UNDERSCORE RECORDS PVT LTD

www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
 
 
INTERVIEW  WITH  PERCUSSIONIST  PRATAP  RATH    
BY  
DR.  ANEESH  PRADHAN    
 
 
This   interview   was   originally   conducted   by   Dr.   Aneesh   Pradhan   in   Marathi,   and   is   available   at  
http://underscorerecords.com/podcasts/  
To   make   the   contents   available   to   non-­‐Marathi   speaking   music   lovers,   it   has   been   translated   transcribed   and   edited   by  
Bharati  Nayak.    
 
 
 
Aneesh  Pradhan:  Namaskaar  Pratapji!  Welcome  to  the  Podcast  series  of  Underscore  Records.  
 
Pratap  Rath:  Namaskaar!  
 
Aneesh  Pradhan:  Please  tell  us  about  your  childhood  and  the  manner  in  which  you  came  in  contact  
with  music.  
 
Pratap   Rath:   I   was   brought   up   in   a   musical   environment   at   home.   My   paternal   aunt,   Vimal   Rath,   a  
disciple   of   Ustad   Abdul   Karim   Khansaheb,   was   quite   a   good   vocalist.   Her   husband,   Gade,   who   was  
employed  in  the  Indian  Railways,  was  also  an  amateur  singer.  My  paternal  grandfather,  Vishwanath  
Rath,   also   used   to   sing.     He   would   regularly   sing   folk   forms   like   the   Bhoopali,   normally   sung   in   the  
mornings,  at  the  temple  located  at  Madhav  Baug,  Mumbai.  He  was  privileged  to  have  been  able  to  offer  
his  services  as  a  singer  in  this  temple,  where  even  Abdul  Karim  Khansaheb  used  to  sing  occasionally.  I  
have  only  heard  of  this,  since  I  could  never  actually  see  my  grandparents.  None  of  my  family  members  
were  professional  musicians,  but  I  feel,  this  musical  legacy  must  have  passed  on  to  me.  
 
I   had   an   inherent   liking   for   music   since   childhood.   Especially   drawn   to   rhythm,   I   often   played  
percussive  instruments  with  the  aartis  (invocatory  songs  sung  by  the  congregation)  and  songs  sung  
during   the   Ganapati   festival.   But,   it   was   my   cousin   Vijay   Gade,   who,   noticed   my   penchant   for   music  
and  advised  my  father  to  send  me  to  a  music  school.  Following  his  advice,  I  was  sent  to  music  classes  
run   by   Suresh   Haldankar,   a   renowned   musician   of   those   times.     I   started   learning   the   tabla,   under   the  
guidance   of   Kajrolkar,   at   these   classes   situated   behind   the   Kohinoor   mill   in   Dadar,   Mumbai.   I  
continued   my   training   for   around   four   years   during   which   time   I   played   in   informal   musical  
gatherings  at  the  class  and  on  occasions  such  as  gurupurnima.  I  also  accompanied  Suresh  Haldankar  
during   his   practice   sessions.   I   had   an   opportunity   to   accompany   and   play   for   forms   like   the   khayal,  
which  Haldankar  used  to  practice.  
 
Later,   I   began   attending   mehfils   (informal   music   performances)   organized   on   Sundays   by   Bhanudas  
Charankar.     The   venue   was   his   institution   in   Dadar.     I   was   exposed   to   diverse   styles   performed   by  
different  musicians.    I  often  accompany  them  on  the  tabla  and  gradually  tried  developing  my  skills  as  
an   accompanist   to   various   forms   of   Indian   music   like   khayal,   bhajan,   among   others,   by   playing  
different  thekas  to  the  respective  forms.  
 
All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  1  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
I   recall   an   incident   when   the   renowned   Hindustani   classical   vocalist   Wamanrao   Sadolikar   was   invited  
to  perform  at  the  Gurupurnima  celebrations  at  this  institution.  He  may  have  been  around  sixty  then  
and   I   may   have   been   around   fourteen.   Wamanrao   asked   Charankar   who   would   accompany   him   on  
tabla.  When  Charankar  suggested  my  name,  Wamanrao  was  skeptical  whether  Charankar  had  made  
this  suggestion  in  jest  or  had  meant  it  as  an  insult.    Wamanrao  felt  this  all  the  more,  since  I  was  a  mere  
teenager   wearing   shorts   (not   conforming   to   the   conventional   dress   code   followed   by   musicians   in  
Indian  music  concerts).  Gauging  the  situation,  Charankar  warned  me  that  this  would  be  a  test  of  my  
ability,  and  if  I  was  successful  I  should  consider  myself  fit  to  play  the  tabla,  else  I  should  not  pursue  the  
idea   in   future.   He   further   added   that   I   should   always   wear   the   conventional   dress   (kurta-­‐pyjama)  
while  participating  in  such  concerts.  
 
I   bowed   in   reverence   to   Wamanrao,   asking   for   permission   to   accompany,   as   is   the   custom.   I   do   not  
recollect   what   raag   he   sang   then,   but   I   distinctly   remember   him   having   started   the   concert   by   singing  
a  khayal  in  Jhaptaal  (a  ten-­‐matra  rhythmic  cycle).  I  accompanied  him  for  around  an  hour  and  a  half.    
He  appreciated  my  playing  and  encouraged  me  immensely.  
 
