Focus on Different Techniques for generating Various Compositions along with Creation & Improvisation
Dr. Soumen Chakraborty, Department Of Music, Ramsaday College, Amta, Howrah, WB, India
Abstract:
In this work, an attempt has been made to present the way to generate different creative techniques with improvisation using the combination of various compositions in music in a very simplified manner. The procedures for producing the creation and improvisation through the logic of different techniques of various compositions in music have been stated by citing several examples. The basic concepts of creation and improvisation of various compositions including illustration through different techniques and its use in music have been highlighted with various examples. It is expected that this work may certainly help the researchers working in this arena to use the innovation of different patterns of techniques for the creation and improvisation of music in practice.
Keywords: Different Techniques, Creation, Improvisation
Introduction:
Different techniques are considered to be an element of grammar, which persists in various compositions. The logic of internal different creative techniques or grammar of the percussion instrument, tabla has traditionally come from the medieval period. With the progress in the music world, gradually the application of different techniques for generating various compositions along with Creation & Improvisation in different forms has come into existence. Different techniques can create a feeling of beauty in various compositions. One of the important applications of it persists in music. Music in the one hand is considered to be an art and on the other hand, it is considered a science. When it is considered to be an art, the application of different creative techniques is treated as grammar and when it is considered as science, the application of different creative techniques is treated as logic for generating the various compositions. It is said that the last part of a composition may be treated as Tihai which is played three times for completion of a whole composition. That’s why, based on different techniques, various types of compositions of Tihai have been generated in this paper.
In the area of generating different techniques, Dr. Prasanta Kumar Bandapadhya has very nicely presented his opinion in his book, “Tablar Sahaj Path” [1] in a lucid manner. He has done a simplified logical solution for the generation of the various compositions (Tihai) by different techniques in the following way.
Tihai of 16 beat: Logic- {(16+1) /3} = (17/3) = 5 S S
Tihai of 8 beat: Logic- {(8+1) /3} = (9/3) = 3
On the other hand, the renowned tabla maestro P.T. Shankar Ghosh has described his own philosophy on different techniques through his book “Anandhya” [2] in a very clear way. He has expressed his thought in the following way.
Tihai of 10 beat:
Teteye Kata Dhati Dhate Teyeka Tadha Tidha Teteye Kata Dhati (Dha)
Logic- {(10+2) /3} = (12/3) = 4
Tihai of 12 beat:
Teteye Kata Dhati Dha — — Te Teteyeka Tadha Tidha — — Teteye Kata Dhati (Dha)
Logic- {(12+2) /3} = (14/3) = 4 S S
Different techniques for generating various compositions along with creation and improvisation have been expressed with examples by the authors of the referred books.
Therefore, different types of new techniques with various examples are presented in this paper in the following manner.
Different Techniques generated by the author of this paper:
A: Tihai of 16 beat
- Logic # 1
Dhana Nana Na Dhana Nana Na Dhana Nana Na S S | S Dhana Nana Na Dhana Nana Na Dhana Nana Na S | S S Dhana Nana Na Dhana Nana Na Dhana Nana (Na)
Logic of Technique – [{(16X2) +1}/3]-2= [{32+1}/3]-2= [33/3]-2= 11-2= 9
Rhythm Pattern – {(1 2 3 4 5 6 7 8 9 S S S) X 3}
- Logic # 2
