Cyber Laya Vidyalaya

param · Post by **param** » 04 Mar 2006, 10:12

CML, VK, Coolji, Meena, Kiran, abadri, srkris and all my other dear KG students,

Let us continue the topic of the virtual laya school - in a bid to enrich our knowledge, here.

I propose to start with definitions with audio examples wherever possible.

Later, lets move over to more serious stuff such as the Thani avartanam itself with suitable audio examples explaining each and every aspect of the Thani.

Please do keep your questions, queries, doubts, etc., flowing so that we have a better sense of understanding - and to make the path explicity clear.

Best wishes,

Param

Nick H · Post by **Nick H** » 04 Mar 2006, 11:09

Looking forward to it

One problem with definitions is that they do differ from school to school, so we will have to go easy and not get bogged down in details.

cmlover · Post by **cmlover** » 04 Mar 2006, 11:30

Welcome NicK
I guess the honey moon is over

It is such a great pleasure to have you with us. Let us make this a model class room and let us all contribute to make this a success.

Remember there are no STUPID questions! There can be only stupid answers. Let everybody pitch in to improve the understanding. We need to make sure that the audios u/led do not die! Late -comers should be able to derive full benefit of enrolling in the vidyalaya. If there are differences between different schools let us try to understand the different approaches to CM from the laya perspective. But first the basics, the terminology and vocabulary with examples. Let me remind the KISS (Keep It Simple Stupid) principle!

srkris · Post by **srkris** » 04 Mar 2006, 11:32

Param,

Thanks for inagurating it, this section is your brainchild, and we all hope to benifit from all our virtual gurus like yourself, DRS, and others.

vasanthakokilam · Post by **vasanthakokilam** » 04 Mar 2006, 12:05

Param, The KG room is ready. Kids all have arrived, play toys all setup, Ba Ba black sheep playing

Bring it on.... Thanks.....

param · Post by **param** » 04 Mar 2006, 12:06

Dear All,

I request all of you to kindly send me a wish list of all the terms you wish definitions to be put up. Let me accumulate all this and then start with the definitions.

As and when necessary, I will, as suggested earlier, I will also upload audio pieces to help us understand what I wish to mean by the concerned definition.

I am wish the blessings of Lord Nandeeshwara and Goddess Saraswati, this effort will definitely bear rich, ripe and tasty fruits.

Best wishes,

Param

coolkarni · Post by **coolkarni** » 04 Mar 2006, 12:21

as per params request I am uploadinmg the first weekend thani .

http://rapidshare.de/files/14640513/Tha ... 1.mp3.html

Hope all of you will have time to listen to it and be prepared by the time Guruji starts his sermon on monday.
I propose to announce the artists name two days after the discussions have begun and hope to cover as many artists as possible.
Everytime someone has a wish to upload a thani for the weekend , kindly notify here before wednesday , so that i (or others)will avoid duplicating the effort.

Wish you best of Luck Param and God Bless You !

kiransurya · Post by **kiransurya** » 04 Mar 2006, 14:52

Can I request you to start off from the basic defintions. Seems like the defintions thta you use in TN are quite a bit diff from ones they use in Andhra. Atleast thats my perception. So, enlighten us all with your jewels of wisdom...

param · Post by **param** » 04 Mar 2006, 16:12

Dear Kiran Surya and all concerned,

My first request to all of you is to provide me with a list of terms for which you seek definitions. Once I get your list of terms, I will then put together those terms which are the same in CM in general and also those that are called differently in various schools - but actually mean one and the same thing.

Thanks for your inputs in advance

vasanthakokilam · Post by **vasanthakokilam** » 05 Mar 2006, 05:08

Param:

Here are the things I am interested, fundamental or otherwise. ( reusing stuff I posted in the TVG thread ).

1) Descriptions of terms: Some terms to start with, in no particular order, sort of a mixed bag. The teacher is requested to put some order or grouping to these if he so wishes so the descriptions are cohesive:

Eduppu, Arudhi, Korvai, Anga, Nadai, Faran, Mohra, Theermanam, Sarvalaghu, Karvai, Vishranthi, Kanakku, Koraipppu, desAdi Thalam.

