Omkara Pranava

Omkara Pranava - Shanmukhapriya Pada Varnam

Varnam is a type of composition in Carnatic Music that encapsulates the key features of a raga, and considered as a foundational element in learning path.
Varnams capture the essence of the ragam by the visesha swara prayogam and swara patterns created by using the Jeeva swaram in such a way that the essence of the ragam is clear to the audience.

There are two types of Varnams in Carnatic Music and they are:
(i)Tana Varnams
(ii)Pada Varnams

Tana Varnam:

A Tana Varnam consists of a Pallavi, Anupallavi, Muktayi Swaram followed by a Charanam. The lyrical content in a Tana Varnam is less when compared to its swara content.

Pada Varnam:

A Pada Varnam is also a type of Varnam that consists of Pallavi, Anupallavi, Muktayi Swaram followed by a Charanam. But, every line of Ettugada/Chitta Swaram in a Pada Varnam has its own Sahityam. Therefore, the lyrical content of a Pada Varnam is more when compared to a Tana Varnam.

Click here to know the rules of notations and representing notes.

Omkara Pranava:

Omkara Pranava is a Pada Varnam composed by Dr. Mangalampalli Bala Murali Krishna. He composed five pada varnams in five different ragams and they are:

S.No. Pada Varnam Ragam
1 Amma Anandadayini Gambheeranata
2 Saraguna Kavumu Todi
3 Omkara Pranava Shanmukhapriya
4 Chalamu Ramapriya
5 Ninnu Neranammithi Kharaharapriya

Out of these Pada Varnams, we are going to discuss more about the third varnam - Omkara Pranava.

This Varnam is set to the 20th Prati-Madhyama Melakarta Ragam (56th Sampoorna Melakarta Ragam) named Shanmukhapriya. It is also called Chamaram in the Raganga Sampradayam of Sri Venkatamaki, which was later followed by Sri Muthuswami Dikshitar who was one of the most important nada brahmopasaka/vaggeyakara among the Sangeetha Trimurthi/Trayam.

The Aarohanam & Avarohanam are as follows:
A: S R2 G2 M2 P D1 N2 S
Av: S N2 D1 P M2 G2 R2 S

Click here to know more about Shanmukhapriya Ragam

This Pada Varnam is set to Adi Talam - Chaturasra Gathi.

Pallavi & Anupallavi:

Omkara pranava na|
dodbhava srutilaya||

PALLAVI & ANUPALLAVI SWARA-TALANGA DISTRIBUTION
I4 I4 I4 I4 O2 O2
P; ;pd nsrs ggrs SnrsrG ;grsndp
Om ka .... ra... pranava na.....
R,s S,n N,d D,p PDNS ;nsndpm
dod ... bha. va. srutilaya swa.ra...
pmpd ndnd pmnd pmgr srgmpdns sndpmgrs
san... .... ke... ti.ka tri...bhu... va...na...
ddpd dpnn ddss nnrr ssggrS snrsndpm
sak. .ti.. murali ga.. ..na...swa roo...pi...

The author described about a nadam called Omkara(Pranava) in the Pallavi and Anupallavi. He says that there is a syllable/nada from which sruti and laya emerged. And, it is the ultimate. The sruti and laya can be understood by referring to the swara sanketika sastra. The sruti, laya and swaram in their united form are the power of this universe. And the author starts referring to "Lord Krishna" as the ultimate, by using the phrase "Murali Gana Swaroopi". This is also understood as the vaggeyakara mudra (the symbolic representation of the author given by himself).

Muktayi Swaram:

Pralayajalavalaya putalalalo| telinade vatapatram||
sayaninchu varaduni nabhini varali| na kamala sanjanitha vidhimukha janitha||Pallavi||

MUKTAYI SWARA-TALANGA DISTRIBUTION
I4 I4 I4 I4 O2 O2
ggmm ppdd nndp D; ssndN; rrsnS;
pralaya jalavalaya putalala lo telinade vatapa.tram
pmgr spmgr Srs ndp rsndPpm grsnsrgm
sayanin chuvara duni nabhini varali na kamalasanjani tha vidhimukha janitha

The author starts explaining about the origin of the Pranava Nadam according to Puranas which is bound to time. This is quite opposite to what he has mentioned in Pallavi. In the pallavi, he says that this nadam is eternal and not bound to anything in the world. And, ofcourse it is the origin for everything in this world. The intention of including two different concepts in the same song is to acknowledge the fact "Sarvam Brahmamayam".

