In Carnatic music, the true talent training, creativity and mastery of a musician comes out only in the flawless and perfect execution of a Ragam Tanam Pallavi. A musician needs to be well informed about the intricacies, nuances and finer aspects of Raga Alapana, Neraval, Kalpana swaras needless to mention the laya precision which is of utmost importance to render a competent Ragam Tanam Pallavi.

DKP, who was hailed as Queen of Pallavis was very well known for her unique and innovative RTPs.

In a period where RTPs were considered a male bastion, she was the first Lady musician to render Pallavis of high calibre in her concerts way back in early 30s.

DKP as she is fondly addressed can be expanded as Distinct Kingly Prolific, considering her mastery over this form.

Her Pallavis are standing testimony to her stunning laya precision, amazing creativity and innovation within the boundaries of tradition.

She has sung Pallavis in very intricate talas like Sankeerna Jathi Druva , Misra Jathi Rupakam in Tisra Nadai, 3, 4, and 5 kalai Pallavis, Tisra, kanda, Misra and Sankeerna Nadai Pallavis and what not! She can also be considered a pioneer in presenting Pallavis in uncommon and Rare ragas like Jagan mohini, Mani rangu, Hari kamboji , Karnataka devagandhari, Dhanyasi etc. Her Pallavis in Two Nadais also won her great accolades from the stalwarts of yesteryears. She used to fondly recollect a concert in which she rendered a very complicated Pallavi with ease and utmost perfection and was appreciated by none other than the Great Musician G N Balasubramanyam, one of the greatest exponents of Carnatic music..

She used to render very crisp and precise Pallavis of short duration not overdoing any aspect but also give wholesome presentations without comprising on the key requisites of a Pallavi. Her Pallavis were appreciated and praised by connoisseurs and a normal rasika alike, which was her greatness.

Her rapid fire thanams were a sheer delight for the listeners and her anulomam , prathilomam , tisram and other laya improvisations were flawless renditions with a very high degree of precision. Her neravals and kalpana swaras were mind blowing and kept the audience spell bound.
Her memorable Pallavis are Vennai thinna (Hari kamboji) , Velavaney ninadu padamey (three Kalai usually rendered in thodi), Maa maramum (Dwi Nadai), Devi Sri thripura Sundari (Dhanyasi), Enakkavar sonthamadi (Bhairavi), Kadaikkann vaithennai (Misra Nadai in Dhanyasi) etc

She used to form Pallavis with the lines of famous krithis:
Eg. Maamava pattabhi (kanda Jathi thriputa in manirangu), palinchu kamakshi (Thisra jaathi Rupakam in Kanda Nadai in Madhyamavathi ragam), Endaro mahanubhavulu (kamboji)

One of her early releases, An RTP in Jagan Mohini, "Nenje Ninai Anbe" was very popular in the late 30s and the legendary maestro Palghat Mani Iyer had requested Smt Pattammal to render the same RTP in the concert held at Music Academy in 1966 which is still ringing in the ears and haunting the rasikas after 4 decades.

Dr Nithyasree Mahadevan