Ta tum = accent and descent

I U = iambic verse

Metric feet or foot

Thus a one-foot iambic line could be written:All hail!

A two-foot iambic line would be: All hail to you!

A three-foot iambic line would be: All hail to you, my friends!

A four-foot iambic line would be: All hail to you, my worthy friends!

A five-foot iambic line would be: All hail to you, my wholly worthy friends!

Stanza

A single line of poetry is called, technically, a verse of poetry. A series of lines arranged formally as a part of a poem is called a stanza.

Stanza forms may be rigid, with a fixed order of sequence as to line length, metre, or rhyme

The simplest stanza is two lines, called a couplet.

Naturally, if our stanza has only two lines, it can be rhymed in only one way: each line followed immediately by its rhyming mate. This is called rhyming in couplets, and is indicated by 1, 1. The second rhyme sound used in the poem would be designated by 2, the third by 3, and so on. Thus a series of couplet stanzas, if rhymed, would be rhymed 1, 1; 2, 2; 3, 3, and so on

Five-foot iambic lines rhymed couplet fashion are called heroic couplets. This was the favorite measure employed by Dryden and Pope, who enriched the language with many polished quotations:

Vice is a monster of so frightful mien 1 As, to be hated, needs but to be seen; 1 Yet seen too oft, familiar with her face, 2 We first endure, then pity, then embrace.2

A still small voice spake unto me,1 “Life is so full of misery, 1 Were it not better not to be?”1

Make me thy lyre, even as the forest is: 1 What if my leaves are falling like its own! 2 The tumult of thy mighty harmonies 1

Will take from both a deep autumnal tone, 2 Sweet though in sadness. Be thou, Spirit fierce, 3 My spirit! Be thou me, impetuous one! 2

Drive my dead thoughts over the universe 3 Like withered leaves to quicken a new birth! 4 And, by the incantation of this verse, 3

Scatter, as from an unextinguished hearth 4 Ashes and sparks, my words among mankind! 5 Be through my lips to unawakened earth 4

The trumpet of a prophecy! O wind, 5 If Winter comes, can Spring be far behind? 5

This is called terza rima.

A quatrain is a stanza or poem of four lines

Division of poetry

Poetry is commonly divided, from the point of view of the poet’s presentation of his material, into narrative, dramatic, and lyric poetry. The distinction is simple:

In narrative poetry, the poet tells a story as if he had been a spectator, but not a participant, in the events.
In dramatic poetry, the poet lets the characters of the story speak their own words.
In lyric poetry, the poet speaks his own moods, thoughts and aspirations.

might be classed with reason as any of the three: narrative poetry because it tells a story; dramatic, like a long dramatic monologue; and lyric, because the poet himself is speaking.

A fourth division, didactic poetry, that which teaches or points a moral, was once popular and is still encountered

Epic, Metrical Romance, Tale

An epic isa long narrative poem, dealing with heroic events, usually with supernatural guidance and participation in the action.

The Ballad The ballad, the brief story in verse, alone retains some general popularity. The name meant first a folk song-and-dance, like the

Dramatic Poetry Like story-telling, drama is largely a lost field to poetry, purely because of the unnaturalness of poetic drama as usually written. There is a field for drama in natural free verse, which may yet be widely used. Classic drama was divided into tragedy, a play ending in death, and comedy, a play not ending in death. This di¬ vision was unworkable, and has been abandoned today.

Lyric Poetry: Ode, Elegy, Pastoral Perhaps the earliest, and certainly the most enduringly popular type of poetry, is the lyric. As the name indicates, it meant orig¬ inally poetry to be sung to the lyre,-—a dance at first accompany¬ ing this. The ode,

An elegy is a formal expression of the poet’s grief at death, whether general or centered about the death of an individual. It has no more definite a pattern in English than the ode. Milton

The Simple Lyric: The Song The word song is loosely used for any simple lyric, on the theory that it may always be set to music. It is best to reserve the word for a lyric intended to be set to music. This calls for a knowledge, on the part of the poet, of the human voice in music, and the ease or difficulty with which the various sounds are pro¬ duced. Certain consonants and combinations of consonants are sinagable only with great difficulty. A line like: The gross-sized much-touched scratch will itch is not easily singable. The terminal consonants m, n, l, r are sung with ease; s, z, ch, sh, as terminals, with difficulty. Of the vowels, broad a, long o, long a, ou, are easiest to sing, though no vowel is really difficult. The words chosen should always end, and as far as possible include, only sounds which open the mouth, instead of closing it. Simple words are to be preferred to complicated ones; definite precise words to indefinite abstract ones; emotion-evoking words to intellectualized ones.

