Evolution and Fundamentals of Mridangam Percussion Accompaniment

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KavyaVriksha

19 min readApr 23, 2020

In Sarvalaghu and Kanakku in Carnatic music, we focused on these rhythmic concepts in the singing of svaras (solfa notes) :

Sarvalaghu (intrinsic steady flow with no pauses)
Kanakku (explicit calculations) that also included Korvais (patterns)

Before we can do a deep dive of Sarvalaghu in percussion, we need to first get a better understanding of the origin, multiple influences, evolution of styles, terminology and fundamentals of percussion accompaniment in a Carnatic Music concert. We are going to focus on the mridangam, the principle South Indian classical music double headed drum.

Percussion in current Carnatic Music concerts

The main artist is a vocalist or instrumentalist. Mridangam is the main percussion instrument; there could be optional additional percussion such as Ghatam, Kanjira.

Percussion accompaniment is provided for all these facets of the concert :

during the singing or playing of the song and to also mark the endings of the sections of a song such as Pallavi, Anupallavi and Charanam
during improvisation such as Neraval (variations to a line of the song) and Kalpana svaram (improvising of svara patterns for a particular line of a song adhering to its underlying tala)
sometimes, during singing of Tanam(mainly in Kerala)
during Pallavi (part of a Ragam Tanam Pallavi)
and of course, during the Tani Avartanam, which is the dedicated percussion solo
in an instrumental concert, here is an instance of the mridangam responding to the kalpana svara improvisation for Vatapi Ganapatim in Adi Tala
in a dance recital, the mridangam echoes the same rhythmic syllables of the nrtta (rhythmic dance) along with judicious embellishments

The only time there is no mridangam percussion is when the artist does the raga alapana or free form improvisation of a raga.

Sakuntala Narasimhan says “The role of the tala vadya (mridangam, ghatam, kanjira ) is therefore mainly one of following and embellishing its rhythmic patterns with matching phrases on the percussion. A percussionist can do this well only if he (or she) is conversant with a large repertoire of kritis (songs) which he can then accompany well anticipating the sequence of sangatis(musical variations), or chittaswaras(pre-set swara patterns), etc).”[9]

In a Carnatic music concert, there is continuous rhythmic improvisation sometimes aligned with the main melodic flow and sometime via cross-rhythms for all the songs in the concert. These cross rhythms during the song are feasible because the vocalist puts the tala explicitly with their hands in a Carnatic music concert. And in an all instrument concert, there will be someone on stage putting the tala.

This is a key difference when compared to North Indian Classical concerts where the tabla percussion will play cross rhythms only if the artist permits a short solo; during the song, the tabla helps keep the time and tala cycle. The main artist and audience do not explicitly put the tala in a Hindustani concert.

Sakuntala Narasimhan adds : “ The tabla provides the rhythmic base on which the main performer is dependent. Since tala is not marked by hand, the tabla theka is the only means of keeping track of the tala cycles. “[9]

Explanation of theka (fixed rhythm melody) using Teen Taal as example
Explanation of how the distinct sound patterns of thekas or time keeping patterns guide the tala cycle (emphasized beats Thali for first, second and fourth sets vs Khali in third set of 4 beats in Teen taal of 16 beats — 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 (and perhaps that is why it is called Teen Taal since the third set has a different rhythm sound pattern)

Additional listening

Appreciating Carnatic Music — percussive mridangam accompaniment

Origin, multiple Influences and memorable pioneers

Sculptures reveal that drums including ones shaped like the mridangam have been part of Indian music for thousands of years.

**Twelfth century, Andhra Pradesh Source:** **Sculpture of India**

Ancient music texts such as the Natya Sastra (Sanskrit) and Silappadikaram(Tamil) also have references to drumming.

Musicologist N Ramanathan describes the “Nāṭya of Bharata is a composite art put together by three arts, the art of music (gāna), drumming (vādya) and movement-mime (nāṭya)”.
“While describing the dance debut of Madhavi, Iḷaṅgo speaks of the ‘padinōrāḍal’ (eleven kinds of dances), pāṭṭu (music), and koṭṭu (drumming). One of the the commentators Arumpadavurai explains ‘koṭṭu’ in this context refers to the applications of drumming relating to dance / dramatic performances. [N Ramanathan, Cilappadikaram and Commentaries Study of Musical Terms]

However, we cannot draw a direct line between the South Indian music percussion we hear today to those ancient music texts; as N Ramanathan says, different forms of music flourished and faded away during different musical time periods.

