Okapari Kokapari
Ragam: Kharaharapriya
(22th Melakartha)
ARO:
AVA:
Talam: Adi
Composer: Annamacharya
Version: Ram
Kaushik (Orig: Nedanuri Krishnamurthy)
Lyrics Courtesy: Rani (www.karnatik.com)
Link: http://www.karnatik.com/c1567.shtml
Pallavi:
okapari kokapari
oiyaaramai
mokamuna kaLalella molicinaTluNDE (oka)
CaraNam 1
jagadEkapati mEna
jallina kaTpoora dooLi
jigigoni naDuvanga cindagaanu
mogi candramugi uramuna nilipEgaana
pogaru vennela deega pOsinaTliNDE (oka)
caraNam 2
meRaya shree
venkaTEsu mEna singaaramugaanu
sarasaina sommulu dhariyimcagaa
meruputoTi alamElu mangayu daanu
merupu mEghamukooDi merasinaTluNDE (oka)
Meaning:
In this song, Annamaacaarya praises the beauty and charm of Lord VenkaTEshwara.
When the Lord walks gracefully, the camphor on his body sprinkles and as the
goddess sits on his lap it seems as if he is covered by moonlight. The
glittering ornaments worn by the Lord join the charisma of the goddess and seem
like a lightning joins hands with the glitter and charisma.
Meaning (word-word): Adapted from Tenneti Rao’s
Blog:
Time and again (“okapari- kokapari”), when the Lord is gracefully
(“oyyaaramai”) walking, it seems that in his face (“mogamuna”), many beautiful
rays (“kaLalenni”) have sprouted (“molaci”) and existed thus (“natlunde”).
okapari = once; kokapari = a different time; oyyaaramai = with grace, gracefully;
mogamuna = on the face; kaLalenni = many a ray, many beauties (cf. moon has sixteen distinct phases of beauty, sixteen degrees of beauty); molaci = as if sprouted; natlunde = exist thus;
When the Lord of the world (“jagadEka-pati”) walks gracefully, the
camphor dust (“karpuura-dhuLi”) on
his body (“mEna”) sprinkles (“callina”)
and spreads sparkling light (“jigigona”)
on all four directions (“naluvanka”). As
the goddess AlameluManga with the moon-like face (“mogi candramukhi”) sits on his chest (“uramuna gaana”) it seems
(“natlunde”) as if his body is
brimming (“pogaru”) and drenched
(“digabOsi”) with moonlight (“vennela”).
jagadEka = the only one in (for) the world; pati = husband, ruler; mEna = on body; callina = sprinkled, showered; karpuura = camphor; dhuLi = dust, fine grains;
jigigona = shining, sparkling with light; naluvanka = on all four sides; cindagaanu = spread all around;
mogi = complete, total, encompass, attempt, determined; candramukhi = moon like face; uramuna = in the chest; nilicE = exist, occur, dwell, be extant, be latent; gaana = it’s so, because; pogaru = proud, bubbling, brimming over; vennela = moonlight; digabOsi = spreading downwards, drenched in a water fall, downpour; natlunde = it is like that;
The glittering (“meraya”) ornaments (“simgaaramugaanu”) worn (“dhariyincaga”)
on the body (“mEna”) of the Lord
Venkateshwara and his plentiful (“tarachaina”) wealth (“sommulu”) join (“kuuDi”)
the charisma of the beautiful goddess (“boNi”) Alamelu Manga, and seem like
(“nattunDe”), the Goddess (“taanu”) as lightning (“merupu”) joining hands with
the glitter and making the his dark cloud (“mEghamu”) like form instantly
bright (“merasi”).
meraya = shining; Sri Venkatesu = Lord
Venkateswara(‘s), the Lord of Seven Hills, who is always willing to remove
hardships in life; mEna = on the (His) body; simgaaramugaanu = as an ornament, as
decorations; tarachaina = plentiful, in abundance; sommulu = monies, wealth,
goods, jewels; dhariyincaga = (having) worn; merugu = glittering; bONi
= beautiful lady; alamElu mangaya = Alamelumanga, consort of Lord Venkatesa; taanu
= herself; merupu = lightning; mEghamu = cloud; kuuDi
= coupled with, together; merasi = shone, suddenly became
bright like a lightning; nattunDe = it is so!
