Mridangam Tuning and Applying Semolina, Rava Paste and Special Paste/Gum

Sruthi-Maatha Layam-Pitha Thaalam-Guru
Mridangam is an important 'Percussion Instrument' used in all forms of Carnatic Music concerts, the widely known 'South Indian Classical Music'. Mridangam (also spelled as Mridhangam. Alternate spellings are, mridanga, mrudangam, mrdangam, mŗdangam mrithangam, miruthangam and mirudhangam) makes a concert complete with soothing rhythm enhancing the overall concert with a unique naadham called "Chaapu". Naadham is the term for sound (musical notes) that has the quality of sruthi and pleasant musical vibration in it. Chaapu naadham, Meetu naadham and Thoppi must be tuned in such a manner that produces an excellent sound. Chaapu Naadham and Meetu naadham must be in the same pitch (that is, in the same note). Thoppi naadham can either be equal to Chaapu naadham or one octave less than that of chaapu naadham. Tuning mridangam is itself an art, then comes playing the instrument with an ecstatic sound. Playing the instrument with perfect fingering technique is a must for a mridangist in order to produce proper nadham. Sound interesting isn't it?

How to tune a mridangam?
Tuning is an art that can be mastered by a systematic practice in steps mentioned below:
Maintain the mridangam by repairing it to the best condition with the help of a good repairer. Things required for tuning the mridangam:
Chromatic Pitch Pipe, small stone, small wooden Stick called"pullu" (made to a size similar to an adult Index finger). Now follow the steps mentioned below:
1. Play the pitch pipe after selecting the pitch needed while simultaneously playing the chapu on the mridangam. Now compare whether the mridangam matches with the pitch pipe. If the pitch of the mridangam is less, then hold the wooden stick on that particular point on the mootu(between the leather straps) and beat it on the top of the stick with the stone. If the pitch of the mridangam is higher than the pitch pipe, hold the wooden stick at the bottom of the mootu (between the leather straps) and beat it with the stone from below upwards on the stick. Repeat the process on all sides of the karanai till the pitch matches with the pitch pipe. Matching "meetu naadham" and "Chaapu naadham" requires another step in the tuning process, explained below in the topic "How to match Meetu and Chaapu?" One can use Harmonium or Electronic Tambura or Electronic Sruthi Box, instead of pitch pipe. One can gradually gain 'Sruthi Jnana' by experience so as to accurately tune the mridangam.
How to match Meetu and Chaapu?
Matching meetu and chaapu requires a step that involves the adjustment of "Black Patch" (so called "Soru" or "Saadham"). When meetu is less than chaapu, a small portion of "soru" has to be removed from the center. To do this, twist small piece of cloth like a thick thread and wet it, so that the cloth is just moist enough to be applied circularly on the center of the "soru" to a diameter of around 1 to 1 ½ cm (circumference 3 to 4 ½ cm). See to it that water does not go deep. Just moisture on the surface of the black patch is enough. Now scrap this portion alone with a small blade so that, the black patch (to a minute/thin) layer is shredded. Repeat the procedure till meetu naadham sounds equal to that of Chaapu naadham.
When the Meetu naadham is higher than chaapu, add small layer of black patch at the center to the size mentioned above. Rub this portion with a polished stone to dry it. Applying this small portion of black patch requires experience. You may want to know more about "Black Patch" by reading the topic "Parts Dimensions of Mridangam".

How to tune Thoppi?
Tune "thoppi" to the corresponding pitch of "Karanai" as mentioned above. Things needed for tuning thoppi.
1. Wooden Stick "Pullu" as mentioned above.

2. Another wooden stick measuring around 8 inches in length and thickness of around 1 to 1 ½ inches is needed. This stick must be tapered at one end like a scale to a length of around 2 inches from the end. This is also called "Aapu".

If the pitch has to be increased, use "Pullu". This has to be placed between the leather straps on the mootu and beat it with the stone on the stick. Do it on all the sides equally. If the pitch has to be decreased, use "Aapu". Insert the Aapu between the mridangam wood and the third layer of the mootu, on the side view of the mridangam. Now beat it with the stone on the Aapu so that, it moves a little inside the third layer, to the extent that it does not touch the fixed mootu. Then check if the thoppi sounds good on all the sides. Repeat the procedure on the sides that require reducing or increasing the pitch, so that the thoppi sounds equally well on all sides. One has to gain experience to produce "Guna Saptha" in mridangam. This can be achieved by direct training through Mridangam Lessons by a mridangam maestro.

