BLOG VII.

In this Blog I intend to give you my interpretation of the word NIKAS.

The use of the word NIKAS is very often used by Tabliyas,but if asked to explain,one gets a very hazy explanation.Recently I was reading a new book written on tabla bandishes where the author says in the preamble that he is giving the notation with NIKAS.I searched for the NIKAS but found only the notations.

I am of the view that NIKAS cannot be written down but has to be learnt from a GURU.Also it cannot be learnt from recordings or videos,though a talented student can imagine Nikas of a few phrases played.

Often the Guru does not pass on the Nikas willingly.You have to earn his favour,question him and watch his finger movements.I,once studied with a well known tabaliya for one year.He taught me only by playing on the bayan.

The Bandishes are written in Devnagri script.It has no provision to tell you which phrases are to be played in Band or Khula Baaj. It cannot tell you which notes are to be played with heavy strokes.It cannot tell you the lilt in a phrase.It cannot tell you which fingers to use to facilitate speedy execution of the phrase.It cannot tell you which notes are not to be played while executing atidrut laya.It cannot tell you what transformation can take place in a phrase when you transit to atidrut laya.

I have enumerated the NIKAS only on Dayan. NIKAS on Bayan is ,in my view,more important.

Which finger ( fore or middle) to use.Which thap to produce sound Ka  .which location on the syahi or kinar to use for the thap,when to use an open stroke on maidan to produce phrase Ghdan,where to use band or khula stroke,when to use ghisit,when to use ghumak,etc.It will be too exhaustive to give examples.This is just to impress upon you the importance of learning NIKAS from a GURU.

I will try to give examples of each of the cases mentioned above.

Phrases to be played with Band or khula baaj:

Teentaal gat in chatushra jati.

Dingdinagin ding dinagin dinagin,ding dinagin dinagin dingdinagin,( all na to be played khula )

Ting tinagin tatrkttak trkttak dhirdhirkit dha kitak dhirdhirkit dha kitak dhirdhirkit dha.( na to be played Band )

Phrases to be played with heavy stroke:

Teentaal gat in teeshra jati.

Takit takit takdingtak tak dingtak titkatan dhatrak dhikit katgdgn ghintaran ghintaran,

Tak tinagin taktinagin taktina tagetitkatan, dhirdhirkat dhirdhirkitatak takdan dha, TA (dha)

( TA to be played with heavy stroke called THAP as used in pakhawaj )

Lilt in phrases:

Classic gat which is an excellent example of NIKAS.

A combination of teeshra and mishra jati.

MAYUR GAT ( dance of a peacock )

Katit katan…. Dhatuna katta dha,

Teeta dheeta dhatitakatgadigandha,trakdhet taginnadha,

Titakatadhit dhatitakatgadigandha,

Tita kataa dhitaa dhatitakatgadigandha,

Tita kata dhit dhatitkatgadigandha.

(the last but one line has a lilt as shown by kataa dhitaa phrases.This gaat has also plenty variations in laya on each line.This gat cannot be mastered by reading a script.Perhaps a talented student can reproduce it by listening toa recording.)

Another good example is presentation of PESHKAR.The script can be reproduced verbatim.But while rendering there is a distinct lilt where some phrases are deliberately delayed by a fraction of time.Otherwise it sounds pedestrian.

Which fingers to use to facilitate speedy execution:

A simple example is playing of the phrase tirakit…..tirakittirakittirakit.

Single tirakit is played: ti-middle finger,  ra-fore finger, ki-stroke on bayan, t—middfle and ring finger together.

To repeat tirakit as in tirakittirakit etc. t is not produced with a combination of middle and ring finger but only with ring finger.You will find it impossible to repeat tirakit by using configuration  for  single tirakit.

Another simple example is use of the phrase tita.The conventional way is use of middle finger for ti and forefinger for ta.But in atidrut phrases on some occasions it is convenient to produce tita  in reverse way. ti by forefinger and ta by middle finger.

Transformation in phrase from vilampit to atidrut level:          

Vilampit laya- dha tirkt dhage tag dingdinagin

Atidrut laya-dha tirkt dha t ding nanagin

                                Or

Dha tirkt dha t dindidigin.

(Note the phrase dindidigin was used by Ustaad Thirakwa in many of the compositions )

There could be many other cases of use of NIKAS.I would welcome examples from readers.

To understand NIKAS in all its profiles,correct PADHANT is very important.I would say that padhant (reciting with proper intonation,gaps and emphasis) is necessary even before you start playing the bandish. It also helps to play the phrases without frequent reading of written script.

