New kaida and the future

 

Greetings. It's been a pandemic-minute. 

I'm posting a full Delhi Gharana kaida today, with detailed, downloadable .pdf notes, and am looking for feedback re the future.

I'm considering starting a Patreon to share materials, not only for tabla players, but also for musicians curious about the vocabulary and grammar of Indian rhythm in general. 

Survey below, and video below that.

Video:

Notes:

Habibuddin's Nest: interlocking tabla tarang

Greetings fellow travellers!

I hope everyone is doing well in this time of great upheaval and change, and are wearing a mask and washing your hands.

It’s been awhile, but I’ve been thinking about how to reignite this blog, and I have some ideas, so please stay tuned.

First up, I want to share a piece I recently released as part of a film called MUSHROOM. The complete film is available on Vimeo On Demand, and is a 31-minute journey of music, film, photography, sound design, dance and documentary, with a solid appeal to tabla players/nerds/geeks. 

https://vimeo.com/ondemand/mushroomfilm

The video below is part 2 of the film, and I’m making it available for free on this blog for educational and inspirational purposes.

The music is an interlocking tabla tarang, and the visuals are a virtual tabla museum.

Please watch, and I’ll break down the music below (fullscreen, headphones etc):

The soundtrack for the film is here, if you want to listen, or purchase (though I strongly recommend experiencing it with the visual component)

So, what’s happening with the tabla tarang? 

First, maybe, we need to discuss what IS a tabla tarang. We know what tabla is, and tarang means "waves" (and 'waves of tabla' is just about the best thing I can think of!)

Wikipedia says: "The tabla tarang (Hindi: तबला तरंग) is a melodic percussion instrument consisting of between ten and sixteen tuned dayan drums."

Here's Pt Kamlesh Maitra with a 12-dayan tabla tarang:

So, basically, a tabla version of a xylophone or marimba, where each drum would correspond to a single pitch... except! tabla has two pitches per drum: the open 'tun', and the harmonic 'na'. The tun is roughly a minor 7th below the na. So, if na is C, then tun is roughly the D below that. And when I say roughly, I mean it's sorta kinda somewhere around there, depending on a whole lot of factors. More on this later, and how it impacts the melodic and harmonic landscape of tabla tarang. 

If you want to pop out for a sidebar on tabla tarang, here's a video of Pt. Kamalesh Maitra, and a more contemporary take by Andy Skellenger. 

I haven't delved much into tabla tarang as a melodic instrument... I've only played with having a couple of drums clustered around a tabla set, and dropping the occasional na or tun in for flavour. 

however...

I have been thinking about the layering possibilities of tabla tarang for a long time, and i finally dug into it, and I want to share the process, so...

Here we go!

Tabla produces multiple sounds, some pitched, some not. Some resonant, some not. Some can be modulated, some cannot. 

A tabla groove has multiple layers of sounds happening at once. Let's look at a simple dadra theka:

Dha ti Dha Dha tin na Ta ti Dha Dha dhin na

The na part is ( • sound, - no sound):

• - • • - • • - • • - •

The baya pattern is:

• - • • • - - - • • • -

The tin/dhin part is:

- - - - • - - - - - • -

and the ti part is:

- • - - - - - • - - - - 

*the ti also acts as a mute on the preceding na, so is both an event, and the end of an event

I frequently get lost isolating individual sound patterns when practicing tabla. 'what's the na pattern? what's the baya pattern?' etc and what I wanted to do, my 'what happens if?' creative instigation was:

What happens if I take two different compositions, isolate the individual stroke/sound patterns, play them on different pitched drums, and carve out some sort of arrangement?

I chose two heavy traditional compositions that i learned when i was studying with Pandit Anindo Chatterjee in Calcutta in 1999/2000:

A tintal kaida by Habibuddin Khan, Ajrada Gharana (and this is a wonderful feature)

Ghe Ghe Te Te Ghe Ghe Te Te Ghe ne Dhene Dhin na Ge na

Na ge Te Te Ghe Ghe Te Te Ghe ne Dhene Dhin na Ge na

Dhene Dhin na Ge na Na ge Te re ki te Dhene Dhin na 

Ghe Ghe Te Te Ghe ne Dhene Dhin na Ge na Na ge Te te

and a tintal chalan by Wajid Hussain Khan, Lucknow Gharana:

Ghe Ta ge Ghe Ta ge Dhene Dha ge treke Dhin na ge na

Na ge te te Ghe Ta ge Ghe Ta ge Dhene Na ge te te

I chose these two compositions because:

a) they both start with baya only

b) they both feature dhene and dhinna

c) they both end with nagetete

d) they're both sublime, groovy and beautiful

If we look inside at the individual stroke patterns, we see this:

note that the first pattern is twice as long as the 2nd. 

I made a pattern for each one:

Habibuddin Khan composition:

Theme, Variation 1, Variation 2, Theme

Wajid Hussain composition:

Theme, Theme, Variation 1, Theme

I recorded in layers, starting with the Habibuddin Khan kaida (Th, v1, v2, Th):

-the 'tun' part, on 9 different pitched drums, at single speed (so, 9 takes, 9 tracks)

-the 'na' part, on 9 different pitched drums, at single speed 

-the baya parts, on 7 bayas, at single speed

-just the na and tun parts, at double speed, on all 9 pitches

-the baya parts, at double speed on 7 bayas

Then, the Wajid Hussain chalan (Th, Th, v1, Th):

-the tun and na parts together, on 9 different pitched drums, at single speed 

-the baya parts, on 7 bayas, at single speed, incl the 'tak' of Ghe ta ge

-the tun and na parts together, on 9 different pitched drums, at double speed 

-the baya parts, at double speed on 7 bayas

Remember though, each tabla has 2 pitches, so while the harmonics of the drums (na) were tuned to (ascending) 

C, D, D#, G, A, A#, C, D, D#

there are a whole second set of notes in the tun-pattern, and none of them are in tune with the notes in the na-pattern, so this set of drums creates its own harmonic universe. You could redo this piece exactly, but with a different set of drums, it would sound quite different simply because the relationship between na and tun is unique from drum to drum. 

