Tani avartanams in different talams

param · Post by **param** » 08 Nov 2005, 16:48

Dear Rasikas,

Tani avartanams in days gone by used to be set to various talams - a list of the same would come close to 25-30 different ones.

Howeves, these days one finds only 1 talam in which Tani is played. The same being Aadi. Till about 5-7 years ago three other talams namely Rupakam, Kanda chaapu and Misra Chaapu were in use. Would any of you have tani avartanams set to other talams - please be kind enough to share.

srkris · Post by **srkris** » 28 Nov 2005, 23:49

Here is the Thani Avarthanam by TVG preceeded by swaraprastara in Pantuvarali by Chembai and Kandadevi Alagirisamy in 1962 for members of this forum who might have missed it.

Though it is in Adi talam only, I like it a lot because of the naadam. I request a knowledgeable person to comment on the technical aspects of this piece.

Of course there are wonderful recordings of Palghat Mani Iyer (and other prominent mridangists too) which are only too well known and easily available, I uploaded this recording since it is not oft heard nor available with many people.

I had to compress it to an acceptable level for ease of downloading, so audiophiles may find that the quality is not optimal. It is not too bad though.

Maybe we can discuss on thanis in various talas (both rare and popular talas) with experts' comments here. Please share your thoughts.

kaumaaram · Post by **kaumaaram** » 29 Nov 2005, 13:51

But where is the link Ramki?

srkris · Post by **srkris** » 29 Nov 2005, 19:17

Oh I am sorry

Here it is http://rapidshare.de/files/8229616/Chem ... G.mp3.html

param · Post by **param** » 29 Nov 2005, 20:29

This tani is evidence enough to all those upcoming mridangists of today as to how to keep the tani very melodious, the crowd guessing and the main artiste applauding with the following:
-- nadam
-- use of the chappu, arra chappu, din, etc.
-- subtle chollus
-- simple kanakku
-- provide an enthralling tani
-- use the thopi and the gumuki to the maximum level possible
-- no harsh strokes at all
-- bring out a melodious and pleasant tani
-- win applauds from all possible

In short, a different thani - very pleasing to the ears. Let me use an oxymoron here - simplicity and complication both put together in the tani.

I would welcome many more of such tanis.

I also look forward to receiving tanis which are exactly the opposite of this one - it being use of dsifficult and complex kanakkus - one that made the listener take painstaking efforts to pick up a lesson or two from it.

param · Post by **param** » 29 Nov 2005, 20:30

Addendum:

This tani is enough to keep the upa-pakavadhyams to cool their heels and not provide any challenges to the main percussionist

srkris · Post by **srkris** » 30 Nov 2005, 17:47

I also had the same opinion of it, simple and soft yet caters to everyone's appeal, though not being overly masterful or complex. Right mix of simplicity and complexity.

This tani is enough to keep the upa-pakavadhyams to cool their heels and not provide any challenges to the main percussionist

Yes, but there are no upa-pakkavadhyams in this concert

cmlover · Post by **cmlover** » 30 Nov 2005, 22:50

chembai

Is it possible for you/ or a guest to write a simple article on the appreciation of Laya (explaining the technical terms and posting short examples)! It will be very helpful for those like me who are trying to discover the beauties of this beautiful aspect of CM. Thanks!

srkris · Post by **srkris** » 01 Dec 2005, 00:03

CML,

I am not myself any more knowledgeable on mridangam and laya than any average rasika, but I found this short writeup helpful, and I hope it is so for you too...

I am taking the liberty of reproducing the article from http://planetmridangam.tripod.com without contacting the author/webmaster. It is a good starting point on demystifying the Thani Avarthanam:

In a thani avartanam the following things have to be observed. Firstly the avartanam is split up into soukya kalam (slow/normal speed in which the main artist started the kirtanam), Madhyama Kalam (In between speed) and mail kalam (fast speed, double the normal speed). Other interesting things to be noted are Farans (finger movements that are brisk and short) Mohara (special pattern that preceeds the teermanam and an indicator that the thani is about to end) and finally the teermanam (a specific pattern that is played three times signifying the end of the thani) at which time the main artist picks up where he had left the kirtanam. The above terms Faran, Mohara, Teermanam are technical terms used by mridangists alike. All of the above form the basic body of the thani avartanam (Absolutely essential). Depending on the artist, his mood, the audience etc there may be one or more kannakku (mathematical permutation following some very strict guidelines) in the soukya kalam stage. These traditionally are signatures of specific artist. For the connoisseur rasika this forms the basis of saying who the accompanist is. If you are listening to a CD or a recorded tape just by hearing a few strokes one can recognize the artist. This is definitely true in the case of Palghat Mani Iyer, Palghat Raghu, Sivaraman, Karaikudi Mani, Vellore Ramabhadran, TK Murthy etc.

