Easy Muktayistheir utilisation in Svarakalpanaby msakella

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#1 Easy Muktayistheir utilisation in Svarakalpanaby msakella
Easy Muktayis  their utilisation in Svarakalpana:
Generally, many of the musicians, mostly who do not have the required control over Laya and who cannot concentrate over the implications of them, hate the utilization of Muktayis in Svarakalpana. Many of them hate even to have the Mridangamaccompaniment lest they miss the Laya of their Tala. As Mridangam has become an indispensable and main Talavadya of a Karnatakamusicconcert, they are unable to avoid it but always try to transfer the headache of rendering Tala for the Mridangamtani to the Violinaccompanist.
In my vast research on teaching techniques and teaching experience spread over many years, I have found that, in moulding a music student as a professional, Laya plays a very important role and this instills a very highrate of confidence in the student. Even though many may not agree with me I have practically found in my extensive research that heavy regular practice of the different Laya exercises, Jatimuktayis and Svaramuktayis shape the aspirant as a professional. That is why I am always interested in enlightening our kids in intricate Laya aspects as a professional musician, professional Violinist, professional teacher and the author of rare treatises on music.
There are some methods to make use of Muktayis fluently by all the musicians and dancers too. These methods are developed by late Mullapudi Lakshamana Rao of Vizianagaram (his son and most unassuming Mridanga Vidwan, Chi. Mullapudi Sreerama Murhty is a retired staff of AIR, Vishakhapatnam) and I was fortunate enough for having collected a few of them nearly 30 years back. Later, to make them easier to understand, follow and assimilate, I have symbolized them and brought them out in my book, Sangita Svararaga Sudha (Telugu/ English) which has been acclaimed by many of the professional musicians and teachers alike. Now, I shall try to furnish some of them here for the benefit of the aspirants.
Generally, while the Muktayis are hard nuts to crack the Mullapudi School reasonably lessened the mathematical implications and furnished some easy methods to follow. Being a professional Violinist and a Violin teacher as well I have added some more ingredients to these formulas and furnished hereunder of 3 kinds of them.
1. Jatis ending with the Talacycle  in which Jatis should be rendered 1. once in the end of a cycle 2. once in the end of each cycle of 3 consecutive cycles and 3. once in the end of each cycle of 2 consecutive cycles followed by an equally distributed Muktayi of the same Jaati.
2.Multiples of Talacycle syncopated with Jati  in which syncopated Jatis should be rendered in various patterns of sequence in the duration equal with the number of â€˜unitsâ€™ of the Talacycle or its multiples.
3.Multiples of Jati syncopated with Talacycle  in which syncopated Jatis should be rendered in various patterns of sequence in the Kriyas equal with the number of Jatis or its multiples.
Here the examples of these Muktayis are furnished for Samagraha only. The aspirants who are desirous to get good acquaintance with them should, at the first instance, practice the different exercises of Laya furnished in my book mentioned above and later write all of these Muktayis with Jati and notation as well in the required Raga and Tala to make use of them.
1. JATIS ENDING WITH THE TALACYCLE:
( Note: t  tha, t  ta, d  dhi, g  gi, Â¸  Â¸a, k  ka, k  ki, m  mi, â€˜,â€™  a comma indicates a gap of 1unit, â€˜;â€™  a semicolon indicates a gap of 2units)
Pronunciation of Jatis of respective units:
Jati of 1unit  t
Jati of 2units  tk
Jati of 3units  tkt
Jati of 4units  tkdm
Jati of 5units  tdgnt
Jati of 6units â€“ td,gnt
Jati of 7units â€“ t,d,gnt
Among the below items the units indicated in punctuation marks or units furnished within brackets should be left off and other figures of units should be spelt out.
The Rupakatala having even number of Kriyas and units is furnished hereunder followed by Trisrarupakatala and Chaputala. Aspirants desiring to have the same in other Adi (mediumtempo), Adi (slowtempo) and Adi (Trisragati) Talas also can obtain them from my book mentioned above.
1.1.Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Example:
1 (a) t , ; ;  t d , g n t
s , ; ;  g m , p d n
Shambho
(b) t , ; ;  t d , g n t t , ; ;  t d , g n t t , ; ;  t d , g n t
s , ; ;  g r , s n d n , ; ;  r s , n d pd , ; ;  g m , p d n
Shambho
(c) t , ; ;  t d , g n t t , ; ;  t d , g n t t , ; ;  t d , g n t t d , g n t  t d , g n t
(c) s , ; ; g r , s n d n , ; ;  r s , n d pd , ; ;  g r, s n d r s , n d p  g m , p d n
Shambho
(Note: In the above manner, all the other Muktayis can be utilized both in Jati and svara forms)
1 (a) (6) 6
(b) ; ; ; 6 (6) 6 (6) 6
(c) ; ; ;  6 (6) 6 (6) 6 6 6
2 (a) (7) 5
(b) ; ; ; , 5 (7) 5 (7) 5
(c) ; ; ;  , 5 (7) 5 (7) 5 , 5 , 5
3 (a) (8) 4
(b) ; ; ;  ; 4 (8) 4 (8) 4
(c) ; ; ;  ; 4 (8) 4 (8) 4 ; 4 ; 4
4 (a) (9) 3
(b) ; ; ;  ; , 3 (9) 3 (9) 3
(c) ; ; ;  ; , 3 (9) 3 (9) 3 ; , 3 ; , 3
5 (a) (10) 2
(b) ; ; ;  ; ; 2 (10) 2 (10) 2
(c) ; ; ;  ; ; 2 (10) 2 (10) 2 ; ; 2 ; ; 2
6 (a) (11) 1
(b) ; ; ;  ; ; , 1 (11) 1 (11) 1
(c) ; ; ;  ; ; , 1 (11) 1 (11) 1 ; ; , 1 ; ; , 1
1.2.Trisrarupaka  5 (10): Marivere  Latangi:
1 (a) (5) 5
(b) ; ; ,  5 (5) 5 (5) 5
(c) ; ; ,  5 (5) 5 (5) 5 5 5
2 (a) (6) 4
(b) ; ; ,  , 4 (6) 4 (6) 4
(c) ; ; ,  , 4 (6) 4 (6) 4 , 4 , 4
3 (a) (7) 3
(b) ; ; ,  ; 3 (7) 3 (7) 3
(c) ; ; ,  ; 3 (7) 3 (7) 3 ; 3 ; 3
4 (a) (8) 2
(b) ; ; ,  ; , 2 (8) 2 (8) 2
(c) ; ; ,  ; , 2 (8) 2 (8) 2 ; , 2 ; , 2
5 (a) (9) 1
(b) ; ; ,  ; ; 1 (9) 1 (9) 1
(c) ; ; ,  ; ; 1 (9) 1 (9) 1 ; ; 1 ; ; 1
1.3.Chapu  7 (14): Needucharanamule â€“ Sihmendramadhyamamu:
1 (a) (7) 7
(b) ; ; ; ,  7 (7) 7 (7) 7
(b) ; ; ; ,  7 (7) 7 (7) 7 7 7
2 (a) (8) 6
(b) ; ; ; ,  , 6 (8) 6 (8) 6
(c) ; ; ; ,  , 6 (8) 6 (8) 6 , 6 , 6
3 (a) (9) 5
(b) ; ; ; ,  ; 5 (9) 5 (9) 5
(c) ; ; ; ,  ; 5 (9) 5 (9) 5 ; 5 ; 5
4 (a) (10) 4
(b) ; ; ; ,  ; , 4 (10) 4 (10) 4
(c) ; ; ; ,  ; , 4 (10) 4 (10) 4 ; , 4 ; , 4
5 (a) (11) 3
(b) ; ; ; ,  ; ; 3 (11) 3 (11) 3
(c) ; ; ; ,  ; ; 3 (11) 3 (11) 3 ; ; 3 ; ; 3
6 (a) (12) 2
(b) ; ; ; ,  ; ; , 2 (12) 2 (12) 2
(c) ; ; ; ,  ; ; , 2 (12) 2 (12) 2 ; ; , 2 ; ; , 2
7 (a) (13) 1
(b) ; ; ; ,  ; ; ; 1 (13) 1 (13) 1
(c) ; ; ; ,  ; ; ; 1 (13) 1 (13) 1 ; ; ; 1 ; ; ; 1
Generally, the artists sing the above varieties beginning with smaller number of units to bigger number of units of Jatis i.e., 1, 2, 3, 4, 5, 6 & 7 units in increasing order of value, in their concerts to confuse the audience and the accompanists as well. Let them do in any way they like, we are not bothered at all. But, while teaching them to the kids, if the music teacher starts teaching them to the kids from the highest denomination of units and gradually reduces the value of Jati just like in Gopucchayati i.e., cowâ€™s tail, every time reducing 1unit gradually and with all the figures furnished above, they can understand, follow and assimilate very easily. Both for Samagraha and Anagathagraha in notation of all the above varieties and also for different Ragas anybody can refer my book, Sangita Svararaga Sudha (Telugu / English).
