Musical Forms
Music that is heard in an Indian concert falls under two heads - Manodharma sangita and Kalpita sangita.
In the former, the performer sings or performs his own improvised music—music improvised on the spot without any previous thought. This improvised music is of four kinds:—Raga alapana, Madhyama kala or Tana, Pallavi exposition and Swara kalpana. Sahitya prastara in kritis called Niraval is also a species of creative music. In Kalpita sangita, the singer or the performer reproduces the compositions already created or composed by other composers or even by himself.
Kalpita sangita is older than manodharma sangita.
Kalpita sangita comprises all the musical compositions. A musical composition is a piece of music set to time. It is an exposition of the raga in conformity to the chosen rhythm. Slokas, churnikas, padyas and viruttams are only instances of literary forms sung to music. They are not set to time.
A musical composition can be compared to a building. What the bricks are to a building, the component swaras are to a tune. The different graces linking up the swaras contribute to ornamental effect. These graces can be compared to the cementing medium holding the bricks together and
also to the outer decorative work. Just as there are small buildings and big buildings, there are short compositions - like the gitas, and long compositions like the varnas. Ragamalikas and kritis abounding in technical beauties can be compared to luxuriously decorated and furnished buildings. The author of a musical composition is called a Vaggeyakara.
Classification
South Indian music in the course of its long history has evolved many musical forms. These might be studied under the heads of Vocal forms, Instrumental forms and Dance forms. Indian music being of the melodic type, has evolved many vocal forms. These Vocal forms fall under two divisions: sacred forms and secular forms.
Musical forms might also be studied under the heads of:— Art music, Sacred music, Dance music, Opera music and Folk music. The several forms under these heads possess distinctive characteristics of their own. Some forms like the kritis and varnas contain numerous examples while others like the ragamalika and tillana contain fewer examples.
Music compositions can again be classified into those belonging to Pure music and Applied music. Applied music embraces all compositions wherein music is applied or used for a specific purpose. The sahithya is an important factor in this group of compositions and the music which clothes the sahitya serves merely as a vehicle for the better and effective interpretation of the ideas enshrined in it. Religious music, dance music and opera music and the music of the yaksha gana, kalakshepa, nondi nataka and nritya nataka are examples of Applied music. Some of these compositions have brilliant music in them and deserve to be placed side by side with specimens of art music.
In compositions belonging to the sphere of pure music the main concern of the composer is the portrayal of the raga bhava in all its melodic richness. The sahitya in such cases merely serves as a vehicle for the singing of the music. Music herein is the primary thing and is enjoy for its own sake. These compositions constitute the repertoire of performers (vocalists and instrumentalists) in concerts.
Musical compositions may also be grouped under the heads of art music and folk music. All that is not folk music belongs to art music and vice versa. In this wider sense of the term, art music includes sacred music, opera music and dance music also. The term art music, in practice however is restricted to manodharma sangita and to compositions belonging to the realm of pure music.
Musical compositions can again be studied under the heads of sacred music (vaidika ganam) and secular music (laukika ganam) Examples of abstract music and pure instrumental music figure in both the groups.
Compositions belonging to the realm of art music are classified into - 1. Technical 2. Melodic.
The former group comprises the swara exercises alankaras, gitas, chitta tanas, varnas and other exercises which serve a specific technical purpose and help the student to acquire musical technique. These compositions constitute ; the vocalises and are aptly grouped under Abhyasa ganam. The melodic group includes kritis, kirtanas, padas, javalis, ragamalikas, tillanas and other compositions performed in a concert. These compositions are grouped under Sabha ganam (concert pieces).
Rules for categorizing the musical forms:
South Indian music in the course of its long history has evolved many musical forms. These might be studied under the heads of Vocal forms, Instrumental forms and Dance forms. Indian music being of the melodic type, has evolved many vocal forms. These Vocal forms fall under two divisions: sacred forms and secular forms.
Musical forms might also be studied under the heads of:— Art music, Sacred music, Dance music, Opera music and Folk music. The several forms under these heads possess distinctive characteristics of their own. Some forms like the kritis and varnas contain numerous examples while others like the ragamalika and tillana contain fewer examples.
Music compositions can again be classified into those belonging to Pure music and Applied music. Applied music embraces all compositions wherein music is applied or used for a specific purpose. The sahithya is an important factor in this group of compositions and the music which clothes the sahitya serves merely as a vehicle for the better and effective interpretation of the ideas enshrined in it. Religious music, dance music and opera music and the music of the yaksha gana, kalakshepa, nondi nataka and nritya nataka are examples of Applied music. Some of these compositions have brilliant music in them and deserve to be placed side by side with specimens of art music.
In compositions belonging to the sphere of pure music the main concern of the composer is the portrayal of the raga bhava in all its melodic richness. The sahitya in such cases merely serves as a vehicle for the singing of the music. Music herein is the primary thing and is enjoy for its own sake. These compositions constitute the repertoire of performers (vocalists and instrumentalists) in concerts.
Musical compositions may also be grouped under the heads of art music and folk music. All that is not folk music belongs to art music and vice versa. In this wider sense of the term, art music includes sacred music, opera music and dance music also. The term art music, in practice however is restricted to manodharma sangita and to compositions belonging to the realm of pure music.
Musical compositions can again be studied under the heads of sacred music (vaidika ganam) and secular music (laukika ganam) Examples of abstract music and pure instrumental music figure in both the groups.
Compositions belonging to the realm of art music are classified into - 1. Technical 2. Melodic.
The former group comprises the swara exercises alankaras, gitas, chitta tanas, varnas and other exercises which serve a specific technical purpose and help the student to acquire musical technique. These compositions constitute ; the vocalises and are aptly grouped under Abhyasa ganam. The melodic group includes kritis, kirtanas, padas, javalis, ragamalikas, tillanas and other compositions performed in a concert. These compositions are grouped under Sabha ganam (concert pieces).
Rules for categorizing the musical forms:
The distinctive features of the compositions belonging to the technical and melodic groups may be summed up as follows :
Abhyāsagāna ( Technical Music )
1.Swarāvaḷi: Swarāvaḷi is a Sanskrit word, which means the group or swaras arranged in a meaningful order. It comprises a variety of varisais (solfa exercises) like Saraḷi Varsai, Jaṇṭai Varasai, Tārasthāyi Varasai, Mandrasthāyi Varasai, Dāṭu Varasai, and Alankāras.
Swarāvaḷis are composed in Māyāmāḷavagauḷa rāga and set to Ādi Tāḷa (except for Alankaras). They are in akśharakāla. The swaravaḷis can also be practiced in any janaka rāga (parent rāga) or even in janya rāga (derived rāga) which is a good vocal exercise.
2.Geetas: Geetas are the abhyāsagāna compositions. These are simple devotional songs. The rāga structure is presented in a simple way. The range of the Geetas is three octaves. This form is set to sooḷādi tāḷas in akśharakāla. i.e., a single akśhara (ēkākśhara) for each count of a tāḷa. There are two kinds of Geetas namely Sanchāri Geetas and Lakśhaṇa Geetas. The group of four Sanchāri Geetas in Malahari rāga are called Piḷḷāri Geetas.
