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How many divisions are there in Dhamar taal?ĭescription: Dhamar is a taal or rhythm pattern having fourteen beats or matras and not uniform in distribution across four divisions. Dhamar taal has 14 beats (matras) grouped asymmetrically into a 5-2-3-4 pattern. It is associated with the dhrupad style and typically played on the pakhawaj and also tabla.
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A Film Connection Rita Dev recited a thumri in Mishra Tilang which Pandit Bhimsen Joshi used to sing (Sajan Tum Kahe Ko Neh Lagaaye) set in slow tempo of jat taal set in 16 beats. Mukundraj, who employs the nuances of Banaras and Ajrada gharana in his tabla, was impressive again. Raga Kaunsi kanada, a magical combination of Malkauns and Darbari Kanada, was explored in all its magnificence in the slow tempo - no gimmicks were needed, but sheer placement of notes. Pohankar, once again underlined that form is temporary, but class is permanent. Ajay Pohankar, 70, accompanied by Sudhir Nayak on the harmonium brought the second day of the festival to a close. Prashant Pandov (tabla) and Avinash Dighe (harmonium) gave him able accompaniment. Sandwiched between Dev and Rahul, young artist Saurabh Salunke gave a good account of himself with raga Puriya Kalyan and a bhajan. A 10-minute pahadi dhun followed, a kaleidoscope of varied rasas: happy, playful and pathos too. A chhand (rhythm within rhythm) of 16 beats within the nine-beat Matta Taal cycle was a classic. What really took the breath away was the use of komal nishad in the descending order and delectable landings on Shuddh Rishabh of a higher octave. Their interplay in the ultra-fast tempo in teen taal (16 beats) including the muted jhala was noteworthy.
Rahul and Mukundraj Deo on tabla provided the expected crescendo in raga Gorakh Kalyan. Milind Kulkarni (harmonium) and Bharat Kamat (tabla) accompanied her ornamental singing. Be it “Payaliya Mori Baaje Jhanan Jhan Jhankaare” or a thumri in raga Mishra Tilang. The lyrical element of the compositions was never compromised. The highlight was the varied landing on vowels– the oo, the ee, the ae and aa. In a slightly increased tempo marked with rhythmic interplay, the disciple of late Girija Devi decorated the composition well. Dev, who has been teaching music at Agra University for 20 years, found the essence of the afternoon raga swiftly in the slow tempo of 12-beat Ek Taal. Rita Dev, who had a challenging early life in Assam, gave her all in raga Madhuwanti, Mishra Tilang thumri and a dadra in raga Hemant while the prince of santoor, Rahul Sharma, came up with a mesmerising Gorakh Kalyan. PUNE: Two artistes from different backgrounds made their presence felt on the second day of the Sawai Gandharva Bhimsen Mahotsav at Maharashtriya Mandal grounds in Mukundnagar on Thursday.