Tabla Notes For Malayalam Songs [VERIFIED]

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Tabla Notes For Malayalam Songs [VERIFIED]


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Tabla Notes For Malayalam Songs

I can hear it in the notes. I hear a characteristic rhythm. I see the male melodic line and the female melodic line play with each other. The dynamics are interesting, as well. There are three distinct peaks or breaths: one fairly gentle beginning, one with a rising peak and a soft decline to a quieter end, and a peak that gets progressively louder to a resounding crescendo. These three aspects of the song do not come out of the composer’s fingers. Rather, they are the result of the choices made by the song’s performers. But, what are some of the tools the performers have in their…1930:I can hear it in the notes. I hear a characteristic rhythm. I see the male melodic line and the female melodic line play with each other. The dynamics are interesting, as well. There are three distinct peaks or breaths: one fairly gentle beginning, one with a rising peak and a soft decline to a quieter end, and a peak that gets progressively louder to a resounding crescendo. These three aspects of the song do not come out of the composer’s fingers. Rather, they are the result of the choices made by the song’s performers. But, what are some of the tools the performers have in their…

Someone once told me that Indian music is an orchestra made of humans. And, in that sense, you need 10 different performers. One to play the lead voice, the vocalist; one to play the lead instrument, the sitar; one to play the second instrument, the tabla; one to play the percussion instrument, the ghatam; one to play the sringara violin, the sringara tabla, and so on. (This is also the reason why we have two different terms for a violin player, or a tabla player, etc.) Whoever plays these different instruments in a song, of course, also needs a team of at least five performers to create the requisite melodic line and musical backing to back it up.

These artists not only created the possibilities of transcending immediate identities, even they challenged the status quo and established forms of representational culture through their films and songs; in short, they opened up possibilities for alternative imaginations.
But this isn’t all. For instance, there are song performances (traditions) in small villages that have become part of Kerala’s rich cultural heritage. I can think of Oru Mullu (Kerala Folk Songs and Dance Encyclopedia as well as Tv9 Discovery), Idaya Nila (Kerala Malayalam Folklore), Anuchayu Naam (Collective Consciousness), Pooma (Sree Cinema), Kerala Folk Songs (Sree Cinema and the Geetam), Nimish (Swadesam) etc. (these are just my favourite ones.) All of these have a tradition of older generations performing the songs at small theatres in remote places (with a single screen at the back). The audience would be made up of a few locals and that is it! But these performance traditions are becoming a dying tradition because of the lack of interest and therefore availability of appropriate instruments. It is sad to see the loss of such heritage. In fact, no one is offering financial help to these artists. However, it is not all doom and gloom. There are small companies that can provide the tools that will make these traditions possible. There are also senior artists who are performing to this tune. I believe that with the right market planning, these traditions can survive. One can also turn these performances into a tourist attraction too. But, that is a topic for a different article.
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