Sanchāri Geetas: This is a simple form comprising of devotional sāhitya (words or lyrics). This is also called Sādhāraṇa Geetas, Sāmānya Geetas, and Lakśhya (practical aspect of music) Geetas.
Lakśhaṇa Geetas: In this form, the literature is an explanation of rāga lakśhaṇa. One or two phrases praising the Gods are added to this. Ārōhaṇa and Avarōhaṇa come in dhātu (swara or music) section at the end of the song. Lakśhaṇa is a paribhāśhe (technical term) in music for theory.
3.Jatiswara: This composition is completely made up of solfa syllables or swaras. Swaras are sung like a song and composed with a combination of swaras in different Jatis (Mrudanga syllables). This form will have Pallavi and Charaṇas (also called Chiṭṭeswaras). Pallavi is rendered after each Charaṇa. Mainly used for dance music.
4.Swarajati: Swarajati is like Jatiswara but sahitya are composed for these swaras. Only sāhitya is sung in Pallavi. Both swara and sāhitya in Charaṇas (Chiṭṭeswaras). Pallavi is sung after each Chiṭṭeswara and sāhitya, i.e., after every swara and again after sāhitya. The sāhitya are in praise of God or lovers with heroes and heroines or friends. Some Swarajatis like that of Shyāma Shastri are of higher order and are presented even in the concerts.
5.Varṇa: Varṇa is a unique composition where the swaras are combined in different jatis with beautiful combinations. Rāga-ranjaka prayōgas (features that bring out the rāga) and vishēśha sachāras (extraordinary swara phrases) are compulsorily included in this form. Varṇas has two sections namely poorvānga (first part) and uttarānga (second part). Poorvānga includes Pallavi, Anupallavi, and Chiṭṭeswara (also called Muktāyi Swara). Uttarānga includes Charaṇa and Ettugaḍe Swaras (Ettugaḍe Pallavi or Upapallavi). There are many different types of Varṇas. Namely Tāna Varṇa (or Ādi Tāḷa Varṇa), Khaṇḍa Jāti Aṭa Tāḷa Varṇa, Pada Varṇa. Also, the musicians in the royal court of Mysuru have composed Varṇas in Sooḷādi Tāḷas.
Tāna Varṇa: It is a unique composition which is composed on the pattern of tānas. The swaras are combined in different jatis with beautiful combinations. This form has minimum sāhitya with more vowel extensions. Raga-ranjaka prayōgas and vishēśha sachāras (extraordinary swara phrases) are compulsorily included in this form.
Tāna Varṇas are composed mainly in Aṭa tāḷa and Ādi tāḷa. This form is usually rendered in three degrees of speed (at least two speeds are expected in junior level).
Pachchimiriyam Adiyappayya, Sonti Venkatasubbayya, Syama Sastri, Vina Kuppayyar, Pallavi Gopalayyar, Swati Tirunal, Manambuchavadi Venkatasubbayyar, Muthuswamy Dikshitar, Parameswara Bhagavatar, Annaswamy Sastri, Tiruvarur Aiyasami, Patnam Subrahmanya Ayyar, Garbhapurivaru, Tirunelveli Vengu Bhagavatar, Kottavasal Venkatarama Ayyar, Tiruvottiyur Tyagayyar, Rudrapatnam Venkataramayya, Shatkala Narasayya, Ramnad Srinivasa Ayyangar, Kuppuswami, Fiddle Ponnuswami and Veena Kalahasti Venkatasami Rajah are some of the famous composers of tana varnas.
Gāna Krama: Pallavi, Anupallavi, and Chiṭṭeswara are sung continuously and then a stop is given at the Pallavi. Then the Charaṇa is continued with Ettugaḍe Swaras. Each Ettugaḍe Swaras is sung and joins the Charaṇa. After all the Ettugaḍe Swaras are performed, rendition concludes with a stop given after completing the last Ettugaḍe Swaras. The two parts are independent though sung together. Three degrees of speed apply to Varṇas. Different speeds are rendered successively.
Pada varnas (also called chauka varnas and ata varnas) are the compositions heard in dance concerts. The entire composition herein has sahitya. The matu is characterized by less of vowel extensions. The music is in a somewhat slower tempo and is intended to give full scope to convey the bhāvas. Because of its affinity to the padam, both in point of tempo and the theme of the sahitya, this composition came to be called pada varna. Jatis are met with in some pada vārnas.
Govindasamayya and Kuvanasimayya of Karvet nagar, Ramaswamy Dikshitar, Vadivel Nattuvanar, Pallavi Seshayar,Ramaswamy Sivan, Subbarama Dikshitar, Mysore Sadasiva Rao and Kundrakkudi Krishnayyar are some of the famous composers of pada varnas.
Other type of varnas are Ragamalika varnas - Navaraga malika varna, Dinaraga malika varna, and Ghanaraga malika varna.
Anubandham: Formerly varnas had a supplementary section called the anubandham. It consisted of a sahitya part and a solfa part. This sahitya served to complete the idea in the sahitya of the rest of the varna. The sahitya beginning with the words chiru chamatalu constituted the anubandham for the famous varna, Viriboni in Bhairavi raga. Some anubandhas did not have a separate solfa passage and in such cases, the anubandha was followed by the singing of the muktayi swara of the purvanga part and the original pallavi then sung and the composition concluded. As the anubandha did not very much add to the musical excellence of the varna, it gradually fell into desuetude. Nobody sings the anubandha section of the Viriboni varna at present.
Subsequent composers of varnas like Vina Kuppayyar did not bother about the inclusion of the anubandha in their compositions. Anubandhas figure in the tana varnas of Ramaswamy Dikshitar and Sonti Venkatasubbayyar. The anubandham may be compared to the coda of European music. Since it disturbed the balanced length of the purvanga and uttaranga, it was gradually given up. In later times, the necessity for an anubandha was obviated as the charana expressed a complete idea.
6.Chitta tanas: Chitta tanas (called Katakam by ancient writers) are set exercises for the vīna and are intended to enable the students of this instrument to acquire better technique in playing. This is strictly speaking an instrumental form. There are chitta tanas for many current ragas.Katakam is also the name given to a dictionary of ragas; for ex. the Vyasa Katakam.
7.Suladi: Suladi (from sūda, a desya word for gita) is a composition very much like the gita in musical structure and arrangement. It is a tālamālika, the sections being in different tālas: Sūlādis are illustrative of the suladi talas and are of a higher standard than the gitas. The sahitya syllables are fewer than in gitas and are characterized by a profusion of vowel extensions. The sahitya is dévotional. unlike the gita, suladis are composed in different tempos, ie, vilambita, madhya, druta. Sūlādis are the counter part of the Talavarnam and Pancha tālaswaram.
- Saraḷi Varasai: The simple arrangement of the seven swaras in an orderly fashion is called Saraḷi Varsai. In this form, all the swaras are in the middle octave or madhyasthāyi except for the higher octave śhaḍja. i.e tāra śhaḍja. The swaras are arranged systematically in a progressive order.
