MADHYAMAKĀLA FORMAT IN THE MELODIC STRUCTURE OF TYĀGARĀJA KĪRTANA-S

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1 MADHYAMAKĀLA FORMAT N THE MELODC STRUCTURE OF TYĀGARĀJA KĪRTANAS Kavitha Shivakami. R Research Scholar (Music Academy Research Centre) The term madhyamakāla is used in many contexts in Karnataka music. Madhyamakāla literally means intermediate tempo or intermediate kālapramā a. Madhyamakāla is usually the second degree of speed while vi ambakāla (also called sama kāla and d takāla denote the first and the third degree of speed respectively. Madhyamakāla is understood in a relative sense with reference to the basic tempo or speed of rendition. Madhyamakāla is an important feature of Karnataka music. t is a customary practice to use madhyamakāla liberally in musical phrases sa atis or musical variations in compositions and also in manōdharma or creative music. n rāga ālāpana an important branch of manōdharma sa gīta there is a alanced distri ution o i am akāla madhyamakāla and d takāla. The term madhyamakāla is also used to refer to the manōdharma form tāna in Karnataka music. n the past tāna was referred to as madhyamakāla. Madhyamakāla or tāna renditions are usually characterised by a uniformly regulated pulse ith short ak aras which gives a special identity to the character of the tempo. madhyamakāla sāhitya and madhyamakāla in musical compositions: Madhyamakāla sāhitya is a special feature in musical compositions wherein oth sāhitya and music are set in madhyamakāla or in the second de ree o speed. Muttusvāmi Dīk itar s kīrtanas have madhyamakāla sāhitya portions as an integral part as seen for instance in the hamsadh ani k ti vātāpi a apatim bhajēham in the lines vītarā am vinatayōginam viśvakā am vighnavā m in the anupallavi and in k āmbujapāśa bījāpū m k avidūram bhūtākāram harādiguruguhatō itabimbam hamsadhvani bhū ita hē mbh m in the cara a. Another example is the composition śrī sarasvati namōstutē in ārabhi where madhyamakāla sāhitya is seen in the lines śrīpati gaurīpati guruguha vinutē vidhiyuvatē. There are also Tyāgarāja kīrtanas with madhyamakāla sāhitya as seen in the cara a o bhaktuni cāritramu ( ē a a) and in the cara a o kolu aiyunnā e (dē a āndhāri). 1

2 Madhyamakāla sāhitya is different from madhyamakāla. As said earlier madhyamakāla sāhitya is a portion of the composition with both sāhitya and music set to the second degree of speed as in the above examples; whereas madhyamakāla is that portion of the melodic structure in the second degree of speed while its corresponding sāh ty k aras are not so. n other words the sāhitya is distributed over the melodic structure in madhyamakāla as given below. The madhyamakāla phrases in the examples are highlighted in bold italics. telisirāma pūrnacandrika ādi r r Teli r g m si rā p p. ma. pmgm cin... l r s ta na p tō.. r s nā.. r r ma mu s r g sē.. r g m p ya... d p p m vē... gmr s ōmana r g m sa... r s This kind of madhyamakāla format is a unique feature of Tyāgarāja kīrtanas. Now let us analyse this. Madhyamakāla format in Tyāgarāja kīrtanas: Tyāgarāja s kīrtanas have inherent madhyamakāla musical phrases in the very basic melodic structure and in the sa gatis. k āsamudra dēvagāndhāri ādi pm karu p ā... p. sa mpdp mu mpdp mgr drā. rs rm rā ma This kind of madhyamakāla format is seen to a large extent in Tyāgarāja kīrtanas and makes it different from the melodic structure of kīrtanas of Śyāma Śāstri and Muttusvāmi Dīk itar. Madhyamakāla format commonly found in Tyāgarāja kīrtanas: n Tyāgarāja kīrtanas madhyamakāla phrases are usually interspersed with phrases in sama kāla. They are mostly sporadic or sprinkled in the basic melodic structure. The above examples of telisirāma and karu āsamudra su stantiate this. s the sa gatis progress there are more madhyamakāla phrases. 2

