CHAPTER VI

RAGAS AND TALAS USED IN

THE SONGS

Chapter VI

RAGAS AND TALAS USED IN

THE SONGS

The ritualistic music of Kerala is abundant with many ragas and

talas. Few rare ragas besides popular Carnatic ragas are also sung in

the temple music. In this chapter, ragas used for singing Tyanis, those

used for Krishnattam and ragas used for different Kalamezhuthu Paattu

are being dealt.. The ragas have certainly the influence of ancient

Tamil Pans. Most of the ragas sung for the rituals take the notes of

Harikamboji scale which is the basic scale of ancient Tamil music. The

ritual music singers didn’t have any proper training and these ragas

were handed over orally to the next generation.

There are many classically trained singers now a day who can

even handle the most prominent Carnatic ragas like

Sankarabharanam, Bhairavi, Todi, and Kalyani is a welcome change

that has occurred in the field of ritual music. The basic structure of the

music in Kerala is really unique and it has even contributed few ragas

which are only seen in the ritual music of the state. More over

nowadays few institutions are coming up with the intension of offering

courses exclusively for temple music. The Kshetra Kala Peetam of

Vaikam and the Vadya Kala Peetam and Krishnattam Kalari of

Guruvayur are instances. The Vaikkam Kshethra Kala Peetam has

even prescribed a syllabus of ragas that has to be sung for Kottipadi

Seva in temples.

Tyanis

Before going through the ragas used it is very important to know

about what Tyanis are. Tyanis are short songs sung standing on the

Sopana of a temple with the accompaniment of Idaikka. This is called

Kottipadi seva or in general term Sopana Sangitha. The word Tyani

derived from the Sanskrit term Dhyanam. There are many Dhyana

Slokas in Sanskrit associated to different Devi and Devas. The songs

composed in the style of these Dhyana Slokas in Malayalam came to

be called as Tyanis. The Dhyana Slokas in Sanskrit are composed in

accordance to the Tantric rituals. So Tyanis were composed in place of

these Dhyana Slokas so as to sing to the accompaniment of ritualistic

accompaniments.

Tyanis are composed in four couplets. There are Tyanis in

praise of each and every important deities worshipped in the temples of

Kerala. Tyanis usually don’t have the sections like Pallavi, Anupallavi

and Charanam. From the lyrics of Tyanis one can make out to which

place does the temple belong. Also there are tyanis for different

manifestations of the deity, for instance, there are separate Tyanis for

Vishnu, Padmanabha, and Krishna eventhough they are one. There

are Tyanis based on the origin of the temple and also about the

peculiarities of the presiding deity of the temple.

Tyanis are usually composed in ragas. There are certain ragas

prescribed for singing the Tyanis known as Nidana ragas. Time for

singing these ragas are strictly followed. There are specific ragas for

Tyanis that is to be sung for various Poojas. The main ragas in which

the Tyanis are sung are Desakshi, Srikanti, Nalattha, Malahari, Ahiri,

Bhupali, Samantha Malahari, Natta, Andhari, Puraniru and Andhali.

The list given below gives the clue of the timing, type of Pooja , ragas

in which the Tyani is sung and also the talas.

Time Pooja ragas sung talas

Dawn Usha pooja Desakshi Triputa

Morning Ethirtha pooja Srikandi Triputa

Late morning Panthiradi Nalatha Rupaka

Noon Uccha pooja Malahari Rupaka

Noon If delayed Ahari Triputa

Dusk Deeparadhana Samantamalahari Triputa

Night Athazha Pooja Natta or Bouli Triputa

Pradosha Pradosha Andhali Chempa

Usually all the temples of central and northern Kerala follow this

pattern. During morning there is a waking up ceremony called

Palliunarthal of the presiding deity of the temple. The tunes sung for

this ritual is called as Palli Chinthukal. These songs are sung in the

raga Puranir set to Chempata tala.

