Music in Tabla: Thirakwa's Legacy

After a long time I felt the necessity to return to my blog. I have been active on the Facebook for the last three years with a fair interest shown by Tabla lovers. But this subject is going to be a little exhaustive. I therefore decided to approach my friends through my Blog.

Note: discussions in this Blog are only applicable to Solo playing. Requirements of accompaniment need a different approach which will be a subject of my next blog.

The Subject: Musical notes on Tabla, Ustad Thirakwa's Legacy.

In August 2017, esteemed publisher Popular Prakashan has published a book accompanied by a DVD containing a 2 hour interview of Pt Bapu Patwardhan(incidentally, I am the interviewer), explaining and demonstrating the above subject. The book and interview is in Marathi. I thought, it might be useful to give an overview of the subject in English for non-Marathi Lovers of Tabla.

Name of the Book: Tablyacha Antarnaad.

Writer: Pandit Bapu Patwardhan, 81, Shagird:Ustaad Ahemadjan Thirakwa.

Interviewer: Suresh Mulgaonkar, 86, Shagird:Ustaad Amir Hussein Khan.

Publisher: Popular Prakashan Pvt. Ltd,301 Mahalaxmi Chambers,22 Bhulabhai Desai Road, Mumbai 400026

Price in India: Rs. 200, includes DVD.

I was involved in my engineering  profession till year 2002. By this time I had given up Tabla. In 2003, I accidentally met Bapu in Satara where an anniversary of Thirakwa was being celebrated and Bapu was performing. I had no knowledge of Bapu or any other participant.I learnt with Ustaad Amir Hussein around 1954-56, but as an Engineer I got engaged in my manufacturing activity.By 2002, I was free of my profession and wanted to get back to Music. Apparently Bapu had heard of me as a Tabla Player as of 1954. When he asked me about my playing I had to admit that I had given up because I could not play a Kayda for more than 2 minutes as my forearm would tighten up. He assured me that he can help me by adopting Ustaad Thirakwa's technique, which he did and in 2006, I played a solo for 120 minutes. 

Thirakwa's rendering is all about playing with ease with minimum body movements and many other techniques which Bapu has explained and demonstrated in his book. He hardly had any authentic Shagirds. I do not think Thirakwa was aware of his attributes, or else he would have or could have imparted these to his genuine students.Though Bapu had a short stint with the Ustaad, he was not afraid to ask explanations and on many occasions was able to play certain Bols/Compositions with Ustaad's Nikas through observation and not instructions. Devices which Thirakwa used, enabled him to perform on Bombay television at the age 90.

Bapu was an accomplished Accompanist and a Solo player in his young age. Because of money problems, he had to work as an Artisan with a Railway Workshop. At the age of 42, he was nudged to take a studentship at a class of ten students conducted by Thirakwa as a visiting Professor, sponsored by The National Centre for Performing Arts. I am sure Ustaad's intention was just to earn an attractive remuneration and nothing more. He even got students to pay him Rs 100 apiece for tying a Ganda and declaring them as Shagirds.

Bapu realised that this was a good opportunity to learn Thirakwa's style and technique and he started questioning the Ustaad on everything to the annoyance of the Ustaad. Bapu was scolded, at times abused, and even thrown out as a precocious child but Bapu stood his ground. In the process he earned the respect of the Master and was able to imbibe his technique. The class was short-lived, Thirakwa died shortly after his assignment.

Bapu had no intentions of giving up his job which by then was a senior position in the Railways. Yet he decided to take a premature retirement and concentrated all his time in unfolding his style.

As we know Thirakwa's only Guru was Ustaad Munir Khan. However Munir Khan had the fortune of learning from many Gurus, He was therefore trained in Banda (Delhi) and Khula (Lucknow) Baaj and also their offshoots such as Ajrada and Farukhabad. Thirakwa mastered all these Gharanas and did not feel the need to look for another Guru. When he was asked whether he learnt from Nathan Khan of Delhi, he said "Why should I? I Iistened and absorbed" (Suna aur samajh liya).

