Rendering of Kritis

annapoorne · Post by **annapoorne** » 19 Jul 2007, 11:23

Kriti endarO mahAnubhAvulu
Wrong way rAmabhaktuDaina tyAga
Correct way AmabhaktuDaina tyAgarAjanutuni

I went through this exhaustive list which is very educative. Can anybody explain the above correction?

For the above krithi I have heard vidwans sing " hrdayAravinda muna joochi brahma......" where it should be "brahmAnanda"

kutty · Post by **kutty** » 19 Jul 2007, 12:46

I request the moderator to delete the duplicate posting, that had crept in by some mistake on my part, which I am unable to do. Shall be grateful if I am enlightened about the procedure for deleting unwanted posting(s) or portions I make unknowingly.

vgvindan · Post by **vgvindan** » 19 Jul 2007, 14:15

The correct method of rendering and possible sangatis of the kRti 'graha balamEmi' - rAga - rEvagupti - are as under -

Pallavi
graha balam(E)mi SrI rAm(A)nugraha balamE balamu

Anupallavi
graha balam(E)mi tejO maya vigrahamunu dhyAnincu vAriki nava(graha)

Charanam
graha pIDala panca pApamulan(A)grahamulu gala kAm(A)di ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki rasik(A)grEsulaku (graha)

Words Logical Units
Pallavi

graha
balamEmi graha balamEmi

SrI
rAmuni SrI rAmuni

anugraha
balamE
balamu anugraha balamE balamu
Sri rAmuni anugraha balamE balamu

Anupallavi

graha
balamEmi graha balamEmi
nava graha balamEmi (adding end word Anupallvi)
tEjO maya
vigrahamunu tEjO maya vigrahamunu

dhyAnincu
vAriki dhyAnincu vAriki
vigrahamunu dhyAnincu vAriki
tEjO maya vigrahamunu dhyAnincu vAriki
dhyAnincu vAriki nava graha balamEmi
tEjO maya vigrahamunu dhyAnincu vAriki graha balamEmi

nava vigrahamunu dhyAnincu vAriki nava graha balamEmi
tEjO maya vigrahamunu dhyAnincu vAriki nava graha balamEmi

Charanam

graha
pIDala graha pIDala

panca
pApamulanu panca pApamulanu

Agrahamulu
gala Agrahamulu gala

kAmAdi
ripila kAmAdi ripula

nigrahamu
jEyu nigrahamu jEyu

harini nigrahamu jEyu harini

graha pIDala nigrahamu jEyu harini
panca pApamula nigrahamu jEyu harini
kAmAdi ripula nigrahamu jEyu harini
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini
graha pIDala panca pApamula nigrahamu jEyu harini
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu harini
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini

bhajincu harini bhajincu
nigrahamu jEyu harini bhajincu
graha pIDala nigrahamu jEyu harini bhajincu
panca pApamula nigrahamu jEyu harini bhajincu
kAmAdi ripula nigrahamu jEyu harini bhajincu
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu
harini bhajincu
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu

tyAgarAjuniki harini bhajincu tyAgarAjuniki
nigrahamu jEyu harini bhajincu tyAgarAjuniki
graha pIDala nigrahamu jEyu harini bhajincu tyAgarAjuniki
panca pApamula nigrahamu jEyu harini bhajincu tyAgarAjuniki
kAmAdi ripula nigrahamu jEyu harini bhajincu tyAgarAjuniki
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
tyAgarAjuniki
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu harini
bhajincu tyAgarAjuniki
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki

rasika
agrEsarulaku rasikAgrEsarulaku
harini bhajincu rasikAgrEsarulaku
nigrahamu jEyu harini bhajincu rasikAgrEsarulaku
graha pIDala nigrahamu jEyu harini bhajincu rasikAgrEsarulaku
panca pApamula nigrahamu jEyu harini bhajincu
rasikAgrEsarulaku
kAmAdi ripula nigrahamu jEyu harini bhajincu rasikAgrEsarulaku
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
rasikAgrEsarulaku

harini bhajinu tyAgarAjuniki rasikAgrEsarulaku
nigrahamu jEyu harini bhajincu tyAgarAjuniki rasikAgrEsarulaku
graha pIDala nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku
panca pApamula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku
kAmAdi ripula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
tyAgarAjuniki rasikAgrEsarulaku
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu harini
bhajincu tyAgarAjuniki rasikAgrEsarulaku
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku

harini bhajinu tyAgarAjuniki graha balamEmi
nigrahamu jEyu harini bhajincu tyAgarAjuniki graha balamEmi
graha pIDala nigrahamu jEyu harini bhajincu tyAgarAjuniki
graha balamEmi
panca pApamula nigrahamu jEyu harini bhajincu tyAgarAjuniki
graha balamEmi
kAmAdi ripula nigrahamu jEyu harini bhajincu tyAgarAjuniki
graha balamEmi
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
tyAgarAjuniki graha balamEmi
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu
harini bhajincu tyAgarAjuniki graha balamEmi
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki graha balamEmi

harini bhajinu tyAgarAjuniki rasikAgrEsarulaku
graha balamEmi
nigrahamu jEyu harini bhajincu tyAgarAjuniki rasikAgrEsarulaku
graha balamEmi
graha pIDala nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku graha balamEmi
panca pApamula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku graha balamEmi
kAmAdi ripula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku graha balamEmi
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
tyAgarAjuniki rasikAgrEsarulaku graha balamEmi
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu
harini bhajincu tyAgarAjuniki rasikAgrEsarulaku
graha balamEmi
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku graha balamEmi

harini bhajinu tyAgarAjuniki rasikAgrEsarulaku
nava graha balamEmi
nigrahamu jEyu harini bhajincu tyAgarAjuniki rasikAgrEsarulaku
nava graha balamEmi
graha pIDala nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku navagraha balamEmi
panca pApamula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku nava graha balamEmi
kAmAdi ripula nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku nava graha balamEmi
Agrahamulu gala kAmAdi ripula nigrahamu jEyu harini bhajincu
tyAgarAjuniki rasikAgrEsarulaku nava graha balamEmi
graha pIDala panca pApamula kAmAdi ripula nigrahamu jEyu
harini bhajincu tyAgarAjuniki rasikAgrEsarulaku
nava graha balamEmi
graha pIDala panca pApamula Agrahamulu gala kAmAdi ripula
nigrahamu jEyu harini bhajincu tyAgarAjuniki
rasikAgrEsarulaku nava graha balamEmi

nava graha balamEmi zrI rAmuni anugraha balamE balamu
harini bhajincu vAriki anugraha balamE balamu
harini bhajincu vAriki zrI rAmuni anugraha balamE balamu
harini bhajincu vAriki nava graha balamEmi zrI rAmuni
anugraha balamE balamu

zrI rAmuni anugraha balamE balamu (conclude)

kutty · Post by **kutty** » 19 Jul 2007, 15:28

annapoorne

For the above krithi I have heard vidwans sing " hrdayAravinda muna joochi brahma......" where it should be "brahmAnanda"

As already pointed out, because vidhwans sing a particular phrase in a wrong way, it does not become a correct rendition. Unfortunately many of our vidhwans lack clarity and diction; are ignorant and casual. Seniors no exception. I have always been opposing rendering a krithi for the sake of tALam instead of using tALam for the sake of kriti. If you have a good voice and sing in such away as to control the kriti without spoiling its meaning and beauty and at the same time keeping the rhythm in mind, it is quite possible to render the above line as "hrdayAravindamuna cUSi brahmA....nandamanu bhavincu" just giving a small pause after 'brahmA' instead of stopping at that place and repeating 'Aravindamuna...'. We need a lot of changes in certain areas of Carnatic sangeetham if at all we want it to spread its wings. I am planning to write on this later, which I am sure, may invite a lot of brick bats instead of constructive criticisms and ideas.

arunk · Post by **arunk** » 19 Jul 2007, 21:44

Great article kutty. Thanks!!!!

kutty wrote:IKriti sItamma mAyamma
Wrong way dhAta bhara..tAdulusO...darulu
Correct way dhAta bharatAdulu sOdarulu

Kriti sItamma mAyamma
Wrong way paramEshava, shISThaparA, sharanArada
Correct way paramEsha, vashiSTha, parAshara, nArada

I was indeed taught the right way for both as my teacher told me the words and it was also obvious on contemplation. However I would like to clarify the first example - bhara....tAdulusO...darulu.

In many pathantras melodically the "sO" is stretched (1 akshara), and then da-ru-lu (1/2 akshara each). So even if you sing sOdarulu with one continuous intonation the melody is such that one could perceive "darulu" being emphasized too much and that perceive a word split when it is not there (even if you pause before sO). I do not think people intend to split here. In our CM genre, where in continuity melody and notes are very important (unlike western where breaks are abound), one shouldnt always try to expect words to come out like it is spoken. So unless people sing as sO...... , darulu (i.e. take a breath before darulu), I think it is ok to certain extent. But this is a gray area which I have raised in the Sangatis in Krithis thread also.

