Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varèse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today’s music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique.

For examples of composed and improvised pieces by students who have studied this book, as well as concerts by highly acclaimed karnatic musicians, please copy this link to your browser: https://www.contemporary-music-through-non-western-techniques.com/pages/1587-video-recordings

chapter |8 pages


part I|310 pages

Description of Karnatic Concepts and Techniques

chapter |2 pages

A: Foundations

chapter 1|8 pages

The Tala System

chapter 2|14 pages


chapter 3|10 pages


chapter 4|16 pages

Gati Bhedam

chapter 5|8 pages

Rhythmical Sangatis

chapter 6|12 pages

Jathi Bhedam

chapter 7|10 pages

Introduction to Anuloma-Pratiloma

chapter |2 pages

B: Exclusively Creative Techniques

chapter 8|12 pages


chapter 9|8 pages

Yati Phrases

chapter 10|10 pages

Yati Mukthays

chapter 11|6 pages


chapter 12|6 pages

Compound Mukthays

chapter 13|6 pages

Yatis Prastara

chapter 14|6 pages

Double and Triple Mukthays

chapter 15|14 pages

Mukthay Combinations

chapter 16|12 pages

Poruttam A

chapter 17|8 pages


chapter |2 pages

C: Motta Kannakku

chapter 18|22 pages

Nadai Bhedam

chapter 19|8 pages

Mixed Jathi Nadai Bhedam

chapter 20|32 pages

Combinations Anuloma-Pratiloma

chapter 21|8 pages

Derived Creative Techniques

chapter |2 pages

D: Recent Developments

chapter 22|16 pages

Tala Prastara

chapter 23|18 pages

Further Development of the Mukhy System

chapter 24|30 pages

Latest Developments of Gatis

part II|132 pages

Pedagogical and Creative Applications to Western Music

chapter 26|78 pages

Analysis of Students' Pieces

chapter |8 pages