Manavati

Manavati : It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manoranjani. This scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham, kakali nishadham

Raga Structure:

Arohanam: S R1 G1 M1 P D2 N3 S

Avarohanam: S N3 D2 P M1 G1 R1 S

Tala Structure (20 Aksharams):

1 Laghu + 1 Dhrutha Viraamam + 1 Anudhruthams + 1 Laghu + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam

4+3+1+4+1+4+3 = 20 Aksharams

Vanaspati

Vanaspati : It is the 4th Melakarta ragam in the 72 melakarta ragam system of Carnatic music.

This ragam is also called Bhānumati in Muthuswami Dikshitar school of Carnatic music. The notes used in this scale are Shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham and kaisiki nishadham.

Raga Structure:

Arohanam: S R1 G1 M1 P D2 N2 S

Avarohanam: S N2 D2 P M1 G1 R1 S

Tala Structure (22 Aksharams):

1 Laghu + 2 Anudhruthams + 1 Guru + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam

4+2+8+1+4+3 = 22 Aksharams

Ganamurti - gānamūrti

Ganamurti : It is the 3rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.

This ragam is also called Gānasāmavarāḷi in Muthuswami Dikshitar school of Carnatic music. The notes used in this scale are shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham.

Arohaṇam: S R1 G1 M1 P D1 N3 S

Avarohaṇa: S N3 D1 P M1 G1 R1 S

Tala Structure ( 22 Aksharams) :

1 Laghu + 2 Anudhruthams + 1 Laghu + 1 Dhrutha Viraamam + 1 Guru + 1 Anudhrutham

4+2+4+3+8+1 = 22 Aksharams

Ratnangi - ratnāngi

ratnāngi : It is the second melakartha ragam in the 72 melakartha system of carnatic music.

This ragam is also called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music. The scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham and kaisiki nishadham.

Raga Structure:

Arohanam : S R1 G1 M1 P D1 N2 S

Avarohanam : S N2 D1 P M1 G1 R1 S

Tala Structure ( 20 Aksharams) :

1 Guru + 1 Anudhrutham + 1 Laghu + 1 Dhrutha Viraamam + 1 Laghu

8 + 1 + 4 + 3 + 4 = 20 Aksharams

Kanakangi - Kanakāngi

Kanakāngi : It is the first melakartha ragam in the 72 melakartha system of carnatic music.

This ragam is also called as Kāshirāmakriya in the Muthuswami Dikshitar school of carnatic music. The scale uses the notes shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, shuddha nishadham.

Raga Structure:

Arohanam : S R1 G1 M1 P D1 N1

Avarohanam : S N1 D1 P M1 G1 R1

Tala Structure ( 15 Aksharams) :

1 Anudhrutham + 1 Dhrutham + 1 Guru + 1 Laghu

1 + 2 + 8 + 4 = 15 Aksharams

Laws & Loopholes

Where there is law, there are loopholes. This observation seems to hold good for carnatic music too. Just as the temples did in the past, today, the sabhas, the media and the government play a major role in fostering our music and upholding quality, especially in the case of upcoming artistes.

With the aim of preserving quality, these organization demand a non-commercial audio recording of the artiste and slection is made based on the decisions of a reputed panel of judges. In order to ensure a fair ruling, each candidate is assigned a number instead of divulging the name. A laudable practice indeed. It is also obviously understood that the members of the panel maintain strict confidentiality about their role as jury members. However, it is being observed that many of them, not only disregard this confidentiality, but actually exhibit their roles as jury members by displaying it on their letter heads and business cards.

The consequences are not far to seek. Aspiring candidates naturally have the tendency to approach the members and tell them the items they have rendered, thus making null and void the fair practise of giving numbers to candidates.

This is a typical case of a good ideal being spoilt by ambitious personal interests. In the process, the authenticity of the proceedings is destroyed. Music is a very small level community. when such things go on in this small world, it is little wonder that high level irregularities take place at the state and central government levels thus hindering the efforts to bring about positive growth in our country.

Let us condemn this in our field, Let us vote in favour of quality in fine arts and ensure the growth and enrichment of our great cultural heritage.

Culture - No Culture

Irrespective of its financial situation, every establishment gives its employees a wage hike regularly. This applies to both government and private organizations. If such a hike is not given, the employees go on strike and somehow get their demands settled.

In the field of culture, especialy fine arts, and specifically music, no such hike is ever contemplated. In fact, whenever there is a financial crunch, the first sector to get targeted is the field of culture. And this, when we boast loud and long about the richness of our culture heritage!

We see that even when it comes to artists from the North and Southern parts of India, there is a great divide in the respect of honorarium.

We also note that even in times of acute financial crisis, huge amounts continue to be spent on Political Rallies, the military etc. Yet, allotments given to culture are continuously going down not just in india, but all over the world. The international music festivals are on a low key note, grants allotted to universities have been reduced, and festival committees are holding their programs with a keen eye on lowering costs.

We all know that in this hard world, only music can give solace. Even a desperate terrorist would soften up (at least temporarily) when he listen to some kind of music.

When the greatness of this art has been universally acknowledged, is it not the duty of the government and the corporate sector to ensure that the grants are given generously as befits the status of our great cultural heritage?

Unfortunately, if this present trent continues, there will be only talk about our great culture and no culture any more.

Thread from Youtube - Against KRM

It all started when “FLUTE THIAGU” wrote some bad things about Mani sir. He wrote the following things

1.Why lalgudi play along with a mediocre accompaniment (referring to Mani sir)
2.KRM's playing is like “pebbles rolling in a rusted box”
3.If Indian music is represented by these people, the halls would be empty.
....... and many more

Links
Son of the Destroyer (What else you need): SOD
Divine Milk Man (huh!) : DMM
ajsriram : AJS

When I questioned Flute thiagu, I got the following replies... the unexpurgated version of the thread is listed below

raghu41 (6 days ago) - 4th October 2008

I have heard him before, but I dont think this is good music. If Indian music is represented by these people, the halls would be empty.

ajsriram (6 days ago)

thanks for your comment, and it show your knowledge in music! haha! if you dont understand please ask try to understand dont try to act as if you know
things! lol!

sonofthedestroyer (3 days ago)

ajsriram it is very cheap of you to threaten physical assault on anyone who criticises KR Mani. Reminds me of the late journalist Subbudu who has assaulted
verbally, physically and even in writing because he criticised certain musicians.

ajsriram (3 days ago)

SOD: I am sorry! I think you have misunderstood. I am not threatening at all, BUT I am telling the fact and the truth! Just that i am being frank and nothing else. What i said remains the same and its not a threaten message. I will do what i said. Never bring in subbu in this conversation it will digress the topic. I replied to the creepy, idiotic, knowledgeless, dumb ass Raghu and no one else. If this raghu is a clone of some other shit then it means the same to him and no change in that.

sonofthedestroyer (3 days ago)

Of course it is a threat. How can you say it isnt? 'wont have any hands or mouth left to play flute'
That is definitely a threat from you.

ajsriram (2 days ago)

I already said, I am being frank! lol! If you think its a threat let it be! i dont mind! :-)

sonofthedestroyer (3 days ago)

Also i have witnessed Indian classical musicians disrespect each other behind the stage.
I am happy to see it come out into the open. I hate the fake 'admiration crap' they spew out on stage when the media is watching them. Better to be honest.

ajsriram (3 days ago)

Not a valid post ! lets have this discussion of the board or in someother board, i am readybut not in this! Thanks, i could have easily deleted this post, but let it be here..

divinemilkman (1 day ago)

aj, how can you say that KR MANI is the best of all mridangists and better than all the rest of the artistes out in the world. I myself am a disciple of mridangam in the Palani Subramaniapillai method. Your narrow-mindedness in your statements is a classic sign of your lack of true musical knowledge.

ajsriram (1 day ago)

Can you list out any one better than Mani sir. you cant! You might be a disciple of Pillaivaal school, thats your fate what to do ?. Does that mean anything being in the school of Shri.Palani subramani pillai. Nothing right! Dont be childish, accept the fact and move on buddy!