Dr.   Gotaskar,   a   cancer   specialist   and   an   exceptional   violinist,   was   a   regular   visitor   at   the   baithaks.   I  
started   accompanying   him   and   other   musicians   frequently   in   concerts   at   different   venues.   Thus,   I   had  
an   opportunity   to   perform   in   many   classical   concerts.     When   I   reached   the   eighth   or   ninth   grade   in  
school,  I  was  so  passionate  about  music  that  I  almost  neglected  my  academic  education.  I  remember  
having   a   huge   pendulum   clock   at   our   house.   The   oscillatory   movement   and   loud   sound   of   the  
pendulum   would   fascinate   me,   and   my   fingers   and   hands   would   try   to   continuously   keep   pace   with  
the  tempo  of  the  pendulum.  So  driven  was  I  by  the  idea  that  I  would  sometimes  go  through  sleepless  
nights  and  my  father  would  then  hold  my  hands  to  restrict  my  movements.  
 
In  school,  the  only  time  my  teachers  would  be  happy  with  me  was  when  I  would  regularly  bag  prizes  
at   inter-­‐school   competitions.   My   teachers   had   a   soft   corner   for   me   and   they   would   try   to  
accommodate  me  during  the  examinations,  despite  the  fact  that  I  was  disinterested  in  the  academic  
curriculum   and   was   unprepared   with   my   schoolwork.   As   a   result,   I   failed   in   completing   my  
matriculation.     Soon   thereafter   I   lost   my   father,   who   worked   with   the   Burma   Shell   Fire   Brigade,  
leaving  me  and  my  family  depressed  and  financially  distressed.  
 
The  trying  financial  circumstances  led  to  my  mother  coaxing  me  find  a  job  in  order  to  earn  a  decent  
livelihood.  My  mother  even  requested  one  of  her  friends,  a  renowned  lyricist  and  singer,  to  find  me  a  
job.     She   expected   that   her   friend   would   help   me   get   some   work   related   to   the   music   industry,  
considering   the   status   and   reputation   that   she   commanded   there.   Contrary   to   the   expectations,   her  
friend  suggested  that  I  take  up  a  job  as  a  salesman  in  one  of  the  sari  stores  in  the  neighborhood.  This  
left  me  completely  dejected  and  my  mother  was  convinced  that  I  could  do  nothing  better  than  that.  At  
that  point  of  time,  my  cousin  Nandakumar  Vadge,  was  a  well-­‐known  editor  in  the  film  industry,  and  
music  directors  and  other  personalities  in  the  film  industry  respected  him.  I  started  pestering  him  to  
help   me   come   out   of   my   financial   problems,   and   after   much   persuasion,   he   called   me   to   his   editing  
room  during  a  recording  project  at  famous  studio  with  the  music  director  duo  Laxmikant-­‐Pyarelal.  He  
was   a   good   friend   of   Laxmikantji.   I   met   them   and   they   called   me   to   their   bungalow   named  
"Parasmani"  in  Vile  Parle.  I  had  no  money  to  travel  to  their  residence  from  my  house  at  Shivaji  Park,  
Dadar.  I  therefore  walked  all  the  way  to  their  bungalow,  starting  at  8  am  and  reaching  at  around  11.30  
am.   On   answering   the   doorbell,   the   keeper   of   the   house,   Madhav   told   me   to   return   in   the   evening,  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  2  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
since  Laxmiji  and  Pyarebhai  were  out  for  a  recording.  I  somehow  managed  to  spend  time  on  the  beach  
and   returned   in   the   evening,   but   I   was   not   successful   in   meeting   them.   My   frustration   increased   when  
this  happened  a  few  more  times.  But  I  once  found  Laxmiji  strolling  in  the  compound  and  finally  got  an  
opportunity  to  meet  him.  
 
Laxmiji  was  very  generous  and  introduced  me  to  his  musicians.  I  then  started  playing  in  his  sessions  
(usually  called  "sittings").    Seven  to  eight  percussionists  would  be  present  and  therhythm  pattern  for  a  
particular  song  would  be  set.  Pyarebhai  also  used  to  be  present  then.  These  music  directors  had  the  
insight  to  decide  which  instrument  would  sound  good  if  played  by  a  particular  musician  and  how  it  
would   add   ornamentation   to   a   particular   song.   In   addition,   they   earned   tremendous   goodwill   because  
of  their  kind  hearted  and  open  approach  towards  their  musicians,  who  they  would  fairly  compensate  
for  their  services.  
 
