Rupak (19th Dec 09)

It was an honor to render a Tabla Solo in Rupak Taal (7 beats) in front of Guruji, Pandit Nakul Mishraji, on 19th Dec 2009. While there are shortcomings in the recital, solely attributable to me, it was a wonderful learning experience! Here are some excerpts....

About Rupak:

Rupak is a popular taal played on the Tabla. It comprises of 7 beats divided into sections (vibhags) of 3-2-2. It is widely played in Solo recitals. Many compositions (Gats) played on classical instruments (like santoor, sarod, sitar, guitar, flute)are set in Rupak taal. The taal is also popularly played in Gazals and film songs. The counterpart of Rupak in Pakhwaj is taal Tivra set in 7 beats,but which is much bolder and lounder than Rupak.

Rupak is a unique taal in a sense that the first beat of the taal is a Khali (wave of the hand),and not a Clap. Rupak consists of two talis (claps), on the 4th and the 6th beats respectively. The taal goes like this:

Tin Tin Na| Dhi Na|Dhi Na




Rupak Peshkar Qaida



Rupak Compositions



Rupak finale

Jugalbandi

Ustad Alla Rakha and Ustad Zakir Hussain







One very interesting facet of a Tabla performance is a 'Jugalbandi', i.e. a duet of Tabla players. Generally, both the Tabla players are for the same gharana, but on some rare occassions a jugalbandi could also be done between players from different gharana. The father-son duo of Punjab gharana, Late Ustad Alla Rakh and Ustad Zakir Hussain, can be credited for making Tabla jugalbandi's world famous. When listening to their jugalbandi, one would realize that they mostly play compositions from their Punjab Gharana. However, when Ustad Zakir Hussain is performing a solo, he would play compositions from various gharanas. Another prominant father-son duo is of Pandit Sharda Sahai and his nephew Shri Vishnu Sahai of Benaras Gharana.



While the progression of a jugalbandi follows the general rules of Tabla playing for each gharana, the beauty lies in the manner in which the two players co-ordinate i.e. distribute paltas, play chakradars, engage into musical question-answers (sawal-jawab), and reach the crescendo.



It is indeed a treat to listen to a great Tabla Jugalbandhi.

For more info on Tabla, please visit: www.northindiandrums.blogspot.com





Father-son duo: Rajiv and Soham

Origin of Tabla

While the origin of the tradition of Indian music can be traced back nearly two thousand years in the Vedic hymns of the Hindu temples, the Tabla is a relatively new percussion instrument. It is considered to have been invented in the 16th or 17th century. Historically, the pakhawaj was used to accompany the old Dhruvpad style of music. It is believed that the need for a new percussion instrument was felt to accompany newer styles of North Indian vocal music (i.e. Khayal gayaki) which evolved around the 16th century, as well as new North Indian instruments such as Sitar and Sarood during the Mughal era in India. Thus, the Tabla was invented. Tabla, with its rich and varied tonal qualities, is an extremely versatile percussion instrument. Today, it is the most recognized North Indian percussion instument both for solo performances as well as an accompanyments in vocal (essentially Khayal, bhajans, thumris, folk), instumental and kathak dance.