Over the past several decades, the manner of presenting a melodic interpretation of a ghazal has changed vastly. Fewer vocalists today sing ghazals in the traditional style with extended melodic improvisation around the lyrics.
In such cases of limited improvisation, the instrumental ensemble accompanying the vocalist also provides an arranged format, with predetermined introductory and interlude sections or improvisation across predetermined number of rhythmic cycles or at least a predetermined sequence of melodic improvisation from each of the members of the ensemble.
In such cases, the tabla often takes on a role that does not include improvisation in the form of laggi passages or even rhythmic phrases that anticipate the melodic movement, although there may be exceptions to this. Taals like Kaherva, Dadra and Rupak, continue to be employed to accompany ghazal, though current changes have brought in variations to the thekas of these taals.
Thus, the focus of the tabla accompaniment may be towards creating a steady groove, which may use vocabulary that does not adhere to the original thekas or at times may even incorporate strokes that do not form a part of the conventional language of the instrument. Often, the dholak also adds to this rhythmic accompaniment.
Continuing with our series on tabla accompaniment to Hindustani music and dance, we listen to some tracks that demonstrate the style of tabla accompaniment that has been described here.
The first link features ghazals sung by the celebrated singer Jagjit Singh.
The second link features a ghazal sung by the famous Pankaj Udhas.
One of India’s leading tabla players, Aneesh Pradhan is a widely recognised performer, teacher, composer and scholar of Hindustani music. Visit his website here.
This article is based on Pradhan’s book Tabla: A Performer’s Perspective.
