Meru-Khaṇḍa Practice in Sattriya Prasangiā-Bargīt Singing (A Continuity of Vedic Rhythmic Tradition)

 

Meru-Khaṇḍa Practice in Sattriya Prasangiā-Bargīt Singing

(A Continuity of Vedic Rhythmic Tradition)

 

Abstract

The Sattriya tradition of Assam preserves an extraordinary link between the Vedic rhythmic sciences and living musical practice. Central to this continuity is the application of the meru-khaṇḍa method in the Prasangiā-Bargīt singing system. Rooted in Sanskritic concepts of mātrā, gaṇa, and tāla, this method embodies a refined mathematical and musical synthesis that has shaped both ancient Vedic sam-gāna and later Indian classical music. This paper explores the theoretical foundation and practical application of meru-khaṇḍa within Sattriya Prasangiā-Bargīt, situating it within the broader history of Indian musical thought.

 

Key words-

#Sanskrit-Prosody, #Chhanda_śāstra, #Mātrā (Druta, Laghu, Guru, Pluta), #Kalā_system_in_Indian_music, #Sāmaveda_and_Sām_gāna, #Gaṇa_and_Vedic_metres, #Tāla_construction, #Prastāra_bheda, #Meru_khaṇḍa_method, #Prabandha_gāyana, #Sattriya_tradition, #Prasangiā_Bargīt, #Rhythmic_dissection_in_music, #Mathematical-patterns_in_rhythm, #Living_intangible_cultural_heritage 

 

 

Introduction

Sanskrit, the root of most Major Indian Languages (MIL), was not only the language of classical literature but also the sacred medium of the Vedas. Among them, the Sāmaveda was the foundation of sām-gāna—a structured chant that shaped India’s earliest musical forms. The fundamental unit of measurement in this tradition was the mātrā, which determined the temporal value of each syllable. Sanskrit prosody recognizes four types of mātrā: half-mātrā or druta (0), single-mātrā or laghu (|), double-mātrā or guru (S), and tri-mātrā or pluta (S’). 

Mātrā and Kalā in Indian Music

In the development of Indian music, the temporal scope of the mātrā expanded into finer measurable units called Kalā. A single mātrā could be expressed through four or six kalās, while a half-mātrā comprised two or three kalās. Likewise, a double-mātrā (guru) extended into eight or twelve kalās, and a tri-mātrā (pluta) into twelve or even twenty-four kalās. This systematic expansion enabled greater rhythmic precision and complexity in musical performance, especially in the structuring of tāla. 

Chhanda-śāstra and the Genesis of Gaṇas

The science of metre (chhanda-śāstra) provided the conceptual framework for understanding rhythmic organization. By arranging three mātrās into different mathematical combinations, ancient scholars formulated ten types of gaṇas (metrical units). These gaṇas, when sequentially arranged, gave rise to more than 1,500 Vedic metres, thus demonstrating an unparalleled union of mathematics, linguistics, and rhythm. 

Meru-Khaṇḍa in Tāla Construction

Unlike Vedic metre, which primarily employed laghu and guru syllables, Indian music introduced an enriched rhythmic palette by incorporating druta (0) and pluta (S’) alongside laghu (|) and guru (S). Within this system, the method of dividing a larger rhythmic cycle (tāla) into progressively smaller sub-units became known as Prastāra-bheda. Scholars often referred to this practice as Meru-khaṇḍa, likening it to a structural dissection of rhythm. This method was not merely theoretical but found deep resonance in practice, particularly within Prabandha-gāyana, an early, highly codified form of Indian musical expression. 

Meru-Khaṇḍa in Sattriya Prasangiā-Bargīt

The Sattriya tradition of Assam, deeply rooted in the Neo-Vaiṣṇava spiritual movement initiated by Srimanta Sankardeva, preserves elements of Prabandha-gāyana in its Prasangiā-Bargīt. These devotional songs, still performed in the sattras (monastic institutions), reveal the application of meru-khaṇḍa through their rhythmic breakdowns, layered structures, and measured elaborations of tāla. In this way, Sattriya Bargīt functions as a living repository of ancient rhythmic knowledge, bridging Vedic sam-gāna, medieval prabandha, and modern Sattriya performance practice. 

The meru-khaṇḍa method demonstrates the continuity of a rhythmic imagination that has shaped Indian cultural heritage for millennia. Its presence in Sattriya Prasangiā-Bargīt underscores the inseparable bond between Sanskritic learning, Vedic chant, and the devotional music of Assam. Far from being a static relic, this method reveals itself as a vibrant, living science that continues to inspire and structure musical expression. 

What is Prastāra-bheda:

Above we describe that there are four types of mātrā: half-mātrā or druta (0), single-mātrā or laghu (|), double-mātrā or guru (S), and tri-mātrā or pluta (S’). Here, laghu (|) is the unit of the mātrā; hence, one guru (S) is equal to two (2) laghu (|) and one pluta (S’) is equal to three (3) laghu (|). On the other hand, in practice, half-mātrā or druta (0) is considered as the smallest unit of the rhythmic composition system. Therefore, One laghu (|) is equal to two (2) druta (0), one guru (S) is equal to four (4) druta (0) and one pluta (S’) is equal to six (6) druta (0). 

