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