From: pjn+@cs.cmu.edu (P J Narayanan)
Newsgroups: rec.music.indian.classical
Subject: Re: RTP, Anulomam, Pratilomam, Vilomam
Keywords: pallavis, karnatic
Date: 28 Dec 92 18:53:28 GMT
Article-I.D.: cs.BzzGH5.A5z.1
Followup-To: rec.music.indian.classical
Organization: School of Computer Science, Carnegie Mellon

In article <105680@bu.edu> raj@bigbird.bu.edu (rajagopalan) writes:
>In article <1992Dec26.135232.603@wsuhub.uc.twsu.edu> sriram@wsuhub.uc.twsu.edu writes:
>>IF the pallavi is not of sama eduppu, THEN preference should be given to
>>retaining the arudi rather than the eduppu during these exercises. Of course,
>>due to the change in speed, the only control over this is at the point
>>where the speed is switched over. Thus, one has to change speeds not
>>at the beginning of the pallavi but at the arudi point.

This is an important heuristic. If the pallavi begins on samam, the
anuloma-pratiloma-tisrams can start on a samam also. If the pallavi
begins, say, after three aksharams, more care/attention needs to be
given as the speed variations need to start after three aksharams
also. The calculations are more difficult.

>	personally, i have never heard, for example, a tisra gati anulomam 
>starting at the aruthi but then i was not noticing whether in those cases the
>eduppu was samam or not. however i find this rule a little awkward. consider 
>the popular pallavis that have a non-sama eduppu. usually after the aruthi 
>there is a silence gap (usually to give the singer a chance to breathe) after
>which the second half of the pallavi changes the off-beat nature of the first
>half. for example, if the words of the first half were predominantly on the
>half-beat thesecond half mightbe on the quarter-beat or vice-versa.of course,
>this is only an example and not a rule. 
>
>	in any case, the gap after the aruthi can be a little awkward (but not
>impossible) if the anulomam keeps the aruthi constant. but i just realized it
>makes the calculations a bit easier.

Exactly! The calculations become easier if the padagarbham/aruti is
kept constant. Of course, the gap after the aruti is also "timed" and
speeded up accordingly. This is usually not possible in non-samam
pallavis, as the `leading gap' in them is often filled with a fitting
at the tail of the pallavi. Also, the eduppu is often before samam!
One practical reason to recommend this is that the aruti always falls
on a major kriya of the talam, making calculations easier. In my
personal opinion, speeding up the sahityam from the middle has better
effects, especially when it all ends in an aruti at high speeds and
the pallavi resumes at the normal, base speed.

>	sriram, does the professor say anything about the rule that the aruthi
>must occur ON the beat(at some intermediate point ofthe talam)?does this hold
>also for sama eduppu pallavis?

Yes, this is true. I am yet to hear a pallavi that didn't have a
notable aruti. I have heard anuloma-pratilomams performed using both
convetions, wiz, keeping aruti constant and keeping eduppu constant.
Musicians also use two speeds in the same avartham often -- The
pallavi starts at the eduppu in normal speed. Half way through the
poorvardham (first half), the sahityam is repeated from start, but at
twice the speed, ending at the aruti properly. The same is repeated
about the uttaradham. This is usually done at the refrain after the
tisram and fast avarthanams.

>	cheers
>        -raj

Let me try illustrating the keeping-aruti-constant style using a
pallavi I heard T. N. Seshagopalan sing. The pallavi is set to
randu-kaLa adi talam, with eduppu at 2 aksharams before samam.
The beautiful pallavi was sung in Subhapanthuvarali!
The sahityma is: Needu pAdamE gatiyani nammiti, rAmachandra

Normal speed:

        ||         :         :          :          |

   nI - du pa - da me - - ga ti ya ni - - nam - mi

        |          :         |            :          ||

        ti -  - -  - ra - ma chan - - dra - - (nI -  du pa - da ...)



Half speed: (slower sahityam)

        ||         :         :          :          |

                                        ni -  - -

        |          :         |          :         ||

        du - pa -  - - da -  me -  - -  - -  ga - 

        ||         :         :          :          |

	ti - ya -  ni - - -  - - nam -  - -  mi -

        |          :         |          :         ||

	ti -  - -  - -  - -  - -  ra -  - -  ma -

        ||         :          :         :          |

        chan - - - - - dra -  - -  - - (ni -  - -  ......)


Twice the speed:

        ||    .     :      .    :      .      :      .    |

                             ni dupada me -ga tiyaninammi

        |     .     :      .    |      .      :      .    ||

        ti -   rama chandra  ni dupada me -ga tiyaninammi

        ||    .     :      .    :      .      :      .    |

        ti -   rama chandra (ni....)


The tisram starts speeding up at (nammi)ti - - -. I will leave it
as an exercise for the reader, as it is too tedious to reproduce on
a screen ;-)

PJN

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Robotics Institute, CMU			pjn@cs.cmu.edu
Pittsburgh, PA 15213
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Newsgroups: rec.music.indian.classical