3 he inal sa gati usually consists of only madhyamakāla phrases which make the musical structure complex and totally different from the basic musical structure. cāla kallalā u ārabhi ādi (opening statement melodic structure) p m g cā... la. Progression of prm cā.. rrmm cā.. pmg.. la ppdd.. la r m g r r s. kal. la lā..... gatis melodic structure as given below: rmg.. kal ppmg.. kal r r. la r r.. la srss la... srss la.... u.. u s. kon s.. kon s.. kon r m. na rm. na r m. na rmmp cā.... la.. kal.. la lā.. dd.. u ppmg.. kon rmpd.. na Here it is observed that the basic melodic structure is very different from the melody of the concluding sa gati. Such progressive variations from the basic melodic structure through the inclusion o sa gatis in madhyamakāla are also seen in kīrtanas set in other tā as as in tu asida amulace in māyāmā a a ou a (r paka tā a) ēmijēsitē nēmi in tō i (cāpu tā a) aparādhamulamān i in dar ār (kha a cāpu tā a) and e arimā a in kām hōji (2 ka ai adi). Analysis of madhyamakāla phrases in a Tyāgarāja kīrtana: Madhyamakāla in Tyāgarāja s compositions is explained below with illustrations: s dhāmādh y sindh ām k iy ādi s g su dhā s g su dhā s g sudhā s g sudhā s g sudhā s g su dhā g m p m mā.. dhur.. Ya m p d p p m g ka rā na na... ss g sg mgm pdpm..mā.. hūr.. ya m p d p p m g.. ka rā... na na... pmg mpmp pdpm.. mā.. hūr.. ya m p d p p m g.. Ka rā na na... mgpm bhā.. mgpm. mgpm bhā.. p d p m mgpm bhā.. pdpm g s śa a m g s g s a a gm gs mg s a gmgs n all the above examples there are many caturaśra madhyamakāla phrases. 3

4 n the above kīrtana there are such phrases as in mgpm mgs mgm pdpm gmgs and in the last sa gati there is more complexity along with a focus on the rāga m rcana. The kīrtana anupama u ām udhi in a hāna has an interesting melodic structure with a number of madhyamakāla phrases in the basic melodic structure. an m āmb dhi a hā a kh a cā n p a nu pa ma gu pp m g m p ā. m bu dhi n p ya ni nin.. nu m r rm s r s ne. ra. nam mi n d nai. anu s r r m p a. nu sa r... m. ti p p p m d d ci na vā... a m m manupakaye d d yun. ā.. vu n.. manu pa ti d/ vrā. si mē r ma nu pa mā.. \ (r) ke va ru vi. nu n ma... daya m rā... ni c am: *m g m pp rā. ja kula ā la. gaja n rā... ja pp ppn pm kala śāb dhi n.. rā ja rak np m vi nu. ta... p pmp.. rā ja sura sa ka tyā. ga t is seen that this a hā a kīrtana has a conspicuous presence o clustered madhyamakāla phrases in the basic music structure as pointed out in bold italics. This draws our attention to look or other kīrtanas of this type. 4

5 n the kīrtana kōrisē imparāre the pallavi has a similar presence of clustered madhyamakāla phrases. But the rest o the kīrtana has the usual musical flow with scattered madhyamakāla phrases. kō i ēvim ā e kharaharapriya ādi p d n d kō... n n p.. ri. n d d p m g r g ē... m p d n. vim. d n p.. pa m g p m rā... m g g r rē.. r s s r g kōr.. r g m kē.. gm p lī... p m g r ē... g m.. ra Whereas the kīrtanas tolijanmamuna and nī muddumōmu o er the characteristic clustered madhyamakāla phrases. tolijanmamuna bilahari kh cā To li jan.. ma p d se nu rā... ma am: m g m g g r s r g p d d mu na jē... yu du u u p p p d n d rā...gi pai... r r s va ri mo la ka d p m g r g d p m g ru la cen.. da. s r g r g d p m g rā.. jil... la. r g p p m m g g r ram. ya mou.. g r m g g s r g ner.. cu. a a p rā n d d p m g r g p ā... a śa ya d p m g r s r g p na.. tyā.. ga rā.. ja ā.. d r ya mu ce la gu am tō nu d n ā.. ā.. ma. d p m g r g p d ē. nu. nī m dd mōmu k m lām nōh i ādi basic melodic structure ī... mu. d p m.. ddu. g mō... \s g. mu g.. jū. m p. pa p n vē... 5

6 sangati: ī... mu. d p m.. ddu. anu 2 nd line: g m p n mō... dpm. mu. g s s m.. jū. g m p n.. pa. p n p n vē... p n d a d p pm.. na g m p n caranam: 1 st and 2 nd line: p n p m a. a. g s.. na g s g m. ya.. g m p p na... m d p n... p n d p ma. ru. lu sgs g g s g ma. da... 4 th line: s g s s na... p m g m kon... s p n p n... s g s p m g m.. ā. s g m p n p m p d p d ja. na. g s.. nu p ka... śrī.... tyā... ga n d n d rā... p p m ja. nu. g m gs tu... g m p m ni... p n p n ki... he kīrtanas anupama u ām udhi tolijanmamuna and nī muddumōmu orm a special category in the yā arāja kīrtanas with the basic melodic structure being filled with clustered madhyamakāla phrases makin the samakāla phrases sporadic or scattered. Another example in this category is kolu aiyunnā e in the rā a bhairavi. A mere glance at the notation o this kīrtana shows how it is structured with a pro usion o madhyamakāla phrases. k l v iy nnā e bhairavi ādi n d Kō.. \d p d lu.. vai.. n... n d p m p m p d yun.. ā.. rgr ō.. s g r n d a... ē r s r dpmd s a... pmg r g m p ā... r s dp nn dp p mgrs r g m p r / p g r ni.. r r s 6

