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Pallavi: marivere dikkevarayya rama maati maatikini telupavalena besides you, who will save me, Rama, how many times need I tell you? anupallavi : daridaapu leni naa jaali terci dayacesi broce dora neevu kaada Aren’t you the one who, being near me, rids me of my troubles, and, with your grace, protects me charanam: ninnu caala nammi unnavaadanucu nee chittamunake telisi undagaa sannutaanga shree venkatesha neevu nannu brovakayunduta nyayama You with your great mind, don’t you know those who place implicit trust in you You, who are praised by all as the great Lord Venkateshwara, is it just that you do not come to save me? 6. tirupathi venkataramana talam: aadi composer: purandara dasa language: Kannada Pallavi: tirupati venkataramana ninagyatake baradu karuna Oh! Venkatesha why don’t you show mercy! anupallavi: nambide ninnaya carana paripalisa beko karuna I have believed in you, please bless me and protect me. charanam 1: alagiriyindalli banda svami anjanagiriyali ninda kolalu dhvaniyudo canda namma kundalaraya mukunda Oh! the one who has come from Alagiri and stood on the Anjanadri hills, the music from your flute is so beautiful Oh! Mukunda charanam 2: mudala giriyali ninda muddu venkatapati balavanta idilla ninage shrikanta irelu lokakananta Oh! the one standing on the Moodala hills you are stronger than any other god. There is no one comparable to you in this whole world Oh! Sreekantha. charanam 3: papa vinashini snana hari padodakave pana kopa tapagala nidhana namma purandara vittalana dhyana The one who removes all sins just by having a bath in Papavinashini falls, which is born at your feet, Your thought itself removes our anger and pride Oh! Purandara Vittala 7. smarane sukamu Ragam: Janaranajani talam: deshaadi composer: tyagaraja language: telugu Pallavi: smarane sukhamu rama nama narudai butti nanduku nama For having been born as a human being, remembrance of name of Lord Sri Rama only is the true comfort. 4
anupallavi: vara rajayoga nistulau varikanand mandatattu In the same manner as bliss accrues to those who remain firmly established in the blessed Raja Yoga, for having been born as a human being, remembrance of the name of Lord Sri Rama only is the true comfort charanam: rama nama shravanamu valla nama rupame hrdayamu nindi prema butta seyaga leda niskama tyagaraju seyu nama Isn’t it that because of listening to the name of Sri Rama, the very form of the name, having filled the heart, enabled to generate pure love towards the Lord? Therefore, for having been born as a human being, remembrance of the name of Lord Sri Rama, without desires, as done by this Tyagaraja, is the true comfort. 8. Ragam-tanam-Pallavi: ragam thanam pallavi is a form of singing in carnatic music that allows the musicians to improvise to a great extent. it is one of the most complete aspects of classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. “ragam” in the context refers to ragaalapana—the first component. in this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. thanam is one of the most important forms of improvisation, and it is integral to ragam thanam pallavi. it is the second component of this composite form of improvisation. originally developed for the Veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, and na. thanam is a rhythmic version of the raga alaapana. although tanam is often rendered without percussion support, the element of rhythm is more obvious in this type of improvisation. the pallavi is usually a one-line composition set to a single cycle of tala. the tala could range from the simple to the complex, and there may also be different gatis being employed. pallavi has two portions to it. the first half of pallavi is an ascending piece of notes and the first half of the pallavi should always end at the strike of the beginning of the second half of the talam cycle, called the ardhi. between the first half of the pallavi and the second half of the pallavi, there will be a brief pause called as the Vishranthi, and then the second portion of the pallavi starts. executing niraval for a pallavi is unique, as, unlike in a krithi, the artist is not allowed to change the locations of each syllable in the sahithyam, as this lessens the innate beauty of the pallavi. the basic style in pallavi rendition is to sing the pallavi in different speeds or nadai. in most cases the pallavi is set to chathushtra nadai meaning each beat carries four units. the singer will then sing the pallavi in three different speeds, once with each beat carrying one unit, then two units, and then four units per beat. once this is completed, they would sing the pallavi in a different nadai called tisra nadai, meaning each beat now carries three units. once these aspects are covered, the singer explores in the Kalpanaswara phase, and they would start exploring different ragas during the Kalpanaswara. 5
Page 1 and 2: music at emory concert series schwa
Page 3: charanam: talaiyil malai vizhndalum
Page 7 and 8: ni ri ga ma dha ma dha dha sa ma dh
Page 9: aravind narayan, ghatam arvind nara

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