PALLAVI: STRUCTURE AND EXPOSITION

Dr. Sunil V T

Pallavi may be considered as the most important branch of creative

music. It is in this branch of Manodharma Sangita that the musician has ample
opportunities of displaying his creative talents, imaginative skills, artistic sense
and musical intelligence.

Though the art of Pallavi exposition is hinted at in a vague manner in the

Sangita Ratnakara of Sarangadeva, yet it did not attain its full development until
the eighteenth century. The Pallavi is the largest item in a south Indian concert.
Raga Alapana is un-measured music, while Pallavi is measured music. Eminent
musicians and composers in the past have distinguished themselves as great
performers of Pallavi.

The term Pallavi is construed (interpreted) as made up of the initial

syllables of the three words: - Padam=words, layam=time and
Vinyasam=variations. (Pa + la + vi giving rise to Pallavi). The words of a
Pallavi may be either on a sacred or secular theme and can be in any language.
Pallavis in Manipravala Sahitya also exist.

Prathamanga and Dvitiyanga are the two parts of a Pallavi and the
dividing point is called Pada Garbham or Arudi. At this point, there is a period
of rest or Visranti. In an adi tala Pallavi, the Pada Garbham coincides with the
first Drutam. The two parts may be equal or unequal length.

The Pallavi provides intellectual pleasure and aesthetic joy. A musician

may show his talents by handling some well-known classical Pallavi in an
artistic manner. Maha Vaidyanatha Iyer and Pattanam Subrahmanya Iyer have
earned for themselves fame by composing pallavis in difficult talas like
Simhanandana tala, Sarabhanandana tala etc.
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RETTAI PALLAVI

Pallavis involving gati bheda and pallavis in more kaalas are more
complex. Rettai Pallavi (double Pallavi) is an interesting variety and is unique
by them. The whole Pallavi in this case consists of two independent pallavis
with independent Padagarbham. The first Pallavi naturally suggests and leads on
to the second. Both of them admit of independent treatment.

EXPOSITION

The starting point or Eduppu of a Pallavi may be same, Atita or Angata.

Before singing Pallavi, there may be Raga Alapana and Tanam singing. After
singing these, Pallavi is sung two or three times. In the next stage the Pallavi is
presented with its Sangatis. Then execute the Anuloma and Pratiloma of the
Pallavi.

ANULOMA AND PRATILOMA

Anuloma consists in keeping the tala constant and singing the Pallavi in
various speeds. Pratiloma consists in keeping the speed of singing constant but
reckoning the tala with the hand at double or quadruple speeds. As a
consequence the tala will be reckoned twice and four times respectively within
the space of the original period of duration.

A high degree of Laya Jnanam is required to perform the Anuloma and

Pratiloma of a Pallavi. Anuloma and Pratiloma and also the rendering of
shatkala (six degree of speed) are possibilities only in Chouka kala pallavis. In
instrumental music, Anuloma is possible but not Pratiloma. Both the hands of
the performer will be occupied in playing the instruments and hence the
reckoning of the tala in various speeds cannot be shown as such. In Anuloma
and Pratiloma, it is the fundamental theme of the Pallavi that is sung and any of
its Sangatis.

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E.g. Pallavis in different kalais

One kala Choukam - Kamalambike - Kalyani -

Adi

Two kalai Choukam - Murukane - Sankarabharanam -

khanta Triputa

Four kalai Choukam - Sree Rama - Bhairavi - Khanta

Triputa

TISRAM

Where pallavis admitting of Tisram manipulation are chosen, the Pallavi

is rendered in this new rhythmical garb (appearance).

After singing Anuloma and Pratiloma and Tisram, Niraval is performed.

Niraval is literally filling up portions of the Pallavi theme with fresh and
appropriate music. Niravals gradually tend to become variation on the various
themes. After the five stages of exposition mentioned above, Kalpana Svaras for
the Pallavi theme is performed. Extempore Svaras coloured with jati bhedas and
Nada bhedas are also taken up. It is usual to conclude with an emphatic and
ornamental finish like Makuta Svaras. Concluding with a Makutam is not
obligatory. Extempore Svaras in different ragas are also attempted by some
musicians.

From the point of view of musical construction, pallavis may be classified into:-

1. Chouka kala pallavis (in slow tempo)

2. Madhyama kala pallavis (in medium tempo)
3. Shatkala pallavis
4. Rettai pallavis
5. Dvitala pallavis
Nada pallavi (adi talam)
Tisra nadai chaturasra nadai
Konchi konchi vaa mayi / le kuyile kooki/ lame
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 Pallavi in Dharmavati- khanta triputa

Paalimsu bengaaru kaamaa / kshi 6 bhagavati gunavati dharma / vati

Misrachappu 8 Talli

Venkata rama/na 8 sankata hara/naTirupati