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 Mridangam-accompaniment lest they miss the Laya of their Tala. As Mridangam has become an indispensable and main Tala-vadya of a Karnataka-music-concert, they are unable to avoid it but always try to transfer the head-ache of rendering Tala for the Mridangam-tani to the Violin-accompanist.

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 high-rate 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, Jati-muktayis and Svara-muktayis 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 Tala-cycle - 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 Tala-cycle syncopated with Jati - in which syncopated Jatis should be rendered in various patterns of sequence in the duration equal with the number of ‘units’ of the Tala-cycle or its multiples.

3.Multiples of Jati syncopated with Tala-cycle - 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 Sama-graha 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 TALA-CYCLE:
( Note: t - tha, t - ta, d - dhi, g - gi, ¸ - ¸a, k - ka, k - ki, m - mi, ‘,’ - a comma indicates a gap of 1-unit, ‘;’ - a semi-colon indicates a gap of 2-units)

Pronunciation of Jatis of respective units:
Jati of 1-unit - t
Jati of 2-units - tk
Jati of 3-units - tkt
Jati of 4-units - tkdm
Jati of 5-units - tdgnt
Jati of 6-units – td,gnt
Jati of 7-units – 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 Rupaka-tala having even number of Kriyas and units is furnished hereunder followed by Trisra-rupaka-tala and Chapu-tala. Aspirants desiring to have the same in other Adi (medium-tempo), Adi (slow-tempo) and Adi (Trisra-gati) Talas also can obtain them from my book mentioned above.

1.1.Rupaka-tala – 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 pd , ; ; - 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 pd , ; ; - 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.Trisra-rupaka - 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 – 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 Gopuccha-yati i.e., cow’s tail, every time reducing 1-unit gradually and with all the figures furnished above, they can understand, follow and assimilate very easily. Both for Sama-graha and Anagatha-graha in notation of all the above varieties and also for different Ragas anybody can refer my book, Sangita Svararaga Sudha (Telugu / English).

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.

Dear brother-member, 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 un-willingly. 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 ‘tapas’ 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.

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

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 pre-determined fashion. Sri Nedunuri also sings swarams in this simple and elegant fashion so beautifully.

Dear brother-member, 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.

After earnestly following your lessons and guidance, many of us will be fortunate to call ourselves e-followers of you. That is quite a pedigree. We thank you.

prashant
Done!

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.

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 TALA-CYCLE SYNCOPATED WITH JATI:

To make the typing easy, the user-friendly-symbols, 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., t-d-g-n-t.
^ - the Jati should be rendered only twice i.e., t-d-g-n-t - t-d-g-n-t.
 - the Jati should be rendered only thrice as Muktayi i.e., t-d-g-n-t - t-d-g-n-t - t-d-g-n-t.
 - the Jati should be rendered four times i.e., t-d-g-n-t - t-d-g-n-t - t-d-g-n-t - t-d-g-n-t.
 - the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1-units i.e., t ; , - d ; , - g ;
, - n ; , - t ; , - t , - d , - g , - n , - t , - t-d-g-n-t.
 - the Muktayi should be rendered in Trisra-gati.
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., 3-units, 2-units and 1-unit - t ; -d ; - g ; - n ; - t ; - t , - d , - g , - n , - t , - t-d-g-n-t - consecutively in decreasing order of value (super-script)
    - 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 (sub-script)
^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.

Rupaka-tala – 6 (12): Shambhomahadeva - Pantuvarali:

Chaturashra-jaati-rupaka-tala, 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 Khanda-jati fit in (12 x 5=60÷12=) 5 Avartas, Divya-sankeerna-jati fit in (12 x 6=72÷12=) 6 Avartas, Mishra-jati fit in (12 x 7=84÷12=) 7 Avartas and Sankeerna-jati fit in (12 x 9=108÷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 1-jati (  ) in the beginning, later giving a gap of 3-jatis (), again singing aloud 2-jatis (^), again giving a gap of 3-jatis () and lastly singing aloud 3-jatis ( ), thus making a total of (1+3+2+3+3=) 12-jatis -
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 Divya-sankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashra-gati, three numbers of Jatis of the same kind fit in. So, if a muktayi in Trisra-gati has to be calculated, to make it easy, it should be calculated in Chaturashra-gati only and be executed in Trisra-gati.

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 ¼ folded-portion of the half-page of A4 Sheet to keep it in their shirt-pocket and use if required. amsharma.

