Lesson 1: Introduction and Basics to the Kartals

Throughout the history of kirtana, the two fundamental instruments that

represented rhythm were the mrdanga and the kartal. The mrdanga (also
known as a khol) is a sacred clay drum, while the kartal is a pair of finger
cymbals. Most of the kartals are made of two brass (or some rare cases,
silver) cymbals which are connected with some kind of cloth or rope. Figure
1.1A is a picture of the kartals. Note the brass material and the red
connector between the two cymbals. The side facing down is the playing

side.

Figure 1.1A

Each kartal has two special sides. The outer edge is towards the rim of
the kartal cymbal. The center is the region where there is a dip. Figure 1.1B
looks on the playing side.

Figure 1.1B
After recognizing the parts, there are two more fundamental steps in order
to be able to play kartal. The first is developing clear sounds. This lesson will
devote time to be able to produce clear open and clear closed sounds.

Open sounds are produced by striking the kartals on the center. Then, the
right kartal moves downward while the left kartal moves upward. A nice
resonant and ringing sound should emanate. Figure 1.2 shows the
demonstration of this.

Figure 1.2

Closed sounds are nonresonant sounds which do not result in a clear ringing
sound. Both kartals strike each other’s center. It will almost sound like a
clap.

Figure 1.3
Practice being able to make open and closed sounds effortlessly. This is a
skill that must be mastered in order to move on to second fundamental;
time keeping.

Lesson 2: Understanding Rhythm and Notation

Recall from Lesson 1, that two pillars in learning the kartal, or any rhythmic
instrument for all intents and purposes, are producing clear sounds and
maintaining constant rhythm. The kartal keeps the rhythmic cycle known as
“tāla.” In fact, the word “karatāla” literally translates to “making claps or
rhythms.” The primary function of kartals is to mark the most important
points of the tala. The tala is not the rhythmic grove that is played on
the mridanga (known as a theka). The tala is the theoretical background of
the rhythm. Tala theory is a nicely complex theory about how a rhythm
changes through time, the accent and de-accented spots, and clapping
convention. It is useful for the study of a classical drum like khol, tabla,
or pakhawaj. For studying kartals, the basic rhythmic ideas will be practical.

Understanding Notation

Indian music is not usually written down in books, but is carried through oral
tradition in succession, known as parampara. However, as it becomes
difficult to remember how rhythms and theories are composed, special
notation is created to help the student. Figure 2.1 shows an example of this.

X 0
1 2 3 4
open open open open

Figure 2.1

Each block consists of a unit of time, known as a matra or a beat. Since

there are four full blocks, there are four matras. In Audio Clip 2.1, each
striking of the kartal is separated by one second. Therefore, the value of
a matra in Figure 2.1 is 1.00 second long. The start of each matra is
numbered on top of the blocks in black. The first block is shown with a black
1, because it is the start of the first matra. The numbers in red are known
as tala numbers. The details onto what these mean are beyond the scope of
learning kartals. Just know that the first matra of each cycle is known as
the sam. It is denoted by an X. Inside the blocks, the actual stroke on
the kartals are shown. Each of these blocks can either show open or closed.
After completing the cycle of four matras, one cycle is completed. Audio Clip
2.1 plays four cycles of Figure 2.1. Use your kartals and strike them every
1.00 second.

Then play Audio Clip 2.1 to get an idea how it should sound like.

Fractional Beats

Sometimes, within a cycle, there may be fractional beats or

fractional matras. For most part, the fractional matras will be in halves.
Figure 2.2 shows how Line 2 takes each matra from Line 1 and divides then
by half. Although Line 2 has eight blocks, they are still four matras.
Each matra has two blocks. Therefore, the two blocks are half-matras.
Likewise, in Line 3, four blocks make one full matra. Therefore, each block is
a quarter-matra. Yet, Line 1, Line 2, and Line 3 are all four matras. Of
course, one will ask, “How did we know that there are four? Couldn’t Line 3
be 16 matras, which will yield Line 2 requiring each stroke to consume
two matras, or Line 1 requiring each stroke to consume four matras?” The
answer is that it is dependent on the rhythmic cycle. That will be given, so
there is no ambiguity there. To understand how fractional rhythms sounds
like, listen to Audio Clip 2.2. Line 1 is defined as 2 seconds per matra. Line 2
has each matra spaced out as 1 second per matra (half of 2 seconds). Line 3
has each matra spaced out as 0.5 seconds per matra (quarter of 2 seconds,
or half of 1 second).