- Jaṇṭai Varasai: It is a practicing of double or twin notes. Sphurita Gamaka is used in these varases with each swara repeated twice with a stroke for the second swara, with a push from the preceding swara. This, when the second ‘s’ is sung as ‘ss’ should be heard as “sṇs”. The swara, Niśhāda is faintly heard while striking the second śhaḍja. The arrangement of swaras will be in sequence of ārōhaṇa krama (ascending order) and avarōhaṇa krama (descending order) respectively.
- Tārasthāyi Varasai: Here the sapta swaras (seven musical notes) commence in madhyasthāyi from ādhāra śhaḍja in ārōhaṇa krama. Arrangement of swaras systematically reaches the higher octave swara one by one successively in each exercise and is completed in avarōhaṇa krama in madhyaśhaḍja. Tārasthāyi Varases are also called Hecchusthāyi Varasai, Mēḷasthāyi Varasai, or Hight pitch practice.
- Mandrasthāyi Varasai: Here the swaras commence in descending order from the tāraśhaḍja. Mandrasthāyi swaras are given prominence by holding the swaras systematically one by one in each exercise. It reaches the tāraśhaḍja in the end by ārōhaṇa krama. Mandrasthāyi Varasai are also called Taggusthāyi Varasai, Keeḷasthāyi Varasai, or Low pitch practice. Tārasthāyi and Mandrasthāyi exercises will enable beginners to increase the range of their voice to three octaves.
- Dāṭu Varasai: These swara exercises are arranged by skipping one, two, or three swaras systematically. This will help the students to gain expertise in the swarasthānas (position of the swaras).
- Alankāra: The variety in the arrangement of swaras in different tāḷas especially in sooḷādi saptatāḷas and their permutation and combination are called Alankāras. Alankāras are composed of five jātis (not to confuse with similar sounding word jati). The swaras are arranged in a sequence in ārōhaṇa and avarōhaṇa krama. Sooḷādi saptatāḷas are seven in number.
Swarāvaḷis are composed in Māyāmāḷavagauḷa rāga and set to Ādi Tāḷa (except for Alankaras). They are in akśharakāla. The swaravaḷis can also be practiced in any janaka rāga (parent rāga) or even in janya rāga (derived rāga) which is a good vocal exercise.
2.Geetas: Geetas are the abhyāsagāna compositions. These are simple devotional songs. The rāga structure is presented in a simple way. The range of the Geetas is three octaves. This form is set to sooḷādi tāḷas in akśharakāla. i.e., a single akśhara (ēkākśhara) for each count of a tāḷa. There are two kinds of Geetas namely Sanchāri Geetas and Lakśhaṇa Geetas. The group of four Sanchāri Geetas in Malahari rāga are called Piḷḷāri Geetas.
Sanchāri Geetas: This is a simple form comprising of devotional sāhitya (words or lyrics). This is also called Sādhāraṇa Geetas, Sāmānya Geetas, and Lakśhya (practical aspect of music) Geetas.
Lakśhaṇa Geetas: In this form, the literature is an explanation of rāga lakśhaṇa. One or two phrases praising the Gods are added to this. Ārōhaṇa and Avarōhaṇa come in dhātu (swara or music) section at the end of the song. Lakśhaṇa is a paribhāśhe (technical term) in music for theory.
3.Jatiswara: This composition is completely made up of solfa syllables or swaras. Swaras are sung like a song and composed with a combination of swaras in different Jatis (Mrudanga syllables). This form will have Pallavi and Charaṇas (also called Chiṭṭeswaras). Pallavi is rendered after each Charaṇa. Mainly used for dance music.
4.Swarajati: Swarajati is like Jatiswara but sahitya are composed for these swaras. Only sāhitya is sung in Pallavi. Both swara and sāhitya in Charaṇas (Chiṭṭeswaras). Pallavi is sung after each Chiṭṭeswara and sāhitya, i.e., after every swara and again after sāhitya. The sāhitya are in praise of God or lovers with heroes and heroines or friends. Some Swarajatis like that of Shyāma Shastri are of higher order and are presented even in the concerts.
5.Varṇa: Varṇa is a unique composition where the swaras are combined in different jatis with beautiful combinations. Rāga-ranjaka prayōgas (features that bring out the rāga) and vishēśha sachāras (extraordinary swara phrases) are compulsorily included in this form. Varṇas has two sections namely poorvānga (first part) and uttarānga (second part). Poorvānga includes Pallavi, Anupallavi, and Chiṭṭeswara (also called Muktāyi Swara). Uttarānga includes Charaṇa and Ettugaḍe Swaras (Ettugaḍe Pallavi or Upapallavi). There are many different types of Varṇas. Namely Tāna Varṇa (or Ādi Tāḷa Varṇa), Khaṇḍa Jāti Aṭa Tāḷa Varṇa, Pada Varṇa. Also, the musicians in the royal court of Mysuru have composed Varṇas in Sooḷādi Tāḷas.
Tāna Varṇa: It is a unique composition which is composed on the pattern of tānas. The swaras are combined in different jatis with beautiful combinations. This form has minimum sāhitya with more vowel extensions. Raga-ranjaka prayōgas and vishēśha sachāras (extraordinary swara phrases) are compulsorily included in this form.
Tāna Varṇas are composed mainly in Aṭa tāḷa and Ādi tāḷa. This form is usually rendered in three degrees of speed (at least two speeds are expected in junior level).
Pachchimiriyam Adiyappayya, Sonti Venkatasubbayya, Syama Sastri, Vina Kuppayyar, Pallavi Gopalayyar, Swati Tirunal, Manambuchavadi Venkatasubbayyar, Muthuswamy Dikshitar, Parameswara Bhagavatar, Annaswamy Sastri, Tiruvarur Aiyasami, Patnam Subrahmanya Ayyar, Garbhapurivaru, Tirunelveli Vengu Bhagavatar, Kottavasal Venkatarama Ayyar, Tiruvottiyur Tyagayyar, Rudrapatnam Venkataramayya, Shatkala Narasayya, Ramnad Srinivasa Ayyangar, Kuppuswami, Fiddle Ponnuswami and Veena Kalahasti Venkatasami Rajah are some of the famous composers of tana varnas.
Gāna Krama: Pallavi, Anupallavi, and Chiṭṭeswara are sung continuously and then a stop is given at the Pallavi. Then the Charaṇa is continued with Ettugaḍe Swaras. Each Ettugaḍe Swaras is sung and joins the Charaṇa. After all the Ettugaḍe Swaras are performed, rendition concludes with a stop given after completing the last Ettugaḍe Swaras. The two parts are independent though sung together. Three degrees of speed apply to Varṇas. Different speeds are rendered successively.
Pada varnas (also called chauka varnas and ata varnas) are the compositions heard in dance concerts. The entire composition herein has sahitya. The matu is characterized by less of vowel extensions. The music is in a somewhat slower tempo and is intended to give full scope to convey the bhāvas. Because of its affinity to the padam, both in point of tempo and the theme of the sahitya, this composition came to be called pada varna. Jatis are met with in some pada vārnas.