How to apply Semolina paste?
Semolina paste or Rava must be applied at the center of "Thopi". How much paste one should apply depends on Sruthi and the "Karvai" (good length of vibration and sound). The diameter of this applied paste depends on the age and tension of the skin. A size similar to and/or little more than that of a "One Rupee Coin" is normally preferred. Too much paste will prevent one from playing "Gumka or Gumki", a variety of thoppi nadham that produces various tonal effects.

How to make the paste?

Mix Rava or Semolina with water so that it is neither too gummy nor too solid. Apply and add it in steps of little paste at a time, till one hears proper naadham.

Substitute for Rava paste: There are special pastes that can be used instead of rava paste. You may want to know more details about these pastes by following the link "Special Paste for Thoppi"

Parts and Dimensions of Mridangam. Complete details about Skin Mold on Karanai and Thopi

What are the parts of mridangam?
1. Wooden part (some use Fibre-Glass)
2. Molded leathers called “Mootu”
3. Leather Straps or Rope with high working load type. Sail ropes or boat ropes that has high working load (withstanding capacity) measured in "lbs" (strength in pounds) are used. More the "lbs" the better. The thickness of the rope must be at least 5mm ( around 3/16 inch) and maximum 6mm ( around 1/4 inch). 6mm is better.
4. The right side of mridangam is called “Karanai” or “Valanthalai” (also known as Right Head)
5. The Left side of mridangam is called “Thoppi” or “Idanthalai” (also known as Left Head)
6. The center Portion in the wood is called “Arada”

1. Wooden part of the mridangam can be made from five kinds of trees. It is collectively known as “Pancharatna trees”. They are Jack tree, coconut tree, Margosa tree, Sandal tree and Blackwood tree. The most preferred tree (wood) is “Jack Wood” as it is more fibrous in its structure, has less pores in it and also that, it is not affected by climatic changes (if seasoned). If the wood is affected due to climatic changes, mridangam will have an undesirable effect on Pitch and sound. The wood must be selected with care. There should not be any holes, cracks, joints or small round plugs called “Suzhi”. The tree must be ripe and well seasoned. Only seasoned wood will withstand climatic changes. Please Note: Nowadays cutting Jack Tree (Jack Wood) is banned in Tamilnadu. Is there any substitute? Is there any wood that is excellent in its structure and economical? Yes, there is a wood known as "Kottukapulli Wood", which is available in plenty. My Guru Dr.T.V. Gopalakrishnan recommends this wood for all musical instruments especially mridangam. Lack of publicity and know-how and source of procuring the wood is the fundamental cause of this wood being not popular among mridangists. At least from now, let mridangists switch over to this wood for making mridangams. The advantages of "Kottukapulli" wood are:

1. Texture of this wood is excellent, i.e., Fine-grained texture.

2. The wood can be carved and shaped when it is raw and no seasoning is required before making the barrel. It seasons itself in six months to one year and changes its colour from whitish grey to a beautiful brown hue.

4. The wood is slightly heavier than jack wood hence, the tonal colour (sound pitch and vibration tone) is excellent.

5. The rims maintain shape better and longest than other woods.

6. The wood seasons without distortion.

7. It is very much economical.

Note: In Ancient days mridangam was made of Clay. 'Mrid' means clay and 'angam' means body. So, mrid+angam is mridangam (Clay Body). Due to the depreciation of clay in terms of durability and quality, mridangists started using wood which is highly reliable at any point of time. Since, it has become difficult now a days in getting a seasoned wood, a modern fibre-glass version known as 'Balarama Mridangam' was designed in recent years. As a mark of research by many in the field, fibre body was tried and Umayalpuram K.Sivaraman (UKS) improvised and developed prototype for Fibre-Glass mridangam which is no less than wooden mridangam. He has introduced the fibre glass mridangam to Carnatic music for the first time, improvised a mechanical jig to eliminate human error in the moulding (molding) of skins for both sides of the instrument and has done research work on tanned and untanned skins for the mridangam. His analysis of the ingredients of the black patch ("Soru") has given much insight on the overtones produced by different strokes on the mridangam. Rohan Krishnamurthy, Disciple of Shri.Guruvayur Durai has made mridangam with bolts and nuts combined with traditional woven ropes.