The percussion we hear today in Carnatic music concerts has mainly evolved from the classical music performed a few centuries ago, by hereditary artists in the temples, courts and palaces . Folk music is also another key influence.

In his lecdem on Evolution of mridangam, K S Kalidas highlights these main influences :

Thavil percussion accompaniment for Nagasvaram (Periya Melam)
percussion for Chinna Melam (Sadir, classical dance performed by hereditary dancers)
Dholak percussion for Maratha traditions (Kathas, Bhajans, folk dances such as Lavani)
percussion for North Indian Classical music/Persian influences

**Puducherry Villenour Temple procession in early 1900s where both Thavil and mridangam are being played Image Source :** **EBAY**

Thavil (part of temple processions and performances called Periya Melam)

Mannarkoil Balaji adds “It wont be an exaggeration here to mention that it is basically through such explorations by the Thavil vidwans (during the all night Nagaswaram recitals) that we have so much of mathematical variations and developments in the carnatic rhythm. They created innumerable varieties for different rhythmic cycles, which were later modified to suit the requirements of mridangam” [1]

Chinna Melam is related to the classical dance performed by hereditary dancers in the temple, courts and palaces. There was a difference in the type of instruments used to accompany Chinna Melam (also called Sadir) vs Periya Melam (Nagaswaram)

B M Sundaram says : “Music concerts before the general public, came into existence, only about 150 years ago. During and before the times of the Musical Trinity, there were no public music concerts. since no authentic evidence is available to argue otherwise. Apart from the recitals held in palaces and mutts, the mridangam was a regular accompaniment to dance and devotional music. The Mridangam used in dancing until some decades ago, possessed the name Muttu’. It would be tied on the waist and the player would handle it, standing or moving here and there. “Muttu’ is a Tamil word meaning “percussion’.” [8]

**A hereditary** **dancer in Tanjore (around 1820) accompanied by musicians playing multiple instruments including a mridangam Source :** **Victoria & Albert Museum**

Listen to varnam Mohamana in Bhairavi (a recording from one of T.Balasaraswati ‘s dance recitals shared by her cousin T Sankaran); we hear the raga being played by the clarinet prior to the start of the varnam ; In the biography Balasaraswati:Her Art and Life, it is mentioned that the Mukhavina(small nagaswaram)in Chinna Melam was later replaced by the clarinet and flute in the first half of the twentieth century

Maratha traditions such as Kathas, Bhajans and folk dances (Lavani) ; Tanjore was ruled by Marathas between 17–19th centuries.

**Percussion in Tanjore in Nineteenth Century —** **Dholak** **and** **Mridangam** **Source: Victoria & Albert Museum**

North Indian Classical music which in turn has Persian influences as a result of the Mughal empire. K S Kalidas says that two North Indian musicians Nannu Miyan and Chotu Miyan used to play fast paced Farans on their dholak and Tanjore Narayanaswami Appa heard that and introduced it to mridangam playing. And today, Farans are a standard part of the mridangam solo.

Two main schools of percussion — Tanjore and Puddukottai

When tracing the percussion history of Carnatic music, V Sriram says : “Percussion has always been an integral part of Carnatic music. Its importance was further enhanced by the bhajana and the Harikatha traditions that depended on rhythm to create an atmosphere. There have been two principal schools in percussion. The first is the Tanjore school which was founded by Narayanaswami Appa (19th Century), an aristocrat of Maratha origin. He used the mridangam for accompanying himself as he sang bhajans. He was followed in time by Tanjore Vaidyanatha Iyer (1894–1947) and others.

The other school is the Pudukottai school founded by Manpoondia Pillai (19th Century). His stellar disciples were Pudukottai Dakshinamurthy Pillai (1875–1937) and Palani Muthiah Pillai (d 1946). He is also credited with introducing the kanjira to the concert platform.

