Listen: Tabla player Nizamuddin Khan and the art of accompanying ghazals

Continuing with the role of the tabla while accompanying the ghazal form, we listen to some more tracks pertaining to the traditional format of improvising with laggis when the vocalist returns to the first line of the ghazal after each successive couplet.

To ensure that the words are not rushed, the speed of the ghazal rendition should not change only to accommodate faster laggis. The tabla player, therefore, must be conscious of the scansion of the text and the extent to which the words can be delivered easily at a particular speed.

Here is a recording of a ghazal rendered by the incomparable Begum Akhtar. The melody is set to a rhythmic cycle of the eight-matra Kaherva. Tabla accompaniment on this track has been provided by Nizamuddin Khan, a maestro known equally for his solo recitals and the tabla accompaniment he provided to vocalists, instrumentalists and dancers.

However, there are moments when the vocalist may be able to sing the refrain at a slightly accelerated pace or may choose to stop singing briefly and hand over the refrain to the melodic accompaniment provided...

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