The Significance of the Division Of Pallavi, Anupallavi and
Charana in Musical Compositions
Prof.S. R. Janakiraman
All music
falls under two broad divisions, creative and recitative. Creative music is
Manodharma Sangita and recitative music is 'Kalpita Sangita. Manodharma Sangita
consists of singing music extempore; while Kalpita Sangita consists of singing
music a1ready composed and kept under one's disposal. The art of composing
certainly demands creative faculty of no mean calibre. The only difference
between them rests in the. fact that in the creative type the music flows out
spontaneously without any previous thought or preparation while in the kalpita
sangita or the recitative type of music the composer has ample time at his
disposal and ,also liberty to mould and perfect the composuition he attempts.
Whatever be the type of music contemplated, it is conceived as a definite and
distinct unit by itself, having a jurisdiction of its own. Every piece of music
falls within the limits of a pre-defined frame-work.
A raga may
be dealt with at length but it not only has its own paces of development but
also the method of elaboration and its defined frontiers at every stage. Sections
like Akshiptika, Ragavardhani, Vidari, Makarini, Vartani, Sthayi and Mukthayi
have been mentioned for Ragalapti in classical works on music. Further mention
has been made of Rupakalapti which later on blossomed into the art of rendering
Pallavi and niraval. Rupakalapti is alapti put into a regular form with the
confluence of pada and laya. The method of development of Swarakalpana could be
procedural with regard to the movement of the patterns of combination in the
different registers.
Kapalas and
Kambalas are mentioned as modification of jatis which are the precursors of
ragas. Kapalas have been mentioned only for Suddha jatis and not for vikruta jatis as latter
themselves are modified forms. It is mentioned that the singing of these
Shadjadi kapalas with the padas and swaras uttered by Brahma on the occasion of
the worship of the consort of Parvati will be auspicious. The process of
singing these padas with layas adorned with the elements of
Bharata
wrote his treatise Natya Sastra designing it primarily as a work on dramaturgy
but gave us a mine of information on associated topics of gita and vadya and
thus fully justified the conception of " Tauryatrika" bhava of music.
Drama has itself been defined as a representation of flavors of passions and
feelings accompanied by vocal and instrumental music. In most old indigenous
dramas this musical element predominates. Such stage songs are furnished by the
class of songs known as Dhruvas. The Natya Sastra of Bharata devotes a whole
chapter describing and illustrating: different classes, divisions and subdivisions
of dhruvas and their uses. Without an actual familiarity with these practical illustrations
it -is difficult to gather from these elaborate textual description the nature
of their musical worth and characteristics. They appear to have been a class of
versified musical compositions.
The
treatment of Dhruva by Sarngadeva is somewhat meagre. Referring to the two
classifications of Suddha and Chayalaga, he assigns dhruva to the latter class
ie chayalaga and emphasizes their musical and rhythmical qualities treating
them as exemplifications of talas. He names and describes 16 kinds of dhruvas. Much prior to Sarangadeva, Matanga of the 5th
century A.D., makes mentions of 75 desi Prabandhas. He refers to Alikrama and
Vikprakeerna Prabandhas.
Venkatamakhin
most significantly named his treatise as "Chaturdandi Prakasika".
Chaturdandi is the conception of Gopala Naik as recognised by Venkatamakhi. The
four-fold channel of all musical expression is Gita, Alapa, Thaya and
Prabandha. Venkatamakhi poses a question and also gives the answer himself. He
clearly distinguishes between Gita and Prabandha.He defines Gita as “Geeyate
iti·gitah”. According to the aphorism any composition or mode of singing could
be a gita. It is not so. He defines Prabhand as "Prabhadyate iti Prabandhah".
That which is composed is a Prabandha. Then any composition could be a
Prabandha. It is not so. Only that composition reckoned as Suda is gita.Only
that composition which is made up of the six angas and four dhatus is alone
entitled to be called a Prabandha. If this distinction is not maintained then
the accredited conception of Chaturdandi of Gopala Naik will not be an
established fact.He further says that the Gita is of two kinds, Suddha suda and
salaga suda. Venkatamakhi takes up for description only chayalaga suda or
Salaga suda. Salaga is the Apabhramsa for chayalaga. The salaga suda is of
seven kinds namely Dhruva, Matta, Pratimatta, Nissamka, Adda, Rasa and Eka
Tali. Dhruva has two sections. The dhatu
- the musical setting - is the same for both the sections - the sahitya being
different in both. Both the sections constitute udgraha. This is followed by the
third section. The dhatu of this part employs swaras of higher pitches i.e.,
the tessitura rising up.According to some, this section itself constitutes the
Abhoga. The conclusion of the udgraha is reckoned as Dhruva which is again of
16 kinds.
