Tabla: Role in Accompaniment
Tabla is widely used as an accompanying instrument in vocal, dance, and instrumental music. The key role of a Tabla player in an accompaniment is to keep time for the main artist and to enhance the aesthetic value of the raag (melody). The challenge for him is to show his virtuosity while being restraint. He should follow, and not overshadow, the main artist. During the performance, the main artist intermittently gives opportunities to the tabla player to demonstrate his virtuosity. The challenging aspect for the tabla player is to play compositions or improvisations that blend with the mood & raasa of the raga and the rhythmic patterns played by the main artist.
Out of the various facets of accompaniment viz. Instrumental, Classical Vocal, Semi-Classical Vocal, Dance etc, the fundamental progression of an instrumental accompaniment is shown here:
In an instrumental accompaniment, Tabla enters the recital in the ‘Gat’ phase after the Aalap, Jod & Jhala phases. The ‘Gat’ phase comprises of an alternation between the main theme and melodic variations.The Tabla player gets a chance to show his virtuosity when the main theme is being played. However, when the main artist is playing melodic variations, the Tabla player should constrain his playing to the basic Theka or its Prakars and clearly bring out the ‘Sam’ and ‘Khali’ to enable the main artist to judge where he is within the context of the Taal.
Tabla Solo Performance
A Solo rendition provides the Tabla player an opportunity to demonstrate his virtuosity and mastery over the various facets of Tabla playing such as different gharanas,rhythm cycles, tempos, traditional compositions, improvisations etc. Solo performances are typically accompanied by a repeating background melody called 'Lehra'. Lehra is fit to a rhythmic cycle. Besides providing a background melody, the Lehara essentially keeps time for the soloist and provides a baseline that guides the performance of the soloist within the framework of the Taal. Typically, Lehra is played on Harmonium or Saarangi.
For example: a Tabla solo set in Teentaal would be accompanied by a Lehara set to 16 beat cycle.
The progression and format of a Tabla solo largely depends upon the gharana, artistry & mood of the Tabla player and also on the quality of audience. For instance, two solo performances of an artist set to Teentaal could greatly vary in terms of progression and format, depending on the variables mentioned above.
However, a typical progression of a Tabla Solo could be depicted as under:
Uthan >Peshkar > Kaida > Gat > Tukada > Chakradar > Rela
