Tar-paran
De l’importance du tar-paran dans le genre Dhrupad :
Extrait d’un entretien d’Asad Ali Khan, beenkar, avec Deepak Raja
In the choice of Dhrupad compositions, we have been taught that the compositions with four stanzas are meant for vocal rendition, while the twin-stanza compositions are suitable for the Been. After rendering the two stanzas – the sthayi and the antara – we begin the tar-paran improvisations. The tar-paran belongs to the jod-ang (the jod facet) of the improvisations with percussion accompaniment. A competent Beenkar knows hundreds of parans composed for the Pakhawaj, while his percussionist knows hundreds of stroke-patterns on the Been. They anticipate each other’s improvisations, and co-operate to create the most effective rhythmic impact. And, the advanced stage of the tar-parans, played with chikari punctuation, is the jhala ang (jhala facet/ movement).
Almost 50% of the success of our concert depends on the quality of the Pakhawaj accompaniment. The required rapport with the Pakhawaj player is best achieved through a stable partnership with one percussionist. For years, I have played with Gopaldasji, who once also accompanied my father. He is getting on in years now. I am developing a younger Pakhawaj player from Mathura. There are many soloists in India, but very few good accompanists. An accompanist has to be virtually groomed for that role by senior vocalists or beenkars.