Anuloma And Pratiloma

bilahari · Post by **bilahari** » 25 Dec 2007, 23:41

I think this has been asked before, but can someone please explain Anulomam and Pratilomam?

(Mod note. these posts were moved here from the Carnatic Bros concert review thread: http://www.rasikas.org/forums/viewtopic.php?pid=67288 )

vijay · Post by **vijay** » 26 Dec 2007, 00:29

In Anulomam, tala is constant and sahithya is sung in 3 speeds from idam to idam. In Pratilomam, sahithya is kept constant and the tala speed is changed...Anulomam is usually done in a Pallavi but Pratilomam is relatively rare

bilahari · Post by **bilahari** » 26 Dec 2007, 08:21

Thanks, Vijay. Pratilomam seems tough.

Rengarajan · Post by **Rengarajan** » 26 Dec 2007, 09:06

vijay wrote:In Anulomam, tala is constant and sahithya is sung in 3 speeds from idam to idam. In Pratilomam, sahithya is kept constant and the tala speed is changed...Anulomam is usually done in a Pallavi but Pratilomam is relatively rare

I request Mrudangam to give more clarity

vasanthakokilam · Post by **vasanthakokilam** » 26 Dec 2007, 10:55

So Vijay, is anulomam then another term for singing trikalam?

My vague understanding of pratilomam is, if the pallavi is set in 2 kalai, the musician temporarily converts it to 1 kaLai and then sings multiple speeds in that new 1 kaLai version of the thala. Is this even remotely correct?

vijay · Post by **vijay** » 26 Dec 2007, 11:12

Yes VK that's right - Anulomam is basically trikaalam if my understanding is correct. More knowledgeable rasikas may clarify

Nick H · Post by **Nick H** » 26 Dec 2007, 20:30

I think that trikaalam will go eg first speed, tisra, second speed (and so on if more than nominal three speeds are taken).*

pratilomam on the other hand is taken 1st, 2nd, 3rd speed.

--- That's partly dim memory of mridangam class, and partly an assumption from this most junior member!

*afterthought... and can include mixed speed too. I've forgotten the technical term for that presentation.

nadhasudha · Post by **nadhasudha** » 26 Dec 2007, 20:58

vasanthakokilam,
Not exactly - To go by your example, if a Pallavi is set in 2 kalai, the pratilomam would be to sing it in 2 kalai, 1 kalai and 1/2 kalai. Pratilomam as I have seen executed by the Carnatica brothers is very interesting to watch and experience.

sbala · Post by **sbala** » 26 Dec 2007, 21:22

VK - there are subtle differences between trikalam and anuloma.

Anuloma - When you change the speed, the artiste has to change the kalam at the start of the avarthanam and not necessarily the start of the sahitya. This would result in a change in the eduppu

Viloma - Opposite of anuloma. ie singing the 3 speeds in reverse order

Trikalam - the speed is increased keeping the eduppu constant

Pratiloma - The speed of the tala is changed. Again, it has to change at the start of the avarthanam which would result in the eduppu being changed as you shift to a different speed.

Disclaimer :These are all from some books I read when I had a passing interest in tala. Hope we get a more informed opinion

vasanthakokilam · Post by **vasanthakokilam** » 27 Dec 2007, 13:06

Thanks everyone.

See if the following depicts the two rhythmic setups. Please correct this and explain the complexities involved using this scheme and to distinguish between trikalam vs anuloma etc.

Let us consider a pallavi in the hypothetical 2 beat thala to keep things simple. The gathi is chatusram ( ( 4 subunits to a beat at 1st speed ).
Let us just use letters a, b, c, d, e, f, g, h etc. for swarams.

For samam eduppu, the sequence goes like "abcdefgh"
For a non-samam eduppu, the sequence goes like "cdefghab"

Code: Select all

Anuloma ( beat interval denoted by '|' and '||' remains the same )

1st speed: abcd | efgh || abcd | efgh ||
       

2nd speed: abcdefgh|abcdefgh|| abcdefgh|abcdefgh||
 

3rd speed: abcdefghabcdefgh| abcdefghabcdefgh|| abcdefghabcdefgh| abcdefghabcdefgh||

Code: Select all

Pratiloma - beat interval denoted by '|' and '||' is reduced by half at each stage.

2 Kalai :  abcd efgh | ijkl mnop || abcd efgh | ijkl mnop ||


1 Kalai:   abcd | efgh || ijkl | mnop  || abcd | efgh || ijkl | mnop  ||


1/2 Kalai: ab |cd ||ef |gh ||ij |kl ||mn |op ||ab |cd  ||ef |gh ||ij |kl ||mn |op ||

I am not sure if the Pratiloma representation is right. By looking at it, it looks like the singer just sings the same way at every stage except keeping the thala faster. Is that how it is done or I have completely mis-represented it?

sbala · Post by **sbala** » 27 Dec 2007, 15:56

VK,
Anuloma seems ok. If you can depict the same in trikalam with the speed change occuring on cdef.. for the cdefgh pallavi, then the difference will be clear. The change in the eduppu during the transition is probably one reason why anuloma is more complex. If it is samam, both are same.

vasanthakokilam · Post by **vasanthakokilam** » 27 Dec 2007, 22:15

I have tried to represent trikalam below for a non-samam eduppu. See this is correct. This seems to be more complicated than anuloma on first glance.

