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Ragam Tanam Pallavi (RTP) [1] is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana , tanam , niraval , and kalpanaswara . In more elaborate ragam tanam pallavis, a tani avartanam [2] may follow.
"Ragam" in the context of "Ragam Tanam Pallavi" refers to raga alapana - 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. Each Ragam tanam pallavi has at least one raga associated with it.
Tanam is one of the most important forms of the improvisation, and is integral to the RTP. [4] It is the second component of this composite form of improvisation. Originally developed for the veena, it consists of expanding the raga with syllables "a-nam-tam". The origin of this usage is not very clear [5] . It could have originated from the sanskrit word "tanyate" (that which is elaborated) or "tena" indicative of an auspicious object. Tanam is rendered as a rhythemic variation of raga alapana, in chaturasra nadai, though there is no specific talam that is followed.
Some artists sing a ragamalika tanam too. Tanam is almost always rendered without percussion accompaniment; the element of rhythm is embedded within the repetition of the syllables "a-nam-tham". It is rendered in medium speed and just before commencing the third component of this composite form of improvisation; the pallavi.
The word Pallavi is derived from the three syllables Pa - Pada (words), La - Laya (rhythm) and Vi - Vinyasam (variations). Pallavi is the equivalent of a refrain in Western music. The Pallavi is usually a one-line composition set to a single or more cycle(s) of a tala . The tala could range from the simple to the complex and there may also be different gatis being employed.
Pallavi has 2 portions to it. The first half of Pallavi is an ascending piece of notes (Purvangam) and the first half of the Pallavi mostly ends at the stroke of the beginning of the second half of the Thalam cycle or in the beginning of the shortest part of the Thalam , called the Arudhi. Arudhi is the point of division of the two parts of a Pallavi. Between the first half of the Pallavi and the second half of the Pallavi there will be a brief pause called as the Vishranthi or resting time which is an extension of the last syllable of the Purvangam and then the second portion of the Pallavi (Uttarangam) starts.
Executing niraval for a pallavi is unique, as, unlike in a kriti, the artist is not allowed to change the locations of each syllable in the sahityam , as this lessens the innate beauty of the pallavi.
The basic style in Pallavi rendition is to sing the Pallavi in different speeds and Nadai. In most cases the Pallavi is set to Chatushtra Nadai meaning each beat carries 4 matras (units). So the singer will then sing the Pallavi in 3 different speeds, once with each Beat carrying 2 units (Vilomam), then 4 units and then 8 units per beat (Anulomam). They can also alter the speed of the Tala (Pratilomam) and keep the speed of the Sahityam constant. Once this is completed then they would sing the Pallavi in different Nadais (Mostly Tisra Nadai meaning each beat now carries 3 units) i.e. keeping the words and the length of the pallavi constant but changing the nadai of the thalam. All this can be done from the start of the pallavi or from the Arudhi. Some singers do this presentation before Swaraprastharam (Most common practice). Others alter the speed and Nadai during singing Swaras and then sing the Pallavi such that the position of Arudhi remains constant.
Once these aspects are covered, the singer explores in the Kalpanaswara phase and they would start exploring different Ragas during the Kalpanaswara.
The Pallavi challenges the musician's ability to improvise with complex and intricate patterns. The whole exercise is very demanding, both technically and musically, since all the artiste's musicianship is put to test.
Today, most concerts by prominent carnatic vocalists include a Ragam Tanam Pallavi (RTP). RTPs can be performed in any raga. Both popular as well as rare ragas can be used to perform a RTP. RTPs in rare ragas are common because the vocalist can present the pallavi with self-composed lyrics and hence need not search for or compose a kriti in the rare raga. In other words, artists often use the RTP portion of the concert to introduce their audience to ragams that are rarely sung. Many artists announce the name of the ragam before the pallavi portion.
In the recent time pallavis, the artist includes the name of the ragam in the words used in the Pallavi. This helps the less-knowledgeable audience to identify the ragam (if the name of the ragam is not already announced) and also appeals to the audience as well as critics.