This   was   around   the   year   1974.   I   continued   for   around   four   to   five   months   there   and   then   started  
playing  even  with  other  composers  as  well.  One  among  them  was  Amar  Haldipur,  a  renowned  violinist  
and  arranger.  I  knew  his  wife  Padma  well  and  regarded  her  as  my  elder  sister.    She  also  took  good  care  
of  me.  Amarji  advised  me  not  to  restrict  myself  to  playing  the  tabla,  but  to  also  try  my  hand  at  playing  
different   percussive   instruments.   I   came   in   contact   with   Nirmal   Mukherjee,   who   was   my   mentor   in  
this  industry.    Prakash  Narvekar,  another  proficient  percussionist,  taught  me  to  play  instruments  like  
the   conga,   duff,   khanjiri,   matka,   maracas,   and   others,   along   with   the   different   styles   and   rhythm  
patterns  that  were  specifically  used  in  the  film  world.  I  gradually  learnt  to  play  these  instruments  and  
saved   some   money   and   bought   these   acoustic   instruments   for   myself.   I   bought   a   duff,   which   costs  
around  Rs.  2,500/  today,  for  a  meagre  Rs.45/-­‐  at  that  time.  The  duff  sounded  much  better  than  those  
available   today.   Gradually,   I   bought   instruments   used   in   different   forms   of   Indian   music,   especially  
folk   music,   in   addition   to   other   instruments   from   different   parts   of   the   world.     Now,   I   have  
instruments  that  would  cost  ten  to  twelve  lakh  rupees.  I  would  buy  these  instruments  from  the  places  
I   visited   and   would   also   request   my   friends   to   procure   them   for   me   when   they   travelled.     They   would  
gladly   oblige,   despite   the   fact   that   the   instruments   would   be   very   to   transport.   Today,   thanks   to  
dealers   like   Haribhau   Vishwanath,   Bhargava's   Musik,   and   others,   it   is   easier   to   procure   foreign  
instruments  legally  in  our  country.  My  passion  for  collecting  these  instruments  is  still  very  much  alive  
and  I  try  to  buy  almost  any  instrument  that  fascinates  me.  
 
Aneesh  Pradhan:  What  was  the  driving  force  behind  buying  these  musical  instruments?  Was  it  your  
passion  to  collect  different  instruments  or  were  they  a  necessary  feature  of  your  professional  life?  
 
Pratap  Rath:  Both.  In  fact,  I  always  would  think  of  doing  something  novel,  something  different.  I  enjoy  
producing   different   sounds   on   these   instruments,   trying   to   play   them   in   a   unique   style.   For   a   tabla  
player  like  myself,  it  was  a  different  experience  to  play  other  instruments  like  the  duff,  or  the  Nepali  
instrument   called   maadal,   which   is   delicate   and   has   a   thinner   skin-­‐top.   Each   instrument   has   its  
peculiarities,  which  need  to  be  identified  by  the  player  playing  it.  
 
Aneesh   Pradhan:   Have   you   taught   yourself   how   to   play   various   instruments,   especially   the   foreign  
ones,  or  do  you  learn  to  play  them  from  someone  or  observe  someone  playing  them?  
 
Pratap  Rath:  I  try  to  play  instruments  like  the  drums,  tumba,  djembe,  darabukka,  among  others.    I  try  
to  play  them  in  the  manner  they  are  originally  played,  apart  from  interpreting  them  in  my  own  style.    I  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  3  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
try   to   adapt   them   to   the   Indian   perspective,   using   my   knowledge   of   taal   and   experience   in   playing   the  
tabla.   I   observe   the   way   the   instruments   are   originally   handled   and   played.   This   is   possible   today,  
since  musicians  across  the  world  can  be  seen  and  heard  performing  on  DVDs  and  other  formats  that  
are   easily   available.   In   fact,   I   feel,   it   is   really   easy   for   the   present   generation   of   musicians   to   learn   and  
pursue  music  seriously,  since  they  have  an  easier  access  to  the  media.    But  they  should  have  a  more  
dedicated  and  determined  approach  to  learning  music.  
 
Aneesh  Pradhan:  In  retrospect,  when  you  started  your  career,  how  did  you  manage  to  do  this,  given  
the  fact  that  there  was  little  exposure  to  media  such  as  the  Internet,  which  is  now  easily  accessible?  
 
Pratap   Rath:   During   the   time   when   I   played   for   music   directors   Laxmikant-­‐Pyarelal   commonly  
known  as  "LP"  or  R.  D.  Burman,  popularly  known  as  "Panchamda",  they  had  some  very  experienced  
musicians   in   their   group   including   percussionists   like   Abonida,   or   Rijhram   Desad,   who   was   an  
excellent   tabla   player.   These   musicians   would   constantly   explore   new   ideas.   The   concept   of   playing  
around   twenty-­‐four   maadals   arranged   in   a   semi-­‐circle   and   providing   a   range   of   two   octaves   is   now  
known   as   maadal   tarang.   Rijhram   Desad   introduced   this.   Later   on,   arranging   several   ghamelas   (metal  
pans   usually   used   to   carry   cement   and   other   material   for   gardening   and   construction   work)   together,  
he  tried  using  the  ghamela  tarang  in  background  scores.  Likewise,  Abonida  popularized  instruments  
like  the  Bangla  dhol  in  films  and  also  showed  me  how  to  play  the  duggi  tarang.  He  encouraged  me  to  
carefully  observe  how  it  was  played  and  advised  me  to  try  my  hand  at  practicing  the  same  with  a  stick  
at   home,   without   the   instrument,   instead   of   doing   it   at   the   studio,   since   it   would   then   disturb   the  
studio  work.  
 
All  these  musicians  were  very  generous  and  never  displayed  any  professional  insecurity  or  a  feeling  
that  I  would  surpass  them  at  any  point  of  time.  There  was  a  musician  duo  popularly  known  as  "Lala  
Sattar".   Lalabhau   Gangavane   and   Sattarbhai,   both   being   extremely   accomplished   percussionists,  
specialised  in  playing  the  dholak  and  tabla.  They  always  encouraged  me  to  play  with  them  and  helped  
me  out.    At  times,  they  would  even  tune  my  instruments  or  allow  me  to  play  their  instruments,  though  
I  was  a  newcomer  to  the  field.  I  was  fortunate  to  play  the  tabla  and  other  percussion  instruments  in  
recordings   featuring   none   other   than   the   famous   Lata   Mangeshkar   as   the   lead   singer,   in   films   like  
Umbartha,  Jait  Re  Jait,  among  other  Marathi  films.  
 
