Misinterpretation and wrong implementation of Gathis in Tala rendition when singing PALLAVI (RTP)
Very Important Grammar about Tala: Musicians must follow the rules of Talaprasthara and implement it correctly while singing, Keerthanas, kritis, Pallavis (Raagam Taanam Pallavi) and also while playing instruments. One of the rules is that, while rendering a tala, each count or beat must be rendered in a uniform duration in a cycle (Avartha) of tala. Each rendition of count / beat is "kriya". Kriya literally means action in visible form. Here the term "duration" means, the sub-units per beat / count of a Tala. The sub-units are based on five Gathis. One should not change the duration of rendering a kriya for the sake of Gathi in a tala cycle. Gathi and nadai both are same. Gathi is sanskrit. Nadai is tamil. Nade is Kannada. Hereinafter, the word Gathi used in this page also means nadai. Do not get confused with Jaathi. Five Jaathis basically make the 7 Talas to become 35 talas (7 x 5). Here we are talking about Gathi. Gathi is also 5 kinds. A Tala can be rendered in any of these 5 Gathis in the 35 Talas, but it should be uniformly rendered, implementing the same duration of each kriya in any angas. The first kriya determines the duration of each kriya. For example, in Adi tala Chatusra gathi tala (Chatusra Jaathi Triputa, Chatusra Gathi), the first count / beat / kriya is in Chatustra gathi, then all the 8 counts must be in Chatusrsa Gathi. If the first count / beat (kriya) is in Kanta gathi, then all the 8 counts must be in Kanta gathi. This rule is same irrespective of different Kalai like One kalai, Two kalai and so on...
In simple terms, the gathi selected and rendered is fixed at the first Kriya of a Tala, which gives the time interval between the each kriya in all angas. The time interval between the each kriya in all angas must be same, in one Avartha of a tala, irrespective of different gathis and different speeds one sings. In this context, one must understand that we are talking about Tala kriya and its time interval and not about singing different gathis and speeds. One can sing different gathis and speeds in a tala, ensuring that each kriya is rendered in the same time interval in one avartha of a Tala. One can change the gathi or speed of rendition of tala only at first starting anga / kriya in the new cycle of tala. This is the fundamental rule. One should not violate it.
For example, in Suladi Sapta Tala (7 Tala x 5 Jaathis x 5 Gathis = 175 Talas), whatever Tala one chooses to sing, one should not render lagu anga in one gathi and Dhrutam anga in a different gathi. For instance, rendering laghu anga in 4 sub-units duration (Chatushra Gathi) and rendering dhrutham anga in 3 or 6 sub-units duration (Thisra Gathi), the time interval between kriyas become unequal, which is against the rules of Talaprastara in Carnatic music system. Also, it is wrong to change duration of each kriya within the laghu anga itself. For instance, in Chatusra Jaathi Triputa Tala ( Adi Tala, 8 Counts / beats) putting first kriya beat in Thisra Gathi, little finger in Chatusra Gathi, ring finger in Kanta Gathi, middle finger in Misra Gathi and so on.... , is absolutely wrong. Instead, one can change Gathi from one to another, only by the rendition of Padham, that is, words, letters, Swaras and Jathis, kalpana swarams, Neraval in different Yathis in different rhythmic patterns based on the Gathi without changing the time interval of kriyas in the rendition of Tala.
For example, if one chooses kanta gathi as tala in adi tala, then each kriya will have 5 sub-units. THA KA THA KI TA. One should render this THA KA THA KI TA as duration of each kriya in all the 8 counts. One can sing all 5 gathis in different combinations, while maintaining the same 5 sub units duration of kriya per beat / count. Depending on the tala one chooses and gathis one sing, with the different speeds of singing, it will take different placements in the tala and avartha cycle to get it landed on the samam or any starting point. For example, kanta gathi tala has 5 sub units per beat or count, hence in one Avartha of Adi tala, it is 8 counts / beats multiplied by 5 is equal to 40. Within this 40, if you sing Chatusra gathi, then you have to sing 10 chatusra gathis to get it completed to tally 40 (4 sub-units x 10), provided THA KA DI MI is sung in the same speed. That is, THA KA DHI MI x 10 times. It need not necessarily be limited to 40. If one renders 4 Avarthas, then it will be 40 x 4 = 160 Sub-units. You can sing all 5 gathis, so that it gets tallied with 160 sub-units. Likewise, one must do mathematics with different combinations of the 5 gathis to sing, while keeping the sub-units total fixed per avartha and land on eduppu or samam or whatever placement as it deems fit for that particular Pallavi / Neraval. Based on this rule, calculate it for all 175 talas with 5 gathis and sing in such a manner with all 5 gathis to get tallied with that particular tala's total sub-units. So, one can sing, chatusra-thisram, thisra chatusram, kanta-thisram and so on...
