Classical Music Mridangam

Mridangam Tuning and Applying Semolina, Rava Paste and Special Paste/Gum

2007-09-10T06:59:00.000-07:00

Sruthi-Maatha Layam-Pitha Thaalam-Guru
Mridangam is an important 'Percussion Instrument' used in all forms of Carnatic Music concerts, the widely known 'South Indian Classical Music'. Mridangam (also spelled as Mridhangam. Alternate spellings are, mridanga, mrudangam, mrdangam, mŗdangam mrithangam, miruthangam and mirudhangam) makes a concert complete with soothing rhythm enhancing the overall concert with a unique naadham called "Chaapu". Naadham is the term for sound (musical notes) that has the quality of sruthi and pleasant musical vibration in it. Chaapu naadham, Meetu naadham and Thoppi must be tuned in such a manner that produces an excellent sound. Chaapu Naadham and Meetu naadham must be in the same pitch (that is, in the same note). Thoppi naadham can either be equal to Chaapu naadham or one octave less than that of chaapu naadham. Tuning mridangam is itself an art, then comes playing the instrument with an ecstatic sound. Playing the instrument with perfect fingering technique is a must for a mridangist in order to produce proper nadham. Sound interesting isn't it?

How to tune a mridangam?
Tuning is an art that can be mastered by a systematic practice in steps mentioned below:
Maintain the mridangam by repairing it to the best condition with the help of a good repairer. Things required for tuning the mridangam:
Chromatic Pitch Pipe, small stone, small wooden Stick called"pullu" (made to a size similar to an adult Index finger). Now follow the steps mentioned below:
1. Play the pitch pipe after selecting the pitch needed while simultaneously playing the chapu on the mridangam. Now compare whether the mridangam matches with the pitch pipe. If the pitch of the mridangam is less, then hold the wooden stick on that particular point on the mootu(between the leather straps) and beat it on the top of the stick with the stone. If the pitch of the mridangam is higher than the pitch pipe, hold the wooden stick at the bottom of the mootu (between the leather straps) and beat it with the stone from below upwards on the stick. Repeat the process on all sides of the karanai till the pitch matches with the pitch pipe. Matching "meetu naadham" and "Chaapu naadham" requires another step in the tuning process, explained below in the topic "How to match Meetu and Chaapu?" One can use Harmonium or Electronic Tambura or Electronic Sruthi Box, instead of pitch pipe. One can gradually gain 'Sruthi Jnana' by experience so as to accurately tune the mridangam.
How to match Meetu and Chaapu?
Matching meetu and chaapu requires a step that involves the adjustment of "Black Patch" (so called "Soru" or "Saadham"). When meetu is less than chaapu, a small portion of "soru" has to be removed from the center. To do this, twist small piece of cloth like a thick thread and wet it, so that the cloth is just moist enough to be applied circularly on the center of the "soru" to a diameter of around 1 to 1 ½ cm (circumference 3 to 4 ½ cm). See to it that water does not go deep. Just moisture on the surface of the black patch is enough. Now scrap this portion alone with a small blade so that, the black patch (to a minute/thin) layer is shredded. Repeat the procedure till meetu naadham sounds equal to that of Chaapu naadham.
When the Meetu naadham is higher than chaapu, add small layer of black patch at the center to the size mentioned above. Rub this portion with a polished stone to dry it. Applying this small portion of black patch requires experience. You may want to know more about "Black Patch" by reading the topic "Parts Dimensions of Mridangam".

How to tune Thoppi?
Tune "thoppi" to the corresponding pitch of "Karanai" as mentioned above. Things needed for tuning thoppi.
1. Wooden Stick "Pullu" as mentioned above.
2. Another wooden stick measuring around 8 inches in length and thickness of around 1 to 1 ½ inches is needed. This stick must be tapered at one end like a scale to a length of around 2 inches from the end. This is also called "Aapu".
If the pitch has to be increased, use "Pullu". This has to be placed between the leather straps on the mootu and beat it with the stone on the stick. Do it on all the sides equally. If the pitch has to be decreased, use "Aapu". Insert the Aapu between the mridangam wood and the third layer of the mootu, on the side view of the mridangam. Now beat it with the stone on the Aapu so that, it moves a little inside the third layer, to the extent that it does not touch the fixed mootu. Then check if the thoppi sounds good on all the sides. Repeat the procedure on the sides that require reducing or increasing the pitch, so that the thoppi sounds equally well on all sides. One has to gain experience to produce "Guna Saptha" in mridangam. This can be achieved by direct training through Mridangam Lessons by a mridangam maestro.
How to apply Semolina paste?
Semolina paste or Rava must be applied at the center of "Thopi". How much paste one should apply depends on Sruthi and the "Karvai" (good length of vibration and sound). The diameter of this applied paste depends on the age and tension of the skin. A size similar to and/or little more than that of a "One Rupee Coin" is normally preferred. Too much paste will prevent one from playing "Gumka or Gumki", a variety of thoppi nadham that produces various tonal effects.
How to make the paste?
Mix Rava or Semolina with water so that it is neither too gummy nor too solid. Apply on "thoppi" and add it in steps of little paste at a time, till one hears proper naadham.
Substitute for Rava paste: There is special paste with us that can be used instead of rava paste. We have an excellent paste and used by many mridangam players. No need to carry water and there is no trouble of mixing flours. Our paste is easy to use that will not easily dry up even if it is open in air. You may want to know more details about the special mridangam paste by reading "Mridangam Paste" in the top menu.
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Parts and Dimensions of Mridangam. Complete details about Skin Mold on Karanai and Thopi

2007-09-09T21:38:00.000-07:00

What are the parts of mridangam?
1. Wooden part (some use Fibre-Glass)
2. Molded leathers called “Mootu”
3. Leather Straps or Rope with high working load type. Sail ropes or boat ropes that has high working load (withstanding capacity) measured in "lbs" (strength in pounds) are used. More the "lbs" the better. The thickness of the rope must be at least 5mm ( around 3/16 inch) and maximum 6mm ( around 1/4 inch). 6mm is better.
4. The right side of mridangam is called “Karanai” or “Valanthalai” (also known as Right Head)
5. The Left side of mridangam is called “Thoppi” or “Idanthalai” (also known as Left Head)
6. The center Portion in the wood is called “Arada”

1. Wooden part of the mridangam can be made from five kinds of trees. It is collectively known as “Pancharatna trees”. They are Jack tree, coconut tree, Margosa tree, Sandal tree and Blackwood tree. The most preferred tree (wood) is “Jack Wood” as it is more fibrous in its structure, has less pores in it and also that, it is not affected by climatic changes (if seasoned). If the wood is affected due to climatic changes, mridangam will have an undesirable effect on Pitch and sound. The wood must be selected with care. There should not be any holes, cracks, joints or small round plugs called “Suzhi”. The tree must be ripe and well seasoned. Only seasoned wood will withstand climatic changes. Please Note: Nowadays cutting Jack Tree (Jack Wood) is banned in Tamilnadu. Is there any substitute? Is there any wood that is excellent in its structure and economical? Yes, there is a wood known as "Kottukapulli Wood", which is available in plenty. My Guru Dr.T.V. Gopalakrishnan recommends this wood for all musical instruments especially mridangam. Lack of publicity and know-how and source of procuring the wood is the fundamental cause of this wood being not popular among mridangists. At least from now, let mridangists switch over to this wood for making mridangams. The advantages of "Kottukapulli" wood are:

