MeraPahad Community Of Uttarakhand Lovers

Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -172   
Rag Ragini, Tal, Musical Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -2 

    गढ़वाली गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

The dancers and audience enjoy the Dhol-Damau according to tunes. There are two theories of tunes for Dhol Damau. According to ‘ Ramcharan Dhol Sagar’ , as per time, class and place , there are thirty five tunes in playing Dhol-Damau/Rauntal

1- Jangan man -- for earth prayer
2-Dhup Deep aur Dhwaj--- Prayer of own deities and nation
3- Surya Kiran ---Prayer of Sun
4- Kucche ki Naubat-Morning Play
5-Saras-- Worship of arms and ammunitions
6-Parikrama-- Circumambulation of earth
7-Badhai Shabad-- Happy news, Congratulation
8-Ghai Shabad- Initiation of war/battle
9-Jadkhamb- To ascend
10-Thaman-- Stopping
11-Utrai--To descend
12-Sone ki Naubat-- Resting period
13-Saat sanjha aur Nau Doha- Travel through ocean
14-Sagun- Conference hall/conference of deities
15-Chakravyuha---worship of deities
16-Ram Rahman- meeting place or Conjunction
17- Gadh ganga - at the River bank
18-Chakor Jojan- At the time of Tug of war
19-Machkaro - At the time of son birth
20-Bhair Khol-Bhitar Kohl - At the time of initiation of walking by child
21-Shabad Grah- Preventing bad omen
22-Chaurasi Ghai- Worshipping eighty four lakhs deities
23-Chauras- To call all deities in one place
24-Sarva sidhi-- For best wishes
25-Chauk Vijeta- Starting from country yard
26-Sarvagan Vijeta-- Best wishes for wins to all
27- Painsara- Step by step
28- Upgrah Vijeta-- Continuous walking
29-Chauhato-Chhablato-- Lanka dahan
30- Takkato- Head-on
31-Bajrahato- Undesired
32-Airali- Chait Pujan
33-Bairali- Welcoming/Worshipping of Auji
34-Jalvayu- Worshipping season
35-Holi Vijeta- Win over bad omen


Copyright@ Bhishma Kukreti 17 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
 XX
Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing    in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia

39 Tal (Rag) Music Notation /Script of Dhol-Damau in Garhwali and Kumaoni Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -174   
Rag Ragini, Tal, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -4

    गढ़वाली गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-3
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

               Music Notation  or Sangit Lipi of Chait Prabahti

                 

               केशव जी ने कई लोक गीतों की स्वार लिपि भी तैयार कीं हैं और श्री शिवा नन्द नौटियाल जी ने कई लिपियों को अपने ग्रन्थ में स्थान भी दिया है
यथा एक उधाह्र्ण है जिसमे केशव जी ने ढोल सागर के चैती प्रभाती में ढोल दमाऊ युगल बंदी की स्वर लिपि . ढोल में ३९ ताल  हैं व दमाऊ में तीन ताल
१ २ ३ ४ ५ ६ ७ I ८ ९ १० ११ १२ १३ १४
झे नन तू झे नन ता - I झे गा तु झे ननु ता --
०
१५ १६ १७ १८ १९ २० २१ I २२ २३ २४ २५ २६ २७ २८
त ग ता झे गु त - I झे गा झे न्ह न ता --
२९ ३० ३१ ३२ ३३ ३४ ३५ ३६ ३७ ३८ ३९ I १ २ ३
ता - क झे ना तु झे गा --- ता -- I झे ननु तु
यह लोक गीत चैत महीने में बजाया जाता है जिसे चैत प्रभाती कहते हैं चैत संगरांद के दिन औजी अपने ठाकुरों के यहाँ घर घर जाकर सुबह इस्ताल पर ढोल दमाऊ बजाते हैं

Copyright Mrs Keshav Anuragi , Dehradun

Copyright@ Bhishma Kukreti 18 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
 XX
39 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; 39 Tal /Music Notation /Script of Dhol-Damau  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; 36 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;  36 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; 36 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; 36 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  36 Tal /Music Notation /Script of Dhol-Damau  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; 36 Tal /Music Notation /Script of Dhol-Damau in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia

 Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Garhwal, Kumaon, and Haridwar

Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -177   
Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -7

    गढ़वाली गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-6
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

             According to Indian Classic Dictionary, Jod means ‘Joining’ and usually the second section of instrumental alap in which a clear pulse is created. Vilambit means slow tempo and after Vilambit Tal it comes Madhya Tal that is fast ‘Laya’. Sthai means ‘constant standing and is first section of a composition which is frequently repeated.

