Kalapramanam queries

Tālam & Layam related topics
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classical91
Posts: 26
Joined: 28 Aug 2015, 14:16

Re: Kalapramanam queries

Post by classical91 »

SKR's raga singing style was something quite unique - he used to bring out different shades to a raagam using the 'zoom-in-zoom-out' effect. He would sing a phrase in vilamba kaalam, then immediately repeat the same in durita kaalam, creating a magnifying effect. E.g: Listen to the hindolam raga from near the 1.41.00 mark in https://www.youtube.com/watch?v=Rcn60gqOvAA

As for the kaalapramanam of a raagam, it is much less defined, but definitely applicable. Ragas like arabhi, mohanam, hindolam, madhyamavathi, etc. are ragas which have a lot of fast phrases. Of course, fast phrases do not exclusively constitute these ragas, but they form a highlight. The reasoning for this can be obtained by looking at the basic raaga swaroopam - these ragas are quite straightforward, with lesser jaarus and gamakkhas, and more brighas and akaara-based prayogas. So they are some ragas where speed can be increased without loosing raga bhavam. On the other hand, ragas, like sahana, nayaki, shree, anandabhairavi, maanji, ahiri, etc. are jaaru and gamakkha-heavy. Thus, these ragas have a comparatively slower kaala pramanam to bring out the raga swaroopam effectively. An increase in speed may hinder the raga bhavam.

Sampoorna ragas (not necessarily all) have more flexibility - they can have fast akaara-based phrases as well as slower gamakha-based phrases. So they are ideally sung in the 'rendu-kattan' kaala pramaanam, starting with slower phrases and moving on to faster phrases at a later stage in the raga exposition. The best example of kaalapramanam control during raga rendition would be DKJ. He gave equal importance to slow phrases, and fast bright-based phrases.

The mood of a ragam also tends to play a role in the kaalapramanam, so ultimately goes back to the singer's kalpana dharma. If someone were singing a very moody Shubhapanthuvarali, they would probably adopt slower phrases, and few fast phrases. Kalyani is one ragam which has an amazing flexibility of kaalapramanam, but personally, singing a slow-medium paced kalyani with a varjya highlight is an absolutely soulful experience - and 'soulful' is generally never associated with fast speed!

Of course, fast phrases are sung in most raagas. That does not make a raagam inherently tvaritam. Ultimately, I suppose it's a combination of the mood of the raagam, and the types of prayogas which make the raga swaroopam, that define a raga's kaala pramanam. I wouldn't say it's a straightforward concept - a bit more abstract, but definitely there!

SrinathK
Posts: 2477
Joined: 13 Jan 2013, 16:10

Re: Kalapramanam queries

Post by SrinathK »

@kvchellapa, Yes, there is definitely a concept of pacing that is crucial in an alapana. This is established in the opening phrases itself. I need to show examples of alapanas of various singers to show you how they are able to sing an alapana at different pacing. In fact, it's not unlike a tennis match. The musician sets the pace and the energy level as well as the "game plan" as to how the raga is going to be explored on that day. This game plan is adhered to for the whole of the alapana. The alapana may decelerate in long kaarvai phrases and accelerate in brighas, but it will always keep returning to this pace and that energy level. Abrupt departures from this pace or a wild swings in the pace is a clear sign that a musician's imagination isn't getting into a rhythm on that day.

Kalapramanam therefore is the ability to maintain an even pace, both in tala bound and tala unbound music.

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: Kalapramanam queries

Post by Nick H »

SrinathK wrote: I have very rarely seen a few talas beyond this system, in lec dems and a couple of radio concerts only, and never once in any of the live concerts I have attended in 15 years ...
The only one I am aware of having seen is Simhanandana. I suppose that, because of its sheer enormity and complexity, it gets taken on as a demo piece. Live on stage? I think I have seen it just once. My very bad memory is now unsure of the artist --- but it might have been K Gayathri. I recall seeing a TV presentation on youtube, of a pallavi in this tala, by her teacher Suguna Purushotaman. Last time I looked for it I could not find it --- but with your greater experience, It wouldn't surprise me if you know of it.

When it comes to obscure/difficult talas for pallavis, it seems to me that, increasingly, the rhythm cycle is made up by the artist themselves as part of the composition process.

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