t CHAPTER - IV

l;.,0.

CONCEPT OF LAYA IN THE

COMPOSITIONS OF SYAMA SASTRI
 CONCEPT OF LAYA IN THE
COMPOSITIONS OF SYAMASASTRI

Raga, ta!a and bhava are the fundamentals of KapJa!ic music. The
coalescence of these three essential factors is required for a composer or a
musician to achieve utmost perfection. Though our Great composers have
done equal justice to these three aspects, it is the raga aspect which is
considered to be predominant in Dikshitar' s musical compositions, while
the bhava aspect is projected in Tyagaraja kritis and the ta]a aspect
dominates the compositions of Sri Syamasastri. Syamasastri, who acquired
mastery over the intricacies of laya and ta]a, always attempted innovations
in the field. An adept in working out the tala .
" prastara, it was quite natural
that he could create the new ta�a, Sarabhanandana with complicated
combinations of angas. His compositions are marvels in the rhythmical
aspect and an analytical study must be made to grasp their peculiar
rhythmic flow, as also to understand the beautiful patterns of taJa jafis
inherent in them.

Laya and tala concepts in music

�kF41i:il �: frrc:rT [the pitch (sruti) is the mother and time (laya) is the
father of music] is a familiar quoting in Indian music. The term 'laya' here
in is, considered to be synonymous with the term, ta!a. But in the truest

77
sense, the two aspects are not the same and laya has a wider range of
meaning than ta[a. 'Laya', the word is derived from the root 'lai' which
means 'to move, to adhere, to merge or rest, to harmonise', etc. Harmony
in our music is two-dimensional, the one which is related to the pitch is
termed 'sruti laya' and the other which relates to the time is called ta!a­
laya.ln the sense of movement, laya means rhythm or rhythmical
movement and ta!a is that which measures the tempo of this movement.
Rhythm is the ordered movement in time and space and every process of
the universe is dependent upon the laws of rhythm. It pervades eveywhere,
from the ticking of the clock to the movement of the planetary bodies.

In the musical context, the time involved is abstract and

psychological and 'ta!a' which measures this abstract time programmes the
music and gives the duration of the musical piece and its divisions. In the
execution of a taJa, between two successive lqiyas, there is a period of rest
or pause, which is to be maintained from the beginning to the end and this
exactly is the concept that is meant by the term 'laya'. Herein, the meaning
of resting is involved.
fer� qmlll � f�lllll l-lHf--l!?llci
f¢hllH..fH fcr�HHfllll I
(Sangita Ratnakara of Saranga Deva, TaJa Prakara:ga- 5, 43 cd- 44 ab)

78
 The action of kriya involved in a ta!a and the interval between two
such lqiyas, are infact related to one another, just as the two sides of the
same coin. The time lag between two actions is of course, the extension of
the first action. When this extension is decrea$ed or increased, the
difference in laya is felt, i.e, it becomes faster or slower.

Layajnana is as essential as srutijnana for a performing artist,

whether he be a vocalist or an instrumentalist and this is emphazised in the
famous quotation aforesaid (�l-llfll �: flill). There are musicians who

reckon the ta!a correctly; but with lapse of laya, and vice versa also, i.e.
those with perfect layajnana who could not render the ta!a in the correct
order of its angas. For the proper rendering and good finishing of a musical
composition which is set to a particular ta\a, a musician must have to
acquire both the layajnana and talajnana, essentially.

Even if the two terms, laya and taJa express different meamngs,
since the latter cannot exist without the former, it is not absurd to express
the concept of taJa under the term; laya, but not viceversa

Ta{a - various definitions:

1 Nafya sastra explains ta\a as
cf)ffi � l,ll-JIOl'i rlla5 � fif:tifl

(Ta�a is based on the duration (kala) of time units (Kala)

(Sloka no.5, Ta!avadyavidhi, Natya Sastra)

79
2 The term 'ta!a' has its origin in the root 'tad', which means 'to clap'
or 'to beat' says Sangha Makaranda.

3 Another expression for the origin of the term uqa is that

��mml

C>'lcf>I{ qltjffi �

f�lcl�lfm fP-114iJllci

.filR�I

(Sang1ta DarpaI]a of Chatura Damodara- 637)

The promulgation of the cosmic dances of Siva and Parvati,

'Tandava' and 'Lasya', the beeja aksharas of whom are 'ta' and 'la'
respectively, brought the term 'ta\a' into being.

4. In SangTta Ratnakara
a I C>'I fa C>'I i:ifa IBIll Ifl-1 fa <tm11 clf;-i �:
� cll'ill-l � � llcifcil� i:ifo�cil-ll
(Sloka no.5.2, Tala prakarana, Sangita Ratnakara)
(Ta!a is that which governs the three aspects of Gita, vadya and Nritta)

80
(TaJa is the process of union and separation of both the hands, m
conformity with the ten elements of musical time)
(Sangita Darpai:ia of Chatura Damodara - 628)

Tii/a - A historical perspective:

The origin of ta�a and laya can be traced back to prehistoric times.
Rhythm and tempo were inherent in theecstatic dances of primitive men.
The drums are believed to be the earliest musical instruments, made by
them. The Bhumi dundhubhi is a pit dug in the ground and covered with a
stretched skin. It was beaten with long sticks by people standing around.

Vedas:
Rhythm and tempo are present in Samagana singing though there
was not any particular ta!a. Rhythm was maintained with the help of
metres. The syllables or van;as were divided into time - units like hrasva,
dirgha, pJuta etc. Three different modes were used for different kinds of
renditions - vi\ambita, madhya and d{uta i.e., slow, medium and fast.

1
Two elaborate systems of time measurement have come into existence,
out of the long and short durations; of the syllables of the Vedic mantras,
one is 'Ganavritta' - system of syllabic metres and the other is

81
'Mahavritta' - system of musical metres. From Mahavritta, an elaborate
system of musical time, i.e. ta!a was developed. 1

Puranas:
In the Vishr:z udharmothara purcaJa, rhythm is defined as the way of
dividing time. Matra, which is equivalent to the time needed to utter five
short syllables, was the unit of musical time therein. Different tempos were
associated with different rasas or moods. A moderate tempo is suggestive
for a loving mood, slow tempo for disgust and fear, and fast tempo is for
heroism, anger or wonder. Gitakas, where in the aspect of rhythm
dominates, have also been mentioned in this pura9a.

Three kinds of Vfittis, which are the different ways of counting the
matras - chit�a, vap:ika and dakshil)a are given in the Vish1: udharmothara
pura,:za and Vayupura-,ya. In Markancjeyapuraf}a, Yati, the arrangement of
various tempos are explained; which are sama, srotogata and gopuchcha.

Almost all the laksha11agrandhas from Na_tya Sastra onwards refer to

ta.la in detail. Dathilam, Sangzta Makaranda, Sangzta Ratnakara, Sangzta
Saramrita, Sangzta Sudha and Sangzta Darpw:za have got separate chapters
on ta.la.
'
There are some works which are exclusively devoted to the aspect

1
T.V. Kuppuswamy, preface - 'Rhythm in historical cognition', Kalinga Publications,
New Delhi, 1993 PP.9.

82
of ta!a alone like Tafavidhcma, Ta{a Deepika, Tafa Samudra, TaJa
laksharza samgraha, razarnpva etc. But most of these are in palm - leaf
manuscript form. Tamil literary works like Silappadikaram, Ah'ananuru &
Purananuru give immense information on the tala aspect.

In Na,tya Sastra, talas were grouped as Marga and Desi. Marga ta!as
are said to have been presented by Bharata before the Gods. Desi taJas
originated from marga ta\as which are again classified as Sudha, Sa\aga
and Sanklrna. .
. Sudha talas are those which have no shade of any other tala,
.
Sa!aga talas are formed by combining two talas and Sankirqa ta\as are
formed by the combination of more talas. The five marga ta!as referred to
by Bharata are chachatputa, chachapu�a, shatpi�aputrika, Udghat1;a and
Sampadveshtaka.

Bharata gives duration of one matra as equivalent to five nimeshas.

Matras combine to form kala. In between kalas there should be an interval
of five nimeshas. Three margas viz. chitra, vritti, dakshi:p.a, three layas,
viz., di;uta, madhya and vi!ambita, three grahas, sama, afita and anagata
and three yatis - sama, gopuchucha and sr6t6gata are explained.

The time of Sangzta Ratnakara is the golden age of taJas. Five marga
ta!as and 120 desi ta}as are explained.

83
 Saranga Deva says that music without ta\a is like a face without a
nose.
� � � .:ilfflctil ��I

CTlc1 ffi � Tffi=r "i I fl I t:.n...j � � I I

The margas according to him are four in number.