Detail description of ragas used for singing Tyanis

Desakshi is the raga used for singing Tyanis for Usha Pooja. In

Carnatic music also there is a raga called Desakshi. This Desakshi

takes the same Arohana and Avarohana of Bilahari, a popular Carnatic

raga and the Janya of Sankarabharanam. The Sancharas of the raga

Desakshi are confined mostly to the Uttarangam of Madhya Sthayi and

Purvangam of Tarasthayi. There is a Tyani starting with the lyrics

“Mathikala mudi tannil” commonly sung in almost all the temples of

Kerala. This Tyani is in praise of Lord Ganapathy. This same Tyani is

sung for other occasions also as this is an invocation of Lord

Ganapathy. The sancharas of raga Desakshi as sung in the temples of

Kerala as well as the Tyani which is in Triputa tala is given below:

Sa ni da, sa,/ sa sa ri ri ma ga ri/ pa, ma ga ri/ ma,ga

Ma ma ri ga sa/ sa sa ri ri ma ga ri/sa ri ga sa ri/ sa, ni da sa,

Pa, pa, / da da ni da pa,/ma, pa da ma, pa/ ma, ga ri

Ga pa, ma, ga ri/ ma, ga/ma ma rig a sa/ sa sa ri ri ma ga ri

The Svara groupings of the raga Desakshi given above is similar

to another Janya of Sankarabharanam, Arabhi. In singing also this

similarity is visible.

“Mathi kala mudi tannil mevina

Matanga mukha naga bhushana

Mathi thannil ninachanpil nin padam

Itha kanivode kuppunnen jaya

Sarasija puthu poovil santatham

Sarasamayi sukhichanpil mevina

Sarasvathy devi nin padambujam

Svara riti varuvan vanangunnen.”

The raga used for singing Tyani during the time of Ethirtha Pooja

is Srikandi. There is no raga called Srikandi in Carnatic music. This

raga is purely used kerala music. In Koodiyattam also there is the

reference of the raga called Srikandi. But truth is that nobody knows

the actual Sancharas of the raga. Anyway the Sancharas of raga

Srikandi given in the syllabus of Kshethra Kala Peetam, Vaikam by

Trikamburam Marar is given below. Tala is Triputa

Sa, ri/ sa ri ga ma, ga ri/ ga, ga ri sa/ sa rig a ri ri/

Ri sa, sa,/ sa, ri/ sa ri ga ma, ga ri/ ma ga ma pa, pa,

Ma, da pa, ma, pa,/ ma pa da sa, sa,/ sa, ri ga ri ri

Ri sa, sa,/sa, ni da pa, / pa da sa ri sa

Sa, ni da pa,/ dad a ni da pa/ ma, ga ri/ ga pa, ma, ga ri

Ma, ga/ ma, rig a sa/ sa sa ri ri ma ga ri sa rig a ri ri/ ri sa, sa,

Tyani-

“Kshirambudhi kudi kondavare jaya

Kizhmel ulakam alannavare jaya

Kanakunna characharamokkave

Thanakunna param porule jaya

Raghava rupamiyennavare jaya

Rakshasa vamshavaruppavare jaya

Rama mukunda manoharare ja maya

Rama mangalamezhum narasimha jaya”

The raga used for Pantheeradi Pooja is Nalatha which is also a very

rare one. In Carnatic music also there is no raga called Nalatha. The

tala prescribed is Roopakam.

Sancharas-

Sa, ga,/ ma, da, pa,/da pa, da pa,ma

Ma,pa,/ pa, ma ga/ ga ma, da, pa,

Ga ma pa ga,/ ri ri ga,/ sa ri sa ri sa ni sa

Ri sa, ni da/ ma, d pa,a ni da ni sa,/ sa, ga/ ma, da, pa,

Da pa, da pa, ma/ ma, pa, pa, ma ga ma/ ga ma, da, pa,

Ni sa, ri sa, ni da,/ ma, da ni da ni sa,/ ni sa,ri sa, ni da

Da pa,da pa, ma/ma,pa, pa, ma ga ma,/ga ma, da, pa,

Ga ma pa/ ri rig a/ sa sa ri sa ni da/ ri sa,ni da/ ma, da ni dad a ni sa

Tyani-

“Kodiyum kooda thazhayum nalla chamareekalum vilasi

Gunamulloru kuzhalum vili arayalude mukalil

Kaduva thalil pizhinjittullorudayadayum udalil

Karikar mukil marathekiya tiruveyyitha tozhunnen”

The Tyani assigned for Ucha Pooja is composed in raga

Malahari and set to Triputa tala. Raga Malahari is originally a Carnatic

raga and is the Janya of 15th Melakartha Mayamalavagowla. The

Sancharas of the raga as sung here and the Tyani is given below;