X
1 2 3 4
open open open open
X
1 2 3 4
open open open open open open open open
X
1 2 3 4
op op op op op op op op op op op op op op op op
en en en en en en en en en en en en en en en en

Figure 2.2

Practice

Here is good practice on understanding notation and how to keep rhythm

with closed and open sounds. Few pointers to remember is that if a stroke
lasts more than one matra, then it can be shown by having the stoke name
take up the space of two matras, or have the stroke name written on the
first matra where it is struck, and have the following matras be empty
(silent).

X 0
1 2 3 4 5 6 7 8
open close close open close closed
d d d
X 0
1 2 3 4 5 6 7 8
open closed open close open closed open closed
d
X 0
1 2 3 4 5 6 7 8
close ope ope close open ope ope cls cls open ope ope
d n n d n n d d n n
X 0
1 2 3 4 5 6 7 8
close open open closed open open
d
X 0
1 2 3 4 5 6 7 8
close open close open close
d d d
X 0
1 2 3 4 5 6 7 8
close
d

Figure 2.3

* NOTE: Audio Clip is played at 1 second/matra. Remember, at this point,

speed is not important, but the ability to maintain a rhythm at a chosen
speed.

Lesson 3: Keeping Time

This chapter is useful for both musically inclined and musically challenged
persons. For those who have very little or no musical experience, counting
evenly must be taught. In addition to even counting is being able to divide
the counts in halves, thirds, and quarters. For those who have some musical
background, this lesson practices correct kartal playing with correct timing.

Say the strikes first evenly. Wherever you see the word “PAUSE”, actually
say the word “PAUSE.” This will ensure the one filling the empty spaces
properly. Complete the first line and then play the kartals in the same tempo
as you have said the strikes. Continually practice this lesson until one is able
to keep a rhythm at the same tempo without much effort.

Exercise:

CLOSED (PAUSE) CLOSED (PAUSE) CLOSED (PAUSE) CLOSED (PAUSE)

CLOSED (PAUSE) CLOSED (PAUSE) CLOSED (PAUSE) CLOSED (PAUSE)
OPEN (PAUSE) CLOSED (PAUSE) OPEN (PAUSE) CLOSED (PAUSE)
OPEN (PAUSE) CLOSED (PAUSE) OPEN (PAUSE) CLOSED (PAUSE)
OPEN CLOSED OPEN CLOSED OPEN (PAUSE) OPEN (PAUSE)
OPEN CLOSED OPEN CLOSED CLOSED (PAUSED) CLOSED (PAUSED)
OPEN (PAUSE) OPEN (PAUSE) OPEN (PAUSE) OPEN (PAUSED)
OPEN OPEN OPEN OPEN OPEN OPEN OPEN OPEN
OP-OP OP-OP OP-OP OP-OP OP-OP OP-OP OP-OP OP-OP
CLOSED (PAUSE) OPEN OPEN CLOSED (PAUSE) OPEN OPEN
CLOSED

Lesson 4: Four Matra Cycles

From this point, fixed cycles that will help accompany rhythmic cycles will be
studied.

Cycle 1

X
1 2 3 4
open closed closed

Figure 4.1

The first one is the famous “1-2-3” that is used in kirtans. It is actually a
four-beat one which begins with the open stroke. It is an open followed by
one beat of silence. Then two beats filled with closed strokes finish one
cycle.
Note that what people ‘assume’ to be “3” is actually supposed to be “1.” The
real counting should be 1-PAUSE-2-3-1-PAUSE-2-3-1-etc. Practice this cycle
without the help of the audio clip. Then play the kartals with the clip.

Cycle 2

X
1 2 3 4
open closed open closed

Figure 4.2

Cycle 2 is what Western musicians know as “cut-time.” The playing

technique has a groove of “1-2-1-2”. This particular cycle is very common
for bhajani tala accompaniment or any fast speed accompaniment.

Cycle 3

X
1 2 3 4
closed open open

Figure 4.3

The final kartal cycle in this lesson is Cycle 3. In regular time, it sounds like
an inverted version of Cycle 1. However, this cycle is used for faster
rhythmic cycles. In most cases, two cycles of on Cycle 3 fits with one cycle
of Cycle 1.

It can be played on the kartal as it is (play closed, wait one unit of time, play
open, play another open), however, one will get easily tired by playing it this
way. Therefore, many kartal players adopted a unique technique. One hand
has the cymbal going up and down, while the other hand turns rotates the
angle of the kartal. Figure 4.4 shows this. Matra 1 has the kartals closed (as
taught in Lesson 2). Matra 2 has no strike, but the kartals do not move
from Matra 1. Since Matra 1 is closed, the two cymbals will not break apart
until Matra 3 where one cymbal goes up and the other at an angle.
Figure 4.4

Continuously practice these three four matra cycles, as they appear very
often.