Pallavi:
okapari kokapari
oiyaaramai
mokamuna kaLalella molicinaTluNDE (oka)
Time and again (“okapari- kokapari”), when the Lord is gracefully
(“oyyaaramai”) walking, it seems ..
; dn , d P M,g
p m , gR, gS, | R g – m ;
M P ; ; ; ||
Oka pari ko
– ka- pa-
ri- oi -
yaa - ra mai - -
; dn , d P M,g
p m , gR, gS, | R g – m ;
M P ; D ; ||
Oka pari ko
– ka- pa-
ri- oi -
yaa - ra mai - -
N- dns ,- nd P M,g p m , gR,
gS, | R g – m ; M P ; D ; ||
- Oka -
pari ko – ka- pa-
ri- oi -
yaa - ra mai - -
N- dnr s- nd P M,g pmmg , mG,
rS, | R g – m ; M P
; D ; ||
- Oka -
pari ko – ka- - pa-
ri- oi - yaa
- ra mai - -
N- nr s- nd P M,g
pmmg , mG, rS, | R g – n ;
D P ; ; ; ||
- Oka -
pari ko – ka- - pa-
ri- oi -
yaa - ra mai - -
; dn , d P M,g
p m ,
gR, gS, | rg – mp
d sn D P ; ;
; ||
Oka pari ko
– ka- pa-
ri- oi - yaa
- - ra mai - -
… that in his face (“mogamuna”), many
beautiful rays (“kaLalenni”) have sprouted (“molaci”) and existed thus
(“natlunde”).
; d
n , p D nS – s ;
S | sd N – n
d p M G R g m P ||
Moka -
muna kaLa le - lla mo li ci - -
na TluN- DE --
; dn , d P mp Dnd p- gR
gS | rg – mp
d sn D P ; ;
; ||
Oka
pari ko – ka- -
pa- ri- oi -
yaa - - ra mai - -
; d
n , p D g R – s ;
S | sd N – n
d p M dpmg rs – rg ||
Moka -
muna kaLa le - lla mo li ci - -
na TluN- --
DE
mp- dnrs , nd P mp
Dnd p- gR gS
| r G – n
; D P ; ; ; ||
- - Oka pa-ri ko
– ka- -
pa- ri- oi -
yaa - ra mai - -
; d n ,
p D g R – s ; S | sd N – n
d p M dpmg rs – rg ||
Moka - muna kaLa le - lla mo li ci - -
na TluN- --
DE
mp- dnrs , nd P mp
Dnd p- gR gS |
r G – n ; D ; ; ; ; ||
- - Oka pa-ri ko
– ka- -
pa- ri- oi -
yaa - ra - - -
-
; nd pm – pd , p ; ; ; | ;
; ; ; ; ; ; ; ||
mai - - - - -
- - - - - -- - - -
-
CaraNam 1
jagadEkapati mEna jallina kaTpoora
dooLi
jigigoni naDuvanga cindagaanu
mogi candramugi uramuna nilipEgaana
pogaru vennela deega pOsinaTliNDE (oka)
When the Lord of the world (“jagadEka-pati”) walks gracefully, the
camphor dust (“karpuura-dhuLi”) on
his body (“mEna”) sprinkles (“callina”)
…
; nd , P , M – gp , mgG
, | R- gR, , g M M –
P , p P ||
Jaga -dE ka pati - mE - - na jal- - lina kaT
poo - ra doo
D- nd , P , M – gp , mgG
, | R- gR, , g M M –
P , p Pdp
||
Li
Jaga -dE ka
pati - mE - - na jal- - lina kaT
poo - ra doo
D- nd , pmM , M – gmP
, mgG , | rs - gR, , g
M M – P ,
p Pdp ||
Li
Jaga -dE ka -- pa-ti - mE - -
na jal- - lina kaT
poo - ra doo
D- nd , pmM , M – gmP
, mgG , | rs - gR, , g M
M – pd sn d P ||
Li
Jaga -dE ka -- pa-ti
- mE - - na jal- - lina
kaT poo -
ra doo
… and spreads sparkling light (“jigigona”)
on all four directions (“naluvanka”).