Aneesh   Pradhan:   Did   you   stop   playing   the   tabla   and   did   you   restrict   yourself   to   other   percussive  
instruments?  
 
Pratap  Rath:  No.  Actually,  I  did  not  completely  stop  playing  the  tabla.  But  there  are  fewer  people  who  
actually   play   other   percussion   instruments,   whereas   tabla,   dholak   or   dholki   players   are   not   scarce.  
Since   I   play   many   different   instruments,   composers   usually   engage   me   in   projects   where   I   am  
expected   to   play   all   these   percussive   instruments   including   the   tabla   and   the   dholak.   This   becomes  
feasible  for  both  of  us  considering  the  limited  budgets  that  I  am  expected  towork  on.  
 
Aneesh  Pradhan:  What  was  the  payment  structure  like  in  the  earlier  days?  Were  you  drawing  a  fixed  
salary  or  were  you  paid  exclusively  for  each  of  the  "sittings"  and  "recordings"  or  was  it  a  lump  sum  
package?  
 

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  4  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
Pratap  Rath:  The  Cine  Musicians'  Association  (CMA)  had  fixed  an  amount  of  Rs.  400/  for  each  of  the  
“sittings”,   to   be   divided   between   all   participating   musicians.   The   producers   would   disburse   these  
payments.   The   music   directors   would   never   dictate   the   terms,   as   is   seen   in   some   cases   at   present.  
They  would  not  even  know  the  amount  of  money  paid  to  each  of  the  musicians,  or  even  if  they  knew,  
they  would  insist  that  a  particular  musician  should  get  what  he  rightly  deserved.  
 
Aneesh  Pradhan:  What  was  the  system  of  engaging  a  particular  musician?  
 
Pratap   Rath:   Then,   as   even   today,   we   had   people   who   are   called   "messengers"   working   in   the  
industry   for   one   or   more   music   directors.     The   messengers   coordinate   the   musicians'   engagements.  
The   music   directors   inform   them   about   their   requirements   of   musical   instruments   to   be   used   for   a  
particular   project,   and   the   messengers   in   turn   contact   the   required   musicians   and   let   the   music  
directors   know   about   their   availability.   Producers   and   film   directors   like   Raj   Khosla,   Raj   Kapoor,  
Manmohan   Desai,   took   great   interest   in   the   music   being   composed   for   their   movies,   since   they  
acknowledged   that   a   large   part   of   the   success   of   their   movies   was   the   result   of   the   impact   that   its  
music  had  on  the  audience.  
 
Aneesh  Pradhan:  Would  the  producers  and  directors  of  the  movies  attend  the  "sittings"?  
 
Pratap  Rath:  Yes.  They  would  explain  the  situation  in  a  particular  movie  scene  and  the  mood  that  it  
carried  -­‐   happy,   sad   or   any   other   mood   -­‐   along   with   the   way   the   movements   of   the   actors   were   timed.  
The  music  director  would  then  try  to  imagine  the  situation  and  would  accordingly  compose  the  music.  
Their   talent   as   composers   and   their   absolute   sense   of   timing   and   imagination   was   demonstrated   well  
in  the  movies.  The  choreographers  and  lyricists  would  also  be  present  at  these  "sittings".  Working  in  a  
group  by  exchanging  and  sharing  ideas  was  the  culture  prevalent  then.  
 
Aneesh  Pradhan:  Typically,  how  many  people  would  be  present  at  a  time,  in  a  "sitting"?  
 
Pratap  Rath:  Other  than  the  producer,  film  director,  lyricist,  music  director,  choreographer  and  seven  
to   eight   percussionists,   there   would   be   a   guitarist,   since   the   Spanish   guitar   was   widely   used   in   film  
music.  Unlike  present  times,  there  was  no  designation  of  "music  arranger"  then,  especially  so,  in  LP's  
group,   since   Pyarebhai   used   to   orchestrate   the   music   himself.   Of   course,   their   assistants   Shyam  
Kambli,   Gorakhbhai,   Dilip   Dholakia   and   a   few   others   would   be   present,   who   would   write   down   the  
necessary   changes   in   the   music   composed   by   Pyarebhai.   The   lyricist   Anand   Bakshi   would   also   be  
present.  They  would  set  about  recording  the  music  once  the  Director  had  given  the  approval.  
 
Aneesh  Pradhan:  You  mentioned  that  you  are  a  member  of  the  Cine  Music  Association  (CMA).    Would  
you  be  paid  according  to  the  grade  given  to  you  by  the  CMA  and  would  the  grades  vary  according  to  
the  instruments  that  you  play?  
 
