Rhythmic Descent in Karnatic Music – Principles, Practice and

standardization
-Mannarkoil J Balaji
Abstract
Rhythmic Descent in Carnatic Music forms part of Cadential forms like
Teermaanam, Arudi, Mora and Korvai. It is called “Kuraippu” in Tamil and has
been widely used in Carnatic Ensembles, rhythmic interludes during
concerts. This article explores the principles, the practice and offers a
standardization method to make the descent uniform for all talas so that the
application becomes easy for the students, practitioners and performers
alike.

Keywords: Rhythmic Descent, Kuraippu, Koraippu, Misra Kuraippu, Khanda

Kuraippu, Tisra Kuraippu, Chatusra Kuraippu, Sankirna Kuraippu, Cadential
Forms, Karnatak Rhythm, Karnatic Percussion, Carnatic Percussion,
Mridangam, Thani Avartanam, Tani Avartnam, Percussion Solo, South Indian
Rhythm

Introduction

South Indian rhythm is replete with mathematical ideas transformed

into aesthetic brilliance through the creative imaginations of many artistes at
various times. There are various cadential forms used in Carnatic Music like
Teernaman, Kuraippu, Arudi, Mora, Korvai etc. This article explores an
important aspect of Rhythmic Descent called “Kuraippu or koraippu” in
Carnatic Music. The article uses the term “rhythmic descent” to refer to
kuraippu. In Carnatic Percussion, generally, the rules are framed after
established performance practices and hence this article also uses “rules-
succeeding-practices” principle.

What is a rhythmic descent?

A descent is something that goes down or reduces in number.

Rhythmic descent is also one such rhythmic idea popularly used in Carnatic
Music where the number of times a pattern is played for a rhythmic cycle is
done in reducing proportions.

Principles

1) Rhythmic descent is done when there are two or more instruments

in a concert or an ensemble;
2) Rhythmic descent can be done for any tala following certain rules
(see the next section for detailed explanation of the rules);
3) Rhythmic descent precedes Mora and Korvai;
4) It is rendered towards the end of an ensemble before all the
instruments join to give a denouement;

Rules

1) For any Tala the total counts minus 1 will be the rhythmic pattern to
be used for descent (this will be called “arrived pattern”).
2) The reduction of the patterns will have to be geometric ie., 8,4,2,1,
which means that the “arrived pattern” has to be rendered 8 times
and then 4 times and then twice and once in that order. (Exceptions
will be dealt with later)
3) For rendering the arrived pattern in a rhythm cycle, the offset will
be as follows:
a. For rendering 8 times the arrived pattern leave two beats.
b. For rendering 4 times the arrived pattern leave 1 beat.
c. For rendering 2 times the arrived pattern leave ½ of a beat
(and render twice after leaving ½ of a beat each time).
d. For rendering once, the arrived pattern leave 1/4 th of a beat
(and render four times leaving 1/4th of a beat each time).
4) After stage 3 (d) above the “arrived pattern” is rendered
continuously for a certain number of beats and then the same
pattern is rendered Tisra Gathi to finish the rhythmic descent
section of a rhythm ensemble.
 5) There is no restriction on the number of times the descent could be
played. For example rendition of “arrived patterns” for 8,4,2 and
once could be repeated based on the imagination and creative
ability of the artiste though within the over-all durational framework
of the concert.

Practical Examples with reference to rules

For example if we take a tala like “Adi Tala”, which has 8 beats per
cycle, then its arrived pattern to be used for rhythmic descent will be 8 – 1 =
7, as per rule number 1. Hence for Adi Tala “Misra rhythmic descent” has to
used (popularly called “Misra Kuraippu or Misra Koraippu).

As per rule number 2 the arrived pattern of “7” needs to be rendered 8

times, 4 times, 2 times, and once, which is explained in the following box
notation. Number 7 is rhythmically represented in the following ways:

Tha ka dhi mi tha ki ta

Tha . dhi . gi na thom

Tha . dhim . tha ki ta

Tha . tha . kita thaka tha ri kita thom . (double misram)

Rule 3 (a)

Arrived Pattern is 7; Leave 2 beats to render the arrived pattern 8 times as

shown below.

