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Tabla
solo - In tribute to Bhai Gurmit Singh Virdee
Pandit Swapan Chaudhuri - Tabla Ramesh Mishra - Sarangi
CD 1
1 Lehra/Uthan/Mukhra
2 Palta Theka
3 Lucknow Qaida
4 Qaida Rela
5 Qaida
6 Qaida Rela
CD 2
1-4 Rela
5 Gats
6 Paran
7 Tukra
8 Rela
9 Tukra
10 Chakradaar
CD1
1 . Lehra/Uthan/Mukhra : The tabla solo is played in a rhythmic cycle
of sixteen beats, or teentaal. The tabla is accompanied by a cyclic
melody played by Ramesh Mishra on the Sarangi. This lehera (or nagma)
is not simply the repetition of a fixed melody; it also serves to maintain
the soloist's mood and temperament by inspiring the main performer.
The subtle ornamentations play a significant role in the success of
the tabla recital. Ramesh Mishra is a master in Sarangi playing, performing
as a soloist and a popular accompanist for some of India's greatest
vocalists.
The performance starts with small introductory compositions in the
form of uthan and mukhra. Uthan may be fixed or improvised, its role
being to portray an impression of acceleration. Uthans generally incorporate
a great variety of tabla syllables, including open bayan strokes and
both loud and soft dynamics, giving the audience an early indication
of the player's skills.
2. Palta Theka: A sequence of variations and improvisations based on
and evolving from the prescribed syllables that make up the theka,
played in the style of Lucknow gharana.The theka is a prescribed pattern
of syllables for any specific rhythmic cycle, or taal.
Theka of teentaal
1 2 3 4
dha dhin dhin dha
5 6 7 8
dha dhin dhin dha
9 10 11 12
dha tin tin na
13 14 15 16
na dhin dhin dha
3. Lucknow Qaida: Kayida is a theme and variation composition type,
which often forms the main body of a solo. The main kayida is fixed
and acts as a theme for improvisations, which are essentially permutations
of the main syllables and phrases of the original composition. The
extent of the soloist's imagination and musical skill is demonstrated
through the improvised paltas which follow the kayida.
4. Qaida Rela: A composition popular in the Lucknow gharana repertoire
which features aspects of both Qaida and Rela.
5. Qaida: Qaida demonstrating great dexterity of left hand bayan strokes.
6. Qaida Rela Famous Lucknow
gharana composition.
CD 2
1-4 Rela: Has the same structure as kayida and follows the same rules,
but is composed around bols which have the capacity to be played in
fast speeds. This is a sequence of rela compositions based on tabla
syllables 'dine gine', 'terekite' and 'dhire dhire'.
5. Gats: Gats are prized compositions within the tabla community. For
example, there are many stories of gats being exchanged in dowry gifts
at the time of marriages between musical families.
6. Paran: Parans are adapted onto tabla from the Pakhawaj repertoire,
pre-dating tabla. They use bold, open sounds of the tabla played in
a style known as 'khula baj', literally 'open playing style'. The Pakhawaj
is a barrel shaped drum used predominantly in dhrupad accompaniment.
7. Tukra: Tukra is a short fixed composition which combines a wide
range of colourful tabla syllables with varieties of dynamics.
8. Rela: Rela based on 'tirekete'.
9. Tukra: Swapan Chaudhuri has played several rare tukra composed inherited
from old tabla masters.
10. Chakradaar: Chakradaar is a fixed composition which is essentially
a tukra played three times reaching the first beat of the cycle (sam)
with the final tehai stroke.
revised from CD notes
© John Ball 2007 - John Ball is a freelance writer, musician and
teacher based in Sheffield specialising in Indian Music.
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