Eduppu — the pivotal point where the lyrics commence in the tala cycle
Kalpana Svaras (on the spot improvisation adhering to the underling tala), for a particular line of a song, are a very interesting element of a Carnatic music concert. There are multiple factors that influence their outcome:
- tala of the song, which can be one of the Suladi Sapta talas or Chapu talas
- tempo of the song, the precision and accuracy in steadily maintaining it (see Layam and Kalapramanam for more details)
- dazzling patterns that can vary seamlessly or involve complex rhythmic calculations (see Sarvalaghu(flowing rhythm)and Kanakku(arithmetic) for more highlights)
- sometimes, the artist, imaginatively, finishes with a pattern that exactly matches the underlying melodic pattern of the eduppu or start of the lyric in the tala cycle (see Porutham for more details)
- The eduppu for kalpana svaras is indeed an anchoring factor. This key decision by the vocalist or instrumentalist also impacts the percussion accompanists. All the artists on stage must nail this commencement for each round of the kalpana svaras. Often, artists choose the starting word of the line in the song for kalpana svaras.
A famous example of taking it a step further, with multiple eduppus, for kalpana svara is in this song :
- Kadaikan vaithennai in ragam begada and tala triputa (svaras are being sung for starting word kadaikan and then continued for gowri rajarajeswari and also at sivasankari)
Definition and Terminology
Eduppu — ‘particular place in an avarta(tala cycle iteration) where the musical form commences; also termed graha’ [1]In Components of a tala, we see that Graha(position) is one of its ten components.
The term Graha is also used to indicate the commencing solfa note or graha svara in each raga, whereas eduppu is used only in the context of tala. [4]
The point where the melody commences is called edam(location in Tamil).
Types of eduppu
Sama Eduppu(also sam, or samam) when ‘melody commences with the start of the tala’ [1]
- Vasantha Varnam in Adi tala
- Neerajakshi in Rupakam tala
or vishama (tricky, literal meaning mischievous).[5] There are two types of vishama eduppu, namely, before the start of the tala and after the start.
Anagata Eduppu when melody commences after the start of the tala. [5]
- Brova Barama in Desadi tala (rendered in Adi tala at start of 1.5 beats after samam)
- Sirai yarum in tisra triputa tala (song starts 6 subunits after samam), and then at a different eduppu when sung like rounds
Atheetha Eduppu when melody or lyric commences before the start of the tala. This is rarer. [5]
- Kumaran Thaal in Adi tala, where first word Kumaran is sung before the start of the tala
- Sivakama Sundari in Adi tala composed by Papanasam Sivan, where first word Sivakama starts one beat before the start of the tala
- In the song Palimpa in Adi tala tisra nadai composed by Pallavi Sesha Iyer, the start of the word parandhama is at the end of the previous line and is split across 2 lines, resulting in an atheetha eduppu
- In javali Marubaari , Adi tala where maru starts before the beat and baari is on samam
Atheetha eduppu in Kalpana Svaras
Here is an example of an imaginative atheetha eduppu chosen for kalpana svaras by Tanjore S Kalyanaraman :
- the song Bhuvanathraya begins in samam and in this concert he sings svaras at the start
- in a different concert, he sings svaras at shaastharam, and hence, chooses an atheetha eduppu, at the last count, 4 subunits before the start of the tala (with this word split across two lines, as seen in the notation below)
Another example where Tanjore S Kalyanaraman sings kalpana svaras for Nada Sudha Rasa, taka rupaka :
- an atheetha eduppu at Pranava , the word before the starting word Nada
Eduppus and Kalai
One of the 10 Components of a tala is Kalā(kalaa) which ‘refers to the number of subunits in a unit of an avarta(tala iteration)’.[1] Music notations of songs refer to it as Kalai.
For instance, Adi tala which has a total of 8 counts :
- 1-kalai Adi in first speed is 1 beat per count, 4 subunits per beat and so a total of 8x4 = 32 subunits
The diagram below summarizes the Anagata eduppus (when melody commences after the start of the tala)
Practicing the eduppus with the help of basic svara exercises
In this lecdem, R S Jayalakshmi asks her students to add a note prior to the start, to make it easier to take the 1 thalli eduppu. (it is called 1 thalli because it shifts by one subunit).
- Sarali Varisai(basic exercises) starting at samam and then taking the 1 thalli eduppu for 1-kalai Adi tala
Sumitra Vasudev illustrates singing this same pattern with thalli eduppus in a slower speed; singing it in this slower speed is far more challenging.
