Taal (The Rhythm) Part - I

Rhythm is the heart-beat of music. Rhythm has acquired a very high status in music as quoted in the Sanskrit text, Shrutih Mata Layah Pita, meaning, Shruti, the scale (musical) is mother and Laya, the tempo (of rhythm) is the Father. There are different facets of rhythm. Rhythm is universal. There is rhythm in the movement of heavenly bodies just as in the life cycles of micro organisms. This can be better explained with an example; as the sun, the moon, the planets and other celestial bodies are moving objects, even our earth rotates on its axis and revolves around the sun, these bodies have their fixed movement, speed and course. This is collectively termed as rhythm in music.

It is only natural that man is endowed with rhythm. Whenever a person listens to some music, he automatically finds himself tapping his feet or fingers, clapping his hands, nodding his head and even dancing to it. But, exactly what is rhythm? Rhythm can be defined as a process in which the nucleuses of attention are separated by the individual units of time. Whenever listening to music, one cannot but perceive the rhythm. Rhythm refers to the arrangement of time in music. Rhythm gives stability and form to music. It can be defined as a time cycle format in terms of music and dance. Rhythm is one of the fundamental elements of music like melody and harmony in most of the major music systems of the world.

The rhythm has been termed as Tala in Indian scriptures. Tala is a mode of the time measurement used in music and dance. Possibly, the word Tala is originated by the Sanskrit root word Tal (palm) or Karatal (clapping with the palm). Clapping of the palm has been a popular mode to measure the time used in music and dance, since it has come into the existence. It is performed with the beat of right hand on the palm of left hand or on the right thigh. It is physically expressed by the musician through accented beats and unaccented finger counts or wave of the hand. Various percussion and solid instruments are invented in the course of time to keep the rhythm, but clapping of palm is still prevalent for providing rhythmic support simultaneously. Presently, Mridangam in Carnatic music and Tabla in Hindustani music are the indispensable percussion instruments for rhythmic support.

Tala is not only a simple scale for the convenience to measure the time; it is a full fledged system. Tala is not developed haphazardly but in a systematically organised mathematical manner. A Tala consists of one or more Angas (the parts of a Tala). An Anga is divided into one or more Matras (the external units) and a Matra is further divided into Aksharas (the internal units) according to the Gati of a Tala. Before developing a Tala, its constituents Angas are determined as the basic structure. The Angas confirm total number of Matras in Tala. Matras are again sub-divided by the Aksharas to confirm a fixed time-interval between two Matras. For example: - There are three Angas in Jhampa Tala – (1) Laghu, (2) Anudruta, and (3) Druta. Laghu has seven (7), Anudruta one (1), and Druta has two (2) Matras. Therefore total number of Matras in Jhampa Tala are (7+1+2=10) ten. In Tisra Gati, each Matra has three (3) Aksharas, therefore total number of Aksharas in Jhampa Tala will be (7x3+1x3+2x3 = 21+3+6 = 10x3 = 30) thirty. The time cycle of ten (10) Matras is called an Avartana. The mnemonic pattern is composed of Sollukattu (rhythmic syllables) like Ta, Dhi, Tom, Nam, etc.

For example as in the Kalapramana (the measurement of time); sixty seconds form a minute, sixty minutes an hour, twenty-four hours a day, seven day a week, four weeks a month and twelve months form a year; similarly, being the smallest unit of Tala, Aksharas form a Matra, Matras form an Anga and Angas form the Tala.

Carnatic Tala System

The soundness of a system, primarily mathematical in character, consists of its internal coherency, logical rigidity and numeric accuracy. Carnatic Tala system satisfies all these conditions and is not only perfect but also beautifully elastic. These are the main elements of Carnatic Tala: -

1. Kriya: - It signifies the action of hand to maintain the Tala and to express various Angas and Matras of a Tala. It may be Sashabda or Nishabda.

(a) Sashabda means with sound. First Matra of each Anga is Sashabda Kriya. These are three types of Sashabda Kriyas: -

(i) Druvaka is a frictional sound of single note created by pressing and then sliding of the thumb and the index or the middle finger,

(ii) Samyak is a clap on right hand with the left,

(iii) Tali is a clap on left hand with the right,

(iv) Sannipata is the clapping with both the hands.

