Tala (music)

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A tala ( Sanskrit : ताल, tāla, also tal, taal , in South Indian languages: talam ; in English: clap ) is a cyclically repeated rhythmic structure in classical Indian music and, in addition to the concept of raga , which defines the melodic structure, to their basic principles.

Indian rhythm differs fundamentally from the western " tact " system in that it works with composite units. A tala consists of a certain number of beats (matra) , which are divided into sections (vibhag) . The first Matra of such a section has a certain emphasis. The strongest emphasis is placed on the first Matra of the cycle ( sam = together, together). While the musicians play their rhythmic variations (mostly structures with three repetitions, but the length of which does not correspond to that of an Avartan), they keep meeting each other on this "one". The tensions that have built up are released again with this common blow. A piece of music always ends on sam .

Very simple example: with a tala of 8 matras (e.g. Kaharva) a variation could consist of 3 matras; Repeated three times, the 3 Matra result in a total of 9 - and thus dissolve again on the first Matra of the next Avartan - the Sam.

Some vibhags begin with an unstressed matra, the khali (literally: 'empty'). The sequence of a tala can be indicated by hand gestures: the first matra of each vibhag is indicated by clapping, but the khali is indicated by a waving movement with the hand with the back of the hand pointing down. In the vilambit the further blows are "counted" with the individual fingers, in the vibhag of the khali with the fingers one after the other against the thumb.

speed

In general, a distinction is made between three speed levels, for which the generic term laya is used:

  • vilambit = slowly
  • madhya = medium
  • drut = quickly

Moreover, called laya even the rhythmic density, that is, how many equal pieces a matra divided is (two, three or more). Increasing the density also gives the impression of a higher tempo. At a slow pace, vilambit , a tala cycle can extend over several minutes. For the sake of clarity, however, each beat is further subdivided. The pauses between the "hits" are decorated with rhythmic patterns, whereby the musicians - and ideally also the listeners - are very aware of every "real" hit (and especially the "one").

A performance usually starts very slowly, without rhythmic accompaniment. This slow introduction by the soloist, who can be a singer or instrumentalist (for example with bansuri , sitar or sarod ) is called Alap . With the use of the tabla , the counting begins in tala cycles, usually initially at a slow or medium pace. The speed then increases in the course of the piece, either by increasing (e.g. doubling) the beat density or gradually increasing the tempo to the fulminant climax (jhala) . Sometimes, before the final end, there is another short, slow passage.

Talas in Hindustan Music (North Indian Classical)

In the classical music of Northern India, a tala can be represented by playing a set sequence of beats on a drum ( tabla or pakhawaj ). Such a sequence of beats is called theka and is firmly connected to a tala. Since the various drum techniques are designated with syllables ( Bol ), the theka can be reproduced and memorized in rhythmic language.

At the beginning the percussionist plays the theka; in the course of time he can also improvise and sometimes return to the theka or one of its variations. The theka is varied depending on the speed. In the slow tempo, the pauses between main beats are filled with decorations, in the fast tempo individual beats are left out or replaced by easier-to-play beats. The structure of the tala should remain clear for the listener. These variations are called prakar .

There are a few hundred talas, but only a few are often used. Some talas are associated with specific styles of music in which they are mainly used. Some talas, which are mainly used in the dhrupad , are influenced by the tubular drum pakhawaj. Your theka uses syllables that are typical of this drum.

Some commonly used talas

In the first line is the emphasis:

  • The first accent ( sam ) is indicated by a “+” in the notation.
  • The other accents are numbered consecutively.
  • The absence of an accent '( khali ) is expressed by "0".

In the third line are the drum syllables, they not only serve as instructions for the drummer, but also give an impression of the structure of the tala if you speak rhythmically.

Tintal

The Tintal (also Teentaal or Trital ) is the most widely used tala in North Indian music. Tin or tri means three, as the tala has three accents.

The Tintal has a length ( Avartan ) of 16 beats ( Matra ), divided into 4 (with the Tintal the same length) sections ( Vibhag ).

16 Matra, 4 Vibhag, 3 Talis (1, 5, 13), 1 Khali (9)

+ 2 0 3
1 2 3 4th 5 6th 7th 8th 9 10 11 12 13 14th 15th 16
dha there there dha dha there there dha dha tin tin ta ta there there dha

There are many variants of this valley. Some of them can be called their own tala, but have the same structure.

Jhaptal

The Jhaptal is used in North Indian classical music and in semiclassical music including the Khyal and Kirtan styles .

10 Matra, 4 Vibhag, 3 Talis (1, 3, 8), 1 Khali (6)

+ 1 0 2
1 2 3 4th 5 6th 7th 8th 9 10
dhi n / A dhi dhi n / A ti n / A dhi dhi n / A

Dadra

The Dadra takes its name from Dadra , a semiclassical form of singing that (often) uses this valley. It is also used in folk music.

