In Carnatic music, there are numerous musical styles, including gItam, varnam, kriti, tillana, ragamalika, padam, and javaLi. There are around 50 of these types, and each one has unique characteristics. Due to the presence of numerous characteristics exclusive to this type, the tillAnA is the most well-known of these. Due to the same reason, it also has a place in dance recitals and kathakalakshepam.
The tillAnA is a brief and concise musical form in comparison to other musical genres. The euphonious rhythmic words ti, lA, and nA make up its name. Thus, the word tillAnA itself can be found in multiple tillAnAs.
The majority of the words in this form are jatIs, and just a few sAhitya syllables are found in the first half of the caraNam. The rhythmic syllables can be appreciated more in this form than in sAhitya. The popularity of this type is probably due to the existence of jatIs. The fast sections of jatIs with swara and sAhitya syllables have a quick appeal to the listener's attention because jatIs are inherently attractive. In addition, if the music is appropriate, it might directly appeal to the listener as well.
History of Tillana
The kaivAra prabandha is a variety of the prabandha that existed in the medieval period. In this, the jatIs (or solkaTTu) figured in the mAtu or the concluding session. The prabandha begins and ends with the pAtha. This aspect of the prabandham led the composers of the later period to evolve a new form called the tillAnA. Tillana thus came to be composed by classical composers who lived in the 18th century. The kaivAra prabandha is thus the forerunner of the present-day tillAnA.
List of Tillanas
- Jaya ragamalika thillana - Written and composed by Dr.Mangalampalli Balamuralikrishna
- Brindavani Thillana - Written and composed by Dr.Mangalampalli Balamuralikrishna
- Kalinga Narthana Thillana - Describing the dance of Sri Krishna on the head of the snake Kalinga which was polluting the river Yamuna - Written by Oothukkadu Venkata Subbaiyer
- Garudadhwani Thillaana - Written and composed by Dr.Mangalampalli Balamuralikrishna
Sections of Tillana
The three sections of a tillana are known as the pallavi, anupallavi, and caraNam. JatIs make up Pallavi and Anupallavi. The first half of caraNam is sAhityam, and the second half is jatI.
Pallavi
The pallavi is in the first kAlam of the majority of tillAnAs. Pallavi Seshayyar's tillAnA in kAnaDA and Veena Seshanna's tillAnA in bhairavi are two examples of solkaTTus in madhyama kAlam that are rather uncommon.
Anupallavi
In the anupallavi, phrases are typically found in the first kAlam. SolkaTTus in madhyama kAlam are present in some tillAnAs. For instance, Sivanandam's tillAnA.
In madhyama kAlam, we occasionally also see solkaTTu swarams (solkaTTu and swarams together) (Ex. tillAnA in hamsAnandi by Ponnaiah and tillAnA in kApi by Veena Seshanna). There are solkaTTus in the first and second kAlams of Mysore Vasudevachar's tillAnA in suruTTi and Pallavi Seshaiyer's tillAnA in dhanyAsi, respectively.
CaraNam
Usually, it starts with sahitya and then either solkaTTu in madhyama kAlam, solkaTTu swaram in madhyama kAlam, or just ciTTaswaram.
Types of Tillani in Bharatanatyam
Tillana is a brisk and lively number performed towards the end of a concert. Usually a Carnatic vocal or a Bharatanatyam concert culminates with a Tillana. The lyrics contain sollus like Dheem Nadir Dheem or Dheem Ta na Di tIllana . Most of the Tillana’s include the word ‘Tillana’ in the lyrics. It is predominantly a rhythmic composition. Tillana usually has jatis as a part of the composition and a few lines of Sahityam in the charanam followed by Muktams ( Patterns of swaras) or Sollus. Tillana consists of Pallavi, Anupallavi, Sahityam and Cittaswaram. The composers enjoy the freedom to add the Sahityam based on the presiding deity of the composer or their Ishta devata (beloved god). The origin of Tillana can be traced to the Tarana of Hindustani music. Tillana’s were composed in the late 17th and 18th century by Tanjaore quartets, Ootthukkadu Venkata Kavi and Maharaja Swathi Thirunal and many such vidwans. Melattur Veerabhadrayyah is said to be the earliest composer of Tillana’s in the 17th century. Modern-day composers like Late Shri Papanasam Shivam, Shri Lalgudi Jayraman and Shri Balamurali Krishna have also composed exciting Tillanas for Dance.
Thillana in Kuchipudi
Thillana (also called Tillana) in Kuchipudi is a dance piece that is performed at the end of the show and is widely used as a rhythmic gesture in Carnatic music. Types of instruments used in Thillana in Kuchipudi dance are Veena, Mridangam, Flute, Tanpura, and Cymbals.