Describe those and point those out on the timeline in the audio samples.

I am sure the definitions are available elsewhere but having them described here along with sample audio is very useful. If we have questions on the descriptions, we can then discuss them here as well to understand them better. One issue I commonly face reading the description of terms is using terms in the descriptions that have not been defined yet.

2) How are the various angAs of a thala used by the mridangamist? How does he indicate those? Are different sounds used for Laghu, Dhrutham etc.

If we start listening to a song in the middle, for example, can we figure out the varigous angAs and just by listening to some clues from the mridangamist? Point out what we should pay attention to in the mridangam playing to figure this out.

3) Point out the various Nadai changes. One thing I want to learn is to get the feel for the various naDais without counting the subdivisions to figure that out.

Is Kanakku and naDai interrelated?

4) Anything to demonstrate the Koraippu. For now, only thing I want to get at is a feel that it is happening during the thani ( and kalpanaswarams )

5) For each thani, point out the ending sequence as accurately as possible in the timeline, the clues the performer gets that the thani is ending and (s)he should pick it back up.

cmlover · Post by **cmlover** » 06 Mar 2006, 02:03

The weeekend asignment is indeed tough! I am not going to tell anybody that the artiste is BMK! Let us keep it a mystery. The rhythm is just intoxicating! But I still do not know what is what. Especially what is it that BMK (sorry we don't know the artiste) is appreciating?

it is nice that vk has listed all the important terms that we need defined as beginners. Let me just add a few more:
kaLai, kOrvai, akshara kaalam, tri kaalam, maatra,thoppi...
Also we need the basic 'sol' and their relationship to kaalam.

kiransurya · Post by **kiransurya** » 06 Mar 2006, 03:23

All that I could make out of the assignment is that it is aditalam. Apart from that, my knowledge about mridangam and all the terms(except a few) mentioned above is zero. So, I humbly request my guru sri param to start everything from scratch.

param · Post by **param** » 06 Mar 2006, 13:33

Dear all,

My humble apologies for the delay in delivering my first sermon (as Coolji puts it). The broadband connection at home (my father's den) has been delayed. Hopefully it will be done today and if so - the sermon will be delivered today evening - otherwise, it will done tomorrow from office.

Well, the thani assignment No,. 1 - Sri BMK (sorry we don't know the artiste - as Lord Rama puts it) is the singer, Kiran - any clues on the violinist?? - the mridangist belongs to KRM's (Guru Karaikudi R Mani) school - We came to this conclusion after listening to the assignment 2-3 times. We need Coolji to tell us who it is.

VK thanx for the repitition of the request of the definitions sought. CML dont worry your requests will be taken care of too. In fact, I am wondering if I should start from scrath???

Since mridangam - an instrument that is played differently to the Tabla (which is more popular) - a virtual course will need a complete explanation about the mridangam - about the various sollukal, the various angas of its playing. I guess let us begin with a thorough description of what a mridangam is - then proceed to how it is played and what are the names for the various strokes - then proceed to definitions for the various terms and then arrive at identifying the various schools of mridangam. Do you all find this in order???

vasanthakokilam · Post by **vasanthakokilam** » 06 Mar 2006, 13:38

Do you all find this in order???

Absolutely yes, Param. I could not have put it better.

kiransurya · Post by **kiransurya** » 06 Mar 2006, 14:16

That sounds very good to me...
Param, I dont have a clue of who the violinst would be. Iam bad at those kind of things...

param · Post by **param** » 06 Mar 2006, 14:48

Kiran,

I am curious at knowing wat you are good at ???

especially when we know what u r bad at

kiransurya · Post by **kiransurya** » 06 Mar 2006, 16:36

In the presence of erudites like you, Iam a humble and obedient student of music...