This is where the challenge and talent of a musician is, in handling the musical renditions, in the Carnatic music system.
Dwinadai, Pancha nadai pallavi comes under this category, which can be sung in different Gathi and different speeds within the same tala structure, without altering the rendition of duration of the tala kriyas. If one wants to showcase their talent by rendering the same PALLAVI in all the 5 gathis in a Tala kriya, then one must render Tala with each of 5 Gathis separately every time starting a new Tala Cycle. For example, Tala Should be rendered separately as, Adi tala Chatusra gathi Tala, Adi tala Thisra Gathi Tala, Adi tala Kanta Gathi Tala, Adi tala Misra Gathi Tala, Adi tala Sankeerana Gathi Tala. In this context also Pancha nadai Pallavi is a valid one. While singing kritis, Keerthanas and Pallavi in Raagam Taanam Pallavi (RTP), these rules of Talaprastara must be followed. Rendering different durations / different time interval of kriyas in a tala for the sake of multi-Gathi or multi-nadai is wrong, throwing out the grammar, thinking it to be aesthetic or trying to exhibit as if new unique tala has been rendered. There is nothing new or unique about it, as no such Tala exists. As per our Shastra, all the Kriyas should consist of the same duration in a Tala.
Rather Multi Nadai or multi Gathi can be exhibited with innumerable rhythmic patterns of different permutations and combinations only in the singing aspect such as, Padhams (Words, letters, lyrical aksharas etc...), swaras, Kalapana swarams, Neraval, Laya Jathis, Swara jathis, konnakol, playing musical instruments including mridangam, without rendering different gathis in a Tala.
Our ancestors have given these talas and its structure well defined which is already fixed to use without any changes. That is why in Suladi Sapta Tala, the 35 talas when used with each of the 5 Gathis, becomes 35 x 5 = 175 Talas. Each of these 175 talas has to be rendered separately as different talas with each kriya being uniformly rendered with same duration. If one use multi nadai or Gathi in each of these 35 talas within itself by altering the duration of each kriya, then total number of Talas will be 4200 talas.
Let us Calculate:
Step 1: Total permutations of 5 Gathis. The number of permutations of n elements is given by n!, where n is the number of Gathis. For 5 Gathis : 5!=5×4×3×2×1=120. Thus, there are 120 ways to arrange the Gathis in different orders.
Step 2: Total Tala types for the 35 Talas: For each of the 35 talas, there are 120 arrangements. The total number of Tala types are: 35 × 120 = 4200 Talas. Is it so? It is absolutely wrong. Then what is the meaning of 175 Talas in Carnatic music? You should not render these 4200 rhythms as talas. They are not considered as talas at all. They are rhythmic patterns that fall under the category called "LAYA" (also spelled and pronounced as "LAYAM") and Not "TALA" (also spelled and pronounced as "TALAM"). That is why PALLAVI singing in RTP lays emphasis on Laya. The term Pallavi is coined from the initial syllables of the three words: Padam which means words. Laya which means rhythm (roughly translated) and Vinyasam which means creative expansion of the rhythmic patterns and variations as per one's imagination called "manodharma". Padam(PA) Laya (LLA) and Vinyasam (Vi) together is PALLAVI. That is why, in the word PALLAVI, the definition is stressed on the "LAYA" aspect which is very well an important part of manodharma, that it has double "L" in the coined word and good to pronounce. Tala is fixed and should not be manipulated and hence it is not part of manodharma. This is one of the reasons that our ancestors fixed it as 175 Talas. This, obviously reiterates that, each Gathi while used for rendering tala must be rendered separately, so that each kriya of all angas must be uniformly rendered. So, it is 35 Talas x 5 Gathis = 175 Talas. Thats it.
