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Tabla Accompaniment for Vocal Recitals

byDebjit PatitundiAvailable for performances across IndiaStarts from40,000 per performanceView full gallery

Supporting a vocalist is an art of deep listening. It is about building a rhythmic canvas that lifts the melody without ever overpowering it.

Accompanying the talented Shatavisha Mukherjee for a beautiful thumri, 'Shyam Tohe Najariya Lag Jayegi', at the Ramkrishna Mission, Agarpara. Supporting a vocalist requires deep listening to match the emotional landscape of the song.

A short excerpt of a 'Laggi' section from a concert at the Chowdhury House Music Conference. The laggi provides a fast-paced, exciting rhythmic passage that often lifts the energy of a vocal performance.

A beautiful moment on stage with the wonderful vocalist Shatavisha Mukherjee and Hullas Purohit on harmonium at the India International Centre in Delhi.

Sharing a short excerpt of a Nazrulgeeti from a Bengali New Year's concert with the brilliant Mekhla Dasgupta. It's always a pleasure to explore different genres of vocal music.

Performing for the Reserve Bank of India in Salboni with the brilliant Moupali Chowdhury and Jyotirmoy Banerjee. The stage was beautifully decorated, making for a lovely evening.

The finale of our concert in Patna for the Navras School of Performing Arts, with Debopriya Chatterjee di on flute and Suchismita Chatterjee di on vocals. A beautiful blend of instrumental and vocal music.

A wide shot of our performance at the India International Centre, Delhi. The minimalist stage setup puts the focus entirely on the music.

Another shot from our concert for the Reserve Bank of India. The lighting and stage decor created a vibrant atmosphere for the vocal recital.

A poster for an evening of Hindustani classical vocal music with the amazing Sounak Chattopadhyay da, celebrating the ragas and compositions of Spring.

About Accompanying the Voice

When I sit behind the tabla to accompany a vocalist, my primary job is to create a sense of breath. I focus on subtle mic adjustments and dynamic shifts—playing softly during the Vilambit (slow tempo) sections to let the words land, and building intensity during the drut (fast) sections or the laggi. It is about knowing when to be a quiet foundation and when to enter the musical dialogue with the artist.

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