Miscomprehension, Misinterpretation and wrong implementation of Gathis in Tala rendition
Very Important Grammar about Tala: Musicians must follow the rules of Talaprasthara and implement it correctly while singing kritis, Pallavis (Raagam Taanam Pallavi) and also while playing instruments. One of the rules is that, while rendering a tala, each kriya or count or beat must be rendered in a uniform duration within a cycle (Avartha) of tala. 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. 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 Ghathi. Ghati 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.
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 duration and Dhrutam anga in a different duration. For example, rendering laghu anga in 4 subunits duration ( Chatushra Gathi ) and rendering dhrutham anga in 3 or 6 subunits duration ( Thisra Gathi ) 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 example, 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. It is like drawing a human being image with one hand as 2 ft and other hand as 1 and ½ ft, one leg as 4 ft and other leg as 4 and ½ ft, one eye as 1 inch and other eye as 2 inches in size, which results in indisciplined, awkward way of portrayal of a human being. Instead, one can change Gathi from one to another, only by the rendition of Padham, that is, words, letters, Swaras and Jathis, kalpana swarams, in different Yathis in different rhythmic pattern based on the Gathi without changing the rendition of Tala.
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. While singing kritis and Pallavi in Raagam Taanam Pallavi (RTP), these rules of Talaprastara must be followed. Rendering different duration in laghu anga 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. As per our Shastra, all the Kriyas should consist of the same duration based on different gathis.
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, Laya Jathis, konnakol, playing musical instruments including mridangam, instead of rendering different beats / counts / duration 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. Otherwise, if one use multi nadai or Gathi in each of these 35 talas within itself by altering the duration of each kriya, then total Tala 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 as above. The total number of Tala types is: 35 × 120 = 4200 Talas. Is it so? Then what is the meaning of 175 Tala in place in carnatic music? This is one of the reasons that our ancestors fixed it as 175 Talas. This obviously say that each Gathi while used for rendering tala must be rendered separately, so that each kriya of all angas are 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 wrong. 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 while singing and playing instruments. Miscomprehending the existing difference between the two, it will result in these kind of mis-interpretation and wrong implemetation of talas. Sometimes, it is like deriving 1 = 2 by wrongly equating zeros. Obviously 1 cannot be equal to 2.
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. Mridangam Lessons available. Learn Practical notes. Adi Tala, Rupaka Tala, Misra Chapu Tala, Kanda Chapu Tala, Kanda Eka Tala....
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