(Am I being cheeky here?)
Iam a vocalist and an amateur violinst( I learnt it the western way as I grew up here and then CM)

param · Post by **param** » 10 Mar 2006, 10:06

Dear All,

Sorry for the inordinate delay in the start of the class.

I was down with food poisoning initially (nothing to do with class fright - something similar to stage fright

), then my net connection has gone into a jeopardy. (The switch of the hub was in the neighbouring society - who have now decided to do away with it - am waiting for it to be put up at some other location) so that I get my connection and I could start with the posting.

I am putting this up from the office - where I cannot upload any music files - only text can be added into this forum.

I have got a few notes ready with me - just polishing it a bit.

I am also collecting songs from which I need to extract examples for terms such as Korvai, Edduppu, Faran, Kaarvai, Vishranti, Koraippu, Periya Mohra, Periya Korvai, etc. I have about 14 songs ready for the operation table.

I am only making sure that substantial audio examples are given to all concerned so that each point covered is clear.

Please bear with me for a couple of days more.

Thanks for your understanding.

cmlover · Post by **cmlover** » 10 Mar 2006, 10:44

Param

Just take it easy! No hurry at all! Just watch out for the Bird Flu

Also give it to us in small doses lest we get the food-poisoning

vasanthakokilam · Post by **vasanthakokilam** » 10 Mar 2006, 11:13

Ditto with CML's comments. The little peek into your preparation sounds exiciting enough but first get well, get connected and take your time. Thanks.

param · Post by **param** » 10 Mar 2006, 12:56

CML -

Dont worry - Firstly the Bird flu wont touch me - I have nothing to do with birds -
On the one hand I do not rear them - nor do I have the space for them
On the other I don't eat it either.

Secondly, I would always want the students in this Vidyalaya to be healthy and attend school daily - The teachers may take day(s) off on account of ill-health.

Let it be something different here in this Vidyalaya.....

kiransurya · Post by **kiransurya** » 10 Mar 2006, 18:32

Thanks coolkarni
Will try to do homework over the week end

param · Post by **param** » 13 Mar 2006, 09:37

Dearl all,

To understand 'thani avarthanam' it is essential for a non percussion instrument player to know certain basics of Talams, some of the important terms associated with it, etc. With this in view, though it may be a little boring for our Group, I am dealing below the same.

Talam is an indicator of music with the assistance of rhythmic gestures. This is indicated by clapping of hands and denotes the time space between the claps. The speed at which the claps are effected denotes the 'kaalam'. Assuming a clap at every two seconds to be the standard, doubling this speed is called duritha kaalam and halving chauka kaalam. The assumed speed is called madhyama kaalam.

There are seven basic talams. Each talam contains the following constituents:

LAGHU alone or a combination of LAGHU + DRITHAM / ANUDRITHAM

The names and construction of these talams are as below:

Dhruva talam 1 laghu + 1 dritham + 2 laghus
Matya talam 1 laghu + 1 dritham + 1 laghu
Roopaka talam 1 dritham + 1 laghu
Jhampa talam 1 laghu + 1 anudritham + 1 dritham
Triputa talam 1 laghu + 2 drithams
Ada talam 2 laghus + 2 drithams
Eka talam 1 laghu

Now let us understand what the terms Laghu, Dritham and Anudritham mean.

? Laghu is a variable term and contains the tapping of the palm facing downwards (a Sashabdham - one with a sound) followed by counting of the fingers (Nishabdham - one without a sound). The possibilities are innumerable, but, those in present use are five kinds viz., Thisram (3), Chatusram (4), Kandam (5), Misram (7) and Sankeernam (9) which are termed as Jaathis viz., Thisra jaathi, Chatusra Jaathi and so on??.
? Dritham is constant and contains a tapping of the palm facing downwards (a Sashabdham - one with a sound) and another tapping of the palm facing upwards (Nishabdham - one without a sound).
? Anudritham is one single tapping of the palm facing downwards (a Sashabdham - one with a sound).

