Structuring a Korvai in the thani

pallavi.pr · Post by **pallavi.pr** » 10 Apr 2007, 11:23

Balaji,
M trying to upload one Thani Avarthanam in rapidfire. I had some queries on it. I'm facing some difficulty in retrieving the link where I have uploaded. It displays the page saying that I have uploaded, but I have no details on the location. Kindly help.

Meanwhile I will try to figure out the korvai and type it out.

pallavi.pr · Post by **pallavi.pr** » 10 Apr 2007, 13:48

Hi Balaji,

I used another uploading engine called sendspace. I was able to upload the thani avarthanam.

The link is http://www.sendspace.com/file/w0htmb

Please could you explain this Adi ThaLam 1 KaLai thani.

In which category (out of the 8 you have mentioned in #92) does this korvai fall?

Generally what I am familiar with is a korvai where the same pattern is repeated thrice.

In the korvai in the link above a pattern is repeated thrice and then there is another pattern which is played only once. And then the son gis taken up immediately.Could you explain the technicalities here? thx.

mridhangam · Post by **mridhangam** » 10 Apr 2007, 15:33

Heard the Mohara and Korvai. Excellent. The final pattern is not repeated thrice and you are right about that . The Mohara starts around 1:41 and the Korvai starts around 2:00 and finishes by about 2:25 or so. The korvai itself is very lengthy spanning for 5 avartans and hence for a one kalai if you play for three times it may span for 15 cycles and so i think the mridangist has stopped with one cycle keeping in mind the time constraint. More over we dont know in which concert it was played... live concert ? or radio concert ? or even one hour concert at a foreign venue ? or even a short tani played before the main RTP so many options and possibilities are there for choosing to play the main korvai only once.

The korvai belongs to Poorvanga and Utharaanga pattern only. With Poorvanga first round split goes like this :

14 + 18
second time Ki Ta Tha Ka is added and then 14 + 15
Third time Tha Ri Tha Ri Ki Ta Tha Ka is added and then 14 + 12

and then the utharaanga starts

utharaanga is split in the following way :

Tha , , Dhee , , Gi , , Na , , Thom, ,
tha, dhi , gi , na , thom , tha, dhi , gi , na , thom ,
Ta Dhi Gi Na thom Ta Dhi Gi Na thom Ta Dhi Gi Na thom and then 5 karvai
Tha Ka (in fourth speed that is played for 1 / 4 of a beat) Ta Dhi Gi Na thom Tha Ka Ta Dhi Gi Na thom Tha Ka Ta Dhi Gi Na thom and then 5 karvai
Tha Ka Dhi Ku (in fourth speed that is played 2 /4 of a beat) Ta Dhi Gi Na thom Tha Ka Dhi Ku Ta Dhi Gi Na thom Tha Ka Dhi Ku Ta Dhi Gi Na thom (Pancha Shat Peetha Roopini) (sung by D K Pattammal i think).

Tha Mathematics for the utharaanga is 15 + 18 + 21 with 5 karvais for 15 and 18. Will have to note the representation for 18 and 21 which has been rendered very nicely. for 3 * 6 the mridangist has used 1+5 as the combination and the 1 is having 2 syllables packed in 4th Kaala. Likewise the 3 * 7 is split as 2 + 5 as the combination and the 2 is having 4 syllables packed in 4th kaala.

Excellent work.

J.Balaji

pallavi.pr · Post by **pallavi.pr** » 10 Apr 2007, 16:04

Hi Balaji,

The mridangist in the above clipping is PMI. Yes it is DKP indeed.

Thanks for making such a complex korvai appear so simple, thru ur explanation only! (It is gr8 maths indeed!)

pallavi.pr · Post by **pallavi.pr** » 10 Apr 2007, 16:22

Hi Balaji,

Here's another mohra korvia in Adi TaaLa which follows the krithi in gowlipanthu:

http://www.sendspace.com/file/v0eala

I guess this is as good as the previous one! Do let me know!

mridhangam · Post by **mridhangam** » 10 Apr 2007, 21:59

This Tani posted in #105 is an excellent example of Mohara itself played in a different speed. The mohara is a mixture of 5th and 4th speed. Actual Mohara is played in 5th speed since the Tala was very slow so as the song. Hence the artiste (I think Trichy Sankaran or anyone of the Palani Subramania Pillai School) has played the Mohara at a higher speed. Normally Adi Tala Mohara will come for 4 avartanas but this mohara has been packed into two avartanas since the Kaalapramanam was slow. So is the Korvai which has been played in a higher speed. The Korvai is typical of Palani Subramania Pillai School.