Most pallavis are presented in a talam in a single nadai. But dwi-nadai (2 nadais), tri-nadai (3 nadais)and pancha-nadai (5 nadais) pallavis are also presented by experienced and seasoned artists. The use of such Talams is under debate and the views of artists vary.
It has been time noticed from time immemorial, that multiple ragam pallavis are being used in the concert circle. In this, the artist keeps on shifting between all the ragas in the whole presentation. They can be dwi-2, tri-3 or chatur-4 raga pallavis. Some pallavis have been cited as examples for all these forms.
The below examples are all presented by Ranjani Gayatri.
Other examples of Dwi-raga pallavis are Amrithavarshini/ Anandabhairavi by M.Balamuralikrishna, [18] Saranga/ Nayaki by Ranjani Gayatri, [19] Bhairavi/Sindhu Bhairavi by T.N.Seshagopalan [20] [21] and Mohanam/Kalyanavasantham by Bombay Jayashri. [22]
Some Tri-raga pallavis are:
Some Chatur-raga pallavis are:
Sometimes, artists change the tala of the RTP from the main tala to another which has same number of aksharas or a tala which has some number of aksharas, which when sung some integral number of times equals the number of aksharas in the main tala.
Talamalika singing examples can be seen from the above citation (This is from a concert of Ranjani Gayatri). [33]
This is a type of RTP where a Raga which has many Ragas with a similar name are sung in an RTP. Ragas with similar names like Group of Ranjani ragas, Bhairavi ragas or Varali ragas can be used for presentation.
A good example is a recent rendition by Ranjani-Gayathri where they used the Pallavi phrase "Ranjani Kanchadala Lochani Brovavamma Thalli Niranjani"—their RTP was set to the ragam Ranjani. About 30 minutes into the RTP, when they started switching ragams, they switched to Sriranjani, Janaranjani, Megharanjani, Manoranjani, Sivaranjani and Sumanesha Ranjani. Since the audience are likely to be unfamiliar with some of these ragams, they changed their Pallavi phrase at the end of each of these 4-5 minute renderings- for instance, they finished Janaranjini rendition with "Ranjani Kanchadala Lochani Brovavamma Thalli Janaranjani". A musically literate audience often appreciate this approach, since this gives them 4–5 minutes to guess the ragam before the artist gives them the answer. [34] [35]
As stated in the previous section a contemporary RTP is rarely ever restricted to just one ragam. The artist sings ragamalika swarams and tanams. Experienced artists sing all the extra ragas other than the main raga in a reverse order before coming back to the main raga and then complete the RTP. Others too come back to the main raga to finish the RTP section. It is very now-a-days to find an RTP without ragamalika. While the artist might spend 35–40 minutes on the main ragam , he or she will only devote about 4–5 minutes to each subsequent ragam.[ citation needed ]
RTP requires not only experience but formidable amount of planning. First and foremost is the sequence of the ragams—while the audience may not expect a logical order, the critics surely will. Secondly, since this part of the concert is likely to last anywhere between 40 and 60 minutes, the performer must pick their ragams very carefully. Last but not least, the accompanying violinist should be able to render each of these ragams as well. Lot of mathematics is also involved in the presentation of an RTP. Therefore, only an artist with a good amount of knowledge in theory of carnatic music as well as practical experience can present a Ragam Tanam Pallavi with ease.[ citation needed ]
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
The Pancharatna kritis are a set of five kritis (songs) in Carnatic classical music, composed by the 18th-century Indian composer Tyagaraja. All the kritis, as is the case with almost all of Tyagaraja's compositions, are penned in Telugu, except the first one, which is composed in Sanskrit. The songs are: "Jagadananda karaka", "Dudukugala Nanne", "Sadhinchene", "Kanakana Ruchira" and "Endaro Mahanubhavulu".
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga. It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it.
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes, etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.
A tala literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.