Code: Select all

Trikalam ( beat interval denoted by '|' and '||' remains the same ), Sequence is a non-samam eduppu, 'cdefghab'. 
Speed change occurs on the eduppu at 'cd..' as opposed to at 'ab..' which is the case with Anuloma

1st speed: ..cd | efgh || abcd | efgh || ab
             ^
             ^
             Eduppu is here

2nd speed: abcdef|ghabcdef|| ghabcdef|ghabcdef||
             ^
             ^
             speed change starts here

3rd speed: ghabcdefghab| cdefghabcdefghab|| cdefghabcdefghab| cdefghabcdefghab||
               ^
               ^
               speed change starts here

Back to
1st speed: ab......cd | efgh || abcd | efgh || abcd|efgh||
                ^
                ^
                These 6 dots are in third speed
Or 

Back to 
2nd speed: ab......cdef|ghabcdef|| ghabcdef|ghabcdef||
                ^
                ^
                These 6 dots are in third speed

then
1st speed: ab..cd | efgh || abcd | efgh || ab
              ^
              ^
              These two dots are in second speed

sbala · Post by **sbala** » 28 Dec 2007, 07:54

Yes, that is my understanding. Trikalam is also not easy but they always start the transition on the pallavi line which is natural. It just happens on a beat that is different from samam. But, anuloma you need to make the transition a few aksharas before/after the start of the pallavi(depending on the type of eduppu) which makes it a little bit more unnatural and hence more difficult in my opinion.

rajumds · Post by **rajumds** » 28 Dec 2007, 14:18

Here is an explanation by Prof TRS

http://rapidshare.com/files/79573396/anulomam.mp3.html

sbala · Post by **sbala** » 28 Dec 2007, 18:25

Thanks rajumds. As he said, this is one topic where different schools have different opinions. I never understood varying the speed of the thala and keeping the music at the same speed. As he says, it is just dry technique and cannot be distinguished when the artiste is not seen.

Also, he doesn't differentiate between trikalam and anulomam. I feel the distinction we are talking about between anuloma and trikalam has some musical value as opposed to the dry pratiloma. It would be helpful if we know if Carnatica bros did a normal trikalam or anuloma as per the previous posts or in some other manner.

nivedita · Post by **nivedita** » 28 Dec 2007, 21:49

Just saw the replies to my post. I've just glanced through them and I haven't really seen VK's representation, either. But here's the pallavi and the pratiloma. I hope it's understandable. Will post anuloma as soon as I find time.

- - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - - - | - - vai - ||

bha vam - yO | - ga vai - | bha vam - rA | - ja yO - | ga vai - bha | vam - - - | - tyA - ga | rA - ja yO | - ga vai - || (pallavi line in 2 kalai)

bha vam - yO | - ga vai - | bha vam - rA | - ja yO - | ga vai - bha | vam - - - | - tyA - ga | rA - ja yO | - ga | vai - || (speed change from 2 kalai to 1 kalai)

bha vam | - yO | - ga | vai - | bha vam | - rA | - ja | yO - | ga vai ||

- bha | vam - | - - | - tyA | - ga | rA - | ja yO | - ga | vai || (speed change from 1 kalai to double speed)

- | bha | vam | - | yO | - | ga | vai | - ||

bha | vam | - | rA | - | ja | yO | - | ga ||

vai | - | bha | vam | - | - | - | - | tyA ||

- | ga | rA | - | ja | yO | - | ga | vai - || (speed change - back to 2 kalai)

bha vam - yO | - ga vai - | bha vam - rA | - ja yO - | ga vai - bha | vam - - - | - tyA - ga | rA - ja yO | - ga vai - ||

bha vam - yO | - ga vai - | bha vam - rA | - ja yO - | ga vai - bha | vam - - - | ...

bhaktha · Post by **bhaktha** » 29 Dec 2007, 08:11

Alleppey Shri Venkatesan on Pallavi:

http://www.thehindu.com/fr/2007/12/28/s ... 260500.htm

Quoting from the review:
"Venkatesan then moved to the application of trikalam and anulomam where the pallavi is sung at three different speeds with the talam as such, and pratilomam by varying the talam speed, and keeping the pallavi as such"

-bhaktha

bilahari · Post by **bilahari** » 29 Dec 2007, 10:47

While Pratilomam does seem to be a dry exercise for the audience, I imagine it requires a lot of laya instinct to pull off (I think it may be the sort of thing that might be very useful while practicing, not necessarily while performing).

sbala · Post by **sbala** » 29 Dec 2007, 14:58

Thanks Nivedita. It's a beautiful pallavi and you have explained it very well. Please post the anuloma as well when you have time.

vasanthakokilam · Post by **vasanthakokilam** » 30 Dec 2007, 00:05

Nivedita: Thanks for that careful representation of what is involved in Pratiloma.

