Tala Concept.

To start with it is important to understand the difference between tala and laya. The tala is a structure based on a predetermined number of beats and is cyclic in nature. Laya implies the tempo or the speed at which the tala is executed.

Talas used in sitar recital are usually ‘trital’ (16 beats), ‘ektal’ (12 beats), ‘Jhap tal (10 beats), Roopak (7 beats) etc. Lighter pieces (usually) called ‘dhuns’ are also played in talas like Keherva, Dadra, etc.

Laya Concept

The concept of Laya has been developed into specific categories on the basis of ratios of 1:2, 1:3, 1:4 and so on. The concept implies doubling, trippling and quadrupling the execution as compared to the original tempo. These categories are known as ‘Jatis’ having the nomenclature of Dugun (Dwigun) and Tigun (Tishra Jati) and Chaugun (Chatushra Jati), etc.

Disclaimer : The content may have some copyright material. The purpose is to share education. If anyone has any objection regarding the published material on this website, kindly contact us for removal. It will be immediately removed. We are also ready to acknowledge owners reference.
Support for a cause
Support for a cause

NAD-SADHNA INSTITUTE FOR INDIAN MUSIC AND RESEARCH CENTRE is a place where researchers in music education, professionals in related fields, as well as undergraduate, post graduate and PhD scholars, students and enthusiasts, can get together in a virtual exchange of information and knowledge in the field of Music Education and Musical Performance. Besides, our purpose is to work in areas as diverse as academic research, music and sound production, exhibition services, and the delivery of cinematic, music, and arts events. Nad Sadhna was founded in 2010 and is based in Jaipur, the city better described as the cultural capital of the Country. Having dedicated study facilities, extensive holdings of published and unpublished materials (books, journal and newspaper articles, scores and recordings), collections of recorded music and an audio visual laboratory.