Generally, many of the musicians, mostly who do not have the required control over Laya and who cannot concentrate over the implications of them, hate the utilization of Muktayis in Svarakalpana. Many of them hate even to have the Mridangamaccompaniment lest they miss the Laya of their Tala. As Mridangam has become an indispensable and main Talavadya of a Karnatakamusicconcert, they are unable to avoid it but always try to transfer the headache of rendering Tala for the Mridangamtani to the Violinaccompanist.
In my vast research on teaching techniques and teaching experience spread over many years, I have found that, in moulding a music student as a professional, Laya plays a very important role and this instills a very highrate of confidence in the student. Even though many may not agree with me I have practically found in my extensive research that heavy regular practice of the different Laya exercises, Jatimuktayis and Svaramuktayis shape the aspirant as a professional. That is why I am always interested in enlightening our kids in intricate Laya aspects as a professional musician, professional Violinist, professional teacher and the author of rare treatises on music.
There are some methods to make use of Muktayis fluently by all the musicians and dancers too. These methods are developed by late Mullapudi Lakshamana Rao of Vizianagaram (his son and most unassuming Mridanga Vidwan, Chi. Mullapudi Sreerama Murhty is a retired staff of AIR, Vishakhapatnam) and I was fortunate enough for having collected a few of them nearly 30 years back. Later, to make them easier to understand, follow and assimilate, I have symbolized them and brought them out in my book, Sangita Svararaga Sudha (Telugu/ English) which has been acclaimed by many of the professional musicians and teachers alike. Now, I shall try to furnish some of them here for the benefit of the aspirants.
Generally, while the Muktayis are hard nuts to crack the Mullapudi School reasonably lessened the mathematical implications and furnished some easy methods to follow. Being a professional Violinist and a Violin teacher as well I have added some more ingredients to these formulas and furnished hereunder of 3 kinds of them.
1. Jatis ending with the Talacycle  in which Jatis should be rendered 1. once in the end of a cycle 2. once in the end of each cycle of 3 consecutive cycles and 3. once in the end of each cycle of 2 consecutive cycles followed by an equally distributed Muktayi of the same Jaati.
2.Multiples of Talacycle syncopated with Jati  in which syncopated Jatis should be rendered in various patterns of sequence in the duration equal with the number of â€˜unitsâ€™ of the Talacycle or its multiples.
3.Multiples of Jati syncopated with Talacycle  in which syncopated Jatis should be rendered in various patterns of sequence in the Kriyas equal with the number of Jatis or its multiples.
Here the examples of these Muktayis are furnished for Samagraha only. The aspirants who are desirous to get good acquaintance with them should, at the first instance, practice the different exercises of Laya furnished in my book mentioned above and later write all of these Muktayis with Jati and notation as well in the required Raga and Tala to make use of them.
1. JATIS ENDING WITH THE TALACYCLE:
( Note: t  tha, t  ta, d  dhi, g  gi, Â¸  Â¸a, k  ka, k  ki, m  mi, â€˜,â€™  a comma indicates a gap of 1unit, â€˜;â€™  a semicolon indicates a gap of 2units)
Pronunciation of Jatis of respective units:
Jati of 1unit  t
Jati of 2units  tk
Jati of 3units  tkt
Jati of 4units  tkdm
Jati of 5units  tdgnt
Jati of 6units â€“ td,gnt
Jati of 7units â€“ t,d,gnt
Among the below items the units indicated in punctuation marks or units furnished within brackets should be left off and other figures of units should be spelt out.
The Rupakatala having even number of Kriyas and units is furnished hereunder followed by Trisrarupakatala and Chaputala. Aspirants desiring to have the same in other Adi (mediumtempo), Adi (slowtempo) and Adi (Trisragati) Talas also can obtain them from my book mentioned above.