Then, similar exercise for 2 kalai Adi tala:
These exercises, when practiced and internalized, greatly help music students sing kalpana svaras at these vishama eduppus.
R S Jayalakshmi says the next step is to introduce a kaarvai(elongation) by lengthening one of the notes and creating a more complicated pattern.
R S Jayalakshmi adds that once we understand these fundamentals, we can ourselves create a multitude of additional exercises with varying eduppus and patterns in different talas.
Additional Details
- See Chapter 2 of Graha as an Element of Tala, by K Harish Narayan fpr examples of how concept of eduppu (or graha) is introduced in basic svara exercises for Sarali, Jhanta and Alankarams.
- See http://www.shivkumar.org/music/varnams/index.html for Audio lessons on these basic exercises
Practicing the eduppus with the help of Solkattu(rhythmic syllables)
These type of exercises can also be practiced with Solkattu(rhythmic syllables). The following exercise was taught by B C Manjunath in one of his workshops. He initially repeated the tha ka dhi mi pattern multiple times with all the syllables and then varied the pattern by omitting certain syllables. In the diagram below, this pattern is shown in 1 Kalai Adi tala. We can then recognize that this exercise actually introduces the practice of all the different eduppus.
An added bonus is that these svara and solkattu exercises, with the different eduppus, can help us practice mindfulness. They certainly require complete attentiveness to maintain correct tempo and to adhere to the underlying tala.
Eduppus in various musical genres
Eduppus in Thillanas
- Thillana in raga Mohanakalyani in tala Adi, composed by Lalgudi Jayaraman, has an atheetha eduppu with the first syllables, tha ka, starting before samam
- Thillana in raga Shankara and tala Adi , composed by T V Gopalakrishnan, has an atheetha eduppu; then, it keeps building on it like a yati pattern in successive avartanas (iterations)
- Thillana in raga Jhinjhoti and tala Adi, composed by Veena Seshanna has an anagata eduppu
Eduppus in Varnams
Adi tala varnams
The majority of varnams in Adi tala have sama eduppus for the lyrics and chittasvaras.
Adi tala varnam in raga Valaji composed by Lalgudi Jayaraman has a beautiful, rhythmic pattern and multiple, intricate, 1-thalli eduppus in the fourth chittasvara :
Ata tala varnams
The majority of Ata tala (Khanda Jathi Ata Tala l5, l5, 0, 0) varnams have an anagata eduppu, starting 2 units after samam (after one beat and one count)
In the article in JMA 1991, Tana Varnam — its identity and significance, Lalita Ramakrishna, offers this explanation : “The Ata tala Varnam start with the second finger count. One wonders why?
- The khanda jati Ata Tala is a 14 count tala. The structure is — Purvanga(former or first part) : 10 (2 laghus, each 5 units) and Uttaranga(latter or second part) 4 (2 drutams, each 2 units)
- By starting on the second finger, this structure is changed to a pattern of Purvanga: 8 and Uttaranga : 6 ( by adding the 2 units at the beginning of the next avartana or iteration).
- The ettugada svaras after the charanam start at samam; this results in an alternate pattern of the charanam line (12 units) followed by the Ettugada svara which starts on the beat and picks up 2 extra counts of the next avartana (14+2=16 units). These multiples of 4 are said to be more pleasing for chatusra gati items.” [8]
There is a rare “varnam Vanajakshi in raga Varali set to Chatusra Jathi Ata tala, (l4,l4,0,0) which starts at samam.” [4]
Varnam in Rupaka tala
The Suma Sayaka varnam in Rupaka tala has multiple eduppus : the pallavi line Suma Sayaka starts at samam while the anupallavi line Ramani starts after samam. This is a pada varnam which has lyrics for the svara sections.
- This varnam’s melody is based on the dance pada varnam Sarasalanu in raga Kapi composed by the Tanjore Quartette.
Eduppus in Kritis(songs) based on Desadi Tala
Desadi Tala used to be its own distinct tala in the past. N Ramanathan shares details about its origin and how it is related to Adi Tala :In Aditala: A Historical Study of its Structure :
“Desadi-tala. It had a structure of 4 time units with 3 sasabda(action unit that makes noise) and 1 nisabda kriya ((silent action unit) expressing it.
The Desadi and the present Adi tala are not totally unrelated. The number of sasabda kriyas are the same. The duration of Adi is 8 while that of Desadi is 4.