Dhate-dhagi Nadha-tereketeye Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha Dhate-dhago Tina-kene Dha-1 2-3 | 4-Dhate Dhagi-nadha Tereketeye-dhate Dhago-tina kene-dha Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha 12 | 34 Dhate-dhagi Nadha-tereketeye Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha Dhate-dhago Tina-kene (Dha)
Logic of Technique – [{(16X2) +1}/3]-1= [{32+1}/3]-1= [33/3]-1=11-1= 10
Rhythm Pattern – {(1 2 3 4 5 6 7 8 9 10-S SS S-1) X 3}
- Logic # 3
1 2 3 4 5 6 7 8 9 10 11 | 12 13 14 15 16-Dhatere Ketetako-terekete Dhatere-ketetako Terekete-dhatere Ketetako-terekete Dha S-Dhatere | Ketetako-terekete Dhatere-ketetako Tereke
te-dhatere Ketetako-terekete Dha S-Dhatere Ketetako-terekete Dhatere-ketetako Terekete-dhatere Ketetako-terekete (Dha)
Logic of Technique & Rhythm Pattern –
{(S-12 3456 78910 11121314 25161718 1) X 3}
B: Tihai of 13 beat
- Logic # 1
Dhana Nana Nana Nana Na Nana Na S S | S Dhana Nana Nana Nana Na Nana Na S | S S Dhana Nana Nana Nana Na Nana (Na)
Logic of Technique – [{(13X2) +1}/3]-2 = [{26+1}/3]-2= [27/3]-2= 9-2= 7
Rhythm Pattern – {(1 2 3 5 6 7 S S S) X 3}
- Logic # 2
Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha Dhate-dhago Tina-kene Dha-1 2-3 | 4- Dhate Dhago-tina Kene-dha Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha 12 | 34 Dhate-dhago Tina-kene Dha-dhate Dhago-tina Kene-dha Dhate-dhago Tina-kene (Dha)
Logic of Technique – [{(13X2) +1}/3]-1= [{26+1}/3]-1= [27/3] =9-1= 8
Rhythm Pattern – {(1 2 3 4 5 6 7 8-S SS S-1) X 3}
- Logic # 3
1 2 3 4 5 6 7 8 9 | 10 11 12 13-Dhatere Ketetako-dhatere Ketetako-dhatere Ketetako-terekete Dha S-Dhatere | Ketetako-dhatere Ketetako-dhatere Ketetako-terekete Dha S-Dhatere Ketetako-dhatere Ketetako-dhatere Ketetako-terekete (Dha)
Logic of Technique & Rhythm Pattern –
{(S-12 3456 78910 11121314 1) X 3}
C: Tihai of 10 beat
- Logic # 1
Dhana Nana Nana Nana Na S S | S Dhana Nana Nana Nana Na S | S S Dhana Nana Nana Nana (Na)
Logic of Technique – [{(10X2) +1}/3]-2 = [{20+1}/3]-2= [21/3]-2= 7-2= 5
Rhythm Pattern – {(1 2 3 4 5 S S S) X 3}
- Logic # 2
Dhate-dhagi Nadha-tereketeye Dhate-dhago Tina-kene Dha-tit Dha-1 2-3 | 4-Dhate Ddhagi-nadha Tereketeye-dhate Dhago-tina Kene-dha Tit-dha 1-2 | 3-4 Dhate-dhagi Nadha-tereketeye Dhate-dhago Tina-kene Dha-tit (Dha)
Logic of Technique – [{(10X2) +1}/3]-1= [{20+1}/3]-1= [21/3]-1= 7-1= 6
Rhythm Pattern – {(1 2 3 4 5 6-S SS S-1) X 3}
- Logic # 3
1 2 3 4 5 6 7 | 8 9 10-Dhatere Ketetako-dhatere Ketetako-terekete Dha S-Dhatere | Ketetako-dhatere Ketetako-terekete Dha S-Dhatere Ketetako-dhatere Ketetako-terekete (Dha)
Logic of Technique & Rhythm Pattern– {(S-12 3456 78910 1) X 3}
D: Tihai of 7 beat
- Logic # 1
Dhana Nana Na S S | S Dhana Nana Na S | S S Dhana Nana (Na)
Logic of Technique – [{(7X2) +1}/3]-2 = [{14+1}/3]-2= [15/3]-2= 5-2= 3
Rhythm Pattern – {(1 2 3 S S S) X 3}
- Logic # 2
Dhate-dhago Tina-kene Dha-tit Dha-1 2-3 | 4-dhate Dhago-tina kene-dha Tit-dha 1-2 | 3-4 Dhate-dhago Tina-kene Dha-tit (Dha)
Logic of Technique – [{(7X2) +1}/3]-1= [{14+1}/3]-1= [15/3]-1= 5-1= 4
Rhythm Pattern – {(1 2 3 4-S SS S-1) X 3}
- Logic # 3
1 2 3 4 5 | 6 7-Dhatere Ketetako-terekete Dha S-Dhatere | Ketetako-terekete Dha S-Dhatere Ketetako-terekete (Dha)
Logic of Technique & Rhythm Pattern – {(S-12 3456 1) X 3}
Conclusions:
The techniques used for generating different compositions with creation and improvisation for various bits have been presented in this paper in a very simplified manner. Different examples have been cited also for clear understanding of developing new compositions along with creation and improvisation. By using the techniques other compositions can be generated and improvised.
References:
- Dr. Prasanta Kumar Bandyopadhyay, Tablar Sahaj Path (2nd Part), Kolkata, Page: 47-48.
- Shankar Ghosh, Anadhya (1st Part), Kolkata, Page: 105 &107.