viLari and tODi rAga (was Re: Q: Tamil literature)

[Vidyasankar Sundaresan]

Sorry, I missed a phrase in a crucial sentence in my previous post on
cevvazhippaN today. The correct version is below.

On Tue, 16 Sep 1997, I wrote:

> Anyway, the technicalities aside, what is interesting is that the
> vaTTappAlai does not give a scale like the viLarippAlai, with two fourths
> and no fifth. Instead, it gives the neytaliyAzh, which is a scale without
> a kural (shaDja, in more familiar terms). It has the augmented uzhai
> (fourth) and the iLi (fifth). However, it has both the minor and major
> second (tuttam/Rshabha), and all other notes are of the major variety.
> Ramanathan says that this is called a tiRanil paN, i.e. an impracticable
> melody. The cevvazhippaN is therefore derived from the neytaliyAzh, by
          ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> redefining all the relationships with respect to the minor second, not
  ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> according to the vaTTappAlai technique. This reconstituted paN then has
  ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> the normal structure, with one variety of each note, from kural to tAram.

Read "not in the kural tiripu manner, but according to the vaTTappAlai"
instead of "not ......" in the marked sentence above. cevvazhi is obtained
from neytaliyAzh, by redefining the notes with respect to the minor
second, according to the vaTTappAlai technique, and not by a simple shift
of tonic.

Vidyasankar