Rules of fixed verse

I. The same set of rhyme-sounds used in the first stanza, in the same order, must be used in each stanza; and the last half of this scheme must be used in the envoy. II. No rhyme-sound once used as a rhyme may be used again for that purpose anywhere in the poem. III. Each stanza and the envoy must close with the refrain line, repeated without any alteration of sound; though its punctuation, meaning and spelling may be altered. IV. The sense of the refrain must be supreme throughout the ballade, the culminating refrain line being always brought in without strain or effort as the natural close of the stanza or envoy. Formerly, the length of the refrain governed the length of the stanza. Thus an eight-syllabled refrain dictated an eight-line stanza, and a ten-syllabled refrain a ten-line stanza. This rule is followed no longer. V. The stanza should carry an unbroken sense throughout, and not be split in meaning into two quatrains, or any other division. The needful pauses for punctuation are allowed, but the sense is not to be finished midway of the stanza. VI. The envoy, as used in ballades and the chant royal, was at first addressed to the patron of the poet. It is thus usual to commence it with some such invocation as Prince! Princess! Sire! or by some mythical or symbolic person so introduced. This is at times omitted. The envoy is properly both a dedication and a culmination, and should be richer in wording and meaning and more stately in imagery than the preceding lines.

Vocabulary of poetry¶

Thou, thee, thy, ye, mine self.

Art (verb form), wast, wert, dost, wilt (verb form), hast, hadst, wouldst, shouldst, shalt, and all verb forms ending in -est, -st and the like.

JTis, ’gainst, ’gin, ’tween, ’neath, e’er, and other contractions not in living speech; as opposed to it’s and other contractions used in living speech.

Wroth, bethink, reft, reaving, athwart, welkin, rathe, fardel, burthen, murther, nave, chaps, gins, sooth, Norweyan, proof (for armor), composition (for terms of peace), ronyon, and all other archaic, obsolescent or obsolete words.

Except for “unless/’ memorize for “make memorable,” and other outworn usages of words.

All unnatural and elliptical expressions, improper in living speech, such as as to for “as if to,” bethink me for “recall,” for to that for “for to that end,” and the like.

All inversions and strained expressions improper in living speech, such as the soldier brave, have I seen, I battles fought, and the like. These are common, because rhyme-induced.

Sirrikadhey,lagu guru,tal,accent,eminem

Lòok, if you [hád] A / òne [shót] B / or òne opport[únity] C //
To [sèize] D / éverythìng you [éver] E / wánted in òne [móment] F //
Wòuld you [cápture] G / ìt or just let ìt [slìp]? H Yo //

Rhyme Pattern: - A-B-C - D-E-F - G-H

Just has teen taal 16 = 4x4 common Kolola sampler = matrix

In Carnatic music, Tālam (rhythmic cycle) is the framework of time, and Jāti defines the beat count of a specific component of the tālam.

Tālam (7 Sapta Tālas):

Each tālam is a pattern made of angas (parts):

Jāti (5 Types):

Jāti affects the Laghu (I) only, determining how many counts it has:

Combining Jāti & Tālam:

To get the total beat count of a tālam, apply the jāti to each Laghu in the tālam.

Example: Chatusra Jāti Dhruva Tālam Structure: Laghu (4) – Dhrutam (2) – Laghu (4) – Laghu (4) Total = 4 + 2 + 4 + 4 = 14 beats

Would you like a full chart showing all 35 tālas (7 tālams × 5 jātis)?

Here's how you can understand Jāti and Tālam in a Western music context:

Tālam = Time Signature

In Western music, the Tālam is similar to a time signature — it defines how time is structured in a measure (bar). However, Carnatic tālam is more complex, as it includes sub-divisions and cycles that are explicitly counted using hand gestures (called angas).

Jāti = Number of beats per unit

Jāti determines the number of beats in a "Laghu", which is like a beat group or bar in Western music. It affects how long a bar is, kind of like changing from ¾ to 5/4 or ⅞ time signatures.

Example: Dhruva Tālam in Western Terms

Let’s take Chatusra Jāti Dhruva Tālam:

Structure: Laghu (4 beats) – Dhrutam (2 beats) – Laghu (4 beats) – Laghu (4 beats)

Total = 14 beats

This would be similar to a 14/4 time signature in Western music (if each beat is a quarter note).

