While the Notations library primarily focuses on melodic content, you can annotate percussion patterns alongside your swaras. This guide shows various approaches.
Basic Approach: Using Comments
The simplest way is to write the solkattu as a comment above the line it belongs to. Anything
after // is ignored by the parser, so it stays in the source without becoming part of
the notation:
Separate Percussion Line
Create a dedicated line for percussion patterns:
\cycle("|4|2|2|")
\beatDuration(4)
\line("Melody")
Sw: S R G M , P D N S. , R. S. N D , P M G R
\line("Mridangam")
Pe: ta ka dhi mi , ta ka jha nu , ta ki ta ta , ka dhi mi ta
Common Mridangam Patterns
Basic Adi Tala Pattern
\cycle("|4|2|2|")
\beatDuration(4)
\line("Swaras")
Sw: S R G M , P D N S. , , , , , , , , , , , , , ,
\line("Mridangam Pattern")
Pe: ta ka ta ki , ta ta ka dhi , mi ta ka , jha nu ta
Chatusram in Adi Tala
\cycle("|4|2|2|")
\beatDuration(4)
Sw: SRGM PDNS. R.G.M.P. D.N.S..R.. , , , , , , , , , , , , , , , , , , , , , , , , , ,
Pe: taka dimi taka jhanu , taki tata kadhi mita , , , , , , , , , , , , , , , , , , , , , , , , , ,
Tisram in Adi Tala
\cycle("|4|2|2|")
\beatDuration(4)
Sw: SRG MPD NS. R.G. , M.P. D.N. S..R.. G..M.. , P..D.. N..S... , , , , , , , , , , , , , , , , , , ,
Pe: tak adh imi tak adh , ita kit ata kat adh , imi tak adh , , , , , , , , , , , , , , , ,
Mridangam in Different Talas
Rupaka Tala (6 beats)
\cycle("|2|4|")
\beatDuration(4)
Sw: S R , G M P D N S.
Pe: ta ka , dhi mi ta ka jha nu
Misra Chapu (7 beats)
\cycle("|3|2|2|")
\beatDuration(4)
Sw: S R G , M P , D N
Pe: ta ka dhi , mi ta , ka jha
Mridangam Korvai Patterns
Korvai are rhythmic patterns, typically in groups of 3:
\cycle("|4|2|2|")
\beatDuration(4)
\line("Korvai - First Iteration")
Pe: ta ka dhi mi ta ka jha nu , ta ri ki ta ta ka dhi mi , ta ka jha nu , , , , , , , , , , , , , , , ,
\line("Korvai - Second Iteration")
Pe: ta ka dhi mi ta ka jha nu , ta ri ki ta ta ka dhi mi , ta ka jha nu , , , , , , , , , , , , , , , ,
\line("Korvai - Third Iteration")
Pe: ta ka dhi mi ta ka jha nu , ta ri ki ta ta ka dhi mi , ta ka jha nu , , , , , , , , , , , , , , , ,
\line("Mohra (Ending)")
Pe: ta , , , dhi mi , , , , , , , ta , , , , , , , , , , , , ,
Thani Avartanam Structure
Organizing a solo percussion interlude:
\cycle("|4|2|2|")
\beatDuration(4)
\line("Section 1 - Simple Patterns")
Pe: ta ka dhi mi , ta ka jha nu , ta ki ta ta , ka dhi mi ta
\line("Section 2 - Increase Complexity")
Pe: taka dimi taka jhanu , taki tata kadhi mita , takajhanu tari kita , dimi taka jhanu ta
\line("Section 3 - Korvai")
Pe: takadimi takajhanu tarikita , takadimi takajhanu tarikita , takadimi takajhanu tarikita , ta , , , dhi mi , , ,
Combining with Swaras
Full example with melody and percussion:
\cycle("|4|2|2|")
\beatDuration(4)
\line("Pallavi")
Sw: S R G M , P M G R , S R G M , P , , , , , , , , ,
Pe: ta ka dhi mi , ta ka jha nu , ta ri ki ta , ta , , , , , , , , ,
\line("Swaram Passage")
Sw: SR GM PD NS. , R.S. DP MG RS , , , , , , , , , , , , , , , , , , , , , , , , , ,
Pe: taka dimi taka jhanu , taki tata kadh imi ta , , , , , , , , , , , , , , , , , , , , , , , , , ,
Tabla Patterns
For Hindustani music contexts:
\cycle("|4|4|4|4|")
\beatDuration(4)
\line("Melody")
Sw: S R G M , P D N S. , R. G. M. P. , D. N. S.. R..
\line("Tabla (Teental)")
Pe: dha dhin dhin dha , dha dhin dhin dha , dha tin tin ta , ta dhin dhin dha
Notation Symbols
Common mridangam syllables (solkattu):
- ta, ki, ta - Right hand (treble) strokes
- tha, thom, nam - Left hand (bass) strokes
- dhi, mi - Combined strokes
- ka, ra - Finger rolls
- jha, nu - Combined patterns
Practical Tips
- Use a separate line prefixed with
Pe: for percussion
- Align percussion syllables with corresponding melody beats
- Mark korvai iterations clearly (1st, 2nd, 3rd)
- Use
, for a held beat and - for an explicit rest
- Study traditional korvai patterns and their variations
- Practice reciting solkattu (vocal percussion syllables)
- Consider the interaction between melody and percussion
See Also
