cāpu tāḷa (mish-ra CHA-poo TAH-la): A seven-beat tāḷa counted with claps on the first, fourth, and sixth beats.
mōrā (moe-rah): A rhythmic ending figure.
mrdangam (mri-dun-gum): The barrel-shaped, two-headed drum used to accompany Karnatak music.
naṭṭuvanar (not-two-vun-ahr): The dance master in a bharata nāṭyam ensemble.
Nāṭyaśāstra (NOT-ya-SHOSS-tra): The earliest known writing on Indian music, attributed to Bharata, 200 BCE–200 CE.
pallavi (pa-la-vee): In this text, a brief, rhythmically challenging song form designed for virtuosic improvisation. NB: The same word is used for the first section of the kriti, Karnatak music’s main song form.
rūpaka tāḷa (ROO-pa-ka TAH-la): A three-beat tāḷa counted clap clap wave.
sarvalaghu (sar-va-la-goo): In general, rhythm patterns that carry the flow of musical time.
solkaṭṭu (soul-cut-two): The South Indian system of spoken syllables along with the hand gestures of a tāḷa.
suladi sapta tāḷa (soo-la-dee sup-ta TAH-la): A group of seven basic tāḷa structures, each of which can have five possible durations.
svara kalpana (sva-ra kal-pa-na): A form of melodic improvisation using solfege syllables.
tabla (tub-la): The pair of drums used to accompany Hindustani music.
tāḷa (TAH-la): A meter in Karnatak music, counted by recurring sets of hand gestures.
tani āvartanam (ta-nee AH-var-ta-num): The percussion solo in a Karnatak music concert.
tavil (tah-vill): An important percussion instrument in Karnatak music.
tīrmanam (TIER-ma-nam): A set composition in bharata nāṭyam, accompanied by solkaṭṭu.
tiśra jāti (tish-ra JAH-tee): The family of three-beat rhythms. Also, when referring to the laghu, three beats.
trikāla (tree-KAH-la): “Three speeds.” A fundamental rhythmic process in Karnatak music.
tripuṭa tāḷa (tri-poo-tah TAH-la): One of the suladi sapta tāḷas. Its structure is one laghu and two drutams (clap and wave).
I
Solkaṭṭu works by combining spoken rhythmic syllables into phrases and synchronizing these phrases with a stable tāḷa. Once the phrases and tāḷa are synchronized, a large repertoire of processes can be applied to the phrases: they may be sped up or slowed down, or expanded, contracted, or otherwise altered. The internal pulse grouping of beats in the tāḷa may also temporarily change to accommodate these processes. This series of lessons introduces some basic phrases and a simple tāḷa, along with exercises that demonstrate some of the fundamental processes.
Here are some basic phrases, from one to nine syllables in length; many others are possible. Where more than one example has been listed, they are separated by commas. (01-001)
one syllable: ta, di, tom, nam, jem, tām
two syllables: ta ka, di mi, jo ṇu
three syllables: ta ki ṭa
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