Kriyas & Angas - Significance to musical & lyrical structure

Tālam & Layam related topics
shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Kriyas & Angas - Significance to musical & lyrical structure

Post by shankarank »

shankarank wrote: 17 Dec 2017, 09:06 https://youtu.be/qXYDgLrT7R0?t=1520

If you rewind, he had talked about tiruppugazh, which I don't disagree outright, but to get the contemporary musical aesthetics, for kAdi mOdi, it can be taken in triSra naDai, caturaSra jampai tALam - for the 21. kAdi , mOdi itself is in triSra gati from a syllabic perspective!
Here is the exact timeline link: https://youtu.be/qXYDgLrT7R0?t=1407

After that post, there has been a specific demo of the same by SrI tAyumAnavar during May 2018 SrI Pazhani remembrance day.

https://youtu.be/eRHvFSNb3tg?t=1016

he demonstrates the canda tALa, immediately noting the difficulty of doing it these days. Converts it to miSra jampa with the last sollu of laghu done as 3 instead of 2 (for the equivalent kAla pramANam). That makes 10*2 = 20 into 21 to accomodate the 21 akshara tirupugazh line.

That is a hybrid solution - giving the flavor of canda tALam within a standard sUlAdi tALA structure.

Then he finally goes into full triSra naDai mode where he picks triSra tripuTA. This is similar to catuSra jampa that I suggested. With catuSra jampa, kAdi mOdi vadAdu nUl - the subject fits into pURvAnga almost with "nUl " , where the dhIrga goes over anudRtam (saSabda kriyA). While kaTriduvORum does an atItam to the second one. These are there in triSra tripuTa as well , the first one in the vAdADu.

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Kriyas & Angas - Significance to musical & lyrical structure

Post by shankarank »

He just doesn't simply render his own versions - it is [Ahem!] the true version ;) :

https://youtu.be/S1k8V-eEMYI?t=591

See how he ensures that dayala vAla is taken atItam and that is prAsa maitri on uttarAnga with tyAgaraja vandanIya where "ya" on "tyA" falls on arudhi. yati maitri is also maintained.

And now here the word atItam gets an emphasis as atIta : https://youtu.be/Ptt8FZ_gSvo?t=748 to the tALa krama!

And now dayAla is atItam as well:

https://youtu.be/Ptt8FZ_gSvo?t=901

atIta vidvans! :lol:

Now a slight adjustment - guNa SIla , guNa and SIla get equal time. guNa is shortened by a mAtra will leave dayAla to be taken atItam more easily.

Also with vicakshana being atItam, dayAla following same shows some nice alignment for pURvAnga and uttarAnga.

In vinOda mOhana kara, mOhana can be elongated on the long syllable mO to then compress hanakara to shorter mAtras, to give dhIrga to express itself nicely!

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Kriyas & Angas - Significance to musical & lyrical structure

Post by shankarank »

Want to consolidate relevant threads where this topic has been discussed:

tEDi tiriyAdE

viewtopic.php?p=334165&hilit=nATTamudan#p334165

Requires pulling satguru - the 'sat' part as atItam to the samam of the rUpaka tALa for it to be nerval compatible

This is apparent from the difficulty faced while executing neravals with syncopation ( with offsets or odukkams).

https://youtu.be/OXBn0dXzbt4?t=1508

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Kriyas & Angas - Significance to musical & lyrical structure

Post by shankarank »

EtA vunnArA:


viewtopic.php?p=378536#p378536

Sangati , for the Pallavi of Eta vunnAra; Starts from 1/2 place - iDam and ends quarter before arudi that goes like the pattern:

Code: Select all

ta-ka-ta-ki-ta  ta-ka-ta-ki-ta  ta-ka-ta-ki-ta  ta-ka-ta-ki-ta  tAm tAm tAm..
E...            E...            tA...           A...            vun.nA..rA.............
4*5(s) + 2*3(s) ( for the 3(s) only first two tAms count. The last one ends the whole phrase and leads into pause)

20 + 6 = 26 - which is short of 4 (1/2 offset anAgatam) in the front and 2 (1/4 pre-offset or atItam) before arudhi or midpoint of the tALA cycle.

The pause after the last tAm goes for 1/4 before and then 1/2 after arudhi for nilakaDA nIKu to take off. A total of 3/4th and quite asymmetric , but creates an exhilarating verve ride for a listener who follows the beat!

P:S Remember this from Sri MAS/MAK violin duet at IITM CLT Circa 1990/91 with Sri SrimushNam Raja Rao.

shankarank
Posts: 4043
Joined: 15 Jun 2009, 07:16

Re: Kriyas & Angas - Significance to musical & lyrical structure

Post by shankarank »

Listening to this item posted in rasikas.org facebook pages,

https://www.facebook.com/groups/rasikas ... 497898263/

the caraNam : tillai... talattil | ponnambala vANan split ( about 2 minutes into the rendition) , the ponnambala is rushed. It should be taken atItam after singing tillaittalatil together where most vowels are short. "lai" can be held shorter and ponnambala vANan taken immediately before arudhi.

In a 32 mAtra notation scheme per Avarta

Code: Select all

||,,til,  ,lai,, ta,la, til,pon, | ,,nam,  ,bala,   vA,,,  Nan,,, ||
Even in a non-raga rAga like karaharapriya ;) , just positioning the syllables with better alignment, generates much better melodic phrases. How about that? :D

This adjustment can further improve with a yati that is 3 mAtras offset:

Code: Select all

||,,,til  ,lai,ta la,til, ,,pon, | ,,nam,  ,bala,   vA,,,  Nan,,, ||
with additional odukkams in the latter part possible. The first pattern

Code: Select all

til  ,lai,ta  la,til,  ,,
(sung as lets say:

Code: Select all

nI ,da,ni mA,pa, ,,
) ..creates a nice yati for svaraprastArams to reach and take off. And one can do poruttams. Then following uttarAnga is has good viSrAnti for neravals.

yati-viSrama :ugeek: . Now that is sampradAya. For a composition by the very daughter of tamizh tyAgaiyer, we should do better than what has been sung. As TNS mentions in his interview "because my grandfather said 5+3=1 , I will continue that" is not sampradAya.

P:S TNS , is his view on sampradaya, was pointing out how Dr HMB's vision of hamsAnandi continues with all composers including in films beginning the rAgA in niShAdam and flowing downwards for rAga svarUpam to emerge.

Post Reply