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गुर्वक्षरे चतुर्थे तु शम्या कार्या तु पञ्चमे । षष्ठसप्तमयोस्तालः शम्या गुर्वक्षरेऽष्टमे ॥ २१६॥
In the fourth long syllable, the Shamya should be applied; in the fifth, again the Shamya is to be made. In the sixth and seventh syllables comes the Tala, and the Shamya is to be performed on the eighth long syllable.
english translation
ततोऽर्धकलिकान्पातान्कुर्याल्लघ्वक्षरेषु च । गुर्वक्षरे तालगीतपातास्तु कलिकाः स्मृताः ॥ २१७॥
Then, one should make half-measures (ardha-kalikā) of beats on the short syllables; on the long syllables, the beats (tāla), songs (gīta), and measures (pāta) are known as full measures (kalikā).
english translation
शम्यातालौ तालशम्ये तेषु कुर्यात्क्रमेण तु । तालं शम्यां च तालं च सन्निपातं तथैव च ॥ २१८॥
In these, one should apply the śamya and tala alternately — first the tala on śamya, then śamya on tala, and likewise their combination (sannipata).
english translation
एवमेककलो ज्ञेयः कलायोगस्तु भद्रके । गुरुविश्लेषपादेन द्विकलं परिकीर्तितम् ॥ २१९॥
Thus, one Kalā is to be known, and the combination of Kalās in the Bhadraka is to be performed; with the Guru-varṇa at the foot, it is said to be two Kalās.
english translation
विशेषेण कलास्तत्र पूर्वं पूर्वं निवेशयेत् । द्विकले भद्रके चैव त्रिकलं स्यादुपोहनम् ॥ २२०॥
Specifically, the Kalās are to be placed one after another; in the Bhadraka, two Kalās are used, and in the third, the Upohana is applied.
english translation