Ten elements of Taal (Dash Prana)
The basic elements of a Tala in Indian Music are known as “Tala Das Prama”. These elements are the constituents of a Tala and are also the determinants of its nature, format and size. Natya Shastra, Sangeet Ratnakar and other available scriptures of such repute describe about ten basic elements of a Tala. Before discussing Tala Das Prana; it is very relevant to explain the term “Tala” with a simple example for the novices. It would be easy to understand if we compare the Avartana (cycle) of a Tala with a day, an Anga ( the part/section of a Tala) with an hour, one Matra (the external unit of an Anga) with a minute and an Aksharakalas (the internal unit of a Matra) with a second. Generally, a Matra consists of four Aksharakalas, unless specified.
1. Kaalam
It determines the duration of each Matra (the external unit), Anga (the part) and Avartana (the cycle) of a Tala.
Thus, it provides basic structure to a Tala. Kaalam is basically two types:
- a) Sukshma Kaalam has six varieties:
- (i) time taken for piercing a pile of 100 lotus leaves with a needle = 1 Kshanam,
- (ii) 8 Kshanam = 1 Lavanam,
- (ii) 8 Lavanam = 1 Kashtham,
- (iv) 8 Kashtham = 1 Nimisham,
- (v) 8 Nimisham = 1 Kalaa (time taken to normally blinking the eyes),
- (vi) 2 Kalaa = 1 Chaturbhaga,
- b. Sthula Kaalam also has six varieties:
- 2 Chaturbhaga = 1 Anudrutam,
- 2 Anudrutam = 1 Drutam,
- 2 Drutam = 1 Laghu,
- 2 Laghu = 1 Guru,
- 3 Laghu = 1 Plutam,
- 4 Laghu = 1 Kakpadam.
- (a) Dakshinam has 8 Aksharas in each Matra, ie. 1 Laghu will have 8x4=32 Aksharas).
- (b) Varddhikam has 4 Aksharas in each Matra, (ie. 1 Laghu will have 4x4=16 Aksharas).
- (c) Chitram has 2 Aksharas in each Matra, (ie. 1 Laghu will have 2x4=8 Aksharas).
- (d) Chitrataram has 1 Akshara in each Matra, (ie. 1 Laghu will have 1x4=8 Aksharas).
- (e) Chitratamam has 1/2 Aksharas in each Matra, (ie. 1 Laghu will have 1/2x4=2 Aksharas).
- (f) Atichitratamam has 1/4 Aksharas in each Matra, (ie. 1 Laghu will have 1/4x4=1 Aksharas).
- (i) Druvakam is a frictional sound of single note created by pressing and then sliding of the thumb and the index or the middle finger,
- (ii) Samyakam is a clap by the left hand on right hand,
- (iii) Tali is a clap by the right hand on left hand,
- (iv) Sannipatam is the clapping by both the hands.
- Avapam is closing of the fingers while raising up the hand,
- Nishkramam is opening the fingers closed in Avapam while lowering the raised hand,
- Vikshepam is throwing the hand lowered in Nishkramam towards right side,
- Pravesham is bringing the hand from Vikshepam towards inside.
- (i) Druvakam is a beat by the palm.
- (ii) Sarpini is moving the hand towards left side for 4 Aksharas,
- (iii) Krishya is moving the hand towards right side for 4 Aksharas,
- (iv) Padmini is bringing the hand downwards with palm facing downwards,
- Visarjitam is raising up the right hand with palm facing downwards,
- Vikshiptam is counting of fingers starting from the smallest to index finger,
- Patakam is raising up the hand for 4 Aksharas,
- Patitam is lowering the hand for 4 Aksharas.
- (a) Anudruta consisting of one Matra is expressed through Druvakam. Its symbol is U.
In Sapta Tala, it is used only in Jampa Talam. - (b) Druta consisting of two Matras is expressed through Druvakam and Visarjitam.
Its symbol is O. In Sapta Tala, it is used in all the Talas except Ekatalam./li> - (c) Laghu is expressed through Druvakam and Vikshiptam for rest of the Matras.
Its symbol is I3, I4, I5, I7, I9 (a vertical line with numbers of Matras in subscript). - In Sapta Tala, It is used in all the Talas.
- (i) Tisra Jaati Laghu has three Matras, i.e. one Druvakam and two Vikshiptam.
- (ii) Chaturasra Jaati Laghu has four Matras, i.e. one Druvakam and three Vikshiptam.
- (iii) Khanda Jaati Laghu has five Matras, i.e. one Druvakam and four Vikshiptam.
- (iv) Misra Jaati Laghu has seven Matras, i.e. one Druvakam and six Vikshiptam.
- (v) Sankeerna Jaati Laghu has nine Matras, i.e. one Druvakam and eight Vikshiptam.
- (d) Guru consisting of eight Matras is expressed through Druvakam, Vikshiptam and Patitam. Its symbol is S.
- (e) Plutam consisting of twelve Matras is expressed through Druvakam, Vikshiptam, Sarpini and Patita.
Its symbol is S (a vertical line on Guru). - (f) Kakpadam consisting of sixteen Matras is expressed through Sarpini, Krishaya, Patakam and Patitam. Its symbol is +.
- (i) Sama, when the music starts with the Tala,
- (ii) Vishama again has two varieties:
- (a) Tisra consists of three (3) Matras,
- (b) Chaturasra consists of four (4) Matras,
- (c) Khanda consists of five (5) Matras,
- (d) Misra consists of seven (7) Matras,
- (e) Sankeerna consists of nine (9) Matras.
- (a) Divya Sankirna consists of six (6) Matras,
- (b) Misra Sankirna consists of eight (8) Matras,
- (c) Deshya Sankirna consists of ten (10) Matras,
- (d) Misra Deshya Sankirna consists of twelve (12) Matras,
- (e) Deshya Shuddha Sankirna consists of sixteen (16) Matras.