Pratap   Rath:   Yes,   we   would   be   paid   according   to   the   grades   we   had   received   in   the   CMA   audition,  
which  all  of  us  had  to  undergo.  The  auditions  would  be  conducted  by  a  panel  of  musicians  from  the  
CMA   board,   who   would   decide   the   grades   after   watching   the   level   of   performance   of   the   musician  
appearing  for  audition.  A  "graded"  musician  would  be  free  to  apply  for  upgradation,  in  relation  to  his  
progress,  his  experience  and  the  reputation  he  enjoyed  in  the  industry.  The  CMA  would  get  a  regular  
report   of   a   musician's   status   and   position   in   the   field,   which   would   also   be   one   of   the   deciding   factors  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  5  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
in  granting  the  grades.  He  would  then  be  upgraded  from  say  the  "A"  group  to  the  "Special"  Class,  to  the  
"Extra  Special"  Class  and  then  to  the  "Top"  Class  depending  on  his  caliber  and  progress  in  the  field.  
 
Aneesh   Pradhan:   Is   the   same   situation   prevalent   even   today?   Are   the   musicians   still   getting   paid  
according  to  the  grades  granted  to  them?  
 
Pratap  Rath:  The  style  of  working  has  changed  considerably  today.  Producers  are  not  concerned  with  
the  payments.  Often,  the  music  director  enters  a  contract  with  the  producer  to  compose  music  for  a  
particular   project   for   which   he   is   paid   a   lump   sum   fee   by   the   producer.   The   music   director   then  
contacts  the  musicians  and  engages  them  to  record.    The  recording  sessions  are  sometimes  held  at  his  
home  to  save  studio  costs  and  the  music  programming  is  also  done  later  use  software  available  today.    
I   feel   that   the   present   situation   of   music   directors   being   so   busy   today   and   their   being   involved  
simultaneously   in   many   different   projects   is   comparable   to   the   situation   in   a   grocery   store.     The  
quality  of  the  music  suffers.  In  case  the  music  director  wishes  to  use  
a   particular   instrument   in   his   music,   he   bargains   terms   with   the   musician,   naturally   disrespecting   the  
grades  and  norms  of  payment  laid  down  by  the  CMA.  
 
 
Aneesh  Pradhan:  Does  that  mean  that  musicians,  who  are  not  members  of  the  CMA,  can  also  play  in  
these  recordings?  
 
Pratap  Rath:  No.  Non-­‐  members  are  generally  not  allowed  to  play  in  recordings  even  today.  Usually  
an   inspector   from   the   CMA   is   present   in   these   recordings   to   supervise   this.   In   some   cases,   a   non-­‐
member   is   allowed   to   play   and   after   playing   for   a   few   such   recordings.     He   has   to   then   produce  
receipts   for   the   payments   he   has   received   for   these   recordings,   which   then   entitles   him   to   the  
membership.  
 
Aneesh   Pradhan:   Other   than   playing   for   films,   you   also   play   in   private   albums,   for   Indi-­‐pop   music  
recordings,   and   jingles.   What   are   the   differences   in   the   style   of   playing   or   the   overall   experience?  
What  is  expected  from  you  in  such  assignments?  
 
Pratap  Rath:  Although  we  are  musicians  from  the  yesteryears,  we  have  tried  to  mould  ourselves  to  
suit   the   contemporary   scene   music-­‐making   scene,   wherein   technology   plays   a   very   important   role.  
You  are  expected  to  play  on  a  click-­‐track  or  at  a  pre-­‐determined  tempo,  heard  on  headphones.  Many  
musicians  do  not  find  it  comfortable  doing  this  or  rather  do  not  want  to  adapt  themselves  to  computer  
technology.  Hence,  we  find  them  jobless,  despite  being  good  musicians.  I  feel  it  is  the  call  of  the  day.  
You  also  have  to  study  the  styles  of  contemporary  composers,  adopting  grooves  from  Western  music  
or   blending   elements   of   Western   and   Indian   music.   You   have   to   change   yourself   accordingly,   to   be  
able  to  make  a  living  as  a  musician.  
 
The   current   musician   has   become   more   of   a   sound   designer,   since   he   is   expected   to   decorate   and  
embellish   a   particular   groove   or   musical   framework   that   is   provided   by   the   composer.   Pardon   me   for  
saying  this,  but  sometimes  I  am  expected  to  play  a  traditional  musical  instrument  like  the  tabla  in  a  
totally  different  manner,  using  sticks,  mallets,  sometimes  even  the  hammer  on  the  syahi  of  the  tabla  or  
at   times   even   turning   the   dagga/   bayan   (the   left   drum)   upside   down.     I   am   expected   to   explore   my  
creativity  in  producing  different  sounds  or  certain  desired  sound  effects,  which  does  not  conform  to  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  6  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
the  traditional  style  and  may  not  even  be  approved  by  the  traditional  practitioners.  In  that  sense,  the  
present   time   is   an   “age   of   sounds”.   I   have   even   tried   playing   the   swarmandal   (autoharp)   or   the   ektara  
(single-­‐stringed  instrument)  in  a  completely  different  manner,  contrary  to  the  traditional  manner  of  
playing   these   instruments,   to   the   extent   that   you   cannot   make   out   that   the   sound   recorded   belongs   to  
a  particular  instrument.  Nevertheless,  the  new  sounds  used  have  been  acclaimed  widely  and  the  songs  
and  jingles  they  are  used  for  are  big  hits.  
 