1. Texture of this wood is excellent, i.e., Fine-grained texture.
2. The wood can be carved and shaped when it is raw and no seasoning is required before making the barrel. It seasons itself in six months to one year and changes its colour from whitish grey to a beautiful brown hue.
4. The wood is slightly heavier than jack wood hence, the tonal colour (sound pitch and vibration tone) is excellent.
5. The rims maintain shape better and longest than other woods.
6. The wood seasons without distortion.
7. It is very much economical.
Note: In Ancient days mridangam was made of Clay. 'Mrid' means clay and 'angam' means body. So, mrid+angam is mridangam (Clay Body). Due to the depreciation of clay in terms of durability and quality, mridangists started using wood which is highly reliable at any point of time. Since, it has become difficult now a days in getting a seasoned wood, a modern fibre-glass version known as 'Balarama Mridangam' was designed in recent years. As a mark of research by many in the field, fibre body was tried and Umayalpuram K.Sivaraman (UKS) improvised and developed prototype for Fibre-Glass mridangam which is no less than wooden mridangam. He has introduced the fibre glass mridangam to Carnatic music for the first time, improvised a mechanical jig to eliminate human error in the moulding (molding) of skins for both sides of the instrument and has done research work on tanned and untanned skins for the mridangam. His analysis of the ingredients of the black patch ("Soru") has given much insight on the overtones produced by different strokes on the mridangam. Rohan Krishnamurthy, Disciple of Shri.Guruvayur Durai has made mridangam with bolts and nuts combined with traditional woven ropes.
2. Molded leather ( Untanned skins) are fixed on right side and left side of mridangam.
How are the molds made?
There are three layers on the right side called a). Vettu Thatu b). Kottu Thatu C). Utkara thatu. The leathers are made of Goat and Cow skin (Cowhide). Vettu Thatu known as “meetu” is made of Calf-Hide (Cowhide) and it is visible. Kottu Thatu (middle layer) is made of Goat Skin and it is partially visible. A Black Patch Called “Saadham” or "Soru" is fixed on this Kottu Thatu that produces “Chaapu Nadham”. What is this Black Patch? It is an ultra fine powder that has iron ore and some manganese oxide in it and is mixed with cooked rice to a particular proportion (usually 3:1), three parts of powder and 1 part of cooked rice, is applied on the Middle layer "kottu Thattu". This proportion varies depending on the status and quality of the powder. It must be mixed in such a way that the black patch paste is neither too gummy nor dry. After applying the paste, it must be dried inside a room and it should not be exposed to sunlight . Let it dry at least for two days. In the fast moving world, people use mridangam soon after applying the paste. The third layer Utkara Thatu is not visible outside and it is placed below the Kottu Thatu. This third layer is like a ring with the hallow center and has direct contact with wood. So, the Outer two layers will not touch the wood enabling one to produce soothing pleasant vibration and sound.

The left side Mootu called “thoppi” is made of three layers again. The leathers are made of Buffalo skins and Goat skin. The outer layers are two buffalo skins (two layers) placed one after the other like a ring with the hallow center and the second layer is not visible. The third layer which is the innermost one, visible at the center of thoppi is Goat Skin and is tied below the second layer. The third layer will have a contact with the wood, producing Sound called “Thom”. Only in this layer Semolina paste or rava paste is added at the center to produce pleasing sound. Only then it produces proper Bass sound and “Andhara gandhara sound”.
Note:
Cowhide is an essential element in mridangam. With the cow-slaughter ban, great mridangam players like Umayalpuram k. Sivaraman, Murthy, Karaikudi Mani and TVG gave a thought for a substitute material. Sivaraman suggested importing synthetic materials and TVG suggested importing cow hide. Mani, insists: "Only those cows are killed that are old and are of no use." Sivaraman said "Cows are not killed for making mridangams. They are slaughtered anyway and we merely use the hide". General opinion is that Mridangam can't be sans (without) cowhide. The ban can slaughter its sound. Carnatic music may not sound the same as before. Anyways, experiment may be needed in this regard and let us see if mridangam can sound great without Cowhide.

Mridangam can be of two kinds. One is "Kutchi" and the other is "kappi".
Kutchi mridangam: Small strips are made from a type of tree plant that is also used for making brooms. These strips are inserted between the Vettu thattu and Kottu thattu which increases the dampening effect that acts as a snare. This helps one to produce a unique chaapu nadham with great vibration.
Kappi mridangam: Crushed stones from a variety called 'Kittam' or 'Chittam' is used and placed under the Vettu thattu so that it produces a distinct Chaapu Nadham similar to tabla sound but with great vibration.
Note: Mridangam uses single resonator while Tabla uses two resonators. In tabla, the tension of the right and left heads is separate. In mridangam, the left head (Idanthalai) and the right head (Valanthalai) are inseparably linked. The tension of right and left sides of mridangam is inseparable. Since mridangam uses single resonator, it produces an acoustic coupling between the two heads (right head and left head). Instead of using straps (leather or Rope) to fix the right and the left heads, bolt and nuts are used to fix the right and the left head. The tension of both sides become separate, but there is an acoustic coupling of both sides in terms of sound produced because, mridangam body is made of single block of wood or fibre with "Arada" at the center where as tabla uses two separate body or shell for right and left heads.

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Size Shape Measurement Pitch of Mridangam

2007-09-08T23:02:00.000-07:00

Mridangam can be classified into two types. One is “Thagu Shruthi” and the other is “Sthaayi Shruthi”.
1. Thagu Shruthi is used for Male singers whose Pitch ranges between B to C# (3/4 to 1 ½). C# is called C Sharp. Thagu shruthi can be used for accompanying instruments such as Violin, Veena, Flute etc… with the pitch ranging from B to E (3/4 to 3). See the table shown below.
2. Sthaayi Shruthi is used for Female Singers whose pitch ranges from F to A# (4 to 6 ½). A# is known as A Sharp. It can also be used for accompanying instruments mentioned above. The structure of mridangam can easily be understood with the shape, size and measurement details mentioned below. Before that, let's see the pitch table (Sruthi table or Chart)

Pitch Table

Pitch	Pitch in numbers
C	1
C#	1 ½
D	2
D#	2 ½
E	3
F	4
F#	4 ½
G	5
G#	5 ½
A	6
A#	6 ½
B	7

In the pitch table, 'C' means Pitch '1', C# also denoted as DbC# is known as "C Sharp" which means Pitch '1 ½ ' , 'D' means Pitch '2', D# also denoted as EbD# is known as "D Sharp" which means pitch '2½' and so on.... Pitch 'B' in the lower octave ( bottom base Sadjam) is less than Pitch "C" Or "1"and so, pitch "B" also means Pitch "3/4" (three-fourths of "C").

Shape(Structure): Mridangam is a hallow double headed barrel (synonymous: cylindrical)
but broad at the center and gradually taper at both sides. The broad portion called "Arada" is normally placed at 1 ½ inches to the left side from the center. The thickness of the hallow wood must be 1 inch at the mouth of both sides. Some prefer 3/4 to 3/8 of an inch. The proper sound and the “Karvai” (good length of vibration and Octave) depend on the thickness of the wood at both sides. If the thickness level is optimum, the quality of sound will be optimum.

Size: The length of “Thagu Shruthi mridangam” between the Karanai and thopi can be 24 inches to 26 inches. 24 inches is preferred. Diameter of the Karanai can be 6 ½ to 7 inches and proportionately thopi can be 7 to 7 ½ inches. The circumference of the center portion of the wood "Arada" can be 36 to 37 inches and its diameter is 12 to 12.5 inches.

The length of “Sthaayi Shruthi mridangam” can be 22 inches. Some prefer 20 or 21 inches. The circumference of the center portion of the wood “Arada” must be at least 33 inches and its diameter is 11 inches. Some prefer 36 inches and its diameter is 12 inches. The diameter of Karanai is 6 inches to 6 ½ (6 ¼ is commonly used) and proportionately thopi can be 6 ½ to 7.
It is important to note that, when the diameter of the wooden mouth is high, the pitch is Low and Vice versa.

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Tala Dhasa Pranas

2007-09-07T20:11:00.000-07:00

Dhasa means 10 and prana means inherent dynamic force. So, "Tala Dhasa Prana" is 10 stages of the dynamic force inherent in tala. In other words, there are 10 elements of tala. So, tala starts from an invisible stage and naturally attains a visible stage that can be perceived by senses. The invisible stage of tala has to be realized just like we realize our Self -Atma, Almighty, Universe and so on....

