SOME RARE TALAS
IN KERALA MUSIC
Dr. S. Venkitasubramonia Iyer
Broadly speaking, the music of Kerala is fundamentally identical
withthe music of the rest of South India, popularly referred to as 'Karnatak
music'. The name sopanasangita by which the music of Kathakali and
the pre-Svati Tirunal classical music in Kerala has been known, does not
indicate a separate system of music, as some people believe, but a style of
singing in a somewhat slow tempo without prominence to melodic or
rhythmic graces. The singing by the marar, the professional musician
hereditarily attached to the Kerala temple, at the flight of steps called
sopana leading to the sanctum sanctorum, typified this music and hence the
name. Still, when we carefully examine in detail the original indigenous
music of Kerala we find in <it certain' distinctive characteristics. For
example the ragas like Indisa, Navarasam, Kedarappantu, Srikanthi, Kantharam
etc., we do not meet with elsewhere. Ragas like Indalam; Puranir, Kanak-
etc., have their counterparts only in ancient Tamil music and not
modern Karnatak music. Similarly with regard to the talas also we
certain peculiarities and meet with some rare specimens.
. ~ome peculiarities
Of the.six common angas - part of a tala - namely Anudruta, Druta,
Laghu, Guru, Pluta and Kakapada, the lasrisveryrarely.met with and is
not an anga in the talas commonly used. The Anudruta is called by its
synonym 'Virama'. The symbols for Laghu,Druta, and. Kakapada are the
same as in Karnatak music namely, a vertical line, a circle and a plus sign
.··respectively. But. Anudruta is. shown. by a small horizontal line followed
by a vertical line, something like the English letter 'L' reversed, the Pluta
bYa<small circle followed by a symbol resembling the Arabic numeral
3, and Guru by a symbol resembling the Bnglish Ietter 'S'. For
SANGEET NATAK 6
we can indicate them by their initial letters, L = Laghu, V = Virama,
G = Guru, P = Pluta and K= Kakapada.
The duration of each of these angas is the same as in Kamatak music.
Thus L has one matra, D half matra, V quarter matra, G two matras, P
three matras and K four matras. But the concept of Jati for L, by whichwe
get its different varieties like Chaturasra, Tisra, Misra, Khanda and Sankirna,
each with a different time-value,is not seen. Only its normal variety
(chaturasra) is recognised. The Virama is always associated with either
L or D and comes after them, and never before. It does not occur inde-
pendently or with other angas.
Differences in gati, however, figure in this music. Gati is denoted
by the term Kooru. But the names of the gatis are different. Tisragati is
Pancharikooru, Misragati Adantakooru and Khandagati Champakooru.
The change of gati is perspicuous in the ramifications of talas in playing
Tayambaka, a kind of systematic elaboration on the percussion instrument
Chenda, and in the orchestra called Panchavadya.
The three layas, Druta, Madhya and Vilambita representing the fast,
medium, and slow tempos are accepted. The theoretical position that
Madhya is double the Druta and Vilambita is double the Madhya is granted,
but in actual rendering the speed is changed in an arbitrary manner parti-
cularly when the percussion instruments are played alone. The practical
direction is that a little reduction of the speed of Druta results in Madhya
and a further reduction results in Vilambita. The change can be likened
to the shift in tempo between the -Purvanga and Uttaranga of a Varna
composition resorted to by some musicians. In playing the instrument
Timila, however, in temple rituals, each succeeding tempo' should have
either double or half the number of matras of the preceding tempo, accord-
ing as the progress is from fast to slow or vice versa.
Every anga, except V and K, is to be played by a main beat followed
in the case of Timila, Maddala etc., by appropriate other sounds for its
duration. These latter are called 'showing the matras' (matrakattuka in
Malayalam). V and K are nissabdas and have no beat; so too L if it is
considered as nissabda. It may be noted that 'Anudruta (Virama) which is a
simple beat in Karnatak music is, generally silent in Kerala music, except
in Champatala in which V is sometimes a beat.
Some rare talas figure in the dance music as well as the temple music
of Kerala. In ordinary secular music we find the common talas of Kamatak
music but with names different from theirs.
Rare talas for dance
Among the rare talas met with in treatises but not much in vogue
today may be mentioned a. few. These are. particularly indicated
7 RARE TALAS
to be for intricate dances by the famous Malayalam poet Kunchan Nam-
pyar in one of his Tullal works named Harinisvayamvaram.
Kundanacchi. This is a tala of 12 matras. Its scheme as can be
seen from the description
sadruta laghudvayi sadruta laghutrayi .
sadruta laghudvayi sadrutam plutam
is LLD, LLLD, LLD, PD. But Ramapanivada in his Talaprastara gives
a slightly different arrangement of these angas. He says,
druto laghudvayam dasca latrayam ca tato drutah
laghudvayam da plutasca tale khantharavabhidhe
and adds 'ghantaravam kundanacchi'. The arrangement according to this
definition will be, D, LLD, LLLD, LLD, P. In a manuscript of the work
the symbols are also found given in this order. When the tala is actually
played the difference between the two arrangements will not be perceptible.
