Solo Tabla Drumming of North India: Its Repertoire, Styles, and Performance Practices
The analysis and description of the performance practices of six of India's leading tabla exponents, each representing a particular gharana. Each performance is fully transcribed.
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Temple carving showing puskara drums c 6th7th cent
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1st vistar 2nd vistar 2x 3rd vistar 4th vistar Afaq Hussain Ajrara Alla Rakha alternating apply avarta Baksh bandh bols bandh phrases bant barabar lay barhant basic phrase bayan Benares gharana bote chakradar dayan defined Delhi gharana derive Dha Dha Dha Dhin Dhina dimensions disciple divisions dohra drums dugun expansion Farukhabad Farukhabad gharana fingers format grng Habibuddin Hindi lit Inam India jhulna k're kathak kena khali vibhag khalifa khula khyal Kishan Maharaj kttk lahara Lucknow Lucknow gharana matras modifications mohra musicians notations original composition original phrase pakhawaj palta particular performance practices peshkar placements played players pre-composed previous vibhag procedure Punjab gharanas qa'ida raga Rakha Ram Sahaya rela repeated Sanskrit sawai lay sequence solo tabla stroke style t'reke tabia tali tempo tete theka tihai phrases time-cycle tina tintal tradition ttkt tukra uthan variety vilambit vistar 2x vistar palta vistar phrases Wajid Hussain