In the final episode of our series on taals that are seldom heard on the Hindustani concert stage , we feature Brahma taal with a rhythmic ...
In the final episode of our series on taals that are seldom heard on the Hindustani concert stage, we feature Brahma taal with a rhythmic canvas of 14 matras.
Music educationist Vishnu Narayan Bhatkhande’s famous compilation of compositions entitled Kramik Pustak Malika (six volumes) has a lakshan geet in the raag Vrindavani Saarang that includes a description of this taal.
Usually, the song-text of a lakshan geet contains the description of a raag and can be used as a pedagogic tool to explain the characteristic features of a raag to a novice in a manner that is musically accessible. In this case, the lakshan geet begins with a description of the structure followed by Brahma taal and later moves to information about Vrindavani Saarang.
According to this song-text, the 14 matras of this taal are divided into vibhaags/khands, ten of which are demonstrated with a clap.
I have yet to come across tabla players who use this taal for accompaniment or for solo recitals. But here is a short presentation of the skeletal framework of this taal by pakhawaj exponent Arjun Shejwal.
Pakhawaj maestro Raja Chhatrapati Singh presents a short solo in Brahma taal. He demonstrates the manner in which...