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha ka Tha ki Ka dhi Ki ta / Dhi mi Ta/ tha
dhi mi ta/ tha mi tha tha ka tha ki ka dhi
Mi tha Tha ka Tha ki Ka dhi Ki ta / Dhi mi Ta / tha Mi tha
ki ta/ dhi mi ta / tha mi tha tha ka tha ki ka dhi ki ta
Table 1 : Rule 3(a) of Misra Rhythmic Descent

Rule 3 (b)
Arrived pattern is 7; leave 1 beat and render the arrived pattern 4 times as
shown below:

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha ka Tha ki Ka dhi Ki ta / Dhi mi Ta/ tha Mi tha
dhi mi ta/ tha mi tha tha ka tha ki ka dhi ki ta
Table 2 : Rule 3(b) of Misra Rhythmic Descent

Rule 3(c)

Arrived Pattern is 7; leave ½ beat and render the arrived pattern 2 times
(repeat 2 times)

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
. ./ tha Dhi mi Ta / tha Mi tha Tha ./ Dhi mi Ta/ tha Mi tha
ka tha ki ka dhi ki ta tha ka tha ki ka dhi ki ta
Table 3 : Rule 3(C) of Misra Rhythmic Descent

At the 5th beat there is a “tha .” which takes up ½ unit of a Tala, presuming
there are 4 inner pulses per beat. Generally the first beat will be started as
gap and the mid beat will be ended with a “Tha .” and then the “arrived
pattern” is rendered again for demarcation of the descent.

Rule 3 (d)

Arrived pattern is 7; leave 1/4th of a beat and then render once (repeat 4
times)

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
. / tha Mi tha . tha ka Mi tha . tha ka Mi tha . tha ka Mi tha
ka dhi ki ta/ dhi ki ta / dhi ki ta/ dhi ki ta/
Table 4: Rule 3(d) of Misra Rhythmic Descent

Rule No 4
After stage 3 (d) the arrived pattern is continuously rendered upto a certain
point in a rhythmic cycle and then finished off with rendering the arrived
pattern in tisra gati as explained below:

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
. tha ka Mi tha Tha ka Tha ki Ka dhi Ki ta / Dhi mi Ta/ tha
dhi ki ta. dhi mi ta /tha mi tha tha ka tha ki ka dhi
Mi tha (T) tha Mi tha Ta/ tha Dhi mi Ki ta / Ka dhi Tha ki
ki ta// ka dhi ki ka tha tha mi ta//
Table 5: Prevalent ending for a rhythmic descent, in this case Misra Rhythmic
Descent

As already mentioned, each of the above steps could be improvised

further and rendered as many number of times based on one’s imagination
and creativity. 4 examples of the 1st descent is given below:

Beat Little
Middle Ring Beat Wave Beat Wave
Finger
Finger Finger
Tha ka Tha ki Ka dhi Ki ta / Dhi mi Ta/ tha
dhi mi ta/ tha mi tha tha ka tha ki ka dhi
Mi tha Tha ka Tha ki Dhi gi Tha ka Gi na Ka dhi Dhi gi
ki ta/ dhi mi ta / tha na tha dhi thom ku tha na
thom tha thom //
Table : 6 (improvisation starts from 2nd cycle Middle finger box)

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha . tha dhi Thom . Dhim . Gi na . dhim .
dhim . gi na / tha . tha dhi thom – tha
tha
Dhi gi ./ tha . . tha Na Dhim . Gi na . dhim . Dhi gi
na dhim dhi gi thom – tha dhi thom- tha na
thom tha . tha thom //
Table 7: Improvisation in Misra Descent using Sankirna Patterns

The above is using a simple logic of using patterns for 9 rendered six
times as 1,2,3 with gap after rendering once and two times. Total will be 6 *
9 = 54 + 2 (for gaps) = 56 = 8 * 7.
 Next example includes a gati for the same example cited above. Last
two patterns for 9 could be rendered in double speed tisra gati.

