Abstract

“Geetam vadyam tatha nrityam trayam sangeetamuchyate” Music (Sangeet) is a combination of song, instrument and dance. Rhythm (Laya) is an inherent feature of all three music forms. Rhythm accompanies all forms of music. This very rhythm has been explored to a large extent today which has evolved into that having a central place on stage. Laya can express itself in multifarious forms through the instrument and its art of accompanying. The creative thinking and enormous hard work for practice (riyaaz) by the Maestros of Tabla of the past and present have made Tabla the chief percussion instrument in India with its worldwide acclamation. The elaborate and non-elaborate compositions of Tabla constitute a Solo performance. Elaborate compositions are lyrical and poetic in nature. They carry a wide scope of improvisation. Non- elaborative compositions, which are generally referred to as ‘Fixed Compositions’ are unique in several ways. Music with aesthetics is much more appreciated than Music with only its science. While all compositions of Tabla carry aesthetical elements, present paper deals with Fixed compositions. The variety of Fixed compositions available in Tabla's repertoire ignites different facets of imagination in the artist to make the composition musically impressive. They have been composed not only with skill, science and tradition but also have been derived from the innate capacity of the artists to imagine the sounds of nature or anything that could make them feel in a way so to connect the language of Tabla to their creative pursuits. Author has spoken here about different fixed compositions of Tabla technically and also tried to dwell on its aesthetics. These compositions form the basis for the versatility of Tabla Solo presentation.