Workshop on Rhythm at MA by Tiruchi Sankaran

[thanjavooran]

Prof TS will conduct a workshop on 'Gati, Nadai, Tala, Laya, Kalapramana and Korvai' @ MA Mini Hall, on March 1, from 9 a.m. to 12 noon. The workshop is open to all on first cum-first-served basis. Children below 14 are not allowed.
courtesy: Hindu dt 24th Feb 2012
Thanjavooran 26 02 2012

[Vijayakumar]

thanks a lot for the information

[thanjavooran]

The workshop started exactly by 09 00 hrs with a small introduction by Pappu Rao but with heavy instructions to audiance.
Some of the interesting points noted are listed below.
1 Due to hectic schedule of TS, the workshop could be arranged in a week day only.
2. Mrs TS lighted the kuthu vilakku.
3. This is the first workshop organised by MA for the current year.
4 As regs to catagories of Thaalam there were only 5 in olden days Viz Marga, desi, Chappu, santha and soola saptha thala.
5. lagu jathi was introduced in santha thala for the first time.
6 Layam consisting of Vilambam, Madhyamam and Dhuritham as 1:2:4
7 principles of Doubling [ Dubbling ?] is universal and common for percussion instruments [W/M too]
8 There are different kalapramanam for different kritis.
9 Shriramkumar who was assisting TS on this workshop played Dhinamani vamsa in HK set to Adhi 2 kalai half mathirai on violin
10 Normally instrumentalists will prefer fast tempo/ kalapramanam than vocalist.
11 SSI used to sing this piece in the beginning to encourage accompanying artistes.
12 Sriramkumar played SS's AB kriti Mariveregathi in Misra chappu with 7 aksharam as a contrast to the earlier kriti.
13 Mirudhangam player should know music in depth and he learnt vocal for 4 yrs.
14 Should not play Kotti and roppi [கொட்டி ரொப்பி ] and sollu must be there and should be soulful
15 Should be played with gumuki
16 Instrumentalist should have awareness of tone and should not dominate the vocalist.
17 Simplified version of any thalam is chappu
18 Sarvalagu pattern should be maintained
19 A line of Tholijanmamu in Bhilahari in kanta chappu was played.
20 Kritis with different kalapramanam should be in the menu of a concert to encourage percussion Artiste
21 Kanta chappu denotes Veera rasam.
22 Yathukula kambothi kriti ' Echarika ' in kanta chappu is with a different soukyam [irandum kettan kalapramanam] pleasing to ears
23 Ramanad Krishnan's music will be with podi sangathis.
24 VR is famous for sarva lagu pattern of playing and he was king of sarva lagu. it is most unfortunate that we miss him.
25 MMI with PSP concert CD was played . Varali 'Kandha vaa vaa' Played mostly with Valantharai only
26 Hindu Ram president of MA entered by 10 00 hrs and received the 1st copy of the book on Konnakol authored by TS
The book is also supported by a CD
27 A tea break for 9 mts was announced by Pappu Rao
28 TS immediately commented that he is the typical specimen for Kalapramanam
29 There was a little discussion on Gathi and nadai finally concluded that one is a sanskrit word and the other Tamil
30 There is word in Tamil as Nadai soll for Thavil playing
31 In Thalambika in kerala it is known as Kooru vaikkal
32 Lagu was the 1st nadai or the oldest and then came Thisram and Chathusram
33 Saptha Thalam came in later dates
34 Abyasa Ganam means one should know all these patterns and styles
35 This should not be exhibited simultaneously in a concert as it will not suit.
36 One should practice Alankaram on 5 nadais.
37 Korvai is played in Thani only and not during concert.
38 Poorvanga Mandhyama and Uthranga are the three divisions
39 Korvai can be played in 3 kalams in different nadai.
40 consisting of 5 nadai is known as Pancha nadai
41 TS in the form of sollu reproduced the oldest Korvai by Mamoondiya pillai
42 PMI once in a lec dem mentioned that this korvai is by M Pillai and in this Thisram and Chathusram woven aesthitcally in succession.
40 M Pillai had taught Pallavi to many vidwans
41 TS played few korvais by PSP combining Thisram and Chathusram and a korvai played by PMI too.
42 Pudukottai style is different as regs to korvai and mohara . There will not be 'Thathingina thom' sollu
43 A Korvai by Dakshinamoorthy pillai was played by TS which is known as Magnum Opus
44 Such Korvais are to be played at the end only.
45 Weight of the Korvai and Mohara should make rasikas happy and to know that the percussionists are also equally talented.
46 The word Mohara's origin is from Maratti.
47. There are good artistes and they play well but a big question is whether they are in any way equal to the stalwarts.
48 Musical talks are more nowadays and youngsters should show their talents equally.
49 When TS met SSI few years back and reminded him of a concert in 1968 at RR sabha and his Bhairavi Swarajathi.
50 SSI recollected his memory of TS playing for that piece
51 There was a question session and mostly doubts raised by Chithra vina Ravikiran, Durga and Narasimhan.
52 Bhaskaran, flautist , Amrutha murali, students of Ritha Rajan and Arun Prakash were present
53 Lec dem ended at 11 35 hrs with vote of thanx by Pappu Rao

My observation

TS arrived by 08 25 hrs and Pappu Rao arrived by 08 30 hrs. He wanted TS to finish by 11 30 as he had another engagement by 12 00 hrs. Rasikas are deprived of enjoying the Jawali [ TS had this piece in his schedule ] by Sriramkumar because of this. No doubt Pappu Rao is a strict disciplinarian, can be little considerate in dealing with Rasikas as he was frequently interevening during question session. The mini hall was full and mostly by youngsters. As usual an earnest request to forumites . I would have omitted some important points kindly bear with me. Corrections are most welcome.

Thanjavooran 02 03 2012

[Nick H]

Many thanks for so much work in posting the points

[semmu86]

Many thanks for the painstaking write up

[mahavishnu]

Thank you for your coverage of this event, Thanjavooran avl.
Very meticulous note taking and reporting.

[Vijayakumar]

is the video of the program available. if yes , please let know the link..

[rananthga]

Yes, I'd love to get the video of this program. There is so much to learn from this.