RTP, Anulomam, Pratilomam, Vilomam
sri...@wsuhub.uc.twsu.edu
The specific issue is what is pratilomam and what is anulomam. As
per Prof. Sambamurthy, anulomam is retaining the taalam at the same
speed and changing the pace of the music to faster speeds (like
double speed). Pratilomam is the converse, i.e., singing at the
same speed and reckoning the taalam at double speed etc. This is
opposite of what I was led to believe by two recent postings. In
addition, Prof. Sambamurthy says that singing the pallavi at slower
speeds while keeping the talam at the same speed is vilomam. As per
these descriptions, most of the pallavi renditions these days consist
of one vilomam and one (sometimes more) anulomam demonstration. I have
never seen a demonstration of pratilomam (of course, one can only see it
since the talam is usually not picked up in recorded music). Also, as
for the retention of eduppu vs. arudi, the learned professor says that
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. I believe a
majority of pallavi renditions I have heard have followed this rule
(I can give specific examples, if anyone wants).
Sriram.
rajagopalan
>I have been confused by some recent postings of the fundas of RTP.
>The specific issue is what is pratilomam and what is anulomam. As
>per Prof. Sambamurthy, anulomam is retaining the taalam at the same
>speed and changing the pace of the music to faster speeds (like
>double speed). Pratilomam is the converse, i.e., singing at the
>same speed and reckoning the taalam at double speed etc.
i must be confusing anulomam and pratilomam in my mind. thanks for
pointing it out and my apologies for the error.
>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.
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 the second half might be 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.
sriram, does the professor say anything about the rule that the aruthi
must occur ON the beat (at some intermediate point of the talam)? does this hold
also for sama eduppu pallavis?
thanks for posting the corrections and clarifications.
cheers
-raj
Thyagarajan Mohan
>The specific issue is what is pratilomam and what is anulomam. As
>per Prof. Sambamurthy, anulomam is retaining the taalam at the same
>speed and changing the pace of the music to faster speeds (like
>double speed). Pratilomam is the converse, i.e., singing at the
>same speed and reckoning the taalam at double speed etc. This is
>opposite of what I was led to believe by two recent postings. In
>addition, Prof. Sambamurthy says that singing the pallavi at slower
>speeds while keeping the talam at the same speed is vilomam.
reverese order,e.g `viloema chaapu thaaLa'.In the slower speed ,I don't see
any reverese order.I used to remember`anuloemam' correlating to `anumanthra
sthaayee',the lower octave;thus the `anuloemam refers the slower speed and
`prathiloemam',the faster speed.Keeping the `pallavi' at the same speed and
varying the speeds of the `thaaLa'may be called as `viloemam'.Some people may
clarify this.I may be wrong.
> Also, as
>for the retention of eduppu vs. arudi, the learned professor says that
>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. I believe a
>majority of pallavi renditions I have heard have followed this rule
>(I can give specific examples, if anyone wants).
can the position of `arudhi' be kept constant,or is it meant that speeding up
or down starts from the latter half of the `pallavi'?You may explain this
based on one example,I myself give.This was rendered in record by MLV in
`madhyamaavathi' raagaa,`aadhi thaaLaa,kanada gathi',not sama eduppu.
More imporant point is that the Mridhangist is Palghat Mani,who is just after
traditions of the `thaaLaa' and Mridhangham.
|
`meenaakshi maa madhurai meena|kshi kaanchi kaamaakshi kaaschi vischaalaakshi'
|
I've separarted the `arudhi'(at kshi).Here,speeding up or down starts
only at the beginning of the `pallavi' which can be easily followed.
All the `pallavis' what I heard(includes all veterans like TNS,TVG,TVS,
Mani Krishnaswami,Bombay sisters...) are only like this.
There was a tradition that people begin RTP in `4 kaLai chavukkam'
and after `prathiloemam',slowly increase the speed to `1 kaLai chavukkam'
and then end the RTP.this might be termed as `viloemam'.
These are doubts
>
>Sriram.
MOHAN
P J Narayanan
>In article <1992Dec26....@wsuhub.uc.twsu.edu> sri...@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
--
---
Robotics Institute, CMU p...@cs.cmu.edu
Pittsburgh, PA 15213
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Srinivasan Pichumani
"gatilomam" which is synonymous to pratilomam as I understand it.
Demonstrations of this are indeed very rare, but there was one
in a recent Music Academy conference -- in 87 or so. I don't
remember the name of the artiste involved who gave this demo
at a morning session -- but I do remember that vidvAn
TMThiagarajan (a SangIta kalAnidhi - probably more interested in
controversies these days than actual music production)
kind of pooh-poohed off this whole exercise as flawed (source:Sruti)
Vilomam in general means reverse order (as Mohan mentioned); for
example, the chittasvaras at the end of Dikshitar's caturdasha rAgamAlikA
are referred to as "viloma citta svara". Some people use anuloma-viloma
to refer to the change in speeds, as tAla is kept constant, some others
call it as anulomam only, and others just call it trikAlam (1/2, 1, 2
tempi) which is quite descriptive.
--Srini.