Munir Khan had many well accomplished  Shagirds. But Thirakwa's playing was conspicuously different from his peers. He was acknowledged as the Emperor of Tabla by all Gharanas. Did he develop his unique style consciously? He would always say that he played what his Guru taught him. Unfortunately there is no recording of Munir Khan to verify this. Thirakwa would always stress that Munir's diction (Zaban) was SARASOTI (Saraswati, Indian goddess of learning). It is possible that he was influenced by vocal and instrumental music in his family. His father was a Sarangiya, he himself learnt Vocal and was possibly expected to sing rather than play Tabla. His concentration on maintaining Sur in Tabla may be a subconscious effort. Some of his remarks in Urdu throw some light on his thought process.

1. "Tablese pyar karna sikho to wo bolega. Mar pit karoge to sar dard dega".(Handle Tabla with love. If you bang it ,it will give you head ache)
2. "Tabla bajanewale ke teen prakar hain. Bahubaliye, Hisabiye, Tabaliye".(three types of players: strong armed who hammer the Tabla, mathematicians who manipulate beats, authentic Tabla players who play with sensibility)

It is interesting to note that Tabla is arguably the only percussion instrument which can be tuned to merge with a Tanpura note. An open 'tin' note on Tabla denotes Shadja (Sa). An open 'tun' note denotes Rishabh (Re). Use of these two notes will maintain a Gunjan (drone) in your production. To enjoy the open sound of a struck note it is necessary that there should be a minute interval between the open note and a successive note. In a fast tempo execution there is no room for an open note to reverberate because the next note dampens it. Therefore certain Kayda compositions and Gat compositions must be played at a suitable speed at which open notes get a chance to establish themselves. This brings us to the ideal pitch of Dayan and Bayan for a solo performance. Thirakwa used pitches around G sharp for his Solos. Pitches around G sharp are suitable for execution of all open strokes such as ding ding, dinagina dingtak, ghadan, tintirakita, dingnag, etc. Pitches around C sharp are not suitable because these open sounds are difficult to produce. Nana, Tirakit, Dhirdhir, Taktak, etc. are suitable for a high pitch. High pitch Tablas are suitable for high speed but Nikal is superficial. Modern audio equipment is a boon to high pitch players.

Usually Kaydas are practiced as a Dohra, Ek Viram, Do Viram, 3 3 2, etc. combinations.

Thirakwa hardly  used this approach. He used lout palat, bol baat, bol banav while executing Kaydas. (This aspect is demonstrated by Bapu in the DVD and explained in the book). He believed in playing a Kayda with these unusual variations and exited with a short teehai. In his performances, Kaydas were played for  no more than six/seven avartans and a teehai would cover half an Avartan. The exit may not be with a teehai but some other attractive variation. It is not possible to give here all the various ways (these are played in the DVD). but one example is given here.

"Dhatraka Dhikitgina Dhatigina Tunagina played at  4X speed and ended with "Dha  Traka  Dhikita  Gina  Dhati  Gina Tuna Gina"  played at 1X speed (no teehai).

Thirakwa did not believe in Lamchad (long) teehai. He abhorred mathematical calculations. He believed in riyaz at speeds 'one' , 'two', 'four'., 'eight', etc. He did not encourage moving from speed one to four in a slider fashion. Firstly, this process is detrimental to keeping a steady speed of theka while accompanying. Secondly, the Nikal at speed one and two is elementary as per the alphabets but at four speed Nikas comes into picture. Fingers can be interchanged, some alphabets may be dropped, a bol may be totally replaced by another to give an impression that nothing is changed. No two players will necessarily have the same Nikas. Old timers never parted with this knowledge. Even Thirakwa would say "Mere hath dekho our samajh lo" (look at my hands and grasp what I am doing).

An example of Thirakwa's favorite Rela:

"Dhage Tirakita Dhage Tag Dingdinagina"

gets converted to:

"Dhatirakitdhatdindidigin"

The concept of Sthanbhed, Varnabhed, Langar, Bol Bant, Bol Banav, Lout Palat, pitch of Bayan, Dab Chak on Baya, use of Khula stroke on Bayan, and many more. All these are covered in the book and DVD.