The effect and usage of Sashabdham and Nishabdham in Carnatic Music will be explained later.

Each such single tapping of the palm or the counting of the fingers constitute one stroke or one aksharam

Therefore the total number of principal talams is 7 basic talams multiplied by 5 jaathis which equals to 35 talams.

The most common talam in carnatic music is the Triputa talam.

A Chatusra Jaathi Triputa Talam is constructed thus:

1 Laghu equalling 4 aksharams
2 drithams equalling 4 aksharams
Total equalling 8 aksharams

This talam is popularly known as the Aadi talam.
Each aksharam is further sub-divided into sub-beats known as Maatraas. Each aksharam necessarily contains a fixed number of maatraas. This is dependant upon the kind of Gathi that one is talking about. Gathi is a little similar to the Jaathis mentioned above in so far i.e. the numbers are the same ? Thisram (3), Chatusram (4), Kandam (5), Misram (7) and Sankeernam (9)

By default all the talams in Carnatic Music are set to Chatusra Kalam.

The correct technical name of Aadi talam therefore is Chatusra Jaati Triputa Talam Chatusra Gathi.

As and when the gathi and the jaathi of the talam changes, specific mention is made about the same ? for example Misra Jaathi Triputa Talam Thisra Gathi, etc.

The navagraha kritis composed by Muthuswami Dikshitar is set to the seven basic talams (note that since the Jaathi is not specifically mentioned ? it be understood that all these kritis are set to Chatusra Jaathi).

Having understood about the seven basic talams, the five jaathis and the five gathis, the formula for attaining at the total number of existing talams is:

7 basic talams multyiplied by 5 jaathis multiplied by 5 gathis = 175 talams
In other words 7 base talams x 5 jaathis x 5 gathis i.e. 7 x 5 x 5 = 175 talams.

In the above discussion, I have covered the following:

- Talam
- Laghu
- Dritham
- Anudritham
- Aksharam
- Maatraa
- Jaathi
- Gathi

In the next posting, let us look at some of the other terms used in Carnatic Music

cmlover · Post by **cmlover** » 13 Mar 2006, 12:38

Thanks

Just some elementary questions. We are of course ignoring the other kriyas (guru, plutam etc.,) not commonly used. But why are we restricting to only 7 combinations of the the kriyas (laghu, dritham and anudritham). Is it because they are adequate to cover all common patterns. For example can't we have 2laghus + anudritham + dritham?
Again why can't the matras vary inside the taaLam (i.e., chatusram for laghu and thisram for dritham etc.,). If these are conventions then it is fine. But is there a mathematical reason for this formulation?

param · Post by **param** » 13 Mar 2006, 14:10

As we discussed in the Anecdotes thread - the possibilities of combinations are to nth level - it is left to the imagination of each human being to come out with a unique talam. What has been given here are the purely basics. At the moment I am listing out definitions to all the terms used in CM.

I am really happy that you have been thinking beyond what Sri BMK was discussing 8) (as mentioned in the Anecdotes thread) and which is the reason why, I have a small and genuine request to make sir. I am sure this will receive your blessings too. 8)

Could we please discuss all these unique ideas over e-mails so that it is purely a discussion between us, it would ensure that each and every aspect is discussed in full detail and also ensure that the matter under discussion in this thread at this forum is not lost. I am sure you would appreciate that all those logging in may not understand the basis and will keep posting his/her expert opinions leading to a need for explanations - thus making an exit for the point under discussion.