Govindasamayya and Kuvanasimayya of Karvet nagar, Ramaswamy Dikshitar, Vadivel Nattuvanar, Pallavi Seshayar,Ramaswamy Sivan, Subbarama Dikshitar, Mysore Sadasiva Rao and Kundrakkudi Krishnayyar are some of the famous composers of pada varnas.
Other type of varnas are Ragamalika varnas - Navaraga malika varna, Dinaraga malika varna, and Ghanaraga malika varna.
Anubandham: Formerly varnas had a supplementary section called the anubandham. It consisted of a sahitya part and a solfa part. This sahitya served to complete the idea in the sahitya of the rest of the varna. The sahitya beginning with the words chiru chamatalu constituted the anubandham for the famous varna, Viriboni in Bhairavi raga. Some anubandhas did not have a separate solfa passage and in such cases, the anubandha was followed by the singing of the muktayi swara of the purvanga part and the original pallavi then sung and the composition concluded. As the anubandha did not very much add to the musical excellence of the varna, it gradually fell into desuetude. Nobody sings the anubandha section of the Viriboni varna at present.
Subsequent composers of varnas like Vina Kuppayyar did not bother about the inclusion of the anubandha in their compositions. Anubandhas figure in the tana varnas of Ramaswamy Dikshitar and Sonti Venkatasubbayyar. The anubandham may be compared to the coda of European music. Since it disturbed the balanced length of the purvanga and uttaranga, it was gradually given up. In later times, the necessity for an anubandha was obviated as the charana expressed a complete idea.
6.Chitta tanas: Chitta tanas (called Katakam by ancient writers) are set exercises for the vīna and are intended to enable the students of this instrument to acquire better technique in playing. This is strictly speaking an instrumental form. There are chitta tanas for many current ragas.Katakam is also the name given to a dictionary of ragas; for ex. the Vyasa Katakam.
7.Suladi: Suladi (from sūda, a desya word for gita) is a composition very much like the gita in musical structure and arrangement. It is a tālamālika, the sections being in different tālas: Sūlādis are illustrative of the suladi talas and are of a higher standard than the gitas. The sahitya syllables are fewer than in gitas and are characterized by a profusion of vowel extensions. The sahitya is dévotional. unlike the gita, suladis are composed in different tempos, ie, vilambita, madhya, druta. Sūlādis are the counter part of the Talavarnam and Pancha tālaswaram.
Sabhagana ( Melodic Music )
1.Keertana:
Keertanas are devotional and philosophical compositions. Keertanas have two sections - Pallavi and Charanas. They have more than one Charana. Rarely Anupallavi is also found. Sahitya is more important than music in this form. The ragas are specified and are set to adi, rupaka, and chapu taḷas. Keertanas are composed in Kannaḍa, Telugu, Tamiḷ, Malayaḷam and in Sanskrit. Kannada Keertanas are called Dasara Pada or Devaranama. Purandaradasa, Kanakadasa, and many Haridasas have composed Keertanas in Kannaḍa. Bhadrachala Ramadasa and Tallapaka Annamacharya composed in Telugu and Sanskrit.
The creation of bhakti rasa (feeling of devotion) is the ideal underlying this composition. The musical setting of some kirtanas may be charming while that of others may be of a mediocre type. The kirtana has the angas: pallavi, anupallavi and charana. The presence of plural charanas is a distinctive feature of kirtanas. Sometimes the anupallavi may be absent. Decorative angas like, chitta swaras and swara sahityas have no place in Kirtanas. But madhyamakala sahityas and rhetorical beauties may occasionally be found in kirtanas.
The charanas of some kirtanas have jatis introduced at appropriate places and they provide a welcome and pleasing variety. Such passages of jatis are termed solkattu sahityas on the analogy of solkattu swaras.
The song Adiya pada (Sankarabharana) of Gopala Krishna Bharati, some of the songs figuring in the Krishna lila tarangini of Narayana Tirtha and many Tiruppugazh hymns and the piece Sriganapatini (Saurashtra raga) contain beautiful solkattu sahityas. In the Tamil song, Natana madinar (Vasanta raga) of Gopalakrishna Bharati, there is a whole passage of solkattu, and like a chitta swara, it is sung at the end of the anupallavi and the charana.
The Devara namas of Purandara Das are typical models of devotional songs. They are the outpourings of a sterling devotee during moments of intense religious experience. Their language is simple and can be understood by the average person. They are pregnant with lofty ideas and contain within them the quintessence of the Upanishads. They breathe the fragrance of bhakti. Clothed in delightful music, they touch our hearts when heard.
As for the ganakrama of a Kirtana, the procedure is the same as that for a kriti with the sections: pallavi, anupallavi and charanas. All the charanas are however sung herein, on account of their devotional value. The repetition of the dhatu will not give rise to a feeling of boredom since fine ideas of a devotional character are enshrined in the Sahitya. In the case of divyanama kirtanas of the ekadhatu type (ie. wherein the pallavi and the charanas are sung to the same dhatu), the charanas are sung continuously without reverting to the pallavi at each stage. Sri Rama Jayanama and Pahi Ramachandra Raghava (both in Yadukulakambhoji raga) and Tavadasoham (Punnagavarali raga) are examples of this type. Where the divyanama kirtana is of the dvidhatu type (i.e. wherein the music of the charana is different from that of the pallavi), the pallavi is sung at the conclusion of each charana. Sri Rama Sri Rama (Sahana raga), Pahi Ramachandra palita surendra (Sankarabharana raga) and Gatamohasrita pala (Sankarabharana raga) are examples of this other type. It will be seen that in this latter case, the dhatu as well as the mathu of the charanas naturally lead on to the pallavi. A sense of completeness is felt only when the pallavi is repeated at the conclusion of each charana.
It may be observed in passing, that in cases of compositions like Tyagaraja’s Rama nannu brovora (Harikambhoji raga), which lie on the borderland between a kriti and a kirtana, a performer in a kachcheri [concert] will lay more emphasis on the excellences of its musical construction and will attempt a beautiful niraval and kalpana swaras for the opening theme of the charana. The same piece when sung in a bhajana, will be rendered with emphasis on the spiritual contents of the sahitya. The responses of the audience too, differ in the two cases. In the kachcheri, the listeners grow rapturous over the stylish rendering, thrilling niraval and the kalpana swaras teaming with complex swara-group patterns. In the bhajana, the audience listen to the piece with reverential devotion and the spiritual strings of their hearts find a ready echo.
Purandara Das, Bhadrachala Ramadas, Tallapakam Annamacharya and Chinnayya, Narayana Tirtha, Giriraja Kavi, Sadasiva Brahmendra, Vijayagopalaswamy, Ramachandra Yatindra, Sarangapani, Tyagaraja, Gopalakrishna Bharati, Arunachala Kavirayar, Kavikunjara Bharati, Madhurakavi Bharati, Mambazhakkavirayar, Ramalinga Swami, Chengalvaraya Sastri and Nilakanta Sivan are some of the prominent composers of kirtanas.
