Bol
In instrumental music the different ways of producing a sound through percussion, plucking or beating are, in musical terminology, called Bol, designed to symbolize action. Each instrument has its own particular reference Bols. In most Indian stringed instruments the Bol alphabet is reduced to two terms:
(1) Inwards- which is called Saṁlekha in Saṁgītaratnākara and is represented by the syllable Ḍā.
(2) Outward- which is called Avalekha in Saṁgītaratnākara and is represented by the syllable Rā.
There is an exception to the rule in Sarod and in some cases in Esrāj, where the inward plucking is represented by the syllable Rā, while the outward plucking is represented by the syllable Ḍā.
In the Vīṇā the Bola are given inwards on the string dedicated to the melody and those on the Cikārī towards the outside. In practice in Vīṇā there is a particularity in the use of the fingers of the right hand, where the index finger striking inwards is represented by the syllable Ga, the middle finger striking inwards is represented by the syllable Ḍā, when they are used simultaneously -which happens rarely- the movement is called Rā. The Cikārī, on the other hand, are stimulated by the action of the little finger which is symbolized by the syllable Ra. In some cases, to give a duller effect to the strike on the main string, the ring finger without the plectrum or Mizrab is also used. The Bola for the Vīṇā of northern India are therefore three:
-Da
-Ga
-Rā.
From here various combinations derive such as Ghighi, Gheghe, Gheghāya, Drār, Ḍagara, Ghanā, etc.
In Rabāb, Sitār, Sarod and Esrāra there are only two syllables used:
-Da
-Rā
from here the various combinations have given rise to various rhythmic phrasings:
1.Ḍā
2.Rā
3.ḌāRā (where each stroke occupies the value of one beat or Mātrā)
4.Ḍere or Ḍiri (where each stroke occupies the value of half a beat or Mātrā)
5.Ḍrā
6.Raḍā
7.Dredā
8.Dredār
9.Ḍāḍār
10.Raḍār
11.Ḍārār
12.Raḍrā
13.Ḍāḍrā
In order to make it possible to perform the Bola relating to percussion, various phrases have been composed, here is an example:
Bola related to percussion Dhādhā terekete Dhāgeddhi Ghenenāg
Bola related to the instrument ḌāRā Ḍeredere Ḍārāḍḍā Raḍāḍār
In percussion the Bola alphabet used is much broader:
1.Ta
2.Da
3.Na
4.Tā
5.Ti
6.Nā
7.Nān
8.Tet
9.Te
10.Ṭe
11.Ḍe
12.Gen
13.Den
14.Dhen
15.Ga
16.Gha
17.Gā
18.Ghā
19.Gen
20.Ghe
21.Kat
22.Ka
23.Ke
24.Thu
25.Tun
26.Dhiṁgar
27.Dhāṁgar
28.Dhāgeddhi
29.Terkeṭ
30.Takiṭ
31.Krān
32.Kredhane
33.Dhumākeṭe
34.Jhāṁ
35. Gur
36.Thai
37.Tāṁu
38.Khur
39.Tittā
etc.
In the Saṁgītaratnākara the Bola of percussion are named Pāṭa, deriving from the name Pāṭaha percussion to which the paternity of all other percussion instruments is attributed.
In general, what is called Bola for instruments is called Vāṅī in singing, for example:
1.Tā
2.Nā
3.Dim
4.Tum
5.Nātā
6.Dāni
7.Dere
8.Dṛm
9.Num
10.Ālālum
11.Ali
12.Tele
13.Odāni
14.Oder
15.Dernā
16.Neri
These Vāṅīs are often used in the Ālāpa and Tarānā, just as the percussion Bola are sometimes sung. These syllables do not carry with them any meaning except in their rhythmic aspect, they are often preferred to underline the melodic-rhythmic aesthetics of the exposition and not otherwise distract the audience. For some, however, they are of doxological derivation.
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