2. MULTIPLES OF TALA-CYCLE SYNCOPATED WITH JATI:

To make the typing easy, the user-friendly-symbols, 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., t-d-g-n-t.
// - the Jati should be rendered only twice i.e., t-d-g-n-t - t-d-g-n-t.
/// - the Jati should be rendered only thrice as Muktayi i.e., t-d-g-n-t - t-d-g-n-t - t-d-g-n-t.
//// - the Jati should be rendered four times i.e., t-d-g-n-t - t-d-g-n-t - t-d-g-n-t - t-d-g-n-t.
> - the Jati should be rendered in 3 degrees of speed @ 4, 2 & 1-units i.e., t ; , - d ; , - g ;
, - n ; , - t ; , - t , - d , - g , - n , - t , - t-d-g-n-t.
< - the Muktayi should be rendered in Trisra-gati.
///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., 3-units, 2-units and 1-unit - t ; -d ; - g ; - n ; - t ; - t , - d , - g , - n , - t , - t-d-g-n-t - consecutively in decreasing order of value (super-script)
( /// ) - 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. Rupaka-tala – 6 (12): Shambhomahadeva - Pantuvarali:

Chaturashra-jaati-rupaka-tala, 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 Khanda-jati fit in (12 x 5=60÷12=) 5 Avartas, Divya-sankeerna-jati fit in (12 x 6=72÷12=) 6 Avartas, Mishra-jati fit in (12 x 7=84÷12=) 7 Avartas and Sankeerna-jati fit in (12 x 9=108÷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 1-jati ‘/ ‘ in the beginning, later giving a gap of 3-jatis ( /// ), again singing aloud 2-jatis ‘ // ‘, again giving a gap of 3-jatis ( /// ) and lastly singing aloud 3-jatis ‘/// ‘ , thus making a total of (1+3+2+3+3=) 12-jatis -
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 Divya-sankeerna (6) or Mishra (7) or Sankeerna (9) in Chaturashra-gati, three numbers of Jatis of the same kind pertaining to Trisra-gati fit in. So, if a muktayi in Trisra-gati has to be calculated, to make it easy, it should be calculated in terms of Chaturashra-gati only and be executed in Trisra-gati.

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 ¼ folded-portion of the half-page of A4 Sheet to keep it in their shirt-pocket and use if required. amsharma.

Dear brother & sister-members, Please take the 11th post only into consideration but not the 10th at all. amsharma.

2.2. Trisra-rupaka - 5 (10)

Trisra-jaati-rupaka-tala, consisting of 5 riyas in each Avarta or cycle, consists of 10-units 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 Khanda-jati fit in (10 x 5=50÷10=) 5 Avartas, Divya-sankeerna-jati fit in (10 x 6=60÷10=) 6 Avartas, Mishra-jati fit in (10 x 7=70÷10=) 7 Avartas and Sankeerna-jati fit in (10 x 9=90÷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):

Trisra-jaati-triputa-tala, consisting of 7 Kriyas in each Avarta or cycle, consists of 14-units 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 Khanda-jati fit in (14 x 5=70÷14=) 5 Avartas, Divya-sankeerna-jati fit in (14 x 6=84÷14=) 6 Avartas, Mishra-jati fit in (14 x 7=98÷14=) 7 Avartas and Sankeerna-jati fit in (14 x 9=126÷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.

2.4. Adi (medium-tempo) - 8 (32):

Adi (Chaturashra-jaati-triputa)-tala (medium-tempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 32-units 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 Khanda-jati fit in (32 x 5=160÷32=) 5 Avartas, Divya-sankeerna-jati fit in (32 x 6=192÷32=) 6 Avartas, Mishra-jati fit in (32 x 7=224÷32=) 7 Avartas and Sankeerna-jati fit in (32 x 9=288÷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 (slow-tempo) - 8 (64):

Adi (Chaturashra-jaati-triputa)-tala (slow tempo), consisting of 8 Kriyas in each Avarta or cycle, consists of 64-units 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 Khanda-jati fit in (64 x 5=320÷64=) 5 Avartas, Divya-sankeerna-jati fit in (64 x 6= 384÷64=) 6 Avartas, Mishra-jati fit in (64 x 7=448÷64=) 7 Avartas and Sankeerna-jati fit in (64 x 9=576÷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 (Trisra-gati) - 8 (48):

Adi (Chaturashra-jaati-trisra-gati-triputa)-tala, consisting of 8 Kriyas in each Avarta or cycle, consists of 48-units 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 Khanda-jati fit in (48 x 5=240÷48=) 5 Avartas, Divya-sankeerna-jati fit in (48 x 6= 288÷48=) 6 Avartas, Mishra-jati fit in (48 x 7=336÷48=) 7 Avartas and Sankeerna-jati fit in (48 x 9=432÷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.

Dear Akella gAru: thanks for these. Will study them and come back with any questions.