Ri sa, ri ma ga ri ri sa/ da, sa,/ sa, ri ma ma pa

Da pa, ma, pa/ da pa, ma, pa, ma ga ma/ ma,ga ri ri sa

Ri sa, ri/ ma, ga ri ri sa/ da, sa,/ sa, ri ma ma pa

Da pa,ma, pa/ dada pa,/ ma pa da sa, da, sa,

Ri sa, da, sa/ da pa ma/ ma pa da sa/ ri sa, da, sa,

Da pa ma/ da pa ma pa/ ma ga ma/ ma, ga ri ri sa/ da, sa,

“Malarvathinu tanayan nalla madavarana mukhavan

Pala pothilum madhuram kothi perukum kuda vayaran

Kalayayulla kavimalakal pukal varinum palanal

Thunayakenam gana nayakan athinanpodu thozhunnen”

Famous Sopana musician late Aliparambu Sivarama Poduval

has sung the same Tyani in the raga Bilahari. Bilahari is a Carnatic

raga. It is the Janya of 29th Melakartha Dhira Sankarabharanam.

In some temples, when Ucha Pooja gets delayed then a Tyani

composed in Ahiri ragam is sung. Ahiri is a very popular Carnatic raga.

It is the Janya of 14th Mela Vakulabharanam. The Tyani is given

below.This is also in Triputa tala.

“Kamsa kimsana mayone jaya

Kamini jana mohane jaya

Kayambu niramayone jaya

Varna rahitha kuppunnen jaya

Rappakkal pukazhthunnavarude

Sathru samharakkarane jaya”

Raga Bhairavi is also sung sometimes for Uccha Pooja.

Deeparadhana is the most important Pooja conducted in a

temple during the evening. Tyani sung at the time of Deeparadhana will

be in raga Samantha Malahari. There is no such raga called Samantha

Malahari in Carnatic music. But this raga is very commonly used in the

music of Krishnattam and Kathakali.The Tyani given below is set to

Triputa tala.

Sa sa ri ri ga ma, ga/ ri sa, ri/sa ni sa/sa sa rig a ma, ga

Ma ga ma pa, pa,/ ga ma ga ma, ga rig a/pa, ma ga ri ga ma, ga

Ri sa, ri/ sa ni sa/ sa,sa,nipa,/ da ni pa ma ga ma

Pa,pa,ga ma ga ma,ga ri ga/pa,ma ga rig a ma, ga

Ri sa, ri/ sa ni sa-sa,sa,ni pa,/da ni pa ma ga ma

Pa,pa,/ ga ma ga ma, ga rig a/ ni ni sa/ sa sa ri

Ga ma ga ri sa/sa sa ni pa,/sa sa ma ga ri sa/sa sa ni pa

Da ni pa ma ga ma pa, pa,/ ga ma ga ma,ga rig a/

Pa, ma ga rig a ma,ga/ ri sa, ri/ sa ni sa

Tyani-

“Nilakanda manohare jaya

Nilakanja vilochane jaya

Nilakundala jala sangatha

Balachandra vibhushane jaya

Shula dalitha danave jaya

Saila nayaka nandane jaya

Lola silamimam janam pari-

Palayashu niranjane jaya”

The raga Samantha Malahari takes the traces of the Carnatic

raga Nattai in some places, Nattai is the Janya of 36th raga Chalanattai.

Raga Bowli is the raga for the Tyani sung for Atthazha Pooja.

Raga Bowli is a Carnatic raga and Janya of 15th Melakartha

Mayamalavagoula. Sancharas to which the Tyani is sung and the song

is given below.The tala is Chempa.