sonofthedestroyer (21 hours ago)

Actually you are acting WORSE than a child. It all started when you were stupid enough to threaten Thyagu with physical assault. 'If i ever see him in Chennai he wont have hands or mouth left to play flute' Perhaps you need to move on. KR Mani will never reach the heights that other mridangists have reached

ajsriram (17 seconds ago)

I said i didnt not give a threat. I said what i am going to do. Its not threat, its a fact. There is no change in that. I dont know what heights others have reached, Hope you are not calculating the Heights "BELOW TO SEA LEVEL", In mani sirs case its all about "ABOVE THE SEA LEVEL". So there is no point in comparing Mani sir and other artists. I dont find any difference between you and thiagu so what ever said to him applies to you!

divinemilkman (1 day ago)

Also, I have completed my Advanced Diploma in Mridangam at the world reputed Bharatiya Vidya Bhavan. KR MANI sir's playing is outstanding yet I cannot insist ignorantly that he is the best in such a vast and versatile field of mridangam. If you object, then you are simply a buffoon, i.e. a talentless idiot. Also, threats are very poor methods of resolution- it conveys your weakness. sonofthedestroyer I like all your points, 100% valid. :)

ajsriram (1 day ago)

Completing a Adv.dip. in mridangam from BVB London? So what! big Deal.. What did you do with that? any concerts, have u sat on the stage once? Why boasting of something which is not needed here!...outstanding means, standout, superlative, superexcellent anything else. Yes, He outstands everyone and he is the best. Btw, I never talked anything about my talent here! if you need lets take it on seperately not here! you better close your doors rather than opening it and show that you are dumbo. :-)

divinemilkman (1 day ago)

I have played at many concerts on many stages more than you would ever have seen in your pathetic life aj. I am not boasting I am pointing out where I learnt and that there is no such thing as best mridangist as each style offers beauty and variety to this ancient art. Stop attacking all comments, you jackass. Grow Up!

ajsriram (1 day ago)

Now i know what your knowledge is and the person who fixed you as an accompaniment! LOL
If really feel that you play well, write in your own name than in a nick! You know by youserlf why you cannot boast, since you dont have anything to boast of yourself than being in LONDON.

divinemilkman (1 day ago)

I have met and learnt a few lessons from KR MANI sir when he came to the BVB in London to teach one summer. He is a great player, but you cannot call
anyone the best...it shows arrogance and ignorance....foolish words on your part aj...

ajsriram (1 day ago)

So what BIG DEAL! What did you learn god knows! MANI IS A GREAT performer no doubts and you dont have to certify! :-)!
இதெல்லாம் கத்து கொடுத்து வருவதில்லை. புத்தி இருந்தா போதாது. I am arrogant! arrogant to the core!
Im a fan of so many mridangam artists that is apart, all I SAY is HE IS THE NUMBER ONE AND HE IS THE BEST and no one can deny it.

sonofthedestroyer (21 hours ago)

Actually the vast majority of people on this planet will Deny KR Mani as the best. Only a small minority of politics pushers say he is the best.
KR Mani is a good mridangist who developed a difficult technique to play. That is all there is to him.
Game Over!

ajsriram (17 hours ago)

You can never have the last laugh when talking about Mani sir. What is difficult and what is not difficult is in the hands of the person who plays the
instrument. for him anything and everything is easy! i dont know about the Rest.
Yaa i know your game is over!

sonofthedestroyer (14 hours ago)

No one is laughing at KR Mani. We are laughing at you.

ajsriram (7 hours ago)

LOL! you read my post again and then try to understand! :-)

ajsriram (32 seconds ago)

You can never laugh at mani sir, only thing you can do is get jealous and burn in the fire. If you feel only he developed difficult technique then i am sure you
dont know what is mridangam playing technique, just being bookish is of no USE. You laughing at me!Keep doing! till you feel you are happy! LOL cos, you cant do anything else! haha

Analysis - IV

Starting time : 4:35
Ending Time : 6:17

As seen in the previous post, shifting from one nadai to another nadai can be done in different ways. He mani sir has chosen a simple method. Taking a syllable of 8 mathrai playing the same in chatursram and tisram.

In simple words, if you play a syllable of 8, 2 times in 4 Aksharams (16 mathrais), it should be played 3 times in 4 Akshrams (24 mathrais). This is what he is doing from minute 5:00 to 5:28. The korvai starts @ 5:30. The Korvai is defined for 1.5 Avarthanams (2 kalai) / 3 avarthanams (1 Kalai) or 24 Aksharams of chatursram,which is 32 * 3 = 96 Matharais.

while converting the same into tisram, this comes to 1 Avarthanams(2 kalai) or 2 Avarthanams (1 kalai) or 16 aksharams or 48 * 2 = 96 Mathrais. The 48 is nothing but, 6 mathrais per aksharam (1 beat) and aditalam comprises of 8 beats its is 8 * 6 gives you 48.

The korvai is structured as into two parts. The first part is set to 8 Aksharams and the second part is set for 9 aksharams for thisram, if it has to played for chatursram, the same thing will fit into 10.5 aksharams and 13.5 Aksharams.


There is lot of scope of improvising this particular korvai. In the diagram, I have drawn two lines, vertical and horizontal. The uthrangam (finalpart) of the korvai can be played either horizontally or vertically, since the average is 18.

Next we will see about harishankar's thisram.

Analysis - III

It is continued by a thisra nadai by mani sir. I would like to add few of my view points in this area. There are different ways of converting from one nadai to another nadai. To my knowledge the following is some of the ways it can be shifted.

1. Starting thisram staright from the word GO
2. Starting thisram by playing a small syllable then shifting gears
3. Play a korvai in chatursram and convert the same into thisram
4. Play thisram in terms but not showing the nadai.
5. Just play a korvai in thisram

We can never say which one of the above mentioned is the thumb rule, it purely depends on time. If you are in Air, if you are a 3 minutes thani, you can never play thisram elaborately. In this thani avarthanam, you will find 2 ways of handling conversion from one nadai to another nadai.

Manisir will be taking chatursram Syllable as a base and do vinyasam on the same, play same korvai in chatursram and thisram, where as Harishankar will Play a BIGGGGGG korvai playing the same 2 times in chatursram and finally converting the same into thisram.

We are familiar with composers of songs, but a special note should be made on the korvai harishankar has played. The composer of the korvai was mani sir. He composed it especially for harishankar for the Sruthi laya Thaniavarthan Series (1980). Harishankar has handled the korvai as if its made only for him. Many will feel that its not a tough korvai, but it requires lot of memory power and control over the laya. We will see more about the korvai when we see Harishankar's extra-ordinary thisram section.

Analysis - II

Starting time : 2:26
Ending time : 4:35

Let me take the Chatursram 2nd round of Mani sir.
Started with the usual 6 syllable, Kita tha ka thaka thom thom ka (2nd speed).
The abhiprayam is structured as the first part decreasing from 5, 4, 3 with the second half increasing from 1,2,3.

The total Mathrais for the abhiprayam is 99. It is splitted into 3 halfs, the first half will be for 31 mathrais and the second one for 34 mathrais and the final one for 34 mathrais. The mathrais are including of the karvais (gaps) that is given between the 1st, 2nd and 3rd part.

After that, it’s a free flow Chatusra Sarva laghu with different varieties. I don’t think any explanation required for this part alone.

Analysis - I

The tala chosen for analysis is Aadi talam 2 Kalai, Arai Edam (atheetha eduppu). The pallavi starts 1 beat(4 mathrais) before the samam. Once you follow the thani avarthanam with the talam religiously you will know why I am calling this as atheetha eduppu.

The first round of thaniavarthanam looks like net practice - warming up for a big one. After playing 4 syallables in chatursram, mani sir takes 24 (12 in fast tempo) mathrai syllable for a small korvai. You cant call this as a korvai, we can call this as abhiprayam. I have seen many people calling this as a korvai and many people calling this as Abhiprayam (Abhiprayam differs ;-)).

Though the abhiprayam looks simple its a bit confusing. The abhiprayam is constructed in the following way. First lets see the structure and then the abhiprayam as syllables.

