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    Tali

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    jayantabhbasu
    Lay is the tempo or speed of a musical piece in Indian classical music. It can be vilambit (slow), madhya (medium), or drut (fast). There are also classifications for slower than vilambit (ati-vilambit) and faster than drut (ati-drut). The document outlines various talas or rhythmic cycles that correspond to each laya. It also describes additional subdivisions of tempo including dugan, tigan, and chaugan layas which divide the beat into halves, thirds, and quarters. The laya or tempo typically changes throughout a performance as styles progress from slower to faster speeds.

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    Tali

    Uploaded by

    jayantabhbasu
    233 views3 pages
    Lay is the tempo or speed of a musical piece in Indian classical music. It can be vilambit (slow), madhya (medium), or drut (fast). There are also classifications for slower than vilambit (ati-vilambit) and faster than drut (ati-drut). The document outlines various talas or rhythmic cycles that correspond to each laya. It also describes additional subdivisions of tempo including dugan, tigan, and chaugan layas which divide the beat into halves, thirds, and quarters. The laya or tempo typically changes throughout a performance as styles progress from slower to faster speeds.

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    for kathak

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    Lay is the tempo or speed of a musical piece in Indian classical music. It can be vilambit (slow), madhya (medium), or drut (fast). There are also classifications for slower than vilambit (ati-vilambit) and faster than drut (ati-drut). The document outlines various talas or rhythmic cycles that correspond to each laya. It also describes additional subdivisions of tempo including dugan, tigan, and chaugan layas which divide the beat into halves, thirds, and quarters. The laya or tempo typically changes throughout a performance as styles progress from slower to faster speeds.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    233 views3 pages

    Tali

    Uploaded by

    jayantabhbasu
    Lay is the tempo or speed of a musical piece in Indian classical music. It can be vilambit (slow), madhya (medium), or drut (fast). There are also classifications for slower than vilambit (ati-vilambit) and faster than drut (ati-drut). The document outlines various talas or rhythmic cycles that correspond to each laya. It also describes additional subdivisions of tempo including dugan, tigan, and chaugan layas which divide the beat into halves, thirds, and quarters. The laya or tempo typically changes throughout a performance as styles progress from slower to faster speeds.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 3

    Tali -

    Tali is the pattern of clapping. Each tal is characterized by a particular


    pattern and number of claps.
    Khali -

    Khali is the wave of the hands. These have a characteristic


    relationship to the claps.
    Vibhag (Ang) -

    Vibhag is the measure. Each clap or wave specifies a particular


    section or measure. These measures may be of any number of beats,
    yet most commonly 2, 3, 4, or 5 beats are used.
    Matra -

    Matra is the beat. It may be subdivided if required.


    Bol -

    Bol is the mnemonic system where each stroke of the drum has a
    syllable attached to it. These syllables are known as bol. It is common
    to consider thebol to be synonymous to the stroke itself.
    Theka -

    Theka is a conventionally established pattern


    of bols and vibhag (tali, khali) which define the tal.
    Lay -

    Laya is the tempo. The tempo may be either slow (vilambit), medium
    (madhya), or fast (drut). Additionally ultra-slow may be referred to
    as ati-vilambit or ultra-fast may be referred to as ati-drut.
    Sam -

    Sam is the biginning of the cycle. The first beat of any cycle is usually
    stressed.

    Lay is the tempo, or speed of a piece. The Hindi term for tempo is "lay" and is derived from the
    Sanskrit term "laya". It is a very simple concept, but its application is sometimes complicated.
    It goes without saying that there have to be some practical limit to usable tempi. One beat every
    ten minutes would be so slow as to be musically useless. At the other end of the spectrum we can
    Lay (tempo)
    ati-ati-drut

    640 beats-per-min

    ati-drut

    320 beats-per-min

    drut

    160 beats-per-min

    madhya

    80 beats-per-min

    vilambit

    40 beats-per-min

    ati-vilambit

    20 beats-per-min

    ati-ati-vilambit

    10 beats-per-min

    see that 100 beats per second would be so fast that it would be perceived as a tone and not as a
    rhythm. A general breakdown of Indian lay is shown in the following table:
    The table is an idealized breakdown of lay; however, the real world is considerably more complex.
    For example the designations of ati drut, ati vilambit, etc. are seldom heard among practicing
    musicians. This tends to stretch the previous table so that there is no longer a 2-1 relationship
    between the various designations. To make matters even more complex, it has been observed that
    vocalists use a slower definition of time than instrumentalists (Gottlieb 1977a:41). Furthermore the
    rhythmic concepts of the light and film musicians run at a higher tempo but show a peculiar
    compression of scale.
    The tempo of the rhythm or the duration of pace or speed is called laya. It is regular spacing of
    time. Laya is three kinds: vilambit, madhya and drut.
    Vilambit laya: Slow tempo of the rhythm is called vilambit lays. Each beat lasts for about one
    second. For example, dadra has six matras. Instead of counting six matras (beats) one after the
    other like 1, 2, 3, 4, 5, 6 vilambit laya will prolong it in the following manner.
    Vilambit laya ---ISS --- ISS ---ISS ---ISS ---ISS ---ISS
    Matra 1 2 3 4 5 6
    + (Tali) 0(Khali)
    (S stands for prolongation of rhythm)
    The following are some of the tals of vilambit lays: ektal, chartal, jhumra , tilwara.
    Madhya laya: Medium tempo of the rhythm is called madhya laya. It can be compared to the
    ticking of about half second of the clock. Some of the tals of madhya lays are teental, jhaptal,
    dadra, kehrva.
    Drut laya: is doubly quicker in tempo than the madhya laya. The tals of drut laya are the same as
    in madhya tal, the difference being that they are done quicker. Each beat lasts for about onequarter second. Tarana and chota khayal use drut laya.
    Other Kinds of Laya
    There are other kinds of laya (tempo) in addition to vilambit, madhya, and drut laya mentioned.
    They give great joy to the listeners, especially in dhrupad, dhamar, and in instrumental music.
    These are as follows:
    dugan (1/2), tigan (1/3), chaugan (1/4), aar (2/3), kunvaar (7/4), athagan (1/8)
    Some of the layas which are popular are explained below:
    Thhah Laya: In this laya, each anka takes one matra. It is also called Brabar Laya.
    Dugan: In this laya there are two parts or anka in one matra:

    123
    1.2 3.4 5.6
    Tigar: In this laya, there are three parts (anka) in one matra:
    1234
    123 456 789 10 11 12
    Chungan: In this laya, there are four parts (anka) in one matra:
    1234
    1234 5678 9 10 11 12 13 14 15 16
    Aar: In this laya, two matras are split into three matras. First the matras are divided into three parts
    and each is doubled up. S is used to complete the sequence:
    1SS2SS3SS4SS
    Kunvaar: In this laya, five matras are split up into four parts. First the matras are divided into fourth
    parts and then grouped into five each.
    1SSS2SSSS3SSS4SSS5SSS
    Beaar laya and athagam lays are not common and hence are omitted.
    The lay or tempo usually changes throughout the performance. These changes in tempo are
    inextricably linked to the various musical styles. In general we can say that only very short pieces
    will maintain a fairly steady pace. Most styles will start at one tempo and then increase in speed

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