u p & d o wn Sapat is the most bas basic ic exercise. It con consis sis ts of going up a nd d ow n the notes notes of the scale, throug through h the w hole hole rang e the instrument or voice voice is capa ble of: of:
For For v oice, ice, a more more typical range w ould ould be:
There are many possible ways to vary this: •change the laya- from as slow as possible to as fast as possible: •acceleration may be either gradual, or step-by-step:
4 beat beat / no note te 3 beat beat / no note te 2 beat beat / no note te 1 note / beat 4 notes / 3 beats 3 notes / 2 beats 2 note / beat 3 notes / beat 4 no notes tes / beat 8 no notes tes / beat
Etc.
u p & d o w n w i t h b o l p a t t e rn s •On an instrument, changing the plucking pattern creates new variations: • Bol patterns w ill be discussed later, but the most basic(notated here in fas t tintal) are: +
o
all da strokes all ra strokes dara – alternating da and ra diri diri – 2 strokes/note da diri diri da da diri diri diri da diri da ra darada darada dara • Bol patterns may also go ag ainst the flow of the barlines, creating patterns that take more than one cycle to resolve.
darada da diri da da ra, da ra da da ra da, da ra, da ra
3 3 5 7
• Longer patterns are also possible:
darada, darada, darada, darada, dara dara daradarada, daradarada, darada darada
33334 5533
(darada)10x dara 310x 2
e a c h n o t e , a l l o c t a v es This is a good exercise for evenness of tone and color. •It may be done chromaticaly, or staying in one scale. • Best done s low ly, and including the higher octav e. each note, all octaves:
pairs of notes, by fifths:
r e p e a t w i th
then
, e t c . , t h r ou g h t h e c i r c l e o f f i f t h s .
p a i r s of n o te s , b y f o u r t h s :
r e p e a t w i th
then
, e t c . , t h r ou g h t h e c i r c l e o f f o u r t h s .
triads:
then
r e p e a t w i th
, etc.
perfect fifths:
start on
then on
, etc.
minor thirds:
start on
next time, e tc.
Can also g o by perfect fourths, ma jor thirds, tritones, w hole tones, etc… , end ing w ith half- steps– the chromatic scale.
s l i d e s f r o m o n e n o t e t o a n o t he r : These slid e exercises should be done w ith attention to ev enness & accuracy of pitch.
9–12: play as murcchhana
u p & d o w n –o n e o c t a v e
+
+
+
+
s a m e th i ng ,s ta r ti ng on
, th e n
e tc .
growing and shrinking
4x
4x
4x
each time, add a note a bove, then a note below .
4x
s m a l l p a t t e r ns , r e p l i c a t e d o n e a c h n o t e :
by permutation, many can be made from one.
s m a l l p a t t e r ns , r e p l i c a t e d o n e a c h n o t e :
methods of producing more than one note per stroke:
‘hammer’ ‘cut’ hammer+cut cut+hammer cut+‘slip’ cut+slip+hammer cut,hammer,cut,slip,hammer
v a r i a t i o n s o n a p a t t e r n :
V ariations: add: add a leading note: add a trailing note: change the rhythm:
f o r i m p r o v i n g coordination & cross-picking etc.
etc.
etc.
etc.
4x
4x
4x
4x
4x
4x
4x
4x
4x
4xetc. 4xetc.
4x
4x
4x
...etc.
4x
4x
4x
4x
4x
4x. . . e t c .
4x 4x
4X
...etc.
4X
4X
4X
– 2 4 p a t t e r n s p o s s i b l e f o r e a c h s e t o f f o u r n ot e s
4X
t h e b a s i c s t r o k es da
S t r on g s t r o k e u s e d t o be g i n m o s t p a t t e r n s . T he d e f a u l t s t r ok e .
ra
We a k e r s t r o k e , than .
chic
Stroke on the chicari str ing s, it can be e i t h e r a q u i e t ' s p a c e r ' b e t w e e n n ot e s o r a n importa nt r hy thmic e lem ent.
diri
A l t h o u g h i t i s c o m p r i s e d o f a l t e r n a t i n g d a a n d r a s t r ok e s , a i s u s u a l l y c on s i d e r e d a si ng le ev ent.