My humble apologies if I have been used harsh words in putting across this thought to you and if so, please pardon me sir, I have been editing the earlier paragraph for over 35 mins and this is the best I could come up with. My e-mail IDs are known to you sir - irdgr8@yahoo.com; gr8iyer@yahoo.com and kpiyer@essar.com - Feel free to write to me at any of these IDs and you will receive a prompt response - the best that I can assure you of.

kiransurya · Post by **kiransurya** » 13 Mar 2006, 15:41

Param
Thank you for the fundamentals...

cmlover · Post by **cmlover** » 13 Mar 2006, 21:46

No offence taken at all! You should continue with the lessons explaining the basics. But they do stimulate a lot of new ideas and questions. These should be discussed publicly perhaps in the 'Technical section' rather than through e-mail since everybody benefits through public discussion as they say two headss are better than one

. Your explanations are clear and logical and you should continue the same pattern. You should allow questions on clarification of topics discussed here but no digressions. But I wish to reiterate that a healthy vigorous discussion of the Foundations of CM will let us "understand" and enjoy our CM heritage. Our ancients did construct the system very logically but somewhere the explanations got lost; we simply parrot what they wrote without getting the true message. That is all! Thanks!

vasanthakokilam · Post by **vasanthakokilam** » 14 Mar 2006, 11:31

Alright Param sir... looking very good so far. Thanks for the time spent in putting the intro together. It was very understandable.

I want to queue up a question for you to address when it fits in your lesson plan. Why are thalams split up into the various parts like Laghu, Drutham etc.? Meaning, what is the musical and compositional and mridangam significance for those? You do not have to address them right away but as you proceed step by step, sneak this in at the appropriate time. Thanks.

param · Post by **param** » 14 Mar 2006, 23:57

In tomorrow's posting I will cover the following terminology:

-- Korvai
-- Arudhi
-- Karvai
-- Farans
-- Sarvalagu
-- Kanakku
-- Koraippu

I would have loved to include Vishranti also - but that is where audio samples are a must - hence will do the needful next week.

Hope this will be enough for tomorrow's class.

Enjoy

kiransurya · Post by **kiransurya** » 15 Mar 2006, 00:44

Sri Param,

Iam looking forward to your tomorrow's post. Its all very educative...
Thank you for taking the effort....

param · Post by **param** » 15 Mar 2006, 00:52

naan petra inbam .......

I don't remember what that quote is - I am sure CMLjee is good at that.

I would also be posting audio samples next week wherever possible for the following:

-- Korvai
-- Arudhi
-- Karvai
-- Farans
-- Sarvalagu
-- Kanakku
-- Koraippu

cmlover · Post by **cmlover** » 15 Mar 2006, 01:41

yAM peRRa inbaM ivvaiyam peRuka!
(let the whole world partake of the pleasure that i myself got)

meena · Post by **meena** » 15 Mar 2006, 02:37

For starters just basic first , with samples please, only then HW assignments!
So far the 3 assignments, i'm lost, i've no clue what needs to be done!!!

coolkarni · Post by **coolkarni** » 15 Mar 2006, 14:55

I got the message

param · Post by **param** » 15 Mar 2006, 20:48

VISHRANTI

As the name suggests - it is resting - especially at times when the singer is giving out long drawn out brigas, etc. It is expected of the mridangam artiste to remain silent and allow the audience to both enjoy and then applaud these efforts of the singer.

An example to understand can be found in a part of the following song of Madurai Somu where Sri Murugabhoopathy in anticipation of Sri Somu to start rendering brigas remains silent. It so happens that all the artistes become silent for a few moments in between. Relish this piece.

http://rapidshare.de/files/15540895/som ... 1.mp3.html

I shall soon be posting other examples to explain this point better.
I shall also be posting definitions for the other terms soon.

param · Post by **param** » 15 Mar 2006, 20:51

KORVAI

An arrangement of phrases in a continued manner followed by three "tha
dhin gi na thom's".

An example in terms of phrases of a korvai if written down for the Aadi talam (chatusra jaathi triputa talam - chatusra gathi) would be as below:

(The phrases written below are for four aksharams in each line)

Tha . thi . thaka thina thi . thaka thina thaka
thina tha thee . kita thom tha tha thee . kita thom ..... One round talam over

tha tha thee . kita thom tha . . thadhin gina thom tha
. . thadhin gina thom tha . . thadhin gina thom tha ..... Two rounds talam over

ARUDHI

Arudis are end pieces generally played at the end of the talams (it could be for two beats or four beats - viz the Drithams in Aadi talam or even more beats as the situation demands).