A few questions:

1) First a silly represenation question. When you write '(speed change from 2 kalai to 1 kalai)' to the right of a particular line, I assume you mean the change happens in the following line. Is that correct? That is how I understood it but then slightly confused about the tag for the previous line '(pallavi line in 2 kalai)' since that seems to apply to that lne and the previous line.

2) speed change from 1 kalai to double speed : From the thala marking, this seems to be same as changing to half kalai, if I may. Meaning, it is in the same progression as the change from 2 kalai to 1 kalai. Why do you call this one doublespeed and the first one 'speed change from 2 kalai to 1 kalai'.

3) If I understood this right, there is no speed change in the singing of the line as others have written in this thread. It is only the speed of keeping the thalam/kriya that changes. I do not intend to minimize the significance of it by asking this, just to make sure I understand it.

Thanks.

nivedita · Post by **nivedita** » 30 Dec 2007, 08:18

Vk, here are the answers to your questions:

1) The speed change occurs at the 'vai' (which I have italicised), to the immediate left of the brackets. This new speed extends till 'tyAgarAja yOga'. At the next italicised 'vai', another speed change occurs.

2) You're right. It is 1/2 kalai - I thought calling the speed '1/2 kalai' would be confusing so I called it 'double speed'!

3) Yes, in pratiloma, there is no change in the speed at which the pallavi line is sung. It's only the speed of the tala that varies.

Hope this helps.

Bilahari: Believe me, it is _very_ interesting to watch a pratiloma being performed.

vasanthakokilam · Post by **vasanthakokilam** » 30 Dec 2007, 08:36

Thanks Nivedita. I missed the subtleity involved with the speed change happeing at the 'Vai'. Now only I noticed that you have notated kalai change at 'Vai' with the thala markings. Thanks.

sbala · Post by **sbala** » 30 Dec 2007, 09:17

If kalai is a measure of the duration of the avartha taken by the thala, then 1/2 kalai is right. But, practically, people link kalai to the number of beats of a kriya. 1-kalai is one beat for every kriya and 2-kalai is 2 beats for every kriya and so on. This is how musicians visibly show the slowing down or speeding up of a thala. I don't know how you can show 1/2 kalai if you go by that definition. In the above example, they would have still put one beat per kriya when they made the speed change. So, practically we might think it is 1-kalai. Speed change seems easier to understand though theoritically 1/2 kalai is probably right. A related issue is in varnas when the artiste render it in first speed with 2 beats per kriya and then move to the second speed with one beat per kriya. Some people refer to this as change from 2-kalai to 1-kalai but its really the speed of the sahitya that changes and not the thala.

bilahari · Post by **bilahari** » 30 Dec 2007, 09:26

Nivedita, I'm looking forward to the anuloma explanation of the pallavi. Thank you!

vasanthakokilam · Post by **vasanthakokilam** » 30 Dec 2007, 11:26

sbala, I understand what you are saying. 1/2 kalai makes theoretical sense but is not useful for actual kriya. So 'double speed 1 kalai' is how the kriya needs to be done. Actually I did not originally catch on to what Nivedita meant by '1 kalai double speed'. It is double speed in the sense of '1 kalai at faster beats'. I am now fine with either terminilogy.

vasanthakokilam · Post by **vasanthakokilam** » 30 Dec 2007, 11:32

BTW, what happens to the 'Arudhi' in both Anuloma/Trikalam or Pratiloma. It seems to have gone to a state of suspended animation until these maneuvers are complete. In the pratiloma case, Arudhi seems to be at 'Vam' of 'rajayogavaibavam' but in 1 kalai and 1/2 kalai it seems to fall in non-fulcrum points.

sbala · Post by **sbala** » 30 Dec 2007, 13:34

vasanthakokilam wrote:It seems to have gone to a state of suspended animation until these maneuvers are complete.

. True, I used to wonder about the same but did not want to raise the question here as it might take us on a different track. I think even in a normal trikalam, unless the purvangam and uttarangam are of equal duration, the arudi will not fall at the same place when you change sahitya speed keeping the tala constant. I have not thought about this much but that's my initial feeling. One workaround is sing the purvangam twice, get to the arudi and then sing the uttarangam twice when you double the speed . The other way is change from 2 kalai to 1 kalai so that the tala speed is also doubled when you double the sahitya speed. That way sahitya and tala should be in sync all the time as we are keeping the speed of the sahitya with respect to the thala constant.

mohan · Post by **mohan** » 30 Dec 2007, 16:04

Interesting discussion. TRS in the lec-dem says anulomam is singing the pallavi in double and quadruple speeds while pratilomam is singing in half and quarter speeds.

Sometimes when Sanjay Subramanyam is singing swaras in the pallavi he will end the swaram on a different edam and then sing the puravangam of the pallavi in half speed so that it finishes on the original position. Is there a technical term for this?