Sa, rig a pa, pa,/ dadapagari ga pa ga ri sa/sa ri sa ga rig a pa,

Ga,ri sa- ga,ri sa/ ni da,ni da, pa,/da da ri ri sa ni sa

Sa rig a pa,pa,/da da pa ga ri ga pa da/sa sa ri sa sa ri sa

Ni da, ni da, pa,/da da ri ri sa ni sa/ga,risa/nida,nida,pa,

Padasa sarisa sarisa/nidanida,pa,/dadapa/garigapagarisa

Sa ri sa ri ga ri ga pa,-ga,risa,ga,risa-nida ni da, pa,-

Da da ri ri sa ni sa

“Udhathan varam danavanmare badhavairyamodukkanayi

Adbhutangiyam devaki tannil udbhavichoru daivame jaya

Sarpasayana vaadhavay tiruvarppamarnna kripambudhe jaya

Eppozhum tava padapankajam bhaktiyodu vanangunnen jaya”

Sancharas given here of raga Bowli is same as that of the Bowli

sung in Carnatic music because here also the raga takes same

Arohana and Avarohana patterns.Eventhough Bowli is considered as

morning raga Tyani is sung at night during Athazha Pooja.

Another major raga to which Tyanis are sung is Puranir. Raga

Puranir is also used in the music of Kathakali and Krishnattam and also

in Kalam Paattus. The Arohana and Avarohana of Puranir is :

sa ri ma ga ma pa, ma ni da ni sa

sa ni da pa ma ga ri ga ri sa

Puraniru is considered as the Janya of 28th Melakartha

Harikamboji. So naturally the raga takes the notes Chatursruthi ri,

Antara ga, Suddha ma, Chatursruti da and Kaishiki ni besides Shadja

and Panchama. This is a Vakra Sampoorna raga. This is a

Bhavapradhana raga with limited Sancharas. Certain Sancharas like

sa ri ga ri sa, ni da, ni sa-sa ri ma ga ma pa- ni, ni da pa ma-pa ni da ni

sa- rig a ri sa-ni da ni sa ni da pa ma-ga ma pa da ni da pa ma ga ri sa

potrays the raga Bhavam very much. This raga sounds best when sung

during dawn. In classical art form Koodiyattam, the raga Puranir is

used mostly for the description of dawn or rainy season. A Tyani in

Puranir is given below;

“Sarasija nayane parimala gathri

Surajana vande charu prasanne

Karuna puratha rangamathayoru

Mathangi jaya bhagavathy jaya jaya”

This Tyani was demonstrated by veteran Sopana musician late

Aliparambil Sivarama Poduval.

Apart from these above said ragas, some present day singers

also render Tyanis in Carnatic ragas in which they are proficient. Some

popular Sopana musicians welcome this idea very much. Krishnan

Kutty marar of Irinjalakuda is one such person. He opined that singing

Tyanis in popular Carnatic raga could only make the atmosphere more

divine. He says that Sopana Sangitham is Lakshya based. So it is not

necessary to display one’s musical talent. Devotional singing is

important in Sopana Sangitha. Sopana sangitha is described as Bhava

Sangitha based on emotion, Samaya Sangitha based on time,Hridaya

sangitha based on mind. Usually the singers will not do any Druta

Alapana. They stick mainly to medium tempo. Even some Gamakas

are also applied while singing Tyanis. Andolika Gamakam is used

widely in Sopana Sangitham. Importance is given to Jaru Prayogas

mostly Ettrajaru- Jaru in ascending manner and also Irrakkajaru, the

one in descending manner.

In earlier days there was a practice called Natyam Paduka soon

after the Srikovil is opened after the Pooja. For instance, if the Tyani is

sung the ragas Desakshi and Nalatta then the Natyam should be sung

in the raga Srikandi. This practice is not followed now a day. General

sequence of procedure conducted during the closed Srikovil is given

below:

1. Playing of Tristhanam or sa pa sa in Idaikka

2. Rendering Ganapathykkai

3. The Alapana of raga in which Tyani is sung

4. The singing of Tyani

5. Kooru Vayikkal or Kottal

6. Alankaram Kottal on Toppi Maddalam

7. Rendering of Kirtanas and Ashtapadis.

Just after srikovil is opened sometimes they will do natyam

paadal. Finally the kooru will be played on idaikka in chempata tala and

ends the whole procedure of Poojakottu and Kottipadisaeva.

NJERALATHU RAMAPODUVAL SINGING SOPANA

SANGEETHAM WITH IDAKKA

Ragas used in Krishnanattam

A number of ragas have been given in the original manuscript of

Krishnageethi authored by Manaveda. Some of the ragas found in the

written script are Ahiri, Indalam, Indisha, Kanakkurinji, Kambodi,

Kedaragowlam, Kedarapanthu, Kurinji, Ghandaram,

Ghantaramalavam, Dhanasi, Natta, Nadaramagri, Panthayiri,

Panthuvarali, Padi, Bhoopalam, Bhairavi, Malahari, Madhyamavathy,

Malavagowdam, Mechilibhowli, Mukhari, Ramagri, Varali,

Sankarabharanam, Samanthamalahari, Saveri and Sourashtram.