Aneesh  Pradhan:  You  had  mentioned  that  there  would  be  many  musicians,  sometimes  even  up  to  a  
hundred,   playing   different   sections   together   in   a   recording,   and   some   of   them   would   be   reading  
notations.  Did  the  rhythm  players  write  and  read  notation  too?  
 
Pratap   Rath:   Not   in   the   earlier   recordings.   Although   all   musicians   whether   trained   in   Indian   or  
Western   music   would   use   their   systems   of   notation,   it   was   only   the   percussionists   who   would  
memorize   the   whole   rhythmic   sequence.   They   used   to   be   quite   sharp   and   alert   while   playing   the  
sequence,   remembering   the   bars   and   the   changes   in   patterns,   especially   since   the   songs   would   be  
recorded  live  with  all  musicians  playing  together  with  the  singers.  Even  if  one  of  the  musicians  played  
something   wrong,   all   performers   in   the   recording   were   expected   to   record   that   particular   song   or  
music  piece  from  the  beginning.  
 
Aneesh  Pradhan:  Would  a  single  conductor  conduct  the  orchestra?  
 
Pratap   Rath:   There   would   be   usually   two   conductors.   One   would   guide   the   singer   and   the   other  
would   guide   the   orchestra,   indicating   the   tempo   to   the   musicians.   The   music   director   would   sit   in   the  
monitoring  room  and  listen  to  the  recording  with  the  sound  engineer.  
 
Aneesh  Pradhan:  Did  the  rhythm  players  eventually  start  notating  their  parts?  
 
Pratap  Rath:  In  the  past  decade  or  so,  percussionists  have  started  notating  their  music.  I  would  say  
that   Amar   Haldipur   actually   started   insisting   that   we   do   this.     We   were   puzzled   at   first,   but   Amarji  
guided  us,  showing  us  signs  to  be  used  to  denote  rhythm  bars,  the  rests,  the  pick  up,  and  other  details.  
We  started  using  short  names  or  initials  for  the  syllables  used  in  a  particular  phrase.  For  example,  the  
term  CTR  is  used  to  indicate  Chota  Tirakita.  There  are  some  funny  names  for  the  different  thekas  used,  
such   as   LP   or   “Lakhpati”   theka.   This   term   is   used   to   indicate   the   prosperity   gained   by   musicians  
playing   this   Theka,   making   them   lakhpatis   (millionares).   There   are   thekas   dedicated   to   a   particular  
composer.   As   an   instance,   there   is   a   pattern   called   Dattaram   theka,   named   after   Dattaram   Wadkar,  
who  used  to  arrange  the  music  for  the  music  director  duo  Shankar-­‐Jaikishan.    He  also  gained  fame  as  a  
composer.   Or   the   Lalabhau   theka,   named   after   Lalabhau   Gangavane,   who   popularized   this   theka   on  
the  dholki.  
 
We   never   write   the   notation   for   the   whole   song,   except   in   certain   dance   sequences,   where   we   have   to  
play  the  Ghunghroo,  synchronizing  it  to  the  intricate  rhythmic  phrasing,  in  which  case  we  even  write  
down  the  taal  and  todas,  as  done  was  in  the  recent  film  “Hum  Dil  De  Chuke  Sanam”.  
 
Aneesh  Pradhan:  Do  you  use  the  same  system  of  notation  even  while  playing  percussive  instruments  
other  that  the  tabla  or  dholak?  
 

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  7  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
Pratap   Rath:   Yes,   the   same   system   can   be   used   as   reference   to   playing   different   instruments   in  
different   situations,   although   each   player   has   an   individual   style   of   notation.   Each   one   writes   in   the  
way  that  is  best  comprehended  by  him.  
 
Aneesh  Pradhan:  What  is  your  style  then?  
 
Pratap  Rath:  I  write  down  the  rhythm  bars  along  with  the  names  of  the  different  instruments  that  I  
would  be  using  at  different  points  in  the  song.  Sometimes  I  have  to  dub  a  different  instrument  on  a  
track  where  I  have  already  played,  since  that  is  the  contemporary  style  of  recording  music.  So,  I  do  not  
write   the   theka,   but   play   a   particular   pattern   after   listening   to   the   music   track   in   which   I   am   required  
to  play,  depending  upon  the  manner  in  which  the  music  inspires  me.  I  then  wait  for  the  approval  of  the  
composer  or  arranger.  I  may  play  a  different  instrument  on  the  same  track,  which  I  may  feel  would  
enrich  the  music  and  then  go  on  to  a  different  instrument  each  time.  This  adds  fine  layers  to  the  music  
giving   it   new   sound   dimensions.   Usually   the   arrangers   have   gracefully   accepted   my   sense   of   sound  
design.  
 
Aneesh   Pradhan:   Do   you   see   a   difference   in   approach   of   past   and   present   composers,   when   they  
articulate  their  requirements  about  the  theka  or  any  otherrhythm  patterns?  
 
Pratap   Rath:   The   earlier   composers   were   well-­‐trained   musicians.   They   would   recite   the   theka   or   a  
particular   pattern   along   with   the   accents   they   required.   No   musician   could   take   them   for   granted.  
Composers   like   R   D   Burman   or   Bappi   Lahiri   would   actually   play   the   instruments.   Pyarebhai   would  
play  the  duff,  at  times  to  show  what  was  expected  from  the  musician  in  a  particular  piece.  They  had  an  
acute  sense  of  tone  and  the  range  that  a  particular  instrument  could  be  played  in.  They  were  complete  
music  directors  in  that  sense.  
 
