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Lesson 9: Eight Matra Kirtan Thekas
1
As
we enter our world of rhythms, we will encompass one of the most popular,
versatile, and admired talas of various genres of
music. This is the tala bearing of eight matras. The reason why eight matras
is considered to be one of the preferred rhythms is because counting in “fours”
or “eights” are easy to clap and follow. Sixteen matra
tintal might not go to well with the mass public, as tintal is primarily used in classical music. However, eight
matra talas will continue
to be popular as long as there is some iota of interest in music, whether its composing or listening.
Since
eight matras talas are
quite popular, we will spend three weeks of lessons in examining these cycles.
There are many eight matra talas
that exist, but we will focus on three particular kinds, namely the kaherva tala, Prabhupada
tala, and the bhajani tala.
This
lesson, will we look into the talas of Kaherva Tala in medium tempo.
THEKA:
Kaherva Tala is a tala of eight matras divided 4+4,
with tali on sam and khali on matra 5. Alone, this
information will not suffice in giving us the real essence of this tala. The theka is important.
Remember from Lesson 6, when discussing a tala, the matra number, the tala structure,
and the theka are very important in giving a tala its structure.
The
theka or the standard is as follows:
|
X |
|
|
|
0 |
|
|
|
|
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
dhā |
ge |
nā |
tin |
nā |
ka |
dhin |
nā |
AUDIO CLIP: Lesson 9 Kaherva Theka Practice
Kaherva
tala is a type of tala
where hardly anyone will strictly play theka. Hence,
it is quite important to learn some of the many prakars
of kaherva tala.
Remember
that a prakar is a variation of the theka.
PRAKAR 1:
|
X |
|
|
|
0 |
|
|
|
|
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
dhā |
ti |
ti |
Tā |
tā |
dhin |
dhin |
dhā |
Prakar
1 has shadows of tintal. Notice the dayan activity is just like tintal. “tā
ti ti tā.”
Notice the capitalized T in Tā on matra 4. It is indicating emphasis on tā.
(ka + tā = Tā)
AUDIO CLIP: Lesson 9 Kaherva Prakar 1 Practice
PRAKAR 2:
|
X |
|
|
|
0 |
|
|
|
|
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
gha |
|
ti |
Tā |
|
ga |
dhin |
nā |
Amongst
all of the thekas, this one stands out as being the
most “powerful” sound one.
Here,
we introduce the pause. A pause is a
matra where there is no activity on the khol. It is shown by a space or the letter “S.” When
reading this tala out, say the word “pause” in the
blanks. It will be easier keeping time in this way. The pausing and emphasis is unusual for the
flow of kaherva.
AUDIO CLIP: Lesson 9 Kaherva Prakar 2 Practice
PRAKAR 3:
|
X |
|
|
|
0 |
|
|
|
|
|
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
|
|
dhā |
ti |
ra |
ki |
ti |
tā |
ge |
dhin |
nā |
The
most refined version of tala kaherva.
Practice
these talas daily! Have a friend accompany you on kartals! Accompany many small kirtans
where you are the sole mridanga player. These talas above are used in kirtan in
various degrees!
AUDIO CLIP: Lesson 9 Kaherva Prakar 3 Practice
UPDATED: June 11, 2009