Unveiling the Pallavi, Anupallavi, and Charanam in Indian Classical Music

Indian classical music, particularly in genres like Carnatic music, features intricate structural elements that provide a framework for both repetition and elaboration. Among these are the Pallavi, Anupallavi, and Charanam. Understanding these components not only enriches one's appreciation of the music but also deepens the emotional and thematic exploration of a song.

The Structure of a Carnatic Song

Every Carnatic song has a structured framework that is typically divided into three primary segments:

Pallavi

The Pallavi is the thematic line of the song. It is usually short and repetitive, capturing the essence of the song's mood or theme. The Pallavi introduces the raga, a musical scale, and sets the tone for the piece. It often serves as a refrain that recurs throughout the song. For example, the Pallavi of a particular song might be:

Pallavi: pakkala nilabaDi golicE muccaTa bAga delpa rAdA

Anupallavi

The Anupallavi follows the Pallavi and expands on the theme melodically and lyrically. Often, it introduces a variation in the melody and provides a contrast to the Pallavi. Unlike the Pallavi, the Anupallavi may or may not be repeated after the Charanam. Here is an example of the Anupallavi:

Anupallavi: cukkala rAyani gEru mOmugala sudati sItamma saumitri rAmuni kiru

Charanam

The Charanam is the concluding section of the song. It typically features more elaborate lyrics and musical phrases, often delving deeper into the song's narrative or emotional content. The Charanam is usually longer than both the Pallavi and Anupallavi and may be repeated multiple times throughout the performance. An example of the Charanam might be:

Charanam: tanuvucE vandana monarincucunnArA canuvuna nAma kIrtana sEyucunnArA
manasuna dalaci mE maraciyunnArA nenerunci tyAgarAjunitO harihari mIriru

These components work together to create a structured yet expressive musical form, allowing for both repetition and elaboration in the performance.

Practical Application and Examples

The song you mentioned is a krithi, which contains a definitive Pallavi, Anupallavi, and Charanam. Here is how the structure of the song you provided breaks down:

Pallavi: pakkala nilabaDi golicE muccaTa bAga delpa rAdA Anupallavi: cukkala rAyani gEru mOmugala sudati sItamma saumitri rAmuni kiru Charanam:
tanuvucE vandana monarincucunnArA canuvuna nAma kIrtana sEyucunnArA
manasuna dalaci mE maraciyunnArA nenerunci tyAgarAjunitO harihari mIriru

In the rendition you posted, the Pallavi starts at 22:33, the Anupallavi starts at 23:49, and the Charanam starts at 25:45. It is a common practice to sing the Anupallavi at the start and the end of a performance, but not in between. There is no rule that the Pallavi must end in Sa; it can depend on the specific ragam and phrases being used. In this instance, the Pallavi does end in Sa.

Conclusion

The intricate structure of Indian classical music, with its Pallavi, Anupallavi, and Charanam, offers a rich and detailed musical experience. These structural elements not only define the form but also enhance the emotional and thematic content of the song. Whether you are a seasoned listener or a beginner, understanding these components can greatly enrich your appreciation of Carnatic music.