Indian Classical Performance

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Indian Classical Performance • Improvisation (not pre-composed) • Pitch – based on Raga (scales, but more) • Rhythm – based on Tala (meters, but more) • Process of “unfolding” the Raga - movement from low to high - rhythmic movement from slow to fast

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Indian Classical Performance. Improvisation ( not pre-composed) Pitch – based on Raga (scales, but more) Rhythm – based on Tala (meters, but more) Process of “unfolding” the Raga - movement from low to high - rhythmic movement from slow to fast. Organization of the Improvisation. - PowerPoint PPT Presentation

Transcript of Indian Classical Performance

Page 1: Indian Classical Performance

Indian Classical Performance

• Improvisation (not pre-composed)

• Pitch – based on Raga (scales, but more)

• Rhythm – based on Tala (meters, but more)

• Process of “unfolding” the Raga- movement from low to high- rhythmic movement from slow to fast

Page 2: Indian Classical Performance

Organization of the Improvisation

• Alap – opening section, free rhythm (no drums), establishes the Raga

• Jor (Jod) – drums enter, regular rhythm (Tala) established

• Jahla – fast, virtuosic concluding section

• Gat – fixed (pre-composed) tune featured in last section

Page 3: Indian Classical Performance

RHYTHM

• Based on Rhythmic cycles (similar to Meter…but much MORE)

• Division of time by regular beats (MATRA)

• 1st beat of cycle [most important] (SAM)

• One group of beats [measure] (VIBHAG),[not all cycles of equal weight]

• Complete cycle (AVARTAN)

• Each cycle a unique pattern (TAL or TALA)

Page 4: Indian Classical Performance

SOME DIFFERENT TALA

• Teental = 16 (4 + 4 + 4 + 4) [most common]Keharwa Tal = 8 (4 + 4)• Adi Tal = 8 (4+2+2)• Adachautal = 14 (2+4+4+4)• Dadra tal = 6 (3 + 3)• Ektal = 12 (2+2+2+2+2+2)• Jhaptal = 10 (2+3+2+3)• Sultal = 10 (2+2+2+2+2)• Rupak Tal = 7 (3+2+2)

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COUNTING TALA

• Not all Matra (beats) are equal

• 1st beat of cycle [most important] (SAM)

• Not all Vibhag (measures) are equal

• Tali (clap) = strong beginning to Vibhag

• Khali (wave) = weak beginning to Vibhag

• Remainder of Matra in Vibhag counted on fingers (begin w/ little finger)

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COUNTING TEENTAL

• CLAP 2 3 4

• CLAP 2 3 4

• WAVE 2 3 4

• CLAP 2 3 4• Ex. Tabla lesson - Teen taal – YouTube

• Ex.Ustad Zakir Hussain -- Vintage Teental Solo - YouTube

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COUNTING ADI TAL

• CLAP 2 3 4

• WAVE 2

• WAVE 2

• Ex. Carnatic Tabla - Adi Taal - SREEJITHKUMAR.G - MUSIC WORLD - YouTube

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COUNTING KEHERWA TAL

• CLAP 2 3 4

• WAVE 2 3 4

Page 9: Indian Classical Performance

COUNTING DADRA TAL

• CLAP 2 3

• WAVE 2 3

• Ex. Tabla lesson - Dadra taal.wmv – YouTube

• Ex. Taal dadra been played by ustad jaswinder meet - YouTube

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COUNTING JHAPTAL

• CLAP 2

• CLAP 2 3

• WAVE 2

• CLAP 2 3

• Ex. Jhaptal tabla demo – YouTube

• Ex. Ravi Shankar, Alla Rakha - Tabla Solo in Jhaptal - YouTube

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COUNTING SULTAl

• CLAP 2

• WAVE 2

• CLAP 2

• WAVE 2

• CLAP 2

• This pattern is disputed (some consider this a 5-beat pattern)

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COUNTING RUPAK TAL

• WAVE 2 3• CLAP 2• CLAP 2• Ex. Tabla lesson - rupak taal –

YouTube• Ex. Tabla Solo - Rupak Taal - Pt.

Samta Prasad Mishra - YouTube

Page 13: Indian Classical Performance

Tabla (playing position)

Page 14: Indian Classical Performance

TABLA

“Tabla” (“on the right”)

“Duggi”(“on the left”)

Page 15: Indian Classical Performance

Modern Tabla (“bolt tuned”)

List price: $ 418 (on sale: $ 313 plus S&H)

Page 16: Indian Classical Performance

Learning & Playing Tabla

• Taught by rote (no written music used)

• Variety of strokes - area of drum head struck- finger(s) used- manner of stroke

• Taught Mnenomically with “Bols”

• Ex.: Dha, Din, Ga, Ta, Na, Ti, Ka, Tin, Tu, etc.

• YouTube video