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Understanding Chautaal Layakari
Layakari, or rhythmic improvisation, is a core concept in Indian classical music. Within a taal's framework, artists play with speed and phrasing to create intricate patterns. This guide explores the four basic forms of layakari—Ekgun, Dugun, Tigun, and Chaugun—within the majestic 12-beat cycle of Chautaal.
The Structure and Characteristics of Chautaal
Chautaal is composed of 12 beats (matras) organized into six divisions (vibhags), each containing two beats. This 2|2|2|2|2|2 structure creates a balanced and symmetrical feel, ideal for the profound and contemplative nature of Dhrupad singing.
| Beats (Matra) | 12 |
|---|---|
| Divisions (Vibhag) | 6 (Pattern: 2|2|2|2|2|2) |
| Clap (Taali) | 4 (On the 1st, 5th, 9th, and 11th beats) |
| Wave (Khali) | 2 (On the 3rd and 7th beats) |
| First Beat (Sam) | On the 1st beat |
Chautaal Layakari Examples with Demonstrations
Below are the standard layakari variations for Chautaal. Watch the video demonstration for each, then practice with the mobile-friendly notation tables.
1. Chautaal Ekgun (Base Speed)
| 1 | 2 | 3 | 4 |
|---|---|---|---|
| Dha | Dha | Din | Ta |
| X (Sam) | 0 (Khali) | ||
| 5 | 6 | 7 | 8 |
| Kite | Dha | Din | Ta |
| 2(Clap) | 0 (Khali) | ||
| 9 | 10 | 11 | 12 |
| Tite | Kata | Gadi | Gana |
| 3(Clap) | 4(Clap) | ||
2. Chautaal Dugun (Double Speed)
| 1 | 2 | 3 | 4 |
|---|---|---|---|
| Dha Dha | Din Ta | Kite Dha | Din Ta |
| X (Sam) | 0 (Khali) | ||
| 5 | 6 | 7 | 8 |
| Tite Kata | Gadi Gana | Dha Dha | Din Ta |
| 2(Clap) | 0 (Khali) | ||
| 9 | 10 | 11 | 12 |
| Kite Dha | Din Ta | Tite Kata | Gadi Gana |
| 3(Clap) | 4(Clap) | ||
3. Chautaal Tigun (Triple Speed)
| 1 | 2 | 3 | 4 |
|---|---|---|---|
| Dha Dha Din | Ta Kite Dha | Din Ta Tite | Kata Gadi Gana |
| X (Sam) | 0 (Khali) | ||
| 5 | 6 | 7 | 8 |
| Dha Dha Din | Ta Kite Dha | Din Ta Tite | Kata Gadi Gana |
| 2(Clap) | 0 (Khali) | ||
| 9 | 10 | 11 | 12 |
| Dha Dha Din | Ta Kite Dha | Din Ta Tite | Kata Gadi Gana |
| 3(Clap) | 4(Clap) | ||
4. Chautaal Chaugun (Quadruple Speed)
| 1 | 2 | 3 | 4 |
|---|---|---|---|
| DhaDhaDinTa | KiteDhaDinTa | TiteKataGadiGana | DhaDhaDinTa |
| X (Sam) | 0 (Khali) | ||
| 5 | 6 | 7 | 8 |
| KiteDhaDinTa | TiteKataGadiGana | DhaDhaDinTa | KiteDhaDinTa |
| 2(Clap) | 0 (Khali) | ||
| 9 | 10 | 11 | 12 |
| TiteKataGadiGana | DhaDhaDinTa | KiteDhaDinTa | TiteKataGadiGana |
| 3(Clap) | 4(Clap) | ||
Conclusion
Chautaal's structured elegance and capacity for complex layakari make it a vital component of Hindustani classical music. Through dedicated practice of these variations, a musician can develop profound rhythmic control and improvisational creativity, truly capturing the spirit of Dhrupad. While both are 12-beat taals, its feel is more stately compared to the Rabindrik Ektaal Trimatrik.