THE SOUL OF MUSIC OR TUKKADA

[KNV1955]

IMO we should stop calling the Post Pallavi or Post main session as Tukkada session. This terminology gives a feeling that this session is a light session & not classically rich. Many musicians, especially today, do not fully comprehend that the post main/pallavi session should be handled differently with emphasis on caressing the words and drawing out the emotion. I would love to call this part of the concert "The Soul of Kutcheri". My appreciation for Carnatic Music grew from listening to songs rendered post main like Chittam Eppadiyo -Nadanamkriya/Jagododharana-Kapi/Krishna Nee Begene-Yamunakalyani/Meiporulkandu-Chenchurutti etc. I even wrote a blog on this topic in Sruti. Who coined this word Tukkada? Can anyone throw somelight.

http://srutimag.blogspot.in/2012/12/the ... cheri.html

[shankarank]

Yup - if you watch the Documentary of Alathur brothers ( I could not locate the link immediately) - a rasika recalls how Srinivasa Iyer refused to sing candraSEkara after Sivasubramania Iyer's passing away. So that tells you what they thought that bonded them to rasikAs as well us themselves - inspite of all their layakari!!

[arasi]

KNV,
My guess is that tukkaDA is from the hindusthani word TukDA--a tiny piece, fragment. It has become a chit thing. A dash for a finish.
The emotional content and weight of the post RTP (or simply the main) in your father's concerts were even better than in Ari's, I dare say.

[Sivaramakrishnan]

Padams-especially of kshetrajnar shouldn't be falling in Tukkada segment by any means.

[kvchellappa]

But, 'padam' is at the end!

[Rsachi]

KNV,
Agree with your views. Tukkada is a supremely unaesthetic word coined by someone in a bad moment for CM.

[arasi]

Yes Sachi, unaesthetic the word is. So are idara vagaigaL which sound like all and sundry

[KNV1955]

A friend of mine Toufic Touzena & a student of KVN (some in the group know him) now changed to Tulsi Ram, suggested the name Ananthagaanam

[Sivaramakrishnan]

'Upa kritis': how about this?

[parivadini]

The concert advertisements of Pre 1940s in Tamil use the term "Chillarai" (again an unaesthetic term) approximately meaning miscellaneous pieces. Like the words Bejar, Bemani used in Tamil derived from Urdu/Hindi, Thukkada is used in Tamil to denote something that is not the main item and sometimes used to denote something small (not necessarily unimportant).

Language changes quite a bit over time. For example the usage of the term "aappu" was considered vulgar a few decades back is commonplace today. A little bit of a historical perspective is required before deciphering a term in its true meaning.

[parivadini]

One might ask if thukkada denotes the not so main item, why not a filler between the two main pieces is termed as a thukkada.

One plausible answer is, even the filler between two main pieces is rendered with an intention of keeping the listener's attention without getting bored and hence plays a role in the "main motive" of the concert (which used to be the RTP in the olden days). The post pallavi pieces have no such use for the "piece de resistance" of a concert and hence are grouped as miscellaneous

[Rsachi]

pièce de ré·sis·tance [English pee-es duh ri-zee-stahns]

—noun, plural pièces de ré·sis·tance

the principal dish of a meal.the most noteworthy or prized feature,aspect, event, article, etc., of a series or group; special item or attraction.

This focusses on the main item in a concert. This term has great importance with respect to any item taking up >30% of the concert time.

The Ariyakudi Paddhati and in fact the present day concert format of everyone including TMK approaches the idea of the concert more like a Thali meal. The variety of aesthetic elements and the mix of compositions will have an all-round appeal. That is where the post-main items have a disproportionate impact on the audience appeal and concert recall. Also, since the typical Carnatic ensemble has a middling path when it comes to acoustics and blending of creative contributions from everyone, it hinges on variety more than one major piece.

It that regard, as KNV has said, the term tukkada is derogatory.

[Nick H]

Arasi, was it you who once posted to the effect that there is nothing about a composition that makes it a "tukkada," but it is a matter of how it is delivered?

