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Lesson 15: Accompaniment Etiquette

 

At the end of the Lesson 14B, it was mentioned that there is a higher purpose to what has been taught so far. There are many more talas that exist, as well as many more mukhras, cadences, cycles, and such. However, what has been taught up to this point was there to help one accompany. The next few lessons in this unit of accompaniment will help aid accompaniment as far as techniques are concerned.

 

Before we formally learn how to accompany, it is important to appreciate and imbibe ethics and etiquette in accompaniment with mridanga.

 

1. You are only accompanying an singer, musician, or artist

 

When you play the mridanga for someone else, you must remember that you are being there to help the singer or the main artist. In some cases, you may have very talented musician-devotees that have great experience in kirtanas, bhajans, or whichever musical form or dance they want to render.

 

- Play in such a way that the main artist does not get drowned out or you play in a way contrary to the needs of the kirtan. You are there to help the artist, not help promote your talent.

 

- Stick to the tempo alone. If the singer or main artist wants you to speed up, they will give you a subtle cue, like stare at you constantly, start playing kartals noticeably louder, or play harmonium faster. They can also give you other cues like “we are ready to stop” or “get ready to stop playing mridanga.” Look at the main artist for these cues.

 

2. Predict the tala that is being played

 

Even though in the temple, most of the kirtanas will be in eight matras, you might want to listen to one mahamantra without mridanga before you decide which tala of eight matras will be suitable. Count it out mentally or say the bols mentally before playing. Remember, the three eight matra talas we learned sounded very different. This can affect how the kirtan goes.

 

Sometimes, a six or twelve matra tala may be thrown at you. Be sure to count it out and be ready to strike the sam at the proper timing. Missing the sam and khali at the right time sounds very bad.

 

3. When playing, focus on tala, tempo, and the main artist

 

It is very easy for new students to easily miss a beat, for various reasons. If you think you may have missed a beat, look at the artist and stop playing and find the point where you can pick up and play on time. If you are really lost on what part of the cycle you should resume playing, try to pick up on the sam of the next avartana.

 

If the main artist asks you to play a tala you are not 100% comfortable with or do not know how to play at all, humbly notify the artist that you are unable to play that.

 

4. Do not add too many mukhras, or cadential forms

 

Traditionally, musicians treated cadence forms as “treats” or small parts to put in sections, like separating verses of a song. Prabhupada, except for a few number of times, hardly ever used any cadence forms. With Hare Krsna mahamantras or any mantras, it becomes difficult to decide when to add mukhras and other cadential forms. Put it at points where you feel the artist or singer may change tunes or sub-tunes. Other occasional mukhra additions are all right, if they are used sparingly. Mukhras are like sugar. They taste sweet, but too much make the sweet taste distasteful.

 

5. Consider baya technique

 

For softer and more classical songs, finger ka, soft ka, ga, and gin are the best bet. For light kirtans, ga, gha, and soft ka are good to use. For heavier kirtans, gha and loud ka will be most practical.

 

6. Use good judgment

 

Most of the time, a kirtan leader will not coordinate in advance who will play mridanga and in what tala. If the kirtan leader wants to speed up, speed up gradually. Don’t speed up abruptly. Same thing with slowing down too!