Among the list given above, there are some rare ragas like Indisha,

Kedarapanthu, Panthayiri, Ghantaramalava etc and how these ragas

are sung is totally unknown to present day singers.

Some experts are of opinion that raga Mechilbowli used in

Krishnanattam is same Mechabowli of Carnatic music which is very

rare in its usage. The raga called Ramagri mentioned in the manuscript

is believed to be Pantuvarali. This is because the old name of

Pantuvarali according to some ancient treatises is Ramakriya. So one

should infer that Ramakriya and Ramagri is same. Moreover all the

Padams given in Ramagri is rendered in Pantuvarali only.

Ragas most commonly sung for the Padams of Krishnanattam

are Dvijavanti, Nattakurinji, Anandabhairavi, Navarasam, Kalyani,

Yadukulakamboji, Ahiri, Bilahari, Dhanyasi, Attana, Nadanamakriya,

Kamboji, Madhyamavathy, Bhoopalam, Kedaragoula,

Sankarabharanam, Saveri, Todi, Mukhari, Varali, Ghantaram,

Sourashtram, Pantuvarali, Bhairavi, Puranir, Devagandhari, Saveri etc.

Almost all popular Carnatic ragas are used in Krishnanattam and

this is due to the efforts of veteran musician of yester years, Sri

Kalamandalam Nambisan. He only introduced the Rakthi ragas to sing

Padams and made the whole music more rich and attractive. Later

Kottackal Vasu Nedungadi assigned ragas for acts starting from

Kaliyamardanam to Svargarohanam. Earlier the 2 singers used to sing

simultaneously but now Ponnani or the main singer leads and he will

be accompanied by the Sinkidi or the sub-singer.

A list of Padams, acts, ragam and talam as sung now is given

below. This list is provided by the present Krishnanattam singer and

teacher, Mecheri Vasudevan Nambuthiri who is working in the

Guruvayur Krishnanattam Kalari.