My notes:

note that the patterns are all different lengths, and nest within each other, hence the title

Once all the parts were recorded, I did subtractive editing to remove parts (like carving a statue out of a block of stone), and shape a progression. and yes, the edit was an absolute beast and took hours and my computer squealed frequently. 

on a tech-nerd level: I also rented/borrowed a pile of gear so I could record each drum with a different microphone and preamp combination:

the 9 pitches of tabla & 7 baya with mic & preamp config

also on a nerd level, panning was very important, and with so many tracks, I had to make a panning map to keep track:

The tempo is very VERY slow... 17.5 bpm, so slow that the whole piece is only 6-cycles long. 

The lehara is a combo of organ samples and an incredible bass vocalist by the name of Kurt Sampson. I was inspired by a Phillip Glass piece called Koyaanisqatsi which you should go listen to RIGHT NOW! Then find the film and watch that. 

The video was made during lockdown, and I set up my kitchen table as a photography workbench and photographed/videoed every drum in my apartment, as well as that retro lehara machine and my repair tools. That tripod is taped and locked down, so every drum appears accurately in relation to every other. 

Oh! AND... the video is dedicated to tabla makers, those artisans of wood, copper, iron and skin.

I think that's it, but I want to leave you with a challenge, if you dug this:

Try an interlocking tabla tarang.

-pick a pair of compositions (could be same tala, or different talas)

-pick a set of tabla pitches (could even be just 2, because 4 notes!)

-track just the na pattern on each pitch at single and double

-ditto tun, tete, terekite, dheneghene etc

-then baya

and see what happens.

As I mentioned, I have some ideas for this blog, including not only deep dives into traditional tabla, but also contemporary approaches, creativity in general and some guest posts. Drop me a line if you're interested in anything in particular, or if you have an idea.

Habibuddin's Nest was created with the generous creation and production support of the Ontario Arts Council and the Canada Council for the Arts.

Until next time,
Ta,
E

PS please watch the film! People seem to like it... here's a word-cloud derived from reviews:

Tihai: Endings are Beginnings

I find myself home early from a gig, and energized, so I want to talk tihais. There's a video below if you just want music.

A tihai is a rhythmic pattern that repeats three times, often, but not always, landing on the sam (downbeat) of a tala (rhythmic) cycle. Unique to Indian classical music, both north and south (where it is called a mora), a tihai has 2 main features: the phrase that repeats three times, and the gap between the phrases.

This isn't going to be a scholarly article, just my observations, impressions and philosophy of tihais and all things cyclical. There will be minimal math.

A rhythmic pattern that repeats three times...that could mean, at its shortest: Dha Dha Dha
or, theoretically, a pattern that takes 3 years to complete.

Simple tihai:
Teteketagedighene Dha -
Teteketagedighene Dha -
Teteketagedighene Dha

Tihais can have tihais within them:

Teteketagedighene Dha - Teteketagedighene Dha - Teteketagedighene Dha - - -  - - - -
Teteketagedighene Dha - Teteketagedighene Dha - Teteketagedighene Dha - - -  - - - -
Teteketagedighene Dha - Teteketagedighene Dha - Teteketagedighene Dha

They can be stacked...here's a tihai with 9 tihais within it:

Teteketagedighene Dha Dha Dha - ne Dha Dha Dha - ne Dha Dha Dha - - -  - - - -
Teteketagedighene Dha Dha Dha - ne Dha Dha Dha - ne Dha Dha Dha - - -  - - - -
Teteketagedighene Dha Dha Dha - ne Dha Dha Dha - ne Dha Dha Dha

Or, to use an example from the previous post, 27 tihais in one, with a bit of shorthand:

{DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha - - -
DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha - - -
DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha -
DhaTunNaKetete Dha - ne Dha - ne Dha - - -  - - - -  - - - - } *3

So, that's a huuuuge tihai, made up of three smaller tihais, and each of those smaller tihais is itself made up of three even smaller tihais, and each one of THOSE tihais contains an even smaller tihai! Wild. Indian music was drilling down into particle physics before we even had a microscope on this planet.

Here's a graphic illustration of that:

This monster tintal tihai runs 16-16, 16.5-16.5 and 1-1

So. Math.

If you're in tintal, a 16 beat cycle, and you want to play a tihai that takes 2 tala cycles to complete (starting and ending on the 1st beat of the cycle), you have 33 beats to work with (16x2,+1...the downbeat of the next cycle). You can play an 11 beat phrase (11x3=33) and it will work. Tihais do not have to start from the first beat of a cycle though. They can start from anywhere. Nine. Three. Fourteen-and-a-half. 7-and-two-thirds. Doesn't matter, as long as your math is sound. There are people who can better explain the mathematics of tihais. It's not my speciality.

What I am interested in, though, is the concept. Of tihais, and of cycles.

Endings are Beginnings, Beginnings are Endings

Tihais are both beginnings and endings. Sure, you can play a tihai to finish a kaida, but it also marks the beginning of the next rhythmic cycle, the next chapter. Within a kaida, or an improv, tihais can mark chapters...the end of one section and simultaneously the beginning of the next section.

You've probably heard the expression 'When one door closes, another opens'. The full quote, by Alexander Graham Bell, is:

When one door closes, another opens; but we often look so long and so regretfully upon the closed door that we do not see the one which has opened for us.
-Alexander Graham Bell

Which might be profound, depending on your mood. I certainly find it useful when big, painful changes happen.

Cycles

Rhythmic time in Indian music is based on cycles. A cycle begins, and at the exact moment it finishes, the next cycle starts. One complete rotation of the earth makes one day. The earth orbits the sun, a process that takes 1 year. Our solar system is itself orbiting the centre of our galaxy, which takes about 230 million years. Google tells me that apparently our Milky Way Galaxy is not really orbiting anything, just drifting around aimlessly, but I bet you 230 lakh rupees it's drifting around in a certain raga that we haven't heard yet, in a great a cosmic alapana ;)

Plus I bet the entire universe is spinning. Everything is cycles. Light is cycles. Sound is cycles. Matter is made up of particles that are vibrating...more cycles. Maybe time itself is a cycle. This is heavy:



So. Tihais are cycles within cycles. You could theoretically play a tihai that took 3 years to complete. Call a year a cycle. It'd be a 12 beat cycle, with each beat taking a month. Let's choose January 1st as the downbeat, sam (even though March 21st, the 1st day of spring, is a better downbeat IMHO). Let's also pretend each month has 28 days.

