Topic started by nick (@ host.sumitomomarine.co.uk) on Wed Jul 5 08:39:04 .
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It has been suggested that a thread be started for discussing tala and for sharing some answers to our questions and confusions. Here it is! |
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- From: S (@ wwwgate32.motorola.com)
on: Sun Jul 23 08:09:33 EDT 2000
Rettai pallavi need not involve two ragams, though some of them do. The important point is that there should be each constituent pallavi should have its own arudi/padagarbham ( as Lakshman has quoted P Sambamurthy ). As may be known, arudi/padagarbham is the 'resting' point which separates the pUrvAngam and uttarAngam of the talam, and is often a kaarvai, a lengthened note. Thus a rettai pallavi would involve multiple avartanams, and the ending of the first would blend into the eduppu of the other. I have not heard the keeravani/kalyani pallavi that Lakshman mentions, but if it involved a single avartanam ( like most pallavis ), it would not be a rettai pallavi - if there were two pallavis, it would be a rettai pallavi. An example of a simple multi-avartanam pallavi is the classic 2 avartanam sagaganibhajana that SSI has often rendered, though some feel it cannot be strictly called a rettai pallavi, since one of the resting points ( out of the two ) does not fall on the first dhrutam ( of adi tala ). Some tiruppugazhs have been shaped as rettai pallavis by performers. Some other rettai pallavis ( starting words ) include maatangi raajaraajeshvari...., orarumugane guruparane ....
PPN, rgd ragamalika pallavis, I have heard Lalgudi Jayaraman play the ragamalika pallavi with ragas mohanam and ranjani - is this the one u refer to ( wrt GJRK& Viji ) ? I have heard Charumati Ramachandran sing a pallavi stringing together the starting words of the some well known MD kritis such as balagopala, santanagopala.. etc, as a ragamalika pallavi in the respective ragas ( as the MD kritis ) - I don't exactly remember the details now. There should be many more egs, I am sure, since many performers plan and compose the pallavis they sing.
- From: S (@ wwwgate2.motorola.com)
on: Sun Jul 23 08:28:09 EDT 2000
>>>The important point is that there should be each constituent pallavi should have its own arudi/padagarbham<<< I meant, --- there should be two constituent pallavis, and each pallavi should have its own arudi/padagarbham. Also, the multi-avartanam pallavi that I referred to ( sung by SSI and others ) is in Sankarabharanam.
- From: Nadopasaka (@ akppp61.buffnet.net)
on: Wed Aug 2 14:05:03 EDT 2000
>>> since many performers plan and compose the pallavis <<< what is the extent of Yati usage for example srotovaha etc. in pallavis.
- From: suhas (@ 203.197.56.94)
on: Sat Aug 5 10:00:15 EDT 2000
Both terms used by Nado are unfamiliar to me
What is Yati and what is Srotovaha?
Bye
- From: Lakshman (@ ppp10279.on.bellglobal.com)
on: Sat Aug 5 11:13:20 EDT 2000
Suhas:
Please take a look at this site:
http://carnatic.musicpage.com
and look under Carnatic Glossary-under Y and under different yatis given there.
- From: Nadopasaka (@ adppp35.buffnet.net)
on: Sat Aug 5 11:14:44 EDT 2000
Suhas, yati is a term for the pattern set up by the text itself possibly derived from the pauses needed to do so. srotovaha is one kind where the lyric itself expands e.g.
sam,prakasam,svarupa prakasam,tattva swarupa prakasam etc. Migh talso be related to the meandering shape of a river. Another yati is Gopuccha , literally 'tailing' off e.g. also in MD's AnandaBhairavi Tyagaraja yoga Vaibhavam, agaraja yoga vaibhavam,raja yoga vaibhavam, yoga vaibhavam, vaibhavam, bhavam...vam. Musically each phrase does seem to change as well, but not always. A 'damaru' yati may a 'damaru' shape when the text is written out.
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