Also, we have not taken into account the renditions of "Kalai" like One kalai, Two kalai, Three kalai, Four kalai and so on, where it is also wrongly rendered with different kalai in a same Tala. For example, In Adi Tala (Chatusra Jaathi Triputa), two kalai in 1st anudhrutam beat followed by 4 kalai in veechu (turning palm upwards), 6 kalai in 2nd anudhrutham beat, 8 Kalai in 2nd veechu. If you calculate, this will also give many 1000s of Tala combinations, which is wrong. Additionally, imagine these different kalai being implemented with the above 4200 talas. It will result in many more thousands to lakhs of Talas, which is obviously a blunder. Using any one of the types of kalai uniformly, throughout the entire tala cycle is the right way. One must understand the difference between rendering a Ghati in a tala as duration and rendering a Gathi in the singing aspect. Miscomprehending the existing difference between the two, it will result in these kinds of mis-interpretation and wrong implementation of talas. It is like deriving 1 = 2 by wrongly equating zeros (Zeros should not be equated as per mathematical rule), this is just for an example. Obviously 1 cannot be equal to 2. Similarly, one must not equate the definition of gathi used in rendering as tala kriya and the gathis with different combinations being used in the musical aspect in singing. So, musicians must understand that, the gathi rendered as a Tala kriya is different in its grammar from the same gathi being used in the singing aspects in the musical form. Gathis used in singing aspects are rhytmic patterns and not Talas. All those 4200 and many 1000s of rhythmic patterns using many gathis combinations are meant to be sung and not for rendering as talas. Tala is fixed and cannot be manipulated as per your singing rhythmic patterns. Instead, sing all gathis, rhythmic patterns within the existing 175 talas and in any tala including those 108 talas, which has fixed angas. Also, note that, Chandha Tala (Sandha Tala) is separate where rendition of tala duration is changed according to the length of lyrical-parts-phrases and the rhythm. In Thirupugazh Chandha Tala is used. Hence, Chanda Talas do not come under the purview of Manodharma singing / Pallavi singing.
Also, Talaprastara prohibits, rendering ½ beat or count in a Tala. That is 0.5 of a beat or count should not be rendered in Angas based Talas. If it is so, then 0.4, 0.3, 0.2, 0.1 of a beat must also be visibly rendered. But it is not possible. Hence, Talaprastara prohibits rendering fractions or decimals while rendering a tala. Half beat fractions can only be sung orally or played in any instruments with different rhythmic patterns, permutations and combinations. Chapu Tala is different and it does not come under the Angas based Tala, where it is 5 kriyas for kanta Chapu Tala, 7 Kriyas for Misra Chapu Tala and 9 Kriyas for Sankeerna Chapu Tala. But in Talas with angas such as Laghu, Dhrutham, Anudhrutham, Plutham, kaakapaatham, one should not render ½ beat as per the rules.
ANULOMA and PRATILOMA is implemented in Pallavi as another aspect to showcase one's talent. Anuloma here indicates that, the Tala Speed must be constant, but one can sing in various speeds. Pratiloma indicates, keeping the speed of singing constant but rendering the tala with the hand at double or quadruple speeds. But here is the catch, one should not change the speed of rendering the Tala in between before completing one cycle / Avartha. For example, one should not render Laghu anga in Chouka kala (slow speed) and render Dhruthams in other kala or speed. It is wrong. One should complete full cycle and start the tala cycle again with next speed and so on.
Conclusion: RTP is manodharma singing (creative music) where Carnatic music is taken to another level showcasing one's talent by singing Raga Aalaapana, Taanam, and Pallavi, in an elaborate, creative, aesthetic manner with subtle nuances of Carnatic music. In this context, the word "Creative music" is synonymous with PALLAVI singing. Creative music means, in Pallavi singing, a musician must choose a lyrical phrase and sing the phrases creatively in different speeds, octaves and multi-gathis. Creativity must be in the musical aspect alone. It does not authorize one to render a New Tala by manipulating the existing Talas. One must sing PALLAVI creatively in the already existing Talas only. A Tala cannot be newly created by mixing up different talas and gathis as per one's wish and imaginations. No imaginations are allowed in rendering a Tala, as it has fixed "Prastara" rules. Prasthara is the 10th element of TALA in the Tala Dhasa Pranas, the most important element in Carnatic music.
In simple terms, even if one is not getting into all the technical, mathematical permutations and Talasprastara rules, it is fundamental in Carnatic music, that Tala kriyas of all angas must be rendered in the same duration irrespective of gathis. Musician must realize the difference between LAYA and TALA. Failure to understand the difference between LAYA and TALA is also one of the reasons, that a musician composes a PALLAVI (in RTP) in wrong TALA structures and renders Tala in wrong ways. This multi-gathi is in the manodharma aspect, which means it is in the "LAYA" aspect alone, which is in abstract form and not in the rendition of a TALA, which is in material visible form. Laya here means rhythms and singing different rhythmic patterns keeping the Tala ghati fixed and same. If you change the tala itself in between, by rendering multiple gathis as Tala itself, then how can it be called manaodharma? It is not at all a manodharma sangeetham and it violates the fundamental rules of Carnatic music. Hence, a TALA which is in the visible material form, should be rendered in the same gathi throughout the entire Pallavi.
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