2. Molded leather ( Untanned skins) are fixed on right side and left side of mridangam.
How are the molds made?
There are three layers on the right side called a). Vettu Thatu b). Kottu Thatu C). Utkara thatu. The leathers are made of Goat and Cow skin (Cowhide). Vettu Thatu known as “meetu” is made of Calf-Hide (Cowhide) and it is visible. Kottu Thatu (middle layer) is made of Goat Skin and it is partially visible. A Black Patch Called “Saadham” or "Soru" is fixed on this Kottu Thatu that produces “Chaapu Nadham”. What is this Black Patch? It is an ultra fine powder that has iron ore and some manganese oxide in it and is mixed with cooked rice to a particular proportion (usually 3:1), three parts of powder and 1 part of cooked rice, is applied on the Middle layer "kottu Thattu". This proportion varies depending on the status and quality of the powder. It must be mixed in such a way that the black patch paste is neither too gummy nor dry. After applying the paste, it must be dried inside a room and it should not be exposed to sunlight . Let it dry at least for two days. In the fast moving world, people use mridangam soon after applying the paste. The third layer Utkara Thatu is not visible outside and it is placed below the Kottu Thatu. This third layer is like a ring with the hallow center and has direct contact with wood. So, the Outer two layers will not touch the wood enabling one to produce soothing pleasant vibration and sound.

The left side Mootu called “thoppi” is made of three layers again. The leathers are made of Buffalo skins and Goat skin. The outer layers are two buffalo skins (two layers) placed one after the other like a ring with the hallow center and the second layer is not visible. The third layer which is the innermost one, visible at the center of thoppi is Goat Skin and is tied below the second layer. The third layer will have a contact with the wood, producing Sound called “Thom”. Only in this layer Semolina paste or rava paste is added at the center to produce pleasing sound. Only then it produces proper Bass sound and “Andhara gandhara sound”.

Note:

Cowhide is an essential element in mridangam. With the cow-slaughter ban, great mridangam players like Umayalpuram k. Sivaraman, Murthy, Karaikudi Mani and TVG gave a thought for a substitute material. Sivaraman suggested importing synthetic materials and TVG suggested importing cow hide. Mani, insists: "Only those cows are killed that are old and are of no use." Sivaraman said "Cows are not killed for making mridangams. They are slaughtered anyway and we merely use the hide". General opinion is that Mridangam can't be sans (without) cowhide. The ban can slaughter its sound. Carnatic music may not sound the same as before. Anyways, experiment may be needed in this regard and let us see if mridangam can sound great without Cowhide.

Mridangam can be of two kinds. One is "Kutchi" and the other is "kappi".

Kutchi mridangam: Small strips are made from a type of tree plant that is also used for making brooms. These strips are inserted between the Vettu thattu and Kottu thattu which increases the dampening effect that acts as a snare. This helps one to produce a unique chaapu nadham with great vibration.

Kappi mridangam: Crushed stones from a variety called 'Kittam' or 'Chittam' is used and placed under the Vettu thattu so that it produces a distinct Chaapu Nadham similar to tabla sound but with great vibration.

Note: Mridangam uses single resonator while Tabla uses two resonators. In tabla, the tension of the right and left heads is separate. In mridangam, the left head (Idanthalai) and the right head (Valanthalai) are inseparably linked. The tension of right and left sides of mridangam is inseparable. Since mridangam uses single resonator, it produces an acoustic coupling between the two heads (right head and left head). Instead of using straps (leather or Rope) to fix the right and the left heads, bolt and nuts are used to fix the right and the left head. The tension of both sides become separate, but there is an acoustic coupling of both sides in terms of sound produced because, mridangam body is made of single block of wood or fibre with "Arada" at the center where as tabla uses two separate body or shell for right and left heads.

Size Shape Measurement Pitch of Mridangam

Mridangam can be classified into two types. One is “Thagu Shruthi” and the other is “Sthaayi Shruthi”.
1. Thagu Shruthi is used for Male singers whose Pitch ranges between B to C# (3/4 to 1 ½). C# is called C Sharp. Thagu shruthi can be used for accompanying instruments such as Violin, Veena, Flute etc… with the pitch ranging from B to E (3/4 to 3). See the table shown below.
2. Sthaayi Shruthi is used for Female Singers whose pitch ranges from F to A# (4 to 6 ½). A# is known as A Sharp. It can also be used for accompanying instruments mentioned above. The structure of mridangam can easily be understood with the shape, size and measurement details mentioned below. Before that, let's see the pitch table (Sruthi table or Chart)

Pitch Table

Pitch	Pitch in numbers
C	1
C#	1 ½
D	2
D#	2 ½
E	3
F	4
F#	4 ½
G	5
G#	5 ½
A	6
A#	6 ½
B	7

In the pitch table, 'C' means Pitch '1', C# also denoted as DbC# is known as "C Sharp" which means Pitch '1 ½ ' , 'D' means Pitch '2', D# also denoted as EbD# is known as "D Sharp" which means pitch '2½' and so on.... Pitch 'B' in the lower octave ( bottom base Sadjam) is less than Pitch "C" Or "1"and so, pitch "B" also means Pitch "3/4" (three-fourths of "C").