; pd , nD d P – mg
R S |
r g M n
n d p mp M P
; ||
Jigi
goni naDu van-- ga cinda gaa nu
- - - - - - - -
-
; pd , nD d P – mg
R S |
r g M n
d pdS n d P
; ; ||
Jigi
goni naDu van-- ga cinda gaa nu
- - - - - - - -
-
; rg , mP d N – dp
M P | M P D N N S ;
; ||
Jigi
goni naDu van-- ga cinda gaa
nu - -
-
As the goddess AlameluManga with the moon-like face (“mogi candramukhi”)
…
s S - n ; D,n S S ; ; | ; ; ;
; ; ; SR ||
mogi can - dra- mugi - - - - -
- - - - -
gR - sn N-
D,n S S ; ; | ; ; ;
; ; ; S R ||
mogi can - dra-
mugi - - - - -
- - - - -
... sits on his chest (“uramuna nilipE gaana”)
…
gR - sn N-
D,n S S , s N | G , r ;
R gmgr g r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
gR - sn N-
D,n S S , s N
|
G , r ; R gmgr g
r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
gR - sn N-
D,n rn S , s N | G , r ;
R gmgr g r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
gR - sn N-
D,n rn S , s N | G , r ;
R gmgr g r S ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
..it seems (“natlunde”) as if his body is brimming (“pogaru”) and drenched (“digabOsi”) with moonlight (“vennela”).
d n R ;
N S,n nr s- , n D | pd n-
n d p – M G R gm
P ||
pogaru - ven ne- la- - dee ga
pO - si - - na TliN
DE- -
d n R ; N S,n nr s-
, n D | pd n- n d p – M dpmg rs-rg || mp
pogaru - ven ne- la- - dee ga pO - si - - na TliN
- - DE- - - (oka)
; dn , d P mp Dnd p- gR
gS | rg – mp
d sn D P ; ;
; ||
Oka pari ko
– ka- -
pa- ri- oi -
yaa - - ra mai - -
; d n ,
p D g R – s ; S | sd N – n
d p M dpmg rs – rg ||
Moka - muna kaLa le - lla mo li ci - -
na TluN- --
DE
mp- dnrs , nd P mp
Dnd p- gR gS |
r G – m ; M ; P ; ; ||
- - Oka pa-ri ko
– ka- -
pa- ri- oi -
yaa - ra - mai - -
caraNam 2
meRaya shree venkaTEsu mEna
singaaramugaanu
sarasaina sommulu dhariyimcagaa meruputoTi
alamElu mangayu daanu
merupu mEghamukooDi merasinaTluNDE (oka)
The glittering (“meraya”) ornaments (“simgaaramugaanu”) worn
(“dhariyincaga”) on the body (“mEna”) of the Lord Venkateshwara …
; n
d , P , M –
g p , mgG , | R ; ; ; ; ; ; rg ||
meRa -ya -
shree venka- TE - - su - -
- - - - - -
mp- n d ,
P , M,r – gm
p -mgG , | R ; ; ; ;
; ; rs ||
-
- meRa
-ya - shree venka- - TE - - su - -
- - - - - -
mp- n d ,
P , M – gp
, -mgG , | rs- gRg ; M M
– P p p
P ||
- -
meRa -ya - shree venka- - TE - - su mE -
- na
sin
gaa ramugaa
D - n d , P , M– gp , -mgG , | rs- gRg ; M M – P
p p Pdp
||
nu - meRa -ya - shree venka- - TE - - su mE -
- na sin
gaa ramugaa
D- n
d , pmM , M
– gmP , mgG , | rs- gRg ; M M
– P p p Pdp
||
nu - meRa -ya - shree
venka- TE - - su mE -
- na sin
gaa ramugaa
…and his plentiful (“tarachaina”) wealth (“sommulu”) …
; rg , mP d N – dp M P
| ; mp , D , N
S ; ; ||
Sara -saina
som-
mu - lu - dhari yim ca gaa
; rg , mP d N – dp M P
| ; mp , D , N
S ; nrS ||
Sara -saina
som-
mu - lu - dhari yim ca gaa
sp-rg , mP d
N – dp M P | m P -d
; N S ; ;
; ||
- - Sara -saina
som-
mu - lu dhari yim
ca gaa
…join (“kuuDi”) the charisma
of the beautiful goddess (“boNi”) Alamelu Manga, and seem like (“nattunDe”),
the Goddess (“taanu”) …
… as lightning (“merupu”) joining hands with
the glitter and making the his dark cloud (“mEghamu”) like form instantly
bright (“merasi”).