Tha , Dhi , Ta Ki Ta Thom, Tha di gi na thom tha , , ,

Dhi , Ta Ki Ta Thom, Tha di gi na thom tha , , ,

Ta Ki Ta Thom, Tha di gi na thom Ta Ki Ta Thom, Tha di gi na thom Ta Ki Ta Thom, Tha di gi na thom (Tha)

It is a two avartana korvai.

I shall shortly upload the korvai given by Dr.Srikanth for Rupaka Tala in two speeds.
J.Balaji

mridhangam · Post by **mridhangam** » 10 Apr 2007, 22:34

Korvai as per Post No: 88 in two speeds in Rupaka Tala. Enjoy listening.

http://rapidshare.com/files/25298690/Ru ... _No-88.mp3

J.Balaji

Nick H · Post by **Nick H** » 10 Apr 2007, 23:32

For completeness, here is the original korvai that I reverse-engineered in post 90...

Four avartanas, 1-kalai adi talam

Tha Kitathom
Dhi Tha Kitathom
Tha Dhi Tha Kitathom
Tha , , , Dhi , , , Gi , , , Na , , , Thom , , ,

Tha Kitathom
Dhi Tha Kitathom
Tha Dhi Tha Kitathom
Tha , , Dhi , , Gi , , Na , , Thom , ,

Tha Kitathom
Dhi Tha Kitathom
Tha Dhi Tha Kitathom
Tha , Dhi , Gi , Na , Thom ,

Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom ,
Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom ,
Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom Tha Dhi Gi Na Thom ||Tha

mridhangam · Post by **mridhangam** » 12 Apr 2007, 07:44

Dr.Srikanth Sir

Can the purvanga be patterned in other ways for Aditala korve?

I dont understand this question of yours in Post No:86. Kindly explain.

Also, kanakku-wise, the ones you have played will also fit rupaka tala. (8x3=24 avartas. Or variations thereof spanning a total of 24 Avartas) )Can they be used as such for rupaka tala?

Any korvai played in adi Tala can be used in Rupaka Tala as such. No problem at all and without any variations.

Dear other members

Can i proceed further assuming that you have no doubts upto this point. I am waiting for confirmation.

Thanks
J.Balaji

mridhangam · Post by **mridhangam** » 12 Apr 2007, 15:03

With reference to post no 92 i may add that there is another variety of korvai

Porutham Korvai. somebody pls translate. Means that which can be created so that the laya available in the song and the korvai played matches.

J.Balaji

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 05:07

Balaji
Thanks for playin the rUpaka kOrve. It has come out very nice. Keeping the tALa is somewhat tricky when played in drutakAla.

mridhangam wrote:Dr.Srikanth Sir
Can the purvanga be patterned in other ways for Aditala korve?
I dont understand this question of yours in Post No:86. Kindly explain.

You have already answered I think- by saying there are man aasus. A follow on question is, does one have to know these aasus to be able to draw up a kOrve or is it fine to go ahead and do it even otherwise as long as the basic structure(of a triplet) is maintained. To explan further, the rUpaka tALa kOrve I wrote, I had no idea of aasu but just came up with it. Does it relate to some aasu?

BTW- the term aasu could be related to the word "hAsu" (haasu) in kannaDa which means warp (as in warp and weft or warp & woof) and also a pattern/format.

Any korvai played in adi Tala can be used in Rupaka Tala as such. No problem at all and without any variations.

Thanks for clarifying.

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 05:13

mridhangam wrote:Porutham Korvai. somebody pls translate. Means that which can be created so that the laya available in the song and the korvai played matches.

J.Balaji

poruttam as I understand it, means playing according to the word pattern in the kRti sung such that it appears like the kRti is essentially being played on the mRdanga/percussive instrument. Using this pattern in the kOrve is poruttam kOrve, correct?

Now the question is, how can one do this without disrupting the basic triplet pattern of a kOrve. And may I request you to play or post an example of poruttam korvai so it is easier for all to understand or ask questions.

mridhangam · Post by **mridhangam** » 13 Apr 2007, 10:46

Dr.Srikanth ji

One is about the Aasu and another is about the Porutham.

Aasu is the basic pattern which is either already available thorough years of listening or playing by our masters. In these Aasus generally no change will be there it is taken as such and they are then made adaptable according to tala and situations. Mostly based on the Aasu the utharaanga is accommodated. Actually the utharaanga is adjusted according the Aasu pattern arrived or derived or created. Utharaanga is just the left over after Poorvaanga. That is how generally and easily a korvai can be easily done.

