Sorry for the delayed response:
About Dhruva talam: the way I see it is as 4+2+4+4, so the eduppu needs to be adjust such that it is 4+4+4+2; this implies that we sing the first 6 aksharams in vilamba kalam and the drutham would be in normal speed.
Tala Bedham - A New Concept
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vijay.siddharth
- Posts: 358
- Joined: 14 May 2017, 13:08
Re: Tala Bedham - A New Concept
This thread is long dead, but let me try to revive it with a Unified Rule of Tala Bedham.
Within our suladi sapta tala system, there is a laghu, and there is a drutham/anudrutham. Let the Laghu component be A and the drutham component be B. While A is usually variable depending on Jathi, B is a constant.
Hence, in order to give the talam a unique identity, the tala structure needs to be altered such that the song goes from the A+B of the original talam to the A+B of the next tala.
So, the easiest way to do this is to use polyrhythmic schemes. This include things like Chaturashra-Trishram, Trishra-Chaturashra, Khanda-Sankeernam, and so on. In essence, polyrhythmic arrangements are altering the rhythmic pulse of the song to fit a new rhythmic context.
Taking an adi tala song for instance, this is how it will be changed to trishra mathya tala (which has the same scheme).
ADI TALA - A(4) B B
MATHYA - A(3) B A(3)
Hence, there needs to be chaturashra trayashram to be done to notes in the first A, the first B can be rendered as per normal, and duritha kala chaturashra trayashram needs to be done in B to transpose to A(3).
This can be repeated for any talam to another talam. It is as simple as this.
As a more personal note, it will be interesting to explore the effects of Tala Bedham on Tiruppugazh. What tiruppams will be there? Only time will tell (the only tiruppugazh I know is Niraimathi and none of the more exotic ones).
Within our suladi sapta tala system, there is a laghu, and there is a drutham/anudrutham. Let the Laghu component be A and the drutham component be B. While A is usually variable depending on Jathi, B is a constant.
Hence, in order to give the talam a unique identity, the tala structure needs to be altered such that the song goes from the A+B of the original talam to the A+B of the next tala.
So, the easiest way to do this is to use polyrhythmic schemes. This include things like Chaturashra-Trishram, Trishra-Chaturashra, Khanda-Sankeernam, and so on. In essence, polyrhythmic arrangements are altering the rhythmic pulse of the song to fit a new rhythmic context.
Taking an adi tala song for instance, this is how it will be changed to trishra mathya tala (which has the same scheme).
ADI TALA - A(4) B B
MATHYA - A(3) B A(3)
Hence, there needs to be chaturashra trayashram to be done to notes in the first A, the first B can be rendered as per normal, and duritha kala chaturashra trayashram needs to be done in B to transpose to A(3).
This can be repeated for any talam to another talam. It is as simple as this.
As a more personal note, it will be interesting to explore the effects of Tala Bedham on Tiruppugazh. What tiruppams will be there? Only time will tell (the only tiruppugazh I know is Niraimathi and none of the more exotic ones).