Like samudaya kritis, there are also the samudaya kirtanas. Tyagaraja’s Divyanama kirtanas, Utsava sampradaya kirtanas, Samskshepa Ramayana kirtanas and Sataraga ratna malika (a hundred kirtanas), and Swati Tirunal’s Navaratri kirtanas; are examples.
The Manasa Puja Kirtana - Paramatmuni manasamuna in Khanas Raga deals with the Shodasa (sixteen) Upacharas.
2.Kriti:
Krithis is an important composition form in Karnataka music. In general, Kṛiti means composition. But Kṛiti is a name given to this form. It has three sections namely Pallavi, Anupallavi, and Charana. Chiṭṭeswara, a separate section is added to some Kṛitis, which is sung after Anupallavi and Charana. Some Kṛitis composed by Deekshitar have only Pallavi and Charana. This type of Charana is called Samashti Charana. Music is given more prominence than the sahitya in this form. Minimum words are used. Sahitya is devotional in character. Sangatis are composed to enhance the beauty of Kṛits. Kṛitis are composed in almost all ragas and taḷas in different grahas by many composers. The language used is Telugu, Sanskrit, Kannaḍa, Tamiḷ and Malayaḷam. Tyagaraja, Muttuswamy Deekshitar and Shyamashastri are the pioneers in composing Kṛitis. More clasifications and details in Kriti page.
3.Ragamalika:
Man has ever been on the quest for new forms of musical expression. The history and evolution of music of the orient and the occident unfolds to us this quest of man in discovering new forms of musical expression, newer styles of musical writing and newer patterns of embellished
presentation.
Ragamalikas are the most enjoyable of musical forms in a melodic system of music. The change to a new mode at each stage sustains the interest of the listener from start to finish. Ragamalikas are the longest compositions that we possess in Indian music. There are Ragamalikas which take about 10 minutes to perform and Ragamalikas like the 72 Mela Ragamalika of Maha Vaidyanatha Ayyar which
takes about 2 hours to perform. It will be of interest to know that the dhatu of this 72 Mela Ragamalika was composed in 8 days, an achievement almost without a parallel in the history of musical composition.
The Ragamalika, as its name implies is a garland of ragas. The choice of the ragas as well as their sequence are based on aesthetic considerations. This highly jewelled musical form was known as Raga kadambakam during the medieval period. Decorative patterns in their highly artistic forms are seen in both the dhatu (musical setting) and matu (sahitya) of Ragamalikas. The concept of Ragamalika has invaded other forms like the Varna, Jatiswara, Daru and Pallavi. We have the Navaragamalika varna. Ghanaragamalika varna and the Dinaragamalika varna, for example.
There is also the famous Ragamalika Pallavi in Adi tala, in the four ragas, Sankarabharana, Todi, Kalyani and Darbar.
Keertanas are devotional and philosophical compositions. Keertanas have two sections - Pallavi and Charanas. They have more than one Charana. Rarely Anupallavi is also found. Sahitya is more important than music in this form. The ragas are specified and are set to adi, rupaka, and chapu taḷas. Keertanas are composed in Kannaḍa, Telugu, Tamiḷ, Malayaḷam and in Sanskrit. Kannada Keertanas are called Dasara Pada or Devaranama. Purandaradasa, Kanakadasa, and many Haridasas have composed Keertanas in Kannaḍa. Bhadrachala Ramadasa and Tallapaka Annamacharya composed in Telugu and Sanskrit.
The creation of bhakti rasa (feeling of devotion) is the ideal underlying this composition. The musical setting of some kirtanas may be charming while that of others may be of a mediocre type. The kirtana has the angas: pallavi, anupallavi and charana. The presence of plural charanas is a distinctive feature of kirtanas. Sometimes the anupallavi may be absent. Decorative angas like, chitta swaras and swara sahityas have no place in Kirtanas. But madhyamakala sahityas and rhetorical beauties may occasionally be found in kirtanas.
The charanas of some kirtanas have jatis introduced at appropriate places and they provide a welcome and pleasing variety. Such passages of jatis are termed solkattu sahityas on the analogy of solkattu swaras.
The song Adiya pada (Sankarabharana) of Gopala Krishna Bharati, some of the songs figuring in the Krishna lila tarangini of Narayana Tirtha and many Tiruppugazh hymns and the piece Sriganapatini (Saurashtra raga) contain beautiful solkattu sahityas. In the Tamil song, Natana madinar (Vasanta raga) of Gopalakrishna Bharati, there is a whole passage of solkattu, and like a chitta swara, it is sung at the end of the anupallavi and the charana.
The Devara namas of Purandara Das are typical models of devotional songs. They are the outpourings of a sterling devotee during moments of intense religious experience. Their language is simple and can be understood by the average person. They are pregnant with lofty ideas and contain within them the quintessence of the Upanishads. They breathe the fragrance of bhakti. Clothed in delightful music, they touch our hearts when heard.
As for the ganakrama of a Kirtana, the procedure is the same as that for a kriti with the sections: pallavi, anupallavi and charanas. All the charanas are however sung herein, on account of their devotional value. The repetition of the dhatu will not give rise to a feeling of boredom since fine ideas of a devotional character are enshrined in the Sahitya. In the case of divyanama kirtanas of the ekadhatu type (ie. wherein the pallavi and the charanas are sung to the same dhatu), the charanas are sung continuously without reverting to the pallavi at each stage. Sri Rama Jayanama and Pahi Ramachandra Raghava (both in Yadukulakambhoji raga) and Tavadasoham (Punnagavarali raga) are examples of this type. Where the divyanama kirtana is of the dvidhatu type (i.e. wherein the music of the charana is different from that of the pallavi), the pallavi is sung at the conclusion of each charana. Sri Rama Sri Rama (Sahana raga), Pahi Ramachandra palita surendra (Sankarabharana raga) and Gatamohasrita pala (Sankarabharana raga) are examples of this other type. It will be seen that in this latter case, the dhatu as well as the mathu of the charanas naturally lead on to the pallavi. A sense of completeness is felt only when the pallavi is repeated at the conclusion of each charana.
It may be observed in passing, that in cases of compositions like Tyagaraja’s Rama nannu brovora (Harikambhoji raga), which lie on the borderland between a kriti and a kirtana, a performer in a kachcheri [concert] will lay more emphasis on the excellences of its musical construction and will attempt a beautiful niraval and kalpana swaras for the opening theme of the charana. The same piece when sung in a bhajana, will be rendered with emphasis on the spiritual contents of the sahitya. The responses of the audience too, differ in the two cases. In the kachcheri, the listeners grow rapturous over the stylish rendering, thrilling niraval and the kalpana swaras teaming with complex swara-group patterns. In the bhajana, the audience listen to the piece with reverential devotion and the spiritual strings of their hearts find a ready echo.
Purandara Das, Bhadrachala Ramadas, Tallapakam Annamacharya and Chinnayya, Narayana Tirtha, Giriraja Kavi, Sadasiva Brahmendra, Vijayagopalaswamy, Ramachandra Yatindra, Sarangapani, Tyagaraja, Gopalakrishna Bharati, Arunachala Kavirayar, Kavikunjara Bharati, Madhurakavi Bharati, Mambazhakkavirayar, Ramalinga Swami, Chengalvaraya Sastri and Nilakanta Sivan are some of the prominent composers of kirtanas.
