Easy Muktayistheir utilisation in Svarakalpanaby msakella

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 1656
 Joined: 03 Feb 2010, 09:01
 x 4
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 10933
 Joined: 03 Feb 2010, 00:01
 x 11
 x 1
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#11
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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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

 Posts: 1935
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 x 1
#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.

 Posts: 1656
 Joined: 03 Feb 2010, 09:01
 x 4
#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...

 Posts: 2
 Joined: 23 Jun 2008, 09:46
#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

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#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

 Posts: 1935
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 x 1
#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

 Posts: 1935
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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

 Posts: 1935
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 x 1
#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

 Posts: 9
 Joined: 28 Apr 2012, 09:13
#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 ...

 Posts: 1935
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 x 1
#26 Re: Easy Muktayistheir utilisation in Svarakalpanaby msake
Dear brothermember, kartike, You need not immedialy approach any laya Vidwan. Please go through the contents of the 287th post (http://rasikas.org/forums/viewtopic.php? ... &start=275) &
334th post (http://rasikas.org/forums/viewtopic.php? ... &start=325) of the main thread AMS Easy Methods2007  Teaching & Learning Methods by A.M.Sharma1. Later, practice them very regularly and serially for one hour in the morning and another hour in the evening tallying with the respective videos furnished in youtube. After one week of practice contact to my ID ‘msakella2002’ on Skype and after testing your rhythmical abilities I shall guide you properly. amsharma
334th post (http://rasikas.org/forums/viewtopic.php? ... &start=325) of the main thread AMS Easy Methods2007  Teaching & Learning Methods by A.M.Sharma1. Later, practice them very regularly and serially for one hour in the morning and another hour in the evening tallying with the respective videos furnished in youtube. After one week of practice contact to my ID ‘msakella2002’ on Skype and after testing your rhythmical abilities I shall guide you properly. amsharma

 Posts: 9
 Joined: 28 Apr 2012, 09:13
#27 Re: Easy Muktayistheir utilisation in Svarakalpanaby msake
Thank you, sir, I will certainly go through this and get in touch with you for a test ... very grateful to you for your help !

 Posts: 22
 Joined: 22 Aug 2014, 14:14
#28 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
Dear all members of rasikas
I found this post to be interesting and benefiting children, hence re initiating it.
Sri AMS garu has explained these muktayis so efficiently and I personally visualized & surprised to see small kids (under 12 years) singing these very efficiently within 12 years of their entrance into music. The symbolised notations are very easy to remember and follow. This enables children to get hold / ease on swarakalpana at early stages after entering into music.
For any kid entering into music, the Laya exercises what he has given (as videos in you tube) are definitely very useful to establish a strong base in Laya. Once the Laya exercises are completed, the kid can start singing Saralis and alakaras in 1 2 3 4 6 8 speed. By the time he enters into Geetas , the kid is able to efficiently sing swarakalpana before he stabilizes in Sruti, which will set upon regular practice.
Please see Dr Prasanna's post in "Swaeroes’ amazing talent in singing classicalmusic"  These are small kids who learnt these in 1 week in a work shop.
http://youtu.be/dya7e8q7QP4
Amazing !
Thanks to Sri AMS garu for his easy Muktayis and making children to understand this at a very tender age. The symbolised notations can be attached here as a photo, since the symbols cannnot be re produced, but I am not aware of technical difficulties here.
Saraswathi
I found this post to be interesting and benefiting children, hence re initiating it.
Sri AMS garu has explained these muktayis so efficiently and I personally visualized & surprised to see small kids (under 12 years) singing these very efficiently within 12 years of their entrance into music. The symbolised notations are very easy to remember and follow. This enables children to get hold / ease on swarakalpana at early stages after entering into music.
For any kid entering into music, the Laya exercises what he has given (as videos in you tube) are definitely very useful to establish a strong base in Laya. Once the Laya exercises are completed, the kid can start singing Saralis and alakaras in 1 2 3 4 6 8 speed. By the time he enters into Geetas , the kid is able to efficiently sing swarakalpana before he stabilizes in Sruti, which will set upon regular practice.
Please see Dr Prasanna's post in "Swaeroes’ amazing talent in singing classicalmusic"  These are small kids who learnt these in 1 week in a work shop.
http://youtu.be/dya7e8q7QP4
Amazing !
Thanks to Sri AMS garu for his easy Muktayis and making children to understand this at a very tender age. The symbolised notations can be attached here as a photo, since the symbols cannnot be re produced, but I am not aware of technical difficulties here.
Saraswathi

 Posts: 9
 Joined: 07 Jan 2016, 23:46
#29 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
You have talameter available where you can practise your sarali varisai and others in 3 kalams and it will get corrected when you put on the talameter and practise with it.