Incidentally, the prefix ‘Desi’ in the name Desadi is suggestive of the tala having come from the northern part of the country. We find that Desadi tala resembles Teen Taal of the tala system of Hindustāni music.”[6]
Today, when it says a song is in Desadi, the tala that is rendered is Adi Tala with the eduppu 1.5 units after samam.
Tyagaraja and his lineage of disciples have composed many songs in Desadi tala.
- Manasuloni in tala desadi composed by Tyagaraja
- Aparadhamula in tala desadi composed by Patnam Subramania Iyer
- Javali Marulu konna in desadi composed by Poochi Srinivasa Iyengar, a disciple of Patnam Subramania Iyer
A deeper dive into unique patterns in Desadi tala
In The interface of verbal and musical rhytms in Tyagaraja’s kirtanams, Harry Powers delineates a rhythmic pattern of 5+ 3 in songs in Desadi tala and elaborates using Sarasa Sama Dana and Sangita Sastra Gnanamu as examples :
“What the opening phrases of these two kirtanams, so different in surface rhythms, so similar in underlying flow — have in common musically is a generic rhythm fixed in position in its ādi tāla frame that is independent of the number of syllables in the text, and occasionally even of syllabic duration. The pattern fills the time of eight musical aksarakālas(subunits), just half of the sixteen that make up an avarttanam(iteration) of adi tāla at the faster pace, but though the pattern, like the täla, is quadratic, it overlaps the quadratic structure of the tāla.
It is divided into two unbalanced groups, 5 + 3 aksarakälas with the eduppu not at the beginning of the first quadrant but rather at the fourth aksarakäla, half way through the second mätrā(unit) of the tala frame. The rhythmic pattern contained in the initial group filling five aksarakālas will have from three to five syllables; it leads up to an arudi(syllable emphasis, landing point), midway through the avarttanam at the fifth mäträ of the tala frame. This syllable is the first of one, two or three syllables continuing through a duration of three more akşarakälas, completing the total of 5 + 3 = 8.The nucleus of this formula of 5 + 3 musical aksarakālas is an unalterable rhythmic constant in both text and music that starts after the first two aksarakālas of the formula.”[9]
We need to do a deeper dive to get a better understanding of this analysis. We indeed find the same pattern as we look at another song in Desadi tala.
- First, key point is that when Desadi tala is rendered in Adi tala, it is rendered in with “each time unit has 2 aksaras(syllables, subunits) of sahitya(lyrics), (8x2 = 16).” [4]
- As Harry Powers noted, eduppu is not at samam but at the fourth subunit, half way through the second unit of the tala frame.
- Most of the song notations are in Adi Tala 8x4 for desadi tala, when they ideally need to be in 8x2. Once we look at the notation in Adi Tala (8x2), then, we can observe this pattern described by Harry Powers. See diagram below for a different song Marugelara in desadi tala. We can see it has this 5+3 pattern. It is indeed 5 subunits from eduppu starting at syllable ma (marukela) to the arudi; 3 subunits for the arudi at raa and the arudi kaarvai (pause), and then the pattern repeats.
You can also observe the nucleus of this formula in the additional songs shown in Harish Narayan’s thesis on graha starting on page 40.
Based on this pattern, Harry Powers observes the similarity, between Desadi tala and Hindustani Teen Taal, even when rendered in Adi tala : “indeed, the rhythmic flow is not unlike the rhythmic flow of the chota khyal genre of Hindustani music in fast teen-tal, with its cycle of four counts in each of four quadrants. The five-aksarakāla lead-in from eduppu to arudi in particular is just like one of the most common mukhdas(first phrase of the song) leading to sam(samam, starting point)in the chota khyal genre. It may be that the desādi tāla genre was somehow connected with North India”[9]
Eduppus in Padams
Kshetrayya who was a pre-Trinity composer has composed many padams with an anagata eduppu.
Jyotsna Krishnamurti says “ These padams have a unique structure, wherein the eḍuppu(starting point)in some cases is after 1 ½ akṣharas(time units) after the tala commences. Some of his padams composed in tisra tripuṭa are rendered in misra chapu today.”[7]
- padam Ninnujuchi with the eduppu 1.5 beats after samam in tisra triputa tala
- padam Ososi in misra chapu tala (6+4+4 units), with the melody commencing at 4 subunits later for all sections; the song is sung starting with the anupallavi line ososi
Eduppus in Songs composed by Dikshithar
One rare example of 1 Thalli eduppu in Dikshithar’s compositions :
Dikshithar’s compositions, predominantly, start on samam as you san see in the Sangita Sampradaya Pradarshini.