Now a Gat-toda

Dhagetita Tagetita Nagdhin Tagetita,

Kaddhatita Dhagetita Nagdhin Tagetita,

Tagetita Kaddhet dhiTitkita GhentaraSn dhet Taginna Dha,

Ghdan……….S.tirakitaTakta…S ghe Snta Dha

Ghdan………S.tirakitaTakta……S…gheSntaDha

Ghdan……S….tirakitaTakta…S……gheSntaDha

Each Capital letter represents a beat. S represents a gap.

Thus we have:

DTNT,KDNT,TKTGSTD,GSTSSD,GSTSSD,GSTSSD… Total 33 beats.

Suresh Mulgaonkar,

Sunnyvale Cal.

sureshmulgaonkar@gmail.com

BLOG  VI

Difference between RAV and RELA

Many tabla players do not make distinction between a RAV and a RELA.

I wish to discuss characteristics of these two distinctly different categories.

RAV:

RAV takes a simple phrase and embellishes it with intricate bols but maintaining the original structure of a simple phrase. Take for example simple phrases of teentaal. DHA  DHIN  DHIN  DHA. This gets converted to a RAV-- DHATIRKTTAK  DHINTIRKTTAK  DHINTIRKTTAK  DHATIRKTTAK .This phrase however can be converted to RELA also by using DHATIRKTTAK (say A) DHINTIRKTTAK ( say B ).As a RELA this can be played as AB AB AB AB…BA BA BA BA..AB AB AB BA,AAB AAB AB  etc. Many more permutations can be done.

On the FACE BOOK a CHALAN/RAV by Nitin Mitta has been posted.He plays it in RAV form. It will be interesting to see how it is developed from a simple chalan.

The chalan is:

Dha S Dha DhinaKe dha S dhiNake Dhage Tin

The Capital letters   D D D K S N D T- eight matras indicate the beats.

This gets converted to an intermediate chalan:

Dhategin dhategin dhin dhategin dhategin dhin dhategin dhategin tingin

This gets converted into final RAV:

Dhatrkttak dhatrkttak dingnag dhatrkttak dhatrkttak dingnag dhatrkttak dhatirkttak tintirkttak

Here also one can pick up few phrases from the RAV and convert to RELA:

Dhatrkttak tintirkttak

Dhatirkttak dingnag

Thus,a Rav can be developed from a longish chalan or a kayda.In some cases a RELA can be developed from a RAV by using two or three phrases from the RAV..

My friend,Pt. Bapu Patwardhan (Thirakwa shagird) is an excellent performer and a thinker/composer.He has developed a number of interesting RAVs from Kaydas.

I am giving three examples:

Kayda(chatushra)    ghinatita ghin dhage tuna ghina tita ghina dhatrkt dhagenatit ghina dhage tuna kata.

RAV: ghidnagtrkt gadigannagetit tingnag ghidnagtitakatgadigana dhatrktdhaghidnagtrkt gadiginanagetit kidnagttrkt.

Kayda: (teeshra) dha dha dha ghin dha ghin dhatraka dhikit ghintunagin,dhatraka dhikit ghin dha ghin dhatraka dhikit ghin tuna gin.

RAV: dhad dhad dhad ghidnagdhatirkttak dhatrkttrkttak ghidnagtunakittak,dhatrkttrkttak ghidnagdhatrkttak dhatrkttrkttak ghidnag tuna kittak

Kayda:(Chatushra)  dhakddhatit dhage titakddhatit dhage kaddhatit dhagetit dhagetraka tunagina

RAV: dha k-dhidhirkit dhage tirkttakdhidhirkit dhage k-dhirdhirkit dhatirkttak dhatitghidnagtunaki

RELA:

RELA can be compared to a repetitive embroidery on a sari border,or to a design of a border on the doorway of a moghul monument such as Tajmahal.It necessarily requires two or three phrases only.As discussed earlier under RAV, the RELA is developed by simple permutations and combinations.Earlier I have given examples of RELAS which could be developed from a RAV.

However there are RELAS which are independent of any crutches.forexample:

A mishra jati RELA: tirkttak  taatrkttak.

Tishra jati RELA: taa s dhatita ghidnag dingnag dhatitghidnag

Dingin tagdin nanagin

Dingin tak tak dinagin

CONCLUSIONS;

RELA can be developed from a suitable RAV.

RELA can be independent of a RAV

RELA has two or three phrases and is developed with permutations and combinations.

RAV is developed from a CHALAN , THEKA or a KAYDA

Rav can be developed like a kayda .

Not all Kaydas  can be converted to Ravs because the kayda itself is designed incorporating a RAV. For example: dhatirkttak takdhatrkt dhatitghidnag tunakidnag

The last phrase dhatit ghidnag tunakidnag itself is a RAV/RELA developed from a phrase—dhatgina tunagin.

I hope this explanation does not confuse you more.

Suresh Mulgaonkar

Sunnyvale, Cal.