Shape(Structure): Mridangam is a hallow double headed barrel (synonymous: cylindrical)
but broad at the center and gradually taper at both sides. The broad portion called "Arada" is normally placed at 1 ½ inches to the left side from the center. The thickness of the hallow wood must be 1 inch at the mouth of both sides. Some prefer 3/4 to 3/8 of an inch. The proper sound and the “Karvai” (good length of vibration and Octave) depend on the thickness of the wood at both sides. If the thickness level is optimum, the quality of sound will be optimum.

Size: The length of “Thagu Shruthi mridangam” between the Karanai and thopi can be 24 inches to 26 inches. 24 inches is preferred. Diameter of the Karanai can be 6 ½ to 7 inches and proportionately thopi can be 7 to 7 ½ inches. The circumference of the center portion of the wood "Arada" can be 36 to 37 inches and its diameter is 12 to 12.5 inches.

The length of “Sthaayi Shruthi mridangam” can be 22 inches. Some prefer 20 or 21 inches. The circumference of the center portion of the wood “Arada” must be at least 33 inches and its diameter is 11 inches. Some prefer 36 inches and its diameter is 12 inches. The diameter of Karanai is 6 inches to 6 ½ (6 ¼ is commonly used) and proportionately thopi can be 6 ½ to 7.
It is important to note that, when the diameter of the wooden mouth is high, the pitch is Low and Vice versa.

Tala Dhasa Pranas

Dhasa means 10 and prana means inherent dynamic force. So, "Tala Dhasa Prana" is 10 stages of the dynamic force inherent in tala. In other words, there are 10 elements of tala. So, tala starts from an invisible stage and naturally attains a visible stage that can be perceived by senses. The invisible stage of tala has to be realized just like we realize our Self -Atma, Almighty, Universe and so on....

Sage Tunga has said: "If you can very well determine the shape of Wind or the supreme form of Lord Siva, the expanse of the Universe, magnitude of pleasure of flute or the Essence of Vedas, you can define properly the tala intricacies". This means, definition in material terms is impossible in all these above elements in this universe. One should go beyond the senses to realize the subtle nature. Similarly, the subtle nature of talas must be realized and only the outward manifestation of talas can be defined. This act is similar to drawing a small portion of water from ocean with a small container. This small portion of tala as understood by many stars in this field is explained below. The tala pranas are,

1. Kaalam
2. Maargam
3. Kriyai
4. Angam
5. Graham
6. Jaathi
7. Kalai
8. Layam
9. Yathi
10.Prastharam
Everything is rhythm. Sunset, Sunrise, Earth's rotation and revolution etc..., is rhythm of nature. Now let us see the rhythm of talas as manifested into 10 stages as listed above. The first four is explained in this part. The others are explained in Chapter 2, Chapter 3, Chapter 4, Chapter 5 and Chapter 6.

Chapter1

1. Kaalam: Kalam consists of 10 stages again. They are,
(a). Kanam (b). Lavam (c). Kaashtam (d). Nimisham (E). Thudi (F). Dhrutham (G). Lagu (H). Guru (I). Plutham (J). Kaakapaadham.
Kanam: Time is normally understood in terms of seconds, minutes and hours. Now let us take the "seconds". Let us assume that we divide a second into 8 sub-divisions. Each of this is sub divided by 8 again and this small sub divided unit is further sub divided into 8 divisions. This part of sub divided unit can only be perceived mentally and physical sign of this time cannot be shown. This minutest time is said to be "Kanam".

Kanam is further understood by the following experiment.
100 Lotus petals are taken together and a needle is pierced through the petals. The time taken for the needle to pass through one petal to the other is known as "kanam". When kanam is understood, the other 9 stages can be tabled as below:
8 such kanam = 1 Lavam
8 such Lavam = 1Kaashtam
8 such Kaashtam = 1Nimisham
8 such Nimishams = 1 Thudi
2 such Thudis = 1 Dhrutham
2 such Dhruthams = 1 Laghu
2 such Laghu = 1 Guru
3 such Laghus = 1 Plutham
4 such Laghus = 1 Kaakapadham
Only from "Nimisham" onwards one can physically recon the tala parts. The first three time units shown in the table can only be imagined and understood by going beyond our five senses.

