COMPOSITIONS Mohara and Tukada

COMPOSITIONS (continued)

Mohara

The literal meaning of mohara is the vanguard of an army (Kapoor no date). As such it represents a flourish culminating on sam. Mohara is defined primarily by function; partially by structure; and not at all by the bol.

Functionally the mohara is a modest assertion on the part of the tabla player in classical styles. In the accompaniment of classical vocal and instrumental music the tabla usually occupies a supportive position. However, there are times when one "trades off", and the tabla player is able to assert himself. Mohara may be used in either case. This works because the mohara is sufficiently short so as not to impinge upon the main artist, yet sufficiently lively so that the percussionist's presence is felt. There is sometimes confusion because the mohara is functionally identical to the tukada. Therefore many compositions may be considered either mohara or tukada.

There is a clear structure to the mohara; it is of two parts. The first part is a small body of material; the second part is a tihai. The body acts as an introduction to the tihai. The mohara is generally short, usually one to three cycles in length. An example of a mohara is shown in figure 9(Shepherd 1976:174). Since most parans have the same structure, there are many compositions which may be considered either paran or mohara.

Figure 9. Mohara and Tukada

We may summarize mohara quite simply. It is a short composition, culminating in a tihai, which allows the tabla player to gently assert himself. Such an assertion is gentle enough that it may be considered as an emphasis rather than "trading off". It has a simple structure of a small body followed with a tihai.