- (a) When the Aksharas are increasing in subsequent Avartanas, it is Vardhamana Kalaa.
- (b) If the Aksharas are decreasing in subsequent Avartanas, it is Nashta Kalaa.
- (a) Vilambita is slow or basic speed.
- (b) Madhya is medium speed. It is double of Vilambita Laya.
- (c) Druta is fast speed. It is double of Madhya Laya.
- (a) Sama or Pipilika When all the Angas of same Matras are arranged in a composition, it is called Sama or Pipilika. e.g. O O O O O or I3 I3 I3 I3 I3. Here all the Angas carry equal value.
- (b) Srotowaham When Angas are arranged in ascending order, it is called Srotowaham. For example; U O I S.
Here Angas are arranged in such a manner that it appears like a stream of water flowing dowm from a mountain. - (c) Gopuchchham: When Angas are arranged in decending order, it is called Gopuchchham.
For example; S l O U. Here Angas are arranged in such a manner that it appears like Gopuchchha (Tail of a cow). - (d) Vedamadhyamam or Damarukam
When the Angas are arranged in decreasing and increasing order in a composition, it is called Vedamadhyamam or Damarukam.
For example; S l O l S or I O U O I. Here the Angas are arranged in such a manner that it appears like a Damaru (Lord Shiva’s Drum). - (e) Mridangam When the angas are arranged in increasing and decreasing order in a composition, it is called Mridangam.
e.g. U O l O U or O l S l O. Here Angas are arranged in such a mannaer that it appears like a Mridangam (Indian drum). - (f) Vishamam: When Angas are not arranged in any of the abovementioned manner, it is called Vishamam.
e.g. U l O S U. Since arrangement of Angas in the example is not acoording to any of the Yatis listed here, it is Vishamam.
2. Margam: - It determines the number of Aksharakalas (the internal units) in each Matra.
These are six types and also known as “Shatmargam”
3. Kriya
It signifies the action of hand to maintain the Tala and to express various Angas and Matras of a Tala.
It is two types: Marga and Desi that may be Sashabda means with sound or Nishabda means without sound.
(a) Marga
Sashabda is the first Matra of each Anga. There are four types of these Kriyas:
Nishabda is performed after Sashabda only. There are four types of these Kriyas:
(b) Desi are the popular Kriyas used commonly. There are eight types of Desi Kriyas:
4. Anga: - It signifies various parts that form the basic structure of a Tala.
There are six types of Angas mentioned in the ancient text as Shadanga:
.
The Matras of Laghu is variable and depend on its Jaati:
To finger counts for Laghu, one starts with the small finger and ends with thumb. For Misra & Sankeerna Jaati, Laghu, one comes back to the little finger after exhausting the fingers while counting up to six.
5. Graha: - It denotes the starting point of a song. It is known as Eduppu in Tamil.
There are two types of Graha - (i) Sama and (ii) Vishama.
(b) Anagata, when the music starts after the Tala,
(c) Ateeta, when the music starts before the Tala.
6. Jaati: - It is a very important factor that determines the value of Laghu.
There are five types of Jaatis:
e.g. Let us see how these Jaatis changes the value of Laghu and affects the over all structure of Rupaka Tala:
We can see that same Rupaka Tala has a minimum of five and maximum of eleven Matras. Due to variation in the Jaati of Laghu we get five different Talas to suit our purpose. There are some more kinds of Jaatis mentioned in various scriptures, but are not in use nowadays:
7. Kalaa: - It refers to the duration of one Matras of a Tala.
Kalaa is determined by the Aksharakalas in each Matra.
e.g. If the duration of one Matras is 4 Aksharas in an Avartana of Aditalam, it will be (4x8) 32 Kalaa Aditalam. If one Akshara is played in a Matra, it is called Yathakshara Kalaa. There is two types of Kalaa: Vardhamana Kalaa & Nashta Kalaa
8. Laya: Laya is often confused with Tala. Laya refers to the innate rhythm in anything.
Irrespective of whether it is demonstrated or not, it is always present. Laya can be explained as the primeval method of movements. Expression of Laya in a prearranged method through fixed time cycles is known as Tala. Thus, it serves as the structured rhythmic meter to measure musical time-intervals. It can be referred to as the physical pace of any musical movement. The common flawed belief is that rhythm or Laya is confined to percussion instruments and the rhythmic patterns produced therein. But Laya is not limited to just that.
It is present not only in melodic compositions, which usually have a rhythmic meter in an obvious manner but also in the creative aspects. Sometimes evidently like in Neraval or Kalpanaswara and delicately at others like in Raga Alapana and Tanam. Laya signifies the speed or tempo of the music and dance. It determines the time interval between the two Matras. It denotes the gaits of a Tala and is classified into three categories:
An example of the three types of Laya is given here-under in Adi Tala that consists of eight (8) Matras and thirty-two (8x4 = 32) Aksharas. First line indicates Vilambita Laya, second line Madhya Laya and third line Druta Laya:
9. Yati: It refers to the sequence of the Anga in a Tala.
It determines the order of Angas arranged in a Tala to suit the purpose of the musician or dancers.
Yatis are classified into 6 categories:
10. Prastaram
It refers to the expansion of a Tala by expanding its Angas. Any Anga of a Tala can be expanded by splitting up into a number of Angas of lesser magnitude. There are Sixteen kinds of Prastaram as per the table given here-under:
Courtesy:
Gyanendra Bajpai, Lecturer - Bharatanatyam
Office: Bhatkhande Music University,
1, Qaiserbagh, Lucknow - 226 001. India