In the previous instalment of this series, we listened to instrumental compositions set to the nine-matra Matta taal to understand the way in which the tabla is introduced when such compositions or gats are introduced in performances.
I chose two tracks that featured the iconic tabla virtuoso Zakir Hussain to demonstrate the changes that can be discerned in the accompaniment even if the tabla player and the chosen taal are the same. These changes take place because of the improvisatory nature of the music and the responsiveness that it demands from the members of the ensemble.
The aspect of responsiveness brings to mind the oft-repeated analogy between a Hindustani music performance and a conversation. Indeed, for a performance to reach great heights, it is important for the members of the ensemble to enter a stimulating musical conversation inspiring each other with ideas and emotions.
But does this happen regularly? It is not often that the same team of musicians works together. One or the other member could be substituted. This could enhance or disrupt the performance, depending on the musicianship and artistry demonstrated by the new member in the team.
On the other hand, it is equally important for the other members of the ensemble to make the new entrant in the team comfortable and less self-conscious. It would, therefore, be expected that in the case of an instrumental recital, the soloist would begin musical conversations with the chosen tabla player in ways that takes into account the latter’s temperament and musical proclivities. In other words, just as in day-to-day activities no two conversations would be the same simply because the people involved in each of them may be different, it would stand to reason that musical conversations would be different too.
However, this does not happen often as the soloist frequently has preconceived notions about the nature of the conversation that he or she would like to have. As a result, what follows is not a conversation but a unilateral unfolding of ideas that he or she would like responses to, often with equally preconceived notions of what the responses should be.
Any divergence by the tabla player may be considered a disturbance to the recital even if it may appear musically apt mostfor listeners. Since this seems to be the general trend, perhaps musicians and those writing on Hindustani music should think afresh about drawing an analogy between a Hindustani music performance and a conversation.
But returning to the subject of the present series on tabla accompaniment to Hindustani music and dance, let us listen to some tracks that feature instrumental gats in the 11-matra Char taal ki savari. Like Matta taal, this taal is also not as commonly known as the 16-matra Teentaal. As in the case of Matta taal, this taal is also employed for vilambit gats or slow instrumental compositions.
We end this instalment with an extended exposition of Parmeshwari, a raag prescribed for the morning. The raag is presented by its composer the world-renowned sitar maestro Ravi Shankar. He is accompanied by the redoubtable Punjab gharana exponent Alla Rakha. Listeners will note that the tabla enters with a seemingly sparse phrasing across the cycle, but quickly moves to swift passages as would be heard in a rela from the tabla solo repertoire.
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.
