Ch a p t e r 2 : e x e r c i s e s

S apat
Mind
M u r cch a n a
Pa l ta s
K ri nta n & G a ma k
S NR S NS
Co o r d i n a t i o n
B o l s /L a r i /j h a l a

2.1

Ch a p t e r 2 : e x e r c i s e s

Sapat
up & down
Sapat is the most basic exercise. It consists of going up and dow n the notes of the scale,
through the w hole range the instrument or voice is capable of:

SRGmPDNSRGRSNDPmGRSNDPmGRS RGmPDN
For voice, a more typical range w ould be:

SRGmPDNSRGRSNDPmGRSNDPDN
There are many possible w ays to vary this:
change the laya- from as slow as possible to as fast as possible:
acceleration may be either gradual, or step-by-step:

S
S

G
G

m
m

3 beat / note

m
m

2 beat / note
1 note / beat
4 notes / 3 beats
3 notes / 2 beats
2 note / beat

S R GmP D

3 notes / beat

SRGmPDNS

4 notes / beat

SRGmPDNS

8 notes / beat

2. 2

4 beat / note

S R G m
3

G
G

Etc.

Ch a p t e r 2 : e x e r c i s e s

Sapat 2
up & down with bol patterns
On an instrument, changing the plucking pattern creates new variations:
Bol patterns w ill be discussed later, but the most basic(notated here in fast
tintal) are:

+
o
SRGmPDNSRGRSNDPmGRSNDPmGRSRGmPDN
alldastrokes
allrastrokes
daraalternatingdaandra
diridiri2strokes/note
dadiri
dirida
dadiridiridiri
dadiridara
daradadaradadara
Bol patterns may also go against the flow of the barlines, creating patterns that
take more than one cycle to resolve.
darada

dadirida

dara,darada

darada,dara,dara

Longer patterns are also possible:

darada,darada,darada,darada,daradara

33334

daradarada,daradarada,daradadarada

5533

(darada)10x dara 310x2

2.3

Ch a p t e r 2 : e x e r c i s e s

Every Note & Interval

each note, all octaves
This is a good exercise for evenness of tone and color.
It may be done chromaticaly, or staying in one scale.
Best done slow ly, and including the higher octave.

1 ) each note, all octaves:

S S S S S S S R R R R R G G G G G e tc.
2 ) pairs of notes, by fifths:
SPSPSPSPSPSP
r e p e a t w i th PR the n RD, DG, GN, e tc., thr ou g h the ci r cl e of f i f ths .
3 ) p a i r s of note s , by f ou r ths :
SmSmSmSmSmSP
r e p e a t w i th mN, the n NG, GD, DR, e tc., thr ou g h the ci r cl e of f ou r ths .
4 ) tr i a d s :
SGPSGPSGPSPGSPGSPGS
r e p e a t w i th RmD, the n GPN, mDS, e tc.
5 ) p e r f e ct f i f ths :
S P R D G N M r d g n m S e tc.
start on r, then on R, etc.

6 ) m i nor thi r d s :

S g M D S g M D S g M D S e tc.
start on rnext time, etc.

7 ) Can also go by perfect fourths, major thirds, tritones,

w hole tones, etc , ending w ith half-steps the chromatic scale.

2. 4

Ch a p t e r 2 : e x e r c i s e s

Mind
slides from one note to another:
These slide exercises should be done w ith attention to evenness & accuracy of pitch.

1)

SRRS RGGR GmmG e tc.

2)

SRGGRS RGmmGR GmPPmG e tc.

3)

SRGmmGRS RGmPPmGR e tc.

4)

SRSRG RGRGm GmGmP e tc.

5)

SGR RmG GPm e tc.

6)

SGRm RmGP GPmD e tc.

7)

SRSG RGRm GmGP e tc.

8)

SRS RGRGmGmPm e tc.

9)

SRGmPDNSSNDPmGRS

9 12: p l a y a s m u r cchha na

SRGmPDNSSNDPmGRS
SRGmPDNSSNDPmGRS
SRGmPDNSSNDPmGRS e tc.
10 )

SRGmPDNSSNDPmGRS

11 )

SRGmPDNSSNDPmGRS

12 )

S R Gm P D N S S N D P mG R S

m G

2.5

Ch a p t e r 2 : e x e r c i s e s

Murcchhana
up & downone octave
This exercise starts w ith a simple idea: go up and dow n one octave of a scale, then
do it again, starting on each of the notes of the scale, in sequence - i.e.:

SRGmPDNSSNDPmGRSRGmPDNSRRSNDPmGRGmPDNSRGGRSNDPmG e tc.

+
S
+

an important exercise: 'Murcchana in three speeds

i.e. single, double, quadruple:

R G m P

D N

S R G m P D N S S N D P mG R S

+
SRGmPDNSSNDPmGRS

+
4X

m G

2X

s a m e t h i n g , s t a r t i n g o n R, t h e n G e t c .

'Half murcchhana':

SRGmPDNSRGmPDNSRGmPDNSRGGRSNDPmGRSNDPmGRSNDPmGRS e tc.
other 'broken' murcchhana variations:

SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR
SRGmPDNSNDPmGR

SRGmPDNS SNDPmGRS
SRGmPDSN SNDPmGSR
SRGmPSND SNDPmSRG
SRGmSNDP SNDPSRGm
SRGSNDPm SNDSRGmP
SRSNDPmG SNSRGmPD
SSNDPmGR SSRGmPDN
SNDPmGRS SRGmPDNS

same thing, starting on R, then Getc.

same thing, starting on R, then Getc.

2. 6

Ch a p t e r 2 : e x e r c i s e s

Expanding Exercises
growing and shrinking
1)

SSRSSRGRSSRGmGRS e tc. SSNSSNDNS e tc.

2)

SSRSSRGRSSRGmGRS e tc.

3)

SRSRGRSRGmGRSRGmPmGR e tc.

4)

(SRSN)4x(SRGRSN)4x (SRGRSNDN)4x (SRGmGRSNDN)4x e tc.

each time, add a note above, then a note below .

5)

SRSRGSRGmSRGmP e tc.

6)

RSGRSmGRSPmGRS e tc.

7)

SRSGSmSP e tc.

8)

SNSRSNSGSNSmSNSP e tc.

9)

SNSSNSSNSRSRSNSGRGSNSmGm e tc.

10)

SNSNSNSNSSRSSNSRGRSNSGmG e tc.

11)

SRSRSGRGSmGmSPmP e tc.

12)

SRSNRGSNGmSNmPSNDNSN e tc.

13)

SRGSNDRGmSNDGmPSNDmPDSNDPDNSND
DNSGRSPDNGRSmPDGRSGmPGRSRGmGRS

2.7

Ch a p t e r 2 : e x e r c i s e s

Paltas
small patterns, replicated on each note:
1 ) RS'GR'mG'Pm'DP' e tc.
2 ) SRS'RGR'GmG' e tc.
3 ) RSR'GRG'mGm' e tc.
4 ) SRG'RGm'GmP' e tc.
5 ) SRSR'RGRG'GmGm' e tc.
6 ) SRSRS'RGRGR'GmGmG' e tc.
7 ) SRGRS'RGmGR'GmPmG' e tc.

SRG'RGm'GmPe tc.
SGR'RmG'GPme tc.
RGS'GmR'mPGe tc.
RSG'GRm'mGPe tc.
GSR'mRG'PGme tc.
GRS'mGR'PmGe tc.
by permutation,
many can be made from one.

8 ) SRGmG'RGmPm'GmPDP' e tc.

SRGm,RGmP,GmPDe tc.
SRmG,RGPm,GmDPe tc.
SGmR,RmPG,GPDme tc.
9 ) SRGm'RGmP'GmPD' e tc.
SGRm,RmGP,GPmDe tc.
10 ) SRGmP'RGmPD'GmPDN' e tc.
SmRG,RPGm,GDmPe tc.
SmGR,RPmG,GDPme tc.
11 ) SRGmPD'RGmPDN'GmPDNS' e tc.
12 ) SRGmPDN'RGmPDNS'GmPDNSR' e tc.
13 ) SR'SRG,RG'RGm,Gm'GmP, e tc.
14 ) SRS'GRS,RGR'mGR,GmG'PmG, e tc.
15 ) SRS'GRS'RGmGRS,RGR'mGR'GmPmGR, e tc.
16 ) SRG'GRS'RGRS'RSGRS, RGm'mGR'GmGR'GRmGR, e tc.
17 )
2. 8

Ch a p t e r 2 : e x e r c i s e s

Paltas 2
small patterns, replicated on each note:
17 ) SRSRGSRGm, RGRGmRGmP, e tc.
18 ) SRGRSRGm, RGmGRGmP, e tc.
19 ) SRGRSRGmP, RGmGRGmPD, e tc.
20 ) SRGRGmGRS,RGmGmPmGR, e tc.
21 ) SRGRGmGmPmGRS, RGmGmPmPD'PmGR, e tc.
22 ) SRGRGmGmPmPDPDNS, e tc.
23 ) SNRS,RSGR,GRmG, e tc.
24 ) SNRSNS,RSGRSR,GRmGRG, e tc.
25 ) SG,Rm,GP,mD, e tc.
26 ) Sm,RP,GD,mN, e tc.
27 ) SP,RD,GN,mS, e tc.
28 ) SD,RN,GS,mR, e tc.
29 ) SGm,RmP,GPD,e tc.
30 ) SRm,RGP,GmD, e tc.
31 ) SGP,RmD,GPN, e tc.
32 ) SGmP,RmPD,GPDN, e tc.
33 ) SGmD,RmPN,GPDS, e tc.
2.9

