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Chapter 13: Ten Matra Cycles

 

The last of the rare rhythmic cycles in the introduction to common thekas is the ten matra cycle. Unlike the previous section of the “rare rhythmic cycles”, there is no discussion of a five matra cycle. There are indeed five matra cycles, however, there is no five matra cycle which is very common. There is only one ten matra cycle that will be discussed at this point known as jhaptala. Since this has ten matras, it is of the khanda jati of talas, since ten is a multiple of five.

 

JHAPTALA
Jhaptala is a very simple and symmetrical tala. There are four vibhags divided 2-3-2-3. The sam, matras 3 and 8 bear talis while the sixth matra bears the khali. This tala could be compared to dipachandi tala from Chapter 12. Recall that dipachandi tala has the first two vibhags and the last vibhag bearing resonant baya bols, while the third vibhag, which starts off with a khali, has nonresonant or no baya usage. Like dipachandi tala, each vibhag does not have the same length. Look at Figure 13.1 to see the theka.

 

X

 

2

 

 

0

 

3

 

 

1

2

3

4

5

6

7

8

9

10

dhin

dhin

dhin

tin

dhin

dhin

 

Figure 13.1

AUDIO CLIP: Figure 13.1

 

Of course, with creativity and skill, one double up the number of “ta”s or “dhin”s. Here are two examples of such prakars.

 

The underlying theme of this chapter is to be very familiarized with the ten matra talas. Like the seven and fourteen matra talas, the ten matra talas would be difficult to picture due to the lack of popularity these days. Jhaptala is very important, because jhaptala has a unique feel that can enhance the flavor to certain melodic forms called ragas. For now, mastery and improvisation is very important to master in the matter of jhaptala.

UPDATED: June 20, 2009