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Yakshagana Tala (Kannada:ಯಕ್ಷಗಾನ ತಾಳ, pronounced as ''yaksha-gaana taala''), is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.〔Prof. Sridhara Uppara. 1998.Yakshagana and Nataka Diganta publications〕 Tala is maintained by the singer using a pair of finger bells. The instrument for rhythm in Yakshagana are the Chande, Maddale and a Yakshagana Tala (bell) is also used along with chande. Yakshagana has a complete and complex system for rhythms. The most common Talas in Yakshagana are Matte, Eaka,Udaape, Jampe, Rupaka, Trivde, Atta, KorE and Aadi. Each tala has a cycle of N beats divided in M bars. Some talas are more than 5 minutes long (e.g. Abbara Tala). Note that although, the names of Talas are similar to Karnataka Sangeetha only a few talas are similar and other rhythms are completely different.〔Sediyapu Krishna Bhatta, Chandogathi, Mangalore〕 Each taal is identified by a typical set of syllables similar to bols in Tabla. A set of syllables representing the basic rhythm of taala is called 'Badtige' or 'Tatkaara'. The variations of a particular taala are called 'Nade' (movement) which is similar to Kaida in Tabla. Yakshagana music vocalists (Bhagavathas) mark the ''tala'' by tapping a pair of bells. Talas are identified by Ghaatha and are largely decided by the metre of the Yakshagana poetry〔.Sediyapu Krishna Bhatta, Kannada Chandassu, Mangalore〕 Some Taalas have been demonstrated on chande in the following external links. ==Some Yakshagana Talas〔''Martha Bush Ashton, Yakshagana: A dance drama of India, South Asia Books (May 1, 1989)''〕== *Matte Tala (Tvarita Rupaka): ''3 beats'' ::''----3---|-------3------||----3---|-------3------||'' ::''tai ta | di naam || tai ta | di naam ||'' ::Muktaya (Ending) *Chaurastra Eka Tala: ''4 beats'' ::''ta ddi mi | ta ka di mi ||'' ::Muktaya (Ending) *Udaape Tala: (Tvarita Eka) ::''ta ki ta | ta ka di na | ta kki ta | ta ka di na ||'' ::Muktaya (Ending) *Jampe Tala: ''5 beats'' ::''dhim kadthka dhim dhim kadthka |'' ::Muktaya (Ending) ::'' ta ta kadthka takada taddinnaka tai |'' ::'' ta ka ta di gina dhem |'' ::Tvarita (Fast) ::Nade (Variations) *Chaurastra Rupaka Tala: ''6 beats'' ::''tai ta dinaka | dhem ta dinaka |'' ::Muktaya (Ending) *Trivde Tala: ''7 beats'' ::''deem ta | taam di na | dheem ta | taam dina ||'' *Asta Tala: ''3+1/2 beats'' ::''tai ti tti | tai ti tti ||'' ::Muktaya (Ending) *KorE Tala: ''3+1/2 beats'' ::''ti tti tai | ti tti tai ||'' ::Muktaya (Ending) *Aadi Tala: ''16 beats'' ::'' ta hasta | dim da di ku ta ka | taa tom | ta di naka ||'' ::Muktaya (Ending) *Chau Tala ''8 beats'' ::''deem ta tta ta tta | deem ta tta | deem ta tta ta tta ||'' ::Muktaya (Ending) *Dhruva Tala: ''14 beats'' (Cognate of Hindustani Rupak) ::''tom dinna ta ri ki ta | tom di na | tom ta tta ||'' ::''dhi dhi na | dhi na dhi na | ta di na ti na ti na ||'' ::Muktaya (Ending) Scholars have disagreement on the names and beat structure of the above Talas. But the details provided here are generally acceptable.〔Hostota Manjunatha Bhagavatha, Yakshagana Talakrama, Sagara.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Yakshagana Tala」の詳細全文を読む スポンサード リンク
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