I am giving a link of a private recording of Thirakwa,played on the 60th Birthday of Master Krishnarao, a legendary singer and composer from Maharashtra. I selected and edited it from my collection and uploaded it to YouTube specially for this blog.

The  Lehra player was an apprentice who had no knowledge of Lehra. Thirakwa spends nearly 20 awartans with him to get grooved (I have cut these out). The Bayan was high pitched, which Thirakwa would never use for a public performance. Yet, even with these handicaps, he has given one of his best performances.

What to look for:

• He opens up with a teeshra kayda "Ghina dhagena dhatraka dhagena dhatraka dhati dhagena tunagina". Note the speed, which is suitable for the Kayda. You should pay attention to other players who play this kayda at a supersonic speed destroying beauty of this composition. Also notice the short teehai.
• There are five Relas where he has maintained Soor. Use of "didigin" in place of "dindinagina", a light touch on "tirakita" and a continuous drone is maintained. He does not stay on one variation for more than one awartan and ends with a short teehai.
• Kayda "dhatirakitatak takdhatirakita dhatita ghidanag tuna kidanag" and its conversion to Rav.
• Delhi Kayda "dhatita dhatita dhadhatita dhadhatuna tita" modified to maintain Soor. 
• Use of "Dhagena", a pause after "dha (dha a_a_ dhatita dhadhatita)" etc. "Ta" of "dhatita" played light, almost sounding "dhatitum".

Bapu feels that unless Thirakwa's techniques are explained and recorded, they will be lost over a period of time, and I wholeheartedly agree with him. By associating myself with his project and by virtue of the numerous discussions we have had and the demonstrations he has given me, I feel I am immensely richer. 

TABLA MUSINGS  BLOG  X  CONTD FROM BLOG  IX  DISCRIPTIONS AND EXAMPLES OF GATS

In the last Blog no  IX,I had discussed the definition and classification of Gats as I see it.It may defer from accepted approach to the definition.But it should be debated.

I am now giving descriptions of each classification and sub classification of Gats.I have relied heavily on Pt Arvind Mulgaonkar’s Paper read at ITC/SRA workshop mentioned in Blog IX.

Main classification: (My thought process).

GAT-KAYDA

It is a Gat which can be played by itself in one or two avartaans.It can be expanded as a kayda (This is an anomaly,because we have already stated that Gats cannot be altered or expanded.But this is one major exception).

Example:composer Khalifa Ustd Abid Hussein Khan of Lucknow Gharana

Dha dha dha ghidnaag dhingin,dhagetrak dhinghidnaagding nanakata,

Dha dha ghidnaag dinagin dhagetrak,dhinghidnagdin,nanakata tinakina,

Ta ta ta  kidnaag tingin…..Khali

This Gat can easily be expanded as a Kayda.

GATANG RELA:

It is a Gat which has germs of a rela embedded in it. The rela phrases can be extracted and expanded.

Example:

Dhin ghidnag tak ghidnag dhinghidnag tirakittak,

Dhingin dhingin tak tak dhinghidnag tirakittak,

Ta tin takdan tinagin tak tak tirakit

Dha   taa     dhina ghidnag

First three lines are teeshra jati,4^th line is chatushra jati.

First two lines can be comfortably developed as a rela.

In fact Utd Thirakwa used to play his favorite rela:

Dhingin tak tak  dhinagin ,dhingin dhagetrak tinagina,

Dhinagin dhinagin taktak dhingin dhagetraka tinagin

One can see the similarity in these two compositions.

GAT-TODA:

This is a gat which ends up with a teehai.

Example:

Dhagetit tagetit nagdhin nagetit

Kaddhatit dhagetit nagdin nagetit

Dhagetit kaddhin dhikit kita ghentaran dhettaginna dha,

Ghdan    tirkittakta         ghenta dha

Ghdan   tirkittakta         ghenta dha

Ghdan   tirkittakta        ghenta dha

GAT-PARAN

Frankly, I am not familiar with this class of Gat. Those who want to get some information may read Pt Mainkar’s book-Aesthetics of Tabla,page 145,and appendix 96

I must admit that I have not been able to comprehend the explanation given.

