Teachers of vocal Carnatic music (or Hindustani music) seem to tell students to avoid what I think they call double tAlam. That is, while singing a song in 3rd kAlam and doing the beat for tAlam, they ask the students to do the beat only every 4 aksharAs and never every 2 aksharAs. However, I think the artist who accompanies the vocalist on, say, mridangam or tablA, appears to do the beat at 2-aksharA interval or even 1-aksharA interval.
What is the difference?
What are the bad consequences of what is called double tAlam in the case of a vocalist? How will it affect the singing ability?
Incidentally, do the mridangists and tablA players perform the beat every akshara or even finer than that sometimes?
I may not have worded the above properly to express my thoughts correctly, as I didn't know how to word. If I am not clear enough anywhere, please let me know.
I am very eager to read the responses from the experts on this forum. Thanks in advance.
vocal vs accompaniment
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Nick H
- Posts: 9385
- Joined: 03 Feb 2010, 02:03
Re: vocal vs accompaniment
There are quite different practices in carnatic and hindustani accompaniment.
The tabla player plays a set sequence for any given tala. I'm sure* Hinustani artists keep the tala in their heads anyway, but the usual reason given for them not showing it outside is that they can tell it from the tabla. This is not the case with carnatic music and mridangam.
*that means I guess, not I know!
The tabla player plays a set sequence for any given tala. I'm sure* Hinustani artists keep the tala in their heads anyway, but the usual reason given for them not showing it outside is that they can tell it from the tabla. This is not the case with carnatic music and mridangam.
*that means I guess, not I know!
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srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23
Re: vocal vs accompaniment
sung,
Even I find it weird that Carnatic percussionists usually beat twice for each 2-kaLai beat when keeping tALam.
It is slightly easier to keep tALam during complex laya-play that way. But kAlapramANam may get faster sooner that way.
I also find the advised habit for vocalists makes the kriyas clearer (for watchers): when swinging the palm twice as fast, it's harder to tell which finger we are in during the laghu.
Even I find it weird that Carnatic percussionists usually beat twice for each 2-kaLai beat when keeping tALam.
It is slightly easier to keep tALam during complex laya-play that way. But kAlapramANam may get faster sooner that way.
I also find the advised habit for vocalists makes the kriyas clearer (for watchers): when swinging the palm twice as fast, it's harder to tell which finger we are in during the laghu.