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barend

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Reply with quote  #1 
I was wandering about this. In instrumental music (I mean when tabla is accompanying an instrumentalist) there are a lot of solo spots for the tabla.
But in vocal music (classical) there are not so much solo spots for the tabla, he more or less sticks to the accompanying role...

Why is this distinction between vocal and instrumental tabla accompaniment?

I know that in the early days the tabla wasn't playing that much solos in instrumenteal music, I think it is a fairly recent (say from the last 40 years) development.
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evening84

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Reply with quote  #2 
Not strictly true. Thumri singing does have solo spots where mostly laggis are played by the Tabla player.

The question-answer format in instrumental concerts is a recent development, as you mention. Although sometimes it does degenerate to two cats fighting in a garbage bag. Entertaining, but not very musical. In that sense, the trend not making inroads into vocal music is not necessarily a bad thing.

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jaan e kharabat

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...and the only right thing!!

To be honost, the only sawal-jawaab that iv been wholly satisfied by is the Nikhil Banerjee v Kannai Dutta Megh, in my opinion nothing can be faulted with this particular performance. The raga does not get lost mainly due to NB's fantastic creativity, it may in fact have even contributed to the vistaar.

Apart from that, i think solo spots are a big superficiality in instrumental performances, maybe the soloist has run out of raga-daari ideas so he lets the tablachi has his way while he thinks of something. I personally listen to tabla solos if i want 'tablatronics'.

Now in ghazal and thumri there is alot of spots in the interludes to get aggressive and its wholly appropriate and expected that tabla comes to the fore but in a khiyal setting??NO way.

now let me think, "imagine the tabla player coming in on Mallikarjun Mansur's Bahaduri Todi or Amir Khans Darbari" would have been a total disaster. The vocalist has a harmonium, a sarangi or a second voice for back up and interludes and its totally appropriate for these guys to come in to give the singer a breather.

HEY!! Maybe thats the answer to the question. SINCE INSTRUMENTALISTS HAVE NO MELODIC SUPPORT, THEY CAN ONLY TAKE A BREAK IN THE FORM Of A SHORT TABLA SOLO!!????? not totally unreasonable.

sorry for the ranting and raving.

peace.

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Anonymous

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Reply with quote  #4 
Generally I find that in live performances - there are as many
tabla solos as in cases where the tabla player is accompaning
an instrumental soloist. Must have something to do with the
70 min time constraints of the CD format.
K
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Ed

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Reply with quote  #5 
I think there is more rythmic interplay in instrumental. Stroke patterns and tehais are more pronounced opening up many possiblities for tabla. In vocal, tabla supports the raga more through the tone of the drum rather than intricate rhythmic patterns which might get in the way of the vocalist.
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Anonymous

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Reply with quote  #6 
I think it's really up to the individual singer. Some singers like or prefer the tabla player to solo during certain parts of the presentation, while others prefer the tablaist to play simple thekaas without too many fillers, etc.

So I guess it's totally up to the vocalist, whether or not the tabla player should solo.

Personally, I strongly feel the tablaist should be given space to solo in the song.

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barend

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Reply with quote  #7 
I like the tabla solos in a performance.......for me as a non tabla player (I am a sitar player) I like tabla solos better when they accompagny a singer or instrumentalist than when they play a solo in a tabla performance (I mean only tabla), that is maybe more interesting for tabla players.

I think the tabla solos, when not overdone of course, are good for the variation in a performance and also I like the interaction between the musicians....and also it gives some room to breath for the instrumentalist or vocalist....
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subbarao1

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Reply with quote  #8 
It also depends on the gharana, in Kirana you'll have much less tabla interaction than with Agara, which is robust and rhythmically oriented. Khadim Hussian Khan was a master of that Gharana.

Subbarao
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