Now, if we consider one Tāla composed by single Pluta (S’), then its meru-khaṇḍa method can be describe as mentioned below – 

Prastāra-bheda of Pluta (S’)

 

Number	Form	REMARKS	Number	Form	REMARKS
1	S’	1-- 6th, Single division of Pluta	10	OSO	1
2	|S	1	11	O||O	2
3	OOS	2-- 5th, Double divisions of Guru	12	|O|O	3
4	S|	1	13	OOO|O	4
5	|||	2	14	SOO	5
6	OO||	3	15	||OO	6
7	O|O|	4	16	OO|OO	7
8	|OO|	5	17	O|OOO	8
9	OOOOO|	6— 3rd, Five divisions of Laghu	18	|OOOO	9
			19	OOOOOO	10—1st, Ten divisions of Druta

 

In rhythmic structures (tālā), elements Druta, Laghu, Guru and Pluta are called Tālāṅga. Depending on the number of Drutas and the digits opposite to them, different kinds of Pluta-prastāra (expansions) are used. 

For example, from the 1st, 3rd, 5th, and 6th positions, different kinds of Pluta-prastāra are applied. But if we count in reverse, from the 6th place back to the 1st, then the order becomes: 1st → 6th place, 2nd → 5th place, 4th → 3rd place & 5th → 1st place; And accordingly, the commentaries are arranged. 

Actually, every rhythm (tāla) is represented with fixed digits or numbers, called saṅkhyā-prastāra (numeric expansion). These are shown below:

 

Sl no	1	2	3	4	5	6	7	8	9	10	11	12	13
Tālāṃga	O	|	O|	S	OS	S’	OS’	|S’	O|S’	SS’	OSS	S’S’	O S’S’
Digit	1	2	3	6	10	19	33	60	106	191	340	610	1089

From this table, it becomes clear how Druta and Laghu are distributed within different Pluta-prastāra variations: At the 6th place: 1 Pluta (1 type); at the 5th place: 2 Gurus, 1 Laghu, 2 Drutas (2 types); at the 3rd place: 1 Guru, 11 Laghus, 10 Drutas (6 types) & at the 1st place: 2 Gurus, 10 Laghus, 32 Drutas (10 types); therefore, Total = 1 Pluta + 5 Gurus + 22 Laghus + 44 Drutas = 72 units, with 19 variations. By tabulation - 

 

Sl No	Tālāṃga				TOTAL	Digit
	Pluta	Guru	Laghu	Druta
1	S’	S	|	O
2	1	-	-	-	1	6th – 1
3	-	2	1	2	5	5th – 2
4	-	1	11	10	22	3rd – 6
5	-	2	10	32	44	1st – 10
TOTAL	1	5	22	44	72	19

On the other hand, the digits and their relation with Pātāla (depth levels) are arranged against the Druta numbers as follows:

 

Symbol	O	|	O|	S	OS	Ś
Druta Number	1	2	3	4	5	6
Digit	1	2	3	6	10	19
Pātāla	1	2	5	20	22	44

Thus, while creating the Prastāra-bheda (combinatorial expansion), the Pātāla letters must correspond with the Druta numbers. 

The Concept of Naṣṭa-bheda (Lost Variations)

Sometimes, in order to complete a tāla (rhythmic cycle), the smallest tālāṅga (unit), namely Druta, is added. This process is called Tāla-pūraṇa (completion of the tāla). However, according to the grammatical rule “ādyantavadekasmin” (Pāṇini 1/1/27), such completion is considered not permissible in principle. 

The method by which the exact number of variations of a particular unit is determined is called the Naṣṭa process. 

Example:

What will be the nature of the 10th variation (digit) of the Pluta-prastāra? 

The śāstra explains: “In whichever part the Nirantara Patita or falling series (numbers that are successively subtracted) occurs, there the Laghu is transformed into two Gurus, while the Apatita or unfallen (remaining) numbers and the final digit will be treated as Druta.” (See Saṅgīta-Ratnākara, Fifth Tālādhyāya, with Kallinātha’s commentary Kalanidhi) 

Detailed Explanation:

According to the Pluta (S’) prastāra-bheda, the numbers are: 1 + 2 + 6 + 10 = 19 

Now, according to the Druta-number table, the sequence of digits against Pluta is: 1, 2, 3, 6, 10, and 19. But we are looking for the 10th variation. 

Step 1: Subtract the given digit (10) from the total (19): 19 – 10 = 9

Step 2: Keep subtracting smaller digits from 9 until the remainder becomes 0. 

·         The un-subtracted digit is called Apatita (unfallen).

·         The subtracted digit is called Patita (fallen)

·         If two are subtracted together, it is called Nirantara Patita (continuous falling). 

Step 3: A special rule:

·         In the Patita series, the basic tālāṅga Druta (O) becomes doubled (O+O), which is equal to a Laghu (|)

·         If two Laghus (|+|) occur together in Nirantara Patita, they form a Guru (S) 

Applying to the 10th Digit: Numbers: 1, 2, 3, 6, 10 = 19 

·         Unfallen (Apatita)           : 1 and 10

·         Nirantara Patita                : 3 and 6 (subtracted in sequence)

·         Patita                                    : 19 – 10 = 9

 

Thus, the 10th variation of the Pluta-prastāra is OSO. (See Prastāra-bheda of Pluta (S’), Serial Number 10 above) 

Uddiṣṭa-bheda (Targeted Variation):

The process of determining which digit corresponds to a particular variation in the Prastāra of a given tālāṅga is called Uddiṣṭa-bheda. In other words, it is the reverse process of Naṣṭa-bheda. 

Example: What is the digit number of the variation that looks like Laghu–Laghu–Druta–Laghu–Laghu (||O||) in the Pluta-prastāra? 

Calculation: Numbers involved are: 1, 2, 3, 6, 10 = 19 

·         Unfallen (Apatita)                                                           : at 1 and 10

·         Nirantara Patita (continuous subtraction)                    : at 3

·         Patita                                                                                  : at 19 – 3 = 16

 

 

 

 So the form (||O||) corresponds to the 16th digit. (See Prastāra-bheda of Pluta (S’), Serial Number 16) 

Pātāla-bheda (Depth Calculation):

The Pātāla number means the total count of Druta symbols (or basic rhythmic units) used in one prastāra variation. 

