DHRUPAD ELEMENTARY EXERCISES:

TABLE OF CONTENTS AND GUIDE TO THE MATERIALS

Introduction

Lesson 1

A D: Sargam syllables and the shuddh (pure, or major) scale

E: Introduction to dhrupad syllables
Sing exercises B, C, and D in the sequence B C D C B.
Sing the syllables of exercise E on any comfortable pitches, particularly middle s!.
Lesson 2

A: Expanded aum
B C: Repeated notes and scale fragments
D: Exercise for pitch accuracy
A phonetic transcription of exercise As expanded aum is: a
(in Devanagari:
)

Lesson 3

m
4

A: Omission exercise: six-, five-, and four-note scales

B: The komal (flat, or phrygian) scale
C: Juxtapositions of shuddh and komal scales and tetrachords
D: Chromatic exercise
Lesson 4

A C: Scale fragment exercises involving chains and slopes of notes

D E: Intervals
F: The four varnas (types of melodic movement)
G H: Exercises with repeated scale fragment and descent to pa
I: Scales with one accidental
See lesson 5, exercise A for an explanation of accidentals in Hindustani music.
Lesson 5

A: Altered notes
B: Range exercise
C: Introduction to m!nd (Slow slides)

Sing the slides in exercise C should slowly and smoothly, though not mechanically; a
graph of the change of pitch from one note sliding to the next looks more like

than the straight line of the scores glissando. Take a full breath for each slide.
Lesson 6
A: Wedges
B: Mind with larger intervals
C: Gamak (ornament) exercises

Again, the m"nd should be smooth:

rather than
Gamak in exercise C refers to ornamentation with grace notes, not the complex vibrato
characteristic of North Indian singing and also called gamak; see lesson 7 exercise B and
the gamak exercise on page 16 for an introduction to the complex vibrato.
Lesson 7
A: More gamak exercises
B: Complex vibrato

Experiment with changing the parameters of exercise B to create other complex periodic
sounds.
Lesson 8
A: Polyrhythm exercises in dugun (double speed) and caugun (quadruple speed)
B: Ornamented variations

11

Lesson 9
A: Introduction to the nom-tom syllables

14

The exercises of lessons 9 and 10 introduce four model sequences of four syllables each,
and then show how to expand these sequences into longer ones by adding ras and nas.
The basic principles are expaning ra na into longer patterns by adding more nas, and
appending ra na, ra na na, etc. to existing sequences. (For a more detailed description,
please see Sanyal and Widdesss Dhrupad, page 152.) For example, ta ra ra na (the first
model phrase) can expand to
1. ta ra, ra na na

ii

2. ta ra ra, ra na na (see note below)

3. ta ra ra, ra na na na
4. ta ra ra na, ra na na na (= ta ra ra na, ra na ra na; see note below)
5. ta ra ra na, ra na, ra na na
For sequences starting with a three-note group, ra is inserted after the first two syllables,
rather than na.
The four-syllable pattern ra na ra na is structurally interchangable with ra na na nathis
explains the transformation from step 4 to 5 in the example above. But ra na ra na is
always sung as ra na na na, which explains the irregular form of the fourth model phrase.
Appendix to the exercises
Gamak (vibrato) exercise

17

This is a vibrato exercise from lesson 20. The first two lines show the melodic outline of
the exercise, and the bottom line illustrates what the voice is doing to produce the gamak
effect, which is to slide from a note (substantially) lower than the focal pitch to one
(somewhat) higher. The simplified notation to show the approximate range of the slides is
a little misleading: the individual slides blend into a smoother oscillating figure than
appears on the page. (See Dhrupad, page 166, for a more literal transcription.) Even
though the slides hide the exactly pitches of the melody, the melodic outline is still clear:
as the melody ascends, so do the slides. The general range of the slide may be large or
smallfrom a microtone to over an octavebut the slides tend to get relatively smaller
as the melody ascends.