It is likely that Kuntanacchi is the local name and its original name was
'ghantarava', Though Kunchan Nampyar deals with this tala in connec-
tion with dance, Ramapanivada has composed a Panchapadi song in this
tala in his Sivagitit .
Kumbha. This has 20 matras with the scheme LLLLLDD, LLLDD,
LGG, LL, LLL as given by Nampyar. The last three laghus are nissabdas.
But it appears that there is another view which considers this tala as having
fifteen matras or a quarter matra more.
Lakshmi. This tala too has 20 matras. The scheme is LLGDD,
LG, LLDD, LD, LDDD, LL, LLL, the last three laghus being nissabda.
But in the manuscripts dealing with talas we find two noteworthy state-
ments about this tala namely that it is identical with Kundanacchi and that
ithas28! matrass with the scheme LLLLLV,LLLLLV,LLV, LLV, LLLLLV,
GG, L, P. This shows either a confusion between different talas or the
fact of different talas having been known by the same name at different
periods in the development of Kerala music.
Karika. This has 5 matras and the scheme LLLG.
1 Vide L. S. Rajagopalan 'Sivagiti of Ramapanivada' in Journal of the Music Academy,.
Madr~ Vol. XXXVI. p. 82. Sri Rajagopalan points out .that the word Kundranchi
occurs In Yajurveda as denoting the name of an animal belonging to the lizard family and
C!bserves that the name might have been adopted for this tala on account of a possible
smlili.arity between the cadence of this tala and the gait of that creature. B~t the fact
remaIns unexplained why this name isnot found in any of the numerous classical works
on music, ancient or modern.
2 Vide the writer's article 'Keralavum Sangitasastravum' in the Malayalam periodical
Matrubhumi Weekly, 5th OCtober, 1952.
SANGEET NATAK 8
Talas in Temple Ritual
In the different rituals of the Kerala temple certain talas are pres-
cribed. These are to be played in the percussion instrument called Timila,
. a long drum with the mouths covered with goatskin of medium thickness,
to be played by both palms to the accompaniment of other percussion
instruments like the drum Vikkuchenta, the gong Chengila and the cymbals
Kaimani. This is commonly known as Panikottu. Particular talas are
laid down for particular deities and particular occasions. The same tala
is also found prescribed sometimes for more than one deity and more than
one occasion. The more important talas of this category are the following.
Munam talam.Matras - 7, Angas - PGG, Deities - Brahma,
Vishnu, Sarasvati, Garuda, Ananta; . the dikpalas Indra, Soma and Isana.·
Occasions - the first inner pradakshina and digbali at Northwest corner.
Mutakku talam. Matras - 5. Angas - GLG. Deities - Brahma,
Vishnu, Matrs; the dikpalas Agni, Nirrti and Vayu, Occasions - the
second inner pradakishina and digbali at Southwest corner.
Takatutalam. Matras - 6. Angas - GGG. Deities - Vishnu,
Siva, Virabhadra; the dikpalas Varuna and Kubera. Occasions ---:- the
third inner pradakshinaand digbali at Southeast corner.
Ancham talam. Matras - 9. Angas - PLLGG, the first laghu
being nissabda. Deity - Ganapati. Occasion - the fourth inner pra-
dakshina. '
Ekatalam. Matra -1. Anga - L. Deities - Vishnu,Sasta,
Shanmukha, Dvarapalas and dikpala Yama, Occasions - the fifth inner
pradakshina and the second and fifth outer pradakshinas.
These five are the main talas, but we get the following also,
Sambhutalam. Matras - 3. Angas - DDG. Occasion third
outer pradakshina.
Mangalatalam. Matras - 4. Angas - GLL. Occasions digbali
at the Northeast corner (druta in 4 matras), bali on the big balipitha (madhya
in 8 matras), bali for kshetrapala (vi/ambita in 16 matras).
Rantamtalam. Matras - 3. Angas - LG. Occasion --"- first outer
pradakshina.
Nalam talam. Matras- 8. Angas -PLGG. Occasion. --'-'
the big balipitha at the close of the fifth pradakshina.
Sakatu talam. Matras- 4; Angas-LLG. Occasion fourth
outer pradakshina.
9 RARE TALAS
Karika tala. This tala mentioned earlier is prescribed for digbali at the
,four main quarters.
For the special ritual called Utsavabali, which isa particularly im-
portant function to be discharged with meticulous care, an expert is necessary
for playing the Timila. The sounds in this drum are to be so produced as
to synchronise with the mantra uttered by the priest and the mystic gestures
shown by him. For this some talas are prescribed. But curiously, each
of these has two varieties and which variety is to be used for which particular
item in the ritual is decided on the basis of traditional practice. The follow-
ing are the talas,
Chempata LLLVor LLG.
Adanta LVDDLVor LVLLLV.
Rupaka LLVor LG.
Eka LorG
Karika LLLLV or LLLG.
It may be noted that forEka and Karika one of the varities is the same as
what we have noticed earlier.