Part 1 :
Step 1 : First syllable for 3 Aksharams - 12 Matharis ( splitted as 8 and 4 )
Step 2 : Second Syllable for 2.5 Aksharams - 10 Mathrais ( splitted as 7 and 3 )
Step 3 : Third Syllable for 1.5 Aksharams – 6 Mathrais.

Total comes to 28 Mathrais or 7 Aksharams. (Since its chatursram, a beat consists of 4 mathrais, it comes to 7 Aksharams)

Part 2:
A balance of 36 matharis or 9 aksharams is pending. Now this 9 is divided into 3 parts. A 3 akshram syllable is taken as arithi which constitutes this Abhiprayam.



Harishankar started of few fast phased syllables and played a simple abhiprayam for 3 Avarthanams. The structure of the Abhiprayam is very simple, but a simple change made it sounds better.

The strucutre needs no diagrams a its a straigh forward abhiprayam, if you dont understand I will give more details on this.

6 3 , 6 3, 6 3 - 27
8 3 , 8 3 ,8 3 - 33
10 3, 10 3, 10 - 36

the total comes to 96. which comes for 3 Avarthanams. Six can be played as Thatheekitathom, 8 as thaka Thatheekitathom and 10 as thakathina Thatheekitathom.

Thani Avarthanam - I

Here is ONE of the best thani by Mani sir and G.Harishankar. It’s been long time since I wanted to write about the thanis of mani sir somehow it didn’t happen. I don’t know how many of you have this recording with you. I am uploading the same for the sake of people who don’t have it.

The idea behind writing about thani is, often in many forums I see people saying… “I don’t understand anything, but I like it”….

The first step I am doing here is giving you the link to download the thani, if you want to hear it online, you can do it. The below given links will help you.

Enjoy the scintillating thani
Download : Thani Avarthanam

Listen Online

Shifting Scales - II

We are interested in obtaining one scale from another scale. One way to get one scale from another scale is to rearrange the intervals. The interval between the 1st and the 2nd note may be made short and the interval between the 2nd and the 3rd note may be made long. For example from the scale of the 29th mela Sankarabharanam, if the scale of Kharaharapriya has to be obtained, then the interval between the notes R and S is shortened, the interval between N AND S is lengthened and so on.

If the major scale of the western music is taken into account, and if the whole lock stock and barrel of the scale is shifted from C to G, then F sharp is obtained. The process by which a scale can be obtained from another scale, is the process of modal shift of tonic. Here the mode is retained. In other words the sequence of the intervals is retained. It must be remembered, that the tonic or the aahara sadja alone is not shifted. 

Take for example, the scale of Sankarabharanam. It is S R2 G2 M1 P D2 N2 S. In this scale, if the Aadhara sadja, is shifted to the position of rsabha and if the interval between the svaras are maintained, then a new scale is obtained. Here only the scale is taken into account and not the raga. This is due to the fact that in carnatic music, each raga has the shape of its own, due to the various type of gamakas employed.

Shifting Scales - I

The word “scale”, means an ordered presentation of notes abstracted from any melody, put in a particular order, may be in the ascending order.In South Indian music, it will be in terms of svarasthaanas. If we say C scale or D scale, they are just that set of seven notes because they just take part in melody. In the 72 - mela scheme, all the 72 are scales. 

Scales may be having seven, six or five notes, put in order.  Modal shift of tonic is the process by which the tonic or the Aadhara sadja is shifted from svara to svara, keeping the sequence of the intervals of the original scale in tact. This process gives new scale.  In common music language this process is known as the Grahabhedam.  In ancient tamil music, this process was known as Kural tiribu, Pannuppeyarttal and Paalai Pannal.

Seven Commandments

The very fabric of Indian music is based on the Sapta Swaras. In the same way, every artiste- be he vocalist, instrumentalist or percussionist is guided by the ‘Seven commandments’ of:

Sa: The Sanctity of Carnatic music
Ri: The richness of this great fine art
Ga: The Galaxy of great musicians- the predecessors of this age, who are a great source of inspiration.
Ma: The maturity that he aspires to gain with experience in the field
Pa: The passion for his art
Da: The aim to dazzle his audience, but maintaining dignity all the time.
Ni: The niceties and nuances of the art that separate the good from the best.

Alas, some of today’s trends seem to follow a ‘Vakra’ mode. Today’s scene witnesses various combinations like: S M P N D S

Snobbism

Money

Pay

Noise 

Disrespect for senior musicians 

Shady

Or S R G D N S

Scheming

Recommendations

Gallery

Degrading others

Narrow mindedness

Selfishness

We all know that though both Sampoorna and Vakra ragas are essayed, it is the Sampoorna ragas (like Kalyani or Thodi) that offer unlimited scope for development, ragas that can be unfurled for limitless hours. These ragas stand the test of time.

However attractive a Vakra raga may seem, it will be impossible to essay a Kuntalavarali for hours on end. Scintillating it may be-but for a few moments only. These ragas are time bound.
In the same way, it is the ‘Seven commandments’ – the ‘Sampoorna path’ that will stand a practitioner in the long run, even long after his life time.

If one is guided by the mottos of the ‘Vakra mode’ however, the ‘moments of glory’ will soon vanish.  It is always the enduring values that stand the test of time. 

Let us remember Saint Thyagaraja’s immortal Chakkani Rajamargamu. Why follow the by-lanes when the Great Path is available?

Artist ?

The 'Youth revolution' in Carnatic music is witnessing certain imbalances today. Concert artistes are always denoted as Vocal (Main) and accompanists (Supportive) artistes. The paper advertisements also feature the concert in the order of the Vocalist (or Instrumentalist in an instrumental concert), the violinist and the mridangam. Remuneration for these artistes also follows the same trend, i.e, the vocalist gets the lion's share with the accompanists getting less. It so happens today that concerts of many of the young, crowd pulling artistes who are in great demand, feature senior accompanists who have been dominating their field for decades. In this case, these stalwarts, who are so responsible for bringing up the level of the concert to great heights, are paid less than the young 'main' artiste who may not have even been born when the concerned accompanist was on his way to the peak. Such a discrepancy seems unjust. Is it fair to pay a top level, world famous, senior, experienced, crowd-pulling violinist or mridangam vidwan less just because he is 'not main'? Should there not be acknowledgement of his senior status, by virtue of which the concert reaches unprecedented heights? The organizer should surely take cognizance of such stature and seniority and give the supportive artistes their dues.

In the All India Radio, artistes are paid according to their grading, irrespective of their position as 'main', 'accompaniment', etc. Remuneration is fixed and thus there is no differentiation between a main artiste and otherwise. If such a stand was taken in the Sabhas, one could well imagine the controversies that would be stirred up! The only solution seems to be to acknowledge that all the members of a concert team play an equal part in the success of the concert and give payment without differentiating between their roles. Otherwise, it would be like paying the batsmen more, the bowlers less and the wicket-keepers much lesser for the same cricket match the team has won together!

Popularity - Fame

December may be the last month of every year but for some young and upcoming musicians and dancers as well as some artists abroad, it is a welcome month. Quite so as this is the time for showing their mettle in the fine-arts world which has also become a highly competitive one. This is quite cheering. But this natural urge and enthusiasm in them to gain name and fame is misused by some who are supposed to represent the press to earn cheap and easy money.

In this festival season, I observed some people thronging an young artist right inside the artist’s room after the performance introducing themselves as press reporters, demanding money for publishing the artist’s photo and an article about the programme. On such occasions, the artists who are not so experienced, in their desperate mood fall easy prey. I do not know how such so called press people gain easy access to the artist’s room itself without proper identification. I feel that people who represent leading magazines and newspapers will never adopt such mean tactics. What can be done to curb this unhealthy practice requires serious thinking and suggestions by all.

Btw, Is this the intelligence of the press reporters to barge inside the dressing room to get the money knowing the performer’s love towards on popularity and fame?