Other jātis give different total beats:

Summary Mapping:

Would you like a comparison chart for all 7 tālams in Western time signature terms too?

Perfect! You're on the right track. Here's your 4×4 grid clearly laid out with labels for Chatusra Jāti Dhruva Tālam (14 beats):

| 1 | 2 | 3 | 4 | ← Laghu 1 (4 beats) | 5 | 6 | | | ← Dhrutam (2 beats) | 7 | 8 | 9 | 10 | ← Laghu 2 (4 beats) | 11 | 12 | 13 | 14 | ← Laghu 3 (4 beats)

This gives you 14 filled cells, matching the tālam exactly.

Cells 15 and 16 (if your grid includes all 16) can be left blank or used as a gap/rest, or even a visual separator before the next cycle.

Optional Enhancement:

If you want to visualize it more effectively, you could use:

L for Laghu beats

D for Dhrutam beats

· or blank for unused cells

Example:

| L1 | L2 | L3 | L4 | | D1 | D2 | | | | L5 | L6 | L7 | L8 | | L9 | L10|L11 |L12 |

Would you like this as an image or ASCII art with symbols or emojis?

Yes! You can convert this rhythmic structure into MIDI using Python. Here's how to approach it:

Goal: Convert Chatusra Jāti Dhruva Tālam (14 beats) into a MIDI rhythm track using the mido library.

Step-by-step plan:

Install mido and python-rtmidi (if not done yet):

pip install mido python-rtmidi

Create a MIDI file:

from mido import Message, MidiFile, MidiTrack

Define beat structure (each beat is a note)¶

beats = [ "L1", "L2", "L3", "L4", # Laghu 1 "D1", "D2", # Dhrutam "L5", "L6", "L7", "L8", # Laghu 2 "L9", "L10", "L11", "L12" # Laghu 3 ]

mid = MidiFile() track = MidiTrack() mid.tracks.append(track)

Set instrument (optional)¶

track.append(Message('program_change', program=115, time=0)) # 115 = Woodblock

Add note for each beat (e.g. one beat = quarter note)¶

for beat in beats: track.append(Message('note_on', note=60, velocity=100, time=0)) # Middle C track.append(Message('note_off', note=60, velocity=64, time=480)) # 480 ticks = 1 beat

Save the file¶

mid.save('dhruva_talam.mid')

Customize:

Change note=60 to other percussion notes (like note 35 = Acoustic Bass Drum).

Use different notes or instruments to distinguish Laghu and Dhrutam.

Add rests if you want a 16-beat cycle.

Would you like it with:

Different instruments for Laghu/Dhrutam?

Export to audio (WAV)?

Real-time playback in Termux or desktop?

Let me know how you'd like to hear or use it!

I got the point tintal = 1/16 Ektal = 1/12 Rupak = ⅛

See in kolola player

Great! You've got the idea right. Here’s a quick breakdown of how you can interpret and arrange Tintal, Ektal, and Rupak in terms of their rhythmic structure:

Tintal (16 beats)

Time signature: 4/4, but it has 16 beats in total (a full cycle).

Jati (subdivisions): 4 beats per unit (Laghu).

The arrangement of 16 beats can be divided into 4 units of 4 beats each.

Ektal (12 beats)

Time signature: 4/4, but it has 12 beats in total (a full cycle).

Jati: 4 beats per unit for Laghu, but divided into 3 units.

Rupak (7 beats)

Time signature: 4/4, but it has 7 beats in total (a full cycle).

Jati: Typically divided into 3 beats for the first part, 2 beats for the second, and 2 beats for the third, following a 3+2+2 structure.

Visualizing with Beat Fraction:

Tintal = 1/16 (16 beats): Divide the total cycle into 4 groups of 4 beats (Laghu).

Ektal = 1/12 (12 beats): Divide the cycle into 3 groups of 4 beats.

Rupak = ⅛ (7 beats): Divide into 3+2+2 structure, with 7 total beats.

Example Breakdown for MIDI Conversion:

Tintal (16 beats):

You’ll have 4 groups of 4 beats, making up the full cycle.

Ektal (12 beats):

A cycle that divides into 3 units (each of 4 beats).

Rupak (7 beats):

This one is trickier to map to 4x4, but you can break it into 3 beats, then 2 beats, then 2 beats.

You can now use this understanding to design a 4x4 grid system that visually represents the beats for MIDI generation, or use this to guide manual music-making in software.