s S - n ; D,n S ;
; ; | ; ; ;
; ; ; SR ||
meru pu -
to- Ti - - -
- - - - - - - -
s S - n ; D,n S ;
, s N | G , r ; R gmgr g r s r ||
meru pu -
to- Ti - - alar mElu -
man ga-yu- daa-nu-
gR - sn N-
D,n S ; , s N | G , r ;
R gmgr g r sr ||
meru pu - to-
Ti - - alar mElu -
man ga-yu- daa-nu-
gR - sn N-
D,n rn S , s N |
G , r ; R gmgr g
r sr ||
meru pu - to-
Ti - - alar mElu -
man ga-yu- daa-nu-
… and seem like (“nattunDe”), the Goddess
(“taanu”) …
… as lightning (“merupu”) joining hands with
the glitter and making the his dark cloud (“mEghamu”) like form instantly
bright (“merasi”).
d n
R ; N S,n nr s-
, n D | p d n- n d p – M G R gm P ||
merupu - mE
gha- mu- - kooDi me-ra si - -
na TluN- DE- -
d n gR, ;
N S,n nr s- , n D | pd n-
n d p – M dpmg rs-rg ||
mp
merupu - mE gha- mu- - kooDi
me-ra si - -
na TluN- DE- - - -
(oka)
; dn , d P mp Dnd p- gR gS |
rg – mp d sn D P ; ; ; ||
Oka pari ko
– ka- -
pa- ri- oi -
yaa - - ra mai - -
; d n ,
p D g R – s ; S | sd N – n
d p M dpmg rs – rg ||
Moka - muna kaLa le - lla mo li ci - -
na TluN- --
DE
; dn , d P mg pmmg mG, rS, | R
g – m ; M P ; ;
; ||
Oka pari ko
– ka- - pa-
ri- oi - yaa
- - ra mai - -
; dn , d P M
gpM mG, rS, |
R g – n ; D P ; mgrs ||
Oka pari ko
– ka- -
pa- ri- oi -
yaa - - ra mai - -
R g – m ; M P
; mgrs | R g – n ; D ;
; ; ; ||
oi - yaa -
ra mai - - - oi
- yaa - ra - - -
-
; nd pm – pd ,
p ; ; ; |
; ; ; ; ; ; ; ; ||
- mai - -
- - -
- - - - - -- - - -
-
[Technical
commentary]
Pallavi:
okapari kokapari oiyaaramai mokamuna kaLalella
molicinaTluNDE (oka)
Time and again
(“okapari- kokapari”), when the Lord is gracefully (“oyyaaramai”) walking, it seems ..
; dn ,
d P M,g p m , gR, gS, | R g – m ;
M P ; ; ; ||
Oka
pari ko – ka- pa-
ri- oi -
yaa - ra mai - -
Comments: This is an unusual
beginning for a kharaharapriya krithi – starting from the D area and with
nyaasa (resting) at P, S and M. Nice dheergam at P. In a couple of quick moves the whole
arohana/avarohana is covered, but starting at D and ending at P. The phrases
“dndp”, “mgpm” which interconnect the resting notes provide a new aesthetic
base for sangatis. Note how the janta at M (oiyaara) adds to the weight of the
subsequent P.