Fractions To Fractures

All of us are interested in some sport or the other. Some are addicted to Cricket. Many have a fascination for Soccer or Football as was evident from the recently held world cup soccer in Germany. We also hear about the fierce combats of boxing, wrestling and the violent rugby shows. If we keenly observe, apart from being a sport all these have one thing in common, which is a set of rules and regulations. They have a ground or a ring within which they compete following the rules and regulations. They do not try to go beyond the boundary and explore extra-ordinaries. Their actions are closely watched and misconduct against rules and regulations is reacted upon appropriately.

If you draw a parallel of this to our music, we have exhaustively worked out possibilities based on which rules and regulations are built. For centuries great scholars, beyond our portrayal have contributed to these rules and regulations. Respecting their conclusions, some of the points which are of only theoretical interest are deliberately left unexplored by our predecessors. For an instance in Layam, tempos are broadly classified in to five. When from Chaturasram (4 matras per beat) we go to tiram (3), Kandam (5), misram (7) and sankeernam (9) there is natural change of pace with definte matras conforming to each beat. We can have permutations, combinations multiplication, sequencing and so on within this larger boundary. The unexplored possibilities within this strong disciplined fence remain still infinite.

If such is the case, where is the necessity to attempt unusual pace changes like tisram of kandam, kandam of misram, misram of sankeernam etc? In all these attempts fractional values are assigned per beat which make them musically and rhythmically deficient. Even if one tries to substantiate it as his aptitude or gift, aesthetics are mislaid. While we have a dress code for occasions, rules for rituals, behavioral disciplines in every walk of life, why not avoid that which is disregarded by our precursors? Why attempt on the fractions in layam? Beware! Fractions can lead to Fractures!

"Cheap" publicity

The press is playing an important part in the publicity of a concert. The artiste wants to perform and get a good name and a good review in the paper. The reviewer also wants to be praised for their reports. So he takes care of the matter and the language.
After seeing the paper in this season, I feel that a new category of publicity seeker has started out.



This category is not a performer or a critic. But they give free views in the "Letters to the Editor". In this, they are putting controversial subjects and false ideas that can't be proved and just try to make a name. I am surprised that the papers which are supposed to be reputed allowing this. Normally, even when we give a private advertisement in the paper, they ask us not to use certain objectionable words, etc. In that case, how can such papers allow these kinds of scandalous matters without filtering?

• Just because the writers are big shots


• Writers have a good influence


• Writes have a good english/Tamil knowledge


• News papers doenst want to lose their subscribers

It is not fair that they can say what they want in an e mail without any filtering.

House full

The music season of Chennai has always generated a 'fever of excitement' that is not found in the other months. Though music festivals are held in all parts of the world, Chennai, the Hollywood of music stands unparalleled for sheer numbers and enthusiasm.

Naturally, season's tickets for the programmes get sold out even before the rasikas know about the artistes, the singer/accompanist combinations, and so on. In addition, members are given concessional rates and naturally, avail of this opportunity.



In this situation, the number of daily tickets being sold is limited. Many rasikas seeking to attend that day's concert have to go back without getting a ticket.

However, on entering the hall, one is surprised to see that there are still quite a few vacant seats. This is because of the non-attendance of some of the season's ticket holders or members for some reason or other.

On one hand, many rasikas are deprived of a daily ticket. On the other hand, there are still seats vacant in the hall. How to solve this problem?

The solution seems to lie in reserving the admission of the season's ticket holders and members.

Just as a passenger boarding a flight has to check-in at least an hour in advance, or a train traveler at least 30 seconds before the departure, it may be made mandatory for such a ticket holder to report on time, or with a minimum grace time of say, 5 minutes. Failing which, his seat could be sold as a daily ticket.

Such an arrangement will allow genuine rasikas to listen to their favourites without disappointment and in addition, prove an encouragement for artistes who can sing to a really full hall instead of one that merely bears the sign 'Sold out'.

Hypocrites

It is a well known fact that a master in his chosen field is held in great esteem by the public. This applies to musicians as well as other famous personalities. The image he carries is spotless, making him a role model for others to emulate.
However, when such people interact with others in, say, lectures, speeches, discussions, interviews, etc. , they sometimes betray facts about their characters that are anything but admirable. This reveals their true nature and is a proof that what they have been projecting to the public is nothing but a drama.
Truth always comes out in the end.
It would be in the interests of these celebrated personalities to genuinely be what they show to the world. Otherwise, they will not only be displaying their weaknesses to the public, but also the fact that their behaviour is hypocritical.

Future of music- Promise or compromise?

Music has been described as the food of life. Sabhas play a central role in feeding the rasikas with this fine art. They organize concerts, jugalbandhis, and fusion ensembles with the aim of giving quality music without compromising the dignity of the art. The comfortable ambience of the Sabhas provides an ideal environment for listening as well as performing.
In recent times the phenomenon of Event Managed programmes has set in. Though many of these provide excellent fare, the general trend seems to be far from welcome. The scene is generally as follows:



Music has been described as the food of life. Sabhas play a central role in feeding the rasikas with this fine art. They organize concerts, jugalbandhis, and fusion ensembles with the aim of giving quality music without compromising the dignity of the art. The comfortable ambience of the Sabhas provides an ideal environment for listening as well as performing.
In recent times the phenomenon of Event Managed programmes has set in. Though many of these provide excellent fare, the general trend seems to be far from welcome. The scene is generally as follows:

Social evenings are organized by event management companies in hotels and bungalows on city outskirts. Music programmes are arranged as part of the entertainment. The general aim of these get-togethers is to provide fun. Liquor is served freely. Cigarette smoke fills the air. Dancing and swimming go on in full swing to the accompaniment of the shrieks of happy children in the play area.
The musicians play on in this ambience. Such evenings are organized for executives and foreign delegates as a means of relaxation.
What an irony! On one hand Sabhas are striving hard to nurture music in all its grandeur, in a dignified atmosphere. On the other hand such event managed programmes take place in an atmosphere of vice giving a wrong impression to the executives and foreigner delegates for whom, caught up in their busy schedules, this may be the only exposure they have to our music.
Who is to blame for this state of affair? Is it the host of these parties? Or the event management companies who benefit hugely but throw bread crumbs at the eagerly accepting musicians? Or is it the musicians themselves who, unwilling to slog their way up the ladder prefer the easy path of money making by participating in such tamashas, and thus compromise their art?
Only two solutions to solve this problem.
One, let the concert take place in a clean ambience and the partying begin later.
Or better still, let the event management companies keep our music out of such affairs altogether. Like oil and water, vice and music do not mix. After all, pleasure has many varieties. Haven’t we all seen the joyful expression on the film villain enjoying the aftermath of his ‘deed’ as he sits surrounded by various ‘diversions’?

Contact Sruthi Laya Seva

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Cool Isn't.........

Thala Suitable for Thani

In those days the accompanists enjoyed great respect among musicians. A family atmosphere prevailed on the stage. When a senior mridangist took his choice of Krithi and Thala for his Thani Avarthanam, it was welcomed, & not mistaken. The mood of the Laya Vidwan was respected & his imagination was enjoyed. Today many musicians are not prepared to accept this. They feel that it is their prerogative to fix the time, Krithi & Thala for Thani or do not offer time for Thani at all. Some pretend to be forgetful. This attitude of disrespect & egoism has frustrated manya senior percussionist.

Every sincere Laya Vidwan is capable of playing a Thani in any Thala provided it is offered with genuineness & not for fun. Some musicians try to tease the percussionists by giving rare Thalas for Thani without prior intimation. They would do so even with Vidwans having decades of experience & have records of having met with greater challenges in their prime time.

As for suitable Thalas, the four popular Thalas, namely, Chaturashra Thriputa (Adi Thalam), Thrishra Eka (the so called Rupakam), Mishra Chapu & Kanda Chapu are most appropriate. When a Pallavi is sung in a rare Thals, a small Thani can be played in the end to highlight the scope for imagination in that Thala. A prior briefing will only enhance the confidence & power of imagination of the percussionists.

Mere sound is not Layam!

Nobody goes to concert to enjoy just sound however pleasing it may be. Creativity & aesthetic sense are a must for any music. A concert should provide a mridangist a good opportunity to present his creativity & aesthetic sense.