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha . tha dhi Thom . Dhim . Gi na . dhim .
dhim . gi na / tha . tha dhi thom – tha
tha
Dhi gi ./ tha . . tha Na . tha Tha . Gi na . tha
na dhim dhi gi thom – dhi gi dhim . thom – dhi gi
thom (Double na tha dhi tha . na
Tisra) thom - dhim thom //
tha .
dhim
Table 8: Improvisation in Misra Descent

Last three double Tisra of the Sankirna Patterns could be improvised further
as 8+9+10 also which is explained below (3 * 9 = 27 = 8 + 9 +10)

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha . tha dhi Thom . Dhim . Gi na . dhim .
dhim . gi na / tha . tha dhi thom – tha
tha
Dhi gi ./ tha . . tha Na Tha dhi . dhim . Na . tha
na dhim dhi gi thom – gi na tha dhi thom – dhi gi
thom (Double thom- gi tha . . na
Tisra) tha dhim thom //
tha
dhim .
Table 9 : Improvisation in Tisra Gati

Grouping of syllables at the last 3 could give us another improvisation as

follows: 3 * 9 = 27 = 8 + 9 + 10 split as (3+5) + (4+5) + (5+5) = 27 =
(3+4+5) + (5 + 5 + 5):

Beat Little Middle Ring Beat Wave Beat Wave

Finger Finger Finger
Tha . tha dhi Thom . Dhim . Gi na . dhim .
dhim . gi na / tha . tha dhi thom – tha
tha
Dhi gi ./ tha . . tha Na thom Tha .d . dhim . Na Thom –
na dhim dhi gi – him . – / tha thom- tha dhi
thom (Double tha . dhi gi tha dhi gi na
Tisra) gin a thom //
tha
dhim . -
Table 10: Improvisation in Tisra Gati through grouping

In the above way many improvisations could be made while rendering 8

times, 4 times and twice. Generally while rendering once no improvisations
are made, keeping in mind the quick succession of renditions and alternation
between various instruments.

Application for other rhythm cycles

The Same principles and rules are applied for all the rhythmic cycles
and if one scrupulously follows the rules there will never be any mistake in
renditions. Even impromptu improvisations are possible, provided the rules
are understood clearly and unambiguously. The following table lists the
“arrived pattern” for different random rhythm cycles:

Sno Generic name of Total Calculation Arrived Generic

the Tala (rhythm Counts per Pattern for name of
cycle) cycle rhythmic Rhythmic
descent Descent
rendition
1 Misra Jaati 10 10 – 1 9 Sankirna
Jhampa Tala Kuraippu
2 Khanda Jaati 9 9–1 8 Double
Triputa Tala Catusra
Kuraippu
3 Tisra Jaati Triputa 7 7–1 6 Double
Tala & Misra Tisra
Capu Tala Kuraippu
4 Rupaka Tala 6 6–1 5 Khanda
Kuraippu
5 Khanda Capu 5 5–1 4 Catusra
Tala Kuraippu
6 Catusra Eka Tala 4 4–1 3 Tisra
Kuraippu
7 Khanda Jhampa 8 8–1 7 Misra
Tala Kuraippu
Table 11: Sample talas and their rhythmic descent as per rules
Standardisation Process

Upto Rule 3(d) the process is pretty much standardized for all talas and
if we observe the rules of leaving 2 beats, 1 beat, ½ beat and ¼ beat and
render the arrived pattern pertaining to the Tala, then the “rhythmic
descent” process fits in perfectly along cycles.

In Carnatic Music any rhythmic idea should have a proper ending,

according to traditional playing methods. On a close observation of the
current practice used for “Adi Tala-Misra Kuraippu” listed in Table 5, the
ending is perfect and also gives a sense of finish of the rhythmic descent
section. While this being the case, any idea is perfect only when it is
universally applicable to all the Talas. The same principle cannot be applied
for other talas as well. On a close observation of Table it may be obvious
about the following facts: The “arrived pattern” 7 was rendered 5 times from
1/4th beat point and it was rendered in “Tisra Gati” 3 times thereafter. If we
try to apply the same logic for other talas it will not work out. We take a tala
like Misra Jaati Jhampa Tala and follow the same rule adopted for Adi Tala
and see if the rules fit in perfectly or not.

Total counts per cycle for Misra Jaati Jhampa Tala = 10

Arrived Pattern 10-1 = 9

So for Misra Jaati Jhampa Tala the rhythmic descent will be “Sankeerna
kuraippu”. In the following Table 11 the entire 8,4,2,1 is given and the Rule
No:4 along the lines of the patterns rendered for Adi Tala has been
attempted. Entire rhythmic descent is in a single table and rendered only
once.

