Last week, this column featured tracks that had used Tilwada, a 16 matra or time-unit taal, that shared a framework with the more popular Teentaal, but differed in the theka or the syllables that were played on the tabla to represent the taal.
Addha, also called Sitarkhani, is yet another taal that has the same framework of 16 matras divided into four sections as is the case with Teentaal and Tilwada, but once again the theka is different. The beauty of the Addha theka lies in the peculiar lilt or waves that are created by the syllables that do not always coincide with the 16 counts. They seem to wrap themselves around the straight count, almost inviting the tabla player to use the base drum or the bayan, also called dagga, to create the desired lilt.
Ajay Chakraborty
Shyam Mere Kabalaun Mai Rahun Khadi (Des Thumri Addha Taal)
Addha is used to accompany a certain kind of thumri. Here is Ajay Chakraborty, well-known representative of the Patiala gharana, singing a thumri in raag Des (Desh) accompanied by Zakir Hussein, the iconic tabla player, who plays a highly ornamented Addha theka.
Kishori Amonkar
Raag Hansadhwani
This theka is also employed by some khayal singers. Kishori Amonkar, one of the senior-most vocalists of our times, presents a detailed exposition of a medium tempo khayal in raag Hansadhwani set to Addha. Listeners will notice that the tabla player on this recording prefers to play a steady theka with minimal ornamentation.
Siddheshwari Devi
Raag Adana Bahar (Tappa)
Addha is also used with some tappa compositions. Here is a track featuring Siddheshwari Devi, the inimitable thumri and tappa vocalist. She sings a tappa in raag Adana Bahar set to Addha.
Vishwa Mohan Bhatt
Khamaj in Addha Teentaal (Thumri)
The final track features popular instrumentalist Vishwamohan Bhatt, who has made innovations in the slide guitar. He plays a composition inspired by thumri in raag Khamaj set to Addha. He is accompanied by Banaras gharana tabla exponent Kumar Bose, who intersperses the theka with short rhythmic statements. He ends with the laggi section, which is integral to tabla accompaniment with thumri rendition.
Addha, also called Sitarkhani, is yet another taal that has the same framework of 16 matras divided into four sections as is the case with Teentaal and Tilwada, but once again the theka is different. The beauty of the Addha theka lies in the peculiar lilt or waves that are created by the syllables that do not always coincide with the 16 counts. They seem to wrap themselves around the straight count, almost inviting the tabla player to use the base drum or the bayan, also called dagga, to create the desired lilt.
Ajay Chakraborty
Shyam Mere Kabalaun Mai Rahun Khadi (Des Thumri Addha Taal)
Addha is used to accompany a certain kind of thumri. Here is Ajay Chakraborty, well-known representative of the Patiala gharana, singing a thumri in raag Des (Desh) accompanied by Zakir Hussein, the iconic tabla player, who plays a highly ornamented Addha theka.
Kishori Amonkar
Raag Hansadhwani
This theka is also employed by some khayal singers. Kishori Amonkar, one of the senior-most vocalists of our times, presents a detailed exposition of a medium tempo khayal in raag Hansadhwani set to Addha. Listeners will notice that the tabla player on this recording prefers to play a steady theka with minimal ornamentation.
Siddheshwari Devi
Raag Adana Bahar (Tappa)
Addha is also used with some tappa compositions. Here is a track featuring Siddheshwari Devi, the inimitable thumri and tappa vocalist. She sings a tappa in raag Adana Bahar set to Addha.
Vishwa Mohan Bhatt
Khamaj in Addha Teentaal (Thumri)
The final track features popular instrumentalist Vishwamohan Bhatt, who has made innovations in the slide guitar. He plays a composition inspired by thumri in raag Khamaj set to Addha. He is accompanied by Banaras gharana tabla exponent Kumar Bose, who intersperses the theka with short rhythmic statements. He ends with the laggi section, which is integral to tabla accompaniment with thumri rendition.
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