iii

Introduction
Dhrupad singing lessons map out the Indian vocalists musical landscape in broad strokes before
zeroing in on particular r!gs to fill in the details.
I spent ten lessons learning simple musical exercises. Some of these focus on vocal technique and
sound production. The ideal voice of a male dhrupad singer stretches, roughly, from low C to the G about
middle Ctwo-and-a-half octaves, a range exceeding my natural capacity in both directions. The teacher
emphasizes early morning practice to develop the bass register, and prescribes scalar exercises for the
highest register. Glissando and grace-note exercises introduce the student to these dimensions of dhrupad
ornamentation, which require the ability to move between pitches quickly and accurately. The teacher
dictates exercises to develop the students vibrato, but in general, exercises are sung without vibrato, with
pinpoint pitch accuracy.1 (The constant tonic-dominant drone of the tambura makes subtle variations of
pitch and tuning easier to hear in Indian music than in tonal, modulating Western music.) All these
exercises condition the students voice.
The other exercises are not so physical; instead, they highlight different aspects of r!g construction, such as
omitted notes, combinations of accidentals, and characteristic melodic movements. The most complex and
difficult of these exercises builds on the simple foundation of ascending and descending scales, combined
with the idea of varying some patterns while leaving others unchanged. The student can combine and
overlap many of these exercises; this relieves the monotony of practicing the same thing again and again,
develops mental flexibility, and provides insight into the relationship between these musical building
blocks and an actual musical performance.
Note on transposition
In Indian classical music, the tonic pitch, or s!, is variable. My teachers middle s! is approximately the Csharp below middle C, which is fairly standard for Indian male vocalists. In my transcriptions, however,
middle s! is always the C-natural below middle C, to minimize accidentals.
Note on transliteration
Finale 2001, the program Ive used for my transcriptions, doesnt support the diacritical marks that
distinguish Devanagaris long vowels !, ", and # ( , , ) from the short vowels a, i, and u ( , , ). For
this reason, Ive written the long vowels as aa, ii, and uu.
Note on sargam
Ive written sargam (Indian solfege) letters under the staff music to aid musicians who arent familiar with
Western music notation. The shuddh notes are all upper-case (S, R, G, and so on), and altered notes,
including t"vra ma, are lower-case. Notes in the upper octave (middle C to the B above) have an apostrophe
after the letter (such as S R G) and note in the lower octave (from the C two octaves below middle C to
the B above) have a period after the letter (such as N. D. P.).
Thank you
My guru-ji, Prof. Ritwik Sanyal, taught me these wonderful exercises. I am indebted to him for his
knowledge, enthusiasm, and kindness.

Vibrato (gamak) in dhrupad is more variable than in Western classical music; in general, it is entirely
absent, but may span an octave or more in heavy gamak.

[Filename]

Dhrupad Elementary Exercises

Lesson 1

Sargam (solfege) syllables with the shuddh ("pure") scale;

a full breath for each note
sim.

U , U , U ,U , U U U U U U U U U U U U
?c

S
sing: saa

N.
ni

D.
dha

P.
pa

M.
ma

G.
ga

R.
re

U
U U U U U U U

?
S
saa

R
re

G
ga

M
ma

P
pa

D
dha

N
ni

S.
saa

S.
saa

U
U

S'
saa

S'
saa

R.
re

N
ni

G.
ga

U
U

D
dha

M.
ma

P
pa

P.
pa

D.
dha

N.
ni

S
saa

U
U
U
U

M
ma

G
ga

R
re

S
saa

,
, , ,
?

Four notes per breath (in tempo)

S N. D. P. M. G. R. S. S. R. G. M. P. D. N. S
sim.

S R G M

P D N S'

S' N D P

M G R S

,
,

? ..

..

Dugun (double speed): eight notes per breath

S N. D. P. M. G. R. S.

S. R. G. M. P. D. N. S

S R G M P D N S'

S' N D P M G R S

,
4 times ,.

? ..