This   is   lacking   to   a   great   extent   in   modern   composers.   They   are   not   able   to   gauge   the   range   or   the  
pitch   in   which   some   specific   acoustic   instruments   would   sound   good.   Instruments   like   the   duff,  
whether  skin-­‐topped  or  topped  with  a  synthetic  material,  have  to  be  handled  and  played  in  a  specific  
way,   creating   a   balance   between   the   bass   and   the   treble   sounds.   While   playing   the   roll   pattern   on   the  
duff,  the  bass  has  to  be  reduced.    Likewise,  the  duff,  which  is  played  without  sticks,  has  to  be  tuned  to  a  
lower  pitch.  
 
Aneesh  Pradhan:  You  had  mentioned  to  me  sometime,  that  there  is  a  theka  named  Sargam….  
 
Pratap  Rath:  Yes,  that  is  a  theka  which  was  played  on  the  duff  in  the  song  “Dafliwale...”  from  the  Hindi  
film  “Sargam”,  which  gained  immense  popularity  thereafter.  Hence,  the  theka  is  named  after  the  film.  
We  write  the  initials  BB  or  KB  to  signify  Bhari  Bhari  or  Khali  Bhari  respectively,  indicating  divisions  of  
the  rhythm  cycle.  
 
Aneesh   Pradhan:   But   is   that   necessary   in   recordings   today,   considering   that   you   are   required   to   dub  
the  instruments  in  the  recordings?  Also,  do  you  record  your  instruments  for  the  song  in  segments,  or  
do  you  prefer  to  play  at  a  stretch?  
 
Pratap  Rath:  Musicians  many  a  time  insist  that  a  particular  pattern  they  have  played  in  a  segment  of  
the  song,  if  repeated  in  another  segment,  should  be  cut  and  pasted  to  save  their  time  and  the  task  of  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  8  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
playing   it   again.   I   think   this   is   being   dishonest   to   your   profession.   I   do   not   feel   it   appropriate   to   do   so.  
The  songs  these  days  are  so  short  that  you  can  finish  playing  the  whole  song  within  no  time  if  you  are  
meticulous  enough.  Playing  for  the  whole  song  is  also  important,  since  you  can  play  with  the  dynamics  
and   lend   different   textures   to   the   song   which   would   otherwise   be   lost,   making   it   sounding   too  
mechanical.   Increasingly,   the   musicians   complain   about   electronic   music   and   media   taking   over.     This  
sounds   illogical,   given   their   attitude   and   approach   towards   the   music   making   process.   Even   music  
directors  work  in  this  manner,  thus  making  the  music  insipid  in  the  process.  
I   personally   do   not   follow   this   trend.     I   play   even   the   smallest   of   instruments   like   the   khanjiri   at   a  
stretch  in  a  song,  changing  the  tone  intermittently.  Each  instrument,  small  or  big,  has  its  role  to  play  
and  its  presence  is  felt  when  listening  to  the  song  in  totality.  
 
There  is  also  a  current  trend  of  playing  DT  or  double  track,  wherein  the  musician  is  expected  to  play  
the   same   pattern   twice   on   the   same   track.   It   is   actually   a   strategy   to   save   on   money.   Instead   of  
engaging  different  players  for  the  same  instrument,  the  same  musician  is  expected  to  play  a  particular  
instrument   as   many   times   as   necessary.   When   asked   by   a   sound   engineer   about   what   I   thought   of   the  
concept   of   playing   double   tracks,   I   said   I   did   not   agree   with   the   idea.   The   least   that   can   be   done   while  
playing  DT  is  that  the  instrument  be  played  differently  each  time  so  that  it  would  seem  as  if  different  
hands   are   playing   the   same   instrument,   since   that   was   one   of   the   intentions   for   having   different  
musicians  play  different  sets  of  one  particular  instrument  in  unison.  When  it  is  insisted  that  I  play  a  
similar   pattern   on   multiple   tracks   of   the   same   instrument,   I   make   it   a   point   to   play   differently   each  
time,   sometimes   changing   positions   on   the   instrument   trying   to   make   the   same   instrument   sound  
slightly  different  each  time.    This  is  to  create  multiple  sound  layers  on  the  same  track.  
 
 
Aneesh  Pradhan:  Since  you  have  been  playing  for  so  many  years,  with  different  people  for  a  variety  
of  projects,  would  you  like  to  mention  certain  names  prominently,  of  music  directors  who  you  have  
worked  with  or  films  and  albums  that  you  have  played  in?  
 
Pratap   Rath:   I   cannot   quote   a   particular   name   since   there   are   many   composers   who   I   work   with   and  
it  would  be  unfair  to  quote  only  a  few  names.  
 
I   would   like   to   name   Amar   Haldipur,   who   I   have   had   the   opportunity   of   working   with   for   around  
seventeen   years,   who   I   personally   feel   is   one   of   the   best   as   far   as   arranging   music   is   concerned.   In  
those  days,  there  were  four  leading  arrangers,  Amar  Haldipur,  Kishor  Sharma,  Uttam  Singh  and  Gyan  
Verma.  Amarji  was  considered  lucky  in  getting  work  from  the  Music  Directors,  although  it  should  be  
rightly   attributed   to   his   different   style   of   working.   Although   he   used   to   get   irritated   at   times,   he   was   a  
perfectionist  in  the  real  sense.  
 