Thus the
Prabandhas have been the prototypes of the musical compositions in vogue.
The six
angas of a Prabhandha are swara, Biruda, Pada, Tala, Pata and Tenaka. Prabandhas
are of different types in accordance with the number of angas present in them.
The Medini jati Prabandha has all the six angas. The Anandini Jati has only
five angas, the Dipani jati four angas, Bhavani jati three and Taravali two. No
Prabandha could be conceived with only one anga. Which angas are present and
which deleted should be known only by an individual study of the different
Prabandhas namely Sriranga, Srivilasa, Uma Tilaka, Panchataleswaram etc.Excepting
one "Tenaka" derived from "Tena", the rest five angas are
found in the present day musical compositions in some form or other. Swara and
Tala are the minimum requirements of a Taravali jati Prabandha. The Swara Pallavi
of the present day known also as jatiswaram is an example. A Tana Varna of the
type "Kanakangi" of Pallavi Gopalayya is a parallel for Dipanijati
Prabandhas. A kriti with the Pallavi, Anupallavi , Charana with a Chittaswara
of the type of "Nidumurti" of Pallavi Gopalayya is of the type of
Bhavani jati Prabandha. In the same manner, we can correlate anyone of the
present day musical compositions with the parallel types of Prabandhas. Pata or
Tala mnemonics or jati syllables are found in the Tillana of the present. day.
Swarartha was a prabandha where in Swaraksharasandhi figured (Sri Rama Padama
of Tyagaraja, Padasaroja of Navaragama-. lika
Now the
dhatus could be taken for treatment. Lochana kavi gave the precise definitions
of the terms dhatu and matu as follows : “Dhatu matu samayuktam gita mityuchyate
budhaih: Tatrah Nadatmako dhata maturakshara sambhavat”. Dhatu is understood to
be the bare musical setting "Nadatmaka" and the matu is “akshara"
either it be solfa syllables, Padas, or tala mnemonics There is a common
impression that the swara part of a musical composition is dhatu and the
sahitya part matu. This is far from correct. Lochana Kavi's standpoint is most
laconic. The four sections or dhatus of a Prabandha are the natural result of the
different sections having different musical settings-
Otherwise
there arises no necessity for any musical composition baying different sections
at all. Herein lies the real significance of the divisions of pallavi,
anupallavi and charana in musical compositions. Of the four dhatus, udgraha
dhruva, melapaka and abhoga, udgraha starts the compositions and hence the name
udgraha. It corresponds to what is now known as pallavi. Dhruva is the constant
part of a composition. Dhruva means constancy. Dhruva stands as the charana in
a musical composition. The charana constitutes the cream of the theme of a
musical composition. The theme could be reckoned as having full reference both
to the dhatu and matu.
Melapaka is
that connecting the udgraha and dhruva and naturally it fits in with the
Anupallavi in modern terminology. Abhoga is the fourth section again with two
parts Alapa and Analapa Khandas, In between Dhruva and Abhoga there was Antara.
Prabandhas were chaturdhatu, tridhatu and dvidhatu Prabandhas and eka Dhatu
Prabandhas too as will be explained presently. We shall notice the description
of one Prabandha for, example a Medini Jati prabandha which Sriranga Prabandha,
has four sections each set in different raga and tala. The first of each
section is udgraha and the second one dhruva. The compelled necessity of the
incorporation of pada prayoga is an essential feature. The other angas can
occur anywhere. Though there is no Abhoga still at the end of the fourth section
through the medium of padaprayoga the name of the author, the person on whom
the Prabandha is sung and the name of the prabandha must be specified. This is
a dvidhatu prabandha (udgraha and dhruva) and an anirkyukta Prabandha. Now of these
four dhatus udgraha and Dhruva are the two essential and indispensable angas.
