h ap te r
Sapat Mind Murcchana Paltas Kr SNRSNS Coordination Bols/Lari/jhala
e xe r i s e s
hap er
e xe r i s e s
Sapat 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:
SR
DP
GRSRG
PD
For For v oice, ice, a more more typical range w ould ould be:
SR
PD
S RG RS N
P mG RS ND P
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:
S
R
S
R
G G
m m
4 beat beat / no note te 3 beat beat / no note te 2 beat beat / no note te
S
R
G
m
1 note / beat 4 notes / 3 beats 3 notes / 2 beats
S R G m
2 note / beat 3 notes / beat
RGmPDNS RGmPDNS
4 no notes tes / beat 8 no notes tes / beat
Etc.
h ap te r
e xe r i s e s
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 Bol patterns w ill be discussed later, later, but the the most basic(no 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 Bol patterns may also go ag ainst the flow flow of the barlines, creating 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 Longer patterns patterns are also possible: possible:
darada darada,, darada darada,, darada darada,, darada darada,, dara dara dara dara daradarada, daradarada, darada darada
33334 5533
(darada)10x dara 310x 2
hap er
e xe r i s e s
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 done s low low ly, ly, and including including the higher octav octav e. each note, all octaves:
S S S S S S R R R R R G G G G G
etc.
pairs of notes, by fifths:
S P S P S P S P S P S P r e p e a t w i th th
then
, e t c . , t h r ou 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 o f n o te te s , b y f o u r t h s :
S m S m S m S m S m S P r e p e a t w i th th
then
, e t c . , t h r ou ou g h t h e c i r c l e o f f o u r t h s .
triads:
S G P S G P S G P S P G S P G S P G S r e p e a t w i th th RmD, t h e n , etc. perfect fifths:
S P R D G N M r d g n m start on
then on
etc.
, etc.
minor thirds:
S g M D S g M D S g M D S start on
etc.
next time, e tc tc..
Can also g o by perfect fourths, fourths, majo majorr thi thirds, rds, trit triton ones, es, w ho hole le tones, tones, etc… etc… , ending w ith half- steps– the chro chromatic matic scale.
h ap te r
e xe r i s e s
Mind 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 attentio attention n to ev enness & accuracy of pitch. pitch. etc.
etc. etc.
RGR
etc. etc.
mD G R
etc. etc. etc.
SR
PD
SN
RS
SR
PD
SN
RS
SR
PD
SN
RS
SR
PD
SN
RS
SR
PD
SN
RS
SR
PD
SN
RS
S R
9–12: play as murcchhana
etc.
hap er
e xe r i s e s
Murcchhana u p & d o w n –o n e o c t a v e Th hii s e xe xe r i s e s ta ta r d o i t a ga ga i s ta ta r i n
SS
it
s i m l e i de de a g o u p a n d ow ow n av s ca ca llee , ea es s ca ca llee , i n s e qu qu e i .e .e .
SR
SR
PD
en
GG
etc.
•an imp rtant rtant exerc exercise: ise: 'Mur 'Mur han in hree hree speeds’ i.e single, double, double, quadrup quadruple: le: +
S +
S R
+
P D DNSS DNSS
S S N
N
R
S
R S +
Pm
s a m e th i ng ,s ta r ti ng on
, th e n
e tc .
'Half 'Half murcch murcchhana': hana':
PD SRGG SRGG SN Pm
etc.
ther ther 'br ken' mur hhan variations: variations:
–SRGmPDN–SNDPmGR S–RGmPDNS–NDPmGR SR–GmPDNSN–DPmGR SRG–mPDNSND–PmGR SRGm–PDNSNDP–mGR SRGmP–DNSNDPm–GR SRGmPD–NSNDPmG–R SRGmPDN–SNDPmGR– sam
hing, hing, star star ing
he
S RG R G mP m P DN D N S S ND N D Pm P m GR GR S SRGmPD SRG mPD’SN ’SN SND SNDPmG PmG’SR ’SR SRGmP’ SRG mP’SND SND SND SNDPm’ Pm’SR SR SRGm’S SRG m’SNDP NDP SND SNDP’S P’SRGm RGm SRG’SN SRG ’SNDPm DPm SND SND’SR ’SRGmP GmP SR’SN SR ’SNDPm DPm SN’ SN’SRG SRGmPD mPD S’SNDP S’S NDPmGR mGR S’S S’SRGm RGmPDN PDN S ND N D Pm P m GR G R S S RG R G mP m P DN DN S he
etc.
h ap te r
E xp x p an a n di di n
e xe r i s e s
E xe x e rc rc is e
growing and shrinking etc.
S’SRS’SRGRS’SRGmGRS’…
etc.
etc.
