The mora phrases usually resolve to beat one, called samam, in the next cycle. The statement is shown here using the mnemonic rhythm syllables: Ta ka di na (four sixteenth notes) and the gap ( tum) has the value of an eighth note), The formula is 4+2+4+2+4. The statements have to be identical or follow a symmetric shape, however, there can be exceptions.Įxample 1 on page 27 shows a very simple mora that spans four quarter notes. The two gaps can comprise music or silence and must be identical in length. The basic underlying structure is: statement-gap-statement-gap-statement, abbreviated as: s-g -s-g-s. It’s a rhythmic, cadential phrase that can span just a few beats or be a long and complex structure that is part of the percussion solo or tani avartanam. The mora is a rhythmic structure in South Indian or Carnatic music. Below, I’ll discuss some Indian musical elements that I incorporated in my composition Triloka: Three Realms. I’m still in awe of how many different ways we humans have developed music around the globe and how music has survived throughout history. I wondered what was going on rhythmically, melodically, and in the form.

Much like the first time I heard John Coltrane’s Giant Steps album, Indian music startled my sense of curiosity.

Guitarist John McLaughlin and his groups Mahavishnu Orchestra and Shakti, both of which I saw live several times, further spurred my interest in Indian music and connected with the jazz and fusion music I was listening to and playing during the 1970s. When I was a teenager, I first heard Indian sitar master Ravi Shankar and ever since, have been fascinated by the music of India. In addition to his educational work, professor Bruno Raberg is an internationally renowned bassist and composer.

Carnatic music online radio