In a traditional Karnatic music concert the mridangam artiste, who normally provides rhythmic support to the main artiste, soloes for around 15 minutes usually at the end of the piece de resistance of the concert. Occasionally he also soloes in the pallavi portion of a raagam-taanam-pallavi presentation. In Tamil this is called Tani-aavartanam or Tani in short.
Apart from being an opportunity for the artiste to showcase his creative abilities, the Tani aims to provide the listener with a glimpse of the numerous rhythmic possibilities existing in a particular Taalam. The Tani, although being essentially an extemporaneous presentation normally conforms to a certain pattern of evolution and also includes different kinds of pre-composed components such as Corvei(s), Teerumanam(s), Mohra etc. It is also customary to explore one or more Nadais different from the Nadai of the preceding piece (or Kriti).
Apart from the challenges of performing in 'uncommon' Taalams, additional challenges are introduced by the fact that many Kritis have their beginning points (Eduppu) a little after the first beat of the Taalam (Samam). The attempt is then to play the different components of the Tani such that each ending falls exactly at the Eduppu. Playing in a different Nadai makes this more interesting.
The main artiste has to be alert towards the end of the Tani so that he picks up the Kriti at the right time and brings the main piece to a spectacular end. The Tani is usually brought to an end by playing Pharans,Mohra, and the 'main' Corvei in that order, which is usually enough hint for the main artiste to roll up his sleeves and be ready. The mridangam artiste at this juncture usually ends with an elaborate Teerumanam.
Corvei
Mohra
Pharans
Kanakku
Nadai
(under construction)
This page was last updated on 16th March, 2000.