Here's our tihai:
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha -  - -  - -
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha -  - -  - -
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha - - -
Teteketagedighene Dha - Dha - Dha

January 1: Te
January 7: te
January 14: ke
January 21: ta
February 1: ge
February 7: di
February 14: ghe
February 21: ne
March 1: Dha
March 14: Dha
April 1: Dha (1 month vacation! you deserve it)
etc.

Totally absurd (but someone should totally do it! 52 Kaidas challenge!) BUT! my point is that it's all perception. We measure our lives in the tala of the year. Your childhood a peshkar, teenage years the kaidas. University, maybe relas. Starting a family, gats. The older years, the poetry of parans and chakradars. And we all have a giant final chakradar tihai coming. Which will begin the next cycle.

When you're playing tabla, or any music, you could think of it in this way. Stages of life. I'm FINALLY getting to the video, if you haven't thought 'dude has finally lost his MIND!' and closed the browser window already.



This is a peshkar/kaida/rela that I learned from Pandit Suresh Talwalkar, and i want to do a cycle-by-cycle breakdown. I've wanted to do one of these forever! Maybe open the video in a separate window, and resize things so you can see both the video and the blog at the same time if that's useful. Or just listen.

So:
Cycle 1: Theka, an intro phrase from khali (9th beat) then a tihai from 13¼
DhaDhinna (Dhatunna) DhaDhinna (Dhatunna) DhaDhinna Dha

Cycle 2: Peshkar theme 1, with a variation introduced on the 4th repeat, from 13

Cycle 3: Theme 1 again, with a variation from 5-9, then a tihai from 11⅞
Dha - kreDhaDhinna Dha ( - - terekite)
Dha - kreDhaDhinna Dha ( - - terekite)
Dha - kreDhaDhinna Dha  ... introducing terekite, foreshadowing theme 2...

Cycle 4: Peshkar theme 2, with a variation again introduced on the 4th repeat, from the 13th beat

Cycle 5: Theme 2 again, with the variation from the previous cycle from the 5th beat, and a tihai from 114/8 
Dha - kreDhaDhinna Dha - (DhagenaTerekite) [underlines denotes double]
Dha - kreDhaDhinna Dha - (DhagenaTerekite)
Dha - kreDhaDhinna Dha

Cycle 6: Peshkar theme 2 again, variation from 5, and a tihai from khali (9th beat)
KreDha - KreDha - Dhin na KreDha - KreDha - Thun na Dha -
KreDha - KreDha - Dhin na KreDha - KreDha - Thun na Dha -
KreDha - KreDha - Dhin na KreDha - KreDha - Thun na Dha

Cycle 7: Peshkar theme 2 w variations from 5 and 13 (i call this an idling cycle... prepping for tihai)

Cycle 8: Peshkar tihai:
{Dha - terekite Thin Na - - Dha - kreDha Thin na - -
                                               Dha - kreDha Thin na - -
                                               Dha - kreDha Thin na Dha - - - } *3

Cycle 9: Kaida! Theme, introduced without baya, with a variation & baya introduction from 13

Cycle 10: Kaida theme, full, with a variation from 13

Cycle 11: Minor variation (Ghe na instead of Dha - ) with a Dha Dha variation from 13

Cycle 12: Ghe na variation from 1, Dha Dha variation from 5, filled version from khali and a tihai from 13 (sort of..there's an intro phrase)
ge Dhatidhagena Dha terekite DhatiDhagena Dha - (kena)
                                                 DhatiDhagena Dha - (kena)
                                                 DhatiDhagena Dha

Cycle 13: Now the kaida becomes home base, and rela phrases (of 7 & 9) are introduced, from beat 7, and then again from beat 15
The rela phrase is
Dha terekite TakeDhinneNaNaghene (7)
Dha terekite Dha kitetake DhinneNaNaghene (9)
(I'll use only the numbers from here on in)

Cycle 14: Kaida, rela from 3, kaida, rela from 7, kaida, rela from 11 through to sam
or, A 7-9 A 7-9; a 7-9, 7-9, 7-9
(lower case 'a' means khali)

Cycle 15: A 7-9, 7-9, 7-9; a 7-9, 7    {7 Dha - 7 Dha - 7 Dha}

Cycle 16: A 7-9, 7-9, 7-9; 7-9 7-4-4   {9 Dha - - 9 Dha - - 9 Dha}

Cycle 17: 7-9, 7-9, 7-9, 7-9; 7-9, 7-6    {9 Dha -kat- 9 Dha -kat- 9 Dha} 

Cycle 18: final tihai: 7-9, 7-4-6   7 Dha -ne 7 Dha -ne 7 Dha - (ge- din - ne)
                                                     7 Dha -ne 7 Dha -ne 7 Dha - (ge- din - ne)
                                                     7 Dha -ne 7 Dha -ne 7 Dha

Sooooo. The 1st 18 years of the life of a tabla composition. Lots of drama from 14-18, just like everyone. Note that there are 10 tihais in this progression, one used to start the whole thing going, then others to transition between sections, as punctuation within sections, and to end the piece (and start the next cycle).

That's Rattan Bhamrah on esraj, and this was a concert at Musideum in Toronto, July 8, 2014, as part of my Music:India series. 

Najia Alavi

On a sad note, the main camera was operated by a lovely woman by the name of Najia Alavi. She responded to my call for a volunteer to run a camera in exchange for a pair of tickets. We'd never met. She did an awesome job, as you can see, and we kept in touch periodically. Najia passed away, suddenly, tragically, in May 2015. RIP Najia.

re Surfacing

Hi,

There's a full-on tabla-nerd post below, but first...

I've been absolutely touched and humbled by the response to my previous post. I've tried to respond individually to everyone, both friends and strangers, who have sent emails, shared, retweeted and commented here, and on Facebook and Twitter, but I want to say thank you. Thank you for your support, your encouragement and your kind words. A lot of people have used the word 'brave', and I understand why... it's ok to say 'I broke my arm', but it is still not ok to say 'I'm suffering an affliction of the mind...my thoughts are working against me...I'm working against myself'. That needs to change. If I can play a small part in that, then the vulnerability of opening up about it was absolutely worth it. I'm not sure I was brave. I sure didn't feel brave posting that.

