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Rupak Taal Layakari (7 Beats) | Tabla Theka

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Understanding Rupak Taal Layakari

Layakari means playing rhythms at different speeds. Artists change speed while singing or playing music. Layakari adds fun with varied rhythms to the beat.

Types of Layakari

  • Ekgun layakari: Playing one bol per beat is called ekgun.
  • Dugun layakari: Playing two bols per beat is called dugun.
  • Tigun layakari: Playing three bols per beat is called tigun.
  • Chaugun layakari: Playing four bols per beat is called chaugun.

The Structure and Characteristics of Rupak Taal

Rupak Taal has 7 beats (matras) split into three unequal divisions (vibhags). The structure is 3+2+2, creating a unique, asymmetrical feel. A distinctive feature is that its first beat (Sam) is a Khali (wave) instead of a Taali (clap).

Rupak Taal Characteristics
Beats (Matra)7
Divisions (Vibhag)3 (with a pattern of 3|2|2)
Clap (Taali)2 (On 4th and 6th beats)
Wave (Khali)1 (On 1st beat)
First Beat (Sam)On 1st beat (coincides with Khali)

Rupak Taal Layakari Examples with Demonstrations

Below are the standard layakari variations for Rupak Taal. Watch the video demonstration for each, then practice with the notation table.

1. Rupak Taal Basic Theka (Base Speed)

Rupak Taal Basic Theka
123
TiTiNa
0 (Wave)
4567
DhiNaDhiNa
1st Clap2nd Clap

2. Rupak Taal Dugun Layakari (Double Speed)

Rupak Taal Dugun Theka
123
Ti TiNa DhiNa Dhi
0 (Wave)
4567
Na TiTi NaDhi NaDhi Na
1st Clap2nd Clap

3. Rupak Taal Tigun Layakari (Triple Speed)

For more details on the triple speed variation, see: Roopak Taal Tigun Layakari

Rupak Taal Tigun Theka
123
Ti Ti NaDhi Na DhiNa Ti Ti
0 (Wave)
4567
Na Dhi NaDhi Na TiTi Na DhiNa Dhi Na
1st Clap2nd Clap

4. Rupak Taal Chaugun Layakari (Quadruple Speed)

Rupak Taal Chaugun Theka
123
Ti Ti Na DhiNa Dhi Na TiTi Na Dhi Na
0 (Wave)
4567
Dhi Na Ti TiNa Dhi Na DhiNa Ti Ti NaDhi Na Dhi Na
1st Clap2nd Clap

Conclusion

With its unique 7-beat structure and the expressive potential of its layakari, Rupak Taal adds profound depth and emotion to performances in Indian classical music. Mastering these variations allows musicians to showcase their rhythmic command and connect more deeply with their audience.

Note: The notation of the taal is written according to the Bhathkhande Swarlipi method.

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