How to learn Carnatic music 35 Tala Theory

Aadi tala theory link is    • What is Aadi Tala and how it is compared w...  
There are several kinds of tala or rhythm cycles in Indian classical music with varying numbers of beats, But Sulathi Saptha Tala multiplied with 5 Jati = 35 tala theory is very important theory in South Indian Carnatic Classical music and it is mandatory to know before learning Alankaram.....
The suptha talas are...
Name of Tala Angas
Dhruva Tala IOII
Matya Tala IOI
Rupaka Tala OI
Jhampa Tala IUO
Triputa Tala IOO
Ata Tala IIOO
Eka Tala I
there is 6 subdivision in tala angas But out of this 6 angas only the first 3 are widely used today in music; the other 3 angas are used in ragam thanam pallavi and in advanced music
The 6 angas are
1. Anudhrutham consists of a single beat with one akshara kala. The Jhampa Tala of Suladi Sapta Tala contains this Anga.
2. Dhrutham consists of two akshara kalas represented by a beat and waving of the hand by showing the palm upwards.
3. Laghu is represented by a beat and a variable number of finger counts according to its jati which may be one of the following
Tisra 3, Chatusra 4, Kanda 5, Misra 7 & Sankeerna 9.
4. The Guru is represented by a beat and a circling movement of the right hand with closed fingers in the clockwise direction. Duration of the anga is eight akshara kalas.
5. Plutham consists of a beat, a Krushya and a Sarpini. Total aksharakalas is 12.
6. Kakapada is represented by a beat, patakam , krushya and sarpini . The duration of each of these kriyas is four aksharakalas.
There is 5 Jatis are there in Carnatic tala pattern they are...
Jati Number of Aksharas
Tisra 3
Chatusra 4
Khanda 5
Misra 7
Sankeerna 9
the above 5 jati x 7 tala if multiplied we will get 35 tala and the 35 tala chart is below.....
Tala Anga Tisra (3) Chatusra (4) Khanda (5) Misra (7) Sankeerna (9)
Dhruva lOll 11 14 17 23 29
Matya lOl 8 10 12 16 20
Rupaka Ol 5 6 7 9 11
Jhampa lUO 6 7 8 10 12
Triputa lOO 7 8 9 11 13
Ata llOO 10 12 14 18 22
Eka l 3 4 5 7 9

The above is the details of 35 talas and even the above 35 talas are further sub divided to 175 talas by using gathi or Nadai division but that will be taught in advance theory and in Hindustani classical Music tala pattern is more usual to hear the varieties that comes in 16, 12, 10, 7, & 14 beats (respectively tintal, ektal, jhaptal, rupaktal, and dhamar, jhoomra or deepchandi). Talas also have a vocalised equivalent where by beats are expressed as phonetic representations of various strokes played on different percussion instruments.