Damal Krishnaswamy Pattammal, popularly known as D. K. Pattammal or DKP, was an Indian Carnatic musician and a playback singer for film songs in Tamil. Pattammal, along with her contemporaries M. S. Subbulakshmi and M. L. Vasanthakumari, are popularly referred to as the female trinity of Carnatic Music. This trio initiated the entry of women into mainstream Carnatic Music. She has been appreciated all over the world by Carnatic music lovers.
The Kamalamba Navavarana Kritis by Shri Muthuswami Dikshitar (1776-1836) are some of the most famous pieces of music in the Carnatic system of Indian classical music. They are treasures which embody not only the technical brilliance of the composer but also offer a peep into the advaitic school of Hindu philosophy and elements of Tantric rituals.
Madras Lalithangi Vasanthakumari was a Carnatic musician and playback singer for film songs in many Indian languages. MLV and her contemporaries D. K. Pattammal and M. S. Subbulakshmi are popularly referred to as the female trinity of Carnatic Music. A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era, and was the youngest female to receive the Sangita Kalanidhi award. In 1967, she was honored with the Padma Bhushan, the third highest civilian award by the government of India. Her daughter, the late K.Srividya, was an actress in Tamil and Malayalam languages.
Tanam or Taanam is one of the methods of raga improvisation (manodharma) in the Carnatic classical music tradition, suited mainly for vocal, violin and veena.
In Carnatic Music, Kalpanaswaram, is melo-rhythmic raga improvisation in a specific tala. As part of swarakalpana, the musician delivers increasingly complex, improvised sequences in the Indian music solfege within or towards the end of a composition. Swarakalpana is integral to the Pallavi portion of a Ragam Thanam Pallavi and typically follows the neraval. It is also common for seasoned artists to perform swarakalpana during recitals of various other kritis.
Geetam, (Sanskrit: गीतम्; gītaṃ) the simplest music form in Carnatic music, was created by Purandara Dasa in order to introduce talas with sāhityaṃ (lyrics).
Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.
Konnakol is the art of performing percussion syllables vocally in South Indian Carnatic music. Konnakol is the spoken component of solkattu, which refers to a combination of konnakol syllables spoken while simultaneously counting the tala (meter) with the hand. It is comparable in some respects to bol in Hindustani music, but allows the composition, performance or communication of rhythms. A similar concept in Hindustani classical music is called padhant.
Pantula Rama is an Indian singer, instrumentalist, and author who performs Carnatic music. She has been performing since the age of 8. Composing music with intricate rhythms is considered her specialty. Known as Andhra's Nightingale and Golden Voice, Pantula Rama lives in Vishakhapatnam and is married to violinist MSN Murthy. She has been conferred with several national and international awards.
Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
Carnatic raga refers to ragas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.
“Kalaimamani” Gayathri Girish is a Carnatic vocalist. Her introduction to music began as a child at the age of 6 years under the guidance of her mother Padmini Srinivasan. She subsequently came under the tutelage of Vidwan Vaigal.S.Gnanaskandan and Padma Bhushan, Sangeetha Kalanidhi Madurai T.N.Seshagopalan. She is an “A-grade” artiste of All India Radio, Chennai and performs for Doordarshan and other private television channels. She specialises in lecture-sessions, thematic multi-media presentations integrating Bhakti and Carnatic Music and lecture-demonstrations. She undertook an archival project for Doordarshan - Podhigai TV titled “Azhwargalum Amudha Tamizhum” to render the Azhwar Pasurams on DD Podhigai television every week for 8 consecutive years. She also serves on the artist panel for the ICCR which is an autonomous organisation of the Government of India, involved in India's external cultural relations, through cultural exchange with other countries and their peoples.
Mudikondan Venkatarama Iyer was a South Indian Carnatic music singer and musicologist. He was also known as Mudikondan - the name of his native village.
Jana Ranjani is a raga in Carnatic music, the classical music of South India. It is a janya raga of Shankarabharanam, the 29th of the 72 melakarta ragas. The raga is named thus because it induces a feeling of enjoyment among the rasikas (audience).