Among the other two, Melapaka and Abhoga
, which is to be dispensed with is the question. Our lakshanakaras are of the
view that the sacrifice of Melapaka is to be advocated as much as the dvidhatu
prabhandas then in vogue were found to have dispensed with Melapaka.That could be
easily corroborated with the fact that we have now the Divyanama and Utsava
Sampradaya Kirtanas of Tyagaraja and prior to that the Adhyatma Samkirtanas of Tallapaka
Annamacharya, and the soul-stirring compositions of sweetness, simplicity and
sublimity, those of Sadasiva Brahman, The devotional songs of Bhadrachala
Ramadasa are twofold in character. Some have the three sections pallavi,
anupallavi and charana while some with pallavi and charana only.
Gitas have
no sections in them. They consist of something like stanzas though sung to the
same dhatu. The Janakaraga Lakshana Gitas have the different sections Sutra
Khanda, Upanga Khanda and Bhashanga Khanda. No doubt the different sections are
set in different dhatu. It some time happens that in some Janakaraga Lakshana
Gitas, not claiming a large number of upanga and bhashanga janyas, the sections
are amalgamated into one. The tana and padavarnas have the sections pallavi,
anupallavi and charana the last to be known not as charana but as Ettugada. The
anupallavi is followed by a muktayi swara of suitable length. The Ettugada was
followed by an anubandha after singing which the Pallavi was taken up and sung
and the composition was concluded. The famous Ata Tala Tana Varna in Bhairavi
begining with the words "Viriboni" had one such Anubandha now gone
into the oblivion. Subsequent composers of Tanavarna gave up the practice of
adding this Anubandha. Some Pada varnas have more than one Ettugada Pallavi
followed with Ettugada swaras. The compositions Kriti, Pada, Javali and Tillana
and sometimes Ragamalikas too have normally the divisions Pallavi, Anupallavi
and Charana in them. The darus figuring in the Nritya and Geya Natakas mostly
have only Pallavi and a number of charanas the latter all being sung to the
same dhatu. Some Dikhbitar kritis stand on a peculiar footing. They have only
two sections. The first is surely the Pallavi. The second one stands as
Anupallavi from the point of view of prosodical requirement. But according to
the requirements of a prabandha it should end with Melapaka. A Prabandha can be
terminated only with Dhruva and Abhoga. That should connect the udgraha with
Dhruva. The second section of such Dikshitar kritis is now popularly known
as" Samashti Charana". This term is not found anywbere in the
available text of Sangita Sampradaya Pradarsini of Subbarama Dikshitar
belonging to the accredited parampara of Dikshitar. In all fitness it should be
taken only as Dhruva or AbhOga (charana).
First we
shall proceed frrm Jatiswaram. A natural course of movement of the musical theme
is found in the Todi Jatiswaram of Swati Tirunal. This particular Jatiswaram
has the sections pallavi, anupallavi and charana. Similarly in the Swarajati in
Mohana. The Tana and Pada varnas offer an interesting study in this connection.
The development of the musical theme is even and smooth, flowing and well
balanced taking up the moulding of the raga gradually from depth to height. The
sahitya is after all quite an insignificant factor. The dhatu alone marks the
dominating element in a tana
Example:
"Evari
Bodha" (Abhogi)
"Jalajakshi"
(Hamsadhvani)
"Sarasijanabha"
(Kambhoji)
The
padavarna offers a different structure.
Example:
"Entani"
(Khamas)
Generally
the procedure should be that in the pallavi the musical theme must be initiated
from whatever angle it may be but developed a little further in the anupallavi
and further enlarged in the charana maintaining of course a balanced sequence,
one built upon the other. The charana must be the sum total. The same thing
holds good with regard to the manners of development of the contents of Sahitya
as well. An idea is thrown in the pallavi, a little amplified in the anupallavi
and substantitated in the charana. That is what Tyagaraja invariably does. Even
with regard to the movement of the musical theme Tyagaraja does not usually shoot
at a tangent. He works up the theme gradually with a balanced sequence,
Examples to illustrate the above:
"Endudaginado"
(Todi)
"Chakkaniraja
(Kharaharapriya)
"Ramabana"
(Saveri)
"Mari
Mari Ninne" (Kambhoji)
"Karuvelpulu"
(Kalyani)
Certain
kritis of Tyagaraja set particularly in Adi Tala Chitra tama Marga contain the
beautiful sequence of development of musical theme. In most of them the
phenomenon of the uttarardha of the charana being repeated to the dhatu of the
anupallavi could well be noticed.
"Enta
vedukondu.' (Saraswati manohari)
"Makelara"
(
"Bantu
riti" (Hamsanada)
The
Divyanama kitanas and utsava sampradaya kirtanas of Tyagaraja present proto
types of Eka Dhatu' and Dvidhatu Prabandhas.