Ch a p t e r 2 : e x e r c i s e s

Krintan/Gamak
methods of producing more than one note per stroke:
1)

S RRGRG R S R G GmGm G R G m mPmP m G e tc.

all

2)

SRRGRGRRGRGRRGRGRSRGGmGmGGmGmGGmGmGRetc.

3)

SRRGRGRGRGRGRGRGRGRSRGGmGmGmGmGmGmGmGmGRetc.

4)

SRRGRGRRmGmGRGRGRSRGGmGmGGPmPmGmGmGRetc.

5)

SR RG Gm mP e tc.

hammer

all

6)

RS GR mG Pm e tc.

cut

7)

SRS RGR GmG mPm e tc.

hammer+cut

8)

RSR GRG mGm PmP e tc.

cut+hammer

9)

GRS mGR PmG DPm e tc.

cut+slip

10 )

GRSR mGRG PmGm DPmPe tc.

cut+slip+hammer

11 )

RSGRSRGRmGRGmGPmGmPmDPmPetc. cut,hammer,cut,slip,hammer

12 )

GRSSRmGRRGPmGGme tc.

13 )

SGRSSRRmGRRGGPmGGm e tc.

2. 10

Ch a p t e r 2 : e x e r c i s e s

SNRSNS
variations on a pattern:
1)

SNRSNSPMDPMPSNRSNSPMDPMP

2)

SNRRSNSSPMDDPMPPSNRRSNSSPMDDPMPP

3)

SNRSNSPMDPMPSNRSNSPMDPMP
SNRSNSPMDPMPSNRSNSPMDPMP
SNRSNSPMDPMPSNRSNSPMDPMP
SNRSNSPMDPMPSNRSNSPMDPMP
SNRSNSPMDPMPSNRSNSPMDPMP
SNRSNSPMDPMPSNRSNSPMDPMP

4)

Variations:
add: PMDPMP
add a leading note: PSNRSNS

RPMDPMP

add a trailing note: SNRSNSN

PMDPMPM

change the
rhythm:

SNRSNS PMDPMP
2 . 11

Ch a p t e r 2 : e x e r c i s e s

Two-hand Exercises
for improving coordination & cross-picking
1)

SRSRSRSR,RGRGRGRGe t c .

2)

SRSRSR,RGRGRG ...e t c .

3)

SRSRSRSR,RGRGRGRG ...e t c .

4)

SRSRSRSRSRSRSRSR,RGRGRGRGRGRGRGRG ...e t c .

5)

(SR)4x (SRG)4x (SRGm)4x(SRGmP)4xe t c .

(SN)4x (SND)4x (SNDP)4x (SNDPm)4xe t c .

6)

(SRG)4x(RGS)4x(GSR)4x(GRS)4x(RSG)4x(SGR)4x
(RGM)4x ...e t c .

7)

(SRGR)4x(RGRS)4x(GRSR)4x(RSRG)4x
(RGmR)4x...e t c .

8 ) (SRGm)4x(SRmG)4X(SGmR)4X (SGRm)4X(SmRG)4X(SmGR)4X
(RGmS)4x ...e t c . 2 4 p a t t e r n s p o s s i b l e f o r e a c h s e t o f f o u r n o t e s
2. 12

Ch a p t e r 2 : e x e r c i s e s

Bols 1
the basic strokes
1)

da

S tr on g s tr ok e u s e d to be g i n m os t p a tte r n s .
Th e d e f a u l t s tr ok e .

2)

ra

We a k e r s t r o k e , r a m a y h a v e m o r e s u s t a i n
tha n da .

3)

chic

S tr ok e on th e ch i ca r i s tr i n g s , i t ca n be
e i th e r a q u i e t 's p a ce r ' be tw e e n n ote s or a n
i m p or ta n t r h y th m i c e l e m e n t.

4)

diri

A l th ou g h i t i s com p r i s e d of a l te r n a ti n g d a
a n d r a s tr ok e s , a di r i i s u s u a l l y con s i d e r e d
a s ing le e v e nt.

5)

da-r

Th e tw o s tr ok e s of da - r a r e a l s o of te n be s t
con s i d e r e d a s i n g l e e v e n t. Note th a t a d ot
is u s e d to ind ica te a g a p .

