**Gert-Matthias Wegner** 

# **Drumming in Bhaktapur** Music of the Newar People of Nepal *Volume II: Transcriptions*

Drumming in Bhaktapur

### DOCUMENTA NEPALICA

### Book Series; 4

### Chief Editor: Axel Michaels

Editorial Board

Heidelberg Academy of Sciences and Humanities Research Unit "Documents on the History of Religion and Law of Premodern Nepal"

Manik Bajracharya Simon Cubelic Rajan Khatiwoda Astrid Zotter Christof Zotter

Gert-Matthias Wegner

# Drumming in Bhaktapur Music of the Newar People of Nepal

Volume II Transcriptions

### **About the author**

Gert-Matthias Wegner (b. 1949) is a German ethnomusicologist. He founded and directed Kathmandu University's Department of Music, taught at the Free University Berlin and published mostly about drumming traditions in South Asia.

Production sponsored by Pro Musica Viva – Maria Strecker-Daelen Stiftung

This volume has been promoted by the Joint Science Conference of the Federal Government and the governments of the states of the Federal Republic of Germany in the Academies' Programme from the joint funding of the Federal Government of Germany (Federal Ministry of Education and Research) and the state Baden-Württemberg (Ministry of Science, Research and the Arts).

This publication includes electronic supplementary material (documentary films and audio examples). An overview can be found on page 403.

### **Bibliographic information published by the Deutsche Nationalbibliothek**

The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de.

This book is published under the Creative Commons Attribution License CC BY-SA 4.0.

The cover is subject to the Creative Commons License CC BY-ND 4.0.

Published at Heidelberg University Publishing (heiUP), 2023

Heidelberg University/Heidelberg University Library Heidelberg University Publishing (heiUP) Grabengasse 1, 69117 Heidelberg, Germany https://heiup.uni-heidelberg.de

The electronic open access version of this work is permanently available on Heidelberg University Publishing's website: https://heiup.uni-heidelberg.de urn: urn:nbn:de:bsz:16-heiup-book-1246-6 doi: https://doi.org/10.17885/heiup.1246

Text © 2023, Gert-Matthias Wegner

Cover illustrations: Gert-Matthias Wegner (Vol. I), Kevin Bubriski (Vol. II)

ISSN 2568-7867 eISSN 2569-8141

ISBN 978-3-96822-230-1 (Hardcover) ISBN 978-3-96822-229-5 (PDF)

# Contents

# **Volume II: Transcriptions**


# 11 Transcriptions

The drumming repertoire is represented here in the same order as the compositions were taught to me during apprenticeship. The system of notation was applied in my previous publications about Newar drumming1 . Notation of the drumming syllables allows readers to imitate the sounds of the drums in exact rhythm with their own voice; just like any Newar drumming apprentice would do while memorizing the repertoire.

The drumming syllables are written in a system of boxes indicating the time measurement that is called *mātrā* in Indian music theory. Each *mātrā* box is divided into two by a horizontal line. If there is only one beat per *mātrā,* the syllable is written into the upper box. Thus,


If there is a *mātrā* without a beat, the sign **o** stands for a sounding rest.


Two vertical lines with colon signs next to the double bars enclosing a pattern, signal repetition of this pattern. A number next to the second colon shows how many times this part is to be played.


means: play this phrase four to eight times.

1 Wegner 1986 and 1988

Sometimes, instead of a number, the expression *ad lib.* (shortcut for Latin *ad libitum*) leaves it to the player, how many times he or she wishes to repeat.

means: repeat this phrase as often as you like.

If a section is to be played and then partially repeated up to a certain point, then this point is marked by the symbol

F

### and a bold, black line leads the reader back up to the earlier section of the notation.


The **F** sign does not mean an interruption of your playing. In the example above, the first line is repeated as often as you like (ad lib.), before the second line follows. This can go on several times (da capo ad lib. al **F**), until finally you play up to the **F** sign and continue from there with the third line.

Usually, every three or four *mātrā* counts, a vertical line links several systems. These divisions follow the cycle of the respective cymbals. The cymbal strokes are indicated above the system as **T** and **C**, for the ringing cymbal sound *tī̃* and the closed, muffled cymbal sound *chu*. In the example below, two ringing cymbal sounds are followed by one muffled sound. This cymbal pattern continues until a change is indicated by a new arrangement of **T** and **C.**


The tempo is indicated on the left side of the notation, according to the metronome scale (beats per minute). There may be tempo changes within a composition, for example

### 2 mātrā = 112

means: The duration of two *mātrā* counts equals one metronome click at tempo 112 beats per minute.