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#30 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
vasudevanand
Extremely sorry, I beg your pardon for the inordinate delay in responding to your post. In this regard I am compelled to bring out some facts even though many of our musicians, as usual, feel unhappy and uncomfortable with my views in this respect.
In general, all our musicians prefer to utilize the pitchpipe only but not the Metronome even though these two things are invented and brought out by westerners to help the musicians. More over, none of our musicteachers prefer to train the kids, at the first instance, in different rhythmical exercises to enable them deal with both even and oddgatis i.e., Chaturashra and Trisragatis, very strictly along with the Metronome. In our novel system of learning music we do all these things and all our students, without any exception, certainly become able to deal with all the intricate rhythms and intricate oscillations of notes even before they fulfill learning the Varnas. Most of our musicteachers generally feel that singing in 3 kalams itself is very great. Most of them cannot sing even Alankaras both in Chaturashra and Trisragatis leave alone singing both the Purvanga and Uttaranga of all the Varnas @ 468 notes per beat.
Unless our musicteachers properly realize that, at the first instance, the Laya i.e., vehicle must be kept in proper condition to enable the person drive it efficiently we all certainly loose the abundant talents of our kids. amsharma
Extremely sorry, I beg your pardon for the inordinate delay in responding to your post. In this regard I am compelled to bring out some facts even though many of our musicians, as usual, feel unhappy and uncomfortable with my views in this respect.
In general, all our musicians prefer to utilize the pitchpipe only but not the Metronome even though these two things are invented and brought out by westerners to help the musicians. More over, none of our musicteachers prefer to train the kids, at the first instance, in different rhythmical exercises to enable them deal with both even and oddgatis i.e., Chaturashra and Trisragatis, very strictly along with the Metronome. In our novel system of learning music we do all these things and all our students, without any exception, certainly become able to deal with all the intricate rhythms and intricate oscillations of notes even before they fulfill learning the Varnas. Most of our musicteachers generally feel that singing in 3 kalams itself is very great. Most of them cannot sing even Alankaras both in Chaturashra and Trisragatis leave alone singing both the Purvanga and Uttaranga of all the Varnas @ 468 notes per beat.
Unless our musicteachers properly realize that, at the first instance, the Laya i.e., vehicle must be kept in proper condition to enable the person drive it efficiently we all certainly loose the abundant talents of our kids. amsharma

 Posts: 62
 Joined: 18 Jan 2018, 13:04
 x 9
 x 1
#31 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
Does anyone have recordings of the korvais/muktayis that are discussed in this thread? Or otherwise recommend other simpletofollow resources to make up korvais in popular talams and eduppus?
If you have any tips on what constitutes “good” korvais and not just technically correct korvais please also share.
Also any tips on how to “nicely” fit a korvai pattern into the taalam. In other words, one way to fit a korvai is to take pretty much any korvai pattern of any taalam out there, and fit it into any other taalam/eduppu combination by simply calculating which beat it should start on, and keep noodling around in the swarakalpana until we reach that beat and start the korvai. But I suspect there is more to the aesthetics of choosing the right korvai and fitting with the rest of the swaram.
Madhav
If you have any tips on what constitutes “good” korvais and not just technically correct korvais please also share.
Also any tips on how to “nicely” fit a korvai pattern into the taalam. In other words, one way to fit a korvai is to take pretty much any korvai pattern of any taalam out there, and fit it into any other taalam/eduppu combination by simply calculating which beat it should start on, and keep noodling around in the swarakalpana until we reach that beat and start the korvai. But I suspect there is more to the aesthetics of choosing the right korvai and fitting with the rest of the swaram.
Madhav