If you are suffering depression, you are not alone. We needn't be brave to talk about it, and to seek help. Recognize your patterns, and discern which ones are helping, and which ones are not. This is a challenge, because they often overlap:

Looping

Depression is a looping disorder. This is purely my definition. Thoughts repeat, get magnified, coloured by anxiety, gaining weight and momentum, spinning faster and faster until they occupy almost the entire bandwidth of your mind. It takes an incredible force to kick out of that loop, but if the wheel is still spinning, it's entirely too easy to be drawn back in. Easy...comforting even (as horrible as that is), because it's familiar. There's a strange satisfaction in worrying, perhaps an evolutionary survival skill that is, while not entirely obsolete, maybe not quite as necessary today as it once was to our ancestors. A wise friend once told me 'worrying is praying for what you don't want to happen'. That has kicked me out of a few loops over the years. Jot it down and use it if you think it'll help.

But! looping is fucking amazing if you're a tabla player. FUCKING AMAZING! How else to repeatedly play a single phrase 100 or 1000 times to develop the muscle memory and technique to reproduce it in the hostile, distraction-laden environment of a stage or recording studio? I'm a looping fanatic. At times one song is on repeat for an entire day while I work on something. Sometimes a week. I learn new music by listening it dozens and dozens of times. It's how I come up with ideas...the very fundamental process of my creativity. I can get a mental centrifuge up to 10,000 RPM in no time, spinning out idea after idea. (Though sometimes nothing comes) Kaida phrases loop in my head, and slow-morph, variation to variation, an incredibly satisfying process that is...whoops....EXACTLY like worrying and simmering self-criticism.

So. How to keep the good looping, and discard the bad looping? Hmm. This is the challenge, for me, anyway. You could, saaay...check your thoughts! But how often? 50, 100 times a day? That ain't gonna work. Thinking about thinking is part of the problem. Think about THAT for a second ;). Thinking about thinking. We are the only beings on earth capable of such a feat (as far as we know...though I think dolphins are probably self-aware, and definitely cats) and it's a blessing 90% of the time. It's huge, and deep, and makes us who we are to a large extent. But when it goes wrong, it is not a good scene. Maybe we're in the awkward teenage years of consciousness...gangly of mind. Again...mindfulness meditation, specifically mindfulness-based cognitive therapy (MBCT) is vital, if you have a looping brain that likes to chew on its own thoughts. That storm happening immediately in front of you will drift away with your breath, and suddenly appear much less severe, lose power, and eventually dissipate. Find a course, or a regular practice near you, and join up. It's incredibly simple once you know how, but the challenge is maintenance.

I'm not sure if I want this blog to become 52 Kaidas with a side order of depression, so I dunno how much more I will write on this topic. But i might write more.

Now...music.




I recorded this this past summer while I was housesitting for my brother and his family. A break from a routine environment is often inspiring, no?

Jhaptal (10 beats). Two kaidas I learned from Pandit Suresh Talwalkar on 2 different study trips to his Taalyogi Ashram in Pune.

Wait, whaaat? No lehara! (I asked Sureshji why he used vocal leharas in his work, rather than the usual sarangi or harmonuim, to which he replied 'it's like ants crawling on my brain!'. Ha. There's some escape-from-looping wisdom for you right there!). The drum grooves are from a sample library, which I edited into a 10 beat groove from an 8 beat one...recite jhaptal theka..it's right in there.)

The first kaida:
Dha - DhatiDhagena Dhagethinna Dhagena DhageThinnakena
GhenaDhatiDhagena Dhagethinna Dhagena DhageThinnakena

and the second:

Dha-trekeDhetete Kena DhatiDhagena DhageThinnakena
TrekeDhetete KenaDha - DhatiDhagena DhageThinnakena

(note how the second line is a kind of reverse/reply to the first...the opening phrase flipped backwards, like a question)

You'll notice I don't play all the bayan strokes...something I've started to do for 2 reasons:
1. less than perfect technique, aka a weak left hand
2. space, and a more 'drumkit' sound. When you listen to someone playing drumkit, the kickdrum is not all that frequent (unless you're listening to death metal). I'm trying to pick and choose which bayan strokes I play to lend a certain flavour of funkyness to the parts.

Fun exercise: play a kaida phrase, but completely closed...no open baya. Pick one stroke where there would be bayan, and add it in. LOOP! (omg) and repeat. Once it's settled, add another one, somewhere else. Continue until you've added them all in, or you've reached a cool density that floats your boat.

eg:
(all closed)
Ta-trekeThetete Kena TatiTakena TakeThinnakena
TrekeThetete KenaTa - TatiTakena TakeThinnakena

(add Dhe, and hammer it...boom!)
Ta-trekeDhetete Kena TatiTakena TakeThinnakena
TrekeDhetete KenaTa - TatiTakena TakeThinnakena

(add Dha - )
Dha-trekeDhetete Kena TatiTakena TakeThinnakena
TrekeDhetete KenaDha - TatiTakena TakeThinnakena

etc.

Every kaida will have a unique little development you can find, yet another layer in this incredible artform.

I'll leave it there for now. Thanks for reading, thanks again for the support and kindness, and be well.
Ed

PS speaking of looping.... one more:

I recorded this track waaaay back in the day (Feb 2010), but finally made a video with it, slightly remixed, with some added percussion. The video is a giant tabla LOOP (omg!)...a circle of tabla filmed with a GoPro mounted on an Ikea kitchen timer, rotating over the course of an hour, sped up to match the track length. The colours are out-of-focus christmas lights (which litter my apartment) layered underneath for an aurora borealis effect.

The setup

Uthan, Palta Theka, tintal, composed by Pandit Swapan Chaudhuri for a tabla ensemble at the Ali Akbar College of Music in San Rafael California back in the day, taught to me by Ritesh Das. This is one of my very favourite pieces of repertoire. The uthan is gorgeous, 3 speeds, with a monster tihai that repeats the same bol 27 times (DhaTunNa Ketete Dha-neDha-neDha-) starting from the 16th matra, running 16-16, 16.5-16.5 and sam to sam.

The palta theka has an incredibly subtle and beautiful development, gradual and sensual, developing from sparseness to dense groove in a really lovely way, with another monster tihai. The whole thing loops so damn well. *sigh*

Short tintal solo & concert announcements

Hello

I played a short (~25 min) tabla solo yesterday in Toronto (well, Brampton) at the Hindustani Sangeet Society's "Music Fest 2014 - Showcasing the Gwalior Gharana" gig.

(video re-upped w better audio... board mix comes in at 1:42. Thanks to Hardeep Chana for the board mix)



That's the amazing and intuitive Rattan Bhamrah on esraj, playing a lehara in Misra Maand.

