Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 18578 times)

Bhishma Kukreti

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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 --

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

Bhishma Kukreti

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Tal Rahmani, Abhiyan or Campaign Music Beat in Dhol-Damau Playing in Marriage Procession a Folk Drama of Garhwal, Kumaon


Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -175   
Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -5

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

             The Auji pair (one play Dhol and other Damau) walk along with marriage procession. In between groom village and bride village there are many geographical aspects on the way of marriage procession. On the way, there is plain land; there is steep ascent, medium ascent, descent, hills, valley, river crossing etc.
There are different music beat for each geographical situation. There major four Music Beats of Dhol-Damau while played in marriage procession as per geographical situation.
 
सेंदार /सीधो बाटू /रास्ता  or Music Beat/Music Rhythm  of Dhol –Damau for  Straight Road/Path –

                          झेगु तक झेगु झेग तक I झेगन झगत I  झे-नन्ह तक II


     उकाळ/चढाई  को बाटू /रास्ता Music Beat/ music Rhythm of Dhol-Raunt for  Ascent Path

                         झेनन  तक   I झे गा झे नन तक II


        उन्धार /उतराई को बाटू /रास्ता /Music Beats /Music Rhythm of Dhol-Damau for descent Road/Path
 


                         झेगा झे - - I  झे  नन तक II


गाड गदन /नदी तीर or Music Beats/Music Rhythm of Dhol-Damau for  River Bank

                         झेगु झेगु I झग तग II


Sign ___  = अर्धचंद्राकार Concave from beneath

                By hearing the specific tone or rhythm people used to know the exact position of marriage party.
          Auji used to keep their script secret with them and used to convey it through Sruti or oral methodology.

Source- Keshav Anuragi, Nad Nandini (unpublished)
 
Copyright@ Bhishma Kukreti 20 /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
Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Garhwal, Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Dehradun Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Uttarkashi Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Tehri Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Rudraprayag Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Chamoli Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Pauri Garhwal; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Udham Singh Nagar Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Nainital Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Almora Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Champawat Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Bageshwar Kumaon; Rahmani , Abhiyan Tal or Campaign Music Beat  in Dhol-Damau Playing in Marriage Procession a Folk Drama of Pithoragarh Kumaon;

Bhishma Kukreti

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Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Garhwal, Kumaon, Haridwar

Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -176   
Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -6

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

 There are three major beats in Shabad composition of Dhol-Damau playing.
1-Uthaun or introduction or raising
2-Bisaun or resting
3-Kansu
            Uthaun is played in mid beat (Madhy Lay). To reach to Bisaun the Dhol Damau players use Jank beat (changing the beat). In Bisaun composition, Dhol-Damau play is balanced. To get the Kansu beat both Dhol player and Damau player use the stick and fingers in such a way that beats compel audience to move their foot. In these beats, there is ups and down in beats.
     After that, the second phase of Jank is started. Damau player plays greater role in Kansu catch. Damau player performs Kansu beat.
When beat reaches to Kansu the nature of Shabad become fast rhythmic. It is said that at this stage the soul and body of Dhol-Damau becomes one. 
Chhagal means the end.
The following are worldly words for Shabad of Dhol-Damau
 

                 ढोल दमाऊ वादन में के शब्द (शबद )का संगीत ताल
ढोल सागर में शब्द /शबद का अर्थ होता है नाद , अनुभूति व ज्ञान का समिल्लान -
पारवती उवाच
अरे आवजी कस्य पुत्रे भवे शब्दम
इश्वरो उवाच
शब्द इश्वर रूप च , शब्द क़ि सुरती साखा
शब्द का मुख विचार , शब्द का ज्ञान आँखा
यो शब्द बजाई हृदया जै बैठाई
-----------
                    ढोल वादन में शबद की प्रस्तावना (उठौण )
झेगु  झेगु झेनन् झेनन् तू , झेनन् तू झेनन्  II
झेनन् झेनन् झेनन् झेनन् तू  II झेनन्  झेनन्  झेनन्
झेनन् तू II झे गु ता -II झे गा तुक , झेगा
तुक झेगु झेगु तुक II झे - तक् तक् झिग टिग तक II
झेगन्न्      झेगा - तक्  झेगा -II
                    जंक (प्रथम )-

त्रिणिता , ता - - ता - - ता झेई - ता झेई ता - - II
बिासौण (विश्रांति )
झे तक तक तक , झे तक तक तक, तग झे तक् तक् II