Caugun (quadruple speed): sixteen notes per breath

S N. D. P. M. G. R. S. S. R. G. M. P. D. N. S

?U
w

S R G M P D N S' S' N D P M G R S

Some dhrupad syllables, and their spacial associations

horizontal line
vertical line

(sa)

9/5/06 Page 2

U
w
aa

U
w

naa

U
w
rii

U
w

point

nom

U
w

circle

aum

Lesson 2

Expanded "aum", with several vowels

see "Guide to the Exercises" for phonetic transcription

smooth transition between vowels

aa

uh

aw

uu

ng

Repeated notes
Expand the following exercises by descending to low sa and returning to middle sa.
accent a little

?c
S S R R G G M M
(sargam)

P P D D N N S' S'

S' S' N N D D P P

M M G G R R S S

?
S S S R R R G G G M M M P P P D D D N N N S' S' S' S' S' S' N N N D D D P P P M M M G G G R R R S S S

?
?

S S S S R R R R G G G G M M M M

P P P P D D D D N N N N S' S' S' S'

S' S' S' S' N N N N D D D D P P P P

M M M M G G G G R R R R S S S S

fragments

? Two-note

Scale fragments

S R R G G M M P

P D D N N S' S' R'

R' S' S' N N D D P

P M M G G R R S

fragments

? Three-note

!...

S R G R G M G M P M P D

P D N D N S' N S' R' S' R' G' G' R' S' R' S' N
And so on, ascending and descending,
until eight-note fragments:
Five-note fragments

? ...
! ...
!

...! c
Four-note fragments

S R G M R G M P

S R G M P R G M P D
S R G M P D N S' R G M P D N S' R'
Try to go up to high ga or ma, and down to low dha or ni, but don't strain the voice

9/5/06 Page 3

?c U
w
D

Pitch accuracy exercise

S'

? U
w
S R G M P D N S'

S'

w
?c

... ...
etc.

9 J U
8 w

U
Jw

S' S

S'

S' N D P M G R S

...

S' R

U

w

The same exercise, inverted

15
8

S R G M P D N S' S'
This process of omission continues until
only the highest note of the scale remains:

R G M P D N S' R

S' N D P M G R S

...

? 15 U

w
w
8
E

And so on, always raising the pitch

of the final note by one step, until:

Then repeating the exercise with the first note omitted:

R G M P D N S' S

...
etc.

Lesson 3

Omission exercise
Sing scales leaving out individual notes
in turn: first re, then ga, etc. up to ni.

Uj
Uj

(R)

S G M P D N S' S' N D P M G S

Then sing scales leaving out pairs of

notes: re-ga, re-ma, etc.; then ga-ma,
ga-pa, etc.; up to dha-ni (15 total).

...

(RG) (RM) (RP)

S R M P D N S' S' N D P M R S

... ...

(GM)

Komal (flat) scale

? bb b w
b

(G)

...

Then leave out groups of three

notes, from re-ga-ma to pa-dha-ni.
There are 20 combinations.

... ...

(DN) (RGM)

(PDN)

bbb b

d
n
S'
Repeat all previous exercises with this scale.
Exercise juxtaposing shuddh and komal scales and tetrachords

? b b c 1. n n 2. b b
bb
nn
bb
9/5/06 Page 4

S r g M P d n S'

S' N D P M G R S

S R G M P D N S'

S' n d P M g r S


? b b b 3. n n n
b
n
S

? 4.
S

bb b b
P

S'

S'

? b b 5. n n
bb
nn
S

? 6.
S

S'

S'

S'

bbbb

S'

S'

n nnn

bbb b

n nnn

S'

bb b
nn n
b
n
P

bbb b

nn nn

bb bb

n nnn

b
? b b n n # b b n n b b # n b b

Chromatic exercise

r S

R M G P

d P

n D S' N

r' S' N S' D

n P

m P G M R

g S

r N. S

Lesson 4

?
A

Chain exercise

S R S R G R S R G MG R S R G M P MG R S R G M P D P M G R S R G M P D N D P M G R S R G M P D N S' N D P MG
Continue up to ni, then
invert the whole exercise

...

R G R G M G R G M P M G R G M P D P M G R G M P D N D P M G R G M P D N S' N D P M

9/5/06 Page 5

Upward sloping steps

First, starting from low sa, sing
scale fragments of increasing
length, until arriving at high sa:

S R S R G S R G M S R G M P S R G M P D S R G M P D N S R G M P D N S'
Continue up to ni, then
invert the whole exercise

?
Then, starting from re, repeat this process:

...