Dathilam, Sangita Makaranda and Sangita Samayasara mention a

scheme of 101 ta!as, which were also included in the 108 ta!a system.
Sangita Makaranda gives 5 margata!as and 101 desitaJas. The ten
ta!ap�a1:as are given in this work. Margas are six in number. The later
works on music only reproduced what have been explained in these earlier
works.

Innumerable time - measures exist in Indian music comprising of

both shorter and longer ones. They range from the simplest ekata\a to the
more complicated and difficult Simhanandana ta\a. The ashtothara sata ta!a
or the 108 ta\as, executed now rarely, had been previously employed in
expounding intricate pallavis. Now they are extinct and are only of
academic interest. The advent of Kawa\aka composers in the 15 th and 16 th
centuries with the more simple and convenient siiladi saptata\a proved to
be a milestone in the history of Karuatic music. Even after this, the 108
ta�as gained some prominence during the Trinity period and post - Trinity
period. The reference to the pallavi exposition by eminent musicians and

84
composers like Syamasastri and Bobbili Kesavayya in Sarabhanandana and
Simhanandana ta\as, the I 08 ragataJa malika composed by Ramaswamy
Dikshitar, the tillana 'Gowri nayaka' in Simhanandana ta\a by
Mahavaidyanatha Iyer provide enough testimony for this. Gradually, the
taias, adi, rupaka and chapu with more aesthetics acquired wide appeal,
and the complicated time measures fell into oblivion.

The ta.las mostly handled by the Trinity for the lqiti composition
include adi, rupaka and chapu. The other Saptata\as, Dhruva, Matya,
Jhampa, Triputa, Ata and EJ�a also figure in their compositions.

Before approaching the core of the present chapter, i.e., the

analytical study of the rhythmical aspect of Syamasastri lqifis, it will not
be a deviation from the subject if the ta!a dasapral)as are explained in
relation with the composer's contributions in the field. For example, while
referring to Graha, one of the dasap�aqas, examples for each graha from
the composer's contributions can also be related.

TaJa dasap:ral).as:
The ten p�aqas or conditions for expressing tala are (1) Kaala (2)
Maarga (3) Kfiya (4) Anga (5) Graha (6) Jati (7) Ka\a (8) Laya (9) Yati
( I O) Prastara.

85
 (1) Kaala: Kaala is time in nature. From the least possible time kshapa
(the time taken to pierce a sharp needle through a bundle of 100 lotus
petals tied tightly), the kaala is conceived of. Twelve units are mentioned
in ancient works. They are kshqa, lava, kashta, nimisha, kala, chaturbhaga,
anudruta, druta, laghu, guru, pJuta, and kakapadam. The first six are
sukshmakalas and the rest are sthulakalas. Only the sthulakalas can be
reckoned practically and figure in musical compositions.

The term kala is also used to denote the speed with which the
musicial piece is spread over each division of the ta!a cycle. The duration
of a musical piece executed in the first degree of speed or first kala gets
halved in its second degree of speed or second kala and again halved in its
third kala and so on. In �ifis, even though the same kala is maintained
through out, in between the distribution of syllables, there will be an
admixture of kalas. This is more perceivable in sangafis. An example from
Syamasastri 's lqiti, Mayamma in Ahiri is quoted.
s 9s, ; m, pd pd mp, , d , n..2 s, , , , ; m, m, pd pd m p 11
Ma ya mma ya m ne pi la chi - te
I mJ2._s , , ; m , pd pd mp, , d , n, s i- s r ns; mtm
, , pd pd mp;�
� Ma - ya - - mma ya ni ne - rd la chi - te D

(2) Maarga: Maarga is the mode of rhythmical construction of a

musical composition. Literally meaning path, Maarga shows the path taken

86
by the tala. More clearly, the duration of the time units of a ta\a 1s
determined by the maarga.

The Shanmargas given in Sangita Samayasara are: . .

Dakshi:f.1 a 3 2 aksharas or 8 kalai
Vap:ika 16 aksharas or 4 kalai
Chitra 8 aksharas or 2 kalai
Chitratara 4 aksharas or 1 kalai
Chitratama 2 aksharas or Yi kalai
Atichitratama 1 akshara or 1/.i kalai

Only the last three are employed in musical forms. The first three
maargas are used only in pallavi singing.

In atichitratama maarga, each count of the tala corresponds to a

syllable of the musical �ext. Gitas are said to be set in this maarga.
Syamasastri's gita in saveri raga set to Triputa tala beginning with the
words 'Sarasakshi sadapahimam' is found to be in ati chit{atama maarga.

s, P, d , s, � ,, , p,, , m, g, r,
sa - kshisa 1lda pa hi mam

The lqitis, Nannuhrovu laFta in la!ita and Ninnuv1nagamari in

Purvikalyaqi, both set in violma chapu are also said to be composed in

87
atichitratama maarga, but in different layas. (S.R. Janakiraman, the correct
understanding of some of the taladasapraqas, 1987, Page No: 18)
In chiti:atama marga, two syllables or svaras come under each count
of the tala. The gitas, Parvatijanani, in Khapc;lama�ya ta!a and Bhairavi
raga, 'Kamakshi ', in Triputa tal.a and Madhyamavati raga, 'Kamakshi
karu1:akatakshi,' Paraju and T�iputa tal.a, the kr,iti 'Nilayatakshi' in Paraju
set to t1:ipura tala can be cited as examples for chit�amamarga, among the
compositions of Syamasastri.
In Chit.1:a tara marga, four syllables or svaras are sung to each count
of the ta}a. From the compositions of Syamasastri, 'Deviminanetri' in
Sankarabharai:ia, Adita\a, 'Palimchukamakshi', Madhyamavati, AditaJa,
'Devi nI padasarasa' Kambhoji, Adita\a provide instances for chitratara
marga

3) Kriya: Kriya is the manner of counting time. It is the action of the

hand or the palm to reckon tal_a. The beat or ghata is a sasabda lqiya, and
the counting of the fingers and waving of the hand are nishabda lqiyas.
There are maarga lqiyas and Desya lqiyas, which are grouped under
sasabda group and nisabda group. Marga lqiyas are now extinct. In the
talas handled by Syamasastri, the kriyas ghata, counting of fingers and
'lo •
• ..

waving of the hand are employed. Adi ta!a is a good example for the
inclusion of these three lqiyas. 'Durusuga' in Saveri is set in adi ta!a,
which is one of the wellknown lqitis of Syamasastri.

88
(4) Anga:Anga denotes the structural units of a tala. The different angas
are anudruta consisting of a beat only, druta consisting of a beat and
waving of hand, laghu consisting of a beat and finger counts, guru, which
is rendered with dhruvaka and patita, p/uta, with one beat, k:rushya and
sa.rpi.pi, and kakapadam, which includes one beat, pataka, k:rushya and
sarIJi1_1i (Dh:ruvaka, Patita, K�ushya, Sarpil)i and Pataka are included in the
desya kriyas which are the various ways of the movement of the palm)
Anudruta is denoted by the Symbol 'U '. It has single unit duration
Druta ' O' is the symbol and has double unit duration
Laghu ' I ' is its sign and has got varying duration based upon the unit -
values of jati.
Guru ' 8 ' is the sign used and its duration is two times the duration of
chaturasarajati laghu i.e, 8 aksharakalas.
Pluta '© ' is the sign used, the duration being 3 times that of chaturasarajati
laghu, i.e, 12 aksharakalas.
Kakapada: ' +' is the sign used and the duration is four times that of
chaturasarajati laghu i.e, 16 aksharakalas

Of these sha9angas, the first three, anudruta, druta and laghu alone
occur in the sapta ta!as. Guru, pl.uta and kakapada find their existence in
the I 08 tal.as, along with the other three angas. Kakapada comes only in
Simhanandana ta�a, the longest of the 108 taljs with 128 aksharakala
duration. In Syamasastri' s innovation, Sarabhanandana ta\a, the anga, guru

89
is introduced with anudruta, druta and laghu and the angas figuring m
shocJasangas like d�utavirama and laghudruta

Since Syamasastri made use of the talas under the 35 ta\a group, the
first three angas occur in them. Anud!"uta makes its appearance only in
jhampa ta\a, among the saptata\as, and Syamasastri employed 2 varieties of
jhampa taJa, viz., Misrajati jhampa (l 7UO) and khm;?a jati jhampa (l 5UO).
Kriti m Kalya!li 'Raveparvata' 1s set m misrajhampa and
'Sariyevvaramma' in Bhairavi is composed in Kha))�ajhampa. T�ipuJa is
an example for a ta\a used by Syamasastri which makes use of laghu and
druta. Example: Kamakshi in Paraju.

(5) Graha: Graha also called eduppu, is the commencement of music in

a ta!a. This is of two kinds, sama and vishama. If the commencement of the
music and ta\a coincide, the graha is sama. If otherwise, it is called
vishama graha. Vishama graha has two varieties, afita and anagata. It is
afita, when the music commences before the ta\a. If the music commences
after the ta!a cycle has commenced, the graha is anagata.

