In the last instalment of this column, we discussed how the nature of the tabla entry during an instrumental recital defined the manner in which the tabla player was listening to the preceding unaccompanied introductory aalaap.
There are times when the tabla players choose to enter in an almost imperceptible manner, carefully calibrating the volume to match that of the solo instrument and choosing vocabulary that would do justice to the spirit of the music. This calls for a sensitivity on the part of the tabla player that would take into account the nature and tone of the solo instrument as well as the musical material that is being explored by the soloist at the time.
Today, we will listen to two recordings that will demonstrate different approaches to establishing an entry by the tabla.
Both recordings feature the incomparable sarangi maestro Ram Narayan, who died on November 9 at the age of 97. Known for his immense contribution to the sarangi, in its avatar as an accompanying instrument to vocal music as well as an instrument for solo recitals, the maestro presents Gujari Todi, a raag prescribed for the morning, on the first recording. This is a concert recording from the Sarangi Mela, a festival dedicated to the sarangi held by Bharat Bhavan, Bhopal, in 1989.
His exposition of the raag includes an extensive aalaap followed by compositions in vilambit and madhya laya 16-matra Teentaal. The pace is accelerated towards the end of the recital. The tabla accompaniment provided by Kiran Deshpande, a senior and respected tabla player and teacher from Bhopal, begins at 35.40” with him maintaining a steady cycle of Teentaal while the instrumental composition is slowly explored on the sarangi.
It is only at 39” into the track that Deshpande branches off into a short improvisatory section. In other words, the entry of the tabla in this case begins with the theka of the taal rather than an improvisatory section.
In the second illustration, the sarangi wizard plays compositions set to Teentaal in the raag Saraswati. This is recorded at a concert held in Germany in 1989. Accompaniment is provided by well-known tabla player Anindo Chatterjee.
The tabla enters at 27.44” with one cycle of the theka, but an improvisatory section begins immediately thereafter in which various speeds are explored. The second raag on this recording is Kirwani, also played in Teentaal.
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.