Quoting Saṅgīta Ratnākara (5.337):

“īṣṭa-tāla-druta-miteṣv aṅkeṣu likhiteṣv iti /

kramād antyopāmbhyaturya-ṣaṣṭhair yatra drutādayaḥ // 

[When the desired tāla is written in terms of Druta-units (beats), then according to order, the Druta and the other syllabic units (i.e., Guru, Laghu, Pluta, etc.) are to be reckoned with the numbers two, four, three, and six respectively.”] 

In short: The tāla is expressed through numerical values of aṅka (units). The Druta and other rhythmic symbols are counted in order: Druta = 2; Laghu = 3; Guru = 4 and Pluta = 6.] 

Method to determine Pātāla number: 

1.       Take two Druta digits (opposite to Laghu). From these, take the first one, and place the corresponding numbers vertically under column C.

2.       For the second or subsequent use, ignore the first two horizontal rows, and from the fourth (turya) row onward, place the numbers opposite to Druta digits: 

·         For 2nd → Column E

·         For 4th → Column F

·         For 6th → Column G 

3.       For a single Druta digit, the resulting number is the antya (end) digit, placed in Column D.

4.     Finally, to get the Pātāla number, add the values of Columns C, D, E, F, and G. The total is placed in Column H.

 

Table of Pātāla Numbers:

 

Symbol	Druta No.	Saṅkhyāṅka	Antya	Upāṅka	Turya	Ṣaṣṭha	Pātāla
A	B	C	D	E	F	G	H
O	1	-	-	-	-	-	1 → fixed
|	2	1	1	-	-	-	2 (C+D+E+F+G)
O|	3	2	2	1	-	-	5 (C+D+E+F+G)
S	4	3	5	2	-	-	10 (C+D+E+F+G)
OS	5	6	10	5	1	-	22 (C+D+E+F+G)
Sʻ	6	10	22	10	2	-	44 (C+D+E+F+G)
OSʻ	7	19	44	22	5	1	91 (C+D+E+F+G)
|Sʻ	8	33	91	44	10	2	180 (C+D+E+F+G)
O|Sʻ	9	60	180	91	22	5	358 (C+D+E+F+G)

 

 Meru-bheda (Meru Variations):

Just as in today’s world we measure time using seconds, minutes, hours, day and night, in Indian music, rhythm is measured with the four units: Druta, Laghu, Guru, and Pluta. 

Since every tāla or rhythm is constructed from these four units, their expansions (prastāra) are deeply interconnected. 

Thus, as seen in the number-variations, until the smallest unit (Druta) is reached (the equivalent of tāla-pūraṇa), the position in the expansion table cannot be confirmed. This process is called Meru-bheda. 

Depending on which unit is taken as the reference, it is of four types: 1. Druta-Meru-bheda, 2. Laghu-Meru-bheda, 3. Guru-Meru-bheda & 4. Pluta-Meru-bheda. 

Druta-Meru-bheda:

In this method of Prastāra-bheda (expansion and variation), we examine how many single fast beats (Druta, marked as O) are used in the rhythmic structures created. This process of identifying and arranging the Drutas according to number is called Druta-Meru-bheda. There is a specific rule for placing the numerical values of the Druta-Meru. 

For example, in the Prastāra-bheda of Pluta (S’), the 19 types of rhythmic patterns can be grouped as follows: 

i. With 6 Drutas – OOOOOO (1 variation)

ii. With 4 Drutas – |OOOO, O|OOO, OO|OO, OOO|O, OOOO| (5 variations)

iii. With 2 Drutas – OOS, OSO, SOO, OO||, O||O, ||OO, O|O|, |O|O, |OO| (9 variations)

iv. With no Druta – Sʻ, |S, S|, ||| (4 variations) 

Thus, we have: 1 variation with 6 Drutas, 5 variations with 4 Drutas, 9 variations with 2 Drutas, and 4 variations without Druta. This makes a total of 19 variations. 

If we prepare a chart, we can place the numerical values of Druta vertically against the symbol of Pluta (Sʻ), and together they add up to 19. For the reader’s benefit, these values are shown alongside (Pātāia) the Pluta (Sʻ) symbol. 

It should also be noted that Pluta (Sʻ) itself means six Drutas (O), which indicates an even number of Drutas, or a pair-based group of Drutas. 

[This entire system can also be explained through mathematical permutation and combination formulas. However, to make it simple and useful for students, we are presenting it here in the traditional method as clearly as possible. Later, we will explain “Sattriya Ektāl” in the same way using mathematical arrangements.] 

(Table of digits is shown as in original with Number digit, Pātāla digit, Druta digit, and their symbols.)

 

 

Laghu-Meru-bheda

The method of Laghu-Meru is a way of calculating how many mathematical combinations are formed when laghu (a unit equal to two Drutas) is taken as the basis, and then determining the total sum of those combinations. 

Example: In the Prastāra-bheda of Pluta (S’), there are 19 types of rhythmic patterns. These can be grouped as follows: 

1. Three laghus used (1 type)     : `|||`

2. Two laghus used (6 types)      : `OO||, O|O|, OO||, |OO|, |O|O, ||OO`

3. One laghu used (7 types)        : `|S, S|, OOOO|, OOO|O, OO|OO, O|OOO, |OOOO`

4. No laghu used (5 types)           : `Sʻ, OOS, OSO, SOO, OOOOOO`

 So, in summary: One type with three laghus, six types with two laghus, seven types with one laghu, and five types with no laghu. This makes a total of 19 patterns, which is the number digit (saṅkhyāṅka) of the Pluta Prastāra. 

