I am not very clear on Dr.BMK's 'Gathibheda' tillana- as I understand it is a rAga-cum-tALamAlika with the ragas & gathis (?) as follows:-
1) Gurupriya : (?)
2) Rasikapriya : (?)
3) Gayakapriya : Misra
4) SunAdapriya (listed as janya of Simhendramadhyama-very little info on this rAga also) : KhaNDa(?)
5) Kharaharapriya : Tisra
Someone please clarify what are these nadais/gathis used for each raga in this interesting tillana & the concept of this gathibheda panchaka.
Gathibheda panchaka
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
DrMenon,
Boy this is hard! We need laya expers to dispel our doubts. I find BMK flow even in songs with single-gati quite hard to figure out - he seems to throw a lot of tricks!! He is quite a genius, and most of his stuff go zipping above my head!
While i may be completely wrong here,
I think the gurupriya could khanDa naDai. My guess is by "discerning" the akahara beat, from which I fould that the tala-cycle is 6 aksharas and then i wrote down the syllables and at least for a couple of them it seems a bit clear that there are 5 syllables per akshara. (e.g. thom-na-na-na = 2+3, assuming my discerning of the tala is right, the thom-na-na-na fits in an akshara).
I am also able to sense the 6 akshara cycle (of "similar" duration) in rasikapriya and khaharapriya. My guess is rasikapriya is tisra naDai. But for kharaharapriya, i cant yet tell if it has 7,8 or 9 mathras!!!
Gayakapriya does seem misram but then akshara spacing probably wont be the same then (i.e. i am not sure here if naDai changes involve keeping mathrai spacing same, or akshara spacing same - may be both are involved)
Basically if akshara spacing is same, the "perceptible" tempo would as follows:
tisra (3) < catusra (4) < khanda (5) < tisra-mel-kalam (6) < misra (7) < catusra-mel-kalam (8) < sankirna (9)
The tempo order i perceive here is :
rasikapriya < gayakapriya < gurupriya < kharahapriya < sunadapriya
It gets harder for the faster ones because the difference in mathrai duration gets shorter and shorter. But then again, i am not sure if the thillana maintains akshara spacing across all parts (it seemed so to me but i am not that sure).
Arun
Boy this is hard! We need laya expers to dispel our doubts. I find BMK flow even in songs with single-gati quite hard to figure out - he seems to throw a lot of tricks!! He is quite a genius, and most of his stuff go zipping above my head!
While i may be completely wrong here,
I think the gurupriya could khanDa naDai. My guess is by "discerning" the akahara beat, from which I fould that the tala-cycle is 6 aksharas and then i wrote down the syllables and at least for a couple of them it seems a bit clear that there are 5 syllables per akshara. (e.g. thom-na-na-na = 2+3, assuming my discerning of the tala is right, the thom-na-na-na fits in an akshara).
I am also able to sense the 6 akshara cycle (of "similar" duration) in rasikapriya and khaharapriya. My guess is rasikapriya is tisra naDai. But for kharaharapriya, i cant yet tell if it has 7,8 or 9 mathras!!!
Gayakapriya does seem misram but then akshara spacing probably wont be the same then (i.e. i am not sure here if naDai changes involve keeping mathrai spacing same, or akshara spacing same - may be both are involved)
Basically if akshara spacing is same, the "perceptible" tempo would as follows:
tisra (3) < catusra (4) < khanda (5) < tisra-mel-kalam (6) < misra (7) < catusra-mel-kalam (8) < sankirna (9)
The tempo order i perceive here is :
rasikapriya < gayakapriya < gurupriya < kharahapriya < sunadapriya
It gets harder for the faster ones because the difference in mathrai duration gets shorter and shorter. But then again, i am not sure if the thillana maintains akshara spacing across all parts (it seemed so to me but i am not that sure).
Arun
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
Others: You can listen to this thillana online at musicindiaonline http://www.musicindiaonline.com/p/x/74x ... As1NMvHdW/
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sr_iyer
- Posts: 82
- Joined: 18 Sep 2006, 11:13
I just heard this for the first time now from the url pointed to by arunk. (I am not a regular listener of BMK). The tillana is quite nicely illustrative of the change of naDai/gati.
Firstly, please note that the speed of the reckoning tALam is constant throughout the tillana.
The first part (vAcaspati with pancama varjya -- 'gurupriyA') is in caturas'ra naDai. To illustrate, the pUrvAnga (laghu) has the pattern 6 (dhrutOmnanana) +5(tOmnanana) +5(tOmnanana), adding up to 16 mAtrAs. The uttarAnga would add up to the remaining 16 mAtras. Characteristic of caturas'ra naDai.