                    वेद कुरपाण –

झेतु , मेतु झेतु  II झे तुग तक तक II झे तक् झे तक्
तुग झे तक , तुग झे तक , ताग्ता ता ग्ता ता ग्ता II ता गता
तक् तक् झे ग्न्न् , झे ग्न्न् , झे गा - झे ग्न्न् झेगा – II

                            जंक (द्वितीय )-
झे गा झे नन्ह s ता - I
            तीन ताल की घौड़ –

नन्ह ता नन्ह - न्ता , ता -ता ता ता - न न्ह
- न्ता, नन्हंता न नन्हंता  ग् II
              कांसु -
झेगनि , झेगनि , झेगिन्  ता झे गिन्ता।
झेगता ग्ता झेग्ता ग्ता ताग्ता ग्ता II
झेग्ता ग्ता - , तक झेगु तक ता , नन्हता नंतन्ता
 नहन् नहन् न्हन्ता न हन् -ता  तागुता झिग टिग्
झेगा - - । तगु झेगु झे गा - । ता ग्ता तक झेंग झेगा
तक झेग झेग् तक , झेग तक II


                   छागल (The end)
 -
झेगनि झेगा -, झे गु ता -क्  झे क्झे झेंगक् I

 सूचना - झेगु , झेनन , तुक , झेग , न्नहंता,  ग्ता तक ,झेगनी झेतु गन्न , ताग़ूता के नीचे अर्धचन्द्राकार चिन्ह समझें


स्रोत्र -केशव अनुरागी द्वारा रचित नाद नंदिनी (अप्रकाशित )
सर्वाधिकार -श्रीमती केशव अनुरागी



Source- Keshav Anuragi, Nad Nandini (unpublished)
 
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
Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Garhwal, Kumaon, Haridwar; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Haridwar; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Pithoragarh Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Bageshwar Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Champawat Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Almora Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Nainital Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Udham Singh Nagar Kumaon; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Pauri Garhwal; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Chamoli Garhwal; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Rudraprayag Garhwal; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Tehri Garhwal; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Uttarkashi Garhwal; Music Beats/Rhythm in Shabad of Dhol-Damau Playing played in Folk Dramas of Dehradun Garhwal;

 

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 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; 

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Charitalim Tal, Charitalim Music beats/Rhythm 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 -178   
Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -8

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

 Garhwali Philosophical and Music classic literature,   Dhol Sagar mentions Charitalim Tal. Dhol Sagar states that Lord S hiva dances in Charitalim Music Beats.
 Charitalim is fast beat rhythm but now, in Pandaun Dance the Dhol Damau Player uses slow rhythm of Charitalim.
                      ढोल दमाऊ वादन के पंडो नृत्य में चरितालिम् ताल

चरितालिम् महत्वपूर्ण किन्तु अप्रचलित ताल है।
ढोल सागर में चरितालिम् के बारे में इस ताल का उपयोग केवल शिव -तांडव के लिए ही प्रयोग हेतु कहा गया है -
गगन -गढ़ में मेदना गाजे , अंग सरूपी सुरता भेरी ,
शम्भू   नाचे , चरितालिम् को शब्द बाजे।
दिगिनता , दिगिनता , ता ता , ता ता,
धिंगता , धिंगता , धिंग , ताता।। .

वर्तमान में चरितालिम् का परिवर्तित रूप पंडों नृत्य में भी प्रस्तुत किया जाता है किन्तु पंडो नृत्य में चरितालिम् उतना रौद्र नही रह जाता यही जितना शिव तांडव में होता है -
पंडों नृत्य में चरितालिम् ताल के परिवर्तित रूप इस प्रकार है -
झेगु तु झे झे -। झे गु तु ग ता -। ।


                 दमाऊ में सहयोगी कांसा ताल


दमाऊ को ढोल का साथ देना होता है।  दमाऊ में केवल तीन शब्द निकलते हैं - द , ग और न।   ये ही तीन बोल ढोल के झा, ता , झे आदि के साथ मिलकर वादन को सम्पूर्णता देते हैं।   दमौ वादक को दमाऊ से कांसा बोल रचने होते हैं.
कांसु /कांसा बोल इस प्रकार हैं -
दिन   ,  गिननि , दि , दिननि , दिन , गिननि , दिन , गिननि , दिन , गिन 
यह बोल जब 'शबद ' में 'झांगल ' के निकट पंहुच जाते हैं तो इनका उच्चारण तीब्र हो जाता है कि ये बोल जिव्हा से नहीं  हे निकल सकते हैं। 