In addition, if we multiply the number of laghus in each category by the number of patterns, and then add them all together, we get the Pātāl digit (the total number of laghus present in all the patterns). 

For example: Three-laghu group: 3 × 1 = 3; Two-laghu group: 2 × 6 = 12; One-laghu group: 1 × 7 = 7 & Zero-laghu group: 0 × 5 = 0. Total Pātāl = 3 + 12 + 7 + 0 = 22.  Thus, in the 19 patterns of Pluta Prastāra, there are altogether 22 laghus. 

At this point, one might ask: earlier the Pluta (S’) was shown to have number digit = 19 and Pātāl = 44. Why is it now 22? 

The reason is this: earlier the Pātāl digit was calculated by taking Druta (the smallest unit) as the base. But in the Laghu-Meru method, laghu = 2 drutas is taken as the base. Since one laghu equals two drutas, the previous value of 44 gets divided by 2, giving 22. 

For convenience, the following table shows the values of Number Digit, Pātāl Digit, and Druta Digit in relation to the different forms and symbols:

 

Guru-Meru-bheda:

In this method, the Guru (long beat) is taken as the main unit. The process counts how many mathematical patterns can be created based on the number of Guru-s, and then add up these counts to find the final number. This process is called Guru-Meru. 

Example: From the Prastāra-bheda of Pluta (S’) we get – 

·         Without any Guru (15 rhythmic forms): Sʻ, |||, OO||, O|O|, |OO|, OOOO|, O||O, |O|O, OOO|O, ||OO, OO|OO, O|OOO, |OOOO, OOOOOO

·         With one Guru (5 rhythmic forms): |S, OOS, S|, OSO, SOO 

So, the calculation is: For no Guru → [0 × 15 = 0]; for one Guru → [1 × 5 = 5]; hence, Total = 0 + 5 = 5 

In the same way, for different rhythmic forms we get the following table:

 

Pluta-Meru-bheda:

Like Druta-Meru, Laghu-Meru, and Guru-Meru, this method is also based on mathematical patterns—but here the Pluta symbol is used as the unit. 

Example: From the Pluta-Prastāra-bheda we get – 

·         Without any Pluta (18 rhythmic forms): |S, OOS, S|, |||, OO||, O|O|, |OO|, OOOO|, OSO, O||O, |O|O, OOO|O, SOO, ||OO, OO|OO, O|OOO, |OOOO, OOOOOO

·         With one Pluta (1 rhythmic form): Sʻ 

So, the calculation is: For no Pluta → [0 × 18 = 0]; for one Pluta → [1 × 1 = 1]; hence, Total = 0 + 1 = 1

 

Khaņḑa Prastar:

When we expand the Meru-Prastāra and arrange the different rhythmic Patterns (tāla-bheda) that we obtain in a proper sequential order, this is called Khaṇḍa Prastāra. 

The arrangement is done according to the following rules:

1. At first, the rhythmic Pattern without any specific symbol is placed. After that, the remaining Patterns are arranged step by step according to their divisions.

2. The Patterns with larger symbols are placed on the left side first, and then the symbols on the right side are filled in as required. 

For example, in the Pluta-Prastāra-bheda, the expansions are arranged as follows:

 

Each has its variations like no Druta, double Druta, four Druta, etc., or no Laghu, one Laghu, two Laghu, and so on. Similarly, for Guru and Pluta, we see different divisions according to the rhythmic distribution. These are shown in the detailed tabulation given above. 

Saṃyoga-Meru Praster (Combined Expansion):

This method is a part of the Prastāra system, but it does not strictly belong to mathematical arrangements. Instead, it is a system that helps determine the character and nature of a tāla—such as what type of sounds, bols, or rhythmic syllables (pāṭākṣara) should be used within it. 

When we describe the Kalā-bheda (variations of mātrā used) and Mārga-bheda (traditional styles) of the Sattriya tāla, we will explain this method in detail. This is because the Saṃyoga-Meru Prastāra is directly connected with the Kalā-bheda and Mārga-bheda approaches of rhythm. 

 

Meru-bheda or Meru Khanda practice in the Sattriya Ektāla

At first, we were quite confused because the monks performed Ektālaa in the style used in Neo-Vaishnava songs and dances. These were of three kinds: half-mātrā, one-mātrā, and two-mātrā rhythms—that is, in the forms of Druta (O), Laghu (|), and Guru (S). In addition, there were five more Ektālas in the Dīrgha or Guru pattern. Altogether, this gave us eight different Ektālas, which puzzled us greatly. 

But the matter became even more confusing when, on observation, we found eight types of Ektāla. At this stage, we decided to turn to the science of music for clarity. Our guide, Guru Dr. Shatrughna Shukla, once advised us that whenever such difficulties arise, we should study the Saṃgīta-ratnākara of Śārṅgadeva (13th century) and the Saṃgīta-dāmodar of Śubhaṃkar, both widely respected in Eastern India. Our Guru-father, Keshab Changkakati, also reminded us that Jadupati’s Vādya-pradīp would be very helpful in such matters. Therefore, we now explain how these three musical treatises resolved the confusion. 

From the Vādya-pradīp, we learn that: “…dīrgha rūp… Guru haiba jāt… Ektāla nām tār vedata prakhyāt…” (Verse 30). This means that Ektāla is Guru (S), i.e., a two-mātrā rhythm. 

From the Saṃgīta-ratnākara, we find the references: and “Druten tvetālikā… 291/5” and “Laghvāditālo lokehsau rāsah… 261/5.”  These indicate that Ektāla can also be Druta, i.e., of half a mātrā length. Further, what people commonly call Rās-tāla is actually the Ādi-tāla. The word “Ādi” means first or one, i.e., “Ek.” Hence, Rās-tāla is also another form of Ektāla, and its length is one Laghu, or single mātrā. 

