The document discusses rhythmic concepts in South Indian music such as symmetry, additive and multiplicative values, cyclical form, and flexibility in standpoint. It explores how rhythms can be structured based on mathematical relationships between pulse subdivisions, including polyrhythms, cross-rhythms, and talas with inner rhythmic structures. The key ideas are that South Indian rhythm uses symmetrical patterns and flexible frameworks built from basic pulse units.

1. south indian rhythm in the global contemporary context
rajna swaminathan
(mrudangam artist)
www.rajnaswaminathan.com
© 2012 Rajna Swaminathan. All rights reserved.

2. 2
4
6
(rhythm as shape)© 2012 Rajna Swaminathan. All rights reserved.

3. 6
4
2
© 2012 Rajna Swaminathan. All rights reserved.

4. 4
4
4
(symmetry of 3)
© 2012 Rajna Swaminathan. All rights reserved.

5. (over a duple feel)
© 2012 Rajna Swaminathan. All rights reserved.

6. (over a triple feel)
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7. 4 4 4 4
5 5 5 5
(inner structure of pulse)
© 2012 Rajna Swaminathan. All rights reserved.

8. 4 4 4
3 3 3 3
(secondary pulse)
© 2012 Rajna Swaminathan. All rights reserved.

9. pulse 1 pulse 2 pulse 3
5* 5* 5* 5*
© 2012 Rajna Swaminathan. All rights reserved.

10. 1 pulse 1 pulse 1 pulse 1 pulse 1 pulse
1 CYCLE
point of resolution
(outer structure of pulse)
© 2012 Rajna Swaminathan. All rights reserved.

11. cycle 1 cycle 2 cycle 3 cycle 4 …
FORM …
© 2012 Rajna Swaminathan. All rights reserved.

12. 1 pulse 1 pulse 1 pulse 1 pulse 1 pulse
2 pulses 3 pulses
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13. 2 pulses
5
3 pulses
4
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14. CYCLE 1 CYCLE 2
2 pulses 2 pulses 2 pulses 2 pulses 2 pulses
(hemiola with 2)
© 2012 Rajna Swaminathan. All rights reserved.

15. CYCLE 1 CYCLE 2
1 2 3 4 5
(hemiola or new framework)
© 2012 Rajna Swaminathan. All rights reserved.

16. CYCLE 1 CYCLE 2 CYCLE 3
3 pulses 3 pulses 3 pulses 3 pulses 3 pulses
(hemiola with 3)
© 2012 Rajna Swaminathan. All rights reserved.

17. CYCLE 1 CYCLE 2 CYCLE 3
1 2 3 4
(hemiola or new framework)
© 2012 Rajna Swaminathan. All rights reserved.

18.  Symmetry – additive value; balanced mathematically
 2 + 4 + 6 = 6 + 4 + 2 = 4 + 4 + 4
 Rhythmic fluidity – ratio or fraction relationship
 subdivision of 4 vs. subdivision of 3 = 1/4 vs. 1/3
 Cyclical form – multiplicational value
 number of pulses × subdivision = number of units
available
 Flexibility in standpoint – figure/ground relationship
© 2012 Rajna Swaminathan. All rights reserved.

19. 1 2 3 4 5
1 2 3 4
the 5 and 4 may be coexistant and form a polyrhythm
© 2012 Rajna Swaminathan. All rights reserved.

20. cross-rhythm
4 4 4 4 4
tala
5 5 5 5
if one is the primary pulse, it acts like a tala (outer structure) with a
gathi (inner structure) of 5 (due to least common multiple of 20)
© 2012 Rajna Swaminathan. All rights reserved.

21. cycle A1 A2 A3 A4 A5
cycle B1 B2 B3 B4
or both may be coexisting cycles…
© 2012 Rajna Swaminathan. All rights reserved.

22. 1 2 3 4 5
1 2 3 4
in any case, the mathematics works out the same way
= 20 units/pulses
© 2012 Rajna Swaminathan. All rights reserved.

23. 6 1 6 1 6
6 5 4 3 2
and yathis can be used similarly
© 2012 Rajna Swaminathan. All rights reserved.

24. 6
3, 6, 12, 24, etc.
the “building block” concept
© 2012 Rajna Swaminathan. All rights reserved.