ABSTRACT
In compound mukthays any number of matras can be chosen for the seed phrase. In addition to these possibilities, two more options can be added to create double and triple mukthays: tirmanas and yati phrases. Besides all the possible mukthays described previously for the double mukthays, a yatis prastara can be considered yet another mukthay, as long as it is not developed with the krama-viloma-krama option. Karnatic musicians create triple mukthays with the objective of constructing a musical object that would defy a clear analysis or definition of the different parts, although there is not a single vestige of randomness in their development. All the mukthays can be analysed as such, but the construction and, moreover, the manner in which they are entangled with each other, are the elements that prevent triple mukthays from being considered a simple sequence of three consecutive mukthays.