Thus, we can see that there are two main forms of Ektāla: 1. Half a mātrā long (Druta); 2. One mātrā long (Laghu) 

Since one Laghu = two Drutas, another two-Druta Ektāla can also be recognized, according to the principle of rhythmic expansion. 

Finally, when we study the Guru-Prastāra-bheda (variations of Guru), the forms are given as follows:

 

Prastāra-bheda of Guru (S):

 

Number	Form	Remarks
1	S	1 – 4th, Single division of Guru
2	||	1
3	OO|	2 – 2nd, Two divisions of Laghu
4	O|O	1
5	|OO	2
6	OOOO	3 – 1st, Three division of Druta

 

According to verse no. 291/5 of the Saṃgīta-ratnākara, “Druten tvetālikā…”, it indicates that Ektāla can also be Druta, that is, of half a mātrā length. 

As I have already mentioned, in the Indian musical tradition a Laghu or one unit of mātrā contains either four or six syllables (akṣaras). These “akṣaras” are also called pāṭākṣara, pāṭa, bol, akṣara-kāla, or kalā. Therefore, in the Druta (O) pattern of Ektāla, there will be two or three pāṭākṣaras. 

It should be remembered that these pāṭākṣaras are nothing but the sounds or tones used in playing the percussion instrument. 

Now, when we write the notation of this tāla numerically, its structure will be as follows –

 

In this type of structure, we find a similar tāla called Thokā-tāla in Vyāsa-saṅgīta. In the same way, the Sattriya Thukoni-tāla is also a Druta (O) pattern of tāla. 

Śubhaṃkara has mentioned this in the Saṅgīta-Dāmodara, where he referred to it as Candrikā-Ekṭāla. 

Below is the notation of the Sattriya Thukoni-tāla.

 

 Contradiction: According to Śubhaṃkara, this Candrikā Ektāla must have sixteen akṣaras. But as per the rules of the śāstras, this tāla can by no means exceed two or three akṣaras. Another possibility is that this tāla must be performed with a minimum of eight repetitions. Moreover, in the Saṅgīta-Dāmodara this tāla has been described only as a Khaṇḍa-tāla. Later, when we study the Sattriya Khaṇḍa-tāla, we will try to resolve Śubhaṃkara’s statement. 

Furthermore, in verse number 261/5 of the Saṅgīta-ratnākara, it is said: “Laghvāditālo lokehsau rāsah…”—that is, Śārṅgadeva points out that certain tālas built on Laghu as their base were culturally recognized and given special names, here as Rāsa. 

In our Sattriya music tradition, Rāsa-tāla or Rāsaka-tāla is indeed in use, though it is not a Laghu-based tāla. Yet, many textual arguments prove that this Rāsa-tāla is essentially a Pattern of Ektāla. 

On the other hand, Śubhaṃkara has said that the Vipulā Ektāla is based on Laghu. This means Vipulā Ektāla can also be considered as a Laghu-Ektāla. Another name of Laghu is Hrasva or Cuti. 

It is noteworthy that in Barpeta Sattra, during the singing of Bargīts, the Hrasva Eṭāli or Hrasva Ektāla is performed. Similarly, in Kamalabari Sattra of Majuli, along with dance, a tāla known as Cuti or Cutā Ektāla is played. 

Now, when we write the numerical notation of Hrasva Ektāla, its structure will be as follows –

 

Contradiction: Śubhaṃkara has said that the Vipulā Ektāla contains seventeen akṣaras. But according to the śāstras, one Laghu must have either four or six akṣaras. If we consider the four-akṣara Laghu Ektāla, then after four cycles there will still remain one extra akṣara, which makes it unacceptable. 

[However, if we add one akṣara as kalā-pūraṇa (completion), then seventeen becomes eighteen akṣaras. With this number, it could form a three-cycle Ektāla. But so far, we have not seen such a structure of Ektāla in practice.] 

Below is the notation of the Hrasva Ektāla used in the singing of Bargīts at Barpeta Sattra.

 

 

Also given is the notation of the Laghu-structured Cuţi (Hrasva) Ektāla, also known as Cuţā-tāla, which is performed at Kamalabari Sattra.

 

When I was a child, I once heard Maniram Dutta (bāyane) and Maniram Dutta (gāyane) of Kamalabari Sattra perform the Bargīt “Nārāyaṇa kāhe bhakati karoṁ terā” with an Ektāla of a slightly different Laghu structure as accompaniment.

My father, Keshab Changkakati, later wrote its notation and published it in Rhythm in the Vaishnava Music of Assam.

 

Śubhaṃkara, while describing an Ektāla named Vāmā, has said that it is an Ektāla based on Guru(S) structure. Similarly, Yadupati in the Vādya-pradīpa has also mentioned that Ektāla can be Guru-based. 

Following this idea, we have already examined—according to the Guru-prastāra method—that there can be six types of Ektāla with Guru pattern.

Now, the numerical notations of the Ektālas created under the Guru-prastāra method are given below.

 

An Ektāla with the Guru rhythmic pattern can be observed in the Rāsa-tāla (Rāsaka-tāla or Racaka-tāla) of Kamalabari Sattra. Since Rāsa-tāla is regarded as the first (or serial number one) tāla—meaning the very beginning or number one tāla—it can therefore be considered as Ektāla itself. 

Below is the notation of the Ektāla in the Guru rhythmic pattern as used in Kamalabari Sattra. 

 

. 

Actually, the words Rāsa and Rāsaka have the same meaning. According to the Pāṇinian sūtra “saṅjñāyām kaṇ (5-3-87)”, the suffix ‘kaṇ’ is added to a word to create a term that denotes its own meaning—for example, bāla → bālaka, veṇu → veṇuka, and so on.