Please note that following the caturas'ra gati/naDai portion acts as the refrain, repeated after every other gatibhEdam.
The rasikapriyA is in tis'ram. The syllable 'rE' in the first part falls right on the ring finger (the start of the third akshara count). The first two akshara counts bear the pattern 2(tat) + 2(tA) + 1(ha) + 1(ku) in the syllables tattAhaku (as I hear) preceding the syllable rE.
The gAyakapriyA portion is in mis'ra naDai. Firstly, since arunk has suggested that the akshara spacing is changed,I would like to explain that this is _not_ so. The mis'ra naDai can be thought of as a sub-sampled (by 2) type of mis'ra naDai. This can be understood by first reciting say takiTatakadhimi-takiTatakadhimi across two aksharas and then halving the speed of recitation (or uttering one syllable say 'ta' where there would have been two in the original utterance, say 'taki') so that takiTatakadhimi spans across two aksharas. To explain further, the instant first beat completes and the first count falls, the syllables completed would be takiTa and half of the following ta. This is what happens in the tillana too. The first takiTatakadhimi occupies the first beat and the first count. The syllables dhi(mita) following takiTatakadhimi starts right on the ring finger.
(Aside: Sub-sampling by 2 further would give rise to the laghu split into just seven equal parts - such techniques are generally used to aesthetically conceal the 'obvious' naDai.)
The next portion ('sunAdapriyA') is in sankIrNa naDai. A similar concept as explained above is used - viz 9 spread across two akshara kAlas. The tillana's takumtaritAhatari (note that the tA here is long) again occupies the first two aksharas (beat and little finger count). Similar patterns can be seen in the subsequent syllables in the tillana, viz, dhImtatakiTadhImta (dhIm is long), takiTatadhImdhinata.
The kharaharapriyA is in khaNda naDai as evidenced by takiTatAm-tAmtakiTa.
Firstly, please note that the speed of the reckoning tALam is constant throughout the tillana.
The first part (vAcaspati with pancama varjya -- 'gurupriyA') is in caturas'ra naDai. To illustrate, the pUrvAnga (laghu) has the pattern 6 (dhrutOmnanana) +5(tOmnanana) +5(tOmnanana), adding up to 16 mAtrAs. The uttarAnga would add up to the remaining 16 mAtras. Characteristic of caturas'ra naDai.
Please note that following the caturas'ra gati/naDai portion acts as the refrain, repeated after every other gatibhEdam.
The rasikapriyA is in tis'ram. The syllable 'rE' in the first part falls right on the ring finger (the start of the third akshara count). The first two akshara counts bear the pattern 2(tat) + 2(tA) + 1(ha) + 1(ku) in the syllables tattAhaku (as I hear) preceding the syllable rE.
The gAyakapriyA portion is in mis'ra naDai. Firstly, since arunk has suggested that the akshara spacing is changed,I would like to explain that this is _not_ so. The mis'ra naDai can be thought of as a sub-sampled (by 2) type of mis'ra naDai. This can be understood by first reciting say takiTatakadhimi-takiTatakadhimi across two aksharas and then halving the speed of recitation (or uttering one syllable say 'ta' where there would have been two in the original utterance, say 'taki') so that takiTatakadhimi spans across two aksharas. To explain further, the instant first beat completes and the first count falls, the syllables completed would be takiTa and half of the following ta. This is what happens in the tillana too. The first takiTatakadhimi occupies the first beat and the first count. The syllables dhi(mita) following takiTatakadhimi starts right on the ring finger.
(Aside: Sub-sampling by 2 further would give rise to the laghu split into just seven equal parts - such techniques are generally used to aesthetically conceal the 'obvious' naDai.)
The next portion ('sunAdapriyA') is in sankIrNa naDai. A similar concept as explained above is used - viz 9 spread across two akshara kAlas. The tillana's takumtaritAhatari (note that the tA here is long) again occupies the first two aksharas (beat and little finger count). Similar patterns can be seen in the subsequent syllables in the tillana, viz, dhImtatakiTadhImta (dhIm is long), takiTatadhImdhinata.
The kharaharapriyA is in khaNda naDai as evidenced by takiTatAm-tAmtakiTa.
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
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Jyothsna_music
- Posts: 36
- Joined: 24 Sep 2006, 17:29
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Dear member,Jyothsna_music, Gati-bheda-panchaka indicates the five Gatis, Trisra, Chaturashra, Khanda, Mishra & Sankeerna-gatis i.e., running 3, 4, 5, 7 & 9 units respectively in the duration of a Maatra which occupies approximately one second.
I have never heard of using this term for some other purpose in music. amsharma.
I have never heard of using this term for some other purpose in music. amsharma.