(b) Nishabda means without sound. These are four types of Nishabda Kriyas: -

(i) Sarpini is the moving of hand towards right side,

(ii) Krishya is the moving of hand towards left side,

(iii) Visarjitam is the closing and opening of the hand,

(iv) Patakam is the rising up of the hand.

2. Anga: - It signifies various parts that form the basic structure of a Tala. There are six types of Angas mentioned in the ancient text as Shadanga.

(a) Anudruta consists of one Matra expressed through one clap or beat (Sashabda). Its symbol is 'U' (half circle).

(b) Druta consists of two Matras expressed through one beat and one Veechu (one Sashabda and one Nishabda). Its symbol is 'O' (full circle).

(c) Laghu is expressed through one clap or beat (Sashabda) and rest of the Matras are counted on fingers, and its symbol is 'I_3, I_4, I_5, I_7, I₉' (one vertical line with numbers of Matras in subscript). The number of the Matras of Laghu depends on its Jaati: -

i) Tisra Jaati Laghu has three Matras, i.e. a beat plus two finger counts.

ii) Chaturasra Jaati Laghu has four Matras, i.e. a beat plus three finger counts.

iii) Khanda Jaati Laghu has five Matras, i.e. a beat plus four finger counts.

iv) Misra Jaati Laghu has seven Matras, i.e. a beat plus six finger counts.

v) Sankeerna Jaati Laghu has nine Matras, i.e. beat plus eight finger counts.

To finger counts for Laghu, one starts with the small finger and ends with thumb. For Misra and Sankeerna Jaati Laghu, one comes back to the little finger after exhausting the fingers while counting up to six.

(d) Guru consists of eight Matras Expressed through one Sashabda Chaturasra Jaati Laghu, and one Nishabda Chaturasra Jaati Laghu. Its symbol is '8' (eight).

(e) Plutam consists of twelve Matras Expressed through one Sashabda, one Krishaya and one Sarpini each of four Matras. Its symbol is '₈' (a vertical line on eight).

(f) Kakapadam consists of sixteen Matras Expressed through one Sashabda, one Patakam, one Krishaya and one Sarpini each of four Matras. Its symbol is '+' (plus).

The last three Angas - Guru, Plutam and Kakapadam are not used in the Talas popular for the concerts. These Angas find greater use in the ancient Tala system. Presently, they are used in thematic programmes or Pallavi demonstrations. An example of a Tala that uses all the parts mentioned so far is Simhanandana Tala, the biggest Tala, with 128 Matras. Angas make the counting of big Matras (some of them beyond a hundred Matras) easier. The audience also gets an opportunity to participate more actively in the concert when they maintain Tala along with the performers.

3. Graha: - It denotes the starting point of a song. It is known as Eduppu in Tamil. There are three types of Graha: -

(a) Sama, when the music starts with the Tala,

(b) Anagata, when the music starts after the Tala,

(c) Ateeta, when the music starts before the Tala.

4. Jaati: - It is a very important factor that determines the value of Laghu. There are five types of Jaatis: -

(a) Tisra consists of three (3) Matras,

(b) Chaturasra consists of four (4) Matras,

(c) Khanda consists of five (5) Matras,

(d) Misra consists of seven (7) Matras,

(e) Sankeerna consists of nine (9) Matras.

For example, let us see how these Jaatis changes the value of Laghu and affects the over all structure of Triputa Tala: -

We can see that same Triputa Tala has a minimum of five and maximum of eleven Matras. Due to variation in the Jaati of Laghu we get five different Talas to suit our purpose.

5. Gati: - It refers to a specific but fixed time-interval between any two Matras of a Tala. Whereas Jaati refers to the value of a Laghu, Gati refers to the value of each Matra. Whereas Jaati affects only Laghu, Gati affects each Matra of a Tala. Gati determines the gait of the Tala. It is referred as Nadai in Tamil scriptures. There are five types of Gatis: -

(a) Tisra consists of three (3) Aksharas,

(b) Chaturasra consists of four (4) Aksharas,

(c) Khanda consists of five (5) Aksharas,

(d) Misra consists of seven (7) Aksharas,

(e) Sankeerna consists of nine (9) Aksharas.