 Contradiction - Śubhaṃkar is eighteen syllables in Vāmā-ektāla; but according to the ancient India musical scriptures, it should be eight or twelve syllables. If you add six syllables with Kalā-pūrañ you can get the Vāmā-ektāla of the two-repetition composition.  The Kamalabari Sattra Ektāla performed with the Bargīt “Nārāyaṇa kāhe bhakati karoṁ terā” described above is Śubhaṃkar 's Vāmā-ektāla. 

Following this rule, Rāsa-tāla and the Sattriya Rāsaka (or Racaka) tāla are essentially the same Ektāla. 

It should be noted here that, according to the main bāyana of Kamalabari Satra, the Rakta or Racaka tāla is a form of Ektāla. 

Regarding the pāṭākṣaras (bōls) of this Rāsa-tāla, Maharaja Śivāji’s father, Śāhuji Veda, says: “tetigadha iti śabdena nartana Rāsa-tālatḥ”. 

Compare the Rāsa-tāla of Śāhuji Veda with the Racaka-tāla of Chamuguri Sattra and also with the Racaka (or Rakta) tāla of Kamalabari Sattra, focusing on the pāṭākṣaras.

 

(i)                              Rāsa-tāla of Śāhuji Veda:

 

Te Ti Gidh

Te Ti Gidh

 

(ii)                            Rachaka-tāla of Chamuguri Sattra:

 

Khit Tākhi Tāni Dāni Dāo SS SS SS

Dheni Tākhi Tāni Dāni Dāo SS SS SS

 

(iii)                           Rachaka (or Rakta) tāla of Kamalabari Sattra:

 

Tāo Trikhi Rin Dāo Khit SS Dhinā Khit

 

When looking at these tālas, notice the similarity of their pāṭākṣaras (syllables):

 

Te Ti Gidh = Tākhi Tāni = Tāo Trikhi

 

Here, according to Dr. Hiren Gohain, “There was always an internal conflict within the Sattras regarding the practices they promoted.” The disorder in the naming of the above tāla reflects this internal conflict. In Dr. Gohain’s words, “Instead of considering the changes in various traditions as divine events, it is better to understand them as the outcome of social circumstances.” 

Finally, it can be said that, although our local musical text Vādya-Pradīp does not mention the name of this Racaka (or Rakta) tāla, it can be accepted without doubt as a properly used form of Ektāla. 

The Two-Laghu pattern of Ektāla, which we mentioned earlier, can be compared with the Candrikā Ektāla of the Vādya-Pradīpa—that is, an Ektāla that shines like the moonlight, reflecting from another source. 

In the Candrikā Ektāla described in Vādya-Pradīpa, the composer Yadupati shows a rhythmic pattern of two Laghus in a state without any Guru (Guru-śūnya). This means the structure is 4 + 4 = 8. 

This requires explanation, and for that we need to study the “Guru-Meru Prastāra of Khaṇḍa-Prastāra.”

 

 

From the above explanation, there are five different types of Guru-less states. These are: 

(a) In a Guru-less state, there is no place for Guru. That is why, as mentioned in the Vādya-Pradīpa, instead of using the term Dīrgha (which means Guru), the term Dvilaghavaḥ (or a related expression) is more accurate. 

(b) By “five Guru-less states” we mean five different kinds of Tālas, each having its own distinct structure and proper name. 

According to the Vādya-Pradīpa, the contradiction lies here: in a Guru-less situation, symbols like Laghu, Druta are used as substitutes, but each of these carries a value equal to that of Guru. Since the meaning of Dīrgha is the same as Guru, therefore there can never be a so-called “Guru-less Guru”! 

On the other hand, if someone tries to interpret it as: Dvilaghavaḥ → Dvaya → Dīrghu → Dīrgha, then it is incorrect. Because, Dvilaghavaḥ is simply means Laghu + Laghu = Guru.

 

Three Types of Ektāla Described by Yadupati: 

(i) In Vādya-pradīpa, verse 28 says: “candrara ādita laghu” – this means that at the very beginning (like the moon “Candra”), the pattern starts with a Laghu (|) syllable. The verse continues: “śeṣato hibeka dui yugma rūpe sthita” – this means that after the Laghu, there are two Yugmas (Drutas = O + O) in sequence. So the full pattern is Laghu – Druta – Druta. This rhythmic form is called Vipulā or Kharamāna. 

(ii) In verse 30, Yadupati writes: “dīrgharūpe śunya huya guru haiba jāta.” Here, “Dīrgha” refers to Guru (S), but it can also be treated as “guru-less,” meaning the pattern can instead be built with Laghu (|) and Druta (O). According to the Khaṇḍa-prastāra (mathematical arrangement) of the Guru, there are five possible rhythmic patterns. Out of these, two are already known as Vipulā and Rāmā. The remaining three patterns—Druta-Laghu-Druta, Druta-Druta-Laghu, and Druta-Druta-Druta-Druta—are collectively known as Candrikā Ektāla or simply Ektāla. 

(iii) In verse 31 of Vādya-pradīpa, Yadupati explains: “hrasvarūpe citra ek guru.” Here, “Citra” means a special or varied form, where Laghu (|) alternates in place of the Guru (S). This gives the pattern Laghu – Laghu. This rhythmic type is called Daśabārī or Rāmā. 

 

 

When we move to the second guru-less rhythmic pattern in the Khaṇḍa Prastāra-bheda, we come to the Ektāla structure made of two Drutas followed by a Laghu (Druta–Druta–Laghu). During our research on the tālas used in Auniāti Sattra, this pattern was observed on 8th August 1998, when Vinod Khound Gayan sang the song “Mānasi Sāhasa Oichana Barāi” in Āśwārī rāga, accompanied on the Khōl by Badan Chandra Bora Bayan. This rhythm was identified by the Sattra musicians as Āśwārī Kharamān Tāla. The notation of this Kharamān tāla, as used in Auniāti Sattra with Āśwārī rāga, is given below. 

 

In the same way, at Sundardiya Sattra, the third guru-less rhythmic pattern of the Khaṇḍa Prastāra-bheda—namely the Druta–Laghu–Druta structure—was found clearly expressed in one form of Ektāla. The monks of Sundardiya Satra used this form of Kharamān tāla while accompanying songs on the Khōl. The notation of this rhythmic composition is provided below.

 

The fourth guru-less rhythmic pattern in the Khaṇḍa Prastāra-bheda is Laghu–Druta–Druta. We have not found this pattern used within the framework of Ektāla. However, it exists with a different name, though it has an unusual resemblance to Ektāla in character. In Barpeta Sattra, this rhythmic form is called Pat-pari Tāla. The notation of Pat-pari tāla, as used in Barpeta Sattra, is given below.

 

Now we come to the fifth rhythmic pattern of the Khaṇḍa Prastāra-bheda, where Laghu is absent, and all the units are Druta. Here, Druta is considered the smallest unit, which is taken as the primary element in Prastāra-bheda. Thus, the pattern becomes Druta–Druta–Druta–Druta.  (Since one Guru = four Drutas, this is equivalent in value to one Guru.) We observed this pattern clearly in the Kharamān tāla of Barpeta Sattra. The notation of this Kharamān tāla, as practiced in Barpeta Satra, is given below.

 

 

 Conclusion

The study presents clear and compelling evidence that the Sattriya Prasangiā-Bargīt tradition preserves a living, practice-based continuity of the ancient Meru-khaṇḍa / Prastāra methods—thereby linking Vedic sām-gāna, medieval prabandha theory, and contemporary regional performance. 

Key conclusions drawn from the research are: 

1.       Continuity of theory and practice: The Sattriya repertoire implements Meru-khaṇḍa principles (Druta, Laghu, Guru, Pluta) not as abstract rules but as working, audible systems: prastāra expansions, Naṣṭa/Uddiṣṭa procedures, and Pātāla counts recur in both notation and live performance across Auniāti, Sundardiya, Barpeta and Kamalabari sattras. 

2.       Multiplicity of Ektāla forms: The field evidence confirms the textual claim that Ektāla exists in multiple guises (Druta-based, Laghu-based, Guru-based) and that local practice produces a family of related tālas (Vipulā/Kharamāna, Candrikā, Rāmā/Daśabārī, Racaka/Rakta, Pat-pari, and others). The manuscript demonstrates how the same theoretical category is adapted differently in each Sattra while retaining a shared combinatorial logic. 

3.       Practical resolutions of textual contradictions: Discrepancies between treatises (Śubhaṃkara, Śārṅgadeva, Yadupati) about akṣara counts and ideal forms are resolved in practice through kalā-pūraṇa, repetition, and local conventions. The study shows that performance practice both conserves and creatively negotiates scriptural norms. 

4.       Meru-bheda as an analytic and pedagogic tool: The distinctions among Druta-, Laghu-, Guru- and Pluta-Meru-bheda offer a robust framework for describing and teaching Sattriya rhythmic structures; the study’s numerical tables and worked examples make this traditionally transmitted knowledge explicit and reproducible. 

From these findings follow several practical and scholarly implications: 

a.       Documentation & Standardization: Prepare a modular handbook that pairs the study’s analytic tables with standardized notational examples and annotated audio excerpts from each Sattra. This would make Meru-khaṇḍa accessible to students and researchers while preserving local variants.

 

b.      Comparative philology & performance research: A focused textual critique comparing Vādya-Pradīp, Saṃgīta-Ratnākara, Saṃgīta-Dāmodara and Sattra practice would deepen understanding of how theoretical variants became regional practice. Coupling this with rhythm-tracking audio analysis (time-series, kalā counts) would quantify continuities and divergences.

 

c.       Pedagogy & capacity building: Introduce Meru-khaṇḍa modules in Sattra teaching curricula and organize cross-Sattra workshops (performers, bāyana, scholars) to transfer knowledge, align notation conventions, and produce teaching recordings.

 

d.      Archival & digital preservation: Systematically archive high-quality recordings, transcriptions, and the study’s notational tables in an open digital repository; tag material by Sattra, tāla-type, and meru-bheda for research and heritage applications.

 

e.      Heritage recognition & policy: The living continuity of Meru-khaṇḍa in Sattriya Bargīt strengthens arguments for its recognition as intangible cultural heritage at national and international levels. Documentation recommended here would support nomination dossiers and policy interventions to sustain transmission. 

In short, the research demonstrates that Meru-khaṇḍa in Sattriya is not a mere historical curiosity but a vibrant, functional system—mathematical, musical, and social—that merits further scholarly attention and active preservation. The study provides both the analytic foundations and concrete field evidence required to teach, conserve, and celebrate this exceptional continuity of India’s rhythmic heritage.  

 

APPENDIX: 

This states that a tāla beginning with the laghu (a variable unit of time, depending on finger counts) is popularly known as Rāsatāla. The word loke suggests that this usage was widespread among musicians and communities. Śārṅgadeva is pointing out the living tradition — that certain tālas, when structured with laghu as their base, were culturally recognized and had specific names, here “Rāsa.” 

Summary: 

·         Vādya-Pradīpa emphasizes the Vedic and guru-based, long form of Ektāl.