The above rules apply to all drum notations - with the exception the *cacā pyākhã* repertoire of the *pañcatāla* drum. As explained in chapter 4.1, these are not only drumming syllables but each syllable covers four different areas of musical expression, recitation, *pañcatāla* drumming, the playing of the pair of natural trumpets *pãytāḥ* and the dance movements. So the notation has to indicate not only distribution in time but also the different pitches. To include the different playing techniques of the *pañcatāla,* I added a separate graphical notation. All this is explained in detail in chapter 4.1. Despite the necessity for co-operation of Vajrācārya priests of Kathmandu and Bhaktapur during some performances, both repertoires differ - the playing technique differing a lot and entire pieces missing from the Bhaktapur repertoire. So I decided to include in this publication both the *pañcatāla* repertoires of Kathmandu and Bhaktapur. Personally, I tend to have more confidence in the Kathmandu tradition, as it was based on regular practice. In comparison, the Bhaktapur repertoire appears half-forgotten.

# 11.1 Dhimaybājā







# Mā ctd. 3

# Yāchē Dhimay









# Chinā 3

Yāchẽ Dhimay


# Chinā 4

G.- M. Wegner T · C C kha tā tā kha tā tā nā o kha ghu. nā kha tā tā nā kha kha tā ghu kha tā tā nā kha kha O O ka kha kha ghu nā nā ghu nā T T T L ghũ ghũ nā kha kha nā kha kha tā ghũ ghũ kha tā ghu tā ghu nā ka nā T C C C T ghũ | kha khu nā khu kha tã || ghũ | tā tā tā ghũ nā nā tā nā kha kha kha ghu tā nā tā tā nā ghu nā dhã o o 0 kha o tā tā da capo al F





# Gu 5


# Gu 6


# Gu 7





# Gu 11

### 2 māti = 132

# Yāchẽ Dhimay


# Gu 12 (Māka pyākhā)


# Gu 13

### 2 mātrā = 132


# Gu 14


# Gu 15 (Sāpāru pyākhā)


da capo à tempo

Yāchẽ Dhimay








# Cvaḥ

2 mātrā = 132



# 11.2 Nāykhībājā














# 11.3 Dhã/Kvakhĩ















# 11.4 Kvatāḥ










# 11.5 Dhãcā









# 11.6 Dhimaycā









# 11.7 Nāykhīcā











### 11.8 Pachimā












kha

ti

511

0

tā

krā | | tin | | nā

.

ghe | dhe | na

 O 

dhe | nã

nā | ghe |


 3 māt =72







# Kharjati ctd. I

Pachimā


Partāl

2 mātrā

= 160



# 11.9 Dhalak




















# 11.10 Kvakhīcā







# 11.11 Nagarā












*Calti* ad finito











# 11.12 Lālākhī







































# 11.13 Sāymi Gūlābājā






# Dyaḥ cāka hulegu 1

### 2 mātrā = 92


Dhã

# Dyaḥ cāka hulegu 2

2 mātrā

= 92


# Dhalãchẽ sidhaykegu Dx10h1h2var














# **Dyaḥlhāygu 3 Pastāḥ**


### Bājā kvacā kigu Pastāḥ T C T ad lib.: : T 2 mātrā C T ghe = 92 o | ghẽ | ghẽ | tā tā ghe tā ghẽ | ghẽ | ghe | tā mi 0 O 0 si si si ghe tā ad lib.: tã ghẽ dr ghẽ tã ghe si ti kha RĀ BUDDHA DHARMA SAN GHA ĀR YA TĀ RĀ TĀ dhĩ dhĩ dhĩ dhĩ kha ghe ga nā ghe kha o ghe ga nā ghe 0 di kha di nā tā kha nā ga nā tāā nā ga ĀR YA TĀ RĀ TĀ RĀ BUDDHA DHARMA SAN GHA kha o ghẽ ghe kha o ghẽ ghẽ ghẽ tā ghẽ tā ghẽ ghe ma O ta kha kha ga na ta na ta ghẽ tā tā O O 0 0 O



### Nāykhīcā Pūjāmvālī 1 3 mātrā dã = 44 o | 0 : T с | т C :|| ad lib. dã | dã dã dã dã dã | | O || | O | accel.: tā ghẽ o dã 0 O accel.: tã | ghẽ | o

# Pūjāmvālī 2

3 mi =




# Dvahlhāvgu

# Kvakhīcā


# 11.14 Vajrācārya and Śākya gūlābājā








































### Nāykhī Rāg :|||accel. ll: pā dũ | | | o | | pa


# 11.15 Tamva


# Svagāmālī

# Tamva


# Cvarā


# Likārāh







# 11.16 Bhaila Pyākhā




Tā jhẽ tu jhẽ


# Dhã dựkha dhã jhẽ

# Dhẫ

Dhã







# Jhẽ tã jhẽ





.










# Dhā



Dhā

# Dĩ jakadĩ ka


# Danakadana


Dhā

# **11.17 Mahākālī** *Pyākhã*

# **Contents**

*Dhā̃: Jati*................................................................................................................................... 700

Other compositions see under 11.3, 11.8, 11.11



# 11.18 Sāpāru Pyākhā




# 11.19 Pañcatāla (Kathmandu)

### Contents


All compositions proceed in the same tempo: 1 mātrā = 104

Mū dyaḥlhāygu ctd.

Pañcatāla (KTM)


Mū dyaḥlhāygu ctd. Pañcatāla (KTM) ト C 0 ರ್ಥಿ |HA| - | - |HA| - | - |HA| -। ( CA - - - CA - - - HAH - - o CA - --

Svã chāya

Pañcatāla (KTM)

subito Jhapa yā kau


**Durjamān Pañcatāla (KTM)**

# Bhramarā (mantra pvaṅgā)

Pañcatāla (KTM)

Sani Pañcatāla (KTM) C T C T HA ਮਿੱਕ | - |HAT A HAH -O CA CA CA F F C O ಳಲ್ಲಿ ra ---વિશ્વ -- nye ko ra ta | kữ | dha iji da - - mye dha tha - | -| ji – -ー ka ア T T C C lta kǔ - mye kũ| -- |dhā| - | - |dhā| - | - | 0 o O dhā -T C TA HAH 0 T C C F F r da tő da inế ihě ịnề tā | lihẽ l -C T T ta jhẽ na ka tữ ta ịnề ị thế ịnếi -T C F C F da ịnế - lihệ ihé निष्ठा – -कः विः दृष्ट a: वा विंग वा दिव ịnế ịnề --

Caspati

Pañcatāla (KTM)



# Trihudā

Pañcatāla (KTM)



(introduction: gods take one round of maṇḍapa)


**Khatãkāra Pañcatāla (KTM)**



3=4

・

$$\text{The first-order coupling between the two-dimensional } \mathcal{N} \text{-matrices is the only possible } \mathcal{N} \text{-matrices with } \mathcal{N} = \{0, 1, 2, \dots, N\} \text{ and } \mathcal{N} = \{0, 1, 2, \dots, N\}.$$


758

# 11.20 Pañcatāla (Bhaktapur)



# Mū dyaḥlhāygu ctd. I



# **Mū dyaḥlhāygu ctd. II Pañcatāla (BKT)**







# Jati ctd.

# Pañcatāla (BKT)



# **Durjamān ctd. Pañcatāla (BKT)**

# **Bhramarā Pañcatāla (BKT)**


subito JHAPA YĀ KAU





Mañgala ctd.

ﺍ

Pañcatāla (BKT)







# Vatikā ctd. II

Pañcatāla (BKT)




# Sunymātha ctd.

Pañcatāla (BKT)



This groundbreaking publication offers a unique resource of information about one of the most glorious and diverse musical cultures of the Himalayas. The numerous drum traditions of Bhaktapur in the Kathmandu Valley are a vibrant aspect of traditional Newar culture that saw its heyday between the thirteenth and eighteenth centuries. The three Malla kingdoms of Bhaktapur, Lalitpur and Kathmandu competed in art, architecture, music, dance and opulent town rituals celebrating the presence of the gods. Music served as a portal between the human world and the realm of the gods. This study documents the role and repertoires of the different percussion genres in a transcribed and commented form for practical use and as a teaching aid. It also includes a dictionary of Newari terms related to music. As it focuses on the musical life of Bhaktapur during the decade starting from 1983, it could serve as a point of reference for comparison with the present situation. This publication is an outstanding contribution to the preservation of Newar culture.