Within the ongoing sequence about tabla accompaniment for Hindustani music and dance, we had heard examples of bandish ki thumri set to the 16-matra Teentaal within the final episode. Right now, we pay attention to 2 compositions from the identical kind however accompanied by Sitarkhani or Addha, one other common 16-matra taal.
The primary recording options the well-known thumri exponent Siddheshwari Devi. She sings a bandish ki thumri primarily based on the raags Jogiya and Kalingda.
The second clip has a presentation of a widely known thumri within the raag Bhairavi. This thumri has been sung as a bol banaav thumri in addition to a bandish ki thumri by completely different vocalists. Right here, Mahadev Prasad Mishra sings this composition because the latter within the 16-matra Sitarkhani taal.
Listeners will discover that each recordings have prolonged sections of improvisation by the tabla participant in the direction of the tip of the performances. This part launched by the tabla participant is peculiar to the thumri-dadra and allied kinds and is named laggi, laggi-chanti or laggi-nada. These phrases are used synonymously, although some sources outline them individually.
Laggi refers back to the part that enables the tabla participant to launch into variations primarily based on the eight-matra Kaherva taal or the six-matra Dadra taal, after the vocalist modifications the taal of the theme to accommodate these patterns. The vocalist maintains this modification as a chorus and introduces some variations to it, however the focus stays on the tabla. This part comes as a climactic finish to a thumri or is used to intersperse verses in a dadra.
The laggi part initially complimented the dance of the ladies performers, who along with vocal music had been additionally educated in Kathak and would add gesture, motion and footwork to intensify the emotional content material of the vocal composition. The tabla participant would reproduce rhythmic patterns that corresponded to the footwork, and at instances, would anticipate and recommend different patterns. Nevertheless the thumri-dadra renditions in the present day don’t embrace the dance ingredient, except expressly carried out as a part of a Kathak recital, the laggi continues to be an integral a part of these shows.
Certainly one of India’s main tabla gamers, Aneesh Pradhan is a extensively recognised performer, trainer, composer and scholar of Hindustani music. Go to his web site right here.
This text is predicated on Pradhan’s ebook Tabla: A Performer’s Perspective