As   I   mentioned   earlier,   I   worked   a   lot   with   Laxmikant-­‐   Pyarelal.   I   also   played   in   R   D   Burman’s  
orchestra,   although   not   as   much,   since   he   has   his   own   set   of   percussionists.   I   was   also   fortunate   to  
work  with  the  music  director  Khayyam.  
 
Aneesh  Pradhan:  Which  composers  do  you  presently  work  with?  
 
Pratap  Rath:  I  work  with  almost  all  of  the  contemporary  music  directors.  I  consider  it  my  privilege  to  
be   working   with   them   since   they   are   extremely   talented.   They   work   with   new   ideas.   They   too   respect  

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  9  of  10  
 
 UNDERSCORE RECORDS PVT LTD
www.UnderscoreRecords.com
39-B, MIG Flats, Motia Khan, Paharganj
New Delhi 110055, INDIA
Phone: +91.11.2353 6573
                  Telfax: +91.11.2354 6802
my   seniority   as   a   musician   and   take   good   care   of   my   needs.   I   am   quite   friendly   with   them   and   I   never  
try  demonstrating  my  status  in  the  field.  I  always  ask  them  not  to  hesitate  in  instructing  me  on  what  
they  expect  from  me.  This  makes  them  comfortable  in  suggesting  something  they  want  me  to  play  or  
in   asking   me   to   alter   a   particular   thing   I   have   played,   according   to   what   they   perceive,   which   they  
would   otherwise   feel   awkward   to   convey.   Many   times,   especially   while   playing   in   jingles,   the  
composer  or  arranger  gives  me  the  liberty  of  playing  whatever  I  consider  would  decorate  a  piece  of  
music  aptly.  
 
 
Aneesh  Pradhan:  Despite  your  extremely  busy  schedule  playing  recordings,  you  also  play  in  concerts.  
What   is   the   difference   in   playing   for   recordings   and   in   concerts?   Do   you   enjoy   playing   in   both   the  
situations  equally?  
 
Pratap   Rath:   I   rarely   play   in   live   concerts,   since   I   am   not   comfortable   with   some   of   the   things   that  
happen  there.  Many  times,  there  are  no  rehearsals  and  you  are  expected  to  play  in  a  concert  without  
having  an  idea  of  what  should  be  played.  In  other  situations,  the  musicians  have  to  go  through  many  
rehearsals,   but   the   singer   just   arrives   and   tries   a   single   song   with   them,   displaying   a   very   casual  
attitude   about   rehearsing   the   whole   sequence.   After   all   this,   the   singers   and   dancers   enjoy   a  
prominent   place   on   stage   and   the   musicians   are   relegated   to   the   background.   Due   to   lack   of  
rehearsals,   the   singers   sometimes   even   do   not   remember   their   parts   and   sequences   and   when   they  
slip  up  on  stage,  they  just  frown  at  the  musicians  as  if  it  is  the  musicians  who  have  messed  up.  I  feel  
insulted   in   these   situations.   When   I   play   on   stage   my   aim   is   to   try   and   make   the   main   performers   and  
singers  as  comfortable  as  possible,  sticking  to  my  role  as  an  accompanying  musician,  never  trying  to  
overshadow   the   main   performer   at   any   point   of   time.   I   feel   that   is   how   it   should   be.   I   prefer   receiving  
appreciation  from  the  singer  to  the  applause  from  the  audience.  Since  the  singers  do  not  understand  
this  aspect,  I  feel  discouraged  when  it  comes  to  playing  for  concerts.  
 
Aneesh  Pradhan:  What  are  your  aspirations  for  the  future?    Would  you  like  to  exploit  your  talent  as  a  
musician   by   bringing   out   an   album   or   is   there   something   else   that   you   may   have   longed   to   do   earlier,  
but  were  not  able  to  fulfill  it?  
 
Pratap   Rath:   I   am   keen   to   release   an   album,   which   would   carry   recordings   of   lesser-­‐known  
instruments  -­‐  especially  folk  -­‐  that  I  have  experimented  with.    I  would  like  to  demonstrate  different  
styles   of   playing   these   instruments,   along   with   providing   information   pertaining   to   these,   which   I   feel  
would  work  as  a  document  to  aspiring  musicians  in  the  future.  I  wish  to  exploit  media  like  the  Internet  
to  do  so.  
 
Aneesh  Pradhan:  Of  course,  it  will  be  a  great  help  to  students  and  I  am  sure  your  fans  and  admirers  
will  certainly  appreciate  this.  Our  best  wishes  to  you.  
 
Pratap   Rath:   I   too   would   like   to   thank   Underscore   Records   for   considering   me   competent   for   this  
interview.  
 
Aneesh  Pradhan:  Thanks,  but  it  is  our  duty  to  document  these  experiences.  
 

All  rights  reserved.  No  part  of  this  work  may  be  reproduced  or  transmitted,  in  any  form  or  by  any  means,  electronic,    
mechanical,  photocopying,  recording  or  otherwise,  without  the  prior  permission  of  the  copyright  owner/author.  The  author    
asserts  the  moral  right  to  be  identified  as  the  author  of  this  work.      Page  10  of  10