Is this mridangam????

[vasanthakokilam]

Someone has to ask and let that be me: What is araichapu?

[Nick H]

here is an arai-answer.

There are two ways of producing the chapu sound/stroke on the mridangam. One in which the tip of the little finger strikes the black circle at the side close to the player, and the other, where it strikes the opposite side, reaching across the black. They are called full- and half- chapu. This is only half an answer, because I can't remember which is which!

[mahavishnu]

Here is a picture of Arai chapu from our own J Balaji's website:
http://www.angelfire.com/mb/mridhangam/ ... #araichapu

and the full chapu: http://www.angelfire.com/mb/mridhangam/ ... #fullchapu

Although, I have also heard the arai is not half, but arrai as in slap... thus the slap-chop-u

UKS is the undisputed king of arrai chapus; probably the most prolific user of it since Tanjavur Ramadas Rao.

[vasanthakokilam]

Nick, Mahavishu, that explains it. Thanks.

[kappi]

Very interesting discussion indeed.
I agree that UKS uses arrai-chapu a lot (Thanks Mahavishnu for clearing the "arai"-"arrai" doubt. I always used to wonder why it was called "arai" (half) chapu while it is played over the complete chatam)
Arrai-chapu was very extensively used by other Tanjore stalwarts too, like PMI, Raghu sir and Murthy Sir. (Probably UKS puts it with beaitful swaying of his right hand, which makes it more appealing; and also he plays it exclusively in Kuchi mridangam).The padakkais (the lessons for learning and perfecting the fingering) framed by Tanjore Vaidynatha Iyerval are all heavily based on the arrai-chapu.
UKS mostly use the arrai chapu as an "aesthetic" stroke ie; to produce a specific sound from the mridangam. He uses it very less in conjunction with other strokes, whereas other starlwarts who strictly adhered to the Tanjore fingering (like Murthy Sir) use arrai-chapu as a power stroke, especially in the Kappi mridangam; mostly instead of the "dhi" stroke (played with three fingers; rfer to J Balaji's please). The arra-chapu has a splashing sound like that of a waterfall, which "dhi" stroke lacks in. Actually arrai-chapu cannot be used as a power stroke in kuchi mridangam; it won't produce any sound then. It is possible only in kappi mootu. (I could demonstrate this in kuchi and kappi mridangams and upload them, if someone is interested)
Finally a personal remark: It's indeed sad that today arrai-chapu is almost extinct from a mridangist's dictionary.

[mridhangam]

Kappi you are absolutely right about the slow extinction of arai-chapu from the concert repertoire in the name of more rounded naadam filled full-chaapu. Recently Madras A Kannan (nonagenerian) made an excellent demonstration of full chaapu, arai chaapu and kaal chaapu too (he played kaal chaapu too with a special request from TVG sir-who was present). It seems many stalwarts like TRS used to be astounded by the naadam produced by Madras A Kannan for his special Kaal chaapu. Of course we all could get a glimpse of Madras A Kanna's prowess in the instrument with an excellent show of tani avartanam with varied patterns and also he played excellent combination for "Nan gu tha dhin" without varying the right hand he played 5, 6, 7 and 9 on the thoppi side. It was superb demonstration and also excellent experience for the small audience. Member Kappi one more interesting factor is the use of Kuchi and Kappi mridangam for production of sollus. Raghu sir and murthy sir used more of patterns with Dhi, Dhin and thom combinations than of Chaapu, arai chaapu etc. My guru kalaimamani Ramanathapuram M N Kandawamy Sir used to tell all students "Practice more of patterns with Dhi, Dhin and Thom combinations instead of Nam, chaapu and arai chaapu. Moreover the Sollu "Thalaangu" was taught to us by using arai chaapu but it is painful sometimes to see that being played with full chaapu for the sake of unasked for effec. UKS, Trichy Sankaran, Ramabadran, Mannargudi Eswaran, Guruvayur Dorai, Tiruvarur Bhaktavatsalam and other mridangists use the chaapu (both arai and full) to suit the purpose of the kriti and also with proper azutham so as to produced the desired naadam. Even those who use kappi mridangams can produce the full chaapu and arai chaapu with naadam provided they take enough care to bring out the exact phrase by playing with proper technique. I can quote Tanjore Upendran sir, Rajarao sir (i think rajarao sir has recently shifted to kuchi type - which i saw in quite a few concerts) Dandamudi Ram mohan Rao, Karaikudi Mani, Tanjore Ramadoss can all be termed as veterans of Kappi type of mridangam with excellent production of chaapu- arai chaapu combination, with a special mention about Tanjore Ramadoss and Tanjore Upendran's arai chaapu where their striking point and also their split second removal from the mridangam gives a special tone.