Coming to the Porutham Korvai i have an excellent example taken out of a famous kriti "Manavyalakim". I will give you the Aasu with Korvai here and shall upload the audio later.

The Aasu is the first line manavyalakim which is split in laya terms as "tha , Dhim , thom , tha , Dheem.

Actually 5 in madyama kaala.

This is how an Aasu is arrived at for a porutham korvai.
Assume the singer sings neraval and swara in Manavyala kim and the mridangist is asked to play a tani the same Manavyalkim's rhythmic Aasu can be taken up and conjured up into a nice korvai as given below. Moreover the korvai can be taken from the samam and then brought to the Anaagatha Eduppu of 1 1/2 beat after Samam from where the song starts. The korvai goes thus :

Poorvaanga Aasu
=============
Tha , Dhim , thom , tha , Dhim + (4 Kaarvai in 3rd Speed ie., One beat duration kaarvai)
Tha , Dhim , thom , tha , Dhim + 4 Kaarvai
Tha , Dhim , thom , tha , Dhim + 4 Kaarvai

This is for a total count of 10 1/2 beats or 42 subunits (ie 3 * 10 + 3 * 4 Kaarvai = 42)

Utharaanga
=========

Tha Di Gi Na Thom
Tha Di Gi Na Thom
Tha Di Gi Na Thom (1 Kaarvai)

Tha Di , Gi Na thom
Tha Di , Gi Na thom
Tha Di , Gi Na thom (1 Kaarvai)

Tha , Di , Gi Na Thom
Tha , Di , Gi Na Thom
Tha , Di , Gi Na Thom (tha)

This is the korvai the Utharaanga is for 56 a multiple of 7 hence the above pattern which is usually played for a Misra Koraippu also.

This Korvai is for a total of 98 Subunits or 3 Avartanas and 2 sub units per cycle (1 /2 Beat ). Or total 24 1/2 Beats.
Played Three times you will reach the Manavyalakim Starting point as per progressive shift from one place to the other. Finally when you reach the Manavyalakim Point you can visualise that the Sollu Tha Deem Thom tha Deem will coincide with the Kriti Format thus making it a great Porutham Korvai.

This Korvai is entirely my creation from the Rhythmic Aasu provided by Saint Thyagaraja through that kriti.

More with audio later.

J.Balaji

Nick H · Post by **Nick H** » 13 Apr 2007, 10:48

man aasus

---Oh dear, I must have not been paying attention somewhere. What does this mean?

mridhangam · Post by **mridhangam** » 13 Apr 2007, 12:36

Member Nick H

Please refer to earlier posts in this thread where i have mentioned what an Aasu is. Dont know which language it has been taken from. May be from Kannada as Dr.Srikanth has pointed out in his post above or from some other language. Certainly this word doesnt look like a tamil word and anyway i m not able to comment any further on this due to my lack of knowledge. Suffice now that the AASU IS NOTHING BUT THE BASIC STRUCTURE OF A KORVAI BASED ON WHICH THE MAIN KORVAI'S POORVAANGA IS DERIVED OR ARRIVED AT. whatever rhythmic pattern we are able to arrive at that which is acceptable within the logical parameters of poorvanga can be termed as an AASU. As i have mentioned time and again earlier these AASU's are mostly available through the playing of our masters and also have been evolved over a time. in simple terms AASU can be described as the BASIC IDEA FOR A KORVAI.

Am I clear ?

J.Balaji

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 15:57

Balaji
How about this poruttam korve for the same kRti- manaviyAlaginca

purvanga (starts from the edupu of the krti)
Ta , di , thom , , , ta , dim + 4 karve in madhyama kAla covering 1 beat )|
Ta , di , thom , , , ta , dim + 4 karve
Ta , di , thom , , , ta , dim + 4 karve

Total count of 12 beats or 48 subunits (3x12 + 3x4 karve= 48)
-----

uttaranga
Ta di , ginathom + 4 karve in madhyama kala covering 1 beat |
tadi , ginathom tadi,ginathom + 4 karve in madhyama kala covering 1 beat |
tadi , ginathom tadi , gina thom tadi , ginathom |

(16+28+36)
----
The whole kOrve spans 4*3= 12 Avartas.

