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  IIझेनन् 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;