In the second part of the series on tappa, we focus on Banaras gharana exponents. The elaboration of the tappa in the Banaras gayaki or vocal style is quite different from the Gwalior style, although the compositions created by Shori Miyan in Punjabi are common to both gharanas. The Banaras gharana vocalists seem to prefer the 16-count or matra taal called Sitarkhani or Addha.

Siddheshwari Devi
Tappa in Raag JhinJoti

We begin with a tappa set to the 16 matra Sitarkhani or Addha taal sung by Siddheshwari Devi (c.1907/08-1977).  The descriptor mentions that this tappa is in raag Jhinjhoti, but the track displays characteristics of raag Khamaj.



Rasoolan Bai
Tappa/Aaja gumaani yaar ve

Tappas are normally found in raags like Kafi, Khamaj, and Bhairavi.  Here is a Kafi tappa set to Sitarkhani taal sung by Rasoolan Bai, a contemporary of Siddheshwari Devi.



Girija Devi and Pt. Jnan Prakash Ghosh
Raag Yaman/Tap Khyal

Tapkhayal is a compound form incorporating elements from tappa and khayal. Girija Devi sings a tapkhayal in raag Yaman set to Sitarkhani taal. She is accompanied by scholar-musician and revered teacher Jnan Prakash Ghosh on the harmonium and Banaras gharana maestro Mahapurush Mishra on the tabla.



Next week, we will listen to other presentations of tappa.

The first part of the series on tappa can be read here.