In sItamma mAyamma caraNam there is one more example
surapati gautama lam..bO.....dara guhasana

In the version I learned bO is stretched and dara guhasana is shorter (all 1/2 akshara). Obviously one shouldnt pause before dara. But I think ideally one should pause a tad after dara so that it doesnt sound like "daraguha". I my version melodically there is no pause, and so the pause I try to give is a fraction of akshara (may be 1/4th).

Kriti kaNTa cUDumi (not jUDumI)

I may be mistaken but I thought pronouncing ca (at beginning of words) as to ja/tsa is acceptable and is done by Telugu folks. I think it is even mentioned in the telugu grammar book (Brown)?

Arun

kutty · Post by **kutty** » 19 Jul 2007, 22:38

Yes Arun, one can always break a word for the sake of beauty or emphasis or even tALam but without a long pause and without leaving the remaining part abruptly. That way we can definitely sing as 'vAraNA....syam varapradam' instead of 'vAraNA' and with a long pause 'syam vara' and then again with a pause and ending 'pradam.' The main aim is to express the meaning of the word in a proper and beautiful manner. As I said in one of my postings it is proper to say salilam+kamalam+jalam but worst to say salilamka+malam+jalam or cukku+miLagu+tippili instead of cukkumi+Laguti+pili.

By the way I do not know Telugu much. Someone having it as mother tongue can clarify whether it is better to say cUDumi in place of jUDumi. I think this is permissible.

shishya · Post by **shishya** » 19 Jul 2007, 22:41

kanTajUDumI is very much acceptable.

vgvindan · Post by **vgvindan** » 20 Jul 2007, 00:13

These short pauses are called 'isai aLabeDai' இசை அளபெடை in Tamil. In tamil, there is a provision for inserting additional vowels for keeping metre in poetry. This is called 'aLabeDai' அளபெடை.

Those who know Tamil may view the web page for complete information on the subject of இசை அளபெடை

http://www.tamilnation.org/literature/p ... /mp263.htm

vgvindan · Post by **vgvindan** » 21 Jul 2007, 18:00

I would add the following kRti also to the list posted by 'kutty'

kRti 'evarani nirNayincirirA' - dEvAmRta varShiNi. (Anupallavi)
correct method - SivuDanO mAdhavuDanO
Wrong method - SivuDanO mA...dhavuDanO

kmrasika · Post by **kmrasika** » 21 Jul 2007, 20:08

Question:
Is it pAliMcu kAmAkshi pAvani or
pAlintsu kAmAkshi pAvani or
pAlinjcu kAmAkshi pAvani or
It seems to me all three mean the same (or not)?

vgvindan · Post by **vgvindan** » 21 Jul 2007, 20:43

spelling - pAlincu - 'n' used in place of J
pronunciation - pAlintsu;
telugu written version - pAliMcu - 'M' is sunna.

palincu (p. 0751) [ pāliÃ±cu ] palintsu. [Skt.] v. a. To nourish, cherish, foster, protect. To rule, govern. posincu, raksincu, elu, kapadu

kutty · Post by **kutty** » 21 Jul 2007, 23:24

vgvindan

I would add the following kRti also to the list posted by 'kutty'

kRti 'evarani nirNayincirirA' - dEvAmRta varShiNi. (Anupallavi)
correct method - SivuDanO mAdhavuDanO
Wrong method - SivuDanO mA...dhavuDanO

Even persons like SG Kittappa used to sing 'evarani.. ni.....rNA.......yincirirA
nin..nE....TlA......rA...........dhincirirA naravaru.............."

vgvindan · Post by **vgvindan** » 02 Aug 2007, 22:35

I was just hearing (in WS) a senior (late) artist singing 'nidhi cAla sukhamA'.

He starts as - nidhi cAlA sukhamA
repeats twice - nidhi cAla sukhamA rAmuni san-nidhi cAla sukhamA
then renders - nidhi cAla sukhamA rAmuni sannidhi sEva sukhamA

The correct rendering is -

nidhi cAla sukhamA
rAmuni sannidhi sEva sukhamA

One should not join the first line to the second line at 'san-nidhi' and create a sangati as done here.