The common names for the types of Jaati and Gati only indicates the values of a unit as 4, 3, 7, 5 and 9. For example, let us see how Gati affects each Matra and determines the gait of a Tala: -

The same Triputa Tala consists of a minimum of 15 (fifty-five) to maximum of 99 (ninety-nine) Aksharas due to variation in the Gati. Thus we get a convenient and workable selection out of twenty-five variations of Roopaka Tala to meet the requirement of different types of compositions.

6. Laya: - Laya is often confused with Tala. Laya refers to the innate rhythm in anything. Irrespective of whether it is demonstrated or not, it is always present. Laya can be explained as the primeval method of movements. Expression of Laya in a prearranged method through fixed time cycles is known as Tala. Thus, it serves as the structured rhythmic meter to measure musical time-intervals. It can be referred to as the physical pace of any musical movement. The common flawed belief is that rhythm or Laya is confined to percussion instruments and the rhythmic patterns produced therein. But Laya is not limited to just that. It is present not only in melodic compositions, which usually have a rhythmic metre in an obvious manner but also in the creative aspects, sometimes evidently like in Neraval or Kalpanaswara and delicately at others like in Raga Alapana and Tanam.

Laya signifies the speed or tempo of the music and dance. It determines the time interval between the two Matras. It denotes the gaits of a Tala and is classified into three categories: -

(a) Vilambita or slow speed that consists of one (1) Akshara in each Matra,

(b) Madhya or medium speed that consists of two (2) Aksharas in each Matra,

(c) Druta or fast speed that consists of four (4) Aksharas in each Matra.

An example of the three types of Laya is given hereunder in Adi Tala Chaturasra Gati that consists of eight (8) Matras and thirty-two (32) Aksharas. First line indicates Vilambita Laya, second line Madhya Laya and third line Druta Laya: -

7. Notation: - It refers to the signs used to express duration, Avartana etc.

Classification of Talas

In olden days, Talas were classified as Margi Tala and Desi Tala. Ancient texts have mentioned five (5) Margi and one-hundred-twenty (120) Desi Talas. There are references to other classifications also; like the One-hundred-eight (108) Talas (which includes the longest Tala, Simhanandana consisting of 18 Angas, 32 Matras and 128 Aksharas), Seventy-two (72) Talas (based on Seventy-two Melakartas), Navasandhi (9) Talas, Chhanda Tala etc. These classifications are however almost obsolete today and are confined to the demonstrations only. However, seven Talas known as Saptatala are prevalent now-a-days. Saptatala is classified as Thirty-five (35) Talas according to the Jaatibheda and again sub-classified as One hundred seventy-five (175) Talas according to the Gatibheda.

Saptatala: - Saptatala, also referred to as Saptasuladi Talas, are the main Talas in trend today. They represent a convenient and workable selection from out of the numerous Talas mentioned in various texts. Saptatala is a common name for the most popular Talas in Carnatic music. A chart explaining the symbols and Angas of each Tala is furnished hereunder.

Thirty-five (35) Tala: - Basically, these are the extension of Saptatala. Saptatala is classified on the basis of Jaatibheda. The only element that changes according to Jaati is the value of Laghu. As mentioned earlier that a Laghu has five Jaatis - Tisra, Chaturasra, Misra, Khanda and Sankeerna; and by incorporating 7 Talas X 5 Jaatis, there would be a total of 35 varieties of Talas. For instance, Chaturasra Jaati Dhruva Tala is represented as I₄ 0 I₄ I₄ would have one Laghu of Chaturasra Jaati, one Druta followed by two more Laghus of Chaturasra Jaati. The 4 in subscript indicates Laghu of Chaturasra Jaati. Therefore, we would get a total of (4+2+4+4) 14 Matras. Now, take the same Dhruva Tala in Tisra Jaati that is represented as I₃ 0 I₃ I₃ would have a Tisra Jaati Laghu instead of Chaturasra Jaati. Here, the 3 in subscript indicate Laghu of Tisra Jaati. Therefore, we would get a total of (3+2+3+3) 11 Matras. This is applied to all the Talas in a similar fashion. The important thing is to specify the Jaati of the Tala to avoid confusion. A detailed chart is furnished hereunder for a better understanding of the concept of Thirty-five Talas and effect of Jaatis on the structure of Tala.