I think it was, but, whoever said it, it stuck in my mind.

[rajeshnat]

KNV
Musicians have to sing a submain either fragmented without either a neraval or a swaras. A main(R N S T) and a tani with alteast two violin returns. Without singing a RTP is not good musical strategy. If your appA was living today as a 25 to 50 year old vidwan , he would be forced to sing only for 2 hours and vacate the stage if it is a morning or evening 1 concert and if he is lucky to get an evening II slot he has to get out at 9 pm. Only those who have immense connections get longer slots

By the way I also started with only viruththams and slokhams or in general post main fascination . In 8th or 9th standard ,I used to even custom record two audio tapes of Maharajapuram santhanam 2 times in succession his kanda guha shanmugha muruga and anayuka radarE (kannada ugabhooga) - both long megaragamaligas comparable or rather slightly better than KVN yogeendrAnam .

For sure the soul of music would have not existed as a prerequisite you need time.
In shruthi magazine - write another article building a case of getting more *absolute * time to the artist - that will give more soul - otherwise only sole.

[sureshvv]

A few years ago S.Sowmya rendered a full concert of thukkadas for MMU proving definitively that there is nothing chillarai about them. She mentioned that a certain amount of "cover up" was possible on a bad voice day for the heavy pieces (using gnanam, kanakku etc.) but it was not possible to do that with the thukkadas.

[parivadini]

Another possible root word could be the term "noRukku theeni" as in snacks. When you "norukkify" something it becomes a "thukkada". These items are no doubt delicious and savored even more than the usual "thayir sadham". But they are what they are. It doesn't make them less important or easier to sing/(in case of the dish - cook/make it).

The terms chillarai or thukkada wouldn't sound derogatory when seen with the context and time of coinage.

[arasi]

Nick,
If I had said it, I've forgotten it--but still go with it. If a small piece has rich emotional impact in its words and rAga bhAvA, it will make a statement as a main or sub-main. Examples: many of Sivan's songs...

[KNV1955]

I have with me the list of songs rendered by Ari; KVN & Semmangudi. I will post it later if possible with recordings. I would like to make a list of songs popularised by MS;DKJ; Brinda & Muktha; T Viswa. Just post it as it comes to your mind Kirtana-Ragam-Composer Other artists contributions are also welcome.

[arasi]

Rajesh,
How true! Most of us were drawn to CM in our childhood by the post-RTP numbers! Oh dear, not that RTP again, we used to moan Words we could understand and sometimes in exotic rAgAs made us wait in anticipation.

In a way, that part is what draws folks to CM today who were not exposed to CM in their childhood.

Old cinemas with songs in CM rAgAs were appealing to those who were exposed to CM and those who were not. Good lyrics helped again.Papanasam Sivan had written many of them!

[varsha]

thukkada is as unaesthetic as main submain mridangist violin return.
btw the real meaning is a part , a fraction , a morsel
I cant buy the argument that artists of today treat it lightly just because it is called so.if the word is unappealing better not use any word at all.the item can be identified for what it is.
the thukkadas of past masters were often boring and cliched to the active listener. the thukkadas in concerts of today are dealt with more initiative. it is the listener of today who cant listen quietly for three hours . and let his mind go thukkada
balchander played ka karoon sajni for vlose to half an hour . some of mdr,s slokams are a performance by itself

[GNB_LGJ_PR]

thukkada is as unaesthetic as main submain mridangist violin return.
btw the real meaning is a part , a fraction , a morsel
I cant buy the argument that artists of today treat it lightly just because it is called so.if the word is unappealing better not use any word at all.the item can be identified for what it is - You sound a bit like Osho
the thukkadas of past masters were often boring and cliched to the active listener - Disagree here - "It is GNB's thukkadas in concerts that got me interested in CM"

the thukkadas in concerts of today are dealt with more initiative. it is the listener of today who cant listen quietly for three hours . and let his mind go thukkada - very true