R G R G M R G M P R G M P D R G M P D N R G M P D N S'

Downward sloping steps

This is similar to the preceding exercise,
but each scale fragment is inverted

Continue up to ni, then

invert the whole exercise

...

R S G R S M G R S P M G R S D P M G R S N D P M G R S S' N D P M G R S

?
D

Intervals up This is also similar to "Upward Sloping Steps," but it

removes all the middle notes of each scale fragment.

S R S G S M S P S D S N S S'

Continue up to ni, then

invert the whole exercise

R G R M R P R D R N R S'

Intervals down

Exercise highlighting the four varnas,

or elements of melodic movement

?c

S S R S R
R R G R G
The four varnas are:
level, or keeping to the same note (sthayi)
ascending (aroha)

S'

Continue up to ni, then

invert the whole exercise

S S G S G

9/5/06 Page 6

R R M R M

...

G G M G M

M M P M P

etc. up the octave, then invert

...

descending (avaroha)
mixture of the above three (sanchari)

Gradually increase the melodic interval...

...until it emcompasses an octave:
etc. up the octave, then invert

...

...

S S S' S S'

R R R' R R'

etc.

...

[Filename]

U
U
U
> > >
> > >
?

> > > >
>
>

etc. up the octave

Exercise with repeated scale fragment and descent to pa

Ascending form:

...

S R G S R G S R G R S N. D.P. R G M R G M R G M G R S N. D.P. G M P G M P G M P M G R S N. D.P.

form:
>Descending
> > >

> > >

U
U

etc.

...

G' R' S' G' R' S' G' R' S' N D P M G R S N. D. P. R' S' N R' S N R' S' N D P M G R S N. D. P.
The same, with permuted scale fragment
Ascending form:

?

>
>
>
>
>
>
S

N.

D.

...
etc.

P.

> > > > > >

U
?

Descending form:

G'

R'

S'

G'

R'

G'

S'

R'

S'

G'

R'

S'

N. D.

...
etc.

P.

?C
b
nb
I

Scales with one accidental

S R G M P D N S'

S' N D P M G R S

S r G M P D N S'

S' N D P M G r S

Accidentals in these non-standard key signatures hold for

all octaves, just like those in standard key signatures.

?b
n#
nb
S R g M P D N S'

S' N D P M g R S

S R G m P D N S'

S' N D P m G R S

S R G M P d N S'

S' N d P M G R S

S R G M P D n S'

S' n D P M G R S

?b n
b
n

? ..

..

The same exercise, exapanded to two octaves

Change key signature at the bottom, and repeat 6

times to cycle through all the one-accidental
scales and arrive back at the major scale.

9/5/06 Page 7

Lesson 5

?w

Aw

Aw

Aw

aw

Aw

Altered notes

S
r/R
g/G
M/m
P
d/D
n/N
S'
In the Hindustani music system, there are only five accidentals: flat re, flat ga, sharp ma, flat dha, and flat
ni. This means that there are only thirty-two possible combinations of natural and altered notes: 1 pure
scale, 5 scales with one altered note, 10 with two, and so on. In this exercise, sing all the scales.
Range exercise

? c

B

1.

S R S R G R G M G M P M P D P D N D N S' N S' R' S' S' R' S' N S' N D N D P D P M P M G M G R G R S R S

(expand the exercise by descending to low sa and returning to middle sa)

?
2.

...
etc.

S R G R S R G M G R G M P M G M P D P M P D N D P D N S' N D N S' R' S' N S' R' G' R' S'

High note of the original patterns sung twice:

? ... ...
1a.

3.

S R G M G R S R G M P M G R

GM P D P M G

S R R S R G G R

?
2a.

G M M G

3a.
?
S R G M M G R S R G M P P
High note of the original patterns sung four times:

M G

?
1b.

G M M M M G

?
9/5/06 Page 8

...