1.1.Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Example:
1 (a) t , ; ;  t d , g n t
s , ; ;  g m , p d n
Shambho
(b) t , ; ;  t d , g n t t , ; ;  t d , g n t t , ; ;  t d , g n t
s , ; ;  g r , s n d n , ; ;  r s , n d pd , ; ;  g m , p d n
Shambho
(c) t , ; ;  t d , g n t t , ; ;  t d , g n t t , ; ;  t d , g n t t d , g n t  t d , g n t
(c) s , ; ; g r , s n d n , ; ;  r s , n d pd , ; ;  g r, s n d r s , n d p  g m , p d n
Shambho
(Note: In the above manner, all the other Muktayis can be utilized both in Jati and svara forms)
1 (a) (6) 6
(b) ; ; ; 6 (6) 6 (6) 6
(c) ; ; ;  6 (6) 6 (6) 6 6 6
2 (a) (7) 5
(b) ; ; ; , 5 (7) 5 (7) 5
(c) ; ; ;  , 5 (7) 5 (7) 5 , 5 , 5
3 (a) (8) 4
(b) ; ; ;  ; 4 (8) 4 (8) 4
(c) ; ; ;  ; 4 (8) 4 (8) 4 ; 4 ; 4
4 (a) (9) 3
(b) ; ; ;  ; , 3 (9) 3 (9) 3
(c) ; ; ;  ; , 3 (9) 3 (9) 3 ; , 3 ; , 3
5 (a) (10) 2
(b) ; ; ;  ; ; 2 (10) 2 (10) 2
(c) ; ; ;  ; ; 2 (10) 2 (10) 2 ; ; 2 ; ; 2
6 (a) (11) 1
(b) ; ; ;  ; ; , 1 (11) 1 (11) 1
(c) ; ; ;  ; ; , 1 (11) 1 (11) 1 ; ; , 1 ; ; , 1
1.2.Trisrarupaka  5 (10): Marivere  Latangi:
1 (a) (5) 5
(b) ; ; ,  5 (5) 5 (5) 5
(c) ; ; ,  5 (5) 5 (5) 5 5 5
2 (a) (6) 4
(b) ; ; ,  , 4 (6) 4 (6) 4
(c) ; ; ,  , 4 (6) 4 (6) 4 , 4 , 4
3 (a) (7) 3
(b) ; ; ,  ; 3 (7) 3 (7) 3
(c) ; ; ,  ; 3 (7) 3 (7) 3 ; 3 ; 3
4 (a) (8) 2
(b) ; ; ,  ; , 2 (8) 2 (8) 2
(c) ; ; ,  ; , 2 (8) 2 (8) 2 ; , 2 ; , 2
5 (a) (9) 1
(b) ; ; ,  ; ; 1 (9) 1 (9) 1
(c) ; ; ,  ; ; 1 (9) 1 (9) 1 ; ; 1 ; ; 1
1.3.Chapu  7 (14): Needucharanamule â€“ Sihmendramadhyamamu:
1 (a) (7) 7
(b) ; ; ; ,  7 (7) 7 (7) 7
(b) ; ; ; ,  7 (7) 7 (7) 7 7 7
2 (a) (8) 6
(b) ; ; ; ,  , 6 (8) 6 (8) 6
(c) ; ; ; ,  , 6 (8) 6 (8) 6 , 6 , 6
3 (a) (9) 5
(b) ; ; ; ,  ; 5 (9) 5 (9) 5
(c) ; ; ; ,  ; 5 (9) 5 (9) 5 ; 5 ; 5
4 (a) (10) 4
(b) ; ; ; ,  ; , 4 (10) 4 (10) 4
(c) ; ; ; ,  ; , 4 (10) 4 (10) 4 ; , 4 ; , 4
5 (a) (11) 3
(b) ; ; ; ,  ; ; 3 (11) 3 (11) 3
(c) ; ; ; ,  ; ; 3 (11) 3 (11) 3 ; ; 3 ; ; 3
6 (a) (12) 2
(b) ; ; ; ,  ; ; , 2 (12) 2 (12) 2
(c) ; ; ; ,  ; ; , 2 (12) 2 (12) 2 ; ; , 2 ; ; , 2
7 (a) (13) 1
(b) ; ; ; ,  ; ; ; 1 (13) 1 (13) 1
(c) ; ; ; ,  ; ; ; 1 (13) 1 (13) 1 ; ; ; 1 ; ; ; 1
Generally, the artists sing the above varieties beginning with smaller number of units to bigger number of units of Jatis i.e., 1, 2, 3, 4, 5, 6 & 7 units in increasing order of value, in their concerts to confuse the audience and the accompanists as well. Let them do in any way they like, we are not bothered at all. But, while teaching them to the kids, if the music teacher starts teaching them to the kids from the highest denomination of units and gradually reduces the value of Jati just like in Gopucchayati i.e., cowâ€™s tail, every time reducing 1unit gradually and with all the figures furnished above, they can understand, follow and assimilate very easily. Both for Samagraha and Anagathagraha in notation of all the above varieties and also for different Ragas anybody can refer my book, Sangita Svararaga Sudha (Telugu / English).
Last edited by msakella on 04 Apr 2007, 10:18, edited 1 time in total.
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 Joined: 03 Feb 2010, 09:01
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#2
This thread is absolutely brilliant. Akella gAru, thanks so much for this erudite and simple lesson. Please continue to guide us on this very necessary topic for all musicians. Moderator: I request that this thread be made a sticky.
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 Posts: 1891
 Joined: 30 Sep 2006, 21:16
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#3
Dear brothermember, prashant, I feel extremely happy if some of my knowledge truly helps anybody. Many of our stalwarts do not agree that Manodharma Sangita also can be imparted. I have made umpteen expertiments on this and found amazing results. I know that many of our stalwarts are not ready to part with this kind of knowledge willingly or unwillingly. That is why, I have written a book on such details to enlighten our community. But, these things pertaining to Laya are very difficult not only to explain
but also to learn. Very hard and most regular practice is needed to get success in such matters. I hope you can evaluate the difference in having acquaintance with the cycle for 4 hrs., or 4 days or 4 weeks or 4 months or 4 years or 40 years. In the same manner much acquaintance of the subject like â€˜tapasâ€™ gives you more efficiency in it. I am here to give you out what you need but you should work hard and show the result. Then only I feel extremely happy. With best wishes, amsharma.
but also to learn. Very hard and most regular practice is needed to get success in such matters. I hope you can evaluate the difference in having acquaintance with the cycle for 4 hrs., or 4 days or 4 weeks or 4 months or 4 years or 40 years. In the same manner much acquaintance of the subject like â€˜tapasâ€™ gives you more efficiency in it. I am here to give you out what you need but you should work hard and show the result. Then only I feel extremely happy. With best wishes, amsharma.
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 Joined: 04 Feb 2010, 02:05
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#4
Sri Sarmaji, I am very thankful for you for all your posts here on the forum. Even if some of tALaprasatAra threads go over my head, I am definitely making myself better in many respects from your posts.
Ramakriya
Ramakriya
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 Joined: 03 Feb 2010, 09:01
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#5
Absolutely agree with what you say Sharmaji. I have actually already printed out your posts, so that I can work, during my practice sessions on singing these simple muktayis naturally while singing swarakalpana and not in a predetermined fashion. Sri Nedunuri also sings swarams in this simple and elegant fashion so beautifully.
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 Joined: 30 Sep 2006, 21:16
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#6
Dear brothermember, prashant, Of course, Shri Nedunuri was my Guru and every bit of my knowledge pertaining traditional Karnataka music blessed by him in our regular practice spread over many years. I am a follower of Shri M.S.Gopalakrishnan and disciple of Shri Nedunuri Krishna Murthy. amsharma.
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#7
After earnestly following your lessons and guidance, many of us will be fortunate to call ourselves efollowers of you. That is quite a pedigree. We thank you.I am a follower of Shri M.S.Gopalakrishnan and disciple of Shri Nedunuri Krishna Murthy. amsharma.
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#8
prashantModerator: I request that this thread be made a sticky.
Done!
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 Posts: 1891
 Joined: 30 Sep 2006, 21:16
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#9
Dear members & moderator, meena & vasanthakokilam, If every aspirant becomes benefited in one way or other in my service to music more than that I never wish. Thank you all, amsharma.
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 Posts: 1891
 Joined: 30 Sep 2006, 21:16
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#10
Dear brothers & sisters, I have typed the following matter along with the needed symbols and tried to paste it but in vain. Please suggest me if there is any other way to get it pasted in the original form I have typed. Thanks in advance, amsharma.
2. MULTIPLES OF TALACYCLE SYNCOPATED WITH JATI:
To make the typing easy, the userfriendlysymbols, which are taken from this computer itself are utilized and defined hereunder (Note: The symbols furnished in my book slightly differ with these symbols)
 the Jati should be rendered only once i.e., tdgnt.
^  the Jati should be rendered only twice i.e., tdgnt  tdgnt.
 the Jati should be rendered only thrice as Muktayi i.e., tdgnt  tdgnt  tdgnt.
 the Jati should be rendered four times i.e., tdgnt  tdgnt  tdgnt  tdgnt.
 the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1units i.e., t ; ,  d ; ,  g ;
,  n ; ,  t ; ,  t ,  d ,  g ,  n ,  t ,  tdgnt.
 the Muktayi should be rendered in Trisragati.
3  each letter of the Muktayi should be rendered from the indicated number of the
highest units to the lowest units of gaps i.e., 3units, 2units and 1unit  t ; d ;  g ;  n ;  t ;  t ,  d ,  g ,  n ,  t ,  tdgnt  consecutively in decreasing order of value (superscript)
 the number of Jatis indicated in thick black round should be left off as a gap.
 the number of units indicated in a zero should be left off as a gap.