Lesson 5: Three Matra Cycles

During the month of Damodara (Kartik), when the Damodarastakam is being

sung, the rendering of that song will sometimes fall short of everybody’s
expectations. Sometimes, the mridanga player will not be able to play the
beat known as Bangla ektal (“lofa” in Bengali terminology). If
the mridanga player can play it well, then the devotee chorus, the mridanga
player, and perhaps the singer will place all their support on
the kartal players providing side-rhythm. It’s not just for
the Damodarastakam, but countless Bengali and North Indian classical
bhajans rely on a class of rhythmic cycles known as tisra jati rhythms (or
rhythmic cycles based of sole multiples of three).

This lesson describes four kartal cycles that will aid providing rhythmic
support for these talas.

Cycle 1

X
1 2 3
open closed
Audio Clip 5.1

For Bengali ektal cycles, this cycle is commonly used is preferred.

Cycle 2

X
1 2 3
open closed closed

Audio Clip 5.2

This is useful for dadra tala in slow tempo. This is the three-cycle
counterpart of the Cycle 1 of the previous lesson.

Cycle 3

X
1 2 3
closed open open

Audio Clip 5.3

This is good for fast six beat cycles. The playing technique resembles Cycle 3
of the previous lesson. Just like its counterpart in Lesson 4, two cycles of
Cycle 3 fit either Cycles 1, 2, and 4 from this lesson.

Cycle 4
X
1 2 3
open open closed

Audio Clip 5.4

This is a great choice for folk songs that require a six beat rhythm.

Lesson 6: Accompaniment (I): Sam

This lesson describes the process of playing the kartals for songs at
the sam of the cycle. The sam is the first matra of the cycle. There are a few
songs and pieces that begin on the sam. Therefore, in order to accompany
properly, the singer’s sam and the sam of the kartal cycle of choice should
match.

Here is a song that uses a sixteen matra cycle that starts on the sam.

Figure 6.1

This is just like the tala notation that was used throughout this guide.
However, instead of having kartal strikes, it has the notes that are to be
sung (or played on a melodic instrument) and the words that are sung at the
corresponding matra and note. For example at matra 8, the note “ga” is
sung for the syllable “te.” In this figure, the sam of this cycle has the first
word “o” (the word “om” actually uses two matras, but it starts at the sam).

The other red numbers (2, 0, 3) are tala numbers in which their theory is
beyond the scope of this presentation. For now, just think of the
red tala numbers are dividers. Since this is a sixteen beat cycle, it would be
very wise to use a four-matra cycle. Since one does not know if this song is
sung in slow, medium, or fast tempo, it is safe to use Cycle 1 from Lesson 4.
Look at Figure 6.2 to see how the kartal strikes from that kartal cycle match
up to the words of the song.
Figure 6.2

AUDIO CLIP 6.1

ACCOMPANIMENT PRACTICE:

Normally in kirtan settings, mridanga players are always there and there will
always be someone clapping to the rhythm. However, in cases
like dadra tala or Bengali ektal, mridangaplayers and the main singer,
especially, would appreciate help in marking the rhythmic landmarks.
Therefore, these tracks are without mridanga, claps, or any instrument that
marks rhythm. Good luck!!

AUTHOR’S NOTE: Describing where and when to start playing is just as

difficult in teaching it as well as learning it. Therefore, Lessons 6, 7, and 8
will be mostly audio clips only with brief commentaries by me. The only way
to learn this is by practicing by seeing many examples and taking advantage
of any opportunity there is to provide accompaniment. –KD 11/9/07

ACCOMPANIMENT 1 IN TINTAL (16 matra cycle):

Om Namo Bhagavate Vasudevaya
Listen to the clip and begin accompaniment

ACCOMPANIMENT 2 IN BANGLA EKTAL (12 matra cycle):

Namamisvaram Saccidananda Rupam
Listen to the clip and begin accompaniment

ACCOMPANIMENT 3 IN DADRA TALA (6 matra cycle):

Kadacit Kalindi Tata
Listen to the clip and begin accompaniment

ACCOMPANIMENT 4 IN PRABHUPADA TALA (16 matra cycle)*:

Boro Sukher Sukher Khabor Gai
Listen to the clip and begin accompaniment

ACCOMPANIMENT 5 IN KAHERVA TALA (8 matra cycle):

Bolo Hari Bolo
Listen to the clip and begin accompaniment
*Prabhupada tala is actually eight beats. However, to keep the scope of this
tutorial simple and not to dwelve into layakari territory, it is posted as
sixteen matras for the kartal guide.

