In Hindustani music, melody (raag) and rhythm (taal) are partners. They are constantly in dialogue. Understanding this interaction turns a concert from “pretty sound” into a thrilling game.
Sam – the magnetic first beat
The first beat of the taal cycle is called Sam. It is where:
- The bandish lines often begin or end.
- Big taans resolve.
- Tabla compositions (tihai, tukda) land.
A skilled singer might sing a long, complex phrase that seems to float freely, but then locks perfectly onto the sam at the end – like landing a plane exactly on the runway center line. The audience often reacts with a “wah!” because they sense this precision, even if they don’t count the beats.
Sawaal–Jawaab (Question–Answer)
In medium and fast tempos, you often hear a playful exchange between the main artist and the tabla player. This is called sawaal–jawaab.
- The vocalist sings a phrase with a certain rhythm.
- The tabla replies with a matching or contrasting pattern.
- This can escalate into inventive rhythmic dialogues.
Western listeners can think of this as something like jazz call-and-response, but with stricter adherence to a repeating cycle and a specific sam target.
Lehra and rhythmic focus
In tabla solos or very rhythm-heavy sections, a melodic accompanist plays a repeating lehra – a simple melody cycling through the taal. The lehra:
- Keeps the raag and tala clearly in the ear.
- Frees the tabla player to explore complex patterns without losing form.
Listening tip: pick any concert recording and try to clap the taal along softly. Watch how often phrases “aim” for sam. You’ll start to see the invisible architecture behind the music.