GAT (plain)

I have said in the previous blog that Gats which cannot be classified in the above classes could fall into this category.

Example:

Dhinna dhinna tak takit takit tak dhatrak dhjikit kat dhaddanna trakadhet,dhatikat tita dha trakdhet taginna dha gheghenanakat ?

One can see that this composition does not fall into any of the above classifications’

I have suggested in previous blog a sub classification or a name describing the nature of the Gat,these are:

Fard,Darjedaar,Manjdhar,Prapaat,Tripally,Choupalli,Do mukhi,Dudhari,Tidhari,Choudhari Gend Uchal,Anaghat,Sab-akaal,Mishra,Mayur and many more.I have already said that Arvind gives 16 varieties but Nikhilbabu/Nayan have 50  varieties.

It will be a very lengthy blog if I have to give examples of all the sub-classifications above. I will give you a few which I like:

GEND UCHAL GAT

This gat is composed to indicate sound produced by the bouncing of a ball ( gend=ball,uchal=bounce),composer Haji Vilayat Ali.

Dhagat takita dhatirakitatak tet dhirdhirkitataktet dhin takdhin dhin dhin na na dhagetirakit gadi gina nage tita ghina kata gaddi tita dhagena dhatraka kata gadigana takdan  tun tun nagna nagna nagetirakita,

Dhagat takita dhatirakitataktet dhir dhir kitataktet dhin.

The underlined part is in teeshra jati,rest in chatushra jati.

DO MUKHI GAT

Do mukhi Gat indicates that the beginning phrase and the ending  phrase are the same. The above Gat also qualifies as Do Mukhi Gat because the gat starts and ends with: dhagat takita dhatirkittaktet dhirdhirkitataktet dhin.

DUDHARI GAT:

The gat is composed of words repeated twice.

Example:

Dhin ghidan dhin ghidan,dhagenage dhin dhagenage dhin,dhatrakadhikita dhatrakadhikita,ghinatinna ghinak tinna,nakekitatak nakekitatak,dadannakitatak dhadannakitatak,dhadhaghin dhadha ghidnag tirkitaktak dhirdhirkit takita dhirdhirkita  DHA

MAYUR GAT

This gat is composed to describe the dance of a peacock.

Katita katan,dhatunna katta dha,dhita tita dhatitakatgadiganadha,trakadhet taginnadha,dhita kata dhita dhatitakatagadigana dha,dhita…kaa..ta..dhitdhatitakatgadiganadha,dhita kata dhita dha titakatagadiganadha.

This gat is difficult to express in a written form.It can be learnt from a Guru.Yet it is difficult to absorb.

I have been trying to get somebody to help me demonstrate  in a video all  the bandishes,gats relas,ravs mentioned in my blog. I hope I am able to do it.I must caution you that because of my age 83 and lack of practice,it may not be a finished product but I assure you it will put you on the right track.

S W Mulgaonkar

Mumbai

sureshmulgaonkar@gmail.com

      BLOG  IX TABLA MUSINGS  SUGGESTED DEFINITIONS AND CLASSIFICATION OF GATS

In my last short blog VIII ( unfortunately,I forgot to title it as VIII ) I had lamented that the definitions of many Tabla PHRASES  are not clear.I can understand the old masters who were majorly illiterate using the phrases loosely. But I cannot understand the present day senior players and musicologists using them,as told by their GURUs, without questioning.

Thirakwa used to play PESHKAR in two parts.Hecalled the first part Farashbandi and the second part Peshkar Rang.But in a recording ,he has reversed the terminology.I will be discussing Peshkar in my next blog ).

In this blog I will discuss the definition and classification of a GAT.