THEERMANAM

Repitition of an Arudhi three times to signify the end of a paragraph in a song or the end of the song itself is known as Theermanam. (In an aadi talam - this could be either for six beats or for twelve beats or even more at times).

KARVAI

Karvai is stoppages after phrases or strokes and could be in various values of different jaathis. Karvai is often found to exist in Korvais, Arudhi, Theermanam, etc.

FARAN

Phrases played at durita kalam speed is known as Faran

SARVALAGU

Maintaining immaculate timing without any complicated phrase patterns is called SARVALAGU

KANNAKKU

Arithmatically complicated phrase patterns - basically to present gathis and/or kalams in the midst of a tani avartanam is kannakku.

KORAIPPU

Koraippu is reduction or tapering of with phrases, for e.g.

16 beats
8 beats
4 beats
2 beats
1 beat
1/2 beat

This is done by the singer or the main artiste during the neravals and by the accompanying percussion artiste(s) during the Tani Avartanam.

Over the weekend I shall try and post audio examples of most of the terms explained till now

kiransurya · Post by **kiransurya** » 15 Mar 2006, 21:07

Param
That sounds as clear as a crystal for the moment. However, I might get back to with a few questions after I digest it......

vasanthakokilam · Post by **vasanthakokilam** » 15 Mar 2006, 21:35

For starters just basic first , with samples please, only then HW assignments!
So far the 3 assignments, i'm lost, i've no clue what needs to be done!!!

I remember atleast two college professors who handed out assignments on the first day of class even before teaching a thing...Brings back all those nightmares

( Sorry for the digression class... don't make me stand up on the bench )

cmlover · Post by **cmlover** » 15 Mar 2006, 23:16

What bench?
This is 'thiNNai paLLikkUDam'

kiransurya · Post by **kiransurya** » 15 Mar 2006, 23:16

I ndont want to stand upon the bench either, I am having trouble pronouncing the words....

vasanthakokilam · Post by **vasanthakokilam** » 16 Mar 2006, 11:36

Nice definitions, Paramji. Things are coming together very well. I realize that providing audio samples to illustrate all these takes some painstaking work and thanks in advance for that.

vasanthakokilam · Post by **vasanthakokilam** » 16 Mar 2006, 11:43

What bench?
This is 'thiNNai paLLikkUDam'

Ha ha.. You will have to believe me on this....standards 3 and 4, I was in a village thiNNai PallikkUDAM in the most literal sense. For some reason, they could not accomodate these grades in the regular part of the school. There was a ( and in rather a poor condition ) house available which was a typical village house with a thiNNai, rEzhi, 1 open air mittham(?), 3 thAvArams, 1 kOOdam and one camera room. ( I do not know if all of you know what these all mean ). Each standard, sections A and B were all accomodated in that little house including the thiNNai. A santhiniketan of a different sorts experience.. The one benefit I remember was our house like four houses down in the same street and so it was a short dash...

Oops, I just realized this is even a bigger digression from the first one..I will have to be made to stand up on the roof

rajajisrinivasan · Post by **rajajisrinivasan** » 17 Mar 2006, 20:33

I'm not sure if I understood the difference between jaathi, gathi and nadai. Are the following interpretations correct?

1. Nadai is inherent in the composition (of course, if the artiste keeps the composer's intent intact). For example, Vanchathonu is chatusra jaathi triputa thaalam but thisra nadai. The jaathi in this thaalam only refers to the number of finger counts, namely 4.

2. nadai is the same as gathi.

