Lesson 17: Basic Cadences and Cyclic Forms

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Lesson 17: Introduction to Cadences and Cyclic Forms

In the KKSongs Khol Guide, this is the last item that is taught as far as actual khol playing is concerned. The reason why this topic is kept at the end is because we need to look at this unit as a unification of all the talas, as well as the lays, that we have studied. Accompaniment is very dynamic in the respect that cycles of talas usually have a connecting beat inserted at different parts of songs. At climatic points, such cadences or cyclic forms may be needed. Before we dwell more on why it is important, let is look at the form and function of cadences and cycles.

INTRODUCTION:

A cadence Form is a connecting phrase that takes a either a part or all of the cycle. They are defined by both matra length and function. Cadence forms are NOT talas!

You can tell if it is a cadence form if you can answer these two questions properly:

1) How long is the cadence form? (If the answer is less than a cycle, then it is already a cadence form. If the answer is the length of the cycle, then move onto number 2).

2) What does this cadence form do in relation to the entire cycle? (Does it start a cycle? Does it end a cycle? Changing speeds or talas?)

A Cyclic Form is a phrase that takes up the whole cycle. They are again defined by function. If the rhythmic form cannot remain independent if looped, then it is highly likely a mukhra. Forms that can remain independent when looped are indeed cyclic in nature. We have already studied three forms of this already. Thekas and prakars are cyclic forms, as they are based on cycles and can remain independent when looped. In Lesson 15 and Lesson 16, each had an example of a set or style of drut lay thekas that requires two cycles to get the desired effect.

AUTHORS NOTE: “For two semesters, I used to teach this lesson as well as lesson 18 in one huge lesson. Although I did get successful for the first quarter of this lesson, I found that students became overwhelmed as we progressed. At the completion of the course, when I asked students for suggestions, they suggested that Lesson 17 be split into two. Therefore, Lesson 17 will only contain mukhras, tihais, cadences, etc. Lessons 18 and 19 teach how to insert them in between cycles. I am sure this will be beneficial to all. –KD 11/03/2007”

The mukhra (literally “face” or “verse”) is a cadence form which either starts before a cycle or ends a cycle. Depending on the mridanga player as well as how well the kartal players, lead singer, or other musicians present are skilled, the mukhra may take up one full cycle.

MUKHRAS OF EIGHT MATRA CYCLES

The first set of mukhras fit well with cycles that are eight (or sixteen) beats.

MUKHRA 1

This mukhra is very famous and most commonly used in medium tempo kirtans or fast tempo kirtans slowing down to medium tempos. The bols for the mukhra are as follows:

dhā

Please note that there are no tala signs (no X, numbers, or 0), because mukhra is a cadence form. They are not talas. Also, note the “odd” style of writing the mukhra. Some books may have them number to show relations. Also, please note that the matra numbers are not absolute. They are subject to change. However, that is discussed in detail in the next lesson.

As a side note, this mukhra is a type of tihai. A tihai is a mukhra which consists of a repetition of a phrase three times. It can be seen that a repetition of “trkt dha” is done for a total of three times.

Lastly, in this mukhra, the “ra” in the ti ra ki ti phrases can be replaced with “tā.” The reason for this is that Bengali musicians play their “ra” bol differently. For them, the “ra” bol is resonant bol played with the thumb. Therefore, to show this, one may replace

MUKHRA 2:

1		2		3		4
Tā	te	ra	Tā	te	ra	Tā

This mukhra is used right before or during the drut lay kaherva tala, or in bhajani tala (any laya). This particular mukhra is known as a pick-up. Note the capital “T” in “Ta” implying the use of ka along with ta.

MUKHRA 3:

tā

This is a complex mukhra used in a variety of ways. It is a very refined mukhra that gives the “roll” sound the tabla is very famous for. This is usually played fast and is compressed into 4 beats for bhajani tala usually.

LAGGI:

X				0
1	2	3	4	5	6	7	8
dhā		tā	dhā		dhā	gha	gha

A laggi is a cyclic form (hence, the tala number on top) that involves excessive usage of baya usage. This particular laggi is a version of kaherva tala that you may use when the kirtana reaches a very quick tempo or the peak of the kirtan when there are tell-tale signs of the kirtana ending. Note the irregular spacing in.

TOD:

A tod (pronounced “toad”, lit. “break”) is a rhythmic piece that can sometimes show the ending of a set of cycles or end. Two tods are presented here.

TOD 1:

1	2	3	4	5	6	7	8
dhin		Tā	dhin		Tā	Tā
1
jhā

This is used specifically to end the cycle.

TOD 2:

1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16
dhin			tā		gha	dhin		tā		gha	dhin		tā		gha

Tod 2 is spread out to help you count properly, as deciphering the duration of each bol is difficult. It is actually an eight beat tod.

MUKHRAS OF SIX BEAT CYCLES:

Just as there are mukhras used for eight matra rhythms, there are mukhras that work with six matras. We will examine three mukhras and one tod.

MUKHRA 4:

dhā

tā

dhā

This is a good mukhra to use in Bangla ektal cycles.

MUKHRA 5:

1		2		3		4		5		6
dhin	ti	dā	dā	dhin	ti	dā	dā	dhin	ti	dā	dā

This is another good mukhra that is common in Bengali style playing for connecting Bangla ektal cycles.

MUKHRA 6:

1		2		3		4		5		6
tā	ka	ti	ra	ki	ti	tā	ka	tā

Mukhra 6 is a cycle that is used to combine dadra and khemta talas.

TOD 3:

1		2		3		4		5		6
dhin	dhin	Tā		dhin	dhin	Tā		dhin	dhin	Tā

This a tod commonly used in six beat cycles.

Before moving forwards, please look over these cyclic forms and practice these to perfect these. Even though these are not thekas or prakars, play them at various tempos (i.e. vilambit lay speed, madhya lay speed, drut lay speed, etc.). The next lesson will unfold the relative nature of these mukhras and cyclic forms.

AUDIO CLIP: Lesson 17 Summary

UPDATED: June 11, 2009