In Part 1, we explored the expressive depth of Carnatic music through its various melodic forms. Now in Part 2, we turn our attention to the heart of rhythm: the Tala system. Talas are not just timekeepers—they are the pulse, discipline, and canvas upon which compositions are structured.

🪘 What is Tala in Carnatic Music?

In Carnatic music, Tala refers to the rhythmic cycle that governs a composition. While North Indian (Hindustani) music recognizes a vast range of talas, Carnatic music uses a more structured and mathematical approach, centering around 7 core talas, which are then expanded through rhythmic permutations called jatis.

🧮 The Core Tala System: 7 Primary Talas × 5 Jatis = 35 Talas

There are 7 main talas, and each can be rendered in 5 jatis, resulting in a total of 35 talas. Historically, texts mentioned 108 talas, but in modern practice, the focus has narrowed to these foundational patterns.

The 7 Basic Talas:

1. Dhruva

    

2. Matya

    

3. Rupaka

    

4. Jhampa

    

5. Triputa

    

6. Ata

    

7. Eka

    

Each tala has different sections (angas) made up of rhythm units like laghu, dhrutam, and anudhrutam.

📏 Jatis – The Subdivisions of Laghu

The laghu unit varies in length based on the jati (subdivision). Here’s how the 5 jatis define the number of beats in a laghu:

By combining these jatis with the 7 talas, we get 35 unique talas. For example, Dhruva tala in Tisra jati becomes a tala of 11 beats: 3 + 2 + 3 + 3 = 11.

🔢 Symbols Used in Tala Notation

Carnatic talas use specific symbols to represent the rhythm units:

Extended symbols like guru (8 beats), pluta (12 beats), and kakapada (16 beats) exist in older texts but are rarely used in contemporary compositions.

🎼 Example – Chatusra Jati Talas and Their Structures:

These examples use chatusra jati (4-beat laghus). Changing the jati changes the tala length.

🎵 Unique Features of the Carnatic Tala System

1. Clap on the First Beat of Every Section
   Unlike Hindustani music, where some sections are silent, every section in Carnatic tala begins with a clap.

    

2. Vinyasa of Other Beats – Visarjitam
   Beats beyond the first are indicated through hand gestures:

    

   • Pataka Visarjitam – Raising the hand

      

   • Krusya – Moving the hand to the left

      

   • Sarpini – Moving the hand to the right

      

3. Special Rules for Anudhrutam and Dhrutam

    

   • Anudhrutam (1 beat) has no visarjitam.

      

   • Dhrutam (2 beats) has a clap on the first and visarjitam on the second.

      

4. Laghus Vary Based on Jati
   Clap on the first beat, and perform visarjitam on the rest according to the number of beats in that jati.

    

5. Number of Symbols = Number of Sections
   Each tala’s structure is reflected in its notation symbols.

    

6. All Talas Start on the Samam (Downbeat)
   Every tala cycle begins on a clearly marked first beat.

    

7. Simplified Notation for Jati
   Instead of writing “Tisra Jati Dhruva Tala”, Carnatic notation may simply indicate the laghu count:
   Example: |3| o |3| 3| for a Tisra Jati Dhruva Tala.

    

8. Unlike Hindustani Talas, Carnatic Talas Don’t Have Fixed Bols
   Carnatic music focuses on structure, not bol patterns. This allows performers to use hand gestures for keeping time without specific syllables.

    

🧾 Writing Talas in Carnatic Notation

When adapting talas from Hindustani to Carnatic format, certain changes are made:

• If a section contains a silent beat (kaal), it is combined with the previous section.

   

• To maintain the original rhythmic structure, a “+” sign is used to indicate this change, without reducing the number of sections.

   

For example, Hindustani Jhaptal: 2 + 3 + 2 + 3
→ may be adapted in Carnatic as: 2 + (3+2) + 3
→ ensuring three sections and consistent tala identity.

🎶 Why This Matters

Understanding tala is vital for any Carnatic music student or performer. While raga gives us melody and mood, tala gives shape, structure, and discipline to a composition. Every composition—be it a Varnam, Kriti, or Tillana—draws power from rhythmic mastery.

At Sur Sanskaar Academy of Music, we guide students to internalize these rhythms, not just count them. When tala becomes second nature, music truly flows.

🌿 Want to dive deeper into Raga-Tala improvisation or join our performance workshops?
Reach out to us ➝

Stay tuned for the next part where we explore rhythmic improvisations and their role in concerts!