I will give below definitions of Gat as described by some of the leading practitioners and musicologists:

Pt Arvind Mulgaonkar writing in his paper presented at a workshop on ‘Bandish’ organized by ITC-SRA on 25/26 October 1997 gives following definition which I like:

A gat is like a ‘POEM’ composed by some talented old timer players.They have come down to us through oral transmission over generations and usually with the name of the composer and its qualification such as Farad,Darjedar etc.

A gat is precomposed and cannot be /should not be tampered with.

A gat is usually non expandable except for gat-kayda or gat-rela.

A gat does not have any restrictions like a Kayda where one has to restrict to a few words contained in the Kayda. It can have a combination of Khula and Band baaz. It can have a mix of Jatis such as teeshra,chatushra mishra etc.It can have stops to give a surprise.In short the composer is at liberty to use what ever the arsenal he has in his repertoire. The ultimate aim is to surprise and please the listener.(This is my analysis but I am sure Arvind has touched on these points somewhere in his text).

Gat is derived from the Sanskrit word Gati which means speed or movement.Gat  therefore  can be repeated continuously.(Usually,performers repeat the gat twice )In order to repeat the gat,it ends before the sum.

The gat is based on metre of a poem.All Yatis ,Jatis and Grahas as described in taal-shastra are  employed freely in Gat compositions,(I do not agree. My comment is that nearly all Gats are composed by mostly Muslim stalwarts such as Haji Vilayat,Chudiavale ImamBax,Munirkhan and many others from Ajarada,Benaras,Panjab gharanas.These composers,I am sure were not educated enough to know taal Shastra but they were capable of composing attractive Gats.Recently I heard the recordings of bandishes in a CDE attached to an erudite book titled Aesthetics of Tabla by Pt Sudhir Mainkar. Gats are presented in poetic vrittas which are certainly attractive and form the basis of new contemporary compositions. If what I heard on the recording are Pt Mainkar’s compositions ,he deserves to be complimented  for contributing a new dimension for creating new attractive class of bandishes.)

My comments:

Above I have given two comments.Otherwise I am  in agreement with Arvind’s definitions.

I will also say that the main classification of Gats should be:    A…Gat Kayda,  B …Gatang Rela,  C… Gat-paran,  D…Gat-toda..   E…Gat which does not fall into A,B.C ,D classification.But if you do not want to classify a Gat,then you can call all classes as simply ‘Gats.

Since most Gats have come down from old masters through oral transmission over generation of students,they are  awarded certain status by the Gharanas.For example,we have Farad gat,Darjedar Gat.Farad means Unique,a gat which cannot have a Joda or a comparable similar composition. I feel that when the Ustaad composed a Gat, the students and may be  his peers,will have praised it as Unique and this prefix has been carried down by the students.I cannot imagine that a ‘Joda’ cannot be made. But we honour the composer and retain its prefix Farad. Similarly, a Darjedar Gat is also in praise of a composer and has come down to us over generations. I f you ask the composers what they think of their composition,I am sure they will all describe it as Darjedaar.It also means that Farad and Darjedar Gats can belong to any of the above A to E gats.

Then we have,Manzadar,Gend Uchal,Tripalli,Dudhari,Teedhari,Choudhari,Panjdhari,Domukhi,etc Gats. Arvind has given 16 varieties,but Mainkar  mentions that Nayan Ghosh has 50 varieties.Pt Mainkar suggests that a special classification can be considered if there are substantial compositions of a particular variety.

Pt Mainkar writes:”If one aesthetic principle ( say gend Uchal,Waterfall,Dance of a peacock etc.This bracket is my explanation ).is accepted as a criterion to denote individuality of a Gat,as a kind of playing,then at least two to four Gats belonging to that category should be available for quotation,as  the compositions built on that principle”My comment will be that even then it does not qualify to be the main classification, It can only qualify to be a sub classification.For example,just for argument’s sake,can one not compose a gend uchaal or a Tripalli Gat as a part of a Gat-Toda?.