1  the Jati should be rendered in the immediate lower degree of speed (subscript)
^2  the Jati should be rendered in the second lower degree of speed.
3  the Jati should be rendered in the third lower degree of speed.
 the starting and ending points of the Muktayi are marked with two vertical lines.
Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Chaturashrajaatirupakatala, consisting of 3 Kriyas in each Avarta or cycle, consists of 12 units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 12 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 24 or 36 or 48 and so on, exactly fits in the cycle of the Tala i.e, 12 Nos. of Khandajati fit in (12 x 5=60Ã·12=) 5 Avartas, Divyasankeernajati fit in (12 x 6=72Ã·12=) 6 Avartas, Mishrajati fit in (12 x 7=84Ã·12=) 7 Avartas and Sankeernajati fit in (12 x 9=108Ã·12=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana.
1. Any Jati should be rendered by singing aloud 1jati ( ) in the beginning, later giving a gap of 3jatis (), again singing aloud 2jatis (^), again giving a gap of 3jatis () and lastly singing aloud 3jatis ( ), thus making a total of (1+3+2+3+3=) 12jatis 
1. ^  12.
t d g n t  t , , , ,  d , , , ,  t , , , ,  t d g n
g r s n d  n , , , ,  s , , , ,  r , , , ,  g r s n
t  t d g n t  t , , , ,  d , , , ,  t , , , ,  t d g
d  r s n d p  d , , , ,  n , , , ,  s , , , ,  g r s
n t  t d g n t  t d g n t
n d  r s n d p  g m p d n
In the same manner all the symbolized muktayis furnished below should be practiced first in Jati form and later in notation of the required Raga.
01. ^  12
02. ^  12
03.  12
04. 3  12
05.  12
06. 4 ^  12
07. 2 1  12
08.  12
09. ^  13
10. 5 ^  24
11. 4 4 4  36
12. 5 5 5  48
Note: In the duration occupying four numbers of Jatis of either Khanda (5) or Divyasankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashragati, three numbers of Jatis of the same kind fit in. So, if a muktayi in Trisragati has to be calculated, to make it easy, it should be calculated in Chaturashragati only and be executed in Trisragati.
In the above I have furnished some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need. Artists can take a print of this page, cut the piece of paper occupying by the above 12 varieties and paste it in the Â¼ foldedportion of the halfpage of A4 Sheet to keep it in their shirtpocket and use if required. amsharma.
2. MULTIPLES OF TALACYCLE SYNCOPATED WITH JATI:
To make the typing easy, the userfriendlysymbols, which are taken from this computer itself are utilized and defined hereunder (Note: The symbols furnished in my book slightly differ with these symbols)
 the Jati should be rendered only once i.e., tdgnt.
^  the Jati should be rendered only twice i.e., tdgnt  tdgnt.
 the Jati should be rendered only thrice as Muktayi i.e., tdgnt  tdgnt  tdgnt.
 the Jati should be rendered four times i.e., tdgnt  tdgnt  tdgnt  tdgnt.
 the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1units i.e., t ; ,  d ; ,  g ;
,  n ; ,  t ; ,  t ,  d ,  g ,  n ,  t ,  tdgnt.
 the Muktayi should be rendered in Trisragati.
3  each letter of the Muktayi should be rendered from the indicated number of the
highest units to the lowest units of gaps i.e., 3units, 2units and 1unit  t ; d ;  g ;  n ;  t ;  t ,  d ,  g ,  n ,  t ,  tdgnt  consecutively in decreasing order of value (superscript)
 the number of Jatis indicated in thick black round should be left off as a gap.
 the number of units indicated in a zero should be left off as a gap.
1  the Jati should be rendered in the immediate lower degree of speed (subscript)
^2  the Jati should be rendered in the second lower degree of speed.
3  the Jati should be rendered in the third lower degree of speed.
 the starting and ending points of the Muktayi are marked with two vertical lines.
Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Chaturashrajaatirupakatala, consisting of 3 Kriyas in each Avarta or cycle, consists of 12 units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 12 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 24 or 36 or 48 and so on, exactly fits in the cycle of the Tala i.e, 12 Nos. of Khandajati fit in (12 x 5=60Ã·12=) 5 Avartas, Divyasankeernajati fit in (12 x 6=72Ã·12=) 6 Avartas, Mishrajati fit in (12 x 7=84Ã·12=) 7 Avartas and Sankeernajati fit in (12 x 9=108Ã·12=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana.
1. Any Jati should be rendered by singing aloud 1jati ( ) in the beginning, later giving a gap of 3jatis (), again singing aloud 2jatis (^), again giving a gap of 3jatis () and lastly singing aloud 3jatis ( ), thus making a total of (1+3+2+3+3=) 12jatis 
1. ^  12.
t d g n t  t , , , ,  d , , , ,  t , , , ,  t d g n
g r s n d  n , , , ,  s , , , ,  r , , , ,  g r s n
t  t d g n t  t , , , ,  d , , , ,  t , , , ,  t d g
d  r s n d p  d , , , ,  n , , , ,  s , , , ,  g r s
n t  t d g n t  t d g n t
n d  r s n d p  g m p d n
In the same manner all the symbolized muktayis furnished below should be practiced first in Jati form and later in notation of the required Raga.
01. ^  12
02. ^  12
03.  12
04. 3  12
05.  12
06. 4 ^  12
07. 2 1  12
08.  12
09. ^  13
10. 5 ^  24
11. 4 4 4  36
12. 5 5 5  48
Note: In the duration occupying four numbers of Jatis of either Khanda (5) or Divyasankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashragati, three numbers of Jatis of the same kind fit in. So, if a muktayi in Trisragati has to be calculated, to make it easy, it should be calculated in Chaturashragati only and be executed in Trisragati.
In the above I have furnished some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need. Artists can take a print of this page, cut the piece of paper occupying by the above 12 varieties and paste it in the Â¼ foldedportion of the halfpage of A4 Sheet to keep it in their shirtpocket and use if required. amsharma.
Last edited by msakella on 03 Apr 2007, 11:46, edited 1 time in total.
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2. MULTIPLES OF TALACYCLE SYNCOPATED WITH JATI:
To make the typing easy, the userfriendlysymbols, which are taken from this computer itself are utilized and defined hereunder (Note: The symbols furnished in my book slightly differ with these symbols)
/  the Jati should be rendered only once i.e., tdgnt.
//  the Jati should be rendered only twice i.e., tdgnt  tdgnt.
///  the Jati should be rendered only thrice as Muktayi i.e., tdgnt  tdgnt  tdgnt.
////  the Jati should be rendered four times i.e., tdgnt  tdgnt  tdgnt  tdgnt.
>  the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1units i.e., t ; ,  d ; ,  g ;
,  n ; ,  t ; ,  t ,  d ,  g ,  n ,  t ,  tdgnt.
<  the Muktayi should be rendered in Trisragati.
///3  each letter of the Muktayi should be rendered from the indicated number of the
highest units to the lowest units of gaps i.e., 3units, 2units and 1unit  t ; d ;  g ;  n ;  t ;  t ,  d ,  g ,  n ,  t ,  tdgnt  consecutively in decreasing order of value (superscript)
( /// )  the number of slashes written in brackets indicates the number of Jatis to be left
off as a gap.