I have been saying for quite some time that to experience the magnificence of Layam, audience are yet to be educated. They cannot identify what is being played in a Thani as they identify a Raga or Krithi. The same Ragas or Krithis they have become familiar with for years are easily identified. As for the Laya section, theycan, at the most, say that the Mridangam had a good tonal quality, it was electrifying, vibrating, scintillating, etc. But they cannot realise the content. We should accpt thst only from the times of Pudukottai Dhakshinamoorthy Pillai, Palghat Mani Iyer & Palani Subramanya Pillai, the audience have been attracted towards Mridangam & othe percussion instruments. Today, we briefly explain what we are going to do in a Thani Avarthanam concert. By this brief explanation before a Thani Avarthanam concert, we are preparing the audience to understand the intricacies of Laya. Only now Thani Avarthanam concerts are gaining ground. But it will take time to create a longing for a long Thani. The advocacy of short Thani is intended to keep the expectation of audience alive.

What about the SO CALLED Main Artist?

Good Thala maintenance a prerequisite for center performer

A professional singer has to be strong in Laya control. But some musicians are performing without realising the gravity of this prerequisite. While accompanying such musicians the accompanists have to make good the deficiency by not indulging in complicated exercises for too long & perform a short Thani with easy patterns technically called Sarvalaghu. The term Sarvalaghu itself is wrongly used to describe a style or generally an unobtrusive pattern. Sarvalaghu is not a distinct pattern possessed only by some but is present in everybody's performance. Sarvalaghu can be in any gathi or nadai, namely, Cahturashram, Thrishram, Kandam, Mishram or Sankeernam. Sarvalagu can also be complicated. Every performance is interwoven with Sarvalaghus. Thus when accompanying a musician who is not very sound in Layam, he should not be put in embarrassment by playing complicated intricacies. A mridangist should be satisfied with simple patterns for a short duration in such circumstances.

Proportion of thani - 2

This tendency of voluntary suppression of talent for years leaves them without proper identity. Since they are professionals they are forced to accept such compulsions. Every artist who has given his soul & heart for nurturing his talents must have freedom of expression at the first instance. For years they toil creating some original aesthetic rhythm not for self enjoyment alone but also for presentation to the general public.

Another question one has to consider here is whether the center performer really likes the mridangist getting special attention from the audience. Many of the center performers would signal the mridangist or keep staring at their watches to indicate him to shorten his Thani. Some even do this explicitly. They would claim that it makes their throat dry to sit quiet for half an hour & would not be able to sing with the same power after the Thani.

A true professional would not like to control the freedom of expression of another. It is saddening to note that some of these enter performers extend the same treatment to even established percussionists An established artist who presents tradition based, acceptable innovations has to be respected & allowed to present the same to the audience. Then only true professional atmosphere would prevail. Music cannot be monopolised in concert platforms. We should also note that in Carnatic music a performer will have more of mental strain than physical. Mental strain will not tire a performer but physical strain will certainly prevent him from giving the required effect. Even today we see that while accompanying some artists even for three full hours you will not fell tired physically, while accompanying some others, one would be totally exhausted within the first half an hour.

To say something more on the duration of Thani, it is said that the great Plaghat Mani Iyer used to say " what is there to play in a thani beyond ten minutes?" But we should wee the period of his statement. It was during his last years. Firstly, it has come out of his experience. Second factor is ageing. So without seeing the time & context of his statement we cannot use it to criticize the rest. Because, I have listened to Sri Mani Iyer playing Thani for 30 minutes & 40 minutes in his prime time. He has also played 2 to 3 Thani Avarthanams in a single concert, each for about 6-7 minutes. So to say that there is nothing to play beyond 10 minutes is unacceptable.

Proportion of thani - Part 1

First of all the standard cannot be applied to all concerts & all artists. It will vary according to the total time of the concert, the singer's ability & the proficiency of the mridangist.

The mridangist who can impress upon, attract & create an impact on the audience with his genuine, tradition-based novel ideas with pleasing vibrations, rightly deserves a reasonable duration to present his expertise to the audience.

The singer must be a person who can understand & enjoy the performance. He should delegently put the Thala for the Thani. The audience will also be automatically drawn in to the enthusiasm. To make it possible, the mridangist must be s very capable person who can sense the pulse of the singer, his weakness & the mood of the audience. In such a situation a full 30 to 40 minutes of Thani will not be boring but enjoyable.

But in the present day situation those having not enough high standard but can manage with a well tuned instrument & be accommodative to the fancies of the vocalists are preferred more. What can we expect of these substandard performers? But they have their own reasons. They feel that if they do not confine to the limits imposed by the center performer & give vent to their knoledge taking reasonable time, they may not be engaged for future concerts.

Appreciate Mridangam Playing

After two-and-a-half hours of playing, Mridangam loses its tonal quality. The mridangist becomes physically tired & exhausted. The audience too need a break after hearing continous music. They are thus forced to stretch or go out for a brief walk & refreshment. However great be the performer, the ability to make the audience sit through & enjoy the Thani, with all the above mentioned disadvantages around, is a big question mark.

Mridangam Language

South Indian drumming has a language all of its own. For every sound produced by the mridangam, there is a corresponding syllable. These syllables, known as solkattu, are combined to form innumerable rhythms. The solkattu language becomes almost inseparable from the drumming itself.

One might assume, therefore, that one could assign a MIDI note for each syllable, and then use a mridangam sample of each syllable to play back these solkattu compositions. However, there is considerable flexibility in the system of interpreting the solkattu for the drums. For example, the syllable ta is used for 11 different strokes. Over the years, the solkattu system has evolved to serve as a structure for many different drums, and so many different interpretations are possible.

Playing Technique

The fingering technique is a very important consideration in a discussion pertaining to mridangam. The mridangam has a balance between the powerful and delicate techniques. A brief look at the history of the instrument shows why. The evolution of mridangam may be traced to an archetypical mridang. This instrument had a close association to the ancient mythological dramas. This association meant that the drums would sometimes have to support both masculine and feminine characters. The delicate movements of the dance are known as lasya while the more powerful masculine movements are known as tandava. Powerful techniques were developed to accentuate the masculine roles while delicate techniques were developed to support the feminine roles. In the last several centuries the drumming technique in north Indian music has bifurcated. The more powerful and aggressive techniques have been relegated to the pakhawaj while the delicate techniques have been relegated to tabla. Yet there was no bifurcation of technique in the South. The powerful and aggressive techniques exist alongside the delicate. The mridangam is played primarily by using the index, middle, ring and small fingers of both hands while the thumb finger is used as a support element. The palm of the right hand is also used mainly while playing the stroke "plam or jham". To play the strokes "nam" and "dhim", it should be kept in mind that when the index finger is used to play these strokes, the ring finger should always be positioned in between the outer rim and the inner black ring on the right side of the mridangam (fig.1). The stroke "thi" is played by using the middle, ring and small fingers of the right hand in the centre of the black area on the right side of the mridangam but it should be noted that these three fingers should be held together while playing this stroke. Even while playing the stroke "jham", these three fingers should be held together. The stroke "ta" is played by using the index finger of the right hand at the centre of the black area on the right side of the mridangam. Mainly two strokes are played on the left side of the mridangam. These are "thom" and "tha". "Thom" is played by using the middle, ring and small fingers of the left hand and these three fingers should be held together while playing Another technique involved in playing the mridangam is the use of "Gumki". It is played on the left side of the mridangam and is played instead of playing "Thom". One can produce subtle and soothing sound using Gumki which is played using the lower part of the palm and the middle and fore fingers of the left hand.this stroke. "Tha" is played by using the four fingers other than the thumb finger and again these four fingers should be held together.

