Here are my notes for my tabla solo at SACMS (South Asian Classical Music Society) this Sunday.

This year I have 10 minutes to perform a tabla solo.

So, I set out to make the best use of the time, and tried to present a full solo of sorts. Much of the presentation of this solo was inspired by a Historical Tabla Duet Recording by Chhandayan of Pandit Shyamal Bose and Pandit Shankar Ghosh. Shyamal Bose was one of my Guruji’s Gurus, and is an endless source of inspiration. I, of course, owe all my knowledge and performance of these compostions to my Guruji, Pandit Samir Chatterjee, who has set me on the path of tabla. Any mistakes I take full credit for. 

My solo begins with a beautiful alap and lehra by Maestro Akash Joshi in Vlambit Laya or slow tempo.

I start with some improvised introductory rhythms possibly including small tehais.

Next I present the following compositions: 

Uthan – flashy introduction, a piece learned from my Guruji

Peshkar – Dhin–dha-naDha- etc. as played by Ustad Amedjan Thirakwa. This is full of beautiful tehais to end each cycle. 

Kayeda – this is a traditional Farukhabad Gharana Kayeda presented in single time, 1 1/2 time, double time, with 3 improvised variations and ending with tehai. Instead of lasting full cycle–to save time–I have truncated each part somewhat.

Full theka

Gat – This is a beautiful and challenging traditional gat, can be heard from many tabla players from Amedjan Thirakwa through current tabla players like Yashwant Vaishnav often ending his solos with this composition.

Rela – traditional fast composition using GereDhereDhere bols. Relas seem to mimic the sounds of trains or “rail”. I play single time, double time, 5 variations, and then continue using the rela to fill the space between the next 3 tukras and 3 chakradars, instead of always going back to theka. This creates a more ramped-up emotion, keeping the energy building until the end of the solo. 

At this point we switch to double time – Madya Laya.

Tukra 1 – traditional composition based on terekete bols. 

Tukra 2 – traditional composition based on dhere dhere bols.

Tukra 3 – a tukra from Lathu Khan of Dehli Gharana, ending with a unique and brazen tehai. 

Chakradar 1 – composition from Firoz Khan.

Chakradar 2 – composition from Ghulam Hussain Khan (the nephew of Amedjan Thirakwa Khan). 

Chakradar 3 – I end with a composition from Pandit Gyan Prakash Ghosh – performer, teacher, and collector of unique compositions. Guru to Pt. Anindo Chatterjee among other prominent tabla players. 

The original draft of this solo came out to 737 beats, so I thought “Why not give this solo a jet airplane theme” 

I hope you enjoy your flight on my 737-beat tabla solo and the Tinaal Express!