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Therefore, the laheras that are mentioned in the next pages have a certain latitude. That is to say that if a lahera sounds good to you, that is all that it takes to make it effective. It is extremely important to emphasise the subjective and artistic component of the lahera. Furthermore, the term Lahera is sometimes (incorrectly) used to refer to the entire tabla solo in its broad sense, and not just the accompaniment melody. Some parts of India refer to the lahera as "naghma". There is occasionally confusion regarding terminology. Failure to keep up with any of these things can cause the entire performance to come crumbling down. Furthermore, one must be sensitive as to when there are tempo changes. One must have a very well developed sense of rhythm, as well as an understanding of tabla or kathak. The lahera is what these artist play in order to accompany the tabla player.Īlthough it would appear that playing the lahera is a trivial task it is not. However in the tabla solo, it is the tabla player that becomes the main artist and while the sitarist, harmonium player, sarangi player or some other instrumentalist assumes a supportive roll. Normally the tabla player plays a repetitive pattern which allows the main musician to improvise. The lahera is curious, because it represents a reversal of the usual roles of the musicians. It is also used to accompany the kathak performance.
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The lahera (literally "a wave") is the repetitive melody used to accompany the tabla and pakhawaj solo.
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