Ragam Tanam Pallavi - Zero to Hero

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SrinathK
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#1 Ragam Tanam Pallavi - Zero to Hero

Post by SrinathK » 17 Oct 2017, 13:35

First off, I'd like to open this thread exclusively for discussing the art of Ragam Tanam Pallavi in a structured manner so that rasikas and students who've got up to the point where they're familiar with raga alapana, neraval, swaras and the like can step up to the next level. I felt that the best way to go about it would be to introduce it in a structured manner and go about sharing resources, lec dems, recordings from the web or elsewhere in this thread discussing the relevant topic. I would probably do it like this :-

1) rAga alApana in RTPs - discussing the structure, parts and styles in raga singing (yes, raga singing is also a structured thing) and in general how alapanas for elaborate RTPs can happen in stages

2) tAnam and it's types - there are different types of tanam, tanam with or without tala and percussion accompaniment, tanam on instruments (esp. the veena, and the unique staccato tanam that is done on the violin). R K Padmanabha IIRC once gave an interview on Worldspace where he discussed a lot about tanam, but my memory is now hazy on that.

3) simple pallavis and their parts and structure

4) more complicated pallavis in more complex talas, multiple ragas, kalais, and eduppus -- one sub topic could be the longer pallavis that are less intricate internally, vs the pallavis that are shorter, but have more internal complexity

5) pallavis in more complex nadais - a discussion of how to use chApu tAlas to help out as naDai subbeats would be useful here

6) multi nadai pallavis - I have heard two types, one where the tala speed is constant, but the speed of singing changes in each nadai. The other one is the opposite, the tala changes it's speed while the singing is still at the same speed

7) neraval and kalpanaswaras in pallavis

8) singing pallavis in multiple speeds -- trikAlam (in same nadai or change of nadai), anulomam, vilomam, pratilomam - All those technicalities. This is a challenge when the eduppu is complicated and in other nadais.

9) pallavis in two talas (and the monsters, two talas in two nadais).

10) Anything else (Please suggest)

Ample donations of recordings and videos are welcomed... I hope that if we can develop this thread, someone can come here and get what they need to know so that they'll never be intimidated by the RTP again.
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kvchellappa
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#2 Re: Ragam Tanam Pallavi - Zero to Hero

Post by kvchellappa » 06 Nov 2017, 06:47

Too busy?
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shankarank
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#3 Re: Ragam Tanam Pallavi - Zero to Hero

Post by shankarank » 07 Nov 2017, 21:43

Been too busy to come into this forum - to post this :

https://www.youtube.com/watch?v=Pm--2zcBUCM

Good discussion and presentation of different varieties of Pallavis.
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shankarank
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#4 Re: Ragam Tanam Pallavi - Zero to Hero

Post by shankarank » 08 Nov 2017, 22:05

If we take the kriti discussed there : Graham 1/4th viewtopic.php?f=8&t=29977 :

Bharati mAmava, both renditions land land Bharati on the little finger and everything else somewhat beat hugs and the final kripaya in 3(s) begins incongruently with longer wait.

A good Pallavi setting for an RTP , will force "ra" in Bharati to go over little finger with "ti" landing past it and have the 3(s) more continously than an artificial extra wait.

That is will give a more syncopatic ( new word) feel to it and add verve!
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