It is perfectally acceptable to use a Longfellow text translated into Persian. Many texts by various poets set to ghazal, thumri, and even dhrupad forms of vocal composition in Hindustani classical music have been in Persian. Longfellow has translated Persian poetry into English, and such would also be appropriate. Any Longfellow poem in English would be suitable depending on its use by the composer. As far as tabla notation is concerned, it is not possible to notate the actual strokes that are played on the tabla with any kind of notation other than konakkol or bols (the spoken syllabic representation of the stroke or combination of strokes played). However, the composer can choose a time signature and, with research, determine the North Indian equivalent and compose according to it's rhythmic shape. For example, the 6/8 piece that we did this year (Tagore's setting of Longfellow's "A Psalm of Life") is in a tala (rhythmic cycle) called 'dadra'. The bols for this tala are "Dha Tin Na Dha Dhin Na" played evenly for a 6/8. I took this tala and played it along with improvised sections of ornamentation and embellishment in 6/8 to accompany "Psalm of Life." Or, of course, the composer can notate in Western notation and the tabla player could play what has been written...However, this would highly diminish the very nature and function of tabla accompaniment which is meant to be improvised according to the rhythmic shape and not be bound by a pre-composed accompaniment pattern. Typically the tabla player stays within the bounds of the tala or time signature but tailors his accompaniment according to the melodic and emotional qualities of the composition.

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