6)

dra

7)

rda

8)

drda

9)

rdra

6,7,8,9 a r e 'fla m s ' a nd a r e r a r e ly

f ou n d i n com p os i ti on s .

2.13

Ch a p t e r 2 : e x e r c i s e s

Bols 2
basic parrerns and variations
dadiri,same as:

1)

dirida,same as:

2)

da da da ra
da da ra da

dadara
darada

th e s a m e bol s , bu t w i th a
d i f f e r e n t r e l a ti on to th e
n ote a n d be a t.

da ra da da
ra da da da

3)

da da da
da da da

th e s a m e bol s , bu t w i th a
d i f f e r e n t r e l a ti on to th e
n ote a n d be a t.

da da da
da da da

4)

da dara
da rara
da rada
ra dada

2. 14

th e s a m e r h y th m , bu t p r od u ce d
w i th d i f f e r e n t bol s

Ch a p t e r 2 : e x e r c i s e s

Bols 3
more patterns and variations
4)

dadiridara
dadiridiridara
dadirdirdirdara
dadiridara
da drdara

5)

da ra diri diri
diri diri da ra

6)

dadiridiridiri

same as:

darardiridiri
diridadiridiri

same as:

daradadiridiri

diridarardiri
diridiridadiri
diridiridarar
diridiridirida
rdiridiridiri

2.15

Ch a p t e r 2 : e x e r c i s e s

Bols 4
patterns and variations
7)

da-r da-r da
da-rda-rdiri
daradada-rdiri
dardaradadiri
dadardiri
da darada diri
daradadaradadiri
darada darada

8)

da-rda-rda-rda-rda da

333322

da-rda-rda-rda-r dir dir

i
i
darada da-r daradada-rdir dir
i
i

333322

dadaradadadaradadir dir
i
i

333322

333322

daradadaradadaradadaradadiridiri 333322
daradadiridaradadiridaradadarada 323233

2. 16

diri daradadiridaradadiridiridiri

2323222

daradadiri diridaradadiridiridiri

3223222

Ch a p t e r 2 : e x e r c i s e s

Bols 5
lari and variations
1)

play, on each note, 16 diris, then 15, then 14, etc.,

dow n to 1, then 1/ 2

2)

4 diris on each note, w ith the accent on the 1,

then 2, then 3, then 4, then 2 and 4, etc.
1 diri on each note, accenting every 4th diri, then every
3rd, every odd-numbered one, every even-numbered one.

3)

4)

1 diri on each note, accenting every 5th diri, then

every 7th, etc.

5)

1 1/ 2 diri on each note,i.e. DaradaRadara

2 1/2diri oneachnote 'DaradaradaRadaradara'

6)

7)

8)

play 4 diris relaxed, then 6 tight,

in the same space.

alternate diris w ith other bols,

notice w hich kind of diri goes
w ith w hich bol.

play diri w ith the raaccented

i.e. diRidiRi

2.17

Ch a p t e r 2 : e x e r c i s e s

Jhala 1
patterns and variations
1)

chik diri diri diri

lari jhala

2)

chik da da da

tok jhala

chik da da ra
chik da ra da

da chik chik chik

3)

sidda jhala

ra chik chik chik

4)

da ra chik chik

sarod jhala

da ra chik ra
chik ra da ra

5)

good exercise play on each note:

4x

4x

4x

4x

2x

This sequence of transformations can be applied to other jhala patterns.

2. 18

Ch a p t e r 2 : e x e r c i s e s

Jhala 2
transformations of da chik chik chik
1)

4 4 4 4

2)

22224 4

3)

224 224

4)

332 332

5)

33334

6)

23 23 33

7)

23 23 222

8)

322223

9)

322 3222

10 )

off be a t

4 4 4 4
off be a t

11 )

222244
off be a t

12 )

33334

13 )

6 6 4

14 )

5 5 6

15 )

5 5 3 3
These type of transformations can be applied to other jhala patterns.
2.19

Ch a p t e r 2 : e x e r c i s e s

Jhala 3
variations of sarod jhala
1)

darachikrachikradara

2)

chikradaradarachikra

3)

chikrachikradaradara

4)

darachikrachikrachikra

5)

(darachikrachikra)2xdarachikra

6)

(darachik)4x darachikra

7)

darachikrachikdara

8)

darachikrachikrara

9)

darachikdaradiri

10 )

(darachikdara)2xdarachikra
(darachikdara)5xdiri

11 )
12 )

chikdaradarachikra

13 )

chikdarachikradara

14 )

chikdarachikdara

15 )

chikdarachikdara

16 )

(dachik)10xdiri

17 )

(chikra)10xdiri

2. 20