Avataram

Padam Ragam Talam

Trapalayapitu Dvijavanti Chempata

Anrshamsa nanu Sankarabharanam Chempa

Paripandu payadara Bhairavi Chempata

Bodhamayavyaya Bouli Chempata

Mahita shirodhritha Kamboji, ragamalika Chempata

Jagadanandana Pantuvarali Chempata

Atilobhanamayi Navarasam Chempata

Hanta suta kim Bilahari Chempata

Balasoma- Bhasamana Ahiri Panchari

Padambujena Kedaragoula Chempa

Ehi kumara muda Sankarabharanam Chempata

Nanda-nandaneha Saveri Panchari

Tvatsute namuna Todi Chempa

Mahita vamse vihita Mukhari Adantha

Kaliyamardanam

Padam Ragam Talam

Ahinicha kuhachana Bhairavi Chempata

Bakanamaka danuja Sankarabharanam Chempata

Ghana kamanarocise Mukhari Chempa

Avalokayato Varali Chempata

Ambarachumbaka Varali Chempata

Bhoganamni Kamboji Panchari

Virachitashamale Anandabhairavi Chempata

Chelajalamakhila Kalyani, Yadukulakamboji Panchari

Agamanam Kalyani, Yadukulakamboji Panchari

Tata he srinu Bhairavi Adantha

Avani suravali Ghantaram Chempa

Pashupaloka Madhyamavathy Panchari

Rasakrida

Padam Ragam Talam

Madhurataramuralika Sankarabharanam Chempa

Svagathamudayathu Nilambari Chempata

Bhuvanakamanakruta Dvijavanti Chempa

Tvamashoka nishamaya Mayamalavagoula Chempata

Kvanu bhavanima Anandabhairavi Panchari

Abhirika niyata Sourashtram Chempa

Panikamalatala Navarasam Panchari

Shrutiyugasukha Kedaragoulam Chempata

Vamalocana Bhairavi, Kalyani Panchari

Tada kacid Mukhari Adantha

Visrjannatanu Kamboji Chempata

Natavallavajanapada Puranir Chempata

Kamsavadham

Padam Ragam Talam

Naradeva vritha Pantuvarali Chempata

Sucaritam Vicaritam Kedaragoulam Chempa

Nanuvide daya Anandabhairavi Panchari

Muranarakamathana Paati Chempa

Saravisaravarakrti Devagandaram, Maddhyamavati Chempata

Agadhara haladhara Sankarabharanam Chempata

Sakhiyo vilokayati Mukhari Chempa

Apagamitabhurimada Natta Chempa

Janani vibho janaka Nattakkkurunji Chempata

Svayamvaram

Padam Ragam Talam

Dhirtaduritanuta Devagandharam, Kalyani Panchari

Prahitavanaye Kamboji Panchari

Sharanagatasharana Mukhari Chempata

Ahamayi dayita Anandabhairavi Chempata

Tamatha sa carutara Todi Chempata

Atha kopavata Madhyamavathi Chempata

Tvamakalaye Bhupalam Chempata

Dayite janamimamayi Sankarabharanam Chemlata

Banayuddham

Padam Ragam Talam

Mukharam svadaram Bhairavi Chempata

Purusavara ko bhavan Ghantaram, Saveri Chempa

He deva deva jaya Ghantaram, Saveri Chempa

Kalitanadivarakapisha Paati Chempata

Sakalashamalaharana Kanakkurinji Panchari

Jagadudayabhrtivilaya Mohanam Chempa

Tavahare maya Madhyamavathy,mukhari Chempa

Shrnutadarata Bhupalam Chempata

Vividavadham

Padam Ragam Talam

Dharaniramaniyamani Mukhari Chempata

Sahitam sahasa Sankarabharanam Chempata

Nadeyamapi cha Sarangam Chempa

Tyaja sumukha Kamboji Chempata

Gurugrhnnijagrhan Pantuvarali Chempa

Svargarohanam

Padam Ragam Talam

Jayajaya ramaramana Nattakurinji Chempa

Svakulam murahara Saveri, Kalyani Chempata

Nanu sakhe manuja Todi Chempa

Vidhanayeha Kedaragoulam Adantha

Priya sakha mukha Bhairavi Chempata

Iha viveka virahitasya Kamboji Panchari

Samavadharitham Bilahari Panchari

Ragas used in Kalamezhuthu Paattu

The songs sung in a Kalamezhuthu ritual are known as Nirams

and they are rendered in different ragas. The traditional singers of

Kalam Paattu are those from the community called Kallattu Kuruppu.

Usually the singers are not trained properly. They listen to the songs

sung by their ancestors and reproduce the songs. So sometimes the

actual picture or Svarupa of a raga gets diluted through this oral

transmission. The singers just go through certain notes of the raga.

Some singers are aware of this fact and they are trying to bring out

their best.

The ragas commonly used in Kalam Paattu are Puranir,

Samantha Malahari, Paadi, Harikamboji etc. The Niram invoking Lord

Ganapathy starting as ‘Aadiyay’, set to Rupaka talam is sung in raga

Samantha Malahari. The Kesadipada Varnana which is in Atanta tala is

usually sung in Padi raga. The Niram ‘Naalodu naal’ which is

commonly sung in almost all Kalam Paattus is rendered in Harikamboji

scale.

Some songs coming under Ayyappan Theeyattu are composed in

Carnatic Rakthi ragas. This is due to the efforts taken by Prof.

T.N.Vasudevan, who is a traditional theeyattu musician as well as a

connoisseur of Carnatic Music. He has composed the Avathara song of

Ayyappa, ‘Vishnu mohini’ in Sahana. The song ‘Poorna mathiyode’ is

set in raga Kedaram which is also a Janya of Sankarabharanam. The

Niram in Arabhi ragam, ‘Kothayi ayya’ sung in Ayyappan Theeyattu is

fully composed by Sri T.N. Vasudevan. He also pointed that usually

traditional singers do not handle such ragas.

Talas used in temple rituals

Kerala’s greatest contribution to the world of music is its intricate

and complex talas and of course tala Vadyas. Some talas used in

Kerala music are same as that of used in Carnatic music but differ in

case of Angas and expressions. But we also come across certain rare

talas in the music and dance of Kerala. Talas bereft of rare and

common are widely used in the temples of Kerala. Thus talas of Kerala

can be classified into;

A] Those used in the temple rituals of Kerala

B] Those figuring in the ensembles performed during temple

festivals or Utsavas of Kerala.