Compare this kharaharapriya
with other tyagaraja krithis (eg: Chakkaniraja, Ramaneesamana, Rama Nee yeda
which start at R or S). Krithis closer to this emphasis are “Jaanakipate”
(Papanasam sivan) or “Pakkala Nilabadi” (pallavi
only).
Tala/Laya: Eduppu at ½ beat (i.e. 2 aksharas).The laya proceeds as 2-6-4-4 |
6-2-4-4 || The 6s amidst the 4s add variety and odd counts in the progression:
each of the 6s is broken into two 3s (dN-dP and Rg-M, ).
The overall idea is to mix 2-6s with 4-4 to fill up lengths of 8 and come back
to samam every second beat. The 2-6 structure is also a convenient way to accommodate
the eduppu at ½ beat.
; dn , d P M,g p m , gR, gS, | R g – m
; M P ; D ; ||
Oka pari ko – ka- pa-
ri- oi -
yaa - ra mai - -
N- dns ,-
nd P M,g p m , gR, gS, | R g – m ;
M P ; D ; ||
- Oka - pari ko
– ka- pa-
ri- oi -
yaa - ra mai - -
Comments: The “P; ;; ;” in the end of the line is developed into “P; D; N”.
This reinforces the focus on the small anuswara gamakas around M, D and N
(rather than the big gamakas characteristic of kharaharapriya at G and N). Notice
also the final connecting note to reach “okapari” is “N” instead of “P”. The
gamaka for N is therefore the small oscillation – to allow the next note to be
D.
N- dnr s- nd
P M,g pmmg , mG, rS, | R g – m ;
M P ; D ; ||
- Oka - pari ko
– ka- -
pa- ri- oi -
yaa - ra mai - -
Comments: The initial part of
the line is developed here. Move up from DN to dnS and ravva usage “pmmg.” Note
that these developments also show new gamakas at G while keeping its role
subdued as the song moves between M and S or between R and M.
N- nr s- nd
P M,g pmmg , mG, rS, | R g – n ;
D P ; ; ; ||
- Oka - pari ko
– ka- -
pa- ri- oi -
yaa - ra mai - -
; dn ,
d P M,g p m , gR,
gS, | rg – mp
d sn D P ; ;
; ||
Oka
pari ko – ka- pa-
ri- oi - yaa
- - ra mai - -
Comments: The second half is
developed from “rgMM P;””rg NDP;” and “rgmpdNDP” characteristic raga phrases.
… that in his face (“mogamuna”), many beautiful rays
(“kaLalenni”) have sprouted (“molaci”) and existed thus (“natlunde”).
; d n , p D nS
– s ; S | sd N –
n d p M G R g m P ||
Moka - muna kaLa le -
lla mo li ci - -
na TluN- --
DE
Comments: The beginning of
this line transposes dNdP into dNpD for a quick stop at D and to be able to
move upwards to rest at S (instead of P in “okapari”). The notes underlying “Molicina”
(roughly, dN-ndpM) are similar to that of “okapari” (dNdP), but now resting at
M (instead of P in “okapari”) – good ideas for alapana. Also note the brief
stop at R and serene finish at P for (“TluNDE”) and connecting to the D
starting point for “okapari”. With these two lines we have seen how the raga
can rest at S, R, M, P, D, S; with unusual gamaka
emphasis at N and subdued G.
Tala/Laya: The laya proceeds as 2-6-6-2 | 6-2-4-4 || Note the increased emphasis
on the 2+6 pattern in the first half (“kaLalella”) instead of the 4-4
(“kokapari”) in the prior sahitya line.
; dn , d P mp Dnd p- gR gS |
rg – mp d sn D P
; ; ; ||
Oka pari ko – ka- - pa-
ri- oi - yaa
- - ra mai - -
Comments: The initial part of
the line is developed here. The connecting phrase “mgpm grgs” is replaced with
another connector“mp Dnd p-grgs” (note how the gRgS space has been
adjusted down to fit it in 3 aksharas instead of 4). In the developments of the
first half, we learn about the different ways of connecting M to S with one
bend (either mgpm or mpDndp or mg pmmg).