Of the 72 known compositions of Syamasastri, 4 7 falls under sama

eduppu and 25 compositions commence with anagata eduppu.
Examples for sama eduppu:
Emani migula Toqiraga Aditala
Palayasumam Arabhi Triputa taJa

90
 Sariyevvaramma - Bhairavi Khal)c}ajhampa ta}a
Sankari Sankari Kalyal)i .. .
Khanda ata tala

Examples for anagata eduppu :-

Palimpavamma - Mukhari raga - Adita\a (1/2 eduppu)
Birana Varalfchi - Kalyaq.i raga - RiipakataJa
(eduppu in the second beat)
Nannubrova - Janaranjani raga - T�iputa ta}a
(Yi eduppu)
Tallininnu - Kalyaqi raga - Viloma Chapu
(eduppu on the second beat)

Though compositions commencmg with afita eduppu are absent

among Syamasastri's creations, this graha can be identified with in the
verses of his �ifis. For example, in Mayamma, Ahiri raga, adita}a, the
charal).a goes on as,
Sarasija bhava hariharanuta sulal_ita n1
Pada pankaja mulasthiramani nammiti
Nammiti nammiti n1-
Here, the portion from 'pada pankaja' starts with the last count of the
previous avafta.

91
6. Jiiti : Jati defines the quantity of laghu. There are five laghu jafis.
They are tisra, chaturasra, khai;ic;la, misra and sankirr .l)a having 3 ,4,5,7, and
9 units respectively. These five kinds are also known as sarva laghu (tisra),
manushya laghu (chaturasra), Desya laghu (khai:i9a); Hamsa laghu (misra)
and chitra laghu (sankin:ia). Other laghu jatis like Divyasankirr:ia laghu,
Misra sankin;ia laghu, Desya sankiqrn laghu, Misradesya sankinJa laghu,
and Desya sudha sankirpa laghu having 6,8, 10, 12 and 16 aksharakalas
respectively are rarely used. The laghu jatis are reckoned by counting the
fingers of the same hand from the little finger.

It is to the sapta tal.as that the laghu jafis are applied so as to arrive at
the 3 5 tal.as. Thus, each of the sapta ta\as, Dhurva, matya, riipaka, jhampa,
tr)pura, a1a and eka possesses five varieties.
Eg: Tisrajati Dhruva ta!a
Chaturasra jati Dhruvata!a
Khal).µajati Dhruvatala
Misra jati DhruvataJa
Sankifl}.a jati Dhruvata!a

With the exception of sankirqa jati, all the other jatis have beeh
utilized by Syamasastri.
Examples
Tisra ma:cya - Brihannayaki - Madhyamavati
Chaturasra ata - Namanavini - Saurashtra (Varna)
•• • t

92
 Khari�a jhampa - Sarievaramma - Bhairavi
Misra jhampa - Devinannu

(7) Ka[a �- Kai.a or kalai is that which expands the lqiya of a ta.I.a. Eka
kalai
. .
or Etakshara kalai has one matra or four aksharas per kriya
. in its first
degree of speed, dvi ka}ai has two such matras or 8 aksharas per kfiya in
the first degree of speed and chatush kaJai has 4 such matras or 16 aksharas
per kfiya in the same degree of speed.

Examples from Syamasastri lqifis:

Eka kalai:
Taru.qamidamma - Gau!ipantu Adi
Himachala tanaya - Anandabhairavi Adi
Palayasumam Arabhi Adi

Dvikalai:
Kanaka saila Punnagavarap Adi
0 Jagadamba Anandabhairavi Adi
Janani Saveri Adi
Devi nI Kambhoji Adi

(8) Laya: The term has been explained in the beginning of the chapter.
It is of three types - Dru.ta, Madhya and Vi!ambita, which are further sub­
divided into 9 varieties as

93
 Vilambita-Vilambita, Madhya - Vil?mbita, Druta-Vilambita
� t ID J

Vil.ambita-Madhya, Madhya- Madhya, Druta-Madhya

vqambita-Druta, Madhya-D{uta, D�ta-D{uta

In druta laya, the kriyas follow each other in quick succession, as the
time -lag between them is very short. In madhya laya or medium tempo,
the laya gets doubled and a further doubling of laya results in vil.ambita
laya. It means that an increase in laya results in decrease of the speed, ie.,
the speed or tempo of a piece is inversely proportional to its laya.

Rendering a musical piece in the first, second and third degrees of

speed does not involve any change in laya. It is the laya of the musical text
or matulaya getting doubled in succession where as the basic laya of the
tala remains the same.

Most of Syama SastrI' s compositions come under the category of

vi�ambita laya and a few musical pieces are sung in madhya laya. No lqiti
is found to be in d�uta laya.

Compositions in Vi{ambita laya-examples :­

The three svarajatis in Misra chapu
(a) Kamakshi Bhairavi
(b) Kamakshi Yadukula kamboji
(c) Rave Himagiri Todi

94
 Mariveregati Anandabhairavi Misrachapu
Brovavamma Manji Misrachapu
0 Jagadamba Anandabhairavi Adi

Madhya Zaya compositions:

Trilokamatanannu - Paraju viloma chapu
Tarunamidamma - GauJipantu Adi
Nilayatakshi Paraju Tripu.ta
Sankari Sankuru Saveri Adi (tisragati)

The three layas, di;uta, madhya and vi�ambita are associated with
various sentiments. Druta laya depicts disgust, fear and heroism, Madhya
laya depicts peace, laughter and love, and the vi�ambita laya expresses
sorrow. That is why the absence of drutalaya lqitis among Syamasastri's
creations. Always praising the goddess through soleful words and pleading
Her to eradicate his sorrows, Syamasastri preferred the vilambita laya for
his compositions. While expressing his affection towards the Goddess, he
must have used madhyalaya too.

Having chosen ragas like anandl· .abhairavi, saveri, ahiri, mukhari,

yadukulakambhoji, kalyal).i, sankarabharaqa etc. which excel in viJambita
and madhya layas, there is perfect blend of the layabhava, ragabhava and

95
arthabhava in Syamasastri 's compositions. A slight change of the laya will
badly affect these aspects.

(9) Yati: Yati relates to the disposition of the angas in a taJa. There are
six kinds of yati, which are sama, gopuchcha, srotovaha, qamaru, mridanga
and vishama. This anga is applicable to the texture of the compositions too.
There, it is a dhatu - matu samyukta alankara. Some times, they figure in
the chit!asvaras and ettuga9a svaras of varr.ias. Among Syamasastri 's
creations no tala is found to be having angas in sama, gopuchcha,
sr6t6vaha and mridanga yafis, instead in the arrangement of dhatu as well
as in the underlying rhythm some compositions furnish examples for sama
and sr6t6vaha yafis. They are given in the analysis of the compositions.

1. Sama:- Herein, the angas that occur are of the same character and
magnitude. This is also called pipilikayati. This is symbolically
represented as
- Eg: uuuu 1111
An example for samayati pattern in the texture is given below.
. . .
s d pd m pgm gmpd n srs
Sarasija bhavahari haranuta sulalita
(Mayamma - Ahiri - Adi )

>
2. Gopuchchayati:- In this, angas of successively diminishing
magnitude occur.
·"'

96
 Eg. i '3 Io
Sri sarasapade
sarasapade
rasapade
sapade
pade
(Sri varalekshmi - Sri - Rilpaka ofMuthuswamy Diikshitar)

3. Srotovahayati:- This is the reverse of the gopuchchayati. Like a

river, it is narrow at the beginning and gradually widens towards the
end. Eg: UO\ � S
In the Begaqavarga, Dayanidhe, the last charaqa svara 1s
decorated with this yati as
sndp rsndp gr' sndp

4. J?amaru yati:- This is gopuchcha yati followed by Srotovaha yati

which is narrow towards the centre and widens out at the ends like a
qamaru. [:::J Eg: i 'Mou o t � s
Among the taJas used by Syamasastri, matyataJa represents
this yati, the angas of which are laghu, d�tam, laghu ( I O l ).
'Brihannayaki inMadhyamavati is set in this faJa.
5. Mridangayati : This is the converse of the qamaru yati. Herein the
Srotovaha yati is followed by gopuchcha yati. The centre is broadest
and the ends are narrower. Q.