Sage Tunga has said: "If you can very well determine the shape of Wind or the supreme form of Lord Siva, the expanse of the Universe, magnitude of pleasure of flute or the Essence of Vedas, you can define properly the tala intricacies". This means, definition in material terms is impossible in all these above elements in this universe. One should go beyond the senses to realize the subtle nature. Similarly, the subtle nature of talas must be realized and only the outward manifestation of talas can be defined. This act is similar to drawing a small portion of water from ocean with a small container. This small portion of tala as understood by many stars in this field is explained below. The tala pranas are,

1. Kaalam
2. Maargam
3. Kriyai
4. Angam
5. Graham
6. Jaathi
7. Kalai
8. Layam
9. Yathi
10.Prastharam
Everything is rhythm. Sunset, Sunrise, Earth's rotation and revolution etc..., is rhythm of nature. Now let us see the rhythm of talas as manifested into 10 stages as listed above. The first four is explained in this part. The others are explained in Chapter 2, Chapter 3, Chapter 4, Chapter 5 and Chapter 6.

Chapter1

1. Kaalam: Kalam consists of 10 stages again. They are,
(a). Kanam (b). Lavam (c). Kaashtam (d). Nimisham (E). Thudi (F). Dhrutham (G). Lagu (H). Guru (I). Plutham (J). Kaakapaadham.
Kanam: Time is normally understood in terms of seconds, minutes and hours. Now let us take the "seconds". Let us assume that we divide a second into 8 sub-divisions. Each of this is sub divided by 8 again and this small sub divided unit is further sub divided into 8 divisions. This part of sub divided unit can only be perceived mentally and physical sign of this time cannot be shown. This minutest time is said to be "Kanam".

Kanam is further understood by the following experiment.
100 Lotus petals are taken together and a needle is pierced through the petals. The time taken for the needle to pass through one petal to the other is known as "kanam". When kanam is understood, the other 9 stages can be tabled as below:
8 such kanam = 1 Lavam
8 such Lavam = 1Kaashtam
8 such Kaashtam = 1Nimisham
8 such Nimishams = 1 Thudi
2 such Thudis = 1 Dhrutham
2 such Dhruthams = 1 Laghu
2 such Laghu = 1 Guru
3 such Laghus = 1 Plutham
4 such Laghus = 1 Kaakapadham
Only from "Nimisham" onwards one can physically recon the tala parts. The first three time units shown in the table can only be imagined and understood by going beyond our five senses.

2. Maargam (also spelled as Maarkam, Margam): The way tala is put into applications is called Maargam.
There are six ways that determines the tempo or speed of music. They are,
(a). Thakshanam: For one Akshara main count or tala unit, there are 8 minor units or seconds. The 8 minor units make the speed 'Kalai', that is, 8 Mathras in one tala unit (Kalai).
(b). Vaarthikam: 4 Matharas for one Akshara.
(c). Chithram: 2 Mathras for one akshara.
(d). Chitra Tharam: 1 Mathra for one Akshara
(e). Chithra Thamam: 1/2 Mathra for one Akshara. As tala syllable or swara cannot split, one has to use 2 fast syllables for one akshara.
(f). Athi Chithra Thamam: 1/4 mathara for one Akshara. In this case one has to use 4 fast syllables for one Akshara.

3. Kriyai: Kriyai is a physical action that is sub divided into two. One is "Maargam" (another kind) and the other is "Desiyam". This maarkam is of two kinds. One is "Shabdha Maargam" and the other is "Nishabdha Maargam". Shabdha Maargam is further divided into four types. They are,
(a). Dhruva - produce sound by Thumb and Middle finger (Chitigai).
(b). Śamya - Beat over the right palm with the left palm.
(c). Tāla - Beat over the left palm with the right palm.
(d). Sannipāta - Both palms strike together facing each other.
These kinds of talas are also used in "Kummiaattam".
Nishabdha Maargam is also of four kinds. They are,
(a). Avāpa - Folding the fingers
(b). Nishkrama - Opening the folded fingers.
(c). Vikshepa - Moving hand to the right side.
(d). Pravesa - Bringing it back

In Nishabdha maargam, all the tala actions mentioned above are performed without producing any sound.

Desiyam: Desiyam is of 8 kinds. They are,
(a). Dhruvaka - Beat of hand

(b). Sarpini - Waving right palm to the right
(c). Krushya (also spelled as Krishya) - Stretch hand to the right(Waving the right palm from the above left to the right)

(d). Padmini - Turn hand, palm downwards
(e). Visarjita - Waving the hand outwards turning the Palm upwards

(f). Vikshiptham - Closing the fingers and bringing the hand towards Self
(g) Pathāka - Raise hand with hand upwards
(h). Patitta - Bring the hand downwards(back to horizontal position)

These varieties of tala are used in Folk dances called "Koothu Natanam".
Except Druvaka, all the 7 kriyas from Sarpini to Pathitham (Also spelled as Patita) do not produce any sound (niśabda kriyas) and so they are also known as "Baava Samignya Talas". These do not have practical relevance now. These are explained only for the purpose of preservation of ancient works on tālas.

4. Anga: Anga is nothing but practical application of perceptible tala mentioned in the category "kaalam" that is, from Nimisham to Kaakapatham. Angam means "limb" or "Parts" of Tala. These limbs or parts constitute a Tala. Angams ( also spelled as Angas) are basically six. See the table below.

Anga	Symbol	Name	Explanation
Thudi or Anudruta		Pirai(Crescent Moon)	A beat (Dhruvaka)
Druta		Mathi (Full Moon)	One beat and a turn of hand (Dhruvakam and Visarjita)
Laghu	l	Kanai	Beat (Druvaka) followed by counting fingers according to different units of jaathi
Guru	S	Villu(Bow)	A Beat (Dhruvakam) and Pathitham each followed by counting fingers according to Jaathi
Plutham	l S	Aravam	A beat (Dhruvakam),Sarpini and Krishya each followed by counting fingers according to different units of Jaathi.
Kaakapaadham also spelled as Kākapāda	+	Pulladi	Sarpini, Krishya, Patāka, Pathitham (Patita) each followed by counting fingers according to different units of Jaathi. Kaakapaadham is rendered without sound (NiŚabda Anga)

Note that, only the first three Angas are used in "Suladi Sapta Talas" (Commonly known as "Sapta Talas") Combinations totaling 35 Talas, read topic "Saptha Talas". The other Angas namely Guru, Pluta and kākapāta are used in talas known as "108 Talas" and other complicated talas that include "Simhanadhana Tala" which is the longest tala having 128 Aksharas. The first 5 Talas of 108 talas are known as "Maarga Talas" and also known as"Pancha Talas". The remaining 103 talas are known as "Desi Talas". There are 72 Melakartha Talas other than these talas. There were numerous combinations and varieties of talas in ancient days. All these talas have become obsolete and only Sapta Tala with jaathis combinations that give rise to 35 talas and Ghathi Bedha of 35 talas that give rise to 175 talas are in vogue today. Other talas are listed in this site just for the purpose of demonstration. There are other talas known as "Nava Talas", "Nava Saandhi Talas", "Abboorva Talas". The "Chanda Talas" are used in "Thiruppugazh" and the specialty of this tala is that, the talas are made to fit the lyrics, rhyme and stress of the song. In other words, the lyrics and rhyme are given importance which form different talas. Sage Arunagirinadhar is believed to have composed over 16000 songs and only 1365 songs have so far been traced. Coming back to Angam, let us see the combinations of Angams as listed in the table below.

The 6 Angams (shown in the table above) in combination with themselves give rise to 10 Angams, totaling to 16 Angams.The Ten Angas are shown, just for the purpose of history and demonstration. According to Talaprastara and its rules, it is said that these 10 Angas should not be rendered at all as tala. The other ten Angams are tabled below.

Ten Angas Chart

Serial	Ten Angas	Explanation	Aksharas
1	Dhrutha Viraama	Anudhrutham and Dhrutham	3
2	Laghu Viraama	Anudhrutham and Laghu	5
3	Laghu Dhrutha	Dhrutham and Laghu	6
4	Lagu Dhrutha Viraama	Anudhrutham,Dhrutham and laghu	7
5	Guru viraama	Anudhrutham and Guru	9
6	Guru Dhrutha	Dhrutham and Guru	10
7	Guru Dhrutha Viraama	Anudhrutham,Dhrutham and Guru	11
8	Plutha Viraama	Anudhrutham and Plutham	13
9	Plutha Dhrutha	Dhrutham and Plutham	14
10	Plutha Dhrutha Viraama	Anudhrutham, Dhrutham and Plutham	16

The Aksharas shown in the last column for the last 9 angas, is in accordance with "chatusra lagu". The total aksharas vary with the other kinds of laghus.
Please Note: Technical name Viraama is also spelled as "Viraamam". Alternate spelling is "Viramam". There are two rhythmical forms in the universe. 1. The rhythmical forms which could be rendered. 2. The rhythmical forms which should not be rendered. This is based on Talaprastara and its rules. For example, Talas like 7 Talas giving rise to 35 and 175 Talas and Simhanandana tala can be rendered. Talas like 72 Melakartha Talas and Sharabhanandana Talas with Samyuktangas should not be rendered.

