Thani Avarthanam in Carnatic Music

A Thani avarthanam is an “avarthanam” of “thani”. In simple words, Avarthanam means repetition and thani means rhythm. A thani avarthanam can be enjoyed and followed along, if one understands the tala or time meter used in the performance. The usual percussion instruments in a CarnatiC concert are mridangam, ghatam and kanjira.

The percussion solo (thani avarthanam), which features a mridangam player and other percussionists who play the kanjira, morsing, and ghatam instruments, is one of the highlights of a modern Carnatic music concert. It ends with a grand climax in which the main artist picks up where they left off. The percussion solo (thani avarthanam), which features a mridangam player and other percussionists who play the kanjira, morsing, and ghatam instruments, is one of the highlights of a modern Carnatic music concert. It ends with a grand climax in which the main artist picks up where they left off.

The percussionists play a Mohra and Korvai at the conclusion of a thani avarthanam. At the conclusion of a thani avarthanam, the Mohra is always played. This mathematical pattern is based on the mean value of 8. The percussionists' mathematical improvisation known as a Korvai will come next. You can begin to recognize a Mohra's fundamental pattern by listening continuously.

Thani avarthanam

The solo performance by the percussion group that comes after the concert's main piece is known as Thani-avarthanam in Carnatic music. The solo is played inside the tala's boundaries, however there is a lot of percussion pattern improvisation. With a range of percussion and rhythmic patterns that can be played in the tala, the tani aims to give a display of the tala. The percussion instruments compliment one another as each plays a solo before the ensemble joins in for a cadential conclusion. The percussionists' expertise and skill are on display in Thani Avarthanam. It is highly helpful for percussion pattern analysis because it has a wide variety of percussion patterns.

A portion of the Mridangam, Khanjira, Ghatam, Morsing, and vocal percussion are frequently used to execute the Tani (called Konnakol). The other instruments are optional, however the Mridangam is usually present.

Things to Note

First, the avartanam is divided into three sections: soukya kalam (slow/normal pace), madhyama kalam (in between speed), and mail kalam (fast speed, double the normal speed). Other noteworthy elements include Farans (quick, short finger movements), Mohara (a special pattern that precedes the teermanam and signals the approaching end of the thani), and finally the teermanam (a particular pattern that is played three times and denotes the end of the thani), at which point the main artist resumes where he left the kirtanam. Technical words used by both mridangists and non-mridangists equally include Faran, Mohara, and Teermanam. The aforementioned comprise the majority of the thani avartanam (Absolutely essential). 

There may be one or many kanakku (mathematical permutations adhering to some very stringent requirements) in the soukya kalam stage, depending on the artist, his mood, the crowd, etc. Traditionally, these serve as an artist's signature. This serves as the foundation for identifying the accompanist, according to the knowledgeable rasika. If you are listening to a CD or recorded cassette, you can identify the artist by hearing just a few notes. In the cases of Palghat Mani Iyer, Palghat Raghu, Sivaraman, Karaikudi Mani, Vellore Ramabhadran, TK Murthy, etc., this is unquestionably the case.

Madhyama kalam marks the change from soukya kalam to mail kalam. The entrance into Madhyama Kalam represents the end of the first part of the thani.

The artist switches from Chatusram to Thisram (four pulses to a beat to three pulses to a beat), from Thisram to Khandam (three pulses to a beat to five pulses to a beat), from Khandam to Misram (five pulses to a beat to seven pulses to a beat), from Misram to Sankeernam (seven pulses to a beat to nine pulses to a beat), before returning to Chatusram. However, it should be emphasized that there isn't a set rule that governs this transition. Once back in Chatusram, he continues to play different Farans and is now getting ready for the big finish. 

One would not return to Madhyamam or Soukya Kalam once they had reached the Faran stage. Depending on his strength, stamina, etc., the musician performs somewhere between 6 and 10 different farans at this time in the mail kalam. He then continues by playing the Mohara, which serves as a cue for the main artist to get ready. The main artist picks up the kirtanam in the same speed he had started with and finishes the song after the Mohara, which is followed by the teermanam, which is played three times identically.