mridhangam · Post by **mridhangam** » 13 Apr 2007, 16:22

This cannot be termed as porutham since it doesnt coincide with the inherent rhythm of the phrase Manavyalakim. The Phrase Manavyalakim takes only 5 units in madyamakala ... and hence the poorvanga has to be five only in order to qualify itself for porutham. You can take the above as a normal poorvanga uthaaraanga korvai and not as a porutham korvai. For a Korvai to qualify for a Porutham it must have the first Phrase of the Song's inherent rhythm as a Sollukattu for the Korvai. Moreover I am not clear about the Tattakaara of your Utharaanga where you have mentioned 16 and what i understand fm there is only 6 + 4 and 2 *6 + 4 for the second and 3 * 6 for the third. Will you please clarify sir ? There is another variety of Porutham also which i shall deal with later wherein you can have the First Phrase of the song's inherent rhythm as the Shashabda Kaarvai (Generally Kaarvais are Nishabdha by Shashabda Kaarvai i mean here that we can play the Kaarvai as a sollukattu, and incidentally this Shashada Kaarvai is nothing but representation of Song's first line) for the Utharaanga in the first and second times. After the third time you play the utharaanga if you play the inherent rhythm then it becomes the song's representation in sollukkattu and when the singer takes the song after the third time it creates a great impact.

I shall give audio examples for the same kriti soon.

Am I Clear ?

J.Balaji

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 16:28

mridhangam wrote:This cannot be termed as porutham since it doesnt coincide with the inherent rhythm of the phrase Manavyalakim. The Phrase Manavyalakim takes only 5 units in madyamakala ... and hence the poorvanga has to be five only in order to qualify itself for porutham.
J.Balaji

There are only 5 sollus in the purvanga I gave. I dont know if I represented it correctly. But I will try. The pallavi of the song goes like this

;, ma na vyA la gin
3 1 1 2 1 3
;, ta di tom ta dim

The lengths of each sollu is exactly the same as in the pallavi part. Is that not poruttam?

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 16:36

mridhangam wrote:Moreover I am not clear about the Tattakaara of your Utharaanga where you have mentioned 16 and what i understand fm there is only 6 + 4 and 2 *6 + 4 for the second and 3 * 6 for the third. Will you please clarify sir ? J.Balaji

Again, I may not have written correctly. Im trying to follow your scheme which I have not been able to understand completely.

| , ta | din , | gi Na ||
thom , | , ta | din , | gi na | tom- ta | din , | gi Na | tom , |
, ta | din , | gi na | tom- ta | din , | gi Na | tom- ta | din , |
gi Na | tom- manavyAlagin---

mridhangam · Post by **mridhangam** » 13 Apr 2007, 16:38

in your post you have given as 12 and not as 5 (in madyama kaala) or 10 (in durita kaala). You have mentioned 12 (3 * 12 + 3 *4 ). there is no twelve from the place you start the Manavyala. The kim falls on samam hence that has to be the Kaarvai starting point for us .. To be perfect the Arudi Point till which the phrase comes only should be taken. Until the arudi point from the song's eduppu it is 5 in madyama kaala .. and that madyama kaala representation of 5 should coincide rhythmically with the kriti's format. After arriving at the Porutham Aasu the Korvai can be taken from any place and has to come to the Eduppu point after three rounds. That is all to it. Cant take the liberty of playing the 5 in different ways as it loses its quality to be called a porutham.

J.Balaji

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 16:41

Balaji
Ignore the numbers in the first post and please look at my graphic representation alongside the pallavi. The dhim with karve falls exactly on the arudi of the pallavi only. That way it maintains the word flow of pallavi. Putting the dim before sama does not give the word flow of the pallavi. And the end falls on the edupu only.

mridhangam · Post by **mridhangam** » 13 Apr 2007, 16:51

Got the Poorvaanga correct sir. Pls give the utharaanga in a manner that i can understand. Not clear about the notation in post no: 119. what is the duration of Poorvanga with reference to Manvyalkim ? and also do you start the korvai at samam or eduppu point itself. In my korvai that which i hv given contains the sollukkattu for manavyala (kim) which starts from samam and comes to the Eduppu since such type of korvais create a sense of expectation and mystery.

Thank you sir for your active participation.
J.Balaji

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 16:56

korve starts in edupu, not samam. Duration of purvanga is 3 times that of "manavyalagin" i.e 12 beats. Uttaranga starts on the second half of second beat of druta. I have given the breakup in post 119- to each tala beat/unit.

drshrikaanth · Post by **drshrikaanth** » 13 Apr 2007, 18:44

For those who have not seen this

http://www.angelfire.com/mb/mridhangam/author.html

http://www.angelfire.com/mb/mridhangam/

Good work Balaji. Kudos!

