Thalam
Ta-Ki-Ta, Ta-Ka-Di-Mi
Ta-Ka, Ta-Ki-Ta

No baby talk this!!!

These are syllables describing rhythms. The Carnatic music system has evolved a complicated rhythmic structure which involves the usage of permutations and combinations. The thala system is a "mathemusician's" dream come true, where he can endlessly dapple with rhythmic combinations. Its a fascinating area in Carnatic Music. Feel the pulse. Get into the rhythm. Let the thalas tell you their tales.

Importance of Rhythm

"Sruthi Mata, Laya Pita" is an oft quoted maxim which means Sruthi the basic pitch and rhythm are the parents of good music. Rhythm is important to give any kind of music a balance. Laya is a word which encompasses all aspects of rhythm while Thala is a system evolved to measure laya.

Carnatic Music has evolved a very complicated Thala system. There are 7 basic thalas which are divided and further sub divided to give raise to a total of 175 thalas.

In Carnatic Music every composition is set to a particular Thala. The pace in which the composition should be sung is also indicated. The percussion instrument Mridangam is an indispensable accompaniment in every Carnatic Music concert.

A good grip on laya is very essential for Carnatic Musicians- considering the fact that rhythm is thought of as "father" of good music

Laya in Carnatic Music

Laya is derived from the root lai meaning to move. Laya means movement.

In music, laya is rhythm while thala is time measure. Laya has a much wider range of meaning than thala. Laya is movement and Thala is the measure for gauging the tempo of this movement.

The variations in tempo constitute the variations in laya. The classification of laya (movement) is three fold-based. There is movement in the slower range of speed, medium range of speed and the faster range.

The word thala comes from the fusion of the words tandava and lasya. Tandava is the dance of Shiva (the cosmic male force) and Lasya the dance of Shakti (the cosmic female force). Suggesting that a thala should have the characteristics of two kinds of rhythm- one aggressive and the other tender. Hence a thala is an amalgamation of masculine energy and feminine grace.

Types of Thalas with structure

The thala system (system of rhythmic cycles) though very complex is worked out mathematically making it easy to understand.

There are seven basic types of thalas. A thala is performed with the right hand and on the right thigh. Each thala is made up of one or more of three "Angas" or components.

They are as follows:

1. The Laghu, which is a clap(palm facing downwards) and finger counts

2. the Drutam, which consists of a clap (palm facing downwards) and a wave (palm facing upwards), and

3. the Anudrutam, which is just a clap (palm facing downwards)

The components are indicated by the following symbol

Laghu |

Drutam 0

Anudrutam U

The seven basic Thalas are as follows

1. Dhruva |0|| one laghu, one drutam and two laghus

2. Matya |0| one laghu, one drutam and one laghu

3. Rupaka 0| one drutam and one laghu

4. Jampa |U0 one laghu, one anudrutam and one drutam

5. Triputa |00 one laghu and two drutams

6. Ata ||00 two laghus and two drutams

7. Eka | one laghu

Lets see how the seven asic thalas become thirty five thalas.

The laghu can be of five "jatis" or types.

1. Tisra (3) Laghu - i.e laghu with one clap and two finger counts

2. Chatusra (4) laghu - i.e laghu with one clap and three finger counts

3. Kandam (5) laghu - laghu with one clap and four finger counts

4. Misram (7) laghu- i.e laghu with one clap and six finger counts.

5. Sankirnam (9) laghu - i.e laghu with one clap and eight finger counts.

Each thala can be varied in five different ways by varying the type of laghu. For example you can gave Tisra jati Dhruva thala, Chatusra jati Dhruva thala, Kanda Jati Dhruva thala, Misra jati Dhruva thala and Sankirna Jati Dhruva thala.

Likewise all seven thalas can be varied on the laghu thus giving rise to a total of 7x5= 35 thalas.

In addition the laghu can be varied on speed also. By varying the speed a total of 175 thalas can be obtained. Let us see how.

The laghu can be of five "gatis" or speeds

1. Tisra -three : denoted by the syllables Ta-Ki-Ta

2. Chatusra - four : denoted by the syllables Ta-Ka-Di-Mi

3. Kanda- five: denoted by the syllables Ta-Ka-Ta-Ki-Ta

4. Misra -seven: denoted by the syllables Ta-Ka-Di-Mi Ta-Ki-Ta

5. Sankirna - nine: denoted by the syllables Ta-Ka-Di-Mi Ta-Ka Ta-Ki-Ta.

Each of the above mentioned thirty five thalas can be varied in five different ways on the basis of speed. For instance you can have Kanda jati Matya thalam in Misra gati and so on.

So the seven basic thalas when varied by the five types of laghu give rise to thirty five thalas which when again varied by the five kinds of laghu speed give rise to 175 thalas.

Hence we have a total of 7 x 5 jatis x 5 gatis = 175 thalas in all.

Thani Avartanam A Solo play

In a Carnatic music concert a percussion accompaniment is indispensable. The Mridangam is the standard percussion instrument. A Ghatam, Kanjira or a morsing is only employed as a secondary instrument. You will never attend a music concert which does not have a Mridangam accompanist. Towards the end of the concert, a separate time is allocated for a thani or solo play (thani- literally meaning alone). Earlier when concert durations were much longer even two such allotments were given for the solo or thani. When there is an ensemble of three of four percussion instruments, the mridangist takes the lead. Then each instrument is played in the order of importance- viz. the Ghatam followed by Kanjira and finally the Morsing. Each instrument is played one by one- each contributing to the development of the rhythmic theme. The theme is gradually developed and then tapered uniformly. At the end the instruments join together in the finale.