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Graham and Jaathi of Tala

2007-09-06T19:22:00.000-07:00

Chapter2

5. Graham: The place in a tala where the song begins is called "Graham". This is also known as "Eduppu". Eduppu means "starting Point". Eduppu can be two ways. One is "Samam" and the other is "Vishamam". When a song begins at the first beat of a tala, it is Samam. When song begins either before or after the stroke of tala, it is Vishamam. So, Vishamam can further be classified into two. They are,

(a).Athitham: When the song begins first and that is followed by tala beat later, it is called "Athitha Eduppu".

(b) Anaagatham: When a tala begins first and the song follows it later, it is called "Anaagatha Eduppu".

In a song there can be both Athitham and Anaagatham, where it is called "Usi".

6. Jaathi: Jaathi is used to calculate the Akshara in a tala. "Lagu" part of a tala depends on this Jaathi and its counts (Aksharas) vary according to the Jaathi. There are five jaathis.

1. Chatusram - 4 Akshara Counts

2. Thrisram (also spelled as Trisram) - 3 Akshara Counts

3. Misram - 7 Akshara Counts

4. Khandam (also spelled as Kandam) - 5 Akshara Counts

5. Sankeernam (also spelled as Sankirnam) - 9 Akshara Counts

Please Note: Spellings of the "technical names", for example, "Lagu" and "Laghu", convey the same meaning only. Do not think they are "Mis-Spelt". This explanation applies to all technical terms. There is a difference in a way an article is published in a book and in the web. The different spellings are used to enable all to access the site easily through a network. The interpretation of the technical names or technical terms and the concept explained in this site can easily be understood, if one introspects and explores the subtle nature of the universe. For the correct spellings please refer to the "Glossary of Technical Terms". In the "Glossary" original spellings are furnished. Example: For the term Kaakapaadha, the original spelling is Kākapāda. For Jaathi, the original spelling is Jāti and so on..

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Kalai and Ghathi

2007-09-05T21:25:00.000-07:00

Chapter 3

7. Kalai: Before going to kalai we have to understand "Ghathi" (alternate spellings are Gati, Ghati and Gathi). Ghathi are five. They are Chatusram, Thrisram, Misram, Khandam(also spelled as Kandam) and Sankeernam (also spelled as Sankirnam). Gathi is a sub unit in a tala called "mathras" (also spelled as Matras, Matharas) that forms a particular rhythm or duration of each Akshara. When each Akshara of a lagu and other angas of a tala has only one count of sub unit (for example, thakadhimi), it is called "One Kalai". When the sub unit count doubles for each Akshara of a laghu and other Angas it is "Two Kalai" and so on..... In Tamil it is known as "Oru Kalai" and "Rettai Kalai" respectively. For example, in Adi Tala, One Kalai shows 8 Beats and Two kalai shows 16 Beats.

Akshara is defined as "one main unit of a tala". This one unit can be a beat, turn of hand or waving the hand depending on the Angas of a Tala.

Ghathi is also known as "Nadai". So, Chathusra Nadai has 4 Matharas for each Akshara of a Tala. In the same way, Thrisra Nadai has 3 Mathras, Misra Nadai has 7 Mathras, kanda Nadai has 5 Mathras and Sankeerna Nadai has 9 Mathras for each Akshara respectively. Rendering a tala as per its Angas in full (one complete set or one Cycle) is called "Avarthana" (Alternate spelling are Avarta, Avartana).

For example, Adi Tala is 8 Aksharas. When 8 Aksharas are rendered one time fully, it is 1 Avarthana. If it is rendered twice it is 2 Avarthana and so on....

So, in Adi tala, if it is Chatusra Nadai, the total Mathras in '1 Avarthana' = 8x4=32 Mathras. If it is Thisra Nadai, it is 8x3=24 Mathras and so on....

Please Note: The definition of Akshara and Mathra given above is the one mostly used today. Some school of thought (may be old school of thought) use Akshara as the term in place of Mathra. Still there is a confusion regarding this matter with different schools of thought where, they use Akshara, Mathara, Aksharakala and Amsha interchangeably in different context and situation.

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Layam

2007-09-04T22:31:00.000-07:00

Chapter4

8. Layam: Layam already exists even before tala manifested. So, Layam is primordial in nature. How do we understand this? See this Universe and understand the layam, is the answer. One cannot understand "layam" simply by studying in a University. We have to study in the 'City of this Universe' to understand layam. Explore the subtle nature of this universe beyond our five senses and realize layam. Layam is invisible, yet by visible signs that it shows when it attains material plane, one can appreciate the concept. It is just like atoms giving rise to molecules and molecules giving rise to an object or any material form.

See the Sun Rise and Sun set; See the Sea Waves which are guided by a subtle force that drives them in the universe in a particular rhythm. This rhythmic subtle force is layam. In the same way a subtle rhythmic force that drives and manifests itself into a material form that gives Music is called Layam.

Layam is nothing but a unified dynamic force in a particular rhythm. Here rhythm means Universal rhythm of nature and not merely sound. Any thing that is unified and concentrated to establish equilibrium is known as Layam. For example, we say temple as "Aalayam" (in Tamil). Why? At temple the subtle body (Mind and Atma) concentrates on a particular place. The oneness of mind and atma in that place is Layam here. So, Atma+Layam become "Alayam".

In the same way music has a subtle body that is harmonious in nature. This harmony is needed to produce music. This harmony is layam. So, without layam there is no music. Sruthi is mother, Layam is father and Tala is Guru, without which there is no music.

Tempo or Speed of music is determined by layam. It can be 3 kinds.

1. Chavukka Kaalam or Vilamba Kaalam (Slow)

2. Madhima kaalam (Medium) (Double that of Chavuka kaala).

3. Dhuritha Kaalam (fast) (Double that of Madhima kaala).

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Yathi and Jathi

2007-09-03T23:22:00.000-07:00

Chapter 5

9. Yathi: Music is formed with the help of Swaras (Sa Ri Ga Ma Pa Dha Ni) and in South Indian Percussion Music especially in mridangam, it is formed by specific syllables 'Tha', 'Thi', 'Thom', 'Nam'. These are basic Jathis ("a" in this word is pronounced shorter. This is not "Jaathi"). This forms the basis of all mridangam lessons. Apart from this, there are other syllables which are unique to the mridangam. They are Ta, Ri, Dhin, Thaam, Ka, Ki, Gu etc... The way the Tha, Thi Thom and Nam are used and pronounced in a lesson collectively to form a "word" depends on the style or "Paani" like Tanjore Style, Pudukkottai Style etc..., though the resultant music is almost same. For example "KitaThaka" and "Tharikita" are played in the same manner in many styles. So, some pronounce it as 'KitaThaka' and some pronounce it as 'ThariKita'.

Yathi is nothing but arranging different groups of syllables into a beautiful combination that gives particular shape to music is called "Yathi"(alternate spelling is Yati). Yathi is of six kinds. They are, Samayathi, Vishama Yathi, Mridanga Yathi, Veda Madhyama Yathi, Gopucha Yathi, Srothovaka Yathi.

1. Sama Yathi: When all the syllables are equal in number for each Akshara as its ghathi, then it is called Sama Yathi. For Example, in Chatusra Jaathi Triputai Tala (Adi tala) with Chatusra Ghathi, 8 Aksharas are there and for each Akshara sub units 4 Matharas (Tha Ka Thi Mi) are equally implemented, it is Sama Yathi. In case of Thisra Ghathi, 3 Matharas (Tha Ki Ta) are equally implemented for each Akshara and so on with all the ghatis.

