One of the greatest skills a percussionist / drummer can strive for is the ability to be able to present and perform a variety of rhythmic ideas in a fluid and flowing manner without interrupting the momentum of the piece. Particularly when improvising and in solos, it is quite a challenge to keep it all moving along nicely whilst also coming up with fresh and appropriate ideas.

Here we will look at Corvay structures from South India.  A Corvay is an elaborate rhythmic composition (referred to as 'parent' composition in the article) components of which are introduced into the basic rhythm structure prior to it being played. Each rhythmic motif introduced could be looked at as a module of the larger 'parent' composition, which will be performed when the modules have been introduced within the rhythm to a sufficient degree. This often involves gradually increasing the ratio of rhythmic motifs to basic rhythm pattern. These concepts will become clearer when the musical examples later in the article are referred to. The road map of the concept would look a bit like this:

 - BASIC RHYTHM STRUCTURE (GROOVE)
 - GROOVE WITH RHYTHMIC MOTIFS INTRODUCED GRADUALLY
 - CORVAY (PARENT COMPOSITION MADE UP OF RHYTHMIC MOTIFS)
 - RETURN TO GROOVE

These 'parent' compositions (corvays)) often involve the use of lyrical 'lick'-type phrases juxtaposed with syncopated endings which start with the notes spaced widely and increase tension as they get compressed into a denser and more intense structure.

To look at the way this all fits together we need firstly to look at the 'parent' composition (Corvay), its components, and then how elements and phrases from it are introduced into the basic rhythm pattern. We will also look at a few possible voicing’s for kit. What I'm really trying to put across here is the concept behind the structure which could then be developed by you personally to fit the contours and directives of your own playing style.

Right then, basically the corvay under the microscope can be split into two halves. Firstly we have the 'rhythmic phrase' section, and secondly the 'rhythmic syncopation' section. (By the way, these styles of compositions would be played on most Carnatic classical drums such as Mridangam, kanjira, ghatan and even the mouth harp, morsing). These phrases are sometimes referred to as ‘North’ and ‘South’ parts of the composition. If we look at the germ of the first part of this composition ('rhythmic phrase' section) we get the simple 6., 4 phrase as in example one.  This is comprised of a phrase divided 3+4+5.
 

EXAMPLE 1   Click to enlarge 

This is best thought of as made up of three tiny phrases, three, four, and five eighth notes long respectively. This is where the contours of the rhythm fall (indicated by the accents in example one). The ringed notes are the added notes at the head of each phrase which makes it longer each time.  This phrase is now repeated three times, thrown off beat by the inclusion of a dotted quarter note added in each time the line is repeated (see example two - indicated by 'new addition' marking over score).  This example ends in the middle of the bar.  This is where the second part of the composition will begin.

EXAMPLE 2  Click to enlarge 

Note that this is notated in duple time, as the whole composition is constructed so as to fit into 4/4, or 'adi thala', as it is known in South India.
At this point is it important to mention that it's more difficult to understand this kind of rhythm if you listen to it in 4 /4. At the end of the day it is true that one needs to feel the quartet note pulse underneath, but it is vitally important to listen to, and recognize the individual phrases and odd-length building blocks. Try clapping a steady quarter note pulse whilst reciting the syllables, concentrating not only on the pulse, but also on the phrase portions.

On to the second section. All the syncopations in this part are created from this five beat phrase TA TI KI DA TUM. This section actually begins on beat two of bar six. It is a simple reduction-in-length system, which begins with each syllable being three eighth notes long, then two eighth notes long, (repeated once), and then one eighth note long, repeating in a cadence-like structure in groups of three. This is very common to Indian rhythm, and is a great, exciting way to end a rhythmic composition. Example three shows the whole 'parent' composition. Remember, the second part starts on beat: two of bar six.

EXAMPLE 3   Click to enlarge 

Now we can look at the manner in which the phrases are introduced into the basic rhythm that would naturally be played before and after the corvay. (The equivalent would be playing a groove on the kit and gradually introducing phrase-based fills which would be component parts of a larger rhythmic composition to be played at a certain point.)  Example four, a/b/c show how the early components would be introduced one by one into the basic rhythm structure, getting longer each time around.

EXAMPLE 4   Click to enlarge 

EXAMPLE 5   Click to enlarge 

EXAMPLE 6   Click to enlarge 

Just before the 'parent' composition is played, the reduction (corrapoe) section comes around. Corrapoe indicates reduction in the length of the basic rhythm (groove) between the phrases. This would transpire as in the following examples. As you can see, the phrases are beginning to take over from the basic rhythm.
 

EXAMPLE 7

EXAMPLE 8

EXAMPLE 9

Then it would be on to the full rendition of the 'parent' composition (Ex 3),  possibly, three times in a row before returning to the basic rhythm and introduction of new phrases leading to a new parent composition with a totally different theme. It's certainly a great way to build solos and develop ideas.

Finally, on to a few voicing’s for drum set. I'm just skimming the surface here, employing the tum sound as our bass drum and the other syllables spread between the snare and toms. (tum is the sound that would be played on the open bass tone of the Mridangam drum. It is also similar to phonetics from the Middle East which represent open bass tones on frame drums and dumbek etc. The other syllables would more likely be articulated on more staccato tones.) In particular, the voicing’s for the phrases TA TI KI DA TUM (stemming from the syncopated section) sound effective when they move through the time shifts of phrases length reductions. When you have put together these phrases to make up the 'parent' composition, try playing time with the left foot as in the example at the bottom of the page.  Have fun!

Sticking variations for first part of composition.

Sticking variations for second part of composition.

Try playing the whole composition whilst maintaining these these hi hat patterns

 Click to enlarge