6 Matra, 2 Vibhag, 1 Tali (1), 1 Khali (4)

+ 0
1 2 3 4th 5 6th
dha there n / A ta ti n / A

Kaharva

The kaharva is also popular in lighter classical music. There are also many bhajans and qawwali in this valley. It is the tala of the litter bearers who do not march in parallel step, but from whom each of the four bearers only ever puts a foot down.

8 Matra, 2 Vibhag, 1 Tali (1), 1 Khali (5)

+ 0
1 2 3 4th 5 6th 7th 8th
dha ge n / A ti n / A ka dhi n / A

Ectal

The ectal is used in both classical and semi-classical music. A special feature is that it is played both extremely slowly and very quickly, but rarely at a medium tempo.

12 Matra, 6 Vibhag, 4 Talis (1, 5, 9, 11), 2 Khalis (3, 7)

+ 0 2 0 3 4th
1 2 3 4th 5 6th 7th 8th 9 10 11 12
there there dha ge ti ra ki ta do n / A cat ta dha ge ti ra ki ta dhi n / A

Tevra

The specialty of the Tevra is the lack of the khali.

7 Matra, 3 Vibhag, 3 Talis (1, 4, 6), 0 Khali

+ 2 3
1 2 3 4th 5 6th 7th
dha there ta ti ta ka ta ga di ga na

Rupak

The rupak has the peculiarity of not starting with an accent (sam) , but rather unstressed (with the khali ), like a prelude. It is used in both classical and semi-classical music.

7 Matra, 3 Vibhag, 2 Talis (4, 6), 1 Khali (1)

0 1 2
1 2 3 4th 5 6th 7th
ti ti n / A dhi n / A dhi n / A

Dhammar

14 Matra, 4 Vibhag, 3 Talis (1, 6, 11), 1 Khali (8)

+ 2 0 3
1 2 3 4th 5 6th 7th 8th 9 10 11 12 13 14th
ka dhi ta dhi ta dha - ka ti ta ti ta ta -

Talas in Carnatic Music (South Indian Classical)

The systematics of the talas of Carnatic music is very different from that of Hindustan. There are several systems, the standard used today is called Suladi Sapta Tala :

A cycle, called Avartana , consists of one or more units ( Angha ). There are three types of anghas, which differ in the number of blows ( akshara ):

  • Anudhrutam (designation U), a single Akshara.
  • Dhrutam (designation O), two Aksharas.
  • Laghu (designation I), the number of Aksharas is one of the numbers 3, 4, 5, 7 or 9.

The anghas are accompanied by the singers with gestures of the right hand: anudhrutam with a downward stroke, dhrutam with a double stroke, and laghu with strokes of the fingers from the little finger to the thumb and back.

There are seven different Tala families, which differ from the three Angha types in the composition of the Avartanas. An avartana must contain at least one laghu; if it contains several, then the number of Aksharas of the Laghus is equal. Depending on the number of Aksharas in the Laghus, the Tala belongs to a so-called Jati called Thisra (3), Chatusra (4), Khanda (5), Misra (7), Sankirna (9). A tala is identified by specifying the tala family and the jati; theoretically 35 occur, which are shown in the following table:

Tala family Angha Thisra Chatusra Khanda Misra Sankirna
Dhruva IOII 3 + 2 + 3 + 3 = 11 4 + 2 + 4 + 4 = 14 5 + 2 + 5 + 5 = 17 7 + 2 + 7 + 7 = 23 9 + 2 + 9 + 9 = 29
Matya IOI 3 + 2 + 3 = 8 4 + 2 + 4 = 10 5 + 2 + 5 = 12 7 + 2 + 7 = 16 9 + 2 + 9 = 20
Rupaka OI 2 + 3 = 5 2 + 4 = 6 2 + 5 = 7 2 + 7 = 9 2 + 9 = 11
Jhampa IUO 3 + 1 + 2 = 6 4 + 1 + 2 = 7 5 + 1 + 2 = 8 7 + 1 + 2 = 10 9 + 1 + 2 = 12
Triputa IOO 3 + 2 + 2 = 7 4 + 2 + 2 = 8 5 + 2 + 2 = 9 7 + 2 + 2 = 11 9 + 2 + 2 = 13
Ata IIOO 3 + 3 + 2 + 2 = 10 4 + 4 + 2 + 2 = 12 5 + 5 + 2 + 2 = 14 7 + 7 + 2 + 2 = 18 9 + 9 + 2 + 2 = 22
Eka I. 3 4th 5 7th 9

The Aksharas can be divided again into 3, 4, 5, 7 or 9 beats ( Matra ); this division is called Nadai or Gati ; they have the same names as the Jatis of the same number.

The most common tala in Carnatic music is Chatusra-Nadai Chatusra-Jati Triputa Tala, known under the name Adi Tala , so (comparable to the Hindustan Tintal) a (from a western point of view) simple straight beat .

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