               Jod Tal is specific beats of Dhpl Damau playing.  The Jod Tal is part of of Vilambit Lay and are having gaps in beats. The portion of beat are stopped for a moment artistically. Dhol player and Damau player should have extreme and fine coordination in creating Jod Tal. Jod Tal is usually on background of Shabad Tal. But Jod may be created before and after too.
                       ढोल -दमाऊ वादन में जोड़ ताल (बोल संयोजन )

मूल - स्व. केशव अनुरागी
इंटरनेट प्रस्तुति - भीष्म कुकरेती

ढोल -दमाऊ वादन में जोड़ ताल (बोल संयोजन ) के बारे में डा  शिवा नन्द नौटियाल लिखते हैं -
यह ताल कला की दृष्टि से अपरिमेय महत्व की है।  यह बिलम्बित लय प्रधान है।  इस ताल में लय का चलन विराम व्यवस्था से भरपूर है।  अर्थात लय चलन एवं कृति (टुकड़ा ) बजाकर पल भर के लिए अवरुद्ध किया जाता है। तथा पुनः इसी क्रम में कृति -प्रकृतियाँ प्रस्तुत की जाती हैं। कृतियों के कलात्मक संयोजन के कारण यह ताल रचना जोड़ कहलाती है। यह टुकड़े ढोल के पेशकारें हैं।  ढोली और दमामी का सामूहिक प्रयास ऐसे पेशकारों को प्रस्तुत करना होता है। 
  जोड़ की कृतियाँ स्थाई की दुगुन , तिगुण , चौगुन आदि विभिन्न लयों में प्रस्तुत किये जाते हैं। जोड़ प्रस्तुत करना ही कलाकारिता का इम्तिहान है।
जोड़ की रचना प्रायः शबद की पृष्ठभूमि के रूप में प्रस्तुत की जाती है।  जोड़ बजाने के पश्चात शबद की अवतारणा अनिवार्य है और यह भी अनिवार्य नही है कि शबद के प्रारम्भ में जोड़ बजाया ही जाय।
जोड़ की स्थायी तथा उसकी कुछ कृतियों का स्वरूप इस प्रकार है -
स्थायी -
 झेई - - - झे - झेई - - - - , ता -,
ता ता , झेई - - - त्रिणिता , झे -- ताग्ता
झगेक , झेई  - - -  II
कृति -1 -
झेंग्झेग् ,झेंग्झेग् , ताताग् -, ताग्झेग   ताताग्
झेता - - - तग्कत्गमक तकतक , तृणिता  तृणिता , - -
ग्ता - ताताग् , कग -ताग् ताग् -ताग्  ताता -झेई -- - -II
कृति -२
झिग्  टिग झेगा -I तक तक झे ता - I झेगत्  झेगतक
झेगु  ताग् झेता - I झेंगक् झेंगक् झेग् झेग-ताग I
ता - - - ग् , ता - - - ग्।  ता ता ता - - ग् I त्रिणी तक
ता ता ता - I ता ताग् , ता - - झेई - - -  I
कृति -३
 झेगझेगातुक , झेतझेगतुक , झिगिटतक् - - - I झिगिटि  , 
झिगिटि , झिगिटि तक - - - न्ह्न - - ता - - , तागता
तागता ,  ताता - नहन - - ता - - ,  ग्, झे , ग् ता , ग्
झेई - - - II

* नीचे की लाइन चंद्राकार में दी गईं हैं
स्रोत्र -केशव अनुरागी द्वारा रचित नाद नंदिनी (अप्रकाशित )
संदर्भ - डा शिवानंद नौटियाल , गढ़वाल के लोकनृत्य -गीत
सर्वाधिकार -श्रीमती केशव अनुरागी


Copyright@ Bhishma Kukreti 21 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
 XX
Jod Tal or Jod Music Beats of Dhol-Damau Playing created in  Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays;  Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi GaGarhwal, North India, South Asia;   Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Haridwar; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Pithoragarh Kumaon; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Bageshwar Kumaon; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Champawat Kumaon; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Almora Kumaon; Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Nainital Kumaon;  Jod Tal or Jod Music Beats of Dhol-Damau Playing created in Folk Dramas of Udham Singh Nagar Kumaon; 

Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Garhwal, Kumaon, Haridwar

 
Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -179   
Classical Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -9

    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-8
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

           Dholak is mainly played by Badi or Dhakki of Garhwal region. However, Jagari (ritual music performer) uses Dholak in Hantya and Sayyed Nachai religious rituals. Dholak is played by open handed. In folk music close hands (suppressed) are not used on playing such music instrument.
            Dadra, Kahrua, Chanchar, Rupak and other specific ‘Chal’ beats are used in Dholak play in Garhwal.           
                     ढोलक  व हुड़का वादन के मुख्य शास्त्रीय संगीत ताल
ढोलक मुख्यतः बंदियों द्वारा बजाया जाता है।  किन्तु हंत्या व सय्यद घड़ेळो में जागरी ढोलक का प्रयोग करते हैं।
गढ़वाल -कुमाऊं में ढोलक मुक्त हाथों से बजाया जाता है ।
ढोलक से लोक तालों में दादरा , कहरवा , चाँचर , रूपक के अतिरिक्त कुछ विशेष तालों का भी प्रयोग होता है जो इस प्रकार हैं -


                             Dadra Tal/ Music Beats in Dholak Playing

                         Dadra Tal has six counts (3+3).
                ढोलक  व हुड़का वादन में दादरा ताल

