Showing results for "sur-taal" sur-taal harmony, tone and rhythm, tune and beat. Dii instrument for measuring the tide. Dii kii Taal. Taal kii Taal. Taal vaalaa. Taal denaa let go, to make excuses, to return. Taal kar denaa. Taal baldness due to old age , bell for animal's neck, evasion, putting aside, deferment, stack of wood , heap of grain, grass, etc, timber or firewood yard or shop. Taal maTol vaqt kaa chor. Its phrases could commence only on a specific note. The multiplicity and paucity bahutva and alpatva , the upper Tara and lower mandra ranges , the number 5,6 or 7 of notes - all these governed the formation of a jati.
The scale to which a jati could be ascribed was called the moorcchana. It had to have prominent or dominant note ,melodic center or the nucleus amsa , or Vadi. The entire raag is so oriented that all movements tend to gravitate towards this note.
Vadi means "that which sounds", in other words it means that which dominates. Hence it is also known as the 'king' of the raag. A subsidiary center of gravity is the Samvadi, next in importance to the Vadi and known as the 'minister'.
There are 'anuvadi-s' or 'courtiers'. And, 'vivadi' the enemy. Finally, there is the tonal accent. For, it is not enough to define a raag by the notes it uses, their arrangement and their dominance. The musician and the listener must be well aware of the minute articulatory differences. For example, the dha AB in Bhairavi, Todi, Bhairav raag-s, are all different in their pitches, even after having the same name and symbol. Sruti means to hear or 'that which is heard' Musically , it points to the interval between notes, which can be perceived auditorily.
It is usually translated as the quartertone or microtone. A Hindustani raag has also associated with it the time of the day. Each one of the several traditional raags is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. Timing of Hindustani Raags. For the placement of the Raag in a particular time schedule, the day is divided into 8 watches or prahar-s, each of 3 hours.
The counting of the prahar is done by the break of the day; by the clock it is generally taken as six in the morning. Some very traditional Gharanas start counting the prahars after sunrise, be it 5.
The first prahar of the night commences after sunset - from six o'clock in the evening. Sandhi means a junction: the passing of night into day and day into night.
There seems to be a psychological significance in this. For, it is the time of mental twilight between the conscious and the non-conscious: a time when one sits for prayer and meditation. There are certain traditional empirical rules of the thumb, to determine the daylight relations:. Such a raga is known as a sandhi prakash raag. It replaces shuddh madhyam F in the evening raags. Often the twilight raags have both the notes: as for example Lalit early morning and Poorvi dusk.
Some evening sandhi prakaash raags are also defined by gurus as Aarti Time Raags. Hindu evening prayer. The time pattern in music is generally included in the word "rhythm".
Of course, these are just vocalizations of the actual sounds produced by the tabla. They are called bol , and it is these bols that are combined in various ways to get many interesting rhythm patterns.
Rhythm patterns have names such as Teentaal, Ektaal, Jhaptaal, and so on, but the generic name for rhythm patterns is " taal. As you may have noticed, each taal is divided into several sections because this makes it easier to understand and recognize.
For instance, Teentaal 16 beats is made up of four sections of four beats each, while Ektaal 12 beats is made up of six sections of two beats each. Ruupak 7 beats is asymmetric - it has three sections of three, two, and two beats respectively.
All the sections taken together represent one complete cycle of the taal. In Indian classical music, it is very important to understand taal as a cycle. Technically, all rhythm is cyclical because it repeats over and over again. But with shorter patterns, like 4-beat rhythms, one can be fooled into seeing rhythm as linear. In Indian classical music, longer patterns of 16 beats or 12 beats are very commonly used, and these cannot be understood or applied to music correctly unless they are viewed cyclically.
The videos below are designed to help you understand the importance of seeing taal as a cycle in the context of Indian classical music. The first two videos use raga compositions set to Ektaal a beat rhythm cycle and Teentaal a beat rhythm cycle to show how compositions in Indian classical music are set to rhythm.
The third video demonstrates improvisation in Indian classical music within the framework of a composition and its taal , which reinforces why it is so important to see taal as a cycle. All fixed raga compositions are set to specific taals , which means that each line of the composition is designed to fit nicely into the groove of the chosen taal.
The first video below demonstrates using a very simple composition set to Ektaal a beat rhythm cycle. Pay attention to how every line of the composition fits exactly into the Ektaal cycle. That was a very basic example. Not all compositions begin on the first beat of the rhythm cycle, nor does every single line of a composition have to fit exactly into the full length of the cycle. Because not all compositions are designed to sound like a march, and their accented and unaccented syllables may not fit exactly into the taal 's groove.
Still, to the extent possible, it is nice to be able to match accented and unaccented portions of the composition with those of the taal. The way we do this is by matching the most emphatic syllable in each line of the composition with the first beat of the taal cycle. Here is another simple composition set to Teentaal a beat rhythm cycle. In this composition, the syllable indicated in bold is the most emphatic one in each line.
Each line is accordingly structured so that this emphatic syllable falls on the first beat of the cycle. As a result, the composition's accented and unaccented syllables end up fitting quite nicely into the groove of the Teentaal rhythm. The first beat of the rhythm cycle is called sam rhymes with "some" and "from".
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