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In the last instalment of our series on tabla accompaniment to Hindustani vocal music and dance, we look closely at specially choreographed works that form a part of kathak performances and require a different skill from tabla players.
Given the fact that these are largely precomposed works often using vocal forms like taranas that are interspersed with dance, pakhawaj or tabla compositions, the tabla players have to rehearse these compositions in order to be well-acquainted with the sequence of changes within each work.
At times, the music ensemble may have a tabla player who does not usually accompany the dancer. In such cases, dancers may choose to have an additional tabla player or pakhawaj player who regularly accompanies them, as these musicians have memorised the sequences and can take the lead in guiding the rhythmic accompaniment.
On other occasions, especially when dancers travel overseas, the usual ensemble does not accompany them. In such cases, they may even choose to use a recorded version of the music for their dance recitals.
The track in today’s instalment features a tarana in the raag Nand set to the 12-matra Ektaal. It is sung by well-known vocalist and composer Ashit Desai and is interpreted by the renowned dancer Durga Lal. Listeners will note the manner in which the tabla follows the footwork and dance compositions as well as the syllables of the tarana.
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.
This article first appeared on Scroll.in
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