‘Kaarvai’ — versatile, rhythmic pause
‘Korvais’ are complex, rhythmic patterns that have a prescribed framework and adhere to the underlying tala cycle. A round of kalpana svaras(on the spot improvisation of solfa notes) or a tani avartnam(percussion solo), usually culminate by repeating the korvai three times as a finale.
When creating these korvais, artists employ different kinds of patterns such as Sarvalaghu(continuous flow with no spaces between syllables or svaras) or an intricate blend that includes elongations and pauses.
- Korvais in Percussion : See Evolution and Fundamentals of Mridangam Percussion Accompaniment for more details
- Korvais in Kalpana Svaras — See Sarvalaghu(flow of rhythm) and Kanakku(arithmetic) in Carnatic music for more details
The ‘kaarvai’ (rhythmical pause or elongation) is a crucial element that is employed in the creation of these complex patterns. In percussion, it is the rhythmic syllables like Thom, Tham or Thai that get elongated; while in singing it is the musical note or svara that gets elongated. And sometimes, there is just a pause after a syllable or svara. Of course, the length of this kaarvai must meticulously conform to the underlying tala cycle.
The added dimensions of this musical pause, and how the the silence enhances the music, are an integral component of many musical forms.
The term kaarvai is also used to denote the elongated note that singers hold for the duration of the tala cycle, when they are singing a line of a song. It is again referring to the musical and rhythmical pause that is aligned with the tala cycle.
Kaarvai in a Korvai
In his lecdem, Evolving Complexities in Laya, Madurai R Muralidharan gives an example of a korvai(rhythmic pattern sequence) which beautifully employs kaarvais(pauses and elongations). This korvai also showcases the cross-rhythms that occur with the usage of different nadais(time signatures)(4 (chatusram), 5 Khandam and 3,6 (Tisram)).
- Listen to the Korvai with Kaarvais and explanation
Let us try and deconstruct it to get a better understanding. This korvai fits in two cycles of 1 kalai Adi tala and each time, the kaarvai (pause or elongation) is for 5 sub-units.
- 1 kalai Adi tala has 4 subunits/beat for a total of 8 beats; hence 4x8 = 32 subunits for one cycle; 64 for 2 cycles
- The pattern of the korvai is 3+4+5+6+5(kaarvai) + 3+4+5+6+5(kaarvai) + 3+4+5+6 = 23+23+18 = 64
It is the kaarvais that make this rhythmic sequence even more interesting and more complicated to execute in multiple speeds. It takes diligent practice to ensure that the pauses or elongations are for the prescribed length to reach the end of the tala on time; it cannot be a microscopic subunit longer or shorter, it has to be exact.
Kaarvais when Nadai is changed
In this example, Ken Shorley shows how a rhythmic sequence that is usually performed in Adi tala, Chatusra nadai can be performed in Tisra nadai (3 pulses per beat), in various talas Adi, Rupakam and Misra Chapu. To make it fit into each of these talas correctly, the eduppu (or take off point) has to shift from the start of the tala cycle and that results in the introduction of a kaarvai or pause into the rhythmic sequence.
Kaarvais in a Svarajathi
The compositions of Syama Sastri are considered to be extremely challenging from a laya perspective. Let us look at his most famous Svarajathi Amba Kamakshi in ragam Bhairavi that is set to Misra Chapu tala (7 beats). The chapu tala with odd number of beats is alluring but also more complicated than Adi or Rupaka tala that have an even number of beats in total. Most compositions are sung to Chatusra nadai(4 pulses or subunits per beat) and perhaps, that makes it easier to handle kaarvais, pauses or elongations for an even number of beats. Inevitably, when the kaarvai’s duration is for an odd number of beats (3 or 5), it is harder to execute with precision. The last verse of this svarajathi, which itself is in Misra Chapu tala, is full of such tricky kaarvais!
Arudi Kaarvais in a Pallavi
Ragam Tanam Pallavi is the most complex genre in Carnatic Music.
The following notation from the book Pallavi Ratna Mala highlights the critical angas or components of the Pallavi, namely :
- Purvangam, first part of the Pallavi line and Uttarangam, second part of the Pallavi line
- Arudi is the landing point or point of syllable emphasis and the Arudi Kaarvai is the pause or elongation that follows the Arudi and in the above example, it is for a duration of 6 aksharas or subunits.
Meticulous precision is innately woven into a Pallavi. Even during improvisation of the Pallavi line, the location and duration of each of these components including the Arudi kaarvai must be maintained for all the iterations and variations.
- Ma Madura Meenakshi Pallavi and in its explanation, Kiranavali Vidyasankar includes information about the arudi kaarvai : “Tisra jati Triputa tala, Khanda nadai— Starting point of the line (eduppu) is 1/5ths of the first beat; landing point (arudi) kaarvai is 6 counts (basically it spills over to the second beat in the second half of the tala).”
When artists explain the details of the Pallavi, they provide information on all the key aspects including the eduppu and the length of the arudi kaarvai :
Additional listening
- Pallavi Darbar — Pallavis sung by multiple artists who also explain the structure of the Pallavi
References
- Academia.edu- Rhythmic Syllables: Introduction, Analysis and Conceptual Approach in Carnatic Music of South India by Mannarkoil Balaji
2. Tadikinatom Improvisation and its Guiding Principles in Percussion Playing in South Indian Classical Music by Robbert van Hulzen
3. Konnakol — History and Development of Solkattu by Lisa Young