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 23 /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
Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Garhwal, Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Dehradun Garhwal, Udham Singh Nagar Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Uttarkashi Garhwal, Nainital Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Tehri Garhwal, Almora Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Chamoli Garhwal, Bageshwar Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Rudraprayag Garhwal, Champawat Kumaon, and Haridwar; Charitalim Tal, Charitalim Music beats/Rhythm of Dhol-Damau Playing created in Folk Dramas of Pauri Garhwal, Pithoragarh Kumaon, and Haridwar;
 

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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;

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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;

Bhishma Kukreti

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 Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays


Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -182     
Classical Rag Ragini, Tal, Bol, Music Beats, Music Notations or Music Scripts in Garhwali Folk Songs and Folk Music part -12 

    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-12
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

             एक गढ़वाली लोकगीत की अर्धसप्तकी सँगीत लिपि
(By Keshav Anuragi)

अर्धसप्तकी में स्थायी प्रधान  नृत्यात्मक लोकगीतों अथवा लोक गीतों का गायन विसतार प्रायः सप्तक के पूर्वार्ध तक होता है।  इसलिये इनमे अंतरा का अभाव होता है।
लोकगीतों में पद के स्थान पर चरण होते हैं स्थायी चरण व सहायक चरण।  सहायक चरण स्थायी चरण की धुन में गाये जाते हैं।
एक लोक गीत -
स्थायी चरण ---रामजी कु होंद नयेण क़ु बेर।
सहायक चरण --- रामजी कु लादे पीताम्बरी धोति।।

               -----------------------------------------------------------------------------------------------------------------------
                                            ०                                     0                                                    0
              ----------------------------------------------------------------------------------------------------------------------------
         
 
 
                      म प -। सा -रेसा -। -। रे म -। प - प - । प - । ध - - । म -सा -। रे - -। म - - - ।
                   

 
स्थायी  चरण ----------  रा म  s । जी s -कु s। हूँ s  s। द s न s। यें s s । ण s की s । बे s s । र s s ।
सहायक चरण ----------रा म  s । जी s sकु`= s। ला s s । दे s पि s । तां s s । ब s री s । धो s s । ती s s s ।
               -------------------------------------------------------------------------------------------------------------------
                                            ०
              ----------------------------------------------------------------------------------------------------------------------

                      Common Music Notation
                            संगीत  लिपि चिन्ह

मध्य या शुद्ध सप्तक

स रे  ग म प  ध  नी 
 
तार सप्तक

सां  रें  गं  मं  पं धं नीं

मंद्र स्वर
सा#
रे #

म #
प #
ध #
नी #

# चिन्ह नीचे बिंदी का है जैसे फ़ारसी  शब्दोँ में लगता हैं
कोमल स्वर
रे  ग   ध   नी
सा व प स्थाई स्वर हैँ।
म के दो रुप हैँ
म -शुद्ध
म! -तीब्र स्वर

जिन शब्दों के आगे जितनी रेखाएं (-) उन्हें उतनी मात्रा माँ लम्बा गाना या बजाना चाहिए  जैसे  - - - - को चार मात्राओं तक लम्बा कर गाना चाहिये
सटे हुए शब्दों को एकमात्रा काल मे गाना चाहिये जैसे -गम एकमात्रा स्वर में गाना चाहिये
` = का अर्थ है -जमजमा और X सम चिन्ह क़ा हैं
० चिन्ह खाली का है।
s = आधी अ  का चिन्ह है
 Music Notation or Music Symbols/Syllabus
Note Name  ----Notation ID----Sol-fa-Syllable---Full Name ---Western Equivalent 
Sa----------------S-----------------------sa-----------Shadja -------------Unison
re (komal)--------r --------------------re ---------Rishabha (Komal) ---Minor Second
re (Shuddha)----R----------------------re--------Rishabha (Shuddha)---Major Second
ga (Komal)-----g----------------------ga---------Gandhara (Komal)----Minor Third
ga (Shuddha)----G--------------------ga---------Gandhara (Shuddha)—Major Third
ma(Shuddha)---m---------------------ma-------Madhyama(Shuddha)---Perfect Fourth
ma(Teevra)-------M------------------ma-------Madhyam (Teevra)---Augmented Fourth
pa--------------------P------------------pa--------Panchma----------------Perfect Fifth
dha (Komal)----d-----------------------dha------Dhaivata(Komal)-----Minor Sixth
dha  (Shuddha)—D-------------------dha----- Dhaivata(Shuddha )-----Major Sixth
ni (Komal)-------n ---------------------ni -------Nishad (Komal)----------Minor Seventh
ni (Shuddha)----N ---------------------ni -------Nishad (Shuddha))----------Major Seventh
Sa----------------S’----------------------sa-----------Shajda -----------------------Octave