The organizer, Vinayak Phatak specifically requested that I play tabla that I learned from Pt. Suresh Talwalkar. I also accompanied Vinayak-ji on his vocal performance, playing the unusual talas Jhoomra and Tilwada.

Nothing new here, repertoire-wise...all three of these pieces have appeared on this blog before.
Peshkar/Kaida/Rela: http://52kaidas.blogspot.ca/2013/03/cycles-collaborative-multimedia.html
Tisra kaida in the Subrata De video: http://52kaidas.blogspot.ca/2014/04/hola-couple-videos-and-concert.html
and the final kaida in my stop-motion video: http://52kaidas.blogspot.ca/2013/02/animated-kaida-tablavision-residency.html

I played a couple more pieces, but they're not ready for primetime yet...

BUT!

I have a tabla solo concert coming up on July 8th at Musideum where I'll take another stab at them. I'm planning 4 talas at this show: rupak, jhaptal, chartal ki sawari and tintal. Let's see if that all fits in my mouth O.o
Listing: http://musideumconcerts.com/styles/page1.html#ed1

On July 29th I'm bringing together a dream team for another gig at Musideum:
Suba Sankaran (voice), Chris Hale (sitar), Justin Gray (bass veena) and I will be presenting an evening of Indian classical music and not-exactly-Indian-classical music.
Listing: http://musideumconcerts.com/styles/page1.html#ed2

Here's a playlist of duets I've done with these 3 stellar musicians separately. I can't WAIT to bring them together.



ok, all for now, thanks for reading/watching/listening!
E

pic from the gig yesterday, by Manraj Singh Pannu

Packed for the gig: have baby powder, will travel.

Hola! a couple videos and concert announcement

Hello there,

I'm back from India, and I have a tihai of video to share, plus a concert announcement.

1. I played a gig at the Canadian High Commissioner's residence in Delhi for the Governor General of Canada with sitarist Subrata De. Fun gig. Here's a little excerpt with a couple solos:



I played a tabla solo at a house concert in Kolkata with Jonahan Kay on dilruba:



and finally I shot a music video for my band Autorickshaw's song City of Lakes, commemorating the 1984 Bhopal Gas Disaster:


My band Autorickshaw is releasing our 4th album on April 29th at Lula Lounge in Toronto. Here's the Facebook event and the album: Facebook Event

New album:

 

Jhaptal and Chartal Ki Sawari

Greetings from India.

Here's a little video I made using a recording of a practice session with Jonathan Kay on dilruba and the last 27 minutes of the Delhi To Kolkata Rajdhani Express, pulling into Howrah station. Apologies for the lo-fi-ness of the recording, and esp the baya...combo of recording on my phone, and an old, much played clay baya. (excuses!)

We were practicing for my solo show on Saraswati Puja at Pt Sankha Chatterjee's house in Kolkata, and this was only Jon's 2nd time playing for a tabla solo. The first time was for another solo of mine a couple days before, hence the rehearsal. (Jonathan is a tenor & soprano sax player, studying with vocalist Pandit Shantanu Bhattacharya, but also plays dilriba, esraj and bansuri as well). I also accompanied him in a house concert, and will post later...Hindustani classical sax!

Anyway, here you go:

Composition types played are, in order: Jhaptal: Peshkar, Kaida x3, Paran x3, Gat, Thukra, Chakradar; Chartal Ki Sawari: Mukra, Uthan (my arrangement), Paran, Gat x2, Paran x2; with material from Pt Suresh Talwalkar, Pt Swapan Chaudhuri and material I learned from Subhajyoti Guha, that he learned from Pt Sankha Chatterjee. Delhi, Farukhabad and Lucknow gharanas.

Another solo in Chartal Ki Sawari...longer this time

Hello all,
New video from a concert I played the other night with sitarist Chris Hale:

You might recognize some of the material from these previous posts, but there's a bunch of stuff I haven't played or recorded before. Compositional types abound: mukra, paran, kaida, gat & chakradar. With lots of recitation.


So...

I learned most of the material I play here in a workshop with Pandit Swapan Chaudhuri, and it's all so very beautiful...the way the compositions follow the contours, and especially the sawari (little 'ride' on the last 3 beats of the tala) is really a joy to practice and play. I hope I do it justice.

Tabla has basically 2 types or extended families of composition: improvised, and fixed. I ramble on about the improvised forms (peshkar, kaida, kaida-rela, rela etc) a lot on this blog, so now it's time to focus on the short forms: mukra, gat, paran and chakradar.

I think of these forms as poems...rhythmic poems. One does not tend to improvise on them, though it's common to re-compose, or elaborate on one particular composition to put it in a different tala, or to just make a series of them that are all related. Some compositions have probably hundreds of versions, and every tabla player knows one you've never heard before. Still...they're fixed, not improvised.

The performance practice, unlike the long-forms, is to recite the composition first, then play. The poetry of these compositions lies equally in both realms... the vocalizations, if done well, can stand alone, are very lyrical, and can really illustrate the phrasing, grammar and flow, while the playing part operates on a completely other, abstract level...you hear a set of words (bols), then a musical or sonic representation in which you can 'hear' the words, but the real magic is that the drum sounds will set up accents and patterns that are not audible in the spoken language. One composition might, for example, have a progressive use of the open 'tun' stroke (open RH drum sound): 'tun' can be played alone (tun, di) or combined with open or closed baya (thun, dhin, dhen) and are grouped in combinations with a dizzying array of 'words' or longer phrases: dheneghene, gedighene, dhenegheran-ne, dighene, teteketagedighene, dhenetage, takedhene etc etc and when this happens, it's almost like another level of reality is exposed...the Matrix of Tabla! omg. Did I just go there? I really did. Tabla players DEFINITELY took the red pill ;)

So...the forms:

Mukra is a short composition, usually made up of bols from Pakhawaj. I think of mukras as small flourishes leading into sam...they're not usually a main-course type of composition, but can be very beautiful nonetheless. There is usually a tihai at the end of a Mukra. Mukra means 'face', but I'm not sure how that relates to tabla...perhaps it's more of a glance, or a glimpse of a face? Maybe a mischievous flare of the eyes.