C] Those employed in the music that accompanies the dance

and traditional theatrical performances.

Kshethra talas or talas used in the temple rituals of Kerala.

In each temple, for each ritual specific talas are prescribed to be

played on a group of instruments such as Idakka, Timila , Maddalam,

Maram, Chenda Ilathalam etc. this is a very old tradition and still

followed with great devotion and austerity

There are talas specified for each deities, Balipeetas, corners,

places and Pradakshinas. Some talas are also found prescribed for

more than one deity and occasion. There are about 11 such talas

followed in temple rituals.

Ekam

The old name for this tala is Ekaputam. It consists of one Anga

and one Matra.ie.4 aksharakalas. The deities to which this tala is

played are Vishnu, Shiva, Shanmukha, Dwarapalas and Yama. This

tala is played for the fifth Pradakshinam of Seeveli inside the temple.

Then it is played for the second and third round of Purapradakshinam

that is done right after Seeveli outside the temple. For Sreebhuta Bali

also this tala is executed.

Randam talam

Randam talam consists of one Laghu and Guru, thus total

Matras 3 ie.12 aksharakalas, is used in the first outer Pradakshinam,

Sreebhuta bali, Utsava Bali, Kalasam etc.

Moonnaam talam

This talam consists of Plutam, Guru and Guru, total Matras

being 7, 28 aksharakalas.. The deities prescribed are Brahma, Vishnu,

Saraswathi, Garuda, Anantha, Chandra, Indra, Soma and Eeshana. It

is played for the first inner Pradakshinam and Digbalis of north-west

corner. Moonnaam talam is similar to the Tisra Jathi Triputa of Carnatic

music.

Nalaam talam

Nalaam talam has 8 Matras, 32 aksharakalas and its constituent

Angas are Plutam, Laghu, Guru and Guru. This is played at the end of

fifth Pradakshinam and in front of the big Balipeeta.

Anchaam talam

This consists of Plutam, Laghu, Laghu, Guru and Guru, so total

Matras 9 ie.36 aksharakalas . Among these the first Anga Laghu is

silent. The deity to which Anchaam talam is played is Lord Ganesha. It

is also used in the fourth inner Pradakshinam.

Sambhu talam

Sambhu talam of 3 Matras,12 aksharakalas, is used in the third

Purapradakshinam. It consists of the Angas Drutam, Drutam and Guru.

Mangala talam

This prominent talam consists of Guru, Laghu and Laghu

comprising 4 Matras,16 aksharakalas. It is played for Digbali at the

north-east corner. The playing will be done in Drutha Laya for this.

Madhya Laya Prayogas set in 8 Matras are performed for Bali on the

Big Bali Peeta. It is also played for Bali offered to Kshethra Palakas in

Vilamba Laya set in 16 Matras.

Sakatu talam

Sakatu talam consists of Laghu, Laghu and Guru of 4 Matras,16

aksharakalas . It is used in the outer Pradakshinam. It is also used in

the Sreebhutabali, Seeveli and Ashtabandha Kalasam.

Mutakku talam

The Angas of Mutakku talam are Guru, Laghu and Guru, Matras

will be five. So aksharakalas will be Twenty. Deities for this tala are

Vishnu, Brahma, Dikpalaas namely Agni, Nriti and Vayu and Maatris. It

is played for the inner Pradakshinam and Digbali at the south-east

corner. This tala is similar to that of Chaturasra Ata tala of Carnatic

music.

Takatu talam

Takatu talam is 9 Matras,36 aksharakalas. Its constituent Angas

are Plutam, Laghu, Laghu, Guru and Guru. In this talam also first

Laghu is silent. Deities for this talam are Vishnu, Siva, Veerabhadra

and Digpalas Varuna and Kubera. This is used in the fourth inner

Pradakshinam and for Seeveli, Kalasam and Utsava Bali.

Kaarika talam

Kaarika talam consists of the Angas Laghu, Laghu, Laghu and

guru of 5 Matras ie 20 aksharakalas. This is played during Digbalis at

four main quarters.

