(Ethnic Jazz) L. Subramaniam - En Concert (Festival de Lille) - 1985, FLAC (tracks+.cue) lossless

RAGAM, TANAM, PALLAVI
Raga : Kalyani Tala :
Eka (four-beat cycle) Composer : L. Subramaniam
Raga Kalyani (number 65 of the 72 parent scales or " melakartas")
Ascending :CDEF#GABC, Descending : С В A G F#EDC
Ragas in Raga-malika
l.SATYAPRIYA
Ascending: С E F G Bb С, Descending: С Bb G Bb Ab GFEGDbC
2. DESH
Ascending: С D F G В С, Descending: С Bb A G F E D ВС
3. RAMAPRIYA (number 52 of the 72 parent scales)
Ascending : С Db D F# G A Bb С, Descending : С Bb A G F# E Db С
RAGAM, TANAM, PALLAVI
RAGAM : Melodic improvisation in free rhythm revealing the different aspcts and beauty of the raga. In this, the soloist presents the raga in stages. The mridangam is silent in this type of improvisation.
TANAM : Another style of melodic improvisation. Even though it is in free rhythm, it introduces an element of rhythmic pulse. At the end of each phrase section, a stereotyped rhythmic cadence pattern is used to indicate the end of that phrase or section.
PALLAVI : This is a short precomposed melodic theme with words and is usually set to one cycle of tala. This theme is played in its simple form, two or three times, in order for the accompanist to familiarize himself with it. The drummer enters at the beginning of this section. The pallavi has the following main features:
a) Neraval: The word literally means "filling up" or "spreading"; in other words, filling up portions of the pallavi line with new, fresh, and creative music. The soloist improvises new melodies built around the words of the pallavi, which are fixed in relation to the tala.
b) Tri-kalam : In this section, the pallavi line is played in three tempi, keeping the tala constant : twice as slow as the original tempo, the original tempo, and twice as fast as the original tempo.
c) Swara-kalpana : This improvised section is performed along with the drummer using solfa syllables (swaras) in medium and fast speeds. Each swara-kalpana phrase returns to the beginning of the pallavi line.
d) Raga-malika : The pallavi ends with raga-malika, which literally means "garland of ragas". The soloist improvises freely in different ragas and at the end of each raga, comes back to the rhythmic theme of the original pallavi.