Talas in secular Music
In secular music we find the talas to be identical in form with those in
Karnatak music but different in name. The name, number of aksharakala
and the equivalent in Karnatak music with regard to each of these are given
below»
Chempata 8 aksharakalas Chaturasrajati Triputa (L4DD)I
Adanta 14 KhandajatiAta (LsLsDD)
" Tisrajati Triputa (L3DD)
Muriadanta - 7
" Misrajati Jhampa (~VD)
Champa 10
Panchari 6 Caturasrajati Rupaka (L4D)
Ekam 4 Caturasrajati Ekam (L 4)
"
The matras for these according to the values given earlier for Laghu,
Drl/ta etc., will be respectively 2, 3, 2, 11, I! and 1. But this is totally in-
correct because the aksharakala varies according to the jati of the Laghu
and, as' pointed out before, the concept of this jati is' not perceptible in
practical Kerala music. The duration ofa particular tala is, therefore,
indicated .by additional angas like Druta or ViramaorNissabdalaghll. For
instance, in Adanta which has LVDDLV,we get 3! matras and taking L as
equivalent to 4 aksharakalas (the normal ehaturasrajati) and correspond-
inglyD to be of 2 aksharakalas and Vof Iaksharakala, we get 14aksharakalas
for, one avarta of the tala.' And if we take the tala cycle as commencing
IThe numeral beneath L indicates its jati and thereby its.aksharakala or time duration in
Karnatak music.
10 . SANGEET NATAK
from the second Laghu, we get LVLVDD which is exactly the same as our
Khandajati Atatala. Similarly in Chempata having LLG the relative time-.
interval between the beats is the same as in Chaturajati Triputa, popularly
known as Aditala; only the Nissabdakriya of counting the fingers should
be replaced by another Nissabdakriya of a wave of the palm of equal dura-
tion and the tala cycle should commence with Guru. So also in Panchari
the relative time-interval between the beats is the same as in Rupaka and it
will be identical with it if we consider it as Rupakachapu in which the angas
are only the beats.
It may be noted that the name 'Chempata' is a modified form of the
name 'Jhompata' for a tala of this description seen in classical treatises on
music in Sanskrit.' The name 'Muriadanta' which means a segmented
Adanta is significant in that its time-value is just half that of Adanta. 'Champa'
and 'Jhampa' are only two forms of the same name. The origin of the name
Panchari (also known as 'Panchakarika') is not traceable.
Of the seven common talas, known as Suladi talas namely, Dhruva,
Mathya, Rupaka, Jhampa, Ata, Triputa and Ekam in their most popular
and conventional jatis, all except the first two, have their equivalents in
Kerala music as can be seen from the above. Mathya also is there because on
a careful examination it can be seen to be the same as Mutakku. The number
of angas and the relative time interval between them are the same for these
two talas, for GLG is simply LDL doubled. Similarly Munamtala can be
seen to be identical with Tisrajati Triputa. As for Dhruva we find a serious
difference. Instead of the conventional LDLL, in Kerala music this tala,
in its simplest form is given as having a single laghu but as having fifteen
other varieties with angas steadily added on resulting in the last variety
having 28 matras, but none of these answer to the anga pattern of this tala
in Karnatak music.' It may incidentally be pointed out that Rantam,
Munam, Nalam and Ancham talas which literally mean the second, third,
fourth and fifth, are really the respective varieties of Dhruva tala as con-
ceived in Kerala.
The name 'Suladi' is familiar in Kerala music, although in its modi-
fied form 'Chuzhadi'. According to one view the constituents are Mutakku,
Takatu, Dhruva, Eka, Rupaka, Adanta and Champa. According to another,
they are Dhruva, Matta, Pratimatta, Nissara, Atta, Rasaka, and Eka and these
have 16, 6, 4, 6, 6, 3 and 3 varieties respectively. Another source gives
these as Dhruva, Matta, Pratimatta, Ata, Rasaka, Lambhaka and Eka. It
is not possible to equate all these with the Suladitalas now current in
Karnatak music. But the varieties of some of these can be seen to be identi-
cal with certain talas current in the ritualistic music noticed earlier. For
instance, Mangala tala is the variety of Matta (Mathya) called Sagona:
Mutakkutala is its Raganavariety.
11 RARE TALAS
The five Mahatalas like Chacchatputa, Chachapuia etc., are found
mentioned in musical treaties in Malayalam; so also the 108 talas described
by Sarngadeva and others. But these do not seem to have been in actual
vogue at any time.
The above examination of the talas in Kerala music shows that some
of them are identical with certain talas in Karnatak music but some are
rare and peculiar to Kerala. Even the talas which have their parallels in
Karnatak music have names different from them. The absence of the
concept of jati for laghu has necessitated in many casesa pattern of arrange-
ment of the angas different from that current in other parts but having the
same total duration and same positions of the beats. It is also noteworthy
that Kerala music has a set of talas exclusively for ritual purposes.
Dr. S. Venktasubramonia Iyer, M.A. studied Kamatak vocal music underPalghat.Venka!sri
Bhagavatar and Attungal Padmanabha Bhagavatar. He is a scholar of S,anskrlt Cfnd Is.a
lecturer in that department at the University of Trivandrum: Dr. Iyer IS a 'musicologist
of repute and has contributed articles to several outstanding Journals.