Rule Beat Littl Middl Ring Index Thum Littl Beat Beat Wave
s e e b e
Rule Tha . Tha Thom . tha Na Dhi Gi .
No: dhim. dhi - dhi gi tho m . na dhim
3(a) gi tha . m – tha tho . tha
na dhim tha . dhi m –
 tha
Dhi Tha Tha Tho . tha Na Dhi Gi . Dhi gi
gi . dhi gi m – dhi gi thom m . na dhi na
na dhi na tha . – tha tho m . thom
tho m. dhim tha . dhi m – tha //
m tha
Rule Tha Tha Tho . tha Na Dhi Gi . Dhi gi
No: . dhi gi m – dhi gi thom m . na dhi na
3(b) dhi na tha . – tha tho m . thom
m. dhim tha . dhi m – tha //
tha
Rule . . Dhi Gi . Dhi Tha . Dhi Gi . Dhi gi
No tha . m . na dhim gi na / tha . m . na dhi na
3 (c) tha thom . tha thom tha tho m . thom
dhi – tha dhi m – tha //
tha
Rule . tha . tha Na . Dhi . tha . . tha Na . Dhi gi
No : . dhi thom dhim gi na dhim dhi tho dhi na
3 dhi gi . tha . tha thom gi m . m . thom/
(d) m tha tha /
Rule . tha . tha Na Dhi Gi . Dhi Tha Tha Thom
No: . dhi thom m . na dhim gi . dhi / tha .
4 dhi gi / tha thom . tha na dhi gi dhim
m tha . dhi / tha tho m. na
m
. tha Na
dhi tho
gi m
Table 11 – Sankirna Rhythmic Descent for Misra Jaathi Jhampa Tala

If we follow the principle used for “Adi Tala Rhythmic Descent” viz., Misra
Kuraippu, the same logic won’t work for Misra Jaati Jhampa Tala at stage 4,
where it creates an incessant loop or the ending is prolonged or some non-
standardized/individualized patterns are used. Hence in order to provide a
standardization at Rule No:4 which will be applicable to all the rhythm cycles
in Carnatic Music the following methods could be used.

1) Instead of starting the “arrived pattern” after 1/4 th beat in Rule No:
4, it should be started on the beat itself and “arrived pattern”
should be rendered 4 times only.
 2) After rendering the “arrived pattern” 4 times two beat gap needs to
be given which can be in the method of “tha . . ./dhi . . .”
3) After the gap of two beats then the “arrived pattern” has to be
rendered in Tisra Gati, thrice. This completes the rhythmic descent
gracefully and within the stipulated time cycle.
4) Alternatively instead of leaving 2 beats gap after rendering 4 times
straight away take the “arrived pattern” in Tisra Gati and leave a
Gap of “tha ki ta” in between 1st time and 2nd time. After rendering
the “arrived pattern” in Tisra Gati for the 3rd time it will reach the
end point.

The above is a principle applicable for all the talas universally and hence
there will be a standardized “rhythmic descent” application for the entire
rhythm cycles in Carnatic Music. The same example listed in Table 11 is used
and the method of standardization is used to express the example:

Rule Bea Littl Middl Ring Index Thum Little Bea Beat Wave
s t e e b t
Rule Tha . Tha Tho . tha Na Dhi Gi na .
No: dhim. dhi m- dhi gi tho m . thom dhim
3(a) gi tha . m – tha – tha . tha
na dhim tha . dhi
Dhi Tha Tha Tho . tha Na Dhi Gi . Dhi gi
gi . dhi gi m – dhi gi thom m . na dhim na
na dhi na tha . – tha tho . tha thom
tho m. dhim tha . dhi m – //
m tha
Rule Tha Tha Tho . tha Na Dhi Gi . Dhi gi
No: . dhi gi m – dhi gi thom m . na dhim na
3(b) dhi na tha . – tha tho . tha thom
m. dhim tha . dhi m – //
tha
Rule . . Dhi Gi na . Dhi Tha . Dhi Gi . Dhi gi
No tha m . thom dhim gi na / tha . m . na dhim na
3 . tha – tha . tha thom tha tho . tha thom
(c) dhi dhi m – //
tha
Rule . . tha Na . Dhi . tha . . tha Na . Dhi gi
No : tha dhi thom dhim gi na dhim dhi tho dhim na
3 . gi . tha . tha thom gi m . . tha thom/
(d) dhi tha /
m
Rule Tha Tha Thom . tha Na Dhim Gi . Dhi gi Tha .
No: . dhi / tha . dhi thom . tha na dhi na ..
4 dhi gi dhim gi / dhi tho m . thom/
m. na tha . m/ tha /
tha
Dhi (T) . tha Gi Tha . . tha Gi Tha . tha Gi na
. . . tha . dhi na dhim dhi na . dhi thom/
dhi tho tho dhi /
m m/ m/ m
Table 12: Application of standardization method to Sankirna rhythmic
descent in Misra Jaati Jhampa Tala

