This tillana was composed as the climactic piece for Ravikiran’s operatic dance creation, Lakshmi Prabhavam (1997). Even though it spans five talas representing chaturashram, tishram, mishram, khandam and sankeernam, the piece has been composed in a way that makes it possible to render it wholly in Adi tala. But its beauty lies in the raga-tala changes, especially during the culminating section when there is a reverse order transition of ragas and talas (not always simultaneously) before finally landing in the pallavi. In view of the size of the piece, only the lyrics have been given in the initial section and the jatis and swaras are given in the notation.
Pallavi – Darbāri Kānaḍa – Ādi
dheem tanana dheemta nādhr dhrdhr dheem – ena shree mahālakṣhmi dāsarum āḍiḍa
i) tākiṭataka tōm kiṭataka tōm tarikiṭa tōm tarikiṭa taka
ii) tākiṭataka tōm kiṭataka tōm tarikiṭa tōm tarikiṭa – ta
dheem kiṭadheem takiṭadheem tarikiṭadheem – tarikiṭadheem takiṭadheem takadheem ta (dheem tanana)
Anupallavi – Bilahari – Roopakam
tajhaṇu dheemta dheem takiṭa jhaṇuta dheemta dheem enṛu
gajamukhanum gaṇangaḷ shoozha mahizhndu āḍinārē…
Charaṇam 1 – Kāpi – Mishra Chāpu
takiṭatōm kiṭa takiṭatōm kiṭa enṛu nāradar pāḍiḍa – akhila lōkangaḷ viyandu ninṛiḍa pārvati naṭam āḍināḷē…
Charaṇam 2 – Bēhāg – Khaṇḍa Chāpu
nomdhirana taka enṛu nandi maddaḷattuḍan – M,,,N,D,,,N,,, enṛu vāṇi veeṇai meeṭṭa…
paramashivan atishaya naṭanam purindār…
Charaṇam 3 – Madhyamāvati – Sankeerṇa Chāpu
nallōrai kāttiḍum nāraṇan nāyakiyai ellōrum pōṭri nalamaḍaivōmē…
…ravishashiyum manam uruhi paṇiya – taka (dheem tanana)