Jhaptal

Jhaptal is one of the most prominent 10 beat taals in Hindustani classical music. It has a very rich history in semicalssical music as well being present in bhajan, Rabindra sangeet and kheyal forms of music. Shri Anand Lahiri from the Benares gharana performs Jhaptal in this course and overs the nuances of unsymmetrical structured taal which gives wider scope to experiment.

Instructor: Anand Lahiri

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Enrolled Students

19

Suggested Time

30 days

Pricing

Dakshina 

Language

English/Hindi

Rating

2

Unit 1: I

Intro & Vilambit 8 min

Jhaptal consists of 10 beats which are in four vibhaags(divisions) of 2-3-2-3. The taal in jhaptal is on beats 1, 3 and 8 (the first beat in each full division). For the vilambit each beat is divided into 4 units where the theka is composed in silence with the fillings retaining the prime sounds of the initial theka.      
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Unit 2: II

Alaap 16 min

The alaap here consists of  the traditional bols of the Jhaptal and te re ke te to showcase the creativity of the musician. It reflects the depth and training of the performer that they can incorporate such features into their music. As alaap literally means a conversation, it is upto the player to take the conservation as they please.
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Unit 3: III

Vistaar 12 min

The vistaar is considered as the essence of hindustani classical music. It is the imagination of the musician that is at work here where they mix different bols in the particular taal but adhere to its strict framework. The bols ti re ki te and dhi re ki te are emphasized in this piece while performing the Jhaptal.
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Tukda & Farmaishi Chakradhar 6 min

Tukda is a melodic phrase composed within a number of matras or beat. It generally has simple bols and generally ends in a khulla bol. In this case the bols te ti ki te  ta ti ke te dha are used in different matras, played in single and double tempo. Farmaishi Chakradhar is the variation of a Chakradhara Tihai where the first ‘dha’ of the tihai of the first cycle comes to ‘sam’. And also the second ‘dha’ of the tihai of second cycle comes to ‘sam’ and the third ‘dha’ of the tihai of the third cycle comes to ‘sam’.
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