2. Vishama Yathi: The syllables are arranged in a jumbled way with ones imagination and the outcome can be in any shape is called Vishama Yathi. But this should be within the tala Sub units. For Example, in Adi tala with Chatusra ghathi, the total Sub units (matharas) are 32. So, the combination may be 5+4+7+9+3+4 or in any other combination but note that Chatusra ghathi is once more repeated to form 32 matharas.

3. Mridanga Yathi: The Syllable are arranged in such a way that it takes the shape of Mridangam. This is called Mridanga Yathi. The combination will have to be 4, 5, 7, 7, 5, 4.

4. Veda Madhyama Yathi: The syllables are arranged in such a manner that it is broad at both sides and tapers at the center like "Udukkai" or Damaru is called Veda Madhyama Yathi. The syllables are 7, 5, 4, 4, 5, 7.

5. Gopucha Yathi (alternate spelling Gopucchayati): The syllables are arranged similar to Cows Tail, which is broad at the beginning (from top) and gradually tapering to the bottom. This is called Gopucha Yathi.

6. Srothovaka Yathi (alternate spelling Srotovahayati): The syllables are arranged in such a manner that it resembles the flow of river (river origin and its broad course). So it is short at the begining and gradually becomes broad (Opposite to Gopucha yathi) at the end. This is called Srothovaka Yathi.

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Prasthaaram

2007-09-02T04:44:00.000-07:00

Chapter6

10. Prasthaaram: Prasthaaram(also spelled as Prastara) is calculation of groups of tala syllables in different angles for the purpose of easy tabulation. Prastara means 'Permutation'. The permutation of finite and infinite kinds of Swara or Tala is known as "Prastara". With the help of Prastara one can determine the structure and serial number of a phrase or tala. There are ten kinds of Prasthaaram.

1. Nashtam: Group of Syllables form a "word". For example, "Thakathimi" is a group of syllables. Finding out how many such groups have occurred in that series of Avarthanas is called Nashta Prasthaaram.

2.Uthishtam: Finding out (in the same series above) the rank of the particular group of syllables is called Uithishtam. That is finding the ordinal of the particular group including repetition of the particular group in a series of Avarthna is Uthishta.

3. Paathaalam: Finding out how many times the shortest group of syllables has occurred is called Paathaala Prasthaaram.

4. Drutha Meru: Finding out how many times Dhrutham has occurred is called Dhrutha Meru.

5. Lagu Meru: Finding out how many times Lagu has occurred is called Lagu Meru.

6. Guru Meru: Finding out how many times Guru has occurred is called Guru Meru.

7. Plutha Meru: Finding out how many times Plutham has occurred is called Plutha Meru.

8. Samyoga Meru: Finding out how many Angas of equal number of syllables have come in a prasthaaram is called Samyoga Meru.

9. Kanta Prasthaaram: Interchanging the order of angas (without affecting its structure) while keeping the same sub units (matharas) and Aksharas within the series of Avarthanas is called Kanda Prasthaaram.

10. Yathi Prasthaaram: Calculation of such symmetrical phrases of Tala Syllables mentioned in the heading "Yathi" is Yathi Prasthaaram.

Please Note: The explanation of the 10th element of Tala dasa Pranas "Prastara" in this page (explained above) is given in simple terms without incorporating deep technical aspects of it. Definitely, "Prastara" and its interpretation will be updated to the best level in detail in course of time.

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5 Pranas of Mridangam

2007-09-01T05:40:00.000-07:00

We have already seen that Pranas are Dynamic subtle force of nature inherent in the universe in all aspects. Mridangam is no exception and the beauty of mridangam music depends on this prana. While playing mridangam one has to keep in mind the nuances of the music to produce proper "Naatham". This is Prana of music. There are five pranas of mridangam.
1. Nandhakosham}
2. Naadhakosham}
Both Nandhakosham and Naadhakosham imply
that one has to play mridangam in clear and expressive way that is equal to swaras.
3. Sukosham: Playing mridangam in a very sweet and soft way that is equal to swaras is Sukosham.
4. Thaalam (Tala): Playing mridangam with Layam is Thaalam.
5. Thaanam: Playing mridangam with Proper sruthi (pitch) is Thaanam.

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Saptha Tala 35 Tala 175 Tala Chaapu Talas

2007-08-31T07:02:00.000-07:00

Sapta Tala of Carnatic Music

Sapta means 7. So, Sapta tala means 7 talas. In carnatic Music we know there are basically 7 Swaras (Sapta Swaras). In the same way, basic talas are 7. They are,

1. Dhruva Tala

2. Matya Tala

3. Rupaka Tala

4. Jampa Tala

5. Triputa Tala

6. Ata Tala

7. Eka Tala

7 Tala Chart

Tala	Angam
Dhruvam	lOll
Matyam	lOl
Rupakam	Ol
Jampa	lUO
Thriputa	lOO
Ata	llOO
Eka	l

35 Talas

All the 7 Talas mentioned above cannot exist independently without Jaathis. We have already seen that Jaathi and Tala are inseparable. So, for each of the above 7 talas, 5 Jaathis will be there. For example, take Dhruva Tala. In this, Chathusra Jaathi Dhruva Tala, Thisra Jaathi Dhruva Tala and so on up to Sankeerna Jaathi Dhruva tala will be there. So, in Dhruva Tala, 5 Jaathis of Dhruva Tala are there. So, for 7 talas, it becomes 7 x 5 =35 talas.

Note: Chathusra Jaathi Thriputa Tala is one of the 35 talas which is known as "Adi Tala". In other words, the technical name of Adi Tala is "Chatusra Jaathi Thriputa Tala". The Rupaka Tala (chatusra jaathi Rupaka) of 6 Aksharams are shown as 3 Aksharams with 1 Anudhrutham and 1Dhrutham. At the same time Thisra Eka Tala, the so called Rupaka Tala, also shows 3 Aksharas. Anyways, these "Rupaka Talas" in vogue today may be considered as separate and different from the one mentioned in the table.

175 Talas

We have already seen that there cannot be a tala without Ghathi (nadai). Each of the above 35 talas has 5 nadais (read the heading "Ghathi" and "Yathi"). So, it becomes 35 x 5 =175 Talas.

35 Tala Chart

T A L A	D h r u v a m	M a t y a m	R u p a k a m	J a m p a	T h r i p u t a i	A t a	E k a
Angam--->	lOll	lOl	Ol	lUO	lOO	llOO	l
Chatusram	14	10	6	7	8	12	4
Thisram	11	8	5	6	7	10	3
Misram	23	16	9	10	11	18	7
Kandam	17	12	7	8	9	14	5
Sankeernam	29	20	11	12	13	22	9

How to read this chart? In this chart, the Jaathis from chathusram to Sankeernam is shown with the corresponding tala in terms of total Aksharas. For example, Chathusra Jaathi Dhruva Tala is 14 Aksharas and Thisra Jaathi Matya Tala is 8 Aksharas.
How to calculate the total Aksharas for a Tala? Chathusra Jaathi Dhruva Tala is 14 Aksharas and it is arrived at with the help of "Angam" shown in the chart. Dhruva Tala Angam is 1011 (see the chart). l=Lagu and O=Dhrutham. Dhrutham is 2 Akshara counts (Fixed). The lagu part will vary according to Jaathi. Chathusra Jaathi means 4 Akshara counts. There are 3 Lagus in Dhruva Tala. So, it is 3x4=12. So, 3 Lagus+1Dhrutham make (12+2) 14 Aksharas.

Chaapu Talas

Chaapu Tala (also spelled as Chapu Tala) is a way of showing the tala by beats alone without showing the "Angam" of a Tala. Chaapu Talas are seperately used and are not included in 35 Talas. Chaapu Tala shows the main time measurement by beats. There are 5 Talas that are in use as Chaapu tala. They are,

1. Thisra Chaapu Tala - It is 3 (1+2) - Tha Ki Ta - 1 ½ AksharasKalas. It is actually 3 kriyas.

2. Chathusra Chaapu Tala - Ratio is 2:2 (2+2)- Tha Ka Dhi Mi.

3. Kanda Chaapu Tala - Ratio is 2:3 ( 2+3) - Tha Ka Tha Ki Ta - 2 ½ AksharaKalas. It is actually 5 Kriyas

4. Misra Chaapu Tala - Ratio is 3:2:2 (3+4) - Tha Ki Ta Tha Ka dhi Mi - 3 ½ AksharaKalas. It is actually 7 Kriyas.

5. Sankeerna Chaapu Tala - Ratio is 2:2:2:3 (4+5) - Tha Ka Dhi Mi Tha Ka Tha Ki Ta - 4 ½ AksharaKalas. It is actually 9 Kriyas.