However, there are many beautiful examples of atheetha eduppu(before the start) in the body of the compositions. In his thesis Graha as an Element of Tala, K Harish Narayan explains that : “ a word or phrase gets split to accommodate ‘prasa’ (second letter concordance), part of the word goes at the end of the previous avarta(iteration) of the taļa.”[4]
- in the kriti, Seshachalanayakam in raga Varali, Purandaradi (pu is at the end of the previous tala cycle and just before the start of the new cycle)
- In this lecdem about the nuances of percussion accompaniment, Manoj Siva highlights the atheetha eduppus in the song Ranganayakam
In her lecdem, Musical Excellence in the compositions of Dikshithar, T S Sathyavathi shares another beautiful example from the kriti Siddhi Vinayakam in rupaka tala, about how the lyrics lend themselves to such an imaginative kalpana svara with multiple eduppus :
- “bhaasamaana chaturbhujam, eduppu at samam, bhaasamana means lustrous or radiant
- asamaana caturbhujam, anagata eduppu after one akshara(subunit), asamaana means incomparable
- samaana caturbhujam, eduppu after two aksharas(subunits), samaana means proportionate”
The above eduppus of the kapalpana svaras that are in samam, 1 thalli and 2 thalli are feasible because the resulting words are still meaningful to the song.
Eduppus in Songs composed by Syama Sastri
Syama Sastri’s compositions are particularly known for intricate laya patterns and a multitude of different eduppus.
In her thesis, Concept of laya and gamaka in Syamasastri’s compositions, Manju Gopal shares this analysis : “Of the 72 known compositions of Syamasastri, 47 falls under sama eduppu and 25 compositions commence with anagata eduppu.” [5] And there are many songs with different eduppus for various sections in the song.
Same eduppu
- Sarojadalanetri in Adi tala, Sama eduppu
- Devi Brova in Adi tala, song starts at Samam, the charanam at 2 thalli
Anagata eduppu (after samam)
Meena Lochana in Misra Chapu(3+4) has intricate eduppus :
- song starts 6 thalli after samam and anupallavi has a similar eduppu
- However, charanam starts at 1.5 after samam
Himadri Sute in Rupaka Tala
In her lecdem, Musical Excellence in the compositions of Syama Sastri, T S Sathyavathi shares two key insights :
- Two compositions Himadri Sute and Biranavaralicci, both in Kalyani are structurally different; and so, it is misconception to think that the only difference is the language of the lyrics
- Sometimes, songs that have been composed in Roopaka tala,chatusra gati (6x4 =24) are sung in Adi tala, Tisra gati (8x3 =24). And Biranavaralicci is sung in Adi tala, Tisra gati. But, Himadri Sute can only be sung in Rupaka Tala and T S Sathyavathi explains why (start of melody is after samam with the arudi(landing point) at paahi falling on samam).
Eduppus in Songs composed by Tyagaraja
We saw earlier that Tyagaraja has composed many songs in Desadi Tala. Tyagaraja has composed songs in all eduppus — sama, anagata and atheetha.
K S Kalidas shares multiple examples in this lecdem.
Atheetha eduppu
- Chede buddhi (eduppu is just before samam), tala Adi
- In the charanam of the song Ninne Bhajana, the word Seetha is at the end of the previous line, for Seetha natha. K S Kalidas adds that the elongation of the vowel needs to happen for Seetha to be pronounced correctly. Hence the eduppu must be taken earlier in the last count.
Anagata eduppu
- Tulasi jagajanani in 1 Kalai Adi tala, 2 thalli
- Kaddanuvariki in 2 Kalai Adi tala. 2 thalli
- Evari Maata, in 2 Kalai Adi tala, 4 thalli
- Chakkani raja in 2 Kalai Adi tala, 6 thalli
- Rajuvedala in Rupakam, multiple eduppus in song
Impact of eduppus of the song on percussion accompaniment
In his lecdem on the nuances of percussion accompaniment, Manoj Siva gives multiple examples of highlighting the eduppu of the song; he also emphasizes that these percussion embellishments ‘must be in the context of the song’ and should not distract from the song. Another critical factor is that even for the same song, different vocalists can sing with different eduppus and so the percussionist needs to be alert to anticipate that.