Mridangam - History

The origin of mridangam goes back to the Indian mythologies wherein it is stated that Lord Nandi (the Bull God), who was the escort of Lord Shiva was a master percussionist and used to play the mridangam during the performance of the " Taandav " dance by Lord Shiva. Another myth adds that that the mridangam apparently was created because an instrument was needed that could recreate the sound of Indra (the Hindu counterpart of Zeus king of Gods) as he moved through the heavens on his elephant Airavata. That is why mridangam is called the 'Deva Vaadyam' or the instrument of the Lords. Indian music, like every other aspect of Indian culture, reflects centuries of influences and changes wrought during its 3,000 years of recorded history with the immigration of the Aryans from Central Asia in the second millennium B.C. to Islamic invasion in the 12 century B.C. and the British rule from the seventeenth to the twentieth century. With each group came new cultural ideas and technical innovations, and with the passage of time, the new ideas were absorbed and assimilated, emerging finally in an undeniably Indian synthesis. In music this synthesis can be seen in the relationship between ragas (expressive modes) of India and those of the Middle East (the Islamic influence) as also in the talas (cycle of beats). Indian music, classical, folk or popular, thus reflects layers of metamorphosis. It includes the two styles of classical music - North India's melodious Hindusthani music and the intricate Carnatic Sangeetham of South India. India can be said to be a country of countries; its diversity of languages, religions, cultures, and traditions have no parallel example anywhere in the world. Indian musical instruments in the same manner are very diverse in nature. Most of the Indian musical instruments have evolved over centuries. Each instrument has its own history behind its evolution. In Indian culture's early stages, artifacts, musical instruments, and lifestyles were simple and basic in nature. Example: all tribal instruments are basic rhythm instruments and never complex instruments having a capacity to produce a range of octaves. As a society progressed, the demands on musical instruments arose. Thus, most Indian instruments, although having started in simple forms, because of a long period of evolution, have now become exquisite instruments capable of producing a varied pitch and range of octaves. Musical instruments, according to ancient works, have been divided into four types. Thatha, Avanaddha, Sushira and Ghana which are Chordophones, Membranophones, Aerophones and Idiophones respectively. The mridangam belongs to the percussion family and has been played by Indians for more than 2000 years. It consists of a wooden shell approximately 27 inches long, covered with stretched skins on each side. It is famous for its distinctive buzzing sound and is used extensively for dance performances. Mythologically it is believed that God himself created tabla by cutting the mridangam into half.

Mridangam

The mridangam is the classical double sided drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. The term mridangam is derived from the sanskrit words "Mrid Ang" which literally means "Clay-Body," indicating that it was originally made of clay. The present day mridangam is made of a single block of wood. It is made either of Jackwood or Redwood. Jackwood has more fibrous structure than the other types of wood.The packing of the fibres is also very high.The pores present in jackwood is less when compared to others. The pore size and distribution of the material can be inversely proportional to the modulus of the wood.the density of jackwood is also less when compared to other woods. The right head is made of three concentric layers of skin. The innermost layer is not visible. The outer ring is called the Meetu thol and the inner ring is called the Chapu thol. The inner ring is made of sheepskin and the outer skin is made of calf-hide. At the center of the right head is a permanent spot of black paste. This spot, called the Soru, is a mixture of boiled rice, manganese and iron filings. This black spot is responsible for the special tone of the mridangam allowing emission of harmonics. Different harmonics of the head are produced by various finger combinations. The left head, known as the 'Toppi' is made of only two layers; the inner one is made of sheepskin and the outer one is made of buffalo hide. Before playing the mridangam, a thick paste made of semolina (sooji) and water is applied to the center of this head. This is done to lower the pitch and produce a bass sound on the left head. This paste is scraped off after the performance. The right head is tuned to the Tonic. On the rims of the two heads there are spaces for the leather braces to pass through. A small, smooth stone and a small stick (wooden) are used to vary the pitch of the heads by upward or downward strokes on the rims. The pitch of the mridangam varies according to its size. The larger the mridangam, the lower the pitch and vice versa. The walls of the instrument are 2/3 centimeters thick and give it stability in the low frequencies.

Music Expressions

What is Art if it cannot be expressed? What are the unique ways in which Carnatic music can be expressed?


As is the case with most other systems of the world, Carnatic music also uses the human voice as well as several instruments of both Indian and Western origin. As already stated in the introductory section, there is an amazing open-mindedness when in comes to adopting good things from other systems. Several instruments like the violin, mandolin, guitar and the saxophone have been adopted successfully, of course, with a few modifications to suit the requirements of Carnatic music.

Of the innumerable instruments developed by man, very few can match the most natural instrument - the voice. Carnatic music gives pride of place to Vocal music. This is because vocal music has the added dimension of lyrics, which is one of the basic components of Carnatic music. A vocalist can project the lyrics and the theme of the music the best. Even the melody instruments try to approximate to vocal standards. Hence, a student interested in instrumental music career generally learns vocal first and then repeats the music on the instrument.

Singing can be defined as the musical expression of feeling through the medium of vocal organs and the organs of speech. The technique of voice production for singing is more complex than it is for speech, as this requires the control of three sets of muscles - inspiration and expiration (respiratory muscles), phonation (intra and extra-laryngeal muscles) and those of articulation (muscles of tongue, jaw, lips and soft palate).

A Carnatic vocalist is expected to possess a voice that is rich in tone and volume, has depth and is capable of sustaining different notes for a long periods without any wobble. He/she must also possess a range of at least two and a half octaves and execute with clarity and verve, phrases of different tempo. The various embellishments or ornamentations (gamakas) and tonal shades should be aptly produced for rendering different types of musical compositions and other creative aspects of Carnatic music. The technical exercises and compositions of Carnatic music are designed to impart all the above. Of course, the student must have the right attitude, technical guidance and perseverance!

Artist's Task

"You know, sometimes it is the artist's task to find out howmuch music you can still make with what you have left."

On Nov. 18, 1995, Itzhak Perlman, the violinist, came onstage to give a concert at Avery Fisher Hall at LincolnCenter in New York City. If you have ever been to a Perlmanconcert, you know that getting on stage is no smallachievement for him. He was stricken with polio as a child,and so he has braces on both legs and walks with the aid oftwo crutches. To see him walk across the stage one step ata time, painfully and slowly, is an unforgettable sight. Hewalks painfully, yet majestically, until he reaches his chair.Then he sits down, slowly, puts his crutches on the floor,undoes the clasps on his legs, tucks one foot back andextends the other foot forward. Then he bends down andpicks up the violin, puts it under his chin, nods to theconductor and proceeds to play. By now, the audience isused to this ritual. They sit quietly while he makes hisway across the stage to his chair. They remain reverentlysilent while he undoes the clasps on his legs.

They wait until he is ready to play.

But this time, something went wrong. Just as he finishedthe first few bars, one of the strings on his violin broke.You could hear it snap - it went off like gunfire across theroom. There was no mistaking what that sound meant. Therewas no mistaking what he had to do. People who were therethat night thought to themselves: We figured that he wouldhave to get up, put on the clasps again, pick up the crutchesand limp his way off stage, to either find another violin orelse find another string for this one. But he didn't.

Instead, he waited a moment, closed his eyes and thensignaled the conductor to begin again. The orchestra began,and he played from where he had left off. And he played withsuch passion and such power and such purity as we had neverheard before. Of course, anyone knows that it is impossibleto play a symphonic work with just three strings. I know that,and you know that, but that night Itzhak Perlman refused toacknowledge that. You could see him modulating, changing,recomposing the piece in his head. At one point, it soundedlike he was de-tuning the strings to get new sounds from themthat they had never made before.

When he finished, there was an awesome silence in the room.And then people rose and cheered. There was an extraordinaryoutburst of applause from every corner of the auditorium. Wewere all on our feet, screaming and cheering, doing everythingwe could to show how much we appreciated what he had done.He smiled, wiped the sweat from this brow, raised his bow toquiet us, and then he said, not boastfully but in a quiet,pensive, reverent tone, "You know, sometimes it is the artist's task to find out howmuch music you can still make with what you have left."

What a powerful line that is. It has stayed in my mind eversince I heard it. And who knows? Perhaps that is the way oflife - not just for artists but for all of us. So, perhapsour task in this shaky, fast-changing, bewildering world inwhich we live is to make music, at first with all that wehave and then, when that is no longer possible, to still makemusic with all that we have left.

