An introduction to the various rhythmic cycles with which tabla players must be conversant.
For those who are already aware of the vocal forms that form a part of the Hindustani tradition, it would be clear that the pakhawaj provides rhythmic accompaniment to the dhrupad-dhamar forms. On the other hand, the khayal and the thumri-dadra forms employ the tabla. It is not an accident of history that the evolution of the tabla and that of the vocal forms it accompanies was concomitant.
Unfortunately, we have traversed so deep into areas of specialisation that we seem to have forgotten the points of engagement, of dialogue, of shared histories. But, musical terms and colloquialisms are signposts of this exchange – an exchange that proved the definition of the term sangeet, which has been loosely used by many to refer to music alone. Sangeet in fact refers to the amalgam of vocal and instrumental music and dance, and the exchanges that I am referring to indicate what could have possibly represented sangeet in the original sense of the term.
