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Adhi Tala is actually Chatusra Jaathi Triputa Tala in the Suladi Sapta Talas contains 1 Chatusra Laghu and 2 Dhrutams with 8 Aksharas.
Artificial sound produced by man. As opposed to Natural Sound.
Unit of time in music. The basic unit of reckoning the rhythm in Carnatic Music.
This is the natural sound of any music. As opposed to Artificial Sound.
The parts of a tala are called angas. There are six angas viz., Laghu,Dhrutam,Anudhrutam, Guru, Plutam,Kakapadam.
One of the six angas used in reckoning musical time. This consists of a single beat with one akshara kala. The Jhampa Tala of Suladi Sapta Tala contains this Anga.
One of the Suladi Sapta Talas. This is the sixth tala and consists two laghus and two dhrutams.
Aavartha or Aavarthana
One cycle of any Tala is called an Aavartha. For example if we take Adhi Tala or Chatusra Jaathi Triputa Tala then completing one time its cycle is called an aavartha or in other words the angas represented by a particular tala is performed once.
A variety of Laghu consisting of 4 Akshara kalas represented by a beat followed by three finger counts.
Fourth degree of Speed. In the first speed one syllable is uttered per beat, in the second speed two syllables are uttered per beat, in the third speed four syllables are uttered and in the fourth speed eight syllables are uttered per beat.
See also Dvithiya Kala,Trithiya Kala
One of the Suladi Sapta Talas and first in the order. It contains one Laghu,one Dhrutam and two Laghus.
Faster tempo or speed as opposed to Madhyama Kala and Vilamba Kala.
One of the six angas in reckoning musical time. This consists of two akshara kalas represented by a beat and waving of the hand by showing the palm upwards.
Second degree of speed. See also Trithiya KalaChathurtha kala.
One of the Suladi Sapta Talas and last in the rank. This consists of only one laghu as its anga.
Faran is a fast-paced rhythmic syllable combination played just before Mohara One of the six angas used in reckoning musical time. The Guru is represented by a beat and a circling movement of the right hand with closed fingers in the clockwise direction. Duration of the anga is eight aksharakalas. Refers to the variety of representing the Laghu based on the five types viz., Thisra Laghu, Chatusra Laghu, Khanda Laghu, Misra Laghu and Sankeerna Laghu.
One of the Suladi Sapta Talas and fourth in the order. The angas for this tala are one laghu, one anudhrutam and one dhrutam.
One of the six angas used in reckoning musical time. This anga is represented by a beat, patakam , krushya and sarpini . The duration of each of these kriyas is four aksharakalas.
One of the variety of laghu consisting of 5 aksharakaalas with a beat and four finger counts.
Korvai is a Tamil word which means "Patterns" or in other words aesthetically made artistic patterns. The Korvai at the base has pure mathematics and it is made interesting by either notes by a vocalist and by rhythmic syllables by percussion artistes.
One of the Tala Dasa Pranas which is a mode of reckoning musical time. It may be explained as the representation of a tala by waving hand or tapping the finger etc.,
One of the modes of counting musical time. Its kriya is waving the right hand to the left.
One of the six angas used in reckoning musical time or beat. Consists of a beat and a variable number of finger counts according to its jaathi which may be one of the following :
thisra
chatusra
khanda
misra
sankeerna
One of the Tala Dasa Pranas which reckons musical time, tempo, rhythm and speed.
Layagnanam
Sound Sense of rhythm. Laya means rhythm and gnanam means sense.
Medium Speed or tempo, which is inbetween Dhurita Kala and Vilamba Kala.
One of the Suladi Sapta Talas which is second of the seven principal talas. It consists of a laghu, drutam and laghu.
A variety of Laghu consisting of a beat and six finger counts. Total counts for Misra Laghu is 7.
Mohara is a sort of crescendo played by a percussion artiste at the end of a solo piece called "Thani Avarthanam" it is usually preceeded by Faran and then succeeded by a Korvai. Mohara is played four times and a korvai is played three times after which generally a vocalist starts off the song from where he left.
Naada
It is musical sound. There are two varieties viz., Ahata Naada and Anahata Naada. Naada also means tonal variation produced by an instrument which is pleasing to the ears.
A mode of reckoning musical time without the sound. The Dhrutam which contains one beat and a wave of hand, the wave of the hand is Nissabdha Kriya or Visarjitam.
One of the modes of counting musical time. Its kriya consists of lifting up the right hand.
One of the Six Angas used in reckoning musical time; It consists of a beat, a Krushya and a Sarpini. Total aksharakalas is 12.
The third of the seven prinpipal talas. It consists of a Dhrutam and a Laghu
.A variety of Laghu consisting of a beat and 8 finger counts. Total aksharakalas is 9.
Saptha Talas
The seven principal Talas. (Saptha in sanskrit means seven). The seven talas are:Dhruva
Matya
Rupaka
Jhampa
Triputa
Ata
Eka
One of the modes of counting musical time. The method of representing this mode is by waving the right hand from left to right.
Sasabda Kriya
A mode of reckoning musical time accompanied by sound. Ex: a Beat of hand.Opposite of Nissabda Kriya .
This is the fifth of the seven principal talas. It consists of a Laghu and two Dhrutams. The famous Adhi Tala consists of 1 Laghu and 2 Dhrutams is actually called Chatusra Jaathi Triputa Tala.
A variety of Laghu consisting of a beat and two finger counts. Total number of aksharakalas is 3.
Third Degree of Speed. Next Speed to Dvithiya Kala.
Veechchu
Waving of the Hand . It is also called Visarjitam . It is a mode of reckoning musical time. It is a part of Dhrutam.
Vilambita Kala or Vilamba Kala
Slow Tempo or speed as opposed to Dvitiya Kala or Tritiya Kala.
One of the modes of reckoning musical time which consists of waving of hand also called Veechchu.