·         Saṅgīta-Ratnākara elaborates that Ektāl can also be druta (short-unit based) and identifies a laghu-based tāla as Rāsatāla, showing the diversity of rhythmic systems. 

Together, these references reveal how the same tāla concept was interpreted differently in Vedic, classical, and practical traditions—sometimes in long solemn measures, sometimes in brisk divisions, and sometimes with popular variations named after cultural dances like Rāsa. 

सुन मन करि एकतालिर लक्षण ।/ एकताली तीनिविध कहे सिष्टगण ॥२७॥/ विपुला चन्द्रिका रामा इतो नाम तीनि ।/ लक्षण सहिते कहो सुना तीनि तीनि ॥ / विपुला बोलय याक सुना चिह्न तार ।/ चन्द्रर आदित लघु ह्वय याहार ॥२८॥ / शेषतो ह्विबेक दुई युग्म रूपे स्थित ।/ विपुला बुलिया आक करिचे निर्द्दीत ॥ / ताके खरमान बुलि कतुसबे कहय ।/ आरु दुईविध यन सुनीया निश्चित ॥२९॥ / दीर्घरूपे शून्य हुआ गुरु ह्विब जात । / एकताली नाम तार वेदत प्रख्यात ॥ /  चन्द्रिकाहो नाम आरु जाना मुनि सन्त । / ह्रस्वरूपे चित्र एक गुरु यात हन्ते ॥३०॥ / दशबारी बुलि आक वेदवेत्ता कहय । / रामावो बोलय ताके जानिबा निश्चित ॥३१॥ Vādhy-pradīp of Yadupati 

English Translation: Listen carefully to the characteristics of Ektālī. / The wise say that Ektālī has three varieties..27.. / They are named Vipulā, Chandrikā, and Rāmā. / Now hear their features, one by one, with attention. / That which is called Vipulā, note its sign: / It begins with a laghu (short beat) at the start of the chandra (cycle). 28. / At the end, there remain two units in a paired form. Laghu = 2 Druta / This form is firmly established as Vipulā. / Some also call this type Kharamāna. / Besides this, be certain there are two more varieties. 29. / When in a long form, the śūnya (empty or pause) becomes guru (heavy beat). No Guru = 2 Laghu / This is the type known in the Vedas as Ektālī. / The sages and seers also call it Chandrikā. / In its short form, there appears a Citra (picture, pattern) with one guru. 30. / The Veda-knower says it is counted as ten Bāri (ten tines). / This is also called *Rāmā*, so keep this in mind with certainty.

 

अथैकताल्यः

चन्द्रिका विपुला वामा त्रिस्रश्चैवैक्तालिकाः । /  चन्द्रिका खण्डतालेन द्रुतेनैकैः सा भवेत् । / षोडशाक्षरसयुक्ता रसे हास्ये समीरिता ।।

अपार नियम बिना ।/ आदिताले लघुस्त्वेकः यदि स्यात् विपुला तदा।/ सप्तदशाक्षरैरेषा विख्याताः वीरमाश्रिता ।।

अपार नियम बिना ।/ वामैक्तालो कथिता सन्निपाते गुरुः तथा ।/ अष्टादशाक्षरैरेषा शान्तशृंगारसम्भवा ।।.. द्वितीय स्तवक – संगीत-दामोदर

 

अर्धमात्र द्रुत ज्ञेयमेकमात्र लघु स्मृतम् ।/ द्विमात्रंतु गुरूर्ज्ञेय त्रिमात्रंतु प्लुत मतम् ।।

 

आदिताले लर्घुश्चैक इत्याह भरतो मुनी ।।

 अथ प्रस्थार:

गुरुप्लुताधोभागे तु गुरूर्धोभागतो लघु ।/ द्रुतं लघोरधोभागे तुल्ये तु पङ्क्तिका ।/ उद्वृत्ता च कलापश्च (स्या?) दित्य प्रस्तारणक्रम ।।/ सर्वप्लुतात् समारभ्य मात्रानीवहनि निर्मितात् ।/ तावत् प्रस्तारयेदन्ते यावत् सर्व द्रुतं भवेत् ।। 

अत्र तालप्रस्तारे पिङ्गलवन्नष्टोदिष्टमे़रूपताकादय संतिः अन्यबहुल्यभयान्नुक्ताः । इति प्रस्तार ।.. तृतीय स्तवक – संगीत-दामोदर

 

English Translation 

On Ektaal Variations: (Second Stanza – Saṃgīt-Dāmodara)

The Chandrikā, Vipulā, and Vamā are three types of Ektaal. In Chandrikā Khaņḑa Tāla, it is performed with single drut (fast beat). When combined with sixteen syllables, it produces a rhythm full of humor and lightness. 

This is without additional rules.

In Aditāla, if there is only one laghu (short beat), it is called Vipulā. Seventeen-syllable compositions are famous and often used in heroic pieces. 

This is without additional rules.

Vamā Ektāla, in its combination, emphasizes the guru (long beat). With eighteen syllables, it produces compositions suitable for peaceful and romantic moods. 

 

Third Stanza – Saṃgīt-Dāmodara 

A half-mātrā is druta; and one-mātrā is understood as laghu. Two-mātrās are considered guru; three- mātrās are considered pluta 

In Aditāla, laghu ek is as stated by Bharata Muni. 

Atha Prastaar (On Taal Expansion): 

In guru-pluta lower half, the upper half is considered guru; Druta in the lower half is matched with the line structure.

Uddrita and Kalā (sections) follow the expansion sequence. All expansions start from pluta and are created according to the mātrā counts. The expansion continues until all druta mātrās are exhausted. In this Tāla expansion, variations like Pingala’s Nasta, Uddishta Meru etc., are included, along with other multiple possibilities.