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2006), the thirty-five-tāḷa scheme first appeared in “Oriental Music in Western Notation,” a journal written by A. M. Chinnaswamy Mudaliar in 1893. Since that time a table of thirty-five tāḷas may be seen in nearly every book on South Indian music and need not be reproduced in this introductory text.

      The main body of material here is in the eight-beat cycle ādi tāḷa, which occurs among the thirty-five as caturaśra jāti tripuṭa tāḷa. The name ādi (Sanskrit: ancient, primordial) suggests that this meter has importance beyond its existence as one among five possibilities for tripuṭa tāḷa, one of the suladi sapta tāḷas mentioned above. Indeed, more than 80 percent of the songs in the Karnatak music repertoire are composed in this tāḷa, and the bulk of any mrdangam student’s training is in this dominant meter.

      While the thirty-five-tāḷa scheme is preeminent in writings on Karnatak music, modern performance practice tells a different story. Ādi tāḷa is the only one of the four most commonly performed tāḷas that is represented among the thirty-five. The others, rūpaka (three beats), miśra cāpu (seven beats), and khaṇḍa cāpu (five beats), are counted by means of simple claps and waves and omit the laghu (clap plus finger counts) that makes the thirty-five-tāḷa scheme possible. The three principal composers of Karnatak music, Tyagaraja (1767–1847), Muttuswami Diksitar (1775–1835), and Syama Sastri (1762–1827), composed their songs mainly in these four meters; they used only a few tāḷas out of the thirty-five. But as I said above, musicological writings can influence performance practice, and this has been the case with the thirty-five-tāḷa scheme. Some teachers use them for composing voice and instrumental exercises, and many musicians use them for composing the brief, challenging pieces known as pallavi. I have used the simplest tāḷa in the scheme, ēka, which consists of a solitary laghu, in its five possible values to compose exercises for this book.

      Solkaṭṭu, then, is a real-time, embodied rhythmic notation that can be a powerful and enjoyable tool in rhythm training. The lessons in this book begin with fundamental exercises designed to build rhythmic skills in the simplest Karnatak tāḷa. The next lessons develop two core concepts of Karnatak rhythm, flow and design, and add advanced exercises in three more tāḷas. The largest section, entirely in ādi tāḷa, generates a range of possible percussion solo and ensemble pieces in the modern Karnatak idiom. A glossary and pronunciation guide accompanies each section. The material in this book will develop and strengthen one’s sense of rhythm in energetic and fascinating ways while providing a personal, palpable appreciation of the Indian musicians whose command of musical time has mesmerized and delighted us for the last half-century.

      THE STRUCTURE OF THE LESSONS

      These lessons are designed to build a practical understanding of rhythm in South Indian music from the ground up and assume no previous exposure to Karnatak music. Because solkaṭṭu is not taught as a separate subject in India, there is no pedagogical paradigm to guide a beginner. I have spent two decades refining my own teaching method, however, which is aimed at American musicians and college students. What follows is a brief outline of my method as presented in this book.

       Part I: Tiśra Jāti Ēka Tāḷa

      The first series of lessons is in the deceptively simple three-beat cycle tiśra jāti ēka tāḷa, the shortest in the thirty-five-tāḷa scheme. A three-syllable pattern introduces a fundamental process, the trikāla (three speeds), and seven related exercises.

      The second series of lessons in tiśra jāti ēka tāḷa combines patterns from the first series into phrases. These phrases are arranged into a rudimentary rhythmic composition, ending with a simple mōrā (ending design), along with an explanation of the mōrā form. Two core concepts, flow (sarvalaghu) and design (kaṇakku), are introduced.

      Mōrā series 1 uses the mōrā that ended the second series composition to develop a further series of six mōrās, designed to be performed in sequence. This series includes allowable exceptions to the mōrā form, as defined in the previous section.

      Mōrā series 2 develops another series of mōrās using a different principle of expansion.

       Part II: Exercise Mōrās

      This series of thirteen mōrās in four tāḷas is designed to develop two areas of strength. First, it introduces persistent offbeat accents and includes practice strategies for mastering them. Second, since the mōrās themselves are substantially more complex than those in the previous section, it develops a more highly developed sense of form and rhythmic design.

       Part III: Ādi Tāḷa Lessons

      The main section of this book follows a typical mrdangam student’s training in Karnatak music’s predominant tāḷa. These lessons take the form of a tani āvartanam, the percussion solo included in every concert. They begin with a series of mōrās that introduces the notion of the compound mōrā. Subsequent lessons include other types of Karnatak rhythmic design, such as kōrvai and koraippu, as well as sections that shift the internal pulse of each beat from four to three and five. The ādi tāḷa lessons conclude with a stylized ending section characteristic of the tani āvartanam.

       Conclusion: Putting It All Together

      The concluding section provides a written account of three pieces made from the ādi tāḷa lessons. These pieces, included on the accompanying video, are examples of how the student might arrange the material for his or her own needs.

       Video Examples and Notation

      Throughout the text are links to the 150 examples found on the accompanying video at www.wesleyan.edu/wespress/solkattu. These are indicated by numeric codes in bold type, such as (01-001). The two-digit prefix refers to the chapter number, while the three-digit number refers to the example itself. The bold letter “N” following one of these numbers indicates that there is also notation for it.

      I use minimal notation in my courses, mainly as a jog to the memory. For the sake of convenience I have provided notation, in tāḷa and syllables, for eighty-eight of the exercises and patterns in this book. The notation should be used as a reference, not as a primary means of learning the material. Once a piece has been memorized, the notation will have served its purpose.

      Some readers will be tempted to represent material in this book in staff notation. While I will not say it is wrong to do this, I find it at best culturally dissonant and at worst misleading. In any case, the syllable/tāḷa notation in this book, supported by exhaustive video examples, should make it unnecessary.

      HOW TO USE THIS BOOK

      This book may be used in several ways. An interested individual could certainly use it for self-training, as could a group of musicians. I have successfully used this method with classes of up to twenty students. Here are some suggestions, section by section. Perhaps the most important suggestion is to enjoy the process. Solkaṭṭu should be fun!

       Part I: Tiśra Jāti Ēka Tāḷa

      CHAPTER 1: LESSONS, FIRST SERIES

      The entire first section is designed for beginners, not just in Indian rhythm studies but in general rhythm studies. I have used it in entry-level music courses with great success. The exercises are supported by clear, detailed notation and video examples. These are truly fundamental lessons; they should be taught, practiced, and mastered with great care. Every subsequent lesson is built on the foundation established by these lessons. Once they have been mastered using the original three-note phrase, they should be repeated with each of the substitute phrases, until any of them can be performed on demand.

      CHAPTERS 2–4: LESSONS, SECOND SERIES, AND MŌRĀ SERIES 1 AND 2

      Each student should learn to perform both series according to the instructions. Again, the notation and video support will be extremely helpful. Students should learn to perform this material without looking at the

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