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Reply with quote  #1 
Originally Posted by "dinegine"
Can you tell me why

Dha tira kita taka dha tira kita taka
dha tira kita taka tin na kita taka
ta tira kita taka ta tira kita taka
dha tira kita taka dhi na kita taka

is a kaida and not a Rela?
That is indeed a good question and I am myself a bit puzzled by Jerry Leake calling this a Benares Kaida! However I must defer to the professor of percussion at Berkeley and instead attempt to understand and interpret as best I can. But first let me further add to the confusion by noting another closely resembling composition but that Leake calls a rela!
Originally Posted by "Jerry
dha tira kita taka tira kita dhi - tira
gita taga dha - tira kita taka tira kita
ta - tara kita taka tira kita dhi - tira
gita taga dha - tira kita taka tira kita
The resemblance to the kaida above is evident, and yet this is labeled a rela! What I do notice is that the terekite runs are a bit longer in the rela than in the kaida.

According to David Courtney It's worth observing that while kaida are highly and rigidly structured, relas need not be so.
Originally Posted by "David
Structure is not a criterion for rela's definition, therefore the bols may be assembled in a many ways. If we develop it according to the rules of kaida it is usually referred to as kaida-rela. If we assemble them in a freeform manner it is sometimes referred to as swatantra rela.
Some are (the kaida-relas) and some are not (swatantra relas = free form relas). We are all familiar with the distinction between Peshkars, Kaidas and Relas, but this distinction is a bit blurry at the edges since we actually have Peshkars, Peshkar-kaidas, Kaidas, Kaida-relas, Relas.

The definition of a Rela is itself a bit open-ended in that they are compositions using bols that can be played at high speed. (Well, played at high speed by whom?). There are bols that naturally lend themselves to very fast playing, like tirekete, dhi ne ge ne, etc ..., and relas use them extensively.

As best as I can interpret it, I would say that the first composition above is meant to be a kaida in that it is intended to be played not as fast as a rela and should be developed according to the rigid structural rules of kaida compositions and not the much less strict rules of relas.

Pascal Bercker

p.s. be advised that anything and everything I have said so far in my posts should be taken with a grain or two of salt, since I am by no means an expert but merely a student of tabla with access to basically the same resources as every one else is! As best I can however, I try to justify whatever I say with whatever documentation is available. i.e. I try not to make stuff up!

My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.
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