Samayabaddh Lay (timing ritmico)

 

Jaisaa Ki Plato (Philebus 18-B, C, D) Dwaaraa Pushti Ki Gayi Thee, Praacheen Misriyon Ne Teen Tatvon (Niyamit Pich, Aawaaz Aur Khaamoshee) Ki Pahachaan Ki Jo Dhvani Ke Ek Suvyavasthit Pravaah Kaa Nirmaana Karate Hain. Ye Teen Shreniyaan Hamein Pratyek Dhvani Ki Avadhi Aur Lagaataar Dhvaniyon Ke Beech Bache Hue Samay (Khaamoshee) Ki Pahachaan Karane Mein Saksham Banaati Hain.

Sangeet, Bhaashaa Jaise, modello Mein Padhxi Jaati Hai; Akeli Ikaayiyon Mein Naheen- Yaani Ki, Ham Shabdon Ko Padhate Hain, Aksharon Ko Naheen. Sangeet/ Shabd/ Vaakyaanshon Ko Samajhanaa Ahasaas Aur Smriti Par Nirbhar Karataa Hai; Kyonki Hamein N Keval Waadyayantra Par Turnt Bajaaye Gaye Dhvani Ko Pahachaananaa Hotaa Hai, Balki Isase Pehle Bajaaye Gaye Dhvaniyon Ko Yaad Rakhanaa Padataa Hai, Taaki Unki Ek Saath Tulanaa Ki Jaa Sake. Sangeet Yaa Bole Gaye Shabdon/Vaakyaanshon Ko Sunane, Mahasoos Karane Aur Uske Bhaav Ko Samajhane Mein, Lagaataar Dhvaniyon Ko Alag Karane Vaalaa Samay Mahatvapoorna Kaarak Hai.

Sangeet Kaa Bhaavanaatmak Prabhaav Bahut Had Tak Isamein Istemaal Kiye Gaye Lay Yaa Ritmo Ke Prakaar Par Nirbhar Karataa Hai. Lay Kaa Matalab Hai Pravaah: Ek Gati Jisaki Teevrataa Mein Utaar Chadhaav Hotaa Hai. Sangeet Mein Lay Ke Pravaah Ke Kayi Roop Hote Hain. Sangeet Ki Zyaadaatar Vishishtataayen Aur Swarup Uske Lay Se Tay Hoti Hain. Isamein, Gahari Aur Halkee, Lambe Aur Chhote, Kam Aur Jyaadaa Pich, Dheemaa Aur Tej, Samaan Aur Asamaan, Sam Aur Visham Jaisi Vipareet Swaralahariyaan, Note Pitch Aadi Ho Sakati Hain. In Ghatakon Kaa Sanyog Isake Shabdon Ko Lay Detaa Hai.

Vishesh Lay Ko Banaye Rakhanaa Bahut Mahatvapoorna Hai/Thaa, Kyonki Praacheen Aur Baladi Misravaasiyon Beech Kavitaa Aur Sangeet Ke Atoot Gathajod Kaa Alagaav Lagabhag Asambhav Hai. Jaisaa Ki, Vishesh Samay Aur Lay Se Vichalan Naa Sirf Kavitaa Ki Sundarataa Ko Nasht Kar Detaa Hai Balki Kabhi-Kabhi Shabdon Ke Arth Ko Bhi Badal Detaa Hai Jinase Ve Bane Hote Hain. Swar Uchchaarana Mein Badalaav Se Ek Alag Aawaaz—Ek Alag Swar—Banati Hai Aur Isalie, Ek Alag Shabd Banataa Hai.

Sangeet Mein Beating Time Kaafi Mahatvapoorna Hai, Kyonki Yadi Ek Sangeetagy (Ek Taalwaadak Naheen) Samayabaddhataa Se Baahar Nikalataa Hai, To Sangeet Band Ho Jaataa Hai, Aur Kaan Sunanaa Band Kar Dete Hain Aur Bahaav Band Ho Jaataa Hai. Sconfiggi Yaa Taal Ek Nirntar SPandan Hai. Yeh Ek Paimaane Ke Roop Mein Kaam Karataa Hai Jisake Dwaaraa Ham Ek Note Ki Avadhi Aur Note Ke Beech Ke Samay Ko Maap Sakate Hain. Samayabaddh Taal Ko Nimn Mein Se Kisi Bhi Tareeke Se Pooraa Kiyaa Jaa Saktaa Hai:

1. Sangeetakaar Dhvani-Anukaranaatmak Uchchaarana Ikaayi Ki Madad Se Samayabaddh Taal Seekhate Hain. Uchchaarana Ikaayi Aur Note musicali Ke Beech Saamnjasy, Se Samay Kaa Prabandhan Ise Behad Svaabhaavik Tareekaa Banaataa Hai. Sangeet Par/Ke Saath Gaanaa Ek Hi modello Kaa Paalan Karataa Hai, Aur Do Tareekon Se Pooraa Kiyaa Jaa Saktaa Hai: 1) Nota Ki Avadhi Ke Liye Kuchh Uchchaarana Ikaayi Kaa Upayog Karake, Aur/Yaa Note Ke Beech Samay Ke Lie; 2) Kisi Bhi Yaa Vaikalpik Punaraavritti Ke Maadhyam Se, Apane Khud Se Gin Karake.