97
 Eg: U O \ t> \ OU

6. Vishamayati : The angas occur without any order in this. It is the

opposite of sama yati.
Eg: i I �O
Excepting matyata!a, all the other talas handled by Syamasastri
belong to this category.
Eg: Misra Jhampa (1 7UO). 'Devinannu' in Kalyai:ii is set in this taJa.
Besides these sha9yatis, by doubling, tripling or quadrupling of angas and
by permutations and combinations of phrases containing these angas, new
rhythm patterns are arranged. For example samagopucha yati is a case
wherein the. angas go on in samayati but the whole structure gives the
impression of gopucha yati. Atatala is an example for this yati, the angas
being ' l \ oo . Sankari Sankari in Kalyaryi raga of Syamasastri is set in this
I

tala

(] OJ P,:astiira:- Different rhythmical forms are derived through the

process of prastara, in which ta!a angas are permuted into all possible
combinations. P�astara of a ta!a anga means splitting up the anga into its
possible component angas and presenting them with all possible varieties.
The component angas should be taken in the decreasing order of
magnitude. On the basis of the number of tal.a angas used in the
permutation process, they are divided into four kinds, viz., chaturanga
prastara, Panchangaprastara, shaqangaprastara and samyuktanga p�astara.

98
Each of these has two divisions viz: Akhar,i9a prastara and Khanda
p�astara.

In chaturanga p�astara, the four angas, druta,. laghu, guru and pJuta
are used. In panchanga prastara, the angas, anudruta, dr.uta, laghu, guru and
p}uta are employed. In the shacJanga pi:astara, all the six angas, viz.,
anudruta, di;uta, laghu, guru, p\uta and kakapada are utilized. In
Samyuktanga prastara, besides the shaqangas, various other combinations
of two or more of these six angas are used. The process of prastara applied
to the angas is similar to the svarap�astara involved in singing. With the
increase in the number of angas and svaras, the number of prastaras also
increases. Syamasastri has worked out the fala p�astaras in detail which are
given in the manuscripts kept by his descendants.

THE TALAS HANDLED BY SYAMASASTRI:

Syamasastri expounded the ta!as, adi, rupaka, misra chapu, matya,
t:riputa, jhampa and a!a through his compositions. All the talas come under
the sapta tala group (Adi ta\a is chaturasra jati triputa tala and chapu taJa is
the abbreviated form of Tisrajati t{iputa ta!a). Excepting rupaka tala, all the
other ta\as figure in two jatis, ie., Tisrajati and kha�gajati of Ma,tya tal.a,
Khai;i<Ja and Misra jafis of Jhampa ta!a, Tisra and Chaturasra varieties of
Triputa tala, Chaturasra and Khanda varieties of Ata tala.
• � q .. "' • •

99
There are
30 compositions in Adi ta�a
12 compositions in Misra chapu
9 compositions in Tisra triputa
7 compositions in viloma chapu
5 compositions in Rupaka
2 compositions each in Kha1].9a ata, Misra jhampa & Tisra mc1;tya
1 composition each in Chaturasra A\a, KhaJ].ga Matya & Khai:i_da
Jhampa.

Compositions in Adi taJa:-

Compositions of Syamasastri in adi ta\a, include a gita (Santatam -
paraju), a svarajati (Rave himagiri - To�i) & a vaP}a (Dayanidhe -
Begai;la) and the remaining are lqitis. Thus, he has attempted all the
musical forms in this commonly used ta�a in KaJJ].at.ic music. All the �ifis
coming under this group are the eka ka\a and dvika\a types. The laya
adhered to is always viJambita. Sometimes, madhya laya is also followed.
Of the 30 compositions, 23 starts with samagraha and 7 compositions
commence with anagata graha (Yz eduppu).

In three lq-ifis karul}.anidhi ilalo (Tocji), Sankari sankuru (saveri) and

Parvati ninnune (kalgaga), the composer adopted the tisra-gati. Gatibheda
is another aspect of rhythm, which means the variation in the aksharakala

100
of each count in a tala. In tisra gati, each unit of the tala will be counted as
'takita' (group of three aksharas). Likejati bheda, the gafis are also_offive
varieties, tisra, chaturasra, khal)9a, misra and sankirpa.

The compositions in tisra gati aditala with the total akshara kala
duration of 24 could also be rendered in rupaka tala having 12 akshara kala
duration. The tisra gati lqitis in t69i and saveri are sometimes heard to be
sung in rupaka taJa. The rupaka tal_a lqitis, Ninuvina (Ritigau!a), Birana
varalichi and Himadrisuthe (Kalya9i) also suit to the tisra gati aditala.

Compositions in chapu ta!a:

It is generally said that among ragas Syamasastri had a special
appeal to the raga Anandabhairavi and among ta!as; he had a similar liking
to Misra chapu. For the two, he gave a new colour with his fine sense of
creativity.

Chaputa\a is a variety of tala in which the different lqiyas are not of

uniform duration. Its origin can be traced to folk music and its rhythmic
structure is very fascinating. The Haridas�� are said to have introduced this
tala into Kafl}atic music. Laksha1:agrandhas in-Sanskrit have not mention�d
these ta�as. The term 'chapu' is believed to have been originated from the
Tamil word, 'chaipu' which means slanting (The structure of the ta!as
seems to be slanting).

101
 2
The Haridasas, Sripadaraya and his followers composed and sang
an abundance of songs in these ta�as. They thought that the simpler taJas
would help release the tension of the performer and help them to
concentrate on ragabhava and the lyrical beauty of the songs2.

There is only one kind of lqiya used, viz., the gha!a or beat. There is
no other anga like d�uta or laghu. There are two gha�as, or beats, with one
beat having on odd number of aksharas. The varieties of chapu ta!a are four
in number with the following structures, tisra chapu - 1 +2=3, khaµ_da
chapu - 2+3=5; misra chapu - 3+4=7 and sankI11)a chapu - 4+5=9. Of
these Syamasastri took the one with seven aksharakala duration.

Misra chapu has two parts, the first part being three-fourth the
duration of the second. The tala is to be reckoned with two beats (3+4). In
practice, it is rendered with three beats. Sometimes, instead of the first
beat, the ta\a is commenced with a visarjita or wave. Chapu tala can be
considered as the abbreviated form of tisrajati triputa ta!a. The akshara kala
duration of the two talas are same.

Syamasastri is credited with the introduction of the reverse order of

chapu tala (4+3) which is referred to as viloma chapu.

2
T. Sachi Devi, Structure ofChapu talas 'Sruti', February 1988, pp.49

102
 The following are the compositions m m1sra chapu and viloma
chapu.

Misra Chapu Viloma Chapu

1. Ninnenammi - Todi 1. Minalochana Dhanyasi
2. Nannubrova - Gau�ipantu 2. Puraharajaye - Gaul_ipantu
3. Dayajuda - Jaganmohini - Paraju
3. Trilokamata
4. Mariveregati - Anandabhairavi 4. Nannubrovu - Lalita
5. Kamakshi - Bhairavi 5. Karuojuc:Iu Sriragam
(Svarajati)
6. Brova vamma - Manji 6. Ninnuvina - Purvikalyapi
7. Kamakshi - Yadukula 7. Tallininnu - Kalyai:i
(Svarajati) Kambhoji
8. B:rova vamma - Nilambari
9. Karuq.ajuqa - Varali
10. Kamakshi - Varali
11. Enneramum - Purvikalyal)i
12. Brovubrovu - Kiravani.

As against the common notion of chapu tal�s, the origin of which was
intended to suit to the needs of Haridasas, ie., to sing their kirtanas in
madhya and druta layas, Syamasastri strictly adhered to the vi!ambita laya
in his chapu taJa compositions. The thematic content and melodic

103
construction of the compositions also call for the slow tempo. Mariveregati
in Anandabhairavi is a typical example in this respect.

Among the compositions in Misra chapu ta)a, �he two svarajafis, the
two lqitis in varaJi and Mariveregati in Anandabhairavi starts with sama
eduppu and the rest start in the anagata graha. Of the seven viloma chapu
k,rifis, Trilokamata in Paraju and Ninnuvinagamari in Purvikalya�i start in
the sama graha and the remaining five lqifis start in the anagatagraha on
the second beat. Karm;ajupu in Sriraga is also being sung in aditaJa.

Compositions in Ti:iputa ta!a:

Under this category come 9 compositions of which there are three
gitas (Kamakshi - paraju, kamakhi - Madhyamavati, Sarasakshi - Saveri).
Paramukhamenamma in Kalya�i, Palayasumam in Arabhi, Nilayatakshi in
Paraju and the three gitas start in the sama eduppu. Nannubrova m
Janaranjani, Adinamuninchi in Anandabhairavi & Enneramum m
PunnagavaraF start in the anagata graha (Yi eduppu).

Compositions in kha1:1<;fajati ata taJa:

Saminiremmanave ..
Varnam in Anandabhairavi Anagata graha
Sankari Sankari - Kalyaqi Sama graha.