Paran: compositions made up of pakhawaj and/or dance bols, including an ending tihai. Some of these bols are super obscure and cool... 'tunga', for example is pretty awesome, as is this entire phrase:
Ta--watun-ga-wa-tun-ga-dugga dugga tun-ga

Parans can also include entire words, and can take the form of prayers or invocations to Hindu deities. (see if you can find the album 'Masters of Tala -Raja Chatrapati Singh Pakhawaj Solo' for some AMAZING parans... wow)

Chakradar: basically a thukra or a paran (including tihai) that is repeated 3 times (aka Chakradar tihai). So, kind of a giant SUPER-Tihai. The real fun is that there are sub families of Chakradar, with carfully math'd out placements of 'dha' in relation to sam (1st beat). I'm not sure how to explain these at the moment...and besides, they deserve their own post. Later.

Gat: the king of tabla compositions (in certain Gharanas/styles anyway). Gats are super complex poetical forms that often (but not always) do NOT have a tihai. They're so cool, they don't even need a tihai. ;)

Gats often have virtuosic combinations of strokes (they can be quite long...blistering streams over many cycles), can change speeds (eg from chatusra (4s) to double tisra (6s) to misra nadai (7s) etc) all in one composition. There are gats that repeat each bol 2 or 3 or even 4 times in a row: dhenegheran-ne dhenegheran-ne gherenagedhene gherenagedhene etc;, there are gats that rhyme the ends and beginnings of phrases (i.e. finish with a tun, start with a tun, finish w a dhet, start with a dhet etc); the same phrase in 3 or 4 different speeds and on and on. Super rich creative soil, the gat. I do a couple gats in this solo.

Gats are also improv friendly...there are Gat-Kaidas, for example, where the body of the gat becomes a theme for improv. Amazing.

So, here's a time'd, absurdly detailed breakdown of what's happening in this solo:

0:00-2:15 Chris plays alap in Raga Jaunpuri (introduction of the raga, or melodic mode) *at 0:23 I get my list of compositions...basically a sheet that reminds me what I want to play, and in what order, as it's easy to forget in the heat of the moment, for me anyway. The entire compositions are not written there...just the first lines, so I know what's what.)

2:15-2:20 I give Chris the tempo

2:20 Chris starts the lehara (from beat 9) and I mark the first sam, and then adjust my mic stand, which is too low :P

tihai into the next cycle at 2:33, where i show the audience the 11 beats (I've talked about the tala cycle before starting, so now they can hear the pulse and the sawari in action) Chartal ki Sawari is broken down 2-2-2-2-1.5-1.5, and those 1.5s give the last three beats a very cool feel...the Sawari, or 'ride'.

2:43 theka, introducing the baya on beat 9

2:52 mukra (note how he tihai follows the sawari at the end of the tala *swoon*...but then again, ALL the tihais do that!)

3:02 first full cycles of theka (Dhin terekite Dhin na Thun na Kat Ta Dhin..Dha.re Dhin..Dha.re), and Chris improvises for a few cycles, still setting the mood.

3:58 Paran (my adaptation of something I know in tintal), followed by theka, and then a variation of the theka Swapanji taught that is very similar to Ektal (a 12 beat cycle, and an example of a subtle sense of humour ;)

4:34 Paran (from Swapanji), followed by Theka

5:00 Kaida (everything following this is from Swapanji unless noted), starting with single speed, introducing double, then full double, finishing with a tihai and theka (there always theka! the tabla version of idling, or grooving...won't mention it again)

7:26 Gat, recited a couple time then played. This is a Di Padi Gat, meaning that each phrase is played twice, flowing right into...

8:18 another Gat, that finishes with a phrase in Tisra nadai, right into...

8:52 a sort-of-kinda rela I made up on the spot, and barely survive...this is the tabla equivalent of drifting in a car...you're skidding and sliding, still moving forwards, somewhat in control, but maybe not entirely :P My notes simply said 'improv on tisra gat phrase'

9:41 Mukra, recited and played a couple times...lovelovelove this composition! Din Din NaNa kitetake....and those 'Nas' are open Na's...on the rim of the drum, not regular types...mos def a pakhawaj bol.

10:39 Paran, recited and played a couple times...the tihai is some very challenging technique...many many repititions at slow slow speed to get it right, and keep it intact at top speed: Dha - kitetake din . ghere Dha

11:20 Gat. MONSTER Gat. 2 cycle beast of a Gat. Very beautiful composition, but hard. Recite, playplayplay. I kinda break the rules here btw...Gats are supposed to be played Bhari/Khali (like a kaida..version with bass strokes and then a version partially without bass strokes), but I wanted to try to play all the compositions 3 times in a row, you know, just to make it harder O.o

12:33 Paran, and one of my favourite parans ever! Swapanji taught us 3 different tihais for this...i'm playing the simplist one...the hardest one is crazy technical mountain climbing and I can't play it...yet. working on it. This composition is NOT about tunafish, despite what you might think.

13:32 Chakradar (aka super tihai) this one starts out with a couple phrases of 7, in 11 beats...7-11, get it? *facepalm* None of these are easy, but the 2nd palla (repeat) of this one starts on the offbeat, and crosses sam on the offbeat and finishes with a tihai in groups of 5, so yeah...hard. One of the most fun to recite though.

--speed increase--

14:59 Gat...sort of... this is an adaptation of a tintal Gat I learned from Pandit Anindo Chatterjee (I play it at 5:46 if this recording) and my version isn't really all that super...I actually met with Anindoji in Toronto the night before the concert, and he made a very nice chakradar version, but I couldn't get it stable enough to pull off in concert that quickly, so I reverted to my version. *sigh* Next time.

at 15:12 I launch out of the ending phrase of the gat into a Adjrada-y groove, then into a kitcheri-y* version of the Farukhabad Chalan-Kaida I recorded here and this is another wet-road drifting session...I could've played a lot longer, but I could feel the traction slipping, so I bailed into a tihai. Yup...I believe in honesty! ;) *kitcheri-y because I'm mixing in strokes not in the original composition.

16:41 Paran (I talk about this on the video). Some challenging baya work here, and I tag a tihai onto the end that is not part of the original composition Swapanji taught (apologies!) BUT! it IS made up of bols from the original composition, so hopefully that smooths the infraction somewhat.

