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Ganesh Anandan
u t t a k l o S
Bodhran r o f s e u iq chn mming te u r d n ia d South-In
A N I N T E N S I V E S I X- M O N T H CO U R S E F O R B E G I N N E R S · D V D I N C L U D E D ( N T S C / PA L )
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Solkattu South-Indian drumming techniques for Bodhran
NTSC / PAL NOV. 2004 · © SOCAN
AN INTENSIVE S I X- M O N T H COURSE FOR BEGINNERS
www.fingerworks.org
Ganesh Anandan
Solkattu South-Indian drumming techniques for Bodhran
A N I N T E N S I V E S I X- M O N T H C O U R S E F O R B E G I N N E R S
·
© SOCAN, Canada, Nov. 29, 2004
D V D I N C L U D E D ( N T S C / PA L )
Table of Contents
Chapter 1 · General information . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
Chapter 2 · Basic strokes & general exercises . . . . . . . . . . . . . . . . .
5
Chapter 3 · Eight syllable Solkattu . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Chapter 4 · Mukthyam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
Chapter 5 · Theka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
Chapter 6 · Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Chapter 7 · Permutations using a snapping technique . . . . . . . . . . .
61
Chapter 8 · Rhythmic combinations . . . . . . . . . . . . . . . . . . . . . . . . .
64
Chapter 9 · Mora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
69
Chapter 10 · Arudhi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
72
Chapter 11 · General knowledge . . . . . . . . . . . . . . . . . . . . . . . . . .
74
The 35 talas in Karnatic music (chart) . . . . . . . . . . . . . . . . . . . . . . .
76
Author’s note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
79
Copyright and related matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
Chapter 1 General information Solkattu Solkattu are South Indian rhythmic phrases constructed with a variety of phonetic syllables that were developed to resemble the sounds produced on the drum. Each of the Solkattu phrases contain melodic, timbral and technical information that is reveiled through regular practice and over an extended period of time. A student first learns the solkattu phrase vocally together with the tala and then plays it on the drum. The term Solkattu in tamil signifies Sol - syllable, kattu - a bunch or a group of. These phrases are sometimes casually refered to as ‘Solkat’ or ‘Solu’. Konogol In traditional karnatic music the vocal recitation of percussion composition and improvisation is known as Konogol. This has been developed to a great extent and is an artform in itself. For a percussionist, the vocalisation of rhythms or Konogol is an intergral part of learning the instrument and the rhythms simultaneously. It is a precise percussion vocabulary that greatly helps the development of the artist and is highly recommended. In this book, all the percussion material is communicated by the use of Konogol or mnemonic syllables. To help the western musician some of the material is transposed to staff notation however emphasis is put on the oral method. Karnatic terms There are many technical and specific terms in karnatic music relating to traditional instruments, concepts and rhythms that are intentionally left out in this book. Instead, the emphasis is put on practical information directly relating to the transposed two handed drumming technique in relation to ten Solkattus, five Mukthyams, five Thekas, two Moras and three Arudhis. There are a number of other solkattu phrases and different forms of rhythmic development that are not included in this beginner book. Tala A Tala is a recurring series of beats often sub-divided into smaller units. Each tala or time cycle has its own structure and its own set of finger counts, claps and waves to show that structure. There are three elements in this structure namely Laghu, Drutham and Anudrutham, each of them have their own symbol to show that structure. The Laghu is notated as | and has 5 types of beats namely 3 beats, 4 beats, 5 beats, 7 beats and 9 beats. When there is a Laghu in a tala structure, each Laghu in that structure will have the same value of beats.The Laghu is counted as a clap followed by a specific amount finger counts depending on the tala. The Drutham is notated as O and is always a 2 beat value. It is counted as a clap and a wave. The Anudrutham is notated as U and is always a 1 beat value. It is counted as one clap.
1
Counting Tala In this book we are dealing with Adhi tala which is a time cycle of 8 beats sub-divided into 4+2+2. This tala is a chatusra jati or a four beat variety derived from the Triputa tala family notated as | O O or Laghu + Drutham + Drutham or 4+2+2 (see 35 tala chart). Every tala has a specific method of counting its structure by using fingers, claps and hand waves. To count Adhi tala the following method is used : The first beat is a clap (I use the right hand on top of the left hand) the second beat is the little finger of the right hand the third beat is the ring finger of the right hand the fourth beat is the middle finger of the right hand the fifth beat is a clap the sixth beat is a wave of the hand the seventh beat is another clap the eighth beat is a final wave of the hand Hand cymbal for Adhi tala In the context of dance or temple music, a small hand cymbal may be played to keep the tala. The Adhi tala structure would be played like this: The first beat is an open stroke leaving the cymbal to ring The second beat is a muffled stroke The third beat is a muffled stroke The fourth beat is a muffled stroke The fifth beat is an open stroke leaving the cymbal to ring The sixth beat is a muffled stroke The seventh beat is an open stroke leaving the cymbal to ring The eighth beat is a a muffled stroke Kalam or speed We are dealing with 4 kalams or 4 speeds in this book. The metronome is positioned at approximately 40 to 50 bpm and is equal to a quarter note value. The first speed is Vilamba kalam or slow speed which is equal to a quarter note value. The second speed is Madhyama kalam or medium speed which is equal to an eighth note value. The third speed is Drutha kalam or fast speed which is equal to a sixteenth note value. The fourth speed is Ati-drutha kalam or very fast speed which is equal to a thirty-second note value. Transposed techniques I have done two sets of transpositions to the Bodhran. The first is the Karnatic solkattu phrases with their technical, timbral and melodic information. The second is a snapping technique derived from the Persian style of drumming. The snapping stroke sometimes replaces a karnatic stroke within a solkattu phrase which has added a different timbre and colour to the solkattu. Both of the techniques compliment one another and fit the Bodhran perfectly.
2
Bodhran or large frame drum The original bodhran is an Irish frame drum about 16 inches in diameter with a goat or natural skin. It is played with a stick or a tipper. In our case, the bodhran or frame drum is sixteen inches and above. It is made with a synthetic skin and is played with a multitude of hand techniques. Notation I have developed a written notation where all the karnatic syllables are written in a template showing the syllables at the bottom and the corresponding fingering above. In this notation each silence is written as •. Depending on the speed of a phrase, the written silence therein could be either a quarter, eighth, sixteenth or thirty-second note value. Between each beat is a line notated as | to clearly show the type of solkattu phrasing used therein. Each seperated line also has a circled number above it to show each beat: to for Adhi tala. When playing with a metronome each click should correspond to a circled numbered beat, this helps in recognizing and playing the 4 different kalams or speeds. The western staff notation is used only as an aid to understand the solkattu although it does not convey all the information contained in the solkattu. Finger positions Legend R : right hand L : left hand Th : Thumb L1 : Index
R1 : Index
L2 : Middle
R2 : Middle
L3 : Ring
R3 : Ring
L4 : Little
R4 : Little
3
Strokes and abreviations Each solkattu phrase has its own playing technique, logic, timbral and melodic information. The phrases are first vocalised and then played on precise places on the drum head. Here they are adapted to positions on the Bodhran and notated as follows. R1 (Sweet): This is an open stroke with index finger on the sweet spot. This spot is approximately half your hand length from the edge of the Bodhran. R3, L3, R1E (Edge): An open stroke on the edge of the drum with either fingers R3 or L3 (ring fingers) or with R1 (index finger). R1M (Muffled): A muffled stroke with the index finger on any part of the Bodhran, usually done in combination with the cup stroke as in the phrase Tha - ki ta ki ta tha ka. Sn: A snapping finger stroke on the edge or rim of the drum could be played by all the fingers of the right and left hands. It sometimes replaces a karnatic stroke in the solkattu. cup: In this stroke the middle, ring and little fingers of the right hand are slightly cupped together and notated as cup (R234). This stroke is a muffled one and is often done in combination with the index finger as in the phrase Tha - ki ta ki ta tha ka. Chapu: The center of the palm is slightly cupped and the fingers are straightend out to get a rebounding slap done by the sides and extremity of the fingers. The idea here is to bring out the harmonics and overtones of the drum together with a soft slapping sound. The original strokes on the mrdangam called Chapu and Arai Chapu are unique and difficult to play with clarity and speed.
Open
cup
Chapu
Edge
Snap
R1
R234 R1M
R234
R1E R3 L3
L3 – or L1 L2 L4 R3 – or R 1 R2 R4
4
Chapter 2 Basic strokes & general exercises The playing position For the Bodhran, it is recommended sitting on a chair with your feet firmly placed on the ground. Place the instrument on your left thigh if your right handed. Place your left hand on top of the instrument so that half your palm is on the frame and the other half falls over the edge onto the skin of the instrument. The heel of this hand also puts a little pressure on the instrument so that it doesnt move too much while playing. Angle the instrument so that one edge of the drum is closer to your chest and this permits your playing hand easy access to the drum.
LESSON 1 Basic Strokes The 4 basic syllables are : Tha is a muffled stroke done with the left hand finger 3 (L3) or 2 (L2) or could also be played by both the fingers together. The second syllable is Dhi which is a slightly muffled stroke done near the edge of the drum with the right hand fingers 2, 3 & 4 all cupped together (cup). The third syllable is Thom which is an open rebound stroke or a snap with the left hand finger 3 (L3) or 2 (L2). The fourth syllable is Nam which is an open rebound stroke with the right hand index finger (R1) done near the edge of the drum. Tempo : metronome @ 40 = quarter note bpm L3
cup
sn-L3
R1 E
Tha
Dhi
Thom
Nam
5
The four kalam’s or four speeds are : 1st speed - Each syllable is equal to a quarter note value. L3
cup
Tha
Dhi
sn-L3
R1
Thom
Nam
2nd speed - Each syllable including its silence noted as • is equal to an eighth note value. L3
Tha
cup
•
Dhi
sn-L3
•
Thom
R1
•
Nam
•
Tha
•
Dhi
•
Thom
•
Nam
•
3rd speed - Each syllable is equal to a sixteenth note value. L3
cup
sn-L3
R1
Tha Dhi Thom Nam Tha
Dhi Thom Nam Tha
Dhi Thom Nam Tha
Dhi Thom Nam
4th speed - Each syllable is equal to a thirty second note value. L3 cup sn-L R1
Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam Tha dhi thom nam
6
LESSON 2 The circled numbers to are quarter note beats in Adhi Tala which is sub-divided into 4+2+2 1st speed – quarter note value Tha
Tha
Dhi
Dhi
Thom
Thom
Nam
Nam
•
Thom
•
Nam
•
Nam
•
•
Thom
•
Nam
•
Nam
•
2nd speed - eighth note value Tha Tha
•
•
Tha
Tha
•
Dhi
•
Dhi
•
•
Dhi
Dhi
•
•
Thom
Thom
3rd speed - sixteenth note value Tha Tha Tha Tha
Dhi
Dhi Thom Thom Nam Nam Tha Tha
Dhi
Dhi Thom Thom Nam Nam Tha Tha
Dhi
Dhi Thom Thom Nam Nam
Dhi
Dhi Thom Thom Nam Nam
4th speed - thirty second note value
Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam
Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam Tha tha dhi dhi thom thom nam nam
7
LESSON 3 In this exercise, practice all the phrases one after another in the order given below. Start with a very slow tempo of your choice and go through all the phrases. Then choose a quicker tempo and do them again. Repeat the process doing a faster tempo each time. 1) Tha Dhi Thom Nam 2) Tha Tha, Dhi Dhi, Thom Thom, Nam Nam 3) Tha Tha Tha, Dhi Dhi Dhi, Thom, Thom, Thom, Nam, Nam Nam 4) Tha Tha Tha Tha, Dhi Dhi Dhi Dhi, Thom Thom Thom Thom, Nam Nam Nam Nam 5) Tha Tha Tha Tha Tha, Dhi Dhi Dhi Dhi Dhi, Thom Thom Thom Thom Thom, Nam Nam Nam Nam Nam
LESSON 4 Now the hand is split into two parts namely the index finger and the rest of the fingers that are slightly cupped together. This technique is used in many types of phrases, fast strokes and calculations. Two new syllables are added to the four basic strokes and these are Ki Ta. Ki is a muffled stroke done with the right hand fingers 2, 3 4 slightly cupped together notated as (cup). Ta is a muffled stroke done with the right hand index finger and is notated as (R1). Note: later on these two strokes permutate and will be called different names to suit the character of a given solkattu and to facilitate their respective vocalisations. 1st speed – quarter note value L3
Tha
cup
ki
•
cup
Dhi
R1
ki
•
ta
cup
R1
ki
•
R1
Nam
ta
cup
L3
Thom
R1
ta
cup
ki
•
8
R1
ta
2nd speed - eighth note value Tha
Thom
ki
•
ki
•
•
Dhi
ta
•
Nam
ki
ta Thom
ki
ta Thom
ta
ki
•
ta
•
ki
•
ta
•
ki
ta Nam
•
ki
ta
ki
ta Nam
•
ki
ta
3rd speed - sixteenth note value Tha
•
Tha
•
ki
ta Dhi
ki
ta Dhi
•
•
•
•
4th speed - thirty second note value Tha •
ki
ta Dhi •
ki
ta Dhi •
ki
Tha •
ta Thom •
ki
ta Nam •
ki
ta Nam •
ki
ki
ta Thom •
ta Tha •
ki
ta Dhi •
ki
ta Dhi •
ki
ta Thom •
ki
ta Tha •
ki
ta Nam •
ki
ta
ki
ta Nam •
ki ta
ki
ta Thom •
It is recomended playing the whole lesson backwards starting with Nam • ki ta, Thom • ki ta, Dhi • ki ta, Tha • ki ta
LESSON 5 In this lesson two new syllables are introduced namely Tha Ka. Tha is played the same way as the previous Tha (left hand muffled). The syllable Ka is played like the Dhi stroke (slightly muffled cup). Note: this phrase has six syllables and will not fit the Adhi tala pattern of 8 beats. So for now, it is recommended to start with a slow tempo and play the four phrases. Tha • Ki Ta Tha Ka Dhi • Ki Ta Tha Ka Thom • Ki Ta Tha Ka Nam • Ki Ta Tha Ka. After this, choose a quick tempo and do the same and repeat the process doing a faster tempo each time. Then play the lesson backwards Nam • Ki Ta Tha Ka Thom • Ki Ta Tha Ka, Dhi • Ki Ta Tha Ka Tha • Ki Ta Tha Ka.
9
Chapter 3 Eight syllable Solkattu For the sake of future reference the solkattus made up of eight syllables are numbered 1 to 10. It is recommended vocalising and memorising all the phrases and by doing so one memorises the techniques involved as well. This process also helps in the areas of composition and improvisation.
LESSON 1 We now complete an eight syllable phrase by adding a second Ki Ta in the middle of the phrase which is played exactly in the same way as the previous Ki Ta. Solkattu # 1 L3
Tha
•
cup
R1
cup
R1
ki
ta
ki
ta
L3
cup
tha ka
Tha is a muffled stroke played with the left hand fingers 2 or 3 (L3) or could be played by both fingers together, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a dampened stroke played with the right hand index finger, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a dampened stroke played with the right hand index finger, tha is an open stroke played with the left hand fingers 2 or 3 (L3) or could be played by both fingers together, ka is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup). 1st speed – quarter note value L3
Tha
cup
R1
ta
L3
ki
ki
•
cup
R1
ta
cup
tha
•
ka
•
•
ka
•
ka
2nd speed - eighth note value Tha
Tha
ki
•
ta
•
ki
•
ta
•
ki
•
ta
•
tha
ki
•
ta
•
tha
10
3rd speed - sixteenth note value Tha
ki
•
Tha
ta
ki
ta
tha
ka Tha
tha
ka Tha
ki
•
ta
ki
ta
ki
•
ta
ki
ta
tha
ka
ki
ta
tha
ka
ki
•
ta
4th speed - thirty second note value
Tha •
ki
ta
ki
ta tha ka Tha •
ki
ta
ki
Tha •
ki
ta
ki
ta tha ka Tha •
ki
ta
ki
ta tha ka Tha •
ki
ta
ki
ta tha ka Tha •
ki
ta
ki
ta tha ka
ki
ta
ki
ta tha ka
ta tha ka Tha •
ki
ta
ki
ta tha ka Tha •
LESSON 2 The basic 4 strokes Tha Dhi Thom Nam are now used as the first syllables of the previous solkattu giving rise to 4 permutations namely : Tha • ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Thom • ki ta ki ta tha ka Nam • ki ta ki ta tha ka. In this way a series of extended excercises are developed. 1st speed - quarter note value Tha
ki
Dhi
ki
•
ki tha
ta
•
ki
ta
tha
11
ta
ka
ta ka
Thom
ki
Nam
ki
•
ki
ta
tha
•
ki
ta
tha
ta
ka
ta ka
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Tha • ki ta ki ta tha ka. Then go to the second speed as follows : 2nd speed - eighth note value Tha
Dhi
Thom
Nam
ki
•
ta
ki
•
•
ta
•
tha
•
ka
•
•
ka
•
ki
•
ta
•
ki
•
ta
•
ki
•
ta
•
ki
•
ta
•
tha
ki
•
ta
•
tha
•
ka
•
ki
•
ta
•
tha
•
ka
•
After practicing the exercise as written above, return backwards starting with Nam • ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Tha • ki ta ki ta tha ka Then go to the third speed as follows:
12
3rd speed - sixteenth note value Tha
ki
•
Thom
ta
ki
ta
tha
ka Dhi
tha
ka Nam
ki
•
ta
ki
ta
ki
•
ta
ki
ta
tha
ka
ki
ta
tha
Ka
ki
•
ta
After practicing the exercise as written above return backward starting with Nam • ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Tha • ki ta ki ta tha ka Then go to the fourth speed and do the same process. 4th speed - thirty second note value Tha •
ki
ta
ki
ta tha ka Dhi •
ki
ta
ki
ta tha ka Dhi •
Tha •
ki
ta
ki
ta tha ka Thom • ki
ki
ta
ki
ta tha ka Thom • ki
ta
ki
ta tha ka Num •
ta
ki
ta tha ka Nam •
ki
ta
ki
ta tha Ka
ki
ta
ki
ta tha Ka
After practicing the exercise as written above, play the four phrases consecutively in four speeds and then return backwards like a mirror image.
LESSON 3 Solkattu # 2 R1
L3
cup
L3
cup
R1
Dhi gu
tha
ri
ki
ta
L3
cup
tha ka
This phrase is frequently used and starts with Dhi, a dampened stroke played with the right hand index finger (R1), gu is an open rebound stroke or snap played with the left hand finger #3 (L3), tha is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ri is an open rebound stroke or snap played with the left hand finger #3 (L3), ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a dampened stroke played with the right hand index finger, tha is an open rebound stroke or snap played with the left hand finger #3 (L3), ka is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup).
13
1st speed – quarter note value R1
Dhi
L3
cup
gu
tha
cup
R1
ri
L3
ki
L1
ta
cup
tha
•
tha
•
ka
•
•
tha
•
ka
•
ki
ta
tha
ka
ki
ta
tha
ka
ka
2nd speed – eighth note value Dhi
gu
•
Dhi
gu
•
•
tha
•
tha
ri
•
ki
•
ta
•
ri
•
ki
•
ta
•
3rd speed – sixteenth note value Dhi Dhi
gu
tha
ri
ki
ta
tha
ka Dhi
tha
ka Dhi
gu
tha
ri
ki
ta
gu
tha
ri
gu
tha
ri
4th speed – thirty second note value Dhi gu tha
ri
ki
Dhi gu tha
ta tha ka Dhi gu tha
ri
ki
ri
ki
ta tha ka Dhi gu tha
ta tha ka Dhi gu tha
ri
ki
ri
ki
ta tha ka Dhi gu tha
14
ta tha ka Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha Ka
ri
ki
ta tha ka Dhi gu tha
LESSON 4 Revise all of the previous lessons and when you are ready join the 2 previous phrases using the four basic strokes Tha, Dhi, Thom, Nam and play the extended exercise as follows. 1st speed – quarter note value Tha
ki
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
Dhi
ki
ka
ri
ka
ki
ta
tha
gu
tha
ta
tha
ki
ta
•
Dhi
•
15
ta
ka
ri
ka
Thom
ki
•
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
Nam
ki
ka
ri
ka
ki
ta
tha
gu
tha
ta
tha
ki
ta
•
Dhi
ta
ka
ri
ka
After practicing the exercise as written above, return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to the second speed and proceed the same way.
16
2nd speed - eighth note value Tha
Dhi
tha
ki
•
gu
•
Dhi Dhi
ta
gu
•
ri
•
ki
•
ta
•
tha
•
ri
•
Dhi
tha
•
Nam
gu
•
•
ka
•
•
ka
•
ki
•
ta
•
tha
ki
•
ta
•
tha
•
ka
•
ki
•
ta
•
tha
•
ka
•
•
tha
•
ka
•
•
ka
•
•
ta
ki
•
•
ta
•
ri
•
ki
•
ta
•
tha
•
ri
•
•
•
ki
gu
ta
•
•
•
ki
•
•
Thom
Dhi
•
tha
ki
•
ta
•
tha
ki
•
ta
•
tha
•
ka
•
ki
•
ta
•
tha
•
ka
•
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to third speed and proceed the same way.
17
3rd speed - sixteenth note value Tha
ki
•
Dhi
ta
ki
ta
tha
ka Dhi
tha
ka Dhi
ka Dhi
ki
•
Thom •
ki
ta
R1
Nam
ta
ki
ta
ki
ta
tha
cup
R1
cup
R1
L3
ki
ta
ki
ta
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
gu
tha
ri
gu
tha
ri
cup
•
tha
ka Dhi
gu
tha
ri
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to the fourth speed and proceed the same way. 4th speed - thirty second note value Tha •
ki
ta
ki
Thom • ki
ta tha ka Dhi gu tha
ri
ki
ta
ki
ta tha ka Dhi gu tha
ta tha ka
Dhi •
ki
ta
ki
ri
ki
ta tha ka Nam •
ta tha ka Dhi gu tha
ri
ki
ta tha ka
ki
ta
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka
After practicing the exercise as written above, play the phrases in reverse order starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka. After going through all the four speeds seperately as mentioned above, play the two phrases consecutively in all four speeds forward and backwards.
18
LESSON 5 Solkattu # 3 L3
chapu
Tha lan
•
L3
cup
R1
L3
cup
gu
tha
ri
ki
ta
Tha is a muffled stroke played with the left hand fingers 2 or 3 (L3), and could also be played by both fingers together, lan is traditionally called a chapu stroke and is played with fingers 2, 3 & 4 (chapu) slightly cupped together and straightened out so the extremities of the fingers and the bottom side of the hand does a slap on the skin bringing out the harmonics and overtones, the slap with its overtones are equal in volume, gu is an open rebound stroke or a snap played with the left hand finger #3 (L3), tha is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ri is a dampened stroke played with the right hand index finger (R1), ki is an open rebound stroke or snap played with the left hand finger #3 (L3), ta is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup). 1st speed – quarter note value Tha
lan
tha
gu
•
ri
ki
ta
2nd speed – eighth note value Tha Tha
•
lan
•
•
•
•
tha
gu
•
tha
ki
ta Tha
ki
ta Tha
gu
•
lan
•
•
•
•
ri
•
ki
•
ta
•
•
ri
•
ki
•
ta
•
•
gu tha
ri
ki
ta
•
gu tha
ri
ki
ta
3rd speed – sixteenth note value Tha Tha
lan
lan
•
gu tha
•
gu tha
ri
ri
19
lan
lan
4th speed - thirty second note value
Tha lan • gu tha
ri
ki
ta Tha lan
•
gu tha
ri
ki
Tha lan
•
gu tha
ri
ki
Ta Tha lan
•
gu tha
ri
ki
ta Tha lan
•
gu tha
ri
ki
ta Tha lan
•
gu tha
ri
ki
ta
•
gu tha
ri
ki ta
Ta Tha lan
•
gu tha
ri
ki
ta Tha lan
LESSON 6 The next extended exercise gets a little longer with the joining of the new and the old phrases together. Using the four basic strokes Tha, Dhi, Thom, Nam add the 3 previous phrases and another Dhi gu tha ri ki ta tha ka to make a full Adhi tala as follows: Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka
1st speed – quarter note value Tha
ki
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
•
Tha
lan
tha
ri
ta
ka
ri
ka
gu
• ki
20
ta
Dhi
gu
tha
ta
tha
ki
Dhi
ki
ki
ta
tha
gu
tha
ta
tha
ki
Tha
lan
tha
Dhi
ta
ka
ri
ka
gu
•
ri
ki
tha
gu
tha
ta
ki
ka
•
Dhi
ri
21
ta
ri
ka
Thom
ki
•
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
Tha
lan
tha
Dhi
ta
ka
ri
ka
gu
•
ri
ki
gu
tha
ta
tha
ki
22
ta
ri
ka
Nam
ki
•
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
Tha
lan
tha
Dhi
ta
ka
ri
ka
gu
•
ri
ki
gu
tha
ta
tha
ki
ta
ri
ka
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Then go to the second speed and proceed the same way.
23
2nd speed - eighth note value Tha
Dhi
tha
ki
•
gu
•
Dhi Dhi
Tha Dhi
Tha Dhi
•
ta
•
gu
•
•
lan
gu
•
gu
•
•
lan
gu
•
•
•
ka
•
•
ka
•
•
ta
•
ki
•
ta
•
tha
•
ka
•
•
ki
•
ta
•
tha
•
ka
•
•
tha
•
ki
•
ta
•
tha
•
ri
• tha
•
gu
•
ri
•
ki
•
ta
•
•
ka
•
ki
•
ta
•
tha
ki
•
ta
•
tha
•
ka
•
•
ki
•
ta
•
tha
•
ka
•
•
tha
•
ri
•
ki
•
ta
•
tha
•
ri
•
•
ki
ri
•
ta
tha
•
•
•
tha
•
ki
•
Thom Dhi
• tha
•
gu
•
ri
•
ki
•
ta
•
•
tha
•
ka
•
•
ri
•
ki
24
•
ta
Nam
Dhi
tha
Tha Dhi
ki
•
gu
•
•
ta
•
lan
gu
•
•
• tha
•
ta
•
•
ka
•
•
tha
•
ka
•
•
ri
•
ki
•
tha
•
ki
•
tha
•
gu
•
ta
•
ri
•
ki
•
ta
•
•
tha
•
ka
•
•
ri
ki
•
•
ta
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Then go to the third speed and proceed the same way.
25
3rd speed – sixteenth note value Tha Tha
•
lan
ki
ta
•
gu tha
ki
ta
ri
tha
ka Dhi
ki
ta Dhi
tha
ka Dhi
ki
ta Dhi
tha
ka Dhi
ki
ta Dhi
tha
ka Dhi
ki
ta Dhi
Dhi
Tha
•
ki
ta
lan
•
gu tha
Thom •
ki
ta
ri
ki
ta
ki
•
gu tha
Tha
lan
Nam
•
ki
ta
Tha
lan
•
gu tha
ta
ri
ki
ta
ri
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
gu
tha
ri
gu
tha
ri
gu
tha
ri
gu
tha
ri
gu
tha
ri
gu
tha
ri
gu
tha
ri
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Then go to the fourth speed and proceed the same way.
26
4th speed - thirty second note value Tha •
ki
ta
ki
Dhi •
ri
ki
ki
ta
ki
ta tha ka Dhi gu tha
ki
ta
ki
ta tha ka Dhi gu tha
ri
ki
ta
ki
ta tha ka Dhi gu tha
gu tha
ri
ki
ta tha ka Tha lan
ri
ki
ta tha ka Tha lan
•
gu tha
ri
ki
ki
ta tha ka Tha lan
ri
ki
ta tha ka
ta Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
•
gu tha
ri
ki
ri
ta Dhi gu tha
ki
ta tha ka Tha lan
•
Thom •
Nam •
ta tha ka Dhi gu tha
ta Dhi gu tha
•
gu tha
ri
ki
ta Dhi gu tha
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka After practicing the exercise as written above, play the four speeds consecutively and then return backwards like a mirror image.
27
LESSON 7 Exercises & rhythmic combinations The four syllables Tha, Dhi, Thom, Nam are used together with 3 solkattus to create rhythmic combinations and are used as short endings or fills. L3
cup
Tha
•
L3
chapu
Tha
lan
•
* L3
Tha
•
cup
Dhi
•
L3
chapu
Tha
Dhi
R1
L3
ki
•
lan
•
•
cup
ki
ta
tha
L3
cup
R1
L3
cup
ri
ki
ta Dhi
cup
L3
gu tha
cup
R1
ki
ta tha
ka
Tha
•
cup
R1
cup
R1
cup
ki
ta
tha
ri
ki
ta
cup
R1
cup
R1
L3
cup
ki
•
R1
ka Dhi
ta
L3
L3
cup
ki
cup
cup
ki
tha
ka
gu
tha
ri
ki
ta
tha
ka
R1
L3
cup
L3
cup
R1
cup
ri
ki
ta
ki
ta
tha
ka
cup
R1
L3
cup
ki
ta
tha
ka
cup
gu
tha
ki
ta Dhi
_____________ * Please note: This is a new combination.
28
ri
gu
tha
ri
ki
ta
tha
ka
R1
L3
cup
L3
cup
R1
cup
ri
ki
ta
ta
tha
ka
ri
ta
L3
ri
•
ki
cup
ta Dhi
Dhi
ri
L3
R1
ka Dhi cup
ki
tha
ri
L3
ta tha
gu
tha
R1
ka
cup
gu
cup
ki
L3
Dhi
L3
L3
R1
tha
tha
ta tha
cup
ta
ta
R1
L3
ki
ki
cup
cup
ka tha
ta
gu tha
L3
cup
Dhi
cup
L3
Tha
R1
ta
tha
ka tha
gu
tha
ri
ki
L3
cup
Thom • L3
Tha
L3
Thom • Thom
•
R3
Nam
•
L3
chapu
Tha
lan
•
R3
Nam
R1
L3
ki
•
ta
tha
L3
cup
R1
L3
cup
ri
ki
ta Dhi
cup
L3
gu tha
R1
ki
ta tha
ki
ta tha
ri
cup
R1
R1
•
•
R1
ka Dhi
ki
cup
ki
cup
ta
L3
cup
cup
ka
Thom
ki
•
R1
L3
cup
gu
tha
ri
ki
ta
tha
ka
gu
tha
ri
ki
ta
tha
ka
R1
L3
cup
L3
cup
R1
cup
ri
ki
ta
ta
tha
ka tha
tha
ri
ki
ta
tha
ka
L3
cup
L3
cup
L3
cup
R1
L3
cup
ki
ta
tha
ka
R1
ka Dhi
tha
L3
cup
R1
L3
cup
ri
ki
ta Dhi
cup
R3
cup
R1
ki
ta tha
cup
ka
Nam
•
cup
R1
cup
R1
cup
ki
ta tha
ki
ta Dhi
gu
tha
ki
29
ri
gu
tha
ri
ki
ta
tha
ka
R1
L3
cup
L3
cup
R1
cup
ri
ki
ta
ta
tha
ka
ri
cup
gu
ta
L3
L3
ki
ki
L3
cup
ta Dhi
ta
gu tha
L3
R3
Nam
cup
chapu
lan
R1
ta
tha
ka tha
gu
tha
ri
ki
LESSON 8 Solkattu # 4 R1
Ta
sn-L3
•
thom
•
cup
R1
L3
cup
ki
ta
tha
ka
Ta is a muffled stroke played with the right hand index finger (R1) on the edge of the drum or it could also be an open stroke, thom is an open rebound stroke or snap played with the left hand finger 3 or 2 (L3), ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a muffled stroke played with the right hand index finger, tha is an open rebound stroke played with the left hand finger 2 or 3 (L3), ka is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup). Practice the above solkattu individually in all four speeds and then proceed to the next extended exercise of joining all the phrases. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka
1st speed – quarter note value Tha
ki
•
ki
ta
tha
gu
tha
ta
tha
Dhi
ki
30
ta
ka
ri
ka
Tha
lan
tha
Dhi
gu
tha
ta
tha
thom
•
ta
tha
•
thom
ta
tha
thom
•
ta
tha
ki
Ta
ki
Ta
ki
ki
Ta
gu
•
ri
ki
31
ta
ri
ka
•
ka
•
ka
•
ka
Dhi
gu
tha
ta
tha
ki
Dhi
ki
ki
ta
tha
gu
tha
ta
tha
ki
Tha
lan
tha
Dhi
ta
ka
ri
ka
gu
•
ri
ki
gu
tha
ta
tha
ki
ka
•
Dhi
ri
32
ta
ri
ka
Ta
•
thom
ta
tha
thom
•
ta
tha
•
thom
ta
tha
gu
tha
ta
tha
ki
Ta
ki
Ta
ki
Dhi
ki
Thom
ki
•
ki
ta
tha
33
•
ka
•
ka
•
ka
ri
ka
ta ka
Dhi
gu
tha
ta
tha
ki
Tha
lan
tha
Dhi
gu
ta
tha
thom
•
ta
tha
•
thom
ta
tha
Ta
ki
tha
ki
gu
•
ki
Ta
ka
ri
ki
ri
34
ta
ri
ka
•
ka
•
ka
Ta
•
thom
ta
tha
gu
tha
ta
tha
ki
Dhi
ki
Nam
ki
ri
ka
ki
ta
tha
gu
tha
ta
tha
ki
ka
•
Dhi
•
Tha
lan
tha
ri
ta
ka
ri
ka
gu
• ki
35
ta
Dhi
gu
tha
ta
tha
thom
•
ta
tha
•
thom
ta
tha
thom
•
ta
tha
gu
tha
ta
tha
ki
Ta
ki
Ta
ki
Ta
ki
Dhi
ki
36
ri
ka
•
ka
•
ka
•
ka
ri
ka
After practicing the exercise as written above return backwards starting with Num • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to the second speed and proceed the same way. 2nd speed - eighth note value Tha Dhi
Tha Dhi
Ta Ta
•
ki
gu
tha
•
ta
gu
• tha
•
ta
ri
ki
gu
tha
lan
ki
•
ta
ki
thom
thom
ki
ki
37
tha
•
ka
ka
ri
ki
ta
ta
tha
ka
ta
tha
ka
ta
tha
ka
ri
•
tha
•
Ta Dhi
gu
thom
tha
Dhi
Dhi
tha
Tha Dhi
ri
•
ta
gu
• tha
ki
•
ri
ki
gu
tha
ri
Ta
thom
thom
tha
Dhi
gu
ka
ta
tha
•
ta
tha
•
ka
ka
ki
ta
ta
tha
ka
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ta
tha
ka
ki
ri
•
ri
ki
Ta
ta
tha
thom
Ta
ka
lan
ki
ta
ki
gu
ki
tha
ki
38
•
Thom
Dhi
tha
Tha Dhi
ki
gu
•
ta
gu
ri
ki
•
gu
tha
tha
ri
Ta
thom
thom
tha
Dhi
gu
Nam
Dhi
tha
ki
ki
•
ta
ki
ki
•
ki
39
•
ka
ri
ki
ta
ta
tha
ka
ta
tha
ka
ta
tha
ka
ta
tha
ka
ta
tha
ka
ta
tha
•
ri
ka
ki
ri
•
tha
ki
gu
•
ta
ki
Ta
ta
thom
Ta
•
lan
ki
•
tha
ta
•
tha
•
ka
ka
•
Tha Dhi
lan
gu
• tha
gu
tha
ri
ki
Ta
thom
thom
tha
Ta Dhi
gu
ki
ta
ta
tha
ka
ta
tha
ka
ta
tha
ka
ta
tha
ka
ta
tha
ka
thom
Ta
ri
ki
ki
ki
ri
ki
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to the third speed and proceed the same way.
40
3rd speed – sixteenth note value Tha
ki
ta
lan
•
gu tha
Ta
•
thom
•
Ta
•
thom
•
Tha
•
ki
ta
ri
tha
ka Dhi
ki
ta Dhi
gu
tha
ri
tha ka
Ta
•
thom
•
tha ka
Dhi
ki
ta
ki
ta
Dhi
Tha
•
lan
ki
ta
•
gu tha
ki
ta
ri
tha
ka Dhi
ki
ta Dhi
Ta
Ta
•
ki
•
ta
tha ka
tha ka
Dhi
•
Thom • Tha
thom
Ta
lan
thom
ki
•
ta
ki
ta
ki
•
gu tha
ta
ri
tha
ka Dhi
ki
ta Dhi
41
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
gu
tha
ri
gu
tha
ri
gu
tha
ri
•
thom
•
gu
tha
ri
gu
tha
ri
gu
tha
ri
Ta
•
thom
ki
•
Ta
•
Nam
•
ki
ta
Tha
lan
•
gu tha
ta
tha ka
Ta
tha ka
Dhi
thom
ki
•
ta
ki
ta
ri
tha
ka Dhi
ki
ta Dhi
Ta
Ta
•
thom
ki
•
ta
tha ka
Ta
tha ka
Dhi
•
thom
•
ki
ta
•
thom
•
ki
ta
tha ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha ka
ki
ta
tha
gu
tha
ri
gu
tha
ri
gu
tha
ri
•
thom
•
gu
tha
ri
ka
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka, Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka -Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Then go to the fourth speed and proceed the same way.
42
4th speed - thirty second note value
ki
ta
ki
ta tha ka Dhi gu tha
• thom •
ki
ta tha ka Ta
Tha •
Ta
Dhi
ki
ta tha ka Tha lan
• thom •
ki
ta tha ka Ta
ki
ta
ki
Ta
ki
ta
ki
Nam
ta tha ka Tha lan
• thom •
ki
ta tha ka Ta
ki
ta
ki
ki
ta tha ka Ta
ki
ta tha ka
ri
ki
ta tha ka
gu tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
ta tha ka Tha lan
• thom •
ki
ta tha ka Ta
•
gu tha
ri
ki
ta Dhi gu tha
• thom •
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka Tha lan
• thom •
ki
ta tha ka Ta
•
gu tha
43
ri
ki
• thom •
•
• thom •
ri
ta tha ka Dhi gu tha
ta Dhi gu tha
ta tha ka Dhi gu tha
•
ki
ta tha ka Dhi gu tha
ta tha ka Ta
ki
ki
ki
• thom •
ri
• thom •
ri
Thom •
Ta
ta tha ka Dhi gu tha
ta tha ka Ta
gu tha
ki
• thom •
•
•
ri
Ta
ri
ki
ta Dhi gu tha
• thom •
ki
ta tha ka Dhi gu tha
After practicing the exercise as written above return backwards starting with Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Dhi gu tha ri ki ta tha ka To conclude play the phrases in four speeds consecutively and then return backwards like a mirror image.
44
LESSON 9 Solkattu # 5 R1
L3
cup
R1
cup
R1
L3
cup
Na
tha
ki
ta
ki
ta
tha
ka
Na is a partly muffled stroke played with the right hand index finger (R1) on the edge of the drum, tha is a muted stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers, together, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a muffled stroke played with the right hand index finger, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ta is a muffled stroke played with the right hand index finger, tha is a muted stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, ka is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup). Please note: From here on I will not write the Solkattu in four speeds, but recommend you use the preceding Solkattus as examples. Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka
45
LESSON 10 Solkattu # 6 R1
L3
chapu
Na
ka
tha
sn-L3
•
tham
•
L3
cup
ki
ta
Na is a partly muffled stroke played with the right hand index finger (R1) on the edge of the drum, ka is a muted stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, tha is a chapu stroke and is played with fingers 2, 3 & 4 (chapu) slightly cupped together and straightened out so the extremities of the fingers and the bottom side of the hand does a slap on the skin bringing out the harmonics and overtones, tham is an open stroke or snap played with the left hand finger 3 or 2 (L3), ki is also an open stroke or snap played with the left hand finger 3 or 2 (L3), ta is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup). Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka
46
LESSON 11 Solkattu # 7 L3
cup
R1
L3
cup
R1
L3
cup
Tha
ki
ta
tha
ki
ta
tha
ka
Tha is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup) ta is a muffled stroke played with the right hand index finger (R1 ) on the edge of the drum, tha is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, ki is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup) ta is a muffled stroke played with the right hand index finger (R1 ) on the edge of the drum, tha is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, ka is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup) Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Tha ki ta tha ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Tha ki ta tha ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Tha ki ta tha ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Tha ki ta tha ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Tha ki ta tha ki ta tha ka
47
LESSON 12 Solkattu # 8 R1
L3
cup
R1
L3
cup
R1
L3
Na
ka
tha
ri
ki
ta
tha
ka
Na is an open stroke played with the right hand index finger (R1), ka is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, tha is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ri is a muffled stroke played with the right hand index finger (R1), ki is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together, ta is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), tha is a muffled stroke played with the right hand index finger (R1), ka is an open stroke played with the left hand finger 3 or 2 (L3) or could be played by both fingers together. Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Tha • ki ta tha ri ki ta Tha ki ta tha ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Tha • ki ta tha ri ki ta Na ka tha ri ki ta tha ka Tha • ki ta tha ri ki ta Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Ta • thom • ki ta tha ka Na ka tha ri ki ta tha ka
48
LESSON 13 Solkattu # 9 cup
Dhi
•
L3
R1
L3
cup
L3
R1
ghi
na
ki
ta
tha
ka
Dhi is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), ghi is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, na is an open stroke played with the right hand index finger, ki is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together,), ta is a muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), tha is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, ka is an open stroke played with the right hand index finger, Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Nam • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka
49
LESSON 14 Solkattu # 10 L3
R1
L3
cup
L3
R1
L3
cup
Ghi
na
ki
ta
ghi
na
ki
ta
Ghi is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, na is also a slightly muffled stroke played with the right hand index finger, ki is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, ta is a slightly muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), Ghi is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, na is also a slightly imuffled stroke played with the right hand index finger, ki is an open rebound stroke played with the left hand finger 2 or 3 (L3) or both fingers together, ta is a slightly muffled stroke played with the right hand fingers 2, 3, & 4 cupped together (cup), Practice the above solkattu individually in all four speeds and then proceed to the extended exercise. Join the new and old phrases together and follow the same procedure as before, or: play in all four speeds consecutively, fowards and backwards. Tha • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka. Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ta • thom • ki ta tha ka Ki ta tha ka tha ri ki ta Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Dhi • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Thom • ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka Nam • ki ta ki ta tha ka Ta • thom • ki ta tha ka Ghi na ki ta ghi na ki ta Na ka tha • tham • ki ta
Dhi gu tha ri ki ta tha ka Tha lan • gu tha ri ki ta Dhi gu tha ri ki ta tha ka Na tha ki ta ki ta tha ka Ta • thom • ki ta tha ka Na tha ki ta ki ta tha ka Dhi gu tha ri ki ta tha ka Ghi na ki ta ghi na ki ta Dhi gu tha ri ki ta tha ka Na ka tha • tham • ki ta Na ka tha • tham • ki ta Na tha ki ta ki ta tha ka
50
LESSON 15 10 solkattus This is a chart of the 10 solkattus with their respective fingerings and staff notation. Each one of them has an individual character with melodic, technical and timbral information. The player is aked to revise and practice all the solkattus from 1 to 10. It is also recommended memorizing each one of them and playing them consecutivly one after the other. Pay attention to clear articulation, fluidity and control while doing so. After that practice making your own combinations and extended exercises with the phrases before moving to the next chapter. L3
Cup
R1
cup
R1
L3
cup
Tha
•
Ki
ta
ki
ta
tha
ka
R1
L3
Cup
L3
cup
R1
L3
cup
Dhi gu
Tha
ri
ki
ta
tha
ka
L3
cup
R1
L3
cup
gu
tha
ri
ki
ta
cup
R1
L3
cup
L3
chapu
Tha lan R3
• sn-L3
Ta
•
Tho m
•
ki
ta
tha
ka
R1
L3
cup
R1
cup
R1
L3
cup
Na
tha
Ki
ta
ki
ta
tha
ka
R1
L3
chapu
L3
cup
Na
ka
Tha
•
tham
•
ki
ta
L3
cup
R1
L3
cup
R1
L3
cup
Tha
ki
Ta
tha
ki
ta
tha
ka
R1
L3
cup
R1
L3
cup
R1
L3
Na
ka
Tha
ri
ki
ta
tha
ka
L3
R1
L3
cup
L3
R1
cup
sn-L3
Dhi
•
ghi
na
ki
ta
tha
ka
L3
R1
L3
cup
L3
R1
L3
cup
Ghi na
ki
ta
ghi
na
ki
ta
51
Chapter 4 Mukthyam Mukthyam are short cadences constructed with solkattu and measured silence. The phrases are repeated three times and are usually played in 4th speed or thirty-second notes to create tension and final release on Sam, the first beat of the next cycle. Following the Mukthyam chapter the player is encouraged to use his or her imagination to create different combinations and Mukthyams.
MUKTHYAM 1 A common Mukthyam using the phrase Di gu tha ri ki ta tha ka and measured silence in one adhi tala cycle. 4th speed - thirty second note value ki
ta tha ka Dhim •
Dhi gu tha
R1
Dhi gu tha ri
•
• Dhi gu tha
•
• Dhi gu tha
ri
ri
ki
ri
ki
R1 ta tha ka Dhim •
R1 ta tha ka Dhim •
ki
•
• Dhi gu tha
•
• Dhi gu tha
ki
ta tha ka
ri
ki
ta tha ka
R1 ta
ri
tha ka Dhim •
MUKTHYAM 2 Another Mukthyam using two solkattus Tha lan • gu tha ri ki ta and Di gu tha ri ki ta tha ka 4th speed - thirty second note value
Tha lan • gu tha
Dhi gu tha ri
ri
ki
ta
Dhi gu tha ri
ki
ta tha ka Dhim •
•
•
ki
ta tha ka Dhim •
•
•
•
•
•
•
• Th lan a
52
•
•
• Tha lan
•
gu tha
ri
ki
ta
ri
ta tha ka
•
gu
tha
ri ki ta Dhi gu tha
ki
MUKTHYAM 3 Combining different solkattus a variety of Mukthyams are created. In this case there is build up using 2 solkattus with short Mukthyam to end. 4th speed - thirty second note value Ki
ta tha ka tha
ri
ki
Ki
ta
Dhi gu tha ri
ki
ta tha ka
ta tha ka tha
ri
ki
ta Dhim •
Ki
ta tha ka
tha
ri ki ta Dhi gu tha
•
Ki
ki
ta tha ka
•
ri
ta tha ka tha
ri
ta Dhim •
ki
•
•
Ki
ta tha ka tha
ri
ki ta
MUKTHYAM 4 A Mukthyam in 4th speed or thirty second note value and 1 cycle or 8 beats long. R1
Tha ka tha • thom •
ki
ta Dhi gu tha
ri
ki
ta tha ka
Dhi gu tha ri
ki
ta tha ka Dhim •
Dhim
•
•
•
Tha ka tha • thom •
•
• Dhi gu tha
ri
ki
ki
ta
ta
tha ka Dhim •
•
• Dhi gu tha
ri
ki
ta tha ka
MUKTHYAM 5 A Mukthyam using the phrase Tha ki ta tha ki ta tha ka and measured silence in one adhi tala cycle. 4th speed - thirty second note value Tha ki
ta tha ka Dhim •
ta tha ki
ta tha ka Dhim •
Tha ki
R1 ta tha ki
•
• Tha ki
•
•
R1 •
ta
tha
ki
cup
• Tha •
•
53
R1 ta tha ka Dhim •
•
• Tha ki
•
•
R1 •
•
•
Dhim •
•
ta tha ki
ta tha ka
cup • Tha •
•
•
•
•
Chapter 5 Theka Theka is a melodious percussion accompaniment used to support and accompany a singer or an instrumentalist. In a South Indian Kirtana or Varnam, the type of Theka used corresponds to the style of the composition, its tala, speed and emotions. There could be different types of Thekas within the same composition. For example: a piece could start with a slow quarter note accompaniment that gradually progress into eighth notes and then sixteenth note phrasings. Each Theka is unique and has an inherent melodic aspect by playing specific open and closed strokes on particular parts of the drum. In the karnatic drumming technique there are different types of left and right hand combinations to punctuate and enhance melodic content and counterpoint. A right handed drummer plays the treble side of the drum and the melodic accompaniment while the left hand plays the bass head of the instrument or the bass lines. For a left handed drummer the roles are inversed. Most of the time a variety of two handed combinations are used in every Theka and one should pay particular attention to this element in the notation given below. A Theka interpreted on the Bodhran could be used in a variety of musical styles and contexts.
LESSON 1 This is a common Theka used in Adhi tala during the first part of the cycle and one solkattu is added at the end to conclude. The Theka is played in eighth notes and the Mukthyam is played in sixteenth notes. Theka 1 tempo 60 = quarter note Note: pay attention to the one and two hand combinations. R3 rim
Tha
R1 / L3
•
dhin
•
R3 rim
Tha
dhin
R3 rim
•
R1 / L3
•
dhin
R3 rim
R1 / L3
Tha
•
dhin
R3 rim
R1 / L3
Tha
•
dhin
•
•
•
dhin
dhin
dhin
na
R3 rim
•
R3 rim
•
•
Tha
•
Tha
R3 rim
L3
na
•
Tha
na
•
na
•
L3
R3 rim
•
Tha
R1 / L3
R3 rim
dhin
•
dhin
•
na
•
cup
R1
cup
R1
L3
cup
ta
tha
ka
•
R3 rim
54
R1 / L3
•
ki
ta
ki
R1 / L3
R1 / L3
dhin
•
dhin
•
na
•
cup
R1
cup
R1
L3
cup
ta
tha
ka
R3 rim
•
ki
ta
ki
same fingering-------> Tha Tha
•
•
dhin
dhin
•
dhin
•
dhin
•
•
na
na
•
Tha
•
Tha
•
ki
ta
ki
ta
tha
ka
•
ki
ta
ki
ta
tha
ka
•
•
•
Tha
•
ki
ta
ta
tha
ka
R1 / L3
Tha
•
ki
ta
ki
ta
tha
•
•
ka Dhim
R1 / L3
ki
ta
tha
ka Dhim
•
Tha
55
•
ki
ta
ki
LESSON 2 Theka 2 : 60 = quarter note Here we have a similar progression in the Theka with a few added strokes and two solkattus to conclude. The Theka is played in eighth notes and the Mukthyam is now played in thirty second notes, the total duration is four cycles. R3
R1 / L3
Tha R3
Tha
•
R3
•
dhin
R1 / L3
R1 / L3
dhin
•
dhin
•
dhin
•
dhin
•
na
•
•
na
•
dhin
•
R1 / L3
na
•
•
R1
R1
R1 / L3
Tha
tha
dhin
R1 / L3
•
R1
dhin
na
•
•
R3
na
•
•
Tha •
•
Tha
ki
ta
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka
same fingering------> Tha
dhin
•
Tha
dhin
•
Tha
•
dhin
•
dhin
Tha
•
dhin
•
dhin
na
•
tha
dhin
•
na
•
•
dhin
na
•
•
Tha •
ki
ta
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
ki
ta
ki
ta tha ka
ta tha ka Dhi gu tha
ri
ki
ta tha ka
Tha •
ki
ta
ki
ta tha ka Dhi gu tha
ki
ta
ki
ta tha ka Dhi gu tha
Tha •
Mukthyam-----> R1
Tha •
ki
ta
ki
ta tha ka Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Tha •
R1
Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Tha •
56
ki
ta
ki
LESSON 3 Theka 3 : 60 = quarter note In this Theka there is a change in the feeling of the accompaniment. There is also a gradual progression that is played in 4 cycles ending with a fast Mukthyam using different solkattus. The player is encouraged to use his or her’s imagination to develop other solkattu combinations and use them as Mukthyams. R1
Tha
•
R1
Tha
•
R1 / L3
R1/ L3
dhin
•
Tha
R1 / L3
R1 / L3
R1/ L3
dhin
•
Tha
•
Tha
•
dhin
•
•
dhin
•
dhin
•
R1
•
R1 / L3
R1 / L3
Tha Tha dhin
R1
Tha
•
R1 / L3
dhin
•
•
R1 / L3
dhin
•
•
Tha lan
•
Tha Tha dhin
gu tha
•
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
same fingering------> Tha
dhin
•
Tha
•
dhin
•
Tha
Tha
•
dhin
•
Tha
•
Tha
Tha
dhin
•
dhin
•
•
•
gu tha
ri
ki
ta Dhi gu tha
•
•
•
gu tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
Tha lan
dhin
dhin
•
Tha lan
•
Tha
Tha lan
gu tha
•
ri
ki
ta Dhi gu tha
Mukthyam ----> R1
Tha lan
•
gu tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Tha lan
•
gu tha
ri
ki
ta
ri
ta tha ka
R1
Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Tha lan
57
•
gu tha
ri
ki
ta Dhi gu tha
ki
LESSON 4 Theka 4 : 60 = quarter note This Theka is played in sixteenth notes and has an upbeat feeling with two Solkattus in the Mukthyam. Here again the player is encouraged to change and add new Mukthyams while using the same Theka. RE / L3
cup
R1 / L3
Tha
ka
dhi
RE / L3
cup
R1 / L3
Tha
ka
dhi
cup
RE
cup
R1 / L3
mi Tha
ka
dhi
cup
cup
R1 / L3
RE
mi Tha
cup
RE
mi Tha
cup
ka
R1 / L3
dhi
cup
dhi
cup
mi
cup
ka
RE / L3 RE / L3 R1 / L3
mi Tha Tha
dhi
mi
dhi
mi Tha
• thom •
Na ka tha
ki
ta Dhi gu tha
ri
ki
ta tha ka
same fingering------> Tha Tha
Tha
Tha
ka
ka
ka
ka
dhi
mi Tha
dhi
mi Tha
dhi
mi Tha
dhi
mi Tha
ka
ka
dhi
mi Tha Tha
ka
dhi
mi
dhi
mi
Na ka tha
ki
ta Dhi gu tha
thom •
ki
ta Dhi gu tha
dhi
mi
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
•
thom • ki
ri
ki
Na ka tha
•
ka
mi
• thom •
ka
dhi
Na ka tha
•
thom •
ki
ta Dhi gu tha
R1
Na ka tha
•
thom • ki
ta Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Na ka tha
ta
R1
Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Na ka tha
58
•
thom • ki
ta Dhi gu tha
ta tha ka
LESSON 5 Theka 5 :60 = quarter note This Theka has a gait to it and could be played in a slower or a faster tempo. When the tempo is changed, the resulting feeling is very different. Try it! Two Solkattus in double speed are used as a Mukthyam to conclude the cycle. RE / L3
cup
RE
R1 / L3
Tha
ka
Tha
dhi
RE / L3
cup
RE
R1 / L3
Tha
ka
Tha
cup
mi cup
dhi mi
RE
R1 / L3
cup
RE / L3
cup
RE
R1 / L3
Tha
dhi
mi
Tha
ka
Tha
dhi
RE
R1 / L3
cup
Tha
dhi
mi
cup
mi
RE
R1 / L3
cup
Tha
dhi
mi
Ki
ta tha ka tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
ri
ki
ta tha ka
same fingering -------> Tha
Tha
ka
ka
Tha
dhi mi
Tha
dhi mi
Tha
dhi
mi
Ki
ta tha ka tha
ri
ki
ta Dhi gu tha
ta tha ka tha
ri
ki
ta Dhi gu tha
Tha
dhi
mi
Ki
Mukthyam -----> R1
Ki ta tha ka tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Ki
ta tha ka tha
ri
ki
ta
R1
Dhi gu tha
ri
ki
ta tha ka
Dhim
•
•
•
Ki
59
ta tha ka tha
ri
ki
ta Dhi gu tha
ri
ki
ta tha ka
Chapter 6 Review 1) The player is now asked to play the Thekas # 1 to # 5 consecutively.
2) Play all the Thekas again using the same progression but with different solkattus to end the cycles.
3) Repeat the same progression several times until all the 10 solkattus are used.
4) The player is asked to revise all the material learnt so far starting from the beginning until the Theka section.
5) Lastly, he or she should attempt to elaborate their own composition and improvise using as much as possible of the material given so far.
60
Chapter 7 Permutations using a snapping technique In this chapter, a Persian finger snapping stroke is combined with the Karnatic method and used within a solkattu phrase. This feature is another major transposition that has added a different colour and timbre to the drumming palette. Both techniques compliment one another and fit the Bodhran perfectly. In the following examples I use one solkattu and add a snapping stroke within it. This changes the quality of the phrase and by adding snaps progressively a variety of new material is generated with just one phrase. #1 left hand snaps
R1
L3
cup
L3
Dhi
gu
tha
ri
R1
L3
cup
L3
Dhi
cup
R1
L3
ki
ta
tha
cup
R1
L3
gu
tha
ri
ki
ta
tha
L3
cup
R1
L3
cup
sn-L3
ka Dhi cup
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
sn-L3
ka Dhi
gu
tha
ri
#2 left hand snaps
R1
L3
cup
Dhi
gu
tha
ri
ki
ta
tha
R1
L3
cup
L3
cup
R1
L3
Dhi
gu
tha
ri
ki
ta
tha
cup
R1
L3
cup
sn-L3
ka Dhi cup
sn-L3
gu
tha
ri
ki
ta
sn-L3
ka Dhi
tha
ka
sn-L3
gu
tha
ri
ki
ta
tha
ka
#3 left hand snaps
R1
L3
cup
L3
Dhi
gu
tha
ri
R1
L3
cup
L3
Dhi
ki
ta
tha
cup
R1
L3
gu
tha
ri
ki
ta
tha
cup
sn-L3
ka Dhi cup
sn-L3
gu
tha
sn-L3
ka Dhi
61
sn-L3
ri
ki
ta
sn-L3
tha
ka
sn-L3
gu
tha
ri
ki
ta
tha
ka
#4 Right hand snaps
sn-R3
Dhi
gu
tha
ri
ki
ta
tha
ka Dhi
tha
ka Dhi
tha
ka Dhi
tha
ka Dhi
tha
ka Dhi
tha
ka Dhi
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
sn-R4
sn-R3
tha
ka
sn-R3
Dhi
gu
tha
ri
ki
ta
gu
tha
ri
#5 Right hand snaps
Dhi Dhi
gu
tha
ri
ki
ta
gu
tha
ri
ki
ta
gu
tha
ri
ki
ta
sn-R4
sn-R3
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
sn-R4
sn-R3
tha
ka
#6 Right hand snaps
sn-R3
Dhi Dhi
gu
tha
ri
ki
ta
sn-R4
sn-R3
tha
ri
ki
ta
gu
tha
ri
sn-R3
gu
62
gu
tha
ri
ki
ta
#7 Left and Right hand snaps
Dhi Dhi
gu
tha
ri
ki
ta
tha
ka
gu
tha
ri
ki
ta
tha
ka
Dhi Dhi
sn-L3
sn-R3
gu
tha
sn-L3
sn-R3
gu
tha
ri
sn-L3
sn-R3
sn-L3
ri
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
ki
ta
tha
ka
#8 Left and Right hand snaps
Dhi Dhi
gu
tha
ri
ki
ta
tha
gu
tha
ri
ki
ta
tha
ka Dhi ka Dhi
gu
tha
ri
sn-L3
sn-R3
sn-L3
gu
tha
ri
sn-L3
sn-R3
sn-L3
#9 Left and Right hand snaps
Dhi Dhi
gu
tha
ri
ki
ta
tha
gu
tha
ri
ki
ta
tha
ka Dhi ka Dhi
sn-L3
gu
tha
ri
sn-L3
sn-R3
sn-L3
ki
ta
tha
ka
sn-L3
gu
tha
ri
ki
ta
tha
ka
sn-L3
cup
sn-L3
sn-R4
sn-R3
sn-L3
cup
#10 Left and Right hand snaps R1
Dhi
gu
tha
ri
ki
ta
tha
ka Dhi R1
Dhi
gu
tha
ri
ki
ta
tha
ka Dhi
63
gu
tha
ri
ki
ta
tha
ka
sn-L3
cup
sn-L3
sn-R4
sn-R3
sn-L3
cup
ta
tha
ka
gu
tha
ri
ki
Chapter 8 Rhythmic combinations Special excersises combining solkattu and two speeds. Parts of a solkattu are used to create different rhythmic combinations that can be used as ‘fills’ to end a cycle or could be intergrated with other material in a percussion solo. The following examples are rhythmic combinations played in two speeds, the first time in sixteenth notes and the second time in thirty-second notes. This strategy is often used in karnatic music and in a more elaborate version known as tri-kalam or three speeds, in which a mathematical combination of any length is played in three speeds. Rhythmic combination # 1 – sixteenth note value or 3rd kalam (speed) R1
L3
cup
L3
tha
•
tham
•
tham
Na Na
ka
ka
tha
R1
L3
cup
Na
ka
Na
ka
•
•
L3
cup
ki
ta Dhi
ki
ta Dhi
R1
L3
cup
Na
ka
tha
ki
ta Dhi
L3
tha
•
tham
•
tha
•
tham
•
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
R1
L3
cup
Na
ka
tha
•
ta
tha
ka
gu
tha
ri
L3
tham
•
•
gu
tha
ri
ki
The same rhythmic combination # 1 is played in thirty-second note value or 4th kalam (speed). Na ka tha
Na ka tha
• tham •
ki
ta Dhi gu tha
ri
ki
ta tha ka
• tham • Na ka tha
Na ka tha
• tham •
ki
• tham • Na ka tha
• Na ka
64
ta Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
tha
• tham •
ki
ta Dhi gu tha
Rhythmic combination # 2 – sixteenth note value or 3rd kalam (speed) Tha
lan
•
gu tha
Tha
lan
•
gu tha
Tha Tha
cup
L3
lan
•
gu tha
•
gu tha
lan
ri
ri
ki
ta Dhi
ki
ta Dhi
gu
tha
ri
ki
ta
tha
ka
ri
ki
ta
tha
ka
•
Tha
lan
•
gu
ta
tha
ka
gu
tha
cup
Tha
•
ri
lan
•
ta Dhi
ki
gu
tha
gu
tha
ri
ki
The same rhythmic combination # 2 is played in thirty second note value or 4th kalam (speed) Tha lan • gu tha
ri
ki
Tha lan • gu tha
ta Dhi gu tha
ri
ki
ta tha ka Tha lan
• Tha lan
•
•
gu tha
ri
ki
gu tha
• Tha lan
•
gu Tha lan
65
ta Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
•
gu tha
ri
ki
ta Dhi gu tha
Rhythmic combination # 3 : sixteenth note value or 3rd kalam (speed) L3
Dom
R1
L3
cup
ka
Tha
lan
ka
Tha
lan
L3
R1
L3
cup
Dom
R1
cup
Dom
Dom
cup
•
tha
ka Dhi
gu
tha
ka Dhi
gu
cup
L3
R1
gu
•
ka
Tha
lan
•
gu
Dom
tha
ka Dhi
ka
Tha
lan
•
gu
L3
ka Tha
gu
tha
ri
ki
ta
tha
ka
ri
ki
ta
tha
ka
cup
cup
L3
cup
lan
gu Tha
tha
•
cup
lan
•
gu
ta
tha
ka
gu
tha
ri
ki
The same rhythmic combination # 3 is played in thirty-second note value or 4th kalam (speed) Dom ka tha lan
•
Dom ka tha lan
gu tha ka Dhi gu tha
ri
ki
ta tha ka Dom ka tha lan
•
gu Dom ka tha lan
•
•
gu Tha lan
•
gu Dom ka tha lan
66
gu tha ka Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
•
gu tha ka Dhi gu tha
Rhythmic combination # 4 – sixteenth note value or 3rd kalam (speed) L3
Dom Dom
Dom Dom
R1
ka
ka
ka
L3
R3
L1
Dom
ka Tha
Dom
ka Tha
Dom
ka Tha
cup
cup
lan
•
gu Dhi
lan
•
gu Dhi
•
gu Dom ka
lan
ka
Tha
lan
•
gu
tha
ka Dhi
gu
tha
ri
ki
ta
tha
ka
ki
ta
tha
ka
lan
•
gu
ta
tha
ka
gu
tha
Dom
ri
ka Tha
gu
tha
ri
ki
The same rhythmic combination # 4 is played in thirty-second note value or 4th kalam (speed) Dom ka Dom ka tha lan •
Dom ka Dom ka tha lan •
gu Dhi gu tha
ri
ki
ta tha ka Dom ka Dom ka tha lan
gu Dom ka Dom ka tha lan
•
gu Dom ka tha lan
67
•
gu Dhi gu tha
ri
ki
ta tha ka
ri
ki
ta tha ka
•
gu tha ka Dhi gu tha
Rhythmic combination # 5 - sixteenth note value or 3rd kalam (speed) Dom Dom
Dom Dom
ka
ka
ka
Dom
ka Tha
Dom
ka Tha
Dom
ka Tha
•
gu Dom
lan
•
gu Dom
lan
•
gu Dom
tha
ka Dhi
lan
ka
Tha
lan
•
gu
ka
Tha
lan
•
gu
tha
ka
•
gu
tha
ka
lan
•
gu
ta
tha
ka
ka
ka
Tha
lan
Dom
ka Tha
gu
tha
ri
ki
The same rhythmic combination # 5 is played in thirty-second note value or 4th kalam (speed) Dom ka Dom ka tha lan •
Dom ka Dom ka tha lan •
gu Dom ka tha lan
•
gu tha ka Dom ka Dom ka tha lan
gu Dom ka Dom ka tha lan
•
gu Dom ka tha lan
68
•
gu Dom ka tha lan
•
gu tha ka
ki
ta tha ka
•
gu tha ka Dhi gu tha
ri
Chapter 9 Mora There are 5 particular syllables in karnatic percussion often refered to as Thadhighinatoms which are used in many ways as cadential material. A Mora consists of a rhythmic phrase made up of solkattu, measured silence and Thadhighinatoms that are repeated three times to end a section of a composition or rhythmic idea. The 5 syllables Tha Dhi Ghi Na Thom are also combined with measured silence to create combinations of 6, 7, 8, 9 and 10 beats. When the five Tadhighinatoms are played in faster speeds the equivalent of each Tha Dhi Ghi Na Thom is replaced with a faster solkattu syllable that is easier to play and to vocalize. The faster version is usually played at the end of a cycle to accentuate tension and final release on the Sam, the first beat of the next cycle. Sometimes a composition may begin on the second or third beat of a cycle in which case the Mora is played so that it finishes on the appropriate beat. In the following examples the five Thadhighinathoms are used and in some cases the faster ten syllable phrase is played at the end of the time cycle.
LESSON 1 cup
R1
L3
cup
L3
Tha
dhi
ghi
na
thom
A fast solkattu phrase containing 10 syllables that replace the five Tha Dhi Ghi Na Thom at double speed. L3 cup R1
L3 cup L3 cup R1
Ki ta tha ka tha
ri
ki
L3
ta Tham •
Mora # 1 – The Theka # 4 is used in the first part of the cycle with Tha Dhi Ghi Na Thom to conclude the idea. The total duration here is 4 cycles of Adhi tala. RE / L3
cup
R1 / L3
Tha
ka
dhi
RE / L3
cup
R1 / L3
Tha
ka
dhi
cup
RE
cup
R1 / L3
mi Tha
ka
jun
cup
cup
R1 / L3
RE
mi Tha
ka
jun
cup
RE / L3
na Tha cup
cup
ka
R1 / L3
dhi
RE + L3
na Tham * •
cup
cup
R1 / L3
cup
mi Tha
RE
ka
jun
na
cup
L3
cup
L3
•
> Tha dhi
R1
ghi
na
thom
ka
jun
na
ghi
na
thom
* Both hands
Same fingering---------> Tha Tha
ka
ka
dhi
mi Tha
dhi
mi Tha
ka
ka
jun
na Tha
ka
dhi
mi Tha
jun
na Tham
•
•
> Tha dhi
69
Tha Tha
ka
ka
> Tha
•
dhi
mi Tha
dhi
mi Tha
dhi
L3 cup R1
ghi
L3 cup L3 cup R1
•
na
ka
ka
jun
na Tham
jun
na Tham
> thom Tha
dhi ghi
ki
ta tha ka tha
ri
ki
•
na
•
ghi
na
thom
•
> Tha dhi
ghi
na
thom
> thom Tha dhi
ghi
na
thom
L3
•
•
> Tha dhi
ta tham •
ki
ta tha ka tha
ri
ta tham •
ki
ki
ta
tha ka tha
ri
ki
ta tham •
Mora # 2 – A long Mora in 6 cycles of Adhi tala. Here we use Theka # 5 with Tha Dhi Ghi Na Thom and the fast 10 syllables to conclude. RE / L3
cup
RE
Tha
ka
Tha
RE / L3
cup
RE
Tha
ka
Tha
R1 / L3
cup
dhi mi R1 / L3
cup
dhi mi
RE
R1 / L3
Tha
dhi
RE
R1 / L3
Tha
cup
RE / L3
mi Tha cup
cup
ka
RE
Tha
RE / L3
dhi
mi Tham
dhi
mi Tha
dhi
mi Tham
R1 / L3
dhi mi cup
•
cup
R1
RE
R1 / L3
cup
Tha
dhi
mi
L3
cup
L3
•
> Tha dhi
ghi
na
thom
Tha
dhi mi
Tha
dhi
mi
•
> Tha dhi
ghi
na
thom
Same fingering---------> Tha Tha
ka
ka
Tha
dhi mi
Tha
dhi mi
Tha
Tha
70
ka
•
Tha Tha
ka
ka
Tham
Tha
dhi Mi
Tha
dhi Mi
•
> Tha Dhi
•
Tham
•
•
> Tha dhi
Tham
•
•
> Tha dhi
na
dhi
> thom Tha
ghi
na
L3 cup R1
dhi
mi Tham
•
•
> Tha dhi
ghi
na
thom
dhi
mi Tham
•
•
> Tha dhi
ghi
na
thom
na
thom Tham
•
> Tha dhi
ghi
na
thom
na
thom Tham
•
> Tha dhi
ghi
na
thom
ghi
na
> thom Tha
dhi
ghi
•
> Dhi
•
ghi
> na thom Tha
Tha
Tha
ghi
ghi
•
•
> thom Tha
L3 cup L3 cup R1
dhi
•
dhi
ghi
> na thom Tha
•
> Tha
dhi ghi
•
•
•
•
•
ki
ta tha ka tha
ri
ki
na
> thom Tha
> Dhi
•
•
L3
•
•
ta tham •
ki
ta tha ka tha
71
ri
ki
ta tham •
ki
ta
tha ka tha
ri
ki
ta tham •
Chapter 10 Arudhi Arudhi is another form of rhythmic calculation constructed with an addition or a reduction element in its structure. This type of combination is often used by instrumentalists, singers and percussionists to end a solo or to end a section of a composition and is usually played in unison by all the players. In the following examples some of the Arudhis are written in two speeds and could be performed in the same manner. Arudhi # 1 (1 x Adhi Tala) cup
Tha •
R1
cup
•
Dhin
•
cup
R1
L3
> Tha
•
•
cup
L3
dhi
ghi
na
Tha
> thom Tha
L3
R1
ka Dhin dhi ghi
cup
L3
cup
R1
ki
ta
Dhin
> thom Tha dhi
ghi
cup
R1
•
na
•
Tha
•
na thom
Arudhi # 2 (2 x Adhi Tala) cup
Tha
R1
•
R1
Dhin
Dhin
cup
•
sn L /R
•
cup
R1
•
Dhin
Tha
•
•
•
Tha
cup
R1
L3
sn R
sn L
cup
dhi
ghi
L3
sn R
sn L
cup
na
na
> • thom Tha
> thom Tha
•
•
Tha
cup
R1
•
ka
Dhin
•
•
> • Dhi
72
•
Tha
•
•
cup
R1
sn L /R
Tha Dhin
•
Tha
sn L
•
cup
•
> Dhi
sn L
•
sn L
Tha
•
•
> Tha
ghi
sn L /R
•
R1
Tha Dhin
•
•
•
•
•
> Tha
dhi
cup
R1
L3
sn R
sn L
> Tha dhi
ghi
na thom
Arudhi # 3 (2 x Adhi Tala – quarter note value) cup
Tha L3
dhin
R1
cup
•
Dhi
Tha
cup
cup
•
L3
ka
dhin cup
na
R1
Dhi
•
L3
Tha
•
•
•
Tha
cup
L3
L3
cup
R1
ka dhin
na
L3
sn L
•
Tha
cup
R1
> Tha
sn R
dhi
ghi
na
cup
cup
na Tha L3
L3
ka dhin
cup
R1
•
•
•
cup
cup
L3
Tha
ka
cup
na
Tha
•
•
•
Tha
•
L3
L3
cup
cup
L3
L3
cup
na Tha
ka
dhin
na
cup
L3
sn R
sn L
Dhi
Tha
ka
dhin
cup
R1
L3
sn R
sn L
dhi ghi
•
cup
•
> thom Tha
Dhi
na
R1
> thom Tha dhi
ghi
na thom
Arudhi # 3 – the same Arudhi as above played in thirty-second note value : 1 x Adhi tala
Tha • Dhi • Tha ka dhin na Tha •
•
• Dhi • Tha ka dhin na Tha •
Dhi • Tha ka dhin na Dhi • Tha ka dhin na Tha ka dhin na
>
•
• Tha ka dhin na Tha •
>
•
• Tha •
>
• Tha Dhi Ghi Na Thom Tha Dhi Ghi Na Thom Tha Dhi Ghi Na Thom
73
Chapter 11 General knowledge Tala or time cycle A Tala is a recurring series of beats often sub-divided into smaller units. Each tala or time cycle has its own structure and its own set of finger counts, claps and waves to show that structure. There are three elements in this structure namely Laghu, Drutham and Anudrutham, each having its own symbol to show that structure. The Laghu is notated as | and has 5 varieties of beats namely 3 beats, 4 beats, 5 beats, 7 beats, and 9 beats. The Laghu is counted as a clap followed by a specific amount finger counts depending on the tala. The Drutham is notated as O and is always 2 beats counted as a clap and a wave of the hand. The Anudrutham is notated as U and is always 1 beat counted as one clap. These three elements are combined and through permutation form 7 major Tala families each with a specific symbol structure. The Laghu within each family structure has 5 varieties and therefore gives rise to 5 Talas. This in turn multiplied by the 7 families gives rise to the 35 major Talas in karnatic music. Taking into account the gati factor or the triplet, quintuplet factor, a number of other possibilities and tala permutations are also possible within this system. The following are the 7 major Tala famalies each with their own name having 5 varieties each: 3 beats, 4 beats, 5 beats, 7 beats, and 9 beats. 1) Dhruva Tala is notated as | O | | = Laghu + Drutham + Laghu + Laghu. The laghus in this structure will have 5 varieties so in the first tala permutation all the three laghus will be 3 beats giving 3+2+3+3 = 11 beats. In the second tala permutation, the three laghus will be 4 beats, giving 4+2+4+4 = 14 beats. In the third tala permutation, the three laghus will be 5 beats, giving 5+2+5+5 = 17 beats. In the fourth tala permutation, the three laghus will be 7 beats, giving7+2+7+7 = 23 beats In the fifth tala permutation, the three laghus will be 9 beats, giving 9+2+9+9 = 29 beats. Dhruva Tala thus has 5 tala permutations, each of which has their karnatic name (see 35 tala chart). 2) Matya Tala is notated as | O | = Laghu + Drutham + Laghu. The laghus in this structure will have 5 varieties and following the same process as described above the tala permutations are obtained: In the first tala, both laghus are 3 beats which will give 3+2+3 = 8 beats. In the second tala, both laghus are 4 beats which will give 4+2+4 = 10 beats. In the third tala, both laghus are in 5 beats which will give 5+2+5 = 12 beats. In the fourth tala, both laghus are in 7 beats which will give 7+2+7 = 16 beats In the fifth tala, both laghus are in 9 beats which will give 9+2+9 = 20 beats. Matya Tala thus has 5 tala permutations, each of which has their karnatic name (see 35 tala chart).
