Rhythm in Indian Classical music: 1- free (anibaddh), 2- metric (nibaddh)

Metric cycle: tal (tala in Sanskrit)

Rhythms come from speech patterns: short (count of 1) and long (count of 2)

Ya-ma-ta-ra-ja-bha-na-sa-la-gam (mnemonic aiding the memorization of Sanskrit poetry meters)

Tala: Tintal is the most common tala today. Cycle of four groups of four beats: clap-clap-wave-clap

Waves are called khali (empty)

Tintal: dha-dhin-dhin-dha dha-dhin-dhin-dha dha-tin-tin-ta ta-dhin-dhin-dha

T sounds: right hand on tabla. Dh sounds: both hands simultaneously

Signature pattern of drum syllables is called theka. List of Thekas on p.43

All Hindustani musicians know the rhythmic patterns well, whether or not they play the tabla
Counting exercises: ginti. Examples: page 44-45

Tabla (right hand drum) Baya (left hand drum)

Tabla gained prominence in 18th century Delhi.

Two reasons for success of Tabla: 1- it can imitate other drums, 2- it can show the contrast between
open and closed sounds of the bass drum

Kayda (Qayda: rule, law): theme and variations genre of composition in which the given composition is
put through a series of permutations.

When a rhythmic or melodic phrase is repeated three times it’s called a Tihai. (usually a concluding
figure, but sometimes independent)

Chakradar: composition ending in a tihai that is itself played three times: hence the tihai porition is
heard 9 times.

Tipalli gat composition: a drum composition in which three identical parts are recited at three different
speeds: duple-triple-fast duple. First section in twos, second in threes, last in fours.

Dholak (regional dhol): double-ended drum with a lilting bass sound. In the Punjab, the player hangs it
around the neck.

Pakhawaj: classical drum associated with the dhrupad tradition, right hand treble, left hand lower.

Pakhawaj bequeathed a huge repertory to the Tabla (the most common instrument in the last hundred
years)
Week 7 and 8 reverse

Analytical assignment will be due on week 8

Next Thursday: two major readings: Avaz reading for Siavash

Raga music: often used for classical music

Rags for different seasons, times of the day

By studying raga one can learn about class, casts, domains, how it’s used by tribal people, etc.

If one had to choose one parameter for Indian music, it would be Raga.

It’s very difficult to define Raga.

Raga may be different things.

The main schemes of raga where established in the 16th and 17th century.

It’s not a tune, nor a modal scale, rather a continuum of scales.

Asthayi : descending

Antara: ascending