Like samudaya kritis, there are also the samudaya kirtanas. Tyagaraja’s Divyanama kirtanas, Utsava sampradaya kirtanas, Samskshepa Ramayana kirtanas and Sataraga ratna malika (a hundred kirtanas), and Swati Tirunal’s Navaratri kirtanas; are examples.
The Manasa Puja Kirtana - Paramatmuni manasamuna in Khanas Raga deals with the Shodasa (sixteen) Upacharas.
2.Kriti:
Krithis is an important composition form in Karnataka music. In general, Kṛiti means composition. But Kṛiti is a name given to this form. It has three sections namely Pallavi, Anupallavi, and Charana. Chiṭṭeswara, a separate section is added to some Kṛitis, which is sung after Anupallavi and Charana. Some Kṛitis composed by Deekshitar have only Pallavi and Charana. This type of Charana is called Samashti Charana. Music is given more prominence than the sahitya in this form. Minimum words are used. Sahitya is devotional in character. Sangatis are composed to enhance the beauty of Kṛits. Kṛitis are composed in almost all ragas and taḷas in different grahas by many composers. The language used is Telugu, Sanskrit, Kannaḍa, Tamiḷ and Malayaḷam. Tyagaraja, Muttuswamy Deekshitar and Shyamashastri are the pioneers in composing Kṛitis. More clasifications and details in Kriti page.
3.Ragamalika:
Man has ever been on the quest for new forms of musical expression. The history and evolution of music of the orient and the occident unfolds to us this quest of man in discovering new forms of musical expression, newer styles of musical writing and newer patterns of embellished
presentation.
Ragamalikas are the most enjoyable of musical forms in a melodic system of music. The change to a new mode at each stage sustains the interest of the listener from start to finish. Ragamalikas are the longest compositions that we possess in Indian music. There are Ragamalikas which take about 10 minutes to perform and Ragamalikas like the 72 Mela Ragamalika of Maha Vaidyanatha Ayyar which
takes about 2 hours to perform. It will be of interest to know that the dhatu of this 72 Mela Ragamalika was composed in 8 days, an achievement almost without a parallel in the history of musical composition.
The Ragamalika, as its name implies is a garland of ragas. The choice of the ragas as well as their sequence are based on aesthetic considerations. This highly jewelled musical form was known as Raga kadambakam during the medieval period. Decorative patterns in their highly artistic forms are seen in both the dhatu (musical setting) and matu (sahitya) of Ragamalikas. The concept of Ragamalika has invaded other forms like the Varna, Jatiswara, Daru and Pallavi. We have the Navaragamalika varna. Ghanaragamalika varna and the Dinaragamalika varna, for example.
There is also the famous Ragamalika Pallavi in Adi tala, in the four ragas, Sankarabharana, Todi, Kalyani and Darbar.
The length of the Pallavi is two avartas. Flower garlands are of two types :--
(1) Unitary and Homogeneous. Herein only one kind of flower like rose or jasmine is used to make the entire garland.
(2) Heterogeneous. Herein flowers of different colours and hues are used. This is popularly referred to as Kadambam mixture. The Ragamalika veritably belongs to this class of garlands. Ragas of different melodic patterns and lustre are used. The earlier word for this form Raga Kadambakam unmistakably brings out this idea.
Ragamalikas are interesting types as showing how variety can be achieved by couching the different sections of a composition in different ragas. By the term Ragamalika, is generally meant the composition of that names. It is a set piece like a varna or a kriti. There are also ragamalika varnas (padavarna and tana varna types inclusive), ragamalika kirtanas and gitas and swarajatis after the model of a ragamalika. In manodharma sangita, however, the term ragamalika signifies the chain of kalpana swaras sung in different ragas at the end of a pallavi. Also, when a musician sings slokas, padyas, viruttams and stanzas in different ragas, he is said to sing a ragamalika. Brief alapanas of different ragas performed towards the close of a concert are also referred to as a ragamalika.
A series of tanas performed by a Vainika in the ghana ragas: Nata, Gaula, Arabhi, Sriraga, Varali, Kedaram, Narayanagaula, Ritigaula and Bauli either at the commencement of a concert or towards the middle of a concert and before starting the Pallavi will constitute a Ghana raga tana malika. During feasts held on religious occasions or marriages, it is usual for a senior musician to sing slokas in different ragas before the last item in the course. At the conclusion of his music, he will recite a Pundarikam and this will be responded to by all the invitees. Then the last course is served and the feast comes to a close. The slokas are sung on such occasions just by way of offering to the Deity.
(1) Unitary and Homogeneous. Herein only one kind of flower like rose or jasmine is used to make the entire garland.
(2) Heterogeneous. Herein flowers of different colours and hues are used. This is popularly referred to as Kadambam mixture. The Ragamalika veritably belongs to this class of garlands. Ragas of different melodic patterns and lustre are used. The earlier word for this form Raga Kadambakam unmistakably brings out this idea.
Ragamalikas are interesting types as showing how variety can be achieved by couching the different sections of a composition in different ragas. By the term Ragamalika, is generally meant the composition of that names. It is a set piece like a varna or a kriti. There are also ragamalika varnas (padavarna and tana varna types inclusive), ragamalika kirtanas and gitas and swarajatis after the model of a ragamalika. In manodharma sangita, however, the term ragamalika signifies the chain of kalpana swaras sung in different ragas at the end of a pallavi. Also, when a musician sings slokas, padyas, viruttams and stanzas in different ragas, he is said to sing a ragamalika. Brief alapanas of different ragas performed towards the close of a concert are also referred to as a ragamalika.
A series of tanas performed by a Vainika in the ghana ragas: Nata, Gaula, Arabhi, Sriraga, Varali, Kedaram, Narayanagaula, Ritigaula and Bauli either at the commencement of a concert or towards the middle of a concert and before starting the Pallavi will constitute a Ghana raga tana malika. During feasts held on religious occasions or marriages, it is usual for a senior musician to sing slokas in different ragas before the last item in the course. At the conclusion of his music, he will recite a Pundarikam and this will be responded to by all the invitees. Then the last course is served and the feast comes to a close. The slokas are sung on such occasions just by way of offering to the Deity.
The ragamalika (garland of ragas) proper is a beautiful form consisting of a pallavi, anupallavi and many charanas. The charanas are of the same length. The anupallavi may be in the same raga as the pallavi, or in a different raga. In the former case, the length of the pallavi and anupallavi together, will be found to be equal to the length of the charana. Sometimes the anupallavi is dispensed with. All the sections are in different ragas and the raga names (raga mudra) are dexterously interwoven into the texture of the sahitya, without affecting its meaning. Composers of ragamalikas have exhibited a certain cleverness in dissecting the raga names for this purpose.
