Indian Classical Music and Sikh Kirtan

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sound syllabes (bol) to form rhythmic phrases. There are different types thekas, for example jhaptal and sooltal have both ten matras but their thekas differ. In jhaptal, there are three hand claps and one blank, in sooltal there three claps and two blank, thus making ten as mentioned in the following Table:

Jhaptal

Beats 1 2 3 4 5 6 7 8 9 10
Words DHI NA DHI DHI NA TI NA DHI DHI NA
Theka + 2 0 3

Sooltal 1 2 3 4 5 6 7 8 9 10
Words DHI DHA DIN TA KIT DHA TIT KAT GAT GIN
Theka + 0 2 3 0

Sam: The matra for which a tal begins is called the sam or gur. For example, in the above jhaptal and sooltal, the
cross (+) stands for sam. It is the first beat of the tal. There is an emphasis on the sam, by which it is recognises from the other matras. Some musicians indicated the sam either by a shake of the head or a beat on the knee. It is like the pivot, and all the rhythmic variations must close on the sam.

Khali: After the sam, the next in importance is khali, meaning 'empty' or 'blank'. At the khali, the beat falls on the right tabala, while the left tabla is empty. The symbol for khali is zero (0). Generally khali marks the commencement of the second half of the cycle (avartan).

Tali: Besides the sam, the matras on which the time-beat falls is called tali (clapping). In the table on this page the first tali shown by a scross and the remaining talis are indicated by numerals.


Other Kinds of Laya
There are other kinds of laya (tempo) in addition to vilambit, madhya, and drut laya mentioned. They give great joy to the listeners, especially in dhrupad, dhamar, and in instrumental music. These are as follows:

dugan (1/2), tigan (1/3), chaugan (1/4), aar (2/3), kunvaar (7/4), athagan (1/8)

Some of the layas which are popular are explained below:

Thhah Laya: In this laya, each anka takes one matra. It is also called Brabar Laya.

Dugan: In this laya there are two parts or anka in one matra:
1 2 3
1.2 3.4 5.6

Tigar: In this laya, there are three parts (anka) in one matra:
1 2 3 4
123 456 789 10 11 12

Chungan: In this laya, there are four parts (anka) in one matra:
1 2 3 4
1234 5678 9 10 11 12 13 14 15 16

Aar: In this laya, two matras are split into three matras. First the matras are divided into three parts and each is doubled up. 'S' is used to complete the sequence:

1 S S 2 S S 3 S S 4 S S

Kunvaar: In this laya, five matras are split up into four parts. First the matras are divided into fourth parts and then grouped into five each.

1 S S S 2 S S S S 3 S S S 4 S S S 5 S S S

Beaar laya and athagam lays are not common and hence are omitted.


Symbols of Tal

The following symbols are used for tal:


sound syllabes (bol) to form rhythmic phrases. There are different types thekas, for example jhaptal and sooltal have both ten matras but their thekas differ. In jhaptal, there are three hand claps and one blank, in sooltal there three claps and two blank, thus making ten as mentioned in the following Table:

Jhaptal

Beats 1 2 3 4 5 6 7 8 9 10
Words DHI NA DHI DHI NA TI NA DHI DHI NA
Theka + 2 0 3

Sooltal 1 2 3 4 5 6 7 8 9 10
Words DHI DHA DIN TA KIT DHA TIT KAT GAT GIN
Theka + 0 2 3 0

Sam: The matra for which a tal begins is called the sam or gur. For example, in the above jhaptal and sooltal, the
cross (+) stands for sam. It is the first beat of the tal. There is an emphasis on the sam, by which it is recognises from the other matras. Some musicians indicated the sam either by a shake of the head or a beat on the knee. It is like the pivot, and all the rhythmic variations must close on the sam.

Khali: After the sam, the next in importance is khali, meaning 'empty' or 'blank'. At the khali, the beat falls on the right tabala, while the left tabla is empty. The symbol for khali is zero (0). Generally khali marks the commencement of the second half of the cycle (avartan).

Tali: Besides the sam, the matras on which the time-beat falls is called tali (clapping). In the table on this page the first tali shown by a scross and the remaining talis are indicated by numerals.


Other Kinds of Laya
There are other kinds of laya (tempo) in addition to vilambit, madhya, and drut laya mentioned. They give great joy to the listeners, especially in dhrupad, dhamar, and in instrumental music. These are as follows:

dugan (1/2), tigan (1/3), chaugan (1/4), aar (2/3), kunvaar (7/4), athagan (1/8)

Some of the layas which are popular are explained below:

Thhah Laya: In this laya, each anka takes one matra. It is also called Brabar Laya.

Dugan: In this laya there are two parts or anka in one matra:
1 2 3
1.2 3.4 5.6

Tigar: In this laya, there are three parts (anka) in one matra:
1 2 3 4
123 456 789 10 11 12

Chungan: In this laya, there are four parts (anka) in one matra:
1 2 3 4
1234 5678 9 10 11 12 13 14 15 16

Aar: In this laya, two matras are split into three matras. First the matras are divided into three parts and each is doubled up. 'S' is used to complete the sequence:

1 S S 2 S S 3 S S 4 S S

Kunvaar: In this laya, five matras are split up into four parts. First the matras are divided into fourth parts and then grouped into five each.

1 S S S 2 S S S S 3 S S S 4 S S S 5 S S S

Beaar laya and athagam lays are not common and hence are omitted.


Symbols of Tal

The following symbols are used for tal:

Displaying Page 33 of 100