Is it possible to start a piece in an eduppu other than samam after a tani? Is it common practice? In such caseis is the final korvai done from the eduppu rather than samam itself?
Any help from the laya experts on this forum is greatly appreciated.
resuming song after tani
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Nick H
- Posts: 9385
- Joined: 03 Feb 2010, 02:03
The edipu of the song should be respected at the end of thani and the resumption of the song.
The thani is, really, a part of the song in which it occurs, just as any of the preceding swara passages were.
Mahavishnu --- excuse my Anglicised spelling!
The thani is, really, a part of the song in which it occurs, just as any of the preceding swara passages were.
Mahavishnu --- excuse my Anglicised spelling!
Last edited by Guest on 02 Dec 2007, 09:22, edited 1 time in total.
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mri_fan
- Posts: 382
- Joined: 15 Aug 2006, 22:12
A mridangam artist has two options for the final korvai if there is an eddapu involved...either start the final mohara and korvai from the edapu, or start the mohara from sammam and design a korvai that will end up in the edapu after its played three times..
for example for a 1 beat edapu, one will generally either start the mohara from the edapu and pick a standard 16,32, beat korvai to play three times, or will start the mohara from sammam and play a korvai that is 11,, 27, or further increments...the math begin that 11*3 = 33, and when that's subtracted from 32, that arrives at the edapu.
For more uncommon edapu's (.5 in adi talam occurs, but is not particularly common), another possibility is to take the mohara from somewhere else in the talam besides sammam or the edapu. for the .5 edapu, mridangam artists sometimes take the mohara from one beat before the sammam, and play a korvai that is 16.5, or a further increment of 16 added to that) to get to the .5 edapu spot.
I think technically, as long as you end your final korvai to the right edapu (that is, the exact same edapu that the swarams/niraval were taken to), you're fine. I have some older recordings of palani where he takes the korvai from the middle of the talam, and plays a korvai that lands him in sammam.
hope this helps
for example for a 1 beat edapu, one will generally either start the mohara from the edapu and pick a standard 16,32, beat korvai to play three times, or will start the mohara from sammam and play a korvai that is 11,, 27, or further increments...the math begin that 11*3 = 33, and when that's subtracted from 32, that arrives at the edapu.
For more uncommon edapu's (.5 in adi talam occurs, but is not particularly common), another possibility is to take the mohara from somewhere else in the talam besides sammam or the edapu. for the .5 edapu, mridangam artists sometimes take the mohara from one beat before the sammam, and play a korvai that is 16.5, or a further increment of 16 added to that) to get to the .5 edapu spot.
I think technically, as long as you end your final korvai to the right edapu (that is, the exact same edapu that the swarams/niraval were taken to), you're fine. I have some older recordings of palani where he takes the korvai from the middle of the talam, and plays a korvai that lands him in sammam.
hope this helps