     

Copyright@ Bhishma Kukreti 2 /7/2014 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
1-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
2- Keshav Anuragi
3- Dayashankar Bhatt 
4- Glossary of Indian Classic Music
 XX
Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Pauri Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Chamoli Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Rudraprayag Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Tehri Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Dehradun Garhwal; Ardh Saptaki Music Notation/ Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Haridwar Garhwal;

Bhishma Kukreti

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Poorvardh Saptaki Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays

Characteristics of Garhwali Folk Dramas, Folk Theater/Rituals and Traditional Plays part -183     
Classical Rag Ragini, Tal, Bol, Music Beats, Music Notations or Music Scripts in Garhwali Folk Songs and Folk Music part -13 
    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-13
                             
                     Presented by Bhishma Kukreti (Folk Literature Research Scholar

गढ़वाली लोक गीतोँ  में पूर्वार्ध सप्तकी  उदाहरण

डा शिवानंद नौटियाल लिखते हैं कि पूर्वार्ध सप्तिकी , लोक नृत्यात्मक गीत इस प्रकार के भी हैं जिनका गायन विस्तार विषय की दृष्टि से षटज के नीचे मंद्र की ओर निषाद, धैवत।  पंचम तथा कंही कंही मध्यम तक़ होता है।  संगीतकारों के अनुसार मंद्र सप्तक के स्वर गंभीर तथा कमाल स्वर करूणा प्रधान भावोँ की अभिवयक्ति के लिए सर्वोत्तम व उपयुक्त स्वर होते हैं।
गजे सिंग के चौफुला इसी परंपरा  में आता है

स्थायी चरण -
रणिहाट नि जाणो गजेसिंगs
रणिहाट नि जाणो गजेसिंगs
सहायक चरण -
       त्यरा कानू कुंडल गजेसिंगs   
त्यरा हाथ धागुला गजेसिंगs
हळज़ोत का दिन  गजेसिंगs
       रणिहाट नि जाणो गजेसिंगs
    मेरो बोल्युं मान्याली गजेसगs

निसा रे सा । नि  म # प# । सा  रे  - । ग रे नि
.                                                                    .
रणि  हा ट । नी जां णु । ग जे । सिं ग -

निसा रे सा । नि  म # प# । सा सा - । सा  रे ग म                   (म -ऊपर स्पर्श )
.
  रणि हा ट  । नी जां णु । ग जे । सिं ग -

@संगीत लिपिकार -केशव अनुरागी


---------------------------------------------------------------------------------------------------------------------
                      Common Music Notation
                            संगीत  लिपि चिन्ह
---------------------------------------------------------------------------------------------------------------------

मध्य या शुद्ध सप्तक

स रे  ग म प  ध  नी 
 
तार सप्तक

सां  रें  गं  मं  पं धं नीं

मंद्र स्वर
सा#
रे #

म #
प #
ध #
नी #

# चिन्ह नीचे बिंदी का है जैसे फ़ारसी  शब्दोँ में लगता हैं
कोमल स्वर
रे  ग   ध   नी
सा व प स्थाई स्वर हैँ।
म के दो रुप हैँ
म -शुद्ध
म! -तीब्र स्वर

जिन शब्दों के आगे जितनी रेखाएं (-) उन्हें उतनी मात्रा माँ लम्बा गाना या बजाना चाहिए  जैसे  - - - - को चार मात्राओं तक लम्बा कर गाना चाहिये
सटे हुए शब्दों को एकमात्रा काल मे गाना चाहिये जैसे -गम एकमात्रा स्वर में गाना चाहिये
` = का अर्थ है -जमजमा और X सम चिन्ह क़ा हैं
० चिन्ह खाली का है।
s = आधी अ  का चिन्ह है
 Music Notation or Music Symbols/Syllabus
Note Name  ----Notation ID----Sol-fa-Syllable---Full Name ---Western Equivalent 
Sa----------------S-----------------------sa-----------Shadja -------------Unison
re (komal)--------r --------------------re ---------Rishabha (Komal) ---Minor Second
re (Shuddha)----R----------------------re--------Rishabha (Shuddha)---Major Second
ga (Komal)-----g----------------------ga---------Gandhara (Komal)----Minor Third
ga (Shuddha)----G--------------------ga---------Gandhara (Shuddha)—Major Third
ma(Shuddha)---m---------------------ma-------Madhyama(Shuddha)---Perfect Fourth
ma(Teevra)-------M------------------ma-------Madhyam (Teevra)---Augmented Fourth
pa--------------------P------------------pa--------Panchma----------------Perfect Fifth
dha (Komal)----d-----------------------dha------Dhaivata(Komal)-----Minor Sixth
dha  (Shuddha)—D-------------------dha----- Dhaivata(Shuddha )-----Major Sixth
ni (Komal)-------n ---------------------ni -------Nishad (Komal)----------Minor Seventh
ni (Shuddha)----N ---------------------ni -------Nishad (Shuddha))----------Major Seventh
Sa----------------S’----------------------sa-----------Shajda -----------------------Octave

     

Copyright@ Bhishma Kukreti 2 /7/2014 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
1-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
2- Keshav Anuragi
3- Dayashankar Bhatt 
4- Glossary of Indian Classic Music
 XX

Bhishma Kukreti

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Rag Durga or Drut Teental  and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays

Characteristics of Garhwali Folk Dramas, Folk Theater/Rituals and Traditional Plays part -184       
Classical Rag Ragini, Tal, Bol, Music Beats, Music Notations or Music Scripts in Garhwali Folk Songs and Folk Music part -14   
    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-14
                             
                     Presented by Bhishma Kukreti (Folk Literature Research Scholar

गढ़वाली लोकगीतों में राग दुर्गा  अथवा द्रत तीनताल वै ताल कहरवा धुनों के  उदाहरण



स्थायी चरण -
           रणिहाट नि जाणो गजेसिंगs
           रणिहाट नि जाणो गजेसिंगs
सहायक चरण -
         त्यरा कानू कुंडल गजेसिंगs   
   त्यरा हाथ धागुला गजेसिंगs
  हळज़ोत का दिन  गजेसिंगs
         रणिहाट नि जाणो गजेसिंगs
         मेरो बोल्युं मान्याली गजेसगs
इस चौंफुळा नृत्य -गीत को पूर्वार्ध सप्तकी अनुसार गाया जाता है और अन्य रागों से भी गाया जाता है।
प्रसिद्द संगीतशास्त्री स्वर्गीय दयाशंकर भट्ट ने इस गीत के लिए दो प्रकार की धुनें बनायी हैं -

         राग दुर्गा कहरवा और तीनताल
                    १    २     ३      ४      ५      ६      ७      ८           ९      १०     ११     १२     १३      १४     १५    १६
कहरवा        धा   गि    न   ति । न  क  धि   न ।  धा  गि  न   ति । न   क  धि  न   
तीनताल  ना धिं धिं ना । ना  धिं  धिं  ना ।   ना तिं  तिं   ना । ना  धिं  किं  ना

                 ताल कहरवा पर
              ० 
ध  सं  ध  प । प   म   म   रे । म  प  ध - । सं ध - पम
र  णि  हा ट । नी  -  जा णु । ग  -  जे - । सिं ग  - - -
प  सं ध  प । प  म  म रे । म  प  प - । प  -  प -
म्य रु बो ल्यूं । मा  - न्या ल । ग  -  जे - । सिं - ग  - 

मूल संगीत लिपि -दयाशंकर भट्ट
संदर्भ - डा शिवा नंद नौटियाल , गढ़वाल के लोकनृत्य गीत


Copyright@ Bhishma Kukreti 7 /7/2014 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
1-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
2- Keshav Anuragi
3- Dayashankar Bhatt 
4- Glossary of Indian Classic Music
 XX
Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Pauri Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Chamoli Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Rudraprayag Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Tehri Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Dehradun Garhwal; Rag Durga or Drut Teental and Kahrava Music Notation, Sangeet Lipi of a Folksong of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays from Haridwar Garhwal;


 

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