104
Compositions in Misra jhampa
Devi nannu - Kalyani
'
- Samagraha
Raveparvata - Kalya�i - Samagraha

Compositions in Tisra mafya:

B,rihannayaki Madhyamavati Samagraha
Nivegati Varnam
. ' in Kalyani
. Samagraha

Composition in Chaturasrajati a{a

Namanavini ..
Vamam in Saurashtra Samagraha

Composition in Khal}.«;fa maJya

Parvati janani gitam in Bhairavi Samagraha

Composition in Kha:�u;la jhampa

Sarievvaramma Bhairavi Samagraha

Besides Biranavaralichi, Himadrisuthe (Kalya)).i) and Ninuvina

(Ritigau1a) there are two more lqitis in riipaka ta!a. They are

Pahi srI Girirajasuthe Anandabhairavi

&
Pahimam SrI Rajarajesvari Natta

105
 Considering the aksharakala value of the tal.as used, the taJas with
the number seven and its multiples come to the forefront [Tisra jati t�ip�ta
(7 aksharakala), Misrachapu, (7 aksharakala), . KhaD.c;lajati ata (14
aksharakala) and viloma chapu (7 aksharakala)]. Under this category are
listed 30 compositions (9 set in tisra t1)puta, '12 in misra chapu, 7 in
viloma chapu & 2 in khm;ic;la ata)

ANALYSIS OF SYAMASASTRI COMPOSITIONS FROM THE

RHYTHMIC ASPECT:

The peculiarity of the rhythmic construction of Syamasastri

compositions lies in the modulation given to the svaras, which is referred
to as bhigu - sugu. It is also called 'Odukkal - Chetukkal' which gives
stress to certain notes and stretches on them lengthy. Another remarkable
feature is the incorporation of the rhythmical beauties and intricacies
without interfering the melody or texture of the compositions. The
beautiful arrangement of the rhythmic groups of 3,4,5,7, & 9 aksharakala
duration naturally fits to the texture of the compostions. In other words,
Syamasastri took interest in weaving sahitya according to the rhythmic
groups of ta!a jafis. This is vividly perceivable in the svarasahitya phrases
introduced in the svarajatis and kritis. One can find long sahitya syllables
for long svaras and hrasva syllables for hrasva svaras in them.

106
Examples of words corresponding to the 3 phrases of varying magnitude
are given below:-
A-nu-di -na-mu
Ma-ra-va-ka-ne
Pa-da-yu -ga-mu
Vi -dhu-va-da- na Kha99am (5)
Gi - ri - ta-na-ya
Ka-ma-la-mu - khi

Ka-a- ma-pa-a-li-ni
Sa-ra-si-ja-a-sa-na
Ha-ri-i-sa-vi - nu-ta
Mri-ga-vi-lo-o-cha-na Misram (7)
Ne-e- ra-da - chi-ku-ra
Ka-ma-la-sa-m-bha-va

Sa - sa-dha - ra-ni -bha-va-da - na .

Ta-a-ma-sa-mu-se-e-ya-ka
Ka - ru- na-sa-lu-pu-mi-ka-nu Sankill].a (9)
Gi-ri- ra-a-ja-ku-ma-a-ri

107
 RHYTHMIC EXCELLENCES IN THE SVARAJATIS:

1) Kamakshi - Bhairavi - Misrachapu

In the pallavi and chararyas,the sahitya syllables are arranged in such
a way as to suit the tisra, khaµ9a, misra and sankI11).a groupings of svaras.
The pallavi starts with khal).9am, followed by 2 misrams which again are
followed by a kharycjam,sankiq1a,misram,two khm)<;iams and two tisrams.

II� ,,,,, ; ;;� ,,, I ; ; ,,, ; ) ;�I? , , � ; ; ; ; ;;� 4 r:i , I

5 t- 7 t- 7 -t:

ka -
5

dinamu
I
- ma
+
- -

11s, r, g, m ,p,m, g, r,;; ;;; 1?

mara vaka
q
kshi
I
ne -
t

/ ni - pa
�
"1r 7
-
s " ' r, g,
da mu1a
mlt
a - nu
p"
dik
'II
5
j/d,n, s,
t
/sin,
5
d, p, 11:/g :" ;/r,,, s, �
t 3 t '3

kanuchu nam miti ni sri - / kan chi

In the first charana,the svara pattern in the second half is as follows:-

/ 'll;;J�,, s ,,, r,
llt:1,,,f�,;;�
1
I
Kundaradana Kuvalayanayana - /tal /Ii /rak shim chu
The third charana and svarasahitya are grouped under the pattern of
5 + 5 + 4 in the first half.

5
ltg ,,,m ,g,r,
+ ;-
s, + -4
r, jp1 ,, , s, 1:, s, r,g,
;
I
I
kum bhakucha mada ma tha ga ja gama

. 108
1 pad
111 , , , p, g, r,
5
ma bhava I ha ri
-t
g,m,� p ,,,d,
I
5"
s am
Im,
+
g, r, s,
bhu nu ta pada
4
I
The texture of the fourth svara s ahitya correspond s . to the rhythmic pattern
as
� m ,,, p,_n,d,
a
5

:! a
t,,
+-

1
jlP 7, , p,m ,, +
pa la (I ka
d t' r,�_'7,,m,p ,,
karuna la yif
,h m,J
J:'
Sa da

g ;, /:, 1
ii?�r '.
ya f g1 n ta na ya
t- t
!1: ,, , ,,,1:-, s,Jr,,,1:, s, r,g, m,jP,,,d, n, s, p ,,,I
4 5 }
� 1 /
§

ka va ve sa ra l).a ga tu cJuga da ta ma sa mu se:-

s r

}ts, n,d,p,m,g,r)
yakavaramo sag
In the s eventh charap.a the svara phrases from 'aparimita' start s in
the afita graha and goes on as five mi sram s .
Thaka tha kita dheem Thaka tha ki ta dheem Tha ka
1:, s, r, g,m, p ,' , s, r, I g, m,p, ,, m, p,
� I
A pa ri I _ .
m1ta vai I bhav� mu ga la ni
l
s mara
d

Tha ki ta dheem Thaka tha kita dheem Thaka tha kita dheem
ll g, r,
na ma
g, m ,,, p, m, p,
di lo I I da la chi naJa
d,n, s,,,
na
I
du
p, d, n,
la
s, r, g ' ' '
ku bahu sam
/
pada

This can be considered as an example for samayati', wherein the

same pattern of phrases with equal magnitude proceed .

109
 The 8 1h chara9a also consists of svaras in beautiful patterns. The
phrase from 'abhimana' starts in the atfta eduppu with 3 misrams and after
a sankir9a joints hand with another group of 3 misrams in the sa ma
eduppu,at the end.

7 1- 7 t- 7 t
s,i:i, jls,�,,, ;; p,m,Jfp ,,,,;; d ,,,j;n ;,;· s ,,,

t+.
; ; ;
A bhi ma na mu le da na pai
. q .
11;r ,,, ;;g_,,, ,,g ,,r ,,,g,r,
. .7 . . -t-
I
de vi pa ra ke la ne
Qs , , , t,
7
n,,, d,p,
-t
1 m,g,
�
7
,r ,,,g,r, �
/
bro va ve yi pu gu sri bhai ravi

ii) Kamakshi ni padame - Yadukulakambhoji - Misrachapu

The pallavi of this svarajati is distributed over 8 avartas of

;r
misrachapu taJa. The aksharakala divisions of this portion go on as follows.
5 +
I
7 + 7 t
s, ;;;; 1? " 'll; ; ; ; '/1, ' ,II; 5 +
s ,' ' ; · r,P,IJm,g ' s, fr, m,g, g,
_ ;
I
ka - ma - - kshi ni - pa dayuga m� sthi ra mani
9 .?
l\r,�;;;r, �,11�,, s,,9 s, mr m,P
t,
,11 /d ,,,s,s,�' d,
t. 7
p,m,;g,;r,
ne - nam mi yun na - - nuna / chin ta le - la nu clir cha mma

The second svarasahitya which is set in 4 avap:as, with the total

aksharakala duration of 28 aksharas is divided as 5 khaJ}gams and a tisram.

.. 110
It s, r,
5 5
p, m, g,
+
s,
5
t
r, f m, g, r, s, s, r, ,
I
,fl
I
Anu dina mu sara nu ma ni ni nu ve -
+ 5 + '!i
Ir, p, �,d ,,, d, d, llr,m,,, g,
+ <3
m,g,I r,
;
du ko rn yun
;
na su tu dam ma sa da ya I
The fourth svara sahitya is ma de up of two khan
..dams and two sankima
- s
� + f; .,..
llg, s, r,p, m, m,g,jjg, r, s, s, n, d,p,I
; ;
kama la da la sa ma na ya na ka cha j i ta
q ..,.. 9
lld, d ,,,; ; /d, d,IIP, p,m, m, · g, g,r, II
gha na f sasa dhara ni bha va da na

In the sixth charaµa the svara pattern goes on as 5+9+5+9+5+9+5+9.