Carnatic music also owes a lot to the temple traditions that demanded nagaswaram performances during processions. The nagaswaram artists were well known for their extensive raga alapanas, their scintillating pallavis and their rapid swaras. Keeping pace with them were the thavil vidwans who maintained a high standard of mathematics when it came to percussion.” [5]

Even though Thavil is an accompanying instrument “Any Nagasvara performance, begins always, only with the playing on the Tavil, even before the actual commencement of Nagasvaram playing” and this also includes commencement of raga alapana is preceded by the tavil”[8]

Listen to Nagaswaram and Thavil Traditions

And Thavil also played a critical role in the creation of one of the two primary mridangam traditions — the Puddukottai school. The founder of the Puddukottai bani (or lineage) was Pudukottai Manpundia Pillai. He had a tremendous flair for rhythm and sought the guidance of a master Thavil exponent.

**Image Source** **from Article by V. N. Muthukumar** and M. V. Ramana

“Under the rigorous training of Mariappa Thavilkar of Pudukottai, Manpundia Pillai developed lakshana gnana (grammar of rhythm). Manpundia Pillai also adapted a Persian instrument dep used to accompany a folk dance called Lavani into the smaller predominantly “bass” instrument came to be called “Kanjira”; the credit for introducing it into mainstream Carnatic Music goes to Manpundia Pillai. Whatever calculations Mariappa Thavilkar played in Thavil, were dexterously repeated and even innovated, with this single-handed instrument by Manpundia Pillai. One of the foremost disciples of Manpundia Pillai was Pudukottai Dakshinamurthy Pillai, initially adept at ghatam but later switched over to Mridangam and Kanjira”[1]

B M Sundaram highlights Manpundiya Pillai’s pivotal contribution to the evolution of the Tani Avartanam(percussion solo) : “the “Tani Avarttam’ was simply playing phrases, short and sweet, in Sarvalaghu, with the help of Theka, Gumki, Chapu, Arai Chappu and so on. It ended with a Teermanam’. which we now call a ‘mohara’. Later, arithmetic-oriented rhythmic passages came to appear, gradually. The credit of introducing them and also playing various Gatis, goes to the ‘Laya Brahmam. Pudukottai Manpoondia Pillai. He had other credits also. Ushering in the Khanjira, to the concert platform: the appendage of ‘Muktayi’ after the Mohara etc. It was only he, who trained Konerirajapuram Vaidyanatha Iyer.”[8]

More Details on Tanjore/Thanjavur and Puddukottai Bani
Guru (Teacher) Sishya (Student) Tree of Mridangists lists the legendary mridangists from the Pudukottai and Tanjore schools

We will look at getting a better understanding of the technical terms mentioned above, starting with the structure and basic rhythmic syllables of the mridangam. And then, delve into the improvisational aspects that include the teermanam, muktayi, korvai and mohara.

Dual-headed Mridangam

**Source :** **Wikipedia** **and** **http://www.carnatica.net/sangeet/mridangam.htm**

Palani Subramania Pillai the legendary maestro from the Puddukottai lineage was a pioneer left handed mridangist. It is said that initially violinists refused to play with him in concerts because they had to sit on the other side and that he overcame this resistance by his incredible artistry.

Source : Palani Subramnia Pillai’s facebook

Rhythmic Syllables of the Mridangam

Mridangam has its own rhythmic dialect — rhythmic syllables that are played on either the left or right side of the mridangam, at the center or on the rim, with the palm or with different fingers, softly or loudly, with different emphasis.

**Source :** **Wikipedia** **and Mannarkoil Balaji’s** **Photo Tour of Mridangam**

Not only are specific rhythmic syllables played on the left or right ends of the mridangam, rhythmic patterns can also alternate with the omission and inclusion of the Thoppi (left side).

Illustration of how Adi Tala is played in the Pudukottai school where similar to Teen Taal, the left end or thoppi is omitted in the third cycle of 4 beats and the importance of including the Thoppi for added sound dimensions

As we learn more about this mridangam grammar, we start realizing that we need to be a lot more mindful when listening to a Tani Avartanam (mridangam solo) so that we can discern the underlying rhythmic syllables being played and also observe how the soundscape changes when the Thoppi or left side is omitted and when it is included.