2. Maargam (also spelled as Maarkam, Margam): The way tala is put into applications is called Maargam.
There are six ways that determines the tempo or speed of music. They are,
(a). Thakshanam: For one Akshara main count or tala unit, there are 8 minor units or seconds. The 8 minor units make the speed 'Kalai', that is, 8 Mathras in one tala unit (Kalai).
(b). Vaarthikam: 4 Matharas for one Akshara.
(c). Chithram: 2 Mathras for one akshara.
(d). Chitra Tharam: 1 Mathra for one Akshara
(e). Chithra Thamam: 1/2 Mathra for one Akshara. As tala syllable or swara cannot split, one has to use 2 fast syllables for one akshara.
(f). Athi Chithra Thamam: 1/4 mathara for one Akshara. In this case one has to use 4 fast syllables for one Akshara.

3. Kriyai: Kriyai is a physical action that is sub divided into two. One is "Maargam" (another kind) and the other is "Desiyam". This maarkam is of two kinds. One is "Shabdha Maargam" and the other is "Nishabdha Maargam". Shabdha Maargam is further divided into four types. They are,
(a). Dhruva - produce sound by Thumb and Middle finger (Chitigai).
(b). Śamya - Beat over the right palm with the left palm.
(c). Tāla - Beat over the left palm with the right palm.
(d). Sannipāta - Both palms strike together facing each other.
These kinds of talas are also used in "Kummiaattam".
Nishabdha Maargam is also of four kinds. They are,
(a). Avāpa - Folding the fingers
(b). Nishkrama - Opening the folded fingers.
(c). Vikshepa - Moving hand to the right side.
(d). Pravesa - Bringing it back

In Nishabdha maargam, all the tala actions mentioned above are performed without producing any sound.

Desiyam: Desiyam is of 8 kinds. They are,
(a). Dhruvaka - Beat of hand

(b). Sarpini - Waving right palm to the right
(c). Krushya (also spelled as Krishya) - Stretch hand to the right(Waving the right palm from the above left to the right)

(d). Padmini - Turn hand, palm downwards
(e). Visarjita - Waving the hand outwards turning the Palm upwards

(f). Vikshiptham - Closing the fingers and bringing the hand towards Self
(g) Pathāka - Raise hand with hand upwards
(h). Patitta - Bring the hand downwards(back to horizontal position)

These varieties of tala are used in Folk dances called "Koothu Natanam".
Except Druvaka, all the 7 kriyas from Sarpini to Pathitham (Also spelled as Patita) do not produce any sound (niśabda kriyas) and so they are also known as "Baava Samignya Talas". These do not have practical relevance now. These are explained only for the purpose of preservation of ancient works on tālas.

4. Anga: Anga is nothing but practical application of perceptible tala mentioned in the category "kaalam" that is, from Nimisham to Kaakapatham. Angam means "limb" or "Parts" of Tala. These limbs or parts constitute a Tala. Angams ( also spelled as Angas) are basically six. See the table below.

Anga	Symbol	Name	Explanation
Thudi or Anudruta		Pirai(Crescent Moon)	A beat (Dhruvaka)
Druta		Mathi (Full Moon)	One beat and a turn of hand (Dhruvakam and Visarjita)
Laghu	l	Kanai	Beat (Druvaka) followed by counting fingers according to different units of jaathi
Guru	S	Villu(Bow)	A Beat (Dhruvakam) and Pathitham each followed by counting fingers according to Jaathi
Plutham	l S	Aravam	A beat (Dhruvakam),Sarpini and Krishya each followed by counting fingers according to different units of Jaathi.
Kaakapaadham also spelled as Kākapāda	+	Pulladi	Sarpini, Krishya, Patāka, Pathitham (Patita) each followed by counting fingers according to different units of Jaathi. Kaakapaadham is rendered without sound (NiŚabda Anga)