The Aksharakalas mentioned for each chaapu tala is for common understanding and usage. Technically, it is denoted in number of kriyas.

Note: Chatusra Chaapu Tala is obsolete in Carnatic Music Applications and this tala is used in Bajans for the purpose of showing the beats with sound similar to clapping the hands.

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72 Melakartha Talas

2007-08-30T10:39:00.000-07:00

72 Melakartha Tala Chart

S.No	Name of Tala	Angas	Aksharas
1	Kanakaangi	1Anudhrutha,1Dhrutha, 1Guru,1Laghu	15
2	Rathnaangi	1Guru, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu	20
3	Ganamurthi	1Laghu, 2Anudhruthas, 1Laghu, 1Dhrutha Sekara Viraamam, 1Guru, 1Anudhrutha	22
4	Vanaspathi	1Laghu, 2Anudhruthas, 1Guru, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	22
5	Maanavathi	1Laghu, 1Dhrutha Sekara Viraamam, 1 Anudhrutha, 1Laghu, 1Anudhrutha, 1 Laghu, 1Dhrutha Sekara Viraamam	20
6	Dhanarupi	1Guru, 1Anudhrutha, 1Laghu, 1Dhritha	15
7	Senaavathi	1Gurus, 1Dhrutha Sekara Viraamam, 1Dhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	25
8	Hanumathodi	1Guru, 2Anudhruthas, 1Laghu, 1Dhrutha, 1Pluta, 1Dhrutha, 1Laghu	34
9	Dhenuka	1Pluta, 2Anudhruthas, 1Dhrutha	16
10	Natakapriya	3Dhruthas, 1Laghu, 1Dhrutha	12
11	Kokilapriya	1Guru, 1Anudhrutha, 1Dhrutha, 2Laghus, 1 Dhrutha	21
12	Rupaavathi	1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	19
13	Gayakapriya	1Laghu, 1Anudhrutha, 2Dhruthas, 1Laghu, 1Dhrutha	15
14	Vagula bharanam	1Laghu, 1Anudhrutha, 2Dhruthas, 1Laghu, 1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Guru, 1Dhrutha Sekara Viraamam	28
15	Maya malava goulam	1Laghu, 2Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha Sekara Viraamam, 1Anudhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Anudhrutha	31
16	Chakravaham	1Laghu, 1Dhrutha Sekara Viraamam, 2Laghus, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	24
17	Suryakantham	1Guru, 1Dhrutha Sekara Viraamam, 1Dhrutha, 1Guru, 1Pluta	33
18	Haata kambari	1Guru, 2Dhruthas, 1Guru, 1Laghu, 1Dhrutha Sekara Viraamam	27
19	Jankaradh wani	1Pluta, 3Dhrutha Sekara Viraamams, 1Pluta, 1Dhrutha, 1Anudhrutha	36
20	Nata bhairavi	1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Laghu, 2Dhrutha Sekara Viraamams, 1Laghu, 1Anudhrutha	19
21	Keeravani	2Dhrutha Sekara Viraamams, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha	18
22	Karahara priya	2Dhrutha Sekara Viraamams, 1Guru, 1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha	24
23	Gowri manohari	1Laghu, 1Dhrutha Sekara Viraamam, 2Laghus, 1Dhrutha, 2Gurus, 1Anudhrutha, 1Dhrutha Sekara Viraamam	37
24	Varuna priya	1Laghu, 1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha	20
25	Maara ranjani	1Laghu, 2Dhrutha Sekara Viraamams, 2Gurus, 2Anudhruthas	28
26	Charukesi	1Guru,1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha	22
27	Sarasaangi	1Guru, 1Dhrutha Sekara Viraamam, 1Pluta, 1Dhrutha, 1Laghu	29
28	Harikamboji	1Guru, 1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Guru, 1Pluta, 1Guru, 1Anudhrutha	41
29	Dheera sankara bharanam	1Guru, 2Dhrutha Sekara viramams, 1Guru, 1Dhrutha Sekara Viraamam, 1Dhrutha, 2Laghus, 1Anudhrutha, 1Dhrutha Sekara Viraamam, 1Guru, 1Dhrutha Sekara Viraamam	50
30	Nagaa nandhini	1Dhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha, 1Guru, 2Anudhruthas	23
31	Yagapriya	1Dhrutha Sekara Viraamam, 2Laghus, 1Dhrutha	13
32	Raga vardhini	3Laghus, 1Anudhrutha, 1Guru, 1Dhrutha, 1Anudhrutha	24
33	Gangeya bhushani	1Guru, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Dhrutha, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha	38
34	Vaga dheeshwari	1Laghu, 1Dhrutha, 1Laghu, 1Guru, 1Dhrutha Sekara Viraamam, 1Guru, Dhrutha, 1Dhrutha Sekara Viraamam	34
35	Soolini	1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha	12
36	ChalaNaata	1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 2Dhruthas	15
37	Chalagam	1Guru, 1Anudhrutha, 1Laghu, 1Guru, 1Anudhrutha	22
38	Jalaarnavam	1Guru, 1Anudhrutha, 1Laghu, 1Anudhrutha, 2Gurus, 1Dhrutha	32
39	Jaalavarali	1Guru, 1Dhrutha Sekara Viraamam, 2Laghus, 1Anudhrutha, 1Laghu, 1Anudhrutha	25
40	Navaneetham	1Anudhrutha, 1Laghu, 1Anudhrutha, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	15
41	Paavani	1Dhrutha Sekara Viraamam, 1Laghu, 2Anudhruthas	9
42	Raghupriya	1Dhrutha Sekara Viraamam, 1Laghu, Anudhrutha, 1Laghu, 1Dhrutha	14
43	Kavaambothi	1Laghu, 1Guru, 1Dhrutha Sekara Viraamam, 1Pluta, 1Guru, 1 Anudhrutha	36
44	Bhavapriya	1Laghu, 1Anudhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha	16
45	Subha panthuvarali	1Laghu, 1Dhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha, 1Laghu, 1 Anudhrutha	35
46	Shadvitha maargini	1Guru, 1Dhrutha, 1Laghu, 1Anudhrutha, 1Guru, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha	44
47	Swarnaangi	1Guru, 1Laghu, 1Dhrutha, 1Pluta, 1Dhrutha, 1Laghu	32
48	Divyamani	1Guru, 1Anudhrutha, 1Laghu, 1Dhrutha,1Laghu, 1Dhrutha,1Laghu, 1Dhrutha	27
49	Davalaambari	1Guru,1Anudhrutha, 1Laghu,1Anudhrutha, 1Laghu,1Dhrutha Sekara Viraamam,1Laghu, 1Dhrutha Sekara Viraamam	28
50	Naama narayani	1Dhrutha,1Laghu, 2Dhruthas,1Laghu, 1Dhrutha,1Laghu, 1Dhrutha	22
51	Kaamavartha	1Dhrutha Sekara Viraamam,1Laghu, 1Dhrutha,1Laghu, 1Anudhrutha,1Pluta, 1Anudhrutha	27
52	Raamapriya	2-aghus,1Dhrutha, 1Laghu,1Dhrutha	16
53	Gamanapriya	2Laghus,1Dhrutha, 1Anudhrutha, 1Laghu,1Dhrutha	17
54	Viswambari	1Laghu,1Anudhrutha, 1Pluta,1Dhrutha Sekara Viraamam, 1Laghu,1Dhrutha Sekara Viraamam	27
55	Syamalangi	1Guru,1Laghu, 1Dhrutha,1Laghu, 1Dhrutha Sekara Viraamam,1Laghu	25
56	Shanmukha priya	1Pluta,1Laghu,1Dhrutha, 1Dhrutha Sekara Viraamam,1Laghu, 1Dhrutha	27
57	Simhendra madhyamam	1-Guru,1-Kakapada,1-Laghu,1-Dhrutha,1- Guru,1-Dhrutha Sekara Viraamam,1- Laghu,1Dhrutha,1Guru,1-Dhrutha Sekara Viraamam, 1Guru, 1Dhrutha Sekara Viraamam	69
58	Hemaavathi	1Pluta, 1Laghu, 1Dhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	30
59	Dharmavathi	1Pluta, 1Laghu, 1Dhrutha, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	30
60	Neethimathi	1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	22
61	Kaanthamani	2Gurus, 1laghu, 1Dhrutha, 1Laghu, 1Dhrutha	28
62	Rishabhapriya	1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha, 1Laghu, 1Dhrutha	21
63	Lathaangi	1Laghu, 1Pluta, 1Anudhrutha, 1Laghu	21
64	Vachaspathi	1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha Sekarar Viraamam, 1Guru, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam	29
65	MechaKalyani	1Guru, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Dhrutha, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha	30
66	Chithraambari	1Laghu, 1Dhrutha Sekara Viraamam, 1Pluta, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha Sekara Viraamam	29
67	Sucharithra	1Guru, 1Laghu, 2Dhrutha Sekara Viraamams, 1Guru, 1Anudhrutha	27
68	Jyothi swarupini	1Kakapada, 1Anudhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Pluta, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha	48
69	Dathuvardhani	1Guru, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Anudhrutha, 1Pluta, 1Anudhrutha	36
70	Naasikha bhushani	1Dhrutha, 1Guru, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha	32
71	Kosalam	1Guru, 1Anudhrutha, 2Gurus, 1Anudhruthas	26
72	Rasikapriya	1Dhrutha Sekara Viraamam, 1Guru, 1Dhrutha Sekara Viraamam, 1Laghu, 1Dhrutha	20