[KNV1955]

Most of us were drawn to CM in our childhood by the post-RTP numbers! Oh dear, not that RTP again, we used to moan

I used to sleep during RTP in my School days. I graduated from Post main kritis to enjoy ragas like Kambhoji;Bhairavi;Todi;Kalyani; Karaharapriya; Keeravani; Hamirkalyani etc. Always liked singing in higher octaves.I took long time to enjoy elaboration of Ragas like Begada; Madhyamavati; Surutti;Sahana etc. I can never get hang of Ragas like Nasigabooshani; Sumanasaranjani & likes. From posts of more knowledgeble than me I am happy they have also grown up like me

I cant buy the argument that artists of today treat it lightly just because it is called so

Did anyone say that Varsha? I don't know if you are attending concerts now. I attend quite a lot. With few exceptions like Sanjay Subramaniam ( his voice turns pleasant after the high voltage singing till main/Pallavi),Savita Narasimhan;Ramakrishna Murthy most of the artists don't pay much attention to the post main session.

She mentioned that a certain amount of "cover up" was possible on a bad voice day for the heavy pieces (using gnanam, kanakku etc.) but it was not possible to do that with the thukkadas.

Bold & honest observation.

If a small piece has rich emotional impact in its words and rAga bhAvA, it will make a statement as a main or sub-main.

Just listen to this Dikshitar Kriti

https://www.facebook.com/palghatkvn/vid ... 2/?theater

[arasi]

KNV,
What a treat it is, first thing in the morning! Thanks

[varsha]

Did anyone say that Varsha?

If no one , including yourself , said that , fine .

I don't know if you are attending concerts now

Oh Yes , indeed . But I have spent a lifetime in mastering two opposing instincts .
Those of listening to what I have heard before , and to what is new to me .

[varsha]

Did anyone say that Varsha?

If no one , including yourself , said that , fine .

I don't know if you are attending concerts now

Oh Yes , indeed . But I have spent a lifetime in trying to master two opposing instincts .
Those of listening to what I have heard before , and to what is new to me .

[KNV1955]

Varsha I see one major difference between past & present. Exploring new ragas for RTP or even sub main like Nasigabooshani; Sumanasaranjani; Natakapriya;Dharmavati;Hemavati;Brindavana Saranga;Vagadeeswari;Sarasangi (others can add to the list). Few succeed majority fail.

[varsha]

Past and Present

My Grandpa spoke of his classroom in the village . A domineering figure for a teacher with a cane in hand . The entrance to the classroom was from the front corner .The adjoining wall ( to the door) featured the blackboard . A huge world map was sandwiched between the board and the door corner .
It took years for him to unlearn that East was NOT the direction from which he entered the classroom , West was NOT through the window opposite to the door , North was not up into the sky and.... . bUT THE INFLUENCE OF THE MAP , THE CANE , THE TEACHER left little room .

Father's time ...the world was a cosy arrangement . Happy planets in preordained orbits . Some moons reflecting the shine . Some comets foreboding ill .

Our Time .. It has all gone haywire . Hence There shall always be a genius between the slots who keep fascinating the upcoming generations . In terms of the unexpected .
Kalyanraman , for instance . Or Balchander . The current generations fascination for these Artists( for example) is primarily due to the fact they pushed the borders . Other Artists too , in degrees .And I mean no disrespect

My understanding of these bits is like what we call in Kannada , thuNukku . Ever seen a mason finishing a wall before plastering . Or a carpenter before painting. They select odd shaped ( to our eyes) pieces which fit exactly into their needs . Some straight , some curved . Some just a blob .Stuff which are malleable ( for want of a better word) enough to support his big work, and not break .
The artist has always treated these small bits like these thuNukkus . This part of the concert is the homecoming . The winding down.
The thukkadas we talk of are like the " brokens " that used to be sold at Gandhinagar Grand sweets at half price .
I would not look for the soul there . But then we are all different . Are'nt we ?