Note that, only the first three Angas are used in "Suladi Sapta Talas" (Commonly known as "Sapta Talas") Combinations totaling 35 Talas, read topic "Saptha Talas". The other Angas namely Guru, Pluta and kākapāta are used in talas known as "108 Talas" and other complicated talas that include "Simhanadhana Tala" which is the longest tala having 128 Aksharas. The first 5 Talas of 108 talas are known as "Maarga Talas" and also known as"Pancha Talas". The remaining 103 talas are known as "Desi Talas". There are 72 Melakartha Talas other than these talas. There were numerous combinations and varieties of talas in ancient days. All these talas have become obsolete and only Sapta Tala with jaathis combinations that give rise to 35 talas and Ghathi Bedha of 35 talas that give rise to 175 talas are in vogue today. Other talas are listed in this site just for the purpose of demonstration. There are other talas known as "Nava Talas", "Nava Saandhi Talas", "Abboorva Talas". The "Chanda Talas" are used in "Thiruppugazh" and the specialty of this tala is that, the talas are made to fit the lyrics, rhyme and stress of the song. In other words, the lyrics and rhyme are given importance which form different talas. Sage Arunagirinadhar is believed to have composed over 16000 songs and only 1365 songs have so far been traced. Coming back to Angam, let us see the combinations of Angams as listed in the table below.

The 6 Angams (shown in the table above) in combination with themselves give rise to 10 Angams, totaling to 16 Angams.The Ten Angas are shown, just for the purpose of history and demonstration. According to Talaprastara and its rules, it is said that these 10 Angas should not be rendered at all as tala. The other ten Angams are tabled below.

Ten Angas Chart

Serial	Ten Angas	Explanation	Aksharas
1	Dhrutha Viraama	Anudhrutham and Dhrutham	3
2	Laghu Viraama	Anudhrutham and Laghu	5
3	Laghu Dhrutha	Dhrutham and Laghu	6
4	Lagu Dhrutha Viraama	Anudhrutham,Dhrutham and laghu	7
5	Guru viraama	Anudhrutham and Guru	9
6	Guru Dhrutha	Dhrutham and Guru	10
7	Guru Dhrutha Viraama	Anudhrutham,Dhrutham and Guru	11
8	Plutha Viraama	Anudhrutham and Plutham	13
9	Plutha Dhrutha	Dhrutham and Plutham	14
10	Plutha Dhrutha Viraama	Anudhrutham, Dhrutham and Plutham	16

The Aksharas shown in the last column for the last 9 angas, is in accordance with "chatusra lagu". The total aksharas vary with the other kinds of laghus.

Please Note: Technical name Viraama is also spelled as "Viraamam". Alternate spelling is "Viramam". There are two rhythmical forms in the universe. 1. The rhythmical forms which could be rendered. 2. The rhythmical forms which should not be rendered. This is based on Talaprastara and its rules. For example, Talas like 7 Talas giving rise to 35 and 175 Talas and Simhanandana tala can be rendered. Talas like 72 Melakartha Talas and Sharabhanandana Talas with Samyuktangas should not be rendered.

Graham and Jaathi of Tala

Chapter2

5. Graham: The place in a tala where the song begins is called "Graham". This is also known as "Eduppu". Eduppu means "starting Point". Eduppu can be two ways. One is "Samam" and the other is "Vishamam". When a song begins at the first beat of a tala, it is Samam. When song begins either before or after the stroke of tala, it is Vishamam. So, Vishamam can further be classified into two. They are,

(a).Athitham: When the song begins first and that is followed by tala beat later, it is called "Athitha Eduppu".

(b) Anaagatham: When a tala begins first and the song follows it later, it is called "Anaagatha Eduppu".

In a song there can be both Athitham and Anaagatham, where it is called "Usi".

6. Jaathi: Jaathi is used to calculate the Akshara in a tala. "Lagu" part of a tala depends on this Jaathi and its counts (Aksharas) vary according to the Jaathi. There are five jaathis.

1. Chatusram - 4 Akshara Counts

2. Thrisram (also spelled as Trisram) - 3 Akshara Counts

3. Misram - 7 Akshara Counts

4. Khandam (also spelled as Kandam) - 5 Akshara Counts

5. Sankeernam (also spelled as Sankirnam) - 9 Akshara Counts

Please Note: Spellings of the "technical names", for example, "Lagu" and "Laghu", convey the same meaning only. Do not think they are "Mis-Spelt". This explanation applies to all technical terms. There is a difference in a way an article is published in a book and in the web. The different spellings are used to enable all to access the site easily through a network. The interpretation of the technical names or technical terms and the concept explained in this site can easily be understood, if one introspects and explores the subtle nature of the universe. For the correct spellings please refer to the "Glossary of Technical Terms". In the "Glossary" original spellings are furnished. Example: For the term Kaakapaadha, the original spelling is Kākapāda. For Jaathi, the original spelling is Jāti and so on...

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