The 72 Melakartha Talas are just shown for the purpose of demonstration. According to the rules of Talaprastara, it is said that, these rhythmical forms should not be rendered at all as talas
.Please Note: Spellings of the "technical names", for example, "Anudhrutha" and "Anudhrutham" convey the same meaning only. Do not think they are "Mis-Spelt". This explanation applies to all technical terms. There is a difference in a way an article is published in a book and in the web. The different spellings are used to enable all to access the site easily through a network. The interpretation of the technical names or technical terms and the concept explained in this site can easily be understood, if one introspects and explores the subtle nature of the universe. For the correct spellings please refer to the "Glossary of Technical Terms. In the "Glossary" the original spellings are furnished. Example: For the term Kaakapaadha, the original spelling is Kākapāda. For the term Jaathi the original spelling is Jāti and so on...

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Scientific Quest For Perfect Mridangam

2007-08-29T04:18:00.000-07:00

A research by scientists and percussionists to standardise materials, methods of making mridangam.
The scientific quest for perfect mridangam was spurred by veteran mridangam exponent Umayalpuram K. Sivaraman, who sought to know whether it was possible to engineer a travel-friendly mridangam instrument that can be dismantled and reassembled later that would maintain the perfect "sruthi" in any hall ambience.
Delivering the Prof. Y.Nayudamma Memorial Lecture on 'Science in Music' at the Central Leather Research Institute (CLRI) recently, T. Ramasami, Secretary, Department of Science and technology (DST), said the collaborative project that fused art and science sought to explain the correlation between the chemistry of components used to make the mridangam and the musical outcome.
According to Dr. Ramasami, the mridangam project draws a parallel with scientific investigations in the West to unravel the mystique shrouding Violin. The similarities between the mridangam and the violin that had been accepted into the Carnatic ensemble included the complex composition of materials and closely guarded familial know-how involved. He pointed out that even after decades of research... scientists were unable to explain the correlation between composition of materials and methods of making violin and mridangam with the musical outcome.
Most of the artisans involved in making the instrument aim only at making money, severely affecting the quality of the instrument that is produced which has an adverse impact on the musical outcome. No doubt, there may be one artisan who would do his job fine, but one has to search for them like a task of finding a needle in sea. This is my opinion out of my (Sanatorium Sriram Venkataraman) own experience as a mridangist.
So, the quest for scientific methods of making the instrument is all the need of the hour as rightly initiated by mridangist Umayalpuram K. Sivaraman. There is so much Chemistry Physics and Mathematics awaiting the investigation of scientists. For example, the mridangam project involves investigating the musical impact of the materials such as Goatskin parchments, minerals such as Oxides of Manganese, Magnesium and Titanium and an array of adhesives.
Dr. Ramasami called for restoring the soul and passion in science that was increasingly getting straitjacketed as a "system-driven pursuit". A fusion of art and science could bring back the passion for original research. He said, "apart from bringing together artists and scientists, the mridangam project was important in ensuring the presence of the mridangam for posterity, as families of artisans engaged in making the instruments were a vanishing clan".

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Glossary Of Technical Terms

2007-08-28T20:32:00.000-07:00

Adhaḥsthita-naṣṭa : Naṣṭa of lower permutation from the 'Middle Number'
Adhaḥsthita-prastāra : Lower Permutation from the "middle Number'
Adhaḥsthita-uddiṣṭa : Uddiṣṭa of the lower permutation from the 'Middle Number'.
Adhikāṅga-saṅkhya : Total number of proxies which have orignated from the superior aṅgas
Adhō-pātāḷa : Synonym of Mahāpātāḷa
Akhaṇda-prastāra : General Permutation
Anāgata : Division of element Graha
Aṅga : The 4th element of Tāḷa
Antya : Preceding 1st figure
Anudruta : division of the element Aṅga
Anudruta-mēru : Table consisting of full details of Anudruta
Anudrutānta-prastāra : Permutation ending with Anudruta in the right extreme
Anulōma-naṣṭa : Naṣṭa of obverse permutation
Anulōma-prastāra : Permutation ending with the Anudruta in the right extreme
Anulōma-uddiṣṭa : Uddiṣṭa of the obverse permutation
Apatita : The un-deducted proxy
Aticitratama : Division of element Mārga
Atīta : Division of element Graha
Āvāpa : Division of element Kriya

Caturaṅga-prastāra : Quadrivalent-permutation
Caturaśra-jāti : Jāti of 4 Units
Caturlagu : Synonym of Kākapāda
Caturmātra : Synonym of Kākapāda
Catuṣkaḷa : Division of element Kaḷa
Citra : Division of element Mārga
Citratama : Division of element Mārga
Citratara : Division of element Mārga

Dakṣiṇa : Division of element Mārga
Dēśi-tāḷas : Tāḷas other than Mārga-tāḷas
Dēśya-kriyas : Division of element Kriya
Dēśya-śuddha-saṅkīrṇa: Jāti of 16 units
Dhruva : Division of element Kriya
Dhruvaka : Division of element Kriya
Divya-saṅkīrṇa : Jāti of 5 units
Druta : Division of elements Aṅga and Laya
Druta-mēru : Table consisting the full details of Druta
Drutānta-prastāra : Permutation ending with Druta in the right extreme
Dvi-Kaḷa : Division of the element Kaḷa

Ēka-Kaḷa : Division of the element Kaḷa

Gōpuccha : Division of the element Yati
Graha : The 5th element of Taḷa
Guru : Division of the element Aṅga
Guru-mēru : Table consisting the full details of Guru
Guruvanta-prastāra : zpermutation ending with Guru in the right extreme

Hīna-prastāra : Permutation devoid of a particular Aṅga

Jāti : 6th element of Taḷa

Kākapāda : Division of element Aṅga
Kākapāda-mēru : Table consisting of fuul details of Kākapāda
Kākapāda-prastāra : The permutation ending with Kākapāda in the right extreme
Kāla : The 1st element of Tāḷa
Kaḷa : The 7 the element of Tāḷa
Kalita : Easy method to obtain the full details of all the different Aṅgas upto the required permutation
Khaṇḍa-jāti : Jāti of 5 units
Khaṇḍa-prastāra : Divisional Permutation
Kharjūrika : Division of element Yati
Kriṣṇa : Division of element Kriya
Kriya : The 3rd element of Taḷa

Laghu : Division of the element Aṅga
Laghu-mēru : Table consisting the full details of Laghu
Laghvanta-prastāra : Permutation ending with Laghu in the right extreme
Laya: The 8th element of Taḷa

