Rhythm and Scale (was something else)

Hi Haresh,

> Hello Bob and Monz, If I can call "patterns of two and three beats
> grouped together by emphasis and/or meter" Jhaptal, and expand your
> reference to "musical tones" so that those notes become a raga, we
> may gain a new insight: It may mean that some raga-s are more suited
> to be sung to Jhaptal. And if I have the audacity to generalize
> further, we may feel that certain raga-s are better suited to go with
> certain taal-s.
>
> By the by, Jhaptal is: 1 2 | 1 2 3 |
> dhi naa | dhi dhi naa |
> [Jhaptal is 10 beats, and so the other half of the cycle is:
> 6 7 | 8 9 10 |
> ti naa | dhi dhi naa | ]
>
> Is my logic fallacious?

You certainly know better which raga-s are more suited for
which taal-s. I only know enough to say "I've heard that that
is part of the tradition".

But, I'm having trouble putting together a way to match these up. If
prominent presence of a 5/4 in a scale denotes 'major', and prominent
presence of a 6/5 denotes 'minor', (not to limit ourselves
from all the other *-ors in the world) does this mean that rhythms
with prominent "fiveness" and "fourness" are major and those with
prominent "fiveness" and "threeness" minor?

Similarly, what is the inversion of a rhythm, to convert is to
the phrase domain? Is twenty beats of groupings of five major
and thirty beats of groupings of six minor?

Those ideas don't seem to match up with my experience. As I think
of it, certain tempos may be more appropriate for certain
approaches to certain scales, and certain rhythms are more
appropriate for certain tempos.

Bob