User:ShubhanTelang/Tal Dadra Course material/Laggi

<User:ShubhanTelang/In the World of Tabla (Tabla course)

<User:ShubhanTelang|Tala Dadra Course material

A Laggi is a light form of aggressive accompaniment. Some musicians define laggi by its function and others define it by its bol. Therefore the form of laggi my vary tremendously from artist to artist. When laggi is defined by function, one may find almost any bol used. The Dadra tala is equivalent to Khemta tala.

A famous laggi in Dadra tala which everybody knows is the Garba laggi. The Garba laggi is originated from Gujarat, India in their traditional Garba dances.

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Layakari is Dugun (double speed), Tigun (triple speed), Chaugun (quadruple speed) etc are used to explore the style of Layakaris.

(i) Dugun - When a unit is multiplied by two it is called a Dugun. The word Du means two and Gun means multiply. (Double speed). The speeds doubles and there is multiplication of two of the base speed or base laya. This base laya is called as the Ekpat Laya. The word Ek means one and pat refers to division. So the base Laya is called as the Ekpat laya.

(ii) Tigun - When a unit is multiplied by three it is called a Tigun. The word Ti means three and Gun means multiply. The speeds triples and there is multiplication of three of the base speed or base laya. (Triple speed).

(iii) Chaugun - When a unit is multiplied by four it is called a Chaugun. The word Chau means four and Gun means multiply. The speeds multiples by four and there is multiplication of four of the base speed or base laya. ( speed). Playing four bols in one matra is called chaugun – 1 2 3 4 5 6 7 8.

(iv) Ekpat - The base laya is called as the Ekpat. The word Ek means one and pat refers to division. So the base Laya is called as the Ekpat laya.

As you read the definations of Ekgun, Dugun, Tigun, Chaugun, it is not only for reading purpose or theory, but it is used practically in Tabla. It is used in Kismas, Kaydas, Tukadas, Mukadas, Chakradhar, Tripalis, Tihais, Parans, Laggis. But mostly it is used in Kaydas, which is this section of our course. While playing a particular kayda, following are the steps in which a kayda is played :

1. Firstly the Tala in which the Kayda is based on should be played. For example if the Kayda is based on the matras of Tal Teentaal, then Teental is to be played.

2. Then the Kaydas Mukh is to be played at the Ekpat Laya or the base speed. This speed will in which the main Tal will be played.

3. This Mukh after played in basic Ekpat Laya then the speed is doubled i.e. the use of Dugun Laya is used. The use of Chaugun Laya or rearly the Tigun Laya is also used but the Laya that you use should be constant till whole of the Kayda is completed.

4. In the Laya that you choose, (it may be Dugun or Tigun or Chaugun Laya), all the components of the Kayda (Mukh, Dohara, Adha Dohara, Vishram, Adha Vishram, Palta, Tihai.) should be played (but at a constant Laya that you choose). Mostly the Laya after Ekpat Laya that is choosed is the Dugun Laya.

5. Once the last component of the Kayda is done i.e. once the Tihai is finished playing the tal that was played while starting the Kayda should be played. The speed of the tal now again becomes half again, i.e. it becomes the Ekpat Laya again. And these steps are followed for all Kaydas that you may play individually or Playing a set/group of Kaydas in a program.

So Ekpat Laya (1) while playing the tal and the mukh of the particular Kayda.

Then it atains the Dugun Laya (2) for all components of that particular Kayda.

Then again the speed atains Ekpat Laya (1) while finishing the Tihai and playing the tal that
we played while starting the Kayda.

Laggis

Following are the different Laggis in Tal Dadra tal : (as you press the 'Next' button below you would get all the materials, it is placed in a linear order.)

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