sanchari or Abhogam in varanams

[PALLOORKAR]

It is said that in the past, varnams were sung with a sanchari at the end part that is, after singing all the charana chittaswaras.In some old books the sankarabharana varnam 'sami ninne' by veena kuppayyar in adi tala is given with a sanchari(but unfortunately no notation is given). Can some rasikas give me sancharis for other popular varnams with notation?
with regards,
Palloorkar

[keerthi]

Sir,

I believe you are referring to what is called now as the anubandhaM [literally, appendix] of the caraNam. This is the complete form of the caraNa, that spans 4 Avarta-s of the tAla, and makes a meaningful sentence. it is seen in Kuppayyar's ShankarAbharana varnam, as you point out, it is given with notation in kuppayyar's son's publication, the pallavi-swara-kalpavalli.

The anubandha can either dovetail into the pallavi ,or can do so into the anupallavi.

AdyappayyA's bhairavi AtatAla varna is an example of the latter kind. As is the sAvEri varnam nIvE dikkani of vengu bhAgavatar, where the last section of the caranam anubandham and the anupallavi are identical. In such cases, the pallavi-anupallavi prAsa pattern is carried forward into the caraNam also.

rAmaswAmi dIkSitar's (kamalA)manOhari varNam is an example of the former, and there is maintenance of prAsa conformity within the anubandha, independent of the pallavi-anupallavi.

The Anandabhairavi varNam of shAma shAstri, sAmini rammanavE has an interesting kind of anubandham, there are four Avartas, and it dovetails into the anupallavi, thereby (probably)establishing the relationship between AdyappayyAh and shAma shAstri; but after singing the anubandham, we sing the muktAyi swara, and end with the pallavi.

The sampradAya pradarshini prescribes a similar style for singing the bhairavi varNam viribOni.

SubbarAma dIkSitar's prize-winning darbAr varna, is similar, with a 2 Avarta anubandham that segues into the 2 Avarta-s of the AP, then muktAyi swaram, then pallavi.

There are many varnas of swAti tirunAl and vINa kRSNamAcAryar [tiger's brother] that have been composed with the carana-anubandham.

Almost all the above examples can be found in the sangIta-sampradAya-pradarshini.

Given that the same composers seem to have composed varna-s with and without the carana-anubandha, it is hard to say anything about the necessity or import of it.

It could be a case that singing the full version [P-AP-MuktAyi swaram-C-Eswaram1-C-ES2-C....-Last ES-C-anubandham-MSwaram_P] of varnams was tedious, and that some pUrvIka clipped it till the singing of the ettugade swaram-s. We now have more and more varna-s, that have caranam-s with incomplete meaning.

[varsha]

it is hard to say anything about the necessity or import of it.

i have some questions about neraval singing .
like in aparadhamula - lathangi - patnam.... doing the neraval at krupachesina for a lengthy period and then continuing with succeeding charanams .
I mean , shouldnt a nerval-swara prasthara be done just before conclusion .

Is there an official - conservative view about these .
I have heard some seniors finish of tyagaraja krithis with ragamalikas - not many but at least one or two ragas - TKRangachari , Annavurappu Ramasamy .
wondering about these also.

[mohan]

i have some questions about neraval singing .
like in aparadhamula - lathangi - patnam.... doing the neraval at krupachesina for a lengthy period and then continuing with succeeding charanams .
I mean , shouldnt a nerval-swara prasthara be done just before conclusion .

Its quite common to do a neraval on the spot in the middle of a kriti, then sing kalpana swarams there, before completing the rest of the kriti. Sometimes for the main piece, musicians will sing the whole kriti then return to do neraval at a certain line, followed by kalpana swaras and a tani avartanam.