SR’SRGR’SRGmGR’SRGmPmGR…
etc.
(SRSN) 4 x (SRGRSN) 4 x (SRGRSNDN) 4 x (SRGmGRSNDN) 4 x each time, add a note note a bo bov v e, then a note note below below .
SR’SRG’SRGm’SRGmP…
etc.
RS’GRS’mGRS’PmGRS…
etc.
SR’SG’Sm’SP…
etc.
SNSR’SNSG’SNSm’SNSP…
etc.
SNSSNS’SNSRSR’SNSGRG’SNSmGm…
etc.
SNSNSN’SNSSRS’SNSRGR’SNSGmG…
etc.
SRSR’SGRG’SmGm’SPmP…
etc.
SRSN’RGSN’GmSN’mPSN’DNSN…
etc.
SRGSND’RGmSND’GmPSND’mPDSND’PDNSND’ DNSGRS’PDNGRS’mPDGRS’GmPGRS’RGmGRS
etc.
hap er
e xe r i s e s
Paltas 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 : RS'GR'mG'Pm'DP'… SRS'RGR'GmG'…
etc.
etc.
RSR'GRG'mGm'…
etc.
SRG'RGm'GmP'…
etc.
SRSR'RGRG'GmGm'…
etc.
SRSRS'RGRGR'GmGmG'…
etc.
SRGRS'RGmGR'GmPmG'…
etc.
SRGmG'RGmPm'GmPDP'…
etc.
SRGm'RGmP'GmPD'…
S R G ' R G m ' G m P …e t c . S G R ' R m G ' G P m …e t c . R G S ' G m R ' m P G …e t c . R S G ' G R m ' m G P …e t c . G S R ' m R G ' P G m …e t c . G R S ' m G R ' P m G …e t c .
etc.
SRGmP'RGmPD'GmPDN'…
etc.
SRGmPD'RGmPDN'GmPDNS'…
by permutation, many can be made from one.
SRGm,RGmP,GmPD… e t c . SRmG,RGPm,GmDP… e t c . SGmR,RmPG,GPDm… e t c . SGRm,RmGP,GPmD… e t c . SmRG,RPGm,GDmP… e t c . SmGR,RPmG,GDPm… e t c .
etc.
SRGmPDN'RGmPDNS'GmPDNSR'… SR'SRG,RG'RGm,Gm'GmP,…
etc.
etc.
SRS'GRS,RGR'mGR,GmG'PmG,…
etc.
SRS'GRS'RGmGRS,RGR'mGR'GmPmGR,…
etc.
SRG'GRS' SRG' GRS'RGRS RGRS'RSG 'RSGRS, RS, RGm' RGm'mGR' mGR'GmGR GmGR'GRm 'GRmGR,… GR,…
etc.
h ap te r
e xe r i s e s
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 : S R’ R ’ SR S R G’ G ’ SR S R Gm G m , R G’ G ’ RG R G m’ m ’ RG R G mP mP , S RG R G R’ R ’ SR S R Gm G m , R Gm G m G’ G ’ RG R G mP mP ,
etc.
etc.
S RG R G R’ R ’ SR S R Gm G m P R Gm G m G’ G ’ RG R G mP mP D
etc.
S RG R G ’ RG R G m ’G ’ G R S, S , R Gm G m ’ Gm G m P ’m ’m G R
etc.
S RG R G ’ RG R G m ’G ’ G m P’ P ’ m GR G R S , R G m’ m ’ G mP m P ’ mP m P D 'P ' P mG mG R , S RG R G ’ RG R G m ’G ’ G m P’ P ’ m PD P D ’ PD PD N S S NR N R S, S , RS R S GR G R ,G , G Rm Rm G
etc.
S N RS R S N S, S , R SG S G R SR S R , GR G R m GR GR G , S G, G, Rm R m ,G , G P, P , mD mD ,
etc.
S m, m, RP R P ,G , G D, D , mN mN ,
etc.
S P, P, RD R D ,G , G N, N , mS mS ,
etc.
S D, D , RN R N ,G , G S, S , mR mR ,
etc.
S G m , R m P , G P D , …e t c . S Rm R m ,R , R GP G P ,G , G mD mD , S GP G P ,R , R mD m D ,G , G PN PN ,
etc.
etc. etc.
S Gm G m P, P , Rm R m PD P D ,G , G PD PD N
etc.
S Gm G m D, D , Rm R m PN P N ,G , G PD PD S
etc.
etc.
etc.
hap er
e xe r i s e s
Krintan/Gamak methods meth ods of produ producing cing more than one note per stroke: etc.
al
etc. etc.
R’ all
mG’
G’ etc.
m’
etc.
‘hammer’
etc.