(3)  the numbers written in brackets indicate the number of units to be left off as a gap.
ll  ll  the starting and ending points of the Muktayi are marked with two vertical lines.
2.1. Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Chaturashrajaatirupakatala, consisting of 3 Kriyas in each Avarta or cycle, consists of 12 units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 12 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 24 or 36 or 48 and so on, exactly fits in the cycle of the Tala i.e, 12 Nos. of Khandajati fit in (12 x 5=60Ã·12=) 5 Avartas, Divyasankeernajati fit in (12 x 6=72Ã·12=) 6 Avartas, Mishrajati fit in (12 x 7=84Ã·12=) 7 Avartas and Sankeernajati fit in (12 x 9=108Ã·12=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana.
1. Any Jati should be rendered by singing aloud 1jati â€˜/ â€˜ in the beginning, later giving a gap of 3jatis ( /// ), again singing aloud 2jatis â€˜ // â€˜, again giving a gap of 3jatis ( /// ) and lastly singing aloud 3jatis â€˜/// â€˜ , thus making a total of (1+3+2+3+3=) 12jatis 
01. ll / ( /// ) // ( /// ) /// ll  12.
ll t d g n t  t , , , ,  d , ll , , ,  t , , , ,  t d g n ll
ll g r s n d  n , , , ,  s , ll , , ,  r , , , ,  g r s n ll
ll t  t d g n t  t , , , ,  d ll , , , ,  t , , , ,  t d g ll
ll d  r s n d p  d , , , ,  n ll , , , ,  s , , , ,  g r s ll
ll n t  t d g n t  t d g n t ll
ll n d  r s n d p  g m p d n ll
In the same manner all the symbolized muktayis furnished below should be practiced first in Jati form and later in notation of the required Raga.
01. ll / ( /// ) // ( /// ) /// ll  12.
02. ll / ( / ) // ( / ) /// < ll  12.
03. ll > ( / ) < ll  12.
04. ll ///3 ( // ) < ll  12.
05. ll ( / ) /// ( / ) /// ( / ) /// ll  12.
06. ll ///4 // ll  12.
07. ll > ( // ) /// ll  12.
08. / ll // ( // ) /// ( // ) /// ll  13.
09. ll ///5 ( // ) // ( // ) /// ll  24.
10. ll ///4 ( /// ) ///4 ( /// ) ///4 ll  36.
11. ll ( / ) ///7 ( / ) // ( / ) /// ll  36.
12. ll ( / ) ///5 ( / ) ///5 ( / ) ///5 ll  48.
Note: In the duration of four numbers of Jatis of either Khanda (5) or Divyasankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashragati, three numbers of Jatis of the same kind pertaining to Trisragati fit in. So, if a muktayi in Trisragati has to be calculated, to make it easy, it should be calculated in terms of Chaturashragati only and be executed in Trisragati.
In the above I have furnished some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need. Artists can take a print of this page, cut the piece of paper occupying by the above 12 varieties and paste it in the Â¼ foldedportion of the halfpage of A4 Sheet to keep it in their shirtpocket and use if required. amsharma.
To make the typing easy, the userfriendlysymbols, which are taken from this computer itself are utilized and defined hereunder (Note: The symbols furnished in my book slightly differ with these symbols)
/  the Jati should be rendered only once i.e., tdgnt.
//  the Jati should be rendered only twice i.e., tdgnt  tdgnt.
///  the Jati should be rendered only thrice as Muktayi i.e., tdgnt  tdgnt  tdgnt.
////  the Jati should be rendered four times i.e., tdgnt  tdgnt  tdgnt  tdgnt.
>  the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1units i.e., t ; ,  d ; ,  g ;
,  n ; ,  t ; ,  t ,  d ,  g ,  n ,  t ,  tdgnt.
<  the Muktayi should be rendered in Trisragati.
///3  each letter of the Muktayi should be rendered from the indicated number of the
highest units to the lowest units of gaps i.e., 3units, 2units and 1unit  t ; d ;  g ;  n ;  t ;  t ,  d ,  g ,  n ,  t ,  tdgnt  consecutively in decreasing order of value (superscript)
( /// )  the number of slashes written in brackets indicates the number of Jatis to be left
off as a gap.
(3)  the numbers written in brackets indicate the number of units to be left off as a gap.
ll  ll  the starting and ending points of the Muktayi are marked with two vertical lines.
2.1. Rupakatala â€“ 6 (12): Shambhomahadeva  Pantuvarali:
Chaturashrajaatirupakatala, consisting of 3 Kriyas in each Avarta or cycle, consists of 12 units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 12 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 24 or 36 or 48 and so on, exactly fits in the cycle of the Tala i.e, 12 Nos. of Khandajati fit in (12 x 5=60Ã·12=) 5 Avartas, Divyasankeernajati fit in (12 x 6=72Ã·12=) 6 Avartas, Mishrajati fit in (12 x 7=84Ã·12=) 7 Avartas and Sankeernajati fit in (12 x 9=108Ã·12=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana.
1. Any Jati should be rendered by singing aloud 1jati â€˜/ â€˜ in the beginning, later giving a gap of 3jatis ( /// ), again singing aloud 2jatis â€˜ // â€˜, again giving a gap of 3jatis ( /// ) and lastly singing aloud 3jatis â€˜/// â€˜ , thus making a total of (1+3+2+3+3=) 12jatis 
01. ll / ( /// ) // ( /// ) /// ll  12.
ll t d g n t  t , , , ,  d , ll , , ,  t , , , ,  t d g n ll
ll g r s n d  n , , , ,  s , ll , , ,  r , , , ,  g r s n ll
ll t  t d g n t  t , , , ,  d ll , , , ,  t , , , ,  t d g ll
ll d  r s n d p  d , , , ,  n ll , , , ,  s , , , ,  g r s ll
ll n t  t d g n t  t d g n t ll
ll n d  r s n d p  g m p d n ll
In the same manner all the symbolized muktayis furnished below should be practiced first in Jati form and later in notation of the required Raga.
01. ll / ( /// ) // ( /// ) /// ll  12.
02. ll / ( / ) // ( / ) /// < ll  12.
03. ll > ( / ) < ll  12.
04. ll ///3 ( // ) < ll  12.
05. ll ( / ) /// ( / ) /// ( / ) /// ll  12.
06. ll ///4 // ll  12.
07. ll > ( // ) /// ll  12.
08. / ll // ( // ) /// ( // ) /// ll  13.
09. ll ///5 ( // ) // ( // ) /// ll  24.
10. ll ///4 ( /// ) ///4 ( /// ) ///4 ll  36.
11. ll ( / ) ///7 ( / ) // ( / ) /// ll  36.
12. ll ( / ) ///5 ( / ) ///5 ( / ) ///5 ll  48.
Note: In the duration of four numbers of Jatis of either Khanda (5) or Divyasankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashragati, three numbers of Jatis of the same kind pertaining to Trisragati fit in. So, if a muktayi in Trisragati has to be calculated, to make it easy, it should be calculated in terms of Chaturashragati only and be executed in Trisragati.
In the above I have furnished some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need. Artists can take a print of this page, cut the piece of paper occupying by the above 12 varieties and paste it in the Â¼ foldedportion of the halfpage of A4 Sheet to keep it in their shirtpocket and use if required. amsharma.
Last edited by msakella on 04 Apr 2007, 10:20, edited 1 time in total.
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#12
Dear brother & sistermembers, Please take the 11th post only into consideration but not the 10th at all. amsharma.