The Sounds of Silence

John Cage and 4'33"

The first performance of John Cage's 4'33" created a scandal. Written in 1952, it is Cage's most notorious composition, his so-called "silent piece". The piece consists of four minutes and thirty-three seconds in which the performer plays nothing. At the premiere some listeners were unaware that they had heard anything at all. It was first performed by the young pianist David Tudor at Woodstock, New York, on August 29, 1952, for an audience supporting the Benefit Artists Welfare Fund -- an audience that supported contemporary art. More Details>>

Full of Jargon

anga name symbol aksharakaalas movement anudrutam U 1 beat with palm drutam 0 2 beat with palm + turn (wave) druta viramam U0 3 (2 + 1) drutam + anudrutam laghu |(#) 4 (or 3,5,7,9) beat + finger counts laghu viramam U| 5 (4+1) laghu + anudrutam laghu drutam 0| 6 (4+2) laghu + drutam laghudruta viramam U0| 7 (4+2+1) laghu + drutam + anudrutam guru 8 8 wave to left and rightor circle with thumb-up guru viramam U8 8 (8+1) guru + anudrutam guru drutam 08 10 (8+2) guru + drutam gurudruta viramam U08 11 (8+2+1) guru + drutam + anudrutam plutam |8 12 (8+4) beat + wave to sides pluta viramam U|8 13 (12+1) plutam + anudrutam pluta drutam 0|8 14 (12+2) plutam + drutam pluta druta viramam U0|8 15 (12+2+1) plutam + drutam + anudrutam kaakapaadam + 16 beat plus wave up and to sides

Percussion, Rhythm, and TaaLam

The mridangam artist is an expert at keeping the taaLam correctly and will often indicate the samam of the taaLam or the beginning of a musical phrase by movement in addition to showing the sequence of beats. Carnatic rhythm may be complicated but by practice in keeping taaLam to music correctly and understanding the underlying principles, it can be very satisfying to appreciate the melody as well as the rhythm of the music.

KaLai & EDuppu

KaLai
Another term is kaLai, which refers to using multiple beats in one beat. Thus 2nd kaLai of aadi taaLam will use 2 beats for every one beat of the taaLam. This is noticeable in the speed of the song and the length of the aavartanam (cycle of the taaLam).

EDuppuIn some cases, the taaLam doesn't "begin" on the beginning of the first beat (called the samam). It may begin just 1/2 beat before or after, or 1 1/2 beat after, for example. The place where a particular section of a song (anupallavi, pallavi, or charaNam) begins in the taaLam is called the graham or eDuppu.

m u s i c

Music is an extremely subjective, aural experience. Some sounds are perceived by us as pleasant and some others as unpleasant. What is considered pleasant or unpleasant can be quite personal, based on our specific culture, exposure to particular kinds of music and perhaps even on what our parents told us. A song could be a major hit in one country and could be completely disliked and ignored in some other country. Our musical tastes are indeed developed. As we grow up, and discover music from other cultures or newer musical styles, our tastes too change. Sometimes, we even discover a pleasant piece of music purely by accident - because it simply happened to resonate with our inner sensibilities. Oh, nothing like self discovery ! Or Can we say
Minute Understanding Of Sound In Creation
An equally interesting exercise - think of five songs you really like. Can you explain why you like them or what is in common with all of them ? Can you 'explain' and define your musical taste ? Unfortunately, however much analysis one does, in terms of frequencies and so forth, it finally boils down to psychological factors when it comes to music and taste. Analysis is merely a tool to understand some of its structure. It can never explain why some musical sounds are deemed 'romantic' or 'harsh' or why some ragam is an evening ragam (if you believe in such things). Such mystique about music will come back to haunt us and will forever prevent us from understanding its totality in an objective manner.

Marga & Chanda Talams

Apart from the desi talas, there are other set of talas called "Marga Talas". These talas, in addition to the angams in the desi talas - laghu, drtham and anudrtham have other angams called Guru, Plutham, Kakapadam. The 108 talas and other groups of talas come under this group.

1 Guru - 1 beat and counting 7 fingers
1 Plutham - 1 beat, 1 krshyai & 1 sarpini
1 Kakapadam - 1 beat, 1 krshyai, 1 sarpini & 1 pathakam
1 krshyai - waving the hand towards left, it has 4 aksharams
1 sarpini - waving the hand towards right, it has 4 aksharams
1 pathakam - raising the hand vertically, has 4 aksharams

These talas are complicated and are found in very few compositions. In fact, the music of Tamils in ancient times had complicated rythm patterns like Chandha talam. Rythm was given importance. The Thiruppugazh is a classic example of the variety and complex nature of tala pattern in Carnatic music. The uniqueness of this tala lies in the fact that it varies according to the stress and rhyme-patterns (called Chanda) in the Tiruppugazh.

An example of a tala that uses all the units mentioned so far is Simhanandana tala, the longest tala, with 128 units.

Anaagatha - Atheetha

what more complexity you want?

There is another aspect of taalam which merits attention - the starting point of the song in relation to the taalam or the eduppu as it is called. Many songs start simultaneously with the beat and this is termed as sama eduppu indicating that the start is level with the taalam. Often, the song starts after the taalam is started, leaving an empty rhythm pattern at the beginning. This gap allows the singer and the instrumentalist a greater freedom in improvisation. This is indicated by the term anaagatha eduppu. Sometimes, the song starts before the beat and this is termed atheetha eduppu. This construction is often used to add a one or two syllable prefix (eg. Hari, Sri, Amba) to the text of the melodic line. A peculiar eduppu is associated with a taalam called Desadi taalam. Though this taalam actually consists of four movements, each of two aksharam duration, it is customary to keep pace for this taalam using simple Aadi taalam. Then, the eduppu is at one and half aksharams from the start of the taalam or three eighths way into the laghu. An example for Desadi eduppu is the song 'Bantu reethi kolu iya vayya Raama' in the ragam Hamsanaadham.

Prominent Talas

Adi Tala: It has eight counts per cycle. It is rendered with a beat and three finger counts followed by two identical sets of a beat and a wave. (In technical terms, this is nothing but Chaturasra jati Triputa tala, i.e., Chaturasra laghu and 2 drutams) Roopaka Tala: Six counts but only 3 units are rendered externally. (An anudrutam and a drutam) Misra Chapu: Seven units. (Three beats in the ratio of 3:2:2) Khanda Chapu: Five units. (Three beats in the ratio of 2:1:2)

Its 175 now ;-)

It's once again a simple extension of the 7 and 35-tala concepts. Let's use the same example given above, Dhruva tala. Now we already know that it can be of five different jatis. Suppose we specify the Jaati as Chaturasra, let's see how the gati can affect it.
We know that the Chaturasra Jaati Dhruva tala has an external count of 14. However, while rendering the tala, how are we to ensure that the time-interval between each beat is uniform? This is where we introduce Gati. Now, we could have a fixed interval of 4, 3, 7, 5 or 9 counts between each beat. Let's take the example of Chaturasra Jaati dhruva tala with an interval of 4 units per beat, i.e. Chaturasra gati. The external count of 14 is multiplied by 4 (gati units) and we get a total of 56 internal counts for the tala. The same would change to 42 in Tisra Gati (14*3). In other words, each of the 35 talas can be rendered in any of the 5 different gatis. Thus the 35-talas become 175 (35*5).

Yet another Jargon - Gati

Gati refers to a specific but fixed time-interval between any two beats within a tala. It can again be of five types: Chaturasra, Tisra, Misra, Khanda and Sankeerna.
The important thing to remember here is that the common names for the types of Jaati and Gati are only indicators of the values 4, 3, 7, 5 and 9. Whereas Jaati refers to the external finger-counting, Gati refers to the internal count between beats in the tala-cycle. Jaati gives a structure to the tala and Gati determines the gait of the tala.

How come 35 Taalas then?

