires intellectual gifts of a high order to attempt this kind of technical beauty. The compositions of Syama Sastri, Subbaraya Sastri and Swati Tirunal of Travancore are full of this technical beauty. There are many compositions of Tyagaraja which starts with a swarakshara. Ni bhakti bhagya (Jayamanohari raga) and Maru balka (Sriranjaniraga) may be cited as examples.
The following Table gives a list of words in Telugu and Tamil and which have been successfully used as suddha swaraksharas in compositions by composers :--
Like the sangati, gamaka is a beauty pertaining to the dhatu of the composition. Every composition has a minimum amount of grace in it. But the gamaka becomes a conspicuous beauty when the dhatu is flooded with it. The kritis, Nidu charana pankajamule (Kalyani), Amba nadu vinnapamu vini (Todi), Aviralamagu bhaktini (Kalyani) and the Tamil padas: Velavare (Bhairavi) and Parengum parttalum (Kalyani) furnish typical examples of tunes with the gamakas woven into the complete texture of the songs,
From the point of view of their musical construction compositions may be classified into :--
(1) Those wherein the gamakas are an integral part of the dhatu i.e-, where the graces have been woven, into the texture of the music as in Nidu charana pankajamule (Kalyani raga)
(2) Those wherein the gamakas may be introduced with profit as in the compositions in Kathanakutuhala and Hamsadhvani ragas.
7. SWARAKSHARA
In addition to the decorative angas mentioned above, we also come across literary and prosodical beauties in the sahityas of kritis.
Swarakshara is one such. It has been successfully attempted by some composers. This is a dhatu-matu alankara. It is a sabdalankara. It requires intellectual gifts of a high order to attempt this kind of technical beauty. The compositions of Syama Sastri, Subbaraya Sastri and Swati Tirunal of Travancore are full of this technical beauty. There are many compositions of Tyagaraja which starts with a swarakshara. Ni bhakti bhagya (Jayamanohari raga) and Maru balka (Sriranjaniraga) may be cited as examples.
The following Table gives a list of words in Telugu and Tamil and which have been successfully used as suddha swaraksharas in compositions by composers :--
Of the technical beauties adorning musical compositions, the swarakshara is of interest to scholars and musicians alike. Swarakshara is the beauty signified by the confluence of the swara syllable and the identical or like sounding syllable in the sahitya. It is a structural beauty. It can be enjoyed in full only by people endowed with swarajnanam. This dhatu-matu samyukta alankara can be perceived only through vocal music since in instrumental music the sahitya cannot be heard.
Swarakshara syllables may be short or long. Words consisting of solfa letters alone may occur in musical compositions but unless those syllables are sung to the music signified by them, they will not become swaraksharas. A word like ’ sariga’ if sung to the music of the solfa letters: sa ri ga will constitute a swarakshara but not otherwise. Thus in the opening phrase of the famous kriti in Suddha saveri raga: ‘‘Darini telusukonti” , Darini though consisting of solfa syllables is not a swarakshara, since they are sung to the music of the solfa syllables , sa da pa.
Swarakshara syllables may occur as individual phrases or may occur in conjunction with non -swarakshara syllables. Swarakshara syllables may occur casually or they may be introduced purposively by a composer. The kriti in Amritavahini raga of Tyagaraja beginning with the words: Sri Rama padama might be cited as an example of the former and the varna Panka jakshipai in Kambhoji raga for the latter. Compositions like the Ragamalika Pannagadrisa are literally inflated with swaraksharas. The note-worthy feature of this composition is that the swaraksharas seem to occur naturally and do not give the impression that they have been artificially thrust in wherever the possibility existed.
Swarakshara syllables occurring in succession may by themselves constitute a word with an intelligible meaning. There is the classic instance of the Swarakshara Pallavi ‘Sariga paga icchene’. But such instances are exceptions. The normal rule is for swarakshara syllables to occur dispersed. In conjunction with non-swarakshara syllables they may give rise to a meaning. There are instances of swaraksharas occurring at symmetrical points in the padas and avartas of compositions. The swara sahitya for the kriti ‘Pahi Sri Girirdja sute’ (Anandabhairavi) and the apparent madhyamakala sahitya at the end of the charana of the kriti ‘Akshayalinga vibho’ are good examples of this type.
In the following examples, the bracketed portions are examples of swaraksharas :-
Swarakshara syllables may be short or long. Words consisting of solfa letters alone may occur in musical compositions but unless those syllables are sung to the music signified by them, they will not become swaraksharas. A word like ’ sariga’ if sung to the music of the solfa letters: sa ri ga will constitute a swarakshara but not otherwise. Thus in the opening phrase of the famous kriti in Suddha saveri raga: ‘‘Darini telusukonti” , Darini though consisting of solfa syllables is not a swarakshara, since they are sung to the music of the solfa syllables , sa da pa.
Swarakshara syllables may occur as individual phrases or may occur in conjunction with non -swarakshara syllables. Swarakshara syllables may occur casually or they may be introduced purposively by a composer. The kriti in Amritavahini raga of Tyagaraja beginning with the words: Sri Rama padama might be cited as an example of the former and the varna Panka jakshipai in Kambhoji raga for the latter. Compositions like the Ragamalika Pannagadrisa are literally inflated with swaraksharas. The note-worthy feature of this composition is that the swaraksharas seem to occur naturally and do not give the impression that they have been artificially thrust in wherever the possibility existed.
Swarakshara syllables occurring in succession may by themselves constitute a word with an intelligible meaning. There is the classic instance of the Swarakshara Pallavi ‘Sariga paga icchene’. But such instances are exceptions. The normal rule is for swarakshara syllables to occur dispersed. In conjunction with non-swarakshara syllables they may give rise to a meaning. There are instances of swaraksharas occurring at symmetrical points in the padas and avartas of compositions. The swara sahitya for the kriti ‘Pahi Sri Girirdja sute’ (Anandabhairavi) and the apparent madhyamakala sahitya at the end of the charana of the kriti ‘Akshayalinga vibho’ are good examples of this type.
In the following examples, the bracketed portions are examples of swaraksharas :-
The first ettugada swara of the Kambhoji varna, beginning with the words:
