{"id":6096,"date":"2021-09-02T23:01:20","date_gmt":"2021-09-02T23:01:20","guid":{"rendered":"https:\/\/chandrakantha.com\/?page_id=6096"},"modified":"2021-09-03T00:40:40","modified_gmt":"2021-09-03T00:40:40","slug":"lahara","status":"publish","type":"page","link":"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/lahara\/","title":{"rendered":"The Lahara"},"content":{"rendered":"\n<p>by <a href=\"https:\/\/chandrakantha.com\/about-us\/bio-of-d-courtney\/\">David Courtney<\/a> <img loading=\"lazy\" src=\"https:\/\/chandrakantha.com\/media\/l_p_s.gif\" alt=\"working tools\" width=\"39\" height=\"10\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"549\" src=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/09\/bow-1024x549.jpg\" alt=\"\" class=\"wp-image-6104\" srcset=\"https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/09\/bow-1024x549.jpg 1024w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/09\/bow-300x161.jpg 300w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/09\/bow-768x412.jpg 768w, https:\/\/chandrakantha.com\/wp-content\/uploads\/2021\/09\/bow.jpg 1500w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>The <em>lahara<\/em> (literally &#8220;a wave&#8221;) is the repetitive melody used to accompany the <em>tabla<\/em> and <em>pakhawaj<\/em> solo.&nbsp; It is also used to accompany the <em>Kathak<\/em> performance.<\/p>\n\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n\n<p>The <em>lahara<\/em> is curious, be\u00adcause it re\u00adpre\u00adsents a reversal of the usual roles of the music\u00adians.&nbsp; Normally the <em>tabla<\/em> player plays a repetitive pattern which allows the main musician to improvise.&nbsp; How\u00adever in the <em>tabla<\/em> solo, it is the <em>tabla<\/em> player that be\u00adcomes the main artist and while the sitarist, harmonium player, <em>sarangi<\/em> player or some other instrumentalist as\u00adsumes a sup\u00adportive roll.&nbsp; The <em>lahara<\/em> is what these artist play in order to accompany the tabla player.<\/p>\n\n\n\n<p>Although it would appear that play\u00ading the <em>lahara<\/em> is a trivial task; it is not.&nbsp; One must have a very well developed sense of rhythm, as well as an under\u00adstand\u00ading of <em>tabla<\/em> or <em>kathak<\/em>.&nbsp; Fur\u00adther\u00admore, one must be sensitive as to when there are tempo changes.&nbsp; Failure to keep up with any of these things can cause the en\u00adtire performance to come crumbling down.<\/p>\n\n\n\n<p>There is oc\u00adcasion\u00adally con\u00adfusion re\u00adgarding terminology.&nbsp; Some parts of India refer to the <em>lahara<\/em> as <em>&#8220;naghma&#8221;<\/em>.&nbsp; Fur\u00adther\u00admore, the term <em>Lahara<\/em> is some\u00adtimes (incorrectly) used to refer to the en\u00adtire <em>tabla<\/em> solo in its broad sense, and not just the accompaniment melody.<\/p>\n\n\n\n<p>It is ext\u00adremely impor\u00adtant to emphasise the sub\u00adjective and ar\u00adtis\u00adtic compo\u00adnent of the <em>lahara<\/em>.&nbsp; That is to say that if a <em>lahara<\/em> sounds good to you, that is all that it takes to make it ef\u00adfec\u00adtive.&nbsp; There\u00adfore, the <em>laharas<\/em> that are men\u00adtioned in the next pages have a cer\u00adtain latitude.&nbsp; For insta\u00adnce, a <em>Chautal Lahara<\/em> may work just fine for <em>Ektal<\/em>; do not feel constrained to use the laharas ONLY in the <em>tal<\/em> to which they are as\u00adcribed.&nbsp; There are of course natu\u00adral limits to the degree to which <em>laharas<\/em> may be used; ob\u00adviously you would not wish to use a <em>Jhaptal lahara<\/em> for <em>Rupak tal<\/em> unless you make some very sig\u00adni\u00adfi\u00adcant structural changes.<\/p>\n\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n\n\n\n<h2>Laharas<\/h2>\n\n\n\n<ul><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/03_06_laharas.html\">Three and Six Beat Laharas<\/a> (e.g. Dadra Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/04_08_laharas.html\">Four and Eight Beat Laharas<\/a> (e.g. Kaherava Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/07_laharas.html\">Seven Beat Laharas<\/a> (e.g. Rupak Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/10_laharas.html\">10-Beat Laharas<\/a> (e.g. Jhaptal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/11_laharas.html\">11-Beat Laharas<\/a> (e.g. Chartal-ki-Savari)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/12_laharas.html\">12-Beat Laharas<\/a> (e.g. Ektal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/13_laharas.html\">13-Beat Laharas<\/a> (e.g. Chandrachautal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/14_laharas.html\">14-Beat Laharas<\/a> (e.g. Dipchandi)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/15_laharas.html\">15 Beat Laharas<\/a> (e.g. Pancham Savari)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/16_laharas.html\">16-Beat Laharas<\/a> (e.g. Tintal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/17_laharas.html\">17-Beat Laharas<\/a> (e.g. Vishnu Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/18_laharas.html\">18-Beat Laharas<\/a> (e.g. Matta Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/19_laharas.html\">19-beat Laharas<\/a> (e.g. Purna Tal)<\/li><li><a href=\"https:\/\/chandrakantha.com\/articles\/indian_music\/lahara\/21_laharas.html\">21-Beat laharas<\/a> (e.g. Mansij Tal)<\/li><\/ul>\n\n\n\n\n<script async=\"\" src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js\"><\/script>\n<!-- March20_4_2020 -->\n<ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-0047309040523061\" data-ad-slot=\"9410001606\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins>\n<script>\n     (adsbygoogle = window.adsbygoogle || []).push({});\n<\/script>\n\n","protected":false},"excerpt":{"rendered":"<p>by David Courtney The lahara (literally &#8220;a wave&#8221;) is the repetitive melody used to accompany the tabla and pakhawaj solo.&nbsp; It is also used to&#8230;<\/p>\n<div class=\"more-link-wrapper\"><a class=\"more-link\" href=\"https:\/\/chandrakantha.com\/music-and-dance\/i-class-music\/lahara\/\">Continue reading<span class=\"screen-reader-text\">The Lahara<\/span><\/a><\/div>\n","protected":false},"author":1,"featured_media":0,"parent":2487,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/6096"}],"collection":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/comments?post=6096"}],"version-history":[{"count":5,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/6096\/revisions"}],"predecessor-version":[{"id":6107,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/6096\/revisions\/6107"}],"up":[{"embeddable":true,"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/pages\/2487"}],"wp:attachment":[{"href":"https:\/\/chandrakantha.com\/wp-json\/wp\/v2\/media?parent=6096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}