Basically the 35-talas are an extension of the Sapta talas. The only element that changes is the Laghu. We already came across the fact that a laghu has five Jaatis (Chaturasra, Tisra, Misra, Khanda and Sankeerna). By incorporating that, we get a total of 35 varieties (7 Talas * 5 Jaatis). For instance, consider Dhruva tala with a Chaturasra laghu. A Chaturasra jaati dhruva tala would have a Chaturasra laghu followed by a dhrutam and two more Chaturasra laghus (It would be represented as I 4 0 I 4 I 4, the 4 near the laghu indicating a Chaturasra laghu). So we get an external count of 14 beats in all (4+2+4+4). Now the same Dhruva tala could have a Tisra laghu, in which case, we render a Tisra laghu instead of a Chaturasra laghu and thereby get a total external count of 11 beats (3+2+3+3) (This would be represented as I 3 0 I 3 I 3, the 3 representing the Tisra laghu). This is applied to all the other talas in a similar fashion. The important thing to be remembered is that it is always advisable to specify the Jaati (type) of the laghu to avoid confusion.

Saptha Talas

Dhruva tala: Comprises a laghu, a drutam followed by two more laghus. It is represented by the symbol - l O l l Mathya tala: Consists of a laghu, a drutam followed by another laghu. Symbol - l O l Roopaka tala: Consists of a drutam followed by a laghu. Symbol - O l Jhampa tala: Comprises a laghu followed by an anudrutam and a drutam. Symbol - l U O Triputa tala: Consists of a laghu followed by two drutams. Symbol - l O O Ata tala: Consists of two laghus followed by two drutams. Symbol - l l O O Eka tala: Consists of just a laghu. Symbol - l

The Tala System

The soundness of a system, primarily mathematical in character, consists of its internal coherency, logical rigidity and numeric accuracy. The tala system in Carnatic music satisfies all these conditions and is not only perfect but also beautifully elastic.

There are six parts (Angas - limbs) of a tala but the following three are used more frequently:
U - Anudrutham, A beat, represented by the symbol "U". This is physically represented as 1 unit
0 - Drutham, A beat and a wave of the hand, represented by the symbol "O". This is physically represented as 2 Unit.
| - Laghu, A beat followed by finger counts starting from the little finger. It is represented by the symbol "l". Laghu can be of five types (Jaati) depending on the number of units.

Units

Chaturasra (Jaati) laghu has a beat plus 3 finger counts, which is a total of 4 units.
Tisra (Jaati) laghu has 3 units i.e. a beat plus 2 finger counts.
Misra (Jaati) laghu has 7 units, i.e. a beat plus six finger counts.
Khanda (Jaati) laghu has 5 units, i.e. a beat plus four finger counts.
Sankeerna (Jaati) laghu has 9 units, i.e. beat plus eight finger counts.

Rhythmic Aspects

The rhythmic aspects in Carnatic music are arguably among the most developed and sophisticated across the world. The patterns range from the simple to the complex. The study of rhythmic aspects involves understanding the terms Tala and Laya.

Tala and Laya
Tala is often confused with Laya. Laya refers to the inherent rhythm in anything. Irrespective of whether it is demonstrated or not, it is always present. This can be better illustrated with an example. We know that the sun, the planets and other heavenly bodies are moving objects. Even as our earth rotates on its axis and revolves around the sun, these bodies have their own fixed movements and speeds. Even a microscopic disturbance in that speed may lead to disasters of huge proportions. So laya can be explained as the primordial orderliness of movements. Expression of laya in an organised fashion through fixed time cycles is known as Tala. Thus it serves as the structured rhythmic meter to measure musical time-intervals. Tala in Carnatic music is usually expressed physically by the musician through accented beats and unaccented finger counts or a wave of the hand. In other words, Tala is but a mere scale taken for the sake of convenience.

Appreciating Laya

Rhythm is omnipresent. There is rhythm in the movement of heavenly bodies just as in the life cycles of micro organisms. It is only natural that man is endowed with it. Whenever we listen to music, we look for the rhythmic movements in it and then find ourselves tapping our feet or clapping our hands or even dancing to it. But what exactly do we mean by rhythm?
Rhythm can be defined as a process in which the nuclei of attention are separated by individual parts of time. Whenever we listen to music, we cannot but perceive rhythm. Rhythm gives stability and form to music. It can be described as the tangible gait of any musical movement. In Carnatic music, this is referred to as Laya. The common fallacy is that rhythm or laya is confined to percussion instruments and the rhythmic patterns produced therein. But laya is not limited to just that. It is present not only in melodic compositions, which usually have a rhythmic metre in an apparent manner but also in the creative aspects, sometimes conspicuously (like in Neraval or Kalpanaswara) and subtly at others (Raga alapana and Tanam).

Current state

The Music Season of Chennai is world famous. Earlier only 3 sabhas were hosting this event, but now several sabhas participate. Artistes take pride in the number of concerts performed, but in my view, the quality isn't being maintained. I am not able to understand as to how those rasikas who appreciate good music are also able to appreciate the gimmicks of certain musicians. As far as thani avarthanam goes, if the artiste plays with concentration, audience appreciate this. Organisations in the name of Art have become totally commercialised. In spite of the growing no. of sponsors, the remuneration offered to the artistes is very low, for most of the sabhas are busy filling their coffers. Another sad trend is that of NRI performers paying money to have their program staged. Critics do not criticize constructively & it is not clear how & on what basis awards are given. Just as the Ganges retains her purity in spite of all dirt & grime flowing into her, the grace that is inherent in the Season is also being maintained in spite of all these happenings..

Music and Astrology

Astrology, an empirical science, is conditioned by astronomical calculations. Music, a fine art, is qualified by the imposition of rhythmic limitations. Each science has an inherent artistic or aesthetic element and every art has a scientific or mathematical base. Arts and sciences are mutually complementary. Where do astrology and music interface? More Details>>

Sokkajeyu Mridanga Talamu

Yes, Mridangam playing is not just for "sogasu", but is also sokkajeyu Mridanga talamu ! Enthralling ! I say this with all pride having experienced a little of the immeasurable ocean of Laya & having befriended the divine instrument called the Mridangam. - Guru Kaaraikkudi Mani

Karaikudi Mani Web Details :

Website : Karaikudi Mani
Wiki : WIKI

Fifty Fest - Unforgettable Moments

The musicians who had a free date on the 12th June 2003 must have surely thanked their stars. For it seemed that all the musical roads led to but one destination - the Gnananananda hall of the Narada Gana Sabha.

Reason? "Fifty Fest" - a unique tribute to mridangam maestro Karaikudi R. Mani, on the commemoration of his 50th year as a mridangist, organised by his students.

This function seemed to prove two things! The dedication of mani sir's students for their guru, and the fact that music does not lag behind in this hi-tech world. For, as a golden jubilee Guru Dakshina, they gifted him with no other than a Hyundai Accent - that luxury statement in cars.


The function began with an enumeration of mani sir's life, career and service to music, spirituality and and appeal that he be titled Guru Karaikudi Mani.

The senior-most student of Mani, Swaminathan handed over the keys to his Guru, amongst thunderous applause.

But these was more in store - Layamani Layam, the bimonthly magazine of Mani, dedicated this month's issue to a 'photo gallery', a series of over 200 photos of mani sir's life and career.

R. Ramesh, mridangist and a senior disciple of Mani received the 1st copy.

In an emotion packed speech Mani sir expressed his close relationship with his students. He recalled with gratitude his parents, Gurus, Guruji, Students and Rasikas for making him what he was.

Happiest Moment - One would never forget...

Laya maestro crosses a golden milestone :

GURU KAARAIKKUDI MANI who has made the art of percussion synonymous with his name was most deservedly felicitated by us (deciples) for having completed a golden half-century of significant contribution to Carnatic music in the genre of percussion.

Titles and awards have been showered on sir, but not one to rest on his laurels, Sir works with evangelical zeal to make the international musical fraternity appreciate and applaud the role of rhythm in any system of music in general, and Carnatic music in particular.

It was only appropriate that at the colourful function at the Narada Gana Sabha auditorium a large audience of friends and admirers were present to wish Mani sir all the best in the future.

His oldest disciple, Swaminathan, presented him with the keys of a Hyundai Accent car from all the students as a mark of affection and respect. The first disciple of Mani sir, R. Ramesh was the recipient of the latest edition of Layamani Layam.