3. Jagadanandakaaraka would be chatusra jaathi triputa thaalam chatusra gathi.

Also, what krithi would be an example of:

1. chatusra jaathi triputa thaalam khanda gathi
2. chatusra jaathi triputa thaalam misra gathi
3. chatusra jaathi triputa thaalam sankeerna gathi

Thanks
Rajaji

rajajisrinivasan · Post by **rajajisrinivasan** » 17 Mar 2006, 20:35

read '...The jaathi in this thaalam only refers to the number of finger counts, namely 4...'

as '...The jaathi in this thaalam only refers to the number of finger counts, namely 3 but a total of 4 beats in the laghu...'

cmlover · Post by **cmlover** » 17 Mar 2006, 22:15

As I understand (subject to correction by the prof) 'jAthi' is a term applicable to Laghu only. Whereas 'gathi' or nadai affects all angas. These two are independant of each other! Nadai can change during the kriti but jAthi cannot (the kriti is born with it!). The other thing is 'kaalam' which can change during the kriti. Kaalm is linked to gathi in the sense that it is the duration given to each note of the gathi. If the duration is doubled we get a slowing down (viLambam) but the gathi does not change. Similarly if the duration is halved we get a quickening (duritam) but again gathi is unaffected. This is not always true since the prof may explain later that a catustra gathi (4 notes aksharam) can be thisramised (3 notes to aksharam), but since tha kaalam is not changed (it is generally said that the 'kaalpramaaNam' has to be maintained), each note will now get 1and 1/3 (4/3) duration. It would now appear that there is a slowing down but note that kaalam has not really changed.

Am I Ok Prof?

vasanthakokilam · Post by **vasanthakokilam** » 18 Mar 2006, 12:02

VISHRANTI

An example to understand can be found in a part of the following song of Madurai Somu where Sri Murugabhoopathy in anticipation of Sri Somu to start rendering brigas remains silent. It so happens that all the artistes become silent for a few moments in between. Relish this piece.

http://rapidshare.de/files/15540895/som ... 1.mp3.html

A relishable piece indeed. Wrt to vishranti, I encountered quite a few places where the mridangamist stays silent for a whole avarthanam. Is that considered Vishranthi too? Just tryting to get a better understanding of the term. If needed, give us a specific points in the timeline where we need to pay attention to.

vasanthakokilam · Post by **vasanthakokilam** » 18 Mar 2006, 15:35

Also, what krithi would be an example of:

1. chatusra jaathi triputa thaalam khanda gathi
2. chatusra jaathi triputa thaalam misra gathi
3. chatusra jaathi triputa thaalam sankeerna gathi

Thanks
Rajaji

This will be great to have as a reference. One of my personal goals of learning from these lessons is to learn to appreciate the aesthetics of the nadai ( gathi ) by the gait and the feel it exhibits.

So far, my references for nadais are:

- Kavadi Chinthus are all in thisra nadai. Without knowing anything about sub-beat count and all, it is fairly easy to feel the different gait here than a chathusra nadai song.

- In the Kamas 'Sambasivayenave' that is taught to beginning students, there is an extra charanam swaram paragraph with a different nadai. I think it is in Kanda nadai.(??) Can someone refresh my memory/correct me on this?

- At Kaumaram.com,( specifically at http://www.kaumaram.com/mp3_link/g_r_list.html, ) Guruji Raghavan has composed many thiruppugazh songs in different nadais. I have spotted a few songs where he sings the same songs in different nadais. (He mentions the nadai, so it is a very good educational experience as well ). I have been meaning to spend some more time there.

kiransurya · Post by **kiransurya** » 18 Mar 2006, 18:37

VK

Thank you for citing references. All these terms gathi, jathi and other stuff are catching upon me . Good to know how they sound and feel like...

vasanthakokilam · Post by **vasanthakokilam** » 19 Mar 2006, 00:17

Here is an example of Guruji singing the same song in two different nadais.

http://kaumaram.net/gr_audio/0002a.zip - Adi Kanda Nadai - Nattai
http://kaumaram.net/gr_audio/0002b.zip - Adi Chathusra Nadai - Mohanam

cmlover · Post by **cmlover** » 19 Mar 2006, 01:09

vk

the other important thing to note is that the mohanam is rendered in 2 kaLai with 1/2 eDam!
Guruji is indeed a great laya expert!