ABSTRACT
Balamuralikrishna's great triumph was indeed to keep the suladi tala kriya patterns as the starting point to implement his invention: the mukhy system. Essentially, the 'return' of the shadanga talas provoked important changes in many aspects of karnatic music, the most important of which were the possibility of having many more, and more intricate, talas and the development of the use of combinations anuloma-pratiloma. The suladi tala chosen for kriya purposes was tisra dhruva. A trimukhy is applied to every sam while every finger-count of the laghus takes 2 beats. Tala combinations are talas constructed upon two suladi talas of different duration used one after the other in a cyclic manner. Every technique explained so far can be used within the new talas without any problem, except for nadai bhedam. Mohara is one of the few techniques where a regularity of the beat is required, due to its characteristics of division of the tala into four equal phrases.