The description of each class and subclass along with examples of Gats will be given in the next blog no X’

Suresh Mulgaonkar

Mumbai

sureshmulgaonka

I am of the opinion that the definitions of various terms used in tabla have no logic. I have read definitions given by Arvind Mulgaonkar,Sudhir Mainkar,Abban Mistry, Sadanand Nayampalli,Madanlal Joshi.etc. As an engineer I feel that any definition must stand the scrutiny of the compositions. My  comments and explanation on difference between rav and rela will stand to scrutiny. But the explanations by other erudite scholars does not. So I am going to discuss these in my future blogs.

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.

Blog V

My facebook friend Dr Sachin Ketkar is feeding me with interesting subjects for my blogs.He wants me to comment on an essay provided on “bulletproofmusician.com discussing ‘How many hours a day should you practice? This essay deals with the subject in relation to western music.

I do not profess that I am an authority on the subject but I have spent enough summers in discussing few..Pt Laljee Gokhale,Pt Arvind Mulgaonkar, Pt Bapu Patwardhan,Ustaad Amir Hussein (all tabla players}.Friend Nana Rajyadhyaksha (Ust.Khadim Husein’s student),Pt Laxman Prasad Jaipurwale,Pt Ganpatrao Devaskar,Pt Sharatchandra Arolkar,Captain Joshi,Pune. ( all vocalists).It will be interesting to know, nearly all senior vocalists have fund of knowledge in tabla. In fact many good tabla players have turned into good vocalists/instrumentalists (Pandit Jasraaj,Pt Shivakumar Sharma).

The amount of practice depends mainly on following factors:
1. Inborn talent
2. Parental encouragement
3. Availability of a proper Guru preferably closer to a gharana of your choice at primary level.
4. Availability of a Senior Guru necessarily of a gharana of your choice at an advanced level. This will often involve a GANDABANDHAN ceremony where the Guru agrees to accept you as a student and the student agrees to learn with this Guru and nobody else.

1. Inborn talent We come a across a lot of youngsters (5 to 9 yrs) Who are incredibly talented. In Tabla they understand the language and reproduce the phrases with ease,they understand sidhi and AAD laya.In fact at their age, they are at a 15 yrs stage of an average person.(Uderstand that this observation applises to both sexes).But talent is only half the battle won.Unless it is accompanied by proper guidance and REEYAZ,you will end up as an average player. In fact many average persons who have no special skills can surpass a talented player with guidance and reeyaz. Pandit Kumar Gandharva,Ustaad Zakir Hussein are examples of talent and Riyaaz.(Andre Agassi in tennis) This writer Suresh Mulgaonkar is an example of talent but no Reeyaz.

2. Parental encouragement
Normally,in our society greater stress is given on academic studies. Pursuing any art or sport is tolerated as long as one gets good grades in school. I do not suggest that only arts and sports be nurtured to the detriment of studies,but parents should give sufficient encouragement and show appreciation of the efforts put in by their wards.This will ensure that any time devoted to practice will be more productive.

3. Availability of a proper Guru at primary level:
The Guru should be such that he teaches the language and production of notes ,padhant (recitation,memorizing),basic taals,simple teehais, encouragement to perform in front of an audience etc.If the student has shown inclination towards a particular gharana,it will be good to select a Guru from that gharana.These days Zakir Hussien and Tendulkar have become roll models.So if you like Zakir Hussein, Pick a Guru whose style is from Panjab gharana.
We say ‘haat Kadhne’ in Marathi or’ haath nikalna in hindi’(to mould one’s hand) to describe success of primary training.If you are unfortunate a Guru can spoil the hand in the formative days.It will be difficult to undo. Above teaching needs to be done between the age of 7 to 15 yrs.
At this stage one has to positively determine which Gharana one wishes to pursue.

4. Search for a Guru From the Gharana of your choice:
The Gharanas are:

1. Delhi/Ajrada gharana-exponent Sudhir Saxena
2. Farukabad- Ustaad Thirakwa,Ustaad Amir Hussein and many good exponents from Mumbai pune region.
3. Lucknow-Pandit Sapan Chowdhury and many renowned exponents from Calcutta region
4. Punjab-Zakir Hussein,Yogesh Samshi and many students of Usd Allarakha and Zakir Hussein.
5. Benaras-Samta Prasad and many accomplished artists from Benaras.

