Indian Classical Music And Sikh Kirtan
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Matra
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by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Matra
Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Matra |
| Matra The unit of measuring tal is matra. The matra is determined in length by the pace of the overall rhythm. Each tal has a number of matras, as for example dadra has six matras. The number of matras does not change in vilambit, madhya or drut laya. Only the tempo or the time-sequence becomes slower in vilambit, average in madhya and faster in drut laya. A number of matras makes a tal, while the tempo determines the types of laya. The smallest units the akshara (letter) and its several types are as follows: Anudruta = 1 akshara = 1/4 matra Druta = 2 akshara = 1/2 matra Laghu = 4 akshara = 1 matra Guru = 8 akshara = 2 matra Pluta = 12 akshara = 3 matra Kakpad = 16 akshara = 4 matra Avartan: One cycle of the matras of a tal is called avartan. For example, dadra has six matras; as soon as six matras are completed, we have done one avartan (cycle) of dadra tal. Theka: The playing of one avartan of a tal on the table (pair of drums ) is called theka. It includes the repetition of 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. |