The thrust of the kRti is 'O my mind! does welath give comfort or the service at the sannidhi of rAma'? The second line sangati - quoted above, trivialises the kRti.

arunk · Post by **arunk** » 02 Aug 2007, 22:53

vgv,

your post on this came at the most appropriate time. A few days ago I was listening to nadatanum aniSam, where the anupallavi goes as: mOdakara nigamOttama sAmavEdasAram vAram vAram. But the prAsa and the tALA split is shown with the vertical bar below:

mOdakara nigamOttama sAma|vEdasAram vAram vAram

i.e. Sama-vEda straddles the boundary. The rendition I heard simply repeated mOdakara nigamOttama sAma with some sangatis and seemed odd lyrically (but musically it was fine

). I don't know if "Sama mOdakara" makes any sense. But in CM when you sing it is very common to repeat a line or one iteration of tala particularly in pallavi and anupallavi part. But here the way it is constructed, I think the "two tala cycles" I think were intended go as one group. So I think in such cases we can perhaps safely wager that some of these sangatis were later additions?

The underlying curious thing for me is that tyAgarAja (and maybe other composers too) has used a compound word to straddle the prAsa boundary (vEda vs. mOda here). In nAdalOluDai also this occurs in anupallavi: swAdu phala prada sapta|swara rAga nicaya sahita

It is an interesting usage. I don't know how common this is for composers i.e. to straddle a compound-word across two angas of a statement/phrase and meet prAsa rules.

Arun

ramakriya · Post by **ramakriya** » 02 Aug 2007, 23:03

arunk wrote:also this occurs in anupallavi: swAdu phala prada sapta|swara rAga nicaya sahita

It is an interesting usage. I don't know how common this is for composers i.e. to straddle a compound-word across two angas of a statement/phrase and meet prAsa rules.

Arun

I think this is a fairly common occurence - Seen plenty such instances in dEvaranAmas, but can't recall even one now

-Ramakriya

arunk · Post by **arunk** » 03 Aug 2007, 02:01

.

Actually in the case of nidhi cAla, the word "san|nidhi" is not even compound (right?). A split makes even less sense. This is of course case as the other famous, hotly contested one: tripurasun|dari

(ironic i should bring this up!).

Arun

Sangeet Rasik · Post by **Sangeet Rasik** » 03 Aug 2007, 04:21

arunk wrote:It is an interesting usage. I don't know how common this is for composers i.e. to straddle a compound-word across two angas of a statement/phrase and meet prAsa rules.

Depends on the composer. This is a well-known characteristic of MD compositions. Even his most "textbook" compositions such as vatapiganapatim have this device.

purAkumbhasambhavamunivarapra-|pUjitam trikONamadhyagatam ||

The more complex the poetry and the longer the compound words, the more likely this occurrence unless one uses long talas.

SR

arunk · Post by **arunk** » 03 Aug 2007, 19:36

thanks sr

Ahiri · Post by **Ahiri** » 03 Aug 2007, 21:25

This thread is very helpful for correct rendition.Thank you all.

I would like to add -

Krithi : para lOka sAdhanamE manasA

Wrong way of singing : tanayAdi bAndhavula prEmacE (love)

Correct lines :tanayAdi bAndhavula bhramacE (an illusion - bhramai)

thanks

vgvindan · Post by **vgvindan** » 03 Aug 2007, 21:34

purAkumbhasambhavamunivarapra-|pUjitam trikONamadhyagatam ||

purA
kumbha sambhava
muni vara
prapUjitaM
trikONa
madhyagataM

SR
What is wrong in breaking the long line in the above manner?
Will someone please comment whether it is correct to break as 'pra--pUjitaM'.

vgvindan · Post by **vgvindan** » 03 Aug 2007, 21:37

Ahiri,
There is one more aspect to it - It is sung as bAn---dhaula - not only splitting a single word but also pronouncing as dhaula instead of bAndhavula.

Sangeet Rasik · Post by **Sangeet Rasik** » 03 Aug 2007, 22:40

vgvindan wrote:SR
What is wrong in breaking the long line in the above manner?
In fact, it is wrong to break as 'pra--pUjitaM'.

VGV,

Firstly, one can break the compound word into its constituents for the purpose of singing, but in the grammatical sense it is a single word: "purAkumbhasambhavamunivaraprapUjitam".

It is not at all wrong to break it as pra-|-pUjitam. This seems the correct and most appropriate distribution. The vast majority of MD's compositions have "yati" in addition to "prAsa".