With in the ambit of 2 avarta s,the starting note is elongated as a khal).<)am
and linked with a sankif11am. The sankifl).am starts in the afita graha.

Cf
I
5 +
P,; ; ; ;
;
m, P,IJn, d, P,m ' g,r,g, I
pa va ni pura haru ni rama
5
I\ _ ; ; ;
r, ;
+
s , , ,t, 9
p,m, g, s, r, g, �
ni - I pa� vati sa kala j a na
5 +
; ; ; ; 1?,,,�, s,r, m, p, d,d,
9
I
;I
!I s
� /
ni - pa ta kam ula nu vadi
fls,; ; ;
5" +
p ..
�
t,. 9.
s,n,d, p,rn,g, I
ga - dir - chivara mosa gu mu

111
 This is a sama yati pattern and the same thing occurs in the second
half of the seventh charana.
6 + t
JI
9 ii �-
llr�;;;;;�,�,J�, �, s, s, r,�,P,/� d, ;;;/p, d,
Subhamosa ge - vam srutu lu mo rah <la/ ga . - / mora
I i·,s, n,d,p,m,g, I
luvini vini vi ni
In the tenth svara the 8 avartas of misrachapu 1s divided as
5+7+7+9+5+9+6+8
t 7 7 +
I 5
m g r m
d ,,,p, , , / , ,j�, ; ; ;
-:- �
r g r s r
! , ,jj , ; ; ; ; I , , II
m vala ne /ga la <la - nera da - tavu

IJ �,,, s'\ �' P._" } d; ,, � P_, d1

_
I',,
,Jr, r, m\, d, =,, ,K
' /;, rd,\
II�bhavaja 7tl1s, n
�::�: :\
,
r a sa mulu
I

ladhi ki ta ri yanusumigula

In the last svara sahitya two groups of khru;q.am is followed by two

misrams and two sankimas:-

i 5
l\ , r, m �,, m, g, m, 1J p ,,, p, fm, p, / ,,II
1.,.
d,

I
s

taramam ma r SU bha mim ma ni nunam mi

�
' d, s �"
- 7., . .
s ,,, m, g �
; s, II r, " g,
r· 9 .
. �
ti n sya ma kn shna
� so da n
+ .
ll r, s, n, d, p, ;m, g,! rl J?-, ?, �' g,r, [
dura muga nu ka ru na
• salu pumi kanu

112
iii) Rave himagiri - Todi - Adi talam
As in the previous two svarajafis, this composition also contains laya
intricacies and adornments.
In the second charmJa, the akshara kala division is of the chaturasra
group only. On analysis, it is seen that three groups of chaturasra (with 8
aksharakala duration) are linked together by the introduction of two dirgha
svaras (having 4 aksharakala duration in each) between.

m g r, s r s n
thaka dheem takati na
d , .' '
.
dheem
n s r, sn sr
Thaka dheem takatina
s'''
dheem
g r, d g rs
. n
.
Tha dheem ta ki tathom

The ending portion of the third charapa is as follows:-

r g I s,
I
s r n, {1: s Jf 1,,,
ko m ya . di ti �e /di ti ra - ve
Tha ka dheem tha ka dheem thaka dheem

113
 The fifth svara s ahitya is divided as -

I
5 + 'f-
g m n d m / g m d m/g d m, gjr �
-t- 5" -+
g,/s r 1: s, lg r l�
t; -t
9 g r g,
9'7
f�
+ �
I
kamalamukhidharagalaghananeelakacha bharamrigavilochana maniradana
7 + J + 5 +- 5'" t ..3 + Cf
ll m g r 1: ?,,Jg mpjgmgd,fald g njd,{pf r
m g ,,r ,s ll
gajagamana madiloninusadadalachukoni ni dhya name ta lli

In the las t svara rhythmic richness and melodic beauty s ynchronizes

and gives an enchanting finish to the piece. In the second half of the svara,
after two akshara kalas, the remaining part is divided among groups of
tisram.

II ;fr, ,, 'II
It is given as follows
/<l ,,/n ,JS, f J_g � , / m,d / n ,,/ P\,<l/ m , / � rs
. , �
'.
kal ya r:i1 kanch1ka ma kshm1 pq da me d1 - kku .

VARNAS:
Nivegatiyani - Kalya�i - tisramatya
The pallavi and anupallavi of this va!l:a is made up of two avartas
each. In each avap:a,the commencing laghu is divided as tisra groups

Pallavi:
n d pmp on d
I _/ 1 �I /.
m ve ga t1

114
Anupallavi

I s '/r' ,,sns p.ns r

�
Ra ve ve ga
P, , , dmfg r s/t
I j� r:
Ra J a ra - - - - - 1
The same is the case with the commencing laghu of the two avartas of
Chittasvara
11 n , ,jsdn Jddp /mpd\
11 dgr/nm /dnd /mgr\
The laghu in other cases is divided either as:-
2 + 5 + 5, 6 + 6 or 7 + 5
i'r_ k, m � d n � g 5m p d pallavi)
J
m1/ ma - - - nu/jagadamb
, 6 + b
d m grsn srgmpd (Anupallavi)
I
sva - ri - de-vi -

�,1
7 -,. '5

:-d�- � ;:� (Char�)

g

The first ettugaqa svara is designed as

115
 4-15'
In the third ettugaga svara, the last laghu of the first avarta is divided
as a tisram, chaturasram and khandam.
J +
..
I 11: s / r g m p g m p d n J/
This can be considered as a sr6t6vahayati.

ii) Day anidhe - Begada - Adi :-

In this var1:1a also, the composer has introduced layakorvais in odd
numbers instead of sarvalaghupattems.
The pallavi starts with two kha1:19ams, followed by two tisrams
which again is followed by a kha:p.<;lam, chaturasra and two tisrams.

.,. �f I ::� /1::P-�

5 T 6' -,. J t o + 6 +
d d grs
p
:a�:a� I :i� � - - J I

I I
t
�-: pm� p snJ i: s s
/
- - - ma - . va sa
For._,_the chi�asvara1 the svarasahitya is arranged as:-
C:. + "t + C:,
d, p m g r / s p m g /m r s g r g
pa lita jana / muniga�a / surasamudaya

s,
JI
mpd m p g mr g m p d n, cl p
I laJita padayuga!
b
n d d
5
t
J
�I4-
t kamanTy
+ t
j
s
4
+ kandhare
sr
5
I
+ .
s g r g in in, l s n n, d p mm,
I pa pasa manip Isaln:dayJsammOdita ma hariiyJuguna

116
 b +
g rjs g r g m p I
laye /vitarabhaktimd

In the third ettugaqa svara, four groups of tisram and five groups of
chaturasram make the last avarta.
Ilg m g /m p m/p d p/m p d/n, d �m, g r/s , g �
jg, mgfm, Pny'lj
In the last ettugaqa svara, a sr6t6vaha yati is introduced in the second
avarta as sndp/ is n d p I gr, sndp.

iii) Namanavini - Saurashtram - Chaturasra ata :-

In the pallavi, anupallavi and chittasvara, beautiful laya patterns are
introduced largely.
The second laghu of the pallavi is divided as
3+d + 5 · +£
,,r:i s q !1 s r s m g r r s
J I � / ; l
ve la-- bro - -

1
1--

which is followed by the drutam in the pattern of 5 + 3

p jg r s /r tr ·
vu - - - - / kanchi
In the second half of the pallavi, the second laghu and the following two
drutams are grouped in a different way. A pause of one aksharakala is
introduced in the beginning of three angas.

117
 ,'
;�
+

;�
! 3
r · . m \;,. \
/ /
m - - 0 - - Ja-na- m
n� dp
I
1/ 7 i- I -t 7
, ·d p ,, mg r , r s ,,rg m
kripa - - jii ___ / /4a va mma /I

The second portion of the anupallavi isgrouped as follows:-

m
:�3� I��i-/ t7!_r_r_s/ 3 + am
+ t;�J:
+ ::�:/J .3 _):�-�:�t� ,t-
1

r' ''
3 5 5 -t !, + 5
.3t3+4
g r /d " s s " rg m
,3+.3

ma-f ma-iyam-- / ma- \\

In the muktayi svara,the second avarta isgroup'ed as

? +. 5
r·
t;3) 3 + 5 +.3
ll n, ·s s i g r s rs
51.3
g I nd, pm / p m d, n ; s r s;
5 ..3 + 5" -t-.3
m,g r s d, p / m, gr s 1! �' / 1! srs, /rg m
/ / If
iii) Saminiremmanave -Anandabhairavi -Ata:-
In the muktayi svarasahitya of this vama, the rhythmic groups are
arranged as follows in the second avap:a.

l
+ .3 + 4 + 3 + 3 + 3 ,+ 3 J 4 -t.3
m ,,,,,� s mg r s,g p d p d n, s mg r g r s,g r s r s
Ma 'D ninJvinav� sarasiayanJ SabhJavar�sugul) samaj amana

'118
The svara phrases of the following two drutams and the beat and first
finger count of the laghu constitute a makutam (crown like ending of
svaras).

p s, s n dp d p m, �p g, mgr s n
d pmg m
Thadheemtathikitathom Tadheemtatikitathom IITadheemtatikitathom

In the third ettugaqasvara, the svaraphrases go on in the following pattern.