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#13
2.2. Trisrarupaka  5 (10)
Trisrajaatirupakatala, consisting of 5 riyas in each Avarta or cycle, consists of 10units in the 2nd degree of speed carrying 2 units per each Kriya. So, any Jati which is rendered for 10 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 20 or 30 or 40 and so on, exactly fits in the cycle of the Tala i.e, 10 Nos. of Khandajati fit in (10 x 5=50Ã·10=) 5 Avartas, Divyasankeernajati fit in (10 x 6=60Ã·10=) 6 Avartas, Mishrajati fit in (10 x 7=70Ã·10=) 7 Avartas and Sankeernajati fit in (10 x 9=90Ã·10=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll / ( // ) // ( // ) /// ll 10.
02. ll ///3 ( / ) /// ll 10.
03. ll ///4 ll 10.
04. ll /// > ll 10.
05. / ll // ( / ) /// ( / ) /// ll 11.
06. ll ///3 ( / ) ///3 ( / ) ///3 ll 20.
07. ll ///6 ( // ) // ( // ) /// ll 30.
2.3. Triputa  7 (14):
Trisrajaatitriputatala, consisting of 7 Kriyas in each Avarta or cycle, consists of 14units in the 2nd degree of speed carrying 2 units per each Kriya. So, any Jati which is rendered for 14 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 28 or 42 or 56 and so on, exactly fits in the cycle of the Tala i.e, 14 Nos. of Khandajati fit in (14 x 5=70Ã·14=) 5 Avartas, Divyasankeernajati fit in (14 x 6=84Ã·14=) 6 Avartas, Mishrajati fit in (14 x 7=98Ã·14=) 7 Avartas and Sankeernajati fit in (14 x 9=126Ã·14=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll / ( //// ) // ( ////) /// ll 14.
02. ll / ( / ) // ( / ) /// ///3 ll 14.
03. ll > ( / ) // ( / ) /// ll 14.
04. ll ( / ) /// ( // ) /// (// ) /// ll 14.
05. ll ( / ) ///3 ( / ) // ( / ) /// ll 14.
06. ll ///4 ( / ) /// ll 14.
07. ll ///4 ( / ) / ( / ) / ll 14.
08. / ll // ( /// ) /// ( /// ) /// ll 15.
09. ll ///6 ( / ) // ( / ) /// ll 28.
Trisrajaatirupakatala, consisting of 5 riyas in each Avarta or cycle, consists of 10units in the 2nd degree of speed carrying 2 units per each Kriya. So, any Jati which is rendered for 10 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 20 or 30 or 40 and so on, exactly fits in the cycle of the Tala i.e, 10 Nos. of Khandajati fit in (10 x 5=50Ã·10=) 5 Avartas, Divyasankeernajati fit in (10 x 6=60Ã·10=) 6 Avartas, Mishrajati fit in (10 x 7=70Ã·10=) 7 Avartas and Sankeernajati fit in (10 x 9=90Ã·10=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll / ( // ) // ( // ) /// ll 10.
02. ll ///3 ( / ) /// ll 10.
03. ll ///4 ll 10.
04. ll /// > ll 10.
05. / ll // ( / ) /// ( / ) /// ll 11.
06. ll ///3 ( / ) ///3 ( / ) ///3 ll 20.
07. ll ///6 ( // ) // ( // ) /// ll 30.
2.3. Triputa  7 (14):
Trisrajaatitriputatala, consisting of 7 Kriyas in each Avarta or cycle, consists of 14units in the 2nd degree of speed carrying 2 units per each Kriya. So, any Jati which is rendered for 14 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 28 or 42 or 56 and so on, exactly fits in the cycle of the Tala i.e, 14 Nos. of Khandajati fit in (14 x 5=70Ã·14=) 5 Avartas, Divyasankeernajati fit in (14 x 6=84Ã·14=) 6 Avartas, Mishrajati fit in (14 x 7=98Ã·14=) 7 Avartas and Sankeernajati fit in (14 x 9=126Ã·14=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll / ( //// ) // ( ////) /// ll 14.
02. ll / ( / ) // ( / ) /// ///3 ll 14.
03. ll > ( / ) // ( / ) /// ll 14.
04. ll ( / ) /// ( // ) /// (// ) /// ll 14.
05. ll ( / ) ///3 ( / ) // ( / ) /// ll 14.
06. ll ///4 ( / ) /// ll 14.
07. ll ///4 ( / ) / ( / ) / ll 14.
08. / ll // ( /// ) /// ( /// ) /// ll 15.
09. ll ///6 ( / ) // ( / ) /// ll 28.
Last edited by msakella on 04 Apr 2007, 10:21, edited 1 time in total.
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#14
2.4. Adi (mediumtempo)  8 (32):
Adi (Chaturashrajaatitriputa)tala (mediumtempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 32units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 32 Nos. of Khandajati fit in (32 x 5=160Ã·32=) 5 Avartas, Divyasankeernajati fit in (32 x 6=192Ã·32=) 6 Avartas, Mishrajati fit in (32 x 7=224Ã·32=) 7 Avartas and Sankeernajati fit in (32 x 9=288Ã·32=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ///4 ( / ) ///4 ( / ) ///4 ll 32.
02. ll ///7 ( / ) /// ll 32.
03. ll ///7 < ll 32.
2.5. Adi (slowtempo)  8 (64):
Adi (Chaturashrajaatitriputa)tala (slow tempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 64units in the 2nd degree of speed carrying 8 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 64 Nos. of Khandajati fit in (64 x 5=320Ã·64=) 5 Avartas, Divyasankeernajati fit in (64 x 6= 384Ã·64=) 6 Avartas, Mishrajati fit in (64 x 7=448Ã·64=) 7 Avartas and Sankeernajati fit in (64 x 9=576Ã·64=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ( / ) ///6 ///6 ///6 ll 64.
2.6. Adi (Trisragati)  8 (48):
Adi (Chaturashrajaatitrisragatitriputa)tala, consisting of 8 Kriyas in each Avarta or cycle, consists of 48units in the 2nd degree of speed carrying 6 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 48 Nos. of Khandajati fit in (48 x 5=240Ã·48=) 5 Avartas, Divyasankeernajati fit in (48 x 6= 288Ã·48=) 6 Avartas, Mishrajati fit in (48 x 7=336Ã·48=) 7 Avartas and Sankeernajati fit in (48 x 9=432Ã·48=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ( / ) ///5 ( / ) ///5 ( / ) ///5 ll 48.
Adi (Chaturashrajaatitriputa)tala (mediumtempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 32units in the 2nd degree of speed carrying 4 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 32 Nos. of Khandajati fit in (32 x 5=160Ã·32=) 5 Avartas, Divyasankeernajati fit in (32 x 6=192Ã·32=) 6 Avartas, Mishrajati fit in (32 x 7=224Ã·32=) 7 Avartas and Sankeernajati fit in (32 x 9=288Ã·32=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ///4 ( / ) ///4 ( / ) ///4 ll 32.
02. ll ///7 ( / ) /// ll 32.
03. ll ///7 < ll 32.
2.5. Adi (slowtempo)  8 (64):
Adi (Chaturashrajaatitriputa)tala (slow tempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 64units in the 2nd degree of speed carrying 8 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 64 Nos. of Khandajati fit in (64 x 5=320Ã·64=) 5 Avartas, Divyasankeernajati fit in (64 x 6= 384Ã·64=) 6 Avartas, Mishrajati fit in (64 x 7=448Ã·64=) 7 Avartas and Sankeernajati fit in (64 x 9=576Ã·64=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ( / ) ///6 ///6 ///6 ll 64.
