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Lesson 14B: Applying
the Cyclic and Cadence Forms in Tisra Jati Cycles
Just
like the last lesson, the mukhra addition rules will be pretty much the same.
Few examples will confirm this.
EXAMPLE 1:
Play two cycles of dadra tala and use
mukhra 6.
This
is in madhya lay. Dadra tala, defined in Lesson 11, is six beats. The Mukhra 6,
as shown in Lesson 14, is also six beats. Therefore, Line 3 will be placed as
is.
EXAMPLE 2:
Play three cycles of khemta tala
followed by tod 3 (does not end there).
This
is similar to example 1. Khemta tala has six matras. So does tod 3. Tod 3 takes
line 4 without any changes. Since it does not end, it does not need to end with
the sam (“dhin”).
EXAMPLE 3:
Play two cycles of Bengali ektal. With
the second cycle, insert mukhra 5 from the end
The
first cycle of Bengali ektal is played as usual. The second cycle is the one
where the mukhra will be inserted.
Bengali
ektal is twelve matras and mukhra 5 (from Lesson 14) is six matras. Therefore,
12 – 6 = end of matra
EXAMPLE 4:
Play three cycles of Bengali ektal.
Include a fourth cycle of Bengali ektal which has mukhra 4 that starts from the
end. Mridanga playing stops after this cycle.
The
first three cycles play as usual. The fourth cycle will have many good and
significant things going on.
Just
like the previous example, examine the parent tala’s number of matras and then
examine the mukhra’s matra number. Bengali ektal is twelve matras while the
mukhra is six matras long. Therefore, 12 – 6 = end of matra 6, or the start of
matra 7.
Since
there will be no mridanga playing after Line 4, we have to end with the sam of
the cycle. Since no further mridanga playing goes further, one may play “gha”
(the bol of the sam of the parent tala [in this case Bengali ektal]), “dha”
(the bol of the first beat of the mukhra), or “jha” (style).
EXAMPLE 5: (SLOWING DOWN)
Play two cycles of drut dadra tala,
use mukhra 4, and play one cycle of Bengali ektal
This
is a tricky one. This is dealing with rhythms with two different matra lengths
(six for drut dadra tala and twelve for Bengali ektal) and two different lays
(drut and madhya lay, respectively).
The
first two cycles of drut dadra tala as played as is. Since they are drut lay,
they have to be counted in drut timing.
Because
mukhra 4 is six matras in madhya lay, it has to be played using madhya lay
counting.
Then,
Bengali ektal plays as usual.
**Madhya Lay Counting Starts Here**
JATI CONVERSTION
EXAMPLE 6:
Play two cycles of drut kaherva tala,
followed by mukhra 1, then play the six-eight set from Lesson 13A two times.
Perhaps
it might be astonishing as to why drut kaherva tala (8 matras), mukhra 1 (8
matras), and six-eight set cyclic form (4 cycles of 6 matras apiece) were asked
in one example.
Everything
in Lesson 14A and everything covered up to this point in this lesson covered
only switches in rhythms, tempos, and layakari (as in Prabhupada tala). Each
example kept within its jati. Remember from Lesson 11, the jati was the classification of the rhythmic cycle based on the
number of matras it has. From Lesson 7 through Lesson 10, only catasra jati
talas were done. Lesson 11 focuses solely on tisra jati talas.
No
example examined going from one jati to another. The truth of the matter is
that in some Gaudiya Vaisnava kirtans, drastic yet subtle changes in rhythm
occur. Unlike the previous cycles, where the adjustment for tempo and layakari
was easy, changing between jatis requires some work.
Drut
kaherva tala and the mukhra 1 steps are straightforward. Remember to play
mukhra
Lesson
13A introduced the six-eight set.
While
this cyclic form is indeed true, this form of four cycles of six matras will
not work. Since the main cycle was a catasra jati (drut kaherva tala), the
six-eight set has to be converted in
terms of a catasra jati tala. Luckily, the six-eight set (twenty-four
matras total) is a multiple of eight. Therefore, it is possible to convert this rhythm in a cycle of eight beats.
However, each matra will be divided into three beats. Each vibhag of this cycle
will be squeezed into one matra!
Here
is how it looks like. The red, orange, blue, and green regions represent the
first, second, third, and fourth cycles of the original cycle. When counting
this version, count this cycle as if you were to count Prabhupada tala. (See
Author’s Note below)**
Here
is the final product:
**Madhya Lay Counting Starts Here**
Since
the final product is displayed in this format, without considering layakari and
counting differences, one can see that each of the five lines is eight matras.
In addition, look at how matras in Lines 1, 2, and 3 are either whole or
divided in halves. In Lines 4 and 5, the matras are divided in thirds. This
requires an incredible amount of practice. Play this frequently and once you
feel comfortable, listen to eight matra cycles and see if you are able to
convert the eight matra cycle into this six-eight set.
**
AUTHOR’S NOTE: The most accurate
statement for this situation is to use two cycles of eight matras where one
cycle covers the “red region” and the “orange region.” The second covers the “green
region” and “blue region.” However, it would make things more difficult in
terms of playing. Therefore, for simplicity’s sake, it is presented in this
manner. –KD
Practice
the above examples and listen to various kinds of combinations of how mridanga
players mix mukhras, tihais, and tods with prakars, thekas, and cyclic forms of
talas. There is a lot more to say to above cadence and cyclic forms, as it is
an amazing art in itself. However, there is more to khol than just learning
mukhras and such. There must be a higher purpose for this. The next unit will
unveil this platform in greater detail.