Krsna Kirtana Songs est. 2001                                                                                                                                                      www.kksongs.org


Home à Music Center à Instrumental Guides à Khol Guide

Lesson 16: Drut Lay Thekas of Six Matras

 

Just as eight matra cycles had drut lay thekas, six matra cycles are just as capable of having a drut form. However, while there are many six matra drut cycles, two are very important for khol playing.

 

INTRODUCING THE BOL “DA”

 

The bol “da” is being introduced now, as it will be necessary to use this bol in both cycles here. The bol “da” is just like playing “ti.” Remember that “ti” involved the middle, ring, and pinky fingers producing a non-resonant. The bol “da” uses a similar technique. Unlike ti, the fingers will bound off immediately to produce a resonant sound, resembling a very weak “

 

With practice, da would come naturally, especially with dayan transitions such as “ da ti” and “ti da”.

 

Listen to the audio clip to hear the way “da” sounds, ti da, and da ti;

 

AUDIO CLIP: Lesson 16 “Da” Bol Introduction

 

DRUT DADRA TALA

 

Compared to the madhya lay dadra theka studied previously, this cycle seems very lively. For this reason, this cycle is preferred to the theka of dadra tala.

 

Even though it is rare to hear a dadra tala in drut lay today, it is quite possible to integrate a fast dadra into kirtan.

 

As this may be the first time attempting this rhythm, try practicing the “ti da” on your dayan hand until it becomes second-nature and/or is effortlessly done. Doing this rhythm with too much conscious thought will spoil this cycle.

 

Also remember, the “da” is a resonant bol on the dayan. Therefore, from rules of Lesson 4…

 

“ka + resonant dayan bol = emphasized dayan”

 

“ka + da = Da” found in Matra 3.

 

X

 

 

0

 

 

1

2

3

4

5

6

dhin

ti

dhā

 

AUDIO CLIP: Lesson 16 Drut Dadra Tala Practice

 

 

SIX-EIGHT CYCLIC SET

 

This is probably one of the harder sets studied in this course. Yet, it is used too often, specifically in the middle refrain lines of the song “Jaya Jaya Gauracander Aratiko Sobha (Sri Gaura Arotik).” The unique thing about this cycle is that it can be played in vilambit lay (with some variations), madhya lay, and drut lay (presented here).

 

This six-eight set is named because this is a cycle that has four sets of six matra cycles. However, the eight component is there because when this cycle is played in drut lay, the overall rhythm can be viewed as one long cycle eight matra cycle. This has great use in heavy kirtans, as not everyone know how to play kartals for the six beat cycles, but everyone knows the four (or eight) beat cycles.

 

This is a very refined version of the rhythmic cycle. However, this version is a very tasteful one.

 

X

 

 

0

 

 

1

2

3

4

5

6

dhin

ti

X

 

 

0

 

 

1

2

3

4

5

6

ti

ti

X

 

 

0

 

 

1

2

3

4

5

6

ti

ti

X

 

 

0

 

 

1

2

3

4

5

6

dhin

dhin

dhā

dhin

dhin

dhā

 

AUDIO CLIP: Lesson 16 Six-Eight Cyclic Set Practice

 

UPDATED: June 11, 2009