G M P P P P M G

3b.

S R G M M M M G R S R G M P P P P M G R

...

2b.
?
S

...

G M P D D P M G

...

G M P D D D D P M G

...

Slow slides ("miind")

Ascending form:

U
w

? w ! w
S
saa

S
re

? w

R
re

U
w

S'
saa

N
ni

N
ni

Lesson 6

R
ga

...

N
ni

U
w

U
w

, And so on, upwto ! w

U
w

w ! w

Descending form:

N
saa

U
w

And so on, down to

...

D
dha

R
re

S'

S
saa

? C
Wedges (practice in the upper and lower octaves seperately)
Four notes each

S R G M S' N D P R G M P N D P M G M P D D P M G M P D N P M G R P D N S' M G R S
Three notes each
Two notes each

...

S R G S' N D R G M N D P G M P D P M
One note each

?
G

...

U
U
? w wU
w ww w w w w
B

S R S' N R G N D

S'

w wU
wwU
w w wU
w w wU
w

Slide exercise of previous lesson with larger intervals

S S G
saa ga

G R M
re ma

...

M G P
ga pa

U
U
? wwU
w w w w ww w

N D S'
dha saa

...

?2
4

>

>

>

S R S R G R G M G
saa saa re
re ga
ga

...

S' D D N P
saa dha ni
pa

>

S' P P N M
saa pa ni
ma

M D G
dha
ga

S'

U
www
R G S
ga
saa

...

U
w ww
R M S
ma
saa

And so on, with larger and larger intervals

S' R' S'

saa
saa

...

P D M
dha ma

w wU
ww U
w w wU
w w wU
w

S S M M R P
P G D
N P S'
saa ma
re pa
ga dha
pa saa
Gamak (ornament) exercises
C
Do each exercise twice: first slow, then fast
1. One ornament
j
melodically taut and rhythmically even

>

j
>

>

S' R' S' N S' N D N D

saa
saa ni
ni dha dha

... j
>

S R S
saa saa

3
4

9/5/06 Page 9

? 43

2. Two ornaments

S
saa

?c

j

>

>

R S
saa

j

>

R S
saa

R
re

3. Three ornaments

j
j
j

>
>
>

G R
re

S
R S R S R S
saa
saa
saa
saa

G R
re

j

>

...

S R S
saa

j j

> >

Examples of other gamak exercises

?2
4

1. give more accent to larger intervals

S
saa

R S
saa

(Expansion:)

? 43

S
saa

? 42
?

4.

R S
saa

N. R S S G R
saa
re

R S
saa

N. S N. S
saa saa

R
re

j j

2.

N. R S R
re
re

G R
re

>

M G
ga

>

>

2
4

...

3a.

j j j

> > >

...

These are model phrases that can be varied with more

repetitions, like the first gamak exercise. Sing them slow and
fast; practice them with sargam and sustained "a" vowel.

M G
ga

G R
re

...

S R S R S R S
saa

M G
ga

M G
ga

3.

...

S G R G
ga
ga

>

G M G M G M G
ga
ga
ga
ga

...

G R
re

G R
re

j
j
j

S R S R S
saa

Lesson 7

M G
ga

R G R G R G R
re
re
re
re

43

>

G
ga

Repeat the above with sustained sargam vowel

2a.
1a.

? 42

j
j
j

>
>
>

>

M G
ga

M G
ga

S N. S
saa
saa

5.

...

RMG G PM
ga
ma

...

N. R S N.G R
saa
re

R S R
re
re

3
4
42

...
j

42

...

G R G
ga
ga

...

S MG R PM
ga
ma

An example of sustained complex vibrato,

with a focal pitch and a range that extends above and below this pitch

focal pitch range

9/5/06 Page 10

..


..

!
P.
aa

P.

P.

P.

[Filename]

Lesson 8
Scale patterns with two steps, in dugun and caugun
Model: three-note pattern
Dugun (2 notes per beat)

?
Sing

S S
Clap

S'

S'

S'

R'

S'

S'

N.