74
3) Rupaka Tala is notated as O | = Drutham + Laghu. The laghu in this structure will have 5 varieties and following the same process as described above the tala permutations are obtained: In the first tala, the laghu is in 3 beats which will give 2+3 = 5 beats. In the second tala, the laghu is in 4 beats which will give 2+4 = 6 beats. In the third tala, the laghu is in 5 beats which will give 2+5 = 7 beats. In the fourth tala, the laghu is in 7 beats which will give 2+7 = 9 beats In the fifth tala, the laghu is in 9 beats which will give 2+9 = 11 beats. Rupaka Tala has 5 tala permutations, each of which has their karnatic name (see 35 tala chart). 4) Jhampa Tala is notated as | U O = Laghu + Anudrutham + Drutham The laghu in this structure will have 5 varieties and following the same process as described above the tala permutations are obtained: In the first tala, the laghu is in 3 beats which will give 3+1+2 = 6 beats. In the second tala, the laghu is in 4 beats which will give 4+1+2 = 7 beats. In the third tala, the laghu is in 5 beats which will give 5+1+2 = 8 beats. In the fourth tala, the laghu is in 7 beats which will give 7+1+2 = 10 beats. In the fifth tala, the laghu is in 9 beats which will give 9+1+2 = 12 beats. Jhampa Tala thus has 5 tala permutations, each of which has their karnatic name (see 35 tala chart). 5) Triputa Tala is notated as | O O = Laghu + Drutham + Drutham The laghu in this structure will have 5 varieties and following the same process as described above the tala permutations are obtained: In the first tala, the laghu is in 3 beats which will give 3+2+2 = 6 beats. In the second tala, the laghu is in 4 beats 4+2+2 = 7 beats. In the third tala, the laghu is in 5 beats which will give 5+2+2 = 8 beats. In the fourth tala, the laghu is in 7 beats which will give 7+2+2 = 10 beats. In the fifth tala, the laghu is in 9 beats which will give 9+2+2 = 12 beats. Triputa Tala thus has 5 tala permutations, each of which has their karnatic name (see 35 tala chart) 6) Ata Tala is notated as | | O O = Laghu + Laghu + Drutham + Drutham The laghus in this structure will have 5 varieties and following the same process as described above the tala permutations are obtained: In the first tala, both the laghus are in 3 beats which will give 3+3+2+2 = 10 beats. In the second tala, both the laghus are in 4 beats which will give 4+4+2+2 = 12 beats. In the third tala, both the laghus are in 5 beats which will give 5+5+2+2 = 14 beats. In the fourth tala, both the laghus are in 7 beats which will give 7+7+2+2 = 18 beats. In the fifth tala, both the laghus are in 9 beats which will give 9+9+2+2 = 22 beats. Ata Tala thus has 5 tala permutations, each of which has their karnatic name. 7) Eka Tala is notated as | = Laghu This tala has only one laghu in its structure and will also have 5 varieties. In the first tala the laghu is in 3 beats = 3 beats. In the second tala the laghu is in 4 beats = 4 beats. In the third tala the laghu is in 5 beats = 5 beats. In the fourth tala the laghu is in 7 beats = 7 beats. In the fifth tala the laghu is in 9 beats = 9 beats. Eka Tala thus has 5 tala permutations, each of which has their karnatic name (see 35 tala chart). 75
The 35 talas in Karnatic music The Seven tala families
5 varieties
Signature
Total aksharakala for an avarta
Technical name
Numbers
1 Dhruva
Tisra Chatusra Khanda Misra Sankirna
|3 o2 |3 |3 |4 o2 |4 |4 |5 o2 |5 |5 |7 o2 |7 |7 |9 o2 |9 |9
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
Mani Srikara Pramana Purna Bhuvana
1 2 3 4 5
2 Matya
Tisra Chatusra Khanda Misra Sankirna
|3 o2 |3 |4 o2 |4 |5 o2 |5 |7 o2 |7 |9 o2 |9
3+2+3=8 4 + 2 + 4 = 10 5 + 2 + 5 = 12 7 + 2 + 7 = 16 9 + 2 + 9 = 20
Sara Sama Udaya Udirna Rava
6 7 8 9 10
3 Rupaka
Tisra Chatusra Khanda Misra Sankirna
o2 |3 o2 |4 o2 |5 o2 |7 o2 |9
2+3=5 2+4=6 2+5=7 2+7=9 2 + 9 = 11
Chakra Patti Raja Kula Bindu
11 12 13 14 15
4 Jhampa
Tisra Chatusra Khanda Misra Sankirna
|3 U1 o2 |4 U1 o2 |5 U1 o2 |7 U1 o2 |9 U1 o2
3+1+2=6 4+1+2=7 5+1+2=8 7 + 1 + 2 = 10 9 + 1 + 2 = 12
Kadamba Madhura Chana Sura Kara
16 17 18 19 20
5 Triputa
Tisra Chatusra Khanda Misra Sankirna
|3 o2 o2 |4 o2 o2 |5 o2 o2 |7 o2 o2 |9 o2 o2
3+2+2=7 4+2+2=8 5+2+2=9 7 + 2 + 2 = 11 9 + 2 + 2 = 13
Sankha Adhi Dushkara Lila Bhoga
21 22 23 24 25
6 Ata
Tisra Chatusra Khanda Misra Sankirna
|3 |3 o2 o2 |4 |4 o2 o2 |5 |5 o2 o2 |7 |7 o2 o2 |9 |9 o2 o2
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
Gupta Lekha Vidala Loya Dhira
26 27 28 29 30
7 Eka
Tisra Chatusra Khanda Misra Sankirna
|3 |4 |5 |7 |9
3 4 5 7 9
Sudha Mana Rata Raga Vasu
31 32 33 34 35
LEGEND – The seven major talas with their five varities each gives us the 35 tala system in Karnatic music. There are three elements in the above structure namely Laghu, Drutham and Anudrutham, each of them have their own symbol to show that structure. – The Laghu is notated as | and has 5 types of beats namely 3, 4, 5, 7 and 9 beats. When there is a Laghu in a tala structure, each beat within the Laghu will have the same value of beats. The Laghu is counted as a clap followed by a specific amount finger counts depending on the tala. – The Drutham is notated as
o and is always a 2 beat value. It is counted as a clap and a wave.
– The Anudrutham is notated as
U and is always a 1 beat76value. It is counted as one clap.
The four major percussion instruments in Karnatic music: Mrdangam This is a barrel shaped two sided instrument made of jackwood –a tropical hardwood. The treble head is made up of three layers of skin: the outer two are cut out in the middle and the inner skin covers the entire surface. Thin cane snares are inserted in between the outer two skins giving it a special buzzing quality. A paste of manganese and iron oxide mixed with cooked rice is made and fixed to the center of the skin to achieve the tonic fifth. Each drum maker has his own secret ingredients and proportions to make this tuning paste. The bass head has two layers of skin, the outer layer is cut out in the center and the inner one covers the entire surface. Before playing the instrument, a paste is made of very fine broken rice and applied to the center of the bass head to change the tuning to a fifth below the tonic (the treble head). The learning method is the oral phonetic language known as konogol which are mnemonic syllables derived from the actual sounds of this drum. Solkattu is one of the many examples of this highly evolved percussion language where each phrase has technical, timbral and melodic information. Ghatam This is a clay pot shaped instrument made of a special blend of five different clays and secret ingredients used by each pot maker. The Ghatam is also built to a specific desired pitch and when the top area is played the tonic fifth of that particular pitch resonates clearly. The middle area of the pot has a different timbre and is played in combination with the resonating top area. The hole is played with the palm stroke to obtain a bass glissando effect. Some Vidwans use their own personalised playing techniques like thumb strokes and the heel of the palm. While some drummers put tape around their fingers to get a sharper attack. Kanjira This is a hand held tambourine that is usually made of rosewood or jackwood and is covered on one side with lizard skin. The kanjira has no specific pitch or tonic but rather a low uniform almost muffled sound. It is played with one hand using the fingers and palm while the other hand holds the drum and simultaenously presses the skin achieving gentle inflections and glissando. The playing technique is an adaptation of the two handed drumming vocabulary that is transposed for one hand. Vidwans have developed their own methods of drumming that varies from teacher to teacher. Because of its non-tonal quality and unique sound this instrument could be easily adapted to other forms of music. Tavil This is a two headed barrel shaped instrument that is made of jackwood and is played on both sides. The treble head is made of cow hide and is stretched very tight to obtain a high uniform sound with no particular pitch. This side is played with fingers capped with Goud which are hardened finger caps made with boiled rice and a thin cotton cloth. The bass head is made of a thicker hide and is played with a hardwood stick about 9 ” long. A bit of water is used to dampen the bass skin before playing as it lowers the pitch considerably. The difference in pitch between the two heads is approximately an octave. The playing technique is adapted from the mrdangam with highly personalised stick and finger strokes that vary from teacher to teacher. The tone, timbre and dynamics of the tavil are unique and in general much louder than the mrdangam. This instrument was initially used in temple music for rituals, marriages and festivals usually accompanying the wind instrument called Nagaswaram. Today the two instruments are regularly featured in classical Karnatic music. The learning method for the tavil is konogol and the playing styles vary from region to region. Many of these sound qualities make the Tavil easily adaptable to other forms of music.
77
Some terms used in this book: Akshara is one beat within any tala and as an example Adhi tala has a total of 8 Aksharas that are sub-divided into 4+2+2. Avarta is a term denoting one time cycle. Kala or Kalam is a term meaning speed. In this book we are dealing with 4 speeds or 4 kalams. Vilamba – slow (quarter note value), Madhyama – medium (eighth note value), Druta – fast (sixteenth note value) and Ati-druta – very fast (thirty-second note value). There are also other speeds that one can play that are not included in this book. Konogol is the art form of reciting rhythmic onomatopae or phonetic syllables used in a karnatic percussion composition and improvisation. Sam or Sum is the first beat of a time cycle. Thisra means the number three, Chatusra means four, Khanda means five, Mishra means seven and Sankirna means nine. In the Karnatic 35 tala chart there are7 major tala families each of which has five varities of talas consisting of 3, 4, 5, 7 and 9 beat Laghus. Tri-kalam a form of mathematical composition of any length played in three degrees of speeds. Vidwan is a respectful term used as a prefix to denote a master musician in South India and its equivalent in North India is Pandit.
78
Author’s note November 1st 2004, Montreal, Canada I thank and pay respect to all my music teachers in India and abroad who have taught and shared their knowledge with me. This book would not have been possible without their teachings and guidance. Karnatic music ( in chronological order since 1969) Vidwan G. Venugopal - Karnatic flute , Bangalore, India. Vidwan K.K. Parthasarthy - Mrdangam, Bangalore, India. Vidwan M. Yesudas - Karnatic flute, Bangalore, India. Vidwan G. Vasudevan - Mrdangam, Montreal, Canada. Vidwan T.N. Shashikumar - Tavil and Ghatam, Karnataka College of Percussion - Bangalore, India. Vidwan S. Prashanth – Kanjira, Karnataka College of Percussion - Bangalore, India. Fra me dr um workshops: Mr. Glen Velez - Bodhran, Riqq and Tar, New York City, U.S.A CROSSING-OVER I was born in 1954 and grew up in Bangalore city, India where I lived until 1976 when I left for Canada. After which my further studies in music included both the eastern and western musical systems. In the late 1980s I started thinking about how I could use the Indian micro-tonal 22 Shruti tuning system in compositions. In order to do this, I built a series of percussion instruments based on the 22 shrutis (22 intervals) with the help of Nicholas Munro, a sculptor and wood worker in Montreal. Some of the instruments included a shruti marimba, bamboophone, three metallophones and tuned clay pots. During this project it occurred to me that I was playing other surfaces with the Karnatic drumming vocabulary. This was a revelation that started the process of transposing the drumming techniques I had learned on the Mrdangam and Tavil. In order to do this, some of the solkattus and techniques had to be modified in the same way it is done to percussion instruments in South India. For example, the four major percussion instruments in Karnatic music namely the Mrdangam, Ghatam, Kanjira and Tavil share the same vocabulary but are adapted in different ways to suit the particular drum surface. I approached the transcriptions to the Bodhran and the Frame drum in the same manner and feel that the results are very encouraging and the possibilities are endless. A WARM THANK YOU ! To my family and close friends who have supported me during this long process. Jean-François Pinard for his computer skills, solutions and countless hours editing this book. Dino Giancola for audio solutions, concept and design of the DVD. Tamas Wormser for filming and editing the DVD with the help of Thierry Gendron, Dominique Sicotte for her creative support and photos, Patrick Graham for his help in so many ways, Raymond Masson for graphic design and printing solutions, Denis Franck for the translation Tony Manolokakis and Matrox, for producing the video of GaPa, Patrick Cooperman and Shawn McGinnis of The Cooperman Drum Company, VT, U.S.A. who have supported my ideas and work. Sincerely, Ganesh Anandan
79
COPY RIG HT AN D RE L AT ED M ATT ER S
Real time and accelerated time I had the good fortune of studying Karnatic music namely the flute and mrdangam since the late 1960’s with my Gurus in India and abroad. The traditional method of learning Karnatic music is the oral Guru-Shishya system in which the Guru recites the phrases while keeping the tala and then plays the same on the drum. The student in turn vocalizes the phrases with the tala and then plays the same on the drum. He or she is supposed to memorise all the phrases and techniques until the following class when new phrases are added on. This process takes a number of years and, in modern times, the student is allowed to write down material but only as an aid to memory. Over time I developed a system of notation in order to keep track of the different techniques and lessons. The same notation is used in this book. In today’s world of new technology, Internet and accelerated time, this one hour ten minute DVD and book represents an intensive 6 month course that is brought to the comfort of your living room. Please do not copy this book or DVD. Sincerely, Ganesh Anandan
SOLKA TTU South Indian drumming techniques for Bodhran Price: CANADA: $100 CDN (shipping incl.) / USA: $75 USD (+ shipping) / EUROPE: 70 (+ shipping) To order: www.fingerworks.org / www.cooperman.com
Produced by FINGERWORKS © SOCAN, Canada, November22, 2004
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