 Posts: 1935
 Joined: 30 Sep 2006, 21:16
 x 1
#32 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
Dear brothermember, MadhavRayaprolu,
Extremely sorry, I beg your pardon for the inordinate delay in responding to your post. In this regard I am compelled to bring out some facts even though many of our musicians, as usual, feel unhappy and uncomfortable with my logical views in this respect.
In general, all our musicians prefer to utilize the pitchpipe only but not the Metronome even though these two things are invented and brought out by westerners to help the musicians. But, unfortunately, none of our musicteachers prefer to train the kids, at the first instance, in different rhythmical exercises, very strictly, along with Metronome to enable them deal with both even and oddgatis i.e., Chaturashra and Trisragatis. Unless our musicteachers properly realize that, at the first instance, the Laya i.e., vehicle must properly be stabilized to enable the person drive it efficiently we all certainly loose the abundant talents of our kids.
By any chance if you are used to very regularly practice along with Metronome and you are acquainted with both the Chaturashra and Triaragatis you can go to the link “http://www.sangeethamshare.org/chandra/ ... hods2007/
http://sangeethamshare.org/chandra/AMS ... PerSecond/” and download the contents. There are two Addenda and in the Addendum1 different kinds of Muktayis are furnished along with Jatis and Swaras in Kalpanaswara1, 2 & 3 and all of them are furnished even in the CD which helps you a lot. In case of any doubt you are welcome to contact my mobile number 9908822992 at any time. amshrama
Extremely sorry, I beg your pardon for the inordinate delay in responding to your post. In this regard I am compelled to bring out some facts even though many of our musicians, as usual, feel unhappy and uncomfortable with my logical views in this respect.
In general, all our musicians prefer to utilize the pitchpipe only but not the Metronome even though these two things are invented and brought out by westerners to help the musicians. But, unfortunately, none of our musicteachers prefer to train the kids, at the first instance, in different rhythmical exercises, very strictly, along with Metronome to enable them deal with both even and oddgatis i.e., Chaturashra and Trisragatis. Unless our musicteachers properly realize that, at the first instance, the Laya i.e., vehicle must properly be stabilized to enable the person drive it efficiently we all certainly loose the abundant talents of our kids.
By any chance if you are used to very regularly practice along with Metronome and you are acquainted with both the Chaturashra and Triaragatis you can go to the link “http://www.sangeethamshare.org/chandra/ ... hods2007/
http://sangeethamshare.org/chandra/AMS ... PerSecond/” and download the contents. There are two Addenda and in the Addendum1 different kinds of Muktayis are furnished along with Jatis and Swaras in Kalpanaswara1, 2 & 3 and all of them are furnished even in the CD which helps you a lot. In case of any doubt you are welcome to contact my mobile number 9908822992 at any time. amshrama

 Posts: 62
 Joined: 18 Jan 2018, 13:04
 x 9
 x 1
#33 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
Thanks msakella garu. I’ll go through the material you posted.
I agree using a metronome helps. I also think using a tabla machine or tabla app helps even better. I have always debated with whether putting thalam with hand helps or hurts our tala gnyanam. I think it does both. While it helps us to intellectually know where we are in the cycle, it can also be a crutch and prevent us from developing an intuition for the taalam. So many students and some professionals sing kalpana swarams without any feel for the thalam and relying entirely on their counts, and it shows up. Tabla machine forces us to develop this intuition I think. Alternatively, marking only one or two important beats of the cycle with the hand instead of every beat also helps build this intuition IMO. Do you ageee?
I agree using a metronome helps. I also think using a tabla machine or tabla app helps even better. I have always debated with whether putting thalam with hand helps or hurts our tala gnyanam. I think it does both. While it helps us to intellectually know where we are in the cycle, it can also be a crutch and prevent us from developing an intuition for the taalam. So many students and some professionals sing kalpana swarams without any feel for the thalam and relying entirely on their counts, and it shows up. Tabla machine forces us to develop this intuition I think. Alternatively, marking only one or two important beats of the cycle with the hand instead of every beat also helps build this intuition IMO. Do you ageee?

 Posts: 1935
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 x 1
#34 Re: Easy Muktayistheir utilisation in Svarakalpanaby msakella
Dear brothermember, MadhavRayaprolu,
I appreciate your logical views and agree with all of them.
But, basing upon my very long acquaintance with this rhythm right from my age of 3 as a Mridangist and my very regular and institutionalized experience of more than 60 years as a teacher having taught the aspirants right from the alphabets (for example in many institutions grownup persons only are taught) I tell there is lot of difference in feeding a kid of tender age and a grownup person. amsharma
I appreciate your logical views and agree with all of them.
But, basing upon my very long acquaintance with this rhythm right from my age of 3 as a Mridangist and my very regular and institutionalized experience of more than 60 years as a teacher having taught the aspirants right from the alphabets (for example in many institutions grownup persons only are taught) I tell there is lot of difference in feeding a kid of tender age and a grownup person. amsharma