धा गिन - ।   ता धिनक धिन्

  Chanchar or Dipchandi Tal /Music Beats in Dholak Playing

       Chanchar Tal has 14 counts (3+4+3+4 ).
                 ढोलक  व हुड़का वादन में चाँचर  ताल
धा गिन् -।त  क धिन । त गि  न् ।  धा - धा -।

        Kaharva or Kahrua Tal/ Music Beats in Dholak Playing

 Kaharva or Kahrua Tal has eight counts in Indian classic music (4 +4)
             ढोलक  व हुड़का वादन में  कहरवा /कहरुआ  ताल
धिंग   तक   धिंग     तक  ।   धिंग तक धिन् -
तगि न्न धा धा।  धिंग तक धिन् -

                       Roopak Tal or Music Beats in Dholak Playing

                    Roopak Tal has seven counts (3+2+2)


                ढोलक  व हुड़का वादन में  रूपक  ताल
 धा  कत । धा कत। धा गिं ता 




बोल लिपि स्रोत्र -केशव अनुरागी द्वारा रचित नाद नंदिनी (अप्रकाशित )
संदर्भ - डा शिवानंद नौटियाल , गढ़वाल के लोकनृत्य -गीत
बोल लिपि सर्वाधिकार -श्रीमती केशव अनुरागी
Copyright@ Bhishma Kukreti 24 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
22- Glossary of Indian Classic Music
 XX
Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Garhwal, Kumaon, Haridwar; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Pauri Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Chamoli Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Rudraprayag Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Tehri Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Uttarkashi Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Dehradun Garhwal; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Haridwar; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Pithoragarh  Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Bageshwar Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Champawat Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Almora Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Almora Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Nainital Kumaon; Dadra, Chanchar, Kaharva, Roopak Tal/Bol or Music Beats in Dholak and Hudka Playing in Folk Songs (Dramas) of Udham Singh Nagar Kumaon;

Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays

Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -181     
Classical Rag Ragini, Tal, Bol, Music Beats, Music Notations or Music Scripts in Garhwali Folk Songs and Folk Music part -11 

    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-11
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

                   In Garhwal, Kumaon and Haridwar, Damaru /Damru/Daunru is played in religious events as Ghadela, Saheli etc. Jagri plays Damaru/Damru. Damru is played with bronze Thali.
.
  Damaru/Damru has three Fundamental Bol/Taal or rhythm- Dain, Dip, Di and rarely Ghurr.
  Following are a few Bol/Taal/Rhythm/beats of Damaru/Damru-
 
                     Char Matraon ki Chalti Chal Music Taal/Bol in Damaru/Damru Playing

Dain dain   didip di
Or Ghurr dain i  didip di


                         डमरू /डौंर के ताल /बोल में चार मात्राओं की चलती चाल 
डेंइ डेंइ डिडिप   ड़ि
अथवा
घुर्र डेंइ डिडिप   ड़ि

                Adyali Yukt Music Taal/Bol in Damaru/Damru Playing

 Di-p dip di dip . di  s p dip di . deni  deni di dip di .
                       डमरू /डौंर के ताल /बोल में अड़यलि युक्त
डि - प डिप ड़ि डिप। डि s प डिप ड़ि । डैइ डैइ डि डिप ड़ि


                       Chauras ki Uthaun Music Taal/Bol in Damaru/Damru Playing
 Dain dip di , dani dip di ..
                             डमरू /डौंर के ताल /बोल में चौरास की उठौंण 

 डेंइ डिप डि डेंइ डिप ड़ि।
      Chauras ka Nirbandh Chhand  Music Taal/Bol in Damaru/Damru Playing
 Dain dain dip dain dip , dain dain dain dain , dip dip  s s s
                        डमरू /डौंर के ताल /बोल में चौरास का निर्बंध छंद

डैञ डैञ डिप ,डैञ डैञ डिप , डैञ डैञ डैञ डैञ डिप डिप s s s s
                    Aadi Chal Music Taal/Bol in Damaru/Damru Playing
 Ddain i – daini  dip di .
                      डमरू /डौंर के ताल /बोल में आड़ी चाल

डडैञ इ -डेंइ डिप ड़ि। 

                             Khadi Chal Music Taal/Bol in Damaru/Damru Playing
 Dain s dain dip dn I .. di s s p dip dip dip . dain s dip dn in ..
                           डमरू /डौंर के ताल /बोल में खड़ी चाल

डैञs  डैञ डिप डं इं।। डि s s प डिप डिप। डैञs डैञ डिप डं इं।।   



** s = आधी अ  half a 
संदर्भ - डा शिवानंद नौटियाल , गढ़वाल के लोकनृत्य -गीत

Copyright@ Bhishma Kukreti 26 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali Lok Swangun ma rasa ar Bhav , Chithipatri
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
22- Glossary of Indian Classic Music
 XX
Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Kumaon, Haridwar , Garhwal; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Dehradun Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Juansar  Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Tehri Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Rudraprayag Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Chamoli Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Pauri Garhwal, Himalaya;