The music of the pallavi, anupallavi and the charanas is followed by an appropriate, chitta swara (solfa passage) in the respective ragas. This is again followed by a short complementary swara passage in the pallavi raga. This bridge like complementary swara passage serves as a connecting link between the music of the anupallavi and the charanas on the one hand, and the music of the pallavi on the other; and the transition from the charana raga to the pallavi raga is affected in a pleasing manner. This solfa link in the Pallavi raga is like the coda of European music and facilitates the return to the pallavi. At the end of the composition there is a string of full avarta or half-avarta swara passages in all the ragas, but in the inverse order (viloma krama). This coloured solfa passage sung at the end greatly heightens the beauty of the composition. The viloma chitta swara serves to complete the cycle in a ragamalika. Longer ragamalikas are divided into sections, each section being an independent part.
The sahitya of ragamalika is usually of a devotional character. The sahitya may also be on a love theme or in praise of a patron or relate to some aspect of the science of music. The Murchhanakaraka mela ragamalika for example, is a lakshana prabandha and catalogues the scales derived from each of the 72 melas by the process of modal shift of tonic.
Sequence of Ragas
As for the order in which ragas should succeed one another in a ragamalika, certain general principles are observed. There are cases wherein the composer is tied down to a particular order, irrespective of aesthetic considerations, as for instance when he chooses to compose a ragamalika embracing all the 72 melakarta ragas. Likewise in the Dinaragamalika varna and the Murehhanakaraka mela ragamalika, the order of ragas is implied in the structure of the two compositions. But where the composer is free to choose his own order, the following considerations are kept in view.
From the stand-point of bhava and rasa, there should be a naturalness in the sequence of ragas. A feeling of abruptness should not be experienced when the transition from one raga to another takes place. It is with a view to avoid this feeling of abruptness that a complementary swara passage in the pallavi raga called the makuta swara (is composed for being sung at the end of each section). This makuta swara is sometimes referred to as the Pallavi swara. Ragas which possess one or more common swaras and which are able to rouse similar or related rasas (feelings) can succeed one another in a fitting manner. Ragas which, from an aesthetic point of view can succeed one another in a ragamalika are termed mitra ragas.
Closely allied ragas like Darbar and Nayaki, Bhairavi and Manji, Ahiri & Vakulabharana, Sabana and Dvijavanti, Kedaragaula and Narayanagaula, Bilahari and Desakshi. Varali and Vijayasri cannot come one after another in a ragamalika. Any two contiguous ragas in a ragamalika should be melodically distinct and clear-cut from the aesthetic point of view. With a few exceptions, janya ragas belonging to the same mela will not occur in succession. Ragas of diametrically opposite rasas like Athana and Nadanamakriya will not occur as contiguous ragas.
In ragamalikas without chitta swaras, the introduction of the ragamudra in the sahitya is obligatory as otherwise there will be no clue to the raga of each section. The melodic entity is ensured thereby. Thus the ragamalika Amba ninnu nera nammiti is complete as far as it goes since the ragamudra is incorporated in each section. The daru in Arunachalakkavirayar’s Rama natakam, Enakkuniru padam composed originally in Saurashtra raga was recently metamorphosed into a ragamalika. It has neither the chitta swara nor the raga mudra. The charanas of that daru may as well be rendered in another set of sagas and there will be thus be no end to this innovation. Jaya Jaya Gokulabala is also a daru changed into a ragamalika but the addition of a chitta swara to each section ensures the melodic structure of each khandika.
In Ragamalikas which contain sahityas for their chitta swaras, the sahitya for the makuta swara part is called the makuta sahitya. This makuta sahitya in the pallavi raga serves as a common conclusion for the ideas contained in the charanas and naturally leads on to the sahitya of the pallavi. A typical example of a makuta sahitya is seen in the ragamalika, Pannagadrisa :--
The music of the pallavi, anupallavi and the charanas is followed by an appropriate, chitta swara (solfa passage) in the respective ragas. This is again followed by a short complementary swara passage in the pallavi raga. This bridge like complementary swara passage serves as a connecting link between the music of the anupallavi and the charanas on the one hand, and the music of the pallavi on the other; and the transition from the charana raga to the pallavi raga is affected in a pleasing manner. This solfa link in the Pallavi raga is like the coda of European music and facilitates the return to the pallavi. At the end of the composition there is a string of full avarta or half-avarta swara passages in all the ragas, but in the inverse order (viloma krama). This coloured solfa passage sung at the end greatly heightens the beauty of the composition. The viloma chitta swara serves to complete the cycle in a ragamalika. Longer ragamalikas are divided into sections, each section being an independent part.
The sahitya of ragamalika is usually of a devotional character. The sahitya may also be on a love theme or in praise of a patron or relate to some aspect of the science of music. The Murchhanakaraka mela ragamalika for example, is a lakshana prabandha and catalogues the scales derived from each of the 72 melas by the process of modal shift of tonic.
Sequence of Ragas
As for the order in which ragas should succeed one another in a ragamalika, certain general principles are observed. There are cases wherein the composer is tied down to a particular order, irrespective of aesthetic considerations, as for instance when he chooses to compose a ragamalika embracing all the 72 melakarta ragas. Likewise in the Dinaragamalika varna and the Murehhanakaraka mela ragamalika, the order of ragas is implied in the structure of the two compositions. But where the composer is free to choose his own order, the following considerations are kept in view.
From the stand-point of bhava and rasa, there should be a naturalness in the sequence of ragas. A feeling of abruptness should not be experienced when the transition from one raga to another takes place. It is with a view to avoid this feeling of abruptness that a complementary swara passage in the pallavi raga called the makuta swara (is composed for being sung at the end of each section). This makuta swara is sometimes referred to as the Pallavi swara. Ragas which possess one or more common swaras and which are able to rouse similar or related rasas (feelings) can succeed one another in a fitting manner. Ragas which, from an aesthetic point of view can succeed one another in a ragamalika are termed mitra ragas.
Closely allied ragas like Darbar and Nayaki, Bhairavi and Manji, Ahiri & Vakulabharana, Sabana and Dvijavanti, Kedaragaula and Narayanagaula, Bilahari and Desakshi. Varali and Vijayasri cannot come one after another in a ragamalika. Any two contiguous ragas in a ragamalika should be melodically distinct and clear-cut from the aesthetic point of view. With a few exceptions, janya ragas belonging to the same mela will not occur in succession. Ragas of diametrically opposite rasas like Athana and Nadanamakriya will not occur as contiguous ragas.
In ragamalikas without chitta swaras, the introduction of the ragamudra in the sahitya is obligatory as otherwise there will be no clue to the raga of each section. The melodic entity is ensured thereby. Thus the ragamalika Amba ninnu nera nammiti is complete as far as it goes since the ragamudra is incorporated in each section. The daru in Arunachalakkavirayar’s Rama natakam, Enakkuniru padam composed originally in Saurashtra raga was recently metamorphosed into a ragamalika. It has neither the chitta swara nor the raga mudra. The charanas of that daru may as well be rendered in another set of sagas and there will be thus be no end to this innovation. Jaya Jaya Gokulabala is also a daru changed into a ragamalika but the addition of a chitta swara to each section ensures the melodic structure of each khandika.
