Taala lessons for the uninitiated.

[ganesh_mourthy]

Namaskarams and Shuvo Deepaboli to all.

I am wondering if there are any good videos on Laya and Tala in youtube or elsewhere that a totally uninitiated could learn from. It is not for learning, but for appreciation especially to make folks appreciate the thani. There are a few good ones for Raagas, but nothing much for laya.

[ajaysimha]

There are a few videos by T M Krishna where he explains each concept very well.
Some are paid and rest are available for free

[ranjanimalavi]

I felt these Lecdem videos by Mannarkoil J Balaji were good:

https://www.youtube.com/watch?v=mzanBWs ... gs=pl%2Cwn
https://www.youtube.com/watch?v=FE3gQEg ... gs=pl%2Cwn
https://www.youtube.com/watch?v=lLGWJBG ... gs=pl%2Cwn

Raman

[ganesh_mourthy]

So thank you Raman . I feel that it is enough of lecdems that will attract more folks into this music form. For many it is still quite daunting.

[shankarank]

He kind of describes the daunt and presents something that might make sense.

https://www.youtube.com/watch?v=9lg1PL98tZI

[SrinathK]

@ganesh_mourthy Coming from AMS methods and the laya section as a forum veteran, you must already be an expert by now!

My advice for any layman would be to grasp the basics of rhythm, then try to identify every round of the tani - usually first round happens in chatushra nADai , then the second round is played in some other naDai, after that they gradually decrease the length of each round by half - this is called kuraippu (reduction). Then after they join together, they play some fireworks (this is called farans).

This builds up to a pattern called the mOhra which is repeated 3 times, ending with a distinctive pattern. The 3rd time instead of repeating it changes track and "goes around" for an extra cycle. If you hear a couple of them you can then spot them anywhere after that.

Finally korvais are concluding patterns. They are played in the beginning rounds also, but the one played 3 times at the end is the special one. And then the main artiste takes over.

This is all the layman needs to know. There is nothing daunting, but a little bit of conscious effort needs to be made to appreciate the tani, that's all.

[ganesh_mourthy]

I have progressed from near zero to expert level actually ,,, thanks to Akellaji. I was looking for a lecture video covering everything ... for the purpose of academics. AMS ji's videos are fantastic for learning . Once a tala incapacitated spastic like me could also learn with it

[Nick H]

This builds up to a pattern called the mOhra which is repeated 3 times

The entire long mohara at the end of the thani is played only once. I don't know what to call the sections in Tamil, so let me call them verses... The first two are the same length, and then they get shorter, the last ending in small 3-line mohara/thiermanam. It's use of dikutharikitathaka and thalankidu thom phrasing is so distinct it can be recognised by us all. I only know one mohara, the one for adi thalam, but can still usually recognise it in any thalam.

There is a formula by which a mridangist can compose it, on the spot, for any thalam, even if it not in their memory. Of course, I have forgotten it . And I am feeling to discalculic to try to mention the lengths of the mohara sections

[shankarank]

Since you raised it, a discussion of this has been begun in this thread: viewtopic.php?f=8&t=33430

[ganesh_mourthy]

so thank you Shankarank ... I shall head there . Seemed not of interest for a long time.

[shankarank]

This is all the layman needs to know. There is nothing daunting, but a little bit of conscious effort needs to be made to appreciate the tani, that's all.

Mridangam appreciation cannot be limited to just tani appreciation. Layman does not need to know any music for that matter. They need to experience the sound. All through. Apathy towards tani is a symptom not the issue to be addressed as a standalone! This lack of sensitivity to appreciation of sound extends to the apathy towards instrumental music in general.

The intended audience, to whom we say, some knowledge is required , are those who took effort to understand other aspects and sit in a judgmental role in providing acclaim to the upcoming generation of artists. Before vidvans themselves did it. Larger rasika public also knew innately due to circumstances then!

But now there may be a situation where such awareness may be waning, but intellectual communication and appreciation is advancing. Since we in NA still depend on artists being acclaimed by mylaporians before we get to see them, they occupy some position of power! So with power comes responsibility.

It is like if you approach a doctor, you also need some education on medical information.

[HarishankarK]

I have progressed from near zero to expert level actually ,,, thanks to Akellaji. I was looking for a lecture video covering everything ... for the purpose of academics. AMS ji's videos are fantastic for learning . Once a tala incapacitated spastic like me could also learn with it

Where can I find these videos? I would like my daughter to watch.
She is struggling to maintain the tala in her fingers for 2nd speed dhruva tala alankaara (chathusra jathi). And I dont know what to do

[SrinathK]

Your daughter for some time needs to do nothing except put only the talam with a metronome for company.

Then throw in this jati : tKkT-tk-kTtK-kTtk or to make it easier - tKkT-tk-kTtK-tKdm so the 2nd set of 4 can stand out. No tala, only beats, both hands. Then with tala. Then let's repeat the exercise but with the alankaram.

Also it looks like there are issues with handling the 2nd speed itself. Let's see if she can handle it with just her hands before putting the tala itself.

[HarishankarK]

Thank you Srinath ji - will make her practise
First speed dhruva tala she is able to do well but when it turns to 2 aksharas per beat she starts of okay but in the middle talam slips

To be honest even I can't do it
Will try the pattern exercises with her

Teacher has now moved on to Matya tala alankara now

[mridhangam]

First of all try only with metronome without using hands for tala. Then try to sync the hand-tala with metronome and then only one can easily have the right tempo on hand. i have seen many students (90%) when asked to render 3rd speed of tkt in 4/4 make it into tisram. Before rendering the syllables it would be better to internalise the tala structure with corresponding sollus in first speed. Assume a tala like chatusra Druva one should attempt to render as Tkdm-tk-tkdm-tkjn

The last TKJN will give a clue that the tala cycle is ending. Next step only one should render trikalam.

This problem could be addressed concept wise.

for any tala the corresponding syllables are rendered once in first speed and twice in second speed, 3 times in Tisram, 4 times in Chatusra 3rd speed, 5 times in Khandam, 7 times in Misram and 9 times in sankirna gathis.

If one understands this then the confusion of the structure of tala will pose lesser problems.

Mannarkoil J Balaji

[msakella]

There are so many varieties of lessons to the uninitiated individuals basing upon their instinctive rhythmical abilities. The true teacher only can very efficiently assess the level of the instinctive abilities of an individual and initiates him/her even by inventing new methods in this process then and there. True teacher never do things on his/her own but always initiates the student in doing things independently. All the present performers who are not true teachers at all cannot even understand this but pose as very efficient teachers. amsharma