7 anu / n d tō... d p li... m p d p kar... m g r g mpd ma... p n ma... d p m a... p d n ga... jū... g tō... n dpmp tā.. m pd.. mu ya... jā... pdn rā... d p m p d n rī... rō... rē..... hi... m p d n gū... m g r s... g r. na rī gm pd. tī.. c am: m ma... r la... pdn mā... m na... srgr su... dpmd m su... sr ra... p du... p nd ran... s sa... mpdd lu... d p d md tu... pmgp ko... p pmg lu... m lu... m d jil... rg ya... mdp va... pmg mpd ni... mgrg mpd vē... pd ka... pdn.... na... dnnd kā... pdm yī... ca... pd va... la... n n ka... ē... nu... gē... n rū... ndp mpm ī... pdn.. ta kān.. n ndp ta... mpdp tō... pmg rs nu... srgr tyā... s r s ga..... rā ggrg mpd ja... pdn vi... dn nu... tu An overall picture of the madhy m kāl h e in Tyā āj Kīrtanas based on the above examples: Generally a certain typical arrangement of the madhyamakāla phrases in the melodic structure is seen in the compositions of yā arāja. Some are repetitive and progress gradually as seen in the madhyamakāla phrases o kōrisē imparāre and karu āsamudra ; 7

8 while some others are ja a phrases as seen in tolijanmamuna. Gleaning out such types of madhyamakāla phrases rom yā arāja s compositions offer an interesting study. Analysis of madhyamakāla phrases from s gatis of Tyāgarāja compositions: n many compositions o yā arāja enerally the irst statement is ery simple. he introduction o sa gatis in the basic melody of a composition gives a number of madhyamakāla phrases o the ala kāra type. darini el k i suddha sāvē i rendu kalai ādi d da ri s p m ni te r... tri r s lu su m p pu.. ra sr rs d sun s gati : da ri... s... pdpp mpmm ni... te... r... tri rmrr srss lu.. su... m p pu. ra. rmr mr k d sun... da. ri... m ni... tē... ddpp mmrr lu... su... rmr mr k s i r... tri rm p pu. ra. pmrs rmpd sun. bhavanuta mōhanam ādi Basic Melodic structure: g g Bha va g g a a r r nu ta p p li ka s r g ā... p dī... r s hruda p d p s r yamu g r ra... s nara r s mim.. r r pumu g r s r 8

9 s is: g dp bhava s r g r yamu d p g r nu ta gr nara rpg ā... s mim... p g rs hruda r r pumu 2 nd line Basic Melodic structure g g a a gr ra... s gatis pp li ka r p dī... pdp grsr g g a a p p li ka ī... gr r gdp ra... gg pp ba a li ka ī... ggrd ddp ra... ddp grsr ddpp grsr t is seen that the madhyamakāla phrases are all o the percepti le ala kāra or the pattern type ith ja a prayōgas as seen in cālakalla darini telusuko i and bhavanuta ; pratyāhata gamaka as seen in phrases in the compositions evarani or tolijanmamuna ; nokku svara gamakas as seen in koluvaiyunnā e in rāga bhairavi or as repetitive phrases as seen in karu ā samudra. t is the presence of these factors that create a special effect to the madhyamakāla in these phrases. What is unique in these madhyamakāla phrases? The extraction of these madhyamakāla phrases from such compositions provides the base material or the source to develop patterns in the rendition of the manōdharma form tāna. The stress punctuation and accent employed accentuate the tāna effect in rendition. The manner in which the sāhitya syllables are distributed and extended over the madhyamakāla music in the bhairavi kīrtana kolu aiyunnā e creates a erita le tāna effect. 9