da-r
The tw o s trokes of a r e a l s o o f te n b e s t c on s i d e r e d a s i n g l e e v e n t . N o t e t h a t a d o t i s u s e d t o i n d i ca t e a g a p .
dra rda drda rdra
m a y h a v e m or e s u s t a i n
6 ,7 ,8 ,9 a r e ' f la m s ' a n d a r e r a r e l y found in compositions.
b a s i c p a r r e r n s a n d v a r i a ti o n s da diri, same as: diri da, same as:
da da da ra da da ra da
da–dara darada–
t h e s a m e b ol s , b u t w i t h a differe nt relation to the note and beat.
da ra da da ra da da da
da da da – d a da – d a
t h e s a m e b ol s , b u t w i t h a differe nt relation to the note and beat.
da – da d a – da da da
da da–ra da ra–ra da ra–da ra da–da
the s ame rhy thm, but pr oduced w i t h d i f f e r e n t b o l s
m o r e p a t t e r n s a n d v a r i a ti o n s da diri da ra da – diridiri da – ra – da – dirdirdirda– ra – da – – diri da – ra – da – drda – ra –
da ra diri diri diri diri da ra
da–diri diri diri
same as:
dara–rdiri diri diri da–diri diri diridara–rdiri diri diri da – diri diri diri dara–r diri diri diri da– – rdiri diri diri
same as:
darada–diri diri
patterns and variations da-r da-r da da-r da-r diri darada d a - r d i r i d a – r daradadiri da – – d a – r d i r i da – – darada diri darada darada diri darada – – darada
da-rda-rda-rda-r da – da – d a - r d a - r d a - r d a - r dir dir i i darada da-r darada da-r dir dir i i da– – daradada– – darada dir dir i i darada daradadaradadaradadiri diri
333322 333322 333322 333322 333322
darada diri darada diri darada darada 323233 diri darada diri darada diri diri diri
2323222
darada diri diri darada diri diri diri
3223222
l a r i a n d v a r i a ti o n s play, on each note, 16 diris , then 15, then 14, etc., dow n to 1, then 1/ 2 4 diris on each note, w ith the accent on the 1, then 2, then 3, then 4, then 2 a nd 4, etc. 1 diri on each note, accenting every 4th diri, then every 3rd, every odd-numbered one, every even-numbered one.
1 diri on each note, accenting every 5th diri, then every 7th, etc.
1 1/2 diri on each note,i.e. ‘Darada
Radara’
2 1/2 dirioneachnote– 'Daradarada Radaradara'
play 4 diris relaxed , then 6 tight, in the s ame s pace.
alternate d iris w ith other bols, notice w hich kind of diri g oes w ith w hich bol.
play diri w ith the i.e.– di
di
accented
patterns and variations chik diri diri diri
lari jhala
chik da da da
tok jhala
chik da da ra chik da ra da da chik chik chik
sidda jhala
ra chik chik chik da ra chik chik
sarod jhala
da ra chik ra chik ra da ra good exercise – play on each note: 4x
4x
4x
4x
2x
• This sequence of transformations can be applied to other jhala patterns.
t r a n s fo r m a t i on s o f d a c h i k c h i k c h i k 4 4 4 4 22224 4 224 224 332 332 33334 23 23 33 23 23 222 322223 322 3222 of fbe a t
4 4 4 4 of fbe a t
222244 of fbe a t
33334 6 6 4 5 5 6 5 5 3 3 • These type of transformations can be applied to other jhala patterns.
v a r i a t i o n s o f s a r o d j h a l a da ra chik ra chik ra da ra chik ra da ra da ra chik ra chik ra chik ra da ra da ra da ra chik ra chik ra chik ra (da ra chik ra chik ra)2xda ra chik ra (da ra chik)4x da ra chik ra da ra chik ra chik da – ra da ra chik ra chik ra – ra da ra chik da – ra diri (da ra chik da – ra) 2xda ra chik ra (dara chik da–ra)5xdiri chik da – ra da ra chik ra chik da – ra chik ra da ra chik – dara chik da – ra chik– –dara chik dara (da – chik )10xdiri (chik – ra)10xdiri
