Tappa Raag Kaalingada – Sukhada Sukhada Sajan Jave | | Tarana Raag Bhairav | Shashwati Mandal

Описание: 0:00 Introduction to this tappa
4:03 Tappa in Raag Kaalingada , Rupak Taal
16:02 Tarana in Raag Bhairav , Ek Taal

Shashwati presents a classical Tappa, a traditional composition in Rupak taal.

सुखदां सुखांदा साजन जावे महरम
यार हूँ नेक भरे निगाह ।

Raag Kalingada is an early morning raag from Bhairav thaat is used to convey chanchalta and devotion.
Staying in the same thaat, Bhairav, she then presents a jod Tarana in Raag Bhairav. Bhairav is a raag associated with serious nature conveying moods of bhakti, karuna, prarthana and is philosiphical in leanings.

दीम् दारा दीम्

This Tarana set to Ektaal was composed by Pt Kumar Gandharv.
Performers:
Shaswati Mandal - Vocal
Mandar Puranik - Tabla
Abhishek Kate - Harmonium
Mitali Prabhune - Tanpura
Swati Tiwari - Tanpura
Prashant Rane - Sound
Camera - Amit Labdhe
Venue : Sri Shanmukhananda Hall , Mini Auditorium, Mumbai
Content written with liberal inputs from articles by Aneesh Pradhan and Malini Nair
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Tappa, one of the Hindustani music forms, is said to have its origins in the songs of the camel-drivers from Punjab. Tappa in Punjabi and it's adjacent dialects means 'hop' , it's a way to seemingly describe the gait of a camel - with a hop in the step.

The hereditary musician Ghulam Nabi Shori (1742-’92) was among the khayal geniuses of the 18th century Awadh court of Nawab Asafuddaulah. It is commonly believed that while in search of wider musical experiences, he travelled north where he heard the songs of the camel drivers of the Punjab-Sindh region. Shori then wove this music into existing Hindustani practices to craft the tappa.

Most songs in the contemporary tappa repertoire are attributed to Shori, his name appearing in the last line of two tuks (stanzas).

From the dusty camel trails of Punjab and Sindh to the courts of Awadh, Gwalior and Benares and finally to Bengal’s music traditions, there was one thing all tappa forms did – pack a punch.

Shashwati Mandal Gwalior gharana, a leading exponent of tappa says “The play of notes, phrases and the use of aada taal [off-beat rhythm patterns] in the tappa requires an altogether different kind of vocal training and arduous breath control, which explains its rare appearance at concerts,”

The tappa lyric with its narrative of love, separation and union, is intricately woven with the melodic line that displays dramatic twists and turns on vowels and consonants. The unpredictable quality of these melodic patterns is created by the quicksilver taans or swift phrases. Taans are employed in khayal too, but the tappa taans are quite different as will be evident from the tracks that are included here. Their cascading effect is at times broken midway by a long sweep over several melodic intervals only to be followed by quick patterns again. The emphasis is on an intelligent use of the swift melodic phrases, rather than on a display of technical virtuosity. The arrangement of words with the help of vibration of tone performed in an exquisite vocal style creates a charming atmosphere. With stresses before and after (tal) rhythm, and the use of 'ad-kuyad' rhyme, this type of song unfolds its aesthetic beauty gradually. Shori Mian's Tappas are based on ragas like 'khambaj', 'sindhu', 'jhinjhit' and in Punjabi 'madhyaman tal' etc.
Tappas are set to taals like Punjabi, Pashto, and Sitarkhani, and the compositions and elaboration display rhythmic dexterity that is not mathematically quantifiable but is more a matter of creating a melodic-rhythmic tension and a quick resolution.