; d n , p D g
R – s ; S | sd N –
n d p M dpmg rs – rg ||
Moka - muna kaLa le - lla mo li ci - - na TluN- --
DE
Comments: Further development
upstairs to “gRS,S” and fast connector “dpmgrs-rgmp”
picking up as a dhatu from M. Notice how the final phrase gently connects to D
(“okapari”) by ending at P even in a fast phrase.
mp-
dnrs , nd P mp Dnd p- gR gS |
r G – n ; D P ; ;
; ||
- - Oka
pa-ri ko – ka- -
pa- ri- oi
- yaa
- ra mai - -
; d n , p D g
R – s ; S | sd N –
n d p M dpmg rs – rg ||
Moka - muna kaLa le - lla mo li ci - -
na TluN- --
DE
mp- dnrs , nd P mp
Dnd p- gR gS |
r G – n ; D ; ; ;
; ||
- - Oka
pa-ri ko – ka- -
pa- ri- oi -
yaa - ra - - - -
; nd pm
– pd
, p ; ; ; | ;
; ; ; ; ; ; ; ||
mai -
- - - - -
- - - -
-- - - - -
Comments: Finish pallavi with
nice dheergams at D and P.
CaraNam
1
jagadEkapati mEna jallina kaTpoora dooLi jigigoni
naDuvanga cindagaanu
mogi candramugi uramuna nilipEgaana pogaru vennela deega pOsinaTliNDE (oka)
When the Lord
of the world (“jagadEka-pati”) walks gracefully, the
camphor dust (“karpuura-dhuLi”) on
his body (“mEna”) sprinkles (“callina”)
…
; nd , P , M – gp , mgG
, | R- gR, , g M M – P ,
p P ||
Jaga -dE ka pati
- mE - - na jal- -
lina kaT poo - ra doo
Comments: Rhyming, simple
musical structure characteristic of chananas in devotional samkirthanas – makes
it easy and appealing to pick up. The music rests at PM, GR, M, P, D. The D-ending connects to the N of “jagadEka”.
Contrast this with the P-endings connecting to D in the pallavi. Also note the
swaraksharam at P = “poora”.
Tala/Laya: 2-6-2-6 | 2-6-2-6 || Note the
repetitive symmetry after the edduppu: 6-2 = ”tha-dheem-tha-dheem-Tha” in
“jagadE-ka”, “patimE-na”, “jallina-kaT”, ”pooradoo-Li”. Since the words
straddle this pattern (eg: “jagadEkapati” and “kaTpoora”) it is important to
vocalize/emphasize the words.
D-
nd , P , M – gp , mgG , | R- gR,
, g M M – P ,
p Pdp ||
Li Jaga -dE ka pati
- mE - - na jal- -
lina kaT
poo - ra doo
Comments: Embelishment at the
end-of-line “Pdp” instead of “P”. This is a way to give a pseudo-gamaka to “P”
and re-establishes the song’s raga emphasis in the N-D-P area.
D-
nd , pmM ,
M – gmP , mgG , | rs - gR, , g
M M – P ,
p Pdp ||
Li Jaga -dE ka
-- pa-ti - mE - -
na jal- - lina kaT
poo - ra doo
Comments: Embelishment in the
first half: “pmM” (for “M”), “gmP” (for “gP”) and ending at S in “mEna”
(instead of R earlier).
D-
nd , pmM ,
M
– gmP , mgG , | rs - gR, , g M M – pd sn d P ||
Li Jaga -dE ka
-- pa-ti - mE - -
na jal- - lina kaT
poo - ra
doo
Comments: Embelishment in the
end: pdNd-PP for P,p
PP.
… and spreads sparkling light (“jigigona”) on all four directions
(“naluvanka”).