Caugun (4 notes per beat, doubling the speed of the pattern)

S S R R R G G G M M M P P P D D D N N N S' S' S' R' S' S' N N N D D D P P P M M M G G G R R R S S S N.

Perform each of the following patterns in dugun and caugun, while clapping the pulse:

?
Another three-note pattern

Four-note pattern

...
etc.

S R R R G G
G M M
S S R
Five-note patterns
(Written in 16th notes to clarify the grouping, not to imply
that these patterns should be performed twice as fast)
1.
2.

?
S S S R R R R R G G

...

G G G M M

G G

S S R R R R R G G G

?
S

G M M

Six-note pattern

...
etc.

G G M M M

...

...

9/5/06 Page 11

Seven-note patterns
1.

...

...

M M M

2.

S S S R R
Eight-note pattern

M M M M

?
S S S S R R R
Patterns with three steps
Four-note patterns
1.

?
S

S R G R R G M

...

G M P P

? 2.
S S R G G R R G M M

G G G G M M M M

...

...

2.

S R R G R G G M
Five-note patterns
1.

G M M P

S S R R G R R G G M

G G M M P

...

G G M P P

...

G G M P

? 3.
S R G G R G M M

...

3.

S R R G G R G G M M

...

G M M P P

Six-note patterns

? 1. ... 2. ...
S S R R G G R R G G M M G G M M P P

S R R G G G R G G M M M G M M P P P

? ... ...
4.

3.

S R R R G G R G G G M M G M M M P P

S S R R R G R R G G G M G G M M M P
6.

S S R G G G R R G M M M

S S S R G G R R R G M M

? 5. ... ...

9/5/06 Page 12

G G M P P P

G G G M P P

7.

Seven-note patterns
1.

S S SRRGRRRGGM G G G M M P

S S SRRGGRRRGGMM G G G M M P P

? ... ...
3.
? 2. ... ...
S SRRRGGRRGGGMM G G M M M P P

S SRRGGG RRG GMMM G G M M P P P

Eight-note patterns
1.

?
S
2.

G M M

...

G G G M M M P P

...

? 3.

...

...

S S R R R
Nine-note patterns
1.

G M M M

G M M M

S R R R G G G R R R G G G M M M

G G G M M P P P

G G M M M P P P

G G G M M M P P P

2.
?

...

? 3.

...

...

R R R G G G G R R G G G M M M M

S S R R R R G G G R R G G G G M M M
4.

G G M M M P P P P

G G M M M M P P P

?
S S
5.

S R R R R G G R R R G G G G M M

R R G G G G R R R G G M M M M

G G G M M M M P P

...

G G G M M P P P P

9/5/06 Page 13

...

...

6.

S S
7.

G G G G M M P P P

S R R R G G R R R R G G G M M

G G G G M M M P P

For additional variations on the basic patterns, ornament them as in Lesson 6C

and 7A. The following two exercises are particularly good practice (using the
preceding nine-note pattern as an example):

S R R G G G R R R R G G M M M

Every repeated note ornamented from above

j

j

j

j
j
j

...

S RS RS R S R GR GR G MG
R G R G R G R G MG MG M P M
saa saa saa saa re
re
re ga
ga [sim.]

j
j
j
j
j
j

Every note in the pattern after the first ornamented from above
j
j
j
j
j
j
j
j
j
j

...

S R S R S R S G R G R G R MG M G R G R G R G R MG MG MG P M P M
saa saa saa saa re re re ga ga [sim.]

Lesson 9

1.

ta

Introduction to the nom-tom syllables

Four model phrases:

ra

ra

2.

na

ri

ra

ra

3.

na

te

Basic exercise: practice these phrases in the bhairav scale, at

normal speed, dugun and caugun, in one octave, two octaves,
and ascending to ma and descending to pa. Examples:

? b
b

S
ta

r
ra

ta

ra

na

ra

na

na

G
ra

M
na,

P
ri

d
ra

N
ra

S
na,

S
te

N
ta

d
ra

P
na,

M
ra

G
na

One note per beat, in one octave

4.

na(a)

r
na

S
na;