Lesson 7: Accompaniment (II): Starting Before the Sam

This lesson describes the process of playing the kartal for songs that start
before the sam. There are a good number of songs that start before
the sam. Here is a diagram of a song that begins before the sam.

X 0
1 2 3 4 5 6
S
sar
X 0
1 2 3 4 5 6
P P m g g R S
va sva to ma ar cara
X 0
1 2 3 4 5 6
m m g R S ‘d
e sam pi ya a po
X 0
1 2 3 4 5 6
‘P ‘P ‘n S g R
de chi to ma ar gho
X 0
1 2 3 4 5 6
S - - - - S
re e e e e tu

It is clearly shown that this song’s first word begins at matra 6, which is
before the sam. If the main singer were to follow
your kartal accompaniment, you should strike the first kartalattack at the
word ‘va’ which is the sam. As far as which particular cycles are concerned,
it would wise to use one of the cycles in Lesson 5 (three-beat cycles).

Like in Lesson 6, the only way to understand this is by practice. Listen to the
following clips and try to playing to the songs. Again, do not worry so much
about mukhras yet. Focus on getting the rhythmic cycle in the song
properly. Once that is done effortlessly, then mukhras can be added using
good judgement.
ACCOMPANIMENT 1 IN DADRA TALA:
Sarvasva Tomar Carane (6 beat cycle)
Listen to the clip and begin accompaniment

ACCOMPANIMENT 2 IN KAHERVA TALA (prakar 4): (8 beat cycle)

Jaya Radha Madhava
Listen to the clip and begin accompaniment

ACCOMPANIMENT 3 IN BENGALI EKTAL: (12 beat cycle)

Ami Jamuna Puline
Listen to the clip and begin accompaniment

ACCOMPANIMENT 4 IN PRABHUPADA TALA: (16 beat cycle)

Bhaja Bhakata Vatsala Sri Gaurahari
Listen to the clip and begin accompaniment

ACCOMPANIMENT 5 IN BHAJANI TALA: (8 beat cycle)

Nava Gaura Varam
Listen to the clip and begin accompaniment

Lesson 8: Accompaniment (III): Starting After the Sam

There are a whole handful of songs that start after the sam. This means that
the first words of the song fall after the sam of the cycle. These songs
require a careful ear, because at least one whole cycle has to be heard in
order to get a clear idea where to start. This is a song that is in a sixteen
beat cycle. Therefore, a kartal cycle from Lesson 4 will be very useful.

X 2 0 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
S g P P - P P - P d n d - P m
bha ja hu re e ma na a sri nan da nan n da na
X 2 0 3
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
g g g R R g m - g|m g r S - S -
a bha ya ca ra na ra vi n da re e e e

Notice how there is a space in the sam. The first words in each cycle start off
on the second matra.
Most of the time, the kartal player will be playing kartals as soon as they feel
comfortable with the rhythm. Given that the cycle is appropriate,
the mridanga player will join in.

Since all three types of accompaniment scenarios are mentioned, a mix bag
of songs are presented. Play the tala (or talas) selected for each type and
accompany them.

ACCOMPANIMENT 1 IN TINTAL: (16 beats)

Bhaja Hu Re Mana
Listen to the clip and begin accompaniment

ACCOMPANIMENT 2 IN PRABHUPADA TALA: (16 beats)

Samsara Davanala Lidha Loka
Listen to the clip and begin accompaniment

ACCOMPANIMENT 3 IN BENGALI EKTAL: (12 beats)

Udilo Aruna Puraba Bhage
Listen to the clip and begin accompaniment

ACCOMPANIMENT 4 IN KAHERVA TALA (prakar 3): (8 beats)

Jaya Jaya Jagannatha Sacira Nandan
Listen to the clip and begin accompaniment

ACCOMPANIMENT 5 IN KAHERVA TALA (prakar 2): (8 beats)

Jaya Radha Giri Vara Dhari
Listen to the clip and begin accompaniment

ACCOMPANIMENT 6 IN BHAJANI TALA: (8 beats)

Krsna Jinaka Nama Hai
Listen to the clip and begin accompaniment

ACCOMPANIMENT 7 IN KHEMTA TALA: (6 beats)

Amar Nitai Mile Na
Listen to the clip and begin accompaniment

With the last two, you decide which rhythmic cycle works.