Illustrations
:
"Sri
Rama Sri Rama" (Sahana)
"Pahiramaehandra"
(Sankarabharana)
"Nagumomu"
(Madhyamavati)
The entire
composition is a unit by itself. Herein does not arise the elaboration of the
musical theme. The Sahitya is mostly an invocation. Muthuswami Dikshitar's
compositions offer a shining contrast to those of Tyagaraja. Dikshitar was an
epic composer. His mode of presentation was subdued and undemonstrative. Tyagaraja
was chiefly an emotional composer. His bent of mind was diverse in character.
He was at times overjoyed, at times deeply sorrowful, sometimes disgusted
sometimes disappointed and so on. The mould of his dhatu and matu varied like
quick moving scenes of panorama. The divisions of pallavi. anupallavi and
charana are apparently clear and distinct in scope and conception.
Illustrations:
"
Intakannananda" (Bilahari) "
Entabhagyamu" (Saranga)
“ Epapamu
" (Athana)
Dikshitar's
kritis are in effect dhyana sloka hymns of praise. invocations to some deity or
other, visualising some deity or other and shrouding the song with attributes,
with epithets finding expression the local deity of some shrine or other
incorporating in loving details the local customs and traditions of the shrine
as well. Hence his kritis have a ponderous length with "linked sweetness,
long drawn out, except a few stray kritis with pallavi and charana
(Illustration).
Kamalambike"
(Todi) "
Balagopala
" '(Bhairavi)
Bhajare
" (Kalyani)
" Sri
Subrahmanyaya Namaste" (Kambhoji)
" Kasi
Visveswara" (Kambhoji)
In the case
of Dikshitar's kriti only from the point of view of the movement of Dhatu the
different sections cannot be tampered with. The section can be reshuffled and
no harm will be done if the sequence of Sahitya in general. Of course the progression
of the content may be there. Tyagaraja's kritis do not admit of such treatment.
The sections naturally follow one another.
Illustration:
" Mari
Mari Ninne " (Kambhoji)
"
Chakkani Raja" (Kharaharapriya)
“ Dorakuna
" (Bilahari)
In
Thyagaraja's krities the anupallavi marks a perceivable development upon the
Pallavi with regard to both music and sahithya. It is straight away taken in
higher tessitura. In Dikshitar's case only the latter half of the Anupallavi
brings in the difference in treatment of the musical theme.
Illustration:
“ Majanaki
" (Kambhoji)
Sri Subrahmanyaya " (Kambhoji)
The dhatu
of the song never repeats anywhere in the kritis of Dikshitar. That is a marked
feature.
Illustration:
"Vatapiganapatim"
(Hamsadhwani)
Syama
Sastri's krities are much less complex in character in the discussion of the
present issue. They are less elaborate in scope and structure. What has been
said above with regard to Dikshitar’s kritis of Syama Sastry with regard to the
sangeetha and sahitya in the different sections of the song.
Illustration
:
Ninuvenagamari"
(Purva kalyani)
"Ninnenamminanu"
(Todi)
Bhairavi
Swarajati though designated as Swarajati works out a beautiful and ideal
development of musical theme (illusrations)
A word
about the interchange of sections in a musical composition in gana krama. Tradition
has recognized the taking up of anupallavi first in most of the padas of
Kshetragna. Not only the musical setting but also the theme of sahithya bas
favoured such a procedure evidenty so designed by the composer himself
(Illustration).
"Gaddari
Vagala" (Kalyani)
"Kontegadu"
(Surati)
Some of the
kritis of Thyagaraja too has warranted such a treatment
(Illustration).
"Elanidaya
Radu" (Atana)
"Mokshamu"
(Saramathi)
"Theliyaleru"
(Dhenuka)
Lastly the
different sections have got a definite bearing one upon the other. Usually the
Pallavi and Anupallavi are of the same length and charana double in size.
Rarely compositions have uniform length of Pallavi, Anupallavi and Charana.
Illustrations:
"Sarojadalanetri"
(Sankarabharana)
' Santhamulekha" (Sama)
"Entharani"
(Hari Kambhoji)
Only in the
krities of Dikshitar and the Padas of Kshetragna the anupallavi is twice the
Pallavi and charana four times.
Illustrations:
"Vatapiganapatim"
(Hamsadhwani)
"Gaddari
Vagala" (Kalyani)