The transition from soukya kalam to mail kalam is madhyama kalam. The entry into madhyama kalam symbolizes that the first half of the thani is almost over. In the madhyama kalam the artist demonstrates his dexterity and control over the instrument by transitioning from Chatusram to Thisram (4 pulses to a beat to 3 pulses to a beat), from Thisram to Khandam (3 pulses to a beat to 5 pulses to a beat), from Khandam to Misram (5 pulses to a beat to 7 pulses to a beat), from Misram to Sankeernam (7 pulses to a beat to 9 pulses to a beat) and back to Chatusram. One thing to be noted though is that their is no hard and fast rule governing this transition. Once back to Chatusram he moves on to play various Farans and is now building up the speed for the grand finale. Once in the Faran stage one would not go back to madhyamam or soukya kalam. The artist is now in the mail kalam and plays anywhere from 6 to 10 different farans depending on his strength stamina etc. From here he moves on to play the Mohara, which is an indicator to the main artist to get ready. After the Mohara comes the teermanam played three times identically at the end of which the main artist picks up the kirtanam in the speed he had started and wraps up the song.

This traditionally would be how a thani avartanam is played. With this knowledge I request all you rasikas to go back and listen to various thani avartanams and see how much more you enjoy this part of drumming.

Of course we have among our members in this forum Shri Rajamani, eldest son of Palghat Mani Iyer, and who is himself a great mridangist. He might find all these discussions too elementary

.

cmlover · Post by **cmlover** » 01 Dec 2005, 02:53

Thanks chembai.
What I am looking for is somebody knowledgeable holding hand through an exercise. I would like to distinguish between various nadais by listening as also understand the transitions. The math is not complicated but the vocabulary is formidable. Somebody should explain the jargon terms. I feel helplessly watching when folks throw words around as to how PMI sparkles. I have a feel for the rhytm ( same as African drumming too!) but I want to know what is so grat and why? It is just like listening to CM but liking it but knowing it and liking it. Am I too greedy?

srkris · Post by **srkris** » 01 Dec 2005, 18:24

You are not greedy but I fear I cant be of much help in that direction. We will wait for Sri Rajamani or someone else to explain.

I will be attending his presentation on technical aspects of laya the day after tomorrow at Astika Samajam, organized by Sampradaya. Maybe if I understand, I will share it with you, though I know you are looking for a comprehensive analysis and explanation with regard to laya appreciation.

Today and tomorrow also, there are programs on laya appreciation. I think today is Sri T.K.Murthy explaining about mohras in 108 talas.

srkris · Post by **srkris** » 01 Dec 2005, 18:53

Param

Please also analyse this thani by Palghat Mani Iyer:

http://rapidshare.de/files/8431342/chem ... i.mp3.html

This thani is also preceeded by swaraprastara by Chembai and TNK in Thodi for a few minutes.

cmlover · Post by **cmlover** » 01 Dec 2005, 21:07

Thanks chembai
Every bit will help!

param · Post by **param** » 02 Dec 2005, 14:17

Dear Srkris,

Will definitely do that tonight. Had a very bad schedule since 30.11 with a few Russians coming into Bombay and f***ing my thirst for music. Had to work non-stop till I dropped them back to the airport this morning at 5.00 am - then had my first hour of sleep in the last 53 hours of life - am a bit tired now but will definitely download it today and post my feedback tonignt.

Does any one have any Upendranji's tanis - especially where he has explored into Kandam, Kandam in Tisram in Kandam, and Sankeernam.

Would be grateful if u could upload these.

Thanks

srkris · Post by **srkris** » 02 Dec 2005, 22:56

Param, thanks.