2.6. Adi (Trisragati)  8 (48):
Adi (Chaturashrajaatitrisragatitriputa)tala, consisting of 8 Kriyas in each Avarta or cycle, consists of 48units in the 2nd degree of speed carrying 6 units per each Kriya. So, any Jati which is rendered for 32 times i.e., equal with the value of the cyclic units of an Avarta or its multiples 64 or 96 or 128 and so on, exactly fits in the cycle of the Tala i.e, 48 Nos. of Khandajati fit in (48 x 5=240Ã·48=) 5 Avartas, Divyasankeernajati fit in (48 x 6= 288Ã·48=) 6 Avartas, Mishrajati fit in (48 x 7=336Ã·48=) 7 Avartas and Sankeernajati fit in (48 x 9=432Ã·48=) 9 Avartas of Tala. Some such groups are symbolized and furnished hereunder for their utilization in Svarakalpana. I have furnished below some of the varieties furnished in my book and the aspirants can refer my book for the remaining varieties and for different Ragas also. In the same manner they can also formulate different varieties on their own for their need.
01. ll ( / ) ///5 ( / ) ///5 ( / ) ///5 ll 48.
Last edited by msakella on 04 Apr 2007, 10:22, edited 1 time in total.
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Dear Akella gAru: thanks for these. Will study them and come back with any questions.
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#16
3.Multiples of Jati syncopated with Talacycle:
While the other two varieties are used Talawise, this variety is of unitswise of Kriyas i.e., an easy method for Kriyas consisting of 8units, 6units, 4units and 2units respectively. Generally, if a musician is asked to render a Khandajatimuktayi i.e., t d g n t  t d g n t  t d g n t, he/she calculates 5x3=15units divided by 4units of each Kriya (in the Tala running 4units per each Kriya) resulting 3 Kriyas + 3units by which he has to take 4 Kriyas and to start leaving off 1unit in the beginning as gap and render the Muktayi of 15units  ll , t d g l n t  t d l g n t  t l d g n t ll.
(a) But, according to another easy method, to render a Khandajatimuktayi in a Tala running 8units per each Kriya, take half of the value of the Jatinumber (JN) concerned i.e., 2 Â½ Kriyas in respect of Khandajati and as 4 numbers of Khandajatis (4 x 5=20Ã·8=2 Â½ ) could be accommodated in this duration, leave off the 1stjati as a gap and spell out the remaining 3jatis in the form of a Muktayi. In the same manner the Divyasankeernajatimuktayi (4x6=24Ã·8=3) needs 3 Kriyas, Mishrajati (4x7=28Ã·8=3 Â½) needs 3 Â½ Kriyas and Sankeernajati (4x9=36Ã·8=4 Â½) needs 4 Â½ Kriyas as per the following symbols.
(b) And in the Talas running 4units per each Kriya, take equal number of Kriyas with the value of the Jati to be rendered and, as 4 numbers of respective Jatis could be accommodated in this duration and also as you need to render only 3jatis as Muktayi, leave off the1stjati in the beginning as a gap and spell out the remaining 3jatis consecutively as Muktayi i.e., to render a Muktayi in Khandajati take 5 Kriyas as the value of Khandajati is â€˜5â€™ and, in 5 Kriyas as 4 numbers of Khandajatis could be accommodated and among them you have to render only 3jatis of them as Muktayi, leave off the 1stjati in the beginning as a gap and spell out the remaining 3jatis as Muktayi.
(c) And, in the same manner, for the Kriyas running 2units each, multiply the Jatinumber with figure â€˜2â€™ and, taking equal number of its Kriyas, leave off the 1stjati as a gap and spell our the remaining 3jatis consecutively as above.
Thus, while half of the value of the Jatinumber has to be taken for the Kriyas running 8units each (for Talas like Adislowtempo), Jatinumber should be multiplied with figure â€˜1â€™ for the Kriyas running 4units each (for Talas Adimediumtempo & Rupaka) and Jatinumber should be multiplied with figure â€˜2â€™ for the Kriyas running 2units each (for Talas like Trisrarupaka & Triputa) as furnished below:
4jatis group:
01. ll ( / ) /// ll   4  8/ JNx Â½  4/ JNx1  2/ JNx2
8jatis group:
01. ll / ( / ) // ( / ) /// ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
02. ll ///3 // ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
03. ll ( / ) > ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
04. ll /// ( / ) < ll  8  8/ JNx 1  4/ JNx2  
05. ll ( / ) /// < ll  8  8/ JNx 1  4/ JNx2  
16jatis group:
01. ll / ( / ) // ( / ) /// (//) ///3 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
02. ll > ( / ) / ( / ) // ( / ) /// ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
03. ll > ( /// ) ///3 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
04. ll /// 3 ( /// ) > ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
05. ll ( / ) /// 5 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
06. ll (/ ) /// (/// ) /// (/// ) /// ll 16  8/ JNx 2  4/ JNx4 â€“ 2/JNx8
07. ll ///4 ( // ) < ll 16  8/ JNx 2  4/ JNx4  
08. ll / ( /// ) // (/// ) /// < ll 16  8/ JNx 2  4/ JNx4  
6jatis group:
01. ll / ( /// ) // ( /// ) /// ll 12  6/JNx2
02. ll ///4 // ll 12  6/JNx2
03. ll ( / ) /// ( / ) /// ( / ) /// ll 12  6/JNx2
While the other two varieties are used Talawise, this variety is of unitswise of Kriyas i.e., an easy method for Kriyas consisting of 8units, 6units, 4units and 2units respectively. Generally, if a musician is asked to render a Khandajatimuktayi i.e., t d g n t  t d g n t  t d g n t, he/she calculates 5x3=15units divided by 4units of each Kriya (in the Tala running 4units per each Kriya) resulting 3 Kriyas + 3units by which he has to take 4 Kriyas and to start leaving off 1unit in the beginning as gap and render the Muktayi of 15units  ll , t d g l n t  t d l g n t  t l d g n t ll.
(a) But, according to another easy method, to render a Khandajatimuktayi in a Tala running 8units per each Kriya, take half of the value of the Jatinumber (JN) concerned i.e., 2 Â½ Kriyas in respect of Khandajati and as 4 numbers of Khandajatis (4 x 5=20Ã·8=2 Â½ ) could be accommodated in this duration, leave off the 1stjati as a gap and spell out the remaining 3jatis in the form of a Muktayi. In the same manner the Divyasankeernajatimuktayi (4x6=24Ã·8=3) needs 3 Kriyas, Mishrajati (4x7=28Ã·8=3 Â½) needs 3 Â½ Kriyas and Sankeernajati (4x9=36Ã·8=4 Â½) needs 4 Â½ Kriyas as per the following symbols.
(b) And in the Talas running 4units per each Kriya, take equal number of Kriyas with the value of the Jati to be rendered and, as 4 numbers of respective Jatis could be accommodated in this duration and also as you need to render only 3jatis as Muktayi, leave off the1stjati in the beginning as a gap and spell out the remaining 3jatis consecutively as Muktayi i.e., to render a Muktayi in Khandajati take 5 Kriyas as the value of Khandajati is â€˜5â€™ and, in 5 Kriyas as 4 numbers of Khandajatis could be accommodated and among them you have to render only 3jatis of them as Muktayi, leave off the 1stjati in the beginning as a gap and spell out the remaining 3jatis as Muktayi.