Madhya : Division of element Laya
Madhyarūpa : 'Middle number' of the pertumations
Madhyarūpa-adhaḥsthita-naṣṭa : Naṣṭa of the lower permutation from the 'Middle number'
Madhyarūpa-adhaḥsthita-uddiṣṭa : Uddiṣṭa of the lower permutation from the 'Middle number'
Madhyarūpa-uparisthita-naṣṭa : Naṣṭa of upper permutation from the 'Middle number'
Madhyarūpa-uparisthita-uddiṣṭa : Uddiṣṭa of upper permutation from the 'Middle number'
Mahāpātāḷa : Total Number of all the aṅgas occur in the process of permutation
Mārga : The 2nd element of Tāḷa
Mārga-kriyas : Division of the element Kriya
Mārga-Tāḷas : 1.Caccatpuṭ a-SSIŚ 2.Cācatpuṭa-SSIS 3.ṣatpiṭāputraka-SISSIŚ 4.Saṁpakvēṣtāka-ŚISSIŚ 5.Udghaṭṭa-SSS
Mēru : Division of element Kaḷa
Miśra-jāti : Jāti of 7 units
Miśra-dēsya-saṅkīrṇa : Jāti of 12units
Miśramāṅga-prastāra : Synonym of Saṁyuktāṅga-prastāra
Miśra-saṅkīrṇa : Jāti of 8 units
Miśratāṅga-prastāra : Synonym of Saṁyuktāṅga-prastāra
Mṛdaṅga : Division of element Yati
mŗdangam : Actual spelling of the mridangam instrument

Naṣṭa : Easy method to obtain the rhythmical form with the help of its serial number
Nija-prastāra : Synonym of General permutation
Nimēṣa : Division of the element Kāla
Niṣkrāma : Division of the element of Kriya
Niḥśabda-kriyas : Division of element Kriya

Ōja : Odd
Padmini : Division of the element Kriya
Pancāṅga-prastāra : Pentavalent-permutation
Patāka : Division of the element Kriya
Pātāḷa : Total number of the least Aṅgas occur in the process of permutation
Patita : Division of element Kriya
Pipīlika : Division of element Yathi
Pluta : Division of the element Aṅga
Pluta-Mēru : Table consisting of full details of Pluta
Plutānta-prastāra : Permutation ending with Pluta in the right extreme
Prastāra : 1. The 10th element of Tāḷa 2.Permutation
Pravēśa : Division of the element Kriya
Proxy : The serial number of a specified preceding house (Pratinidhi)

Ṣaḍṅga-prastāra : Hexvalent Permutation
Sama : Division of elements Graha and Yati
Samudāyāṅga-prastāra : name given by Taccūr Siṅgaracārya Bros., to their presumed Saṁyoga-mēru
Śaṁya : Division of the element Kriya
Saṁyoga-mēru : Table consisting of full details of different combinations of Aṅgas
Saṁyuktāṅga-prastāra : Synaptic-permutations
Saṅkhya : The total number of permutations
Saṅkīrṅa-jāti : Jāti of 9 units
Sannipāta : Division of the element Kriya
Sarpiṇi : Division of the element Kriya
Sarva-pātaḷa : Synonym of Mahāpātāḷa
Sarva-prastāra : Synonym of General-permutation
SaŚabda-Kriyas : Division of the element Kriya
Ṣōḍaśāṅga-prastāra : One of the results of Saṁyuktāṅga-prastāra. Some say it is an incorrect name of Saṁyuktāṅga-prastāra
Śrōtōvaha : Division of the element Yati

Tāḷa : 1.Rhythmical form 2.Division of the element Kriya
Tāḷāṅgas : Limbs of Tāḷa
Trisra-jāti : Jāti of 3 units
Turīya/Turya : Preceding 4th house

Uddiṣṭa : Easy method to obtain the serial number with the help of rhythmical form
Upāntya : Preceding 2nd house
Uparisthita-naṣṭa : Naṣṭa of the upper permutation
Uparisthita-prastāra : Upper Permutation
Uparisthita-uddiṣṭa : Uddiṣṭa of the upper permutation

Vārtika : Division of the element Māga
Vēdamadhyama : Division of the element Yati
Viksēpa : Division of the element Kriya
Vikṣipta : Division of the element Kriya
Vilambita : Division of the element Laya
Vilōma-naṣṭa : Naṣṭa of the reverse permutation
Vilōma-prastāra : Reverse permutation
Vilōma-uddiṣṭa : Uddiṣṭa of the reverse permutation
Viparīta-prastāra : Synonym of Vilōma-prastāra
Virāma : Synonym of Anudruta
Viṣama : Division of the elements Graha and Yati
Visarjita : Division of element Kriya. The proxy to be left-off

Yathākṣara : Division of the element Kaḷa
Yati : 9th element of Tāḷa
Yavamadhya : Division of the element Yathi
Yugma : Even
Yukta-prastāra : Permutation containing a particular Aṅga

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2007-08-19T01:39:00.000-07:00

MRIDANGAM CLASSES

Mridangam is both an art and science. The musical sound produced by using proper fingering techniques is itself a science. In other words it is a science of art. Fingering techniques are very much defined to produce desired sound which is called "Nadham". The nuances of this science must be applied practically to give a musical effect which is called "Art".

In the same way, the way the mridangam is to be tuned is the first important art and science, as all our efforts of playing the instrument successfully depends on it. If it is not tuned correctly, even a maestro would not produce the desired effect of musical sound. So, one must ensure that the "Black Patch" ("sadham" in Tamil) is applied properly by a mridangam artisan and the straps to be tightened. Then it must be tuned to the desired "Sruthi" (Pitch). One needs experience of several years to master tuning by trial and error method till one attains proficiency in tuning mridangam with ease.

The theory part explained in the web side must be applied practically by learning this art from a "Guru". There is a difference between a Teacher and a Guru".

If you are really interested in learning mridangam, I would recommend generally learning it directly from a "Guru" (Maestro).

Distant form of learning like email, online, DVDs etc... are not at all recommended. After attaining proficiency at high level (after several years of direct training), learning some advanced lessons alone like advanced "Korvais", "Aruthis" etc... seems to be fine.

Since 1993, at my place, I have been training my disciples to perform in a professional way established as "LAYAVIDHYAMANDHIR" at Chennai, India. Right from beginning level to a professional level one can learn this art in detail at this place. I am a disciple of great musician Shri. T.V.Gopalakrishnan, who is a multi faceted personality having in-depth knowledge in Music. My Guru tradition is as follows. My gurus are (Three maestros):

1. Palakadu Shri. Hariharan's Gopalakrishnan

2. Layavadhya Siromani Shri. T.V. Balu

3. Sangeetha Samrat Dr. Prof. Shri. T.V. Gopalakrishnan

Mridangam art must be learnt with dedication from heart, That is why it is called "art".

If you want to learn this art, please go to "contact" page on top menu and send your message to me and get further the details.

Special Paste for mridangam can be used instead of Rava or wheat flour

2007-08-15T22:40:00.000-07:00

Special Paste for Mridangam "Thoppi" is available with us that produces excellent bass effect. No trouble of carrying Rava, Wheat flour or Semolina powder and mixing it with water!!!
There is a special Paste/Gum available with us. Please feel free to contact us for mridangam Paste/Gum that maintain its viscosity and does not change its form even after applying on mridangam "thoppi" and left open in air.
The paste is soft and gentle. It is white in colour. It is non-toxic and absolutely safe. This special paste is user friendly for mridangists that gives excellent bass effect and easy playing with "Gamaka effect". Applying the paste is easy. One can apply, add or remove it with ease and store it for future use also. This paste is available with the Mridangam Maestro Sriram Venkataraman. For any query regarding Special Paste/Gum send a mail to the mridangam maestro by clicking the "Send Us Mail " icon link below or go to top menu and contact.

About me

2007-08-14T23:29:00.000-07:00

Disciple of Vedhathri Maharishi,
World Community Service Center and
My Mridangam Gurus Palghat HariHara Iyer's Shri.Gopalakrishnan,
Layavadhya Siromani Shri.T.V.Balu, Sangeetha Samrat Shri.T.V.Gopalakrishnan(TVG)