ACCOMPANIMENT 8:
Jaya Jaya Gauracander Arotik Sobha
Listen to the clip and begin accompaniment

ACCOMPANIMENT 9:
Namaste Narasimhaya
Listen to the clip and begin accompaniment

Lesson 9: Accompaniment Etiquette

Now that cycles and accompaniment have been formally taught, there is one
more topic that needs to be discussed. There are three major instruments
that survive alone, musically. Thekartals fits this category, because there is
no possibility to make a melody through cymbals. In addition, it does not
have many bols, which prevents it from earning the reputable status of
being a solo percussive instrument, like the tabla. Therefore, the kartals can
only serve as accompaniment. Despite having such limitations,
the kartals can be one of the most important instruments. The
singer, mridanga or tabla player, and the audience can rely on
your kartal rhythm to the point that no one should grossly fall off place. In
order to be an efficient and effective kartal player, some behavioral etiquette
rules should be observed.

1. You are only accompanying an singer, musician, or artist

When you play the kartals for someone else, you must remember that you
are being there to help the singer or the main artist. In some cases, you
may have very talented musician-devotees that have great experience
in kirtanas, bhajans, or whichever musical form or dance they want to
render.

- Play in such a way that the main artist does not get drowned out or you
play in a way contrary to the needs of the kirtan. You are there to help the
artist, not help promote your talent.

- As mentioned earlier, kartal cannot survive alone, musically. However, just

because mridangas, harmonium, and other instruments are playing does not
give one to right to attempt a “kartal solo.” Stick to the cycles that you think
will positively help the artist and will help him or her from going astray.

- Stick to the tempo alone. If the singer or main artist wants you to speed
up, they will give you a subtle cue, like stare at you constantly, start
pumping the harmonium loudly, or play harmonium faster.

2. Predict the tala that is being played

Even though in the temple, most of the kirtanas will be in eight matras, you
might want to listen to one mahamantra before you decide which set of
rhythmic cycles you will need (i.e. Will four or three beat cycles be used?).
Count out the beats mentally before playing. Always try to match the sam of
the previous chapters to the sam of the song. Sometimes, clapping to the
song would help keep track where the beats fall.

3. When playing, focus only tala, tempo, and the main artist

It is very easy for new students to easily miss a beat, for various reasons. If
you think you may have missed a beat, look at the artist and stop playing
and find the point where you can pick up and play on time. If you are really
lost on what part of the cycle you should resume playing, try to pick up on a
point where you can start off at the first beat of the kartal cycle.

If the main artist asks you to accompany a rhythm you are not 100%
comfortable with or do not know how to play kartals for, humbly notify the
artist that you are unable to play that.

4. Loud is never good

When people play kartals for the first time, they will tend to get overly
excited that they will play the kartals too loudly, to the point
that kartals begin to sound cacophonic. Instead of side-rhythm and help, it
becomes a loud disturbance. Therefore, don’t play too loudly and forcefully.
Even in fast rhythms, playing gently and normally would help the ecstatic
singer andmridanga player focus on the rhythm nicely.

5. Whompers are NOT kartals!!!

Figure 9.1

For those who are not familiar with whompers, they are large version
of kartals. They are actually known as garba jhanjh. While
the kartal’s diameter ranges from 3 to 4 inches, thewhompers’ diameter can
be as big as six or seven inches long. Therefore, they have a much lower
pitched sound compared to kartals. Lately, whompers have become very
much in fashion, due to their lower pitch and loud sound.
This comes at a price, though. People assume that these are played
like kartals, and as a result, an obnoxiously loud sound comes about
creating more of a disturbance than real accompaniment. Plus, it can
cause kirtans to reach or exceed safe hearing levels, which result in
devotees going partially deaf later on in life, or devotees wearing earplugs.

As a result, many temples either stop carrying whompers or have designated

people playing them. If your temple does not have such rules, please keep
in mind that whompers are notkartals! You cannot play the cycles that were
discussed in this course. The whompers should be used to mark
the sam only.

6. Use good judgment

Most of the time, a kirtan leader will not coordinate in advance who will
play kartals, harmonium, and mridanga and in what tala. If the kirtan leader
wants to speed up, speed up gradually. Don’t speed up abruptly. Same thing
with slowing down too! Likewise, do not use the faster speed kartal cycles
for slow songs. You can, however, use the slow cycles for fast songs, as they
will function for marking rhythm in a tasteful manner.