‘cut’ etc.
hammer+cut
etc.
cut+hammer
etc.
cut+‘slip’ etc.
cut+slip+hammer
SGRS SG RS GR GRmG mGRG RG mG mGPm PmGm Gm Pm PmDP DPmP mP’… ’…etc. cut,hammer,cut,slip,hammer G R S S R – m G R R G – P m G G m – ’ … etc. S–GRSSR–R–mGRRG–G–PmGGm–’…
etc.
h ap te r
e xe r i s e s
SNRSNS variations on a pattern: SNRSNS’PMDPMP’SNRSNS’PMDPMP
SNRRSNSS’PMDDPMPP’SNRRSNSS’PMDDPMPP
SNRSNS’PMDPMP’SNRSNS’PMDPMP SNRSNS’PMDPMP’SNRSNS’PMDPMP SNRSNS’PMDPMP’SNRSNS’PMDPMP SNRSNS’PMDPMP’SNRSNS’PMDPMP SNRSNS’PMDPMP’SNRSNS’PMDPMP SNRSNS’PMDPMP’SNRSNS’PMDPMP Variations: add: P M D P M P add a leading note:
PSNRSNS
RPMDPMP
add a trailing note: change the rhythm:
SNRSNS PMDPMP
2.11
hap er
e xe r i s e s
TwoTw o-ha hand nd Ex Exer erci cise se for improving coordination & cross-picking S R S R S R S R , R G R G R G R G …e t c . S RS R S ’R ’ R SR S R ,R , R GR G R ’G ’G R
..
etc.
S R S’ S ’ R SR S R ’ SR S R , RG R G R ’G ’ G R G’ G’ R G . . .e t c . S R S ’R ’ R S R ’ SR S R S ’ R SR S R ’ S R SR S R , R G R’ R ’ G R G ’R ’ R G R ’ GR G R G ’ R GR GR G . . .e t c . (SR)4x (SRG)4x (SRGm)4x (SRGmP)4xetc. (SN)4x (SND)4x (SNDP)4x (SNDPm)4xetc. ( S R G )4x( R G S )4x ( G S R )4x ( G R S )4x ( R S G )4x ( S G R )4x ( R G M ) 4x . . . e t c . ( S R G R ) 4 x ( R G R S ) 4 x( G R S R ) 4 x ( R S R G ) 4 x ( R G m R )4x. . . e t c . ( S R G m ) 4 x ( S R m G ) 4 X ( S G m R ) 4 X ( S G R m ) 4 X( S m R G ) 4 X ( S m G R ) 4 X ( R G m S ) 4x . . . e t c .
ot e s – 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
h ap te r
e xe r i s e s
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
Weaker stroke, than .
chic
Stroke on the chicar i s tring 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 om om 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 d i r i i s u s u a l l y c o n s i d e r e d a si ng le ev ent.
da-r
T h e t w o s t r o k e s o f d a - r 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 ot e t h a t a d o t i s u s e d t o i nd i c a t e a g a p .
dra
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.
rda drda rdra
2.13
hap er
e xe r i s e s
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 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 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 ith di ffe re nt bols
h ap te r
e xe r i s e 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 – dr drda da – ra –
da ra diri diri diri diri da ra
da–dirii diri diri da–dir
same as:
dara–rdiri diri diri da–diri diri
same as:
darada–diri diri
diridara–rdiri diri diri da – diri diri diri dara–r diri diri diri da– – rdiri diri diri 2.15
hap er
e xe r i s e s
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 da r a da – – da r a da
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 d i r d i r i i da–– – da da dara radada– dada– – da dara rada da d i r d i r i i darada daradadaradadaradadiri diri
333322 333322 333322 333322 333322
darada dar ada dir dirii dara darada da dir dirii dar darada ada darad daradaa 323233 diri darada dir dirii dar darada ada diri diri diri
2323222
darada diri diri diri darada darada diri diri diri diri
3223222
h ap te r
e xe r i s e s
l a r i a n d v a r i a ti o n s play, on each note, 16 diris , then 15 15,, then 14 14,, etc e tc., ., dow n to 1, 1, then 1/ 1/ 2 4 diris on each note, note, w ith the accent on 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 diri dirio on eac each h no notte– 'Daradarada Radaradara'
play 4 diris relaxed , then 6 tight, tight, in the the s ame s pace.
alternate d iris w ith oth alternate other er bols, bols, notic no ticee w hich kind of diri g oes w ith w hic hich h bol. bol.
play diri w it ith h the the i.e.–
diRi diRi
ra accented
2.17
hap er
e xe r i s e s
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.
h ap te r
e xe r i s e s
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. 2.19
hap er
e xe r i s e s
variations of sarod jhala 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 (da dara ra chik da–ra 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