(c) And, in the same manner, for the Kriyas running 2units each, multiply the Jatinumber with figure â€˜2â€™ and, taking equal number of its Kriyas, leave off the 1stjati as a gap and spell our the remaining 3jatis consecutively as above.
Thus, while half of the value of the Jatinumber has to be taken for the Kriyas running 8units each (for Talas like Adislowtempo), Jatinumber should be multiplied with figure â€˜1â€™ for the Kriyas running 4units each (for Talas Adimediumtempo & Rupaka) and Jatinumber should be multiplied with figure â€˜2â€™ for the Kriyas running 2units each (for Talas like Trisrarupaka & Triputa) as furnished below:
4jatis group:
01. ll ( / ) /// ll   4  8/ JNx Â½  4/ JNx1  2/ JNx2
8jatis group:
01. ll / ( / ) // ( / ) /// ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
02. ll ///3 // ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
03. ll ( / ) > ll  8  8/ JNx 1  4/ JNx2  2/ JNx4
04. ll /// ( / ) < ll  8  8/ JNx 1  4/ JNx2  
05. ll ( / ) /// < ll  8  8/ JNx 1  4/ JNx2  
16jatis group:
01. ll / ( / ) // ( / ) /// (//) ///3 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
02. ll > ( / ) / ( / ) // ( / ) /// ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
03. ll > ( /// ) ///3 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
04. ll /// 3 ( /// ) > ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
05. ll ( / ) /// 5 ll 16  8/ JNx 2  4/ JNx4  2/ JNx8
06. ll (/ ) /// (/// ) /// (/// ) /// ll 16  8/ JNx 2  4/ JNx4 â€“ 2/JNx8
07. ll ///4 ( // ) < ll 16  8/ JNx 2  4/ JNx4  
08. ll / ( /// ) // (/// ) /// < ll 16  8/ JNx 2  4/ JNx4  
6jatis group:
01. ll / ( /// ) // ( /// ) /// ll 12  6/JNx2
02. ll ///4 // ll 12  6/JNx2
03. ll ( / ) /// ( / ) /// ( / ) /// ll 12  6/JNx2
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#17
Dear brothermember, prashant & others who are following this thread, Generally, the persons who are in the beginning of the learning process will not get any doubts as they cannot follow the subject with proper understanding and the persons who are almost in the end also will not get any doubts as they have already assimilated most of the subject.prashant wrote:Dear Akella gAru: thanks for these. Will study them and come back with any questions.
But, the remaining people who are in the middle generally get many doubts. I am eager to know to which category of them you belong. Would you please clarify?
However, I shall take this oppurtinity of bringing another information in this regard to the notice of our aspirants to make the matters easier. Many of these Muktayis furnished in symbols are sung by me and provided in my CD, AMS Easy Methods which has recently been uploaded by our brothermember, vasanthakokilam to the website http://www.sangeethapriya.org/~chandra/ . Interested persons can download the same and tally the Muktayis furnished from the 39th item to 59th item of this CD. amsharma.
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#18
Dear Akellagaru: I have notated / gone through almost all of the muktayis they are very easy to follow! I'm a little behind due to some pressing work commitments. Will come back to this topic very soon and will also download the muktayis from the website you mentioned. Thanks & sorry for the delay...
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#19
Dear msakella Sir,
Superb piece of service to music. Updating these chapters is definately great work.
Thanks.
Superb piece of service to music. Updating these chapters is definately great work.
Thanks.
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#20
Hi,
I am new to this forum and I find Sarmaji's posts very useful. Could anyone give me more details of the book he has written? I would like to buy the book. Where can I get it?
Thanks
Kadalkkara
I am new to this forum and I find Sarmaji's posts very useful. Could anyone give me more details of the book he has written? I would like to buy the book. Where can I get it?
Thanks
Kadalkkara
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#21
Dear brother/sistermember, kadalkkara, Sorry dear, I could see your post today only. OK. Unless I know in which part of the globe you are how can I give you the details to get the book? So, please give me the details of your address in which country you are and I shall give you the details from where you can get this book. You can write even to my email address ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“[email protected]ÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ or you can even chat or speak to my ID ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“msakella2002ÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ either on Yahoo Messenger or Skype or Google talk. amsharma
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#22
Hi all, In the 1st post of this thread I have mentioned about the ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Mullapudi School of MridangamÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ from where I have learnt a very little but very great easy methods of easy muktayis. Recently the present descendant Chi. Mullapudi Sreerama Murthy had uploaded some of his Mridangamvideos for the benefit of the aspirants to ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“youtube.comÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢. The respective link is  http://www.youtube.com/watch?v=w9yGsx0Y8UI.
amsharma
amsharma
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#23 Re: Easy Muktayis  their utilisation in Svarakalpana  by m
Due to my inabilities in following the relevant technicalities I could not bring the muktayis in an understandable and followable manner in the 1st, 10th & 11th posts of this thread. By this, even though many have enthusiastically followed this thread in the beginning, ultimately, they all have dispersed later gradually. Since then I have been working on this to make this more enthusiastic and knowledgeable to our kids, in particular. Now, in this process, having also included another kind of Prastaramuktayis, I have uploaded the audio and pdf files of some of the respective exercises pertaining to Kalpanasvaras and also Ragalapanas to the Addendum/Anubandham under the pdf files available from http://www.sangeethamshare.org/chandra/ ... hods2007/ and the videofiles to ‘Youtube  msakella’s Youtube’ for the benefit of the aspirants. In coordination with the details furnished in the subthread ‘AMS Easy Methods2007Teaching & Learning Methods by A.M.Sharma’ of the mainthread Music School, interested aspirants can go through all the above mentioned files and get benefited. amsharma
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#24 Re: Easy Muktayis  their utilisation in Svarakalpana  by m
To tell the fact, if an efficient, honest and reliable musicteacher properly assesses the level of the rhythmical instinct of the aspirants and initiates them to work on their own in varying rhythmical intricacies right from the first day of his/her music lesson more than 80% of the aspirants can very easily sing mathamaticalkalpanasvaras even before 3 months after the completion of select Varnas which later leads to sing even Ragalapana on their own within another 3 months in the novel and qualitative method in teaching. But, this is possible only to the aspirants who can ably sing the Alankaras in 7 Talas @ 4 & 3 units i.e., in Chaturashra and Trisragatis and both the Purvanmga and Uttaranga of all the Varnas @ 4, 6 & 8units. While 5, 6, 7, 8, 6 & 8 varieties of bits are furnished for Trisrarupaka, Rupaka, Triputa, Adi (mediumtempo), Adi (Trisragati) and Adi (slowtempo) respectively of which the audio and pdf files could be obtained from http://www.sangeethamshare.org/chandra/ ... hods2007/, the 2nd variety, in particular, of all these varieties have to be practised vigorously properly understanding the mathematical implications of them. Able aspirants who can regularly practice for a minimum of four hours a day in total along with the Metronome can very easily proceed further in this respect. amsharma
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#25 Re: Easy Muktayis  their utilisation in Svarakalpana  by m
Dear Akella garu,
How does one gain control of maintaining taalam ? I find that invariably I am not able to maintain the correct kalapramanam  either I end up going too fast or too slow ... Is it required for one to learn this skill from a laya vidwan ?
Thank you for your guidance ...
How does one gain control of maintaining taalam ? I find that invariably I am not able to maintain the correct kalapramanam  either I end up going too fast or too slow ... Is it required for one to learn this skill from a laya vidwan ?
Thank you for your guidance ...
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