Hari Om
Mannarkoil J Balaji

[rajeshnat]

Balaji
That was a great post , is kaal chaapu totally extinct or Is it still played.if there is a demo or snippet upload of Madras Kannan that would be wonderful.

[mridhangam]

Rajesh sir

I think it was videographed by Sampradaya for archival purposes. As the programme was organised by Shri K Arunprakash they will take concurrence from him for using it for archival purposes.

As such i dont think the request can be acceeded to.

Hari Om
Mannarkoil J Balaji

[rajeshnat]

Thanks mridhangam, is kaal chaapu totally extinct or Is it still played. Just curious if arai is not half but more as in slap in arai chaapu, what is kaal in kaal chaapu?

[Nick H]

mostly instead of the "dhi" stroke (played with three fingers; rfer to J Balaji's please). The arra-chapu has a splashing sound like that of a waterfall, which "dhi" stroke lacks in. Actually arrai-chapu cannot be used as a power stroke in kuchi mridangam; it won't produce any sound then. It is possible only in kappi mootu. (I could demonstrate this in kuchi and kappi mridangams and upload them, if someone is interested)
Finally a personal remark: It's indeed sad that today arrai-chapu is almost extinct from a mridangist's dictionary.

I'm a little confused by this. The chapu sound is the same, and gives (depending on the player) the full ringing nadam, ie dhin sound, of the mridangam, whether it is played full or half, and whether the mridangam is kappi or kutchi.

I can say this because it is the exclusive way that chapu is taught by my mridangam guruji. From the first dhiku-tari-kita-taka lesson, that is where we have to make the little finger fall, and we have to learn to make the mridangam ring. At this point, we are probably still struggling to get proper sound from the very-much-easier two-finger dhin stroke!

Dhin is technically fascinating, because one finger is used, like a finger stopping a string, to give the note, whilst the other strikes, producing the sound. With chapu, both functions are combined into the one finger tip!

The stage is not the classroom, and the master is not the student. Those watching for these strokes on stage may be confused, because the master will produce music from his instrument however he touches it. Grounded in perfection of discipline, the master craftsman is released from it, as if there is direct connection between brain and work or instrument. Thus, when we watch the mridangist play on stage, although there are two places that chapu must be played, we may see the finger appear to fall in many places. We have to remember that they are playing real, live music, and not giving a demonstration for beginners!

Thank you for the link to Balaji's site. I searched for it before posting last night, but couldn't find it.

[mridhangam]

member rajeshnat

No one plays kaal chaapu for that matter. If you take arai chapu as half chaapu then the kaal chaapu as quarter chaapu as it was mentioned by TRS and TVG sir to Madras A Kannan requesting him to demonstrate playing that..that is all i know as of now. I am not going in to discussion as on Arai is slapping or half ...i will get back to this topic asap.

Hari OM
Mannarkoil J Balaji

[annamalai]

Balaji
That was a great post , is kaal chaapu totally extinct or Is it still played.if there is a demo or snippet upload of Madras Kannan that would be wonderful.

There is a nice concert of Madurai Somu 1964 Music Academy concert with Madras Kannan (Mridangam) in Sangeethapriya.

What a lovely nadham esp. his mridangam accompaniment for Varalandu (Gurjari) simply lifts the song and theermanams so crisp.
Madras Kannan used to accompany Seerkazhi Govindarajan quite often.

[mridhangam]

Even at the age past 90 he still able to give the reverbrating chaapu sound in his mridangam and also he played a beautiful combination with his fingers at the center of the Black patch something similar to what we call "Jonuthaka jonuthaka" with and without Thom.

Great Legend indeed.

Hari OM
Mannarkoil J Balaji

[Nick H]

"kaal chaapu" --- so, there are not just two chapus, but three. at least?

[mahavishnu]

For those interested, here is the video of Sri Madras Kannan talking about chappus (and yes Nick he plays all three chapus here, but the talk is in tamil only) http://www.youtube.com/watch?v=gG9iMrVtmAA

Here is another video of him playing a short tani + korvai: http://www.youtube.com/watch?v=eiRx8jr7J8I

Interestingly, Madras Kannan was a shishya of Tanjavur Ramadas Rao, whom I had written about in an earlier post on arrai chapu.

