Fast Chotār Tāl
Sometimes during the course of singing a stanza, there may be a sudden call for fast chotār tāl. All members of the group must remain alert for the fast chotār tāl because the tempo for chotār is really fast the moment the call is made. The chorus has to sing the lyrics while also playing the fast chotār tal. The audio below is that of the second stanza of the bhajan "Sādhu ki Saňgat Pā-ii Re". The rāg is kāfi. There is a call for fast chotār and after the singing with fast chotār is completed, there is a call for another tāl, gisaliyu. The chotār tāl here is played really fast from the outset of the call hence we refer to this as fast chotār tāl.
fast chotār, gisaliyu
ધ્રુવ પ્રહ્લાદ અંબરીષ વિભિષણ, નારદ છે ઋષિરાઇ;
પીપા ધના સેના રોહીદાસ, પાંચમી મીરાંબાઇ ... ૧
dhruv prah-lād amb-rish vibhi-shan, nārad chhe rushi-rā-ii;
pipā dhanā senā rohi-dās, pāňchami mirā-bā-ii ... 1
Dhruv, Prahlad, Ambarish, Vibhishan, and Narad attained place in spiritual realm. And so do Pipa, Dhana Bhagat and the cobbler Rohidas, while Meerabai too, found a place in divine realm.
The audio below is that of the third line of the bhajan "Sādhu-jan-no Saňg Re". Here, there is a direct call for gisaliyu tāl. The rāg is kāfi.
કપડા મંગાવું વ્હાલા ભગવા રંગાવું, જોગન હોકર જાવું રે ... ૩
kapadā maňgāvu vahālā bhagavā raňgāvu, jogan hokar jāvu te ... 3
And, when a spiritual seeker rises above the worldly attachments, for him or her, only saffron colored clothes symbolizing asceticism hold ultimate significance. In this line, Meera says, on the ultimate state of spiritual attainment, heart of a seeker seeks non-attachment with worldly pleasures like a hermit.