Rare talas of kerala

There are some rare talas which figures in dance music as well

as temple rituals. But these talas are not in vogue today. These are

particularly used for certain intricate dances of Kerala. Some of these

rare talas are mentioned in the Thullal work Hariniswayamvaram of

famous Malayalam poet Kunchan Nambiar.

Kundanaachi 1

This is a tala of 12 Matras ie 48 aksharakalas. Its scheme is

described in the Sloka as;

Sadruta laghudvayi sadruta laghutrayi

Sadruta laghudvayi sadrutam plutam

That is LLD, LLLD, LLD, PD.

But Ramapanivada in his Tala Prasthara gives a slight change in

the arrangement of these Angas. According to him the arrangement

will be D, LLD, LLLD, LLD, P. He also mentions the term Ghantaravam

Kundanachi. But actually there is no difference when both are played. It

may be assumed that the original name of the tala was Ghantarava

and Kundanachi was a later development.

Kumbha2

This has 20 Matras,80 aksharakalas and its scheme of

arrangement is LLLLLDD, LLLDD, LGG, LL, LLL. This arrangement is

also given by Nambiar in his work. The last three Laghus are silent.

Another opinion is that this tala has 15 Matras.

Lakshmi talam3

Lakshmi talam has 20 Matras ie 80 aksharakalas. The

arrangement is LLGDD, LG, LLDD, LD, LDDD, LL,LLL, the last 3

Laghus being silent. But some manuscripts based on tala say that this

tala is identical with Kundanaachi talam. There is also another opinion

that this tala is of 28 and half Matras. Then the arrangement of Angas

will be in this manner. LLLLLV, LLLLLV, LLV, LLV, LLLLLV, GG,L,P.

Talas like Kali Matra, Pathaala Matra and Sastha matra are

those which are used only in the area of northern Malabar.

Some of the Kerala talas are same as that of the talas used in

Carnatic music but varies in Angas and expression. Kerala talas are

also constituted by Shadangas, Anudruta, Druta, Laghu, Guru, Pluta

and Kakapada. The duration of these Angas are same as that of

Carnatic music. A Matra has 4 aksharkalas. Anudruta is called Virama

and has a value of one fourth of a Matra ie 1 aksharakala; Laghu has 1

Matra;(4 ak) Guru is of 2 Matras(8 ak); Pluta has 3 Matras(12 ak) and

Kakapada consists of 4 Matras(16 ak). The value of Laghu is fixed in

the Kerala system and do not have Jaati bhedas as like Tisra,

Chaturasra, Khanda, Misra and Sankirna as in Carnatic music. In

Kerala system importance is mainly given to Gatis which is called

Kooru. Three such Koorus which is commonly used in the percussion

ensembles of Kerala are Panchari Kooru-Tisragati, Atanta kooru-misra

gati and chempa kooru- khanda gati.

Kerala talas also are reckoned with Sashabda Kriyas and

Nishabda Kriyas as in Carnatic music. Anudrutam which is reckoned by

a beat in Carnatic music is reckoned as Virama or silence in Kerala

system. Kakapada also do not have any beats. There is a principal

beat for every Anga of a tala and there are many other sounds to

denote the basic pace between two Matras or Angas of chosen tala. In

all ensembles there are many instruments for denoting the basic pace

and the process is called Matra Kaatal.

Shatkalam or playing in 6 speeds is a common feature followed

in Kerala ensembles. The starting tempo of a Melom will be Pati

Kalam-Ati Ati Vilamba Kalam having duration of 32 Akshara Kalas.

There are artists who can easily play all the 6 Kalas. While performing

a Tayampaka or Chenta Melom the exact doubling of the tempo is not

followed. Here gradual progression of the tempo is followed. The speed

variations are done to show the skill of the players and to overcome

monotony.The famous musician Govinda Marar was an exponent in

singing Shatkalam that earned him the title Shatkala Govinda Marar.

End Notes :

1. Dr. S. Venkitasubramania Iyer, Some rare talas in Kerala

music. Sangeetha Natak – pp7,8

2. Dr. S. Venkitasubramania Iyer, Some rare talas in Kerala

music. Sangeetha Natak – pp7,8

3. Dr. S. Venkitasubramania Iyer, Some rare talas in Kerala

music. Sangeetha Natak – pp7,8