Yati is essentially a form of punctuation which separates the two lines by rhyming the first syllable of each line. There are certain rules for rhyming, for now it is sufficient to say that purA- and pUji- have good yati (pu- and pU-).

If one wants to break as munivara- |- prapUjitam then the yati on purA- and pra- is still acceptable (both begin with 'p-') but not as good as the previous option.

Thus the first option seems better and is the one practised by almost all musicians as far as I know, for good reason. Note that in both cases the compound word is split between lines, so in that sense one is not "better" than the other. Such word- splitting to fit the prosody and tala is not considered a defect in music. As I mentioned, MD's compositions have fine poetry with long compound words. Unless one is fitting the music to long talas like dhruva and matya, such word-splitting between the tala cycles is sometimes required.

There are some MD compositions which don't stick to prosody rules (of which some are accepted as being spurious and inserted by a later composer, and some are still attributed to MD). But "vatapi-" is a "textbook" composition of MD. It is scholarly and conservative, and has no "gimmicks" or "tricks". It is a 100% Made By Dikshitar product

including the raga which was invented by MD's father. Unfortunately some persons have tampered with this composition over the years. Some people have inserted more than a dozen sangatis on the first line of the composition. Also there is some confusion in the sahitya of the last madhyamakala line in the charanam.

One is allowed to skip yati if one does not want it (many well-known composers skip it), but prAsa is more important if one wants to follow the traditional guidelines to at least a minimum extent.

SR

vgvindan · Post by **vgvindan** » 03 Aug 2007, 23:02

SR,
Thanks for your explanation

Such word- splitting to fit the prosody and tala is not considered a defect in music.

I hope that the situations where words are split are similar to 'pra -- pUjitam' where both 'prapUjitam' and 'pUjitam' do not seem change the meaning.

However, what about a theoretical situation like 'pUji -- tam' - or 'pU -- jitam'? Is word splitting permissible in such situations also?

Sangeet Rasik · Post by **Sangeet Rasik** » 03 Aug 2007, 23:17

VGV,

There is nothing to "hope" about it. As I already mentioned, splitting the word between the tala cycles does not have any negative impact whatsoever on the meaning (whether split as pra-pujitam or vara-prapujitam. The word is still a single compound word and should be understood in that sense. All lines containing split words should be sung together and that is all that one needs to worry about.

There is also no requirement nor aesthetic advantage that the two parts of the split word should have some independent meaning, because the only meaning that matters is that of the compound word as a whole. Please see below.

If you want a fine example of a "genuine" MD composition that has only prAsa but lacks yati, and also has all the word-splitting types you are interested in, it is "sadASivam upAsmahE" in SankarAbharaNam. Melodically, it is one of his best Sankarabharanam krtis and brings out the "king of ragas" in all its shades. In this krti he splits the compound words in different ways (this time to fit the prAsa, not the yati).

Also check the very first page of the "Compositions on Contemporary Themes" thread. My composition "dhIrAmbAnIm smararE" in saurAshtra has detailed exploration of this concept in the charanam. Several compound words were composed, which contain the prAsa syllables in different locations. It can be refined to something of an art in itself and throws up some interesting possibilities. MD reveled in it, and I certainly enjoy it as well.

SR

vgvindan · Post by **vgvindan** » 03 Aug 2007, 23:34

All lines containing split words should be sung together and that is all that one needs to worry about.

The thread 'Rendering of kritis' is replete with examples of violation of this basic premise of keeping the words together so that the meaning of the kRti is not altered.

Sangeet Rasik · Post by **Sangeet Rasik** » 03 Aug 2007, 23:50

vgvindan wrote:The thread 'Rendering of kritis' is replete with examples of violation of this basic premise of keeping the words together so that the meaning of the kRti is not altered.

Correct, I agree.

To elaborate on sadASivam upAsmahE - the anupallavi contains a complex compound word: "nidAghadattAtrEyakapilavAmadEvavyAsaSukAdivanditapadAmbhOjayugaLam". The construction of this word is evocative in the poetic sense but also brilliant in the musical sense. Note how the prAsa is integrated into this compound word and fits with the rest of the anupallavi.

nidAghadattAtrEyakapilavA-|-madEvavyAsaSukAdivandita-||
padAmbhOjayugaLam varAbhaya-|-pradAnakuSalam bhaktavatsalam ||

Some musicians split it as kapila-|-vAma which is incorrect.

SR