? b
b
Dugun, in one octave

ta ra ra na, ri ra ra na,
Clap

9/5/06 Page 14

te ta ra na, ra na na na;

ta ra ra na, ri ra ra na,

te ta ra na, ra na na na;


? b
b
Caugun, in one octave

ta ra ra na, ri ra ra na, te ta ra na, ra na na na;

ta ra ra na, ri ra ra na, te ta ra na, ra na na na;

? b
b

ta ra ra na, ri ra ra na, te ta ra na, ra na na na;

ta ra ra na, ri ra ra na, te ta ra na, ra na na na;

? b
b

ta

ra

ra

na,

ri

ra

ra

na,

te

ta

ra

na,

ra

na

na

na;

? b
b

ra

ra

na,

te

ta

ra

na,

ra

na

na

na;

One note per beat, over two octaves

ta

ra

ra

na,

ri

One note per beat, ascending to ma and descending to pa

? b
b

ta

? b
b

ra

ra

na,

ri

ra

ra

na,

te

ta

ra

na,

ra

na

na

na;

ra

na,

ri

ra

ra

ta

ra

na,

te

ta

ra

na,

ra

na

na

na;

Expansion of syllables into longer patterns (see the guide for a description of this process):
Five-note patterns

ta

ra

ri

te

ra

ra

na

na

ra

ra

na

na

ta

ra

na

na

na

ra

na

etc.

na

9/5/06 Page 15

Complex exercise in dugun and caugun, singing

the five-note patterns while clapping the pulse:
Dugun

? b
b

ta ra ra na na, ri ra ra na na, te ta ra na na, ra na ra na na; ta ra ra na na, ri ra ra na na, te ta ra na na, ra na ra na na;

Clap

? b
b

ta ra ra na na, ri ra ra na na, te ta ra na na, ra na ra na na; ta ra ra na na, ri ra ra na na, te ta ra na na, ra na ra na na;

? b
b
Caugun

ta ra ra na na, ri ra ra na na, te ta ra na na, ra

na ra na na; ta ra ra na na, ri ra ra na na, te ta

? b
b

ra na na, ra na ra na na; ta ra ra na na, ri ra ra

? b
b

na,

ri

ra

ra

na

na,

te

ta

na na, te ta ra na na, ra na ra na na; ta ra ra na

ra

na

na,

ra

na

ra

na

na;

Repeat this exercise with these syllable patterns:

Six-note patterns

ta

ra

ra

ra

9/5/06 Page 16

na

na

ri

ra

ra

ra

na

na

te

ta

re

ra

na

na

ra

na

na

ra

na

na

Lesson 10

Seven-note patterns

1.

ta ra ra ra na na na

ri ra ra ra na na na

te ta ra ra na na na

ra na na ra na na na

2.

ta ra ra na ra na na

ri ra ra na ra na na

te ta ra na ra na na

ra na na na ra na na

Eight-note pattern

ta ra ra na ra na na na

ri ra ra na ra na na na

te ta ra na ra na na na

ra na na na ra na na na

Nine-note patterns

1.

ta ra ra na ra na ra na na

ri ra ra na ra na ra na na

te ta ra na ra na ra na na

ra na na na ra na ra na na

3. 4.
(etc.)

2.

ta

ra ra na ra na na ra na

ta

ra

ra na na ra na na na

ta

ra

ra ra na ra na na na

6.

ta

ra

ra

ra

na

na

ra

na

na

ta

ra

ra

na

na

ra

na

na

5.

Ten-note patterns

1.
ta

ra

ra

na

na

ra

na

ra

na

na

ra

2.

ta

ra

ra

ra

na

ra

na

na

ra

na

9/5/06 Page 17

Later lesson
Gamak exercise

? b
b
gamak

S r S r S r G r G r

? b
b

G M G M G M P M P M

P d P d P d N d N d N S' N S' N S' r' S' r' S'

r' S' r' S' r' S' N S' N S' N d N d N d P d P d

P M P M P M G M G M G r G r G r S r S r

etc.

? b
b
Ascending sounds like:

9/5/06 Page 18

etc. Descending sounds like: