Significance of Pallavi and Starting svara in Krities

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Significance of Pallavi and Starting svara in Krities Significance of Pallavi and Starting svara in Krities

Topic started by Nadopasaka on Sat Feb 19 10:41:44 .
All times in EST +10:30 for IST.

The starting phrases of the krities of the great vaggeyakaras often assume a status equal to the raga, for better or worse ( at first purely as descriptors or identifiers ).

While the kriti may itself be regarded as a kernel of the greater picture, does the pallavi and, especially, the starting svara have a unique responsibility in dictating the ensuing kriti and the raga ? Do all the great vaggeyakaras infuse the pallavi with special musical and textual meaning ?

It would be interesting to see, for example, where ( at which svara ) each of the several krities of Tyagaraja in Todi or Pantuvarali etc, begins ?

Responses:

From: Nadopasaka (@ afppp30.buffnet.net) on: Tue Feb 22 22:34:54 EST 2000

I did a survey of Tyagaraja Bilahari's I had access to and came up with the following starting swaras and directions, up+ or down-. Seems like they are all over the place. Is there a method to the Saint's madness ?!

Please correct if you know for sure. Thanks

Narasimha Nannu - shadjam, positive slope
Kanugontini - gandharam, positive slope
Korivacchiti ??
Dorakuna - rishaba, positive slope
Intakanna ananda - dhaivatam , negative slope
Sarasiruha Nayana ??
Na Jeevadhara - gandharam, negative slope
Ne vegane Nannu ??
Toli Janmamu - nishadam, negative slope
From: Nadopasaka (@ adppp35.buffnet.net) on: Sun Mar 19 16:43:37 EST 2000

There is some confusion in some renditions of Mokshamu Galada. I think Saakshatkara Nee sadbhakti.. is sometimes used as the Pallavi .

Is there any kriti which re-uses the Pallavi text in other portions of the kriti, maybe with different swaras ?

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