; pd , nD d P – mg R S
| r g M n n d p mp M P ; ||
Jigi goni naDu van--
ga cinda gaa nu
- - - - - - - -
-
Comments: The start at pDnD
(“jigigoni”) is a counterpoint to earlier line nDPM (“jagaDEka”) and pallavi’s
dNdP (“okapari”). Different combinations at P-D-N area and ending at D-P or M.
Notice the nice dhatu from the resting note at M to N (“nndp”) before the
refrain at P.
Tala/Laya: 2-6-6-2 | 4-4-4-4 || Note
slight change in pattern, but keeps the overall idea of mixing 2-6 with 4-4 to
fill up lengths of 8 and comes back to samam every second beat.
; pd , nD d P – mg R S
| r g M n d pdS n
d P ;
; ||
Jigi goni naDu van--
ga cinda gaa nu
- - - - - - - -
-
Comments: Another
ending phrase going from N to P.
; rg , mP d N – dp M P
| M P D N N S ;
; ||
Jigi goni naDu van--
ga cinda gaa
nu - -
-
Comments: Exploits the
symmetry of the raga to go upwards from R to S instead of the start-finish at P
earlier. Bigger gamakas for M and N here (“dpM”, “MP”, “DN”,
“NS”).
As the goddess
AlameluManga with the moon-like face (“mogi candramukhi”) …
s
S - n ; D,n
S S ;
; |
; ; ;
; ; ; SR ||
mogi can - dra- mugi - - - - -
- - - - -
Comments: Moves up to the S
area (
Tala/Laya: 6-2-4-4 | 4-4-4-4
|| Also start on samam instead of the usual ½ beat eduppu.
gR
- sn N-
D,n S S ; ; | ; ; ;
; ; ; S R ||
mogi can - dra-
mugi - - - - -
- - - - -
... sits on his chest (“uramuna nilipE gaana”) …
gR
- sn N-
D,n S S , s N | G , r ;
R gmgr g r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
Comments:
Tala/Laya: 6-2-5-3 | 6-2-4-4
|| Note the use of 5-3 at the end of the first half. It simulates
an “ateeta” eduppu for the second half. Still maintains the idea of samam every
2 beats (i.e. 8 aksharas).
gR
- sn N-
D,n S S , s N | G , r ;
R gmgr g r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
Comments: Gamaka for G at the
sangati beginning is a quick oscillation (r-m-G) since prev. line ended at grsr.
This is symmetrical to the gamaka for N in “okapari” (d-s-N) and begins the
journey back to the pallavi.
gR
- sn N-
D,n rn S , s N | G , r ;
R gmgr g r sr ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
Comments: Embellishment “rnS”
instead of “SS” for sahitya “mugi”.
gR
- sn N-
D,n rn S , s N | G , r ;
R gmgr g r S ||
mogi can - dra-
mugi - u ra
mu-na - ni li –pE- gaa-na-
..it seems (“natlunde”) as if his body is brimming (“pogaru”) and drenched (“digabOsi”) with moonlight (“vennela”).
d n R ;
N S,n nr s-
, n D | pd n- n d p – M G R gm P ||
pogaru - ven ne- la- - dee ga pO - si - -
na TliN DE- -
Comments: Descending from
Tala/Laya: 6-2-5-3 | 6-2-4-4
|| The pattern of the previous line continues.
d n R ;
N S,n nr s- , n D | pd n-
n d p – M dpmg rs-rg ||
mp
pogaru - ven ne- la- - dee ga
pO - si - - na TliN
- - DE- - - (oka)
Comments: The familiar finish
(dpmgrs-rgmp) seen in the pallavi is used to return to the pallavi.
caraNam 2
meRaya shree venkaTEsu mEna singaaramugaanu sarasaina sommulu dhariyimcagaa meruputoTi alamElu mangayu daanu merupu
mEghamukooDi merasinaTluNDE (oka)
Comments: The music structure
is identical to the first charanam. Only adjustments to fit
in the words.
