This video is a follow up to a previous lesson on Misra Chapu. This exercise uses the same subdivisions but introduces them in a different order. The rearrangement of the subdivisions is a simple concept but in practice posses challenges. This idea is applied in numerous konnakol phrases and quickly gets one to reexamine ways that any collection of rhythmic phrases can be permuted.
Below is a video of Sreenath Sreenivasan demonstrating the Misra Chapu Thalum while reciting the phrase Ta Ki Ta Ta Ka Di Mi & Ta Ka Di Mi Ta Ki Ta in different subdivisions. This is a great way to lock in the Misra Chapu Thalum and get more comfortable in 7/4 time. Supporting notated content for this video can be found here.
This is a written supplement to the audio lesson on Misra Chapu, which can be found here. Misra Chapu is the 7 beat cycle in Carnatic music. It can be thought of as 7/4 time. Start with the audio lesson first before checking out this notated content. You can download this lesson at the bottom of the page. Continue reading
We’ve covered an 8 beat cycle with Adi Thalum; a 5 beat cycle with Kanda Chapu; and now we explore Misra Chapu, the 7 beat cycle. Misra Chapu, known in Hindustani Music as Rupak, is shown by a series of claps and waves: wave on beat 1; wave on beat 2; clap on beat 4; clap on beat 6. It’s recited as Ta Ki Ta Ta Ka Di Mi, which is a 3 + 4 division of 7 beats. Below I’ve recited Misra Chapu is a variety of subdivisions. Mastering these exercises will dramatically improve one’s comfort with 7/4 and will inspire new ways to view 7 (it’s not just 12 12 123 anymore)! A downloadable pdf of this lesson with notation is available at the bottom of the page, but try learning this by ear before checking that out.
Misra Chapu, 7/4 time, in Quarter Notes
Misra Chapu, 7/4 time, in 8th Notes
Misra Chapu, 7/4 time, in 16th Notes
Misra Chapu, 7/4 time, in Triplets
Misra Chapu, 7/4 time, in Quarter Note Triplets
The first lesson on this site is dedicated to Tha Din Gi Na Thom, one of the fundamental rhythmic phrases in Carnatic music. Below I’ve posted a solo I took over John Scofield’s tune, “Chank,” where I’m using a range of Tha Din Gi Na Thom phrases. I found it very challenging to work these phrases into my playing initially and to do so organically, but after isolating the phrases and using them as I play scales, sticking to one phrase as I solo over simple forms, etc, I’m finding that it’s getting more comfortable and convincing. Layering them into my playing has added a new dimension of rhythmic and melodic shape to my playing and provides me with a new outlet of expression. I hope this serves as inspiration to those of you who are trying to work these new cells into your own playing and would love to hear how you are applying this new language into your own work!
Solo clip from “Chank”