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Lesson 19: 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 12, 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 17) 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 16 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 18 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 11, only catasra
jati talas were done.
Lesson 12 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
16 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.
UPDATED: June 11, 2009