10 A note on m dhy m kāl phrases of the tāna type in the ghana rā p n n m: Tyāgarāja s compositions o the ghana rā a pan caratnams are ex uisite examples hich o er a number of patterns of the tāna type. They are replete with ja a svaras repetitive phrases nokku svara gamakas and phrases employing the pratyāhata gamaka. These elements make it highly suitable for singing tāna. n the cara as the svara and sāhitya are rendered in madhyamakāla. he pulse o rendition is re ulated and is totally rendered in madhyamakāla. econdly com inations o s aras in tiśra caturaśra and kha a are ound in plenty. he irst cara a incorporates a lot o kār ai in its structure. This sets the tempo or the kālapramā a or the rest o the composition. This feature of setting the pace in sama kāla and then gradually shifting to madhyamakāla is also a feature seen in the tāna renditions of today. Some excerpts from the ārabhi gau a and śrī rā a pan caratnam s are as given below. As we all know the hana rā a pan caratna kīrtanas are all made o pro use madhyamakāla phrases. he patterns are i en paper. p ncaratnam: ith the tāna sylla les as sung and experimented by the author of this d kugala g a ādi c m 2: ā.. n m r r s s.. tā r s. nam.ta r m m tā.n m s r m... ta s r m nam. ā m s r nam..ta m m tā.. r r s s c m 3: ā.. nam r r p m... ta r r s nam.ta s s ā. n m r p m.. tā. r s s. nam.ta r s s a nam.ta p m m r r s s c m 4: ā. n m. p p m m r s s r p m m n m tā. r s r p. namta m r p m nam.. s r m.tanam m r r... a s s s c am 9: ā... s r s.. nam s r. ta ā. r s s. nam.ta r m m ā. n m s r m r m s r. ta nam s s ta... s tā.. p p m nam.. r s r m ta namta p r m n m.tā r pm a nam.ta r p m tā. n m. r m s r ta namta m r s namta s s 10

11 a.. nam pnp p a..... ta np mp... nam r. namta mrpm. t.tā ā... r m p n. namta n mt.ā \r.nam ta m p n. ā nam ādhin ne ārabhi ādi c am 1: p.. ā p nam. ta m g r r nam. ta m g r r tā.. s s s n m. tā p m r r. t.ā np p.. anam s namta s s. namta mr s. ta.. s r m am 2 ā... p p nam. ta m g r r m g nam. ta. r r s s ta... nam. s s. tā r r. nam. s r m end ō m hān bhāv l ś ī rā ādi c m 1 ā... nam. ta nam. ta tā s s s s s nam. r. ta.. r s c am 2 ā... nam ta r g r r g r r. ta.. r s c am 3 tā. n m. p p m r. nam ta r s t t.tā r p p c am 4: tā. n m. ā.. ss r s tā.. s nam..ta r r s anam.ta p p m tat.. r ta nam s s.. nam m r p nam. tā p g r r m p n ta.. nam g r r g tā... s r s. tā.. p m r. nam.ta s n m. tā. p. ta ta. r r g r nam. ta r g r r nam. tat ta... s s.. nam. g r nam.ta nam s r s ā. nam n p n tā.... nam. a p. ta tā g. ta ta. p m m p nam. tat s r. nam.tā namta ā g r s r. nam.ta p m r. tā.. g r s.nam.. g r tā.. r g r nam. tat r m p... nam. ta. p m r g 11

12 Conclusion: n Karnataka Music madhyamakāla is seen as a distinct characteristic feature. t is in Tyāgarāja kīrtanas that madhyamakāla is exploited and explored at its best. Of the different types of madhyamakāla phrases found in Tyāgarāja kīrtanas those phrases of the tāna type are of special interest. The presentation of the tāna type phrases their characteristics and distribution in the Tyāgarāja kīrtanas have been studied and analysed at length. t has been attempted to correlate and adapt these tāna phrases to actual tāna singing. dentifying and studying the tāna phrases in the musical structure and sa gatis of Tyāgarāja kīrtanas make us understand better certain concepts and aspects of Karnataka Music like the characteristic tāna rendering and the most challenging madhyamakāla (mēlkāla) niraval with the tāna effect. Bibliography 1. K.V. rīni āsa ye ār Sri yā arāja dayam 3 volumes published by M.Adi & Co Chennai &1935 editions. 2.. a garāmanuja yya gār K ti Ma i Mālai Compositions of Tyāgarāja 2 nd edition Sabarmati Egmore Sangeetha Kalānidhi emma u i. rīni āsa yer svara amaippu ri yā arāja āmi a in an caratna kīrtanai a Nan anallur rī yā arāja an eetha amaj 6 th edition r. itha ajan a āntharas in the compositions of Musical Trinity thesis submitted for the degree of Doctor of philosophy University Of Madras Audio References:

Entani Ne. Ragam: Mukhari (22th Mela janyam) ARO: S R2 M1 P N2 D2 S AVA: S N2 D1 P M1 G2 R2 S Talam: Rupakam Composer: Tyagaraja Version: Ram Kaushik

Entani Ne. Ragam: Mukhari (22th Mela janyam) ARO: S R2 M1 P N2 D2 S AVA: S N2 D1 P M1 G2 R2 S Talam: Rupakam Composer: Tyagaraja Version: Ram Kaushik Entani Ne Ragam: Mukhari (22th Mela janyam) ARO: S R2 M1 P N2 D2 S AVA: S N2 D1 P M1 G2 R2 S Talam: Rupakam Composer: Tyagaraja Version: Ram Kaushik Pallavi: Entani Ne Varnintunu Shabari Bhaagyam Anupallavi