Would you like help with creating MIDI for these specific taals based on the fractions you've defined?

In Indian classical music, Jaati refers to the number of subdivisions or the "units" in a rhythm cycle (Taal). The term Jaati is often used to describe the structure or subdivisions of the beats in a Taal.

The most commonly used Jaatis are:

Chatusra Jaati (4 beats per unit)

The subdivision is 4 beats per unit.

This is often used in Taal like Dhruva Taal (where each unit contains 4 beats).

Tisra Jaati (3 beats per unit)

The subdivision is 3 beats per unit.

This is used in Taals like Rupak Taal (which has 7 beats in total but subdivided as 3+2+2).

Khanda Jaati (5 beats per unit)

The subdivision is 5 beats per unit.

It’s used in some Taals, like Matta Taal or Tilwada Taal (which is a 16-beat cycle but divided into 5+5+6).

Misra Jaati (7 beats per unit)

The subdivision is 7 beats per unit.

This Jaati is used in Misra Taal, where the beats are divided in a complex way (usually 3+2+2).

Sankeerna Jaati (9 beats per unit)

The subdivision is 9 beats per unit.

It’s used in Taals like Sankeerna Taal.

Summary of Jaatis:

Chatusra Jaati: 4 beats per unit

Tisra Jaati: 3 beats per unit

Khanda Jaati: 5 beats per unit

Misra Jaati: 7 beats per unit

Sankeerna Jaati: 9 beats per unit

Each of these Jaatis corresponds to how many beats are grouped together within the Taal's cycle. Depending on the Taal, the Jaati will determine how the beats are subdivided and played.

Would you like to explore more on how to map these Jaatis to specific Taals or rhythms in a grid structure?

So in grid of 4 x4 .3 are beats and 1 is rest in trisa jaathi

Yes, exactly! If you're mapping Teental with Trisra Jaati onto a 4x4 grid, and considering that each unit (or "Laghu") will have 3 beats (subdivided as 3 beats per unit), with 1 rest, you can visualize it as follows:

4x4 Grid for Teental with Trisra Jaati:

3 beats per unit (instead of 4 beats in the usual Teental).

1 rest per unit (so the grid will have 1 rest in each cycle of 4 beats).

Grid Layout:

Breakdown:

Each row represents a unit of 3 beats and 1 rest.

The rest is a silent beat in each unit (in place of the 4^th beat that would normally appear in Teental).

Beats 1, 2, 3 are played, and the rest occupies the 4^th position in each group of 4 beats.

Example of Applying to Music:

In terms of a 4x4 grid, you would have 3 beats in each unit and 1 rest. This gives you a triplet feel for each unit in Teental. When applied to a rhythmic instrument like the tabla or a drum kit, you'll have a rhythmic structure that still fits the 16-beat cycle of Teental but with a more triplet-oriented subdivision.

If you'd like to create or map this to music or MIDI, you can treat beats 1, 2, 3 as your sound-producing beats and Rest as a silent beat.

Let me know if you'd like to go further into creating the rhythmic pattern or translating this into MIDI format!

123 rest = laghu 123 rest = laghu

Laghu depens on jaati (the number jaati) Druva always 2 in anywhere Arudhava always 1 in anywhere

Let’s break it down using your preferred 4×4 grid format and keep it very visual and simple.

Concept Recap in Simple Terms:

Laghu = A group of beats, and its length depends on Jaati.

Dhrutam = Always 2 beats.

Anudhrutam = Always 1 beat.

Now let’s see how this applies inside a Talam (e.g., Dhruva Talam), and we’ll fit it into your 4x4 grid idea.

Jaatis and Beat Counts for Laghu:

Example: Dhruva Talam (Structure: Laghu – Dhrutam – Laghu – Laghu)

Let’s take Chatusra Jaati (Laghu = 4 beats). So total = 4 (Laghu) + 2 (Dhrutam) + 4 (Laghu) + 4 (Laghu) = 14 beats Now fit this into a 4x4 grid:

Grid (Chatusra Jaati)

| 1 | 2 | 3 | 4 | ← Laghu 1 | 5 | 6 | | | ← Dhrutam (2 beats, rest of row blank) | 7 | 8 | 9 | 10 | ← Laghu 2 | 11 | 12 | 13 | 14 | ← Laghu 3

Total = 14 beats in Dhruva Talam (Chatusra Jaati)

Now let’s do same Dhruva Talam in Trisra Jaati (Laghu = 3 beats)

So structure: 3 + 2 + 3 + 3 = 11 beats

Grid (Trisra Jaati)

| 1 | 2 | 3 | | ← Laghu 1 | 4 | 5 | | | ← Dhrutam | 6 | 7 | 8 | | ← Laghu 2 | 9 |10 |11 | | ← Laghu 3

Total = 11 beats, and we still use the grid with empty spaces to complete the square.