Im p d p mg m, , dp m g r g, , m p mlg r s, ,
6 + 3 5-t3 5 '.t �

n s n g r g, , m g r g m p, I
5 t- 3 5 t �

Kritis:-
. In many k�·ifis, the pallavi or the first section is composed in the mode of
pallavi singing and the padagarbham or arudi falls on the cmrect position.
Examples:-
1) Nannubrovu la�ita - laFta - Viloma Chapu
;;g,,, ; Ill ,, , d , , , d , , , n , , n , s, , ,; ; ; ; ;
Nan nu bro vu la li- 1 ta - -
. .
; ; s ,,,n,d,,,
ve ga me

2) Mayamma-Ahiri - Adi
sns, ; m, · pdpd mp ; d ; n; s , , , ; m., m, pdpd mp ,
1
Ma---ya mma yam ne pi la chi te

119
3) Sankari sankuru - Saveri - Adi (tisragati)
r, s,rs r,r, p m p,d,p, d,r s r, 1snd ,,,• r, s, sn d, p,d g, r,
san- kari san - kuruchan dra mctkhi akhi la nde - svan
m

4) Pahisrigiriraja -Anandabhairavi - Rupaka

s ,,p ,,, n d,d dp ,mg m ,,,;;g,g, gm, p,m,pm grs1;
I
pa� h .1 s� ,
sn , � J�a su �he
g �1 n _ ra ka ru na ka lite

5) Sariyevvaramma -Bhairavi - Kha1).9ajathijhampa

s ' ' ' r ' ' grs ' ' s, n,n,d,d,p,d,p,d, m,p ' ' ' d,n,
sa n ye va ram

I ns '...' '
ma
;;p,p d� d,n ,,,
amba ni 1

6) Palimchu Kamakshi -Madhyamavati -Adi

s�p,;I}- ,,,s, r,m,r,r,m,p ,,,p,,,m,
pa lim chuka ma kshi pa va I
r,r,s ,,,;;.q.,s, .q.,r, s,rm sr,s s 1) r,
Ill pa pasa ma ni am baI

7) Ninnenammi - Togi ..: Misrachapu

;p,g,m ,,,p ,,, ,,,p : ,p ,,dppm p ;; ; ; ; ,d;
Nin ne nam m1 na
�
�u sa kla
l' p � ; ; ; , p�ndp
ne
m

120
 As in the charaJ?.aS and svarasahityas of svarajafis different varieties
of layakorvais have been introduced in the chi�asvaras of many lqifis.

l1:,
Examples:

Ir,
5 t 3 +3 + 5
1) s,r,p,m, r,s,�, s,r,m, s, J?., s, r,
; ;
kanakagiri sadana la F ta ninubha jana
5 f 3
;
+ 3
s ,,, ; ; ; r,s,r:i, I?�,,
I
t
1:,; :'
.
P., �' s, r -
5
j
san ta tamu se ya m Ja mu gan
3 + 3
p,m, p, s, r, s, m,p,m,
; ;
+ '3 -r �p +. ct,
, n, s, Ir,
n,
+.-«. .
s, m'
/ I
vinumu ni khila bhuvana ja na nivi yi pu g.uI I
7
r ,,, ; s , n, p,
-t 3
r,, + c3 + 0
s , n , ,p,
� ;. j
ti
m , , r , ' s,
/
ma I
duri ta mu dir chi va ra li
(chittasvara of palimchukamakshi-Madhyamavati-Adi)
chi

2.
�
g, m,g, r, s,
I
-t
d, m, g,r,s,
t 54
d, m, g, n,
I
I
!' 11:, , ,
kamala bhava danu ja ri pu nuta pa da
.. 5 + r 5"s +
g, r, n, d, m, g, , , 1:,
4- s,r,
/
q,
I
kamala yuga sa maya midi bro vumu
(Second half of the chitJasvara in Nimienammi-Toqi-Misrachapu)

3. In the chittasvara of Parakelanannu, Kedaragau!a, adi tala, two

varieties of tisram are introduced into two avaftas.

+ .3
I\ s r s, .3
nd p d p, mg
+ .3
r g r, I SI).
+
sr
5
s, nd I
Takadheemtak� I Takadheemtaka
I
Takadheemtaka
I
Takadheem;�ka

121
 p n s r 111 p n s
.3 jf + 3 .,. ,3 .,. 3
·sn I dp p, mg r s
!Ir, pm g i- / r,
dhee111takadi111i
I rmpnsrmg JI
ing ·rs
dheemtakadimi . I r,
dhee111takadimi
I
dheemtakadimi
I

4) The chittasvara and svarsahitya of the lqiti, Mayamma m

Na!akuranji,adi tala,is arranged in the pattern as
;; + 4 + ,3 +
111 ,, ,m, m,g,s,1:, ?, ?, s,r,g,/ m ,,, m,
;
I
ma dha vadi vi ni tasa rasi / ja kshi kan JIm,
m,n d m,,,m, n, d,n,
I
5 +
tg, . � / _
s,,, r,
+ 3 9
� ,j
, , g,
t
fl
chi ka ma ksh1 ta masamuse yaka
'3 + .3-+ 3 +3 +
t[m,,, m, ;g, m, r,;s�,,
n, s,� ,;n, d,m, m, I
/s,
ram ma mara3a tan g1 / maha tnpura sun
_ _

j; g,s_, ; 1, s, _
/?' )2, d1 1,1,s, r: g
�, / I�, �,
7 + 4 + 9
/ [
dan nm ne /·hr;idaya mu pat!ukom

5) In the lqiti palimpavamma - Mukhari - a.di ta.la, the rhythmic

construction the chittasvara resembles the chollukettus used in dance.
Tha ki ta tham tham tha dheem tha ti ki ta thorn
j( r, g,s,1, , , s,,, r, m,,, ; , g, r,p,m,d, I
tham Thaki ta Thakita tham tha ki ta tha ka
l p,,,,,n, d,p, s, n, jd,· p,,, m, g,r,p, m,ll
thimi tham tha tham tha tham tha tham tha thaki
� g, r, s, , , r, m , ,, p , n,,, d, p,' ' d, m,P,j

122
 tatham tatham tham thakita thakita taka timi
j d, s, , , r, s, , , n,,, d, p, m, n, d,p, 1n,g, JI r s

6) In Mariveregati, Anandabhairavi, Misrachapu tal.a, the ending

maku�am of the chittasvara is an example for srotovahayati
Tha , , thi , ,
r' , s,'
Na ta
Tha, ka, tha , , thi, ,
. n, d, d'' p ' '
va na ku thu -
Tha, ki, ta, tha, , thi, ·,
m, g, r' g'' m''
ha la m ve ga-
7) In O Jagadamba, Anandabhairavi, aditala, the chitrasvara ends with
another makutam as .

s, , , , , n, d, p,
ko n v1 nu
p , , , , , m, g, r,
tim pa ga va
s , , , , , m, g, m;
ram · bosa gu

123
 The pallavi and anupallavi of Palimchu in Madhyamavati adi tala is
as follows-
Pallavi-
s 1:1 I?, ;/�, , , s, Jr, m,r,jr, m,p ,, ,JP, , , m,
.3 + 3 .+ 3 + 4 -t 3 +
I
pa / lim chu ka ma kshi pa va
+
r,r,s '/' , ; ; f 1:, s,f} /r, / s,rm s r,s / s � r,I
+ 3 + 4
�
4
_
3 i'. Jl,

ni pa pa samani ambJ
Anupallavi

I
s
cha
,i,; n,�',, _ p�n, \,;, I p�m, /rm
la
/
+

;
bahu v1 dha muga
�ml r� s , +
nmu
j

-3 1: 5 -+:- n 3m -+ �
s, r m r s 1]-., s,; r) m )p' r/ ; ; /p__..L,m, p, n, s,/1
I
/
sa da ve du ko nna V <;ii na/ ye nde 1J
The chara9a ends as
3'' 3 3
'''''
ni
S' I • • ·1 ·1�:.t1p·1tii1i1t
u b·
' ' ''
nu la i chi
Another Madhyamavati lqiti Brihannayaki in Tisramatyata!a has got
the followingpattern in the chara])a.
Tham tham takadina dhee takatha dheem tha dhee adheem adhim
P , ,,p , mp np n , s n,p m, p, , m, rp m, r, s
De vi m ve ga ti ya ni am ba drid.ho-. bhakti
..
Ta, ka, dina athi kita tho tathiki tathom
. ,
r, s, r s np m r
. . ..
Nipa da m ne ranammiti

124
 Ta,ka, dina tathi ki ta thorn tathiki ta thorn
r,_ m, p n s n p mr n p mr s
Ill pa dame gati ya nuchu nera nammiti I
In the compositions set m adita\a (tisragati) the laghu (12
aksharakala duration) and 2 d:t;Utams (12 aksharakala duration) are often
split as 3 groups of chaturasram. For example,in Sankari sankuru in saveri
the pallavi starts so.
Ta- ki ta Ta- ki ta Ta- ki ta dheem,

r,s, r, r, r,pm p,d, p,d, rs r, snd,

I San kari / san ku ru;chandramul khi

The Kalgaga lqiti, Parvati ninu in the same ta!a also furnish similar
examples.
s s,s p p, p s s, s
paraki I kanela I susheela ..