Talas and Rhythmic Syllables

There are multiple types of Talas; The Suladi Sapta Talas and Chapu Talas are most common in Carnatic music. These tala cycles can have total count of beats of 5, 6, 7, 8, 10, 14 and so on.And songs, which are set to these talas, can be in 1,2 or 4 kalai

For example, in Adi Tala which has a total of 8 counts,

1-Kalai Adi in First Speed is 1 beat per count, 4 subunits per beat and so a total of 8*4 = 32 subunits
2-Kalai Adi in First Speed is 2 beats per count, 4 subunits per beat and so a total of 16*4 = 64 subunits [7]

So, there are many tala subunits available for the mridangam artist to create patterns; there is even more room for the percussionist to improvise because they can play these syllables in various speeds. Of course, the rhythmic syllables in the pattern need to precisely add up to the song’s tala’s total subunits. A musical pause called Karvai can also be introduced in between syllables creating even more possibilities !

Mannarkoil Balaji shares the table below that shows the substitution of numbers with rhythmic syllables for various subunits and units of a tala. When these rhythmic syllables are verbally said, it is called Solkattu. These rhythmic syllables are played on the percussion instruments such as Mridangam, Ghatam and Kanjira in a South Indian concert.

Learning to play combinations of rhythmic syllables on mridangam

Mathematics in Percussion Accompaniment

Mannarkoil Balaji highlights two key mathematical elements that pave the way for rhythmic improvisation

Internalization of Positional Values in a Tala
Splitting and sub-splitting

Internalization of Positional Values in a Tala

When we sing, we are more focused on where the line of the song starts and where certain lyrics fall in the tala cycle. Mannarkoil Balaji illustrates how percussion playing involves counting backwards from the end; and since it is a tala cycle, the end is also the start of the new cycle.

**Positional Values — reverse counting explained in** **Mannarkoil Balaji’s lecdem**

For instance, if the percussionist wants to play a Sankirna pattern (9), three times, that is 9*3 = 27, with the tala being Adi , “Counting the Tala cycles in reverse and from the 27th point, render the patterns. For example 4 * 8 is 32. Start the tala by counting numbers from 32; 31; 30; 29; 28 and then from the 27th point onwards render the pattern for 9.”[2]

These positional values will vary for the Tani Avartanam in every concert because it depends on where the main artist hands it off for the percussion solo. The percussionist must finish the solo accurately for the singer to be able to resume the song at the same edam (point, place).

Percussionist usually finish the tani finale by repeating a rhythmic pattern three times and hence the need for the calculation to determine when to start this repeating pattern. This makes it clear why there is so much emphasis on internalization of these positional values.

Splitting and sub-splitting to create the aural tapestry of rhythm

Percussion accompaniment is occurring for a song that is set to a particular tala (the main rhythm which is usually in regular chatusra nadai or gait); and the cross-rhythm variations are introduced in the percussion accompaniment. A similar concept occurs in Nritta (rhythmic dance).

In her lecdem on the Pandanallur tradition, Alarmel Valli describes this eloquently “Cross Rhythms are a result of one layer of rhythm overlapping with another layer of rhythm and time being divided into the most intricate patterns ; This is due to what we call a Nadai (gait) — Pancha Nadais (3,4,5,7,9); using these over the basic layer of rhythm, we build a mathematical layer, like a tapestry”; and highlights as an example, Mishra Nadai patterns Tha ka Dhi Mi Tha Ki Kita (7) being introduced into the Kalyani Jatiswaram set to Rupaka Tala in regular chatusram (4). “

Similarly, during mridangam percussion accompaniment, cross-rhythms are introduced by splitting the total number of subunits in a tala into combinations of 3, 4, 5, 6 , 7, 9 which are essentially Tisram (3, 6(3*2)), Chatusram(4), Khandam (5), Mishram (7) and Sankeernam (9).

Rupakam Talam Single Kalai , 3 beats 4 +4+4 = 12 total subunits(all chatusram) , a simple cross rhythm 3+4+5 = 12 (tisram+chatusram + khandam)

Mannarkoil Balaji explains the fascinating concept of sub-splitting where each of these numbers gets broken down further, including with the introduction of multiple speeds; this results in far more intricate patterns.