Nick H · Post by **Nick H** » 13 Apr 2007, 19:26

Brain cells dim, but there's a BMK varnam where the pattern of the final swara merges perfectly into the final charnum.

Not sure if this swara pattern even qualifies as a korvai, and I don't have it to hand.

I have heard thiermanams where, instead of the three lines coming at the end to the start of the line, the third part of the thiermanam is the exact rhythm of the next song line.

pranavam · Post by **pranavam** » 14 Apr 2007, 04:42

mridhangam wrote:I am uploading all the four korvais mentioned above :

All MP3 files

1 ) http://rapidshare.com/files/23217012/Ko ... _No.12.mp3

2) http://rapidshare.com/files/23217043/Ko ... _no_26.mp3

3) http://rapidshare.com/files/23217075/ko ... o_33-1.mp3

4) http://rapidshare.com/files/23217257/ko ... o_33-2.mp3

With the same korvai demonstrated above there are other possibilities. About which i shall come tomorrow.

Mannarkoil J Balaji

Shri Balaji,

Can u please upload the above files in different media like gigasize/mediafire/mediamax/sendspace? Its very very difficult to download from rapidshare.

regards
Pranavam

vasanthakokilam · Post by **vasanthakokilam** » 14 Apr 2007, 05:36

To save Balaji some trouble, I have uploaded the audio files here: http://www.sendspace.com/file/9mpjyr

pranavam · Post by **pranavam** » 15 Apr 2007, 00:41

vasanthakokilam wrote:To save Balaji some trouble, I have uploaded the audio files here: http://www.sendspace.com/file/9mpjyr

Thank u very much

Pranavam

drshrikaanth · Post by **drshrikaanth** » 16 Apr 2007, 15:12

Balaji
Please post the demo of your poruttam kOrve. And if possible, play the kOrve I posted as well.

mridhangam · Post by **mridhangam** » 16 Apr 2007, 17:19

yes yes i shall do so .. i was not well for the last few days and couldnt do the recording ... shall up load shortly. by tonight or after 19th as i will be away to calicut to play for T.N.Krishnan Sir's violin solo. I have in mind but really didnt have the time. Sorry for the delay
J.Balaji

drshrikaanth · Post by **drshrikaanth** » 16 Apr 2007, 17:25

Hope you are feeling better Balaji. All the best for your Calicut trip. Take your time about the demo.

mridhangam · Post by **mridhangam** » 20 Apr 2007, 23:20

Dear Friends and rasikas

Thanks for a considerably long wait.
I am now uploading the korvai as per post no.113 with konnakkol also.

please give your feedback

http://www.rogepost.com/n/6944398073

Thanks
J.Balaji

mridhangam · Post by **mridhangam** » 20 Apr 2007, 23:29

Other Korvais with Konnakkol will follow one by one.

Now is the Korvai that i mentioned in Post No:12 with Konnakkol

Hope now it will be clear to rasikas. ?

http://www.rogepost.com/n/1076249489

J.Balaji

mridhangam · Post by **mridhangam** » 20 Apr 2007, 23:34

Korvai as per Post No.38 with Konnakkol follows now :

http://www.rogepost.com/n/2817035235

Rest I shall do after getting feedback from all of you
Thanks for now

J.Balaji

vasanthakokilam · Post by **vasanthakokilam** » 21 Apr 2007, 07:51

Balaji:

Thanks a whole lot. Your playing the mridangam with Konnakkol in parallel is great and it clarified a few things for me. Also, it is easier this way to follow the notations. Thanks.

sathsangeethapriyan · Post by **sathsangeethapriyan** » 23 Apr 2007, 00:42

Are there korvais without the distinction of poorvanga madyanga and uthranga? Any examples?

mridhangam · Post by **mridhangam** » 23 Apr 2007, 19:38

Are there korvais without the distinction of poorvanga madyanga and uthranga? Any examples?

I dont think there are any. If i come across such korvais i shall let you know. But by simple logic any korvai within the rules that have been listed elsewhere in this article can be broken into these parts. If the korvai doesnt contain these then they are just Sarvalaghu Patterns or Meettu Patterns without any definite end as such. The rhythmic pattern without these three are just used as a take-off patterns for ultimate korvais.

Hope i have answered your query.