In the viloma chapu lqitis which commence on the second beat, the
svara patterns are arranged in such a way that a kha.I).9am is followed by a
chaturasram and khaI}gam or a kha.l).q.am followed by a misram, as given in
the following examples.
1. 11; / s,,,
;�
/Tal h
� ,, t�,
:,. .+r,, -f-g
;
1n nu ne ra
,,g,
5
,1; ;fp,,,; p , m g,g,r{r,_ r p gig,r,
+ 5
:
+
,BP
+
/nam m1 / na nu / v1 na
+5

ve
/

(�iti in Kalyar;ii)
' .

125
 Here the words of the sahitya are grouped in the pattern, (5+4+5) +
(5+4+5) among 4 avartas of viloma chapu. In the same kriti, the anupallavi
starts with two misrams in the second beat.
I;I ;/s. , , , 7s, , .s, ,jl; ;t./ss,. d , n, , , s, ,jl;
El la lo ka mu lo
I ;I

t·;;;;
2) The pallavi of Nannubrovu lalita is constructed m the following
order.
II; ;jg,,,;5 m,,,(+�,�,4d,, 1n,,
-t 5.
n: ,ijs,,
+ 7.-t. 7
f ;/s�,, n, d � ,F,, '/
/Nan nu /bro vu la !1 ta /ve ga me

In the following line of this kriti the arrangement of the sahitya

syllables itself suggests the pattern of viloma chapu.
s ' ' ' r ' ' ' s; n; !d ' ' ' n ' ' n, ' d, ' �
.
:
Tsala nm nu nera ham ml yu nna vadugada I
In this kriti, the eduppu of each line in the three angas, remains the
same.

3) If; ;/5, S, i-, S ,, ,In ,,, ,, S, ; ;f ,,, ; ; ; Sn p, i :' , "/

? t 1 1 q

/Purahara /ja ye /pa la yam am

(The lqiti in Gow\ipantu)

126
 4) In the Dhanyas i lqiti Minalochana, the pallavi 1 s des igned as
follows-
I ; ; m � ,: pg g, rjJr,sfg, m,;,m,,, it
Mi na lo chana
p ; ; ; dm, p, · g , , , m, p , ,
;jl; 1!IJ, d ml
:t
I
q 7
1
bro va yo cha na -

In another viloma chapu lqiti Ninnuvinagamari in Piirvi kalyal)i,

which starts in the samagraha, the first line of the pallavi i s composed in
the pattern of9+5+9+5.
llf , ' ' � ' ' ,q � s,r '
1-
' 'II; ;j�, ' '
5
�
'11
. :
s s s

f Nm nu v1 na /ga man
II/g , , , g, ,'f, r, g , , ,[I;;·-t�m, m,
s
g, r,
I
/ dik kev varun na ru

The adital.a lqiti Samininne in Begaqa, the aksharakala division of

the pallavi is a s follows .
JI s,_T ; ln _;; ; /..�,JT; ,� [;ftnp� g m.· 11 :

Sa / m1 / nm fne / nam m1t1

The anupallavi of this lqiti starts with three groups of tisram having six
aksharas in each

. 127
lln, \ ;�, � }, \;
Na /mi /<la - day ajuchi

In the chintama9i lqiti set in adita!a the pall�vi begins with two
groups of tisrams followed by two khal)c;lam.
g s g r s !1 s
3.f"3t 5 + 5
' r ,,lg,, ,J \
De vi bro vasamayamide

In the charal).a the beginning portion of the last three avartas consists of
two tisrams and one khal)q.am
g,,r,,s,,,,
J-t 3 + 5

I
sri kanchi viharicyi
3+ 31' 5
s, ' s, ' s ' ' ' '/
e ka mre svaruni
'3t.3 +.!>
n ,,g ,, r ,,,
I
ke mam ma 1 ento

This composition which is believed to have been composed on the eve of

the contest with Bobbili Kesavayya expresses the composer's perplexed
state of mind. Even in such a condition, while the words were flowing out,
spontaneously, his inherent fayajnana could not be hampered. And it was
finely expressed through soulful words.

128
 Emani migula in To�i raga set to adita!a has got different patterns of
akharakala divisions in the pallavi, anupallavi and char�a.

Pallavi:
I � ; ; jr s, rs n d dj dns ; ;/r�n sn dpdn I
7t 3 + ' + 7 + q

_
E manf m1gula var / �1 ntu
+
� �' ; ; ,/d n d� d ;jdn d gr, sr mpdnl\
7 + � t '- 7 . + 7

: t� : � / �
I .}mah1 m ne
.. m mah1 ma lu �

Anupallavi
5t3+4+4 -t
s, ; s,/n, n,/n,
,Jr r, s,4 d, / nd4 d n/s
J
-t
;;,d n
Sa maja gamanadhar masamvm;dhani amba

The charapa is divided among sarva laghu patterns alone.

4+ .4 + 4 + -4 4 4- 1 4
N; /dpdm/pgm,{dp df p d,/n d p m lg m p ,Pf
,t-J.t.+ +

Nee raja 15 chana lo ka mulo ninu dayamulo lu:i

In Karuqajiidavamma, Vara!i raga, set to Misrachapu ta�a, the

karu 9a JU :
i.,._
opening phrase is distributed among two khat}.g.ams and a chaturasram.

II s. , s. ,5n, s. , ·r,1+�. �.s,w,

rf .s, n sn <l, <l,
ta
1-

vam ma
n, II

Atita graha patterns can be seen in the phrases beginning with "Kalpavalli,
,:

Matalli", · in the pallavi · and "Maragatangi Panchanatesunfni" in the

anupallavi.

129
 lt1 ·Enneramuni in Purvi Kalyai;ii, Misra chapu tala, the akshara kala
divisions of the first lines of pallavi and anupallavi goes on as

Pallavi:
� ; ;J9, s r,g, g,
7
;I ; +�' g 5"m, r, g, +II
� �
/en ne ra murtjunna mam
+
lg , , n�, pmg� g g,jlg�dm grrs , , mg�:�'
b

1
+ b t
f
u ra1 pa de en ne ma� an nai ye

Anupallavi:
5 5" .,. 4
lg , , m p, d, p,
Js, , s�;r,s, / dn p, d, p, �
pu nnagaiyudankal).parthennai e ppo thum

CONCLUSION

The significance of the laya aspect in Syamasastri compositions lies

more in the incorporation of such beautiful patterns of layakorvais in the
textures as analysed before, than in the variety and multiplicity of ta�as
used. There are also examples of ki:ifis expressing sarva laghu patterns. It
requires calibre of high order to build up melody and distribute the sahitya
syllables of simple and tender words in . the frame work of intricate
rhythmic patterns. Without hampering the natural flow of the words and
melody expressive of various emotions the composer has successfully

130
displayed the principles of rhythm. That is why it is said that there 1s
perfect blend of melody, words and rhythm in his compositions.

The introduction of yati patterns, atfta eduppu of words within a line,

the makuta. ms figuring in the ending portions which some times
resembling a muktaippu are the other features of the composer's peculiar
handling of laya. In some compositions, the conscious effort with which he
designed the rhythmic structure could be felt. The three svarajatis and, the
chittasvaras and svarasahitya of lqitis provide good examples for this. It
only adds more richness to these mighty compositions.

Composition suggestive of two rhythmic cycles is another

contribution of Syamasastri [Adita!a (tisra gati) and riipaka]. In the rupaka
ta}a compositions, two lqitis in Kalyal).i raga, which commence on the
second beat is an innovation belonging to him. The inverse order of chapu
(Vilomachapu) is another brain child of the composer.

Words corresponding to the tisra, chaturasra, kha�9a, m1sra and

sankTn:ia groups were introduced by Syamasastri. Moreover, the vqambita
laya underlying the compositions provide ample scope for the emotional
expression as well as the introduction of rhythmic beauties.

The analyses given in this chapter are made only on those kritis
which have more rhythmic richness and significance .

131