At the time of laya, when the whole universe is in the pralaya-jala, Paramatma floats on water in the form of Vata Patra Sayee. Later, when this aavartanam has to be repeated, he takes the form of Maha Vishnu and Vidhi (Lord Brahma) comes out of a lotus that emerged from his navel. According to multiple Puranic references, Brahma was the first one to chant Suddha Pranavam. And hence, the author quoted "Vidhi Mukha Janitha" in the sahityam referring to the Pranava nadam.

Ettugada Swaralu:

P,D,N,sndpmgm| P;;pd|nsrsndpm||
Pada nee.ra...ja.mu.| le..nam|...mi.thi.||

1. Sasvatamai| Sukhamai| ..nadi||

I4 I4 I4 I4 O2 O2
;S ; ND N; ;DPD ;;PM
sas vata mai sukhamai ..nadi

MEANING:
The author says that he has deep faith in the eternal feet of one who is the provider of Sat-chit-ananda.

2. Gaureesa sreesa vidheendra tya| garajadi varya saparyalandu||

I4 I4 I4 I4 O2 O2
;S RgR snS rS nPDnD pmPdPm
Gou reesasre esa vidhi indra tya garajadi var ya saparyalandu

MEANING:
The author says that he has deep faith in the eternal feet of one who's being served by Gaureesa(Shiva), Sreesa(Vishnu), Vidhi-indra(Brahma & Satakratu(Indra)), Tyagarajadi Varya(Tyagaraja) and many others who are respected by the whole world.

3. Prabhavamu vibhavamu leenamu| lu dasadisalu bhoo| mi gagana pava||
namu salilamagni nagakhaga taru mriga| di sakalamu kalu| gu nee daya valana||

I4 I4 I4 I4 O2 O2
;sr gmpm grS; rg mpdpmgR ;gmpdnd
Prabha vamuvibha vamu lee namu lu dasadisalu bhoo mi gagana pava
pmpr sRg rsnd psns ;rsndpmn dNsndpm
namu sa lila magni naga khaga tarumruga di sakalamu kalu gu ni daya valana

MEANING:
The creation, sustenance and destruction of this universe ("Prabhavamu, Vibhavamu, Leenamulu"), the 10 directions ("Dasa disalu"), the 5 elements - Pancha Bhootas(Bhoomi, gagana, pavanamu, salilamu, agni), the hills, birds, trees, jeeva (life), and what not? (naga, khaga, taru, mrugadi, sakalamu). Everything in this universe including the universe is his daya. And, I undoubtedly trust him.

4. Nee naa yanedu tara| tamyamulu ma| naga sugunami|| chi sahanamu virala vitaranamu nija| munu pal kuta| lu sada teli|| yaga-bhuvanamella-janulu-kalasi-mela| si-sukhamu ga vara| lu te ma dhye|| yamuga satkarmachara| namu bhakthya| nanda varamidhu||

I4 I4 I4 I4 O2 O2
;N ;N ;dd nDn D,mmpM pMppdp
Nee Naa yane du tara tamyamulu ma naga sugunami
,dgg rsnn dpgg rsnd pmP;sn dpD;rs
chi saha namu vira la vita ranamu nija munu palkuta lu sada teli
ndpd psns pdpr srpd pgrgpmg rsRg
yagabhu vanamella janulu ka lisi mela si sukhamuga vara lute ma dhye
;gr sN, S, R,gr snD,N, S,grsnd
yamu ga sat karm ma chara namu bhaktya nanda varamidu

The author shows his patriotism in this chitta/ettugada swaram or charanam. Or it can also be an indirect representation of "Sarve Janah Sukhino Bhavantu| Lokah Samastah Sukhino Bhavantu||". He depicts a world in this sahityam which is not at all afftected by the kali-kalusha. It is a world of unity where people do not discriminate others, and follow satya margam. Bhuvanamella/Bharata Bhuvini (patha-bhedam; the whole world/the Bharata Bhuvi - which is not just restricted to the geographical Bharata Khandam) follows the path of satya, unity, good deeds(satkarma), ananda anubhuti through bhaktyopasana (bhaktyananda) with a great ambition. And, the great ambition is "Lokah Samastah Sukhino Bhavantu"

Author of this article:
Ishaan Saripalli
Click here to know more about the author