[perarulalan]

Smt. Pantula Rama singing detailed Hamsanandi alapana followed by Srinivasa ThiruvEngatamudaiyAi, with swarams at dheenacharanyan enum peyar kondAi ...

https://www.youtube.com/watch?v=oqHOSGAQ3EY

... Regards

Perarulalan

[munirao2001]

In the history of Karnataka Sangeetham performances-1. Before and during the Prabhanda Period-Raga alapana, main and prabhanda for sahithya bhavam enhancing the raga bhavam ;2. Sadas and Durbar period- Varna, Svarajathi, Padam & Javali, Raga alapana and major compositions with RTP, the main, very few short compositions;
3.Sabha & Sadas, from 19th century - Varna, Major and minor compositions, raga alapana-major and minor, RTP, Padam & Javali, light classical-devotional (slokas,viruthams,vachanas, bhajans, devaranamas,keertanas, abhangs etc)

When concerts report/review publication commenced, light classical-devotional was considered as miscellaneous and somebody used the word thukkada and the description in repetition got established, without serious discussion to eliminate the practice. It is time, we eliminate the practice. From mid 19th century many great maestros and maestros took this segment of the cutcheri with devotion, their renderings are not ' light classical'. Padams, truly deeply/heavy classical. After the raga alapana, sans sahithya bhavam, raga bhavam, sans tala/rhythm but in laya supported by sahithya bhavam were with the scope of manodharma sangeetham of the vidwans/vidushees. It is soul of musicality of performers.

I urge all the Great Maestros/Maestros/Vidwans/Vidushees of this forum to take initiative to end this practice and restore the due dignity to this segment.

munirao2001

[KNV1955]

The thukkadas we talk of are like the " brokens " that used to be sold at Gandhinagar Grand sweets at half price. I would not look for the soul there . But then we are all different . Are'nt we ?

.

Exactly that is the Tukkada we get to hear now. No soul. Only rude emotions.Varsha We are very very different

[Nick H]

It was from the heart, rather than the head, that I replied to a teenager in the mridangam class, who said that alapana was boring, "It is the soul of the music!"

Twenty years later, I would say that alapana and neraval are the soul of carnatic music. Who knows... in another few years I might include kalpana swaras, and, a few years after that I might just include all of it.

[vallknowme]

I am all for tukkadas. Carnatic based cine songs should be sung toward the end of the concert. Filmy songs and thukkadas.

Soul is difficult because carnatic musicians they ain't got it like Aretha Franklin.

U know what I mean ?

Mmm hmmmm

[Meera]

During navaratri in sringeri sarada temple in venkatnarayana road,TMK sang a detailed 10 mts.+ Ragam followed by again detailed Tanam in Jonpuri followed by eppa varuvaro.it was truly enjoyable.Music is music.Neither the artists nor the audience can take the post main session lightly.I have heard instances where Madurai Somu will venture into detailed RTP after singing a couple of light items post thani.After concert SSI will keep singing on his way back home.Most of us hum after a concert,is it not ?mostly the post thani nos.and not the main !payasam is served after rasam.but we do look for it eagerly!
Mudhra too had arranged an exclusive concert of post thani itemes some time back sung by Bombay Sisters ,I think.

[vallknowme]

..

[vallknowme]

Did not want to upset arasi. so deleted

[arasi]

Ah, Madurai Somu Yes, His music certainly has soul.

'kaTchi mARiTTEn' is understandable. New converts carry that giddy zeal. But calling names--opposite of one being in a 'soul'ful state--especially with demeaning words is puzzling

[munirao2001]

The thukkadas we talk of are like the " brokens " that used to be sold at Gandhinagar Grand sweets at half price .
I would not look for the soul there . But then we are all different . Are'nt we ?

, Varsha Sir's.

KNV1955 and likes of me perceiving and really concerned with 'conscious-soul-broken', unconsciously or consciously looking for the offer of brokens, soulless and perceived pleasure of equality with the soulful, unbroken, sweets and savories.

munirao2001