Examples :
- Multiple eduppus in Meena Lochana , tala misra chapu
- Multiple eduppus in Endukku nirdhaya , tala Adi
- Tricky eduppu, 3 thalli in Karpagame , tala Adi
Eduppu and Tani Avartanam
In his article on Tani Avartanam , Neyveli Narayanan says “The most important aspect of the Tani Avartanam is that it should generally be in the same kalapramana (tempo) in which the main artiste has sung the main piece. Besides, it should also be played at the same eduppu (starting point of that particular line where the main artiste left off).”
In his lecdem, K S Kalidas devotes a section to edam/eduppus , since this is the crucial anchoring point for the Tani Avartanam(percussion solo). It is the vocalist who decides when to pass the baton, at a particular edam(location) in the song to the percussionist. Then, the percussionist must play the tani avartanam to this eduppu. At the end of the percussion solo, after the finale korvai is repeated three times with a flourish, the baton has to be given back to the vocalist, to start the song again at this same eduppu.
- Palani Subramania Pillai’s Tani for Nannu Palimpa, 2 Kalai Adi tala where eduppu is 4 thalli
- Analysis of Palani Subramania Pillai’s Tani by K S Kalidas
- for additional details on Tani Avartanam see, Evolution and fundamentals of Percussion Accompaniment
Complex Eduppus in Pallavis (Ragam Tanam Pallavi)
It is the Pallavi (part of Ragam Tanam Pallavi) that has far more complex eduppus, since it is usually set in more complicated talas and in different nadais(time signatures). The structure of the pallavi must not be altered and that makes it exponentially more difficult too.
- Listen to practice of Mohanam Varnam in Adi Tala in different speeds and nadais(gaits, time signatures), with different eduppus. In this overview, Seetha Narayanan also shares that this is the framework she learnt from her guru Chinglepet Ranganathan as the foundation to be able to sing any Pallavi.
Examples of Pallavis with different eduppus
- Pallavi with sama eduppu and leveraging it, Suguna Purushothaman explains the components of a pallavi
- Pallavi with Atheetha eduppu in Tisra jati Triputa tala 4-Kalai and eduppu at the last beat of the tala
- Pallavi with 1 thalli eduppu in tisra triputa tala, khanda nadai
- This pallavi in Jaganmohini in Adi tala 2 kalai has anagata eduppu, after the start of the tala; see detailed analysis of this Pallavi by Poorna Vaidyanathan who explains that in tisra nadai, the eduppu is after 8 counts and in case of chatusra nadai after 6 counts.
- In this Ragamalika Pallavi, the pallavi line has multiple ragas. When kalpana svaras are sung for each raga, the eduppu varies : Kalpana Svaras for Pallavi in 3 ragas Sarasvati, Lalita and Durga and different eduppus
More details
- Lecdem on Ragam Tanam Pallavi by R Vedavalli
- Pallavi Darbar — Pallavis sung by multiple artists who also explain the structure of the Pallavi
- Pallavi Ratna Mala — A book with the notation of Pallavis, in 35 talas and in various nadais, published in the 1960s. In the foreword, Musuri Subramania Iyer writes that he “congratulates Tinniyam Venkatarama Iyer and his student Suguna (Purushothaman) in publishing this book which will be a boon to those who want to specialize in Pallavis.”
References
- Music Research Library — The Art and Science of Carnatic Music by Vidya Shankar
- Music Research Library — Understanding Modern Tala-s in the Background of the Ancient system of Tala — N Ramanathan
- Music Research Library — Perception of Tala in Karnataka Music, by N Ramanathan
- Music Research Library — Graha as an Element of Tala, by K Harish Narayan
- Shodhganga — Concept of laya and gamaka in Syamasastri’s compositions by Manju Gopal
- Music Research Library — Aditala: A Historical Study of its Structure by N Ramanathan
- Madras Music Academy — ŚYĀMĀ ŚĀSTRI’S HANDLING OF MIŚRA CĀPU TĀLA IN HIS KALYĀṆI RĀGA KĪRTANA TALLI NINNU by Jyotsna Krishnamurthy
- JMA 1991, page 135 — TANA VARNAM — ITS IDENTITY AND SIGNIFICANCE by Lalita Ramakrishna
- Music Research Library — The interface of verbal and musical rhythms in Tyagaraja’s kirtanams by Harry S Powers
