rāga: sāveri, tāḷa: rūpaka.
రార రామభద్ర నన్నుఁ దలఁగాచునికి
ధీరధనుర్ధర దశగ్రీవజైత్ర
వరసగ్దుణాదిపురుష సాకేతపురపాలక
లయరాగతాళఁ గనక
దయఁ జూడు వేంకటప్రణవుకు
rāra rāmabhadra nannu dalagācuniki
dhīradhanurdhara daśagrīvajaitra
varasadguṇādipuruṣa sāketapurapālaka
layarāgatāḷa ganaka
daya jūḍu veṅkaṭapraṇavuku
This kr̥ti came to me while I was in the elevator in my dorm building. It embodies the more energetic and awe-inspiring feeling of sāveri rāga that comes out with a faster paced kr̥ti. I also wanted to compose something in rūpaka tāḷa. Here's a rough translation:
Won't you come, Rāmabhadra, to protect me?
Valorous wielder of the bow, defeater of the ten-headed one,
the eminent one who has all good qualities, protector of Sāketapura!
Because of this rhythm, rāga, and tāḷa, show kindness to Veṅkaṭapraṇava, (for...)
There is a nice example of anuprāsa, or alliteration, in the anupallavi. The repetition of the dhakāra in dhīradhanurdhara is the first time I was able to use anuprāsa. The name Sāketa for Ayodhya seems to be a medieval term that is quite popular in the southern regions of India. The word daśagrīvajaitr̥ is of course refering to Rāma's defeat of Rāvaṇāsura. The other qualities of Rāma, such as his depiction as the maryādapuruṣa and his excellence at archery are also embodied by this shorter kr̥ti.