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hbajpai

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Reply with quote  #1 
Hi folks so, it's been a while on the some traditional posts. So here we go.

Lately, I have been playing a few relas. The whole interest started when about 4 weeks ago someone from here contacted me about a particular rela. The next thing you know 3 other people from here contacted me about the same rela. I was wondering if there was chatter behind my back -how Sherlock Holmes like- :-), but it was all a co-incidence. :-(

Anyway, I wont talk about those relas here, but a different one. I really don't know who composed this rela below. I have herd two prominent variations. Farrukabad and Ajrada. I should not call them variations, but I have herd artists belonging to Farrukabad and Ajrada play this same rela, but a little differently.

The best master that I have ever herd play this is Ustad Amir Hussain Khan Saheb.

The example from Ajrada Gharana is Ustad Akram Khan.

Variation 1 - Read it as 123, 123, 123, 123
DhaSSDha | GhidNagDhineTag | DhaSSDha | GhidNagDhineTag |
DhaTirGhidNag |DhineTagDhaTir | GhidNagDhaTir | GhidNagDhineTag |
DhaTirGhidNag | DhineTagDhineTag| DhaTirGhidNag | DhineTagDhineTag|
DhaTirGhidNag |DhineTagDhaTir | GhidNagDhaTir | GhidNagTineTag | + KHALI

Book reference: Pdt. Sudhir Mainkar "Aesthetics of Tabla"

Variation 2 - Read it as 123, 123, 123, 123
DhaSSDha | GhidNagDhineTag | TakSSDha | GhidNagDhineTag |
DhaTirGhidNag |DhineTagDhaTir | GhidNagDhaTir | GhidNagDhineTag |
DhaTiraKitTak | DhirDhirKitTak | DhaTiraKitTak | DhirDhirKitTak |
DhaTirGhidNag |DhineTagDhaTir | GhidNagDhaTir | GhidNagTineTag | + KHALI

Reference: There was a youtube recording, but it appears like the poster removed it just recently :-(. I have one audio CD of Ustad Akram Khan and I will see if it is in there.

Variation 2 = Tak within the 3rd beat is - middle finger sharp, dead center of the shai at high speeds. At slow speeds, try your own variations for Tak as Chipki or a sticky kinar or Maindan or full hand closed on the shai.

Enjoy!
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