One hundred seventy-five (175) Tala: - Before we go into it, it is imperative that we introduce another concept called "Gati". Gati refers to a specific but fixed time-interval between any two Matras within a Tala. It can again be of five types - Chaturasra, Tisra, Misra, Khanda and Sankeerna. The important thing to remember is that the common names for the types of Jaati and Gati only indicates the values of a unit as 4, 3, 7, 5 and 9. Whereas Jaati refers to the Matras of Laghu, Gati refers to the Akshara of each Matra. Jaati gives a structure to the Tala and Gati determines the gait of the Tala. The One-hundred-seventy-five Tala system is once again an extension of the Thirty-five Tala multiplied by five Gatis. We shall use the same example as given earlier of Dhruva Tala. Now it is already known that it can be of five different Jaatis. Suppose its Jaati is specified as Chaturasra, how the Gati would affect it. Since, Chaturasra Jaati Dhruva Tala has 14 Matras. But, while rendering the Tala; how to ensure the uniformity in time-intervals between each Matra? Here Gati play an important role to ensure the uniform time-intervals between each Matra. Now, according to the Gati, an interval of 4, 3, 7, 5 or 9 Aksharas can be fixed between each Matra. For the example of Chaturasra Jaati Dhruva Tala in Chaturasra Gati, with an interval of four Aksharas per beat; the fourteen Matras are multiplied by four Aksharas of Gati I₄ 0 I₄ I₄ (4x4+2x4+4x4+4x4) and we get a total of (14 X 4) 56 Aksharas for the Tala. The same would happen to Chaturasra Jaati Dhruva Tala in Tisra Gati I₄ 0 I₄ I₄ (4x3+2x3+4x3+4x3) and we get a total of (14 X 3) 42 Aksharas for the Tala. In other words, each of the Thirty-five Talas can be rendered in any of the five different Gatis. Thus the Thirty-five Talas become (35x5) One hundred seventy-five Talas. A detailed chart is furnished hereunder for a better understanding of the concept of One hundred seventy-five Talas and effect of Gati on each Matra of a Tala.

Chhanda Tala: - These are a special set of Talas used in a special variety of compositions called Tiruppugazh. The uniqueness of this Tala lies in the fact that it varies according to the stress and rhyme-patterns (called Chhanda) in the Tiruppugazh.

Some Popular Talas: - In Carnatic music concert the following three Talas are used very frequently - Aditala, Roopakam, and Misrachapu. The ratios in which the numbers of compositions are set to these Talas are also in the same order. However in a concert all these Talas have to be used to give a rhythmic variety to the concert. The other means of bringing out a rhythmic variety would be to use compositions in different Laya. In other words, Aditala has several compositions, but each in a different Laya or Gati than the other. These could be effectively used to bring out contrast within the concert. Variety can also be brought out by singing compositions of different Graha. For example, a composition of Sama Graha and the other of Ateeta Graha. Some of the prominent Talas are:

(a) Adi Tala: It has eight Matras in an Avartana (per cycle). In technical terms, this is Chaturasra Jaati Triputa Tala. It consists of one Chaturasra Jaati Laghu And two Druta. It is rendered with a beat and three finger counts followed by two identical sets of one Sashabda Kriya and one Visarjitam.

(b) Roopaka Tala: It has six Matras in an Avartana (per cycle). It consists of one Druta and one Chaturasra Jaati Laghu. It is rendered with one Sashabda, one Visarjitam followed by one Sashabda and three finger counts. It is also rendered with two Sashabda and one Nishabda Kriya in the ratio of 2:2:2 traditionally that is still commonly used.

(c) Misra Chapu: It is one of the Desi Talas. It has seven Matras in an Avartana (per cycle). In technical terms, this is Tisra Jaati Triputa Tala. It consists of one Tisra Jaati Laghu And two Druta. It is rendered with three Sashabda Kriya in the ratio of 3:2:2.

(To be continued ...)

Gyanendra Dutt Bajpai

Bharatanatyam Dance Teacher & Performer,

Indian Cultural Centre, C/o Embassy of India,

Kojimachi MT - 31 Building, 5-2-7 Chiyoda-ku, Tokyo 102-0083