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RTP in Kalyāni - Panchamukhi Ādi - Balamuralikrishna - Live 1978 - Track 6/12

6. RTP in Kalyāni - Panchamukhi Ādi - M Balamuralikrishna Before singing the ragam and tanam, BMK tantalizes us with the promise of something new and exciting , a brand new talam, his own creation! But first, the alapanai. It is tender and sweet. It really blooms into full beauty in the upper sthayi. I felt it ended a bit abruptly. The tanam begins soft and sweet before easing into full-blown tanam mode. There is a fun section of vocal gymnastics midway through, ably echoed by Annavaruppu Ramaswamy. The effect is somewhat gathi-bhedam like. Then he unveils the new talam for us, Panchamukhi. And we, the audience, get to see another aspect of Balamurali, the teacher. He is patient and thorough and explains the tala in a way that makes sense for even those not schooled in this music. He demonstrates the new tala, but unfortunately, since there is no video, we cannot see what he is showing us. So, a few words of explanation that will hopefully help you follow along. In the traditional tala system, there are 35 talas, based on various combinations of laghu (beat + fingers), dhrutham (beat + turn) and anudhrutham (just a beat). There are 5 jathis, which are all based off the laghu- Tisram - a count of 3 or, Beat - Little Finger - Ring Finger; Chatusram - a count of 4; Khandam - a count of 5; Misram - a count of 7; and Sankeernam - a count of 9. Balamurali’s new tala principle is based on the kriyas, the manual act of “putting” the tala. There is a sashabda kriya, where a sound is made (like the beat); and the nishabda kriya or the silent part of the tala action. IN BMK’s new tala system, he introduces gathi bhedam (changing of the gathi, or nadai, or “gait” of the tala) into the sashabda kriya part of the tala. In this particular pallavi, the gathi that is introduced into the sashabda kriya part of Adi talam is the Khanda (5 count), hence the name Panchamukhi (5-faced) Adi talam. Adi talam goes thus: BEAT - LITTLE FINGER - RING FINGER - LONG FINGER - BEAT - TURN - BEAT - TURN. In this sequence, the sashabda kriyas are all the BEATS. So the kriyas are SASHABDA - NISHABDA - NISHABDA - NISHABDA - SASHABDA - NISHABDA - SASHABDA - NISHABDA Per Balamurali’s new system, the Sashabda kriyas get a Khanda gathi, or a count of five, while the Nishabda kriyas get a count of 2. That would give this Panchamukhi Adi talam a total count of 5 + 2 + 2 + 2 + 5 + 2 + 5 + 2 which equals 25! Or: takatakita taka taka taka | takatakita taka | takatakita taka The lyrics are: Sangita laya gnanamu sakala sowbhagyamu It was a challenge to keep up with this completely different tala concept, so I just sat back and enjoyed it. It is a matter of retraining the brain and forcing it to attune itself to a different rhythmic pattern and principle. It was dizzyingly brilliant, and the thrills kept coming in waves in the gathi bhedam section. It boggles the mind just to think of how flawlessly and effortlessly he executed complex swara patterns in this talam - a feat of juggling multiple complex elements. The entire pallavi was a fantastic testament to the genius of Balamurali and I feel so fortunate to have witnessed the birth of this new talam. Umayalpuram Sivaraman’s tani avartanam was a great match for BMK’s brilliance. This must have surely been the first time he was playing a tani in this talam, but listening to it, you would be forgiven for thinking it was the thousandth time, so impeccably did he play it. Please see a detailed narration of the concert under track 1 /12 ~` ~ ` ~` ~ `~` ~ ` ~` ~ `~` ~ ` ~` ~ `~` ~ ` ~` ~ ` Kalānidhi Concert of Dr. M Balamuralikrishna Madras Music Academy - 23 Dec 1978 Accompanying artistes: Violin : Sri. Annavarapu Ramaswamy Mridangam : Sri. Umayalapuram Shivaraman