RAAG BHUPALI (RAAG BHUP)
Thaat – Kalyan
Varjit Swara – Ma and Ni
Vaadi Swar – Ga (Gandhar)
Sauvadi – Dha (Dhaivat)
Time Duration for Singing – 1st part of night
Jaati – Odav
Aaroh – Sa, Re, Ga, Pa, Dha, Sa‘
Avaroh – Sa‘, Dha, Pa, Ga, Re, Sa
Pakad – Sa Dha. Sa – Sa Re Ga – Pa Dha Pa Ga – Re Sa
- Tempo (Lay)
The speed at which a music composition is to be played.
There are three kinds of Tempo(lay):
- Vilambit lay (slow tempo)
- Madhya lay(moderate tempo)
- Dhrut lay (fast tempo)
Taal is a creation of the group of bars, sam, taali, khaali and variety of decided beatwords. One can also say that taal is the unit to measure time in Music.
The unit to measure taal.
The first beat of taal is called Sam.
When we express tempo by clapping, if we don‘t clap on the first beat of any bar and instead we bend our hand, it means that beat is Khaali
An entire cycle of Rhythm is called Aavartan. In other words, to speak or play from the first beat to the last beat of any Taal is called aavaratan.
- Single Tempo (Thaa Lay)
To play or to speak only one beatword in space of one beat of Taal/Theka. In western staff notation “Thaa Layâ€ is referred to as Crochet Note whose value‘s equal to one beat.
- Double Tempo (Dugun Lay)
To speak or to play two beatwords at regular interval in space of one beat of Taal/Theka. “Dugun Layâ€ is referred to as Quever Note, in western staff notation, whose value‘ half beat.
- Triple Tempo (Tigun Lay)
To play or to speak three beatwords at regular interval in space of one beat of Taal/Theka.
- Quadruple Tempo (Chogun Lay)
To play or to speak four beatwords at regular interval in space of one beat of Taal/Theka. In western staff notation, Chogun Lay is referred to as Semi Quever whose value is 1/4th beat.
Keeping the components of Taal i.e. beats, taali, khaali and bars permanent and composing proper arrangement of words is called Kaydo.
Keeping the form of Taal and Kayda permanent and playing it by modifying the words of Kayda is called Palta.
A certain arrangement of words consisting of Tihai which is played three times in the same form such that the ultimate “Dhaâ€ arrive on the Sam is called Chakradhar. This kind of composition is usually played thrice. This cycle is made up of more than one Aavartan. Cluster of such cycles is called Chakradhar.
This composition is specially made for Pakhvaj. The composition consisting of Tihai with loud and punchy words which also has 3 or 4 Aavartan.
The composition of words consisting of Tihai of 3 or 4 Aavartan of loud and punchy words is called Paran.
Peshkaar means to present or the presentation of one‘s art is called Peshkar. Peshkar is performed prior to solo table performance. Generally, Peshkaar is performed in Madhya (Moderate) Tempo. As in Kayda, even Peshkaar has Palta. The nature of structure of Taal is clearly visible in the composition of Peshkaar. But, in making Paltas in Peshkaar we don‘t have strict rules as in the making of Patla in Kayda. In Peshkar, beatwords other than main composition are also displayed. Peshkaar is even displayed in in various tempo. We get to know about the cleanliness, clarity of beatwords, Laykari etc of the performer in Peshkaar.
The creation in which , “Dhaâ€ is attached at the end of the decided composition of Tabla and the same composition is played thrice such that the Sam arrives on the last “Dhaâ€ is called Tihai.
There are various types of Tihai e.g. Damdaar Tihai, Bedum Tihai, Nauhakka Tihai, Chakradhar Tihai etc.
- Damdaar Tihai – The Tihai in which, taking halt on “Dhaâ€ in first and second part and then keeping Sam on “Dhaâ€ of third part while playing the composition of Tihai three times is called Damdaar Tihai.
- Bedum Tihai – The Tihai in which, without taking any halt on “Dhaâ€ in first and second part and keeping Sam on “Dhaâ€ of third part while playing the composition of Tihai three times is called Damdaar Tihai.
- Ladi means performance of various Laggi of Taal Kaherava by distributing them in various Tempo and then playing them in various tempo.