Krsna Kirtana Songs
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Jhala Technique
There
are three pieces in a typical stringed instrumental performance. The alap which consists of introducing the
notes of the cycle, weighing each note in comparison to the rest of the notes
of the raga and slowly develop the mood of the raga. The jod is the piece where actual phrases of the raga are more perceptible
than the alap. Various octaves are introduced and
actively played, while the focus is centered on the main octave. Both the alap and jod are not rhythmic in
nature.
The
jhala is
in rhythmic nature. This does not mean that it will necessarily follow a
particular rhythm as in a tabla tala.
It means that it will have some degree of consistency that one can feel a pulse
or a rhythm in the playing. When the tabla joins in a
performance, the jhala will adhere to rules of tala, or North Indian rhythm.
The
jhala, in sitar, consists of striking the chikari strings using a Ra (downward) stroke. This
specialized bol is known as the “Chik”
bol. The chikari
strings will almost always have the Ra bol.
The Chik bol implies that
the chikari strings are struck simultaneously
downwards with a Ra stroke.
Assuming
“X” implies the chikari strike, one can develop
simple jhalas such as:
S
X R X G X m X P X D X N X S’
You
can add more chikaris between phrases. For instance,
adding three chikaris per note will sound like:
S
X X X R X X X G X X
X m X X X
P X X X D X X X N X X
X S’
You
can even add multiple notes between chikaris
S
R G X m P D X N D S X
You
can even be creative and do something like
S
X X X S X X S X R X X X
R X X R X….
Having
said this, you can add meends or any form of Indian
ornamentation with the jhala. Only key thing to
remember is that if you are being accompanied by a rhythmic instrument, such as
the tabla, you want to develop good rhythmic skills
and study the talas of North Indian music. If you are
not familiar, you may visit the KKSongs Talamala.
Here
is an excellent video to demonstrate the jhala.
UPDATED: June 23, 2009