3.Multiples of Jati syncopated with Tala-cycle:

While the other two varieties are used Tala-wise, this variety is of units-wise of Kriyas i.e., an easy method for Kriyas consisting of 8-units, 6-units, 4-units and 2-units respectively. Generally, if a musician is asked to render a Khanda-jati-muktayi i.e., t d g n t - t d g n t - t d g n t, he/she calculates 5x3=15-units divided by 4-units of each Kriya (in the Tala running 4-units per each Kriya) resulting 3 Kriyas + 3-units by which he has to take 4 Kriyas and to start leaving off 1-unit in the beginning as gap and render the Muktayi of 15-units - 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 Khanda-jati-muktayi in a Tala running 8-units per each Kriya, take half of the value of the Jati-number (JN) concerned i.e., 2 ½ Kriyas in respect of Khanda-jati and as 4 numbers of Khanda-jatis (4 x 5=20÷8=2 ½ ) could be accommodated in this duration, leave off the 1st-jati as a gap and spell out the remaining 3-jatis in the form of a Muktayi. In the same manner the Divya-sankeerna-jati-muktayi (4x6=24÷8=3) needs 3 Kriyas, Mishra-jati (4x7=28÷8=3 ½) needs 3 ½ Kriyas and Sankeerna-jati (4x9=36÷8=4 ½) needs 4 ½ Kriyas as per the following symbols.

(b) And in the Talas running 4-units 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 3-jatis as Muktayi, leave off the1st-jati in the beginning as a gap and spell out the remaining 3-jatis consecutively as Muktayi i.e., to render a Muktayi in Khanda-jati take 5 Kriyas as the value of Khanda-jati is ‘5’ and, in 5 Kriyas as 4 numbers of Khanda-jatis could be accommodated and among them you have to render only 3-jatis of them as Muktayi, leave off the 1st-jati in the beginning as a gap and spell out the remaining 3-jatis as Muktayi.

(c) And, in the same manner, for the Kriyas running 2-units each, multiply the Jati-number with figure ‘2’ and, taking equal number of its Kriyas, leave off the 1st-jati as a gap and spell our the remaining 3-jatis consecutively as above.

Thus, while half of the value of the Jati-number has to be taken for the Kriyas running 8-units each (for Talas like Adi-slow-tempo), Jati-number should be multiplied with figure ‘1’ for the Kriyas running 4-units each (for Talas Adi-medium-tempo & Rupaka) and Jati-number should be multiplied with figure ‘2’ for the Kriyas running 2-units each (for Talas like Trisra-rupaka & Triputa) as furnished below:

4-jatis group:

01. ll ( / ) /// ll - - 4 - 8/ JNx ½ - 4/ JNx1 - 2/ JNx2

8-jatis 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 - ---

16-jatis 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 – 2/JNx8
07. ll ///4 ( // ) < ll -16 - 8/ JNx 2 - 4/ JNx4 - ---
08. ll / ( /// ) // (/// ) /// < ll -16 - 8/ JNx 2 - 4/ JNx4 - ---

6-jatis group:

01. ll / ( /// ) // ( /// ) /// ll -12 - 6/JNx2
02. ll ///4 // ll -12 - 6/JNx2
03. ll ( / ) /// ( / ) /// ( / ) /// ll -12 - 6/JNx2

Dear brother-member, 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.
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 brother-member, 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.

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...

Dear msakella Sir,
Superb piece of service to music. Updating these chapters is definately great work.

Thanks.

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

Dear brother/sister-member, 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 ‘msakella2002@yahoo.co.in’ or you can even chat or speak to my ID ‘msakella2002’ either on Yahoo Messenger or Skype or Google talk. amsharma

Hi all, In the 1st post of this thread I have mentioned about the ‘Mullapudi School of Mridangam’ 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 Mridangam-videos for the benefit of the aspirants to ‘youtube.com’. The respective link is - http://www.youtube.com/watch?v=w9yGsx0Y8UI.
amsharma

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 Prastara-muktayis, 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/ ... hods-2007/ and the video-files to ‘Youtube - msakella’s Youtube’ for the benefit of the aspirants. In co-ordination with the details furnished in the sub-thread ‘AMS Easy Methods-2007-Teaching & Learning Methods by A.M.Sharma’ of the main-thread Music School, interested aspirants can go through all the above mentioned files and get benefited. amsharma

To tell the fact, if an efficient, honest and reliable music-teacher 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 mathamatical-kalpanasvaras 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 Trisra-gatis and both the Purvanmga and Uttaranga of all the Varnas @ 4, 6 & 8-units. While 5, 6, 7, 8, 6 & 8 varieties of bits are furnished for Trisra-rupaka, Rupaka, Triputa, Adi (medium-tempo), Adi (Trisra-gati) and Adi (slow-tempo) respectively of which the audio and pdf files could be obtained from http://www.sangeethamshare.org/chandra/ ... hods-2007/, 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