Regarding the thani I last uploaded, I guess it is not PMI, since it appears to be different from PMI's style.

Here is a true blue PMI thani, with a lot of kanakkus and intricacies thrown in. Lalgudi and Chembai also bring in some kanakku in the swaraprastara that preceeds the thani. The song is Thyagaraja's "chetulAra sringAramu" in Bhairavi.
http://rapidshare.de/files/8495078/CVB-LJ-PMI.mp3.html

cmlover · Post by **cmlover** » 03 Dec 2005, 01:15

That was superb! If only someone can explain how and where the gati changes in the swaaprstaara and a basic explanation of the kaNakku!

meena · Post by **meena** » 03 Dec 2005, 23:46

just a taught, maybe rohin and nickH can be invited to join and they may throw some light. They had a thread running for a longtime on forumhub.

meena · Post by **meena** » 04 Dec 2005, 00:00

taught---> pl read as thought

srkris · Post by **srkris** » 04 Dec 2005, 00:01

Just emailed Nick.

param · Post by **param** » 04 Dec 2005, 00:31

Thanks srkris,

Just my bad luck - am in hazira cant do a single download - wil;l reach mumbai tomorrow morning - I thought russians are bad - forgot fellow indians - no thought for humans at all ;( what to do - no other choice - bcoz they run my daily quota of bread n butter n wine - I hope u under5stand - will definitely listen to both after I d'load both n post my comments.

Meanwhile await postings from fellow rasikas for Upendranji's tanis - was just listening to some of his lessons recorded on tape - then remembered my promise to you - resulted in this post

Hope to get you some good thoughts tomorrow

srkris · Post by **srkris** » 06 Dec 2005, 02:12

Param, you are welcome to pick it up when you are free.

param · Post by **param** » 08 Dec 2005, 09:16

srkris,
Atlast found time to d/l the PMI tani - really a good one - will need another 2-3 hearings to be able to able to elaborate further. Kudos to you guys for such wonderful collections. I was wondering if anyone had a tani of Tanjore Vaidyanatha Iyer - something I only dream of listening to.

param · Post by **param** » 12 Dec 2005, 21:58

srkris - this tani has a lot of lessons for other mridangam artistes - the periyamohra - is one that has been derived from one that is played by Thavil Vidwans - the only sad part is that the grand finale korvai was not the original one that has been set for this mohra but a different one - I have in my various lession sessions with Upendranji (one of the various senior disciples of Master or Mani Iyeras he is otherwise known) - one that has a lot of kanaku - requires a main artistye who is a pillar on the talam. Great Tani Srikris - and my humble apoilogies for the inordinate delay.
Await posting of tanis by Upendran sir

Nick H · Post by **Nick H** » 05 Feb 2006, 12:29

Just arrived.

Perhaps one shouldn't criticise without doing better, but the description from planetmridangam has quite a lot wrong with it, I'm sure there are much better already available on the net.

But, as to the original question: the thani must be given in the tala for the song it forms a part of. I guess the majority of songs performed are in adi talam, hence the impression that most thanis are in aadi tala! It is only an impression, though, as I have certainly recently seen rupaka tala, Misra and Khanda chapu talam thanis performed regularly and recently. Where the thani is given as part of a RTP then it could be any number of beats, but khanda Atta (a 14-beat cycle) is popular.

The mridangist (and company) must memorise korvais, mohara, teermanums, etc for any number of beats in a cycle, and/or be able to calculate and compose (making good music as well as good maths!) on the spot. It is tough!

param · Post by **param** » 15 Mar 2006, 01:05

dear all,

I do admit its difficult to be a mridangist or for that matter any percussion artiste - since along with it goes all the data that one has to store in readily accessible files - (not zipped or archived), but let us analyze who does the most in a concert.

According to me it is the Violinist.

The violinist accompanies when the singer is singing the ragam, then plays an individual piece (to this point the percussion is silent) again accompanies when the singer is singing the song and plays answers for all the swaras, kalpana swaras, etc.

The one who enjoys the maximum restis the upa-pakkavadyam - since he is on the stage only to provide some breathing space for the mridangam artiste.

These were thoughts that were in my heads for quite some time - spilled today that's all.

Your comments please