; n d , P , M
– g p , mgG , | R ; ; ; ; ; ;
rg ||
meRa -ya - shree
venka- TE - - su - -
- - - - - -
The glittering
(“meraya”) ornaments (“simgaaramugaanu”) worn (“dhariyincaga”) on the body
(“mEna”) of the Lord
Venkateshwara …
mp- n
d , P , M,r – gm p -mgG , | R ; ; ; ; ; ;
rs ||
- -
meRa -ya - shree venka- - TE - - su - -
- - - - - -
mp- n
d , P , M – gp , -mgG , | rs- gRg ; M M – P
p p P ||
- - meRa
-ya - shree venka- - TE - - su mE -
- na sin gaa
ramugaa
D - n
d , P ,
M– gp
, -mgG , |
rs- gRg ; M M – P
p p Pdp
||
nu - meRa -ya - shree venka- - TE - - su mE - -
na sin
gaa ramugaa
D- n d , pmM
, M – gmP , mgG , | rs- gRg ; M M – P
p p Pdp ||
nu - meRa -ya - shree
venka- TE - - su mE -
- na sin
gaa ramugaa
…and his
plentiful (“tarachaina”) wealth (“sommulu”) …
; rg , mP d
N – dp M P | ; mp , D , N
S ; ; ||
Sara -saina som-
mu - lu - dhari yim ca gaa
; rg , mP d
N – dp M P | ; mp , D , N
S ; nrS ||
Sara -saina som- mu - lu - dhari yim ca gaa
sp-rg , mP d
N – dp M P | ; mp , D , N
S ; ; ||
- - Sara -saina som- mu - lu - dhari yim ca gaa
…join (“kuuDi”) the charisma of the beautiful goddess
(“boNi”) Alamelu Manga, and seem like (“nattunDe”), the Goddess (“taanu”) … … as lightning (“merupu”)
joining hands with the glitter and making the his dark cloud (“mEghamu”) like
form instantly bright (“merasi”).
s S
- n ; D,n S ;
; ; | ; ; ;
; ; ; SR ||
meru pu -
to- Ti - -
- - - -
- - - - -
s
S - n ; D,n S ;
, s N |
G , r ; R gmgr g
r s r ||
meru pu -
to- Ti - - alar mElu -
man ga-yu- daa-nu-
gR
- sn N-
D,n S ; , s N | G , r ;
R gmgr g r sr ||
meru pu -
to- Ti - - alar mElu -
man ga-yu- daa-nu-
gR
- sn N- D,n
rn S , s N | G , r ;
R gmgr g r sr ||
meru pu -
to- Ti - - alar mElu -
man ga-yu- daa-nu-
… and seem like (“nattunDe”), the Goddess (“taanu”) … … as
lightning (“merupu”) joining hands with the glitter and making the his dark
cloud (“mEghamu”) like form instantly bright (“merasi”).
d n R ; N S,n nr s- , n D | p d n-
n d p – M G R gm
P ||
merupu - mE gha- mu- - kooDi
me-ra si - -
na TluN- DE- -
d n gR, ; N S,n nr s- , n D | pd n-
n d p – M dpmg rs-rg ||
mp
merupu - mE gha- mu- - kooDi
me-ra si - -
na TluN- DE- - - -
(oka)
[Final Finish sangatis :]
; dn , d P mp
Dnd p- gR gS |
R g – m ; M P ; ;
; ||
Oka pari ko
– ka- - pa- ri-
oi - yaa - -
ra mai - -
; dn , d P mg
pmmg mG, rS, |
R g – m ; M P ; ;
; ||
Oka pari ko
– ka- - pa-
ri- oi - yaa
- - ra mai - -
; dn ,
d P M gpM mG, rS,
| R g – n ; D P
; mgrs ||
Oka pari ko
– ka- -
pa- ri- oi -
yaa - - ra mai - -
R g – m ;
M P ; mgrs | R g – n
; D ; ; ; ; ||
oi - yaa -
ra mai - - - oi -
yaa - ra -
- - -
; nd pm – pd , p ; ; ; |
; ; ; ; ; ; ; ; ||
- mai -
- - - - -
- - - -
-- - - - -