Would you like me to generate a visual or MIDI pattern for this to hear the rhythm?

Jaathi in Indian classical music refers to the number of beats in a Laghu, which is a component of a Tālam (rhythmic cycle). Different Jaathis change the length of the Laghu, and thus change the total beat count of the Tālam.

The 5 Types of Jaathi (ஜாதி / जाति)

How Jaathi Affects Tālam

Each Laghu in a tālam changes its length based on the jaathi.

For example:

Adi Tālam (8-beat cycle) is normally Chatusra Jaathi Triputa Talam

Structure: Laghu – Dhrutam – Dhrutam

Becomes: 4 + 2 + 2 = 8 beats

If you change the jaathi to Khanda (5):

It becomes: 5 + 2 + 2 = 9 beats

Still Adi Tālam, but in Khanda Jaathi

In a 4×4 Grid (16-beat cycle)

Let’s say you want to fit Tālam with Trisra Jaathi Laghu (3 beats)

You can fill 16 beats using combinations like:

Would you like to try creating your own tālam pattern using jaathi + solkattu + grid? I can help!

Great question! "Taki", "Takita", "Takadhimi", "Tadhinginatom", "Dhin", "Tum", "Ni", etc. are syllables used in Indian classical music to represent rhythms. These are part of what's called solkattu (in Carnatic music) or bols (in Hindustani music).

They are not random — they correspond to specific rhythmic groupings and are used to speak, learn, and compose rhythm patterns (taals) with precision.

Carnatic (South Indian) Rhythm Syllables (Solkattu)

These syllables correspond to groupings of notes/beats (called jatis or nadai):

These help recite rhythm. For example:

If you say Takadhimi, you're saying 4 equally spaced beats.

If you say Takita, it’s 3 beats.

Hindustani (North Indian) Rhythm Syllables (Bols)

These are usually tabla strokes:

Dha, Dhin, Tin, Na, Ta, Ti, Tum, Ni, Ke, Ge, Ka, Te, etc.

They represent actual hand strokes on tabla and their positions in a taal.

For example:

Ni Tum Ni Tum Ta (used in Jhaptaal) would translate to:

Ni → left hand open bass

Tum → right-hand stroke

Ta → closed stroke

So What Are They?

Use in 4x4 Grid Example:

Let’s say you're composing in a 16-beat cycle (like Teental), and want to use Takita (3-beat) and Takadhimi (4-beat):

So you can fill the rest with 2 beats using Taki (2-beat pattern):

Want me to generate a grid or sound pattern for any of these combinations?

Yes! Your idea of mapping Indian rhythm syllables (like Ta, Ti, etc.) to drum kit sounds (like bass and snare) is absolutely correct — especially if you're creating a cross-rhythmic or fusion system, like mapping Carnatic or Hindustani tala to Western or electronic music.

Let’s recap your mapping:

Ta = Bass Drum (Kick)

Ti = Snare

This is perfectly fine and commonly used in rhythm translations. You can expand on it like this:

What Makes It Correct?

There’s no one “correct” way — rhythm syllables are phonetic, and your mapping depends on how you want to interpret them.

What’s important is consistency and musical sense. You're creating a mapping layer, and if it sounds good and preserves the rhythmic feel, it’s valid.

This approach is commonly used in music education, fusion compositions, and algorithmic music generation.

Would you like a visual grid or a working Python-to-MIDI converter using this mapping?

Sure! Here's a simple list-style mapping of Indian solkattu syllables to Western drum sounds:

Ta → Kick drum (bass)

Ti → Snare drum

Ka → Closed hi-hat

Dhi → Mid tom

Mi → Rim click

Tum → Floor tom

Ni → Crash cymbal

Dhin → Snare + open hi-hat

Tak → Kick drum (alternate Ta)

Takita → Kick, snare, hi-hat (in sequence)

Takadhimi → Kick, hi-hat, tom, rim (in sequence)

You can customize the sounds further if you're using electronic kits or want to stylize it more. Want me to help turn this into a Python MIDI pattern generator?

Phrases raag drum