TECHNICALLY SPEAKING... Kalapramanam in kriti-s This is the last article written by of Syama Sastry. These have a B.R.C. IYENGAR for Sruti. He message that has to be delivered in passed away recently. He was Sruti’s a relatively swift version. Also they Correspondent and Representative provide room for creative thinking in Hyderabad/Secunderabad for more like introduction of varied than two decades. sangati-s. Some songs are meant as kalapramanam for to be presented in a super fast each kriti been set by the tempo, like Nenarunchinanu concerned vaggeyakara? (Malavi) or Ninnuvina namadendu This question is pertinent when (Navarasakannada). Such atidruta H kala songs are rarely seen in the we notice that a particular kriti is rendered in different speeds by contributions of Dikshitar or Syama Sastry. different singers. It might not have B.R.C. Iyengar been so in the case of compositions Seshachalanayakam (Varali) in vilamba Kalapramanam is based on the tala composed before the advent of kala (slower speed), while in most to which the song is set. Songs set Tyagaraja. They were always set cases it is confined to madhyama to Desadi tala (commencing after to a designed metrical movement. kala. three counts) are in plenty, perhaps The structure, design or format of because they are easier to compose a kriti gained importance with the One of the important parameters and also render. Many compositions advent of the music trinity. South which govern the kalapramanam of of Patnam Subramania Iyer are set to Indian music was earlier essentially kriti-s is the sahitya (lyrical content). this rhythm. They run in a medium bhakti sangeetam set to a single The composer has a message or speed which is common. ‘Irendu octave to help everybody, both men a theme to carry, in the form of kalai’ / 2-kalai (each beat reckoned and women, to sing in groups. In music. Look at these examples from twice) songs in Adi tala, commencing most cases the structure was simple, the compositions of the trinity. after three counts, similarly have the lyric running basically as poetry From Tyagaraja: Eti janmamidiraa a calculated and set movement, and not necessarily with strict (Subhapantuvarali), Mokshamugalada which is neither too fast nor too grammar or established components (Saramati), Kaaru baaru seyuvaaru slow. They form the core of a concert like pallavi, anupallavi or charana. (Mukhari), Lekhana ninnu (Asaveri). because they provide elaborate The changeover came up because the From Syama Sastry: Maayamma room for creativity in manodharma trimoorti were not only competent ani pilachite (Manji), Kanakasaila sangeetam, like niraval and musicians but also vaggeyakara-s. (Punnagavarali), the swarajati swarakalpana. To list only a few – Kamakshi. Or those of Muthuswami O Rangasayi (Kambhoji), Sadasivam As an illustration, compare Dikshitar: Chetasree (Dwijavanti), upaasmahe (Sankarabharanam). the kalapramanam of the kriti, and Sree Guruguha moortey (Suddha Telisiramachintanato (Ravichandrika) Dhanyasi). These are just a few The skill of combining two speeds with Kaaru baaru seyuvaru from the vast list of compositions. in a single song is a unique technique (Mukhari). The former is often All these are set to a kalapramanam in the art of composing. In such rendered along with solfa syllables that cannot be altered. Even if we try; compositions, the speed of the in three minutes flat. On the it will prove futile. charanam is twice that of the contrary, even if we want to sing pallavi. It is in such compositions the kriti Kaaru baaru faster, there On the other hand, look at these that both the rhythm as well as is no scope; it is simply not possible. – Evarani (Devamritavarshini), the melody matter. Examples are There are kriti-s which yield to Entarani (Harikambhoji), Dorakuna Dorakuna ituvantiseva (Bilahari), such variations in speed while a set ituvanti seva (Bilahari), or Darini Kshitijaramana (Devagandhari), of songs are rigid in their time telusukonti (Suddha Saveri), Devijagajjanani (Sankarabharanam). measure. I have listened to Seshachalanayakam (Varali) of A majority of Dikshitar’s M.D. Ramanathan singing Dikshitar or Biraanavara (Kalyani) compositions have a madhyama kala 39 l SRUTI January 2009 TECHNICALLY SPEAKING... sahitya which is in-built. There importance in the arithmetic of the If the concert is full length, the are extremely slow paced kriti-s kalapramanam. This is essentially singer can adopt the traditional (ati vilamba kala), which include based on the arudi or the pressure pattern; if it happens to be short, the every feature of classicism, melody, point in the progress of the artist must exercise his discretion. rhythm, bhava. Obviously expertise kriti-s. Arudi is essentially followed Communication with the audience is and scholarship are required to by visranti or relaxation. This yet another feature that manipulates sing them and to bring in creativity. equation, in totality, influences the kalapramanam of kriti-s. It has a A good example is Ambanannu kalapramanam of a composition. It positive influence in formatting the brovave, a composition of Anai- is this concept which forms the Ayya in Todi set to Desadi, each fulcrum of a pallavi in RTP. concert with kriti-s of varied time count (akshara) reckoned four Innumerable tala-s in the science measure and the holistic structure of times. That amounts to 20 counts of Carnatic music can be used a concert. in one cycle (avarta). Such exercises practically in pallavi-s. Indulging in Given the above parameters, the were common in the concerts trikala interpretation in pallavi-s is question arises whether the artist of yesteryears. Experiments in a unique exercise in the usage of variations of kalapramanam are vast time measure. can take liberties with the in the field of RTP. kalapramanam of kriti-s and tinker The duration of a concert too has with the traditionally set patterns Eduppu or the commencing point enormous influence on presenting of the vaggeyakara-s, that are in of a composition is of vital the kriti-s in a judicious manner. practice? 40 l SRUTI January 2009 .