[tiruppugazh]

Coming back to my original post, no mridangam artiste of the Pazhani school or Tanjore school has ever accompanied the song showing such disrepect as UKS has done in this case. It is a classic case of senior having his way to dazzle the youngsters. I think modern youngsters will start playing for songs in this way and the singers can all take break do pakkavadhyam for the mridangam

[eppramod]

Sruti magazine's August 2011 edition main feature covers a conversation (with Lalitha Ram) about this great artist (Madras Kannan).

I saw an upload of the feature somewhere but not sure if it is right to upload here.

It was a nice article.

Pramod

[annamalai]

Coming back to my original post, no mridangam artiste of the Pazhani school or Tanjore school has ever accompanied the song showing such disrepect as UKS has done in this case.

I am a huge fan of UKS, but I have to agree with your general comment in this case.

However, these sort of histrionics have been there for a lo...ng time.

Many examples -
The way UKS used to play for DKJ's Mamayura meedhil Eriva (Bilahari) ... (never liked this song, with all this) or the Khamas Patnam Thillana - Tham Tham .... But I should hasten to mention, I love the way UKS used to play for Soundararajam or Sree DumDurge ... for DKJ.

Semmangudi's Marubalga (Sreeranjani) jarachora bhajana - all mridangists used to play so loud and I felt there was no semblance of Sreeranjani. After all the noise din of Anupallavi, there was always a huge applause. So, presumably the audience like all the gymnastic stuff !

[GNB_LGJ_PR]

I am sure most of you would agree with me that UKS sir is the best in business today when it comes to accompaniment for any song.
Having said that, it is quite shocking to see him do something like this. Maybe he was worried about Bangalore traffic and did not want
to miss his train

[advaitin]

In the context, it might be good to listen to the clip below, the amplification levels do not seem balanced to my ears. seems to be a concert of the 70s or prior

http://www.mediafire.com/?euvascscq77cnwr

[mri_fan]

I would argue that Trichy Sankaran, Srimushnam Raja Rao, and Patri Satish Kumar set the standard for me for how to accompany for songs these days, but obviously reasonable people can disagree!

[Nick H]

Ahh... The standard for accompaniment?

That's tough, and I dislike such absolutes but I'm still willing to have a go, so long as we don't take the game too seriously! Another rider is that I am not voting for my over-all favourite mridangist here. Here goes, and it isn't one of the great masters of the older generations, but a young[er] master:

K Arun Prakash

I have a bias, and that is that I simply love the school to which he, our fellow rasika Balaji, and others (including my guruji) belong --- but my main reason for the nomination is that I have seen the range of his play, from intricate tani calculations, to spending an entire evening playing nothing but the simplest sarva laghu, because that was what was appropriate, and still making it beautiful.

Other reasons for not taking the game of "greatest" or "standard" too seriously, is that a) my nomination is limited by experience, and, more importantly, b) of course there are probably a hundred other mridangists that could and would do the same

[mridhangam]

Members

Let us not rake up any names (Including my name-Nick sir please excuse me) ...Please let us try to restrict our discussion to whether UKS's accompaniment for Saketaraman in the said video is justified or not ...

No comparisons what so ever please as it is bound to raise up tempers.

Hari OM
Mannarkoil Balaji

[GNB_LGJ_PR]

Mridhangam Sir,

I should have said "It is my opinion" instead of "I am sure most of you would agree with me" - ***slip of the tongue from my side***
Concur with you that comparisons could raise tempers

Coming back to the discussion, I tend to agree with tiruppugazh and annamalai - per my observation, the histrionics have been more in the last decade (post his receiving Sangita Kalanidhi). Being a great fan of UKS sir, I still feel that he could have played softly and inline with the mood of the composition which he has done for fifty to sixty years.

[vasanthakokilam]

Just as an aside, this discussion made me focus on this song and its rhythmic structure. I am liking it very much. I am putting it on my 'pep' playlist for the gym to get a jolt of energy! I like the rhythmic composition of this song so much that I have been playing a similar structure using my favorite (rare) raga Dayavathi and I like the sound of it.

[Nick H]

Let us not rake up any name ...

Names have already been mentioned. It is probably inevitable.

I still think it is just not possible to judge a 3-minute extract out of context. but the thread goes on

[ananthapuram]

Baby sitters wanted for senior mridangam players. Please apply if you are interested in protecting these dangerous yet endangered species.