This standard principle is applicable for all talas including “Adi Tala”. Table
13 gives Misra Rhythmic Descent for Adi Tala with the standardized approach
and Table 14 gives Khanda Rhythmic Descent for Catusra Jaati Rupaka Tala.

Rule Beat Little Middle Ring

Beat Wave Beat Wave
Rule 3 (a) Tha Tha ki
Ka Ki ta/ Dhi Ta /
ka dhi ta/dhi mi tha ka mi tha ka
mi thatha tha ki dhi
Mi tha Tha Tha ki Ka dhi
Ki ta / Dhi Ta/ Mi tha
ki ta/ ka dhi ta / mi tha mi tha tha ki ta //
mi tha thaka ki ka dhi
Rule 3 (b) Tha Tha ki Ka dhi
Ki ta / Dhi Ta/ Mi tha
ka dhi ta / mi tha mi tha tha ki ta //
mi tha thaka ki ka dhi
Rule 3 (C) . . tha Dhi Ta / Mi tha
Tha ./ Dhi Ta / Mi tha
ka mi tha tha ka ki ta
/ tha mi tha tha ki ta //
ki dhi ka ki ka dhi
Rule 3 (d) . tha Mi tha . thaMi tha . tha Mi tha . tha Mi tha
ka dhi ki ta / ka dhi
ki ta / ka dhi ki ta / ka dhi ki ta /
Standardi Tha Tha ki Ka dhi
Ki ta / Dhi Ta/ Mi tha Tha . .
sed Rule 4 ka dhi ta / mi tha
tha ka mi tha ka ki .
mi tha tha ki dhi ta //
Dhi . . (T) Mi tha Ta/ Dhi Ki ta / Ka Tha ki
. tha ka ki tha ka mi tha dhi mi ta //
dhi tha
Table 13: Misra rhythmic descent for Adhi Tala
The following table gives example of Khanda rhythmic descent for Rupaka
Tala

Rules Beat Wave Beat Little Middle Ring

Rule 3(a) Tha dhi gi Thom – Na Gi na
na tha dhi thom – thom –
gi tha dhi tha
Dhi gi na Tha dhi gi Thom – Na Gi na Dhi gi
thom - na tha dhi gi thom – thom – na
tha dhi tha thom//
Rule 3(b) Tha dhi gi Thom – Na Gi na Dhi gi
na tha dhi gi thom – thom – na
tha dhi tha thom//
Rule 3(c) . . / tha Gi na Dhi gi na Tha .// Gi na Dhi gi
dhi thom – thom tha dhi thom – na
tha tha thom //
Rule 3(d) . tha dhi Na thom . Dhi gi na . tha Na Dhi gi
gi tha thom dhi gi thom . na
tha thom //
Standardi Tha dhi gi Thom/ tha Na thom/ Gi na Dhi gin (T) tha
sed Rule na dhi gi tha dhi thom/ a dhi gi
(4) with tha thom //
Gap in
Tisram
Na thom/ Ki ta) tha Dhi gi na Thom / Ta ) tha Gi na
(tha (tha ki dhi thom //
Table 14 : Khanda Rhythmic Descent for Catusra Jaati Rupaka Tala

Conclusion

Rhythmic descents are an integral part of Carnatic Music percussion

ensembles (whether separate or part of a concert). They are played at the
end of the percussion interlude, laying emphasis on its effectiveness and its
importance. After this section there will be mora and korvai (explanation of
this will be beyond the scope of this article) to finish of the entire ensemble.
Through this article, an attempt has been made to standardize the “rhythmic
descent” concept popularly used in Carnatic Music, which has not been done
hitherto.