Layakari Example

Chhotelal Misra performs layakari with a Benares Bant

(based on Benares Bant 3)

Introduction to Layakari

Related to lay, layakari generally means: creating rhythmic variation by changing how the matra (beat) is divided.

In the recording above, for example, Chhotelal begins in a division of 4:1, then progresses through variations in 5:1, 6:1, 7:1, and finally 8:1 (sometimes going back and forth).

This kind of performance reflects the literal meaning of layakari, which is made from the word lay (rhythm) together with kārī, which means “doing” or “work”. So layakari suggests “doing lay” or "doing rhythm".

Layakari is used in many different types of compositions and musical contexts, in both tabla solo and accompaniment. Most often, the term layakari refers to a live improvised performance, such as in Chhotelal’s recording above.

However, we also use layakari terms for the different subdivisions of the matra. And we regularly change speeds when practicing theme-and-variation forms such as the kayda and rela, and in some fixed compositions, though we do not usually call this layakari.

Being able to follow layakari in performance is an advanced listening skill. But you can start by learning the most common layakari terms and divisions, which we discuss below.

Then you can start listening to some simple examples of laykari in both practice and performance, which is introduced in the next section.

Layakari Terms

There are a number of layakari terminology systems, or groups of terms. They all indicate the different subdivisions of the matra (beat), but may do so in different ways.

Layakari as Divisions per Matra

One group of layakari terms simply tells us the number of subdivisions in a matra. These are the easiest to understand and remember (once you know the Hindi numbers).

Below are the nine most common of these layakaris. The first number is the subdivision, and the second number refers to the matra.

For example, “4:1” means four subdivisions in one matra:

These terms combine Hindi numbers with gun, which means “multiple of”. So ek-gun means "one"–gun, or “multiple of one” (1:1). Du-gun means "two"–gun (2:1). Etc.

• 1:1 – Ekgun – एकगुन (also called ṭhāh – ठाह)
• 3:2 – Ḍeḍhgun – डेढ़गुन (1.5:1)
• 2:1 – Dugun – दुगुन
• 3:1 – Tigun – तिगुन
• 4:1 – Chaugun – चौगुन or चैगुन (chaigun)
• 5:1 – Pānchgun – पांचगुन
• 6:1 – Chhagun – छःगुन
• 7:1 – Sātgun – सातगुन
• 8:1 – Āṭhgun – आठगुन
• 12:1 – Bārahgun – बारहगुन

These terms will be understood across all gharanas, although some players may prefer other terms for some divisions.

Layakari as Multiples or Fractions

Another system of categorizing layakari is according to multiples, or fractions, of 2, 3, 5, etc:

• Barābar – बराबर: 1:1 or any multiple of 2 (2:1, 4:1, 8:1, etc.)
• Āṛa – आड़: multiples or divisions of 3 (1.5:1, 3:1, 6:1, 3:2, 3:4, etc.)
• Kuāṛa – कुआड़: multiples or divisions of 5 (5:1, 5:2, 5:4)
• Biaṛa – बिआड़: multiples or divisions of 7 (7:1, 7:2, 7:4)

The term lay is often added to the terms above, giving us ara lay, kuara lay, etc.

Of these four terms, barabar and ara are especially common. Barabar, which means “equal” or “even”, is used quite freely for any multiple or division or 2; what some musicians call “straight” (1, 2, 4, 8, etc.)

And ara, which means “crooked” or “diagonal”, is often used for anything with divisions or multiples of 3 (3, 6, 12, etc.).

Note: In Benares, divisions of 7 are also called jhūlnā lay (झूलना लय), kuara may refer to some particular divisions of 5 or 9, and biara may refer to particular divisions of 7 or 9.

The Jati System

A similar system of categorizing layakari is the jāti (जाति) system. These terms are more common in South Indian classical music, though they are also used by many in the north.

Jati means “class” or “type”. And here too, the jati terms refer to both multiples, and divisions, of a particular number:

• Tiśra jāti: divisions or multiples of 3 (3:1, 6:1, 3:2, etc.)
• Chaturaśra jāti: divisions or multiples of 4 (4:1, 8:1, etc.)
• Khaṇḍa jāti: divisions or multiples of 5 (5:1, 5:2, 5:4)
• Miśra jāti: divisions or multiples of 7 (7:1, 7:2, 7:4)
• Saṅkīrṇa jāti: (9:1)

In the next section, we look at some examples of these divisions in practice and performance.

References