Lecdem — Sub-splitting concept

This fascinating Konnakol for a rhythmic sequence based on Fibonacci Series brings this concept to life highlighting the magic of music and math :

1 Tha, 1 Tha, 2 Tha ka, 3 Tha ki ta, 5 Tha ka Tha ki ta (2+3)
8 Tha ka dhi mi Tha ka ja nu(4+4),
13 Tha ka dhi mi Tha ka ja nu Tha ka tha ki ta (4+4+5) ,
21 Tha ka dhi mi tha ki ta Tha ka dhi mi tha ki ta Tha ka dhi mi tha ki ta (7+7+7) and then subsequent patterns start sub-splitting and getting more and more intricate !

Nuance of Nadais

Nadai, which means walking in Tamil, can have a slightly different meaning based on context.

Sometimes, Nadai and Gati are used interchangeably and sometimes, there are subtle variations.

Different Gatis woven into Alarmel Valli’s choreography for the composition Sankara Sri Giri in Adi Tala. Alarmel Valli explains in her lecdem on Pandanallur tradition : “With Gati, the same unit of time for each beat in the tala that has minimal units of 4 (chatusram Tha Ka Dhi Mi) is now divided into 3, 5, 7 or 9.”
Explanation of Gatis where ‘Gati is defined as the variable that dictates the inner structure of each beat’
Korvai with multiple gatis
Chittasvaras sung in multiple gatis
Explanation of Polyrhythm in Western Classical Music (similar to Gati)

As we heard earlier, the percussionist can improvise and introduce various cross rhythms by leveraging the Pancha Nadais (3,4,5,7, 9) in different speeds under the overall framework established by the tala of the song which is usually in Chatusra Nadai.

There is also the concept of Nadais, which refer to the the playing of continuous rounds of the tala cycles during the Tani Avartanam or percussion solo. K S Kalidas illustrates examples of this Nadai in different tempos :

K S Kalidas compares these Nadais as stringing flowers to create a garland. These are periodically interspersed with Sollus (rhythmic patterns), akin to adding a more decorative flower like a lotus from time to time.

Solkattu

Rhythmic syllables are strung together to form larger rhythmic phrases called “Solkattu” (Sol (word), kattu (join) in Tamil). [2] When learning percussion, the student learns to say these rhythmic patterns aloud and then play them .

Mannarkoil Balaji explains that the “Following broad-based methods are used in forming solkattu:”

1) Normal basic pattern,

2) Speed mixture within a pattern

3) Splitting the syllable and making patterns within a pattern-Recursive

4) Mixture of kaarvais (pauses/elongations)

5) Mixture of Gathi (time-signature) variations within a pattern” [2]

Konnakol is taking Solkattu to a performance art form.

Introduction to Konnakol (with Western Classical notation)
Konnakol and Mridangam
Konnakol (including putting a different tala in each hand)
Sankirna Chapu in multiple rhythmic systems
Tatakaram — Sollus in a particular format in multiple nadais

South Indian Percussion Improvisation and related terminology

**Source :** **Elements of a Tani Avartanam (Percussion Solo)**

Kuraippu
Kuraippu can be translated as “rhythmic descent” or “step by step reduction”. In singing, the concept of kuraippu happens during kalpana swaras improvisation while kuraippu is mostly used in Percussion Solo before the Farans. “ [2] It is also used in Theermanams, Mohras and Korvais

Kuraippu in 2 Nadais in Adi Tala
Kuraippu for multiple talas

More Details

Rhythmic Descent in Karnatic Music — Principles, Practice and standardization by Mannarkoil Balaji

Arudi
Mannarkoil Balaji explains that “Arudi is an ending pattern. This is a Tamil word meaning “limit” or “boundary”. Arudi is also construed to be an ending point of the first portion of a Ragam-Tanam-Pallavi (RTP).”[2]

The Pallavi (that is part of a RTP) is usually set to more complicated talas and during improvisation for Neraval(lyrics) or Kalpana Svaras(notes), the exact points in which the lyrics fall in the tala must be maintained throughout (whereas when improvising for a line of a song, there is more flexibility). This makes the RTP more challenging for the vocalist, instrumentalist and percussionist.

