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Tala in Thumri
Tala in Thumri is mostly based on the formal tinatala pattern. Thumri takes into account the brilliant combinations of bandishes of various ranges, taals.
Tala in Thumri is mostly based on the formal tinatala pattern. The nineteenth century bandisa thuman relied almost entirely on the formal tinatala. Thumri is a common genre of semi-classical Indian music. It became popular during the 19th century in the Lucknow court of nawab Wajid Ali Shah.
Thumri is indeed a diversified form of classical music, with the incorporation of the brilliant combinations of bandishes of various ranges, taals and another innovative version of bandish, bol-banav in slow tempo (vilambit laya). The text of Thumri is romantic or devotional in nature, and usually revolves around a girl's love for Krishna. Some bandisa thumans were rendered in "Punjabi tinatala." This version of folk origin was to later play a bigger role in the bola-banao thuman. The bandisa thuman was a genre for the medium to fast tempo, with an explicit rhythm. In its version, it also drew a lively interaction between the poetic-melodic and rhythmic elements. This equation between the different elements changed dramatically as the tempo of the bandisa thuman slowed down. The bola-banao thuman took over and drifted closer to folk genres. Rhythm was now downgraded to the back seat.
Drifting apart from the multiple nomenclatures and multiple versions, the bola-banao thuman primarily uses cancara or dipacandi of 14 beats in 3+4+3+4 subdivision, keherva of eight beats in 4+4 subdivision, dadra of six beats in 3+3 subdivision, and tmatala of 16 beats, rendered in a stylized, or probably folk manner. This account of tmatala is, presently known by several names like sitarakhani, addha, punjabi, and qawwali. This idiom is an asymmetrical and dented interpretation of the symmetrical [4+4+4+4] subdivision of the tola. The sitarakhani, addha, Punjabi, qawwali, generally played in medium tempo, interprets the 4-beat subdivision in the tala as an 8-beat subdivision, and renders it with percussion strokes falling on the 1st, 4th and 7th markers of the notionally 8-beat subdivisions. This interpretation of the tmatala brings its rhythmic experience remarkably close to the 14-beat dipacandi.
Amongst the talas used in the thuman genre, dadam of six beats poses a special problem because this happens also to be the name of a genre of vocal music belonging to the thumari family.
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