In Ragamalikas which contain sahityas for their chitta swaras, the sahitya for the makuta swara part is called the makuta sahitya. This makuta sahitya in the pallavi raga serves as a common conclusion for the ideas contained in the charanas and naturally leads on to the sahitya of the pallavi. A typical example of a makuta sahitya is seen in the ragamalika, Pannagadrisa :--
The swaraksharas, both of the suddha and suchita types occurring herein may be noted.
Four will be the minimum number of ragas for a ragamalika composition. The maximum number of ragas is sometimes defined by the theme chosen by the composer as for instance in the Pakshamalika, wherein the number of ragas is 15 and the Nakshatramalika, wherein the number of ragas is 27 and so on.
In a Ragamalika, the pallavi and the last charana should be in auspicious ragas. The opening raga of a ragamalika should be a prasiddha (well known) raga. Ragas which can be sung at all times are generally preferred in a ragamalika unless the composer is obliged otherwise to choose a particular set of ragas.
A person who wishes to compose a ragamalika may choose the ragas figuring in any of the standard ragamalikas and adopt the same sequence of ragas. Bhupala raga, which is an appropriate raga for the last charana of a ragamalika composition, will not be good as an opening raga for this form. Sriraga can occur both as an opening raga and a concluding raga in ragamalika.
Ragamalikas are lovely and enjoyable concert pieces. Besides possessing a high entertainment value, this form possesses a lakshya value as well. The raga names figuring in them set at rest doubts regarding their correct etymology. For example, from the Chaturdasa Ragamalika of Muthuswamy Dikshitar, we learn that Sama (sama gana vinutam) is the correct name of the raga and not Syama. The melodic individualities of some rare ragas like Pratapa chintamani are revealed to us through some ragamalikas.
There are some ragamalikas which lack one or two of the essential characteristics relating to the lakshana of the form. The raga mudra is absent in some and few do not possess chitta swaras.
Ragamalikas like Nityakalyani and Pannagadrisa which contain in them all the essential features of a ragamalika are called Purna lakshana ragamalikas. Those like Amba ninnu nera nammiti which do not possess chitta swaras and those like Pannagendra sayana which do not contain the raga mudra are called Apurna lakshana ragamalikas.
(A few musicians in recent times have added chitta swaras to the ragamalika like Amba ninnu nera nammiti; but the composer of the piece, Chinni Krishna dasa did not contemplate chitta swaras for this composition).
MUDRAS
The varieties of mudras present in a ragamalika are :--
(1) Raga mudra Ex. Nitya Kalyani.
(2) Vaggeyvakkara mudra Ex. Pannagendra sayana.
(3) Prabandha mudra i.e. the name by which the particular ragamalika is known. Ex. Chaturdasa ragamalika in Sri Viswanathame, Pakshamalika in Sudati Mohananguni.
(4) Raja mudra i.e. the name of the patron. Ex. Vaidyalinga bhupala in Sri Visvanatham.
Raga mudra
The raga mudras present in the sahityas of ragamalikas present an interesting study. There are instances wherein the raga names occur independently and in their natural form as Bhairavi in the 6th Khandika of Nitya Kalyani. In some cases the raga name is heard when two words are sounded in succession. Thus in the 7th section of Pannagadrisa we come across A harinakshi and the raga name Ahari is thus heard. Another instance is Arabimanam and the name Arabhi is thus heard. Manasa veritarula wherein the raga name Saveri is incidentally heard is also a good example. Rarely a synonymous name is introduced. Thus in the ragamilika Sanamtam of Swati Tirunal, instead of the raga name, Sudha tarangini, the name Kshira tarangini is introduced.
Classification
4.Talamalika:
5.Ragatalamalika:
6.Pada:
7.Javali:
8.Daru:
9.Tillana:
10.Sutra Gitas:
Four will be the minimum number of ragas for a ragamalika composition. The maximum number of ragas is sometimes defined by the theme chosen by the composer as for instance in the Pakshamalika, wherein the number of ragas is 15 and the Nakshatramalika, wherein the number of ragas is 27 and so on.
In a Ragamalika, the pallavi and the last charana should be in auspicious ragas. The opening raga of a ragamalika should be a prasiddha (well known) raga. Ragas which can be sung at all times are generally preferred in a ragamalika unless the composer is obliged otherwise to choose a particular set of ragas.
A person who wishes to compose a ragamalika may choose the ragas figuring in any of the standard ragamalikas and adopt the same sequence of ragas. Bhupala raga, which is an appropriate raga for the last charana of a ragamalika composition, will not be good as an opening raga for this form. Sriraga can occur both as an opening raga and a concluding raga in ragamalika.
Ragamalikas are lovely and enjoyable concert pieces. Besides possessing a high entertainment value, this form possesses a lakshya value as well. The raga names figuring in them set at rest doubts regarding their correct etymology. For example, from the Chaturdasa Ragamalika of Muthuswamy Dikshitar, we learn that Sama (sama gana vinutam) is the correct name of the raga and not Syama. The melodic individualities of some rare ragas like Pratapa chintamani are revealed to us through some ragamalikas.
There are some ragamalikas which lack one or two of the essential characteristics relating to the lakshana of the form. The raga mudra is absent in some and few do not possess chitta swaras.
Ragamalikas like Nityakalyani and Pannagadrisa which contain in them all the essential features of a ragamalika are called Purna lakshana ragamalikas. Those like Amba ninnu nera nammiti which do not possess chitta swaras and those like Pannagendra sayana which do not contain the raga mudra are called Apurna lakshana ragamalikas.
(A few musicians in recent times have added chitta swaras to the ragamalika like Amba ninnu nera nammiti; but the composer of the piece, Chinni Krishna dasa did not contemplate chitta swaras for this composition).
MUDRAS
The varieties of mudras present in a ragamalika are :--
(1) Raga mudra Ex. Nitya Kalyani.
(2) Vaggeyvakkara mudra Ex. Pannagendra sayana.
(3) Prabandha mudra i.e. the name by which the particular ragamalika is known. Ex. Chaturdasa ragamalika in Sri Viswanathame, Pakshamalika in Sudati Mohananguni.
(4) Raja mudra i.e. the name of the patron. Ex. Vaidyalinga bhupala in Sri Visvanatham.
Raga mudra
The raga mudras present in the sahityas of ragamalikas present an interesting study. There are instances wherein the raga names occur independently and in their natural form as Bhairavi in the 6th Khandika of Nitya Kalyani. In some cases the raga name is heard when two words are sounded in succession. Thus in the 7th section of Pannagadrisa we come across A harinakshi and the raga name Ahari is thus heard. Another instance is Arabimanam and the name Arabhi is thus heard. Manasa veritarula wherein the raga name Saveri is incidentally heard is also a good example. Rarely a synonymous name is introduced. Thus in the ragamilika Sanamtam of Swati Tirunal, instead of the raga name, Sudha tarangini, the name Kshira tarangini is introduced.
Classification
4.Talamalika:
5.Ragatalamalika:
6.Pada:
7.Javali:
8.Daru:
9.Tillana:
10.Sutra Gitas: