''Wabah'' cross rhythm yang kini "menjangkiti" para komposer gong kebyar merupakan bukti bahwa seniman Bali begitu cerdik menyiasati sebuah "kekacauan". Mereka sukses "membungkus" ritme-ritme yang saling berseberangan dan terkesan agak "kacau" itu menjadi komposisi musik nan indah yang mampu menggetarkan rasa.
"Cita Rasa" Baru
Seniman-seniman Bali, khususnya seniman gong kebyar, senantiasa "gelisah". Senantiasa ingin menciptakan karya-karya yang memiliki "cita rasa" baru yang sebelumnya tidak ada. Di dalam menciptakan karya-karya baru itu, para komposer gong kebyar tidak saja berpegang pada nilai-nilai estetika karawitan Bali semata, tetapi juga mencari inspirasi dari musik-musik luar. Apakah itu musik dari daerah-daerah lain di Indonesia, Afrika, Eropa, Asia dan sebagainya. Terkadang, musik luar yang menginspirasi karya-karya seniman Bali itu memiliki ritme yang berseberangan dengan ritme karawitan Bali. Namun, mereka mencoba memadukan ritme yang saling berseberangan itu sehingga menghasilkan komposisi musik yang tetap enak didengar oleh telinga tanpa meninggalkan karakter ke-Bali-annya.
"Keterpengaruhan itu sering kita temui pada gong kekebyaran yang mengembangkan pola cross rhythm. Dalam proses berkesenian, itu sah-sah saja,
Dari segi permainan melodi, katanya, gong kekebyaran Bali (tradisi/klasik-red) lazimnya memakai teknik ngempat. Artinya, memainkan dua buah nada secara bersamaan dengan di sela dua nada di tengah nada itu. Misalnya, ngempat antara nada nding dengan ndung yang lebih tinggi. Teknik ngempat ini tertangkap secara jelas pada garapan tabuh-tabuh klasik. Bangunan atau bentuk dan struktur dari tabuh-tabuh klasik dasarnya adalah triangle -- ada kepala, badan dan kaki yang bersama-sama menyusun keharmonisan. Dari segi pepayasan atau ornamentasinya masih menggunakan teknik-teknik yang berkembang secara tradisi.
Pada perkembangan kekinian yang dimotori oleh seniman-seniman akademis, kata Rai menambahkan, mereka sudah mencari kebebasan. Teknik-teknik konvensional terkadang tetap dipakai, tetapi mereka juga banyak mengeksplorasi atau mencoba kemungkinan-kemungkinan lain yang bisa dikembangkan. Makanya, tidak jarang tabuh-tabuh kreasi baru pada gong kebyar terdengar agak "aneh" karena komposer-komposer masa kini memasukkan ornamen-ornamen baru di luar yang biasa dipergunakan.
"Saat ini banyak sekali teknik-teknik baru yang dimasukkan dalam gong kebyar. Model kekilitan atau otek-otekan baru pun diciptakan sehingga membuat gong kebyar ini tidak menjemukan untuk dinikmati. Selalu ada kejutan. Tidak puas bermain-main dengan instrumen, mereka juga memasukkan keplokan tangan maupun vokal untuk menyempurnakan garapan tabuh gong kebyar tersebut," .
Pakar etnomusikologi ini menambahkan, kreativitas seniman Bali memang tidak mengenal istilah stagnan. Pasti ada "celah" yang bisa dimasuki untuk melakukan inovasi dan eksplorasi guna menghasilkan karya-karya seni yang penuh pukau. Ketika pakem-pakem yang "beraroma" tradisi tidak lagi terasa menantang untuk ditaklukkan dan terkesan menjemukan, mereka pun berupaya menemukan sesuatu yang benar-benar baru. "Cross rhythm merupakan salah satu embusan napas baru yang membuat gong kebyar begitu menarik untuk dinikmati. Meskipun pada awalnya terdengar agak asing, lama-kelamaan penikmat seni di Bali jadi terbiasa dan malah sangat menyukai konsep berkesenian seperti itu. Buktinya, pergelaran gong kebyar di ajang PKB senantiasa dibanjiri penonton," katanya.
Seniman Akademis
Menurut Rai, kiprah kreativitas seniman akademis memang memberikan kontribusi yang cukup signifikan terhadap arah dan perkembangan gong kebyar di era kekinian. Cross rhythm, misalnya, pada awalnya bergulir dari bangku kuliah lembaga pendidikan seni. Seniman-seniman muda yang kreatif itu mencari inovasi-inovasi baru dalam berkesenian. Acapkali, mereka memadukan teori-teori musik tradisional Bali dengan teori-teori yang mereka dapatkan dalam musik Barat, India, Afrika, Cina dan musik-musik dari belahan dunia lainnya. Dalam konteks ini, gong kebyar terkesan begitu fleksibel dan meluas.
"Gong kebyar itu kan berlaras pelog. Dengan satu teknik tertentu, laras pelog itu bisa dibawa ke selendro lewat permainan suling. Pada titik tertentu, laras itu akan dikembalikan lagi pada satu titik atau nada sehingga garapan gong kebyar itu akan memberikan kesan yang sangat baru. Jadi, gong kebyar saat ini sudah mengalami pembaharuan-pembaharuan baik dari segi konsep, teknik juga penampilan," paparnya panjang lebar.
Rai menambahkan, salah satu tabuh kreasi kekebyaran yang cukup sukses merangkum unsur cross rhythm adalah tabuh "Lekesan" garapan I Nyoman Windha. Komposer kondang Bali ini begitu jeli meramu beragam musik tradisi Indonesia lantas ditransformasikan ke dalam gong kebyar Bali. Salah satu instrumen musik non Bali yang digunakan untuk memperkayakan ornamentasi "Lekesan" adalah musik perkusi rebana.
"Untuk bisa memadukan unsur-unsur musik etnis Nusantara itu secara harmonis ke dalam barungan gong kebyar Bali yang sudah mapan, komposer memang dituntut kejeliannya. Sementara komposer lainnya ada yang memasukkan batok kelapa, angklung bambu dan sebagainya untuk menghasilkan garapan yang mencuatkan kebaruan. Inovasi-inovasi seperti itu harus dihargai karena hal itu membuat gong kebyar Bali lebih berwarna," katanya lagi.
Pendapat senada juga dilontarkan Arya Sugiarta dan Windha. Menurut praktisi karawitan yang juga dosen ISI Denpasar ini, "aroma" cross rhythm terasa begitu kental pada tabuh-tabuh kreasi duta seni Gianyar dan Denpasar pada lomba gong kebyar PKB tahun ini. Kegairahan ber-cross rhythm itu tidak hanya "menjangkiti" penabuh dewasa tapi juga menjelajah kreativitas sekaa anak-anak.
Sekaa Gong Anak-anak Desa Pakraman Batuan, Sukawati, Gianyar, misalnya, tampil begitu memukau lewat tabuh kreasi "Watugangga". Penabuh-penabuh cilik itu sukses memainkan ritme-ritme empat, lima, tujuh dan seterusnya secara bersama-sama tanpa menghancurkan keutuhan "bangunan" tabuh itu. "Salah satu persyaratan wajib yang harus dipenuhi oleh sekaa gong yang berani memainkan cross rhythm, penguasaan teknik dan musikalitas para penabuh harus prima. Salah satu saja dari penabuh itu salah, maka struktur tabuh itu akan hancur berantakan. Kalau sudah begitu, maka sangat sulit untuk mengembalikan keharmonisan tabuh itu," kata Arya Sugiarta yang dibenarkan oleh Windha. w. sumatika
Tabuh dengan Ritme Kacau sangat Berisiko Tinggi
TABUH dengan ritme "kacau" atau tidak seragam seperti yang tersaji dalam cross rhythm memang cukup berat bagi penabuh-penabuh yang tidak terlatih dengan ritme itu. Makanya, kata Windha komposer yang mengkomposisi tabuh-tabuh seperti itu harus menakar secara benar kualitas para penabuh yang akan memainkan komposisi tersebut. Sebab, tabuh dengan pola seperti ini sangat berisiko tinggi. Salah sedikit, maka seterusnya tabuh itu akan kacau balau.
"Jadi, kualitas teknik penabuh sangat menentukan keberhasilan dalam memainkan tabuh beritme cross rhythm. Makin hebat kualitas penabuh, maka komposer makin berani memasukkan unsur cross rhythm sebanyak-banyaknya ke dalam garapannya. Ingat, tingkat kesulitan cross rhythm itu sangat tinggi. Kalau kualitas penabuh pas-pas, mungkin lebih baik cross rhythm itu ditiadakan ketimbang tabuh itu hancur berantakan," katanya mengingatkan.
Rai, Arya Sugiarta dan Windha sepakat bahwa fenomena cross rhythm ini mampu menghembuskan "napas" kebaruan dalam gemuruh perkembangan gong kebyar yang saat ini menapaki puncak popularitasnya. Kendati begitu, ketiga komposer Bali mengingatkan rekan-rekannya agar tidak kebablasan memasukkan cross rhythm ke dalam garapannya. Apalagi, garapan-garapan yang banyak memasukkan unsur musikal luar Bali. Ditegaskan, proses pembaharuan sah-sah saja. Tapi, pembaharuan itu tidak harus diterjemahkan dengan merombak total "bangunan" seni gong kebyar tersebut.
Titik "keberangkatan" kreativitas tetap harus ditumpukan pada jati diri dari gong kebyar itu sendiri. Sedangkan inovasi-inovasi baru yang mengadopsi ide, teknik dan unsur-unsur musikal non Bali harus dimanfaatkan sebagai aksentuasi atau pemanis yang tidak sampai mencerabut karakter dan jati diri ke-Bali-anya gong kebyar tersebut.
Selasa, 05 Mei 2009
Senin, 04 Mei 2009
slonding
| Gamelan Selonding yang terbuat dari besi ini berlaras pelog tujuh nada ini tergolong barungan alit yang langka dan sangat disakralkan oleh masyarakat desa Tenganan Pegringsingan dan Bongaya (kabupaten Karangasem). Gamelan ini dimainkan untuk mengiringi berbagai upaya adat Bali Aga yang dilaksanakan oleh masyarakat setempat dan untuk mengiringi tari Abuang, Perang Pandan (Makare-karean) dan lain-lain. | ||||||||||||||||||||||||
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| Team Survey Konservatori Karawitan Bali mencatat bahwa instrumentasi dari gamelan Selonding di Tenganan meliputi: | ||||||||||||||||||||||||
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| Tabuh-tabuh yang dimainkan dengan patet yang berbeda-beda, dapat dikelompokkan menjadi: | ||||||||||||||||||||||||
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gong kebyar
Gong Kebyar adalah sebuah barungan baru. Sesuai dengan nama yang diberikan kepada barungan ini (Kebyar yang bermakna cepat, tiba-tiba dan keras) gamelan ini menghasilkan musik-musik keras dan dinamis. Gamelan ini dipakai untuk mengiringi tari-tarian atau memainkan tabuh-tabuhan instrumental. Secara fisik Gong Kebyar adalah pengembangan kemudian dari Gong Gede dengan pengurangan peranan, atau pengurangan beberapa buah instrumennya. Misalnya saja peranan trompong dalam Gong Gebyar dikurangi, bahkan pada tabuh-tabuh tertentu tidak dipakai sama sekali, gangsa jongkoknya yang berbilah 5 dirubah menjadi gangsa gantung berbilah 9 atau 10 . cengceng kopyak yang terdiri dari 4 sampai 6 pasang dirubah menjadi 1 atau 2 set cengceng kecil. Kendang yang semula dimainkan dengan memakai panggul diganti dengan pukulan tangan.
Secara konsep Gong Kebyar adalah perpaduan antara Gender Wayang, Gong Gede dan Pelegongan. Rasa-rasa musikal maupun pola pukulan instrumen Gong Kebyar ada kalanya terasa Gender Wayang yang lincah, Gong Gedeyang kokoh atau Pelegonganyang melodis. Pola Gagineman Gender Wayang, pola Gegambangan dan pukulan Kaklenyongan Gong Gede muncul dalam berbagai tabuh Gong Kebyar. Gamelan Gong Kebyar adalah produk kebudayaan Bali modern. Barungan ini diperkirakan muncul di Singaraja pada tahun 1915 (McPhee, 1966 : 328). Desa yang sebut-sebut sebagai asal pemunculan Gong Kebyar adalah Jagaraga (Buleleng) yang juga memulai tradisi Tari Kebyar. Ada juga informasi lain yang menyebutkan bahwa Gong Kebyar muncul pertama kali di desa Bungkulan (Buleleng). Perkembangan Gong Kebyar mencapai salah satu puncaknya pada tahun 1925 dengan datangnya seorang penari Jauk yang bernama I Mario dari Tabanan yang menciptakan sebuah tari Kebyar Duduk atau Kebyar Trompong.
Gong Kebyar berlaras pelog lima nada dan kebanyakan instrumennya memiliki 10 sampai 12 nada, karena konstruksi instrumennya yang lebih ringan jika dibandingkandengan Gong Gede. Tabuh-tabuh Gong Kebyar lebih lincah dengan komposisi yang lebih bebas, hanya pada bagian-bagian tertentu saja hukum-hukum tabuh klasik masih dipergunakan, seperti Tabuh Pisan, Tabuh Dua, Tabuh Telu dan sebagainya.
Lagu-lagunya seringkali merupakan penggarapan kembali terhadap bentuk-bentuk (repertoire) tabuh klasik dengan merubah komposisinya, melodi, tempo dan ornamentasi melodi. Matra tidak lagi selamanya ajeg, pola ritme ganjil muncul di beberapa bagian komposisi tabuh.
Barungan Gong Kebyar bisa diklasifikasikan menjadi 3 :
- Utama = Yang besar dan lengkap
- Madya = Yang semi lengkap
- Nista = Yang sederhana
Barungan yang utama terdiri dari:
| Jumlah | Satuan | Instrumen |
| 10 | buah | gangsa berbilah (terdiri dari 2 giying / ugal, 4 pemade, 4 kantilan) |
| 2 | buah | jegogan berbilah 5 - 6 |
| 2 | buah | jublag atau calung berbilah 5 - 7 |
| 1 | tungguh | reyong berpencon 12 |
| 1 | tungguh | terompong berpecon 10 |
| 2 | buah | kendang besar (lanang dan wadon) yang dilengkapi dengan 2 buah kendang kecil |
| 1 | pangkon | cengceng |
| 1 | buah | kajar |
| 2 | buah | gong besar (lanang dan wadon) |
| 1 | buah | kemong (gong kecil) |
| 1 | buah | babende (gong kecil bermoncong pipih) |
| 1 | buah | kempli (semacam kajar) |
| 1-3 | buah | suling bambu |
| 1 | buah | rebab |
ustad zakir hussain
Ustad Zakir Hussain (Hindi: ज़ाकिर हुसैन, Urdu: زاکِر حسین), (born 9 March 1951), is a famous Grammy Award winning Indian tabla player. He is widely considered the world's best tabla player. He has also won national as well as international awards and recognitions for his contribution to the world of music.
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Early life and background
Zakir Hussain was born in Mumbai, India to the legendary tabla player Ustad Alla Rakha.[1]
He attended St. Michael's High School in Mahim, and graduated from St Xaviers, Mumbai.[2]
Performing career
Zakir Hussain was a child prodigy, and was touring by the age of twelve. He went to the United States in 1970, embarking on an international career which includes no fewer than 160 concert dates a year.[citation needed]
He has composed and recorded many albums and soundtracks, and has received widespread recognition as a composer for his many ensembles and collaborations.[citation needed]
He starred in the Merchant Ivory Film Heat and Dust, in which he also composed the score. He has composed soundtracks for several movies, most notably In Custody and The Mystic Masseur by Ismail Merchant, and has played tabla on the soundtracks of Francis Coppola's Apocalypse Now, Bernardo Bertolucci's Little Buddha, and other films.[3]
Zakir is a founding member of Bill Laswell's 'World Music Supergroup' Tabla Beat Science.[citation needed]
He was a visiting professor at Princeton University for one semester in 2006, as well as a visiting professor at Stanford University for a quarter in 2007.[citation needed]
Zakir composed, performed and acted as Indian music advisor for Vaanaprastham, which took place at the Cannes Film Festival in 1999. He is the recipient of the 1999 National Heritage Fellowship, the United States' most prestigious honor for a master in the traditional arts.[citation needed]
He starred in the documentary "The Speaking Hand: Zakir Hussain and the Art of the Indian Drum" (2003 Sumantra Ghosal) and the 1998 documentary "Zakir and His Friends".[citation needed]
Zakir participates in the Silk Road collaborative musical project. [1] He teaches Tabla to advanced students in both San Francisco and Mumbai. Zakir participates in the Global Drum Project with percussionists from around the world. The GLOBAL DRUM PROJECT Tour brought Mickey Hart, Zakir Hussain, Sikiru Adepoju, and Giovanni Hidalgo together again in a reunion sparked by the 15th anniversary of the ground-breaking album Planet Drum. The album Global Drum Project has won the Grammy Award for the Best Contemporary World Music Album at the 51st Grammy Awards Ceremony held on 8 February 2009.[citation needed]
Their first album Planet Drum, released in 1991 on the Rykodisc label went on to earn the first-ever Grammy Award in the World Music category. The Global Drum Project Tour is the group's first in almost a decade. It also marks the resumption of an artistic relationship between Mickey Hart and Zakir Hussain that goes back to the late 1960s.[citation needed]
Personal life
Zakir Hussain married Antonia Minnecola a Kathak dancer and teacher.[citation needed]
Discography
- Global Drum Project (2007) – Mickey Hart, Zakir Hussain, Sikiru Adepoju, Giovanni Hidalgo
- Sangam (2006) - Jazz collaboration with bandleader Charles Lloyd.
- Maestro's Choice Series One - Alla Rakha & Zakir Hussain (2005)
- Punjabi Dhamar (2004)
- Raag Chandrakauns (2004)
- The Best of Mickey Hart: Over the Edge and Back (2002) – Mickey Hart
- Selects (2002)
- Spirit into Sound (2000) – Mickey Hart
- The Believer (1999) - Remember Shakti
- And the Rhythm Experience (1998)
- Supralingua (1998) – Mickey Hart
- Essence of Rhythm (1998)
- Magical Moments of Rhythm (1997)
- Kirwani (1997)
- Mickey Hart's Mystery Box (1996) – Mickey Hart
- Raga Aberi (1995) - Shankar
- Jog And Rageshri (1994)
- Music of the Deserts (1993)
- Flights of Improvisation (1992)
- The One and Only (1992)
- Planet Drum (1991) – Mickey Hart
- At the Edge (1990) – Mickey Hart
- Tabla Duet (1988)
- Making Music (1987)
- Natural Elements (1977) - Shakti with John McLaughlin
- A Handful of Beauty (1976) - Shakti with John McLaughlin
- Diga (1976) – Diga Rhythm Band
- Shakti (1975) - Shakti with John McLaughlin
- Rolling Thunder (1972) – Mickey Hart
- Shanti (1971)
Filmography
- The Rhythm Devils Concert Experience (2008 – DVD) – The Rhythm Devils
- The Speaking Hand: Zakir Hussain and the Art of the Indian Drum (2003) Sumantra Ghosal)
- Zakir and His Friends (1998)
- Heat and Dust (1983) Merchant Ivory Film
Music
- Vanaprastham (1999)
Awards and accolades
- Awarded the titles of Padma Bhushan, in 2002, and Padma Shri, in 1988, becoming the youngest percussionist to be awarded these, given to civilians of merit, by the Indian government.
- On 8 February, 2009 for 51st Grammy Awards, Zakir Hussain won the Grammy in the Contemporary World Music Album category for his collaborative album "Global Drum Project" along with Mickey Hart, Sikiru Adepoju & Giovanni Hidalgo.[4]
- Awarded the Indo-American Award in 1990 in recognition for his outstanding cultural contribution to relations between the United States and India.
- Presented with the Sangeet Natak Akademi Award in 1991 by the President of India, making him one of the youngest musicians to receive this recognition from India's governing cultural institute.
- Recipient of the prestigious Kalidas Samman in 2006, an award for artists of exceptional achievement, from the government of Madhya Pradesh.
- Recipient of the 1999 National Heritage Fellowship, the United States’ most prestigious honor for a master in the traditional arts, presented by First Lady Hillary Rodham Clinton at the United States Senate on September 28, 1999.
- In 2005, he was named an Old Dominion Fellow by the Humanities Council at Princeton University, where he resided for the 2005–2006 semester as full professor in the music department, teaching a survey course in Indian classical music and dance.
- In 2007, readers’ polls from both Modern Drummer and Drum! magazines named Zakir Hussain Best World Music and Best World Beat Drummer respectively.
- In 1992, Planet Drum, an album co-created and produced by Zakir and Mickey Hart, was awarded the first-ever Grammy for Best World Music Album, the Downbeat Critics’ Poll for Best World Beat Album and the NARM Indie Best Seller Award for a World Music Recording.
- In 1992, Zakir founded Moment! Records, which features original collaborations in the field of contemporary world music, as well as live concert performances by great masters of the classical music of India. The label presents Zakir's own world percussion ensemble, The Rhythm Experience, both North and South Indian classical recordings, Best of Shakti and the Masters of Percussion series. Moment Records’ 2006 release Golden Strings of the Sarode, with Aashish Khan and Zakir Hussain, was nominated for a Grammy in the Best Traditional World Music Album category for that year. Hussain worked with Mickey Hart of the rock band 'Grateful Dead', Nigerian percussionist Sikiru Adepoju and Puerto Rican jazz percussionist Giovanni Hidalgo for the album.
Minggu, 03 Mei 2009
Tabla
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| Classification | Indian Percussion instrument, goatskin heads with syahi |
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| Playing range | |
| Bolt tuned or rope tuned with dowels and hammer | |
| Related instruments | |
The tabla (Hindi: तबला, Bangla: তবলা, Urdu: تبلہ tablā) is a popular Indian percussion instrument used in the classical, popular and religious music of the Indian subcontinent and in Hindustani classical music. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term tabla is derived from an Arabic word, tabl, which simply means "drum", that comes from the Aramaic ṭabl.[1]
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol). The heel of the hand is used to apply pressure or in a sliding motion on the larger drum so that the pitch is changed during the sound's decay.
History
The history of this instrument is uncertain, and has been the subject of sometimes heated debate. Rebecca Stewart[2] suggested it was most likely a hybrid resulting from experiments with existing drums such as pakhawaj, dholak and naqqara. The origins of tabla repertoire and technique may be found in all three and in physical structure there are also elements of all three: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.
A common legendary account[3] credits the 13th century Indian poet Amir Khusrau as the inventor by splitting a single Pakhawaj drum into two. ('thoda, tab bhi bola - tabla': 'When broke, it still spoke' - a fairly well-known, though almost certainly mythical Hindi pun) None of his writings on music mention the drum, but this apparent tradition of late invention, combined with the Arabic-derived name, the absence of the instrument in South Indian music and the closed-ended, paired design that relates it to the Western clay-drums and tympani, altogether supports the view that the tabla is a comparatively recent development in northern Indian music. Reliable historical evidence[citation needed] places the invention of this instrument in the 18th century, and the first verifiable player of this drum was Ustad Sudhar Khan of Delhi.
Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the puskara drum. Musicians often placed the puskara's smaller vertical drum (called 'alinga'), on their lap and played more than one drum at a time.
Similar regional instruments include the Punjabi dukkar, the Kashmiri dukra, the duggi in eastern Uttar Pradesh, and the mridangam (Southern equivalent of the Northern pakhavaj), the principal drum in South Indian Carnatic music. The dhol (dholak) of eastern Afghanistan is related in terms of both construction and playing style. The main distinction of the tabla is the pairing of two different types of single-headed drums, whereas the dukkar, dukra, and duggi are pairs of the same type and the mridangam and dhol are double-headed, barrel-shaped drums.
Nomenclature and construction
The smaller drum, played with the dominant hand, is sometimes called dayan (lit. "right"; a.k.a. dāhina, siddha, chattū) but is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or subdominant of the soloist's key and thus complements the melody. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.
The larger drum, played with the other hand, is called bāyāñ (lit. "left"; a.k.a. dagga, duggī, dhāmā). The bāyāñ has a much deeper bass tone, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.
Both drum shells are covered with a head (or puri) constructed from goat or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.
The head of each drum has an inner called the syahi (lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.
For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.
Gharānā — tabla tradition
The term gharānā is used to specify a lineage of teaching and repertoire in Indian classical music. Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj. Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Musicians then recognize six gharānās – schools or traditions – of tabla. These traditions appeared or evolved in presumably the following order:
- Delhi gharānā
- Lucknow gharānā
- Ajrara gharānā later followed by
- Farukhabad gharānā
- Benares gharānā
- Punjab gharānā
- Indore gharana
Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized.[citation needed] Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.
Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.
Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.
Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.
This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tabla is often used in reference to this knowledge and the process of its transmission.
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