J.Balaji

mridhangam · Post by **mridhangam** » 24 Apr 2007, 22:30

Now the Korvai as per post no: 26 with Konnakkol

http://rapidshare.com/files/27703132/Ko ... nakkol.mp3

J.Balaji

pranavam · Post by **pranavam** » 25 Apr 2007, 05:02

mridhangam wrote:Dear Friends and rasikas

Thanks for a considerably long wait.
I am now uploading the korvai as per post no.113 with konnakkol also.

please give your feedback

http://www.rogepost.com/n/6944398073

Thanks
J.Balaji

Shri,Balaji,

I am unable to download this.Please re-upload this one.

Have a good summer

thanks
Pranavam

pranavam · Post by **pranavam** » 25 Apr 2007, 05:04

mridhangam wrote:Now the Korvai as per post no: 26 with Konnakkol

http://rapidshare.com/files/27703132/Ko ... nakkol.mp3

J.Balaji

Shri,Balaji,

Its very difficult to download from rapidshare.Please re-upload this in diff media.

Have a good summer

thanks
Pranavam

mridhangam · Post by **mridhangam** » 25 Apr 2007, 10:04

Sure i shall use different file uploaders from here onwards. At one shot i will do all the audio files listed above as a zip file and upload in a shortwhile until the konnakkol files ok
J.Balaji

mridhangam · Post by **mridhangam** » 25 Apr 2007, 16:51

I have uploaded a zip file containing all the korvais listed above at single shot.
btw y there is a lull here in this forum ...
Your participation would ensure my giving the best members. moreover instead of me assuming questions and trying to give you hypothetical answers it would be better if it originates from you.

http://www.rogepost.com/n/0816183482

Thanks for the encouragement
J.balaji

mohan · Post by **mohan** » 25 Apr 2007, 18:28

Thanks Balaji for the zip file. Is there a similar file for the korvais with konakkol?

sbala · Post by **sbala** » 06 May 2007, 19:43

mridhangam wrote:The actual logic lies in the fact that if you play 3 times 5 then the previous number 4 once 5 once and 6 once also makes the total to 15 (3 * 5). Not only this 3 + 5 + 7 and 2 + 5 + 8 and 1 + 5 + 9 also makes the total to 15. Within the 3 * 5 itself you can play any of thes combinations. we can slightly modify the above korvai in such a way that keeping the poorvanga constant we can keep on chaning the madyanga and utharanga in umpteen number of ways. (May be according to talaprastara we can arrive at the exact number of varieties for which our sbala can be of immense help).

For this particular example, the number of ways of arriving at a sum of 15 using 3 integers (using all the numbers from 1 upto 13) should be 91 assuming the order matters (ie 1 1 13 is different from 13 1 1). However, most of these 91 may be only of theoritical interest to percussionists as only very few might pass the aesthetics test.

Nick H · Post by **Nick H** » 09 May 2007, 09:43

And how many will pass the ThaDhiGhiNaThom test?

I have been entirely off-line for a week due to house-moving. Already I had a lot to catch up with in the thread --- but my interest is still here

sbala · Post by **sbala** » 09 May 2007, 10:41

Sorry for asking a basic qn - What is the ThaDhiGhiNaThom test?

Nick H · Post by **Nick H** » 09 May 2007, 16:02

...well, I guess I just made up that piece of terminology!

But the 5-count phrase, Tha Dhi Ghi Na Thom is obligatory.

Of course, it can be padded to six, seven, eight or nine for its tisra, misra, chatusra and sankeerna incarnations

sbala · Post by **sbala** » 09 May 2007, 19:20

mridhangam wrote:Thadikitathom
thadikitathom
thadikitathom , , , (3 * 5)

changed to

thakadimi
thadikitathom
thadee, kitathom , , , (4+5+6)

Nick,
This is the change that Balaji sir has done where 15 counts is expressed as 3*5 in the first variation and 4+5+6 in the 2nd variation. This sum of 15 can be done in 91 ways if there are no further constraints. Can you explain the tadiginathom restriction wrt this variation? The original Korvai written by Balaji sir is post #33

Nick H · Post by **Nick H** » 09 May 2007, 20:43

No, I can't ---- so I'm probably wrong!

Or talking at cross purposes...

thenpaanan · Post by **thenpaanan** » 11 May 2007, 21:55

mridhangam wrote:Korvai as per Post No.38 with Konnakkol follows now :

http://www.rogepost.com/n/2817035235

Rest I shall do after getting feedback from all of you
Thanks for now

J.Balaji

Hi Balaji

Could you re-upload your mridangam+konnakol? Your post seems to have expired and I did not see it in time.

-Thenpaanan