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Betaji

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Are peshkar kaidas relevant to the Farrukhabad gharna? If so, please provide
some examples or a link. Thanks in advance.
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Neogeotoo

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pbercker

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Quote:
Originally Posted by "Betaji"
Are peshkar kaidas relevant to the Farrukhabad gharna? If so, please provide
some examples or a link. Thanks in advance.
See the extensive preview in "Tabla, for Advanced Students" By Sadanand Naimpalli ...
Quote:
Basically, there are two forms of Peshkaars viz:- Delhi Gharana Peshkaars and Peshkaar as played in the Farrukhabaad and Lucknow or Poorab traditions. There is also a Peshkaar being played by followers of the Ajrada Gharana. This is in most respects akin to the Delhi Peshkaar, but in Dedhi or 1 ½ times the Laya of the Taal. The popularity of the Peshkaar of the Farrukhabaad / Poorab Gharanas has actually been attributed to the genius of Ustad Ahmedjaan Thirkawa. In this Peshkaar, up to the Khaali, i.e. the 9th matra of Teen Taal, the Peshkaar is developed by using the phrases outlined in the theme. After the Khaali, up to the following Sum, a different set of phrases / jaatis are used, thereby generating a sense of pleasant surprise and suspense among the listeners. This is unthinkable in the development of a Kaida. The Farrukhabaad / Poorab Peshkaar is the most popular one and also has a great deal of aesthetic appeal. The other Peshkaar comprises of the bols as obtained in the Delhi Gharana style of playing, i.e. with two fingers only.
http://books.google.com/books?id=VQIA21OCwKsC&pg=PA8&lr=&source=gbs_toc_r&cad=4#v=onepage&q&f=false

There are several examples of peshkars (Farukhabad, Delhi) on the link above.

But I'm not sure about the "peshkar kaida" as such, but reading further in Naimpalli, he writes the following which may be relevant to your question:
Quote:
The style of playing this Peshkaar has been popularized by Ustad Ahmedjaan Thirkawa. The phrases of the Peshkaar are a straight lift from the bols of the Theka eg, DHIN SKD’, DHIN DHA, DHA SKD’, DHIN DHIN, DHA DHA, TIN TA. In the Farrukhabaad / Poorab Peshkaar, one is at a liberty to make a foray into a Kaida or a Rela if it suits the occasion and the temperament of the soloist. These sorts of diversions serve as a pleasant experience for the listener, at the same time giving him an idea of how good the Tabla player is. There are many instances where the knowledgeable listeners have walked out after being dissatisfied by the treatment meted out to the Peshkaar. The starting phrase DHE SKD’ is actually played as “DHIN SKD’
The first bolded sentence suggest perhaps that peshkar kaidas are relevant in the Farukhabad gharana ... but the second bolded sentence also suggests that one must be careful in how one treats the peshkar !!



pb

__________________
My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.
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