Presently the most popular gharana appears to be Punjab to which Zakir Hussein belongs. But in my opinion,a good gharana to follow is Farukhabad.This gharana has accommodated the best of Delhi, Ajrada,and Lucknow Gharanas.
Panjab gharana is mainly derived from pakhvaj style. It was made popular by Ustaad Allarakha. He modified it to suit the requirements of instrumental accompaniment.He was extremely good at calculations (Hisaab).Also Speedy and clear production of phrases is their speciality.Ustd Zakir Husein has gone a step further.He has imbibed good compositions from other Gharanas.For average Indian and Western audiences he plays attractive nontraditional Tabla with a lot of gimmicks (such as playing saregama on Bayan.The performance is full of surprises.But in front of a gathering of tabalchis he plays extremely pure traditional tabla.
The Benaras gharana was mainly developed to accompany dancers and thumri/dadra singers. Their playing is amazingly speedy with not much variations.Their lagginada is exquisite.

The hours of practice:
For a talented student (also pursuing studies) one hour per day is sufficient. Children who do not have talent or liking should not be forced by the parents to learn tabla. At any stage the decision to learn tabla must be made by the student himself. If he shows urge to learn and practice under proper guidance he will succeed. I know students who have started learning at 20 yrs of age, have surpassed talented players.The only reason: passion,a good Guru and Reeyaz. Between the age of 16 and 30 ,3 to 4 hours of reeyaz is necessary.This is a peak period of your learning.You are young,healthy,passionate,competitive and prepared to put in hardwork.If you miss out on this, you will be an average player good enough to help out on social occasions. Many performers of yester years used to practice CHILLA. It is a process where a student stays isolated and practices certain phrases for nearly 24 hrs till his fingers bleed.Thirakwa did it when he was 17 yrs old. Assuming that you have put in the hard work,it is now necessary to keep your body and mind in readiness to perform. Therefore you can put in 2 hrs a day between age of 30 and 55. After 55, one hour a day is sufficient to keep flexibility of your fingers in good shape till say 75 yrs I may mention here that Ustaad Thirakwa gave half hour performance on Mumbai television at 96 yrs .

Some tips on dos and don’ts:

• Practice in front of a mirror.Observe finger movements ,compare with your Guru’s instructions and correct.
• Some teachers ask you to keep a heavy cloth on Dayan and practice.Please avoid it.
• Some teachers will ask you to wear heavy copper rings on the fingers. Avoid it.
• A renowned tabla player, Pt Nana Mulye,whose production of notes on Bayan is exquisite,demonstrated the use all five fingers on the Bayan with nearly equal strength.Ustaad Ghame Khan told him to play a kayda only with fingers on the Bayan.Students can try this.
• Do not use excessive powder on the tabla.Some students think that it is a must. If you do not sweat on the palm it is preferable to use a pinch of powder on the tabla before starting your play but avoid afterwards.It spoils the tabla because the powder enters inter crystalline gaps and deadens the sound.
• The most important suggestion is ,you must spend your spare time in CHINTAN (contemplation).You get time when travelling, waiting for a bus or a Doctor’s appointment. Spend it in mentally reciting a composition,try to improvise,try teehais etc.

These are only ballpark figures.They will vary for individuals. Again I stress that I am not an authority. A student will have to chart his own course with the help of a Guru.

Now a gat:
Teentaal,teeshra,anaghat.

Takita takita Tak dhin tak Tak dhin tak Titakatan
Dhatraka dhikitaKatgadigana Ghenteran Ghenteran
Tak tinagina Taktinagina Taktinatage Titakatan
Dherdherkat dherdherKitatak takdan Dha ss Ta ss (Dha)

The capital letters indicate the beat. Thus we have:
T T T T D K G G T T T T D K D T D total 17 beats
My next blog will be explanation on Rela and Rav with examples.

Suresh Mulgaonkar
Sunnyvale,Cal.
BLOG V