Aamataur Par Do Prakaar Ke Uchchaarana Ikaayi Kaa Upayog Kiyaa Jaataa Hai: Chhote Aur Lambe (Arthaat 2: 1 Ke Anupaat Mein Ek Lambaa/ Adhik Lambaa Swar). In Do Buniyaadi Ghatakon Ko Vairiebal Meter (Har Kaal Khnda Mein Taal Aur Anya Nihit Tatvon Kaa Kram) Ke Liye Kayi Bhinn Roopon Mein Upayog Kiyaa Jaataa Hai.

2. Pairo Se Thaap Dene Ko Praacheen Misr Ke Sangeet Drishyon Mein Samay Prabandhan Ki Ek Vidhi Ke Roop Mein Darshaayaa Gayaa Hai (Neeche Daanyi Or Dikhaayaa Gayaa Hai).

3. Praacheen Misri Bhavanon Mein Kayi Sangeet Drishyon Mein, Sangeetakaar Taali Bajaane Vaale Vyakti Ke Saath Hai, Yaa Sangeetakaar Samayabaddhataa Ke Liye Taali Bajaane Vaale Kaa Istemaal Karate Hain.

4. Misriyon Ne Samay Ko Niyantrait Karane Ke Liye Chhote Hainda Drum, Katoraa Drum (Tabalaa/Darabuk), Frame Drum (Rik Yaa Taar), Yaa Kaitel Drum (Naqqaaraa) Ki Jodi Ke Drum Pattern Kaa Upayog Karte The/Hain.

5. Signor Ki Shaastreey Prathaayon Mein Sanyojan Mein Kaam Karane Vaal Do Prakaar Ke Taal The; Khaamosh Aur Aawaaz Vaalee

• Khaamosh Ishaaron Kaa Istemaal Praacheen Misr Mein Vibhinn Tarah Se Sanket Dekar Kiyaa Jaataa Thaa, Jaise: Baanh Ki Kalaayi Ko Oopar Uthaanaa, Hatheli Ko Oopar Yaa Neeche Karanaa, Aur Ungaliyon Ko Kheenchanaa Yaa Doharaa Karanaa; Ek Haath Ke Angoothe Aur Tarjani Se Ek Vritt Banaanaa Aur Anya Ungaliyon Ko Sakht Rakhanaa, Jabaki Doosare Haath Ki Hatheli Ko Oopar Yaa Neeche Ki Taraf Karake Haath Kaan Yaa Ghutane Par Aaraam Se Rakhanaa. Angoothe Oopar Ho Saktaa Hai, Yaa Tarjani Ke Khilaaf Jhukaa Ho Saktaa Hai

Saqqara Sthit Puraane Saamraajya Ke Maqabaron Mein Layabaddh Taal (Battimento del tempo) Ke Kuchh Udaaharan Diye Gaye Hain.

 

In Harakaton Ko Karane Ke Lie, Sabhi Sadasyon Ke Beech Baaree-Baari Se Daahine, Baayen Aur Donon Haathon Kaa Istemaal Kiyaa Jaataa Thaa.

Ungaliyon Ko Bhi Baaree-Baari Se Doharaayaa Jaataa Thaa, Jisamein Chakr Ke Chaar Hisson Mein Pehle Chhoti Ungali Fir Anaamikaa, Fir Madhya Ungalee, Aur Fir Tarjani Ko Jodkar Kramik Roop Se Ingit Kiyaa Jaataa Thaa.

• Karna-Gochar Taal Ko Anguliyaan Chatakaa Kar; Daanye Haath Yaa Baanye Haath Se Yaa Donon Haathon Se (Jaangh Par) Maarakar Utpann Kiyaa Jaataa Thaa.

Luxor (Tebe) Sthit Lagabhag 1500 Eisa Poorv Ke Ameinemhet Ke Maqabare Mein, Ek Nirdeshikaa Kalaakaaron Ke Saamane Khadi Hai, Usakaa Mukh Kalaakaaron Ki Or Hai Aur Vah Apani Baanyi Aidi Se Samay Ko Taalbaddh Kar Rahi Hai Tathaa Apane Angoothe Aur Saamane Ki Ungali Ko Chatakaa Rahi Hai.

 

[isaka ek ansh:Misri Waadyayantra dvaara likhit Moustafa Gadalla]