Pallavi Darbar — Listen to percussion accompaniment for multiple RTPs

Theermanams
Mannarkoil Balaji explains that “Theermanams are short ending phrases; the rhythmic phrases played between Pallavi and Anupallai, Pallavi and Charanam is called Theermanam, if it observes the rule of not exceeding 3/4th of a Tala Cycle.”[2]

Theermanam in a kriti(song)
Theermanam , Hemavati Jatisvaram (T Balasaraswati repertoire)

Korvai
Mannarkoil Balaji explains that “Korvai is another Tamil word meaning ‘joining’. A Korvai can be defined as a rhythmic pattern set to a metre adhering to a structure.
Following are the components of a korvai:

It has generally 2 parts which are called Poorvanga(first part) and utharanga (second part)
Korvai can be made for any number of tala cycles.
Korvai can be played anywhere in Percussion Solo, but not during Song accompaniment
Korvais can also be rendered in different Gathis/Nadais
Korvai is also rendered three times with or without variations. “[2]

Listening to Korvais

Arun Prakash ‘s explanation about what he learnt from Tiruchi Sankaran that it was Mamundiya Pillai who first repeated the korvai 3 times and before that, it was rendered 4 times
Playing the korvai 3 times
Structure of a korvai — Poorvanga and Utharanga
Korvai in Mishra Jhampai (Tatakaram + Thadinginathom)
Korvai in Mishra Jhampa (Thadinginathom includes a kaarvai (pause)
Korvai with multiple nadais(chatusram, Tisram)
Korvai with multiple nadais (chatusram(4), mishram(7), mel kala tisram(6)), so very subtle difference between the mishram and the higher speed tisram
Art of the Korvai
Quintuplets in Adi Tala Khanda Nadai by Praveen Sparsh
Korvai example by Charu Hariharan that leverages the concept of Summing Consecutive numbers and additionally, for odd numbers this sum is always divisible by the original number !

Pharans/Farans
These are brisk rhythmic patterns played in the faster tempo and came to South Indian music from North Indian music.

Fast Paced Pharans

Mohara/Mora/Mohra

K S Kalidas said that the Mohara/Mora has come from the word Mohur(gold coin) and it is the second last component of the tani avartanam or percussion solo.

Mannarkoil Balaji explains “Mohara is another rhythmic form played 4 times just before the Percussion solo ends. Various types of moharas can be formed by observing the following rules:
1) Mohara is generally rendered for 4 tala cycles.
2) The second cycle is just a repetition of first cycle.
3) After mohara a pattern called Theermanam/Muktayee/Thadhinginathom or Korvai is generally played. Some artistes call short ending patterns as short Moharas and the final climax pattern as a long mohara.”[2]

Analysis of a Tani Avartanam — Percussion Solo

Let us see these fundamental concepts of come to life in this wonderful percussion solo played by Palani Subramania Pillai, the legendary mridangam maestro of the Puddukottai school; his student K S Kalidas helps us understand these facets as they unfold :

Women in Rhythm — Breaking the glass ceiling in percussion

**Puddukottai Ranganayaki Ammal Image Source:Twitter**

In Another Garland compiled by N Rajagopalan, T Sankaran, grandson of Veena Dhanammal said “The first woman to play on mridangam I knew of was Tirugokarna (Pudukottai) Ranganayaki Ammal, daughter of Sivarama Nattuvanar.”, a disciple of legendary Pudukottai Dakshinamurthi Pillai. Alas, we cannot find any audio of her playing.

The second half of the twentieth century saw these incredible women pioneers who ascended the stage to play percussion in Carnatic music concerts :

Dandamudi Summathi Rammohan Rao(mridangam)
N S Rajam (mridangam), younger sister of N Ramani(flute)
Sukanya Ramgopal, one of the first women to play Ghatam and student of T H Vinayakram
Lata Ramchar(Kanjira)

Now, in the twenty first century, more women percussionists are continuing to break through the barriers :