17:40 final Paran, and it's another 2 cycle beast, crossing sam in the middle of a phrase, and with a tihai that is so precarious that a 1/4 beat error is unrecoverable. I was going to say fatal, but you can always ditch the main 'chute and go to the backup 'chute...i.e., revert to theka and try again! ;)
I tag a tihai onto this composition as well, just to really give it that 'final tihai' feeling.

and if anyone actually read all that, and followed along, get yourself a Tabla Geek patch and sew it on your kurta!

OH! aaaand, i would like to give major props to Chris Hale for his wonderful playing...this tala, and especially this tala with these rhythms is NOT easy to keep lehara for. Awesome job Chris! *Kran* hi-five.

That's all for now, thanks for reading, listening, and oh, hey! if you like what I'm doing here, feel free to buy a track, or an album...everything is over here on Bandcamp.

tata, dinginatoms
E

Short solo in Chartal Ki Sawari w full band

oh hello again,

Tabla solo in Chartal Ki Sawari (11 beats) with Autorickshaw quintet accompanying:




Last Friday my band Autorickshaw played a concert on the mainstage at Harbourfront in Toronto. One of the things I've wanted to try for awhile is to have a full band playing a big fat lehara. It's risky though...as tabla can have a hard time with audibility when there are drums and guitar and bass, but this seemed to work out well. That's Justin Abedin on guitar, Dylan Bell on bass, Ben Riley on drums and Suba Sankaran grooving.

Chartal Ki Sawari is a very cool tala, and I learned all this material in a workshop with Pandit Swapan Chaudhuri a few years ago.

The theka is:
Dha . . . terekite Dhin. . .  Na . . .  Thun . . . Na . . . Kat . . . Ta . . .
Dhin . . Na . . Dhin . . Na . .

Those last three beats are what I love about this tala.

There's a kaida, a gat and a pair of parans.

Kaida theme:

Dha trekeDhetete Ghena Dha - GhenaDhatiDhage Dhinnagena
Dhatreke Dhetete Gene Dhinnagena
Dhatreke Dhetete Gene Thinnakena

The decision to recite the 'sawari' part of the composition (dhatrekedhetetegehetdhinnagena/dhatrekedheteteghenethinnakena) and the tihai was completely spontaneous, though it seems to work, so I think I'll keep it for future shows.

 The band is playing a version of the Jaunpuri gat heard in this video with sitarist Chris Hale:



My other Chartal Ki Sawari piece is this way out experiment from my upcoming album (I can't WAIT to make the video for this track):


aaaaand that's all for now!
tata, dinginatoms!
E

New video: Bilaskhani Trippy!

Got 12 minutes?

The video for the Bilaskhani Todi alap and multi-speed Jhaptal Kaida from a couple posts ago is finally up:
...

Cycles Part 7: Dance #2 from Ed Hanley on Vimeo.

Dancer-Joanie Audet

Raga Bilaskhani Todi, alapana and split-speed kaida in Jhaptal (10 beat rhythm cycle)

"It is said that this raga was created by Bilas Khan, son of Miyan Tansen. Bilas Khan is said to have created raga Bilaskhani Todi after Tansen's death; an interesting legend of this improvisation (it differs only in detail from Tansen's Todi), has it that Bilas composed it while grief-stricken at the wake itself, and that Tansen's corpse moved one hand in approval of the new melody."

Liner notes here: http://52kaidas.blogspot.ca/2013/05/a-pair-of-jhaptal-recordings-from.html

Justin Gray-bass veena
Ed Hanley-tabla, baya, didgeridoo
Larry Graves, Talia McGuire-gongs
Laurie Stevenson, Wendy Fisher, Lori Fox Rossi, Vicki Persig, Christine Hein & Suba Sankaran-singing bowls and bells

Audio & video recording, editing and mixing-Ed Hanley

http://www.cycles-film.com
...
Not really sure what to say about it... other than layers and patterns, patterns and layers.

Ta,
E

Pair of tintal micro-performances

Hello again.

Quick post with a quick video.

...
First off, props to Romancha Pralapa for coining the term 'micro-performance' in the YT comments. Love it. Totally stealing it. Romancha's Youtube channel is a rich source of vitamin T, including a lot of educational stuff. Thums Up!

what's for dinner? a thali of different font sizes!

This is a sort-of promo video for a series of concerts Autorickshaw co-founder Suba Sankaran and I are doing at Kamasutra Indian Restaurant in Toronto. Nice place, great food, and cool owners who really want live music to be a part of the vibe. A restaurant isn't necessarily the ideal place to gig, but, it does have a stage and PA, plus it's a totally low pressure vessel for us to cook up new music, new arrangements and try risky stuff, which is always good.

Ok, so...what have we here.

The first thing I play is a bit of a wild improv ride on the bol:

Dha - tete gherenage gherenage terekite
Dha - tete gherenage Thun - na - kerenake

but eventually I make it into the following Farukhabad Kaida:

Dha - tete gherenage gherenage tet - - -
Dha - Dha - gherenage thun - na - kerenake

which I hadn't played in forever, hence almost derailing at one point.

That 'Tet - - -' really needs to pop out to make this one work. Tet!!!!

mmmm....garlic gharana....

All kinar, but I sometimes play the 'na' in the first 'gherenage' on sur. I think it was accidentally ergonomic originally, but now I like the sound of it.

This (w italic'd 'na' on sur):

Dha - tete gherenage gherenage
Dha - tete gherenage gherenage
Dha - tete gherenage

is a fav bol of mine.

Next up we have the classic Lucknow rela:

TakaDherenage TakaDherenage Dherenage
TeteTete GheGhetete Gherenage DheneTage

I could work on this forever and never ever get it to sound as good as Pt Swapan Chaudhuri's version.

Oh, and TeteTete GheGhetete Gherenage Dhenetage? AWESOME PRACTICE BOL. Run it 108 times x 108 times and you'll be a happy camper. Getting bored? make sure you can really hear the 'dhene' open sound. Feel the burn. Great baya practice. Especially the all closed version:

TeteTete KeKeTete Kerenake Thenetake

This was the first gig of the series, and we're ramping up to adding a small keyboard (for basslines and leharas) as well as, eventually, live looping with Abelton Live.

Here's the other mini-promo video, featuring a Tamil Folk song and a pair of south Indian classical pieces (detailed info in the Youtube description):


...
Songs avail here: http://autorickshaw.bandcamp.com/
 
ok, all for now!
tata dinginatoms
E

PS: from this evening's post-gig trip to Gerrard Street (aka Little India) in Toronto.

a friend thought that said 'Rowdy Bathrobe', which is a pretty great band name, no?

