Laya

Just like the second hand of a clock, which moves uniformly in time, when the time between various beats or Matras is the same, it is said to be in Laya. The equal temperament in movement of time is called Laya. It is one of the 10 Pranas of Taal. 

Laya is available in all forms of art but has highest place in Sangeet – Music, Instrument, and Dance. When we drumor clap to generate beats, only those beats which are uniform in time duration are useful in music. 

In ancient times, hand claps and movements were used for keeping time. these actions were known as Kriya. According to Bharata, Kalaa Kaal Kritolaya. In other words, the placement of rest or Vishranti between two beats or Kriya helps to measure the time duration or Laya. When the Kaal and Kriya in a Taal are equal then it is said to be in Laya, i.e When the time between each Kriya is same, then it is said to be in Laya. 

Laya is said to increase when the time between Kriya is less and is said to decrease when the time between Kriya is more. 

In the text Amarkosh it is written – Taalah Kaalkriyaamanam Layah Saamyapaastriyaam. 

Meaning, when the Kaal and Kriya are same in a Taal it is known as Laya.

In Sangeet Ratnakar it is written – Kriyaantar Vishranti Layah

Meaning, the period of rest after the Kriya determines Laya.

According to Dr. Arun Kumar Sen – The stability of tempo between any Kriya is known as Laya.

In the ancient margi Taal, the akshaar Kaal was predetermined and hence there was a concept of Pramaan Laya. The Madhya Laya is considered as Pramaan. 

Bharat has also said – Yastra, Tu Layon Madhyah Tatpramaan Kalaa Matah

Ancient music or Gaandharv Gaan was sung mainly in special occasions and in praise of the god. Shabd was given due importance and hence vilambit Laya was not preferred to prevent loss of relevance to text.  Gaandharva Gaan was mainly devotional. The Laya used was 10 Laghu akshar in gaandharva Gaan. 

Kriyantar Vishraantilayah, Sa Trividho Matah

Druto Madhyo Vilambasch, Drut Sheegratamo Matah

Dvignaadvigunou gnyeyai Tasmaanmamadhyavilambitau

The rest in Madhya Laya is double of that in Drut and the rest in vilambit is double of that in Madhya Laya. Hence all three Laya are related and depend on each other

In the Modern day, Laya or Tempo is measured in beats per minute or BPM using the instrument called metronome. Western Classical Music uses Italian words to denote tempo of any work. such as 

• Larghissimo – very, very slow (24 bpm and under)

• Moderato – at a moderate speed (108–120 bpm)

• Allegro – fast, quickly, and bright (120–156 bpm) (molto allegro is slightly faster than allegro, but always in its range)

• Presto – very, very fast (168–200 bpm)

• Vivace – lively and fast (156–176 bpm)

• Vivacissimo – very fast and lively (172–176 bpm)

• Prestissimo – even faster than presto (200 bpm and over)

Laya is classified into three - Vilambit, Madhya and Drut. 

1. Vilambit

When time between two beats is large, the laya is Vilambit. The term Ati is prefixed when the time duration is further increased. Tempo less than 60 BPM can be called Vilambit.

2. Madhya

When time between two beats is lesser than in vilambit, the laya is Madhya This Laya is faster than vilambit and slower than Drut. Tempo of 100 to 160 BPM can be called Madhya

3. Drut

When time between two beats is lesser than in Madhya Laya, the Laya is Drut or Fast. The term Ati is prefixed when the time duration is further reduced. Tempo above 160 BPM can be called Drut.

The various layas are directly related to expression of Bhava and Rasa. Vilambit Laya is for Shanthi rasa, karuna rasa, Madhya Laya is for haasya, shringar and Drut Laya is for roudra, vibhatsya, bhayanak and adbhut rasa.

The idea and usage of Laya has undergone changes today:

1. The three layas are still named the same but the relation between them has changed. The Laya of Madhya is not double of vilambit and Drut is not double of Madhya. Today we have ati-vlambit and ati-drut. 

2. The most change is that there is no standard for Laya. Whereas in ancient Marg-Taalas this was not so.

In Carnatic Sangeet the concept of Dugun in Laya – Drut is double of Madhya and Madhya is double of Vilambit. The word Kaal is used in place of Laya.

The concept of Ati-Vilambit and Ati-Drut had a reason for its development. In Khayal Music, swar is more dominant and hence bandish take a secondary role which is used to covey the mood of the raga wherein the words are often stretched in Alaap and Taan. Since Raag Alaap is best done in vilambit Laya. Taan are sung in 16 or 32 gun in ati-vilambit Laya.  

The reason for the development of Drut Laya was different. Later forms of Shastriya sangeet was mainly for entertainment and showcase of talent. Taan was a major ornament added to Khayal to showcase instant creativity and adbhut rasa. This was a major element to showcase the talent to sing in ati-drut.