This is in Tisra Eka ( commonly called Roopaka) in single kalai only. It is in a deliberately slow kaalapramana. This kaalam in Tamil is called "Rendum Kettaan Kaalam". It is very difficult to play a tani in this kaalapramanam (which is special to GNB for this kruti & of course to MDR!).It is of course,a great Tani.
I dont mean to be so off topic but does someone know of a tool to log back into an Instagram account? I was dumb forgot my account password. I appreciate any help you can offer me.
@@srinivasanshivakumar6616 The two talams are different as chalk & cheese. The Tisra Eka is of 3 counts (aksharas) while chatusra jati Rupakam is of of 6 beats & is the only tala (among 7) which has a 'dhruta' followed by 'laghu'. In common parlance, tisra eka is often, erroneously called 'rupakam'. Usage-wise,as 6 is divisible by 3, this usage has gained currency.
what a recording. Even the short glimpse of GNB and Lalgudi's talents before the tani so captivating. Then the tani avarthanam just spellbinding. Imagine being there live!
Palani is simply the best. Palghat Mani Iyer is another great vidwan but he is second for 2 main reasons. 1. Palani has the perfect balance between left and right and he brings about supreme tonal purity and clarity along with it. 2. Palani when he is playing thani has a solid structure (solkattu perukkal or multiplication of strokes) and he will never play a korvai randomly since he build a base first using nadai variations before a small korvai, which he uses as a climax.
Humbly second your observation sir. This aspect is what Trichy Sri Sankaran always maintains whenever he talks about the Pudukkottai school: 'Sollu development'. Sri Pazhani's playing seems to be a complete dialogue in Mrudangam presentation. Moreover, just how many delightful sollus, Nadai patterns and incomparable Gumkis ALWAYS with சேர்க்கை of tonal and bass heads! And knowing just the right proportion of it all to embellish each singer's krithis. Never overdoing even a single pattern or playing to the gallery. All this makes one wonder, how much Tapas has gone into His playing. There is air of mystery about Sri Pazhani, which makes it difficult to imagine a second.
@@dearmrkiran absolutely well said. When we listen to Palani it's so addictive and what impressed me the most was the structure and the power of expansion over the course of his thani. Technically it's not a thani since the knowledgeable audience is curious on the next steps and eager to know the suspense. All in all, the greatest vidwan🙏🙏🙏
Humbly second your observation. The natham of Palani's mridangam, the mellifluous flow and variety of strokes makes his thani avardanams mesmerizing. I have not experienced this captivation with Palghat Mani Iyer's or with anyone else.
That Mishra nadai switch in the middle with a half speed variation... ultra rare. Nearly everyone plays complex nadais at higher speeds. GNB also notices it. The continuity and progression of the structuring and variations is also something else. Never will you ever wonder where you are in this Tani.
@@palanisubramaniapillai64 The way they tuned their Mridangam so aesthetically makes all the difference, that is why PSP & PMI were hailed as genuises. In Recent times UKS, TVG & Vellore Ramabhadran succeeded in entertaining audience with their percussion style.
The real details only come out when listen to the playing at 0.5x speed. That is a revelation. Only simple patterns, played at double speed create so many complex variations.
Like Vivekananda Sri Palani Subramania Pillai also gave the world the Mridanga subject domain enough for 500 years. Any noted wave after Palani takes imprints if his thought process . Their appearance on the world screen is for little time but gave centuries span knowledge 🙏
@@palanisubramaniapillai64 you may be correct sir. But for me, as an ardent fan of his, for me, his time here wasnt enough!! Perhaps, as you say, he may have given homework for generations for yet another few 500 YEARS MORE, had he lived a 100 and played till the last breath!! We fans can desire what ever we want , I humbly feel!!
No difference between them, in the sense, both had their own path .... which was royal , scintillating, awe inspiring, mind boggling , beyond human comprehension....... the only thing the rest of us poor humans can do, is, to, silently Thank our Ishta Daivam, that such geniuses were created and gifted to us,,.... to lose ourselves in THE NAADAA
There is no Pazhakadu bhani per say, Mani iyer belonged to Thanjavur bhani. Puthukottai bhani which Sir Palani belong, is based on expansion of South Indian Tavil instrument evolved to Mridangam playing.
No 1 in my humble opinion.Unobstrusive accompanist for songs and a marvelous tani player.Did not get the recognition he deserved.
Indeed.
Him murugabopathy sir and palghat
This is in Tisra Eka ( commonly called Roopaka) in single kalai only. It is in a deliberately slow kaalapramana. This kaalam in Tamil is called "Rendum Kettaan Kaalam". It is very difficult to play a tani in this kaalapramanam (which is special to GNB for this kruti & of course to MDR!).It is of course,a great Tani.
Thank you very much for your valuable review sir.
I dont mean to be so off topic but does someone know of a tool to log back into an Instagram account?
I was dumb forgot my account password. I appreciate any help you can offer me.
Is Tisra ekam the same as Roopakam? I think not.
@@srinivasanshivakumar6616 The two talams are different as chalk & cheese. The Tisra Eka is of 3 counts (aksharas) while chatusra jati Rupakam is of of 6 beats & is the only tala (among 7) which has a 'dhruta' followed by 'laghu'. In common parlance, tisra eka is often, erroneously called 'rupakam'. Usage-wise,as 6 is divisible by 3, this usage has gained currency.
what a recording. Even the short glimpse of GNB and Lalgudi's talents before the tani so captivating. Then the tani avarthanam just spellbinding. Imagine being there live!
We should be thankful to the technology for these gems preserved down the timeline .
@@palanisubramaniapillai64 Yes indeed this is so true. Thank you.
people who dont know anything about music or mridangam will stop and listen to this for the sheer all round perfection of the performance
Palani is simply the best. Palghat Mani Iyer is another great vidwan but he is second for 2 main reasons. 1. Palani has the perfect balance between left and right and he brings about supreme tonal purity and clarity along with it. 2. Palani when he is playing thani has a solid structure (solkattu perukkal or multiplication of strokes) and he will never play a korvai randomly since he build a base first using nadai variations before a small korvai, which he uses as a climax.
Humbly second your observation sir. This aspect is what Trichy Sri Sankaran always maintains whenever he talks about the Pudukkottai school: 'Sollu development'. Sri Pazhani's playing seems to be a complete dialogue in Mrudangam presentation. Moreover, just how many delightful sollus, Nadai patterns and incomparable Gumkis ALWAYS with சேர்க்கை of tonal and bass heads! And knowing just the right proportion of it all to embellish each singer's krithis. Never overdoing even a single pattern or playing to the gallery.
All this makes one wonder, how much Tapas has gone into His playing. There is air of mystery about Sri Pazhani, which makes it difficult to imagine a second.
@@dearmrkiran absolutely well said. When we listen to Palani it's so addictive and what impressed me the most was the structure and the power of expansion over the course of his thani. Technically it's not a thani since the knowledgeable audience is curious on the next steps and eager to know the suspense. All in all, the greatest vidwan🙏🙏🙏
Ram ram both the vidwans are legends.
Humbly second your observation. The natham of Palani's mridangam, the mellifluous flow and variety of strokes makes his thani avardanams mesmerizing. I have not experienced this captivation with Palghat Mani Iyer's or with anyone else.
The amazing thing I noticed was,that, there are people who clicked the thumbs down sign!! I humble condolences to such people!!
Bale.What a Thani sir on difficult kala pramanam..Just like played.Old is gold. Ganesan Tirukodikaval
That Mishra nadai switch in the middle with a half speed variation... ultra rare. Nearly everyone plays complex nadais at higher speeds. GNB also notices it. The continuity and progression of the structuring and variations is also something else. Never will you ever wonder where you are in this Tani.
mind blowing tani one of the best heard so far. legend he is.
Namaskaram. Amazing Thani Avarthanam .Legendary Vidwan Sri. Palani Subramanian Pillay 🎉❤
Just tears rolling down my eyes. Thanks to technology we are able to listen to this gem.
Thanks a lot sharing. Brilliant. God Bless!
PSP is Superb 👌
GNB's lightening-Speed Swaras are even more amazing 👍 Who can sing like that so effortlessly 😃
@@ananthakrishnans384 Yes they were all a galaxy of perfect masters . Effortless artistry was the characteristic feature…
@@palanisubramaniapillai64
The way they tuned their Mridangam so aesthetically makes all the difference, that is why PSP & PMI were hailed as genuises. In
Recent times UKS, TVG & Vellore Ramabhadran succeeded in entertaining audience with their percussion style.
Excellent...Excellent..Excellent
Awesome...
This is not Carnatic music this is 'Karna ananda' music. Music which is honey to the ears of the listener.
What playing man. Class !!!
Simply fantastic .... So many variations in nadais .... Hho ...
Greate vidwanthank you
The real details only come out when listen to the playing at 0.5x speed. That is a revelation. Only simple patterns, played at double speed create so many complex variations.
Great artist
Sabash!!!
"Gunnum gunna" roars like a lion!
Imagine without mike for thoppi. Deiveegam.
Nectar for the ears!
Great performance
I am so saddened that this great Mahan died so early!!! Our loss😔😔😞😞
Like Vivekananda Sri Palani Subramania Pillai also gave the world the Mridanga subject domain enough for 500 years. Any noted wave after Palani takes imprints if his thought process . Their appearance on the world screen is for little time but gave centuries span knowledge 🙏
@@palanisubramaniapillai64 you may be correct sir. But for me, as an ardent fan of his, for me, his time here wasnt enough!! Perhaps, as you say, he may have given homework for generations for yet another few 500 YEARS MORE, had he lived a 100 and played till the last breath!! We fans can desire what ever we want , I humbly feel!!
super super super
பழனி சுப்ரமணிய பிள்ளை அவர்கள் ஜாதக குறிப்பு --- தேதி --20/21-4-1908--- அதிகாலை மணி 4-49. ஈரோடு -
மீன லக்கினம் - மூலம் -- நட்சத்திரம்
Thanks for the information 🙏
Pazhani sp avkl samudhram....
Not easy to keep thalam for this thani.
Very much true. It needs higher professional experience to keep talam intact
👏👏👏👏👏👏
Perhaps , Reincarnation of Nandhi Himself !!!
@@natarajansomasundaram9956 absolutely right sir
I'm a novice. Please someone tell me what is the difference between Palani and Pazhakadu Pani. How Pazhakadu would have played here?
No difference between them, in the sense, both had their own path .... which was royal , scintillating, awe inspiring, mind boggling , beyond human comprehension....... the only thing the rest of us poor humans can do, is, to, silently Thank our Ishta Daivam, that such geniuses were created and gifted to us,,.... to lose ourselves in THE NAADAA
There is no Pazhakadu bhani per say, Mani iyer belonged to Thanjavur bhani. Puthukottai bhani which Sir Palani belong, is based on expansion of South Indian Tavil instrument evolved to Mridangam playing.
Sir, what song is this?
AragimpaVE - tODI - rUpakam (tisra eKam) - Thyagaraja - Thyagaraja is singing about offering naivedya to rAma.
Pranms
Anodyne for the soul.
Palkad tsm avkl kaliyuka nandhikesar