A pair of Jhaptal recordings from Cycles and more! WAY more!

Holy posting frequency Batman!

Suba Sankaran in the Cycles Space

As I mentioned, during the month of March, I ran a month-long creative collaboration laboratory (aka 'Happening') in the Arcadia Gallery in Toronto. The project was called Cycles. Basically, I moved my studio (instruments, recording studio, cameras etc) into the gallery, and recorded/ video'd/ photographed anyone who came in, doing whatever they wanted to do. This resulted in a LOT of material being recorded, among other things. (click that link for some crazy crazy stats!)

I had no idea what was going to happen, or if anyone was even going to come, so I made a rough plan: record a tabla solo (peshkar->chakradar), in various talas and shruthis, and crowd-source the accompaniment by recording and/or sampling people playing things to build leharas.

Well....people brought so much amazingness and wickedocity, I was pulled off the tabla-solo path pretty early BUT...I did record the afore-posted Tintal Peshkar video, as well as a Jhaptal Palta Theka and a completely wacked out Jhaptal Kaida.

Ready for some Palta Theka action? Here we go:

...
So...let's get this out of the way: non-traditional accompaniment! The credits on this piece are:

Ed Hanley-tabla, voice, udu, shaker, programming, recording, mixing
Larry Graves-Green Egyptian Parade Drum
Lisa Patterson-Duduk
Adam Ogilvie (age 2.5)-bell

This composition is an amalgam of stuff from a variety of sources, stitched together on the fly:
A Palta Theka from Pt Suresh Talwalkar
A Palta Theka from Pt Swapan Chaudhuri
Another Palta Theka from Pt Swapan Chaudhuri
Chunks of material from my lessons with mrdangam maestro Karaikudi Mani

The starting point (after theka of course) is:

Dhin - Na - - Dha - Dhin - Na - Dha - kreDha - Dhin - Na - 

and we end up at:

Dhin na Dha trkt Dhin na Dhin Dhin na
Dhin na Dhin Dhin na Tin na Dhin Dhin na

 Everything was video'd, so, when I get time, I will edit the video for this one.

Cricketty

What else...the G tabla I was using has a pretty significant buzz, so I decided to join it, rather than fight it, and I threw a wee bit of ye olde overdrive plugin on the tabla track. The lowlow kick-drummy sound is actually an udu drum run through major filters, and the cricketty chik chik sound is actually trashy can-lid jingles from my green Egyptian Parade Drum. oh, and Yay cheezy drum programming! And whoa...isn't the duduk just about the most haunting thing you've EVER heard??
A. Mazing.

OK! time to go to space dear readers!

Ever wondered what a Kaida would sound like with the baya at double speed, and the tabla at single speed? What about that same idea, but with 8 bayas in unison, and 8 tabla in unison? With a bass veena, didgeridoo and gongs as accompaniment? Well, your wondering-about-all-that days are OVER!

This one is in 2 parts: alap, then the kaida.




...

(    (  ( (( Bass Veena )) )  )    )

So, first of all, the alap...WHOA! That, ladies and gentlemen is Justin Gray playing his custom made Bass Veena. Imagine a lot of reverb when you say that, because it's amazing:
(    (  ( (( Bass Veena )) )  )    )

He's playing Raga Bikaskhani Todi, which is one of my very favourite ragas...a sombre morning raga...from the wiki:

It is said that this raga was created by Bilas Khan, son of Miyan Tansen. Bilas Khan is said to have created raga Bilaskhani Todi after Tansen's death; an interesting legend of this improvisation (it differs only in detail from Tansen's Todi), has it that Bilas composed it while grief-stricken at the wake itself, and that Tansen's corpse moved one hand in approval of the new melody.

Slightly creepy, but cool. 

So, the kaida. Guess what? It's this old chestnut again:

Dha-trekeDhinnagen Dhagetete Dhage trekeDhinnagena
DhagenaDhatreke Dhinne Dhagetete Dhage trekeThinnakena

Yup...same one I play here, here AND here. Yes. I like this kaida.

you put your left hand in,
you take your right hand out...

The how: First, i recorded the whole kaida to click in logic (you can hear it come in every other cycle or so) so I'd have a guide. Then I put a shawl over the tabla, looped the section I wanted to record, and recorded (in loop mode) the theme, each variation and the tihai, eight times each. Logic makes a new file for each loop, and stacks them, so once you're done, you have, in this case anyway, a massive wall of bayas. THEN...I did the same thing for the tabla part, but at single speed...which was a bit of a trip at times...very interesting and unexpected intersections were happening...syncopating in a whole new way. But the tihai was a problem!!: the tihai I play on baya in double speed will not work in single speed! They won't land on sam together!! So...new tihai for the tabla part, with a Karnatic style expansion of Dhas...see if you can hear both tihais going by at the same time. Trippy!

There is some crazy patterning going on...the baya part is usually twice as long as the tabla part (because of Bhari/Khali, the tabla part is played twice for each single baya part, if that makes sense) so in this case the spread is closed: for each long baya part (bhari/khali) there is only 1 repeat of the tabla part. And now even I'm lost. Anyway. I thought it was cool.

Talia says: remember! safety first when gonging!

What else...my friends Larry and Talia did a gong improv to an early version of the recording (before Justin recorded (  ( (Bass Veena) )  ) which involved hanging gongs from the ceiling (there was a LOT of stuff hanging from the ceiling actually) and gonging gorgeously while standing precariously on a chair and a ladder. At some point, I didgeri-did the didgeridoo and the track was didgeri-done.

But that's not all! Earlier, I sampled some folks playing bells and singing bowls too...here are the full credits before I forget anyone:

Ed Hanley-tabla, baya, didgeridoo
Larry Graves, Talia McGuire-gongs
Justin Gray-bass veena
Laurie Stevenson, Wendy Fisher, Lori Fox Rossi, Vicki Persig, Christine Hein & Suba Sankaran-singing bowls and bells

and finally...here's a playlist of all the videos. (that link goes to the playlist, or see below...there's a 'next' button beside the play/pause button).
Each one deserves its own blog post, though not all of them are tabla-centric, they are all interesting in their own ways...poets, a dancer with Parkinson's disease, a whirling dervish, a lego stop motion animation in eleven beats! Hmm. That last one might have to get its own blog post: